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Speaker 1: Quest Love Supreme is a production of iHeartRadio. All Right, people,

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Speaker 1: welcome back to Quest Love Supreme. It's me Quest Love

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Speaker 1: you know. A few times this season, me and Team

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Speaker 1: Supreme often do these special one on one episodes. Today's

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Speaker 1: guests Sananda Montoya. It wasn't planned as a one on one,

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Speaker 1: but do just scheduling and life and whatnot, just having

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Speaker 1: to turn out that way. Of course, I was thrilled

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Speaker 1: about it because it allowed me to have a discussion

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Speaker 1: with someone that I admired and called an inspiration. And

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Speaker 1: in this interview we learn that we have a lot

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Speaker 1: of stuff in common. And this is part two, so

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Speaker 1: if you haven't, please check out Part one, where we

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Speaker 1: speak about Sonondas growing up, his appreciation for Rod Stewart,

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Speaker 1: even his time as a boxer. All right, enjoy. I

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Speaker 1: always wanted to know when you're turning in the tapes

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Speaker 1: for Neither Fish or Flesh, which I feel is your

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Speaker 1: real first album, because your your first album is this

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Speaker 1: your life experience up until that point, and you're you're

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Speaker 1: feeling your way out and yeah, of the two, I

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Speaker 1: choose the latter when you're turning that in. What is

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Speaker 1: Donnie's response? What is Tommy's response, What is the Brass's response?

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Speaker 2: Okay, first of all, let this let me say this

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Speaker 2: some interesting things that goes down with this. First of all,

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Speaker 2: it's uncanny because in fact, I mentioned that quite a

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Speaker 2: few times for this particular project as I was promoting it.

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Speaker 2: That and it's the truth. The first album felt like

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Speaker 2: the finale of a life that I was meant to.

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Speaker 3: Finish your old life. Yes, let me just like specific.

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Speaker 3: I can explain this if you can keep track. For me,

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Speaker 3: I do believe in doesn't matter what we call them.

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Speaker 3: I do believe in spares of angels and other things.

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Speaker 2: I do believe we're in this multi dimensional, interactive experience,

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Speaker 2: overlapping dimensions and all kinds of stuff, and of course

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Speaker 2: which our radio has got all of this capacity, but

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Speaker 2: we're only focused on where it is on the dial

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Speaker 2: right now, and that's how frequency we focused, so we

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Speaker 2: are not aware that there's all these other frequencies going

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Speaker 2: on as well. So for me, that's important because when

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Speaker 2: I was eighteen years old, I had an experience where

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Speaker 2: I was home from basic training from the military, and

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Speaker 2: my old room obviously had been moved into and taken

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Speaker 2: over by a younger sibling. So I slept in the den,

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Speaker 2: the TV room, and I had a dream that night

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Speaker 2: I'll never forget. It was December eighth, I was home

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Speaker 2: for two weeks from basic training before getting reassigned to

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Speaker 2: my first posting in Fort Sill, Oklahoma, and I had

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Speaker 2: this dream that like I said, my very first movie

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Speaker 2: I can remember seeing was Breakfast of Tiffany's. And in

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Speaker 2: the dream, the age I was eighteen, I'm standing in

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Speaker 2: front of Tiffany's department store in New York. Ear it's

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Speaker 2: really early morning, and I see this figure, familiar figure

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Speaker 2: walking towards me, and as he gets closer to me,

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Speaker 2: I recognize more and more, and his smile gets bigger

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Speaker 2: and bigger and bigger, and at one point I go,

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Speaker 2: oh shit, that's John Lennon. And I'll never forget. He

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Speaker 2: was wearing a white shirt, some blue jeans, and his

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Speaker 2: hat and his granny glasses and he get close to me.

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Speaker 2: Is he looked like he was so happy to see me.

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Speaker 2: He stuck out his hands and as I stuck out

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Speaker 2: my hand, he went straight through me. Okay, these were

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Speaker 2: my first, first first heroes with Fould influence. So I

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Speaker 2: get up that morning and my mother says to me

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Speaker 2: when she sees me that morning, did you hear what happened?

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Speaker 2: I said, what she says, John Lennon was killed last night. Oh,

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Speaker 2: I said what she said? Yeah, he was shot, And

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Speaker 2: I said, I said, Mom, I dreamt he walked into me.

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Speaker 2: So again, here's my take on these these things. If

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Speaker 2: I agree to take some of your what you're leaving behind,

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Speaker 2: I'm sure there were quite a few people on his

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Speaker 2: list day. I'm going to leave you a little bit

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Speaker 2: of this beetle magic. I'm gonna leave you a little bit.

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Speaker 2: But you can't take that without taking the burden as well.

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Speaker 2: So he had issues with his mom, He had issues,

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Speaker 2: a lot of issues. You have to take some of

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Speaker 2: that shit on as well, because that was also what

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Speaker 2: made him him. So I say that because, first of all,

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Speaker 2: I believe that these overlapping experiences where that first album

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Speaker 2: felt like me and John were finishing something. Okay, his car,

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Speaker 2: something maybe he or whatever. I like your filter, I

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Speaker 2: would like to work through you perfect, I'm your pin.

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Speaker 2: Let's do it. And it felt like I had stepped

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Speaker 2: out of something that I was just always destined to

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Speaker 2: start step out of and into and out of. But

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Speaker 2: I agree with you that neither officih no flesh for me.

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Speaker 2: And it was the most exciting time I've ever had

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Speaker 2: making a record because I could just feel in retrospect

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Speaker 2: the roots of postalem rock agans there, and finally I

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Speaker 2: was able to to you know, Mozart. The last thing

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Speaker 2: he said was he he'd gotten a commission to be

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Speaker 2: a church compel meister, and all they commissioned from him

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Speaker 2: with like two or three pieces a year, so he

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Speaker 2: would have had all of his chance, all this time

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Speaker 2: to compose, and he said something to affect Damn. I

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Speaker 2: was just getting ready to compose the music I really

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Speaker 2: wanted to make. And you think, like, fuck if Mozart

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Speaker 2: feels that way or hiden Heyden's last words being I

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Speaker 2: was finally learning how to write for horns. You mean

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Speaker 2: I mean that words apparently, you know, apparently, so you.

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Speaker 1: Know I'm not done yet.

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Speaker 2: Just yeah. So I do agree with you that it

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Speaker 2: felt like the breakthrough that that that was. Now Here's

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Speaker 2: another situation was that before I went into the studio

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Speaker 2: to make that record, the president of Columbia, a CBS

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Speaker 2: England Russell, put me into his office and wanted to

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Speaker 2: show me all these demographic surveys that basically said that

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Speaker 2: though I hadn't sold as many records as Michael or

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Speaker 2: anyone else, that I had ticked literally every demographic box

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Speaker 2: that they even keep track of, and that they had

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Speaker 2: never seen that before and it freaked them out. So that,

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Speaker 2: let me know one thing right there, I was seen

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Speaker 2: as a political figure because, as you know, I don't

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Speaker 2: have to be singing about politics if my music is

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Speaker 2: bringing people together across the divides that are placed there

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Speaker 2: artificially to keep people from me. So if I'm bringing

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Speaker 2: in bikers and grandmothers and thirteen year olds and academics

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Speaker 2: and all these people that they keep, people start in

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Speaker 2: power start to look at that and go hmm okay.

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Speaker 2: Plus they didn't have enough time to vet me. I

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Speaker 2: just shot off like a rocket.

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Speaker 1: You didn't think that was just due to let's maximize,

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Speaker 1: if anything, like I could have sworn that. They were like, okay,

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Speaker 1: this is someone that will I don't want to say

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Speaker 1: the word replaced, but you know, record execs feel like,

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Speaker 1: of course, this is the person that Michael as connected.

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Speaker 2: That's all connected. So that's why this is very intriguing

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Speaker 2: because you know, when we do the book. I'll have

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Speaker 2: time to extrapolate, you know, all of this information, look

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Speaker 2: at it in depth, because everything is connected, and I'm

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Speaker 2: trying to keep it, you know, a hold over their

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Speaker 2: thread myself. The point is that they knew who Michael was,

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Speaker 2: so whatever he was guilty or not guilty of, they

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Speaker 2: would have known. They knew who he had been vetted

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Speaker 2: his whole life. He had been vetted. They knew who

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Speaker 2: he was. They knew where to take to motivate him,

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Speaker 2: they knew where to take to manipulate him. They didn't

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Speaker 2: have that info me yet because I came up too quick.

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Speaker 1: I get it.

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Speaker 2: You know, the corporation is not going to get in

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Speaker 2: found of money while the money's printing itself. They wait

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Speaker 2: for the money to reset before they go, Okay, now

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Speaker 2: do we want to continue? Who is this mollfucker? Who

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Speaker 2: is this kid? Okay? But Paul Russell brought me into

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Speaker 2: his office and he said, I just want you to

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Speaker 2: know that the first two million records you brought when

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Speaker 2: you sold were genuine to genuine music fans. He said,

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Speaker 2: after this, you become a cultural phenomenon, and people are

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Speaker 2: not buying the record for the music. People are buying

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Speaker 2: the record because it's part of their cultural identity of

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Speaker 2: the moment that you can't say you're cool if you

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Speaker 2: don't have this on your coffee table. If someone walks

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Speaker 2: into your to your living room, have you heard the song,

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Speaker 2: say oh yeah, yeah, I've been there, done that. It

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Speaker 2: becomes that kind of thing. He actually said to me,

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Speaker 2: don't expect your next record or next couple of records

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Speaker 2: to follow the same formula. It won't, he said, because

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Speaker 2: you'll those people will come back to you, But the

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Speaker 2: history of England especially, they won't come back to you

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Speaker 2: to your third or fourth project. Okay, because you're gonna

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Speaker 2: have to pay for this success.

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Speaker 1: Hey, was he telling you that you were too successful?

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Speaker 2: He was basically saying I wasn't going to have that

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Speaker 2: type of success again anytime soon, because at one point

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Speaker 2: it went beyond being a musical thing and became becoming

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Speaker 2: a cultural phenomenon that then developed steam is that that

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Speaker 2: it goes beyond the music. So those people the next

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Speaker 2: time you don't get those people to come right back.

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Speaker 1: Let me ask you an important question then, and this

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Speaker 1: is kind of the theme of the slide film. Is

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Speaker 1: success as traumatic or more traumatic than failing?

