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Speaker 1: Pushkin Ballah has a brilliant new project out called as Brightness.

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Speaker 1: It's bold, cinematic, and his most cohesive project since his debut.

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Speaker 1: And if that one't enough, he's also just dropped Live

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Speaker 1: at Glasshouse, an intimate live recording that captures the magic

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Speaker 1: of his performances where the band is tight, the vocals

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Speaker 1: are loose, the energy is electric, and anything can happen. Today,

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Speaker 1: ball talks about the making of a Just Brightness, how

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Speaker 1: he prepares for his explosive live performances, and why chasing freedom,

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Speaker 1: both musically and spiritually, has always been his north star.

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Speaker 1: This is broken record, real musicians, real conversations. Here's my

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Speaker 1: conversation with blaw. Your high school is pretty.

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Speaker 2: I went to a performing in ours high school too.

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Speaker 3: We had everybody, well, boys, the men, the roots, a

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Speaker 3: mill of the room, Chris McBride, yup, christmacbride, Joey d Francesco.

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Speaker 1: Joey Diferen, RP Man. He was phenomenal.

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Speaker 3: But yeah, we had some cats. None of them was

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Speaker 3: there when I was there.

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Speaker 1: But the roots and boys to men are kind of

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Speaker 1: like I guess I'm not infamous, but for lack of

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Speaker 1: a better word, the infamous class from your your high school.

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Speaker 1: But you were, you were a good deal younger man.

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Speaker 3: So yeah, I'm like, geez, I don't know what year

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Speaker 3: they graduated, but I think we were like maybe almost

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Speaker 3: ten years, if not ten years apart.

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Speaker 1: Yeah, were you aware of them growing up?

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Speaker 2: Yeah?

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Speaker 3: I was aware of them just in the school. The

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Speaker 3: teachers that would brag about them. Man, some of them

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Speaker 3: would still come up to the school like jam with

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Speaker 3: jam with us. I remember Chris mas Bride used to

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Speaker 3: come up and jam with our our jazz band all

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Speaker 3: the time. And at the I think that was right

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Speaker 3: the year before our like big I guess mister King.

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Speaker 3: He was like our big time choral teacher. So boys

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Speaker 3: and men used to come all the time and just

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Speaker 3: hang out with him. So we see boys and men

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Speaker 3: all the time.

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Speaker 1: That's insane because that means they were as big as

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Speaker 1: he could get at that time.

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Speaker 3: Yeah, and he used to always say they still used

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Speaker 3: to still like he would always rag on them, but

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Speaker 3: they loved it. They you know, like y'all still don't

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Speaker 3: sing the harmony like I tort you. But we all

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Speaker 3: hated mister King, but we loved him. No, he's passed,

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Speaker 3: he passed, but you know, he was just one of

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Speaker 3: those strong minded Germans, German men, German guy. Yeah, but

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Speaker 3: he was so soulful and just like I learned a

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Speaker 3: lot from him and just about emotions and the music

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Speaker 3: and stuff.

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Speaker 2: And man, he.

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Speaker 3: Was just really into the music. You know, he didn't

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Speaker 3: care that we were kids. He would cuss and everything,

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Speaker 3: but it was music first over everything.

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Speaker 2: I learned that from him. And he's passion.

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Speaker 3: Like I didn't even know music could give you goose

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Speaker 3: bumps or you should be in search of the goose

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Speaker 3: bump effect as a musician until mister King. You know,

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Speaker 3: he taught us all about that, like how to truly

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Speaker 3: get emotion out of out of music or to draw

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Speaker 3: an emotional reaction out of the listener.

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Speaker 1: Like how would he teach that?

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Speaker 3: He was just look for a certain tamper of the

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Speaker 3: voice or a certain dynamic of the music, like certain dynamics,

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Speaker 3: like something going from extremely loud to soft automatic light

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Speaker 3: abruptly it does something emotionally to the listener, and then

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Speaker 3: if it goes big again and then you know, you play,

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Speaker 3: you play with volume.

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Speaker 2: It kind of like it has an emotional play.

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Speaker 1: That explains a lot about about your your music. And

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Speaker 1: your approach to music one because I was thinking about, like,

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Speaker 1: I've seen you many many times and your I mean,

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Speaker 1: it might it might sound kind of tripe to sort

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Speaker 1: of say that it appears to me that you treat

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Speaker 1: your voice almost more like an instrument. But anytime I'm

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Speaker 1: going to see you live, as opposed to any other singer,

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Speaker 1: it always feels much more like an improvisational thing, in

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Speaker 1: search of like a really high high or in search

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Speaker 1: of a moment. And sometimes I've been to the shows

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Speaker 1: where like that moment is like it's it's there, and

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Speaker 1: sometimes that you could tell us that you didn't quite

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Speaker 1: find it, or was it or the audience to find it,

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Speaker 1: or there was some disconnect. But it's one of the

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Speaker 1: things that is addicting about going to see you is

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Speaker 1: just like what's it going to be tonight? It's almost

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Speaker 1: like going to see you know. I just kind of

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Speaker 1: got around to finally seeing The Grateful Day a few times,

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Speaker 1: and I'm like, I get why people follow them, because

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Speaker 1: at night to night, it's like what's it going to be?

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Speaker 1: You know?

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Speaker 3: I love that. I mean, that's the whole jazz thing

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Speaker 3: for me. I got that out of going to school

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Speaker 3: for jazz, hanging out with all jazz cats my whole life.

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Speaker 3: You know, Improvisation was just a big deal for me

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Speaker 3: early on. So when I would go to write my music,

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Speaker 3: I always try to leave little pockets and spaces that's

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Speaker 3: like unknown and you have to like kind of make

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Speaker 3: it up when you get there. So every night when

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Speaker 3: we play, it's just it just so happens to be different,

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Speaker 3: and I think that's a cool thing. It makes it

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Speaker 3: fun for me, you know, playing these songs over and

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Speaker 3: over again.

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Speaker 1: Yeah. Do you do you have a do you have

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Speaker 1: a reliable way at this point of like a routine

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Speaker 1: or anything that you can do to sort of get

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Speaker 1: you closer to achieving something than.

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Speaker 2: Not like to start to like get ready for the show.

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Speaker 1: Yeah, I start to get ready for the show. Is

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Speaker 1: there anything you can do that you feel like, even

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Speaker 1: if it's just like you know, like an athlete might

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Speaker 1: have like a like a little ritual that's like might

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Speaker 1: not even be real, but like I gotta wear my

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Speaker 1: green socks or whatever. It's just or it might not

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Speaker 1: be that silly. But no, I don't. I don't I

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Speaker 1: think I should.

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Speaker 3: I think I started off having one, but then it

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Speaker 3: just tanked. I used to try and have a little ritual,

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Speaker 3: but I think I just keep forgetting the ritual.

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Speaker 2: So my ritual is no ritual.

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Speaker 1: What were you trying to implement as like.

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Speaker 3: No, because I used to be like, yeah, before the show,

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Speaker 3: I'm gonna do some push ups, you know what.

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Speaker 2: I'm gonna just get my jump rope that I'll leave

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Speaker 2: my jump rope at the hotel.

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Speaker 3: We don't have enough time to do push ups or

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Speaker 3: I'm like out of breath, so I'm like, I'm not

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Speaker 3: doing that no more. So I'll just try to get

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Speaker 3: into a little common space, like before the band goes out.

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Speaker 3: Maybe I'll just sit there a little longer with my

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Speaker 3: sunglasses on.

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Speaker 2: Maybe I don't know.

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Speaker 3: I just try to get into avoid place where I

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Speaker 3: don't really care no more.

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Speaker 1: You know, And what does what do you think that

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Speaker 1: brings to the what you do?

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Speaker 3: It just takes away from the expectations and.

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Speaker 2: Trying to prove something or.

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Speaker 3: Really caring to you know, and just get up there

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Speaker 3: and do do what I do. I see myself as

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Speaker 3: a channeler, you know. When I'm going up there, I'm

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Speaker 3: kind of channeling from my higher self or like my

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Speaker 3: perfect self. So I kind of like try to forget

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Speaker 3: my hurtfully self, you know what I mean? Yeah, try

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Speaker 3: to forget everything.

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Speaker 1: Yeah, so it helps bring you into the get rid

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Speaker 1: of the expectation and bring it to the moment.

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Speaker 3: Yeah, when it works, sometimes I literally forget everything and

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Speaker 3: then I forget the words, and but when it's right on,

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Speaker 3: you know, I forget all of the negative stuff.

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Speaker 1: That's great. Is it a similar approach in the studio

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Speaker 1: when you go into the studio. No.

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Speaker 3: In the studio, I want to feel everything, you know,

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Speaker 3: I want to be open to every everything in the room,

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Speaker 3: everything that's coming to me, so I can try and

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Speaker 3: make the studios where I try to make sense of everything.

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Speaker 3: So I'm just overanalyzed. And sometimes I have to stop

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Speaker 3: myself from overanalyzing because that's just what happens in is

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Speaker 3: you can stop, think, take a break, come back to it.

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Speaker 3: But on stage it's just all go, you know.

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Speaker 1: Is it too many inputs live? Is that kind of

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Speaker 1: why you maybe have to blunt some of that or

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Speaker 1: try to block it out versus in the studio, where's

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Speaker 1: a little more controlled and.

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Speaker 2: A little more well.

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Speaker 3: In the studio, I think that's where a lot of

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Speaker 3: the input most especially if people like if I'm working

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Speaker 3: with other people, because you know, it's just everybody's giving input,

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Speaker 3: everybody's giving them opinions, like all in real time, just oh,

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Speaker 3: maybe do that again or you you know, I might

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Speaker 3: think I just nailed something like that's that's something.

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Speaker 2: Like what I gotta like, I gotta battle my ego,

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Speaker 2: Like all right, I'll do it again, you know what

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Speaker 2: I mean? So uh, in the audience, if somebody says

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Speaker 2: it sucked, I'd be.

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Speaker 3: Like, great, let's let me let me stay on that

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Speaker 3: note even more like it's like I'm the smartest suck

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Speaker 3: shit in your face now, you know what I mean.

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Speaker 3: I turned it to the villain maybe on stage, but

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Speaker 3: in the studio, I'm just very analytical of everything.

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Speaker 2: You know, I'm like, I sit with everything.

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Speaker 1: Has that been true your entire recording career too, you think?

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Speaker 1: Or is it has that changed a bit from when

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Speaker 1: you first got in the studio? But the first album, Firstborn,

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Speaker 1: second too, just brightness.

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Speaker 3: Now I think it's changed as far as like who

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Speaker 3: I bring in the studio to give me that their opinions.

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Speaker 3: You know, when I first started off, like I didn't

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Speaker 3: have to say who was in there, giving me their opinions.

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Speaker 3: You know, everybody felt like they were there to mold me,

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Speaker 3: and you know I was just too listen, you know.

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Speaker 1: Yeah, so that's gotta be a weird position too.

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Speaker 2: Yeah, it was.

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Speaker 3: It took some getting used to, especially when I first

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Speaker 3: started recording, because I came straight from university college, you know,

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Speaker 3: just straight artsy kind of thing, and I was I

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Speaker 3: think when I first started off, I was a lot

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Speaker 3: more defensive because of that, because I was just very

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Speaker 3: militant on what I wanted to do, how I wanted

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Speaker 3: to do it. And I was like that in school,

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Speaker 3: you know, like I went to a I went to

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Speaker 3: a music conservatory and all I did was argue with

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Speaker 3: the teachers all day.

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Speaker 2: So they were happy to see me go.

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Speaker 1: You know, do you ever did you keep up with

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Speaker 1: any of them or not? Was it really?

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Speaker 2: Yeah?

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Speaker 3: One of my one of my like most infamous teachers,

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Speaker 3: we wounded up being really close, Janet Loss, and she

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Speaker 3: passed not too long ago, but we started off really

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Speaker 3: rocky because she was like a vocal teacher. And my

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Speaker 3: whole thing was I don't want to study with no singer.

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Speaker 2: Singer suck, you know, I don't want to study with

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Speaker 2: nobody that sings jazz.

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Speaker 3: Like and she kind of had that same mentality. But

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Speaker 3: jazz musicians it's almost like athletes. I look at jazz musicians.

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Speaker 3: They have the same sensibility of athletes, you know, and

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Speaker 3: they will sit there and argue with each other and

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Speaker 3: just I always want to one up, or let's battle.

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Speaker 3: You're not playing changes quite right. But so that's what

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Speaker 3: me and her would get into the arguments of I

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Speaker 3: don't like the way you sing over that, and I'm like,

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Speaker 3: this is jazz. I can sing it over all ever

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Speaker 3: I want. And she's like, yeah, but you're not singing

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Speaker 3: the chort changes. And it's like my whole thing was

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Speaker 3: I would go to jazz theory class and be like, yeah,

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Speaker 3: but you do know this is theory, so you're just

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Speaker 3: telling me your theory of how to do it. I

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Speaker 3: don't have to do it like that, though, And that

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Speaker 3: would just whoa.

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Speaker 2: Kick off.

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Speaker 3: That would kick off, especially for like the older jazz musicians.

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Speaker 3: Oh man, it will almost be like, all right, let's

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Speaker 3: in the class and go out and take this outside then,

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Speaker 3: young man.

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Speaker 2: But they remember me because of that.

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Speaker 3: You know, a lot of times in university, the students

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Speaker 3: don't really challenge the teacher, you know, and when they are,

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Speaker 3: they're like shut down.

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Speaker 2: So I just refused it.

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Speaker 1: You know.

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Speaker 3: I didn't really want to do vocals anyway, you know,

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Speaker 3: and I felt like I want to do I wanted

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Speaker 3: to be a musician, but the musicians do want it

243
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Speaker 3: wouldn't want to accept me. I was just like a

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Speaker 3: mad villain, just walking around, this grumpy.

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Speaker 1: That's painful man, Like.

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Speaker 2: Hey guys, I can scat.

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Speaker 1: No.

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Speaker 3: It wasn't until I really started like, man, I'm gonna

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Speaker 3: I'm gonna start learning change it, just like the cats,

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Speaker 3: you know.

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Speaker 2: Where it started to work out for me.

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Speaker 3: And then I when I discovered Bobby McFerrin, it was.

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Speaker 1: Over, Yo, tell me about that.

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Speaker 3: Man, Like Bobby McFerrin was just he didn't even use

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Speaker 3: words much and I was like, that's that's that's my

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Speaker 3: stick right there, Like I don't he really turned his

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Speaker 3: voice into an instrument and that really like it turned

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Speaker 3: the light on in college for me.

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Speaker 1: Man, I gotta I gotta digg into some Bobby.

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Speaker 3: Yeah, he did a whole album that the one that

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Speaker 3: really like got me. He did a whole album with

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Speaker 3: Chick Area, just him and Chick Area what and it

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Speaker 3: was just magic. And my friend of mine, well, Robert Glasper,

264
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Speaker 3: we went to we went to college together and we

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Speaker 3: got to see chick Corea and Bobby do duet at

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Speaker 3: the Blue Note and it was boom, just like.

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Speaker 1: Wow, wow, wow, when did when did you get put

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Speaker 1: onto him?

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Speaker 2: In college? Right?

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Speaker 3: I knew I knew Bobby being fair and from the

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Speaker 3: you know, don't worry, be happy. But in college I

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Speaker 3: would hang out at the the Vinyl library a lot

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Speaker 3: and just listen to vinyl all day.

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Speaker 1: Is that that was at your square, to vinyl library

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Speaker 1: at your school. That's really cool.

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Speaker 3: That's another place to like really like did something to

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Speaker 3: me musically?

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Speaker 2: You know. It wasn't really the classes. It was like

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Speaker 2: developing arguments and then going to the vital.

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Speaker 1: Library to prove my theories. Yeah.

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Speaker 3: Yeah, so yeah, I felt that. I was like, yeah,

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Speaker 3: this is it, Like he was really even the way

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Speaker 3: he was getting he was like challenging chit, you know

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Speaker 3: even and that's like chick Rea like wow, Biden fairness,

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Speaker 3: nasty nasty.

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Speaker 1: Word, that's really wild, because yeah, all I knew him

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Speaker 1: for was I don't want to be happy as well,

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Speaker 1: and I love that as a kid by the way, right,

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Speaker 1: I mean I still love it now, but it's great.

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Speaker 1: I mean even though you know, man another the number

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Speaker 1: one jam you know, I mean public enemy kind of

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00:16:54,276 --> 00:16:57,396
Speaker 1: turned me off for a minute, but still still.

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Speaker 3: Not only not only in the jazz world, but also

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Speaker 3: even in a classical world. He's like an accomplished uh.

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Speaker 2: For the you yeah really high up?

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Speaker 1: Wow? Have you gotten to hang with him? No?

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Speaker 3: But I know his his children, his his his daughter

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Speaker 3: Maddie mc ferrence, Madison, uh Madison. I known her for

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Speaker 3: a minute. I know him his tailor, Taylor for a

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00:17:34,676 --> 00:17:39,356
Speaker 3: long minute. So yeah, I'm gonna Taylor from like when

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00:17:39,396 --> 00:17:42,516
Speaker 3: I first moved to New York. Really m h no,

302
00:17:42,636 --> 00:17:45,956
Speaker 3: I didn't even know that that was his dad was

303
00:17:45,996 --> 00:17:47,036
Speaker 3: Bidy mcpherrins, So.

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Speaker 2: That like blew my mind when I found out about that.

305
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Speaker 1: Yeah, that's pretty.

