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

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Speaker 1: episode was produced by the team at Pandora. Ladies and Gentlemen,

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Speaker 1: What is Up? This is Quest Love Supreme Classic.

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Speaker 2: I gotta say this is probably.

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Speaker 1: One of my favorite favorite episodes of this entire podcast,

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Speaker 1: and I have a lot, But what can you say

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Speaker 1: about the genius of Michael McDonald.

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Speaker 3: We were not ready?

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Speaker 2: Actually I think actually Fante steals.

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Speaker 1: The steals the show in this episode with his total

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Speaker 1: rendition of the Al Dunbar. What's happening Doobie Brothers episode?

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Speaker 1: No more spoiler alerts. Let's just get into it. From

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Speaker 1: October twenty fifth, twenty seventeen. This is the classic Michael

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Speaker 1: McDonald episode Quest Love.

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Speaker 2: So all right?

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Speaker 4: That was mine Michael McDonald imitation than Supremo.

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Speaker 5: Suprema role called premo something suprema role called Suprema Supremo.

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Speaker 1: Role, the grand I can listen one table Suprema roll

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Speaker 1: this Quest Love Yeah, a k A best love.

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Speaker 2: Yeah, I'm so chill love.

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Speaker 3: Yeah, because.

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Speaker 5: Supreme Supremo role call agreement Suprema role.

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Speaker 6: Called My name is Fante?

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Speaker 4: Yeah.

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Speaker 6: You don't have to run fall because this show is

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Speaker 6: getting bootleg by Alba, Suprema, Supremo.

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Speaker 3: Role Michael McDonald, We're here to meet him. Yeah, mine

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Speaker 3: name is Sugar John Sweet Free.

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Speaker 7: Supremo, rorem Supremo, roll Clear, Black Knight, Yeah Clear, White Moon.

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Speaker 2: Yeah, Boss Bill was on the streets. Oh wait, that

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Speaker 2: was Warren Ge.

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Speaker 6: Sorry, Supremo Roll Supreme.

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Speaker 8: Supremo rolls like and I'm quite smitten. Yeah, Michael McDonald, Yeah,

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Speaker 8: I keep forgetting.

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Speaker 3: This this mcdee. Yeah, it's it's me.

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Speaker 8: Yeah.

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Speaker 3: Does anybody have the time, Yeah, that's all I gotta say.

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Speaker 2: Supremo, roll, So.

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Speaker 5: Supremo, Roll Supremo, Supremo roa.

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Speaker 1: Sorryte, I knew you're going, Oh, what's happening?

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Speaker 2: Reference?

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Speaker 3: What that was?

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Speaker 1: I wasn ball dune ball, Okay, I'm gonna.

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Speaker 9: Episode.

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Speaker 1: I have to admit that I spent three hours in

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Speaker 1: bed trying to think of the perfect.

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Speaker 2: Reference, like for.

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Speaker 1: Real, from like three in the morning, maybe, Like I

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Speaker 1: dozed off at six. I had nothing, man, man, and

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Speaker 1: I was like, I know, Fante is gonna have ye.

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Speaker 10: I was gonna I was gonna put a tape recorder

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Speaker 10: in my down to fall out.

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Speaker 2: Had elaborate scheme.

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Speaker 3: Where I was gonna you know, I didn't even remember

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Speaker 3: that one.

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Speaker 2: Ruled our lives.

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Speaker 1: Oh man, Ladies and gentlemen, our guest today is probably

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Speaker 1: the most beloved figure in the recording industry. I'll probably

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Speaker 1: go as far as to say that he's probably in

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Speaker 1: everyone's top three greatest blue eyed soul singers of all time.

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Speaker 1: I personally believe that he possesses possibly the most influential,

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Speaker 1: most imitated vibrato tenor. And you know, from his years

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Speaker 1: as an honorary Steely Danian and a member of the

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Speaker 1: Doobie Brothers, not to mention his solo work, Michael McDonald

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Speaker 1: is a pop culture god amongst mortal men, you know,

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Speaker 1: and his brand stretches way beyond just singing and songwriting.

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Speaker 2: I mean, he's he's damn near a lifestyle.

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Speaker 1: Ladies and gentlemen, police, welcome to questlov Supreme, the god

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Speaker 1: himself Michael McDonald.

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Speaker 3: Yeah, oh my god, So thanks for having.

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Speaker 2: Me, guys, Thank you? Uh are you? Are you thrown

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Speaker 2: off by the fan worship thrown at you today?

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Speaker 1: Like? Because I feel like anytime, especially when I see you,

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Speaker 1: I don't know if it's like you feel like it's

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Speaker 1: a genuine appreciation for your work or is it like,

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Speaker 1: is this the variety ironic embracing of you know, my work?

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Speaker 1: Like are you genuine or is it just coming from

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Speaker 1: an ironic comedy level? Like how do you how do

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Speaker 1: you feel when people, especially millennials are coming to you and.

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Speaker 3: Well, you know, it's it's all flattering, really. I mean,

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Speaker 3: you know, I always told my son, when you know,

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Speaker 3: when your music is no more, no longer relevant, your

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Speaker 3: pathetic comic value might be. So you know, you to

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Speaker 3: go with it, you know, just you got to take

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Speaker 3: what you can get when you can get it. But uh,

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Speaker 3: I I'm enjoying myself these days. You know. It's we've

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Speaker 3: been out there long enough doing this that no one's

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Speaker 3: more amazed than me that we're still doing it at

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Speaker 3: our age, you know. And but it's still fun, you know,

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Speaker 3: And I still love playing live, and I love playing

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Speaker 3: with you guys, you know, looking forward to it.

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Speaker 2: We enjoyed it too, because I didn't know. I know that.

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Speaker 1: One of the times that you visited the show. I

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Speaker 1: know that you know, you came with Donald Figan. You know,

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Speaker 1: he was sort of like, are they clowning us? Or

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Speaker 1: are they actually respecting us? And you know I was

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Speaker 1: we were so thrown off because it's like, yo, he

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Speaker 1: doesn't know that we like, this is what we worship,

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Speaker 1: you know what I mean?

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Speaker 2: And it's not because I know about you know, yacht

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Speaker 2: rock culture and all.

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Speaker 1: Those comedy bits on online, and it could seem like

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Speaker 1: it's from a joky angle. But I always wondered, like,

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Speaker 1: what was your personal perspective and as far as like

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Speaker 1: do you think it's just novelty or or any of

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Speaker 1: those things?

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Speaker 3: So you know, I I I always enjoyed it and

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Speaker 3: and I had fun that that night, but I did

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Speaker 3: I don't think the other guys enjoyed it as.

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Speaker 2: Much as I said, So, well, thank you. So you

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Speaker 2: started out in Saint Louis, right you.

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Speaker 3: I grew up in Ferguson.

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Speaker 8: Yeah, wow, raising yes, can you talk about that? Because

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Speaker 8: literally my mother is born and raised in Saint Louis

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Speaker 8: And I called her this morning because I was like, Mommy,

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Speaker 8: did you know Michael McDonald's and Saint Louis And she

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Speaker 8: was like no. I said, well, this is interesting because

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Speaker 8: y'all around the same age growing up in Saint Louis

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Speaker 8: very polarized. Ferguson maybe not be the Ferguson that we

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Speaker 8: know today.

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Speaker 3: No, that's right, you know, I mean, uh, that's you know,

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Speaker 3: the in where the conversation is at this point today

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Speaker 3: is is exactly where it needs to be, you know.

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Speaker 3: I mean, uh, I think in the sixties, we all

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Speaker 3: really believed that we were going to be the generation

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Speaker 3: that didn't leave the burden on our next generation of

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Speaker 3: racism in America, you know, and unfortunately that hasn't proven

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Speaker 3: to be true. You know, as much as we'd all

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Speaker 3: like to think, I think we made great strides because

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Speaker 3: I remember Ferguson in the late fifties, right, talk.

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Speaker 8: About it because people it's probably totally different.

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Speaker 3: Oh yeah, you know, I mean, you know it was

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Speaker 3: apartheid is really what it was, you know, I mean

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Speaker 3: nothing less. You know, when you if you were black

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Speaker 3: in America in a small town like Ferguson, and if

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Speaker 3: you know, it was you were not allowed to live

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Speaker 3: in the mainstream. You were ostracized from mainstream society, plain

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Speaker 3: and simple. You couldn't walk into the dairy queen without

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Speaker 3: causing a stir, you know what I mean. It was.

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Speaker 3: And I remember as a kid, you know, that wasn't

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Speaker 3: lost on me. I remember, you know, like laying awake

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Speaker 3: at night. My two great fears were they were going

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Speaker 3: to drop the bomb, and I remember thinking, you know,

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Speaker 3: I could have been born black. It's like fifty to fifty,

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Speaker 3: you know, and I just didn't understand why the things

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Speaker 3: were the way they were, you know. But you know,

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Speaker 3: even you know the fact that the reason I mentioned

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Speaker 3: is like that it wouldn't even be lost on a

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Speaker 3: four year old kid or a five year old kid.

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Speaker 3: You know, at the earliest ages, we look at our

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Speaker 3: society around us in surprising ways and we go, what

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Speaker 3: does this all mean? Why? Why is this this way?

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Speaker 3: Why is it that way? And why don't adults do

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Speaker 3: something about it? Why don't adults make this right? You know?

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Speaker 3: And so we start right there understanding that adults don't

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Speaker 3: make things right, you know, that adults don't do the

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Speaker 3: right thing, you know, And and so that we spend

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Speaker 3: the rest of our lives just kind of, you know,

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Speaker 3: compromising with that, you know, and you know, understanding it's

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Speaker 3: not a perfect world. But you know, it's funny because

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Speaker 3: you know, for all the press that Ferguson gotten, it's

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Speaker 3: a great town. It's it's a better town than it

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Speaker 3: was when I was a kid. I mean, in so

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Speaker 3: many ways. I mean, I go back there a bit,

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Speaker 3: quite a bit. You know, I don't live there anymore,

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Speaker 3: but when I lived there, it was post war, and

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Speaker 3: you know, the downturn in the American economy was something

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Speaker 3: people don't remember. But after the war, it was like

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Speaker 3: a lot of small towns like that kind of went

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Speaker 3: into depression. You know, a lot of the mom and

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Speaker 3: pop stores closed up, and Ferguson, you know, had had

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Speaker 3: suffered that, like a lot of places until the suburbs

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Speaker 3: took over, you know, and shopping malls and stuff like that,

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Speaker 3: and that pretty much killed, you know, communities like Ferguson.

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Speaker 3: So I grew up in that period where you know,

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Speaker 3: you walk down main Street Ferguson, it wasn't much going on.

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Speaker 3: You know. Today it's it's a it's you know a

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Speaker 3: lot more of an economic upturn, you know. And so

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Speaker 3: you know, I think what we got to really do

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Speaker 3: as a society is learned to have the conversation. You know,

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Speaker 3: it's like that what's going on right now with the NFL,

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Speaker 3: and you know, we got to we you know, unfortunately,

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Speaker 3: we have a guy at the Helm who wants to

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Speaker 3: stir it up and be divisive. You know, that's a shame,

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Speaker 3: because this is the perfect opportunity for the conversation we

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Speaker 3: all need to be having. You know, those guys are

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Speaker 3: embracing peaceful protests. It may not be the venue you'd

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Speaker 3: like to see it in if you're a football fan

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Speaker 3: or whatever, you know, whatever your problem with it is.

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Speaker 3: And the whole idea that it's all about the flag

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Speaker 3: and the flag is all about the military is not true.

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Speaker 3: The flag is about freedom, and that's what the conversation

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Speaker 3: is about. And these guys aren't risking they're not destroying

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Speaker 3: my property, they're not hurting anyone. The only thing they're

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Speaker 3: putting at risk is their own livelihood. And so I

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Speaker 3: applaud their courage, you know, and I think it's a

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Speaker 3: conversation that we got to have, you know, And it's

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Speaker 3: going to be painful, because growth is painful, you know,

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Speaker 3: but it you know, that's that's the great America that

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Speaker 3: I think most of us are talking about. You know,

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Speaker 3: America is getting great, you know, and it can continue

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Speaker 3: to get great. But this isn't the time to fall

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Speaker 3: asleep at the wheel or to turn back the hands

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Speaker 3: of time to something that was not great.

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Speaker 8: But it's fascinating, says you grew up in such a

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Speaker 8: divisive situation that you had that you like, how did

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Speaker 8: you get introduced to soul in that way? Is it

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Speaker 8: just that natural to you, because, like you said, ferguson

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Speaker 8: black people, black people kind of separate.

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Speaker 3: In that way, like, well, you know, it was it

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Speaker 3: was the it was society in the fifties, you know.

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Speaker 3: I mean, you know, so many of my friends are

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Speaker 3: younger than me, and they don't really remember, you know,

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Speaker 3: they don't really know and black or white or you know,

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Speaker 3: African American or Caucasian or whatever they you know, it

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Speaker 3: might be very few of them remember America the way

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Speaker 3: it was, you know, and it wasn't great for a

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Speaker 3: lot of people.

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Speaker 1: You know, So it wasn't a footloose narrative where rock

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Speaker 1: and roll came in and saved the town and that

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Speaker 1: sort of thing.

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Speaker 3: Oh, you know, it's funny. The British invasion probably did

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Speaker 3: more to bring awareness to mainstream radio listeners white radio

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Speaker 3: listens an awareness of real American music than American radio

225
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Speaker 3: did at the time. A lot of the artists, for instance,

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Speaker 3: the Womack Brothers, they had a top ten hit on

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Speaker 3: what would have been considered black radio at the time,

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Speaker 3: which most white people didn't listen to, didn't know about,

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Speaker 3: you know, And it was a song called It's All

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Speaker 3: Over Now. When the Rolling Stones did it, it was

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Speaker 3: a huge hit, you know, and Bobby Womack made the comment,

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Speaker 3: we were heartbroken until the checks started coming in. But

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Speaker 3: still that speaks like you know, even motown, as popular

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Speaker 3: as it was in mainstream radio, the British acts, the

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Speaker 3: Beatles probably had some of the biggest hits of Smokey

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Speaker 3: Robinson songs, you know, because they reached the whole other

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Speaker 3: audience and that that was segregated in the United States

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Speaker 3: at that time, you know.

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Speaker 2: So you know, so even the jazz scene wasn't thriving

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Speaker 2: at all.

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Speaker 3: Or it was it was, but that that was I

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Speaker 3: think a very you know, that was a kind of

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Speaker 3: a I don't want to say, elite sector of intellectual

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Speaker 3: music listeners society. It wasn't mainstream, you know, jazz was

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Speaker 3: not mainstream. It kind of was in the fifties. It

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Speaker 3: was probably rock and roll kind of took over where

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Speaker 3: jazz left off in the fifties because jazz was that

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Speaker 3: kind of bold and a lot of people growing up

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Speaker 3: in the fifties were drawn to that, you know, to

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Speaker 3: the artistic boldness of jazz and you know and everything

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Speaker 3: that was. But then in rock and roll kind of

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Speaker 3: took over the mainstream, you know. But you know, as

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Speaker 3: a kid, I remember the first time I heard records

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Speaker 3: like Edwin Starr's Stopper on Site. That was a record

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Speaker 3: that sticks out in my mind. It was my sister

256
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Speaker 3: and her friends were playing it and they were blasting

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Speaker 3: it over a car speaker, and I up to that

258
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Speaker 3: point was pretty much aware of what I knew at

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Speaker 3: my age group, which was all these English bands coming out,

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Speaker 3: you know, right, And but when I heard that record,

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Speaker 3: it was it was like, all of a sudden, there

262
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Speaker 3: was this sophistication to the rhythm track that this you know,

263
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Speaker 3: the guitar was kind of tucked in and syncopated and

264
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Speaker 3: you know, more interesting in a lot of ways. It

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Speaker 3: wasn't as a judge so it spoke to broad strokes, Yeah,

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Speaker 3: it was. It had a certain kind of sophistication that

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Speaker 3: I really appeeled to me. And it was from that

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Speaker 3: point on that I really started listening to artists that

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Speaker 3: I had prior to that not really been that aware of.

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Speaker 2: You know, do you remember the first record that you

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Speaker 2: ever purchased.

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Speaker 3: Yeah, it was the Everly Brothers Wake Up Little Susie.

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Speaker 3: Me and a friend of mine pulled our money and

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Speaker 3: went and bought the forty five.

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Speaker 2: And how much were forty five's back when you were

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Speaker 2: growing up, same.

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Speaker 3: As they are now? A buck? We're the one industry

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Speaker 3: where the price has not gone up.

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Speaker 10: It was on the sorry quest what was on the

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Speaker 10: B side of that?

281
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Speaker 3: On the B side, I don't remember. It was that

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Speaker 3: record in the Chipmunks Christmas Song. That was my two

283
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Speaker 3: big first records.

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Speaker 2: Sorry, no, no, Well I like B sides. Sorry, I

285
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Speaker 2: know I was waiting for you jazz question.

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Speaker 10: No, I mean that's I never thought of it that way,

287
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Speaker 10: that that rock and roll took over where jazz left

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Speaker 10: off in that sense.

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Speaker 3: Yeah, I think in a cultural sense, jazz was that

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Speaker 3: daring music taboo, a little bit genre that that, you know,

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Speaker 3: if you were really cool, you listen to jazz, you know.

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Speaker 1: So was there a hip factor in Saint Louis A yeah,

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Speaker 1: counterculture if you will.

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Speaker 3: Yeah, I definitely took place around Gaslight Square in Saint Louis, downtown,

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Speaker 3: Saint Louis area South, you know, kind of somewhere between South.

296
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Speaker 3: I'm not really sure where Gaslight Square was, to be

297
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Speaker 3: honest with you, but I remember that's where my parents

298
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Speaker 3: went to hear music, you know, and it was like

299
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Speaker 3: there were jazz clubs and uh, and then the tornado

300
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Speaker 3: hit it. One of the big tornadoes came through and

301
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Speaker 3: leveled the place and it never kind of recovered from that.

302
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Speaker 3: You know. It would be like where the village and

303
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Speaker 3: you know.

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Speaker 1: Uh, concert, Like were you attending concerts at all? Or like,

305
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Speaker 1: what was the first show you remember seeing?

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Speaker 3: Let me think about that. I remember going to see, uh,

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Speaker 3: this thing called the ALSAC Show. It was the big

308
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Speaker 3: am radio station in Saint Louis, cakes Okay, and they

309
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Speaker 3: brought this show to town. It was like a charity

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Speaker 3: event and Wilson Pickett was on was one of the headliners.

311
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Speaker 3: So up there was the Memphis Rhythm Section, Memphis horns,

312
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Speaker 3: you know, the whole the whole gang. And it was

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Speaker 3: like just this powerful experience to hear those guys and

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Speaker 3: Keel Auditorium, you know, and that was one of the

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Speaker 3: There was another great show I saw there was the Beg's.

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Speaker 3: Once I was driving around and I saw their name

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Speaker 3: on the Marquee and a friend of mine and I

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Speaker 3: went in.

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Speaker 2: The Australian version.

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Speaker 3: Yeah, the Beg's, Yeah, the Beatles, and this was long

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Speaker 3: before their big resurgence, you know, this was like you know, sixties,

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Speaker 3: you know. And we went in there and it was

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Speaker 3: like the first two rows had people and nothing else.

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Speaker 3: It was like there no one knew that they and

325
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Speaker 3: these guys came out and did this show as if

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Speaker 3: the place was filled to the brim. You know, they

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Speaker 3: just didn't undaunted. They just put on this great show.

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Speaker 3: And I remember thinking, man, that's that's pretty cool. You know,

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Speaker 3: I should somehow I remembered that, you know, and.

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Speaker 1: Wait, you casually walked by saw the Beg's on the

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Speaker 1: Marquie was like listen. Was yeah, how much were shows

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Speaker 1: back then that you could just not much?

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Speaker 3: It's probably about five bucks apiece. We went in and

334
00:19:12,680 --> 00:19:15,120
Speaker 3: saw these guys play, you know, it's crazy. Yeah.

335
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Speaker 9: And at that point, had you start singing yet to yourself?

336
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Speaker 9: And the shot? Did you start singing yet?

337
00:19:19,560 --> 00:19:21,320
Speaker 3: Yeah? I was in I was in a band. In fact,

338
00:19:21,359 --> 00:19:22,960
Speaker 3: me and this this friend of mine were in a

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Speaker 3: band together and we we were just driving around Saint Louis,

340
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Speaker 3: you know, doing very much nothing as usual, you know.

341
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Speaker 3: And I saw them on the Marquee and hadn't heard

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Speaker 3: a thing about it. So we just you know, walked

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Speaker 3: up and tickets were place was not even close to

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Speaker 3: being sold out, but they did a great show.

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Speaker 6: How did you start playing? Were you self taught or

346
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Speaker 6: did you take lessons?

347
00:19:46,480 --> 00:19:50,200
Speaker 3: I'm just just self taught, you know. I my I

348
00:19:50,320 --> 00:19:54,560
Speaker 3: started off playing tenor banjo for my dad, who was saying, uh,

349
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Speaker 3: he was a singer and sang in a lot of bars,

350
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Speaker 3: not so much professionally, but he sang, you know, uh,

351
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Speaker 3: and people kind of knew him as a singer, you know,

352
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Speaker 3: so when he walked in a saloon, everybody wanted him

353
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Speaker 3: to sing. And so I followed him around a lot

354
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Speaker 3: as a kid, and uh, I would play tenor banjo

355
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Speaker 3: for him, and uh he would do you know, uh

356
00:20:14,640 --> 00:20:17,760
Speaker 3: old like ragtime songs and Irish songs and you know,

357
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Speaker 3: Danny Boy was his big number. And so I got

358
00:20:23,760 --> 00:20:26,040
Speaker 3: the chance. The significance of that was I got to

359
00:20:26,080 --> 00:20:28,720
Speaker 3: hear a lot of great piano players, got the guys

360
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Speaker 3: that he would go to visit who played piano in

361
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Speaker 3: these bars, and ah, and it was amazing how talented

362
00:20:35,680 --> 00:20:38,359
Speaker 3: they were looking back, especially, I realized that these these

363
00:20:38,520 --> 00:20:41,600
Speaker 3: these were great musicians, you know, but here they were

364
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Speaker 3: in the corner bar and Saint Louis playing Bill Bailey,

365
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Speaker 3: Won't You Please Come Home? For all these drunks, and

366
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Speaker 3: they hated every minute of it.

367
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Speaker 2: You know, anyone else in your family?

368
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Speaker 8: Uh?

369
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Speaker 2: Singers?

370
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Speaker 3: Yeah? My sisters both sing, you know, and they both

371
00:20:57,640 --> 00:20:58,439
Speaker 3: got nice.

372
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Speaker 6: Words singing background on the keep forgetting.

373
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Speaker 3: That Maureen, that's Mareen. She still sings with me. My

374
00:21:03,080 --> 00:21:05,960
Speaker 3: sister Kathy still sings with me. And you know, once

375
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Speaker 3: in a while, we'll do these shows around town, just

376
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Speaker 3: like charity events and stuff, and the family will come

377
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Speaker 3: out and sing for me.

378
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Speaker 9: What's your dad say when he realized you had the voice?

379
00:21:14,000 --> 00:21:15,120
Speaker 9: Because he knew the band jo.

380
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Speaker 3: He said, get your high school equivalent? S. He wasn't

381
00:21:20,000 --> 00:21:21,399
Speaker 3: a big fan of the music video. I mean, it

382
00:21:21,480 --> 00:21:23,280
Speaker 3: wasn't that he wasn't, But I don't think he saw

383
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Speaker 3: it as a viable living, you know, and.

384
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Speaker 6: I don't think any parent until it becomes yeah, right,

385
00:21:29,320 --> 00:21:29,679
Speaker 6: that's right.

386
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Speaker 3: No one was prouder that I was able to make

387
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Speaker 3: a living at it, you.

388
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Speaker 1: Know, But in hindsight, did you always have the voice

389
00:21:38,280 --> 00:21:39,520
Speaker 1: that we know is Michael McDonald.

390
00:21:40,840 --> 00:21:40,959
Speaker 11: Uh.

391
00:21:41,920 --> 00:21:45,959
Speaker 1: There's so much technique in it, like who's teaching your

392
00:21:46,040 --> 00:21:50,000
Speaker 1: who you emulating? And you know where'd you learn control

393
00:21:50,160 --> 00:21:52,280
Speaker 1: and your verbrato and your tone?

394
00:21:52,880 --> 00:21:56,080
Speaker 3: You know. A lot of my singing voice came from

395
00:21:57,400 --> 00:22:00,240
Speaker 3: singing in bars, you know, because I had to preserve I.

396
00:22:00,720 --> 00:22:02,080
Speaker 2: Say, smoke or beer.

397
00:22:04,359 --> 00:22:07,440
Speaker 3: And then tobacco had something to do. I thought it

398
00:22:07,520 --> 00:22:09,320
Speaker 3: was a good thing for a while until it was

399
00:22:09,320 --> 00:22:13,119
Speaker 3: a great thing for us. But no, I early on

400
00:22:13,280 --> 00:22:16,480
Speaker 3: I realized that if I wanted to sing like James

401
00:22:16,560 --> 00:22:23,000
Speaker 3: Brown and uh uh some of the you know, the showers,

402
00:22:23,080 --> 00:22:28,320
Speaker 3: you know, the great blue singers, I wouldn't have a

403
00:22:28,400 --> 00:22:30,159
Speaker 3: voice very long if I did, you know, you know,

404
00:22:30,440 --> 00:22:34,439
Speaker 3: like Mitch Ryder and all those singers that were famous

405
00:22:34,480 --> 00:22:37,840
Speaker 3: for their screams, you know. But so I I developed

406
00:22:38,040 --> 00:22:40,119
Speaker 3: a style that where I could kind of sound like

407
00:22:40,160 --> 00:22:42,440
Speaker 3: I was putting more into it than I really had to.

