I'm Roy Logs. Next time on Too Many Lawyers, Gavin Newsom wants to lock up the crazy people. His involuntary conservatorship plan is shocking his liberal pals. The problem? The state's tent cities are a block on the governor's resume. He wants shelters for 10,000 Californians who have a tenuous grip on reality. Add the guts for the homeless valider, flood the courts with lawsuits. Listen to too many lawyers on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Hey there, I'm your host and channeler and medium, bringing you over 30 years of experience to Puerto Rico Podcasts. I've dedicated my life to uncovering a treasure trove of tools and techniques and I can't wait to share them with you. Join me on this incredible journey where will dive deep into spirituality, astrology, channeling fitness, the divine feminine, numerology, and various spiritual modalities, and each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts, deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Lita Mago, I'm Port of Agmystico Podcasts. Listen to Port of Agmystico on Pandora app, Apple Podcasts, Spotify, or your favorite platform. This is Sound Up with Mark Goodman and Alan White, the only music podcast that matters. I'm back. Hey, it's Mark Goodman and I'm Alan Light. On this episode of Sound Up, Nathaniel Rateliff joins us to discuss a new album with the night sweats, Sound Fear, coming out this Friday, June 28, plus a ton of music news on Queen Aussie, George Strait, Dead and Company, and more. And as always, we've got some new music picks for the week. But first and foremost, before we get into that and most important, welcome back, Mark. We missed you. We held it together, but we missed you. You did. I've been listening. I'd say kudos, well done, and I appreciate you holding down the fort and I have missed missed, missed being here, for sure. Good to know you're keeping tabs on us. Yes. Also, speaking of revised schedules, now that summer is here, we wanted to let you know that during the months of July and August, Sound Up will be doing one episode a week coming out on Tuesdays with one additional fan episode per month. So check SoundUpPod.com to find out when the next live taping will be for July. Sound up, over there, and in the meantime, these first episodes each week will remain per the usual scheduling. Yeah, nothing confusing here. We're still going to feature your comments, audio messages, concert reviews, and thoughts in our weekly Tuesday episode, just as we have always done. And as always, you can send random questions and thoughts at any time and we will use those for our next mailbag show, which is coming up soon. You know, we just got to work on our 10, so we need time. Damn, I'm not going outside and I'm not going out in that. You crazy? I can see Goodman at the beach, though, you know, I need the beach desperately. Yeah, I would imagine some raisin vitamin E and all that stuff is paste does not become me. I'm just a bit right. Right now, let's get into some music news. Big stuff. Big one to start us off with. This has been banging around for a minute. Alan, kudos to you. How many weeks ago was it? You were going. Yeah, the biggest one out there still waiting to be acquired with the biggest catalog, the queen catalog. Well, not I don't get extra credit. I was no surprise. That was no secret. It's been in play for a while. And as all these other catalogs have been getting gobbled up, this is definitely one of the few crown jewels that's been out there. So they, their music catalog has been acquired by Sony music in a deal worth more than a billion, one billion dollars. This past Friday, the music industry reported in hits magazine, Sony had emerged triumphant in a battle with other other recording giants to claim ownership of queen's catalog for it's a billion pounds. It's actually one point two billion dollars, a lot of dough. And that's bigger than Bruce. That's bigger than Bob Dylan. This is the biggest one yet, according to hits, the only revenue that Sony will not receive under this deal is the money generated from the live performances, as we know, Brian and Roger continue to perform as queen with Adam Lambert in place of Freddie Mercury. But critically, listen to that. That's the only piece they're not getting. They did get life rights, likeness, you know, the ability to really not just the recordings, but the queen name an image. And that's a big piece of this, what, you know, t-shirt deals, clothing deals, any further multimedia films, whatever, that is part of this deal. I've been a skeptic of a lot of these deals because I feel like they got super competitive and it drove prices way up. And some of these artists, it's hard for me to see what their future looks like 10, 20 years down the road. Like as much as we love, for example, Bob Dylan, how much merchandising on Dylan are going to be able to do five, 10, 15 years? Right. And what's still left out there for that exploitation? You just don't see younger listeners right now. Now, there could be some like witness Kate Bush. There could be a long shot and all of a sudden there's a big hit and something happens. But that's true for anybody. But queen more than anyone have retained a younger following, have developed a younger following. Yeah. And cultivated a younger following and that, you know, as much as this is the biggest of these deals to be done, it is also understandable that this is one that's got, I think the clearest future and path forward. One of the interesting things, and I have to say, I don't completely get this. Maybe you do and you could explain it if you do this. Under this deal with Sony, DMG is going to retain the band's North American rights in perpetuity. But some sizable royalties received by queen members under the DMG deal will now be paid to Sony. So I'm wondering what it is that they, what did they give up? Well, they gave up. I mean, that's the deal. Every single solitary thing except, you know, performance, set ticket sales. That's going to get merged from the concert. Yeah. Well, merch from the concerts. I wonder, probably not because that probably falls under name and image, not under what's carved out for performance, certainly other merch, other t-shirts, other stuff is part of this deal. But yeah, this is the publishing, the masters, again, the name and image, anything that is queen moving forward goes to zoning. Those rights are going to go to Sony once the, their licensing deal expires in 26 or 27. And this whole thing is due to close in the next couple of weeks. It is good to be John Deacon. I will tell you that. Right? Well, and he's been, and they've always said he's remained very active in the administration of queen and the estate and the, you know, the deals and everything else. So it's not like he's checked out on that. He's running the front office. Now, but he's, he can check out now, cash his, his cut of that $1.2 billion and, you know, to let it ride from there. I will say this between radio, TV, you know, streaming, there is no band. I feel currently you hear more, whether it's in the supermarket, whether it's watching movies, whether it's on radio, then queen, I really feel like they are just everywhere. Yeah. As you know, my, my obsession and the next project that I'm working on has to do with the rumors album, but looking at the stats, the one overall band and catalog, you know, it's, if it's my theory that rumors is the album that continues to attract young people, you know, in a way that's very different than anything else. I think the act that does that