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Speaker 1: West Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora. Hey it's

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Speaker 1: on pay bill. Check out this QLs classic from November second,

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Speaker 1: two thousand and sixteen. We sit down with recording artist Kimbra.

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Speaker 1: She talks about leading from New Zealand, the world, wildlife,

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Speaker 1: Silver Lake, California, and how she makes records in this

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Speaker 1: episode originally aired on Pandora. Check it out. Kimbra Johnson lazy.

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Speaker 1: Now before we even get started, we gotta know, how

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Speaker 1: did you get such a black last name as Johnson. Wait,

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Speaker 1: your full.

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Speaker 2: Name is kim Kimber. That's even that's kind of yeah, yeah,

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Speaker 2: like that.

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Speaker 1: I feel like you gotta you come from the wrong

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Speaker 1: side of the tracks.

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Speaker 2: Yeah, I mean I only realized that when I moved

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Speaker 2: over here. I'm from New Zealand obviously, And aren't.

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Speaker 1: You from Hamilton, New Zealand.

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Speaker 2: How did you know that?

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Speaker 1: Because I have a computer, How do I know anything?

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Speaker 1: You're just trying to bring it back to Hamilton. That's funny,

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Speaker 1: that's funny.

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Speaker 2: Hamilton's not the most well known place in New Zealand.

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Speaker 1: But I can't say I've been there and or no

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Speaker 1: can I ask, do you get tired of people kind

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Speaker 1: of lumping? I feel like New Zealand is the Jersey

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Speaker 1: to New York or the Baltimore to Washington kind of.

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Speaker 1: I mean, I know it's cool, but.

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Speaker 2: Yeah, yeah, yeah, yeah, but people over here, I.

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Speaker 1: Just tend to think like it's one big giant under Australia.

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Speaker 2: There's so many, you know, there's four million people in

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Speaker 2: New Zealand. It's tiny, you know, So I understand. And

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Speaker 2: I spent five years in Australia, moved there when I

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Speaker 2: was seventeen before I came to the States, so I understand.

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Speaker 1: It's you know, how long you been in the States.

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Speaker 1: How long you been here?

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Speaker 2: Oh, over three years now. I did LA for nearly

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Speaker 2: two years and then I'm about a year into living

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Speaker 2: in New York.

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Speaker 1: Wow. What's been the biggest adjustment for you so far? Oh?

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Speaker 2: Man, I'm so happy here. I love walking and getting

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Speaker 2: on the subway and taking like just simple things like

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Speaker 2: that that change your experience of a city so much.

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Speaker 2: You know, I was always in the back of ubers

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Speaker 2: in La. I didn't have a car. So I'm just

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Speaker 2: loving I live like in the East Village, just so

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Speaker 2: much history there as well so many amazing people that

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Speaker 2: have lived in that area.

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Speaker 1: So, so, wait, you drive You didn't drive in lle

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Speaker 1: I know, right, drive in New York City.

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Speaker 2: I don't drive in New York.

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Speaker 3: No.

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Speaker 2: I had a full driver's license, but I just never

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Speaker 2: got on the car of here. I mean, we drive

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Speaker 2: on the other side of the road, so it would

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Speaker 2: be challenging.

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Speaker 1: You know. Wait, so you don't drive here?

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Speaker 2: I had no, I don't drive.

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Speaker 1: Wait a minute in America. The first time we met,

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Speaker 1: I made you like a four hundred song driving playlist.

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Speaker 2: Yeah, but that was a friend. That was Yeah, you

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Speaker 2: made a sick playlist for the road trip. But I

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Speaker 2: did that with a friend.

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Speaker 1: Oh okay, did I make you for no reason whatsoever?

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Speaker 1: I'm just gonna I see. Yeah, So I well, I

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Speaker 1: guess we would all like to know about your humble beginnings.

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Speaker 1: One You're You're, You're. You have a wise soul for

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Speaker 1: someone that is four months younger than a tribe called

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Speaker 1: Quest debut album. Every time I see your birth year,

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Speaker 1: I'm like, I was a freshman in college when you

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Speaker 1: were born. But you you seem to acquire a lot

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Speaker 1: more knowledge than most people that I know that have

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Speaker 1: a nine in the third year of their birth year

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Speaker 1: as far as music's concerned, and without the really the

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Speaker 1: development of the Internet being in full swing until ten

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Speaker 1: years later. Like what were your first four years? Like

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Speaker 1: that really has you curious about soul music of all things?

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Speaker 2: Yeah, you know, Stevie Wonder was really big for me.

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Speaker 2: I first started learning guitar when I was about thirteen fourteen.

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Speaker 2: The guitar is my first instrument. That's what I first

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Speaker 2: started writing on. And learning a lot of those and

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Speaker 2: versions and stuff on guitar was super inspiring, you know,

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Speaker 2: for opening my brain harmonically. And I was singing in

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Speaker 2: a little choir at school that were doing a lot

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Speaker 2: of Beach Boys covers, you know, and Sinatra, and this

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Speaker 2: is like trippy stuff for a kid who's been you know.

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Speaker 2: I also had on my R and B stuff I

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Speaker 2: was listening to on the radio, Destiny's Child and all

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Speaker 2: the Timberland era, you know. But then I was learning

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Speaker 2: about these other styles of music and I first got

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Speaker 2: into a boss A track. That's how I started all

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Speaker 2: my early recordings, all the first album. So then the

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Speaker 2: kind of producer had started lighting up, you know, and

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Speaker 2: getting excited about listening to records in the sense of dimension,

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Speaker 2: and it's just it's like the same as you man,

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Speaker 2: you know, starting one artist and I mean Prince for example,

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Speaker 2: and it takes you on such a journey and you

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Speaker 2: just get super curious.

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Speaker 1: It keeps you from being so dismissive, because even I meant,

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Speaker 1: for whatever nerd degree I have of music, I mean,

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Speaker 1: I definitely went through that period where, like you know,

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Speaker 1: when I was six or seven, Marvin Gaye comes on,

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Speaker 1: I'm just thinking, like, that's my aunt's music, right.

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Speaker 2: Right, right, that's something that I'm impressed by.

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Speaker 1: Being young, What kept you from being dismissive?

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Speaker 2: That's right. We're cynical even, you know, because when you

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Speaker 2: hit your teens, you start to be like quite niche

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Speaker 2: with what you like. But I always had quite an openness,

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Speaker 2: which I see as a gift. I guess. I was

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Speaker 2: very intrigued by metal music, for example, like bands from

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Speaker 2: New Jersey like the den'ger escape Plane and Sugar, you know,

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Speaker 2: for the grooves, something about just from a really open

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Speaker 2: standpoint of what at the time, like what what makes

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Speaker 2: me feel so primally engaged to these rhythms, and then

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Speaker 2: learning that a lot of it comes from Latin. You know,

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Speaker 2: it's like you just become so fascinated with stuff and

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Speaker 2: it didn't ever come cross my mind like, oh, that's

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Speaker 2: that's cool, and that's not cool, and that's what my

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Speaker 2: friends like, that's what they don't. It was just all sound,

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Speaker 2: you know, And I don't think we retain that openness.

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Speaker 2: Sometimes as we get older, we get a bit more,

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Speaker 2: you know, into aesthetics and into taste, and that's great,

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Speaker 2: all of that's really cool. But as a kid, I

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Speaker 2: really I'm glad I had that openness.

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Speaker 1: So you started songwriting. I know that you were songwriting

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Speaker 1: by well you said your first.

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Speaker 2: Instrument was well, I was writing just in you know,

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Speaker 2: singing into cassette tapes and I was like eight or nine,

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Speaker 2: just little silly songs, but they had structure, you know,

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Speaker 2: verses and choruses. I love pop music as a formula

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Speaker 2: for writing.

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Speaker 1: Did they come from your family or like.

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Speaker 2: Their doctor and nurses? So, I don't know, man, It's

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Speaker 2: it was a really a who's your.

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Speaker 1: Who is your who's that older who's the older brother? Figure?

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Speaker 1: That no person?

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Speaker 2: That well, No, I don't know. I think it was

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Speaker 2: just I really talk about it almost more in a

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Speaker 2: spiritual sense, because it's like something needs to come out,

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Speaker 2: you know, when you have a need to express. And

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Speaker 2: at that time I was asking just I was curious,

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Speaker 2: you know, and this became a language malady was very intriguing.

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Speaker 2: Lyrics were a way of like, yeah, just expression and

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Speaker 2: then learning an instrument, of course, everything changes because you

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Speaker 2: can start to really get deeper with the art form.

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Speaker 4: Was there ever a moment where you realized that you

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Speaker 4: could write songs like that?

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Speaker 1: You realized like, I might can pay a bill off

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Speaker 1: of this.

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Speaker 2: Well, tell you something about New Zealand. It's really specialist.

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Speaker 2: We have this competition. It's a high school band competition

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Speaker 2: called the Rock Quest, and it's not televised or anything.

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Speaker 2: It's not like American Idol or anything like that. It's

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Speaker 2: kids in bands, you know, so kids literally stay in

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Speaker 2: high school to enter this competition. It's super important for

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Speaker 2: kids to school. And so I entered this competition as

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Speaker 2: a soloist just on guitar, you know, playing songs from

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Speaker 2: my bedroom that I thought were just for me, and

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Speaker 2: I ended up being like the only girl in the

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Speaker 2: finals and coming second in the whole country, which for

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Speaker 2: New Zealand was a big deal. You know. Yeah, so

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Speaker 2: at that point it's probably the same for you. You have

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Speaker 2: those moments you go, hey, this is not only something

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Speaker 2: that makes me really happy in my bedroom, but wow,

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Speaker 2: people seem to be engaged with it. I'm being acknowledged

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Speaker 2: for it, and maybe I can develop develop it more.

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Speaker 1: And they were fully realized, fully arranged songs.

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Speaker 2: Yeah, they were there, they were. I was about fourteen

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Speaker 2: at the time when that happened, and then later got

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Speaker 2: signed at like seventeen. So from those ages, I was

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Speaker 2: developing songs in the studio, learning how to record on

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Speaker 2: an eight track, So the songs moved from being less

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Speaker 2: guitar based and more recording the entire arrangement on vocals,

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Speaker 2: and that was really inspiring to me, you know, fleshing

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Speaker 2: out the drum beat, just beatboxing or just little silly ideas,

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Speaker 2: but that became settled down. You know a song I

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Speaker 2: wrote when I was sixteen, which is probably the song

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Speaker 2: that broke me first here in America before the Gotya.

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Speaker 1: Your debut?

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Speaker 2: That was the debut.

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Speaker 1: Yeah, So how do you How does your debut album

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Speaker 1: feel in contrast to what you're working on now? As

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Speaker 1: far as I always feel like you're working all your

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Speaker 1: life on your first record.

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Speaker 2: That's true. That's true.

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Speaker 1: Artists wound up like separating themselves from their debut record

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Speaker 1: once they grow and that sort of thing.

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Speaker 2: Yeah, I mean, I'm twenty six now. That record came

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Speaker 2: out when I was twenty one. I started making it

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Speaker 2: when I was about eighteen, you know. And the songs

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Speaker 2: are those ones from your bedroom, you know that you've

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Speaker 2: lived with all your life. And like you said, now

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Speaker 2: it's like it's third album time for me, so you know,

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Speaker 2: new city, new experiences. Everything's changed. The second album, The

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Speaker 2: Golden Echo, for me, was kind of that was a

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Speaker 2: very experimental time for me, you know, moving to LA

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Speaker 2: and so much. Yeah, you're always drawing from where you're at,

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Speaker 2: but the first You're right, there's something like listening to

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Speaker 2: it now you kind of look at it like it's

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Speaker 2: a young child you had or someone and someone you do.

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Speaker 2: You know, you you you knew, but it's it's a

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Speaker 2: strange connection that you have with your debut. Okay it was.

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Speaker 1: Yeah, I was actually trying to let the whole entire

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Speaker 1: s Yeah, I mean, does it feel like a burden

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Speaker 1: that you know, do you feel as though that's not

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Speaker 1: a burden but it's sort of like an asterisk. Mainly

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Speaker 1: people might only know you for that.

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Speaker 2: That's understandable.

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Speaker 1: I mean, yeah, the full spectrum of your Well, how

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Speaker 1: did that collaboration come to.

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Speaker 2: Be like so organic? It's it's kind of because I

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Speaker 2: was making Vows and the main producer I worked with

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Speaker 2: on the album was called Francois Titas, and I knew

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Speaker 2: his work because he produced the first Gutia record and

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Speaker 2: I was in love with it, you know. I was like,

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Speaker 2: this is super prog pop. I was so into it,

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Speaker 2: and I was like, I want to work with a

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Speaker 2: guy that made that album. And so he introduced me

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Speaker 2: and Wally, so we just became friends, and we didn't

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Speaker 2: talk for a good year after we met, and then

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Speaker 2: he just called me up one day. He's like, I've

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Speaker 2: got this song. You know, I'm looking for, you know,

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Speaker 2: the other character in the song, and can I come

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Speaker 2: over this afternoon and show you it and see if

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Speaker 2: you'd be down to singing And just came over or

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Speaker 2: I had a little home bedroom studio, and it's just

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Speaker 2: so organic. The whole thing. The video is like, never

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Speaker 2: any notion that this was going to be what it was.

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Speaker 1: I was going to say, how long did it take

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Speaker 1: you guys to shoot that?

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Speaker 2: As far as that that was the longest most grueling

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Speaker 2: video shit I've ever done in my life, no question,

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Speaker 2: that was. I mean it was a full yeah. So

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Speaker 2: we didn't move for you know, it's like we took

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Speaker 2: toilet breaks. But it was a good forteen hours in

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Speaker 2: that position.

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Speaker 1: Yeah.

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Speaker 2: Yeah, with you know, sort of strategic breaks and then

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Speaker 2: back in and just being fed nuts while we because

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Speaker 2: it's six you know, six or seven photographs and then

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Speaker 2: a second of you know, sorry, six or se six

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Speaker 2: or seven seconds in a photograph. There's six or seven seconds,

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Speaker 2: then a photograph then you know what I mean, you

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Speaker 2: see the process. Yeah, it was. It was a long day.

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Speaker 1: That was amazing. Of course, you had no idea that

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Speaker 1: you know that would lead to.

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Speaker 2: Well would you? I mean, the song is not like

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Speaker 2: what you would hear on the radio, and it's kind

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Speaker 2: of yeah it is right, yeah, well you know more

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Speaker 2: than me. Man, I did not see that coming.

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Speaker 1: That's amazing.

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Speaker 2: That's but I'm here.

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Speaker 1: I'm glad you didn't see that coming. So why why

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Speaker 1: did you leave? I mean, what was the what was

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Speaker 1: the community vibe like in as? Okay? Yes, I'm one

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Speaker 1: of those people that will in New Zealand.

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Speaker 2: Have been a bunch of times. I get it. But

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Speaker 2: the thing is that you need to understand is different.

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Speaker 2: There's a big difference. Well, first start, we do have

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Speaker 2: very different accents. Mine is all over the place these days.

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Speaker 2: But if you go to New Zealand and Australia, here

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Speaker 2: very significant. Should we do the obvious one? Australian say

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Speaker 2: fish and chips. New Zealanders say fish and chips. There's

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Speaker 2: a lot more blunt, it's a lot more the eyes

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Speaker 2: very different. That's New Zealand one on one Australian.

