1 00:00:15,476 --> 00:00:22,876 Speaker 1: Pushkin. Captain Kirk Douglas is the longtime guitarist for The 2 00:00:22,956 --> 00:00:26,196 Speaker 1: Roots and someone I've always considered to be their secret weapon. 3 00:00:27,036 --> 00:00:29,196 Speaker 1: Kirk started playing with The Roots in two thousand and three, 4 00:00:29,356 --> 00:00:31,996 Speaker 1: just as their guitar driven hit song The Seed was 5 00:00:32,076 --> 00:00:35,476 Speaker 1: taken off. Over twenty one years, he's seen the group 6 00:00:35,516 --> 00:00:37,836 Speaker 1: evolve from a touring act to anchor it around the 7 00:00:37,876 --> 00:00:41,116 Speaker 1: Tonight Show with Jimmy Fallon, to having their own successful 8 00:00:41,156 --> 00:00:45,516 Speaker 1: festival in Philly, all the while continuing for the most part, 9 00:00:45,556 --> 00:00:48,516 Speaker 1: at least, to record albums for themselves and for others. 10 00:00:49,356 --> 00:00:52,556 Speaker 1: Between the band's many commitments, and there are many, Kirk 11 00:00:52,596 --> 00:00:55,556 Speaker 1: has also found time to record a solo project under 12 00:00:55,556 --> 00:00:59,716 Speaker 1: the name hundred Wattheart. His most recent offering, New Unknown, 13 00:01:00,036 --> 00:01:02,316 Speaker 1: was recorded in the basement of his childhood home on 14 00:01:02,356 --> 00:01:04,396 Speaker 1: Long Island, where he first fell in love with the 15 00:01:04,476 --> 00:01:08,196 Speaker 1: music of Van Halen, Hendrix, Sling, the Family Stone and 16 00:01:08,316 --> 00:01:12,676 Speaker 1: so many others discussed in this episode on Today's Broken Record, 17 00:01:12,756 --> 00:01:14,836 Speaker 1: I talked with Captain Kirk from the Roots Green Room 18 00:01:14,836 --> 00:01:17,316 Speaker 1: in thirty Rock about the seductive pole he felt as 19 00:01:17,356 --> 00:01:19,716 Speaker 1: a little kid seeing electric guitars on the cover of 20 00:01:19,756 --> 00:01:22,956 Speaker 1: an old Kiss album. He also reminisces about his early 21 00:01:23,036 --> 00:01:25,516 Speaker 1: days gigging around New York City in the nineties while 22 00:01:25,556 --> 00:01:29,436 Speaker 1: working as a preschool teacher, and he recalls the elation 23 00:01:29,636 --> 00:01:31,716 Speaker 1: he felt when Prince played one of his guitars on 24 00:01:31,756 --> 00:01:34,676 Speaker 1: This Night Show, only to smash it on stage at 25 00:01:34,716 --> 00:01:41,196 Speaker 1: the end of his performance. This is broken record liner 26 00:01:41,236 --> 00:01:44,916 Speaker 1: notes for the digital age. I'm justin Mitchman. Here's my 27 00:01:44,956 --> 00:01:49,676 Speaker 1: conversation with Captain Kirk Douglas of the Roots. This is 28 00:01:50,356 --> 00:01:52,196 Speaker 1: the third place we were set to do this. This 29 00:01:52,236 --> 00:01:53,676 Speaker 1: is amazing. I'm glad it worked. 30 00:01:53,436 --> 00:01:54,876 Speaker 2: Out as am I. 31 00:01:54,876 --> 00:01:58,556 Speaker 1: I'm so grateful to you for engineering this as well. 32 00:01:58,916 --> 00:02:00,036 Speaker 2: I'm impressed with myself. 33 00:02:00,076 --> 00:02:03,236 Speaker 3: I have to say, just because you know, there was 34 00:02:03,276 --> 00:02:07,876 Speaker 3: a time when I was learning ableton and it took 35 00:02:07,876 --> 00:02:09,676 Speaker 3: a while for me to like learn how to how 36 00:02:09,676 --> 00:02:12,596 Speaker 3: to do it. And I was sort of forced to 37 00:02:12,716 --> 00:02:17,556 Speaker 3: learn how to develop my skills with self recording because 38 00:02:17,556 --> 00:02:22,436 Speaker 3: of the pandemic, because when doing things for the Tonight Show, 39 00:02:22,516 --> 00:02:24,836 Speaker 3: we all had to do it from home. I was 40 00:02:24,916 --> 00:02:27,396 Speaker 3: dabbling with it self recording at the time, and then 41 00:02:27,476 --> 00:02:30,916 Speaker 3: once it once we went to lockdown, is like, okay, 42 00:02:31,476 --> 00:02:33,636 Speaker 3: we're on, you're on. You have to figure this out, 43 00:02:33,756 --> 00:02:36,316 Speaker 3: and you know, not just recording, but just how to 44 00:02:36,396 --> 00:02:40,556 Speaker 3: send files, how to sync files up, you. 45 00:02:40,476 --> 00:02:42,836 Speaker 2: Know, how to match video with audio. 46 00:02:43,516 --> 00:02:47,956 Speaker 3: And it wound up enabling me to you know, develop 47 00:02:47,996 --> 00:02:50,756 Speaker 3: a little new skill set just and then be able 48 00:02:50,796 --> 00:02:54,156 Speaker 3: to record myself, send things in for the tonight show. 49 00:02:54,636 --> 00:02:57,516 Speaker 3: And then when I had some extra time to record 50 00:02:57,556 --> 00:03:01,196 Speaker 3: my own music too. So it and then when I'm 51 00:03:01,196 --> 00:03:02,996 Speaker 3: not recording, then I go into life and I kind 52 00:03:02,996 --> 00:03:05,076 Speaker 3: of forget that I'm able to do this. So moments 53 00:03:05,116 --> 00:03:06,796 Speaker 3: like these where you're like, I don't have an engineer 54 00:03:07,116 --> 00:03:09,636 Speaker 3: like three years ago, I'd be like, I guess we're 55 00:03:09,676 --> 00:03:10,756 Speaker 3: just not doing this anymore. 56 00:03:10,836 --> 00:03:16,556 Speaker 1: We're talking to each other micro Yeah, my iPhone's good, right, yeah. 57 00:03:16,636 --> 00:03:18,716 Speaker 2: So yeah, it's always cool to learn a new thing. 58 00:03:18,916 --> 00:03:23,276 Speaker 1: Absolutely so, even in your musical life, you weren't necessarily 59 00:03:23,876 --> 00:03:26,916 Speaker 1: recording at home to pro tools or able to in 60 00:03:27,836 --> 00:03:30,716 Speaker 1: or doing home recordings in that way previously. 61 00:03:30,876 --> 00:03:34,756 Speaker 2: No, because well, let's set the stage, you know. 62 00:03:35,356 --> 00:03:39,396 Speaker 3: So we are at thirty Rockbell Center, and we are 63 00:03:39,756 --> 00:03:44,716 Speaker 3: in the rehearsal room slash recording room slash dressing room 64 00:03:45,516 --> 00:03:49,836 Speaker 3: for the roots. This room serves many purposes, but pre 65 00:03:49,836 --> 00:03:52,956 Speaker 3: recorded music that you hear on The Tonight Show is 66 00:03:53,676 --> 00:03:57,276 Speaker 3: birthed here in this room. A lot of recordings that 67 00:03:57,316 --> 00:04:02,956 Speaker 3: wind up on Roots albums from how We Got. 68 00:04:02,796 --> 00:04:06,596 Speaker 2: Over forward We're recorded. A lot of that stuff's recorded 69 00:04:06,596 --> 00:04:08,516 Speaker 2: in this room. Why is Up? Ghost? 70 00:04:09,276 --> 00:04:11,996 Speaker 3: With Elvis Costello? A lot of that stuff was recorded 71 00:04:12,076 --> 00:04:16,196 Speaker 3: in this room. A lot of the collaborations that take 72 00:04:16,236 --> 00:04:19,916 Speaker 3: place with the Roots and fellow artists, the rehearsals for 73 00:04:20,236 --> 00:04:23,636 Speaker 3: such collaborations take place in this room. So check Korea, 74 00:04:23,796 --> 00:04:27,156 Speaker 3: has you know been in this seat? You know, Herbie 75 00:04:27,196 --> 00:04:29,716 Speaker 3: Hancock has been in the seat that you're sitting in. 76 00:04:30,716 --> 00:04:36,356 Speaker 3: Steven Tyler, Oh my goodness, George Benson, Steve Lucather, Oh man, 77 00:04:37,476 --> 00:04:39,836 Speaker 3: what's so fun about moments like that? This room is 78 00:04:39,836 --> 00:04:43,796 Speaker 3: so small and a lot of legends have been in 79 00:04:43,836 --> 00:04:45,836 Speaker 3: this room. Yeah, that's always fun. 80 00:04:46,356 --> 00:04:48,876 Speaker 1: When you guys got the Tonight Show gig right and 81 00:04:48,956 --> 00:04:51,356 Speaker 1: you got sort of working with Fallon, Was this your 82 00:04:51,436 --> 00:04:53,276 Speaker 1: room or did you did you have this initially? 83 00:04:53,676 --> 00:04:56,076 Speaker 3: Yeah, this has been our room since we did Late 84 00:04:56,156 --> 00:05:00,396 Speaker 3: Night with Jimmy fallonk and so for fifteen years essentially. 85 00:05:00,476 --> 00:05:00,796 Speaker 1: Wow. 86 00:05:01,196 --> 00:05:03,116 Speaker 3: Yeah, we got in and we're like, damn, this room 87 00:05:03,156 --> 00:05:05,556 Speaker 3: is small and They're like, oh well, Conan's band's room 88 00:05:05,636 --> 00:05:08,996 Speaker 3: was even smaller. So they're like, okay, good enough for me. 89 00:05:09,116 --> 00:05:11,436 Speaker 3: Max Weinberg the mix Warnberg seven getting. 90 00:05:11,196 --> 00:05:11,516 Speaker 2: Up for us? 91 00:05:11,596 --> 00:05:14,276 Speaker 1: Yeah yeah, yeah, go up for Max and Jimmy Lavina. 92 00:05:14,116 --> 00:05:16,436 Speaker 2: Yeah yeah yeah. Shout out to them. 93 00:05:16,676 --> 00:05:19,276 Speaker 1: They're amazing. Did you guys do the John Legend album 94 00:05:19,356 --> 00:05:21,316 Speaker 1: here too? The Wake Up? Some of that done? 95 00:05:21,356 --> 00:05:25,156 Speaker 2: You know, we used a studio that was on forty 96 00:05:25,196 --> 00:05:25,676 Speaker 2: eighth Street. 97 00:05:25,996 --> 00:05:28,876 Speaker 3: Againness, the name escapes me, but back when forty eighth 98 00:05:28,876 --> 00:05:33,636 Speaker 3: Street was kind of like a more music row street. 99 00:05:34,356 --> 00:05:37,316 Speaker 3: But eventually, you know, after being you know, using a 100 00:05:37,316 --> 00:05:41,436 Speaker 3: studio around the corner, I guess we realized, you know that, hey, 101 00:05:41,476 --> 00:05:46,196 Speaker 3: we can make quality recordings here. You know, quest Love's 102 00:05:46,276 --> 00:05:49,356 Speaker 3: drunk Ruth is right next to you over there. And 103 00:05:50,916 --> 00:05:54,676 Speaker 3: from sitting in this spot and recording so much, and uh, 104 00:05:54,796 --> 00:05:58,036 Speaker 3: seeing what Steve, our engineer, was doing, you know, I 105 00:05:58,076 --> 00:06:01,156 Speaker 3: got to have a front road seat to you know, 106 00:06:01,196 --> 00:06:03,876 Speaker 3: how to do recordings. And I asked him a lot 107 00:06:03,876 --> 00:06:07,276 Speaker 3: of questions, much to his chagrin. Yeah, but he was 108 00:06:07,316 --> 00:06:12,076 Speaker 3: often gracious enough to answer, and that also gave me 109 00:06:12,196 --> 00:06:15,036 Speaker 3: the curiosity to say, oh, I wonder how you can 110 00:06:15,116 --> 00:06:17,556 Speaker 3: record at home. And then I also you know, hearing 111 00:06:17,556 --> 00:06:21,116 Speaker 3: a lot of things about records that you love and 112 00:06:21,316 --> 00:06:24,916 Speaker 3: discovering that not all of them were done in. 113 00:06:24,916 --> 00:06:26,516 Speaker 2: Big budget recording studios. 114 00:06:26,596 --> 00:06:30,876 Speaker 3: And you know, the longer I live, the longer I 115 00:06:30,956 --> 00:06:34,556 Speaker 3: listened to podcasts and read articles more I discover that, 116 00:06:34,716 --> 00:06:37,076 Speaker 3: you know, some of my favorite records were done in 117 00:06:37,156 --> 00:06:41,156 Speaker 3: a home environment. And you know, if you have a 118 00:06:41,196 --> 00:06:45,876 Speaker 3: place that has a great vibe, you can you know, 119 00:06:45,956 --> 00:06:47,476 Speaker 3: capture a lot of moments with that. 120 00:06:47,636 --> 00:06:47,876 Speaker 2: Yeah. 121 00:06:48,316 --> 00:06:51,516 Speaker 1: Yeah, So hundred watt Heart is project what would you 122 00:06:51,516 --> 00:06:53,116 Speaker 1: call it? A project? A group of yours? 123 00:06:53,396 --> 00:06:55,556 Speaker 2: Is it project? Slash group? 124 00:06:55,756 --> 00:06:58,356 Speaker 3: It's music that I write and I perform it with 125 00:06:58,356 --> 00:07:01,996 Speaker 3: a drummer, Rick Sheridan, who is in a band called 126 00:07:02,036 --> 00:07:06,116 Speaker 3: Earl Greyhound previously, and he's just like a you know, 127 00:07:07,036 --> 00:07:10,996 Speaker 3: good friend for law time since like the nineties cool 128 00:07:11,236 --> 00:07:14,116 Speaker 3: and through his friendship, I learned a lot of music 129 00:07:14,196 --> 00:07:16,156 Speaker 3: and you know, we would just sit around and listen 130 00:07:16,156 --> 00:07:19,516 Speaker 3: to music, and he exposed me to music I'd never 131 00:07:19,516 --> 00:07:22,116 Speaker 3: heard before. And it was around this time of meeting 132 00:07:22,196 --> 00:07:25,916 Speaker 3: him that I was also discovering the roots. And I 133 00:07:25,956 --> 00:07:29,356 Speaker 3: also during that time I held the roots in the 134 00:07:29,396 --> 00:07:34,156 Speaker 3: same regard that I held so many groups that you know, 135 00:07:34,476 --> 00:07:37,276 Speaker 3: are part of the fabric of music that we know 136 00:07:37,396 --> 00:07:41,956 Speaker 3: and love, you know, earth Wind and Fires, the Funkadelics, 137 00:07:42,036 --> 00:07:45,436 Speaker 3: just the classic soul groups, the Jackson Five, you know, 138 00:07:45,556 --> 00:07:48,676 Speaker 3: I mean Stevie Wonder, Like I had literal mixtapes, you 139 00:07:48,716 --> 00:07:51,476 Speaker 3: know that would have you know, the Roots on it, 140 00:07:51,676 --> 00:07:53,836 Speaker 3: that would have Stevie on it, that would have Marvin 141 00:07:53,836 --> 00:07:54,276 Speaker 3: Gay on it. 142 00:07:54,596 --> 00:07:56,596 Speaker 2: Like, I don't know, I just saw them in the 143 00:07:56,636 --> 00:07:58,156 Speaker 2: same echelon. 144 00:07:58,796 --> 00:08:00,756 Speaker 1: Had you seen them live at that point? 