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Speaker 1: Pushkin. Hey everyone, Today we're revisiting one of the early

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Speaker 1: great episodes of Broken Record with legendary producer Nile Rogers.

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Speaker 1: Over the course of me more than half a century

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Speaker 1: long career, Nile Rogers has played his signature guitar on, written,

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Speaker 1: or produced some of the greatest dance songs of all time,

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Speaker 1: including Dana ross As I'm Coming Out, Daft Punks, Get Lucky,

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Speaker 1: and Madonna's Like a Virgin. Back in fall of twenty eighteen,

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Speaker 1: now I met up with Bruce Hellum at the same

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Speaker 1: New York City recording studio where thirty five years earlier,

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Speaker 1: Now recorded the Let's Dance Album with David Bowie. But

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Speaker 1: this time around, Nile brought his famed disco funk band

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Speaker 1: Chic to the interview to perform live renditions of their

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Speaker 1: classic hits, including Lafreak, Good Times and Everybody Dance. So

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Speaker 1: all the music you will hear in today episode was

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Speaker 1: recorded live one take, just for us. In between performances,

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Speaker 1: Nile shares exhilarating stories from his life, including how he

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Speaker 1: found salvation as a young jazz guitarist whose teenage mom

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Speaker 1: struggled with heroin addiction. Nil also talks about the night

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Speaker 1: he played old James Brown tunes with Prince and Rolling

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Speaker 1: Stones guitarist Ron Wood at a small club in London,

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Speaker 1: and Nile explains what it was like going out clubbing

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Speaker 1: with Madonna as her star was exploding in the mid eighties.

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Speaker 1: This is broken record liner notes for the digital age.

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Speaker 1: I'm justin Mitchman. Here's Bruce Edlam and Nile Rodgers from

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Speaker 1: New York City's Power Station studio in twenty eighteen. That's

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Speaker 1: the original guitar. Yeah, this is it. You still only

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Speaker 1: use one guitar? This is it? I only use one guitar.

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Speaker 1: Do you only have one? Now? I have two hundred? Okay?

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Speaker 1: Do you have nice hollow bodies? Mainly I have. I's

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Speaker 1: going to make sure de Angelico d Pristos L five

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Speaker 1: Super four hundreds. But this one was when did you

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Speaker 1: buy that nineteen seventy three? Wasn't it wasn't an expensive one?

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Speaker 1: You put on a no, it's cheap. I didn't, actually,

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Speaker 1: So I traded my jazz guitar and they gave me

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Speaker 1: this and three hundred dollars. So if in nineteen seventy

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Speaker 1: to be imagine giving me three hundred dollars plus a strat,

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Speaker 1: like what was the jazz guitar worth in those days?

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Speaker 1: Who I mean, even though it's a strat, it's not

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Speaker 1: like any other strat. Yeah, it's light, it's a feather.

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Speaker 1: It's thinner than anything you've ever seen. It's the nineteenth

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Speaker 1: strat that they made in nineteen fifty nine. Look at

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Speaker 1: Look at the difference, and just look at look at

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Speaker 1: the thickness. So the head stock there, just check it

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Speaker 1: out at that, you can see it all the way

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Speaker 1: from there. Look at this, Yeah, this one. You can

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Speaker 1: big hands though you don't need a you don't need

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Speaker 1: a thin Wow, No, I got small hands? You do?

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Speaker 1: Oh man, Jesus, you ever see real guitar players like

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Speaker 1: these guys like Steve Vy and Ship and Hendrix. Like

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Speaker 1: for me when I'm when I'm playing classical guitar, I

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Speaker 1: really have to to get this stretch in certain pieces

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Speaker 1: that that's a big deal for me. I have my

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Speaker 1: finger way down here. Most classical guitar players can still

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Speaker 1: you can still see some of their thumb. But me,

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Speaker 1: you still practice classical. Not really, there's no point. But

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Speaker 1: I just did an orchestral version Let's dance, And I

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Speaker 1: had an idea of playing classical guitar, but it felt

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Speaker 1: better to have Bully singing with the strings. Was amazing.

