WEBVTT - Justin Richmond on You'll Hear It: "Still Crazy After All These Years" — Paul Simon 0:00:15.476 --> 0:00:15.956 Pushkin. 0:00:20.196 --> 0:00:23.356 Hey there, it's Justin Richmond. I joined my favorite music 0:00:23.436 --> 0:00:26.436 educators Adam Manis and Peter Martin of Open Studio on 0:00:26.476 --> 0:00:29.436 their podcast You'll Hear It to talk about Paul Simon 0:00:29.636 --> 0:00:33.036 Still Crazy after all these years. It was an album 0:00:33.076 --> 0:00:35.556 born out of divorce and produced ever so tenderly by 0:00:35.556 --> 0:00:38.636 Phil Ramone. The songs and hits from that album like 0:00:38.676 --> 0:00:40.756 Fifty Ways to Leave Your Lover, I Do It for 0:00:40.836 --> 0:00:44.476 Your Love, Still Crazy, Paul Simon's first collaboration with this 0:00:44.516 --> 0:00:47.876 wayward partner Art Garfunkel on My Little Town. Those songs 0:00:47.916 --> 0:00:51.436 are indelible. We dive in the story behind those songs 0:00:51.436 --> 0:00:54.636 and this remarkable album, including Steve Gadd's famous drum part 0:00:54.756 --> 0:00:57.556 and how Stevie Wonder's intervisions may have been the catalyst 0:00:57.596 --> 0:01:01.836 for Paul Simon's divorce and thus this album plus weeponder? 0:01:02.076 --> 0:01:03.756 Is this the ultimate sad boy album? 0:01:04.516 --> 0:01:08.836 Hey, Bob, do you like podcasts? Actually you don't have 0:01:08.876 --> 0:01:11.356 a so, Adam do you like podcasts? Oh Man, I 0:01:11.356 --> 0:01:15.476 love podcasts. In fact, I'm on a podcast right now. Yes, 0:01:15.516 --> 0:01:19.556 I'm aware. Do you ever listen to the Broken Record podcast? Yeah, 0:01:19.556 --> 0:01:22.036 that's one of my favorites with Justin Richmond. Yeah, so 0:01:22.236 --> 0:01:23.836 I asked him if you could join us on the 0:01:23.876 --> 0:01:26.396 show today. Oh, that's very exciting. And he's gonna be 0:01:26.436 --> 0:01:29.116 here in just a minute, very thrilling. And speaking of 0:01:29.156 --> 0:01:33.276 broken records, I think you broke a few on this range. Yeah, 0:01:33.356 --> 0:01:36.196 most number of mood chords ever. Yeah, that sounds like 0:01:36.196 --> 0:02:44.516 something I do. All right, madam, and I'm Peter Martin 0:02:44.516 --> 0:02:46.876 and you're listening to the You'll here podcast Music. 0:02:46.716 --> 0:02:48.716 Explore Explore, brought to you today by Open Studio. 0:02:48.796 --> 0:02:51.436 Go to OpenStudio jazz dot com for our your jazz 0:02:51.516 --> 0:02:52.156 lesson needs. 0:02:52.156 --> 0:02:53.396 Peter, we are not alone today. 0:02:53.436 --> 0:02:54.996 We are not alone. Yeah, we are. 0:02:55.476 --> 0:02:58.756 An in person guest with us, the great Justin Richmond 0:02:58.796 --> 0:03:02.196 from the Broken Record Podcast. Justin Man, thank you for 0:03:02.236 --> 0:03:04.116 having me, man, thank you for coming to Saint Louis. 0:03:04.196 --> 0:03:06.156 So pleased to be here. Thank you for talking music 0:03:06.156 --> 0:03:08.116 with us. We've already had a great time. You've been 0:03:08.156 --> 0:03:11.676 here for a while and we've we've done the podcast. 0:03:13.356 --> 0:03:15.556 We've already talked for several hours about music. I wish 0:03:15.556 --> 0:03:17.716 we'd had the microphones on, but yeah, it's so great 0:03:17.756 --> 0:03:19.636 to have you here, right man, It's real. I'm a 0:03:19.756 --> 0:03:21.276 podcast royalty. 0:03:20.956 --> 0:03:24.596 Big watcher of your guys' stuff. Crazy, that's crazy. 0:03:25.036 --> 0:03:29.396 Likewise and subscribe. I'm a subscriber. 