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Speaker 2: Is look, the bottom line is this. We all have

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Speaker 2: to be responsible for the energy that we create. There

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Speaker 2: are no exceptions. Society may give us a free pass

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Speaker 2: based on its affection for us or our image, but

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Speaker 2: karma is real and law is simple. We all have

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Speaker 2: to be responsible for the energy we create those who

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Speaker 2: are capable of creating energy. That's just the way the

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Speaker 2: universe polices itself. So the bottom line is I was

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Speaker 2: going to have to pay for that sojourn, regardless of

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Speaker 2: whether I had wound up on this side or that side,

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Speaker 2: because there is no free lunch. Everything has a price,

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Speaker 2: and you either pay in advance or you pay on

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Speaker 2: the back end. I didn't have to pay in advance, well,

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Speaker 2: at least far as the industry was concerned. So I

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Speaker 2: had to pay on the back end. But there was

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Speaker 2: also genuine fear. Because I was genuine. I really believed

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Speaker 2: that I was given the power of transformation and I

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Speaker 2: could help. As George Harrison said, people say, you know,

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Speaker 2: think for yourself. We understand that the state moun Olympus

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Speaker 2: creates us demi gods in order to program the people

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Speaker 2: as to what is expected of them or how they

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Speaker 2: expected to be. In order to be members of a society,

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Speaker 2: a governed society, a civilization, a community. So obviously it

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Speaker 2: is not in the best interest of any kind of

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Speaker 2: organization with power to promote the power of someone who

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Speaker 2: was not, in turn promoting them a team player. Yeah,

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Speaker 2: you know that makes sense. I mean, I can't be

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Speaker 2: that naive like they came up against me. I wasn't

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Speaker 2: trying to bring down the building, you know. I was

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Speaker 2: just saying, look, I'm who I am, and I'm not

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Speaker 2: changing for some bullshit. I'm not going to become a

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Speaker 2: black artist for you bitches. I won't. You can argue

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Speaker 2: for days how black a person and I am. I

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Speaker 2: have no beep but none of that whatever. But I

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Speaker 2: will never consent to be on a black artist because

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Speaker 2: you know, and I know what that means. And you

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Speaker 2: know that unless you was Stevie Wonder and you had

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Speaker 2: all of motime telling you do what the hell you

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Speaker 2: want it, you know exactly how limiting and handcuffing that was.

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Speaker 2: So I was never interested in being a black artist.

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Speaker 2: I was never interested in helping the establishment restabilize the image.

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Speaker 2: They were comfortable black people emulating black guys emulating. You

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Speaker 2: don't want black dudes is the Maverick. And plus we

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Speaker 2: only pay lip service to the Maverick because it's a

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Speaker 2: useful promotional image. We don't really support mavericks, but will

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Speaker 2: support the image of one as long as we can

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Speaker 2: control or we can collaborate on what it is you're doing.

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Speaker 2: But that's not a question for everyone questioning. Not everybody

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Speaker 2: gives a shit. Everybody has any ambition other than to

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Speaker 2: be famous, make great music and whatever, And I don't

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Speaker 2: hold them responsible for anything that I feel responsible for.

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Speaker 2: But for me, I understood that I was not going

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Speaker 2: to be yet the next card in a machine. You

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Speaker 2: know that determines how people are to behave to respond,

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Speaker 2: what parts of themselves are acceptable, what parts are unacceptable,

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Speaker 2: and what the establishment is comfortable embracing you. As I

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Speaker 2: just I felt like I had many ancestors saying, you

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Speaker 2: don't have to do that. We did that, We were

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Speaker 2: not happy. This is why we are pushing you, you

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Speaker 2: stubborn asshole. This is why we've made you so stubborn,

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Speaker 2: because it's imperative that now as you have a chance

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Speaker 2: to turn this wheel, you must turn this wheel. Because

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Speaker 2: what we do is of consequence. You don't know the

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Speaker 2: people born the people might not even be born who

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Speaker 2: you're setting up their life for, but you must do

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Speaker 2: this because I was enamored of the belief that if

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Speaker 2: I didn't do it, the music that I've been able

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Speaker 2: to contribute wouldn't possibly be made by anyone else in particular,

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Speaker 2: but as that which came through my particular filter. And

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Speaker 2: you know, I'm grateful that you mentioned even D'Angelo, who

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Speaker 2: I have to say that I'm extremely proud of, a

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Speaker 2: few years ago, I was in Sweden and the Swedish

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Speaker 2: journalist reminded me that I said to him twenty five

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Speaker 2: thirty years ago what I was going to do, and

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Speaker 2: he said, my god, you've done it. You've done it,

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Speaker 2: and he mentioned another artist. He said, another artist, He

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Speaker 2: mentioned D'Angelo. He said, D'Angelo has also continued to resist

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Speaker 2: caricaturing himself and just continuing to grow and expanding that thing.

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Speaker 2: Because again, I don't care how many credentials you have

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Speaker 2: or what kind of journalists you call yourself. You don't

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Speaker 2: tell the music what it is. The music tells you.

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Speaker 2: You don't say, oh, this isn't jazz. Fuck you. Jazz

252
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Speaker 2: isn't dead. Nothing's dead. Jazz is still writing chapters and verses.

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Speaker 2: Rock is still saying none on this hip hop is

254
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Speaker 2: You're clear, it's still ever expanding, you know, saying no,

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Speaker 2: that's not hip hop, that's not country to me. No

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Speaker 2: it's not country to you, but country tells me what

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Speaker 2: country is. I understood that it was imperative that one

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Speaker 2: of us, one of us had to get out ahead

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Speaker 2: of that thing this time and not feel the burden

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Speaker 2: that Prince and Michael felt and others felt to maintain

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Speaker 2: that other pillar that they represented. And you know, this

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Speaker 2: is why I've also set to people as well as

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Speaker 2: much of a pain in the ASCID was to come

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Speaker 2: behind Michael and Prince. What a stroke of tremendous fortune

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Speaker 2: to be as creatively inspired and curious as I have

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Speaker 2: been blessed to be, and to be behind two bona

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Speaker 2: fide fucking geniuses. These cats were for real. These guys

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Speaker 2: were giants. And you were either gonna shrink like you know,

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Speaker 2: coming after the Beagles, or you saw it as your license.

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Speaker 2: There's no excuse not to just keep pushing this thing

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Speaker 2: when you've come behind to groundbreaking lifetime achievement type dudes

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Speaker 2: like Prince and Michael. But Michael was involved, in this

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Speaker 2: because also by the time he inherited the Beatles catalog.

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Speaker 2: Another great irony is that the very music that woke

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Speaker 2: me up in this life, the Beatles, when Michael got

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Speaker 2: a hold of it, that was the very music that

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Speaker 2: kind of killed the battery charge on that life as well,

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Speaker 2: like okay, boom.

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Speaker 1: Ah, too much power?

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Speaker 2: Well, who am I to say? Too much power? He

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Speaker 2: had power. And then of course the game began when

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Speaker 2: he got the catalog because Sony knew they want to

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Speaker 2: go in business with him. So basically, whatever you want, Michael,

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Speaker 2: fuck you want this guy? Is this guy paying your ass?

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Speaker 2: No problem? Because before he bought the Beatles Catalog, the

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Speaker 2: question they had to ask him was okay, but Michael,

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Speaker 2: can you replace his sales and yours? I don't know.

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Speaker 2: But when he had that catalog and Sony's half, even

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Speaker 2: in the nineties, was already over half a billion, yeah

290
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Speaker 2: a year, And forgetting that it wasn't just in not

291
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Speaker 2: forgetting It wasn't just the Beatles catalog. The Beatles songs

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Speaker 2: were the jewel of that catalog. He also had all

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Speaker 2: the sly stuff, had all the little richer stuff. He

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Speaker 2: had one hundred country music number one hits. That was

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Speaker 2: a copiously fat, thick docket. You mean, so from that

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Speaker 2: point onwards, you know, it was like, yeah, they gave him.

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Speaker 2: He wasn't very comfortable with me.

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Speaker 1: I promised to wrap this up because trust me, like

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Speaker 1: Jimmy Jam gave me seven hours. It was only supposed

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Speaker 1: to be one hour, and Jimmy Jam gave me seven.

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Speaker 1: So I will pull out every story, but I will

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Speaker 1: I will be sustinct and wrap this up because I'm

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Speaker 1: also got a chance.

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Speaker 2: To work with jelly Bean on this. On this project,

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Speaker 2: I did this song with jelly Bean. Really yeah, I

306
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Speaker 2: can't remember what is his name, walk On walk On?

307
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Speaker 2: His name he approached me last year and said he

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Speaker 2: wanted me to participate with him if I would, I

309
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Speaker 2: told him, look, just on principle alone, you guys were

310
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Speaker 2: such a huge part of you know, my situation and

311
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Speaker 2: the time in various projects you guys worked on. So

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Speaker 2: I said sure. So basically we wound up collaborating on

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Speaker 2: this on this piece, and it was really cool because

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Speaker 2: it was also the very last session of Ronnie Drayton

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Speaker 2: because on us Yeah, I was gonna play the guitar

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Speaker 2: solo and then.

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Speaker 1: See, I don't have liner notes. So thus, damn, that's crazy.

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Speaker 2: We'll get you whatever you need because, uh, there's a

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Speaker 2: gentleman named Oscar Derrek Brown. He was a very very

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Speaker 2: good friend of Ronnie's, and so when he told Ronnie

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Speaker 2: what I was doing, Ronnie said, oh, I want to

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Speaker 2: play the solo. I want to And when I heard,

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Speaker 2: I was like, please, please, I will be honored. So

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Speaker 2: it was apparently the last thing he kind of did

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Speaker 2: professionally that were aware of, and I feel blessed to

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Speaker 2: have participate with him because you know, he's he's definitely

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Speaker 2: one of the unsung heroes of the time. I was

328
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Speaker 2: coming through with his work with like Vernon in the

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Speaker 2: Black Rock Coalition and all of that.

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Speaker 1: Yes, the legendary Ronnie Drayton by the way, Yeah, I

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Speaker 1: didn't even get to this new album, but literally like

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Speaker 1: nice things cam Town, Yeah, like those are my that's

333
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Speaker 1: my ship, man. I love that.

