1 00:00:00,720 --> 00:00:02,960 Speaker 1: I am all in. 2 00:00:08,160 --> 00:00:08,680 Speaker 2: Let's you. 3 00:00:16,079 --> 00:00:19,920 Speaker 1: This isn't old man music with Scott Patterson everything You've 4 00:00:19,960 --> 00:00:23,320 Speaker 1: ever wanted to know about the music of Gilmore Girls. 5 00:00:23,440 --> 00:00:26,119 Speaker 1: Hey everybody, Scott Patterson, I am al and Podcast one 6 00:00:26,160 --> 00:00:31,000 Speaker 1: to eleven productions. Iheartradiomedia, iHeart Podcast. This is an old 7 00:00:31,040 --> 00:00:33,640 Speaker 1: man music with the one and only. You know him, 8 00:00:33,680 --> 00:00:36,640 Speaker 1: you love him. Kenny G. Let me tell you something 9 00:00:36,680 --> 00:00:40,040 Speaker 1: a little bit about Kenny G. Kenny G is a 10 00:00:40,200 --> 00:00:45,320 Speaker 1: jazz saxophonist, composer, and record producer. Nineteen eighty six album 11 00:00:45,560 --> 00:00:49,199 Speaker 1: duo Tones bottom commercial success. Kenny G is one of 12 00:00:49,240 --> 00:00:52,840 Speaker 1: the best selling artists Ready for This of all time, 13 00:00:52,960 --> 00:00:58,240 Speaker 1: with global sales totally more than seventy five million records, 14 00:00:58,640 --> 00:01:04,640 Speaker 1: making him also the best selling instrumentalist in history. So 15 00:01:06,040 --> 00:01:10,800 Speaker 1: season three, episode nineteen, Gilmore Girls teg Max Paris shows 16 00:01:10,880 --> 00:01:13,640 Speaker 1: up at the boosters club meeting, tells all the moms 17 00:01:13,680 --> 00:01:17,120 Speaker 1: how moronic it is to host grad night on a yacht. 18 00:01:17,640 --> 00:01:25,080 Speaker 1: This is when we first hear your music in the show. 19 00:01:25,319 --> 00:01:30,000 Speaker 1: Also season seven, episode five, The Great Stink We Hear Songbird, 20 00:01:30,760 --> 00:01:36,679 Speaker 1: Great Lorelized car. You began at a very young age 21 00:01:36,760 --> 00:01:41,280 Speaker 1: and you played in Barry White's Orchestra, Barry White's Orchestra. 22 00:01:41,360 --> 00:01:46,400 Speaker 1: At seventeen, you're a prodigy. Yeah, how did you first 23 00:01:46,640 --> 00:01:51,600 Speaker 1: find it in saxophone? And when did you personally decide 24 00:01:52,000 --> 00:01:53,320 Speaker 1: you sounded good? 25 00:01:53,960 --> 00:01:58,000 Speaker 2: Oh? Well, you know, I just like every you know, 26 00:01:58,080 --> 00:02:02,840 Speaker 2: other student in US the school system. At fourth grade, 27 00:02:02,880 --> 00:02:05,320 Speaker 2: it's like that's your year to get an instrument. And 28 00:02:06,040 --> 00:02:07,800 Speaker 2: at least it was in the seventies when I went 29 00:02:07,800 --> 00:02:10,600 Speaker 2: to school. I'm not sure if it's exactly that way today. 30 00:02:10,639 --> 00:02:13,960 Speaker 2: I think it is. And I was always attracted to 31 00:02:14,000 --> 00:02:17,239 Speaker 2: the sacks. I don't know why exactly. I just saw 32 00:02:17,280 --> 00:02:20,840 Speaker 2: someone on TV playing it on the Ed Sullivan Show. 33 00:02:20,960 --> 00:02:23,280 Speaker 2: You know that. I didn't even have any idea what 34 00:02:23,320 --> 00:02:25,040 Speaker 2: was going on. I just saw this guy stand up 35 00:02:25,040 --> 00:02:27,600 Speaker 2: to you a sax solo, and I thought, well, that's cool. 36 00:02:27,600 --> 00:02:30,440 Speaker 2: I'd like to I play that instrument. So after one 37 00:02:30,440 --> 00:02:33,000 Speaker 2: I picked and I started and I just loved it. 38 00:02:33,080 --> 00:02:36,080 Speaker 2: I loved it in the fourth grade. And you know 39 00:02:36,160 --> 00:02:40,000 Speaker 2: how many fifties, sixty years later or whatever how many 40 00:02:40,400 --> 00:02:44,480 Speaker 2: years that is, I still love it. I practiced this 41 00:02:44,560 --> 00:02:47,160 Speaker 2: morning like they do every morning. I put my three 42 00:02:47,160 --> 00:02:50,720 Speaker 2: hours in. I'm excited to wake up tomorrow and do 43 00:02:50,760 --> 00:02:52,959 Speaker 2: the same thing. I've been feeling the same way since 44 00:02:52,960 --> 00:02:55,640 Speaker 2: I was a kid. So when did I thought I 45 00:02:55,720 --> 00:03:00,720 Speaker 2: sounded good? God man, I'm seriously you know today, Like 46 00:03:00,800 --> 00:03:03,720 Speaker 2: I'll tell you, out of the seventy shows that I 47 00:03:03,760 --> 00:03:05,800 Speaker 2: play a year, I might say two or three I 48 00:03:05,840 --> 00:03:08,320 Speaker 2: thought I sounded really good, and the rest I'm just 49 00:03:08,360 --> 00:03:10,840 Speaker 2: struggling to try to get better. You know. 50 00:03:10,960 --> 00:03:11,760 Speaker 1: Oh my gosh. 51 00:03:11,760 --> 00:03:12,799 Speaker 2: It's the same way. 52 00:03:13,480 --> 00:03:18,600 Speaker 1: So your album Duotones marked a major breakthrough with the 53 00:03:18,680 --> 00:03:20,880 Speaker 1: track Songbird featuring Seed seven. 