WEBVTT - Narada Michael Walden

0:00:08.680 --> 0:00:12.520
<v Speaker 1>Welcome, Welcome, Welcome back to the Bob left Such Podcast.

0:00:13.160 --> 0:00:19.079
<v Speaker 1>My guess is NARDA. Michael Walder, musician, producer extraordinaire. You

0:00:19.160 --> 0:00:23.160
<v Speaker 1>have a new album. Why now it feels good?

0:00:23.280 --> 0:00:27.600
<v Speaker 2>Man? I still up my jesues, my vitality, I still

0:00:27.600 --> 0:00:31.480
<v Speaker 2>feel sexy. I still feel young, like nineteen vibe coming down.

0:00:31.880 --> 0:00:33.879
<v Speaker 2>And I love to sing and play. So it's just

0:00:33.960 --> 0:00:36.400
<v Speaker 2>my offering to the world to always keep music in

0:00:36.400 --> 0:00:38.839
<v Speaker 2>the world. It's my job, it's my passion, it's my

0:00:39.000 --> 0:00:41.599
<v Speaker 2>lift for so it makes me feel good.

0:00:41.640 --> 0:00:45.559
<v Speaker 1>Yeah. Yeah, but the game has changed since you started,

0:00:46.000 --> 0:00:49.599
<v Speaker 1>and it's much harder to get recognized. How does that

0:00:49.840 --> 0:00:52.960
<v Speaker 1>feel in terms of recording it, you know, and getting

0:00:52.960 --> 0:00:53.840
<v Speaker 1>the music heard?

0:00:54.920 --> 0:00:57.280
<v Speaker 2>Well, the recording is the same, the process. I enjoy

0:00:57.360 --> 0:01:00.400
<v Speaker 2>making the songs, producing records, do what I do. You're

0:01:00.480 --> 0:01:03.959
<v Speaker 2>right about the actual game how to get heard. So

0:01:04.000 --> 0:01:07.839
<v Speaker 2>I just pimped YouTube, Spotify's whatever there are out there,

0:01:08.120 --> 0:01:10.280
<v Speaker 2>and whatever radios are kind to me to play me.

0:01:10.760 --> 0:01:12.600
<v Speaker 1>I want it all. But you're right.

0:01:12.640 --> 0:01:15.000
<v Speaker 2>I don't have a big major, you know, pumping it

0:01:15.040 --> 0:01:16.960
<v Speaker 2>down on the hour hour.

0:01:17.680 --> 0:01:23.440
<v Speaker 1>I missed that tremendously. I really do. Okay, you have

0:01:23.480 --> 0:01:28.680
<v Speaker 1>a track on the album That's Got Superstars, Sting, Stevie Wonder,

0:01:28.800 --> 0:01:31.080
<v Speaker 1>Carlos Santana. How did that come together?

0:01:31.560 --> 0:01:34.360
<v Speaker 2>Oh God, bless you, thank you so much. Yeah, this

0:01:34.400 --> 0:01:37.320
<v Speaker 2>song I kind of started working on years years back.

0:01:37.920 --> 0:01:42.720
<v Speaker 2>It's a process. Carlos Santana inspired me with this African music,

0:01:43.520 --> 0:01:46.440
<v Speaker 2>and I took one of those ideas I heard and

0:01:46.480 --> 0:01:48.080
<v Speaker 2>then made a new jam called the More I Love

0:01:48.200 --> 0:01:50.160
<v Speaker 2>My Life, and I asked Carlos come play on it,

0:01:50.240 --> 0:01:54.120
<v Speaker 2>and he did. And when playing with Carlos, I got

0:01:54.160 --> 0:01:56.800
<v Speaker 2>the inspiration to have Stevie Wonder do harmonica work with me.

0:01:58.000 --> 0:02:00.920
<v Speaker 2>So I made spaces for Stevie and get Stevie right away.

0:02:01.880 --> 0:02:03.720
<v Speaker 2>I then went to New York to do a rainforest

0:02:03.720 --> 0:02:07.440
<v Speaker 2>show with Sting, one of the I do like thirteen shows.

0:02:07.520 --> 0:02:09.320
<v Speaker 2>One of those shows, he came early. I said, come in,

0:02:09.400 --> 0:02:11.440
<v Speaker 2>come in early. It's like, have you record a vocal

0:02:11.480 --> 0:02:12.440
<v Speaker 2>on this song I've got for you.

0:02:12.600 --> 0:02:13.440
<v Speaker 1>He was very kind.

0:02:13.600 --> 0:02:17.240
<v Speaker 2>He came in the studio Jamanndricks's studio, Let's Letric lady

0:02:17.320 --> 0:02:21.280
<v Speaker 2>Land Studios, and just sang it quickly, beautiful harmonized little thing,

0:02:21.880 --> 0:02:25.200
<v Speaker 2>and we were so happy with a good sound. I

0:02:25.240 --> 0:02:28.280
<v Speaker 2>then went to Los Angeles where you are, I think,

0:02:28.880 --> 0:02:32.160
<v Speaker 2>and got Capitol Studios Stevie Wonder. He came in with

0:02:32.200 --> 0:02:34.760
<v Speaker 2>a box of harmonicas and found the right key for

0:02:34.800 --> 0:02:37.000
<v Speaker 2>the song. And then when they started hearing what the

0:02:37.000 --> 0:02:39.200
<v Speaker 2>Carlos was playing, what was going on, then he kind

0:02:39.240 --> 0:02:42.000
<v Speaker 2>of little the fire started doing these amazing things on harmonica.

0:02:42.639 --> 0:02:45.080
<v Speaker 2>So it just kind of came together magically. But now

0:02:45.120 --> 0:02:46.440
<v Speaker 2>it's the right time to put it out. I thought,

0:02:46.400 --> 0:02:48.920
<v Speaker 2>didn't want to wait it longer, and I found a

0:02:48.919 --> 0:02:52.200
<v Speaker 2>partner named Leno nort Nicolosi, who's just a good cat

0:02:52.240 --> 0:02:54.920
<v Speaker 2>to kind of bounce my ideas with and keep us

0:02:54.919 --> 0:02:58.560
<v Speaker 2>sounding kind of fresh for now, and that's what we did,

0:02:58.760 --> 0:03:00.760
<v Speaker 2>put it together for now to come out.

0:03:00.840 --> 0:03:03.320
<v Speaker 1>So I'm happy that. Well, let's go to the route.

0:03:03.760 --> 0:03:07.680
<v Speaker 1>The song is inspired by another song, right, yeah, yeah,

0:03:07.760 --> 0:03:08.519
<v Speaker 1>tell me about that.

0:03:09.080 --> 0:03:12.760
<v Speaker 2>Oh okay, there's a cat named Ishmaelo with two French

0:03:12.880 --> 0:03:17.680
<v Speaker 2>cats that put together the song very similar, and Ishmaelo

0:03:17.840 --> 0:03:20.280
<v Speaker 2>inspired me so much. In fact, he's singing something on

0:03:20.400 --> 0:03:24.400
<v Speaker 2>this version. I want his voice for that Africa connection.

0:03:25.320 --> 0:03:26.959
<v Speaker 2>So yeah, that's all it is. It's just like a

0:03:27.680 --> 0:03:30.079
<v Speaker 2>beautiful melody I loved and to put my own lyrics

0:03:30.080 --> 0:03:32.560
<v Speaker 2>with a cat name Jeffery Cohen, who helped me compose

0:03:32.680 --> 0:03:34.840
<v Speaker 2>Freeway of Love for Rutha. Franklin's a great lyric writer.

0:03:35.320 --> 0:03:37.680
<v Speaker 2>We put together a new idea around this idea we'd heard,

0:03:38.280 --> 0:03:41.720
<v Speaker 2>and that's the more I love my life exactly as

0:03:41.720 --> 0:03:43.760
<v Speaker 2>it is. The more I love my life, the more

0:03:43.800 --> 0:03:44.800
<v Speaker 2>I feel your kiss.

0:03:45.080 --> 0:03:48.720
<v Speaker 1>This is the message. So how do you know these people?

0:03:48.720 --> 0:03:50.560
<v Speaker 1>How do you know Carlos? Oh?

0:03:50.760 --> 0:03:53.080
<v Speaker 2>Okay, good question. I've met Carlos and I was like

0:03:53.120 --> 0:03:58.280
<v Speaker 2>about damn nineteen years old because I came to mah Vishnina.

0:03:58.280 --> 0:04:01.680
<v Speaker 2>I wanted to become a disciple of of of Guru

0:04:02.040 --> 0:04:06.120
<v Speaker 2>Fishtration Moy with Mahavish and Jah mcglalklin for the spirituality

0:04:06.240 --> 0:04:09.520
<v Speaker 2>of the love, so I wouldn't die. My heroes were

0:04:09.560 --> 0:04:15.040
<v Speaker 2>like Jimmy Hendrick's Okay, that's my hero and my generation

0:04:15.440 --> 0:04:20.080
<v Speaker 2>could could die so easily. So when I heard John

0:04:20.120 --> 0:04:24.440
<v Speaker 2>mcglalklin playing his music with Marvish Orchestra in Harvard, Connecticut

0:04:24.480 --> 0:04:28.680
<v Speaker 2>with Billy Cobbham, just on fire and so pure. And

0:04:28.720 --> 0:04:32.000
<v Speaker 2>when I met John that night, he told me it

0:04:32.040 --> 0:04:34.240
<v Speaker 2>was largely due to his prayer life, his meditation life

0:04:34.360 --> 0:04:37.479
<v Speaker 2>that was helping him. And I said, yeah, I know.

0:04:37.480 --> 0:04:39.400
<v Speaker 2>I see on the back of your album Jackets, these

0:04:39.440 --> 0:04:41.839
<v Speaker 2>poems by your Guru. He said, I'm going to see

0:04:41.839 --> 0:04:44.640
<v Speaker 2>the Guru at six in the morning in Queens, New York,

0:04:45.279 --> 0:04:48.120
<v Speaker 2>and I'll tell him I met you. And from that

0:04:48.120 --> 0:04:49.840
<v Speaker 2>moment I got a phone call back, like maybe like

0:04:49.920 --> 0:04:53.120
<v Speaker 2>a week later, he said, come meet the Guru. He'll

0:04:53.160 --> 0:04:58.920
<v Speaker 2>be in Norwak, Connecticut. Go meet him. I was very

0:04:59.000 --> 0:05:01.360
<v Speaker 2>surprised at Marvis dud this great man would call me. Anyway,

0:05:01.520 --> 0:05:04.400
<v Speaker 2>I lived way up in the woods in Canaan, Connecticut

0:05:04.560 --> 0:05:08.200
<v Speaker 2>with another band called the New Maguire Sisters, which was

0:05:08.240 --> 0:05:11.240
<v Speaker 2>Ralph armstrong On based with some bad cats. But anyway,

0:05:11.279 --> 0:05:13.239
<v Speaker 2>when he called me, I was so surprised. Look Abraham

0:05:13.279 --> 0:05:15.160
<v Speaker 2>Lincoln calling me. He called me the phones that come

0:05:15.240 --> 0:05:16.880
<v Speaker 2>come to meditation. I wanted to meet meet, to meet

0:05:16.880 --> 0:05:19.640
<v Speaker 2>the Guru. I became a disciple that night. It really

0:05:19.720 --> 0:05:21.760
<v Speaker 2>inspired my life to kind of feel like I had

0:05:22.279 --> 0:05:27.040
<v Speaker 2>been found by the Mavish new his teacher to inspire

0:05:27.080 --> 0:05:31.479
<v Speaker 2>me and kind of keep me going. And not long

0:05:31.520 --> 0:05:34.520
<v Speaker 2>after Johnson's come from visit me in Queens, I went

0:05:34.560 --> 0:05:35.800
<v Speaker 2>to Queens and when I went to Queen's to go

0:05:35.880 --> 0:05:40.560
<v Speaker 2>visit him. Out of his house walks Carlos Santana, and

0:05:40.760 --> 0:05:43.120
<v Speaker 2>of course we all know Carlo Santana, so it's a

0:05:43.120 --> 0:05:46.240
<v Speaker 2>big to do to meet him. And he was also

0:05:46.240 --> 0:05:51.320
<v Speaker 2>a disciple and we've been friends ever since seventy three.

0:05:51.360 --> 0:05:56.000
<v Speaker 1>Actually, okay, how were you with the gig? And how

0:05:56.000 --> 0:05:57.520
<v Speaker 1>did you meet John McLaughlin?

0:05:58.360 --> 0:06:02.680
<v Speaker 2>Very sweet, thank you. I walked in the gig. I

0:06:02.720 --> 0:06:06.800
<v Speaker 2>had a limousine driver named Greg Fell, our manager had

0:06:06.800 --> 0:06:09.400
<v Speaker 2>an old limousine drove me down from Canaan, Connecticut to.

0:06:09.360 --> 0:06:10.120
<v Speaker 1>Heart for Connecticut.

0:06:10.560 --> 0:06:12.760
<v Speaker 2>And when I got there, as God would have it,

0:06:13.080 --> 0:06:15.880
<v Speaker 2>there was a bright shining light on the stage and

0:06:16.000 --> 0:06:18.680
<v Speaker 2>Mab Schnu with a double a guitar was going at

0:06:18.680 --> 0:06:22.559
<v Speaker 2>it hardcore with Billy cobbmon on drums in some odd

0:06:22.600 --> 0:06:23.640
<v Speaker 2>meter of nineteen whatever.

0:06:23.640 --> 0:06:24.120
<v Speaker 1>It was.

0:06:26.320 --> 0:06:30.640
<v Speaker 2>So incredible to this day it stained my soul, the

0:06:30.720 --> 0:06:32.599
<v Speaker 2>power and the magisty of what they were doing, just

0:06:32.640 --> 0:06:35.680
<v Speaker 2>the two of them. And then they would stop on

0:06:35.680 --> 0:06:37.440
<v Speaker 2>a diam if they wanted to, and go back at it.

0:06:38.839 --> 0:06:40.000
<v Speaker 1>And I was so meserzed.

0:06:40.040 --> 0:06:41.560
<v Speaker 2>I went right down to the lip of the stage

0:06:41.720 --> 0:06:43.640
<v Speaker 2>to look up in his eyes and see what's going on,

0:06:44.400 --> 0:06:46.599
<v Speaker 2>you know, is it memorize what's he doing? And I

0:06:46.640 --> 0:06:49.480
<v Speaker 2>see his eyes back in his head, and then I

0:06:49.560 --> 0:06:53.360
<v Speaker 2>realized it's just like he's in a trance and these

0:06:53.440 --> 0:06:58.720
<v Speaker 2>notes are like bullets flung out a guitar, just channeling

0:06:58.920 --> 0:07:01.200
<v Speaker 2>his higher being and that's what he was doing.

0:07:02.800 --> 0:07:03.719
<v Speaker 1>That so turned me on.

0:07:03.760 --> 0:07:05.039
<v Speaker 2>I said, this is what I want to do. I

0:07:05.040 --> 0:07:06.360
<v Speaker 2>want to be able to do what I see him

0:07:06.360 --> 0:07:09.359
<v Speaker 2>do tonight. Just channel my higher being what he's doing.

0:07:09.720 --> 0:07:12.400
<v Speaker 2>No drugs, you know, no no LSD, no more, no

0:07:12.480 --> 0:07:15.640
<v Speaker 2>more stuff, just pure, pure soul, pure God.

0:07:16.720 --> 0:07:17.080
<v Speaker 1>And uh.

0:07:17.880 --> 0:07:20.560
<v Speaker 2>That night in the audience, I met a disciple I

0:07:20.560 --> 0:07:22.400
<v Speaker 2>could tell his all white, had shorty air.

0:07:22.840 --> 0:07:25.520
<v Speaker 1>His name was a paik Shah. He recently just passed away.

0:07:25.760 --> 0:07:28.040
<v Speaker 2>But in the audience theory was and I said, hey,

0:07:28.880 --> 0:07:32.120
<v Speaker 2>I have to meet meet my Vishnu. I met Anna Carmel.

0:07:32.320 --> 0:07:34.360
<v Speaker 2>I did another disciple in Florida when I was living

0:07:34.400 --> 0:07:37.400
<v Speaker 2>down there. Hook me up so I can just go

0:07:37.440 --> 0:07:40.520
<v Speaker 2>backstage and meet him. He said, okay, wait and I

0:07:40.560 --> 0:07:43.040
<v Speaker 2>waited and he came back and got me and I

0:07:43.080 --> 0:07:45.240
<v Speaker 2>went back in the back stage area and there was

0:07:45.280 --> 0:07:48.240
<v Speaker 2>like two little rooms back there and on one other

0:07:48.320 --> 0:07:51.280
<v Speaker 2>room which is locked off. I could hear Cobbin Janhamer.

0:07:52.200 --> 0:07:56.040
<v Speaker 2>Those cats just talking high energy talk like coal trane talk,

0:07:56.360 --> 0:08:00.280
<v Speaker 2>you know, McCoy tyner talk, just you know, really high.

0:08:00.640 --> 0:08:03.160
<v Speaker 2>And then poked his hat out and said, wait in

0:08:03.200 --> 0:08:05.800
<v Speaker 2>that small room right there for me. So I waited

0:08:05.800 --> 0:08:08.680
<v Speaker 2>in a little small room and then when he came in,

0:08:11.200 --> 0:08:15.360
<v Speaker 2>it was life changing. His face was so beautiful and

0:08:15.400 --> 0:08:20.360
<v Speaker 2>his speak was so English slash black mixture. I never

0:08:20.440 --> 0:08:24.400
<v Speaker 2>heard anything like it. How are you, brother, I said,

0:08:24.640 --> 0:08:27.680
<v Speaker 2>I'm really great man. My name is Michael Walden. I

0:08:27.680 --> 0:08:30.680
<v Speaker 2>played drums. I want to be like you, and I

0:08:30.760 --> 0:08:35.480
<v Speaker 2>just told him, you know, so that's how I was

0:08:35.480 --> 0:08:37.200
<v Speaker 2>able to meet him.

0:08:37.400 --> 0:08:39.480
<v Speaker 1>Are you still a disciple today?

0:08:40.679 --> 0:08:45.040
<v Speaker 2>Yes, the Guru has passed on, but in my heart

0:08:45.080 --> 0:08:49.120
<v Speaker 2>of hearts, the messages I've learned are with me every day,

0:08:49.800 --> 0:08:52.559
<v Speaker 2>which is very simple. Just to have more love, more

0:08:52.880 --> 0:08:53.640
<v Speaker 2>love and compassion.

0:08:53.720 --> 0:08:57.120
<v Speaker 1>You okay, the Guru gave you a new name. Tell

0:08:57.160 --> 0:08:57.880
<v Speaker 1>us about that.

0:08:58.400 --> 0:09:00.760
<v Speaker 2>Well, that didn't come to like later on by I

0:09:00.800 --> 0:09:03.280
<v Speaker 2>would have long time to get a name. I became

0:09:03.280 --> 0:09:05.680
<v Speaker 2>a disciple, you know when I was like, you know,

0:09:05.720 --> 0:09:07.839
<v Speaker 2>seven seventy three, and then I didn't get a name.

0:09:07.880 --> 0:09:11.240
<v Speaker 2>Like seventy six, just before my first solo album, Garden

0:09:11.320 --> 0:09:13.560
<v Speaker 2>Love Light, I already made wired all the Mafish orchestras

0:09:13.600 --> 0:09:17.080
<v Speaker 2>I had no I was Michael. He said, at the

0:09:17.120 --> 0:09:19.640
<v Speaker 2>time is now for you to receive your name. I

0:09:19.640 --> 0:09:22.200
<v Speaker 2>never wanted to spoil you, but the time is now.

0:09:23.000 --> 0:09:25.120
<v Speaker 2>And he said it's called God's hour. This is God's

0:09:25.160 --> 0:09:27.800
<v Speaker 2>hour for you to receive your name. And when he

0:09:27.800 --> 0:09:29.600
<v Speaker 2>gave him my name, I was kind of like, like

0:09:29.920 --> 0:09:31.920
<v Speaker 2>very prayerful, and he started chanting like.

0:09:32.200 --> 0:09:37.000
<v Speaker 1>No row.

0:09:37.800 --> 0:09:41.800
<v Speaker 2>Dum this when on round and round and round and around.

0:09:41.800 --> 0:09:43.280
<v Speaker 1>I didn't know if my name was my name is.

0:09:43.360 --> 0:09:52.040
<v Speaker 2>Nah Rah or dah until he said Narada Narda, your

0:09:52.080 --> 0:09:55.400
<v Speaker 2>soul is sweet. Your soul brings from heaven to Earth light,

0:09:55.480 --> 0:09:58.240
<v Speaker 2>delight and compassion and takes back to Heaven from earth

0:09:58.440 --> 0:10:03.280
<v Speaker 2>earth sufferings. Throw yourself into your music. Throw yourself into

0:10:03.320 --> 0:10:07.720
<v Speaker 2>your music. And then he said the name Narda was

0:10:07.760 --> 0:10:10.280
<v Speaker 2>a name from a sage to a sage who lived

0:10:10.280 --> 0:10:15.079
<v Speaker 2>in India who had three different Indian incarnations. You want

0:10:15.080 --> 0:10:19.920
<v Speaker 2>to hear about those, yeah, he said, Narda's soul first

0:10:21.200 --> 0:10:25.200
<v Speaker 2>was a young boy. He lived in the woods, with

0:10:25.280 --> 0:10:29.200
<v Speaker 2>his mother, who served the hermits. She served the hermits

0:10:29.200 --> 0:10:32.839
<v Speaker 2>their food as they would meditate and pray, and Narda

0:10:32.840 --> 0:10:36.160
<v Speaker 2>would help serve the food. And Guru said, one day

0:10:36.600 --> 0:10:41.160
<v Speaker 2>the mother died of a snake bite, and the hermits

0:10:41.200 --> 0:10:44.520
<v Speaker 2>took Narda in and they taught him how to pray

0:10:44.520 --> 0:10:47.280
<v Speaker 2>and meditate. And Guru said, the first time that he

0:10:47.400 --> 0:10:49.920
<v Speaker 2>learned to pray and meditate, he had a vision of

0:10:49.920 --> 0:10:53.840
<v Speaker 2>God in his heart. He said, it never happened again

0:10:53.840 --> 0:10:56.079
<v Speaker 2>in that lifetime, just that one time he had a

0:10:56.160 --> 0:10:59.280
<v Speaker 2>vision of God in his heart. Then in the second

0:10:59.280 --> 0:11:02.160
<v Speaker 2>lifetime he came back to the planet as Narda again.

0:11:02.520 --> 0:11:05.720
<v Speaker 2>And then Guru said, temptation really caught him. In this lifetime,

0:11:06.480 --> 0:11:10.000
<v Speaker 2>he had fifty wives and they drove him crazy. Then

0:11:10.000 --> 0:11:11.480
<v Speaker 2>he went back to heaven. After that lifetime, he said,

0:11:11.480 --> 0:11:13.440
<v Speaker 2>I don't want to go back to Earth anymore. But

0:11:13.480 --> 0:11:16.040
<v Speaker 2>then God said, no, you're going back to the third incarnation,

0:11:17.000 --> 0:11:19.640
<v Speaker 2>and this incarnation you'll be Narda. But I will give

0:11:19.679 --> 0:11:24.640
<v Speaker 2>you spiritual music to play on the vina. I'll teach

0:11:24.679 --> 0:11:28.079
<v Speaker 2>you spiritual songs to sing. And then Guru said, in

0:11:28.160 --> 0:11:32.720
<v Speaker 2>this lifetime is the lifetime that became more known for

0:11:32.840 --> 0:11:34.880
<v Speaker 2>Narada as far as the blacka ba Ghita come. You

0:11:34.920 --> 0:11:39.080
<v Speaker 2>know stories how it could appear and disappear. And then

0:11:39.120 --> 0:11:40.800
<v Speaker 2>he said, I want to tell you one story about

0:11:40.920 --> 0:11:47.600
<v Speaker 2>Narda in this lifetime, as far as the third incarnation

0:11:47.640 --> 0:11:51.800
<v Speaker 2>of Narada and waiting for God's hour, so he said,

0:11:52.040 --> 0:11:56.760
<v Speaker 2>one day, Narda was walking along the road and he

0:11:56.840 --> 0:12:00.880
<v Speaker 2>saw a very austere man meditating in preys by a tree.

