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Speaker 1: Of Course Love Supreme is a production of I Heart Radio.

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Speaker 1: This classic episode was produced by the team at Pandora.

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Speaker 1: What's Up, y'all? Last week on Quest Love Supreme, Greg

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Speaker 1: filling Gains took us on a journey through his career

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Speaker 1: for auditioning for Stevie Wonders Band fresh out of high

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Speaker 1: school to work with the Jackson's during the Destiny the

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Speaker 1: Triumph years, and he left. Greg he was telling us

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Speaker 1: how he got Jack for his Riots credit for tim

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Speaker 1: per cent of the publishing royalties for Michael Jacksons Don't

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Speaker 1: stop Team getting enough and uh. He also said there

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Speaker 1: was a Quincy Jones version of that story too. So

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Speaker 1: there's part two of the special Gregg Feeling Gains edition

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Speaker 1: of Course Love Supreme. Here we go. So you know

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Speaker 1: it's well no oh no, no, no no, no, no, no, no, no, no,

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Speaker 1: not that. There's something a lot more subtle. Op. Huh no,

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Speaker 1: no no, no no no. You're never gonna get it.

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Speaker 1: You're not gonna get it. I'm going to set it

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Speaker 1: up for you because you're never gonna get it. The

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Speaker 1: set up. It's good in it, having fun with you.

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Speaker 1: Want to do another one? Okay, So here's the thing

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Speaker 1: the thing is is So it's me and it's Neil

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Speaker 1: stupid house and oh, I want to say, Paul Jackson's

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Speaker 1: you and your guitar wife. I'm not sure, but I

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Speaker 1: think so. And I'm pretty sure it's j R. And drums.

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Speaker 1: We're in the studio and we're just vibing, you know,

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Speaker 1: we're just right about here. We're vibing, you know, and

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Speaker 1: it's a nice little thing going on. We're just finding

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Speaker 1: you know. Quincy's like, hey, you know, you know, I'm

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Speaker 1: We're just vibing and this vibe is being recorded, you know,

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Speaker 1: right about here. And Okay, some time passes, and I

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Speaker 1: don't mean hours, I don't mean days, I mean some time,

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Speaker 1: and now Quincy is working on I think I figured

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Speaker 1: it out. I believe so I believe. So wait wait wait, wait,

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Speaker 1: wait before you all say anything about it. So and

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Speaker 1: it says, yeah, you know, um, we're doing this thing,

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Speaker 1: and I wanna I wanna recreate that groove thing, you know,

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Speaker 1: I want to recreate that thing that's right about this

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Speaker 1: temper right here. And so if you think, you know what,

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Speaker 1: what is the song secret? Oh damn, I had the

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Speaker 1: wrong one. What's out? Then Okay, and that's okay. Yeah, damn, Oh,

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Speaker 1: there's a story for everything. There's a story for everything.

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Speaker 1: So it's like, I love Quincy's dirty draws. But he

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Speaker 1: never he would never admit that, because you know what,

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Speaker 1: I asked Hi about it one day. It's like, what

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Speaker 1: are you talking about? A long time ago asking and

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Speaker 1: he reared up at me, like what are you talking about? Okay,

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Speaker 1: I get it. After that, it's pretty stupid. Well, I mean,

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Speaker 1: it's the here's here's the king. The thing is this

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Speaker 1: I I was too busy being hurt. I was too

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Speaker 1: busy being emotionally affected, as opposed to saying, oh hell

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Speaker 1: with this, I'm fighting this. But really, are you really

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Speaker 1: prepared to fight Michael Jackson for a piece of a song?

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Speaker 1: With Michael and his his his team of lawyers. Are

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Speaker 1: you really gonna you really think you're gonna like succeed

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Speaker 1: in that? They have a freaking prayer? So what am

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Speaker 1: I gonna do? You know? And so um, I had

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Speaker 1: to suck it up. But what I lost and looked

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Speaker 1: ten percent? Please, I'd be living next to Quincy with

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Speaker 1: of that. But you know what I lost in revenue,

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Speaker 1: I'd like to think I gained in a relationship because

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Speaker 1: it went from that. And by the way, it ain't

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Speaker 1: just that. What else you got? Oh? How about did

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Speaker 1: did the did the end of Heartbreak Hotel play itself?

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Speaker 1: It was beautiful thank You, which was orchestrated doubled with

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Speaker 1: strength because Michael said, um, we need some dramatic here

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Speaker 1: at the end. So I came up with that and

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Speaker 1: then they added new orchestra to that too. Did you

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Speaker 1: start after this? Do you start looking around when you're

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Speaker 1: just jamming making sure the button a plush? Because I'm

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Speaker 1: too busy being inspired because it happened so quick for

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Speaker 1: me literally, when Michael said, and we need some dramatic

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Speaker 1: here at the end before you can finish the Jeopardy

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Speaker 1: theme song, I just go, okay, Oh but then there

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Speaker 1: what else you got? So now it's the dangerous Is

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Speaker 1: it dangerous? It's dangerous? I think it's the dangerous album.

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Speaker 1: I think it's a dangerous album. It's a dangerous album.

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Speaker 1: And we're working on this one song and Michael says,

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Speaker 1: beautiful song, by the way, beautiful and he says, um, um,

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Speaker 1: when gonna do here is I'm gonna I'm gonna talk

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Speaker 1: kind of like a monologue, thinking and I just want something.

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Speaker 1: I want some music underneath, because in the closet, in

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Speaker 1: the closet world, and I just need um. So I

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Speaker 1: need some music because it's gonna be dramatic and I'm

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Speaker 1: gonna talk talk talk through this thing at the end

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Speaker 1: of it, you know, And so I just need some music.

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Speaker 1: So it's okay, no problem, any takers, your mama? Is

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Speaker 1: it is it? Is it a joke? We didn't? Is it? Um?

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Speaker 1: What was the it's not here the world? Is it?

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Speaker 1: That will be there? What will you be there? Thank yeah?

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Speaker 1: At the end, thank you, at the end of the end,

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Speaker 1: which was level with orchestra and choir, thank you. That

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Speaker 1: is about another three minutes, if I'm not mistaken, somewhere

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Speaker 1: to three on the Free Willy Money. Yeah. So can

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Speaker 1: I ask a questions? So, um, can you explain to

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Speaker 1: the listener who may not know that intricacies of of

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Speaker 1: of what your what your jobs were at these at

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Speaker 1: these sessions. So, can you just explain the difference when

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Speaker 1: when um arranging becomes writing and when when associate producing

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Speaker 1: becomes composed to see if I'd love to explain that,

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Speaker 1: Except there's such a fine line, it's such a slippery slope.

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Speaker 1: It's kind of hard to define because basically this is

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Speaker 1: the equivalent of beauties in the eye of the of

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Speaker 1: the beholder. Will arranging is in the in the eye

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Speaker 1: of the who deems you uh an arranger, as opposed

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Speaker 1: to a songwriter, as opposed to just an arranger, as

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Speaker 1: opposed to just a little keyboard player that we're gonna

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Speaker 1: give a check one time to and send him on

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Speaker 1: his way because I want all the credit, right. So ultimately,

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Speaker 1: those things come down to whether you are going to

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Speaker 1: stand up for It comes down to either whether you're

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Speaker 1: gonna stand up and fight it or if it's mutually agreed,

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Speaker 1: mutually agreed in writing, have you ever seen someone been

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Speaker 1: like hey, by the way, and then they didn't get

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Speaker 1: a call back? Like have you ever seen someone get

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Speaker 1: black balled or not used again? Or I don't even

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Speaker 1: mess with that guy, he's a trouble maker. Yeah, nothing specific,

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Speaker 1: But is there a way to be x nat and

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Speaker 1: black balled from because you're in a sweet spot. You

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Speaker 1: keep getting work, and you keep getting work, and you

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Speaker 1: keep like you're on I mean between you're on every

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Speaker 1: I know, but I mean whenever I would try to

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Speaker 1: to raise a little dust. I always got pushed back.

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Speaker 1: I mean there was the time when um, what was it?

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Speaker 1: Uh it was Triumph M and and I was uh

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Speaker 1: I was I was classified as an associate producer. Well

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Speaker 1: I think wait, wait, wait things things things went on

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Speaker 1: and on and on and on and on, and things

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Speaker 1: were fine until one day I showed up to the

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Speaker 1: studio and Bill Bray standing outside the door. He says,

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Speaker 1: don't need you today, bubble what. I'm like, what are

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Speaker 1: you talking about? I gotta go and just don't need

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Speaker 1: you today, bubble m. They just decided that I was done. Wow,

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Speaker 1: did you see something? Because no, no, no, no I did.

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Speaker 1: I did nothing I did the day before I went

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Speaker 1: into work. Everything was fine. The next day I go

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Speaker 1: and I'm barred. Yeah, sometimes people barred because no, no, no,

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Speaker 1: no no. They just decided they could take it over

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Speaker 1: from there and they did not need my assistance. Yeah,

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Speaker 1: they didn't need my assistance anymore. So they just said, okay,

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Speaker 1: you're done by can all right. So my question him

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Speaker 1: about Trumph Engineering one I do have. I do have

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Speaker 1: a positive punchline story to the end. To finish, I said,

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Speaker 1: but you know you want to ask, well, just the

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Speaker 1: in the engineering of the Tramp album. It sounds very

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Speaker 1: flat to me as opposed to how wide open Destiny was.

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Speaker 1: And I don't know, I really needs you to tell

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Speaker 1: me a really good, uh engineering story of of Bruce

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Speaker 1: wardin what Bruce Weadin brought to off the Wall. It's

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Speaker 1: like it almost it's like it's like three D almost

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Speaker 1: who did the same with the with the same Do

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Speaker 1: you remember who mixed the tump? I don't, but the

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Speaker 1: same people were not involved, And I bab I kind

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Speaker 1: of understand what you're saying sonically, but I just can't

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Speaker 1: tell you why I'm not because I don't remember who

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Speaker 1: was involved, So you weren't there for the overseeing of

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Speaker 1: the mixing and none of that stuff. Side question. Um,

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Speaker 1: those sessions sounded really fun because they absolutely were. It's

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Speaker 1: almost to the point where I could tell almost what

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Speaker 1: order was recorded because some of these songs you did

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Speaker 1: the majority of the count off one to be four

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Speaker 1: and then some of them songs, you guys sound like

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Speaker 1: you were on your fift beer. I mean not that,

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Speaker 1: but just sound like so what were the just the

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Speaker 1: the sessions like, I mean, the best way I can

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Speaker 1: describe it is fun. Everybo there was so much and

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Speaker 1: how do you how do you learn this stuff? Like

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Speaker 1: how does it come from? Here's the cassette demo and

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Speaker 1: dada da da, like do you get the cassette first?

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Speaker 1: And do you work out these full flushed arrangements? And

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Speaker 1: how long we would wi We would hear the demo

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Speaker 1: in some form, and then after I came up with

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Speaker 1: the arrangement, I would just we we had charts. I

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Speaker 1: have a chart. It's actually my wife insisted that I frame,

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Speaker 1: uh the chart to blame it on the book. And

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Speaker 1: so it's over. It's over at the piano in the house.

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Speaker 1: So we had charts, um, and I would just do

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Speaker 1: all out the parts. But it was it was heck

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Speaker 1: of fun. It was just so much fun, fun fun.

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Speaker 1: I remember, and I think it was during the Destiny album.

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Speaker 1: I remember being in the studio part and uh, we

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Speaker 1: were just you know, there wasn't anything going on officially,

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Speaker 1: just kind of different things happening at the same time,

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Speaker 1: just stuff going on. But I remember um hearing somebody

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Speaker 1: playing drums and it was really funky. It was just

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Speaker 1: like this thing and I remember peering around and it

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Speaker 1: was Michael. He could play drums. He could play drums.

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Speaker 1: Most people do not know this, but if you think

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Speaker 1: about it made perfect sense because like Sammy, yeah, yeah,

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Speaker 1: you know what I mean. And so he could definitely

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Speaker 1: play and he was fun and it was I only

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Speaker 1: saw it one time, and I was like, wow, as

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Speaker 1: a matter of fact, I maybe there's a picture of

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Speaker 1: and even younger Michael playing drums and I have it, said,

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Speaker 1: do you have? I've seen that? Okay, but no, I

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Speaker 1: saw him for myself and it was like, wow, this

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Speaker 1: is I didn't I didn't see this coming. Oh my god.

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Speaker 1: We didn't even get to like Thriller and Off the

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Speaker 1: Wall fire and let me let me, let me give you,

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Speaker 1: let me give you the positive punchline to all this

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Speaker 1: negativity because li is as I was saying, what I

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Speaker 1: lost in Revenue, I gained a relationship to the point where, um,

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Speaker 1: you know, there was this one faithful evening where we

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Speaker 1: were all together in this room, backstage in this arena,

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Speaker 1: and ah, we were all together outside of Michael. I

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Speaker 1: went to his room separately, but um, I'm standing there

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Speaker 1: with the brothers in a circle, and I remember saying

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Speaker 1: to them, you know what, Never in my wildest dreams

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Speaker 1: did I ever think okay, after you know, listening to

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Speaker 1: your records junior high school and watching your shows. I

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Speaker 1: never ever imagined in my life that I'd be standing

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Speaker 1: in a room with all of you as your music director,

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Speaker 1: getting ready to tell you to have a great show.

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Speaker 1: And it was backstage in Madison Square Garden and we

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Speaker 1: were about to do the thirties. Mh wow. And to

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Speaker 1: go from that point early in my life as a

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Speaker 1: fan and having just fantasies about them and what it

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Speaker 1: must be like to hang with them, to to actually

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Speaker 1: be arm and arm with them in a huddle before

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Speaker 1: we start the thirty anniversary shows and I get to

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Speaker 1: tell them to have a great one. I can't begin

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Speaker 1: to tell you what that's like. That sense of balance

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Speaker 1: in your system is amazing because at the same time,

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Speaker 1: it's like, here you are in that moment, but these

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Speaker 1: are still the same guys. Didn't May did a couple

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Speaker 1: of shady things to you, So you have to continue

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Speaker 1: to be the bigger person and really just appreciate the

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Speaker 1: moment and the bigger things that are yet to come. Well, um,

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Speaker 1: thank you. All I can say is that you know,

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Speaker 1: the the thing that that one over everything else was love,

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Speaker 1: and we all realized that we really do love each other.

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Speaker 1: Mm wait, I'm not done the technical nerd questions over here,

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Speaker 1: like well, microphone, let me ruin this for a second.

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Speaker 1: So we want to be starting something. Um, are you

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Speaker 1: playing the synth bass the line now? Was sequencing out then?