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Speaker 2: You know that The moonishment about being careful of meeting

335
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Speaker 2: your heroes. Bruce Springsteen has been like a big brother

336
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Speaker 2: to me. Prince was is still I'm still close to him,

337
00:18:09,920 --> 00:18:13,200
Speaker 2: and Miles played a pivotal role in my situation. Michael

338
00:18:13,320 --> 00:18:15,280
Speaker 2: wasn't just one of those situations. It was just one

339
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Speaker 2: of those things.

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Speaker 1: Where he was competitive.

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Speaker 2: I want to make this clear. Not only was he

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Speaker 2: a competitive but but you know, in a perfect world,

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Speaker 2: he would have seen me as like a gold like okay,

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Speaker 2: I'm going sure this month right, and we'd have done

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00:18:26,800 --> 00:18:29,960
Speaker 2: that Beatles Stones who thing where we just try to

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Speaker 2: top each other.

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Speaker 1: You know, I would have been here for it. I'm sorry,

348
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Speaker 1: I would have been here for it.

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Speaker 2: But you know by that time he was maybe just tired,

350
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Speaker 2: like look whatever. But the point I'm trying to make

351
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Speaker 2: is this, he didn't know me a damn thing. His

352
00:18:41,240 --> 00:18:43,640
Speaker 2: life provided for my life exactly what it was meant

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Speaker 2: to provide. And there's also a very very good chance

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Speaker 2: that by getting in my way, he might have spared

355
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Speaker 2: me his faith.

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Speaker 1: You literally just answered the question that I was going

357
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Speaker 1: to ask.

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Speaker 2: Yes, he might have saved my life and getting in

359
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Speaker 2: front of me giving me more longevity because you know,

360
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Speaker 2: I was even asked earlier in an interview with your

361
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Speaker 2: voice you still sound the same as four years ago

362
00:19:07,960 --> 00:19:10,280
Speaker 2: and how compared to whatever? And I said. But you

363
00:19:10,359 --> 00:19:14,040
Speaker 2: know the truth is they didn't burn me out. I didn't.

364
00:19:14,080 --> 00:19:16,399
Speaker 2: They didn't have a chance to burn me out. And

365
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Speaker 2: I said, so many of my colleagues were just burned out,

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Speaker 2: and it was just doing what they could to keep

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Speaker 2: up with it. And you know, when Whitney lost her

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Speaker 2: voice at the end, I was so moved because I realized,

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00:19:27,680 --> 00:19:30,160
Speaker 2: you know, singers aren't mature to their forties anyway, they

370
00:19:30,200 --> 00:19:34,280
Speaker 2: look out themselves even moderately well. But I realized she

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Speaker 2: hadn't lost her voice. With the sound of what you

372
00:19:36,840 --> 00:19:38,600
Speaker 2: were hearing was a woman who had lost her heart

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Speaker 2: because she was all hard and the voice is just

374
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Speaker 2: a conduit. It's just an amp. It's not the guitar.

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Speaker 2: The guitar is the guitar. The voice is the amp. Okay,

376
00:19:48,720 --> 00:19:51,280
Speaker 2: if your guitar is fucked, the strings are broken, your

377
00:19:51,320 --> 00:19:53,720
Speaker 2: heart is broken, and you don't really want to be

378
00:19:53,760 --> 00:19:57,680
Speaker 2: doing that anymore. Obviously, it's gonna show and what comes

379
00:19:57,720 --> 00:19:59,680
Speaker 2: through you what comes out of you. And I felt

380
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Speaker 2: that the thing was she wasn't just trying to destroy

381
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Speaker 2: her voice. She was trying to destroy that life that

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00:20:04,880 --> 00:20:08,239
Speaker 2: held her in bondage and just became too much. And

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Speaker 2: you know, from our Native American heritage, we don't believe

384
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Speaker 2: in death anyway. The way it's taught in the West,

385
00:20:13,760 --> 00:20:16,320
Speaker 2: and so you know, she wasn't obliged to be with

386
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Speaker 2: us raggedy motherfuckers one minute past realizing she had done

387
00:20:20,960 --> 00:20:23,159
Speaker 2: what she had come to do. She had blessed the

388
00:20:23,200 --> 00:20:26,159
Speaker 2: souls and the lives. I just saw her movie. I

389
00:20:26,160 --> 00:20:28,840
Speaker 2: had on a carousel for two years. Question yet and

390
00:20:28,880 --> 00:20:31,479
Speaker 2: I just because I had her in Aretha's life stories

391
00:20:31,520 --> 00:20:34,440
Speaker 2: on the to watch list, because I knew those lives

392
00:20:34,480 --> 00:20:37,040
Speaker 2: reverberated so close to my own that I have to

393
00:20:37,080 --> 00:20:40,640
Speaker 2: be ready and prepared psychologically to digest those stories because

394
00:20:40,680 --> 00:20:43,280
Speaker 2: those stories are my stories as well. So you know,

395
00:20:43,320 --> 00:20:47,720
Speaker 2: I had forgotten how many like just groundbreaking records, WOULDN'TY had,

396
00:20:47,760 --> 00:20:51,440
Speaker 2: you know, broken and and just like wow. But it's

397
00:20:51,440 --> 00:20:53,679
Speaker 2: the same with Prince. You know, you do what you

398
00:20:53,760 --> 00:20:57,879
Speaker 2: come to do, and sometimes spirit says, I will not

399
00:20:58,000 --> 00:21:01,480
Speaker 2: let you be abused one second long because a life

400
00:21:01,600 --> 00:21:03,960
Speaker 2: is easy to replace, a soul is a little harder,

401
00:21:04,680 --> 00:21:06,240
Speaker 2: So you know what I'm saying to you. So I

402
00:21:06,240 --> 00:21:09,880
Speaker 2: feel like those were taken from us to preserve what

403
00:21:09,920 --> 00:21:13,880
Speaker 2: they were and for further service. Because the angels recycle.

404
00:21:14,520 --> 00:21:17,160
Speaker 2: You know, it's like only twelve these motherfuckers and they

405
00:21:17,320 --> 00:21:20,760
Speaker 2: play all the roles they're necessary play is MENI roles

406
00:21:20,840 --> 00:21:25,520
Speaker 2: needed like traveling Shakespearean troupe, where this time you're the dad,

407
00:21:25,840 --> 00:21:28,400
Speaker 2: next time imbi popper. But we all travel together because

408
00:21:28,400 --> 00:21:29,920
Speaker 2: we all know each other and we all trust each

409
00:21:29,920 --> 00:21:32,359
Speaker 2: other to play these roles for us. So I have

410
00:21:32,400 --> 00:21:36,320
Speaker 2: no doubt that me and Michael were very, very very close,

411
00:21:36,640 --> 00:21:40,679
Speaker 2: and that's perhaps why he fucked my shit up, because

412
00:21:40,720 --> 00:21:42,800
Speaker 2: it was in so doing he spared my life. And

413
00:21:43,600 --> 00:21:46,840
Speaker 2: I'm able now to have this conversation twenty twenty four

414
00:21:47,600 --> 00:21:51,600
Speaker 2: with you, another person whose life has been greatly touched

415
00:21:51,640 --> 00:21:55,560
Speaker 2: by the magic Joll's geniuses laid down by the way.

416
00:21:56,080 --> 00:21:58,880
Speaker 2: I also am happy to hear that you I had

417
00:21:58,880 --> 00:22:01,639
Speaker 2: some influence because when you guys first came through, it

418
00:22:01,680 --> 00:22:04,479
Speaker 2: was same with Erica. You're not always sure if it's

419
00:22:04,520 --> 00:22:07,760
Speaker 2: your vanity or your pride, but sometimes you can feel

420
00:22:07,920 --> 00:22:10,920
Speaker 2: like when your spirit is a part of somebody else,

421
00:22:12,240 --> 00:22:14,520
Speaker 2: it doesn't have to be anything specific, it's just a

422
00:22:14,680 --> 00:22:17,680
Speaker 2: vibe and you go like, yeah, I think these guys

423
00:22:17,760 --> 00:22:19,200
Speaker 2: might have been listening to my records, you know what

424
00:22:19,240 --> 00:22:23,560
Speaker 2: I mean. You think it's always really short, and when

425
00:22:23,560 --> 00:22:26,879
Speaker 2: you find out that yes, there is a family, and we,

426
00:22:27,080 --> 00:22:29,080
Speaker 2: like I said before, we do travel together, and we

427
00:22:29,119 --> 00:22:32,480
Speaker 2: perform the works and the miracles that we're here to perform,

428
00:22:32,720 --> 00:22:34,480
Speaker 2: and we pack up the caravan and we move on

429
00:22:34,560 --> 00:22:35,440
Speaker 2: to the next performance.

430
00:22:35,800 --> 00:22:37,920
Speaker 1: I swear to God man if allowed to at least

431
00:22:38,680 --> 00:22:42,199
Speaker 1: refer to that other non diplume of yours, which was

432
00:22:42,280 --> 00:22:45,240
Speaker 1: e G. O'Reilly, like I was your number one disciple,

433
00:22:45,520 --> 00:22:51,280
Speaker 1: like literally for that. My closing question is your rebirth

434
00:22:51,359 --> 00:22:56,280
Speaker 1: with angels and vampires. Yes, where you're on your own

435
00:22:56,440 --> 00:22:59,760
Speaker 1: and you're out of the system. Can you just walk

436
00:22:59,800 --> 00:23:06,320
Speaker 1: me through kind of your caterpillar to butterfly transition to

437
00:23:07,080 --> 00:23:09,560
Speaker 1: where you are now? Because the thing was is that

438
00:23:09,960 --> 00:23:15,879
Speaker 1: I just thought after well, Vibrator Wildcart was the last

439
00:23:15,880 --> 00:23:21,000
Speaker 1: Sony record Vibrator Vibrator Okay. So Wildcourt was your first

440
00:23:21,119 --> 00:23:23,639
Speaker 1: project on your own correst okay, And.