408
00:22:42,600 --> 00:22:44,600
Speaker 3: So I could sing five sets a night, you know, and.

409
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Speaker 2: Five sets a night.

410
00:22:47,960 --> 00:22:49,600
Speaker 3: Yeah, we did. We did. Like I did a lot

411
00:22:49,640 --> 00:22:53,120
Speaker 3: of that in LA We'd play like three four five

412
00:22:53,200 --> 00:22:55,600
Speaker 3: sets a night and sometimes go after hours, you know,

413
00:22:55,680 --> 00:22:58,200
Speaker 3: and some go across town and play after hours clubs.

414
00:22:58,240 --> 00:22:58,359
Speaker 3: You know.

415
00:22:59,000 --> 00:23:02,720
Speaker 2: So what brought you to LA as far as.

416
00:23:03,000 --> 00:23:06,720
Speaker 3: A record deal? Originally I came out to do a

417
00:23:06,800 --> 00:23:10,800
Speaker 3: record for RCA Records, your own, not with Yeah, it

418
00:23:10,920 --> 00:23:13,680
Speaker 3: was my own. I'm only hesitant to mention it for

419
00:23:13,880 --> 00:23:16,159
Speaker 3: fear that someone might actually find it and listen to it.

420
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Speaker 6: Oh God.

421
00:23:19,000 --> 00:23:20,320
Speaker 9: He got discovered in St.

422
00:23:20,400 --> 00:23:20,720
Speaker 2: Louis.

423
00:23:21,640 --> 00:23:24,680
Speaker 3: Yeah. I was actually in Champagne, Illinois, playing in a bar,

424
00:23:25,280 --> 00:23:30,000
Speaker 3: and a producer, a guy who I'm not to this day,

425
00:23:30,560 --> 00:23:33,000
Speaker 3: who was from, believe it or not, Champagne, Illinois. He

426
00:23:33,200 --> 00:23:36,520
Speaker 3: grew up on a farm there, went to l A

427
00:23:36,680 --> 00:23:40,000
Speaker 3: and with the New Christy Minstrels. Remember the New Christy Minstrels.

428
00:23:40,080 --> 00:23:43,159
Speaker 3: It was like a folk singing group, you know, and

429
00:23:45,160 --> 00:23:50,280
Speaker 3: he if you watch that movie Mighty Wind, that's pretty

430
00:23:50,320 --> 00:23:53,320
Speaker 3: much so. Anyway, he was in one of those groups,

431
00:23:53,359 --> 00:23:55,720
Speaker 3: and he met his wife. But anyway, he wound up

432
00:23:56,000 --> 00:23:59,800
Speaker 3: producing records for RCA Records. He produced the first Jefferson

433
00:23:59,840 --> 00:24:04,760
Speaker 3: air playing album. Harry Nilson jose Fliciano you know, had

434
00:24:04,840 --> 00:24:08,080
Speaker 3: quite a run, you know, producing some great records, and

435
00:24:08,480 --> 00:24:10,720
Speaker 3: he heard me in a bar, signed me up and

436
00:24:10,840 --> 00:24:13,399
Speaker 3: I came out to California. And the good part of

437
00:24:13,440 --> 00:24:16,720
Speaker 3: that story is he he kept me alive by using

438
00:24:16,800 --> 00:24:19,000
Speaker 3: me on sessions that I had no business being on.

439
00:24:19,200 --> 00:24:21,639
Speaker 3: You know, I was playing with these guys who were

440
00:24:21,680 --> 00:24:24,879
Speaker 3: really a list guys, and they had to put up

441
00:24:24,920 --> 00:24:27,960
Speaker 3: with me because this guy wanted me to get paid.

442
00:24:28,080 --> 00:24:30,920
Speaker 6: You know, he sings, I was playing piano.

443
00:24:31,840 --> 00:24:34,960
Speaker 3: I had even less business being on these session on

444
00:24:35,080 --> 00:24:38,879
Speaker 3: which on which sessions? Oh uh, you know, things like

445
00:24:40,800 --> 00:24:46,320
Speaker 3: everything from David Cassidy to Jack Jones to uh John

446
00:24:46,400 --> 00:24:49,280
Speaker 3: Harton John Hartford. Uh, you know, just things that he

447
00:24:49,400 --> 00:24:52,639
Speaker 3: was producing at the time, some Jose Feliciano tracks maybe, uh,

448
00:24:53,480 --> 00:24:58,600
Speaker 3: but it gave me experience I would have never gotten otherwise,

449
00:24:58,680 --> 00:25:02,359
Speaker 3: you know. And uh, really where I learned, you know,

450
00:25:02,760 --> 00:25:05,520
Speaker 3: how to play with other musicians on a whole other level,

451
00:25:05,680 --> 00:25:09,320
Speaker 3: you know, are much more professional capacity.

452
00:25:08,840 --> 00:25:10,600
Speaker 6: And you're still just self taught at this point. You

453
00:25:10,760 --> 00:25:11,639
Speaker 6: just kind of figured it out.

454
00:25:11,720 --> 00:25:14,720
Speaker 3: Yeah, you know, I was came from bar bands in

455
00:25:14,760 --> 00:25:16,560
Speaker 3: Saint Louis. It was like the first one of the

456
00:25:16,600 --> 00:25:18,399
Speaker 3: bridge gets the solo. You know, it was like we

457
00:25:18,520 --> 00:25:20,000
Speaker 3: were just rushing ahead, you know.

458
00:25:20,720 --> 00:25:26,479
Speaker 1: Wow, well, uh, you know, as we are very curious

459
00:25:26,520 --> 00:25:29,560
Speaker 1: on quest Love Supreme. We would like to play a

460
00:25:29,640 --> 00:25:33,280
Speaker 1: bit of God News by young Mike McDonald.

461
00:25:33,760 --> 00:25:38,160
Speaker 3: Oh my god, this is gonna be painful.

462
00:25:54,720 --> 00:26:07,119
Speaker 2: Change and you should go away. Oh baby, Paul I

463
00:26:07,400 --> 00:26:12,399
Speaker 2: have Junior said, well do you know that fifteen?

464
00:26:12,480 --> 00:26:12,920
Speaker 3: I'm sad?

465
00:26:17,320 --> 00:26:23,640
Speaker 2: You know you ste know about God.

466
00:26:23,760 --> 00:26:30,800
Speaker 6: No, it's like Tom Jones Watch your Family. I think

467
00:26:30,960 --> 00:26:33,560
Speaker 6: it's like, how old are you on that recording?

468
00:26:34,160 --> 00:26:34,280
Speaker 3: Uh?

469
00:26:34,880 --> 00:26:37,240
Speaker 6: Eighteen and you sounded like forty?

470
00:26:38,840 --> 00:26:42,280
Speaker 2: J Thomas. I feel it. I feel it. That was

471
00:26:42,480 --> 00:26:44,960
Speaker 2: nothing embarrassing about that manh.

472
00:26:45,880 --> 00:26:55,399
Speaker 1: Yeah, it was great, Thank you? So uh woll within

473
00:26:55,520 --> 00:27:00,879
Speaker 1: the in l a Uh are you interacting at all?

474
00:27:01,280 --> 00:27:05,119
Speaker 1: Or how are you running into what will eventually be

475
00:27:06,200 --> 00:27:08,680
Speaker 1: your peers at the mid seventies to mid eighties, like

476
00:27:08,800 --> 00:27:12,000
Speaker 1: the Bacados, the Pages, the I.

477
00:27:12,040 --> 00:27:15,040
Speaker 3: Got, Yeah, you know that was I probably met those

478
00:27:15,119 --> 00:27:18,440
Speaker 3: guys more on the club level doing casuals. One of

479
00:27:18,480 --> 00:27:22,240
Speaker 3: the first gigs I ever remember meeting Jeff Pacarl I'm

480
00:27:22,280 --> 00:27:23,760
Speaker 3: not even sure I met him. That night we were

481
00:27:23,800 --> 00:27:27,600
Speaker 3: playing at a club in the Valley cent Fernando Valley

482
00:27:27,720 --> 00:27:30,040
Speaker 3: and his band came in and played, and they were

483
00:27:30,040 --> 00:27:33,439
Speaker 3: all underage. They were all like junior high school age

484
00:27:34,520 --> 00:27:37,360
Speaker 3: and I'm trying to remember the name of the band.

485
00:27:37,359 --> 00:27:40,520
Speaker 3: They were named after their street they lived on, and

486
00:27:40,640 --> 00:27:43,760
Speaker 3: it was all Grant High School kids freshman year, and

487
00:27:44,600 --> 00:27:46,879
Speaker 3: Jeff was this phenomenal drummer and they were kind of

488
00:27:46,920 --> 00:27:52,840
Speaker 3: a fusion band, you know. So it was interesting because

489
00:27:54,080 --> 00:27:57,320
Speaker 3: every ending Jeff kind of did a symbol solo for it.

490
00:27:57,640 --> 00:27:59,480
Speaker 3: It ended each song with this you know kind of

491
00:28:00,359 --> 00:28:03,800
Speaker 3: you know, and but he was obviously really great and

492
00:28:04,280 --> 00:28:07,639
Speaker 3: the next time I heard about him doing sessions after that,

493
00:28:08,720 --> 00:28:10,680
Speaker 3: and uh, the next time I met him, we played

494
00:28:10,720 --> 00:28:13,360
Speaker 3: a casual for a TV show that was a rap

495
00:28:13,440 --> 00:28:19,160
Speaker 3: party for Universal Studios. And make a long story short,

496
00:28:19,240 --> 00:28:21,720
Speaker 3: my girlfriend was the contractor on this show. She was

497
00:28:21,760 --> 00:28:24,320
Speaker 3: a bass player at the time, Brandy.

498
00:28:24,480 --> 00:28:28,960
Speaker 2: And I love to say, Carol, kay, wait a minute, yeah, no, no,

499
00:28:29,080 --> 00:28:30,199
Speaker 2: no no, But she.

500
00:28:30,640 --> 00:28:32,760
Speaker 3: She left to go do a gig in Vegas and

501
00:28:32,840 --> 00:28:36,359
Speaker 3: she said, make sure you do this gig and we

502
00:28:36,440 --> 00:28:37,960
Speaker 3: could get the band together, and will you do this

503
00:28:38,040 --> 00:28:40,200
Speaker 3: gig for me? I said sure. She goes, You're not

504
00:28:40,280 --> 00:28:42,400
Speaker 3: going to leave it to the last minute and you know,

505
00:28:42,600 --> 00:28:45,280
Speaker 3: and and have it be a complete, uh you know,

506
00:28:45,920 --> 00:28:49,760
Speaker 3: disaster disaster. I said, no, I promise, I won't. Of

507
00:28:49,840 --> 00:28:52,240
Speaker 3: course I did, and you did. So at the last minute,

508
00:28:52,320 --> 00:28:54,720
Speaker 3: I call the sax player friend of mine and he goes,

509
00:28:54,840 --> 00:28:57,320
Speaker 3: I know these cats, they do sessions, she goes, but

510
00:28:57,400 --> 00:29:00,400
Speaker 3: they love to play and they'll probably do it for free.

511
00:29:01,000 --> 00:29:03,280
Speaker 3: I said, even better, you know, but I just I

512
00:29:03,400 --> 00:29:05,920
Speaker 3: need somebody. So we all showed up. None of us

513
00:29:06,000 --> 00:29:08,440
Speaker 3: knew each other, We didn't rehearse. We just played every

514
00:29:08,480 --> 00:29:11,040
Speaker 3: top forty song we could think of, and then for

515
00:29:11,200 --> 00:29:13,440
Speaker 3: the next three sets we played the same ones over again,

516
00:29:13,520 --> 00:29:15,760
Speaker 3: but they were all pretty drunk by then. Nobody cared,

517
00:29:15,840 --> 00:29:20,560
Speaker 3: you know, and we uh it was Jeff Pacarl, David Page,

518
00:29:20,640 --> 00:29:25,840
Speaker 3: Mike Piccarl on bass Monsters. Yeah, and uh. The next

519
00:29:25,960 --> 00:29:27,920
Speaker 3: time I talked to Jeff was like a year later.

520
00:29:28,360 --> 00:29:32,040
Speaker 3: He called me through the same girl, Brandy, and he said,

521
00:29:32,400 --> 00:29:36,880
Speaker 3: I'm looking for Mike. We're auditioning for Steely Dan, and

522
00:29:36,960 --> 00:29:41,400
Speaker 3: I thought maybe he could play some keyboard and and sing,

523
00:29:41,720 --> 00:29:43,680
Speaker 3: you know, do some of the backgrounds, because they're looking

524
00:29:43,720 --> 00:29:46,800
Speaker 3: to kind of keep the band small, you know. And

525
00:29:47,160 --> 00:29:49,840
Speaker 3: so as soon as I heard, I threw my piano

526
00:29:49,960 --> 00:29:52,520
Speaker 3: in my Pinto and I drove down to Modern Music

527
00:29:52,640 --> 00:29:58,040
Speaker 3: and auditioned. And you know, miraculously got the job, you know,

528
00:29:58,280 --> 00:30:01,360
Speaker 3: and wound up toured the world those guys before.

529
00:30:01,080 --> 00:30:03,640
Speaker 2: They broke up. You know, were you playing a Wolitzer

530
00:30:03,960 --> 00:30:12,360
Speaker 2: or a little black worltzer? Yeah? Okay for those that

531
00:30:12,520 --> 00:30:15,800
Speaker 2: don't know, And I've always just heard the legend of

532
00:30:15,920 --> 00:30:20,400
Speaker 2: Steely Dan just being a studio group, Like what was

533
00:30:20,440 --> 00:30:23,560
Speaker 2: the initial meat and potatoes of the band? You came

534
00:30:23,600 --> 00:30:25,720
Speaker 2: in during what Katie lied or right?

535
00:30:25,880 --> 00:30:29,680
Speaker 3: They hadn't started Katie yet. They partzel Logic was the

536
00:30:29,720 --> 00:30:32,000
Speaker 3: record they were touring on. They just had just finished

537
00:30:32,040 --> 00:30:32,680
Speaker 3: Partzel Logic.

538
00:30:33,960 --> 00:30:38,680
Speaker 1: So was there ever besides Fagan and Becker, were there

539
00:30:39,560 --> 00:30:41,440
Speaker 1: core members that were Yeah?

540
00:30:41,640 --> 00:30:45,520
Speaker 3: Yeah, Well the band at that time existed as Steely Dan,

541
00:30:46,600 --> 00:30:51,480
Speaker 3: Donald Walter, Jimmy Hotter on drums, and Jeff McCarroll on drums.

542
00:30:51,680 --> 00:30:57,320
Speaker 3: Uh and Walter played bass, Danny Diaz played guitar, and

543
00:30:57,480 --> 00:31:05,000
Speaker 3: Jeff Baxter played guitar, and uh myself playing some keyboards

544
00:31:05,080 --> 00:31:08,520
Speaker 3: and singing backgrounds of Royce Jones played percussion and sang backgrounds.

545
00:31:08,640 --> 00:31:13,120
Speaker 3: Royce was another LA guy that played clubs and you know,

546
00:31:13,360 --> 00:31:18,880
Speaker 3: uh uh great singer and a great percussionist. But uh

547
00:31:19,080 --> 00:31:21,320
Speaker 3: so we were that was pretty much the core group,

548
00:31:21,400 --> 00:31:22,280
Speaker 3: the whole group right there.

549
00:31:22,400 --> 00:31:25,360
Speaker 6: And how is it moving into their their band because

550
00:31:25,360 --> 00:31:27,320
Speaker 6: as a self taught player, I mean the stuff they're

551
00:31:27,320 --> 00:31:30,800
Speaker 6: playing is pretty adventure Yeah. Yeah, like how did you

552
00:31:30,960 --> 00:31:31,920
Speaker 6: figure all that stuff out?

553
00:31:32,960 --> 00:31:35,000
Speaker 3: Well? Donald showed me, you know, what he wanted me

554
00:31:35,080 --> 00:31:37,400
Speaker 3: to play pretty much, you know, and and uh, which

555
00:31:37,520 --> 00:31:41,239
Speaker 3: was basically backing him up on piano and uh uh

556
00:31:41,440 --> 00:31:46,240
Speaker 3: with with electric piano and uh and it was It

557
00:31:46,360 --> 00:31:48,800
Speaker 3: was great. It was a real education for me, especially

558
00:31:48,800 --> 00:31:50,800
Speaker 3: in songwriting, because all of a sudden I saw how

559
00:31:50,840 --> 00:31:54,600
Speaker 3: he voiced these chords that uh and there was a

560
00:31:54,640 --> 00:31:57,400
Speaker 3: simplicity to it that was ingenious, you know that I

561
00:31:57,560 --> 00:32:01,160
Speaker 3: I kind of learned that a lot of times, uh,

562
00:32:02,080 --> 00:32:06,760
Speaker 3: the the harmonic vastness of their songs really came from

563
00:32:06,800 --> 00:32:11,080
Speaker 3: the fact that the chords were very simple kind of triads,

564
00:32:11,640 --> 00:32:16,560
Speaker 3: you know, with not in unusual forms, you know, like

565
00:32:18,200 --> 00:32:22,800
Speaker 3: one two inverted. Yeah. Yeah, and a lot of times

566
00:32:22,880 --> 00:32:24,760
Speaker 3: that's how the chords moved, you know, in that kind

567
00:32:24,800 --> 00:32:29,360
Speaker 3: of symmetric pattern. But it really it just opened my

568
00:32:29,520 --> 00:32:33,040
Speaker 3: whole head up to composition, you know, pop songwriting, you

569
00:32:33,120 --> 00:32:33,680
Speaker 3: know for sure.

570
00:32:34,640 --> 00:32:35,440
Speaker 2: Yeah, but how.

571
00:32:36,800 --> 00:32:40,760
Speaker 1: Can you explain the phenomenon of Steely Damn because it's

572
00:32:42,680 --> 00:32:45,280
Speaker 1: for me, maybe because I grew up ten years later.

573
00:32:46,080 --> 00:32:50,880
Speaker 1: You know, I see probably the figure that I see

574
00:32:51,000 --> 00:32:55,200
Speaker 1: that came close to experimenting as far as he could.

575
00:32:55,280 --> 00:32:56,880
Speaker 2: And staying pop was printed.

576
00:32:56,960 --> 00:33:02,040
Speaker 1: Yeah, So what were the what were Fagan and Becker's

577
00:33:02,560 --> 00:33:07,600
Speaker 1: work habits as far as like was their intention to

578
00:33:07,800 --> 00:33:16,000
Speaker 1: make digestible pop music multi layered with this intricate jazz approach?

579
00:33:17,000 --> 00:33:18,120
Speaker 2: I mean, and I know.

580
00:33:19,880 --> 00:33:25,080
Speaker 1: At least watching the documentary for like as how how

581
00:33:25,160 --> 00:33:27,760
Speaker 1: animal retentive they were, Like how as tasks?

582
00:33:28,640 --> 00:33:30,720
Speaker 2: Yeah? Like how what were their work habits like in

583
00:33:30,800 --> 00:33:31,520
Speaker 2: the studio.

584
00:33:31,800 --> 00:33:35,480
Speaker 3: It was you know, nothing stood in the way between

585
00:33:36,200 --> 00:33:39,520
Speaker 3: them and the end game, you know, what they really

586
00:33:39,560 --> 00:33:41,560
Speaker 3: were trying to go for. And what I find most

587
00:33:41,600 --> 00:33:44,400
Speaker 3: interesting about Stue Dan. I remember we toured with them

588
00:33:44,680 --> 00:33:47,440
Speaker 3: not that long ago, maybe but four or five years ago,

589
00:33:48,440 --> 00:33:52,640
Speaker 3: and of course I would stick around every night and

590
00:33:52,680 --> 00:33:57,880
Speaker 3: listen to their set and they every night I would

591
00:33:57,960 --> 00:34:00,360
Speaker 3: it would hit me. You know, these guys were the

592
00:34:00,480 --> 00:34:05,240
Speaker 3: darlings of Top forty radio for like ten to fifteen years,

593
00:34:06,200 --> 00:34:08,719
Speaker 3: and their music is so weird, you know, it's so

594
00:34:08,960 --> 00:34:12,520
Speaker 3: strange and it's so eclectic. How do they manage that?

595
00:34:12,640 --> 00:34:14,640
Speaker 3: You know? But you know, I know in there as

596
00:34:14,680 --> 00:34:16,960
Speaker 3: far as their work habits, like you mentioned, they were

597
00:34:17,040 --> 00:34:19,600
Speaker 3: very insulated down on Walter, they seemed to be to me.

598
00:34:20,160 --> 00:34:22,480
Speaker 3: They would kind of go off somewhere unknown to anyone

599
00:34:22,520 --> 00:34:27,800
Speaker 3: else and write these songs. And I know that just

600
00:34:27,880 --> 00:34:30,360
Speaker 3: from my own experience of being around them in rehearsal

601
00:34:30,440 --> 00:34:33,799
Speaker 3: and stuff, that some of the influences they had were

602
00:34:33,880 --> 00:34:36,879
Speaker 3: surprising to me. Like Duke Ellington, it was a huge

603
00:34:36,960 --> 00:34:40,040
Speaker 3: influence on those guys, you know, on the makeup of

604
00:34:40,080 --> 00:34:43,800
Speaker 3: their band, and you know, the chord progressions they wrote,

605
00:34:45,360 --> 00:34:48,239
Speaker 3: the way they you know, the harmonic sense that they

606
00:34:48,320 --> 00:34:53,719
Speaker 3: had with their songs. Was they really that sophistication that

607
00:34:53,800 --> 00:34:56,840
Speaker 3: Steely Dan has kind of Probably the most direct influence

608
00:34:56,880 --> 00:34:59,920
Speaker 3: I can think of would be Duke Ellington and our

609
00:35:00,080 --> 00:35:04,680
Speaker 3: just like that, you know that we're that they somehow

610
00:35:05,080 --> 00:35:10,920
Speaker 3: kind of twisted into this pop uh format genre, you know.

611
00:35:11,680 --> 00:35:13,600
Speaker 2: All right, So I'm just going to jump to it.

612
00:35:16,840 --> 00:35:22,320
Speaker 2: Peg how this background, how.

613
00:35:24,440 --> 00:35:28,839
Speaker 1: I feel like PEG is probably on the records, one

614
00:35:28,880 --> 00:35:34,000
Speaker 1: of the most intricate crafted background.

615
00:35:39,640 --> 00:35:47,080
Speaker 9: You listening to Mike McDonald, He's like, no, no, no, no, that's.

616
00:35:46,960 --> 00:35:50,719
Speaker 2: Not right, that's this is me, this is my my

617
00:35:50,840 --> 00:35:56,000
Speaker 2: bad like has a dedication to you, Like, yeah, how.

618
00:35:56,719 --> 00:35:58,520
Speaker 3: I think that sounds better than the last time we

619
00:35:58,640 --> 00:35:58,920
Speaker 3: sang it.

620
00:36:00,320 --> 00:36:03,799
Speaker 2: Well, that's what I was going to ask one. How

621
00:36:03,920 --> 00:36:11,560
Speaker 2: do you how do you how do you guys recreate

622
00:36:11,640 --> 00:36:12,880
Speaker 2: this stuff on stage?

623
00:36:13,800 --> 00:36:16,120
Speaker 3: Well, there's a group of us, you know, singers and.

624
00:36:16,520 --> 00:36:20,279
Speaker 2: Are they anal retentive one stage as well?

625
00:36:20,640 --> 00:36:23,360
Speaker 3: Donald kind of gives us the parts, you know, and

626
00:36:24,880 --> 00:36:27,680
Speaker 3: like when I sang it in the studio, my biggest

627
00:36:27,719 --> 00:36:30,560
Speaker 3: problem was I couldn't sing the harmonies listening to the

628
00:36:30,680 --> 00:36:32,440
Speaker 3: last harmony I did because it was too close.

629
00:36:33,160 --> 00:36:34,240
Speaker 2: And so you do it separate.

630
00:36:34,440 --> 00:36:35,800
Speaker 3: Yeah, you know, if if I, if I were a

631
00:36:35,840 --> 00:36:38,560
Speaker 3: little more schooled as a singer, I might have been

632
00:36:38,600 --> 00:36:40,800
Speaker 3: able to pull that off. But so I would just

633
00:36:40,840 --> 00:36:42,719
Speaker 3: have them turn off the last part I sang and

634
00:36:42,800 --> 00:36:44,880
Speaker 3: then give me the new part. I'd sing it, and

635
00:36:44,960 --> 00:36:47,359
Speaker 3: then the first time I heard it altogether was after

636
00:36:47,440 --> 00:36:51,359
Speaker 3: I finished it, you know. But uh, but on live

637
00:36:51,480 --> 00:36:55,160
Speaker 3: on stage, we would sing the parts, uh, and we

638
00:36:55,200 --> 00:36:57,000
Speaker 3: would you know, you'd get your part in your head

639
00:36:57,040 --> 00:36:59,239
Speaker 3: and then you only have to be you know, responsible

640
00:36:59,280 --> 00:37:01,600
Speaker 3: for that one part and with Donald. I always wanted

641
00:37:01,600 --> 00:37:04,040
Speaker 3: to make sure I sang it in tune and on time,

642
00:37:05,040 --> 00:37:07,160
Speaker 3: so I sang most of those parts while staring at

643
00:37:07,239 --> 00:37:08,120
Speaker 3: him across the stage.

