I Smell Pop Culture: Sam Phillips

I am all in again. Oh, I guess you. I Smell pop Culture with Easton Allen and I Heeart Radio podcast Everybody, Easton Allen, I amil and Podcasts one of them productions. iHeart radio, iHeart Media, iHeart podcasts. It's I Smell pop Culture. I Smell pop culture. And you know what we're doing this week, everybody, we are hearing pop culture too. We're incorporating another sense besides smell. Here's the thing about this podcast. If you're just joining us for

No?

No, No, A person created these, A person just like you and I, A person with a beating heart created these little moments. And that is Sam Phillips. She is an incredible musician. She's a in our artists, a soul artist. She's released a bunch of records, She's Grammy nominated. But the reason we're talking to her is because she is the composer for all seven seasons of Gilmart Girls, including

Aston. That's such a lovely intro. Thank you, thank you for having me.

So you know we're going to talk a lot about Gilmart girls obviously, but before we get into that, I like going back to the beginning. I want to hear the origin story of Sam Phillips. Did you grow up in Glendale, California? Is that right? I did, not far from where I sit right now. Glendale's a Beatle Yeah, I'm in Burbank, the gem city Glendale. When did you realize that you loved music? What point did that happen for you?

Oh?

I think I was three? Yeah, yeah, I remember the Beatles at three?

Yeah.

Was there a song that caught you? Caught your ear?

Yeah?

I wasn't allowed to touch the record player, so I there was a single.

I think it was I Want to Hold Your Hand.

And I made my older brother or my mom or my whoever was around, I made them play again again. I play it on the record player. So yeah, it was it was early on. But you know, it's interesting with musical, all the musical influences. A lot of people say, well, what you grew up listening to?

Would you? And I feel like that.

You it's you've taken so much as a kid. You know, you're listening to commercials on TV. You're listening to kid music. You know a lot of people the Disney Channel or whatever I was there was the Sherman Brothers when I was growing up, to all the Disney movies, you know, and so you just you get all these bits and pieces as well as classical music or jazz music, whatever your parents are playing around the house or on the radio.

Yeah, you know, it all blends together to create the styles we love. I'm always so curious, like when people become musicians themselves, like what what is that spark that makes you go, I could do this. I want to make my own like like I want to write songs. Do you remember when you wrote your first song?

I do.

I was about fourteen when I wrote my first song, and I you know, this sounds terrible, but I think that I got the courage because there were people that I thought, well, they aren't that great. I could I guess probably do like get close to that level, you know, but alas my I don't know if my singing chops ever got to a su perior level. I, you know, seem to have a very specific as Amy Sherman Palladino would say, I have a very specific voice, and it's you know, it is what it is. But sometimes the

Interesting, Yeah, I hadn't thought about it that way, that that personality over here. Yeah. So you released four albums as a as a Christian pop artist, and then you switch to mainstream in nineteen eighty eight with the Indescribable Wow and One album. But I want to something stood out to me about the credits on that album is Van Dyke Parks did some of the arrangements. I'm I'm a huge Beach Boys Brian Wilson fans. That was really exciting to learn. Yes, what was that like that?

Well?

Well, Vandyke is one of the most lovely and one of the funniest. It's it's like when when he came to play on my record, we would you know anything. He is always the host, he is always the cruise director. He's always been funny and this you know, and I have to say and all love the strangest person in the room. So that was fantastic. But I actually had the chance to work with Brian Wilson a long time ago.

That's pretty cool. That is magical. Wow, what is you're part of?

Van Dyke was not there unfortunately, because I mean, just to have Van Dyke anywhere all the time is a great thing.

So at that point in your career, what was like when you make that switch? What like were there are new sounds you wanted to explore musically, Like, what what did you want to do at that point?

Are you talking about from the Christian Yeah? Yeah, that is a this is a very involved story and I think there's going to be a book at some point. All right, Really it's a it's a crazy story. But and and so many interesting experiences and you know, so many great people and then a lot of nutty people and.