in general the most is queen. There is a day queen album that works like rumors. That's much more the singles, the greatest hits, you know, it's not like a night at the opera is what rumors is as a body of work. But if you're talking about the full, you know, what the whole career looks like and what that does out in the, in the world today, I think they're sort of, you know, all alone at the top. Well, I would say that as big as those guys were in their heyday, pre the passing of Freddie Mercury, live in as big as they were, I think they're bigger now. I agree. I think that's partly because it's, it's the collective, right? It's again, it's not like there was one album that spiked them into the big, that, you know, queen's greatest hits is the biggest selling album in the history of the UK. But it's not like there was a moment for them. It was just a bunch of stuff that accrued. And then, you know, now gets to live as this, you know, this, the, the entirety of what they did. So, you know, again, a lot of these deals I think without being an expert, without knowing anything about anything, have felt overvalued. And this one, even though it's bigger, I understand this deal more than I understand. I understand a billion to queen more than I understand a half billion to springsteen. A hundred percent agree. It's for sure. And I, I mean, maybe for another show, but aside, like what, you know, you said, Alan, you're working on, on something about rumors and why it continues and continues to gain audience and continues to be popular with a younger and younger audience. I don't, it's surprising to me that this band, like rumors and the band fleet with Mac, you know, it's kind of middle of the road, you could see how, you know, a lot of people from different crowds would get in on it. But queen is a rock band. You know, queen's got smoking guitars, you know, queen's got big sounds and, you know, it's not like everybody can get into it. And yet the biggest band on the planet right now, but you know, they do have songs like you're my best friend. They do have ballads. They have those songs that people play at their weddings. Like there's enough of a diverse catalog. There's the sports anthems. There's the straight up rockers. There's the ballads. I think all of that plays into it at bottom girls and bicycle race. I mean, these are not mainstream songs. No, not at all. But the theatricality and the drama and the narrative. And of course, you know, what Freddie represents. So there's not much that's still left out there. You know, the other one that we've said, Pink Floyd is still sitting out there, which is hamstrung because of Roger. Hamstrung by Roger Waters. Zeppelin is still out there. What do you think? Do you think that that one is ever going to happen? I don't know. Jimmy Page. I just, it's hard to imagine Page getting so wrapped up in the catalog and the legacy and like that's his whole thing. What is Jimmy Page? If he isn't, if he doesn't control that stuff, is he really going to turn over the keys to somebody else around that? You know, and of course, the Beatles and McCartney, you know, and that world, you know, and groups are more complicated. I mean, all that every solo artist pretty much has done this deal. But that's one guy and one team making a decision. This is getting everybody to prioritize and agree and look, you know, look to a very different future by making this kind of arrangement. But Floyd aside, I feel like the Floyd catalog will maintain its value. But I think the longer Zeppelin waits, I think that one's just going down in value. I don't think it's going to go up. You know, I understand what you mean, except somehow, like the, what was 10 years ago, let's say, what was that triple A radio thing, you know, adult album alternative. Those stations are playing Led Zeppelin now. They didn't used to. It was, you know, like kind of cool Americana stuff and stuff that wasn't too challenging. But they're playing Led Zeppelin now. They're playing a whole lot of love. They're playing stairway. So I don't know. I think if they had sold when the Marvel movies were using a lot of the music, like immigrant song and things like that, they may have had a better chance at a higher price point. True, true. All right. What else going on? And endless, you know, it's a new, it's a different era. It's a new era. So speaking of breaking records like this queen deal did, we saw a live record, an attendance record fall over the weekend, George Strait played to a record crowd of 110,905 ticket buying fans at Kyle Field at Texas A&M in college station, Texas. This broke the record for a ticketed concert, which was previously held by the Grateful Dead at a 1977 show at Raceway Park in New Jersey sold 107,019 tickets. I was a nightmare, by the way, I was there was horrible at that Raceway Park show clear in 100,000 is really. So George Strait, the king with special guests, Parker McCollum and Katie Offerman. God love them. But those they did not sell many of those tickets. Never sleep on George Strait. The most number one singles of any artist in any genre. The only artist with a top 10 hit every year for 30 years from the 90s through the 2010s on both hot country songs and country airplay. The most number ones on the top country albums chart and the most certified Golden Platinum albums in the history of country music. He's got a new album coming September 6th. He has premiered two songs off of that. So it ain't slowing down, but clearing 110,000 tickets sold all hail the king. And he did two new songs. Two new songs from a new album. Right. And I guess, is it, I don't know if it's me. The underscore for me on this particular, you know, record, if you will, is that it's a ticketed event and it's this many 110,000, you know, still is he in competition with Madonna on that free concert, 1.6 million on Copacabana Beach a couple of months back or free concerts, festivals, I mean, there's different categories here. And this is a US there. I don't know if there's a international, I mean, the soccer stadiums are so much bigger facilities. Yeah. This is on the beach. Right. But I'm saying even for a ticketed event, there could be bigger shows that have happened because they're playing in big venues. So that is possible. But what do you say, man? And that's a record that stood listen to that that ticketed record stood since 1977. Right. How to me is for everything else that's happened in the concert business and how big everything we've talked about weekend and week out that's happening, that that record sat there for 50 years. It's amazing. It is amazing. I wonder what the highest ticket price for that show was too. That's a good question. Worth looking elsewhere in the news. I know we, we all hope for the best for rock and roll Hall of Fame inductee Aussie Osborne, the reality TV show that was following Aussie's return to live in England, suffered a slight delay. Aussie doesn't want to move to England. Oops. I'll change my mind. The Osborne's home to Roost was announced by the BBC in 2022 after Aussie and Sharon revealed plans to abandon their residence in LA and instead live in a customized mansion in Buckinghamshire filming began on the 10 part series last year. The change was designed to assist Aussie with continuing symptoms of multiple health issues. We know about this. He's been left kind of struggling with movement, speaking generally. Howie Mandel had him on his recent podcast and he told Sharon, "I wanted to reverse it to spend more time," or she said to Howie, "I wanted to reverse