1 00:00:00,080 --> 00:00:02,640 Speaker 1: We are back with part two of our conversation with 2 00:00:02,759 --> 00:00:05,720 Speaker 1: Funky George Brown of Cool in the Gang. I love 3 00:00:05,760 --> 00:00:09,119 Speaker 1: this conversation for several reasons. Get down on It is 4 00:00:09,160 --> 00:00:13,000 Speaker 1: my absolute favorite song of all time and Celebration was 5 00:00:13,039 --> 00:00:15,960 Speaker 1: played by a bar Metz Focus. If you haven't yet, 6 00:00:16,000 --> 00:00:18,760 Speaker 1: please listen to part one with George, where he speaks 7 00:00:18,760 --> 00:00:21,720 Speaker 1: about growing up in Jersey City and how that toughened him, 8 00:00:21,920 --> 00:00:25,080 Speaker 1: the band's early success, and his skills as a drummer. 9 00:00:25,520 --> 00:00:28,040 Speaker 1: George just penned a memoir, Cool and the Gang and Me, 10 00:00:28,400 --> 00:00:31,120 Speaker 1: which is available right now. George Cool and the rest 11 00:00:31,160 --> 00:00:33,640 Speaker 1: of the band also just released a new album, People 12 00:00:33,720 --> 00:00:34,600 Speaker 1: Just Want to Have Fun. 13 00:00:34,840 --> 00:00:36,040 Speaker 2: Make sure you check that out. 14 00:00:36,200 --> 00:00:40,560 Speaker 1: But first Part two of QLs with Funky George Brown. 15 00:00:46,040 --> 00:00:48,519 Speaker 2: I'm assuming during this period that you guys don't have 16 00:00:48,600 --> 00:00:50,839 Speaker 2: day jobs as well, Like we did an episode with 17 00:00:51,920 --> 00:00:56,040 Speaker 2: Milly Jackson only to find out as he was basically 18 00:00:56,120 --> 00:01:00,800 Speaker 2: Millie Jackson on the weekends and then Monday she go 19 00:01:00,920 --> 00:01:06,839 Speaker 2: back to her day job where she was working in Manhattan. Well, yeah, 20 00:01:06,840 --> 00:01:11,360 Speaker 2: she was working in the garment district of Manhattan while 21 00:01:11,520 --> 00:01:13,960 Speaker 2: she was you know, doing live and bitching, like at 22 00:01:14,000 --> 00:01:17,959 Speaker 2: the peak of it is one able to make a 23 00:01:18,000 --> 00:01:21,959 Speaker 2: comfortable living, especially in an eight man group, which I 24 00:01:22,000 --> 00:01:25,959 Speaker 2: assume is different than the setup with Earth Wind and 25 00:01:26,000 --> 00:01:29,640 Speaker 2: Fire and which you know, which is basically the Marie 26 00:01:29,640 --> 00:01:34,600 Speaker 2: White group. And he's paying them as yeah, you know, 27 00:01:34,680 --> 00:01:37,480 Speaker 2: work for hire, you know, our contracted work for higher 28 00:01:37,520 --> 00:01:41,480 Speaker 2: but like in okay, so say it's seventy six, like 29 00:01:41,680 --> 00:01:45,720 Speaker 2: right before you guys do after Jungle Boogem, right before 30 00:01:46,959 --> 00:01:49,360 Speaker 2: open Sesame comes into play. 31 00:01:50,000 --> 00:01:54,120 Speaker 3: We were very lucky there were no Jay jobs in 32 00:01:54,160 --> 00:02:00,360 Speaker 3: the initial period. You say nineteen sixty nine, then I 33 00:02:00,400 --> 00:02:07,880 Speaker 3: think at that point Kladas Smith had a job delivering. 34 00:02:09,160 --> 00:02:15,560 Speaker 3: But after we signed a contract with Delight, we worked. 35 00:02:16,240 --> 00:02:18,280 Speaker 3: We've always worked. We've always had a gig. 36 00:02:18,960 --> 00:02:22,119 Speaker 4: You never had a regular job on George the regular. 37 00:02:21,880 --> 00:02:26,079 Speaker 3: Jobs or when we were doing and still doing the nightclubs. 38 00:02:26,639 --> 00:02:31,840 Speaker 3: But still no one was hitting the punching the time 39 00:02:31,880 --> 00:02:35,480 Speaker 3: clock like that. It wasn't like that. It just changed 40 00:02:36,040 --> 00:02:38,920 Speaker 3: because the first record cooling the game by cooling the Gang, 41 00:02:40,080 --> 00:02:43,120 Speaker 3: number thirty eight with a bullet on top one hundred, 42 00:02:44,680 --> 00:02:50,400 Speaker 3: that's the record changed the whole atmosphere. Most black artists 43 00:02:50,440 --> 00:02:52,440 Speaker 3: got to go over the black charts or this chart, 44 00:02:52,919 --> 00:02:55,760 Speaker 3: that record went pop with a bullet. 45 00:02:56,240 --> 00:02:57,960 Speaker 4: So you guys had a fair deal. 46 00:02:58,040 --> 00:03:03,040 Speaker 3: Then, yeah, got a fair deal. Then h and we 47 00:03:03,080 --> 00:03:06,000 Speaker 3: got a blessing because not many black acts just popped 48 00:03:06,040 --> 00:03:09,000 Speaker 3: up number thirty with a bullet or the top of hundred. 49 00:03:09,280 --> 00:03:12,000 Speaker 3: So we were working. So there was work. It might 50 00:03:12,040 --> 00:03:15,240 Speaker 3: have been slow here and there, but we we did work. 51 00:03:16,160 --> 00:03:18,720 Speaker 5: So if I want to ask you about publishing, because 52 00:03:18,720 --> 00:03:21,520 Speaker 5: I'm curious where you got your publishing education, because we 53 00:03:21,560 --> 00:03:24,360 Speaker 5: talk about hip hop. But if your publishing wasn't right 54 00:03:24,400 --> 00:03:26,520 Speaker 5: from the start, it wouldn't even matter because you wouldn't 55 00:03:26,520 --> 00:03:28,600 Speaker 5: have been receiving, you know, the propers of it. 56 00:03:29,040 --> 00:03:31,799 Speaker 3: The b A Maas s Gaps, she said, and all 57 00:03:31,840 --> 00:03:37,080 Speaker 3: of us from Warner Chapel and Bmgene or that well 58 00:03:37,320 --> 00:03:41,080 Speaker 3: early on, like with Jean Read again, this guy he 59 00:03:41,160 --> 00:03:46,440 Speaker 3: told us all about that, you know, and so therefore 60 00:03:46,880 --> 00:03:49,960 Speaker 3: we were receiving. I mean I signed with being Mine 61 00:03:49,960 --> 00:03:55,360 Speaker 3: when I was nineteen, right, and that's because of Gene Read. 62 00:03:55,640 --> 00:04:01,040 Speaker 3: All of all of us had, you know, and earning 63 00:04:01,120 --> 00:04:06,080 Speaker 3: from first delight. But then when PolyGram brought the light, 64 00:04:06,960 --> 00:04:13,760 Speaker 3: then the royalties for writing and publishing came from PolyGram 65 00:04:14,400 --> 00:04:19,640 Speaker 3: and won a chapel and BMI sorry, and the artist 66 00:04:19,720 --> 00:04:22,720 Speaker 3: royalties also came out of PolyGram. 67 00:04:22,920 --> 00:04:27,479 Speaker 2: So we knew one of the most pivotal crucial moves 68 00:04:27,520 --> 00:04:30,000 Speaker 2: that you guys did was adding JT. 69 00:04:30,160 --> 00:04:30,520 Speaker 6: Taylor. 