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Speaker 1: Oh yeah, it's unbelievable. I want to ask you about

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Speaker 1: all the songs, but let's start with Let's Dance. I

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Speaker 1: want you to tell me about the first time you

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Speaker 1: heard the song. Yeah, the very first time David played

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Speaker 1: Let's Dance for me. He walked into my bedroom. We

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Speaker 1: were in Switzerland, and I believe that he had said

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Speaker 1: he had just written it the night before, and he

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Speaker 1: um walked into the studio and he played something, um,

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Speaker 1: something that sounded like that. You know. I was like,

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Speaker 1: and I was like, that was and he was into it,

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Speaker 1: um and um. He had the lyrics as well well.

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Speaker 1: He just he was singing very um, true to it,

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Speaker 1: like he knew what it was. He was singing, Um,

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Speaker 1: it's almost hard for me to do it. Um. What

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Speaker 1: was he doing? No, I did that. That's what he said.

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Speaker 1: He's going, let's stand on the radio nothing something like that.

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Speaker 1: Way that's up your face. And then I asked him

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Speaker 1: if I could do an arrangement. So I fooled around

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Speaker 1: with it and I was going and I knew that

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Speaker 1: he liked jazz, so I could put in the jazzy

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Speaker 1: chord and I could tell that he would like it

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Speaker 1: right away. But then when I moved it from A

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Speaker 1: minor up to B flat, it actually had a different vibe.

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Speaker 1: It got it got brighter in like and funkier sounding.

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Speaker 1: So I started going, you can already hear it like.

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Speaker 1: Oh and by the way, when I started playing it,

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Speaker 1: I only imitated his just for a few bars. I

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Speaker 1: started going, but that still sounded dark. So then I

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Speaker 1: moved it up and oct him when I went. But

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Speaker 1: because of the whole disco sucks back backlash, I didn't

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Speaker 1: want to do chucking on David Poley's album, So you

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Speaker 1: ended up slowing it down after that, Um yeah, and

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Speaker 1: only playing like So, if you hear the demo that

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Speaker 1: I did in Switzerland, I'm chucking. I'm actually playing, you know.

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Speaker 1: When you hear the original demo, I'm doing then Rogers thing.

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Speaker 1: But when we got to America, I made a conscious

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Speaker 1: decision not to do that and had the horns sort

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Speaker 1: of doubling me and giving it some punch. And when

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Speaker 1: Bow and I walked into the studio, Um, Bob Clearmontain

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Speaker 1: was getting the different delays that he was going to

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Speaker 1: use on the various instruments on the drums, so we

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Speaker 1: wound up having a multi tap delay happening on the guitar.

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Speaker 1: So even though all I played was the rhythm that

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Speaker 1: you here, winds up sounding something like what the song now,

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Speaker 1: Let's Dance. As many fans, it has one very famous

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Speaker 1: fan who always wanted to play with you. Um, oh

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Speaker 1: my god, Prince is that? Oh my god? Yeah? So

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Speaker 1: um for years, I mean, I can't even tell you

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Speaker 1: how many years, maybe since the first time I met

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Speaker 1: Prince Um. He had asked me to play Let's Dance

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Speaker 1: live together somewhere. So we had played live together in

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Speaker 1: London at a little club in Camden, and we did

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Speaker 1: not play Let's Dance that night, I'm positive of that.

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Speaker 1: We played a bunch of James Brown's songs and maybe

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Speaker 1: the Ohio Players and some funk songs. When I walked

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Speaker 1: into the club, he was playing with Ron Wood and

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Speaker 1: I don't know what they were playing. I don't remember.

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Speaker 1: I was really pretty high in those days, but they

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Speaker 1: were probably playing the blues or jamming on a popular

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Speaker 1: rock song Sunshine or Your Love or something like that.

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Speaker 1: And then when I walked in, Prince said, whoa, now, Rogers, not,

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Speaker 1: this man has the funk. And he gave me his

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Speaker 1: guitar and he sat down on the keyboards and we

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Speaker 1: just jammed for like I don't even know how long,

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Speaker 1: but that felt like one of the most amazing nights

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Speaker 1: of my life. And I remember calling the concierge at

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Speaker 1: my hotel and asked him if they had purple roses.

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Speaker 1: I didn't know if there was, if there was anything

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Speaker 1: as a purple rose, if they existed, So I said,

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Speaker 1: figure out a way to make them purple, either spray

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Speaker 1: paint them or put food coloring in them and send

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Speaker 1: I don't know, I was pretty absurd in those days.

