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Speaker 1: Questlove Supreme is a production of iHeartRadio. This classic episode

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Speaker 1: was produced by the team at Pandora. Hey, what's up, y'all?

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Speaker 1: This is Quest Love And as you noticed throughout June,

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Speaker 1: we are celebrating black musical by releasing an episode every day.

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Speaker 1: So every day you're even going to hear especially pick

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Speaker 1: Ls Classic. And on Wednesdays we're dropping a new two

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Speaker 1: part episodes with Wayne Brady and James Poyser, both of

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Speaker 1: which were filmed in studio, so make sure you also

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Speaker 1: watch this on YouTube. Here's a conversation with Philip Bailly

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Speaker 1: of Earth, Wind and Fire. But don't don't screw up

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Speaker 1: Philip Billy.

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Speaker 2: Supreme Supremo, roll call, Suprema su su supreme O, roll call,

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Speaker 2: Suprema Suprema roll call, Suprema Suprema roll call not confrontational.

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Speaker 1: Yeah, I throw no shade. Yeah a Philip and I

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Speaker 1: about to fight. Yeah for his opinions on race.

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Speaker 2: Supreme Supreme, roll called, Suprema Son Son Suprema.

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Speaker 1: Roll My name is Fante.

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Speaker 3: Yeah, and this is how I ball. Yeah when I

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Speaker 3: go walking. Yeah on the Chinese Wall.

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Speaker 2: Suprema son Supremia, roll car, Suprema Suck soun Suprema role called.

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Speaker 4: My name is Sugar, Yeah, Sugar, Steve, Yeah, before you

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Speaker 4: know it.

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Speaker 1: Yeah, you'll be on your knee.

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Speaker 2: Suprema Supreme roll call.

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Speaker 1: It was my name.

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Speaker 5: Yeah, treats Russian as the bomb. Yeah, the Earth, Wind

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Speaker 5: and Fire didn't play my prom Supreme.

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Speaker 2: Much Supreme roll Supreme Supreme roll call.

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Speaker 6: It's like yeah, and mister Bailly, yes please, yeah, I

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Speaker 6: love you so much. Yeah, I'm just trying to make you.

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Speaker 1: See roll Supreme Supreme roll call.

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Speaker 7: Well I'm here, yeah, and you know yeah that I

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Speaker 7: can go, yeah, and I can flow.

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Speaker 1: Roll call Supreme Supremo role car.

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Speaker 8: Supreme roll call, Supremo Supremo roll call, Suprema Suprema roll call,

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Speaker 8: like real quick, Who's that?

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Speaker 6: I totally I was trying to find some one of

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Speaker 6: my favorite lyrics that he's loving, and you messed it up.

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Speaker 6: Steve messed up, did the easy level reference and I

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Speaker 6: was and I was just trying to make you see.

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Speaker 1: All right, yeah Steve as basically, I mean, he's done

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Speaker 1: everything but tattooed the forty five into his chest. You

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Speaker 1: had to know that Steve was going to give so

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Speaker 1: Phil Collins.

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Speaker 9: Yeah, it was Yeah, this song changed my life, I'm sure, but.

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Speaker 6: He did the whole album. You could have picked any song.

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Speaker 1: Really. Yeah, but you know, I think you have a

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Speaker 1: deeper well of Earth Wind and Fire and Philip Bailey

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Speaker 1: Nowedge than Steve here. You should have left the easy

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Speaker 1: level to me. Yeah, like the consensus.

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Speaker 3: Yeah, you had to beat with that was my song

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Speaker 3: you got with the I'm with you on the raid.

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Speaker 3: I'm ready, I'm ready for the Raise to beat.

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Speaker 1: Yeah. Because yeah, yeah this anyway, uh raise heat? Yeah exactly,

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Speaker 1: Ladies and gentlemen, my tied my entire goals and dreams

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Speaker 1: of this plot. Yes, is basically to educate and enlighten

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Speaker 1: you all as listeners, But mostly it is basically for

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Speaker 1: the five of us to just nerd out a whole

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Speaker 1: bunch of questions that only a few of y'all going

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Speaker 1: to get when we ask them, as you see during

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Speaker 1: the Jimmy Jam episode, in the Ray Parker episode and

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Speaker 1: Babyface and Greg fill and gains. But the time has

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Speaker 1: come upon us to make our dreams come true. Here

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Speaker 1: at QLs. We are truly blessed to be of the

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Speaker 1: presence of Royalty bar None. I believe that our guest

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Speaker 1: today is one of the most skilled vocalists of his generations.

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Speaker 1: And I'm not talented, not gifted, but skilled, absolutely skilled

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Speaker 1: of all the silky falsetto vocal gods of seventies funk

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Speaker 1: soul outfits. Our guest today resides personally and my number

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Speaker 1: one slot in my personal list. He's a seven time

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Speaker 1: Grammy Award winner, a member of the Songwriters Hall of Fame,

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Speaker 1: and a member of one of the most sharis beloved

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Speaker 1: supergroups and the entire history of music. Yes, even my

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Speaker 1: hyperbolegue is understated this particular episode. Uh, ladies and gentlemen,

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Speaker 1: please give flowers and respect and love to our guest today.

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Speaker 1: We've been dying to get on the show since its inception,

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Speaker 1: the one and only Philip Bailey. Yes, yeah, wow, Well

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Speaker 1: that was amazing. That was a great interest that I've

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Speaker 1: been waiting for this moment.

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Speaker 7: Whenever my self esteem is low, I'll just play Oh man,

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Speaker 7: thank you, thank you for doing this. Okay, so why

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Speaker 7: do you hate raise? No, let's just go ahead and

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Speaker 7: get No. No, no, please, I gotta start now. I'm

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Speaker 7: want to make sure I do this the right way. Well,

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Speaker 7: thank you for coming on the show man. I'm honored

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Speaker 7: to be here. Really, this this is like you. This

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Speaker 7: show was tailing me.

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Speaker 1: Just for you to be straight up and down very cool,

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Speaker 1: very cool. All right, So I'm quickly started at your beginnings. Yes,

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Speaker 1: you have a history that we got to get through everything.

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Speaker 1: So Denver, Denver, Colorado. What is life like in Denver

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Speaker 1: when you're in your formative years? My high city?

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Speaker 7: Now, you know, amazingly, there was so much talent in

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Speaker 7: the Denver area, you know. You know, Diane Reeves is

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Speaker 7: from from Denver too. I actually brought brought her out

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Speaker 7: to Los Angeles. She was in a group that I

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Speaker 7: was producing called Free Free Life, Okay, And I had

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Speaker 7: to talk to her mother and tell her mother, don't worry.

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Speaker 7: I'm gonna take care of her. Everything's gonna be cool.

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Speaker 7: She had just gotten out of high school. Really yeah,

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Speaker 7: but there's like, there was so much talent. I always

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Speaker 7: tell people that basically I was just wanted to pack,

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Speaker 7: you know, and I got an opportunity. Uh but you know,

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Speaker 7: I played drums through school, you know, from the fourth

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Speaker 7: grade through through college because I was gonna be per

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Speaker 7: and so I was doing gigs and stuff.

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Speaker 1: You know, you know that scene.

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Speaker 7: The regular gigs and then the late night stuff, you know,

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Speaker 7: and I would sing on one gig and I would

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Speaker 7: play or sing on another.

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Speaker 1: Right, yeah, so wait wait you mentioned something and just

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Speaker 1: set off many a rabbit hole that's about to happen

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Speaker 1: on this show. Does dian Reeves still live in Denver? Yes,

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Speaker 1: she does. You want to know something, Okay, the very

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Speaker 1: first time, the first day that the Roots recorded at

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Speaker 1: Battery Studio, a tripod quest was in Studio B and

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Speaker 1: they were doing a version of Grant Greens down here

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Speaker 1: on the ground. They were it was that blue right.

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Speaker 1: But the thing was, I never knew, like the technology

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Speaker 1: was so new at the time to have someone in

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Speaker 1: a whole nother state singing their vocals. So they made it.

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Speaker 1: There was something wrong with the whatever communication they were

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Speaker 1: using for Diane Reeves to sing her right, this is

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Speaker 1: nineteen ninety three, though, you know what I mean. So

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Speaker 1: like she was singing in Denver, like we were like amazed,

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Speaker 1: like wow, Trackwalk Questions producing Donna Reeves live at Denver

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Speaker 1: and you know that that whole thing. So okay, So

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Speaker 1: was this the time you you had this group when

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Speaker 1: you were already established phil a Billy or now that

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Speaker 1: she's like up here like you.

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Speaker 7: No, yeah, I was already established. I was already out

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Speaker 7: in Los Angeles, you know, with the band and every Okay.

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Speaker 1: Yeah, so yeah, I'll say that Denver isn't the spot

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Speaker 1: I think of when I think of usually a lot

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Speaker 1: of our our great singers, and especially in the era

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Speaker 1: of soul, their experience is down south or sometimes Midwest Chicago,

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Speaker 1: that right, that sort of thing. But how does soul

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Speaker 1: reach the Mile High City?

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Speaker 7: Yeah, well, you know, everybody everybody from the south some

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Speaker 7: kind of way, right, right, So basically, you know, all

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Speaker 7: the blues and jazz and and uh, you know, we

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Speaker 7: didn't we didn't have no R and B or jazz

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Speaker 7: radio stations and stuff.

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Speaker 10: You know.

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Speaker 7: Like so I grew up listening to the country and

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Speaker 7: you know, middle middle country, you know, rock and all

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Speaker 7: that kind of stuff. Love me some bluegrass and all

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Speaker 7: that kind of stuff.

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Speaker 1: Because I was about to say, because usually people, uh,

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Speaker 1: usually earth wind and Fire is the answer for people

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Speaker 1: when they're in the middle of nowhere America, and earth

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Speaker 1: wind and Fire is usually like the one group that

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Speaker 1: somehow seeps through the system of of you know, radio

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Speaker 1: or whatever reaches people. But it's like what does a

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Speaker 1: member of Earth Wind and Fire listen to when Earth

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Speaker 1: Wind and Fire doesn't exist. I'm dousing to you. I'm

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Speaker 1: listening to all kind of stuff that you're doing. And no, no, no,

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Speaker 1: I just met when you were when you were a

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Speaker 1: kid growing up, do you remember the first album purchased?

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Speaker 7: Well, you know, everybody was listening to Jackie Wilson and

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Speaker 7: and people like that. But I grew up in rummaging

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Speaker 7: through my friend's mother's music music selections, so, uh, she

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Speaker 7: was a jazzer and her boyfriend was a jazz bassist,

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Speaker 7: So I grew up listening to you know, straight up jazz,

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Speaker 7: you know, straight ahead. Was there a black church experience

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Speaker 7: in oh yeah, oh yeah, I know. I was raised Catholic,

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Speaker 7: but I did. I sang with a group called Echoes

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Speaker 7: of Youth and uh in Denver, and uh, you know

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Speaker 7: there there was a lot of talented singers, but also

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Speaker 7: the choir director, Mss Joanne Ryan. She also would have

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Speaker 7: different entertainers to come and teach us how to sell

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Speaker 7: a song and you know, just give us input on,

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Speaker 7: you know, how to perform and all that stuff. So

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Speaker 7: you know, actually Pam Greer was in that group with me. Really, yeah,

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Speaker 7: what other notable dim rights do we not know that?

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Speaker 1: Well?

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Speaker 7: Bill Bill Fazelle okay, oh really yeah, he was, he was,

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Speaker 7: he was in We were in the same orchestra, and

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Speaker 7: he was the first clear clarinet player. I didn't even

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Speaker 7: know he played guitar until until I was out gone

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Speaker 7: and famous and Natives talking about Bill Fazelle and he's

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Speaker 7: on guitar and I said, you mean clarinet player first.

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Speaker 1: Yeah, okay, So how does now I'm thinking, like again,

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Speaker 1: the way we are today with technology, you know, I

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Speaker 1: can know of a soulful singer in Indian like two seconds.

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Speaker 1: But how does word how does word even spread about

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Speaker 1: who or what you do that gets the attention of

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Speaker 1: I assume that your was earth winder Fire, your first

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Speaker 1: professional group.

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Speaker 7: Or well first recording professional group, because you know, like

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Speaker 7: back then there were clubs. So I started playing at

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Speaker 7: clubs when I was like fifteen and stuff. So you know,

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Speaker 7: I was performing and all that kind of stuff and

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Speaker 7: traveling and you know, not extensive traveling going to Kansas City,

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Speaker 7: you know. But a guy named Perry Jones, who yeah, yeah,

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Speaker 7: Perry Jones was the one that got that that that

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Speaker 7: was kind of mentoring our group that that Larry Dunn

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Speaker 7: was in Friends of Love and Andrew wolf Folk and

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Speaker 7: he went out to be the first promotion man for

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Speaker 7: Warner Brothers. And when he he came back and with

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Speaker 7: a with an album that was just white and he

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Speaker 7: gave it to us, to me and Carl and the

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Speaker 7: rest of a bunch of guys, and it was earth

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Speaker 7: wind Fires first record.

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Speaker 1: So you were not there for the Warner period. I

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Speaker 1: wasn't there for the Warner period or the Sweet Sweet

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Speaker 1: No can you can you settle the rumor that Bill

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Speaker 1: Cosby was the one that No, okay, I'm thinking of

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Speaker 1: Charles Stephane, Bill. No, no, no, Bill. Now, let's talk

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Speaker 1: about Bill Cosby for a little while. He had a

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Speaker 1: history before his history anyway. No, it was Bill express

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Speaker 1: yourself Charles all right, but uh, Sweet Sweetback is uh

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Speaker 1: Melvin he was, and that's what they said, right, So

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Speaker 1: was connected to Charles, okay, and he was connected to

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Speaker 1: Sweet Sweet Back right somewhere. I'm getting it all mixed up.

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Speaker 7: So well, you know, Jim Brown is part of the

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Speaker 7: history of the Fire really because he was actually managing

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Speaker 7: the band for a minute before before I got in

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Speaker 7: it Jim Brown, Yeah, Jim and and then Bill Uh

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Speaker 7: Ruffalo and Cavallo, you know kind of they they actually

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Speaker 7: paid him a little bit to you know, get the band.

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Speaker 1: Oh really, Yeah, So Rufblo and Cavallo were a thing

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Speaker 1: even in the early seventies.

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Speaker 7: Yeah, because they you know, they used to run clubs

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Speaker 7: and all that kind of stuff together before they actually

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Speaker 7: moved out to Los Angeles.

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Speaker 3: I always wanted to know what their story was, right,

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Speaker 3: and Ruffalo Cavallo they were princes managers.

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Speaker 7: Yeah, they were our managers. And that that was the

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Speaker 7: Perry Jones Hoo hook up because Perry Jones was actually

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Speaker 7: what you know, was introduced to Prince. Prince is the

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Speaker 7: one that that turned him on him on to Cavala

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Speaker 7: Ruffalo because Prince wanted to do what Earth onony Fire

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Speaker 7: was doing, and so he said, I want to meet

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Speaker 7: those guys that managed Earth onony Fire.

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Speaker 1: I had heard that that Verdin was supposed to produce

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Speaker 1: Princess Ars. Was that had you ever heard anything about Like, No,

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Speaker 1: I didn't. I didn't hear that. His name came up

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Speaker 1: in like a wishless for the uh for the label.

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Speaker 1: So Perry Junes, like I always from Renowlum credits always

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Speaker 1: wondered would he always introduce your shows for something?

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Speaker 7: You know, one thing is just leading into the other.

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Speaker 7: And uh, Perry did that and and it happened to

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Speaker 7: be on that Gratitude album. Okay, so that's what actually

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Speaker 7: just gave him that that fame. Okay, yeah, because he

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Speaker 7: didn't do it all the time.

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Speaker 1: Oh okay, I see. So so you said that Larry

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Speaker 1: Done and Andrew Wolfolk was there.

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Speaker 3: Yeah, they were in bed Yeah, in my band, right,

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Speaker 3: So Larry's also from Denver or Denver yep.

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Speaker 1: Oh, I never knew that. I never knew that. So

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Speaker 1: how did you guys?

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Speaker 7: Okay, well, we were we were in school together, you know,

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Speaker 7: and Larry was in the ninth grade and I was

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Speaker 7: in the eleventh grade. We were playing in the band together,

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Speaker 7: and uh, andrew family moved to Denver there he was

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Speaker 7: a service brat. So we had we had a group

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Speaker 7: that was playing in clubs and colleges and all that

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Speaker 7: kind of stuff.

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Speaker 1: What type of music we would do everything?

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Speaker 7: Actually, we would do Top forty, but then we'd also

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Speaker 7: do Carol Kinge. We'd do Three Dog Night, Rare Earth.

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Speaker 7: We you know, we would you know, we could do

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Speaker 7: pretty much anything that was on the radio. Okay, so

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Speaker 7: pretty much early seventies, well sixties stuff, you know. Oh

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Speaker 7: and then I had a you know, i'd do quartet

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Speaker 7: stuff where you know, it was Jimmy Smith kind of stuff,

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Speaker 7: you know, because we'd have bands where you know, this

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Speaker 7: guy named al Hammond Moore who would play, you know,

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Speaker 7: play the bass with you know, with his feet, you know,

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Speaker 7: right right on on the V three and I was

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Speaker 7: either playing drums or or singing in it.

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Speaker 1: Okay, So I was gonna wait till you guys got

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Speaker 1: to Columbia, but I might as well ask, now, how

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Speaker 1: many octaves is your voice? Because of course you're you're

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Speaker 1: your golden gift is in your fellow stuff. Right.

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Speaker 7: Actually, I'm a baritone. I studied operatic baritone in school. Yeah,

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Speaker 7: in German and stuff. I remember that stuff.

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Speaker 1: Yeah.

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Speaker 7: So, but I grew up listening to you know, uh

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Speaker 7: Seavon and dining in Washington off because you hear that

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Speaker 7: stuff at the house, and I kind of mimicked those

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Speaker 7: voices because of the passion, you know, the lyrical sense.

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Speaker 7: But then growing up, I would, you know, I would

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Speaker 7: I could sing, you know, whatever genre I was. We

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Speaker 7: were doing on stage and stuff. So I was playing

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Speaker 7: a gig and a teacher from one of the colleges

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Speaker 7: was there and said, wow, you have an amazing falsetto.

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Speaker 1: I said, huh, that's what that is. I didn't even

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Speaker 1: know what a falsetto was. So what what is your

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Speaker 1: daily routine? Is this one of those like, oh, national

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Speaker 1: gift from God? Or are you Seth Riggs? You know

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Speaker 1: I did study with Seth? Really yeah, I did study

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Speaker 1: with Seth. And you know, Seth can only he can

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Speaker 1: only teach what's there, you know, but you know everyone

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Speaker 1: that has taught with study with him gets get something.

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Speaker 1: You know, how long is this average session? How long

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Speaker 1: does it do you just go with you?

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Speaker 7: You wouldn't go probably past two hours, but he would

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Speaker 7: just go with you until you you know, until you

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Speaker 7: know there was a real breakthrough. I remember when Stevie

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Speaker 7: was studying with him and then that song came out

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Speaker 7: and he goes, oh, I am saying for tomorrow. I

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Speaker 7: was like this, like what oh, But that was like

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Speaker 7: right around the time he was studying with with Seth.

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Speaker 1: How how does word about Seth Riggs get around because

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Speaker 1: for listeners that study with them really so seth riggs. Uh.

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Speaker 1: For you q l US listeners out there, it's pretty

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Speaker 1: much the ve go to standard of vocal vocal culture,

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Speaker 1: probably most famously his his Michael Jackson warm up sessions

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Speaker 1: are on YouTube just a Google Michael Jackson Sethwriggs, of

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Speaker 1: which there are various exercises. No no no no no

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Speaker 1: no no no no no, Like what what what's what

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Speaker 1: is the purpose of doing those scales? But with different annunciations,

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Speaker 1: Well you could, well you can hear you know, where

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Speaker 1: you're speaking, where your voice is speaking from, you know,

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Speaker 1: and he just connects you know that with singing. You know,

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Speaker 1: it just shows you where where to place different things

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Speaker 1: and the that goes, it's showing you how to get

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Speaker 1: it to your head, your head voice, you know. Yeah,

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Speaker 1: because you gotta. If you do that, you have to

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Speaker 1: you have to go. There's no way other you can't go.

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Speaker 1: If you're you can't do anything but go to your head. Okay,

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Speaker 1: So they're very various. So for various ranges, you have

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Speaker 1: to pick up a certain body. Part two because I

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Speaker 1: always heard, like teachers in my school say, like sing

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Speaker 1: from your diet, right, But I always find myself when

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Speaker 1: I'm naturally singing what I always sing from my throat

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Speaker 1: and they always say that's wrong.

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Speaker 7: Yeah, but how you hear your talk? You're speaking voice?

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Speaker 7: Like what you just right there? You spoke from down here.

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Speaker 3: So but is it natural instinct for you to do

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Speaker 3: the right thing or like it's it's natural. It's very

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Speaker 3: natural now, but back then you were.

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Speaker 7: Yeah, but you know, back then, if you if you

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Speaker 7: lose your voice a few times and all that kind

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Speaker 7: of stuff, obviously you know you're you're you're singing from

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Speaker 7: the wrong place or you know, or straining the door

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Speaker 7: doing certain things.

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Speaker 1: For Jesus Christ, I didn't even ask, like what if

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Speaker 1: your horse were night and you can't do reasons or

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Speaker 1: just can't do it.

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Speaker 7: That happened last year, Yeah, in Vegas, man, for I

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Speaker 7: was like, there was you know, there was this curtain

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Speaker 7: on the stage that they hadn't taken down for eons

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Speaker 7: and they and they they lowered it and brought it

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Speaker 7: back up, and they said there was dust all over

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Speaker 7: the instruments and stuff. You know, that's really fine, got

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Speaker 7: into my my you know, my voice, and man, three nights,

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Speaker 7: really man, I couldn't sing. I couldn't sing too much

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Speaker 7: in nothing at all.

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Speaker 1: Okay, so is I'm so glad we have a singer.

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Speaker 1: Singer on the show always okay, I always kind of side.

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Speaker 1: I'm a straight up musician. I'd never consider myself a

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Speaker 1: singer or whatever. So I mean, I'm respecting the fact

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Speaker 1: that singing is an instrument, but having dealt having dealt

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Speaker 1: with the demands of Wreatha Franklin and Luther vandros REITHA.

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Speaker 1: Franklin famously, she can't go into any building that's under yeah,

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Speaker 1: under seventy eight degrees. So whenever she would visit late

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Speaker 1: night because we had a universal uh no, she would

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Speaker 1: have these like these four dudes that pretty much Steve

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Speaker 1: Harvey Detroit pimp dress looking cats, but they would have

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Speaker 1: like secrets service, like earpieces and everything. They would come

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Speaker 1: in around ten pm the night before and they would

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Speaker 1: rotate sitting by the master thermometer thing like one in

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Speaker 1: the basement, literally so that if someone comes in like

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Speaker 1: it's not as hell you can't do it. So literally,

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Speaker 1: anytime Aretha Franklin was everyone on the Tonight Show, a

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Speaker 1: guy would come in and do three hours sitting by

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Speaker 1: wherever the master thermostat is for the entire six flour

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Speaker 1: to make sure that no one touches it. Trinity, I

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Speaker 1: want that happening for me. But this is what I'm

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Speaker 1: really asking. And Luther Vangels also famously like would make

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Speaker 1: all air conditioning off in any stadium that he's ever

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Speaker 1: been in. I just want to know. It's part of

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Speaker 1: that psychosomatic No, it's definitely not. That's real. It's definitely not.

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Speaker 1: It's like I try, you know, I try.

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Speaker 7: But I laid down, like on a couch like that

379
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Speaker 7: at a gig and stuff, and the air conditioning was on,

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Speaker 7: you know, and I started to tell him, y'all, you

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Speaker 7: should probably turn it off and stuff. And I laid

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Speaker 7: down and putting my jacket over my head and I

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Speaker 7: did go to sleep. I couldn't sing for three days.

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Speaker 7: It's the it's the free on, you know that that

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Speaker 7: messes with the vocal with vocals, some vocal cords, some

386
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Speaker 7: people some people can you know, can do it. But

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Speaker 7: it's the same with me. Like when you get on

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Speaker 7: that tour bus or whatever. My my the back bay

389
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Speaker 7: is a it's it's a sauna, all right.

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Speaker 1: That's also the real reason why there was a Griffin

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Speaker 1: Doordan slndering bus between Tarika and I because Tarka's doctor Africa.

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Speaker 6: Like and a smoke box and hot box. It's crazy.

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Speaker 1: Yeah, so it's it's like, you know, it has to

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Speaker 1: be one hundred degrees to do that, so that that

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Speaker 1: is not psychosomatic. That's why.

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Speaker 6: So let me ask this question, and do you have

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Speaker 6: a daily routine of maintenance for you?

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Speaker 1: Not really? Not really?

399
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Speaker 6: Do you the dairy?

400
00:25:09,080 --> 00:25:09,280
Speaker 1: Yeah?

401
00:25:09,440 --> 00:25:11,280
Speaker 6: Yeah, so you know none of that stuff.

402
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Speaker 7: I tell you what I cannot do, and and I

403
00:25:14,040 --> 00:25:18,760
Speaker 7: tried it a couple of times. Coca Cola. No, it's

404
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Speaker 7: kryptonite for me.

405
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Speaker 1: I can't I can't even I can't say any I

406
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Speaker 1: can't sing a note. I can't sing. Ah. Really, it

407
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Speaker 1: just goes no soda, nothing, no soda, just Coca cola.

408
00:25:35,840 --> 00:25:37,880
Speaker 1: Did they know that at the time commercials?

409
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Speaker 7: You know, I was doing this gig outside and it

410
00:25:40,920 --> 00:25:44,320
Speaker 7: was hot, and you know, somebody was drinking co cola

411
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Speaker 7: and I just needed something to drink and I grabbed some.

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Speaker 1: Man. It was done. There was no singing whatsoever not

413
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Speaker 1: that night.

414
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Speaker 7: And so it happened again, and I just thought, okay

415
00:25:59,440 --> 00:26:03,719
Speaker 7: that you know what the heck, same thing happened.

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Speaker 1: Couldn't sing a word. Well, since we're here already, I'm

417
00:26:12,880 --> 00:26:17,560
Speaker 1: gonna just skip two two reasons. Do you regret that

418
00:26:17,760 --> 00:26:22,080
Speaker 1: the live version of reasons is our standard for what

419
00:26:22,240 --> 00:26:24,600
Speaker 1: we expect you to do to the day you die,

420
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Speaker 1: Like if you don't do those exact andrew together everything right,

421
00:26:33,480 --> 00:26:35,720
Speaker 1: Like is there a night where you don't reach that?

422
00:26:35,920 --> 00:26:38,359
Speaker 1: And it's like the audience is kind of side eye

423
00:26:38,400 --> 00:26:40,800
Speaker 1: and you like before your answers.

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Speaker 5: Can I tell you when I was probably like maybe

425
00:26:42,880 --> 00:26:44,879
Speaker 5: twelve or thirteen when I first heard that, and I

426
00:26:44,920 --> 00:26:47,560
Speaker 5: could hit those notes then, and then when my voice cracked,

427
00:26:47,600 --> 00:26:51,760
Speaker 5: I was so upset I could not It was like

428
00:26:51,840 --> 00:26:53,719
Speaker 5: it was that song in Prints on the Most Beautiful

429
00:26:53,720 --> 00:26:54,959
Speaker 5: Girl in the World when he hits that high note

430
00:26:54,960 --> 00:26:55,320
Speaker 5: at the end.