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Speaker 1: Word.

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Speaker 2: Yeah, okay, so that's a good one. It's a good

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Speaker 2: starting place if you give a go back again.

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Speaker 1: It's like Jersey, New Yorkers and New Jersey's always battle

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Speaker 1: with their turf. In DC and Maryland battle with their turf.

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Speaker 1: Is there a South North Carolina turf war going on?

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Speaker 1: South Carolina North Carolina kind of sort of? I mean

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Speaker 1: North Carolina.

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Speaker 4: Well, first off, like when people speak of the Carolinas

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Speaker 4: in North Carolina, we really just count ourselves. Like South

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Speaker 4: Carolina is like its own separate thing, you know what

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Speaker 4: I mean. And so in North Carolina, Our leading export

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Speaker 4: other than basketball is racism. So you know, we we

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Speaker 4: pride ourselves on that.

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Speaker 1: And on the finest show, I mean only the finest.

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Speaker 4: I mean it has been aged in oak barrels, like man,

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Speaker 4: come on. So so yeah, it is kind of like

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Speaker 4: that North Carolina. South Carolina don't really rock like that.

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Speaker 4: And in North Carolina, Charlotte is like the capitol. Well no,

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Speaker 4: I'm sorry, Charlotte is the biggest city.

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Speaker 1: That's why all the.

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Speaker 4: Banks are so Charlotte is like kind of they think

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Speaker 4: they're aggressive. They're well they think they are, but they're

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Speaker 4: really not. Yeah, kind of polity because it's like they

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Speaker 4: kind of want to be Atlanta. So they're like in

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Speaker 4: Atlanta on the cusp, you know what I mean, they

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Speaker 4: trying to get there.

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Speaker 1: But it's like, you know, it's like Atlanta is the

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Speaker 1: Bentley and Charlotte is like the three hundred cust like

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Speaker 1: it looked like.

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Speaker 4: A Bentley into a real Bentley.

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Speaker 1: Is the same with I mean, would who would have

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Speaker 1: the upper hand between New Zealand and Australia culturally as.

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Speaker 2: The upper hand in terms of now this is what

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Speaker 2: are we talking.

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Speaker 1: I don't want you to throw.

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Speaker 2: I'm just saying, oh, look they you know, like the

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Speaker 2: landscape of the two countries are chalk and cheese. Really yeah,

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Speaker 2: I really have to go there and experience it because

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Speaker 2: they've both got so much to offer and they're both

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Speaker 2: being a huge part of my journey. You know. I

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Speaker 2: lived in Melbourne for five years, made vows there, and

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Speaker 2: New Zealand's my home. That's where I grew up. That's

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Speaker 2: where I go home every Christmas to see my family.

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Speaker 2: So they're both important places in America is a really

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Speaker 2: important place now for me. This is New York's a

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Speaker 2: home for me now, you know, it's amazing here.

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Speaker 1: Was it hard for you to leave there? Did you

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Speaker 1: have to come to America just so that your music

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Speaker 1: career could.

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Speaker 2: I think it's it's like, I like the idea of

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Speaker 2: continuing to move forward and having your experiences and form

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Speaker 2: your art, you know. And I've made a record there.

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Speaker 2: I felt like I'd taken a lot of experience from

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Speaker 2: the place, and I just signed to Warner Brothers in

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Speaker 2: LA and it felt like, yeah, let's do it, you know,

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Speaker 2: a new experience, a new record. And then same thing

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Speaker 2: with this one's third album. And I've gotten up and

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Speaker 2: planted in the New City again. Something about that feels

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Speaker 2: natural to me.

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Speaker 1: I see, so in La you mentioned I know that

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Speaker 1: you've you've crossed paths with the what I called the

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Speaker 1: animaniacs of soul, like whenever the Cat, just like the

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Speaker 1: way that they run that Tasmanian devil like swirl of

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Speaker 1: wind running in that warner by this tower, Like, yeah,

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Speaker 1: that's that's how I think of that movement. I mean

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Speaker 1: talking about no No, I was just thinking.

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Speaker 2: Of you know, thunder Cat worked a lot on the

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Speaker 2: last album. Yeah he became Yeah, it's and again, man,

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Speaker 2: all of these connections have been so organic. It's even

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Speaker 2: how I kind of met you. It was just a

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Speaker 2: mutual like, you know.

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Speaker 1: I kind of stalked you.

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Speaker 2: I don't put it on public, you know.

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Speaker 4: But look, I wasn't go down.

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Speaker 1: I wasn't in the I kept it out thought. I

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Speaker 1: kept it out in the open. I saw her this

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Speaker 1: is I first saw her on Lino and usually the

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Speaker 1: music act is the very last segment before the show changes.

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Speaker 1: And we were this this is obviously in the early

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Speaker 1: part of UH Late Night with Jimmy Fallon, because I

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Speaker 1: was still running home to watch the show afterwards. Well,

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Speaker 1: I mean after like a year, then that wore off

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Speaker 1: and I stopped. But I'm just saying that when she

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Speaker 1: was on like, I was amazed, and you know, then

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Speaker 1: I stalked her in Twitter.

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Speaker 2: And then I'm glad you did.

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Speaker 4: Hey, sometimes the stalker wis That is the lesson of today.

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Speaker 1: I don't never lets keep you from the woman you

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Speaker 1: look that sometimes to stalk her, wimp. I just had

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Speaker 1: to take someone give me. I gotta say, you just

356
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Speaker 1: spit on your computer. I did computer. Good job, good job. No,

357
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Speaker 1: I don't love you, Kimber. No, I mean I should

358
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Speaker 1: have get a direct message. You're taking that ship direct

359
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Speaker 1: because now now now it's in the world. No, in all,

360
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Speaker 1: in all seriousness.

361
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Speaker 2: So organic relationships, yeah, just friends, you know, people that

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00:18:25,840 --> 00:18:28,520
Speaker 2: you meet out or at a gym or you know,

363
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Speaker 2: the same way we did. And all of a sudden,

364
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Speaker 2: I was living at a farm in LA It was

365
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Speaker 2: very weird. Yeah, I'd like eight sheep man, eight sheep

366
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Speaker 2: in the backyard.

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Speaker 1: Yeah angels.

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Speaker 2: Yeah, this is this lady. I found it on Craigslist

369
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Speaker 2: and she had a little urban city farm at the

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Speaker 2: back of her house in Silver Lake. Three sheet dogs,

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Speaker 2: twenty chickens.

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Speaker 1: Wow.

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Speaker 2: So thunder Cat Steve Stephen come over and we would

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Speaker 2: just hang out with the animals and then he'd be like,

375
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Speaker 2: play me what you're working on. And he'd be like, oh,

376
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Speaker 2: I've got an idea, you know, press recording. That's just

377
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Speaker 2: how it started. We're just lying like outside with the animals,

378
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Speaker 2: listening to tunes that I was working on. Isn't that crazy?

379
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Speaker 1: I lived in Silver Lake for you, there was a

380
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Speaker 1: farm in silver Lake.

381
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Speaker 2: No one believes me.

382
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Speaker 1: I moved out of silver Lake because the skunk used

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Speaker 1: to chase me home.

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Speaker 2: Wow.

385
00:19:23,960 --> 00:19:27,760
Speaker 1: Wow, No, like if you weren't home at a certain hour,

386
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Speaker 1: you know, wild animals, that's.

387
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Speaker 2: Well, check this out. Coyotes do you say coyotes?

388
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Speaker 1: Coyotes?

389
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Speaker 2: Coyotes. Coyotes came and ate six of the chickens. So

390
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Speaker 2: we had to get three sheep dogs. They were like tough,

391
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Speaker 2: you know, they were the sheep dogs. They kept everyone safe. Yeah.

392
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Speaker 1: Wow, you really did live on the farm.

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Speaker 2: Yeah. So it just started out hanging out of the

394
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Speaker 2: farm and then all of a sudden he was tracking

395
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Speaker 2: ideas and then he was like the base, you know,

396
00:19:52,760 --> 00:19:55,520
Speaker 2: sound of the last record. So it's very cool when

397
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Speaker 2: things happened like that.

398
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Speaker 1: Very creative individual death undercat.

399
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Speaker 2: Oh yeah, it's.

400
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Speaker 1: So still I'm still stuck on farm animal. Can we

401
00:20:06,560 --> 00:20:09,160
Speaker 1: talk about the skunk chasing you? Because there's there's more,

402
00:20:09,359 --> 00:20:13,120
Speaker 1: there's way. I've got a mental image in my head

403
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Speaker 1: running away from the car. Yeah, okay, So like I

404
00:20:17,920 --> 00:20:22,000
Speaker 1: would drive, I would drive up a hill if you

405
00:20:22,119 --> 00:20:24,920
Speaker 1: know California streets, and like some of them are full

406
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Speaker 1: of hills and it's really dark there, and uh, you know,

407
00:20:30,760 --> 00:20:34,760
Speaker 1: I drive and then you'd see, you know, their their eyes.

408
00:20:35,440 --> 00:20:37,760
Speaker 1: There's like three or four of them, maybe in front

409
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Speaker 1: of my door. And I didn't know what to do.

410
00:20:41,520 --> 00:20:43,280
Speaker 1: So I thought, okay, this is a smart idea. Let

411
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Speaker 1: me get back in the car and I'm going to

412
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Speaker 1: approach them at like fifty miles per hour. Like I

413
00:20:49,600 --> 00:20:51,840
Speaker 1: was in a zone of like maybe you should be

414
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Speaker 1: doing twenty. So I figured if I do fifty, house,

415
00:20:55,119 --> 00:20:57,760
Speaker 1: you know, they'll run away. But what I didn't know

416
00:20:58,080 --> 00:21:08,040
Speaker 1: was that in the face of fear they spray you. Yeah,

417
00:21:08,160 --> 00:21:14,200
Speaker 1: I know that now. And literally I got my entire

418
00:21:14,920 --> 00:21:18,040
Speaker 1: like my bill for the car rental. They thought I

419
00:21:18,160 --> 00:21:20,240
Speaker 1: had a lot. They're like, wait, we know you you

420
00:21:20,320 --> 00:21:23,560
Speaker 1: don't smoke weed. And I was like this is skunks

421
00:21:23,880 --> 00:21:26,680
Speaker 1: And I explained and they were like, yeah, you can't

422
00:21:26,720 --> 00:21:31,359
Speaker 1: scare a skunk because they will spray you. Yeah, my

423
00:21:31,600 --> 00:21:34,719
Speaker 1: car and me never get sprayed by a skunk, let

424
00:21:34,760 --> 00:21:38,440
Speaker 1: alone three of them. You have to bathe and tomato sauce.

425
00:21:38,600 --> 00:21:40,400
Speaker 1: Is that a true? Is that a true? I didn't

426
00:21:40,440 --> 00:21:42,800
Speaker 1: know about that, like to get well. I tried to

427
00:21:42,880 --> 00:21:46,320
Speaker 1: dismiss it, but then like, thank god for like we

428
00:21:46,560 --> 00:21:48,960
Speaker 1: culture because everyone just thought like I had the good ship,

429
00:21:52,720 --> 00:21:55,879
Speaker 1: but you always smell like a bakery. No, it was

430
00:21:55,920 --> 00:21:59,000
Speaker 1: the opposite of a bakery. I smelled like I had

431
00:21:59,080 --> 00:22:01,479
Speaker 1: that good feel, like somebody that was on his way

432
00:22:01,480 --> 00:22:06,359
Speaker 1: to it. Yeah. Now that was the worst. Like that

433
00:22:06,640 --> 00:22:09,960
Speaker 1: was mischief night. I don't know if people still celebrate that.

434
00:22:10,000 --> 00:22:12,840
Speaker 1: It was like the night before Halloween. Uh, not to mention,

435
00:22:13,000 --> 00:22:17,320
Speaker 1: I got egged the next night. I got egged in

436
00:22:17,440 --> 00:22:19,920
Speaker 1: Silver Lake. Oh wow, it was a bad first week

437
00:22:20,000 --> 00:22:29,800
Speaker 1: out there. Yeah. So that's my skunk story in Silver Lake. Okay,

438
00:22:29,880 --> 00:22:32,280
Speaker 1: so right about now, you're working on your your third

439
00:22:32,400 --> 00:22:36,280
Speaker 1: album and what is your your your vision or your

440
00:22:37,240 --> 00:22:41,520
Speaker 1: how do you even grow past the level experiments that you've.

441
00:22:41,400 --> 00:22:45,240
Speaker 2: Been Yeah, yeah, well I'm excited to do new things.

442
00:22:45,320 --> 00:22:48,960
Speaker 2: You know. The last record was like a maximalist album.

443
00:22:49,040 --> 00:22:51,320
Speaker 2: I got to meet all these amazing people and kind

444
00:22:51,359 --> 00:22:53,200
Speaker 2: of just invited them all down to the studio, you

445
00:22:53,280 --> 00:22:57,200
Speaker 2: know why not, which was super cool. But I'm really

446
00:22:57,359 --> 00:22:59,920
Speaker 2: enjoying like trying more of a directness with some of

447
00:22:59,920 --> 00:23:02,159
Speaker 2: the beats that I'm writing and things that I'm you know,

448
00:23:02,240 --> 00:23:04,639
Speaker 2: doing as demos. There are a lot more to the

449
00:23:04,720 --> 00:23:06,600
Speaker 2: point than I've ever been, which is exciting and probably

450
00:23:06,680 --> 00:23:09,240
Speaker 2: comes with age and maturity. You kind of start to

451
00:23:09,320 --> 00:23:11,320
Speaker 2: turn more things off and you don't have to do

452
00:23:11,440 --> 00:23:15,400
Speaker 2: as many flourishes to get emotion across, you know, I've

453
00:23:15,400 --> 00:23:19,159
Speaker 2: had more experiences. Yeah, I'm inspired by a lot of

454
00:23:19,200 --> 00:23:20,720
Speaker 2: records at the moment. I've been spending a lot of

455
00:23:20,760 --> 00:23:23,600
Speaker 2: time in Ethiopia the last couple of years.

456
00:23:23,680 --> 00:23:26,120
Speaker 1: Yeah, I was going to say, your Instagram is kind

457
00:23:26,119 --> 00:23:28,879
Speaker 1: of off the chain you just came back from.

458
00:23:30,359 --> 00:23:33,520
Speaker 2: Yeah, It's just crazy that place. It's gotten so under

459
00:23:33,600 --> 00:23:35,520
Speaker 2: my skin, Like I'm hoping to go back every year

460
00:23:35,520 --> 00:23:39,200
Speaker 2: if I can. It's just that powerful. Not only the

461
00:23:39,280 --> 00:23:41,480
Speaker 2: music and the food and the culture, but the people

462
00:23:41,800 --> 00:23:44,680
Speaker 2: have really touched me. And that wasn't really doing gigs

463
00:23:44,760 --> 00:23:47,680
Speaker 2: or anything that was just more doing some kind of work,

464
00:23:47,800 --> 00:23:50,119
Speaker 2: like more on a spirit to like spending time with

465
00:23:50,160 --> 00:23:51,560
Speaker 2: the woman over there. A lot of them are HIV

466
00:23:51,680 --> 00:23:54,600
Speaker 2: positive and kind of being a part of a team

467
00:23:54,680 --> 00:23:56,280
Speaker 2: that does work over this. So that's been really cool

468
00:23:56,320 --> 00:23:58,480
Speaker 2: and I'm really into that balance, you know, of taking

469
00:23:58,600 --> 00:24:00,920
Speaker 2: time completely off music. Have you ever done that?