0:12:02.360 --> 0:12:05.199
<v Speaker 2>And the austere man recognized Narda, and he said, Narda,

0:12:05.200 --> 0:12:08.080
<v Speaker 2>on your way back to heaven, would you ask God

0:12:08.080 --> 0:12:12.440
<v Speaker 2>about my realization? And Narda said yes, I will. And

0:12:12.440 --> 0:12:15.880
<v Speaker 2>then Nada walked further along that road and he saw

0:12:17.200 --> 0:12:21.440
<v Speaker 2>kind of a crazy fellow, a lunatic fellow, and the

0:12:21.480 --> 0:12:25.880
<v Speaker 2>crazy fellow kind of jokingly asked Narda, Oh, Narda, on

0:12:25.920 --> 0:12:28.160
<v Speaker 2>your way back to heaven, would you ask God about

0:12:28.160 --> 0:12:33.840
<v Speaker 2>my realization? And Nada said yes, I will. So then

0:12:35.280 --> 0:12:39.280
<v Speaker 2>when Nada went back to heaven, God said, tell the

0:12:39.360 --> 0:12:43.960
<v Speaker 2>first austere gentleman, very good news for him. It is

0:12:44.000 --> 0:12:47.040
<v Speaker 2>only a matter of thirty short years and he would

0:12:47.080 --> 0:12:52.960
<v Speaker 2>realize me in this lifetime. But tell the lunatic the

0:12:53.000 --> 0:12:57.800
<v Speaker 2>crazy fellow, tell him that as many leaves as are

0:12:57.840 --> 0:13:01.160
<v Speaker 2>on the Tamarin tree where he's standing. That is how

0:13:01.160 --> 0:13:04.120
<v Speaker 2>many lifetimes you will have to take to come back

0:13:04.160 --> 0:13:10.120
<v Speaker 2>to earth before he will realize me. So Narda goes

0:13:10.120 --> 0:13:12.480
<v Speaker 2>back to Earth. He's walking along that road again. There

0:13:12.480 --> 0:13:15.600
<v Speaker 2>he sees the austere gentleman. He says to the austere gentleman,

0:13:15.920 --> 0:13:19.600
<v Speaker 2>I have very good news for you. The good Lord

0:13:19.600 --> 0:13:22.720
<v Speaker 2>has said it is only a matter of thirty short

0:13:22.840 --> 0:13:27.600
<v Speaker 2>years and you will realize me in this lifetime. And

0:13:27.640 --> 0:13:32.040
<v Speaker 2>the man said, you mean it will take me thirty

0:13:32.040 --> 0:13:35.720
<v Speaker 2>more years of meditation. That seems to be such a

0:13:35.760 --> 0:13:39.320
<v Speaker 2>long time. Then Narda tried to explain to him that

0:13:39.360 --> 0:13:42.599
<v Speaker 2>he could easily do this, that thirty years would go

0:13:42.640 --> 0:13:45.920
<v Speaker 2>by quickly, he would have a good time meditation and

0:13:46.000 --> 0:13:47.120
<v Speaker 2>see God in this life.

0:13:48.679 --> 0:13:51.800
<v Speaker 1>But the man wasn't happy with this news. The austere

0:13:51.800 --> 0:13:54.160
<v Speaker 1>gentleman was not happy with this news.

0:13:55.640 --> 0:13:57.920
<v Speaker 2>Narda kept walking down that road further and then he

0:13:57.960 --> 0:14:02.320
<v Speaker 2>sees the crazy lunatic, the crazy fellow, and the lunatic

0:14:02.320 --> 0:14:05.240
<v Speaker 2>again jokingly says, so, Narda, did you ask God about

0:14:05.240 --> 0:14:10.000
<v Speaker 2>my realization? And Narda said, yes, I did. Do you

0:14:10.040 --> 0:14:14.760
<v Speaker 2>see all these leaves on this tree, on this on

0:14:14.880 --> 0:14:18.559
<v Speaker 2>this on this tamarin tree. And the gentleman said, yes,

0:14:18.559 --> 0:14:21.160
<v Speaker 2>I do. I see all the leaves. And Narda said,

0:14:21.680 --> 0:14:25.320
<v Speaker 2>as many leaves as are on this tamarin tree. That

0:14:25.440 --> 0:14:27.360
<v Speaker 2>is how many lifetimes you must come back to the

0:14:27.360 --> 0:14:33.280
<v Speaker 2>earth before you ever realize God. And Lunsik said, you mean.

0:14:33.160 --> 0:14:36.440
<v Speaker 1>I will realize God. He started dancing.

0:14:36.920 --> 0:14:40.880
<v Speaker 2>He started singing very soulfully that Narda told him one

0:14:40.960 --> 0:14:45.520
<v Speaker 2>day he realized God. This so pleased God watching this

0:14:45.560 --> 0:14:49.360
<v Speaker 2>whole thing unfold, that God granted him instant realization at

0:14:49.360 --> 0:14:53.000
<v Speaker 2>that moment. Then gru said, this is the story of

0:14:53.040 --> 0:14:56.760
<v Speaker 2>waiting for God's hour. God's hour is now here for

0:14:56.800 --> 0:14:59.920
<v Speaker 2>you to receive your name, Narda. So this is how

0:15:00.120 --> 0:15:04.560
<v Speaker 2>I received my name Narada, which means supreme musician.

0:15:07.000 --> 0:15:13.000
<v Speaker 1>Okay, what is Shri shin Moy's basic philosophy basic religious philosophy?

0:15:14.040 --> 0:15:19.640
<v Speaker 2>Schrechin MOI comes from ponditary India in the Shri Rabindo Ashram,

0:15:19.800 --> 0:15:24.000
<v Speaker 2>raised in the Ashram. And it's love, It's bakhdi, it's

0:15:24.000 --> 0:15:28.520
<v Speaker 2>bacta yoga, it's love. He breaks it down into love, devotions,

0:15:28.560 --> 0:15:32.120
<v Speaker 2>surrender to God, the three steps to love God, to

0:15:32.160 --> 0:15:36.400
<v Speaker 2>have devotion to God, have surrender. So it's looking at

0:15:36.480 --> 0:15:39.400
<v Speaker 2>life in that regard of love, which is the most

0:15:39.440 --> 0:15:43.880
<v Speaker 2>important of all devotion. To have devotion, and then surrender

0:15:44.360 --> 0:15:49.560
<v Speaker 2>is really for me being happy, being happy with my life.

0:15:49.640 --> 0:15:51.920
<v Speaker 2>I feel like when I'm happy, my sail is up.

0:15:52.160 --> 0:15:55.080
<v Speaker 2>I can catch God's grace. I can feel the love

0:15:55.480 --> 0:15:58.200
<v Speaker 2>and work with the love and be inspired to talk

0:15:58.240 --> 0:16:00.480
<v Speaker 2>to you. Now, Bobby, be inspired talk to you. I'm

0:16:00.520 --> 0:16:01.520
<v Speaker 2>looking forward to talking to you.

0:16:02.760 --> 0:16:06.240
<v Speaker 1>Is this the same God that other people pray to

0:16:06.400 --> 0:16:09.720
<v Speaker 1>in other Western religions or Eastern religions. Is it all

0:16:09.760 --> 0:16:11.360
<v Speaker 1>the same God or a different God?

0:16:13.240 --> 0:16:15.680
<v Speaker 2>Well, God is God. But you know we look at

0:16:15.680 --> 0:16:19.280
<v Speaker 2>God in different ways and that's all good. So you know,

0:16:19.680 --> 0:16:21.640
<v Speaker 2>in fact, Groom, I say, God could appear to him

0:16:21.640 --> 0:16:23.120
<v Speaker 2>as a child. God can appear to him as a

0:16:23.120 --> 0:16:25.960
<v Speaker 2>old man. God can appear in different different forms. But

0:16:26.000 --> 0:16:29.960
<v Speaker 2>the creator, the energy of God is one one source.

0:16:30.400 --> 0:16:35.840
<v Speaker 2>And I look at like spirituality and religion. Look a tree.

0:16:36.440 --> 0:16:40.520
<v Speaker 2>A tree has many many branches, you know, Buddhist and

0:16:40.640 --> 0:16:42.600
<v Speaker 2>Protestant and Catholic and all these different ways of looking

0:16:42.640 --> 0:16:45.960
<v Speaker 2>at God, Muslims. But then guruus say, aspire to be

0:16:46.040 --> 0:16:48.200
<v Speaker 2>one with the roots of the tree. So no matter

0:16:48.240 --> 0:16:52.320
<v Speaker 2>what the branches are, you still have love and see God.

0:16:52.560 --> 0:16:54.480
<v Speaker 2>So this is where I'm coming from. My life is

0:16:54.520 --> 0:16:59.040
<v Speaker 2>spirituality to love God in all forms. But the Creator

0:16:59.080 --> 0:17:00.120
<v Speaker 2>that I love in.

0:17:00.480 --> 0:17:09.120
<v Speaker 1>My personal heart inspires my music, inspires my life, inspires

0:17:09.119 --> 0:17:11.960
<v Speaker 1>everything I do. Okay, if you go back to this era,

0:17:12.320 --> 0:17:15.480
<v Speaker 1>you were a follower of the Guru. So was John McLauchlan,

0:17:15.560 --> 0:17:19.919
<v Speaker 1>Carlos c and Tiana Pete Townshend. Are they all still

0:17:20.080 --> 0:17:21.000
<v Speaker 1>followers now?

0:17:22.359 --> 0:17:24.840
<v Speaker 2>Mavish Knew is very much in touch with the same

0:17:24.960 --> 0:17:28.040
<v Speaker 2>spirit of Guru. He'll ask me, am I talking to

0:17:28.040 --> 0:17:30.199
<v Speaker 2>the different disciples or you know how I'm doing in

0:17:30.240 --> 0:17:32.919
<v Speaker 2>my spiritual life. So he's still very conc connected, and

0:17:33.000 --> 0:17:36.320
<v Speaker 2>so is Carlos. Carlos will put out aphorisms of Guru

0:17:36.359 --> 0:17:40.000
<v Speaker 2>with some music going on, and he's very much talking

0:17:40.000 --> 0:17:42.360
<v Speaker 2>to me about the things he learned on the spiritual

0:17:42.359 --> 0:17:45.720
<v Speaker 2>life in the Spurgi of path that was life changing

0:17:45.720 --> 0:17:48.320
<v Speaker 2>for him. Pete Townsend, you mentioned he was never a

0:17:48.359 --> 0:17:50.480
<v Speaker 2>disciple that I knew of. I went and saw Pete

0:17:50.520 --> 0:17:53.240
<v Speaker 2>Townsend with who at Madis Square Garden. John took me

0:17:53.280 --> 0:17:54.919
<v Speaker 2>to go and see him and I met him. Now

0:17:54.960 --> 0:17:58.159
<v Speaker 2>in my life, but he wasn't a disciple, but Mavish

0:17:58.200 --> 0:18:02.840
<v Speaker 2>knew was clearly there, very voted and Carlos Santana's well.

0:18:03.560 --> 0:18:07.639
<v Speaker 1>Okay, So that gig where you go to see the

0:18:07.720 --> 0:18:12.280
<v Speaker 1>mahel Vishnu Orchestra, you're in a band at that time, Yes,

0:18:12.359 --> 0:18:12.680
<v Speaker 1>I am.

0:18:12.960 --> 0:18:15.080
<v Speaker 2>The band at that time was called the New McGuire

0:18:15.200 --> 0:18:18.520
<v Speaker 2>Sisters with Santa Churan on guitar, a brilliant guitar player.

0:18:18.720 --> 0:18:21.000
<v Speaker 2>We'd flown Ralph Armstrong in from Detroit who was about

0:18:21.000 --> 0:18:23.880
<v Speaker 2>sixteen seventeen years old. He was brilliant on piano. Another

0:18:23.880 --> 0:18:26.840
<v Speaker 2>Captain Detroit and Billy McCoy and we had a little

0:18:26.880 --> 0:18:29.520
<v Speaker 2>manager and we'd rock out every day in our barn

0:18:30.200 --> 0:18:33.480
<v Speaker 2>and this barn was incredible. We could just like take

0:18:33.480 --> 0:18:35.639
<v Speaker 2>an inspiration from Mavis Schnorkers, taken inspision with things, be

0:18:35.640 --> 0:18:39.960
<v Speaker 2>loved whether whatever they were, and just you know, hone

0:18:40.000 --> 0:18:43.320
<v Speaker 2>our crafts and get strong, build our muscles. Playing in seven,

0:18:43.600 --> 0:18:46.800
<v Speaker 2>nine eleven different times of signatures with the funk and

0:18:46.840 --> 0:18:49.440
<v Speaker 2>I can develop myself as a drummer. So it's really

0:18:49.480 --> 0:18:52.640
<v Speaker 2>important to have that that time in my life.

0:18:52.840 --> 0:18:56.240
<v Speaker 1>Yeah, okay, And what was the status of the band.

0:18:56.280 --> 0:18:57.560
<v Speaker 1>How successful were they?

0:18:58.200 --> 0:19:01.240
<v Speaker 2>It was trying to become successful with a cat named

0:19:01.280 --> 0:19:04.720
<v Speaker 2>TiO Massaro, who was the producer for Miles Davis. But

0:19:04.760 --> 0:19:06.440
<v Speaker 2>then that never really worked out, and that was part

0:19:06.440 --> 0:19:09.359
<v Speaker 2>of my frustration. I kind of felt like, how am

0:19:09.359 --> 0:19:11.439
<v Speaker 2>I ever going to make it? Am I ever going

0:19:11.520 --> 0:19:14.160
<v Speaker 2>to make it? That was always my prayer, how will

0:19:14.160 --> 0:19:16.800
<v Speaker 2>I make it? Because I really want it to be,

0:19:17.359 --> 0:19:19.439
<v Speaker 2>you know, able to make a living with music and

0:19:19.480 --> 0:19:20.200
<v Speaker 2>not just struggle.

0:19:27.280 --> 0:19:30.840
<v Speaker 1>Okay, so you're originally from the Midwest. I am from

0:19:30.920 --> 0:19:35.320
<v Speaker 1>Klamua Zuo, Michigan, Kalamazoom, Michigan. And what kind of circumstances

0:19:35.320 --> 0:19:38.960
<v Speaker 1>did you grow up in? Uh, circumstances. I'm born in

0:19:39.000 --> 0:19:43.520
<v Speaker 1>nineteen fifty two April twenty third, and we're not raised

0:19:43.560 --> 0:19:45.080
<v Speaker 1>with like a lot a lot of money, but there's

0:19:45.080 --> 0:19:45.640
<v Speaker 1>a lot of love.

0:19:46.080 --> 0:19:48.160
<v Speaker 2>My mom was aldost a six. In her family, they're

0:19:48.320 --> 0:19:52.600
<v Speaker 2>very music driven. They love music. My mom aunt Mary,

0:19:52.640 --> 0:19:55.640
<v Speaker 2>the twins Vicka and Valerie, Edgar and Travis, they love

0:19:55.720 --> 0:19:57.360
<v Speaker 2>the music and they're always playing the music. And that's

0:19:57.359 --> 0:20:00.520
<v Speaker 2>where I got, uh the inspiration to hear the music

0:20:00.560 --> 0:20:02.439
<v Speaker 2>so early in my life, hearing Nina Simon when I'm

0:20:02.440 --> 0:20:05.440
<v Speaker 2>four years old, cannibell Adelie, you know, Dave brew Beck,

0:20:06.320 --> 0:20:10.240
<v Speaker 2>Jimmy Smith. Everything played in the house, even Everly Brothers,

0:20:10.359 --> 0:20:13.800
<v Speaker 2>Patty Page, Okay Cod Johnny Mathis. Everything is being played

0:20:13.840 --> 0:20:16.320
<v Speaker 2>all the time. That was so important for my life.

0:20:16.680 --> 0:20:19.000
<v Speaker 2>Then my dad was eighteen years old when he had me.

0:20:19.280 --> 0:20:21.760
<v Speaker 2>My mom was nineteen, and he wanted to be a drummer.

0:20:21.800 --> 0:20:23.080
<v Speaker 2>But he was a drummer. But he wanted to be

0:20:23.119 --> 0:20:26.200
<v Speaker 2>a drummer. So he'd bring him an album of Max

0:20:26.280 --> 0:20:31.320
<v Speaker 2>Roach versus Buddy Rich so I could hear that kind

0:20:31.320 --> 0:20:35.800
<v Speaker 2>of thing going on. So we weren't raised over like

0:20:35.800 --> 0:20:38.760
<v Speaker 2>a lot a lot of money. In fact, they were custodians.

0:20:39.240 --> 0:20:42.280
<v Speaker 2>They would clean buildings. My grandfather would clean all the

0:20:42.280 --> 0:20:45.400
<v Speaker 2>buildings in downtown Kalamba Zoo. But I learned something from

0:20:45.400 --> 0:20:47.640
<v Speaker 2>that watching them and working with them, how to be efficient.

0:20:47.680 --> 0:20:49.960
<v Speaker 2>Boom boom, boom boom, get things done quickly, make things

0:20:50.000 --> 0:20:52.960
<v Speaker 2>clean quickly, do things quickly, which has served me to

0:20:52.960 --> 0:20:55.560
<v Speaker 2>this day as a producer. But that's how I was

0:20:55.600 --> 0:20:56.919
<v Speaker 2>raised up in Kalamazoo, Michigan.

0:20:57.200 --> 0:20:59.720
<v Speaker 1>And how many kids in the family. I'm the oldest

0:20:59.720 --> 0:20:59.920
<v Speaker 1>of six.

0:21:01.080 --> 0:21:04.440
<v Speaker 2>There's me, there's Ron, who's passed away in Heaven, Cavin

0:21:04.440 --> 0:21:07.040
<v Speaker 2>whos passed away in Caaven, Chris has passed away in heaven.

0:21:07.320 --> 0:21:11.440
<v Speaker 2>And then my two sisters, Yolanda and Edie. Yolanda flies

0:21:11.480 --> 0:21:13.960
<v Speaker 2>for the Alaska Airlines, and he is a doctor out

0:21:13.960 --> 0:21:14.560
<v Speaker 2>here for children.

0:21:15.200 --> 0:21:17.479
<v Speaker 1>And what did the rest of them do in their lives?

0:21:18.160 --> 0:21:20.520
<v Speaker 2>Oh Ron was like a carpenter for a long time,

0:21:20.720 --> 0:21:22.400
<v Speaker 2>then became a bartender, had.

0:21:22.320 --> 0:21:26.000
<v Speaker 1>Some issues with alcohol, and the Good Lord took him

0:21:26.000 --> 0:21:26.360
<v Speaker 1>out of here.

0:21:27.240 --> 0:21:29.480
<v Speaker 2>Kevin, my brother, Kevin, was a manager for me for

0:21:29.480 --> 0:21:32.119
<v Speaker 2>a long time, worked at worked worked with me very beautifully.

0:21:32.400 --> 0:21:34.679
<v Speaker 2>When I was doing my Wooden Houston stuff, you know,

0:21:34.680 --> 0:21:37.240
<v Speaker 2>Shanny Schwolson stuff, havivn Campbell stuff. We went to Japan

0:21:37.280 --> 0:21:39.000
<v Speaker 2>together with a lot of a lot of great things.

0:21:40.119 --> 0:21:42.280
<v Speaker 2>My mom kind of passed away, which he looked after

0:21:42.640 --> 0:21:45.080
<v Speaker 2>my mom. I kind of felt he kind of lost

0:21:45.080 --> 0:21:48.760
<v Speaker 2>some business inspiration and he went to heaven.

0:21:49.119 --> 0:21:53.720
<v Speaker 1>Okay, so you're going to school, Yeah, what's that like.

0:21:53.840 --> 0:21:57.240
<v Speaker 1>You're a good student, you're a popular kid, you're isolated?

0:21:57.240 --> 0:21:59.400
<v Speaker 1>What kind of kid are you? In school?

0:21:59.600 --> 0:22:06.280
<v Speaker 2>It was all hard. Studies were hard. We went from Kalamazoo, Michigan.

0:22:06.400 --> 0:22:09.840
<v Speaker 2>I moved. See, I did my kindergarten first half a

0:22:09.880 --> 0:22:12.960
<v Speaker 2>first grade in Kalamazoo, then moved to a place called Plainwell

0:22:13.760 --> 0:22:16.800
<v Speaker 2>the second half of first grade. And that was a

0:22:16.880 --> 0:22:18.399
<v Speaker 2>very strange kind of period of the way out in

0:22:18.400 --> 0:22:23.280
<v Speaker 2>the country, you know, realizing I was in the same

0:22:23.280 --> 0:22:25.640
<v Speaker 2>color as everybody else. That was first when I heard

0:22:25.640 --> 0:22:28.040
<v Speaker 2>the N word out there, It's like, wow, what is

0:22:28.080 --> 0:22:30.560
<v Speaker 2>all this going on? But I fell in love with

0:22:30.560 --> 0:22:32.400
<v Speaker 2>some of the kids in the school. A little girl

0:22:32.400 --> 0:22:35.280
<v Speaker 2>in particular, was so beautiful. So I went to the

0:22:35.359 --> 0:22:40.000
<v Speaker 2>public school from in Plainwell second half of first grade.

0:22:40.240 --> 0:22:42.120
<v Speaker 2>In all second grade, I fell in love with my teacher,

0:22:42.160 --> 0:22:45.160
<v Speaker 2>Missus Prowdy. She was so beautiful. Then from third grade

0:22:45.200 --> 0:22:46.840
<v Speaker 2>to eighth grade, we had to take a second bus

0:22:46.840 --> 0:22:50.359
<v Speaker 2>to go to a place called Otzigo, Michigan for Saint Margaret's.

0:22:50.480 --> 0:22:52.960
<v Speaker 2>That was a Catholic school. We had massive morning you

0:22:52.960 --> 0:22:56.560
<v Speaker 2>pray every morning, and I prayed for drum sets. I'd

0:22:56.600 --> 0:22:59.520
<v Speaker 2>bring my drum magazine, prayed for the drum sets, you know,

0:22:59.600 --> 0:23:03.080
<v Speaker 2>greens or red, sparkle whatever. So that's how I was

0:23:03.160 --> 0:23:04.959
<v Speaker 2>kind of like, you know, making it in my life.

0:23:05.160 --> 0:23:07.879
<v Speaker 2>Then my grandfather was really kind to me for the

0:23:07.880 --> 0:23:10.480
<v Speaker 2>one hundred dollars bill in sixty one sixty two bought

0:23:10.480 --> 0:23:13.760
<v Speaker 2>my first drum set, a bass drum, a snare drum, cymbol,

0:23:14.359 --> 0:23:17.840
<v Speaker 2>cow bell and woodblock, and that really freed me. I

0:23:17.920 --> 0:23:20.960
<v Speaker 2>really had. I was so looking forward to to the

0:23:21.040 --> 0:23:24.560
<v Speaker 2>drums I could just play. And then for Christmas they

0:23:24.560 --> 0:23:26.440
<v Speaker 2>got a high hat, so that was also very very important.

0:23:26.520 --> 0:23:28.160
<v Speaker 1>Okay, so how did you know you wanted to play

0:23:28.200 --> 0:23:29.000
<v Speaker 1>the drums? Oh man?

0:23:29.040 --> 0:23:31.720
<v Speaker 2>Born and born to play music. You don't understand me.

0:23:33.040 --> 0:23:35.359
<v Speaker 2>When I'm little, I watched record spin and just be

0:23:35.400 --> 0:23:38.320
<v Speaker 2>hypnotized watching the record spin, or stare at an album jacket,

0:23:38.359 --> 0:23:40.840
<v Speaker 2>you know, a woman dancing to the mambo or whatever.

0:23:41.000 --> 0:23:43.320
<v Speaker 2>Or here Peggy Lee and you're sharing, you know, the

0:23:43.560 --> 0:23:47.800
<v Speaker 2>beauty in the in the beat. Or just tap along,

0:23:48.640 --> 0:23:51.359
<v Speaker 2>get a pie, ten, get a box, play the Nimon's

0:23:51.680 --> 0:23:56.119
<v Speaker 2>Laba town all play along with horse silvers, six pieces

0:23:56.160 --> 0:23:58.800
<v Speaker 2>of silver. There was a cat out of Detroit we

0:23:58.800 --> 0:24:01.080
<v Speaker 2>all heard about named Lewis Hay. He'd be eighteen years

0:24:01.119 --> 0:24:02.760
<v Speaker 2>old when I'm four or five. He was, and they

0:24:02.800 --> 0:24:05.359
<v Speaker 2>would say he's he's a hot new cat. So I

0:24:05.440 --> 0:24:06.160
<v Speaker 2>just try and play.

0:24:05.960 --> 0:24:07.280
<v Speaker 1>Along with him.

0:24:07.520 --> 0:24:09.680
<v Speaker 2>So that's how it always was just music all the time.

0:24:10.480 --> 0:24:13.600
<v Speaker 2>My family loved it, loved it. You understand when you're

0:24:13.600 --> 0:24:15.480
<v Speaker 2>hearing the radio even twisted and shot by Oisley Brothers.

0:24:15.560 --> 0:24:20.040
<v Speaker 2>He'd be like life changing the sound of the record.

0:24:21.000 --> 0:24:25.360
<v Speaker 2>Small things are big things, and don't forget in Michigan,

0:24:25.560 --> 0:24:29.639
<v Speaker 2>the snow, the cold. You know you're indoors, so you

0:24:29.680 --> 0:24:32.120
<v Speaker 2>find things to do indoors. So playing on, playing music

0:24:32.160 --> 0:24:35.879
<v Speaker 2>and playing the piano very important. And then I have

0:24:35.960 --> 0:24:41.240
<v Speaker 2>to also say to you, like different sides of me,

0:24:41.760 --> 0:24:45.360
<v Speaker 2>one side by be hearing like the who I can

0:24:45.400 --> 0:24:47.359
<v Speaker 2>see for Miles and Miles get a little guitar player

0:24:47.359 --> 0:24:50.639
<v Speaker 2>over the basement and bash with him. Then I'd have

0:24:50.640 --> 0:24:53.479
<v Speaker 2>another friend and kalamazoo. My little black friend, nam Joel Brooks.

