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Speaker 1: Pushkin. Just a quick note here. You can listen to

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Speaker 1: all of the music mentioned in this episode on our playlist,

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Speaker 1: which you can find a link to in the show

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Speaker 1: notes for licensing reasons, each time a song is referenced

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Speaker 1: in this episode, you'll hear this sound effect all right.

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Speaker 1: Enjoy the episode. Most noe Pharrell Williams from his hit

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Speaker 1: song Happy, or for producing an appearing in the video

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Speaker 1: for Robin Dick's Blurred Lines, or for the resulting lawsuit

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Speaker 1: brought by Marvin Gay's estate for copyright infringement, or for

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Speaker 1: being a judge on NBC's The Voice, or for his

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Speaker 1: work in fashion with his lines Billionaire Boys Club and

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Speaker 1: ice Cream and partnerships with Adidas and Chanel. The point

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Speaker 1: is that Farrell is one of the rare, effortless multi hyphenants,

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Speaker 1: and he's everywhere. A stat's been thrown around for years

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Speaker 1: that Farrell, along with his Neptunes producing partner Chad Hugo,

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Speaker 1: was responsible for forty three percent of music played on

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Speaker 1: US radio by two thousand and three. It's hard to

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Speaker 1: say if that's true or not, but you could have

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Speaker 1: told me it was fifty percent, and I'd have believed you.

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Speaker 1: And Farrell's not done yet. In the last couple weeks alone,

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Speaker 1: he's launched a number of ventures. A Netflix show Voices

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Speaker 1: of Fire, where he attempts to assemble the gospel world's

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Speaker 1: best choir, a newly launched skincare line Human Race because

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Speaker 1: you can also add Flawless Skin to his list of

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Speaker 1: unique gifts, end a podcasting company Other Tone Media. Rick

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Speaker 1: Rubin connected with Farrell over zoom this past weekend to

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Speaker 1: talk through and listen to some of the biggest hits

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Speaker 1: of his illustrious career, and also to check in on

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Speaker 1: what music he's working on right now. This is broken

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Speaker 1: record liner notes for the Digital Age. I'm justin Richmonton.

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Speaker 1: Here's Rick Rubin and Forrell Williams. What are you working

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Speaker 1: on right now? Rihanna ty Dolla sign the singer songwriter

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Speaker 1: Chris cab Rosalia. Great, yeah, some blank Wantity two coming. Nice.

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Speaker 1: It's been a minute for Rihanna. No, yeah, it's been

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Speaker 1: a minute. Have you cracked the code of what it's

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Speaker 1: going to be? Oh? Yeah, it's really it's really her

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Speaker 1: at the end of the day, what she wants. But

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Speaker 1: I just you know, I just sound wise. I was

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Speaker 1: trying to just like make something that like looks and

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Speaker 1: feels like she does. So when you work with her,

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Speaker 1: visit will a track start the conversation and then a

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Speaker 1: song get written? Typically? How would that work? It's really

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Speaker 1: like she talks about what she wants to feel, and

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Speaker 1: then it's my job to reverse engineer that. So you

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Speaker 1: try to get the feeling into the music first before

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Speaker 1: there's a song, or might there be a song first? No,

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Speaker 1: it's a feeling first. Yeah, when working with her, it's

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Speaker 1: a feeling. It's like we're reverse engineering that feeling and

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Speaker 1: trying to turn that into something. And does it typically

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Speaker 1: does it happen relatively quickly or might it take some time? Uh?

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Speaker 1: You just kind of dive in and go go for it.

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Speaker 1: So it's that's not that doesn't really take too long

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Speaker 1: to crack. You know, because you because you're you, you

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Speaker 1: have coordinates, you know, you know where you're going, you

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Speaker 1: know what you're looking for, and you'll know when you're there.

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Speaker 1: And as soon as you get the feeling right, what's

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Speaker 1: the process for that to turn into a song for her?

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Speaker 1: We got like the right writers for like the right

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Speaker 1: kind of tone and myself, so we kind of like

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Speaker 1: just really wrestle and grapple until we feel like we're

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Speaker 1: like really hitting that specific note and would it would

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Speaker 1: it be might lyrics come first or would it be

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Speaker 1: more sensi melody or might it be the hook? Or

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Speaker 1: is there any order typically or no odds the melody?

