WEBVTT - Charlie Puth

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<v Speaker 1>Pushkin. Charlie Pooth is a singer songwriter whose knowledge of

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<v Speaker 1>pop music runs deeper than your average chart topper. He

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<v Speaker 1>studied music production and engineering at Berkeley College of Music

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<v Speaker 1>and first gained widespread attention in twenty fifteen with his

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<v Speaker 1>ubiquitous single see You Again, a collaboration with Whiz Khalifa

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<v Speaker 1>for the Furious seven soundtrack. That song earned him his

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<v Speaker 1>first Grammy nomination. In fact, three of them since Denny's

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<v Speaker 1>released hits like Attention, We Don't Talk Anymore, and One

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<v Speaker 1>Call Away, while also writing and producing for other artists,

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<v Speaker 1>including co writing and co producing Stay for the Kid,

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<v Speaker 1>Leroy and Justin Bieber. His fourth album, his latest, Whatever's Clever,

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<v Speaker 1>comes out next month, and, as he'll reveal in this episode,

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<v Speaker 1>is his most honest and personal work today. On today's episode,

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<v Speaker 1>I'll speak with Charlie about making Whatever Clever and the

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<v Speaker 1>process of recording a song with Michael McDonald and Kenny Loggins.

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<v Speaker 1>He also discusses the sly way he convinced Kenny geta

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<v Speaker 1>appear on the album, and sits down at the piano

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<v Speaker 1>to demonstrate how gospel chords always have found their way

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<v Speaker 1>into pop music, revealing the harmonic foundations that shape his songwriting.

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<v Speaker 1>This is Broken Record, real musicians, real conversations. Here's my

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<v Speaker 1>interview with Charlie Booth at over to YouTube dot com

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<v Speaker 1>slash Broken Record Podcast if you want to see the video.

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<v Speaker 1>The new album is really really good.

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<v Speaker 2>Well thanks.

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<v Speaker 1>You went to Berkeley, Yeah, and I imagine there No,

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<v Speaker 1>I can't tell, but like you know, I imagine there's like

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<v Speaker 1>if you if you go to Berkeley, if you graduate

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<v Speaker 1>from Berkeley, there's like an audience you could be focused

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<v Speaker 1>on pleasing, if you if you're there, right, and then

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<v Speaker 1>you come out of there and you're in the pop

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<v Speaker 1>world and that's his whole own other audience that's might

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<v Speaker 1>have to worry about, sure, pleasing very different. Yeah, And

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<v Speaker 1>it seems like you somehow land somewhere between the two.

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<v Speaker 2>Right. Well, I've always for even before I went to Berkeley,

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<v Speaker 2>when I went to Manhattan School, and I always wanted

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<v Speaker 2>to take what I learned in conservatory and apply it

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<v Speaker 2>to pop music because I always just got the most

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<v Speaker 2>visceral reaction from pop music, like listening to Lucky by

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<v Speaker 2>Britney Spears, my all time favorite artist, like Max Martin

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<v Speaker 2>production the drums being like sitting perfectly in the record.

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<v Speaker 2>There's nothing better than a pop record that you can

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<v Speaker 2>really crank up volume wise and just it won't pierce

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<v Speaker 2>your ears because the mix is so crispy and good.

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<v Speaker 2>But I would listen to you know, James Taylor. He

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<v Speaker 2>I learned how to play piano by listening to Fire

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<v Speaker 2>and Rain. And I'm listening to like a like like

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<v Speaker 2>the intro to Mexico that he performed in like nineteen

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<v Speaker 2>ninety three, and I'm like, this sounds is like kind

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<v Speaker 2>of a Brazilian influence. But this guy lives in the

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<v Speaker 2>berkshears in Massachusetts and he has a he's playing it

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<v Speaker 2>but it's a pop song, but it sounds like Antonio

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<v Speaker 2>Carlos Joe Beam, Like, oh, I get it. He's blending

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<v Speaker 2>all of these different worlds together, and he is Thus

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<v Speaker 2>James Taylor. I can blend different worlds together and be

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<v Speaker 2>influenced by different things, work with boys, two men I've

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<v Speaker 2>worked with James Taylor. I can work with X, Y

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<v Speaker 2>and Z and be influenced and be Charlie Pooth, which

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<v Speaker 2>is what I've always wanted to be. Yeah, which I

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<v Speaker 2>finally really am.

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<v Speaker 1>Now what do you mean by that?

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<v Speaker 2>Meaning, I feel like I always put a front up

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<v Speaker 2>the music, not musically but personality wise. That's why a

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<v Speaker 2>lot of people might know my music before they know me.

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<v Speaker 2>I never really gave them a chance to know me

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<v Speaker 2>because I was kind of maybe growing up and trying

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<v Speaker 2>on a lot of different hats, pretending to be a

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<v Speaker 2>lot of different things, like dyeing my hair blonde one

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<v Speaker 2>day and then shaving it the next day. I didn't

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<v Speaker 2>really give people a chance to get to know me.

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<v Speaker 1>When you're young, you don't even know yourself.

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<v Speaker 2>Yeah, so how do you my frontal lobe developed twenty nine? Probably?

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<v Speaker 1>How old are you now?

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<v Speaker 2>Thirty four? So okay, relatively recent, relatively recently.

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<v Speaker 1>Yeah, you felt the music was authentic? Do you feel

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<v Speaker 1>the music? Yeah?

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<v Speaker 2>I felt the music was authentic. I just thought everything

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<v Speaker 2>else that came after it, I was fudging the truth

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<v Speaker 2>a little bit because I was maybe not advised correctly

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<v Speaker 2>that I needed to concoct some fake story or exaggerate

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<v Speaker 2>this little element to get people intrigued. When all along

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<v Speaker 2>my songs still are. People are discovering them like kids

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<v Speaker 2>born in twenty fourteen, or discovering we don't talk anymore.

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<v Speaker 2>For the first time and they like it just because

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<v Speaker 2>it's a good song. They're discovering how long and attention

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<v Speaker 2>and one call away all for the first time, just

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<v Speaker 2>based on the music.

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<v Speaker 1>The way that you were able to pick out James Taylor,

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<v Speaker 1>Like what made James Taylor James Taylor? By the time

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<v Speaker 1>you get out and you're signed to Atlantic, Like, did

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<v Speaker 1>you feel like you could just figure out pop music?

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<v Speaker 1>Like did it feel like I know what this is,

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<v Speaker 1>I know how to.

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<v Speaker 2>I knew what it was to me. I actually set

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<v Speaker 2>out to write songs for other pop acts. I never

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<v Speaker 2>in the back of my mind I wanted to be

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<v Speaker 2>the artist, but I wouldn't admit that to myself, so

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<v Speaker 2>I just kind of played a fake game of Oh,

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<v Speaker 2>I'll just be the song. It wasn't I shouldn't say

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<v Speaker 2>even say fake game. I wanted to write songs and

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<v Speaker 2>hits for other artists. I just didn't realize how badly

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<v Speaker 2>I wanted to be the artist. So I knew what

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<v Speaker 2>it was like to be in the studio with X

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<v Speaker 2>Y and Z and hear what they're working on and

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<v Speaker 2>trying to improve it or come up with something similar.

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<v Speaker 2>In that world, I got a really early glimpse on

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<v Speaker 2>what it was like to be an artist and like

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<v Speaker 2>what pop music was.

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<v Speaker 1>What was your early impression.

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<v Speaker 2>Well, I moved to la in the days of big

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<v Speaker 2>co writes and you know, double triple sessions. Starting a

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<v Speaker 2>session at seven o'clock in the morning after having just

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<v Speaker 2>left the Interscope studios at five o'clock in the morning,

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<v Speaker 2>I was like, I was grinding. So it was kind

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<v Speaker 2>of it was high tempo and dancy and all over

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<v Speaker 2>the place, lots of features, lots of syncopated rhythms like

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<v Speaker 2>and that might come back one day. There's like a

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<v Speaker 2>big nostalgic twenty sixteen trend going on right now. That's fair,

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<v Speaker 2>that's right, But I mean that's I think the music

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<v Speaker 2>industry changes every month now, really, yeah, it seems taste

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<v Speaker 2>seems to change. There are artists that are popping right

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<v Speaker 2>now that for the first time I'm not even aware

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<v Speaker 2>of I used to be aware of everything. I don't

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<v Speaker 2>know if that means I'm getting older what. I'm pretty

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<v Speaker 2>keen on everything that's going on. But my friend showed

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<v Speaker 2>me in our studies working on the other day, and

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<v Speaker 2>she has this whole little fan base growing on kind

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<v Speaker 2>of unusual sounding music and I was just like, wow,

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<v Speaker 2>I maybe five years ago I would have known about that.

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<v Speaker 2>But there's like fifteen other acts like that right now.

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<v Speaker 1>Yeah, you're having a kid, right, Yeah, I hate to yeah, yeah, three,

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<v Speaker 1>I hate to break it.

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<v Speaker 2>Right, it might be done. My hard drive is partitioned

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<v Speaker 2>right now, totally.

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<v Speaker 1>Like you might be late to the party a few

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<v Speaker 1>more times.

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<v Speaker 2>I don't mind being late to the party because I

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<v Speaker 2>can always show up late.

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<v Speaker 1>That's right, That's right. Yeah, you know, I know there's

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<v Speaker 1>a lot of people who have complaints about streaming, and

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<v Speaker 1>there probably is a lot that is. It does create

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<v Speaker 1>a lot of challenges. Yeah, but it does seem like

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<v Speaker 1>one of the real benefits of streaming has been the

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<v Speaker 1>way that people playlist things. And it's just like putting

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<v Speaker 1>a Billy Joel song next to a you know, shod

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<v Speaker 1>Day song, next to a Charlie Poot song next to

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<v Speaker 1>and it's just like so everything is on the table,

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<v Speaker 1>you know, forever for the listener.

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<v Speaker 2>Absolutely to your point. I I was reminded of an

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<v Speaker 2>amazing Billy Joel song the and so I don't know

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<v Speaker 2>the lyrics to anything, and oh it's so Billy Joel,

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<v Speaker 2>It's but I hadn't heard that song River of Dreams.

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<v Speaker 2>I hadn't heard that album, I haven't on a CD.

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<v Speaker 2>I just hadn't heard it in a long time, and

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<v Speaker 2>it just showed up. It started playing one day after

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<v Speaker 2>I was listening to I don't remember what the new

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<v Speaker 2>song was, but that that is one of the benefits

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<v Speaker 2>of streaming.

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<v Speaker 1>Not great things, but it's broken like the audience out

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<v Speaker 1>you know, like absolutely Michael McDonald, who's on your new album,

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<v Speaker 1>and Kenny Loggins. Yeah, you think about like those guys

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<v Speaker 1>and you know, they kind of got lumped into like

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<v Speaker 1>at some point it was like it was like it

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<v Speaker 1>was it still is. It's it was ao R album

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<v Speaker 1>oriented rock when they were around, and it became yacht rock.

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<v Speaker 1>It's like there was make an R and B you know,

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<v Speaker 1>like but they wouldn't have the white guys just make

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<v Speaker 1>R and B music. Absolutely God forbid, but.

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<v Speaker 2>Absolutely all all. But again here we go with the

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<v Speaker 2>taking it to the streets first chord. That is the

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<v Speaker 2>most gospely chord that that that is, that is the

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<v Speaker 2>chord of God. Right, there's like you can't sit down

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<v Speaker 2>and be like I'm going to write a song today.

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<v Speaker 2>It's that's gonna sound like no, this is like it's

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<v Speaker 2>just it's very hard to explain, and I'm still trying

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<v Speaker 2>to get better at explaining how music makes me feel.

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<v Speaker 2>But that's that that comes close to it. But I

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<v Speaker 2>do have Michael McDonald and Kenny Loggins on my album.

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<v Speaker 1>Did you have the song and then think this sounds

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<v Speaker 1>like something that we could get Michael and Kenny on

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<v Speaker 1>or did you reach out to them first and just

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<v Speaker 1>kind of open ended?

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<v Speaker 2>And I reached out to them and I said, let's

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<v Speaker 2>make a song in a very classic way, blank session,

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<v Speaker 2>and I was playing something. I think they thought it

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<v Speaker 2>was cool, and Kenny came over and whispered in my

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<v Speaker 2>ear quite loudly. In my ear. It was like, I

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<v Speaker 2>think you should let Mike play something. And I was like, absolutely,

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<v Speaker 2>I let me be the engineer. And Mike sat down

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<v Speaker 2>and started playing. Oh, and Kenny took it, and then

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<v Speaker 2>Kenny took a guitar and it was like I had

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<v Speaker 2>a microphone like this, and they then I started. I

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<v Speaker 2>just I wasn't the artist anymore. I was the engineer,

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<v Speaker 2>which I'm totally fine with. He was like, okay, record

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<v Speaker 2>this here is right, one, two, three four. I was like,

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<v Speaker 2>why are we recording that? And he was like put

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<v Speaker 2>it on top of it and I'm like oh, and

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<v Speaker 2>I remember there was this I think it was like

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<v Speaker 2>on Pretzel Logic Steely Dan really am you know a

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<v Speaker 2>lot of music, any major dude would tell you that

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<v Speaker 2>that albums Pretzel Logic. There was a snare drum that

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<v Speaker 2>I just I want my snare drum to sound like

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<v Speaker 2>that on any major dude and really dry, like a

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<v Speaker 2>Hey nineteen kind of there. And Kenny was like, Okay,

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<v Speaker 2>the song is called Love in Exile before the lyrics,

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<v Speaker 2>before the were lyrics. I'm like, what. But by the way,

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<v Speaker 2>that's happened to me before I wrote a song with

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<v Speaker 2>Katie Perry called Harley's in Hawaii. She came up to me.

