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Speaker 1: Pushkin.

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Speaker 2: Hey there, it's Justin Richmond. I joined my favorite music

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Speaker 2: educators Adam Manis and Peter Martin of Open Studio on

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Speaker 2: their podcast You'll Hear It to talk about Paul Simon

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Speaker 2: Still Crazy after all these years. It was an album

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Speaker 2: born out of divorce and produced ever so tenderly by

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Speaker 2: Phil Ramone. The songs and hits from that album like

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Speaker 2: Fifty Ways to Leave Your Lover, I Do It for

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Speaker 2: Your Love, Still Crazy, Paul Simon's first collaboration with this

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Speaker 2: wayward partner Art Garfunkel on My Little Town. Those songs

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Speaker 2: are indelible. We dive in the story behind those songs

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Speaker 2: and this remarkable album, including Steve Gadd's famous drum part

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Speaker 2: and how Stevie Wonder's intervisions may have been the catalyst

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Speaker 2: for Paul Simon's divorce and thus this album plus weeponder?

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Speaker 2: Is this the ultimate sad boy album?

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Speaker 1: Hey, Bob, do you like podcasts? Actually you don't have

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Speaker 1: a so, Adam do you like podcasts? Oh Man, I

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Speaker 1: love podcasts. In fact, I'm on a podcast right now. Yes,

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Speaker 1: I'm aware. Do you ever listen to the Broken Record podcast? Yeah,

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Speaker 1: that's one of my favorites with Justin Richmond. Yeah, so

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Speaker 1: I asked him if you could join us on the

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Speaker 1: show today. Oh, that's very exciting. And he's gonna be

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Speaker 1: here in just a minute, very thrilling. And speaking of

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Speaker 1: broken records, I think you broke a few on this range. Yeah,

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Speaker 1: most number of mood chords ever. Yeah, that sounds like

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Speaker 1: something I do. All right, madam, and I'm Peter Martin

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Speaker 1: and you're listening to the You'll here podcast Music.

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Speaker 3: Explore Explore, brought to you today by Open Studio.

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Speaker 4: Go to OpenStudio jazz dot com for our your jazz

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Speaker 4: lesson needs.

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Speaker 3: Peter, we are not alone today.

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Speaker 1: We are not alone. Yeah, we are.

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Speaker 4: An in person guest with us, the great Justin Richmond

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Speaker 4: from the Broken Record Podcast. Justin Man, thank you for

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Speaker 4: having me, man, thank you for coming to Saint Louis.

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Speaker 1: So pleased to be here. Thank you for talking music

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Speaker 1: with us. We've already had a great time. You've been

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Speaker 1: here for a while and we've we've done the podcast.

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Speaker 1: We've already talked for several hours about music. I wish

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Speaker 1: we'd had the microphones on, but yeah, it's so great

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Speaker 1: to have you here, right man, It's real. I'm a

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Speaker 1: podcast royalty.

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Speaker 4: Big watcher of your guys' stuff. Crazy, that's crazy.

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Speaker 1: Likewise and subscribe. I'm a subscriber.

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Speaker 3: Yes, you went to over studio dot com.

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Speaker 1: It was too easy. I just put him PayPal Pyle,

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Speaker 1: I don't know, super we get you.

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Speaker 4: Yeah, well, man, we are talking about one of my

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Speaker 4: all time favorite albums today. Paul Simon is still crazy

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Speaker 4: after all these years. Nineteen seventy five and Justin this

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Speaker 4: was on a list that you gave us of like

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Speaker 4: things you might want to discuss and.

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Speaker 1: Before we get in, and we were nervous when Justin

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Speaker 1: Richmond gave us a list of albums that he wanted

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Speaker 1: to discuss. We didn't like to start shaking as we

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Speaker 1: looked through the list.

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Speaker 3: Believe me, no, not at all. But I'm just curious.

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Speaker 3: Why was this on your list?

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Speaker 1: Man?

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Speaker 3: Well, okay, this has a bit to do with my neurosis.

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Speaker 2: I just didn't I was scared, so I was scared,

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Speaker 2: so I kind of wanted to nerd out. I really

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Speaker 2: wanted to get deep into jazz with you guys. I

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Speaker 2: was kind of wanted, but then I got so I

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Speaker 2: feel like my first list air towards Zach because I

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Speaker 2: was like I want, you know, I want to go

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Speaker 2: I want to talk like mingos, like you know, a

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Speaker 2: classic jazz, you know record.

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Speaker 1: But then I was like, you know what, man, like,

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Speaker 1: it's not my land. Let me get out, you know.

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Speaker 3: Like Peter's face isn't it. It's just super intimidating.

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Speaker 1: I was like, I want to get chewed up. So

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Speaker 1: hold on, let me just right.

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Speaker 2: Let me recommend something that I feel like is that's

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Speaker 2: very much a classic album and incorporates jazz and is

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Speaker 2: and is in the you know, it takes from the

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Speaker 2: milliu but is firmly in the pop arena.

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Speaker 1: Yeah.

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Speaker 2: Yeah, And this was definitely you know, like I think

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Speaker 2: I sent some earth wind and Fire suggestions that was something,

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Speaker 2: but but this seemed to be like the most I

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Speaker 2: don't know, compelling in a way.

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Speaker 1: Yeah, and a little bit strategic. It sounds a little strate.

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Speaker 4: Now that's great because we want to talk to you

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Speaker 4: about something that you could really sink your teeth into.

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Speaker 4: And then I think we could. And you're right, this

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Speaker 4: album is a filled with jazz musicians. Yeah, and we'll

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Speaker 4: talk about that more when we get to it.

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Speaker 1: And we talk about you know, we've been using the

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Speaker 1: term jazz adjacent. You know, I like the you know,

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Speaker 1: jazz influence and stuff, and I'm it's gonna be really

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Speaker 1: interesting to get your guys take on how much of

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Speaker 1: that obviously jazz musicians on there. There's always the idea

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Speaker 1: of like jazz musicians on a pop record playing pop,

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Speaker 1: or like, how much are they invited in to bring jazz,

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Speaker 1: to bring groove? Like is it a harmonic kind of thing?

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Speaker 1: Is it a sensibility? Is an improvisation which this record

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Speaker 1: has some but not really a lot, a lot of truncated,

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Speaker 1: you know, but it's super interesting to me to hear

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Speaker 1: how people like whether or not gets to the point

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Speaker 1: where it's, well, there's one point that's gonna come up

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Speaker 1: later where it definitely gets very jazzy. It's like falls

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Speaker 1: off the rails jazzy all of a sudden too, yeah,

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Speaker 1: which I think is great. But other than that, you know,

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Speaker 1: I'm not sure.

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Speaker 4: Well, let's get a little backstory here on what was

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Speaker 4: going on before this album was made. In nineteen seventy five, So,

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Speaker 4: Paul Seinen grew up in a musical home in Queens,

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Speaker 4: New York. His dad, Lou, played bass professionally for radio stations,

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Speaker 4: and he encouraged his son to appreciate music and study piano,

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Speaker 4: but Paul didn't really take to it, that is until

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Speaker 4: he heard dou wop and Rhythm and Blues on the radio.

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Speaker 4: He was just a kid, maybe nine or ten, and

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Speaker 4: he was completely changed by what he heard. He would

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Speaker 4: obsessively listen to the radio after school, listening to songs

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Speaker 4: like Hearts of Stone by.

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Speaker 5: The Jewelers, Made of Stone, Will Alone, Time.

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Speaker 4: You Can Pass, or Shaboom by the Crew Cuts, Hell That,

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Speaker 4: or good Night Sweetheart by the Spaniels. He met Art

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Speaker 4: Garfunkle in school and the two started singing together, recording

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Speaker 4: their voices on a wire recorder and playing it back

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Speaker 4: to hear how their voices intersected.

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Speaker 1: You see a wire recorder, we got talking. I'm not

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Speaker 1: to google that.

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Speaker 4: Then they started singing together at school talent shows and

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Speaker 4: even writing songs together. They both fell in love with

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Speaker 4: the Everly Brothers with songs like.

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Speaker 3: Bye Bye Love.

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Speaker 4: And then one day after school they walked into a

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Speaker 4: recording studio in Manhattan and paid ten dollars to record

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Speaker 4: this song, Joe.

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Speaker 5: Jo.

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Speaker 4: Of course, everybody knows that Simon and garvocal, so this

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Speaker 4: was recorded under the name Tom and Jerry, not Simon.

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Speaker 3: And Garfunkle, which is a very funny name.

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Speaker 4: It just so happened that Sid Prosen, who owned a

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Speaker 4: small record label, was in the room. He heard them

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Speaker 4: sing and offered them a contract to release Hey school

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Speaker 4: Girl on his label.

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Speaker 1: Did you say Sid Prosen? He didn't have to say

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Speaker 1: Sid Prosen owned a small record label. That was that

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Speaker 1: was implicit in the name.

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Speaker 4: They quickly found their sound, became famous, and eventually broke up.

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Speaker 4: But for Shadowy it was another breakup that would create

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Speaker 4: the conditions for one of his best albums, Still crazy

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Speaker 4: after all these years, so.

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Speaker 3: We thank you very much.

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Speaker 4: We don't often think about Simon and Garfunkel as like

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Speaker 4: a doo wop group, but that is certainly their origins,

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Speaker 4: and you can hear that in the Hey school Girl.

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Speaker 4: But really interesting origin story from Paul. I knew his

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Speaker 4: dad was a musician, but I'm curious, Peter, like your

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Speaker 4: father also a professional musician.

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Speaker 3: Yeah, not in the same context.

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Speaker 4: That you are, but I think that musical there's so

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Speaker 4: many astounding musicians, yourself included, who come from like a

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Speaker 4: dad who's like a workaday musician, right right, Yeah, And I.

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Speaker 1: Wonder i'd love. I think that's an interesting part. But

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Speaker 1: I think a music lover parent, you know, like that's

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Speaker 1: the trend I hear with a lot. I don't know you, oh,

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Speaker 1: I know for you, Adam, your parents, your dad had

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Speaker 1: great some music and will play stuff. And I mean

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Speaker 1: it's just in you, justin just like I think having parents,

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Speaker 1: because both my parents are actually musicians, is an interesting angle.

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Speaker 1: But it's almost more like is music in the home,

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Speaker 1: Like how is it present? Like not that you're at

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Speaker 1: the altar of it, but like culturally, is it a

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Speaker 1: big part of you know, your upbringing? Yeah.

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Speaker 2: I mean for me, neither of my you know, both

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Speaker 2: of my parents sometimes have asked me like how did

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Speaker 2: you come? But for me, it was my I think

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Speaker 2: my mom's mom, my grandma, who was really she's from

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Speaker 2: Detroit and whatever reason just loved. She would always just

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Speaker 2: tell me, like teach me life lessons through like you know,

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Speaker 2: the stories of some celebrities you heard, like I always

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Speaker 2: knew not to do uh.

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Speaker 1: I learned not to take drugs because Judy Garland tell you.

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Speaker 4: I was watching the Wizard of Oz and my granda

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Speaker 4: told me Judy Garlands and I'm like don't take pills, okay,

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Speaker 4: But then she would tell me things like don't sign

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Speaker 4: with MGM.

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Speaker 2: Yeah exactly, you know, don't don't you know? She would

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Speaker 2: tell me about how Nat King Cole used to like

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Speaker 2: to smoke because it would keep his voice like like

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Speaker 2: you know, like he liked the way he made his

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Speaker 2: voice sound, but.

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Speaker 1: That would lung cancer, you know. So then that was

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Speaker 1: the flip.

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Speaker 2: Okay, so don't smoke or you know she made me

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Speaker 2: do uh, she made me join the swim team because

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Speaker 2: Frank Sinatra swam for like greater like lung. So my

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Speaker 2: grandmas liked singers and would always like make me listen

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Speaker 2: to things. And you tell me singers were trash.

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Speaker 1: Yeah, you can learn everything about life, like yeah, don't

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Speaker 1: eat a lot of that stuff. Yeah, so I think

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Speaker 1: it was my grandma.

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Speaker 2: Yeah yeah, And I hated vocalists growing up, but I've

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Speaker 2: come back around to me now it's all I love it.

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Speaker 1: Vocals, love a good love a good singer. Yeah. Yeah,

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Speaker 1: well I think too, like like you hear the music

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Speaker 1: that do? I mean obviously none of us, even me

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Speaker 1: being the elder statesman here, came up listening to that

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Speaker 1: douop style. But I remember my aunt and my uncle

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Speaker 1: and my parents too, like they're more like classical musicians,

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Speaker 1: a little snobby. But you know, I think it's hard

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Speaker 1: for us probably to understand the impact of that's not

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Speaker 1: I remember my aunt Carol talking about Fats Domino, you know,

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Speaker 1: and like one of his hits would come on the

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Speaker 1: radio and she was like, that's when I fell in

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Speaker 1: love with your uncle, and like just like that sound.

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Speaker 1: And so I you know, hearing I've never realized that

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Speaker 1: Paul Simon and Gar but it totally makes sense. Came

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Speaker 1: out of that. But like it's got to inform everything

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Speaker 1: that they did.

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Speaker 4: You can hear that, like the constant harmonies and everything

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Speaker 4: that they're doing is Simon and Garfunkle A long way

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Speaker 4: away from Tom and Jerry Hayes, Skip.

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Speaker 1: School Girl, a little elevated. Yeah.

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Speaker 4: So after Simon and Garfuncle are defunct, Paul makes his

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Speaker 4: first studio album, self titled Paul Simon Album with some

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Speaker 4: good success.

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Speaker 3: I love this album, incredible album.

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Speaker 1: This is the one to cover with He's got the

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Speaker 1: hood up for a hood. Yeah, this is a ten

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Speaker 1: out of ten album cover that's being Julio domb.

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Speaker 4: Nineteen seventy two and nineteen seventy three, Paul releases There

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Speaker 4: Goes Ryman Simon, also a good album, not as good

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Speaker 4: as the self titled or as good as Still Crazy

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Speaker 4: in my opinion, but some good stuff, including this track

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Speaker 4: Code of Crew mixed a song, but as we're already

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Speaker 4: hearing here and still Ryman the sound quality yea for

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Speaker 4: nineteen seventy three, that's some high level.

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Speaker 1: Yeah, the same producer as this Phil Romone. Yeah, I

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Speaker 1: was just wondering if it sounds like his kind of

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Speaker 1: but I mean Simon apparently was very I think anytime,

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Speaker 1: like you talk about the engineers and the production and

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Speaker 1: of course Still Crazy, I think it was Phil Vermont

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Speaker 1: and Paul Seimer and producer together. But I think, like

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Speaker 1: you explore with Michael Jackson, Marvin Gay Stevie, like they

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Speaker 1: when you get that pristine sound, whatever the direction is,

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Speaker 1: like the artist has almost always had. I mean occasionally

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Speaker 1: you'll hear about with ours like I do whatever, yeah,

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Speaker 1: and then they create this match, but they are usually

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Speaker 1: very meticulous with how they want not only their voice,

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Speaker 1: but the whole you know, the whole thing.

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Speaker 4: After There Goes Ryman Simon by nineteen seventy four, Paul

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Speaker 4: and his wife Peggy, had a son together, Harper, who

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Speaker 4: Paul adored. His musical career had been a success so far,

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Speaker 4: but he was still so sad and didn't know why

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Speaker 4: he was isolating himself from his family, spending most nights

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Speaker 4: away from the house. One night, he came home and

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Speaker 4: hopped in the shower to wash off the sadness. He

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Speaker 4: burst into tears, and this phrase came to mind, still

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Speaker 4: crazy after all these years. Soon after a productive shower,

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Speaker 4: I say, I wish that's.

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Speaker 1: A dark moment.

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Speaker 3: I've never heard out of it. But that's Paul Simon

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Speaker 3: for you.

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Speaker 4: Soon after that, his solo album, There Goes Rymond Simon

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Speaker 4: was nominated for a Grammy for Album of the Year.

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Speaker 4: He was up against Stevie Wonders Inner Visions, Ever Heard

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Speaker 4: of It? Inner Visions won the Grammy that year. This

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Speaker 4: is Golden Lady from Innervisions. Imagine hearing this. It'd being

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Speaker 4: a working artists.

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Speaker 3: We talked about this, but talking you can go to

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Speaker 3: the shower come up with nothing.

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Speaker 4: If you're listening to Stevie here in this seventies run

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Speaker 4: that he's on, you gotta be like, well, I guess

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Speaker 4: it's done. I guess music is over hanging it up. Yeah,

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Speaker 4: we should all pack it in. And that's kind of

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Speaker 4: what Paul did. One day, he was pouring over inter

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Speaker 4: visions when his wife reminded him it was time to leave.

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Speaker 4: Paul didn't move. He kept listening. She reminded him again.

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Speaker 4: Now he was feeling angry. She reminded him of my household.

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Speaker 4: By the way, I'm amazing, I'm still married.

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Speaker 1: He walked out the door and went to a hotel.

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Speaker 1: That was the end of his marriage. From the ins,

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Speaker 1: I didn't get a prod. Give some executive decision making

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Speaker 1: like boh Man. Well think about it, like everyone's like

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Speaker 1: Stevie Wonder. He played pretty much every instrument. Well you

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Speaker 1: know he did everything on the record, on intervisions and

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Speaker 1: talking book except like background, well even did that. But

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Speaker 1: come he wrote everything, thing played everything, killed it and

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Speaker 1: was also like breaking up marriages.

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Speaker 4: So Paul wrote the album is still Crazy after all

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Speaker 4: these years from that same hotel as he was divorcing

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Speaker 4: his first wife.

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Speaker 1: And he was the Plaza hotel that was I feel

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Speaker 1: like she probably was.

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Speaker 3: Ended up writing this.

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Speaker 1: It wasn't the holiday and at times square one of

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Speaker 1: the greatest.

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Speaker 4: Love last night.

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Speaker 6: She seems so glad to see me.

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Speaker 4: That just sounds great. On it really sounds great. That's

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Speaker 4: Barry Beckett on the Fender Roads. Yeah, the muscle should

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Speaker 4: rhythm section.

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Speaker 1: San Drake, still Abuse, still crazy, the crazy, the great

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Speaker 1: kick drum sounds of all the time. I am I'm

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Speaker 1: not the cud man who tis.

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Speaker 7: Social phrasing between everyone is yeah, and there's this little

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Speaker 7: details in the songwriting going to that I'm not the

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Speaker 7: cut on the forecoord just that one time, have one.

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Speaker 1: Little change, and I think that, like to start out

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Speaker 1: the record like a lot of Simon stuff and detfine

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Speaker 1: Simon garfunk fl before this it's like soul guitar driven,

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Speaker 1: like to start out with the Roads on this, I

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Speaker 1: don't think there's any guitar. And and then it's has

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Speaker 1: like the strings. It really places his voice and like

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Speaker 1: you said, the phrasing in a different place.

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Speaker 8: One of the greatest bridges, every one of the weirdest

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Speaker 8: bridges ever to string, arranged by by Bob James.

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Speaker 1: Bob James, shout out, Bob James, still doing it, Wash

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Speaker 1: Chazzi flute strings and then this woodwood stuff is weird

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Speaker 1: here because it almost goes, it gets a little dark,

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Speaker 1: foreshadow and dark a little bit that's wild rining. This

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Speaker 1: will get you kicked off Spotify, and then into this

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Speaker 1: Michael Brecker fully armed. The solo song.

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Speaker 4: Also very kind of Unbreckaish soul known for these like

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Speaker 4: huge waves of sound, like.

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Speaker 1: The least amount of notes sees. I mean it's a

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Speaker 1: short solo, but normally rerecor would be trying to get

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Speaker 1: in more notes per per beat, if anything, killing key

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Speaker 1: change would not be in the middle of the first.

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Speaker 9: Still crazy, still crazy, crazy, still crazy.

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Speaker 1: After what do we think Fellas? I mean, it's it's impeccable.

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Speaker 1: I mean it's like pristine and and like there's the deed,

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Speaker 1: like there's the the church stuff. No, No, that four

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Speaker 1: to one movement that's like starts there ends their bookends

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Speaker 1: in and there's a lot of that in between kind

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Speaker 1: of you know, we.

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Speaker 3: Mentioned Barry Beckett.

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Speaker 4: So the muscle this is all with the Muscle Shoals

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Speaker 4: rhythm section, which yeah, exactly, we'll talk more about them.

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Speaker 1: They're on these first two tracks. This was not recorded

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Speaker 1: at Muscle Sholes, though they played different. Though it doesn't

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Speaker 1: sound like necessarily the Muscle Sholes rhythm section, which is

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Speaker 1: cool in a way.

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Speaker 10: I don't know.

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Speaker 4: Yeah, everybody's playing different That's the theme of this album, right,

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Speaker 4: because like all the jazz musicians are.

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Speaker 1: Playing a little differently on Phil. Well, we'll get to that,

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Speaker 1: but not for eight seconds. I love this this Roads part.

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Speaker 4: It's just a beautiful example of the very simple church

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Speaker 4: chords just played flawlessly. The voice leading is unbelievable. Yeah,

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Speaker 4: obviously the sound of a Roads in nineteen, but.

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Speaker 1: Normally they'd be a little bit more exploite, like a

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Speaker 1: little bit of bluesy, like I feel like they were.

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Speaker 1: I think Simon told them or somebody. I don't know

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Speaker 1: if that was Phil Ramon was involved black like, oh,

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Speaker 1: you know, you know which is. I mean, that's probably

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Speaker 1: appropriate for what it is, but for me, I kind

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Speaker 1: of want to hear a little bit, just a little

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Speaker 1: bit of grid or something here.

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Speaker 2: So you think a little more grit would it's a

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Speaker 2: nine point five, a little more grit?

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Speaker 1: Make that a ten out of ten? Yeah, Like what

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Speaker 1: if Donnie Hathaway was playing that role? Oh yeah, eleven?

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Speaker 4: Right, But I kind of agree with you. It feels like,

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Speaker 4: I mean, for Barry Beckett, it's pulled back away. But

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Speaker 4: do you think for Michael Record's pulled back right, do

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Speaker 4: you think.

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Speaker 1: Justin like what you were talking about, like the phrasing

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Speaker 1: that Paul Simon is singing with, that that would have

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Speaker 1: more grit, would have taken away from that.

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Speaker 2: I don't know, if I don't know, If yes, I

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Speaker 2: think I think it terms a way Paul approaches songs

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Speaker 2: and sings. I think that sort of more pulled back,

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Speaker 2: restrained playing is probably more like if Donnie singing.

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Speaker 1: And playing right, okay, you know, yeah, it's gonna go.

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Speaker 1: Not that Paul's not a great vocalist, but it's just

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Speaker 1: you know, he does though it's not what he does.