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00:17:50,836 --> 00:17:56,676
Speaker 3: Because he when I met Taylor, he was doing interesting

307
00:17:56,716 --> 00:18:00,716
Speaker 3: stuff like that through the beat boxing and he would

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00:18:00,756 --> 00:18:04,316
Speaker 3: be boxing then be playing keys at the same time school.

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00:18:04,556 --> 00:18:06,836
Speaker 3: So it was almost like on that same kind of

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Speaker 3: thing but taking it to another level.

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Speaker 1: This message is brought to you by Starbucks. Years before

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Speaker 1: Broken Record, I actually used to work at Starbucks and

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Speaker 1: to this day, I'm still a loyal customer. I love

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Speaker 1: seeing the new seasonal menu items rolling out across the year,

315
00:18:23,676 --> 00:18:25,836
Speaker 1: and just today I went to my local Starbucks to

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Speaker 1: try the new Strato Frappuccino blended beverages. They're the perfect

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00:18:29,636 --> 00:18:33,956
Speaker 1: addition to the summer lineup. The Strato is the Starbucks frappuccino.

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Speaker 1: You know, in love with the new spin, A crave

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00:18:36,876 --> 00:18:39,596
Speaker 1: worthy ice blended beverage take into the next level with

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Speaker 1: the dreamy layer of rich, creamy cold foam on top.

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Speaker 1: Today I tried the salted caramel Mocha Strato Frappuccino and

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00:18:46,396 --> 00:18:49,676
Speaker 1: that blend of salty and sweet and a creamy, cold

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Speaker 1: blended drink was out of this world. It's the perfect

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Speaker 1: way to kickstart a warm summer day. And you know,

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Speaker 1: I want to remind you that Starbucks isn't only known

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Speaker 1: for their expertly crafted, high quality beverages, but also for

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Speaker 1: their inviting, vibrant cafe atmosphere. And something that I've always

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Speaker 1: loved about the cafe ambiance is the coffee house music

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00:19:08,436 --> 00:19:10,916
Speaker 1: that plays in the back while you're enjoying a coffee

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Speaker 1: or a freshman. Strato frappuccino. The coffee house genre. You

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Speaker 1: can probably imagine the sound driven by acoustic instruments, relaxed

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Speaker 1: vocals drawing from folk and jazz influences, lyrics so personal

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Speaker 1: they sound like they'd been written in a journal an

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Speaker 1: hour before recording. What we know is coffee house music

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00:19:28,516 --> 00:19:31,196
Speaker 1: has a deep history, and to understand the sound, we

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00:19:31,236 --> 00:19:33,636
Speaker 1: have to start with the space. If you were a

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00:19:33,676 --> 00:19:36,236
Speaker 1: young singer, songwriter, or something to say, you started in

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00:19:36,276 --> 00:19:39,956
Speaker 1: coffee houses. You had folk singers, poets, and visionaries passing

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00:19:39,956 --> 00:19:43,916
Speaker 1: around guitars and exchanging ideas in equal measure. Bob Dylan

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00:19:43,956 --> 00:19:46,396
Speaker 1: played his earliest gigs and cafes in Greenwich Village in

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Speaker 1: New York City. So did James Taylor, Joni Mitchell, Joan Baez.

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Speaker 1: The list goes on. They were all fixtures in coffee

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Speaker 1: houses around the country and around Canada. Coffee houses were

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Speaker 1: proving grounds, no backing band, no effects, just a guitar

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00:19:59,556 --> 00:20:03,316
Speaker 1: and a voice and of course a delicious beverage on hand.

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Speaker 1: Over time, its sound has evolved from folk to indie

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Speaker 1: rock to aubeaut acoustic playlist, but at its heartbeat, there's

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Speaker 1: simplicity and connection that mirrors the cafe experience, and still today,

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Speaker 1: coffee houses remain creative hubs. There where screenwriters start new scripts,

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00:20:18,996 --> 00:20:21,956
Speaker 1: where podcasters work on an outline for their next episode,

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Speaker 1: where someone strums a guitar may be thinking about an

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Speaker 1: open mic night. Places like Starbucks are part of the

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Speaker 1: coffee house tradition. It's a place where music lives alongside creativity,

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Speaker 1: and the strato frappuccino fits perfectly in that tradition. Their

355
00:20:35,556 --> 00:20:39,236
Speaker 1: team dreamed up the cold foam flavors, the dreamy blended layers,

356
00:20:39,516 --> 00:20:42,276
Speaker 1: and the feeling you get with each creamy sip. So

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Speaker 1: here's to the sound of the Starbucks coffee house in

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Speaker 1: the summer, not just the music, but the atmosphere, the

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Speaker 1: conversations and the creativity, the rhythm of espresso being pulled,

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Speaker 1: a friends catching up of a lyric being written down

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Speaker 1: for the first time, from the first chords played in

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Speaker 1: a Greenwich village cafe to the playlists we queue up now,

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Speaker 1: and here's to the drinks that pair with it. Your

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00:21:03,876 --> 00:21:09,596
Speaker 1: strato frappuccino blended beverage is ready at Starbucks. Who else

365
00:21:09,636 --> 00:21:12,076
Speaker 1: free at that time, like when you were developing, like

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00:21:12,196 --> 00:21:15,276
Speaker 1: vocally was or not even vocally, just whether it's vocal

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00:21:15,356 --> 00:21:18,436
Speaker 1: a vocalist and instrumentalist. Who was who was like pouring

368
00:21:18,436 --> 00:21:20,316
Speaker 1: into at that time, like in that vinyl library? What

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00:21:20,356 --> 00:21:22,636
Speaker 1: were you? Do You think that still sticks with you

370
00:21:22,676 --> 00:21:23,596
Speaker 1: even maybe too?

371
00:21:24,116 --> 00:21:30,436
Speaker 3: Oh well, I got into Indian music like Robbie Shankar was.

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00:21:30,516 --> 00:21:32,996
Speaker 3: I was deep into Robbie Shankar because I started to

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00:21:33,036 --> 00:21:37,716
Speaker 3: try and try to figure out my own like special

374
00:21:39,236 --> 00:21:43,436
Speaker 3: phrasings or special vowels for scatting.

375
00:21:43,916 --> 00:21:44,236
Speaker 1: Wow.

376
00:21:45,116 --> 00:21:50,076
Speaker 3: So I went down this school like uh rabbit hole

377
00:21:50,276 --> 00:21:59,436
Speaker 3: of Japanese throat singing and uh and in Indian music.

378
00:21:59,596 --> 00:22:01,836
Speaker 1: And that would help you change, like think about how

379
00:22:01,876 --> 00:22:03,036
Speaker 1: to approach vowels.

380
00:22:03,236 --> 00:22:06,436
Speaker 3: Yeah, because a lot of their the throat singing they

381
00:22:06,436 --> 00:22:10,396
Speaker 3: could they had this method. The only other person I've

382
00:22:10,396 --> 00:22:16,516
Speaker 3: seen that has mastered it is uh Layla Hathaway's.

383
00:22:17,076 --> 00:22:19,396
Speaker 2: She can sing like three notes at once like a

384
00:22:19,516 --> 00:22:26,516
Speaker 2: chord like be like a minor chord like what Yeah.

385
00:22:26,396 --> 00:22:31,036
Speaker 3: She can like separate her vocal corus to play three

386
00:22:31,116 --> 00:22:32,036
Speaker 3: notes at once.

387
00:22:32,596 --> 00:22:33,516
Speaker 2: And she can do it.

388
00:22:33,636 --> 00:22:34,836
Speaker 1: Like how you learned that?

389
00:22:36,636 --> 00:22:38,556
Speaker 2: I don't I keep it. I don't know.

390
00:22:38,676 --> 00:22:40,796
Speaker 3: I asked her how. She said she was born knowing

391
00:22:40,836 --> 00:22:45,116
Speaker 3: how to do it. Wow mm hmmm, Wow.

392
00:22:46,236 --> 00:22:47,116
Speaker 2: Yeah, I don't know how.

393
00:22:47,236 --> 00:22:48,996
Speaker 3: I don't know how she did it, but I know

394
00:22:50,276 --> 00:22:51,916
Speaker 3: there's it's a genre.

395
00:22:57,156 --> 00:22:58,556
Speaker 2: It's definitely a genre.

396
00:22:58,876 --> 00:23:04,716
Speaker 3: So that and Robbie Shanekarr and his daughters and dope

397
00:23:05,036 --> 00:23:09,956
Speaker 3: Indian music. They they get into NBA two between notes,

398
00:23:10,556 --> 00:23:15,356
Speaker 3: so our scals like eight notes or like seven notes,

399
00:23:15,396 --> 00:23:18,796
Speaker 3: and then it goes into that octive note. They have

400
00:23:20,036 --> 00:23:24,836
Speaker 3: this thing called ghost notes where there's like semi tones,

401
00:23:25,756 --> 00:23:32,236
Speaker 3: small middle or ascending tones in between the actual tone

402
00:23:32,276 --> 00:23:33,436
Speaker 3: that we claim.

403
00:23:33,236 --> 00:23:36,516
Speaker 1: So between like an E and and F there's like something.

404
00:23:36,196 --> 00:23:39,516
Speaker 2: Else, there's like three other tones that they know of. Wow.

405
00:23:40,556 --> 00:23:42,596
Speaker 1: So yeah, can you hear those?

406
00:23:43,676 --> 00:23:43,956
Speaker 2: Yes?

407
00:23:44,476 --> 00:23:50,036
Speaker 3: And no, it depends on the setting, Like it in

408
00:23:50,076 --> 00:23:52,196
Speaker 3: a drone situation where it's like.

409
00:23:54,716 --> 00:23:59,076
Speaker 2: You can kind of hear the those type of things.

410
00:23:59,076 --> 00:24:01,636
Speaker 3: But if it's something where the core changes is moving

411
00:24:01,676 --> 00:24:04,716
Speaker 3: around a lot, you can't, well I can't you know.

412
00:24:04,636 --> 00:24:06,956
Speaker 1: It's like in the B box that it would be impossible.

413
00:24:07,036 --> 00:24:08,796
Speaker 2: No, but if you were to listen to.

414
00:24:10,476 --> 00:24:13,676
Speaker 3: Coltrane when he would get into like a lot of

415
00:24:13,676 --> 00:24:17,636
Speaker 3: his Love Supreme stuff, or you could hear those those

416
00:24:17,636 --> 00:24:21,316
Speaker 3: semi tony he was doing it. Wow, he was deep

417
00:24:21,356 --> 00:24:24,796
Speaker 3: into Robby Shankar and those whole He started making up

418
00:24:24,836 --> 00:24:28,076
Speaker 3: all different types of scales to kind of like buying

419
00:24:28,116 --> 00:24:29,236
Speaker 3: those in between notes.

420
00:24:29,356 --> 00:24:31,516
Speaker 1: Right, Yeah, I've seen some, like i've seen pictures. I

421
00:24:31,516 --> 00:24:34,356
Speaker 1: haven't studied them or anything, but I've seen like copies

422
00:24:34,396 --> 00:24:36,076
Speaker 1: of like journals he would write, and you see these

423
00:24:36,076 --> 00:24:41,356
Speaker 1: really bugged out diagrams he would draw somehow connecting this

424
00:24:41,476 --> 00:24:42,876
Speaker 1: note to that, no, to that. You know, I don't

425
00:24:42,876 --> 00:24:43,516
Speaker 1: know that circle.

426
00:24:43,796 --> 00:24:45,356
Speaker 2: It was like a circle of fifth thing. I think

427
00:24:45,356 --> 00:24:46,196
Speaker 2: I know what you're talking about.

428
00:24:46,276 --> 00:24:47,756
Speaker 1: Yeah, but it was a little different than a circle

429
00:24:47,756 --> 00:24:49,116
Speaker 1: of fist maybe or something like. I mean, it's just

430
00:24:49,156 --> 00:24:55,116
Speaker 1: seem a little like more intense, like the basic circle

431
00:24:55,116 --> 00:24:57,356
Speaker 1: of fists kind of thing. But yeah, like it seemed

432
00:24:57,356 --> 00:24:58,956
Speaker 1: like he was really searching.

433
00:24:58,636 --> 00:25:02,236
Speaker 3: For he unlocked something, and it was like based off

434
00:25:02,276 --> 00:25:05,756
Speaker 3: of that those in between notes.

435
00:25:07,116 --> 00:25:09,956
Speaker 1: We would like any of the classics that resonated with you,

436
00:25:10,036 --> 00:25:12,236
Speaker 1: like you scouting, like I always think of like elphanz

437
00:25:12,276 --> 00:25:14,956
Speaker 1: Gerald as a scatter, Did any of that resonate with

438
00:25:15,036 --> 00:25:16,356
Speaker 1: you or less?

439
00:25:16,676 --> 00:25:17,476
Speaker 2: Was dope?

440
00:25:18,156 --> 00:25:23,276
Speaker 3: She I definitely started by checking out a lot of LA,

441
00:25:23,356 --> 00:25:27,556
Speaker 3: a lot of serv On. Then I got into Betty Carter,

442
00:25:28,756 --> 00:25:31,596
Speaker 3: and Betty Carter is like my favorite. I met Betty

443
00:25:31,596 --> 00:25:34,476
Speaker 3: Carter when I was a kid. I sang for her.

444
00:25:35,556 --> 00:25:38,996
Speaker 3: She told me I sucked, and that's awesome.

445
00:25:40,676 --> 00:25:42,716
Speaker 1: What was the what was the context of this?

446
00:25:43,836 --> 00:25:49,596
Speaker 3: Oh man, it was, uh Jazz I was a part

447
00:25:49,636 --> 00:25:54,556
Speaker 3: of this like after school program and in high school,

448
00:25:54,996 --> 00:25:59,756
Speaker 3: Settlement at Settlement Music School, and she would come to

449
00:25:59,956 --> 00:26:03,716
Speaker 3: a lot of the school programs back in the day

450
00:26:03,756 --> 00:26:06,356
Speaker 3: and jam with the kids. And we had a big

451
00:26:06,396 --> 00:26:10,836
Speaker 3: assembly and uh, everybody was like, go up there.

452
00:26:10,796 --> 00:26:13,916
Speaker 2: Sing for Betty, sing, sing, sing, So I was like.

453
00:26:13,916 --> 00:26:16,676
Speaker 3: Oh, yeah, you know, and I really thought I was

454
00:26:16,876 --> 00:26:18,636
Speaker 3: like killing him on the scag game.

455
00:26:19,516 --> 00:26:26,636
Speaker 2: And she she sang, that's not it, that's not it.

456
00:26:27,436 --> 00:26:31,516
Speaker 2: You singing too many notes. You're not giving the people

457
00:26:31,516 --> 00:26:35,876
Speaker 2: a chance to reminisce. He said, people reminisce when you

458
00:26:35,956 --> 00:26:39,356
Speaker 2: when you're actually not singing. And she was singing all

459
00:26:39,356 --> 00:26:42,276
Speaker 2: of this, but like she was trashing you washing because

460
00:26:42,316 --> 00:26:45,036
Speaker 2: I went up there shout it up beat my.

461
00:26:47,916 --> 00:26:51,236
Speaker 3: I was going in and she was like, nah, baby,

462
00:26:52,356 --> 00:26:55,676
Speaker 3: it's too many notes. He's like, and I never forget that.

463
00:26:55,716 --> 00:26:59,196
Speaker 3: She said, you know, you gotta watch how many notes

464
00:26:59,276 --> 00:27:01,716
Speaker 3: you sing? Or where you place the notes, because you

465
00:27:01,756 --> 00:27:04,676
Speaker 3: got to give the listener time to catch up and

466
00:27:04,716 --> 00:27:09,116
Speaker 3: to reflect, because that's what draws people to the music,

467
00:27:09,596 --> 00:27:13,756
Speaker 3: when they have something that reminds them of their own life,

468
00:27:13,876 --> 00:27:16,596
Speaker 3: you know, and you got to give them an opening

469
00:27:16,676 --> 00:27:18,556
Speaker 3: for that, you know. And the music is really a

470
00:27:18,556 --> 00:27:23,196
Speaker 3: portal for the listener's memories to like take place.

471
00:27:24,436 --> 00:27:25,716
Speaker 1: What do you what do you think about that?

472
00:27:25,796 --> 00:27:28,316
Speaker 3: As a I didn't know what she was talking about

473
00:27:28,316 --> 00:27:32,476
Speaker 3: as a kid, but like like now, I don't know,

474
00:27:32,516 --> 00:27:35,196
Speaker 3: I never forgot that and now and as a as

475
00:27:35,236 --> 00:27:38,516
Speaker 3: a writer, as a producer, that's like the main thing

476
00:27:38,556 --> 00:27:40,556
Speaker 3: I'm thinking of when I'm in a studio, Like I

477
00:27:40,596 --> 00:27:44,356
Speaker 3: want the listener this song to be some type of

478
00:27:44,356 --> 00:27:46,276
Speaker 3: a time capsule for them, you know.

479
00:27:46,556 --> 00:27:48,876
Speaker 1: Yeah, I was thinking about when you first came out,

480
00:27:49,076 --> 00:27:53,276
Speaker 1: how we were kind of in an era where people

481
00:27:53,356 --> 00:28:00,916
Speaker 1: didn't really respect virtuoso virtuosic talent, you know, Like I

482
00:28:01,396 --> 00:28:05,396
Speaker 1: don't even know if Kendrick Lamar could have been as

483
00:28:05,436 --> 00:28:07,116
Speaker 1: Populus is now then.

484
00:28:08,116 --> 00:28:12,756
Speaker 2: What and not you think so hm hmm, yeah.