it to spend more time in England and come here and visit like on birthdays, holidays, stuff like that. I've been trying to get Aussie to get out of the house and come to England. He's having a bit of a tough time getting old and not being well, sucks. Amen, sister. Like Betty Davis said, "This getting old shit is not for sissies." A source close to the Osborne family is told the Daily Mirror that Aussie had a specific aim in mind. He's attending and hopefully performing at the Rock and Roll Hall of Fame induction ceremony. In October, he'll be inducted as we know as a solo artist. He's building up his stamina, his strength, his balance. He wants to get out on stage. That is his big project currently and involves working in LA with the band and with physical therapists. Obviously, given how personal and challenging it is to Aussie, there are aspects that we wouldn't see in this television show, but Aussie wants to get up on stage. He's been quite clear that he loves being in LA, close to his grandkids and his music pals and that he's unsure about the whole England return, but obviously a massive stumbling block for the TV series. I think what we all care about most is that Aussie gets himself into a position where he is comfortable and healthy and good enough that we want to see that man on stage in October for sure. It's been obviously a sequence of stuff, none of this is new and we just hope he can hang in and yeah, it would be great if he can get up there in Cleveland. It's so interesting that he is so into performing at the Rock Hall this time, whereas when Sabbath got in, he didn't even show up. Right. He was out of the band at that point, wasn't he? Wasn't he solo when the band was inducted? Oh yeah. Yeah. I don't think there was a band at that point. I don't know or you know, whatever fumes they were running on, but I don't think that was not an ongoing concern and so I don't know if his not showing up had to do with feelings about the Rock Hall or feelings about the Sabbath guys at that point, but anyway. So one final note, we were just speaking of the dead and we were just speaking of getting old. So we have news. Nice segue. The Grateful Dead have completed the, what was the first leg of their residency at the sphere in Las Vegas? Those shows were recently extended all the way through the summer through August 10th, more than 30 shows, but dead and company who keep in mind have already done a farewell tour, have said, according to Bob Weir, he wouldn't be surprised if we get invited back and would be open to returning to the sphere and doing more shows. Certainly tickets have been going just fine for the first weekend, May 16 to 18. They grossed $13.5 million from 50,275 tickets sold over the first three nights. They're doing about 16,000 a night, which variety describes as fairly close to capacity. It's an interesting phrase, but even a conservative estimate for the 30 plus dates would bring in over $100 million for this run. And Weir is saying how much they've enjoyed the presentation, he says, working from the stage at the sphere is like opera, the storytelling facility there is really beyond about anything else. As we work with these folks, we're going to try to get more dynamically involved with each other. I think we're only scratching the surface here. Got to say I had a, one of my best friends who was a big deadhead was out at the sphere with her family this weekend and raving about. What do they do? You know, there's plenty who are listening now. I know who have been to the sphere, but plenty not. What did the dead do? Well, look, the dead have always had this sort of, you know, light show projection show like they're the ones with light show back in the day, the Joshua light show, you know, from the invented this stuff. So I think it really is that as with the sphere elevated into this fully immersive, you know, wildly visual and with them, it's, you know, I think with like you too, that's probably got to be a pretty synced up, you know, tightly queued and choreographed set with these guys. Obviously it's not that. It's got to be much more improvisational at the visual side as well as on the performance side. And that's, I think probably the most interesting thing is something that's as produced, you know, and mega visual as this is, but not locked and loaded, you know, but actually dynamic in the way that the band is going to go where they're going to go. So, you know, so does the. I want to get inside that man. I wonder if, if in fact that's the case, I know, yeah, that the liquid light show was with the music and it would happen differently every night. And it was different, you know, and I wonder because of the nature of the technology, its fear, how much can they do they can they and do they sync up improv wise. I'll read you. I'll read you the quote from where in this variety interview, he says, the technology doesn't quite yet exist for them to put the visuals completely in time with the music. They're generally a little late and all that kind of stuff. There's audio technology that keeps right up with the music. I think what we're going to want to try to do is adapt some of that audio technology to the video, visual technology. And he goes back and talks about the overhead projectors at the acid tests, right? They had that stuff dancing in time with the music. I want to see if we can get that kind of thing happening. I'd love to see the arrangement get much looser and much more interactive. And I think it will if we take another swing at it. Can you imagine them taking us back to an acid test? Well, you know, how amazing would that be? So, you know, as we discussed last week, the next act announced going into the sphere. Are the eagles? Yeah. I express my concern that on the one hand, they want to put, you know, artists in there who can commit to and sustain the ticket price, you know, for people coming to Vegas to see these shows. But you too, to fish, to the dead, to eagles is really old white guys one after another. I'm very interested to see what this menu can do with a young era or, you know, I mean, it was all the Beyonce Rihanna, that kind of talk. But with, you know, a younger pop star, different sort of vibe, different sort of crowd, you know, how is that going to work if they're really going to sustain this thing that it not just be that one classic rock lane and 30 shows from the dead and then looking at doing more shows with the dead. Right. Look, if it, you know, if it works, obviously they're selling tickets, they're making money. But can this project open up, which I think a lot of, you know, they're trying to, the idea is to expand the sphere around the world. And I would imagine a lot of places are still taking a wait and see about this fast. Look at some music news right there on sound up. I am particularly excited about our next guest. Been a fan of Nathaniel Raitliff in the night sweats since way back when. And they have a new record on the way out. Nathaniel Raitliff joins us next on sound up. Stay there in the swelling, expansive Texas were oil cowboys in cattle. Loom as large as the state itself, tales of true crime defy the imagination. The Texas crime stories podcast unravels the most chilling and perplexing crimes that have scarred the lone star state. Join me, investigative reporter Robert Riggs with firsthand accounts from law officers and chilling encounters with serial killers. I take you from the crime scene to the courtroom and into prisons. It's a journey into the heart of darkness, not for the faint of heart. Listen