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Speaker 1: It's the melody. And then then we kind of like

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Speaker 1: listen to what the melody is saying it wants to say,

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Speaker 1: and might you do like Scott versions of the melody

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Speaker 1: and just see if any words fall into place? Sometimes

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Speaker 1: and then other times it's like if some words do

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Speaker 1: come out, then in the places where there are no words,

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Speaker 1: you kind of take the emotion of what you're trying

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Speaker 1: to communicate and you find the words and you kind

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Speaker 1: of do a mosaic lyrically. Are you in Miami now? Yes, sir? Cool?

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Speaker 1: How long have you lived in Miami? Miami? Probably, like

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Speaker 1: you know, for like fifteen years, with like a four

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Speaker 1: year four and a half year break, and that's when

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Speaker 1: we were in LA. Probably wanted the toughest times in

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Speaker 1: my life the time in La. Yeah, why do you think?

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Speaker 1: Because LA is limitless access? You know, it's a lot

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Speaker 1: and when your whole family is out there, you know,

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Speaker 1: it's just a lot. There's a lot going on, and

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Speaker 1: it's like life by appointment. It's kind of like a

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Speaker 1: different life style, you know, than what we were accustomed

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Speaker 1: to growing up. And you know, you just want your

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Speaker 1: kids to understand that life is not like that outside

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Speaker 1: of Los Angeles city limits. You know, would you say

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Speaker 1: Miami is closer to your experience of growing up. Yeah,

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Speaker 1: it's much more like reality, I think anything outside of

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Speaker 1: Los Angeles if you're not born there. Yeah, you know,

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Speaker 1: it's a very different thing. It's just a different, amazing

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Speaker 1: but different world. Yeah. It feels like people go there

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Speaker 1: to work and they live on the side, but they're

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Speaker 1: there basically to work. Or I guess pretty much anywhere

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Speaker 1: else you live and you go to work when you

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Speaker 1: go to work, but when you're not going to work,

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Speaker 1: you live in la is kind of like the work. Yes,

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Speaker 1: I agree with that. Yeah, tell me about growing up

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Speaker 1: in Virginia a little bit. I know, it's very little

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Speaker 1: about Virginia is a different it's a different pace. It's

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Speaker 1: like you know, normal town in the USA. It's humid,

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Speaker 1: which I appreciate, uh creatively, it's like it's in the air.

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Speaker 1: It just was a it can just be slow at times.

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Speaker 1: It is, you know, one of the first it's you know,

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Speaker 1: one of the first thirteen states, so it has a

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Speaker 1: lot of that residual energy there. Virginia is very parallel

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Speaker 1: in my mind conceptually to America. I love it because

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Speaker 1: of its progression, but I'm in love with it because

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Speaker 1: of its untapped potential. That being said, there's a whole

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Speaker 1: lot of you know, heaviness that come with it. Yeah,

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Speaker 1: but from the heaviness, can that's where the great things

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Speaker 1: can blossom? Well, yeah, that's how we made Grind it.

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Speaker 1: That's how we made a lot of songs because it

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Speaker 1: was a pressure that stairs there. That pressure is really there.

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Speaker 1: You know, the law really comes down on black people differently. Yeah,

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Speaker 1: it really does. You know, with the plight of the

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Speaker 1: African American and African diaspora in Virginia is a lot heavier.

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Speaker 1: The gravity on us, you know, two to three times

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Speaker 1: more heavier. Should we listen to Grinding and talk about it? Yeah?

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Speaker 1: Cool with that, Let's do it. Yeah. I feel like

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Speaker 1: today it'd be really fun to listen to a bunch

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Speaker 1: of records that you made and just see what listening

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Speaker 1: to them brings up to be fun to hear, very cool.