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Speaker 4: It would be weird if if Paul was like sanging yeah, yeah, yeah,

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Speaker 4: it would feel a little weird, that sort of understated,

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Speaker 4: putting real focus on the lyrics and the turn of

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Speaker 4: the phrase yeah in a very gentle way. That's the

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Speaker 4: Paul Simon I think about ahead when I think about

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Speaker 4: his talent as a vocalist.

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Speaker 3: We can hear that here.

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Speaker 11: On the street last night.

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Speaker 12: She seems so glad to see me.

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Speaker 11: I'll just smile.

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Speaker 1: Then we talked about some old.

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Speaker 9: Time samon drink or sell some views still crazy after

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Speaker 9: all theies?

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Speaker 1: What was still crazy? After all?

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Speaker 4: It's like you're walking with a friend in the Upper

388
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Speaker 4: West Side, like telling you his story about running into his.

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Speaker 1: So conversational for sure, yes, yeah, absolutely, you know, And

390
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Speaker 1: and his voice really lends like the authenticity of it

391
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Speaker 1: because his like I think the little bit of stink

392
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Speaker 1: or grit that he does bring is that, you know,

393
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Speaker 1: the pitch is and he has really good insignation, but

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Speaker 1: he does play around a little bit with the pitch,

395
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Speaker 1: like he's he's not afraid to have it to be

396
00:22:12,476 --> 00:22:15,676
Speaker 1: a little like stylized, especially when you hear it isolated,

397
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Speaker 1: because it can seem so like, I mean, thank god

398
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Speaker 1: he's not doing this in the pitch correction, but you know,

399
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Speaker 1: I mean if they had, because it doesn't need I mean,

400
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Speaker 1: it's like that's it's so subtle that you need to

401
00:22:25,356 --> 00:22:27,236
Speaker 1: kind of kind of hear those like that's part of

402
00:22:27,316 --> 00:22:29,476
Speaker 1: his style, you know, because the words it's like, I mean,

403
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Speaker 1: we did diangel a couple, this is like the opposite words,

404
00:22:31,596 --> 00:22:33,556
Speaker 1: like wait, what was the lyrics that he's saying from

405
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Speaker 1: the last five it's kill it? But what was he

406
00:22:36,996 --> 00:22:41,436
Speaker 1: talking about? But like this is just like very you know,

407
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Speaker 1: still crazy after I'm like, it's right down the middle

408
00:22:45,236 --> 00:22:48,316
Speaker 1: and I mean it's it's it's it's impressive. And I

409
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Speaker 1: think too that this this track is such a it's

410
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Speaker 1: almost like theatrical you know, it's like it's telling the story,

411
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Speaker 1: but it's like you're going on this journey and it

412
00:22:57,076 --> 00:23:00,356
Speaker 1: builds up and like obviously James, Bob James like totally

413
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Speaker 1: understood that and crafted that with the arrangement because that

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Speaker 1: gave it a little bit of epic feel for just

415
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Speaker 1: a little bit at the right time.

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Speaker 2: You feel like a studio film, like you know, they'd

417
00:23:08,916 --> 00:23:11,076
Speaker 2: be like showing for like a studio film from that

418
00:23:11,196 --> 00:23:13,956
Speaker 2: era of like thing. And yeah, I one hundred percent

419
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Speaker 2: agree that in that mix of conversationalists with that drama

420
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Speaker 2: or that theatricalness is Yeah, I don't know, that's top

421
00:23:22,716 --> 00:23:23,196
Speaker 2: tier for me.

422
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Speaker 4: Yeah, yeah, I agree that the back to the woodwind

423
00:23:26,316 --> 00:23:28,476
Speaker 4: arrangements and the string rangers from Bob James. You can

424
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Speaker 4: hear that this was obviously put on I think after

425
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Speaker 4: the rhythm section and maybe even after the vocals, because

426
00:23:34,556 --> 00:23:38,276
Speaker 4: Bob James will will do some things with Barry Beckett

427
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Speaker 4: that you wouldn't put on a chart. He follows his

428
00:23:42,716 --> 00:23:45,636
Speaker 4: voicings much like the Shirley Horn. Here's the life arranging.

429
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Speaker 4: It's a great example of how that can work really,

430
00:23:48,716 --> 00:23:50,636
Speaker 4: really well. And obviously Paul Simon just told them on

431
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Speaker 4: the bridge, like, hey, Bob, that's your part.

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Speaker 1: Do some weird stuff. Radio's not gonna lose this again.

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Speaker 4: The rhythm section is the muscle shows rh rhythm section.

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Speaker 4: At the time, Barry Beckett, David Hood and Roger Hawkins.

435
00:24:07,116 --> 00:24:08,396
Speaker 4: You might have heard them on stuff like this.

436
00:24:10,876 --> 00:24:13,916
Speaker 1: And that already has more creep be your light up

437
00:24:14,036 --> 00:24:15,316
Speaker 1: favorite all time?

438
00:24:15,396 --> 00:24:21,076
Speaker 3: Man, Should we just listen to this for the rest?

439
00:24:23,156 --> 00:24:24,636
Speaker 1: I mean, that's how verstable they were.

440
00:24:28,716 --> 00:24:40,396
Speaker 13: Ramshot is sot oh Man Staple singers. Obviously it's that.

441
00:24:40,796 --> 00:24:43,916
Speaker 1: It was definitely the gospel influence, but it's like that

442
00:24:44,196 --> 00:24:46,956
Speaker 1: Southern kind of folky, but it's got a little bit

443
00:24:46,956 --> 00:24:50,396
Speaker 1: of that new one you know, dud God, it's you know,

444
00:24:50,476 --> 00:24:52,876
Speaker 1: it's just yeah, those guys knew how to do it.

445
00:24:53,236 --> 00:24:55,796
Speaker 4: So this album would be Simon's first solo album on

446
00:24:55,836 --> 00:24:58,916
Speaker 4: the Billboard Album charts. Still Crazy after all these years

447
00:24:58,996 --> 00:25:01,356
Speaker 4: won a Grammy four Album of the Year in nineteen

448
00:25:01,396 --> 00:25:04,916
Speaker 4: seventy six, which is incredible. In his acceptance speech, he

449
00:25:05,036 --> 00:25:08,796
Speaker 4: thanked Stevie Wonder, who didn't make an album this year, right,

450
00:25:09,196 --> 00:25:13,076
Speaker 4: this great slipped in and then that's just track one.

451
00:25:13,356 --> 00:25:15,556
Speaker 4: Track two is we get a We get a Simon

452
00:25:15,596 --> 00:25:19,676
Speaker 4: and Garfunkle reunion with My Little Town again.

453
00:25:19,756 --> 00:25:20,436
Speaker 1: This is This was.

454
00:25:20,476 --> 00:25:24,476
Speaker 4: Recorded at the Muscles Muscle Shoals studios in Mississippi, with

455
00:25:24,596 --> 00:25:25,356
Speaker 4: the same Alabama.

456
00:25:25,916 --> 00:25:28,596
Speaker 3: Sorry in Alabama. No one's gonna get upset about that.

457
00:25:29,476 --> 00:25:31,036
Speaker 1: No one's gonna get upset about that.

458
00:25:31,796 --> 00:25:31,916
Speaker 14: Uh.

459
00:25:32,516 --> 00:25:34,876
Speaker 4: This is again with Very Beckett on acoustic piano, David

460
00:25:34,876 --> 00:25:37,476
Speaker 4: Hood on bass guitar, Roger Hawkins on drums, Peak Carr

461
00:25:37,516 --> 00:25:40,516
Speaker 4: on the electric guitar, David Matthews with the horn arrangements,

462
00:25:40,596 --> 00:25:41,916
Speaker 4: Ralph McDonald with the percussion.

463
00:25:42,316 --> 00:25:44,596
Speaker 1: Shout out, Ralph McDonald kill it on this record on

464
00:25:44,676 --> 00:25:48,396
Speaker 1: a bunch of kills lit his own little couture months.

465
00:25:48,436 --> 00:25:50,516
Speaker 1: They really do some cool stuff.

466
00:25:50,836 --> 00:25:51,676
Speaker 3: This is my little town.

467
00:26:16,116 --> 00:26:19,596
Speaker 1: That's Alabama, my little town. Now the New Yorkers have arrived,

468
00:26:24,356 --> 00:26:29,156
Speaker 1: but it works. They would direct from mon talk to

469
00:26:29,436 --> 00:26:36,316
Speaker 1: muscle shows. He used to lead a bobby and that

470
00:26:36,676 --> 00:26:38,476
Speaker 1: liglely just to.

471
00:26:45,996 --> 00:26:49,836
Speaker 10: Come and hold out to school, fly in.

472
00:26:49,956 --> 00:26:59,596
Speaker 11: The back pass, the gates of the factory, my mom

473
00:27:00,036 --> 00:27:04,156
Speaker 11: doing the laundry, hanging out.

474
00:27:04,196 --> 00:27:06,516
Speaker 6: Shirts in the dirty green.

475
00:27:09,196 --> 00:27:17,516
Speaker 1: And after it rains, that's rain. All of the colors

476
00:27:17,636 --> 00:27:18,196
Speaker 1: are black.

477
00:27:19,636 --> 00:27:30,436
Speaker 11: It's not that the colors, it's just imagine everything's the same.

478
00:27:30,636 --> 00:27:31,916
Speaker 3: Peter, what's the form of this verse?

479
00:27:33,476 --> 00:27:35,756
Speaker 1: Well, you know what, you know what. I think it's great.

480
00:27:35,756 --> 00:27:38,716
Speaker 1: I realized like part of the genius of Paul signed

481
00:27:38,756 --> 00:27:41,356
Speaker 1: with his songwriting. And then how it's like actualized in

482
00:27:41,396 --> 00:27:45,316
Speaker 1: the song and the arrangement. Is that pacing, that breath

483
00:27:45,796 --> 00:27:48,316
Speaker 1: like that's worked in Like there's these odd like little

484
00:27:48,356 --> 00:27:50,916
Speaker 1: two beat things and stuff, but that works for when

485
00:27:50,956 --> 00:27:52,956
Speaker 1: the lyric comes back in the pacing up when you

486
00:27:53,036 --> 00:27:55,316
Speaker 1: look at the charter and I'm thinking about the meter,

487
00:27:55,396 --> 00:27:56,836
Speaker 1: it's like why that's weird, Why did they put that

488
00:27:56,916 --> 00:27:59,996
Speaker 1: three four in or whatever? But it works for the storytelling,

489
00:28:00,516 --> 00:28:02,756
Speaker 1: like highlights the lyric and the melody and the pacing.

490
00:28:03,196 --> 00:28:07,636
Speaker 1: Such good storytelling. It's a through composed verse, but it

491
00:28:07,756 --> 00:28:11,796
Speaker 1: pays off. Yeah with this like just repetitive hook.

492
00:28:16,076 --> 00:28:16,996
Speaker 15: My little.

493
00:28:18,636 --> 00:28:24,196
Speaker 1: Somewhere else now just important times.

494
00:28:26,276 --> 00:28:26,596
Speaker 4: M h.

495
00:28:29,916 --> 00:28:35,636
Speaker 11: Shame dream blood.

496
00:28:37,556 --> 00:28:39,076
Speaker 1: For those cries major.

497
00:28:38,876 --> 00:29:06,476
Speaker 12: Same weird like minor second harmony in the background vocals.

498
00:29:06,916 --> 00:29:09,556
Speaker 1: And those horn lines come like a lot of this

499
00:29:09,596 --> 00:29:12,956
Speaker 1: stuff shouldn't work as well as it does. Perc like

500
00:29:12,996 --> 00:29:14,676
Speaker 1: to wait that long to bring in the horns and

501
00:29:14,796 --> 00:29:16,836
Speaker 1: have them kind of like, you know, the entire.

502
00:29:16,756 --> 00:29:17,516
Speaker 3: Song shouldn't work.

503
00:29:17,836 --> 00:29:19,836
Speaker 2: And Ralph McDonald in there like it's like like like

504
00:29:19,956 --> 00:29:26,196
Speaker 2: you know, like pusher Man, something like Mayfield record like phenomenal. Yeah, yeah,

505
00:29:26,876 --> 00:29:27,996
Speaker 2: and then the muscle shows.

506
00:29:28,036 --> 00:29:30,156
Speaker 1: Guys. The rhythm section is like that was a lot

507
00:29:30,236 --> 00:29:32,836
Speaker 1: of like either reading or like figure it out, you know,

508
00:29:33,156 --> 00:29:35,196
Speaker 1: all those those little because they're kind of grooving. Then

509
00:29:35,196 --> 00:29:37,076
Speaker 1: they got to weag some extra beats and then come

510
00:29:37,156 --> 00:29:39,716
Speaker 1: and come in and stuff. Yeah, cool stuff. Love the

511
00:29:39,796 --> 00:29:40,996
Speaker 1: sound of the piano. What do you think about that

512
00:29:41,036 --> 00:29:43,316
Speaker 1: piano sound at the beginning? That's one of the most

513
00:29:43,516 --> 00:29:46,116
Speaker 1: so that unison. Can you just play the very first

514
00:29:46,196 --> 00:29:47,356
Speaker 1: note there? Can nerd out?

515
00:29:48,836 --> 00:29:49,996
Speaker 3: It's not exactly in tune.

516
00:29:50,036 --> 00:29:52,116
Speaker 1: It's like I was trying to see like the unisons

517
00:29:52,156 --> 00:29:55,916
Speaker 1: are almost they're like on the edge of oh, and

518
00:29:55,956 --> 00:29:59,676
Speaker 1: then that delayed from with the guitar, but so just

519
00:29:59,756 --> 00:30:01,276
Speaker 1: to nerd out real quick. But it's sort of an

520
00:30:01,316 --> 00:30:04,036
Speaker 1: interest like a piano and down in that range would

521
00:30:04,076 --> 00:30:06,996
Speaker 1: be two notes. There's actually two strings and the hammer

522
00:30:07,076 --> 00:30:08,836
Speaker 1: is hitting it, and so like if one of the

523
00:30:08,836 --> 00:30:10,436
Speaker 1: strings this is a little bit out of the tune,

524
00:30:10,436 --> 00:30:13,276
Speaker 1: you get this kind of weird you know, it sounds

525
00:30:13,276 --> 00:30:14,196
Speaker 1: out of tune on its own.

526
00:30:14,276 --> 00:30:15,516
Speaker 3: If it gets really out of tune, it sounds like

527
00:30:15,516 --> 00:30:16,356
Speaker 3: a honky tonk piano.

528
00:30:16,476 --> 00:30:18,796
Speaker 1: Yeah, yeah, it's like a whole pan. But this one

529
00:30:18,916 --> 00:30:20,756
Speaker 1: is like just on. I don't think it's actually out

530
00:30:20,756 --> 00:30:22,476
Speaker 1: because you don't hear the waves going, but it's like

531
00:30:22,716 --> 00:30:24,916
Speaker 1: very close, so it gives and I mean his touch

532
00:30:24,996 --> 00:30:26,836
Speaker 1: is It's such a simple thing, and you see it

533
00:30:26,916 --> 00:30:29,316
Speaker 1: on these people like greatest piano intros of all times.

534
00:30:29,356 --> 00:30:30,956
Speaker 1: Like it's an easy one to learn, but maybe not

535
00:30:31,076 --> 00:30:32,276
Speaker 1: to play it like that, you know.

536
00:30:32,476 --> 00:30:35,916
Speaker 2: Yeah, it's a beautiful record. Yeah, it is a beautiful record.

537
00:30:37,036 --> 00:30:39,556
Speaker 2: And the horn I don't know, man, like I don't.

538
00:30:39,676 --> 00:30:41,516
Speaker 4: They must have really hated each other too, because to

539
00:30:41,596 --> 00:30:43,676
Speaker 4: make that record to be like, okay, we're going to

540
00:30:43,716 --> 00:30:44,436
Speaker 4: make a record together.

541
00:30:44,516 --> 00:30:48,596
Speaker 1: You make that record, say screw it now, I can't.

542
00:30:50,036 --> 00:30:52,276
Speaker 1: How do you make that and decide and you mix it?

543
00:30:52,396 --> 00:30:55,116
Speaker 2: You the whole thing Nowhere in the process you think

544
00:30:55,716 --> 00:30:56,516
Speaker 2: let's put it aside.

545
00:30:56,756 --> 00:30:58,796
Speaker 1: Can you imagine ever in your life making Bridge over

546
00:30:58,876 --> 00:31:00,276
Speaker 1: Troubled Water and be like, I never want to see

547
00:31:00,316 --> 00:31:02,796
Speaker 1: this person ever again. It wasn't this like the third

548
00:31:02,836 --> 00:31:09,636
Speaker 1: time they were coming back together? Yeah, but they sound

549
00:31:09,796 --> 00:31:12,036
Speaker 1: so good on that and it did. Wasn't this released

550
00:31:12,236 --> 00:31:16,076
Speaker 1: on also on our Garfunk solo records? Yeah?

551
00:31:16,276 --> 00:31:19,156
Speaker 3: Like yeah, and I think the same position to like

552
00:31:19,236 --> 00:31:19,796
Speaker 3: track too.

553
00:31:19,716 --> 00:31:22,116
Speaker 1: Like they just went like so they obviously both approved

554
00:31:22,156 --> 00:31:24,716
Speaker 1: of the of the recording. It's insanely good.

555
00:31:24,956 --> 00:31:30,676
Speaker 4: Yeah, yeah, classic classic case of two people whose personalities

556
00:31:30,756 --> 00:31:34,196
Speaker 4: can't handle each other. Yeah, they end up making some

557
00:31:34,276 --> 00:31:38,556
Speaker 4: of the greatest art maybe because of even not even

558
00:31:38,596 --> 00:31:40,436
Speaker 4: despite of but a couple of guys.

559
00:31:41,956 --> 00:31:48,076
Speaker 1: Don't these cameras? It's icy and yeah this whole time

560
00:31:49,996 --> 00:31:52,596
Speaker 1: that was cool And I think too, Like one thing

561
00:31:52,756 --> 00:31:56,036
Speaker 1: that's always interesting to me is like, how you know,

562
00:31:56,236 --> 00:31:57,996
Speaker 1: when I was coming up learning music, it's like, oh,

563
00:31:58,036 --> 00:31:59,716
Speaker 1: you're going to get into this, and they do some

564
00:31:59,836 --> 00:32:02,556
Speaker 1: like weird diminished chords on like that's where the thing is.

565
00:32:02,716 --> 00:32:04,676
Speaker 1: But the reality is like how do these tunes start?

566
00:32:05,356 --> 00:32:07,356
Speaker 1: And like the ending is different because there's so many

567
00:32:07,396 --> 00:32:09,596
Speaker 1: fadeouts on And this was the age of like the

568
00:32:09,636 --> 00:32:11,276
Speaker 1: beginning of the fade outs, you know, which is my

569
00:32:11,316 --> 00:32:13,556
Speaker 1: own little quible bit, but like how these first two

570
00:32:13,636 --> 00:32:15,756
Speaker 1: tracks start with like that road.

571
00:32:15,756 --> 00:32:20,116
Speaker 3: Sound at the beginning, you with fade outs.

572
00:32:20,316 --> 00:32:21,956
Speaker 1: Yeah, I'm not I'm not a fan of it. I'm like,

573
00:32:22,076 --> 00:32:25,756
Speaker 1: end the thing, what's ended? Yeah, that's your Yeah, it's

574
00:32:25,836 --> 00:32:28,476
Speaker 1: like for radio, it's great, but it's also like when

575
00:32:28,516 --> 00:32:29,876
Speaker 1: we were here. I mean, this was a little before

576
00:32:29,916 --> 00:32:31,276
Speaker 1: my time when I was here and on the radio,

577
00:32:31,756 --> 00:32:34,516
Speaker 1: but it's like the DJ has had so much control

578
00:32:34,596 --> 00:32:36,556
Speaker 1: over when the thing was gonna. Like that's when I

579
00:32:36,596 --> 00:32:38,076
Speaker 1: came up in the era of like you didn't know

580
00:32:38,116 --> 00:32:40,116
Speaker 1: what it was gonna. It was definitely me before, Like

581
00:32:40,196 --> 00:32:43,996
Speaker 1: I remember that, what is it? Do I do? Stevie

582
00:32:44,076 --> 00:32:46,636
Speaker 1: wonder where Disney Lestie plays that? So like that never

583
00:32:46,796 --> 00:32:49,076
Speaker 1: my sister had the LP and so I remember she

584
00:32:49,156 --> 00:32:50,516
Speaker 1: played it that. I was like, wait, what is that?

585
00:32:50,836 --> 00:32:53,236
Speaker 1: Because it never it never occurred on the rate, like

586
00:32:53,316 --> 00:32:55,116
Speaker 1: it was always faded out before you got to that

587
00:32:55,156 --> 00:32:56,636
Speaker 1: and you're like, we're gonna play the jazz on the

588
00:32:56,836 --> 00:32:57,796
Speaker 1: on the top station.

589
00:32:57,876 --> 00:32:59,996
Speaker 2: I always like to the imagination that some some of

590
00:33:00,036 --> 00:33:01,476
Speaker 2: the fade out, some some fade outs are like a

591
00:33:01,556 --> 00:33:03,836
Speaker 2: cop out, but then sometimes you're like what, like you know,

592
00:33:03,916 --> 00:33:05,996
Speaker 2: the end of like like I want you back, you know.

593
00:33:06,156 --> 00:33:09,676
Speaker 1: You're like Michael's cooking, You're like what what happened?

594
00:33:11,756 --> 00:33:13,636
Speaker 4: A fade out is you're hearing all the good stuff,

595
00:33:14,196 --> 00:33:16,276
Speaker 4: like where is it going? But it gives you this

596
00:33:16,476 --> 00:33:19,036
Speaker 4: mystery to what's Yeah, that song could still be going on.

597
00:33:19,156 --> 00:33:19,436
Speaker 3: We don't know.

598
00:33:19,556 --> 00:33:23,716
Speaker 1: Yeah it's still going today. Yeah yeah. And then it's

599
00:33:23,716 --> 00:33:25,956
Speaker 1: also like, well, like when we can talk about it

600
00:33:26,036 --> 00:33:27,956
Speaker 1: as we go to like this is I think when

601
00:33:27,996 --> 00:33:30,996
Speaker 1: we were just reminiscing about this or prepping for this,

602
00:33:31,836 --> 00:33:34,476
Speaker 1: somebody mentioned or we all commiserated about this is a

603
00:33:34,596 --> 00:33:37,476
Speaker 1: great you know, put the vinyl on, we did, put

604
00:33:37,516 --> 00:33:39,236
Speaker 1: berets on, and when it got a little pour over

605
00:33:39,356 --> 00:33:44,156
Speaker 1: coffee before we said that it was espresso. Yeah. But

606
00:33:44,276 --> 00:33:46,076
Speaker 1: I mean that's another thing is like how do you

607
00:33:46,196 --> 00:33:47,716
Speaker 1: get from like if you are listening to this as

608
00:33:47,756 --> 00:33:49,676
Speaker 1: an album and you're not getting screwed up by Spotify

609
00:33:50,076 --> 00:33:51,796
Speaker 1: doing some weird like what does it feel like to

610
00:33:51,916 --> 00:33:55,196
Speaker 1: transition from each track? You know it feels great? Yeah,

611
00:33:55,596 --> 00:33:59,436
Speaker 1: that's well, speaking of feeling good, I think this track

612
00:33:59,996 --> 00:34:02,676
Speaker 1: three for me is well, we'll talk about it later.