70 00:04:31,200 --> 00:04:34,559 Speaker 2: But there's actually a second factor that not many people 71 00:04:34,600 --> 00:04:39,599 Speaker 2: talk about. You guys went with a very unorthodox direction 72 00:04:40,440 --> 00:04:45,480 Speaker 2: associating with the legendary Brazilian producer Emir Diadata. 73 00:04:46,040 --> 00:04:50,599 Speaker 3: Right before we started. He called me twice right before 74 00:04:50,640 --> 00:04:56,240 Speaker 3: we started. It really, look, it's a deal, because you 75 00:04:56,279 --> 00:04:57,599 Speaker 3: know when you talk to do you we got to 76 00:04:57,600 --> 00:04:58,280 Speaker 3: bring a lunch? 77 00:05:01,800 --> 00:05:06,920 Speaker 2: Okay, yeah, I want to know what was the meeting 78 00:05:07,400 --> 00:05:10,680 Speaker 2: or the decision process. One to bring in a lead singer, 79 00:05:11,760 --> 00:05:16,560 Speaker 2: and two to work with not only an outside producer, 80 00:05:16,680 --> 00:05:22,160 Speaker 2: but a Brazilian producer, which I mean I would imagine 81 00:05:22,720 --> 00:05:26,880 Speaker 2: in nineteen seventy nine, one would figure that, you know, 82 00:05:26,960 --> 00:05:28,640 Speaker 2: I got to go to the top of the pile, 83 00:05:28,720 --> 00:05:33,000 Speaker 2: like either get with Gamble and Huff or you know 84 00:05:33,120 --> 00:05:36,400 Speaker 2: Norman of Noran Harris. 85 00:05:36,560 --> 00:05:39,000 Speaker 6: I knew he was a normal Yeah. 86 00:05:39,680 --> 00:05:42,279 Speaker 2: Yeah, So what made you guys go with a mere 87 00:05:42,360 --> 00:05:46,720 Speaker 2: Dia Dado of all things, not really known for a 88 00:05:46,760 --> 00:05:51,120 Speaker 2: pop sence or I mean, you know, he dabbled in disco, 89 00:05:51,279 --> 00:05:53,560 Speaker 2: but not enough for me to be like, Okay, this 90 00:05:53,640 --> 00:05:54,640 Speaker 2: is our do or die moment. 91 00:05:54,880 --> 00:05:55,719 Speaker 6: Let's get with him. 92 00:05:56,560 --> 00:05:59,400 Speaker 3: Well, the deal at seventeen years old is like the 93 00:05:59,480 --> 00:06:04,720 Speaker 3: number one on arranger and producer in all of Brazil. Uh. 94 00:06:05,000 --> 00:06:09,320 Speaker 3: And he had written strings for Collins Joe Bean. You 95 00:06:09,360 --> 00:06:12,839 Speaker 3: know most of our heads were in that. You know 96 00:06:13,160 --> 00:06:17,120 Speaker 3: that thing he wrote for Colin Joe Bean. Wooh, so 97 00:06:17,240 --> 00:06:20,880 Speaker 3: our heads were still in that. Jazz Irene Conrad over 98 00:06:20,960 --> 00:06:25,480 Speaker 3: the House of Music. She introduced, I think I got 99 00:06:25,480 --> 00:06:29,200 Speaker 3: this story right. There might be some loose ends, Calice 100 00:06:29,279 --> 00:06:33,240 Speaker 3: to James J. T. Taylor. I think Ron Sweeney had 101 00:06:33,240 --> 00:06:39,680 Speaker 3: said it it's time to bring in a lead singer. 102 00:06:40,240 --> 00:06:43,559 Speaker 3: You guys can do it. We looked at Stevie because 103 00:06:43,560 --> 00:06:45,560 Speaker 3: we did a lot of work with Steven Well. Stevie 104 00:06:45,560 --> 00:06:47,960 Speaker 3: helped us out so many times when the bus would 105 00:06:48,000 --> 00:06:53,680 Speaker 3: break down, really called Stevie and he'd help us. Really. Yeah. 106 00:06:53,720 --> 00:06:58,200 Speaker 3: So Steve would help us out numerous times, and we 107 00:06:58,240 --> 00:07:01,279 Speaker 3: wanted him to come in and produce. He said, sorry 108 00:07:01,320 --> 00:07:04,200 Speaker 3: for I got to get my own album happening at 109 00:07:04,200 --> 00:07:08,040 Speaker 3: that time. So we had a manager, oft Val Hackett. 110 00:07:08,480 --> 00:07:13,240 Speaker 3: Val shopped and I called it shopping. But he got 111 00:07:13,320 --> 00:07:18,120 Speaker 3: your mere Diadelo, which was a great blessing. It missed 112 00:07:18,920 --> 00:07:25,680 Speaker 3: just like dovetail, like man, the beauty is just connected. 113 00:07:26,280 --> 00:07:29,200 Speaker 3: He was the right guy for cooling the gang because 114 00:07:29,280 --> 00:07:33,360 Speaker 3: all the music the guys knew, you know, you know, 115 00:07:34,920 --> 00:07:39,040 Speaker 3: we were all musician musicians, guys who knew all the 116 00:07:39,640 --> 00:07:44,840 Speaker 3: chord changes and you know what, have you all all 117 00:07:44,880 --> 00:07:48,040 Speaker 3: the scales and sit down and actually write it out 118 00:07:48,920 --> 00:07:51,520 Speaker 3: with him. It was easy if we if we must up, 119 00:07:53,320 --> 00:07:58,000 Speaker 3: he would write that down. And weeks later when the 120 00:07:58,000 --> 00:08:02,800 Speaker 3: horns would come in, he said, but which a simple. 121 00:08:02,560 --> 00:08:03,640 Speaker 6: Lot, right? 122 00:08:04,120 --> 00:08:07,280 Speaker 3: And uh, but guys would write those parts down as well. 123 00:08:08,120 --> 00:08:11,800 Speaker 3: You know, e Clifford Adams, who played trombone with a 124 00:08:11,840 --> 00:08:17,080 Speaker 3: trump moont case full of music. Deal was the right choice. Uh, 125 00:08:17,280 --> 00:08:23,160 Speaker 3: and not only the right choice for the music, but 126 00:08:23,200 --> 00:08:27,440 Speaker 3: the right choice and really organizing the band and how 127 00:08:27,440 --> 00:08:31,480 Speaker 3: we did things. He brought it to a whole other level, 128 00:08:32,760 --> 00:08:37,520 Speaker 3: making sure that everything was notated, everything was written down. 129 00:08:38,559 --> 00:08:42,240 Speaker 2: As a drummer, I always wanted to know how hard 130 00:08:42,640 --> 00:08:46,320 Speaker 2: was it to sort of adjust your sound for the times, 131 00:08:46,320 --> 00:08:49,560 Speaker 2: because even I noticed me as a drummer, I've pretty 132 00:08:49,640 --> 00:08:54,360 Speaker 2: much stayed kind of consistent for my thirty years of 133 00:08:54,440 --> 00:08:58,120 Speaker 2: drumming in the roots and on record, like I'm not 134 00:08:58,920 --> 00:09:02,040 Speaker 2: I mean, I if I change my sounds for experimental purposes, 135 00:09:02,080 --> 00:09:04,360 Speaker 2: but not like, hey, let me, let me adjust to 136 00:09:04,400 --> 00:09:06,280 Speaker 2: the sound and the climate of where it is today. 137 00:09:06,320 --> 00:09:09,760 Speaker 2: But like the groove that you're planning on, let the 138 00:09:09,840 --> 00:09:13,800 Speaker 2: music take your mind, is not the same tone or 139 00:09:14,240 --> 00:09:20,600 Speaker 2: the same sound as Jones versus Jones or a celebration 140 00:09:20,720 --> 00:09:24,840 Speaker 2: or whatnot. So at the time, how aware you as 141 00:09:24,960 --> 00:09:29,360 Speaker 2: the heartbeat of the band that like the most radical 142 00:09:29,400 --> 00:09:33,160 Speaker 2: sound change of the band has to be with the drums. 