Ep 149 Lang Owen

Or if you say something, you know, talks and joke about somebody accidentally gossip or anything like that. And you're like, Oh, maybe I'll try not to do that. Yeah. Well, I mean, I still want to hear it.

I just want to put it in the podcast. Hello and welcome to WNC original music episode 149, the sixth queen's episode. This week, very happy to have musician Lang Owen on the podcast. Lang has a new album out called She's My Memory.

In addition to his previous album, Welcome to Yesterday, originally from Ohio, Lang now lives in South Carolina and visits the Western North Carolina area quite often to play music and just to just hang out. You know, Lang and I talked about his new album, She's My Memory. And you can find that at all the streaming services right now and on Bandcamp. And of course, there will be links in the show notes.

Here's Lang Owen. The last two year reflection. Yeah, that's the title track off of this album. And I must admit, it's probably my favorite and the producer's favorite of the 10 tracks we got on this album.

And it's probably kind of an exemplifies any of the good qualities that are going to show up on the rest of the album, whether it's the instrumentation that we use or just the singing. Because we you've had on your show, Admiral Radio, and we had Becca Smith, who's the female singer in that duo. And we had a couple of people come in and do some background vocals on that. So it's got some nice vocals on it.

It's got some nice instrumentation. And it's just kind of a nice song to kick off the album and sort of speak to what people are going to hear for the other nine tracks. How do you decide on how do you decide what your opening track is going to be? That's a good question because originally I thought there's another song on here.

This album called Everybody Here that I had originally thought, oh, that's kind of a good song. It's about community. It might be a good kind of positive song to start with. But I remember Todd was pretty Todd Mathis is the producer of the album.

He was pretty adamant that She's My Memory should be the opening track. It's shorter. It is kind of catchy, but it has like a substance to it. So eventually I think he was right about that.

And I kind of just deferred his opinion about that. And then we organized the rest of the album tracks to follow. Where did you record these songs? Two places.

So in Columbia, there has been all these years. And keep in mind, I just started working musically in maybe the last five years. So I never really was pretty this. But in Columbia, there was a recording studio called Jim Studios.

And apparently a lot of really successful bands from the Columbia area, maybe outside of Columbia as well, had recorded over the years there, maybe 10, 20 years. But interestingly enough, the guy who owned that place around also had a thriving business doing like voiceover recordings, like audio book recordings. So it was a pretty dynamic recording studio. But anyway, we did record like a bass and drum tracks there.

Interestingly enough, my last session for recording on the songs on here was the last recording session, because they closed down Jim recording studios after that session, after about 20 years. So anyway, we recorded there and then Todd Mathis, the producer also has a nice recording studio in his kind of a building outside of his home. So we recorded almost everything else there. guitars, vocals, background vocals, keyboards, things of that nature.

So both places got some good work. Do you do all of your recording at the studio or do you do? I know a lot of people now do some at home and then take some tracks to the studio and fill in and that sort of thing. Yeah, you know, I'm not technically savvy to that point.

So I can't really do that. But Todd worked, we got various other musicians, pretty stalwart collection musicians from Columbia. Some of them did it that way. And then we even had a guy who helped about with a bass track and he was in New York City.

So the younger people in this recording process were a little bit more with the tech. Right. I actually I'd like to get to the point where I could do that. So I think one of the things I'm going to be out to Todd is to help me figure out the technology on my own so I could save him some time.

But we can look it up to record with him again. See how the rich people suffer. I shave my goatee. Watch too much TV with her dog and her cat and her brother.

She takes you the law. She takes you the law. She wrote it's a shame we get to this rain. I can track down the smoke with my junk lonely father.

He made a toast on you this night. No, I could never read myself. But she ate a corn dog like some fine chest bob. I'm out to the light.

But I take so many steps in this life. Five times around the world. If you wonder when you walk through the night, you find your street like it's there. I love you discover.

She takes you the long way. And then I can other she takes you the long way. Long ways. I enjoy that track that we recorded that I also enjoy playing that song.