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<v Speaker 2>She was like, this is the We're gonna write a

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<v Speaker 2>song called Harley's in Hawaii. And then Cash looked at

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<v Speaker 2>me with like you and I ride in Harley's in Hawaii.

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<v Speaker 2>I'm like, oh, we're lit, or we're gonna.

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<v Speaker 1>Make the whole thing. But it's a great title.

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<v Speaker 2>Yeah, it was a great title important to her. And

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<v Speaker 2>I was like, Okay, we're gonna make a song called

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<v Speaker 2>Love and Exile. Sounds like one of those the titles

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<v Speaker 2>of books you see at the grocery store when you're

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<v Speaker 2>checking out your food and like, oh, I'll get this

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<v Speaker 2>book by Dan something Love in Exile. It sounds really intense.

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<v Speaker 2>Are you sure? And he was like yeah, just like

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<v Speaker 2>and Mike's just started. He was like, Okay, I think

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<v Speaker 2>the prechorus should be what changed? And I'm like, Mike,

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<v Speaker 2>what changed? What? What? What change? And he goes, I

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<v Speaker 2>thought we were with it.

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<v Speaker 1>I thought in it.

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<v Speaker 2>I'm like, we were just communicating through song. And then

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<v Speaker 2>I find out they lived twenty minutes away from me.

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<v Speaker 2>I thought they drove like an hour because I live

0:12:35.116 --> 0:12:35.956
<v Speaker 2>up in Santa Barbara.

0:12:35.996 --> 0:12:37.556
<v Speaker 1>Oh yeah. They were like he's right there.

0:12:37.676 --> 0:12:39.676
<v Speaker 2>Yeah I thought that, and they were like, no, do

0:12:39.676 --> 0:12:42.636
<v Speaker 2>you want to go get some lunch after? We like sure.

0:12:42.956 --> 0:12:46.596
<v Speaker 2>It was like the most casual, easy thing ever. And

0:12:46.636 --> 0:12:50.876
<v Speaker 2>I said, we'll finish this at Conway Recording Studios in Hollywood,

0:12:50.956 --> 0:12:51.756
<v Speaker 2>and that's what we did.

0:12:51.996 --> 0:12:54.436
<v Speaker 1>Oh man, And did you ever get back on keys?

0:12:54.876 --> 0:12:58.356
<v Speaker 2>Yeah? I kept there was something about the energy that

0:12:58.436 --> 0:13:01.916
<v Speaker 2>I couldn't replicate from his playing, but I just added

0:13:02.116 --> 0:13:04.716
<v Speaker 2>I kept the roads like a road seventy three that

0:13:04.836 --> 0:13:07.636
<v Speaker 2>he played and then I just like, you know, sprinkled

0:13:07.636 --> 0:13:18.596
<v Speaker 2>some like you know those those kind of one twelve

0:13:18.636 --> 0:13:39.396
<v Speaker 2>sounding chords, and the bridge is out of control, like like,

0:13:39.436 --> 0:13:40.636
<v Speaker 2>how the hell did we get back.

0:13:40.516 --> 0:13:44.116
<v Speaker 1>To the b Those are amazing? There are a couple

0:13:44.156 --> 0:13:45.476
<v Speaker 1>of amazing bridges on this album.

0:13:46.116 --> 0:13:48.276
<v Speaker 2>They I can't take all the credit for writing that bridge.

0:13:48.316 --> 0:13:50.436
<v Speaker 2>That was really like the two of them in their

0:13:50.476 --> 0:13:53.196
<v Speaker 2>classic way getting together. They have a very modern approach

0:13:53.236 --> 0:13:56.316
<v Speaker 2>to writing songs. What makes it modern meaning that's like,

0:13:56.796 --> 0:13:59.276
<v Speaker 2>it's not outdated, it's just about the song. Just because

0:13:59.276 --> 0:14:00.796
<v Speaker 2>they've been doing it for a while doesn't mean that

0:14:00.836 --> 0:14:03.596
<v Speaker 2>they just stopped knowing how to do it. They are

0:14:03.636 --> 0:14:06.676
<v Speaker 2>better at it than ever, and they're very particular about

0:14:06.756 --> 0:14:08.756
<v Speaker 2>lyrics and like, well maybe we should approach this a

0:14:08.756 --> 0:14:11.276
<v Speaker 2>different and like I feel like I'm honestly with Max

0:14:11.636 --> 0:14:14.556
<v Speaker 2>right now. I feel like I'm in like you know,

0:14:14.716 --> 0:14:17.196
<v Speaker 2>some of the songwriters who had hits last year, like

0:14:17.316 --> 0:14:19.636
<v Speaker 2>they have. It's a song. A great song is a

0:14:19.636 --> 0:14:20.116
<v Speaker 2>great song.

0:14:20.396 --> 0:14:21.556
<v Speaker 1>They're not trying to capture.

0:14:21.836 --> 0:14:23.436
<v Speaker 2>No, they're not trying to They're not trying to be

0:14:23.516 --> 0:14:26.116
<v Speaker 2>like how they were forty years ago. They're just trying

0:14:26.116 --> 0:14:28.716
<v Speaker 2>to be them now and that's that's what makes them

0:14:28.756 --> 0:14:31.956
<v Speaker 2>still dope, and you know, playing on Thundercat records and

0:14:31.996 --> 0:14:34.396
<v Speaker 2>like why they're still regarded and like a really hit way.

0:14:34.476 --> 0:14:36.316
<v Speaker 1>Yeah, no, no, that's a good point. And they still

0:14:36.316 --> 0:14:38.556
<v Speaker 1>sound great too, absolutely sound amazing.

0:14:39.476 --> 0:14:41.556
<v Speaker 2>There are a lot of good bridges on I'm Glad

0:14:41.596 --> 0:14:42.036
<v Speaker 2>you think so.

0:14:43.196 --> 0:14:45.196
<v Speaker 1>One of the first things I noticed, it's okay if.

0:14:45.076 --> 0:14:47.996
<v Speaker 2>You don't remember all the titles the songs cry, oh Man,

0:14:48.116 --> 0:14:50.316
<v Speaker 2>thank You. I was just listening to that with somebody

0:14:50.396 --> 0:14:53.876
<v Speaker 2>and I was at Conway. Just I live at Conway.

0:14:54.676 --> 0:14:56.076
<v Speaker 1>It's a long way from Santa Barbara.

0:14:56.236 --> 0:14:59.756
<v Speaker 2>It's a long way from That's actually one of the

0:14:59.836 --> 0:15:03.436
<v Speaker 2>simpler songs, one of the only songs that just has

0:15:03.436 --> 0:15:09.076
<v Speaker 2>four chords on the album. And blood Pop, my collaborator

0:15:09.156 --> 0:15:10.996
<v Speaker 2>on this album, was like, you know, you can get

0:15:10.996 --> 0:15:14.876
<v Speaker 2>any musician on your album, right, And I'm like, well,

0:15:15.036 --> 0:15:17.396
<v Speaker 2>I don't want to bother anybody, Like, no, anybody would

0:15:17.396 --> 0:15:19.636
<v Speaker 2>love to be on this album. You should call Kenny G.

0:15:20.156 --> 0:15:22.996
<v Speaker 2>I'm like, I don't have Kenny G's number, Like, let's

0:15:23.076 --> 0:15:26.876
<v Speaker 2>get it. So, like before we do that, why don't

0:15:26.996 --> 0:15:30.076
<v Speaker 2>I have this program called Moyses A lot of it.

0:15:30.196 --> 0:15:31.916
<v Speaker 1>You know, I use that too.

0:15:31.276 --> 0:15:35.396
<v Speaker 2>I love Moyses and I found a YouTube video of

0:15:35.916 --> 0:15:38.836
<v Speaker 2>Kenny G playing a Christmas song or something, because I

0:15:38.876 --> 0:15:42.236
<v Speaker 2>could have easily gotten a soprano sax VST sound and

0:15:42.316 --> 0:15:44.036
<v Speaker 2>just like you know, it would, but it wouldn't have

0:15:44.036 --> 0:15:46.356
<v Speaker 2>sounded really that good. I like to work with audio,

0:15:46.516 --> 0:15:51.356
<v Speaker 2>so I opened it up in Moyses and isolated Kenny

0:15:51.356 --> 0:15:55.796
<v Speaker 2>G's soprano saxophone solo there and kind of laid it

0:15:55.796 --> 0:15:58.196
<v Speaker 2>out in the song as like a map, almost like

0:15:58.236 --> 0:16:00.036
<v Speaker 2>an audition, because I was so sure that.

0:15:59.956 --> 0:16:02.436
<v Speaker 1>He was a solo from a Christmas like some random me.

0:16:02.636 --> 0:16:06.236
<v Speaker 2>Yeah. But then I transposed it solely. It's like no, no, no,

0:16:07.396 --> 0:16:13.676
<v Speaker 2>like like it was a completely different I was just

0:16:13.716 --> 0:16:16.236
<v Speaker 2>grabbing samples at that point, and it was just to

0:16:16.956 --> 0:16:19.716
<v Speaker 2>show mister Kenny G that, like I was serious and

0:16:19.716 --> 0:16:22.876
<v Speaker 2>like I took the time to put a soprano map

0:16:22.996 --> 0:16:25.276
<v Speaker 2>of what it could sound like if he did decide

0:16:25.276 --> 0:16:29.076
<v Speaker 2>to make a solo and play a solo rather on

0:16:29.396 --> 0:16:32.276
<v Speaker 2>my song cry because I had a really specific vision

0:16:32.276 --> 0:16:34.796
<v Speaker 2>for it. We had a very specific vision for it.

0:16:34.876 --> 0:16:38.876
<v Speaker 2>And my friend got his manager's number, I got Kenny's number.

0:16:39.156 --> 0:16:43.676
<v Speaker 2>I said Hey, no worries if you have no time

0:16:43.676 --> 0:16:47.596
<v Speaker 2>for this. But I took the liberty in mapping something

0:16:47.596 --> 0:16:49.516
<v Speaker 2>out of there what this could sound like. And he

0:16:49.596 --> 0:16:51.716
<v Speaker 2>was like, I'm going to be back from wherever in

0:16:51.916 --> 0:16:54.716
<v Speaker 2>a week. I'll take a listen to it and I'll

0:16:54.716 --> 0:16:57.636
<v Speaker 2>never forget. I'm in Goalita, California, going to the in

0:16:57.716 --> 0:17:00.276
<v Speaker 2>and out with my very hungry wife at the time

0:17:00.836 --> 0:17:03.556
<v Speaker 2>and me, who was also very hungry, and it was

0:17:03.596 --> 0:17:05.956
<v Speaker 2>five o'clock because that's what you do in Santa Barbara.

0:17:06.196 --> 0:17:08.996
<v Speaker 2>Five pm in Santa Barbara feels like ten pm. And

0:17:09.436 --> 0:17:11.116
<v Speaker 2>I get a call from Kenny g and he was like,

0:17:11.156 --> 0:17:13.116
<v Speaker 2>it's done. I had to record it right away. I

0:17:13.196 --> 0:17:14.996
<v Speaker 2>was actually home, no.

0:17:14.916 --> 0:17:16.316
<v Speaker 1>Way, no way.

0:17:16.596 --> 0:17:19.036
<v Speaker 2>I was like, oh my god. I called Blood and like,

0:17:19.036 --> 0:17:20.996
<v Speaker 2>we have the first feature on the record.

0:17:21.516 --> 0:17:23.276
<v Speaker 1>How close is it to what you had kind of

0:17:23.276 --> 0:17:23.756
<v Speaker 1>mapped out?

0:17:23.836 --> 0:17:27.316
<v Speaker 2>It was probably like seventy five percent there, Like there

0:17:27.436 --> 0:17:36.156
<v Speaker 2>was that I did the I'd melodyne that and then

0:17:36.196 --> 0:17:38.996
<v Speaker 2>he replayed it. It was just a trip hearing something

0:17:39.036 --> 0:17:41.756
<v Speaker 2>that I melodined, but then actually having the guy play it.