0:24:53.600 --> 0:24:55.399
<v Speaker 2>We put together a little group called the Ambassadors. He

0:24:55.440 --> 0:24:58.439
<v Speaker 2>played like Oregan. I played drums. We'd do like our

0:24:58.440 --> 0:25:00.800
<v Speaker 2>little Jimmy Smith stuff. And his uncle would own a

0:25:00.840 --> 0:25:03.000
<v Speaker 2>night club call the Ambassador Lounge where I can go

0:25:03.000 --> 0:25:05.199
<v Speaker 2>in there and kind of play for the people before

0:25:05.600 --> 0:25:07.440
<v Speaker 2>Jim McGriff would come in or whoever's gonna come into

0:25:07.440 --> 0:25:10.639
<v Speaker 2>town to play. So early exposure in my life that

0:25:10.760 --> 0:25:15.960
<v Speaker 2>was really important, really important. Little talent shows. Yeah, okay,

0:25:16.000 --> 0:25:17.040
<v Speaker 2>are you self taught her?

0:25:17.040 --> 0:25:20.440
<v Speaker 1>Did you take lessons? I'm I have a god gift

0:25:20.520 --> 0:25:22.240
<v Speaker 1>of it, of it a natural thing.

0:25:22.280 --> 0:25:25.280
<v Speaker 2>But then I learned snare drum from a cat named

0:25:25.320 --> 0:25:30.800
<v Speaker 2>Tom Carey downtown Kalamazoo at Bobby Davidson's music store. Tom

0:25:30.840 --> 0:25:33.760
<v Speaker 2>carry be downstairs and he would teach me the rudiments,

0:25:33.920 --> 0:25:37.879
<v Speaker 2>you know, five stroke, seven stroke, you know, paradittals, and

0:25:37.920 --> 0:25:39.120
<v Speaker 2>how to strengthen my left hand.

0:25:40.000 --> 0:25:40.880
<v Speaker 1>So that was important.

0:25:41.040 --> 0:25:43.200
<v Speaker 2>And then I found another teacher on the north side

0:25:43.240 --> 0:25:47.200
<v Speaker 2>kalama Zoo named Harold Mason. He then became the druman

0:25:47.200 --> 0:25:51.600
<v Speaker 2>for Stevie Wonder and he would teach me independency. He

0:25:51.600 --> 0:25:54.359
<v Speaker 2>would say, there's a book by a cantnamed Jim Chapin

0:25:54.440 --> 0:25:56.040
<v Speaker 2>called the Blue Book of Independency, and I need you

0:25:56.040 --> 0:25:58.840
<v Speaker 2>to break your mind up so you can do change

0:25:59.000 --> 0:26:03.320
<v Speaker 2>jan and changeing with your right hand. And then when

0:26:03.359 --> 0:26:05.720
<v Speaker 2>your left hand play against it whatever it is written

0:26:05.720 --> 0:26:08.040
<v Speaker 2>out different things against it, so you're playing two different things.

0:26:08.400 --> 0:26:10.840
<v Speaker 2>Then you incorporate your feet into it, you know, you

0:26:10.840 --> 0:26:12.520
<v Speaker 2>bring your basetrum into it, you bring your high end

0:26:12.560 --> 0:26:15.760
<v Speaker 2>to it, and now your brain's thinking four different ways.

0:26:16.240 --> 0:26:18.439
<v Speaker 2>So he was hero Mason was instrumental in breaking up

0:26:18.480 --> 0:26:21.399
<v Speaker 2>my It's called independency. So I could be free on

0:26:21.440 --> 0:26:24.560
<v Speaker 2>four different things, and if you sing, it's five. So

0:26:24.600 --> 0:26:25.720
<v Speaker 2>I have to have to give a lot of love

0:26:25.800 --> 0:26:29.040
<v Speaker 2>to that time of my life, which is hard to

0:26:29.080 --> 0:26:31.160
<v Speaker 2>kind of master, like riding a bike. But then once

0:26:31.160 --> 0:26:32.960
<v Speaker 2>you kind of get it, it feels good to you. In fact,

0:26:33.080 --> 0:26:35.439
<v Speaker 2>if I'm honest with you, it's just now my life

0:26:35.880 --> 0:26:36.920
<v Speaker 2>that I'm kind of free with it.

0:26:37.280 --> 0:26:38.679
<v Speaker 1>I could take all those lessons in me and be

0:26:38.680 --> 0:26:44.199
<v Speaker 1>free with it. Yeah, okay, so you're playing When do

0:26:44.280 --> 0:26:47.600
<v Speaker 1>you start playing out with other people? How old are

0:26:47.640 --> 0:26:54.480
<v Speaker 1>you with the Ambassadors of the eleven got eleven? Yeah, eleven.

0:26:55.680 --> 0:26:57.920
<v Speaker 1>Do you finish high school? Yes? I do.

0:26:58.359 --> 0:27:00.840
<v Speaker 2>I left home though I left home my second, my

0:27:01.280 --> 0:27:03.560
<v Speaker 2>junior and senior years of high school. I left home

0:27:04.280 --> 0:27:06.640
<v Speaker 2>because I needed to kind of just branch out more now,

0:27:07.320 --> 0:27:09.200
<v Speaker 2>and I worked at a place called the sanitarium where

0:27:09.200 --> 0:27:11.880
<v Speaker 2>I could make my living. You know, you take care

0:27:11.920 --> 0:27:15.040
<v Speaker 2>of the kids who ran away or burn the house down.

0:27:15.520 --> 0:27:20.000
<v Speaker 2>You play music for them, you know, like Calm Leaven

0:27:20.760 --> 0:27:23.040
<v Speaker 2>on a jet play. You put those kind of songs

0:27:23.080 --> 0:27:24.520
<v Speaker 2>for those kids, kind of calm them, and then you

0:27:24.520 --> 0:27:26.800
<v Speaker 2>go to what's called seclusion wards from seven thir to

0:27:26.920 --> 0:27:30.920
<v Speaker 2>nine nine o'clock, there's four seclusion rooms. You clean them,

0:27:31.359 --> 0:27:34.119
<v Speaker 2>wash the chain, the bedding, you know, wash them, you know,

0:27:34.200 --> 0:27:37.119
<v Speaker 2>unstrap them, all those things, put them back because they

0:27:37.119 --> 0:27:37.920
<v Speaker 2>had metal issues.

0:27:38.520 --> 0:27:40.960
<v Speaker 1>So I learned that early in my life, different sides

0:27:41.000 --> 0:27:43.720
<v Speaker 1>of people's. And then at the same time, I have

0:27:43.840 --> 0:27:44.600
<v Speaker 1>my little bands.

0:27:45.880 --> 0:27:48.119
<v Speaker 2>At that time, i'd have a band called this is

0:27:48.200 --> 0:27:52.080
<v Speaker 2>this is in the far where I played keyboards, left hand, bass,

0:27:52.280 --> 0:27:55.719
<v Speaker 2>right hand organ whatever, sing it, get the smells, play drums,

0:27:56.080 --> 0:27:58.879
<v Speaker 2>and then have bands like that. So and then you

0:27:59.000 --> 0:28:02.280
<v Speaker 2>learn the most current song pongs like Junior Walker's uh

0:28:02.359 --> 0:28:05.960
<v Speaker 2>what does it take? Because he's from Battle Creek, Michigan

0:28:06.000 --> 0:28:09.040
<v Speaker 2>not far away. Chris Motown music is so close. Chicago's

0:28:09.080 --> 0:28:14.680
<v Speaker 2>so close. It's all right there. So yeah, I understand,

0:28:14.720 --> 0:28:16.160
<v Speaker 2>you know. And then you're you're playing out for people,

0:28:16.280 --> 0:28:19.200
<v Speaker 2>You're you're you're always around the experience. And then even

0:28:19.280 --> 0:28:22.439
<v Speaker 2>like high school, Okay, your prom, I didn't go to

0:28:22.440 --> 0:28:22.720
<v Speaker 2>the problem.

0:28:22.760 --> 0:28:24.879
<v Speaker 1>I played the prom. You know, and you know who

0:28:25.800 --> 0:28:30.600
<v Speaker 1>you are. You're playing expressway to your heart town. You know,

0:28:30.640 --> 0:28:34.680
<v Speaker 1>you're you're rocking. So it's all that kind of thing happening. Yeah, yeah,

0:28:34.960 --> 0:28:37.399
<v Speaker 1>So how'd you learn how to play the organ? Uh?

0:28:37.840 --> 0:28:39.960
<v Speaker 2>I love the bass lines of Jimmy Smith, and I

0:28:40.000 --> 0:28:41.720
<v Speaker 2>have my friend Joe Brooks teaching me the base lines

0:28:42.000 --> 0:28:44.320
<v Speaker 2>because the baselines themselves are just like genius.

0:28:44.320 --> 0:28:44.560
<v Speaker 1>Man.

0:28:46.120 --> 0:28:48.880
<v Speaker 2>That he could play that and play the comp and

0:28:48.920 --> 0:28:51.760
<v Speaker 2>the lead on top and his feet is mind blowing.

0:28:52.440 --> 0:28:54.720
<v Speaker 2>People don't understand what a genius Jimmy Smith is and

0:28:54.760 --> 0:28:56.600
<v Speaker 2>those organ players players of that time.

0:28:57.720 --> 0:28:59.720
<v Speaker 1>So I had Joel Joel teach me how to play

0:28:59.760 --> 0:29:04.520
<v Speaker 1>the baselines, you know. Yeah, okay, you talk about top

0:29:04.600 --> 0:29:08.240
<v Speaker 1>forty hits like Expressway to your Heart, you talk about jazz,

0:29:08.320 --> 0:29:10.480
<v Speaker 1>you talk about I can see for miles. Oh yeah,

0:29:10.600 --> 0:29:14.000
<v Speaker 1>there's a corner kopy of music. Where are you and

0:29:14.040 --> 0:29:15.480
<v Speaker 1>where do you think you want to go?

0:29:15.560 --> 0:29:22.440
<v Speaker 2>At that point, I didn't know. I didn't know everything. Obviously,

0:29:22.480 --> 0:29:25.360
<v Speaker 2>I'm very tender at that time in my life. You know,

0:29:25.480 --> 0:29:27.720
<v Speaker 2>my dad would say, well, you know, you can sing

0:29:27.720 --> 0:29:30.280
<v Speaker 2>the Beatles stuff of you know, Hugh say hello, I

0:29:30.360 --> 0:29:32.120
<v Speaker 2>say goodbye. You can take that kind of thing. Maybe

0:29:32.160 --> 0:29:33.880
<v Speaker 2>we should do a family group. I said, no, we

0:29:33.880 --> 0:29:35.600
<v Speaker 2>shouldn't do a family group. Dad, don't let's not do

0:29:35.600 --> 0:29:40.240
<v Speaker 2>a family group, you know. But you know, I just

0:29:40.320 --> 0:29:42.240
<v Speaker 2>always loved just doing it. So I didn't know where

0:29:42.280 --> 0:29:45.040
<v Speaker 2>was it really go as far as my life. I

0:29:45.080 --> 0:29:46.040
<v Speaker 2>just knew that was what I did.

0:29:46.040 --> 0:29:46.440
<v Speaker 1>Every day.

0:29:46.800 --> 0:29:49.760
<v Speaker 2>I'd rush home from school to hear Soul Serenac in Choris.

0:29:49.800 --> 0:29:52.200
<v Speaker 2>I'd rush home from school to hear April and Paris,

0:29:52.640 --> 0:29:56.320
<v Speaker 2>you know count Basie, you know the drums. I'd rush

0:29:56.360 --> 0:30:01.360
<v Speaker 2>home from school to hear maybe the beginning of Johnny

0:30:01.440 --> 0:30:04.240
<v Speaker 2>mathis boo doo do ya boo, do do ya boo

0:30:04.280 --> 0:30:12.640
<v Speaker 2>do do boo doo de yabooy deeta doody boo, you know,

0:30:13.320 --> 0:30:17.040
<v Speaker 2>so a certain smile. I would always be like infatuated

0:30:17.400 --> 0:30:19.880
<v Speaker 2>with that. But I didn't know to tell you what

0:30:20.080 --> 0:30:22.200
<v Speaker 2>was gonna actually come up come of it. All I

0:30:22.200 --> 0:30:24.400
<v Speaker 2>ever knew was as I got a little bit older,

0:30:25.280 --> 0:30:26.720
<v Speaker 2>you know, my grandpa would always say, you know, can

0:30:26.760 --> 0:30:28.000
<v Speaker 2>you make a living playing this music?

0:30:28.520 --> 0:30:29.560
<v Speaker 1>So that would be all my mind.

0:30:31.360 --> 0:30:34.800
<v Speaker 2>And then I went to college about three semesters and

0:30:34.880 --> 0:30:36.440
<v Speaker 2>I realized that wasn't gonna work for me because I

0:30:36.440 --> 0:30:39.040
<v Speaker 2>wasn't able to play drums enough in this college. So

0:30:39.160 --> 0:30:41.800
<v Speaker 2>on my last day of semesters. This band came through

0:30:41.840 --> 0:30:45.920
<v Speaker 2>town called Decon Williams and Sole Revival, these white cats

0:30:45.960 --> 0:30:48.680
<v Speaker 2>from Fresno out in Kalamazoo in a school bus. They said,

0:30:48.800 --> 0:30:50.840
<v Speaker 2>we heard about you and we want you to join

0:30:50.920 --> 0:30:54.240
<v Speaker 2>us and come play some some clubs with us, iputed

0:30:54.240 --> 0:30:56.000
<v Speaker 2>by drums. And then in that in that bus we

0:30:56.080 --> 0:30:59.560
<v Speaker 2>head off to Flint, Flint, Michigan and played some like

0:30:59.640 --> 0:31:02.520
<v Speaker 2>Little I Hado type clubs and some other little clubs

0:31:02.520 --> 0:31:05.200
<v Speaker 2>around the area. Came back even through Kalamazoo, played them there.

0:31:05.960 --> 0:31:08.440
<v Speaker 2>The band was funky. There were some funky white boys

0:31:09.360 --> 0:31:12.120
<v Speaker 2>and we were hitting it. And then we took off

0:31:12.200 --> 0:31:14.680
<v Speaker 2>to go out to California and that was my first

0:31:14.720 --> 0:31:18.680
<v Speaker 2>experience doing purple Haze, LSD and all that, which was incredible.

0:31:19.480 --> 0:31:22.680
<v Speaker 2>When we finally got to La you know, out in

0:31:22.720 --> 0:31:25.680
<v Speaker 2>Malibu and seeing the ocean and my brother and I

0:31:26.080 --> 0:31:28.320
<v Speaker 2>on the beach down there, you know, they're passing around

0:31:28.400 --> 0:31:31.480
<v Speaker 2>whatever little LSD and that then the water, the ocean

0:31:31.480 --> 0:31:33.160
<v Speaker 2>would come in. My brother took a big staff and

0:31:33.200 --> 0:31:36.400
<v Speaker 2>look at the water go red, you know, the ocean

0:31:36.400 --> 0:31:40.920
<v Speaker 2>wand comeing to red, orange or purple, and the water

0:31:41.000 --> 0:31:42.480
<v Speaker 2>coming to all those colors, and my mind got so

0:31:42.720 --> 0:31:48.040
<v Speaker 2>open on the LSD. But then after a while we

0:31:48.120 --> 0:31:50.600
<v Speaker 2>play some some shows in California, in La and all

0:31:50.640 --> 0:31:55.520
<v Speaker 2>that Hollywood, you know, and then that band broke up.

0:31:55.560 --> 0:31:59.239
<v Speaker 2>I decided had stay in La. I'd stay in La.

0:32:00.320 --> 0:32:05.200
<v Speaker 2>And it was so hard to make it man, so hard, uh,

0:32:05.240 --> 0:32:06.800
<v Speaker 2>because La was kind of heartless. You could just down

0:32:06.880 --> 0:32:11.000
<v Speaker 2>the road and wouldn't have nobody even care. So again,

0:32:11.120 --> 0:32:13.200
<v Speaker 2>how am I gonna make it? This this eternal thing?

0:32:13.800 --> 0:32:15.760
<v Speaker 2>And then we had a cousin, a few cousins. One

0:32:15.840 --> 0:32:17.240
<v Speaker 2>cousin said, come and live with me for a while,

0:32:17.320 --> 0:32:19.320
<v Speaker 2>named Philip, Philip Hackley, my mom's family.

0:32:19.800 --> 0:32:20.280
<v Speaker 1>He took us in.

0:32:20.360 --> 0:32:21.480
<v Speaker 2>I had to brought my little drum set in the

0:32:21.480 --> 0:32:23.080
<v Speaker 2>little bedroom there so I could still play a little bit.

0:32:24.080 --> 0:32:26.520
<v Speaker 2>I got a job working downtown in LA at the

0:32:26.640 --> 0:32:29.880
<v Speaker 2>shipping receiving type place. You wrap clothing. You wrap clothing

0:32:29.920 --> 0:32:31.600
<v Speaker 2>as I'm wrapping clothing here in music all the time.

0:32:31.680 --> 0:32:35.320
<v Speaker 2>You wrap the clothing. Then I got smart one day

0:32:35.360 --> 0:32:37.400
<v Speaker 2>I said, you know, I have another cousin. He's a doctor.

0:32:38.320 --> 0:32:40.320
<v Speaker 2>Maybe he can help me get a little further down

0:32:40.360 --> 0:32:42.800
<v Speaker 2>the road with this thing. So I called him.

0:32:42.840 --> 0:32:45.280
<v Speaker 1>His name is R. Hackley and I go to visit R. Hackley.

0:32:45.680 --> 0:32:46.320
<v Speaker 1>He had a he had a.

0:32:48.080 --> 0:32:51.360
<v Speaker 2>A doctor jointed out near Watts and I go out

0:32:51.360 --> 0:32:53.360
<v Speaker 2>and visit him, and he says, well, you know, you

0:32:53.440 --> 0:32:57.160
<v Speaker 2>can stay out out here in Watts area. And then

0:32:57.160 --> 0:33:00.320
<v Speaker 2>he sees my drum set. He says, wait a minute, No,

0:33:00.520 --> 0:33:02.920
<v Speaker 2>you can't stay here. They'll steal you. They'll steal your stuff.

0:33:03.920 --> 0:33:05.560
<v Speaker 2>You got to come with me out to Pasadena where

0:33:05.560 --> 0:33:08.640
<v Speaker 2>I live. Oh okay, So I got to Pasadena, up

0:33:08.680 --> 0:33:12.200
<v Speaker 2>in the hills of Altadina, beautiful place, I mean, swimming

0:33:12.200 --> 0:33:15.040
<v Speaker 2>pool everything. And he says, you take this bedroom and

0:33:15.120 --> 0:33:16.760
<v Speaker 2>you can practice in the back room. So all you

0:33:16.800 --> 0:33:18.600
<v Speaker 2>got to do is keep up place clean, maybe me

0:33:18.680 --> 0:33:21.479
<v Speaker 2>some food and take care of the house and then

0:33:21.480 --> 0:33:27.640
<v Speaker 2>you can practice here. Oh my god, that changed my life.

0:33:28.760 --> 0:33:30.960
<v Speaker 2>Now I got to play in practice and really go

0:33:31.080 --> 0:33:34.320
<v Speaker 2>at it. And I said, would work out. Man in Pasadena, California,

0:33:34.400 --> 0:33:37.880
<v Speaker 2>downtown the Mobbish Orchestra in the Mounting Flameboulm had just

0:33:37.960 --> 0:33:40.400
<v Speaker 2>come out. I had just nobody to buy that album,

0:33:41.480 --> 0:33:44.320
<v Speaker 2>and it was transformative, transformative. Anyone who can tell you

0:33:44.320 --> 0:33:46.040
<v Speaker 2>about that period of life will tell you that we'd

0:33:46.120 --> 0:33:48.680
<v Speaker 2>never heard anything like it. We know about funk from

0:33:48.760 --> 0:33:51.520
<v Speaker 2>James Brown, Cole Sweat, we know about jazz, we know

0:33:51.600 --> 0:33:53.560
<v Speaker 2>about even some in Indian music. You know Alice coaching

0:33:53.560 --> 0:33:55.680
<v Speaker 2>gott An Indian, the Indian music. But we've never heard

0:33:55.800 --> 0:33:59.360
<v Speaker 2>colblem with a vision new and with the Marshals playing

0:33:59.400 --> 0:34:02.560
<v Speaker 2>the funk in seven nine eleven, what like James Brown

0:34:02.560 --> 0:34:05.840
<v Speaker 2>would do on steroids and Fishud's screaming on the guitar,

0:34:06.440 --> 0:34:09.280
<v Speaker 2>such precise messages.

0:34:11.080 --> 0:34:13.759
<v Speaker 1>It was just like mind blowing. I was like, who

0:34:13.960 --> 0:34:14.680
<v Speaker 1>is this? What is this?

0:34:14.960 --> 0:34:16.319
<v Speaker 2>So I brought it home and then I was able

0:34:16.360 --> 0:34:17.719
<v Speaker 2>to study that and kind of shed on it. That

0:34:17.800 --> 0:34:20.520
<v Speaker 2>helped me a lot. Shed and I have different different bands,

0:34:20.560 --> 0:34:22.640
<v Speaker 2>like I have a cat named Eddie Hazel. He was

0:34:22.680 --> 0:34:26.279
<v Speaker 2>a guitar player from part of a Funkadelic and a

0:34:26.400 --> 0:34:32.239
<v Speaker 2>band called an album called Maggot Brains, and he was

0:34:32.280 --> 0:34:34.960
<v Speaker 2>a mean guitar player and he passed around was called

0:34:35.000 --> 0:34:36.719
<v Speaker 2>angel dust. You take one a hit of it and

0:34:36.840 --> 0:34:39.160
<v Speaker 2>be like in a different world. But the funk would

0:34:39.160 --> 0:34:41.920
<v Speaker 2>be so fast and so clean it prepared me.

0:34:42.120 --> 0:34:42.400
<v Speaker 1>He'd be.

0:34:45.440 --> 0:34:51.680
<v Speaker 2>Check like that you're playing man, oh my god, and

0:34:51.760 --> 0:34:53.719
<v Speaker 2>the music just flying around the room. I missed some

0:34:53.840 --> 0:34:55.440
<v Speaker 2>other cats up there too. A cat named Gregg on

0:34:55.880 --> 0:34:58.000
<v Speaker 2>bass just happened to knock on the door with dead

0:34:58.160 --> 0:34:59.839
<v Speaker 2>He says, hey, man, I hear you're playing drum from

0:34:59.920 --> 0:35:00.560
<v Speaker 2>ro down there.

0:35:00.880 --> 0:35:02.480
<v Speaker 1>Can I bring my base up here and play with you?

0:35:02.520 --> 0:35:05.000
<v Speaker 2>I said sure, And he brings this big old SVT

0:35:05.520 --> 0:35:07.960
<v Speaker 2>and big amplifier and he's playing. He is incredible.

0:35:08.320 --> 0:35:12.640
<v Speaker 1>I kept meeting these incredible cats. It just changed my life.

0:35:13.200 --> 0:35:16.200
<v Speaker 2>Helped me so much in La because I couldn't find

0:35:16.200 --> 0:35:20.399
<v Speaker 2>a gig, but at least I'm playing with these guys. Also,

0:35:20.440 --> 0:35:22.200
<v Speaker 2>I want to say I did another thing. I joined

0:35:22.239 --> 0:35:26.120
<v Speaker 2>this registry on Hollywood on sunset. Will you pay a

0:35:26.200 --> 0:35:28.080
<v Speaker 2>sort of amount of money to find musicians to play with?

0:35:28.520 --> 0:35:30.520
<v Speaker 2>You put your name in a drum book, then they'll

0:35:30.560 --> 0:35:34.600
<v Speaker 2>call you if they look for somebody. But that was

0:35:34.680 --> 0:35:35.200
<v Speaker 2>so hard too.

0:35:35.280 --> 0:35:35.440
<v Speaker 1>Man.

0:35:36.080 --> 0:35:39.160
<v Speaker 2>Oh god, I did meet one guy who put me

0:35:39.200 --> 0:35:42.200
<v Speaker 2>in a band. Uh. That was all right for a minute,

0:35:42.960 --> 0:35:46.879
<v Speaker 2>but then I did a bad thing. We were gonna

0:35:47.880 --> 0:35:51.640
<v Speaker 2>we're gonna play for this The Stones manager out in

0:35:51.800 --> 0:35:56.640
<v Speaker 2>La at this house which is really exotic house, and

0:35:56.960 --> 0:35:58.600
<v Speaker 2>an elite singer like like like a like a like

0:35:58.640 --> 0:36:01.200
<v Speaker 2>a doors type lead singer and this other count guitar

0:36:01.320 --> 0:36:03.759
<v Speaker 2>named Greg greg Beck was his name Greg Beck. He

0:36:03.880 --> 0:36:07.920
<v Speaker 2>was phenomenal organ cat bassing myself and my cousins of

0:36:08.000 --> 0:36:10.279
<v Speaker 2>all things said you want a little hit of a

0:36:10.400 --> 0:36:12.080
<v Speaker 2>of a spliff before you go on the stage. I said, sure,

0:36:12.239 --> 0:36:13.880
<v Speaker 2>take a little head of the spliff and I go

0:36:14.000 --> 0:36:17.760
<v Speaker 2>on and I'm playing this music. Uh billy billy prestons,

0:36:17.760 --> 0:36:20.480
<v Speaker 2>boun't get them?

0:36:20.680 --> 0:36:22.959
<v Speaker 1>She get calm, get coling.