I played last night at a place and did that song myself. The long ways has kind of a catchy erotic is kind of catchy little hook to it, which is the line she takes you the long way and brings you back another. It's a song about a fast food. Cook and New Orleans, which I think is kind of funny because we don't think of fast food.

We think of New Orleans. But anyway, it's a song about a fast food. He's a late grand for his long haul trucker girlfriend to kind of come back from her travels. And she's an independent woman.

And so anyway, the catch is, you know, she takes you the long way and brings you back another. But the fun thing I think about that, Ron, is that I got that line by listening to an elderly gentleman sort of eavesdropping on him. I think I'm a big eavesdropper. And I was listening to this.

I would have jumped into some elderly women about trying to get lost and trying to find his way. And he and he was complaining about his GPS. And he said, my GPS takes me the long way and it brings me back another. He's all frustrated because he's always getting lost and everything.

So I took that line and stood that away. And I obviously made it an entirely different kind of thing. But I enjoy that song. It's the second song on the album.

Those are great. I know I said they're taken from real life. You know, you're not you're not making it makes them so real because they are real. You know, you don't have to make up a line that sounds real.

It's just a real thing somebody said and you take a different, you know, take it in a direction. Right. So that was fun to go to incorporate that. And, you know, that song was kind of a challenge to record.

And I learned a lot of recording process from working with Todd because we really did work with these songs. So it was a bit of a longer song. We had a little intro, but then we decided to take the just cut that intro out. Maybe a little bit of a shorter song.

It's I always play it when I play it live with a little harmonica part, but honestly, I'm not a very good harmonica player. And when we tried to record it, it just it just wasn't that good. You know, so then Todd, he figured out and play a little guitar lick and that. That's kind of a little catchy little lick, but I was actually proud of myself because I played electric guitar in many, many years, but I played all the electric sort of background parts on that.

So it's a fun song in a way. And I enjoy that track. Oh, people will like it. Where are some places that you play a lot?

Well, you know, I mean, obviously COVID really did hinder things, but, you know, in terms of North Carolina, I've tried to get up to North Carolina a few times. I'd like to even do more. I played in Raleigh one time in a place called Arcana. I played at WHUP, which is in Hillsborough.

They don't their show called Pass the Hat in Asheville. I played at Odds Cafe one time and then there was another place I played right now. I'm just blanking on the name, but I certainly would love to get back up to North Carolina more because there was just so many venues up there that offer opportunities down here in Columbia. I've played everything in the Columbia area up in Greenville.

I've played a place called Smiley's acoustic cafes, a kind of a nice place for people to play. But for me, one of the two of the places that were real highlights from me and the time I've been playing was played down in a place called Awindaw Bar, Awindaw Green Bar Jam. I don't know. Are you familiar with that place?

Yeah. Yeah. And so got to play there. That was just an outstanding experience.

Actually, I was lucky or just totally lucky to be playing on the night that ETV was there recording or documenting about that place. So it was nice to be a part of that, but it was really a documentary about the place. But then secondly, I opened for Jonathan Bird, who's one of the key figures in the Americana scene, I guess, at the North Carolina. But he came down to Columbia and played a place called Tree of Life Coffee House, which maybe has about 150, 200 people that can come to that.

So I was lucky enough that he gave me a chance to open for him. So those are the kinds of places right here. Columbia has a good number of places, but obviously just recently, are they getting back open to have a lot of live shows? Do you have a place like, what do you think you play the most?

What's the place that you return to? Yeah, actually, well, you know, there is a wonderful venue here in Columbia. It did get shut down for COVID. So it's just going to start back up in June after two years, but it's a little, I guess it's a venue that's held in a couple of shops called Mine Gravy.

And Mine Gravy, Ron is hosted by a wonderful poet named Al Black and Al is just a active advocate for musicians and poets. He has a number of different little shows that he offers over the years. And Mine Gravy was held in a really nice little coffee shop called Cool Beans here in downtown Columbia. And I have played there probably more than anything Al has given me features there, numbers at times.