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Speaker 1: Or did you have to do that seven minutes in

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Speaker 1: a row? No? I did it. There was a table

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Speaker 1: looping on you sticking sequence. Come on, man, But look, dude,

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Speaker 1: y'all y'all were playing with a lyne drum. So you're

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Speaker 1: telling me for seven minutes but seve rope. But because

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Speaker 1: I was, yes, a young and crazy like that, how

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Speaker 1: many punchings did you have to do? Not many? Don't, No, dude,

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Speaker 1: because I I graduated wonder you. Oh it's like Jimmy

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Speaker 1: jam when he said when he would play all the

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Speaker 1: stuff in h straight through and they went to school

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Speaker 1: the princess. So yeah, I get it. Okay, it makes sense. No,

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Speaker 1: I just just now I'm just thinking of all, like

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Speaker 1: even you didn't veer off into one at Libert shake

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Speaker 1: your body down to the ground like the last minute. No,

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Speaker 1: that's not true. That's not true. You gotta I well, okay,

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Speaker 1: there I had Yeah, okay, but but I paste it

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Speaker 1: to that to your point, yes, I definitely paste it,

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Speaker 1: you know. And another thing is another example of that is, uh,

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Speaker 1: don't stop. I paced those legs too. I mean I

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Speaker 1: I kept basically Oh, an even better example as thriller,

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Speaker 1: that's what I want to get to. Yeah, oh, you

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Speaker 1: already answered. You're not sequencing, so you're playing the stuff absolutely.

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Speaker 1: How are you finding these patches because now that okay,

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Speaker 1: now that the remixes are coming out, thrillers almost borderline

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Speaker 1: a pre pre precursor to the E. D M at

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Speaker 1: least with the patches that you're using. Like how long

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Speaker 1: do you That's what I'm saying, like, and well, you know,

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Speaker 1: we we had lots of help as far as programming.

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Speaker 1: We had guys like that were we had Michael Bodacker,

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Speaker 1: he was like on call. That was that was our

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Speaker 1: our our go to guy, and there were others but

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Speaker 1: or because he was playing on the jack he played,

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Speaker 1: but he programmed. But he Yeah, that the the the

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Speaker 1: strength I would say, was the program But was it

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Speaker 1: a time is money atmosphere? So okay, so we're in

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Speaker 1: the studio right now. It was whatever it takes to

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Speaker 1: get the right down. Okay, but what's the patient's factor

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Speaker 1: because it's like even okay, so even the little like

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Speaker 1: right before Vincent Price's rap thing, how long do you

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Speaker 1: have to like, let me try this, let me try

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Speaker 1: this even with keyboards today, like it takes me twenty

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Speaker 1: minutes to decide and this stuff is already pre set.

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Speaker 1: What's the what's the time? Like, what time do you

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Speaker 1: have to think of something cool? You have mere minutes? No,

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Speaker 1: there was no time, There was no when it was

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Speaker 1: right then, there was no consideration of time. It's just

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Speaker 1: like Lily, I need this patch, I need I need

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Speaker 1: this sound rather go and then however long it took,

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Speaker 1: was however long? Duck? Mhm? Are you playing on beat it? Yeah?

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Speaker 1: What is that? Intro? Gang? What is that noise? What

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Speaker 1: is this? Could not tell you if you have a

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Speaker 1: gun point it's oh god, it's I saw a YouTube video.

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Speaker 1: It's an old obviously old synthesizer and they were going

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Speaker 1: through the presets on it, and that was one of them,

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Speaker 1: not not sin Clavi. I can't remember. I can't remember.

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Speaker 1: It's been a while since I saw that video. But no,

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Speaker 1: I have no idea, bro, what was that? Human nature?

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Speaker 1: Is that the patient all those kids. Yeah, that's deep, Caro.

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Speaker 1: They didn't need me for that. It's my man's deep.

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Speaker 1: You know the story about that song, right, yeah, Rode

295
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Speaker 1: listening to because that's at nauseam and then they're like

296
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Speaker 1: falling asleep and stuff, and it's it's the auto reverse

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Speaker 1: and then you know, and they're like in a semi

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Speaker 1: sleep state, and I was like, what is that? The

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Speaker 1: rest is history? It was Clapper by the way, okay,

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Speaker 1: um that I kind of remember that now Clo okay,

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Speaker 1: one ways is one of our favorite silly you guys,

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Speaker 1: you're not gonna understand it, but in hip hop terms,

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Speaker 1: that's all I can say. Yes, it's it's been shopped

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Speaker 1: lovely to the point where like almost every line of

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Speaker 1: that thing is the solo. Yeah, it means the world

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Speaker 1: to us. It was done in ironic I think it

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Speaker 1: was done in a very ironic way. But but it's

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Speaker 1: just play it. I mean, it's you know, it's yeah.

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Speaker 1: I mean the song has been out for forever. Wait,

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Speaker 1: what's the title of it? Times like, um, yeah, this

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Speaker 1: is Jesus Christy. Ya can't stand right here right hand?

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Speaker 1: What's your man's worst night? Man? Enough the Bust Strike,

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Speaker 1: ds on Close Trades. The game was not only days.

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Speaker 1: What is the most strange? So ROMs like tom the

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Speaker 1: like the is you just happy to see me? Trick,

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Speaker 1: classical snapstick, wrappers, chap stick, a lot of so so,

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Speaker 1: a little something to remember like the Alamo taloa hot

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Speaker 1: joke like space game kick back for five year lanes.

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Speaker 1: I mean, what do you say this? This is never

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Speaker 1: heard song was like one years old. But see that's

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Speaker 1: the thing you've heard. That's the first time here in

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Speaker 1: this one hundred ways means something totally different to us.

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Speaker 1: Like initially it was like that's mom and Dad's song.

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Speaker 1: We're like easy, no, but he to that. Yeah, but

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Speaker 1: he turned and even when I heard it, I was like, yo,

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Speaker 1: I never ever thought this could be shocked And it's

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Speaker 1: a crazy person who did that? Yes, a whole lot

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Speaker 1: of time on that. Yes, actually did that? Who actually

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Speaker 1: produced m F Doom? You're a crazy guy. You're crazy,

330
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Speaker 1: bro is so well they Quincy tell you the story

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Speaker 1: that solo he told you like he woke you up

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Speaker 1: out your sleep. Yeah. It was during the time of

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Speaker 1: of assembly line uh sessions and you when you went

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Speaker 1: to work for Quincy, you knew two things. Um, no,

335
00:22:25,800 --> 00:22:28,160
Speaker 1: you knew, you knew three things. Hey, it was gonna

336
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Speaker 1: be fun, be you were gonna eat well. And see,

337
00:22:33,000 --> 00:22:35,439
Speaker 1: you never knew how long you were gonna be here.

338
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Speaker 1: So I mean, it's no o'clock in the morning, man,

339
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Speaker 1: and I had done some other stuff and and and

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Speaker 1: at this point I'm asleep under a piano. Somebody came

341
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Speaker 1: in and woke me in and said, all right, you're

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Speaker 1: up again. Okay, I in my stupor you know, I

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Speaker 1: stumble up to the thing and that's a minimog and

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Speaker 1: and Quincy's just right, So this is one hundred ways

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Speaker 1: and we need a solo. Go that's who it was.

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Speaker 1: He play at least before they play. Yeah, they played

347
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Speaker 1: this song and I'm like, okay, so what you hear

348
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Speaker 1: in that solo? Like it was the first take and

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Speaker 1: I only did um so, you know bad, And then

350
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Speaker 1: I only did like a couple of takes to finish it.

351
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Speaker 1: But up until that point, that's the first take. And

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Speaker 1: and and Quincy to this day says it's his favorite

353
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Speaker 1: solo of mind because it was done in the what

354
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Speaker 1: he calls the alpha state. What's what's known as the

355
00:23:46,160 --> 00:23:48,920
Speaker 1: alpha state because you know, only he can be scientific

356
00:23:49,040 --> 00:23:52,520
Speaker 1: with it. I was asleep, but you know he said, non, dude,

357
00:23:52,520 --> 00:23:56,240
Speaker 1: it's the alpha state. Alpha state, because you weren't thinking, dude,

358
00:23:59,080 --> 00:24:01,680
Speaker 1: do you don't know about this? There's there's a scientist

359
00:24:02,000 --> 00:24:04,399
Speaker 1: that there's a scientist that did a research on her

360
00:24:04,520 --> 00:24:10,760
Speaker 1: students owner students in which she would do pop quizzes

361
00:24:11,359 --> 00:24:17,520
Speaker 1: on her seven a M class versus prepared test advanced

362
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Speaker 1: notice to her smarter class at twelve in the afternoon

363
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Speaker 1: and did better. Because it's almost like there's there's a

364
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Speaker 1: middle ground of not preparing and over preparing and overthinking,

365
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Speaker 1: and the genius zone is always in the middle where

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Speaker 1: it's just like, no, that's that supreme he thrived. His

367
00:24:47,480 --> 00:24:51,840
Speaker 1: goal is to be in that state constantly. Wow. And

368
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Speaker 1: so that's what that's where I was. And again, it

369
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Speaker 1: only took like three takes or so for me to finish,

370
00:25:00,800 --> 00:25:04,879
Speaker 1: for me to finish it. But that that's just the

371
00:25:05,000 --> 00:25:11,639
Speaker 1: first thing that came out. I have a question about

372
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Speaker 1: the Bad album, um, and I guess I shared this

373
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Speaker 1: theory and the documentary. It's what I call the brace

374
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Speaker 1: Yourself moment, which you're a big part of. Like all

375
00:25:26,840 --> 00:25:33,640
Speaker 1: these songs have to start with this stab from hell,

376
00:25:33,840 --> 00:25:41,040
Speaker 1: this chord well not even bad. I mean, that's whybably

377
00:25:41,119 --> 00:25:44,920
Speaker 1: easy patch. But like you know, like Dirty Diana's and that,

378
00:25:45,520 --> 00:25:48,320
Speaker 1: Like by this point, are they telling you, okay, Greg,

379
00:25:48,600 --> 00:25:55,000
Speaker 1: every song on this album we need, well, no, because

380
00:25:55,040 --> 00:26:01,120
Speaker 1: that really wasn't me. Um, that wasn't no. Um those

381
00:26:01,200 --> 00:26:04,560
Speaker 1: examples he said it like with Um, First of all,

382
00:26:04,560 --> 00:26:08,440
Speaker 1: I'm not on Dirty Diana. I'm not on that at all.

383
00:26:08,720 --> 00:26:12,520
Speaker 1: Another part of me. And actually I'm not on that either,

384
00:26:14,640 --> 00:26:18,040
Speaker 1: Speed Deemon way you make me feel. I'm on the

385
00:26:18,080 --> 00:26:20,440
Speaker 1: way you made me feel. I'm not on Speed Demon. Unfortunately.

386
00:26:20,720 --> 00:26:23,800
Speaker 1: That's Jerry Hey, that's crazy, Jerry Hey, with those horns, Um,

387
00:26:24,240 --> 00:26:28,560
Speaker 1: those horns, and that's what made this song, you know that,

388
00:26:29,359 --> 00:26:33,080
Speaker 1: that's that's that's Jerry had to get tightened up for

389
00:26:33,160 --> 00:26:37,639
Speaker 1: that because you know, Michael was a little uh you know,

390
00:26:37,920 --> 00:26:40,440
Speaker 1: slow on that, and it's like equich, It's like oh no, no, no, no,

391
00:26:40,520 --> 00:26:42,280
Speaker 1: no no, there would be no Speed Demon without that

392
00:26:42,359 --> 00:26:46,200
Speaker 1: the horn horns arrangement. So you're gonna tighten up, Jerry,

393
00:26:46,600 --> 00:26:49,159
Speaker 1: you know. But um, I am on the way you

394
00:26:49,200 --> 00:26:51,960
Speaker 1: made me feel. And my favorite memory of that is,

395
00:26:52,640 --> 00:26:57,879
Speaker 1: you know, because I played the string parstitute, right, So

396
00:26:58,000 --> 00:27:00,399
Speaker 1: what I remember is doing that and having my standing

397
00:27:00,440 --> 00:27:05,320
Speaker 1: next to me going vibing with me because I'm like,

398
00:27:06,359 --> 00:27:12,200
Speaker 1: it's like moving, dude. How big is this? Just snaps? Dude?

399
00:27:12,400 --> 00:27:14,640
Speaker 1: He had the big I know he had these big hands,

400
00:27:15,359 --> 00:27:18,960
Speaker 1: and his snaps sound like clouds. Don't think yes because

401
00:27:19,000 --> 00:27:22,360
Speaker 1: you think it's cloud is on the bridge of Rock

402
00:27:22,480 --> 00:27:27,920
Speaker 1: with You, Yeah, but it's not. And when that's his fingers,

403
00:27:27,960 --> 00:27:32,520
Speaker 1: I thought that it's his fingers. Wait, can I ask

404
00:27:34,400 --> 00:27:39,560
Speaker 1: for Rock with You? Who? Well? I guess I should

405
00:27:39,560 --> 00:27:45,919
Speaker 1: have asked Quincy instead. That horn intro, oh, the one

406
00:27:45,960 --> 00:27:47,879
Speaker 1: that got removed? Why did they take that away? It

407
00:27:48,000 --> 00:27:50,879
Speaker 1: doesn't make sense to me. It's just there's there's a

408
00:27:50,960 --> 00:27:53,879
Speaker 1: horn intro to Rock with You that got Here's the

409
00:27:53,960 --> 00:27:56,160
Speaker 1: thing that I love about Off the Wall. I certainly

410
00:27:56,160 --> 00:27:59,000
Speaker 1: don't remember that. I'll play it for you off the record,

411
00:27:59,080 --> 00:28:03,320
Speaker 1: yau um. The thing that I discover about with with

412
00:28:03,480 --> 00:28:07,359
Speaker 1: thrilling Off the Wall is that a lot of this

413
00:28:07,520 --> 00:28:10,440
Speaker 1: stuff is I can tell that at least what I

414
00:28:10,560 --> 00:28:14,000
Speaker 1: assume the relationship between Michael and Quincy is let's try

415
00:28:14,160 --> 00:28:17,399
Speaker 1: every idea out and then you're gonna trust me. To

416
00:28:17,480 --> 00:28:20,040
Speaker 1: pull this away in this way and edit this and

417
00:28:20,240 --> 00:28:24,320
Speaker 1: edit that. So there are a lot of elements on

418
00:28:25,080 --> 00:28:30,560
Speaker 1: those albums that had they been there, Oh god, it

419
00:28:30,560 --> 00:28:32,639
Speaker 1: would have been like the worst dated disco album of

420
00:28:32,680 --> 00:28:35,359
Speaker 1: all time. Or you know, it's one slight mis step.