0:36:23.000 --> 0:36:26.080
<v Speaker 2>You're playing this jam. And now the effects of this

0:36:26.200 --> 0:36:28.400
<v Speaker 2>spliff are hitting me because now I hit a symbol.

0:36:29.920 --> 0:36:34.560
<v Speaker 2>It's like sh drum do everything. He's like due delayed.

0:36:35.200 --> 0:36:38.120
<v Speaker 2>I'm so frightened. This has never happened in my life.

0:36:38.560 --> 0:36:41.360
<v Speaker 1>What what what? What's going on with my inside me?

0:36:42.080 --> 0:36:43.759
<v Speaker 2>And now on the singers starting to sing to his song,

0:36:44.440 --> 0:36:45.800
<v Speaker 2>and he's looking back at me like like a like

0:36:45.960 --> 0:36:50.360
<v Speaker 2>like a devil, like I'm ruining his career because I

0:36:50.640 --> 0:36:54.360
<v Speaker 2>really can't focus on the on the time, and I

0:36:54.440 --> 0:36:56.239
<v Speaker 2>feel terrible and I kind of stand up and I'm

0:36:56.760 --> 0:36:59.120
<v Speaker 2>barely able to kind of walk and I stumble off

0:36:59.160 --> 0:37:03.120
<v Speaker 2>the stage and this beautiful blonde haired angel taking care

0:37:03.160 --> 0:37:05.680
<v Speaker 2>of me. But the singer is like, I'm gonna kill

0:37:05.680 --> 0:37:08.000
<v Speaker 2>that nigga. I'm gonna kill him, and my cousins had

0:37:08.000 --> 0:37:10.120
<v Speaker 2>to rush me out of there. We'll come to find

0:37:10.120 --> 0:37:12.319
<v Speaker 2>out what I smoked was was this bad angel lost

0:37:12.880 --> 0:37:15.400
<v Speaker 2>put me out there, man. So that's why I realized

0:37:15.400 --> 0:37:17.000
<v Speaker 2>I really can't mess around with that stuff too much.

0:37:17.040 --> 0:37:20.800
<v Speaker 1>Man. I'm very sensitive and I've blown some some some

0:37:20.960 --> 0:37:22.440
<v Speaker 1>things in my life with this that kind of thing.

0:37:23.719 --> 0:37:24.520
<v Speaker 1>But then what happened.

0:37:24.560 --> 0:37:26.560
<v Speaker 2>Also, I had to get a job while I live

0:37:26.600 --> 0:37:29.080
<v Speaker 2>in Pastena at another nursing home, just to make make

0:37:29.160 --> 0:37:32.920
<v Speaker 2>some money. I'm working in the nursing home, and then

0:37:33.000 --> 0:37:37.320
<v Speaker 2>I got a phone call from Santa Torano out in

0:37:37.560 --> 0:37:40.719
<v Speaker 2>Florida of all places, because saying I'm gonna I'm playing

0:37:40.719 --> 0:37:42.400
<v Speaker 2>I'm not gonna play with that Edgar Winner right now.

0:37:42.680 --> 0:37:46.279
<v Speaker 2>Put together new band, and I'm hearing about you fly

0:37:46.440 --> 0:37:49.920
<v Speaker 2>down to Florida and do an audition with me. I

0:37:50.040 --> 0:37:52.279
<v Speaker 2>never been on a plane before. I'm now just just

0:37:52.360 --> 0:37:55.960
<v Speaker 2>turning nineteen. So I fly from Pasadena down to Florida

0:37:56.160 --> 0:37:59.080
<v Speaker 2>to go meet this cat Santa Torana. When I get there,

0:37:59.200 --> 0:38:03.960
<v Speaker 2>it's like a paradise. They've got their own warehouse where

0:38:03.960 --> 0:38:06.920
<v Speaker 2>they can they can rock out there's a cat who

0:38:07.000 --> 0:38:09.400
<v Speaker 2>can be my own drum tech named Greg Gregor Jovin.

0:38:11.200 --> 0:38:13.839
<v Speaker 2>They have their own little manager. He was a paraplegic,

0:38:14.239 --> 0:38:16.640
<v Speaker 2>got blown up in the army. They have they have

0:38:16.640 --> 0:38:19.560
<v Speaker 2>a little bit of money. They're smoking their little grass

0:38:19.600 --> 0:38:20.960
<v Speaker 2>with the where they want. But they're playing a lot

0:38:21.040 --> 0:38:23.160
<v Speaker 2>of hand intense music, man, And that's where I can

0:38:23.200 --> 0:38:24.879
<v Speaker 2>really take what I learned from Florida, I mean from

0:38:25.320 --> 0:38:30.920
<v Speaker 2>La the Oceans of s s, you know, with my

0:38:30.960 --> 0:38:35.600
<v Speaker 2>symbol words and play the funk hard and then experiment

0:38:35.760 --> 0:38:38.320
<v Speaker 2>odd meters and bring it all together. That's where I

0:38:38.320 --> 0:38:41.360
<v Speaker 2>can really kind of find myself with the new MacGuire sisters.

0:38:42.160 --> 0:38:45.719
<v Speaker 2>And then in that setting I met Stan Simoley who

0:38:45.760 --> 0:38:48.240
<v Speaker 2>worked at the school, the Miami School. In the school

0:38:48.360 --> 0:38:53.160
<v Speaker 2>was intense bro over there they got Pat Mactheeney, Hiram Bullock,

0:38:54.239 --> 0:38:58.080
<v Speaker 2>Cliff Carter, Patti scalf who's then married Bruce Springsteen. Is

0:38:58.160 --> 0:38:59.840
<v Speaker 2>chuck a block with people who are like gonna be

0:38:59.880 --> 0:39:03.839
<v Speaker 2>the stars. And then down the road Stan would say,

0:39:03.880 --> 0:39:05.239
<v Speaker 2>you gotta go down the road and meet this base player.

0:39:05.239 --> 0:39:09.880
<v Speaker 2>So who's is a joco pastorist? Okay, but I go

0:39:10.000 --> 0:39:12.920
<v Speaker 2>on meet jocola we'll watch him play. He's dancing, funking,

0:39:13.040 --> 0:39:15.960
<v Speaker 2>carrying on like you know, Jocopastoris.

0:39:16.040 --> 0:39:16.520
<v Speaker 1>There he was.

0:39:17.680 --> 0:39:19.600
<v Speaker 2>And then Jacka says, once you come over to my house,

0:39:19.640 --> 0:39:21.440
<v Speaker 2>let's jam. So I go to his out and now

0:39:21.440 --> 0:39:24.839
<v Speaker 2>we're gonna jam together. You know, he wants playing seven.

0:39:24.880 --> 0:39:27.000
<v Speaker 2>I'm a Plan four, and then we switch it. I'm

0:39:27.000 --> 0:39:29.200
<v Speaker 2>a plan seven, He'll playing four. He was kind of

0:39:29.239 --> 0:39:31.560
<v Speaker 2>crazy like that. We had all these chops. So I

0:39:31.680 --> 0:39:36.200
<v Speaker 2>was like, okay, we became friends. We became friends Pat Mactheeni.

0:39:36.280 --> 0:39:38.400
<v Speaker 2>Also I rocked out with him. You know, just a

0:39:38.480 --> 0:39:41.560
<v Speaker 2>lot of that kind of time in Florida and very

0:39:41.640 --> 0:39:47.560
<v Speaker 2>hippie love, you know, Petuli Oil. People really trying to

0:39:48.200 --> 0:39:50.960
<v Speaker 2>further themselves. And that's also where I saw the picture

0:39:50.960 --> 0:39:55.160
<v Speaker 2>of Guru with Aina Carmel and that whole thing going on.

0:39:56.400 --> 0:40:00.360
<v Speaker 2>So I Miami opened my eyes to so many things beautiful.

0:40:00.600 --> 0:40:03.520
<v Speaker 2>Then that band then moved to Connecticut, like I was

0:40:03.600 --> 0:40:10.040
<v Speaker 2>Sonia Canaan, Connecticut, up up on a barn, you know,

0:40:10.600 --> 0:40:12.480
<v Speaker 2>late seventy two going into seventy three.

0:40:12.760 --> 0:40:13.759
<v Speaker 1>It was so cold up there.

0:40:14.440 --> 0:40:16.160
<v Speaker 2>But you know that's where I shut it more and

0:40:16.200 --> 0:40:19.120
<v Speaker 2>got myself together more and enough not long after I

0:40:19.160 --> 0:40:22.080
<v Speaker 2>was when I went that concert, met mavish New and

0:40:22.120 --> 0:40:24.520
<v Speaker 2>then he took me in. And then when I became

0:40:24.560 --> 0:40:29.160
<v Speaker 2>a disciple further on, I then moved from there to

0:40:30.719 --> 0:40:34.040
<v Speaker 2>not Queens quiet Rick quite yet but yeah down down

0:40:34.120 --> 0:40:37.160
<v Speaker 2>closer to New York where I could woods shehd more

0:40:37.760 --> 0:40:48.200
<v Speaker 2>and joined a band of disciples called Jotra. Grew said,

0:40:48.200 --> 0:40:50.239
<v Speaker 2>play with play with some disciples called Jottra, So I did.

0:40:50.719 --> 0:40:53.440
<v Speaker 2>That would be Omar Mesa who had a band called Mandrel,

0:40:53.920 --> 0:40:56.600
<v Speaker 2>and Gail Moran on keyboards and a few other people

0:40:56.680 --> 0:40:58.600
<v Speaker 2>like that. So I had a chance to work with them,

0:40:58.960 --> 0:41:03.520
<v Speaker 2>and that was wonderful. And then not long after, oh

0:41:03.560 --> 0:41:04.799
<v Speaker 2>I want to say this, I worked as a bus

0:41:04.880 --> 0:41:08.040
<v Speaker 2>boy at Mario's place, picking up slighetty dishes and all.

0:41:08.040 --> 0:41:10.479
<v Speaker 2>That's how I made my living. And not long after

0:41:11.239 --> 0:41:12.920
<v Speaker 2>I got a phone call around Christmas time but that

0:41:13.000 --> 0:41:17.200
<v Speaker 2>year that from mar Vishnu and he would say, I'm

0:41:17.280 --> 0:41:22.319
<v Speaker 2>going to visit Guru in Puerto Rico and I'm gonna

0:41:22.360 --> 0:41:26.279
<v Speaker 2>call you from Puerto Rico. I said, okay, and he

0:41:26.360 --> 0:41:29.080
<v Speaker 2>called me around Christmas time he said, I met with

0:41:29.160 --> 0:41:31.320
<v Speaker 2>a Guru. I'm going to change the Mavis Orchestra. I

0:41:31.360 --> 0:41:33.759
<v Speaker 2>wonder know what you like to join the band. Now

0:41:33.800 --> 0:41:36.680
<v Speaker 2>you understand, Bobby, that's big, that's big talk, because that

0:41:36.719 --> 0:41:38.680
<v Speaker 2>band bloom bloom my mind be like joining the Beatles.

0:41:40.040 --> 0:41:42.799
<v Speaker 1>So I was just completely just you know, just an

0:41:42.880 --> 0:41:44.120
<v Speaker 1>awe and star struck.

0:41:45.760 --> 0:41:48.399
<v Speaker 2>And he said, when I come back from Puerto Rico,

0:41:48.400 --> 0:41:50.080
<v Speaker 2>I'm gonna come to you the house you're in now,

0:41:50.360 --> 0:41:51.799
<v Speaker 2>for the place you play with Gaelong people.

0:41:51.880 --> 0:41:54.759
<v Speaker 1>I'll go downstairs and I'll teach you how to play

0:41:54.800 --> 0:41:56.759
<v Speaker 1>with me. And he meant it.

0:41:57.239 --> 0:41:59.799
<v Speaker 2>When he came back home in jad January, he came

0:41:59.840 --> 0:42:01.440
<v Speaker 2>down on that basement and be just he and I

0:42:02.080 --> 0:42:04.440
<v Speaker 2>and we'd rock out, and he would say, okay, now

0:42:04.480 --> 0:42:06.000
<v Speaker 2>we're going to play in seven, and don't play the

0:42:06.040 --> 0:42:06.520
<v Speaker 2>down beats.

0:42:06.840 --> 0:42:08.920
<v Speaker 1>I'm not gonna play nine. Don't play down beats. Now.

0:42:09.000 --> 0:42:10.880
<v Speaker 2>This was his big thing, this whole cat's mouse thing.

0:42:11.480 --> 0:42:13.040
<v Speaker 2>That's when I realized how deep he is.

0:42:14.680 --> 0:42:15.839
<v Speaker 1>This whole Indian.

0:42:17.040 --> 0:42:19.960
<v Speaker 2>Wisdom was so heavy in him that he could play

0:42:20.040 --> 0:42:22.920
<v Speaker 2>for like bars and bars and measures and measures without

0:42:23.000 --> 0:42:25.879
<v Speaker 2>ever getting a downbeat. So you really had to kind

0:42:25.880 --> 0:42:28.880
<v Speaker 2>of learn what he would call the shape of the

0:42:29.000 --> 0:42:32.239
<v Speaker 2>rhythm feel this shape of the rhythm, work with his

0:42:32.360 --> 0:42:34.960
<v Speaker 2>shape of the rhythm. And that's how I started really

0:42:35.040 --> 0:42:37.279
<v Speaker 2>feeling that because it's one thing for me. It's very

0:42:37.280 --> 0:42:38.799
<v Speaker 2>easy when I played with a bass player, he's playing

0:42:38.800 --> 0:42:40.520
<v Speaker 2>the Meley line to hook up to the odd meter,

0:42:40.680 --> 0:42:43.040
<v Speaker 2>but there's no bass now, it realized just upon me

0:42:43.280 --> 0:42:46.720
<v Speaker 2>to play with him. So he was really a wonderful

0:42:46.760 --> 0:42:49.800
<v Speaker 2>teacher for me and very patient and very beautiful. But

0:42:49.840 --> 0:42:52.239
<v Speaker 2>we didn't do too much of that. Then then he

0:42:52.280 --> 0:42:54.839
<v Speaker 2>wrote a piece called Him to Him. He said, bring

0:42:54.920 --> 0:43:00.200
<v Speaker 2>your bass player, Ralph Armstrong, bring Gail Moran. And then

0:43:00.239 --> 0:43:01.560
<v Speaker 2>we learned a piece called Him to Him.

0:43:02.480 --> 0:43:03.759
<v Speaker 1>But I want to say one more thing about that,

0:43:03.800 --> 0:43:04.920
<v Speaker 1>but if you don't before I go too far it

0:43:04.920 --> 0:43:07.360
<v Speaker 1>because there's one more thing happened just just to that

0:43:07.880 --> 0:43:09.000
<v Speaker 1>that was really really pivotal.

0:43:09.840 --> 0:43:11.319
<v Speaker 2>Just before he had asked me to join that band,

0:43:11.440 --> 0:43:12.960
<v Speaker 2>one thing happened that I really want you to know

0:43:13.000 --> 0:43:14.399
<v Speaker 2>about that was really pivotal in my life.

0:43:15.239 --> 0:43:18.880
<v Speaker 1>He came to let me see how how it happened.

0:43:19.480 --> 0:43:22.560
<v Speaker 2>He played a content with the Fish Orchestra the second

0:43:22.600 --> 0:43:24.399
<v Speaker 2>time I ever saw him, at the place called would

0:43:24.440 --> 0:43:27.960
<v Speaker 2>Tango would Preserve Outdoors, and I went to that show

0:43:29.120 --> 0:43:34.360
<v Speaker 2>and again I'm floored. It's outside by how genius and

0:43:35.000 --> 0:43:38.279
<v Speaker 2>the majesty of this band with Yan playing. Now Yan

0:43:38.440 --> 0:43:42.839
<v Speaker 2>is kicking serious behind back at Vishnu, incredible everything John plays,

0:43:42.840 --> 0:43:45.080
<v Speaker 2>He's playing right back on. Cobbin's on fire, the band's

0:43:45.120 --> 0:43:48.320
<v Speaker 2>on fire, Jerry Goodman's on fire. Who I saw with

0:43:48.400 --> 0:43:53.000
<v Speaker 2>a band called Flock in Chicago. Okay, Man, there it

0:43:53.080 --> 0:43:55.400
<v Speaker 2>is again, just in my face, in my face. This

0:43:55.600 --> 0:43:58.440
<v Speaker 2>time I go back to the with a house where

0:43:58.440 --> 0:44:01.960
<v Speaker 2>they're staying, and I meet Billy Cobbin for the first time.

0:44:02.760 --> 0:44:06.480
<v Speaker 2>He extends his hand to me. Cobblem's hand is like

0:44:06.600 --> 0:44:12.120
<v Speaker 2>a baby. The skin is like a baby, so tender.

0:44:13.600 --> 0:44:15.440
<v Speaker 2>It's mind blowing how he can play with all that

0:44:15.600 --> 0:44:19.200
<v Speaker 2>fire and intensity and have the skin of a baby.

0:44:19.239 --> 0:44:21.839
<v Speaker 2>I'm like, how you doing that? And you say, when

0:44:21.840 --> 0:44:23.799
<v Speaker 2>I play with my fingers. So that was the first

0:44:23.800 --> 0:44:26.560
<v Speaker 2>I really heard about playing with your fingers. It's Cobb

0:44:26.600 --> 0:44:29.440
<v Speaker 2>I'm telling me this. So the Vicius says to me,

0:44:30.320 --> 0:44:31.799
<v Speaker 2>you lived out too far from here, right, I said, well,

0:44:31.800 --> 0:44:35.000
<v Speaker 2>I live in Canaan. He said, well, can you take

0:44:35.160 --> 0:44:37.160
<v Speaker 2>me there so I can play with you up there?

0:44:38.040 --> 0:44:43.359
<v Speaker 2>Said okay, So he wants me to drive his drive

0:44:43.520 --> 0:44:46.919
<v Speaker 2>his station wagon with his brand new Rex Bowl guitar

0:44:47.000 --> 0:44:49.160
<v Speaker 2>in the back of the station wagon to my house.

0:44:52.320 --> 0:44:55.560
<v Speaker 2>So here I'm driving him the genius with a double neck,

0:44:55.719 --> 0:44:58.920
<v Speaker 2>and he's sleeping over two to three hour drive to

0:44:59.000 --> 0:45:03.080
<v Speaker 2>my house. And what am I nineteen twenty years old?

0:45:04.480 --> 0:45:07.480
<v Speaker 2>I think this is incredible. But when they get to

0:45:07.560 --> 0:45:10.239
<v Speaker 2>my house, I run the house. I say, you're not

0:45:10.280 --> 0:45:12.880
<v Speaker 2>gonna believe he's in the car. Get it together, Ralph,

0:45:13.160 --> 0:45:17.920
<v Speaker 2>Greg Sandy Vicious in the car and in he walked,

0:45:18.080 --> 0:45:19.880
<v Speaker 2>and their mouths went bam to the floor.

0:45:22.000 --> 0:45:28.239
<v Speaker 1>And he's so beautiful and humble, you know, and we

0:45:28.360 --> 0:45:30.759
<v Speaker 1>just can't believe he's there. So then we want to,

0:45:30.880 --> 0:45:32.480
<v Speaker 1>you know, feed him. We used to.

0:45:32.520 --> 0:45:34.239
<v Speaker 2>We either brought the cast role. You know, I know

0:45:34.280 --> 0:45:38.040
<v Speaker 2>you're vegetarian. We make them some food. So then yeah, okay.

0:45:38.080 --> 0:45:41.759
<v Speaker 2>Then the next morning we have our little cabins. These

0:45:41.760 --> 0:45:42.960
<v Speaker 2>are the things I want to make sure I tell you,

0:45:43.040 --> 0:45:45.520
<v Speaker 2>cause you're a deep cat. You want to hear the truth.

0:45:46.760 --> 0:45:49.279
<v Speaker 2>The next morning, Vicious says, I want to meditate with you.

0:45:50.080 --> 0:45:53.239
<v Speaker 2>I said, okay, come into my cabin. I'm like in

0:45:53.320 --> 0:45:55.560
<v Speaker 2>my cabin, I set up a little shrine because now

0:45:55.600 --> 0:45:57.480
<v Speaker 2>I'm a new disciple. I got a picture, Guru, I

0:45:57.520 --> 0:46:00.120
<v Speaker 2>got it. I got flowers, I got some candles, you know,

0:46:00.280 --> 0:46:02.280
<v Speaker 2>like a three tiered thing I made out of cement blocks,

0:46:03.640 --> 0:46:07.239
<v Speaker 2>a wooden floor, my bed. And he comes in and

0:46:07.280 --> 0:46:09.160
<v Speaker 2>he sits on the floor, on the wooden floor, and

0:46:09.200 --> 0:46:12.360
<v Speaker 2>I sit next to him, and he goes into this

0:46:13.480 --> 0:46:18.680
<v Speaker 2>long meditation. And as a meditation is going on, I'm

0:46:18.760 --> 0:46:22.800
<v Speaker 2>so weird. I hear this like a sound of like

0:46:22.880 --> 0:46:32.080
<v Speaker 2>a a falcet dripping, like yeah, I think, damn faucet on,

0:46:32.800 --> 0:46:35.240
<v Speaker 2>just gonna disturb him, you know. Now I'm pretty gombaut

0:46:35.239 --> 0:46:39.600
<v Speaker 2>with the damn fawcet. Then after a long time goes by,

0:46:39.640 --> 0:46:41.560
<v Speaker 2>he kind of bows down the floor, but he goes

0:46:41.600 --> 0:46:42.200
<v Speaker 2>down to the floor.

0:46:42.960 --> 0:46:44.359
<v Speaker 1>I do the same thing.

0:46:44.440 --> 0:46:48.000
<v Speaker 2>I go down to the floor, and when I come up,

0:46:48.080 --> 0:46:51.000
<v Speaker 2>you know, you know, I look at him to bow

0:46:51.040 --> 0:46:54.200
<v Speaker 2>to him about, you know, to acknowledge that we're in

0:46:54.280 --> 0:46:58.280
<v Speaker 2>the same room, and then a history of what's happened.

0:46:59.160 --> 0:47:03.800
<v Speaker 2>His face is completely full with tears, and on the

0:47:03.960 --> 0:47:06.760
<v Speaker 2>wooden floor are his tear drops.

0:47:08.840 --> 0:47:15.840
<v Speaker 1>A pool. That was the sound I was hearing. That

0:47:16.040 --> 0:47:19.319
<v Speaker 1>frightened me. It made me think maybe I'm not ready

0:47:19.360 --> 0:47:20.120
<v Speaker 1>for this. You know.

0:47:21.560 --> 0:47:23.520
<v Speaker 2>It's one thing to say you're ready for something, but

0:47:23.600 --> 0:47:25.399
<v Speaker 2>when you see a man who you love so much

0:47:25.440 --> 0:47:29.359
<v Speaker 2>in the tears next to you, like that, maybe I'm

0:47:29.360 --> 0:47:33.239
<v Speaker 2>not really ready for this. So I had to, you know,

0:47:33.400 --> 0:47:37.279
<v Speaker 2>ask myself, you know. But then he was like, let's

0:47:37.280 --> 0:47:41.320
<v Speaker 2>go play. So we went across the street to the

0:47:41.360 --> 0:47:43.080
<v Speaker 2>barn and hooked it up and went to go play.

0:47:43.320 --> 0:47:44.560
<v Speaker 2>And what I want to tell you is this man,

0:47:44.640 --> 0:47:47.399
<v Speaker 2>this is the last part of the story. He comes

0:47:47.440 --> 0:47:50.520
<v Speaker 2>upstairs in the barn, and this is a mighty, a

0:47:50.640 --> 0:47:54.320
<v Speaker 2>mighty gathering of Sandy on guitar, who's great, Billy McCoy, piano,

0:47:54.680 --> 0:47:56.719
<v Speaker 2>Rob Armstrong who you now know, but he was like

0:47:56.760 --> 0:47:59.879
<v Speaker 2>sixteen seventeen years old, and myself on drums and shamaclauchlan.

0:48:01.000 --> 0:48:03.680
<v Speaker 2>And he wants everyone to solo first. And we're playing

0:48:03.680 --> 0:48:07.279
<v Speaker 2>the fast funk like like we know he likes, and

0:48:07.400 --> 0:48:11.960
<v Speaker 2>we're just and we're rocking it. But then it's his

0:48:12.080 --> 0:48:14.960
<v Speaker 2>time to solo. John Macglaukin's turned to solo. My vision.

0:48:15.480 --> 0:48:17.799
<v Speaker 2>He sits in a high chair. He's kind of off

0:48:17.840 --> 0:48:22.640
<v Speaker 2>to my right. He turns to face me and as

0:48:22.920 --> 0:48:23.920
<v Speaker 2>Hugh begins to solo.

0:48:25.120 --> 0:48:26.560
<v Speaker 1>You hear the sound.

0:48:27.800 --> 0:48:36.080
<v Speaker 2>So clear, so precise, so him, it is just daunting,

0:48:36.840 --> 0:48:44.839
<v Speaker 2>the precision. But his face, Bobby was a stone. There

0:48:44.960 --> 0:48:48.600
<v Speaker 2>was no expression all on his face. You know, I'm

0:48:48.640 --> 0:48:50.719
<v Speaker 2>used to cats. You look watch handricks, you watch the cats.

0:48:50.800 --> 0:48:56.120
<v Speaker 2>It's all this agony, this pain on the face or boxing.