It's actually the first place that I played when I decided to get back into music after about a 30 year layoff back in 2017. And so I just love that little venue. Most of the time, it's just like 10 or 15 people there, but just super, just a good, really good listening environment. So it's a really nice place to play.

So that's where the place I played the most. Everybody here is my ending that I miss. Down on hands and knees beneath the olive trees. We live in memory like statues in Rome, in our own world.

Somehow we're not alone. Everybody here. I just know your ugly blue shoes are on my floor. I just know you're not to wash your secrets to scream.

You're a meaner and me a megaphone. We're not alone. Everybody here. Everybody here.

Right. Everybody here is. I guess you would say it's my my take on the importance of community. And so it's a song really about the ways that I've experienced actually other people being really supportive to me.

And it starts off with the line. Everybody here is my therapist. And the idea that everybody's people I know care for me. Support me.

And obviously I try to do the same. So as I said, I thought that was going to be the first track on the album. Because it's a positive song in the sense that it really advocates for giving support, receiving support, caring for each other. Again, Becca Smith, the Amo Radio, one of the duo of Amo Radio does some really nice background vocals on the end of that song.

It's a song actually has a little what we call fade out. And she's a part that will fade out vocal kind of thing. So it's got a nice lot of nice little pieces. And it's got a lot of good instrumentation in it.

We had a really wonderful drummer named Mike Scarborough, who plays Dremzel and almost all the tracks on this album. And he just does such a great job. I remember when I first heard him play live. And for me, it's a real compliment.

He sounds like Ringo Starr to me. And I know a lot of times the basses and the Beatles were playing, but he just very he's a classically trained jazz drummer. And so he just knows how to really serve a song. So anyway, a lot of good instrumentation on there, whether it's him, Todd played all kinds of nice guitar parts on there.

Becca, as I said, you know, it's a really great job on the vocals. So it's a positive song about community. Right now you mostly play Tello or do you ever play like with a group or anything? Yeah, no, you know, for all these years recently, pretty much always just played by myself, did a little stint where I played with a cello player, which was fun.

This album features eight of the eight of the 10 tracks are really a band. I'm really enjoying playing with the band. And I would actually like to be able to do that more because frankly, I get the sense that there'd be a lot more opportunities for musicians that they actually can bring a band, you know, with them. Right.

So like, like, it sounds like you're could be capable of, you know, if you play, can play solo, can play with the duo and then a full band and, you know, you can, you're not like going through and, you know, seeing what's available, you're just adapting yourself to whatever, you know, gigs are available. Right. I like that. Taken one benefit of recording this album with Todd Mathis.

And again, I'm just going to sing his praises probably a lot of times while we're talking is he is a very well respected musician in South Carolina. He played an abandoned tour nationally. And he clearly has many people that he has a lot of goodwill with a lot of good musicians. And so this album features some pretty good musicians.

And we're going to do an album release show the day after we release the album. And that will give me a chance to kind of play with a band and hopefully I can keep up with them because they've all been playing events for years. And last time I played a band was like 30 years, 35 years ago or something. So I'm hoping I'll be able to keep up with them.

Yeah, I'm really hoping around that people will appreciate there's some variety on this album. And I really was. I felt that. Yeah.

What did you notice that sort of stood out to you as some variety because it helps to hear that. I mean, I like the difference in the the instrumentation like because I've been doing lately, I've been doing a little bit of recording myself. I'm put out a few songs eventually like within two or three years, you know. So I've been like noticing what makes a dynamic, you know.

So instead of having an acoustic guitar play louder at some point, you might bring in a second acoustic guitar or, you know, a small, small percussion piece or something like that. So a lot of that thing with the dynamics that, you know, you would bring in just different instruments at different times versus increasing the volume of everything. Yeah. Yeah.

Yeah. And so this is a good example of trying to do a sentence in some nice variety. So this is just a song that has vocal acoustic guitar and then a viola. And it's a really beautiful viola part.

And again, you know, I don't sound like a broken record, but Todd has is married and his wife was a classical musician. She plays in a quartet, I guess we call it. And so one of the people in that quartet is the one who played that viola part. And so yeah, it's really neat to be able to do something that would sound different than just like a band sound.