Crazy people not so great people.

But I wanted to Uh yes, I wanted to move on artistically. Wanted to be able to express a lot of things artistically, and so I I just went to a different label. It was basically changing and not really starting over necessarily, but exploring some different ways of writing songs and recording.

And you know, it was just it was growing. It was growth.

And U I mean speaking of growth. Nineteen ninety five, you have an acting role and I heard with a Vengeance. I thought that that jumped out of me. I thought that was so cool. What did you enjoy that? Was that something you had fun doing? I did.

I loved crew. I thought the crew were fantastic. One of the crew had a potato gun shooter thing that we would shoot it. I think it got close to Bruce Willis's trailer.

I'm not sure. Well, yeah, but yes, it was lovely.

Jeremy Irons was wonderful, and yes it was a weird experience. But I basically was in my trailer a lot writing songs because I didn't have any lines. I was a mute arrest who's I had been blown up or something my throat, my vocal cords were detached, I don't know, something like that.

Wow. So some of this, like, if you listen to a Sam Phillips song, there's a chance that you wrote it in the trailer on the set of Diehard of the Vengeance? Is that Is that right?

That? Yes, that could be. It might have been.

Like there's a song called Animals on Wheels that was on a record that I.

Did in the nineties.

That that I think that was written in the trailer. There are probably, yeah, a few others. I don't remember offhand.

How'd you get put in front of the camera? Like, how did you get that part? I'm so curious.

Well, I think that I had a record out called Martinez and Bikinis in nineteen ninety four, and apparently the director saw the cover of that and thought I looked like a terrorist.

I mean, what better compliment, seriously, the highest praise, like a terrorist get her in here? And I was very really Initially they wanted either they were trying to decide between I was a mute and or I had a German accent. And I'm so relieved that I was a mute because I really, you.

Know, that was a lot to take on for a non actor, for just a you know, a songwriter and a singer person.

I love it so much. Sam Phillips is with us from the composer of Gilmore Girls, and we're going to take a visit to stars Hollow here on the IML on podcast. We're going to take a quick break before we do that. We'll be right back everybody. It's the IML and podcast. I Smell pop Culture. My name is Easton Allen. We are sitting here with Sam Phillips, the composer of Gilmore Girls, all seven seasons of Gilmore Girls. I mean, the mark you leave on that show is indelible.

By default, I would say Valadino met with her. I think initially she told me she wanted Carol King to do the score and the theme song. But Carol My understanding of the story was that Carol did not want to do the score, She just wanted to do the

Rapid fire dialogue. Obviously that wasn't going to work. So I started I kind of went back to one of my idols, and Harry Nilssen, the great Harry Nilson, who had done I think he'd done a score in the sixties when I was a kid of a TV show and he did a lot of background vocals, and so I just started doing that and little melodies that I had had been working on, I kind of I just took them into gilmore Land and Amy had said, I want this score to be or your voice to be

Which is a very interesting concept.

And I love Amy and Dan Palladino and you know, for being so they love music so much, and I really appreciated that they knew a lot of music and that they wanted to do something very different and experimental, because I think at the time their network was connected to Warner Brothers record Company, and there was a lot of push it, like, you know, just play our new music, you know, all the way through, just you know, from start to finish, because that was done a lot, you know,

But I kept saying, you.

Know what, let's just maybe take a break because we want you know, there's that great dialogue and just some breaths, not music throughout the whole thing. So then there are these little mini you know, songs. But it's interesting, it's I never would have thought that people would have listened to it. I in fact, I know one of my friends because the Gum Girls in the beginning, you know, was had been classified as a chick show by many guys, and one of my friend's husbands said, you know, what

What is that?

Terrible lala music? What is that? That was me, so I didn't know if.

Yeah, it's again it's a specific thing, and I'm I'm glad that people did embrace it and it wasn't annoying. I certainly didn't mean it to be that way, but I just had so much fun doing those you know, those cues, those little music interludes.