0:03:29.556 --> 0:03:31.516 Yes, you went to over studio dot com. 0:03:32.596 --> 0:03:34.716 It was too easy. I just put him PayPal Pyle, 0:03:34.876 --> 0:03:37.876 I don't know, super we get you. 0:03:38.276 --> 0:03:41.476 Yeah, well, man, we are talking about one of my 0:03:41.596 --> 0:03:44.796 all time favorite albums today. Paul Simon is still crazy 0:03:44.876 --> 0:03:48.236 after all these years. Nineteen seventy five and Justin this 0:03:48.316 --> 0:03:49.796 was on a list that you gave us of like 0:03:49.836 --> 0:03:51.236 things you might want to discuss and. 0:03:51.196 --> 0:03:53.396 Before we get in, and we were nervous when Justin 0:03:53.476 --> 0:03:55.756 Richmond gave us a list of albums that he wanted 0:03:55.756 --> 0:03:57.796 to discuss. We didn't like to start shaking as we 0:03:57.836 --> 0:03:58.556 looked through the list. 0:03:58.756 --> 0:04:01.396 Believe me, no, not at all. But I'm just curious. 0:04:01.676 --> 0:04:03.036 Why was this on your list? 0:04:03.196 --> 0:04:03.396 Man? 0:04:03.476 --> 0:04:08.436 Well, okay, this has a bit to do with my neurosis. 0:04:08.476 --> 0:04:11.436 I just didn't I was scared, so I was scared, 0:04:11.636 --> 0:04:14.916 so I kind of wanted to nerd out. I really 0:04:14.916 --> 0:04:17.196 wanted to get deep into jazz with you guys. I 0:04:17.316 --> 0:04:18.956 was kind of wanted, but then I got so I 0:04:18.996 --> 0:04:20.916 feel like my first list air towards Zach because I 0:04:20.956 --> 0:04:21.996 was like I want, you know, I want to go 0:04:22.076 --> 0:04:24.476 I want to talk like mingos, like you know, a 0:04:24.516 --> 0:04:26.156 classic jazz, you know record. 0:04:27.316 --> 0:04:28.796 But then I was like, you know what, man, like, 0:04:29.236 --> 0:04:32.556 it's not my land. Let me get out, you know. 0:04:32.796 --> 0:04:36.036 Like Peter's face isn't it. It's just super intimidating. 0:04:36.236 --> 0:04:37.236 I was like, I want to get chewed up. So 0:04:37.236 --> 0:04:37.996 hold on, let me just right. 0:04:38.036 --> 0:04:41.316 Let me recommend something that I feel like is that's 0:04:41.516 --> 0:04:45.436 very much a classic album and incorporates jazz and is 0:04:45.516 --> 0:04:47.396 and is in the you know, it takes from the 0:04:47.436 --> 0:04:51.196 milliu but is firmly in the pop arena. 0:04:51.476 --> 0:04:52.116 Yeah. 0:04:51.916 --> 0:04:55.036 Yeah, And this was definitely you know, like I think 0:04:55.036 --> 0:04:57.676 I sent some earth wind and Fire suggestions that was something, 0:04:57.676 --> 0:04:59.956 but but this seemed to be like the most I 0:04:59.996 --> 0:05:01.316 don't know, compelling in a way. 0:05:01.436 --> 0:05:03.916 Yeah, and a little bit strategic. It sounds a little strate. 0:05:04.796 --> 0:05:06.516 Now that's great because we want to talk to you 0:05:06.556 --> 0:05:08.436 about something that you could really sink your teeth into. 0:05:08.556 --> 0:05:10.716 And then I think we could. And you're right, this 0:05:10.836 --> 0:05:14.116 album is a filled with jazz musicians. Yeah, and we'll 0:05:14.156 --> 0:05:15.876 talk about that more when we get to it. 0:05:15.756 --> 0:05:17.516 And we talk about you know, we've been using the 0:05:17.596 --> 0:05:20.116 term jazz adjacent. You know, I like the you know, 0:05:20.596 --> 0:05:23.636 jazz influence and stuff, and I'm it's gonna be really 0:05:23.636 --> 0:05:26.396 interesting to get your guys take on how much of 0:05:26.436 --> 0:05:28.996 that obviously jazz musicians on there. There's always the idea 0:05:28.996 --> 0:05:32.356 of like jazz musicians on a pop record playing pop, 0:05:32.876 --> 0:05:35.436 or like, how much are they invited in to bring jazz, 0:05:35.476 --> 0:05:38.076 to bring groove? Like is it a harmonic kind of thing? 