54 00:03:21,520 --> 00:03:22,040 Speaker 2: Yeah. 55 00:03:22,080 --> 00:03:25,520 Speaker 1: How did your music career and your personal life change 56 00:03:26,200 --> 00:03:26,680 Speaker 1: after that? 57 00:03:27,240 --> 00:03:27,480 Speaker 2: Yeah? 58 00:03:27,520 --> 00:03:30,080 Speaker 1: After the success of that big time, Yeah. 59 00:03:30,320 --> 00:03:36,280 Speaker 2: Everything changed. Everything changed. Well, the successive Songbird happened in 60 00:03:36,320 --> 00:03:40,840 Speaker 2: a great way for me personally because I went against 61 00:03:41,040 --> 00:03:43,720 Speaker 2: all of the wishes of my record company, who was 62 00:03:43,760 --> 00:03:48,360 Speaker 2: headed by Clive Davis, who was adamant that there was 63 00:03:48,400 --> 00:03:50,240 Speaker 2: going to be this other song that was going to 64 00:03:50,240 --> 00:03:53,560 Speaker 2: be the song that was going to be promoted. When 65 00:03:53,600 --> 00:03:55,440 Speaker 2: I got the chance to do the Tonight Show, which 66 00:03:55,560 --> 00:03:59,560 Speaker 2: was basically my manager at the time strong arming the 67 00:03:59,560 --> 00:04:02,560 Speaker 2: people of Tonight's Show to make them have a sax 68 00:04:02,640 --> 00:04:05,160 Speaker 2: player on the show because they had no interest in 69 00:04:05,240 --> 00:04:07,520 Speaker 2: having me on the show. But he just he leveraged 70 00:04:07,560 --> 00:04:10,560 Speaker 2: George Benson to get me to be on the on 71 00:04:10,600 --> 00:04:11,440 Speaker 2: the Tonight Show. 72 00:04:11,560 --> 00:04:13,880 Speaker 1: Is this Johnny Carson is Johnny Carson? 73 00:04:14,000 --> 00:04:16,480 Speaker 2: So hey, you want George Benson? You got to let 74 00:04:16,480 --> 00:04:20,160 Speaker 2: the sax kid have a shot. We don't. We could 75 00:04:20,240 --> 00:04:22,360 Speaker 2: care less about it, I know, but so he made 76 00:04:22,400 --> 00:04:26,440 Speaker 2: it happen. Now going on the show, Clyde Davis, everybody 77 00:04:26,440 --> 00:04:29,040 Speaker 2: at Arista Records, oh my man, hey, well you're going 78 00:04:29,080 --> 00:04:31,599 Speaker 2: to play the single. The single was a vocal song 79 00:04:31,680 --> 00:04:36,160 Speaker 2: because in nineteen whatever year it was eighty five, there 80 00:04:36,160 --> 00:04:39,239 Speaker 2: were no stations that would play the kind of music 81 00:04:39,279 --> 00:04:41,600 Speaker 2: that you know that I play. There was no stations 82 00:04:41,600 --> 00:04:44,560 Speaker 2: that would play that. So what they would play would 83 00:04:44,600 --> 00:04:46,520 Speaker 2: be a vocal which we had an R and B 84 00:04:46,680 --> 00:04:50,200 Speaker 2: sound song with the black singer and I'm playing the 85 00:04:50,240 --> 00:04:54,080 Speaker 2: sax solo. And the philosophy was that's going to be 86 00:04:54,120 --> 00:04:56,560 Speaker 2: a hit. They will find out that you're the sax 87 00:04:56,560 --> 00:04:58,920 Speaker 2: player and not the singer. And I kept trying to think, 88 00:04:59,040 --> 00:05:01,760 Speaker 2: how are they going to find that? When you say 89 00:05:01,880 --> 00:05:03,640 Speaker 2: here's a song from Kenny g and there's a singer, 90 00:05:04,040 --> 00:05:06,080 Speaker 2: think that's me. But when you go on the Tonight 91 00:05:06,120 --> 00:05:07,640 Speaker 2: Show and you got to play the single, and the 92 00:05:07,680 --> 00:05:11,640 Speaker 2: Tonight show people said, we're only booking you to play 93 00:05:11,640 --> 00:05:15,279 Speaker 2: the single. And when the curtain went up in nineteen 94 00:05:15,320 --> 00:05:19,359 Speaker 2: eighty five, it's a live show, so this is before 95 00:05:19,440 --> 00:05:23,320 Speaker 2: we tape things and edited, and I just looked at 96 00:05:23,320 --> 00:05:25,479 Speaker 2: the guys in my group. I said, hit play and 97 00:05:25,520 --> 00:05:26,400 Speaker 2: play songbird. 98 00:05:26,640 --> 00:05:30,400 Speaker 1: Wow, right that last time, that's like risking it all 99 00:05:30,480 --> 00:05:30,880 Speaker 1: right there. 100 00:05:30,920 --> 00:05:32,720 Speaker 2: It was all, yeah, oh. 101 00:05:32,560 --> 00:05:33,800 Speaker 1: Myke, you're pissing off. 102 00:05:34,400 --> 00:05:38,640 Speaker 2: Five days everybody was oh. The guys at the show, 103 00:05:38,760 --> 00:05:41,640 Speaker 2: or they screamed at me when I was done. Johnny Carson, 104 00:05:41,680 --> 00:05:43,880 Speaker 2: of course, he was over in this corner. He gave me, 105 00:05:44,040 --> 00:05:46,000 Speaker 2: you know, one of these hey, good job. He didn't 106 00:05:46,040 --> 00:05:48,080 Speaker 2: know anything that was going on. But I got back 107 00:05:48,080 --> 00:05:49,719 Speaker 2: in the dress room and the guy that booked me 108 00:05:49,839 --> 00:05:52,359 Speaker 2: just came and he yelled at me like I'm some 109 00:05:53,240 --> 00:05:57,440 Speaker 2: kid that just like broke his favorite dish or something, 110 00:05:57,480 --> 00:06:00,159 Speaker 2: and he's just yelling like I've ruined his life and 111 00:06:00,839 --> 00:06:05,320 Speaker 2: he's super mad. But the thing that everybody forgot was 112 00:06:05,760 --> 00:06:09,880 Speaker 2: that actually the whole country saw this. Forget about why 113 00:06:09,920 --> 00:06:11,440 Speaker 2: I was on the show or what you thought I 114 00:06:11,480 --> 00:06:15,400 Speaker 2: should do. The country saw it, and everybody loved it. 115 00:06:15,960 --> 00:06:18,440 Speaker 2: They loved this song, and that's why I became a hit. 116 00:06:18,560 --> 00:06:23,080 Speaker 2: So when that happened, I went from playing from for 117 00:06:23,200 --> 00:06:26,080 Speaker 2: three four or five hundred people to like five thousand 118 00:06:26,120 --> 00:06:29,480 Speaker 2: and six thousand. Well, and the success of it was 119 00:06:29,520 --> 00:06:32,000 Speaker 2: because I did what I wanted to do, which was 120 00:06:32,080 --> 00:06:34,640 Speaker 2: super great. So that really was a great moment. 