0:17:41.756 --> 0:17:43.316
<v Speaker 1>It's interesting because I mean, there's a world where he

0:17:43.316 --> 0:17:45.436
<v Speaker 1>could have been offended that you even you were like, well,

0:17:45.476 --> 0:17:47.316
<v Speaker 1>this is you know, Kenny, this is what I It's

0:17:47.356 --> 0:17:50.196
<v Speaker 1>either could be thanks because you know and now I

0:17:50.236 --> 0:17:51.396
<v Speaker 1>know where you want me to go with it, or

0:17:51.436 --> 0:17:53.156
<v Speaker 1>could have been like, why I'm Kenny, g why are you?

0:17:53.476 --> 0:17:56.316
<v Speaker 2>Yeah. I think I think he knew my heart was

0:17:56.316 --> 0:17:58.556
<v Speaker 2>in the right place for it, and I wasn't like,

0:17:58.636 --> 0:18:00.756
<v Speaker 2>you know, putting it over a rock song or something.

0:18:00.836 --> 0:18:00.916
<v Speaker 3>Right.

0:18:01.676 --> 0:18:04.316
<v Speaker 2>It felt it had the big snare. It almost felt

0:18:04.316 --> 0:18:07.876
<v Speaker 2>like it's a very Michael Bolton Baywatch hair blowing in

0:18:07.916 --> 0:18:10.876
<v Speaker 2>the wind, running at you know, thirty two frames a

0:18:10.916 --> 0:18:17.396
<v Speaker 2>second whatever slow motion with these Chords records. Yeah, a

0:18:17.436 --> 0:18:18.596
<v Speaker 2>song for my dad.

0:18:18.836 --> 0:18:19.516
<v Speaker 1>That's for your dad.

0:18:20.436 --> 0:18:24.676
<v Speaker 2>It's about showing not being afraid to show emotion, which

0:18:24.716 --> 0:18:27.556
<v Speaker 2>I guess all of us can use that reminder sometimes.

0:18:27.556 --> 0:18:30.236
<v Speaker 2>But I wrote it a week before his mom had

0:18:30.956 --> 0:18:34.156
<v Speaker 2>passed away, and I didn't realize how much he would

0:18:34.196 --> 0:18:37.316
<v Speaker 2>need that song. So he's very grateful for that song.

0:18:37.356 --> 0:18:39.316
<v Speaker 1>You were super close to your dad growing up too, right.

0:18:39.356 --> 0:18:41.516
<v Speaker 2>Oh yeah, in terms of I'm still I'm still close

0:18:41.556 --> 0:18:42.036
<v Speaker 2>to my dad.

0:18:42.116 --> 0:18:43.756
<v Speaker 1>It's great to hear me because he was like a

0:18:43.756 --> 0:18:47.316
<v Speaker 1>big he was really big supporter supporter of your music.

0:18:47.396 --> 0:18:50.116
<v Speaker 2>Right, and my mom too number one support of my

0:18:50.116 --> 0:18:52.756
<v Speaker 2>mom and dad always pushing me, like my mom was

0:18:52.796 --> 0:18:54.676
<v Speaker 2>my first an R. I make the joke. She was

0:18:54.716 --> 0:18:59.276
<v Speaker 2>always brutally honest growing up. If a song I made

0:18:59.276 --> 0:19:01.356
<v Speaker 2>on my little sequence or on my NPC was good

0:19:01.436 --> 0:19:03.796
<v Speaker 2>or not, she'd be like, I would change this, this, that,

0:19:03.956 --> 0:19:05.796
<v Speaker 2>And I was like, Okay, I'm going to get better

0:19:05.836 --> 0:19:06.116
<v Speaker 2>at this.

0:19:07.556 --> 0:19:10.036
<v Speaker 1>We'll be back with more from Charlie Booths after the break.

0:19:14.276 --> 0:19:16.836
<v Speaker 1>Remember the first song you think, the first good song

0:19:16.876 --> 0:19:17.636
<v Speaker 1>you wrote, I.

0:19:17.916 --> 0:19:22.716
<v Speaker 2>Probably see you again. No, I really I think before that.

0:19:23.156 --> 0:19:25.316
<v Speaker 2>I think that's correct. Actually, I first, I think the

0:19:25.356 --> 0:19:28.956
<v Speaker 2>first good song. It's so subjective. I think my fans

0:19:28.996 --> 0:19:32.156
<v Speaker 2>from my early days of YouTube might hear my old

0:19:32.196 --> 0:19:35.436
<v Speaker 2>YouTube music and be like, oh, maybe that you're first.

0:19:35.596 --> 0:19:38.356
<v Speaker 2>Maybe something from there is like really great. But I

0:19:38.716 --> 0:19:41.156
<v Speaker 2>cringe at a lot of that old music.

0:19:41.276 --> 0:19:43.276
<v Speaker 1>What makes you cringe at that stuff? Because it's a

0:19:43.316 --> 0:19:44.516
<v Speaker 1>lot of people who really love that.

0:19:44.756 --> 0:19:50.196
<v Speaker 3>My voice sounded like this, I was really enunciating everything.

0:19:50.916 --> 0:19:56.036
<v Speaker 3>I had a deviated septumb at the time, and mysk,

0:19:56.076 --> 0:19:56.916
<v Speaker 3>the song's not good.

0:19:57.356 --> 0:20:00.636
<v Speaker 1>No, I mean I was really great. Ideas in those old.

0:20:00.676 --> 0:20:04.356
<v Speaker 2>There was a song on this little ep that I

0:20:04.396 --> 0:20:08.276
<v Speaker 2>put on band camp back in college, and I remember

0:20:09.196 --> 0:20:14.076
<v Speaker 2>I recorded the whole song in four thirty two hurts,

0:20:14.156 --> 0:20:16.836
<v Speaker 2>not four forty one, so it all sounded kind of

0:20:17.196 --> 0:20:18.916
<v Speaker 2>I was listening to a lot of Donuts by Jay

0:20:18.996 --> 0:20:21.916
<v Speaker 2>Dilla at the time, and I think it was called

0:20:21.996 --> 0:20:34.956
<v Speaker 2>full of It in the melody no No, And I

0:20:34.996 --> 0:20:36.836
<v Speaker 2>remember I played it for a teacher in class and

0:20:36.876 --> 0:20:40.076
<v Speaker 2>he was like, I'm really surprised. That was very nice

0:20:41.356 --> 0:20:44.676
<v Speaker 2>and as so maybe that was an inkling of a

0:20:44.716 --> 0:20:47.076
<v Speaker 2>first good song that I wrote. But when I wrote

0:20:47.076 --> 0:20:49.036
<v Speaker 2>the ear, I was.

0:20:48.996 --> 0:20:51.516
<v Speaker 1>Like, ah, that's how did how did that come? How

0:20:51.556 --> 0:20:53.676
<v Speaker 1>did that melody specific? Because it seems like it's that

0:20:53.676 --> 0:20:55.156
<v Speaker 1>melody that really well.

0:20:55.276 --> 0:20:59.356
<v Speaker 2>I always played a sample with that melody and then

0:20:59.396 --> 0:21:04.076
<v Speaker 2>we replayed it on the piano because that's it's so funny.

0:21:04.076 --> 0:21:08.276
<v Speaker 2>I remind myself that's the only time that happens in

0:21:08.356 --> 0:21:12.836
<v Speaker 2>the song, this little, this little iconic intro. You don't

0:21:12.876 --> 0:21:14.476
<v Speaker 2>hear it again after that.

0:21:14.836 --> 0:21:16.916
<v Speaker 1>I didn't even realize that until you just said it.

0:21:17.036 --> 0:21:21.596
<v Speaker 2>And it's been a long day and after I after

0:21:21.636 --> 0:21:26.676
<v Speaker 2>I took the chords, there's some things I can't explain

0:21:26.756 --> 0:21:29.556
<v Speaker 2>it just from God just fell down. It's been a

0:21:29.596 --> 0:21:34.276
<v Speaker 2>long day without you, my friend. And I'll tell you

0:21:34.356 --> 0:21:36.476
<v Speaker 2>all about it when I see you again. And we

0:21:36.516 --> 0:21:39.036
<v Speaker 2>all just looked at each other, Me Andrew Theater and

0:21:39.116 --> 0:21:41.756
<v Speaker 2>DJ Frankie, and we had just met each other. They

0:21:41.796 --> 0:21:44.196
<v Speaker 2>were working on a flow Rider record right before that.

0:21:44.636 --> 0:21:46.876
<v Speaker 2>I think it was like I happened in my notes saved.

0:21:46.916 --> 0:21:48.476
<v Speaker 2>I just saw a picture of it on my phone

0:21:48.596 --> 0:21:50.596
<v Speaker 2>from three o'clock in the morning. I just wrote the

0:21:50.636 --> 0:21:53.636
<v Speaker 2>lyrics down in my notes. Wow, it's a that was

0:21:53.716 --> 0:21:58.036
<v Speaker 2>a if that never, If that moment never happens again,

0:21:58.116 --> 0:22:01.396
<v Speaker 2>I'm totally fine because that was like an act of God.

0:22:01.516 --> 0:22:02.156
<v Speaker 2>It really was.

0:22:02.356 --> 0:22:04.076
<v Speaker 1>It's cool that you honor that song as much as

0:22:04.116 --> 0:22:06.196
<v Speaker 1>because you know, some people get kind of tired of

0:22:06.276 --> 0:22:08.316
<v Speaker 1>the you know, the hit that they have to play

0:22:08.356 --> 0:22:08.796
<v Speaker 1>and live with.

0:22:09.156 --> 0:22:13.276
<v Speaker 2>But it like no never never, certain songs. Yes, but

0:22:13.596 --> 0:22:16.916
<v Speaker 2>I mean, I just I grow. I used to hate

0:22:16.956 --> 0:22:19.116
<v Speaker 2>on my song Marvin Gay. I'm like, I don't like

0:22:19.196 --> 0:22:21.676
<v Speaker 2>that song. It's it's it's corny, it's and then I

0:22:21.716 --> 0:22:23.636
<v Speaker 2>listened to the production. It's kind of fun. It's like

0:22:23.676 --> 0:22:26.796
<v Speaker 2>it's kitchy. It's of a time period. It reminds me

0:22:26.836 --> 0:22:30.116
<v Speaker 2>of going to la for the first time, but see

0:22:30.156 --> 0:22:34.116
<v Speaker 2>you again and one call away. I just I'm very

0:22:34.116 --> 0:22:36.196
<v Speaker 2>happy to play those songs for the rest of my life.

0:22:36.276 --> 0:22:47.796
<v Speaker 2>And that's, by the way, very churchy, and the live

0:22:47.876 --> 0:22:55.276
<v Speaker 2>version I do it's it's it's almost that you hear

0:22:55.316 --> 0:22:58.196
<v Speaker 2>that melody and you're like, I feel like I've heard

0:22:58.196 --> 0:23:00.956
<v Speaker 2>that song before. It's like that song was written millions

0:23:00.996 --> 0:23:02.756
<v Speaker 2>of years ago and I just found like a little

0:23:02.836 --> 0:23:06.316
<v Speaker 2>portal and just pulled the star down and just brought

0:23:06.316 --> 0:23:06.636
<v Speaker 2>it back.

0:23:06.796 --> 0:23:08.756
<v Speaker 1>And also just the fact that your point, to your

0:23:08.796 --> 0:23:12.076
<v Speaker 1>point that that only happens once in the intro, that.

0:23:12.836 --> 0:23:19.356
<v Speaker 2>The little it's a hook in itself, and.

0:23:19.316 --> 0:23:21.436
<v Speaker 1>It's such a strong hook that in your mind you

0:23:21.436 --> 0:23:23.356
<v Speaker 1>think it occurs more than one way, more than like

0:23:23.876 --> 0:23:24.716
<v Speaker 1>a few times.

0:23:24.476 --> 0:23:24.876
<v Speaker 3>In this song.

0:23:25.316 --> 0:23:29.476
<v Speaker 4>That's it.

0:23:29.476 --> 0:23:39.716
<v Speaker 2>It was kind of modeled after a church song. Every

0:23:39.716 --> 0:23:42.156
<v Speaker 2>great song if you get take away the drums, I'll

0:23:42.236 --> 0:23:45.596
<v Speaker 2>take away all the background vocals, take away the organs,

0:23:45.716 --> 0:23:49.916
<v Speaker 2>the horns. I was listening to a lot of Jadakiss

0:23:49.996 --> 0:23:52.196
<v Speaker 2>at the time. You take all of that away, and

0:23:52.236 --> 0:24:04.836
<v Speaker 2>if you can just it, it works.

0:24:05.156 --> 0:24:09.556
<v Speaker 1>Wonderful gospel music big like big or small, is just

0:24:09.876 --> 0:24:11.476
<v Speaker 1>I don't know, man, it's gospel music.

0:24:11.516 --> 0:24:15.076
<v Speaker 2>He played a huge role into Simon and Garfunkle too,

0:24:15.356 --> 0:24:17.676
<v Speaker 2>And like you listen to and it makes sense when

0:24:17.676 --> 0:24:31.316
<v Speaker 2>you listen to Bridge over Troubled Water, that's that's a

0:24:31.316 --> 0:24:34.596
<v Speaker 2>gospel chord progression. That's all. Any anytime a little flare

0:24:34.636 --> 0:24:38.036
<v Speaker 2>of that isn't pop music. I believe it makes the

0:24:38.076 --> 0:24:39.076
<v Speaker 2>pop music better.