143 00:09:34,040 --> 00:09:36,599 Speaker 3: It might sound stories because you hear all this. For me, 144 00:09:37,960 --> 00:09:41,160 Speaker 3: it didn't bother me. It was like, let's go with 145 00:09:41,240 --> 00:09:43,880 Speaker 3: the flow. This is what it is. This is going 146 00:09:43,920 --> 00:09:47,240 Speaker 3: to help us move forward. Oh, this is what's going 147 00:09:47,320 --> 00:09:51,800 Speaker 3: to bring a wide, wide range of audience. So I 148 00:09:52,040 --> 00:09:57,160 Speaker 3: was totally totally amenable to it and and actually didn't 149 00:09:57,200 --> 00:10:00,720 Speaker 3: think about it too much. But quest you're right because 150 00:10:00,880 --> 00:10:06,040 Speaker 3: later on, because I played piano as well, and I 151 00:10:06,080 --> 00:10:09,080 Speaker 3: got to a point where okay, enough of this and 152 00:10:09,120 --> 00:10:10,840 Speaker 3: I just switched over the keyboards. 153 00:10:11,600 --> 00:10:13,640 Speaker 5: Yeah, that's what I was going to ask you about too. 154 00:10:13,640 --> 00:10:16,280 Speaker 5: That's like a major move that I don't hear. 155 00:10:16,800 --> 00:10:22,720 Speaker 3: From drumps to keyboards. Yes, oh well I always played piano. Okay, okay, yeah, 156 00:10:22,720 --> 00:10:25,559 Speaker 3: it goes back to we talk about church. It goes back. 157 00:10:25,600 --> 00:10:28,200 Speaker 5: I've always played, but in your group you always played 158 00:10:28,240 --> 00:10:30,760 Speaker 5: drums until you decide I'm going. 159 00:10:31,040 --> 00:10:34,440 Speaker 3: And in writing, we had our writing session. 160 00:10:34,520 --> 00:10:38,720 Speaker 2: I you know, how does the songwriting process start? Do 161 00:10:38,760 --> 00:10:41,320 Speaker 2: you guys just say, hey, you got the idea? Guys, 162 00:10:41,320 --> 00:10:43,480 Speaker 2: what do y'all think about this? Or do you bring it? 163 00:10:43,559 --> 00:10:43,640 Speaker 3: Like? 164 00:10:43,720 --> 00:10:45,360 Speaker 2: Do you bring it to DT? Do you bring it 165 00:10:45,360 --> 00:10:46,240 Speaker 2: to Ronald first? 166 00:10:46,360 --> 00:10:46,480 Speaker 3: Like? 167 00:10:47,120 --> 00:10:48,680 Speaker 2: How does the songwriting process start? 168 00:10:49,760 --> 00:10:52,960 Speaker 3: It was us. We just bring it to us, you know, 169 00:10:53,640 --> 00:10:56,000 Speaker 3: guys say whether they like it or not, and if 170 00:10:56,000 --> 00:11:02,000 Speaker 3: they like it, then we got down on it. That's 171 00:11:02,040 --> 00:11:06,600 Speaker 3: the truth. You know. With Theodado a little more different 172 00:11:06,800 --> 00:11:10,360 Speaker 3: because every morning he would pick me up. I lived 173 00:11:10,360 --> 00:11:12,760 Speaker 3: in Manhattan than in Gramercy Park, and he said, oh, 174 00:11:12,920 --> 00:11:16,240 Speaker 3: senor let me see your homework. So you popping the cassette, 175 00:11:16,240 --> 00:11:19,880 Speaker 3: you get your illegal pad, you start singing, and he'll 176 00:11:20,080 --> 00:11:23,920 Speaker 3: he'll either bust your ego then by saying that's not 177 00:11:24,080 --> 00:11:28,680 Speaker 3: happening and or it actually if he feels like he said, 178 00:11:28,840 --> 00:11:34,600 Speaker 3: that's very cute, but it's not written. Oh he'll say, 179 00:11:34,880 --> 00:11:39,160 Speaker 3: signor you've done it again. Love the lines, and so 180 00:11:39,480 --> 00:11:41,959 Speaker 3: we would apply, you know, people have different lines to 181 00:11:42,040 --> 00:11:45,920 Speaker 3: put it in the song and they would work you perfectly, 182 00:11:46,120 --> 00:11:46,400 Speaker 3: you know. 183 00:11:47,120 --> 00:11:50,680 Speaker 2: So we we shared the story of how Celebration got written, 184 00:11:51,360 --> 00:11:57,880 Speaker 2: at least Ronald's version of how Celebration got written? But 185 00:11:58,040 --> 00:12:01,640 Speaker 2: are there any other universe like unusual stories of that? 186 00:12:03,160 --> 00:12:07,760 Speaker 2: For listeners who didn't hear that particular episode, Ronald Bell 187 00:12:08,440 --> 00:12:11,640 Speaker 2: said that he was backstage at a Rick James and 188 00:12:11,640 --> 00:12:14,600 Speaker 2: Prince show and Prince had just did I Want to 189 00:12:14,600 --> 00:12:19,000 Speaker 2: Be Your Lover? And in between the set changeover for 190 00:12:19,480 --> 00:12:23,400 Speaker 2: Prince to Rick James, Ronald runs backstage and finds a 191 00:12:23,440 --> 00:12:26,200 Speaker 2: piano and figures out the courts that I want to 192 00:12:26,200 --> 00:12:29,320 Speaker 2: be a lover, and he writes it and notates it 193 00:12:29,360 --> 00:12:33,880 Speaker 2: down and then he plays it backwards, and that rhythm 194 00:12:34,320 --> 00:12:43,840 Speaker 2: of winds up being da da And But I mean, 195 00:12:44,320 --> 00:12:47,040 Speaker 2: for the songwriting process, especially in the period in which 196 00:12:47,080 --> 00:12:51,200 Speaker 2: you guys are having unstoppable you know, pop classics one 197 00:12:51,240 --> 00:12:55,400 Speaker 2: after the other, are there any other unusual stories of 198 00:12:55,440 --> 00:12:56,960 Speaker 2: how songs got written? 199 00:12:58,120 --> 00:13:02,320 Speaker 3: No? Not really you know, sometimes guys would pass on 200 00:13:02,440 --> 00:13:07,000 Speaker 3: a song. I would take it and write a first 201 00:13:07,080 --> 00:13:09,800 Speaker 3: verse of lyric and give it the JT. He said, 202 00:13:09,840 --> 00:13:14,440 Speaker 3: this is happening. And the next thing, you know, we 203 00:13:14,559 --> 00:13:18,480 Speaker 3: have a complete song because you got two members working 204 00:13:18,520 --> 00:13:25,839 Speaker 3: on it. We've got the chord structure figured out and 205 00:13:27,040 --> 00:13:33,560 Speaker 3: writing the melody and lyric and bingo say you got something. 206 00:13:33,880 --> 00:13:37,360 Speaker 3: And it's the funny thing about it. They weren't the 207 00:13:37,440 --> 00:13:41,079 Speaker 3: number five pop, you know, but the band itself didn't 208 00:13:41,120 --> 00:13:45,240 Speaker 3: like it. That was take my Heart. You know, it's 209 00:13:45,679 --> 00:13:47,160 Speaker 3: very very poppy all that. 210 00:13:47,720 --> 00:13:49,520 Speaker 6: But you didn't like that song. 211 00:13:51,480 --> 00:13:52,160 Speaker 3: I helped write it. 212 00:13:52,600 --> 00:13:54,320 Speaker 2: I said, that was my aunt's song. 213 00:13:54,360 --> 00:13:55,800 Speaker 6: Man, that was the one I took. 214 00:13:56,440 --> 00:13:58,960 Speaker 3: I took it because the band didn't like it. Clayton 215 00:13:59,040 --> 00:14:02,040 Speaker 3: Smith wrote it the guitar player right, But the band 216 00:14:02,080 --> 00:14:07,880 Speaker 3: didn't like that twelve eight. So I said, no, give 217 00:14:07,880 --> 00:14:11,280 Speaker 3: it to me. Took it home. Write no time for wishing, baby. 218 00:14:11,440 --> 00:14:14,360 Speaker 3: We've gone all through those moves. I'm all and satisfied. 