441
00:23:23,760 --> 00:23:26,919
Speaker 2: It was actually created, It was created. This is an

442
00:23:26,960 --> 00:23:30,040
Speaker 2: interesting story if I can. Yes, it was created for

443
00:23:30,119 --> 00:23:33,080
Speaker 2: capital because I had ten years I had spent trying

444
00:23:33,080 --> 00:23:36,320
Speaker 2: to get off of the Sony arrangement. The English had

445
00:23:36,400 --> 00:23:38,879
Speaker 2: let me go. The Americans had been hanging on to it,

446
00:23:38,920 --> 00:23:41,520
Speaker 2: but the English were very reluctant. It was a messy situation,

447
00:23:41,600 --> 00:23:45,600
Speaker 2: but finally I got out of it. Then I was

448
00:23:45,640 --> 00:23:50,600
Speaker 2: supposed to do Sam Cook that the family. I was

449
00:23:50,640 --> 00:23:52,960
Speaker 2: extremely flat aby the family said that was the only

450
00:23:53,000 --> 00:23:56,240
Speaker 2: person they wanted to play Sam. But I couldn't wrap

451
00:23:56,280 --> 00:23:59,000
Speaker 2: my head around the fact that I don't care how

452
00:23:59,200 --> 00:24:02,000
Speaker 2: flattered I am that you think my voice can replace Sam.

453
00:24:02,400 --> 00:24:06,240
Speaker 2: If the movie is about a legend, why would you

454
00:24:06,400 --> 00:24:10,199
Speaker 2: not want to expose his voice? And I also knew that,

455
00:24:10,480 --> 00:24:12,399
Speaker 2: and Sony had made the mistake of saying to my

456
00:24:12,440 --> 00:24:14,919
Speaker 2: manager at the time, why is he coming all this

457
00:24:15,359 --> 00:24:17,600
Speaker 2: in their minds, all this innovative shit. All he has

458
00:24:17,640 --> 00:24:19,720
Speaker 2: to do is make Sam Cook records and we'll promote

459
00:24:19,760 --> 00:24:20,120
Speaker 2: him for life.

460
00:24:20,119 --> 00:24:22,600
Speaker 1: Shut up and sing and make the hits and yeah.

461
00:24:22,280 --> 00:24:26,480
Speaker 2: Yeah, And as much as I idolized Sam Cook, I

462
00:24:26,480 --> 00:24:28,680
Speaker 2: don't want to be buried in his grave. And those

463
00:24:28,720 --> 00:24:31,200
Speaker 2: things can be pyodic victories where you have success. Direcord

464
00:24:31,240 --> 00:24:33,960
Speaker 2: Company pushes it. And now every gig you show up,

465
00:24:33,960 --> 00:24:36,360
Speaker 2: if you don't do some Sam shit, you know they're

466
00:24:36,400 --> 00:24:40,080
Speaker 2: yelling at you're throwing shoes, right, So it was a

467
00:24:40,080 --> 00:24:43,240
Speaker 2: tough decision. But then I had been approached to play

468
00:24:43,320 --> 00:24:47,080
Speaker 2: Sam in the Muhammad Ali film. So I had agreed

469
00:24:47,119 --> 00:24:50,040
Speaker 2: because Michael Mann had really talked me into it. The director.

470
00:24:50,520 --> 00:24:52,920
Speaker 2: I have a lot of time for him, Michael, and

471
00:24:54,000 --> 00:24:56,280
Speaker 2: I was going to do it. And then I get

472
00:24:56,320 --> 00:24:58,639
Speaker 2: a call from Michael Mann saying do me a favor.

473
00:24:59,480 --> 00:25:01,000
Speaker 2: This was a couple days before I was supposed to

474
00:25:01,000 --> 00:25:03,080
Speaker 2: start shooting. He said, I needed to talk to Tommy

475
00:25:03,119 --> 00:25:05,840
Speaker 2: Mottola because Tommy Mottola is trying to fuck with the

476
00:25:05,880 --> 00:25:08,520
Speaker 2: soundtrack because I didn't know that they had the soundtrack.

477
00:25:08,880 --> 00:25:10,679
Speaker 2: So basically I had spent ten years trying to get

478
00:25:10,680 --> 00:25:13,760
Speaker 2: away from Tommy Mottola in that situation, only to find

479
00:25:13,760 --> 00:25:16,400
Speaker 2: out the last minute that if I had song on

480
00:25:16,440 --> 00:25:20,080
Speaker 2: the soundtrack, it would have belonged to Sony and Tommy

481
00:25:20,640 --> 00:25:24,280
Speaker 2: get me to sign another option that he wasn't going

482
00:25:24,320 --> 00:25:27,719
Speaker 2: to release the soundtrack rights to the film until I

483
00:25:27,760 --> 00:25:30,879
Speaker 2: did something for him, And so I basically said to

484
00:25:30,880 --> 00:25:32,880
Speaker 2: Michael Man, I said, well, I thank you very much

485
00:25:32,880 --> 00:25:36,320
Speaker 2: for this opportunity. I would rather go to hell, literally

486
00:25:36,880 --> 00:25:40,000
Speaker 2: with gas strapped to my back than than to deal

487
00:25:40,040 --> 00:25:42,520
Speaker 2: with this guy again. So I bout out of the film.

488
00:25:42,840 --> 00:25:46,000
Speaker 1: Do you believe when I think he said this in

489
00:25:46,040 --> 00:25:49,720
Speaker 1: this book? But before I read his book. He was

490
00:25:49,760 --> 00:25:52,359
Speaker 1: a guest on The Tonight Show, and you know, just

491
00:25:52,920 --> 00:25:56,320
Speaker 1: casual three minute conversation, you know, I kind of always

492
00:25:56,320 --> 00:25:58,560
Speaker 1: ask like, is there an artist that got away or

493
00:25:58,640 --> 00:26:03,200
Speaker 1: like a regret or something like that, and he said

494
00:26:03,760 --> 00:26:07,160
Speaker 1: that it wasn't close to like we could have done

495
00:26:07,240 --> 00:26:12,159
Speaker 1: done better by him. Yeah, but he kind of and

496
00:26:12,480 --> 00:26:16,200
Speaker 1: he said in a very non industry you know, when

497
00:26:16,240 --> 00:26:18,080
Speaker 1: someone has a prepared answer, I.

498
00:26:18,200 --> 00:26:21,680
Speaker 2: Move that you say that, because I get my guides

499
00:26:21,800 --> 00:26:23,760
Speaker 2: if you will. My spirit tells me all the time

500
00:26:24,720 --> 00:26:27,560
Speaker 2: that there was a price that everyone had to pay

501
00:26:28,000 --> 00:26:30,560
Speaker 2: who consciously went into it knowing that they were trying

502
00:26:30,640 --> 00:26:32,320
Speaker 2: because they got caught up to try to teach me

503
00:26:32,359 --> 00:26:34,880
Speaker 2: a lesson. It was like, plus, the other young ones

504
00:26:34,920 --> 00:26:36,439
Speaker 2: are watching, so we have to use him as an

505
00:26:36,440 --> 00:26:40,120
Speaker 2: example of you know, don't cross us. We're the biggest

506
00:26:40,280 --> 00:26:43,000
Speaker 2: record corporation in the world. You do. And you know,

507
00:26:43,280 --> 00:26:47,520
Speaker 2: CBS Columbia were, relative to that situation, a bit more

508
00:26:47,600 --> 00:26:51,880
Speaker 2: left liberal and artist friendly. Sony came in with a real,

509
00:26:52,880 --> 00:26:56,879
Speaker 2: if not necessarily politically right wing attitude, socially right wing.

510
00:26:56,960 --> 00:26:59,119
Speaker 2: The artists do what the fuck we tell them, you know,

511
00:26:59,240 --> 00:27:03,080
Speaker 2: listen to the artists. We're not mow Austin a Warner Brothers.

512
00:27:03,080 --> 00:27:06,879
Speaker 2: This isn't right. You know, we're not virgin records. The

513
00:27:07,000 --> 00:27:10,399
Speaker 2: artist listens to Sony, we tell them, So it started

514
00:27:10,400 --> 00:27:12,600
Speaker 2: off the wrong foot. There was also the fact that

515
00:27:12,640 --> 00:27:15,720
Speaker 2: like were going back to the official flesh. If I

516
00:27:15,760 --> 00:27:17,360
Speaker 2: could go back and do it over again, I would

517
00:27:17,400 --> 00:27:19,680
Speaker 2: probably delay the release by six months because it fell

518
00:27:19,720 --> 00:27:23,560
Speaker 2: in the cuffs between the old regime leaving and being

519
00:27:24,200 --> 00:27:27,720
Speaker 2: taken over by the new incoming Sony regime. So it

520
00:27:27,760 --> 00:27:31,200
Speaker 2: was also one of those situations where the timing. Nothing

521
00:27:31,240 --> 00:27:34,040
Speaker 2: about that situation was friendly. But as I said to you,

522
00:27:34,080 --> 00:27:37,320
Speaker 2: Paul Russell went run. The English company had already told

523
00:27:37,359 --> 00:27:41,080
Speaker 2: me to expect some different shit. But here's also another

524
00:27:41,119 --> 00:27:44,680
Speaker 2: reality question that most guys people don't realize, artists don't realize.

525
00:27:44,760 --> 00:27:46,720
Speaker 2: And your manager for sure is not going to tell you.

526
00:27:47,040 --> 00:27:50,040
Speaker 2: So you go back and you renegotiate your contract. Now

527
00:27:50,160 --> 00:27:52,040
Speaker 2: you get what you should have gotten in the first place,

528
00:27:52,040 --> 00:27:54,639
Speaker 2: as far as you're concerned. But what you don't realize

529
00:27:54,680 --> 00:27:57,119
Speaker 2: is that part of the reason your record was so

530
00:27:57,280 --> 00:28:00,520
Speaker 2: enticing is because they got it for nothing. I was

531
00:28:00,600 --> 00:28:07,680
Speaker 2: signed at the lowest legally binding contract. I was literally

532
00:28:07,720 --> 00:28:10,480
Speaker 2: thirty thousand pounds was the lowest limit that I got

533
00:28:10,520 --> 00:28:13,119
Speaker 2: signed at the time, might have been fifty forty grand

534
00:28:13,240 --> 00:28:18,520
Speaker 2: forty dollars, And so what I didn't realize is it

535
00:28:18,600 --> 00:28:20,199
Speaker 2: was all gravy. We didn't spend a lot on the

536
00:28:20,200 --> 00:28:24,440
Speaker 2: record because the record was pretty much me re recording

537
00:28:24,440 --> 00:28:28,119
Speaker 2: the demos, and so it was just all found money.