644
00:37:08,239 --> 00:37:11,680
Speaker 2: See are there five other people also matching the notes?

645
00:37:12,120 --> 00:37:15,120
Speaker 3: The girls? And uh yeah, it was me and the

646
00:37:15,239 --> 00:37:18,200
Speaker 3: girls pretty much, you know, and and Donald.

647
00:37:18,040 --> 00:37:21,239
Speaker 2: You know, was the Tory unit. Not it wasn't the

648
00:37:21,320 --> 00:37:23,160
Speaker 2: same as the studio unit.

649
00:37:23,280 --> 00:37:26,800
Speaker 3: Correct, No, No, it was the stulely Dan as it

650
00:37:26,880 --> 00:37:31,200
Speaker 3: has been in recent past, with Catherine Russell and Carolyn

651
00:37:31,280 --> 00:37:34,480
Speaker 3: Linehart singing, two great great singers. You know.

652
00:37:36,480 --> 00:37:40,879
Speaker 1: Wow, Yeah, kudos to that is. I still don't think

653
00:37:40,920 --> 00:37:45,719
Speaker 1: you get enough credit for or respect for that. I mean,

654
00:37:46,080 --> 00:37:50,000
Speaker 1: it just sounds so effortless that you take it for granted.

655
00:37:51,400 --> 00:37:54,160
Speaker 3: Well, those guys, that was all there was always there,

656
00:37:54,200 --> 00:37:55,920
Speaker 3: you know. I came in late on these recordings.

657
00:37:56,160 --> 00:38:00,319
Speaker 1: The typically the tracks were done, and how physically, how

658
00:38:00,360 --> 00:38:01,520
Speaker 1: long did it take for you to do.

659
00:38:03,040 --> 00:38:06,080
Speaker 3: You know? Typically, I don't think I ever did more

660
00:38:06,160 --> 00:38:10,000
Speaker 3: than two tracks in a given session. Usually, you know, more,

661
00:38:10,080 --> 00:38:12,759
Speaker 3: probably more often one you know that they were concentrating

662
00:38:12,800 --> 00:38:15,440
Speaker 3: on for that day, you know, So.

663
00:38:15,520 --> 00:38:19,319
Speaker 2: You're saying you just literally breezed through peg and under

664
00:38:19,360 --> 00:38:19,759
Speaker 2: half hour.

665
00:38:19,760 --> 00:38:22,000
Speaker 3: I wouldn't say I breezed through anything with those guys,

666
00:38:22,040 --> 00:38:24,840
Speaker 3: you know, it was you know, and there were some

667
00:38:25,040 --> 00:38:27,759
Speaker 3: tracks I actually didn't I wasn't able to do, you know,

668
00:38:27,880 --> 00:38:31,360
Speaker 3: Like I remember Doctor Wu. They had sent me that

669
00:38:31,480 --> 00:38:33,200
Speaker 3: track in advance and said, you know, we would like

670
00:38:33,239 --> 00:38:35,520
Speaker 3: to hear your voice on this, and I loved the

671
00:38:35,640 --> 00:38:38,399
Speaker 3: song and I wanted more than anything in the world

672
00:38:38,480 --> 00:38:40,000
Speaker 3: to be able to do that track because I just

673
00:38:40,120 --> 00:38:43,640
Speaker 3: particularly love that tune, you know, and I couldn't. I

674
00:38:43,680 --> 00:38:45,360
Speaker 3: couldn't do it. You had to sing it all in

675
00:38:45,440 --> 00:38:47,720
Speaker 3: one breath, and I smoked way too much at.

676
00:38:47,600 --> 00:38:49,439
Speaker 6: That point in my life to pull that off.

677
00:38:50,560 --> 00:38:53,480
Speaker 3: So I was really disappointed. And of course they never

678
00:38:53,560 --> 00:38:55,440
Speaker 3: let me live it down. But you know, it was

679
00:38:55,480 --> 00:38:57,360
Speaker 3: all in good fun. But you know, there were times

680
00:38:57,400 --> 00:38:59,080
Speaker 3: when I really was not the guy.

681
00:38:59,280 --> 00:39:02,160
Speaker 1: So how did they Yeah, I know they're they're infamous

682
00:39:02,239 --> 00:39:04,440
Speaker 1: for replacing, Like, Okay, you're not going to nail it,

683
00:39:04,480 --> 00:39:05,080
Speaker 1: get someone else.

684
00:39:05,640 --> 00:39:09,759
Speaker 2: How how do they break that news to you hurting

685
00:39:09,800 --> 00:39:10,280
Speaker 2: your feelings?

686
00:39:10,600 --> 00:39:12,919
Speaker 3: Usually, No, it was you have to take those guys.

687
00:39:13,080 --> 00:39:14,839
Speaker 3: They always had a great sense of humor, those guys,

688
00:39:14,880 --> 00:39:16,719
Speaker 3: and you know, they would be the first two that

689
00:39:16,800 --> 00:39:19,120
Speaker 3: got fired. You know, they they would fire themselves before

690
00:39:19,160 --> 00:39:22,080
Speaker 3: they fired everyone else, right, So, I mean a lot

691
00:39:22,120 --> 00:39:24,879
Speaker 3: of the tracking, Donald would have Michael Marty and play

692
00:39:24,960 --> 00:39:30,160
Speaker 3: piano or uh and or Victor Feldman and Walter would

693
00:39:30,200 --> 00:39:32,319
Speaker 3: have different bass players.

694
00:39:32,000 --> 00:39:35,359
Speaker 2: You know, uh so one stand by in the break

695
00:39:35,480 --> 00:39:36,440
Speaker 2: room like Chuck Brainey.

696
00:39:36,680 --> 00:39:38,279
Speaker 3: You know, they just would they would just go ahead

697
00:39:38,280 --> 00:39:40,839
Speaker 3: and hire other guys to do the parts that they

698
00:39:41,480 --> 00:39:45,800
Speaker 3: you know, would do live later, you know, just just

699
00:39:45,840 --> 00:39:48,000
Speaker 3: to get the track to feel the way they wanted

700
00:39:48,040 --> 00:39:48,520
Speaker 3: it to feel.

701
00:39:48,560 --> 00:39:52,279
Speaker 1: You know, were you guys aware at the time that

702
00:39:52,400 --> 00:39:56,480
Speaker 1: you were laying the blueprint for And there's always debate

703
00:39:56,640 --> 00:39:59,919
Speaker 1: on you know, I I see, I mean I'm seeing

704
00:40:00,040 --> 00:40:03,040
Speaker 1: yacht rock now. Probably you hate the term yacht rock

705
00:40:03,120 --> 00:40:04,640
Speaker 1: the same way that I kind of scuffle with the

706
00:40:04,680 --> 00:40:08,520
Speaker 1: word Neil's soul. But I mean, in hindsight, it's a

707
00:40:08,680 --> 00:40:11,919
Speaker 1: very quick way to describe this on her music feel. Yeah,

708
00:40:12,200 --> 00:40:14,239
Speaker 1: I don't know if it's like a California sound or whatever.

709
00:40:14,640 --> 00:40:18,799
Speaker 1: And it's so weird because I know that critics, at

710
00:40:18,880 --> 00:40:22,000
Speaker 1: least back then, like the guys that I interact with now,

711
00:40:22,560 --> 00:40:24,400
Speaker 1: who are music critics that are like kind of in

712
00:40:24,480 --> 00:40:30,680
Speaker 1: their sixties now in seventies, I can tell, like they

713
00:40:30,760 --> 00:40:35,399
Speaker 1: seem so not apologetic. But you know, if we talk

714
00:40:35,440 --> 00:40:40,120
Speaker 1: about Second Half of Chicago or Toto's music or whatever,

715
00:40:40,280 --> 00:40:43,719
Speaker 1: like any you know, they're always like and I'm like, no,

716
00:40:43,960 --> 00:40:46,120
Speaker 1: like I love that shit, Like like I don't listen

717
00:40:46,160 --> 00:40:50,160
Speaker 1: to NWA one of the time, I listened to everything else.

718
00:40:50,880 --> 00:40:55,239
Speaker 2: But critic were you guys sort of aware of.

719
00:40:57,239 --> 00:41:01,360
Speaker 1: Critics sort of well, I mean they didn't dismiss Steely

720
00:41:01,440 --> 00:41:04,440
Speaker 1: Dan as much, but I'm just saying, like critics hold

721
00:41:05,000 --> 00:41:11,960
Speaker 1: scoffed notion of what La Soft Rock was, you.

722
00:41:12,000 --> 00:41:18,799
Speaker 3: Know, yes, and no, I mean, I uh, I think

723
00:41:18,880 --> 00:41:21,920
Speaker 3: we got a lot of you know, bad press a

724
00:41:22,000 --> 00:41:24,759
Speaker 3: lot of the time, you know, for initially, and then

725
00:41:24,800 --> 00:41:26,759
Speaker 3: you know, if the record got popular, then it was

726
00:41:26,880 --> 00:41:29,160
Speaker 3: you know, we always loved it. Yeah, you know, but

727
00:41:30,280 --> 00:41:32,080
Speaker 3: but I think that's just that's just kind of comes

728
00:41:32,120 --> 00:41:33,840
Speaker 3: and that's kind of part of the deal. You know.

729
00:41:34,680 --> 00:41:36,799
Speaker 3: I don't know that we're any different than anyone else.

730
00:41:36,840 --> 00:41:39,799
Speaker 3: You know. It's funny. I was watching the Eagles documentary,

731
00:41:39,840 --> 00:41:42,520
Speaker 3: and you know, I thought every album they had was

732
00:41:42,640 --> 00:41:47,120
Speaker 3: like this gigantic success, you know, but according to the documentary,

733
00:41:47,160 --> 00:41:49,120
Speaker 3: there were periods and records they did where the record

734
00:41:49,160 --> 00:41:51,279
Speaker 3: company was thinking of dropping them or you know, or

735
00:41:51,480 --> 00:41:53,600
Speaker 3: you know, they went through their own trial and era

736
00:41:53,719 --> 00:41:55,800
Speaker 3: of h and they wanted to be more of a

737
00:41:55,920 --> 00:41:58,040
Speaker 3: rock band, and it was like, oh, come on, this

738
00:41:58,160 --> 00:42:00,560
Speaker 3: country band wants to be a rock band now. And

739
00:42:00,840 --> 00:42:02,560
Speaker 3: they had to face all that same kind of run,

740
00:42:02,640 --> 00:42:05,960
Speaker 3: that same kind of gauntlet with critics and record people,

741
00:42:06,080 --> 00:42:08,360
Speaker 3: and so I think every band goes through that. You know,

742
00:42:09,320 --> 00:42:11,400
Speaker 3: it's it's just what's going on in the inside compared

743
00:42:11,440 --> 00:42:13,400
Speaker 3: to what people think is going on from the outside.

744
00:42:13,760 --> 00:42:15,560
Speaker 1: Well, speaking of him, since you brought it up, were

745
00:42:15,600 --> 00:42:21,440
Speaker 1: you aware of any kind of light ribbing rivalry between

746
00:42:21,840 --> 00:42:25,320
Speaker 1: the two camps, the Eagles and Steely Dan, I know

747
00:42:25,400 --> 00:42:26,640
Speaker 1: the lyric wise they were throwing.

748
00:42:27,239 --> 00:42:29,680
Speaker 3: No, I didn't. I didn't really think that was true.

749
00:42:29,760 --> 00:42:32,480
Speaker 3: I think that was a manufactured kind of a press

750
00:42:32,640 --> 00:42:36,440
Speaker 3: thing because I don't know that it really ever was

751
00:42:36,719 --> 00:42:38,600
Speaker 3: anything between. I think it was just a lyric in

752
00:42:38,680 --> 00:42:41,560
Speaker 3: the song, if you know what I mean, and kind

753
00:42:41,560 --> 00:42:44,520
Speaker 3: of like when Chuck Berry saying I couldn't unfaster or

754
00:42:44,560 --> 00:42:46,680
Speaker 3: safety belt. It was just a kind of a tip

755
00:42:46,760 --> 00:42:48,600
Speaker 3: of the hat to the times we lived in right,

756
00:42:50,080 --> 00:42:53,840
Speaker 3: and you know which, by the way, I thought, I

757
00:42:53,880 --> 00:42:55,480
Speaker 3: remember when I was a kid, we backed him up,

758
00:42:55,520 --> 00:42:58,440
Speaker 3: and I thought, how clever is this this guy? Because

759
00:42:58,440 --> 00:43:01,160
Speaker 3: safety Bills had just come out that year. He is

760
00:43:01,200 --> 00:43:04,040
Speaker 3: putting in the song already, you know. But I think

761
00:43:04,080 --> 00:43:06,320
Speaker 3: the same thing with the Eagles. You know, the reference

762
00:43:06,360 --> 00:43:09,680
Speaker 3: in that song was just, uh, you know, it's kind

763
00:43:09,719 --> 00:43:13,400
Speaker 3: of life in today's world. You know what reference are

764
00:43:13,440 --> 00:43:16,880
Speaker 3: we are we turned down the Eagles of Neighbors are listening,

765
00:43:17,040 --> 00:43:18,960
Speaker 3: you know. I don't think it really really meant to

766
00:43:19,080 --> 00:43:20,960
Speaker 3: be a slam at the Eagles, and I think they

767
00:43:21,080 --> 00:43:25,440
Speaker 3: just kind of play roy humor, the Royal Scaeah.

768
00:43:25,680 --> 00:43:29,160
Speaker 1: There's light lyrical references, which if it were hip hop,

769
00:43:29,520 --> 00:43:31,200
Speaker 1: you know, shot could have been.

770
00:43:34,280 --> 00:43:42,640
Speaker 2: So obviously. Uh, Jeff Scott pulls you can I assume that.

771
00:43:42,760 --> 00:43:45,799
Speaker 1: He pulls you into the Doobies and the Doobies as

772
00:43:46,040 --> 00:43:49,719
Speaker 1: you guys were working together on the Steely.

773
00:43:49,480 --> 00:43:53,240
Speaker 2: Dan was he in he during your period?

774
00:43:53,400 --> 00:43:55,920
Speaker 3: Or yes he was and we toured together and uh

775
00:43:56,880 --> 00:44:02,440
Speaker 3: then the Donald Walter disbanded the band, you know, in

776
00:44:02,520 --> 00:44:04,880
Speaker 3: that period of time, and I felt kind of like

777
00:44:05,000 --> 00:44:09,000
Speaker 3: Timothy Schmidt said, you know, uh, I just got the

778
00:44:09,080 --> 00:44:12,359
Speaker 3: best gig of my life and these assholes break up? Why?

779
00:44:12,600 --> 00:44:15,040
Speaker 2: Yeahauch was after it was.

780
00:44:16,320 --> 00:44:19,759
Speaker 3: It was excuse me, Katie k right after Katie Light,

781
00:44:20,239 --> 00:44:21,120
Speaker 3: right before cad Light.

782
00:44:21,200 --> 00:44:23,640
Speaker 2: Actually, yeah, why did they break up?

783
00:44:24,400 --> 00:44:29,719
Speaker 3: I don't know. I wouldn't speculate myself, because it wasn't

784
00:44:29,920 --> 00:44:32,239
Speaker 3: really a part of their world that I was privy to,

785
00:44:32,320 --> 00:44:33,640
Speaker 3: if you know what I mean. I was just kind

786
00:44:33,680 --> 00:44:34,960
Speaker 3: of for higher guy.

787
00:44:35,120 --> 00:44:37,759
Speaker 2: Well, you mean the period between Asia you joined the

788
00:44:37,800 --> 00:44:39,040
Speaker 2: Dubies in seventy seven.

789
00:44:40,320 --> 00:44:44,759
Speaker 3: Well, yes, uh no, seventy five. That's when I taken

790
00:44:44,840 --> 00:44:45,280
Speaker 3: to the streets.

791
00:44:45,360 --> 00:44:48,759
Speaker 1: I think we did, okay, seventy five. Yeah, so there

792
00:44:48,880 --> 00:44:53,160
Speaker 1: was like three four years between Gaucho Wascha was eighty yeah,

793
00:44:53,640 --> 00:44:57,040
Speaker 1: scam and it was along. So you're saying that period

794
00:44:57,200 --> 00:45:00,160
Speaker 1: wasn't just a writer as Black Hiatus. It was like

795
00:45:00,320 --> 00:45:01,319
Speaker 1: we break up and then.

796
00:45:02,160 --> 00:45:04,080
Speaker 3: Well let's see, I mean they were they were starting

797
00:45:04,200 --> 00:45:07,080
Speaker 3: Katie Lied by the time we got done touring, you know,

798
00:45:07,320 --> 00:45:10,279
Speaker 3: And so it wasn't too long after that, maybe six

799
00:45:10,360 --> 00:45:12,319
Speaker 3: months later, that I went in the studio with them

800
00:45:12,360 --> 00:45:15,240
Speaker 3: for Katie Lied and sang those backgrounds on bad Sneakers

801
00:45:15,320 --> 00:45:21,759
Speaker 3: and some other things, and then Royal Scam was the

802
00:45:21,800 --> 00:45:25,800
Speaker 3: next record, and then Gaucho I believe Asian then Gaucho.

803
00:45:28,200 --> 00:45:33,000
Speaker 3: So you know, they were they stayed fairly busy, you know,

804
00:45:33,080 --> 00:45:35,680
Speaker 3: through that period, but they just no longer were seely

805
00:45:35,800 --> 00:45:38,719
Speaker 3: Dan as we all knew them originally, you know, as

806
00:45:38,760 --> 00:45:41,200
Speaker 3: a band, but more as Walter and Donald.

807
00:45:40,880 --> 00:45:47,719
Speaker 2: You know, okay, did you? I mean, why was I'm

808
00:45:47,760 --> 00:45:50,000
Speaker 2: trying to figure out why. My question is, I'm sorry,

809
00:45:51,080 --> 00:45:51,759
Speaker 2: why wasn't it?

810
00:45:52,280 --> 00:45:55,800
Speaker 3: I think the biggest you know, And again it's probably

811
00:45:55,840 --> 00:45:58,960
Speaker 3: not my place to even say this, but they one

812
00:45:59,000 --> 00:46:02,040
Speaker 3: of the things I I thought at the time was

813
00:46:02,520 --> 00:46:06,120
Speaker 3: they no longer wanted to tour, and the only real

814
00:46:06,200 --> 00:46:09,120
Speaker 3: livelihood the other guys had, since they weren't the writers,

815
00:46:09,920 --> 00:46:13,080
Speaker 3: was the touring they did, right, So they wanted to

816
00:46:13,120 --> 00:46:15,239
Speaker 3: stay on the road, and I don't think Donald Walter

817
00:46:15,360 --> 00:46:17,399
Speaker 3: wanted to be on the road anymore. They didn't really

818
00:46:17,520 --> 00:46:23,880
Speaker 3: care for it, and and so, uh, it just it

819
00:46:24,040 --> 00:46:25,840
Speaker 3: created a whole world that they didn't really care to

820
00:46:25,880 --> 00:46:27,120
Speaker 3: be a part of. They wanted to be in the

821
00:46:27,200 --> 00:46:29,480
Speaker 3: studio and they wanted to be writing songs, you know,

822
00:46:29,680 --> 00:46:33,200
Speaker 3: and so they they that was kind of a necessity

823
00:46:33,920 --> 00:46:37,360
Speaker 3: for them to be able to pursue that more freely,

824
00:46:37,920 --> 00:46:41,399
Speaker 3: to not have the band to consider, you know, yeah,

825
00:46:41,640 --> 00:46:42,319
Speaker 3: because there.

826
00:46:42,200 --> 00:46:47,720
Speaker 1: Ain't going on but the written. So how how easy

827
00:46:47,840 --> 00:46:49,720
Speaker 1: was the transition to the Doobies?

828
00:46:51,640 --> 00:46:56,040
Speaker 3: Surprisingly easy? Uh? Not nothing I counted on. I mean

829
00:46:56,080 --> 00:47:00,480
Speaker 3: I got the call from Jeff and uh, I flew

830
00:47:00,520 --> 00:47:03,560
Speaker 3: down to New Orleans, and really it was only obsensibly.

831
00:47:03,640 --> 00:47:06,040
Speaker 3: I was just going to fill in for Tommy while

832
00:47:06,080 --> 00:47:08,800
Speaker 3: he was took up medical leave pretty much from in

833
00:47:08,800 --> 00:47:09,360
Speaker 3: the middle.

834
00:47:09,120 --> 00:47:09,719
Speaker 2: Of this tour.

835
00:47:13,040 --> 00:47:16,960
Speaker 3: And then as things progressed and that tour came to

836
00:47:17,040 --> 00:47:23,880
Speaker 3: a close, there was the back then. It was like

837
00:47:23,920 --> 00:47:26,440
Speaker 3: the Dubies was one of those bands that they took

838
00:47:26,640 --> 00:47:29,480
Speaker 3: very seriously an album a year, you know, and the

839
00:47:29,719 --> 00:47:34,640
Speaker 3: label was really after them to get another record, and

840
00:47:35,040 --> 00:47:38,880
Speaker 3: the way things worked out, it was kind of just okay.

841
00:47:40,400 --> 00:47:43,279
Speaker 3: They we were all kind of caught unprepared. I really

842
00:47:43,400 --> 00:47:45,680
Speaker 3: didn't see myself as part of that part of the band.

843
00:47:45,760 --> 00:47:50,840
Speaker 3: But I had made a demo with Tyrne in his house.

844
00:47:51,719 --> 00:47:55,600
Speaker 3: He had put together his home studio, and he said,

845
00:47:55,600 --> 00:47:57,319
Speaker 3: you want to try a recording something. I said, sure.

846
00:47:57,480 --> 00:47:58,960
Speaker 3: You know, I was just over his house for dinner

847
00:47:59,000 --> 00:48:02,640
Speaker 3: and so we threw the song down of just something

848
00:48:02,719 --> 00:48:04,840
Speaker 3: I had been in my head and you know, and

849
00:48:04,960 --> 00:48:09,160
Speaker 3: I uh, we recorded it and I put the vocal

850
00:48:09,239 --> 00:48:11,960
Speaker 3: down and we thought it sounded pretty good and uh

851
00:48:13,600 --> 00:48:16,879
Speaker 3: uh he played it for Ted Templeman, and Ted said,

852
00:48:17,120 --> 00:48:19,720
Speaker 3: you guys should cut this. This is kind of weird

853
00:48:19,840 --> 00:48:22,520
Speaker 3: and different, you know, for the band. And it was

854
00:48:22,560 --> 00:48:24,160
Speaker 3: a song called the Losing End, which is like the

855
00:48:24,239 --> 00:48:26,200
Speaker 3: last song on Earth. I thought the Doobie Brothers would

856
00:48:26,200 --> 00:48:28,960
Speaker 3: ever do, you know, and that would wound up being

857
00:48:29,000 --> 00:48:30,840
Speaker 3: like the first track we cut for the Taken to

858
00:48:30,840 --> 00:48:33,600
Speaker 3: the Streets record. And then so I hurried up and

859
00:48:33,719 --> 00:48:36,359
Speaker 3: finished a couple of songs that have just been living

860
00:48:36,480 --> 00:48:39,560
Speaker 3: in my head, you know. One was Taken It to

861
00:48:39,640 --> 00:48:45,000
Speaker 3: the Streets and Keeps You Running and uh. And so

862
00:48:45,160 --> 00:48:47,520
Speaker 3: that the album kind of started to take shape. Pat

863
00:48:47,560 --> 00:48:50,320
Speaker 3: had some songs, and and Tommy was not really ready

864
00:48:50,360 --> 00:48:52,520
Speaker 3: to come back to the to the group in that

865
00:48:52,640 --> 00:48:54,640
Speaker 3: touring schedule, and and uh and work.

866
00:48:54,840 --> 00:48:54,920
Speaker 2: Uh.

867
00:48:55,440 --> 00:48:57,520
Speaker 3: He was still pretty much on hiatus at the time,

868
00:48:58,160 --> 00:49:01,279
Speaker 3: and and and his departure was such a gaping hole.

869
00:49:01,440 --> 00:49:03,680
Speaker 3: And as you can imagine, you know, in the band,

870
00:49:03,760 --> 00:49:06,759
Speaker 3: it was he was such a driving force in the band.

871
00:49:07,200 --> 00:49:09,600
Speaker 3: The whole time and and to this and remained. That's

872
00:49:10,200 --> 00:49:12,200
Speaker 3: even during the time I was with him, a big

873
00:49:12,280 --> 00:49:14,640
Speaker 3: part of our show was the songs he had written

874
00:49:14,680 --> 00:49:15,320
Speaker 3: for the band, you know.

875
00:49:15,680 --> 00:49:19,440
Speaker 1: So, I mean you were kind of thrown into a

876
00:49:19,520 --> 00:49:25,080
Speaker 1: position similar to Dennis Edwards the New Temptation or even

877
00:49:25,200 --> 00:49:25,759
Speaker 1: James J. T.