470
00:24:01,000 --> 00:24:01,160
Speaker 5: Man?

471
00:24:01,640 --> 00:24:07,320
Speaker 2: Seventeen projects? But then it's kind of like you no,

472
00:24:07,520 --> 00:24:10,359
Speaker 2: but it's it is like the you are amazing at that. Actually,

473
00:24:10,440 --> 00:24:12,760
Speaker 2: you know how you have your finger and all out

474
00:24:12,760 --> 00:24:15,240
Speaker 2: of differents that are varied.

475
00:24:15,440 --> 00:24:18,040
Speaker 1: You know, well, is this your version of you need

476
00:24:18,119 --> 00:24:20,320
Speaker 1: to recharge before you start creating, so you have to

477
00:24:20,359 --> 00:24:21,840
Speaker 1: take yourself out of music too.

478
00:24:22,160 --> 00:24:23,760
Speaker 2: Yeah, I think that's one way of looking at it

479
00:24:23,880 --> 00:24:27,040
Speaker 2: for sure, and just fill up with different yeah, ideas,

480
00:24:27,080 --> 00:24:29,920
Speaker 2: experiences and and and being. It's something very powerful about

481
00:24:29,920 --> 00:24:32,680
Speaker 2: being completely anonymous in that place and not there to

482
00:24:32,760 --> 00:24:35,280
Speaker 2: be a musician with all of your that skill set

483
00:24:35,320 --> 00:24:36,879
Speaker 2: of that what that brings, but just to be a

484
00:24:37,000 --> 00:24:40,120
Speaker 2: human being you know, and observe and offer your heart

485
00:24:40,160 --> 00:24:42,520
Speaker 2: and office. So that's been really powerful and I'm excited

486
00:24:42,560 --> 00:24:45,159
Speaker 2: to now channel you know, the rawness of some of

487
00:24:45,200 --> 00:24:48,400
Speaker 2: those experiences into you know, my next body of work.

488
00:24:48,960 --> 00:24:53,639
Speaker 1: Do you have, well, any artist, especially on artists on

489
00:24:53,680 --> 00:24:59,320
Speaker 1: a major label, do you have any thoughts whatsoever about

490
00:25:00,920 --> 00:25:02,840
Speaker 1: you know, how far to the left you can lean

491
00:25:02,920 --> 00:25:06,760
Speaker 1: as far as experimentations are concerned, and how yeah, far

492
00:25:06,880 --> 00:25:10,879
Speaker 1: to the right you should go to make sure that

493
00:25:10,960 --> 00:25:15,239
Speaker 1: it's easily adjustable. Yeah, there was ongoing wars with your

494
00:25:15,320 --> 00:25:16,360
Speaker 1: current A and R right now.

495
00:25:16,800 --> 00:25:19,120
Speaker 2: I mean, of course, I think I asked that question

496
00:25:19,200 --> 00:25:20,760
Speaker 2: to my other musician friends as well. It's like the

497
00:25:20,800 --> 00:25:22,920
Speaker 2: balance is always the same, We're all trying to balance it.

498
00:25:24,359 --> 00:25:26,879
Speaker 2: I'm lucky at Warner Brothers. We talked about this when

499
00:25:26,880 --> 00:25:29,520
Speaker 2: we did the Prince panel. Like Lenny Warnaker like has

500
00:25:29,560 --> 00:25:32,360
Speaker 2: been with me from day one. There he's got amazing music.

501
00:25:32,440 --> 00:25:32,959
Speaker 1: He's still there.

502
00:25:33,840 --> 00:25:37,760
Speaker 2: He's my main he signed me to Warner Brothers.

503
00:25:37,960 --> 00:25:41,200
Speaker 1: Oh my god, that is still there even when we

504
00:25:41,280 --> 00:25:45,600
Speaker 1: did that. Prince Banel, Yeah, him all the time, Prince Yes.

505
00:25:49,720 --> 00:25:51,320
Speaker 1: James Taylor, Yeah.

506
00:25:51,160 --> 00:25:53,359
Speaker 2: He purchased Randy Newman Records. He did the band like

507
00:25:53,480 --> 00:25:56,920
Speaker 2: Park's first record. I mean, this guy is an incredibly

508
00:25:57,000 --> 00:25:59,960
Speaker 2: musical mind. He'll be I'll be showing a special story.

509
00:26:00,320 --> 00:26:02,320
Speaker 2: I mean, just think of how cool this is. Like

510
00:26:03,000 --> 00:26:05,159
Speaker 2: I'll be showing him, you know, you're expecting the A

511
00:26:05,240 --> 00:26:07,080
Speaker 2: and I to tell you to make the chorus bigger, right,

512
00:26:07,080 --> 00:26:08,600
Speaker 2: and you know it's a classic thing. Make it.

513
00:26:09,000 --> 00:26:10,840
Speaker 6: But he'll be like, well, I think, you know, I

514
00:26:10,960 --> 00:26:12,760
Speaker 6: think in the third bar you could make it a

515
00:26:12,760 --> 00:26:14,800
Speaker 6: little more harmonically complex Ian what if you put a

516
00:26:14,920 --> 00:26:17,440
Speaker 6: sound there, you know, just and he will really talk

517
00:26:17,600 --> 00:26:19,520
Speaker 6: to me in that sense of like, you know, it

518
00:26:19,680 --> 00:26:22,879
Speaker 6: just needs a different contrast at that point. And this

519
00:26:23,040 --> 00:26:24,800
Speaker 6: to me is very inspiring, you know, to be able

520
00:26:24,800 --> 00:26:25,520
Speaker 6: to have those kinds of.

521
00:26:25,560 --> 00:26:27,760
Speaker 1: Conversations music in that way.

522
00:26:27,960 --> 00:26:29,560
Speaker 2: Yeah, yeah, yeah, maybe lucky.

523
00:26:30,800 --> 00:26:32,120
Speaker 1: I wouldn't trust that situation.

524
00:26:34,720 --> 00:26:37,080
Speaker 2: But at the same time, I've had my battles, of course,

525
00:26:37,160 --> 00:26:40,040
Speaker 2: you know, and I continue to and that's kind of

526
00:26:40,280 --> 00:26:43,320
Speaker 2: I think the tension that kind of needs to be

527
00:26:43,400 --> 00:26:46,240
Speaker 2: there as well, in a sense that it pushes me

528
00:26:46,400 --> 00:26:49,200
Speaker 2: to explore both sides. And I have a great love

529
00:26:49,240 --> 00:26:51,200
Speaker 2: of pop music, but I feel very strongly that what

530
00:26:51,320 --> 00:26:53,960
Speaker 2: I have to offer is notes is a unique perspective

531
00:26:54,040 --> 00:26:54,200
Speaker 2: on that.

532
00:26:54,359 --> 00:26:54,520
Speaker 1: You know.

533
00:26:56,400 --> 00:26:59,080
Speaker 2: So yeah, I think if you look at it the

534
00:26:59,160 --> 00:27:03,520
Speaker 2: right way, it can be fun. Maybe then it's awful

535
00:27:03,640 --> 00:27:06,240
Speaker 2: sometimes you know, it is. I mean it is really

536
00:27:06,280 --> 00:27:08,359
Speaker 2: hard sometimes, of course, if you're really going for a

537
00:27:08,440 --> 00:27:13,000
Speaker 2: vision and and and people are there to essentially water

538
00:27:13,119 --> 00:27:17,760
Speaker 2: that down. You know. Wow, you know a lot of

539
00:27:17,800 --> 00:27:20,240
Speaker 2: heated conversations and you have to fight hard, you do.

540
00:27:20,480 --> 00:27:22,880
Speaker 2: And I think we you know, we're just talking about

541
00:27:22,920 --> 00:27:26,639
Speaker 2: Prince and it's been very inspiring for me to go

542
00:27:26,760 --> 00:27:28,520
Speaker 2: back into him as an artist and really be so

543
00:27:30,240 --> 00:27:33,080
Speaker 2: reminded of how he never backed down on things, you know,

544
00:27:33,200 --> 00:27:36,280
Speaker 2: and and fought hard, but also was super smart and

545
00:27:36,359 --> 00:27:39,920
Speaker 2: always listened. That's what Lenny always says. Man, he's like

546
00:27:40,920 --> 00:27:43,800
Speaker 2: Prince would you know, he would never he would never

547
00:27:43,880 --> 00:27:45,600
Speaker 2: not be listening to you. He would always be taking

548
00:27:45,640 --> 00:27:47,160
Speaker 2: it in, you know, and he would always go away.

549
00:27:47,560 --> 00:27:49,359
Speaker 2: He'd hang up when he'd be like, I'm not changing

550
00:27:49,400 --> 00:27:51,200
Speaker 2: the record, you know, I'm not, you know. And they

551
00:27:51,240 --> 00:27:53,920
Speaker 2: thought they didn't have an urban song for Diamonds and Parsons.

552
00:27:53,920 --> 00:27:54,119
Speaker 1: I'm not.

553
00:27:54,200 --> 00:27:56,560
Speaker 2: You work it out, you know. But then that night

554
00:27:57,160 --> 00:27:59,360
Speaker 2: he went back to the studio and he he may

555
00:27:59,400 --> 00:28:01,600
Speaker 2: get off, right. He just came in with it the

556
00:28:01,600 --> 00:28:02,600
Speaker 2: next day and put it on the desk.

557
00:28:02,720 --> 00:28:06,520
Speaker 1: That's right when we first spoke about Prince you told

558
00:28:06,600 --> 00:28:10,080
Speaker 1: me your favorite record was Diamonds and Pearls.

559
00:28:11,359 --> 00:28:13,959
Speaker 2: I've seen any of the for you is probably one

560
00:28:13,960 --> 00:28:15,639
Speaker 2: of my favorites, right up there with it.

561
00:28:16,800 --> 00:28:18,560
Speaker 1: You're really big on vocal arrangements, and.

562
00:28:19,720 --> 00:28:21,560
Speaker 2: That's what I'm saying. That's when I got the A

563
00:28:21,720 --> 00:28:24,600
Speaker 2: Trex started making you know, arrangements with only voice.

564
00:28:25,240 --> 00:28:29,600
Speaker 1: So how okay, So you've probably mastered that. I know

565
00:28:29,680 --> 00:28:32,440
Speaker 1: a lot of people that use that device.

566
00:28:32,640 --> 00:28:38,600
Speaker 3: The A t Rex Machineah yeah, but you're probably the

567
00:28:38,680 --> 00:28:41,840
Speaker 3: one person that I know that will find ways to

568
00:28:42,280 --> 00:28:44,880
Speaker 3: push it into Okay.

569
00:28:45,320 --> 00:28:47,000
Speaker 1: I don't want to say it like it's the C word.

570
00:28:47,240 --> 00:28:50,520
Speaker 1: I don't want to say commercial, but to least make

571
00:28:50,600 --> 00:28:53,800
Speaker 1: it more accessible because I know that a lot of artists,

572
00:28:54,520 --> 00:28:58,479
Speaker 1: uh that use that are far on the left as

573
00:28:58,520 --> 00:28:59,960
Speaker 1: far as experimenting is concerned.

574
00:29:00,320 --> 00:29:00,440
Speaker 2: Right.

575
00:29:01,880 --> 00:29:05,200
Speaker 1: What what drew you to that as your weapon of choice?

576
00:29:05,320 --> 00:29:09,280
Speaker 2: Yeah? And well, I think it all comes from feeling limitation.

577
00:29:09,480 --> 00:29:11,840
Speaker 2: So I was doing geeks with just guitar. When I

578
00:29:11,920 --> 00:29:14,560
Speaker 2: first started playing in New Zealand at little Bass my

579
00:29:14,640 --> 00:29:16,600
Speaker 2: dad would take me. You know, I was like sixteen,

580
00:29:16,720 --> 00:29:20,360
Speaker 2: and so I couldn't get in and then I fell

581
00:29:20,400 --> 00:29:22,360
Speaker 2: I needed to express more color, you know, and get

582
00:29:22,440 --> 00:29:24,640
Speaker 2: more across in the performances. So when I learned this

583
00:29:24,680 --> 00:29:26,720
Speaker 2: little boss it was you know, the boss loop pedals,

584
00:29:26,760 --> 00:29:30,040
Speaker 2: the classic ones. I never really really really read the manual,

585
00:29:30,120 --> 00:29:31,120
Speaker 2: but just kind of all right.

586
00:29:31,120 --> 00:29:33,960
Speaker 1: Let me break it down just in case people don't know. Okay,

587
00:29:34,040 --> 00:29:41,040
Speaker 1: so this device is to sing with yourself, yourself over okay, Yeah, yeah.

588
00:29:40,720 --> 00:29:42,720
Speaker 2: That's right, that's right. Yeah you can. You can put

589
00:29:42,760 --> 00:29:44,240
Speaker 2: your instrument down altogether and just.

590
00:29:44,280 --> 00:29:48,160
Speaker 1: Form a bed for guitars first, and then people started

591
00:29:48,200 --> 00:29:50,000
Speaker 1: to sing into the device.

592
00:29:50,160 --> 00:29:51,920
Speaker 2: Yeah that's right. I never used it with guitar though,

593
00:29:51,920 --> 00:29:54,680
Speaker 2: I only used it with vocals, and then eventually found that,

594
00:29:55,560 --> 00:29:57,640
Speaker 2: you know, my voice has a very different texture when

595
00:29:57,640 --> 00:30:00,959
Speaker 2: it's layered, and you know, can sound like a different instrument.

596
00:30:01,080 --> 00:30:03,240
Speaker 2: So I started putting down the guitar and becoming more

597
00:30:03,320 --> 00:30:06,880
Speaker 2: fascinated with that as a as an instrument and of itself.

598
00:30:06,920 --> 00:30:10,880
Speaker 1: You know, do you keep every performance fresh as do

599
00:30:10,960 --> 00:30:15,320
Speaker 1: you have a go to way for using those effects.

600
00:30:15,120 --> 00:30:17,560
Speaker 2: Or here's a funny story for you. When you saw

601
00:30:17,680 --> 00:30:21,000
Speaker 2: Jay Lenno. Okay, that was I still refused to play

602
00:30:21,000 --> 00:30:22,880
Speaker 2: to a click track at that point. Okay, So usually

603
00:30:23,200 --> 00:30:25,200
Speaker 2: when you're doing live television, you probably want to get

604
00:30:25,240 --> 00:30:27,479
Speaker 2: the loop like sync so it doesn't completely fall out

605
00:30:27,520 --> 00:30:29,640
Speaker 2: of time. On the live television. I was very stubborn

606
00:30:29,760 --> 00:30:32,320
Speaker 2: and we had to do it like three times, you know,

607
00:30:32,360 --> 00:30:34,480
Speaker 2: because I was so nervous. My finger was shaking something.

