radionotes podcast episodes

Moon Shine

by | Dec 18, 2022 | episodes | 0 comments

Moon Shine

Moon Shine is the music-outfit with Angie Glasscock at it’s centre, an artist born in Memphis who was then raised between LA and Nashville and based in Brooklyn (New York City).

With a debut album – The Land In Between – that has been described as an autobiographical roadmap with fellow musicians joining them on a very colourful and vivid – like a great photograph – journey. The record includes the first song they ever wrote called “I Tried To Keep On Loving You” through to the latest Single “Exile of Youth”. Angie joined John on the line from their current home to discuss the record and life that lead to it’s release…

Click ‘play’ to listen our conversation… (may take few seconds to load): 

IMAGE CREDIT: Melissa Breyer

Moon Shine on 15th of January 2023 will be performing at Pete’s Candy Store (NYC)

SHOW NOTES: Moon Shine

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Feature Guest: Moon Shine

Something new in 2023….

If you enjoyed our chat with Moon Shine, may also like our conversation with the voice of the Young Tigress from the Kung Fu Panda: Secret of The Scroll (2016) movie..

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CREDITS

Theme/Music: Martin Kennedy and All India Radio   

Web-design/tech: Steve Davis

Voice: Tammy Weller  

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TRANSCRIPT

First version provided by REV – check to audio before quoting wider

John Murch:
Angie, welcome to radionotes and congratulations on the brand new album from you released back last month on the 11th of November. Do you have any beliefs in numerology or more importantly, why the 11th of November for this record to be released?

Angie Glasscock:
Well, I do have a fascination with numbers for some strange reason that numbers just have meaning for me. It’s sort of like when you’re young and you walk along the sidewalk and you don’t want to step on cracks, you know what I mean? It’s like you don’t know where that sort of thing comes from, but there is some sort of innate sense of numbers having meaning for me, and I’m not taking things to any degree, I would say I’m into numerology, no. But I do feel like numbers have significance for me.

John Murch:
It was about 10 years ago, back in 2012 that you first picked up the guitar. What was happening in 2012 for you to want to pick up the guitar?

Angie Glasscock:
My son was, my son’s 24 now, but my son then had gotten to a place where he didn’t need me so much. He was in middle school, and so I was wanting to do something more for myself. In the years, there were several years leading up to that point where I had gotten very involved going out to see music in the city. Really just very much loved to go see music, live music, and several places that I particularly love to go in the city and bands that I particularly like to see. But I never really thought about being a musician myself. And then a friend of mine suggested that I learned an instrument. I thought, well, maybe I will. And so I started with ukulele, and then I started dating a guy who’s very knowledgeable about music. He had a blog post for a long time and he has a lot of friends who are musicians, and he turned me on to a lot of musicians. For him, the ukulele wasn’t very cool. So he’s the one who really encouraged me to play the guitar. And so through him I sort of realised, well, maybe it wasn’t so hard, maybe I could do it.

John Murch:
Was that same person the inspiration for some of these songs? Is this the person you made the promise to?

Angie Glasscock:
No, he has not inspired any songs, only because our relationship was coming to an end when I started writing songs.

John Murch:
Right.

Angie Glasscock:
We’re still friends. His son, my stepson played at my recent gig on saxophone. He just recently graduated from studying sax. It sort of feels like family still, but no, he hasn’t.

John Murch:
Who were those musicians you were seeing live and where was this location?

Angie Glasscock:
There’s a bar in Red Hook, that’s a neighbourhood in Brooklyn, which is along the waterfront and it used to be longshoreman area, and there’s this great bar called Sunny’s there, and it’s very old. It’s been there forever, and it’s just such a warm, welcoming place. I love to go out to see music on my own. So every time I go there, I always make friends and everybody dances and it’s just so fun. And so this regular band that I would go see is called Smokey’s Roundup. Smokey Hormel, who’s a guitarist, who’s played with tonnes of musicians, I mean pretty much everybody. He has a regular Wednesday night thing there, and he has a fiddle player who plays with him, and that’s Charlie Burnham, and Charlie is the one who ended up doing the duet with me. So if you would’ve told me when I first started seeing them perform that I would someday be performing with Charlie myself, one of my own songs, I would’ve said, no way. That’s just not going to happen.

John Murch:
Angie, this is the power of music though, isn’t it? And I must commend you as a fellow solo outer of live music. That’s not the music industry, but how the musicians live.

