132: Rachel Brooke
On Episode 132, I'm joined by Michigan singer-songwriter Rachel Brooke. Brooke just released the excellent country standout The Loneliness in Me this past Friday. Full of high and lonesome, Brooke delivers on the 12-song collection with velvety vocals that gently sway to and fro as pedal steel warbles in response. Much of The Loneliness in Me harkens back to the golden era of country music as it takes cues from the likes of Hank Williams, Patsy Cline, Loretta Lynn, and George Jones. By all means, Brooke is a prolific country crooner as she sings hurt so good heartbreaker ballads and charming numbers that capture her wit and humor.
During this interview, we talk about the recording and writing of the Loneliness in Me, balancing heartache and humor, how to wrangle in a wandering imagination and mind, tempering anxieties, the country music industry, eating tomatoes, true-crime stories, and taking advantage of time in the midst of a pandemic.
This episode's presenting partner is Desert Door Texas Sotol. In addition, this episode is sponsored by WYLD Gallery and The Blue Light Live.
Interview Transcript
Note: Transcripts aren’t always accurate since they are computer automated and haven’t been edited for spelling, grammar, etc.
Thomas Mooney 0:01
Hey everyone, welcome to new slang. I'm your host, Thomas Mooney. We're kicking off the week with Episode 132 with country singer songwriter Rachel Brooke. I'm so glad we were able to get this one done. this past Friday, she released this new record called the loneliness in me, and I'm telling y'all if she's not on your radar she needs to be listening to the loneliness in me is a must. You're going to absolutely love the high and lonesome warble of the pedal still, and a Rachel's rich country, croon Rachel's vocals are right there with that ghostly pain that you'll hear in people like Hank Williams or like George Jones. And there's also that clever wink and sass, and that slight yodel touch that you'll hear in someone like her Loretta Lynn. And I don't say that lightly at all. She's that good. And this new record of hers, I just love how vulnerable Rachel is, during some of these moments. She does it in many ways to it's not just straight to the anxiety or the heartbreak, she uses humor and some of that self deprecation as well. Some quirks and charm come into play as well. A great example of that is the title track, the loneliness and me, it's tomatoes and true crime. And just like her mind wandering off, and these funny jabs at the music industry and like paying your dues, and artists, images, and egos and so on, which that's kind of the funny commentary as a whole on this album and the industry at large. In so many respects this album, it sounds like a record that comes from the the quote unquote, like the golden age of country music, it has a lot of those cues that are reminiscent of that time. And sometimes like country, music isn't complicated. It can be just the tried and true tragedy. Sometimes it's that simple. And there's definitely some of that heartbreaking hurts so good moments on here, but she isn't boxed in by that either. This isn't a tribute record to that time, a lot of the things that Rachel talks about on this record, she does so with a modern touch, a very progressive touch, if you will. And so it's a really interesting mix of how this record can sound like a golden age record, but also have a very modern feel. And she just really balances these kind of two thoughts really, really well. And yeah, anyway, I really love the record and this conversation with Rachel, today's presenting sponsor is desert door Texas Soto. If you know anything about me, it's probably that I'm from the heart of West Texas and absolutely love everything about West Texas. And that's really why I love desert door so much. You may be asking yourself what exactly SoTL is, well, it's a premium spirit that's similar to a tequila or a Moscow, but for my money. It's a little bit more refined and smooth. There's a sweetness and faint hints of vanilla and citrus and it's also as versatile as your garden variety vodka. At its core desert door is authentically West Texas, they go out and harvest Soto plants from the wild and bring them back to their distillery over in driftwood, Texas. So next time you're at your local liquor store, get a bottle of desert door. For more info, check this episode's show notes. If this is your first time listening to new slang, I strongly suggest hitting that subscribe link. If you just did, I'm giving you a virtual High Five right now. This link is over on iTunes, Spotify, Google podcast, Stitcher, radio, and basically any and everywhere you listen to podcasts. Go check out the new slang merch store. Grab a koozie some stickers, buttons and magnets. Any bit helps, I'll throw a link into the show notes. And if you're into playlist, go check out Tom mooneyes cup of coffee and the neon Eon playlist over on Spotify. The neon Neon is for all your nostalgia ik 90s country needs, which there's going to be more neon Eon related stuff coming your way pretty soon. And then Tom mooneyes cup of coffee is a regularly updated mix of new Americana and country music. It's also a really great hint who I have coming up on the podcast. So yeah, go follow those. Alright, let's get on to the interview. Here is Rachel Brooke. You know, you have this new record coming out. And it's about a month away. But obviously, during this year, it's just it's made everything just so thrown up in the air. What has this year done as far as has it changed the plans around the record or anything like that, or what what what kind of, I guess, extra hurdles Did you run into?
Rachel Brooke 4:44
Well, um, so last year, you know, we were we were like getting close to finishing it up. So I'm just like, Oh yeah, 2020 is gonna be my here. You know, like, I'm gonna get my record out and it's gonna be great and things are gonna go good. And then yeah, Right around March, April, it was just about dawn, I was like doing a few extra, like, last minute, I think we were like doing harmony vocals and stuff. And then you know, of course, everything kind of hit and I yeah, I didn't get to go and mix it for a couple months. So it's kind of been, you know, I think it's from my original plan, it's like off by a couple months, but after the release, I was gonna, you know, try to get some, some tour dates in October. So like, my goal was to have it out early or late summer and then like, hit the road in October. And so yeah, I guess I've had to like, adjust. But the more I get through the year, the more I feel like it was meant to be like, it seems like things just kind of are happening. Kind of, you know, I feel like well, maybe it was supposed to be like this, you know, or for this release, you know what I'm saying? Like, I'm not trying to dismiss any of the awful tragedies of the world. But you know, as far as like the this release, I feel like, well, maybe there's a reason why I was ready this year, instead of next year or the year or the year before, you know what I mean?
Thomas Mooney 6:15
Right? Yeah, it's a it's such a weird, like, there's no brute blueprint. And that's what it's like, the biggest thing I've, you know, I've taken away from all of this, just like from a macro level, but then also from just specifically with artists and releasing records, there's nothing to look back on and go, Well, they did it this way back in whatever year. So like, let's kind of just do that. And so there's a lot of like, just waiting out. There's a lot of like what you're talking about right there, like, maybe we can do it in late summer. And the US will be back to a level of normalcy, that we're able to tour at least somewhat. And right. And it just kind of was apparent. Like we weren't going to be able to do that either.