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Speaker 1: I may have sent like a hundred purple roses to

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Speaker 1: Prince's room. Nice. That's crazy, But you ended up playing

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Speaker 1: the song, yeah, eventually. So years later he tricked me

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Speaker 1: a couple of times. We both were living sort of

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Speaker 1: in Turks and Cacos a bit. He bought a house

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Speaker 1: down there and I was part of a resort project,

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Speaker 1: and one New Year's Eve we played and oh it

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Speaker 1: was cool, and John bon Jovie came when John got

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Speaker 1: his start here, so John bon Jovi and Prince came

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Speaker 1: to the show, and Prince said to me, oh, wow,

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Speaker 1: tonight is the night. Now I'll get the play Let's

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Speaker 1: stance with you in the band. So we set up

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Speaker 1: to set up his amp and everything, did the whole

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Speaker 1: sound check. We're ready for Prince to come out and

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Speaker 1: play New Year's Eve. The places crowded, everybody's having a

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Speaker 1: good time, and we're doing our thing. And I get

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Speaker 1: into the middle of the setting. I say, ladies and gentlemen,

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Speaker 1: we have a special guest coming out tonight. I think

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Speaker 1: you're gonna love this, Prince, and I introduced him and

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Speaker 1: the band. We're just standing there, no print. He doesn't

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Speaker 1: come out, and I keep introducing him. I go, Prince.

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Speaker 1: I don't know if I started screaming press because I

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Speaker 1: knew it was there, and someone told me that he

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Speaker 1: actually ran and hid because he wouldn't come out. So

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Speaker 1: after a while we just said to hell with him.

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Speaker 1: We played the song, and then at the end of

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Speaker 1: the night, I didn't even ask him. Maybe I asked

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Speaker 1: him why he didn't come out or something I don't

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Speaker 1: even remember, but we wound up playing. It was great,

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Speaker 1: everybody had a good time, but I was embarrassed as hell.

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Speaker 1: So now fast forward a year or two later and

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Speaker 1: we're playing a show with him at the Superdome in

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Speaker 1: Louisiana in New Orleans, and he told us that he

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Speaker 1: was going to come out. Now we're in front of

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Speaker 1: like seventy thousand people, and I'm not going to be

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Speaker 1: this idiot and make the same mistake again. And ladies

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Speaker 1: and gentlemen, we have a special guest for you tonight, Prince.

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Speaker 1: And then he doesn't come out. And I'm standing in

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Speaker 1: front of seventy thousand people and he doesn't come out.

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Speaker 1: At least at the resort was only about two hundred,

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Speaker 1: so I didn't I didn't introduce him, even though we

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Speaker 1: went through the same steps we did sound check. He

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Speaker 1: had his am there in the whole bit. So when

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Speaker 1: we get into the part of the song where Ralph

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Speaker 1: tells the whole crowd to jump, Jump, Jump, I'm standing

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Speaker 1: on the stage and I'm jumping up and down, and

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Speaker 1: then I hear this crowd like, give this loud roar wow,

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Speaker 1: And I look to my left and there's Print jumping

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Speaker 1: with me, jumping up and holding his hand up in

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Speaker 1: the air, and the crowd freaks out. And then we

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Speaker 1: go into the next bit and he takes over and

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Speaker 1: starts sewing and it's just killing. It's so good. So

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Speaker 1: he did a little bit of like the sort of

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Speaker 1: Stevie ay Vaughan kind of thing, but then he went

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Speaker 1: into like just chucking with me, and that's what I

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Speaker 1: got nuts. And you can go online and see it.

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Speaker 1: It's on YouTube. It's so great. We'll have more with

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Speaker 1: Bruce Headlam and Nile Rodgers after the break. We're back

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Speaker 1: with Bruce Headlam, Nile Rodgers and Cheek. Now. I looked up,

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Speaker 1: and this is for the music nerds out there. I

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Speaker 1: looked up the chords to Everybody Dance, and it's a

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Speaker 1: C minor seventh, B flat eleven, B flat eleven. I

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Speaker 1: should let you tell the chords. You know, the chords

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Speaker 1: C minus seven, B flat eleven to C eleven A

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Speaker 1: flat major seven. Now this chord, you can spell it

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Speaker 1: a number of ways. I like to think of it

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Speaker 1: as a minor seven with a raise five, or a