485
00:28:12,556 --> 00:28:17,236
Speaker 1: Not in about but in the sense of and I'm

486
00:28:17,236 --> 00:28:19,716
Speaker 1: gonna say this, but I love I love no limit

487
00:28:20,636 --> 00:28:22,716
Speaker 1: and I love all I love all of No Limit,

488
00:28:23,556 --> 00:28:28,956
Speaker 1: But it feels like that was a different a different

489
00:28:29,796 --> 00:28:30,836
Speaker 1: thing happening then. No.

490
00:28:33,156 --> 00:28:34,836
Speaker 2: Yeah, but I think it was like it's still like

491
00:28:34,916 --> 00:28:42,116
Speaker 2: a counter culture from like what the Roots was doing

492
00:28:42,556 --> 00:28:49,316
Speaker 2: or a slum village. There was like counter culture of

493
00:28:49,516 --> 00:28:51,196
Speaker 2: of of music.

494
00:28:51,556 --> 00:28:53,916
Speaker 1: It definitely feels counter it felt, That's what I guess,

495
00:28:53,996 --> 00:28:55,356
Speaker 1: And that's what I mean, is it felt at that

496
00:28:55,436 --> 00:28:57,596
Speaker 1: time like a counter culture, whereas now it feels like

497
00:28:57,796 --> 00:29:00,996
Speaker 1: it could be of the culture same way that like

498
00:29:01,036 --> 00:29:02,156
Speaker 1: a lot of the stuff like that.

499
00:29:02,276 --> 00:29:06,796
Speaker 3: I guess it's biggest Kendrick is now back then, I

500
00:29:06,836 --> 00:29:13,996
Speaker 3: don't know, because I look at the way kendred it's

501
00:29:14,156 --> 00:29:19,076
Speaker 3: very intentional about the art and very you could tell

502
00:29:19,116 --> 00:29:20,996
Speaker 3: he thinks about it.

503
00:29:21,956 --> 00:29:22,716
Speaker 2: I see that.

504
00:29:24,276 --> 00:29:27,676
Speaker 3: The way Outcast was dropping those records back then, you know,

505
00:29:27,716 --> 00:29:31,396
Speaker 3: it was like wow, artistically like they were like stepping

506
00:29:31,436 --> 00:29:34,716
Speaker 3: it up every record and it was like wow, and

507
00:29:35,116 --> 00:29:39,196
Speaker 3: it was accepted and it was crossing over.

508
00:29:39,636 --> 00:29:41,356
Speaker 2: You know, they were they were doing their thing.

509
00:29:41,916 --> 00:29:43,796
Speaker 1: That's a good point. That's a good point. I'm happy.

510
00:29:43,796 --> 00:29:46,716
Speaker 1: I'm happy to be wrong on the point. Happy to

511
00:29:46,796 --> 00:29:50,556
Speaker 1: be wrong. It just felt like all the ship I

512
00:29:50,676 --> 00:29:55,116
Speaker 1: like back then was more subculture more for sure, like

513
00:29:55,716 --> 00:29:56,996
Speaker 1: you know, like the way like you know, like in

514
00:29:57,036 --> 00:30:00,596
Speaker 1: the nineties, like alternative music had its like it crossed

515
00:30:00,636 --> 00:30:02,396
Speaker 1: over finally and it was like all the ship from

516
00:30:02,396 --> 00:30:04,996
Speaker 1: the Ramones through like whatever. All of a sudden, it

517
00:30:05,036 --> 00:30:07,876
Speaker 1: was like it was in like Bagel bytes commercials or whatever,

518
00:30:08,156 --> 00:30:09,796
Speaker 1: like wait, why didn't one and like this in like

519
00:30:09,876 --> 00:30:12,676
Speaker 1: nineteen seventy eight, you know or not no One? But

520
00:30:12,716 --> 00:30:14,076
Speaker 1: why didn't you know what I mean, Like you couldn't

521
00:30:14,076 --> 00:30:16,396
Speaker 1: get this on like CBS in nineteen seventy.

522
00:30:16,236 --> 00:30:16,836
Speaker 2: I don't know what.

523
00:30:16,996 --> 00:30:19,116
Speaker 3: Yeah, I don't know what this era of the cool

524
00:30:19,196 --> 00:30:22,556
Speaker 3: kids is, but I feel like that's because I'm older.

525
00:30:23,156 --> 00:30:23,716
Speaker 2: I don't know.

526
00:30:23,796 --> 00:30:26,516
Speaker 1: But also it seems like people really at a well

527
00:30:26,876 --> 00:30:30,956
Speaker 1: yes and no, maybe musically at least except like I

528
00:30:30,956 --> 00:30:34,676
Speaker 1: think about like how a Thundercat has, Like it seems

529
00:30:34,716 --> 00:30:40,476
Speaker 1: like the fact that a critical massive people can accept

530
00:30:40,516 --> 00:30:42,676
Speaker 1: that level of talent is a good sign to me,

531
00:30:42,796 --> 00:30:44,436
Speaker 1: you know what I mean. And so it does feel

532
00:30:44,436 --> 00:30:47,036
Speaker 1: like we're in an era of people really recognizing musically

533
00:30:47,116 --> 00:30:52,876
Speaker 1: at least like superb supreme talent, you know, even the

534
00:30:52,916 --> 00:30:55,276
Speaker 1: back like I don't know whatever. Not to get controversial,

535
00:30:55,316 --> 00:30:58,436
Speaker 1: but the backlash against Drake or whatever. You know, it's like.

536
00:31:00,036 --> 00:31:00,276
Speaker 2: Music.

537
00:31:00,276 --> 00:31:02,276
Speaker 1: But that's but it is also in some way a

538
00:31:02,316 --> 00:31:05,436
Speaker 1: positive sign, you know, and there's not a lot of

539
00:31:05,476 --> 00:31:08,236
Speaker 1: positive things, you know, there's not a lot of things

540
00:31:08,276 --> 00:31:11,156
Speaker 1: pointing towards the post is the future so much necessarily always,

541
00:31:11,276 --> 00:31:13,196
Speaker 1: But that feels like one of those things where you're like, oh,

542
00:31:13,196 --> 00:31:15,796
Speaker 1: it's like a cool bell weather for what could could be.

543
00:31:16,036 --> 00:31:16,236
Speaker 1: You know.

544
00:31:16,956 --> 00:31:19,796
Speaker 2: Yeah, I think that is dope. You know that.

545
00:31:22,076 --> 00:31:25,396
Speaker 3: For a minute there, I thought all of society could

546
00:31:25,436 --> 00:31:28,356
Speaker 3: be programmed to like one thing and then that was it,

547
00:31:28,516 --> 00:31:34,476
Speaker 3: you know, But that did like put in my head that, yeah, well,

548
00:31:34,516 --> 00:31:38,956
Speaker 3: you know, the people can speak, you know, and the

549
00:31:39,356 --> 00:31:43,756
Speaker 3: people like a variety of things, and they should have

550
00:31:44,076 --> 00:31:50,956
Speaker 3: that lead way in the marketplace to like a variety

551
00:31:50,996 --> 00:31:55,116
Speaker 3: of things instead of just this is what's dope and

552
00:31:55,196 --> 00:31:58,236
Speaker 3: anything outside of that it's not dope, you know. I

553
00:31:58,276 --> 00:32:02,676
Speaker 3: think that's I don't know if that's only in America though,

554
00:32:03,116 --> 00:32:04,036
Speaker 3: you think what.

555
00:32:04,076 --> 00:32:07,356
Speaker 1: Seems like outside of America people have always been a

556
00:32:07,396 --> 00:32:11,836
Speaker 1: little more open, you know, I don't know, right like.

557
00:32:11,956 --> 00:32:13,716
Speaker 2: And I think that's just a marketing thing.

558
00:32:14,156 --> 00:32:17,876
Speaker 1: Definitely think it's the market I think people, including Americans,

559
00:32:17,876 --> 00:32:22,556
Speaker 1: think Americans are stupid. So I think then we market

560
00:32:22,636 --> 00:32:24,476
Speaker 1: ourselves like we're idiots, you know what I mean, Like

561
00:32:24,596 --> 00:32:28,356
Speaker 1: we can't we can't make decisions, you know, like we

562
00:32:28,516 --> 00:32:31,596
Speaker 1: find boxes for things because we're fucking idiots.

563
00:32:31,716 --> 00:32:34,436
Speaker 2: Because it's a marketplace. Everything is a marketplace.

564
00:32:34,476 --> 00:32:37,756
Speaker 3: Everything is to be sold. You know, you just got

565
00:32:37,796 --> 00:32:40,996
Speaker 3: to find the right marketing pitch. I can pick up

566
00:32:41,036 --> 00:32:43,276
Speaker 3: a piece of dirt off the floor, and you know,

567
00:32:43,676 --> 00:32:47,276
Speaker 3: if I got that gift of gab, I'm gonna make

568
00:32:47,316 --> 00:32:47,836
Speaker 3: some money.

569
00:32:47,956 --> 00:32:52,036
Speaker 1: Yes, Yes, it's funny. Like I got to put out

570
00:32:52,036 --> 00:32:53,836
Speaker 1: an interview with Daryl Hall and they got a bunch

571
00:32:53,836 --> 00:32:56,636
Speaker 1: of pickup because, like I asked himself. You know, it's

572
00:32:56,676 --> 00:32:58,316
Speaker 1: interesting to me when I go when I listened, I

573
00:32:58,356 --> 00:33:00,756
Speaker 1: wasn't around when Holland Oas was was hitting in the

574
00:33:00,836 --> 00:33:04,236
Speaker 1: late seventies and eighties, or when the Dubie Brothers were

575
00:33:04,236 --> 00:33:05,516
Speaker 1: But you know, I listen to that stuff now and

576
00:33:05,516 --> 00:33:07,956
Speaker 1: you're like, this is clearly just white dudes that love

577
00:33:08,116 --> 00:33:11,676
Speaker 1: R and B, R and B. And you know, I

578
00:33:11,676 --> 00:33:13,156
Speaker 1: was like when I was talking to Michael McDonald once,

579
00:33:13,156 --> 00:33:15,756
Speaker 1: he was like, yeah, like Warner Brothers didn't know what

580
00:33:15,796 --> 00:33:17,596
Speaker 1: to do with us because we're white dude. So they

581
00:33:17,636 --> 00:33:19,316
Speaker 1: wanted to market us to rock radio, but Rock Ray

582
00:33:19,316 --> 00:33:21,276
Speaker 1: didn't want to play us because we sounded like like

583
00:33:21,556 --> 00:33:24,676
Speaker 1: R and B like black dudes. But like they, Warner

584
00:33:24,716 --> 00:33:26,396
Speaker 1: couldn't get it in their head to like play us

585
00:33:26,396 --> 00:33:28,636
Speaker 1: on black radio. But finally some black radio promoter at

586
00:33:28,636 --> 00:33:30,756
Speaker 1: Warner was like, this guy to go to black radio.

587
00:33:31,236 --> 00:33:34,396
Speaker 1: Black radio started playing it. But then you know, the

588
00:33:34,476 --> 00:33:38,236
Speaker 1: labels just started calling it adult contemporary or soft rock

589
00:33:38,596 --> 00:33:41,076
Speaker 1: or whatever you know, AO or I oriented rock, like

590
00:33:41,116 --> 00:33:43,276
Speaker 1: they would have these phrases for it. So I was asking,

591
00:33:43,276 --> 00:33:45,636
Speaker 1: I was asking about that. He's like, yeah, well, fuck

592
00:33:45,716 --> 00:33:48,236
Speaker 1: yacht rock like they you know, they're trying to like

593
00:33:48,396 --> 00:33:50,676
Speaker 1: and You're like, I I kind of see his point.

594
00:33:50,756 --> 00:33:54,236
Speaker 1: Like he's a dude. He just loves Philly dude, Philly dude.

595
00:33:54,276 --> 00:33:58,756
Speaker 1: I know he can't. He kept it wrong rock, you know,

596
00:33:58,876 --> 00:34:00,796
Speaker 1: he just love R and B and before a guy

597
00:34:00,836 --> 00:34:03,596
Speaker 1: has to get a label yacht rock or whatever, you know.

598
00:34:03,636 --> 00:34:05,276
Speaker 1: And I felt this pain, you know, like.

599
00:34:05,316 --> 00:34:07,316
Speaker 2: Yeah, man, that's the way I felt about Neil Soul.

600
00:34:09,396 --> 00:34:10,076
Speaker 2: What is that?

601
00:34:10,316 --> 00:34:13,596
Speaker 3: Like it's just a marketing term, Like I felt like

602
00:34:13,636 --> 00:34:17,916
Speaker 3: we were just cats that loved hip hop, but found

603
00:34:18,116 --> 00:34:24,556
Speaker 3: those seventies uh instruments from the that were used from

604
00:34:24,596 --> 00:34:27,036
Speaker 3: those records that we were sampling, and was like, well,

605
00:34:27,076 --> 00:34:27,996
Speaker 3: let's just use those.

606
00:34:27,796 --> 00:34:30,636
Speaker 1: Instruments, yeah, instead the sampling, let's just pull out of

607
00:34:30,716 --> 00:34:31,116
Speaker 1: roads in.

608
00:34:31,236 --> 00:34:34,876
Speaker 3: Right, instead of getting sued on every instead of not

609
00:34:34,996 --> 00:34:37,796
Speaker 3: making no money from the track, because it's they're taking

610
00:34:37,876 --> 00:34:41,556
Speaker 3: all of the publishing, Like, let's make up our own loops,

611
00:34:41,676 --> 00:34:45,596
Speaker 3: you know, yeah, and use those instruments. So try to

612
00:34:45,596 --> 00:34:49,876
Speaker 3: figure out how how they recorded it to get that sound.

613
00:34:50,276 --> 00:34:51,436
Speaker 2: I thought that's what we were doing.

614
00:34:51,756 --> 00:34:56,036
Speaker 3: But it still had it had the integrity of soul music,

615
00:34:56,156 --> 00:34:59,956
Speaker 3: so it still had that soul in it. Yeah, so

616
00:35:00,076 --> 00:35:02,956
Speaker 3: why say it reminds you of soul?

617
00:35:03,276 --> 00:35:06,316
Speaker 1: You know, that's a good call. Yeah, it did have

618
00:35:06,396 --> 00:35:09,356
Speaker 1: the to your point, it had the feeling of you know,

619
00:35:09,356 --> 00:35:11,036
Speaker 1: whether it's like an send it's like a soul man.

620
00:35:11,156 --> 00:35:12,916
Speaker 1: Like what it was like you felt when you when

621
00:35:12,956 --> 00:35:14,476
Speaker 1: you heard the term soul man. You feel like that's

622
00:35:14,516 --> 00:35:15,716
Speaker 1: a stand up brother, who's gonna you.

623
00:35:15,716 --> 00:35:16,036
Speaker 2: Know what I mean?

624
00:35:16,076 --> 00:35:18,596
Speaker 1: Whatever they have that like, these are these are these

625
00:35:18,596 --> 00:35:21,996
Speaker 1: are these are people really serious about their what they do,

626
00:35:22,196 --> 00:35:26,596
Speaker 1: Like it's no joke. So I have that, but yeah,

627
00:35:26,596 --> 00:35:29,916
Speaker 1: to just call it Neil Soul and and then for

628
00:35:29,956 --> 00:35:31,516
Speaker 1: that to become like a thing of you guys just

629
00:35:31,556 --> 00:35:33,956
Speaker 1: making derivative music, like that's that's crazy.

630
00:35:34,116 --> 00:35:38,796
Speaker 3: I think this labels on music sucks because it's just

631
00:35:39,476 --> 00:35:43,116
Speaker 3: it keeps you in a box. It keeps the listener

632
00:35:43,156 --> 00:35:47,156
Speaker 3: in the box, and then it forces the artists into

633
00:35:47,196 --> 00:35:49,076
Speaker 3: a box because they want to still try and make

634
00:35:49,156 --> 00:35:54,436
Speaker 3: money and they think that that audience wants to hear

635
00:35:54,516 --> 00:35:55,796
Speaker 3: whatever is in that box.

636
00:35:55,876 --> 00:35:58,356
Speaker 2: So there's they don't want to go out of that box.

637
00:35:58,396 --> 00:35:58,916
Speaker 2: So it just.

638
00:36:00,556 --> 00:36:03,196
Speaker 3: Everything in that box. If it gets played out, nobody

639
00:36:03,196 --> 00:36:05,076
Speaker 3: wants to hear it no more. The whole box gets

640
00:36:05,116 --> 00:36:05,796
Speaker 3: just thrown out.

641
00:36:05,956 --> 00:36:08,276
Speaker 1: Yeah. Absolutely, I don't know how we got it. But

642
00:36:08,316 --> 00:36:10,476
Speaker 1: that brings me back to what I was gonna say,

643
00:36:10,836 --> 00:36:13,196
Speaker 1: which is that this album is cool because it sounds

644
00:36:13,236 --> 00:36:17,596
Speaker 1: in a lot of ways like almost like what would

645
00:36:17,636 --> 00:36:20,156
Speaker 1: have been like the natural progression for like maybe like

646
00:36:20,196 --> 00:36:23,156
Speaker 1: your third album if your second album hadn't gotten shoved.

647
00:36:23,196 --> 00:36:25,996
Speaker 1: But it also is very in so many ways also

648
00:36:26,036 --> 00:36:27,116
Speaker 1: like out of the box.