0:05:38.156 --> 0:05:41.396 Is it a sensibility? Is an improvisation which this record 0:05:41.396 --> 0:05:43.956 has some but not really a lot, a lot of truncated, 0:05:43.996 --> 0:05:46.676 you know, but it's super interesting to me to hear 0:05:46.756 --> 0:05:49.036 how people like whether or not gets to the point 0:05:49.036 --> 0:05:51.036 where it's, well, there's one point that's gonna come up 0:05:51.076 --> 0:05:53.796 later where it definitely gets very jazzy. It's like falls 0:05:53.796 --> 0:05:56.196 off the rails jazzy all of a sudden too, yeah, 0:05:56.356 --> 0:05:58.196 which I think is great. But other than that, you know, 0:05:58.316 --> 0:05:58.916 I'm not sure. 0:05:59.516 --> 0:06:03.116 Well, let's get a little backstory here on what was 0:06:03.156 --> 0:06:06.196 going on before this album was made. In nineteen seventy five, So, 0:06:06.196 --> 0:06:08.276 Paul Seinen grew up in a musical home in Queens, 0:06:08.316 --> 0:06:11.516 New York. His dad, Lou, played bass professionally for radio stations, 0:06:11.516 --> 0:06:15.156 and he encouraged his son to appreciate music and study piano, 0:06:15.516 --> 0:06:17.956 but Paul didn't really take to it, that is until 0:06:17.956 --> 0:06:20.436 he heard dou wop and Rhythm and Blues on the radio. 0:06:20.916 --> 0:06:23.876 He was just a kid, maybe nine or ten, and 0:06:23.916 --> 0:06:26.436 he was completely changed by what he heard. He would 0:06:26.476 --> 0:06:30.236 obsessively listen to the radio after school, listening to songs 0:06:30.596 --> 0:06:32.836 like Hearts of Stone by. 0:06:32.756 --> 0:06:45.436 The Jewelers, Made of Stone, Will Alone, Time. 0:06:46.876 --> 0:06:57.396 You Can Pass, or Shaboom by the Crew Cuts, Hell That, 0:06:57.956 --> 0:07:08.276 or good Night Sweetheart by the Spaniels. He met Art 0:07:08.276 --> 0:07:11.156 Garfunkle in school and the two started singing together, recording 0:07:11.196 --> 0:07:13.596 their voices on a wire recorder and playing it back 0:07:13.636 --> 0:07:15.436 to hear how their voices intersected. 0:07:15.516 --> 0:07:17.956 You see a wire recorder, we got talking. I'm not 0:07:17.956 --> 0:07:18.476 to google that. 0:07:20.076 --> 0:07:22.676 Then they started singing together at school talent shows and 0:07:22.716 --> 0:07:25.556 even writing songs together. They both fell in love with 0:07:25.596 --> 0:07:27.436 the Everly Brothers with songs like. 0:07:27.516 --> 0:07:28.236 Bye Bye Love. 0:07:28.796 --> 0:07:31.396 And then one day after school they walked into a 0:07:31.436 --> 0:07:34.676 recording studio in Manhattan and paid ten dollars to record 0:07:35.116 --> 0:07:40.116 this song, Joe. 0:07:42.476 --> 0:07:42.596 Jo. 0:07:43.796 --> 0:07:48.356 Of course, everybody knows that Simon and garvocal, so this 0:07:48.556 --> 0:07:51.636 was recorded under the name Tom and Jerry, not Simon. 0:07:51.316 --> 0:07:53.116 And Garfunkle, which is a very funny name. 0:07:53.236 --> 0:07:55.196 It just so happened that Sid Prosen, who owned a 0:07:55.236 --> 0:07:58.036 small record label, was in the room. He heard them 0:07:58.076 --> 0:08:00.556 sing and offered them a contract to release Hey school 0:08:00.596 --> 0:08:01.596 Girl on his label. 0:08:01.716 --> 0:08:04.436 Did you say Sid Prosen? He didn't have to say 0:08:04.476 --> 0:08:07.116 Sid Prosen owned a small record label. That was that 0:08:07.236 --> 0:08:08.436 was implicit in the name. 0:08:09.236 --> 0:08:13.796 They quickly found their sound, became famous, and eventually broke up. 0:08:14.436 --> 0:08:17.676 But for Shadowy it was another breakup that would create 0:08:17.716 --> 0:08:20.796 the conditions for one of his best albums, Still crazy 0:08:20.836 --> 0:08:23.156 after all these years, so. 0:08:24.076 --> 0:08:24.956 We thank you very much. 0:08:25.236 --> 0:08:28.516 We don't often think about Simon and Garfunkel as like 0:08:28.516 --> 0:08:30.716 a doo wop group, but that is certainly their origins, 0:08:30.756 --> 0:08:32.556 and you can hear that in the Hey school Girl. 0:08:33.476 --> 0:08:36.116 But really interesting origin story from Paul. I knew his 0:08:36.196 --> 0:08:39.716 dad was a musician, but I'm curious, Peter, like your 0:08:39.836 --> 0:08:41.356 father also a professional musician. 