Angie Glasscock:
Yeah, I mean, I don’t know. I guess I’ve a bit of a loner and I just found sometimes I have would go out to see music with women and then it was like they could just be so annoying. They wanted to leave early or they got to stick with you glue. I’m just there for the music maybe to dance and have a good time, and I just don’t want to be responsible for someone else’s good time.
Another band that I saw a lot that I loved to go see was a band called Brooklyn Boogaloo Blowout, and that was the band of a bass player, Tim Luntzel, and he’s no longer with us, but he was a great bass player. I got turned onto him because he used to play with Smokey Hormel and that band. And so they played at this jazz bar, which just recently closed, called the 55 Bar. And there was a sax player who used to perform with them sometimes, Michael Blake, this great sax player, and he ended up recording on my record. And anyway, so that’s kind of how it started. I responded to this biological calling to be a mother, but then once that job was sort of over, I mean it’s never over, but you know what I mean. I just wanted to focus on myself. And I think that’s really just why things came about the way they did. I didn’t really, when I was young, I loved music and I loved to sing, but I didn’t have the confidence then to pursue something in music like I found later.

John Murch:
Let’s talk about the personnel on this record.

Angie Glasscock:
I was looking for a producer and I asked Michael Blake if he could recommend someone because I had seen him not long before I was getting to that point where I needed to find someone and we had talked about music and I mentioned that I was going to be recording soon. And so he gave me several names. And then when I checked the people out, Teddy Kumpel, who I chose, just resonated with me the most. We just hit it off famously from the beginning. We started working together in June of 2020. I’m sorry, that’s 2021. Yeah, we started working together in 2021 and the first time we worked together, I had a song that I had never made a chart for. I don’t know, I had the lyrics, I had the melody, I just couldn’t put it down on paper. I just was sort of beyond me.
And so we worked on that song and that ended up being a co-write and we fleshed it out, Teddy came up with a chorus, which I think really improved the song. And so that song is called Wrong Hands, which is one of the music videos I ended up doing after we met in person that one time we just started working on Zoom and doing demos. And so we did several months of working up the songs on demos. And then in October of last year we went into the studio and recorded. And so Teddy plays guitar and then Cat Popper on bass. And I had seen her play years before. There was a kind of secret show at my friend’s bar store, Pete’s Candy Store, which is where I just performed recently. And so I had seen her play. I really wanted to have another woman in the band. She’s a great bass player, it wasn’t just because I wanted her because she’s a woman. But I just really wanted her and it worked out that she was able to be there. Also we had on drums, Steve Williams.

John Murch:
Now where has Steve Williams come from? Sounds like you have an index book of musicians handy there, Angie.

Angie Glasscock:
Yeah, I mean that’s the great thing about living in New York City. You do have access to so many great musicians. I didn’t know Steve before we went into the studio, but Teddy recommended him. He had played on Annie Keating’s album and I really liked her music. And Teddy has produced for her as well. Yeah, he’s great. He’s played with a lot of great people. And then Todd Caldwell on keyboards and he’s an amazing player. He’s recently tour with Stephen Stills and then of course Charlie on Fiddle and Charlie sings the duet with me in Overdubs, Michael Blake on saxophone. And then we had a trumpet player, Bruce Harris.
Also though I had, the first time I recorded a song was in 2016 with a musician Mark Spencer and we worked together for a while and we recorded several songs together and he’s a great musician, guitarist. He did pedal steel on three of the songs on the record. The song I Tried To Keep On Loving You, that was the first song I ever wrote. I wrote that in 2015. We went and recorded it in 2016. Had a friend who was a great drummer, Don Heffington. He died a couple years ago, well not quite a couple years ago, but almost. But at the time, Mark and I had recorded it. He did all of the instrumentation and I sang, but we needed a drummer. We sort of decided after we did the recording that we needed a better drummer than what Mark could do himself. Don lived in LA, but Don happened to be coming to town and so he was able to go into the Mark’s studio and to do the drum track. And so when we went into the studio last year, I told Teddy I really want to keep the drum track, especially because Don did it. And so we sort of kept everything that we have recorded with Mark except we added the bass of Cat Popper and I did a new vocal. So that’s the kind of anomaly, that song within the album.

John Murch:
And that’s the song, I Tried to Keep on Loving You?

Angie Glasscock:
Yes.

John Murch:
My understanding is 2015 was your first song you wrote. Was that your first song?

Angie Glasscock:
Yes, that was my first song.