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Speaker 1: minor a minor seven flat thirteen, but most people would

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Speaker 1: probably call it a D minor eleven with an A

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Speaker 1: in the base. UM to a B flat eleven, And

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Speaker 1: the reason for that is because um, I wanted to

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Speaker 1: have this chromatic movement. So right, so it goes to

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Speaker 1: everybody dances, do do do do? Clap your hands. Okay,

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Speaker 1: you're a serious jazz guy. Yeah, nobody else would do

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Speaker 1: it that way. I don't do do do? You do

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Speaker 1: all your songs that way? It is it that kind

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Speaker 1: of chording I like to think. So, I mean, look

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Speaker 1: at Let's dance? How cool that is? I mean that's

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Speaker 1: um that. I guess that's somewhat of a trademark of mine,

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Speaker 1: putting different types of jazzy chords and cool voicings. Um

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Speaker 1: in pop songs, you know, look at Diana Ross and

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Speaker 1: I'm Coming Out and all that stuff. And you also,

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Speaker 1: was everybody dance the first time? You used to break down?

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Speaker 1: And um, no, breakdowns were actually quite common in our

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Speaker 1: live shows. Um, it was just the first time I

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Speaker 1: did it when I was recording and I was the boss.

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Speaker 1: Every other time that I recorded, I was not the boss,

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Speaker 1: so I didn't have any control of it. Yeah, And

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Speaker 1: was that from jazz? Like breaking it down like that

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Speaker 1: head kind of rebuilding? That's an R and B thing.

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Speaker 1: It's a it's an R and B disco thing. It's

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Speaker 1: a common R and B move. You would hear a

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Speaker 1: lot of R and B bands breakdown and go now

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Speaker 1: I want to talk to ladies for me, or I

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Speaker 1: want to talk to you, or like Earth when and

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Speaker 1: Fire when you hear them say pop, I want to

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Speaker 1: talk to you about things I see every day, you know,

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Speaker 1: and they break down on the record. It's all about

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Speaker 1: So it was very common in R and B to

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Speaker 1: do that. I want to talk a bit about good times.

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Speaker 1: You said in an interview once that all your songs

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Speaker 1: are nonfiction, absolutely, and they're often about things that you

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Speaker 1: want to see happen. Can you tell me what good times? Yes?

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Speaker 1: So when we wrote Good Times in America, at the time,

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Speaker 1: we were in the midst of the greatest financial recession

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Speaker 1: since the Great Depression. We had gas rationing, you know,

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Speaker 1: I mean if you lived in New York State, I remember,

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Speaker 1: if you're a license plate ended with an even number,

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Speaker 1: you can get gas on a certain day or an

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Speaker 1: odd number a different day. So times were sort of hard,

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Speaker 1: and we thought, well, what other period in American history

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Speaker 1: seemed to feel like that? And we went wow, you know,

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Speaker 1: the Roaring twenties and the you know, the the Great

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Speaker 1: Depression and that sort of jazz era and the whole

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Speaker 1: thing about dance marathons, and that's why we came up

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Speaker 1: with the whole yas y'alls the thing on dance, dance dance.

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Speaker 1: The whole concept of the first few Chic albums was

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Speaker 1: all jazz era stuff and h on risque. When we

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Speaker 1: finally did Good Times, we were confident enough in our

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Speaker 1: band to now sort of expose our formula to the world.

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Speaker 1: So the lyrics to Good Times were sort of ripped

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Speaker 1: off from Al Jolson and the song that they used

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Speaker 1: to sing after Prohibition when they were happy Day and

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Speaker 1: then time and any dang about quarter to night. So

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Speaker 1: we go, happy, happy Days are here again. Right, that

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Speaker 1: was we start right with it. So we are obvious

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Speaker 1: again times. Right, let's get together, Let's do it again.

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Speaker 1: Because Good Times came out at a particular political time

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Speaker 1: because the Disco Sucks movement had come they had the

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Speaker 1: riot in Chicago. Yeah, um, summer of seventy nine. What

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Speaker 1: did that feel like for you? Well, it was really

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Speaker 1: interesting because it was sort of like a biphasic kind

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Speaker 1: of feeling because when we found out about it, we

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Speaker 1: were on an airplane flying from Europe back to America.