431
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Speaker 1: I used to be able to hit both of those notes.

432
00:26:57,040 --> 00:27:01,520
Speaker 1: Not no more. I was so upset, up, so upset.

433
00:27:01,720 --> 00:27:05,800
Speaker 1: So you set such a high goal for yourself that

434
00:27:05,960 --> 00:27:07,520
Speaker 1: you now want to have to live up to.

435
00:27:08,960 --> 00:27:12,600
Speaker 7: Uh, you know, you know what people come to hear,

436
00:27:12,760 --> 00:27:16,800
Speaker 7: so you know I always do that, even if I'm

437
00:27:16,960 --> 00:27:18,960
Speaker 7: just gonna go off and then at live do some

438
00:27:19,080 --> 00:27:19,600
Speaker 7: other stuff.

439
00:27:20,080 --> 00:27:22,919
Speaker 1: Okay, I'll do that, all right, all right?

440
00:27:23,119 --> 00:27:25,040
Speaker 6: Got a dumb question somebody told me to ask you this,

441
00:27:26,040 --> 00:27:28,880
Speaker 6: and I'm gonna ask the room, what are the reasons.

442
00:27:31,080 --> 00:27:32,560
Speaker 1: Interesting enough that song?

443
00:27:32,640 --> 00:27:35,399
Speaker 7: Let's let's talk about that song yourself bit because you

444
00:27:35,520 --> 00:27:37,960
Speaker 7: know that, you know the lifestyle of you know, the

445
00:27:38,119 --> 00:27:40,560
Speaker 7: road dogs and all that kind of stuff. Memory used

446
00:27:40,600 --> 00:27:43,600
Speaker 7: to have a conversation about, you know, infidelity and stuff,

447
00:27:44,160 --> 00:27:47,760
Speaker 7: and so you know, well, I'm gonna go all the

448
00:27:47,800 --> 00:27:51,399
Speaker 7: way back gets a little bit. We go into we Land,

449
00:27:52,440 --> 00:27:57,320
Speaker 7: I think it was in Philly, yay, and and there's

450
00:27:57,359 --> 00:28:01,879
Speaker 7: this there's this really really fine female. Okay, that that

451
00:28:02,160 --> 00:28:05,600
Speaker 7: that is like everybody's looking at when we come off

452
00:28:05,680 --> 00:28:07,920
Speaker 7: the plane. Now, at that time, we would take a

453
00:28:07,960 --> 00:28:11,680
Speaker 7: whole floor in a hotel and stuff and have security

454
00:28:11,720 --> 00:28:14,119
Speaker 7: and all that kind of stuff. So we go to

455
00:28:14,280 --> 00:28:17,000
Speaker 7: the and we would just you know, like if you

456
00:28:17,119 --> 00:28:21,200
Speaker 7: wanted to see somebody, you would just give our road

457
00:28:21,280 --> 00:28:22,120
Speaker 7: manager an eye.

458
00:28:22,880 --> 00:28:23,119
Speaker 1: You know.

459
00:28:23,359 --> 00:28:29,240
Speaker 7: You know, I do not know, so I do not

460
00:28:29,640 --> 00:28:33,359
Speaker 7: get to the hotel. I get to the hotel. The

461
00:28:33,480 --> 00:28:37,960
Speaker 7: ladies at the hotel all right, and you know the

462
00:28:38,160 --> 00:28:44,240
Speaker 7: next day, you know, she makes his phone call and

463
00:28:44,440 --> 00:28:45,600
Speaker 7: she's talking to her guy.

464
00:28:46,360 --> 00:28:47,080
Speaker 1: You know, just like.

465
00:28:49,120 --> 00:28:49,360
Speaker 6: Just like.

466
00:28:52,240 --> 00:28:55,440
Speaker 1: So Marisa having this conversation. So I felt like.

467
00:28:57,200 --> 00:29:01,480
Speaker 7: A deflated and stuff was like, oh so I was

468
00:29:01,880 --> 00:29:04,800
Speaker 7: talking to Maurice. So we had this conversation. So that's

469
00:29:04,840 --> 00:29:08,800
Speaker 7: how we started to write Reasons. Okay, now writing that

470
00:29:09,000 --> 00:29:13,400
Speaker 7: song and then Charles Debney came in with the music

471
00:29:13,480 --> 00:29:17,920
Speaker 7: and stuff. People say that they used that song for

472
00:29:18,040 --> 00:29:23,840
Speaker 7: their wed You're saying you wrote that song without a melody? No, no,

473
00:29:24,320 --> 00:29:28,720
Speaker 7: that's that was we'd already had. We had the music.

474
00:29:28,920 --> 00:29:29,760
Speaker 7: We had the music.

475
00:29:32,120 --> 00:29:36,120
Speaker 1: So you just how do you and Maurice's collaborating on?

476
00:29:36,240 --> 00:29:36,800
Speaker 1: So do you talk?

477
00:29:36,880 --> 00:29:37,080
Speaker 6: It was?

478
00:29:38,320 --> 00:29:40,240
Speaker 7: It was, you know, different all the time. You know,

479
00:29:40,320 --> 00:29:42,720
Speaker 7: it was different all the time, you know, whatever resonated

480
00:29:42,800 --> 00:29:45,480
Speaker 7: with you at that time. But that's how Reason was,

481
00:29:46,200 --> 00:29:50,680
Speaker 7: you know, was was was crafted. But basically, you know,

482
00:29:51,000 --> 00:29:53,440
Speaker 7: the song says that you know, your reasons were a lie,

483
00:29:53,560 --> 00:29:56,640
Speaker 7: reasons had no pride, you know, love was left aside

484
00:29:57,320 --> 00:30:00,680
Speaker 7: and all this stuff. And people said, are you that

485
00:30:00,840 --> 00:30:02,200
Speaker 7: song reasons for my wedding?

486
00:30:02,840 --> 00:30:06,240
Speaker 1: Oh? My goodness not what did I hear a rumor

487
00:30:06,320 --> 00:30:09,400
Speaker 1: once that someone offered you guys to come perform the

488
00:30:09,520 --> 00:30:12,960
Speaker 1: song at a wedding, and one of you had to reveal, like,

489
00:30:13,760 --> 00:30:17,440
Speaker 1: it's a song about unfair like why, well, you know

490
00:30:17,560 --> 00:30:18,320
Speaker 1: what we do.

491
00:30:18,640 --> 00:30:22,840
Speaker 7: We do some very expensive corporate dates, you know, you know,

492
00:30:23,200 --> 00:30:28,440
Speaker 7: and if someone says to do reasons, I will decline.

493
00:30:30,520 --> 00:30:31,800
Speaker 1: Been specifically for like a love.

494
00:30:31,920 --> 00:30:34,719
Speaker 7: Yeah, if it's for a wedding, if you know, if

495
00:30:34,720 --> 00:30:37,200
Speaker 7: it's if it's your wedding night and you know we're

496
00:30:37,240 --> 00:30:40,240
Speaker 7: doing the music after it, and I won't do I

497
00:30:40,360 --> 00:30:41,960
Speaker 7: probably I don't want to do after the lover is

498
00:30:42,000 --> 00:30:42,680
Speaker 7: gone either.

499
00:30:43,320 --> 00:30:44,520
Speaker 1: Right, yeah, you know.

500
00:30:50,360 --> 00:30:55,480
Speaker 7: Your wedding night, wedding night, your wedding night, and you know,

501
00:30:55,640 --> 00:30:57,000
Speaker 7: like this is your big party.

502
00:30:57,480 --> 00:31:01,600
Speaker 1: No, you know, I'm not on singing all that. Ye wait,

503
00:31:01,840 --> 00:31:04,560
Speaker 1: why is it that all of our quote, our songs,

504
00:31:05,440 --> 00:31:09,239
Speaker 1: our side chicks, sweet thing? I just someone just hit

505
00:31:09,320 --> 00:31:15,360
Speaker 1: me saving all my love? Did I know? Yeah? She

506
00:31:15,480 --> 00:31:15,720
Speaker 1: say it.

507
00:31:15,760 --> 00:31:16,120
Speaker 6: And now.

508
00:31:17,640 --> 00:31:23,280
Speaker 1: But what's the world You got your family? Oh? No, God,

509
00:31:24,800 --> 00:31:29,000
Speaker 1: and they need you to she knows you know what

510
00:31:29,080 --> 00:31:32,160
Speaker 1: it is, dude. Black people listen to the lyrics.

511
00:31:32,240 --> 00:31:36,040
Speaker 6: No, no, I think we translate them differently in our head,

512
00:31:36,120 --> 00:31:38,400
Speaker 6: Like we listened because we sing along, But then somewhere

513
00:31:38,440 --> 00:31:39,920
Speaker 6: in the translation is the feeling.

514
00:31:40,240 --> 00:31:43,240
Speaker 3: The feeling feeling Maxwell said had the same thing with

515
00:31:43,320 --> 00:31:46,240
Speaker 3: pretty Wings, where people were saying they wanted him to

516
00:31:46,400 --> 00:31:48,560
Speaker 3: like do that at his wedding and so many people

517
00:31:48,600 --> 00:31:50,840
Speaker 3: come and say, that's our wedding song. And he was

518
00:31:50,880 --> 00:31:52,800
Speaker 3: just like, yo, this is a song about a breakup,

519
00:31:52,920 --> 00:31:55,360
Speaker 3: but wait it is. Yeah, pretty Wings is totally about

520
00:31:55,360 --> 00:31:57,560
Speaker 3: the break See. I thought, you're pretty wings so you

521
00:31:57,600 --> 00:31:59,520
Speaker 3: can fly away, you're about to get out of here,

522
00:32:01,720 --> 00:32:05,080
Speaker 3: something like pretty slow, Yeah, pretty means.

523
00:32:04,920 --> 00:32:06,640
Speaker 1: The breakup song. I did not know that.

524
00:32:07,280 --> 00:32:10,240
Speaker 3: Yeah, I played it all the time and part deal

525
00:32:10,440 --> 00:32:12,960
Speaker 3: like it's it's a feeling, and he was just like, listen,

526
00:32:13,040 --> 00:32:14,520
Speaker 3: if that's what it means to that person.

527
00:32:15,160 --> 00:32:16,959
Speaker 1: You know, it's pretty arrogant of you to say, oh,

528
00:32:17,040 --> 00:32:18,680
Speaker 1: that's not with it, but if that's how they feel

529
00:32:18,680 --> 00:32:22,040
Speaker 1: about it, I didn't do it because I want I

530
00:32:22,040 --> 00:32:26,560
Speaker 1: wouldn't want to jinx your relationship. Wow, I thought, I.

531
00:32:26,640 --> 00:32:28,040
Speaker 6: Just want to say, we still don't know the reasons,

532
00:32:28,080 --> 00:32:30,960
Speaker 6: but the conversation I'm looking I'm sitting here reading the lyrics,

533
00:32:31,040 --> 00:32:33,240
Speaker 6: like the reasons that we feared that Even.

534
00:32:33,120 --> 00:32:35,960
Speaker 1: Then, I was gonna say, most Earth Wind and Fire

535
00:32:36,040 --> 00:32:41,840
Speaker 1: slow songs really don't deal with besides be ever wonderful,

536
00:32:42,000 --> 00:32:44,880
Speaker 1: wonderful man, I'm thinking like all, even like I would

537
00:32:44,920 --> 00:32:48,360
Speaker 1: consider Devotion a slow song even though it has nothing

538
00:32:48,440 --> 00:32:50,320
Speaker 1: to do with a romantic relationship.

539
00:32:50,480 --> 00:32:52,520
Speaker 3: But it's really slow, so it is not really slow.

540
00:32:52,720 --> 00:32:54,840
Speaker 3: That's I don't consider that. It's not a ballot.

541
00:32:55,360 --> 00:32:59,280
Speaker 1: Well it's yeah, it's it's not required about the album

542
00:32:59,400 --> 00:33:05,400
Speaker 1: version of Devotion I consider a slow song, whereas I'll

543
00:33:05,480 --> 00:33:09,760
Speaker 1: DJ the live for it, like as a jam. But yeah,

544
00:33:09,960 --> 00:33:14,600
Speaker 1: that's so weird. Okay, so can you how are you officially?

545
00:33:15,120 --> 00:33:18,120
Speaker 1: Uh well wait, what what were your impressions of Earth

546
00:33:18,160 --> 00:33:19,760
Speaker 1: Wind and Fire when you handed that record?

547
00:33:20,400 --> 00:33:22,960
Speaker 7: I was blown away, first of all, because we didn't

548
00:33:23,120 --> 00:33:28,040
Speaker 7: didn't have any pictures of them, so I couldn't conceive

549
00:33:28,160 --> 00:33:33,640
Speaker 7: of them being an African American group. Yeah, because I

550
00:33:33,960 --> 00:33:37,120
Speaker 7: had never heard anything like that ever before. And this

551
00:33:37,280 --> 00:33:38,840
Speaker 7: is the first this is their Warner Brothers, this is

552
00:33:38,840 --> 00:33:42,600
Speaker 7: the Warner Brothers stuff, and uh, you know, like I'm gonna,

553
00:33:43,000 --> 00:33:45,280
Speaker 7: I couldn't have I couldn't imagine what they looked like

554
00:33:45,880 --> 00:33:51,360
Speaker 7: because I'd never been introduced to afrocentric you know, music

555
00:33:51,640 --> 00:33:56,440
Speaker 7: and all that kind of stuff, and and you know,

556
00:33:58,240 --> 00:34:01,320
Speaker 7: it was no very much so very much so, I mean,

557
00:34:01,400 --> 00:34:05,240
Speaker 7: and it was esoteric and you know, I was like, whoa,

558
00:34:05,920 --> 00:34:08,719
Speaker 7: what is this? And then there was a merge of

559
00:34:08,840 --> 00:34:13,400
Speaker 7: all of of the different genres in the music, and

560
00:34:13,520 --> 00:34:15,279
Speaker 7: I'm like, what these guys look like?

561
00:34:16,360 --> 00:34:16,560
Speaker 1: You know?

562
00:34:16,840 --> 00:34:20,680
Speaker 7: And then Perry brought them to Denver on a promotional

563
00:34:20,760 --> 00:34:24,840
Speaker 7: tour and that's when Verdin came down to the club,

564
00:34:25,520 --> 00:34:29,840
Speaker 7: saw me and and Carl play and stuff, and we

565
00:34:30,040 --> 00:34:34,680
Speaker 7: actually opened the show for them, and on their promotional tour,

566
00:34:35,160 --> 00:34:39,120
Speaker 7: and I met Maurice on the elevator. Okay, yeah, he

567
00:34:39,280 --> 00:34:43,879
Speaker 7: had coconut oil. That's the first time I never knew.

568
00:34:44,000 --> 00:34:46,880
Speaker 1: I never heard. I never smelled no oils, and I

569
00:34:47,000 --> 00:34:51,840
Speaker 1: just I smelled coconuts. You know. It's like yeah, and

570
00:34:51,960 --> 00:34:57,399
Speaker 1: he had a cowboy hat on. You know. Wow, So your.

571
00:34:57,320 --> 00:34:59,200
Speaker 6: First tour or whatever you went on, your first tour

572
00:34:59,280 --> 00:35:01,759
Speaker 6: must have been pretty mind blowing. To see how the

573
00:35:01,880 --> 00:35:02,200
Speaker 6: rest of.

574
00:35:02,320 --> 00:35:08,040
Speaker 1: Like mind blowing? Wait before it. See, the thing is

575
00:35:08,160 --> 00:35:10,400
Speaker 1: that if you're not involved with Warner era Earth, when

576
00:35:10,480 --> 00:35:13,279
Speaker 1: and fired who was like a moment of truth.

577
00:35:13,480 --> 00:35:15,759
Speaker 7: I swore that was you singing no, No, that was

578
00:35:15,880 --> 00:35:18,640
Speaker 7: that was That was the first group. All the first

579
00:35:18,680 --> 00:35:22,400
Speaker 7: group was around Maurice's age, ten years older than us.

580
00:35:22,719 --> 00:35:26,560
Speaker 7: So come a Columbia time, he totally got the whole band.

581
00:35:26,800 --> 00:35:27,399
Speaker 1: The whole band.

582
00:35:27,480 --> 00:35:30,440
Speaker 7: It was only they left, and it was only him

583
00:35:30,480 --> 00:35:34,880
Speaker 7: and Verdein and and so. In that time period they

584
00:35:34,960 --> 00:35:40,080
Speaker 7: had met me through the Denver experience and I was

585
00:35:40,160 --> 00:35:43,759
Speaker 7: out in Los Angeles. I was a musical director of

586
00:35:43,800 --> 00:35:46,640
Speaker 7: percussions for a band called the Stove All Sisters, which

587
00:35:46,760 --> 00:35:53,040
Speaker 7: was yeah, and so I would play and rehearse the

588
00:35:53,120 --> 00:35:56,040
Speaker 7: band and stuff, so they knew I could sing and stuff.

589
00:35:57,239 --> 00:36:00,800
Speaker 7: They broke up and I was going to send, you know,

590
00:36:01,280 --> 00:36:04,279
Speaker 7: my wife at the time, Janet, and my first son, Sir,

591
00:36:04,800 --> 00:36:08,760
Speaker 7: back to Denver he had just been born. And Maurice

592
00:36:08,840 --> 00:36:10,520
Speaker 7: and Vernein came over and said, do you want to

593
00:36:10,560 --> 00:36:13,520
Speaker 7: be in the band? And I said, on one condition.

594
00:36:13,640 --> 00:36:15,640
Speaker 7: They said what I said, I want to be in

595
00:36:15,680 --> 00:36:16,360
Speaker 7: the best band in.

596
00:36:16,400 --> 00:36:17,080
Speaker 1: The whole world.

597
00:36:18,000 --> 00:36:18,280
Speaker 10: Wow.

598
00:36:19,600 --> 00:36:21,879
Speaker 1: And they looked at each other and they said, you're

599
00:36:22,880 --> 00:36:29,839
Speaker 1: that's a mighty demand. Then we ate oatmeal for next Wait.

600
00:36:29,920 --> 00:36:31,879
Speaker 7: Every time we thought we was going on the road,

601
00:36:32,200 --> 00:36:34,000
Speaker 7: we'd get ready to get we'd get in the car

602
00:36:34,120 --> 00:36:36,439
Speaker 7: and be on the way and some of them somebody

603
00:36:36,480 --> 00:36:41,120
Speaker 7: would call and they'd go, yeah, it's counselor. I was

604
00:36:41,200 --> 00:36:44,440
Speaker 7: gonna God, So I was thinking, I was, I was,

605
00:36:44,600 --> 00:36:47,440
Speaker 7: I was debating on if I should go to you know,

606
00:36:47,760 --> 00:36:50,560
Speaker 7: to some training school or whatever. And the guy I

607
00:36:50,680 --> 00:36:53,680
Speaker 7: was living with said, look, either you're gonna, you know,

608
00:36:53,920 --> 00:36:55,919
Speaker 7: do that. Are you gonna do this. If you're gonna

609
00:36:55,920 --> 00:36:58,080
Speaker 7: do this, go back in there and you know, practice

610
00:36:58,080 --> 00:36:59,680
Speaker 7: your music and stuff.

611
00:37:00,080 --> 00:37:03,239
Speaker 1: But that happened. That was our testing grounds. And then

612
00:37:03,520 --> 00:37:04,440
Speaker 1: you know, once we got on.

613
00:37:04,520 --> 00:37:07,480
Speaker 7: The road, we got out here, we got to Philly,

614
00:37:09,040 --> 00:37:12,720
Speaker 7: and then is that the infamous booing night yep staring

615
00:37:12,800 --> 00:37:14,160
Speaker 7: out to Philly got to Philly.

616
00:37:14,960 --> 00:37:15,319
Speaker 1: The story.

617
00:37:15,400 --> 00:37:18,640
Speaker 7: We got to Philly uptown and all the do wop

618
00:37:18,719 --> 00:37:21,759
Speaker 7: groups and stuff, and we had on you know, we

619
00:37:21,920 --> 00:37:24,960
Speaker 7: had on tights and all that kind of stuff different

620
00:37:26,000 --> 00:37:29,640
Speaker 7: And so then we had that colimba and and Rilly

621
00:37:29,719 --> 00:37:31,440
Speaker 7: Loss playing the soprano saxophone.

622
00:37:31,480 --> 00:37:32,560
Speaker 1: He ain't never seen none of that.

623
00:37:33,000 --> 00:37:35,040
Speaker 7: And so we got on the stage and the whoo

624
00:37:35,239 --> 00:37:38,399
Speaker 7: y'all stink, you know, it's you know, throwing little stuff

625
00:37:38,480 --> 00:37:40,640
Speaker 7: up there. More he told us all to sit down

626
00:37:40,719 --> 00:37:46,399
Speaker 7: on the ground and the lotus position, so we all, yeah,

627
00:37:46,840 --> 00:37:50,359
Speaker 7: oh yeah in Philly after uptown, So we just sat,

628
00:37:50,480 --> 00:37:53,360
Speaker 7: he said, and just be still and so just and

629
00:37:53,520 --> 00:37:54,279
Speaker 7: just stare at him.

630
00:37:55,320 --> 00:37:56,239
Speaker 1: So so we did.

631
00:37:56,360 --> 00:37:59,440
Speaker 7: We in Philly after uptown, sitting in the lotus position

632
00:38:00,080 --> 00:38:04,520
Speaker 7: with you know, with tights on, you know, you know,

633
00:38:04,840 --> 00:38:07,160
Speaker 7: and staring at the ordinance as they curse at us.

634
00:38:08,280 --> 00:38:10,480
Speaker 7: And they kept on and they kept only kept on,

635
00:38:11,040 --> 00:38:12,919
Speaker 7: and then they calmed down a little bit and Maury

636
00:38:12,960 --> 00:38:14,040
Speaker 7: started playing that colimba.

637
00:38:16,400 --> 00:38:17,920
Speaker 1: How did y'all at them? Man?

638
00:38:18,000 --> 00:38:20,920
Speaker 7: We at least ten minutes they they Then then he

639
00:38:21,000 --> 00:38:24,600
Speaker 7: started playing the colimber and Ronnie Larve started improvising over

640
00:38:24,680 --> 00:38:28,600
Speaker 7: that colimber. Larry Dunn went to that keyboard started playing

641
00:38:28,640 --> 00:38:33,560
Speaker 7: them chords and we run into a rhythm. When we

642
00:38:33,680 --> 00:38:37,279
Speaker 7: got finished with that show, it was nothing like it

643
00:38:37,560 --> 00:38:38,879
Speaker 7: gives me chills to this day.

644
00:38:39,440 --> 00:38:41,400
Speaker 1: Really we were so it.

645
00:38:41,560 --> 00:38:47,640
Speaker 7: Was like Philly Love, Earth Wind and Fire. They was

646
00:38:47,760 --> 00:38:50,400
Speaker 7: the It was the first that was and we got

647
00:38:50,520 --> 00:38:53,719
Speaker 7: it was so monumental that when we got done, we

648
00:38:53,840 --> 00:38:55,680
Speaker 7: went back to the hotel where he said, we're gonna

649
00:38:55,680 --> 00:38:58,440
Speaker 7: have a meeting, you know, and we all got together

650
00:38:58,440 --> 00:39:01,880
Speaker 7: and he's and we all recognized something special had happened

651
00:39:01,960 --> 00:39:05,080
Speaker 7: that night. You know, we all recognize it and we

652
00:39:05,280 --> 00:39:07,680
Speaker 7: just have to affirm it. You know, he said they're

653
00:39:07,680 --> 00:39:10,719
Speaker 7: gonna eat either love you or hate you, but they

654
00:39:11,080 --> 00:39:11,440
Speaker 7: can't be.

655
00:39:11,480 --> 00:39:18,160
Speaker 1: In the middle. Wow. Side note, I am trying to

656
00:39:18,400 --> 00:39:25,799
Speaker 1: buy the town. Really yeah, I've been you know, that's

657
00:39:25,920 --> 00:39:31,839
Speaker 1: that's one of my life goals with Sirah Live Nation.

658
00:39:32,200 --> 00:39:33,120
Speaker 1: Shout out to Sorgy.

659
00:39:33,320 --> 00:39:35,239
Speaker 6: Oh before they get it, don't partner, just take it off.

660
00:39:37,440 --> 00:39:42,440
Speaker 3: It's not the man he is, but he's the man

661
00:39:42,520 --> 00:39:46,239
Speaker 3: the company. No, it's still there, control on the rock.

662
00:39:46,840 --> 00:39:49,919
Speaker 3: It's still it's still, it's still there. It's still a shell.

663
00:39:50,239 --> 00:39:53,160
Speaker 3: And you know it's it's been The Uptown has been

664
00:39:53,200 --> 00:39:58,480
Speaker 3: closed since eighty nine. I think, oh yeah, like thirty

665
00:39:58,560 --> 00:40:00,920
Speaker 3: years now, that's a full I.

666
00:40:00,920 --> 00:40:02,279
Speaker 6: Was just thinking I was a full circle moment. I

667
00:40:02,360 --> 00:40:05,520
Speaker 6: remember Fourth of July what was that ten years ago

668
00:40:05,600 --> 00:40:08,160
Speaker 6: when earth went and fire came to Philly and you

669
00:40:08,280 --> 00:40:12,879
Speaker 6: guys did the curation for the welcome American things. Yeah,

670
00:40:12,960 --> 00:40:14,600
Speaker 6: and it was just like a full circle moment of

671
00:40:14,680 --> 00:40:16,280
Speaker 6: seeing them after.

672
00:40:17,800 --> 00:40:23,000
Speaker 1: So okay with the first record, First of all, can

673
00:40:23,080 --> 00:40:26,600
Speaker 1: you please tell us about Charles.

674
00:40:26,640 --> 00:40:31,279
Speaker 3: Stephanie and we had emotions on the show like a

675
00:40:31,320 --> 00:40:33,800
Speaker 3: while back, and they were kind of really yeah, we

676
00:40:34,200 --> 00:40:35,000
Speaker 3: had them in La.

677
00:40:35,040 --> 00:40:38,880
Speaker 7: But the closest thing thing I could say about Charles

678
00:40:39,040 --> 00:40:46,160
Speaker 7: is Quincy Jones. You know that type of person. But

679
00:40:46,280 --> 00:40:50,880
Speaker 7: he was also like just such a humble he was.

680
00:40:51,080 --> 00:41:01,040
Speaker 7: He was an orchestrator and the ranger, vibist, pianist, ah,

681
00:41:03,080 --> 00:41:07,880
Speaker 7: and you know, a songwriter and and a lover of

682
00:41:08,000 --> 00:41:14,000
Speaker 7: his family, you know, and a teacher and a very

683
00:41:14,200 --> 00:41:19,920
Speaker 7: very humble, understated person. And uh, all he did was

684
00:41:20,120 --> 00:41:23,800
Speaker 7: just make music and and all those sounds and stuff

685
00:41:24,640 --> 00:41:27,360
Speaker 7: before everything got multi tamborled and stuff.

686
00:41:27,920 --> 00:41:31,160
Speaker 1: He would record note for note.