608
00:30:35,760 --> 00:30:38,640
Speaker 2: Because I do. I change it every time, you know,

609
00:30:38,800 --> 00:30:41,280
Speaker 2: I start up the intro just kind of with a

610
00:30:42,120 --> 00:30:43,760
Speaker 2: new loop each time to keep it fresh, because I

611
00:30:43,760 --> 00:30:46,360
Speaker 2: don't want it to get to uh yeah, rehearsed, you

612
00:30:46,400 --> 00:30:48,240
Speaker 2: know too rehearsed, or feeling like, okay, here we go,

613
00:30:48,360 --> 00:30:50,960
Speaker 2: she does this, bud, she does that pod. I really

614
00:30:51,200 --> 00:30:54,600
Speaker 2: thrived on the danger aspect, but of course live television

615
00:30:54,640 --> 00:30:57,760
Speaker 2: is different, you know, you camera crew, and so from

616
00:30:57,840 --> 00:31:00,520
Speaker 2: that point onward, I decided to start, you know, involving

617
00:31:00,560 --> 00:31:03,360
Speaker 2: Nableton live in the set, and we have aspects now

618
00:31:03,400 --> 00:31:06,560
Speaker 2: that a're a little more yeah, you know, locked in.

619
00:31:06,920 --> 00:31:09,000
Speaker 2: But there's something to me that's very important with every

620
00:31:09,040 --> 00:31:12,040
Speaker 2: live show that there's room for collapse, you know, or

621
00:31:12,080 --> 00:31:14,720
Speaker 2: at least the chance of collapse. But you do know

622
00:31:14,800 --> 00:31:17,040
Speaker 2: what I'm talking about, because living on the edge of

623
00:31:17,080 --> 00:31:18,160
Speaker 2: that tension is what's so.

624
00:31:18,440 --> 00:31:21,040
Speaker 1: Has it ever broken down on you? And concert?

625
00:31:21,400 --> 00:31:23,440
Speaker 2: Of course, I mean, you know, and again there's a

626
00:31:23,880 --> 00:31:27,560
Speaker 2: chance for a very human moment, you know, which, yeah,

627
00:31:27,680 --> 00:31:29,320
Speaker 2: you know, we always can back it up if things

628
00:31:29,400 --> 00:31:31,040
Speaker 2: fall out and you ask the audience can we do

629
00:31:31,120 --> 00:31:33,080
Speaker 2: it again? And it's cool. I think always have to

630
00:31:33,160 --> 00:31:34,320
Speaker 2: keep that this somehow.

631
00:31:34,720 --> 00:31:37,239
Speaker 1: Okay, So I want to know basic things about your

632
00:31:37,480 --> 00:31:41,920
Speaker 1: your life musically related? What was what was your first concert?

633
00:31:42,680 --> 00:31:50,640
Speaker 2: It's a band called silver Chair. Oh yeah, we'll check

634
00:31:50,720 --> 00:31:55,720
Speaker 2: it out. They that's right, that's right now. They were fourteen,

635
00:31:55,840 --> 00:31:58,680
Speaker 2: they were twelve. Therefore they were a grund rock band

636
00:31:58,720 --> 00:32:03,120
Speaker 2: from Australia. But you probably don't know this about Silverchair though.

637
00:32:03,360 --> 00:32:05,720
Speaker 2: After they had their big blow up with the grunge band,

638
00:32:05,920 --> 00:32:09,560
Speaker 2: they started making some very wild pop music and Van

639
00:32:09,600 --> 00:32:12,440
Speaker 2: Dyke Parks himself says that he puts Daniel Jones on

640
00:32:12,520 --> 00:32:15,320
Speaker 2: the same level as Brian Wilson as a song Yes,

641
00:32:15,520 --> 00:32:18,360
Speaker 2: he does. Now check this out. The song we just played,

642
00:32:18,440 --> 00:32:21,160
Speaker 2: Daniel Jones wrote that with me. We did that together

643
00:32:21,240 --> 00:32:23,040
Speaker 2: on the piano. He plays the piano on the song

644
00:32:23,120 --> 00:32:25,600
Speaker 2: on the record Daniel Johns from Silverchair.

645
00:32:26,360 --> 00:32:29,440
Speaker 1: Wow, really thought you got.

646
00:32:29,480 --> 00:32:30,680
Speaker 2: To get on the later record.

647
00:32:30,960 --> 00:32:32,840
Speaker 1: That reminds me of when I found out that dude

648
00:32:32,840 --> 00:32:38,840
Speaker 1: from Spin Doctors worked with Blal on his demo. Yeah

649
00:32:38,840 --> 00:32:40,480
Speaker 1: it was wild, that's crazy.

650
00:32:40,560 --> 00:32:41,960
Speaker 2: And Butlal is on the last album.

651
00:32:43,360 --> 00:32:47,200
Speaker 1: Yeah, it's like ten minutes to really make me comprehend.

652
00:32:47,800 --> 00:32:51,840
Speaker 1: I was like, wait, who produces no Spin Doctors. I said, no, no, no, no, no, no,

653
00:32:52,520 --> 00:32:59,960
Speaker 1: wow who produced this? Who produced it? I refused to

654
00:33:00,080 --> 00:33:05,360
Speaker 1: believe it. That's amazing. So okay, this is the second

655
00:33:05,400 --> 00:33:09,800
Speaker 1: time that we mentioned h Van Dyke parks like, how

656
00:33:10,600 --> 00:33:16,720
Speaker 1: did your pass even cross? Because I mean, yeah, he's

657
00:33:16,840 --> 00:33:17,440
Speaker 1: the god.

658
00:33:17,600 --> 00:33:21,000
Speaker 2: Oh he is just he's my fairy godfather. He is

659
00:33:21,120 --> 00:33:24,400
Speaker 2: the sweetest. He really is like this ethereal magical person

660
00:33:24,600 --> 00:33:28,000
Speaker 2: in my life. So Lenny, I mean Lenny is very

661
00:33:28,000 --> 00:33:30,280
Speaker 2: close with Van Dyke, and I had said, what a

662
00:33:30,480 --> 00:33:34,400
Speaker 2: huge fan I was of the Silver Chair record called Diorama,

663
00:33:34,640 --> 00:33:38,040
Speaker 2: and Van Dyke arranged the strings for the whole album.

664
00:33:38,080 --> 00:33:40,920
Speaker 2: Can you imagine this band that had become a huge,

665
00:33:41,080 --> 00:33:44,440
Speaker 2: you know success as a grunge, you know, garage rock band,

666
00:33:44,800 --> 00:33:47,080
Speaker 2: and then they make a record that I swear these

667
00:33:47,120 --> 00:33:50,360
Speaker 2: songs modulate like ten times within each you know, five minutes,

668
00:33:50,560 --> 00:33:53,160
Speaker 2: and he gets Van Dyke to arrange all the strings

669
00:33:53,200 --> 00:33:55,080
Speaker 2: on you know, he learns piano for the album. I

670
00:33:55,200 --> 00:33:56,400
Speaker 2: just thought it was incredible.

671
00:33:56,640 --> 00:33:59,480
Speaker 1: Okay, what's the now Now this is the educational portion

672
00:33:59,640 --> 00:34:00,840
Speaker 1: of of our.

673
00:34:00,800 --> 00:34:07,160
Speaker 2: Radio show Diorama. Yeah, yeah, so I loved.

674
00:34:07,000 --> 00:34:10,960
Speaker 1: That exactly why I wanted this show something Yeah, and

675
00:34:11,280 --> 00:34:14,480
Speaker 1: nerd out. So you're saying that Diorama was their their

676
00:34:14,719 --> 00:34:16,480
Speaker 1: left turn, their departure album.

677
00:34:16,600 --> 00:34:19,400
Speaker 2: Yeah, that's right. Yeah, and you know it didn't do

678
00:34:19,600 --> 00:34:21,759
Speaker 2: so well in terms of a commercially you know, but.

679
00:34:22,200 --> 00:34:24,719
Speaker 1: I have a theory now, as a person that really

680
00:34:24,760 --> 00:34:27,799
Speaker 1: doesn't know much about Silver Chair, what was the album

681
00:34:27,840 --> 00:34:28,600
Speaker 1: that came out before?

682
00:34:29,200 --> 00:34:33,759
Speaker 2: Oh, that would have been Neon Ballroom. Yeah, I mean

683
00:34:33,800 --> 00:34:37,239
Speaker 2: it was soon after the big one was I don't

684
00:34:37,280 --> 00:34:39,840
Speaker 2: know what the big one was in America, frog Stump

685
00:34:40,040 --> 00:34:45,279
Speaker 2: or oh wow, they were fourteen Wow, that was something

686
00:34:45,320 --> 00:34:48,640
Speaker 2: like that school or maybe sixteen or I don't know.

687
00:34:48,960 --> 00:34:52,359
Speaker 1: So they were massively large, and you know, these cute

688
00:34:52,440 --> 00:34:58,799
Speaker 1: kids playing adult music. And I have a theory about uh,

689
00:34:59,360 --> 00:35:04,320
Speaker 1: what they called the Departure records, which you know, I

690
00:35:04,400 --> 00:35:08,279
Speaker 1: mean you'll see it as like, oh, spiritual maturity and

691
00:35:08,480 --> 00:35:12,480
Speaker 1: growing into the thing, and I guess and it's not

692
00:35:12,560 --> 00:35:17,080
Speaker 1: coming from a cynical place. But for every departure album

693
00:35:17,360 --> 00:35:23,240
Speaker 1: that there is, there's always the mountain or the shadow

694
00:35:23,320 --> 00:35:26,880
Speaker 1: of the eclipse of an album or an image that

695
00:35:26,960 --> 00:35:33,400
Speaker 1: they can't escape. And they will do anything, sometimes consciously

696
00:35:33,680 --> 00:35:38,680
Speaker 1: and other times subconsciously, like in the case of the

697
00:35:38,719 --> 00:35:44,359
Speaker 1: Beastie Boys making Paul's Boutique, they wanted to wash away

698
00:35:44,440 --> 00:35:47,719
Speaker 1: the braddy frat boy image. That fight for your right

699
00:35:47,960 --> 00:35:53,759
Speaker 1: was in the case of there's a ride going on

700
00:35:53,920 --> 00:36:01,920
Speaker 1: by Sly, you know, having just conquered Woodstock in nineteen

701
00:36:02,040 --> 00:36:05,800
Speaker 1: sixty nine and you know, had four top ten hits

702
00:36:05,880 --> 00:36:08,799
Speaker 1: and finally like the dream was realized after like three

703
00:36:08,880 --> 00:36:12,480
Speaker 1: album attempts to make them slam the family stone such

704
00:36:12,520 --> 00:36:15,080
Speaker 1: a you know, a household name, and then he kind

705
00:36:15,080 --> 00:36:17,480
Speaker 1: of turns his back on everything, I mean, making an

706
00:36:17,560 --> 00:36:22,440
Speaker 1: innovative funk record while doing it. But still, you know,

707
00:36:22,640 --> 00:36:27,879
Speaker 1: Prince definitely, I'm reading this manuscript, this book right now

708
00:36:27,960 --> 00:36:33,640
Speaker 1: of him actually planning Purple Rain and then also planning

709
00:36:33,719 --> 00:36:38,279
Speaker 1: his exit strategy. Wow, making around the other day even

710
00:36:38,320 --> 00:36:39,440
Speaker 1: before the Purple Rain.

711
00:36:39,360 --> 00:36:41,879
Speaker 2: Tour, and it's just he's sword he had a vision,

712
00:36:42,080 --> 00:36:43,000
Speaker 2: is that clips.

713
00:36:43,080 --> 00:36:46,600
Speaker 4: That's going to get trapped into so Okay, So with

714
00:36:46,760 --> 00:36:49,760
Speaker 4: that said, would you consider Phrenology to be the roots.

715
00:36:49,760 --> 00:36:57,480
Speaker 1: Bunch of record? You know what I'm I will probably

716
00:36:57,600 --> 00:37:00,800
Speaker 1: say that now, maybe I'll take two twenty five percent

717
00:37:00,920 --> 00:37:06,560
Speaker 1: credit of it being self sabotage, as in not wanting

718
00:37:06,640 --> 00:37:11,120
Speaker 1: to follow things fall apart. But if I'm really truly

719
00:37:11,280 --> 00:37:16,520
Speaker 1: honest tipping point, no no no no no no no

720
00:37:16,560 --> 00:37:18,120
Speaker 1: no no no no, because I really felt like the

721
00:37:18,200 --> 00:37:21,240
Speaker 1: departure for me, no, that that was us being normal,

722
00:37:21,440 --> 00:37:24,520
Speaker 1: that was us trying to be like ground zero normal,

723
00:37:24,760 --> 00:37:29,040
Speaker 1: which I know. My point is that I think with Phrenology,

724
00:37:29,440 --> 00:37:33,240
Speaker 1: with what was happening with Neil Soul, like I shot

725
00:37:33,360 --> 00:37:42,000
Speaker 1: a Neil Soul coke commercial like half the CALORIESK. Like

726
00:37:42,080 --> 00:37:44,279
Speaker 1: only one of those commercials came out, but it was

727
00:37:44,400 --> 00:37:47,360
Speaker 1: like we did a five part commercial. It was like

728
00:37:47,600 --> 00:37:51,759
Speaker 1: me Amel Angie Stone Music, Soul Child, like we were

729
00:37:51,760 --> 00:37:55,360
Speaker 1: all playing like you know, categories like you know, like

730
00:37:55,440 --> 00:37:58,480
Speaker 1: we didn't Wow, it never came out. It never came

731
00:37:58,520 --> 00:38:02,000
Speaker 1: out like one of them came. It was like aries all.

732
00:38:01,960 --> 00:38:07,840
Speaker 7: The Wow Neil Soul game night with Yeah, it was

733
00:38:07,960 --> 00:38:09,640
Speaker 7: like that basically like real life.

734
00:38:11,960 --> 00:38:15,000
Speaker 1: No, but I mean it there was a point where

735
00:38:16,840 --> 00:38:24,920
Speaker 1: I felt like maybe okay because because of us not

736
00:38:25,120 --> 00:38:27,680
Speaker 1: knowing that we were gonna win the Grammy, and then

737
00:38:28,239 --> 00:38:30,080
Speaker 1: Tarik wanted to shoot a movie and I wanted to

738
00:38:30,480 --> 00:38:33,279
Speaker 1: see Voodoo through through the tour, like we took two

739
00:38:33,320 --> 00:38:36,279
Speaker 1: thousand off, which should have been the cash in year,

740
00:38:37,280 --> 00:38:39,239
Speaker 1: you know, and instead we were like, okay, we'll come

741
00:38:39,280 --> 00:38:40,960
Speaker 1: back January two thousand and one and do it all

742
00:38:41,000 --> 00:38:45,600
Speaker 1: over again. And then it was just like maybe we

743
00:38:45,760 --> 00:38:51,320
Speaker 1: felt like our territorial pissing marks were getting violated. So

744
00:38:51,400 --> 00:38:54,560
Speaker 1: it's sort of like, okay, well we're gonna show y'all,

745
00:38:54,560 --> 00:38:57,600
Speaker 1: we're gonna do everything but neo soul. But then everyone

746
00:38:57,719 --> 00:38:59,959
Speaker 1: had that idea because you know, I mean Stane Cone

747
00:39:00,440 --> 00:39:04,719
Speaker 1: and definitely Speaker Box had that that we're going to

748
00:39:04,760 --> 00:39:07,520
Speaker 1: turn our back on this thing. Like everybody was going contrary,

749
00:39:09,000 --> 00:39:12,920
Speaker 1: including D'Angelo, like you know, when we started Black Messiah,

750
00:39:13,000 --> 00:39:15,200
Speaker 1: like it was going to be way more radical, way

751
00:39:15,320 --> 00:39:18,359
Speaker 1: more wow it. You know, in his mind he wanted

752
00:39:18,400 --> 00:39:23,279
Speaker 1: to do like fishbones, give a monkey brain give I

753
00:39:23,320 --> 00:39:31,440
Speaker 1: can't pronounce it, yeah, you know, so I guess I

754
00:39:31,480 --> 00:39:33,680
Speaker 1: don't know, I mean, but it still worked for us,

755
00:39:33,760 --> 00:39:37,439
Speaker 1: that's the thing. Though it still worked so I feel

756
00:39:37,560 --> 00:39:41,160
Speaker 1: like the tipping point wasn't our departure record, but it

757
00:39:41,239 --> 00:39:44,440
Speaker 1: was just like it was the album that I had

758
00:39:44,480 --> 00:39:46,279
Speaker 1: the least, and I was just like, Okay, what do

759
00:39:46,360 --> 00:39:48,360
Speaker 1: I do. I'll take instructions.