John Murch:
The latest single is Exile of Youth. Do you mind talking us through Exile of Youth?

Angie Glasscock:
My father died in 2018 and I had written a song about my mother already. I had written a song about my mother called Song Around The Mountains. And so I wanted to write a song about my father. And I had not been very close to my father growing up because he lived in Nashville and I was most of the time in Los Angeles with my mother though we did go back and forth a lot.
So after he died, I realised how much alike I was, how much I shared with my father that I just really wasn’t aware of until after he had passed. And so when I thought about what I wanted to write, I thought it has to be about Texas because my father was just all about Texas. That’s where he was from originally. And when he was about eight, he had had been living on a farm, or not a farm, a ranch rather in the hill country of Texas. And when his brother was born, my dad was sent to live with his grandparents in Tennessee while my uncle stayed with my grandparents. And so that really created this sense of abandonment and longing to return home that my father always, it just always sort of haunted my father. And so I wanted to write about that. I wanted to write that story. So that’s basically what the story is.

John Murch:
Angie, I’m trying to get a sense of where your home is because the understanding and how the bio goes is you’re born in Memphis, raised between LA and Nashville as you’re referring to just there, but now you’re living in a place called Brooklyn, New York, which is from where I am down here in Australia, so far away from what I imagine Memphis to be.

Angie Glasscock:
Yeah, it’s funny because I grew up in LA, which is I guess you could say our city, but it’s not really a city, it’s just more a big suburban sprawl. And so I grew up in the valley, San Fernando Valley. I had gone to college in San Diego and I loved the ocean and swimming and that sort of thing, but I realised I was attracted to cities and I dropped out of college in my third year, just didn’t know what I wanted to do with myself. And I moved downtown San Diego and nobody lived downtown in San Diego, but for some reason it just was very attractive to me to live in downtown. And I lived in this old hotel that was an SRO hotel and this guy who was managing the place wanted to make it an artist colony and it was called Greenwich Village West.
And so there I met a guy who I immediately fell in love with, love at first sight, and that’s who I wrote the song about, I Tried to Keep on Loving You. And then together we moved to San Francisco. I was in San Francisco for a couple years and then I left San Francisco to come to New York. So it was sort of this progression of bigger and bigger cities. And then once I came to New York and I really only came on a whim and never had any desire to live in New York City or thoughts of being here, but once I was here I was like, oh my God, this is the place. And so I arrived in 1987. It was the Tuesday before Thanksgiving 1987, and the energy of the place was just palpable. I just never wanted to leave.
I’m kind of like now at a different place where I’m feeling maybe my time here is winding down, but I have no idea where I might go next. But an interesting thing that I realised after living in New York for a long time is that I’d always been exposed to New York in a very intimate way because my mother’s boyfriend when I was growing up was Frank Allegro and he used to be a taxi driver. He was from Flatbush, Brooklyn, and he was like this Italian American, very handsome guy. He looked like manic, I don’t know if you know that show. But anyway, so he just had this funny accent to me and I really loved him. He was a great guy. So I guess I always had a Brooklyn influence without being cognizant of it.

John Murch:
You said something called an SRO.

Angie Glasscock:
Stands for single room occupancy. Yeah, it’s kind of a lot of people who receive social security benefits, SSI benefits, live in single room occupancy hotels because it’s kind of like what they can afford. And so you basically rent a room. The bathroom was down the hall. It was very brief that I lived there because almost immediately we decided we wanted to leave. But anyway, I paid a hundred dollars for a room. There were some residents there that were on SSI and because of mental health issues and it was an interesting place to live.

John Murch:
SSI means supplementary security income. It’s part of the American Social Security Act. 1987, you said you were there. As we said, 2012 is when you picked up the guitar. 2015, the first song, and now seven years on the debut album comes out. Do you see life in particular cycles?

Angie Glasscock:
Yeah, I mean think definitely. I think a lot about the first time I wrote a song was the fall of 2015 and seven years later now it’s all sort of coming to fruition. I feel like that’s sort of in relationships. Seven years is a very kind of telling sort of number. If you can make it past that seven years, you’ll probably stay together. But I haven’t had a whole lot of luck with relationships thus far. But it makes for good songwriting

John Murch:
Cycles brings us to tides, which brings us to moons that shine over the land, talking about a moon over a beach more than the moonshine that you drink or is that be left to the imagination?