Rachel Brooke 7:02
Right. Yeah, kind of screwed things up a little bit. But yeah, I mean, one thing like that I've kind of been practicing this year, it's just, you know what? I'm not going to I mean, yeah, like, a lot of times, you're like you strict to like, uh, this is how it's done. We're going to release it this this month, and then I'm going to go on the tour this month. And just because it's worked in the past, but this year, if there's one thing I've learned about, you know, trying to release the record, it's like, well, you know, what, I feel like, I'm in control of this, you know what I mean? Like, yeah, like, a lot of things have influenced me, but, you know, and the release, but I actually got to decide that I wanted to release it anyway, you know, I mean, like, I could have maybe waited, I could have done it differently. But I said no, I'm gonna do it anyway. And, and I've kind of given me just a little bit, I feel like a little bit of power, like personal power, you know, because I'm, I don't know, it just feels like, you know, no matter what's going on, I still kind of feel like I'm in control of me, in my, in my little world, whatever it is, you know, what, I'm what I'm trying to say,
Thomas Mooney 8:07
right? Yeah, no, it's, it's one of those things where, when, and this is like, this is one of those things where actually, it's kind of like this, no matter what, even in a world we're very, where we're not having a pandemic, and we're not in quarantine, or almost always never in control of anything. But like, we kind of have to, I think it's a great idea, and a great just kind of like lifestyle, to focus on those things that you can control and, you know, be proud of like, being able to, like, make the decisions on those things.
Rachel Brooke 8:40
Exactly. That's exactly what I'm saying. Like, it's like, I it is it's like this, it's given me like, some weird realization of how much control you actually do have in your world and I and your life, you know, like, yeah, there's lots of things and, you know, variables and stuff that happened, but I think that we have more control than we give ourselves, you know, saying like, you just and I, this year has definitely given me a little bit of that insight, you know, what I'm saying? Like, I'm just like, wait a minute, I can do this. You know, I mean, like, I can decide these things. So yeah, it's cool. It's, it's kind of a neat little thing that I'm, I guess, learning about myself, and it's kind of neat.
Thomas Mooney 9:22
Yeah, well, you know, it's this really much tie this ties into where a lot of the people I've talked with these last few months, we've talked about like well, so you get paused on your tour and being like, more so the the business side of being an artist, how do you how have you been able to control the the artistic side and like, make sure you don't, you're not wasting these days, quote, unquote, of just being stuck at home and the ones who have been able to find other things, other outlets. They, they've been more productive and I think in turn, like that's just another way of saying being in control of your, your life being in control of your art.
Rachel Brooke 10:06
Yeah, it is. I mean, I've had, like, yeah, a ton of time, especially like in spring, you know, and at first it was like, pretty dark, you know, like I was, well, like, last year, I had, just last year, I'd lost my dad, he passed away. And so I was still kind of going through, like, like, the grief of that. And, you know, so then I, and then, you know, the one of the big things I had to look forward to was kind of like, what's going on with this? And so it was Yeah, it was like really dark. But it then I started to kind of reshape, like, the way I was thinking, like, I purposely had to, like, kind of like think, Well, wait a minute, I have a lot of this time now. So I might not be able to use it exactly how I thought I would, but I will be using it for like, for instance, like being an independent artist, I have to kind of I say like, be scrappy, because I, you know, I'm always trying to figure out ways to like Connect, and like, the industry is always changing, you know, always trying to learn about how to get your stuff out there and get it into the right people's hands and so people can hear it. So I had a lot of time to kind of focus on that stuff, which is like preparation for the record. So I really actually needed that. And now I'm realizing that, you know, I use that I did be you know, I use that time. I feel like pretty well. I mean, I always feel like I can I can do better. But you know i? If I didn't have so much time at home, maybe I wouldn't have been able to do that you know what I'm saying?
Thomas Mooney 11:40
This episode is in part brought to you by Austin Texas's wild gallery, a virtual Art Gallery, featuring traditional and contemporary art by Native American artists. As you're probably aware, I'm not just a avid fan of music, and film and novels. I absolutely love visual art as well. And as you probably also know, if you've been listening to new slang for a while, you'll know just how often songwriters, they also dabble in various other mediums and are largely also inspired by other artists. One of the giant reasons I was drawn to wild gallery is that all the art is produced by Native American artists not only produced by, but inspired and influenced by other Native American artists, history, tradition, nature, stories, music, and just culture in general. If you head over to wild dot gallery, that's WY ld dot gallery, you'll see exactly what I mean. I've spent probably an hour scrolling and clicking through the various pieces, there's just some incredible pieces featured is such a vast array of styles as well, everything from newer pieces inspired by both like the American West, and a bright and bold pop art field to more traditional Fine Art oil on canvas paintings. And then obviously, there's plenty of pieces inspired by Native American traditions as well. Like I mentioned earlier, they're currently a virtual gallery. What's so great about that for you is that you're able to purchase these pieces from anywhere. And with Christmas coming up, they'd make perfect gifts, talk about just like one of a kind, unique, and probably more importantly, well thought out gifts that excite anyone from your parents, your grandparents, your in laws, siblings, yourself, really just whoever. And also I'll be perfectly frank, it's time we have this talk with everyone working at home these past few months, I've been on so many zoom calls. And I've seen so many zoom call screenshots on social media. And we really need to talk about some of you all's home office spaces. Too often, it's just that generic desk, maybe a poster that you had from college, maybe a calendar or like a whiteboard that you write on. And just those bare bland walls, I'm just saying, We've all been there. But like right now would be the absolute perfect time to fill those walls with some great art. Go visit Wilde gallery and order a handful of these paintings that'll just really spruce up your background and make you look a little bit more adult and lively. When you're surrounded by art. You're more productive, you're more creative, and the space that you're more happy for me that's why I fill up my walls with different art because obviously you walk by them multiple times a day, and you're able to like just take those little moments you're able to appreciate all that effort and energy that was put into the art and hopefully that kind of inspires you to go on and do more stuff in your day. Again, that's wild with a why other link into the show notes as well as share some of my favorite pieces on Instagram and Twitter already have a few earmarked because I'll be ordering them soon myself again that's Austin, Texas is wild gallery featuring a blend of traditional and contemporary art by some of the most gifted Native American artists. Okay, let's get back to the episode.