760
00:39:48,680 --> 00:39:50,600
Speaker 2: Sometimes I look at making albums like an itch you

761
00:39:50,680 --> 00:39:52,480
Speaker 2: need to scratch, you know. And when you said something

762
00:39:52,480 --> 00:39:55,000
Speaker 2: about like the eclipse or the vision, that something that's

763
00:39:55,120 --> 00:39:57,000
Speaker 2: lingering and the subconscious that you need to kind of

764
00:39:57,080 --> 00:39:59,760
Speaker 2: grab for after you've had a moment with a record

765
00:39:59,840 --> 00:40:03,040
Speaker 2: or I don't know, there's there's there's something in the

766
00:40:03,120 --> 00:40:04,600
Speaker 2: back of your mind that you're like, I need to

767
00:40:04,640 --> 00:40:07,799
Speaker 2: get it this. I need to unveil this something that's there.

768
00:40:07,880 --> 00:40:10,759
Speaker 2: And whether that be a highly you know six you

769
00:40:10,800 --> 00:40:14,200
Speaker 2: don't know whether that's going to Like do you listen.

770
00:40:14,080 --> 00:40:18,399
Speaker 1: To someone and that gets you amped? Like last week

771
00:40:18,800 --> 00:40:23,399
Speaker 1: Common played me like five songs from his new record Wow,

772
00:40:24,120 --> 00:40:25,759
Speaker 1: and I was feeling some sort of and I'm working

773
00:40:25,800 --> 00:40:28,120
Speaker 1: on this record, so I'm feeling some sort of way

774
00:40:28,280 --> 00:40:32,799
Speaker 1: like yo, I gotta come with it, Like I really

775
00:40:32,880 --> 00:40:35,640
Speaker 1: gotta come with it. So I'll say the first time

776
00:40:35,680 --> 00:40:40,279
Speaker 1: in ten years I felt like really, you know, I mean,

777
00:40:40,360 --> 00:40:43,319
Speaker 1: when Dyla died then I was just like, I don't

778
00:40:43,360 --> 00:40:45,879
Speaker 1: want to do music no more and only like one

779
00:40:45,960 --> 00:40:47,920
Speaker 1: record a year, that sort of thing. So maybe between

780
00:40:48,000 --> 00:40:50,239
Speaker 1: like two thousand and six and twenty sixteen, I had

781
00:40:51,600 --> 00:40:54,960
Speaker 1: this dark law of not really wanting to put my

782
00:40:55,040 --> 00:40:58,560
Speaker 1: heart into the record process, like just put all that

783
00:40:58,640 --> 00:41:00,759
Speaker 1: passion one record in one record. Now, I'm just like,

784
00:41:01,800 --> 00:41:03,839
Speaker 1: I gotta come with it. So like, is there an

785
00:41:03,960 --> 00:41:10,360
Speaker 1: artist that you hear that gets your juices flowing? And

786
00:41:10,400 --> 00:41:13,120
Speaker 1: I don't mean like I could do that. I don't

787
00:41:13,160 --> 00:41:13,640
Speaker 1: mean that way.

788
00:41:13,680 --> 00:41:15,879
Speaker 2: Yeah, but I mean, oh man, there are just there's

789
00:41:15,920 --> 00:41:18,520
Speaker 2: so many. I will say that as we were talking

790
00:41:18,560 --> 00:41:21,440
Speaker 2: about New Zealand before, there's some very special things that

791
00:41:21,520 --> 00:41:23,719
Speaker 2: come out of New Zealand. And there's two brothers and

792
00:41:23,800 --> 00:41:26,799
Speaker 2: I listened a lot to well, you know, Unknown Mortal

793
00:41:26,840 --> 00:41:30,680
Speaker 2: oakstro I'm shore. So that's Ruben Nielsen, who I've known

794
00:41:30,760 --> 00:41:32,279
Speaker 2: for years because he had a punk band when I

795
00:41:32,440 --> 00:41:34,000
Speaker 2: was a kid, and I used to go to his

796
00:41:34,120 --> 00:41:36,920
Speaker 2: shows and sneak in underage and be front row. They

797
00:41:36,960 --> 00:41:39,360
Speaker 2: were called the mint Chicks. They were so rare, they

798
00:41:39,440 --> 00:41:42,480
Speaker 2: were great, and the singer of the band huh they

799
00:41:42,520 --> 00:41:46,640
Speaker 2: were punk, yeah, super post punk, kind of super screamy,

800
00:41:46,760 --> 00:41:49,239
Speaker 2: but but you know, great kind of melodic guitar lines,

801
00:41:49,400 --> 00:41:50,480
Speaker 2: very angular rhythms.

802
00:41:50,520 --> 00:41:50,680
Speaker 1: It was.

803
00:41:51,040 --> 00:41:54,719
Speaker 2: It was fantastic. And the lead singer of that band

804
00:41:54,840 --> 00:41:57,680
Speaker 2: was Cody Nielsen, which is Ruben's brother. Now he has

805
00:41:57,760 --> 00:42:03,200
Speaker 2: his own side projects, his on Ricos. I can't start

806
00:42:03,320 --> 00:42:06,240
Speaker 2: listening to it, and like, they just keep reinventing themselves.

807
00:42:06,280 --> 00:42:08,320
Speaker 2: You know, I've seen not everyone knows their stories, but

808
00:42:08,719 --> 00:42:11,759
Speaker 2: they just keep starting these projects. And to me, that's

809
00:42:11,800 --> 00:42:13,640
Speaker 2: really inspiring. And when you say like I've got to

810
00:42:13,760 --> 00:42:16,920
Speaker 2: come with it or kind of keep on that, that

811
00:42:17,080 --> 00:42:20,080
Speaker 2: new energy, I don't know, it's it's cool inspires me.

812
00:42:24,960 --> 00:42:26,720
Speaker 1: What was the first record you ever purchased?

813
00:42:27,920 --> 00:42:31,480
Speaker 2: Wow? You know what? One of the very first albums

814
00:42:31,520 --> 00:42:33,920
Speaker 2: I ever bought with my own money was Frank by

815
00:42:33,960 --> 00:42:37,759
Speaker 2: Amy wine House. We've talked about this before, and I

816
00:42:37,880 --> 00:42:39,640
Speaker 2: told you what an important artist she was for me

817
00:42:39,719 --> 00:42:43,240
Speaker 2: for those reasons. I listened to lots of other albums

818
00:42:43,239 --> 00:42:45,319
Speaker 2: before then, but there was something very special about picking

819
00:42:45,360 --> 00:42:47,200
Speaker 2: that up. I didn't know anything about her. I was like,

820
00:42:47,400 --> 00:42:49,719
Speaker 2: just looks sick on the front cover.

821
00:42:49,960 --> 00:42:51,680
Speaker 1: Wait, you just did it based on the album cover.

822
00:42:52,000 --> 00:42:52,720
Speaker 2: I don't know anything.

823
00:42:53,080 --> 00:42:54,000
Speaker 1: You didn't hear anything.

824
00:42:54,400 --> 00:42:56,120
Speaker 2: I listened to it in the record store, but I

825
00:42:56,160 --> 00:42:57,840
Speaker 2: picked it up because you know, you know, when you

826
00:42:58,080 --> 00:43:00,800
Speaker 2: I love that. I missed that the CD on and

827
00:43:00,880 --> 00:43:02,920
Speaker 2: I am listening to it and I thought, this sounds

828
00:43:03,000 --> 00:43:05,719
Speaker 2: great because she she was a guitarist too, and she

829
00:43:05,840 --> 00:43:07,680
Speaker 2: was playing these jazz and versions that I was learning,

830
00:43:08,040 --> 00:43:10,400
Speaker 2: but she had beats. And that's what I always felt was,

831
00:43:10,480 --> 00:43:12,040
Speaker 2: you know, I wanted to explore. I want to get

832
00:43:12,080 --> 00:43:14,440
Speaker 2: tougher with my son. I want to be a safe songwriter,

833
00:43:14,560 --> 00:43:16,440
Speaker 2: you know, just keep it all pretty, and I wanted

834
00:43:16,440 --> 00:43:20,239
Speaker 2: it to have, you know, like some balls, and she was, man,

835
00:43:20,320 --> 00:43:22,239
Speaker 2: she just took me to school, you know, and all

836
00:43:22,280 --> 00:43:25,040
Speaker 2: of these singers. And it's so funny, man, how the

837
00:43:25,080 --> 00:43:26,880
Speaker 2: world connects people. Isn't that crazy?

838
00:43:27,480 --> 00:43:27,680
Speaker 1: Yeah?

839
00:43:27,880 --> 00:43:28,120
Speaker 2: It is.

840
00:43:29,160 --> 00:43:32,399
Speaker 1: So I'm just like, how do you know about beats? Though?

841
00:43:32,440 --> 00:43:38,440
Speaker 1: I mean, like the average I'm just saying I'm trying

842
00:43:38,480 --> 00:43:41,279
Speaker 1: not to be cultural elitist or sexist or any of

843
00:43:41,320 --> 00:43:45,840
Speaker 1: these things, but normally there is an older figure, trickled

844
00:43:45,880 --> 00:43:50,120
Speaker 1: down person Like I'm the youngest people of people in

845
00:43:50,200 --> 00:43:52,200
Speaker 1: my brood, so this was handed down. I mean, what

846
00:43:52,320 --> 00:43:55,520
Speaker 1: about you guys, Like were you I had an older

847
00:43:55,600 --> 00:43:58,200
Speaker 1: sister who was really into music. She's the one that

848
00:43:58,239 --> 00:43:59,400
Speaker 1: got me in the hip hop. She's the one that

849
00:43:59,440 --> 00:44:02,719
Speaker 1: pretty much triple Prince. Yeah, yeah, where did you fall?

850
00:44:03,120 --> 00:44:05,719
Speaker 1: William Bill? I was into jazz and I had really

851
00:44:05,719 --> 00:44:07,800
Speaker 1: great teachers in high school, and then I went to

852
00:44:07,880 --> 00:44:10,000
Speaker 1: Africa and when I was in college and that sort

853
00:44:10,040 --> 00:44:19,120
Speaker 1: of I love how the white people. No, I'm the

854
00:44:19,160 --> 00:44:20,880
Speaker 1: only one in this room that's not that hasn't been.

855
00:44:21,000 --> 00:44:23,480
Speaker 4: I've been to South Africa, but that doesn't you know, Yeah,

856
00:44:23,880 --> 00:44:26,759
Speaker 4: that's not real Africa apparently not. Yeah, I mean from

857
00:44:26,800 --> 00:44:28,719
Speaker 4: what from you talk to people from the content, they

858
00:44:28,800 --> 00:44:32,880
Speaker 4: say that that's like the most westernized country.

859
00:44:36,960 --> 00:44:41,000
Speaker 1: I want to it's the most really hard right now Africa.

860
00:44:41,080 --> 00:44:43,319
Speaker 2: Yet I'm just saying, but it does bring to mind

861
00:44:43,400 --> 00:44:46,040
Speaker 2: actually when we're talking about being young and what was inspiring.

862
00:44:46,160 --> 00:44:49,200
Speaker 2: I love musical theater and always this makes me sound

863
00:44:49,239 --> 00:44:51,279
Speaker 2: like I was a musical theater but I you know,

864
00:44:51,360 --> 00:44:53,960
Speaker 2: I was really drawn to the Well, there's such a

865
00:44:54,040 --> 00:44:54,880
Speaker 2: connotation with that.

866
00:44:55,640 --> 00:44:58,000
Speaker 1: Your heads down. Oh no, I'm just listening. I'm just listening.

867
00:44:58,120 --> 00:45:02,359
Speaker 1: You weren't in musical theater? Hell no, why now?

868
00:45:02,520 --> 00:45:04,719
Speaker 2: I know that's what I mean.

869
00:45:05,280 --> 00:45:09,319
Speaker 1: It wasn't me say heal like h e no man,

870
00:45:11,000 --> 00:45:15,040
Speaker 1: like I tried. I tried. I know now, Okay, so

871
00:45:15,200 --> 00:45:18,719
Speaker 1: we have three theater kids in there before. I did

872
00:45:18,719 --> 00:45:20,359
Speaker 1: a couple of places before I knew.

873
00:45:20,800 --> 00:45:21,680
Speaker 2: Yo. You know what I did?

874
00:45:22,440 --> 00:45:25,480
Speaker 1: I did brew. I did hair in high school. I

875
00:45:25,560 --> 00:45:28,279
Speaker 1: didn't I did hair. I talked about I did like

876
00:45:28,360 --> 00:45:30,080
Speaker 1: mus school, but I was in music. I forgot about that.

877
00:45:30,280 --> 00:45:30,680
Speaker 7: I did hair.

878
00:45:30,960 --> 00:45:32,640
Speaker 1: I did like school Christmas places and stuff like that.

879
00:45:32,760 --> 00:45:34,480
Speaker 1: I was about to say, everyone in this room needs

880
00:45:34,480 --> 00:45:37,120
Speaker 1: to stop lying. I know y'all was involved with music

881
00:45:37,200 --> 00:45:40,399
Speaker 1: I did. I was a black Sanna actually really yeah,

882
00:45:41,360 --> 00:45:45,040
Speaker 1: have the beard back then. I was like thirteen at

883
00:45:45,080 --> 00:45:46,719
Speaker 1: the time, but I was. I was black Sanna in

884
00:45:46,800 --> 00:45:50,799
Speaker 1: a really white school in Indiana. So in Indian all

885
00:45:50,800 --> 00:45:53,880
Speaker 1: the places, right, they was hanging in Indiana? Yeah, Like,

886
00:45:53,960 --> 00:45:56,720
Speaker 1: I wait, did you think about the hazy shaded criminals

887
00:45:58,440 --> 00:46:04,160
Speaker 1: criminal Okay, wait, we're getting off all the roop no period.

888
00:46:05,280 --> 00:46:08,560
Speaker 2: Yeah, So I think some of the melodic interests might

889
00:46:08,640 --> 00:46:10,200
Speaker 2: have come from a love of that. But when you're

890
00:46:10,200 --> 00:46:12,200
Speaker 2: talking about beats, I know what you mean. I'm trying

891
00:46:12,239 --> 00:46:14,440
Speaker 2: to think I love Jurassic Five When I was in

892
00:46:14,560 --> 00:46:16,680
Speaker 2: high school. I listened to them a lot. You know.