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Speaker 1: Describe the room that you made that record in. I

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Speaker 1: May it was in Chad's in Chad's room. He had

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Speaker 1: just bought a house, and you know, found those sounds

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Speaker 1: on the triton And while it sounds together now, it

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Speaker 1: just at the time it was just like a bunch

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Speaker 1: of like African sounds and it just felt primal, you know,

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Speaker 1: just all the sounds felt primal, and the sounds just

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Speaker 1: felt like it felt like the last laugh of the

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Speaker 1: enslaved spirit. And while it was not the last laugh,

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Speaker 1: it just made us all feel that way. We knew

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Speaker 1: that that was something that could only have come from us,

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Speaker 1: and it connected to us all on a primal level.

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Speaker 1: You know. So while there was hustlers in the street,

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Speaker 1: you know, doing doing illegal things, but trying to survive

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Speaker 1: the best way that they felt like they could. And

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Speaker 1: while we were as as kids, we were inspired by

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Speaker 1: that attitude. Again, it may not be in the most

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Speaker 1: healthiest attitude, but we are inspired by We're inspired by

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Speaker 1: them grabbing the ball by the horns and sort of

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Speaker 1: just like taking themselves on their own ride. I don't know,

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Speaker 1: we were trying to reverse the engineer that notion you

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Speaker 1: know of just like controlling your own destiny, even if

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Speaker 1: it wasn't even the right necessarily the right direction that

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Speaker 1: the song was kind of like the soundtrack to that spirit.

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Speaker 1: Did the vocals happen the same day that the track

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Speaker 1: Cat made? I remember calling pushed it like yo, you

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Speaker 1: gotta come over here, like we just made it beat

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Speaker 1: like this is one of the ones. You know. I

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Speaker 1: knew it was alien, yeah, because it was African and

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Speaker 1: it was you know, it was African sounds and it

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Speaker 1: wasn't using typical like eight o weights and it wasn't

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Speaker 1: you know, it wasn't doing what everything else was doing

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Speaker 1: back man. Yeah, it was just this the thing where

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Speaker 1: you were like, wait, what's going on? And was he

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Speaker 1: inspired as soon as he heard it? Yeah? Him and

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Speaker 1: him and his brother yeo. Would you ever when you

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Speaker 1: finish your track in the studio, bring to a club

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Speaker 1: and plate in the clubs here what it feels like

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Speaker 1: in the club. I never did that. I don't know.

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Speaker 1: I didn't know if anyone would care. You know a

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Speaker 1: lot of times, like where we're from, like they don't

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Speaker 1: want to really hear. And I knew in the club

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Speaker 1: until like the it's the ship you know, so like

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Speaker 1: us going in there at that time, it's like, oh,

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Speaker 1: here he come. You know what I'm saying. I would

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Speaker 1: never do that. When you played it for your friends,

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Speaker 1: would they positive about it? Yeah? And I knew, like,

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Speaker 1: you know, a lot of them were like hustlers at

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Speaker 1: the time, so I knew like if it worked for them,

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Speaker 1: then we were doing something right. Did you have any

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Speaker 1: musical mentors when you were in Virginia? I mean only

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Speaker 1: Teddy at the time. Tell me about that. You know,

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Speaker 1: he was a mentor to us while we were there working,

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Speaker 1: you know, in his studio, but other than that, you know,

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Speaker 1: once we kind of like went out on our own.

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Speaker 1: We kind of didn't have anybody else to bounce things

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Speaker 1: off of Virginia because it wasn't like a big music

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Speaker 1: scene there at the time. Yeah. And how established was

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Speaker 1: Teddy at that point in time when you were just

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Speaker 1: starting Teddy was you know, he was a king. I

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Speaker 1: mean he had just done like dangerous you know remember

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Speaker 1: the time. I mean, Teddy was in my mind, you know,

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Speaker 1: in a lot of people's mind still as the king. Yeah,

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Speaker 1: Teddy's amazing. What was it like, you know, being a

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Speaker 1: kid and being in the room and watching what he

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Speaker 1: was doing, did you feel like he's great or did

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Speaker 1: you feel like, oh, I think I can do this.

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Speaker 1: I was just in awe and I couldn't believe my life.