145 00:08:01,596 --> 00:08:06,156 Speaker 3: Yeah, yeah, I guess it was around ninety eight, no 146 00:08:06,516 --> 00:08:08,876 Speaker 3: even earlier, maybe ninety seven when I first saw them 147 00:08:08,916 --> 00:08:12,916 Speaker 3: live at the time. The guitar player Vernon Reid from 148 00:08:12,956 --> 00:08:18,076 Speaker 3: Living Color. He was a huge influence on me, and 149 00:08:18,196 --> 00:08:19,996 Speaker 3: I remember I got to meet him when I moved 150 00:08:19,996 --> 00:08:22,916 Speaker 3: to Manhattan. I remember the day I was I was 151 00:08:23,716 --> 00:08:26,396 Speaker 3: going to play with a drag queen named Head of Lettuce. 152 00:08:26,716 --> 00:08:28,956 Speaker 3: That was my first gig getting paid in New York 153 00:08:28,956 --> 00:08:29,796 Speaker 3: playing with the drag queen. 154 00:08:30,036 --> 00:08:33,236 Speaker 1: It's a great name of Head of Lettuce, Head of 155 00:08:33,316 --> 00:08:33,556 Speaker 1: let Us. 156 00:08:33,716 --> 00:08:36,396 Speaker 3: Yeah, And I remember I was on my way to 157 00:08:36,396 --> 00:08:38,796 Speaker 3: that gig at Don Hill's and I saw Vernon in 158 00:08:38,876 --> 00:08:41,756 Speaker 3: the street and I'm like, yo, Vernon, I gotta play 159 00:08:41,756 --> 00:08:43,316 Speaker 3: this gig. But later on tonight, I'm going to go 160 00:08:43,676 --> 00:08:46,556 Speaker 3: see the Roots, and Verne's like, oh, I actually I'm 161 00:08:46,556 --> 00:08:50,436 Speaker 3: playing with them tonight. So I saw him play with 162 00:08:50,476 --> 00:08:52,796 Speaker 3: the Roots, and I remember watching them and just being like, wow, 163 00:08:52,836 --> 00:08:54,276 Speaker 3: I would love to be in a band like this. 164 00:08:54,356 --> 00:08:56,076 Speaker 3: And at the time, when I was playing with Head 165 00:08:56,076 --> 00:08:58,076 Speaker 3: of Lettuce, that was the only gig I had. 166 00:08:58,116 --> 00:08:59,156 Speaker 2: I was playing with a host. 167 00:08:59,196 --> 00:09:02,396 Speaker 3: I played with like ten or eleven different bands back 168 00:09:02,436 --> 00:09:04,676 Speaker 3: in the late nineties. 169 00:09:05,316 --> 00:09:06,436 Speaker 2: But yeah, I saw them. 170 00:09:06,476 --> 00:09:09,116 Speaker 3: They played five nights at the Knitting Factory, five nights straight, 171 00:09:09,156 --> 00:09:11,276 Speaker 3: and I saw it like, I think three out of 172 00:09:11,316 --> 00:09:15,116 Speaker 3: those nights because the tickets were fairly cheap at the time. 173 00:09:15,156 --> 00:09:17,036 Speaker 3: I was a preschool teacher, but I could afford to 174 00:09:17,076 --> 00:09:19,196 Speaker 3: see the Roots. It was cool to like see that 175 00:09:19,276 --> 00:09:20,956 Speaker 3: up close, and I remember thinking like that would be 176 00:09:20,996 --> 00:09:23,116 Speaker 3: I would love to be in a band like this. 177 00:09:23,236 --> 00:09:25,676 Speaker 1: Yeah, you know, that's It's interesting that Vernon was playing 178 00:09:25,716 --> 00:09:27,116 Speaker 1: with them at that time, and he must have just 179 00:09:27,116 --> 00:09:29,036 Speaker 1: been sitting because they didn't really have a guitarist. 180 00:09:29,196 --> 00:09:29,676 Speaker 2: Yeah he was. 181 00:09:29,836 --> 00:09:31,956 Speaker 3: He was just sitting in with them. He wasn't it 182 00:09:32,036 --> 00:09:34,476 Speaker 3: was not he was not a permanent member at all. 183 00:09:34,556 --> 00:09:35,796 Speaker 1: How did Vernon sound with them? 184 00:09:36,036 --> 00:09:36,196 Speaker 3: Uh? 185 00:09:36,916 --> 00:09:37,636 Speaker 2: He did his thing. 186 00:09:37,676 --> 00:09:41,396 Speaker 3: You know, It's like he was very much himself, very 187 00:09:41,476 --> 00:09:43,356 Speaker 3: much Vernon Red, and it wasn't up for the whole time. 188 00:09:43,396 --> 00:09:44,756 Speaker 3: I think they brought her up at like the end 189 00:09:44,756 --> 00:09:46,916 Speaker 3: of the show. And at the time, you know, they 190 00:09:46,956 --> 00:09:53,876 Speaker 3: had Rozelle Godfather Noise. He was there doing what he does, 191 00:09:54,156 --> 00:09:57,716 Speaker 3: his his beat box box and so much more. They 192 00:09:57,756 --> 00:10:00,356 Speaker 3: had started doing I guess, you know, their jam sessions 193 00:10:00,356 --> 00:10:02,836 Speaker 3: at Black Lily, and I guess they were also doing Wetlands, 194 00:10:03,796 --> 00:10:06,916 Speaker 3: but I somehow didn't see them at Wetlands, So there 195 00:10:06,996 --> 00:10:09,996 Speaker 3: was always an element of you know, they weren't a 196 00:10:10,076 --> 00:10:13,156 Speaker 3: jam band, but they were a band that jammed with people, 197 00:10:13,236 --> 00:10:14,676 Speaker 3: So I guess essentially they were. 198 00:10:15,116 --> 00:10:17,196 Speaker 1: Yeah, some of the best jams I've seen, by the way, 199 00:10:17,236 --> 00:10:21,276 Speaker 1: and I've seen some great groups. You had jam, yeah, 200 00:10:21,276 --> 00:10:22,876 Speaker 1: you know, but on some of the best jams I've 201 00:10:23,116 --> 00:10:24,756 Speaker 1: seen is you with the Roots. 202 00:10:25,196 --> 00:10:25,556 Speaker 2: Yeah. 203 00:10:25,636 --> 00:10:29,676 Speaker 3: Well, when the Roots just started doing Late Night with 204 00:10:29,756 --> 00:10:32,196 Speaker 3: Jimmy Fallon, you know, there was a lot of talk 205 00:10:32,236 --> 00:10:34,556 Speaker 3: I guess about you know, really they're going to be 206 00:10:34,596 --> 00:10:38,516 Speaker 3: on are they getting saw or they're selling out, and 207 00:10:38,636 --> 00:10:42,556 Speaker 3: I guess our response to that was by having a 208 00:10:42,556 --> 00:10:45,076 Speaker 3: weekly jam session at the High Line, which I believe 209 00:10:45,156 --> 00:10:50,036 Speaker 3: is no longer there, and you know, people from Tom 210 00:10:50,116 --> 00:10:52,396 Speaker 3: Morello would come and jam with us. Vernon definitely came 211 00:10:52,396 --> 00:10:55,916 Speaker 3: and jammed with us and sat in Reverend Vince. You 212 00:10:56,076 --> 00:10:58,076 Speaker 3: go on stage, you had no idea what was going 213 00:10:58,156 --> 00:11:01,796 Speaker 3: to happen, like literally having no idea, just start playing 214 00:11:01,876 --> 00:11:05,796 Speaker 3: and our manager, God Rest his soul. Rich Nichols would 215 00:11:05,836 --> 00:11:07,636 Speaker 3: just be on the side of the stage making hand 216 00:11:07,676 --> 00:11:10,916 Speaker 3: gestures to us, uh for what he wanted to hear 217 00:11:11,836 --> 00:11:14,596 Speaker 3: coming out out of us musically, what really? 218 00:11:14,756 --> 00:11:16,196 Speaker 2: Yeah, yeah, he do that, just. 219 00:11:16,116 --> 00:11:17,796 Speaker 3: Like I don't know what this meant, but this is 220 00:11:17,796 --> 00:11:19,756 Speaker 3: what he wanted to like, you know, I'm just I'm 221 00:11:19,796 --> 00:11:21,196 Speaker 3: gesturing my hands up in the air, but. 222 00:11:21,196 --> 00:11:24,796 Speaker 1: Almost like you're gestured almost like like bigger more Yeah, yeah, yeah, 223 00:11:24,836 --> 00:11:28,076 Speaker 1: that's and that's what we aim to give him. 224 00:11:28,116 --> 00:11:31,676 Speaker 3: You know, Rich has always loomed heavily as you know, 225 00:11:31,716 --> 00:11:35,956 Speaker 3: a father figure to Amir and Tarik and then further 226 00:11:35,996 --> 00:11:37,716 Speaker 3: down the line to the rest of us in the band, 227 00:11:37,836 --> 00:11:40,556 Speaker 3: you know, and he's sort of you know, everybody that 228 00:11:40,596 --> 00:11:42,836 Speaker 3: you see on that stage was sort of curated by 229 00:11:43,476 --> 00:11:44,196 Speaker 3: Rich Nichols. 230 00:11:44,196 --> 00:11:45,756 Speaker 2: You know, he's sort of the. 231 00:11:45,516 --> 00:11:48,796 Speaker 3: Mastermind that brought a Mer and Tarique quest Love and 232 00:11:48,836 --> 00:11:51,516 Speaker 3: Black Thought, brought them together and said, you guys have something, 233 00:11:51,556 --> 00:11:55,956 Speaker 3: and cultivated that, nurtured that alongside with them. He was 234 00:11:55,996 --> 00:12:00,076 Speaker 3: sort of like the uh, the unseen sort of producer 235 00:12:00,156 --> 00:12:03,356 Speaker 3: behind so many of the Roots, all of the Roots albums. 236 00:12:03,396 --> 00:12:06,556 Speaker 3: Really partially why I think it's you know, been taken 237 00:12:06,956 --> 00:12:09,116 Speaker 3: such a long time to come up with the next 238 00:12:09,236 --> 00:12:11,476 Speaker 3: Roots album because it would be the first one without 239 00:12:11,516 --> 00:12:15,876 Speaker 3: Rich Nichols, and whatever the Roots puts out is, you know, 240 00:12:15,916 --> 00:12:19,036 Speaker 3: we want it to be something that would be worthy 241 00:12:19,076 --> 00:12:20,036 Speaker 3: of his legacy. 242 00:12:20,276 --> 00:12:21,876 Speaker 2: Of his legacy. Yeah wow. 243 00:12:21,916 --> 00:12:24,956 Speaker 3: So he's almost like the like a Yoda figure, like 244 00:12:25,036 --> 00:12:31,436 Speaker 3: a paternal figure, a north Star of the Roots, like 245 00:12:31,476 --> 00:12:35,316 Speaker 3: a George Martin if you will, you know, a fifth 246 00:12:35,356 --> 00:12:38,196 Speaker 3: beadle too, you know, that one that's off stage, but 247 00:12:38,476 --> 00:12:43,476 Speaker 3: one that whose presence, you know, he casts a bright 248 00:12:43,556 --> 00:12:45,076 Speaker 3: shadow over the band. 249 00:12:45,196 --> 00:12:48,196 Speaker 1: Yeah, any group that is together as long as the 250 00:12:48,236 --> 00:12:50,396 Speaker 1: Roots have been, including the Roots with you as a 251 00:12:50,436 --> 00:12:53,716 Speaker 1: part of the Roots, I guess you to survive, you 252 00:12:53,796 --> 00:12:57,036 Speaker 1: have to learn the wather changes. But it is wild. 253 00:12:57,156 --> 00:13:00,036 Speaker 1: As you're talking, I start to think about all the 254 00:13:00,116 --> 00:13:03,236 Speaker 1: various iterations and and just the things that have kind 255 00:13:03,276 --> 00:13:07,836 Speaker 1: of transpired, you know, from I guess you're joining the group, 256 00:13:09,196 --> 00:13:11,716 Speaker 1: know Rozelle at some point to party not being a 257 00:13:11,756 --> 00:13:15,236 Speaker 1: part of it, Rich passing the Tonight show like a 258 00:13:15,316 --> 00:13:19,396 Speaker 1: Hubbard leaving, like just things that are like, at one 259 00:13:19,396 --> 00:13:22,156 Speaker 1: point seemed foundational to the group, right, and you guys 260 00:13:22,156 --> 00:13:23,796 Speaker 1: are able to navigate it. 261 00:13:23,916 --> 00:13:28,196 Speaker 3: Yeah, yeah, I just think of doing a podcast right 262 00:13:28,196 --> 00:13:32,476 Speaker 3: now in this building, you know, just it's like a university, 263 00:13:32,556 --> 00:13:36,156 Speaker 3: you know, thirty Rock University, and the Roots is like, 264 00:13:36,356 --> 00:13:40,076 Speaker 3: you know, we're all sort of students of that, and 265 00:13:40,476 --> 00:13:42,876 Speaker 3: being a member of the Roots is like the Roots 266 00:13:42,916 --> 00:13:45,756 Speaker 3: is a university in and of itself, you know, and 267 00:13:47,316 --> 00:13:52,996 Speaker 3: just like listening to Questlove Supreme, just watching how other 268 00:13:53,156 --> 00:13:56,516 Speaker 3: members of the band, you know, are able to pivot 269 00:13:57,036 --> 00:14:03,596 Speaker 3: outside of the band and still you know, keep the 270 00:14:04,516 --> 00:14:07,036 Speaker 3: band itself as something that you always come back to. 271 00:14:07,236 --> 00:14:09,236 Speaker 3: You know, it doesn't have to be oh, well, you 272 00:14:09,236 --> 00:14:10,916 Speaker 3: want to do a bunch of other things. You know, 273 00:14:10,956 --> 00:14:13,396 Speaker 3: It's either that or be a member of the Roots. 274 00:14:13,396 --> 00:14:16,636 Speaker 3: It's yeah, and you see that from you know, the 275 00:14:16,636 --> 00:14:19,876 Speaker 3: core members that you know, just from reading you know, 276 00:14:20,556 --> 00:14:21,916 Speaker 3: Black Thoughts latest book. 277 00:14:21,956 --> 00:14:24,396 Speaker 1: You know, there's always so beautiful man. Yeah, it really 278 00:14:24,476 --> 00:14:25,596 Speaker 1: blew me away when I read that. 279 00:14:25,836 --> 00:14:28,076 Speaker 3: Yeah, fantastic and just I mean it only makes sense 280 00:14:28,076 --> 00:14:31,236 Speaker 3: because he's a wordsmith, you know, in the booth and 281 00:14:31,276 --> 00:14:35,676 Speaker 3: on record, so he lends that to you know, the 282 00:14:35,716 --> 00:14:38,756 Speaker 3: page you know that we all can read. Yeah, just 283 00:14:38,836 --> 00:14:41,036 Speaker 3: watching all that, it's like you have all of this 284 00:14:42,156 --> 00:14:44,356 Speaker 3: information that if it's if you look at it like 285 00:14:44,396 --> 00:14:48,396 Speaker 3: as a class, you know, you see this potential syllabus 286 00:14:48,436 --> 00:14:51,836 Speaker 3: before you that you are able to ignore. 287 00:14:52,116 --> 00:14:54,476 Speaker 2: But it's you're making best use of your. 288 00:14:54,356 --> 00:14:57,836 Speaker 3: Time if you participate in it and if you use 289 00:14:57,916 --> 00:14:59,036 Speaker 3: it all as inspiration. 