687
00:41:32,600 --> 00:41:37,200
Speaker 7: Then you know, do the octaves change him, harmonize him,

688
00:41:37,600 --> 00:41:40,800
Speaker 7: all that harmony stuff that that was on since before

689
00:41:40,920 --> 00:41:43,440
Speaker 7: you know they got they got multi times.

690
00:41:43,719 --> 00:41:47,080
Speaker 1: Say you have to play one at the time. I

691
00:41:47,640 --> 00:41:53,359
Speaker 1: have one of my life goals was try to find

692
00:41:53,400 --> 00:41:57,240
Speaker 1: the all about love stems to see how he crafted

693
00:41:57,680 --> 00:42:00,680
Speaker 1: the interlude that comes at the end, all right, that's

694
00:42:00,719 --> 00:42:03,360
Speaker 1: eventually celebrate. Can you speak on that for a second.

695
00:42:04,520 --> 00:42:11,520
Speaker 1: How the the ending of right? So basically that's his

696
00:42:11,640 --> 00:42:15,400
Speaker 1: plate backwards right. I realized that now because on the

697
00:42:15,520 --> 00:42:20,400
Speaker 1: Master rel when I heard it, I was like, oh,

698
00:42:20,440 --> 00:42:23,719
Speaker 1: this is celebrate And then I realized that, Okay, you

699
00:42:23,800 --> 00:42:26,320
Speaker 1: guys must have just played it, but it still sounds

700
00:42:26,360 --> 00:42:32,680
Speaker 1: the same, like back and forth. Okay, So initially he

701
00:42:32,880 --> 00:42:35,440
Speaker 1: was demoing what would have been Celebrate, which is on

702
00:42:35,600 --> 00:42:40,320
Speaker 1: the Gratitude album. Can you describe what the what's the

703
00:42:41,040 --> 00:42:45,279
Speaker 1: jamming process or how does a seed of a song

704
00:42:45,360 --> 00:42:49,080
Speaker 1: or an idea form into Like do you guys take

705
00:42:49,160 --> 00:42:52,359
Speaker 1: rough ideas to Charles and then he'll stretch it out

706
00:42:52,360 --> 00:42:54,680
Speaker 1: because I've heard I mean, in the reissues of a

707
00:42:54,719 --> 00:42:57,960
Speaker 1: lot of these albums, you'll hear super rough demos of

708
00:42:59,320 --> 00:43:03,080
Speaker 1: of Shining Star and various earth Wind and Fire songs

709
00:43:03,080 --> 00:43:06,440
Speaker 1: when they're just like jamming ideas.

710
00:43:06,280 --> 00:43:12,719
Speaker 7: Right well, like on that song Charles had really if

711
00:43:12,760 --> 00:43:15,759
Speaker 7: I remember right, there was a lot of that song

712
00:43:15,840 --> 00:43:20,840
Speaker 7: that was already there before me and Maurice started writing

713
00:43:20,960 --> 00:43:27,200
Speaker 7: lyrics and stuff and everything that that he would bring

714
00:43:27,520 --> 00:43:31,520
Speaker 7: Maurice and Charles had. They they worked really really well together,

715
00:43:32,160 --> 00:43:38,000
Speaker 7: and al McKay was the key was a lot really Yeah,

716
00:43:38,280 --> 00:43:42,520
Speaker 7: It's just like I could take a complicated whatever, complicated

717
00:43:43,040 --> 00:43:49,400
Speaker 7: musical you know, piece or passage and make it groove

718
00:43:50,320 --> 00:43:53,960
Speaker 7: really whatever whatever, because you know, that's a lot of

719
00:43:54,080 --> 00:43:57,520
Speaker 7: music going on right there. You know, all those changes

720
00:43:57,640 --> 00:43:58,640
Speaker 7: and all that kind of stuff.

721
00:43:58,760 --> 00:44:03,560
Speaker 1: But you can so you feel that album. Ka is

722
00:44:03,600 --> 00:44:06,600
Speaker 1: a guitar player, was the he was someone of the

723
00:44:06,680 --> 00:44:09,800
Speaker 1: epicenter or you know, he's the lock. He was. He

724
00:44:09,960 --> 00:44:13,560
Speaker 1: was a lock because he he played with you know,

725
00:44:13,719 --> 00:44:17,160
Speaker 1: watch hundred and third Street, and he was an R

726
00:44:17,280 --> 00:44:20,080
Speaker 1: and B keing. He just.

727
00:44:21,560 --> 00:44:25,719
Speaker 7: Out even wanted to be complicated, you know. He he

728
00:44:26,080 --> 00:44:32,040
Speaker 7: was about the funk and so whatever idea that Maurice

729
00:44:32,080 --> 00:44:36,000
Speaker 7: would have filters through him, filtered through him and he

730
00:44:36,080 --> 00:44:41,320
Speaker 7: would lock it up with with with Verdein and the drummer.

731
00:44:41,800 --> 00:44:44,719
Speaker 7: You know, if Maurice wasn't playing, because if Maurice is playing,

732
00:44:44,719 --> 00:44:47,279
Speaker 7: it was a lot simple, simpler because Maurice pocket had

733
00:44:47,320 --> 00:44:49,719
Speaker 7: a pocket, you know, so in.

734
00:44:49,760 --> 00:44:52,279
Speaker 1: The studio, Maurice would play drums most of the time. Yeah,

735
00:44:52,320 --> 00:44:56,080
Speaker 1: Maurice is playing on that okay, wow. Yeah. He played

736
00:44:56,160 --> 00:45:01,360
Speaker 1: on most of the stuff until until fred Eddy, until

737
00:45:01,960 --> 00:45:06,320
Speaker 1: Ralph was initially in the Last Days in Time, was

738
00:45:06,480 --> 00:45:09,960
Speaker 1: Ralph drumming on that album. Then Freddy came along.

739
00:45:09,880 --> 00:45:14,240
Speaker 7: For Maurice on the on the records, it was Maurice

740
00:45:15,560 --> 00:45:22,520
Speaker 7: until Freddy came. Ralph did play on That's the Way

741
00:45:22,560 --> 00:45:28,279
Speaker 7: of the World. Okay, Okay, what was the relationship with

742
00:45:28,320 --> 00:45:36,040
Speaker 7: Clive Davis, Like just very supportive and and unlike his

743
00:45:36,280 --> 00:45:40,200
Speaker 7: experience with under like unlike a lot of the experiences

744
00:45:40,239 --> 00:45:41,760
Speaker 7: that I've heard with other artists.

745
00:45:43,000 --> 00:45:49,200
Speaker 1: He never we didn't have those basically the only thing

746
00:45:49,200 --> 00:45:50,360
Speaker 1: you're talking about blessed wat.

747
00:45:50,160 --> 00:45:54,279
Speaker 7: And he didn't he didn't and he didn't get into

748
00:45:54,360 --> 00:45:56,600
Speaker 7: the artistic thing. He didn't get into the art.

749
00:45:57,239 --> 00:46:01,160
Speaker 1: But you guys were the blueprint of art, right, that's the.

750
00:46:01,200 --> 00:46:03,920
Speaker 7: Thing like get into you know, like he likes this

751
00:46:04,080 --> 00:46:06,120
Speaker 7: song and getting this da da da da. He was

752
00:46:06,239 --> 00:46:08,400
Speaker 7: just you know, Marris's give him the record when he

753
00:46:08,440 --> 00:46:08,960
Speaker 7: got finished.

754
00:46:09,120 --> 00:46:12,680
Speaker 1: But how okay. But the thing is is that the

755
00:46:12,840 --> 00:46:16,520
Speaker 1: legacy of Clive Davis is okay, quote the greatest ears

756
00:46:16,680 --> 00:46:19,920
Speaker 1: in music or whatever. His his mantra is like I

757
00:46:19,960 --> 00:46:23,319
Speaker 1: have the best ears of music. You guys, though, were

758
00:46:23,440 --> 00:46:33,560
Speaker 1: so artsy, like literally reintroducing or establishing afrocentristic afro jazz,

759
00:46:35,080 --> 00:46:37,480
Speaker 1: but fil but still with the pop sens like you

760
00:46:37,560 --> 00:46:41,200
Speaker 1: guys were so pop but so black at the money

761
00:46:41,239 --> 00:46:46,279
Speaker 1: ass hooks. Cause yeah, so like what you know, would

762
00:46:47,320 --> 00:46:49,320
Speaker 1: like the whole idea of like don't boris gets the

763
00:46:49,400 --> 00:46:52,080
Speaker 1: course and all that stuff like, who's the disciplinarian that

764
00:46:52,280 --> 00:46:53,479
Speaker 1: knew Oh.

765
00:46:53,640 --> 00:46:57,960
Speaker 7: Okay, we're going all over the place. Really yeah, he

766
00:46:58,360 --> 00:47:02,120
Speaker 7: had total a time me. He just you know he

767
00:47:02,640 --> 00:47:06,399
Speaker 7: because he his background too was we worked at Chess

768
00:47:06,440 --> 00:47:11,040
Speaker 7: Records in the in the in the advertisement, uh commercial department,

769
00:47:11,400 --> 00:47:13,960
Speaker 7: and so like they would have contests with all the

770
00:47:14,000 --> 00:47:20,480
Speaker 7: different writers, and Charles Stepney was arranger and he named

771
00:47:20,560 --> 00:47:23,239
Speaker 7: Maurice Rooney tunes. That's how we you know, that's what

772
00:47:23,440 --> 00:47:27,400
Speaker 7: we all call him Maurice Rooney because Maurice had this

773
00:47:27,600 --> 00:47:33,080
Speaker 7: sense of getting getting a hook. So he was the

774
00:47:33,239 --> 00:47:37,320
Speaker 7: hook man definitely. And he also believed that the hooks

775
00:47:37,320 --> 00:47:40,200
Speaker 7: shouldn't just be in the choruses, but they should be

776
00:47:40,280 --> 00:47:43,120
Speaker 7: in the music itself, you know, and in the grooves

777
00:47:43,160 --> 00:47:44,080
Speaker 7: and all that kind of stuff.

778
00:47:44,160 --> 00:47:51,800
Speaker 1: So so how did you guys avoid not that I

779
00:47:51,880 --> 00:47:53,919
Speaker 1: thought that there was cliche one on one and sold

780
00:47:54,040 --> 00:47:57,080
Speaker 1: music in the early seventies, Like you're on my mind

781
00:47:57,120 --> 00:47:59,880
Speaker 1: all the time. I can't stop thinking about you, like

782
00:48:00,000 --> 00:48:02,520
Speaker 1: this just the typical rhyme scheme that is in every

783
00:48:03,239 --> 00:48:05,320
Speaker 1: I mean, Motown basically wrote the book on that. But

784
00:48:06,040 --> 00:48:10,480
Speaker 1: how like you guys are talking about mysticism and spirituality

785
00:48:10,760 --> 00:48:16,719
Speaker 1: and and things that aren't necessarily you know, day to

786
00:48:16,840 --> 00:48:19,440
Speaker 1: day conversation. Yeah, what were you smoking?

787
00:48:21,800 --> 00:48:21,840
Speaker 6: No?

788
00:48:22,040 --> 00:48:26,200
Speaker 1: But like how would you is it books that you

789
00:48:26,239 --> 00:48:28,440
Speaker 1: guys would read. And then Maurice was reading a lot

790
00:48:28,480 --> 00:48:31,359
Speaker 1: of stuff. He was reading a lot of stuff. And because.

791
00:48:32,880 --> 00:48:37,160
Speaker 7: He had traveled with Ramsey Lewis and they had traveled

792
00:48:37,160 --> 00:48:40,800
Speaker 7: to the Orient, different things like that, you know, and

793
00:48:40,920 --> 00:48:44,719
Speaker 7: he was reading he changed his whole his whole lifestyle,

794
00:48:45,200 --> 00:48:46,880
Speaker 7: diet and all the cast because I went to I

795
00:48:46,920 --> 00:48:49,479
Speaker 7: went to Ramsey's house and saw a picture of Reese

796
00:48:49,480 --> 00:48:53,520
Speaker 7: where he was thirty pounds thirty five pounds, bigger and

797
00:48:53,640 --> 00:48:57,000
Speaker 7: stuff and looked, you know, looked a lot older. And

798
00:48:57,120 --> 00:49:00,719
Speaker 7: I'll resiute, you know, really, yeah, that's when I used

799
00:49:00,719 --> 00:49:04,040
Speaker 7: to drink, you know, oh wow, you know, but since

800
00:49:04,160 --> 00:49:07,600
Speaker 7: when some from the time that I knew Maries, he

801
00:49:07,760 --> 00:49:11,200
Speaker 7: never he didn't drink and stuff or smoke or anything

802
00:49:11,280 --> 00:49:11,480
Speaker 7: like that.

803
00:49:11,960 --> 00:49:16,520
Speaker 1: And so you know, you know that that kind of

804
00:49:16,840 --> 00:49:19,759
Speaker 1: discipline was it hard doing that in the seventies, Like

805
00:49:19,960 --> 00:49:23,920
Speaker 1: now food is more like science has made food very

806
00:49:24,040 --> 00:49:27,239
Speaker 1: easy to you know, for a kind of not a

807
00:49:27,320 --> 00:49:30,040
Speaker 1: connoisse or a kind of war like me to follow

808
00:49:30,080 --> 00:49:33,920
Speaker 1: It is way easier now in today's society. But you know,

809
00:49:34,080 --> 00:49:37,040
Speaker 1: back then a diet soda might taste like the worst

810
00:49:37,080 --> 00:49:41,879
Speaker 1: thing in the world. But you know, how how hard

811
00:49:42,000 --> 00:49:44,359
Speaker 1: was it to really maintain that discipline? Then he want

812
00:49:44,400 --> 00:49:48,320
Speaker 1: the whole entire band to also follow the diet, and well, no,

813
00:49:48,600 --> 00:49:52,200
Speaker 1: that's not true. He wasn't.

814
00:49:53,040 --> 00:49:56,000
Speaker 7: He wasn't like controlling like that, you know, like you know,

815
00:49:56,320 --> 00:49:59,480
Speaker 7: it's like what's good for him? You know, it was

816
00:49:59,640 --> 00:50:03,680
Speaker 7: just more example kind of situation. You know, you you

817
00:50:03,880 --> 00:50:06,480
Speaker 7: try different things, or you watch somebody doing something, you

818
00:50:06,480 --> 00:50:09,400
Speaker 7: see how it's working for them or whatever, and you know,

819
00:50:10,719 --> 00:50:13,239
Speaker 7: if it's cool, you know, you might try it.

820
00:50:13,320 --> 00:50:15,320
Speaker 1: I mean even today, like if I go to Alabama,

821
00:50:15,600 --> 00:50:21,319
Speaker 1: like I doubt, I mean only recently. It's so, how

822
00:50:21,360 --> 00:50:28,800
Speaker 1: does one survive a healthy he wants lifestyle in you

823
00:50:28,920 --> 00:50:32,520
Speaker 1: know areas making choices, you know, just just making choices.

824
00:50:32,880 --> 00:50:36,239
Speaker 1: He wasn't you know, at certain points he did have

825
00:50:36,960 --> 00:50:42,480
Speaker 1: you know, different people cooking for him or whatever. Okay, but.

826
00:50:45,360 --> 00:50:47,560
Speaker 6: I'm more, I'm more I'm confused to how you guys were.

827
00:50:48,080 --> 00:50:50,040
Speaker 6: It sounds like you were a drug free band in

828
00:50:50,080 --> 00:50:55,399
Speaker 6: the seventies. Not really, ok, But you said he wasn't

829
00:50:55,400 --> 00:50:56,240
Speaker 6: that much of a discipline.

830
00:50:56,560 --> 00:51:02,280
Speaker 1: He wasn't he wasn't speaking about him, all right, Okay,

831
00:51:02,440 --> 00:51:08,319
Speaker 1: so open our Eyes man, Now here's the thing, Open

832
00:51:08,400 --> 00:51:13,239
Speaker 1: our Eyes. I believe it was written by Yeah because

833
00:51:13,320 --> 00:51:15,759
Speaker 1: Eddie sings you mean that song? Yes, it's it's a

834
00:51:16,200 --> 00:51:18,960
Speaker 1: no good go you go. No, No, I don't want

835
00:51:18,960 --> 00:51:20,279
Speaker 1: to mess it up. No.

836
00:51:20,520 --> 00:51:24,520
Speaker 7: Open Our Eyes was a song that Maurice Uh this

837
00:51:24,840 --> 00:51:28,880
Speaker 7: this uh guy used to play in Chicago on his

838
00:51:29,880 --> 00:51:32,919
Speaker 7: going off. He used to you know all the time,

839
00:51:33,840 --> 00:51:38,920
Speaker 7: and the and I want to I forget the actual

840
00:51:39,480 --> 00:51:43,040
Speaker 7: artists who actually had it first. You might can look

841
00:51:43,080 --> 00:51:47,360
Speaker 7: that up. No, you mean father, but that not the No,

842
00:51:47,600 --> 00:51:51,200
Speaker 7: it wasn't No, that wasn't them. That was I forget

843
00:51:51,239 --> 00:51:54,400
Speaker 7: the guy's name, but you could probably look it up

844
00:51:54,680 --> 00:51:58,600
Speaker 7: father father Opened our Eyes. And so Maurice decided, you

845
00:51:58,680 --> 00:52:00,279
Speaker 7: know how much I'm gonna do that song because it

846
00:52:00,360 --> 00:52:02,440
Speaker 7: was just in his head because he heard it all

847
00:52:02,520 --> 00:52:02,839
Speaker 7: the time.

848
00:52:03,960 --> 00:52:08,359
Speaker 1: See, I thought that funkin Delic also covered that song

849
00:52:08,640 --> 00:52:11,319
Speaker 1: on I was basically trying to lead into the fact

850
00:52:11,360 --> 00:52:15,359
Speaker 1: that they do they do Okay, So okay, I knew

851
00:52:15,640 --> 00:52:18,520
Speaker 1: Yeah Funkadelic also covered I thought they wrote it, but

852
00:52:21,000 --> 00:52:25,320
Speaker 1: most most most most soul historians have made once on

853
00:52:25,400 --> 00:52:29,319
Speaker 1: the fact that you know, Earth Wind and Fire versus

854
00:52:29,440 --> 00:52:35,279
Speaker 1: p Funk is sort of Beatles versus Rolling Stones. Well,

855
00:52:35,360 --> 00:52:39,520
Speaker 1: I mean, you guys the Beatles in that is clearly

856
00:52:39,600 --> 00:52:42,480
Speaker 1: the Beatles. Yeah, yeah, Okay, like you guys were never

857
00:52:42,520 --> 00:52:44,240
Speaker 1: seen as the bad boys of soul music.

858
00:52:44,760 --> 00:52:48,440
Speaker 3: Okay, you know, I was thinking Funkadelic is sort of.

859
00:52:48,560 --> 00:52:50,360
Speaker 3: But the thing is is that both of them have

860
00:52:50,440 --> 00:52:54,239
Speaker 3: the same ideology, Like you guys have your version of

861
00:52:54,400 --> 00:52:59,160
Speaker 3: spiritualism and afro futurism as far as the concepts.

862
00:52:59,000 --> 00:53:02,120
Speaker 1: That you'll later explore, at least with the you know,

863
00:53:02,560 --> 00:53:09,320
Speaker 1: with pyramid technology and future technology. Were you guys aware

864
00:53:09,480 --> 00:53:12,320
Speaker 1: of each other's existence in the early period before you

865
00:53:12,480 --> 00:53:16,120
Speaker 1: guys became superpowers. Were you guys even aware of what

866
00:53:16,480 --> 00:53:22,200
Speaker 1: was happening in Detroit Ends seventy two to seventy four?

867
00:53:22,840 --> 00:53:24,560
Speaker 1: I would assume that seventy four is kind of the

868
00:53:24,640 --> 00:53:28,600
Speaker 1: year where both acts finally got their engines waring. But

869
00:53:28,800 --> 00:53:31,960
Speaker 1: like in the Buzziers seventy two seventy three, were you

870
00:53:32,000 --> 00:53:35,279
Speaker 1: guys even aware of each other at all? Yeah, we

871
00:53:35,400 --> 00:53:36,800
Speaker 1: were aware of each.

872
00:53:36,640 --> 00:53:40,960
Speaker 7: Other, and you know, both bands were so busy trying

873
00:53:41,040 --> 00:53:48,399
Speaker 7: to really carve out their own destinies and be true

874
00:53:48,480 --> 00:53:51,480
Speaker 7: to their identity. You know that we didn't take a

875
00:53:51,520 --> 00:53:52,080
Speaker 7: lot of time.

876
00:53:52,600 --> 00:53:53,000
Speaker 1: But I know.

877
00:53:54,640 --> 00:53:57,480
Speaker 7: The one experience that we always talked about to this

878
00:53:57,640 --> 00:54:01,080
Speaker 7: day is we played with the funk Cacadelics at the Armory.

879
00:54:02,400 --> 00:54:04,920
Speaker 7: And it's not New York car, no no d C

880
00:54:06,080 --> 00:54:10,400
Speaker 7: in d C at the Armory and we that was

881
00:54:10,480 --> 00:54:15,520
Speaker 7: before we we we hadn't found no funk yet, and

882
00:54:15,640 --> 00:54:18,080
Speaker 7: so we went on there talking about you know, I

883
00:54:18,200 --> 00:54:24,319
Speaker 7: think about love, right, and so we had our little

884
00:54:24,880 --> 00:54:28,360
Speaker 7: we had our little polite applause, and then the funk Aadelics.

885
00:54:28,719 --> 00:54:30,560
Speaker 7: First you saw the smoke come out of the room,

886
00:54:32,760 --> 00:54:36,560
Speaker 7: open the door, and you saw because they were smoking

887
00:54:36,840 --> 00:54:38,360
Speaker 7: right right, and then you hear it.

888
00:54:41,800 --> 00:54:43,520
Speaker 1: Right right, man.

889
00:54:44,600 --> 00:54:48,480
Speaker 7: They funked us out of there so bad until Maurice said,

890
00:54:48,520 --> 00:54:50,920
Speaker 7: we going back to l A. We're gonna rehearse, you

891
00:54:51,000 --> 00:54:51,600
Speaker 7: know really.

892
00:54:51,719 --> 00:54:52,399
Speaker 1: Yeah, So we went.

893
00:54:52,640 --> 00:54:54,719
Speaker 7: We we went from there wherever we were on the road,

894
00:54:55,320 --> 00:54:58,640
Speaker 7: we checked into wherever we were, and we had a rehearsal.

895
00:54:59,239 --> 00:55:06,919
Speaker 1: We gotta find the one, you know, really really wow,

896
00:55:07,160 --> 00:55:09,040
Speaker 1: oh yeah, And then we went.

897
00:55:09,040 --> 00:55:13,160
Speaker 7: Back to Los Angeles and we rehearsed and stuff, and

898
00:55:13,320 --> 00:55:19,080
Speaker 7: that's when Reese changed and went and got al McKay. Okay, okay,

899
00:55:19,120 --> 00:55:23,680
Speaker 7: he said, you know because Johnny was just there Johnny Graham, yep,

900
00:55:24,200 --> 00:55:25,479
Speaker 7: cousin of Larry Graham.

901
00:55:26,080 --> 00:55:28,680
Speaker 1: I didn't know if his cousin. Yeah, I didn't. Wait,

902
00:55:28,920 --> 00:55:32,200
Speaker 1: how do you not know that I know that Larry

903
00:55:32,280 --> 00:55:33,040
Speaker 1: Graham discuss it?

904
00:55:33,320 --> 00:55:38,360
Speaker 3: I never knew that really, never Johnny double check that

905
00:55:39,400 --> 00:55:42,959
Speaker 3: I've read many never talked It's book.

906
00:55:43,520 --> 00:55:47,320
Speaker 1: He never talked very much to anybody. Okay, So it

907
00:55:47,520 --> 00:55:51,719
Speaker 1: is a lot of you, and I know, to make it,

908
00:55:52,080 --> 00:55:56,760
Speaker 1: to make life work, you kind of have to be friends.

909
00:55:56,920 --> 00:55:59,799
Speaker 1: Or who are the clicks in the group? Like who

910
00:55:59,800 --> 00:56:03,560
Speaker 1: do you who's your running buddy versus? You know, did

911
00:56:03,600 --> 00:56:05,600
Speaker 1: the Horns just hanging with each other? That Maurice and

912
00:56:05,719 --> 00:56:10,319
Speaker 1: Verdin just like who well, you know, like if you say,

913
00:56:11,520 --> 00:56:13,640
Speaker 1: and I'm talking classic lineup, okay.

914
00:56:13,440 --> 00:56:17,160
Speaker 7: Clicks, you would say the Phoenix Horns. You definitely they

915
00:56:17,280 --> 00:56:19,560
Speaker 7: hung together because they were crazy.

916
00:56:22,480 --> 00:56:27,080
Speaker 1: Boy oh boy? And who who are those guys? Who

917
00:56:27,120 --> 00:56:27,400
Speaker 1: are the.

918
00:56:29,160 --> 00:56:33,960
Speaker 7: Michael Harris, Don Myrick and lou Sadderfield.

919
00:56:35,080 --> 00:56:42,600
Speaker 1: Okay, Steve is waking up because of course Phoenix horns Phoenix. Also, yes,

920
00:56:42,760 --> 00:56:45,640
Speaker 1: we'll get to that. Reese was a loner.

921
00:56:47,320 --> 00:56:50,239
Speaker 7: Unless he was he'd hang with me, he'd hang with

922
00:56:50,680 --> 00:56:57,160
Speaker 7: with Verdein. I think my my my hanging buddies were

923
00:56:57,280 --> 00:57:03,320
Speaker 7: probably Ralph and Larry Dunn because I grew up with

924
00:57:03,400 --> 00:57:06,799
Speaker 7: him and Andrew, you know, and they Me and Ralph

925
00:57:06,880 --> 00:57:09,520
Speaker 7: had to meet room together too, you know, back in

926
00:57:09,520 --> 00:57:10,279
Speaker 7: the day when you have to.

927
00:57:10,280 --> 00:57:13,439
Speaker 1: Back in the day two two in the motel. Ok. Wow,

928
00:57:14,120 --> 00:57:17,320
Speaker 1: how Also, this is what I really want to know.

929
00:57:18,800 --> 00:57:23,760
Speaker 1: What is standard for survival when you're in such a

930
00:57:23,880 --> 00:57:27,560
Speaker 1: large scale group. The reason why so many AXCO solo

931
00:57:27,720 --> 00:57:29,560
Speaker 1: course is to get the biggest piece of the pie,

932
00:57:30,120 --> 00:57:36,200
Speaker 1: their own pie. But when you are one ninth of

933
00:57:36,920 --> 00:57:41,200
Speaker 1: a superpower and you're not touring twenty four to seven

934
00:57:42,240 --> 00:57:45,120
Speaker 1: or making your own direct money, like when touring stops

935
00:57:45,160 --> 00:57:46,960
Speaker 1: and it's like I gotta go home and pay these

936
00:57:47,000 --> 00:57:51,040
Speaker 1: bills and you still got responsibilities, right. So if I'm

937
00:57:51,240 --> 00:57:54,200
Speaker 1: I know what it takes to survive like that in

938
00:57:54,280 --> 00:57:58,600
Speaker 1: twenty nineteen because I'm oh shit, I'm in my own

939
00:57:58,640 --> 00:58:03,040
Speaker 1: earth room and fire with eleven eleven, you know, when

940
00:58:03,040 --> 00:58:05,600
Speaker 1: the roots this out, like four members ye yeah, why

941
00:58:05,760 --> 00:58:08,520
Speaker 1: how do we get to eleven? So I know what

942
00:58:08,600 --> 00:58:13,080
Speaker 1: it takes for you know, eleven people to make a

943
00:58:13,200 --> 00:58:16,040
Speaker 1: good living out of this. But if it's nineteen seventy three,

944
00:58:16,120 --> 00:58:22,320
Speaker 1: seventy four, seventy five, what is good living? What is it?