538
00:28:28,680 --> 00:28:30,320
Speaker 2: What they don't tell you is you come back now

539
00:28:30,400 --> 00:28:32,640
Speaker 2: you're making serious, serious boom boom. They got to share

540
00:28:32,640 --> 00:28:35,320
Speaker 2: a lot more at overhead. And now I realize to

541
00:28:35,359 --> 00:28:37,520
Speaker 2: get that same money they got before, this is how

542
00:28:37,560 --> 00:28:41,000
Speaker 2: much they're gonna have to spend to get there. Meanwhile,

543
00:28:42,040 --> 00:28:45,360
Speaker 2: what they're gambling on is that, as you've alluded to before,

544
00:28:45,600 --> 00:28:48,480
Speaker 2: there's a new group, a new act that's on their

545
00:28:48,520 --> 00:28:53,200
Speaker 2: first deal. That this is why in the NFL they

546
00:28:53,240 --> 00:28:57,400
Speaker 2: try to maximize that rookie quarterback contract to get the team,

547
00:28:57,960 --> 00:29:01,480
Speaker 2: you know, whatever they need. And it's the same. So

548
00:29:01,680 --> 00:29:04,000
Speaker 2: your manager's not gonna say, no, I'm gonna forfit this

549
00:29:04,080 --> 00:29:06,840
Speaker 2: big alimony check you're about to give me the pass

550
00:29:06,880 --> 00:29:10,400
Speaker 2: it on to my situation. I'm gonna you shouldn't do this.

551
00:29:10,600 --> 00:29:13,360
Speaker 2: You should stay on the same thing, but you should

552
00:29:13,400 --> 00:29:16,560
Speaker 2: instead just up your points. They don't tell you that

553
00:29:16,560 --> 00:29:19,680
Speaker 2: that basically you can become a victim of your success.

554
00:29:19,760 --> 00:29:23,120
Speaker 2: Where among the other machinations that were happening around it,

555
00:29:23,200 --> 00:29:27,360
Speaker 2: the perfect storm that I walked into, you've basically made

556
00:29:27,400 --> 00:29:32,120
Speaker 2: yourself less financially viable and exploitative simply because you're getting

557
00:29:32,120 --> 00:29:35,200
Speaker 2: now a bigger piece of the pie for you.

558
00:29:35,320 --> 00:29:39,080
Speaker 1: What is a good takeaway? Because I know they're pros,

559
00:29:39,160 --> 00:29:42,320
Speaker 1: and I know that they're cons to the situation.

560
00:29:43,120 --> 00:29:45,040
Speaker 2: Well, first of all, let me just say this about

561
00:29:45,040 --> 00:29:48,600
Speaker 2: the Tommy regime. First of all, I was a yetnikov guy.

562
00:29:48,680 --> 00:29:51,560
Speaker 2: I idolized Walter Yetnikoff because I grew up reading books

563
00:29:51,880 --> 00:29:55,840
Speaker 2: that backed into I grew up reading Billboard magazine in

564
00:29:55,880 --> 00:29:58,680
Speaker 2: the school library, and not even walti yet Nicoff. So

565
00:29:58,720 --> 00:30:00,600
Speaker 2: I knew he was. I knew his storm, I knew

566
00:30:00,640 --> 00:30:04,000
Speaker 2: his history. I knew he had succeeded Clive Davis. He

567
00:30:04,120 --> 00:30:06,320
Speaker 2: was a rock star to me. We hit it off

568
00:30:06,440 --> 00:30:10,000
Speaker 2: like he was my Brooklyn Jewish uncle. He was that dude.

569
00:30:10,440 --> 00:30:13,440
Speaker 2: He was moved that I spoke Yiddish, that in the German.

570
00:30:13,480 --> 00:30:16,200
Speaker 2: We just had a vibe that he just never had.

571
00:30:16,880 --> 00:30:21,240
Speaker 2: Now here's the irony. It did occur to me later

572
00:30:21,400 --> 00:30:24,040
Speaker 2: that once again it could have been because of Michael

573
00:30:24,480 --> 00:30:28,400
Speaker 2: and getting Michael's attention that Walter decided to really pushed

574
00:30:28,440 --> 00:30:30,640
Speaker 2: me because I was I had broken all over the world.

575
00:30:31,120 --> 00:30:34,240
Speaker 2: And to be fair to Tommy Matola, he wasn't that

576
00:30:34,400 --> 00:30:37,560
Speaker 2: enthusiastic about me at any point in my career. He

577
00:30:37,720 --> 00:30:42,160
Speaker 2: just thought I was his hype. So really, well, he

578
00:30:42,320 --> 00:30:44,680
Speaker 2: wasn't a big no. He was never there. He always

579
00:30:44,680 --> 00:30:48,320
Speaker 2: thought Walter was over indulging me, and blah blah blah.

580
00:30:48,320 --> 00:30:50,680
Speaker 1: That was Walter's guy, not my guy. So okay, yeah,

581
00:30:50,680 --> 00:30:51,160
Speaker 1: I get it now.

582
00:30:51,240 --> 00:30:54,840
Speaker 2: Yeah. And plus when he took over, see the thing

583
00:30:54,920 --> 00:30:58,600
Speaker 2: is between again my first and second records, Walter was

584
00:30:58,600 --> 00:31:03,480
Speaker 2: in rehab. So Walter was in Minnesota drying out at

585
00:31:04,640 --> 00:31:08,960
Speaker 2: John Hopkins. The Japanese get a call from Tarry Mottola. Hey,

586
00:31:09,240 --> 00:31:11,600
Speaker 2: your boy's coked out of his mind. He's in reality,

587
00:31:11,640 --> 00:31:15,000
Speaker 2: he's loose mining the store. Me, Tarry Mattola, I'm minding

588
00:31:15,040 --> 00:31:19,200
Speaker 2: the store. Basically, Mattola was yet Nikoll's fined. He was

589
00:31:19,200 --> 00:31:21,160
Speaker 2: his lieutenant. He was the one who put him in

590
00:31:21,160 --> 00:31:24,560
Speaker 2: that situation. So when Motola turned around and did what

591
00:31:24,640 --> 00:31:28,040
Speaker 2: he did to basically bust yet Nikov that got the

592
00:31:28,120 --> 00:31:32,000
Speaker 2: Japanese to replace him. From that point anyway, I was

593
00:31:32,080 --> 00:31:36,040
Speaker 2: I'm a loyal dude. I mean, that was my guy man, right,

594
00:31:36,040 --> 00:31:38,280
Speaker 2: and now you want me to switch my loyalty to you.

595
00:31:38,720 --> 00:31:41,000
Speaker 2: And you wear like short black socks with your like

596
00:31:41,040 --> 00:31:43,720
Speaker 2: hair sticking out between your pants leg and your socks

597
00:31:43,720 --> 00:31:45,880
Speaker 2: and shit, looking like some southern black dudes from the fifties.

598
00:31:46,400 --> 00:31:48,400
Speaker 2: And I remember him giving me a letter, a little

599
00:31:48,480 --> 00:31:51,800
Speaker 2: letter that Michael had written to me to get gave

600
00:31:51,920 --> 00:31:54,280
Speaker 2: to him to give to me, and I could already

601
00:31:54,320 --> 00:31:58,120
Speaker 2: see the writing on the wall, okay, because Tommy would

602
00:31:58,120 --> 00:32:01,160
Speaker 2: have still had to have support from somebody artists to

603
00:32:01,200 --> 00:32:04,800
Speaker 2: get the Japanese to part ways with Yetnikov, because that

604
00:32:04,880 --> 00:32:10,000
Speaker 2: was Yetnikov's strongest suit, his relationships with the artists. So basically,

605
00:32:10,240 --> 00:32:13,160
Speaker 2: you know, once he had secured a certain group of

606
00:32:13,280 --> 00:32:18,080
Speaker 2: artists support, he didn't. I was expendable. I was expendable

607
00:32:18,080 --> 00:32:23,680
Speaker 2: to cause, as they would say. But so in all

608
00:32:23,720 --> 00:32:25,800
Speaker 2: fairness to him, we never really hit it off. But

609
00:32:26,440 --> 00:32:28,560
Speaker 2: at the same time, when I saw what he did

610
00:32:28,600 --> 00:32:31,800
Speaker 2: to Walter, I just thought, Nah, this guy gives me

611
00:32:31,840 --> 00:32:34,400
Speaker 2: the he used to say in German, gives me the agel.

612
00:32:35,960 --> 00:32:39,240
Speaker 2: I didn't feel comfortable with him, and of course he

613
00:32:39,320 --> 00:32:41,680
Speaker 2: fell out with Michael later as well. All that, but

614
00:32:42,000 --> 00:32:46,000
Speaker 2: my take on it was this, that regime that featured

615
00:32:46,040 --> 00:32:50,360
Speaker 2: Donnie Einer, Michelle Anthony, those three, they were the three

616
00:32:50,360 --> 00:32:54,000
Speaker 2: big hanchos. I was struck by how they had bigger

617
00:32:54,000 --> 00:32:57,560
Speaker 2: egos than the artists, that they wanted to be the

618
00:32:57,640 --> 00:33:00,440
Speaker 2: rock stars, and in fact that was the journal With

619
00:33:00,480 --> 00:33:02,320
Speaker 2: all due respect to him because he's worked his ass

620
00:33:02,360 --> 00:33:04,440
Speaker 2: off and I know he's a great musician, but Randy

621
00:33:04,520 --> 00:33:07,040
Speaker 2: Jackson belonged to that whole regime as well, and then

622
00:33:07,120 --> 00:33:10,760
Speaker 2: Randy wound up being bigger as a celebrity, you know.

623
00:33:11,000 --> 00:33:13,080
Speaker 2: So the point is, but that was the ethos that

624
00:33:13,120 --> 00:33:15,560
Speaker 2: I was dealing with, that I had never had a

625
00:33:15,560 --> 00:33:18,640
Speaker 2: meeting with Donnie Einer. Well, this motherfucker wasn't talking more

626
00:33:18,640 --> 00:33:21,800
Speaker 2: about himself and what he had done, then why we

627
00:33:21,800 --> 00:33:23,520
Speaker 2: were there to have the meeting in the first place.