613
00:34:02,716 --> 00:34:03,996
Speaker 1: It might be might be the apex.

614
00:34:04,076 --> 00:34:05,476
Speaker 4: This is I do It for your Love, And for

615
00:34:05,596 --> 00:34:08,436
Speaker 4: some reason, this is a favorite of Jet well, not

616
00:34:08,516 --> 00:34:10,876
Speaker 4: for some reason, but it is a favorite of jazz musicians,

617
00:34:11,316 --> 00:34:15,916
Speaker 4: as we'll talk about in a minute. I'd have been

618
00:34:15,956 --> 00:34:20,836
Speaker 4: a favorite of Steely Dance too. We got a brand

619
00:34:20,876 --> 00:34:24,596
Speaker 4: new rhythm section on this one. We got Kenneth Asher

620
00:34:24,676 --> 00:34:27,236
Speaker 4: on the Fender Roads, Terry Friedman on electric guitar, Joe

621
00:34:27,276 --> 00:34:31,956
Speaker 4: Beck on electric guitar, the Great Tony Levin on bass,

622
00:34:32,276 --> 00:34:34,596
Speaker 4: and the immortal Steve Gay on the drums.

623
00:34:34,636 --> 00:34:38,716
Speaker 1: Here force and again, Ralph McDonalds married on.

624
00:34:43,076 --> 00:34:46,316
Speaker 11: Sky was yellow and the grass was green.

625
00:34:49,436 --> 00:34:51,996
Speaker 1: Shine the papers and drove.

626
00:34:54,516 --> 00:34:56,356
Speaker 6: I do fall.

627
00:35:01,796 --> 00:35:08,636
Speaker 1: The rules were musty, and the place wollo. All that

628
00:35:09,356 --> 00:35:14,396
Speaker 1: to a shed of con the most lyric ever drank

629
00:35:14,516 --> 00:35:17,556
Speaker 1: all the orange juice, the week cold cold.

630
00:35:19,596 --> 00:35:31,036
Speaker 6: I do it for your found. The road junk shock.

631
00:35:33,156 --> 00:35:35,156
Speaker 1: Road, ho to you.

632
00:35:39,156 --> 00:35:47,236
Speaker 9: Along the way, the cover of those red beers.

633
00:35:47,036 --> 00:35:47,996
Speaker 6: Cobu.

634
00:36:09,236 --> 00:36:09,556
Speaker 1: Bizarre.

635
00:36:10,196 --> 00:36:14,556
Speaker 4: Yeah, you know what the instrument that is? That's vocals, right,

636
00:36:15,116 --> 00:36:18,356
Speaker 4: it's accordion and vocals. An artist named Sivuka.

637
00:36:23,356 --> 00:36:26,116
Speaker 1: This is why jazz musicians like it's a long ass

638
00:36:26,156 --> 00:36:34,876
Speaker 1: solo in the middle of it, so an incredible song. Man.

639
00:36:34,956 --> 00:36:36,836
Speaker 1: I was just thinking, like I would have been scared.

640
00:36:36,956 --> 00:36:39,116
Speaker 1: I mean, like, this is a really fun way to

641
00:36:39,196 --> 00:36:41,716
Speaker 1: play on a studio record like this, and I can

642
00:36:41,836 --> 00:36:44,956
Speaker 1: relate and think about things, but I would like the details.

643
00:36:45,556 --> 00:36:48,796
Speaker 1: I mean, obviously with with Paul's vocals and the backgrounds

644
00:36:48,796 --> 00:36:51,316
Speaker 1: and the way he's I mean, it's like everything is perfect.

645
00:36:51,356 --> 00:36:53,876
Speaker 1: I don't think it's antiseptic, but it's like very much

646
00:36:53,956 --> 00:36:55,516
Speaker 1: like I feel like if I played one little oh,

647
00:36:55,516 --> 00:36:58,556
Speaker 1: I think I'm gonna do this like the whole thing. Yeah, yeah, yeah,

648
00:36:58,596 --> 00:37:00,916
Speaker 1: you gotta fall on line on this, you gotta full line. Yeah.

649
00:37:01,076 --> 00:37:03,636
Speaker 1: And I think maybe now I'm feeling like the muscle

650
00:37:03,676 --> 00:37:07,356
Speaker 1: shows rhythm section moving to this one because there's a

651
00:37:07,436 --> 00:37:10,876
Speaker 1: certain stylized way that the album is produced that it

652
00:37:10,996 --> 00:37:14,356
Speaker 1: kind of works because normally you start shifting rhythm sections,

653
00:37:14,436 --> 00:37:17,836
Speaker 1: you know, on track three that can their cohesion can,

654
00:37:17,956 --> 00:37:20,436
Speaker 1: but it's totally cohesive falling into it. Yeah.

655
00:37:21,636 --> 00:37:23,516
Speaker 3: The most Paul Simon lyric.

656
00:37:24,876 --> 00:37:27,596
Speaker 4: That I think has ever been written, besides maybe like

657
00:37:27,876 --> 00:37:31,436
Speaker 4: Mississippi Delta Shining like a National Guitar is the rooms

658
00:37:31,476 --> 00:37:33,916
Speaker 4: were musty and the pipes were old all that winter.

659
00:37:34,036 --> 00:37:36,476
Speaker 4: We shared a cold drank all the orange juice that

660
00:37:36,516 --> 00:37:37,076
Speaker 4: we could hold.

661
00:37:37,436 --> 00:37:38,836
Speaker 3: I do it for your love, just that.

662
00:37:38,956 --> 00:37:44,196
Speaker 4: Little glimpse of a daily life that is unbelievably beautiful.

663
00:37:44,356 --> 00:37:47,516
Speaker 2: So, you know, just the mundane whatever, just you know,

664
00:37:47,556 --> 00:37:49,316
Speaker 2: and it's like what but when Paul sings it too,

665
00:37:49,436 --> 00:37:53,476
Speaker 2: it's like, oh, super difficult to land that and not

666
00:37:53,716 --> 00:37:55,716
Speaker 2: be super corny, and yeah does it?

667
00:37:55,996 --> 00:37:56,916
Speaker 3: Yeah, pulls it off?

668
00:37:57,116 --> 00:37:58,796
Speaker 1: Yeah? Is this a good time to bring up? I

669
00:37:58,796 --> 00:38:01,156
Speaker 1: have a question for you guys. Is this the ultimate

670
00:38:01,276 --> 00:38:04,236
Speaker 1: sad boy album? I mean, he was going through a

671
00:38:04,276 --> 00:38:05,276
Speaker 1: pretty harry divorce.

672
00:38:05,356 --> 00:38:07,676
Speaker 3: Yeah, I think so, it is.

673
00:38:08,116 --> 00:38:10,956
Speaker 1: It is, but this is the best. This is also

674
00:38:11,156 --> 00:38:14,956
Speaker 1: like the platonic form of that.

675
00:38:15,076 --> 00:38:15,236
Speaker 3: You know.

676
00:38:15,316 --> 00:38:17,076
Speaker 1: It's like, if you're gonna do a sad boy album,

677
00:38:17,556 --> 00:38:23,516
Speaker 1: tasteful right right right? Yeah? Yeah, and don't even call

678
00:38:23,516 --> 00:38:27,396
Speaker 1: her out by name exactly exactly, and.

679
00:38:27,436 --> 00:38:31,396
Speaker 2: Then throwing Accordion's vocal solo right.

680
00:38:31,916 --> 00:38:33,796
Speaker 1: Also. I think Bob James I was listening to some

681
00:38:33,876 --> 00:38:35,876
Speaker 1: of that harmony. I think he might have had a

682
00:38:35,916 --> 00:38:39,396
Speaker 1: little something to do with some of the the composite. Yeah,

683
00:38:39,876 --> 00:38:41,316
Speaker 1: at least some of the I mean, I guess that's

684
00:38:41,356 --> 00:38:44,716
Speaker 1: technically not the songwriting, that's like the harmonic arrangement. But

685
00:38:44,836 --> 00:38:47,236
Speaker 1: I'm I'm hearing some stuff that makes sense. I mean,

686
00:38:47,276 --> 00:38:47,716
Speaker 1: he's in there.

687
00:38:48,076 --> 00:38:51,116
Speaker 3: If you don't know Bob James, might know him from this.

688
00:38:54,996 --> 00:38:56,196
Speaker 3: I mean, who doesn't know Bob Chance.

689
00:38:56,316 --> 00:39:00,276
Speaker 1: But it's great jazz pianists as well.

690
00:39:00,316 --> 00:39:04,476
Speaker 4: I mean, incredible jazz pianist James, incredible pianist composer.

691
00:39:04,636 --> 00:39:07,316
Speaker 1: This is the Angela the team from Taxi TV show

692
00:39:07,356 --> 00:39:09,636
Speaker 1: tax and Super Sweet Nice. I met him when I

693
00:39:09,636 --> 00:39:10,276
Speaker 1: was in high.

694
00:39:10,076 --> 00:39:12,116
Speaker 6: School, and he was.

695
00:39:13,916 --> 00:39:15,676
Speaker 1: I think I've ripped that off in so many songs.

696
00:39:17,956 --> 00:39:17,996
Speaker 4: No.

697
00:39:18,116 --> 00:39:20,196
Speaker 1: I met Bob James shout out Bob James when I

698
00:39:20,196 --> 00:39:21,636
Speaker 1: was in high school and he I was at this

699
00:39:21,836 --> 00:39:24,796
Speaker 1: like band thing in Texas. Same day I met Roargo

700
00:39:25,196 --> 00:39:27,156
Speaker 1: while he was in high school. But Bob James was

701
00:39:27,236 --> 00:39:28,876
Speaker 1: just like I would assume. He came over to me

702
00:39:28,956 --> 00:39:30,996
Speaker 1: after he heard our high school band players like yeah,

703
00:39:30,996 --> 00:39:32,756
Speaker 1: you sound good. He's like, I'm Bob James. I was

704
00:39:32,796 --> 00:39:35,356
Speaker 1: like yeah, but it's just one of those guys that

705
00:39:35,476 --> 00:39:38,316
Speaker 1: you know. It's like, you know, he could have been like, yeah,

706
00:39:38,316 --> 00:39:40,116
Speaker 1: you sounded like shit, I'm Bob Jay, I would I

707
00:39:40,116 --> 00:39:41,756
Speaker 1: would have given it up music. I would have been like,

708
00:39:41,796 --> 00:39:43,596
Speaker 1: you're great. I guess I'm in the wrong field. Did

709
00:39:43,676 --> 00:39:45,236
Speaker 1: you know it's Bob James before he said it was

710
00:39:45,236 --> 00:39:47,556
Speaker 1: Bob James? No, because he was so selfish, you know

711
00:39:47,596 --> 00:39:49,716
Speaker 1: what I mean. It's just so like just like hey,

712
00:39:49,956 --> 00:39:51,796
Speaker 1: you know, I'm like, why would he be here?

713
00:39:51,876 --> 00:39:53,916
Speaker 4: But so I do it for your love was covered

714
00:39:53,956 --> 00:39:56,436
Speaker 4: by Herbie Hancock on his two thousand and five album

715
00:39:56,716 --> 00:40:00,516
Speaker 4: Possibilities with Paul sign With Paul it sounds way different, Yeah,

716
00:40:00,916 --> 00:40:02,676
Speaker 4: actually did it. Paul asked him to do it in

717
00:40:02,756 --> 00:40:05,356
Speaker 4: a minor key, yeah, and to do it on just

718
00:40:05,476 --> 00:40:08,436
Speaker 4: one chord, and Herbie's like, I don't think we can

719
00:40:08,516 --> 00:40:08,956
Speaker 4: do that, Paul.

720
00:40:09,716 --> 00:40:09,916
Speaker 5: Yeah.

721
00:40:09,956 --> 00:40:11,476
Speaker 1: Herbie is like, I can play one note here, I'm

722
00:40:11,476 --> 00:40:13,596
Speaker 1: gonna put a bunch of Herbie ship on top. That's

723
00:40:13,636 --> 00:40:17,116
Speaker 1: exactly what happens, is exactly what he did. So it's

724
00:40:17,156 --> 00:40:27,396
Speaker 1: just piano percussion and Paul it's like, m revel Herbie

725
00:40:27,476 --> 00:40:28,836
Speaker 1: Paul Sneyer like that stuff.

726
00:40:31,596 --> 00:40:59,116
Speaker 6: H damn mm hmmm. We were married on any day.

727
00:41:01,036 --> 00:41:06,116
Speaker 1: The sky was yellow and the grass was green. We

728
00:41:06,316 --> 00:41:18,316
Speaker 1: shigned the papers and we drove dude for I haven't

729
00:41:18,356 --> 00:41:21,596
Speaker 1: heard this in a while. This is cool. Yeah, I heard.

730
00:41:37,196 --> 00:41:39,956
Speaker 14: The rooms were musty and the pipes were cool.

731
00:41:40,756 --> 00:41:45,236
Speaker 1: Man, all that went to We shared good footage of

732
00:41:45,276 --> 00:41:46,196
Speaker 1: them recording this to.

733
00:41:48,076 --> 00:41:52,196
Speaker 4: I mean, I mean, another another feather in the cap

734
00:41:52,276 --> 00:41:56,196
Speaker 4: of maybe a case for Herbie just being the goat.

735
00:41:56,276 --> 00:41:58,956
Speaker 4: I mean, truly, what other jazz pianist of the big

736
00:41:59,596 --> 00:42:01,996
Speaker 4: three or four that we can think of could step

737
00:42:02,076 --> 00:42:03,436
Speaker 4: in and do this in the right way.

738
00:42:03,756 --> 00:42:05,116
Speaker 1: I mean, I don't think.

739
00:42:05,036 --> 00:42:07,876
Speaker 4: Any of them would want to want to be curious

740
00:42:08,036 --> 00:42:10,396
Speaker 4: enough or open enough for or have the personality that

741
00:42:11,076 --> 00:42:14,876
Speaker 4: is so attractive that Herbie seems to have. You notice

742
00:42:14,876 --> 00:42:18,836
Speaker 4: how much he attracts other artists. He's just a magnet

743
00:42:18,876 --> 00:42:21,956
Speaker 4: for me. Yeah, Paul's you know what. I listened to

744
00:42:22,036 --> 00:42:22,236
Speaker 4: that too.

745
00:42:22,276 --> 00:42:26,476
Speaker 2: I'm like, we've had some conversations about Paul parachuting into things,

746
00:42:26,556 --> 00:42:29,236
Speaker 2: but yeah, I think Paul might have the right idea, man.

747
00:42:29,156 --> 00:42:29,516
Speaker 1: Paul does.

748
00:42:29,636 --> 00:42:32,676
Speaker 2: I mean, if I was like the idea of someone

749
00:42:32,756 --> 00:42:37,516
Speaker 2: of Paul Simon's caliber and stature and culture being like,

750
00:42:37,636 --> 00:42:40,836
Speaker 2: let's rework this, you know, album cut from one of

751
00:42:40,956 --> 00:42:43,356
Speaker 2: my big albums, not even a hit, not.

752
00:42:43,396 --> 00:42:43,836
Speaker 1: Even a hit.

753
00:42:43,996 --> 00:42:46,396
Speaker 2: Yeah, and just you know it's like, you know, I

754
00:42:46,436 --> 00:42:48,156
Speaker 2: don't know, like I don't want to. You know, most

755
00:42:48,156 --> 00:42:50,036
Speaker 2: people aren't going to do that, right, That's what's cool

756
00:42:50,036 --> 00:42:51,436
Speaker 2: about him, And that's how I would use.

757
00:42:51,396 --> 00:42:53,556
Speaker 1: My powers too. Yeah, I'm like, let me just give

758
00:42:53,596 --> 00:42:55,876
Speaker 1: with Herbie in the studio real quick and you know,

759
00:42:56,116 --> 00:42:58,956
Speaker 1: like man like yeah. And I was just thinking the

760
00:42:58,996 --> 00:43:02,356
Speaker 1: similar thing in terms of like shout out to Paul

761
00:43:02,436 --> 00:43:04,876
Speaker 1: Simon for going in because I know that he's so

762
00:43:05,116 --> 00:43:07,676
Speaker 1: detail oriented and would understand and know that when you

763
00:43:07,756 --> 00:43:09,756
Speaker 1: get in there with the studio like Herbie, he's the sweetest,

764
00:43:09,836 --> 00:43:12,236
Speaker 1: nice cat, but he's also going to be like like

765
00:43:12,396 --> 00:43:16,676
Speaker 1: it's not gonna be easy, it's gonna be wonderful. And

766
00:43:16,756 --> 00:43:19,316
Speaker 1: if you're willing to come in and kind of let

767
00:43:19,396 --> 00:43:21,396
Speaker 1: your guard down a little bit, like there's a chance

768
00:43:21,476 --> 00:43:24,156
Speaker 1: for you to kind of like he will elevate your stuff.

769
00:43:24,196 --> 00:43:26,196
Speaker 1: But I've heard from other vocalists that have played with him,

770
00:43:26,196 --> 00:43:28,396
Speaker 1: they're just like it's hard, like like if you're not

771
00:43:28,556 --> 00:43:30,676
Speaker 1: totally open to it and to just being yourself. And

772
00:43:30,756 --> 00:43:33,356
Speaker 1: you can hear that like Paul's just singing the thing

773
00:43:33,436 --> 00:43:36,396
Speaker 1: and Herbie's kind of doing different things, and Paul is

774
00:43:36,436 --> 00:43:39,676
Speaker 1: allowing that to kind of envelop his composition. I mean

775
00:43:39,716 --> 00:43:42,716
Speaker 1: he's totally reworking the thing. And I know Herbie, like

776
00:43:42,916 --> 00:43:45,236
Speaker 1: however many takes they did, everyone was different. I guarantee

777
00:43:45,236 --> 00:43:46,996
Speaker 1: you that that was not like Herbie's like, oh okay,

778
00:43:47,036 --> 00:43:49,716
Speaker 1: we're gonna go to f Minor Paul is that cool? Awesome?

779
00:43:50,596 --> 00:43:53,596
Speaker 1: So I mean I think that it is one of

780
00:43:53,636 --> 00:43:56,076
Speaker 1: those things where it could be like this beautiful, wonderful thing.

781
00:43:56,596 --> 00:43:59,196
Speaker 1: But if you're kind of because that that whole record,

782
00:43:59,236 --> 00:44:02,116
Speaker 1: that's a killing this possibilities, right. Yeah. Yeah. There's a

783
00:44:02,156 --> 00:44:04,396
Speaker 1: bunch of people, and there's some I mean all of them.

784
00:44:04,476 --> 00:44:06,796
Speaker 1: I love that record. A lot of like hardcore jet

785
00:44:06,876 --> 00:44:08,556
Speaker 1: Herbie like it's Herby.

786
00:44:08,356 --> 00:44:10,236
Speaker 3: Doesn't make a bad out him then he really doesn't.

787
00:44:10,276 --> 00:44:12,676
Speaker 1: But for jazz folks, a lot of them overlook that

788
00:44:12,836 --> 00:44:17,596
Speaker 1: record because it's like I think there's I'm forgetting. There's

789
00:44:17,596 --> 00:44:19,796
Speaker 1: a bunch of kind of like weird combinations. I think

790
00:44:19,836 --> 00:44:21,756
Speaker 1: great stuff. Angelie Key Joe is on there. I think

791
00:44:21,796 --> 00:44:23,276
Speaker 1: has a really cool thing that she does.

792
00:44:23,436 --> 00:44:25,196
Speaker 3: This is after like the New Standard era.

793
00:44:25,396 --> 00:44:28,596
Speaker 1: Yeah, row me done. He does a cool thing with Herbie.

794
00:44:28,836 --> 00:44:31,036
Speaker 1: But it's all people that are like, yeah, I'm willing

795
00:44:31,116 --> 00:44:33,116
Speaker 1: to come in. And you know, I mean, Paul was

796
00:44:33,156 --> 00:44:34,716
Speaker 1: probably the big Actually, I think Sting might be on

797
00:44:34,796 --> 00:44:37,236
Speaker 1: that too. You know. Sting's another one that can kind

798
00:44:37,236 --> 00:44:37,556
Speaker 1: of is he.

799
00:44:37,596 --> 00:44:38,396
Speaker 3: Parachuting or is he?

800
00:44:38,876 --> 00:44:41,476
Speaker 1: Is he walking in the front door? It's is he

801
00:44:41,556 --> 00:44:45,916
Speaker 1: private jetting it? Yeah, that's a good question. That's a

802
00:44:45,956 --> 00:44:48,116
Speaker 1: good question. Hard to know with it.

803
00:44:48,836 --> 00:44:50,236
Speaker 3: What are we gonna do our police episode?

804
00:44:50,276 --> 00:44:53,516
Speaker 1: Man, come on, it's coming man. Uh, let's check out.

805
00:44:53,716 --> 00:44:55,436
Speaker 1: The next track was, well, we do the jazz Police

806
00:44:55,436 --> 00:44:58,636
Speaker 1: every wee. We're ready for that. The next track was

807
00:44:58,676 --> 00:45:00,636
Speaker 1: a hit and it's fifty Ways to Leave your lover.

808
00:45:00,796 --> 00:45:01,396
Speaker 1: Let's check it out.

809
00:45:01,876 --> 00:45:03,956
Speaker 9: Problem is inside your head?

810
00:45:04,076 --> 00:45:08,276
Speaker 1: She said to me. The answer is easy, if you

811
00:45:08,516 --> 00:45:08,836
Speaker 1: take it.

812
00:45:11,156 --> 00:45:14,476
Speaker 11: I'd like to help you in your struggle to be free.

813
00:45:14,956 --> 00:45:23,596
Speaker 1: Some some missing here. That was the coffee house. This

814
00:45:23,916 --> 00:45:28,556
Speaker 1: this song like that, it sounded just as compelling. I

815
00:45:28,596 --> 00:45:31,156
Speaker 1: don't know about just that, but that very compelling. Guys,

816
00:45:31,156 --> 00:45:34,916
Speaker 1: did we just start the Simon remix project? Yeah? That

817
00:45:35,076 --> 00:45:38,396
Speaker 1: really shocked me. Actually, well that's this song.

818
00:45:38,436 --> 00:45:40,196
Speaker 3: There's not much to it. There's not much going on.

819
00:45:40,236 --> 00:45:42,956
Speaker 1: If you take the drums out, you.