0:08:41.436 --> 0:08:43.276 Yeah, not in the same context. 0:08:42.836 --> 0:08:46.396 That you are, but I think that musical there's so 0:08:46.516 --> 0:08:52.196 many astounding musicians, yourself included, who come from like a 0:08:52.276 --> 0:08:55.996 dad who's like a workaday musician, right right, Yeah, And I. 0:08:55.956 --> 0:08:59.156 Wonder i'd love. I think that's an interesting part. But 0:08:59.236 --> 0:09:02.676 I think a music lover parent, you know, like that's 0:09:02.756 --> 0:09:04.956 the trend I hear with a lot. I don't know you, oh, 0:09:05.036 --> 0:09:08.716 I know for you, Adam, your parents, your dad had 0:09:08.756 --> 0:09:11.036 great some music and will play stuff. And I mean 0:09:11.036 --> 0:09:14.756 it's just in you, justin just like I think having parents, 0:09:14.716 --> 0:09:17.636 because both my parents are actually musicians, is an interesting angle. 0:09:17.676 --> 0:09:19.756 But it's almost more like is music in the home, 0:09:20.116 --> 0:09:22.196 Like how is it present? Like not that you're at 0:09:22.196 --> 0:09:24.476 the altar of it, but like culturally, is it a 0:09:24.476 --> 0:09:27.836 big part of you know, your upbringing? Yeah. 0:09:27.956 --> 0:09:30.236 I mean for me, neither of my you know, both 0:09:30.236 --> 0:09:31.916 of my parents sometimes have asked me like how did 0:09:31.996 --> 0:09:33.836 you come? But for me, it was my I think 0:09:33.916 --> 0:09:36.756 my mom's mom, my grandma, who was really she's from 0:09:36.756 --> 0:09:40.436 Detroit and whatever reason just loved. She would always just 0:09:40.436 --> 0:09:43.116 tell me, like teach me life lessons through like you know, 0:09:43.156 --> 0:09:44.956 the stories of some celebrities you heard, like I always 0:09:45.036 --> 0:09:46.236 knew not to do uh. 0:09:46.356 --> 0:09:48.636 I learned not to take drugs because Judy Garland tell you. 0:09:48.676 --> 0:09:50.396 I was watching the Wizard of Oz and my granda 0:09:50.396 --> 0:09:55.076 told me Judy Garlands and I'm like don't take pills, okay, 0:09:55.676 --> 0:09:57.436 But then she would tell me things like don't sign 0:09:57.476 --> 0:09:57.996 with MGM. 0:09:58.116 --> 0:10:01.916 Yeah exactly, you know, don't don't you know? She would 0:10:01.916 --> 0:10:03.276 tell me about how Nat King Cole used to like 0:10:03.276 --> 0:10:04.956 to smoke because it would keep his voice like like 0:10:05.036 --> 0:10:06.316 you know, like he liked the way he made his 0:10:06.396 --> 0:10:08.436 voice sound, but. 0:10:07.716 --> 0:10:10.356 That would lung cancer, you know. So then that was 0:10:10.396 --> 0:10:10.676 the flip. 0:10:11.036 --> 0:10:13.276 Okay, so don't smoke or you know she made me 0:10:13.316 --> 0:10:15.036 do uh, she made me join the swim team because 0:10:15.036 --> 0:10:18.396 Frank Sinatra swam for like greater like lung. So my 0:10:18.396 --> 0:10:20.916 grandmas liked singers and would always like make me listen 0:10:20.916 --> 0:10:24.516 to things. And you tell me singers were trash. 0:10:24.676 --> 0:10:27.676 Yeah, you can learn everything about life, like yeah, don't 0:10:27.916 --> 0:10:33.196 eat a lot of that stuff. Yeah, so I think 0:10:33.196 --> 0:10:33.836 it was my grandma. 