121 00:06:35,640 --> 00:06:37,840 Speaker 1: There's nothing like a talk show to launch you man, 122 00:06:37,960 --> 00:06:39,720 Speaker 1: I tell you and. 123 00:06:39,720 --> 00:06:42,240 Speaker 2: Johnny Carson, and by the way, the guy that told 124 00:06:42,240 --> 00:06:45,160 Speaker 2: me I'll never work in this town again, they'll never 125 00:06:45,240 --> 00:06:48,320 Speaker 2: have me on Johnny Carson again six months later called 126 00:06:48,400 --> 00:06:54,000 Speaker 2: me requesting that I played Songbird and I got to 127 00:06:54,040 --> 00:06:55,880 Speaker 2: sit on the couch next to Johnny Carson. 128 00:07:00,160 --> 00:07:02,800 Speaker 1: Man, when you know you know right? Yeah. 129 00:07:04,120 --> 00:07:06,720 Speaker 2: But the thing is, I wasn't scared about it because 130 00:07:07,480 --> 00:07:10,080 Speaker 2: all the gigs that I was playing at that time, 131 00:07:10,280 --> 00:07:12,480 Speaker 2: I would be playing my songs at the little clubs 132 00:07:12,520 --> 00:07:14,800 Speaker 2: that I was playing. But when I played Songbird, my 133 00:07:14,840 --> 00:07:18,720 Speaker 2: little songbird that I did wrote and played all the instruments. 134 00:07:18,960 --> 00:07:21,400 Speaker 2: When I played that, everybody just seemed to really love it. 135 00:07:21,480 --> 00:07:24,680 Speaker 2: So I wasn't afraid that people wouldn't like it. But 136 00:07:24,760 --> 00:07:29,000 Speaker 2: it was risky to go against everybody's wishes. Knowing. By 137 00:07:29,000 --> 00:07:30,680 Speaker 2: the way, that was the first time I was ever 138 00:07:30,760 --> 00:07:33,679 Speaker 2: on television. I've never even been on a TV show before, 139 00:07:33,760 --> 00:07:36,800 Speaker 2: so I took I just went, you know, whatever happens happens. 140 00:07:37,200 --> 00:07:40,760 Speaker 1: Oh that's such a great story. Yeah, well you got 141 00:07:40,760 --> 00:07:42,280 Speaker 1: to have a pair if you want to make it, and. 142 00:07:42,520 --> 00:07:44,360 Speaker 2: Got to you. 143 00:07:44,440 --> 00:07:46,560 Speaker 1: I mean really, I mean it's like be bold and 144 00:07:46,640 --> 00:07:49,040 Speaker 1: mighty forces will come to your age, you know. 145 00:07:49,240 --> 00:07:51,760 Speaker 2: And the same thing happened when I put my first 146 00:07:51,840 --> 00:07:54,520 Speaker 2: Christmas record out. You know, you talked about all these 147 00:07:54,520 --> 00:07:57,040 Speaker 2: record sales that I've had. One of the big ones 148 00:07:57,120 --> 00:08:01,840 Speaker 2: was my Christmas record. That is literally the most most 149 00:08:01,920 --> 00:08:05,520 Speaker 2: successful Christmas record of any Christmas record that's been released ever, 150 00:08:06,760 --> 00:08:09,640 Speaker 2: more than maybe Elvis. They say Elvis would have sold 151 00:08:09,680 --> 00:08:12,559 Speaker 2: more than me, but it wasn't accounted for like sound 152 00:08:12,640 --> 00:08:13,640 Speaker 2: scam does today. 153 00:08:13,720 --> 00:08:17,120 Speaker 1: So it's non official. Sorry, Elvis is not official. Not official. 154 00:08:17,520 --> 00:08:21,400 Speaker 2: And Clive Davis and I thought over that record. I said, 155 00:08:21,400 --> 00:08:23,760 Speaker 2: it has to be all instrumental. He goes, Nope, it 156 00:08:23,800 --> 00:08:26,560 Speaker 2: has to have vocals. You are ruining your career if 157 00:08:26,600 --> 00:08:29,840 Speaker 2: you don't listen to me. Your career is in jeopardy. 158 00:08:29,680 --> 00:08:33,160 Speaker 2: But you decide, he says, I said, Okay, Clive, I'm 159 00:08:33,160 --> 00:08:35,680 Speaker 2: good at decide all instrumental. He goes, you're making a 160 00:08:35,679 --> 00:08:37,920 Speaker 2: big mistake. And then he goes on to be the 161 00:08:37,920 --> 00:08:42,000 Speaker 2: best selling record Christmas record. Yeah, so there you go. 162 00:08:42,320 --> 00:08:44,880 Speaker 1: Isn't it amazing a guy like Clive Davis who has 163 00:08:45,000 --> 00:08:48,760 Speaker 1: such a great year, right yeah? And he you know, 164 00:08:49,280 --> 00:08:53,840 Speaker 1: his particular talent was was matching songs with artists, right, 165 00:08:54,320 --> 00:08:57,760 Speaker 1: like great songs. Like he'd have this library of songs 166 00:08:58,320 --> 00:09:00,760 Speaker 1: that he'd have in his office or whatever, and he'd 167 00:09:00,760 --> 00:09:03,120 Speaker 1: think of artists to match them with. I guess he 168 00:09:03,280 --> 00:09:07,240 Speaker 1: was just he just liked singers. He just wanted to 169 00:09:07,240 --> 00:09:10,520 Speaker 1: hear singing, right. He was great though he was no 170 00:09:11,080 --> 00:09:13,160 Speaker 1: genius guy, right yeah. 171 00:09:13,480 --> 00:09:16,640 Speaker 2: Now, No, to his credit, like even when I tell 172 00:09:16,720 --> 00:09:19,760 Speaker 2: him that I was right and he was drown he says, no, no, 173 00:09:20,080 --> 00:09:25,560 Speaker 2: it would have more me. It did good, but it don't. 174 00:09:26,800 --> 00:09:29,679 Speaker 2: And to his credit, also on some of my records, 175 00:09:29,679 --> 00:09:33,160 Speaker 2: he would he would get like a Tony Braxton and 176 00:09:33,200 --> 00:09:36,080 Speaker 2: he would have a song from Diane Warren and they 177 00:09:36,120 --> 00:09:39,200 Speaker 2: would put that on my record and it would it 178 00:09:39,280 --> 00:09:42,400 Speaker 2: really boosted my record sales. So I have to say 179 00:09:42,720 --> 00:09:45,120 Speaker 2: to him a lot of a lot of accolades, but 180 00:09:45,240 --> 00:09:47,800 Speaker 2: he didn't always know what the right thing to do 181 00:09:48,160 --> 00:09:51,080 Speaker 2: with me was. And he was the first to admit 182 00:09:51,160 --> 00:09:53,760 Speaker 2: that sombird. He didn't see it at first, but then 183 00:09:53,800 --> 00:09:57,000 Speaker 2: he got right on board and really put that whole 184 00:09:57,080 --> 00:10:00,240 Speaker 2: Arister Records machine behind me, and we did think that 185 00:10:00,280 --> 00:10:02,280 Speaker 2: nobody's ever done before as an instrumentalist. 