Angie Glasscock:
Oh, well my last name, a difficult last name for a lot of people, Glasscock, especially in South people do not saying the word cock. It is a bad word because my music has a very much of a country influence. I felt that I should choose band name. I love the idea of the music being produced by a band. It’s not just me that makes the music, it’s a whole group of musicians. Moon Shine has that attraction of being association with country. And also I have those roots in the south. My mother grew up in North Carolina. I remember going as a young teenager to visit and my uncle had moonshine around the house. And so it’s just, it’s that kind of association. But I like the idea of Moon being a female symbol and there’s this association of women shining.

John Murch:
We’re in conversation with Angie Glasscock, who is Moon Shine, that moniker or the band name, it’s more of a moniker for you and then the band comes along. It gives you a chance to choose a band to be with you. Now I understand recently you had nine plus members joining you.

Angie Glasscock:
We were talking about numbers before and fascinations with numbers, and actually for whatever reason, nine is a very significant number for that album because nine original songs on the album, nine potentially members performing the songs as a band.

John Murch:
Have you been torn about where to live? And you did mention a little bit about this.

Angie Glasscock:
Having grown up between two places and in a divorced family, and then also thinking about my father’s upbringing, he had a similar thing growing up between Tennessee and Texas. And now I live in the city most of the time, but I have a house upstate and I bought a house upstate, it’s about two hours north of the city because I couldn’t afford the city. And so I go back and forth between there and here I’m just at the point where I’m just like, I want to live in one place. I want to make one place home, feeling for the first time that I want to set down roots because I guess because of the nature of always travelling back and forth as a child, I’ve always been very constantly changing where I live. I’ve lived in many, many apartments over the last years. If I have to think about all the addresses I’ve had, I can’t possibly name them.
And for my son, I think that was a little bit traumatic even because he had, I think we had seven different apartments in the course of the time that he grew up. But I don’t know, people have difficulty with change, but I guess I’m sort of the opposite and I’m always seeking the change. There’s always a reason why I’m changing apartments one place to another. It’s not random, but always the sense of wanting change and movement, maybe wanting to still do that and maybe travel and hopefully tour, wanting to have one home base. I’m tired of this living in between. And so The Land in Between is definitely about growing up between these two places. And that’s the title track of the song.

John Murch:
How are you feeling about that idea that you are leaning into Americana as your are chosen genre to work in and around? You’ve experienced a lot of blues, you’ve experienced a lot of jazz and country now.

Angie Glasscock:
When I first decided to make an album, I thought I want to have one side country, one side blues. That was the original concept. And so the album actually has two covers, and so you can’t really tell that on the website because it’s only showing the one cover, but it sort of flips.

John Murch:
Not Americana, but it’s the two sides of what is known as Americana.

Angie Glasscock:
Well, it’s just that Americana is the umbrella. It was so difficult when I was uploading the music for distribution because the album is not just one thing. It’s like one side’s country, one side’s rhythm and blues, but you have to make a choice. Americana is this very convenient choice that fits under, I would say the first side of the record, which is not going to be a vinyl album yet, but hopefully someday, the first side is the rhythm blue side, and then this B side is the country side.

John Murch:
What was the first record, I’m talking vinyl record, that you owned?

Angie Glasscock:
I really couldn’t tell you because I was never one to buy a lot of records when I was young. But I could tell you the music I really identify with when I was young was Johnny Cash. He had a TV show and I was just so taken with him and his music and my mother used to play a lot of that kind of music around the house. I would say that that was an early influence.

John Murch:
It sounds like you were growing up with the music that sort of has now, as we said, only 10 years ago, you taking up the guitar and started writing songs around a little bit later after that has now ended up on this record. Both your parents in their separate ways were very influential on the music you are now making.

Angie Glasscock:
Yeah, well, my dad lived in Nashville, Music City.

John Murch:
How was that seeping into you as a youngster?

Angie Glasscock:
It was definitely a big thing. All the country music stars and my dad was an ear surgeon and he had several patients who were country music stars. A lot of the studio musicians, engineers would come to him for hearing loss, so that was definitely a big thing. My father wasn’t musical, but it was really my mother who was musical. My mother was a singer and she just loved to sing and dance.

John Murch:
How important is this record in remembering them?

Angie Glasscock:
Well, the album is dedicated to them, so Song Through The Mountains about my mother, obvious it’s about my father. I think it’s important to recognise where you come from and your ancestry. And so I’ve always been fascinated with that ever since I was young. Putting together photo albums and being fascinated by old photos and that sort of thing.