0:10:33.956 --> 0:10:36.596 Yeah yeah, And I hated vocalists growing up, but I've 0:10:36.676 --> 0:10:38.716 come back around to me now it's all I love it. 0:10:39.156 --> 0:10:41.516 Vocals, love a good love a good singer. Yeah. Yeah, 0:10:42.316 --> 0:10:44.996 well I think too, like like you hear the music 0:10:45.076 --> 0:10:46.836 that do? I mean obviously none of us, even me 0:10:47.076 --> 0:10:49.396 being the elder statesman here, came up listening to that 0:10:49.516 --> 0:10:52.396 douop style. But I remember my aunt and my uncle 0:10:52.476 --> 0:10:54.916 and my parents too, like they're more like classical musicians, 0:10:55.116 --> 0:10:58.876 a little snobby. But you know, I think it's hard 0:10:58.916 --> 0:11:01.596 for us probably to understand the impact of that's not 0:11:01.716 --> 0:11:05.876 I remember my aunt Carol talking about Fats Domino, you know, 0:11:06.436 --> 0:11:08.076 and like one of his hits would come on the 0:11:08.196 --> 0:11:10.156 radio and she was like, that's when I fell in 0:11:10.236 --> 0:11:12.756 love with your uncle, and like just like that sound. 0:11:12.876 --> 0:11:15.156 And so I you know, hearing I've never realized that 0:11:15.276 --> 0:11:18.356 Paul Simon and Gar but it totally makes sense. Came 0:11:18.396 --> 0:11:20.676 out of that. But like it's got to inform everything 0:11:20.756 --> 0:11:21.196 that they did. 0:11:21.356 --> 0:11:25.956 You can hear that, like the constant harmonies and everything 0:11:25.996 --> 0:11:28.956 that they're doing is Simon and Garfunkle A long way 0:11:28.956 --> 0:11:30.516 away from Tom and Jerry Hayes, Skip. 0:11:30.476 --> 0:11:33.196 School Girl, a little elevated. Yeah. 0:11:43.636 --> 0:11:49.116 So after Simon and Garfuncle are defunct, Paul makes his 0:11:49.236 --> 0:11:52.996 first studio album, self titled Paul Simon Album with some 0:11:53.156 --> 0:11:53.756 good success. 0:11:55.796 --> 0:11:58.036 I love this album, incredible album. 0:11:58.596 --> 0:12:01.556 This is the one to cover with He's got the 0:12:01.716 --> 0:12:04.396 hood up for a hood. Yeah, this is a ten 0:12:04.436 --> 0:12:11.116 out of ten album cover that's being Julio domb. 0:12:12.756 --> 0:12:15.436 Nineteen seventy two and nineteen seventy three, Paul releases There 0:12:15.476 --> 0:12:17.636 Goes Ryman Simon, also a good album, not as good 0:12:17.676 --> 0:12:19.676 as the self titled or as good as Still Crazy 0:12:19.716 --> 0:12:23.436 in my opinion, but some good stuff, including this track 0:12:23.476 --> 0:12:26.916 Code of Crew mixed a song, but as we're already 0:12:26.956 --> 0:12:31.076 hearing here and still Ryman the sound quality yea for 0:12:31.196 --> 0:12:33.916 nineteen seventy three, that's some high level. 0:12:34.076 --> 0:12:40.556 Yeah, the same producer as this Phil Romone. Yeah, I 0:12:40.636 --> 0:12:43.396 was just wondering if it sounds like his kind of 0:12:44.236 --> 0:12:47.276 but I mean Simon apparently was very I think anytime, 0:12:47.316 --> 0:12:49.516 like you talk about the engineers and the production and 0:12:49.596 --> 0:12:51.836 of course Still Crazy, I think it was Phil Vermont 0:12:51.876 --> 0:12:54.316 and Paul Seimer and producer together. But I think, like 0:12:54.636 --> 0:12:58.396 you explore with Michael Jackson, Marvin Gay Stevie, like they 0:12:58.556 --> 0:13:01.516 when you get that pristine sound, whatever the direction is, 0:13:01.676 --> 0:13:05.076 like the artist has almost always had. I mean occasionally 0:13:05.116 --> 0:13:07.196 you'll hear about with ours like I do whatever, yeah, 0:13:07.236 --> 0:13:09.036 and then they create this match, but they are usually 0:13:09.476 --> 0:13:12.516 very meticulous with how they want not only their voice, 0:13:12.556 --> 0:13:14.396 but the whole you know, the whole thing. 