Yeah, there's this this strange discipline that I think a lot of people have learned and helped apply. Because what's what's interesting, and I think like, I didn't really, maybe I was naive to this as well. But, you know, you think, oh, you have all this time, you're an artist. If there's one thing artists need, it's time to create. And yeah, kind of think of like, Oh, well, everyone's gonna be like writing or working on their music, their craft, but I've learned so much where like, there's been, people have been learning the, for example, like, getting their live streams, like a lot more in tune, because you think of like, just like, Hey, I'm gonna do some live streams, we're playing on Instagram, or stage it or whatever, that's easy. And it comes out, like where it's like, oh, to make it really great. Like, you actually have to, like, learn all these little things that may be on this. So like, I think, like, That's right in line with what you're talking about is like, all those things like the discipline of, of doing, of being an artist, but like having, because like you said, You're an independent artist. You have to, like, have all those things. All those tools as well.
Rachel Brooke 16:14
Exactly. And yeah, and if you're, at least for me, you know, like, I kind of separate them a little bit, you know, like, there's, there's, you know, the the creation of things, and then there's like, the technical kind of stuff. And I somewhat enjoy working on that kind of stuff, too. You know, but But yeah, it's like, you need time for that, too. You know, and, and I got it this year to kind of learn and I'm still learning, you know, there's still not, I still don't know, everything to know, but I yeah, I got some time to practice. So that's good.
Thomas Mooney 16:48
Yeah, yeah. What I thought for myself, like, it's so easy to just, you know, oh, I've come, you know, I've not done anything today. That's too bad. And then, like, all of a sudden, you're like, Where has the week gone? Like, I that's where for me, I just had to do like a, you're not going to do this. You're not going to waste this time. So right? Yeah. Did you have any of that kind of feeling where you just like, felt like, Hey, you know, like, I guess, like a moment of clarity or anything? Or did you just kind of fall in line and start doing it start working on figuring things out?
Rachel Brooke 17:29
Um, I don't know. It's kind of like, I got to a point. Like, there always has to be like, this moment, like a revelation in my life. It's, it's, it's usually comes, like, fast. So yeah, I wasn't necessarily like thinking about it. I was just all of a sudden, like, you know, what, I got to get to work here. Get to work. You know what I mean? Because, I mean, I am guilty of falling into like, I mean, I don't want to say, like depression, but I guess it is, you know, I just, I don't ever like to, like use that term loosely. But where I, I kind of just yeah, I drift off for weeks at a time. And I, it's, I don't even want to think about it. I don't like dealing with anything or anyone. And then all of a sudden that kind of like, comes back around again, for me. And then I'm just like, like, super high speed. You know what I mean? So it's kind of trying to navigate that kind of stuff, too. You know?
Thomas Mooney 18:33
Yeah, yeah, I kind of go through a lot of stuff like that, too. And I too, don't try and because I think like, depression is such a serious word. And I don't want to, like dismiss other people's act like people who actually have depression or
Rachel Brooke 18:50
what I'm saying.
Thomas Mooney 18:51
Yeah, so like, I do feel like every once in a while, I'll go through these little, like, hazy kind of fogs of just kind of like, you know what I mean? Like, and you just
Rachel Brooke 19:02
yeah.
Thomas Mooney 19:05
For me, I don't even know I don't necessarily think I feel like Oh, woe is me, but it's just more like a what's the point? Like, I don't know, I always have like, Yeah, kind of feelings.
Rachel Brooke 19:20
Oh, my God, I'm up and down. Like you would not believe how my my I can swing how high I can swing and how low Like, seriously, it isn't that pretty? Um, it's Yeah, and you don't really know when it's gonna happen. No, I hear you totally, man. It's like, it's, it's tough to kind of get you know what I mean, but I know that I'm not alone. I mean, I think that everybody has has is like that. I think it's more common than most people think. You know, especially when you're, you know, really working towards something or you know, like or you're creating something I think it's, it's typical for you to have like really, really good days and then like the most awesome For bad days, and trying to like, you know, move forward in between all that is, is a challenge sometimes.
Thomas Mooney 20:08
Yeah, I think like, you know, a, I think that a that, yes, everyone, like 99.9% of the population has like, these kind of moments. And is that like, just because that's like the human condition? That's humanity that's just like what we are in? Or is that like, also partly because of societal pressures and like, expectations? And, you know, like being overworked and all those kind of things? I don't know. Maybe it's like a blend of those things. And maybe like, I don't know, we, first of all, I do think like, yeah, we need to be more open with it. But also, I think, like, maybe just allowing yourself a little break. Helps. Just like for just more clarity in your life?
Rachel Brooke 20:59
Oh, yeah, definitely. I think I think you're right on with that, you know, like, I'll, once in a while, I'll be like, you know, what, I need to just shut down for a little while on that, you know, give yourself like, because otherwise, you're going to get burnt out on whatever it is that you're doing, you know what I mean? Like, people need time to just like, stop. Especially Yeah, like what you said, I mean, everything is just so fast nowadays, you know what I mean? I think that if, you know, people just need to stop. And, you know, and especially, I feel like for artists and people who create things, that's like, the perfect time for them, you know, what I mean? Like to be able to be open to the, to whatever inspires you to, you know, because you're always just like, going go and go and trying to get to whatever it is you're doing next. Like, at least for me, I'm always thinking ahead. Always. And it's, and I'm not, not usually in the break in the moment, you know, and I, it's, it's kind of hard for me to always catch that. But I think it's really important to stop, you know,
Thomas Mooney 22:04
yeah, that's, that's such a weird thing, too. Because, um, being like, a head, like always thinking in the future, and not being present. Like, you, I think we always kind of just put like, these little, I don't know, milestones that you're like, you're looking up, you're looking forward to, and you, they may be the smallest thing, but you're always like, once that happens, the grass is gonna be greener, and then you get there, and then you'd almost don't even enjoy it.