290 00:14:59,356 --> 00:15:02,036 Speaker 1: What did join in the Roots? How did that impact 291 00:15:02,036 --> 00:15:02,796 Speaker 1: your guitar play? 292 00:15:04,156 --> 00:15:04,356 Speaker 2: Well? 293 00:15:04,396 --> 00:15:07,396 Speaker 3: At its most basic level, I think my timing just 294 00:15:08,116 --> 00:15:11,236 Speaker 3: in terms of keeping time growing up, I always paid 295 00:15:11,276 --> 00:15:14,796 Speaker 3: more attention I guess to leads and solos and stuff 296 00:15:14,836 --> 00:15:20,316 Speaker 3: like that, and playing in the Roots just really reinforced 297 00:15:20,876 --> 00:15:26,116 Speaker 3: the concept of pocket. And there's you know, no better 298 00:15:26,436 --> 00:15:31,276 Speaker 3: drummer to develop that with on a stage in front 299 00:15:31,276 --> 00:15:33,236 Speaker 3: of like a large group of people and in a 300 00:15:33,436 --> 00:15:39,356 Speaker 3: recording situation than Questlove. Because he spent so much of 301 00:15:39,396 --> 00:15:45,196 Speaker 3: his formative years with a metronn with classic records with breakbeats, 302 00:15:46,076 --> 00:15:50,916 Speaker 3: hours and hours like the proverbial you know, ten thousand hours, 303 00:15:50,956 --> 00:15:54,876 Speaker 3: like he logged them and then some And also when 304 00:15:55,156 --> 00:15:59,116 Speaker 3: that was not happening, he spoke about it, you know, 305 00:15:59,196 --> 00:16:02,796 Speaker 3: so you know, he'd call me out like yo, pull back, 306 00:16:02,876 --> 00:16:05,876 Speaker 3: you know, like and then you know, you listen, you 307 00:16:05,916 --> 00:16:08,676 Speaker 3: listen to the other players and you see how they're playing, 308 00:16:08,676 --> 00:16:11,436 Speaker 3: and you're like, oh, I want to meld with everybody 309 00:16:11,516 --> 00:16:15,356 Speaker 3: and to bring awareness to if you're not doing that. 310 00:16:15,796 --> 00:16:17,316 Speaker 1: Is there anyone you could look to to sort of 311 00:16:17,316 --> 00:16:19,236 Speaker 1: feel like, Okay, maybe if I just do something like 312 00:16:19,316 --> 00:16:21,636 Speaker 1: this or if I approach it like the way this 313 00:16:21,676 --> 00:16:22,156 Speaker 1: person did. 314 00:16:22,276 --> 00:16:26,836 Speaker 3: Was there any well, the guitar players in James Brown group, 315 00:16:26,956 --> 00:16:27,196 Speaker 3: you know. 316 00:16:28,756 --> 00:16:29,996 Speaker 1: Catfish Fish. 317 00:16:31,356 --> 00:16:33,236 Speaker 2: Yeah, yeah, Boots himself, you. 318 00:16:33,156 --> 00:16:35,676 Speaker 3: Know, because he played a lot of guitar on all 319 00:16:35,676 --> 00:16:37,596 Speaker 3: the Funkadelic records, but like a lot of the p 320 00:16:37,756 --> 00:16:39,236 Speaker 3: funk I hear that. 321 00:16:39,116 --> 00:16:40,796 Speaker 1: He did a lot more like well even just him 322 00:16:40,796 --> 00:16:43,236 Speaker 1: playing drums on Flash Flag Yeah. 323 00:16:43,156 --> 00:16:47,596 Speaker 3: Yeah, yeah, it's crazy stuff like that. But yeah, and 324 00:16:47,636 --> 00:16:51,596 Speaker 3: then and then you know the concepts of everything being 325 00:16:51,636 --> 00:16:53,396 Speaker 3: on the one with with p funk and. 326 00:16:53,436 --> 00:16:56,076 Speaker 1: Just uh that unity of everything. 327 00:16:56,316 --> 00:16:56,756 Speaker 2: Yeah. 328 00:16:56,916 --> 00:17:00,156 Speaker 1: Yeah, coming down on the one absolutely. 329 00:16:59,996 --> 00:17:01,436 Speaker 2: The Michael Jackson records. 330 00:17:01,476 --> 00:17:04,476 Speaker 3: You know, the players like Steve Lucather, you know, like 331 00:17:04,556 --> 00:17:07,916 Speaker 3: what he does on like human nature stuff that like 332 00:17:08,036 --> 00:17:11,796 Speaker 3: really makes the song. Yeah, you know Andy Summers, you know, 333 00:17:12,036 --> 00:17:15,516 Speaker 3: on every breath you take. These are guitar players that 334 00:17:15,596 --> 00:17:20,956 Speaker 3: like play these like iconic parts that you're they just 335 00:17:21,116 --> 00:17:23,716 Speaker 3: weave themselves in the song and become somewhat of a 336 00:17:23,796 --> 00:17:25,636 Speaker 3: glue in music. 337 00:17:25,956 --> 00:17:28,516 Speaker 1: And U's a really interesting point. Like you know, obviously 338 00:17:28,516 --> 00:17:32,276 Speaker 1: like in Van Halen Eddie's driving thing, Yeah, but in 339 00:17:32,316 --> 00:17:36,596 Speaker 1: Andy Summers has equally iconic guitar parts. And my view 340 00:17:37,156 --> 00:17:38,876 Speaker 1: and ever thought about it, but it's really like serving 341 00:17:38,916 --> 00:17:39,356 Speaker 1: the song. 342 00:17:39,716 --> 00:17:41,636 Speaker 3: Yeah, that's at the end of the day, it's all 343 00:17:41,676 --> 00:17:43,556 Speaker 3: about serving the song, serving the music. 344 00:17:43,676 --> 00:17:43,836 Speaker 4: You know. 345 00:17:43,956 --> 00:17:48,076 Speaker 3: That's everybody you know should have that mindset. When everybody 346 00:17:48,156 --> 00:17:50,556 Speaker 3: has that mindset, the music elevates. 347 00:17:50,636 --> 00:17:52,876 Speaker 1: Guitar players notoriously sometimes don't have. 348 00:17:52,876 --> 00:17:53,756 Speaker 2: That mind Yeah. 349 00:17:53,876 --> 00:17:56,316 Speaker 3: Yeah, I mean, and there's a time and place, I 350 00:17:56,316 --> 00:17:58,796 Speaker 3: guess for everything. There's times to step out, of course, 351 00:17:58,916 --> 00:18:02,116 Speaker 3: you know, and to shine of course. But you know, 352 00:18:02,516 --> 00:18:05,956 Speaker 3: with the roots, it's like everybody like trying to create 353 00:18:05,996 --> 00:18:08,116 Speaker 3: something that's greater than the sum of its parts. 354 00:18:08,196 --> 00:18:08,436 Speaker 2: Yeah. 355 00:18:08,516 --> 00:18:13,196 Speaker 3: Yeah, and the roots sort of like reinforced that concept, 356 00:18:14,116 --> 00:18:16,316 Speaker 3: like watching p Funk like we'd be on the tour bus, 357 00:18:16,356 --> 00:18:20,116 Speaker 3: like watching James Brown videos, watching Marvin and montro like 358 00:18:20,156 --> 00:18:22,116 Speaker 3: and just like checking out what the band is doing 359 00:18:22,556 --> 00:18:24,476 Speaker 3: and gaining inspiration from that. 360 00:18:24,756 --> 00:18:28,396 Speaker 1: Wow. After a quick break, we'll be back with more 361 00:18:28,436 --> 00:18:35,876 Speaker 1: of a conversation with Captain Kirk. We're back with more 362 00:18:35,916 --> 00:18:39,396 Speaker 1: from Captain Kirk Douglas. When did you pick up the 363 00:18:39,436 --> 00:18:41,236 Speaker 1: guitar and who were you starting to listen to and 364 00:18:41,236 --> 00:18:42,156 Speaker 1: how did it all evolve? 365 00:18:42,476 --> 00:18:46,556 Speaker 3: Oh? Well, I mean all right, I have Jamaican parents, okay, 366 00:18:46,676 --> 00:18:51,396 Speaker 3: so I'll start with that, and they were their music 367 00:18:51,596 --> 00:18:55,316 Speaker 3: was very prevalent in our household, and my dad was 368 00:18:55,316 --> 00:19:00,036 Speaker 3: a record collector and avid record collector. He was an audiophile, 369 00:19:01,116 --> 00:19:05,276 Speaker 3: so grew up with you know, Big Moran's Power Amp 370 00:19:05,356 --> 00:19:09,796 Speaker 3: Moran's preamp Tenois speakers. I mean, I remember these Tenois 371 00:19:09,796 --> 00:19:13,636 Speaker 3: speakers as you know, to my three year old body. 372 00:19:13,836 --> 00:19:17,676 Speaker 3: These were monoliths that helped me learn how to stand. 373 00:19:18,396 --> 00:19:20,316 Speaker 3: But not just learn how to stand, but sound came 374 00:19:20,316 --> 00:19:20,836 Speaker 3: out of them. 375 00:19:20,956 --> 00:19:21,516 Speaker 2: You know what I mean. 376 00:19:21,716 --> 00:19:24,796 Speaker 3: And my first memories of music was like the song 377 00:19:24,916 --> 00:19:29,436 Speaker 3: Daniel from Elton John and then in the same night 378 00:19:29,516 --> 00:19:36,596 Speaker 3: hearing Easy by Commodores along with various you know, reggae songs. 379 00:19:36,916 --> 00:19:38,556 Speaker 3: You know, my dad would have his friends come over 380 00:19:38,596 --> 00:19:39,756 Speaker 3: and play music. 381 00:19:39,836 --> 00:19:41,996 Speaker 1: With the reggae records. Where those have been records he 382 00:19:42,116 --> 00:19:44,476 Speaker 1: knew from from Jamaica, Jamaica or did he would he 383 00:19:44,516 --> 00:19:45,156 Speaker 1: pick them like he. 384 00:19:46,036 --> 00:19:48,836 Speaker 3: Brought them over from Jamaica. I'm the only one in 385 00:19:48,836 --> 00:19:51,196 Speaker 3: my family that was born in America. So they lived 386 00:19:51,236 --> 00:19:54,076 Speaker 3: in Jamaica for a while and then they came to Brooklyn, 387 00:19:54,596 --> 00:19:56,716 Speaker 3: and I was born in Brooklyn in seventy two and 388 00:19:56,756 --> 00:19:59,356 Speaker 3: then but so yeah, when anytime he'd go to Jamaica, 389 00:19:59,436 --> 00:20:00,676 Speaker 3: he'd come back with records. 390 00:20:00,676 --> 00:20:01,876 Speaker 1: Do you have those records still? 391 00:20:01,996 --> 00:20:04,836 Speaker 2: Absolutely? Yeah, Yeah, they're all out in Long Island. 392 00:20:04,876 --> 00:20:05,796 Speaker 1: That's so cool. 393 00:20:06,516 --> 00:20:08,996 Speaker 3: My mom is in the house that I grew up in. 394 00:20:09,476 --> 00:20:13,076 Speaker 3: My dad's no longer around. He passed nine, but he 395 00:20:13,196 --> 00:20:17,436 Speaker 3: left behind that same stereo system, those same speakers, those 396 00:20:17,436 --> 00:20:20,756 Speaker 3: same records, And so that's what would happen during the week. 397 00:20:20,796 --> 00:20:23,156 Speaker 3: But on Sundays, you know, Sunday was church day and 398 00:20:23,196 --> 00:20:24,956 Speaker 3: it would all be all about classical music. 399 00:20:25,316 --> 00:20:25,476 Speaker 2: You know. 400 00:20:25,556 --> 00:20:29,876 Speaker 3: My brother, his name is Handel, named after the composer Handel, 401 00:20:30,476 --> 00:20:34,836 Speaker 3: but Beethoven Bach, you know, church hymns. That's what would 402 00:20:34,876 --> 00:20:37,316 Speaker 3: be playing all day Sunday or most of the day's Sunday. 403 00:20:37,796 --> 00:20:39,716 Speaker 3: When I was five, they moved out to Long Island, 404 00:20:40,356 --> 00:20:43,236 Speaker 3: and you know, once I started to go to school, 405 00:20:43,516 --> 00:20:47,396 Speaker 3: that's when I started getting exposed to rock music. And 406 00:20:47,516 --> 00:20:51,396 Speaker 3: when I was seven, I had a friend in my class, 407 00:20:51,556 --> 00:20:52,316 Speaker 3: Chris Garcia. 408 00:20:52,356 --> 00:20:52,996 Speaker 2: I went to his. 409 00:20:52,996 --> 00:20:56,436 Speaker 3: House and he had these Kiss records and I remember 410 00:20:57,076 --> 00:21:00,556 Speaker 3: seeing them and being like, what is that? You know, 411 00:21:00,636 --> 00:21:04,156 Speaker 3: they looked like they looked like superheroes. They looked like 412 00:21:04,236 --> 00:21:11,276 Speaker 3: and then they're holding these scepter like color full, shapely. 413 00:21:12,316 --> 00:21:12,796 Speaker 2: Things. 414 00:21:12,996 --> 00:21:16,476 Speaker 3: These objects that I discovered were guitars, and and they 415 00:21:16,516 --> 00:21:20,636 Speaker 3: looked cool. They sort of embodied like, you know, part skateboard, 416 00:21:20,836 --> 00:21:27,036 Speaker 3: part sports car, part scepter. They but they the sound 417 00:21:27,116 --> 00:21:29,796 Speaker 3: that was coming from the speakers was created by these things, 418 00:21:30,156 --> 00:21:33,436 Speaker 3: and I was transfixed and I wanted to be a 419 00:21:33,476 --> 00:21:35,316 Speaker 3: part of that. His brother had a guitar, that's thing, 420 00:21:35,756 --> 00:21:39,236 Speaker 3: So seeing one up close, I was just I was 421 00:21:39,276 --> 00:21:40,276 Speaker 3: so attracted to it. 422 00:21:41,476 --> 00:21:43,796 Speaker 2: Yeah, we had a fake Les Paul copy. 423 00:21:43,876 --> 00:21:46,236 Speaker 3: It was Sunburst, but it sort of looked like, you know, 424 00:21:46,316 --> 00:21:48,276 Speaker 3: you look at a Sunburst guitars, like it looks like 425 00:21:48,316 --> 00:21:52,116 Speaker 3: there's fire within this that's being that's being contained inside 426 00:21:52,156 --> 00:21:54,956 Speaker 3: this instrument, and yeah, I want some of that, you know. 427 00:21:55,076 --> 00:21:58,756 Speaker 3: So and he played and just so hearing, you know, 428 00:21:58,916 --> 00:22:02,756 Speaker 3: him just being able to sort of have sway over 429 00:22:02,836 --> 00:22:05,876 Speaker 3: this sound and just seeing you know, that it was 430 00:22:06,196 --> 00:22:09,836 Speaker 3: someone accessible. Like I begged my parents for a guitar, 431 00:22:10,036 --> 00:22:13,116 Speaker 3: you know, and there was a shopping mall and there 432 00:22:13,196 --> 00:22:17,156 Speaker 3: was a store called Family Melody, and they sold electric guitars, 433 00:22:17,156 --> 00:22:18,516 Speaker 3: and you just seeing them all lined up in their 434 00:22:18,596 --> 00:22:22,116 Speaker 3: various colors and shapes, and I remember buying Guitar Player 435 00:22:22,156 --> 00:22:26,116 Speaker 3: magazine before I could play, just looking at it, like 436 00:22:26,116 --> 00:22:29,796 Speaker 3: like looking at Professor Boy looks at Victoria's Secrets, you know, 437 00:22:30,036 --> 00:22:33,436 Speaker 3: like just being so excited by yeah. 438 00:22:33,276 --> 00:22:36,076 Speaker 1: Yeah guitars in the looks. 439 00:22:36,316 --> 00:22:38,076 Speaker 2: Yeah I was. I was. I was all in. 440 00:22:38,156 --> 00:22:41,156 Speaker 3: And then finally my parents relented and they got me 441 00:22:41,236 --> 00:22:43,756 Speaker 3: like a really cheap guitar that it's broken, but I 442 00:22:43,796 --> 00:22:46,756 Speaker 3: still have the remnants of it at my mom's house. 443 00:22:47,356 --> 00:22:49,436 Speaker 3: And then I think I started getting to Van Halen. 