945
00:58:22,480 --> 00:58:26,240
Speaker 1: What is a good living weekly pay? Is it making

946
00:58:26,640 --> 00:58:31,560
Speaker 1: six hundred dollars a week or well? And you guys

947
00:58:31,600 --> 00:58:33,960
Speaker 1: did that baller mentality, So it wasn't like you had

948
00:58:34,080 --> 00:58:38,120
Speaker 1: rap videos to look at to be like I need that.

949
00:58:38,360 --> 00:58:41,080
Speaker 1: So yeah, you figure that was a different time.

950
00:58:41,240 --> 00:58:43,920
Speaker 7: Diff you know, we weren't we weren't balling, We weren't

951
00:58:43,960 --> 00:58:47,400
Speaker 7: trying to buy you know, a thousand dollars pairs of

952
00:58:47,480 --> 00:58:51,640
Speaker 7: shoes and all that kind of stuff, you know, And

953
00:58:52,280 --> 00:58:57,000
Speaker 7: you figure that everybody that was there at that time,

954
00:58:57,200 --> 00:59:02,800
Speaker 7: except for maybe Al McKay, we're coming straight from their

955
00:59:03,000 --> 00:59:09,680
Speaker 7: collective environments. Me from Denver, Johnny Graham from Kentucky, Ralph

956
00:59:09,720 --> 00:59:15,920
Speaker 7: from Los Angeles. You know, So what impressed us then

957
00:59:17,280 --> 00:59:21,480
Speaker 7: didn't take a whole lot, you know, it didn't take

958
00:59:21,480 --> 00:59:21,960
Speaker 7: a whole lot.

959
00:59:22,320 --> 00:59:26,160
Speaker 1: And so you know, it was years you know before

960
00:59:26,520 --> 00:59:27,560
Speaker 1: you know, we really.

961
00:59:29,200 --> 00:59:33,840
Speaker 7: Had any kind of understanding of really how much money

962
00:59:34,000 --> 00:59:34,800
Speaker 7: was being made.

963
00:59:36,120 --> 00:59:39,080
Speaker 1: What was okay? But what was the dream? I'll say,

964
00:59:39,280 --> 00:59:42,000
Speaker 1: like in ninety four, my version of the dream was,

965
00:59:43,320 --> 00:59:44,960
Speaker 1: you know, if I could do this for a living,

966
00:59:45,640 --> 00:59:50,680
Speaker 1: have all my bills paid, move out my parents' crib,

967
00:59:52,480 --> 00:59:55,080
Speaker 1: and move in a nicer you know. I was doing

968
00:59:55,120 --> 00:59:59,520
Speaker 1: that nice, humble thing, and that lasted me good until

969
01:00:01,040 --> 01:00:02,920
Speaker 1: all right, I started making role money like maybe like

970
01:00:02,960 --> 01:00:06,560
Speaker 1: twenty ten, and then I was like, oh, okay, I'm

971
01:00:06,560 --> 01:00:11,280
Speaker 1: gonna be corrupt like the rest of rich America because

972
01:00:11,320 --> 01:00:14,080
Speaker 1: now I you know, I never thought I'd get to

973
01:00:14,160 --> 01:00:17,400
Speaker 1: this level of, Oh, let me burn this one hundred

974
01:00:17,400 --> 01:00:19,400
Speaker 1: dollars bill with a cigar like that sort of you

975
01:00:19,480 --> 01:00:22,120
Speaker 1: did what? No, I'm just I always had I always

976
01:00:22,160 --> 01:00:24,680
Speaker 1: imagine a fat cat lighting up a cigar with one

977
01:00:24,720 --> 01:00:27,520
Speaker 1: hundred dollars bill. But I'm just saying that in the

978
01:00:27,920 --> 01:00:32,920
Speaker 1: in the seventies, what was just the dream? And was

979
01:00:33,000 --> 01:00:36,120
Speaker 1: it easy to make make a weekly living as a

980
01:00:36,240 --> 01:00:40,440
Speaker 1: full time singer? Because we know based on some of

981
01:00:40,480 --> 01:00:45,280
Speaker 1: these like unsung episodes, and from what I heard, pimping

982
01:00:46,200 --> 01:00:49,600
Speaker 1: was actually the DJ gig of the seventies. Really, Harold

983
01:00:49,640 --> 01:00:53,560
Speaker 1: Melvin James Brown, like I can name.

984
01:00:54,360 --> 01:00:56,760
Speaker 6: At least ten to I'm sorry, did you say pimping

985
01:00:57,800 --> 01:00:58,920
Speaker 6: just like just like.

986
01:00:58,960 --> 01:01:04,840
Speaker 1: With rappers taking your money and investing it in the cocaine?

987
01:01:05,240 --> 01:01:07,600
Speaker 6: Okay, I don't.

988
01:01:07,720 --> 01:01:10,520
Speaker 1: Yeah, I mean my version of that is the DJ gig.

989
01:01:11,200 --> 01:01:15,120
Speaker 1: For the longest, the roots was like my my, no money,

990
01:01:15,240 --> 01:01:18,320
Speaker 1: like whatever, like that's the prestige thing and that's that's

991
01:01:18,360 --> 01:01:21,040
Speaker 1: his legacy. But you know, I make a real living

992
01:01:21,120 --> 01:01:23,800
Speaker 1: off of DJ gigs because one and I don't have

993
01:01:23,880 --> 01:01:27,680
Speaker 1: to share it with eleven people. So true. So I'm

994
01:01:27,800 --> 01:01:32,080
Speaker 1: just asking what was just the life goals of like

995
01:01:32,280 --> 01:01:33,720
Speaker 1: I'm satisfied.

996
01:01:33,200 --> 01:01:38,840
Speaker 7: And well, yeah, you have to remember that we were

997
01:01:38,960 --> 01:01:41,800
Speaker 7: just coming out the Peace of Love era and we

998
01:01:41,960 --> 01:01:50,000
Speaker 7: were very idealistic. So for us, we we we believed

999
01:01:50,120 --> 01:01:55,680
Speaker 7: the whole spiell. We we really believed that we were family, okay,

1000
01:01:56,200 --> 01:02:01,800
Speaker 7: you know, and we really believed that, you know, where

1001
01:02:01,840 --> 01:02:05,080
Speaker 7: everything that Marias was doing was taking care of all

1002
01:02:05,160 --> 01:02:08,640
Speaker 7: of us, and we really did believe that we were

1003
01:02:08,760 --> 01:02:10,760
Speaker 7: you know that, Oh it's just gonna because you know,

1004
01:02:11,080 --> 01:02:13,400
Speaker 7: we were living our dream I see what you're saying,

1005
01:02:13,480 --> 01:02:17,440
Speaker 7: We're living our dreams. So it's like, you know, if

1006
01:02:17,520 --> 01:02:22,280
Speaker 7: anybody did raise up to say what you know, everybody

1007
01:02:22,320 --> 01:02:25,200
Speaker 7: would have to remind him of how blessed we really were,

1008
01:02:25,800 --> 01:02:29,560
Speaker 7: you know, to be you know, doing what we were doing.

1009
01:02:30,360 --> 01:02:38,520
Speaker 1: So I guess it's it's it's financially impossible to have

1010
01:02:38,680 --> 01:02:42,080
Speaker 1: a unit that size and not come out the gate

1011
01:02:44,000 --> 01:02:47,840
Speaker 1: making millions. Because even for us, we did that. We did,

1012
01:02:47,920 --> 01:02:51,840
Speaker 1: we did, we did community thing like for the least

1013
01:02:51,880 --> 01:02:54,160
Speaker 1: the first fifteen years of the roots, like me and

1014
01:02:54,240 --> 01:02:57,840
Speaker 1: Tury didn't start taking salaries until super late, like two

1015
01:02:57,880 --> 01:02:58,480
Speaker 1: thousand and eight.

1016
01:02:59,320 --> 01:03:01,240
Speaker 6: But see, there was a point when everything changed. That's

1017
01:03:01,240 --> 01:03:02,360
Speaker 6: why I'm wondering how that worked.

1018
01:03:02,360 --> 01:03:04,640
Speaker 1: Well, we started making more money, but I'm just saying

1019
01:03:04,680 --> 01:03:07,680
Speaker 1: that in the beginning, when we get a check, it

1020
01:03:07,800 --> 01:03:12,960
Speaker 1: goes to everyone's rent, everyone's gas, everyone's that sort of thing.

1021
01:03:13,160 --> 01:03:16,040
Speaker 7: So well, that wasn't what was happening, though, I don't

1022
01:03:16,040 --> 01:03:20,400
Speaker 7: want during the period, I don't want you to think

1023
01:03:20,480 --> 01:03:23,560
Speaker 7: that because that's not true. See what, See, the first

1024
01:03:23,640 --> 01:03:28,960
Speaker 7: group left because they knew that they would never be

1025
01:03:29,440 --> 01:03:34,040
Speaker 7: an equal part or take an equal share in the

1026
01:03:34,200 --> 01:03:39,560
Speaker 7: ban earth, Wind and Fire. They they they left, Okay,

1027
01:03:40,080 --> 01:03:43,640
Speaker 7: they knew because they had you know, they were older,

1028
01:03:43,720 --> 01:03:46,400
Speaker 7: they had more experience, they knew, Okay, we came in,

1029
01:03:46,720 --> 01:03:47,439
Speaker 7: we ain't know nothing.

1030
01:03:48,120 --> 01:03:57,040
Speaker 1: Okay, so we were it was years before we knew that.

1031
01:03:57,200 --> 01:04:01,520
Speaker 1: Basically we were just employees, you know, and the Lion's

1032
01:04:01,560 --> 01:04:03,320
Speaker 1: share of everything was more.

1033
01:04:04,320 --> 01:04:06,240
Speaker 6: So you guys didn't notice as you were going to

1034
01:04:06,360 --> 01:04:08,680
Speaker 6: his house to visit and things of that nature like that,

1035
01:04:08,920 --> 01:04:10,080
Speaker 6: like this was huge.

1036
01:04:10,160 --> 01:04:13,520
Speaker 1: And I'm no, we didn't. We didn't know that. But

1037
01:04:14,240 --> 01:04:17,160
Speaker 1: I have to say, though we all had houses, we

1038
01:04:17,400 --> 01:04:19,360
Speaker 1: you know, we weren't like I wasn't trying to comfort

1039
01:04:19,360 --> 01:04:21,720
Speaker 1: the angle. It wasn't the money, but I just wanted

1040
01:04:21,760 --> 01:04:21,960
Speaker 1: to know.

1041
01:04:22,080 --> 01:04:24,600
Speaker 7: Yeah, it wasn't like it wasn't like we you know,

1042
01:04:25,680 --> 01:04:27,720
Speaker 7: we were in the apartments and he was you know,

1043
01:04:28,800 --> 01:04:32,880
Speaker 7: you know his his his mansions were bigger than our houses.

1044
01:04:33,400 --> 01:04:36,120
Speaker 7: But you know, yeah, we all had houses, and that

1045
01:04:36,280 --> 01:04:37,960
Speaker 7: was something that we never thought that we would have.

1046
01:04:39,280 --> 01:04:41,920
Speaker 1: But growing up, I would I would think growing up, like,

1047
01:04:43,240 --> 01:04:45,920
Speaker 1: all right, let's take a group like Mandrel, even though

1048
01:04:45,960 --> 01:04:48,600
Speaker 1: I know there's blue collar musicians and people that work

1049
01:04:48,640 --> 01:04:50,760
Speaker 1: for a living. But in my five year old head,

1050
01:04:50,760 --> 01:04:53,080
Speaker 1: I'm looking at Mandrail and I'm like, yeah, they're on

1051
01:04:53,160 --> 01:04:55,880
Speaker 1: soul Tree. Yeah those guys are millionaires, and that that's

1052
01:04:55,920 --> 01:04:59,840
Speaker 1: the and that's the impression that everyone has about who

1053
01:05:00,000 --> 01:05:02,320
Speaker 1: whatever they see on TV or here on the radio.

1054
01:05:02,840 --> 01:05:06,040
Speaker 1: So what I'm just saying is like, in nineteen seventy five,

1055
01:05:06,200 --> 01:05:15,080
Speaker 1: could a trombone player just make fifty to seventy five

1056
01:05:15,120 --> 01:05:18,280
Speaker 1: thousand a year and be cool for that period?

1057
01:05:18,960 --> 01:05:21,880
Speaker 7: Back in those days, a trouble player if he made

1058
01:05:22,000 --> 01:05:23,560
Speaker 7: fifteen thousand dollars a year.

1059
01:05:24,000 --> 01:05:28,320
Speaker 1: Fifteen thousand year, Wow, whoa whoa?

1060
01:05:28,520 --> 01:05:30,880
Speaker 7: Back then, if he made fifteen thousand dollars a year,

1061
01:05:32,120 --> 01:05:34,800
Speaker 7: he could be cool. You gotta gotta look it up.

1062
01:05:35,440 --> 01:05:38,280
Speaker 7: So that's a hand of mount thing. Like still even

1063
01:05:38,520 --> 01:05:41,520
Speaker 7: with all and on stuff on the radio.

1064
01:05:41,440 --> 01:05:44,080
Speaker 1: Like, it's still like you guys were blue collar musicians

1065
01:05:44,160 --> 01:05:46,840
Speaker 1: having to go to work every day. And I didn't

1066
01:05:46,880 --> 01:05:47,080
Speaker 1: know that.

1067
01:05:48,160 --> 01:05:50,680
Speaker 7: I didn't know that that musicians made the kind of

1068
01:05:50,720 --> 01:05:52,840
Speaker 7: money that they made until I was talking to the

1069
01:05:52,920 --> 01:05:56,600
Speaker 7: Mouse one time, to the who feeling games?

1070
01:05:56,720 --> 01:05:57,280
Speaker 1: Filling games?

1071
01:06:00,240 --> 01:06:01,840
Speaker 6: Oh that's not a physical thing, is it?

1072
01:06:01,960 --> 01:06:02,000
Speaker 10: No?

1073
01:06:02,240 --> 01:06:06,280
Speaker 1: No, that's that's that's that's his nickname. Kay. You know

1074
01:06:06,520 --> 01:06:10,120
Speaker 1: Quincy called everybody called him mouse. He put you on

1075
01:06:10,240 --> 01:06:11,040
Speaker 1: the game Wow.

1076
01:06:11,160 --> 01:06:16,120
Speaker 7: Look where I was at at at A and M

1077
01:06:17,040 --> 01:06:20,640
Speaker 7: and he was at a and m and we were talking.

1078
01:06:21,440 --> 01:06:22,760
Speaker 7: See we used to go to the same church and

1079
01:06:22,800 --> 01:06:27,760
Speaker 7: stuff giving me and Mouse and so like, Mouse told

1080
01:06:27,800 --> 01:06:31,560
Speaker 7: me that he was making ten thousand dollars a week

1081
01:06:32,760 --> 01:06:35,280
Speaker 7: with Michael back then.

1082
01:06:35,840 --> 01:06:40,840
Speaker 1: Wow, way back then, way back then. And I said,

1083
01:06:41,840 --> 01:06:50,600
Speaker 1: that's good. Whoa ten dollars a week? She said, yeah,

1084
01:06:51,680 --> 01:06:57,120
Speaker 1: what you make? Oh Lord, before you answer this question,

1085
01:06:57,880 --> 01:06:59,360
Speaker 1: I thought it was gonna be a sound of frek

1086
01:06:59,440 --> 01:07:02,680
Speaker 1: Fee show all right with me?

1087
01:07:07,280 --> 01:07:12,960
Speaker 7: I said, what, I had no idea that, because look, man,

1088
01:07:13,000 --> 01:07:17,320
Speaker 7: we're playing five nights sellouts at the Forum by ourself.

1089
01:07:18,200 --> 01:07:23,400
Speaker 7: We're playing you know, Whimley five nights, you know, by ourselves.

1090
01:07:24,200 --> 01:07:25,840
Speaker 7: Come on, come on, do the math.

1091
01:07:26,440 --> 01:07:27,280
Speaker 1: I am you know.

1092
01:07:27,920 --> 01:07:30,600
Speaker 3: It's like we we got we got plaques for for

1093
01:07:30,840 --> 01:07:37,160
Speaker 3: the for the Massive Square Garden, you know now now

1094
01:07:38,320 --> 01:07:42,440
Speaker 3: by you know, by ourselves, we got three four double

1095
01:07:42,800 --> 01:07:44,480
Speaker 3: double triple platinum albums.

1096
01:07:45,480 --> 01:07:49,840
Speaker 6: You know, I'm like, what, So, how do you have

1097
01:07:49,960 --> 01:07:52,080
Speaker 6: that conversation with the man who's kind of like your brother?

1098
01:07:52,200 --> 01:07:54,720
Speaker 1: Now? How do you how do you how do you

1099
01:07:54,840 --> 01:08:02,600
Speaker 1: Maurice talk about that? Or do you You don't? Okay,

1100
01:08:03,040 --> 01:08:04,520
Speaker 1: you know, I understand the.

1101
01:08:06,360 --> 01:08:07,200
Speaker 6: Why do you rectify?

1102
01:08:09,800 --> 01:08:15,320
Speaker 1: Sometimes? Sometimes you do sometimes you don't, you know, hopefully

1103
01:08:15,440 --> 01:08:19,200
Speaker 1: now is the you know, the glory period or whatever.

1104
01:08:19,400 --> 01:08:21,760
Speaker 7: Like it was one of those kinds of situations where

1105
01:08:22,720 --> 01:08:25,040
Speaker 7: you know, like because like you was if you read

1106
01:08:25,080 --> 01:08:27,560
Speaker 7: the book, it was one of those kind of situations

1107
01:08:27,560 --> 01:08:29,519
Speaker 7: where you know, like, oh, and you were gonna ask

1108
01:08:29,600 --> 01:08:30,559
Speaker 7: me why I didn't like.

1109
01:08:32,320 --> 01:08:37,479
Speaker 1: Raise Okay, okay, because it was no because it was

1110
01:08:38,400 --> 01:08:43,720
Speaker 1: it was in that period where you.

1111
01:08:43,760 --> 01:08:47,680
Speaker 7: Know, everybody was coming of age and their eyes were

1112
01:08:47,920 --> 01:08:51,720
Speaker 7: open and their eyes were being open, and you know,

1113
01:08:52,000 --> 01:08:56,800
Speaker 7: the the chemistry was terrible, and he was using other

1114
01:08:56,960 --> 01:09:00,200
Speaker 7: musicians to do the pretty much do the record, you know,

1115
01:09:00,280 --> 01:09:02,599
Speaker 7: except for you know, me and him. We were doing

1116
01:09:02,680 --> 01:09:05,519
Speaker 7: and we were like session musicians to come in and

1117
01:09:05,640 --> 01:09:08,600
Speaker 7: do it. So it's like power light and all that.

1118
01:09:08,880 --> 01:09:13,200
Speaker 7: Oh my god. I was like, I could not I

1119
01:09:13,240 --> 01:09:14,439
Speaker 7: could not listen to that record.

1120
01:09:14,600 --> 01:09:15,320
Speaker 1: I remember.

1121
01:09:16,960 --> 01:09:19,880
Speaker 3: The first time I mentioned and that's the first record

1122
01:09:19,960 --> 01:09:23,559
Speaker 3: you said, you like, I looked at you and you said,

1123
01:09:23,800 --> 01:09:25,480
Speaker 3: you mean you don't like that record.

1124
01:09:26,200 --> 01:09:31,639
Speaker 1: Dude, about yesterdamn one record.

1125
01:09:31,720 --> 01:09:33,880
Speaker 7: I mean I probably could, you know, I could listen

1126
01:09:33,960 --> 01:09:35,519
Speaker 7: to it now, you know, But I think it was

1127
01:09:35,640 --> 01:09:38,200
Speaker 7: just a matter of you know, you can't listen to

1128
01:09:38,320 --> 01:09:41,840
Speaker 7: it without you know, taking you back into you know,

1129
01:09:42,120 --> 01:09:43,840
Speaker 7: all the craziness that was going on.

1130
01:09:48,880 --> 01:09:51,280
Speaker 1: All right, before I get deep in in financial hole,

1131
01:09:52,439 --> 01:09:55,719
Speaker 1: there's still more I gotta ask. Can you talk about

1132
01:09:55,760 --> 01:09:59,720
Speaker 1: Caribou Wrench. You guys chose Caribou Wrench to record.

1133
01:09:59,479 --> 01:10:01,840
Speaker 7: Your records because they were ghosts in the in the

1134
01:10:01,960 --> 01:10:05,320
Speaker 7: in the in the place. For reals, really, man, and

1135
01:10:05,640 --> 01:10:08,280
Speaker 7: I no joke, there were ghosts and they told us

1136
01:10:08,360 --> 01:10:13,559
Speaker 7: there were ghosts there, and you know, I didn't believe

1137
01:10:13,600 --> 01:10:14,599
Speaker 7: it until I saw one.

1138
01:10:14,760 --> 01:10:16,920
Speaker 1: Did you bring it up? Because it was in Colorado? Like,

1139
01:10:16,960 --> 01:10:19,320
Speaker 1: how did you guys up? Yeah, you know, the Colorado

1140
01:10:19,400 --> 01:10:20,559
Speaker 1: has a great connection.

1141
01:10:20,680 --> 01:10:25,880
Speaker 7: But it was a place where there were like about

1142
01:10:26,080 --> 01:10:29,479
Speaker 7: five or six different cabins. All the cabins had you know,

1143
01:10:30,360 --> 01:10:32,760
Speaker 7: three bedrooms in them with the kitchens and it was

1144
01:10:32,840 --> 01:10:39,240
Speaker 7: really a fabulous place, horses everything, you know, it was

1145
01:10:39,360 --> 01:10:41,200
Speaker 7: like a you know, it was large enough for it

1146
01:10:41,280 --> 01:10:42,200
Speaker 7: to be a little city.

1147
01:10:43,160 --> 01:10:43,360
Speaker 1: Yeah.

1148
01:10:44,520 --> 01:10:47,240
Speaker 7: And the groups would go up there, and we were

1149
01:10:47,240 --> 01:10:49,920
Speaker 7: the only you know, African American band that you know,

1150
01:10:50,240 --> 01:10:51,080
Speaker 7: ever worked up there.

1151
01:10:51,560 --> 01:10:54,479
Speaker 1: You know, we did two records up there. Open our

1152
01:10:54,479 --> 01:10:57,200
Speaker 1: eyes and that's the way of the world. Okay, okay,

1153
01:10:59,120 --> 01:11:01,439
Speaker 1: can you talk about the uh that's the way in

1154
01:11:01,439 --> 01:11:03,599
Speaker 1: the world with the Harvey Hotel. Oh yeah, it wasn't

1155
01:11:03,640 --> 01:11:08,880
Speaker 1: that terrible. I thought it was enjoyable. Man. What you

1156
01:11:09,000 --> 01:11:12,719
Speaker 1: guys had distant so much really that when I finally

1157
01:11:12,800 --> 01:11:18,920
Speaker 1: got the DVD and watched it, Man, we went to

1158
01:11:19,040 --> 01:11:21,040
Speaker 1: the opening was a high standards.

1159
01:11:21,120 --> 01:11:23,600
Speaker 7: Were always all excited. We went to the opening and

1160
01:11:23,640 --> 01:11:25,479
Speaker 7: stuff because we thought, oh man, we're on the move.

1161
01:11:25,520 --> 01:11:28,639
Speaker 7: We're going to the opening. We got there, man, nobody

1162
01:11:28,800 --> 01:11:31,160
Speaker 7: was there first of all, and then we saw it

1163
01:11:31,600 --> 01:11:38,080
Speaker 7: and we was like, so, how how did you guys

1164
01:11:38,439 --> 01:11:41,360
Speaker 7: manage to But it was a catalyst for some great writing,

1165
01:11:42,360 --> 01:11:42,560
Speaker 7: I know.

1166
01:11:42,960 --> 01:11:46,160
Speaker 1: But the thing was is that because the fonts the

1167
01:11:46,520 --> 01:11:52,240
Speaker 1: print was so small, that was where he said, look,

1168
01:11:52,800 --> 01:11:53,560
Speaker 1: that's what we're gonna do.

1169
01:11:54,000 --> 01:11:56,840
Speaker 7: He called Bob and Joe and he said, I want

1170
01:11:56,960 --> 01:12:01,639
Speaker 7: that writing on there to be so little really from

1171
01:12:01,720 --> 01:12:02,240
Speaker 7: the movie.

1172
01:12:03,000 --> 01:12:05,519
Speaker 1: From the movie. That's the way I wanted them to

1173
01:12:05,560 --> 01:12:07,880
Speaker 1: have to look for it to see that. I thought

1174
01:12:07,920 --> 01:12:10,200
Speaker 1: you guys were just being clever, like you made up of.

1175
01:12:11,120 --> 01:12:13,599
Speaker 7: Like he he did that once we saw it, because

1176
01:12:13,600 --> 01:12:17,240
Speaker 7: he's like, man, that's what that's what he said.

1177
01:12:19,240 --> 01:12:21,880
Speaker 1: So the album was released way in advance before the

1178
01:12:21,960 --> 01:12:22,559
Speaker 1: movie came out.

1179
01:12:23,320 --> 01:12:27,400
Speaker 7: I'm not I don't, yeah, I think it was released before. Okay,

1180
01:12:27,840 --> 01:12:28,880
Speaker 7: so he was already a hit.

1181
01:12:29,880 --> 01:12:32,519
Speaker 1: Yeah, So what was the what was the feeling of finally,

1182
01:12:32,800 --> 01:12:34,880
Speaker 1: I mean, being as though that was the breakthrough album?

1183
01:12:35,640 --> 01:12:38,760
Speaker 1: What was the feeling? Well, I mean you slowly heard

1184
01:12:39,240 --> 01:12:41,760
Speaker 1: Evil and Mighty Mighty and all that stuff on the

1185
01:12:41,840 --> 01:12:43,600
Speaker 1: radio or whatnot. But was it?

1186
01:12:43,880 --> 01:12:44,040
Speaker 3: Was it?

1187
01:12:44,720 --> 01:12:49,400
Speaker 1: What was the main difference between Shining Star success as

1188
01:12:49,439 --> 01:12:52,840
Speaker 1: opposed to hearing Mighty Mighty.

1189
01:12:52,680 --> 01:12:55,840
Speaker 7: And and well by the time we got the charity

1190
01:12:55,880 --> 01:12:58,719
Speaker 7: start because we had like about five number one records

1191
01:12:58,760 --> 01:12:59,439
Speaker 7: on that record.

1192
01:13:00,120 --> 01:13:00,600
Speaker 1: But we.