to true crime reporter on the Pandora app, Apple podcast, Spotify or wherever you listen to podcast. Hey there, I'm your host and channeler and medium, bringing you over 30 years of experience to Puerto Rico podcast. I've dedicated my life to uncovering and treasure trove of tools and techniques and I can't wait to share them with you. Join me on this incredible journey, where will dive deep into spirituality, astrology channeling fitness, the divine feminine, numerology and various spiritual modalities and each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts, deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Alita Mago. I'm Porta Thalmystico Podcast. Listen to Porta Thalmystico on Pandora app, Apple Podcasts, Spotify, or your favorite platform. This is Sound Up with Mark Goodman and Alvin White, the only music podcast that matters. Nathaniel Aitliff became a big name in Denver, doing solo gigs and fronting various bands. He'd released solo and band material locally as well. And then in June of 2015, the first album with his newest project, this Night Sweats thing. The Night Sweats was released and S-O-B became a surprise smash. Here we are, three albums, a couple of EPs and a solo album later, and South of here. The fourth album from the band is due out on Friday and they are booked to do their largest tour ever with a string of headlining arena dates, here in the U.S. kicking off on August 13th in Bend, Oregon, including, for the first time ever for this band, a headlining gig at Madison Square Garden in New York City. Congratulations, Nathaniel Aitliff. Welcome to Sound Up. It is great to see you again. Good to see you and thank you very much. MSG is just a crazy thing to even say, much less. I've got to see Post Malone there and I wouldn't saw a basketball game there. That's the bar to entry right there. Yeah, and the Celtics lost that night and I was thankful. Damn, the Celtics. The last time I bumped into you, the last time we saw each other, we were backstage at the Apollo in New York City, touching the stump before we went on stage. Yeah. Another incredible venue, but there's obviously a lot of stuff has happened since then. I mean, without sounding cliche about it, I know you love drinking, you love having a good time. I've had several good times with you and I know how the kind of success that you guys have been experiencing can affect a band. Did you feel the need, have you felt the need at some point to put guardrails on in some fashion? Has you become more successful? You know, actually the whole kind of, you know, we've certainly had a good time together a couple of times. One in particular, I had too good at a time, which we won't talk about, but that's for just me and you. But, you know, I feel like the whole, you know, the culture of the band has changed a little bit. We're getting a little older and a lot of that's just not sustainable. Over the past couple of years, you know, I've taken longer breaks from drinking and I did like six months with no booze. And last year, I don't only have a couple of drinks here and there. And currently, I haven't had drinking quite some time over a couple of months. And so, I'm not really calling myself sober or like a never again drinker. You know, I think just what I do is become more of my focus and having a good time is not as important as the work I do, you know? Not to dive into the deep end and maybe this is related and maybe not, but you've spoken that the songs on the new album address a lot. Issues of anxiety, of self-doubt, of, you know, all the stuff that you're grappling with. And this is something we have been hearing over and over again in the last few years, particularly from younger artists who are making this so much a focus of their work. And I'm curious if that's, you know, is that just, that's where you are and it was time to take this stuff on? Or do you feel like, you know, there's permission to deal with this stuff in a different way than there was before? Well, you know, I guess it's just kind of where I arrived. And I think this record is really talking about, you know, I think in order to have perspective about where you're at, you have to look back at where you've been. And, you know, I've always struggled with anxiety and panic attacks and depression. But, you know, I had self-medicated and, you know, alcohol was certainly a thing that was a balance between feeding my anxiety and helping me chill out. You know, it's one of those things that you want to go to pretty quickly and you think it's going to fix a situation, but as I've gotten older, I feel like I've just become more sensitive. And I, you know, I just realized that it's not helping, if anything, like having if you, you know, if I get hammered, it derails me for a few days now, you know? And not just a hangover, but, you know, it's like in your forties, you got that emotional hangover now. And so it's just been kind of a journey. I mean, honestly, my relationship with alcohol has been a journey for the past seven years, you know? And I ever, ever since Richard Swift passed away, and even before then, the anniversary of his passing is coming up here in July. And, you know, it's always a reminder to me to kind of check myself and to see where I'm at. And so, but yeah, you're right. There has been a lot of people are talking more about mental health. And I don't know if that was something that kind of came out of the pandemic because everybody, a lot of people were stuck alone. And so you're faced with your worst fears, which are all in your head, you know? And so, yeah, you know, I think I'm just like, as I peel away the layers of substance abuse, these other things become more present, you know? And speaking of being present, I like being more present. I like to be in the moment. I find myself, you know, I do. Face down? Yeah, sorry, sorry, sorry. Yeah, I quote my songs too. It's always hilarious. But that was perfectly time. Yeah, you know, so it's just been a bit of a journey. And I, you know, even with social media, it's been fun to just totally take it off my phone. And then you can feel. Even with social media, it's been fun not to have it. Oh, man, you know, like up until this tour, I didn't have it on my phone. And I find myself looking at it again. And then it creates these false insecurities. And I think that's what it's structured to do. And, you know, this isn't, this isn't Joe Rogan. I don't need to go deep. You know, but yeah, I just, you know, you start to notice those things and how they affect you. And I think I'm just looking at my own world. And yeah, just trying to have a more present experience in general, you know? You mentioned looking back and it makes a lot of sense that as you add on years, that you start to start to assess. You start to look back and see what your journey has been and where you are now. This sense of looking back seems to go through the record. You've got songs about some old stories. Things have happened to you as a kid, you and Joseph Pope setting a fire out in a field somewhere. I didn't get into understand the whole story. Oh, well, that part is actually a reference to remember the flames and the grass that they danced in the line. That was actually my, another friend of mine who Joseph and I actually followed out to Colorado, Matt Heaney. He and I were at his family farm and his dad had this huge brush pile. And it was a bit of a windy day and we were just supposed to burn a little circle around this brush pile so it wouldn't catch a fire. It burned about 75 acres within