0:49:00.600 --> 0:49:06.359
<v Speaker 2>There was nothing, but the sound was enormous. I said,

0:49:06.600 --> 0:49:09.399
<v Speaker 2>you ain't gonna fool me. I'm gonna close my eyes.

0:49:09.600 --> 0:49:14.160
<v Speaker 2>I'm not gonna watch you. I closed my eyes then

0:49:14.160 --> 0:49:16.160
<v Speaker 2>I could get out there with him, and that's when

0:49:16.200 --> 0:49:20.239
<v Speaker 2>we just took a flight. Then my eyes closed, but

0:49:20.360 --> 0:49:23.040
<v Speaker 2>if my eyes were open, it was the freakest thing

0:49:23.080 --> 0:49:26.040
<v Speaker 2>in the world. I dare any musician to play with

0:49:26.080 --> 0:49:30.040
<v Speaker 2>him like that. It's so freaky. So after we played,

0:49:30.120 --> 0:49:31.920
<v Speaker 2>then he said, you know, I really love the situation.

0:49:32.600 --> 0:49:34.160
<v Speaker 2>He was like, wow, I might want to get a

0:49:34.200 --> 0:49:37.280
<v Speaker 2>barn so beautiful. He was all lovey and dovey about everything.

0:49:38.400 --> 0:49:40.319
<v Speaker 2>And then that's how Then later on if it became

0:49:40.400 --> 0:49:44.640
<v Speaker 2>that yes about joining the band, Okay, let's stop here

0:49:44.719 --> 0:49:45.400
<v Speaker 2>for a second.

0:49:45.640 --> 0:49:48.240
<v Speaker 1>Go ahead. He had records, I think on Douglas Records

0:49:48.320 --> 0:49:52.279
<v Speaker 1>before he signed with Columbia had my Vshna Orchestra had

0:49:52.360 --> 0:49:57.080
<v Speaker 1>Inner Mountain Flame. The second album was actually more financially successful,

0:49:57.680 --> 0:50:01.560
<v Speaker 1>Birds of Fire. I think it was. Yes, I bought

0:50:01.680 --> 0:50:06.000
<v Speaker 1>the first album. I saw the band. I don't think,

0:50:06.520 --> 0:50:10.200
<v Speaker 1>including myself, I'm not sure the audience could understand the music.

0:50:10.320 --> 0:50:12.080
<v Speaker 1>You're right, we were all in shock. We had never

0:50:12.120 --> 0:50:14.440
<v Speaker 1>heard any say anything like it. Nobody had.

0:50:14.719 --> 0:50:17.000
<v Speaker 2>There had never been a concoction of that sort where

0:50:17.000 --> 0:50:19.279
<v Speaker 2>the funk was so strong, the rock was silence, and

0:50:19.440 --> 0:50:22.160
<v Speaker 2>the Indian influence was so powerful. Damn, It's like fifty

0:50:22.160 --> 0:50:24.560
<v Speaker 2>to sixty percent Indian music coming through on the funk,

0:50:24.640 --> 0:50:26.520
<v Speaker 2>on the blues, on the American thing. So we had

0:50:26.600 --> 0:50:29.280
<v Speaker 2>never heard that kind of blender a gumbo.

0:50:31.080 --> 0:50:33.279
<v Speaker 1>It was rare. No one. No one was doing that,

0:50:34.880 --> 0:50:37.080
<v Speaker 1>no one. So you're right.

0:50:37.200 --> 0:50:39.200
<v Speaker 2>We were all stunned. Even in the audience that night

0:50:39.200 --> 0:50:41.680
<v Speaker 2>when I saw him and Harper, we're all stunned and tangling.

0:50:41.760 --> 0:50:44.319
<v Speaker 1>We were all stunned. So you're right. We had never

0:50:44.360 --> 0:50:46.799
<v Speaker 1>heard anything like it. We still had ain't nothing never

0:50:46.880 --> 0:50:53.759
<v Speaker 1>been like that, and that since since now he had

0:50:53.840 --> 0:50:57.000
<v Speaker 1>his commercial peak at that point in time, to what

0:50:57.200 --> 0:50:59.759
<v Speaker 1>degree have you played with him or have a you

0:51:00.040 --> 0:51:01.920
<v Speaker 1>point on his music since the seventies.

0:51:03.920 --> 0:51:05.920
<v Speaker 2>Well, I saw him recently with Shocked, he celebrating their

0:51:05.920 --> 0:51:09.600
<v Speaker 2>fiftieth year anniversary here in town at the Lewis and

0:51:09.719 --> 0:51:10.200
<v Speaker 2>Davis Hall.

0:51:10.239 --> 0:51:10.920
<v Speaker 1>That was beautiful.

0:51:11.440 --> 0:51:14.840
<v Speaker 2>Zak here who sank killing on the toablers in his

0:51:15.000 --> 0:51:19.399
<v Speaker 2>band and the singer just beautiful, so beautiful, and he's

0:51:19.440 --> 0:51:22.440
<v Speaker 2>so free and he's happy. That's what he wants was

0:51:22.760 --> 0:51:25.080
<v Speaker 2>more acoustics so it's not so loud and he can

0:51:25.160 --> 0:51:26.640
<v Speaker 2>just do his thing and they're all just getting on.

0:51:26.800 --> 0:51:26.920
<v Speaker 1>Man.

0:51:27.440 --> 0:51:30.920
<v Speaker 2>So I have so much love and respect for him,

0:51:31.280 --> 0:51:33.399
<v Speaker 2>very very very very proud of him, and I'm also

0:51:33.480 --> 0:51:34.600
<v Speaker 2>very happy he took me on his wing.

0:51:35.640 --> 0:51:37.719
<v Speaker 1>A lot of other people you mentioned you played with

0:51:38.640 --> 0:51:42.800
<v Speaker 1>Yako Pastorius of course, did great things with Joni Mitchell.

0:51:42.800 --> 0:51:46.680
<v Speaker 1>A million other people died before his time. Yes, how

0:51:46.800 --> 0:51:50.080
<v Speaker 1>good was Giaco pingusorious? He is the Ali on the base.

0:51:50.960 --> 0:51:53.680
<v Speaker 1>You know we all love Ali, Muhammad Ali. I'm the greatest.

0:51:53.960 --> 0:51:56.279
<v Speaker 1>I am the greatest. That's how Jocko was. I am

0:51:56.360 --> 0:52:01.000
<v Speaker 1>the greatest. No one can touch me. Shoot, I got funk.

0:52:01.120 --> 0:52:03.200
<v Speaker 1>You want pretty? I got pretty? You want this? You

0:52:03.280 --> 0:52:06.120
<v Speaker 1>want that? What you want? I can do it. That's

0:52:06.200 --> 0:52:12.319
<v Speaker 1>how he was for real, Capricorn, tough, sensitive too.

0:52:13.680 --> 0:52:17.080
<v Speaker 2>So then dig I'm on a session with weather Report,

0:52:17.239 --> 0:52:20.760
<v Speaker 2>Joe zou On weather Report, Wayne Shorter, weather Report, Alexa

0:52:20.840 --> 0:52:23.720
<v Speaker 2>cunea percussion with Alfonso Johnson weather Report.

0:52:25.160 --> 0:52:25.840
<v Speaker 1>They called me in.

0:52:26.160 --> 0:52:28.800
<v Speaker 2>I did the album with Alfonso and they loved me,

0:52:28.920 --> 0:52:30.560
<v Speaker 2>so he said come in the Weatherport. So I came

0:52:30.600 --> 0:52:33.480
<v Speaker 2>over to play with him, and I cut a song

0:52:33.560 --> 0:52:38.359
<v Speaker 2>called black Market and the ending went into this long

0:52:38.520 --> 0:52:42.320
<v Speaker 2>jam like Kalamazoo Michigan jam, like the funk jam, Like

0:52:42.440 --> 0:52:48.480
<v Speaker 2>here's Wayne Shord of playing like Judy Walker, all that

0:52:48.560 --> 0:52:53.040
<v Speaker 2>stuff going on and funk for real, And I'm like, damn,

0:52:53.280 --> 0:52:56.560
<v Speaker 2>these guys are like more street wise than I realized.

0:52:56.840 --> 0:52:58.160
<v Speaker 2>I mean, I know Mercy Mercy Me and all the

0:52:58.239 --> 0:53:00.359
<v Speaker 2>Joe's I don't know, compositions you know, and the side

0:53:00.360 --> 0:53:02.600
<v Speaker 2>of waiting all that you know, and out there music.

0:53:02.520 --> 0:53:06.200
<v Speaker 1>But they could also be grounded. So I was like damn.

0:53:07.120 --> 0:53:08.839
<v Speaker 2>So then Joe says, why don't you join the band

0:53:09.080 --> 0:53:10.799
<v Speaker 2>and bring a bass player, because I know a fase

0:53:10.880 --> 0:53:12.000
<v Speaker 2>is going to go on and do something else. Now,

0:53:12.600 --> 0:53:14.040
<v Speaker 2>I said, well, Joe, I don't know if I can

0:53:14.120 --> 0:53:15.640
<v Speaker 2>join the band because I may want to go join

0:53:15.920 --> 0:53:18.359
<v Speaker 2>Tommy Bon's band. He asked me about playing with him,

0:53:18.400 --> 0:53:19.520
<v Speaker 2>and I'm like, I want to go more of the

0:53:19.600 --> 0:53:21.279
<v Speaker 2>rock and roll away now and get some panties on

0:53:21.320 --> 0:53:24.320
<v Speaker 2>the stage and all that kind of that kind of world.

0:53:25.000 --> 0:53:26.400
<v Speaker 2>But I have a bass player I think could be

0:53:26.400 --> 0:53:29.400
<v Speaker 2>good for you. I said, you know Jocopas Stories, that

0:53:29.480 --> 0:53:32.600
<v Speaker 2>crazy guy in Florida. He said, I think I've heard

0:53:32.640 --> 0:53:34.560
<v Speaker 2>about him. I said, let's fly him out here.

0:53:35.000 --> 0:53:37.320
<v Speaker 1>So we did. We flew out of Jocopas Stories.

0:53:37.320 --> 0:53:41.640
<v Speaker 2>For the next day, in comes Jacko, and Joe's written

0:53:41.680 --> 0:53:44.560
<v Speaker 2>a song called Cannonball, which he thinks he wants to

0:53:44.560 --> 0:53:47.719
<v Speaker 2>either going to call Cannonball Ford, Julian.

0:53:47.640 --> 0:53:49.759
<v Speaker 1>Adelete, Canniball, or empty chair.

0:53:49.800 --> 0:53:51.640
<v Speaker 2>He's not sure what he's gonna call yet, but he

0:53:51.680 --> 0:53:54.000
<v Speaker 2>starts teaching us the song if he first runs it

0:53:54.040 --> 0:53:55.480
<v Speaker 2>through with me, so I can record on casette on

0:53:56.000 --> 0:53:58.239
<v Speaker 2>a tape. That's how I always learned tongue, I said,

0:53:58.400 --> 0:54:00.239
<v Speaker 2>play through three once on a cassette, so I can

0:54:00.280 --> 0:54:02.120
<v Speaker 2>just walk around and study it, you know, and just

0:54:02.160 --> 0:54:03.520
<v Speaker 2>get it in my soul, not like looking at the

0:54:03.520 --> 0:54:05.280
<v Speaker 2>peace of paper. I could never just read that stuff.

0:54:05.280 --> 0:54:08.480
<v Speaker 2>Got to study it in your heart. So then now

0:54:08.520 --> 0:54:11.760
<v Speaker 2>it's time for Jocko to learn the piece. It's his audition.

0:54:13.000 --> 0:54:16.000
<v Speaker 1>And he starts playing this stuff that he would.

0:54:15.760 --> 0:54:18.120
<v Speaker 2>Get into later with johny Mitchell, all the harmonic stuff,

0:54:18.600 --> 0:54:22.759
<v Speaker 2>harmonic bl bloom bloom bloom, and Joe stopped right in

0:54:22.840 --> 0:54:26.040
<v Speaker 2>the middle and said, don't play that ship on my song.

0:54:31.480 --> 0:54:34.960
<v Speaker 2>And like a knife in Jacko's heart, a good knife,

0:54:35.840 --> 0:54:39.279
<v Speaker 2>a knife that meant, just play what you need to

0:54:39.320 --> 0:54:44.360
<v Speaker 2>play now because you can. And it made Jocko Jocko.

0:54:45.280 --> 0:54:48.000
<v Speaker 2>He put those little things where it was supposed to go,

0:54:48.040 --> 0:54:50.680
<v Speaker 2>with the polls just all over the place. Joe put

0:54:50.719 --> 0:54:54.800
<v Speaker 2>his ass in the fire and melted him down. And

0:54:54.920 --> 0:54:56.920
<v Speaker 2>that's when I really knew the power Joe Zalo. You

0:54:56.960 --> 0:54:59.839
<v Speaker 2>don't mess around with Joe's zalon. He's a fighter. He'll

0:55:00.160 --> 0:55:00.919
<v Speaker 2>you're out.

0:55:01.440 --> 0:55:02.520
<v Speaker 1>And that's me. It the Jocko bro.

0:55:03.200 --> 0:55:04.839
<v Speaker 2>And then I went on to work a time bowling

0:55:04.840 --> 0:55:06.520
<v Speaker 2>and jack to stay with that band and then made

0:55:06.560 --> 0:55:10.920
<v Speaker 2>Heavy Weather. You know, I remark you made Team Town Birdland,

0:55:11.200 --> 0:55:15.360
<v Speaker 2>that serious stuff. Man made it stuff a star. Okay,

0:55:15.440 --> 0:55:19.120
<v Speaker 2>you played with a lot of guitarists. You mentioned Pat Methen,

0:55:19.280 --> 0:55:23.719
<v Speaker 2>You played with Jeff Beck, Alan Holdsworth. Yes, you know

0:55:23.920 --> 0:55:26.880
<v Speaker 2>these are people considered those three people argue whether the

0:55:27.080 --> 0:55:28.040
<v Speaker 2>best of all time?

0:55:28.120 --> 0:55:28.799
<v Speaker 1>What do you think.

0:55:31.239 --> 0:55:33.040
<v Speaker 2>I don't look at things as the best of all time,

0:55:33.120 --> 0:55:34.759
<v Speaker 2>necessarily because I don't know the best of all time.

0:55:34.800 --> 0:55:38.200
<v Speaker 2>All I know is that everyone's got a different like capacity,

0:55:38.320 --> 0:55:41.120
<v Speaker 2>like like fruits, like an orange, banana, an apple, a peach.

0:55:41.440 --> 0:55:43.919
<v Speaker 1>They're all great fruits. That's how I look at life.

0:55:44.400 --> 0:55:47.840
<v Speaker 2>You need, we need, we need them all Allen Holdsworth

0:55:49.080 --> 0:55:54.000
<v Speaker 2>fluid fluid. But on the session I did for him

0:55:54.040 --> 0:55:56.320
<v Speaker 2>on this album, he was unhappy. He was doing a

0:55:56.400 --> 0:56:02.680
<v Speaker 2>thing for CTI Records, Cree Taylor Studio, Rudvan Gelder, and

0:56:02.840 --> 0:56:04.520
<v Speaker 2>he was running through the songs and they were recording

0:56:04.560 --> 0:56:06.960
<v Speaker 2>the run through and they were they want to they

0:56:06.960 --> 0:56:08.680
<v Speaker 2>want to keep that. But he's like, wait a minute,

0:56:08.680 --> 0:56:10.319
<v Speaker 2>that was just a run through. No, that was good enough,

0:56:10.360 --> 0:56:12.600
<v Speaker 2>they would say to him. So he's kind of happy.

0:56:13.760 --> 0:56:15.279
<v Speaker 2>He's kind of happy with that record we made him.

0:56:16.840 --> 0:56:17.520
<v Speaker 2>But I loved him.

0:56:17.520 --> 0:56:18.000
<v Speaker 1>He was great.

0:56:18.560 --> 0:56:20.680
<v Speaker 2>Then you mentioned who else you mentioned? You said, Jeff

0:56:20.719 --> 0:56:26.080
<v Speaker 2>Beck Yep, Jeff Beck. I came to know really will

0:56:26.160 --> 0:56:28.880
<v Speaker 2>because of the second tour we did the MA Fish Orchestra.

0:56:28.880 --> 0:56:32.480
<v Speaker 2>After Vision of the Animal Beyond in seventy five, Jeff

0:56:32.560 --> 0:56:34.960
<v Speaker 2>joined for a damn tour. He had his band Bernard

0:56:35.040 --> 0:56:41.719
<v Speaker 2>Perdi on drums, h Max Mills on a keyboard, the

0:56:41.840 --> 0:56:43.440
<v Speaker 2>mean bass player who put on wired.

0:56:43.520 --> 0:56:45.360
<v Speaker 1>What was his damn name? I'm bounce based not on

0:56:45.400 --> 0:56:48.520
<v Speaker 1>the name, and he remembers the vocalist Bobby Tench. But

0:56:49.640 --> 0:56:50.320
<v Speaker 1>but that was earlier.

0:56:50.360 --> 0:56:53.160
<v Speaker 2>That was Bobby ten Yeah, yeah, but nevertheless that that

0:56:53.200 --> 0:56:55.279
<v Speaker 2>you're right, that was a hot band. Butin this time

0:56:55.640 --> 0:56:57.399
<v Speaker 2>with Jeff, it was just him doing blow by blow

0:56:57.520 --> 0:57:00.799
<v Speaker 2>music right, and he was he hush, Now, you gotta

0:57:00.840 --> 0:57:02.879
<v Speaker 2>understand he wasn't just a jazz ars on a little

0:57:03.400 --> 0:57:04.840
<v Speaker 2>He crossed over to everybody.

0:57:04.920 --> 0:57:07.279
<v Speaker 1>It was packed theaters to see Jeff Beck.

0:57:08.040 --> 0:57:09.520
<v Speaker 2>So I had a chance to really study him and

0:57:09.600 --> 0:57:11.680
<v Speaker 2>know what is it The people loving about what he's doing,

0:57:12.280 --> 0:57:14.520
<v Speaker 2>and they love the funk on the bottom with these

0:57:14.560 --> 0:57:16.800
<v Speaker 2>sweet melodies and then the way he kind of mixing

0:57:16.840 --> 0:57:21.240
<v Speaker 2>all together, but it'd be sweetness for the girls and

0:57:21.400 --> 0:57:24.560
<v Speaker 2>also kind of funky. So I learned his sound. We

0:57:24.680 --> 0:57:27.479
<v Speaker 2>became really close. That was that was a really also

0:57:27.520 --> 0:57:30.160
<v Speaker 2>we jammed jam together every night. Movish New and Jeff,

0:57:30.640 --> 0:57:35.520
<v Speaker 2>me and Bernard both bands would play together. That was incredible.

0:57:37.080 --> 0:57:39.280
<v Speaker 2>So I love Jeff Beck and I learned playing with

0:57:39.360 --> 0:57:41.280
<v Speaker 2>him as more like high school vibe of me, Like

0:57:41.520 --> 0:57:45.760
<v Speaker 2>he's brilliant, but he'd played things I could latch onto,

0:57:45.960 --> 0:57:51.439
<v Speaker 2>like with Vishnu. With Professor Oriole, you had to re listen, listen, listen,

0:57:51.520 --> 0:57:55.120
<v Speaker 2>listen what he's gonna do. Where Jeff I could kind

0:57:55.120 --> 0:57:57.520
<v Speaker 2>of anticipate it. That's the difference, you see what I'm saying.

0:57:57.640 --> 0:57:58.520
<v Speaker 2>I kind of anticipate it.

0:58:01.040 --> 0:58:05.840
<v Speaker 1>Very brilliant. Who was the cat you mentioned? The three?

0:58:06.480 --> 0:58:10.640
<v Speaker 1>You said? You said, well, I don't work at PAT

0:58:10.720 --> 0:58:12.760
<v Speaker 1>that much. I don't work at PAT. And he was

0:58:12.800 --> 0:58:13.240
<v Speaker 1>in college.

0:58:13.800 --> 0:58:15.560
<v Speaker 2>I said, have you were like bashed out in rock?

0:58:15.640 --> 0:58:17.640
<v Speaker 2>I know you played great jazz, but can you rock?

0:58:17.960 --> 0:58:20.040
<v Speaker 2>Can you play loud? Can you come over my house?

0:58:20.080 --> 0:58:21.320
<v Speaker 2>I bubble bash at you?

0:58:21.560 --> 0:58:23.800
<v Speaker 1>See what you do? He said, okay, So I did.

0:58:23.920 --> 0:58:26.440
<v Speaker 1>I just bashed in him hardcore and he was.

0:58:26.520 --> 0:58:30.560
<v Speaker 2>Just like phenomenal. But it wasn't as hard. It wasn't

0:58:30.560 --> 0:58:31.640
<v Speaker 2>what he wanted to do. He wanted to play on

0:58:31.720 --> 0:58:34.200
<v Speaker 2>a quiet you know, he was happy playing quiet and

0:58:34.880 --> 0:58:37.400
<v Speaker 2>and like you know, patmtheene to be, so I didn't

0:58:37.480 --> 0:58:38.480
<v Speaker 2>take him that serious to go.

0:58:38.600 --> 0:58:39.200
<v Speaker 1>Further with him.

0:58:39.680 --> 0:58:43.040
<v Speaker 2>How about Alan Holdsworth, Yeah, I mentioned Alan at the beginning.

0:58:43.120 --> 0:58:45.120
<v Speaker 2>I was saying, Alan Holdsworth, we did the album for

0:58:45.200 --> 0:58:48.680
<v Speaker 2>ct I called Velvet Darkness, right, and that was the

0:58:48.720 --> 0:58:51.120
<v Speaker 2>album he wasn't happy making because they kept there, they

0:58:51.120 --> 0:58:51.680
<v Speaker 2>were keeping.

0:58:51.520 --> 0:58:52.120
<v Speaker 1>The takes, I know.

0:58:52.240 --> 0:58:57.520
<v Speaker 2>But after that, oh well, you know from me, okay,

0:58:58.760 --> 0:59:00.920
<v Speaker 2>Alan Holdworth in heaven looking down at me right now,

0:59:01.000 --> 0:59:03.919
<v Speaker 2>you are. We love you because you're like a violent

0:59:03.960 --> 0:59:06.880
<v Speaker 2>on guitar. You're the violinist of the guitar. How he

0:59:06.960 --> 0:59:09.880
<v Speaker 2>does what he does, no one even understands it. This

0:59:10.120 --> 0:59:12.240
<v Speaker 2>is his own technique. I mean, might have a dear

0:59:12.280 --> 0:59:14.480
<v Speaker 2>friend Crowder Richard, you another genius and guitar. He's tried

0:59:14.480 --> 0:59:16.360
<v Speaker 2>to emulate it. No one can really eminent what he does.

0:59:16.520 --> 0:59:19.680
<v Speaker 2>Alan's under his his own self. He's an orange. He's

0:59:19.720 --> 0:59:23.880
<v Speaker 2>the orange. So I have great respect for him, but honestly,

0:59:23.960 --> 0:59:25.960
<v Speaker 2>to play with him wasn't as much fun. Always say

0:59:25.960 --> 0:59:29.640
<v Speaker 2>it was vish because Visu the definition is there, or

0:59:29.720 --> 0:59:32.600
<v Speaker 2>Jeff Beck, the definition is there. With Alan so fluid

0:59:34.280 --> 0:59:36.560
<v Speaker 2>that you have a hard time catching it what it's

0:59:36.600 --> 0:59:39.200
<v Speaker 2>going to be you know what I mean? Like my

0:59:39.280 --> 0:59:42.360
<v Speaker 2>whole thing is kind of mirror catch your frase, throw

0:59:42.440 --> 0:59:44.320
<v Speaker 2>back at you so you can keep going with Alan's

0:59:44.360 --> 0:59:45.000
<v Speaker 2>hard because.

0:59:44.760 --> 0:59:47.560
<v Speaker 1>He'll played these long phrases. See it's hard to mirror.

0:59:47.360 --> 0:59:50.840
<v Speaker 2>The long phrase. But he's genius. So I learned a

0:59:50.880 --> 0:59:52.960
<v Speaker 2>different gear with him, just to learn the list. Let

0:59:53.040 --> 0:59:55.440
<v Speaker 2>him go, Just let him go and see.

0:59:55.280 --> 1:00:04.080
<v Speaker 1>What it is. Okay, how about drummers, How do you

1:00:04.160 --> 1:00:09.600
<v Speaker 1>consider yourself to be stacked up? From everybody from Billy

1:00:09.800 --> 1:00:12.760
<v Speaker 1>Cobbam to Neil Pert to everybody.

1:00:14.480 --> 1:00:17.280
<v Speaker 2>Billy Cobbam to me is something that is just rarefied air.

1:00:17.840 --> 1:00:21.640
<v Speaker 2>He is the astronaut that showed me the highest height.

1:00:22.040 --> 1:00:23.720
<v Speaker 2>I had never seen anyone go as high as him.

1:00:25.400 --> 1:00:28.320
<v Speaker 2>To this day, I love Mitch Mitchell when I saw

1:00:28.400 --> 1:00:31.480
<v Speaker 2>him do with Jimmy Hendricks. I'm a real fan of

1:00:31.640 --> 1:00:34.560
<v Speaker 2>so many drummers, you know, and I wasn't a big

1:00:34.640 --> 1:00:36.320
<v Speaker 2>fan of a kid, necessarily of Keith Moon.