1193
01:13:02,280 --> 01:13:05,280
Speaker 7: We were we were then, we were we were doing

1194
01:13:05,720 --> 01:13:09,200
Speaker 7: you know, big gigs. You know, we're doing we're doing

1195
01:13:09,280 --> 01:13:11,880
Speaker 7: big gigs. And we had started to add you know,

1196
01:13:12,720 --> 01:13:16,040
Speaker 7: the production and all that kind of stuff to to

1197
01:13:16,240 --> 01:13:18,519
Speaker 7: our our presentation and stuff.

1198
01:13:19,560 --> 01:13:23,360
Speaker 1: Okay, the the inner Sleeve of Gratitude where it's this

1199
01:13:23,720 --> 01:13:27,840
Speaker 1: bird's eye view, it's a bird's eye view shot of

1200
01:13:28,640 --> 01:13:31,559
Speaker 1: you can see the band on stage, but it looks

1201
01:13:31,680 --> 01:13:35,800
Speaker 1: like you're performing for at least one hundred thousand people.

1202
01:13:36,280 --> 01:13:39,400
Speaker 1: M h. Was that a music festival or was that

1203
01:13:40,160 --> 01:13:43,800
Speaker 1: a typical earthwinind fire show. I'm assuming there's a lot

1204
01:13:43,880 --> 01:13:47,080
Speaker 1: of white faces there, Like how I was thinking that

1205
01:13:48,520 --> 01:13:50,519
Speaker 1: I was I could be wrong. I was thinking that

1206
01:13:50,640 --> 01:13:56,280
Speaker 1: was Oakland, but I could be wrong. Yeah, it was.

1207
01:13:56,479 --> 01:13:58,840
Speaker 7: It was just that was a very unfair. I know

1208
01:13:58,920 --> 01:14:06,560
Speaker 7: we did several we did. We recorded Oakland, we recorded Atlanta,

1209
01:14:08,760 --> 01:14:11,280
Speaker 7: and I think we might have recorded Los Angeles.

1210
01:14:12,920 --> 01:14:19,120
Speaker 1: So you guys went from relative underground favorite to like

1211
01:14:19,240 --> 01:14:22,880
Speaker 1: it looked like a festival, like it was outdoors. It

1212
01:14:23,200 --> 01:14:26,920
Speaker 1: had to been somewhere between seventy five to one hundred

1213
01:14:26,920 --> 01:14:32,040
Speaker 1: thousand people all packed in this photo right what happened?

1214
01:14:32,160 --> 01:14:37,200
Speaker 1: Like is is that the magic of Clive Davison the

1215
01:14:37,360 --> 01:14:38,559
Speaker 1: radio system we're doing.

1216
01:14:38,720 --> 01:14:41,320
Speaker 7: You know, it was a different time, different day when

1217
01:14:41,360 --> 01:14:46,479
Speaker 7: everything everything collides together, you know everything the record company

1218
01:14:46,720 --> 01:14:49,040
Speaker 7: was probably you know, at their at the top of

1219
01:14:49,640 --> 01:14:54,880
Speaker 7: their game, advertisement and publishing radio every when everything goes right,

1220
01:14:55,400 --> 01:15:00,240
Speaker 7: everything the music, that product, and people were you know,

1221
01:15:00,360 --> 01:15:06,320
Speaker 7: that's when music was very, very valuable to people. You know,

1222
01:15:06,439 --> 01:15:10,519
Speaker 7: they didn't have all these other entertainment situations that buying

1223
01:15:10,640 --> 01:15:12,960
Speaker 7: for their attention and stuff. So you know, a record

1224
01:15:13,040 --> 01:15:15,840
Speaker 7: came out, man, people were around the corner around the

1225
01:15:15,920 --> 01:15:18,240
Speaker 7: block to get your record when it came out, and

1226
01:15:18,680 --> 01:15:20,599
Speaker 7: David Foster was one of them out there.

1227
01:15:21,439 --> 01:15:25,200
Speaker 1: Well, I want to ask about spirit versus songs in

1228
01:15:25,280 --> 01:15:27,680
Speaker 1: the kid Life battle. Well I'm gonna get to do that.

1229
01:15:28,560 --> 01:15:34,439
Speaker 1: Just one thing about gratitude. How set my mind of

1230
01:15:34,520 --> 01:15:39,840
Speaker 1: these how much live how many? How much? How much

1231
01:15:40,000 --> 01:15:46,120
Speaker 1: background overdubbing was done on gratitude? Because I refuse to

1232
01:15:46,120 --> 01:15:49,080
Speaker 1: believe that you guys were that perfect in your harmony

1233
01:15:49,160 --> 01:15:55,559
Speaker 1: game end concert without breaking the sweat, like, well, we didn't.

1234
01:15:55,880 --> 01:15:58,519
Speaker 1: We we didn't mess with the with the leads.

1235
01:15:58,640 --> 01:16:01,360
Speaker 7: But me and Maurice he had a you know, clause

1236
01:16:01,439 --> 01:16:03,400
Speaker 7: and all the stuff that we if we did something

1237
01:16:03,439 --> 01:16:07,560
Speaker 7: on television, because we we did all the vocals on

1238
01:16:07,640 --> 01:16:08,879
Speaker 7: the on all the records.

1239
01:16:09,360 --> 01:16:10,360
Speaker 1: It was just me and him.

1240
01:16:10,960 --> 01:16:13,920
Speaker 7: So we just you know, molten doubled, you know, all

1241
01:16:13,960 --> 01:16:16,880
Speaker 7: the harmonies, all the different stuff. One question about your harmonies, man, well,

1242
01:16:16,960 --> 01:16:20,040
Speaker 7: just your vocals. Would y'all sing them together? We were

1243
01:16:20,080 --> 01:16:25,439
Speaker 7: singing together, We were singing. It was it was very

1244
01:16:25,560 --> 01:16:28,120
Speaker 7: very easy, you know, we you know, and we would

1245
01:16:28,120 --> 01:16:30,240
Speaker 7: sing all the up stuff, you know, all the vocals

1246
01:16:30,280 --> 01:16:32,280
Speaker 7: we would do so like it was hard for us

1247
01:16:32,320 --> 01:16:38,560
Speaker 7: to duplicate on the on the road. So if we

1248
01:16:38,640 --> 01:16:42,840
Speaker 7: did something, we did a recording, uh of something, me

1249
01:16:42,920 --> 01:16:48,280
Speaker 7: and him would go and fix the backgrounds. Okay, yeah,

1250
01:16:48,800 --> 01:16:52,559
Speaker 7: Wait a minute, Wada mentioned Justica Cleves oh man?

1251
01:16:53,479 --> 01:16:57,479
Speaker 1: Was she MV? How did she join the the Last

1252
01:16:57,560 --> 01:17:01,280
Speaker 1: Days and Times? Right? And then when did she leave

1253
01:17:01,320 --> 01:17:01,679
Speaker 1: for Friends?

1254
01:17:02,160 --> 01:17:02,439
Speaker 10: Have you?

1255
01:17:03,000 --> 01:17:06,160
Speaker 1: No? Friends of Stinction was before? Yeah?

1256
01:17:06,200 --> 01:17:09,639
Speaker 7: That was before she was in She was Friends of Distinction.

1257
01:17:09,760 --> 01:17:12,960
Speaker 7: That's how we discovered her. I mean we found her. Yeah,

1258
01:17:13,080 --> 01:17:14,479
Speaker 7: it's Lynny Smith.

1259
01:17:14,600 --> 01:17:17,479
Speaker 1: And did she go to the Funkadelic Empire after she.

1260
01:17:17,560 --> 01:17:22,679
Speaker 7: Went to Funkadelics after after she left Earth Wind Fire?

1261
01:17:24,560 --> 01:17:27,720
Speaker 1: Okay, well all right, speaking of it is one thing

1262
01:17:27,760 --> 01:17:30,720
Speaker 1: I forgot. Did you guys have any response to Let's

1263
01:17:30,760 --> 01:17:32,120
Speaker 1: take It to the stage or you just took it

1264
01:17:32,160 --> 01:17:35,040
Speaker 1: as playful ribbing? You say, what, did you guys have

1265
01:17:35,280 --> 01:17:42,200
Speaker 1: any any response or or feelings about the song Let's

1266
01:17:42,280 --> 01:17:45,240
Speaker 1: take It to the stage? Or did you consider that

1267
01:17:45,560 --> 01:17:49,000
Speaker 1: just playful ribbing of Funkadelic calling out all the soul

1268
01:17:49,080 --> 01:17:52,559
Speaker 1: bands of the I don't, I don't, I'm not familiar.

1269
01:17:56,280 --> 01:18:01,320
Speaker 1: It's does he call them again? Earth No? Like he

1270
01:18:01,600 --> 01:18:04,920
Speaker 1: you know slipping the family brick snoofs tell me something good.

1271
01:18:05,400 --> 01:18:09,640
Speaker 1: He's basically saying, let's take it to the stage, let's battle. Uh,

1272
01:18:10,160 --> 01:18:15,920
Speaker 1: and names like you know, six or seven acts. But

1273
01:18:17,120 --> 01:18:21,040
Speaker 1: I mean, you know, where was that seventy six, seventy four,

1274
01:18:21,160 --> 01:18:24,320
Speaker 1: seventy four on the Let's Take It to the Stage album?

1275
01:18:26,000 --> 01:18:29,120
Speaker 6: Was never too late for a battle though George is.

1276
01:18:29,080 --> 01:18:34,840
Speaker 1: About to retire, Yeah, it is too late for late before. Yeah,

1277
01:18:34,960 --> 01:18:39,639
Speaker 1: but I always wanted to know if if you guys,

1278
01:18:39,800 --> 01:18:43,160
Speaker 1: like ever you know, took serious offense to that or

1279
01:18:43,600 --> 01:18:47,160
Speaker 1: you know, was it just but you didn't know until

1280
01:18:48,640 --> 01:18:52,280
Speaker 1: right now this No one ever mentioned that scene. No, wow,

1281
01:18:52,880 --> 01:18:55,400
Speaker 1: Johnny Graham, Let's take it into stage. It's just weird

1282
01:18:55,400 --> 01:18:57,160
Speaker 1: that nobody's ever mentioned that because I remember the first

1283
01:18:57,160 --> 01:18:58,479
Speaker 1: time I heard Let's take it the Stage, I was like,

1284
01:18:58,560 --> 01:19:00,920
Speaker 1: WHOA called him out? I was like, I was like,

1285
01:19:03,680 --> 01:19:05,439
Speaker 1: I was like, what did everybody think about this?

1286
01:19:05,920 --> 01:19:06,080
Speaker 2: Well?

1287
01:19:06,360 --> 01:19:09,920
Speaker 1: Yeah, I always wanted to know if there were Well,

1288
01:19:10,120 --> 01:19:13,280
Speaker 1: how did you guys feel about other bands in the day, Like, say,

1289
01:19:13,320 --> 01:19:15,040
Speaker 1: did you name a band name, a band that you

1290
01:19:15,120 --> 01:19:17,800
Speaker 1: felt some sort of way about, Like, man, we gotta

1291
01:19:21,680 --> 01:19:24,439
Speaker 1: we just didn't that was we just didn't beef like

1292
01:19:24,520 --> 01:19:27,000
Speaker 1: that back, you know, like like nobody guys kept you

1293
01:19:27,000 --> 01:19:27,800
Speaker 1: guys on your toes.

1294
01:19:28,280 --> 01:19:33,680
Speaker 7: Everybody, you know, everyone wanted to be original, you know,

1295
01:19:33,840 --> 01:19:37,400
Speaker 7: we were kind of being out of shape when Ohio

1296
01:19:37,560 --> 01:19:41,680
Speaker 7: players been on on our music a lot, you know,

1297
01:19:42,200 --> 01:19:46,040
Speaker 7: really yeah, you know, like just like almost verbatim, you know, like,

1298
01:19:46,400 --> 01:19:49,559
Speaker 7: but but up from that to that point, there were

1299
01:19:49,800 --> 01:19:52,520
Speaker 7: like very few bands that wanted to sound.

1300
01:19:53,880 --> 01:19:56,479
Speaker 1: Like the other band. You know, you would we would

1301
01:19:56,520 --> 01:19:58,880
Speaker 1: do it ribbing each other, you know, or something. You know,

1302
01:19:58,920 --> 01:20:03,639
Speaker 1: I would say Barka's more than but literally in every

1303
01:20:03,760 --> 01:20:06,000
Speaker 1: bar case. But they admitted that they were by the

1304
01:20:06,080 --> 01:20:09,799
Speaker 1: forty five of whatever band it was, and then switched,

1305
01:20:10,320 --> 01:20:13,679
Speaker 1: which is why Shine sounds like on your face or whatever.

1306
01:20:16,120 --> 01:20:20,640
Speaker 1: So the battle of Spirit versus Songs in the Key

1307
01:20:20,680 --> 01:20:26,320
Speaker 1: of Life, of course, uh, I think one of the

1308
01:20:26,439 --> 01:20:30,680
Speaker 1: first event moments in black music. I remember because I

1309
01:20:30,880 --> 01:20:35,680
Speaker 1: was five at the time, but a lot of my

1310
01:20:35,800 --> 01:20:40,439
Speaker 1: dad's bandmates were speaking of this. Of course. Both I

1311
01:20:40,560 --> 01:20:42,400
Speaker 1: think Spirit and Songs in the Cay of Life were

1312
01:20:42,560 --> 01:20:48,960
Speaker 1: released within a week of each other. Wow, right, yeah,

1313
01:20:49,200 --> 01:20:54,599
Speaker 1: right of each other. Wow. And I think you guys

1314
01:20:54,680 --> 01:20:58,400
Speaker 1: came out the the day before. I'm not certain, but

1315
01:21:02,200 --> 01:21:06,360
Speaker 1: were you were you at all? Did you have any

1316
01:21:06,439 --> 01:21:10,640
Speaker 1: investment whatsoever, like expectation investments to debut at number one.

1317
01:21:11,400 --> 01:21:13,120
Speaker 1: The end result, of course, the songs in the Kiev

1318
01:21:13,200 --> 01:21:15,680
Speaker 1: Life debut at number one. You guys debuted at number two.

1319
01:21:16,760 --> 01:21:21,599
Speaker 1: But I mean, was there a feeling of competition at

1320
01:21:21,640 --> 01:21:27,200
Speaker 1: the time, Like the most important artists in the history

1321
01:21:27,200 --> 01:21:33,720
Speaker 1: of black music is releasing their their definitive statement. No,

1322
01:21:35,439 --> 01:21:36,400
Speaker 1: there's just another day to you.

1323
01:21:37,320 --> 01:21:39,479
Speaker 7: You know, you got to remember that it's a different time.

1324
01:21:40,400 --> 01:21:41,960
Speaker 7: You know, a lot of a lot of the things

1325
01:21:42,000 --> 01:21:44,200
Speaker 7: that you're talking about right now have kind of been

1326
01:21:44,520 --> 01:21:50,120
Speaker 7: ingrained in culture as culture has moved a longiness, you know.

1327
01:21:50,640 --> 01:21:56,800
Speaker 7: But for for us, I mean, Stevie has always been beloved,

1328
01:21:57,560 --> 01:22:01,320
Speaker 7: you know, as an artist, and I'm sure that he

1329
01:22:01,439 --> 01:22:05,120
Speaker 7: feels the exact same way about us, you know, And

1330
01:22:05,360 --> 01:22:08,840
Speaker 7: so you know, we were inspired by one another, you know,

1331
01:22:08,880 --> 01:22:12,599
Speaker 7: because like when he said, when he heard shine a Star,

1332
01:22:13,840 --> 01:22:23,760
Speaker 7: then he went home and wrote, Sir Duke, Yeah, yeah, yeah, yeah, yeah,

1333
01:22:24,479 --> 01:22:27,920
Speaker 7: the thing oh I wish, Yeah, he went home and

1334
01:22:28,000 --> 01:22:31,240
Speaker 7: wrote I wish, you know. But yeah, it was just

1335
01:22:31,360 --> 01:22:33,280
Speaker 7: one of those kinds of situations where we know, it

1336
01:22:33,360 --> 01:22:37,120
Speaker 7: was like we we had admiration society. You know, we're

1337
01:22:37,160 --> 01:22:39,720
Speaker 7: happy for him, and I'm sure he was happy for us.

1338
01:22:40,600 --> 01:22:46,640
Speaker 1: Okay, is there a particular reason why, Uh, this is

1339
01:22:46,680 --> 01:22:50,000
Speaker 1: a nerd question, a serious nerd question. Uh, why you

1340
01:22:50,080 --> 01:22:55,720
Speaker 1: guys dropped the original intro off of Getaway the Do

1341
01:22:55,800 --> 01:23:00,960
Speaker 1: you remember the fifteen second No, there's uh it's a man.

1342
01:23:03,320 --> 01:23:05,360
Speaker 1: When I heard that, I was like, yo, and we

1343
01:23:05,479 --> 01:23:07,680
Speaker 1: play that, we play that now, you still do it? Now?

1344
01:23:07,800 --> 01:23:09,640
Speaker 1: We do it now in our show. They took it

1345
01:23:09,680 --> 01:23:14,200
Speaker 1: off for radio, and I always wanted to know why

1346
01:23:14,520 --> 01:23:19,400
Speaker 1: you guys never kept that on the album. I'll actually

1347
01:23:19,400 --> 01:23:22,840
Speaker 1: say that imagination. Listen, man, let me tell you something, man,

1348
01:23:23,360 --> 01:23:25,200
Speaker 1: what was you on that day? Because I feel like

1349
01:23:25,439 --> 01:23:28,040
Speaker 1: that look, even that.

1350
01:23:28,120 --> 01:23:29,960
Speaker 3: Angels mix, it's like the mix there's like an a

1351
01:23:30,000 --> 01:23:32,320
Speaker 3: cappella mix of it that it was on the reissue

1352
01:23:32,479 --> 01:23:32,840
Speaker 3: re issue?

1353
01:23:32,920 --> 01:23:35,519
Speaker 1: Yeah, oh my god, man, y'all vocals. That's what I

1354
01:23:35,640 --> 01:23:37,439
Speaker 1: was asking. What do you feel? Yeah? What do you

1355
01:23:37,479 --> 01:23:39,960
Speaker 1: feel your best performances?

1356
01:23:40,320 --> 01:23:42,760
Speaker 7: I think that probably was one of my best, you know,

1357
01:23:43,080 --> 01:23:46,120
Speaker 7: even more than I write a song for you probably

1358
01:23:47,320 --> 01:23:49,920
Speaker 7: just be thinking about it, you know, like cause you

1359
01:23:49,960 --> 01:23:51,760
Speaker 7: know how you know you're still all the time, and

1360
01:23:51,880 --> 01:23:55,759
Speaker 7: so you think you remember how you felt in different

1361
01:23:56,120 --> 01:24:01,839
Speaker 7: situations and stuff, and uh, you know, I do remember

1362
01:24:02,280 --> 01:24:04,040
Speaker 7: the imagination vamp.

1363
01:24:05,520 --> 01:24:08,240
Speaker 1: How do you charte out your ad libs? Because they're

1364
01:24:08,280 --> 01:24:15,960
Speaker 1: so well, no, they're just so nuanced and so I mean,

1365
01:24:16,000 --> 01:24:20,120
Speaker 1: they're they're they're they're there their own universe that even

1366
01:24:20,160 --> 01:24:23,040
Speaker 1: in listening to it, like I feel as though you

1367
01:24:23,920 --> 01:24:27,600
Speaker 1: really mastered. That's why I said skilled, you mastered the

1368
01:24:29,760 --> 01:24:32,000
Speaker 1: the perfect pacing of an ad lib, because I mean

1369
01:24:32,040 --> 01:24:34,439
Speaker 1: people would think like, oh, yeah, just do you know?

1370
01:24:34,479 --> 01:24:36,760
Speaker 1: And I'm I'm guilty of that a lot where I'd

1371
01:24:36,880 --> 01:24:38,920
Speaker 1: tell singers like, okay, just ad lib at the end

1372
01:24:38,960 --> 01:24:42,160
Speaker 1: and see what happens, and no magic ever happens, but

1373
01:24:42,320 --> 01:24:45,519
Speaker 1: you like, you know, raise it and then lowered? Lais

1374
01:24:45,560 --> 01:24:48,960
Speaker 1: it lowered? And how do you do you take?

1375
01:24:50,840 --> 01:24:57,360
Speaker 7: I'm a musician too, you know, so, and yeah, you know,

1376
01:24:57,600 --> 01:25:01,920
Speaker 7: loving the a musician part of you know, a musician

1377
01:25:02,000 --> 01:25:05,679
Speaker 7: part of me. You know, it's just like it's a solo,

1378
01:25:06,240 --> 01:25:09,200
Speaker 7: you know. So like when you're taking a solo, there's

1379
01:25:09,280 --> 01:25:11,439
Speaker 7: a beginning, a middle, and then end.

1380
01:25:12,360 --> 01:25:15,280
Speaker 1: You know. So I'm you know, I'm not thinking that way.

1381
01:25:15,920 --> 01:25:21,640
Speaker 7: But you know, just the the artistic arc is, you

1382
01:25:21,720 --> 01:25:25,560
Speaker 7: know the energy I say, you know it's you know

1383
01:25:25,680 --> 01:25:27,720
Speaker 7: you ain't gonna start, you know, just.

1384
01:25:28,200 --> 01:25:30,400
Speaker 1: Nowhere to go? You know, nowhere to go? You know

1385
01:25:30,560 --> 01:25:37,640
Speaker 1: it's the thing a lesser, a lesser singer normally, like

1386
01:25:37,760 --> 01:25:43,280
Speaker 1: today cats go zero to sixty instantly giving themselves like

1387
01:25:43,400 --> 01:25:47,680
Speaker 1: no room to to build up to that point. And

1388
01:25:47,880 --> 01:25:52,439
Speaker 1: yet you know, I mean you're given sixteen bars to

1389
01:25:53,320 --> 01:25:56,320
Speaker 1: figure out how to get a point aid to Z

1390
01:25:58,000 --> 01:26:02,080
Speaker 1: and a very skillful like Navin gation. So how long

1391
01:26:02,200 --> 01:26:05,920
Speaker 1: does is the recording of like do you do your

1392
01:26:05,960 --> 01:26:08,040
Speaker 1: main vocals versus you don't lose your voice? And then

1393
01:26:09,240 --> 01:26:11,120
Speaker 1: do you come back to do the at limbs because

1394
01:26:11,439 --> 01:26:19,200
Speaker 1: that's some hard singing you're doing, or imagination on some songs.

1395
01:26:21,080 --> 01:26:25,240
Speaker 7: We would I would sing it and then go home

1396
01:26:25,320 --> 01:26:29,720
Speaker 7: and listen to it and know that, Okay, I was

1397
01:26:29,800 --> 01:26:34,240
Speaker 7: gonna have to you know, do do the vamp MH.

1398
01:26:36,400 --> 01:26:42,320
Speaker 7: I remember, because doing, I mean, the vamps are the

1399
01:26:42,560 --> 01:26:45,040
Speaker 7: art is there's an art of doing in doing the vamps.

1400
01:26:45,280 --> 01:26:48,560
Speaker 7: I remember, you know some of the emotions we have conversations,

1401
01:26:48,600 --> 01:26:51,080
Speaker 7: they call and I got to do my vamp tomorrow

1402
01:26:51,200 --> 01:26:54,000
Speaker 7: on this or that, you know, and we might you know,

1403
01:26:54,320 --> 01:26:56,920
Speaker 7: tell me, you know, listen to it, you know, give

1404
01:26:57,000 --> 01:27:07,040
Speaker 7: them some points, you know, you know, because at the

1405
01:27:07,120 --> 01:27:10,320
Speaker 7: end of a song, Jackson, Michael Jackson is the king

1406
01:27:10,400 --> 01:27:12,640
Speaker 7: of at libin. At the end of a song, I

1407
01:27:12,720 --> 01:27:17,920
Speaker 7: mean you know, you know the rhythm, the rhythm, you know, yes,

1408
01:27:18,080 --> 01:27:21,240
Speaker 7: that's the rhythm, the rhythm and how he builds you know,

1409
01:27:22,320 --> 01:27:23,360
Speaker 7: those songs.

1410
01:27:23,400 --> 01:27:27,240
Speaker 1: But the thing is that Mike, Mike will tend to

1411
01:27:27,680 --> 01:27:29,600
Speaker 1: get locked into a thing like the end of the

1412
01:27:29,680 --> 01:27:31,640
Speaker 1: things I do for you could also be the end

1413
01:27:31,680 --> 01:27:34,479
Speaker 1: of working day and night. Like he has this default

1414
01:27:34,640 --> 01:27:37,240
Speaker 1: go to thing where people and that's the thing. You

1415
01:27:37,400 --> 01:27:41,080
Speaker 1: don't have a default, That's what I'm saying, skilled, because

1416
01:27:41,200 --> 01:27:44,400
Speaker 1: you are one of the few at livers that now

1417
01:27:44,439 --> 01:27:48,360
Speaker 1: when Felipe won first, the only reason why I feel

1418
01:27:48,360 --> 01:27:50,800
Speaker 1: as though he's so masterful is because half the time

1419
01:27:51,520 --> 01:27:53,840
Speaker 1: that's the only part of the song he's allowed to sing.

1420
01:27:54,800 --> 01:27:57,880
Speaker 1: Because we I'm just slowly discovered, especially now having all

1421
01:27:57,920 --> 01:28:03,320
Speaker 1: the Soul Train episodes that ain't singing the lyrics. They

1422
01:28:03,520 --> 01:28:05,479
Speaker 1: just like, all right, Felipe, go and clean up. And

1423
01:28:05,600 --> 01:28:07,840
Speaker 1: you know, if you're giving like thirty seconds a sign

1424
01:28:07,920 --> 01:28:10,400
Speaker 1: you're gonna you're gonna go for it, say any and everything,

1425
01:28:10,960 --> 01:28:15,800
Speaker 1: but you never have a a route where it's like

1426
01:28:15,920 --> 01:28:21,439
Speaker 1: you repeat yourself or have a line. Actually, wait, can

1427
01:28:21,520 --> 01:28:25,519
Speaker 1: you explain to me what is the genesis of the

1428
01:28:25,640 --> 01:28:26,200
Speaker 1: body eye?

1429
01:28:27,520 --> 01:28:28,640
Speaker 6: I was waiting for you to ask that.

1430
01:28:28,960 --> 01:28:31,560
Speaker 1: No, I'm not talking about Bio the song, because I

1431
01:28:31,560 --> 01:28:35,880
Speaker 1: also want to know how that song did not make

1432
01:28:35,960 --> 01:28:38,719
Speaker 1: it and yet you guys found that little thirty second

1433
01:28:38,800 --> 01:28:43,320
Speaker 1: gem that, of course now everyone's favorite interlude of all time.

1434
01:28:43,479 --> 01:28:46,080
Speaker 1: But I'm just saying in general, the earth wind and

1435
01:28:46,160 --> 01:28:50,720
Speaker 1: Fire at lib is always a body out. Oh why

1436
01:28:51,320 --> 01:28:52,640
Speaker 1: why that specific.

1437
01:28:52,800 --> 01:28:59,479
Speaker 7: Memblee love Brazil sixty six? Oh we love we love,

1438
01:28:59,560 --> 01:29:01,800
Speaker 7: we love us some Brazil six six and we and

1439
01:29:01,920 --> 01:29:03,080
Speaker 7: we love Brazilian music.