an hour and it was, we were doing our best to like to keep it from engulfing the flames engulfing the house. And I just remember I was like, you know, poor kid and it ruined my brand new pair of vision streetwear, you know? So stomping out flames, but yeah, I don't know of, you know, being that close to a giant fire. It's pretty insane to watch in magical to watch the destruction of fire. But as Mark says, a lot of these songs do their, there's a lot of personal stuff. Yeah. Stories and reflections you talked about. Richard. Is that does that kind of writing come easily for you or is that a thing you got to really swallow hard and, you know, decide you're going to give up? Well, you know, I think a lot of the times when I'm writing, it's just sort of, you know, stream of conscious songs will start that way. And so I feel like, you know, I try to give a lot of credit to the muse and feel like I'm, you know, a conduit sometimes. Songs just kind of come through you. But other times, you know, I feel like, you know, it's a wonder and like, is the muse your subconscious or is it sing that's outside of ourselves? And, you know, I don't really have an answer for that. But I do know that, you know, in the process of writing stuff, I'm not usually clear about what I'm writing in the process. And it takes me a minute to step away and look at it. And then I'll be like, well, shit, I didn't, I didn't make that up. I was actually talking about what's happening in my life. But I don't really ever set out to be like, I'm going to write a song about this situation, you know, or like me and my lady are fighting. She's going to get a tough one now, you know what I mean? Like that doesn't, that doesn't happen. But I think it's all there because it's in my subconscious and it appears. And then so, you know, the whole process in some ways is, I guess not in some ways, it just ends up being cathartic and like, you know, and I've never been a great communicator when I'm backed into a corner. And so I feel like sometimes the things that I can't say comes out and even with the song center of me, it's really me talking about my inability to express what I really feel. And you know, and I think some of that not to use like a totally trendy word, but you know, I think some of that's from trauma and just traumatic childhood and, you know, all that kind of stuff. But I'm not necessarily focused on trying to fix my childhood trauma either. I'm trying to be as present as possible, like I said, but all that stuff kind of comes up and I'm sure it shapes the way I communicate and the way I speak and the way I share my heart, you know, so. It seems, and I'm sure you would agree that over the course of these years, even just since the night sweats, let alone the other band experiments and the solo stuff that you've done, that your writing has gotten not only more personal, more revealing. It feels like to me more, you know, more really touching, deep in your soul. And part of what surprised me on this new record, I know that what a year or so ago you did, you took part in this Harry Nilsen tribute. And David and Goliath, which opens this new record, I didn't know about the Nilsen thing that you had done and I thought that sounds like Harry Nilsen. And so, in fact, it reminded me of by my round was Nilsen-ish. I would like to heal on this new record also. I mean, I've always loved Harry and, you know, even as a kid, my dad would always say, "People, let me tell you about my best friend. He's the one I love and love you, Dillian." You know, that was like his little song for me. And so, you know, I've always had a lot of admiration for Harry and he's one of my favorite vocalists. Yeah, last year I started this thing with the Colorado Symphony in there. I'm curating the music and performing it. And so, last year was a little touch of Shemilsen in the night, which is the 50th anniversary of that record. And Harry's voice is impeccable on that. And, you know, the only live recordings of it were for the BBC and he's just like sitting, smoking, and drinking Scots and just singing like a motherfucker, you know what I mean? I was wondering if there was any identification between the two of you. Yeah, he's like literally smoking and like holding notes longer than I can like, I worked for months. I'd actually would just go out and like do cardio on like a on a stationary bike and try to sing this record. And then eventually I had Brad cook, took the songs and you can remove Harry's like with new studio shit. You can like take the voice out. So he sent me the record with just the orchestration. And then I just started rehearsing to that, which was kind of crazy. But I was pretty intimidated to do it. You know, like when I did the show in LA, Joe Walsh came and I met Joe a couple of times and you know, he comes into the room and we're chatting and he was friends with Harry. And I was like, so you're going to try to sound like Harry, huh? Good luck. Thank you. You know, but you know, I did my best and it's my interpretation to Harry. I can't sing like Harry, but he's been a big influence. I love, you know, yeah, I like his interpretations of other people's songs and it's lovely to do it. So I got to do all of a little touch of Schmeals in the night and I'm still working on getting the rest of the songs charted that aren't on that record. They came out later. There's like another six, I believe. And so. Schmealson. Yeah. The other thing that you dug into recently that I have to ask about, he's on the wall behind me over here. You did these Leonard Cohen. He did this Leonard Cohen project and certainly curious what comes out in your songwriting after you dive deeply into that work. Well, in the same regards, Leonard had been a long time. I fell in love with Leonard Cohen stuff as a young teenager. And it, you know, that, I guess, he was my version of Taylor Swift. So, you know. There's your cold quote Leonard Cohen was my Taylor Swift is that's all you know, and it's a pretty different, but you know, I think the way people relate to her writing is the way I related to his. He was one of my favorite writers. I covered a lot of the earlier stuff on this first. So there's room to do a whole other one at some point, which I would love to do. And hopefully I'll get to do it at some point, but you know, like I did the partisan, I don't speak French, and I've loved that song for years, but I finally learned how to sing it in French. So that was. Yeah. But in both of these getting, I mean, these are things you've loved forever and who's with Harry Nelson and Leonard, but getting inside those songs like that, getting inside those performances and that writing, you know, what did you take away, take back to your stuff from that. Well, you know, working with the whole symphony is was intimidating at first. And then once I kind of got the feel for it. And I, I've got to work with the same conductor through all the shows, Christopher dragon. And he's become a pal and he's just his energy and everything is is helpful for me. And he's queuing me and like it would be difficult to do it without his help. And so it's, it's been a challenge. And I love that. You know, I'm like, I'll be 46 in October and I'm still very curious about everything that I do. And, you know, like, I'm still figuring out how to play stuff on guitar because I hear things that I like. And I'm, yeah, you know, but it's been, it was really cool to work with the symphony and it challenged me. And then I also brought Luke Mossman to play guitar for the Harry Nielsen stuff. Because