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Speaker 1: So it happened while we were away, and we didn't

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Speaker 1: think of ourselves as a disco band. I mean, listen

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Speaker 1: to every chic album. We have ballads, everyone has an instrumental.

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Speaker 1: It's always a jazzy, you know type of thing. The

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Speaker 1: Diana Ross album is incredibly As far as the composers,

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Speaker 1: I gotta say that that's really unique. There's nothing I've

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Speaker 1: ever written that sounds like that before or after. That

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Speaker 1: was purely written for Diana Ross. I mean, you listen

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Speaker 1: to a song like I'm coming Out, and I mean

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Speaker 1: I have a fanfare in there. I mean, we're When

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Speaker 1: we first saw Diana Ross, Bernard walked with me and said, wow,

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Speaker 1: look at that. She's like our black queen. So I

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Speaker 1: kept that in my head and when I wrote that fanfare,

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Speaker 1: I said to Diana, I said, look, you know, like

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Speaker 1: when the President of the United States walked walks in

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Speaker 1: the room, they go dad, Hail to the Chief. I said,

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Speaker 1: this is your fanfare. And I told her, I says,

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Speaker 1: you will never start a show without this song ever

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Speaker 1: the rest of your life. And now we see thirty

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Speaker 1: five years later, I was right. She would never start

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Speaker 1: to show without playing out Coming Out at the beginning

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Speaker 1: of her show. Although one of your most famous songs,

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Speaker 1: the Freak, is actually about being rejected at a disco. Correct,

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Speaker 1: Can you tell that story quick? Yeah? So our first song,

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Speaker 1: Everybody Dance, was the real sort of super cool club

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Speaker 1: song on our first album. Even though Dance Dance Dance

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Speaker 1: was popular and was big on the radio and was

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Speaker 1: platinum twelve inch, I mean it was huge, it was

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Speaker 1: Everybody Dance that really secured our vibe as a cool, hip,

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Speaker 1: underground dance group. And so Grace Jones had heard Everybody

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Speaker 1: Dance and she was a fan of that song, and

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Speaker 1: she was thinking about having these two young new producers

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Speaker 1: do what would then be her next album. She said

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Speaker 1: that the only way we could truly understand her artistically

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Speaker 1: is to see her live show. Then we really would

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Speaker 1: understand who Grace Jones is. But the problem was we

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Speaker 1: had only spoken to her that one time. We never

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Speaker 1: met her. We were on the phone. So Grace has

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Speaker 1: a very unique accent. She's the only one on earth

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Speaker 1: that sounds like that, and she says, so darling. But

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Speaker 1: you go to the back door and you tell them

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Speaker 1: your personal friends of miss Grace Jones, and they would

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Speaker 1: let you in so we did that with that accent,

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Speaker 1: and the guy slams the door in our faces. And

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Speaker 1: while he's slamming the door, he's going, oh, fuck off,

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Speaker 1: and we said no, no, no, no no, no, we're kicking

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Speaker 1: the door again because now we had to be above

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Speaker 1: the level of the music. Now once we finally got

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Speaker 1: his attention, so we wanted to get him before he

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Speaker 1: walked away from the door. So we kicked really hard

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Speaker 1: and he said, you know, he reiterated what he had said,

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Speaker 1: I told you the f off, so we knew we

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Speaker 1: weren't going to get in. It was New Year's Eve

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Speaker 1: seventy seven going into seventy eight, and we were walking

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Speaker 1: back to my apartment, which is on fifty second Street

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Speaker 1: between eight and nine, and to get there we had

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Speaker 1: to pass a liquor store, so we bought two bottles

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Speaker 1: of damper On, which in those days we called it

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Speaker 1: rock and roll mouthwash. We bought two bottles of DP

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Speaker 1: and went to my house and we downed them so

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Speaker 1: fast we got really light headed, and we turned his

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Speaker 1: rejection phrase f off into shriek out. We went, oh, well,

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Speaker 1: when we first wrote it, we wrote a whole song

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Speaker 1: using the original lyric and thinking of every situation where

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Speaker 1: the appropriate response would be fuck up. So we're playing no, no,

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Speaker 1: if a cab driver cuts you off, don't, don't fuck up.