421
00:28:35,440 --> 00:28:37,960
Speaker 1: So I applaud Quincy for knowing what the pull away.

422
00:28:38,960 --> 00:28:42,920
Speaker 1: But there that's just ah, there's just moments of Okay.

423
00:28:43,000 --> 00:28:44,680
Speaker 1: So I'm thinking that you were there on the ground

424
00:28:44,720 --> 00:28:48,640
Speaker 1: floor of the horn intro instead of just the naked

425
00:28:50,600 --> 00:28:53,760
Speaker 1: because what I remember about that was Quincy saying to um,

426
00:28:54,280 --> 00:28:56,880
Speaker 1: they are I want to have a drumleg that's gonna

427
00:28:56,960 --> 00:29:00,440
Speaker 1: live in infamy. I want to have a drum like

428
00:29:00,520 --> 00:29:03,480
Speaker 1: that that that kids are gonna remember, you know, a

429
00:29:03,560 --> 00:29:08,720
Speaker 1: hundred years from now. And so he came over. That

430
00:29:08,840 --> 00:29:12,360
Speaker 1: was that bad question? Please tell me that by this

431
00:29:12,560 --> 00:29:15,120
Speaker 1: time you went on the tour and you and Ricky

432
00:29:15,240 --> 00:29:19,960
Speaker 1: were back together. Oh yeah, absolutely, Yeah, Ricky get that

433
00:29:19,960 --> 00:29:22,000
Speaker 1: gig and not Jonathan Momfatt because you were the MP

434
00:29:22,040 --> 00:29:26,600
Speaker 1: d uh, because I thought like Jonathan would have been

435
00:29:27,840 --> 00:29:30,000
Speaker 1: for life. Yeah you think that. So how did Ricky

436
00:29:30,120 --> 00:29:33,600
Speaker 1: get it? Well, Ricky also had the Victory tour, right, No, No,

437
00:29:33,720 --> 00:29:36,280
Speaker 1: that was Jonathan on a victory? Okay, Ricky did bad

438
00:29:36,440 --> 00:29:41,440
Speaker 1: and dangerous, but you did yeah with Ryl Crowe? Oh

439
00:29:41,520 --> 00:29:47,160
Speaker 1: my what? And what were you three? You just made

440
00:29:47,240 --> 00:29:56,280
Speaker 1: this woman's life. You could have been more than five. Okay,

441
00:29:56,360 --> 00:30:03,680
Speaker 1: So still um, I still have uh. And so I

442
00:30:03,960 --> 00:30:07,480
Speaker 1: don't remember, to be honest, because even though you know,

443
00:30:07,600 --> 00:30:09,479
Speaker 1: he made me the m D and that whole process

444
00:30:09,640 --> 00:30:14,800
Speaker 1: was so weird, he there were other people hiring people,

445
00:30:14,880 --> 00:30:18,800
Speaker 1: so I didn't really hire everybody. So I I didn't

446
00:30:19,320 --> 00:30:22,600
Speaker 1: hire the whole band. I mean there are certain people

447
00:30:22,640 --> 00:30:25,080
Speaker 1: that were chosen before I was even asked, how did

448
00:30:25,120 --> 00:30:29,840
Speaker 1: you present that show without the out of the age

449
00:30:29,880 --> 00:30:36,520
Speaker 1: of pro tools? You know, because oh, oh well that's easy.

450
00:30:36,600 --> 00:30:39,280
Speaker 1: We just had We just had like was it to

451
00:30:39,720 --> 00:30:44,200
Speaker 1: at least two full blown synclavites? Damn? And back then

452
00:30:44,240 --> 00:30:48,480
Speaker 1: that wash and I he was like whatever by any

453
00:30:48,520 --> 00:30:51,520
Speaker 1: means necessary, I mean, the money was no object, and

454
00:30:51,560 --> 00:30:54,000
Speaker 1: so we had like to full blown Well yeah, I

455
00:30:54,040 --> 00:30:56,360
Speaker 1: mean because that was handled back to vocals and the

456
00:30:56,480 --> 00:31:00,640
Speaker 1: and the the you know, the the extra tracks. Oh yeah, damn.

457
00:31:02,560 --> 00:31:05,080
Speaker 1: What was it like when Cheryl Crow came into the

458
00:31:05,120 --> 00:31:07,120
Speaker 1: picture for that tour? Like, what was what did she

459
00:31:07,200 --> 00:31:14,400
Speaker 1: bring to the table whiteness because she wasn't the one

460
00:31:14,440 --> 00:31:16,760
Speaker 1: with the lights in her hair. No, No, that was

461
00:31:16,840 --> 00:31:22,480
Speaker 1: Jennifer Addams. She she was the guitarist. You know, you

462
00:31:22,640 --> 00:31:32,440
Speaker 1: asked a very loaded question. My okay, because she was

463
00:31:32,480 --> 00:31:37,360
Speaker 1: after that was exiit did it dangerous? Cheryl did bad? Um.

464
00:31:38,720 --> 00:31:42,640
Speaker 1: I would say that the thing that Cheryl brought the

465
00:31:42,760 --> 00:31:55,920
Speaker 1: most of us the silence, the silence here is this

466
00:31:56,000 --> 00:32:00,760
Speaker 1: a hot topic? That something I said Steve the white

467
00:32:00,800 --> 00:32:06,320
Speaker 1: person about the single know what she brought was a

468
00:32:06,400 --> 00:32:11,560
Speaker 1: secret love affair? Oh here in my guard it Oh

469
00:32:14,000 --> 00:32:18,800
Speaker 1: well between two people, and I was the other one.

470
00:32:19,280 --> 00:32:31,960
Speaker 1: Oh oh, Graig can't like you can sniff? That was

471
00:32:32,000 --> 00:32:39,280
Speaker 1: Fante's question. Yeah, you would. You got to say the

472
00:32:39,320 --> 00:32:45,320
Speaker 1: perfect question me. Hey, listen, I guess you talking. I

473
00:32:45,400 --> 00:32:51,400
Speaker 1: guess you don't say that coming hell. Wow, he's probably

474
00:32:51,440 --> 00:32:55,680
Speaker 1: in the control room right now. Wow. Yeah, that's what happened. Man. No,

475
00:32:55,800 --> 00:32:59,040
Speaker 1: I wasn't good because I was married. Leah, he said,

476
00:32:59,120 --> 00:33:07,320
Speaker 1: secrets love Okay. How can you how okay? So not

477
00:33:07,480 --> 00:33:12,200
Speaker 1: just the tour dolling explain that it wasn't just the

478
00:33:12,280 --> 00:33:18,240
Speaker 1: name of the tour. How how can how can one

479
00:33:19,760 --> 00:33:25,760
Speaker 1: can one be a working musician, uh, and have domestic normalcy.

480
00:33:26,720 --> 00:33:29,080
Speaker 1: I mean, if you're doing the Michael Jackson Bad Tour,

481
00:33:31,040 --> 00:33:33,480
Speaker 1: are you know what about the kids at home for it?

482
00:33:33,600 --> 00:33:36,400
Speaker 1: Not just you just like the bass player or the

483
00:33:37,360 --> 00:33:42,960
Speaker 1: lighting coordinator. Like you guys were going from from seven

484
00:33:43,040 --> 00:33:46,000
Speaker 1: to the top of January nine. No, understand we ruined

485
00:33:46,040 --> 00:33:51,480
Speaker 1: the world. Understand that, Yes, but um, we're girls flinging

486
00:33:51,560 --> 00:33:53,800
Speaker 1: themselves over all of us, not over all of us.

487
00:33:54,440 --> 00:33:57,760
Speaker 1: And I was in that group. I wasn't getting girls

488
00:33:57,880 --> 00:33:59,800
Speaker 1: flung at me, you know because a lot of people

489
00:34:00,040 --> 00:34:01,640
Speaker 1: us assume, oh my god, you must have had it

490
00:34:02,360 --> 00:34:05,600
Speaker 1: ship bring out of your ears, and I no, no,

491
00:34:05,800 --> 00:34:07,600
Speaker 1: it did not happen to me. I didn't need it

492
00:34:07,640 --> 00:34:10,440
Speaker 1: from that perspective. But I just meant, like, if you

493
00:34:10,480 --> 00:34:13,760
Speaker 1: have a relationship at home, like if you're your college

494
00:34:13,800 --> 00:34:16,920
Speaker 1: professor white, it's very, very difficult and you better bring

495
00:34:17,000 --> 00:34:19,279
Speaker 1: him out at some point. We're like Michael allowed like

496
00:34:19,360 --> 00:34:22,480
Speaker 1: when he charted jet for families succumbed and visited. No, no,

497
00:34:22,600 --> 00:34:25,680
Speaker 1: he didn't do that, but he did welcome families. He

498
00:34:26,080 --> 00:34:30,520
Speaker 1: was into that. And you know, um, several of us,

499
00:34:30,640 --> 00:34:33,520
Speaker 1: including me, brought our families out at different points. I mean,

500
00:34:33,760 --> 00:34:36,920
Speaker 1: and you know Michael, you know, um, one of the singers,

501
00:34:37,000 --> 00:34:41,759
Speaker 1: Dorian Holly brought his little nanna and she spent a

502
00:34:41,960 --> 00:34:44,759
Speaker 1: lot of time on the row with us. And you know,

503
00:34:45,520 --> 00:34:48,520
Speaker 1: uh Ricky brought his kids, uh and his wife, I

504
00:34:48,680 --> 00:34:52,279
Speaker 1: brought mine out. Um. It was great in that way. Uh,

505
00:34:53,360 --> 00:35:00,120
Speaker 1: well not in my case. Um and uh yeah, I

506
00:35:00,160 --> 00:35:04,000
Speaker 1: mean I remember when we when we um, we were

507
00:35:04,040 --> 00:35:09,440
Speaker 1: in Tokyo and uh he he arranged for us to

508
00:35:09,520 --> 00:35:14,320
Speaker 1: all go to Disneyland. We shut down the park, baby,

509
00:35:14,320 --> 00:35:17,080
Speaker 1: and it was us. And you haven't lived until you've

510
00:35:17,520 --> 00:35:23,080
Speaker 1: been to Disneyland with the head Mickey. A matter of fact,

511
00:35:23,120 --> 00:35:24,720
Speaker 1: I used to call him Mickey and he would answer

512
00:35:25,120 --> 00:35:27,160
Speaker 1: to that too. But you know, he it was great

513
00:35:27,840 --> 00:35:33,240
Speaker 1: and so yes, he loved you know, the families hanging

514
00:35:33,320 --> 00:35:36,759
Speaker 1: and all that. But to answer the question, yeah, you

515
00:35:36,840 --> 00:35:40,000
Speaker 1: needed to have You couldn't sustain a tour like that

516
00:35:40,239 --> 00:35:43,439
Speaker 1: and never see your spouse at your family at any point.

517
00:35:43,480 --> 00:35:47,000
Speaker 1: You had to have him join you if you FaceTime

518
00:35:47,040 --> 00:35:51,960
Speaker 1: and all that stuff. But it's like going like it's

519
00:35:51,960 --> 00:35:56,000
Speaker 1: a rap. It's like you're going, Yeah, you're going like

520
00:35:56,040 --> 00:35:58,839
Speaker 1: you're doing it. You're in the military. It's like you're

521
00:35:58,880 --> 00:36:00,840
Speaker 1: you're gone. I would have been Wait a minute, we

522
00:36:02,040 --> 00:36:04,759
Speaker 1: did not even ask. But behind the mask, oh yeah,

523
00:36:06,280 --> 00:36:09,160
Speaker 1: behind the mask. Yeah. So um, I was working on

524
00:36:11,040 --> 00:36:17,279
Speaker 1: my second solo album while working on Yeah, while we

525
00:36:17,440 --> 00:36:22,960
Speaker 1: were also doing um oh my god waiting, We're just

526
00:36:23,040 --> 00:36:26,760
Speaker 1: all over the place. Remind me to remind you. Monald

527
00:36:26,800 --> 00:36:32,920
Speaker 1: did right by youth oh for cancel it down? Never mind, No, no,

528
00:36:33,080 --> 00:36:36,360
Speaker 1: what he he did basically, yeah, he did well. He

529
00:36:36,440 --> 00:36:38,719
Speaker 1: did better than me than Michael did, that's for sure.

530
00:36:39,320 --> 00:36:44,480
Speaker 1: Or did you do all night long? And no, no, no, no,

531
00:36:44,719 --> 00:36:47,440
Speaker 1: no here, let me give you a level of find No, no,

532
00:36:47,600 --> 00:36:50,000
Speaker 1: he actually did all night long by himself. But I

533
00:36:50,239 --> 00:36:53,520
Speaker 1: did level find level find a way and love of

534
00:36:53,560 --> 00:36:58,280
Speaker 1: conquer all and I thank you very much a crazy

535
00:36:58,400 --> 00:37:04,680
Speaker 1: video and I I did get you know, credit and

536
00:37:04,880 --> 00:37:13,359
Speaker 1: checks for that. Oh oh crap. I can't remember her

537
00:37:13,400 --> 00:37:14,680
Speaker 1: name right now. I see her face and I can't

538
00:37:14,680 --> 00:37:17,440
Speaker 1: remember her name. Yeah. I always thought that was his

539
00:37:17,560 --> 00:37:20,000
Speaker 1: take on the Al Green song like that was lovel

540
00:37:20,040 --> 00:37:25,200
Speaker 1: con girl. No, that's what it sounds sounds like that.

541
00:37:25,360 --> 00:37:29,600
Speaker 1: Well I didn't because well, I tell you what, I

542
00:37:30,080 --> 00:37:35,320
Speaker 1: wasn't well really, because I wasn't I wasn't thinking of that.

543
00:37:36,320 --> 00:37:41,960
Speaker 1: That wasn't he. That's interesting because I wasn't thinking that

544
00:37:42,040 --> 00:37:48,239
Speaker 1: at all. Okay, mar mar Marva, thank you, Princess Marvit King.

545
00:37:48,640 --> 00:37:52,600
Speaker 1: Well well later, yeah, because I keep getting hurd Marvin

546
00:37:52,640 --> 00:37:59,680
Speaker 1: Hicks confused, James round right, it's a lot of marvels.

547
00:38:00,239 --> 00:38:05,080
Speaker 1: Nice he to join us. Steve Bear, it was you

548
00:38:05,200 --> 00:38:06,879
Speaker 1: missed it. It was a good news. It wasn't bad.