878
00:49:25,920 --> 00:49:28,160
Speaker 2: Taylor for cooling the game in the game.

879
00:49:29,920 --> 00:49:34,160
Speaker 1: But as far as the songs that h that he

880
00:49:34,320 --> 00:49:37,680
Speaker 1: sang lead on, like when you were first doing your

881
00:49:38,960 --> 00:49:42,640
Speaker 1: touring with them, like were you were you having to

882
00:49:42,760 --> 00:49:43,560
Speaker 1: do uh.

883
00:49:45,120 --> 00:49:47,399
Speaker 2: Listen to the music? Yeah, like oh yeah yeah.

884
00:49:47,719 --> 00:49:49,680
Speaker 3: In fact, when I the first gig I did with him,

885
00:49:49,719 --> 00:49:52,200
Speaker 3: I I flew to New Orleans. I got picked up

886
00:49:52,239 --> 00:49:54,880
Speaker 3: by these two guys that I didn't know whether they

887
00:49:54,880 --> 00:49:56,719
Speaker 3: were to take me to rehearsal or kill me. You know.

888
00:49:57,400 --> 00:50:01,640
Speaker 3: Uh uh. We rehearsed in in this place called the

889
00:50:01,680 --> 00:50:07,560
Speaker 3: Warehouse in New Orleans. And at the time, at that

890
00:50:07,680 --> 00:50:10,279
Speaker 3: time in my life, you know, uh, there was a

891
00:50:10,320 --> 00:50:11,879
Speaker 3: lot of things going on with me. I was playing

892
00:50:11,960 --> 00:50:15,799
Speaker 3: clubs for a lot of years. I probably was ah

893
00:50:17,239 --> 00:50:19,280
Speaker 3: easy to say, down on my luck so to speak,

894
00:50:19,360 --> 00:50:23,600
Speaker 3: you know, financially, and I was, you know, living in

895
00:50:23,680 --> 00:50:30,239
Speaker 3: a garage in Burbank. Uh and uh. I thought, well,

896
00:50:30,320 --> 00:50:33,359
Speaker 3: you know, when I got to meet all these guys, ah,

897
00:50:34,400 --> 00:50:36,080
Speaker 3: I thought, well, this is the gig I've been waiting for.

898
00:50:36,480 --> 00:50:38,440
Speaker 3: Everybody drinks as much as I do, and you know,

899
00:50:38,600 --> 00:50:41,920
Speaker 3: and they kind of uh it was a pretty rowdy

900
00:50:42,000 --> 00:50:45,239
Speaker 3: bunch of guys, you know, and uh, but they they

901
00:50:45,400 --> 00:50:47,279
Speaker 3: seemed to have fun and it was a good band.

902
00:50:47,920 --> 00:50:50,480
Speaker 3: But the thing that struck me the first time we

903
00:50:50,560 --> 00:50:53,320
Speaker 3: played was I was just playing these songs in a

904
00:50:53,400 --> 00:50:56,000
Speaker 3: bar too, you know, too nice before I came down

905
00:50:56,080 --> 00:51:00,279
Speaker 3: here in Burbank or Pasadena, you know, because they were

906
00:51:00,360 --> 00:51:03,400
Speaker 3: like the big It was like Mustang Sally listening to

907
00:51:03,440 --> 00:51:06,000
Speaker 3: the music, long train running. You had to know those

908
00:51:06,040 --> 00:51:07,880
Speaker 3: songs if you're going to play in any of the

909
00:51:08,239 --> 00:51:11,800
Speaker 3: dance bars in La Area. So here I am on

910
00:51:11,880 --> 00:51:14,120
Speaker 3: stage with these guys playing these songs. I thought that

911
00:51:14,239 --> 00:51:18,840
Speaker 3: was kind of ironic, you know. But and for that

912
00:51:18,960 --> 00:51:20,759
Speaker 3: whole period of time, during the time I was with

913
00:51:20,840 --> 00:51:24,680
Speaker 3: Steely Dan and the Dobies, I lived in two realities.

914
00:51:24,719 --> 00:51:26,879
Speaker 3: You know. I'd come home and go back to work

915
00:51:27,000 --> 00:51:30,080
Speaker 3: at the Trojan Club in Pasadena, oh wow, and then

916
00:51:30,440 --> 00:51:33,160
Speaker 3: be ready to hit the road with Steely Dan. And

917
00:51:33,400 --> 00:51:34,640
Speaker 3: or the Doobie Brothers. You know.

918
00:51:35,600 --> 00:51:39,960
Speaker 2: So wait, you were in two full fledged bands. Well, no,

919
00:51:40,080 --> 00:51:43,640
Speaker 2: I am doing your regular club.

920
00:51:44,400 --> 00:51:47,520
Speaker 3: Yeah. No, the Doobies and Steely Dan. That was separate things.

921
00:51:47,560 --> 00:51:49,719
Speaker 3: But during that period when I was with Steely Dan

922
00:51:49,880 --> 00:51:52,040
Speaker 3: and when I was you know, one minute, I was

923
00:51:52,239 --> 00:51:55,040
Speaker 3: touring Europe with Steely Dan, next minute I was back

924
00:51:55,080 --> 00:51:57,840
Speaker 3: in Pasadena playing at the Trojan Club. And then I

925
00:51:57,880 --> 00:52:00,719
Speaker 3: got an audition to go to New Orleans to play

926
00:52:00,760 --> 00:52:03,960
Speaker 3: with these guys, and I stayed with them. But during

927
00:52:04,040 --> 00:52:06,399
Speaker 3: my time off, I went back to playing clubs again,

928
00:52:06,560 --> 00:52:10,600
Speaker 3: just you know, just to stay in, you know, in

929
00:52:10,760 --> 00:52:13,440
Speaker 3: the circle of guys that I played around LA with.

930
00:52:13,600 --> 00:52:15,080
Speaker 6: You know, how much were you making around it?

931
00:52:15,160 --> 00:52:17,200
Speaker 2: Yeah? I say, could you make a Bible living?

932
00:52:17,560 --> 00:52:20,080
Speaker 3: Like? Were you like, oh, okay, not really no. I

933
00:52:20,160 --> 00:52:23,200
Speaker 3: mean back then, for a lot of reasons. One was

934
00:52:23,760 --> 00:52:27,440
Speaker 3: we we weren't that serious about our top forty chops

935
00:52:27,480 --> 00:52:29,399
Speaker 3: and our gigs. You know, we didn't really We weren't

936
00:52:29,440 --> 00:52:31,360
Speaker 3: one of those bands that really made a living at it.

937
00:52:31,400 --> 00:52:33,640
Speaker 3: We were guys that did it for the weekend to

938
00:52:33,760 --> 00:52:36,200
Speaker 3: make a couple of hundred bucks a piece, you know,

939
00:52:36,320 --> 00:52:42,040
Speaker 3: and have some spending money. And we you typically didn't rehearse.

940
00:52:42,160 --> 00:52:45,239
Speaker 3: We just kind of got together and you know a

941
00:52:45,320 --> 00:52:48,040
Speaker 3: lot of the songs you can play the drunk, yeah,

942
00:52:50,840 --> 00:52:53,760
Speaker 3: And so you know, it was that kind of existence

943
00:52:53,800 --> 00:52:56,239
Speaker 3: in LA, and then I looked to play with and

944
00:52:56,360 --> 00:52:58,400
Speaker 3: sing on whatever. I did a lot of background singing,

945
00:52:58,560 --> 00:53:03,080
Speaker 3: So that was a probably more of a of a

946
00:53:03,160 --> 00:53:04,319
Speaker 3: living for me at the time.

947
00:53:04,440 --> 00:53:06,880
Speaker 2: You know, you know what White Luther.

948
00:53:10,280 --> 00:53:13,480
Speaker 1: The same story because even you know Luther's tenure with

949
00:53:13,640 --> 00:53:17,759
Speaker 1: chicn Can do It were you did you cut your

950
00:53:17,800 --> 00:53:20,680
Speaker 1: teeth on it, like the jingle circuit at all?

951
00:53:20,840 --> 00:53:23,840
Speaker 3: Like, uh, not so much the jingles. I did a

952
00:53:23,880 --> 00:53:27,759
Speaker 3: lot of sessions though with Luther Vanders, James Ingram, Philip Ingram,

953
00:53:27,800 --> 00:53:32,520
Speaker 3: you know, we we were the switch. Yeah yeah, and

954
00:53:32,719 --> 00:53:34,640
Speaker 3: uh we did a lot of background singing for a

955
00:53:34,680 --> 00:53:37,080
Speaker 3: lot of people, you know during that period of time.

956
00:53:37,200 --> 00:53:39,920
Speaker 2: You know, well, I know back then, uh, singing for

957
00:53:40,560 --> 00:53:43,400
Speaker 2: publishing houses was a good living.

958
00:53:43,600 --> 00:53:45,680
Speaker 3: So I think that was more Nashville and New York

959
00:53:46,320 --> 00:53:51,520
Speaker 3: because LA was really typically more the and it wasn't

960
00:53:51,560 --> 00:53:54,799
Speaker 3: even a real viable demo scene. Typically people did their

961
00:53:54,880 --> 00:53:57,800
Speaker 3: demos for free, you know, and and it wasn't like

962
00:53:57,920 --> 00:54:00,640
Speaker 3: Nashville where you can make a living just playing on

963
00:54:00,719 --> 00:54:03,080
Speaker 3: demos for publishing companies, you know, because there's a lot

964
00:54:03,120 --> 00:54:07,000
Speaker 3: of publishing companies there. But La, the publishing companies weren't.

965
00:54:09,440 --> 00:54:11,440
Speaker 3: They weren't in the fray like they were in New

966
00:54:11,520 --> 00:54:16,000
Speaker 3: York and in you know, La, I mean in Nashville.

967
00:54:16,520 --> 00:54:18,719
Speaker 3: That wasn't that. It wasn't that sector of the music

968
00:54:18,800 --> 00:54:21,680
Speaker 3: business out there, you know, so you couldn't.

969
00:54:23,320 --> 00:54:27,600
Speaker 1: My assumption is that, you know, by seventy five seventy six,

970
00:54:27,680 --> 00:54:29,920
Speaker 1: when you're like deep into Dooby them.

971
00:54:31,680 --> 00:54:35,200
Speaker 2: This wasn't like, Okay, I got a good job.

972
00:54:35,280 --> 00:54:38,719
Speaker 3: I can well, it was after a while I quit

973
00:54:38,800 --> 00:54:41,080
Speaker 3: doing the other things, you know, I mean and went

974
00:54:41,160 --> 00:54:42,880
Speaker 3: off to just be a Doobie brother, you know.

975
00:54:43,840 --> 00:54:47,160
Speaker 2: But okay, but I just meant as a do you

976
00:54:47,239 --> 00:54:50,440
Speaker 2: still feel like this could in any moment? And I

977
00:54:50,640 --> 00:54:50,920
Speaker 2: got it?

978
00:54:51,600 --> 00:54:51,799
Speaker 4: Yeah.

979
00:54:51,960 --> 00:54:53,440
Speaker 3: I mean I think we all do in a way.

980
00:54:53,520 --> 00:54:56,359
Speaker 2: I mean, even now, do you feel like, well, let's

981
00:54:56,400 --> 00:54:57,040
Speaker 2: put it this way.

982
00:54:56,880 --> 00:54:59,000
Speaker 3: I'm surprised I'm still doing this for a living as

983
00:54:59,080 --> 00:54:59,919
Speaker 3: much as anyone else.

984
00:55:00,080 --> 00:55:03,319
Speaker 2: And I know that, you know, because I mean your

985
00:55:03,360 --> 00:55:05,920
Speaker 2: first is always like I'm still here exactly.

986
00:55:06,080 --> 00:55:07,920
Speaker 3: Yeah, I'll wake up and go, oh my god, you know,

987
00:55:08,239 --> 00:55:11,919
Speaker 3: but I mean, you know, and on the road, there'll

988
00:55:11,960 --> 00:55:14,000
Speaker 3: be any number of times I'm sitting there going you know,

989
00:55:14,239 --> 00:55:16,719
Speaker 3: you're sixty five years old. You know, what the hell

990
00:55:16,800 --> 00:55:20,719
Speaker 3: are you doing out here? You know? And I can

991
00:55:20,760 --> 00:55:25,120
Speaker 3: only gauge the sanity of it by am I still

992
00:55:25,160 --> 00:55:27,000
Speaker 3: having fun? You know? I mean, because to me, it's

993
00:55:27,040 --> 00:55:29,799
Speaker 3: still fun to play live more than almost anything else.

994
00:55:30,040 --> 00:55:33,160
Speaker 3: I think I enjoy playing live more than I enjoyed recording. Wow.

995
00:55:34,320 --> 00:55:37,279
Speaker 1: So okay, now, I know you said this didn't mean

996
00:55:37,360 --> 00:55:39,840
Speaker 1: anything to you, and you forgot about this end quote.

997
00:55:40,320 --> 00:55:40,719
Speaker 3: Here we go.

998
00:55:41,880 --> 00:55:42,680
Speaker 2: But what's happening?

999
00:55:42,760 --> 00:55:46,360
Speaker 6: Oh god, yeah, what's happened?

1000
00:55:46,400 --> 00:55:46,959
Speaker 2: How many people?

1001
00:55:47,600 --> 00:55:53,479
Speaker 1: You can't You can't make me believe that no black

1002
00:55:53,600 --> 00:55:57,640
Speaker 1: person and therefore, well we do that, But no black

1003
00:55:57,719 --> 00:56:01,920
Speaker 1: person in their forties fifties doesn't mention that to you

1004
00:56:02,280 --> 00:56:03,520
Speaker 1: every daytime.

1005
00:56:04,560 --> 00:56:07,080
Speaker 3: And I didn't mean to downplay the important That's a

1006
00:56:07,480 --> 00:56:09,560
Speaker 3: very vivid memory in my you know, for us, it

1007
00:56:09,680 --> 00:56:10,040
Speaker 3: was did.

1008
00:56:09,960 --> 00:56:12,800
Speaker 2: You guys feel like it was an important move like exposure?

1009
00:56:12,920 --> 00:56:15,400
Speaker 3: I don't think we had the sense to realize how

1010
00:56:15,600 --> 00:56:17,319
Speaker 3: important it was, you know, I mean, we just did

1011
00:56:17,400 --> 00:56:21,840
Speaker 3: it as a lark, you know, and uh uh you know,

1012
00:56:21,920 --> 00:56:24,080
Speaker 3: we thought it would be fun, and our publishers kind

1013
00:56:24,080 --> 00:56:26,160
Speaker 3: of brought the idea to us and we thought, oh, yeah,

1014
00:56:26,239 --> 00:56:27,800
Speaker 3: you know, let's do that.

1015
00:56:27,880 --> 00:56:29,839
Speaker 2: You know, we were just and it was a two

1016
00:56:29,920 --> 00:56:33,719
Speaker 2: part episode. Yeah, yeah, that was my first to be continued.

1017
00:56:34,040 --> 00:56:36,440
Speaker 1: Why don't you It was just the part that I

1018
00:56:36,480 --> 00:56:38,440
Speaker 1: didn't why why don't you break it down for the

1019
00:56:38,480 --> 00:56:39,279
Speaker 1: people that haven't seen that?

1020
00:56:39,320 --> 00:56:40,359
Speaker 2: Okay? Yeah, so okay.

1021
00:56:40,440 --> 00:56:43,320
Speaker 1: There was a comedy show based on the movie COOLi

1022
00:56:43,400 --> 00:56:47,440
Speaker 1: High called What's Happening in the seventies? Uh that featured

1023
00:56:47,560 --> 00:56:53,960
Speaker 1: uh Ernest, Ernest, Thomas, j Heywo Nelson and Berry who

1024
00:56:54,280 --> 00:56:59,279
Speaker 1: was a prominent member of the Lockers Okay, Mabel Mabel.

1025
00:57:00,760 --> 00:57:04,719
Speaker 1: So it was a very popular popular I would dare

1026
00:57:04,840 --> 00:57:07,520
Speaker 1: say it was probably the Martin of the seventies.

1027
00:57:07,719 --> 00:57:10,839
Speaker 9: Well Martin started and What's Happening Now? But that's fun,

1028
00:57:11,000 --> 00:57:11,520
Speaker 9: that's right.

1029
00:57:11,920 --> 00:57:13,760
Speaker 2: He did ship Martin.

1030
00:57:14,040 --> 00:57:17,360
Speaker 1: Yes, I forgot that anyway, So yeah, there was there

1031
00:57:17,440 --> 00:57:23,000
Speaker 1: was an episode you Gotta Explain Al Dunbar played by

1032
00:57:23,000 --> 00:57:24,360
Speaker 1: the late great Theodore Wilson.

1033
00:57:24,680 --> 00:57:26,920
Speaker 2: I thought his name was Sweet Lou or something like that, Like,

1034
00:57:27,000 --> 00:57:30,240
Speaker 2: didn't he have a sweet title. He was he was sweet.

1035
00:57:30,840 --> 00:57:33,040
Speaker 2: Oh he was good, same guy.

1036
00:57:33,160 --> 00:57:35,040
Speaker 6: He was one of those blacks like you saw in

1037
00:57:35,120 --> 00:57:35,960
Speaker 6: every black thing.

1038
00:57:36,800 --> 00:57:40,760
Speaker 2: Like he was he was sweet daddy, sweet daddy, sweetaddy.

1039
00:57:42,680 --> 00:57:43,880
Speaker 9: Thank you sw yes.

1040
00:57:44,040 --> 00:57:44,320
Speaker 2: Okay.

1041
00:57:44,440 --> 00:57:47,760
Speaker 6: So basically there's this so where the Doobie Brothers are

1042
00:57:47,800 --> 00:57:52,640
Speaker 6: coming to perform at Roger's uh high school, and you know,

1043
00:57:52,800 --> 00:57:54,800
Speaker 6: Rogie writes for the paper, so he's covering the show

1044
00:57:55,320 --> 00:57:57,800
Speaker 6: and so this uh, this this guy from the Underworld,

1045
00:57:57,880 --> 00:58:00,680
Speaker 6: the skive guy, approaches re Run and Rob's play by

1046
00:58:00,680 --> 00:58:03,560
Speaker 6: the name of Al Dunbar and he's like, hey, yeah,

1047
00:58:03,640 --> 00:58:06,840
Speaker 6: how would you like tickets for this concert? And he's like, uh,

1048
00:58:07,480 --> 00:58:08,120
Speaker 6: what's the catch?

1049
00:58:08,360 --> 00:58:09,040
Speaker 2: Ain't no catch?

1050
00:58:09,120 --> 00:58:09,440
Speaker 3: I what?

1051
00:58:09,600 --> 00:58:10,439
Speaker 2: You just record this show?

1052
00:58:10,520 --> 00:58:13,280
Speaker 6: Fun man and so and so he asked him to

1053
00:58:13,360 --> 00:58:17,200
Speaker 6: record this show on like this huge fucking tape recording.

1054
00:58:18,440 --> 00:58:20,800
Speaker 2: It's like, whoever thought that this was gonna work?

1055
00:58:20,880 --> 00:58:23,560
Speaker 6: But anyway, so he basically asked Rerun to be like

1056
00:58:23,680 --> 00:58:30,360
Speaker 6: the first Napster and shit and bootleg the Dewie brother Show.

1057
00:58:30,400 --> 00:58:32,320
Speaker 6: So he go up to the joint and so they

1058
00:58:32,400 --> 00:58:33,880
Speaker 6: agreed to do it. You know, he put the he

1059
00:58:33,960 --> 00:58:35,320
Speaker 6: put the stiff farm on him and he had his

1060
00:58:35,440 --> 00:58:37,960
Speaker 6: goon with him. His goon was was Bruno. I think

1061
00:58:37,960 --> 00:58:39,680
Speaker 6: his name was Bruno, and he at the end of

1062
00:58:39,680 --> 00:58:42,160
Speaker 6: the and then the episode ends, he's like, oh man,

1063
00:58:42,560 --> 00:58:43,880
Speaker 6: they because they try not to do it, and so

1064
00:58:44,000 --> 00:58:45,600
Speaker 6: rerun it's like, nah, I want to do it.

1065
00:58:46,120 --> 00:58:47,440
Speaker 2: We can get in trouble.

1066
00:58:47,840 --> 00:58:50,240
Speaker 6: All right, all right, all right, well you're just gonna

1067
00:58:50,240 --> 00:58:52,560
Speaker 6: have to tell mister Bruno hit it. He's not gonna

1068
00:58:52,560 --> 00:58:56,320
Speaker 6: get paid. Mister Bruno, will you please pull up a

1069
00:58:56,400 --> 00:58:59,080
Speaker 6: chair and talk to us, certainly? And mister Bruno goes

1070
00:58:59,120 --> 00:59:02,280
Speaker 6: and pulls up a store and the joint is and

1071
00:59:02,360 --> 00:59:06,320
Speaker 6: it's like to be continued. So then the joint opens

1072
00:59:06,360 --> 00:59:08,080
Speaker 6: up and so like they actually talked with the Doobies

1073
00:59:08,120 --> 00:59:10,600
Speaker 6: in episode two. They're talking before the show and so

1074
00:59:10,760 --> 00:59:12,120
Speaker 6: like they're like, so, what do you think is the

1075
00:59:12,160 --> 00:59:12,840
Speaker 6: biggest problem?

1076
00:59:13,880 --> 00:59:18,040
Speaker 2: I actually have. Biggest problem is probably botleg So they

1077
00:59:18,120 --> 00:59:18,720
Speaker 2: talking to stuff.

1078
00:59:18,800 --> 00:59:21,840
Speaker 6: So anyway, the show goes on. It's great, Michael does

1079
00:59:22,560 --> 00:59:23,840
Speaker 6: he does take it to the street.

1080
00:59:24,040 --> 00:59:28,360
Speaker 1: Wait time out At actual Doobie Brothers concerts, did you

1081
00:59:28,400 --> 00:59:32,840
Speaker 1: guys do that fire thing? Every every everybody has their

1082
00:59:33,680 --> 00:59:37,360
Speaker 1: the night I almost set my house on fire moment, Yeah, I.

1083
00:59:38,240 --> 00:59:48,439
Speaker 2: Might have gotten a Q tip. Why started playing with matches? Yes,

1084
00:59:48,560 --> 00:59:48,960
Speaker 2: you were right.

1085
00:59:49,040 --> 00:59:51,320
Speaker 1: If I watched TV, it was influential. It's very good

1086
00:59:51,360 --> 00:59:53,880
Speaker 1: for you guys, and not let me watch that much television. Yeah,

1087
00:59:53,960 --> 00:59:57,280
Speaker 1: when I saw the Gong thing, I went in my

1088
00:59:57,920 --> 00:59:59,600
Speaker 1: basement on the drummer and tried.

1089
00:59:59,400 --> 01:00:02,680
Speaker 2: To and it was not good. Was that to actually

1090
01:00:02,720 --> 01:00:02,880
Speaker 2: do that?

1091
01:00:03,040 --> 01:00:06,240
Speaker 3: And so press, I can't tell you. Uh well, I

1092
01:00:06,320 --> 01:00:08,640
Speaker 3: don't remember really what we did on the show.

1093
01:00:09,120 --> 01:00:12,959
Speaker 2: Uh he he lit the guy on fire.

1094
01:00:13,600 --> 01:00:17,320
Speaker 6: It was on fire, and it was cutting into like

1095
01:00:17,520 --> 01:00:19,560
Speaker 6: d and rerun. They were all like looking and stuff.

1096
01:00:19,760 --> 01:00:21,880
Speaker 1: And so then I think y'all doing take playing up

1097
01:00:22,280 --> 01:00:24,600
Speaker 1: like a high school and content though like the.

1098
01:00:24,640 --> 01:00:27,880
Speaker 2: High school the Doodie Brothers doing a rock show. Right,

1099
01:00:28,720 --> 01:00:29,680
Speaker 2: everybody's excited.

1100
01:00:29,800 --> 01:00:32,040
Speaker 6: Yeah, everyone loved it due and so because because the

1101
01:00:32,080 --> 01:00:33,720
Speaker 6: album was Living on the fault Line. That was the

1102
01:00:33,760 --> 01:00:36,200
Speaker 6: album at the time, and he they were talking about it.

1103
01:00:36,360 --> 01:00:39,480
Speaker 6: So anyway, so the crowd is going crazy and and uh,

1104
01:00:39,960 --> 01:00:43,480
Speaker 6: Michael McDonald's killing taking to the streets, singing, just going in.

1105
01:00:46,000 --> 01:00:46,600
Speaker 3: You don't know.

1106
01:00:55,400 --> 01:00:56,320
Speaker 2: It was so strong, he was.

1107
01:00:56,320 --> 01:01:00,280
Speaker 6: Saying through his beard was amazing. So so goddamn was

1108
01:01:00,560 --> 01:01:03,640
Speaker 6: singing that ship and God damn, we wanna get up

1109
01:01:03,640 --> 01:01:06,400
Speaker 6: and start jumping up and down, and the taper out.

1110
01:01:06,760 --> 01:01:11,280
Speaker 2: And everybody did the smooth lemonal. That's the first time

1111
01:01:11,320 --> 01:01:16,000
Speaker 2: I saw the Smooth, not by Michael Jackson. And it's like, oh.