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Speaker 1: And I remember saying, if your mother asked you to

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Speaker 1: do homework, fuck up. And we were into, were laughing,

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Speaker 1: feeling great, and then finally my partner Bernard's I'm a man,

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Speaker 1: you notice is happening and I'm like a Bernard. You know,

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Speaker 1: this is two years before hip hop. We can't get

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Speaker 1: you know, a radio record on the radio that's got

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Speaker 1: the F bomb in it. But somehow we wound up

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Speaker 1: with freak up. We have to take a quick break

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Speaker 1: right here, but we'll be right back with Bruce Headlam

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Speaker 1: and Nil Rogers. We're back with Bruce Headlam, Nil Rogers

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Speaker 1: and Chic. You mentioned that you and Bernard didn't see

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Speaker 1: yourselves as stars as frontman and you saw a chic

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Speaker 1: very much as this organization. Yes, you've built this incredible career,

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Speaker 1: You've had hits literally in every decade since you started

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Speaker 1: by being this great collaborator. Why does collaboration seem to

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Speaker 1: mean more to you than being the front man? Because

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Speaker 1: as a composer, I write for ensembles. That's what I hear.

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Speaker 1: The only time I could ever think of writing a

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Speaker 1: composition that was actually recorded and performed for either a soloist,

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Speaker 1: a solo instrument, or maybe a duet. It's just for films.

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Speaker 1: I can coming to America write this queue where they

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Speaker 1: go the Royal Penis is clean, your Highness, and it's

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Speaker 1: just like a pan flute, you know, pan flute and harp.

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Speaker 1: And then in the movie called Soup for One, I

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Speaker 1: do this thing called Tavern on the Green and it's

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Speaker 1: just me playing classical guitar along with a Yamaha CSAD

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Speaker 1: synthesizer with my keyboard player. But those are the only

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Speaker 1: duets that I've ever really recorded. Everything else is for

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Speaker 1: a bunch of a room full of people. But in

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Speaker 1: your autobiography, which I'm going to recommend everybody because it's

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Speaker 1: it really is this incredible life story and it is

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Speaker 1: it's sort of James Baldwin and Charles Dickens wrote a

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Speaker 1: book together. It may start to approach your You know,

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Speaker 1: you had a very you come back to this a

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Speaker 1: very lonely life. Yeah, you're around your parents or your

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Speaker 1: stepfather and your mother, whom you love dearly, but who

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Speaker 1: would send you on bus rides across the country by yourself,

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Speaker 1: who often left you alone. And they were heroin attics.

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Speaker 1: I mean they were in pursuit of their number one love.

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Speaker 1: And when when someone first tuned your guitar and you

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Speaker 1: played I think a day Day life, right, and you

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Speaker 1: thought I'm going to be Were you thinking I want

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Speaker 1: to be a star? I want to be up on

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Speaker 1: snow No, no, no no. Prior to that, I had

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Speaker 1: only really played classical music, so I just wanted to

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Speaker 1: be part of a symphony orchestra. I used to play

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Speaker 1: the clarinet, which is funny now because if I tried

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Speaker 1: to play the clarinet it would probably sound hysterical. But

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Speaker 1: my dream when I was a kid was to be

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Speaker 1: a part of Maybe that's what it's all about it

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Speaker 1: because I've always wanted to be part of an orchestra,

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Speaker 1: to be part of an organization, and because in a

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Speaker 1: big symphony orchestra, basically you could hide, but you know

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Speaker 1: every now and you might get a great solo, you know.

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Speaker 1: So that was sort of my dream growing up. I

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Speaker 1: wanted to emulate my biological father, who was always just

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Speaker 1: a percussionist with bands. He was never like the guy

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Speaker 1: out front, like Tito point there or something. But you

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Speaker 1: like that sense of anonymity, yeah, because it was the

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Speaker 1: way that I never felt attractive or anything like that.

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Speaker 1: And when you looked at stars, stars were always like

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Speaker 1: you know, they walk into the room. You know. I

393
00:27:13,276 --> 00:27:15,556
Speaker 1: remember I used to walk into a club with Madonna.