1:00:36.960 --> 1:00:37.640
<v Speaker 1>Here I am learning.

1:00:37.720 --> 1:00:39.360
<v Speaker 2>I can see for miles and miles a miles, but

1:00:39.480 --> 1:00:41.200
<v Speaker 2>I realized that was Keith Moon. Then later on in

1:00:41.280 --> 1:00:43.280
<v Speaker 2>my life I realized how strong he was. Then I

1:00:43.360 --> 1:00:43.880
<v Speaker 2>had more.

1:00:43.760 --> 1:00:48.320
<v Speaker 1>Respect for him. How strong he was. But I loved

1:00:48.640 --> 1:00:51.080
<v Speaker 1>all drummers, and we don't compete. That's one thing Grew

1:00:51.160 --> 1:00:51.440
<v Speaker 1>taught me.

1:00:51.520 --> 1:00:54.000
<v Speaker 2>He said, when you join my Vision Orchestra, don't compete

1:00:54.000 --> 1:00:57.280
<v Speaker 2>with Billy Cobb because you will lose. They just compete

1:00:57.320 --> 1:01:02.160
<v Speaker 2>with yourself. And that freedom me so and talking you

1:01:02.200 --> 1:01:04.360
<v Speaker 2>asking about other drummers. I have just just pure love

1:01:04.640 --> 1:01:06.920
<v Speaker 2>for all drummers, I really do, and I try to

1:01:07.000 --> 1:01:08.920
<v Speaker 2>learn from all of them. Learned from Bernard Perry how

1:01:08.960 --> 1:01:12.200
<v Speaker 2>to shuffle. Learned from my favorite of all. A lot

1:01:12.200 --> 1:01:15.280
<v Speaker 2>of people won't even know him, named Sandy McGee with

1:01:15.400 --> 1:01:18.440
<v Speaker 2>a band called Cold Blood, siss Fust with Lydia pens

1:01:18.440 --> 1:01:19.760
<v Speaker 2>on vocal now that cat.

1:01:20.200 --> 1:01:22.600
<v Speaker 1>Wait wait wait wait wait wait wait wait, how do

1:01:22.720 --> 1:01:25.960
<v Speaker 1>you even know that band? That band was from San Francisco,

1:01:26.200 --> 1:01:29.280
<v Speaker 1>never really you know, broke through? How do you how

1:01:29.320 --> 1:01:30.920
<v Speaker 1>do you even find cold Blood?

1:01:30.960 --> 1:01:33.640
<v Speaker 2>I'm in Kalamazoo, Michigan, and my best friend played trumpet

1:01:33.680 --> 1:01:35.959
<v Speaker 2>with the band we had called Avatar named Bobby Knapp.

1:01:36.040 --> 1:01:38.960
<v Speaker 2>Bob actually later joined the mob structure, but Bobby w

1:01:39.120 --> 1:01:40.640
<v Speaker 2>be my god, turned me on this stuff. Bobby said,

1:01:40.640 --> 1:01:42.400
<v Speaker 2>you gotta hear this thing. He played me cold blood,

1:01:42.400 --> 1:01:45.080
<v Speaker 2>sissyphus think of shop talk Boa, digging, do, digging tan,

1:01:45.920 --> 1:01:48.280
<v Speaker 2>don't don't dig it, don't do and.

1:01:48.280 --> 1:01:52.200
<v Speaker 1>The drug so clean, so pure, So like, who's that?

1:01:53.000 --> 1:01:54.720
<v Speaker 1>That's Sandy McGee And then he could.

1:01:54.600 --> 1:01:58.240
<v Speaker 2>Sing too, there's been never a funk your cat beside

1:01:58.240 --> 1:01:59.600
<v Speaker 2>a cobbin, and the dad looked a little.

1:02:00.120 --> 1:02:00.480
<v Speaker 1>We love.

1:02:01.200 --> 1:02:03.240
<v Speaker 2>But at that time in my life it was Sandy

1:02:03.320 --> 1:02:08.280
<v Speaker 2>McGee had so much shops and knew how to grab

1:02:08.360 --> 1:02:08.720
<v Speaker 2>the symbol.

1:02:10.800 --> 1:02:15.200
<v Speaker 1>He became my guru. So I have love for all

1:02:15.320 --> 1:02:15.800
<v Speaker 1>these people.

1:02:16.360 --> 1:02:18.160
<v Speaker 2>And quite frankly, the Cold Sweat I can't leave on

1:02:18.400 --> 1:02:22.280
<v Speaker 2>class Toblefield when I'm a kid, Cole Sweat turned everybody out.

1:02:22.560 --> 1:02:24.240
<v Speaker 2>And if you couldn't play Cold Sweat, you couldn't play,

1:02:26.600 --> 1:02:28.080
<v Speaker 2>you know. You look about zigg booh and talk about

1:02:28.080 --> 1:02:31.440
<v Speaker 2>the Sizzy strip. That was important too. Everything's important in

1:02:31.520 --> 1:02:33.880
<v Speaker 2>the in the rhythm world. In the rhythm world, if

1:02:33.880 --> 1:02:36.680
<v Speaker 2>you can't or don't know these things, there's something missing

1:02:36.720 --> 1:02:37.760
<v Speaker 2>in your vocabulary.

1:02:38.840 --> 1:02:42.880
<v Speaker 1>Yeah, so how do you end up getting the solo deal? Oh? God?

1:02:43.240 --> 1:02:47.040
<v Speaker 2>But hard. After my vision I was lost. I cried,

1:02:47.560 --> 1:02:50.520
<v Speaker 2>you know, and then Lenny White helped me. Cause on

1:02:50.680 --> 1:02:54.520
<v Speaker 2>Lenny White's album Venetian Summer whatever it's called, Venetian Something,

1:02:54.600 --> 1:02:56.600
<v Speaker 2>Venetian Knights, whatever it's called. He had a cat on

1:02:56.640 --> 1:03:00.640
<v Speaker 2>their playing guitar who was mean, named Raymond Gomez, and

1:03:00.720 --> 1:03:02.439
<v Speaker 2>I said, wait a minute, this guy caned meal to play.

1:03:04.640 --> 1:03:07.720
<v Speaker 2>And I met Raymond Gomez and it made my heart

1:03:07.840 --> 1:03:10.840
<v Speaker 2>feel happy, and I had met someone of you know,

1:03:11.040 --> 1:03:15.360
<v Speaker 2>the same spirit. Loved Handrick's new mobbish new music. Some

1:03:15.840 --> 1:03:18.400
<v Speaker 2>knew the fusion aire world but also understood the rock

1:03:18.440 --> 1:03:21.400
<v Speaker 2>blues worlds. And I felt like, may I could work

1:03:21.440 --> 1:03:23.840
<v Speaker 2>with this guy. I can develop my sound on me

1:03:24.200 --> 1:03:25.640
<v Speaker 2>doing what I want with this guy. And I did

1:03:26.600 --> 1:03:32.200
<v Speaker 2>the Garden Love Light album. I wrote Sons Dancing the

1:03:32.240 --> 1:03:34.040
<v Speaker 2>White Knight and a few other pieces and it became

1:03:35.160 --> 1:03:37.280
<v Speaker 2>my sound for that album. And also something I did

1:03:37.600 --> 1:03:41.680
<v Speaker 2>learn from Talmy Tommy bowlan band Delightful, which I'd worked for,

1:03:41.720 --> 1:03:45.919
<v Speaker 2>Tommy Bolan. All these kind of came together to helped

1:03:45.920 --> 1:03:49.320
<v Speaker 2>me get a deal with Atlantic. Eventually Epic Records pay

1:03:49.360 --> 1:03:50.960
<v Speaker 2>for my demo, but then they didn't want it. But

1:03:51.080 --> 1:03:54.920
<v Speaker 2>then Atlantic get said Raymond, Raymond Silva and Jim Delahant

1:03:55.000 --> 1:04:00.360
<v Speaker 2>and my man over there, I'm an urt again they

1:04:00.360 --> 1:04:03.240
<v Speaker 2>had had successful Billy cobbam and they said, why don't

1:04:03.240 --> 1:04:06.200
<v Speaker 2>we tick you onto? And they did, and that's how

1:04:06.280 --> 1:04:07.640
<v Speaker 2>Mad Garden Lovel. And then they give me my choice

1:04:07.680 --> 1:04:09.880
<v Speaker 2>of producers. They said you can choose either Raise Martin

1:04:09.960 --> 1:04:14.560
<v Speaker 2>or Tommy Dowd. I said, well, damn, I guess I'll

1:04:14.560 --> 1:04:16.640
<v Speaker 2>take Tommy Dowd then, because I want to go more rock.

1:04:18.400 --> 1:04:20.840
<v Speaker 2>And I bring my engineering in from London named Dennis

1:04:20.880 --> 1:04:23.680
<v Speaker 2>McKay worked on the last Mavis Strokes job, Inner Worlds,

1:04:23.680 --> 1:04:26.720
<v Speaker 2>because he had phenomenal drum sounds. So that's how I

1:04:26.760 --> 1:04:30.240
<v Speaker 2>made Garden Love Light. And then Tommy Dawe was suggested

1:04:30.240 --> 1:04:31.760
<v Speaker 2>on Garden Love Light that sounds we got to bring

1:04:31.760 --> 1:04:33.880
<v Speaker 2>in Sissy Houston sings background, so who s.

1:04:34.480 --> 1:04:35.520
<v Speaker 1>Yeah this good MISSISSI.

1:04:35.720 --> 1:04:38.600
<v Speaker 2>Here's sus Houston comes in with her whole troop and

1:04:38.600 --> 1:04:40.160
<v Speaker 2>a little eleven year old girl in the corner that's

1:04:40.160 --> 1:04:44.280
<v Speaker 2>the daughter Whitney watching. And these women sound like incredible.

1:04:45.680 --> 1:04:48.440
<v Speaker 2>So Tommy dwd really helped me a lot at that

1:04:48.520 --> 1:04:50.680
<v Speaker 2>time in my life seventy six. And he also big

1:04:50.760 --> 1:04:53.680
<v Speaker 2>on compression. Tell me about compression. Ray Charles will say,

1:04:53.680 --> 1:04:55.880
<v Speaker 2>don't use your eyes, use your ears, so.

1:04:57.360 --> 1:04:57.840
<v Speaker 1>I hope him.

1:04:57.840 --> 1:04:59.600
<v Speaker 2>I'm not just gap babbling here. I'm just telling you

1:04:59.800 --> 1:05:00.680
<v Speaker 2>what happened at that time.

1:05:02.200 --> 1:05:05.480
<v Speaker 1>Well, how is your experience in Atlantic and how did

1:05:05.520 --> 1:05:08.560
<v Speaker 1>you feel about that? I love the fact that I

1:05:08.640 --> 1:05:09.840
<v Speaker 1>could have a deal.

1:05:10.600 --> 1:05:14.160
<v Speaker 2>You understand, it's hard, brother, to make have half things

1:05:14.200 --> 1:05:17.440
<v Speaker 2>happen in this music world, really hard and that.

1:05:17.920 --> 1:05:19.520
<v Speaker 1>But I had to make a deal. At the time.

1:05:19.560 --> 1:05:21.600
<v Speaker 2>I just say, listen, they said, you will give you

1:05:21.640 --> 1:05:25.040
<v Speaker 2>a deal. We want to have your publishing. Okay, see

1:05:25.200 --> 1:05:26.760
<v Speaker 2>those kinds of things we have to just do just

1:05:26.840 --> 1:05:29.560
<v Speaker 2>to make it. What you gonna do shine shoes, What

1:05:29.720 --> 1:05:33.040
<v Speaker 2>you wanna do my floors? You want to clean ash trays? No,

1:05:34.200 --> 1:05:36.440
<v Speaker 2>So I'll give you half the publishing and Wired, I'll

1:05:36.440 --> 1:05:38.480
<v Speaker 2>give you half pushing whatever it is, just to give

1:05:38.520 --> 1:05:41.600
<v Speaker 2>me a shot to start making my own sound. So Garden, lovelight,

1:05:41.840 --> 1:05:45.160
<v Speaker 2>I cry and smile Awakening And then that's when the

1:05:45.280 --> 1:05:48.240
<v Speaker 2>when the brick hit the fan. They said, listen, if

1:05:48.320 --> 1:05:49.920
<v Speaker 2>you don't have a hit on this next album, Awaking,

1:05:49.960 --> 1:05:52.800
<v Speaker 2>your third album, we're gonna drop you. I just got married,

1:05:55.120 --> 1:05:57.560
<v Speaker 2>and they said, you may want to come to New

1:05:57.640 --> 1:05:59.480
<v Speaker 2>York because it's the sound has changed it's now disco

1:05:59.680 --> 1:06:05.880
<v Speaker 2>dance music, so I didn't want to get dropped. And

1:06:05.960 --> 1:06:08.520
<v Speaker 2>the jazz rock fusion kind of kind of it kind

1:06:08.520 --> 1:06:11.560
<v Speaker 2>of ruin its course. And I came to New York

1:06:11.600 --> 1:06:14.240
<v Speaker 2>and I want to fit the studio fifty four checked

1:06:14.240 --> 1:06:17.320
<v Speaker 2>it out. Walk the streets here, Rick James, you and

1:06:17.440 --> 1:06:21.000
<v Speaker 2>I here hear the sound of the day, and go

1:06:21.160 --> 1:06:25.480
<v Speaker 2>on my little Hilton Apartment hotel and bust out on

1:06:25.560 --> 1:06:28.800
<v Speaker 2>my clabinet four Jams, I don't know Buddy's dance with

1:06:28.880 --> 1:06:31.480
<v Speaker 2>you and the side of one of Awakening. And I

1:06:31.640 --> 1:06:34.280
<v Speaker 2>was very blessed to have Bobby Clearman and say yes

1:06:34.320 --> 1:06:37.040
<v Speaker 2>to working with me at the power station. And they

1:06:37.080 --> 1:06:38.440
<v Speaker 2>also said, yeah, you gotta work with this other guy

1:06:38.440 --> 1:06:41.360
<v Speaker 2>who's big in the disco woman, Patrick Adams. He does

1:06:41.440 --> 1:06:43.200
<v Speaker 2>string arranging for the disco, so you gotta have him

1:06:43.200 --> 1:06:44.840
<v Speaker 2>in there for the name that and what he's don't

1:06:44.840 --> 1:06:47.200
<v Speaker 2>bring to it. I said, okay, So I going to

1:06:47.200 --> 1:06:49.040
<v Speaker 2>put powers and I'm cutting with my cats hiring book

1:06:49.040 --> 1:06:51.680
<v Speaker 2>on guitar, you know, Cliff Carter keyboards, and we're cut

1:06:51.760 --> 1:06:54.480
<v Speaker 2>my stuff and Bobby makes me sound really good. Patrick

1:06:54.520 --> 1:06:57.600
<v Speaker 2>comes around every now and again, and I got the

1:06:57.640 --> 1:07:00.400
<v Speaker 2>Brecker Brothers to come play horns with David Sambourne, Michael, Michael,

1:07:00.760 --> 1:07:03.800
<v Speaker 2>Randy and David come play on I Don't want to

1:07:03.800 --> 1:07:05.600
<v Speaker 2>body else dance with you, And that record saved my life.

1:07:06.440 --> 1:07:09.200
<v Speaker 2>I had a little hit and now they're give me

1:07:09.240 --> 1:07:11.520
<v Speaker 2>a party at Atlantic. I'm gonna urt again and all

1:07:11.560 --> 1:07:14.000
<v Speaker 2>that at the Indian Food restaurant. So I'm just so

1:07:14.080 --> 1:07:17.440
<v Speaker 2>happy man to feel like I could save my career.

1:07:17.840 --> 1:07:20.080
<v Speaker 2>I didn't want to go down. And then I went

1:07:20.080 --> 1:07:22.480
<v Speaker 2>in that same trajectory next album, Dance a Life. I

1:07:22.480 --> 1:07:25.280
<v Speaker 2>Should Have Loved You, not I'm all right dance music.

1:07:26.640 --> 1:07:31.760
<v Speaker 1>You know. I love Atlantic Records. I love Atlanta Records.

1:07:32.040 --> 1:07:33.880
<v Speaker 1>So how did you end up getting into the other

1:07:34.000 --> 1:07:37.000
<v Speaker 1>side of the business, on the other side of the glass.

1:07:37.000 --> 1:07:39.600
<v Speaker 2>After I had I Should Have Loved You? Now I'm

1:07:39.640 --> 1:07:42.680
<v Speaker 2>watching Don't Forget. I watched George Martin produce Apocalypse of

1:07:42.760 --> 1:07:46.120
<v Speaker 2>Marvish Orchestra. I watched Kenny Scott Ken Scott do Vision

1:07:46.120 --> 1:07:50.320
<v Speaker 2>aw moving on. I watched you know, Tommy Down, I

1:07:50.360 --> 1:07:53.880
<v Speaker 2>watched these hot shot cats. You know, just by being

1:07:53.880 --> 1:07:57.959
<v Speaker 2>around you, you learn. And then I told Henry Allen,

1:07:58.000 --> 1:08:00.360
<v Speaker 2>who was the president of Cotillion records. You know, we

1:08:00.400 --> 1:08:02.320
<v Speaker 2>don't talk about Henry, but Henry was a big shot.

1:08:02.960 --> 1:08:05.160
<v Speaker 2>He was gonna signed, say Selata's all such a sledge,

1:08:05.440 --> 1:08:07.360
<v Speaker 2>you know, helped now Roger Vashik all that stuff.

1:08:08.040 --> 1:08:11.680
<v Speaker 1>And I said, you know, Henry, why you let me

1:08:11.720 --> 1:08:15.040
<v Speaker 1>produce this girl for four tracks? And I'm four songs now,

1:08:15.040 --> 1:08:16.760
<v Speaker 1>I'll make an album if you like it for stats

1:08:16.760 --> 1:08:18.360
<v Speaker 1>Aleatta's all I know you want something happened for her,

1:08:18.680 --> 1:08:22.679
<v Speaker 1>She's eleven years old. And he said, okay, okay.

1:08:22.800 --> 1:08:24.000
<v Speaker 2>I said, if you know you won't lose that much

1:08:24.000 --> 1:08:25.680
<v Speaker 2>of it to do four songs, and if you like it,

1:08:25.840 --> 1:08:29.040
<v Speaker 2>just you know you would finish it up. So I

1:08:29.120 --> 1:08:31.559
<v Speaker 2>got a very small budget and I went back home

1:08:31.600 --> 1:08:33.920
<v Speaker 2>to Samay school and I wrote and put together with

1:08:34.000 --> 1:08:37.599
<v Speaker 2>my band, you know, Corodo Crodon guitar, Frank Bartiner keyboards,

1:08:37.600 --> 1:08:39.960
<v Speaker 2>TM Stevens bass, and myself. I wrote let Me be

1:08:39.960 --> 1:08:43.280
<v Speaker 2>Your Angel with Bunny Home, Dynamite Jumped to the Beat

1:08:44.800 --> 1:08:48.760
<v Speaker 2>and my Love and those four records. When they heard,

1:08:48.840 --> 1:08:51.000
<v Speaker 2>they were like, damn, and you're under budget too, Go

1:08:51.160 --> 1:08:51.800
<v Speaker 2>finish the album.

1:08:51.840 --> 1:08:53.320
<v Speaker 1>So I finished the album. She had a hit.

1:08:53.560 --> 1:08:56.080
<v Speaker 2>Liviy r Angel was a big hit Dynamite did did

1:08:56.120 --> 1:08:58.599
<v Speaker 2>really well for her. That made the phone ring. Now

1:08:58.640 --> 1:09:01.320
<v Speaker 2>Clive Davis is calling me. He said, well, how do

1:09:01.360 --> 1:09:02.680
<v Speaker 2>you learn how to make that kind of record? Said, well,

1:09:02.720 --> 1:09:06.000
<v Speaker 2>I'm from Michigan. I love music, you know. He said,

1:09:06.000 --> 1:09:09.479
<v Speaker 2>well you want to produce Dean Warick. Damn, Dean Warck

1:09:09.600 --> 1:09:13.160
<v Speaker 2>is my my hero back, I'm my heroes.

1:09:14.040 --> 1:09:15.000
<v Speaker 1>He'll go and visit with her.

1:09:15.840 --> 1:09:17.920
<v Speaker 2>That was Clyde that said it to me. So I

1:09:18.000 --> 1:09:21.400
<v Speaker 2>go to LA I bring thirteen songs. But Diane didn't

1:09:21.439 --> 1:09:22.320
<v Speaker 2>like my songs at that time.

1:09:23.920 --> 1:09:25.280
<v Speaker 1>I come back. Call my call Claude. Is it clid?

1:09:25.320 --> 1:09:27.479
<v Speaker 1>She didn't like my songs. He ain't don't work, don't

1:09:27.479 --> 1:09:30.559
<v Speaker 1>wory about I about to read Franklin or Wreatha Franklin.

1:09:32.600 --> 1:09:36.280
<v Speaker 1>Uh yeah, he said, just give her a call. Just

1:09:36.320 --> 1:09:40.000
<v Speaker 1>give her a call. So I called Wreatha Franklin. So

1:09:40.120 --> 1:09:42.080
<v Speaker 1>I say, well, what do you do to have fun?

1:09:42.160 --> 1:09:42.320
<v Speaker 1>You know?

1:09:43.320 --> 1:09:45.760
<v Speaker 2>She goes, well, maybe I'll go out to a night

1:09:45.800 --> 1:09:49.720
<v Speaker 2>club at night. I look around the club. I see

1:09:49.760 --> 1:09:51.519
<v Speaker 2>a guy in the corner looking good looking at me.

1:09:51.600 --> 1:09:52.320
<v Speaker 2>I'm looking at him.

1:09:54.280 --> 1:09:58.400
<v Speaker 1>She goes, it's kind of like a whozu Manhu. He

1:09:58.520 --> 1:10:01.000
<v Speaker 1>thinks he's got me. But then the fish jumps off

1:10:01.000 --> 1:10:04.559
<v Speaker 1>the hook. Damn, the fish jumps off the hook. Who's

1:10:04.680 --> 1:10:06.759
<v Speaker 1>When I'm writing this down, this is how she talks

1:10:06.920 --> 1:10:10.960
<v Speaker 1>for real. So I got off the phone call.

1:10:11.000 --> 1:10:13.160
<v Speaker 2>I called my buddy, Preston Glass said, Press, we gotta

1:10:13.160 --> 1:10:14.120
<v Speaker 2>take her the way she talks.

1:10:14.240 --> 1:10:16.720
<v Speaker 1>Make a song out of this. Here we did.

1:10:17.960 --> 1:10:19.679
<v Speaker 2>I go back to Detroit and I start working with Aretha,

1:10:20.320 --> 1:10:21.800
<v Speaker 2>and then I realize how tender she is because her

1:10:21.840 --> 1:10:24.640
<v Speaker 2>dad just died. Her dad died from the colma being

1:10:24.680 --> 1:10:27.960
<v Speaker 2>shot in the church, so she's very tender. But she

1:10:28.080 --> 1:10:30.760
<v Speaker 2>sings her ass off two songs Who's Them? And who

1:10:31.000 --> 1:10:33.040
<v Speaker 2>and Until You Say You Love Me my favorite of all.

1:10:34.479 --> 1:10:36.560
<v Speaker 2>And then when I come back home back to California,

1:10:37.800 --> 1:10:40.320
<v Speaker 2>Preston says to me, what about that song Freeway of Love?

1:10:40.320 --> 1:10:42.599
<v Speaker 2>Whyn't you give her that the thing you're working out

1:10:42.600 --> 1:10:44.800
<v Speaker 2>for yourself, Preston, I would have never thought of that.

1:10:46.240 --> 1:10:50.560
<v Speaker 2>So we reshape Freeway of Love for Aretha and that

1:10:50.640 --> 1:10:52.880
<v Speaker 2>becomes a major hit for her, and on the same sessions,

1:10:52.880 --> 1:10:54.479
<v Speaker 2>I how will I Know? For Whitney Houston. It all

1:10:54.560 --> 1:10:56.880
<v Speaker 2>kind of snowballed, it all kind of snowballed because I

1:10:56.920 --> 1:10:59.320
<v Speaker 2>said no to Whitney Houston. It was Jared Griffith called

1:10:59.320 --> 1:11:00.880
<v Speaker 2>me for Whitney said, no, I can't do that. I'm

1:11:01.040 --> 1:11:04.160
<v Speaker 2>so focused on Aretha. I can't do anything else. He said, Yeah,

1:11:04.160 --> 1:11:06.599
<v Speaker 2>I have a hold on man. This is sister Houston's daughter.

1:11:06.880 --> 1:11:07.280
<v Speaker 1>Whitney.

1:11:07.680 --> 1:11:11.800
<v Speaker 2>You want to be on this project, he said, And

1:11:11.920 --> 1:11:13.679
<v Speaker 2>I think, He said, I think I have a song idea.

1:11:14.000 --> 1:11:15.160
<v Speaker 2>He sent me the course of how will I know?

1:11:15.880 --> 1:11:17.720
<v Speaker 2>But there was no verses. I said, I gotta write

1:11:17.720 --> 1:11:19.479
<v Speaker 2>some verses of those things. He said, then let me

1:11:19.479 --> 1:11:20.000
<v Speaker 2>ask the writers.

1:11:20.000 --> 1:11:20.439
<v Speaker 1>If you can do that.