444 00:22:49,476 --> 00:22:50,076 Speaker 2: I heard, I saw. 445 00:22:50,436 --> 00:22:53,916 Speaker 3: Now we're at the time when MTV is birthed, and uh, 446 00:22:54,316 --> 00:22:56,916 Speaker 3: I would go over my babysitter Iris. 447 00:22:56,916 --> 00:22:59,276 Speaker 2: I would go over to her house. We didn't have cable, 448 00:22:59,676 --> 00:23:02,316 Speaker 2: but they had cable, they had MTV, and. 449 00:23:02,276 --> 00:23:05,716 Speaker 3: Then I was seeing the videos by you know, by 450 00:23:05,836 --> 00:23:10,636 Speaker 3: Styx and by Van Halen and Huey Lewis, and. 451 00:23:10,596 --> 00:23:12,396 Speaker 1: It's around like eighty four eighty five. 452 00:23:12,756 --> 00:23:15,796 Speaker 3: Yeah, we're talking, yeah, like exactly like eighty two eighty 453 00:23:15,956 --> 00:23:18,916 Speaker 3: and then there would also be the Friday Night videos 454 00:23:18,956 --> 00:23:21,996 Speaker 3: and then you know, that's when you start around that time, 455 00:23:22,036 --> 00:23:26,716 Speaker 3: you start seeing Sha Ka Khan videos and uh around 456 00:23:26,796 --> 00:23:29,156 Speaker 3: then eighty four, and then you start seeing Prince, you know, 457 00:23:29,316 --> 00:23:32,556 Speaker 3: and then then there's like, okay, you know black people 458 00:23:32,556 --> 00:23:35,196 Speaker 3: can do this too, you know, because my other exposure 459 00:23:35,236 --> 00:23:39,196 Speaker 3: to music for my brother was really Slide the Family 460 00:23:39,236 --> 00:23:45,716 Speaker 3: Stone and uh Jackson five and Beg's like ABC and 461 00:23:45,796 --> 00:23:49,076 Speaker 3: the Stand Record you know those and the Kiss records 462 00:23:49,116 --> 00:23:53,316 Speaker 3: like so that was sort of like set the fat 463 00:23:53,396 --> 00:23:55,036 Speaker 3: my musical foundation at the time. 464 00:23:55,196 --> 00:23:58,516 Speaker 1: Man. And you know, honestly too, like those Jackson five 465 00:23:58,556 --> 00:24:01,676 Speaker 1: records and those sly Stone records. Great guitar records. 466 00:24:01,796 --> 00:24:04,076 Speaker 2: Yeah, and I wasn't, but I didn't really. 467 00:24:04,556 --> 00:24:08,836 Speaker 3: As a kid, I was so attracted to the distortion 468 00:24:08,956 --> 00:24:12,276 Speaker 3: and heavy guitars, you know, like when I heard Easy 469 00:24:12,476 --> 00:24:14,596 Speaker 3: by the Commodores and hearing the guitar soul and I 470 00:24:14,756 --> 00:24:16,396 Speaker 3: was like, that's a guitar solo. 471 00:24:16,716 --> 00:24:19,076 Speaker 1: You know, it is a tasty one. 472 00:24:19,236 --> 00:24:20,516 Speaker 2: Yeah, yeah, yeah for sure. 473 00:24:21,196 --> 00:24:22,956 Speaker 3: And then as I got a little bit older, you know, 474 00:24:22,996 --> 00:24:25,436 Speaker 3: living on Long Island, like you know, hair metal started 475 00:24:25,476 --> 00:24:26,356 Speaker 3: to be a big thing. 476 00:24:26,956 --> 00:24:29,276 Speaker 1: There's a movie called Heavy Metal Parking Lot. Yeah, yeah, 477 00:24:29,276 --> 00:24:29,756 Speaker 1: have you seen that? 478 00:24:29,836 --> 00:24:30,876 Speaker 2: Yeah? Yeah, yeah, yeah. 479 00:24:30,916 --> 00:24:32,516 Speaker 1: That was that going on in Long Island. 480 00:24:32,556 --> 00:24:34,196 Speaker 2: That was so going on in Long Island. 481 00:24:34,276 --> 00:24:34,436 Speaker 1: Man. 482 00:24:34,636 --> 00:24:36,956 Speaker 3: You know, I went to high school with like twelve 483 00:24:37,676 --> 00:24:41,756 Speaker 3: hundred kids, like a graduating class of twelve hundred, that's 484 00:24:41,796 --> 00:24:42,956 Speaker 3: just a graduating class. 485 00:24:43,396 --> 00:24:46,556 Speaker 2: And there was like maybe ten black kids in all 486 00:24:46,636 --> 00:24:46,876 Speaker 2: of that. 487 00:24:46,956 --> 00:24:49,516 Speaker 3: And I was into the music I was into, and 488 00:24:50,156 --> 00:24:53,596 Speaker 3: so I you know, I kind of didn't feel very 489 00:24:53,676 --> 00:24:57,316 Speaker 3: much accepted by a lot of the black kids. And 490 00:24:57,396 --> 00:25:02,116 Speaker 3: I also didn't feel accepted by the white kids. When 491 00:25:02,116 --> 00:25:05,036 Speaker 3: I say not accepted, like it wasn't like anybody like 492 00:25:05,316 --> 00:25:10,036 Speaker 3: turned me away, but I just felt like a on 493 00:25:10,076 --> 00:25:13,676 Speaker 3: the peripheria sense of otherness. But it was nothing that 494 00:25:13,716 --> 00:25:17,796 Speaker 3: ever bothered me. But I definitely found my crew with 495 00:25:18,196 --> 00:25:22,316 Speaker 3: the musicians and just you know, like I remember bonding 496 00:25:22,356 --> 00:25:26,716 Speaker 3: over you know, bands like you know Motley Crue at 497 00:25:26,716 --> 00:25:31,316 Speaker 3: the time or Queens Reich and stuff like that. So 498 00:25:31,356 --> 00:25:33,636 Speaker 3: you're hanging with the heavy metal parking lot. I was 499 00:25:33,676 --> 00:25:35,916 Speaker 3: hanging with the heavy and we had a band Overdrive. 500 00:25:35,956 --> 00:25:38,996 Speaker 3: And actually the dude from this band, his name was 501 00:25:39,076 --> 00:25:42,236 Speaker 3: John Hamson. He looked like he should on he should 502 00:25:42,236 --> 00:25:48,276 Speaker 3: be on the headbanger's balls. Him, Keith Salomido, Paul Doxy, 503 00:25:49,396 --> 00:25:52,156 Speaker 3: Marci Otis, Chris the Otis, shout out to all these cats. 504 00:25:52,196 --> 00:25:55,956 Speaker 3: And I joined their band everything, and like like if 505 00:25:55,996 --> 00:25:58,636 Speaker 3: you looked at a picture of us, I'd probably be like, wow, 506 00:25:59,156 --> 00:26:00,596 Speaker 3: one of these things does not look like the other, 507 00:26:00,676 --> 00:26:02,756 Speaker 3: you know. So I remember we did a Battle of 508 00:26:02,756 --> 00:26:05,796 Speaker 3: the Bands when I was fourteen, and I remember we lost, 509 00:26:06,156 --> 00:26:08,756 Speaker 3: and I remember going home afterwards and looking in the 510 00:26:08,836 --> 00:26:12,156 Speaker 3: mirror at myself and I had like spandex on, and 511 00:26:12,156 --> 00:26:13,796 Speaker 3: I had like rip jeans, and I had like the 512 00:26:13,876 --> 00:26:16,596 Speaker 3: mess shirt on, and I had my glasses and my 513 00:26:16,636 --> 00:26:18,596 Speaker 3: short little laugh ro. I remember looking at myself in 514 00:26:18,636 --> 00:26:21,836 Speaker 3: the mirror and be like, I just don't know if 515 00:26:21,876 --> 00:26:24,716 Speaker 3: this is the right look or if this is the 516 00:26:24,796 --> 00:26:27,196 Speaker 3: right thing for me. You know, as much as I 517 00:26:27,236 --> 00:26:29,836 Speaker 3: dig this music and everything, I just remember looking at 518 00:26:29,876 --> 00:26:31,276 Speaker 3: myself and be like, come on, you. 519 00:26:31,236 --> 00:26:32,956 Speaker 1: Know, little crisis of identity? 520 00:26:33,156 --> 00:26:35,796 Speaker 3: Yeah, yeah, and yeah, which is I guess the right age, 521 00:26:35,876 --> 00:26:39,996 Speaker 3: you know. But I remember turning fifteen, and that's when 522 00:26:39,996 --> 00:26:44,276 Speaker 3: I got heavily into motown, like just getting into and 523 00:26:44,396 --> 00:26:49,436 Speaker 3: that's when I started really noticing guitar and its presence 524 00:26:49,956 --> 00:26:52,156 Speaker 3: in old soul music and in like you know, the 525 00:26:52,196 --> 00:26:54,076 Speaker 3: intro to My Girl and stuff like that, be like, 526 00:26:54,156 --> 00:26:57,316 Speaker 3: that's a guitar and this I can play these things, yeah, 527 00:26:57,436 --> 00:27:00,876 Speaker 3: and I don't need a loud, overdriven app to do so. 528 00:27:01,716 --> 00:27:04,556 Speaker 3: And these are amazing songs and this is a great 529 00:27:04,676 --> 00:27:09,076 Speaker 3: vibe and I don't need a particular look to participate 530 00:27:09,236 --> 00:27:12,116 Speaker 3: with it. And also it was around this time that 531 00:27:12,156 --> 00:27:14,836 Speaker 3: I started getting into Hendricks. I remember Guitar World came 532 00:27:14,836 --> 00:27:17,396 Speaker 3: out with an all Hendricks issue, and I remember my 533 00:27:17,436 --> 00:27:20,556 Speaker 3: first Hendricks record was Live at Winterland that just it 534 00:27:20,596 --> 00:27:23,556 Speaker 3: was just released on CD. So it was like, you know, 535 00:27:23,676 --> 00:27:27,156 Speaker 3: hearing Hendricks on stage and my dad was allowing me 536 00:27:27,196 --> 00:27:30,396 Speaker 3: to play CDs on his huge stereo. 537 00:27:30,596 --> 00:27:33,196 Speaker 2: Okay, so upgraded, yeah exactly. 538 00:27:33,276 --> 00:27:35,676 Speaker 3: So it was that live at Winterland Hendricks, and I 539 00:27:35,716 --> 00:27:41,076 Speaker 3: was able to see how black music fit into rock 540 00:27:41,116 --> 00:27:45,156 Speaker 3: and roll and sort of you know, do the backtracking 541 00:27:45,236 --> 00:27:48,676 Speaker 3: and seeing like how I could be part of this 542 00:27:48,796 --> 00:27:51,916 Speaker 3: music that I was into and how you know, oh 543 00:27:51,956 --> 00:27:56,916 Speaker 3: my goodness, Hendricks was a forefather in fact, and just 544 00:27:56,956 --> 00:28:00,276 Speaker 3: seeing like my place in it more so. 545 00:28:00,236 --> 00:28:03,996 Speaker 1: Like you're not an intruder or moving yourself. 546 00:28:05,276 --> 00:28:07,916 Speaker 3: And then it was around this time shortly thereafter when 547 00:28:07,996 --> 00:28:09,716 Speaker 3: Living Color came on the scene, and there was like, 548 00:28:09,876 --> 00:28:14,916 Speaker 3: oh shit, that was such a moment of validation and 549 00:28:14,996 --> 00:28:19,476 Speaker 3: just like a world just got very technicolored really fast. Wow, 550 00:28:19,836 --> 00:28:22,716 Speaker 3: And I was super fanished. I remember they played in 551 00:28:22,876 --> 00:28:26,756 Speaker 3: SNL and I remember getting Vivid on CD and I 552 00:28:26,836 --> 00:28:30,556 Speaker 3: just remember like just dancing in my basement to this music. 553 00:28:30,756 --> 00:28:33,596 Speaker 2: And then I must have gotten my heart broken. 554 00:28:33,916 --> 00:28:38,796 Speaker 3: And then I discovered the Smiths and the Cure and 555 00:28:38,876 --> 00:28:42,436 Speaker 3: Fishbone you know, goth if you will, you know, and 556 00:28:42,476 --> 00:28:46,116 Speaker 3: then I started getting into seeing how the guitar could 557 00:28:46,796 --> 00:28:50,476 Speaker 3: create a different sort of tapestry with this music that 558 00:28:50,516 --> 00:28:52,156 Speaker 3: the Cure was doing what the Smiths was doing, and 559 00:28:52,276 --> 00:28:53,716 Speaker 3: Cocktail Twins bands like that. 560 00:28:54,036 --> 00:28:58,276 Speaker 1: You have the guitar driven stuff like rock and roll Boy, 561 00:28:58,476 --> 00:29:01,676 Speaker 1: it's then you have like soul where guitars and accompaniment 562 00:29:01,796 --> 00:29:04,196 Speaker 1: kind of thing, but in that music it's more like 563 00:29:04,276 --> 00:29:06,996 Speaker 1: it's almost like used like a sound effect almost. 564 00:29:06,636 --> 00:29:10,196 Speaker 3: Or like oh yeah yeah yeah, very son tapestries and 565 00:29:10,276 --> 00:29:13,836 Speaker 3: just textual stuff that you're not like like in your 566 00:29:13,916 --> 00:29:18,236 Speaker 3: mind's eye, you're not seeing this swashbuckling guitar hero, but 567 00:29:18,476 --> 00:29:24,036 Speaker 3: there's the subliminal thing that guitar does, so that's triggering 568 00:29:24,076 --> 00:29:29,836 Speaker 3: something within you emotionally sonically, and it's also the textual 569 00:29:29,876 --> 00:29:32,876 Speaker 3: aspect of like what a keyboard does. So there's that 570 00:29:32,916 --> 00:29:37,236 Speaker 3: sort of cold wave, that sort of cold British sort 571 00:29:37,276 --> 00:29:40,076 Speaker 3: of element, you know with coarus pedals and a lot 572 00:29:40,076 --> 00:29:43,036 Speaker 3: of delays, and then some of what you two is doing, 573 00:29:43,116 --> 00:29:43,916 Speaker 3: there's like some. 574 00:29:43,996 --> 00:29:44,916 Speaker 2: Aspects of that. 575 00:29:45,836 --> 00:29:48,436 Speaker 3: So those teen years it was just like such a 576 00:29:48,476 --> 00:29:52,036 Speaker 3: time of discovery as what the guitar could do in 577 00:29:52,116 --> 00:29:54,556 Speaker 3: music and the way it could be percussive, the way 578 00:29:54,596 --> 00:29:57,636 Speaker 3: it could be melodic, the way it could be textual, 579 00:29:58,196 --> 00:30:02,596 Speaker 3: the way it could be noise and attitude just seeing 580 00:30:02,676 --> 00:30:05,316 Speaker 3: like it does not have to be one thing, and 581 00:30:05,356 --> 00:30:07,276 Speaker 3: you don't have to be one thing, and you through 582 00:30:07,396 --> 00:30:13,516 Speaker 3: use of touch and am settings and effects and note 583 00:30:13,516 --> 00:30:17,876 Speaker 3: selection and rhythmic choices, you can be all of these things. 584 00:30:17,956 --> 00:30:20,396 Speaker 3: And just so as I was growing as a teen, 585 00:30:20,476 --> 00:30:24,636 Speaker 3: it was just pulling me into this forest of sound 586 00:30:24,756 --> 00:30:27,876 Speaker 3: and falling in love and just feeling very romantic and 587 00:30:27,916 --> 00:30:32,756 Speaker 3: being into music that spoke to that side of life 588 00:30:32,876 --> 00:30:36,116 Speaker 3: of being a misin thrown and also you know, noticing 589 00:30:36,156 --> 00:30:41,636 Speaker 3: my blackness and also becoming more aware of not fitting in, 590 00:30:42,396 --> 00:30:46,516 Speaker 3: which does not have to be something that's recognized, you know, racially. 