219 00:14:14,559 --> 00:14:17,080 Speaker 3: So the next day, of course, get to the studio. Jay, 220 00:14:17,480 --> 00:14:19,760 Speaker 3: were you like j T? What do you think? He said, Man, 221 00:14:19,800 --> 00:14:20,320 Speaker 3: I like this. 222 00:14:21,000 --> 00:14:24,520 Speaker 2: I've been going through a Luther phase in the last 223 00:14:24,760 --> 00:14:28,000 Speaker 2: month and a half reading his book and listening to 224 00:14:28,080 --> 00:14:31,280 Speaker 2: his music, and I realized that the world is going 225 00:14:31,320 --> 00:14:35,920 Speaker 2: through a drought of a good shuffle song. Oh my God, 226 00:14:36,360 --> 00:14:39,920 Speaker 2: like and Take My Heart is like kind of I 227 00:14:41,400 --> 00:14:53,920 Speaker 2: remember shuffle, Yeah exactly. Do you talk about the phenomenon 228 00:14:54,000 --> 00:14:59,200 Speaker 2: that is celebration, Like, what were the band's general reaction to, 229 00:15:00,560 --> 00:15:05,280 Speaker 2: Like celebration winds up being way past an anthem, it's 230 00:15:06,280 --> 00:15:11,000 Speaker 2: it's it's pretty much music DNA like, it's it's with celebration. 231 00:15:11,680 --> 00:15:16,240 Speaker 3: We're on the two of us and leaving l A. 232 00:15:16,600 --> 00:15:20,800 Speaker 3: The night before we won two American Music Awards, so 233 00:15:21,640 --> 00:15:24,320 Speaker 3: the song was germanying then, but that's what you got 234 00:15:24,360 --> 00:15:29,080 Speaker 3: from Earl Smith, you know. So so let's let's put 235 00:15:29,120 --> 00:15:35,440 Speaker 3: that in there because that's very celebrated, celebratory, you know, 236 00:15:36,320 --> 00:15:38,800 Speaker 3: So just just to put that in the soul and 237 00:15:38,840 --> 00:15:43,160 Speaker 3: gives it that boost, you know. But in regards to 238 00:15:43,200 --> 00:15:44,520 Speaker 3: it becoming. 239 00:15:44,440 --> 00:15:49,920 Speaker 2: Only to the point where it's like stadiums and weddings and. 240 00:15:48,840 --> 00:15:54,320 Speaker 3: Anderson miss miss back Ship, backyard, Bobby Cue, it's it's 241 00:15:54,600 --> 00:15:58,200 Speaker 3: it's an amazing, it's a blessing and it is, uh 242 00:15:58,920 --> 00:16:02,920 Speaker 3: one of those songs that I'm gonna say you can't 243 00:16:02,960 --> 00:16:05,920 Speaker 3: deny and you must play it every evening. 244 00:16:06,600 --> 00:16:08,880 Speaker 2: Did it ever become burdensome? Because I know a lot 245 00:16:08,920 --> 00:16:13,360 Speaker 2: of acts when they get a mammoth hit of that caliber, 246 00:16:13,760 --> 00:16:18,080 Speaker 2: then it's like selling becomes a it becomes a burden. 247 00:16:19,160 --> 00:16:23,440 Speaker 3: No, you know what happens. And you know when you're 248 00:16:23,480 --> 00:16:26,840 Speaker 3: playing sometimes you're playing the piece and you played it 249 00:16:26,880 --> 00:16:31,960 Speaker 3: a thousand times, but it becomes organic, like and guys 250 00:16:32,000 --> 00:16:35,160 Speaker 3: are playing the right chords. But it just got this 251 00:16:35,760 --> 00:16:39,720 Speaker 3: just tonight. I mean, well, you're playing quest or the 252 00:16:39,720 --> 00:16:43,000 Speaker 3: piano he's playing it has another little liltal, another little 253 00:16:43,040 --> 00:16:46,680 Speaker 3: thing to it. You're playing it, but it has another 254 00:16:46,800 --> 00:16:50,240 Speaker 3: feel that night, not you know, it's not the record feel. 255 00:16:50,800 --> 00:16:53,640 Speaker 3: The people feel it. So that's what happens. It turns 256 00:16:53,640 --> 00:16:57,840 Speaker 3: into this piece of music that each that you play it, 257 00:16:57,840 --> 00:17:01,880 Speaker 3: it has a different feeling. And when you're singing it 258 00:17:01,920 --> 00:17:04,840 Speaker 3: as well, it's coming out different. But it's to say 259 00:17:04,880 --> 00:17:08,560 Speaker 3: that there's a party going on right here, but it's 260 00:17:08,600 --> 00:17:11,720 Speaker 3: coming out different for some reason, and you feel different 261 00:17:11,720 --> 00:17:14,160 Speaker 3: about it. And when you get off, everybody great nice 262 00:17:14,200 --> 00:17:18,280 Speaker 3: show man, great show. Nobody feels that man is burning 263 00:17:18,680 --> 00:17:21,159 Speaker 3: a hole in all shoes. 264 00:17:21,240 --> 00:17:23,680 Speaker 2: Right, Well, no one's complaining. 265 00:17:24,119 --> 00:17:26,240 Speaker 4: Can I ask about another anthem? Real quick? 266 00:17:26,400 --> 00:17:29,359 Speaker 5: I just I'm curious to how so many fellas come 267 00:17:29,440 --> 00:17:31,720 Speaker 5: up with another anthem, but this one about the ladies. 268 00:17:32,400 --> 00:17:34,200 Speaker 4: I although we asked around that question. 269 00:17:33,960 --> 00:17:37,680 Speaker 5: But I was like, how did you know to embody 270 00:17:37,760 --> 00:17:39,160 Speaker 5: what a lady's night was? 271 00:17:39,720 --> 00:17:44,040 Speaker 3: How does Well, I'll tell you. I get to who 272 00:17:44,080 --> 00:17:47,840 Speaker 3: likes to go out and have fun? Okay, so he said, 273 00:17:48,240 --> 00:17:51,280 Speaker 3: you know the new thing in clubs now on a Friday, 274 00:17:51,320 --> 00:17:56,119 Speaker 3: Saturday whatever, it's the lady's night, you know. And me 275 00:17:57,040 --> 00:18:01,880 Speaker 3: walking from fifty seventh Street back down to Gramarcy, I'm 276 00:18:01,920 --> 00:18:07,680 Speaker 3: watching how people the gape of people's walk, just how 277 00:18:07,720 --> 00:18:12,000 Speaker 3: people walk. And I said, yeah, I said, man, people 278 00:18:12,040 --> 00:18:19,280 Speaker 3: are walking like a jazz working Baseline had that game. 279 00:18:20,119 --> 00:18:22,760 Speaker 3: So I went home side at the piano and started 280 00:18:23,320 --> 00:18:27,240 Speaker 3: harmonizing it and the different key changes as you know, 281 00:18:28,160 --> 00:18:31,840 Speaker 3: showed it the diadalo. Hey, this is what we need. 282 00:18:32,600 --> 00:18:34,919 Speaker 3: So we got together the right road on it. We 283 00:18:34,960 --> 00:18:37,879 Speaker 3: had we had the track already, you know, you know, 284 00:18:38,520 --> 00:18:41,479 Speaker 3: the horns are we're playing with the girls were singing, 285 00:18:41,560 --> 00:18:45,520 Speaker 3: and JT and myself and Calice got on the lyrics 286 00:18:45,520 --> 00:18:48,400 Speaker 3: and done done? 287 00:18:49,240 --> 00:18:52,560 Speaker 2: What was it about JT that appealed to the band 288 00:18:52,600 --> 00:18:55,760 Speaker 2: as far as his voice. I once heard somebody describe 289 00:18:55,800 --> 00:19:00,600 Speaker 2: that if Nat king Cole had them born thirty years later, 290 00:19:00,680 --> 00:19:02,880 Speaker 2: like basically would have been the voice of JT. 291 00:19:03,000 --> 00:19:03,320 Speaker 6: Taylor. 