628
00:33:24,160 --> 00:33:27,320
Speaker 2: And Michelle used to take me for limo rides when

629
00:33:27,320 --> 00:33:29,840
Speaker 2: I would come to New York from London and just

630
00:33:29,880 --> 00:33:33,360
Speaker 2: impress upon me how important a jewel I was in

631
00:33:33,400 --> 00:33:36,200
Speaker 2: the crown. The sony crown, right, So one point I

632
00:33:36,200 --> 00:33:39,720
Speaker 2: get annoyed. Will hear her saying this? And I said, well, Michelle,

633
00:33:40,360 --> 00:33:42,520
Speaker 2: which one of the diamonds am I? And by one

634
00:33:42,520 --> 00:33:44,640
Speaker 2: of them like pave diamonds on the back, you know

635
00:33:44,680 --> 00:33:47,280
Speaker 2: that gets caught underneath the neck like you can't see

636
00:33:47,320 --> 00:33:49,440
Speaker 2: them because the neck hairs, the nappy hairs get all

637
00:33:49,480 --> 00:33:52,680
Speaker 2: like you mean, I'm that part of the crown, you know?

638
00:33:53,040 --> 00:33:54,800
Speaker 2: Or am I one of these jewels at the middle

639
00:33:54,840 --> 00:33:56,760
Speaker 2: where no matter what your hair looks like, you can

640
00:33:56,840 --> 00:33:59,960
Speaker 2: see that's this motherfucker right here, you know. And it's

641
00:34:00,200 --> 00:34:03,080
Speaker 2: point she got embarrassed and stopped dropping Atlanta because I

642
00:34:03,080 --> 00:34:05,800
Speaker 2: didn't want to hear that. Right, They didn't know what

643
00:34:05,880 --> 00:34:08,480
Speaker 2: to do with me, and no matter in which Walch did,

644
00:34:08,960 --> 00:34:12,640
Speaker 2: but what they did that different than Walter was Walters.

645
00:34:13,040 --> 00:34:17,879
Speaker 2: I trust this guy's Benji. He just proved something out

646
00:34:17,880 --> 00:34:20,560
Speaker 2: of nowhere to left field. I had Doug Morris, who

647
00:34:20,640 --> 00:34:24,480
Speaker 2: used to run Atlantic, who up until that point when

648
00:34:24,520 --> 00:34:25,880
Speaker 2: he was trying to talk me to come in with

649
00:34:25,960 --> 00:34:28,080
Speaker 2: his company, he said, I had been in the business

650
00:34:28,120 --> 00:34:31,480
Speaker 2: for forty years. I've never seen anybody, even Elvis, Nobody

651
00:34:31,520 --> 00:34:34,120
Speaker 2: came through the way you did. He said, yeah, well

652
00:34:34,120 --> 00:34:36,000
Speaker 2: I pay for that because it freaked people out, and

653
00:34:36,040 --> 00:34:38,400
Speaker 2: so I had to answer for all of that. And then,

654
00:34:38,480 --> 00:34:40,040
Speaker 2: like I said, when they find out that you're not

655
00:34:40,120 --> 00:34:45,359
Speaker 2: interested in just representing a bunch of bullshit, they're not

656
00:34:45,400 --> 00:34:47,399
Speaker 2: going to be comfortable sharing their power with you because

657
00:34:47,440 --> 00:34:50,279
Speaker 2: they can see who you are and nobody's trying to

658
00:34:50,360 --> 00:34:54,120
Speaker 2: upset the status quo. That's not their job. So it's

659
00:34:54,120 --> 00:34:56,400
Speaker 2: not like I don't understand. It's not like I can't

660
00:34:57,480 --> 00:34:59,120
Speaker 2: come to terms with the fact that I was an

661
00:34:59,120 --> 00:35:02,319
Speaker 2: inconvenient man for the time and the place. But I

662
00:35:02,360 --> 00:35:04,239
Speaker 2: did what spirit asked me to do. I laid the

663
00:35:04,280 --> 00:35:07,440
Speaker 2: seeds in the ground, and I'm still reaping the whorldwind

664
00:35:07,520 --> 00:35:10,520
Speaker 2: and the benefits of them close to forty years later.

665
00:35:11,000 --> 00:35:14,239
Speaker 2: And it's what allows me to talk to you and

666
00:35:14,280 --> 00:35:17,799
Speaker 2: have this conversation without having had to sell more than

667
00:35:17,800 --> 00:35:20,440
Speaker 2: I was capable of remanifesting, if you will.

668
00:35:20,600 --> 00:35:23,960
Speaker 1: What's your relationship with the material? Though, like, because there's

669
00:35:24,000 --> 00:35:27,080
Speaker 1: two sides of you and is a Burnham sum of

670
00:35:27,160 --> 00:35:28,799
Speaker 1: a fan is yelling out like.

671
00:35:29,000 --> 00:35:32,720
Speaker 2: No, no c or seven more. You know, at this point,

672
00:35:32,920 --> 00:35:35,719
Speaker 2: at this point, about five or six, seven years ago,

673
00:35:35,800 --> 00:35:38,520
Speaker 2: I opened the whole thing back up. It was imperative

674
00:35:38,640 --> 00:35:43,160
Speaker 2: upon me to lock out that part and focus on

675
00:35:43,239 --> 00:35:46,600
Speaker 2: growing the garden of post millium Rock. The other guarden

676
00:35:46,600 --> 00:35:50,360
Speaker 2: didn't need my help. They already had a major corporation

677
00:35:51,239 --> 00:35:55,399
Speaker 2: who co sponsors those first four records with me. They

678
00:35:55,400 --> 00:35:57,359
Speaker 2: were taking care of that. I didn't have to do

679
00:35:57,400 --> 00:35:59,160
Speaker 2: that work. I just had to work the fields that

680
00:35:59,200 --> 00:36:02,480
Speaker 2: I was preparing for where I am now. So for

681
00:36:02,520 --> 00:36:05,719
Speaker 2: a long time I made every sacrifice necessary to not

682
00:36:07,000 --> 00:36:09,200
Speaker 2: burden people with that reality that you're coming to see

683
00:36:09,239 --> 00:36:12,160
Speaker 2: me under a false impression. I made it clear even

684
00:36:12,239 --> 00:36:16,240
Speaker 2: the venues that I chose to play were deliberately intended

685
00:36:16,280 --> 00:36:18,360
Speaker 2: that I didn't have to feel extra burden of pressure

686
00:36:18,680 --> 00:36:21,080
Speaker 2: to sell out a place ten thousand people or whatever.

687
00:36:21,560 --> 00:36:24,759
Speaker 2: If you know, I can only realistically get, you know,

688
00:36:24,880 --> 00:36:28,640
Speaker 2: five hundred people in this place based on what this

689
00:36:28,680 --> 00:36:30,880
Speaker 2: town is based on this blah blah blah blah blah.

690
00:36:31,080 --> 00:36:33,800
Speaker 2: I'm more than willing to do that while taking advantage

691
00:36:33,840 --> 00:36:35,359
Speaker 2: of the fact that the first time around, I didn't

692
00:36:35,360 --> 00:36:38,440
Speaker 2: spend enough time in these places anyway. So it was

693
00:36:38,520 --> 00:36:39,839
Speaker 2: kind of a way for me to kill two birds

694
00:36:39,840 --> 00:36:42,160
Speaker 2: at one stone. But then of course the time when

695
00:36:42,480 --> 00:36:45,360
Speaker 2: even Sony came back and said, we already if you

696
00:36:45,400 --> 00:36:47,799
Speaker 2: were willing to work with us and collaborate with us

697
00:36:48,000 --> 00:36:50,759
Speaker 2: on your first four projects that we co own with you,

698
00:36:51,760 --> 00:36:53,600
Speaker 2: we are willing to do whatever it is that you

699
00:36:54,080 --> 00:36:58,080
Speaker 2: deem necessary. And I said, well, the message has been consistent.

700
00:36:58,520 --> 00:37:01,799
Speaker 2: You change everything to annda my fare, or I have

701
00:37:01,840 --> 00:37:06,080
Speaker 2: no interest in working against my own interest. You know

702
00:37:06,400 --> 00:37:09,879
Speaker 2: that's already been established. So we came to those conclusions.

703
00:37:10,040 --> 00:37:12,239
Speaker 2: The bottom line of changing it was simple. At some

704
00:37:12,320 --> 00:37:15,320
Speaker 2: point you realize that the name you created, the identity

705
00:37:15,320 --> 00:37:19,399
Speaker 2: that you've created, you don't want anymore. And when you're

706
00:37:19,400 --> 00:37:21,759
Speaker 2: going through these struggles with them, they were never an

707
00:37:21,800 --> 00:37:26,040
Speaker 2: artist friendly company, the ones that I had these tumultuous

708
00:37:26,120 --> 00:37:28,600
Speaker 2: dealings with. So they let you know, hey, you're just

709
00:37:28,719 --> 00:37:32,920
Speaker 2: that's our property, and we're not the vision you have

710
00:37:33,600 --> 00:37:38,120
Speaker 2: of postmanin and rock. That's not black artists music that

711
00:37:38,160 --> 00:37:40,040
Speaker 2: we the way we see and we want to support you.

712
00:37:40,360 --> 00:37:45,239
Speaker 2: And the other thing is any industry, whether it's a

713
00:37:45,280 --> 00:37:48,040
Speaker 2: film industry or music industry, is going to be hard

714
00:37:48,040 --> 00:37:50,279
Speaker 2: pressed to promote and continue to promote what they don't

715
00:37:50,280 --> 00:37:54,279
Speaker 2: think they can easily replace. So if you're if you're

716
00:37:54,360 --> 00:37:57,600
Speaker 2: seen as a paradigm shifter. Fine, that's all well and

717
00:37:57,640 --> 00:37:59,400
Speaker 2: good from the artistic side of it. But from the

718
00:37:59,480 --> 00:38:02,040
Speaker 2: industry out of it. Can we duplicate this monk and

719
00:38:02,120 --> 00:38:05,080
Speaker 2: we now mint and print this bitch? If you can't,

720
00:38:05,560 --> 00:38:08,719
Speaker 2: it's not in their best interest, you know, for them

721
00:38:08,760 --> 00:38:12,879
Speaker 2: to promote Citizen King as a film when they've got

722
00:38:13,080 --> 00:38:15,920
Speaker 2: nothing else the next two years in their catalog, in

723
00:38:15,960 --> 00:38:20,239
Speaker 2: the pipeline that looks anything like Citizen King. So you

724
00:38:20,400 --> 00:38:23,920
Speaker 2: learn all these lessons, and you learn that if you

725
00:38:23,960 --> 00:38:27,400
Speaker 2: want to go forward after two years of meditation, where

726
00:38:27,440 --> 00:38:30,720
Speaker 2: I was in a state of dissociation in order to survive,

727
00:38:31,560 --> 00:38:33,320
Speaker 2: where to the point where if you called me that

728
00:38:33,400 --> 00:38:35,200
Speaker 2: old name, it might take a few seconds for me

729
00:38:35,239 --> 00:38:38,400
Speaker 2: to register that you were actually talking to me. In

730
00:38:38,520 --> 00:38:41,719
Speaker 2: meditations and prayers, I asked the way forward, and I

731
00:38:41,760 --> 00:38:44,239
Speaker 2: was given in a series of dreams. I'm a pis

732
00:38:44,239 --> 00:38:46,840
Speaker 2: sing and I've always placed a lot of stocking dreams

733
00:38:47,520 --> 00:38:49,520
Speaker 2: in a series of dreams. Three to be exact, I

734
00:38:49,600 --> 00:38:52,160
Speaker 2: kept hearing the name Sananda called out by a group

735
00:38:52,200 --> 00:38:55,920
Speaker 2: of angels that I were always traveling behind, walking behind.