591 00:30:46,636 --> 00:30:51,716 Speaker 3: You know that's universal sort of existential, you know moment 592 00:30:51,796 --> 00:30:53,996 Speaker 3: that people go through. And I felt it in my 593 00:30:54,036 --> 00:30:56,876 Speaker 3: own way, and I was blessed to be able to 594 00:30:57,036 --> 00:30:59,436 Speaker 3: be playing music at the time, and I started going 595 00:30:59,476 --> 00:31:02,916 Speaker 3: out and I'd start going to like Soul Kitchen back 596 00:31:02,956 --> 00:31:05,716 Speaker 3: in the day, there's this club, Soul Kitchen, where they 597 00:31:05,756 --> 00:31:08,716 Speaker 3: would start playing they would play Mandril, they'd play p funk, 598 00:31:08,836 --> 00:31:11,316 Speaker 3: they play silvers like. 599 00:31:11,396 --> 00:31:14,916 Speaker 2: It was just yeah, the first time I heard you heard. 600 00:31:14,836 --> 00:31:18,876 Speaker 3: That, that blew my mind, blew my mind. And just 601 00:31:19,236 --> 00:31:25,116 Speaker 3: hearing how funk and how rock was fusing, and I'm 602 00:31:25,236 --> 00:31:29,476 Speaker 3: discovering seventies electric band Miles, and I'm getting I'm meeting 603 00:31:29,516 --> 00:31:32,236 Speaker 3: people that are into that, and you're jamming and you're 604 00:31:32,236 --> 00:31:34,276 Speaker 3: playing in front of people. It's just like New York 605 00:31:34,436 --> 00:31:36,396 Speaker 3: at the time in the mid nineties, late mid to 606 00:31:36,436 --> 00:31:38,636 Speaker 3: late nineties, it was a beautiful time. 607 00:31:39,236 --> 00:31:41,076 Speaker 1: But nobody does seem like a special time. I mean, 608 00:31:41,276 --> 00:31:43,636 Speaker 1: all these errors were sort of seemed to be colliding. Yeah, 609 00:31:43,756 --> 00:31:45,796 Speaker 1: and some of that stuff's gone now, you know. 610 00:31:45,956 --> 00:31:48,396 Speaker 3: I mean I can't quite tell because you know, like 611 00:31:48,556 --> 00:31:50,756 Speaker 3: I the other night, I went out to see a 612 00:31:50,836 --> 00:31:55,396 Speaker 3: band and at my age now like I have kids, 613 00:31:55,476 --> 00:31:58,516 Speaker 3: you know, like I and you know, with age comes wisdom, 614 00:31:59,076 --> 00:32:02,116 Speaker 3: and I'm not able to be out mad late as 615 00:32:02,156 --> 00:32:04,116 Speaker 3: I was every night in my twenties, you know. So 616 00:32:04,156 --> 00:32:05,916 Speaker 3: it's just like and when I went out, I was 617 00:32:05,996 --> 00:32:07,436 Speaker 3: just like, you know, I was in the Lower East 618 00:32:07,476 --> 00:32:09,516 Speaker 3: Side and it was like, you know, there's mad people 619 00:32:09,516 --> 00:32:12,076 Speaker 3: out and just like there were bands playing, and it's 620 00:32:12,076 --> 00:32:13,436 Speaker 3: just like you just got to know where to go. 621 00:32:14,036 --> 00:32:15,316 Speaker 2: You know. I wasn't there for the sixties. 622 00:32:15,516 --> 00:32:18,156 Speaker 3: Those that were there for that time, they're probably like 623 00:32:18,276 --> 00:32:20,556 Speaker 3: y'all missed out, you know, So maybe it's so much 624 00:32:20,596 --> 00:32:24,036 Speaker 3: of it has to do with the hormones coursing through 625 00:32:24,036 --> 00:32:26,276 Speaker 3: your body at a particular agent, being at that place 626 00:32:26,316 --> 00:32:29,116 Speaker 3: at that time. And if you're hearing music you love, 627 00:32:29,436 --> 00:32:32,276 Speaker 3: if you're getting laid, it's a beautiful time in New 628 00:32:32,356 --> 00:32:34,236 Speaker 3: York City. You know, if you could afford to eat, 629 00:32:34,676 --> 00:32:36,556 Speaker 3: if you got if you could afford to be here, 630 00:32:37,036 --> 00:32:37,876 Speaker 3: you're chilling. 631 00:32:38,436 --> 00:32:43,476 Speaker 4: You know that it may be that it could be 632 00:32:43,516 --> 00:32:44,036 Speaker 4: that simple. 633 00:32:44,676 --> 00:32:47,556 Speaker 2: So anyhow, I was working as a preschool teacher during 634 00:32:47,596 --> 00:32:47,876 Speaker 2: the day. 635 00:32:47,916 --> 00:32:50,316 Speaker 1: How did you get that get and where were you teaching? 636 00:32:51,036 --> 00:32:55,476 Speaker 2: And you say that likes can we find them? Funny? 637 00:32:55,516 --> 00:32:55,796 Speaker 3: Funny? 638 00:32:55,796 --> 00:32:57,636 Speaker 2: You should ask them you can find them. 639 00:32:57,916 --> 00:33:00,516 Speaker 3: But right before I left Long Island, I was I 640 00:33:00,596 --> 00:33:02,676 Speaker 3: used to work with the developmentally disabled. They used to 641 00:33:02,756 --> 00:33:07,876 Speaker 3: work with autistic children and I was a direct care counselor. 642 00:33:08,276 --> 00:33:09,116 Speaker 2: How did you get involved? 643 00:33:09,236 --> 00:33:10,356 Speaker 1: That's beautiful, Well I was. 644 00:33:10,596 --> 00:33:13,076 Speaker 3: I remember working at the mall while I was going 645 00:33:13,116 --> 00:33:17,236 Speaker 3: to Suffolk Community College, and I remember somebody came in 646 00:33:18,036 --> 00:33:24,436 Speaker 3: with a group of people from They were developmentally disabled 647 00:33:24,476 --> 00:33:25,916 Speaker 3: and there was autism. 648 00:33:26,036 --> 00:33:28,476 Speaker 2: I saw. I saw kids with Down syndrome and they 649 00:33:28,516 --> 00:33:29,716 Speaker 2: came into my job. 650 00:33:29,796 --> 00:33:34,036 Speaker 3: I remember selling soap to people and you know, questioning 651 00:33:34,436 --> 00:33:36,556 Speaker 3: about what I'm doing for a living, you know, what 652 00:33:36,596 --> 00:33:38,756 Speaker 3: do I want to what I really want to do 653 00:33:38,796 --> 00:33:41,476 Speaker 3: with my life. And I remember them coming in, and 654 00:33:41,676 --> 00:33:44,316 Speaker 3: I remember feeling a little uncomfortable when they came in, 655 00:33:45,476 --> 00:33:48,196 Speaker 3: and I remember asking the person that was that was 656 00:33:48,236 --> 00:33:49,996 Speaker 3: there with them, who was sort of like leading them 657 00:33:49,996 --> 00:33:52,636 Speaker 3: around everything, like where they were from, and so I'm 658 00:33:52,636 --> 00:33:55,756 Speaker 3: from this place, mary Haven, and you know, we're on 659 00:33:55,796 --> 00:33:58,636 Speaker 3: what's called community exposure and then you know, trying to 660 00:33:58,676 --> 00:34:00,836 Speaker 3: make sure that nobody touches anything. And then they could 661 00:34:00,876 --> 00:34:02,956 Speaker 3: only stay for so long and then they left. But 662 00:34:02,996 --> 00:34:05,476 Speaker 3: I remember that feeling stuck with me, like why did 663 00:34:05,476 --> 00:34:06,836 Speaker 3: I feel uncomfortable about that? 664 00:34:06,916 --> 00:34:09,516 Speaker 2: And then I'm thinking, and I'm like, well what am 665 00:34:09,556 --> 00:34:10,036 Speaker 2: I doing? 666 00:34:10,156 --> 00:34:13,836 Speaker 3: Like I'm you know, I'm selling soap, you know, in retail, 667 00:34:14,156 --> 00:34:16,676 Speaker 3: like and I just I don't know. 668 00:34:16,716 --> 00:34:18,036 Speaker 2: I just had this sense that. 669 00:34:17,996 --> 00:34:21,396 Speaker 3: Like, I want to make money, but I want to 670 00:34:21,596 --> 00:34:22,956 Speaker 3: like it if there is there a way I can 671 00:34:22,996 --> 00:34:24,036 Speaker 3: make money and help people. 672 00:34:24,316 --> 00:34:26,476 Speaker 2: And I just switched jobs. 673 00:34:26,236 --> 00:34:28,076 Speaker 3: And I wanted to do something that was like more 674 00:34:28,716 --> 00:34:31,596 Speaker 3: felt more serving humanity. So I just did that for 675 00:34:31,636 --> 00:34:34,436 Speaker 3: like a couple of years, and it was great, you know, 676 00:34:34,596 --> 00:34:39,476 Speaker 3: and playing guitar for that population was so gratifying. But 677 00:34:39,876 --> 00:34:42,996 Speaker 3: so when I moved to Manhattan, I was trying to 678 00:34:42,996 --> 00:34:46,756 Speaker 3: get a job doing something similar and I needed a 679 00:34:46,956 --> 00:34:50,196 Speaker 3: degree to do that, and so it was like, I 680 00:34:50,236 --> 00:34:53,076 Speaker 3: need to like do some more school. And I was 681 00:34:53,076 --> 00:34:56,076 Speaker 3: also at the time discovering playing music at night. So 682 00:34:57,156 --> 00:34:59,036 Speaker 3: I was, you know, trying to like figure it out, 683 00:34:59,036 --> 00:35:00,196 Speaker 3: like am I going to go back to school? 684 00:35:00,276 --> 00:35:00,916 Speaker 2: I'm going to do that. 685 00:35:00,996 --> 00:35:03,596 Speaker 3: And and then I had a friend that worked as 686 00:35:03,636 --> 00:35:07,596 Speaker 3: an insistent teacher at a preschool and their preschool was 687 00:35:07,636 --> 00:35:11,996 Speaker 3: looking for assistant teachers, and so I worked there for 688 00:35:12,076 --> 00:35:13,956 Speaker 3: a year or two, and then I I was taught 689 00:35:13,956 --> 00:35:17,236 Speaker 3: at Greenwich House Preschool for maybe six years. 690 00:35:17,276 --> 00:35:19,276 Speaker 2: I taught at Greenwich House Preschool. 691 00:35:18,796 --> 00:35:23,196 Speaker 3: And many of not many, but I can say there's 692 00:35:23,236 --> 00:35:26,516 Speaker 3: like three or four students of my for former students 693 00:35:26,516 --> 00:35:29,876 Speaker 3: I've seen within the past five years, like randomly, like 694 00:35:29,876 --> 00:35:32,396 Speaker 3: I was, I was trying to get my Apple computer 695 00:35:32,596 --> 00:35:34,956 Speaker 3: fixed and. 696 00:35:34,316 --> 00:35:35,196 Speaker 2: He's like, are you Kirk. 697 00:35:35,276 --> 00:35:37,796 Speaker 3: I was like yeah, He's like you changed my diaper, 698 00:35:37,996 --> 00:35:44,316 Speaker 3: you know what, hopefully twenty years ago, but yeah, he 699 00:35:44,396 --> 00:35:46,636 Speaker 3: was like, you know yeah, And I had him come 700 00:35:46,636 --> 00:35:48,476 Speaker 3: down to the tonight show. He brought his mom. You 701 00:35:48,516 --> 00:35:52,476 Speaker 3: had like a little reunion. He's having a kid. So yeah, 702 00:35:52,516 --> 00:35:55,476 Speaker 3: I definitely have been able to see the circle of 703 00:35:55,556 --> 00:35:57,716 Speaker 3: life happen before my eyes. 704 00:35:57,916 --> 00:35:58,476 Speaker 1: Incredible. 705 00:35:58,596 --> 00:36:03,036 Speaker 3: Yeah, yeah, it's it's crazy gig and I mean so 706 00:36:03,076 --> 00:36:05,516 Speaker 3: I would gig at night playing. There's a band called 707 00:36:05,516 --> 00:36:09,116 Speaker 3: the Velt that I They were known as the Velt, 708 00:36:09,316 --> 00:36:11,636 Speaker 3: then known as a Pola Heights at some point, but 709 00:36:11,796 --> 00:36:13,756 Speaker 3: now they're back to being the Belt, the Veldt. They're 710 00:36:13,796 --> 00:36:15,676 Speaker 3: still playing out. That was one of the bands I 711 00:36:15,716 --> 00:36:19,596 Speaker 3: played with. I played with Greg Taates, Burnt Sugar, played 712 00:36:19,636 --> 00:36:24,756 Speaker 3: with Amani Yuzuri, played with Tomorrow Colli god Alice Smith. 713 00:36:24,796 --> 00:36:28,636 Speaker 3: I remember playing with her, you know, sometimes interpretive Dance. 714 00:36:28,636 --> 00:36:31,276 Speaker 3: You'd be playing for that too, and many of the 715 00:36:31,316 --> 00:36:33,916 Speaker 3: things would be like you know, coming up with things, 716 00:36:33,956 --> 00:36:38,196 Speaker 3: you know, all improvisation based. So that was part of 717 00:36:38,516 --> 00:36:42,356 Speaker 3: like my my musical like diet in education. There's a 718 00:36:42,356 --> 00:36:43,756 Speaker 3: band called the Bell Band. We used to play at 719 00:36:43,796 --> 00:36:46,996 Speaker 3: this place, the Bell Cafe. They called this the Bell Band. 720 00:36:46,996 --> 00:36:50,876 Speaker 3: We were just every Sunday just just set up instruments 721 00:36:50,876 --> 00:36:52,876 Speaker 3: and just play whatever came to our minds. And that 722 00:36:52,996 --> 00:37:00,836 Speaker 3: was very influenced by what Miles was doing, like seventies period. Miles, Yeah, yeah, 723 00:37:00,876 --> 00:37:05,716 Speaker 3: like Mahavishnu type of stuff, just you know, Mandril type 724 00:37:05,756 --> 00:37:10,076 Speaker 3: of stuff, just like meters and just you know, and 725 00:37:10,156 --> 00:37:13,396 Speaker 3: I'd bring like everything that we've talked about for the 726 00:37:13,436 --> 00:37:17,276 Speaker 3: past hour, like to the table sonically in terms of 727 00:37:17,316 --> 00:37:20,356 Speaker 3: what would fit. And you know, through effects, you know, 728 00:37:20,436 --> 00:37:23,516 Speaker 3: you learn how to like take up textual space and 729 00:37:23,836 --> 00:37:26,356 Speaker 3: create things that are ethereal and then you know, sample 730 00:37:26,356 --> 00:37:28,636 Speaker 3: yourself and then come in with something that's just more 731 00:37:28,716 --> 00:37:32,316 Speaker 3: riff oriented or something that's you know, just more supportive 732 00:37:33,116 --> 00:37:34,876 Speaker 3: to what are the keyboards are doing and just and 733 00:37:34,916 --> 00:37:38,636 Speaker 3: it was all like see your pants and then occasionally 734 00:37:38,636 --> 00:37:41,196 Speaker 3: get to like rip asolo too, like all that stuff was. 735 00:37:41,836 --> 00:37:44,636 Speaker 2: It is like no holds barred type of creation. It was. 736 00:37:44,676 --> 00:37:45,316 Speaker 2: It was such a. 737 00:37:46,116 --> 00:37:49,316 Speaker 3: Freeing playground and that I think was a big part 738 00:37:49,396 --> 00:37:52,876 Speaker 3: of my transition to getting to play with the roots 739 00:37:52,956 --> 00:37:56,076 Speaker 3: because around that time, from playing with one of these 740 00:37:56,076 --> 00:37:59,236 Speaker 3: poets amani User, I think Rich Nichols, who I had 741 00:37:59,236 --> 00:38:01,636 Speaker 3: spoke about spoken about before, came to one of those 742 00:38:01,636 --> 00:38:05,556 Speaker 3: gigs and gave me his card. Within I think the 743 00:38:05,596 --> 00:38:09,396 Speaker 3: next year, I got a call because the guitar player 744 00:38:09,396 --> 00:38:12,036 Speaker 3: for The Roots at the time, Ben Kenny, left the 745 00:38:12,116 --> 00:38:15,076 Speaker 3: Roots to join Incubus. They had just put out Phrenology 746 00:38:15,916 --> 00:38:19,796 Speaker 3: and they were about to go embark on a tour 747 00:38:19,876 --> 00:38:22,516 Speaker 3: of Japan, and Vernon was playing with them while they 748 00:38:22,516 --> 00:38:26,116 Speaker 3: were doing a brief European tour. But Vernon couldn't stay 749 00:38:26,156 --> 00:38:28,596 Speaker 3: because he had to go and continue with Living Color. 