0:24:39.276 --> 0:24:41.796
<v Speaker 1>That was lay Neck tell. I think that did the

0:24:41.876 --> 0:24:43.436
<v Speaker 1>piano on Bridge of Trouble Water.

0:24:44.196 --> 0:24:46.076
<v Speaker 2>I would have been I don't know for sure. I

0:24:46.076 --> 0:24:48.236
<v Speaker 2>think you're you're correct, people.

0:24:48.316 --> 0:24:49.996
<v Speaker 1>I hope people fastiack me, but I think it is.

0:24:50.036 --> 0:24:51.956
<v Speaker 1>And you know, he would have grown up.

0:24:53.356 --> 0:24:58.876
<v Speaker 2>Absolutely. I can't remember who Paul Simon was listening to,

0:24:58.916 --> 0:25:00.956
<v Speaker 2>but he said he was listening to someone specifically.

0:25:01.036 --> 0:25:09.316
<v Speaker 1>I think that Dixie, Yeah, yeah, yeah yeah. And there's

0:25:09.356 --> 0:25:11.996
<v Speaker 1>a gospel music's just amazing.

0:25:12.076 --> 0:25:12.916
<v Speaker 2>Remember what was that?

0:25:13.076 --> 0:25:13.196
<v Speaker 3>Uh?

0:25:14.196 --> 0:25:20.316
<v Speaker 2>What the movie with Lauren Hill singing joyful Sister Sister

0:25:20.436 --> 0:25:23.276
<v Speaker 2>act too like they're like people. That video was thirty

0:25:23.316 --> 0:25:26.436
<v Speaker 2>six million plays on YouTube. People have a deep appreciation

0:25:26.916 --> 0:25:29.196
<v Speaker 2>for all of those chords.

0:25:28.596 --> 0:25:28.756
<v Speaker 1>Like.

0:25:31.436 --> 0:25:34.796
<v Speaker 2>There's something that that that every anybody could be affected

0:25:34.836 --> 0:25:36.956
<v Speaker 2>by that they all didn't have to grow up in

0:25:36.996 --> 0:25:40.116
<v Speaker 2>the South or whatever. They just it's just about the

0:25:40.156 --> 0:25:41.036
<v Speaker 2>note values we.

0:25:41.076 --> 0:25:42.956
<v Speaker 1>Didnt think about. I mean you had voice to men

0:25:42.956 --> 0:25:46.276
<v Speaker 1>on job voice notes voice men third Uh that Matt

0:25:46.276 --> 0:25:49.036
<v Speaker 1>about thirty years ago, roughly. Yeah, as big as you

0:25:49.076 --> 0:25:52.316
<v Speaker 1>could possibly be. And absolutely there's like that in their

0:25:52.436 --> 0:25:54.476
<v Speaker 1>music and in their and in their hits.

0:25:54.596 --> 0:25:57.636
<v Speaker 2>Yeah, and all of the and all through the influence

0:25:57.676 --> 0:26:00.956
<v Speaker 2>of all their collaborators too. When and I was talking

0:26:00.996 --> 0:26:03.356
<v Speaker 2>to Jimmy Jam about this once when I was like,

0:26:03.396 --> 0:26:05.396
<v Speaker 2>you know, the coldest thing you ever did, Jimmy Jam

0:26:05.396 --> 0:26:07.876
<v Speaker 2>and he was like what I was like when on

0:26:08.036 --> 0:26:14.676
<v Speaker 2>Bend and knee when it started, that's the intro and

0:26:14.716 --> 0:26:17.316
<v Speaker 2>then the chorus goes to the one can we go

0:26:17.516 --> 0:26:19.436
<v Speaker 2>back to the days of love us?

0:26:21.596 --> 0:26:29.636
<v Speaker 5>Can't somebody tell me to got things by the way

0:26:29.756 --> 0:26:30.876
<v Speaker 5>they used to be?

0:26:31.476 --> 0:26:37.156
<v Speaker 2>There's Jesus here. The sense like it's all in its

0:26:37.236 --> 0:26:40.716
<v Speaker 2>DNA is gospel music. Yeah, And it's my quest to

0:26:40.756 --> 0:26:43.876
<v Speaker 2>find everyone's influences where it first started.

0:26:43.996 --> 0:26:46.596
<v Speaker 1>So when you're listening to the radio, is that how

0:26:46.636 --> 0:26:47.236
<v Speaker 1>you're listening?

0:26:47.556 --> 0:26:52.476
<v Speaker 2>Yeah, And it can be I mean it's jazz, gospel,

0:26:52.636 --> 0:26:55.476
<v Speaker 2>R and B. You can listen to Digging on You

0:26:55.516 --> 0:27:00.796
<v Speaker 2>by TLC nineteen ninety four off crazy, sexy, cool, Babyface

0:27:00.876 --> 0:27:02.396
<v Speaker 2>and La Reid.

0:27:02.716 --> 0:27:05.636
<v Speaker 5>Oh two Happy of the way I do.

0:27:07.556 --> 0:27:09.636
<v Speaker 2>All I can think about you?

0:27:11.596 --> 0:27:18.356
<v Speaker 5>No, no, no, no, no, no, the baby fun you you know.

0:27:17.116 --> 0:27:21.436
<v Speaker 2>That's like you could Bill Evans jazz pianists. We played

0:27:25.956 --> 0:27:29.276
<v Speaker 2>lay embellished like that. That's jazz to me.

0:27:29.556 --> 0:27:32.876
<v Speaker 1>What was the second chord on on D major?

0:27:34.716 --> 0:27:36.276
<v Speaker 2>I would have warmed up my voice had a known

0:27:36.396 --> 0:27:54.356
<v Speaker 2>I was singing, but you get the you get the feeling, no, no, no, no,

0:27:57.036 --> 0:28:04.116
<v Speaker 2>the and Babyface like can we talk Tavin Campbell for

0:28:04.436 --> 0:28:07.356
<v Speaker 2>Love to Know Your Name? And the bridge on that

0:28:07.556 --> 0:28:23.276
<v Speaker 2>is very gospel and I've been oh my poor voice.

0:28:27.676 --> 0:28:30.756
<v Speaker 2>It's what you would hear in a church. Yes, I

0:28:30.876 --> 0:28:34.876
<v Speaker 2>believe that the best music it can be the poppyist

0:28:34.916 --> 0:28:38.276
<v Speaker 2>of pop tark music. There's if it's great, there's a

0:28:38.276 --> 0:28:40.276
<v Speaker 2>little bit of gospel or jazz hiding in there.

0:28:40.476 --> 0:28:45.076
<v Speaker 1>Do you feel like gospel found its way mostly out

0:28:45.116 --> 0:28:48.436
<v Speaker 1>of pop music in the last decade decade.

0:28:48.156 --> 0:28:52.116
<v Speaker 2>And a half, I think so, like you hear, especially

0:28:52.116 --> 0:28:56.436
<v Speaker 2>in the nineties, and there was so much iconic cinematography

0:28:56.716 --> 0:29:00.796
<v Speaker 2>attached to soundtracks in the nineties. The Bodyguard. You listen

0:29:00.876 --> 0:29:03.676
<v Speaker 2>to I Am every Woman like a Whitney Houston.

0:29:04.476 --> 0:29:10.476
<v Speaker 5>I'm every woman everyone.

0:29:12.636 --> 0:29:14.956
<v Speaker 2>And of course that was done before and in the

0:29:14.956 --> 0:29:19.116
<v Speaker 2>prior arrangement, but it was brought into the Shaka one,

0:29:19.156 --> 0:29:21.436
<v Speaker 2>but it was brought to the next level even more so,

0:29:22.396 --> 0:29:25.356
<v Speaker 2>introduced to an entirely new generation at that time. And

0:29:25.396 --> 0:29:28.156
<v Speaker 2>they have a gospel choir on that song. Diane Warren

0:29:28.156 --> 0:29:30.756
<v Speaker 2>would write songs and there were and David Foster produced them.

0:29:30.756 --> 0:29:33.516
<v Speaker 2>There would be gospel choirs in the background. You listen

0:29:33.596 --> 0:29:36.156
<v Speaker 2>to a Britney Spears record, you listen to Lucky by

0:29:36.196 --> 0:29:40.396
<v Speaker 2>Britney Spears, there's a gospel choir, not super prominent, but

0:29:40.436 --> 0:29:43.196
<v Speaker 2>it's tucked in there. Maybe a better example.

0:29:42.876 --> 0:29:47.196
<v Speaker 5>Is when you want it the most, there's no easy.

0:29:47.396 --> 0:29:53.876
<v Speaker 2>Selene Dion, they do a whole.

0:29:53.516 --> 0:29:54.676
<v Speaker 1>Easy.

0:29:54.836 --> 0:29:57.476
<v Speaker 2>It's like it's there's a choir and the background tucked

0:29:57.556 --> 0:30:01.396
<v Speaker 2>under Selene, but you're just listening to Selene. They're supporting her.

0:30:01.476 --> 0:30:03.756
<v Speaker 1>He said the Bodyguard Wait in exile.

0:30:03.876 --> 0:30:10.276
<v Speaker 5>Everyone fall he love some times, some times is wrong,

0:30:10.956 --> 0:30:17.196
<v Speaker 5>and sometimes it's right. There comes upon well, no.

0:30:16.956 --> 0:30:18.396
<v Speaker 2>No, I messed it up.

0:30:18.716 --> 0:30:25.796
<v Speaker 5>It comes upon well we we access yeah, say shoot

0:30:27.436 --> 0:30:37.476
<v Speaker 5>h m hm, oh you've got to say.

0:30:41.316 --> 0:30:43.796
<v Speaker 2>And then you know the you know the bridge on that.

0:30:47.796 --> 0:30:53.036
<v Speaker 5>Ye no no no no no no no no no.

0:30:53.356 --> 0:31:03.076
<v Speaker 2>No, forgive me. I don't know the words. Sometimes you left,

0:31:04.076 --> 0:31:07.556
<v Speaker 2>sometimes you fright. That's that's why for the Super Bowl

0:31:07.556 --> 0:31:09.036
<v Speaker 2>I had the gospel choir on the field. I have

0:31:09.316 --> 0:31:12.716
<v Speaker 2>all the orchestra elements because I just I And that's

0:31:12.716 --> 0:31:14.876
<v Speaker 2>why it's all over my album too. I just I'm

0:31:14.916 --> 0:31:18.156
<v Speaker 2>obsessed with those chords. Like a C major is nice,

0:31:18.356 --> 0:31:19.316
<v Speaker 2>but when you add.

0:31:19.156 --> 0:31:22.076
<v Speaker 1>A little, would you add a little?

0:31:22.316 --> 0:31:30.916
<v Speaker 2>I think it's a nine bad little clusters. See that's

0:31:30.956 --> 0:31:33.876
<v Speaker 2>the only part where I fall off. I don't really

0:31:34.156 --> 0:31:38.076
<v Speaker 2>know the names of these chords. I just C major seven,

0:31:38.236 --> 0:31:46.396
<v Speaker 2>something a little clustered? Does it? Does it well?

0:31:46.476 --> 0:31:49.156
<v Speaker 1>So when you sit down the play, if you're just

0:31:49.196 --> 0:31:51.156
<v Speaker 1>at home and you just set the piano cause you

0:31:51.236 --> 0:31:53.876
<v Speaker 1>some reason is that typically the stuff you're playing.

0:31:53.876 --> 0:31:56.556
<v Speaker 2>It depends on you as of recently. Yes, do you

0:31:56.636 --> 0:32:00.756
<v Speaker 2>enjoy playing classical? I do, but not as much as

0:32:00.796 --> 0:32:04.396
<v Speaker 2>I like just freestyling. And I like nock turn and

0:32:04.396 --> 0:32:13.116
<v Speaker 2>C sharp minor by Chopan the just because of like

0:32:13.196 --> 0:32:20.516
<v Speaker 2>how all the notes fall, and I'm like.

0:32:21.556 --> 0:32:23.156
<v Speaker 1>It's the temperament of the piece.

0:32:32.836 --> 0:32:34.596
<v Speaker 2>You know what I mean? I don't know what any

0:32:34.636 --> 0:32:42.196
<v Speaker 2>of this is called. Yeah, etcetera, etcetera. There are people

0:32:42.196 --> 0:32:44.156
<v Speaker 2>who can play it ten times better than me, but

0:32:44.156 --> 0:32:48.516
<v Speaker 2>it's just the feeling that I get. Nothing makes me

0:32:48.516 --> 0:32:49.996
<v Speaker 2>feel better than being in front of us.

0:32:51.396 --> 0:32:52.676
<v Speaker 1>It seems to be clear that you do a lot

0:32:52.676 --> 0:32:53.516
<v Speaker 1>of listening.

0:32:53.436 --> 0:32:57.756
<v Speaker 2>And thinking and talking to myself. I love listening to music.