736
00:38:56,360 --> 00:38:59,120
Speaker 2: By the third time, this name, which was in every

737
00:38:59,200 --> 00:39:02,160
Speaker 2: dream to me like this is Solanda. I would always

738
00:39:02,160 --> 00:39:04,279
Speaker 2: look around like, hey, who's Sonanda. Who's going to answer

739
00:39:04,320 --> 00:39:06,880
Speaker 2: to this? The third time was the time where I realized,

740
00:39:06,920 --> 00:39:12,560
Speaker 2: oh shit, I'm Sonanda. I'm Sonanda. That's me. And literally

741
00:39:12,960 --> 00:39:16,440
Speaker 2: the angels who would never who never faced me in

742
00:39:16,560 --> 00:39:19,280
Speaker 2: any of the three dreams, literally turned around and faced

743
00:39:19,280 --> 00:39:23,160
Speaker 2: me and started applauding life. Ah, there you gets it.

744
00:39:24,360 --> 00:39:25,920
Speaker 2: And that was the beginning of that. That was and

745
00:39:25,960 --> 00:39:28,160
Speaker 2: I was given, you know, to understand, if you have

746
00:39:28,280 --> 00:39:30,480
Speaker 2: the courage of heart to take this, this is the

747
00:39:30,560 --> 00:39:34,120
Speaker 2: answer you've been waiting for, looking for, and it will

748
00:39:34,200 --> 00:39:37,920
Speaker 2: even resurrect the other name that they're now suppressing to

749
00:39:38,000 --> 00:39:41,160
Speaker 2: keep control of you. So that was the path I

750
00:39:41,200 --> 00:39:43,520
Speaker 2: had to take. I was ridiculed, of course, as you

751
00:39:43,600 --> 00:39:46,799
Speaker 2: as you would expect. I was. So that was absolutely nuts.

752
00:39:46,840 --> 00:39:49,000
Speaker 2: And it's like, well, just because I'm nuts doesn't mean

753
00:39:49,000 --> 00:39:51,799
Speaker 2: it's not a great idea.

754
00:39:55,160 --> 00:40:00,000
Speaker 1: How hard was that transition professionally speaking? Because I didn't

755
00:40:00,000 --> 00:40:04,160
Speaker 1: I didn't know you existed until two thousand and eleven,

756
00:40:05,160 --> 00:40:07,520
Speaker 1: you know, So I was wondering, like, wait, what happened

757
00:40:07,520 --> 00:40:09,000
Speaker 1: between ninety four? Like where's he?

758
00:40:09,520 --> 00:40:11,319
Speaker 2: I had to give you time to do your other shit,

759
00:40:11,920 --> 00:40:15,000
Speaker 2: because you were playing your foundation for a culture that

760
00:40:15,239 --> 00:40:18,839
Speaker 2: you're just a very, very huge part of. Okay, but look,

761
00:40:18,920 --> 00:40:21,960
Speaker 2: the bottom line was, for a long time, I had

762
00:40:22,000 --> 00:40:25,319
Speaker 2: to dissociate myself with that life, that world. So I

763
00:40:25,400 --> 00:40:28,600
Speaker 2: wasn't going to be performing those songs anyway, got it.

764
00:40:29,080 --> 00:40:31,800
Speaker 2: Creating a new catalog gave me something to do. For

765
00:40:32,239 --> 00:40:35,680
Speaker 2: eight years, I was in a trio. I've still played

766
00:40:35,680 --> 00:40:38,040
Speaker 2: everything myself on the record, but I went for a trio,

767
00:40:38,560 --> 00:40:41,240
Speaker 2: which means that I arranged everything with a view towards

768
00:40:41,239 --> 00:40:43,840
Speaker 2: when you play this live, you're just gonna have three instruments.

769
00:40:43,960 --> 00:40:46,239
Speaker 2: As an arranger, that was a great, great challenge. I

770
00:40:46,280 --> 00:40:50,000
Speaker 2: loved it. Arrangers loved Now you got right for twelve pieces,

771
00:40:50,160 --> 00:40:53,120
Speaker 2: Now you got right for four pieces. You know, we

772
00:40:53,200 --> 00:40:53,560
Speaker 2: love that.

773
00:40:53,800 --> 00:40:59,040
Speaker 1: At one point, weren't you Were you considering being the

774
00:40:59,080 --> 00:41:00,840
Speaker 1: new front man of n X or was that just

775
00:41:00,880 --> 00:41:02,640
Speaker 1: a one off thing or that it.

776
00:41:02,680 --> 00:41:05,920
Speaker 2: Was another very interesting story that came about because I

777
00:41:05,960 --> 00:41:07,839
Speaker 2: had heard a rumor from a couple of people, Hey,

778
00:41:07,920 --> 00:41:11,960
Speaker 2: what's this about you joining Excess? I had absolutely no

779
00:41:12,080 --> 00:41:15,759
Speaker 2: idea whether this even started. Okay, it was in addressing

780
00:41:15,800 --> 00:41:20,920
Speaker 2: the rumor through the media that they heard that I

781
00:41:21,040 --> 00:41:23,439
Speaker 2: was saying or that they got the idea to ask

782
00:41:23,520 --> 00:41:26,840
Speaker 2: if I would do it. So it was actually me

783
00:41:26,960 --> 00:41:31,719
Speaker 2: the It was while I was debunking rumor that in

784
00:41:31,760 --> 00:41:33,800
Speaker 2: the process of debunking the room, and they heard the

785
00:41:33,880 --> 00:41:36,120
Speaker 2: rumor and then said, here, let's take a gamble and

786
00:41:36,160 --> 00:41:39,120
Speaker 2: ask if you'll do it. I was very good, good

787
00:41:39,160 --> 00:41:44,520
Speaker 2: friends with Mike Hutchins, Michael Hutchins, and so yeah, that's

788
00:41:44,520 --> 00:41:47,880
Speaker 2: how that happened. It was strange. And then of course

789
00:41:47,960 --> 00:41:50,840
Speaker 2: we did the opening of the Olympic Stadium in Sydney

790
00:41:50,840 --> 00:41:54,120
Speaker 2: in the year two thousand and that's what led them

791
00:41:54,160 --> 00:41:57,200
Speaker 2: to invite me the next year to be Jesus and

792
00:41:57,320 --> 00:42:00,840
Speaker 2: god Spell. And I was really excited about that because

793
00:42:00,880 --> 00:42:02,800
Speaker 2: it was like, you know, I grew up doing gospel

794
00:42:02,800 --> 00:42:06,400
Speaker 2: in junior high school, so I knew that like the

795
00:42:06,440 --> 00:42:09,600
Speaker 2: back of my hand, and they asked me to play

796
00:42:09,680 --> 00:42:13,719
Speaker 2: the Jesus character. I was like, dude, that's like, yeah, man,

797
00:42:13,760 --> 00:42:17,200
Speaker 2: the Australians loved these bitches. Yeah, man, it's about time,

798
00:42:17,480 --> 00:42:19,680
Speaker 2: because you know, I always felt like he probably looked closer

799
00:42:19,719 --> 00:42:22,800
Speaker 2: to me than he did to Chris Sarandon or whoever

800
00:42:22,800 --> 00:42:25,000
Speaker 2: plays motherfucking the movies anyway, when I was a kid,

801
00:42:25,239 --> 00:42:28,560
Speaker 2: you know. But the irony is the very day I

802
00:42:28,640 --> 00:42:31,680
Speaker 2: was meant to get on the plane, the producer and

803
00:42:31,719 --> 00:42:36,360
Speaker 2: the director got into a huge fight because the director

804
00:42:36,400 --> 00:42:39,120
Speaker 2: had prompted, in order to get me on board, promised

805
00:42:39,120 --> 00:42:43,759
Speaker 2: I could contribute a song to the situation, to give

806
00:42:43,760 --> 00:42:47,720
Speaker 2: me another song to sing, and they were already problems

807
00:42:48,040 --> 00:42:49,759
Speaker 2: doing But I guess that was the straw that broke

808
00:42:49,800 --> 00:42:52,439
Speaker 2: the camels back. And literally got a call an hour

809
00:42:52,520 --> 00:42:55,279
Speaker 2: before I was going to leave for the airport that

810
00:42:55,520 --> 00:42:58,400
Speaker 2: they had postponed it until they sorted out all this

811
00:42:58,480 --> 00:43:00,840
Speaker 2: other stuff, which by which when I had moved on.

812
00:43:01,000 --> 00:43:05,839
Speaker 2: But yeah, that rumor was true, and that rumor led

813
00:43:05,880 --> 00:43:07,880
Speaker 2: to some other stuff, and then eventually they asked if

814
00:43:07,920 --> 00:43:10,120
Speaker 2: I want to be a permanent member. But that was

815
00:43:10,160 --> 00:43:12,600
Speaker 2: in the very beginning of me going into the transition

816
00:43:13,560 --> 00:43:16,640
Speaker 2: full time in earnest and realized it wouldn't have been

817
00:43:16,680 --> 00:43:19,880
Speaker 2: in my best interest to have lent my energy to that.