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Speaker 1: I couldn't believe I got to be in a room

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Speaker 1: where I got to learn the codes to how you

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Speaker 1: make me because other than that, when you're a kid,

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Speaker 1: you just think, okay, people are in the studio. Yeah,

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Speaker 1: but you don't know what that means. You know, to you,

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Speaker 1: it's just like a song. It's like all your life

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Speaker 1: you've been eating like loaves of bread, never ever ever

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Speaker 1: considered you know the amount of flour and how you

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Speaker 1: know what the temperature is and to cook it, and

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Speaker 1: you know what it takes to package it, and you

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Speaker 1: know its shelf life and what's going to look like

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Speaker 1: on a truck, and like, you don't consider those in

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Speaker 1: tegral details that all must work in concert to deliver

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Speaker 1: a consistent experience for you every time you interact with it.

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Speaker 1: So being there with him was kind of like being

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Speaker 1: in the kitchen. Had Teddy not been in Virginia, I

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Speaker 1: wouldn't be here. Wow, I wouldn't be talking to you.

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Speaker 1: You know, it's all cause and effect and Teddy is

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Speaker 1: absolutely the initial He's one of the causes to this effect. Yeah,

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Speaker 1: tell me about the formation of the Neptunes. I met

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Speaker 1: Chad when I was in the beginning band. I was

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Speaker 1: like thirteen, and he played saxophone. I played drums, and

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Speaker 1: I moved away from that area, and then we met

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Speaker 1: up again at this school called Old Donation Center for

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Speaker 1: the Gifted and Talented, and I went there for jazz

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Speaker 1: in the summer man and he ended up there, and

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Speaker 1: he was like a phenomenal player by that time. And

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Speaker 1: I was like a decent drummer, you know, I could

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Speaker 1: play anything, and he beat on a drum set. But

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Speaker 1: Chad was like prolific with piano, and he was an

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Speaker 1: amazing sax player, and he just picked up anything, and

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Speaker 1: he just always wanted to learn, and so like you know,

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Speaker 1: we were talking. He was like, yeah, you know, I

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Speaker 1: got like keyboards at my house. Like he's to come

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Speaker 1: by some time or whatever. So eventually, like my mom

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Speaker 1: would bring me over there, and sometimes I could catch

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Speaker 1: rides over there or whatever, and we were just like

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Speaker 1: for two three hours. We would just like make beats

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Speaker 1: on his like cassio keyboards, you know. Then like one

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Speaker 1: of our homeboys that I went to school with, this

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Speaker 1: kid Mike. He could sing, and Shaye was like, you know,

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Speaker 1: she's my best friends. So say Mike and myself we

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Speaker 1: would go over to Chad's house and then we would

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Speaker 1: just like make demos and we weren't really we didn't

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Speaker 1: even know they were demos until like, you know, a

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Speaker 1: year or two into and realized, oh, we're making a demo.

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Speaker 1: And then we like, you know, we had a series

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Speaker 1: of like short lived management arrangements and then eventually we

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Speaker 1: got to Teddy. And when we got to Teddy, he

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Speaker 1: discovered us in a high school talent show through you know,

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Speaker 1: this guy Omar Chandler and then also Tammy Lucas, who

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Speaker 1: was the one that said to Teddy, you need to

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Speaker 1: pay attention to these guys. And so he asked me

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Speaker 1: to come to the studio and when he did, he

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Speaker 1: gave me a shot to to write on something that

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Speaker 1: ended up being a rump Shaker. So I wrote his

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Speaker 1: verse for it. And at the time we as a group,

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Speaker 1: we were called the Neptunes, and then we had like

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Speaker 1: one record deal. We were signing to Michael Jackson's label MJJ.

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Speaker 1: So the Neptune started as a performance group, as a

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Speaker 1: as an artist, not as a producing group. Yeah, we

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Speaker 1: we were just artists, but we could also like make

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Speaker 1: beats and shiite and so like. Because he had us

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Speaker 1: produced a song called Tonight's Tonight on the first Black

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Speaker 1: Street album, and then we eventually did use Your Heart

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Speaker 1: and Win This Feeling for as WV and then we

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Speaker 1: did when Boy Meets Girl for Total and so we

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Speaker 1: just started producing all these songs. And then eventually because

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Speaker 1: we kept trying to get a record deal the entire

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Speaker 1: time while we were producing songs, but like I was

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Speaker 1: so fucking crazy and like out of my mind with

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Speaker 1: like my style and the way that I dressed, the

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Speaker 1: record company was like who are you? You're weird, Get

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Speaker 1: the funk out of here. You got just stick to

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Speaker 1: making music. And I was like, all right, fuck it.