893
00:46:16,760 --> 00:46:18,960
Speaker 2: There were certain acts that got me thinking, why does

894
00:46:19,000 --> 00:46:21,279
Speaker 2: this make my body move like this? And you see,

895
00:46:21,320 --> 00:46:24,040
Speaker 2: I started to write vocal lines that were percussive, you know,

896
00:46:24,120 --> 00:46:27,000
Speaker 2: I wanted to find the bits between to sing it.

897
00:46:27,200 --> 00:46:31,120
Speaker 1: So maybe that's what I'm now seeing the Jurassic Five.

898
00:46:31,200 --> 00:46:33,640
Speaker 1: What happened to Wait, I'm gonna tell you something funny.

899
00:46:33,840 --> 00:46:36,320
Speaker 1: I love them too. They were great. So imagine it

900
00:46:36,480 --> 00:46:40,360
Speaker 1: being like nineteen ninety nine, ninety eight, ninety nine, right,

901
00:46:41,520 --> 00:46:47,360
Speaker 1: and so okay, I'm in my agent's office and we

902
00:46:47,440 --> 00:46:50,800
Speaker 1: got to offer. And okay, I don't mean it's no

903
00:46:51,280 --> 00:46:55,520
Speaker 1: sort of way, just understand the logistics of the situation.

904
00:46:56,600 --> 00:46:59,200
Speaker 1: She's saying that, Okay, you guys are going to open

905
00:46:59,760 --> 00:47:03,400
Speaker 1: for or Jurassic five and Black Eyed Peas and we

906
00:47:03,480 --> 00:47:06,320
Speaker 1: started laughing. He was like, wait what he said? You

907
00:47:06,440 --> 00:47:07,799
Speaker 1: guys want to open? I was like, open?

908
00:47:09,080 --> 00:47:09,160
Speaker 8: Now?

909
00:47:09,280 --> 00:47:12,560
Speaker 1: Was ninety nine? This before Fergie came. The Peas and

910
00:47:12,680 --> 00:47:15,520
Speaker 1: Jurassic five was like the consistential underground group groups that

911
00:47:15,600 --> 00:47:18,600
Speaker 1: were normally open for the roots, who at this time

912
00:47:18,640 --> 00:47:21,960
Speaker 1: were in their platinum powers or whatever. But no, the

913
00:47:22,040 --> 00:47:27,319
Speaker 1: thing was is that hip hop so rarely came down

914
00:47:27,480 --> 00:47:32,560
Speaker 1: Under to Australia to New Zealand that whoever just went

915
00:47:32,800 --> 00:47:35,759
Speaker 1: over there was the man and did five days. If

916
00:47:35,800 --> 00:47:41,640
Speaker 1: you did big day out, the big festival, then suddenly

917
00:47:41,840 --> 00:47:47,319
Speaker 1: you became. So there was like an inside joke that like, yo,

918
00:47:47,640 --> 00:47:53,920
Speaker 1: Jurassic five can play stadiums in Australia. Probably it's like

919
00:47:55,320 --> 00:47:59,000
Speaker 1: Black Eyed Peas have an audience of ten thousand in Australia.

920
00:47:59,640 --> 00:48:02,960
Speaker 1: Ben Harper can play stadiums like so all the acts

921
00:48:03,960 --> 00:48:07,120
Speaker 1: that I mean it was the Roots used to play

922
00:48:07,239 --> 00:48:09,120
Speaker 1: like we would go to places that no one else

923
00:48:09,160 --> 00:48:13,040
Speaker 1: would go and then conquered. So I always wondered I

924
00:48:13,160 --> 00:48:16,440
Speaker 1: was going to ask what was the Jurassic five effect

925
00:48:16,640 --> 00:48:20,799
Speaker 1: on they were like the Beatles, Yeah, because no one

926
00:48:20,840 --> 00:48:21,680
Speaker 1: else would go over there.

927
00:48:21,760 --> 00:48:24,360
Speaker 2: That's right when New Zealand's interesting. We're talking about the differences,

928
00:48:24,400 --> 00:48:26,800
Speaker 2: but R and B and soul is very important in

929
00:48:26,840 --> 00:48:29,360
Speaker 2: New Zealand, more important. I'd say. It's funny because of

930
00:48:29,400 --> 00:48:31,840
Speaker 2: course you have Highest Coyote and these incredible arm b

931
00:48:32,080 --> 00:48:33,680
Speaker 2: x coming out of Australia, but it's more of a

932
00:48:33,840 --> 00:48:35,600
Speaker 2: rock thing, you know, with a lot of the music

933
00:48:35,640 --> 00:48:38,319
Speaker 2: when you're growing up New Zealand. The Maldi people are

934
00:48:38,440 --> 00:48:42,200
Speaker 2: very amazing rhythmic music, very melodic, very soulful. You know,

935
00:48:42,520 --> 00:48:45,160
Speaker 2: they're playing churches. They have the mutte eyes. So hip

936
00:48:45,160 --> 00:48:47,640
Speaker 2: hop's very big in New Zealand. Hip hop's really big

937
00:48:47,840 --> 00:48:51,120
Speaker 2: and soul artists said, yeah, I remember these these head

938
00:48:51,440 --> 00:48:54,239
Speaker 2: these are artists were headlining huge venues. You know, they

939
00:48:54,280 --> 00:48:56,839
Speaker 2: were big. And you know, when you live so far away,

940
00:48:56,920 --> 00:48:58,840
Speaker 2: I mean from New York, it's probably takes me twenty

941
00:48:58,960 --> 00:49:01,160
Speaker 2: two hours to get home, almost something insane. You know,

942
00:49:01,920 --> 00:49:04,839
Speaker 2: you're so curious about music from other parts of the world.

943
00:49:04,920 --> 00:49:08,560
Speaker 2: It becomes a I don't know, it becomes a little obsession.

944
00:49:08,560 --> 00:49:11,440
Speaker 2: You know, I've found something on I was around at

945
00:49:11,440 --> 00:49:13,759
Speaker 2: the start of blogs and everything, obviously, and your friends

946
00:49:13,800 --> 00:49:16,319
Speaker 2: starts telling you about this thing, you know, and then

947
00:49:16,360 --> 00:49:18,319
Speaker 2: you take a little rabbit hole with that and you're

948
00:49:18,360 --> 00:49:20,960
Speaker 2: so far from it that it's so exotic and exciting.

949
00:49:22,719 --> 00:49:29,080
Speaker 1: So have you coming back to Australia, I mean after

950
00:49:30,040 --> 00:49:32,080
Speaker 1: your Grammy success or whatever, like was it the.

951
00:49:34,239 --> 00:49:34,279
Speaker 2: Like?

952
00:49:34,360 --> 00:49:37,240
Speaker 1: Have you had a homecoming welcome as far as New Zealand?

953
00:49:37,320 --> 00:49:41,800
Speaker 2: Right, Yeah, you know it's a big deal. You know,

954
00:49:41,920 --> 00:49:43,719
Speaker 2: it's a big deal for a country so small when

955
00:49:43,800 --> 00:49:47,719
Speaker 2: artists get recognized and in America, same for Australia, but

956
00:49:47,840 --> 00:49:50,120
Speaker 2: especially for New Zealand because yeah, like I said, there's

957
00:49:50,120 --> 00:49:52,960
Speaker 2: only formally in people there, you know, So it's it

958
00:49:53,120 --> 00:49:56,080
Speaker 2: is a real trip when we are able to connect

959
00:49:56,160 --> 00:49:58,759
Speaker 2: and on a sort of global level, so.

960
00:49:58,800 --> 00:50:01,080
Speaker 1: You're able to go home and still like be regular.

961
00:50:01,160 --> 00:50:02,279
Speaker 1: Can you go to the grocery.

962
00:50:02,040 --> 00:50:07,960
Speaker 2: Store in Hamilton. Yeah it's different, Yeah, it's definitely different.

963
00:50:08,560 --> 00:50:10,600
Speaker 2: I lay pretty low, like I'm all about getting back

964
00:50:10,600 --> 00:50:12,800
Speaker 2: to nature when I'm there, you know, to the ocean.

965
00:50:13,040 --> 00:50:16,080
Speaker 2: And I didn't have a farm in New Zealand. Don't

966
00:50:16,080 --> 00:50:17,520
Speaker 2: grow up on a farm. I only had a farm

967
00:50:17,600 --> 00:50:17,960
Speaker 2: in La.

968
00:50:19,400 --> 00:50:33,560
Speaker 1: I'll still never understand that ship. All right, I just moved. Okay, wait,

969
00:50:34,880 --> 00:50:37,320
Speaker 1: what are your what are your plans for the future?

970
00:50:37,880 --> 00:50:39,600
Speaker 2: Oh that old question?

971
00:50:39,840 --> 00:50:40,759
Speaker 1: I sound like very white.

972
00:50:40,880 --> 00:50:45,839
Speaker 2: Yeah. Well, like I said, I'm writing. I'm writing more

973
00:50:45,880 --> 00:50:48,920
Speaker 2: than I've ever readen which is exciting, and I'm excited

974
00:50:48,960 --> 00:50:51,839
Speaker 2: to start sharing some of that. So putting new music

975
00:50:51,920 --> 00:50:55,440
Speaker 2: out maybe even before the album and then I start

976
00:50:55,640 --> 00:50:59,640
Speaker 2: the album yeah pretty soon, man, next month, I'm going

977
00:50:59,680 --> 00:51:04,799
Speaker 2: to start getting into production, writing more writing New York

978
00:51:04,840 --> 00:51:07,000
Speaker 2: I'm doing a lot of improvised collaborations. The stuff you

979
00:51:07,080 --> 00:51:10,040
Speaker 2: came to the Space Jam and this new improvisation collective

980
00:51:10,080 --> 00:51:14,319
Speaker 2: called Exo Tech. Yeah, man, it's kind of the name

981
00:51:14,400 --> 00:51:17,040
Speaker 2: kind of came from an interest in like exotica music

982
00:51:17,160 --> 00:51:19,840
Speaker 2: and kind of Brazilian rhythms and also technology, you know,

983
00:51:20,120 --> 00:51:24,360
Speaker 2: using gadgets and crazy loopers and industrial sounds. You know.

984
00:51:24,920 --> 00:51:27,720
Speaker 2: It's like fourteen people in the core ensemble.

985
00:51:30,280 --> 00:51:31,160
Speaker 1: From overplaying.

986
00:51:31,640 --> 00:51:35,160
Speaker 2: This is the fascinating thing about it is when everyone's

987
00:51:35,200 --> 00:51:37,239
Speaker 2: tuned in and you're kind of aware of how many

988
00:51:37,360 --> 00:51:40,759
Speaker 2: people are on stage. Of course, it's it's very easy

989
00:51:40,800 --> 00:51:43,720
Speaker 2: for it to become lasagnia. You know. It's just layers

990
00:51:43,800 --> 00:51:47,400
Speaker 2: and layers, but some very special things that happened when

991
00:51:47,400 --> 00:51:50,600
Speaker 2: you're conscious of that. So everyone is listening intent intently

992
00:51:50,680 --> 00:51:51,120
Speaker 2: to each other.

993
00:51:51,320 --> 00:51:53,040
Speaker 1: So everybody just plays.

994
00:51:54,760 --> 00:51:57,080
Speaker 2: Afterwards and then yeah, that's right, and then we have

995
00:51:57,200 --> 00:51:59,960
Speaker 2: over developed the ideas we perform in the rounds. Everyone

996
00:52:00,000 --> 00:52:02,600
Speaker 2: one in the audience is quite intimately involved. There's a

997
00:52:02,640 --> 00:52:04,359
Speaker 2: bit of conducting, a bit of head nods, a bit

998
00:52:04,360 --> 00:52:08,400
Speaker 2: of hand signals with things, but essentially it's just just

999
00:52:08,960 --> 00:52:11,760
Speaker 2: going into the unknown, you know, and it's very liberating.

1000
00:52:11,840 --> 00:52:14,040
Speaker 2: It's very liberating for someone who spends a lot of

1001
00:52:14,040 --> 00:52:16,319
Speaker 2: time in studio like I do, and you know, being

1002
00:52:16,400 --> 00:52:19,000
Speaker 2: very intentional about my recordings and production. This is a

1003
00:52:19,080 --> 00:52:21,200
Speaker 2: time for me to just get back in that space

1004
00:52:21,280 --> 00:52:23,400
Speaker 2: of pure expression improvisation.

1005
00:52:23,480 --> 00:52:27,440
Speaker 1: It's great. Oh boy, how was your day to day?

1006
00:52:32,200 --> 00:52:36,000
Speaker 1: Those are questions now I'm talking about you a bit

1007
00:52:36,160 --> 00:52:38,600
Speaker 1: like you actually.

1008
00:52:40,239 --> 00:52:42,319
Speaker 2: Okay, okay, my dad's good, My dad's good.

1009
00:52:42,520 --> 00:52:44,120
Speaker 1: It was bullets from the matrix.

1010
00:52:44,200 --> 00:52:45,960
Speaker 2: No, no, I just there's a lot of people in

1011
00:52:46,000 --> 00:52:46,359
Speaker 2: this room.

1012
00:52:47,400 --> 00:52:47,640
Speaker 7: Yeah.

1013
00:52:47,800 --> 00:52:50,719
Speaker 2: So with that collective Exo Tech, which is Sophia Bruce,

1014
00:52:50,760 --> 00:52:53,400
Speaker 2: who you just heard, this is our kind of joint

1015
00:52:53,640 --> 00:52:58,160
Speaker 2: little improvisation group and we're starting a Red Bull in

1016
00:52:58,280 --> 00:53:03,080
Speaker 2: Artists residency where we're developing these songs, yeah, for kind

1017
00:53:03,120 --> 00:53:05,640
Speaker 2: of to be kind of releasable or at least just

1018
00:53:05,760 --> 00:53:09,040
Speaker 2: kind of developing them from the improvised context, which has

1019
00:53:09,040 --> 00:53:11,200
Speaker 2: always been interesting to me because live music is such

1020
00:53:11,200 --> 00:53:15,799
Speaker 2: a particular thing, the process from taking live jams. David

1021
00:53:15,840 --> 00:53:17,759
Speaker 2: Burn's very interesting with this, of course, you know, because

1022
00:53:17,800 --> 00:53:19,480
Speaker 2: so many of the Talking Heads records were kind of

1023
00:53:19,600 --> 00:53:23,959
Speaker 2: developed from live There so many records gosh, of course, yeah,

1024
00:53:24,080 --> 00:53:26,680
Speaker 2: but I've just been watching his documentary Let's Stopped Making

1025
00:53:26,719 --> 00:53:29,800
Speaker 2: Sense one, and that's kind of what we're exploring for

1026
00:53:29,880 --> 00:53:31,719
Speaker 2: this in artist residency at Red Bull, and I've been

1027
00:53:31,760 --> 00:53:34,200
Speaker 2: spending a lot of time preparing lyrics for this and

1028
00:53:34,400 --> 00:53:37,239
Speaker 2: kind of getting in his zone of yeah, taking them

1029
00:53:37,280 --> 00:53:38,440
Speaker 2: from the stage to the studio.