John Murch:
What was it like to walk into Atomic Sound? What kind of studio is it? What was the vibe for you as a somewhat new musician?

Angie Glasscock:
Interestingly enough, it’s in Red Hook and so that’s the same bar, Sunny’s bar where I go to see music. And it used to be a firehouse. It was exciting to be in a studio for the first time. And when I recorded the album, that was the first time I sang with the band of musicians. So it was in intimidating. It was a challenge, but it was also tremendous amount of fun. It’s a great studio. I think right before I recorded there, Adele had recorded there and so had Lady Gaga.

John Murch:
There’s an interest in photography and film. What drew you to having this liking for photography and film?

Angie Glasscock:
Well, actually it started when I was in high school because I took a photography class in high school. And so that’s when I developed an interest in photography. And I never really took it very far in pursuit, but I always loved taking photographs and loved film. When I first came to the city, there was a John Cassavetes film festival that really inspired me and that sort of intimacy that he brings to film is really what I admire so much.

John Murch:
A sense of intense nature in that work as well.

Angie Glasscock:
Oh yeah. Very intense. Very intense and very heavy. But also one of his films, I don’t if you know Minnie and Moskowitz, it’s a kind of goofy love story with Gena Rowlands ones and Seymour Cassel. Yeah, that’s one of my favourites. And that’s a much more lighthearted. And then they’re all shot in LA or a lot of them were shot in LA and that also feels like home.

John Murch:
If you were given a Holga for the day, where would you go and shoot manual camera? Where would you go?

Angie Glasscock:
Yeah, Red Hook is obviously a place that I love visually. That’s the neighbourhood I chose for the first video.

John Murch:
What is Red Hook famous for?

Angie Glasscock:
It’s the kind of neighbourhood that’s very sort of off the beaten path. You cannot get to it easily. There’s a lot of public housing there, but then there’s also a lot of sort of money that’s come into the neighbourhood. Tesla, there’s a Tesla dealership in Red Hook, so that’s kind of, it’s mixed in that way, but there’s just a lot of beautiful light, everywhere you look. The first video, my friend Peter Mayer directed, he works in TV and film as a production designer. And so I asked him if he would direct the first one, and so he asked me to scout it out and take some photos and try to come up with a storyboard. And so I went to Red Hook for the day and it’s just like everywhere you look, there’s just a great shot because there’s just so many interesting buildings and the light so beautiful. It’s right on the water. It’s just a great neighbourhood.

John Murch:
How does that not Angie, make you want that to be your home? How can you have itchy feet?

Angie Glasscock:
Well, the thing is that I could never afford to live in Red Hook because it’s too expensive. You know what I mean? If you were lucky enough to buy into that neighbourhood when it was affordable, great. That would be a great place to live. I think I’m ready to just, as I said, move on to the next place. And I don’t know if that’s going to be upstate because upstate has a lot of appeal, but I’ve been such a big city person for so much of my life now. I don’t know if I could handle living in a small town because I like the anonymity of living in the city. So we’ll see. But I know that there’s change coming, I’m just not sure what is ahead.

John Murch:
What’s a non single album track you’d like to draw our attention to?

Angie Glasscock:
Well, I have to say the song that I’m most proud of, I don’t think I have a favourite song, but I say the one that I’m most proud of because I think it’s the most original maybe, is Ether of My Mind. And that’s a song that is one of the most recent songs I’ve written. I sort of have a tendency to live in my head and in fantasy, which I’m quite happy to just come along with these thoughts in my head. But then there’s always the moment when you’d of sort of hit the wall of reality and then things can crash around you. And so I wanted to take something that I’ve been criticised for that’s been sort of a negative thing in my life, difficulty rather, and make it positive. So in that song I wanted to think about, I’m sort of conjuring my next love. And so I’m sort of in the moment and really appreciating the moment, but also looking towards the future and imagining what might be.

John Murch:
So manifesting based upon who you are and what you can offer because you’re just going to be you, you’re not going to be anyone else.

Angie Glasscock:
Yeah, and it’s interesting because songs always sort of comes to come to me piecemeal. So the first part of that song ended up being the bridge and that I wrote when I was in Greece and there was a guy that I was thinking of that I was having a little crush on. And so that’s where the bridge came in. And then I sort of tried to build a song around that idea of looking at him in a photograph and thinking and imagining. And it just was not poetic. That first bit was, or the first bit felt anyway. Then I decided, I was actually in Bermuda at the time, I had was supposed to go with some guy that I had been seeing, I was supposed to go with him. And this is when I first started working with Teddy. And he and I broke up and so I decided to go on my own. And so I went to Bermuda on my own and I brought my guitar. So it was sort of a working vacation. So I went out to the water to this spot that I particularly love where it’s really nice for snorkelling. And I just sort of was floating in the water and just my letting myself sort of dream and float under the sun and be in the moment. And that’s how I flushed out the rest of the song.