820
00:45:44,276 --> 00:45:48,156
Speaker 4: Jack, we gotta talk about the course, I know, one

821
00:45:48,196 --> 00:45:49,996
Speaker 4: of the weirdest transitions ever.

822
00:45:50,116 --> 00:45:50,276
Speaker 5: Man.

823
00:45:50,516 --> 00:45:52,556
Speaker 1: It's like two different too. I mean it's two different.

824
00:45:52,636 --> 00:45:54,756
Speaker 2: It's like, uh, you know a lot of like, you

825
00:45:54,836 --> 00:45:57,276
Speaker 2: know a lot of people hate like or talk about

826
00:45:58,076 --> 00:46:00,796
Speaker 2: uh Ozzie's uh what is that?

827
00:46:01,076 --> 00:46:06,116
Speaker 1: Uh crazy train transition from the rift to like the verse.

828
00:46:06,796 --> 00:46:07,396
Speaker 1: That's one of those.

829
00:46:07,956 --> 00:46:10,316
Speaker 4: It's very, very jar So the chorus came out of

830
00:46:10,356 --> 00:46:13,116
Speaker 4: a fun rhyming game that Paul was playing with Harper

831
00:46:13,276 --> 00:46:14,956
Speaker 4: with his son, and.

832
00:46:15,356 --> 00:46:16,436
Speaker 1: This was bad about his mama.

833
00:46:19,156 --> 00:46:21,156
Speaker 4: Listen, let me tell you about divorce. Sometimes he's got

834
00:46:21,236 --> 00:46:27,236
Speaker 4: to sleep. This was happening during the divorce. Paul was

835
00:46:27,236 --> 00:46:30,596
Speaker 4: playing with Harper in his hotel, showing him simple rhyming games.

836
00:46:30,636 --> 00:46:32,916
Speaker 4: The rhymes they made up made it into the song

837
00:46:33,076 --> 00:46:35,036
Speaker 4: you slip out the pack check make a new plant

838
00:46:35,116 --> 00:46:37,556
Speaker 4: Stand was the game he was playing with his son, Right.

839
00:46:38,236 --> 00:46:40,636
Speaker 1: Dad, Why is mom got to make a new plants?

840
00:46:42,996 --> 00:46:43,196
Speaker 6: Other?

841
00:46:43,236 --> 00:46:46,956
Speaker 1: Waise and you gotta make a sad off like daddy, Dad?

842
00:46:46,996 --> 00:46:48,196
Speaker 1: Can you not turn this in your album?

843
00:46:48,276 --> 00:46:48,476
Speaker 6: Right now?

844
00:46:48,516 --> 00:46:52,156
Speaker 1: I'm actually kind of broken inside. Talk about your dad.

845
00:46:52,996 --> 00:46:55,516
Speaker 2: Do you think he had the verse or the course?

846
00:46:55,636 --> 00:46:57,236
Speaker 2: We must have the course. I mean, if he's doing

847
00:46:57,236 --> 00:46:58,956
Speaker 2: the rhyming or did he have the verse and then

848
00:46:58,996 --> 00:47:00,716
Speaker 2: didn't have a course? And who's doing the rhyming game?

849
00:47:00,756 --> 00:47:02,236
Speaker 2: And that's a great question, like how.

850
00:47:02,116 --> 00:47:04,956
Speaker 1: Did rhyming that would have been a course kind of

851
00:47:05,356 --> 00:47:07,556
Speaker 1: I mean, how do you heard track from that?

852
00:47:07,876 --> 00:47:09,956
Speaker 4: I've heard lord that he you know, because so Steve

853
00:47:09,996 --> 00:47:11,916
Speaker 4: Gadd is a young Jasus just at this point he's

854
00:47:11,956 --> 00:47:14,596
Speaker 4: coming out of the military and where he's you know,

855
00:47:15,196 --> 00:47:17,556
Speaker 4: in the in the field band of the military, playing

856
00:47:17,596 --> 00:47:20,036
Speaker 4: snare drum and so that's the gad stuff, Like that's

857
00:47:20,036 --> 00:47:21,676
Speaker 4: when he's playing his gad ship is when he brings

858
00:47:21,716 --> 00:47:24,516
Speaker 4: out that sort of yeah, you can hear him. There's

859
00:47:24,556 --> 00:47:26,596
Speaker 4: some great videos of a drum battle with him and

860
00:47:26,716 --> 00:47:29,116
Speaker 4: Vinnie Call You'd and Dave Weckel and Vinnie call you

861
00:47:29,276 --> 00:47:33,076
Speaker 4: and Dave Weckler are doing some just like incredible technical fireworks,

862
00:47:33,556 --> 00:47:36,956
Speaker 4: but then Steve Gadd comes in with his like and

863
00:47:36,996 --> 00:47:39,276
Speaker 4: the place just lights up because it feels like this.

864
00:47:39,836 --> 00:47:41,476
Speaker 4: So I've heard, and I don't I don't know if

865
00:47:41,516 --> 00:47:43,276
Speaker 4: this is verified, but I've heard stories that Steve is

866
00:47:43,316 --> 00:47:45,876
Speaker 4: like playing his military stuff and Paul walks in and says,

867
00:47:45,956 --> 00:47:47,596
Speaker 4: that's what I want for that verse and wrote the

868
00:47:47,676 --> 00:47:51,356
Speaker 4: verse around the drum part, just what I've heard.

869
00:47:51,756 --> 00:47:53,516
Speaker 1: I would love to see Paul's face when you heard that.

870
00:47:53,996 --> 00:47:57,036
Speaker 1: I know he would like He's like, oh, let me,

871
00:47:57,196 --> 00:47:59,036
Speaker 1: let me grab some of that and then I'm gonna

872
00:47:59,036 --> 00:48:01,556
Speaker 1: give I mean, that's great arranging when I hear this

873
00:48:01,636 --> 00:48:04,156
Speaker 1: drum bee, though, I don't think like slip out the

874
00:48:04,236 --> 00:48:06,716
Speaker 1: back jack, no, you know what I mean. So he

875
00:48:06,796 --> 00:48:09,596
Speaker 1: had to write, yeah, well, and the thing about Gad too,

876
00:48:09,676 --> 00:48:11,356
Speaker 1: it's like he's the kind of drummer like like you

877
00:48:11,396 --> 00:48:14,556
Speaker 1: say that, like everybody that aren't drummers are gonna be like, damn,

878
00:48:15,036 --> 00:48:17,316
Speaker 1: that feels good, Like you're not thinking you're not. You

879
00:48:17,396 --> 00:48:20,476
Speaker 1: don't know why, but like his precision. I didn't even

880
00:48:20,516 --> 00:48:21,836
Speaker 1: know about him being in the middle. And I got

881
00:48:21,876 --> 00:48:23,636
Speaker 1: a chance to play with him once and I was

882
00:48:23,676 --> 00:48:26,276
Speaker 1: always like Steve dam I played with other great drummers.

883
00:48:26,316 --> 00:48:27,836
Speaker 3: But man, his thing was like, all right, can we

884
00:48:27,956 --> 00:48:29,156
Speaker 3: can we talk about Gad for a second?

885
00:48:29,396 --> 00:48:32,316
Speaker 1: Yeah? Yeah, I'm literally trying you listen. Can we just

886
00:48:32,596 --> 00:48:34,076
Speaker 1: can we just know you nervously.

887
00:48:33,956 --> 00:48:35,436
Speaker 4: Just here, but come on, no, I want to go

888
00:48:35,636 --> 00:48:39,476
Speaker 4: we talk about I want to talk seriously about personal anecdotes.

889
00:48:40,556 --> 00:48:43,036
Speaker 3: So this is Gads. I want to I just want

890
00:48:43,036 --> 00:48:43,316
Speaker 3: to read.

891
00:48:43,396 --> 00:48:43,636
Speaker 14: This is.

892
00:48:45,796 --> 00:48:47,236
Speaker 3: I want to read the highlights of.

893
00:48:47,876 --> 00:48:51,476
Speaker 1: The personal story. This is the good guy's wikipedia out

894
00:48:51,516 --> 00:48:55,716
Speaker 1: on me. Man, No, go ahead, you're right on the corner.

895
00:48:58,756 --> 00:49:00,476
Speaker 1: Come on, I'm trying to slip out the back door.

896
00:49:00,676 --> 00:49:07,076
Speaker 1: Jack didn't even wrote man, it's time, man, okay, don't

897
00:49:07,076 --> 00:49:07,796
Speaker 1: need to be quite right.

898
00:49:07,876 --> 00:49:08,116
Speaker 5: Let's go.

899
00:49:09,556 --> 00:49:10,916
Speaker 3: That was sheet Pete.

900
00:49:12,516 --> 00:49:14,756
Speaker 4: So here's here's just like I swear to God. This

901
00:49:14,876 --> 00:49:17,396
Speaker 4: is twenty five percent of Gad's to Sorrophy as a side.

902
00:49:17,436 --> 00:49:20,396
Speaker 4: Man is people that he's recorded an album with right

903
00:49:21,316 --> 00:49:22,956
Speaker 4: and most of these, by the way, he's not on

904
00:49:23,076 --> 00:49:26,636
Speaker 4: one album, He's on multiple albums. Lorie Anderson, Herb Albert

905
00:49:26,676 --> 00:49:30,276
Speaker 4: Ashford and Simpson, Chet Baker, The begis George Benson, Carla Blay,

906
00:49:30,636 --> 00:49:33,996
Speaker 4: Brecker Brothers, Edie Berkel, Kate Bush, Larry Carlton, Ron Carter,

907
00:49:34,116 --> 00:49:37,996
Speaker 4: Tracy Chapman, Ray Charles Cyrus Chestnut, Eric Clapton, Stanley Clark,

908
00:49:38,076 --> 00:49:42,956
Speaker 4: Joe Cocker, Natalie Cole, Judy Collins, Korea, Jim Croche, Christopher Cross,

909
00:49:43,036 --> 00:49:46,796
Speaker 4: John Faddis, Art Farmer, Maynard Ferguson, Aretha Franklin, David Foster,

910
00:49:46,956 --> 00:49:50,156
Speaker 4: Peter Gabriel Ark randomly like, what's in the order to this,

911
00:49:50,436 --> 00:49:52,356
Speaker 4: Lart Garfunkle, Alphabetic.

912
00:49:52,236 --> 00:49:54,396
Speaker 1: Ron Carter, Christopher Cross, Lard.

913
00:49:54,236 --> 00:49:58,756
Speaker 4: Garfuncle, David Gilmore, Dave Gruson, Jim Hall, Freddie Hubber, Janis, Ian,

914
00:49:58,876 --> 00:50:02,476
Speaker 4: Milt Jackson, Bob James, al Jero, Doctor, John Quincy Jones,

915
00:50:02,556 --> 00:50:04,316
Speaker 4: Ricky Lee, Jacket, John B. B.

916
00:50:04,556 --> 00:50:05,596
Speaker 1: King, Ross, Han.

917
00:50:05,596 --> 00:50:08,996
Speaker 4: Roland Kirk, Gladys Knight and the Pips, Usef Latief, David

918
00:50:09,196 --> 00:50:13,596
Speaker 4: lead Men, Kenny Loggins, Paul McCartney, Michael McDonald, Tayo, Marcelo,

919
00:50:13,836 --> 00:50:16,876
Speaker 4: Chuck Mangioni, Barry Manilo, Lyon May's, Bett Middler, Charles Mingus,

920
00:50:16,916 --> 00:50:20,716
Speaker 4: Peter Paul and Mary, Michael Michelle, Bertucciani, Bonnie Rate, Diana Ross,

921
00:50:20,796 --> 00:50:24,316
Speaker 4: Joe Sample, a ton of David Sanborn albums, Tom Scott,

922
00:50:24,356 --> 00:50:27,476
Speaker 4: Paul Schaeffer, Howard Shore, Carly Simon, Paul Simon, Frank Sinatra,

923
00:50:27,516 --> 00:50:30,316
Speaker 4: spirodiros Stete, Dan Barber, Streis and James Taylor.

924
00:50:30,156 --> 00:50:32,996
Speaker 1: Richard t Cedar, Walton, Dion Warware.

925
00:50:32,956 --> 00:50:36,476
Speaker 4: Grover Washington, Junior Weather Report, Yeah, and Nancy Wilson, Jesus

926
00:50:36,956 --> 00:50:40,636
Speaker 4: Okay so so yeah, I'm we're we weren't fully aware, but.

927
00:50:40,676 --> 00:50:42,876
Speaker 1: Now we are of his resume, like he's that guy.

928
00:50:42,996 --> 00:50:45,356
Speaker 3: Yeah, and that's like that's just a glimpse, that's not

929
00:50:45,556 --> 00:50:46,396
Speaker 3: even the full pixer.

930
00:50:46,596 --> 00:50:47,996
Speaker 1: Well, no, I mean I think it's like, you know,

931
00:50:48,156 --> 00:50:50,676
Speaker 1: Steve gadd is, this is someone I like when you

932
00:50:50,756 --> 00:50:55,436
Speaker 1: talk to drummers, he's he's not necessarily like your average

933
00:50:55,476 --> 00:50:57,276
Speaker 1: drummers drummer where theyre going to talk about him first,

934
00:50:57,356 --> 00:50:59,556
Speaker 1: but like the great great drummers that I know, like

935
00:50:59,596 --> 00:51:02,956
Speaker 1: the jazz drummers especially, are like, he's that guy, you

936
00:51:03,036 --> 00:51:05,556
Speaker 1: know what I mean, So like the more because I mean,

937
00:51:05,836 --> 00:51:10,316
Speaker 1: his technique is so high level that like wait, what

938
00:51:10,396 --> 00:51:12,036
Speaker 1: do they call it? Like you know, he's like a players,

939
00:51:12,076 --> 00:51:14,836
Speaker 1: player or coaches, Like we're the ones who really know.

940
00:51:15,556 --> 00:51:18,716
Speaker 1: But also you know, he makes all these artists you know,

941
00:51:18,876 --> 00:51:20,916
Speaker 1: want to call him back because it's wow too.

942
00:51:20,996 --> 00:51:23,316
Speaker 4: Like Mingus played with like one drummer his entire career,

943
00:51:23,756 --> 00:51:27,956
Speaker 4: Like you know, it's like Daniel Richman's and Steve gadd

944
00:51:28,116 --> 00:51:28,956
Speaker 4: like on a very.

945
00:51:28,836 --> 00:51:30,636
Speaker 1: Strange record, you might have found the only artist that

946
00:51:30,716 --> 00:51:33,556
Speaker 1: wasn't on that list, Charles Mingus, right, was all that.

947
00:51:33,636 --> 00:51:35,596
Speaker 1: That's why I was like, that's why I never would

948
00:51:35,636 --> 00:51:38,436
Speaker 1: have known right next to Peter, Paul and Ary all three.

949
00:51:40,156 --> 00:51:44,076
Speaker 4: Now it's it's an insanely varied group of artists and

950
00:51:44,236 --> 00:51:47,196
Speaker 4: just I mean of the last part of the twentieth century,

951
00:51:47,196 --> 00:51:48,756
Speaker 4: in the early part of the twenty first century, it's

952
00:51:48,836 --> 00:51:51,076
Speaker 4: like incredible and he's on It's not just like he's

953
00:51:51,196 --> 00:51:54,436
Speaker 4: just on you know, Annie Rate, he's on like street lights,

954
00:51:54,556 --> 00:51:55,196
Speaker 4: like he's on like.

955
00:51:55,396 --> 00:51:58,076
Speaker 1: Right the long kind of like it's the Steely Dan

956
00:51:58,316 --> 00:52:00,236
Speaker 1: you know, the incredible solo is on Asia.

957
00:52:00,356 --> 00:52:02,116
Speaker 2: Yeah, listen to that and you listen to you like

958
00:52:02,196 --> 00:52:04,876
Speaker 2: that's all of seventies and eighties radio like that.

959
00:52:04,956 --> 00:52:07,276
Speaker 1: He just owned the radio like y And so think

960
00:52:07,276 --> 00:52:09,436
Speaker 1: about the influence on the drummers today. They came up

961
00:52:09,476 --> 00:52:12,436
Speaker 1: listening to that stuff the top guys and gals like

962
00:52:12,516 --> 00:52:13,436
Speaker 1: that's this is you.

963
00:52:13,476 --> 00:52:15,676
Speaker 4: Know, Yeah, guys, let's do one more track. Can I

964
00:52:15,716 --> 00:52:17,076
Speaker 4: say one more thing about gad please?

965
00:52:17,196 --> 00:52:23,436
Speaker 1: How do you own? Go right back real quick then,

966
00:52:23,516 --> 00:52:29,836
Speaker 1: because how do you own a record in that way?

967
00:52:29,916 --> 00:52:30,476
Speaker 1: On an album?

968
00:52:31,156 --> 00:52:33,396
Speaker 2: And then you just homously he doesn't disappear, but then

969
00:52:33,396 --> 00:52:35,076
Speaker 2: you just kind of like go back to you know

970
00:52:35,156 --> 00:52:39,636
Speaker 2: that you don't like that is like the genius of

971
00:52:39,676 --> 00:52:41,236
Speaker 2: that guy. I guess you know, like that you could

972
00:52:41,396 --> 00:52:43,716
Speaker 2: just on every song. I'm sure you could do to

973
00:52:43,796 --> 00:52:44,436
Speaker 2: every one of these.

974
00:52:45,156 --> 00:52:48,916
Speaker 1: He's like, well, yeah, this particular moment when it starts out, yes,

975
00:52:49,156 --> 00:52:50,716
Speaker 1: got this this that was all and this is this

976
00:52:50,836 --> 00:52:52,516
Speaker 1: is the one that needed it. Right, I'm gonna step

977
00:52:52,596 --> 00:52:53,756
Speaker 1: up a little bit and then I'm gonna go back

978
00:52:53,796 --> 00:52:55,356
Speaker 1: to yeah again. Taste made He's a taste.

979
00:52:55,756 --> 00:52:58,436
Speaker 4: It could be like taste validating the story that something

980
00:52:58,476 --> 00:53:01,356
Speaker 4: you're conscious about the part of this song. Whereas he

981
00:53:01,516 --> 00:53:03,996
Speaker 4: wasn't intentionally putting this as the part to shine. He

982
00:53:04,116 --> 00:53:06,156
Speaker 4: was doing this just warming up as they were getting ready,

983
00:53:06,156 --> 00:53:07,756
Speaker 4: and Paul Simon was like, no, that's going in.

984
00:53:08,356 --> 00:53:11,836
Speaker 1: But everything he u is very subtle. His own parts

985
00:53:11,836 --> 00:53:12,476
Speaker 1: are super.

986
00:53:12,356 --> 00:53:15,156
Speaker 4: And they are on that whole discography I just mentioned,

987
00:53:15,476 --> 00:53:17,076
Speaker 4: and I think that's why he gets hired so much.

988
00:53:17,316 --> 00:53:20,356
Speaker 4: He sounds incredible. The pocket is deep, yeah uh, and

989
00:53:20,716 --> 00:53:22,516
Speaker 4: he just adds the right thing at the right time

990
00:53:22,596 --> 00:53:23,236
Speaker 4: and nothing more.

991
00:53:23,516 --> 00:53:26,316
Speaker 1: You know, Okay, great drummer that listens you get gigs.

992
00:53:26,476 --> 00:53:29,596
Speaker 2: How many drummers have a part that they probably get

993
00:53:29,636 --> 00:53:31,196
Speaker 2: sick of being asked about, Like the way like us,

994
00:53:31,236 --> 00:53:33,156
Speaker 2: like you know, like Paul must be Paul McCartney must

995
00:53:33,196 --> 00:53:34,756
Speaker 2: be sick of like you know, like you know whatever,

996
00:53:34,756 --> 00:53:36,716
Speaker 2: all the Beatles questions like he just got to be

997
00:53:36,756 --> 00:53:38,156
Speaker 2: like I don't want to answer.

998
00:53:37,916 --> 00:53:39,436
Speaker 1: That fifty ways.

999
00:53:39,596 --> 00:53:41,276
Speaker 3: Yeah, oh yeah, I'm sure he's just like yeah, I

1000
00:53:41,316 --> 00:53:42,236
Speaker 3: mean I do other stuff.

1001
00:53:42,396 --> 00:53:44,076
Speaker 1: Yeah. I don't know if he's ever in a situation

1002
00:53:44,076 --> 00:53:47,836
Speaker 1: where there's like drunk dudes or like dude New Orleans. Yeah,

1003
00:53:48,436 --> 00:53:49,596
Speaker 1: but he just smacks the ship up.

1004
00:53:50,476 --> 00:53:52,396
Speaker 3: It'd be fun to follow Steve Gad around Nam with

1005
00:53:52,436 --> 00:53:52,796
Speaker 3: a camera.

1006
00:53:53,476 --> 00:53:58,196
Speaker 1: Oh my, I would avoid that. Well. Plus, I think

1007
00:53:58,276 --> 00:54:00,716
Speaker 1: too people always just like what was that kind of snare? Like,

1008
00:54:00,916 --> 00:54:02,836
Speaker 1: because drummers, it's like a lot of them, especially at

1009
00:54:02,876 --> 00:54:04,876
Speaker 1: the lower levels. It's all about the gears, like, well,

1010
00:54:04,916 --> 00:54:06,796
Speaker 1: how did you record that bass drum? Well, you got

1011
00:54:06,876 --> 00:54:09,196
Speaker 1: to fucking kill an ass drummer named Steve Gadd with

1012
00:54:09,316 --> 00:54:11,356
Speaker 1: some MIC's up and make it sound like what he's

1013
00:54:11,636 --> 00:54:12,236
Speaker 1: what he's playing.

1014
00:54:12,436 --> 00:54:14,916
Speaker 4: Yeah, all right, guys, let's do one more track here

1015
00:54:15,556 --> 00:54:17,596
Speaker 4: and do Peter's favorite. I think this, I'm gonna say

1016
00:54:17,636 --> 00:54:18,996
Speaker 4: this is Peter's favorite. I don't know if this is

1017
00:54:19,036 --> 00:54:22,236
Speaker 4: your desert Island Pete. But I'm I'm guessing it's this.

1018
00:54:25,396 --> 00:54:26,996
Speaker 1: It's not, but it was on my list of the

1019
00:54:27,196 --> 00:54:31,236
Speaker 1: possible is it? I changed it yesterday.

1020
00:54:33,156 --> 00:54:44,716
Speaker 2: Shampoo, Desert Island movie, should it's about James on the

1021
00:54:44,836 --> 00:54:45,636
Speaker 2: roads on this one.

1022
00:54:48,036 --> 00:54:52,516
Speaker 1: This is weirdly in seven yeah, one, two, three, four

1023
00:54:52,876 --> 00:55:00,076
Speaker 1: one two dreams should what should my head? What the hell?

1024
00:55:04,836 --> 00:55:05,276
Speaker 12: And that one.