1030
00:53:38,719 --> 00:53:41,040
Speaker 1: See. I don't know if you know this by design

1031
00:53:41,400 --> 00:53:46,160
Speaker 1: or if you're just doing this organically, but you know,

1032
00:53:46,760 --> 00:53:50,319
Speaker 1: I've always felt, you know, the idea of community, which

1033
00:53:50,400 --> 00:53:53,520
Speaker 1: is something that record labels kind of discourage. Yeah, they'd

1034
00:53:53,600 --> 00:53:55,440
Speaker 1: rather deal with an artist one on one and not

1035
00:53:55,640 --> 00:54:02,960
Speaker 1: deal with groups or pool families of groups and that

1036
00:54:03,040 --> 00:54:06,120
Speaker 1: sort of thing, because they're harder to control. Yeah, I

1037
00:54:06,200 --> 00:54:10,160
Speaker 1: always felt that, uh, the best music movements and the

1038
00:54:10,239 --> 00:54:19,359
Speaker 1: most successful music comes from uh cruise and people. If

1039
00:54:19,400 --> 00:54:22,799
Speaker 1: you look at Motown, you know they were a crew

1040
00:54:23,080 --> 00:54:29,240
Speaker 1: and your native tongues. Of course, Prince his own crops.

1041
00:54:30,120 --> 00:54:34,320
Speaker 1: So I mean yeah, So is I mean is that

1042
00:54:34,480 --> 00:54:39,520
Speaker 1: your is that you're end game to gather a community

1043
00:54:39,600 --> 00:54:43,920
Speaker 1: of people and and cultivate them and create this music.

1044
00:54:44,000 --> 00:54:46,520
Speaker 2: And I encourage it wherever I can. You know, I

1045
00:54:46,640 --> 00:54:51,840
Speaker 2: think I've been very blessed to kind of magnetize the

1046
00:54:52,000 --> 00:54:54,320
Speaker 2: right people wherever I move, and by I mean the

1047
00:54:54,400 --> 00:54:57,160
Speaker 2: right like just the open people that are down to gym,

1048
00:54:57,280 --> 00:55:00,560
Speaker 2: And it always ends up being something that's sound, you know,

1049
00:55:00,680 --> 00:55:04,600
Speaker 2: like something that comes to inform the music. And I

1050
00:55:04,760 --> 00:55:07,920
Speaker 2: work alone, you know, I'm not a band. It's I

1051
00:55:08,040 --> 00:55:09,799
Speaker 2: make these songs in my bedroom and then I bring

1052
00:55:09,880 --> 00:55:11,520
Speaker 2: in people when I hit walls, you know. And so

1053
00:55:11,680 --> 00:55:13,520
Speaker 2: even the band that you heard when we played Leno, like,

1054
00:55:13,560 --> 00:55:17,160
Speaker 2: they become very close collaborators of mine now because I

1055
00:55:17,239 --> 00:55:19,799
Speaker 2: kind of hit these moments where I reach the limitations

1056
00:55:19,840 --> 00:55:21,520
Speaker 2: of my own skills, you know, and at that point,

1057
00:55:21,600 --> 00:55:23,760
Speaker 2: I really like to play on that as much as possible,

1058
00:55:23,760 --> 00:55:25,440
Speaker 2: be like who can I draw from? Who I can?

1059
00:55:26,160 --> 00:55:28,200
Speaker 2: It's black being a painter, you know, and you have

1060
00:55:28,320 --> 00:55:30,560
Speaker 2: this pellette all around you all the time. And I'm

1061
00:55:30,600 --> 00:55:32,880
Speaker 2: inspired by the same people you said that weren't afraid

1062
00:55:33,040 --> 00:55:35,560
Speaker 2: to be, like all right, you know, where does this

1063
00:55:35,640 --> 00:55:38,120
Speaker 2: need to go? Who have I got that I know

1064
00:55:38,400 --> 00:55:40,399
Speaker 2: can help me take this even further?

1065
00:55:41,160 --> 00:55:47,160
Speaker 1: But you also seem very nomadish or gypsy ish, I mean,

1066
00:55:47,320 --> 00:55:51,480
Speaker 1: just constantly moving. And so how do you like when

1067
00:55:51,640 --> 00:55:56,080
Speaker 1: will you? Will you leave New York? Once all your resources.

1068
00:55:55,560 --> 00:55:57,520
Speaker 2: Are and seasons.

1069
00:55:57,640 --> 00:55:57,800
Speaker 8: You know.

1070
00:55:58,320 --> 00:56:00,800
Speaker 2: The farm time was kind of there was a period

1071
00:56:00,840 --> 00:56:03,000
Speaker 2: where I was very isolated there and I didn't leave.

1072
00:56:03,719 --> 00:56:05,800
Speaker 2: I don't leave much, you know. I just stayed inside

1073
00:56:05,840 --> 00:56:16,640
Speaker 2: and did That's right, That's that's right. Because the kitchen

1074
00:56:16,760 --> 00:56:18,960
Speaker 2: was outside as well, so I cooked like outside. But

1075
00:56:19,040 --> 00:56:20,839
Speaker 2: then it was just the bedroom and the bed and side,

1076
00:56:20,840 --> 00:56:25,239
Speaker 2: so it was very it was strange animals, it was weird.

1077
00:56:25,480 --> 00:56:27,520
Speaker 2: But then there would be these seasons where I did

1078
00:56:27,640 --> 00:56:29,640
Speaker 2: like space Jam. I started space Jam in l A, Okay.

1079
00:56:29,680 --> 00:56:31,160
Speaker 2: It was every Sunday night. I put it on Twitter.

1080
00:56:32,480 --> 00:56:34,000
Speaker 2: I called it space Jam. I thought it was fun.

1081
00:56:38,920 --> 00:56:41,600
Speaker 2: Wait a minute, I don't think I didn't tell Warner Brothers.

1082
00:56:41,640 --> 00:56:43,600
Speaker 2: You know, I just wanted to do this for fun.

1083
00:56:43,719 --> 00:56:45,759
Speaker 2: It's was I had, what was doing a tour with

1084
00:56:45,800 --> 00:56:48,440
Speaker 2: Janelle Monae in Australia and New Zealand and it got

1085
00:56:48,480 --> 00:56:51,719
Speaker 2: canceled because she got very sick, and I came back

1086
00:56:51,760 --> 00:56:54,800
Speaker 2: to America and I was just restless. You know. We

1087
00:56:54,880 --> 00:56:57,799
Speaker 2: were just about to do a tour and so I thought, well,

1088
00:56:58,320 --> 00:57:00,360
Speaker 2: I'm here, let's do something. And you know, or a

1089
00:57:00,440 --> 00:57:03,040
Speaker 2: thundercap did it most weeks. Miguel came down to jam

1090
00:57:03,080 --> 00:57:05,279
Speaker 2: with me, and this is likes a big guys that

1091
00:57:05,440 --> 00:57:06,879
Speaker 2: you know don't have to do that, but they would

1092
00:57:06,920 --> 00:57:10,480
Speaker 2: just get up and just go into the unknown with me.

1093
00:57:10,520 --> 00:57:11,640
Speaker 2: It was very powerful.

1094
00:57:11,800 --> 00:57:15,320
Speaker 1: And you're doing in New York for a while. Bring

1095
00:57:15,400 --> 00:57:15,719
Speaker 1: it back.

1096
00:57:16,080 --> 00:57:17,960
Speaker 2: I'm kind of focused on the exotech thing for a

1097
00:57:18,000 --> 00:57:20,240
Speaker 2: bit now, but I like the idea of bringing space

1098
00:57:20,320 --> 00:57:22,720
Speaker 2: Jam back in cities and on the road if we're

1099
00:57:22,760 --> 00:57:25,680
Speaker 2: all feeling up for it, going to a little venue nearby,

1100
00:57:25,760 --> 00:57:28,040
Speaker 2: and then the spirit of the people we mentioned continuing

1101
00:57:28,120 --> 00:57:33,080
Speaker 2: that conversation. So there's seasons of being very engaged with

1102
00:57:33,200 --> 00:57:35,320
Speaker 2: community and seasons where I really withdraw.

1103
00:57:35,880 --> 00:57:38,400
Speaker 1: Now, should you leave New York? Do you have any

1104
00:57:38,480 --> 00:57:43,240
Speaker 1: other fantasy destinations that you would you know, would you

1105
00:57:43,280 --> 00:57:44,800
Speaker 1: go to Europe next? See what's up?

1106
00:57:44,840 --> 00:57:46,960
Speaker 2: And well check this out? No, I just got back

1107
00:57:47,000 --> 00:57:48,800
Speaker 2: from London. I was there like a couple of weeks ago.

1108
00:57:48,920 --> 00:57:51,200
Speaker 2: But Japan, I've never been to.

1109
00:57:51,280 --> 00:57:54,400
Speaker 1: Japan, even as a professional artist.

1110
00:57:54,680 --> 00:58:08,720
Speaker 2: Never, I've never been to Japan.

1111
00:58:09,400 --> 00:58:12,160
Speaker 1: Oh man. Now, Japan has been kind of tough lately,

1112
00:58:12,240 --> 00:58:14,360
Speaker 1: I think, like over for the past couple of years.

1113
00:58:14,960 --> 00:58:20,720
Speaker 1: Why is other Bill laughing at the punchline? Before because

1114
00:58:20,720 --> 00:58:22,680
Speaker 1: it was just like here comes some old man wisdom

1115
00:58:22,720 --> 00:58:23,280
Speaker 1: about Japan.

1116
00:58:23,400 --> 00:58:31,120
Speaker 4: Here I go, because like they had the earth the earthquake,

1117
00:58:31,120 --> 00:58:33,920
Speaker 4: it was the tsunami. They had like a natural disaster.

1118
00:58:34,040 --> 00:58:35,840
Speaker 4: And then you know it was that and that like

1119
00:58:36,160 --> 00:58:38,400
Speaker 4: like up for real over there because we were trying

1120
00:58:38,400 --> 00:58:39,400
Speaker 4: to get over there for a minute.

1121
00:58:39,440 --> 00:58:42,280
Speaker 1: Back and you have to go to I've been once

1122
00:58:42,320 --> 00:58:45,440
Speaker 1: in two thousand and four. It was not a really

1123
00:58:45,480 --> 00:58:50,800
Speaker 1: good experience. No, I didn't like it. I didn't. There's

1124
00:58:50,800 --> 00:58:54,280
Speaker 1: a story there, man, It's always a story. Bron So

1125
00:58:54,360 --> 00:58:58,680
Speaker 1: I went to Japan. Never met it was an African

1126
00:58:58,800 --> 00:59:08,120
Speaker 1: American male the PC title. I went, man like No,

1127
00:59:08,320 --> 00:59:10,800
Speaker 1: I went. We went. Okay, we went over there and

1128
00:59:11,320 --> 00:59:11,960
Speaker 1: we went over there.

1129
00:59:12,000 --> 00:59:14,440
Speaker 7: We was over there under some some false pretenses for

1130
00:59:14,520 --> 00:59:16,920
Speaker 7: one and to this is a little brother edis LB.

1131
00:59:17,120 --> 00:59:19,200
Speaker 1: This is two thousand and four. So we went over

1132
00:59:19,280 --> 00:59:22,320
Speaker 1: there and we went over there, and I remember the first.

1133
00:59:22,240 --> 00:59:23,840
Speaker 4: Night we got out there were just out walking around

1134
00:59:24,280 --> 00:59:26,360
Speaker 4: and we was trying to go to a strip club.

1135
00:59:26,840 --> 00:59:29,760
Speaker 4: And so I mean and forever I'm not really the

1136
00:59:29,800 --> 00:59:32,800
Speaker 4: strip club dude like that, because strip clubs are about

1137
00:59:32,880 --> 00:59:35,200
Speaker 4: pageantry and I think just like a lot of you know,

1138
00:59:35,280 --> 00:59:37,000
Speaker 4: it's a lot of Yeah, it's a lot of that,

1139
00:59:37,520 --> 00:59:39,320
Speaker 4: and I'm not really into that. I'm not into the

1140
00:59:39,400 --> 00:59:40,480
Speaker 4: seeing the tricks.

1141
00:59:40,200 --> 00:59:42,960
Speaker 1: And all that stuff. I just from North Carolina, I know.

1142
00:59:43,120 --> 00:59:44,920
Speaker 4: But see, but that's another story because it was a

1143
00:59:44,960 --> 00:59:48,040
Speaker 4: strip club we had called fourteen k But you I'm

1144
00:59:48,080 --> 00:59:49,280
Speaker 4: sure you know it was legendary.

1145
00:59:49,360 --> 00:59:51,280
Speaker 1: So I'm not gonna get into that right now because

1146
00:59:51,320 --> 00:59:55,480
Speaker 1: that's not the family. Yeah, I love you, honey. That

1147
00:59:55,600 --> 00:59:56,960
Speaker 1: was before I became Washington.

1148
00:59:56,960 --> 01:00:00,560
Speaker 4: The Blood of jus So now so lizal So So

1149
01:00:01,000 --> 01:00:03,480
Speaker 4: now that So japan were trying to go to the

1150
01:00:03,560 --> 01:00:05,840
Speaker 4: joint and so we walk up to the door and

1151
01:00:06,400 --> 01:00:08,040
Speaker 4: as soon as we get to the door, a little

1152
01:00:08,080 --> 01:00:11,080
Speaker 4: dude comes out no no, no, no Japanese.

1153
01:00:10,640 --> 01:00:14,240
Speaker 1: Only like we didn't even let us in. We was like,

1154
01:00:14,400 --> 01:00:17,800
Speaker 1: oh wor so like that right there was just kind

1155
01:00:17,840 --> 01:00:21,000
Speaker 1: I was like, fuck this fucking place. I mean the

1156
01:00:21,120 --> 01:00:24,560
Speaker 1: first day, I swear to God. First day.

1157
01:00:24,680 --> 01:00:26,520
Speaker 4: So we left and I think we ended up eating

1158
01:00:27,000 --> 01:00:29,320
Speaker 4: like McDonald's for the rest of the day. And then

1159
01:00:29,720 --> 01:00:31,400
Speaker 4: first of the time we were there, we didn't get

1160
01:00:31,480 --> 01:00:33,640
Speaker 4: some Kobe beef. Though we went to Kobe and we

1161
01:00:33,720 --> 01:00:36,720
Speaker 4: had some Kobe Beef and like I saw one black guy.

1162
01:00:36,920 --> 01:00:40,560
Speaker 1: In uh in the train, I love each other. We

1163
01:00:40,680 --> 01:00:43,040
Speaker 1: were just so happy. I've never been so happy to

1164
01:00:43,080 --> 01:00:45,480
Speaker 1: see another black man in my life. You see, I'm

1165
01:00:45,560 --> 01:00:48,160
Speaker 1: dead ass man. I ain't making nothing shit up, but.

1166
01:00:49,640 --> 01:00:50,400
Speaker 2: It was, it was, it was.

1167
01:00:50,920 --> 01:00:52,760
Speaker 1: It was a very same for a moment.

1168
01:00:53,080 --> 01:00:55,680
Speaker 4: The crowds are very different, so they're not really like

1169
01:00:55,760 --> 01:00:58,120
Speaker 4: a big like making a lot of noise. They just

1170
01:00:58,520 --> 01:01:01,840
Speaker 4: watch very probably, but after the show, I mean they're

1171
01:01:01,840 --> 01:01:05,600
Speaker 4: really they they get me. But no, I haven't been

1172
01:01:05,720 --> 01:01:08,520
Speaker 4: since oll four. Now I'm really not in a rushback

1173
01:01:08,560 --> 01:01:10,480
Speaker 4: to go, but I hope you go, and I'm sure

1174
01:01:10,520 --> 01:01:10,960
Speaker 4: you'll killed it.