a lot of that Nielsen stuff, it's like, it's a jazz trio, but then like an orchestra back in that, you know what I mean. And so Luke had studied jazz in school and so it was easy for him to, or it wasn't so easy, but he did a good job. Yeah. And then with the Leonard Cohen stuff, I had Pat Mies and Mark Schusterman and Luke with me. And yeah, man, you know, it's just so cool. And it's fun to challenge myself. But then at the same time, it's just so surprising and should be reassuring that I'm doing all right to be able to do those kind of performances and bring them to other cities outside of Denver and people are excited to see it. You know, it's, I thought it was important to do the Leonard Cohen shows in Toronto and Montreal and would have loved to do them in LA as well. And just, you know, bring those songs home to the people that like, you know, Leonard's a saint in Montreal. So, you know, it's very intimidating to perform those songs, especially in French to the Quebec Qua, but, you know, I felt like, you know, people, you know, if anything, I hope I endeared myself to them, trying to pay tribute to someone who I also see as a saint, you know, and Leonard had such an interesting sense of humor, and you see it in his songs. But he's also so vulnerable, his entire human experience is in songs, you know, and he's just an eloquent speaker and, you know, I hope to arrive at that same place someday, we'll see. You talked a little bit about working with an orchestra, which is, I don't know, is it something like every freaking artist at some point in their lives? I have to work with an orchestra now. I don't know why that is. Not sure. I'm glad that you did. It sounds like it was really inspiring. I didn't have anything to do with the horn arrangements on this new record, which sound bigger and better than ever. Oh, right. No, you know, a lot of the horn arrangements with the horn section and Brad Cook. Just those guys coming up with it. I was still, you know, as present while we're doing all those, but I'm still trying to finish writing songs in the process of recording the record. Yeah. And so sometimes I was there and I was like, yep, this sounds good. I'll be back later. I got to finish this, you know, and check back in and where we were at and how much we layered. Was Brad more involved with you and your writing and what you were going to try and turn out for this record, then with the rest of the band, would you say, or how did he work? I usually disappear on my own and come back with finished songs and the band usually doesn't have a whole, a big role in that. There's couples, you know, like by my round is a song that Mark actually wrote and then he had brought it to the band and I helped him with a couple of things on it. But it's mostly Mark. And then there was another song on the second record and be there that Pat was writing actually because somebody had asked him if he would do a song for, I can't remember if it was commercial or something, but they're like, we want something that kind of sounds like night sweats. And he was writing and I was like, dude, I was like, we need a song and they didn't use it. That sounds very much like that. We didn't, yeah, whoever was writing it for, he's like, well, I have this. And these people didn't want it. And me and Richard were like, what the fuck? You know, and so we finished it once he brought it to it and I wrote words for it. But you know, usually the writing process is on my own, but this time with Brad, you know, I would be like, here's where I'm at. This is what I have written. And he's like, what about, why don't you work more on this? Or, you know, and sometimes I can, I turn on to let it be discouraging, but you come in, you're like, I cracked the code on this fucking song. And everybody's like, hell yeah, Brad's like, let's hear it. And he's like, no, no. Go back, go back out there, go back out to the Batcave, you know, so, which actually this little writing room we were in, Brad came out to check on me. And it's like the same, you know, he spent a lot, him and Justin Vernon grew up together. And he was helping with one of the records out there and they were, you know, they were writing Hey Ma together out there. And I guess he, he's like, has, has a lot of sentimental moments from this little writing cabin while we were in there. I was like, oh, man, I was like, here's the fucking bat on the wall, like a bat in Brad lost it. And, and I, while I was working, I was like, man, there's some critters up in here. And there was like, it was infested with bats, you know, which is like, and so like the critter removal showed up. And Brad was just like, I can never go in there again. He was like this. Cause I walked over to it. He was like, what are you talking about? And I walk over the wall. And there was like, you know, studio fabric up. I was like, no, it's like fucking right there. That's a bat. And he was like, are you fucking in like, yeah, he was not having it. And Brad's a big fella. And he, he hopped up quick and was, he's like, fuck this back over there. It was pretty awesome. Tell us real quick. You worked at Sonic Ranch. Yeah. Putting this thing together, which I have heard from other musicians who worked at, sounds like a pretty wild spot. It is wild. It's a studio compound with multiple rooms. And, you know, like we were kind of weird, big blue, which is the newest studio in the biggest room they have. And it has like a little, like, there's another smaller studio next to it. Where like Fiona Apple did her last record there. Fuck. I mean, the list goes that little studio has gotten used for a bunch of records. And then there's a house. There's a couple little houses. So we kind of camped out on that side of the property on this, you know, 5,000 acre working pecan ranch that also the border runs through from the US and Mexican border. So, you know, it's, it's kind of an interesting spot because you don't, you're in the town called Torneo, which is about 45 minutes southwest El Paso. And there's some good Mexican food, but there's nothing going on. Like, it's, I think it's a dry county. Like, you can only get beers at the bar. Which is good. Good for a bunch of guys struggling with alcoholism to not be able to find a liquor store, you know, within 30 or 40 minutes. So, but yeah, you know, and it's like, it's a magical place. And there's like not a single finished project. You know, like, there'll be a building started here. Like the studio we're in. And the sidings up on the front and the side is just like, tar paper and bullshit. And, you know, like, they just didn't never finish it, you know, because then it's like the folks out there will just be like, I know we started that, but we need to go over here and do this. And then this will never get done over here. But, you know, it's pretty funny. But it, but I think, you know, not having a place to go is sometimes good. You know, like, sometimes I was like, when you think of a destination studio, I've always been like, I don't know, Kawaii. You know, there's got to be a spot on Maui on the water or California. And then I was like, man, we just like, and then I'm also like, there's no way I'm going to get shit done. I'm just going to be like, yeah, we could like hang out in the studio all day or just like chill by the ocean, you know, all day. So, you know, not having a place to like, just hang out and making it like work is always important for me. You know, like, I'm really good at the task. So any task given to me is the task that will be finished. So, you