292 00:19:03,359 --> 00:19:08,720 Speaker 2: Like that's how smooth JT's voice was. Basically he was 293 00:19:08,800 --> 00:19:10,840 Speaker 2: like nacking cold like But for you, like, what was 294 00:19:10,880 --> 00:19:13,720 Speaker 2: the appeal to that sort of voice? And were there 295 00:19:13,760 --> 00:19:18,000 Speaker 2: other acts that or other singers that you guys auditioned 296 00:19:18,000 --> 00:19:20,040 Speaker 2: before you decided on James j T. 297 00:19:20,040 --> 00:19:20,320 Speaker 6: Taylor. 298 00:19:21,280 --> 00:19:24,199 Speaker 3: I don't want to mention people's names like that, but 299 00:19:24,240 --> 00:19:28,040 Speaker 3: there was a cut that are well known, but JT 300 00:19:28,280 --> 00:19:32,879 Speaker 3: did have it still does that golden tone in his 301 00:19:33,040 --> 00:19:37,600 Speaker 3: voice great lyricists, by the way too. And what we 302 00:19:37,640 --> 00:19:40,879 Speaker 3: did in the studio is go in and roll a 303 00:19:40,920 --> 00:19:44,480 Speaker 3: little bit of that on to his voice. Who enhanced 304 00:19:44,520 --> 00:19:47,680 Speaker 3: his voice even Also, you know in your studio say 305 00:19:47,720 --> 00:19:52,160 Speaker 3: what sounds a little weak? They're all little mid rangey, 306 00:19:52,280 --> 00:19:54,600 Speaker 3: let's work on that. So we did some work on 307 00:19:54,680 --> 00:19:57,760 Speaker 3: his voice as well, you know, like everybody does. But 308 00:19:57,840 --> 00:20:01,159 Speaker 3: he started off with it. You had it, okay. We 309 00:20:01,240 --> 00:20:05,439 Speaker 3: felt that his voice was pop, pure pop, and it 310 00:20:05,600 --> 00:20:09,719 Speaker 3: worked at that time. You know, I had a certain 311 00:20:09,800 --> 00:20:15,000 Speaker 3: innocence in it, non intimidating, all of that, and uh, 312 00:20:15,280 --> 00:20:18,119 Speaker 3: just just a pop artist. I mean, you know, we 313 00:20:18,160 --> 00:20:21,520 Speaker 3: could have went for the Teddy Pendergrad, the Luther and Andros. 314 00:20:21,520 --> 00:20:23,600 Speaker 3: We could have went for it to be part of it, 315 00:20:23,960 --> 00:20:27,040 Speaker 3: but we felt that it wouldn't it wouldn't work. 316 00:20:27,800 --> 00:20:31,439 Speaker 2: And the other singers that you were considering for that 317 00:20:31,560 --> 00:20:35,480 Speaker 2: spot was it? Was there anyone notable that we would 318 00:20:35,520 --> 00:20:37,720 Speaker 2: have known that almost had a chance to be in 319 00:20:37,720 --> 00:20:38,080 Speaker 2: the group. 320 00:20:39,160 --> 00:20:41,680 Speaker 6: Yeah, and you can't name who they are? 321 00:20:42,200 --> 00:20:47,960 Speaker 3: No, No, I don't want any letters coming to my mailbox. 322 00:20:48,880 --> 00:20:50,960 Speaker 4: I mean we can pontificate, though. 323 00:20:51,080 --> 00:20:53,440 Speaker 5: If we pontificate, can you just not like, you know, 324 00:20:53,560 --> 00:20:56,000 Speaker 5: how are you not just joking the one out? 325 00:20:56,600 --> 00:21:01,320 Speaker 3: Damn, just like when you mentioned the big Garritos and 326 00:21:01,520 --> 00:21:04,000 Speaker 3: you know you leave that alone. 327 00:21:04,240 --> 00:21:09,639 Speaker 2: Yeah, okay, I got you. How easy was it for 328 00:21:09,760 --> 00:21:13,560 Speaker 2: him to adjust to being in the group. It was 329 00:21:13,840 --> 00:21:14,880 Speaker 2: the same age as you guys. 330 00:21:15,040 --> 00:21:17,040 Speaker 6: Was he younger a few years younger? 331 00:21:17,160 --> 00:21:19,399 Speaker 3: Just a few So we're all in the same genre 332 00:21:19,800 --> 00:21:24,399 Speaker 3: basically age wise? Uh, not too far. I think he 333 00:21:25,040 --> 00:21:28,480 Speaker 3: I think I'm four years older than James. Okay, you know, 334 00:21:29,320 --> 00:21:32,000 Speaker 3: but no, We were the guys who would go to 335 00:21:32,320 --> 00:21:36,639 Speaker 3: respeech in Brooklyn and throw the frisbee around, have the 336 00:21:36,920 --> 00:21:41,320 Speaker 3: girlfriends that that type of stuff. We were the guy 337 00:21:41,440 --> 00:21:44,960 Speaker 3: we hang out, you know, like where the song comes 338 00:21:44,960 --> 00:21:50,880 Speaker 3: from that. Uh So we were always together in some capacity, 339 00:21:51,280 --> 00:21:52,399 Speaker 3: even going to the movies. 340 00:21:53,320 --> 00:21:57,320 Speaker 2: How are you guys able to maintain any level of 341 00:21:58,000 --> 00:22:01,600 Speaker 2: not like a domestic lifestyle, but like how are you 342 00:22:01,680 --> 00:22:05,879 Speaker 2: able to balance that, especially like during that time period 343 00:22:06,000 --> 00:22:09,040 Speaker 2: and which you guys are working class musicians. 344 00:22:09,720 --> 00:22:13,600 Speaker 3: That was very hard during that time period because when 345 00:22:13,640 --> 00:22:17,080 Speaker 3: we go out, we go out for two months at 346 00:22:17,080 --> 00:22:20,760 Speaker 3: a time. You know, we were out with Van Hale 347 00:22:20,800 --> 00:22:23,120 Speaker 3: in US four months. But the thing is that there's 348 00:22:23,400 --> 00:22:26,360 Speaker 3: a big tour break. You know, same thing with kids, 349 00:22:26,440 --> 00:22:29,119 Speaker 3: all you have a tour break. But with us, we 350 00:22:29,240 --> 00:22:32,120 Speaker 3: go out for two months and you're out there. You're 351 00:22:32,160 --> 00:22:32,960 Speaker 3: not coming back. 352 00:22:33,680 --> 00:22:37,920 Speaker 2: Wow, Okay, Especially in the first half of the eighties 353 00:22:37,960 --> 00:22:41,560 Speaker 2: and which you know those unstoppable hits are coming in. 354 00:22:42,240 --> 00:22:46,080 Speaker 2: How are you balancing out the shows in terms of 355 00:22:46,520 --> 00:22:51,200 Speaker 2: which audience to please? Like in your eighties show does 356 