186 00:10:02,600 --> 00:10:07,040 Speaker 1: Beautiful. You knew you wanted to carve out your own lane, 187 00:10:08,280 --> 00:10:09,200 Speaker 1: and you did it. 188 00:10:09,240 --> 00:10:17,880 Speaker 2: Good for you, Lucky. 189 00:10:20,400 --> 00:10:25,200 Speaker 1: When you sit down to compose, what usually, because I'm 190 00:10:25,240 --> 00:10:27,640 Speaker 1: a songwriter as well, I've been writing songs my whole life, 191 00:10:27,640 --> 00:10:32,520 Speaker 1: but what usually comes first A melody, a feeling, a story. 192 00:10:33,080 --> 00:10:34,720 Speaker 1: How do you do it? You just sit down and 193 00:10:34,760 --> 00:10:35,400 Speaker 1: start playing. 194 00:10:36,160 --> 00:10:38,880 Speaker 2: Yeah, I don start playing. I play my sacks, and 195 00:10:39,800 --> 00:10:41,920 Speaker 2: you know, because I'll practice every day. So during my 196 00:10:41,960 --> 00:10:45,480 Speaker 2: little three hour session, as I'm playing, I might play 197 00:10:45,520 --> 00:10:48,240 Speaker 2: something that go I go, hey, I like the way 198 00:10:48,280 --> 00:10:50,880 Speaker 2: those notes. Maybe that's the start of a melody. And 199 00:10:50,880 --> 00:10:53,640 Speaker 2: then I might fool around with something and that could 200 00:10:53,720 --> 00:10:57,120 Speaker 2: lead to something. Every now and then I'm sitting at 201 00:10:57,160 --> 00:10:59,000 Speaker 2: a piano or not that I'm a good piano player, 202 00:10:59,120 --> 00:11:01,319 Speaker 2: and it might noodle on something and then I go, 203 00:11:01,800 --> 00:11:03,920 Speaker 2: that's going to be the basis of something really cool. 204 00:11:04,000 --> 00:11:06,280 Speaker 2: I'll just remember that, and that's kind of how it works. 205 00:11:06,280 --> 00:11:09,000 Speaker 2: I don't it's hard for me to go I'm going 206 00:11:09,040 --> 00:11:11,960 Speaker 2: to write a song today. But you know, sometimes I try, 207 00:11:12,000 --> 00:11:16,520 Speaker 2: and I get together with a keyboard player or something 208 00:11:16,559 --> 00:11:18,280 Speaker 2: and I go, you know, let's try to write something, 209 00:11:18,320 --> 00:11:20,319 Speaker 2: and sometimes it works and sometimes not. 210 00:11:20,720 --> 00:11:22,160 Speaker 1: Yeah, it's hard. 211 00:11:22,240 --> 00:11:25,480 Speaker 2: It's really hard to write really good songs. I could, 212 00:11:25,520 --> 00:11:28,440 Speaker 2: by the way, I could write an album of instrumental 213 00:11:28,559 --> 00:11:31,480 Speaker 2: music's in the next twenty five minutes, but it would 214 00:11:31,559 --> 00:11:34,920 Speaker 2: just be okay, right, okay, you know, you go way 215 00:11:35,000 --> 00:11:36,959 Speaker 2: that those are nice. But I don't want to do 216 00:11:37,000 --> 00:11:38,679 Speaker 2: something that sounds nice. I want to do something that 217 00:11:39,240 --> 00:11:41,200 Speaker 2: means something to me that I feel like I could 218 00:11:41,559 --> 00:11:44,679 Speaker 2: go to bat for and go against the whole world 219 00:11:44,720 --> 00:11:47,079 Speaker 2: and say, hey, this is what This is good whether 220 00:11:47,640 --> 00:11:49,720 Speaker 2: somebody believes it or not. You know, so I have 221 00:11:49,800 --> 00:11:51,000 Speaker 2: to take my time. 222 00:11:51,640 --> 00:11:55,600 Speaker 1: So right, there's different levels. There's there's okay, there's good, 223 00:11:55,640 --> 00:11:57,920 Speaker 1: there's really good, and then there's like, this is a hit. 224 00:11:58,160 --> 00:12:01,040 Speaker 1: Right do you have to be when you have when 225 00:12:01,080 --> 00:12:05,480 Speaker 1: you present something like that to the record company, do 226 00:12:05,559 --> 00:12:07,680 Speaker 1: you know what's going to be a hit. Have you 227 00:12:07,720 --> 00:12:11,680 Speaker 1: been surprised shocked that, Oh, this one I thought was 228 00:12:11,720 --> 00:12:13,800 Speaker 1: really gonna be big, but the record company didn't think 229 00:12:13,800 --> 00:12:15,520 Speaker 1: it was so great. We're not going to record it, 230 00:12:16,000 --> 00:12:18,480 Speaker 1: or it's going to be, like, you know, not a 231 00:12:18,520 --> 00:12:20,479 Speaker 1: major song. Have you been surprised? 232 00:12:21,160 --> 00:12:29,880 Speaker 2: No, I'm always I'm always right. I'm not surprised when 233 00:12:29,880 --> 00:12:32,280 Speaker 2: it comes to when it comes to my saxophone, I 234 00:12:32,360 --> 00:12:33,520 Speaker 2: don't know what's it. 235 00:12:33,720 --> 00:12:35,760 Speaker 1: Don't mess with me and my saxophone. 236 00:12:35,800 --> 00:12:38,800 Speaker 2: Man, this sing though, I go, no, it's going to 237 00:12:38,840 --> 00:12:40,680 Speaker 2: be the song. No, we don't think so it's going 238 00:12:40,720 --> 00:12:43,040 Speaker 2: to be the song and I'm not gonna that's it. 239 00:12:43,679 --> 00:12:47,320 Speaker 1: And discussion is it because you know it because when 240 00:12:47,360 --> 00:12:51,680 Speaker 1: you play it, you feel it more than other songs, 241 00:12:51,679 --> 00:12:54,679 Speaker 1: and you just know that this melody, this tune. I 242 00:12:54,840 --> 00:12:57,120 Speaker 1: seen what it does to an audience. And this is 243 00:12:57,200 --> 00:13:00,560 Speaker 1: why I'm sticking to my guns. It's just a got right. 