I mean, in terms of it be annoying, I could not disagree more. I think that is like it's it. Every one of those cues sets the mood so perfectly and feels so it's so unique and distinct to go more girls, And that's something that I don't think you don't get that with so many television shows or movies

Well, it was interesting because I think that there was some kind of connection in the very beginning of what because I had done pop records, you know, in the nineties and at that point, right at that point, I had had my own kid and I just made it.

You know, it wasn't or drum machines.

So it was pretty straightforward what I was into, what I was doing at the time, and I was making still making records at the time or for None Such the Non Such label, So it was it was an interesting time. I just was working a lot, you know, composing a lot and singing a lot, and it was really fun. And I'm so glad that that happened to be what resonated with Amy.

I know that you were like you had your own like music career going out at the same time, And I was thinking about that this morning, going like, how do you That must have been wild, because like you have I imagine the Gilmore Girls production, Like when you're in production, you're just working NonStop on that, and then you have to find time to like go home and like, oh I will I want to write my own stuff, or you have maybe you want to go on tour or

No, not really a little bit of the scheduling. Yeah, sometimes the scheduling. But but it's sort of like you know, when you're I think the more you work, the more you work. And I think it was a really great productive, creative time and I did. I did have a setup at home, which was a lifesaver because I think it you know, that would have been harder to have to go into the studio all the time, you know, so I was able to that made it a little bit

It was really especially you know, especially with comedy.

I think when you're doing like action movies or suspense, you know, or very serious you know movies or television shows, I think it's so easy to be dark, you know, it's really you could just you know, that's to me, that's a lot easier than some of the lighter moments, you know, So it was a challenge.

I wasn't used to.

I was a little bit more serious, you know, in some of my music, so to making it lighthearted I tried to just use the melodies the best I could because I didn't quite know how to go about that, but you know did and she was there to guide me. And I have to say she in the beginning, in the first spotting sessions, which is where you find, you know, spots for music you watch the show, and she was there at all of them. I love that to guide me,

There aren't.

I mean, there are more women composers now, but maybe not as many then, you know, so I really respect that and it was great to be.

A part of it.

Yeah.

I mean, there's so much really about Amy Sherman Paladino, and like I mean, hearing all this is just so exciting because it's like things that I always kind of thought and then hearing you say it, you're confirming it is awesome. But doing this podcast and like we explore like the pop culture references on the on the show through these episodes, and I've come to like kind of figure out what the music that Amy likes, like you know,

No, she gave me ultimate freedom.

And she said at the end that and it's you know, made me tear up. She I think her at the very end when she stepped off the show, she just said, thank you so much for all these little masterpieces that you created and meant so much to me.

Because you know.

Amy's you know, she's a she's a tough guy too, and but I I know she she and protected me. She protected me from a lot of the notes. Maybe that the network had they there could have been somebody that went that lady stinks, get her off of it, you know, stop that person from you know, doing the score. But I don't know, I'll never know, because Amy wanted me to do it, and I didn't get notes.

I just kept going.

I mean, of course, you know, she would say maybe, like I said before, you know, maybe that's too heavy, maybe you know.

Something light or something different.

But but I think again, I think that she the melodies. I think somehow, you know, resonated. So I just I feel lucky that we were, that we connected in that way and were able to work together, because that just doesn't always happen. And again, you know, I always have a director or you know, an EP that loves music or knows music, and a lot of I agree with her tastes, you know, sparks and.

You know a lot of the XDC.

I mean, we you know, talked about that in the beginning too, because when I the funny part was when I came in to talk to her about doing the score of the show. I just said, aiming, I haven't really watched TV in a decade, like.

I've been on the road, I don't.

At the time, I was like, I've watched movies, but I the last I think, like the last television show I was really watching was Twin Peaks.

I just have no I don't know what you know, what a normal score is. So that's the other part of it.

I just kind of came into it kind of very blind, you know, because and somehow it worked.