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Speaker 1: So then we uh, you know, my my manager introduced

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Speaker 1: us to Kalie. We met Calice and we started like

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Speaker 1: producing it for her, did an album for her over

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Speaker 1: at Virgin, and then Virgin was like, man, you guys

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Speaker 1: should also make an album too, and we were like

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Speaker 1: all right. At that time, I was like I don't

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Speaker 1: think that we should be we should use the same

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Speaker 1: name we used, which was originally our group name that

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Speaker 1: had now become a production name, which is me and Chat.

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Speaker 1: We should just be an RD. So the Neptunes in

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Speaker 1: the very beginning was us as a group, and then

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Speaker 1: we just continue to produce. Did you ever play live

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Speaker 1: as the Neptunes? Yeah? It was a disaster. Was it

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Speaker 1: a fond memory disaster? No? Disaster. I don't like myself anyways.

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Speaker 1: When I look back at myself ten years ago, I'm like,

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Speaker 1: I'm a dude, Why did I do that? Why am

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Speaker 1: I saying that? Why am I dressed like that? Oh?

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Speaker 1: My goodness? I mean that is I'm just one of

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Speaker 1: those types of aries, you know, I'm never really pleased

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Speaker 1: with what I've done ten years ago, and completely don't

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Speaker 1: even want to think about what I where I was

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Speaker 1: at twenty years ago. So there you have it. So,

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Speaker 1: if you were to go back in time, would you

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Speaker 1: make the music that you made then different than you

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Speaker 1: made it then? No, because I understand that that is

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Speaker 1: the reason where I am now. I am ever so

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Speaker 1: grateful that people give me the opportunity to be as

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Speaker 1: left of center as I am at times, and you know,

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Speaker 1: just take those shots at the time because you know,

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Speaker 1: as aries were impulsive. But then when you're impulsive, you

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Speaker 1: got to be able to live with those, you know,

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Speaker 1: those impulses. And sometimes I can and other times I can't.

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Speaker 1: But that's okay, because that's why I constantly like to

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Speaker 1: move forward. In the cases in those days when Neptunes

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Speaker 1: was a production group pre n r D, would you

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Speaker 1: just make tracks and then find homes for them, or

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Speaker 1: would it be more of a case of an artist

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Speaker 1: wants to make a record and then you're making something

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Speaker 1: targeted in mind with that artist in mind. Both so

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Speaker 1: there might be songs that would have been Neptune songs

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Speaker 1: that might have been had you signed a deal, they

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Speaker 1: would have been on your record, but then they ended

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Speaker 1: up being on someone else's record because you didn't have

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Speaker 1: a record deal. Yeah. Sure, And there are times, you

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Speaker 1: know it's still up to this day, I'll do something

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Speaker 1: for someone and they're like, it doesn't make sense to me,

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Speaker 1: and you know, someone else here's and it goes man,

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Speaker 1: that's for me, and I go okay, cool. And then

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Speaker 1: there's also times where like that song would come out

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Speaker 1: and the original artist would be like, man, why don't

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Speaker 1: you make me something like that? And it's like I did. Yeah. Yeah,

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Speaker 1: that's because sometimes people are not hearing what you're hearing. Absolutely,

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Speaker 1: Like when you watch somebody like making something and you

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Speaker 1: don't know what they're doing or where they're going, and

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Speaker 1: you just like don't get it, and then all of

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Speaker 1: a sudden they do one thing and it just go, oh,

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Speaker 1: you go get it now. Music the same way. What

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Speaker 1: would be a song if you were to pick a

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Speaker 1: song from that pre n R D era for us

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Speaker 1: to listen to, what would be one that you that

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Speaker 1: would feel good to listen to? I don't remember not

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Speaker 1: one single song. Really, I don't, Man, I don't a

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Speaker 1: lot of times I don't remember my songs. I understand.

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Speaker 1: I'm such a where are we going now? Kind of person? Yeah,

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Speaker 1: I really don't going into the past. I'm really not

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Speaker 1: so good at that. So my way of curating, you know,

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Speaker 1: Like that's why I'm like like not a good DJ.