1025
00:55:10,956 --> 00:55:12,996
Speaker 1: Valerie Simpson on the back of vocal Man, one of

1026
00:55:13,076 --> 00:55:26,996
Speaker 1: the great background vocal wives. So simplest harmon bringing Valerie

1027
00:55:27,036 --> 00:55:30,556
Speaker 1: Simpson and Patty Austin on this album. Nice touch, right

1028
00:55:31,276 --> 00:55:35,956
Speaker 1: exag They don't have no good resources to be able

1029
00:55:35,956 --> 00:55:37,436
Speaker 1: to pull up on you know. It's like.

1030
00:55:41,556 --> 00:55:44,596
Speaker 4: Just you should let Paul drafts for the Knicks, you know,

1031
00:55:44,916 --> 00:55:47,596
Speaker 4: like this guy can pick man like Jesus Christ.

1032
00:55:47,636 --> 00:55:50,276
Speaker 1: Well, you know he's a Knicks fan. I don't give

1033
00:55:50,356 --> 00:55:56,316
Speaker 1: him a chance. That's right. We gotta listen to this

1034
00:55:56,356 --> 00:56:00,996
Speaker 1: whole tracks killing yead too again.

1035
00:56:01,116 --> 00:56:02,236
Speaker 16: Gad he.

1036
00:56:04,636 --> 00:56:07,196
Speaker 1: Just playing exactly the right where I got a chance

1037
00:56:07,236 --> 00:56:09,716
Speaker 1: to play. It's like he does not play loud, like

1038
00:56:09,796 --> 00:56:12,916
Speaker 1: even when he's grooged, like his his control of dynamics

1039
00:56:13,036 --> 00:56:15,116
Speaker 1: and like intensity, the group are totally independent.

1040
00:56:15,276 --> 00:56:17,516
Speaker 15: That's what's true about this on too? It's just quiet,

1041
00:56:17,556 --> 00:56:25,956
Speaker 15: but it's just it's subtle. Yeah, admitted quarter is weird.

1042
00:56:27,356 --> 00:56:29,316
Speaker 1: Not a lot of loud moments on this album, all right.

1043
00:56:35,596 --> 00:56:42,516
Speaker 1: I like this line, God bless God, bless our standard

1044
00:56:42,556 --> 00:56:47,996
Speaker 1: of living. Let's keep it that way. Damn that's a

1045
00:56:48,036 --> 00:56:56,356
Speaker 1: divorce line too, hopefully for both, but you know, I'm

1046
00:56:56,396 --> 00:57:05,716
Speaker 1: not sure. And man, Steve Gadd too, We're gonna have

1047
00:57:05,716 --> 00:57:08,836
Speaker 1: to retitle this. This is like the Steve Gadd Appreciation Podcast. No,

1048
00:57:09,316 --> 00:57:11,596
Speaker 1: Like I'm Asian, would turn it into as well if

1049
00:57:11,596 --> 00:57:14,676
Speaker 1: you like Asian. Like, so the solo on there, he's

1050
00:57:14,996 --> 00:57:17,676
Speaker 1: he's so busy obviously and wait, like it's such a thing,

1051
00:57:18,076 --> 00:57:20,156
Speaker 1: but like I appreciate what he's not playing on this

1052
00:57:20,436 --> 00:57:30,956
Speaker 1: hold on there's so much like Phil Woods, Phil Woods?

1053
00:57:36,916 --> 00:57:39,276
Speaker 1: Can we just I love the way too? Like all

1054
00:57:39,396 --> 00:57:40,156
Speaker 1: he's playing all.

1055
00:57:40,076 --> 00:57:43,556
Speaker 17: This bebop and then all of a sudden, it's almost

1056
00:57:43,556 --> 00:57:45,716
Speaker 17: like he remembers, wait, I shouldn't do and he's like

1057
00:57:46,476 --> 00:57:47,676
Speaker 17: he does a little bit of walk in the bar,

1058
00:57:47,796 --> 00:57:50,156
Speaker 17: kind of bluesy, but then he's like whatever, he can't

1059
00:57:50,196 --> 00:57:50,796
Speaker 17: help himself.

1060
00:57:51,316 --> 00:57:52,476
Speaker 1: It's just like bebopped up.

1061
00:57:52,476 --> 00:57:53,876
Speaker 2: Do you think they just like set up a mic

1062
00:57:53,916 --> 00:57:55,716
Speaker 2: and just let him run for like thirty minutes and

1063
00:57:55,756 --> 00:57:57,156
Speaker 2: then just pick that bit.

1064
00:57:57,276 --> 00:58:00,156
Speaker 3: Or like or it just begs the question how why

1065
00:58:00,756 --> 00:58:01,356
Speaker 3: I know?

1066
00:58:01,556 --> 00:58:02,636
Speaker 1: I really like what?

1067
00:58:03,036 --> 00:58:04,356
Speaker 3: Yeah, let's listen to that transition.

1068
00:58:04,516 --> 00:58:06,596
Speaker 1: It's might have been Paulici part of the whole, like

1069
00:58:08,196 --> 00:58:11,116
Speaker 1: I'm down trod, so fuck it, let's just have some bebop.

1070
00:58:15,556 --> 00:58:18,316
Speaker 1: It's gonna lose to Stevie anyways. I'm gonna lose to Stevie.

1071
00:58:31,956 --> 00:58:33,756
Speaker 1: Although diminish skill.

1072
00:58:33,836 --> 00:58:35,476
Speaker 4: Is when the record label guys are like, wait, what

1073
00:58:39,396 --> 00:58:43,516
Speaker 4: you're talking about the most, the most like traditionally yeah,

1074
00:58:43,596 --> 00:58:45,996
Speaker 4: the most traditionally marketable song on the entire I'm just

1075
00:58:46,036 --> 00:58:48,396
Speaker 4: gonna put a giant bebop solo.

1076
00:58:48,556 --> 00:58:50,716
Speaker 1: Sexophe not even like he comes in, like he could

1077
00:58:50,756 --> 00:58:53,196
Speaker 1: have come in. Well, first of all, Phil Woods would

1078
00:58:53,196 --> 00:58:56,556
Speaker 1: not necessarily be the guy like that's his kind of playing.

1079
00:58:56,556 --> 00:58:57,796
Speaker 1: You know, he came up with as he was one

1080
00:58:57,836 --> 00:59:00,276
Speaker 1: of the Charlie Parker acolytes, and it was like bebop

1081
00:59:00,316 --> 00:59:03,516
Speaker 1: for life, you know. But he could have come in

1082
00:59:03,956 --> 00:59:06,956
Speaker 1: over that groove that one to four, you know, one

1083
00:59:07,036 --> 00:59:10,356
Speaker 1: to five and kind of or even Bracker or Sam

1084
00:59:10,436 --> 00:59:14,516
Speaker 1: Born for sure, something else on here but not soloing,

1085
00:59:14,956 --> 00:59:16,596
Speaker 1: So it's it's kind of cool that they have him

1086
00:59:16,636 --> 00:59:18,876
Speaker 1: doing his thing, even though it's just like what the

1087
00:59:20,396 --> 00:59:23,316
Speaker 1: for sure, and I love Beeba, but I'm like.

1088
00:59:24,196 --> 00:59:26,756
Speaker 4: How do you think this album has aged? I mean

1089
00:59:26,756 --> 00:59:28,596
Speaker 4: because it was one album of the year in nineteen

1090
00:59:28,636 --> 00:59:31,436
Speaker 4: seventy six. I remember growing up and this was a

1091
00:59:31,476 --> 00:59:35,756
Speaker 4: big deal album in my parents' household and their record collection.

1092
00:59:35,996 --> 00:59:37,476
Speaker 4: I remember being in love with it from the time.

1093
00:59:37,516 --> 00:59:40,036
Speaker 1: I was like, corespectfully, he's like his parents in his

1094
00:59:40,116 --> 00:59:41,316
Speaker 1: household my parents.

1095
00:59:41,676 --> 00:59:43,556
Speaker 4: Well, no, this is definitely one of those albums that

1096
00:59:43,716 --> 00:59:46,036
Speaker 4: was like I inherited, So it is your parents record

1097
00:59:46,076 --> 00:59:47,716
Speaker 4: in a way if you're a certain age. For sure,

1098
00:59:47,836 --> 00:59:49,556
Speaker 4: for me it was because you know, my parents got

1099
00:59:49,596 --> 00:59:53,516
Speaker 4: married in nineteen seventy five, not before still going and

1100
00:59:53,836 --> 00:59:55,876
Speaker 4: uh and for me this is something that wait, what

1101
00:59:56,076 --> 00:59:56,716
Speaker 4: year were you born?

1102
00:59:57,956 --> 00:59:58,236
Speaker 1: Seven?

1103
00:59:58,316 --> 00:59:58,956
Speaker 3: No, seventy eight?

1104
00:59:59,036 --> 01:00:03,836
Speaker 1: Okay, cool? Yeah, but I don't hear people talking about

1105
01:00:03,876 --> 01:00:04,316
Speaker 1: this as much.

1106
01:00:04,996 --> 01:00:08,996
Speaker 4: No, it's but you know, like, yeah, it is weird

1107
01:00:09,316 --> 01:00:14,076
Speaker 4: because this is in my mind, like because I came

1108
01:00:14,116 --> 01:00:16,316
Speaker 4: of age at a time I feel like, you know,

1109
01:00:17,756 --> 01:00:20,596
Speaker 4: we're all in the last gasp of like boomerdom. You know,

1110
01:00:20,716 --> 01:00:23,156
Speaker 4: we're like we're seeing it in real time. Like boomers

1111
01:00:23,236 --> 01:00:26,316
Speaker 4: come go from like the heroes of like culture and society.

1112
01:00:26,556 --> 01:00:29,556
Speaker 1: Long enough, you like, yeah, long when it comes right yeah.

1113
01:00:29,396 --> 01:00:31,556
Speaker 2: And you're like whoa, but you know, and it's funny,

1114
01:00:31,636 --> 01:00:34,396
Speaker 2: like night game is on here, Like I have this

1115
01:00:34,596 --> 01:00:38,116
Speaker 2: theory that I'm just gonna workshop here. Yeah that like

1116
01:00:38,516 --> 01:00:42,676
Speaker 2: like like peak American cultures like nineteen thirty five to

1117
01:00:42,956 --> 01:00:46,356
Speaker 2: two thousand and five, and it's like nineteen thirty five

1118
01:00:46,436 --> 01:00:49,996
Speaker 2: you get canned beer, night baseball games and like Monopoly,

1119
01:00:50,556 --> 01:00:52,436
Speaker 2: and then like where this is going and you kind

1120
01:00:52,436 --> 01:00:53,916
Speaker 2: of like get this like thing and then like peaks

1121
01:00:54,356 --> 01:00:56,236
Speaker 2: right around like nineteen seventy and then you just kind

1122
01:00:56,276 --> 01:00:58,436
Speaker 2: of like this long tail down to like iTunes two

1123
01:00:58,476 --> 01:01:00,036
Speaker 2: thousand and five and like whatever else.

1124
01:01:00,796 --> 01:01:03,636
Speaker 1: And boomers are such a big part of culture so

1125
01:01:03,716 --> 01:01:04,396
Speaker 1: that you know, like in.

1126
01:01:04,436 --> 01:01:08,476
Speaker 2: My mind, this is like an unassailable album. Like it's

1127
01:01:08,556 --> 01:01:10,996
Speaker 2: like you can't say anything bad, but but it does

1128
01:01:11,076 --> 01:01:15,556
Speaker 2: feel like as as as as as boomers have lived

1129
01:01:15,556 --> 01:01:17,196
Speaker 2: and lived long enough, you've gone villains. It's like this

1130
01:01:17,316 --> 01:01:20,396
Speaker 2: album is now it's gone from you know, maybe overrated

1131
01:01:20,556 --> 01:01:23,236
Speaker 2: to like to underrated I think it's underrated.

1132
01:01:23,316 --> 01:01:23,436
Speaker 5: Now.

1133
01:01:23,756 --> 01:01:26,476
Speaker 3: You know it is quint essentially a baby boomer expression.

1134
01:01:26,676 --> 01:01:29,956
Speaker 4: Yeah yeah, yeah, it's how a baby boomer deals literally

1135
01:01:30,036 --> 01:01:31,036
Speaker 4: deals with his divorce.

1136
01:01:31,196 --> 01:01:31,876
Speaker 1: Yeah yeah.

1137
01:01:31,876 --> 01:01:33,676
Speaker 4: And it's a really interesting take that you would not

1138
01:01:33,836 --> 01:01:38,556
Speaker 4: see a similar expression today from the generations, the subsequent generation.

1139
01:01:38,556 --> 01:01:39,156
Speaker 1: This is the most boom.

1140
01:01:39,156 --> 01:01:40,876
Speaker 2: We didn't talk about your kind, but this is the

1141
01:01:40,916 --> 01:01:45,236
Speaker 2: second to last track on the album. The lyrics You're kind,

1142
01:01:45,276 --> 01:01:47,236
Speaker 2: You're so kind. You rescued me when I was blind,

1143
01:01:47,436 --> 01:01:49,356
Speaker 2: and you put me on your pillow, you know whatever.

1144
01:01:50,196 --> 01:01:52,396
Speaker 2: You're so good to me. You introduced me to your neighborhood.

1145
01:01:52,436 --> 01:01:54,596
Speaker 2: Seems like I ain't had so many friends before. It's

1146
01:01:54,636 --> 01:01:57,676
Speaker 2: because you're good. You're so good. Why do you treat

1147
01:01:57,716 --> 01:01:59,276
Speaker 2: me like Why don't you treat me like other humans do?

1148
01:01:59,316 --> 01:02:01,156
Speaker 2: It's just a mystery to me. It gets me agitated

1149
01:02:01,196 --> 01:02:03,036
Speaker 2: when I think that you're so that you're gonna love

1150
01:02:03,116 --> 01:02:08,196
Speaker 2: me and definitely so goodbye, goodbye. I'm gonna leave you now.

1151
01:02:08,236 --> 01:02:09,716
Speaker 2: And here's the reason why I like to sleep with

1152
01:02:09,756 --> 01:02:11,156
Speaker 2: the open the window open, you like to sleep with

1153
01:02:11,196 --> 01:02:11,996
Speaker 2: the window closed.

1154
01:02:12,796 --> 01:02:13,996
Speaker 3: Just go talk to the therapist, Paul.

1155
01:02:15,236 --> 01:02:20,116
Speaker 1: I know that level of petty it's it's like the

1156
01:02:20,156 --> 01:02:22,276
Speaker 1: windows that was just that. That's like, I don't know,

1157
01:02:22,316 --> 01:02:25,036
Speaker 1: it's boomerdom in a nutshell. That great. Yeah, it's a

1158
01:02:25,036 --> 01:02:42,276
Speaker 1: great call. Wow. Also done in the form of the Blues. Yeah,

1159
01:02:42,516 --> 01:02:46,116
Speaker 1: in the twelve Blues form again expression.

1160
01:02:47,436 --> 01:02:50,636
Speaker 14: Your come sure can.

1161
01:02:52,076 --> 01:02:54,796
Speaker 1: Rescue me when I was blind.

1162
01:02:56,076 --> 01:02:59,076
Speaker 11: And you put me on your pillow and always on

1163
01:02:59,236 --> 01:03:03,236
Speaker 11: the wall, your cut so can so cane.

1164
01:03:06,316 --> 01:03:07,156
Speaker 6: And you're good.

1165
01:03:08,476 --> 01:03:08,716
Speaker 7: You're so.

1166
01:03:11,116 --> 01:03:13,436
Speaker 11: You introduced me to your neighborhood.

1167
01:03:15,476 --> 01:03:18,916
Speaker 1: Seems like I never had so many friends before.

1168
01:03:19,116 --> 01:03:20,396
Speaker 9: That's because you're good.

1169
01:03:20,676 --> 01:03:26,796
Speaker 1: That's he gets on this record that last Why you

1170
01:03:26,916 --> 01:03:29,036
Speaker 1: don't treat me like the other humans?

1171
01:03:29,156 --> 01:03:29,436
Speaker 6: Dude?

1172
01:03:29,996 --> 01:03:36,436
Speaker 1: Al Simon Major seven, Like you said, ultimate boomer is ultimate.

1173
01:03:37,116 --> 01:03:39,796
Speaker 5: Excuse me, fransured you.

1174
01:03:41,316 --> 01:03:41,836
Speaker 2: But it's over.

1175
01:03:51,036 --> 01:03:51,436
Speaker 6: He's great.

1176
01:03:51,516 --> 01:03:56,836
Speaker 1: To the window open and you keep the window close.

1177
01:03:57,076 --> 01:04:06,156
Speaker 1: Sod fall. She gave you everything.

1178
01:04:06,676 --> 01:04:10,036
Speaker 16: She rescued you, she gave you friends, strange, you better

1179
01:04:10,036 --> 01:04:11,676
Speaker 16: than anybody in the neighborhood.

1180
01:04:11,756 --> 01:04:12,956
Speaker 1: You're so goodbye, Like.

1181
01:04:13,276 --> 01:04:14,916
Speaker 4: I wouldn't want to be in to any club that

1182
01:04:14,956 --> 01:04:17,676
Speaker 4: would happen me as a member, dude for sure.

1183
01:04:18,196 --> 01:04:18,436
Speaker 1: Wow.

1184
01:04:19,036 --> 01:04:23,676
Speaker 2: Yeah, that's the apex moment of of boomers and divorce

1185
01:04:23,836 --> 01:04:24,756
Speaker 2: on this record, just like.

1186
01:04:24,916 --> 01:04:27,236
Speaker 1: What in the world. You know what's interesting? You were mentioning,

1187
01:04:28,036 --> 01:04:30,116
Speaker 1: you know, your your parents, your dad saying this was

1188
01:04:30,116 --> 01:04:31,716
Speaker 1: such a important I was thinking back to, like, why

1189
01:04:31,836 --> 01:04:34,076
Speaker 1: was this. I didn't hear this rucker growing up. My

1190
01:04:34,236 --> 01:04:37,996
Speaker 1: dad is a little older and he'm a generation he right,

1191
01:04:38,276 --> 01:04:40,756
Speaker 1: but not only he's silent generation. He didn't know this

1192
01:04:40,876 --> 01:04:42,636
Speaker 1: is a difference. But even when I think with boomers,

1193
01:04:42,676 --> 01:04:44,636
Speaker 1: like we're all aware, like my kids are just like

1194
01:04:45,116 --> 01:04:47,436
Speaker 1: especially the younger ones that are like gen Z, they're.

1195
01:04:47,276 --> 01:04:49,836
Speaker 18: Like, oh millennials, man, I'm like, wait, all y'all the same.

1196
01:04:51,316 --> 01:04:52,956
Speaker 18: And I call one of them an iPad baby. No,

1197
01:04:53,116 --> 01:04:55,036
Speaker 18: the other they're collect I was an iPad baby. I

1198
01:04:55,076 --> 01:04:57,396
Speaker 18: didn't have it until I was this age. I was like, okay, cool.

1199
01:04:57,876 --> 01:04:59,716
Speaker 1: But I was telling my dad this is like within

1200
01:04:59,796 --> 01:05:02,516
Speaker 1: the last year. I said something about boomer or whatever,

1201
01:05:02,556 --> 01:05:06,356
Speaker 1: and he's like, we had to look it up because

1202
01:05:06,356 --> 01:05:07,996
Speaker 1: I was like, wait, are you a boomer? He's I

1203
01:05:07,996 --> 01:05:09,956
Speaker 1: don't know. He's like, we didn't talk about that's like

1204
01:05:09,996 --> 01:05:13,436
Speaker 1: you guys brought that thing up. He didn't know what generation.

1205
01:05:13,556 --> 01:05:15,276
Speaker 1: So I'm looking on I said, well, actually you're in

1206
01:05:15,316 --> 01:05:17,676
Speaker 1: the silent generation. He's like, okay, I'll shut up. Is

1207
01:05:17,716 --> 01:05:19,796
Speaker 1: that what you're trying to say? Like he had no

1208
01:05:19,956 --> 01:05:21,156
Speaker 1: concept like how do you go now?

1209
01:05:21,236 --> 01:05:22,116
Speaker 3: You just naturally do the.

1210
01:05:22,476 --> 01:05:24,636
Speaker 1: Years of your life and but like there wasn't a

1211
01:05:24,716 --> 01:05:26,796
Speaker 1: thing like especially for the boomers, they were just like, well,

1212
01:05:26,876 --> 01:05:29,716
Speaker 1: this is our world. Do we define what it is

1213
01:05:29,756 --> 01:05:32,116
Speaker 1: to be a teenager? And what a technic? The sixties?

1214
01:05:32,276 --> 01:05:33,996
Speaker 1: You know, this is their world.

1215
01:05:34,676 --> 01:05:36,476
Speaker 4: This is a very typical thing of that of the

1216
01:05:36,516 --> 01:05:39,596
Speaker 4: baby boomer generation. They created the concept of a generation

1217
01:05:39,716 --> 01:05:41,436
Speaker 4: and being a group. And by the way, like I

1218
01:05:41,516 --> 01:05:44,876
Speaker 4: don't disparage boomers as a generation. I actually think it's

1219
01:05:45,316 --> 01:05:49,116
Speaker 4: super fascinating. I also love the culture they created and

1220
01:05:49,396 --> 01:05:51,916
Speaker 4: and I think that I just like the most gen

1221
01:05:52,036 --> 01:05:52,316
Speaker 4: X thing.

1222
01:05:53,076 --> 01:05:54,716
Speaker 1: But here's here's the gen X thing.

1223
01:05:54,876 --> 01:05:56,476
Speaker 3: Is like, here's the gen X thing. It's like, I'm

1224
01:05:56,516 --> 01:05:57,356
Speaker 3: just tired talking about it.

1225
01:05:58,476 --> 01:05:59,356
Speaker 1: Let's get back to work.

1226
01:05:59,556 --> 01:06:02,276
Speaker 4: Because because they were so impactful on our lives, the

1227
01:06:02,356 --> 01:06:06,076
Speaker 4: generations happened. There are parents obviously, and they've they've you know,

1228
01:06:06,236 --> 01:06:08,276
Speaker 4: created this culture. It's just like, can we just like

1229
01:06:08,596 --> 01:06:10,876
Speaker 4: take a break from talking about you know, the Beatles

1230
01:06:10,916 --> 01:06:11,436
Speaker 4: for a second.

1231
01:06:11,716 --> 01:06:14,596
Speaker 3: And Paul Simon and even of what we talked about.

1232
01:06:14,916 --> 01:06:18,756
Speaker 4: But I think they're gonna be studied for long after

1233
01:06:18,836 --> 01:06:21,196
Speaker 4: we're gone, because I think it's a fascinating case of

1234
01:06:21,316 --> 01:06:24,316
Speaker 4: this like explosion in this particular time, this particular place

1235
01:06:24,636 --> 01:06:28,276
Speaker 4: make some of the most incredible art, uh and redefine

1236
01:06:28,356 --> 01:06:29,356
Speaker 4: what culture is.