So I just really enjoy that piece as well. Again, we kind of chopped that song up. It was I tend to write longer songs and sometimes I realized a bit too long. So we we chopped that one a whole verse out of that just made it a little bit shorter, a little bit tighter.

But I enjoyed it. And you know, again, this is kind of fun to think of what's behind some of these songs. And I got a friend whose name is John and John is an art advocate. He loves art.

And he's always like giving people books and you got to look at this art and so on. So one day he said to me, Chris, I feel like I'm an evangelist for art. And so and the song starts with John, the evangelist, all things beautiful. And so honestly, I was a little bit cautious about writing that song in the sense that I'm not a person of faith and I know that people take the sort of John evangelist seriously.

And this is not a song about the Christian faith, but just about a guy who I imagine walking the streets and just telling people what beauty is around them. Again, tries to be a positive zone, in that sense. I like that name because usually here in called John the Baptist, but I kind of like John the evangelist as a kind of an alias for him. Well, you know, the thing is, I believe this is correct.

Now, see, I thought it was John the Baptist too, but I believe there's actually John the Baptist and then there is John the evangelist. Oh, OK. And they are separate figures in the Bible. I actually tried to Google it and find that out.

But again, I'm not a person of faith and so I don't want to be speaking incorrectly. OK. So just so John the evangelist, do you know anything else about history? Because I know John the Baptist, I know history, but I'm not a person, a different person named John the evangelist.

I don't recall because I just kind of looked it up briefly, just checked my reality. But again, I'm not a fan of too superficial, but I just have just a basic kind of understanding. I'll look it up. If you're way off, like if we're right now practicing sacralage, I'll delete all this.

I actually do. I'm pleased to. What's something from your without getting, you know, Freudian or anything? What's something like from your childhood or past that has affected your songwriting or your musicianship or musical journey?

How do you want to say it? Yeah. Well, you know, that's a beautiful question because, you know, in my profession, I work in the mental health field of the counselor. You know, we certainly know that things matter early on in life.

If I just said something that's kind of simple, maybe I could say it's a little bit more than that. But, you know, I remember listening to Dina Washington, and Dina Washington was, you know, this wonderful singer from the 50s and early 60s. And I remember my mom playing that when I was in my, you know, really young, like four and five and my dad and mom would sometimes dance in the living room to that. And it was such a melodic music and very, you know, short little songs back then.

You remember like those songs would have been like two minutes, 20 seconds long or something, just little gems. And so the lyrics were very tight and there was a nice little melody, just simple little songs. And so I remember just being really struck by those. And then the second music that I really learned that I think really has informed what I, how I write is I had a much older brother.

He was in, you know, like his late teens, starting to college when I was just a child and of course he brought home Sergeant Peppers. And the first song that really got my attention beyond Dina Washington was the song, She's Leaving Home of Sergeant Peppers. And the reason why I bring that up, right, is that like, and I don't really see myself as a storytelling songwriter, but that is how people see me. And that song is absolutely a story song, you know, and right.

So that song stayed when it's, I don't know if that's an answer to the kind of question you were talking about, but those are the things that I remember that got me really attentive to music and in some ways have stayed with me all these years. More from Lang Owen in just a few moments. I want to let you know that you can find Lang's music on Spotify and Bandcamp. Just go to Lang Owen bandcamp.com.

You can also go to his website, which is Lang Owen music, E.P.K. Blogspot.com. And of course we'll have all those websites and more in the show notes. And of course, don't forget to subscribe to the podcast.

Just search WNC original music wherever you get your music or just go to WNC original music.com and there'll be links there. Also, follow the podcast on Facebook and Instagram to search Facebook and Instagram, WNC original music you figured out corrections and clarifications from last week's episode with Derek Peter and Anaconda is a large snake and an Abercrombie is a type of fish. So we were both right. Hi, this is Kerry Morrison and you're listening to WNC original music.

Do you have a musical impression that you do? Oh, you mean I would do an impression of somebody else? Yeah. Okay.