244 00:13:00,840 --> 00:13:02,880 Speaker 2: Well, it's not always that because a lot of times 245 00:13:02,880 --> 00:13:05,160 Speaker 2: some of the songs I record I've never played for 246 00:13:05,200 --> 00:13:10,480 Speaker 2: an audience, So I don't okay, it's really almost once 247 00:13:10,520 --> 00:13:14,160 Speaker 2: I record it, when I hit play, that's when I 248 00:13:14,200 --> 00:13:16,040 Speaker 2: know it's right, right. I have to hear it and 249 00:13:16,120 --> 00:13:20,199 Speaker 2: I listened to it. Honestly, I think I'm pretty objective, 250 00:13:20,280 --> 00:13:23,439 Speaker 2: Like I pretend I didn't even play it, Like, well, well, 251 00:13:23,480 --> 00:13:25,520 Speaker 2: how good is this thing? Well this is really good, 252 00:13:25,640 --> 00:13:28,800 Speaker 2: or someone's missing and then I just have to figure 253 00:13:28,800 --> 00:13:29,480 Speaker 2: well with what that is? 254 00:13:29,559 --> 00:13:30,120 Speaker 1: Right right? 255 00:13:30,440 --> 00:13:33,040 Speaker 2: A ten minutes. It could take a month to figure 256 00:13:33,080 --> 00:13:34,240 Speaker 2: out what's missing in a song. 257 00:13:34,800 --> 00:13:41,720 Speaker 1: You any did songbird come immediately? Did it download to media? Okay? 258 00:13:42,160 --> 00:13:45,120 Speaker 1: Just it was just like suddenly you were fishing in 259 00:13:45,120 --> 00:13:46,679 Speaker 1: the lake and you caught the big one. 260 00:13:46,960 --> 00:13:50,600 Speaker 2: Yeah, I just noodled around on the keyboard. Okay, what happened? 261 00:13:50,600 --> 00:13:53,920 Speaker 2: This is nineteen eighty five, eighty six, So the world 262 00:13:53,960 --> 00:13:58,679 Speaker 2: had just invented the first synthesizer. Okay, no sympathizer. So 263 00:13:59,160 --> 00:14:03,240 Speaker 2: now a hack piano player can sit down and I 264 00:14:03,280 --> 00:14:07,000 Speaker 2: can play a little melody hit replay and it just 265 00:14:07,080 --> 00:14:09,480 Speaker 2: keeps playing it and I can fix the notes. So 266 00:14:09,520 --> 00:14:13,080 Speaker 2: all of a sudden you have this perfect, sequential, beautiful 267 00:14:13,120 --> 00:14:16,840 Speaker 2: little music bed that I think is beautiful. But you 268 00:14:16,840 --> 00:14:19,360 Speaker 2: can never have had that before because no person could 269 00:14:19,400 --> 00:14:22,960 Speaker 2: ever play it like that. Yeah, so this machine was 270 00:14:22,960 --> 00:14:25,400 Speaker 2: playing this whoa, let me see if I put my 271 00:14:25,440 --> 00:14:28,120 Speaker 2: saxophone on top of that, what would that sound like? 272 00:14:28,480 --> 00:14:30,160 Speaker 2: And then I just played this melody. I'm like, wow, 273 00:14:30,200 --> 00:14:32,440 Speaker 2: I really love it. I love the way this sounds. 274 00:14:32,440 --> 00:14:34,440 Speaker 2: And in an hour I was done with Songbird. I 275 00:14:34,480 --> 00:14:37,400 Speaker 2: just played all the instruments of myself, a little drum machine, 276 00:14:37,800 --> 00:14:40,920 Speaker 2: a little bass part on the keyboard, string parts on 277 00:14:40,960 --> 00:14:44,040 Speaker 2: the synthesizer. It's like, whoa this is? And I recorded 278 00:14:44,040 --> 00:14:46,760 Speaker 2: it on my eight track recording machine. And that was 279 00:14:47,440 --> 00:14:48,920 Speaker 2: and that was the state in. 280 00:14:48,880 --> 00:14:52,800 Speaker 1: The art, right, yeah, right. And then once you have 281 00:14:52,880 --> 00:14:57,720 Speaker 1: something recorded, you send it off to the record company. 282 00:14:58,120 --> 00:15:01,160 Speaker 1: You send it off to your A and R guy, and. 283 00:15:00,440 --> 00:15:05,040 Speaker 2: And they could not care less. They couldn't care less 284 00:15:05,040 --> 00:15:08,200 Speaker 2: about this instrumentals. They go, yeah, no, we need a 285 00:15:08,280 --> 00:15:11,040 Speaker 2: vocal song that the kids in the ghetto can groove to. 286 00:15:11,280 --> 00:15:15,360 Speaker 2: They told me, they told me, and so I said, okay, 287 00:15:15,840 --> 00:15:18,400 Speaker 2: I'm in and I said, hey, I want to talk 288 00:15:18,440 --> 00:15:20,240 Speaker 2: to you. So I got on a plane and flew 289 00:15:20,280 --> 00:15:22,360 Speaker 2: to New York and talked to the A and R guy, 290 00:15:22,760 --> 00:15:25,880 Speaker 2: and I said, you told me yesterday that what you 291 00:15:25,960 --> 00:15:29,560 Speaker 2: think for me is songs that the fifteen year old 292 00:15:29,640 --> 00:15:32,320 Speaker 2: kids in the ghetto can grove to. From a Jewish 293 00:15:32,360 --> 00:15:35,480 Speaker 2: sex player that's what you think I can do. I 294 00:15:35,560 --> 00:15:40,200 Speaker 2: can't do that. I said, you know what, let's do. 295 00:15:40,280 --> 00:15:43,000 Speaker 2: Let's let's just end our relationship now, it'll be better. 