1237
01:06:29,956 --> 01:06:31,196
Speaker 3: But I'm tired of it for now.

1238
01:06:32,196 --> 01:06:34,436
Speaker 2: Yeah, we're talking, but they're gonna, they're gonna out, they're

1239
01:06:34,676 --> 01:06:37,596
Speaker 2: gonna live. I mean, nothing matters like what matters before

1240
01:06:37,716 --> 01:06:39,196
Speaker 2: nineteen thirty five? What matters like after?

1241
01:06:39,316 --> 01:06:42,436
Speaker 1: Like, nothing's gonna nothing sticky from before? Right, But there's.

1242
01:06:43,836 --> 01:06:46,676
Speaker 3: Yeah, I know, but I'm still president, still president.

1243
01:06:46,756 --> 01:06:49,196
Speaker 1: Yeah, yeah, And I think that that like this, and

1244
01:06:49,316 --> 01:06:51,236
Speaker 1: we we always you know, get knocked for like we're

1245
01:06:51,276 --> 01:06:53,596
Speaker 1: hitting so many records in the seventies, sue us. There's

1246
01:06:53,596 --> 01:06:56,076
Speaker 1: a lot of great records from that time. You tell

1247
01:06:56,156 --> 01:06:58,876
Speaker 1: us what's sticky after you know whatever? You know exactly, Well,

1248
01:06:58,916 --> 01:07:00,636
Speaker 1: we were talking about it earlier. We had a list,

1249
01:07:00,676 --> 01:07:02,676
Speaker 1: but it wasn't like the Steve Gabler.

1250
01:07:02,356 --> 01:07:06,196
Speaker 4: Wrote wrote teenage and twenty something boomers were unbelievable for

1251
01:07:06,316 --> 01:07:06,836
Speaker 4: us of nature.

1252
01:07:06,956 --> 01:07:09,596
Speaker 1: Yeah, incredible, and I mean, look, they also a lot

1253
01:07:09,596 --> 01:07:11,836
Speaker 1: of luck, like any kind of like generation or culture

1254
01:07:11,916 --> 01:07:14,876
Speaker 1: or country or people that like hit hit on something

1255
01:07:15,036 --> 01:07:17,476
Speaker 1: like it's like remain humble and realized that you were

1256
01:07:17,516 --> 01:07:20,236
Speaker 1: at a time when like records and radio. It was

1257
01:07:20,276 --> 01:07:23,196
Speaker 1: pre internet, so like there was technology. Everything kind of

1258
01:07:23,236 --> 01:07:25,796
Speaker 1: lined up. You don't have to go in the war,

1259
01:07:25,876 --> 01:07:26,996
Speaker 1: but you won the war. That guess you had to

1260
01:07:26,996 --> 01:07:27,556
Speaker 1: go to Vietnam.

1261
01:07:27,716 --> 01:07:29,156
Speaker 2: But you know, yeah, yeah, but not if you were

1262
01:07:29,196 --> 01:07:31,556
Speaker 2: rich rich most of the yeah, most of the boomers

1263
01:07:31,556 --> 01:07:33,356
Speaker 2: that made the culture didn't, you know exactly.

1264
01:07:33,676 --> 01:07:35,596
Speaker 1: And I mean also like like you said, like we

1265
01:07:35,716 --> 01:07:37,836
Speaker 1: have great standards, the good old US, a great stander

1266
01:07:37,876 --> 01:07:42,276
Speaker 1: of living. Let's let's keep it. Let's keep for us, boy,

1267
01:07:42,316 --> 01:07:45,276
Speaker 1: going till till now you know, the wealth divide and everything.

1268
01:07:45,396 --> 01:07:47,796
Speaker 10: So I mean, crypto bag on the way out, just

1269
01:07:47,996 --> 01:07:58,076
Speaker 10: to crypto, let's go dollar who needs it anywhere?

1270
01:07:58,276 --> 01:07:58,876
Speaker 6: What right?

1271
01:07:58,996 --> 01:08:01,796
Speaker 1: That served swell up to now we're gonna live it up.

1272
01:08:04,636 --> 01:08:10,036
Speaker 1: Not the dollar, I barely dollars. I'm out any crypto,

1273
01:08:13,196 --> 01:08:13,756
Speaker 1: I give up.

1274
01:08:13,876 --> 01:08:18,516
Speaker 14: Meanwhile, Steve Guts, Yeah, what a pocket on those guys

1275
01:08:19,676 --> 01:08:24,836
Speaker 14: rolling Stone selling out stadiums no one else, damn it, guys.

1276
01:08:24,876 --> 01:08:28,436
Speaker 3: Desert Island tracks on this one. What are what are votes?

1277
01:08:28,436 --> 01:08:30,476
Speaker 1: Peter? So I've got fifty ways to lose your lover.

1278
01:08:30,596 --> 01:08:33,316
Speaker 1: I think it's just like you know, sometimes on these

1279
01:08:33,356 --> 01:08:36,116
Speaker 1: I like to go anti establishment, and after just the

1280
01:08:36,196 --> 01:08:37,796
Speaker 1: last five minutes of talking, I kind of wish I

1281
01:08:37,876 --> 01:08:40,796
Speaker 1: had a little bit more bring out. Yeah, but now

1282
01:08:40,836 --> 01:08:42,876
Speaker 1: I'm a fall in line like I should gen Xcent.

1283
01:08:42,916 --> 01:08:44,996
Speaker 1: I mean, look, that's like to me, that's the track

1284
01:08:45,516 --> 01:08:48,916
Speaker 1: that there's super interesting stuff musically. Gads just killing it

1285
01:08:49,076 --> 01:08:51,516
Speaker 1: of course, but it's also like, I mean it's that

1286
01:08:51,636 --> 01:08:53,716
Speaker 1: that because look, I don't know if you've heard how

1287
01:08:53,756 --> 01:08:56,116
Speaker 1: we do this. Adam kind of likes to use this

1288
01:08:56,196 --> 01:08:58,476
Speaker 1: as a catch all for whatever he missed in earlier

1289
01:08:58,516 --> 01:09:01,436
Speaker 1: in the episode. I use it literally as if I'm

1290
01:09:01,436 --> 01:09:03,076
Speaker 1: stuck on a desert island, I can only have one

1291
01:09:03,076 --> 01:09:04,316
Speaker 1: of these tracks, what do I want it to be?

1292
01:09:04,516 --> 01:09:08,716
Speaker 4: So that would be it very subjective. Sell me up, man, Jesse,

1293
01:09:09,196 --> 01:09:11,516
Speaker 4: do each other. Just when you got for your desert

1294
01:09:11,516 --> 01:09:11,996
Speaker 4: island track.

1295
01:09:11,956 --> 01:09:13,796
Speaker 2: I'm gonna take I much read it like like like Peter,

1296
01:09:14,036 --> 01:09:15,436
Speaker 2: like if I was really stuck on an island, what

1297
01:09:15,476 --> 01:09:16,196
Speaker 2: song would I want to hear?

1298
01:09:16,196 --> 01:09:19,276
Speaker 1: Repeat? Because like I think my little town is my favorite. Yeah,

1299
01:09:19,636 --> 01:09:22,916
Speaker 1: but fifty Ways to Leave your Lover. It's like, I

1300
01:09:22,956 --> 01:09:23,756
Speaker 1: don't think I could ever.

1301
01:09:23,836 --> 01:09:25,036
Speaker 2: I don't think I would ever be bored of it

1302
01:09:25,116 --> 01:09:27,956
Speaker 2: fifty years later on an island, I'm not gonna be

1303
01:09:28,036 --> 01:09:30,236
Speaker 2: It's just it's yeah, that's the mood of being stuck

1304
01:09:30,276 --> 01:09:30,916
Speaker 2: on an island, right.

1305
01:09:31,156 --> 01:09:33,316
Speaker 4: Also, could you imagine the rhymes you can come up

1306
01:09:33,836 --> 01:09:35,756
Speaker 4: on an island? I know with that game, you have

1307
01:09:35,836 --> 01:09:36,716
Speaker 4: fifty courses of.

1308
01:09:36,916 --> 01:09:41,276
Speaker 1: You know, like and it's got such diversity, almost two tunes.

1309
01:09:41,356 --> 01:09:43,076
Speaker 1: You know, it's like the minor and then it goes

1310
01:09:43,116 --> 01:09:44,916
Speaker 1: to the you know, it's it's really like.

1311
01:09:45,596 --> 01:09:47,956
Speaker 4: So I also think about this as what I would

1312
01:09:47,996 --> 01:09:49,916
Speaker 4: like to listen to on a desert island, despite what

1313
01:09:50,036 --> 01:09:52,596
Speaker 4: my co host says, and I picked I do it

1314
01:09:52,676 --> 01:09:53,156
Speaker 4: for your love.

1315
01:09:53,396 --> 01:09:54,956
Speaker 1: I have been in love with that song from the

1316
01:09:54,996 --> 01:09:57,436
Speaker 1: first time I heard it, and I still am. Okay

1317
01:09:57,836 --> 01:10:00,636
Speaker 1: uh apex moments on the album money Ill Thing, what

1318
01:10:00,796 --> 01:10:04,916
Speaker 1: you got, Justine? You know what I'm going.

1319
01:10:08,116 --> 01:10:13,356
Speaker 2: I'm going with the of mister Magic Ralph McDonald uh

1320
01:10:13,796 --> 01:10:17,516
Speaker 2: on on My Little Town, you know, just getting into that,

1321
01:10:17,636 --> 01:10:20,156
Speaker 2: like that that little section of that with the with

1322
01:10:20,276 --> 01:10:20,836
Speaker 2: the horns.

1323
01:10:21,636 --> 01:10:23,876
Speaker 1: I don't know, it's just unbelievable, but it's driving it forward.

1324
01:10:23,916 --> 01:10:24,076
Speaker 3: Man.

1325
01:10:24,116 --> 01:10:26,676
Speaker 1: It's like, but you know, the bridge on still crazy.

1326
01:10:26,756 --> 01:10:28,676
Speaker 2: I don't know, man, I'm gonna go with I'm gonna

1327
01:10:28,676 --> 01:10:29,876
Speaker 2: go with that moment at the end of My Little

1328
01:10:29,916 --> 01:10:30,556
Speaker 2: Town Nice.

1329
01:10:30,636 --> 01:10:32,116
Speaker 3: I'm going with the bridge I'm still crazy.

1330
01:10:32,236 --> 01:10:35,556
Speaker 4: From the Bob James arrangement into the Brecker solo, I

1331
01:10:35,636 --> 01:10:36,556
Speaker 4: think is my favorite part.

1332
01:10:36,556 --> 01:10:38,676
Speaker 1: Okay, so we're gonna change what you have written here, gotcha?

1333
01:10:39,876 --> 01:10:40,636
Speaker 3: What are you talking about?

1334
01:10:40,756 --> 01:10:43,396
Speaker 1: I got? Oh, you got, I got you, I got you.

1335
01:10:44,916 --> 01:10:45,156
Speaker 6: Know, but.

1336
01:10:48,556 --> 01:10:52,436
Speaker 1: This is a glimpse into the off camera situation. Why

1337
01:10:52,556 --> 01:10:54,556
Speaker 1: don't you usually be shield and we gotta we got

1338
01:10:54,596 --> 01:10:55,876
Speaker 1: royalty towls, which kind of threw me.

1339
01:10:57,236 --> 01:10:59,756
Speaker 4: We're still holding the grudge from the Lewis Armstrong episode,

1340
01:10:59,756 --> 01:11:00,476
Speaker 4: so go ahead.

1341
01:11:00,236 --> 01:11:03,596
Speaker 1: That's right, right, I mean, I got Phil Woods, you know,

1342
01:11:04,756 --> 01:11:07,196
Speaker 1: I have a good time, like he's finally somebody had it.

1343
01:11:07,316 --> 01:11:08,516
Speaker 1: Everyone's having a good time.

1344
01:11:08,556 --> 01:11:13,876
Speaker 19: But finally gave you finally Jazz Street, Cred, Sad Boy Summer,

1345
01:11:13,916 --> 01:11:16,716
Speaker 19: and yeah, Sad Boy brought Charlie Park and the Jazz

1346
01:11:16,756 --> 01:11:18,436
Speaker 19: Police all up in that boche.

1347
01:11:18,996 --> 01:11:22,516
Speaker 1: So yeah, I mean, that's it's it's the most unusual

1348
01:11:22,596 --> 01:11:24,236
Speaker 1: and jarring, but I think it's cool thing.

1349
01:11:24,356 --> 01:11:27,156
Speaker 4: So Bespoke Spotify playlist, If this were on a playlist,

1350
01:11:27,196 --> 01:11:27,716
Speaker 4: what would it be?

1351
01:11:27,956 --> 01:11:30,556
Speaker 3: I have Lauren's Hampton playlist.

1352
01:11:31,156 --> 01:11:34,436
Speaker 4: Paul Simon famously friends like best friends with Lauren Michael's

1353
01:11:34,836 --> 01:11:38,716
Speaker 4: SNL creator, and I just feel like, if Lauren has

1354
01:11:38,716 --> 01:11:40,596
Speaker 4: a house in the Hampton's, which I assume he's got

1355
01:11:40,676 --> 01:11:43,796
Speaker 4: at least one multiple yeah, that he's got an old

1356
01:11:43,956 --> 01:11:49,356
Speaker 4: like third gen iPod out there, just has it just

1357
01:11:49,356 --> 01:11:53,276
Speaker 4: says Laurence Hampton playlist. It's mostly Paul Simon and uh

1358
01:11:53,756 --> 01:11:54,996
Speaker 4: and Rolling Stones.

1359
01:11:55,076 --> 01:11:57,396
Speaker 1: But yeah, and then wasn't there a connection with the

1360
01:11:57,796 --> 01:12:01,556
Speaker 1: was the the first Paul Simon appearance on SNL in

1361
01:12:01,636 --> 01:12:02,396
Speaker 1: that first season?

1362
01:12:02,756 --> 01:12:05,076
Speaker 4: Well, so yeah, my little they do my little Town

1363
01:12:05,116 --> 01:12:06,756
Speaker 4: on the very second episode of Saturday.

1364
01:12:07,196 --> 01:12:12,196
Speaker 1: Ever. Okay, So for Bespoke Spotify playlist, I have, okay,

1365
01:12:12,636 --> 01:12:16,636
Speaker 1: full disclosure here. I saw yours first, and it's so good, Lawrence.

1366
01:12:16,876 --> 01:12:18,356
Speaker 1: I was like, I got nervous, and I went to

1367
01:12:18,436 --> 01:12:20,956
Speaker 1: Claude for some help on this, and this is what

1368
01:12:21,116 --> 01:12:23,196
Speaker 1: Claude gave. But I kind of like it's still a

1369
01:12:23,356 --> 01:12:27,996
Speaker 1: large language model, still spinning after all these years. Okay, yeah,

1370
01:12:28,116 --> 01:12:30,156
Speaker 1: because this, I mean, this is a great like, this

1371
01:12:30,276 --> 01:12:32,036
Speaker 1: is fun listening to it, and here we can trigger

1372
01:12:32,116 --> 01:12:36,116
Speaker 1: this stuff. But like you get the vinyl going, yeah,

1373
01:12:36,516 --> 01:12:39,156
Speaker 1: like you I should have went to Claude Man. Honestly,

1374
01:12:39,636 --> 01:12:41,956
Speaker 1: Lawrence Hampton's playlist was so good. I hate to cop out.

1375
01:12:42,076 --> 01:12:43,596
Speaker 16: I hate to have come all the way out here

1376
01:12:44,196 --> 01:12:48,396
Speaker 16: to just to to just you know, shrivel in the moment.

1377
01:12:48,796 --> 01:12:52,476
Speaker 16: But Laurence Hampton's playlist is like, that's it's really good.

1378
01:12:52,556 --> 01:12:54,676
Speaker 3: Perfect, I'll take it. Don't look at that ship.

1379
01:12:54,876 --> 01:12:57,036
Speaker 1: Look at it more as like you're not degrading yourself

1380
01:12:57,076 --> 01:13:00,236
Speaker 1: to this ridiculousness. That's the way you should look at all. Right,

1381
01:13:01,276 --> 01:13:04,196
Speaker 1: up next, what is coming up next on the playlist?

1382
01:13:04,436 --> 01:13:07,956
Speaker 1: What what are the other albums tracks, anything that pairs

1383
01:13:08,076 --> 01:13:11,236
Speaker 1: with this? So on this I did because I always

1384
01:13:11,276 --> 01:13:13,636
Speaker 1: like to think about, especially this stuff that's kind of

1385
01:13:13,636 --> 01:13:17,476
Speaker 1: before my time a little bit, like what was happening

1386
01:13:17,516 --> 01:13:19,596
Speaker 1: at that time. I always think even in history, that's

1387
01:13:19,636 --> 01:13:21,996
Speaker 1: like really interesting. It's like because you know, like when

1388
01:13:21,996 --> 01:13:24,916
Speaker 1: we did the Lois armstongs, like he's revolutionizing. Like we

1389
01:13:24,996 --> 01:13:26,796
Speaker 1: look back on the twenties and we think of the

1390
01:13:26,836 --> 01:13:29,276
Speaker 1: twenties are like, eh, Jess Kid, and like, then you

1391
01:13:29,356 --> 01:13:32,196
Speaker 1: have this artist that like set up not single handedly,

1392
01:13:32,276 --> 01:13:34,156
Speaker 1: but more so than it has ever happened. Is this

1393
01:13:34,196 --> 01:13:36,596
Speaker 1: a little armstrong episode of Paul Simon? I can't remember, no,

1394
01:13:36,716 --> 01:13:38,796
Speaker 1: but it's like, but then you think about the twenties

1395
01:13:38,876 --> 01:13:40,956
Speaker 1: and like the depression and just all these things. It's

1396
01:13:41,276 --> 01:13:43,396
Speaker 1: it's kind of amazing. So seventy five is not that

1397
01:13:43,476 --> 01:13:45,636
Speaker 1: long ago. But these are three records that came out

1398
01:13:45,676 --> 01:13:51,036
Speaker 1: in seventy five. Bob Dylan's Blood on the tracks, Earth

1399
01:13:51,076 --> 01:13:53,076
Speaker 1: Wind and Fire, That's the Way of the World, and

1400
01:13:53,396 --> 01:13:56,756
Speaker 1: Keith Jarrett's con Concerts, the best selling solar pianol record

1401
01:13:56,796 --> 01:13:56,916
Speaker 1: of all.

1402
01:13:57,076 --> 01:13:58,556
Speaker 3: Yeah, we got to do that the world at some point.

1403
01:13:58,596 --> 01:13:58,796
Speaker 14: Yeah.

1404
01:13:59,076 --> 01:14:00,756
Speaker 3: Also we got to do con concert at some point.

1405
01:14:00,836 --> 01:14:01,036
Speaker 1: Yeah.

1406
01:14:01,036 --> 01:14:02,596
Speaker 3: I like those picks. Those are good, justin you.

1407
01:14:05,156 --> 01:14:08,196
Speaker 4: Know, I was going I went with the CSNS nineteen

1408
01:14:08,276 --> 01:14:13,036
Speaker 4: seventy seven self titled, just because it felt like it.

1409
01:14:13,156 --> 01:14:17,356
Speaker 1: Come on, you know, after we listened to this on LORDE.

1410
01:14:17,356 --> 01:14:19,876
Speaker 1: Hampton's Hampton by Lawrence.

1411
01:14:20,196 --> 01:14:22,436
Speaker 2: On Lauryn's Hampton Playlist, like yeah, I want to hear

1412
01:14:22,476 --> 01:14:26,676
Speaker 2: like Dark Star by Es and the Yacht Vibe vibe.

1413
01:14:26,916 --> 01:14:29,876
Speaker 1: I'm gonna go innervisions. I'm gonna go like I want

1414
01:14:29,916 --> 01:14:31,516
Speaker 1: to listen to this album and then I want to

1415
01:14:31,556 --> 01:14:33,716
Speaker 1: listen to the album, and then you're gonna divorce your wife,

1416
01:14:35,676 --> 01:14:36,636
Speaker 1: slip out the back door.

1417
01:14:36,836 --> 01:14:38,596
Speaker 3: I man, I love you know.

1418
01:14:38,716 --> 01:14:42,756
Speaker 4: The classic is like the pet Sounds Beatles playing off

1419
01:14:42,796 --> 01:14:45,916
Speaker 4: each other. But I love stories like this where someone

1420
01:14:45,956 --> 01:14:47,996
Speaker 4: who I think is a top tier artist here is

1421
01:14:47,996 --> 01:14:52,556
Speaker 4: another top tier artist feels challenged and inspired because don't

1422
01:14:52,596 --> 01:14:55,836
Speaker 4: forget Paul Simon at this point has made some bangers.

1423
01:14:55,956 --> 01:14:58,396
Speaker 3: Like it's not like he's just like an aspiring artist.

1424
01:14:58,476 --> 01:15:00,996
Speaker 4: He's already been through Simon and Garfunkle, He's already made

1425
01:15:00,996 --> 01:15:01,956
Speaker 4: the self titled album.

1426
01:15:01,996 --> 01:15:02,596
Speaker 1: He's already made.

1427
01:15:02,636 --> 01:15:05,116
Speaker 4: Here goes Ryman Simon and he gets beat by Stevie

1428
01:15:05,196 --> 01:15:08,796
Speaker 4: Wonder and he gets super into inner visions and.

1429
01:15:08,996 --> 01:15:11,436
Speaker 3: Just like how we were talking about, I have this vision.

1430
01:15:11,476 --> 01:15:12,676
Speaker 4: I don't know if it's true, but I feel like

1431
01:15:12,676 --> 01:15:14,716
Speaker 4: when Stevie made Talking Book, I can here let it

1432
01:15:14,796 --> 01:15:17,116
Speaker 4: be on that like I can hear Stevie listening to

1433
01:15:17,156 --> 01:15:19,196
Speaker 4: the Beatles and being like I can do that but better.

1434
01:15:19,556 --> 01:15:21,236
Speaker 3: And I feel like this is Paul's maybe not I

1435
01:15:21,276 --> 01:15:21,956
Speaker 3: can do that but better.

1436
01:15:22,036 --> 01:15:24,716
Speaker 4: But his like answer to Inner Visions and his thoughts

1437
01:15:24,716 --> 01:15:27,316
Speaker 4: about it, not that you could ever compete with Vision.

1438
01:15:27,356 --> 01:15:29,276
Speaker 1: But Paul's not scared to like go to the manor.