know. So you guys are currently, in fact, you're in London right now? Am I right? I'm in London right now. And in the midst of a European and a UK tour. Yep. I know you played. I heard from a little birdie that you played a big show the other night at the Hammer Smith Apollo. Yeah, we had a great show. You know, it's always interesting to be over here. Like, we started off, I came over a week before the guys and was in Berlin and doing some promo in Germany, which used to be a really big market for me as a solo artist, but we haven't really been back since 2019. So some of it feels like we're kind of starting over, but, you know, it's like, and then we're not playing the same size rooms that we are in the States, but it's good energy, you know, like feeling those rooms and in the trip's been great. They get you in like, you know, Denmark and, you know, they get. Well, yeah, that's actually, I was in Berlin and then met the guys in Oslo and we had our pre-production there, played a show in Oslo Festival, and then we were in Sweden and Denmark, and then back in Berlin and then down here in London. But, you know, they do get me. I think I get in my head about, you know, I do my best to learn a little bit of the language wherever we're at, but like, Dutch is fucking hard. And so is like, and the Scandinavian languages are equally as hard. I grew up hearing a lot of Germans, so that's a familiar sounding language to me, and I can stay a handful of things and, you know, like, I can greet the audience. But then I get in my head about like whether I should be speaking English or trying to speak the language of the town I'm in. And so I don't talk as much, but I do feel like, you know, some of these songs, it's, you know, I want to share with people about what my experiences is other than, I feel like there's elements to the show. People come to see, you know, I feel like I've had enough fans over here for a long time that, you know, I think people are curious about what I have to say. And so I'm trying not to be afraid of that, but it was nice to get to London and I had a fearless show and it felt really good. So I'm going to try to approach the rest of the shows over here like that, the same intention, you know. Can you fit this album into your, you know, into your row of albums, your line of albums? I hesitate to say this, but is this your best album yet? Is this where you're getting closer than you've ever gotten to the kind of stuff that you are trying to do? And will you, how does that translate these new songs on stage? You know, I feel like this record is kind of bringing everything together with the night sweats or my solo stuff and, you know, I feel like the last record I really was trying to like, you know, I don't want to sound like a band that's doing throwback material. And so I wanted to modernize what we were doing. But, you know, I'm also like, I need to be relevant to who I am. And I'm not trying to think it's important for me not to be to dabble in trends too much because it would be an authentic to who I am. You know what I mean? I can't necessarily write songs for a really younger generation. I can only write my experience and that's what I'm trying to do. But I do feel like what I'm writing about speaks to everyone and the general human experience. And as far as the show goes, like I said, it ties everything together, these songs, it's, you know, I can do and it's still all right in the middle of the show. And, you know, we have fans that like both things in the audience. So it's nice to sneak stuff in from different eras of, you know, my own era's tour. Yeah, there it is. Finally, you know, I'll play Wembley anytime. But yeah, you know, you know, but I do, you know, I can't say it's the best thing. Well, actually, I feel like, you know, every record at the time when you release and it feels like the best thing you've done at the time, you know. It should feel like that. And with this record, you know, it wasn't the writing process and the song selection, for me, had nothing to do with style, or like what the influence of the song was. It really was about the thread, the contextual thread and the emotion in the songs. And that was, like I said, like just kind of the observation of where I've been and how we got here and, you know, and asking questions about what's next to, I guess, you know, so Nathaniel Raitliff, thanks for taking us on this journey on this. It's a great record. And I know you're gearing up for the U.S. tour. As I said at the top, August things kick off here in the United States and South of here out this Friday, the brand new record from Nathaniel Raitliff and the night sweats. It's always great to talk to you, man. Really good to see you. Hey, brother. Good to see you. And you are sounding better than ever. Thanks, man. Thanks. Nathaniel Raitliff here on Sound Up. Always great to talk to that, man. Big thanks for joining us here on Sound Up. Standby. We've still got new music to do here on Sound Up Next. Hey, there. I'm your host and channeler and medium bringing you over 30 years of experience to Portaile Mystico podcast. I've dedicated my life to uncovering treasure trove of tools and techniques, and I can't wait to share them with you. Join me on this incredible journey where we'll dive deep into spirituality, astrology, channeling, fitness, the divine feminine, numerology, and various spiritual modalities. Each week, you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts, deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Elena Mago. I'm Portaile Mystico podcast. Listen to Portaile Mystico on Pandora app Apple podcast Spotify or your favorite platform. In the sprawling expanse of Texas where oil, cowboys, and cattle loom as large as the state itself, tales of true crime defy the imagination. The Texas Crime Stories podcast unravels the most chilling and perplexing crimes that have scarred the Lone Star estate. Join me investigative reporter Robert Riggs with firsthand accounts from law officers and chilling encounters with serial killers. I take you from the crime scene to the courtroom and into prisons. It's a journey into the heart of darkness, not for the faint of heart. Listen to true crime reporter on the Pandora app Apple podcast Spotify or wherever you listen to podcast. All right, welcome back to sound up. Our last little bit we've got to do here. New music. We always do that on our first show of the week. And we give you our new music picks. Got anything? Who's going rock, paper, scissors? Who's going? I only have one, so I could throw it in real quick. All right. My pick this week is by, I don't know, you could call him Tobias Forge. You could call him Papa Emeritus IV or you could call him Cardinal Copia or what he's most known as Ghost. Ghost who has a new song out the name of the song is The Future is a foreign land and it is off the right here right now. Spelt right R.I.T.E. not to be confused with Jesus Jones right here right now original motion picture soundtrack, which is a live concert ghost film coming out that was shot at the forum in 2023. But this song The Future is a foreign land is it's got kind of this Peter Gunn James Bond kind of feel to it. And it's really not heavy. It's really cool. It's really kind of groovy. Got a kind of a 60s feel to it. And it's really, really interesting. And then there's the whole this whole concert film that it's from. This is a studio track. The rest of the album I assume is live from this concert film, which I saw a clip of where he's performing on stage. And then