Well, I do have one, but I do that I would do it right now. I wouldn't try it now. But I was stuck along the guitar with me. But I know it's when I do soundcheck.

Sometimes I do kind of my kind of wacky version of Dylan singing some kind of song. So that is one impression. Maybe that I will do, but I just can't do it very well right now. Well, you're a Dylan.

Like the high pitch, you know, high pitch or lupage? No, that's good. Probably be the more early Dylan when it's sort of sounding twangy, what he got, he kind of sounded like that. So, you know, that whiny kind of sound he got there.

Oh, yeah. I like to do the the low pitch burst of singing, you know, where he goes, having a habit of having a and that's that's the thing that makes people may want to see him live. The one they're like, oh, he doesn't sound like Dylan anymore. Like he sounds just like Dylan in like 1976.

You just want 1964 Dylan, you know, he has been around for years. So yeah, don't expect that. Now, run that. So interesting to say that.

I'll just add that Dylan actually just was in Columbia last week. And it was so interesting to hear my friends or read on Facebook, for example, people's commentary. And it really was pretty much along those lines. A lot of people just want the old Dylan.

Yeah. I mean, I'm sorry. Shane, because you know, he's 70 years old. Yeah.

What are you going to do? Yeah. You know, I'm sorry. I'm just going to get up.

Appreciate what he. Yeah. I mean, Paul McCartney last year, part of the company put out an album that was a lot of people had it as the best album of the year. But then also you saw a lot of people complaining because he can't hit the high notes anymore.

I mean, he's 75 years old, you know, come on. He's and he's amazing that his voice is last of this. And it still sounds great. It's just a different voice.

You know, appreciate his voice that he has. Don't, you know, be a jerk and say, oh, we can't sing long, tall, Sally anymore. Big deal, you know, you've got to record it. It's on a, you know, you have it on a CD somewhere.

You're not missing it. Oh, I'm with you. I'm getting mad. I'm getting over.

Right. Well, no, I get you. I think you're on to something. So smile from you also was an attempt to add some variety to these songs or to these after this album.

And so it's also something that was the hardest song to get in its final fashion. So we started out really just making it sound like almost like a rock song. And actually, this is one of those times where having somebody phone in a part, maybe it has its limits. So we had a guitarist who put down an electric guitar part on that.

But the first part of it was just like way too rock sounding. And I'm not a rock and roll singer. And so I just felt like it just didn't, I couldn't keep up with that kind of rock guitar sound. So we actually tried all kinds of different things to modify that and not that worked.

And eventually we just took it out of the first part of the song. And it just became like an acoustic guitar part that kind of kind of kind of rocks along by itself. But then it kicks into a band sound with the remaining electric guitar part. It's kind of psychedelic almost.

And then it sounded pretty cool, I thought. Yeah. So and we got the drummer Mike Scarborough to kind of do a Keith Moon kind of, you know, John Park behind it. And I know I'm giving references to musicians who are long gone or older.

But I love Keith Moon. Yeah. Yeah. So he did his best.

He didn't want to do too much. So we had to like urge him to do a little bit more. But it was a real test to get that song in its final fashion. Just took a lot of scrapping around and eventually what it really took was just taking a big part out and then working back from there.

So it's just a song about a man who's admires his lover's smile and in contrast to him, he's not a big smile. Or you know, I don't write songs that are directly about me around, but I've been accused of not being a big smile or so. I sometimes joke I have to have to learn how to smile a little bit more. So I got a song started by trying to figure out how do I smile a bit more?

Actually, it was funny. I hate to admit this, but I am at one point in the song I had gone. It was trying to use a reference to Joe Biden, you know, because Joe Biden has a big tooth smile. Oh, yeah.

But this was right around the time of the election. So I just thought, well, I'm not going to go to Joe Biden line and there's that's right. Right. You could have, well, I don't know how many people would have known this, but I always think of when I think of Smol.

Do you know who William Devain is? He's an actor. He's an older guy. I know that name.

He referenced. He can remind me to. He was on, oh, man, I don't know. Nothing super fan.