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Speaker 1: Now I'm born in New York, knew every club owner

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Speaker 1: in town, and I'd walk into a club with Madonna

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00:27:21,716 --> 00:27:24,996
Speaker 1: and she was relatively unknown, and people go, hey, who's

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00:27:24,996 --> 00:27:26,676
Speaker 1: that girl with Now who's that girl? You hear it

398
00:27:26,796 --> 00:27:29,436
Speaker 1: then like who's that girl? Who's that girl? Now? Who's

399
00:27:29,476 --> 00:27:33,476
Speaker 1: that girl? And she was unknown, but that's because she

400
00:27:33,556 --> 00:27:35,836
Speaker 1: was a star. She felt like a star from the

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00:27:35,876 --> 00:27:37,956
Speaker 1: moment you met her. She you know, they just have

402
00:27:38,156 --> 00:27:41,036
Speaker 1: that thing, Bowie, it's a star. He walks in the

403
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Speaker 1: room and like wow, they just you know, you could

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00:27:45,236 --> 00:27:47,756
Speaker 1: feel it, so I knew. I never It's funny. I

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00:27:47,796 --> 00:27:50,396
Speaker 1: always laugh. I say, you know, if I walk into

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Speaker 1: a room with Lady Gaga, people go, oh my God,

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00:27:52,836 --> 00:27:55,396
Speaker 1: there's Lady God. Then he go wow God, Then he go,

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Speaker 1: hey Nile, you want to be the Hey Nile guy.

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Speaker 1: I like being here now, so like I've done, you know,

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00:28:03,276 --> 00:28:06,676
Speaker 1: maybe almost like uh, I mean I heard the other

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00:28:06,756 --> 00:28:10,116
Speaker 1: day they said like fifteen thousand, eight hundred and eight

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Speaker 1: recording something insane but still like walking through. Hey, n man,

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Speaker 1: are you doing? I think think Fran might beat me

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00:28:21,076 --> 00:28:25,036
Speaker 1: up if you guys go any farther. Um and I

415
00:28:25,076 --> 00:28:26,796
Speaker 1: would stay here all day. We only have one more

416
00:28:26,836 --> 00:28:28,756
Speaker 1: song to talk about that Daft Punk. But I think

417
00:28:28,796 --> 00:28:36,516
Speaker 1: we're okay. All right. That was unplugged. That was just fantastic.

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00:28:37,076 --> 00:28:39,236
Speaker 1: Thank you. Bruce and Nile didn't have time to talk

419
00:28:39,276 --> 00:28:41,876
Speaker 1: about the Daft Punk song Get Lucky that Nile played

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00:28:41,916 --> 00:28:45,236
Speaker 1: on and co wrote, but Chic did perform it for us.

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Speaker 1: So here it is in its entirety, like the legend

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00:29:03,076 --> 00:29:27,196
Speaker 1: the fan all lives with beginning, what keeps the planet spinning,

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Speaker 1: the fall from the beginning because came to far to

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Speaker 1: give star right by and come to die. She's I'm

425
00:30:09,316 --> 00:30:12,276
Speaker 1: back to the Sun. I'm a fun back to get home.

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00:30:12,716 --> 00:30:17,196
Speaker 1: She's a fun night fun, I'm a mom dage. We're

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00:30:17,196 --> 00:30:20,876
Speaker 1: a found night to the sun. Were mount again down

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00:30:21,916 --> 00:30:26,996
Speaker 1: night Mine run night together, Lucky, We're up fun nice again. Up,

429
00:30:27,516 --> 00:30:30,916
Speaker 1: We're up fum nice again. Luck, We're ubout Night get

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00:30:31,036 --> 00:30:53,316
Speaker 1: lucky night together, Lucky bag and no river my shucket

431
00:30:53,636 --> 00:30:59,436
Speaker 1: keep funking man, Yeah, what is the time to la?

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00:31:01,276 --> 00:31:10,196
Speaker 1: If you want to leave my wet come by to

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00:31:10,476 --> 00:31:28,276
Speaker 1: give far And I'm a fun song. She's a fun

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00:31:28,996 --> 00:31:34,036
Speaker 1: fun from a fun fun light of the sun. I'm

435
00:31:34,076 --> 00:31:36,716
Speaker 1: a fun night to get song with a fun night

436
00:31:36,836 --> 00:31:39,596
Speaker 1: for the fun or up fun night to get lucky

437
00:31:39,996 --> 00:31:42,716
Speaker 1: from my fun night to get lucky. We're up fun

438
00:31:42,756 --> 00:31:45,756
Speaker 1: night to get lucky. We're up one night to get lucky,

439
00:31:46,116 --> 00:32:24,636
Speaker 1: grow up on lack to get lucky. Ship she to