0:32:57.796 --> 0:32:58.956
<v Speaker 2>I love music so much.

0:32:59.156 --> 0:33:00.916
<v Speaker 1>Do you ever hear a song and feel like I

0:33:00.956 --> 0:33:03.796
<v Speaker 1>want to do? Did you ever hear a song sit

0:33:03.876 --> 0:33:06.476
<v Speaker 1>down and start playing it and then spin it and

0:33:06.516 --> 0:33:08.196
<v Speaker 1>do something of your own?

0:33:09.236 --> 0:33:13.636
<v Speaker 2>Yeah? That becomes complicated because you never want to take

0:33:13.716 --> 0:33:16.236
<v Speaker 2>something because then you like, then it's not your song.

0:33:16.676 --> 0:33:21.196
<v Speaker 2>But I mean, I haven't done that recently because on

0:33:21.796 --> 0:33:24.276
<v Speaker 2>this album it was all about It was kind of

0:33:24.556 --> 0:33:26.916
<v Speaker 2>and I had to really force myself. Blood Pop helped me,

0:33:27.156 --> 0:33:29.156
<v Speaker 2>like get there. I had to really force myself to

0:33:29.156 --> 0:33:31.796
<v Speaker 2>put the life experience first. Hey, you should write a

0:33:31.836 --> 0:33:35.356
<v Speaker 2>song about your dad, no melody in mind? What would

0:33:35.396 --> 0:33:38.836
<v Speaker 2>the lyrics be? And then the next day, let's figure

0:33:38.836 --> 0:33:40.276
<v Speaker 2>out what the music is going to be. I was

0:33:40.396 --> 0:33:43.556
<v Speaker 2>very uncomfortable with that, but I like being uncomfortable because

0:33:43.596 --> 0:33:44.716
<v Speaker 2>that's how I get comfortable.

0:33:45.236 --> 0:33:48.636
<v Speaker 1>And that was Blood Pop's influence on absolutely this album.

0:33:48.676 --> 0:33:50.836
<v Speaker 2>Yeah, and I had it took a year to allow

0:33:50.876 --> 0:33:53.116
<v Speaker 2>myself to get there, which is why I've been kind

0:33:53.116 --> 0:33:55.676
<v Speaker 2>of gone a little bit. I haven't I haven't put

0:33:55.676 --> 0:33:57.596
<v Speaker 2>out an album in three years.

0:33:58.756 --> 0:34:05.796
<v Speaker 1>One last break and we're back with Charlie Booth. I

0:34:05.876 --> 0:34:09.876
<v Speaker 1>was thinking about, might get the title wrong, but it's

0:34:09.996 --> 0:34:13.276
<v Speaker 1>it's an essence. It's never never meet your heroes.

0:34:13.476 --> 0:34:18.476
<v Speaker 2>Yeah, don't meet you, don't meet your heroes. Perfect. They

0:34:20.596 --> 0:34:25.476
<v Speaker 2>six Stay Time Big Orchestra, nineteen people in that orchestra

0:34:25.556 --> 0:34:31.476
<v Speaker 2>we recorded at Conway. Yeah, that came up. That's a

0:34:31.476 --> 0:34:35.196
<v Speaker 2>great example that came about from a conversation I was

0:34:35.236 --> 0:34:38.036
<v Speaker 2>having with Blood about the time I met someone who

0:34:38.076 --> 0:34:43.276
<v Speaker 2>I really looked up to and was so excited to

0:34:43.516 --> 0:34:45.116
<v Speaker 2>drive up to their house and then I met them

0:34:45.156 --> 0:34:46.996
<v Speaker 2>and it was like maybe they were having a bad day.

0:34:47.076 --> 0:34:48.516
<v Speaker 2>I don't know what it was, but it was just

0:34:48.596 --> 0:34:52.676
<v Speaker 2>the vibe was terrible and it didn't like it kind

0:34:52.716 --> 0:34:55.396
<v Speaker 2>of ruined it for me because someone I've like, you know,

0:34:55.556 --> 0:34:58.796
<v Speaker 2>just admired in all sorts of ways. It's just like

0:34:58.876 --> 0:35:02.956
<v Speaker 2>it wasn't ruined, and I just I just like it

0:35:02.956 --> 0:35:05.756
<v Speaker 2>felt like growing up in like twenty minutes, like, Okay,

0:35:05.796 --> 0:35:08.516
<v Speaker 2>it's not all the world's not all perfect.

0:35:09.156 --> 0:35:10.356
<v Speaker 1>Your illusions shattered a bit.

0:35:10.516 --> 0:35:13.276
<v Speaker 2>Yeah, don't meet your heroes. It's they're not as they seem.

0:35:13.316 --> 0:35:15.196
<v Speaker 2>I just should have kept them on my TV screen

0:35:15.516 --> 0:35:17.156
<v Speaker 2>kind of, it wasn't. That's a little bit of a

0:35:17.196 --> 0:35:18.676
<v Speaker 2>fudgy lie. I wasn't watching TV.

0:35:18.876 --> 0:35:21.076
<v Speaker 1>But well, and then there's another great line that's more

0:35:21.276 --> 0:35:25.436
<v Speaker 1>fudgy lie. It's another line that's something like, you don't

0:35:25.436 --> 0:35:28.036
<v Speaker 1>meet your heroes unless you know you all.

0:35:28.156 --> 0:35:30.876
<v Speaker 2>Yeah, don't meet your heroes without knowing yourself.

0:35:30.876 --> 0:35:31.756
<v Speaker 1>I'm knowing yourself.

0:35:31.956 --> 0:35:36.276
<v Speaker 2>Yeah, dramatic. The reason why I said that is because

0:35:36.276 --> 0:35:38.996
<v Speaker 2>if I think if I had met this person later

0:35:39.916 --> 0:35:43.436
<v Speaker 2>in my thirties, it wouldn't have affected me so viscerally.

0:35:43.796 --> 0:35:47.436
<v Speaker 2>I'd be like, oh, that's okay. You probably there's you

0:35:47.476 --> 0:35:49.356
<v Speaker 2>have your life and I have my life. I'm not

0:35:50.076 --> 0:35:52.556
<v Speaker 2>keen to everything that's going on. I'm not hip to

0:35:52.996 --> 0:35:55.316
<v Speaker 2>everything that's going on in your life. It's it's okay,

0:35:56.036 --> 0:36:00.156
<v Speaker 2>we'll put a pin in this. Butteen twenty three, being

0:36:00.236 --> 0:36:03.196
<v Speaker 2>in LA and having access suddenly and all these people

0:36:03.316 --> 0:36:05.676
<v Speaker 2>want to come meet you, and then you meet them

0:36:05.676 --> 0:36:08.036
<v Speaker 2>and they're some are amazing and then some are just

0:36:08.076 --> 0:36:09.116
<v Speaker 2>like kind of a letdown?

0:36:09.236 --> 0:36:11.036
<v Speaker 1>Who were some of the amazing people? Because I know

0:36:11.076 --> 0:36:13.076
<v Speaker 1>you've got I mean, you've there's people you've really looked

0:36:13.156 --> 0:36:15.116
<v Speaker 1>up to that you've gotten to know, and it seems

0:36:15.116 --> 0:36:16.116
<v Speaker 1>like it's been really positive.

0:36:16.156 --> 0:36:19.836
<v Speaker 2>I think when when when Bruce Springsteen called me after

0:36:20.156 --> 0:36:23.756
<v Speaker 2>I had sang his song somewhere and a seven three

0:36:23.756 --> 0:36:26.236
<v Speaker 2>to two number popped up. I don't want to blow

0:36:26.276 --> 0:36:27.516
<v Speaker 2>up a spot, but I have a seven three to

0:36:27.516 --> 0:36:31.636
<v Speaker 2>two number. Yeah, that's right. And I think when Billy

0:36:31.716 --> 0:36:34.476
<v Speaker 2>Joel called me personally asked if i'd open up for him.

0:36:34.516 --> 0:36:37.316
<v Speaker 2>This is a long time ago getting to play beat

0:36:37.356 --> 0:36:41.796
<v Speaker 2>yourself up for Max Martin leating knowing Max for ten

0:36:41.876 --> 0:36:45.716
<v Speaker 2>years and not really we've never like officially like worked together,

0:36:45.756 --> 0:36:48.836
<v Speaker 2>but just just having that relationship of like even if

0:36:48.876 --> 0:36:51.236
<v Speaker 2>two months go by, like I can call him and

0:36:51.436 --> 0:36:54.596
<v Speaker 2>he can give me advice, Like he's given me great

0:36:54.636 --> 0:36:57.996
<v Speaker 2>advice about like what I maybe could explore musically?

0:36:58.316 --> 0:37:00.956
<v Speaker 1>What is he he held you to explore?

0:37:01.076 --> 0:37:03.676
<v Speaker 2>He called me once and said, do you know what

0:37:03.716 --> 0:37:06.596
<v Speaker 2>I miss, and I said, well, what's that? He was

0:37:06.596 --> 0:37:12.076
<v Speaker 2>like the emotion in some of these records. Sometimes I

0:37:12.836 --> 0:37:16.636
<v Speaker 2>liked it when, like I really felt like I could

0:37:16.636 --> 0:37:19.796
<v Speaker 2>feel what you were singing about and I couldn't even

0:37:19.836 --> 0:37:23.316
<v Speaker 2>hear the lyrics, like it was something I'm paraphrasing, it

0:37:23.356 --> 0:37:25.636
<v Speaker 2>was something to that extent, And then I ended up

0:37:25.636 --> 0:37:28.796
<v Speaker 2>starting this album based on that, based on that.

0:37:29.036 --> 0:37:30.876
<v Speaker 1>Some of that going on in this album Lookause even Cry,

0:37:31.076 --> 0:37:32.916
<v Speaker 1>like there's a moment and I know you have perfect pitch,

0:37:32.916 --> 0:37:34.156
<v Speaker 1>so and I actually want to ask you about that.

0:37:34.196 --> 0:37:35.956
<v Speaker 1>I don't know how that impacts how you feel about

0:37:35.996 --> 0:37:38.716
<v Speaker 1>your own performance sometimes, but like on that song Cry,

0:37:39.036 --> 0:37:42.956
<v Speaker 1>there's a moment of opening few lyrics, like your voice

0:37:42.996 --> 0:37:43.916
<v Speaker 1>sounds very.

0:37:44.356 --> 0:37:46.116
<v Speaker 2>Yeah, because I knew it was something I knew I

0:37:46.276 --> 0:37:48.076
<v Speaker 2>was and that was the first time I had sung

0:37:48.196 --> 0:37:50.876
<v Speaker 2>that lyric. I didn't re sing that that it was.

0:37:51.596 --> 0:37:53.996
<v Speaker 2>I knew that I was writing about my dad and

0:37:54.316 --> 0:37:56.356
<v Speaker 2>like a message to my dad, because I had already

0:37:56.436 --> 0:38:00.396
<v Speaker 2>seen him experienced the loss of his mother, who lived

0:38:00.676 --> 0:38:04.396
<v Speaker 2>ninety four years old, a wonderful, beautiful life, but I

0:38:04.556 --> 0:38:08.596
<v Speaker 2>never had written a song for him, and these chords

0:38:08.676 --> 0:38:13.876
<v Speaker 2>even sounded like Dad, This is for you, Like, that's

0:38:13.916 --> 0:38:16.676
<v Speaker 2>what those chords sound like to me, without any lyrics written.

0:38:16.716 --> 0:38:21.276
<v Speaker 2>So the emotion was it was in the box right away, and.

0:38:21.236 --> 0:38:23.956
<v Speaker 1>You didn't redo the top of that song.

0:38:24.396 --> 0:38:27.636
<v Speaker 2>No, I added layers, but I didn't redo the lead vocal.

0:38:27.836 --> 0:38:30.436
<v Speaker 1>It's really stunning because it is like it stands out,

0:38:30.756 --> 0:38:32.476
<v Speaker 1>you know, it stands out as something. It feels you

0:38:32.516 --> 0:38:34.356
<v Speaker 1>can it feels like a moment you know.

0:38:34.356 --> 0:38:36.596
<v Speaker 2>That you're That's that's what I was hoping for.

0:38:36.836 --> 0:38:39.636
<v Speaker 1>Having perfect pitch. I've always been curious because I have

0:38:39.916 --> 0:38:41.916
<v Speaker 1>a baby right now. You can hell, how old is

0:38:41.956 --> 0:38:43.196
<v Speaker 1>your baby? Five months old?

0:38:43.276 --> 0:38:44.556
<v Speaker 2>Oh Congress, that's amazing.

0:38:44.596 --> 0:38:46.796
<v Speaker 1>And so sometimes I'm up middle of the night just

0:38:46.836 --> 0:38:49.436
<v Speaker 1>doing like ear training next to her because I've read

0:38:49.556 --> 0:38:51.636
<v Speaker 1>that you can teach babies to have perfect pitch. So

0:38:51.676 --> 0:38:53.716
<v Speaker 1>I was like, I'm gonna, I'm gonna, like, I'm gonna,

0:38:53.756 --> 0:38:55.076
<v Speaker 1>you know, I'm gonna see what I can do here.