I think he was on one of the like Dallas or Dynasty shows or something like that. He was on a show called the grinder that I've been watching, which is like a one season show that I love. But he's he looks a lot like Joe Biden. I'm he could play Joe Biden in a movie and he's got that great big, you know, like great big smile.

You're like, are those real teeth or those dentures? Did he get dentures when he was like 30 years old? Yeah. I know.

I think I think who are some who are some musicians that you wish people would listen to more either local or national. Yeah. Now, you know, the two that come to the top of my mind probably are listening to a fair amount. I'm a big fan of a Nias Mitchell.

I don't know that. Are you still there? Yeah. Yeah.

I'm sorry. Oh, yeah. The screen fries up. Yeah.

So a Nias Mitchell is a really wonderful American singer. She does her own solo work and then she's in this group called Vani Light Horseman. And she's just outstanding. Her voice, it's one of those very distinctive voices, but it's she's a really good singer, very lovely songwriter.

So I really appreciate her. I also am a fan of a female singer named Kathleen Edwards. She's from Canada. And she was kind of a thing for a while.

And apparently she took six years off and owned a coffee shop and then came back recently. Yeah. Yeah. I know who you're talking about.

Yeah. Yeah. Just because of that story, I recognize that story and then the name part of the man. Yeah.

Yeah. Yeah. So back then, we're just really outstanding. Luckily, you know, I'll sing Todd's praises again.

Todd Mathis is a great songwriter and he was a very successful musician, maybe 10 more years ago, but he still puts out a lot of really lovely music. There's a band here in Columbia where Mike Scarborough. He's the drummer in and a guy named Jeff Gregory who played bass on the long way. And on this album, they're called the Run Out.

They are very solid band. And another band that comes online around here is a group called Easy Shakes. And they're kind of a rock band, that Maratana kind of rock band. They're also very solid.

So there's a lot of good musicians in Columbia. It'd be nice if people heard him more. When I was on WHUP's, past the Hat Show, they gave me a chance to play some music. At the end of the show and actually I played only Columbia.

Oh, yeah. In music, except for Kim. Except for Kim Ware, who was on your show. Oh, yeah.

Love Kim. I played her when I heard songs. Yeah. Trains on the way.

New York City. I can't have a month. I said if I knew what I did, it's for somehow New York City. I can't have a new collection.

You know, it's funny how. Songs come out of what seems like nowhere, but I wrote a song back in 1981, maybe, called Collection Day. And it was a bad mimicking of Bruce Springsteen's song. I was thinking, yeah, I was assuming 1980 Collection Day.

It sounds like a Bruce Springsteen. The whole situation says Bruce Springsteen. Yeah. That's cool.

Well, that's actually very neat that you would see that way. But it was the best I could write back then, but probably not that great of a song. So anyway, that just vanished in the midst of time. And then maybe about halfway through a recording this album, I guess we had taken out one song that we thought we were going to record.

And so we wanted to try to record. And we had maybe a need for another song. And I just woke up one night and just started working on another song. And Ron, I'm not a fast writer typically, but this song got written for me quite quickly.

And it has nothing to do with the original song, but the title just always struck me as a good title. And this song is really just about a guy waking up in the middle of the night. And I think it's in a way, it's a bit of a song about resentment, because it's sort of like, I'm working like a dog in my job, I'm waking up at night, and I hear the trains, and I just like to be somewhere else. And so somehow I got that song written kind of quickly.

And it's a simple song. Usually I have little breaks in my song, and we just kept it just in the verse, chorus, verse, chorus. So it's real simple, but it's got... Although Todd...

No, it's not cool. He does... That's what it's actually like. Todd did the electric guitar parts in there, and he thought that he was sort of trying to play like a television.

Remember that band called Television from New York City? Yeah. He kind of was playing what he thought sounded like sort of leads out of television, which is kind of cool. But I mean, that song, it's got some kind of interesting lines.

Like it starts out when these days I'll be a good boy dead. That's kind of a wild line. And there's another line that goes, I'm a walk-in precondition made it this far somehow. So it's really about a guy who's like, man, something's got a change here.