549
00:38:07,080 --> 00:38:10,879
Speaker 1: You'll hear that you're playing. Yeah, yeah, it's good. Um yeah,

550
00:38:11,200 --> 00:38:17,719
Speaker 1: so uh so Lionel did do right right to err

551
00:38:17,960 --> 00:38:20,759
Speaker 1: by me. Okay. Uh he worked on his on his

552
00:38:20,840 --> 00:38:23,400
Speaker 1: first solo album, right, yeah, And that was where I

553
00:38:23,440 --> 00:38:26,279
Speaker 1: first saw your name. Yeah, when I was like four, Yeah,

554
00:38:26,760 --> 00:38:29,520
Speaker 1: that's crazy, and then left during the line of Richie

555
00:38:29,640 --> 00:38:36,560
Speaker 1: portion and the first one, the first line of Richie

556
00:38:36,800 --> 00:38:46,040
Speaker 1: you are you're on that question the intro to you are?

557
00:38:48,760 --> 00:38:52,000
Speaker 1: What this? First of all, I'm not on that, but

558
00:38:52,120 --> 00:38:57,600
Speaker 1: what what you said? It was like it was like, okay,

559
00:38:57,800 --> 00:39:01,279
Speaker 1: if you don't come back, but you sound like that

560
00:39:03,800 --> 00:39:05,960
Speaker 1: some kind of movie was like the guy goes no.

561
00:39:06,040 --> 00:39:08,800
Speaker 1: I was like an S and L you know that.

562
00:39:10,520 --> 00:39:15,560
Speaker 1: That was cool. Yeah, that was when we first started

563
00:39:15,600 --> 00:39:24,239
Speaker 1: the show. Okay, thank you, but that was Oh yeah,

564
00:39:24,239 --> 00:39:31,640
Speaker 1: I wrote that with very mysterious John McClain. Yes, so,

565
00:39:31,920 --> 00:39:35,600
Speaker 1: oh my god. There's some more John McClean credits that, uh,

566
00:39:36,520 --> 00:39:38,880
Speaker 1: I've seen and I didn't think that was him. He

567
00:39:39,040 --> 00:39:43,560
Speaker 1: was a songwriter. First, Well we wait, I got oh,

568
00:39:43,640 --> 00:39:48,960
Speaker 1: I got a story about me and John hit me? Well, John,

569
00:39:49,160 --> 00:39:52,760
Speaker 1: who I love dearly? Let me just start out pressing.

570
00:39:53,480 --> 00:39:55,000
Speaker 1: Let me just say that right now. I do love

571
00:39:55,120 --> 00:39:57,480
Speaker 1: him dealing. I really do. He's the kind of guy

572
00:39:57,880 --> 00:40:00,400
Speaker 1: that you will never get to love because he just

573
00:40:00,600 --> 00:40:05,600
Speaker 1: doesn't a lot um but I love him. And we

574
00:40:05,960 --> 00:40:15,480
Speaker 1: spent a lot of time together. Um in seventy nine,

575
00:40:16,360 --> 00:40:18,840
Speaker 1: in the early eighties, we spent a lot of time together,

576
00:40:19,400 --> 00:40:23,000
Speaker 1: and I had this dream, we had this dream of

577
00:40:23,680 --> 00:40:27,080
Speaker 1: forming a band that would that would be called PM

578
00:40:29,280 --> 00:40:34,400
Speaker 1: and never yeah, and never happened, no form here, but

579
00:40:35,120 --> 00:40:39,320
Speaker 1: um we we hooked up somehow and and he was

580
00:40:39,520 --> 00:40:46,239
Speaker 1: the first guy that sounded like Prince before Prince. That's

581
00:40:46,280 --> 00:40:52,680
Speaker 1: how he played guitar. That John McLean man, Ye gotta

582
00:40:52,760 --> 00:40:56,560
Speaker 1: farm this motherfucker. Well, if you do, you will win

583
00:40:57,120 --> 00:41:00,759
Speaker 1: the ultimate prize. We're going for him. It's just we

584
00:41:00,840 --> 00:41:03,600
Speaker 1: can't find him and you know what, I'm sorry to say,

585
00:41:03,680 --> 00:41:07,400
Speaker 1: but you probably won't really. Yeah, he's that mysterious. You

586
00:41:07,440 --> 00:41:10,759
Speaker 1: know what, you can google anybody on the planet. YEA, say,

587
00:41:10,800 --> 00:41:12,480
Speaker 1: I can't. Even if he walked in right now, I

588
00:41:12,520 --> 00:41:15,320
Speaker 1: would know. I've never seen what I imagine that he

589
00:41:15,520 --> 00:41:21,680
Speaker 1: was like Stoney Jackson. No, okay, he's a black guy.

590
00:41:22,440 --> 00:41:28,479
Speaker 1: Um damn. But don't you can't find him? Wow? Damn.

591
00:41:28,560 --> 00:41:31,640
Speaker 1: So he Medina eyed his way into the industry as

592
00:41:31,680 --> 00:41:36,440
Speaker 1: an executive the same way that Bennie Medina was musician.

593
00:41:38,760 --> 00:41:51,600
Speaker 1: Yeah he's Bennie Medina. Lord. Yeah, but no, actually, actually

594
00:41:51,719 --> 00:41:57,399
Speaker 1: John was a little more legitimate. But anyway, we need

595
00:41:57,480 --> 00:42:03,440
Speaker 1: a feed for you, um, or maybe I'll just come

596
00:42:03,520 --> 00:42:05,440
Speaker 1: up with my own. Just do a couple of spots

597
00:42:05,480 --> 00:42:12,000
Speaker 1: for you. But anyway, don't write a check. Get but

598
00:42:14,680 --> 00:42:20,239
Speaker 1: you might be surprised. Um. Anyway, So, yes, you all

599
00:42:20,320 --> 00:42:22,640
Speaker 1: had a group called PM. No, we had a dream,

600
00:42:23,120 --> 00:42:26,359
Speaker 1: We had the idea of a group, but it never

601
00:42:26,520 --> 00:42:31,120
Speaker 1: came to fruition. What projects what? Okay? But you know

602
00:42:31,120 --> 00:42:38,680
Speaker 1: what we did work on together a TV series. Oh

603
00:42:39,120 --> 00:42:41,480
Speaker 1: the name of the producer escapes me right now, but

604
00:42:42,640 --> 00:42:45,680
Speaker 1: the show is called The Righteous Apples. Oh my god,

605
00:42:46,000 --> 00:42:49,560
Speaker 1: the Rgeers. Yeah, they did a cover of let It Go,

606
00:42:49,920 --> 00:42:53,840
Speaker 1: but uh, let the Love out of y'all. Huh. It

607
00:42:54,000 --> 00:42:57,200
Speaker 1: was a Page's joint originally Richard Page the Joint, and

608
00:42:57,239 --> 00:42:59,960
Speaker 1: then they did a cover of it the Righteous Apples.

609
00:43:00,000 --> 00:43:01,919
Speaker 1: It was like they were like a high school yes

610
00:43:03,560 --> 00:43:06,640
Speaker 1: from But I'm trying to think of the name of

611
00:43:06,680 --> 00:43:08,920
Speaker 1: the creator and the writer and I can't for the

612
00:43:08,960 --> 00:43:11,160
Speaker 1: life of me right now. Black guy were he wore

613
00:43:11,920 --> 00:43:14,480
Speaker 1: ring glasses. He was with the PBS thing, and we

614
00:43:14,680 --> 00:43:19,760
Speaker 1: we wrote and produced songs for that show, like Rollarello. Yeah.

615
00:43:20,719 --> 00:43:22,560
Speaker 1: As a matter of fact, I'm looking at the MDB

616
00:43:22,640 --> 00:43:26,920
Speaker 1: page right, Yeah, and we'll just continue. That's what is

617
00:43:26,920 --> 00:43:29,480
Speaker 1: there another song called feels like the First Time? It

618
00:43:29,600 --> 00:43:35,080
Speaker 1: doesn't listen just this one, okay, but yeah, but yeah,

619
00:43:35,160 --> 00:43:42,879
Speaker 1: we we did that and that was the Yeah, yes

620
00:43:42,960 --> 00:43:46,680
Speaker 1: he was, but John doesn't look like stony and Ernest Thomas. Wow,

621
00:43:47,120 --> 00:43:49,840
Speaker 1: isn't that crazy? Ernest one thought I was Common's bodyguard.

622
00:43:50,239 --> 00:43:59,879
Speaker 1: That's that broke my heart? Man, Why that's funny? Top

623
00:44:00,040 --> 00:44:05,480
Speaker 1: Thank you Martin, Yeah, thank you. Wow. Yes, that was

624
00:44:05,520 --> 00:44:08,759
Speaker 1: my introduction the topper. That was the first thing that

625
00:44:08,880 --> 00:44:12,080
Speaker 1: you scored or like for television. I think it was

626
00:44:12,080 --> 00:44:15,560
Speaker 1: the only thing. Okay, so Michael Henderson was on the

627
00:44:15,760 --> 00:44:18,759
Speaker 1: Sorry really he was on an episode? Yeah he was.

628
00:44:19,280 --> 00:44:21,800
Speaker 1: I guess was just remember just as a member of

629
00:44:21,840 --> 00:44:24,759
Speaker 1: the band as like I wouldn't call well, I guess

630
00:44:24,800 --> 00:44:29,320
Speaker 1: you can call it a drama store, I guess Michael Henderson.

631
00:44:29,400 --> 00:44:34,040
Speaker 1: And what year when the show was on cocaine? Mike

632
00:44:34,160 --> 00:44:43,320
Speaker 1: Henderson sh can you please break it down? Have you

633
00:44:43,400 --> 00:44:49,399
Speaker 1: ever heard of Michael Henderson's rant? Drunken rant in Japan? No? Oh,

634
00:44:49,600 --> 00:44:54,879
Speaker 1: my god, the best best. I'm not breaking it down

635
00:44:55,080 --> 00:45:06,719
Speaker 1: for nobody. I'm not backing it up. Mom game. Curtis Mayfield,

636
00:45:06,800 --> 00:45:10,279
Speaker 1: they're trying to they're trying to kill like he's just

637
00:45:10,520 --> 00:45:12,560
Speaker 1: drunk and he's playing in front of it feels like

638
00:45:12,640 --> 00:45:16,560
Speaker 1: he's performing for artist and fourteen and you can hear

639
00:45:16,640 --> 00:45:18,680
Speaker 1: people like because he's responding to be Oh, you're gonna

640
00:45:18,719 --> 00:45:21,680
Speaker 1: leave baby, Oh that's okay, that's all right, people walking out,

641
00:45:21,719 --> 00:45:29,240
Speaker 1: And it's just like regular. It has to be wasting

642
00:45:29,239 --> 00:45:32,400
Speaker 1: any time. It has to be eighty four. And like Norman,

643
00:45:32,480 --> 00:45:36,640
Speaker 1: I think Norman Connors is drumming, but he takes it's

644
00:45:36,680 --> 00:45:41,040
Speaker 1: a seven minute build up to sing going Places, and

645
00:45:41,120 --> 00:45:51,600
Speaker 1: when he very specials like I didn't, I was like, damn.

646
00:45:51,640 --> 00:45:53,840
Speaker 1: It's like he gets into the verse, who you realize

647
00:45:53,880 --> 00:45:58,879
Speaker 1: it's going places? Nothing. That's what he say. His son,

648
00:45:59,080 --> 00:46:02,440
Speaker 1: His son lives in Billy and keeps taking it off

649
00:46:02,520 --> 00:46:04,319
Speaker 1: of YouTube because I can't I can't find it. Right,

650
00:46:08,680 --> 00:46:11,359
Speaker 1: I got it. I got three that ain't going nowhere.

651
00:46:11,400 --> 00:46:13,279
Speaker 1: Have you ever seen the version where they made a

652
00:46:13,400 --> 00:46:16,880
Speaker 1: video to it? Stones throw stones throw there like a

653
00:46:17,360 --> 00:46:22,200
Speaker 1: animated ad. It's the best thing on earth. Take me on,

654
00:46:22,400 --> 00:46:27,719
Speaker 1: motherfucking yours right, motherfucking He goes into the next song.

655
00:46:28,239 --> 00:46:30,759
Speaker 1: So this sounds better than Ray Charles's. It sounds better

656
00:46:30,800 --> 00:46:36,600
Speaker 1: than Buddy Riches. It sounds better than that one passed,

657
00:46:36,600 --> 00:46:40,920
Speaker 1: those pass those three they're hurting people out. But this

658
00:46:41,120 --> 00:46:44,600
Speaker 1: is just like her? Which one is the Ray? Where

659
00:46:44,640 --> 00:46:51,520
Speaker 1: is he cuting people by that? Someone interrupts. There's a

660
00:46:51,560 --> 00:46:55,160
Speaker 1: scuffle between him and and the drummer. At the time,

661
00:46:55,200 --> 00:46:57,800
Speaker 1: I think was not Bernard, but I al thought it

662
00:46:57,840 --> 00:47:00,520
Speaker 1: was fat Head. Fathead was sexy fact it was the

663
00:47:00,560 --> 00:47:03,839
Speaker 1: sex player. But but it was a scuffle between him

664
00:47:04,040 --> 00:47:06,520
Speaker 1: and the drummer. And the drummer walked off and that's

665
00:47:06,520 --> 00:47:09,200
Speaker 1: all right. No, I know's all right? It went it

666
00:47:09,360 --> 00:47:13,120
Speaker 1: was okay, there's he's doing busted. I never I have

667
00:47:13,200 --> 00:47:16,120
Speaker 1: a version of him doing busted. And then someone gets

668
00:47:16,200 --> 00:47:19,520
Speaker 1: on the stage. It's like you were dog. You were

669
00:47:19,719 --> 00:47:22,919
Speaker 1: dog and raised his like, bless your heart, bless your heart.

670
00:47:23,360 --> 00:47:26,520
Speaker 1: You were none but a dirty dog. She know a

671
00:47:26,600 --> 00:47:29,600
Speaker 1: guy basically like Ray must have did something wrong to

672
00:47:29,760 --> 00:47:33,120
Speaker 1: a woman, either slept with his wife himself. You ain't

673
00:47:33,160 --> 00:47:36,680
Speaker 1: nothing but a dog. Bless your heart because someone because someone,

674
00:47:36,719 --> 00:47:42,600
Speaker 1: please get this gentleman off the stage. League, but do

675
00:47:43,120 --> 00:47:46,239
Speaker 1: you were dog? And then they take him off and

676
00:47:46,280 --> 00:47:49,120
Speaker 1: then like you hear him walking like a cross cuts

677
00:47:49,160 --> 00:47:57,320
Speaker 1: out back and then all right lit like like nothing happened,

678
00:47:58,440 --> 00:48:11,440
Speaker 1: but yes it stops up there. But no Michael, so listen,

679
00:48:11,920 --> 00:48:16,359
Speaker 1: uh what I know you have a billion of these?