Rachel Brooke 22:35
That's exactly my life. Like right there. Like, seriously, I'm always like, that's why I feel like I'm addicted to like living to the next thing. And I remember somebody was talking to me about that there's actually a word for that. I can't remember what it is. But it's like, once I've got to like something that I've that I want to do, or that I've always wanted, I always have to have the next thing to look forward to or the next goal. It's a better way to put it, I guess. But yeah, I'm always, you know, but I don't have that feeling of like, you know, being let down after I've done something I've wanted to do. You know, like, I don't have that feeling of like, oh, man, now I don't have anything left. I it's like, I need that next thing. Like, that's what keeps me going. It's like pulling me forward. So I guess it's good, you know, to have like, goals and stuff like that. But um, it's also just as important, I think to be in the moment, you know what I mean? To kind of, I don't know. Yeah, feel good.
Thomas Mooney 23:36
There's probably some, like, old German psychology word that is right. For this exact feeling that we just don't have worked for. Yeah, you know, you, you talk a lot about are you talking about this, like, I feel like this feeling Li those anxieties, those that unsureness in the title track. And but you you blend it with, like, some humor and some like, you know, some of the quirks of your personality and like, I guess like this is what what is that song? Like, as far as am I am I?
Rachel Brooke 24:17
Yeah, no, you're Yeah, you got it's like, so. Yeah, so when I'm talking about always dreaming up tragic potentialities. Like, that's exactly kind of like what it is. It's, I'm, I'm always thinking about not just, I guess goals, like what we were just talking about, but like, always thinking, thinking ahead. Like, what if this happens, what if this happens, what you know, and then like, in my way, and I think this is also like a common thing where people with like anxiety, and you know, it's like you're always you feel better when you fought about a possible outcome of something because you're prepared for it. You know what I mean and eat but really, it's just, it's silly, because you're not really truly like living in an actual moment in time. time you're living in something that isn't even real, you know what I'm saying? So? Yeah, I don't know. It's just, it's really, really kind of crazy. But, um, but yeah, I mean, like that song has a lot to especially like that lyric is me being at home worrying, and which is a common thing in my life.
Thomas Mooney 25:22
Yeah, I mean, like, that's, it's, I feel like I'm talking to myself in a lot of ways because I did the same thing as far as like, just the worrying of things that were like just the this and not even necessarily worrying, but just like, putting too much effort and time into thinking about just something that's a hypothetical. Like, even like, this isn't going to happen, so quit, like just thinking about quit. And you know, it's like that mix of like, worry, fret, Daydream. And then like, you're like, how did I even get to this point? Like, I don't know.
Rachel Brooke 25:52
Yeah, I am a huge daydreamer. Like, I I almost like need it in my life, you know? And I'm, like, I don't know what it is. It's just like, yeah, it just makes me or, you know, thinking about anything that could possibly happen, in some ways makes me feel better, even if it's like worrying about like, bad things. But I was gonna say, like, Lately, I've been, like, trying really hard to like to re, like, I guess pay attention to like, my thoughts. You know what I mean? Because I'm like, wait a minute, what if I think about something really bad? And because I'm thinking about it, I'm actually making it like reality. You know what I mean?
Thomas Mooney 26:36
Like speaking into existence type of
Rachel Brooke 26:38
Yeah, yes. So I'm, like, paying attention right now. So much to like, my thoughts. Because I'm like, I'm, I'm only gonna think about good things happening. No, like, I'm trying to, like train my brain to only think about possible good things. Because that's the stuff I want. You know what I'm, what I'm trying to say like, right? So if I start catching myself thinking about like, the bad things, like, I'm like, No, no, no, no, no, I can't have.
Thomas Mooney 27:04
Yeah, I think that like, the, the silver lining or like, the, the positive side of this, that I feel has been that. You know, I've always Daydream too. And I've always just kind of like lost getting lost in, in thought. And like, when I was working, like my dad, I worked for him for all growing up. And I was always just like, never like, would get the job done. Like, the way he wanted it that quickly. And it's partly because I was like, I hate sweeping. And I hate doing stuff like that. But it's also because I was just like, get lost in my own thoughts and just be like thinking about other things. But I think that like all helps down the line. I'm obviously I'm not a songwriter. But being a journalist, I think that's helped for you. Being a songwriter, I feel like that's had to have helped the the creative side and helped in just writing in general. But also, like, the one little thing I was going to also bring up is, for me, I think during this quarantine, that's actually helped me because I'm like, more than fine and comfortable, like being by myself and isolated. And like, just kind of like being able to just be comfortable within like your own mind. Even though like we're talking some in these little points of like being uncomfortable. For some reason, I think that's helped me cope with all of this 2020 isolation better than the average person.
Rachel Brooke 28:36
What I think I think you're right, because you don't have everybody else's thoughts and opinions being also brought into your own brain, you know, what I'm saying? Like? Not that you have to, you know, not that people's thoughts and opinions are at all based. In fact, you don't know anymore, you know what I'm saying? But it's, but yeah, if you don't have to, like, necessarily be around those things, and you can you have more control, you know, like, that's what I was saying, like, you get to kind of, you know, control about what you think about how you work things out whatever they are, without, you know, being you know, being alone. If nice, except for those few times where you start thinking about really bad things and you're alone.
Thomas Mooney 29:20
Yeah, well, then that's, that's tough. Well, going back to the How is it like helped you be a songwriter? How is that like, helped you? You know, like form narrative. And these these hypotheticals that you may not necessarily even be like a part of?
Rachel Brooke 29:40
Well, I think that, um, it's pretty much been a part of every anything I've written. I'm coming up with like, like a story in my in my head. I've always like when I write, it's always a picture. So it's like, you know, like when you're daydreaming and stuff like that. You're seeing like images. Is your, like your you can see it just like you're watching a movie or something. That's how all of my songs start there. They're like a picture in my head. And I see them and I can kind of focus on them. And I'm imagining things, you know. And then somehow I have to, like, pull out what it is that I'm saying, based on the picture. Do what I mean, you know what I'm trying to say? It's like, I have to, like any song that I've ever written. It's usually it's like, beamed somehow into my brain in a picture form. And I have to, like, decipher what I'm trying to say. In word. So, um, yeah, like the Daydream part, or just thinking about it. That's like, the, the basis of, of everything I've ever done.
Thomas Mooney 30:44
Yeah. You know, like I one of the, I guess, and listeners are gonna go, Oh, you've brought this up, like, 18 times now. But I think like, the biggest thing I've gotten out of out of all this this year, is that you know, I think we romanticize you guys as songwriters as like, the, when you pick up the guitar, or sit down at an instrument, or whatever, and then pick up your pen and paper, and bam, you're starting to write a song, and we romanticize that part. And we focus on that part. And that's great and everything, but there's all this like space before all that and space after that is like equally, if not more important to songwriting. And all of this, I feel is like that before you actually even put it into words. That's like your your writing then.