So, I mean, I love it, and to me it makes so much sense of why it's like so unique and distinct. Is like you weren't trying to emulate something else, You're just creating something so organic. I love it. It's beautiful. Uh So that was I mean, Gummar Girls, is your first time scoring something? Is that right?

Yes? Wow, yeah, I never thought I would ever do that. So and I'm glad that.

She took a chance again because it's you know, it was it was odd. But they also though they had tempted in some things that were kind of that gave me clues, you know. That's always the interesting thing within the pilot. They had tempted in different you know, uh, musical moments that I thought, oh, okay, I could I think I can do that in a different way, So that that was.

A little bit of a clue.

But I really had to go, you know, step by step and episode by episode, which was great and I actually probably missed a lot of those cultural references because I was so focused on doing the music. I heard the dialogue, but I've since you know, been able to watch and see more of the you know, the genius. They had so many great writers coming through their writer room during the series and it you know, I'm.

Still amazed that it's that people are still love it.

You know, it's it's kind of crazy but not yeah, right, wonderful.

Yeah. I really love her writing and love the show that she created.

We're so lucky to live in a in a Gilmore Girls universe. It's it's just the best. Uh, forgive, forgive my ignorance. I'm I'm so naive when it comes to the process of scoring something Like when I think about it, I always picture those like you know when you see those like behind the scenes thing of like John Williams and the big and they have the movie on the big screen. You know, I'm curious, like what can you

How?

What's the process?

Like we would we would watch the episode, watch it with Amy and and and sometimes the director.

I'm trying to remember what we did.

But anyway, we had a crew of people that we would watch it with and then and then usually Amy would say I think music should be here, you know, and and how about here?

And sometimes I would say.

Oh, I think maybe music would be good here, and then other times I would say, I don't know, I don't.

Think there's music there. But so we would just go through the whole show.

I would make notes, I would go home, and then I would just take my guitar and sing.

To the show.

It was really basic, and I was not on a computer with timecode or any of that kind of stuff. Since you know, of course done that because it's you know, that's what you sort of sort of have to do now. I mean you can kind of spitball it, but not really. But so that was basically the way to do it.

Oh my god. I mean I was going to ask you if you because I know you came back for the revival, but I was wondering if you were involved with that commercial because that was like such a that was so gilmore.

They yet, well, they asked for my song how to Dreamy and so without the lyrics, which was also in the series as a cue without the lyrics, and so I did that. But I got to put all these strings, a lot of my friends, a lot of string players on it, which was you know, so fun, so much fun for me. And I thought that even though it was only like you know, twenty seconds or whatever, with thirty seconds, it was you know, a great thrill. And

It's so odd to make things that.

Are so tiny, so small and quick, and you know, fitting in these little spaces between you know, around dialogue and between scenes. And it wasn't it was very that was more complicated and difficult for me. But somehow we somehow.

We did it in seasons. I don't know how we did it.

Was it like writing these little cues and stuff and not using any lyrics or or anything like that. Was that challenging or was it did? Or was that easier than like a typical songwriting.

Oh yeah, I'm more particular about lyrics, and so I'm slower with lyrics. So I never There's no way I could have been writing lyrics that fast for because you know, we were airing every week twenty one episodes. I think it was, you know, with some breaks in our schedule, but it but I also felt that just the I didn't need to do that because of the dialogue, I

So it was it was a challenge. It was.

Yeah, it was difficult, but so much fun again, and I just forged ahead. I don't know, I just I just kept going. And I think there's something about it. I have a friend who's a haircutter, and he always does his best haircuts when he's in a hurry, like when he's just like he doesn't have time, you know, And it's so funny, and I felt like we were

Trying to just get it done.