0:38:55.116 --> 0:38:55.276
<v Speaker 1>You know.

0:38:55.356 --> 0:38:56.876
<v Speaker 2>Yeah, you don't have to force it, though. I think

0:38:56.916 --> 0:38:59.276
<v Speaker 2>the best thing you can do is just play music

0:38:59.436 --> 0:39:03.716
<v Speaker 2>a lot, because their minds are sponges right having perfect pitches.

0:39:04.516 --> 0:39:07.236
<v Speaker 2>There are amazing musicians who don't even know how to

0:39:07.276 --> 0:39:10.196
<v Speaker 2>read music. Or play instruments and make the best music ever.

0:39:10.276 --> 0:39:12.556
<v Speaker 2>It's just kind of a nice thing to have.

0:39:12.756 --> 0:39:14.636
<v Speaker 1>Is it ever an impediment? Though? Like can you listen

0:39:14.716 --> 0:39:16.556
<v Speaker 1>to like a The Loneous Monk song and be like

0:39:16.956 --> 0:39:18.436
<v Speaker 1>or is it just like pain painful?

0:39:18.436 --> 0:39:20.516
<v Speaker 2>Because I mean you saw me. I mean this piano

0:39:20.596 --> 0:39:23.996
<v Speaker 2>is imperfectly it is imperfectly tuned, and you saw me

0:39:24.076 --> 0:39:26.556
<v Speaker 2>wins at it. But I've you know, I got over

0:39:26.596 --> 0:39:28.916
<v Speaker 2>myself so and now I'm used to it. Yeah, because

0:39:28.956 --> 0:39:32.596
<v Speaker 2>I already have OCD diagnosed OCD and I really care

0:39:32.636 --> 0:39:35.996
<v Speaker 2>about the details and my new details about everything, and

0:39:36.036 --> 0:39:41.076
<v Speaker 2>I feel like the perfect pitch may make me want

0:39:41.116 --> 0:39:43.636
<v Speaker 2>to make things a little too perfect sometimes. So it's

0:39:43.636 --> 0:39:46.236
<v Speaker 2>great to have collaborators who either have it and are

0:39:46.236 --> 0:39:48.516
<v Speaker 2>cognizant of like not making it too perfect, or don't

0:39:48.516 --> 0:39:51.036
<v Speaker 2>have it at all, or might not even play an instrument,

0:39:51.116 --> 0:39:53.196
<v Speaker 2>or like no, just make it simple, like I That's

0:39:53.236 --> 0:39:55.156
<v Speaker 2>why I love collaboration for that reason.

0:39:55.436 --> 0:39:57.756
<v Speaker 1>Are you able to hear songs like like you Know

0:39:57.876 --> 0:40:00.436
<v Speaker 1>Dylan or like The Loneous Monk, Like you're able to

0:40:00.476 --> 0:40:03.196
<v Speaker 1>hear the beauty in those songs even though they might

0:40:03.236 --> 0:40:05.156
<v Speaker 1>not be massing to say like, no, I don't think

0:40:05.156 --> 0:40:07.076
<v Speaker 1>Bob Dylan's songs are great, but no.

0:40:06.876 --> 0:40:09.356
<v Speaker 2>But there's like, is it that's so funny? You're I

0:40:09.436 --> 0:40:12.236
<v Speaker 2>was just talking about this with another artist just right

0:40:12.276 --> 0:40:18.156
<v Speaker 2>before this too. And I will watch all the talent

0:40:18.236 --> 0:40:21.996
<v Speaker 2>competitions and I'll hear there are so many better singers

0:40:22.036 --> 0:40:25.956
<v Speaker 2>than me, and I can hear them sing the phone

0:40:25.996 --> 0:40:29.556
<v Speaker 2>Book perfectly, hit every run, crisp and perfect. But I'm

0:40:29.556 --> 0:40:32.316
<v Speaker 2>not getting any emotion out of it. I'm not going

0:40:32.396 --> 0:40:36.356
<v Speaker 2>to be interested in it. Ultimately, I'd rather hear Dylan.

0:40:36.676 --> 0:40:38.676
<v Speaker 2>I don't know a whole lot about dylan songs, but

0:40:38.716 --> 0:40:41.556
<v Speaker 2>if I did, I'd rather hear him sing off pitch

0:40:42.036 --> 0:40:45.116
<v Speaker 2>and sing it with conviction so I can really feel

0:40:45.276 --> 0:40:48.756
<v Speaker 2>what he's singing about. I'm not really looking for him to,

0:40:49.396 --> 0:40:51.316
<v Speaker 2>you know. Mariah Carey is a good example of somebody

0:40:51.356 --> 0:40:57.036
<v Speaker 2>who can sing around the sun but has some restraint

0:40:57.476 --> 0:40:59.996
<v Speaker 2>for the rest of us who can't do that. Makes

0:41:00.116 --> 0:41:02.436
<v Speaker 2>That's why she has had so much success, that she's

0:41:02.476 --> 0:41:05.556
<v Speaker 2>able to make music that's kind of universal for everybody.

0:41:05.636 --> 0:41:06.556
<v Speaker 1>Think she pulls it back.

0:41:06.916 --> 0:41:09.716
<v Speaker 2>I think she pulls it back, and then there are

0:41:09.756 --> 0:41:12.516
<v Speaker 2>moments when she needs to hit the whistletone like on

0:41:12.636 --> 0:41:15.516
<v Speaker 2>Dream Lover. She can she can do it, but she's

0:41:15.556 --> 0:41:19.116
<v Speaker 2>not starting the record off with it. She's That's why

0:41:19.116 --> 0:41:21.876
<v Speaker 2>Whitney was great too. Whitney. There will probably never be

0:41:22.076 --> 0:41:26.996
<v Speaker 2>another singer like Whitney in our lifetime. She grew up

0:41:26.996 --> 0:41:29.716
<v Speaker 2>in Nowork, the first New Jersey native to sing the

0:41:29.796 --> 0:41:31.916
<v Speaker 2>national anthem at the Super Bowl, and I was the second.

0:41:32.116 --> 0:41:33.636
<v Speaker 1>No pressure man, no pressure.

0:41:34.196 --> 0:41:37.276
<v Speaker 2>I wasn't as good as a singer as there, but

0:41:38.076 --> 0:41:41.476
<v Speaker 2>she was able to. It's just like this fine line.

0:41:41.796 --> 0:41:46.756
<v Speaker 2>She was so proficient vocally but made it so palatable

0:41:46.836 --> 0:41:51.636
<v Speaker 2>for people who can't even sing. Everybody can feel. Everyone

0:41:51.756 --> 0:41:53.476
<v Speaker 2>feels like I to sing when they listen to Whitney.

0:41:53.476 --> 0:41:55.476
<v Speaker 1>It's interesting to bring up Whitney because the first two

0:41:56.236 --> 0:41:57.796
<v Speaker 1>tracks on your album, which I think of the first

0:41:57.796 --> 0:41:58.996
<v Speaker 1>two singles.

0:41:58.636 --> 0:42:00.676
<v Speaker 2>Yeah Changes and beat Yourself Up, it.

0:42:00.756 --> 0:42:03.876
<v Speaker 1>Kind of reminds me of like Whitney about like like

0:42:04.076 --> 0:42:05.556
<v Speaker 1>you know, in terms of like they just go a

0:42:05.556 --> 0:42:07.756
<v Speaker 1>lot of places, you know, like the way right, Like

0:42:07.836 --> 0:42:10.716
<v Speaker 1>he's yes on a movement.

0:42:10.396 --> 0:42:13.636
<v Speaker 2>A lot of movement, a lot of packed with instrumentation,

0:42:14.076 --> 0:42:15.116
<v Speaker 2>but not not.

0:42:15.116 --> 0:42:17.596
<v Speaker 1>Too much, not too big, not busy, you know, it's

0:42:17.596 --> 0:42:18.116
<v Speaker 1>like it's like.

0:42:18.236 --> 0:42:21.276
<v Speaker 2>It's like the album is constantly other than a couple

0:42:21.356 --> 0:42:23.956
<v Speaker 2>songs like beat Yourself Up is like constantly if it

0:42:23.996 --> 0:42:26.316
<v Speaker 2>went here too much, Yeah, and it did go here

0:42:26.356 --> 0:42:27.796
<v Speaker 2>and I had to pull it back when I was

0:42:27.836 --> 0:42:29.996
<v Speaker 2>mixing it with Manny, but like it hits here and then.

0:42:30.236 --> 0:42:31.836
<v Speaker 1>Well, it's like I want to dance with somebody could

0:42:31.876 --> 0:42:35.716
<v Speaker 1>like absolutely very easily, you know, spill over into too much,

0:42:35.716 --> 0:42:36.996
<v Speaker 1>but it's it's but it's perfect.

0:42:37.116 --> 0:42:39.756
<v Speaker 2>Yeah, I mean there's I think there's a way to

0:42:40.756 --> 0:42:46.036
<v Speaker 2>nudge at your influences without completely taking the art. It's

0:42:46.076 --> 0:42:49.436
<v Speaker 2>that you're you're able to listen to Rick Astley never

0:42:49.516 --> 0:42:51.516
<v Speaker 2>going to give you up, and you're able to listen

0:42:51.596 --> 0:42:53.796
<v Speaker 2>to I want to Dance with Somebody. But it's just

0:42:53.876 --> 0:42:56.716
<v Speaker 2>about like a feeling that those songs gave you. When

0:42:56.756 --> 0:42:58.036
<v Speaker 2>you want that feeling.

0:42:57.956 --> 0:43:00.676
<v Speaker 1>Capture that feeling. Yeah, yeah, I want to go back

0:43:00.716 --> 0:43:04.636
<v Speaker 1>to the National anthem. Yeah, with a mutual friend in

0:43:05.156 --> 0:43:05.636
<v Speaker 1>Eric Vitra.

0:43:06.036 --> 0:43:06.916
<v Speaker 2>Yeah, that's my guy.

0:43:07.116 --> 0:43:08.716
<v Speaker 1>Eric's amazing dude.

0:43:08.476 --> 0:43:11.476
<v Speaker 2>Amazing dude, such a like I've never seen him frown.

0:43:11.436 --> 0:43:13.636
<v Speaker 1>The nice, the greatest, the best, that one of the

0:43:13.676 --> 0:43:15.916
<v Speaker 1>most I study with him or he's just he's he's

0:43:15.956 --> 0:43:17.796
<v Speaker 1>given he's giving me a lesson before and he's like

0:43:17.876 --> 0:43:20.196
<v Speaker 1>offered to keep going. And it felt like, you know,

0:43:20.316 --> 0:43:21.956
<v Speaker 1>like I don't want I don't want to waste his time.

0:43:21.996 --> 0:43:23.636
<v Speaker 2>Yeah, that's the kind of that's the kind of person

0:43:23.676 --> 0:43:25.676
<v Speaker 2>he is. He doesn't think it's a waste of time.

0:43:25.756 --> 0:43:30.076
<v Speaker 2>He's is so in love with teaching and he's been

0:43:30.076 --> 0:43:31.916
<v Speaker 2>doing it for such a long time that like he

0:43:32.116 --> 0:43:35.036
<v Speaker 2>just he doesn't He'll work with a list stars and

0:43:35.036 --> 0:43:36.476
<v Speaker 2>people who are just starting out.

0:43:36.476 --> 0:43:37.956
<v Speaker 1>I know, and he's lovely like that. But I'm like,

0:43:37.996 --> 0:43:39.476
<v Speaker 1>I just you know, I'm like, I just I don't

0:43:39.476 --> 0:43:41.476
<v Speaker 1>want to impose on him. But did you work with

0:43:41.516 --> 0:43:43.116
<v Speaker 1>him with an on the National Anthem?

0:43:43.396 --> 0:43:45.476
<v Speaker 2>I did work with him. I warmed up with him

0:43:45.516 --> 0:43:50.716
<v Speaker 2>right beforehand, and oddly, I wasn't nervous before going on.

0:43:50.836 --> 0:43:53.916
<v Speaker 2>I like wasn't nervous like putting the arrangement together in

0:43:53.956 --> 0:43:56.716
<v Speaker 2>my head. I always kind of knew what it was

0:43:56.756 --> 0:43:59.916
<v Speaker 2>going to be. I I always had I always knew

0:43:59.916 --> 0:44:01.796
<v Speaker 2>it was going to be in D Major. I just

0:44:01.836 --> 0:44:04.156
<v Speaker 2>like that. But it's kind of writing, like writing a song,

0:44:04.196 --> 0:44:06.076
<v Speaker 2>It's like you have the finished product in your head.

0:44:06.196 --> 0:44:07.756
<v Speaker 2>And then you reverse engineer it.

0:44:07.876 --> 0:44:10.396
<v Speaker 1>What is what is warming up for an event like that?

0:44:10.556 --> 0:44:11.476
<v Speaker 1>Like like what are you doing?