1439
01:15:30,996 --> 01:15:34,156
Speaker 1: And I really like that thought that these two albums

1440
01:15:34,236 --> 01:15:36,116
Speaker 1: were like one after the other, at least in Paul

1441
01:15:36,156 --> 01:15:40,276
Speaker 1: Simon's mind. Yeah, that's great. It's a great pick quibble bits,

1442
01:15:40,396 --> 01:15:43,196
Speaker 1: anything that you want to quibble with on this. You guys,

1443
01:15:43,356 --> 01:15:43,796
Speaker 1: I'm gonna go.

1444
01:15:44,116 --> 01:15:45,396
Speaker 4: You know, we talked about this a little bit, but

1445
01:15:45,436 --> 01:15:47,956
Speaker 4: it's this is a front loaded album. Like the first

1446
01:15:48,196 --> 01:15:51,036
Speaker 4: side of this of this record is incredible, the second

1447
01:15:51,076 --> 01:15:54,356
Speaker 4: side is you know, Yeah.

1448
01:15:54,796 --> 01:16:02,556
Speaker 1: The first half was boomers are taking you don't want

1449
01:16:02,596 --> 01:16:05,636
Speaker 1: to generally, I'm just wondering, like could they have? But

1450
01:16:05,796 --> 01:16:08,196
Speaker 1: wasn't this the era of the front loaded like literally

1451
01:16:08,836 --> 01:16:10,836
Speaker 1: about fixed for this though.

1452
01:16:10,876 --> 01:16:13,836
Speaker 2: And this goes to my quipble bits leaving off slip

1453
01:16:13,916 --> 01:16:17,916
Speaker 2: Slide in a way was which which was stupid.

1454
01:16:18,076 --> 01:16:19,476
Speaker 1: One of the album was slip sliding on.

1455
01:16:21,276 --> 01:16:25,316
Speaker 4: That That's how you hear the demo of slip Sliding

1456
01:16:25,316 --> 01:16:27,956
Speaker 4: Away on Spotify. But I imagine slip Side and Away

1457
01:16:27,996 --> 01:16:31,916
Speaker 4: as track number seven or eight on this album. Unbelievable, unbelievable,

1458
01:16:32,236 --> 01:16:33,276
Speaker 4: the rescues the second side.

1459
01:16:33,276 --> 01:16:35,316
Speaker 2: I mean, the second side is great, but it needed

1460
01:16:35,956 --> 01:16:38,116
Speaker 2: it needed a slip slide, it needed a song that good.

1461
01:16:38,276 --> 01:16:41,396
Speaker 1: Yeah, great, yeah. And I think it's just like it's

1462
01:16:41,436 --> 01:16:43,196
Speaker 1: the whole thing of like we talked about the advantage

1463
01:16:43,196 --> 01:16:45,716
Speaker 1: of technology at this time and like, you know, just

1464
01:16:45,756 --> 01:16:47,476
Speaker 1: to be able to write stuff like this and have

1465
01:16:47,636 --> 01:16:51,036
Speaker 1: people's attentions and ear for a huge album like this.

1466
01:16:51,476 --> 01:16:53,756
Speaker 1: But there is another thing of like the turning over

1467
01:16:53,836 --> 01:16:55,996
Speaker 1: of the record because I remember like certain records like

1468
01:16:56,236 --> 01:16:58,156
Speaker 1: it was just like you know, and that was okay,

1469
01:16:58,236 --> 01:17:00,556
Speaker 1: like it was still worth the seven bucks or whatever.

1470
01:17:00,756 --> 01:17:02,676
Speaker 1: But and that's why I think, like Steve, you talk

1471
01:17:02,676 --> 01:17:05,396
Speaker 1: about certain records like Stevie had that run where it

1472
01:17:05,516 --> 01:17:07,276
Speaker 1: was like it was key, I mean talking about the

1473
01:17:07,276 --> 01:17:09,596
Speaker 1: apex moments on the middle of the B side and stuff,

1474
01:17:09,716 --> 01:17:12,036
Speaker 1: especially if you're into music like that was an exciting thing,

1475
01:17:12,116 --> 01:17:17,196
Speaker 1: but that was not the norm. So quibble bits I have, uh,

1476
01:17:17,356 --> 01:17:20,476
Speaker 1: And if you're feel free to pause this or fast

1477
01:17:20,556 --> 01:17:23,076
Speaker 1: forward this for some folks, if you don't want to

1478
01:17:23,116 --> 01:17:27,836
Speaker 1: hear this, why would you know, because no, are some

1479
01:17:27,996 --> 01:17:31,116
Speaker 1: of the grooves on this record are sanitized to me

1480
01:17:31,316 --> 01:17:34,396
Speaker 1: a little bit, like the whole I mean, there's nothing

1481
01:17:34,436 --> 01:17:35,516
Speaker 1: that's not grooving.

1482
01:17:35,756 --> 01:17:38,196
Speaker 3: So you're saying that, you're saying that Steve Gadd isn't grooving.

1483
01:17:38,356 --> 01:17:40,116
Speaker 1: No what I'm saying. Of course he's grew, but I

1484
01:17:40,156 --> 01:17:42,716
Speaker 1: think he's been And I wouldn't even say I have

1485
01:17:42,836 --> 01:17:44,636
Speaker 1: no knowledge. It's not like, oh I heard they told

1486
01:17:44,716 --> 01:17:46,596
Speaker 1: him don't play this or don't dig in. I think

1487
01:17:46,636 --> 01:17:49,436
Speaker 1: it's just he appropriately played the situation and listening to

1488
01:17:49,476 --> 01:17:51,476
Speaker 1: it with you guys and getting your feedback. I'm kind

1489
01:17:51,516 --> 01:17:53,596
Speaker 1: of turned around on this a little bit because I

1490
01:17:53,636 --> 01:17:56,156
Speaker 1: think situation, especially as you go through and listen to

1491
01:17:56,276 --> 01:17:58,756
Speaker 1: this record, everything's appropriate. Like we get into this thing

1492
01:17:58,756 --> 01:18:00,916
Speaker 1: where we're really analyzing and I'm thinking, like, oh, I

1493
01:18:00,996 --> 01:18:02,356
Speaker 1: know what Steve Gadd can do. I know what the

1494
01:18:02,436 --> 01:18:05,076
Speaker 1: muscle shows guys can do. But it's like you don't

1495
01:18:05,116 --> 01:18:06,236
Speaker 1: have to bring any of that to it. If you

1496
01:18:06,356 --> 01:18:08,436
Speaker 1: just take it for what it is, it totally you

1497
01:18:08,516 --> 01:18:10,876
Speaker 1: know has on its way. But it's just like like

1498
01:18:10,956 --> 01:18:13,316
Speaker 1: Steve Gack can really hit a New Orleans groove like

1499
01:18:13,596 --> 01:18:14,996
Speaker 1: two X that no problem.

1500
01:18:15,156 --> 01:18:16,956
Speaker 2: So you know you're not wrong, man, because you know

1501
01:18:17,036 --> 01:18:22,596
Speaker 2: and Paul, Like, we listened to Cecilia Cecilia to like

1502
01:18:22,716 --> 01:18:24,636
Speaker 2: and then the kind of made rhythm of the Saints,

1503
01:18:24,716 --> 01:18:27,996
Speaker 2: and then you listen to the demo of Gone at Last,

1504
01:18:28,196 --> 01:18:31,316
Speaker 2: yeah versus not. You know, Richard T's play is great

1505
01:18:31,356 --> 01:18:32,996
Speaker 2: and whatever, but you listen to the demo Gone out

1506
01:18:33,036 --> 01:18:34,916
Speaker 2: Last compared to the what you Know, You're like.

1507
01:18:35,596 --> 01:18:39,076
Speaker 1: Exactly Now, that's probably the most sanitized track on him,

1508
01:18:40,156 --> 01:18:41,916
Speaker 1: which is weird because like Richard T, I think is

1509
01:18:41,956 --> 01:18:46,196
Speaker 1: one of the greatest like blues gospel anything pianist.

1510
01:18:45,956 --> 01:18:47,236
Speaker 3: That sounds like it's from a musical.

1511
01:18:47,916 --> 01:18:50,756
Speaker 1: Yeah, it's like the wing Damn, I'm not gonna be

1512
01:18:50,756 --> 01:18:54,236
Speaker 1: do here that And there's nothing wrong with the way

1513
01:18:54,276 --> 01:18:56,516
Speaker 1: that this is like perfect gospel musical.

1514
01:18:56,676 --> 01:18:59,436
Speaker 2: But you know what someone said, I don't know who

1515
01:18:59,716 --> 01:19:02,996
Speaker 2: phil someone said, white people have to listen to this,

1516
01:19:03,196 --> 01:19:05,316
Speaker 2: you know, Oh I'm sure, sorry, this.

1517
01:19:07,636 --> 01:19:10,076
Speaker 1: Is totally there for that. Yeah, and it was like, yeah,

1518
01:19:11,116 --> 01:19:13,316
Speaker 1: it's probably like, yeah, we could win a Grammy.

1519
01:19:16,676 --> 01:19:18,436
Speaker 3: Richard T is killing. I don't care what anybody, no,

1520
01:19:18,596 --> 01:19:19,156
Speaker 3: he is killing.

1521
01:19:19,236 --> 01:19:22,356
Speaker 1: But like this is probably the least it's weird because

1522
01:19:22,396 --> 01:19:24,596
Speaker 1: like the inspirations like even you're here, what He's like

1523
01:19:24,636 --> 01:19:26,636
Speaker 1: bah dah da dude. But it's almost like he would

1524
01:19:26,636 --> 01:19:29,516
Speaker 1: have been like, like, there's just little things that if

1525
01:19:29,596 --> 01:19:32,396
Speaker 1: you know, you're like, there's nothing wrong with that, but

1526
01:19:32,516 --> 01:19:35,236
Speaker 1: if you know, so to me. But again, like it's

1527
01:19:35,796 --> 01:19:37,556
Speaker 1: it's kind of better when you don't know how this

1528
01:19:37,636 --> 01:19:39,876
Speaker 1: sausage is made to listen to this stuff, because you're like, wow,

1529
01:19:39,956 --> 01:19:42,196
Speaker 1: this is gospel, you know, and it's like, I mean,

1530
01:19:42,236 --> 01:19:44,396
Speaker 1: my parents would totally be like, oh, this is gospel.

1531
01:19:46,276 --> 01:19:49,076
Speaker 4: I think if I could, if I could paraphrase what

1532
01:19:49,116 --> 01:19:51,156
Speaker 4: I think you're trying to say here is it feels

1533
01:19:51,196 --> 01:19:53,956
Speaker 4: like there's like these are the grooves are in broad strokes,

1534
01:19:54,476 --> 01:19:56,276
Speaker 4: like we're not getting the details that you would get

1535
01:19:56,356 --> 01:19:58,596
Speaker 4: in sort of like a more loose, gritty situation.

1536
01:19:58,716 --> 01:20:00,596
Speaker 3: Yeah, you're just letting the musicians do what they want.

1537
01:20:00,676 --> 01:20:03,076
Speaker 4: It just feels like this is a songwriter's album and

1538
01:20:03,156 --> 01:20:05,396
Speaker 4: we're gonna we're gonna do this in a in the

1539
01:20:05,676 --> 01:20:08,556
Speaker 4: sort of broadway possible so that people in the middle

1540
01:20:08,596 --> 01:20:12,316
Speaker 4: Missouri can listen to this and feel okay about it

1541
01:20:12,396 --> 01:20:12,916
Speaker 4: at that time.

1542
01:20:13,516 --> 01:20:15,556
Speaker 3: And yeah, I mean that was done all the time.

1543
01:20:15,516 --> 01:20:18,916
Speaker 1: And I don't know that like, you know, was Paul

1544
01:20:18,996 --> 01:20:22,116
Speaker 1: Simon and Phil Ramone and others like like, I definitely

1545
01:20:22,116 --> 01:20:24,076
Speaker 1: can't see Bob James being like, Okay, I can help

1546
01:20:24,116 --> 01:20:25,956
Speaker 1: make these I mean I don't. I don't know how

1547
01:20:25,996 --> 01:20:27,916
Speaker 1: conscious or if that was just sort of their default

1548
01:20:27,996 --> 01:20:29,716
Speaker 1: way of like, oh I like gospel, let's.

1549
01:20:29,516 --> 01:20:33,156
Speaker 2: Do some g Paul wasn't afraid to like stretch, you know, like,

1550
01:20:33,236 --> 01:20:36,436
Speaker 2: so I can't Maybe it was the zone he was in,

1551
01:20:36,596 --> 01:20:39,036
Speaker 2: but I can't imagine Paul was would have been afraid

1552
01:20:39,116 --> 01:20:40,956
Speaker 2: to go off the rails with you know.

1553
01:20:41,596 --> 01:20:43,716
Speaker 4: I mean, he's made whole albums where they just were

1554
01:20:43,796 --> 01:20:46,396
Speaker 4: just jamming yeah, and then pieced it together later yeah,

1555
01:20:46,396 --> 01:20:48,556
Speaker 4: and Graceland was made. Is they just like he just

1556
01:20:48,636 --> 01:20:51,476
Speaker 4: recorded a bunch of people just playing yeah and pieced together.

1557
01:20:51,636 --> 01:20:55,036
Speaker 3: So yeah, that has a whole other, whole other thing.

1558
01:20:55,436 --> 01:20:57,556
Speaker 3: But yeah, I can see that, Peter.

1559
01:20:57,636 --> 01:20:59,356
Speaker 1: I don't fully agree in that.

1560
01:20:59,756 --> 01:21:02,596
Speaker 4: I do think when I think about this album, I

1561
01:21:02,636 --> 01:21:04,076
Speaker 4: don't think about like, oh, this has got to be

1562
01:21:04,156 --> 01:21:06,596
Speaker 4: like some authentic gospel. It's more about the expression of

1563
01:21:06,676 --> 01:21:10,236
Speaker 4: Paul's lyrics are telling the story glory of and I

1564
01:21:10,356 --> 01:21:13,476
Speaker 4: get that. And I think it's a balance because you

1565
01:21:13,516 --> 01:21:15,716
Speaker 4: could lose that pretty easily if it goes out of.

1566
01:21:15,716 --> 01:21:17,476
Speaker 2: Whack, you know what I mean, maybe it's maybe Paul

1567
01:21:17,596 --> 01:21:19,476
Speaker 2: felt that stops beIN a divorce album.

1568
01:21:19,636 --> 01:21:21,436
Speaker 1: If we go to you know, we go to up

1569
01:21:21,676 --> 01:21:24,796
Speaker 1: to right, you know, and there's just a cohesion thing

1570
01:21:24,876 --> 01:21:27,236
Speaker 1: that nowadays wouldn't matter as much because of how people listen.

1571
01:21:27,636 --> 01:21:30,116
Speaker 1: But like if it had been going like you know,

1572
01:21:30,636 --> 01:21:32,596
Speaker 1: the Muscle Show, guys were like really and then you're

1573
01:21:32,636 --> 01:21:35,236
Speaker 1: going sing, you know, singer song right, it could be jarring.

1574
01:21:35,316 --> 01:21:37,596
Speaker 2: It would have been probably probably would have been jarring.

1575
01:21:37,996 --> 01:21:39,916
Speaker 2: So maybe I understand why I think they did it.

1576
01:21:40,036 --> 01:21:42,596
Speaker 2: But all right, would you have quibble bits?

1577
01:21:42,836 --> 01:21:43,196
Speaker 1: Yeah? I did.

1578
01:21:43,316 --> 01:21:45,956
Speaker 3: I did the it was front loaded, just not kind

1579
01:21:45,956 --> 01:21:46,556
Speaker 3: of have the same one.

1580
01:21:46,676 --> 01:21:49,756
Speaker 1: That's right, go stmometer. I'm listening. How snobby is it

1581
01:21:50,076 --> 01:21:50,236
Speaker 1: is it?

1582
01:21:50,996 --> 01:21:52,796
Speaker 4: Is it on the low end of the scale where

1583
01:21:52,836 --> 01:21:56,196
Speaker 4: it's very commercially accessible, or is it at the high

1584
01:21:56,276 --> 01:21:58,836
Speaker 4: end of the scale where it's super snobby not very

1585
01:21:58,916 --> 01:21:59,796
Speaker 4: So that's how we're defining it.

1586
01:21:59,876 --> 01:22:01,916
Speaker 1: I mean, that's how I've always designed to find it. Peter,

1587
01:22:03,236 --> 01:22:05,756
Speaker 1: I put this as a two. Yeah, I mean I

1588
01:22:05,836 --> 01:22:08,956
Speaker 1: put it as a three. Just cauz like, I almost

1589
01:22:08,956 --> 01:22:12,276
Speaker 1: think it's sort of a one, but as as as

1590
01:22:12,316 --> 01:22:14,356
Speaker 1: we mentioned before and talked about, like it's sort of

1591
01:22:14,516 --> 01:22:16,516
Speaker 1: changed over time, so I don't really have it like

1592
01:22:16,636 --> 01:22:18,996
Speaker 1: is this snobby now? I mean definitely, Look it won

1593
01:22:19,036 --> 01:22:20,436
Speaker 1: a I mean it was a huge record where it

1594
01:22:20,436 --> 01:22:22,356
Speaker 1: came out. So it's not snoppy, right, it's a one

1595
01:22:22,476 --> 01:22:24,316
Speaker 1: or ten. It's buying. It's like it's either it's like

1596
01:22:24,796 --> 01:22:26,716
Speaker 1: this is not like so I'm torn. It's like one.

1597
01:22:26,956 --> 01:22:29,756
Speaker 2: It's like this is quintessential New York and in that

1598
01:22:29,876 --> 01:22:31,716
Speaker 2: in one sense, and so it's like a ten. Yeah,

1599
01:22:31,916 --> 01:22:34,756
Speaker 2: but it's also like, what's it's not? It's pretty accessive.

1600
01:22:36,356 --> 01:22:38,396
Speaker 1: Oh and see Justin is seen right through and found

1601
01:22:38,436 --> 01:22:43,716
Speaker 1: the fault with the cnemometer precise measuring to It's kind

1602
01:22:43,756 --> 01:22:44,476
Speaker 1: of this, you know what?

1603
01:22:44,596 --> 01:22:46,516
Speaker 3: This is kind of like a Woody Allen movie.

1604
01:22:46,876 --> 01:22:48,556
Speaker 4: Like it's like, if you're the right kind of fan,

1605
01:22:48,796 --> 01:22:51,436
Speaker 4: it's super accessible, but if you're not the right kind

1606
01:22:51,476 --> 01:22:52,316
Speaker 4: of fan, it is not.

1607
01:22:52,436 --> 01:22:53,276
Speaker 1: You're like, what is this?

1608
01:22:53,556 --> 01:22:56,236
Speaker 3: And it's a little bit it's a.

1609
01:22:56,236 --> 01:22:58,236
Speaker 1: Super a snoppy car. It's kind of like that if

1610
01:22:58,276 --> 01:23:01,476
Speaker 1: you go no. But if that's it's it's hard to

1611
01:23:01,556 --> 01:23:03,716
Speaker 1: rate the same way. Did you give a number one

1612
01:23:03,836 --> 01:23:07,196
Speaker 1: or ten. I don't know. It's so I've fallen into that.

1613
01:23:07,716 --> 01:23:09,676
Speaker 1: Well that's what I did. It is mad if I

1614
01:23:09,716 --> 01:23:11,396
Speaker 1: give it a five, because I still think it's a

1615
01:23:11,436 --> 01:23:14,476
Speaker 1: one or ten. Yeah, well that's why sometimes I think

1616
01:23:14,796 --> 01:23:16,316
Speaker 1: the same thing. So I'll average it out.

1617
01:23:16,356 --> 01:23:20,276
Speaker 4: Okay, so five, This is so classics nomometer right now,

1618
01:23:20,436 --> 01:23:23,076
Speaker 4: this is just perfect this thermometers. Is it better than

1619
01:23:23,156 --> 01:23:25,716
Speaker 4: kob Is it better than Miles Davis's nineteen fifty nine

1620
01:23:25,756 --> 01:23:27,076
Speaker 4: masterpiece kind of Blue you had?

1621
01:23:27,196 --> 01:23:32,276
Speaker 1: Maybe? I don't know he teged it. I don't want to,

1622
01:23:32,756 --> 01:23:34,356
Speaker 1: but I was messed up about that.

1623
01:23:35,036 --> 01:23:36,756
Speaker 3: I thought I saw that, and I was like, I

1624
01:23:36,836 --> 01:23:37,436
Speaker 3: was surprised.

1625
01:23:37,556 --> 01:23:39,396
Speaker 1: I knew he liked this record, but I was surprised.

1626
01:23:39,396 --> 01:23:41,156
Speaker 3: I just thought about it some more. I've been listening

1627
01:23:41,196 --> 01:23:41,316
Speaker 3: to it.

1628
01:23:41,356 --> 01:23:44,036
Speaker 1: Obviously. He had an exclamation point after maybe too well,

1629
01:23:44,076 --> 01:23:45,796
Speaker 1: only because that's been a thing of me. I usually

1630
01:23:45,836 --> 01:23:46,156
Speaker 1: get one.

1631
01:23:46,316 --> 01:23:49,396
Speaker 4: Peter always does maybe like even he doesn't like right,

1632
01:23:49,676 --> 01:23:51,636
Speaker 4: Maybe I never do it, but I kind of I

1633
01:23:51,716 --> 01:23:53,836
Speaker 4: did it first. I did move to no into the

1634
01:23:53,876 --> 01:23:57,796
Speaker 4: no category. I just think it's just not as good

1635
01:23:57,836 --> 01:24:00,396
Speaker 4: of a work of art as kind of what had

1636
01:24:00,436 --> 01:24:01,596
Speaker 4: you considering it as?

1637
01:24:02,356 --> 01:24:05,196
Speaker 1: How important it was for me as a musician, like

1638
01:24:05,556 --> 01:24:08,796
Speaker 1: you know again, I learned that Roads part on like

1639
01:24:08,916 --> 01:24:11,276
Speaker 1: one of the first things I transcribed that wasn't jazz.

1640
01:24:11,476 --> 01:24:14,796
Speaker 1: So that's how we're deciding if it's better then I

1641
01:24:14,836 --> 01:24:18,036
Speaker 1: think it's like how much stuff we learned off.

1642
01:24:19,276 --> 01:24:21,116
Speaker 3: I have a personal connection to it. It means that

1643
01:24:21,356 --> 01:24:22,636
Speaker 3: it has meant a lot to me.