I love it. I love it. Sam Phillips is with us. This is the I Am all In Podcast. This is I'm loving this. I'm just eating this up. This is so cool and so fascinating. We have more questions for you. We're going to be right back though. We're gonna hear about some nice goods and services that you might want to participate in. It is I smell pop culture. My name is Easton Allen. I'm hanging out here with Sam Phillips, the composer of Gilmart Girls, all seven seasons, the revival,

Sometimes Amy would drop in a I mean she would sometimes there were episodes she wrote where she had specific songs already you know, they were already trying to license some of the songs, either for a comedy bit you know that, or just you know, she something she wanted them to get to, you know, to put in there. So she had very strong opinions about that, which are

I just thought it was such a for younger viewers.

It was such a great education who people who didn't know that era or didn't know a lot of those different you know songs, even like Frank Sinatra or Barbara Streiss and a lot of really cool stuff. But anyway, digressing, but yeah, it was, Yeah, there wasn't any music, so I just kind of had to do my thing, yeah, to make it not be empty. But also I just I didn't like, I don't like a lot of the for maybe a dramedy like that, I don't love wald

You know, we need a breath, we need to we need to breathe.

And so I that's a lot of times I think that no music was was a good choice. And that's kind of funny when you're a composer, you know, oh no, no, no music.

That's so interesting because that that, I mean, that's like instinct, like you just have to know just go like what feels right, and because like I would, you know, I would want to go in there and just be like, oh yeah, we'll just play something the whole way through. But like, but like you said, the absence of music has its place too and conserve a purpose.

Yeah, and Amy did that well too, because sometimes she wanted music in spots we would try something and then you know, she would take it out and we both agree yeah, or or she would just you know, she would have her way with the score. And again I just think she was really really she's great at it.

She's really good at it.

What was it like coming back for the revival after you know, after not having done Go More Girls for that long, that period of time, Uh, did you like fall right back into the groove or what was that like?

Yeah? And also it was it was really fun to do that.

And I feel like we did because again I worked with the same engineer, recording engineer, and and also it Amy wanted some of the old cues in there, so you know, we did have to re record some of them for the revival, and and that was that was interesting too to hit hit some of those notes, you know, And I thought especially fun with the very first cue, you know that we I got to do one of the you know, one of the ones that and that was another funny thing that Amy had cues that she

It was really it was great that we loved.

There was one Q called music Box and she loved it to just use it all the time. It just was for some reason, and it was really descriptive of of a lot of Gilmore moments.

So I wish I could play it for you. There was no vocal on it, so I can't sing it for you. I'm sorry.

But anyway, would you say, like I mean, was there a point where like something like music Box was in like three episodes in a row or something like like where they use that.

Did she have certain favorites that were that frequent? Really?

Yeah?

Sometimes maybe somebody would say, oh, we maybe used that before, but you know, she had no shame.

Hey she's the boss.

Yeah.

I loved it, and I think also, I'm sorry, but the other thing that I have loved about, you know, maybe growing up being a TV baby, and and also movies.

I do like reoccurring.

Themes, and I think that that's you know, and not in a funny way.

There is a comforting thing to that too.

There's I don't know, and I've heard that often that a lot of people find Gilmore girls comforting. I mean, it's certainly feels sometimes to me like it you know, it's like a cup of coffee or you know, a warm cup of tea, you know, Camma milt tea, whatever you know, at the given moment, whatever.

Is going on.

It's funny, but it's also I think you really love the characters and the town that she's created, and you love spending time with them.

Absolutely. That's something I hear from people the most, is like, like, there's so many people that I know they're like, oh, I rewatch it every fall. That's like part of my yearly tradition. And it feels it's so comforting. It's so it feels like I'm visiting old friends. It's and I think that's such a magic thing to be a part of, uh, because you know how many shows can be are that

That's so interesting.

I hadn't really necessarily thought about it that way, but yeah, it really is. And I don't know that that's the way that you know, Amy started out thinking about it. Maybe she was thinking more of like Twin Peaks but sort of happy.

I don't know, you know, like a cast.

Of characters in a town and intrigue. The intrigue is really just if you know, where can you get the good cup of coffee, rather than you know, somebody gets murdered.