680
00:48:17,040 --> 00:48:21,440
Speaker 1: What three songs did you say no to that you

681
00:48:21,560 --> 00:48:25,160
Speaker 1: could have been on? Like did you only stay in

682
00:48:25,280 --> 00:48:31,560
Speaker 1: the winter circle? Michael lionel Stee. The only example I

683
00:48:31,719 --> 00:48:38,120
Speaker 1: have of that is a song that I was originally

684
00:48:38,160 --> 00:48:46,160
Speaker 1: asked to uh over that bon piano, and I was

685
00:48:46,400 --> 00:48:52,200
Speaker 1: very full of myself and I oh, I went into

686
00:48:52,239 --> 00:48:54,320
Speaker 1: the session, but I mean, I was feeling myself musically

687
00:48:54,320 --> 00:48:57,320
Speaker 1: and I thought like whatever I played would be great,

688
00:48:58,400 --> 00:49:00,800
Speaker 1: and it wasn't because they just wanted something. They just

689
00:49:00,920 --> 00:49:05,960
Speaker 1: wanted the changes in the in the rhythm that that

690
00:49:06,520 --> 00:49:08,560
Speaker 1: that it was in, and I was I was overplaying.

691
00:49:08,920 --> 00:49:12,520
Speaker 1: I overplayed and over I overplayed my way out of

692
00:49:12,560 --> 00:49:16,359
Speaker 1: the session. And I regret that because I really love

693
00:49:16,440 --> 00:49:18,560
Speaker 1: this song and it's one of my favorites from George Benson.

694
00:49:18,640 --> 00:49:26,000
Speaker 1: This turn your Love all Round? How do you? They

695
00:49:26,080 --> 00:49:28,160
Speaker 1: just wanted you to play the piano line, they just wanted,

696
00:49:30,719 --> 00:49:33,080
Speaker 1: but I was playing. I was playing dune Man maund

697
00:49:33,600 --> 00:49:36,160
Speaker 1: bank Bound. I was just overplaying, you know, and I

698
00:49:37,400 --> 00:49:41,359
Speaker 1: to ask you to just play simple. I guess they

699
00:49:41,440 --> 00:49:44,520
Speaker 1: just said, well, it's not okay, thanks, and then the

700
00:49:44,600 --> 00:49:48,000
Speaker 1: next thing, I know, somebody else was honest, but so yeah,

701
00:49:48,200 --> 00:49:49,759
Speaker 1: but I remember being asked to play on it, but

702
00:49:49,840 --> 00:49:51,759
Speaker 1: I just I didn't. I didn't play it right, you know,

703
00:49:51,840 --> 00:49:55,840
Speaker 1: And I could have. And I even at that point,

704
00:49:55,920 --> 00:49:59,080
Speaker 1: I was definitely more trained because of all the other

705
00:49:59,200 --> 00:50:01,080
Speaker 1: years of the doing sessions, and I just should have

706
00:50:01,120 --> 00:50:05,840
Speaker 1: known better. But I overplayed. Were you formally trained how

707
00:50:05,880 --> 00:50:07,200
Speaker 1: to play me? We didn't talk about that were you

708
00:50:07,280 --> 00:50:09,960
Speaker 1: formally like you know, how to read or just I

709
00:50:10,080 --> 00:50:13,279
Speaker 1: know I started playing by your at well, my mom

710
00:50:13,440 --> 00:50:17,279
Speaker 1: says the legend as it too. Um, I started playing

711
00:50:17,320 --> 00:50:20,120
Speaker 1: by her around two. But then I started taking lessons

712
00:50:20,160 --> 00:50:22,799
Speaker 1: in around six, and so I did have formal training. Um.

713
00:50:22,920 --> 00:50:25,879
Speaker 1: And and my I had three teachers and the third

714
00:50:25,960 --> 00:50:29,600
Speaker 1: one was the most influential and the most effective. And

715
00:50:29,920 --> 00:50:33,600
Speaker 1: he was the pianist with the Detroit Symphony Orchestra. And

716
00:50:33,719 --> 00:50:36,160
Speaker 1: his name was Misha Cutler and he was a badass.

717
00:50:36,239 --> 00:50:38,400
Speaker 1: He didn't take any mess. And and you know, I

718
00:50:38,520 --> 00:50:41,399
Speaker 1: needed discipline because I was running over my last teacher

719
00:50:41,440 --> 00:50:43,719
Speaker 1: because I thought I was hot, snot knew everything. And

720
00:50:44,000 --> 00:50:46,919
Speaker 1: he I left his his house crying many times because

721
00:50:46,960 --> 00:50:50,040
Speaker 1: he just he was this Russian, you know, like Polish,

722
00:50:50,480 --> 00:50:53,640
Speaker 1: and he was, you know, very strict and took no mess,

723
00:50:53,719 --> 00:50:59,040
Speaker 1: you know. But it's the discipline I needed. Did Luca

724
00:50:59,120 --> 00:51:04,759
Speaker 1: third produced around He Actually I think he might have

725
00:51:04,840 --> 00:51:08,399
Speaker 1: been one of the producers. Um, I think I'm not sure,

726
00:51:09,160 --> 00:51:14,160
Speaker 1: but but it wasn't Quincy though, right. No, okay, okay, okay, okay, um,

727
00:51:15,719 --> 00:51:18,320
Speaker 1: what what have you played one that we might not know?

728
00:51:18,880 --> 00:51:23,839
Speaker 1: Like j Grayden did turn your liver room. Thank you? Yeah,

729
00:51:24,719 --> 00:51:28,759
Speaker 1: so weird? Yeah? What have I played on it? This

730
00:51:28,840 --> 00:51:30,400
Speaker 1: is a hard question for you because you know everything.

731
00:51:31,040 --> 00:51:35,560
Speaker 1: I mean, like, you know, did you stuff for you know? You?

732
00:51:35,640 --> 00:51:39,239
Speaker 1: On the heat is one by Glenn fry Or. I

733
00:51:39,360 --> 00:51:42,319
Speaker 1: can't tell you why I wish, I wish. Let's really

734
00:51:42,360 --> 00:51:46,680
Speaker 1: be playing a yeah yeah, no, I can't even think

735
00:51:46,680 --> 00:51:52,000
Speaker 1: of anything they did for a float or is Disgug's

736
00:51:52,080 --> 00:51:56,680
Speaker 1: lying to me right now? I did a floatry, I

737
00:51:56,719 --> 00:51:59,799
Speaker 1: don't know. I didn't. They can give you credit? Really.

738
00:52:00,320 --> 00:52:04,040
Speaker 1: Oh okay, wait a minute. Oh I'm so glad this

739
00:52:04,160 --> 00:52:07,320
Speaker 1: came to me. It's gonna kill me. I gotta go

740
00:52:07,360 --> 00:52:10,880
Speaker 1: back to Triumph. Explain you said this to me once

741
00:52:10,920 --> 00:52:15,200
Speaker 1: and I didn't know. Okay, so help me out here, guys,

742
00:52:15,480 --> 00:52:24,640
Speaker 1: Dela light works, Okay on your ways on Triumph. I

743
00:52:24,760 --> 00:52:28,799
Speaker 1: was going to ask about that actually oh yeah, yeah, yeah, yeah, yeah,

744
00:52:29,080 --> 00:52:33,520
Speaker 1: you said, was that the exact what's going on? Like

745
00:52:34,000 --> 00:52:35,600
Speaker 1: the I don't know about that, but I know that

746
00:52:35,640 --> 00:52:41,680
Speaker 1: the instrument used was, um, I'm electron? Uh yeah, but

747
00:52:41,800 --> 00:52:43,960
Speaker 1: the same one. Did you tell me that that was

748
00:52:44,040 --> 00:52:48,920
Speaker 1: the same exact one that Marmy used on What's going on? Oh,

749
00:52:49,480 --> 00:52:53,759
Speaker 1: I don't think so, I couldn't possibly know that, Okay, No,

750
00:52:54,000 --> 00:52:56,759
Speaker 1: but I know someone told me. Someone said like that

751
00:52:57,160 --> 00:53:01,080
Speaker 1: either Randy something like Marvin Hey or he had especially

752
00:53:01,160 --> 00:53:04,320
Speaker 1: made well. Yeah, and Barry had do you know the

753
00:53:04,400 --> 00:53:09,200
Speaker 1: story of Motown that Raymond Scott had built, had convinced

754
00:53:09,239 --> 00:53:13,360
Speaker 1: Barry Gordy to purchase two of his his version of

755
00:53:13,440 --> 00:53:17,800
Speaker 1: tontouh and this, and he ordered two of them, and

756
00:53:17,880 --> 00:53:23,200
Speaker 1: then I think mid second one they just discontinued the production.

757
00:53:23,239 --> 00:53:29,200
Speaker 1: He was like, no, never mind, what was this? Because

758
00:53:29,200 --> 00:53:32,399
Speaker 1: I'm wondering if these instruments that you're talking about, if

759
00:53:32,520 --> 00:53:42,360
Speaker 1: they were used in these uh incredible ways for songs

760
00:53:42,480 --> 00:53:49,359
Speaker 1: like Reflections m because I I defy anybody to tell

761
00:53:49,400 --> 00:53:51,240
Speaker 1: me what the hell that sound is in the opening,

762
00:53:57,520 --> 00:53:59,919
Speaker 1: whatever that is, and then they then they use something

763
00:54:00,000 --> 00:54:03,880
Speaker 1: else later on, like what you know in these random

764
00:54:03,880 --> 00:54:06,680
Speaker 1: places in the song, which is brilliant, but I have

765
00:54:06,800 --> 00:54:08,879
Speaker 1: no idea what it is here it is, okay, So yeah.

766
00:54:09,000 --> 00:54:12,799
Speaker 1: Nineteen sixty nine, Barry Gordy tipped off about a man

767
00:54:12,920 --> 00:54:16,520
Speaker 1: musical scientists engage the mysterious works, visited Scott at his

768
00:54:16,600 --> 00:54:19,960
Speaker 1: Long Island lab to witness the electroni. Um, that's what

769
00:54:20,040 --> 00:54:24,320
Speaker 1: he called it, electronow Yeah, and all of its inference possibilities.

770
00:54:24,400 --> 00:54:26,920
Speaker 1: In Gorty hired Scott and seventy one to serve as

771
00:54:27,000 --> 00:54:33,920
Speaker 1: director of Motown's Electronic Music and Research Department. Oh, position

772
00:54:34,000 --> 00:54:41,200
Speaker 1: Scott held until Uh no Motown recordings using Scott's electronic

773
00:54:41,280 --> 00:54:45,759
Speaker 1: inventions have been publicly identified. That is that. But yeah,

774
00:54:45,800 --> 00:54:49,640
Speaker 1: he originally someone says uh that he originally started working

775
00:54:49,719 --> 00:54:53,080
Speaker 1: on the electronium out of Barry's house. Uh. They set

776
00:54:53,160 --> 00:54:55,200
Speaker 1: up a room over the garages and he worked there

777
00:54:55,239 --> 00:54:57,680
Speaker 1: putting stuff together so Barry could get involved and see

778
00:54:57,680 --> 00:55:00,360
Speaker 1: the progress, and at one point worked out of this studio.

779
00:55:01,040 --> 00:55:03,759
Speaker 1: The unit unit never got finalized and Ray had a

780
00:55:03,800 --> 00:55:07,040
Speaker 1: real problem letting go. Uh. It was always being developed

781
00:55:07,600 --> 00:55:09,719
Speaker 1: and that was for by You know what, what do

782
00:55:09,760 --> 00:55:14,399
Speaker 1: you think it probably sounded like crap, it's a waste

783
00:55:14,440 --> 00:55:19,319
Speaker 1: of seven What do you think it probably just wasn't good? Yeah? Uh,

784
00:55:19,680 --> 00:55:23,000
Speaker 1: do you have a weird of the world question, Steve Um? Yeah,

785
00:55:23,040 --> 00:55:24,560
Speaker 1: I mean I didn't even put it together in my

786
00:55:24,640 --> 00:55:27,520
Speaker 1: head that that that was you on that just you know,

787
00:55:28,040 --> 00:55:29,759
Speaker 1: is your name on the cover of that forty five?

788
00:55:29,880 --> 00:55:32,359
Speaker 1: Like no, not the cat, No, that's just the artist.

789
00:55:32,400 --> 00:55:34,880
Speaker 1: But I did play piano in it. The artist is

790
00:55:35,000 --> 00:55:38,480
Speaker 1: one of the artists. Then what happened there? No I

791
00:55:38,680 --> 00:55:42,279
Speaker 1: wasn't No, it's not on the cover. No no, no, no, no, no,

792
00:55:42,719 --> 00:56:01,759
Speaker 1: no everything. Hey, Greg, who was the artist? And maybe

793
00:56:01,800 --> 00:56:03,600
Speaker 1: it's the same person, But who was the artist that

794
00:56:03,760 --> 00:56:06,640
Speaker 1: that you really ran to the studio outside of, of

795
00:56:06,800 --> 00:56:09,960
Speaker 1: course Stevie Jackson's linel that you ran to the studio

796
00:56:10,040 --> 00:56:11,640
Speaker 1: to work with because you were so excited, And who

797
00:56:11,760 --> 00:56:14,080
Speaker 1: was the artist that you ran on tour to be with?