00:22:52,040 --> 00:22:56,520 Speaker 2: does open Sesame? Still have a Home? Is Jungle boogieing 357 00:22:56,600 --> 00:23:00,320 Speaker 2: and funky stuff? Still getting the same response is JT 358 00:23:00,640 --> 00:23:04,119 Speaker 2: singing funky stuff and that in jungle boogie. Also like 359 00:23:04,160 --> 00:23:05,080 Speaker 2: with the band, like. 360 00:23:05,560 --> 00:23:10,080 Speaker 3: With jungle boogie. Uh, it was almost like we would 361 00:23:10,080 --> 00:23:14,640 Speaker 3: all take a spot going, oh okay, alls, we kept 362 00:23:14,640 --> 00:23:17,439 Speaker 3: that going. You know, somebody you know, get down with 363 00:23:17,480 --> 00:23:20,960 Speaker 3: the boogie, that type of stuff. The same thing with 364 00:23:21,240 --> 00:23:26,399 Speaker 3: funky stuff, you know. So that was singalong so the 365 00:23:26,480 --> 00:23:30,719 Speaker 3: whole band. So everybody saying, you know, with funky stuff 366 00:23:31,800 --> 00:23:37,200 Speaker 3: jungle boogie, just just drop in. You know, it's very 367 00:23:37,240 --> 00:23:40,920 Speaker 3: easy that way as well. You know, it didn't make 368 00:23:40,960 --> 00:23:46,800 Speaker 3: it like hard for anyone, you know, you just sang it. 369 00:23:47,880 --> 00:23:52,160 Speaker 2: I know that there was a JT's exit in eighty eight. 370 00:23:53,080 --> 00:23:56,600 Speaker 2: He was just going without really like without any warning whatsoever. 371 00:23:57,640 --> 00:24:00,280 Speaker 3: I still don't understand that all these years. 372 00:24:01,560 --> 00:24:03,600 Speaker 2: So what happened in nineteen eighty eight, because you guys 373 00:24:03,680 --> 00:24:09,680 Speaker 2: had this unbelievable streak and then that's it. So what 374 00:24:09,720 --> 00:24:11,439 Speaker 2: was the story of his exit? 375 00:24:11,600 --> 00:24:15,840 Speaker 3: And how I believe me quest I was speaking about 376 00:24:15,880 --> 00:24:22,240 Speaker 3: that last week, okay with I think it was my 377 00:24:22,280 --> 00:24:25,560 Speaker 3: engineer Wolfgang, no rhyme, no reason. It was just that 378 00:24:26,640 --> 00:24:29,120 Speaker 3: he got a bunch of money from I think it 379 00:24:29,160 --> 00:24:32,960 Speaker 3: was a and M. Or MCA, and he went on 380 00:24:33,080 --> 00:24:36,040 Speaker 3: to do his went on to do his thing. And 381 00:24:37,000 --> 00:24:40,320 Speaker 3: because when he first came out, I mean he and 382 00:24:40,359 --> 00:24:45,880 Speaker 3: I we were roommates, you know those hotels at the beginning, 383 00:24:46,640 --> 00:24:49,919 Speaker 3: and not only roommates. We'd go out and hang out 384 00:24:49,960 --> 00:24:52,960 Speaker 3: in the clubs together, come back and all the good stuff. 385 00:24:53,320 --> 00:24:57,479 Speaker 3: So to this very day, I don't know. I really 386 00:24:57,560 --> 00:25:00,440 Speaker 3: really don't know that was searched. There was a I'm 387 00:25:00,520 --> 00:25:04,800 Speaker 3: where I was saying, Uh so let's call Ron Sweeney. Ron, 388 00:25:04,880 --> 00:25:09,760 Speaker 3: we'll call JT's manager and talk over things, and let's 389 00:25:09,840 --> 00:25:11,720 Speaker 3: let's get JT back out on the road. 390 00:25:12,400 --> 00:25:12,600 Speaker 5: You know. 391 00:25:13,320 --> 00:25:18,040 Speaker 3: Uh, it would never move forward for some odd reason. 392 00:25:18,800 --> 00:25:22,080 Speaker 4: When do you remember the last time you had the conversation. 393 00:25:22,119 --> 00:25:23,480 Speaker 3: Or the last time we worked at jay? 394 00:25:23,840 --> 00:25:25,919 Speaker 2: Well, he came back in the mid nineties. 395 00:25:25,960 --> 00:25:27,760 Speaker 3: I believe I came back in the mid nineties, and 396 00:25:27,800 --> 00:25:28,680 Speaker 3: then he left again. 397 00:25:29,280 --> 00:25:31,080 Speaker 6: Okay, whatever that was about. 398 00:25:31,119 --> 00:25:34,879 Speaker 3: But when we got the Songwriters Hall of Fame, he 399 00:25:35,000 --> 00:25:38,080 Speaker 3: came out. We straightened out the course as the band 400 00:25:38,119 --> 00:25:42,680 Speaker 3: had the rown changes. Uh right, what he did he 401 00:25:42,760 --> 00:25:45,840 Speaker 3: said it was this and uh but he came out 402 00:25:45,840 --> 00:25:51,639 Speaker 3: and sang and it sounded like we never separated. 403 00:25:52,119 --> 00:25:55,800 Speaker 2: How did you guys come across or how did you 404 00:25:55,840 --> 00:26:01,639 Speaker 2: guys wind up enlisting the services of Skip Martin of 405 00:26:02,960 --> 00:26:06,960 Speaker 2: the Dazz Band. Yeah, the Dass Band to be JT's 406 00:26:07,000 --> 00:26:09,200 Speaker 2: replacement in eighty eight. 407 00:26:10,000 --> 00:26:15,000 Speaker 3: Well a del band, piece of busses be upon him. 408 00:26:15,400 --> 00:26:20,119 Speaker 3: Yeah he passed away. Uh hm, Well, Adele, our manager, 409 00:26:20,680 --> 00:26:26,840 Speaker 3: was in a tragic car accident. But he brings Skip 410 00:26:26,880 --> 00:26:32,960 Speaker 3: over to my home. You know. Uh, Skip is a 411 00:26:33,000 --> 00:26:38,560 Speaker 3: good singer. Uh, so it worked. What also worked was 412 00:26:38,560 --> 00:26:42,960 Speaker 3: that he's a monsters trumpet player. 413 00:26:43,800 --> 00:26:48,400 Speaker 2: You know, yeah he is well Skip, Yeah, I didn't know. 414 00:26:49,119 --> 00:26:52,840 Speaker 3: Skip is a monster. Okay, you can put up with 415 00:26:53,640 --> 00:26:59,400 Speaker 3: Terrence Blanchard and you know he's he's that guy uh mouths, 416 00:26:59,680 --> 00:27:02,440 Speaker 3: you know, And we pushed that mute on his great shoe. 417 00:27:02,520 --> 00:27:09,239 Speaker 3: He added greatly to the horn front vocally. I know 418 00:27:09,280 --> 00:27:13,520 Speaker 3: that different members of the band, Uh didn't. I know 419 00:27:13,600 --> 00:27:18,919 Speaker 3: Clee didn't like his vocals, that's for sure. Uh And yeah, 420 00:27:19,560 --> 00:27:24,680 Speaker 3: you know, because it's too vagacy, right right, But we 421 00:27:25,280 --> 00:27:29,000 Speaker 3: made it work. By the time we got Sean, who 422 00:27:29,040 --> 00:27:33,440 Speaker 3: was close to JT vocally, Skip was just singing background 423 00:27:33,840 --> 00:27:37,840 Speaker 3: and playing trumpet. But the horn section was extremely tight, 424 00:27:38,400 --> 00:27:41,760 Speaker 3: you know, when Clice come up. Police loves Skips on 425 00:27:42,040 --> 00:27:45,679 Speaker 3: his Tumper plan as well. Loved it and I do 426 00:27:45,800 --> 00:27:48,520 Speaker 3: as well. You know, every time we have a session, 427 00:27:48,800 --> 00:27:52,960 Speaker 3: even alf I work for something we call Skip, you know, 428 00:27:53,160 --> 00:27:58,640 Speaker 3: Robbie Beth Skip those guys. So Skip's tenure was rather 429 00:27:58,840 --> 00:28:03,320 Speaker 3: rather short. Then we brought an Odean Mays, oh, who 430 00:28:03,400 --> 00:28:10,040 Speaker 3: is a bass baritone, great pianist. Uh, so we had 431 00:28:10,040 --> 00:28:16,240 Speaker 3: both skipping uh, Odean Mays doing the leads. The audiences 432 00:28:16,280 --> 00:28:19,159 Speaker 3: loved it because she had the guy with that like 433 00:28:19,160 --> 00:28:24,080 Speaker 3: like Blue Lovett, with that that voice, right yeah uh. 434 00:28:24,119 --> 00:28:27,520 Speaker 3: And then they got the uh that that that tenor 435 00:28:28,400 --> 00:28:32,480 Speaker 3: that Irish tenant that Skip pass you know uh. And 436 00:28:32,560 --> 00:28:36,000 Speaker 3: then uh, I don't know who it was, but Sean 437 00:28:36,080 --> 00:28:41,360 Speaker 3: mcquiller when he came in. Sean has been with the 438 00:28:41,440 --> 00:28:48,040 Speaker 3: band God now I know thirty forty years maybe a 439 00:28:48,080 --> 00:28:51,280 Speaker 3: little more. And his voice is very close to JT, 440 00:28:51,960 --> 00:28:55,880 Speaker 3: but he has more of a rasp on it. So yeah, 441 00:28:56,440 --> 00:29:01,920 Speaker 3: good good singer and also a great guitar. Fabulous guitarist. 442 00:29:02,440 --> 00:29:04,600 Speaker 3: You know these days he can't pick up the guitar 443 00:29:04,720 --> 00:29:09,400 Speaker 3: like he he wants to, but as playing he's great. 444 00:29:10,040 --> 00:29:13,560 Speaker 3: You know, we have Rick Morsel out there as well. Also, 445 00:29:13,680 --> 00:29:17,760 Speaker 3: guitarist Basis Rick has played with Prince and Stephanie Mills. 446 00:29:17,800 --> 00:29:23,800 Speaker 3: Everybody's fabulous, you know, and a mirror A mirror plays 447 00:29:23,800 --> 00:29:28,240 Speaker 3: every instrument as well. It's crazy reas he good. 448 00:29:33,120 --> 00:29:36,960 Speaker 2: You mentioned something earlier and it did hit me that, 449 00:29:37,160 --> 00:29:42,120 Speaker 2: I think in twenty fourteen. In twenty fifteen, my my 450 00:29:42,240 --> 00:29:44,400 Speaker 2: guitar player, Kurt came up to me. He's like, man, 451 00:29:44,640 --> 00:29:46,240 Speaker 2: You'll never guess where I was last night. And I 452 00:29:46,280 --> 00:29:48,600 Speaker 2: was like, what he's like? I was at a Van 453 00:29:48,680 --> 00:29:52,480 Speaker 2: Hillon show and cool in the Gang open you guys 454 00:29:52,480 --> 00:29:55,120 Speaker 2: were touring with what was that show? 455 00:29:55,320 --> 00:29:55,400 Speaker 3: Like? 456 00:29:56,920 --> 00:29:59,080 Speaker 2: Poling the Gang and Van Halen loud? 457 00:30:00,400 --> 00:30:04,479 Speaker 3: We played loud, they were. I mean it was so 458 00:30:04,600 --> 00:30:08,880 Speaker 3: loud that, especially during sound check, I'd go outside. You 459 00:30:08,920 --> 00:30:13,880 Speaker 3: couldn't take it. You know, they loud. But that Van 460 00:30:13,920 --> 00:30:20,200 Speaker 3: Halen great band, Uh tight, great band, good guys. But 461 00:30:20,400 --> 00:30:21,720 Speaker 3: the guys you know. 462 00:30:22,040 --> 00:30:25,160 Speaker 2: And here's David is a major Soul fan that much, 463 00:30:25,160 --> 00:30:25,600 Speaker 2: I do know. 464 00:30:26,960 --> 00:30:31,760 Speaker 3: And the you know the Forum here, yeah, well it 465 00:30:31,960 --> 00:30:36,560 Speaker 3: was kept on the QT but uh those are that's 466 00:30:36,560 --> 00:30:40,480 Speaker 3: where all the rehearsals were for the tour at the Forum, 467 00:30:41,480 --> 00:30:45,120 Speaker 3: you know, so we said. We were in ourselves like, wow, 468 00:30:45,240 --> 00:30:48,400 Speaker 3: what what what? Probably you rent off the forum for rehearsal, 469 00:30:49,160 --> 00:30:52,320 Speaker 3: you know that's a flex. Yeah, it's crazy. 470 00:30:53,360 --> 00:30:55,480 Speaker 4: Don't forget to get George's book too hot? 471 00:30:55,520 --> 00:30:58,080 Speaker 2: And yes, can you talk about your memoir? Like how 472 00:30:58,120 --> 00:30:59,320 Speaker 2: long did it take you to write that? 473 00:31:00,520 --> 00:31:04,640 Speaker 3: Because I'm slow. It took about ten years. And there's 474 00:31:04,680 --> 00:31:09,080 Speaker 3: a lot of stuff that was taken out for political reasons, 475 00:31:09,120 --> 00:31:13,520 Speaker 3: for whatever. Uh, some of the stuff would be quite shocky. 476 00:31:14,000 --> 00:31:16,920 Speaker 3: So he took I took to Dave Smith and when 477 00:31:16,960 --> 00:31:19,320 Speaker 3: I was in d C. So we just plucked stuff 478 00:31:19,320 --> 00:31:23,440 Speaker 3: out that, you know, some of the stuff that we 479 00:31:23,560 --> 00:31:29,440 Speaker 3: alladed to about those guys. Yeah, and once again, I 480 00:31:29,520 --> 00:31:34,240 Speaker 3: never mentioned people's names. The story was started and things. 481 00:31:34,280 --> 00:31:37,840 Speaker 3: But if I mentioned their names and what I was 482 00:31:37,880 --> 00:31:41,239 Speaker 3: involved with, and it was just I was involved with 483 00:31:42,400 --> 00:31:43,640 Speaker 3: one of their daughters. 484 00:31:43,760 --> 00:31:46,200 Speaker 4: Oh this is a movie. 485 00:31:46,280 --> 00:31:47,200 Speaker 3: It's just a movie. 486 00:31:47,320 --> 00:31:48,480 Speaker 4: Yeah. 487 00:31:48,640 --> 00:31:53,160 Speaker 3: Yeah. It was like he was, you know, he was 488 00:31:53,480 --> 00:31:55,200 Speaker 3: up here at the total pulling up down here. I 489 00:31:55,280 --> 00:32:00,440 Speaker 3: told him, Oh, yeah, so that was great. Yeah, that 490 00:32:00,880 --> 00:32:04,320 Speaker 3: was quite dangerous because she even said this is a 491 00:32:04,360 --> 00:32:05,200 Speaker 3: little dangerous. 492 00:32:06,400 --> 00:32:07,880 Speaker 2: They were a lot of dangerous. 493 00:32:08,040 --> 00:32:11,480 Speaker 3: They were on the other side of my dad knew. 494 00:32:12,640 --> 00:32:19,560 Speaker 2: Yeah, could you tell me what your three favorite cool 495 00:32:19,600 --> 00:32:23,840 Speaker 2: and gang songs are? But can you also just tell 496 00:32:23,880 --> 00:32:25,960 Speaker 2: me what was your favorite song to create? 