Rachel Brooke 31:38
Yeah, no, um, I thought I thought I lost you there for a second. Um, are you there?
Thomas Mooney 31:43
Yeah, I'm here.
Rachel Brooke 31:44
Oh, yeah, I know there is. It's like, well, like it for me. Like, there's Yeah, you're right. There's like space before there's like space after. There's like all this. It's like, it's in some ways it's consuming for me. It's not just like, Hey, I'm gonna sit down, I'm gonna write a song now. It's like, it's been like working itself up for a while. And I might even just start with like, a tiny word. Like one word that just kind of feels like it's special to me. And I don't know why yet. You know, so, um, yeah, it's not, it's never like, I'm gonna sit down and write. It's mostly like, I'm kind of, like, days or weeks of working out, at least for me. I don't know how it is for everybody else. But you know, like, getting ideas and like, and then like, of course, I have to have that inspiration to actually do it. You know what I mean? And I don't like I'm not like saying, I'm waiting for inspiration, because I definitely don't wait. But, um, it just has to be like, yeah, the right moment. I guess, even though you've been like maybe thinking about it for longer than that moment. You know what I'm saying?
Thomas Mooney 32:54
Letting it marinate? Yeah. Trying to work it out some way, even if it's just like an abstract. This episode is, in part brought to you by the blue light live here in Lubbock, Texas, there is a way to help a support blue light, and B, get a sense of that normalcy by visiting blue light Lubbock comm clicking on the merge tab, and getting some koozies a vast array of T shirts and caps, and yes, even a blue light flag. While it is such a bummer, that live music is still on hold right now. I'm telling you, by getting some blue light, live merge, we're gonna feel better, it just feels better wearing a T shirt and ballcap and helping support your favorite bar. Again, that's blue, black lubbock.com, click on the merge tab, get some merge. All right, back to the episode. I know it's different every time but like, how long do you just mentioned, you know, days or weeks? Thinking about stuff like that? How long do you typically let those those moments kind of? How long do you typically think about a song before you actually start writing it? I guess?
Rachel Brooke 34:12
Um, well, let's see. Um, it kind of just depends. But I would say like, I'll get an idea, but it's not the right time to sit down and write it. So like, I'll get like me. And sometimes I get ideas that are just like, I can't let them go. Like, I can't stop thinking about it or whatever, you know. So like, it'll, it'll kind of like sit in my brain for a while. And I'm kind of like thinking, but I can't sit down and actually write it. So, but usually, if that happens, I'm like, I'll, for the most part, write something down just to kind of get that thought out of my head. You know, so I can kind of like it, you know, let it go a little bit. So I'll write it down. And then within the next week or two, maybe a week, I'd say like I'm at least starting to write it and it's amazing. I used to write like in one sitting. So like, I'd sit down and it would kind of just kind of flow. But now, it's different. It's like, I don't know what it is, but I'm alright. And like, I'll write something down, and then I'll write a little bit more another day. And I'll be thinking about it still, I'll just kind of keep coming back to it until it's done. So I don't know, I'd say maybe a couple weeks.
Thomas Mooney 35:25
Mm hmm. Yeah, that's interesting about like, you know, how you've, I guess, evolved as a songwriter? Right? You know, I think it's so natural to think like, that's very beginning in your early stages, writing it all in one time. And then, you know, gradually getting to a point where it's like, yeah, you work, you're working on it over a longer period of time. That's interesting.
Rachel Brooke 35:50
It is because I really feel that when I first started writing, it was very much inspired by how I feel, you know, how, like I was feeling at the time, so I was feeling sad, or somebody hurt me or something, you know. So I'd sit down, and I'd write it, and it really just kind of came out the way it did. But now I feel like I care more, I care more about what I'm actually saying. So I try harder. So I think that's why I kind of split it up. Because I'm taking a lot of time into figuring out exactly how I want to say it. You know what, I know what I mean? Like when when people say, you know, like, you're writing a letter to somebody and you're angry. So you write it all out? And you know, but you don't send it because you know, but you know, if you wait a little bit, why don't you go back and look at it, you know, maybe you decide you don't really want to things. So it's kind of like similar, I guess where I want to make sure I'm saying the exact exact right thing. You know,
Thomas Mooney 36:49
yeah, a little bit more intention of being more intentional with, with what the, I guess, like the real essence of the song.
Rachel Brooke 36:58
Right? Exactly.
Thomas Mooney 37:00
Yeah. Do you have like a better time of day that you like to ride in?
Rachel Brooke 37:07
Well, I feel okay. It's weird, because I like what I'm most inspired in the morning, when I'm drinking coffee. And like, I just Oh, and it's just like I get really I get good ideas and stuff in the morning. But I actually like to work on those ideas at night. Like when I actually have time, Mike, like my brains just a little bit more like relaxed or something. I don't know what it is dark. You know, it's quiet. There's not much going on. So yeah, I get the ideas, usually in the morning, and then at night, I'd like to just work on them. So yeah, morning and night.
Thomas Mooney 37:44
Those are obviously like, times, we're not just like your house is typically more quiet. But also like the neighborhood or wherever you're living just naturally is like just more quiet. In the mornings. There's that crispness. And the same thing with night. It's like you just have everyone's going to bed and like you know,
Rachel Brooke 38:03
yeah, no one's gonna bug Yeah, you know? Nothing, you know, I get bugged by people. I'm not saying that. But you know what I mean, you just like, you know, for the most part, everyone's gone to bed, or they're watching TV and you know, that, like, you know, you can actually focus on something that you want to finish, you know, right.
Thomas Mooney 38:21
Yeah, I've had this, like, I've talked about this a few times where I'm sure you're familiar with like the movie, The Shining or the book, The Shining. Right.
Rachel Brooke 38:31
Yeah.
Thomas Mooney 38:32
So like jack Nicholson's character, obviously, he goes, fucking crazy. And he has these moments where, like, he's had that mental break. And, you know, one of his big things, though, is like, don't bother me when I'm working. And it's so funny, like watching that as a teenager and thinking, Oh my God, he's fucking crazy. And then like, watching it as like, older, after I've been doing journalism for a while and being like, you know, he honestly kind of has a point. Like, he's, like, expressing those feelings in the best way. But like, he does have a point on like, how just, you know, being interrupted can just break where you were in? Or where you're trying to get to?