1:11:20.520 --> 1:11:23.080
<v Speaker 2>You call the writers and the writer said, okay. So

1:11:23.240 --> 1:11:25.880
<v Speaker 2>I jammed out on the same section for Aretha.

1:11:26.520 --> 1:11:29.680
<v Speaker 1>How will I know? Bang on the piano, sing the thing,

1:11:30.160 --> 1:11:32.360
<v Speaker 1>bang it out, call it Whitney. Can you sing high?

1:11:32.360 --> 1:11:33.600
<v Speaker 1>I'm the other thing with the high? Yeah, I can

1:11:33.640 --> 1:11:36.400
<v Speaker 1>sing Hi. That's how I'll just start a snowballing.

1:11:36.560 --> 1:11:39.960
<v Speaker 2>Don't forget ant the ballfield came before that too, Philips Hymon,

1:11:40.479 --> 1:11:42.160
<v Speaker 2>Patty Austin. There was a whole lot of work in

1:11:42.240 --> 1:11:45.960
<v Speaker 2>there building me up that I was doing different different people,

1:11:46.000 --> 1:11:46.920
<v Speaker 2>different labels and things.

1:11:47.560 --> 1:11:52.320
<v Speaker 1>Okay, Clive has got a reputation for meddling with the music.

1:11:53.080 --> 1:11:55.200
<v Speaker 1>To what degree did he meddle with the record?

1:11:55.320 --> 1:11:58.840
<v Speaker 2>You made different degrees on different different things early on,

1:11:59.000 --> 1:12:01.120
<v Speaker 2>for as the book feel he may want me to

1:12:01.160 --> 1:12:02.519
<v Speaker 2>do a song or something. He might choose a song

1:12:02.600 --> 1:12:04.479
<v Speaker 2>or two, but then beyond that he wouldn't. He wasn't

1:12:04.479 --> 1:12:06.760
<v Speaker 2>that crazy. He was always cool, you know, feel the time.

1:12:06.840 --> 1:12:13.080
<v Speaker 2>He was always cool. How will I know I did

1:12:13.240 --> 1:12:17.120
<v Speaker 2>that for Jerry Griffith never even talked to Clive about that,

1:12:17.360 --> 1:12:19.600
<v Speaker 2>But there was then when I brought it to the

1:12:19.680 --> 1:12:22.760
<v Speaker 2>office after I cut it and mixed it, he said, well,

1:12:22.760 --> 1:12:24.200
<v Speaker 2>did you ever know about another lyrics for that song?

1:12:24.200 --> 1:12:27.200
<v Speaker 2>A sa A No, No, I did not, and then

1:12:27.280 --> 1:12:29.000
<v Speaker 2>he just dropped it. But I saw him ask me

1:12:29.040 --> 1:12:32.320
<v Speaker 2>about that now. On next album, he chose all the

1:12:32.400 --> 1:12:34.519
<v Speaker 2>music for Whitney. He chose I Want to Dance, Somebody

1:12:34.520 --> 1:12:37.519
<v Speaker 2>Loves Me where Brokerheart's go so emotional. He chose those songs,

1:12:38.280 --> 1:12:41.080
<v Speaker 2>even shows like the Olympic theme song One moment in time.

1:12:41.280 --> 1:12:42.960
<v Speaker 2>It was my job to bring him to be it

1:12:43.000 --> 1:12:46.439
<v Speaker 2>sounds like hits, so I did, And all he would

1:12:46.439 --> 1:12:47.720
<v Speaker 2>ever asked for was really making sure that he can

1:12:47.800 --> 1:12:50.240
<v Speaker 2>hear the vocal background vocal. He would to meddle with

1:12:50.320 --> 1:12:52.560
<v Speaker 2>me too much. Only one song the third album he

1:12:52.640 --> 1:12:57.880
<v Speaker 2>went crazy, love her for life. I wanted to cut

1:12:57.920 --> 1:13:00.840
<v Speaker 2>that song four different ways for different ways. Wasn't like

1:13:00.840 --> 1:13:02.160
<v Speaker 2>I need a baker, were like this one like that?

1:13:02.200 --> 1:13:06.920
<v Speaker 1>Whatever? Because the demo the baseroom pattern was wrong to me.

1:13:07.240 --> 1:13:10.280
<v Speaker 1>It was a four a five bar pattern, the base

1:13:10.320 --> 1:13:13.479
<v Speaker 1>from going around wrong to me? Were it never really grounded.

1:13:15.200 --> 1:13:17.080
<v Speaker 2>And when I couldn't make Clive happy about the thing,

1:13:17.800 --> 1:13:19.320
<v Speaker 2>he just so much loved the demo, I said, well,

1:13:19.320 --> 1:13:22.080
<v Speaker 2>what is I said, you know the baseroum pattern is

1:13:22.120 --> 1:13:23.880
<v Speaker 2>a five bar pad and he says, well, maybe that's

1:13:23.920 --> 1:13:25.880
<v Speaker 2>what I love about it, the floatings of it. I said,

1:13:25.960 --> 1:13:28.960
<v Speaker 2>all right, So I cut up with the floatings that

1:13:29.000 --> 1:13:30.680
<v Speaker 2>he liked from them, and then he was happy. But

1:13:30.760 --> 1:13:32.200
<v Speaker 2>I haven't had like a lot of battles with Climb

1:13:32.200 --> 1:13:34.120
<v Speaker 2>about that kind of stuff. He's normally loving what I

1:13:34.120 --> 1:13:36.120
<v Speaker 2>give him, so I gotta I have to give him

1:13:36.120 --> 1:13:40.000
<v Speaker 2>a lot of credit that we've had a long, along

1:13:40.080 --> 1:13:43.320
<v Speaker 2>running streak of him having success. How did you feel

1:13:43.320 --> 1:13:48.559
<v Speaker 2>about his song choices? I got it that the choruses

1:13:48.600 --> 1:13:52.040
<v Speaker 2>we were strong. That's the main thing. He wasn't trying

1:13:52.080 --> 1:13:53.720
<v Speaker 2>to dictate how funk you had to make him to

1:13:53.720 --> 1:13:56.400
<v Speaker 2>make to make them hits. So I could dig his

1:13:56.479 --> 1:13:58.439
<v Speaker 2>song choice. If I knew if I could take his

1:13:58.960 --> 1:14:04.120
<v Speaker 2>white pop hook and blacket funk it, put James Brown

1:14:04.160 --> 1:14:05.960
<v Speaker 2>on it, put the problem of funking that look on it.

1:14:06.040 --> 1:14:08.120
<v Speaker 2>Whatever was hot at the time, it'd be all right,

1:14:08.280 --> 1:14:08.519
<v Speaker 2>That's what.

1:14:08.840 --> 1:14:14.240
<v Speaker 1>That was my combination of how to make that stuff swing,

1:14:15.080 --> 1:14:18.479
<v Speaker 1>and we did. So what's your magic in the studio?

1:14:18.600 --> 1:14:21.400
<v Speaker 1>What is it that you had that makes the song

1:14:21.479 --> 1:14:22.200
<v Speaker 1>go over the top?

1:14:23.120 --> 1:14:24.840
<v Speaker 2>Oh, honey, I love you. Thank you if you asking

1:14:24.840 --> 1:14:28.120
<v Speaker 2>me something like that. I'm very dedicated to work quickly.

1:14:28.160 --> 1:14:30.000
<v Speaker 2>I don't take a long time to do stuff, and

1:14:30.080 --> 1:14:32.639
<v Speaker 2>I use my gut. I always think what's the hot

1:14:32.880 --> 1:14:34.960
<v Speaker 2>what's gonna be hot on the jukebox at the black

1:14:35.600 --> 1:14:38.920
<v Speaker 2>ghetto joint in Kalamazoo on the jukebox, what's gonna make

1:14:38.960 --> 1:14:41.280
<v Speaker 2>them chicks when they get that little drink on feel good?

1:14:41.760 --> 1:14:44.320
<v Speaker 2>I think about that, And I also think about on

1:14:44.400 --> 1:14:46.160
<v Speaker 2>NASA's boat, what's gonna sound good for the rich people.

1:14:46.200 --> 1:14:47.840
<v Speaker 2>I think about all about it, but I want to

1:14:47.840 --> 1:14:49.280
<v Speaker 2>really make sure I get the people in the ghetto.

1:14:51.160 --> 1:14:51.880
<v Speaker 1>And what does that mean.

1:14:52.520 --> 1:14:57.880
<v Speaker 2>That means the rhythm. The rhythm gotta be right. When

1:14:57.920 --> 1:14:59.920
<v Speaker 2>the rhythm is right, everything's right, then you're gonna make it.

1:15:00.040 --> 1:15:03.000
<v Speaker 2>The little pop up sound good. Oh I want it

1:15:03.400 --> 1:15:06.559
<v Speaker 2>with somebody. Uh, I want to feel o the hey

1:15:06.760 --> 1:15:07.640
<v Speaker 2>with somebody.

1:15:08.000 --> 1:15:11.400
<v Speaker 1>Huh d. It's all the rhythm. How you do it.

1:15:11.640 --> 1:15:14.400
<v Speaker 1>If it sounds too straight, no, you gotta put that

1:15:14.479 --> 1:15:17.960
<v Speaker 1>thing on it. So that's what it is. Put it.

1:15:18.040 --> 1:15:19.439
<v Speaker 1>Put a thing on it with the rhythms.

1:15:20.000 --> 1:15:23.360
<v Speaker 2>The musicians, the bass player, Randy Jackson's guitars, put the rhythms.

1:15:25.280 --> 1:15:28.800
<v Speaker 1>Okay, there are a million different musicians with a million

1:15:28.920 --> 1:15:34.280
<v Speaker 1>different attitudes. Do you find people are amenable to you saying, hey,

1:15:34.400 --> 1:15:36.240
<v Speaker 1>let's do it this way that way, or do they

1:15:36.320 --> 1:15:38.960
<v Speaker 1>come and say, no, we got to do it my way. No.

1:15:39.439 --> 1:15:41.560
<v Speaker 2>I work at cats who do it my way, and

1:15:41.640 --> 1:15:44.160
<v Speaker 2>they'll take my way and make it even better. I

1:15:44.280 --> 1:15:46.360
<v Speaker 2>take I take cats. We'll start with my way. If

1:15:46.360 --> 1:15:48.240
<v Speaker 2>they bring something better to the pie, I'm cool. But

1:15:48.320 --> 1:15:49.800
<v Speaker 2>if it's not better than no, no, no, it's.

1:15:49.720 --> 1:15:51.880
<v Speaker 1>Gotta be this. You got to have a leader. You

1:15:51.960 --> 1:15:54.880
<v Speaker 1>gotta be a leader, Bobby, you gotta be a leader. Well,

1:15:54.960 --> 1:15:57.000
<v Speaker 1>sometimes that causes friction, doesn't it.

1:15:57.080 --> 1:15:59.960
<v Speaker 2>Well, I don't care about friction. If if I'm the producer,

1:16:00.320 --> 1:16:03.840
<v Speaker 2>that's my job. On the director, that's my job to

1:16:03.880 --> 1:16:07.160
<v Speaker 2>put lay down the law. Try try your idea? Is

1:16:07.200 --> 1:16:07.960
<v Speaker 2>it either good as not?

1:16:09.640 --> 1:16:13.880
<v Speaker 1>Sometimes it is? And the ideas you have like some

1:16:14.160 --> 1:16:17.080
<v Speaker 1>things like the rhythm you know, or part of your DNA.

1:16:18.200 --> 1:16:20.519
<v Speaker 1>But did the other thing just come out of thin air?

1:16:20.680 --> 1:16:23.599
<v Speaker 1>Like you're standing in the shower or you walk into

1:16:23.680 --> 1:16:25.719
<v Speaker 1>the bathroom in the studio and all of a sudden

1:16:25.720 --> 1:16:29.080
<v Speaker 1>you have an idea? Where do the ideas come from? Oh?

1:16:29.160 --> 1:16:31.040
<v Speaker 2>I got an inspiration. It's with this twenty four hours

1:16:31.040 --> 1:16:33.439
<v Speaker 2>a day. You're right, Grew taught us. Just reach your

1:16:33.439 --> 1:16:35.720
<v Speaker 2>hand up and grab the birds inspiration and bring them

1:16:35.760 --> 1:16:37.360
<v Speaker 2>down anytime.

1:16:38.320 --> 1:16:39.320
<v Speaker 1>So I know that trick.

1:16:39.960 --> 1:16:42.040
<v Speaker 2>I can write hit anytime if I really focus or

1:16:42.080 --> 1:16:44.080
<v Speaker 2>write something. I think it's strong if I really focus

1:16:44.160 --> 1:16:46.800
<v Speaker 2>on it, pray on it, and you ask God to

1:16:46.800 --> 1:16:49.000
<v Speaker 2>come through. God can come through, you.

1:16:49.040 --> 1:16:52.559
<v Speaker 1>Know, and you say you work quickly. Yes. It's one

1:16:52.640 --> 1:16:55.439
<v Speaker 1>thing to get the sounds lay them down. It's another

1:16:55.560 --> 1:16:58.920
<v Speaker 1>thing to mix any cute To what degree do you

1:16:59.080 --> 1:17:01.120
<v Speaker 1>labor over the mix? Very good.

1:17:01.160 --> 1:17:03.080
<v Speaker 2>I got you, So I'll cut something quickly if I can.

1:17:03.360 --> 1:17:05.639
<v Speaker 2>I work with a team of people who understand my tempa.

1:17:06.040 --> 1:17:08.639
<v Speaker 2>Because what it is, Bobby, when you sweat and you're

1:17:08.720 --> 1:17:11.160
<v Speaker 2>and dirfor it's kicking in, you want to grab that

1:17:11.240 --> 1:17:13.800
<v Speaker 2>while it's happening, even a ritha. I'll have her get

1:17:13.840 --> 1:17:16.840
<v Speaker 2>the ending of the record first, sing all the soul,

1:17:17.400 --> 1:17:19.719
<v Speaker 2>get all that first, before we ever get too technical

1:17:19.760 --> 1:17:20.160
<v Speaker 2>in the verse.

1:17:21.400 --> 1:17:21.639
<v Speaker 1>I don't.

1:17:21.880 --> 1:17:23.200
<v Speaker 2>I want to go so fast we go beyond the

1:17:23.240 --> 1:17:26.960
<v Speaker 2>mind because you break the mind up. The mind's gonna

1:17:27.000 --> 1:17:30.560
<v Speaker 2>start judging and criticizing now that and you can ruin it.

1:17:31.640 --> 1:17:34.040
<v Speaker 2>So then I go quickly on that stage. But then mixing,

1:17:34.200 --> 1:17:36.160
<v Speaker 2>now I can say they phraser my main cat. Will

1:17:36.520 --> 1:17:38.160
<v Speaker 2>take your time, take a couple of days and get

1:17:38.200 --> 1:17:40.200
<v Speaker 2>it together. I'll give them a rough mix what I love,

1:17:40.360 --> 1:17:41.840
<v Speaker 2>the balance of what I love. Then you can take

1:17:41.840 --> 1:17:45.000
<v Speaker 2>another couple days where refine it. That's fine, that's fine.

1:17:45.520 --> 1:17:47.000
<v Speaker 2>But with the almost sason I made back of that time,

1:17:47.040 --> 1:17:49.400
<v Speaker 2>we're over a week's time. I'll take about one week

1:17:49.439 --> 1:17:51.240
<v Speaker 2>to do a song and be from starting to finish

1:17:51.479 --> 1:17:52.759
<v Speaker 2>as powerful.

1:18:00.120 --> 1:18:02.400
<v Speaker 1>Okay, you're in the studio night and day. You're not

1:18:02.600 --> 1:18:08.439
<v Speaker 1>doing drugs, you're not drinking. No, no, no, no, it's music.

1:18:08.520 --> 1:18:12.320
<v Speaker 1>It's all music, okay. And now the money's starting to

1:18:12.400 --> 1:18:18.800
<v Speaker 1>roll in. What do you do with the money? Hm hmm.

1:18:20.720 --> 1:18:25.000
<v Speaker 2>Well, you know, money's funny, man. Money comes in, money

1:18:25.040 --> 1:18:28.280
<v Speaker 2>goes out quick too. You got to careful, you know.

1:18:29.320 --> 1:18:31.599
<v Speaker 2>I had a good time. I was married back then,

1:18:31.800 --> 1:18:36.200
<v Speaker 2>married married and did nice things. And now I have three,

1:18:36.320 --> 1:18:39.120
<v Speaker 2>three children, and money comes in and money goes out.

1:18:39.160 --> 1:18:42.439
<v Speaker 2>So it's funny, man. Hard hard to keep keep a

1:18:42.479 --> 1:18:46.640
<v Speaker 2>hand on it. But I've had some wone of the

1:18:46.720 --> 1:18:49.000
<v Speaker 2>times in my life. One of the times my life.

1:18:49.320 --> 1:18:52.400
<v Speaker 2>I'm very very happy with my life. But money, money, money,

1:18:52.479 --> 1:18:52.960
<v Speaker 2>money is tricky.

1:18:53.040 --> 1:18:56.559
<v Speaker 1>Man. Money's tricky. That's why I ask about it. Now,

1:18:56.640 --> 1:18:59.360
<v Speaker 1>you gave up fifty percent of your action in Atlantic,

1:19:00.120 --> 1:19:04.880
<v Speaker 1>the songs, in the producer royalties that you have. Do

1:19:04.960 --> 1:19:06.720
<v Speaker 1>you still own those or did you sell them?

1:19:07.720 --> 1:19:11.160
<v Speaker 2>I have sold some publishing of a few of my things,

1:19:11.320 --> 1:19:13.360
<v Speaker 2>and I have the publishing of some other things, so

1:19:13.520 --> 1:19:17.599
<v Speaker 2>it's kind of a mixed bag. I own the writers,

1:19:17.760 --> 1:19:21.280
<v Speaker 2>writers share and all my points as a producer. So

1:19:21.360 --> 1:19:24.240
<v Speaker 2>I'm like like like like that, and so why did

1:19:24.320 --> 1:19:25.639
<v Speaker 2>you sell the publishing?

1:19:25.800 --> 1:19:27.400
<v Speaker 1>Oh maybe I went through a divorce and I wanted

1:19:27.400 --> 1:19:29.439
<v Speaker 1>to make it all, you know, good for somebody else

1:19:29.640 --> 1:19:33.519
<v Speaker 1>like that, I see. But at this point in time,

1:19:33.800 --> 1:19:35.880
<v Speaker 1>is revenue's still pretty good from these royals.

1:19:35.960 --> 1:19:38.080
<v Speaker 2>Yes, I'm happy to have a good life. I'm happy

1:19:38.080 --> 1:19:39.880
<v Speaker 2>to have you know, my studio which I'd love to

1:19:39.920 --> 1:19:43.679
<v Speaker 2>come visit. It's called tart Ban Studios. I've had eighty five.

1:19:45.160 --> 1:19:47.520
<v Speaker 2>I mean, the molecules in here are just just incredible.

1:19:48.479 --> 1:19:50.680
<v Speaker 2>So yeah, I'm I'm able to make it. I'm able

1:19:50.720 --> 1:19:52.600
<v Speaker 2>to feel good. I'm able to keep to continue to

1:19:52.680 --> 1:19:56.040
<v Speaker 2>make more music, you know, and stay happy.

1:19:56.520 --> 1:19:59.200
<v Speaker 1>So how did you meet Q and what influence was Q?

1:20:00.360 --> 1:20:01.760
<v Speaker 1>Quincy Jones? Early in my life?

1:20:02.240 --> 1:20:04.479
<v Speaker 2>It's funny, I hadn't gotten the tarpen yet. I was

1:20:04.479 --> 1:20:07.800
<v Speaker 2>still over the automat studios and San Francisco. I don't

1:20:07.800 --> 1:20:09.560
<v Speaker 2>know how we actually hooked up at one point on

1:20:09.640 --> 1:20:12.680
<v Speaker 2>the phone or something, but he told me said, we

1:20:12.800 --> 1:20:17.840
<v Speaker 2>need we need more helpers in the production world, more helpers, okay,

1:20:17.960 --> 1:20:19.640
<v Speaker 2>And I kind of knew he was right because I

1:20:19.760 --> 1:20:21.760
<v Speaker 2>was having a hard time finding other helpers in my world,

1:20:23.200 --> 1:20:25.240
<v Speaker 2>so I kind of knew he was right. And then

1:20:25.240 --> 1:20:27.679
<v Speaker 2>when I started preaching stage letters, own business, just legs

1:20:27.680 --> 1:20:29.880
<v Speaker 2>and stuff, I knew he was right, So I kind

1:20:29.920 --> 1:20:32.439
<v Speaker 2>of took that more serious, just to be a producer. Yeah,

1:20:33.479 --> 1:20:36.120
<v Speaker 2>and then he would teach me things like, don't strangle

1:20:36.120 --> 1:20:39.120
<v Speaker 2>the baby in the crib, you know, as a songwriter,

1:20:39.680 --> 1:20:41.920
<v Speaker 2>don't strangle strangle the baby in the crib. You know,

1:20:42.160 --> 1:20:45.559
<v Speaker 2>love your babies, wash the blood off, cut the ambilical chords,

1:20:45.640 --> 1:20:46.200
<v Speaker 2>dress them up.

1:20:46.840 --> 1:20:51.160
<v Speaker 1>Okay, okay, not everyone's gonna understand that. Go a little deeper.

1:20:51.240 --> 1:20:52.920
<v Speaker 1>Don't strangle the babies in the crib.

1:20:53.160 --> 1:20:57.360
<v Speaker 2>Yeah, when you write a song, love it like your baby.

1:20:57.840 --> 1:20:59.120
<v Speaker 2>You love your baby, You have a baby, you love

1:20:59.120 --> 1:21:01.880
<v Speaker 2>your He goes, oh this trash, Oh theok got cute.

1:21:02.840 --> 1:21:05.240
<v Speaker 2>Oh you've washed them, you know, washed the blood off

1:21:05.240 --> 1:21:07.040
<v Speaker 2>because think public a chord, put a little hat on

1:21:07.120 --> 1:21:09.559
<v Speaker 2>some little clothes. It smells so sweet. It might need

1:21:09.600 --> 1:21:12.080
<v Speaker 2>some little mama's milk. Whatever, you take care of it.

1:21:12.520 --> 1:21:14.240
<v Speaker 2>That's how Quincy taught me to take care of the songs.

1:21:15.640 --> 1:21:17.559
<v Speaker 2>And then he would also say, you know, the chorus,

1:21:17.680 --> 1:21:19.920
<v Speaker 2>make the course stand up big and strong. Because I

1:21:20.160 --> 1:21:22.720
<v Speaker 2>always knew that, but he kind of reinforced it. So

1:21:22.760 --> 1:21:24.400
<v Speaker 2>I always made the course stand up, you know, big

1:21:24.479 --> 1:21:27.960
<v Speaker 2>and strong. So Quins is like a guru mentor teacher

1:21:28.000 --> 1:21:31.760
<v Speaker 2>for me, and I admire him how he's able to,

1:21:32.479 --> 1:21:35.400
<v Speaker 2>you know, do so many things so well, you know,

1:21:35.520 --> 1:21:37.800
<v Speaker 2>you talk to him, his mind's like an ex cyclopedia.

1:21:38.720 --> 1:21:42.360
<v Speaker 2>He didn't talking about damn everything thing, you know, hanging

1:21:42.360 --> 1:21:44.160
<v Speaker 2>out with Ray Charles, hanging out with dog With, hanging

1:21:44.160 --> 1:21:47.599
<v Speaker 2>out with Count Basy, hanging out on you know in Europe,

1:21:48.800 --> 1:21:51.639
<v Speaker 2>this goes on on on with that cat. There's nobody

1:21:51.720 --> 1:21:54.559
<v Speaker 2>he doesn't know. That's what I'm saying. But damn, okay,

1:21:57.080 --> 1:21:58.840
<v Speaker 2>So how do you.

1:21:58.920 --> 1:22:00.519
<v Speaker 1>End up getting into sound tracks?

1:22:02.439 --> 1:22:04.840
<v Speaker 2>They call you when you get hot, everybody calls you.

1:22:05.439 --> 1:22:07.640
<v Speaker 2>And when I realized about soundtracks, they're looking for a hit.

1:22:07.960 --> 1:22:10.280
<v Speaker 2>They don't really just want an album track.

1:22:11.960 --> 1:22:14.920
<v Speaker 1>For example, a movie like even License to Kill, a

1:22:15.080 --> 1:22:18.599
<v Speaker 1>James Bond theme, you know, License of Kill.

1:22:18.640 --> 1:22:20.040
<v Speaker 2>How do you make a hit out of that? But damn,

1:22:20.240 --> 1:22:22.640
<v Speaker 2>I challenged myself. I said, nah, to make a hit

1:22:22.680 --> 1:22:25.120
<v Speaker 2>out of License to Kill? So I think I go

1:22:25.160 --> 1:22:27.479
<v Speaker 2>to the piano and make a sweet powerful the bottom

1:22:27.479 --> 1:22:30.160
<v Speaker 2>of Sweet Melloy and make the theme like I have

1:22:30.280 --> 1:22:31.600
<v Speaker 2>lies to kill? Anybody will try to hurt you or

1:22:31.600 --> 1:22:33.200
<v Speaker 2>take or take or take you to take you from me.