750 00:38:29,596 --> 00:38:31,756 Speaker 3: But they needed somebody more permanent and. 751 00:38:32,676 --> 00:38:36,076 Speaker 1: That's a very guitar driven record for Phrenology. 752 00:38:36,316 --> 00:38:39,716 Speaker 2: Yeah, yeah, yeah, absolutely, And. 753 00:38:41,356 --> 00:38:44,196 Speaker 3: I auditioned with some other people and I got the 754 00:38:44,236 --> 00:38:46,596 Speaker 3: gig and I had to give my two weeks notice 755 00:38:46,636 --> 00:38:47,316 Speaker 3: to the preschool. 756 00:38:47,756 --> 00:38:51,676 Speaker 2: Wow, you're still with the joined the Roots? 757 00:38:51,716 --> 00:38:54,436 Speaker 1: Yeah, after this last break, we were back with the 758 00:38:54,436 --> 00:39:02,676 Speaker 1: rest of my conversation with Captain Kirk Douglas, we're back 759 00:39:02,796 --> 00:39:06,076 Speaker 1: with Captain Kirk. So when you joined for that is 760 00:39:06,156 --> 00:39:08,876 Speaker 1: are you joining under the guise of just for that tour? 761 00:39:09,236 --> 00:39:10,116 Speaker 1: Is that the understanding? 762 00:39:10,556 --> 00:39:11,876 Speaker 2: Kind of put this way. 763 00:39:11,956 --> 00:39:14,836 Speaker 3: I did the first show with The Roots and I 764 00:39:14,916 --> 00:39:17,476 Speaker 3: had my ticket stubs from the Nitty Factory. I had 765 00:39:17,516 --> 00:39:19,236 Speaker 3: them to sign it because I didn't know if it 766 00:39:19,276 --> 00:39:21,716 Speaker 3: was just going to be on that tour or what. 767 00:39:22,556 --> 00:39:26,796 Speaker 3: And then after the Japanese tour, then I got itinery 768 00:39:26,836 --> 00:39:29,476 Speaker 3: with more dates on it, and I was like, oh, okay, 769 00:39:29,516 --> 00:39:33,676 Speaker 3: I guess I might be sticking around, but I as. 770 00:39:33,596 --> 00:39:35,676 Speaker 1: You toured by that point, like internationally. 771 00:39:36,356 --> 00:39:40,196 Speaker 3: One of the many gigs that I played before playing 772 00:39:40,196 --> 00:39:43,076 Speaker 3: with the Roots was with a guy named TM Stevens, 773 00:39:43,116 --> 00:39:47,036 Speaker 3: who is a bass player who played with John McLaughlin. 774 00:39:47,116 --> 00:39:49,476 Speaker 3: He was a bass player that played with Steve Vai 775 00:39:49,956 --> 00:39:53,156 Speaker 3: during some time. He played with Miles. For a brief period, 776 00:39:53,916 --> 00:39:59,156 Speaker 3: he played with the Pretenders. Remember like, there's that Pretender's 777 00:39:59,196 --> 00:40:01,676 Speaker 3: album Get Close. There's a black dude that's playing on 778 00:40:01,756 --> 00:40:04,676 Speaker 3: bass for that. I didn't TM Stevens. He was in 779 00:40:04,716 --> 00:40:08,916 Speaker 3: that band with Bernie Warrel. Interestingly enough, the Pretenders. 780 00:40:09,116 --> 00:40:10,636 Speaker 2: I don't know, the Pretenders had a record. 781 00:40:11,196 --> 00:40:17,076 Speaker 4: Yeah, Yeah, So I played with him and that with 782 00:40:17,196 --> 00:40:19,436 Speaker 4: TM Stevens, that was sort of like a black rock, 783 00:40:19,956 --> 00:40:24,276 Speaker 4: living color type of situation, very funk influence but also 784 00:40:24,516 --> 00:40:25,356 Speaker 4: pretty metallic. 785 00:40:25,996 --> 00:40:28,916 Speaker 3: I played internationally with Team. We went to Germany once 786 00:40:28,956 --> 00:40:32,036 Speaker 3: and we went to Japan once. Yeah, but going to 787 00:40:32,116 --> 00:40:34,436 Speaker 3: Japan with the Roots was definitely different. It was definitely 788 00:40:34,716 --> 00:40:36,236 Speaker 3: on a grander scale. 789 00:40:36,396 --> 00:40:37,596 Speaker 1: The Roots must have been I mean they must have 790 00:40:37,636 --> 00:40:39,516 Speaker 1: been pretty big in Japan at that time, right, yeah. 791 00:40:39,596 --> 00:40:42,236 Speaker 3: I mean, well this is just when the seed came 792 00:40:42,276 --> 00:40:44,756 Speaker 3: out and they had on their hands, like, you know, 793 00:40:44,916 --> 00:40:49,156 Speaker 3: a hit. So I got to see them, witness that 794 00:40:49,636 --> 00:40:52,316 Speaker 3: alongside with them, on stage with them, you know, it's like, well, 795 00:40:52,516 --> 00:40:54,676 Speaker 3: we have a hit now, you know. It's like before 796 00:40:54,676 --> 00:40:56,516 Speaker 3: I joined the band, they open for the Beastie Boys. 797 00:40:56,516 --> 00:40:58,756 Speaker 3: That was like a big tour that they had done. 798 00:40:58,996 --> 00:41:01,676 Speaker 3: I shortly after I joined, they did some opening dates 799 00:41:01,716 --> 00:41:04,676 Speaker 3: with Dave Matthews band, Got It, And that was like 800 00:41:04,796 --> 00:41:06,836 Speaker 3: when I saw like a really big audience for the 801 00:41:06,836 --> 00:41:08,676 Speaker 3: first time, I remember, And it was the first time 802 00:41:08,716 --> 00:41:12,996 Speaker 3: I ever saw top shelf catering. Like any opportunity to 803 00:41:12,996 --> 00:41:14,916 Speaker 3: do anything with the Dave Matthews Band, I mean, even 804 00:41:15,076 --> 00:41:16,996 Speaker 3: I'll rody it, you know, just if I have access 805 00:41:17,036 --> 00:41:19,956 Speaker 3: to that catering. And then I remember seeing Dave Matthews 806 00:41:19,996 --> 00:41:21,356 Speaker 3: in the parking lot. It was like, Hey, would you 807 00:41:21,396 --> 00:41:22,996 Speaker 3: want to come up and play all on the watch 808 00:41:23,036 --> 00:41:26,276 Speaker 3: Tower with us tonight? And I'm like with you, you know, 809 00:41:26,356 --> 00:41:27,996 Speaker 3: and He's like, yeah, just come up. At the end, 810 00:41:28,156 --> 00:41:30,636 Speaker 3: he invited me to do that, and it was insane. 811 00:41:30,636 --> 00:41:32,876 Speaker 3: It was just like playing with them was just like 812 00:41:32,956 --> 00:41:34,556 Speaker 3: being in the eye of the storm and just like 813 00:41:34,756 --> 00:41:37,196 Speaker 3: you're looking at the crowd and just like it was 814 00:41:37,236 --> 00:41:39,276 Speaker 3: a great crowd, you know that was there for us 815 00:41:39,276 --> 00:41:41,516 Speaker 3: when we were opening. Yeah, but it definitely looked different 816 00:41:41,596 --> 00:41:45,556 Speaker 3: like when you're on stage with the Dave Matthews band. 817 00:41:45,316 --> 00:41:46,916 Speaker 2: And looking at his fans crowd. 818 00:41:47,036 --> 00:41:50,596 Speaker 3: Yeah, like like completely on whatever you're doing, and it 819 00:41:50,636 --> 00:41:53,796 Speaker 3: was it was such an experience, man, at that point. 820 00:41:53,836 --> 00:41:55,596 Speaker 3: Then it started to feel like, Wow, I think I'm 821 00:41:55,636 --> 00:41:58,196 Speaker 3: part of the Roots now. You know. It's weird when 822 00:41:58,196 --> 00:41:59,916 Speaker 3: I think about it, because it's kind of like in 823 00:41:59,956 --> 00:42:03,956 Speaker 3: the grand scheme of things, like it's like this short 824 00:42:03,996 --> 00:42:04,476 Speaker 3: period of. 825 00:42:04,396 --> 00:42:05,516 Speaker 2: Time that felt kind of long. 826 00:42:05,676 --> 00:42:08,996 Speaker 3: I joined the band in three and then we started 827 00:42:09,196 --> 00:42:12,476 Speaker 3: you doing work with Jimmy Fallon for Late Night with 828 00:42:12,516 --> 00:42:14,596 Speaker 3: Jimmy Fallon that started in nine, I know. 829 00:42:15,036 --> 00:42:18,516 Speaker 1: I mean the Roots pre Fallin were like on the 830 00:42:18,556 --> 00:42:20,236 Speaker 1: road all the time a lot. 831 00:42:21,036 --> 00:42:22,596 Speaker 2: It's like two hundred and fifty days a year. 832 00:42:22,796 --> 00:42:25,236 Speaker 1: How was it transitioning from you gigging here at night, 833 00:42:25,316 --> 00:42:27,236 Speaker 1: you're doing preschool during the day, to you're on the 834 00:42:27,316 --> 00:42:28,636 Speaker 1: road two hundred fifty days a year. 835 00:42:29,276 --> 00:42:31,596 Speaker 3: That was a big adjustment because I joined the band 836 00:42:31,676 --> 00:42:35,036 Speaker 3: just after I got married. Wow, you know, I got 837 00:42:35,076 --> 00:42:38,356 Speaker 3: married with the thought that, well, you know what, I've 838 00:42:38,396 --> 00:42:39,756 Speaker 3: been playing music a while now. 839 00:42:39,956 --> 00:42:41,396 Speaker 2: Of course, I just turned thirty. 840 00:42:41,436 --> 00:42:43,116 Speaker 3: I feel like it's safe to say that I'm not 841 00:42:43,156 --> 00:42:46,236 Speaker 3: going to start traveling the world or anything. And I 842 00:42:46,236 --> 00:42:49,756 Speaker 3: feel like I've had just, you know, all the experiences 843 00:42:49,796 --> 00:42:52,796 Speaker 3: I've need to have in my life, and I feel 844 00:42:52,796 --> 00:42:55,356 Speaker 3: like now's a good time to like, you know, settle 845 00:42:55,396 --> 00:42:56,236 Speaker 3: down and get married. 846 00:42:56,636 --> 00:42:57,356 Speaker 2: This is perfect. 847 00:42:57,796 --> 00:43:00,116 Speaker 3: And then I joined the Roots, and now now you're 848 00:43:00,156 --> 00:43:03,756 Speaker 3: about to start touring the world, you know. So I'm 849 00:43:04,116 --> 00:43:07,796 Speaker 3: looking back, I'm so happy that it played out that 850 00:43:07,836 --> 00:43:10,516 Speaker 3: way because I feel like, you know, I had a 851 00:43:10,556 --> 00:43:15,676 Speaker 3: sort of a grounding that would make me being out 852 00:43:15,716 --> 00:43:18,556 Speaker 3: on the road like that at that age just kind 853 00:43:18,596 --> 00:43:21,796 Speaker 3: of messy, you know. And I feel like just the 854 00:43:21,796 --> 00:43:28,236 Speaker 3: groundedness from being together with someone and it just allowed 855 00:43:28,236 --> 00:43:31,356 Speaker 3: me to just focus more on the situation in hand, 856 00:43:31,476 --> 00:43:33,716 Speaker 3: you know, playing the music and doing the work, and 857 00:43:34,316 --> 00:43:36,876 Speaker 3: you know, it was fun, it was exciting, and but 858 00:43:36,916 --> 00:43:39,356 Speaker 3: it was like a lot of time away. But it 859 00:43:39,436 --> 00:43:43,236 Speaker 3: also was a situation where I felt like every time 860 00:43:43,316 --> 00:43:46,996 Speaker 3: we'd get back together, there'd be like a rejuvenation. 861 00:43:47,076 --> 00:43:49,196 Speaker 2: Of our romance, you know. 862 00:43:50,076 --> 00:43:52,556 Speaker 3: And then once we started having when we started having children, 863 00:43:52,716 --> 00:43:56,316 Speaker 3: that was definitely challenging. You know, our son was born 864 00:43:56,636 --> 00:44:00,756 Speaker 3: in five and so like for the first four years 865 00:44:00,756 --> 00:44:03,116 Speaker 3: of his life, you know, I was on the road heavy, 866 00:44:03,876 --> 00:44:07,036 Speaker 3: and that was definitely challenging, definitely challenging for my wife, 867 00:44:07,116 --> 00:44:09,596 Speaker 3: and definitely challenging for me to be away while that 868 00:44:09,716 --> 00:44:13,236 Speaker 3: was happening. But when it came into play that we 869 00:44:13,236 --> 00:44:16,196 Speaker 3: were going to start working with Jimmy for Late Night, 870 00:44:17,196 --> 00:44:20,436 Speaker 3: that was such a game changer in terms of just 871 00:44:21,076 --> 00:44:24,076 Speaker 3: coming home every night for dinner, sleeping in the same 872 00:44:24,116 --> 00:44:26,316 Speaker 3: bed every night, and like, you know, you really notice 873 00:44:26,356 --> 00:44:28,556 Speaker 3: it when you know, you got this gig and different 874 00:44:28,596 --> 00:44:31,636 Speaker 3: bands come through all the time to play on the 875 00:44:31,676 --> 00:44:35,396 Speaker 3: Tonight Show, and the first questions that they would ask 876 00:44:35,436 --> 00:44:38,436 Speaker 3: us was questions about what's it like to just be 877 00:44:38,556 --> 00:44:40,796 Speaker 3: in one place and not have to travel so much. 878 00:44:41,036 --> 00:44:45,716 Speaker 3: And then we really got the sense of, oh, wow, 879 00:44:45,796 --> 00:44:48,276 Speaker 3: we're really lucky to be in this situation right now. 880 00:44:48,916 --> 00:44:51,996 Speaker 3: But then shortly, you know, within a couple of years 881 00:44:52,076 --> 00:44:54,796 Speaker 3: what wound up happening is any moment that we weren't 882 00:44:54,796 --> 00:44:57,876 Speaker 3: doing the show we'd be out on the road, so 883 00:44:57,956 --> 00:45:01,796 Speaker 3: then you'd find yourself with like kind of two jobs. 884 00:45:01,596 --> 00:45:03,796 Speaker 3: It's really been a blessing and just and you know, 885 00:45:03,836 --> 00:45:07,156 Speaker 3: so many bands also that I've discovered from this job. 886 00:45:07,236 --> 00:45:09,036 Speaker 3: You know, bands I've never heard of that, you know, 887 00:45:09,556 --> 00:45:12,196 Speaker 3: because you know, as you get older and as you 888 00:45:12,396 --> 00:45:15,556 Speaker 3: are a parent, you if you're not actively trying to 889 00:45:15,596 --> 00:45:20,516 Speaker 3: stay in the loop, you slowly life slowly ushes you 890 00:45:20,556 --> 00:45:21,116 Speaker 3: out of the loop. 891 00:45:22,036 --> 00:45:24,356 Speaker 1: And who was of the bands you've discovered, dude? 892 00:45:24,636 --> 00:45:27,156 Speaker 3: Oh, I mean bands like Tame and Pala, you know. 893 00:45:27,396 --> 00:45:30,076 Speaker 3: I mean, it's like doing this show. It's like the 894 00:45:30,076 --> 00:45:32,196 Speaker 3: first time you know there's gonna be somebody on the 895 00:45:32,196 --> 00:45:37,276 Speaker 3: shows names edg Ed Sheeran. Okay, you don't don't know 896 00:45:37,316 --> 00:45:40,396 Speaker 3: who this is, and you're seeing them on stage for 897 00:45:40,436 --> 00:45:42,516 Speaker 3: the first time, and it's in this room, but it's 898 00:45:42,556 --> 00:45:44,476 Speaker 3: also like happening on the world stage. 