So it's one of the more, I guess the nice thing about the album might be that there's a variety of moods and tones. Like there's some uplifting songs, there's some songs about love, but there is like a song about a guy who's like, he's kind of... He's wishing things could be different, and he's maybe he's a bit angry that they aren't. Yeah.

And I think probably people can relate to that a little bit. Well, this is kind of another interesting little story piece to it. It's, again, maybe it's interesting just how you get some songs. So I mean, my wife rented a little place for a while here in Contentine, Colombia.

And walking the streets during the pandemic, I came across a house and it was really nice, elegant kind of household, maybe 90 years old kind of house. And on the outside of it, Ron was in brick, the name Lillian. And I'd never seen a house with a name on it. Actually, just last night I played that song and a woman came up to me and told me that in that neighborhood, there's some other houses with names on it.

So I didn't even know that was a thing. That's cool. Yeah. So anyway, it was a very nice house.

But one way that I write songs, I think, is to kind of twist the idea a little bit. Because it did make me think, like, who in the world built a house and loved a woman so much that they would put her name on it. That's kind of where my mind went. But instead of writing a song about that, I wrote a song about maybe that house being a disrepair.

And now it's a rental house and some guys down in this lucky's written a room there. And he's imagining that Lillian himself and really it's a song about longing for love and imagining a woman that you could love. So I really like that song. And I like that it's based on something that's true.

There's a house named Lillian. So it's a good way. It's another one of the songs that Todd had an influence on him that he said he thought we should end the album with that. So he pretty much chose how to start the album and he chose how to end it.

But I think he was writing on both friends. I just love that whole story. I love the idea of, I don't know if you might call it like environmental culture where you just take some part of your surrounding that, because that feels almost artistic to me. That you take your house that in all you're doing is you're just naming it, but you're giving it some extra meaning, which is what art is.

But you're taking, yeah, your environment and adding kind of supplementing your environment in an artistic way or a cultural way. Yeah. And it was really wild to find out that there's other houses named. I mean, I did not know that, but a lady came out tonight.

I can't play that song. She said, yeah, I'm not a neighbor. There's some other ones. Yeah.

I find there's a story there. If someone can investigate that. Where's that? Did you say Columbia?

It's in Columbia. Yeah. Do you guys have a fairly decent investigative journalist at the local newspaper that could find that out? Well, actually, I'm not joking.

I say this. I mentioned the guy named John, John mentioned it was a part of the song called All Things Beautiful. Oh, yeah. Now he's an archivist.

And so he actually found in newspaper articles about that house because it was the woman. Lillian apparently was a real socialite in Columbia back in the day. So he found an article actually from way back. So he actually did track it down and go, oh, that's cool.

Yeah. All right. Did it mention why like how that came to be that the house was named her like, I mean, I kind of. It's not exactly.

Yeah. It didn't mention why the name house was named that, but she was apparently a real prominent woman in Columbia. So again, I just got the impression. And I don't know, this was like 90 years ago or something like that.

Maybe her husband just did that to kind of glorify her or is the like edifier. Yeah. Sorry. Maybe that's just the story.

I'm not just on that. Yeah. I got a lot of like, did it happen? Did he do it while she was alive or after she passed away or?

Yeah. So many questions. I'm going to have to call that guy. Get him to investigate further.

Okay. I want to thank Lang for being on the show. Don't forget to go find his new album. She's my memory.

It's out now. I think somewhere in there we might have referred to it as coming out soon or something like that, but it's out. You can find it again, just go to the show notes and look for the links there. Also look for Lang on Instagram and Facebook and find out where he's playing live and go same because a really good live show as well.

He's very active too. Last time, don't forget to subscribe to the podcast, WNC, Original Music, wherever you get your podcasts. The closing song this week comes from Hello London, which is the solo project of musician James Frosty. He's from Buffalo, New York and Hello London's debut album will be coming out in 2022.

You can find them at hellolondon.bancamp.com. Here is Hello London. Have a good week. Have a good day.