John Leventhal

And I've worked with some great producers.

Joe Henry and Bob Johnston and John Leventhal.

I'm feeling more and more comfortable in the studio, and now I'm a little more engaged when I go in, I think.

Last time we spoke, we had a conversation about how, as you get older, you have to sing about different things.

They just sound good, [laughs] you know? Of course, how do you define good is another question.

And I just was asking, uh, John Leventhal, a, a great songwriter, producer, via Instagram messaging, h- where, where does he draw...

Where, where, when does he decide a song or something he writes is an instrumental versus the foundation for a song? And I could do a whole show on that because it's [laughs]...

to me, that's a, that's an interesting question.

There's barely any advertising.

And we dig deep into the world of guitars and lutherie and music that I personally love, like this John Leventhal record we're about to talk about.

So without further ado, here's my conversation with the one and only John Leventhal.

Go check out National Drift.

It's out now.

we'll just get started.

I guess we can, do we get to expect a new solo John Leventhal album every couple of years? You know, it could be, Jason.

I mean, I don't know.

And, uh, Edie, I'm gonna cite a, a, a similar example.

You and Shawn Colvin and John Leventhal, uh, wrote the song Roger Wilco that showed up on, uh, uh, Shawn's album, Whole New You, several years ago.

And these are two examples, one, one from each of you, of you are both artists in your own right.

You have put out, you have each put out solo albums under your own name.

Well, um, that happened kind of by accident.

[laughs]

Because I was in, in a studio where John Leventhal was playing guitar, and they were doing something in the engineer's room, and, and I think he, he was doing something for Paul, actually.

And, uh, I was there, and we just started, um, improvising-