649
00:36:26,916 --> 00:36:31,116
Speaker 4: For for what we think of as a ball record,

650
00:36:31,156 --> 00:36:34,276
Speaker 4: like like this like Sunshine, which is is like I

651
00:36:34,316 --> 00:36:36,236
Speaker 4: don't think I've ever heard anything like that from you,

652
00:36:36,276 --> 00:36:37,516
Speaker 4: and it's incredible, you know.

653
00:36:38,356 --> 00:36:42,036
Speaker 2: Yeah, Well, like I said, I don't know.

654
00:36:42,116 --> 00:36:44,516
Speaker 3: I mean when I go into the studio, I'm just

655
00:36:45,436 --> 00:36:49,636
Speaker 3: making stuff that I like, that feels good, and you

656
00:36:49,676 --> 00:36:54,596
Speaker 3: know that I'm challenging myself. Yeah, I call them beautiful mistakes.

657
00:36:54,676 --> 00:36:57,596
Speaker 3: Especially with this album. We were just doing a bunch

658
00:36:57,596 --> 00:37:03,196
Speaker 3: of accidents or in the studio, like doing something and

659
00:37:03,236 --> 00:37:05,636
Speaker 3: then out of nowhere, like something will fall on the

660
00:37:05,716 --> 00:37:10,316
Speaker 3: keyboard or like the guitars will be playing the kick

661
00:37:10,316 --> 00:37:14,836
Speaker 3: accord and something to go. We're like, whoa, but what

662
00:37:14,916 --> 00:37:18,716
Speaker 3: was that? Like erase everything, but keep that part.

663
00:37:19,076 --> 00:37:22,236
Speaker 2: Let's start from there, you know, that's amazing.

664
00:37:22,716 --> 00:37:26,236
Speaker 3: And from that it would turn into something else. It

665
00:37:26,316 --> 00:37:29,276
Speaker 3: was like just a bunch of adventures that kind of

666
00:37:29,316 --> 00:37:34,556
Speaker 3: happened by accident, just like this little inquisitive kids.

667
00:37:34,676 --> 00:37:37,356
Speaker 1: You know, after this last break, we'll be back with

668
00:37:37,356 --> 00:37:44,116
Speaker 1: the rest of my conversation with the law. Who are

669
00:37:44,116 --> 00:37:45,436
Speaker 1: you in the studio with? On some album?

670
00:37:45,756 --> 00:37:50,076
Speaker 3: On this album, I worked with you know, Robert Robert

671
00:37:50,156 --> 00:37:52,916
Speaker 3: glassfer On on a track.

672
00:37:52,996 --> 00:37:53,676
Speaker 1: I worked with.

673
00:37:55,196 --> 00:37:58,196
Speaker 3: My core, my core people that I've been playing with

674
00:37:58,276 --> 00:38:06,236
Speaker 3: in my band free years Tony Whitfield and Simon. I

675
00:38:07,876 --> 00:38:11,596
Speaker 3: always forget Simon's producer's name, so he's going to smash

676
00:38:11,636 --> 00:38:19,276
Speaker 3: me or Flana Flanna fly, but incredible.

677
00:38:19,916 --> 00:38:21,876
Speaker 2: This is a young all young music year.

678
00:38:21,916 --> 00:38:22,596
Speaker 1: He's a guitarist.

679
00:38:22,636 --> 00:38:30,756
Speaker 3: Yeah, you're a guitarist, yeah, and guitarist, phenomenal producer. I

680
00:38:30,916 --> 00:38:40,276
Speaker 3: worked with Kareem Riggins. It's amazing, uh man wonder it's

681
00:38:40,316 --> 00:38:43,596
Speaker 3: also an awesome producer from Philly. I think he's out

682
00:38:43,636 --> 00:38:49,956
Speaker 3: here in l A now. And Jeriy Khan who's a

683
00:38:50,836 --> 00:38:53,916
Speaker 3: producer in Brooklyn. So this is just all my friends.

684
00:38:53,996 --> 00:39:00,556
Speaker 3: Really forget Simon's last name, but he plays in Hyat's Coyote.

685
00:39:01,716 --> 00:39:05,316
Speaker 1: Yeah, yeah, yeah, yeah, Marvin.

686
00:39:05,316 --> 00:39:08,596
Speaker 2: Simon, Marvin Simon, if you watch this, dude, I love you. Man.

687
00:39:08,636 --> 00:39:12,636
Speaker 2: I just don't on anybody's last names. Sorry.

688
00:39:12,876 --> 00:39:14,836
Speaker 1: And was a lot of the writing done in studio

689
00:39:14,956 --> 00:39:16,996
Speaker 1: or did you? Did? You have a lot going there?

690
00:39:19,996 --> 00:39:23,356
Speaker 3: On some of the songs, I would write alone, but

691
00:39:23,396 --> 00:39:29,796
Speaker 3: I also worked with my two writer friends, Hezekiah he's

692
00:39:29,836 --> 00:39:33,796
Speaker 3: a MC from Philly and MC from Philly under the

693
00:39:33,836 --> 00:39:34,516
Speaker 3: name Chemists.

694
00:39:35,316 --> 00:39:38,716
Speaker 2: He's really dope. Hezekia has been uh.

695
00:39:39,996 --> 00:39:43,556
Speaker 3: Working with me as far as lyrics, go for maybe

696
00:39:43,716 --> 00:39:48,476
Speaker 3: since all the way back to my second my second album,

697
00:39:48,516 --> 00:39:51,996
Speaker 3: air Tys Revenge from air Tys Revenge all the way

698
00:39:52,076 --> 00:39:55,116
Speaker 3: up till now, and I produced and wrote a lot

699
00:39:55,116 --> 00:40:01,116
Speaker 3: of that out of Philly and my old collaborator that

700
00:40:01,196 --> 00:40:05,956
Speaker 3: I used to work with in the in that second album,

701
00:40:05,996 --> 00:40:12,476
Speaker 3: Steve McKee Steve Steve Udo was right, Steve McKeith and

702
00:40:12,636 --> 00:40:15,636
Speaker 3: Hezekia had their studios kind of in the same building.

703
00:40:15,836 --> 00:40:19,916
Speaker 3: So I would just hang out at everybody's face and

704
00:40:21,516 --> 00:40:23,716
Speaker 3: we would call has to come up just to hang

705
00:40:23,796 --> 00:40:25,276
Speaker 3: and then you know, like I said, when I'm in

706
00:40:25,276 --> 00:40:28,836
Speaker 3: the studio and everybody's in the room, I asked everybody

707
00:40:29,556 --> 00:40:34,516
Speaker 3: to be involved. Yeah, if my wife came to the studio,

708
00:40:34,556 --> 00:40:37,756
Speaker 3: I would ask her to be involved somehow. Like my

709
00:40:37,796 --> 00:40:43,156
Speaker 3: wife has written lyrics, written lyrics to some some songs.

710
00:40:43,156 --> 00:40:45,556
Speaker 3: Like I'll write some stuff and be like this sounds stupid,

711
00:40:45,956 --> 00:40:49,156
Speaker 3: what would you think? And because my wife is a

712
00:40:49,156 --> 00:40:54,076
Speaker 3: good writer, U but she writes, like really writes like

713
00:40:55,396 --> 00:41:02,356
Speaker 3: essays and books and stuff like that. But I ask anybody,

714
00:41:03,196 --> 00:41:07,676
Speaker 3: so now, if I don't have anybody to bounce stuff off,

715
00:41:07,996 --> 00:41:15,276
Speaker 3: I make colachas And that's how I, uh, the latter

716
00:41:15,316 --> 00:41:18,596
Speaker 3: part of the record. I just started getting really uh

717
00:41:19,036 --> 00:41:20,196
Speaker 3: into these collages.

718
00:41:20,516 --> 00:41:22,356
Speaker 1: How are you making these collages? How do how do

719
00:41:22,396 --> 00:41:23,676
Speaker 1: they start? How do they sound?

720
00:41:25,036 --> 00:41:27,116
Speaker 2: Oh? Well, it's like a word collage.

721
00:41:27,156 --> 00:41:31,956
Speaker 3: So I'll write something down and if I'm not really

722
00:41:32,036 --> 00:41:37,476
Speaker 3: like sure what it is, I'll i'll put it. I'll

723
00:41:37,476 --> 00:41:39,756
Speaker 3: put it aside and I'll start writing something else that

724
00:41:39,836 --> 00:41:42,836
Speaker 3: don't have nothing to do with it, just without the

725
00:41:42,956 --> 00:41:46,476
Speaker 3: music on, and I'll just start writing writing, and then

726
00:41:46,556 --> 00:41:50,916
Speaker 3: I'll I'll take the other paper that I was trying

727
00:41:50,956 --> 00:41:51,836
Speaker 3: to write lyrics to.

728
00:41:52,036 --> 00:41:53,836
Speaker 1: And you're writing to the music to that one.

729
00:41:53,916 --> 00:41:56,476
Speaker 3: And I'll cut it up, like with some scissors, cut

730
00:41:56,516 --> 00:41:59,556
Speaker 3: it up, cut up, and then I'll take the other

731
00:41:59,596 --> 00:42:02,116
Speaker 3: page that I was just writing random stuff on.

732
00:42:02,236 --> 00:42:05,436
Speaker 2: I'll cut that up and I'll just paste them all together.

733
00:42:06,036 --> 00:42:09,796
Speaker 1: Like lines, full lines, but I'll.

734
00:42:09,596 --> 00:42:12,676
Speaker 2: Cut it down and i'll just you know, pace them back.

735
00:42:12,596 --> 00:42:14,476
Speaker 1: Together and just kind of move him around.

736
00:42:14,556 --> 00:42:17,956
Speaker 3: Until I got that idea from Donald Fagan. Like I

737
00:42:18,076 --> 00:42:21,356
Speaker 3: was reading an article. Donald Fagan said that's how he

738
00:42:21,396 --> 00:42:24,636
Speaker 3: wrote his lyrics and Big Black Cow. I was like,

739
00:42:24,756 --> 00:42:25,996
Speaker 3: what I'm gonna do that?

740
00:42:26,316 --> 00:42:27,316
Speaker 2: And it worked.

741
00:42:27,516 --> 00:42:32,916
Speaker 1: That's crazy, No wonder Steally Dan lyrics. It kind of

742
00:42:32,916 --> 00:42:33,836
Speaker 1: makes sense though.

743
00:42:35,316 --> 00:42:37,636
Speaker 2: The lyrics kind of make sense, but don't.

744
00:42:37,596 --> 00:42:40,236
Speaker 1: Onder like I Sometimes I just feel like, I know

745
00:42:40,356 --> 00:42:42,596
Speaker 1: those guys are genius, and sometimes I'm like, I'm stupid.

746
00:42:42,636 --> 00:42:44,676
Speaker 1: I don't I kind of get where he's going one

747
00:42:44,716 --> 00:42:45,276
Speaker 1: hundred percent.

748
00:42:45,356 --> 00:42:47,636
Speaker 3: See, Yeah, man, I want to sit down with with

749
00:42:47,636 --> 00:42:50,276
Speaker 3: with ghost Face and ask him because I feel.

750
00:42:50,036 --> 00:42:51,116
Speaker 2: Like he's doing the same thing.

751
00:42:51,276 --> 00:42:53,436
Speaker 1: Yeah, yeah, ghost Face might get it. Ghost Face is

752
00:42:53,476 --> 00:42:58,836
Speaker 1: on that level. He's the best man. Earlier, you were saying, like,

753
00:42:59,636 --> 00:43:01,676
Speaker 1: early on in your career, you felt very much like

754
00:43:01,916 --> 00:43:05,636
Speaker 1: dictated to in a sense, very much like like like

755
00:43:05,756 --> 00:43:09,556
Speaker 1: you couldn't maybe you were hemmed in and unable to

756
00:43:09,556 --> 00:43:14,196
Speaker 1: make a decision on decisions for yourself or maybe I'm

757
00:43:14,476 --> 00:43:15,596
Speaker 1: extrapolating too far.

758
00:43:17,196 --> 00:43:17,916
Speaker 2: Yes and no.

759
00:43:18,436 --> 00:43:24,036
Speaker 3: You know, I felt like it started off as you know,

760
00:43:25,436 --> 00:43:28,756
Speaker 3: we want you to just get in here, do something different,

761
00:43:28,836 --> 00:43:32,116
Speaker 3: do something crazy. But then they were like, wow, that's

762
00:43:32,236 --> 00:43:35,236
Speaker 3: too crazy. We need to figure out how to like

763
00:43:36,356 --> 00:43:39,196
Speaker 3: bring it in the real it ends. You know, this

764
00:43:39,276 --> 00:43:42,796
Speaker 3: is and this is like interscope as a interscope or

765
00:43:42,956 --> 00:43:45,476
Speaker 3: like I wasn't designed direct to interscope, so it was

766
00:43:45,556 --> 00:43:50,836
Speaker 3: like production. I was under like a production company, so

767
00:43:51,076 --> 00:43:54,396
Speaker 3: it was kind of who are you under? It was

768
00:43:54,436 --> 00:43:58,316
Speaker 3: a production company called more Yo Music, So it was

769
00:44:00,196 --> 00:44:04,196
Speaker 3: it's like three people where they were James and Too

770
00:44:04,236 --> 00:44:08,516
Speaker 3: May's sons. No Way, yeah, and so these cats that

771
00:44:08,556 --> 00:44:11,996
Speaker 3: I respect their musicianship, Yeah, but it was just I

772
00:44:11,996 --> 00:44:16,396
Speaker 3: don't think they were telling me like we need to

773
00:44:16,476 --> 00:44:18,956
Speaker 3: dumb you down to make you pop. They were just like,

774
00:44:19,076 --> 00:44:19,876
Speaker 3: this is so wild.

775
00:44:19,996 --> 00:44:22,396
Speaker 2: How are we gonna sell this? Man? Know?

776
00:44:23,236 --> 00:44:25,996
Speaker 1: What is there a version of your first album that

777
00:44:26,316 --> 00:44:28,316
Speaker 1: is a little like are there versions of those songs

778
00:44:28,716 --> 00:44:30,676
Speaker 1: or other songs that are a little more.

779
00:44:31,156 --> 00:44:33,676
Speaker 3: Yeah, it's a there's lots of song. We did so

780
00:44:33,836 --> 00:44:37,436
Speaker 3: many songs. I do so many songs for records, and

781
00:44:37,436 --> 00:44:40,916
Speaker 3: then I just sit back like we what of this

782
00:44:41,636 --> 00:44:42,356
Speaker 3: is a record?

783
00:44:42,436 --> 00:44:42,636
Speaker 2: You know?

784
00:44:43,476 --> 00:44:47,316
Speaker 3: Especially for that first record, it was we did so

785
00:44:47,516 --> 00:44:51,196
Speaker 3: many songs, work with so many people. Wow, Like I

786
00:44:51,236 --> 00:44:55,356
Speaker 3: did like four songs with Dyla, but we only yeah,

787
00:44:55,356 --> 00:44:58,796
Speaker 3: well we only chose one. So that and then when

788
00:44:58,836 --> 00:45:03,556
Speaker 3: I went to do my second album, I was I

789
00:45:03,676 --> 00:45:08,436
Speaker 3: came to the label to have Dyla do the whole album.

790
00:45:08,716 --> 00:45:12,556
Speaker 3: So before Dyla passed, we were working like I was

791
00:45:12,596 --> 00:45:16,676
Speaker 3: at it at his house it's like we did like

792
00:45:16,876 --> 00:45:20,956
Speaker 3: six songs in Detroit and then he moved out to La.

793
00:45:22,516 --> 00:45:26,476
Speaker 3: It was like got to be like six unfinished tunes.

794
00:45:27,596 --> 00:45:31,316
Speaker 1: Wow. So the version that got leaked wasn't necessarily like.

795
00:45:33,396 --> 00:45:35,876
Speaker 2: Those songs that got leaked were like the songs that

796
00:45:36,076 --> 00:45:37,436
Speaker 2: I produced.

797
00:45:37,276 --> 00:45:39,236
Speaker 1: So that wasn't like the album as it was gonna

798
00:45:39,236 --> 00:45:41,876
Speaker 1: come out the way that it was.

799
00:45:42,036 --> 00:45:47,356
Speaker 3: Just whoever was working with the people that were mixing

800
00:45:47,356 --> 00:45:50,716
Speaker 3: the album, they just like some of the stuff that

801
00:45:51,036 --> 00:45:57,516
Speaker 3: like the unfinished mixes of the because Dyla didn't Dyla

802
00:45:57,676 --> 00:46:00,956
Speaker 3: mixed all his stuff itself. So like I said, he

803
00:46:00,996 --> 00:46:03,636
Speaker 3: had started getting six So we just went in and

804
00:46:03,676 --> 00:46:07,036
Speaker 3: started mixing the songs that I had produced, and those

805
00:46:07,036 --> 00:46:08,276
Speaker 3: were the ones that got leaked.

806
00:46:09,476 --> 00:46:11,316
Speaker 1: Sorrow, Tears and Blood. That was that you and Dilla.

807
00:46:11,956 --> 00:46:12,796
Speaker 2: No, that was just me.

808
00:46:12,996 --> 00:46:15,556
Speaker 1: That was just you, Okay because someone online someone said

809
00:46:15,556 --> 00:46:17,436
Speaker 1: that it was Dylan and I was always.

810
00:46:18,676 --> 00:46:22,836
Speaker 3: No, No I produced that, but I had I was

811
00:46:22,876 --> 00:46:27,116
Speaker 3: bringing in a lot of different people like to kind

812
00:46:27,116 --> 00:46:32,996
Speaker 3: of be a part of it, like Za Mama Calm

813
00:46:33,076 --> 00:46:35,916
Speaker 3: and came and he wrapped on the last half of it.