0:44:11.956 --> 0:44:12.956
<v Speaker 2>You?

0:44:12.956 --> 0:44:13.996
<v Speaker 1>You? You?

0:44:14.596 --> 0:44:23.036
<v Speaker 2>And just your voice is a muscle, so your vocal

0:44:23.116 --> 0:44:25.556
<v Speaker 2>chords are a muscle. Rather, it's like you're just warming

0:44:25.636 --> 0:44:28.316
<v Speaker 2>them up. National Anthem is hard to sing too.

0:44:28.396 --> 0:44:31.396
<v Speaker 1>It's it's insane, Like I feel the range of it is.

0:44:33.556 --> 0:44:39.676
<v Speaker 2>Insane. You're going octave jump, like you know there's somewhere

0:44:39.836 --> 0:44:42.796
<v Speaker 2>over the rainbow. I know who I want to take

0:44:42.836 --> 0:44:45.796
<v Speaker 2>me home. It's all the octave jumps. But that's an

0:44:45.836 --> 0:44:49.236
<v Speaker 2>octave jump plus a fifth. That's ridiculous.

0:44:49.956 --> 0:44:51.396
<v Speaker 1>What's your favorite song on the new album?

0:44:51.996 --> 0:44:55.436
<v Speaker 2>My favorite song on the album seems to change every day.

0:44:55.596 --> 0:44:58.036
<v Speaker 2>I love changes so much. I love. I used to

0:44:58.036 --> 0:45:02.476
<v Speaker 2>be cringe because I hated it when I first wrote it.

0:45:02.476 --> 0:45:04.836
<v Speaker 2>It's not but because it's kind of the first time

0:45:04.916 --> 0:45:07.716
<v Speaker 2>where I've made something that is a little almost like

0:45:07.876 --> 0:45:11.636
<v Speaker 2>borderline comedic. It's like, why would you put that against

0:45:11.676 --> 0:45:20.676
<v Speaker 2>such like kind of James Taylor maybe like Simon and

0:45:20.676 --> 0:45:24.236
<v Speaker 2>garfunk calls sounding made me think of her majesty at

0:45:24.276 --> 0:45:26.356
<v Speaker 2>the end of Abbey Road, like the way just pops in.

0:45:26.356 --> 0:45:28.676
<v Speaker 1>Because it's not as short as that, but it's like,

0:45:28.676 --> 0:45:31.116
<v Speaker 1>it's feels like a really great PostScript.

0:45:31.396 --> 0:45:34.476
<v Speaker 2>Yeah, I thought it was the I appreciate that, so

0:45:35.156 --> 0:45:37.476
<v Speaker 2>I thought it was a perfect way to end the

0:45:37.516 --> 0:45:41.436
<v Speaker 2>album because the whole album is filled with moments of

0:45:41.516 --> 0:45:44.436
<v Speaker 2>me reflecting on past decisions of how I used to

0:45:44.476 --> 0:45:48.276
<v Speaker 2>act and growing up as a young man in the

0:45:48.316 --> 0:45:53.756
<v Speaker 2>ever changing music industry, being influenced by things. It's I

0:45:53.796 --> 0:45:55.756
<v Speaker 2>thought it was a nice period mark at the end

0:45:55.756 --> 0:45:59.436
<v Speaker 2>of the album. Who played that was my friend Curtis

0:45:59.756 --> 0:46:04.196
<v Speaker 2>from Philadelphia. He's a wonderful guitar player. He played that

0:46:04.276 --> 0:46:07.436
<v Speaker 2>at three o'clock in the morning, and I got so

0:46:07.516 --> 0:46:09.516
<v Speaker 2>sick the next day. Thank god we got the guitar

0:46:09.596 --> 0:46:11.596
<v Speaker 2>down because I was so spent. I was so tired.

0:46:11.836 --> 0:46:15.516
<v Speaker 1>It was a The second half of the album is

0:46:15.556 --> 0:46:19.516
<v Speaker 1>a little it feels a little heavier than the first.

0:46:19.516 --> 0:46:21.236
<v Speaker 2>It's half, yeah, not.

0:46:21.196 --> 0:46:23.236
<v Speaker 1>Like in About, but he just feels a little more weighty.

0:46:23.556 --> 0:46:29.916
<v Speaker 2>By design, because I didn't want to come out right yeah,

0:46:30.236 --> 0:46:32.676
<v Speaker 2>all the kids being like oh unks and his emo

0:46:33.036 --> 0:46:35.996
<v Speaker 2>or whatever they say I want. I wanted to start

0:46:35.996 --> 0:46:38.916
<v Speaker 2>with the fun stuff, and the album, in my opinion,

0:46:39.036 --> 0:46:40.996
<v Speaker 2>is like how a concert should be laid out. You

0:46:41.036 --> 0:46:43.876
<v Speaker 2>start with the fun stuff, and then in the middle

0:46:43.916 --> 0:46:47.716
<v Speaker 2>it gets like a little melancholic and heavy, and then surprise,

0:46:47.796 --> 0:46:50.036
<v Speaker 2>here's another fun one. It's not as fun as the

0:46:50.076 --> 0:46:54.036
<v Speaker 2>first one, but it's like it's it's there. And then

0:46:54.516 --> 0:46:57.316
<v Speaker 2>encore is a song that you wouldn't expect I'd play

0:46:57.356 --> 0:46:57.756
<v Speaker 2>or something.

0:46:57.916 --> 0:47:02.276
<v Speaker 1>Yeah, it's perfectly sequenced and it's like a really quick

0:47:02.356 --> 0:47:05.276
<v Speaker 1>listen too, Like it doesn't it just goes. It goes

0:47:05.276 --> 0:47:06.036
<v Speaker 1>by really quick.

0:47:06.356 --> 0:47:08.716
<v Speaker 2>I want you to be able to replay it, replay value,

0:47:09.156 --> 0:47:10.956
<v Speaker 2>a lot of replay value on it. And I just

0:47:11.036 --> 0:47:13.676
<v Speaker 2>there there are I don't Don't Meet Your Heroes. I

0:47:13.716 --> 0:47:16.356
<v Speaker 2>had a solo on there where I was really.

0:47:19.236 --> 0:47:27.316
<v Speaker 4>Like all that and yeah, what was it the well, no, son,

0:47:29.836 --> 0:47:33.076
<v Speaker 4>probably the jazziest thing on the on this.

0:47:33.036 --> 0:47:37.156
<v Speaker 1>Album, and then.

0:47:41.316 --> 0:47:47.316
<v Speaker 2>Don't Meet Yours They're not is I mean, it's the

0:47:47.476 --> 0:47:49.156
<v Speaker 2>jazz is all over the album, but I think that's

0:47:49.156 --> 0:47:50.036
<v Speaker 2>the jazziest one.

0:47:50.196 --> 0:47:53.116
<v Speaker 1>Well, then there's a then there's a you scat along

0:47:53.156 --> 0:47:54.196
<v Speaker 1>to a guitar solo.

0:47:54.276 --> 0:47:56.756
<v Speaker 2>Oh yeah, hey brother, damn, yeah, you're not even using

0:47:56.796 --> 0:48:00.036
<v Speaker 2>he's not even using notes right now. It's like impressive.

0:48:00.676 --> 0:48:10.076
<v Speaker 2>That's Curtis playing the guitar too. No no no no

0:48:10.076 --> 0:48:13.356
<v Speaker 2>no no no no no no no no no no.

0:48:14.636 --> 0:48:18.276
<v Speaker 2>I I've always wanted to. I mean, I'll get better

0:48:18.316 --> 0:48:20.436
<v Speaker 2>at that, just go on. But I just I always

0:48:20.476 --> 0:48:24.076
<v Speaker 2>wanted to, uh, to answer your question from way before,

0:48:24.116 --> 0:48:26.556
<v Speaker 2>probably from an hour ago, I've always just I've always

0:48:26.596 --> 0:48:28.756
<v Speaker 2>known that jazz was a part of my DNA. When

0:48:28.796 --> 0:48:30.036
<v Speaker 2>making pop music.

0:48:30.116 --> 0:48:35.196
<v Speaker 1>It feels like a great synthesis of pop and jazz.

0:48:35.036 --> 0:48:37.836
<v Speaker 2>And gospel in a way. There's choirs all I'm washed up.

0:48:37.876 --> 0:48:41.676
<v Speaker 2>We have a choir, I think cry, there's a choir. Changes,

0:48:41.716 --> 0:48:44.156
<v Speaker 2>there's a choir. Beat yourself up, no choir.

0:48:44.396 --> 0:48:48.556
<v Speaker 1>The raven Lynee. Yeah, she's a new one too for me.

0:48:49.036 --> 0:48:51.436
<v Speaker 1>My kids love her though. Yeah, she's she had a

0:48:51.436 --> 0:48:54.196
<v Speaker 1>massive hit this year. She did, she did. She sounds

0:48:54.236 --> 0:48:56.876
<v Speaker 1>She's like, she sounds amazing on your album. Yeah, and

0:48:56.956 --> 0:48:59.796
<v Speaker 1>I love that song. It's almost like a called New Jersey.

0:48:59.916 --> 0:49:02.476
<v Speaker 2>It has a but it sounds like it was produced

0:49:02.476 --> 0:49:06.996
<v Speaker 2>in South Central, like like my love of the My

0:49:07.316 --> 0:49:10.356
<v Speaker 2>one of my favorite songs is the intro record on

0:49:10.436 --> 0:49:15.956
<v Speaker 2>the Chronic with the solo tip like and Snoop Dogg

0:49:16.076 --> 0:49:17.716
<v Speaker 2>just talking immense amount of.

0:49:17.676 --> 0:49:20.716
<v Speaker 1>Shazy, crazy ship. The craziest ship ever.

0:49:27.236 --> 0:49:28.956
<v Speaker 2>Like that was, don't that is?

0:49:29.236 --> 0:49:29.716
<v Speaker 1>That? Is?

0:49:29.756 --> 0:49:33.276
<v Speaker 2>That whole album is feeling based. Nothing about that is diatonic.

0:49:33.636 --> 0:49:36.956
<v Speaker 2>That's like that's C minor and a flat minor that

0:49:37.116 --> 0:49:40.636
<v Speaker 2>should clash. Why does it feel good? It just does.

0:49:41.236 --> 0:49:44.356
<v Speaker 2>It's it's all feeling based. How do we start talking

0:49:44.356 --> 0:49:46.436
<v Speaker 2>about that? Oh yeah, New Jersey is very kind of

0:49:46.436 --> 0:49:51.316
<v Speaker 2>a West Coast sonic anthem, but about the state I'm from,

0:49:51.396 --> 0:49:52.316
<v Speaker 2>which is New Jersey.

0:49:52.596 --> 0:49:55.236
<v Speaker 1>The Chronic was like the first album. I remember being

0:49:55.316 --> 0:49:58.476
<v Speaker 1>like enveloped by like as a like not even by choice,

0:49:58.516 --> 0:50:00.436
<v Speaker 1>which is as a kid and so and so, and

0:50:00.676 --> 0:50:02.796
<v Speaker 1>you know, I'm from LA So I love that album

0:50:02.916 --> 0:50:03.316
<v Speaker 1>very proud.

0:50:03.356 --> 0:50:05.276
<v Speaker 2>What was it like when that dropped?

0:50:05.876 --> 0:50:08.356
<v Speaker 1>Was what was more life before? I mean because I

0:50:08.396 --> 0:50:11.036
<v Speaker 1>was so young, but it was I thought it was

0:50:11.076 --> 0:50:13.876
<v Speaker 1>the way everything always was. Like I thought, yeah, like

0:50:13.996 --> 0:50:16.916
<v Speaker 1>you know, even my age, I'm thirty four, thirty six, okay,

0:50:17.156 --> 0:50:19.396
<v Speaker 1>thirty six, so you were kind of the same. Was

0:50:19.396 --> 0:50:22.316
<v Speaker 1>the same three when that came out, and you know,

0:50:22.356 --> 0:50:23.676
<v Speaker 1>you turn on the TV and it'd be like the

0:50:23.716 --> 0:50:26.876
<v Speaker 1>promo of like the gin and Juice video.

0:50:26.996 --> 0:50:30.476
<v Speaker 2>I got pouring out the whole like I'm looking at

0:50:30.516 --> 0:50:30.676
<v Speaker 2>you know.

0:50:30.716 --> 0:50:32.436
<v Speaker 1>It was there's nowhere I supposed to be seeing that,

0:50:32.436 --> 0:50:34.596
<v Speaker 1>but you look at you like life is. Remember having

0:50:34.636 --> 0:50:35.996
<v Speaker 1>the feeling of like I'm in for a ride like

0:50:36.036 --> 0:50:38.556
<v Speaker 1>this life is. But you know, that was a moment

0:50:38.596 --> 0:50:39.796
<v Speaker 1>in time there was.