1440
01:29:03,680 --> 01:29:06,439
Speaker 1: And we studied, you know, we studied that stuff, you

1441
01:29:06,520 --> 01:29:07,040
Speaker 1: know a lot.

1442
01:29:07,240 --> 01:29:10,559
Speaker 7: And you know in research, like you know, if if

1443
01:29:10,600 --> 01:29:14,200
Speaker 7: it's grooving, you know, he wouldn't wouldn't mess with it,

1444
01:29:14,840 --> 01:29:17,880
Speaker 7: you know, and it sings, you know it, you know

1445
01:29:18,080 --> 01:29:21,880
Speaker 7: it sings you know like you know, like a phrase

1446
01:29:21,960 --> 01:29:23,000
Speaker 7: on a horn or whatever.

1447
01:29:23,760 --> 01:29:32,320
Speaker 1: You know. Wow, So the actual song behl or how

1448
01:29:32,360 --> 01:29:37,320
Speaker 1: did you bayo b e I j bo? Yeah, yeah,

1449
01:29:37,360 --> 01:29:40,719
Speaker 1: I gotta find it. That was Milton, not some mental

1450
01:29:42,320 --> 01:29:44,120
Speaker 1: you know, because we were we were.

1451
01:29:44,320 --> 01:29:47,639
Speaker 7: He actually played with us when we were in in Brazil,

1452
01:29:47,800 --> 01:29:50,240
Speaker 7: you know, we played the stadium and stuff. We were

1453
01:29:50,280 --> 01:29:52,439
Speaker 7: big fans of his and stuff. But with the song

1454
01:29:52,520 --> 01:29:54,720
Speaker 7: and we did it, we did that song was with him.

1455
01:29:55,200 --> 01:29:58,760
Speaker 7: We did a song, but we didn't use a song. Yeah,

1456
01:29:58,840 --> 01:30:02,439
Speaker 7: why did that song make it? It goes all over

1457
01:30:02,479 --> 01:30:04,560
Speaker 7: the place. I could probably see why it made the

1458
01:30:04,600 --> 01:30:05,360
Speaker 7: cutting room floor.

1459
01:30:05,800 --> 01:30:09,320
Speaker 1: But more importantly is whose idea was it to find

1460
01:30:10,280 --> 01:30:14,920
Speaker 1: the right elements that led to the interlude of what

1461
01:30:15,080 --> 01:30:21,800
Speaker 1: we now know as the Wow Phil.

1462
01:30:21,880 --> 01:30:23,680
Speaker 3: How did y'all decide which songs will go to other

1463
01:30:23,760 --> 01:30:25,040
Speaker 3: artists and which will stand in the band?

1464
01:30:26,560 --> 01:30:28,880
Speaker 7: One song that didn't go to another to the artist

1465
01:30:29,200 --> 01:30:32,519
Speaker 7: who they had cut it for. Was it was it

1466
01:30:33,240 --> 01:30:38,720
Speaker 7: the Chambers Brothers or something? What was was Bookie Wonderland?

1467
01:30:39,840 --> 01:30:41,680
Speaker 7: It was like it was our had produced it on

1468
01:30:41,880 --> 01:30:49,920
Speaker 7: another group and Maurice heard it, you like come here, yeah,

1469
01:30:50,520 --> 01:30:53,760
Speaker 7: and you know that's how that's how we ended up doing.

1470
01:30:56,120 --> 01:30:58,760
Speaker 1: Charles also dies during the did he die before the

1471
01:30:59,040 --> 01:31:05,479
Speaker 1: spirit we were in it? M yeah? Midwait, so what

1472
01:31:05,640 --> 01:31:08,920
Speaker 1: did that do to the band's chemistry and hm hmm.

1473
01:31:10,720 --> 01:31:13,320
Speaker 1: What pressure was that on you guys to now take

1474
01:31:13,400 --> 01:31:18,120
Speaker 1: over the car now that you had no more driver.

1475
01:31:20,800 --> 01:31:26,439
Speaker 7: Yeah, I mean it was immant really because Maurice was

1476
01:31:26,600 --> 01:31:30,479
Speaker 7: so much in his zone with Charles, because see, he

1477
01:31:30,600 --> 01:31:34,280
Speaker 7: could think, he could think as far as he wanted

1478
01:31:34,320 --> 01:31:37,240
Speaker 7: to think, as fast as he wanted to think, and

1479
01:31:37,479 --> 01:31:43,240
Speaker 7: Charles musically was able to galvanize things and and then

1480
01:31:44,760 --> 01:31:49,040
Speaker 7: make it help and and Al McKay could put make

1481
01:31:49,120 --> 01:31:52,280
Speaker 7: a groove, so it was it was a team, you know,

1482
01:31:53,720 --> 01:31:59,360
Speaker 7: and Larry Dunn could make it sweet, you know, me

1483
01:32:00,120 --> 01:32:00,639
Speaker 7: do the vocals.

1484
01:32:00,640 --> 01:32:03,120
Speaker 1: So it was a great team. You know.

1485
01:32:03,320 --> 01:32:09,160
Speaker 7: When Charles left, there was a serious void because the

1486
01:32:09,320 --> 01:32:14,200
Speaker 7: only other person that that we found that he really

1487
01:32:14,280 --> 01:32:18,360
Speaker 7: respected like that, that we had success with was was

1488
01:32:18,760 --> 01:32:19,400
Speaker 7: David Foster.

1489
01:32:20,040 --> 01:32:25,439
Speaker 1: So it's essentially David Foster Charles's replacement. Like no Maurice

1490
01:32:26,200 --> 01:32:28,920
Speaker 1: figure or just an equal. He didn't need.

1491
01:32:29,479 --> 01:32:33,799
Speaker 7: He really the issue was, you know, really didn't respect

1492
01:32:33,800 --> 01:32:36,600
Speaker 7: a lot of different a lot of people, Okay, you know,

1493
01:32:36,840 --> 01:32:39,840
Speaker 7: definitely didn't need no father figure, you know, but he needed.

1494
01:32:39,640 --> 01:32:42,320
Speaker 1: So Charles wasn't the father figure, well, but he was

1495
01:32:42,360 --> 01:32:43,080
Speaker 1: the only one.

1496
01:32:43,800 --> 01:32:45,519
Speaker 7: He was the only you can say, really, get that

1497
01:32:45,560 --> 01:32:47,639
Speaker 7: ship out of here, you know, that's how you talk,

1498
01:32:47,720 --> 01:32:50,120
Speaker 7: you know, you know he could. He's the only one

1499
01:32:50,560 --> 01:32:54,200
Speaker 7: that talked how Reese talked to us. That's how the

1500
01:32:54,960 --> 01:32:58,080
Speaker 7: Charles talked to Rees. Really really get this shut out

1501
01:32:58,120 --> 01:33:02,000
Speaker 7: of here, you know, no, you know, but because he

1502
01:33:02,160 --> 01:33:05,479
Speaker 7: really respected Charles in that in that kind of way,

1503
01:33:05,960 --> 01:33:07,640
Speaker 7: so nobody ever replaced him.

1504
01:33:08,600 --> 01:33:10,800
Speaker 1: You know, no one ever replaced him.

1505
01:33:10,840 --> 01:33:19,120
Speaker 7: But David did have that same musical ability, not the same,

1506
01:33:19,200 --> 01:33:22,759
Speaker 7: but he had you know, had had a creditible music.

1507
01:33:22,600 --> 01:33:27,120
Speaker 3: Ability that Maurice respected. So we were able to besides

1508
01:33:28,120 --> 01:33:30,160
Speaker 3: besides wild was it.

1509
01:33:31,880 --> 01:33:36,400
Speaker 1: For new birth? Uh? Wild flower? Besides Wildflower? What? What

1510
01:33:36,520 --> 01:33:40,439
Speaker 1: did David have that at least got his rap out

1511
01:33:40,479 --> 01:33:43,120
Speaker 1: there with people like, yo, I'm gonna mess with him?

1512
01:33:43,479 --> 01:33:47,320
Speaker 7: Or well he you know, he has a really good

1513
01:33:47,640 --> 01:33:54,720
Speaker 7: sense of songs and you know, like and he was

1514
01:33:54,840 --> 01:33:59,639
Speaker 7: accomplished as a as a as a pianist. So him

1515
01:33:59,680 --> 01:34:02,800
Speaker 7: and Marie were able to you know, to craft you know,

1516
01:34:03,000 --> 01:34:05,479
Speaker 7: like in the Stone and all that kind of stuff,

1517
01:34:05,760 --> 01:34:07,959
Speaker 7: and Maurice was able to make it commercial.

1518
01:34:09,840 --> 01:34:13,200
Speaker 1: Okay, okay, but David didn't come for all and nod

1519
01:34:13,280 --> 01:34:19,120
Speaker 1: he what is the serpentine fire. Serpentine fire is the

1520
01:34:19,360 --> 01:34:21,479
Speaker 1: is the male sex drive?

1521
01:34:23,760 --> 01:34:29,799
Speaker 6: Viagrap No, that's something you take for the drive.

1522
01:34:34,320 --> 01:34:41,120
Speaker 1: Was how is passion? You know? You know LUs okay

1523
01:34:41,240 --> 01:34:45,320
Speaker 1: on the on the male side, serpentine.

1524
01:34:46,840 --> 01:34:48,320
Speaker 6: That's what you'reposed to have naturally.

1525
01:34:48,479 --> 01:34:52,360
Speaker 7: Word Okay, thank you anyway, But then all those lyrics

1526
01:34:52,400 --> 01:34:54,040
Speaker 7: will make sense to you now and you go read

1527
01:34:54,040 --> 01:34:54,960
Speaker 7: the lyrics now well.

1528
01:34:55,080 --> 01:34:57,120
Speaker 1: No, just seeing the commercial again with the with the

1529
01:34:57,200 --> 01:34:59,640
Speaker 1: whole you know, pyramids and stuff. I just thought you

1530
01:34:59,720 --> 01:35:02,400
Speaker 1: guys are just on because I had to ask for

1531
01:35:02,479 --> 01:35:06,360
Speaker 1: you the same thing what he certain fire? Okay, I'm

1532
01:35:06,360 --> 01:35:17,560
Speaker 1: a sing this, but so in seventy seven with the

1533
01:35:17,640 --> 01:35:21,840
Speaker 1: dawning of disco and you guys absolutely at your your

1534
01:35:21,960 --> 01:35:27,040
Speaker 1: your the highest heights of of your creativity. Serpentine Fire

1535
01:35:27,200 --> 01:35:33,120
Speaker 1: was such a risky song to uh put out. First

1536
01:35:33,160 --> 01:35:35,439
Speaker 1: of all, it's I mean it's half speed, so it's

1537
01:35:35,520 --> 01:35:38,559
Speaker 1: like seventy two bpms. I mean it's a hard funk song.

1538
01:35:39,880 --> 01:35:42,200
Speaker 1: But are you guys even aware of four on the

1539
01:35:42,280 --> 01:35:47,519
Speaker 1: floor culture and we hated it? Oh wow, so you

1540
01:35:47,720 --> 01:35:53,280
Speaker 1: made a because this we hated it. I'm just saying

1541
01:35:53,320 --> 01:35:56,720
Speaker 1: to this day, I can't even play. Yeah, what do

1542
01:35:56,800 --> 01:36:01,240
Speaker 1: you you don't like? Well, you can missing with trap rap.

1543
01:36:01,240 --> 01:36:03,720
Speaker 7: Like it wasn't going to where we we hated it,

1544
01:36:03,840 --> 01:36:06,280
Speaker 7: but wasn't going to place, so Reese we had to

1545
01:36:06,400 --> 01:36:08,479
Speaker 7: you know, there was nothing we could do, you know.

1546
01:36:08,760 --> 01:36:10,640
Speaker 1: You know Donna Summers had all those hits and.

1547
01:36:12,520 --> 01:36:17,920
Speaker 7: Maroder with his name, yeah Joe, and so our answer

1548
01:36:18,080 --> 01:36:22,600
Speaker 7: to uh disco was Boogie Wonderland.

1549
01:36:24,000 --> 01:36:26,400
Speaker 1: But that's seventy nine. But I'm saying in seventy seven,

1550
01:36:28,880 --> 01:36:33,000
Speaker 1: like was Walter Yetnakoff saying likes record? Yeah, like I

1551
01:36:33,080 --> 01:36:36,599
Speaker 1: gotta no one ever, no one ever.

1552
01:36:38,000 --> 01:36:42,519
Speaker 7: Executives didn't ever get in Maurice's artistic thing. You know,

1553
01:36:42,600 --> 01:36:45,920
Speaker 7: they never you know that to my knowledge, no one

1554
01:36:46,000 --> 01:36:49,800
Speaker 7: ever came and said, you know, okay, yeah, you know

1555
01:36:49,920 --> 01:36:50,680
Speaker 7: you should do.

1556
01:36:50,880 --> 01:36:51,880
Speaker 1: This that or the other.

1557
01:36:53,080 --> 01:36:56,040
Speaker 7: You know, I don't know who talked him in. I

1558
01:36:56,120 --> 01:36:59,120
Speaker 7: was probably bobbing caval and Ruffalo talked him into the

1559
01:36:59,240 --> 01:37:00,080
Speaker 7: power like though.

1560
01:37:01,640 --> 01:37:08,479
Speaker 1: I didn't even wasn't talking, wasn't talking to me. Do

1561
01:37:08,640 --> 01:37:13,280
Speaker 1: you remember do you remember recording running? Do you remember

1562
01:37:13,360 --> 01:37:22,160
Speaker 1: what that was like? Yes? Yeah, yep. What was the

1563
01:37:22,280 --> 01:37:25,840
Speaker 1: vibe like in that? Who was it supposed to be lyrics. No, okay,

1564
01:37:26,920 --> 01:37:29,639
Speaker 1: that would have messed that song totally, man too much.

1565
01:37:29,720 --> 01:37:32,160
Speaker 1: I would assume that Body Eye songs are songs that

1566
01:37:32,360 --> 01:37:36,280
Speaker 1: will later be added lyrics. Well, hence what's your name?

1567
01:37:36,320 --> 01:37:41,000
Speaker 1: Telling me? Ali willis telling that about well, no, when

1568
01:37:41,040 --> 01:37:44,799
Speaker 1: she grows September September, that's right. She said that Body

1569
01:37:44,880 --> 01:37:46,800
Speaker 1: Eye was just a placement and then they were going

1570
01:37:46,880 --> 01:37:49,280
Speaker 1: to think of something later and it never got to it,

1571
01:37:49,400 --> 01:37:54,240
Speaker 1: so they just left it, right. I just okay, So.

1572
01:37:55,000 --> 01:37:57,000
Speaker 3: Yeah, Running is one of my favors. I love that song. Man,

1573
01:37:57,080 --> 01:37:59,160
Speaker 3: y'all sounded that. I love that record.

1574
01:37:59,800 --> 01:38:01,960
Speaker 1: How did you guys get a relationship with Doug Henning

1575
01:38:02,760 --> 01:38:06,519
Speaker 1: because I'm totally forgetting that. You guys damn near invented

1576
01:38:06,680 --> 01:38:11,839
Speaker 1: black theater and Doug Henning is Doug Henning the magician.

1577
01:38:11,960 --> 01:38:13,920
Speaker 1: He would have been the David Blaine of his day.

1578
01:38:15,920 --> 01:38:19,040
Speaker 1: So a big part of black music culture is taking

1579
01:38:20,680 --> 01:38:24,439
Speaker 1: the Chitlin Circuit or Motown. I guess the Motown Review

1580
01:38:24,600 --> 01:38:29,120
Speaker 1: was the height of black excellence in concert and what

1581
01:38:29,560 --> 01:38:32,360
Speaker 1: many will credit Earth Would and Fire to do that

1582
01:38:32,439 --> 01:38:36,120
Speaker 1: will later inspire Parliament, Funk, Cadelic and then further inspire

1583
01:38:36,200 --> 01:38:44,400
Speaker 1: the Jacksons is introducing theater. So the idea of verdein

1584
01:38:44,920 --> 01:38:52,439
Speaker 1: levitating during his bass silo or explosions and the drums,

1585
01:38:52,479 --> 01:38:55,120
Speaker 1: we did the drums where the spinning drums. Yeah, if

1586
01:38:55,160 --> 01:38:58,360
Speaker 1: Philly wants my aunt cried, you're I guess doing that

1587
01:38:58,479 --> 01:39:00,760
Speaker 1: all the Yeah, you remember this.

1588
01:39:00,840 --> 01:39:03,479
Speaker 7: Night where we go into that pyramid thing and then

1589
01:39:04,040 --> 01:39:08,479
Speaker 7: you know, it disappears and then the the androids or

1590
01:39:08,520 --> 01:39:11,400
Speaker 7: whatever come up to the state that put us in

1591
01:39:11,520 --> 01:39:13,320
Speaker 7: there and they take their hats.

1592
01:39:13,080 --> 01:39:16,880
Speaker 1: Off and us. But I think during the intro of

1593
01:39:16,920 --> 01:39:19,519
Speaker 1: the All and altour, you guys came down these tubes. Yeah,

1594
01:39:20,000 --> 01:39:21,160
Speaker 1: and you're on the same.

1595
01:39:22,720 --> 01:39:25,639
Speaker 7: Or so it's on the same that's on the same

1596
01:39:26,320 --> 01:39:32,599
Speaker 7: concert the tubes and the pyramid disappearing and right, well.

1597
01:39:33,120 --> 01:39:34,960
Speaker 1: I guess in the Philly show your tube they can

1598
01:39:35,040 --> 01:39:39,320
Speaker 1: go up, so like guys had to run and manually

1599
01:39:39,479 --> 01:39:42,840
Speaker 1: lift you out or whatever, like the smoking, you know,

1600
01:39:43,680 --> 01:39:46,800
Speaker 1: added exaggeration. I guess you thought you were gonna die

1601
01:39:46,920 --> 01:39:50,640
Speaker 1: or something. I don't know. But who, like, how do

1602
01:39:50,720 --> 01:39:53,840
Speaker 1: you guys rehearse that stuff or who conceptualizes is that

1603
01:39:53,960 --> 01:39:54,880
Speaker 1: all duck inning or.

1604
01:39:56,720 --> 01:40:00,600
Speaker 7: Now you know Vernon with no exactly because he's the

1605
01:40:01,040 --> 01:40:06,560
Speaker 7: totally historian. I don't remember if Doug did that particular

1606
01:40:07,439 --> 01:40:14,160
Speaker 7: show because we were working with several people at that time,

1607
01:40:16,120 --> 01:40:19,679
Speaker 7: all right, but I mean we was working with Doug Henny,

1608
01:40:19,880 --> 01:40:21,479
Speaker 7: David Copperfield.

1609
01:40:22,280 --> 01:40:27,200
Speaker 1: Really right, right, And so did you feel a certain

1610
01:40:27,280 --> 01:40:29,720
Speaker 1: way did you guys feel a certain way when other

1611
01:40:29,880 --> 01:40:32,480
Speaker 1: acts the Jacksons.

1612
01:40:33,840 --> 01:40:36,120
Speaker 3: Were starting to levint eight as well and explode and

1613
01:40:37,400 --> 01:40:42,160
Speaker 3: h let me you think, yeah, would you go see shows? Okay, yo,

1614
01:40:42,400 --> 01:40:42,760
Speaker 3: for sure.

1615
01:40:43,080 --> 01:40:45,320
Speaker 1: So if you're watching the Jackson's like, oh yeah, because I.

1616
01:40:45,280 --> 01:40:47,639
Speaker 7: Went to kans I flew to Kansas City to watch

1617
01:40:47,760 --> 01:40:51,800
Speaker 7: the Jackson's and all that stuff. Yeah, man, but and

1618
01:40:52,000 --> 01:40:55,840
Speaker 7: it was that was one of the best shows I've

1619
01:40:55,880 --> 01:41:00,720
Speaker 7: ever seen, you know, just timing the production, performances and

1620
01:41:00,760 --> 01:41:01,320
Speaker 7: all this stuff.

1621
01:41:01,320 --> 01:41:05,000
Speaker 1: It was like crazy. But did you guys feel like

1622
01:41:06,680 --> 01:41:09,240
Speaker 1: that this is your thing and suddenly everyone else is

1623
01:41:09,280 --> 01:41:09,760
Speaker 1: taken a cue?

1624
01:41:10,000 --> 01:41:12,600
Speaker 7: Like, well, it really wasn't our thing though, to be

1625
01:41:12,800 --> 01:41:16,280
Speaker 7: quite honest about we were maybe we're the first African

1626
01:41:16,400 --> 01:41:19,360
Speaker 7: American band to start doing it, but you got to

1627
01:41:19,560 --> 01:41:22,960
Speaker 7: remember that the rock groups were doing.

1628
01:41:23,120 --> 01:41:27,240
Speaker 1: I forgot doing it. They were doing stuff all right. Now,

1629
01:41:27,360 --> 01:41:32,960
Speaker 1: I am what are your feelings on I am. If anything,

1630
01:41:33,040 --> 01:41:35,479
Speaker 1: I figure you have a feeling about I AM more

1631
01:41:35,560 --> 01:41:40,559
Speaker 1: than Race. No, I am was still everybody was steal

1632
01:41:40,640 --> 01:41:46,120
Speaker 1: in pocket. The team was still together pretty much. I am.

1633
01:41:46,200 --> 01:41:51,200
Speaker 7: It's probably the last great earth wind Fire records in

1634
01:41:51,400 --> 01:41:59,439
Speaker 7: your opinion, in my opinion, So in your mind, your

1635
01:41:59,479 --> 01:42:05,120
Speaker 7: classic cannon it ends with with I am, Yeah, because

1636
01:42:05,160 --> 01:42:08,720
Speaker 7: it's all in all before that, well, all in all

1637
01:42:09,000 --> 01:42:09,240
Speaker 7: I Am.

1638
01:42:09,360 --> 01:42:09,960
Speaker 1: Then Faces.

1639
01:42:10,600 --> 01:42:13,680
Speaker 7: Oh no, but Faces, no faces, I will say a

1640
01:42:13,680 --> 01:42:16,519
Speaker 7: couple of jam I think, you know, I thought I

1641
01:42:16,640 --> 01:42:19,560
Speaker 7: was just I was really disappointed that Faces didn't do

1642
01:42:20,040 --> 01:42:23,680
Speaker 7: better because I did think it was what happened.

1643
01:42:23,400 --> 01:42:27,559
Speaker 1: Because all the elements were there, like love goes on, Yeah,

1644
01:42:29,320 --> 01:42:33,519
Speaker 1: all the elements are there. Oh yeah, no pun intended,

1645
01:42:34,040 --> 01:42:35,960
Speaker 1: but yeah, all the elements were there. Do you thing

1646
01:42:36,000 --> 01:42:38,200
Speaker 1: go to that? Fair better if you guys just made

1647
01:42:38,240 --> 01:42:40,000
Speaker 1: it a single album or yeah?

1648
01:42:40,040 --> 01:42:42,880
Speaker 7: Probably for that, you know when you're thinking about it now.

1649
01:42:45,680 --> 01:42:48,240
Speaker 7: They still wren't gold. So it wasn't a failure and

1650
01:42:48,360 --> 01:42:51,360
Speaker 7: it was a double record. It might have been better

1651
01:42:51,400 --> 01:42:54,639
Speaker 7: if they had done it. Who knows, But I thought

1652
01:42:54,760 --> 01:42:56,360
Speaker 7: that I thought the record was was sound.

1653
01:42:58,400 --> 01:43:01,360
Speaker 1: It wasn't better. It had movement, They had moments to it.

1654
01:43:02,600 --> 01:43:05,160
Speaker 3: My first my first actual win. If I record that

1655
01:43:05,240 --> 01:43:07,840
Speaker 3: I own, I got for Christmas. My uncle brought me

1656
01:43:07,960 --> 01:43:09,240
Speaker 3: Touch the world, believe it or not.

1657
01:43:16,400 --> 01:43:21,040
Speaker 1: That was my first official A young buz fire to babies.

1658
01:43:24,080 --> 01:43:25,960
Speaker 1: But when you have the boys come out for heritage,

1659
01:43:26,320 --> 01:43:30,800
Speaker 1: come on, y'all, y'all official, y'allll official with me at

1660
01:43:30,840 --> 01:43:34,599
Speaker 1: that point, man, I'm glad you said that we got

1661
01:43:34,720 --> 01:43:40,080
Speaker 1: the work. We got dogs. Oh my god. Yeah, it

1662
01:43:40,160 --> 01:43:43,719
Speaker 1: works for me. It worked, It worked on me, It worked.

1663
01:43:44,520 --> 01:43:47,160
Speaker 1: You had me. I was like, because heritage was ninety

1664
01:43:49,520 --> 01:43:53,560
Speaker 1: age I was twelve. I definitely feel as though that

1665
01:43:53,800 --> 01:43:57,040
Speaker 1: album is responsible for why they are the sons of

1666
01:43:57,200 --> 01:44:01,040
Speaker 1: what are they now? Yeah? You know where they are now?

1667
01:44:01,120 --> 01:44:04,280
Speaker 1: Like they're they're they like fire.

1668
01:44:04,400 --> 01:44:06,200
Speaker 6: They moved Africa, they moved to the continent.

1669
01:44:06,600 --> 01:44:09,400
Speaker 1: They moved to Africa. They they're the suns of light.

1670
01:44:09,680 --> 01:44:11,080
Speaker 6: They have locks, long locks.

1671
01:44:11,160 --> 01:44:15,120
Speaker 1: And where did you guys had an effect on them

1672
01:44:15,240 --> 01:44:16,599
Speaker 1: with with the Herodage album?

1673
01:44:16,640 --> 01:44:20,479
Speaker 3: Because if somebody plays the flute, one of them, yeah yeah,

1674
01:44:20,520 --> 01:44:24,320
Speaker 3: one of uh talk about the Illumination album, the one

1675
01:44:24,640 --> 01:44:27,080
Speaker 3: because y'all worked with Brian McKnight on the record.

1676
01:44:28,520 --> 01:44:33,600
Speaker 1: Raphael, Yeah, what was that record, like and someone else record, No,

1677
01:44:34,320 --> 01:44:35,880
Speaker 1: just a Japan edition. I think it was right.

1678
01:44:40,040 --> 01:44:42,880
Speaker 3: Back before record labels realized there was only one internet,

1679
01:44:43,200 --> 01:44:49,960
Speaker 3: right the dude, this will be out by midnight. No,

1680
01:44:50,080 --> 01:44:52,560
Speaker 3: it's out everywhere. But talk about that record, that was

1681
01:44:53,400 --> 01:44:55,000
Speaker 3: for a lot of people considered like a quote unquote

1682
01:44:55,000 --> 01:44:57,800
Speaker 3: comeback record. But what was it like, what was the

1683
01:44:58,080 --> 01:45:00,040
Speaker 3: chemistry like with you and Maurice working.

1684
01:45:01,640 --> 01:45:05,400
Speaker 7: It was Our chemistry was okay, but that was it

1685
01:45:05,520 --> 01:45:08,439
Speaker 7: was a very tough time for us yet because he

1686
01:45:08,680 --> 01:45:12,439
Speaker 7: you know, his Parkinson's disease had really set set in

1687
01:45:12,640 --> 01:45:16,679
Speaker 7: and it taken the ability his ability to perform and sing,

1688
01:45:17,479 --> 01:45:20,640
Speaker 7: you know, so he wasn't singing nearly as strong or

1689
01:45:21,680 --> 01:45:23,720
Speaker 7: or you know, in the way that he would want to.