1112
01:01:16,560 --> 01:01:18,479
Speaker 6: So then at the end of the joint, they're sitting

1113
01:01:18,520 --> 01:01:20,480
Speaker 6: at the I guess everybody left. They went back home

1114
01:01:20,560 --> 01:01:22,520
Speaker 6: to come to and so then they're sitting there like

1115
01:01:22,640 --> 01:01:24,760
Speaker 6: the Dowdie Brothers. It's like, yo, man, it's fucked up.

1116
01:01:24,800 --> 01:01:25,800
Speaker 2: I thought she was at home.

1117
01:01:27,160 --> 01:01:29,240
Speaker 6: He was like, no, but you are our friends. But

1118
01:01:29,360 --> 01:01:31,520
Speaker 6: this guy told us he would hurt us. It wouldn't

1119
01:01:31,520 --> 01:01:34,080
Speaker 6: be a guy by the name of Al Dumbball, would it. Yeah,

1120
01:01:34,480 --> 01:01:36,800
Speaker 6: it was Ol Dumbar. So then they go back to

1121
01:01:36,880 --> 01:01:39,360
Speaker 6: Rob's place and they catch Ol Dunbar and they play

1122
01:01:39,440 --> 01:01:41,720
Speaker 6: the tape and it's just rerun eating chips.

1123
01:01:48,800 --> 01:01:51,000
Speaker 2: I can to hear you listening to this episode right now,

1124
01:01:51,160 --> 01:01:59,440
Speaker 2: being mad here to worship the storytelling stocks. Thank you

1125
01:01:59,520 --> 01:02:00,080
Speaker 2: vant A.

1126
01:02:00,120 --> 01:02:02,680
Speaker 8: Wait, that's not real life at that time, in that

1127
01:02:02,880 --> 01:02:05,000
Speaker 8: time of year, it was never a Doobie.

1128
01:02:04,720 --> 01:02:09,280
Speaker 9: Brother show with a full with a full black crowd, like.

1129
01:02:09,360 --> 01:02:12,320
Speaker 2: We're black people embracing you. Got because after that episode,

1130
01:02:12,320 --> 01:02:14,640
Speaker 2: after that, yeah, yeah, then I was like, oh.

1131
01:02:14,720 --> 01:02:17,880
Speaker 3: Doobie Brothers, you know, yeah, I mean it was it

1132
01:02:19,280 --> 01:02:22,000
Speaker 3: was funny I found in my solo career, my you know,

1133
01:02:22,160 --> 01:02:24,960
Speaker 3: my first couple of records. That's how we got on

1134
01:02:25,040 --> 01:02:28,080
Speaker 3: the radio was back then it was more independently owned

1135
01:02:28,160 --> 01:02:32,400
Speaker 3: radio stations, and it was really R and B radio

1136
01:02:32,520 --> 01:02:36,360
Speaker 3: that picked up our singles like keep Forgetting In Sweet

1137
01:02:36,360 --> 01:02:40,120
Speaker 3: Freedom first, and we kind of crossed over to like

1138
01:02:40,280 --> 01:02:42,280
Speaker 3: Top forty or what are they what was it called

1139
01:02:42,320 --> 01:02:46,120
Speaker 3: in contemporary hit radio, you know, but we really got

1140
01:02:46,160 --> 01:02:48,560
Speaker 3: our start on the R and B radio in which

1141
01:02:49,280 --> 01:02:51,680
Speaker 3: back then you could walk into a small station that

1142
01:02:51,880 --> 01:02:57,000
Speaker 3: was owned by a guy who was the program director

1143
01:02:57,280 --> 01:02:59,360
Speaker 3: and who would sit and play your whole record with you,

1144
01:03:00,160 --> 01:03:02,520
Speaker 3: and you know, you sit and play your whole album,

1145
01:03:03,200 --> 01:03:06,520
Speaker 3: you know, to an audience and talk about it. And

1146
01:03:06,680 --> 01:03:09,680
Speaker 3: you know, that's unheard of today because of all the

1147
01:03:09,720 --> 01:03:12,240
Speaker 3: syndicated kind of radio things that people just can't do

1148
01:03:12,360 --> 01:03:14,880
Speaker 3: that anymore, at least not much my heart having it.

1149
01:03:15,400 --> 01:03:25,640
Speaker 1: Yeah, okay, so let's jump to nineteen seventy eight. Can

1150
01:03:25,720 --> 01:03:29,480
Speaker 1: you please explain to us what was you on when

1151
01:03:29,520 --> 01:03:33,680
Speaker 1: you wrote What a fool belief. It's one of the

1152
01:03:34,600 --> 01:03:41,880
Speaker 1: most notable, memorable, confusing word structures I've ever heard. I

1153
01:03:42,000 --> 01:03:43,560
Speaker 1: still don't know what the song means.

1154
01:03:43,640 --> 01:03:48,240
Speaker 6: It's cool Keith, he sees the wise man has the power,

1155
01:03:48,760 --> 01:03:49,600
Speaker 6: I know the hook.

1156
01:03:49,720 --> 01:03:51,400
Speaker 2: I'm just talking about the narrative.

1157
01:03:52,600 --> 01:03:56,760
Speaker 3: Sure, well, you know, I think the idea was a

1158
01:03:56,880 --> 01:04:03,680
Speaker 3: guy living in his own head believing that he left

1159
01:04:03,760 --> 01:04:06,840
Speaker 3: this great love affair that he needs to retrieve and

1160
01:04:07,040 --> 01:04:09,760
Speaker 3: that it must have been the same for her, and

1161
01:04:09,960 --> 01:04:12,080
Speaker 3: in fact it meant absolutely nothing to her.

1162
01:04:13,120 --> 01:04:16,120
Speaker 1: And so you couldn't just write youre on my mind

1163
01:04:16,160 --> 01:04:20,480
Speaker 1: all the time, right right right about it all the time.

1164
01:04:20,800 --> 01:04:22,400
Speaker 2: I don't think you'd be talking about the song now

1165
01:04:22,440 --> 01:04:22,760
Speaker 2: if you have.

1166
01:04:26,080 --> 01:04:28,040
Speaker 3: But yeah, you know, the funny thing about that song

1167
01:04:28,200 --> 01:04:33,040
Speaker 3: was I had that riff in the verse riff for

1168
01:04:34,560 --> 01:04:37,000
Speaker 3: easily a year or two, and I take sometimes a

1169
01:04:37,080 --> 01:04:39,680
Speaker 3: year to write a song, you know, But every time

1170
01:04:39,720 --> 01:04:41,480
Speaker 3: I play it for Ted Temple, he's you know, what,

1171
01:04:41,560 --> 01:04:43,680
Speaker 3: do you guys got any new stuff? You know? So

1172
01:04:43,760 --> 01:04:46,920
Speaker 3: I played that little piano riff and I had just

1173
01:04:46,960 --> 01:04:49,520
Speaker 3: a couple of lyrics in the verse, and he go, God,

1174
01:04:49,920 --> 01:04:51,680
Speaker 3: You've got to finish that. He goes I'm telling you

1175
01:04:52,160 --> 01:04:55,120
Speaker 3: that's a hit. I just feel it, and I go, well, yeah,

1176
01:04:55,120 --> 01:04:57,200
Speaker 3: I'm going to finish it, you know. Of course never did.

1177
01:04:58,400 --> 01:05:01,240
Speaker 3: And I was get together with Kenny Logins for the

1178
01:05:01,280 --> 01:05:04,880
Speaker 3: first time, and he came down to my house and

1179
01:05:05,000 --> 01:05:06,920
Speaker 3: my sister was cleaning the house because she wanted to

1180
01:05:06,920 --> 01:05:11,240
Speaker 3: meet Kenny Logins mostly, but and I was at the

1181
01:05:11,280 --> 01:05:13,880
Speaker 3: piano kind of thinking of things I might play for him.

1182
01:05:14,640 --> 01:05:17,560
Speaker 3: So I was playing stuff for her, you know, going

1183
01:05:17,680 --> 01:05:18,960
Speaker 3: what do you think of this? You know, I was

1184
01:05:19,040 --> 01:05:22,920
Speaker 3: thinking of playing this for Kenny, And she goes, yeah,

1185
01:05:23,000 --> 01:05:26,520
Speaker 3: that's great. You know. She's you know, picking up like,

1186
01:05:26,760 --> 01:05:30,240
Speaker 3: you know, my dirty clothes on the floor and all that,

1187
01:05:30,320 --> 01:05:32,120
Speaker 3: you know, and not really paying much attention to me,

1188
01:05:32,440 --> 01:05:35,040
Speaker 3: and the doorbell rings, and sure enough it was Kenny.

1189
01:05:35,280 --> 01:05:36,760
Speaker 3: And the first thing he says to me goes, what

1190
01:05:36,880 --> 01:05:38,720
Speaker 3: were you just playing? I was playing her that riff

1191
01:05:39,800 --> 01:05:41,360
Speaker 3: and I said, oh, it's just something I was thinking

1192
01:05:41,360 --> 01:05:43,520
Speaker 3: about playing for you. He goes, that's what I want

1193
01:05:43,560 --> 01:05:46,640
Speaker 3: to work on first. Wow, that was the first song

1194
01:05:46,680 --> 01:05:47,320
Speaker 3: we wrote together.

1195
01:05:47,560 --> 01:05:49,560
Speaker 6: So what was the kind of division of labor for

1196
01:05:49,640 --> 01:05:52,680
Speaker 6: that record in terms of he did you did music?

1197
01:05:52,760 --> 01:05:55,040
Speaker 3: He did lyrics, no, we both we both wrote I

1198
01:05:55,120 --> 01:05:58,120
Speaker 3: think both you know. From that point on we came

1199
01:05:58,240 --> 01:06:01,520
Speaker 3: up with the bridge or b section and then the

1200
01:06:01,640 --> 01:06:04,560
Speaker 3: chorus together, you know, and the rest of the words,

1201
01:06:04,760 --> 01:06:08,240
Speaker 3: you know, because I literally only had the little verse feeling.

1202
01:06:08,320 --> 01:06:09,960
Speaker 3: You know, they're just kind of the temple of the

1203
01:06:10,040 --> 01:06:11,840
Speaker 3: song and the chords and the verse.

1204
01:06:11,880 --> 01:06:17,000
Speaker 1: You know again, are you it's so intelligent, like were you?

1205
01:06:18,560 --> 01:06:21,760
Speaker 1: I know, no one starts thinking like, Okay, this is

1206
01:06:21,800 --> 01:06:24,720
Speaker 1: our bulls eye moment, this is going to happen. Like

1207
01:06:26,440 --> 01:06:28,240
Speaker 1: at any point did you guys think like, maybe we

1208
01:06:28,280 --> 01:06:32,360
Speaker 1: should dumb this down just slightly because I mean the bridge,

1209
01:06:33,640 --> 01:06:38,760
Speaker 1: the post bridge, Yeah, I mean it's very steely dand.

1210
01:06:38,880 --> 01:06:40,720
Speaker 3: Well I was going to say at that time that

1211
01:06:40,960 --> 01:06:44,040
Speaker 3: was really the music was, you know, I mean everybody

1212
01:06:44,160 --> 01:06:47,720
Speaker 3: was trying to uh harmonize in a new and a

1213
01:06:47,760 --> 01:06:50,440
Speaker 3: different way and bring something, you know. It was it

1214
01:06:50,600 --> 01:06:52,720
Speaker 3: was after that that it got to be where well

1215
01:06:52,760 --> 01:06:54,680
Speaker 3: we got to pull this back and make it more

1216
01:06:55,480 --> 01:06:57,960
Speaker 3: primitive and you know, rock and roll and you know

1217
01:06:58,040 --> 01:07:00,240
Speaker 3: all that, you know, eighties. It was like, you know,

1218
01:07:00,360 --> 01:07:05,640
Speaker 3: all these core changes. Yeah, that's you know, not not

1219
01:07:06,320 --> 01:07:08,800
Speaker 3: hip or cool. But at the time that we did it,

1220
01:07:09,640 --> 01:07:13,120
Speaker 3: it was steely Dan, James Taylor, artists like that who

1221
01:07:13,320 --> 01:07:16,440
Speaker 3: had very you know, James Taylor, as much as he

1222
01:07:16,640 --> 01:07:20,600
Speaker 3: was kind of uh kind of came from that singer

1223
01:07:20,680 --> 01:07:25,720
Speaker 3: songwriter tradition almost folk. His influences as a is from

1224
01:07:25,800 --> 01:07:28,800
Speaker 3: a jazz perspective or very evident, you know, and uh

1225
01:07:29,360 --> 01:07:31,880
Speaker 3: a lot of his songs and uh so he you know,

1226
01:07:31,960 --> 01:07:33,680
Speaker 3: he brought a lot of And that was the era

1227
01:07:33,840 --> 01:07:37,120
Speaker 3: too where albums artists tried to do a lot of

1228
01:07:37,200 --> 01:07:40,080
Speaker 3: different styles of music on one record, Like if you

1229
01:07:40,160 --> 01:07:47,640
Speaker 3: listen to like the old oh, you know records, you

1230
01:07:47,720 --> 01:07:51,440
Speaker 3: know that. Well, I think Ray Charles started that where

1231
01:07:51,520 --> 01:07:53,840
Speaker 3: you kind of step outside your own genre and do

1232
01:07:54,280 --> 01:07:58,720
Speaker 3: music isn't necessarily relate you know people. Yeah, and uh

1233
01:07:59,240 --> 01:08:01,000
Speaker 3: where James Taylor was great at that. He would do

1234
01:08:01,040 --> 01:08:03,840
Speaker 3: an R and B song, He would do a song

1235
01:08:03,880 --> 01:08:06,360
Speaker 3: with Marimbas, you know, and he would do the next

1236
01:08:06,400 --> 01:08:09,200
Speaker 3: song would be a very kind of guitar vocal folkish

1237
01:08:09,320 --> 01:08:13,080
Speaker 3: kind of thing and beautiful lyrics. And so he never

1238
01:08:13,160 --> 01:08:16,080
Speaker 3: shied away from any style of music that he thought

1239
01:08:16,120 --> 01:08:18,840
Speaker 3: he could be sincere and a lot of artists were

1240
01:08:18,920 --> 01:08:21,960
Speaker 3: like that during that time, and that seemed to be

1241
01:08:22,640 --> 01:08:25,120
Speaker 3: what had come out of the sixties was artists exploring

1242
01:08:25,680 --> 01:08:29,559
Speaker 3: other genres of music other than maybe the genre they

1243
01:08:29,560 --> 01:08:32,000
Speaker 3: started out in, And so we were just kind of

1244
01:08:32,280 --> 01:08:34,200
Speaker 3: doing what was kind of being done at the time.

1245
01:08:34,320 --> 01:08:36,639
Speaker 3: You know, we didn't really think of ourselves as anything

1246
01:08:37,040 --> 01:08:37,559
Speaker 3: too different.

1247
01:08:37,640 --> 01:08:42,000
Speaker 1: You know, so when you're sitting in the audience at

1248
01:08:43,439 --> 01:08:50,920
Speaker 1: the Shrine Auditorium and nineteen seventy nine was like that

1249
01:08:51,120 --> 01:08:55,519
Speaker 1: was highly notable for it so many so much heavy

1250
01:08:55,600 --> 01:08:59,280
Speaker 1: heading going on as far as the nominations were concerned.

1251
01:09:00,120 --> 01:09:04,360
Speaker 1: At the Grammys, Uh, you're going up. I think you

1252
01:09:04,439 --> 01:09:11,439
Speaker 1: don't be bringing me flowers? Uh the Gambler, I will survive,

1253
01:09:12,040 --> 01:09:17,320
Speaker 1: and uh after the Love is going what was your

1254
01:09:17,560 --> 01:09:20,679
Speaker 1: What was the feeling in your like when they called

1255
01:09:20,720 --> 01:09:23,519
Speaker 1: your name for a Record of the Year and Song

1256
01:09:23,600 --> 01:09:26,760
Speaker 1: of the Year. You guys went off five major wards except.

1257
01:09:26,479 --> 01:09:27,320
Speaker 2: For album I believe.

1258
01:09:28,040 --> 01:09:32,280
Speaker 3: Yeah, it was. It was amazing, Like did you expect it?

1259
01:09:32,600 --> 01:09:35,200
Speaker 3: Or no? I don't think you could expect you know,

1260
01:09:35,320 --> 01:09:37,840
Speaker 3: you was underdogs, Yeah you just yeah, you feel I

1261
01:09:37,920 --> 01:09:41,519
Speaker 3: felt like, what are the chances of you know, the

1262
01:09:41,600 --> 01:09:45,640
Speaker 3: first record of this nature that I had anything to

1263
01:09:45,680 --> 01:09:49,720
Speaker 3: do with actually winning a Grammy? But uh, uh we were.

1264
01:09:49,840 --> 01:09:53,600
Speaker 3: We were fairly taken back by the whole idea that

1265
01:09:53,680 --> 01:09:55,880
Speaker 3: we were going to win not just a Grammy, but

1266
01:09:55,960 --> 01:10:02,120
Speaker 3: a couple you know. Uh, it was amazing. And I remember,

1267
01:10:02,280 --> 01:10:06,000
Speaker 3: I mean not to be corny, but my grandmother was

1268
01:10:06,040 --> 01:10:08,960
Speaker 3: in the audience that night. She had come to the ground. Yeah.

1269
01:10:10,040 --> 01:10:11,880
Speaker 3: I was so grateful she was still with us and

1270
01:10:11,960 --> 01:10:13,760
Speaker 3: that she was able to be here for this, you know,

1271
01:10:15,920 --> 01:10:19,400
Speaker 3: but you know, it was just kind of amazing. It

1272
01:10:19,520 --> 01:10:23,400
Speaker 3: was kind of surreal, really, you know it was. It

1273
01:10:23,560 --> 01:10:26,320
Speaker 3: wasn't until I drove home that night. I remember they

1274
01:10:26,360 --> 01:10:29,720
Speaker 3: had sent a car for me, and I just kind

1275
01:10:29,720 --> 01:10:31,839
Speaker 3: of had the guy drive up and down the Pacific

1276
01:10:31,920 --> 01:10:33,800
Speaker 3: Coast Highway a couple of times so I could kind

1277
01:10:33,840 --> 01:10:36,439
Speaker 3: of come down from the whole experience before I had

1278
01:10:36,479 --> 01:10:38,679
Speaker 3: to go home and go into my house all alone

1279
01:10:38,760 --> 01:10:42,400
Speaker 3: and me by myself with this.

1280
01:10:42,600 --> 01:10:45,519
Speaker 2: You know, that's funny.

1281
01:10:45,720 --> 01:10:48,920
Speaker 1: Pacific goes Eyeway, Okay, that is one of the greatest

1282
01:10:49,240 --> 01:10:50,920
Speaker 1: I'm glad to know I'm not the only human being

1283
01:10:51,000 --> 01:10:54,800
Speaker 1: that doesn't ride Pacific go Sideway just to ride it

1284
01:10:54,920 --> 01:10:55,639
Speaker 1: to relax.

1285
01:10:55,800 --> 01:10:57,679
Speaker 3: Oh yeah, yeah, okay, sure good.

1286
01:10:57,720 --> 01:10:58,360
Speaker 2: There's other people.

1287
01:10:58,880 --> 01:11:01,880
Speaker 1: So when one steps that comes out, why did it

1288
01:11:02,040 --> 01:11:05,679
Speaker 1: implude and was there pressure to like lots?

1289
01:11:05,800 --> 01:11:09,519
Speaker 3: Yeah, I felt my personal pressure really that you know, well, God,

1290
01:11:09,640 --> 01:11:12,240
Speaker 3: now this record, you know that whole thing of it,

1291
01:11:12,320 --> 01:11:15,360
Speaker 3: this next record is really important. You know, I've learned

1292
01:11:15,400 --> 01:11:18,439
Speaker 3: that that was never true. But at the time, you know,

1293
01:11:18,560 --> 01:11:20,560
Speaker 3: you buy into it and you think it's like the

1294
01:11:20,640 --> 01:11:23,120
Speaker 3: most important thing in the world, and it's just really

1295
01:11:23,200 --> 01:11:26,680
Speaker 3: not all that important. But h and whatever it is,

1296
01:11:26,760 --> 01:11:29,000
Speaker 3: you'll survive it. But you don't know that at the time.

1297
01:11:29,120 --> 01:11:31,680
Speaker 3: And I remember feeling a lot of pressure, and I

1298
01:11:31,760 --> 01:11:34,160
Speaker 3: think the band felt a lot of pressure to kind

1299
01:11:34,200 --> 01:11:39,360
Speaker 3: of come up with something else again and something new

1300
01:11:39,439 --> 01:11:41,840
Speaker 3: and maybe something even different from the records we had

1301
01:11:41,880 --> 01:11:46,280
Speaker 3: done up to that moment, you know. And you know,

1302
01:11:46,560 --> 01:11:48,439
Speaker 3: I think at that point in time it was maybe

1303
01:11:48,800 --> 01:11:50,760
Speaker 3: it kind of marked the beginning of the end of

1304
01:11:50,840 --> 01:11:53,240
Speaker 3: my tenure with the Dubies. Although I still play with

1305
01:11:53,320 --> 01:11:55,160
Speaker 3: the guys and I still look forward to playing with

1306
01:11:55,240 --> 01:11:59,240
Speaker 3: them every chance I get, I you know, great friends

1307
01:11:59,280 --> 01:12:03,320
Speaker 3: with them to this and I really think, as Adobie brother,

1308
01:12:04,479 --> 01:12:07,880
Speaker 3: all of us who have ever had any affiliation with

1309
01:12:08,000 --> 01:12:11,160
Speaker 3: the band, uh, it's kind of like once a Doobie brother,

1310
01:12:11,200 --> 01:12:14,000
Speaker 3: you're always Adobie brother somewhere in your heart and mind,

1311
01:12:14,080 --> 01:12:14,200
Speaker 3: you know.

1312
01:12:14,560 --> 01:12:16,519
Speaker 2: So was the breakup amicable or yeah?

1313
01:12:16,560 --> 01:12:18,519
Speaker 3: It was? It was It was amicable. And we were

1314
01:12:18,680 --> 01:12:20,519
Speaker 3: like any other band. You know, we had our moments.

1315
01:12:20,560 --> 01:12:22,000
Speaker 3: You know, we threw furniture at each other.

1316
01:12:22,040 --> 01:12:24,240
Speaker 1: And that's where I want you to tell, Like, as

1317
01:12:24,320 --> 01:12:27,760
Speaker 1: the new guy, how can you you're the new guy,

1318
01:12:27,880 --> 01:12:30,280
Speaker 1: but you're now the definitive voice of the group.

1319
01:12:30,320 --> 01:12:33,800
Speaker 2: Almost and bringing in hit more. Yeah, more definitive than

1320
01:12:34,200 --> 01:12:35,040
Speaker 2: what came before.

1321
01:12:35,800 --> 01:12:39,200
Speaker 1: So it's like, how much power were you still the

1322
01:12:39,280 --> 01:12:42,320
Speaker 1: rookie that had to carry all the back the team's

1323
01:12:42,400 --> 01:12:43,960
Speaker 1: jockstraps or was it like.

1324
01:12:45,760 --> 01:12:46,960
Speaker 2: Might Donald we love you?

1325
01:12:47,280 --> 01:12:49,280
Speaker 1: And then like, you know, well what about me? I've

1326
01:12:49,280 --> 01:12:52,360
Speaker 1: been here since nineteen seventy one, Like what was that dynamic?

1327
01:12:52,520 --> 01:12:54,720
Speaker 3: Like? No, it was never you know, because I think

1328
01:12:56,240 --> 01:12:58,960
Speaker 3: internally within the band, you know, uh, I think all

1329
01:12:59,000 --> 01:13:01,240
Speaker 3: of us still looked at you know, at that point

1330
01:13:01,240 --> 01:13:03,800
Speaker 3: in time, Pat was kind of the senior member, you know,

1331
01:13:03,960 --> 01:13:07,880
Speaker 3: and and kind of the guy everyone looked to to

1332
01:13:08,000 --> 01:13:11,200
Speaker 3: kind of keep the band together, you know. Uh. In fact,

1333
01:13:11,400 --> 01:13:15,519
Speaker 3: it was when he left the band that we showed

1334
01:13:15,560 --> 01:13:17,840
Speaker 3: up for a rehearsal and I don't think we all

1335
01:13:17,920 --> 01:13:19,519
Speaker 3: kind of looked across the stage each other, like what

1336
01:13:19,600 --> 01:13:22,600
Speaker 3: are we doing here? Because without Pat it's really just

1337
01:13:22,680 --> 01:13:30,120
Speaker 3: not the Doobie Brothers anymore. It was after the live album,

1338
01:13:30,200 --> 01:13:33,720
Speaker 3: we did the Farewell tour, Yeah, and uh, it just

1339
01:13:33,800 --> 01:13:35,720
Speaker 3: didn't seem like there was any reason for us to

1340
01:13:36,640 --> 01:13:38,839
Speaker 3: go out and try to be the Doobie Brothers anymore,

1341
01:13:38,880 --> 01:13:41,200
Speaker 3: you know. And uh, I think it was unanimous, you know, really,

1342
01:13:41,360 --> 01:13:42,479
Speaker 3: you know, uh.