0:50:39.756 --> 0:50:43.036
<v Speaker 2>That, you know, the Source Awards in nineteen ninety five

0:50:43.116 --> 0:50:45.956
<v Speaker 2>and Snoop when Doggy Style came out. I mean you

0:50:45.996 --> 0:50:48.956
<v Speaker 2>have to imagine me a kid going the Catholic school

0:50:48.996 --> 0:50:52.036
<v Speaker 2>listening to Doggy Style. My actually, my first Snoop dog

0:50:52.076 --> 0:50:54.756
<v Speaker 2>album was paid the Cost to be the Boss, and

0:50:54.796 --> 0:50:59.956
<v Speaker 2>I heard the Neptune's production from the Church to the Palace. Yeah, man,

0:51:01.476 --> 0:51:07.036
<v Speaker 2>Chad Hugo, like why does those monds? That was the

0:51:07.396 --> 0:51:09.556
<v Speaker 2>minor that that's not supposed to work, But it just

0:51:09.556 --> 0:51:11.836
<v Speaker 2>worked because it was just the Neptune's feeling it and.

0:51:11.796 --> 0:51:13.316
<v Speaker 1>It Snoop sounds sinister on it.

0:51:13.316 --> 0:51:15.196
<v Speaker 2>It's like, damn woo, what are you going to do?

0:51:15.356 --> 0:51:19.036
<v Speaker 2>Cauz with them? Baby Blue? Like I didn't even know

0:51:19.676 --> 0:51:22.596
<v Speaker 2>what the crip walk was. I was in school listening

0:51:22.596 --> 0:51:25.876
<v Speaker 2>to that, Oh I was. I was so enamored. It

0:51:25.916 --> 0:51:28.476
<v Speaker 2>was the early days of YouTube and I was looking

0:51:28.476 --> 0:51:30.676
<v Speaker 2>at all the videos. I think. Drop It Like It's

0:51:30.676 --> 0:51:33.236
<v Speaker 2>Hot was the first music video I watched on the internet.

0:51:34.836 --> 0:51:37.876
<v Speaker 2>Pharrell like blurring out the ice creams that he was

0:51:37.916 --> 0:51:40.996
<v Speaker 2>like that, Like, I just I want people to be

0:51:41.076 --> 0:51:43.916
<v Speaker 2>excited about music again because I feel like they're not.

0:51:44.276 --> 0:51:47.036
<v Speaker 2>I feel like there's so much like you and I

0:51:47.116 --> 0:51:50.316
<v Speaker 2>love music, but I feel like everybody feels that music

0:51:50.436 --> 0:51:53.996
<v Speaker 2>is disposable because you can. You can go on Amazon

0:51:54.196 --> 0:51:54.836
<v Speaker 2>and listen to it.

0:51:54.876 --> 0:51:57.516
<v Speaker 1>You can go on Spotify, the spot Spotify.

0:51:57.756 --> 0:52:00.556
<v Speaker 2>Yeah, you can go on Apple and you can. They can.

0:52:00.876 --> 0:52:03.516
<v Speaker 2>It's just I used to have to order CDs. If

0:52:03.516 --> 0:52:06.316
<v Speaker 2>I wanted the chocolate Starfish and hot dog flavored water,

0:52:06.716 --> 0:52:08.876
<v Speaker 2>I had to put an order and it sold a

0:52:08.876 --> 0:52:11.876
<v Speaker 2>mill copies first week off Interscope when Jimmy was there,

0:52:12.116 --> 0:52:13.716
<v Speaker 2>Like the marketing was amazing.

0:52:14.076 --> 0:52:14.436
<v Speaker 1>Crazy.

0:52:14.676 --> 0:52:17.716
<v Speaker 2>I had to put an order in for Crazy Sexy Cool.

0:52:18.036 --> 0:52:20.276
<v Speaker 2>They didn't have it at Jack's Music Shop in Redknack,

0:52:20.316 --> 0:52:22.956
<v Speaker 2>New Jersey. I would stay in the record store and

0:52:23.076 --> 0:52:26.796
<v Speaker 2>listen to the CDs I had, but it wasn't just me,

0:52:26.996 --> 0:52:29.076
<v Speaker 2>like it was like, oh, you have the mixed CD,

0:52:29.196 --> 0:52:31.116
<v Speaker 2>let me you have My name is off the Slim

0:52:31.116 --> 0:52:33.636
<v Speaker 2>Shady LP let me borrow that, Like he kind of

0:52:33.636 --> 0:52:35.716
<v Speaker 2>had to like jump through some hoops to get to music.

0:52:36.236 --> 0:52:39.276
<v Speaker 2>You don't even have to illegally download anymore. It's all

0:52:39.636 --> 0:52:42.196
<v Speaker 2>there's no need for bit torrents or anything. It's there's

0:52:42.236 --> 0:52:44.596
<v Speaker 2>no LimeWire anyway. You just can if you want to

0:52:44.596 --> 0:52:45.996
<v Speaker 2>hear a song, you can find it.

0:52:46.076 --> 0:52:48.276
<v Speaker 1>Even LimeWire wasn't a bit of an impediment to Like

0:52:48.476 --> 0:52:52.156
<v Speaker 1>there was a go through some hoopla and the thing

0:52:52.236 --> 0:52:52.596
<v Speaker 1>I hear it.

0:52:52.596 --> 0:52:56.196
<v Speaker 2>Would be like I had riddled my parents' computer with viruses,

0:52:56.476 --> 0:52:58.316
<v Speaker 2>and but it was worth it because I got to

0:52:58.356 --> 0:53:02.436
<v Speaker 2>hear Goodies by Sierra. These kids today like they like

0:53:02.996 --> 0:53:05.076
<v Speaker 2>I shouldn't say that there's not an appreciation of music.

0:53:05.116 --> 0:53:08.356
<v Speaker 2>I let's I retract my statement. There is an appreciation

0:53:08.396 --> 0:53:09.636
<v Speaker 2>of music, it's just changed.

0:53:09.836 --> 0:53:12.076
<v Speaker 1>It's just a fervor the way, Like I know what

0:53:12.116 --> 0:53:14.316
<v Speaker 1>you mean. I think kids like to our earlier point,

0:53:14.356 --> 0:53:18.276
<v Speaker 1>I think kids appreciate a wider array of music, no

0:53:18.556 --> 0:53:21.076
<v Speaker 1>older music. You know that there's they really have. Yeah,

0:53:22.116 --> 0:53:26.356
<v Speaker 1>but there's not like the excitement from it because the

0:53:26.356 --> 0:53:29.236
<v Speaker 1>distribution is so easy now, like the excitement like even

0:53:29.276 --> 0:53:32.516
<v Speaker 1>just like TRL was like, oh my god, I have any.

0:53:32.356 --> 0:53:34.996
<v Speaker 2>Backstreet Boys seen all the fans line up for Christina

0:53:34.996 --> 0:53:35.596
<v Speaker 2>Aguilera and you.

0:53:35.956 --> 0:53:37.436
<v Speaker 1>Rush home from school to see it, like and if

0:53:37.476 --> 0:53:40.076
<v Speaker 1>you didn't run it was it you? Like? How do

0:53:40.156 --> 0:53:40.636
<v Speaker 1>I see that?

0:53:40.836 --> 0:53:43.156
<v Speaker 2>Explain that concept to Jen Alpha. They don't. What do

0:53:43.236 --> 0:53:44.876
<v Speaker 2>you mean I have to rush home to watch something?

0:53:44.916 --> 0:53:46.596
<v Speaker 2>If I want to watch something, I'll watch it whenever

0:53:46.676 --> 0:53:49.076
<v Speaker 2>I want. That's fine. That's I'm not going to be

0:53:49.076 --> 0:53:51.996
<v Speaker 2>on and be like good old days like I'm I've

0:53:52.036 --> 0:53:54.996
<v Speaker 2>had success in these new days. I'm very happy about that.

0:53:55.316 --> 0:53:57.636
<v Speaker 2>I just want to make a body of work that

0:53:57.796 --> 0:54:01.636
<v Speaker 2>makes people somewhat feel what I felt when I first

0:54:01.716 --> 0:54:05.636
<v Speaker 2>heard who on the TLC tip and X Y and

0:54:05.716 --> 0:54:09.876
<v Speaker 2>z I. I just I want that feeling to never die.

0:54:10.196 --> 0:54:12.396
<v Speaker 1>Well. I think you captured a really great feeling on

0:54:12.396 --> 0:54:15.156
<v Speaker 1>this thanks and like the melodies like that, there's so

0:54:15.236 --> 0:54:17.756
<v Speaker 1>there's melodies for days and just the last thing I

0:54:17.796 --> 0:54:19.956
<v Speaker 1>want to say about it, just just because I have

0:54:20.036 --> 0:54:21.636
<v Speaker 1>you here, yeah, is when I was listening to it,

0:54:21.796 --> 0:54:24.316
<v Speaker 1>like there are melodies that I feel like it's recycled

0:54:24.356 --> 0:54:26.996
<v Speaker 1>through pop music and I don't hear any of those

0:54:27.036 --> 0:54:29.356
<v Speaker 1>on here, Like it sounds it's just like, everything sounds

0:54:29.756 --> 0:54:33.316
<v Speaker 1>appropriate to the song, organic, everything sounds new, it's inspiring.

0:54:33.716 --> 0:54:36.196
<v Speaker 2>I appreciate that because I don't really listen to a

0:54:36.236 --> 0:54:38.196
<v Speaker 2>whole lot of pop music. I'm not going to be

0:54:38.316 --> 0:54:41.156
<v Speaker 2>the cool artist and like I don't listen to any

0:54:41.196 --> 0:54:44.276
<v Speaker 2>pop music. I am cognizant of pop music. I know

0:54:44.316 --> 0:54:46.996
<v Speaker 2>Olivia Dean, I know all Sabrina songs like.

0:54:46.956 --> 0:54:48.556
<v Speaker 1>Wait, she's great. I mean for a pop I mean

0:54:48.556 --> 0:54:50.916
<v Speaker 1>the fact that she's like, like, you know that some

0:54:50.956 --> 0:54:52.876
<v Speaker 1>of these people are like popa artists. Now you're like

0:54:53.076 --> 0:54:56.676
<v Speaker 1>it's that does speak to some of the savvy of

0:54:56.396 --> 0:54:59.276
<v Speaker 1>of the music listening public at this point.

0:54:59.516 --> 0:55:01.316
<v Speaker 2>I appreciate you saying that. It's very nice to you.

0:55:01.476 --> 0:55:04.036
<v Speaker 1>It's amazing. It was great to meet you, man, very

0:55:04.076 --> 0:55:04.596
<v Speaker 1>nice to meet you.

0:55:04.636 --> 0:55:06.836
<v Speaker 2>So I feel like I've known you, like for my

0:55:06.916 --> 0:55:09.916
<v Speaker 2>whole life. Weird, very nice, good to know you, to

0:55:09.996 --> 0:55:12.636
<v Speaker 2>know you too. And this is a really wow, what

0:55:12.716 --> 0:55:13.636
<v Speaker 2>a dump this is here?

0:55:13.716 --> 0:55:13.876
<v Speaker 5>Right?

0:55:14.116 --> 0:55:16.876
<v Speaker 1>Well, we'll get this, get this up, tune this, we'll

0:55:16.916 --> 0:55:17.476
<v Speaker 1>get this going.

0:55:17.716 --> 0:55:19.876
<v Speaker 5>And we just.

0:55:19.996 --> 0:55:25.356
<v Speaker 2>Talked for more than a minute.

0:55:25.556 --> 0:55:27.636
<v Speaker 1>In an episode description, you'll find a link to a

0:55:27.636 --> 0:55:30.996
<v Speaker 1>playlist featuring our favorite songs from Charlie Proof. Be sure

0:55:30.996 --> 0:55:33.876
<v Speaker 1>to check out YouTube dot com slash Broken Record Podcast

0:55:33.956 --> 0:55:36.916
<v Speaker 1>to see all of our video interviews, and be sure

0:55:36.916 --> 0:55:39.436
<v Speaker 1>to follow us on Instagram at the Broken Record Pod.

0:55:39.876 --> 0:55:42.196
<v Speaker 1>Broken Record is produced and edited by Leah Rose, with

0:55:42.276 --> 0:55:45.476
<v Speaker 1>marketing help from Eric Sandler and Jordan McMillan. Our engineer

0:55:45.636 --> 0:55:49.436
<v Speaker 1>is Ben Taliday. Broken Record is production of Pushkin Industries.

0:55:49.636 --> 0:55:52.116
<v Speaker 1>If you love this show and others from Pushkin, consider

0:55:52.116 --> 0:55:55.676
<v Speaker 1>subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

0:55:55.756 --> 0:55:58.516
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0:55:58.636 --> 0:56:00.916
<v Speaker 1>ninety nine a month. Look for Pushkin Plus on Apple

0:56:00.956 --> 0:56:04.476
<v Speaker 1>podcast subscriptions, and if you like this show, please remember

0:56:04.476 --> 0:56:06.556
<v Speaker 1>to share, rate, and review us on your podcast app.

0:56:06.876 --> 0:56:08.996
<v Speaker 1>Our theme musics by Kenny Beats. I'm Justin Rich