1:22:33.960 --> 1:22:36.880
<v Speaker 2>So that's how I found my success as a soundtrack cat,

1:22:37.160 --> 1:22:39.880
<v Speaker 2>just taking different movies and making sure I'm making a

1:22:40.000 --> 1:22:42.160
<v Speaker 2>hit for them so they can have, you know, a

1:22:42.240 --> 1:22:44.080
<v Speaker 2>bannitter wave for that film.

1:22:46.240 --> 1:22:51.240
<v Speaker 1>So every producer has their moment and then it starts

1:22:51.400 --> 1:22:55.080
<v Speaker 1>to fall off a little bit. What was that experience? Like?

1:22:56.400 --> 1:22:59.240
<v Speaker 1>Have I fallen off? Bobby? Have I fallen off? I'm

1:22:59.280 --> 1:23:01.840
<v Speaker 1>not saying you have a phone off, but I'm not

1:23:01.960 --> 1:23:05.720
<v Speaker 1>saying you're done. I'm saying that it's sometimes you know,

1:23:05.840 --> 1:23:08.639
<v Speaker 1>the phone doesn't doesn't stop ringing, then it rings less.

1:23:09.600 --> 1:23:12.439
<v Speaker 2>I got you, well, how my hand and phoning and

1:23:12.520 --> 1:23:17.720
<v Speaker 2>rest ringing less. I'm good. I'm good. I have so

1:23:17.800 --> 1:23:20.760
<v Speaker 2>many people I love working with still and still enjoy

1:23:20.880 --> 1:23:24.280
<v Speaker 2>making the music. I regret that I don't have a

1:23:24.560 --> 1:23:26.800
<v Speaker 2>better situation to get the music heard the way I like.

1:23:27.000 --> 1:23:30.800
<v Speaker 2>That's what I most regret. People who are unsigned. We'd

1:23:30.840 --> 1:23:32.360
<v Speaker 2>love to sign them, but how do we get him

1:23:32.439 --> 1:23:33.920
<v Speaker 2>hurt the way? Want to get him a hurt. That's

1:23:33.960 --> 1:23:36.160
<v Speaker 2>the thing I missed with Clive and becn day old

1:23:36.240 --> 1:23:37.599
<v Speaker 2>day of Rster Records.

1:23:37.840 --> 1:23:40.760
<v Speaker 1>You could produce Kenny G, who be nobody but he

1:23:41.160 --> 1:23:43.479
<v Speaker 1>Now you're hearing Kenny G every hour, take a catle,

1:23:43.520 --> 1:23:45.479
<v Speaker 1>even Jamaine Stewart, We're gonna take our clothes up.

1:23:45.479 --> 1:23:47.559
<v Speaker 2>Now you're hearing him every hour, even when he Houston

1:23:47.640 --> 1:23:50.400
<v Speaker 2>this year, every hour everything you were hearing, hear and hearing.

1:23:51.280 --> 1:23:55.040
<v Speaker 1>I missed that component. That's what I missed the most.

1:23:55.840 --> 1:23:59.680
<v Speaker 1>He had all that success behind the board. How did

1:23:59.680 --> 1:24:01.800
<v Speaker 1>that aff affect your solo career and do you have

1:24:01.880 --> 1:24:04.680
<v Speaker 1>any regrets? No, I have no regrets at all.

1:24:04.720 --> 1:24:08.240
<v Speaker 2>I love my life everything I've done, but with a

1:24:08.280 --> 1:24:10.880
<v Speaker 2>good feeling of what's good for me, what's what's right

1:24:10.960 --> 1:24:11.120
<v Speaker 2>for me.

1:24:11.640 --> 1:24:13.960
<v Speaker 1>So I have no regrets about anything. No. No. I mean,

1:24:14.040 --> 1:24:16.400
<v Speaker 1>do you have a regrets that you didn't spend more

1:24:16.520 --> 1:24:20.160
<v Speaker 1>time on your solo career? No, no, no, Because I

1:24:20.240 --> 1:24:22.840
<v Speaker 1>wanted to do many things which I have done. I

1:24:22.920 --> 1:24:24.280
<v Speaker 1>wanted to do many things. I can say to you.

1:24:24.760 --> 1:24:26.960
<v Speaker 2>You know, I've played with the greatest jazz rock cats

1:24:26.960 --> 1:24:31.120
<v Speaker 2>in the world. You know, I played with Ruther Franklin.

1:24:32.640 --> 1:24:34.840
<v Speaker 2>I worked with the greatest singers of all time.

1:24:34.920 --> 1:24:35.760
<v Speaker 1>So I like that.

1:24:35.880 --> 1:24:40.960
<v Speaker 2>I like being versatile and spreading the love around more

1:24:41.040 --> 1:24:42.720
<v Speaker 2>so than just doing one thing over and over and

1:24:42.760 --> 1:24:45.519
<v Speaker 2>over and over and over again. Yeah, so how do

1:24:45.560 --> 1:24:48.880
<v Speaker 2>you end up in Journey? Well, I don't play live

1:24:48.920 --> 1:24:51.320
<v Speaker 2>with Journey. I don't do that anymore.

1:24:51.479 --> 1:24:54.240
<v Speaker 1>I just did, but you did for a while. Oh yeah,

1:24:54.240 --> 1:24:58.400
<v Speaker 1>I did you know? I did? I tough strong. I

1:24:58.479 --> 1:24:59.439
<v Speaker 1>did a double album.

1:25:01.120 --> 1:25:02.960
<v Speaker 2>First, I did the solo album for Neil Neil and

1:25:02.960 --> 1:25:05.360
<v Speaker 2>showing the guitar player, called the Universe, which is a

1:25:05.400 --> 1:25:09.320
<v Speaker 2>hell of an album. Then during COVID, it overspills and

1:25:09.360 --> 1:25:12.320
<v Speaker 2>it well, let's make a Journey record. It was became

1:25:12.320 --> 1:25:14.479
<v Speaker 2>a double album during COVID.

1:25:14.520 --> 1:25:15.000
<v Speaker 1>Here I'm.

1:25:16.880 --> 1:25:20.320
<v Speaker 2>Writing songs with Neil or you know, in letting him

1:25:20.360 --> 1:25:22.479
<v Speaker 2>do his thing because he's missed a journey. And then

1:25:22.479 --> 1:25:24.680
<v Speaker 2>you bring in Jonathan Kan to do his thing. Send

1:25:24.760 --> 1:25:27.439
<v Speaker 2>tapes to Randy Jackson for bass, get on the zoom

1:25:27.520 --> 1:25:32.240
<v Speaker 2>skype for RNL in the Philippines, get his vocal you

1:25:32.320 --> 1:25:35.400
<v Speaker 2>know that way put it all together. Maybe give some

1:25:35.439 --> 1:25:37.200
<v Speaker 2>stuff to Bobby Clemon and mix it up. Bobby's doing

1:25:37.200 --> 1:25:39.519
<v Speaker 2>a good job doing that. So he made a double album.

1:25:39.680 --> 1:25:41.280
<v Speaker 2>And then it came down to play some live shows

1:25:41.520 --> 1:25:43.960
<v Speaker 2>and had to relearn that material. Not the double album

1:25:43.960 --> 1:25:47.760
<v Speaker 2>as much, but all the it's that's where it's hard. Oh,

1:25:47.880 --> 1:25:49.599
<v Speaker 2>it's so much because they don't want just like the records,

1:25:49.600 --> 1:25:51.639
<v Speaker 2>they want you to play with Steve Smith played live

1:25:52.520 --> 1:25:55.640
<v Speaker 2>on every song, every bar, so it's a lot of memorization.

1:25:55.880 --> 1:25:58.200
<v Speaker 1>Oh it was so hard, but I loved it. But

1:25:58.280 --> 1:26:01.000
<v Speaker 1>it was just hard. Care who you are. You don't

1:26:01.000 --> 1:26:03.280
<v Speaker 1>want to step into that gig and just learn nothing.

1:26:03.320 --> 1:26:03.920
<v Speaker 1>You got to know it.

1:26:04.160 --> 1:26:07.280
<v Speaker 2>So then we brought in Dean Castranova, who knows that

1:26:07.360 --> 1:26:09.600
<v Speaker 2>from twenty years playing that book, and that helped me

1:26:09.640 --> 1:26:11.360
<v Speaker 2>a lot because now we can play a lot of

1:26:11.400 --> 1:26:13.960
<v Speaker 2>the different pieces they wanted to get into and we

1:26:14.000 --> 1:26:16.040
<v Speaker 2>could rock it together and that was great. I think

1:26:16.080 --> 1:26:19.400
<v Speaker 2>about nine shows live, some big ones like Lollapaloo's and all.

1:26:19.479 --> 1:26:20.439
<v Speaker 2>That was really a lot of fun.

1:26:21.640 --> 1:26:28.080
<v Speaker 1>Yeah, okay, you know, the music changed certainly in black music.

1:26:28.240 --> 1:26:31.320
<v Speaker 1>It became more of a hip hop world. What's your

1:26:31.439 --> 1:26:32.679
<v Speaker 1>viewpoint on hip hop?

1:26:35.400 --> 1:26:40.800
<v Speaker 2>You know, I'm a student of all the music. I

1:26:40.880 --> 1:26:42.880
<v Speaker 2>try to learn from it, whether I like it all

1:26:43.160 --> 1:26:46.599
<v Speaker 2>no or you know, like or love. I just try

1:26:46.640 --> 1:26:50.360
<v Speaker 2>to learn from it so I can be competitive if

1:26:50.360 --> 1:26:52.280
<v Speaker 2>I want to be competitive. That's where I come from

1:26:54.479 --> 1:26:56.160
<v Speaker 2>I missed the lack of melody and music. I missed

1:26:56.160 --> 1:26:58.080
<v Speaker 2>the lack of bridges. I missed the lack of what

1:26:58.160 --> 1:26:59.680
<v Speaker 2>I learned from Motown when I learned from all the

1:26:59.680 --> 1:27:02.160
<v Speaker 2>great songs, an you won't can hear no Burt Backright

1:27:02.200 --> 1:27:04.160
<v Speaker 2>tape songs no more unless I maybe it's Golden Hour,

1:27:04.320 --> 1:27:06.920
<v Speaker 2>which Golden Hour is genius. But you don't hear a

1:27:06.960 --> 1:27:08.400
<v Speaker 2>lot of music, not necessarily anymore.

1:27:08.400 --> 1:27:08.920
<v Speaker 1>So I missed that.

1:27:09.040 --> 1:27:13.320
<v Speaker 2>I can't lie about it, you know, but as being

1:27:13.439 --> 1:27:15.240
<v Speaker 2>a producer, if you hire me as a producer, then

1:27:15.240 --> 1:27:16.920
<v Speaker 2>you're hiring me to be competitive with what's going on.

1:27:17.000 --> 1:27:18.160
<v Speaker 2>So I got to know what's going on. So I

1:27:18.320 --> 1:27:21.000
<v Speaker 2>learned from it and I used parts I like and

1:27:21.160 --> 1:27:23.519
<v Speaker 2>then mix it with But I think it's some good music.

1:27:24.360 --> 1:27:26.920
<v Speaker 2>That's what I've always kind of done, really mix good

1:27:27.000 --> 1:27:28.479
<v Speaker 2>music with the thing of the day.

1:27:30.479 --> 1:27:33.640
<v Speaker 1>Okay, this is audio only and people can't see. But

1:27:33.720 --> 1:27:37.720
<v Speaker 1>you're wearing jewelry around your neck. What is that jewelry represent? Oh?

1:27:37.800 --> 1:27:40.760
<v Speaker 2>I have a cross today I'm across my wife gave me.

1:27:40.800 --> 1:27:42.840
<v Speaker 2>I want to make sure I'm telling you the truth,

1:27:43.520 --> 1:27:47.080
<v Speaker 2>nothing but the truth. I got a little hook from

1:27:47.120 --> 1:27:52.200
<v Speaker 2>that grit, great film, Well the Maana the hook Man.

1:27:53.600 --> 1:27:55.720
<v Speaker 2>I got some beautiful beads from my son Michael. He's

1:27:55.760 --> 1:28:01.000
<v Speaker 2>five years old, Keep me youthful happy. I got some

1:28:01.080 --> 1:28:05.479
<v Speaker 2>beets from Hawaii the Aloha love Spirit. I want to

1:28:05.479 --> 1:28:07.519
<v Speaker 2>break tround bringing everything to you for your interview because

1:28:07.520 --> 1:28:08.240
<v Speaker 2>I heard all about you.

1:28:09.240 --> 1:28:09.760
<v Speaker 1>Two things.

1:28:10.520 --> 1:28:13.680
<v Speaker 2>When I did a concert with Jeff Beck at the Grammys.

1:28:14.400 --> 1:28:16.720
<v Speaker 2>You said something that was very kind about my work

1:28:16.760 --> 1:28:18.360
<v Speaker 2>at the Grammys of Jeff Beck. I don't know, I

1:28:18.400 --> 1:28:20.439
<v Speaker 2>don't even know what it was now you said, but

1:28:20.560 --> 1:28:22.200
<v Speaker 2>it was just something that was kind, and I thought,

1:28:22.439 --> 1:28:23.800
<v Speaker 2>this is very nice, and I have wanted to find

1:28:23.800 --> 1:28:26.120
<v Speaker 2>out more about you. Then I realized, you know, you're

1:28:26.200 --> 1:28:29.000
<v Speaker 2>you're not spoken cat. So then I say, well, you

1:28:29.040 --> 1:28:30.160
<v Speaker 2>want to do, like, you know, an hour and a

1:28:30.160 --> 1:28:32.680
<v Speaker 2>half podcast. I'm like, okay, you know, I want to

1:28:32.680 --> 1:28:34.519
<v Speaker 2>bring the best to you because I know you you

1:28:34.680 --> 1:28:35.880
<v Speaker 2>want you want to know what's going on.

1:28:36.640 --> 1:28:39.040
<v Speaker 1>So here while you're doing you've have brought the best.

1:28:39.840 --> 1:28:41.760
<v Speaker 1>So just tell me a little bit. You know the

1:28:41.840 --> 1:28:44.160
<v Speaker 1>other thing people can't see. They can't see your studio.

1:28:44.280 --> 1:28:46.760
<v Speaker 1>Tell me about your studio. Oh, it's the best.

1:28:47.320 --> 1:28:51.160
<v Speaker 2>Tarpan Studios it was first Tres Virgo, a pre existing

1:28:51.160 --> 1:28:54.400
<v Speaker 2>place where they've done Greg Grateful Dad, Stuart Copan, your

1:28:54.439 --> 1:28:56.559
<v Speaker 2>big guest. I heard that show you're recorded in here

1:28:56.640 --> 1:29:03.040
<v Speaker 2>for Rumblefish right out there. It's just a massively beautifully

1:29:03.080 --> 1:29:07.440
<v Speaker 2>built room with great wood at each room is isolated

1:29:07.479 --> 1:29:11.720
<v Speaker 2>with iron steel, so it's really like the gooda one

1:29:11.760 --> 1:29:12.680
<v Speaker 2>of isolation going on.

1:29:13.200 --> 1:29:15.160
<v Speaker 1>What about equipment, are you equipment geek?

1:29:15.680 --> 1:29:17.759
<v Speaker 2>I'm not a geek. No, those are those my engineers.

1:29:17.920 --> 1:29:20.360
<v Speaker 2>I've got the SSL console from the day we used

1:29:20.360 --> 1:29:22.519
<v Speaker 2>to have tried and console. Now it's SSL. I have

1:29:22.600 --> 1:29:24.840
<v Speaker 2>to have my tape machines over here if I want tape.

1:29:25.160 --> 1:29:28.000
<v Speaker 2>But we're mainly pro tools. Can't lie about it, mainly

1:29:28.040 --> 1:29:33.880
<v Speaker 2>pro tools, you know. And got great microphones quite frankly.

1:29:34.160 --> 1:29:36.760
<v Speaker 2>My favorite microphone is a cheap microphone, the SM seven.

1:29:37.280 --> 1:29:38.920
<v Speaker 2>That's why I used for a wreathing for Whitney because

1:29:38.920 --> 1:29:42.040
<v Speaker 2>it cauld handle screaming and tender at the same time.

1:29:44.160 --> 1:29:45.840
<v Speaker 2>So I got some good, good mins ic got my

1:29:45.880 --> 1:29:48.639
<v Speaker 2>drums here. I got some keyboards and things. But I'm

1:29:48.680 --> 1:29:51.840
<v Speaker 2>not like equipment geek as much as I am song.

1:29:52.400 --> 1:29:55.080
<v Speaker 2>I love songs, and.

1:29:57.680 --> 1:30:02.920
<v Speaker 1>Tell me about the racism experienced in the business. Say

1:30:02.920 --> 1:30:07.840
<v Speaker 1>it again, what is it? What racism? Yeah, you said racism, right, racism?

1:30:07.920 --> 1:30:11.560
<v Speaker 1>A racis what you want to know? Man, what do

1:30:11.600 --> 1:30:13.320
<v Speaker 1>you want to know? What you want to know? Well,

1:30:13.360 --> 1:30:17.200
<v Speaker 1>you're an interesting cat because, first and foremost, whether it

1:30:17.320 --> 1:30:21.880
<v Speaker 1>be racism or not, a lot of rock music was white, okay,

1:30:22.680 --> 1:30:28.000
<v Speaker 1>and you played in jazz and rock and you know

1:30:29.040 --> 1:30:32.760
<v Speaker 1>it's listen, we live in a racist country and I'm

1:30:32.840 --> 1:30:36.320
<v Speaker 1>sure it's something you've experienced. Yeah. I have.

1:30:36.960 --> 1:30:38.280
<v Speaker 2>At the same time, I learned how to how to

1:30:38.360 --> 1:30:39.960
<v Speaker 2>how to get through it. And the way to get

1:30:40.000 --> 1:30:42.280
<v Speaker 2>through is just keep being bad ass and don't worry

1:30:42.320 --> 1:30:42.600
<v Speaker 2>about it.

1:30:42.960 --> 1:30:43.559
<v Speaker 1>You know you don't.

1:30:43.560 --> 1:30:45.280
<v Speaker 2>You can't crack you in on a rolling Stone magazine.

1:30:45.280 --> 1:30:47.439
<v Speaker 2>You're gonna ever be on a rolling Stone magazine, you

1:30:47.479 --> 1:30:49.640
<v Speaker 2>know what I'm saying. You learn to live with the

1:30:49.720 --> 1:30:51.760
<v Speaker 2>reality of what it is. At the same time, you

1:30:51.880 --> 1:30:52.559
<v Speaker 2>keep kicking ass.

1:30:54.040 --> 1:30:54.519
<v Speaker 1>That's what I do.

1:30:55.320 --> 1:30:57.200
<v Speaker 2>No matter who I am with, I kick ass. If

1:30:57.200 --> 1:30:59.400
<v Speaker 2>I'm with Jeff Bett, kicking that ass, he loves it.

1:31:00.479 --> 1:31:03.400
<v Speaker 2>Whoever it is, whatever, kick the ass in the studio,

1:31:03.479 --> 1:31:05.880
<v Speaker 2>kicked the ass. Don't worry about the thing, just do it.

1:31:06.640 --> 1:31:09.200
<v Speaker 2>Put it down, Put it down. You talked about.

1:31:09.040 --> 1:31:11.439
<v Speaker 1>When you first went to see Mahavi shu to Orchestra,

1:31:11.560 --> 1:31:13.720
<v Speaker 1>you were in a bad place and you thought the

1:31:13.800 --> 1:31:16.240
<v Speaker 1>world was in a bad place. What do you think

1:31:16.280 --> 1:31:18.840
<v Speaker 1>about the space that the world's in today.

1:31:20.040 --> 1:31:22.200
<v Speaker 2>I think we're gone. You go two steps forward, one

1:31:22.240 --> 1:31:24.240
<v Speaker 2>step back. I think we're still going one step back.

1:31:24.560 --> 1:31:27.040
<v Speaker 2>We're still kind of requestioning. What we did when we

1:31:27.040 --> 1:31:29.760
<v Speaker 2>went two steps forward was really good. Now we're step

1:31:29.880 --> 1:31:31.960
<v Speaker 2>back to kind of reassess everything and then doing so,

1:31:32.040 --> 1:31:34.160
<v Speaker 2>we're getting caught up in the quicksands.

1:31:35.360 --> 1:31:36.519
<v Speaker 1>The quicksands are catching us.

1:31:38.120 --> 1:31:41.479
<v Speaker 2>So I'm praying we can kind of get the quicksand

1:31:41.520 --> 1:31:43.280
<v Speaker 2>off our boots and be able to step a little

1:31:43.280 --> 1:31:45.639
<v Speaker 2>bit forward now on the light. Keep what we were

1:31:45.920 --> 1:31:48.920
<v Speaker 2>searching for, what Martin Luther King tried to put down

1:31:48.960 --> 1:31:52.479
<v Speaker 2>the sixties, feeling good about each other, feeling good about

1:31:52.479 --> 1:31:54.280
<v Speaker 2>trying to bring love to the situation.

1:31:54.560 --> 1:31:58.400
<v Speaker 1>Even the hippies smoking the little grass Hendricks, the flower power.

1:31:59.040 --> 1:32:01.519
<v Speaker 1>Keep that love going, the flower power, keep the love

1:32:01.800 --> 1:32:05.160
<v Speaker 1>for the family, for yourself, for each other. It's important

1:32:05.960 --> 1:32:08.439
<v Speaker 1>America thrives on the best of all of us coming together.

1:32:09.200 --> 1:32:10.559
<v Speaker 1>What will the world will be with that little Richard

1:32:10.840 --> 1:32:11.519
<v Speaker 1>and the music came.

1:32:11.479 --> 1:32:14.479
<v Speaker 2>Out out of New Orleans and Louis Armstrong and Ray

1:32:14.600 --> 1:32:15.960
<v Speaker 2>Charles and all that music came down.

1:32:16.240 --> 1:32:19.120
<v Speaker 1>So we have to love America. That's what I'm saying.

1:32:19.840 --> 1:32:22.479
<v Speaker 2>Let's not go back, Let's go forward. Let's not let

1:32:22.520 --> 1:32:25.839
<v Speaker 2>anyone like divide us. All that dividing thing is bullshits.

1:32:26.360 --> 1:32:29.240
<v Speaker 2>We got to see it together, you know. And when

1:32:29.240 --> 1:32:30.920
<v Speaker 2>I watch sports, I see a lot of black cats

1:32:30.960 --> 1:32:33.679
<v Speaker 2>playing the football and white's cats are embracing that. That's wonderful.

1:32:33.840 --> 1:32:35.519
<v Speaker 2>Let's keep it going. Let's keep it all going. We

1:32:35.920 --> 1:32:38.680
<v Speaker 2>need each other and music brings us together, which is

1:32:38.760 --> 1:32:39.479
<v Speaker 2>what I love the most.

1:32:39.840 --> 1:32:40.160
<v Speaker 1>Speaking.

1:32:40.200 --> 1:32:41.479
<v Speaker 2>Our racist might can go to inn in the country

1:32:41.760 --> 1:32:45.240
<v Speaker 2>and play the music and they love it. So I

1:32:45.360 --> 1:32:47.400
<v Speaker 2>found a secret how to get above it. Just play

1:32:47.400 --> 1:32:48.559
<v Speaker 2>the music and bring us all together.

1:32:50.600 --> 1:32:54.880
<v Speaker 1>And you've accomplished so much. Anything that you're reaching for

1:32:55.120 --> 1:32:58.000
<v Speaker 1>in the time you have left, hopefully thirty years or so.

1:32:58.560 --> 1:33:01.439
<v Speaker 1>But anything you want to implic sure, doom. I want

1:33:01.439 --> 1:33:04.439
<v Speaker 1>to accomplish that. I'll make you happy today. You're a

1:33:04.520 --> 1:33:06.439
<v Speaker 1>smile makes me happy because I know if I make

1:33:06.520 --> 1:33:08.320
<v Speaker 1>you smile, because I know you've heard a lot of music.

1:33:08.360 --> 1:33:10.320
<v Speaker 2>Then you've been and you're a Taurus. You're born at

1:33:10.360 --> 1:33:13.680
<v Speaker 2>the April twenty first, like that April twenty second. A second, Yeah, yeah,

1:33:13.680 --> 1:33:16.200
<v Speaker 2>you're born David, David before you, but a year later.

1:33:16.479 --> 1:33:20.840
<v Speaker 1>Well okay, see if I can make you happy. Shoot, man,

1:33:20.880 --> 1:33:25.040
<v Speaker 1>I'm doing I'm doing something. I'm doing something. Well, you

1:33:25.200 --> 1:33:28.280
<v Speaker 1>really have made me happy. This has been a wonderful surprise.

1:33:28.880 --> 1:33:33.000
<v Speaker 1>You're a great rock and tour fascinating stories, Nord. I

1:33:33.120 --> 1:33:35.120
<v Speaker 1>want to thank you so much for spending time with

1:33:35.240 --> 1:33:35.879
<v Speaker 1>my audience.

1:33:36.280 --> 1:33:38.640
<v Speaker 2>Oh, thank you, Bob, and do come and visit us

1:33:38.640 --> 1:33:41.320
<v Speaker 2>to tarp Insidios. You know I'd love to and anything

1:33:41.320 --> 1:33:43.120
<v Speaker 2>I ever do with you. I'm down with you now.

1:33:44.160 --> 1:33:47.880
<v Speaker 1>Thanks so much. Till next time. This is Bob Left

1:33:47.920 --> 1:33:48.240
<v Speaker 1>Sets