So that's okay with me. I love it.

One of the first times that I saw Lauren Graham, actually not on my copy of the show, watching it for music, was a little coffee shop near the Warner Brothers lot. I went in to get a cup of coffee and there she Lauren was walking out, and she was dressed like Laura I, and she was had a cup of coffee, and I just it was so weird because I've just been watching her with a lot of coffee,

So I'm curious too, Like there are so many people that at watch Gilmart Girls as young people and hear those musical cues that you wrote and you recorded and probably I love thinking about this, Like they hear that and go like, wow, this music is making me feel such a specific way. I want to do something like this.

Again, you know, it's a little harder because everything just kind of went in As a kid, I wasn't, I think, you know, as I got older, I think that I would music would stand out to me sometimes if it was annoying, you know, but then also when it was really great, like I one of the composers I think is so amazing, as Mika Levy, who did she did Jackie the movie Jackie about Jackie Nassa's Yes, yes, And it's such an arresting score, so beautiful.

But and there are plenty of scores like that. Of course, of course we love.

John Williams and all that, you know, I mean that is waltwall music with an orchestra. It's just crazy, you know what he can do. But I don't really remember because I watched, you know, all the kids shows that everybody else watched growing up, and I just I don't remember that. I remember listening to records more and the radio, you know. But I think a lot of that television music, that movie music went in because my dad loved old movies, so he was constantly, you know, getting me to watch

Yes, yes, those, I mean, yeah, the music is as crazy as like the cartoon is, and it's so fun. It's so fun to listen to, and it's so effective, I think, and making you feel the certain ways.

Uh.

So you you worked with Amy Sharm Paladino on her other shows bun Heads and Marvelous Missus Maisel.

Uh?

Were those there? I know they're they're different from gilmore but they also obviously share a lot of the same DNA like like, was that a different experience for you working on those other shows?

It was.

I worked more with my partner, Eric Gorfain on both of those shows.

He and I.

He is a wonderful violinist and arranger, composer, and so he was. I think the Bunheads was a little more it was closer to gilmore Land, but then when we got to Marvelous Missus Maisel, he was doing some beautiful you know, string cues and beautiful things. I think with Mazel it just seemed like it really they really needed to do more of those, you know, the needle drops again, the previsting music.

There was just so many great things.

And then you know, there were some wonderful composers in New York that were, you know, Broadway composers, which is just not my that's not my world at all. I appreciate it, but I just that's other than maybe being kind of melodic. But I just I don't understand how to how to make Broadway music at all. It would have to be a really weird Broadway fighter. I don't think it'll ever happen for me to do something like that. But but yeah, it was. It was really interesting and

It's yeah, it's it's so it's so interesting and it's so cool. I was going to ask that, actually, like, have you has this experience made you want to like write something for Broadway or or anything like that, or would you ever want to score for someone other than Amy, Shearam Palladino. Has that ever been something you're interested in, you.

Know, in the with the right the right person and the right film or or series.

It, yes, that that would be great.

I just it's it's tough though it sometimes you're you have to be a little bit of a mind reader if you're not on the same page. And I know a lot of composers and what they've been through, and it's it's hard, it's not easy. I admire one of the composers, you know, John Bryan.

I love him.

I've known him for a long time and he is wonderful at it. But you know, it's not easy giving a director or a studio or you know, business people what they want. So there's there's a hard, cold reality to it on the other side, on the business side that I feel wasn't as hard.

Wasn't hard and difficult with Amy, you know it was.

It was much more fun and just I think, as it should be, so, I think, really, and that comes from just having that that musical, those musical tastes in common, and and and hearing it the same way you know hearing I think, you know, the score should be simple and and and we should have some piano in it or you know, so I don't, I don't know. I'm again,

I'll be doing that whether anyone listens, I'll just keep doing it.

It's a you know, I guess it's a hard habit to break after all these years.

Tell us about this record you just finished? What wh can we know about it? I'm so excited?