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Speaker 1: Like I'm never DJ to my life, like really like

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Speaker 1: like really, yeah, Now, if you ask me a bunch

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Speaker 1: of songs that I think make me feel amazing, I'll

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Speaker 1: rattle off a bunch of them. But Q Tip is amazing.

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Speaker 1: It's an amazing DJ because he can do all of

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Speaker 1: the above, whereas like I am literally I don't know

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Speaker 1: how to do that. Yeah, it's a particular skill set.

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Speaker 1: I feel like also quest love like when he I

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Speaker 1: just love listening to music. When he programs, it blows

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Speaker 1: my mind. That guy forget it. Of course, this is amazing.

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Speaker 1: We'll be right back with more from Farrell and Rick

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Speaker 1: after the break, we're back with more of Rick's conversation

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Speaker 1: with Pharrell. Tell me about your experience with Dat pump Man.

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Speaker 1: They really are I mean, like they're amazing people, you know,

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Speaker 1: and they really just love music in a different kind

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Speaker 1: of way. And it's interesting that we know them as

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Speaker 1: robots because they have a lot of feeling, but their

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Speaker 1: level of execution is very algorithmic. Like I would compare

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Speaker 1: them to like AI. Wow. Cool, let's listen. Let's listen

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Speaker 1: to Get Lucky. Tell me what you remember about the

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Speaker 1: making of that man. We were obviously in France. I

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Speaker 1: remember being super jet lagged. So Gimon had this stuff

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Speaker 1: called Gronson and it's like what you take when you're

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Speaker 1: like jet lagged. It's like you put it in water.

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Speaker 1: It's kind of like alka seltzer. Is it a herb?

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Speaker 1: Or is it a pharmaceutical. No, it's like a over

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Speaker 1: the counter. It's just like in France, kind of like

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Speaker 1: five hours or something like that. He was like, here this,

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Speaker 1: you'll be fine. He put that ship in the water.

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Speaker 1: I drink it, and I was like, like the legend

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Speaker 1: of the Phoenix, and what the fuck was I talking about? Man?

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Speaker 1: Like the legend of the Phoenix all ends with beginnings.

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Speaker 1: What keeps the planet spinning? The foursome the beginning pretty great.

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Speaker 1: I was like, oh, holy shit, it was a session, man.

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Speaker 1: We did that and we didn't lose yourself to dance.

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Speaker 1: We did both of those songs. I thought I was

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Speaker 1: writing it for somebody else. I could have swore that

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Speaker 1: was a conversation. Do you know those guys you know

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Speaker 1: you finished the session and it's over, and you know

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Speaker 1: you don't speak to them again. For like, it might

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Speaker 1: have been like six months that we heard from them,

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Speaker 1: but I didn't hear it until like a year. I

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Speaker 1: think I heard from them like, oh, yeah, you know,

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Speaker 1: you know we're gonna keep you on a song. I

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Speaker 1: was like, keep me on a song, like I thought

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Speaker 1: it was for someone else, And then I didn't hear

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Speaker 1: it until it was mixed. And I was. I was

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Speaker 1: blown away. Yeah, I really was. That's nice. That must

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Speaker 1: be a nice experience because usually you're so hands on

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Speaker 1: with the things you make, so to have someone else

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Speaker 1: make it and have it be that good, it's gotta

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Speaker 1: be a great feeling. I was incredibly honored. You know,

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Speaker 1: those guys are the best at what they do. Beautiful

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Speaker 1: that that said. As good as the track is, the

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Speaker 1: vocal melodies, the words, the catchiness of the hook, I

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Speaker 1: don't know that that that we would know that track

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Speaker 1: if it was not for the for what the vocals doing.

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Speaker 1: So excellent work. Thank you. Tell me about your experience

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Speaker 1: with Beck. Beck is another prolific genius and his fans know,

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Speaker 1: but more people should know how genius that man is.

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Speaker 1: That's a genius guy. Absolutely, that guy's a treasure. Yeah.

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Speaker 1: I mean the way that he writes, the way that

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Speaker 1: he thinks, the ship that he wants to do. You know,

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Speaker 1: people say genre bending. Beck is just like he literally

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Speaker 1: just considers music to be music, and you just cannot.