296 00:15:43,520 --> 00:15:47,280 Speaker 2: Just unsign me, let me take my instrumentals, and I'll 297 00:15:47,320 --> 00:15:49,440 Speaker 2: just have a I'll just do whatever I'm going to 298 00:15:49,520 --> 00:15:52,320 Speaker 2: do with it. And they said no, no, let's let's 299 00:15:52,320 --> 00:15:54,680 Speaker 2: try to figure it out. And so we worked it out. 300 00:15:54,720 --> 00:15:59,040 Speaker 2: But I literally went there and and like, I'm not 301 00:15:59,080 --> 00:16:01,720 Speaker 2: an actor like you, but I acted like I'm done. 302 00:16:01,800 --> 00:16:03,080 Speaker 2: I quit, right. 303 00:16:03,680 --> 00:16:05,600 Speaker 1: What's the sense of banging your head against the wall 304 00:16:05,640 --> 00:16:07,680 Speaker 1: of these people if they don't get it right? It's like, 305 00:16:09,480 --> 00:16:14,600 Speaker 1: I know, it gets absurd. How do you know when 306 00:16:14,640 --> 00:16:15,680 Speaker 1: a song is finished? 307 00:16:16,120 --> 00:16:21,840 Speaker 2: Oh? Good question, really good question. Yeah, And that's tough. 308 00:16:21,880 --> 00:16:25,920 Speaker 2: That's tough for me because I okay, nowadays we don't 309 00:16:25,960 --> 00:16:29,720 Speaker 2: have eight tracks with tape. We've got pro tools with 310 00:16:30,080 --> 00:16:33,720 Speaker 2: endless disk space, and I can if I don't like 311 00:16:34,080 --> 00:16:36,600 Speaker 2: the vibrato at the end of one note, I can 312 00:16:36,720 --> 00:16:41,200 Speaker 2: fix that and it will sound. So when does it fixed? 313 00:16:41,600 --> 00:16:43,760 Speaker 2: I mean when is it finished? It's like I go 314 00:16:43,840 --> 00:16:47,360 Speaker 2: through it with a meticulous comb and it's finished when 315 00:16:47,360 --> 00:16:50,000 Speaker 2: I listened to it, and I don't I don't hate 316 00:16:50,040 --> 00:16:53,000 Speaker 2: myself at the end of the song. Then it's finished, 317 00:16:53,000 --> 00:16:56,400 Speaker 2: it's like, okay, you know what, I didn't really cringe 318 00:16:56,680 --> 00:17:01,280 Speaker 2: that time. We can move on and that's what happens, right. Yeah, 319 00:17:01,360 --> 00:17:04,720 Speaker 2: So not easy for me to let something go because 320 00:17:04,720 --> 00:17:08,159 Speaker 2: I already know I could play that note more in tune, 321 00:17:08,760 --> 00:17:11,320 Speaker 2: or I could play that vibrato better, or I could 322 00:17:12,240 --> 00:17:14,320 Speaker 2: make that maybe I should make that note come from 323 00:17:14,400 --> 00:17:17,480 Speaker 2: above rather than below. So I try a million of 324 00:17:17,520 --> 00:17:19,440 Speaker 2: them and then it's like I can't, I can't do 325 00:17:19,480 --> 00:17:21,560 Speaker 2: it anymore. I gotta let it go. So it's kind 326 00:17:21,560 --> 00:17:23,200 Speaker 2: of like that. It's kind of like I gotta let 327 00:17:23,200 --> 00:17:23,399 Speaker 2: it go. 328 00:17:23,760 --> 00:17:28,320 Speaker 1: But that's your that's your pattern. Every morning you wake up, 329 00:17:29,280 --> 00:17:32,080 Speaker 1: you play your sacks three hours. And this has been 330 00:17:32,119 --> 00:17:35,120 Speaker 1: going on every day for year after year after year, 331 00:17:35,600 --> 00:17:43,080 Speaker 1: decades and decades decades, and yeah, it's it's yeah, that's 332 00:17:43,080 --> 00:17:45,280 Speaker 1: what you do. That's what you have to do if 333 00:17:45,320 --> 00:17:45,919 Speaker 1: you want, you know. 334 00:17:46,040 --> 00:17:49,400 Speaker 2: I I heard Steve Martin. I don't know Steve Martin. 335 00:17:49,440 --> 00:17:52,719 Speaker 2: I've met Steve Martin because he's ANANGOI player. It's got 336 00:17:52,840 --> 00:17:54,560 Speaker 2: a lot better. I remember when he first picked up 337 00:17:54,560 --> 00:17:58,439 Speaker 2: that bangel I thought bro, come on, just you know, 338 00:17:58,520 --> 00:18:02,360 Speaker 2: you're so funny and you're so good. Why am I 339 00:18:02,520 --> 00:18:04,159 Speaker 2: trying to be? You? Am I trying to be a 340 00:18:04,200 --> 00:18:08,119 Speaker 2: comedic actor? Can you just? That's what I thought. But 341 00:18:08,440 --> 00:18:12,120 Speaker 2: he's gotten very, very good. He's an excellent, excellent band. Yes, 342 00:18:12,480 --> 00:18:14,399 Speaker 2: not that I know, but I've seen some things that 343 00:18:14,440 --> 00:18:17,840 Speaker 2: he's But he said something that I just think is 344 00:18:18,040 --> 00:18:19,800 Speaker 2: one of the things that I don't know a lot 345 00:18:19,800 --> 00:18:22,280 Speaker 2: of people don't say this, like, how do you how 346 00:18:22,320 --> 00:18:24,800 Speaker 2: do you make it? How do you make it? He said, 347 00:18:24,840 --> 00:18:27,280 Speaker 2: you know, this is what nobody really wants to hear. 348 00:18:27,880 --> 00:18:31,360 Speaker 2: Gets so good that no one can say no. 349 00:18:31,400 --> 00:18:33,240 Speaker 1: To you, right, they can't deny you. 350 00:18:33,240 --> 00:18:35,600 Speaker 2: So if you practice something three hours a day for 351 00:18:35,720 --> 00:18:39,359 Speaker 2: fifty year, sixty years, you know you're going to be 352 00:18:39,359 --> 00:18:41,040 Speaker 2: pretty great, and you're going to be you might be 353 00:18:41,080 --> 00:18:43,639 Speaker 2: so great that people can't go you know, he's not 354 00:18:43,720 --> 00:18:49,480 Speaker 2: good enough. No, the door's open. So just get great. Yeah, yeah, 355 00:18:49,560 --> 00:18:51,400 Speaker 2: but he thinks, but it takes a long time, takes 356 00:18:51,400 --> 00:18:52,520 Speaker 2: a lifetime. 