John Murch:
What’s the fascination with peaches?

Angie Glasscock:
Peaches. Oh, peaches are just a euphemism.

John Murch:
Oh, I thought they were.

Angie Glasscock:
When I’m speaking about peaches, I’m talking about an essence. They’re not any particular concrete thing, it’s an essence.

John Murch:
Right.

Angie Glasscock:
So they don’t have some kind of meaning. It’s not anything physical. It’s really just like the essence. And actually that song is funny because the events actually happened. There was a guy who I was interested in getting to know better, and I had recently moved to his neighbourhood just by chance, not by design. But anyway, I had a peach tree upstate and I had this bumper crop of peaches one year. And so I left some peaches on his doorstep. And then I went back the next day and I realised that he left my peaches on his doorstep and I thought, that’s no way to treat my peaches.
And so I took them back again. And then I walked over to this neighbourhood store, neighbourhood stores are a very big in the city. That’s a real sense of community. A lot of people hang out. And there was a bunch of guys hanging out and I realised one of them was my neighbour because I had seen him before. So I gave my peaches to these guys hanging out in the store and they were very appreciative of the peaches. And so when I told Teddy that story, he was like, what? There really was peaches? So it’s just one of those weird coincidences that an event inspired a song. One of my first jobs when I lived in San Francisco as a young girl was selling flowers on the street in the Embarcadero. I have been a flower girl.

John Murch:
I’m not saying you’re a romantic, but you do seem to fantasise and idolise about that area of the world and relationships. Did it start when you were giving flowers?

Angie Glasscock:
Oh no. I mean, I’ve always been a big romantic. I mean, that’s definite. I think a lot of women are always romanticising about the men they’re going to marry and the life they’re going to build. But yeah, I think I’ve gotten to a point though where I’ve realised keep my feet on the ground and not let my head be too much in the clouds because it’s important to operate in the world in reality as well.

John Murch:
Songwriting must be great, Angie though, because you can write down those feelings, have a look back over them and go, okay.

Angie Glasscock:
The nice thing about songwriting is that you get to take a painful experience, make it into a song, and so then you can’t regret. Okay, maybe you think from the past, oh, I made such a fool of myself by wearing my heart and my sleeve and having some crush or just being silly and thinking whatever. But then it’s all worth it in the end because it’s like I’ve got a song about it. It’s just all of my songs are really about myself and all of the songs are just inspired by other people. But all of the songs are really about me.

John Murch:
Angie, Christmas, do you have fond memories of that time of the year?

Angie Glasscock:
I do have fond memories of Christmas, mostly because my mother loved it so much. My mother grew up in the depression and Christmas was like this thing that you look forward to all year, I imagine. There just wasn’t a lot of money for frivolity except for this one time of year, maybe when it was sort of loud. And so she was always blasting the Christmas music and decorating the tree. It was always a big thing. And I sort of did it in a obligatory way for my son. But I have a lot of negative connotations with Christmas too, because it’s not easy being a part of a step family. We would spend Christmas morning in LA and then we would, we’d open our presents, we then get dressed and we’d go to the airport and then we would fly to Nashville and spend Christmas night with our dad.
And so when we would get to Nashville, my dad had a new wife. My stepmother has two daughters, and so we were always sort of descending upon them because they were a family of four that were suddenly a family of eight with my brothers and sister and I. And so we all got along well enough, but it is not the same as your biological family. It’s just a whole different thing. I celebrate Christmas, but I don’t feel the way about it. I don’t feel like it’s such a special time, recognise it, but I don’t really presents and I find that all bit awkward, you tell me what you want and I tell you what I want and then we each get the thing for each other and then we present it under the tree. I don’t like that sort of forced gift giving. I love to give people presents, but I kind of like to be inspired, oh, this person would love this. I want to get them this thing. I like Thanksgiving more. Thanksgiving is more just about getting together, having a good meal, less pressure.

John Murch:
Angie, congratulations on your debut record. It’s such a huge and fantastic achievement. Thanks very much for joining us.

Angie Glasscock:
Thank you.

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