1343
01:13:42,800 --> 01:13:45,400
Speaker 1: So even when you did what it takes a minute,

1344
01:13:45,880 --> 01:13:48,439
Speaker 1: your your first solo record, was uh, if that's what

1345
01:13:48,520 --> 01:13:49,240
Speaker 1: it takes, if that's what.

1346
01:13:49,320 --> 01:13:51,840
Speaker 6: It takes him sorry, before we have got before we

1347
01:13:51,880 --> 01:13:54,200
Speaker 6: go to Is it true that Michael Jackson is singing

1348
01:13:54,240 --> 01:13:55,400
Speaker 6: backgrounds a minute by a minute?

1349
01:13:55,920 --> 01:14:00,720
Speaker 2: No, he said it, and I didn't know if that

1350
01:14:00,840 --> 01:14:01,439
Speaker 2: was real enough.

1351
01:14:01,800 --> 01:14:05,880
Speaker 3: No, you know, it actually was a joke that the

1352
01:14:05,960 --> 01:14:09,280
Speaker 3: whole tape, I've heard the whole conversation. People kind of

1353
01:14:09,400 --> 01:14:12,320
Speaker 3: edited it down to him just telling I think it

1354
01:14:12,360 --> 01:14:14,519
Speaker 3: was Elizabeth Taylor. I think he was talking to her,

1355
01:14:14,800 --> 01:14:17,120
Speaker 3: but he was just pulling her chain. And then later

1356
01:14:17,240 --> 01:14:19,439
Speaker 3: on he tells her that he was kidding, you.

1357
01:14:19,479 --> 01:14:22,960
Speaker 1: Know, Oh, okay, but actually, you know what speaking of

1358
01:14:23,000 --> 01:14:27,160
Speaker 1: which you guys have the same publicists as the Jackson's.

1359
01:14:27,240 --> 01:14:28,840
Speaker 3: That's right, David guest.

1360
01:14:29,280 --> 01:14:35,719
Speaker 2: So there's a photo of I don't know what party

1361
01:14:35,760 --> 01:14:36,000
Speaker 2: it was.

1362
01:14:36,080 --> 01:14:38,639
Speaker 1: I don't know if it was a Doobie's Grammy party

1363
01:14:38,760 --> 01:14:41,280
Speaker 1: or something, but it's some sort of like after party

1364
01:14:41,360 --> 01:14:47,320
Speaker 1: thing and the caption says that you guys did a

1365
01:14:48,800 --> 01:14:52,040
Speaker 1: long train running, shake your body down to the ground,

1366
01:14:52,479 --> 01:14:57,599
Speaker 1: like massive, massive, because I see I believe once it's

1367
01:14:57,800 --> 01:15:01,639
Speaker 1: Michael and Randy on in stage with you guys like Tito.

1368
01:15:01,760 --> 01:15:04,240
Speaker 3: Yeah, it was the Jackson's and it was at the

1369
01:15:04,320 --> 01:15:08,160
Speaker 3: Friars Club in LA. It was a benefit show and uh,

1370
01:15:09,120 --> 01:15:11,599
Speaker 3: I forget what the charity was. It was a Jackson

1371
01:15:11,680 --> 01:15:14,320
Speaker 3: family charity and we was there, think yeah, and we

1372
01:15:14,560 --> 01:15:16,800
Speaker 3: we just kind of came as guests and uh and

1373
01:15:16,880 --> 01:15:19,920
Speaker 3: we did we did uh long train running?

1374
01:15:20,080 --> 01:15:23,120
Speaker 2: And the right has this? Ever?

1375
01:15:23,240 --> 01:15:26,160
Speaker 1: Does anyone have a bootleg of this or recording?

1376
01:15:26,560 --> 01:15:26,800
Speaker 3: You know what?

1377
01:15:26,960 --> 01:15:27,280
Speaker 2: I think?

1378
01:15:27,400 --> 01:15:30,080
Speaker 3: I think there is somewhere out there in the world

1379
01:15:30,439 --> 01:15:32,479
Speaker 3: where I wouldn't tell you love this.

1380
01:15:32,960 --> 01:15:35,200
Speaker 1: Yeah, I mean, how do you were you guys big

1381
01:15:35,240 --> 01:15:38,560
Speaker 1: into archiving any great I'm asking you.

1382
01:15:39,960 --> 01:15:41,320
Speaker 2: Were you into collecting yourselves?

1383
01:15:41,400 --> 01:15:44,719
Speaker 3: Like? No, but you know, people over the years would

1384
01:15:44,760 --> 01:15:46,400
Speaker 3: send us stuff like that, and I had once I

1385
01:15:46,520 --> 01:15:50,559
Speaker 3: had a big photo album of all those different photos

1386
01:15:50,600 --> 01:15:50,840
Speaker 3: of the.

1387
01:15:51,280 --> 01:15:53,160
Speaker 1: No one has a Super eight in the studio as

1388
01:15:53,240 --> 01:15:55,840
Speaker 1: you're doing, like open your eyes and none of that stuff.

1389
01:15:55,960 --> 01:16:00,519
Speaker 3: No, damn no, we just we we hadn't you know,

1390
01:16:00,680 --> 01:16:05,519
Speaker 3: we didn't have that consciousness yet, you know. But I

1391
01:16:05,600 --> 01:16:08,280
Speaker 3: think the Doobies actually have a lot of Super eight

1392
01:16:08,400 --> 01:16:11,679
Speaker 3: movies from early Doobies years, you know, on the plane

1393
01:16:11,800 --> 01:16:13,600
Speaker 3: and touring and stuff like that. You know.

1394
01:16:14,520 --> 01:16:18,120
Speaker 2: So with your solo career, how scary was that too?

1395
01:16:19,080 --> 01:16:21,040
Speaker 3: Probably the most scary thing I've ever done. You know.

1396
01:16:22,920 --> 01:16:25,880
Speaker 3: It was for some reason, and I'm not sure why.

1397
01:16:26,000 --> 01:16:29,960
Speaker 3: I just because there was a part of my life

1398
01:16:30,000 --> 01:16:31,800
Speaker 3: when I thought I'm gonna go out to California, I'm

1399
01:16:31,800 --> 01:16:34,000
Speaker 3: going to be a recording artist, and I had that

1400
01:16:34,240 --> 01:16:37,599
Speaker 3: idea in my head. But somehow coming full circle as

1401
01:16:37,640 --> 01:16:42,439
Speaker 3: a member of bands, uh uh, and then all of

1402
01:16:42,439 --> 01:16:45,840
Speaker 3: a sudden, being kind of well, I felt like I

1403
01:16:45,920 --> 01:16:47,640
Speaker 3: was walking the plank, you know, this is to be

1404
01:16:47,760 --> 01:16:52,320
Speaker 3: a solo artist. But uh And it took me a

1405
01:16:52,439 --> 01:16:57,560
Speaker 3: few shows to kind of find my comfort zone. That

1406
01:16:57,720 --> 01:16:59,720
Speaker 3: first tour was pretty scary. And I had a great

1407
01:16:59,760 --> 01:17:04,439
Speaker 3: band and you know, Edgar Winner, Robin Ford playing guitar.

1408
01:17:04,920 --> 01:17:07,880
Speaker 3: You know, it was an amazing Willie Weeks played bass

1409
01:17:07,960 --> 01:17:09,840
Speaker 3: with me and I couldn't have done better for as

1410
01:17:09,880 --> 01:17:14,600
Speaker 3: far as the band's concern. Brian Mann played keyboards. But

1411
01:17:15,160 --> 01:17:17,599
Speaker 3: I just had no concept of how to act up there.

1412
01:17:19,680 --> 01:17:23,080
Speaker 2: But it wasn't so you used to being the side.

1413
01:17:23,200 --> 01:17:24,720
Speaker 3: Then yeah, you know, I could sing a couple of

1414
01:17:24,720 --> 01:17:26,760
Speaker 3: songs and then someone else does the word, but light

1415
01:17:26,760 --> 01:17:27,640
Speaker 3: would shift over there.

1416
01:17:29,080 --> 01:17:31,719
Speaker 8: So it was sweet freedom like your first music video

1417
01:17:31,800 --> 01:17:34,000
Speaker 8: because in your face. When I watched that video sometimes

1418
01:17:34,040 --> 01:17:36,639
Speaker 8: I was like, oh, he really might not be comfortable

1419
01:17:37,080 --> 01:17:37,839
Speaker 8: in that situation.

1420
01:17:38,000 --> 01:17:42,439
Speaker 9: You know, did I jump? Sorry? I just was asking.

1421
01:17:42,520 --> 01:17:42,840
Speaker 9: I didn't.

1422
01:17:42,880 --> 01:17:44,439
Speaker 2: Okay, that was the first.

1423
01:17:44,520 --> 01:17:46,400
Speaker 3: The first one was I keep forgetting that we did

1424
01:17:46,439 --> 01:17:50,879
Speaker 3: a music video and it was it was yeah, awkward,

1425
01:17:51,080 --> 01:17:51,720
Speaker 3: you know, it was.

1426
01:17:52,680 --> 01:17:53,559
Speaker 2: Look any further.

1427
01:17:54,880 --> 01:17:58,760
Speaker 3: That was that was not my forte. It was further. Yeah,

1428
01:17:59,200 --> 01:18:00,360
Speaker 3: yeah on you.

1429
01:18:01,040 --> 01:18:05,280
Speaker 1: You came on Soul Training to promote it, and probably

1430
01:18:05,320 --> 01:18:07,840
Speaker 1: the best thing about it was the heavyweight you had

1431
01:18:07,920 --> 01:18:11,160
Speaker 1: with you. I mean, you have Louis Johnson and that's

1432
01:18:11,240 --> 01:18:12,160
Speaker 1: Lewis Lewis.

1433
01:18:12,000 --> 01:18:15,480
Speaker 3: Johnson plased record too, yeah, and and Jeff Pericarl.

1434
01:18:15,520 --> 01:18:19,320
Speaker 1: And break filling games like you had the cats with you.

1435
01:18:19,439 --> 01:18:22,720
Speaker 1: But yeah, I mean we're worshiping like you have the

1436
01:18:22,760 --> 01:18:23,320
Speaker 1: guys with you.

1437
01:18:23,439 --> 01:18:25,439
Speaker 3: But back then it was just like who do we

1438
01:18:25,520 --> 01:18:29,280
Speaker 3: get let's get a well, you know, I was lucky

1439
01:18:29,320 --> 01:18:31,040
Speaker 3: to be able to beat those guys for sure, and

1440
01:18:31,080 --> 01:18:36,519
Speaker 3: it was my two sisters singing backgrounds. Yeah, but uh yeah,

1441
01:18:36,680 --> 01:18:39,680
Speaker 3: I would. I would say that on a good day

1442
01:18:39,720 --> 01:18:41,479
Speaker 3: you could get those guys to come and play on

1443
01:18:41,600 --> 01:18:43,560
Speaker 3: TV with you. But you know that it just so

1444
01:18:43,680 --> 01:18:46,519
Speaker 3: happened that everybody was available. And so.

1445
01:18:48,439 --> 01:18:51,160
Speaker 6: That's only in particular. It was I was reading it

1446
01:18:51,320 --> 01:18:53,519
Speaker 6: started off as a liber and Stoller it was.

1447
01:18:54,520 --> 01:18:56,640
Speaker 1: Wait, you're kind of jumping the gun because we were

1448
01:18:56,680 --> 01:19:07,439
Speaker 1: about to play around. Of So, Mike McDonald, I need

1449
01:19:07,560 --> 01:19:10,200
Speaker 1: you to tell me what are your thoughts of hearing

1450
01:19:10,320 --> 01:19:10,719
Speaker 1: the song?

1451
01:19:11,760 --> 01:19:12,120
Speaker 3: What is it?

1452
01:19:15,400 --> 01:19:16,400
Speaker 2: What are your thoughts.

1453
01:19:28,479 --> 01:19:29,360
Speaker 3: Chuck Jackson.

1454
01:19:35,520 --> 01:19:41,840
Speaker 11: Forgetting that you don't know, you forgetting that you don't

1455
01:19:42,040 --> 01:19:47,759
Speaker 11: want me no more, you forgetting men tell me about

1456
01:19:47,840 --> 01:19:49,760
Speaker 11: you want me?

1457
01:19:50,400 --> 01:19:58,600
Speaker 1: Ron So I found this forty five in Japan like

1458
01:20:00,000 --> 01:20:03,639
Speaker 1: ten years ago, but it came out in nineteen seventy four.

1459
01:20:06,040 --> 01:20:07,120
Speaker 6: What how.

1460
01:20:08,520 --> 01:20:10,280
Speaker 3: Well, it's an interesting story.

1461
01:20:11,760 --> 01:20:16,400
Speaker 2: And who was that? That's okay, that was long John Baldry, okay,

1462
01:20:16,560 --> 01:20:17,120
Speaker 2: Chuck Jackson.

1463
01:20:17,200 --> 01:20:21,880
Speaker 3: Chuck Jackson did the original. Yeah, there was a Liverstoller song,

1464
01:20:23,080 --> 01:20:25,160
Speaker 3: and believe it or not, unbeknownst to me at the

1465
01:20:25,200 --> 01:20:30,559
Speaker 3: time was my It was one of those things where

1466
01:20:30,560 --> 01:20:33,120
Speaker 3: we were kind of playing. My writing partner said, you know,

1467
01:20:33,160 --> 01:20:39,040
Speaker 3: there's this because he hit somehow, you know, mentioned the

1468
01:20:39,120 --> 01:20:41,599
Speaker 3: song or something, and I was kind of just playing

1469
01:20:41,640 --> 01:20:44,000
Speaker 3: the piano if any He goes, what's that. I go, well,

1470
01:20:45,000 --> 01:20:47,560
Speaker 3: that's what you were just saying. And he goes, no, no, no,

1471
01:20:47,640 --> 01:20:51,880
Speaker 3: he goes, that's totally different. And so we wrote this song.

1472
01:20:52,360 --> 01:20:56,680
Speaker 3: You know, I was immediately reminded by other people that

1473
01:20:57,040 --> 01:21:00,599
Speaker 3: you know, that's closer than you think, you know. So, uh,

1474
01:21:00,920 --> 01:21:03,560
Speaker 3: you know, we got in contact with Mike Steller and

1475
01:21:03,920 --> 01:21:06,560
Speaker 3: Jerry Leber and we realized that we had infringed on

1476
01:21:06,640 --> 01:21:11,240
Speaker 3: their copyright, you know, and they were gracious enough to

1477
01:21:12,360 --> 01:21:15,040
Speaker 3: give us some credit for the this version of the song.

1478
01:21:15,160 --> 01:21:17,400
Speaker 1: Kind of weird that you technically wrote a song with

1479
01:21:17,800 --> 01:21:21,439
Speaker 1: the guys that like you. That's a real building.

1480
01:21:21,720 --> 01:21:25,240
Speaker 3: Last Oh, I was not, you know, I mean, I

1481
01:21:25,439 --> 01:21:27,840
Speaker 3: don't mean to say this, like, because you know, I

1482
01:21:28,080 --> 01:21:30,200
Speaker 3: knew better I shouldn't. The minute I heard this guy say,

1483
01:21:30,240 --> 01:21:33,000
Speaker 3: oh no, that's not I realized, you know, I better

1484
01:21:33,120 --> 01:21:35,439
Speaker 3: listen to that song before I make any you know,

1485
01:21:35,680 --> 01:21:38,000
Speaker 3: But I didn't, you know, And I just you know,

1486
01:21:38,080 --> 01:21:41,640
Speaker 3: we we recorded it, our version of it anyway, and

1487
01:21:41,880 --> 01:21:45,280
Speaker 3: uh and right away one of the guys that Warner

1488
01:21:45,320 --> 01:21:46,960
Speaker 3: Brothers are one of the producers, one said, you know,

1489
01:21:47,080 --> 01:21:49,760
Speaker 3: he gave me his tape because listen to this, you know.

1490
01:21:50,320 --> 01:21:51,640
Speaker 3: And I said, oh, well, you know.

1491
01:21:52,280 --> 01:21:54,920
Speaker 2: Yeah, for you at least.

1492
01:21:55,600 --> 01:21:58,840
Speaker 3: Yeah, well, I realized that we needed to you know,

1493
01:21:58,960 --> 01:22:01,240
Speaker 3: get their permission, and you know, and and they, like

1494
01:22:01,320 --> 01:22:02,800
Speaker 3: I said, they were nice enough to give us their

1495
01:22:02,840 --> 01:22:07,680
Speaker 3: permission to release it and put it out. But you know,

1496
01:22:07,920 --> 01:22:10,720
Speaker 3: and and credit where credits due. You know that that

1497
01:22:11,080 --> 01:22:13,960
Speaker 3: that song ours would not have existed but for their

1498
01:22:14,000 --> 01:22:15,000
Speaker 3: original song. You know.

1499
01:22:16,120 --> 01:22:20,479
Speaker 10: So let's jump wait, who's credited who's credited officially for

1500
01:22:20,560 --> 01:22:23,200
Speaker 10: the writing of that song? Sorry, who's officially credited for

1501
01:22:23,240 --> 01:22:23,720
Speaker 10: the writing that.

1502
01:22:23,960 --> 01:22:28,360
Speaker 3: It's Mike Stoller, Jerry Lieber, myself and Ed Sandford for

1503
01:22:28,600 --> 01:22:32,000
Speaker 3: for our version of it. Yeah, the original version was

1504
01:22:32,040 --> 01:22:33,080
Speaker 3: a liber Stoller song.

1505
01:22:34,400 --> 01:22:37,880
Speaker 2: So twelve years later the song comes back to haunt you.

1506
01:22:38,479 --> 01:22:40,960
Speaker 3: Uh yeah and the most.

1507
01:22:42,360 --> 01:22:44,960
Speaker 2: The most gangster rap narrative of all time.

1508
01:22:46,600 --> 01:22:50,240
Speaker 1: But using this as a backdrop with with Warren G's

1509
01:22:51,360 --> 01:22:56,640
Speaker 1: g funk Uh, what were your initial feelings or you

1510
01:22:56,760 --> 01:23:02,760
Speaker 1: know where the text not where the text nice? But

1511
01:23:03,040 --> 01:23:07,040
Speaker 1: you know, did you have were you hesitant to clear it?

1512
01:23:09,200 --> 01:23:09,240
Speaker 8: No?

1513
01:23:10,200 --> 01:23:12,439
Speaker 3: You know, but back then, what I what I remember

1514
01:23:12,680 --> 01:23:17,280
Speaker 3: was typically somebody would give you, you know, ten grand

1515
01:23:17,360 --> 01:23:20,800
Speaker 3: and it was theirs, you know, I mean, it wasn't

1516
01:23:20,920 --> 01:23:23,679
Speaker 3: like the deals that are made today where we're publishing,

1517
01:23:24,000 --> 01:23:27,160
Speaker 3: you know, like now it's it's it was a one off. Yeah, yeah,

1518
01:23:27,200 --> 01:23:28,960
Speaker 3: it was just like you know, well, you know, we

1519
01:23:29,200 --> 01:23:30,680
Speaker 3: want to sample this cost.

1520
01:23:30,920 --> 01:23:33,680
Speaker 9: But that wasn't a one off. That wasn't a one

1521
01:23:33,760 --> 01:23:35,320
Speaker 9: off though, right, not that song.

1522
01:23:36,720 --> 01:23:39,519
Speaker 2: One off? Yeah, but I was going to.

1523
01:23:44,160 --> 01:23:49,240
Speaker 3: Was the version of my kids like you know, but yeah.

1524
01:23:49,120 --> 01:23:53,880
Speaker 1: But then the expressed I'm sure there was renewed interest

1525
01:23:54,000 --> 01:23:55,639
Speaker 1: in hearing it live all of a sudden.

1526
01:23:57,439 --> 01:23:59,160
Speaker 3: Yeah, you know, it's funny you.

1527
01:24:00,800 --> 01:24:01,320
Speaker 2: Yeah, it was.

1528
01:24:01,840 --> 01:24:04,800
Speaker 3: It had a certain impact on on the you know,

1529
01:24:04,840 --> 01:24:07,479
Speaker 3: the art record. So many people think that's the version

1530
01:24:07,520 --> 01:24:12,479
Speaker 3: of the song that you know as you know my uh,

1531
01:24:13,160 --> 01:24:14,920
Speaker 3: I'm not even sure my own kids didn't think that,

1532
01:24:15,080 --> 01:24:17,120
Speaker 3: you know, because they hadn't really heard my version. They

1533
01:24:17,160 --> 01:24:18,479
Speaker 3: were weren't even born yet, you know.

1534
01:24:18,680 --> 01:24:22,559
Speaker 1: So have you have you ever performed it with warn

1535
01:24:22,600 --> 01:24:32,719
Speaker 1: g Once someone comes, that has to happen, Michael, especially

1536
01:24:32,760 --> 01:24:34,360
Speaker 1: for going to make it.

1537
01:24:34,800 --> 01:24:41,800
Speaker 2: Damn he did you hear that?

1538
01:24:41,920 --> 01:24:42,240
Speaker 8: Michael?

1539
01:24:42,720 --> 01:24:43,080
Speaker 2: You heard that?

1540
01:24:43,200 --> 01:24:43,320
Speaker 8: You know?

1541
01:24:43,520 --> 01:24:49,240
Speaker 3: Nate? I thought just saw those guys on some TV

1542
01:24:49,640 --> 01:24:53,519
Speaker 3: or a documentary of some kind of like, wow, man.

1543
01:24:53,600 --> 01:24:56,120
Speaker 9: It was Is that the first time a hip hop

1544
01:24:56,200 --> 01:24:57,519
Speaker 9: artist asked you for the rights?

1545
01:25:00,040 --> 01:25:03,120
Speaker 3: I believe it was. And we've had quite a few

1546
01:25:03,160 --> 01:25:06,639
Speaker 3: things sampled since then. Minute by minute was sampled.

1547
01:25:07,400 --> 01:25:11,800
Speaker 2: Thanks, that was all right. It's not straightforward. Wait, oh god,

1548
01:25:11,880 --> 01:25:15,320
Speaker 2: the intron it throws me off every time. Yeah, I'm sorry,

1549
01:25:15,360 --> 01:25:19,439
Speaker 2: I know, but like every time I hear it, I'm

1550
01:25:19,439 --> 01:25:23,880
Speaker 2: still like, wait a minute, wait, the one that hits

1551
01:25:23,920 --> 01:25:30,519
Speaker 2: you I did so Yeah, there's no regrets of it

1552
01:25:30,640 --> 01:25:30,920
Speaker 2: at all.

1553
01:25:31,000 --> 01:25:35,439
Speaker 3: Oh no, you know, like all things it, uh, what's

1554
01:25:35,520 --> 01:25:37,760
Speaker 3: kind of like the rolling stones with used to lover.

1555
01:25:37,920 --> 01:25:40,280
Speaker 3: It's all over now, you know, you know, you know,

1556
01:25:40,320 --> 01:25:41,920
Speaker 3: at first they were going, oh, you know, we got

1557
01:25:42,080 --> 01:25:44,720
Speaker 3: we just have our first top ten record, and these

1558
01:25:44,760 --> 01:25:47,639
Speaker 3: guys scoop us, you know, and and then he said,

1559
01:25:47,680 --> 01:25:49,719
Speaker 3: but then when the checks started rolling in, I wouldn't

1560
01:25:49,800 --> 01:25:51,599
Speaker 3: didn't feel so bad about it. We're mad anymore?

1561
01:25:52,680 --> 01:25:56,639
Speaker 6: How did you get into working with Carli Simon?

1562
01:25:56,760 --> 01:25:57,720
Speaker 2: But like you Belong to Me?

1563
01:25:57,960 --> 01:26:01,200
Speaker 3: Carl I played on some we played the Dobies, actually

1564
01:26:01,240 --> 01:26:04,240
Speaker 3: played some tracks on on her the album before that.

1565
01:26:04,800 --> 01:26:12,000
Speaker 3: We we uh. She used us to play on oh

1566
01:26:12,120 --> 01:26:17,840
Speaker 3: gosh m hm, the song that she had recorded and

1567
01:26:17,840 --> 01:26:21,240
Speaker 3: I can't remember what it was now, but we played.

1568
01:26:21,479 --> 01:26:26,040
Speaker 3: We were the rhythm section. And it was upon meeting

1569
01:26:26,120 --> 01:26:29,639
Speaker 3: her during those sessions, Ted said, you know, you guys

1570
01:26:29,640 --> 01:26:33,320
Speaker 3: should write together. And so the first chance I got,

1571
01:26:33,400 --> 01:26:36,040
Speaker 3: I had a little thing on cassette, you know, which

1572
01:26:36,200 --> 01:26:39,760
Speaker 3: was you belong to Me in the chord progression, and

1573
01:26:40,360 --> 01:26:44,800
Speaker 3: I sent her the cassette. She wrote the lyric and

1574
01:26:44,920 --> 01:26:47,880
Speaker 3: sent the lyric back written out on paper, whish I

1575
01:26:47,920 --> 01:26:51,479
Speaker 3: wish I still had, you know, and uh and uh

1576
01:26:53,040 --> 01:26:55,439
Speaker 3: I had given her enough melody, just kind of mumbling,

1577
01:26:55,600 --> 01:26:58,479
Speaker 3: you know on the tape that she kind of wrote

1578
01:26:58,520 --> 01:27:04,680
Speaker 3: to that and that Cadence and uh. Uh. We never

1579
01:27:04,760 --> 01:27:07,360
Speaker 3: spoke the entire time we wrote the song together. It

1580
01:27:07,600 --> 01:27:10,120
Speaker 3: wasn't until like five years later she had a number

1581
01:27:10,120 --> 01:27:12,760
Speaker 3: one hit with it, or you know, at top five

1582
01:27:12,840 --> 01:27:13,320
Speaker 3: record with it.