814
00:46:36,716 --> 00:46:39,676
Speaker 3: But it was it was for a sorrow, cheers and

815
00:46:39,716 --> 00:46:42,876
Speaker 3: Blood project. They were doing a Feila Cootie project that

816
00:46:42,956 --> 00:46:46,836
Speaker 3: wasn't even for my second album. Really around that time

817
00:46:46,876 --> 00:46:51,836
Speaker 3: that that's what had happened. I had I convinced the

818
00:46:51,916 --> 00:46:56,356
Speaker 3: label to allow me to produce six songs by myself

819
00:46:57,156 --> 00:47:01,356
Speaker 3: and then let Jay Dilla come in and produce six

820
00:47:01,436 --> 00:47:03,316
Speaker 3: songs and then we make an album.

821
00:47:03,396 --> 00:47:04,356
Speaker 1: And they were in on that.

822
00:47:05,156 --> 00:47:06,956
Speaker 2: They were in on it until they heard what I

823
00:47:07,036 --> 00:47:07,436
Speaker 2: was doing.

824
00:47:11,436 --> 00:47:12,716
Speaker 1: Did they hear the stuff that was leaked?

825
00:47:13,916 --> 00:47:14,876
Speaker 2: That's when they leaked it.

826
00:47:15,076 --> 00:47:16,356
Speaker 1: What didn't they like about it?

827
00:47:16,596 --> 00:47:19,036
Speaker 3: They didn't like it, But then when it got leaked, ironically,

828
00:47:19,076 --> 00:47:21,316
Speaker 3: they came back and was like, this stuff's amazing.

829
00:47:21,596 --> 00:47:23,316
Speaker 2: I was like, what the yeah, this.

830
00:47:23,276 --> 00:47:29,596
Speaker 1: Is amazing, like incredible cuts a. I me what was

831
00:47:29,676 --> 00:47:30,276
Speaker 1: Jimmy ivying?

832
00:47:30,436 --> 00:47:34,636
Speaker 3: Like, oh man, that's hilarious. Jimmy didn't know what to

833
00:47:34,676 --> 00:47:36,956
Speaker 3: think about it. He was just like, this is not

834
00:47:37,196 --> 00:47:39,436
Speaker 3: R and B. So then I was like, well, what's

835
00:47:39,516 --> 00:47:44,716
Speaker 3: R and B? Then, Jimmy so you would be like, okay, okay,

836
00:47:44,756 --> 00:47:46,636
Speaker 3: you want to play that game. Let's get doctor dre

837
00:47:46,796 --> 00:47:47,156
Speaker 3: in here.

838
00:47:47,476 --> 00:47:50,756
Speaker 2: So Doctor j was like, this ain't this ain't R

839
00:47:50,756 --> 00:47:50,956
Speaker 2: and B.

840
00:47:51,036 --> 00:47:53,236
Speaker 3: It's a hybrid. I know, exactly what it is, so

841
00:47:53,756 --> 00:47:55,796
Speaker 3: signing me and I was like.

842
00:47:55,916 --> 00:47:59,956
Speaker 2: Okay, how do I do this.

843
00:48:00,556 --> 00:48:07,956
Speaker 3: In the midst of that, I guess somebody that I

844
00:48:08,036 --> 00:48:11,156
Speaker 3: you know, I don't want to out anyone, out anyone,

845
00:48:11,196 --> 00:48:15,476
Speaker 3: but when they heard the people that they thought would

846
00:48:15,516 --> 00:48:19,436
Speaker 3: say it sucked, was like, actually, I could do something

847
00:48:19,476 --> 00:48:19,756
Speaker 3: with this.

848
00:48:21,116 --> 00:48:22,676
Speaker 2: It got the leaked.

849
00:48:23,156 --> 00:48:25,036
Speaker 1: So someone blocked you from signing to DRE.

850
00:48:26,476 --> 00:48:28,756
Speaker 3: I don't think somebody blocked me from signing and Dre.

851
00:48:28,916 --> 00:48:32,836
Speaker 3: I just think once I started working the project with Dre,

852
00:48:33,036 --> 00:48:36,916
Speaker 3: the music that I had already worked on got leaked.

853
00:48:37,156 --> 00:48:40,396
Speaker 3: I guess in an effort to have me just start

854
00:48:40,436 --> 00:48:43,156
Speaker 3: from scratch, you know what I mean.

855
00:48:44,156 --> 00:48:45,436
Speaker 2: Damn, that's the way it came to me.

856
00:48:45,516 --> 00:48:49,836
Speaker 3: It was like, oh, everything's leaked, so I guess we

857
00:48:49,916 --> 00:48:50,996
Speaker 3: gotta start from the top.

858
00:48:53,756 --> 00:48:58,556
Speaker 1: I was like, what, but theoretically you could have started

859
00:48:58,556 --> 00:49:00,836
Speaker 1: from the top, but you said fuck that. Yeah.

860
00:49:00,836 --> 00:49:04,956
Speaker 3: I mean I tried, man, but I was just I

861
00:49:04,956 --> 00:49:06,756
Speaker 3: felt like I was doing a whole new album. I

862
00:49:06,876 --> 00:49:08,996
Speaker 3: just kind of lost what I would wear. I was

863
00:49:09,516 --> 00:49:12,556
Speaker 3: what was happening? Yeah, yeah, you know. And in the

864
00:49:12,676 --> 00:49:17,796
Speaker 3: in the middle of that, like the business side just

865
00:49:17,956 --> 00:49:22,396
Speaker 3: went into estellemate I think the the production label that

866
00:49:22,516 --> 00:49:26,956
Speaker 3: I was under kind of changed homes. They went to

867
00:49:27,036 --> 00:49:29,396
Speaker 3: another label, So it was just a bunch of label

868
00:49:29,436 --> 00:49:33,156
Speaker 3: stuff started happening. And at the same time that the

869
00:49:33,236 --> 00:49:35,796
Speaker 3: record was bootlegs, so it was just everything was up

870
00:49:35,836 --> 00:49:36,236
Speaker 3: in the air.

871
00:49:37,556 --> 00:49:39,556
Speaker 1: Drey must have loved you, though, I imagine, right.

872
00:49:39,596 --> 00:49:42,436
Speaker 3: Yeah, yeah, yeah, I still I still talked to Dre

873
00:49:42,436 --> 00:49:43,196
Speaker 3: every now and then.

874
00:49:43,276 --> 00:49:46,236
Speaker 1: Yeah, so you guys made music. Still.

875
00:49:49,956 --> 00:49:53,156
Speaker 2: I don't know what Dre's doing, but I know maybe

876
00:49:53,316 --> 00:49:54,756
Speaker 2: one day. Still, I loved Dre.

877
00:49:54,916 --> 00:49:57,076
Speaker 3: I love everything he's doing, and I think the last

878
00:49:57,076 --> 00:50:00,716
Speaker 3: time I saw him, we would I went into the

879
00:50:00,756 --> 00:50:03,076
Speaker 3: studio to hang out with Anderson Pack and he came

880
00:50:03,116 --> 00:50:06,036
Speaker 3: through when we was just hanging Yeah, so.

881
00:50:07,116 --> 00:50:08,556
Speaker 1: Were you when you went into the stew with him

882
00:50:08,556 --> 00:50:13,316
Speaker 1: to do stuff? H firstborn? Second, I guess you would

883
00:50:13,316 --> 00:50:14,956
Speaker 1: have in a high school when Chronic came out or

884
00:50:15,276 --> 00:50:19,636
Speaker 1: close to Was that like in your or did you

885
00:50:19,716 --> 00:50:21,636
Speaker 1: kind of some some of these some people on these coasts.

886
00:50:21,636 --> 00:50:23,036
Speaker 1: I feel like I missed that a bit. You know.

887
00:50:23,116 --> 00:50:25,756
Speaker 3: When I was in high school, I knew of the

888
00:50:25,836 --> 00:50:29,676
Speaker 3: Chronic because my brother was big in hip hop. But

889
00:50:30,556 --> 00:50:32,236
Speaker 3: when I was in high school, I was kind of

890
00:50:32,276 --> 00:50:35,556
Speaker 3: like a jazz snob, Like I was like, nah, man,

891
00:50:35,756 --> 00:50:39,756
Speaker 3: you know, only through that I really like was like, oh.

892
00:50:39,676 --> 00:50:41,276
Speaker 2: THATX kind of hip is like.

893
00:50:43,036 --> 00:50:46,196
Speaker 3: Tropical quest because I knew the jazz samples, you know,

894
00:50:46,476 --> 00:50:51,636
Speaker 3: I was kind of approude. But by the time I

895
00:50:51,676 --> 00:50:57,356
Speaker 3: got to the second Chronic, I was already in in college,

896
00:50:57,396 --> 00:50:58,636
Speaker 3: you know, I was loving it.

897
00:50:58,836 --> 00:51:01,876
Speaker 2: So by the time I got to the studio, I

898
00:51:01,996 --> 00:51:03,276
Speaker 2: was full on like.

899
00:51:04,676 --> 00:51:10,036
Speaker 3: A static yeah something there with Doctor Dre And it's crazy.

900
00:51:10,036 --> 00:51:12,676
Speaker 3: You know they always say you really want something to happen,

901
00:51:12,756 --> 00:51:15,836
Speaker 3: you write it down, and I literally wrote down all

902
00:51:15,876 --> 00:51:17,956
Speaker 3: the people that I wanted to work with and I

903
00:51:17,996 --> 00:51:18,916
Speaker 3: worked with all of them.

904
00:51:19,596 --> 00:51:22,636
Speaker 2: Wow, And so that was crazy. It was in there.

905
00:51:22,716 --> 00:51:25,396
Speaker 2: I was just like, this is magic, This is magic.

906
00:51:26,756 --> 00:51:31,156
Speaker 3: And I felt at home because Scott Storch was there,

907
00:51:31,276 --> 00:51:34,076
Speaker 3: and Scott Storch from Philly.

908
00:51:33,756 --> 00:51:36,476
Speaker 1: So Philly got another Philly guy right of course.

909
00:51:36,596 --> 00:51:38,836
Speaker 2: So we were just in there high five and it

910
00:51:38,956 --> 00:51:40,036
Speaker 2: was just it was awesome.

911
00:51:40,196 --> 00:51:41,756
Speaker 1: Damn it. Did he did he had he heard of

912
00:51:41,796 --> 00:51:43,556
Speaker 1: you by that point, like Scott or what did he

913
00:51:43,636 --> 00:51:44,276
Speaker 1: know you from Philly?

914
00:51:44,436 --> 00:51:45,476
Speaker 2: I knew Scott from Philly.

915
00:51:46,076 --> 00:51:46,876
Speaker 1: That's crazy.

916
00:51:48,556 --> 00:51:50,356
Speaker 2: So it was it was great.

917
00:51:50,916 --> 00:51:58,996
Speaker 1: That's amazing. Questlove tells a great story about how Sometimes

918
00:51:59,076 --> 00:52:02,756
Speaker 1: came to be in this in the glasshouse record or

919
00:52:02,836 --> 00:52:04,756
Speaker 1: live session. I don't know how you want to frame that.

920
00:52:04,996 --> 00:52:08,596
Speaker 1: Which is an incredible I mean it's it's streaming. People

921
00:52:08,596 --> 00:52:11,476
Speaker 1: should listen to and watch it on YouTube. It's phenomenal,

922
00:52:11,716 --> 00:52:16,116
Speaker 1: so well done well, i mean, directed, well performed everything.

923
00:52:16,356 --> 00:52:20,996
Speaker 1: That's an incredible piece than you. Uh, But Questum tells

924
00:52:21,036 --> 00:52:23,956
Speaker 1: us a pretty pretty funny story about how Sometimes came

925
00:52:23,996 --> 00:52:26,676
Speaker 1: to be. Can you tell that from your perspective?

926
00:52:30,236 --> 00:52:32,476
Speaker 3: Well, by the time I had came to the studio,

927
00:52:33,516 --> 00:52:38,516
Speaker 3: they were kind of like already joking around, playing playing

928
00:52:38,516 --> 00:52:41,316
Speaker 3: the record in the way our mirror and James produced.

929
00:52:41,356 --> 00:52:45,276
Speaker 3: It's kind of like just one big jam session. So

930
00:52:45,436 --> 00:52:47,956
Speaker 3: they were just in there laughing, joking, and I came in,

931
00:52:48,316 --> 00:52:51,396
Speaker 3: just got on the mic and just started freestyling over

932
00:52:51,476 --> 00:52:53,036
Speaker 3: top their joke, their banter.

933
00:52:53,316 --> 00:52:56,796
Speaker 1: They're poking fun at comn from missing out on the road.

934
00:52:56,836 --> 00:53:01,596
Speaker 1: Maybe the most death y'all seen Bay. Yeah, And.

935
00:53:02,476 --> 00:53:04,076
Speaker 3: You know, it was just a bunch of bunch of

936
00:53:04,196 --> 00:53:09,716
Speaker 3: laughing and joking coming, you know, and different switch ups

937
00:53:09,716 --> 00:53:12,516
Speaker 3: in the music they would do as jokes.

938
00:53:12,916 --> 00:53:13,476
Speaker 2: Yeah, and.

939
00:53:15,796 --> 00:53:20,516
Speaker 3: You know, they'll play a ton of different shapes and

940
00:53:20,556 --> 00:53:22,396
Speaker 3: then at the end they was like, all right, you

941
00:53:22,396 --> 00:53:25,196
Speaker 3: picked from that and then we'll come back and make

942
00:53:25,276 --> 00:53:28,596
Speaker 3: it a whole track. But when I heard them, I

943
00:53:28,596 --> 00:53:30,036
Speaker 3: didn't know it was a joke. I just went in

944
00:53:30,436 --> 00:53:33,356
Speaker 3: right in there and started singing along. They were like, hey,

945
00:53:33,516 --> 00:53:37,636
Speaker 3: what is this this working? And some of the freestyle.

946
00:53:37,996 --> 00:53:41,076
Speaker 3: I changed some of the lyrics, but most of sometimes

947
00:53:41,236 --> 00:53:45,716
Speaker 3: was just right off. Sometimes I wish I was with me,

948
00:53:45,876 --> 00:53:47,956
Speaker 3: sometimes I wish I was a drug free I was

949
00:53:48,036 --> 00:53:52,276
Speaker 3: just I thought I was just going going in with

950
00:53:52,316 --> 00:53:53,716
Speaker 3: the bands back, you know.

951
00:53:53,876 --> 00:53:55,836
Speaker 1: So, Yeah, that's incredible.

952
00:53:55,836 --> 00:53:56,956
Speaker 2: It's like a freestyle song.

953
00:53:57,116 --> 00:53:59,636
Speaker 1: It's insane, says. It's at the end of the story.

954
00:53:59,676 --> 00:54:01,556
Speaker 1: He says it to where he's like, y'all were mixing up.

955
00:54:01,636 --> 00:54:04,916
Speaker 1: Umi says, to make fun of comment with with Bill's

956
00:54:04,916 --> 00:54:08,516
Speaker 1: bills bills I think from Destiny's Child because it was

957
00:54:08,516 --> 00:54:12,676
Speaker 1: the car Man movie. D just started. Yeah, so but

958
00:54:12,716 --> 00:54:14,516
Speaker 1: he said then at that he says, yeah, it was

959
00:54:14,716 --> 00:54:15,356
Speaker 1: one take.

960
00:54:15,316 --> 00:54:17,796
Speaker 3: The core of it, most of it, and then I

961
00:54:17,956 --> 00:54:24,636
Speaker 3: just went back in and uh, put backgrounds vocals on there,

962
00:54:25,036 --> 00:54:27,396
Speaker 3: and then just like some of the lyrics.

963
00:54:27,396 --> 00:54:30,356
Speaker 2: I changed some of the lyrics, but like I said,

964
00:54:30,396 --> 00:54:31,116
Speaker 2: most of it.

965
00:54:30,956 --> 00:54:32,916
Speaker 1: Was just that was it much longer and you guys

966
00:54:32,956 --> 00:54:33,956
Speaker 1: had to like trim it down.

967
00:54:34,036 --> 00:54:36,276
Speaker 2: Yeah. Yeah, it was like, man, it was almost like

968
00:54:37,556 --> 00:54:43,556
Speaker 2: eight minutes just and then going into other stuff.

969
00:54:45,676 --> 00:54:48,196
Speaker 3: But it didn't have a base on it. It was

970
00:54:48,396 --> 00:54:51,876
Speaker 3: just our mere playing drums and James on the keyboards.

971
00:54:51,996 --> 00:54:55,476
Speaker 3: And then later on they had Pino Palladino come in

972
00:54:55,876 --> 00:54:57,036
Speaker 3: and that was one tape.

973
00:54:58,236 --> 00:55:01,916
Speaker 2: Pino didn't even Pino didn't even know what was going on.

974
00:55:02,076 --> 00:55:04,916
Speaker 3: It was it was just like, all right in two

975
00:55:05,436 --> 00:55:08,076
Speaker 3: in two more bars, we won't go It's gonna go

976
00:55:08,116 --> 00:55:08,516
Speaker 3: to another.

977
00:55:08,556 --> 00:55:11,956
Speaker 2: It's gonna go on another gourd rady go New York

978
00:55:14,676 --> 00:55:15,836
Speaker 2: and it kept everything.