357 00:18:52,400 --> 00:19:03,880 Speaker 1: It does, it does? All right, let's talk about your 358 00:19:03,920 --> 00:19:10,000 Speaker 1: global reach, your your global dominance. In a song going Home, 359 00:19:10,520 --> 00:19:15,840 Speaker 1: and that became an unofficial closing song in China for malls, 360 00:19:15,920 --> 00:19:20,440 Speaker 1: train stations, et cetera. Were you aware of that phenomenon 361 00:19:20,600 --> 00:19:22,080 Speaker 1: at the time, And when was that? 362 00:19:22,160 --> 00:19:25,040 Speaker 2: By the way, Okay, that was God. That was in 363 00:19:25,080 --> 00:19:29,480 Speaker 2: the early eighties. Okay you no, let's say wait ant no, 364 00:19:29,600 --> 00:19:31,440 Speaker 2: I went. I went to China for the first time 365 00:19:31,480 --> 00:19:34,720 Speaker 2: in the early eighties, but that song came out I 366 00:19:34,720 --> 00:19:38,520 Speaker 2: think in like eighty nine, so I just bec I didn't. 367 00:19:38,760 --> 00:19:41,000 Speaker 2: I didn't know and until I went to China back 368 00:19:41,000 --> 00:19:44,840 Speaker 2: in the nineties. Then and then I just heard it everywhere. 369 00:19:44,840 --> 00:19:47,720 Speaker 2: I heard it in the stores, I heard it in 370 00:19:47,760 --> 00:19:51,040 Speaker 2: the loudspeakers, in the middle of tenement square. I heard 371 00:19:51,040 --> 00:19:53,800 Speaker 2: my song. I was in a bathroom in the middle 372 00:19:53,840 --> 00:19:58,200 Speaker 2: of some little town in middle of China, in the going, 373 00:19:58,280 --> 00:19:59,879 Speaker 2: playing around the golf, and I just went into the 374 00:20:00,080 --> 00:20:02,880 Speaker 2: ends room, like in the between the first front nine 375 00:20:02,880 --> 00:20:04,879 Speaker 2: and the bat then I heard my song like this, 376 00:20:07,760 --> 00:20:11,160 Speaker 2: but that song, yeah, seriously, Now, I make a joke 377 00:20:11,200 --> 00:20:13,080 Speaker 2: that the first time I played in China, I played 378 00:20:13,080 --> 00:20:14,480 Speaker 2: that song in the middle of my set and I 379 00:20:14,520 --> 00:20:16,760 Speaker 2: looked up and the audience was gone. But that's just 380 00:20:16,800 --> 00:20:20,560 Speaker 2: a joke. It's not true. We saved that for the 381 00:20:20,640 --> 00:20:23,840 Speaker 2: end because literally people just their their natural instinct when 382 00:20:23,840 --> 00:20:25,879 Speaker 2: they hear that song is like they need to whatever 383 00:20:25,880 --> 00:20:28,439 Speaker 2: they're doing, they pack up and they go home. So 384 00:20:28,520 --> 00:20:32,080 Speaker 2: I gotta I gotta time that song properly. It's amazing. 385 00:20:32,119 --> 00:20:35,520 Speaker 2: It's like five hundred million people hear that song every 386 00:20:35,560 --> 00:20:36,160 Speaker 2: single day. 387 00:20:37,400 --> 00:20:39,639 Speaker 1: I unbelievable. 388 00:20:39,840 --> 00:20:42,800 Speaker 2: No royalties on that song, unfortunately. 389 00:20:42,160 --> 00:20:45,320 Speaker 1: For what I know, And you gotta get a lawyer 390 00:20:45,359 --> 00:20:45,600 Speaker 1: on that. 391 00:20:46,280 --> 00:20:50,160 Speaker 2: I have tried. I've told anybody and everybody, look, get 392 00:20:50,160 --> 00:20:53,560 Speaker 2: the royalties, will split it. We'll split it. You know 393 00:20:53,560 --> 00:20:56,720 Speaker 2: how much royalties you can get for like like I've 394 00:20:57,000 --> 00:21:01,720 Speaker 2: literally sold one hundred fifty million records in China, So 395 00:21:01,800 --> 00:21:03,520 Speaker 2: I said, you know, I get some royalties on that 396 00:21:03,840 --> 00:21:05,720 Speaker 2: and let's split it. Broke them on it's just fa. 397 00:21:05,800 --> 00:21:09,840 Speaker 1: Wait wait wait, how is it possible that? I mean, 398 00:21:09,880 --> 00:21:14,520 Speaker 1: you were selling physical copies right in China when they 399 00:21:14,520 --> 00:21:18,160 Speaker 1: had real records. So I don't understand how they could 400 00:21:18,240 --> 00:21:25,879 Speaker 1: be available on a wholesale basis and then sold retail. How. 401 00:21:26,600 --> 00:21:28,560 Speaker 1: I don't know where are they getting the albums from? 402 00:21:28,640 --> 00:21:32,480 Speaker 1: And why aren't their royalties They're just making them. Oh 403 00:21:32,520 --> 00:21:34,040 Speaker 1: they're just printing them over there. 404 00:21:34,359 --> 00:21:35,959 Speaker 2: They was making them. Yeah, they get they get one 405 00:21:36,000 --> 00:21:37,639 Speaker 2: album and they just copy it and print it and. 406 00:21:37,640 --> 00:21:40,520 Speaker 1: It sounds, oh my god, as per usual. 407 00:21:41,040 --> 00:21:43,199 Speaker 2: And that's you know what. And when you go to 408 00:21:43,320 --> 00:21:46,560 Speaker 2: China enough times I probably I've been there like maybe 409 00:21:46,600 --> 00:21:48,879 Speaker 2: twenty times, twenty trips to China in my trip in 410 00:21:48,920 --> 00:21:52,480 Speaker 2: my career, you just realize, you know what, to them, 411 00:21:53,119 --> 00:21:56,720 Speaker 2: that is entrepreneurial. And I go, you know what, Okay, 412 00:21:56,840 --> 00:21:58,960 Speaker 2: I get it. I don't like it, but that's it. 413 00:21:59,040 --> 00:22:02,440 Speaker 2: To them, they're not They're not doing anything. That's do 414 00:22:02,560 --> 00:22:05,680 Speaker 2: they think that's smart. I think he's pretty smart too. 415 00:22:05,680 --> 00:22:07,919 Speaker 1: Actually, all right, but but did you ever send a 416 00:22:07,960 --> 00:22:17,879 Speaker 1: cease and desist to the Communist party? To your Communist party, 417 00:22:18,000 --> 00:22:22,520 Speaker 1: stop playing my record? Sign Kenny. And then they have 418 00:22:22,680 --> 00:22:24,680 Speaker 1: meetings they go, look, we got a letter from Kennedy. 