1690
01:45:23,960 --> 01:45:25,479
Speaker 1: You know, they had he had in the past.

1691
01:45:26,680 --> 01:45:29,639
Speaker 7: So you know, a lot of you know, I did

1692
01:45:30,080 --> 01:45:32,640
Speaker 7: a lot of singing on that record, and then we

1693
01:45:32,720 --> 01:45:37,320
Speaker 7: started you know, using other people to in in the

1694
01:45:37,600 --> 01:45:40,880
Speaker 7: in the backgrounds and stuff. So it was you know,

1695
01:45:42,080 --> 01:45:47,720
Speaker 7: it had mixed emotions about it, you know, but it

1696
01:45:47,840 --> 01:45:50,720
Speaker 7: was fun working with everybody that was on you know,

1697
01:45:51,240 --> 01:45:56,040
Speaker 7: we worked with on a project, especially Flowa Tree Floaty

1698
01:45:56,120 --> 01:45:58,880
Speaker 7: is on that project too, right, right, and music so

1699
01:45:59,080 --> 01:46:03,120
Speaker 7: child and yeah it was it was fun. That was fun.

1700
01:46:03,600 --> 01:46:06,160
Speaker 1: Okay, So now let's reach back just a little bit.

1701
01:46:07,760 --> 01:46:09,679
Speaker 1: We we definitely have to get to your solo career

1702
01:46:10,360 --> 01:46:17,000
Speaker 1: because there's a generation of people. You're also an MTV

1703
01:46:17,320 --> 01:46:20,840
Speaker 1: Award winner. I forgot he's the number one man walking

1704
01:46:20,880 --> 01:46:22,759
Speaker 1: on Chinese. Well that was the best of both fields.

1705
01:46:24,280 --> 01:46:27,320
Speaker 1: It was the best of both fields. What but you

1706
01:46:27,479 --> 01:46:34,479
Speaker 1: work with George Duke on continuation, right, I know that's

1707
01:46:34,520 --> 01:46:42,599
Speaker 1: my joint. Uh, that's my cut. Yes. So stepping away

1708
01:46:42,640 --> 01:46:46,519
Speaker 1: from the band, did you think at the time after

1709
01:46:46,600 --> 01:46:50,559
Speaker 1: Electric Universe did that Okay, well I'm leaving the band

1710
01:46:50,640 --> 01:46:53,040
Speaker 1: or it's just like what what? What took you so

1711
01:46:53,160 --> 01:46:54,240
Speaker 1: long to do a solo record?

1712
01:46:55,680 --> 01:46:59,360
Speaker 7: I didn't actually take me a long time because I

1713
01:46:59,479 --> 01:47:07,200
Speaker 7: was always doing other stuff, especially after the you know,

1714
01:47:07,320 --> 01:47:12,280
Speaker 7: the extensive touring and all that kind of stuff, just

1715
01:47:12,360 --> 01:47:17,360
Speaker 7: to have a different outlet to really, you know, just

1716
01:47:17,800 --> 01:47:19,680
Speaker 7: have my own autonomy.

1717
01:47:20,120 --> 01:47:22,679
Speaker 3: You were on a Polino da Costa album. Yeah, yeah,

1718
01:47:24,160 --> 01:47:26,600
Speaker 3: and then you know, I did three gospel albums and.

1719
01:47:26,920 --> 01:47:28,800
Speaker 1: I was going to ask because you got a lot

1720
01:47:28,880 --> 01:47:29,479
Speaker 1: of play.

1721
01:47:29,520 --> 01:47:30,960
Speaker 3: Yeah, I want to grab me for one of them.

1722
01:47:31,000 --> 01:47:34,679
Speaker 3: For triumph on Philly Christian radio. You were a mainstay.

1723
01:47:35,280 --> 01:47:39,599
Speaker 1: But why weren't the Christian albums on CBS as well?

1724
01:47:40,400 --> 01:47:43,680
Speaker 7: It was subsidiary. Oh no, it was on their own

1725
01:47:43,720 --> 01:47:49,600
Speaker 7: word and one. Yeah they were saying, yeah, you know

1726
01:47:49,720 --> 01:47:54,840
Speaker 7: that was a different time, and the yeah, they gave

1727
01:47:54,920 --> 01:47:58,120
Speaker 7: me the right to go and do that on a

1728
01:47:58,200 --> 01:47:58,920
Speaker 7: Christian label.

1729
01:47:59,720 --> 01:48:04,560
Speaker 3: They didn't have a right marketing Christian distribution and all that.

1730
01:48:05,240 --> 01:48:09,280
Speaker 1: Okay, I see, So what in promoting those records, how

1731
01:48:09,640 --> 01:48:14,840
Speaker 1: was the the circuit different? Like, well, I toured with

1732
01:48:15,400 --> 01:48:20,439
Speaker 1: Amy Grant, you know that was that was that was fun.

1733
01:48:20,479 --> 01:48:22,080
Speaker 1: That was fun too. I got I got all, I

1734
01:48:22,160 --> 01:48:23,080
Speaker 1: got all my equipment.

1735
01:48:23,160 --> 01:48:26,599
Speaker 7: So stole the second data of the of the concert

1736
01:48:27,920 --> 01:48:31,720
Speaker 7: YEP in the in Florida, they backed, they backed to

1737
01:48:31,880 --> 01:48:37,519
Speaker 7: the truck up against the h the actual hotel and

1738
01:48:37,600 --> 01:48:39,920
Speaker 7: stuff and took the mission out.

1739
01:48:40,320 --> 01:48:41,560
Speaker 1: You know, because they because they knew that.

1740
01:48:41,640 --> 01:48:44,840
Speaker 7: They said, you know this in Florida they were notorious

1741
01:48:44,880 --> 01:48:49,360
Speaker 7: for stealing you know those you know those trucks and stuff. Man,

1742
01:48:49,680 --> 01:48:52,920
Speaker 7: they told that truck away. Wow, they told the whole

1743
01:48:52,960 --> 01:48:55,800
Speaker 7: truck away. And and I had to I was in

1744
01:48:55,920 --> 01:48:59,519
Speaker 7: debt for three four years. What had Yeah, because I

1745
01:48:59,600 --> 01:49:02,160
Speaker 7: had to pay for everybody's equipment. That was my fir

1746
01:49:02,840 --> 01:49:06,799
Speaker 7: of my first solo experience, no no touris.

1747
01:49:09,360 --> 01:49:19,200
Speaker 1: I think Michael W. Smith did it. He was so funny. Sorry, okay,

1748
01:49:19,280 --> 01:49:21,640
Speaker 1: Michael W. So you gotta tell like, yeah, that was

1749
01:49:21,680 --> 01:49:27,840
Speaker 1: her first husband. Oh I'm sorry first.

1750
01:49:29,680 --> 01:49:32,400
Speaker 6: Oh yeah, cause she's married. Okayeah, she married to Vince somebody? Yeah,

1751
01:49:32,479 --> 01:49:34,920
Speaker 6: thank you? Whoa what Vince Gil You've ever been married

1752
01:49:34,960 --> 01:49:36,200
Speaker 6: for like over decades?

1753
01:49:36,640 --> 01:49:39,880
Speaker 1: What? I never knew that. Yo. As soon as they

1754
01:49:39,920 --> 01:49:41,840
Speaker 1: did that song House I Love you remember that, I

1755
01:49:42,000 --> 01:49:44,360
Speaker 1: was like, there's something going on between them two because

1756
01:49:44,600 --> 01:49:46,640
Speaker 1: that song was too good for just, you know, just

1757
01:49:46,680 --> 01:49:50,240
Speaker 1: to be a random question. Yeah yeah, oh, Amy grant Man.

1758
01:49:50,640 --> 01:49:52,680
Speaker 1: It was a period where only Christian radio was on

1759
01:49:52,880 --> 01:49:55,960
Speaker 1: my household, like my parents are just only did Christian radio.

1760
01:49:56,080 --> 01:49:58,680
Speaker 5: Same here, so same here, and let me back that.

1761
01:49:58,880 --> 01:50:02,519
Speaker 5: That introduced me to Bailey's voice by way of Andre Crouch,

1762
01:50:03,240 --> 01:50:05,720
Speaker 5: I've got the best, Come on, brother. I used to

1763
01:50:05,840 --> 01:50:07,760
Speaker 5: play that song to death when I was a kid.

1764
01:50:08,800 --> 01:50:11,360
Speaker 1: That's right. I forgot that. And Martins did something with

1765
01:50:11,439 --> 01:50:17,840
Speaker 1: the Hawkins family. Yeah, we both did on their anniversary record. Okay, Okay, Steve.

1766
01:50:19,439 --> 01:50:24,040
Speaker 9: Okay, I'm sure everybody here and there's the same amount

1767
01:50:24,080 --> 01:50:24,439
Speaker 9: as I do.

1768
01:50:24,640 --> 01:50:27,120
Speaker 1: But I know, but I feel horrible like all the

1769
01:50:27,160 --> 01:50:29,240
Speaker 1: Phil Collins. No, so.

1770
01:50:30,880 --> 01:50:33,120
Speaker 9: You and Phil Collins both have the same first name.

1771
01:50:33,280 --> 01:50:37,920
Speaker 9: Was that what's going on? That a coincidence or the

1772
01:50:38,040 --> 01:50:38,880
Speaker 9: marketing scheme?

1773
01:50:41,320 --> 01:50:44,720
Speaker 1: Why? Okay? Why did you want Why was he your

1774
01:50:44,800 --> 01:50:48,320
Speaker 1: chosen producer for Chinese Wall Wall?

1775
01:50:49,120 --> 01:50:49,280
Speaker 2: Oh?

1776
01:50:49,760 --> 01:50:55,120
Speaker 7: Okay, two questions, because actually the Phoenix Horns were playing

1777
01:50:55,920 --> 01:51:00,839
Speaker 7: with him on his you know, on his uh record

1778
01:51:01,120 --> 01:51:04,760
Speaker 7: and tour, and when they played in Los Angeles. I

1779
01:51:04,840 --> 01:51:08,240
Speaker 7: went to the show and and I wasn't really that

1780
01:51:08,479 --> 01:51:11,680
Speaker 7: familiar with Phil's music, but I was very impressed with

1781
01:51:12,120 --> 01:51:15,320
Speaker 7: the songs and stuff, and I was getting ready to

1782
01:51:15,360 --> 01:51:20,320
Speaker 7: do my second record, and so I said, man, it's

1783
01:51:20,400 --> 01:51:24,759
Speaker 7: crazy idea, but let's see if Phil has any songs

1784
01:51:24,800 --> 01:51:27,439
Speaker 7: that I could do on my second record. And the

1785
01:51:28,280 --> 01:51:31,080
Speaker 7: company and my manager says, well, why don't we talk

1786
01:51:31,120 --> 01:51:34,120
Speaker 7: to me about producing your you know, your second record?

1787
01:51:35,400 --> 01:51:39,320
Speaker 7: I know that was his dream, yeah, because so we Yeah,

1788
01:51:39,360 --> 01:51:41,320
Speaker 7: that always imagined a fun Time.

1789
01:51:41,800 --> 01:51:46,200
Speaker 1: That's the fifteenth member of house fun Time. Fun Time.

1790
01:51:46,680 --> 01:51:48,519
Speaker 7: From the video, it looked like it was fun. It

1791
01:51:48,640 --> 01:51:51,920
Speaker 7: was very it's very natural, I mean, and nothing, but

1792
01:51:52,080 --> 01:51:57,920
Speaker 7: none of that was staged. They picked me up and

1793
01:51:58,120 --> 01:52:02,879
Speaker 7: from in the helicopter and to the studio site. Cameras

1794
01:52:02,920 --> 01:52:07,479
Speaker 7: were running, cameras running everything, and you know everything. They

1795
01:52:07,560 --> 01:52:09,760
Speaker 7: just filmed everything and we got finished. We sang the

1796
01:52:09,800 --> 01:52:11,960
Speaker 7: song a couple times. They said, Okay, yeah, that's it.

1797
01:52:12,160 --> 01:52:14,200
Speaker 7: I said, well, we're gonna do the video. You just

1798
01:52:14,360 --> 01:52:16,240
Speaker 7: y'all just did it. You ever see the video.

1799
01:52:16,120 --> 01:52:17,360
Speaker 1: Line are you out of your.

1800
01:52:22,240 --> 01:52:26,559
Speaker 6: I'm not the y'all, but it's usually the dance moves,

1801
01:52:26,640 --> 01:52:29,680
Speaker 6: like I know, and then when they do believe it.

1802
01:52:30,439 --> 01:52:32,200
Speaker 5: Back in the day when HBO used to show music

1803
01:52:32,280 --> 01:52:35,280
Speaker 5: videos in between movies, they did, we want an MTV

1804
01:52:35,520 --> 01:52:38,200
Speaker 5: Award for that too. Yes, you're an MTV Award winner

1805
01:52:38,240 --> 01:52:38,559
Speaker 5: as well.

1806
01:52:38,840 --> 01:52:42,200
Speaker 3: No, I was saying that Phil Collins is notorious for

1807
01:52:42,400 --> 01:52:46,719
Speaker 3: making all of his videos videos about making videos.

1808
01:52:48,680 --> 01:52:52,320
Speaker 1: He's done it four times. I can't dance like video

1809
01:52:52,400 --> 01:52:56,240
Speaker 1: directors explained to him in the video what you should do, baby,

1810
01:52:56,280 --> 01:52:58,880
Speaker 1: don't you lose my number? The same thing where a

1811
01:52:59,000 --> 01:53:01,800
Speaker 1: video director trying to explain to him, well, let's do

1812
01:53:01,880 --> 01:53:03,880
Speaker 1: it like this, let's do it like that. An easy

1813
01:53:03,960 --> 01:53:10,320
Speaker 1: Lover is basically very like Candid just him and phil

1814
01:53:10,680 --> 01:53:15,960
Speaker 1: uh Philip, Wow, you're right, they both have the same name.

1815
01:53:18,800 --> 01:53:20,800
Speaker 6: It's like one of the best videos of our time

1816
01:53:21,520 --> 01:53:22,000
Speaker 6: Easy Lover.

1817
01:53:22,200 --> 01:53:24,880
Speaker 3: Like, man, I remember that song would come on and

1818
01:53:25,080 --> 01:53:29,240
Speaker 3: like when I realized it was both feels I lost

1819
01:53:29,280 --> 01:53:29,559
Speaker 3: my mother?

1820
01:53:33,640 --> 01:53:37,840
Speaker 1: Do you right give it up? Because that's one of

1821
01:53:37,880 --> 01:53:42,600
Speaker 1: the greatest song intros ever to Wait did we do it?

1822
01:53:43,000 --> 01:53:44,920
Speaker 1: We tried that once. Yeah, he sat in on this

1823
01:53:45,120 --> 01:53:47,760
Speaker 1: on the show. No, no, I'm talking about we uh

1824
01:53:49,080 --> 01:53:53,200
Speaker 1: samp or something. I think during Game Theory we tried

1825
01:53:53,280 --> 01:53:57,160
Speaker 1: to figure out a way to incorporate that intro best

1826
01:53:57,200 --> 01:54:03,040
Speaker 1: intro ever? Are you are? Are your songs allowed to ever?

1827
01:54:04,479 --> 01:54:04,519
Speaker 3: Be?

1828
01:54:04,720 --> 01:54:07,120
Speaker 1: Messing and earth Wind and fire shows are not, Like,

1829
01:54:08,160 --> 01:54:10,800
Speaker 1: I'm sure you haven't contingency of people asking for easy

1830
01:54:10,840 --> 01:54:15,080
Speaker 1: Lover during fire You know, we we did for a

1831
01:54:15,200 --> 01:54:18,000
Speaker 1: little while. I mean, like a few shows or something

1832
01:54:18,040 --> 01:54:24,280
Speaker 1: like that, back when Morris Pleasure was in the band.

1833
01:54:24,320 --> 01:54:27,479
Speaker 7: Because Morris is a keyboardist and a bass player. Okay,

1834
01:54:28,600 --> 01:54:32,800
Speaker 7: so and on that he would play the bass. But yeah,

1835
01:54:32,840 --> 01:54:35,800
Speaker 7: there's so many songs to do until we haven't done it.

1836
01:54:36,280 --> 01:54:41,720
Speaker 10: So I have one more question about easy Lover. No, No,

1837
01:54:41,920 --> 01:54:45,320
Speaker 10: But were there other Phil Collins songs on Chinese Wall

1838
01:54:45,480 --> 01:54:46,800
Speaker 10: that you can contribute to them?

1839
01:54:48,640 --> 01:54:50,480
Speaker 7: No, that was the only That was the only one

1840
01:54:50,600 --> 01:54:52,920
Speaker 7: that we We wrote that at the end of the

1841
01:54:53,000 --> 01:54:55,080
Speaker 7: project because it was listening back to everything.

1842
01:54:56,800 --> 01:54:57,640
Speaker 1: Always the case.

1843
01:54:57,720 --> 01:55:01,600
Speaker 7: That's always a narrative always, you know, because you know

1844
01:55:01,720 --> 01:55:05,480
Speaker 7: what needs to happen. And so Nathan started that base

1845
01:55:05,560 --> 01:55:07,000
Speaker 7: thing and we just kind of figured it out.

1846
01:55:08,880 --> 01:55:16,480
Speaker 1: Who are the other musicians on that album set? Let

1847
01:55:16,520 --> 01:55:17,880
Speaker 1: me just look, it's right here in front of me.

1848
01:55:19,520 --> 01:55:21,600
Speaker 1: A special shout out to Children of the Ghetto. I

1849
01:55:21,720 --> 01:55:24,360
Speaker 1: love that record too. So yeah, well you have all

1850
01:55:24,400 --> 01:55:27,160
Speaker 1: the monsters on here. Well you have a lot of okay,

1851
01:55:27,640 --> 01:55:33,000
Speaker 1: of course you have the the Phoenix Orens, wait are

1852
01:55:33,040 --> 01:55:43,160
Speaker 1: Reef Martin? Digit strings? So now now that you're leader

1853
01:55:43,280 --> 01:55:46,920
Speaker 1: by default, right, how many shows do you and you

1854
01:55:47,080 --> 01:55:48,800
Speaker 1: do a lot of shows with Chicago.

1855
01:55:49,480 --> 01:55:52,200
Speaker 7: Yes, well we've done We've done a lot of tours,

1856
01:55:53,240 --> 01:55:56,400
Speaker 7: uh with them over the last.

1857
01:55:58,640 --> 01:56:01,440
Speaker 1: Fifteen years or so. Peter sa Terra still singing with it.

1858
01:56:01,640 --> 01:56:05,760
Speaker 5: No, guy who's singing singing with him now is kind

1859
01:56:05,800 --> 01:56:08,120
Speaker 5: of like a ringer. Though I saw the show in

1860
01:56:08,200 --> 01:56:11,520
Speaker 5: twenty fifteen it was a great show. I'm wearing the

1861
01:56:11,560 --> 01:56:15,640
Speaker 5: shirt I bought at the show. Wait, I do have

1862
01:56:15,720 --> 01:56:17,600
Speaker 5: a question. I saw something that was kind of crazy.

1863
01:56:18,480 --> 01:56:23,200
Speaker 5: I saw earth Winding Fire on ice. Wow, oh right,

1864
01:56:23,400 --> 01:56:24,160
Speaker 5: the production thing?

1865
01:56:24,400 --> 01:56:25,480
Speaker 1: How did that come to be?

1866
01:56:26,000 --> 01:56:27,920
Speaker 7: Like, let me see, I don't I don't even remember

1867
01:56:27,960 --> 01:56:32,440
Speaker 7: how how that actually, I don't remember how it came

1868
01:56:32,480 --> 01:56:32,640
Speaker 7: to be.

1869
01:56:34,120 --> 01:56:36,960
Speaker 1: Yeah, it was just crazy. I was turning the channel

1870
01:56:37,000 --> 01:56:41,440
Speaker 1: one day and at one point, when I think September

1871
01:56:41,520 --> 01:56:44,000
Speaker 1: is playing, I was like, wow, it's it's a weird

1872
01:56:44,080 --> 01:56:47,120
Speaker 1: backing track. And then I realized that earth Wind and

1873
01:56:47,160 --> 01:56:50,200
Speaker 1: Fire was actually a part of earth Wind and Fire

1874
01:56:50,240 --> 01:56:54,760
Speaker 1: were nice question about September. History is showing that that's

1875
01:56:54,920 --> 01:56:58,600
Speaker 1: probably the most loved earth Wind and Fire song. But

1876
01:56:58,760 --> 01:57:02,520
Speaker 1: at the time I wouldn't have called, oh, September is

1877
01:57:02,560 --> 01:57:03,080
Speaker 1: gonna be the.

1878
01:57:04,280 --> 01:57:06,640
Speaker 7: Well, we must be brothers of the same lives then,

1879
01:57:07,000 --> 01:57:10,360
Speaker 7: because when they got finished with it and they played

1880
01:57:10,400 --> 01:57:16,680
Speaker 7: it for me, I was like, crickets, crickets, Wow, okay,

1881
01:57:16,880 --> 01:57:21,520
Speaker 7: all right, I said, sounds so simple to me. That's

1882
01:57:21,520 --> 01:57:24,040
Speaker 7: the way, you know, because it was just that, you know,

1883
01:57:24,320 --> 01:57:26,800
Speaker 7: because we were so used to having all kinds of the.

1884
01:57:26,800 --> 01:57:31,360
Speaker 1: Formula by then, and but I was totally wrong. Yeah,

1885
01:57:31,400 --> 01:57:34,280
Speaker 1: people were chosen. It's kind of a controversial question. Is

1886
01:57:34,320 --> 01:57:37,000
Speaker 1: there a fan favorite that you just don't like flat out?

1887
01:57:37,800 --> 01:57:42,880
Speaker 1: Not really besides reasons at weddings? Yeah, not really.

1888
01:57:44,400 --> 01:57:46,240
Speaker 3: Were any other records in y'all cat out that you

1889
01:57:46,280 --> 01:57:48,760
Speaker 3: thought would be bigger that like you really like but

1890
01:57:48,840 --> 01:57:51,200
Speaker 3: maybe they didn't do as as well as you thought.

1891
01:57:51,680 --> 01:57:58,760
Speaker 1: Hmm uh. You know a song I really like you

1892
01:57:58,760 --> 01:58:02,520
Speaker 1: should and Love Goes On? Yes, that was off of Faces.

1893
01:58:03,360 --> 01:58:04,080
Speaker 1: I love that song.

1894
01:58:04,400 --> 01:58:08,720
Speaker 3: Yeah, Now I thought that that was you know, I

1895
01:58:08,800 --> 01:58:12,400
Speaker 3: thought the energy on that was really it's really that

1896
01:58:12,520 --> 01:58:14,360
Speaker 3: to me is classic earth wind Fire.

1897
01:58:14,520 --> 01:58:16,400
Speaker 1: Actually, I have some questions from a friend of mine

1898
01:58:16,400 --> 01:58:19,240
Speaker 1: who's probably the biggest earth wind in Fire on the planet.

1899
01:58:21,680 --> 01:58:25,120
Speaker 1: Here's one. I'll give you the easiest question. First, how

1900
01:58:25,160 --> 01:58:27,200
Speaker 1: did Brenda Russell come into the picture to write song

1901
01:58:27,320 --> 01:58:31,240
Speaker 1: in my Heart for the Faces album? Oh? I got

1902
01:58:31,320 --> 01:58:33,280
Speaker 1: a song with my heart that one?

1903
01:58:33,600 --> 01:58:38,240
Speaker 7: Well, and you know, Brenda's iconic as a lyric writer,

1904
01:58:38,400 --> 01:58:42,120
Speaker 7: and I was. I was so excited about I've worked

1905
01:58:42,120 --> 01:58:46,920
Speaker 7: with her quite a few times. Fact, have a little

1906
01:58:46,920 --> 01:58:51,160
Speaker 7: crush on it really, but no, she's very, very talented

1907
01:58:51,320 --> 01:59:02,440
Speaker 7: and uh uh Maurice, uh actually called her. That's how

1908
01:59:02,480 --> 01:59:05,920
Speaker 7: we begin, you know, to work together and stuff. But yeah,

1909
01:59:06,640 --> 01:59:10,840
Speaker 7: and now for the more more difficult questions. Astrology played

1910
01:59:10,880 --> 01:59:12,600
Speaker 7: a big part in the presentation in the name of

1911
01:59:12,640 --> 01:59:14,840
Speaker 7: the band, where the other members of the band as

1912
01:59:14,840 --> 01:59:16,920
Speaker 7: observant of the philosophy as as Maurice.

1913
01:59:16,800 --> 01:59:22,200
Speaker 1: Was, No, not at all, not at all, and just

1914
01:59:22,320 --> 01:59:26,240
Speaker 1: this must be deep. So let's roll with it. What

1915
01:59:26,320 --> 01:59:28,240
Speaker 1: do you ever like call you know, let's talk about

1916
01:59:28,480 --> 01:59:30,600
Speaker 1: you know, this and that, or like where their meetings,

1917
01:59:30,640 --> 01:59:33,360
Speaker 1: where he was, you know, kind of explain things that

1918
01:59:33,440 --> 01:59:35,040
Speaker 1: he was thinking, or you know, this is what the

1919
01:59:35,080 --> 01:59:37,400
Speaker 1: album cover means, or because there's a lot of symbolism

1920
01:59:37,480 --> 01:59:42,280
Speaker 1: going on on there. So no, no, he never he

1921
01:59:42,440 --> 01:59:44,240
Speaker 1: never did explain.

1922
01:59:44,960 --> 01:59:50,960
Speaker 3: Uh no, no, you just saw it after it was conceived,

1923
01:59:51,480 --> 01:59:54,360
Speaker 3: Like anytime did the band was like, you know, what

1924
01:59:54,600 --> 01:59:55,640
Speaker 3: the what's all this crap?

1925
01:59:55,760 --> 01:59:58,440
Speaker 1: You know? Or did it You guys were just used

1926
01:59:58,480 --> 02:00:00,720
Speaker 1: to it. Yeah, we were.

1927
02:00:00,840 --> 02:00:03,080
Speaker 7: We were pretty much used to it because you got

1928
02:00:03,320 --> 02:00:06,480
Speaker 7: under you guys. You have to understand that Reese had

1929
02:00:06,800 --> 02:00:10,000
Speaker 7: he had the experience, and he had the tenure. You know,

1930
02:00:10,160 --> 02:00:12,760
Speaker 7: he'd been on the road, he had been touring, he

1931
02:00:12,800 --> 02:00:19,680
Speaker 7: had been successful as a writer, producer, recording with with

1932
02:00:20,000 --> 02:00:25,640
Speaker 7: Chess and performed with with with Ramsey. We were just

1933
02:00:25,720 --> 02:00:29,600
Speaker 7: coming from mama, you know what I'm saying. You know

1934
02:00:29,720 --> 02:00:32,840
Speaker 7: in college, you know, so you know, every day was

1935
02:00:32,880 --> 02:00:35,400
Speaker 7: a good day for us. You know, it's like, okay,

1936
02:00:35,480 --> 02:00:36,480
Speaker 7: which way we go now?