0:13:15.076 --> 0:13:19.236 After There Goes Ryman Simon by nineteen seventy four, Paul 0:13:19.236 --> 0:13:21.476 and his wife Peggy, had a son together, Harper, who 0:13:21.516 --> 0:13:24.916 Paul adored. His musical career had been a success so far, 0:13:25.116 --> 0:13:28.236 but he was still so sad and didn't know why 0:13:28.436 --> 0:13:30.916 he was isolating himself from his family, spending most nights 0:13:30.916 --> 0:13:33.436 away from the house. One night, he came home and 0:13:33.516 --> 0:13:36.196 hopped in the shower to wash off the sadness. He 0:13:36.356 --> 0:13:39.436 burst into tears, and this phrase came to mind, still 0:13:39.516 --> 0:13:43.436 crazy after all these years. Soon after a productive shower, 0:13:43.636 --> 0:13:45.836 I say, I wish that's. 0:13:45.676 --> 0:13:46.236 A dark moment. 0:13:46.476 --> 0:13:49.436 I've never heard out of it. But that's Paul Simon 0:13:49.516 --> 0:13:49.716 for you. 0:13:50.156 --> 0:13:52.516 Soon after that, his solo album, There Goes Rymond Simon 0:13:52.636 --> 0:13:54.916 was nominated for a Grammy for Album of the Year. 0:13:55.396 --> 0:13:58.716 He was up against Stevie Wonders Inner Visions, Ever Heard 0:13:58.716 --> 0:14:05.076 of It? Inner Visions won the Grammy that year. This 0:14:05.196 --> 0:14:12.476 is Golden Lady from Innervisions. Imagine hearing this. It'd being 0:14:12.516 --> 0:14:13.636 a working artists. 0:14:14.196 --> 0:14:15.756 We talked about this, but talking you can go to 0:14:15.836 --> 0:14:16.956 the shower come up with nothing. 0:14:17.956 --> 0:14:20.716 If you're listening to Stevie here in this seventies run 0:14:20.756 --> 0:14:22.756 that he's on, you gotta be like, well, I guess 0:14:22.796 --> 0:14:25.196 it's done. I guess music is over hanging it up. Yeah, 0:14:25.516 --> 0:14:27.356 we should all pack it in. And that's kind of 0:14:27.396 --> 0:14:31.796 what Paul did. One day, he was pouring over inter 0:14:31.916 --> 0:14:34.636 visions when his wife reminded him it was time to leave. 0:14:34.876 --> 0:14:38.396 Paul didn't move. He kept listening. She reminded him again. 0:14:39.076 --> 0:14:42.556 Now he was feeling angry. She reminded him of my household. 0:14:42.596 --> 0:14:46.396 By the way, I'm amazing, I'm still married. 0:14:46.956 --> 0:14:49.316 He walked out the door and went to a hotel. 0:14:49.516 --> 0:14:52.956 That was the end of his marriage. From the ins, 0:14:53.396 --> 0:14:56.356 I didn't get a prod. Give some executive decision making 0:14:56.436 --> 0:14:59.036 like boh Man. Well think about it, like everyone's like 0:14:59.156 --> 0:15:01.596 Stevie Wonder. He played pretty much every instrument. Well you 0:15:01.676 --> 0:15:03.836 know he did everything on the record, on intervisions and 0:15:04.036 --> 0:15:07.436 talking book except like background, well even did that. But 0:15:08.076 --> 0:15:11.316 come he wrote everything, thing played everything, killed it and 0:15:11.556 --> 0:15:13.156 was also like breaking up marriages. 0:15:14.156 --> 0:15:16.516 So Paul wrote the album is still Crazy after all 0:15:16.556 --> 0:15:20.636 these years from that same hotel as he was divorcing 0:15:20.716 --> 0:15:21.796 his first wife. 0:15:22.236 --> 0:15:25.396 And he was the Plaza hotel that was I feel 0:15:25.396 --> 0:15:26.196 like she probably was. 0:15:27.876 --> 0:15:29.516 Ended up writing this. 0:15:32.276 --> 0:15:42.596 It wasn't the holiday and at times square one of 0:15:42.596 --> 0:15:43.356 the greatest. 0:15:45.196 --> 0:15:47.716 Love last night. 0:15:49.156 --> 0:15:51.516 She seems so glad to see me. 0:15:52.356 --> 0:15:55.556 That just sounds great. On it really sounds great. That's 0:15:55.596 --> 0:15:57.916 Barry Beckett on the Fender Roads. Yeah, the muscle should 0:15:57.996 --> 0:15:58.796 rhythm section. 