899 00:45:44,516 --> 00:45:44,716 Speaker 4: You know. 900 00:45:45,556 --> 00:45:47,116 Speaker 2: Also Unknown Mortal Orchestra. 901 00:45:47,276 --> 00:45:49,956 Speaker 3: I love that man, And that's the first time I 902 00:45:49,996 --> 00:45:53,836 Speaker 3: ever saw them first time, you know, Gary Clark Jr. 903 00:45:53,916 --> 00:45:55,316 Speaker 2: Sat in with us, you know what I mean, Like 904 00:45:55,996 --> 00:45:56,636 Speaker 2: I never heard of it. 905 00:45:56,756 --> 00:45:57,636 Speaker 1: I wasn't playing with them. 906 00:45:57,996 --> 00:45:58,836 Speaker 2: It was insane. 907 00:45:59,156 --> 00:46:01,636 Speaker 3: It was insane, just like watching it like close up 908 00:46:01,636 --> 00:46:05,556 Speaker 3: and just and again like seeing you know people that 909 00:46:05,596 --> 00:46:09,356 Speaker 3: are like legends in their first TV involvement, you know, 910 00:46:09,436 --> 00:46:11,356 Speaker 3: so seeing him, you know, he was like kind of 911 00:46:11,396 --> 00:46:16,116 Speaker 3: nervous but ripping, you know. And the fun part is 912 00:46:16,156 --> 00:46:19,396 Speaker 3: just seeing it all up close, you know, seeing it 913 00:46:19,476 --> 00:46:22,276 Speaker 3: like not on YouTube, not on your phone, but right 914 00:46:22,316 --> 00:46:25,276 Speaker 3: in front of you, Like is It's been amazing? 915 00:46:25,476 --> 00:46:27,916 Speaker 1: How was the Prince stuff? Make Prince? That was a 916 00:46:27,956 --> 00:46:30,196 Speaker 1: funny story about Prince your guitar. 917 00:46:30,436 --> 00:46:31,636 Speaker 2: Yeah, what a day that was. 918 00:46:32,436 --> 00:46:35,356 Speaker 3: I remember I saw I think I saw a known 919 00:46:35,356 --> 00:46:38,716 Speaker 3: Moratal orchestra the night before he came, because I remember 920 00:46:38,756 --> 00:46:41,916 Speaker 3: like being backstage meeting Reuben Wilson and saying I wouldn't 921 00:46:41,916 --> 00:46:44,556 Speaker 3: mind hearing Prince do a cover of So Good at 922 00:46:44,596 --> 00:46:47,036 Speaker 3: Being in Trouble. I remember saying that because I actually 923 00:46:47,076 --> 00:46:48,516 Speaker 3: Prince is going to come to the Joe tomorrow. 924 00:46:48,636 --> 00:46:49,316 Speaker 2: Little did I know. 925 00:46:49,876 --> 00:46:54,156 Speaker 3: So I'm home, I get a call that says Prince 926 00:46:54,556 --> 00:46:58,836 Speaker 3: came to play it at fallon. He's playing with his 927 00:46:58,876 --> 00:47:01,236 Speaker 3: group a Third Eye Girl. I think that's what they're called. 928 00:47:01,316 --> 00:47:05,076 Speaker 3: Yeh all go man. Prince made it to the rehearsal, 929 00:47:05,156 --> 00:47:07,596 Speaker 3: but his guitar did not, and he needed a guitar 930 00:47:07,636 --> 00:47:11,316 Speaker 3: to borrow, and so you know, they asked if it 931 00:47:11,356 --> 00:47:13,076 Speaker 3: was cool if he borrowed one of mine. So I 932 00:47:13,116 --> 00:47:15,796 Speaker 3: have my guitars here and probably in this very spot 933 00:47:16,036 --> 00:47:19,836 Speaker 3: is this is a kind of a near replica of 934 00:47:19,876 --> 00:47:22,396 Speaker 3: the guitar, but it had a purple strap on it 935 00:47:22,516 --> 00:47:24,476 Speaker 3: when he came in, and I guess he came in, 936 00:47:24,556 --> 00:47:26,196 Speaker 3: saw that guitar, saw the purple strap and be like, 937 00:47:26,236 --> 00:47:28,116 Speaker 3: I want to play that one. He played it for 938 00:47:28,156 --> 00:47:31,716 Speaker 3: rehearsal and I got pictures sent to my phone of 939 00:47:31,756 --> 00:47:35,076 Speaker 3: Prince playing my guitar, which I was over. 940 00:47:34,956 --> 00:47:35,476 Speaker 2: The moon about. 941 00:47:35,556 --> 00:47:36,316 Speaker 1: Ridiculous. 942 00:47:36,716 --> 00:47:41,276 Speaker 3: So he does rehearsal, his guitar shows up, It does 943 00:47:41,356 --> 00:47:44,316 Speaker 3: the rehearsal, rest of rehearsal with his guitar. It comes 944 00:47:44,476 --> 00:47:46,956 Speaker 3: to show time, and right before we start the whole show, 945 00:47:47,756 --> 00:47:52,276 Speaker 3: the music booker at the time comes to me and says, 946 00:47:52,396 --> 00:47:55,156 Speaker 3: Prince wants to buy your guitar and use it for 947 00:47:55,196 --> 00:47:58,876 Speaker 3: the show. And I'm like, oh wow, Prince can use 948 00:47:58,956 --> 00:48:00,716 Speaker 3: my guitar for the show, but he can't buy it. 949 00:48:00,916 --> 00:48:03,876 Speaker 1: Did you feel weird? Saying no, a little bit? 950 00:48:04,036 --> 00:48:06,436 Speaker 3: I mean, well, I mean I said he could play 951 00:48:06,476 --> 00:48:09,636 Speaker 3: the guitar, but feel weird saying no, no, because it's 952 00:48:09,676 --> 00:48:12,316 Speaker 3: my guitar. I want that guitar. It's not for sale, 953 00:48:12,796 --> 00:48:14,316 Speaker 3: so it would be weird, you know. No, I didn't 954 00:48:14,316 --> 00:48:15,036 Speaker 3: feel weird about it. 955 00:48:15,116 --> 00:48:15,796 Speaker 1: No, no, not. 956 00:48:16,916 --> 00:48:21,436 Speaker 3: So anyhow, so he so my guitar leaves my post 957 00:48:21,476 --> 00:48:23,756 Speaker 3: where I'm standing on stage, and then it comes back 958 00:48:23,796 --> 00:48:26,276 Speaker 3: to me and so I'm I guess he didn't want 959 00:48:26,276 --> 00:48:29,036 Speaker 3: to use it. No harm, no foul. He does two songs. 960 00:48:29,076 --> 00:48:31,876 Speaker 3: He does the first song with his guitar. He had 961 00:48:31,876 --> 00:48:34,076 Speaker 3: this vox electric guitar. He does the first song, and 962 00:48:34,116 --> 00:48:36,316 Speaker 3: then right after this song, he comes up to me. 963 00:48:36,356 --> 00:48:38,596 Speaker 3: He's like, yo, let me see that of the guitar. 964 00:48:38,916 --> 00:48:42,116 Speaker 3: And I'm like sure, so I give him the guitar. 965 00:48:42,796 --> 00:48:47,876 Speaker 3: He does Bambi Prints song, Bambie shreds, yeah, yeah, And 966 00:48:48,196 --> 00:48:51,356 Speaker 3: at the end, I'm thinking he's about to play behind 967 00:48:51,476 --> 00:48:54,076 Speaker 3: his head, but he lifts it up, but he doesn't 968 00:48:54,436 --> 00:48:55,356 Speaker 3: put it behind his head. 969 00:48:55,356 --> 00:48:57,556 Speaker 2: He lifts it up and he tosses it. 970 00:48:58,196 --> 00:49:02,436 Speaker 3: And came crashing into the ground and it was like 971 00:49:02,516 --> 00:49:05,356 Speaker 3: feedbacking and he just like does his strut off stage, 972 00:49:05,396 --> 00:49:09,956 Speaker 3: you know, and Jimmy's like, you know, reducing him off. 973 00:49:09,996 --> 00:49:11,116 Speaker 2: You know. That was Prince. 974 00:49:11,156 --> 00:49:14,076 Speaker 3: And then we played the outro to the show and 975 00:49:14,436 --> 00:49:16,756 Speaker 3: there's footage of our bass player Mark Kelly. 976 00:49:16,956 --> 00:49:21,116 Speaker 2: He's just laughing hysterically and you see I'm laughing too, 977 00:49:21,436 --> 00:49:22,796 Speaker 2: but it's not a normal laugh. 978 00:49:22,956 --> 00:49:25,356 Speaker 3: It's just like it's a laugh that like I know 979 00:49:25,516 --> 00:49:29,436 Speaker 3: I'm on camera like this sort of like maniacal look 980 00:49:29,476 --> 00:49:33,036 Speaker 3: on my face, like what the fuck just happened. So 981 00:49:33,076 --> 00:49:36,316 Speaker 3: then after the show, Keith comes up to us and 982 00:49:36,796 --> 00:49:38,636 Speaker 3: he comes up to me. It's like Prince wants to 983 00:49:38,676 --> 00:49:41,636 Speaker 3: talk to you. And I'm like, really okay, like I 984 00:49:41,636 --> 00:49:43,756 Speaker 3: want to talk to Prince, you know. And then I 985 00:49:43,876 --> 00:49:47,116 Speaker 3: go and he's back listening to the mix of the 986 00:49:47,196 --> 00:49:49,156 Speaker 3: music and I can't hear what he's saying because the 987 00:49:49,196 --> 00:49:51,196 Speaker 3: music's so loud, but I could make out the words 988 00:49:51,236 --> 00:49:53,156 Speaker 3: like I'm sorry, I'll take care of it. 989 00:49:53,476 --> 00:49:54,796 Speaker 2: Definitely said I'll take care of it. 990 00:49:55,356 --> 00:49:57,956 Speaker 3: But he was talking about what happened with his other guitars, 991 00:49:57,996 --> 00:49:59,196 Speaker 3: like it was going out of tune. 992 00:49:59,116 --> 00:50:02,476 Speaker 2: Or just some excuse. And then the mixing is over. 993 00:50:02,516 --> 00:50:05,116 Speaker 3: Walking out of the room, I'm holding the guitar and 994 00:50:05,596 --> 00:50:08,116 Speaker 3: the two pieces is and it broke on the on 995 00:50:08,196 --> 00:50:11,236 Speaker 3: the headstock is where really broke And I'm like, all right, 996 00:50:11,276 --> 00:50:11,876 Speaker 3: well you broke it. 997 00:50:11,956 --> 00:50:13,636 Speaker 2: You think you can at least sign it, you know, 998 00:50:14,276 --> 00:50:16,996 Speaker 2: And he's like, oh, I haven't signed anything since the seventies. 999 00:50:18,676 --> 00:50:19,636 Speaker 1: He wouldn't sign it. 1000 00:50:19,636 --> 00:50:23,716 Speaker 2: He wouldn't sign it. Yeah, And I was just in shock. 1001 00:50:23,956 --> 00:50:27,876 Speaker 2: I was like, damn, that's cold. 1002 00:50:27,676 --> 00:50:30,996 Speaker 3: But to his credit, his people called me and they 1003 00:50:31,036 --> 00:50:34,436 Speaker 3: wired a great sum of money to my account. If 1004 00:50:34,476 --> 00:50:37,036 Speaker 3: I had a choice between the signature and the money 1005 00:50:37,116 --> 00:50:39,476 Speaker 3: they wired into my account, I would definitely taken the money. 1006 00:50:39,596 --> 00:50:41,636 Speaker 2: For sure. My car didn't need servicing. 1007 00:50:42,516 --> 00:50:45,756 Speaker 3: But what's ironic with the whole thing is that guitar 1008 00:50:45,916 --> 00:50:50,356 Speaker 3: that he chose to play is normally not in the building. 1009 00:50:51,036 --> 00:50:53,516 Speaker 3: It's normally like at home. I always keep that at home. 1010 00:50:53,876 --> 00:50:56,996 Speaker 3: It was only in the building because we had rehearsal 1011 00:50:57,116 --> 00:51:01,676 Speaker 3: that night and I wanted to use the guitar for 1012 00:51:01,756 --> 00:51:05,876 Speaker 3: the show that the rehearsal was for. And the show 1013 00:51:05,996 --> 00:51:09,436 Speaker 3: that the rehearsal was for was at Carnegie Hall and 1014 00:51:09,476 --> 00:51:13,796 Speaker 3: it was a Prince tribute. 1015 00:51:14,076 --> 00:51:17,716 Speaker 1: Yes, well you knew how to pick the guitar for 1016 00:51:17,756 --> 00:51:19,116 Speaker 1: thee Yeah. 1017 00:51:19,236 --> 00:51:19,676 Speaker 2: Yeah. 1018 00:51:19,836 --> 00:51:21,716 Speaker 3: What was cool about it is the guy that sold 1019 00:51:21,756 --> 00:51:25,476 Speaker 3: me the guitar, great luthier that builds his own guitars, 1020 00:51:26,236 --> 00:51:29,516 Speaker 3: Matt from Thirtieth Street Guitars, Matt Brewster, and he fixed 1021 00:51:29,556 --> 00:51:33,036 Speaker 3: the guitar in time for me to use it that night. 1022 00:51:33,356 --> 00:51:34,036 Speaker 2: Wow, you know. 1023 00:51:34,156 --> 00:51:37,716 Speaker 3: And Chris Rock was also there and he did like 1024 00:51:37,756 --> 00:51:41,796 Speaker 3: a Prince spoken words song. I forgot which one he did, 1025 00:51:42,436 --> 00:51:45,356 Speaker 3: but I told Chris Rock the story. He was like, well, 1026 00:51:45,396 --> 00:51:47,716 Speaker 3: now you have your own Prince asshole story, you know. 1027 00:51:48,476 --> 00:51:50,116 Speaker 3: And now it's at the Cleveland Rock and Roll Hall 1028 00:51:50,156 --> 00:51:52,716 Speaker 3: of Fame and I'm trying to get that guitar back 1029 00:51:52,756 --> 00:51:55,636 Speaker 3: now because I think it's been there long enough. It's 1030 00:51:55,636 --> 00:51:58,556 Speaker 3: gathered enough mojo, I think, and I'm ready. 1031 00:51:58,396 --> 00:51:58,836 Speaker 2: To have it back. 1032 00:51:58,836 --> 00:51:58,996 Speaker 1: Now. 1033 00:51:59,116 --> 00:52:00,236 Speaker 2: You want to play it again? I want to play 1034 00:52:00,236 --> 00:52:02,836 Speaker 2: it again. It's instruments are made to be played. 1035 00:52:02,876 --> 00:52:04,716 Speaker 1: Oh my gosh. Yeah, was that the only time you 1036 00:52:04,756 --> 00:52:05,596 Speaker 1: met Prince was the. 1037 00:52:05,836 --> 00:52:07,756 Speaker 2: I met him once at a Grammy. 1038 00:52:07,956 --> 00:52:10,076 Speaker 3: He had a Grammy party and that was right after 1039 00:52:10,156 --> 00:52:12,636 Speaker 3: he did his famous Super Bowl performance. 