979
00:55:16,076 --> 00:55:19,316
Speaker 3: I loved it, or as on the spot as it

980
00:55:19,356 --> 00:55:20,196
Speaker 3: could get.

981
00:55:20,636 --> 00:55:23,636
Speaker 1: As far as the music, that's an amazing story, man,

982
00:55:23,756 --> 00:55:24,956
Speaker 1: that's an amazing story.

983
00:55:25,236 --> 00:55:25,436
Speaker 2: Yeah.

984
00:55:25,436 --> 00:55:27,236
Speaker 3: I love it like I love it when it's like that,

985
00:55:27,596 --> 00:55:31,556
Speaker 3: you know, that's just the music just comes out of you.

986
00:55:32,676 --> 00:55:34,356
Speaker 3: When I was working with Dla, a lot of the

987
00:55:34,476 --> 00:55:36,036
Speaker 3: music happened the same way.

988
00:55:36,396 --> 00:55:36,756
Speaker 1: Really.

989
00:55:37,116 --> 00:55:41,676
Speaker 3: Yeah, we did a song we just I did a

990
00:55:41,716 --> 00:55:45,596
Speaker 3: song with Guru on his Jazmine task album.

991
00:55:45,476 --> 00:55:48,316
Speaker 1: On volume one of that, right yeah, right, And.

992
00:55:49,996 --> 00:55:54,236
Speaker 3: Me and Guru went out to Detroit and Del it

993
00:55:54,276 --> 00:55:57,796
Speaker 3: was just in the studio. It was quiet, just like this,

994
00:55:57,876 --> 00:56:01,156
Speaker 3: and he was just like and we was like, so,

995
00:56:01,276 --> 00:56:03,156
Speaker 3: where's the music. He's like, oh, I was waiting for

996
00:56:03,236 --> 00:56:06,356
Speaker 3: y'all to get here. Let me, let me put something together.

997
00:56:10,516 --> 00:56:14,156
Speaker 3: And he did that whole everything. He just walked around

998
00:56:14,796 --> 00:56:19,516
Speaker 3: collected like twenty vinyls and just all while we're talking

999
00:56:19,636 --> 00:56:22,756
Speaker 3: and he's rolling blood on the vinyl just like yeah,

1000
00:56:22,876 --> 00:56:25,236
Speaker 3: so we oh man seen a minute and then he

1001
00:56:25,276 --> 00:56:28,516
Speaker 3: would just keep like one headphone on the whole time

1002
00:56:28,636 --> 00:56:31,476
Speaker 3: is just quiet and we just in there.

1003
00:56:32,556 --> 00:56:35,116
Speaker 2: He got games, so we playing games and stuff and

1004
00:56:35,196 --> 00:56:36,036
Speaker 2: then he's just like.

1005
00:56:38,036 --> 00:56:40,716
Speaker 3: And then like literally, I think that beat took him

1006
00:56:40,716 --> 00:56:46,996
Speaker 3: like not even ten minutes, because he was just boom,

1007
00:56:47,196 --> 00:56:52,556
Speaker 3: next record ten minutes. And then he would just turned

1008
00:56:52,556 --> 00:56:55,876
Speaker 3: their beat up just like that, and he's like whoa,

1009
00:56:57,396 --> 00:56:59,516
Speaker 3: And I was like, Yo, that's a lie. You you

1010
00:56:59,756 --> 00:57:03,356
Speaker 3: had this beat made? This was just a performed Like

1011
00:57:03,556 --> 00:57:03,996
Speaker 3: come on.

1012
00:57:04,156 --> 00:57:07,116
Speaker 1: He was like, nah, were there beats he took longer

1013
00:57:07,156 --> 00:57:07,436
Speaker 1: to make?

1014
00:57:07,596 --> 00:57:07,676
Speaker 3: Like?

1015
00:57:07,676 --> 00:57:11,116
Speaker 1: Were there? I know?

1016
00:57:11,276 --> 00:57:14,196
Speaker 3: Every time I worked with him, he made it from nothing,

1017
00:57:15,356 --> 00:57:17,156
Speaker 3: damn even the drum sound.

1018
00:57:17,236 --> 00:57:18,956
Speaker 1: He was never struggling with anything like, oh I got

1019
00:57:18,956 --> 00:57:19,836
Speaker 1: this thing, I don't know what to.

1020
00:57:19,796 --> 00:57:20,916
Speaker 2: Do with nah.

1021
00:57:21,116 --> 00:57:27,636
Speaker 3: Even when he was like not feeling well, it was

1022
00:57:27,716 --> 00:57:31,636
Speaker 3: the same. His creativity didn't go nowhere.

1023
00:57:31,956 --> 00:57:33,036
Speaker 2: I thought.

1024
00:57:33,476 --> 00:57:38,956
Speaker 3: The last time I worked with him, he messed my

1025
00:57:38,996 --> 00:57:42,156
Speaker 3: head up the most because we were having a problem

1026
00:57:42,396 --> 00:57:47,156
Speaker 3: with some of the samples. It was one of the

1027
00:57:47,156 --> 00:57:51,276
Speaker 3: an rs from the label had came with me that

1028
00:57:51,436 --> 00:57:55,076
Speaker 3: time and we were like talking about some of the

1029
00:57:55,116 --> 00:57:57,516
Speaker 3: stuff and like clearing the samples, and he.

1030
00:57:57,516 --> 00:57:59,116
Speaker 2: Was like, what, I replay all this.

1031
00:58:01,876 --> 00:58:06,356
Speaker 3: He programmed, he knew, programmed all of the moves in

1032
00:58:06,396 --> 00:58:12,836
Speaker 3: the crib, replayed everything. What And I was like, what,

1033
00:58:13,676 --> 00:58:17,996
Speaker 3: I don't know your play bass? What the hell is

1034
00:58:18,036 --> 00:58:18,556
Speaker 3: going on?

1035
00:58:19,196 --> 00:58:22,876
Speaker 2: And he said, I don't know how to play?

1036
00:58:21,516 --> 00:58:24,756
Speaker 1: So so did he actually know or did he just

1037
00:58:24,796 --> 00:58:27,716
Speaker 1: had he just listen enough that he knew, Like he just.

1038
00:58:27,756 --> 00:58:29,636
Speaker 3: He said he didn't know, but I was like, yo,

1039
00:58:29,796 --> 00:58:32,676
Speaker 3: you're playing that and you killing it. He was like,

1040
00:58:32,716 --> 00:58:36,596
Speaker 3: I just know how to find the sounds that I want.

1041
00:58:38,156 --> 00:58:39,596
Speaker 1: Damn, man, that's amazing.

1042
00:58:39,836 --> 00:58:44,276
Speaker 3: And the crazy thing was the label had flew James

1043
00:58:44,276 --> 00:58:47,756
Speaker 3: Boyster out the next day to kind of replay the

1044
00:58:47,796 --> 00:58:49,276
Speaker 3: stuff that he sampled.

1045
00:58:49,676 --> 00:58:52,236
Speaker 2: And me and James was in there like what is

1046
00:58:52,356 --> 00:58:56,396
Speaker 2: going on? Like how did you? James was like I'm out, I'm.

1047
00:58:59,996 --> 00:59:00,676
Speaker 1: That's crazy.

1048
00:59:00,796 --> 00:59:04,116
Speaker 3: It's like he because we thought James was like the

1049
00:59:04,156 --> 00:59:14,836
Speaker 3: man at finding programming the moves, was like, wow, got

1050
00:59:14,876 --> 00:59:17,156
Speaker 3: the exact sounds like from.

1051
00:59:18,796 --> 00:59:21,476
Speaker 2: You know on the move. It's just that one noise.

1052
00:59:23,996 --> 00:59:24,956
Speaker 2: He blew my mind.

1053
00:59:25,636 --> 00:59:29,596
Speaker 1: Jesus, that's wild and did it just as fast as

1054
00:59:29,596 --> 00:59:33,196
Speaker 1: he would do chopping the beat.

1055
00:59:33,916 --> 00:59:34,476
Speaker 2: I was done.

1056
00:59:35,316 --> 00:59:37,716
Speaker 1: That's really wild. I'm gonna go back to the idea.

1057
00:59:37,836 --> 00:59:39,996
Speaker 1: Early on you were talking about your what was your

1058
00:59:40,036 --> 00:59:43,196
Speaker 1: high school teacher's name, mister King, Mister King, you're talking

1059
00:59:43,236 --> 00:59:45,676
Speaker 1: about how he also introduced you to the idea of

1060
00:59:45,796 --> 00:59:51,036
Speaker 1: dynamics and music essentially, and that's so present in your music.

1061
00:59:51,836 --> 00:59:55,836
Speaker 1: And you do a version of Since I've Been Loving

1062
00:59:55,836 --> 01:00:00,076
Speaker 1: You by Zeppelin. That's like that song has always floored

1063
01:00:00,116 --> 01:00:03,116
Speaker 1: me because again the dynamics where they go up and

1064
01:00:03,156 --> 01:00:05,956
Speaker 1: down with that song is and then the version you do,

1065
01:00:06,036 --> 01:00:09,076
Speaker 1: and there was one you did at like a root

1066
01:00:09,236 --> 01:00:12,916
Speaker 1: jam something you do since I've Been Loving You into

1067
01:00:13,036 --> 01:00:16,076
Speaker 1: everything in this right place, some believer, I think at

1068
01:00:16,116 --> 01:00:17,596
Speaker 1: the Cork this morning because I was like, dude, y'all

1069
01:00:17,676 --> 01:00:21,756
Speaker 1: are ridiculous. Man. Oh yeah, you guys are ridiculous. Man.

1070
01:00:22,996 --> 01:00:25,316
Speaker 3: That's a good The cool thing about the Roots say,

1071
01:00:25,436 --> 01:00:27,036
Speaker 3: they encompassed so many.

1072
01:00:26,796 --> 01:00:28,596
Speaker 2: Styles of music.

1073
01:00:31,036 --> 01:00:34,036
Speaker 3: I was always inspired by them, you know, Like I said,

1074
01:00:35,556 --> 01:00:41,876
Speaker 3: coming up in Philly, I would search out the Amyre

1075
01:00:42,436 --> 01:00:45,836
Speaker 3: jam sessions, you know, because he would have these impromptu

1076
01:00:45,996 --> 01:00:48,996
Speaker 3: jam sessions around the city and I would just try

1077
01:00:49,036 --> 01:00:56,076
Speaker 3: and find them. And ironically, like that's where I met

1078
01:00:56,156 --> 01:00:59,236
Speaker 3: some of the cool musicians that I know to this day. Like,

1079
01:00:59,956 --> 01:01:05,436
Speaker 3: I was just always, uh, I think drawn to that,

1080
01:01:06,876 --> 01:01:09,316
Speaker 3: and I always try to keep that element. And I

1081
01:01:09,396 --> 01:01:12,796
Speaker 3: always saw what the Roots was doing. It's like kind

1082
01:01:12,796 --> 01:01:15,836
Speaker 3: of the blueprint of what I wanted to do. I

1083
01:01:15,836 --> 01:01:20,076
Speaker 3: felt like it was the gateway to push what I

1084
01:01:20,156 --> 01:01:25,356
Speaker 3: had absorbed from college and jazz and how I like

1085
01:01:25,876 --> 01:01:35,156
Speaker 3: fused that in to uh, you know, the the popular culture.

1086
01:01:35,236 --> 01:01:40,436
Speaker 3: I would say, you know what I'm saying. I felt

1087
01:01:40,436 --> 01:01:43,116
Speaker 3: like they really were doing it.

1088
01:01:43,156 --> 01:01:45,476
Speaker 2: Man. It was just inspiring to this day.

1089
01:01:45,996 --> 01:01:47,676
Speaker 1: Yeah, man, I got I gotta put in requests that

1090
01:01:47,716 --> 01:01:51,756
Speaker 1: you and Kurt do a project together. Man. There's also

1091
01:01:51,756 --> 01:01:54,596
Speaker 1: another video. I can't find it anymore, man, but I

1092
01:01:54,676 --> 01:01:56,276
Speaker 1: ripped it so somewhere in my having in my heart

1093
01:01:56,316 --> 01:01:59,916
Speaker 1: drive somewhere. You guys on Falling when it was still

1094
01:01:59,916 --> 01:02:03,876
Speaker 1: the Late Show doing the roots on the other side

1095
01:02:05,236 --> 01:02:08,436
Speaker 1: ten years or so ago. Oh yeah, with the the strings.

1096
01:02:08,436 --> 01:02:10,716
Speaker 1: But there's a bit of where you and and Captain

1097
01:02:10,756 --> 01:02:12,836
Speaker 1: Kirk just go like just trading back and forth, and

1098
01:02:12,876 --> 01:02:17,036
Speaker 1: I've never seen anything like it. It's like chills.

1099
01:02:17,756 --> 01:02:27,876
Speaker 2: Yeah, yeah, I mean it's cool when there's musicians for

1100
01:02:28,036 --> 01:02:29,156
Speaker 2: me that can.

1101
01:02:31,356 --> 01:02:35,916
Speaker 3: Set up that environment where you feel like, wow, I

1102
01:02:35,916 --> 01:02:41,116
Speaker 3: can jump off this cliff and I'll be fine, yes, yeah.

1103
01:02:42,316 --> 01:02:45,036
Speaker 2: And then nobody's going no, don't jump.

1104
01:02:45,396 --> 01:02:47,796
Speaker 1: You find it hard to find musicians because I mean, like,

1105
01:02:47,836 --> 01:02:49,636
Speaker 1: you are a guy. You just strike me as a

1106
01:02:49,636 --> 01:02:52,196
Speaker 1: guy just from listening to you and seeing you, like

1107
01:02:52,236 --> 01:02:55,196
Speaker 1: it's like I feel like you'll go further off the

1108
01:02:55,196 --> 01:02:58,596
Speaker 1: cliff than anybody, you know what I mean. Like, it's

1109
01:02:58,636 --> 01:03:00,276
Speaker 1: hard for you to find people that like, I'm like

1110
01:03:00,276 --> 01:03:05,596
Speaker 1: the Lenny Bruce Yeah for the yeah, yeah, for the

1111
01:03:05,636 --> 01:03:08,196
Speaker 1: young hands. Yeah, they won't get that reference, but yes,

1112
01:03:08,196 --> 01:03:11,716
Speaker 1: you're the Lenny Bruce of RB. You're getting arrested on

1113
01:03:11,756 --> 01:03:14,836
Speaker 1: stage for taking it too far.

1114
01:03:15,036 --> 01:03:16,636
Speaker 2: Man, I don't know.

1115
01:03:16,756 --> 01:03:19,196
Speaker 3: I mean that's like I said, that's the jazz thing,

1116
01:03:19,276 --> 01:03:21,156
Speaker 3: and then it's also the punk rock thing.

1117
01:03:21,276 --> 01:03:21,476
Speaker 2: You know.

1118
01:03:24,036 --> 01:03:28,596
Speaker 3: Bad Brains is like my favorite, one of my favorite

1119
01:03:28,596 --> 01:03:31,516
Speaker 3: groups of all time. And I mentioned my boy Chuck

1120
01:03:31,556 --> 01:03:34,156
Speaker 3: Trees because he used to play drums and the Bad

1121
01:03:34,196 --> 01:03:36,996
Speaker 3: Brains and he's like my old g I met Chuck

1122
01:03:37,956 --> 01:03:41,956
Speaker 3: we uh at our mere's house, but then we got

1123
01:03:41,996 --> 01:03:46,276
Speaker 3: really close when we were roommates Uh in d'angelo's band

1124
01:03:46,716 --> 01:03:48,116
Speaker 3: Wow and.

1125
01:03:49,476 --> 01:03:51,476
Speaker 2: For a summer. Then I got fired.

1126
01:03:51,996 --> 01:03:54,436
Speaker 1: But what you get fired for?

1127
01:03:56,396 --> 01:04:00,636
Speaker 2: I couldn't. I was just a horrible background singer, man.

1128
01:04:01,996 --> 01:04:04,116
Speaker 1: I seen, but I was.

1129
01:04:04,236 --> 01:04:09,396
Speaker 2: I was like so into what everybody else was doing.

1130
01:04:09,476 --> 01:04:10,636
Speaker 2: I kept missing my parts.

1131
01:04:10,676 --> 01:04:13,836
Speaker 3: It wasn't that I couldn't sing the parts, but it's

1132
01:04:13,916 --> 01:04:17,716
Speaker 3: like our mirrors on drums. H roy Hard goes on

1133
01:04:17,836 --> 01:04:23,076
Speaker 3: in the trumpet section. D'angelo's playing keys, and this is

1134
01:04:23,156 --> 01:04:26,956
Speaker 3: like me right out of high school. I'm just looking.

1135
01:04:26,676 --> 01:04:29,596
Speaker 2: Around at everybody, like, oh my god, this is so bad.

1136
01:04:29,756 --> 01:04:32,436
Speaker 3: And then I look and d'angelo's giving me the deaths

1137
01:04:32,476 --> 01:04:35,396
Speaker 3: there like you missed your note again, and I'm.

1138
01:04:35,236 --> 01:04:40,996
Speaker 1: Like, oh yo. He was like, yeah, who fires you

1139
01:04:41,036 --> 01:04:44,636
Speaker 1: out of Dangelo's band? Like, how does that work?

1140
01:04:44,676 --> 01:04:49,836
Speaker 3: D'Angelo fired me, man, But it was very friendly. He said,

1141
01:04:49,916 --> 01:04:58,036
Speaker 3: you need to go get a record. You too much

1142
01:04:58,036 --> 01:05:03,516
Speaker 3: about the music, man, he was looking at everything.