Rachel Brooke 39:14
Yeah, no, exactly. And I think, you know, it's true, though, because, like, so I have like, a four year old, he'll be five and, and November. And, oh, it that's, I mean, I get that 100% you know, it's hard because when I'm with him during the day when he's awake. I tried really hard to be present with him, you know, because for the most part like if I'm if I'm just alone, my head is daydreaming thinking about you know, I like my husband says it's like I sometimes I'm not there you might my head drifts off into a whole nother place. And so like I tried really, really hard to be with him. So it's not even possible really for me to like, you know, work when I'm Around people. So it's uh, yeah, definitely like that alone time at night is everything to me because I have to be able to not be interrupted and not distracted and not you know what I mean? It's, if I actually want to get things done, you know what I mean? Right? No, I
Thomas Mooney 40:17
absolutely understand what you're saying here. Going back to that title track, they'll only listen me. It has like a really funny music video with it. And so like you're sitting there on the couch eating tomatoes. Just like their apples. Is that like it? Okay. I don't know. Like, that's never been anything I've ever really seen. I guess people do that. Is that is like, is that one of your things that you'd like to
Rachel Brooke 40:45
hear? You know, what's weird is that I've always done that my entire life. And I'm just now realizing that not a lot of people do that. Like, yeah, like I've had a few people say that they're like, oh, wow, you eat it just like an apple or whatever it is, you know, like they they remark on it. And I was like, yeah, you mean it's I and you know, I always thought that that was something that you know, people did, but I know I love it. Yeah, it's, I've done that. Since I was just a little kid. My dad. He always had a real big garden. And I think I must have learned it from him. And yeah, we go out there with a salt shaker and just eat him like apples.
Thomas Mooney 41:24
Yeah, see? Now, that makes a lot of sense. Right there as far as like, learning it from, you know, family, your father having a garden, like having a garden. I felt like if all of us had gardens, everyone would go. Oh, that's a natural thing.
Rachel Brooke 41:39
Right? Yeah.
Thomas Mooney 41:42
The now it would be weird if it was like an onion or something.
Rachel Brooke 41:48
Which, you know, I, I think people do that. Yeah, I think I like if people have told me that they do that. And
Thomas Mooney 41:54
I think you're in prison. They're like, Yeah, actually like my little brother. So like, I lived in a small town. And we would go to, like a bigger town to sometimes buy like, better groceries and stuff like that. And what am I a little, I guess, like, my little brother is like 14 years younger than me. But one time when we were coming back home, and we had bought all these groceries and stuff, and he's probably like, three or four years old. And he's in the backseat, and all of a sudden, he's like really quiet. And my mom's driving and I'm sitting in the front seat. And we look back there. And I thought he had gone to sleep. And he had gotten into like, a big container of cherry tomatoes, and had like, just been eating those. And that's why he was quiet. And so yeah, he's a he's a full on tomato eater like that. So
Rachel Brooke 42:51
does he like them a lot? Does he eat them a lot?
Thomas Mooney 42:53
I don't know about now, but like, yeah. I don't know. That kid was crazy.
Rachel Brooke 43:00
Yeah, well, to me, it's a good I mean, it's, it's fun. You know, I, I kind of put it in that that video and stuff like that, because I have them on my album cover. And I just kind of wanted to kind of tie that together. But it's, um, it's, uh, I don't know, it's becoming, you know, people ask me about it, which I guess I should have, you know, saw comment. I didn't really like it. You know, I just kind of like, Oh, yeah, there's
Thomas Mooney 43:34
no better part of it is that like, you know, it's like, part of the routine of, of your life in that video of like, you know, you come home, you know, your husband comes and he's got a tray with the salt and stuff like that. So it's like, this is like a normal daily occurrence. And you know, you're being waited on and you're as he's saying the song. So yeah, you mentioned like, how you're watching like the the television murder show, and stuff like that. That's like another rabbit hole. We could go down.
Rachel Brooke 44:06
Oh, yeah. Well, yeah, definitely. Like I specifically wanted that in there where it's like, you know, I'm watching like murder, like, murder, lifetime murder mystery TV or something like that, you know? Because that's what scares me when I'm watching that stuff. You know what I mean? Because then it's like, then I like I don't trust my husband anymore. Yeah. Just like, wait a minute. You know,
Thomas Mooney 44:27
it's the whole the husband did it or like, the guy driving the creepy van. Like, there's a reasons why they're like, the, the cliches or the whatever they are like that. That's, there's a reason why they're around and it's because like, that happens.
Rachel Brooke 44:44
Exactly, it always is. It's like if a woman gets murdered, usually it's like some guy that she knows. You know, like, I'm not trying to I'm not you know, I just like I was like, wow, you know, there was you know, I don't I don't makes me like not trust anybody. Now. But I do but you know, always suspicious.
Thomas Mooney 45:03
Yeah. Well, it's it's also like important to, to be aware of, I think like, people need to be aware that like, of their surroundings and I wanted to talk to y'all one more time about our new partners that desert door and offer up a handful of my favorite ways to drink it. Do you a Mexican Coca Cola, have a couple of swigs, then pour yourself some desert door oak aged in, toss in a lime wedge or two. Or how about this, pour some desert door into a mug, top off the glass with some ginger beer, squeeze in a lime. Or for all you ranch water drinkers out there, get you a topo Chico, take a couple of polls off. And then pour in some desert door. Toss in a couple of lime wedges. And now you have a mighty tasty and refreshing ranch water. Remember, Soto is as versatile as vodka and has a more refined, smooth and a more complex palette than tequila. It's rich and balanced. And the whatever your go to drink is it'll make it that much better. And again, it's inherently West Texas, it tastes like home. For more info on desert door, check our show notes. Alright, that's it for Thomas Mooney, his cocktail minute, let's get back to the show. Getting back to the record, uh, one of the things that I really like about your, your sound and like, the, the feel, and the mood of a lot of these songs is that the space in a song, like you're not filling the songs up with just a bunch of instruments or anything like that. And that creates a that longing vibe of a lot of these songs. How intentional is that as far as like trying to create the those kind of moods for the specific songs, but then also the album as a whole?