1040 00:52:12,996 --> 00:52:15,196 Speaker 2: Wow. So I met him shortly after that, a few 1041 00:52:15,236 --> 00:52:16,396 Speaker 2: days after that. I think it was. 1042 00:52:16,356 --> 00:52:18,276 Speaker 1: Talk about mojo, yeah, right. 1043 00:52:18,796 --> 00:52:21,276 Speaker 3: And I met him right before one of his shows 1044 00:52:21,956 --> 00:52:25,276 Speaker 3: at the Garden along with Questlove. He like reintroduced me 1045 00:52:25,436 --> 00:52:28,836 Speaker 3: both times Questlove introduced me. You know, I was like 1046 00:52:29,396 --> 00:52:32,116 Speaker 3: right there when he was hanging with him. So yeah, 1047 00:52:32,676 --> 00:52:34,916 Speaker 3: I had three and I was really looking forward to 1048 00:52:35,116 --> 00:52:36,196 Speaker 3: like seeing him again. 1049 00:52:36,956 --> 00:52:41,036 Speaker 2: After that happened, you know, never got to. 1050 00:52:40,996 --> 00:52:41,956 Speaker 1: Have That's so sad. 1051 00:52:42,276 --> 00:52:44,436 Speaker 2: Yeah, man, yeah, strategy man. 1052 00:52:44,756 --> 00:52:47,596 Speaker 1: There's a song on the New Unknown which is the 1053 00:52:47,716 --> 00:52:51,276 Speaker 1: hundred Heart under What Heart record Breadth of Fire, I 1054 00:52:51,316 --> 00:52:54,596 Speaker 1: mean Breath the Fire Jesus christ Man. 1055 00:52:54,436 --> 00:52:54,956 Speaker 2: Thank you man. 1056 00:52:54,956 --> 00:52:57,756 Speaker 1: That's another moment where I'm like, how did you I mean, 1057 00:52:57,756 --> 00:52:58,996 Speaker 1: he's just that good again, I mean, how do you 1058 00:52:59,076 --> 00:53:03,116 Speaker 1: make that sound live and improvised? On the Well, It's 1059 00:53:03,196 --> 00:53:03,876 Speaker 1: like that's. 1060 00:53:03,676 --> 00:53:05,396 Speaker 3: A song that it like has like a lot of 1061 00:53:05,436 --> 00:53:08,596 Speaker 3: the melodies and themes are like kind of curated on 1062 00:53:08,636 --> 00:53:11,516 Speaker 3: that song. Like it's you know, it's a guitar solo, 1063 00:53:11,596 --> 00:53:13,556 Speaker 3: but it's like a it's a it's kind of like 1064 00:53:13,596 --> 00:53:16,876 Speaker 3: a piece, you know, and like throughout time, you know, 1065 00:53:16,996 --> 00:53:18,876 Speaker 3: like there's like the basic melody of the song, and 1066 00:53:18,876 --> 00:53:21,836 Speaker 3: then when it goes off on this tangent, like like 1067 00:53:21,956 --> 00:53:25,476 Speaker 3: many days of thinking of that rhythm and like things 1068 00:53:25,476 --> 00:53:28,156 Speaker 3: have come to me and like and like sometimes I'll 1069 00:53:28,196 --> 00:53:31,796 Speaker 3: sing some of these ideas into a recorder and like 1070 00:53:32,396 --> 00:53:34,356 Speaker 3: trying to remember to play that next time, you know, 1071 00:53:34,956 --> 00:53:36,836 Speaker 3: and then some then there's some of it that's like 1072 00:53:37,996 --> 00:53:39,236 Speaker 3: totally off the cuff, you know. 1073 00:53:39,316 --> 00:53:41,756 Speaker 1: Would you mind playing a couple of just the motifs 1074 00:53:41,796 --> 00:53:42,196 Speaker 1: from there? 1075 00:53:43,156 --> 00:53:52,476 Speaker 2: No, if you just wait a second, Okay, So yeah, 1076 00:53:52,516 --> 00:53:54,356 Speaker 2: the main groove of is like. 1077 00:54:00,956 --> 00:54:05,396 Speaker 3: It's just started out of like this basic that basic progression, 1078 00:54:05,516 --> 00:54:08,356 Speaker 3: that basic riff, and then you have like all the 1079 00:54:08,356 --> 00:54:12,916 Speaker 3: percussion that happens, and it's like a guitar solo, but 1080 00:54:12,996 --> 00:54:14,876 Speaker 3: it's like kind of like wanted something like because if 1081 00:54:14,916 --> 00:54:35,516 Speaker 3: the guitar is like singing, yeah, so it's just like 1082 00:54:35,596 --> 00:54:38,156 Speaker 3: it's something like you can almost attach your own lyric 1083 00:54:38,196 --> 00:54:41,436 Speaker 3: to whatever the guitar is doing on that thing. And 1084 00:54:41,476 --> 00:54:45,316 Speaker 3: then as the song goes on, you start getting into 1085 00:54:45,436 --> 00:54:51,276 Speaker 3: things that you know probably can't be sung guitar wise, 1086 00:54:51,276 --> 00:54:55,316 Speaker 3: the guitars, I guess expressing like the lyrics that can 1087 00:54:55,356 --> 00:54:58,156 Speaker 3: only be like felt and not sung. Maybe every other 1088 00:54:58,196 --> 00:54:59,876 Speaker 3: song had vocals on it. I thought it'd be cool 1089 00:54:59,916 --> 00:55:03,516 Speaker 3: to like give people a break from my vocal. I 1090 00:55:03,556 --> 00:55:05,796 Speaker 3: wanted to give myself a break from my own vocal. 1091 00:55:05,876 --> 00:55:07,476 Speaker 3: Not that I don't like the sound of my own voice, 1092 00:55:07,476 --> 00:55:10,156 Speaker 3: but I thought it'd be cool to have it instrumental track, 1093 00:55:10,996 --> 00:55:14,116 Speaker 3: something that's you know, there's no words to take you 1094 00:55:14,156 --> 00:55:17,116 Speaker 3: any sort of direction, to just give you the listener 1095 00:55:17,156 --> 00:55:19,196 Speaker 3: their own interpretation of what's going down. 1096 00:55:19,876 --> 00:55:23,076 Speaker 1: There's another cool song on their land of Look Beyond You. 1097 00:55:23,076 --> 00:55:24,276 Speaker 1: Mind playing through a little of that? 1098 00:55:24,956 --> 00:55:53,196 Speaker 5: Yeah, come hits far too long since sweet fun. 1099 00:55:59,236 --> 00:56:00,956 Speaker 3: Like I was thinking kind of like some kind of 1100 00:56:00,996 --> 00:56:02,956 Speaker 3: Pink Floyd dark side of the moonish, you know. 1101 00:56:03,116 --> 00:56:08,636 Speaker 2: But that song was recorded I recorded. 1102 00:56:08,676 --> 00:56:11,636 Speaker 3: I record the whole album at my mom's house and 1103 00:56:12,316 --> 00:56:15,516 Speaker 3: it was recording the basement and uh with the drummer 1104 00:56:15,596 --> 00:56:16,036 Speaker 3: Rick Sheridan. 1105 00:56:16,116 --> 00:56:19,076 Speaker 2: A lot of it was recorded over COVID, and for 1106 00:56:19,156 --> 00:56:20,356 Speaker 2: that particular. 1107 00:56:19,916 --> 00:56:23,676 Speaker 3: Song, about a week before, I played the drummer Rick 1108 00:56:23,836 --> 00:56:27,836 Speaker 3: that song on my guitar and I don't know how 1109 00:56:27,876 --> 00:56:30,716 Speaker 3: he remembered it, but he was like, Yo, we should 1110 00:56:30,756 --> 00:56:32,476 Speaker 3: play that song again. 1111 00:56:33,036 --> 00:56:33,196 Speaker 2: You know. 1112 00:56:33,276 --> 00:56:34,876 Speaker 3: I was, as I told you, I was dabbling with 1113 00:56:34,916 --> 00:56:37,436 Speaker 3: home recording, so I just had three mics on his drums. 1114 00:56:37,436 --> 00:56:39,836 Speaker 3: I had Mike on his kick drum, Mike on his snare, 1115 00:56:40,076 --> 00:56:43,556 Speaker 3: and overhead mike. And what I did was I played 1116 00:56:43,796 --> 00:56:48,276 Speaker 3: my guitar directly into my interface, so you there's no 1117 00:56:48,396 --> 00:56:53,836 Speaker 3: bleed onto the drum tracks. And we played that song 1118 00:56:53,876 --> 00:56:55,476 Speaker 3: for the first time since he heard it, so we 1119 00:56:55,836 --> 00:56:57,036 Speaker 3: really never played. 1120 00:56:56,716 --> 00:56:57,596 Speaker 2: The song before. 1121 00:56:58,716 --> 00:57:00,876 Speaker 3: So when he sat down to play it, it felt 1122 00:57:00,916 --> 00:57:04,796 Speaker 3: so natural to him and could have been, you know, 1123 00:57:04,956 --> 00:57:08,076 Speaker 3: cannabis induced, but he was definitely in the zone. 1124 00:57:08,236 --> 00:57:10,116 Speaker 2: I was in the zone. We were both in the zone. 1125 00:57:10,436 --> 00:57:13,636 Speaker 3: And we played that whole song, that whole take down 1126 00:57:14,036 --> 00:57:16,196 Speaker 3: from top to mobom for the first time ever. So 1127 00:57:16,236 --> 00:57:18,916 Speaker 3: it's what you hear on the recording is the first 1128 00:57:18,956 --> 00:57:20,756 Speaker 3: time we ever played it. I edited it down because 1129 00:57:20,796 --> 00:57:24,196 Speaker 3: it's probably twice as long as what's on there, and 1130 00:57:24,236 --> 00:57:27,116 Speaker 3: then it was just built on top of from there. 1131 00:57:27,156 --> 00:57:29,596 Speaker 3: So that's what you're hearing on Land of Look Beyond 1132 00:57:30,356 --> 00:57:34,036 Speaker 3: beautiful song. I appreciate that you listen to it. The 1133 00:57:34,076 --> 00:57:36,516 Speaker 3: album's been out, you know, since the end of twenty 1134 00:57:36,596 --> 00:57:40,836 Speaker 3: twenty two, but I just got the vinyl done now. 1135 00:57:40,916 --> 00:57:45,716 Speaker 3: So now this is the challenge of playing with the 1136 00:57:45,796 --> 00:57:47,916 Speaker 3: roots and trying to have a side project. 1137 00:57:47,916 --> 00:57:49,316 Speaker 2: It's like, you know, you're just. 1138 00:57:49,756 --> 00:57:52,556 Speaker 3: Juggling all the blessings, you know what I mean, and 1139 00:57:53,836 --> 00:57:57,196 Speaker 3: you know, some things take time. And you know what's 1140 00:57:57,236 --> 00:58:00,396 Speaker 3: great about music and what's great about recording is it's 1141 00:58:00,956 --> 00:58:05,236 Speaker 3: manifestation in actions. Like you imagine something, there's a seed 1142 00:58:05,276 --> 00:58:07,996 Speaker 3: of an idea that comes into your mind and you 1143 00:58:08,036 --> 00:58:10,596 Speaker 3: record it and you throw it and you know, there's 1144 00:58:10,636 --> 00:58:12,556 Speaker 3: a time when Landa Looked Beyond was just like a 1145 00:58:12,556 --> 00:58:13,476 Speaker 3: little chord progression. 1146 00:58:13,476 --> 00:58:14,796 Speaker 2: I was playing for myself. 1147 00:58:14,916 --> 00:58:19,396 Speaker 3: And then it became this thing, you know, and uh, 1148 00:58:20,156 --> 00:58:22,596 Speaker 3: that's one of the most gratifying things about recording, like 1149 00:58:23,116 --> 00:58:26,756 Speaker 3: hearing an idea that started in your mind and then 1150 00:58:26,956 --> 00:58:29,996 Speaker 3: for me to get that idea out and have it 1151 00:58:30,036 --> 00:58:32,516 Speaker 3: come out of speakers, especially the speakers. 1152 00:58:32,476 --> 00:58:36,436 Speaker 2: That I grew up listening to music. That's what a 1153 00:58:36,516 --> 00:58:37,276 Speaker 2: musician does. 1154 00:58:37,316 --> 00:58:39,836 Speaker 3: That's all they want, pull you, the listener into our 1155 00:58:39,876 --> 00:58:42,596 Speaker 3: world and saying this is this what I'm about. This 1156 00:58:42,676 --> 00:58:46,716 Speaker 3: is here's a little musical museum of the things that 1157 00:58:46,756 --> 00:58:48,396 Speaker 3: I dig and maybe. 1158 00:58:48,076 --> 00:58:48,756 Speaker 2: Some of the residents. 1159 00:58:48,796 --> 00:58:51,316 Speaker 1: It's all in that record. It's the musical equivalent of 1160 00:58:51,316 --> 00:58:52,996 Speaker 1: what we just talked to me. It's like all these 1161 00:58:53,076 --> 00:58:55,596 Speaker 1: you hear, all of the the influences and more and 1162 00:58:55,636 --> 00:58:58,076 Speaker 1: just the years of work that you put into your craft. 1163 00:58:58,156 --> 00:58:59,916 Speaker 1: It's like it's it's beautiful, man. 1164 00:58:59,836 --> 00:59:00,236 Speaker 2: Thank you. 1165 00:59:00,596 --> 00:59:05,036 Speaker 3: I really appreciate you reaching out to have this conversation. 1166 00:59:05,116 --> 00:59:07,796 Speaker 1: Appreciate all the years of you juggling your blessings for 1167 00:59:07,916 --> 00:59:11,716 Speaker 1: our benefit. Man's it's yeah, yeah, You've given us more 1168 00:59:11,796 --> 00:59:14,596 Speaker 1: enjoyment than we could repay. So thank you. Well. 1169 00:59:14,596 --> 00:59:16,356 Speaker 2: I try to give out what I've been getting. 1170 00:59:19,276 --> 00:59:21,596 Speaker 1: Thanks again to Captain Kirk Douglas for talking through his 1171 00:59:21,676 --> 00:59:24,476 Speaker 1: origin story and for playing songs from his project Hunter 1172 00:59:24,596 --> 00:59:27,516 Speaker 1: Watt Heart for us. You can hear it along with 1173 00:59:27,556 --> 00:59:29,636 Speaker 1: our favorite songs from his work with the Roots, on 1174 00:59:29,676 --> 00:59:33,796 Speaker 1: a playlist at broken record podcast dot com. Subscribe to 1175 00:59:33,836 --> 00:59:37,316 Speaker 1: our YouTube channel at YouTube dot com slash broken Record Podcast, 1176 00:59:37,356 --> 00:59:40,476 Speaker 1: where you can find all of our new episodes. You 1177 00:59:40,476 --> 00:59:43,876 Speaker 1: can follow us on Twitter at broken Record. Broken Record 1178 00:59:43,916 --> 00:59:46,876 Speaker 1: is produced and edited by Leah Rose, with marketing help 1179 00:59:46,916 --> 00:59:50,756 Speaker 1: from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinday. 1180 00:59:51,396 --> 00:59:54,916 Speaker 1: Broken Record is a production of Pushkin Industries. If you 1181 00:59:54,956 --> 00:59:58,236 Speaker 1: love this show and others from Pushkin, consider subscribing to 1182 00:59:58,396 --> 01:00:02,356 Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers 1183 01:00:02,356 --> 01:00:05,476 Speaker 1: bonus content and ad free listening for four ninety nine 1184 01:00:05,516 --> 01:00:09,116 Speaker 1: a month. Look for Pushkin Plus on Apple Podcast subscription 1185 01:00:10,276 --> 01:00:12,876 Speaker 1: And if you like this show, please remember to share, rate, 1186 01:00:12,956 --> 01:00:15,756 Speaker 1: and review us on your podcast app. Are theme musics 1187 01:00:15,756 --> 01:00:17,796 Speaker 1: by Kenny Beats. I'm justin Richmond.