419 00:22:24,680 --> 00:22:26,760 Speaker 1: We better stop playing this song. 420 00:22:27,800 --> 00:22:30,719 Speaker 2: We're going to change our whole policy. Because he was no, 421 00:22:31,080 --> 00:22:36,119 Speaker 2: here's what happens. Here's so in China because I'm so 422 00:22:36,320 --> 00:22:39,320 Speaker 2: popular there. So here's what happens. I go. I was 423 00:22:39,400 --> 00:22:42,040 Speaker 2: asked to go in two thousand and eight to China 424 00:22:42,119 --> 00:22:45,960 Speaker 2: to celebrate one hundred days before the two thousand eight Olympics, 425 00:22:45,960 --> 00:22:48,560 Speaker 2: and they were so proud they invited all of the 426 00:22:48,600 --> 00:22:55,119 Speaker 2: top Chinese actors, producers, models, musicians, and one Western artist 427 00:22:55,960 --> 00:22:58,160 Speaker 2: to be part of the semi meet. So I get there, 428 00:22:58,480 --> 00:23:01,080 Speaker 2: fight all the way to Beijing. As I'm walking up 429 00:23:01,119 --> 00:23:03,479 Speaker 2: the ramp to the stage, they stop me and they go, 430 00:23:04,080 --> 00:23:08,960 Speaker 2: I'm sorry, the government has decided only Chinese artists can 431 00:23:08,960 --> 00:23:11,439 Speaker 2: what can do any think? But you can walk on 432 00:23:11,520 --> 00:23:15,360 Speaker 2: stage and wave and then walk right off. I said, 433 00:23:15,920 --> 00:23:18,720 Speaker 2: you got it, Happy to do it all the way 434 00:23:18,720 --> 00:23:23,520 Speaker 2: to Beijing. So as I'm walking up the alley walking 435 00:23:23,880 --> 00:23:26,800 Speaker 2: walking up this ramp on the right side. On the 436 00:23:26,880 --> 00:23:29,840 Speaker 2: left side is the down ramp, Jackie Chan's walking down 437 00:23:31,160 --> 00:23:33,040 Speaker 2: and I look over it to him. He looks over 438 00:23:33,040 --> 00:23:37,360 Speaker 2: it and he goes, oh, He goes, you are so famous. 439 00:23:37,800 --> 00:23:40,879 Speaker 2: This is jack Man. And I said, I said, and 440 00:23:40,920 --> 00:23:43,439 Speaker 2: you're Jackie Chan. He goes, meet me at my cigar 441 00:23:43,560 --> 00:23:48,560 Speaker 2: club at the Ritz Carlton. Later, I okay, it's going 442 00:23:48,600 --> 00:23:50,359 Speaker 2: to remember what he said. So I go do my wave. 443 00:23:50,760 --> 00:23:53,159 Speaker 2: Thirty seconds later, I'm walking down the ramp and I say, 444 00:23:53,280 --> 00:23:57,600 Speaker 2: does anybody know that where Jackie Chan's cigar club is 445 00:23:57,640 --> 00:23:59,760 Speaker 2: at the Ritz Carton Hotel. Yeah, yeah, yeah, I said, 446 00:24:00,440 --> 00:24:03,760 Speaker 2: take me there. So I go there and I walk 447 00:24:03,840 --> 00:24:07,159 Speaker 2: in and it's a little bar and Jackie Chan is 448 00:24:07,200 --> 00:24:10,280 Speaker 2: on stage with a microphone and his backup band of 449 00:24:10,320 --> 00:24:14,480 Speaker 2: these beautiful Chinese girls. Like the was Robert Plant that 450 00:24:14,520 --> 00:24:16,960 Speaker 2: did that? That that video with the girls behind him? 451 00:24:17,880 --> 00:24:21,840 Speaker 1: Robert Palmer, Yeah, Robert Palmer, Robert Palmer, yeah, the same look. 452 00:24:22,040 --> 00:24:24,280 Speaker 2: And Jackie Chan is up there singing and I walk 453 00:24:24,359 --> 00:24:27,280 Speaker 2: in and he looks at me and he stops and 454 00:24:27,359 --> 00:24:32,200 Speaker 2: he goes, oh, can you can you come up and play? 455 00:24:32,359 --> 00:24:34,520 Speaker 2: I said, what do you want me to play? Can 456 00:24:34,560 --> 00:24:36,879 Speaker 2: you play your song? Going Home from Me? Does it? 457 00:24:37,040 --> 00:24:38,880 Speaker 2: I said? Does your band know what these? Of course 458 00:24:38,920 --> 00:24:41,439 Speaker 2: they know it. So he puts a chair on this 459 00:24:41,520 --> 00:24:44,720 Speaker 2: little stage and he sits down and I'm sitting there 460 00:24:44,800 --> 00:24:50,960 Speaker 2: playing going Home to Jackie Chan and he starts to cry. 461 00:24:51,640 --> 00:24:56,399 Speaker 2: Tears are rolling down the stage like it's like, what 462 00:24:56,560 --> 00:25:02,680 Speaker 2: the heck is going on here? And I mean this, 463 00:25:02,680 --> 00:25:04,840 Speaker 2: this is the power of this. I didn't get royalties, 464 00:25:04,880 --> 00:25:08,000 Speaker 2: but man, this this is like and ever since then 465 00:25:08,040 --> 00:25:09,920 Speaker 2: we're like super good friends. 466 00:25:10,160 --> 00:25:15,840 Speaker 1: Like that's great, that's awesome, you know, Oh that's so funny, 467 00:25:16,320 --> 00:25:18,920 Speaker 1: that's really funny. 468 00:25:19,000 --> 00:25:20,560 Speaker 2: So that's China. That's China. 469 00:25:20,920 --> 00:25:22,800 Speaker 1: All right, Well that's all the time. But we are 470 00:25:23,760 --> 00:25:25,800 Speaker 1: having so much fun with Kenny G. We're gonna make 471 00:25:25,800 --> 00:25:28,320 Speaker 1: this a two parter, So tune into the next episode 472 00:25:28,600 --> 00:26:00,840 Speaker 1: because there's a lot more to unpacked with Kenny G. Everybody, 473 00:26:00,840 --> 00:26:04,120 Speaker 1: and don't forget follow us on Instagram at i Am 474 00:26:04,280 --> 00:26:09,200 Speaker 1: all In podcast and email us at Gilmore at iHeartRadio 475 00:26:09,520 --> 00:26:19,840 Speaker 1: dot com.