798
00:56:14,360 --> 00:56:19,560
Speaker 1: Nobody so excited anybody? Well, as far as touring, you know,

799
00:56:19,680 --> 00:56:21,400
Speaker 1: there was the time when I toured with a Beatle,

800
00:56:22,760 --> 00:56:28,160
Speaker 1: which one pa Nope, uh this this this this other

801
00:56:28,239 --> 00:56:30,520
Speaker 1: guy that I was touring with. I was in his band,

802
00:56:31,239 --> 00:56:34,160
Speaker 1: and uh we already had a said thing going. And

803
00:56:34,239 --> 00:56:39,840
Speaker 1: then uh, that artist managed to convince George m to

804
00:56:40,000 --> 00:56:42,520
Speaker 1: tour with us, and he he said, you can use

805
00:56:42,560 --> 00:56:46,000
Speaker 1: my band, and so it was the Eric Clapton and

806
00:56:46,200 --> 00:56:50,120
Speaker 1: George Harrison tour of Japan. And you haven't lived until

807
00:56:50,160 --> 00:56:54,000
Speaker 1: you've toured with a Beatle. Jesus, it didn't suck. And

808
00:56:54,200 --> 00:56:56,000
Speaker 1: we go to here's a crazy thing. We go to

809
00:56:56,000 --> 00:56:59,840
Speaker 1: Tokyo and of course George was absolutely lovely. Uh you

810
00:57:00,000 --> 00:57:04,800
Speaker 1: of a human being. Um. We go to Tokyo and

811
00:57:05,400 --> 00:57:08,920
Speaker 1: we're all we're all terribly excited, and we were in

812
00:57:09,080 --> 00:57:13,680
Speaker 1: the h hotel is called the Capital Tokyo Hotel. We're

813
00:57:13,719 --> 00:57:20,080
Speaker 1: in Georgia's room. TV's on and they're playing footage. I

814
00:57:20,080 --> 00:57:22,160
Speaker 1: mean they're they're announcing obviously the George is in town,

815
00:57:22,200 --> 00:57:25,160
Speaker 1: but they're playing footage of when the Beatles pulled up

816
00:57:25,320 --> 00:57:28,280
Speaker 1: to the exact same hotel we're staying in. So now

817
00:57:28,400 --> 00:57:31,200
Speaker 1: I'm in a room, I'm in a suite with a

818
00:57:31,280 --> 00:57:34,920
Speaker 1: Beatle watching footage of when his band pulled up to

819
00:57:35,080 --> 00:57:38,840
Speaker 1: the same hotel we're in. Like, okay, just kind of

820
00:57:38,960 --> 00:57:42,080
Speaker 1: take this in. And so we toured around. It was great.

821
00:57:42,160 --> 00:57:47,880
Speaker 1: And then um and then another uh George story which

822
00:57:48,000 --> 00:57:50,280
Speaker 1: I always love to tell. Um. It was the second

823
00:57:50,320 --> 00:57:55,720
Speaker 1: time I went to visit him at his home and uh,

824
00:57:56,000 --> 00:58:00,920
Speaker 1: he opened the door and he's he's in corn Rows, George,

825
00:58:01,280 --> 00:58:10,280
Speaker 1: George Hampson. Yeah, okay, he opened it and I go, well,

826
00:58:10,760 --> 00:58:14,080
Speaker 1: I didn't see this coming. George was like, what do

827
00:58:14,200 --> 00:58:18,240
Speaker 1: you think? I said, first of all, who, how did

828
00:58:18,320 --> 00:58:21,320
Speaker 1: you even get your hair in corn Rose the girl hiding? Okay,

829
00:58:22,600 --> 00:58:24,600
Speaker 1: how did that work? But he was in corner. I

830
00:58:24,640 --> 00:58:27,120
Speaker 1: wish I took a picture of him. But so we're

831
00:58:27,160 --> 00:58:29,240
Speaker 1: hanging out and then he goes, do you want to

832
00:58:29,280 --> 00:58:34,880
Speaker 1: hear the new song? Then I go, okay, we go

833
00:58:35,000 --> 00:58:38,000
Speaker 1: up to the bedroom, plays the thing, and I got

834
00:58:38,120 --> 00:58:46,360
Speaker 1: my private world premiere of Free as a Bird. And

835
00:58:46,440 --> 00:58:50,960
Speaker 1: I'm sitting there and I'm absolutely transfixed and mesmerized. I

836
00:58:51,080 --> 00:58:53,520
Speaker 1: can't believe that I'm, first of all, sitting in the

837
00:58:53,640 --> 00:58:57,920
Speaker 1: bedroom of a Beatle listening to the last song all

838
00:58:58,000 --> 00:59:01,440
Speaker 1: the Beatles did, damn. And I'm sitting there and chills

839
00:59:01,480 --> 00:59:03,400
Speaker 1: are running up and down my spot. For first of all,

840
00:59:03,720 --> 00:59:05,640
Speaker 1: I'm getting chills even talking about this right now. But

841
00:59:06,160 --> 00:59:08,000
Speaker 1: I'm sitting there and I'm just trying to take all

842
00:59:08,080 --> 00:59:11,280
Speaker 1: this and I'm going I went around with George Harrison

843
00:59:12,000 --> 00:59:15,480
Speaker 1: the last Beetles. Oh my god, I can't believe this

844
00:59:15,640 --> 00:59:21,480
Speaker 1: is happening right now. But Okay, on the heels of

845
00:59:21,560 --> 00:59:24,200
Speaker 1: that question, you also you also emptied a lot of

846
00:59:24,280 --> 00:59:27,480
Speaker 1: specials and awards shows. What was your what was one

847
00:59:27,480 --> 00:59:29,760
Speaker 1: of your favorite experiences with that PS. I really enjoyed

848
00:59:29,800 --> 00:59:33,960
Speaker 1: watching because you're always so in thank you. Well, what

849
00:59:34,160 --> 00:59:36,240
Speaker 1: was your first one that you did, like your first

850
00:59:36,280 --> 00:59:40,120
Speaker 1: Awards that you Oh my goodness, I don't know the

851
00:59:40,240 --> 00:59:45,480
Speaker 1: first Awards show that I am deed, wow, I I

852
00:59:45,600 --> 00:59:49,400
Speaker 1: don't know. I'd have to research that. I don't damn.

853
00:59:49,440 --> 00:59:52,600
Speaker 1: So Ricky Miner wasn't born with that. He just okay,

854
00:59:52,640 --> 00:59:58,480
Speaker 1: here you go, thank you. But no, uh no, I

855
00:59:58,720 --> 01:00:02,800
Speaker 1: don't remember. But I tell you what the pretty much

856
01:00:02,840 --> 01:00:08,080
Speaker 1: the best one was. It was based off of How

857
01:00:08,160 --> 01:00:14,040
Speaker 1: I Got started, The Jackson Third the special did um no,

858
01:00:14,160 --> 01:00:17,919
Speaker 1: he said, how you got started started? I was thinking

859
01:00:17,960 --> 01:00:26,520
Speaker 1: of the Detroit Symphony thing. Uh, Stevie in the Key

860
01:00:27,040 --> 01:00:33,480
Speaker 1: of Life. It was a Grammy tribute. I am dated. Yeah,

861
01:00:33,800 --> 01:00:38,760
Speaker 1: so that's why that's the best one. So you're an Yeah.

862
01:00:39,880 --> 01:00:42,600
Speaker 1: So the second best one is probably the Jackson's thirty

863
01:00:42,640 --> 01:00:45,800
Speaker 1: Anniversary in the Garden, because I mean, this is the

864
01:00:45,880 --> 01:00:48,400
Speaker 1: Jackson's thirty Anniversary in the Garden. That's I think they

865
01:00:49,320 --> 01:00:54,120
Speaker 1: all right question, Yeah, since that night was so vivid

866
01:00:54,200 --> 01:00:58,680
Speaker 1: and that day after it was so memorable. And by

867
01:00:58,720 --> 01:01:00,440
Speaker 1: the way, this was based off of because we did

868
01:01:00,480 --> 01:01:02,960
Speaker 1: two shows. I know I'm gonna ask you about that

869
01:01:03,040 --> 01:01:07,560
Speaker 1: second show. How did you get out of New York City? Right, Well,

870
01:01:08,320 --> 01:01:12,320
Speaker 1: it wasn't by plane. Um. First of all, nothing was

871
01:01:12,400 --> 01:01:14,760
Speaker 1: happening the day at, the day of or the day after.

872
01:01:14,760 --> 01:01:16,440
Speaker 1: You might want to tell everybody what that day was.

873
01:01:16,720 --> 01:01:21,040
Speaker 1: It was September eleven, two one. And that was after

874
01:01:21,200 --> 01:01:25,439
Speaker 1: the second show, which was September and the first show,

875
01:01:25,560 --> 01:01:29,400
Speaker 1: which was the eight because it was a break in between,

876
01:01:29,440 --> 01:01:32,800
Speaker 1: I think because of the circus. But the first show

877
01:01:32,960 --> 01:01:37,160
Speaker 1: was September eight, the second show was September, and I

878
01:01:37,280 --> 01:01:43,440
Speaker 1: remember after that show just you know, having more of

879
01:01:43,520 --> 01:01:45,920
Speaker 1: a private celebration, you know, dinner with a buddy of

880
01:01:45,960 --> 01:01:48,360
Speaker 1: mine at the time, and had like, you know, just

881
01:01:48,520 --> 01:01:52,320
Speaker 1: kind of a celebratory dinner and everything was great. And

882
01:01:52,320 --> 01:01:59,520
Speaker 1: then uh, my wife at the time, Um, the next morning,

883
01:01:59,600 --> 01:02:03,880
Speaker 1: you know, we we we slept in late, um because

884
01:02:04,000 --> 01:02:05,520
Speaker 1: you know, we had such a great night, so we

885
01:02:05,600 --> 01:02:11,200
Speaker 1: slept in late. And I had this plan. I had

886
01:02:11,360 --> 01:02:13,760
Speaker 1: two plans that I wanted to do. I wanted to

887
01:02:14,240 --> 01:02:16,720
Speaker 1: go to Central Park and take my wife on a

888
01:02:16,800 --> 01:02:19,960
Speaker 1: canoe ride. Um. And I also wanted to go to

889
01:02:20,040 --> 01:02:23,200
Speaker 1: my favorite place, my favorite restaurant for lunch, which is

890
01:02:23,240 --> 01:02:28,720
Speaker 1: a restaurant called Bill Bouquet, and so I called the

891
01:02:28,840 --> 01:02:33,040
Speaker 1: restaurant after I woke up because I wanted to make reservations.

892
01:02:33,080 --> 01:02:34,520
Speaker 1: I call it and yeah, what's going on? And go

893
01:02:34,920 --> 01:02:36,840
Speaker 1: I said, I'd like to, you know, come to the

894
01:02:37,480 --> 01:02:41,480
Speaker 1: to the spot today. And the person said, today is

895
01:02:41,520 --> 01:02:46,440
Speaker 1: not a good day. He said why, I said, it's

896
01:02:46,480 --> 01:02:50,280
Speaker 1: not a good days. People are crying. It's terrible, it's

897
01:02:50,320 --> 01:02:52,320
Speaker 1: it's not a good day. I go, what are you

898
01:02:52,360 --> 01:02:57,680
Speaker 1: talking about? The person went, have you seen the news? No,

899
01:02:58,800 --> 01:03:00,960
Speaker 1: said you might wanted to and the TV on right now.

900
01:03:02,240 --> 01:03:07,560
Speaker 1: That's how we found out UM. And then after the

901
01:03:07,680 --> 01:03:10,640
Speaker 1: initial shock, which took a long time to get over,

902
01:03:10,720 --> 01:03:13,760
Speaker 1: and we started smelling smoke and by the way I

903
01:03:13,920 --> 01:03:17,480
Speaker 1: was staying, I was staying at the Plaza at Tonay Way,

904
01:03:17,560 --> 01:03:21,960
Speaker 1: way uptown, and you could smell the smoke there. The

905
01:03:22,080 --> 01:03:26,080
Speaker 1: producer of the show, UM, David Guest was very good

906
01:03:26,120 --> 01:03:28,400
Speaker 1: to me though, because he let me stay at the

907
01:03:28,440 --> 01:03:31,160
Speaker 1: Plaza Tonay until the end of the week or until

908
01:03:31,200 --> 01:03:33,800
Speaker 1: I could get away out. And so what happened was

909
01:03:33,880 --> 01:03:36,760
Speaker 1: we kept trying by flights and it was very, very

910
01:03:36,880 --> 01:03:39,280
Speaker 1: very difficult free to paint. I remember was one of

911
01:03:39,280 --> 01:03:42,160
Speaker 1: the lucky ones she got out on the plane. Uh.

912
01:03:42,400 --> 01:03:44,640
Speaker 1: Came to find out. I came to find out later

913
01:03:44,760 --> 01:03:49,919
Speaker 1: on that Michael Uh that car ride with Elizabeth, Yeah,

914
01:03:50,000 --> 01:03:54,920
Speaker 1: he went that, he did that, But I didn't know

915
01:03:55,920 --> 01:03:59,200
Speaker 1: the cross country today, Yeah, with Elizabeth Taylor, and I

916
01:03:59,320 --> 01:04:03,240
Speaker 1: watched his name Marlon, I don't know, yeah, because I didn't.

917
01:04:03,360 --> 01:04:06,360
Speaker 1: I didn't know that at the time, and I didn't

918
01:04:06,360 --> 01:04:07,840
Speaker 1: know how the rest of the brothers made out. I

919
01:04:07,880 --> 01:04:10,320
Speaker 1: didn't know how anybody else got out, but me and

920
01:04:10,440 --> 01:04:14,240
Speaker 1: my wife at that time, we we couldn't get up

921
01:04:14,280 --> 01:04:17,360
Speaker 1: plane out. So we just decided at the end of

922
01:04:17,440 --> 01:04:20,800
Speaker 1: that week, that's Saturday, that we'd rent a car. So

923
01:04:20,880 --> 01:04:23,400
Speaker 1: we drove over to Um, we got we went over

924
01:04:23,480 --> 01:04:25,720
Speaker 1: to Jersey and got a Hurts wren A car and

925
01:04:25,920 --> 01:04:28,880
Speaker 1: we drove cross country and it was part of like

926
01:04:28,960 --> 01:04:33,080
Speaker 1: a mini mini cavalcade because Cheryl Lynn was with us.

927
01:04:34,680 --> 01:04:40,800
Speaker 1: Yeah and strange. Yeah, she and her cousin or her manager. Actually,

928
01:04:41,440 --> 01:04:44,479
Speaker 1: UM we drove. We didn't drive, we didn't drive all together,

929
01:04:44,520 --> 01:04:46,880
Speaker 1: but we drove, like you know, in in in separate cars,

930
01:04:46,920 --> 01:04:48,520
Speaker 1: and we drove cross country all the way back and

931
01:04:48,600 --> 01:04:53,320
Speaker 1: we stopped in St. Louis where UM, her manager's Mom

932
01:04:53,920 --> 01:04:57,960
Speaker 1: lived um, and I was saying Louis. I'm pretty sure

933
01:04:58,000 --> 01:04:59,360
Speaker 1: was saying Louis. We stopped there and we made a

934
01:04:59,360 --> 01:05:00,920
Speaker 1: couple of the stif some joke all the way. And

935
01:05:01,000 --> 01:05:02,720
Speaker 1: that was the first and only time I ever drove

936
01:05:02,760 --> 01:05:05,360
Speaker 1: a cross country and I never imagined it would be

937
01:05:05,440 --> 01:05:12,400
Speaker 1: for that reason. Ship crazy huh, No traffic, no track,

938
01:05:12,680 --> 01:05:16,000
Speaker 1: it was. It was eerily calm and still there's no traffic.