1583
01:27:13,400 --> 01:27:15,120
Speaker 2: And I wasn't version first though.

1584
01:27:15,160 --> 01:27:17,880
Speaker 3: On the first it was never a single for us,

1585
01:27:18,000 --> 01:27:20,040
Speaker 3: but it was kind of a popular album cut. But

1586
01:27:21,080 --> 01:27:23,120
Speaker 3: uh so, about five years later she had a hit

1587
01:27:23,240 --> 01:27:26,880
Speaker 3: with it, and uh, I thought, well, you know, Jesus,

1588
01:27:26,880 --> 01:27:29,600
Speaker 3: I should call her and say congratulations or something, you know,

1589
01:27:29,800 --> 01:27:32,280
Speaker 3: And I saw I called her on the phone. We

1590
01:27:32,400 --> 01:27:34,200
Speaker 3: kind of laughed about the fact that we hadn't spoken

1591
01:27:34,479 --> 01:27:37,000
Speaker 3: about this for the last so many years.

1592
01:27:37,040 --> 01:27:38,960
Speaker 6: And you cut your backgrounds on it away from her.

1593
01:27:39,760 --> 01:27:43,519
Speaker 3: I didn't sing on that record. Yeah, No, just the

1594
01:27:43,600 --> 01:27:47,720
Speaker 3: Doobies record, the one I sang and did the background song,

1595
01:27:48,320 --> 01:27:50,439
Speaker 3: and so I forget she she did that record in

1596
01:27:50,520 --> 01:27:50,880
Speaker 3: New York.

1597
01:27:51,320 --> 01:27:54,400
Speaker 6: That's you singing backgrounds on uh right, like the Wind

1598
01:27:55,160 --> 01:27:57,280
Speaker 6: as Christopher Cross. How did that come about? I love

1599
01:27:57,320 --> 01:27:57,679
Speaker 6: that record.

1600
01:27:57,880 --> 01:28:00,679
Speaker 3: Actually, it was like we were like a day like today,

1601
01:28:00,720 --> 01:28:06,439
Speaker 3: we'd be sitting in the studio and Doobies, you know,

1602
01:28:06,560 --> 01:28:11,680
Speaker 3: in studio at Migo and h Christopher Cross was his

1603
01:28:11,800 --> 01:28:14,080
Speaker 3: first album was being cut in the studio next door,

1604
01:28:14,720 --> 01:28:19,120
Speaker 3: and the producer was Michaelmartin, and he came and said, Hey,

1605
01:28:19,200 --> 01:28:21,280
Speaker 3: would you if you get a minute after after you

1606
01:28:21,320 --> 01:28:22,960
Speaker 3: guys are done, would you come over and sing a

1607
01:28:23,000 --> 01:28:24,800
Speaker 3: background part for me? And I said sure, you know,

1608
01:28:25,560 --> 01:28:27,680
Speaker 3: and just kind of went over and.

1609
01:28:28,600 --> 01:28:32,439
Speaker 2: How did you feel about the s c TV sketch which.

1610
01:28:34,200 --> 01:28:37,760
Speaker 1: We we recreated that sketch on the tonight show where

1611
01:28:37,760 --> 01:28:41,880
Speaker 1: we literally had him run into the studio making it

1612
01:28:41,960 --> 01:28:42,760
Speaker 1: to the keyboard just.

1613
01:28:42,840 --> 01:28:44,240
Speaker 2: In time to say, just.

1614
01:28:46,479 --> 01:28:50,920
Speaker 1: Like the s c TV sketch TV Yeah, Second City,

1615
01:28:52,439 --> 01:28:54,479
Speaker 1: yeah kind of the snl of was it?

1616
01:28:55,560 --> 01:28:55,720
Speaker 3: Yeah?

1617
01:28:55,800 --> 01:28:58,320
Speaker 1: Yeah, it was like And the bit was based on

1618
01:28:58,479 --> 01:29:02,519
Speaker 1: the fact that, uh, every time his part comes up

1619
01:29:02,600 --> 01:29:05,760
Speaker 1: such a way that he would literally like do playing

1620
01:29:05,840 --> 01:29:07,800
Speaker 1: chains in the automobile like order plane on the chains

1621
01:29:07,920 --> 01:29:09,479
Speaker 1: running that just means sound.

1622
01:29:11,040 --> 01:29:12,920
Speaker 2: Just to literally get to the microphone in time for

1623
01:29:14,880 --> 01:29:16,439
Speaker 2: and then run away and then you know, do it

1624
01:29:16,560 --> 01:29:16,960
Speaker 2: every time.

1625
01:29:17,200 --> 01:29:20,040
Speaker 1: But we when we had Christopher Cross on the show,

1626
01:29:21,120 --> 01:29:24,000
Speaker 1: we didn't announce the audience that Michael McDonald was there.

1627
01:29:24,040 --> 01:29:27,240
Speaker 1: We just had an empty keyboard. As soon as Christopher

1628
01:29:27,280 --> 01:29:31,160
Speaker 1: was playing, wasn't he huh? Wasn't Keith playing it? At first, Oh,

1629
01:29:33,000 --> 01:29:36,920
Speaker 1: you're right, you're right. Keep McFee shout out to keep

1630
01:29:36,960 --> 01:29:39,800
Speaker 1: mc fee. Yeah, And so right when the bridge came in,

1631
01:29:40,280 --> 01:29:42,800
Speaker 1: Michael McDonald just ran in, bumped Keith Off and.

1632
01:29:44,640 --> 01:29:47,080
Speaker 9: I'm stuffy, y'all have Michael McDonald Christopher Cross.

1633
01:29:46,840 --> 01:29:49,040
Speaker 3: Like I got eat. You know. The funny thing about

1634
01:29:49,080 --> 01:29:54,960
Speaker 3: that that SCTV bit for me was, uh, I had

1635
01:29:55,280 --> 01:29:58,560
Speaker 3: just left a friend of mine's room and one of

1636
01:29:58,640 --> 01:30:00,800
Speaker 3: the other band members and we were on the road

1637
01:30:01,760 --> 01:30:07,680
Speaker 3: and we had just smoked this joint and I was

1638
01:30:08,080 --> 01:30:12,080
Speaker 3: really you know, stoned, you know, more than usual kind

1639
01:30:12,120 --> 01:30:14,120
Speaker 3: of thing. And I remember sitting there thinking I got

1640
01:30:14,240 --> 01:30:16,240
Speaker 3: to go lay down, you know, and I was just

1641
01:30:16,520 --> 01:30:18,960
Speaker 3: kind of felt like whatever this stuff was, it was

1642
01:30:19,360 --> 01:30:24,360
Speaker 3: you know, ungodly and got anywhere right now but not

1643
01:30:24,520 --> 01:30:27,439
Speaker 3: for years, but this was back in the day. But anyway,

1644
01:30:27,520 --> 01:30:29,240
Speaker 3: I left and I kind of got my key in

1645
01:30:29,360 --> 01:30:32,800
Speaker 3: my door and I'm thinking, man, I'm not really with it.

1646
01:30:32,920 --> 01:30:35,240
Speaker 3: And as I walked in, I always used to leave

1647
01:30:35,320 --> 01:30:38,600
Speaker 3: my TV on, and that skit was in progress on

1648
01:30:38,720 --> 01:30:41,680
Speaker 3: the TV, and I'm like, walked in, I'm going, oh,

1649
01:30:41,880 --> 01:30:47,960
Speaker 3: I know that guy. And it took me a second.

1650
01:30:48,040 --> 01:30:51,040
Speaker 3: I thought, I think I'm really having a psychotic breakdown.

1651
01:30:56,680 --> 01:30:59,800
Speaker 1: Wait, how nerdy are we to not even mention weed

1652
01:31:00,080 --> 01:31:03,080
Speaker 1: it all to a Doobie brother into a Doobie brother

1653
01:31:03,160 --> 01:31:04,439
Speaker 1: in this ninety minute interview.

1654
01:31:04,560 --> 01:31:06,479
Speaker 9: I didn't want to, and I think Steve was scared

1655
01:31:06,479 --> 01:31:07,400
Speaker 9: because it was just obvious.

1656
01:31:07,439 --> 01:31:09,560
Speaker 6: I was going because you talk about it, well, I

1657
01:31:09,640 --> 01:31:12,280
Speaker 6: read the number one growing industry in the United States.

1658
01:31:13,080 --> 01:31:14,080
Speaker 2: Yeah, I was reading.

1659
01:31:13,880 --> 01:31:16,000
Speaker 6: About your new record, which I really like. I was

1660
01:31:16,080 --> 01:31:19,400
Speaker 6: taking it on the way over here, and I was,

1661
01:31:19,600 --> 01:31:21,040
Speaker 6: I mean, I listened to it one time and I

1662
01:31:21,160 --> 01:31:22,840
Speaker 6: was like, Okay, I mean it sounds like michaem Dons.

1663
01:31:22,840 --> 01:31:25,240
Speaker 6: And I read an interview talking about how a lot

1664
01:31:25,280 --> 01:31:28,560
Speaker 6: of songs are kind of about your sobriety. Yeah, and

1665
01:31:29,080 --> 01:31:30,760
Speaker 6: that just made me hear it in a different way.

1666
01:31:31,360 --> 01:31:32,519
Speaker 6: How long have you been sober?

1667
01:31:33,560 --> 01:31:38,439
Speaker 3: It's been thirty one years. Wow. It was a good

1668
01:31:38,520 --> 01:31:41,479
Speaker 3: idea for me of older people I know, and that's

1669
01:31:41,520 --> 01:31:43,160
Speaker 3: sober from from all.

1670
01:31:43,400 --> 01:31:48,479
Speaker 6: Yeah everything, yeah, drinking or smoking or nothing. Wow, a

1671
01:31:48,640 --> 01:31:49,479
Speaker 6: sober Doobie brother.

1672
01:31:51,760 --> 01:31:55,680
Speaker 3: I needed to do that. But yeah, it's you know,

1673
01:31:56,080 --> 01:31:58,479
Speaker 3: the best thing I ever decision ever made, you know,

1674
01:31:58,600 --> 01:32:01,639
Speaker 3: I mean, obviously it's I don't think I would be here.

1675
01:32:01,960 --> 01:32:05,439
Speaker 3: To be quite honest, that became increasingly more obvious to

1676
01:32:05,520 --> 01:32:07,479
Speaker 3: me as time went on and I realized that I

1677
01:32:07,560 --> 01:32:09,960
Speaker 3: didn't have that much further to go down that road,

1678
01:32:10,000 --> 01:32:14,160
Speaker 3: you know, And so there were low points, oh yeah, yeah, yeah,

1679
01:32:14,680 --> 01:32:17,960
Speaker 3: a good swath of low point you know. But you know,

1680
01:32:19,360 --> 01:32:21,400
Speaker 3: I'm one of the lucky ones, you know. That's that's

1681
01:32:21,520 --> 01:32:26,240
Speaker 3: the moral of that story. Yeah, and there's not you know,

1682
01:32:26,360 --> 01:32:31,840
Speaker 3: the odds, you know, sobriety apparently aren't that good. But

1683
01:32:31,960 --> 01:32:35,120
Speaker 3: it's it's you know, there is a solution out there

1684
01:32:35,240 --> 01:32:39,479
Speaker 3: for people who need it, and and God willing, you know,

1685
01:32:39,600 --> 01:32:43,480
Speaker 3: you find that, you know, because for me, the alternative

1686
01:32:43,920 --> 01:32:46,080
Speaker 3: would have been the bad alternative.

1687
01:32:46,160 --> 01:32:48,800
Speaker 6: You know, what was your solution? How were you able

1688
01:32:48,840 --> 01:32:49,960
Speaker 6: to stay sover so long?

1689
01:32:50,520 --> 01:32:51,920
Speaker 3: Just one day at a time, you know, I just

1690
01:32:53,600 --> 01:32:59,280
Speaker 3: really surrendering to the truth of it, you know. I

1691
01:32:59,360 --> 01:33:02,559
Speaker 3: think the big, the great obsession for for most people

1692
01:33:02,560 --> 01:33:05,320
Speaker 3: who are addicted is that I got this, I can

1693
01:33:05,400 --> 01:33:08,760
Speaker 3: handle it. I can I can fix this, you know,

1694
01:33:09,400 --> 01:33:13,800
Speaker 3: I can, you know, And it's unfortunately for most of

1695
01:33:13,960 --> 01:33:17,479
Speaker 3: us who suffer from addiction, there's not enough willpower in

1696
01:33:17,520 --> 01:33:21,360
Speaker 3: the universe that we could muster to fix it once

1697
01:33:21,400 --> 01:33:25,680
Speaker 3: we're there, you know. And so there are there are

1698
01:33:25,800 --> 01:33:31,719
Speaker 3: solutions that come in the form of community of people

1699
01:33:31,800 --> 01:33:34,400
Speaker 3: who are who you know, are suffering from the same

1700
01:33:34,479 --> 01:33:39,439
Speaker 3: disease and that and that's you know. I can't really,

1701
01:33:39,640 --> 01:33:42,480
Speaker 3: you know, speak beyond that, because I'm not an authority

1702
01:33:42,560 --> 01:33:44,120
Speaker 3: on it, you know, but I can say that that

1703
01:33:44,320 --> 01:33:48,519
Speaker 3: That's what I would suggest anyone is to find find

1704
01:33:48,560 --> 01:33:52,600
Speaker 3: people in sobriety that can share their experienced strength and

1705
01:33:52,640 --> 01:33:53,080
Speaker 3: hope with you.

1706
01:33:53,240 --> 01:33:55,560
Speaker 6: You know, have you found that being sober? Has it

1707
01:33:56,120 --> 01:33:57,160
Speaker 6: helped you preserve your voice?

1708
01:33:57,160 --> 01:34:01,320
Speaker 3: Because you sound oh absolutely, yeah, No, I that's that's

1709
01:34:01,600 --> 01:34:03,400
Speaker 3: you know, that would have probably died first, but I

1710
01:34:03,400 --> 01:34:08,040
Speaker 3: would have been shortly thereafter, you know. Uh no, it's

1711
01:34:09,920 --> 01:34:12,400
Speaker 3: you know, most everything worthwhile in my life today is

1712
01:34:12,439 --> 01:34:17,680
Speaker 3: a direct result of sobriety. For me, probably none of

1713
01:34:17,760 --> 01:34:19,760
Speaker 3: it is anything I would have put on that list

1714
01:34:19,880 --> 01:34:22,920
Speaker 3: if you had given it to me, saying, well, if

1715
01:34:22,960 --> 01:34:27,280
Speaker 3: you were able to, you know, stop using, what would

1716
01:34:27,320 --> 01:34:30,599
Speaker 3: what would you be hoping for? You know? I most

1717
01:34:30,640 --> 01:34:32,920
Speaker 3: of what is most important to me today are things

1718
01:34:32,960 --> 01:34:35,000
Speaker 3: I would have never even thought of, you know, just

1719
01:34:35,560 --> 01:34:39,800
Speaker 3: the simple things, the simple uh aspects of my life.

1720
01:34:39,840 --> 01:34:42,960
Speaker 3: That just wouldn't have existed, you know, I would have

1721
01:34:43,040 --> 01:34:44,400
Speaker 3: never got to that, you know.

1722
01:34:44,600 --> 01:34:50,760
Speaker 2: Part Okay, we're going to wind up the show. But

1723
01:34:50,920 --> 01:34:58,760
Speaker 2: there's still like version, there's there's well you worked with

1724
01:34:58,920 --> 01:35:02,439
Speaker 2: the great Rot Temperaton. Oh yes, what was that like?

1725
01:35:03,720 --> 01:35:05,559
Speaker 2: He's one of the one of my music.

1726
01:35:05,720 --> 01:35:08,880
Speaker 3: Yeah, one of the best R and B writers that

1727
01:35:09,040 --> 01:35:11,840
Speaker 3: I know. You know, heat Wave was one of the

1728
01:35:12,000 --> 01:35:15,840
Speaker 3: best groups you know that I can think of with

1729
01:35:15,960 --> 01:35:18,559
Speaker 3: a book of songs that I You know, sometimes when

1730
01:35:18,600 --> 01:35:20,800
Speaker 3: you play with the band and then you realize just

1731
01:35:20,880 --> 01:35:23,519
Speaker 3: how many songs they actually had. That's happened to me

1732
01:35:23,600 --> 01:35:27,479
Speaker 3: many times. You know, we played with AWB, we played

1733
01:35:27,520 --> 01:35:30,559
Speaker 3: with the heat Wave a couple of gigs, and it's

1734
01:35:30,640 --> 01:35:32,679
Speaker 3: like song after song and you go, oh my god,

1735
01:35:32,720 --> 01:35:35,200
Speaker 3: I forgot. And Steely Dan also, you know when I

1736
01:35:35,560 --> 01:35:39,080
Speaker 3: or the Doobies, I almost forget how many how deep

1737
01:35:39,120 --> 01:35:40,640
Speaker 3: their their songbook is, you know.

1738
01:35:41,640 --> 01:35:41,760
Speaker 2: Uh.

1739
01:35:42,040 --> 01:35:43,439
Speaker 3: And heat Wave was like that. That was one of

1740
01:35:43,479 --> 01:35:46,240
Speaker 3: those groups where there were so many songs. They were

1741
01:35:46,280 --> 01:35:49,640
Speaker 3: a British group, you know, with these classic R and

1742
01:35:49,760 --> 01:35:53,360
Speaker 3: B songs you know that I thought were just American records.

1743
01:35:53,800 --> 01:35:56,920
Speaker 3: I had no idea they were records made in London.

1744
01:35:56,960 --> 01:36:00,200
Speaker 2: You know, British can do Americans better than you know.

1745
01:36:00,680 --> 01:36:02,719
Speaker 3: And Rod was a great writer, a great producer.

1746
01:36:02,800 --> 01:36:05,320
Speaker 1: You know speak speaking of you not being in the

1747
01:36:05,400 --> 01:36:09,080
Speaker 1: room at the same time. I heard you also say

1748
01:36:09,120 --> 01:36:09,960
Speaker 1: that when you did.

1749
01:36:09,960 --> 01:36:13,320
Speaker 2: On my own, had to be in the same room

1750
01:36:13,840 --> 01:36:16,880
Speaker 2: that you guys were. No, you didn't even meet.

1751
01:36:17,360 --> 01:36:20,240
Speaker 3: I hadn't even met yet, I sang to her voice. No,

1752
01:36:20,280 --> 01:36:22,200
Speaker 3: I hadn't hadn't met her yet, you know, I met

1753
01:36:22,280 --> 01:36:25,639
Speaker 3: her show. We performed that song for the first time

1754
01:36:26,479 --> 01:36:28,920
Speaker 3: the day after we met on the Tonight Show.

1755
01:36:29,800 --> 01:36:31,920
Speaker 9: And what about times?

1756
01:36:32,360 --> 01:36:35,080
Speaker 3: Every change times Retha was not there when I sang

1757
01:36:35,160 --> 01:36:37,720
Speaker 3: to her voice. It was Bert and Carol the.

1758
01:36:41,720 --> 01:36:46,040
Speaker 2: Original I did.

1759
01:36:46,400 --> 01:36:48,280
Speaker 3: I did perform it with her though at the Grammys.

1760
01:36:49,120 --> 01:36:51,439
Speaker 2: I love that song. Are any motherfucker is going to

1761
01:36:51,479 --> 01:36:55,320
Speaker 2: talk about be there to ask him what it was?

1762
01:36:57,920 --> 01:36:58,280
Speaker 2: All right?

1763
01:36:59,120 --> 01:37:01,000
Speaker 3: Yeah? I got to actually do the video with her.

1764
01:37:01,200 --> 01:37:04,080
Speaker 9: Yeah, yeah, and talk about the of the videos, the

1765
01:37:04,160 --> 01:37:05,840
Speaker 9: Patty and the he.

1766
01:37:05,920 --> 01:37:09,120
Speaker 2: Wasn't in the room with her there the video I did.

1767
01:37:09,280 --> 01:37:11,719
Speaker 3: I did the shoot the video with the Retha in Detroit,

1768
01:37:11,920 --> 01:37:14,439
Speaker 3: but not with pat Patty. She was doing a play

1769
01:37:14,560 --> 01:37:15,400
Speaker 3: in New York.

1770
01:37:16,400 --> 01:37:18,800
Speaker 2: Shirt the box with God put the video together. The

1771
01:37:18,840 --> 01:37:26,200
Speaker 2: song is called on my Own all right, So yeah,

1772
01:37:26,360 --> 01:37:32,720
Speaker 2: y'all will be there the Battle of the the battle that.

1773
01:37:37,400 --> 01:37:40,439
Speaker 1: Wait, I'm actually more I'm more impressive you name drop

1774
01:37:41,120 --> 01:37:43,479
Speaker 1: James's brother Philip than anything, because he's one of my

1775
01:37:43,520 --> 01:37:47,160
Speaker 1: favorite singers switch switch Yeah, but with the process had

1776
01:37:47,200 --> 01:37:48,759
Speaker 1: the big Yeah, he's the feather.

1777
01:37:49,080 --> 01:37:54,800
Speaker 2: Yeah he was in there. But like, did Rod also

1778
01:37:55,000 --> 01:37:55,880
Speaker 2: do that as well?

1779
01:37:56,400 --> 01:37:59,560
Speaker 3: Or yeah, Rod Robert was one of the writers on

1780
01:37:59,680 --> 01:38:00,800
Speaker 3: that Yo there.

1781
01:38:00,880 --> 01:38:04,160
Speaker 1: That made that song made a big impression on my

1782
01:38:04,960 --> 01:38:05,919
Speaker 1: Christian household.

1783
01:38:08,000 --> 01:38:08,400
Speaker 3: That was.

1784
01:38:10,080 --> 01:38:13,960
Speaker 1: Yeah, it made a very big impression, especially you know

1785
01:38:15,840 --> 01:38:20,479
Speaker 1: the division of secular and you know, the local radio

1786
01:38:20,640 --> 01:38:22,840
Speaker 1: station in Philly, w z z D used to play

1787
01:38:22,920 --> 01:38:23,240
Speaker 1: that a lot.

1788
01:38:24,439 --> 01:38:27,240
Speaker 2: Yes, they would. Was it your intention to make a

1789
01:38:27,360 --> 01:38:29,000
Speaker 2: gospel song or pretty much?

1790
01:38:29,160 --> 01:38:30,640
Speaker 3: I mean yeah in.

1791
01:38:33,040 --> 01:38:33,479
Speaker 5: We Uh.

1792
01:38:34,120 --> 01:38:38,720
Speaker 3: It's funny because that was probably the third song we

1793
01:38:38,880 --> 01:38:42,160
Speaker 3: wrote that Quincy kept, you know, going and I go

1794
01:38:42,280 --> 01:38:44,439
Speaker 3: back to the rejection. You guys need to go back

1795
01:38:44,680 --> 01:38:48,200
Speaker 3: write something better, you know, And so we we kept trying,

1796
01:38:48,360 --> 01:38:50,479
Speaker 3: you know, and James and I spent a lot of

1797
01:38:50,520 --> 01:38:53,080
Speaker 3: time in my studio just kind of righting at there.

1798
01:38:53,200 --> 01:38:55,600
Speaker 2: Did you fully flesh out the other two songs that

1799
01:38:55,680 --> 01:38:56,160
Speaker 2: didn't make it?

1800
01:38:56,880 --> 01:38:58,599
Speaker 3: We made demos on on them.

1801
01:38:59,640 --> 01:39:01,000
Speaker 2: Did they wind up being anything?

1802
01:39:01,360 --> 01:39:01,400
Speaker 3: No?

1803
01:39:01,800 --> 01:39:04,160
Speaker 2: No, I still say. Was it Party Animal?

1804
01:39:04,800 --> 01:39:04,840
Speaker 3: No?

1805
01:39:05,040 --> 01:39:08,160
Speaker 2: No, it was.

1806
01:39:08,560 --> 01:39:11,760
Speaker 3: It was one song I can't remember. It was like

1807
01:39:12,040 --> 01:39:15,120
Speaker 3: better Man and h actually was kind of we liked it.

1808
01:39:15,200 --> 01:39:17,080
Speaker 3: We thought it was We thought this is gonna use

1809
01:39:17,080 --> 01:39:21,120
Speaker 3: She's gonna love this, and it was like, eh, but damn.

1810
01:39:21,439 --> 01:39:25,080
Speaker 3: But Yamo was the song that he eventually caught his ear,

1811
01:39:25,200 --> 01:39:30,800
Speaker 3: you know, and we were just you know, uh, like

1812
01:39:30,880 --> 01:39:33,360
Speaker 3: I said, he spent countless hours just sitting there. We

1813
01:39:33,479 --> 01:39:35,240
Speaker 3: had a good time, you know, right, and because he

1814
01:39:35,320 --> 01:39:37,560
Speaker 3: and I it was always a good hang, you know

1815
01:39:38,120 --> 01:39:38,639
Speaker 3: with James.