440
00:32:24,916 --> 00:32:42,276
Speaker 1: get back the sun from a pumack. So she's a

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00:32:42,436 --> 00:32:46,876
Speaker 1: funda for the fun about sometime lucky. We're up that

442
00:32:47,036 --> 00:32:51,036
Speaker 1: of the sun, were up the son. We're up back

443
00:32:51,116 --> 00:32:55,116
Speaker 1: of the fun. We're upun back together. We're un night

444
00:32:55,196 --> 00:32:59,276
Speaker 1: to gel lucky. We're up lucky. We're upun back to

445
00:32:59,396 --> 00:33:03,436
Speaker 1: get lucky. We're up gel lucky. We're up night to

446
00:33:03,516 --> 00:33:06,756
Speaker 1: get lay sure up night to get lovey for a

447
00:33:06,876 --> 00:33:11,516
Speaker 1: full night to get laughing my lucky. We're fun to

448
00:33:11,596 --> 00:33:14,796
Speaker 1: get lucky. We're a fun time to get lucky. We're

449
00:33:14,916 --> 00:33:17,516
Speaker 1: up fun time to get lucky. We're up found time

450
00:33:17,596 --> 00:33:20,316
Speaker 1: to get lucky. We're U found time to get lucky.

451
00:33:20,676 --> 00:33:23,636
Speaker 1: We're found time to get lucky. We're a found night

452
00:33:23,716 --> 00:33:28,436
Speaker 1: to get lucky. We're fun time to geen, come too

453
00:33:28,596 --> 00:33:36,876
Speaker 1: far to get up who we are? So let's raise

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00:33:36,956 --> 00:33:51,356
Speaker 1: the bar in the car to start. Thanks to now

455
00:33:51,476 --> 00:33:54,396
Speaker 1: Rogers for the incredible stories and Too Chic for the

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00:33:54,516 --> 00:33:58,996
Speaker 1: performances we heard now Rogers on guitar and vocals, Ralph

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00:33:59,156 --> 00:34:03,116
Speaker 1: Roll on drums, Kim Davis and Flami on vocals, Rich

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00:34:03,196 --> 00:34:06,676
Speaker 1: Hilton and Russell Graham on keyboards, and Steve Janowski and

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00:34:06,796 --> 00:34:09,596
Speaker 1: Brendan Wright on horns. Than You Year all of our

460
00:34:09,636 --> 00:34:12,516
Speaker 1: favorite Chic and now Rogers produced songs on a playlist

461
00:34:12,556 --> 00:34:15,916
Speaker 1: at broken Record podcast dot com. Be sure to subscribe

462
00:34:15,956 --> 00:34:19,036
Speaker 1: to our YouTube channel at YouTube dot com slash broken

463
00:34:19,116 --> 00:34:22,436
Speaker 1: Record Podcast, where you can find all of our new episodes.

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00:34:22,916 --> 00:34:25,796
Speaker 1: You can follow us on Twitter at broken Record. Broken

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00:34:25,836 --> 00:34:29,356
Speaker 1: Record is produced with helpful Lea Rose, Jason Gambre, Ben Holiday,

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00:34:29,596 --> 00:34:33,356
Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafee.

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00:34:33,916 --> 00:34:37,676
Speaker 1: Our executive producer is Mia Lobet. Broken Record is a

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00:34:37,756 --> 00:34:40,676
Speaker 1: production of Pushkin Industries. If you like this show and

469
00:34:40,756 --> 00:34:44,836
Speaker 1: others from Pushkin, consider subscribing to pushkin Plus. Pushkin Plus

470
00:34:44,996 --> 00:34:48,596
Speaker 1: is a podcast subscription that offers bonus content an uninterrupted,

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00:34:48,676 --> 00:34:51,876
Speaker 1: ad free listening for four ninety nine a month. Look

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00:34:51,916 --> 00:34:55,556
Speaker 1: for Pushkin Plus on Apple Podcasts, Subscriptions, and if you'd

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00:34:55,556 --> 00:34:58,036
Speaker 1: like to show, please remember to share, wait to review

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00:34:58,116 --> 00:35:00,996
Speaker 1: us on your podcast app Our theme mus Expect Kenny Beats.

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00:35:01,316 --> 00:35:02,276
Speaker 1: I'm justin Richmond,