they follow him as he runs backstage checks himself in the mirror and like the lady behind the stage is showing him back on the stage. So this is not going to be a typical concert film that nothing is typical when it comes from from Tobias and ghost. I think this is also him retiring, whatever the current character is. It's kind of like Dr who like he's retiring it. Another character another one's going to come up on the next one. But the song is really, really cool. I'm really digging it and I'm interested to hear this live album and I've never been the biggest fan. But hearing this has made me want to go back and check out his catalog and go listen to a lot more of his stuff. Fascinating figure. So does this song have any clues store like is this ad to the lore or is this just. I haven't really dissected the lyrics yet but I mean there's like I guess there's screenings popping up of the movie. And if you go to his website there's a QR code and you hit that and might tell you where it is in your in your I don't know. And he does a lot of weird stuff. Go ahead Alan. All right I'll jump in with a couple so next month. Mavis Staples turns 85 years old. There was just a celebration in LA I think in April another sort of all-star show celebrating the incredible legacy of Mavis Staples and she just put out a new song. She put a new song that's like fun and funky as out. She said that this song which is called Worthy was inspired by the work that she did with Prince. Of course he produced a couple of her albums back in the 80s and 90s and it's definitely got that like bouncy bass line punchy horns kind of a thing. A woman named goes as MNDR, Amanda Warner, MNDR who's a Mark Ronson protégé sort of out of his camp produced this track and it's super fun and she sounds great and she's going to be 85 years old in a couple of weeks. So all hail Mavis Staples that is one and my other is a band that Mark I know you and I like and we had joined us on the radio at one point a while back the mysteries. So from Liverpool have a new album coming and a new song that's out and a different sort of feel. I mean these are pretty sort of garagey punk band. This is definitely sort of gothier, more atmospheric, not I'm not going to say psychedelic but sort of. It's definitely a left turn but it's a it's a no but it's a different you know but it's a different turn. Last album was definitely I remember when we had them on a pandemic album for them and so they'd be more sort of banged out and claustrophobic but a new song called The Last Dance from the Mrines. That's my other pick that we're curious to see them there they're not coming through New York until I think September but curious to see what their feel is with this record going in seemingly a different direction. I have not heard that particular one I've been listening to a bunch of the ones that they've dropped. Yeah yeah and I think the full album came out Friday right. I think it did I think it was just out but the The Last Dance is the focus track focus track came with the release and so we can start there. So great so great. All right I I'm going to step up and I will suffer the slings and arrows okay. I love Coldplay okay. I love Coldplay today. I love Coldplay okay backup. They're still filling stadiums just plenty of people there with you. Fair enough. Coldplay has a brand new single they just dropped before the weekend feels like I'm falling in love stylized it's all lowercase and they just run the words together but the good news is new music from them coming out October the fourth moon music will be the name of new one and this song and I'm assuming most of the rest of the record is produced by Max Martin Chris and Max have worked together before and he is quite the the pop Meister he's kind of a hit machine I guess you could say kind of Latter-day Stock 8 can Waterman or something but I love this song and I've always loved Chris Martin's sensibility through all of this he has always been he's almost like a hippie to me. The kinds of like especially music of the spheres that last record was very ethereal but it was all about unity was about recognizing others and he continues in that vein look he's back to hooray a Coldplay love song which they certainly do great but I am down this one is beautiful I can't wait to hear the rest of this new music out music out from Coldplay October the fourth feels like I'm falling in love brand new that's where I got this week. All right one and done all right one and done one and done this has been a great one big thanks to Nathaniel Rayliff for taking some time with us from all the way over in the UK having a chat about this new record and we're looking forward to talking with you about stuff that you might have on your mind. Absolutely go head on over to sounduppod.com to find out how you can be part of our live sound up sound off podcast taping and email us your thoughts concert reviews new music thoughts about Nathaniel Rayliff thoughts about whatever is going on thoughts about the Queen catalog sale anything at all connect at sounduppod.com take your voice and send that to us write a bunch of words and send that to us connect at sounduppod.com we want to share with the world. Just connect and don't forget to give us a five star rating on whatever platform you listen to sound up on and we will catch you next time here on Sound Up. Sound Up is hosted by Mark Goodman and Alan Light produced by Roger Colletti distributed by the revolver podcasts get sound up on Pandora podcasts, Spotify, Apple podcasts or wherever you get your podcasts to be a part of the show email us at connect@sounduppod.com Sound Up the music advice mile from Tokyo we'll see you next time right here on Sound Up with Mark Goodman and Alan Light. Sound Up. In the swelling expanse of Texas or oil cowboys in cattle loom as large as the state itself, tales of true crime defy the imagination. The Texas Crime Stories podcast unravels the most chilling and perplexing crimes that has scarred the Lone Star state. Join me investigative reporter Robert Riggs with firsthand accounts from law officers and chilling encounters with serial killers. I take you from the crime scene to the courtroom and into prisons. It's a journey into the heart of darkness not for the faint of heart. Listen to true crime reporter on the Pandora app, Apple podcasts, Spotify or wherever you listen to podcast. Hey there, I'm your host and channeler and medium bringing you over 30 years of experience to prototype mystical podcasts. I've dedicated my life to uncovering and treasure trove of tools and techniques and I can't wait to share them with you. Join me on this incredible journey where will dive deep into spirituality, astrology, channeling fitness, the divine feminine, numerology and various spiritual modalities. And each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts, deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Alita Mago. I'm your podcast. Listen to portal deposit mystical on Pandora app, Apple podcast, Spotify or your favorite platform. (upbeat music)
On episode #47 of Sound Up, Mark Goodman returns and Nathaniel Rateliff joins us to discuss the new album from Nathaniel Rateliff and the Night Sweats, South of Here. In Music News, we talk about George Strait breaking an attendance record, Ozzy refusing to move back to England, Queen selling their catalog for a billion, and Dead And Company possibly returning to The Sphere. Plus we have our New Music Picks of The Week including tracks from Ghost, Mavis Staples, The Mysterines and Coldplay.