1143
01:05:02,756 --> 01:05:04,476
Speaker 2: Not doing your job, brother.

1144
01:05:07,756 --> 01:05:13,436
Speaker 1: About the music. You fucking mind you that's crazy. Did

1145
01:05:13,436 --> 01:05:15,156
Speaker 1: did you process it as like a blow or you're

1146
01:05:15,196 --> 01:05:18,476
Speaker 1: just like, nah, you're probably right man, Like no, I was.

1147
01:05:18,596 --> 01:05:20,956
Speaker 2: I took it as wow, you think I could get

1148
01:05:20,956 --> 01:05:28,236
Speaker 2: a record? Hell? Yeah?

1149
01:05:28,916 --> 01:05:32,916
Speaker 1: Is that? Is that? How you knew Keytar Boston Bird?

1150
01:05:34,076 --> 01:05:34,836
Speaker 2: I met Keytar?

1151
01:05:34,996 --> 01:05:40,356
Speaker 3: Yeah, from that process because I started putting together a

1152
01:05:40,396 --> 01:05:41,916
Speaker 3: demo with.

1153
01:05:41,956 --> 01:05:44,796
Speaker 1: The guy from but the drummer from the Spin Doc

1154
01:05:44,796 --> 01:05:46,556
Speaker 1: which I never I gotta said, I never knew that.

1155
01:05:46,916 --> 01:05:48,316
Speaker 2: Yeah. We went to the same college.

1156
01:05:48,476 --> 01:05:52,596
Speaker 1: The drummer from the Spin Doctors, Aaron Comas two Princes

1157
01:05:52,716 --> 01:05:55,876
Speaker 1: Spin Doctors produced on your first record and everything.

1158
01:05:55,956 --> 01:06:00,076
Speaker 3: Ironically, we went to the same college and we were

1159
01:06:00,116 --> 01:06:01,436
Speaker 3: playing in the same.

1160
01:06:02,956 --> 01:06:05,756
Speaker 2: Dive bar jazz band.

1161
01:06:07,516 --> 01:06:12,116
Speaker 3: Uh like three in the morning at this place called

1162
01:06:12,196 --> 01:06:20,996
Speaker 3: Sidewalk Cafe, and me and Rob were having a hard

1163
01:06:21,116 --> 01:06:26,996
Speaker 3: time stay and walk to make the gig. So Aaron

1164
01:06:27,116 --> 01:06:29,916
Speaker 3: was like, YO, just come to my house, and you know,

1165
01:06:29,956 --> 01:06:31,956
Speaker 3: I got some instruments there. We could kind of like

1166
01:06:32,076 --> 01:06:34,836
Speaker 3: jam until the gig we go there. He lives in

1167
01:06:34,876 --> 01:06:37,836
Speaker 3: a man like straight up like I'm like, what do

1168
01:06:37,876 --> 01:06:38,636
Speaker 3: you do mean?

1169
01:06:39,396 --> 01:06:40,396
Speaker 1: You're so rich?

1170
01:06:41,036 --> 01:06:43,876
Speaker 3: Because I didn't know anything about the spin doctors and

1171
01:06:43,916 --> 01:06:46,756
Speaker 3: then he was like, dude, I'm about He didn't even

1172
01:06:46,756 --> 01:06:52,156
Speaker 3: tell us until like, I don't think he ever told me.

1173
01:06:52,236 --> 01:06:54,916
Speaker 3: I just kind of found out about that myself.

1174
01:06:55,196 --> 01:06:56,876
Speaker 1: He didn't have like records on the wall.

1175
01:06:57,196 --> 01:07:00,476
Speaker 3: No, it's just like a regular house. But he had

1176
01:07:00,516 --> 01:07:04,836
Speaker 3: an ill studio. Wow, just like wow, like how you

1177
01:07:04,876 --> 01:07:05,596
Speaker 3: got all this stuff?

1178
01:07:05,596 --> 01:07:06,916
Speaker 2: And that I wrote.

1179
01:07:08,396 --> 01:07:13,076
Speaker 3: A lot of h like my first uh songs on

1180
01:07:13,076 --> 01:07:19,036
Speaker 3: on on our air, on my first album at his crib,

1181
01:07:19,236 --> 01:07:25,556
Speaker 3: like when you call Queen in Sanity love poems, all

1182
01:07:25,596 --> 01:07:26,156
Speaker 3: of those.

1183
01:07:26,836 --> 01:07:29,196
Speaker 1: That's that's the sequence, right, that's in sequence on the

1184
01:07:29,236 --> 01:07:33,036
Speaker 1: album too. That's a those are great songs man, And

1185
01:07:33,036 --> 01:07:35,156
Speaker 1: he's playing drums on those, yep.

1186
01:07:35,276 --> 01:07:38,476
Speaker 3: Except he's playing drums on all of those except for

1187
01:07:40,276 --> 01:07:45,796
Speaker 3: Queen Insanity. Because I mirrored I marreor did a uh

1188
01:07:46,396 --> 01:07:51,396
Speaker 3: a mere move. I was just like, let me try something,

1189
01:07:53,036 --> 01:07:58,196
Speaker 3: and I think, uh, you know, I was just like wow,

1190
01:07:59,276 --> 01:08:02,116
Speaker 3: we kept. We kept a lot of it, the integrity

1191
01:08:02,156 --> 01:08:03,876
Speaker 3: of it, but that was the only one that we

1192
01:08:03,996 --> 01:08:07,276
Speaker 3: kind of re recorded. But everything else it was just

1193
01:08:07,356 --> 01:08:10,316
Speaker 3: like it was at this spot.

1194
01:08:10,356 --> 01:08:12,396
Speaker 2: I think it was another tune too. We had this so,

1195
01:08:12,636 --> 01:08:14,756
Speaker 2: like I said, I had did a whole.

1196
01:08:14,476 --> 01:08:19,036
Speaker 3: Record alone at Aaron's and then we just picked some

1197
01:08:19,156 --> 01:08:21,956
Speaker 3: of those and shopped it too for late You.

1198
01:08:21,916 --> 01:08:23,596
Speaker 1: Know, you got still cool.

1199
01:08:24,516 --> 01:08:26,596
Speaker 3: Yeah, we're still cool. I just haven't spoken to him

1200
01:08:26,596 --> 01:08:31,956
Speaker 3: in a while, but yeah, Aaron, Aaron, we had a

1201
01:08:31,996 --> 01:08:36,196
Speaker 3: whole album. I thought it was kind of like a

1202
01:08:36,276 --> 01:08:39,596
Speaker 3: rock album almost like not rock. It was like kind

1203
01:08:39,596 --> 01:08:41,156
Speaker 3: of rock, kind of Jameric.

1204
01:08:41,276 --> 01:08:42,236
Speaker 2: Why ish?

1205
01:08:43,196 --> 01:08:47,076
Speaker 1: But I was gonna ask, I mean, we sped past

1206
01:08:47,116 --> 01:08:51,556
Speaker 1: the Zeppelin, but like the way you, I mean, like

1207
01:08:52,236 --> 01:08:54,236
Speaker 1: the way you do a Zeppelin song, man, Like that's

1208
01:08:54,276 --> 01:08:56,596
Speaker 1: really it's it's really, first of all, a lot of

1209
01:08:56,636 --> 01:08:59,676
Speaker 1: the any cover I've really heard of yours, whether we

1210
01:08:59,796 --> 01:09:04,236
Speaker 1: just Sarrotares and Blood or Can't High Love or Hide

1211
01:09:04,276 --> 01:09:07,236
Speaker 1: and Dry or since I've been loving you, it's like

1212
01:09:07,276 --> 01:09:09,836
Speaker 1: you definitely bring something to I want to ask you

1213
01:09:09,876 --> 01:09:12,676
Speaker 1: more about just what you the way you might interpret

1214
01:09:12,716 --> 01:09:15,076
Speaker 1: the song, But have you ever thought about like it's

1215
01:09:15,156 --> 01:09:18,676
Speaker 1: it's I can't think of anyone who can do a

1216
01:09:18,756 --> 01:09:22,596
Speaker 1: Zeppelin song justice the way that you did on that. Like,

1217
01:09:22,836 --> 01:09:25,916
Speaker 1: have you thought about just forming a rock band, like

1218
01:09:25,996 --> 01:09:27,876
Speaker 1: putting a band like I mean, and I guess your

1219
01:09:27,876 --> 01:09:29,196
Speaker 1: second album is a little.

1220
01:09:30,836 --> 01:09:35,876
Speaker 2: Were very hard hard rock. I think the band everybody

1221
01:09:35,956 --> 01:09:40,036
Speaker 2: in my band thinks there rock musician anyway.

1222
01:09:40,596 --> 01:09:47,196
Speaker 3: But yeah, I was sort of making My kids asked

1223
01:09:47,196 --> 01:09:50,556
Speaker 3: me that too, you know. My son asked me, why

1224
01:09:50,556 --> 01:09:53,036
Speaker 3: don't you make another type of band when y'all doing

1225
01:09:53,076 --> 01:09:56,836
Speaker 3: But I'm just like we what I do is I

1226
01:09:56,876 --> 01:10:01,116
Speaker 3: try to shove everything in the world into one burrito.

1227
01:10:01,476 --> 01:10:05,156
Speaker 1: Yeah. Yeah, but it's just so fun to hear you

1228
01:10:05,196 --> 01:10:06,636
Speaker 1: do that genre because it's.

1229
01:10:06,476 --> 01:10:10,356
Speaker 3: Like, yeah, there's a I would love to go full

1230
01:10:10,436 --> 01:10:13,636
Speaker 3: on into that genre, into the jazz world too.

1231
01:10:13,836 --> 01:10:16,436
Speaker 2: You know, like a lot of people don't even know

1232
01:10:16,476 --> 01:10:17,516
Speaker 2: that I sing jazz.

1233
01:10:17,716 --> 01:10:19,156
Speaker 1: We would like to do like a straight up like

1234
01:10:19,156 --> 01:10:20,836
Speaker 1: a like a I.

1235
01:10:20,996 --> 01:10:22,716
Speaker 2: Used to, But then I'm like, what the hell is

1236
01:10:22,796 --> 01:10:23,316
Speaker 2: jazz now?

1237
01:10:25,116 --> 01:10:26,436
Speaker 1: It's a lot of things.

1238
01:10:26,596 --> 01:10:27,476
Speaker 2: It's what I'm doing.

1239
01:10:27,636 --> 01:10:29,036
Speaker 1: Yeah, it's kind of what you're doing now.

1240
01:10:30,516 --> 01:10:32,876
Speaker 2: So I don't know rock would be cool though.

1241
01:10:32,836 --> 01:10:36,036
Speaker 1: Yeah, is there a party that wants to the amount

1242
01:10:36,076 --> 01:10:38,076
Speaker 1: of the amount of time between this record and your

1243
01:10:38,116 --> 01:10:42,556
Speaker 1: last records, almost the amount of time between yeah, the

1244
01:10:42,636 --> 01:10:45,476
Speaker 1: first and second album. Do you is there a party

1245
01:10:45,476 --> 01:10:48,996
Speaker 1: that is happy to just put stuff out when every

1246
01:10:49,116 --> 01:10:51,236
Speaker 1: so often? Do you? Is there a party that wants

1247
01:10:51,236 --> 01:10:53,756
Speaker 1: to it? Sounds like you have a lot of stuff too,

1248
01:10:53,836 --> 01:10:57,076
Speaker 1: like something you can be releasing regularly, not to I

1249
01:10:57,116 --> 01:10:57,596
Speaker 1: could put it.

1250
01:10:58,196 --> 01:11:01,716
Speaker 3: I could put out an album every two years. I could.

1251
01:11:02,356 --> 01:11:03,676
Speaker 3: I got so much music.

1252
01:11:03,876 --> 01:11:05,476
Speaker 1: Why are you depriving us?

1253
01:11:05,956 --> 01:11:06,436
Speaker 2: I don't know.

1254
01:11:06,596 --> 01:11:08,956
Speaker 3: I mean, I just wanted to be done right. You

1255
01:11:09,196 --> 01:11:13,396
Speaker 3: know I've been doing putting music out. You're not satisfied

1256
01:11:13,436 --> 01:11:16,876
Speaker 3: with the way I put it out that. I'm just like, man,

1257
01:11:16,916 --> 01:11:17,596
Speaker 3: I wanted.

1258
01:11:17,356 --> 01:11:21,836
Speaker 2: To be done the right way. You know.

1259
01:11:21,996 --> 01:11:24,236
Speaker 3: With this album, I put my own money into it

1260
01:11:24,276 --> 01:11:28,956
Speaker 3: to make sure I kind of like did it how

1261
01:11:28,996 --> 01:11:32,476
Speaker 3: I was envisioning it and make it kind of work.

1262
01:11:33,476 --> 01:11:36,356
Speaker 2: But I don't want to go bro, you know what

1263
01:11:36,396 --> 01:11:36,796
Speaker 2: I'm saying.

1264
01:11:36,876 --> 01:11:39,516
Speaker 1: Definitely not. But it's a good album though.

1265
01:11:39,636 --> 01:11:42,916
Speaker 2: That's sure. I insisted on it.

1266
01:11:42,916 --> 01:11:45,996
Speaker 1: It almost feels like the most even including the one

1267
01:11:45,996 --> 01:11:47,676
Speaker 1: that I guess like at leads. But that's not fair

1268
01:11:47,716 --> 01:11:49,476
Speaker 1: because that wasn't really what it was intended to be.

1269
01:11:49,516 --> 01:11:51,876
Speaker 1: But it does feel like the most cohesive project in

1270
01:11:51,916 --> 01:11:53,596
Speaker 1: a sense, you know, where it's like it just feel

1271
01:11:53,596 --> 01:11:56,236
Speaker 1: like there's a through line and you could just start

1272
01:11:56,276 --> 01:12:00,076
Speaker 1: right back at one like like you could just loop

1273
01:12:00,116 --> 01:12:02,316
Speaker 1: it and it's like it feels like it's like a circle.

1274
01:12:02,316 --> 01:12:04,436
Speaker 1: It just doesn't stop. You know. It has that real

1275
01:12:04,476 --> 01:12:06,036
Speaker 1: complete feel to it, you know.

1276
01:12:06,316 --> 01:12:09,076
Speaker 2: Yeah. I mean this record was definitely a labor of love.

1277
01:12:09,516 --> 01:12:09,756
Speaker 2: You know.

1278
01:12:12,156 --> 01:12:14,196
Speaker 3: A lot of it was done in my own like

1279
01:12:14,356 --> 01:12:18,956
Speaker 3: personal studio, and just it wasn't a label for I'm

1280
01:12:18,996 --> 01:12:22,476
Speaker 3: doing this, so I can kind of because the label

1281
01:12:22,756 --> 01:12:24,836
Speaker 3: like signed me to do it. It was just something

1282
01:12:24,876 --> 01:12:27,916
Speaker 3: I was doing. And then I was like, I want

1283
01:12:27,996 --> 01:12:31,356
Speaker 3: this to come home. Let me go fish for somebody

1284
01:12:31,396 --> 01:12:32,036
Speaker 3: to help me.

1285
01:12:33,156 --> 01:12:35,796
Speaker 2: You know what I'm saying. But I don't want to

1286
01:12:35,836 --> 01:12:37,276
Speaker 2: do that no more. Man. I feel like.

1287
01:12:38,716 --> 01:12:42,676
Speaker 3: I put together good projects and I just have to

1288
01:12:42,676 --> 01:12:46,276
Speaker 3: find a good home for it, you know, to so

1289
01:12:46,436 --> 01:12:48,476
Speaker 3: that I can just put it out. But like I said,

1290
01:12:48,516 --> 01:12:51,676
Speaker 3: I got mad ship, dude, mad shit.

1291
01:12:51,676 --> 01:12:53,996
Speaker 1: Man, we got I want out there. I mean, I

1292
01:12:54,036 --> 01:12:54,716
Speaker 1: hope you put it out.

1293
01:12:54,756 --> 01:12:57,316
Speaker 2: It just has to be it has to be right.

1294
01:12:57,356 --> 01:12:59,636
Speaker 2: And that's the way I feel like because I put

1295
01:12:59,676 --> 01:13:00,676
Speaker 2: a lot into stuff.

1296
01:13:01,756 --> 01:13:05,516
Speaker 1: You know, can I I won't keep you here forever?

1297
01:13:05,556 --> 01:13:09,156
Speaker 1: But can I ask you about Morocco? Oh yeah, I

1298
01:13:09,156 --> 01:13:10,996
Speaker 1: would love ask one. What's some of my number one

1299
01:13:10,996 --> 01:13:12,436
Speaker 1: destinations to go to? Man?

1300
01:13:12,556 --> 01:13:16,556
Speaker 3: I love Morocco. The people are very It's almost like

1301
01:13:16,556 --> 01:13:21,036
Speaker 3: a competition. Like I'll go to a woman my wife's

1302
01:13:21,676 --> 01:13:25,956
Speaker 3: aunt's house, and then she'll find out her sister I went,

1303
01:13:26,316 --> 01:13:28,676
Speaker 3: you know, her the other I know find out that

1304
01:13:28,716 --> 01:13:30,676
Speaker 3: I went there, and then it's like oh yeah, And

1305
01:13:30,716 --> 01:13:33,436
Speaker 3: then I'm in my mind. I'm like, we going there,

1306
01:13:33,436 --> 01:13:35,516
Speaker 3: We're going to her house, and she goes, really, so

1307
01:13:35,916 --> 01:13:36,916
Speaker 3: what'd you eat over there?