497 00:32:27,840 --> 00:32:28,080 Speaker 3: Wow? 498 00:32:29,440 --> 00:32:30,920 Speaker 2: Wait, are you one of those? They are all my 499 00:32:31,000 --> 00:32:32,400 Speaker 2: kids and I can't separate them. 500 00:32:32,720 --> 00:32:34,240 Speaker 3: No, no, no, I'm not one of those guys. I 501 00:32:34,680 --> 00:32:38,840 Speaker 3: waldon Peace from the Weld and Peaceful album. Okay, that's 502 00:32:38,880 --> 00:32:43,480 Speaker 3: the title song. I remember, John Coltrane, I love that. 503 00:32:43,640 --> 00:32:49,960 Speaker 3: W yeah that and it's just really none of the hits, 504 00:32:50,200 --> 00:32:50,480 Speaker 3: none of. 505 00:32:50,480 --> 00:32:53,120 Speaker 6: The big for us, those other hits. 506 00:32:53,440 --> 00:32:59,320 Speaker 2: You know, me Little Children is one of my favorites. Yeah, 507 00:32:59,560 --> 00:33:01,479 Speaker 2: you know that never don't change. 508 00:33:01,680 --> 00:33:05,400 Speaker 6: And the third would be fruit Man. 509 00:33:06,200 --> 00:33:13,920 Speaker 3: No, it's we've got some rhythm songs in the Caribbean Festival. Okay, yeah, 510 00:33:14,000 --> 00:33:17,239 Speaker 3: I'll take that. It had all that listeners in it. 511 00:33:17,600 --> 00:33:20,360 Speaker 3: That should fine, and some of that and so when 512 00:33:20,400 --> 00:33:25,760 Speaker 3: you hear it, you go, man about Bubba Buba, about 513 00:33:25,760 --> 00:33:35,480 Speaker 3: the horns, you know, just you know it's that group 514 00:33:35,680 --> 00:33:39,240 Speaker 3: and you got that, you know, so it was great. 515 00:33:39,840 --> 00:33:43,240 Speaker 2: Okay, So making making those three like your your your 516 00:33:43,240 --> 00:33:46,760 Speaker 2: favorite yeah, you know, as I said the top of 517 00:33:46,760 --> 00:33:50,040 Speaker 2: the show Man, it's it's really kind of our missioneer 518 00:33:50,080 --> 00:33:51,840 Speaker 2: on the show just you know, to give flowers to 519 00:33:52,640 --> 00:33:56,880 Speaker 2: legendary people that otherwise might not get there. They're just 520 00:33:56,960 --> 00:34:00,800 Speaker 2: too as far as you know, a legacy that they 521 00:34:00,840 --> 00:34:03,880 Speaker 2: set forth, and definitely you know for all of us here, 522 00:34:04,480 --> 00:34:07,160 Speaker 2: you know, Cool and Gang represents. I mean, it's an 523 00:34:07,160 --> 00:34:11,320 Speaker 2: institution of of of just brilliant and you know, it 524 00:34:11,480 --> 00:34:15,839 Speaker 2: sustained all music, all times, you know, all spaces, and 525 00:34:15,960 --> 00:34:19,480 Speaker 2: still strong to this day. I mean even my band 526 00:34:20,239 --> 00:34:22,439 Speaker 2: you know, goes through a Cool in a Gang moment 527 00:34:22,480 --> 00:34:26,320 Speaker 2: in our current show, and you know the songs are are. 528 00:34:26,520 --> 00:34:29,880 Speaker 3: But plus you have a Jermaine Jermaine Bryce. 529 00:34:32,120 --> 00:34:37,960 Speaker 2: Yeah, yeah, yes, I know that he plays with you guys. Yeah, yeah, 530 00:34:38,000 --> 00:34:39,399 Speaker 2: he plays He plays with them now. 531 00:34:39,520 --> 00:34:40,879 Speaker 6: Yeah, yeah, man. 532 00:34:40,920 --> 00:34:42,600 Speaker 2: But we just thank you for coming on the show, 533 00:34:42,680 --> 00:34:46,360 Speaker 2: and we appreciate your you know, your legacy and and 534 00:34:46,360 --> 00:34:49,680 Speaker 2: and everything that you've done and all your break beats 535 00:34:49,680 --> 00:34:51,640 Speaker 2: and everything. We love that. 536 00:34:52,040 --> 00:34:52,839 Speaker 6: We love it to death. 537 00:34:53,760 --> 00:34:56,919 Speaker 3: Thank you. You know, I'm not going to say it's 538 00:34:56,920 --> 00:34:59,719 Speaker 3: been a long hard road. It's been a long beautiful 539 00:34:59,800 --> 00:35:05,840 Speaker 3: road being as a creator, you know, because Ronald and 540 00:35:05,920 --> 00:35:08,680 Speaker 3: I sit and come up with materials. He and I, 541 00:35:09,480 --> 00:35:13,359 Speaker 3: especially back in the late seventies and early eighties. That's 542 00:35:13,360 --> 00:35:16,000 Speaker 3: what we did. We just sat in the studio and 543 00:35:17,160 --> 00:35:21,040 Speaker 3: reverse things, put together live albums, you know, from all 544 00:35:21,040 --> 00:35:24,200 Speaker 3: the tapes. You know the deal, and it just had 545 00:35:24,200 --> 00:35:26,840 Speaker 3: a ball. And being the old night at six o'clock 546 00:35:26,880 --> 00:35:29,480 Speaker 3: in the morning, he said, I'll see in a few 547 00:35:29,480 --> 00:35:34,000 Speaker 3: hours come back again into that whole set. That that 548 00:35:34,000 --> 00:35:38,800 Speaker 3: that's worth everything, you know, as far as creative people 549 00:35:38,880 --> 00:35:42,640 Speaker 3: is concerned. That's that's worth it all, you know. And 550 00:35:42,880 --> 00:35:46,920 Speaker 3: and and it becoming successful too. And if it doesn't 551 00:35:46,960 --> 00:35:50,440 Speaker 3: become successful, you go back in your tweet, what did 552 00:35:50,520 --> 00:35:52,200 Speaker 3: we do? What's going on? 553 00:35:52,800 --> 00:35:52,880 Speaker 5: So? 554 00:35:53,920 --> 00:36:00,200 Speaker 3: And I appreciate you having me on as well, thank 555 00:36:00,239 --> 00:36:04,080 Speaker 3: you for thank you, but it makes it's just like 556 00:36:04,239 --> 00:36:08,160 Speaker 3: all of us, it makes it a little harder, you know, 557 00:36:08,440 --> 00:36:10,560 Speaker 3: when you go, I love your music and you gotta 558 00:36:11,239 --> 00:36:15,480 Speaker 3: you know that whole thing they're doing, loving fans, but 559 00:36:16,640 --> 00:36:18,640 Speaker 3: truly truly heartfelt. 560 00:36:18,760 --> 00:36:20,480 Speaker 6: Thank you well, thank you. 561 00:36:21,080 --> 00:36:26,480 Speaker 2: Yeah on behalf of Sugar, Steve fontigles on pay Pilly myself, 562 00:36:27,480 --> 00:36:30,720 Speaker 2: this quest love Supreme. Shout out to Jake and Brittany, 563 00:36:30,920 --> 00:36:33,200 Speaker 2: thank you for holding it down. Our family at iHeart 564 00:36:33,640 --> 00:36:35,879 Speaker 2: and we'll see you next week on the next round. 565 00:36:35,880 --> 00:36:36,680 Speaker 6: A quest Love Supreme. 566 00:36:37,680 --> 00:36:41,840 Speaker 5: Don't forget brand new Cooler Gang album in store store stores. 567 00:36:42,320 --> 00:36:48,120 Speaker 2: Why he's the minister of information in this band. I'll 568 00:36:48,120 --> 00:36:50,239 Speaker 2: take that all right next week. 569 00:36:50,280 --> 00:36:52,120 Speaker 6: Yeah, thank you, thank you. 570 00:36:52,360 --> 00:37:00,800 Speaker 2: Bussy Must Love Supreme is a production of iHeart Radio. 571 00:37:02,760 --> 00:37:07,520 Speaker 2: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 572 00:37:07,640 --> 00:37:09,320 Speaker 2: or wherever you listen to your favorite shows.