Rachel Brooke 46:52
Um, well, you know, I don't know if it was necessarily I have to try it. Like, I feel like I trust myself to make the decisions that I did. Um, you know, what I do is I just kind of listen to the song, you know, and I and I kind of feel like, should this have this instrument? And should it be and then how much of it and, and just kind of like, let it guide I guess like my feelings, you know what I knew what I mean? Like so each song was looked at in its own way. And so if like, for instance, like one of the songs doesn't have much of anything, except for you know, it's very like sparse except for like my vocal and then like some really, I try to get like this really rich like vocal harmony vocal. And, and I wanted it that way because I yeah, I kind of felt like that's what the song was was saying, you know, it was kind of like, very, I guess, lonely and kind of, you know, not much not much going, you know, even I mean, like, I didn't really want too much distraction. I wanted it just to kind of speak for itself. And so like for the whole album, I guess, maybe you're right, I guess I didn't really think too much about it. But maybe it's because like, the songs are kind of lonely. Maybe that's why it came off the way it did, you know, with kind of that big open longing kind of feel, you know?
Thomas Mooney 48:26
Yeah, I think that like obviously like back in the day, the reason why some of those so many of these great songs had that space is because he didn't have nearly as many channels of record but now I think people utilize the space or can utilize the space and it helps just like I said, create those moods and I feel like you almost have to be aware of it as as a as an instrument like that. You can give the space of round for example like your vocals like you're saying or like the any of the petals still work and let it like let it have more of a focal point and be a just something that's like important to the song right and you don't have to fill it up with all these other things just because we can do it now.
Rachel Brooke 49:21
Yeah, all the time is our you know, like when I'm recording and stuff is like this doesn't need this you know, it sounds better without this or you know what I mean? Like it's or it just feels better without it. So like you mentioned like the pedal steel. There's this one of my all time favorite moments of the of the album is this pedal pedal steel solo that he does in ghost of you. And it is just so like, it's it's just him basically, you know, and you know, just like the rhythm, but to me, it just adds this really cool feel to the song and then and then Because of that as like, a really cool moment on the album, and it is so I yeah, it's, it's just perfect. I don't know if you've heard that part, but it's one of my all time favorite moments. And it was a specific thing because we had violin or I should say fiddle, also. And I said, No, no, it just needs to be him. He needs to have like this moment, because it's not even necessarily for him. It's just, it's just was a perfect moment. I thought, you know?
Thomas Mooney 50:27
Yeah. Yeah, like, a lot of times, I think that people think of instruments as maybe like, the, just like, the base of the song, right? Like the, the, the foundation and granted like, it very much is, but like, sometimes, instruments like the pedal or the fiddle, or guitar, or whatever, can be like the, in a lot of ways, like maybe turn these songs into duet, where like, your one voice and then like, the other instrument is like another voice. And it when it works, it works. And like, I think people sometimes don't necessarily think of instruments like that.
Rachel Brooke 51:10
Right. And, you know, that's actually a pretty common thing for country music to you know, especially with like, the pedal steel and the fiddle. You know, it's that, like, it almost is like a response to what the singer is singing, you know, and it's kind of it's kind of cool. But, um, yeah, I love it. It's, it's, it's like a pretty classic country kind of thing. You know what I mean?
Thomas Mooney 51:36
Yeah, so like, This record is about like, eight years after your last solo album, you've, you've worked with on a few other albums in between that time, but with these songs right here, where they, like, I guess, like how big of a period were the songs written in, or some of these, like, super old that you just kind of had in your pocket waiting for your next solo album, or they all kind of come in a, a, I guess, like, closer time period?
Rachel Brooke 52:07
Yeah, most of them kind of came in. And I would say, a six month time period. But there was a couple that were a little bit older, there were there were small ideas, like the beginning of a verse, but that we had for a couple years. And then one of them, I keep forgetting about this one, but the oldest one is the level stock a blues, I I've had that written for at least five years, if not a little bit more. And I just kind of was like, I'll put this on something one day. And then while we were kind of putting, like the record together, I was like, I wonder if I should put this on here. Like I almost didn't, because it didn't feel like if it was like, have the same moment, you know what I mean? But we did put it on there. And we just kind of create, like, you know, in the studio, it became a part of those songs. By just by being with them. You know what I'm saying? Like, it was just kind of like it, even though like the words and everything were years old, it kind of has a new life now, I don't know how to say it. So, but yeah, for the most part, they were they were written in the same group, I'd say probably. Let's see, there's 12 songs. So I'd say probably eight, nine of them were written all around the same same time within about six months.
Thomas Mooney 53:33
Yeah, the that song The level of stock a blues, that's one of those where there's like that timelessness to it where I had to, like I was searching on Google to see if it was actually like a cover, like of an old traditional or something. Maybe. But yeah, like there's just like, there's a there's a piece of that song that just kind of fills from like another time and space.
Rachel Brooke 53:58
Yeah, well, thank you. It's, uh, it was kind of Yeah, I mean, like, during that time, I mean, you can tell that it's somewhat different. Because of that, like, it kind of does sound a little bit like more class. I don't know, not classic, but I guess older in some way than the others. So that's kind of you know, that's why I was like, Well, does this fit does this fit on the record, but I think it does. I think I think it kind of adds another little flavor to it. So works out pretty good. I think.
Thomas Mooney 54:26
Yeah, well, you know, like the it's and I don't like it's I feel like that may have come off as like not a compliment like there's no way she could have wrote this but no like it to me. I just it felt like there was like just it felt like a little bit like maybe you'd because I know like that's levels is a town in Michigan. That's where you're where you live, right?
Rachel Brooke 54:49
Yep, where I'm at right now. So
Thomas Mooney 54:51
I didn't know like if that was like maybe something that was just very regional or something you know, like, so I don't know. I It's a great song, and it works. So
Rachel Brooke 55:03
thank you.
Thomas Mooney 55:05
Yeah, well, um, you know, like, whenever you're putting the record together, and there is a song like that, that is a little bit further back from a different time period, I guess like, as far as like, when you're, you're trying to figure it out? Or do you do you often have like, how do you put together I guess this record? Do you kind of get all the songs that you've written that have not been cut? And like, actually get them like in, like, write them down and kind of get them in piles? Or is there just like, Where you go? Well, I know, these are these eight or nine that are from this time period. They're automatics, but I need to, like, add some more stuff to it, compliment it, I guess, like, what is that process? Like, on this record? As far as building the album out?