818
00:43:21,480 --> 00:43:24,160
Speaker 1: So the way you create now is it when the

819
00:43:24,200 --> 00:43:29,399
Speaker 1: spirit moves you, or like, are you your your final say?

820
00:43:29,440 --> 00:43:33,040
Speaker 1: Are you your boss? Are you like okay? Are you

821
00:43:33,080 --> 00:43:34,920
Speaker 1: in an ideal place now creatively.

822
00:43:35,960 --> 00:43:39,319
Speaker 2: I've been in an ideal place creatively since the very

823
00:43:39,440 --> 00:43:44,480
Speaker 2: very beginning, because I was spoiled that I've always had

824
00:43:44,480 --> 00:43:48,520
Speaker 2: creative control and the first record was the only time

825
00:43:48,560 --> 00:43:54,880
Speaker 2: I've ever even made demos. But my answers is like this,

826
00:43:55,200 --> 00:43:58,080
Speaker 2: I'm sixty two years old. I've been doing this my

827
00:43:58,280 --> 00:44:02,520
Speaker 2: entire life. Else should I be listening to? But but me,

828
00:44:02,640 --> 00:44:06,880
Speaker 2: I I've always believed in my taste as an artist,

829
00:44:07,040 --> 00:44:09,919
Speaker 2: meaning that you know, if I can tell someone else

830
00:44:09,960 --> 00:44:11,719
Speaker 2: has made great music. I don't see why all of

831
00:44:11,760 --> 00:44:14,239
Speaker 2: a sudden it's impossible for me to know that I've

832
00:44:14,280 --> 00:44:20,080
Speaker 2: done something tasteful or or captured something. It is just.

833
00:44:20,480 --> 00:44:24,200
Speaker 2: It is just and the energy that I inherited back

834
00:44:24,200 --> 00:44:26,239
Speaker 2: into the process of creating when I no longer have

835
00:44:26,320 --> 00:44:29,040
Speaker 2: to defend myself and answer questions, why are you starting

836
00:44:29,080 --> 00:44:32,560
Speaker 2: the wild card with this? This kind of banjo? We

837
00:44:32,680 --> 00:44:35,440
Speaker 2: kind of why why are you doing why? I just

838
00:44:35,440 --> 00:44:38,040
Speaker 2: got time all that. Look.

839
00:44:38,239 --> 00:44:41,120
Speaker 1: I love when you go dirty, like the dirtier shit

840
00:44:41,239 --> 00:44:46,520
Speaker 1: dound the most, the SETTI just drums untuned. I love

841
00:44:46,600 --> 00:44:49,640
Speaker 1: that shit like, yeah, I love it soone look, brother,

842
00:44:50,120 --> 00:44:56,800
Speaker 1: I cannot emphasize enough how much of a profound I

843
00:44:56,840 --> 00:44:59,880
Speaker 1: didn't even get into you did a show the CA

844
00:45:00,000 --> 00:45:03,680
Speaker 1: had me in music one night in Philadelphia and I'm

845
00:45:03,719 --> 00:45:08,359
Speaker 1: walking home from school and only because I know the baseline,

846
00:45:09,080 --> 00:45:12,640
Speaker 1: like the back of my hand, your band is soundchecking

847
00:45:13,840 --> 00:45:18,399
Speaker 1: Wiki Wacky by Fat Back Band. Yeah, because I heard

848
00:45:18,400 --> 00:45:20,759
Speaker 1: that booby doo boom boooo, boom boom boom boom boom

849
00:45:20,760 --> 00:45:25,600
Speaker 1: b And there was half a second where like one

850
00:45:25,640 --> 00:45:27,520
Speaker 1: of the side doors was open at the Academy of

851
00:45:27,600 --> 00:45:31,480
Speaker 1: Music and me like, I'm walking home from school and

852
00:45:32,520 --> 00:45:35,640
Speaker 1: you guys are sound checking at the Academy of Music.

853
00:45:35,760 --> 00:45:38,319
Speaker 1: I went to perform an art school like across the

854
00:45:38,320 --> 00:45:42,279
Speaker 1: street from that school and would often walk by it.

855
00:45:42,600 --> 00:45:46,480
Speaker 1: And I didn't even know the Fat Back version that well,

856
00:45:46,520 --> 00:45:50,440
Speaker 1: but I knew that baseline and watching you guys for

857
00:45:50,600 --> 00:45:55,400
Speaker 1: like three minutes, like and then security kick this out,

858
00:45:55,600 --> 00:45:58,799
Speaker 1: but we snuck in the sound check. But yeah, it

859
00:45:58,880 --> 00:46:07,000
Speaker 1: was such a profound effect on my life and of

860
00:46:07,800 --> 00:46:09,600
Speaker 1: And I know I sound like a broken record on

861
00:46:09,640 --> 00:46:13,399
Speaker 1: this podcast. I've been doing this for seven years. I've

862
00:46:13,600 --> 00:46:16,640
Speaker 1: I've I didn't know this is the interview I always

863
00:46:16,640 --> 00:46:20,239
Speaker 1: wanted in this ideal situation, and I thank you so

864
00:46:20,400 --> 00:46:24,719
Speaker 1: much for granting me the one man audience to just

865
00:46:24,920 --> 00:46:27,240
Speaker 1: nerd out and give you your flowers.

866
00:46:27,280 --> 00:46:31,280
Speaker 2: Man, I really appreciate the opportunity. When you your people

867
00:46:31,320 --> 00:46:34,160
Speaker 2: contacted us a few weeks ago, I was really like

868
00:46:34,920 --> 00:46:37,360
Speaker 2: it was a kind of feeling like finally, you know

869
00:46:37,400 --> 00:46:39,319
Speaker 2: what I mean, Like, you know, I see you, I

870
00:46:39,360 --> 00:46:40,279
Speaker 2: see you. I swear it.

871
00:46:40,520 --> 00:46:42,719
Speaker 1: I just didn't think you knew, Like, come on, man,

872
00:46:42,760 --> 00:46:45,480
Speaker 1: you all over the place, but I don't know that.

873
00:46:45,560 --> 00:46:47,279
Speaker 1: I think when you're in it, you're not like.

874
00:46:47,920 --> 00:46:51,359
Speaker 2: No, I'm into the culture. I mean basically I should

875
00:46:51,400 --> 00:46:54,040
Speaker 2: own shares on YouTube this moment at this point. So

876
00:46:54,280 --> 00:46:56,960
Speaker 2: you know, whatever you're doing, you know, I'm catching it.

877
00:46:57,040 --> 00:46:59,239
Speaker 2: I'm seeing it, you know. And the fact that you

878
00:46:59,280 --> 00:47:02,799
Speaker 2: got the gig with Falling and all of that, man,

879
00:47:02,880 --> 00:47:06,720
Speaker 2: it's just like, you know, your your imprint has been huge.

880
00:47:06,719 --> 00:47:09,760
Speaker 2: Your footprint has been huge, and we've really really needed

881
00:47:09,760 --> 00:47:12,960
Speaker 2: it because that thing you established, which was kind of

882
00:47:12,960 --> 00:47:16,200
Speaker 2: in its own way, you taking over from who are

883
00:47:16,200 --> 00:47:22,560
Speaker 2: we referencing before that whole whoever we were we were

884
00:47:22,680 --> 00:47:25,759
Speaker 2: referencing before that, they basically had a whole thing. You

885
00:47:25,800 --> 00:47:28,319
Speaker 2: also put out an umbrella and brought in a lot

886
00:47:28,320 --> 00:47:30,560
Speaker 2: of stuff that you nurtured and was really really important

887
00:47:30,560 --> 00:47:33,080
Speaker 2: for the culture. And I just I just thank you,

888
00:47:33,120 --> 00:47:36,399
Speaker 2: I just really do because you've made excellent, excellent music

889
00:47:36,440 --> 00:47:39,399
Speaker 2: and work. The productions are an excellent you know, and

890
00:47:39,920 --> 00:47:41,480
Speaker 2: I want you to pass on my love to a

891
00:47:41,520 --> 00:47:45,080
Speaker 2: young brother D'Angelo and to Erica as well.

892
00:47:46,360 --> 00:47:49,200
Speaker 1: The's gonna be my first phone call like right after now,

893
00:47:49,320 --> 00:47:52,560
Speaker 1: Like I'm just bursting as.

894
00:47:53,040 --> 00:47:55,000
Speaker 2: I'm particularly I'm proud of him, and you know that

895
00:47:55,120 --> 00:47:59,440
Speaker 2: he's He's everything you kind of suspected he had in

896
00:47:59,520 --> 00:48:02,640
Speaker 2: him when you first heard Brown Sugar. He's definitely going

897
00:48:02,719 --> 00:48:05,000
Speaker 2: beyond that. And like I said, he's even got Scandinavian

898
00:48:05,000 --> 00:48:09,160
Speaker 2: bitches and in Sweden talking about how probably are of him.

899
00:48:09,200 --> 00:48:13,040
Speaker 2: So you know, just past okay, and I want us

900
00:48:13,040 --> 00:48:14,560
Speaker 2: to stay in contact. We know we might do this.

901
00:48:14,760 --> 00:48:16,359
Speaker 1: We will. I'll slide in your d MS and give

902
00:48:16,360 --> 00:48:20,879
Speaker 1: you my information. Brother. Thank you for listening to Quest

903
00:48:20,880 --> 00:48:25,480
Speaker 1: Love Supreme Coast by Amir quest Love Thompson. Why You

904
00:48:25,600 --> 00:48:32,080
Speaker 1: Saint Clair Fonte, Coleman, Sugar, Steve Mande, An unpaid Bill Sherman,

905
00:48:33,160 --> 00:48:37,680
Speaker 1: executive producers are a mere Quest Love Thompson, Sean che

906
00:48:39,000 --> 00:48:45,960
Speaker 1: Brian Calhoun produced by Britney Benjamin Cousin, Jake Payne. Why

907
00:48:46,120 --> 00:48:51,680
Speaker 1: is Saint Clair? Edited by Alex Conroy. Produced by iHeart

908
00:48:51,760 --> 00:49:08,040
Speaker 1: by Noel Brown. Much Love Supreme is a production of iHeartRadio.

909
00:49:12,560 --> 00:49:15,840
Speaker 1: For more podcasts from iHeart Radio, visit the iHeartRadio app,

910
00:49:16,040 --> 00:49:19,080
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.