939
01:05:16,800 --> 01:05:20,520
Speaker 1: And I remember hearing them play this particular song a

940
01:05:20,600 --> 01:05:22,920
Speaker 1: lot during out cross country. Right, there was a song

941
01:05:23,000 --> 01:05:34,440
Speaker 1: by Enya No d that is not the right change

942
01:05:34,680 --> 01:05:38,920
Speaker 1: like that. For two weeks, no, they only played like imagine,

943
01:05:39,000 --> 01:05:41,840
Speaker 1: there was a whole no no songs or the no playlist,

944
01:05:42,720 --> 01:05:46,919
Speaker 1: which is why, which is why I O on the blueprint. Yeah,

945
01:05:47,120 --> 01:05:54,440
Speaker 1: because yeah, man, can you do you remember you remember?

946
01:05:54,480 --> 01:05:56,680
Speaker 1: Can you take us through where you were when you

947
01:05:56,760 --> 01:06:02,960
Speaker 1: got the dudes about Mike. Yes, I was in Beverly

948
01:06:03,080 --> 01:06:08,760
Speaker 1: Hills and I was I just dropped off a watch

949
01:06:08,880 --> 01:06:15,600
Speaker 1: to get repaired. And my wife at that time called

950
01:06:15,640 --> 01:06:19,240
Speaker 1: me and said, did you hear about Michael? My god,

951
01:06:19,360 --> 01:06:22,240
Speaker 1: what are you talking about? I heard the news and

952
01:06:22,360 --> 01:06:29,200
Speaker 1: I just I wasn't shock, you know, I I it

953
01:06:29,360 --> 01:06:35,840
Speaker 1: was just you know, and yet I wasn't you know.

954
01:06:36,960 --> 01:06:44,200
Speaker 1: And what I really remember ah after that is is

955
01:06:44,800 --> 01:06:49,640
Speaker 1: going through the preparations with Brandy because Randy brought me

956
01:06:49,720 --> 01:06:54,080
Speaker 1: in and he wanted me to help out um with

957
01:06:54,400 --> 01:06:59,520
Speaker 1: the with the memorial. And then we we had a

958
01:06:59,600 --> 01:07:03,280
Speaker 1: meeting at Kennerle's house, Randy, Ken and I and we

959
01:07:03,520 --> 01:07:08,760
Speaker 1: started talking things, you know, talking things through and um

960
01:07:10,160 --> 01:07:13,760
Speaker 1: you know, artists and so forth. And I remember thinking, well,

961
01:07:13,800 --> 01:07:15,600
Speaker 1: it would be really nice if Steve saying I never

962
01:07:15,720 --> 01:07:23,640
Speaker 1: dream you'd leave in summer, uh, which was deeply poetic

963
01:07:23,720 --> 01:07:28,960
Speaker 1: because he did leave us in summer. Um. And I

964
01:07:29,000 --> 01:07:35,040
Speaker 1: remember going to remember having private meetings, you know with Randy,

965
01:07:35,080 --> 01:07:38,040
Speaker 1: and I remember going down to l A Live and

966
01:07:38,120 --> 01:07:40,360
Speaker 1: it was the only time that I was in the

967
01:07:41,280 --> 01:07:43,760
Speaker 1: l A Live executive building, you know where all the

968
01:07:43,800 --> 01:07:46,800
Speaker 1: offices were, and I remember having we were we had

969
01:07:46,840 --> 01:07:56,320
Speaker 1: this meeting with Randy and Ken and uh uh uh.

970
01:07:57,960 --> 01:08:05,920
Speaker 1: Simon was Sien's first name. M Um who knows Sidman Um,

971
01:08:06,800 --> 01:08:11,520
Speaker 1: He's Sideman, He's he's the he's the he basically runs

972
01:08:11,720 --> 01:08:15,280
Speaker 1: He basically runs l A Live, Staples Center and Microsoft Center.

973
01:08:16,240 --> 01:08:24,040
Speaker 1: Uh Lee Lee Siman Um and Uhlwick. He wasn't there

974
01:08:24,040 --> 01:08:26,439
Speaker 1: at that time, I don't think, but there were other

975
01:08:26,520 --> 01:08:29,400
Speaker 1: executives and we we you know, they were we were

976
01:08:29,439 --> 01:08:35,559
Speaker 1: discussing everything, like, you know, how many tickets for family,

977
01:08:35,640 --> 01:08:38,400
Speaker 1: how many tickets for VP's all this kind of stuff, everything,

978
01:08:38,439 --> 01:08:42,920
Speaker 1: you know, And then I remember meeting at Staples with

979
01:08:43,080 --> 01:08:48,080
Speaker 1: the brothers in a backstage room and it was me

980
01:08:48,760 --> 01:08:52,960
Speaker 1: and the brothers, Kenner like Valdes Flag legendary stage manager,

981
01:08:53,680 --> 01:08:56,519
Speaker 1: and maybe one other person and we were just all

982
01:08:56,600 --> 01:08:59,640
Speaker 1: sitting there and at different points, you know, one of

983
01:08:59,680 --> 01:09:03,080
Speaker 1: the brothers would cry. It was really really heavy. And

984
01:09:03,680 --> 01:09:10,400
Speaker 1: I remember also UM taking the walk through the underground

985
01:09:10,479 --> 01:09:14,719
Speaker 1: tunnel from Staples to what is not Microsoft Center because

986
01:09:14,760 --> 01:09:18,360
Speaker 1: there's this underground tunnel that connects to two UM because

987
01:09:18,360 --> 01:09:20,320
Speaker 1: they was built that way for you know, just as

988
01:09:20,320 --> 01:09:21,840
Speaker 1: a cool thing for any artist and wanted to do

989
01:09:22,000 --> 01:09:25,320
Speaker 1: double duty or whatever, easy access, you know, And so

990
01:09:25,479 --> 01:09:31,080
Speaker 1: we walked this underground tunnel from Staples to UM. It

991
01:09:31,200 --> 01:09:33,120
Speaker 1: was a different thing then, but whatever, but so we

992
01:09:33,240 --> 01:09:38,120
Speaker 1: go there, and that was UM designed for the family

993
01:09:38,840 --> 01:09:44,519
Speaker 1: to leave Staples to go to UM Microsoft Center. UH,

994
01:09:44,720 --> 01:09:47,599
Speaker 1: for the overflow of people who couldn't get into Staples

995
01:09:47,640 --> 01:09:49,720
Speaker 1: and it was designed for the so the family was

996
01:09:49,760 --> 01:09:52,639
Speaker 1: gonna go. Uh the original idea was that the family

997
01:09:52,760 --> 01:09:56,360
Speaker 1: was going to go and thank them. But they didn't

998
01:09:56,360 --> 01:09:59,040
Speaker 1: do it. They didn't do it. We we we did

999
01:09:59,080 --> 01:10:03,479
Speaker 1: a practice talk, but after it actually happened, they didn't

1000
01:10:03,520 --> 01:10:05,160
Speaker 1: do it. They just they didn't do it because it

1001
01:10:05,240 --> 01:10:06,679
Speaker 1: was it was like enough of it, you know, It's

1002
01:10:06,720 --> 01:10:11,400
Speaker 1: like you know, with everything that went on and and

1003
01:10:11,880 --> 01:10:15,080
Speaker 1: uh so, yeah, it was very heavy. And I remember, um,

1004
01:10:16,600 --> 01:10:21,040
Speaker 1: I remember having a very very private moment with Marlon

1005
01:10:21,960 --> 01:10:26,840
Speaker 1: uh at haven Hurst and him you know, we talked

1006
01:10:26,920 --> 01:10:32,080
Speaker 1: and you know, he cried on my shoulder. You know, um,

1007
01:10:33,680 --> 01:10:37,559
Speaker 1: very very difficult. But you know, but I also remember,

1008
01:10:37,680 --> 01:10:40,559
Speaker 1: you know at Staples when we were there going through

1009
01:10:40,640 --> 01:10:44,240
Speaker 1: things that Barry came over, um and we we we

1010
01:10:44,360 --> 01:10:47,320
Speaker 1: all took pictures together, Barry and the brothers and me

1011
01:10:47,439 --> 01:10:51,479
Speaker 1: and just all kinds of memories. You know, how can

1012
01:10:51,640 --> 01:10:55,040
Speaker 1: one how could one be creative in a time like that,

1013
01:10:55,120 --> 01:10:58,240
Speaker 1: because you know, you have to go arrangements and came

1014
01:10:58,280 --> 01:10:59,640
Speaker 1: all right, what key do you want to sing in?

1015
01:10:59,800 --> 01:11:04,320
Speaker 1: And you know, call up musicians and background sound check

1016
01:11:04,400 --> 01:11:07,320
Speaker 1: and you know what you just do, You just do man.

1017
01:11:07,400 --> 01:11:11,120
Speaker 1: I mean, you know, one thing Earli is really good

1018
01:11:11,200 --> 01:11:14,360
Speaker 1: at it is just forging through no matter what, because

1019
01:11:14,479 --> 01:11:17,120
Speaker 1: he's had to in all kinds he's had, He's been

1020
01:11:17,200 --> 01:11:19,600
Speaker 1: hit with all kinds of last mane of things like

1021
01:11:19,720 --> 01:11:21,960
Speaker 1: you know, uh, they were rehearsing the grades like the

1022
01:11:22,080 --> 01:11:26,280
Speaker 1: day of the Grammy, the Grammy thing where thank God,

1023
01:11:29,160 --> 01:11:35,479
Speaker 1: I I think I was I know I was there.

1024
01:11:36,000 --> 01:11:38,800
Speaker 1: I was there. So you talk about you talk about

1025
01:11:39,000 --> 01:11:41,600
Speaker 1: having a change on the flying and what what was it?

1026
01:11:41,720 --> 01:11:44,519
Speaker 1: What the back story was that the Chris Brown Rihanna

1027
01:11:44,600 --> 01:11:47,560
Speaker 1: thing just happened, and that was the year they decided

1028
01:11:48,120 --> 01:11:50,439
Speaker 1: to let artists double up on things. So timber Lake

1029
01:11:50,520 --> 01:11:52,920
Speaker 1: had like two or three songs and Chris Brown had

1030
01:11:52,960 --> 01:11:55,320
Speaker 1: two or three songs, and Rihanna had two or three songs,

1031
01:11:55,360 --> 01:11:57,280
Speaker 1: and it was gonna be like the first mash up

1032
01:11:57,360 --> 01:12:00,800
Speaker 1: thing of duets and multiple songs. But without Chris Brown

1033
01:12:00,920 --> 01:12:03,720
Speaker 1: Rihanna there there was like space for five songs. And

1034
01:12:04,040 --> 01:12:07,200
Speaker 1: I'd never two things happened that day, which is the

1035
01:12:07,400 --> 01:12:09,840
Speaker 1: most real ship I've ever seen in my life. One

1036
01:12:10,439 --> 01:12:14,880
Speaker 1: earlier in his whole crew. Literally now it's about let's

1037
01:12:14,920 --> 01:12:18,360
Speaker 1: say it in our fifteen minutes until they realized that

1038
01:12:18,560 --> 01:12:21,360
Speaker 1: Brown and Rihanna are no shelf. So they're just scouring

1039
01:12:21,479 --> 01:12:25,400
Speaker 1: up the boy can you sing Let's say together? Hal Green,

1040
01:12:26,840 --> 01:12:30,040
Speaker 1: They're just grabbing people from the audience like this, we

1041
01:12:30,160 --> 01:12:33,000
Speaker 1: need a four minute song. That. So that whole thing

1042
01:12:33,080 --> 01:12:36,479
Speaker 1: of like boys them and singing let's stay together with

1043
01:12:38,680 --> 01:12:42,640
Speaker 1: none of that. Ship was playing the superstitious thing with

1044
01:12:42,720 --> 01:12:47,800
Speaker 1: Stevie Wonder with the Jonah's brothers. None that. But wait,

1045
01:12:47,960 --> 01:12:53,439
Speaker 1: here's the other funny thing. So, uh, the the the

1046
01:12:53,760 --> 01:12:57,400
Speaker 1: cold Play controversy with Joe Satriani. Oh yeah, when they

1047
01:12:57,520 --> 01:13:03,240
Speaker 1: hit Jack then, so they've been running away from getting

1048
01:13:03,240 --> 01:13:06,280
Speaker 1: their summons from saty honest people for like two months.

1049
01:13:07,080 --> 01:13:10,080
Speaker 1: So he had a plan. He had a plan. He's like, yo,

1050
01:13:10,240 --> 01:13:12,760
Speaker 1: I'm gonna get the motherfucker's at the Grammys when I

1051
01:13:12,920 --> 01:13:17,240
Speaker 1: tell you you remember them old Keystone Caper things were

1052
01:13:17,320 --> 01:13:24,160
Speaker 1: like you watch the Yeah, like that's exactly what happened.

1053
01:13:24,760 --> 01:13:28,800
Speaker 1: So you had the people were running this way to

1054
01:13:28,840 --> 01:13:31,400
Speaker 1: serve the papers and then Coldplay running this way, and

1055
01:13:31,520 --> 01:13:33,679
Speaker 1: then it was like you could have put the flat

1056
01:13:33,760 --> 01:13:40,679
Speaker 1: of the bumblebee to the ship just just in the topic.

1057
01:13:40,800 --> 01:13:46,519
Speaker 1: Oh god, I don't know if I should no, just no,

1058
01:13:46,640 --> 01:13:50,519
Speaker 1: I said all my stuff. It's just the end of

1059
01:13:50,600 --> 01:13:55,760
Speaker 1: the night. Um. You know, like artists are like very thinking,

1060
01:13:55,880 --> 01:13:58,479
Speaker 1: like a cat like Oasis, you know, those guys like

1061
01:13:58,680 --> 01:14:01,840
Speaker 1: I don't care about the like amazing that sort of thing.

1062
01:14:02,160 --> 01:14:08,320
Speaker 1: But um, uh, Tom New York took losing to cold

1063
01:14:08,400 --> 01:14:16,040
Speaker 1: Play very very hard, and how hard a very emotional way.