Rachel Brooke 55:54
Well, um, yeah, it was, it was kind of like I, you know, I set when I had the idea to finally sit down and start writing it, I didn't have a process in mind, I just said, I just have to start writing songs. And, and that was really the only way for me to do it. Because, like, looking, you know, from the very beginning, and then looking towards the end goal, it just seems so far away. And I was like, I can't overwhelm myself too much. So what I did was I just started writing and writing and writing and then, you know, like, I got to like, maybe eight songs, and then I and then I started to think, well, I have this one, maybe this one would would sound All right. And then, um, you know, maybe I would, I guess what I'm, what I mean is, like I didn't really think too much about I just kind of let it be, you know, like, I would write the songs and all of a sudden, they were there. And then it's and then like, I took like the level sockeye blues, and I kind of added that one, and it was an old one. But, you know, even the ones that were a couple years old, I definitely wanted to work on those, like, it almost felt like they were a part of this process. And so I brought them in, and I just kind of, yeah, had we had 12 songs, magically, somehow 12 songs came together. And then I actually, I did a cover that I didn't put on the record, I recorded it during that same time, but I decided not to put it on.
Thomas Mooney 57:20
Yeah, what is that? What's that? What song was that?
Rachel Brooke 57:24
That was, it's a, it's a song called, she still comes around. And that was a Jerry Lee Lewis. It's during his like, country, like country phase, you know, and it's just, it's such a great, great song. And I kind of changed it a drag around just a little bit. And so, you know, I kind of think he still comes around. But I decided to just, you know, it's there. It's it's recorded and, and kind of ready to go. But I decided just to kind of hold on that one. You know, I wanted I just felt like it kind of distracted in a weird way. Like, from from the songs that we wrote. And we created and not that I mean, I love covers, I love singing covers. I love. I love when people do them. And I just thought, well, I feel like yeah, I feel like it might be a distraction a little bit. And so I saved it. And so maybe one day I'll have it on something. Or if somebody ever has like a Jerry Lee Lewis, you know, CD or something, and they need a track. Maybe I'll submit for it or something. But yeah, we'll see. I don't know what I'm gonna do with it. But it's out there. It's it's floating around.
Thomas Mooney 58:33
Yeah, you know, things that I, I feel like that's also like a discipline for you is because it's like, you know, I think it's, it's, it's one of those things like, Oh, we've recorded, I've got, or let's let's just hypothetically, I've got like 18 songs, well, let's count them all, like, and sometimes like, yeah, like records don't, if you cut and trim around and make it more of an album. I think like, people appreciate it more. And you at the end of the day kind of go, I made an album versus, you know, I should have like, maybe cut those two or three songs or, you know, like, that middle that record, the sweet spot of like, eight to 12 songs. 13 songs is just like, sometimes perfect. And sometimes if it's a little bit more than that, it's, it's like yeah, you said, like you said, it can be distracting or something.
Rachel Brooke 59:29
Right, and you don't want to put something on there. Like, at least for me, I don't want to put anything on a record that I don't feel like goes with it. You know, like, I don't want to put something that's weak on it. You know what I mean? Like, and I'm sure like every artist would agree, you know, you don't want to put stuff on there. If it's filler, you know, you want the whole thing to just stand alone and and be strong, you know?
Thomas Mooney 59:50
Yeah, yeah, cuz I think that's such a, you know, when you're a young artist, I know like here in Texas A lot of times like, it's like I'm a I'm a songwriter. I started writing songs. I've got like, 10 songs Now, time to cut a record. Just like
Rachel Brooke 1:00:10
all of my first records were,
Thomas Mooney 1:00:13
like a natural thing, right? It's Yes. I mean, it's, it's the same thing in is, as far as comparison goes with with journalism. I almost like used to always overwrite, and I still overwrite. But what I've learned to appreciate is when an editor will like go, yeah, this is like, a good piece. But like, let's just cut it out. Because like, a For starters, like now, when people are reading stuff, their attention spans are shorter, but also, like, it just it makes the all those things, maybe your points stronger, even if like, there was something really cool about what you said here.
Rachel Brooke 1:00:54
Yeah, no, I, that's, I totally get that a lot of my old songs on my records are very long. And I and I say more on those old songs. Because I'm, I have a lot to say, you know, like, but it's true. It's like, sometimes you can say more by saying less. And that's almost exactly what I wanted to do with this record is kind of cut back on my on what, you know how much you can say, but really just be very meaningful with with a few words, you know, and really try really hard with those, like few moments of, you know, but yeah, I was the I feel the same way. I used to like, I mean, I have a couple songs that one six minutes long, one, seven, it's like Jesus meat. I can't believe I did that, you know, and, but whatever, you know, they're out there. And people seem to like Aloma, you know, but I don't do that anymore. Yeah, I've learned.
Thomas Mooney 1:01:53
Yeah. And like, obviously, I think it's one of those things. Like, if you had if the song you were writing now needed to be six minutes, it would be six minutes, but probably like, it's just one of those things. Like, again, I think I go back to this space, like, some like spaces necessary in in art, and it helps, like, make the things that you said, more impactful and more focus on that more of focus on the instruments or whatever the case the mood, and, yeah, I don't know. I'm gonna ramble on here.
Rachel Brooke 1:02:29
No, yeah, no, that's okay. I'm a Rambler. I'm sure you can tell by now.
Thomas Mooney 1:02:34
Well, I think it takes two people rambling, because like, what I always hate is when someone's just, uh huh. Yeah. And then just nothing. You can say something if you want. Go ahead.
Rachel Brooke 1:02:47
Yeah, I don't know. I I can talk and talk and talk. And sometimes I'm like, oh, man, I shouldn't have said that. Or you know what I mean, so yeah, no, I can, whatever the topic is, and I can I have no problems yapping away. So yeah, you
Thomas Mooney 1:03:02
know, it's been really fun talking with you and yapping away this afternoon about this record and tomatoes and stuff.
Rachel Brooke 1:03:10
Oh, yeah. No, yeah, I I know that because what a great conversation.
Thomas Mooney 1:03:19
All right, that is it. For this one. Be sure to check out the loneliness in me by Rachel Brooke. Go stop by our presenting partners over at Desert door, the blue light live and wild gallery. Alright, I'll see you all later this week for another episode of Newsline
Transcribed by https://otter.ai