0:15:59.076 --> 0:16:12.236 San Drake, still Abuse, still crazy, the crazy, the great 0:16:12.276 --> 0:16:20.356 kick drum sounds of all the time. I am I'm 0:16:20.476 --> 0:16:24.156 not the cud man who tis. 0:16:24.156 --> 0:16:29.076 Social phrasing between everyone is yeah, and there's this little 0:16:29.156 --> 0:16:31.636 details in the songwriting going to that I'm not the 0:16:31.796 --> 0:16:34.636 cut on the forecoord just that one time, have one. 0:16:34.556 --> 0:16:37.396 Little change, and I think that, like to start out 0:16:37.436 --> 0:16:39.836 the record like a lot of Simon stuff and detfine 0:16:39.916 --> 0:16:42.956 Simon garfunk fl before this it's like soul guitar driven, 0:16:43.436 --> 0:16:45.356 like to start out with the Roads on this, I 0:16:45.396 --> 0:16:46.836 don't think there's any guitar. And and then it's has 0:16:46.996 --> 0:16:49.476 like the strings. It really places his voice and like 0:16:49.516 --> 0:16:51.636 you said, the phrasing in a different place. 0:16:51.876 --> 0:16:58.676 One of the greatest bridges, every one of the weirdest 0:16:58.716 --> 0:17:01.956 bridges ever to string, arranged by by Bob James. 0:17:01.996 --> 0:17:11.756 Bob James, shout out, Bob James, still doing it, Wash 0:17:17.796 --> 0:17:25.156 Chazzi flute strings and then this woodwood stuff is weird 0:17:25.356 --> 0:17:27.636 here because it almost goes, it gets a little dark, 0:17:27.716 --> 0:17:41.036 foreshadow and dark a little bit that's wild rining. This 0:17:41.116 --> 0:17:43.676 will get you kicked off Spotify, and then into this 0:17:44.276 --> 0:17:57.716 Michael Brecker fully armed. The solo song. 0:18:03.276 --> 0:18:06.716 Also very kind of Unbreckaish soul known for these like 0:18:06.956 --> 0:18:09.516 huge waves of sound, like. 0:18:09.516 --> 0:18:11.036 The least amount of notes sees. I mean it's a 0:18:11.076 --> 0:18:13.756 short solo, but normally rerecor would be trying to get 0:18:13.796 --> 0:18:16.756 in more notes per per beat, if anything, killing key 0:18:16.876 --> 0:18:23.316 change would not be in the middle of the first. 0:18:24.236 --> 0:18:40.476 Still crazy, still crazy, crazy, still crazy. 0:18:41.116 --> 0:18:51.516 After what do we think Fellas? I mean, it's it's impeccable. 0:18:51.596 --> 0:18:54.076 I mean it's like pristine and and like there's the deed, 0:18:54.196 --> 0:18:58.156 like there's the the church stuff. No, No, that four 0:18:58.196 --> 0:19:00.996 to one movement that's like starts there ends their bookends 0:19:01.036 --> 0:19:02.716 in and there's a lot of that in between kind 0:19:02.756 --> 0:19:04.356 of you know, we. 0:19:04.436 --> 0:19:05.276 Mentioned Barry Beckett. 0:19:05.436 --> 0:19:07.716 So the muscle this is all with the Muscle Shoals 0:19:07.796 --> 0:19:11.716 rhythm section, which yeah, exactly, we'll talk more about them. 0:19:11.756 --> 0:19:14.676 They're on these first two tracks. This was not recorded 0:19:14.716 --> 0:19:18.236 at Muscle Sholes, though they played different. Though it doesn't 0:19:18.316 --> 0:19:22.676 sound like necessarily the Muscle Sholes rhythm section, which is 0:19:24.116 --> 0:19:24.796 cool in a way. 0:19:24.916 --> 0:19:25.276 I don't know. 0:19:25.596 --> 0:19:29.396 Yeah, everybody's playing different That's the theme of this album, right, 0:19:29.436 --> 0:19:31.076 because like all the jazz musicians are. 0:19:30.956 --> 0:19:33.356 Playing a little differently on Phil. Well, we'll get to that, 0:19:35.236 --> 0:19:39.236 but not for eight seconds. I love this this Roads part. 0:19:39.316 --> 0:19:41.876 It's just a beautiful example of the very simple church 0:19:41.956 --> 0:19:45.316 chords just played flawlessly. The voice leading is unbelievable. Yeah, 0:19:45.356 --> 0:19:48.636 obviously the sound of a Roads in nineteen, but. 0:19:48.716 --> 0:19:50.916 Normally they'd be a little bit more exploite, like a 0:19:50.956 --> 0:19:53.316 little bit of bluesy, like I feel like they were. 0:19:53.516 --> 0:19:56.916 I think Simon told them or somebody. I don't know 0:19:56.956 --> 0:19:58.876 if that was Phil Ramon was involved black like, oh, 0:19:59.076 --> 0:20:02.196 you know, you know which is. I mean, that's probably 0:20:02.196 --> 0:20:03.996 appropriate for what it is, but for me, I kind 0:20:03.996 --> 0:20:06.036 of want to hear a little bit, just a little 0:20:06.036 --> 0:20:07.276 bit of grid or something here. 0:20:07.356 --> 0:20:11.036 So you think a little more grit would it's a 0:20:11.156 --> 0:20:12.476 nine point five, a little more grit? 0:20:12.596 --> 0:20:14.996 Make that a ten out of ten? Yeah, Like what 0:20:15.076 --> 0:20:19.596 if Donnie Hathaway was playing that role? Oh yeah, eleven? 0:20:20.076 --> 0:20:23.156 Right, But I kind of agree with you. It feels like, 0:20:23.556 --> 0:20:26.196 I mean, for Barry Beckett, it's pulled back away. But 0:20:26.276 --> 0:20:28.396 do you think for Michael Record's pulled back right, do 0:20:28.476 --> 0:20:28.916 you think. 0:20:28.996 --> 0:20:30.916 Justin like what you were talking about, like the phrasing 0:20:30.956 --> 0:20:32.956 that Paul Simon is singing with, that that would have 0:20:33.436 --> 0:20:34.836 more grit, would have taken away from that. 0:20:34.956 --> 0:20:38.116 I don't know, if I don't know, If yes, I 0:20:38.156 --> 0:20:40.236 think I think it terms a way Paul approaches songs 0:20:40.276 --> 0:20:43.356 and sings. I think that sort of more pulled back, 0:20:43.796 --> 0:20:46.796 restrained playing is probably more like if Donnie singing. 0:20:46.996 --> 0:20:50.196 And playing right, okay, you know, yeah, it's gonna go. 0:20:50.276 --> 0:20:52.076 Not that Paul's not a great vocalist, but it's just 0:20:52.156 --> 0:20:53.916 you know, he does though it's not what he does. 0:20:54.356 --> 0:20:57.596 It would be weird if if Paul was like sanging yeah, yeah, yeah, 0:20:58.036 --> 0:21:00.396 it would feel a little weird, that sort of understated, 0:21:01.356 --> 0:21:04.636 putting real focus on the lyrics and the turn of 0:21:04.716 --> 0:21:07.956 the phrase yeah in a very gentle way. That's the 0:21:07.996 --> 0:21:10.276 Paul Simon I think about ahead when I think about 0:21:10.436 --> 0:21:11.836 his talent as a vocalist. 0:21:11.876 --> 0:21:12.636 We can hear that here. 0:21:16.956 --> 0:21:18.436 On the street last night. 0:21:19.876 --> 0:21:22.236 She seems so glad to see me. 0:21:23.036 --> 0:21:23.956 I'll just smile. 0:21:26.596 --> 0:21:29.036 Then we talked about some old. 0:21:28.996 --> 0:21:35.116 Time samon drink or sell some views still crazy after 0:21:35.396 --> 0:21:37.236 all theies? 0:21:38.596 --> 0:21:42.156 What was still crazy? After all? 0:21:44.556 --> 0:21:46.236 It's like you're walking with a friend in the Upper 0:21:46.276 --> 0:21:50.156 West Side, like telling you his story about running into his. 0:21:50.716 --> 0:21:54.116 So conversational for sure, yes, yeah, absolutely, you know, And 0:21:54.276 --> 0:21:57.156 and his voice really lends like the authenticity of it 0:21:57.756 --> 0:22:00.636 because his like I think the little bit of stink 0:22:00.916 --> 0:22:04.196 or grit that he does bring is that, you know, 0:22:04.756 --> 0:22:08.076 the pitch is and he has really good insignation, but 0:22:08.156 --> 0:22:10.236 he does play around a little bit with the pitch, 0:22:10.316 --> 0:22:12.356 like he's he's not afraid to have it to be 0:22:12.476 --> 0:22:15.676 a little like stylized, especially when you hear it isolated, 0:22:15.716 --> 0:22:18.076 because it can seem so like, I mean, thank god 0:22:18.116 --> 0:22:20.276 he's not doing this in the pitch correction, but you know, 0:22:20.596 --> 0:22:22.636 I mean if they had, because it doesn't need I mean, 0:22:22.716 --> 0:22:25.276 it's like that's it's so subtle that you need to 0:22:25.356 --> 0:22:27.236