1644
01:24:23,436 --> 01:24:27,076
Speaker 4: That's even as a songwriter of like of of you know,

1645
01:24:27,116 --> 01:24:29,956
Speaker 4: I occasionally do like to write pop songs and Paul

1646
01:24:29,996 --> 01:24:32,676
Speaker 4: Simon is like my number one for learning how to

1647
01:24:32,796 --> 01:24:36,036
Speaker 4: because he does a similar a similar workflow that I do,

1648
01:24:36,116 --> 01:24:40,916
Speaker 4: where he apparently does uh you know, melodies syllobically first

1649
01:24:41,036 --> 01:24:42,876
Speaker 4: and then writes a whole form around it and then

1650
01:24:42,876 --> 01:24:45,436
Speaker 4: it inserts a story later, which is by the way,

1651
01:24:45,556 --> 01:24:48,436
Speaker 4: insane for how great his stories are, Like usually when

1652
01:24:48,596 --> 01:24:50,956
Speaker 4: the lyrics are that good, it's the other way around.

1653
01:24:50,676 --> 01:24:51,476
Speaker 1: The reverse engineer.

1654
01:24:51,876 --> 01:24:54,836
Speaker 4: He's like he would be a Sudoku master at filling

1655
01:24:54,916 --> 01:24:57,396
Speaker 4: in blank spaces because he's just so good at that,

1656
01:24:58,116 --> 01:24:59,716
Speaker 4: And so it meant a lot to me personally.

1657
01:24:59,756 --> 01:25:01,756
Speaker 1: So yes, but I did move it away because I

1658
01:25:01,876 --> 01:25:04,956
Speaker 1: am a rational human being. Now I feel bad. I

1659
01:25:04,996 --> 01:25:07,316
Speaker 1: don't know, I don't want to give you a hard time. No,

1660
01:25:07,436 --> 01:25:08,836
Speaker 1: I was thinking the same thing. I remember that I

1661
01:25:08,876 --> 01:25:11,076
Speaker 1: saw the maybe yeah, because that was surprised. You are

1662
01:25:11,156 --> 01:25:17,836
Speaker 1: relentless what you got justin hell no? Hell No? I

1663
01:25:17,916 --> 01:25:19,676
Speaker 1: had that, I had a strong note. I hadn't know

1664
01:25:19,716 --> 01:25:22,516
Speaker 1: what the exclamation on another record. I gotta be more confident.

1665
01:25:22,636 --> 01:25:23,916
Speaker 1: Yeah yeah, I mean it's.

1666
01:25:23,876 --> 01:25:24,756
Speaker 3: Just that's our first hell.

1667
01:25:26,036 --> 01:25:27,636
Speaker 4: But I like it because there could be a hell yes,

1668
01:25:27,676 --> 01:25:30,276
Speaker 4: which would be like eleven, like oh yeah, that's way better.

1669
01:25:30,356 --> 01:25:32,636
Speaker 1: We could have a whole meter. It could be like no,

1670
01:25:33,156 --> 01:25:34,756
Speaker 1: hell no, hell mails.

1671
01:25:34,596 --> 01:25:40,436
Speaker 4: No, yeah, f no, you know, but okay, uh Accoutrement's

1672
01:25:40,516 --> 01:25:41,516
Speaker 4: album cover and whatnot.

1673
01:25:41,556 --> 01:25:43,076
Speaker 3: I have a ten just for the mustache.

1674
01:25:43,916 --> 01:25:46,396
Speaker 1: The mustache is good. I have a nine and and

1675
01:25:46,596 --> 01:25:48,236
Speaker 1: I probably would have done seven or eight. The reason

1676
01:25:48,236 --> 01:25:50,316
Speaker 1: I did nine is because I know I'm starting to

1677
01:25:50,316 --> 01:25:54,756
Speaker 1: see I didn't realize how influential this style is right now,

1678
01:25:55,236 --> 01:25:57,076
Speaker 1: Like there's a bunch of people kind of and it's

1679
01:25:57,116 --> 01:25:59,156
Speaker 1: it's coming gone a couple of times. With having the

1680
01:25:59,196 --> 01:26:03,196
Speaker 1: little picture within the solid background on the cover, I'm

1681
01:26:03,236 --> 01:26:05,796
Speaker 1: seeing that so that I don't know why that would

1682
01:26:05,796 --> 01:26:07,276
Speaker 1: push it up higher, but it seems like it would

1683
01:26:07,276 --> 01:26:07,756
Speaker 1: be important.

1684
01:26:08,516 --> 01:26:13,356
Speaker 2: I'm gonna say like four, I like it and and like,

1685
01:26:13,476 --> 01:26:15,476
Speaker 2: on one hand, personally I like it. I think it's

1686
01:26:15,516 --> 01:26:17,236
Speaker 2: one of his best. I still think the self titled

1687
01:26:17,316 --> 01:26:22,316
Speaker 2: album cover is better incredible, and then like Bookends is

1688
01:26:22,356 --> 01:26:26,436
Speaker 2: like a great but so if we're including it's an

1689
01:26:26,436 --> 01:26:29,036
Speaker 2: all timer, so it's maybe like the third best, but

1690
01:26:29,276 --> 01:26:33,556
Speaker 2: like like it might be partially it's not like it's

1691
01:26:33,596 --> 01:26:35,556
Speaker 2: just not in your face enough that I wonder if

1692
01:26:35,596 --> 01:26:38,436
Speaker 2: that's why the album is you know, you know, for

1693
01:26:38,596 --> 01:26:40,836
Speaker 2: for for casual listeners. You know, I think if you're

1694
01:26:40,836 --> 01:26:42,676
Speaker 2: pulling something, you're gonna pick a Paul Simon album on

1695
01:26:42,756 --> 01:26:45,356
Speaker 2: off of like whatever streaming, Like, I don't know if

1696
01:26:45,396 --> 01:26:47,516
Speaker 2: that album cover is gonna like And it might be.

1697
01:26:47,516 --> 01:26:51,676
Speaker 4: Why it's aged not as great as it maybe could have.

1698
01:26:51,756 --> 01:26:53,996
Speaker 4: I mean it's aged sonically very well.

1699
01:26:54,116 --> 01:26:56,356
Speaker 2: Yeah, but in terms of like in the popular imagination

1700
01:26:56,476 --> 01:26:58,996
Speaker 2: of like what a great album is, like a more

1701
01:26:59,916 --> 01:27:02,996
Speaker 2: like iconic like you know cover that pops.

1702
01:27:03,116 --> 01:27:05,276
Speaker 1: It's definitely not made for like a little thumbnail.

1703
01:27:05,436 --> 01:27:07,636
Speaker 3: No, it is definitely not made it's made for a

1704
01:27:07,676 --> 01:27:09,516
Speaker 3: twelve inch yeah cover.

1705
01:27:09,876 --> 01:27:10,116
Speaker 1: Yeah.

1706
01:27:10,196 --> 01:27:11,956
Speaker 4: I think what I like about it is you we're

1707
01:27:11,956 --> 01:27:14,596
Speaker 4: talking about the divorce. We're talking about what personal things

1708
01:27:14,636 --> 01:27:17,636
Speaker 4: that it means to Paul. It looks like someone snapped

1709
01:27:17,636 --> 01:27:20,116
Speaker 4: a photo of a guy trying to look happy when

1710
01:27:20,156 --> 01:27:21,516
Speaker 4: he's going through some ship, you know what I mean,

1711
01:27:22,276 --> 01:27:26,076
Speaker 4: Like he's grown a mustache, cowboy.

1712
01:27:26,116 --> 01:27:29,516
Speaker 1: He's definitely going through a break in Indiana, but he's

1713
01:27:29,556 --> 01:27:31,916
Speaker 1: from Queens. It's like, this is a man who's really

1714
01:27:31,956 --> 01:27:35,516
Speaker 1: as the Plaza. He's cosplaying. That's the divorce guy.

1715
01:27:36,436 --> 01:27:39,156
Speaker 4: He's gone, he's got a new he's got he's got

1716
01:27:39,196 --> 01:27:42,316
Speaker 4: a new apartment, phill ikea furniture that he just got.

1717
01:27:43,236 --> 01:27:44,956
Speaker 1: He's grown a mustache and his hair out.

1718
01:27:49,676 --> 01:27:54,156
Speaker 4: He's read about seventies swingers. He grew the mustache. The

1719
01:27:54,196 --> 01:27:54,956
Speaker 4: subculture here.

1720
01:27:56,276 --> 01:28:00,356
Speaker 1: Oh yeah, well I think that also. This is such

1721
01:28:00,356 --> 01:28:02,876
Speaker 1: a great reminder and thank you justin for being here

1722
01:28:02,916 --> 01:28:06,116
Speaker 1: and bringing your spirit, like you're having listened to you

1723
01:28:06,196 --> 01:28:10,156
Speaker 1: so much. Like your approach to like music appreciation and

1724
01:28:10,316 --> 01:28:13,356
Speaker 1: like connection is so deep, and I think, you know,

1725
01:28:13,516 --> 01:28:15,596
Speaker 1: we we we go into that and then we'll get

1726
01:28:15,756 --> 01:28:18,076
Speaker 1: pulled out with like oh the a major seven bro

1727
01:28:18,316 --> 01:28:21,316
Speaker 1: high five. But I mean it brings back and like

1728
01:28:21,396 --> 01:28:23,596
Speaker 1: what you were saying too, it's like the personal connection

1729
01:28:23,716 --> 01:28:28,156
Speaker 1: with these things guides like the accouterments right like that. Yes,

1730
01:28:28,316 --> 01:28:29,916
Speaker 1: we could sit here and be like, well, the design

1731
01:28:30,116 --> 01:28:32,796
Speaker 1: is not according to the standards of whatever. But like

1732
01:28:32,996 --> 01:28:35,876
Speaker 1: when you learn a chord or like you're going through

1733
01:28:35,916 --> 01:28:37,436
Speaker 1: a divorce. I mean, could you imagine if you're going

1734
01:28:37,476 --> 01:28:39,636
Speaker 1: through your own breakup at the same time, and you

1735
01:28:39,716 --> 01:28:41,356
Speaker 1: lived in New York and you like to wear Indiana,

1736
01:28:41,636 --> 01:28:43,556
Speaker 1: like you would connect on that. You'd be like, that's

1737
01:28:43,596 --> 01:28:47,356
Speaker 1: my man, But I mean you would and you're trying

1738
01:28:47,396 --> 01:28:51,196
Speaker 1: to keep your standard a living goal. Pop probably got

1739
01:28:51,196 --> 01:28:55,676
Speaker 1: some high fives walking around. Yeah, but I mean that's

1740
01:28:55,796 --> 01:28:58,356
Speaker 1: the and then the music, you know, I think more

1741
01:28:58,436 --> 01:29:00,236
Speaker 1: than holds up in terms of that, and then if

1742
01:29:00,276 --> 01:29:02,876
Speaker 1: you have that connection with it even more so. So

1743
01:29:02,996 --> 01:29:05,076
Speaker 1: it's been exciting for me to like just experience this

1744
01:29:05,676 --> 01:29:09,476
Speaker 1: with with you guys. This is the you were talking

1745
01:29:09,476 --> 01:29:10,316
Speaker 1: about what ilon this is?

1746
01:29:10,476 --> 01:29:12,476
Speaker 2: This is, this is I don't know, like this is

1747
01:29:12,556 --> 01:29:14,316
Speaker 2: a woody this is I don't know, like that's just

1748
01:29:14,356 --> 01:29:16,196
Speaker 2: final thoughts is like, yeah, that is the great it

1749
01:29:16,316 --> 01:29:21,236
Speaker 2: like it's it's it's a I mean, masterfully made. There's

1750
01:29:21,236 --> 01:29:23,636
Speaker 2: almost nothing you could nitpick, but you can nitpick, you know,

1751
01:29:23,716 --> 01:29:27,316
Speaker 2: but it's like it's it's just it's it's like precisions great.

1752
01:29:27,436 --> 01:29:28,276
Speaker 2: It's a great album.

1753
01:29:28,516 --> 01:29:28,716
Speaker 1: Yeah.

1754
01:29:29,236 --> 01:29:31,916
Speaker 2: I've gone back and forth about like whether like how

1755
01:29:31,996 --> 01:29:33,516
Speaker 2: much I love this or not over just the time

1756
01:29:33,556 --> 01:29:34,716
Speaker 2: I've been here in Saint Louis.

1757
01:29:35,156 --> 01:29:36,476
Speaker 1: I love I love it.

1758
01:29:36,516 --> 01:29:38,396
Speaker 3: It's a great album. I think it's it's at.

1759
01:29:38,356 --> 01:29:40,236
Speaker 4: That stage of its life where people are kind of

1760
01:29:40,276 --> 01:29:42,356
Speaker 4: going back and forth on it. Yeah, And we all

1761
01:29:42,436 --> 01:29:45,596
Speaker 4: are kind of going back and forth on even that era,

1762
01:29:46,756 --> 01:29:49,436
Speaker 4: on certain in certain genres, and if like there's you know,

1763
01:29:49,636 --> 01:29:51,756
Speaker 4: I think to your point about the broadness of the

1764
01:29:51,836 --> 01:29:53,356
Speaker 4: grooves and not going.

1765
01:29:53,636 --> 01:29:55,876
Speaker 1: Fully deep on it, I think it holds it back

1766
01:29:56,196 --> 01:29:58,756
Speaker 1: in retrospect a little bit. Yeah. Yeah, And I think

1767
01:29:58,836 --> 01:30:00,836
Speaker 1: even any of the quibble bits like that one or

1768
01:30:00,876 --> 01:30:02,476
Speaker 1: any of the things we've talked about that may be

1769
01:30:02,556 --> 01:30:06,556
Speaker 1: a little questionable. I think we'd have to question more

1770
01:30:06,676 --> 01:30:08,716
Speaker 1: the times and the way the music industry was set

1771
01:30:08,796 --> 01:30:10,636
Speaker 1: up at that time. It's not like a Paul thing

1772
01:30:10,716 --> 01:30:12,876
Speaker 1: or even a Phil Ramone thing, although obviously they're part

1773
01:30:12,916 --> 01:30:15,076
Speaker 1: of that system, but like it would be more of

1774
01:30:15,476 --> 01:30:18,836
Speaker 1: a slight indictment upon that whole period, you know, in

1775
01:30:18,916 --> 01:30:20,156
Speaker 1: the system they were working with.

1776
01:30:20,356 --> 01:30:22,396
Speaker 2: It's not the fault of But then to an indict

1777
01:30:22,436 --> 01:30:25,156
Speaker 2: we were talking earlier, to indict our current system, like

1778
01:30:25,356 --> 01:30:28,636
Speaker 2: where tracks or songs, whatever you want to call them,

1779
01:30:28,676 --> 01:30:29,916
Speaker 2: are much more about.

1780
01:30:31,196 --> 01:30:32,996
Speaker 3: The atmosphere created in the vibe.

1781
01:30:33,236 --> 01:30:36,556
Speaker 2: Yeah, this would feel a little antiseptic and a little

1782
01:30:36,676 --> 01:30:39,076
Speaker 2: like but like I feel like it's no one, But

1783
01:30:39,156 --> 01:30:40,556
Speaker 2: at the same time, I feel like no one values

1784
01:30:40,636 --> 01:30:44,236
Speaker 2: the level of songwriting here. No one values that as

1785
01:30:44,356 --> 01:30:45,196
Speaker 2: much as they should anymore.

1786
01:30:45,396 --> 01:30:47,636
Speaker 4: First minute and fifteen seconds in my little town, what

1787
01:30:47,836 --> 01:30:50,276
Speaker 4: is happening is insane. You would never hear that on

1788
01:30:50,396 --> 01:30:53,596
Speaker 4: a modern like from one of the biggest pop artists

1789
01:30:53,676 --> 01:30:56,156
Speaker 4: in the world. Yeah, writing a song like that where

1790
01:30:56,156 --> 01:30:59,876
Speaker 4: it's just this through composed line and chords are happening

1791
01:30:59,956 --> 01:31:02,676
Speaker 4: and space is happening, and then there's this like hook

1792
01:31:02,836 --> 01:31:07,636
Speaker 4: out of nowhere. Yeah, these two incredible, iconic, angelic voices

1793
01:31:07,836 --> 01:31:09,236
Speaker 4: that have sung together since.

1794
01:31:09,196 --> 01:31:11,916
Speaker 1: Were children, and we're not too fond of each other

1795
01:31:11,956 --> 01:31:13,596
Speaker 1: at that point each other.

1796
01:31:13,636 --> 01:31:16,276
Speaker 4: There's baggage there, but like just the way it's written,

1797
01:31:16,996 --> 01:31:20,596
Speaker 4: with the with the sheen of the seventies production, Yeah,

1798
01:31:20,796 --> 01:31:24,076
Speaker 4: is I think makes it stand alone a little bit

1799
01:31:25,316 --> 01:31:27,876
Speaker 4: but it's interesting because that has not aged well because

1800
01:31:27,876 --> 01:31:28,476
Speaker 4: people don't just.

1801
01:31:28,596 --> 01:31:30,876
Speaker 2: Because people don't value it, people don't do it, don't

1802
01:31:31,116 --> 01:31:33,196
Speaker 2: necessarily no one has the time to like make it

1803
01:31:33,316 --> 01:31:35,076
Speaker 2: through like those extended verses.

1804
01:31:35,316 --> 01:31:37,876
Speaker 1: We don't even write bridges anymore now, like let alone

1805
01:31:37,956 --> 01:31:40,636
Speaker 1: like a bridge that changes keys by a major third,

1806
01:31:40,676 --> 01:31:43,036
Speaker 1: you know what I mean? Like yeah, or a bridge

1807
01:31:43,076 --> 01:31:45,196
Speaker 1: over troubled water. No one writes that anymore.

1808
01:31:46,396 --> 01:31:49,236
Speaker 4: I think we got to go out on that. Pete Wow, Justin,

1809
01:31:49,276 --> 01:31:51,876
Speaker 4: Thank you so much, man, Thank you for it's been great.

1810
01:31:51,876 --> 01:31:53,996
Speaker 4: Even my daughter loves Saint Louis, So we'll be best

1811
01:31:54,396 --> 01:31:57,036
Speaker 4: whether you want us or not. Come to the Earth

1812
01:31:57,076 --> 01:31:57,636
Speaker 4: Wind and Fire.

1813
01:31:57,956 --> 01:32:01,396
Speaker 1: Yeah done, And I'm sure you guys already know about it. Listen,

1814
01:32:01,476 --> 01:32:05,436
Speaker 1: but check out Justin on Broken Record with occasional guest

1815
01:32:05,436 --> 01:32:07,076
Speaker 1: appearances from Rick Rubin.

1816
01:32:06,916 --> 01:32:09,516
Speaker 4: And Rick's now doing tetra Grammonton. But you know we

1817
01:32:09,636 --> 01:32:11,996
Speaker 4: love that too. I love Tetragramm, butrip but broken Record,

1818
01:32:12,076 --> 01:32:12,836
Speaker 4: that's say I'm doing that.

1819
01:32:12,956 --> 01:32:13,116
Speaker 5: Yeah.

1820
01:32:13,116 --> 01:32:14,756
Speaker 1: What do you got coming up on the Broken Record

1821
01:32:15,876 --> 01:32:17,836
Speaker 1: that you can talk about? That I can talk about

1822
01:32:18,716 --> 01:32:20,556
Speaker 1: You know that you can if you want to break news?

1823
01:32:20,596 --> 01:32:24,276
Speaker 1: Here can I break some news? An hour to half

1824
01:32:24,316 --> 01:32:27,916
Speaker 1: pot that one's there. This isn't Megan Show. What have

1825
01:32:28,036 --> 01:32:29,916
Speaker 1: coming up? You know, I'm excited.

1826
01:32:31,076 --> 01:32:31,116
Speaker 5: It.

1827
01:32:31,316 --> 01:32:34,476
Speaker 2: Maybe not that excitedly, but talking to John Oates next month,

1828
01:32:34,516 --> 01:32:36,716
Speaker 2: which I'm excited about because I talked to Darryl Hall

1829
01:32:37,036 --> 01:32:37,756
Speaker 2: three months ago.

1830
01:32:38,236 --> 01:32:39,796
Speaker 3: Are you trying to mend that Relationshipah?

1831
01:32:40,116 --> 01:32:41,316
Speaker 1: Are they talking? I'll say there's not.

1832
01:32:41,596 --> 01:32:43,956
Speaker 4: I thought like like when I was talking to Daryl

1833
01:32:43,996 --> 01:32:45,516
Speaker 4: Hall and I love I love both of those guys,

1834
01:32:45,556 --> 01:32:46,236
Speaker 4: but when I was talking.

1835
01:32:46,036 --> 01:32:47,156
Speaker 1: To her Hall, they got to bring up.

1836
01:32:47,956 --> 01:32:52,356
Speaker 2: I approached that interview by like I'm going to pick

1837
01:32:52,436 --> 01:32:55,636
Speaker 2: some like songs to highlight where it's very clear like

1838
01:32:55,836 --> 01:32:58,276
Speaker 2: they they collaborated and like the kind of like in

1839
01:32:58,356 --> 01:33:00,836
Speaker 2: my little Tea like I wanted to pick myself, was like,

1840
01:33:01,556 --> 01:33:03,916
Speaker 2: look what you guys just undeniable without without saying it.

1841
01:33:04,916 --> 01:33:07,196
Speaker 1: And he wouldn't budget And she was just like John

1842
01:33:07,236 --> 01:33:07,556
Speaker 1: didn't do.

1843
01:33:09,276 --> 01:33:09,516
Speaker 2: Has he?

1844
01:33:10,396 --> 01:33:13,436
Speaker 1: I told him to sing that far? He never wrote anything?

1845
01:33:13,476 --> 01:33:15,156
Speaker 1: Like I think he wrote half of that song. You know.

1846
01:33:15,356 --> 01:33:19,636
Speaker 2: Like, so I am gonna, like you know, I'm gonna

1847
01:33:19,676 --> 01:33:21,956
Speaker 2: I'm gonna pull some quotes from my Darryl I'll interview

1848
01:33:21,996 --> 01:33:23,116
Speaker 2: and read them back to John and.

1849
01:33:23,196 --> 01:33:25,796
Speaker 1: Yeah, see what do think? Oh, it's amazing. So I'm

1850
01:33:25,836 --> 01:33:26,556
Speaker 1: excited to do that.

1851
01:33:26,836 --> 01:33:28,996
Speaker 2: And uh, you know, other than that, man, I got

1852
01:33:29,036 --> 01:33:30,356
Speaker 2: a kid come in, so I'm gonna take a little

1853
01:33:30,396 --> 01:33:31,276
Speaker 2: break there you go.

1854
01:33:31,596 --> 01:33:34,596
Speaker 1: I got so, I got some other fun stuff. Yeah

1855
01:33:34,796 --> 01:33:38,276
Speaker 1: that's right. Good. Well man, we appreciate you and this

1856
01:33:38,476 --> 01:33:38,796
Speaker 1: is fun.

1857
01:33:38,836 --> 01:33:40,276
Speaker 3: It's good to be here. Thanks guys.

1858
01:33:40,476 --> 01:33:42,716
Speaker 1: Until next time. Well you'll hear it.

1859
01:33:42,956 --> 01:38:53,796
Speaker 6: Yeah that's a sir, it's foo