1175
01:01:11,160 --> 01:01:13,640
Speaker 1: I'm actually kind of weirded out by Man.

1176
01:01:13,560 --> 01:01:16,480
Speaker 2: I gotta make this right, man, Yeah you do, because no,

1177
01:01:16,640 --> 01:01:18,200
Speaker 2: I'm he's Wow, you.

1178
01:01:18,400 --> 01:01:23,920
Speaker 1: Might have like of Tokyo despite the fact, no, despite

1179
01:01:24,000 --> 01:01:28,080
Speaker 1: the fact, man, let's go. Their largest shoe size size ten,

1180
01:01:29,200 --> 01:01:32,560
Speaker 1: and you know their Jeane size is thirty four. I mean,

1181
01:01:34,000 --> 01:01:40,680
Speaker 1: I Tokyo is my third favorite place on earth. Wow. Wow.

1182
01:01:40,840 --> 01:01:45,120
Speaker 1: What's the first two? If I had to leave the

1183
01:01:45,200 --> 01:01:50,160
Speaker 1: Tri State area to live somewhere else. Number one is Portland, Oregon.

1184
01:01:50,840 --> 01:01:56,560
Speaker 1: What number two is Austin, Texas. Number three is Tokyo.

1185
01:01:57,800 --> 01:02:00,880
Speaker 1: Number four is the Bay Area. Hopefully I can afford.

1186
01:02:02,000 --> 01:02:04,520
Speaker 1: If I can afford it, I can't afford it on

1187
01:02:04,600 --> 01:02:05,120
Speaker 1: my salary.

1188
01:02:05,600 --> 01:02:05,720
Speaker 2: Uh.

1189
01:02:08,440 --> 01:02:16,400
Speaker 1: Number we're like camping out here. Number five is uh London.

1190
01:02:17,240 --> 01:02:19,920
Speaker 1: But uh wow, the fact that you've actually thought about

1191
01:02:19,920 --> 01:02:22,040
Speaker 1: that though, that's the very that you've plotted it out.

1192
01:02:22,680 --> 01:02:29,320
Speaker 1: I base okay. Portland has uh probably some of the

1193
01:02:29,880 --> 01:02:33,360
Speaker 1: probably the best used record store shopping, the best quality

1194
01:02:33,360 --> 01:02:35,800
Speaker 1: of records for cheap, Like when they see me, they

1195
01:02:35,840 --> 01:02:40,520
Speaker 1: won't charge me five hundred dollars for a Gault McDermott record.

1196
01:02:41,120 --> 01:02:43,720
Speaker 1: Like if I walk into a Connecticut spot, then suddenly

1197
01:02:44,280 --> 01:02:47,760
Speaker 1: it's nine thousand dollars, Like they don't know the true

1198
01:02:47,880 --> 01:02:51,640
Speaker 1: value of like that stuff I really love. There's more

1199
01:02:51,800 --> 01:02:54,680
Speaker 1: strip clubs per capita in Portland, and I've never been

1200
01:02:54,720 --> 01:02:56,280
Speaker 1: to one. Every time I go, I'm in and out.

1201
01:02:57,320 --> 01:03:01,920
Speaker 1: Nike Headquarters been there. Uh yeah. So I mean if

1202
01:03:01,960 --> 01:03:06,360
Speaker 1: you have good record shopping, great strip clubs and don't

1203
01:03:06,360 --> 01:03:08,959
Speaker 1: take much. And the food capital, I mean the food

1204
01:03:09,040 --> 01:03:11,480
Speaker 1: truck capital of the United States to me is Portland.

1205
01:03:11,760 --> 01:03:15,040
Speaker 2: That's true. Unknown more orchestra and Portland now I mean

1206
01:03:15,040 --> 01:03:16,840
Speaker 2: he's from New Zealand, but he works out of Portland.

1207
01:03:16,880 --> 01:03:23,439
Speaker 1: Now man, smart man, smart man. Well, Kimber, I really

1208
01:03:23,960 --> 01:03:27,560
Speaker 1: truly appreciate you for taking your time out of your

1209
01:03:27,640 --> 01:03:32,320
Speaker 1: busy schedule. Schedule, it's not as.

1210
01:03:32,240 --> 01:03:37,040
Speaker 2: Busy as yours. Well, no, you know it's you are insane.

1211
01:03:37,120 --> 01:03:37,280
Speaker 1: Though.

1212
01:03:37,600 --> 01:03:39,760
Speaker 2: No, we're not going to We're not gonna.

1213
01:03:39,520 --> 01:03:43,080
Speaker 1: Okay, but yeah, I say we should have thought, go ahead, go.

1214
01:03:43,520 --> 01:03:46,480
Speaker 2: In with how many projects it took?

1215
01:03:46,600 --> 01:03:49,400
Speaker 1: Look, I took a four day vacation last week. Where

1216
01:03:49,440 --> 01:03:53,680
Speaker 1: did you go? I just I did nothing in Los

1217
01:03:53,720 --> 01:03:56,400
Speaker 1: Angeles for four days. That wasn't answered my text messages.

1218
01:03:57,480 --> 01:03:59,680
Speaker 1: I did, yeah, I said, except to answer my text

1219
01:03:59,760 --> 01:04:03,440
Speaker 1: I did, okay, Yeah. I stayed in bed and it was.

1220
01:04:04,240 --> 01:04:11,120
Speaker 1: It was the worst feeling ever made to not do anything.

1221
01:04:11,920 --> 01:04:15,840
Speaker 1: That The only thing I did was I figured out

1222
01:04:15,920 --> 01:04:18,080
Speaker 1: how to get rid of of ten gigs of music.

1223
01:04:18,120 --> 01:04:20,280
Speaker 1: I didn't need my DJ computer Like that was the

1224
01:04:20,400 --> 01:04:22,480
Speaker 1: only work I did. You actually do that for me

1225
01:04:22,680 --> 01:04:25,240
Speaker 1: because I cannot do that. That's you cant figure out

1226
01:04:25,240 --> 01:04:27,240
Speaker 1: which one is the kill? No, you got it. You

1227
01:04:27,320 --> 01:04:29,320
Speaker 1: only need one. Don't stop to get enough. You don't

1228
01:04:29,360 --> 01:04:33,840
Speaker 1: need seventeen like I'm literally I always I'll have to

1229
01:04:33,880 --> 01:04:35,880
Speaker 1: have like all the different edits and not necessarily, no,

1230
01:04:35,960 --> 01:04:38,320
Speaker 1: I'll keep the individual edits. But I had, like, you know,

1231
01:04:38,480 --> 01:04:43,440
Speaker 1: i'd like for j like heart Knock Life for a

1232
01:04:43,480 --> 01:04:46,240
Speaker 1: billion of them that I didn't need. So yeah, I

1233
01:04:46,320 --> 01:04:50,960
Speaker 1: mean cleaning out my hard drives my favorite pastime. But no,

1234
01:04:51,280 --> 01:04:55,200
Speaker 1: I took a four day vacation and I hated every

1235
01:04:55,320 --> 01:04:56,080
Speaker 1: I didn't hate.

1236
01:04:55,920 --> 01:04:58,080
Speaker 2: It, but it was just you need to be doing

1237
01:04:58,160 --> 01:04:59,800
Speaker 2: things that you sleep.

1238
01:04:59,640 --> 01:05:02,160
Speaker 1: So much that you get tired from sleeping.

1239
01:05:02,360 --> 01:05:03,120
Speaker 2: Yeah, deaf.

1240
01:05:03,240 --> 01:05:04,560
Speaker 1: No, I got trapped in that cycle.

1241
01:05:04,680 --> 01:05:05,320
Speaker 2: That's a thing.

1242
01:05:05,640 --> 01:05:07,200
Speaker 1: And then I was like, oh, this is what depression

1243
01:05:07,240 --> 01:05:09,760
Speaker 1: feels like. So let me get out of when you

1244
01:05:09,960 --> 01:05:10,960
Speaker 1: vacation's supposed to go.

1245
01:05:11,080 --> 01:05:16,760
Speaker 4: Out because otherwise that it becomes like social isolated, Like

1246
01:05:16,880 --> 01:05:17,680
Speaker 4: that's can't.

1247
01:05:17,800 --> 01:05:20,520
Speaker 1: I mean, that's why DJ so much like I don't.

1248
01:05:20,640 --> 01:05:22,960
Speaker 1: I'm not a let's go to the bar. Well, you know,

1249
01:05:23,160 --> 01:05:26,480
Speaker 1: I'm a I'll DJ in the bar and then you

1250
01:05:26,600 --> 01:05:28,200
Speaker 1: know that's me going out for shopping, you know that

1251
01:05:28,320 --> 01:05:33,360
Speaker 1: kind of thing. I mean, I now record shop for

1252
01:05:33,440 --> 01:05:36,800
Speaker 1: other people, like my new ship is now taking what

1253
01:05:36,880 --> 01:05:40,320
Speaker 1: we're doing. I tell you, record shopping before no no,

1254
01:05:40,600 --> 01:05:44,400
Speaker 1: I'm saying I record shop for you. Well no, no, no, no, no.

1255
01:05:44,680 --> 01:05:48,640
Speaker 1: I like my thing now is whenever the parents, whenever

1256
01:05:48,680 --> 01:05:52,560
Speaker 1: the kids of the past, like you know you my

1257
01:05:52,640 --> 01:05:55,440
Speaker 1: kids in the pet sound like, then I'll be like,

1258
01:05:55,520 --> 01:05:57,320
Speaker 1: let's go to me. But and then I'll buy them

1259
01:05:58,400 --> 01:06:01,360
Speaker 1: like a thousand records like I'm I've started at least

1260
01:06:02,320 --> 01:06:06,160
Speaker 1: thirty record collections. Wow, Because I mean, I'm not doing

1261
01:06:06,240 --> 01:06:10,080
Speaker 1: to be all noble. No, I'm just addicted to going

1262
01:06:10,160 --> 01:06:13,200
Speaker 1: to a record shop in shopping. Yeah, I'm not going

1263
01:06:13,280 --> 01:06:16,920
Speaker 1: to buy like another led Zeppelin three records, Love Scholarship

1264
01:06:17,000 --> 01:06:22,160
Speaker 1: Foundation for All Musical Can we get out of this, guys, please? Yes,

1265
01:06:22,440 --> 01:06:23,640
Speaker 1: Kimber answer your question.

1266
01:06:23,960 --> 01:06:25,280
Speaker 2: I yeah, you take that.

1267
01:06:25,440 --> 01:06:28,160
Speaker 1: I took a four day vacation. In the future, I'm

1268
01:06:28,200 --> 01:06:31,040
Speaker 1: going to take another seven days off. I'm gonna get

1269
01:06:31,080 --> 01:06:35,160
Speaker 1: on a train and and hobo. I'm actually waking because

1270
01:06:35,200 --> 01:06:37,640
Speaker 1: you keep talking about taking my favorite thing on Earth

1271
01:06:37,760 --> 01:06:41,440
Speaker 1: or just taking a Literally, I got a well the

1272
01:06:41,520 --> 01:06:45,280
Speaker 1: best travels in uh Canada. So I'm gonna you.

1273
01:06:45,280 --> 01:06:47,520
Speaker 2: Should go to New Zealand take a train through New Zealand.

1274
01:06:48,320 --> 01:06:50,360
Speaker 1: Initially I was going to go to India, but I

1275
01:06:50,560 --> 01:06:53,840
Speaker 1: can't it to travel there and then to do the

1276
01:06:53,920 --> 01:06:57,080
Speaker 1: four day trek and then the comeback I did and

1277
01:06:57,080 --> 01:06:59,760
Speaker 1: a half. Yeah, I would need three three weeks to

1278
01:06:59,800 --> 01:07:03,360
Speaker 1: really recovering. But yeah, I plan on going from New

1279
01:07:03,440 --> 01:07:08,280
Speaker 1: York to San fran then Vancouver back to New York.

1280
01:07:08,960 --> 01:07:11,160
Speaker 1: Vancouver to New York. You can rent your own car,

1281
01:07:12,080 --> 01:07:15,400
Speaker 1: have old tiny you know. I get to imagine what

1282
01:07:15,520 --> 01:07:21,160
Speaker 1: travel was like in the forties without being discriminated, travel

1283
01:07:21,240 --> 01:07:29,640
Speaker 1: like the best last hears like spens of racism every time.

1284
01:07:31,360 --> 01:07:32,160
Speaker 1: That hilarious.

1285
01:07:33,200 --> 01:07:40,360
Speaker 2: It is we covered so much, Yes we did.

1286
01:07:40,560 --> 01:07:44,240
Speaker 1: Okay, okay, So with that said, uh, kimber once again,

1287
01:07:44,440 --> 01:07:47,800
Speaker 1: we thank you very much for greasing us with your

1288
01:07:47,840 --> 01:07:51,760
Speaker 1: presence and your music and your artistry and your stories

1289
01:07:51,800 --> 01:07:54,680
Speaker 1: and your journey. Give it up, lady and gentlemen, for

1290
01:07:54,800 --> 01:07:55,800
Speaker 1: Kimberly Johnson.

1291
01:07:55,960 --> 01:08:02,560
Speaker 5: Yes, Kimberly, it's onund Look you're saying, Kimberly, Oh it is.

1292
01:08:05,680 --> 01:08:08,480
Speaker 5: I know it's kim bro Like you're saying, were your

1293
01:08:08,520 --> 01:08:09,760
Speaker 5: parents trying to do Kimberly?

1294
01:08:11,280 --> 01:08:13,640
Speaker 1: I think they're trying to do Kimberly. Okay.

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01:08:19,920 --> 01:08:26,720
Speaker 8: ET Awards celebrates black with Kimberly Johnson going to be lit,

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01:08:28,120 --> 01:08:31,120
Speaker 8: it's going to be This smells like that moment, This.

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01:08:31,160 --> 01:08:34,000
Speaker 1: Spells like that moment is Zoolander before waking up, Before

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01:08:34,040 --> 01:08:35,840
Speaker 1: you go go where. He's like, I don't think you

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01:08:36,000 --> 01:08:39,559
Speaker 1: thought that. I thought you thought that I was repent. Yes,

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01:08:39,800 --> 01:08:44,120
Speaker 1: I know it's Kimbra Lee Johnson. That's more. It's more

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01:08:44,720 --> 01:08:48,040
Speaker 1: authentic that way, not Kimberly. But I think your parents

1302
01:08:48,080 --> 01:08:49,760
Speaker 1: are trying to name me Kimberly and just didn't know,

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01:08:50,760 --> 01:08:58,840
Speaker 1: you know, it could have been one name. All right, Yes, well,

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01:08:58,960 --> 01:09:03,680
Speaker 1: kim Bra Lee Johnson. We thank you very much. To

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Speaker 1: thank you, of course. Love Supreme is a production of iHeartRadio.

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01:09:16,040 --> 01:09:19,400
Speaker 1: This classic episode was produced by the team apt Pandora.

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01:09:21,560 --> 01:09:24,840
Speaker 1: For more podcasts from iHeart Radio, visit the iHeartRadio app,

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01:09:25,080 --> 01:09:28,120
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.