1064
01:14:16,280 --> 01:14:21,880
Speaker 1: So just that was the most surreal. But to see yeah,

1065
01:14:22,000 --> 01:14:25,479
Speaker 1: literally between early just scrambling for people to sing ship

1066
01:14:26,120 --> 01:14:29,160
Speaker 1: and cold Play and Satriani's Uh, I had no idea

1067
01:14:29,200 --> 01:14:31,960
Speaker 1: that it was going. It was the funniest day of

1068
01:14:32,040 --> 01:14:35,280
Speaker 1: my life. It was funny. I'm glad somebody would had

1069
01:14:35,400 --> 01:14:38,320
Speaker 1: something to laugh about that day. Well it didn't. The

1070
01:14:38,400 --> 01:14:41,840
Speaker 1: thing was we didn't no, no, no, I know you

1071
01:14:41,880 --> 01:14:43,800
Speaker 1: didn't know what was happening, right, Yeah, it's sort of

1072
01:14:43,880 --> 01:14:46,120
Speaker 1: like being in the New York doing the blackout, right

1073
01:14:46,439 --> 01:14:49,200
Speaker 1: like in Detroit, I saw you. I knew you alreay

1074
01:14:49,200 --> 01:14:51,200
Speaker 1: in the black out, but I don't think y'all really

1075
01:14:51,280 --> 01:14:53,160
Speaker 1: knew because there was no TV to turn on to

1076
01:14:53,200 --> 01:14:55,960
Speaker 1: see could say, we couldn't write you could be already

1077
01:14:56,040 --> 01:14:57,439
Speaker 1: in a blackout. But it was just like, oh, we

1078
01:14:57,520 --> 01:14:59,800
Speaker 1: heard like Rihanna, it's not coming like. We didn't until

1079
01:14:59,840 --> 01:15:02,559
Speaker 1: I got home. Then we said, oh ship that happened?

1080
01:15:03,000 --> 01:15:07,160
Speaker 1: Yeah yeah, yeah that was the sort of the thing. Wow.

1081
01:15:07,360 --> 01:15:13,240
Speaker 1: So uh do we cover everything in your life? No,

1082
01:15:14,800 --> 01:15:23,679
Speaker 1: not even close the whole part two? Yeah? And ship

1083
01:15:25,240 --> 01:15:27,640
Speaker 1: you did you sport were signs I didn't score it.

1084
01:15:27,760 --> 01:15:31,439
Speaker 1: I did. Actually, I just did one thing, okay for

1085
01:15:31,960 --> 01:15:35,519
Speaker 1: a female artists who the girl who did Private Joy?

1086
01:15:35,840 --> 01:15:41,439
Speaker 1: Shane Shane Yeah, Prince Yeah. And I sang the demo

1087
01:15:47,760 --> 01:15:53,160
Speaker 1: produced by Jimmy Irvine. Wow. Oh that's right. Asked me

1088
01:15:53,240 --> 01:15:56,080
Speaker 1: to do Uh, somebody asked me to do that, you know,

1089
01:15:56,479 --> 01:15:58,360
Speaker 1: produced that thing for that girl. So I did. I

1090
01:15:58,439 --> 01:16:01,760
Speaker 1: did Private Joy. What did you in the Streets of Fire?

1091
01:16:01,800 --> 01:16:04,120
Speaker 1: Were you in the band? No? No, I was in

1092
01:16:04,160 --> 01:16:09,760
Speaker 1: another movie, darying movie, the only my only this is

1093
01:16:09,840 --> 01:16:13,600
Speaker 1: it my only movie? Day? But I didn't do this,

1094
01:16:13,760 --> 01:16:17,280
Speaker 1: is it? Yea? Because Michael right, you're right, you're right. Sorry, okay,

1095
01:16:18,040 --> 01:16:22,720
Speaker 1: I was young, said but you haven't lived until you've

1096
01:16:22,720 --> 01:16:32,880
Speaker 1: been directed by Steven Spielberg. Thank you? What movie you

1097
01:16:32,960 --> 01:16:41,160
Speaker 1: want to be? We got two? I was the extra

1098
01:16:41,200 --> 01:16:44,439
Speaker 1: in the Color Purple as well. I was six your baby, Yeah, six.

1099
01:16:44,520 --> 01:16:46,360
Speaker 1: I was on the I was wanting to get the

1100
01:16:46,400 --> 01:16:51,000
Speaker 1: scene where the scene where she's hanging up close. She's saying, no,

1101
01:16:51,120 --> 01:16:53,559
Speaker 1: you gotta fight, you gotta what Celi and are talking

1102
01:16:53,880 --> 01:16:55,840
Speaker 1: and so then like a kid comes and runs through

1103
01:16:55,880 --> 01:16:58,120
Speaker 1: the sheet and she's like, y'all get on away from her.

1104
01:16:58,400 --> 01:17:04,000
Speaker 1: I was, yeahs you got outstrets, but you're not gonna

1105
01:17:04,040 --> 01:17:14,800
Speaker 1: believe this. But also yeah, yeah, exactly, you were the kid.

1106
01:17:15,640 --> 01:17:18,120
Speaker 1: You were you were the kid. You were the one

1107
01:17:18,160 --> 01:17:20,720
Speaker 1: of the kids up the owner of the general story right,

1108
01:17:24,280 --> 01:17:31,800
Speaker 1: some girl. Yeah, but guess what. Guess what? That's not

1109
01:17:31,920 --> 01:17:35,360
Speaker 1: even my voice? Do a timeout that? Oh wait wait

1110
01:17:35,640 --> 01:17:38,360
Speaker 1: I couldn't but I did say it. Yeah, I did

1111
01:17:38,479 --> 01:17:41,760
Speaker 1: say it. But in the final I guess it wasn't

1112
01:17:41,760 --> 01:17:43,960
Speaker 1: loud enough, so they had they had somebody else go, well,

1113
01:17:44,160 --> 01:17:49,360
Speaker 1: don't go, but I did. That's me playing Wow that hysterical.

1114
01:17:50,280 --> 01:17:52,599
Speaker 1: So it's so love. If you want a really good laugh,

1115
01:17:52,920 --> 01:17:57,280
Speaker 1: whip that out one night. You'll crack up. Yeah, you'll

1116
01:17:57,320 --> 01:18:00,840
Speaker 1: laugh yourself stilling. Wait, Greg, But that's how I met

1117
01:18:00,880 --> 01:18:08,240
Speaker 1: Oprah what And that's how I met uh Danny, right,

1118
01:18:08,800 --> 01:18:11,080
Speaker 1: And that's how I met the cast of Wacky characters

1119
01:18:11,880 --> 01:18:17,200
Speaker 1: and yeah, wait, oh there's another thing that I did

1120
01:18:17,280 --> 01:18:20,479
Speaker 1: that I'm very proud of that you probably didn't know

1121
01:18:20,479 --> 01:18:25,759
Speaker 1: how I did thanks to Kenner. Like Oprah's final two shows,

1122
01:18:26,200 --> 01:18:32,120
Speaker 1: Thank you man. What were her final two shows? An

1123
01:18:32,160 --> 01:18:34,920
Speaker 1: extra organza with every star you've ever heard of in

1124
01:18:34,960 --> 01:18:37,759
Speaker 1: your entire life, in the entire galaxy that Digits ever interviewed.

1125
01:18:38,000 --> 01:18:43,639
Speaker 1: They came out to say goodbye. And so what musical moment?

1126
01:18:44,000 --> 01:18:47,559
Speaker 1: Who who was the last you? Indeed, whatever the musical

1127
01:18:47,600 --> 01:18:50,120
Speaker 1: moment was, I indeed the whole thing. So who was

1128
01:18:50,160 --> 01:18:52,160
Speaker 1: the last person to sing? I don't know who the

1129
01:18:52,240 --> 01:18:58,200
Speaker 1: last person was? But but um, probably my favorite segment

1130
01:18:58,439 --> 01:19:02,280
Speaker 1: was when we when we surprised it with Steve, because

1131
01:19:02,360 --> 01:19:09,439
Speaker 1: what happened was the setup was um uh Jamie mm

1132
01:19:09,520 --> 01:19:12,640
Speaker 1: hmm um, you know went to her and started, you know,

1133
01:19:12,760 --> 01:19:15,679
Speaker 1: talking on his smack and everything, and he he would

1134
01:19:15,840 --> 01:19:18,880
Speaker 1: he started, Isn't she lovely? Right? So he started it.

1135
01:19:19,040 --> 01:19:22,880
Speaker 1: So we did a slow version and that's me playing

1136
01:19:22,920 --> 01:19:25,880
Speaker 1: with him and everything, and then we we I do

1137
01:19:26,080 --> 01:19:29,880
Speaker 1: some um, some chord changes, you know, some different course

1138
01:19:29,960 --> 01:19:32,280
Speaker 1: to set up into the original key of Isn't She Lovely?

1139
01:19:32,439 --> 01:19:34,360
Speaker 1: For Steve to rise out of the floor on the

1140
01:19:34,439 --> 01:19:41,120
Speaker 1: panel that sitting up and she turns around because, um wait,

1141
01:19:41,160 --> 01:19:45,519
Speaker 1: I gotta ask, do you have you ever had as

1142
01:19:45,560 --> 01:19:51,920
Speaker 1: an empty uh a Murphy's law momentum for you? Everything

1143
01:19:52,000 --> 01:19:57,800
Speaker 1: can go wrong? Um? Has a sequencer ever not worked on?

1144
01:19:58,320 --> 01:20:02,720
Speaker 1: You know when jam is one at the intro? You know,

1145
01:20:02,920 --> 01:20:05,600
Speaker 1: did you miss if you can't feature baby que or

1146
01:20:06,080 --> 01:20:08,559
Speaker 1: that freeze or want to be starting something or oh

1147
01:20:08,720 --> 01:20:12,439
Speaker 1: I we probably did. We probably had some you mean

1148
01:20:12,520 --> 01:20:14,960
Speaker 1: doing the Bad tour. Well, yeah, I mean just in

1149
01:20:15,080 --> 01:20:19,080
Speaker 1: general and general not not yeah, probably, but not not

1150
01:20:19,200 --> 01:20:21,400
Speaker 1: anything that just stands out to break. Oh you won't

1151
01:20:21,439 --> 01:20:25,439
Speaker 1: believe this, so I'm sure they haven't. But they were

1152
01:20:25,600 --> 01:20:30,880
Speaker 1: mercifully far and few between. Okay, okay, well I'm sorry.

1153
01:20:30,880 --> 01:20:32,439
Speaker 1: I really do want to know what you played on

1154
01:20:32,520 --> 01:20:36,719
Speaker 1: we other world, Like what instruments? You just piano? Played piano?

1155
01:20:36,840 --> 01:20:40,840
Speaker 1: And right? Yeah, but well and to your point, yes,

1156
01:20:40,920 --> 01:20:43,160
Speaker 1: and he co wrote the song, but no, he he

1157
01:20:43,240 --> 01:20:45,360
Speaker 1: doesn't need to play it. He's one of the featured artists,

1158
01:20:45,360 --> 01:20:47,320
Speaker 1: so he doesn't need So they had they had other

1159
01:20:47,400 --> 01:20:50,120
Speaker 1: sense and stuff that. Yeah, so Quincy had a few

1160
01:20:50,160 --> 01:20:52,280
Speaker 1: of us. It was me David Page and I think

1161
01:20:52,479 --> 01:20:54,519
Speaker 1: and there was one other one I can't remember who.

1162
01:20:54,560 --> 01:20:57,040
Speaker 1: They're gonna kill you though, but but I played piano,

1163
01:20:57,280 --> 01:21:02,200
Speaker 1: Page played um, you know, STUALD piano, I thing or

1164
01:21:02,280 --> 01:21:05,000
Speaker 1: other instruments. And there was a third keyboardist as well.

1165
01:21:05,560 --> 01:21:09,600
Speaker 1: So there were a bunch of us no well just

1166
01:21:09,760 --> 01:21:13,080
Speaker 1: other sense, not strings. But yeah, so there were I'm

1167
01:21:13,120 --> 01:21:16,599
Speaker 1: pretty sure three keyboard players. And I did the piano.

1168
01:21:17,920 --> 01:21:23,320
Speaker 1: Thank you, thank you well brother Greg. You you gave us,

1169
01:21:25,439 --> 01:21:27,960
Speaker 1: You brought it, you brought the stories, you brought the dramas,

1170
01:21:28,200 --> 01:21:34,080
Speaker 1: brought the listening. Well you know what, but it takes

1171
01:21:34,160 --> 01:21:40,000
Speaker 1: someone as um nerdy and as knowledgeable as you are

1172
01:21:40,520 --> 01:21:42,760
Speaker 1: and your fine team. Let me just say right now,

1173
01:21:43,160 --> 01:21:50,800
Speaker 1: you guys are really wonderful. I don't know, Okay, I

1174
01:21:50,840 --> 01:21:53,960
Speaker 1: get function, that's all I know. I get it, and

1175
01:21:54,120 --> 01:21:55,519
Speaker 1: I have to pee right now. But I must say

1176
01:21:56,760 --> 01:21:58,479
Speaker 1: I had no idea that I would be here for

1177
01:21:58,680 --> 01:22:02,040
Speaker 1: over three hours, but like I have enjoyed every second

1178
01:22:02,080 --> 01:22:05,840
Speaker 1: of its felt like three minutes. And blessings to you all,

1179
01:22:05,960 --> 01:22:09,720
Speaker 1: and I just thank you for you, just for all

1180
01:22:09,760 --> 01:22:13,240
Speaker 1: your contributions, all your music, just for raising all of us.

1181
01:22:13,280 --> 01:22:17,600
Speaker 1: Thank you, thank you. On behalf of sugar Steve and

1182
01:22:18,560 --> 01:22:23,439
Speaker 1: I'm paid well he's not here on behalf of Sugar

1183
01:22:23,520 --> 01:22:28,519
Speaker 1: Steve and Boss Bill and Fantigolo and la uh yeah.

1184
01:22:28,800 --> 01:22:31,920
Speaker 1: I'd like to say thank you uh Greg again. This

1185
01:22:32,080 --> 01:22:34,120
Speaker 1: is of course Love, of Course, Love Supreme and we

1186
01:22:34,200 --> 01:22:37,639
Speaker 1: will see you on the Mexico Round only on Pandora

1187
01:22:39,760 --> 01:22:42,439
Speaker 1: Cours Love Supreme. It's a production of My Heart Radio.

1188
01:22:42,920 --> 01:22:46,280
Speaker 1: This classic episode was produced by the team at Pandora.

1189
01:22:48,680 --> 01:22:50,920
Speaker 1: For more podcasts for my heart Radio, visit the I

1190
01:22:51,080 --> 01:22:54,320
Speaker 1: heart Radio app, Apple podcast, or wherever you listen to

1191
01:22:54,400 --> 01:22:55,200
Speaker 1: your favorite shows.