1816
01:39:38,680 --> 01:39:43,000
Speaker 10: You know, for those of us not familiar with what

1817
01:39:43,120 --> 01:39:46,360
Speaker 10: the hell of yamo be there means? No, no, I'm asking,

1818
01:39:47,960 --> 01:39:48,240
Speaker 10: but it.

1819
01:39:48,320 --> 01:39:48,840
Speaker 8: Was your question.

1820
01:39:50,120 --> 01:39:54,720
Speaker 3: Yeah, well it's kind of in reference to God will

1821
01:39:54,760 --> 01:39:57,880
Speaker 3: be there. You know. It's like, uh that that's the answer,

1822
01:39:58,040 --> 01:40:03,519
Speaker 3: you know, uh uh and yeahweh yeah yeah, but why

1823
01:40:03,680 --> 01:40:06,160
Speaker 3: go yeah yeahweh.

1824
01:40:06,760 --> 01:40:08,639
Speaker 1: I feel like it was one of those Michael McDonald

1825
01:40:08,920 --> 01:40:13,280
Speaker 1: words because it's easy to you. Okay, do you get

1826
01:40:13,360 --> 01:40:16,240
Speaker 1: tired of people imitating you? In front of your face.

1827
01:40:19,479 --> 01:40:21,640
Speaker 2: I think that was the funny you know, have you

1828
01:40:21,680 --> 01:40:22,960
Speaker 2: ever met Anita Baker like.

1829
01:40:23,040 --> 01:40:26,439
Speaker 3: Hes she yeah, sure sure and Patty Austin to expressed

1830
01:40:26,520 --> 01:40:30,080
Speaker 3: there for you but yeah no, you know it's uh,

1831
01:40:30,360 --> 01:40:32,880
Speaker 3: I feel like I'd Sullivan, you know, really big shoe.

1832
01:40:35,280 --> 01:40:37,479
Speaker 1: But do they do it in inconvenient moments like when

1833
01:40:37,520 --> 01:40:40,000
Speaker 1: you're like trying to sleep in the on the airplane.

1834
01:40:39,520 --> 01:40:43,000
Speaker 3: And things like that, or some some guy will stagger

1835
01:40:43,080 --> 01:40:44,360
Speaker 3: out of a bar and grab me on.

1836
01:40:44,400 --> 01:40:49,439
Speaker 1: The street start singing, bro we did that was the

1837
01:40:49,520 --> 01:40:53,360
Speaker 1: baby face and I was highly you had to go down.

1838
01:40:53,640 --> 01:40:56,000
Speaker 2: No, seriously, I have a no for real, I have

1839
01:40:56,160 --> 01:40:56,559
Speaker 2: a band.

1840
01:40:56,880 --> 01:40:59,160
Speaker 6: I have a band called the Foreign Exchange, and we're

1841
01:40:59,200 --> 01:41:02,479
Speaker 6: seriously considered doing the night where we perform our songs

1842
01:41:02,560 --> 01:41:09,840
Speaker 6: in your voice and call ourselves the for McDonald's and

1843
01:41:09,960 --> 01:41:12,040
Speaker 6: like all of us come out with beards, like even

1844
01:41:12,040 --> 01:41:12,640
Speaker 6: the girls like.

1845
01:41:16,680 --> 01:41:17,040
Speaker 3: Scary.

1846
01:41:17,120 --> 01:41:20,640
Speaker 8: But was there a moment when you realize because I

1847
01:41:20,680 --> 01:41:23,000
Speaker 8: know we always talk about like blue eyed soul and whatnot,

1848
01:41:23,040 --> 01:41:25,840
Speaker 8: but was there a moment when you realize, like I'm

1849
01:41:25,880 --> 01:41:29,320
Speaker 8: in an elite type club of I can go here, there,

1850
01:41:29,479 --> 01:41:32,680
Speaker 8: do the air and everywhere when it comes to, you know,

1851
01:41:32,840 --> 01:41:35,639
Speaker 8: soul music and pop music and whatever else you chose

1852
01:41:35,640 --> 01:41:37,920
Speaker 8: to do, but at least you like, you know, it's

1853
01:41:38,000 --> 01:41:40,240
Speaker 8: it's very few singers that have like the black community

1854
01:41:40,320 --> 01:41:43,200
Speaker 8: in their pocket, like we want to steal you.

1855
01:41:43,240 --> 01:41:44,840
Speaker 9: Away, We'll take you in the trade.

1856
01:41:48,920 --> 01:41:52,400
Speaker 2: Barbecue, you know.

1857
01:41:53,479 --> 01:41:57,960
Speaker 3: It's you know, for me, to me, it's it's that

1858
01:41:58,280 --> 01:42:03,519
Speaker 3: that America, that truly American UH music, you know, And

1859
01:42:04,479 --> 01:42:07,240
Speaker 3: I don't know that there really is any other besides jazz,

1860
01:42:07,479 --> 01:42:10,479
Speaker 3: you know, any other really truly American music. You know.

1861
01:42:11,000 --> 01:42:13,680
Speaker 3: It's funny how so much of our culture is UH

1862
01:42:15,240 --> 01:42:19,920
Speaker 3: for the problems that this country seems to suffer from

1863
01:42:20,520 --> 01:42:24,680
Speaker 3: in terms of racial tensions. And it always reminds me

1864
01:42:24,720 --> 01:42:26,920
Speaker 3: the conversations my wife and I have when she says,

1865
01:42:28,120 --> 01:42:32,720
Speaker 3: you know, we haven't talked in months, and you know,

1866
01:42:33,120 --> 01:42:36,080
Speaker 3: I'm worried about us, you know, and I say something

1867
01:42:36,360 --> 01:42:39,240
Speaker 3: brilliant like, well, you know, you know, I have to

1868
01:42:39,280 --> 01:42:43,720
Speaker 3: go cut the grass right now, cut the grass. You know,

1869
01:42:43,920 --> 01:42:46,040
Speaker 3: I think I feel like cutting grass, you know. And

1870
01:42:46,120 --> 01:42:48,080
Speaker 3: it's like that's how we talk to each other in

1871
01:42:48,160 --> 01:42:51,600
Speaker 3: this society, you know, rather than because we don't. It's uncomfortable,

1872
01:42:51,600 --> 01:42:52,880
Speaker 3: and we don't want to talk about it, you know,

1873
01:42:53,800 --> 01:42:56,760
Speaker 3: when really that would solve everything, you know, uh, if

1874
01:42:56,800 --> 01:42:58,519
Speaker 3: we really truly just talked about it.

1875
01:42:58,600 --> 01:43:00,920
Speaker 8: You know, Uh, there are a few that can lead

1876
01:43:00,960 --> 01:43:03,600
Speaker 8: a conversation like you can, because like I said, you

1877
01:43:03,720 --> 01:43:06,000
Speaker 8: are loved by everybody.

1878
01:43:06,120 --> 01:43:08,439
Speaker 3: Well, you know, I thank you. That's very sweet of

1879
01:43:08,439 --> 01:43:10,320
Speaker 3: you to say. I you know you have to talk

1880
01:43:10,320 --> 01:43:13,880
Speaker 3: to my wife on that one. Well, but you know

1881
01:43:14,240 --> 01:43:18,800
Speaker 3: it's for me. I I've often thought that, you know,

1882
01:43:19,160 --> 01:43:22,479
Speaker 3: how much of our culture, from in food and fashion,

1883
01:43:23,120 --> 01:43:27,360
Speaker 3: certainly music and any real form of art in this

1884
01:43:27,479 --> 01:43:31,559
Speaker 3: country is largely African American influenced. You know, that is uh,

1885
01:43:32,520 --> 01:43:35,280
Speaker 3: one of the biggest influences on American culture there is,

1886
01:43:35,520 --> 01:43:37,840
Speaker 3: you know, more than anything. You know, if you think

1887
01:43:37,880 --> 01:43:41,360
Speaker 3: of French food, you categorize it automatically as French food

1888
01:43:41,800 --> 01:43:45,040
Speaker 3: or Italian food. You know, when you think of which

1889
01:43:45,160 --> 01:43:49,960
Speaker 3: is largely African American influenced food, it's American, it's barbecue,

1890
01:43:50,040 --> 01:43:51,760
Speaker 3: it's it's uh.

1891
01:43:51,880 --> 01:43:54,760
Speaker 9: You know, they just forget the root right exactly, you know, I.

1892
01:43:54,800 --> 01:43:58,240
Speaker 3: Mean, it's we accept it as totally as American. You know,

1893
01:44:00,040 --> 01:44:04,040
Speaker 3: hopefully in our lifetime we will see a country where

1894
01:44:04,400 --> 01:44:07,520
Speaker 3: we understand who we are and we go forward.

1895
01:44:13,680 --> 01:44:15,200
Speaker 2: Version then we got to stop the episode.

1896
01:44:15,920 --> 01:44:18,760
Speaker 6: No, just how was that because they were like making

1897
01:44:18,840 --> 01:44:21,080
Speaker 6: fun of you in the movie. But it was I

1898
01:44:21,160 --> 01:44:23,840
Speaker 6: mean it was funny, but that kind of you were

1899
01:44:24,280 --> 01:44:25,000
Speaker 6: that brought back?

1900
01:44:25,760 --> 01:44:26,960
Speaker 2: No, No, it was it was good.

1901
01:44:27,240 --> 01:44:29,439
Speaker 3: My friend actually worked on that film as he was

1902
01:44:29,479 --> 01:44:31,720
Speaker 3: the music guy on that film, and he would send me,

1903
01:44:32,560 --> 01:44:35,559
Speaker 3: uh like dai or whatever scripts you know, and rewrites

1904
01:44:35,560 --> 01:44:38,799
Speaker 3: and he goes this, Okay, some of the stuff they

1905
01:44:38,960 --> 01:44:42,720
Speaker 3: didn't put in it. It was hilarious but brutal, but hilarious,

1906
01:44:42,800 --> 01:44:45,000
Speaker 3: you know. And uh and so in the end it

1907
01:44:45,120 --> 01:44:48,760
Speaker 3: was really like the the nicer version of all of it.

1908
01:44:49,040 --> 01:44:51,240
Speaker 3: But it was I thought it was hilarious, you know.

1909
01:44:51,400 --> 01:44:53,960
Speaker 3: And of course, you know again my kids always enjoyed that.

1910
01:44:54,120 --> 01:44:57,519
Speaker 3: You know, they enjoyed rubbing my nose and anything like that,

1911
01:44:57,680 --> 01:44:59,080
Speaker 3: you know, the family guy whatever.

1912
01:44:59,240 --> 01:45:01,719
Speaker 6: You know, Okay, this this is my last guy, I know. Okay,

1913
01:45:02,080 --> 01:45:04,880
Speaker 6: what were your thoughts on Michael Bolton because I thought

1914
01:45:04,960 --> 01:45:06,960
Speaker 6: he was kind of trying to I thought he was

1915
01:45:07,040 --> 01:45:07,799
Speaker 6: kind of trying.

1916
01:45:07,600 --> 01:45:09,000
Speaker 2: To sting a swag a little bit.

1917
01:45:09,640 --> 01:45:12,800
Speaker 6: No, I love Michael bolt whatever. It's only one mic

1918
01:45:13,000 --> 01:45:16,320
Speaker 6: yeahs from us we recognized.

1919
01:45:18,880 --> 01:45:21,280
Speaker 2: So what were your thought because Botwan does want to

1920
01:45:21,360 --> 01:45:22,840
Speaker 2: do this show? I think he should.

1921
01:45:23,040 --> 01:45:25,479
Speaker 3: I don't know, but I think he's great.

1922
01:45:25,520 --> 01:45:28,000
Speaker 2: I mean brothers. Okay.

1923
01:45:28,640 --> 01:45:30,920
Speaker 3: The first time I did a gig with Michael Bolton

1924
01:45:31,040 --> 01:45:34,439
Speaker 3: was a local thing in Santa Barbara and Kenny Kenny's

1925
01:45:34,840 --> 01:45:38,840
Speaker 3: charity that we would all do. And uh, Kenny Logan

1926
01:45:38,880 --> 01:45:42,040
Speaker 3: said to me, because this cat is serious, you know,

1927
01:45:42,160 --> 01:45:45,360
Speaker 3: he is he is. He sings like we wish we

1928
01:45:45,400 --> 01:45:45,960
Speaker 3: could sing.

1929
01:45:46,320 --> 01:45:51,280
Speaker 2: Wow and from the school of Ray. But who who

1930
01:45:51,479 --> 01:45:51,760
Speaker 2: are you?

1931
01:45:51,920 --> 01:45:51,960
Speaker 3: No?

1932
01:45:52,080 --> 01:45:56,599
Speaker 1: I mean, he's he's he's trying to channel Ray. Who

1933
01:45:57,680 --> 01:46:00,880
Speaker 1: is there anyone that you're trying to channel? The closest

1934
01:46:00,920 --> 01:46:05,000
Speaker 1: I can think of is maybe Sarah Bone Like who? Uh,

1935
01:46:05,360 --> 01:46:09,680
Speaker 1: you know, because you do have an original voice that

1936
01:46:09,760 --> 01:46:11,440
Speaker 1: I can't trace the genesis.

1937
01:46:11,720 --> 01:46:16,960
Speaker 3: Right, you know. For me, really it's just I try

1938
01:46:17,080 --> 01:46:19,280
Speaker 3: to do the best with what I got, you know

1939
01:46:19,280 --> 01:46:21,040
Speaker 3: what I mean, That's that's really what it comes down to.

1940
01:46:21,160 --> 01:46:27,400
Speaker 3: I I Ah, I've always I've never really had the

1941
01:46:27,479 --> 01:46:30,559
Speaker 3: confidence as a singer per se as far as chops

1942
01:46:30,640 --> 01:46:33,200
Speaker 3: and you know technique. You know you say that.

1943
01:46:37,040 --> 01:46:37,479
Speaker 2: Let's get.

1944
01:46:40,320 --> 01:46:42,840
Speaker 3: No, no, no, I mean seriously, I I uh and

1945
01:46:42,960 --> 01:46:45,360
Speaker 3: as I get older, especially, I think, you know, you

1946
01:46:45,439 --> 01:46:47,639
Speaker 3: got to kind of follow your voice with the years,

1947
01:46:47,680 --> 01:46:51,800
Speaker 3: you know, kind of you know, what, what's the what's

1948
01:46:51,880 --> 01:46:53,760
Speaker 3: my strength at this point, you know, and and you

1949
01:46:53,960 --> 01:46:58,080
Speaker 3: kind of kind of go with that. I but all

1950
01:46:58,120 --> 01:47:01,160
Speaker 3: those singers that you mentioned are all part of my psyche,

1951
01:47:01,400 --> 01:47:05,360
Speaker 3: you know, growing up. And and you know, I think

1952
01:47:05,760 --> 01:47:08,040
Speaker 3: when the Motown record was presented to me, my first

1953
01:47:08,120 --> 01:47:09,680
Speaker 3: thought was, why are they asking.

1954
01:47:09,439 --> 01:47:09,920
Speaker 2: Me to do this?

1955
01:47:10,120 --> 01:47:12,360
Speaker 3: You know, they came to you to do the cover, yeah,

1956
01:47:12,680 --> 01:47:15,760
Speaker 3: the other way, But I remember the next thought was

1957
01:47:15,920 --> 01:47:20,040
Speaker 3: you better say yes, You'll be sorry. And and secondly,

1958
01:47:20,080 --> 01:47:22,439
Speaker 3: I thought, you know, I have sung these songs in

1959
01:47:22,520 --> 01:47:25,639
Speaker 3: bars for so many years, doing my best to emulate

1960
01:47:26,120 --> 01:47:31,120
Speaker 3: Marvin Gay or David Ruffin or whoever, trying to kind of,

1961
01:47:31,479 --> 01:47:35,439
Speaker 3: you know, grab the spirit of their vocal, you know,

1962
01:47:35,760 --> 01:47:37,720
Speaker 3: because that was the whole thing about being a bar band,

1963
01:47:37,840 --> 01:47:40,479
Speaker 3: if you could sound like the record, you know, so

1964
01:47:40,840 --> 01:47:44,080
Speaker 3: growing up doing that, I thought I should be able

1965
01:47:44,160 --> 01:47:49,280
Speaker 3: to kind of bring something to this project that just

1966
01:47:49,600 --> 01:47:52,560
Speaker 3: reliving my own experiences of first learning those songs and

1967
01:47:53,000 --> 01:47:55,240
Speaker 3: learning to sing them when I was you know, much younger,

1968
01:47:55,280 --> 01:47:55,479
Speaker 3: you know.

1969
01:47:55,840 --> 01:47:59,840
Speaker 6: Oh before we before Grizzly Bear, Grizzly Bear. Why you

1970
01:48:00,160 --> 01:48:02,600
Speaker 6: for the others, Well, you've done Yeah, you've done a

1971
01:48:02,680 --> 01:48:03,960
Speaker 6: lot with I love that record.

1972
01:48:04,040 --> 01:48:06,000
Speaker 3: I want to hear those guys play here in Manhattan.

1973
01:48:06,040 --> 01:48:07,920
Speaker 3: And it was amazing, you know. They were a really

1974
01:48:08,160 --> 01:48:11,040
Speaker 3: interesting band, you know, had an incredible following, you know.

1975
01:48:11,320 --> 01:48:15,360
Speaker 3: Uh uh and uh it wasn't I had already done

1976
01:48:15,360 --> 01:48:16,879
Speaker 3: the record with them, and I really wasn't.

1977
01:48:16,720 --> 01:48:19,440
Speaker 6: That aware of their overall sobriety.

1978
01:48:20,000 --> 01:48:22,160
Speaker 3: But the shame them live. I was really impressed.

1979
01:48:22,280 --> 01:48:23,519
Speaker 2: What made you do the record? Man?

1980
01:48:23,600 --> 01:48:26,240
Speaker 6: That you weren't that familiar with them? Like, what makes

1981
01:48:26,280 --> 01:48:27,479
Speaker 6: Michael McDonald say yes, you know.

1982
01:48:27,920 --> 01:48:30,800
Speaker 3: The song had They had approached me through management, and

1983
01:48:31,200 --> 01:48:32,760
Speaker 3: when they played the song for me, I just thought

1984
01:48:32,960 --> 01:48:35,479
Speaker 3: it just appealed to me that they had a you know,

1985
01:48:36,640 --> 01:48:38,960
Speaker 3: a musicality about it that I wanted to be a

1986
01:48:39,040 --> 01:48:41,040
Speaker 3: part of, you know, and I wanted to kind of

1987
01:48:41,120 --> 01:48:44,320
Speaker 3: lend myself to if possible. And the fact that it

1988
01:48:44,439 --> 01:48:49,080
Speaker 3: was singing backgrounds where I might have shied away from

1989
01:48:49,120 --> 01:48:51,400
Speaker 3: it as a piano player or something, you know, figuring

1990
01:48:51,439 --> 01:48:53,400
Speaker 3: out I wouldn't know what to play or whatever. But

1991
01:48:54,080 --> 01:48:56,559
Speaker 3: as a vocalist, they had probably. They had pretty much

1992
01:48:56,560 --> 01:48:59,640
Speaker 3: spelled out what they wanted me to do, and so

1993
01:48:59,800 --> 01:49:02,519
Speaker 3: I was as kind of curious as they were about

1994
01:49:02,560 --> 01:49:03,800
Speaker 3: how I would sound on it, you know.

1995
01:49:04,080 --> 01:49:09,680
Speaker 1: And so were you thrown up with Thundercat's call? No,

1996
01:49:09,920 --> 01:49:12,400
Speaker 1: that was one hearing that nobody's all coming.

1997
01:49:12,640 --> 01:49:15,360
Speaker 3: Yeah, No, that was Kenny. I have to give Kenny

1998
01:49:15,439 --> 01:49:20,240
Speaker 3: credit on that because both he and my kids are

1999
01:49:20,320 --> 01:49:24,560
Speaker 3: huge fans of Steve's, you know, and they love Thundercat.

2000
01:49:24,680 --> 01:49:28,160
Speaker 3: And when he did that interview and he mentioned Kenny

2001
01:49:28,200 --> 01:49:31,080
Speaker 3: and I, Kenny's son called him and said, you know, dad,

2002
01:49:31,360 --> 01:49:35,439
Speaker 3: you know Thundercat mentioned you in an interview is an influence.

2003
01:49:35,520 --> 01:49:37,439
Speaker 3: And Kenny got right on that.

2004
01:49:37,600 --> 01:49:40,400
Speaker 1: And you know, contacted as long as an artist has

2005
01:49:40,439 --> 01:49:42,240
Speaker 1: an animal name and sounds cool.

2006
01:49:42,520 --> 01:49:47,160
Speaker 2: Yeah right, you don't know nothing, you know. The next thing, man,

2007
01:49:47,240 --> 01:49:47,839
Speaker 2: my daughter.

2008
01:49:47,800 --> 01:49:50,360
Speaker 3: Is my great source of what's going on today. She

2009
01:49:50,520 --> 01:49:53,360
Speaker 3: plays me, you know, we take car trips, and she

2010
01:49:53,479 --> 01:49:56,160
Speaker 3: went to Coachella with me when I played with Thundercat there,

2011
01:49:56,200 --> 01:49:59,120
Speaker 3: and it was a whole weekend of listening to music

2012
01:49:59,200 --> 01:50:01,120
Speaker 3: with her, which I love. I really enjoyed.

2013
01:50:01,200 --> 01:50:02,360
Speaker 9: You know, you made her life.

2014
01:50:02,400 --> 01:50:04,360
Speaker 3: I'm sure she kept me up late to that we

2015
01:50:04,439 --> 01:50:08,200
Speaker 3: were there till the wee hours. And you know in bands.

2016
01:50:08,240 --> 01:50:10,320
Speaker 9: I'm sorry, but you and Kenny's kids in bands.

2017
01:50:10,560 --> 01:50:14,000
Speaker 3: Uh well, his son was a singer. My son's in

2018
01:50:14,080 --> 01:50:16,280
Speaker 3: a in a band, and that my daughter doesn't do it.

2019
01:50:16,360 --> 01:50:19,639
Speaker 3: She's but she's got a beautiful voice, but she doesn't

2020
01:50:19,640 --> 01:50:23,880
Speaker 3: want to sing professionally, you know, but but she loves music.

2021
01:50:23,920 --> 01:50:24,840
Speaker 3: She's a big music fan.

2022
01:50:24,960 --> 01:50:27,840
Speaker 1: And he told me that because I thought that we

2023
01:50:27,960 --> 01:50:30,400
Speaker 1: were just going to have to explain who we were, Like, okay,

2024
01:50:30,479 --> 01:50:31,400
Speaker 1: so we're a band from.

2025
01:50:31,240 --> 01:50:33,320
Speaker 2: Philly and you're like, yeah, I know you guys.

2026
01:50:33,640 --> 01:50:34,160
Speaker 3: Oh yeah, I know.

2027
01:50:34,600 --> 01:50:35,400
Speaker 2: We were throwing off.

2028
01:50:35,520 --> 01:50:41,120
Speaker 3: But through her, I've I've actually become more increasingly aware

2029
01:50:41,160 --> 01:50:42,200
Speaker 3: of what's going on around me.

2030
01:50:42,360 --> 01:50:43,200
Speaker 2: But that's awesome.

2031
01:50:43,840 --> 01:50:45,640
Speaker 10: Uh I.

2032
01:50:47,840 --> 01:50:53,679
Speaker 2: Man, I get it, I got I got the part.

2033
01:50:53,800 --> 01:50:55,680
Speaker 2: This is be there part, What's who is mo.

2034
01:51:00,080 --> 01:51:06,040
Speaker 1: Austin Brothers. That's the perfect ending of the show. Michael McDonald,

2035
01:51:06,080 --> 01:51:06,479
Speaker 1: We thank you.

2036
01:51:06,479 --> 01:51:09,000
Speaker 3: For coming question for sure, thanks for having me.

2037
01:51:09,479 --> 01:51:10,559
Speaker 6: This is dream come true.

2038
01:51:11,160 --> 01:51:12,439
Speaker 2: Thank you man for real.

2039
01:51:13,000 --> 01:51:14,960
Speaker 1: Shout out to my sister Dawn for put me on

2040
01:51:15,080 --> 01:51:17,439
Speaker 1: to Michael McDonald. She would kill me if I didn't

2041
01:51:17,520 --> 01:51:18,599
Speaker 1: mention that fact to the world.

2042
01:51:18,720 --> 01:51:19,519
Speaker 2: That's how I'll.

2043
01:51:19,360 --> 01:51:22,519
Speaker 1: Discovered you anyway on behalf of Boss Bill, Paid, Bill

2044
01:51:22,680 --> 01:51:26,000
Speaker 1: Fontigoelo Sugar Steve and It's like you and the Great

2045
01:51:26,040 --> 01:51:29,519
Speaker 1: Michael McDonald's This is Questlove signing off Mexico.

2046
01:51:29,800 --> 01:51:35,400
Speaker 2: Thank You West.

2047
01:51:35,439 --> 01:51:39,320
Speaker 1: Love Supreme is a production of iHeartRadio. This classic episode

2048
01:51:39,479 --> 01:51:46,400
Speaker 1: was produced by the team at Pandora. For more podcasts

2049
01:51:46,400 --> 01:51:49,960
Speaker 1: from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

2050
01:51:50,400 --> 01:51:52,080
Speaker 1: or wherever you listen to your favorite shows.