1937
02:00:37,360 --> 02:00:42,000
Speaker 1: You know, here's another easy one besides Milton Nacimento, is

1938
02:00:42,480 --> 02:00:46,040
Speaker 1: am I saying that? Right? Okay? Were there were there

1939
02:00:46,080 --> 02:00:49,680
Speaker 1: any other Afro Latin musicians that inspired you guys? Like

1940
02:00:49,880 --> 02:01:00,919
Speaker 1: what were you guys all listening to Phil? Yes?

1941
02:01:01,200 --> 02:01:05,280
Speaker 3: Were you guys aware of him in real time or like, no,

1942
02:01:05,440 --> 02:01:08,040
Speaker 3: we were just recent We know we were aware of

1943
02:01:08,160 --> 02:01:09,280
Speaker 3: him back in the seventies.

1944
02:01:10,240 --> 02:01:13,440
Speaker 1: How many did you guys go to Africa during the

1945
02:01:13,600 --> 02:01:16,280
Speaker 1: heyday of earth Wind and Fire. No, just to visit?

1946
02:01:16,560 --> 02:01:25,240
Speaker 1: Never right, never to play Wow. Wow, I imagine an

1947
02:01:25,240 --> 02:01:31,440
Speaker 1: earth Wind and show and Egypt Dude, dude, that's crazy.

1948
02:01:31,640 --> 02:01:35,120
Speaker 1: I saw you guys like went there so all those

1949
02:01:35,200 --> 02:01:38,360
Speaker 1: like interlusing and stuff that's just like visiting Marie's visiting

1950
02:01:38,520 --> 02:01:41,320
Speaker 1: or that sort of thing. And no, no, we went

1951
02:01:41,400 --> 02:01:45,880
Speaker 1: to to We went to Egypt, you know with all

1952
02:01:45,920 --> 02:01:47,800
Speaker 1: the stuff that in the pyramid stuff that you're talking

1953
02:01:48,280 --> 02:01:50,360
Speaker 1: freaking up. No, we were there. We went there just

1954
02:01:50,400 --> 02:01:55,560
Speaker 1: to visit. Wow, as you know, yeah, we went to visit.

1955
02:01:55,760 --> 02:01:57,600
Speaker 6: Is that the only country you guys visited in the.

1956
02:01:59,120 --> 02:02:06,240
Speaker 1: Yeah, to visit. Okay, okay, So today you're you're working

1957
02:02:06,320 --> 02:02:10,160
Speaker 1: on Chilo uh material right now? You have a project

1958
02:02:10,200 --> 02:02:11,080
Speaker 1: coming up. Yeah.

1959
02:02:11,200 --> 02:02:14,440
Speaker 7: Yeah, it's it's called Love for Finding a Way and

1960
02:02:15,520 --> 02:02:20,400
Speaker 7: it's a collective project of some like great friends Chick

1961
02:02:20,480 --> 02:02:22,400
Speaker 7: Corea and Christian.

1962
02:02:22,160 --> 02:02:26,080
Speaker 1: McBride Christian went high school Christian.

1963
02:02:26,200 --> 02:02:37,240
Speaker 7: Yeah, yeah, Camasi Washington, you know, Christian Scott More Jazz

1964
02:02:37,360 --> 02:02:41,560
Speaker 7: Leanings or well, you know, it's a it's a record

1965
02:02:41,640 --> 02:02:45,040
Speaker 7: that we took a couple of blouse on the record.

1966
02:02:45,760 --> 02:02:46,040
Speaker 1: Wow.

1967
02:02:47,360 --> 02:02:50,400
Speaker 7: We we took a couple of songs that kind of

1968
02:02:50,440 --> 02:02:53,120
Speaker 7: reflect at the times that we're that we were struggling,

1969
02:02:53,560 --> 02:02:55,440
Speaker 7: uh in the sixties and stuff because we did some

1970
02:02:57,280 --> 02:03:05,040
Speaker 7: uh Curtis Mayfield joints, but Robert Glasberg flipped him, so

1971
02:03:05,200 --> 02:03:09,720
Speaker 7: Roberts you know, on the project, and uh, it's a

1972
02:03:09,920 --> 02:03:12,440
Speaker 7: it's a hot it's a hot project, it really is.

1973
02:03:12,520 --> 02:03:17,920
Speaker 7: It's it's gonna come out on Verve when well we're

1974
02:03:18,000 --> 02:03:19,280
Speaker 7: trying to get a release date.

1975
02:03:19,320 --> 02:03:23,000
Speaker 1: We had. We were just with them today actually, but

1976
02:03:23,200 --> 02:03:26,879
Speaker 1: it's it was, it's a It's probably one of the projects.

1977
02:03:26,960 --> 02:03:30,480
Speaker 4: I've usually asked somebody about their new stuff and it's like,

1978
02:03:32,880 --> 02:03:34,520
Speaker 4: this sounds it sounds good.

1979
02:03:35,920 --> 02:03:39,480
Speaker 6: Who? Who? Who comes to mind after I stutter that

1980
02:03:39,640 --> 02:03:43,240
Speaker 6: impresses you vocally today? Like not not, they don't have

1981
02:03:43,280 --> 02:03:44,760
Speaker 6: to be a new artist. I just mean when you

1982
02:03:44,840 --> 02:03:47,839
Speaker 6: think presently of who's alive and who's still impressing you vocally.

1983
02:03:51,680 --> 02:03:57,680
Speaker 1: Shoot, you know a lot a lot of you.

1984
02:03:57,800 --> 02:03:59,280
Speaker 6: It's not new. I mean it could be you know

1985
02:03:59,440 --> 02:04:01,640
Speaker 6: you you you named some names on your album.

1986
02:04:02,600 --> 02:04:04,120
Speaker 1: Who are your go to? Like when you just want

1987
02:04:04,160 --> 02:04:07,160
Speaker 1: to hear some music? And you know I love Laylah

1988
02:04:07,560 --> 02:04:15,280
Speaker 1: Okay you and of course Balao and who else I

1989
02:04:15,480 --> 02:04:19,040
Speaker 1: listened to attorney. Shoot, it's.

1990
02:04:21,920 --> 02:04:24,200
Speaker 7: I'm trying to think of who just really sticks out

1991
02:04:24,280 --> 02:04:28,760
Speaker 7: that it's young Goss. Yeah, this is a lot of

1992
02:04:28,760 --> 02:04:32,360
Speaker 7: gospel and I and list allow of jazz stuff, all

1993
02:04:32,400 --> 02:04:33,320
Speaker 7: the young jazzer's.

1994
02:04:34,360 --> 02:04:38,560
Speaker 1: You're on Astro World. Uh, how did Travis Scott uh

1995
02:04:40,000 --> 02:04:43,320
Speaker 1: come to get you for the album? Well?

1996
02:04:44,200 --> 02:04:48,720
Speaker 7: It was very quick and really yeah, it it was

1997
02:04:48,800 --> 02:04:50,160
Speaker 7: just kind of one of one of those things that

1998
02:04:50,520 --> 02:04:56,480
Speaker 7: we have the same manager, and so Damien's been managing

1999
02:04:56,720 --> 02:04:58,880
Speaker 7: me for a long long time. In the fact, he

2000
02:04:59,000 --> 02:05:02,040
Speaker 7: was his best friend with my oldest son, you know,

2001
02:05:02,240 --> 02:05:08,120
Speaker 7: back in Denver. Huh sir, yes, sir, Yeah, he's doing well.

2002
02:05:08,200 --> 02:05:10,720
Speaker 1: Give give him hello, yeah, thank you all.

2003
02:05:11,520 --> 02:05:15,600
Speaker 7: So anyway, so yeah, you know that uh song stopped

2004
02:05:15,640 --> 02:05:18,600
Speaker 7: turning to be got that me and Stevie guessed on

2005
02:05:18,640 --> 02:05:22,000
Speaker 7: a little bit. That's that's how that came about actually,

2006
02:05:23,040 --> 02:05:25,760
Speaker 7: and uh, you know, rest is history.

2007
02:05:25,760 --> 02:05:32,640
Speaker 1: Really Wow, impressive, You're still going strong and hypothetical situation

2008
02:05:32,720 --> 02:05:39,080
Speaker 1: because I think as I was going to earlier, I forgot.

2009
02:05:39,280 --> 02:05:41,840
Speaker 1: I forgot I forgot about that. But this is a

2010
02:05:41,880 --> 02:05:44,640
Speaker 1: hypothetical situation. I am going to ask about that though.

2011
02:05:44,680 --> 02:05:46,000
Speaker 1: I'm giving you a blank check.

2012
02:05:47,440 --> 02:05:50,120
Speaker 5: You can do whatever you want with it, Like you

2013
02:05:50,200 --> 02:05:53,240
Speaker 5: can record whatever you want with whoever you want, wherever

2014
02:05:53,280 --> 02:05:53,600
Speaker 5: you want.

2015
02:05:54,160 --> 02:05:56,320
Speaker 1: What do you think you would do with that? Wow?

2016
02:05:56,440 --> 02:06:00,400
Speaker 1: That's so huge, Like what what is what is your

2017
02:06:00,480 --> 02:06:01,160
Speaker 1: dream project?

2018
02:06:02,640 --> 02:06:07,280
Speaker 7: I actually think that I just did it, you know,

2019
02:06:07,400 --> 02:06:09,480
Speaker 7: on this project that that we just did. I definitely

2020
02:06:09,520 --> 02:06:12,720
Speaker 7: think that I that I just did it. You know,

2021
02:06:12,840 --> 02:06:15,960
Speaker 7: to be able to to do what you want to

2022
02:06:16,040 --> 02:06:19,440
Speaker 7: do with the people that you've always respected and stuff,

2023
02:06:19,560 --> 02:06:23,760
Speaker 7: and and to finish it, and people that are listening

2024
02:06:23,920 --> 02:06:28,600
Speaker 7: or saying or having comments that you're hoping when in

2025
02:06:28,720 --> 02:06:31,480
Speaker 7: your in your creating the project, that they'll you'll have

2026
02:06:32,320 --> 02:06:34,720
Speaker 7: you know, it's very gratifying and stuff.

2027
02:06:34,800 --> 02:06:38,200
Speaker 3: So you know, yeah, I think we we just did it.

2028
02:06:39,080 --> 02:06:41,960
Speaker 3: I can save my money then, yeah, I'm checking that one.

2029
02:06:42,440 --> 02:06:45,480
Speaker 3: And by the way, I loved off the last from

2030
02:06:45,560 --> 02:06:46,720
Speaker 3: twenty thirteen Splashes.

2031
02:06:46,760 --> 02:06:51,080
Speaker 1: I really love that song. Oh yeah, are you going

2032
02:06:51,120 --> 02:06:55,640
Speaker 1: to ask the Twins question? No, I was.

2033
02:06:57,520 --> 02:07:00,560
Speaker 9: Any any chance of reuniting with the other Phil for

2034
02:07:00,640 --> 02:07:01,480
Speaker 9: a follow up?

2035
02:07:03,320 --> 02:07:12,680
Speaker 1: I can't believe you brought up Oh wow. Only bring

2036
02:07:12,760 --> 02:07:16,880
Speaker 1: it up because whenever a set of Twins comes on tonight,

2037
02:07:16,960 --> 02:07:19,200
Speaker 1: you guys play that. That's always the song we played.

2038
02:07:19,320 --> 02:07:22,080
Speaker 1: So we know Twins left and right. Man, how do

2039
02:07:22,200 --> 02:07:22,760
Speaker 1: you you know?

2040
02:07:22,960 --> 02:07:25,600
Speaker 7: Let me ask you this off cuff, but when I

2041
02:07:25,760 --> 02:07:28,800
Speaker 7: when I was came on the show, how do you

2042
02:07:28,880 --> 02:07:32,160
Speaker 7: guys just like look like you guys are going like

2043
02:07:32,520 --> 02:07:34,000
Speaker 7: one thousand miles a minute.

2044
02:07:33,760 --> 02:07:37,520
Speaker 1: In real time. Yeah, I mean, I'm sure that you

2045
02:07:37,680 --> 02:07:40,960
Speaker 1: haven't with the band as well, but there's a point

2046
02:07:41,360 --> 02:07:45,560
Speaker 1: after maybe ten years where you guys, just you know,

2047
02:07:46,000 --> 02:07:49,040
Speaker 1: you know each other so well that you're talking like,

2048
02:07:49,080 --> 02:07:52,480
Speaker 1: we're to the point now, I would I would probably

2049
02:07:52,560 --> 02:07:56,560
Speaker 1: say that maybe in five years we get the roots

2050
02:07:56,720 --> 02:07:59,200
Speaker 1: the roots, and I can probably have a conversation without

2051
02:07:59,320 --> 02:08:02,400
Speaker 1: speaking a word. We're now to the point where we

2052
02:08:02,560 --> 02:08:05,520
Speaker 1: know how to communicate with each other with rhythm, like

2053
02:08:06,600 --> 02:08:11,680
Speaker 1: if someone if someone like real bad enters the room

2054
02:08:11,760 --> 02:08:14,840
Speaker 1: like whatever, like we have a rhythm for that, and

2055
02:08:15,000 --> 02:08:18,120
Speaker 1: all of a sudden it stands of attention like which

2056
02:08:18,200 --> 02:08:22,360
Speaker 1: one And then if it's a like I have to

2057
02:08:22,400 --> 02:08:26,240
Speaker 1: do a code to let you know, third row four

2058
02:08:26,400 --> 02:08:32,200
Speaker 1: ups and then no, no, literally, but it's it's we

2059
02:08:32,960 --> 02:08:38,080
Speaker 1: have a language, like we're just you do it. I

2060
02:08:38,160 --> 02:08:41,200
Speaker 1: think the whole point of the whole ten thousand hours

2061
02:08:41,240 --> 02:08:45,200
Speaker 1: of Eagles genius practice thing is that when you do

2062
02:08:45,360 --> 02:08:47,560
Speaker 1: it so much that you're able to do other things

2063
02:08:47,640 --> 02:08:51,120
Speaker 1: and have other forms of communications. Right, Yeah, that's what

2064
02:08:51,240 --> 02:08:53,600
Speaker 1: it really seems like. Yeah, I mean, we have fun

2065
02:08:53,680 --> 02:08:57,800
Speaker 1: doing it, and you know, I guess this is the

2066
02:08:57,960 --> 02:09:00,760
Speaker 1: point where we're just in the zone with each other

2067
02:09:00,800 --> 02:09:03,480
Speaker 1: and we're actually friends. We're friends now more than we've

2068
02:09:03,560 --> 02:09:08,000
Speaker 1: ever been in the thirty years that we've known each

2069
02:09:08,000 --> 02:09:11,720
Speaker 1: other or I'm in a combination of we've all the

2070
02:09:11,800 --> 02:09:16,520
Speaker 1: configuration you see now has as somewhere between like ten

2071
02:09:16,640 --> 02:09:21,240
Speaker 1: to twenty years into it. Yeah, I think there's a

2072
02:09:21,280 --> 02:09:23,400
Speaker 1: point where you just you grow up and then you're

2073
02:09:24,040 --> 02:09:27,320
Speaker 1: you're just friends. So what was it like doing that

2074
02:09:27,440 --> 02:09:30,640
Speaker 1: thing with you that you did with us? You know? Okay,

2075
02:09:30,800 --> 02:09:33,920
Speaker 1: here's the thing. I have two experiences. Okay, so I

2076
02:09:34,040 --> 02:09:38,000
Speaker 1: had the pleasure of working with the earth We're in

2077
02:09:38,040 --> 02:09:41,200
Speaker 1: fire back in two thousand, I think the Voodoo Tour

2078
02:09:41,360 --> 02:09:47,360
Speaker 1: was doing like a week in La so uh, and

2079
02:09:47,480 --> 02:09:51,200
Speaker 1: I had two experiences, one with you in sir, and

2080
02:09:51,360 --> 02:09:54,840
Speaker 1: then one with Maurice. Now, the thing is, is that

2081
02:09:57,560 --> 02:09:59,880
Speaker 1: really really being like green and wet behind the ears

2082
02:10:00,040 --> 02:10:05,280
Speaker 1: and still like new that sort of thing, and talking

2083
02:10:05,320 --> 02:10:10,440
Speaker 1: to Maurice and just like you know, going through our

2084
02:10:10,480 --> 02:10:12,160
Speaker 1: whole fan out thing, and of course I know like

2085
02:10:12,360 --> 02:10:17,800
Speaker 1: how many Columbus you got. It was like that sort

2086
02:10:17,840 --> 02:10:20,600
Speaker 1: of situation where you know, I was basically set myself

2087
02:10:20,680 --> 02:10:23,360
Speaker 1: up for a fall, but you know, Maurice has said that,

2088
02:10:23,520 --> 02:10:26,240
Speaker 1: you know, I want what's in the future, And now

2089
02:10:26,240 --> 02:10:28,200
Speaker 1: I was like talking about sound and everything. The first

2090
02:10:28,240 --> 02:10:31,400
Speaker 1: thing you mentioned was like your your your snare drum

2091
02:10:31,520 --> 02:10:34,640
Speaker 1: sound is real low, and in my mind I'm like, well,

2092
02:10:35,160 --> 02:10:37,240
Speaker 1: that's the sign of class. That's the sound of classic

2093
02:10:37,280 --> 02:10:40,840
Speaker 1: earth wind and fire like you know, deep snare. And

2094
02:10:41,120 --> 02:10:43,880
Speaker 1: he's like, oh man, I won't like give me to day,

2095
02:10:43,920 --> 02:10:47,440
Speaker 1: give me what you want. And I remember being just

2096
02:10:47,520 --> 02:10:52,160
Speaker 1: a little heartbroken the fact that he didn't trust the

2097
02:10:52,240 --> 02:10:59,160
Speaker 1: process that we today are looking to what you know, like, yeah,

2098
02:10:59,720 --> 02:11:01,840
Speaker 1: what y'all were doing, Like that's not what he over?

2099
02:11:01,920 --> 02:11:04,720
Speaker 5: That shit right, And then I did that. It'd be

2100
02:11:04,800 --> 02:11:07,480
Speaker 5: like if somebody asked you to, you know, get an

2101
02:11:07,600 --> 02:11:08,600
Speaker 5: upright base of roads.

2102
02:11:09,600 --> 02:11:12,600
Speaker 1: But here's the thing though, now, the difference between you

2103
02:11:12,800 --> 02:11:15,760
Speaker 1: tell me this now and maybe you tell me this

2104
02:11:15,960 --> 02:11:20,120
Speaker 1: back in two thousand and two. I almost feel as

2105
02:11:20,160 --> 02:11:23,720
Speaker 1: though when artists are likesh like I used to do

2106
02:11:23,800 --> 02:11:25,360
Speaker 1: that or that's the old Well, first of all, no

2107
02:11:25,400 --> 02:11:27,800
Speaker 1: one likes agism, you know what I mean, So no

2108
02:11:27,880 --> 02:11:30,280
Speaker 1: one wants to feel like, ah, man was my best

2109
02:11:30,320 --> 02:11:32,080
Speaker 1: work thirty years ago, and I just don't want to

2110
02:11:32,080 --> 02:11:36,200
Speaker 1: admit it. I feel as though maybe it's a fear

2111
02:11:36,400 --> 02:11:40,320
Speaker 1: of not matching up, you know, do I have a

2112
02:11:40,400 --> 02:11:43,320
Speaker 1: fear of not being twenty two year old a mirror

2113
02:11:43,400 --> 02:11:47,680
Speaker 1: that was working on do you want More? In Hiladelph

2114
02:11:47,680 --> 02:11:49,960
Speaker 1: Half Life. So a lot of times we just tend

2115
02:11:50,040 --> 02:11:53,480
Speaker 1: to go linear and go for it, but I feel

2116
02:11:53,520 --> 02:11:57,400
Speaker 1: as though you should go circular. So yes, now today

2117
02:11:58,520 --> 02:12:01,040
Speaker 1: I will totally get an upright bait, he said infinitive Rhodes.

2118
02:12:01,800 --> 02:12:04,919
Speaker 1: And I mean, I damn near work with the same equipment.

2119
02:12:05,080 --> 02:12:08,120
Speaker 1: So I'm lucky enough to one be cheap enough to

2120
02:12:08,200 --> 02:12:10,720
Speaker 1: not have upgraded. Y'all have an upgrade pro tools. Did

2121
02:12:10,800 --> 02:12:14,480
Speaker 1: y'all finally do that? No, it's see Steve one and

2122
02:12:14,520 --> 02:12:18,400
Speaker 1: a half. Steve has convinced me to not upgrade so

2123
02:12:18,520 --> 02:12:20,920
Speaker 1: that we don't lose the vibe. But what we've averaged

2124
02:12:21,480 --> 02:12:29,000
Speaker 1: for twenty years a digital vibe. So I'm saying with

2125
02:12:29,480 --> 02:12:33,800
Speaker 1: you and sir though y'all kind of gave me room

2126
02:12:33,880 --> 02:12:39,000
Speaker 1: to do my thing, so I you know, I'm still

2127
02:12:39,120 --> 02:12:41,240
Speaker 1: pleased with the song. I wish we we we could

2128
02:12:41,240 --> 02:12:45,520
Speaker 1: have fleshed out the song idea some more so, but

2129
02:12:45,680 --> 02:12:47,880
Speaker 1: you know it was enjoyable. I'm always gonna have a

2130
02:12:47,920 --> 02:12:50,760
Speaker 1: great story to tell and it's the Yeah, it is

2131
02:12:50,800 --> 02:12:55,680
Speaker 1: on the promised record. Yeah, So I will say that

2132
02:12:55,840 --> 02:12:59,880
Speaker 1: on behalf is there anything else before? No, no more,

2133
02:13:01,560 --> 02:13:02,320
Speaker 1: I'm trying. Yeah.

2134
02:13:02,480 --> 02:13:06,800
Speaker 6: I don't let mister Bailey go an see him again.

2135
02:13:07,360 --> 02:13:10,360
Speaker 1: Hey man, we want to give our heroes they flowers. Yes,

2136
02:13:10,960 --> 02:13:13,320
Speaker 1: no for we we appreciate you coming on the show

2137
02:13:13,440 --> 02:13:16,200
Speaker 1: and this is definitely one of them. No, man, this

2138
02:13:16,280 --> 02:13:18,280
Speaker 1: is the honor. Your music has been the soundtrack of

2139
02:13:18,440 --> 02:13:19,280
Speaker 1: my entire life.

2140
02:13:19,400 --> 02:13:21,760
Speaker 7: And just be thank you, well, thank you. Let me,

2141
02:13:21,840 --> 02:13:24,960
Speaker 7: I gotta say one thing for before we go to Mouse.

2142
02:13:28,400 --> 02:13:32,880
Speaker 7: That now I hear that Mouse was saying that Earth

2143
02:13:32,920 --> 02:13:35,600
Speaker 7: Wind and Fire don't play their music.

2144
02:13:36,040 --> 02:13:41,440
Speaker 3: Oh okay, let me no one's wondering was gonna get

2145
02:13:41,480 --> 02:13:45,160
Speaker 3: brought up? Let me say, let me say Mouse's ass. No,

2146
02:13:45,480 --> 02:13:49,480
Speaker 3: what I was saying I brought up. I brought up

2147
02:13:49,520 --> 02:13:50,720
Speaker 3: the difference between.

2148
02:13:50,560 --> 02:13:54,520
Speaker 6: What on a previous episode a quest.

2149
02:13:55,760 --> 02:13:59,640
Speaker 1: We were talking about. Okay, so he's talking about the

2150
02:14:00,120 --> 02:14:04,280
Speaker 1: drafting of Heartbreak Hotel by the Jackson and now initially

2151
02:14:06,160 --> 02:14:12,600
Speaker 1: the the base tones and the bass sounds of Fantasy

2152
02:14:14,560 --> 02:14:21,960
Speaker 1: like all those inflections. There have been rumors or whatnot

2153
02:14:22,120 --> 02:14:25,160
Speaker 1: that again that that Earth Wind and Fire was more

2154
02:14:25,360 --> 02:14:31,560
Speaker 1: like a Beach Boys situation where Maurice White, as as

2155
02:14:31,640 --> 02:14:37,240
Speaker 1: Brian Wilson using the recond crew, like using his house

2156
02:14:37,360 --> 02:14:42,240
Speaker 1: musicians to record Earth Wind and Fire records versus the

2157
02:14:42,320 --> 02:14:45,920
Speaker 1: people whom we saw on stage. So we were discussing

2158
02:14:46,040 --> 02:14:48,360
Speaker 1: that theory. But he he didn't say that you guys

2159
02:14:48,400 --> 02:14:54,840
Speaker 1: weren't playing on your records. But we did delve into

2160
02:14:54,920 --> 02:14:57,800
Speaker 1: that for at least five minutes on whether or not

2161
02:14:58,040 --> 02:15:00,360
Speaker 1: that was true or not. No, no, no, But I mean,

2162
02:15:00,400 --> 02:15:02,600
Speaker 1: for the most part, that's that's one of the biggest

2163
02:15:02,640 --> 02:15:06,400
Speaker 1: smoking mirror tricks that a lot of music fans don't know.

2164
02:15:06,680 --> 02:15:10,120
Speaker 1: I mean, for this case in point, James Poyser might

2165
02:15:10,160 --> 02:15:12,400
Speaker 1: as well be an original Route member because he's been

2166
02:15:12,480 --> 02:15:16,720
Speaker 1: there since the beginning. He just finally, like you know,

2167
02:15:16,880 --> 02:15:18,840
Speaker 1: gave up. I wore him out and just like all right,

2168
02:15:18,960 --> 02:15:21,920
Speaker 1: well now you're in the group. But for the longest

2169
02:15:22,680 --> 02:15:25,840
Speaker 1: James Poyser has I was rereading.

2170
02:15:25,440 --> 02:15:27,400
Speaker 5: The Things Fall Apart liner on the other day and

2171
02:15:27,520 --> 02:15:31,000
Speaker 5: there was all these James, y'all gonna pay me this time, right.

2172
02:15:32,880 --> 02:15:37,880
Speaker 1: Exactly exactly, So that was it. Mouse. Mouse did not

2173
02:15:38,000 --> 02:15:40,920
Speaker 1: insinuate that, all right, Mouse, you're off the hook. Good,

2174
02:15:42,520 --> 02:15:44,600
Speaker 1: all right, well, thank you very much on be having

2175
02:15:44,720 --> 02:15:48,240
Speaker 1: Moon Ticcolo boss Bill unpaid Bilvison in Action and Sugar

2176
02:15:48,280 --> 02:15:52,720
Speaker 1: Steve and the Sugar Steve Network and it's like, yeah,

2177
02:15:52,920 --> 02:15:55,240
Speaker 1: this is quest Love. Thank you very much Philip Bill

2178
02:15:55,400 --> 02:15:59,680
Speaker 1: for coming on the show God and we will see

2179
02:15:59,680 --> 02:16:03,080
Speaker 1: you next week on Court Love Supreme only on Pandora.

2180
02:16:15,040 --> 02:16:18,800
Speaker 1: Course Love Supreme is a production of iHeartRadio. This classic

2181
02:16:18,840 --> 02:16:25,800
Speaker 1: episode was produced by the team at Pandora. For more

2182
02:16:25,880 --> 02:16:29,840
Speaker 1: podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

2183
02:16:30,320 --> 02:16:32,000
Speaker 1: or wherever you listen to your favorite shows.