1308
01:13:37,036 --> 01:13:40,396
Speaker 2: Well, now you're gonna have this.

1309
01:13:40,356 --> 01:13:43,436
Speaker 3: It's like everything is great if you're a visitor, because

1310
01:13:43,476 --> 01:13:47,636
Speaker 3: everybody's like you, you have never had hospitality like this.

1311
01:13:48,076 --> 01:13:50,556
Speaker 2: He come to my house and give you the best.

1312
01:13:50,596 --> 01:13:53,756
Speaker 3: So I'm like raiding. Everybody's green, everybody's a mentee.

1313
01:13:54,476 --> 01:13:56,076
Speaker 1: It's one of those doesn't sound too different from like

1314
01:13:56,116 --> 01:14:00,916
Speaker 1: just like a black family that Auntie's house, Like.

1315
01:14:00,916 --> 01:14:03,596
Speaker 2: Okay, come and visit me.

1316
01:14:04,076 --> 01:14:06,916
Speaker 1: Yeah yeah, yeah yeah, Like oh man, you know, like

1317
01:14:06,956 --> 01:14:08,716
Speaker 1: I can't visit no one you know, and.

1318
01:14:08,676 --> 01:14:11,116
Speaker 3: Then they feed you and feed you and feed you,

1319
01:14:11,196 --> 01:14:14,076
Speaker 3: and you're like, I'm none. And if you don't know

1320
01:14:14,116 --> 01:14:16,476
Speaker 3: how to say this one word, you have to learn

1321
01:14:16,516 --> 01:14:20,356
Speaker 3: this word or else you will you your stomach will

1322
01:14:20,396 --> 01:14:23,596
Speaker 3: bust open and you'll just die in somebody's dinner table.

1323
01:14:24,196 --> 01:14:28,116
Speaker 3: You have to learn this word called safi, saffi safi

1324
01:14:28,236 --> 01:14:29,916
Speaker 3: that means enough, okay.

1325
01:14:30,116 --> 01:14:32,996
Speaker 2: Enough, because they will just keep feeding you and feeding

1326
01:14:33,036 --> 01:14:34,156
Speaker 2: you like no, no, no.

1327
01:14:37,996 --> 01:14:40,436
Speaker 3: No, because I mean they don't make us spread like

1328
01:14:40,476 --> 01:14:41,236
Speaker 3: you've never seen.

1329
01:14:41,436 --> 01:14:45,116
Speaker 2: Wow and yeah, so wow.

1330
01:14:45,436 --> 01:14:49,116
Speaker 3: And the awesome thing about it, I didn't gain no weight,

1331
01:14:49,156 --> 01:14:53,636
Speaker 3: and I ate so much food. I felt like I

1332
01:14:53,676 --> 01:14:57,396
Speaker 3: was getting stronger. That's when I knew like there was

1333
01:14:57,436 --> 01:14:58,836
Speaker 3: some something, something's up with.

1334
01:14:58,836 --> 01:15:01,116
Speaker 2: The food here. Yeah, because.

1335
01:15:02,236 --> 01:15:06,596
Speaker 3: I was eating late at night. Oh man, just some

1336
01:15:06,716 --> 01:15:09,036
Speaker 3: of these leftovers, that's.

1337
01:15:08,916 --> 01:15:11,116
Speaker 1: My I might move there. I was eating later night

1338
01:15:11,156 --> 01:15:15,236
Speaker 1: last night. I feeling guilty, like a month, I gotta move.

1339
01:15:16,276 --> 01:15:18,836
Speaker 3: And the scenery, you know, I got into painting out there,

1340
01:15:18,876 --> 01:15:23,636
Speaker 3: like really into painting because of so much scenery.

1341
01:15:23,876 --> 01:15:25,556
Speaker 1: And you had never done that really before.

1342
01:15:26,796 --> 01:15:30,316
Speaker 3: I always kept like a sketch book, but I never

1343
01:15:30,516 --> 01:15:33,396
Speaker 3: like set up an easel and it was just like

1344
01:15:33,796 --> 01:15:36,916
Speaker 3: I'm gonna paint like I'm gonna make a painting. I

1345
01:15:36,956 --> 01:15:40,196
Speaker 3: always had like painter friends, so I watched them and

1346
01:15:40,236 --> 01:15:45,036
Speaker 3: how they put and it was always similar to me

1347
01:15:45,196 --> 01:15:47,876
Speaker 3: the way I put my songs together, just like a

1348
01:15:47,916 --> 01:15:53,596
Speaker 3: bunch of collages. And so that was like my approach

1349
01:15:54,956 --> 01:16:00,916
Speaker 3: to my paintings. And now I think that's kind of

1350
01:16:00,956 --> 01:16:03,756
Speaker 3: what changed on this last album, because I approached it

1351
01:16:03,876 --> 01:16:07,996
Speaker 3: just like I was doing those paintings, like just throwing

1352
01:16:07,996 --> 01:16:12,076
Speaker 3: shit against the wall and see what sticks, you know,

1353
01:16:12,356 --> 01:16:16,756
Speaker 3: or waiting around for something random that happened that we

1354
01:16:16,836 --> 01:16:19,476
Speaker 3: didn't know how we did it. And then now I

1355
01:16:19,596 --> 01:16:23,316
Speaker 3: was like, that's thetart, you know. Now let's see what

1356
01:16:23,436 --> 01:16:25,436
Speaker 3: we can do around that. And I think I learned

1357
01:16:25,436 --> 01:16:27,356
Speaker 3: that from from the painting.

1358
01:16:27,916 --> 01:16:33,476
Speaker 1: That's incredible. Yeah, And are you living in Morocco? Morocco

1359
01:16:33,636 --> 01:16:34,516
Speaker 1: or like kind of.

1360
01:16:34,516 --> 01:16:35,316
Speaker 2: Like off and on?

1361
01:16:35,716 --> 01:16:38,756
Speaker 3: I still my family still has a property out there

1362
01:16:38,916 --> 01:16:42,316
Speaker 3: and I'm playing on. I'm actually on my way back

1363
01:16:42,356 --> 01:16:47,476
Speaker 3: out there in July. So the plan is to live

1364
01:16:47,516 --> 01:16:49,516
Speaker 3: here and and Morocco.

1365
01:16:49,836 --> 01:16:52,316
Speaker 1: It's really cool, man. I heard Hendricks back in the

1366
01:16:52,396 --> 01:16:53,476
Speaker 1: day used to go through Morocco.

1367
01:16:53,636 --> 01:16:54,556
Speaker 2: I swear, I swear.

1368
01:16:55,116 --> 01:17:01,396
Speaker 3: There's so many mountains and waterfalls. Morocco is I think

1369
01:17:01,436 --> 01:17:04,316
Speaker 3: the only place in Africa where they have all of

1370
01:17:04,356 --> 01:17:05,236
Speaker 3: the seasons.

1371
01:17:05,996 --> 01:17:08,516
Speaker 1: Really there's snow. There's that wind like a winter with

1372
01:17:08,556 --> 01:17:09,116
Speaker 1: snow out there.

1373
01:17:09,676 --> 01:17:13,316
Speaker 3: Well, you go up these mountains and there's snow up there.

1374
01:17:13,516 --> 01:17:16,676
Speaker 1: Wow, and what's the music? I out there?

1375
01:17:17,796 --> 01:17:22,716
Speaker 3: Incredible? I got into this. It's this transient music that

1376
01:17:22,716 --> 01:17:23,956
Speaker 3: they play called Ganawa.

1377
01:17:24,636 --> 01:17:25,356
Speaker 1: I heard of it.

1378
01:17:27,076 --> 01:17:31,756
Speaker 3: Ganawa music is music based off of this instrument called

1379
01:17:31,796 --> 01:17:34,956
Speaker 3: the gimbrii, which is they make it out.

1380
01:17:34,796 --> 01:17:37,996
Speaker 2: Of the actual throat of.

1381
01:17:37,956 --> 01:17:42,076
Speaker 3: The of a goat, like and it's a base and

1382
01:17:42,156 --> 01:17:47,396
Speaker 3: they make it from the the skin of the throat

1383
01:17:47,796 --> 01:17:51,956
Speaker 3: and they use the strings the intestines because they have

1384
01:17:51,996 --> 01:17:54,476
Speaker 3: this thing where if they slaughter animal, they have to

1385
01:17:54,476 --> 01:17:58,996
Speaker 3: you have to use the of the entirety of the animals.

1386
01:17:59,036 --> 01:18:03,556
Speaker 3: So they do other things with like they'll make if

1387
01:18:03,716 --> 01:18:06,156
Speaker 3: after they eat all of the meat, they'll use the skin,

1388
01:18:06,396 --> 01:18:08,916
Speaker 3: they'll use the bones. They you know, nothing goes away.

1389
01:18:09,156 --> 01:18:15,596
Speaker 3: So they've made this instrument in Ghanawa was basically kind

1390
01:18:15,636 --> 01:18:19,756
Speaker 3: of birthed out of the slave tree, the Islamic slave tree,

1391
01:18:20,756 --> 01:18:22,276
Speaker 3: the sub Saharan slave trade.

1392
01:18:23,116 --> 01:18:23,796
Speaker 2: A lot of.

1393
01:18:23,716 --> 01:18:28,036
Speaker 3: The slaves came together, and the way they would remember

1394
01:18:29,076 --> 01:18:33,036
Speaker 3: their heritage or where they came from, they would make

1395
01:18:33,196 --> 01:18:36,756
Speaker 3: they through these songs they would create from this gimbi.

1396
01:18:37,716 --> 01:18:40,116
Speaker 3: But when I tell you, it was like I was

1397
01:18:40,156 --> 01:18:44,396
Speaker 3: at a Pentecostal church. Dude, it was I didn't know

1398
01:18:44,396 --> 01:18:48,116
Speaker 3: what nobody was saying, but cats up. They're singing songs

1399
01:18:48,196 --> 01:18:50,276
Speaker 3: about Allah.

1400
01:18:50,476 --> 01:18:52,716
Speaker 2: But it's like we're at a Pentecostal church.

1401
01:18:52,796 --> 01:18:56,156
Speaker 3: Cats is passing out, their little cat's getting laid hands

1402
01:18:56,196 --> 01:19:01,076
Speaker 3: on and they sacrificed the chickens. Wow, it's like a

1403
01:19:01,116 --> 01:19:07,076
Speaker 3: full on Southern Baptist. And I was just in there

1404
01:19:07,156 --> 01:19:11,236
Speaker 3: like wow, Like I feel like a little boy again.

1405
01:19:12,916 --> 01:19:18,836
Speaker 3: And they start these they start these seances. I call

1406
01:19:18,916 --> 01:19:22,076
Speaker 3: them at like five in the afternoon and then it's

1407
01:19:22,116 --> 01:19:26,396
Speaker 3: over at five in the morning. And I mean, just this,

1408
01:19:27,076 --> 01:19:29,756
Speaker 3: it's like a trance. Like you go into this music

1409
01:19:30,076 --> 01:19:35,796
Speaker 3: and it's like you leave this planet. And I'm actually

1410
01:19:35,836 --> 01:19:37,836
Speaker 3: going out there in July to play with.

1411
01:19:40,436 --> 01:19:43,436
Speaker 2: A Ganawa band.

1412
01:19:43,036 --> 01:19:45,716
Speaker 1: That's amazing, like a band from out there, and you're

1413
01:19:45,716 --> 01:19:46,196
Speaker 1: gonna sing.

1414
01:19:46,996 --> 01:19:49,276
Speaker 3: I don't know what I'm gonna saying, but it's gonna

1415
01:19:49,276 --> 01:19:51,676
Speaker 3: be awesome. You know it's a live thing. Are you're

1416
01:19:51,676 --> 01:19:55,596
Speaker 3: gonna of course live? Yeah, at the festival. They have

1417
01:19:55,596 --> 01:19:58,796
Speaker 3: a Ganala Festival. They have lots of festivals, music festivals,

1418
01:19:58,956 --> 01:20:02,316
Speaker 3: Man and Hendricks. That's what Hendricks will be. He would

1419
01:20:02,316 --> 01:20:06,516
Speaker 3: go to those festivals. But it's this I really can't

1420
01:20:06,516 --> 01:20:09,996
Speaker 3: describe it other than it's like it feels like Delta

1421
01:20:10,076 --> 01:20:13,716
Speaker 3: blues Wow mixed with riggy Wow.

1422
01:20:13,796 --> 01:20:15,476
Speaker 1: I'm excited to check that out that part of Africa.

1423
01:20:16,156 --> 01:20:18,796
Speaker 1: It just seems like incredible.

1424
01:20:19,316 --> 01:20:19,996
Speaker 2: Like I would.

1425
01:20:20,276 --> 01:20:23,756
Speaker 3: I would try to record them, but they don't let you,

1426
01:20:23,836 --> 01:20:25,916
Speaker 3: Like if they see your phone, they'll be like, oh.

1427
01:20:26,316 --> 01:20:29,876
Speaker 2: Like I pulled it out at one of the everything stopped.

1428
01:20:30,716 --> 01:20:34,196
Speaker 3: I felt like. I was like, I'm sorry, I'm sorry.

1429
01:20:34,436 --> 01:20:36,716
Speaker 3: I just had to get some of this groove. I

1430
01:20:36,756 --> 01:20:40,356
Speaker 3: had to get some of this groove down the chickens.

1431
01:20:42,876 --> 01:20:45,036
Speaker 2: But we had them come.

1432
01:20:45,236 --> 01:20:49,756
Speaker 3: We had them come to my house and they I

1433
01:20:49,756 --> 01:20:53,836
Speaker 3: have a rooftop, built a tent on the roof and.

1434
01:20:53,756 --> 01:20:55,436
Speaker 2: They played the whole thing on the roof.

1435
01:20:55,996 --> 01:20:56,796
Speaker 1: Did you record that?

1436
01:20:57,116 --> 01:20:58,316
Speaker 2: Yeah?

1437
01:20:58,396 --> 01:20:58,636
Speaker 1: Yeah.

1438
01:20:59,076 --> 01:21:00,916
Speaker 2: They couldn't tell me no that. I was like, y'all, no,

1439
01:21:00,996 --> 01:21:03,796
Speaker 2: I can record. Now you're out there.

1440
01:21:04,396 --> 01:21:06,916
Speaker 1: You're like like Alan Low Max and Morocco or some

1441
01:21:06,996 --> 01:21:07,476
Speaker 1: ship man.

1442
01:21:07,636 --> 01:21:16,636
Speaker 2: Oh man, they they called me the America honey black man.

1443
01:21:16,636 --> 01:21:21,756
Speaker 1: They're going another country. I guess I am. Goddamn yeah.

1444
01:21:21,796 --> 01:21:22,436
Speaker 1: But the.

1445
01:21:24,196 --> 01:21:26,356
Speaker 2: Really really good people, beautiful people.

1446
01:21:27,356 --> 01:21:30,516
Speaker 1: That's great man. Well, ship man, I'll come check you

1447
01:21:30,516 --> 01:21:32,276
Speaker 1: out there with these groups.

1448
01:21:32,276 --> 01:21:33,396
Speaker 2: That's how yeah. Man.

1449
01:21:33,996 --> 01:21:35,436
Speaker 1: Fortunately have to miss you in l A bock at

1450
01:21:35,476 --> 01:21:41,076
Speaker 1: you hey, thank you for thanks for taking all the time.

1451
01:21:41,116 --> 01:21:41,236
Speaker 3: Man.

1452
01:21:41,236 --> 01:21:43,876
Speaker 2: I really appreciate having its cool conversation.

1453
01:21:46,516 --> 01:21:48,476
Speaker 1: In the episode description, you'll find a link to a

1454
01:21:48,556 --> 01:21:51,316
Speaker 1: playlist of some of our favorite songs and features from

1455
01:21:51,356 --> 01:21:53,796
Speaker 1: the law. Be sure to check out YouTube dot com

1456
01:21:53,796 --> 01:21:57,116
Speaker 1: slash Broken Record Podcast to see all of our video interviews,

1457
01:21:57,796 --> 01:21:59,876
Speaker 1: and be sure to follow us on Instagram at the

1458
01:21:59,916 --> 01:22:02,996
Speaker 1: Broken Record Pod. You can follow us on Twitter at

1459
01:22:03,076 --> 01:22:07,116
Speaker 1: Broken Record. Broken Record is produced and edited by Leah Rose,

1460
01:22:07,236 --> 01:22:10,316
Speaker 1: with marketing help from Eric Sandler and Jordan McMillan. Our

1461
01:22:10,396 --> 01:22:14,116
Speaker 1: engineer is Ben Tollinay. Broken Record is a production of

1462
01:22:14,236 --> 01:22:18,076
Speaker 1: Pushkin Industries. If you love this show and others from Pushkin,

1463
01:22:18,236 --> 01:22:22,476
Speaker 1: consider subscribing to Pushkin Plus. Pushkin Plus is a podcast

1464
01:22:22,516 --> 01:22:25,836
Speaker 1: subscription that offers bonus content and athlete listening for four

1465
01:22:26,036 --> 01:22:29,276
Speaker 1: ninety nine a month. Look for Pushkin Plus on Apple

1466
01:22:29,356 --> 01:22:33,316
Speaker 1: podcast subscriptions, and if you like this show, please remember

1467
01:22:33,356 --> 01:22:35,916
Speaker 1: to share, rate, and review us on your podcast app

1468
01:22:36,196 --> 01:22:38,956
Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.