What can I tell you about it?

Well, there are a lot of strings on it, all right, And and and also you know, it's I think it's to get a little serious for a second. I hope that's okay, absolutely, But it's it's about it's about identity. I think that identity is a really important issue during these times culturally politically. I think, you know, just with the technology that that is so prevalent in our culture and in our in our heads and around us all the time. I think, you know, as Nick Cave wrote,

I think it's really important. And so that that was a theme.

That's a theme in there, and there's some other things I think kind of like that scene you know, uh where oh my gosh in Chinatown where if they done away is kind of going my you know.

She's my sister, she's my daughter, my sister, my daughter.

I kind of feel like it's it's personal, it's political, it's personal, it's there's a lot of things that came out not meaning to just the kind of the way I write is just always I don't think about it as much I do edit, you know, I think about it once i've sort of composed something, but it's just a lot of it just comes out more from my subconscious or just stream of consciousness, I guess you'd say, and then I craft it later.

So there's a lot. There's a lot in there, a lot packed in.

There, and and some very pretty strings and interesting we experimented, you know, I kind of did a different kind of thing that I've done before with the instrumentation and the writing, you know.

So it's I don't know what kind of music? Do you make it? A lady of my age? You know, I don't know. I don't know what kind of music. But it's sort of like, you know, do I wear hats? Now?

Now when you're over a certain age, like you're over fifty, do I wear hats?

What do I do? Do I wear long skirts? I don't know?

And I think as an artist, you know, I just want to keep growing and keep pushing until, you know, until it's like time until okay, times out. I just want to get as much done as I can to put into the time capsule for you know, whatever that is.

It's so it's so inspiring to hear and so exciting because like I love talking to people like you because you know, you're making music and then someone comes to you and says, hey, do you want to score a TV show? And I've never done that, Yes, let's do it. And and then now like this music you're making like trying new things and just want to keep going and keep creating. It's such an infectious like thing to be around it. It's it's really exciting. And the twentieth anniversary

Yeah, that was fun because that of that reflecting light, which seemed to resonate with so many Gilmore fans, is on that record, you know, which is that? And that was an odd thing too, that Amy chose that for to be Lorela and and you know Luke's first dance.

It was not at all that sort of a song.

It was more of an esoteric kind of song, but it I thought, but it did work, you know, for them.

And then you know, we revisited.

That in the revival and I added a little section to it to the original, so it was it was fun. I love those through lines and I you know, just the care that Amy always takes, I think with the with the writing, with the little.

Visual cues, with the music.

Again, there's there's nobody really like her, and like Dan Palladino that they nobody really does what they do. The dramedy is not a common thing. And I remember talking to her about when we started I think bun Heads. It was a long time ago, and we were just talking about television and how there were so many shows that were so violent and so serious, like like they just didn't and I thought that's interesting. They were just

You know, it's still funny.

I don't know if you'd call it a normal comedy, I don't know what you call Maybe that's a remedy. I don't know, but it's just it's cool to always I think see things like that they're intense or what you know, crazy stories, but that they still there's still a sense of humor and because we just need more of that, which we do a lot more of that these days.

Absolutely. Sam Phillips, thank you so much for your time today, for indulging us and sharing your music with us. Just the greatest gift that we could receive. It's it's so it's so beautiful and uh and you're just the coolest person in the world. I thought you would be, and you did not disappoint. You exceeded every expectation I had. So thank you.

Wow, Easton, thank you so much. It's so kind.

Of you to say I will take all of that in and just have the best week now.

Thank you so much. I really appreciate it.

Excellent, and everyone look out for this new record that Sam Phillips just recorded the Instagram best place for people to keep up with you as your.

Website Instagram on the website. And yes, don't have a release date at the moment because we're just finishing, but soon soon.

All right, well we can't wait. Thanks again, Thank you so much everybody, and don't forget follow us on Instagram at I Am all In podcast and email us at Gilmore at iHeartRadio dot com.