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Speaker 1: I mean, the guy did new pollution. That's it, that's nothing,

399
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Speaker 1: that's nothing else to talk about. The guy did new pollution.

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Speaker 1: Have you heard new pollution? Have you fucking heard New Pollution.

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Speaker 1: It's incredible. What the fuck? And his folk songs are incredible.

402
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Speaker 1: You know, his acoustic folk songs are brilliant. He is

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Speaker 1: a genius. Period we were this last album, Hyperspace. We

404
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Speaker 1: worked on that album for seven years. Seven years? Did

405
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Speaker 1: it did it evolve over the seven years or was

406
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Speaker 1: it clear what it was going to be from the

407
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Speaker 1: beginning and it just took seven years to get there.

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Speaker 1: I don't I have no idea. I don't know how

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Speaker 1: he works, man, I don't know. I know I spent like,

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Speaker 1: there's like four years. I'm like, what are we doing?

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Speaker 1: We got four songs, put it on the record. What

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Speaker 1: are we doing? Yeah? He's like, no, not yet. We

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Speaker 1: get together again, and then like I don't know what

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Speaker 1: comes up that. Then we get together again, get a

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Speaker 1: couple of songs, and then we get together again. And

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Speaker 1: after that, this is like seven years and then you

417
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Speaker 1: just hear the whole masterpiece and I'm just looking at

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Speaker 1: this guy going wow. And he got some of my

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Speaker 1: best ship from me at that time. So he's just

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Speaker 1: just like cherry picking. It's like, you know, okay, froll,

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Speaker 1: just you know, come over, let's work. I'm going to

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Speaker 1: sift through your you know, you're a contemporary vineyard of inspiration.

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Speaker 1: I'll take these grapes. I'll take those grapes and see

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Speaker 1: you later, Farrell. I'll catch you, like, no, don't worry,

425
00:24:13,680 --> 00:24:16,879
Speaker 1: I don't, I don't worry. You know. A couple of

426
00:24:16,960 --> 00:24:19,960
Speaker 1: years later, it's like wine, small fuckers, like a small

427
00:24:20,080 --> 00:24:23,679
Speaker 1: air or some shit. It's like, okay, it's going to rain, Frell,

428
00:24:24,000 --> 00:24:27,760
Speaker 1: come by, bring the vineyards. Okay, Okay, these are choice grapes.

429
00:24:28,119 --> 00:24:29,960
Speaker 1: This will be nice for a white white. Nope, you

430
00:24:30,000 --> 00:24:33,080
Speaker 1: know what. These are better for a cabinet. And then

431
00:24:33,200 --> 00:24:35,280
Speaker 1: you look up and ship and then like you guys

432
00:24:35,280 --> 00:24:38,800
Speaker 1: are nominated for a fucking Grammy seven years later, I mean,

433
00:24:39,119 --> 00:24:42,920
Speaker 1: cheers to that genius. Yeah. I remember I got a

434
00:24:42,920 --> 00:24:47,240
Speaker 1: copy of Morning Phase early before it came out, and

435
00:24:47,240 --> 00:24:51,040
Speaker 1: and I remember being told, you know, this is kind

436
00:24:51,080 --> 00:24:53,600
Speaker 1: of and this is not his next album after this

437
00:24:53,680 --> 00:24:55,520
Speaker 1: is the big album. This isn't the big This is

438
00:24:55,560 --> 00:24:57,600
Speaker 1: just like something he's working on, like this is like

439
00:24:57,720 --> 00:25:00,359
Speaker 1: personal thing. And I listened to it and it was

440
00:25:00,400 --> 00:25:03,640
Speaker 1: the best album maybe that I've heard in I don't

441
00:25:03,640 --> 00:25:06,560
Speaker 1: know five years. Like as I called him up right

442
00:25:06,560 --> 00:25:09,560
Speaker 1: away It's like, this is not an in between album.

443
00:25:09,760 --> 00:25:14,520
Speaker 1: This is not a small album. This is masterful. He's

444
00:25:14,600 --> 00:25:17,639
Speaker 1: that bro. Yeah, let's listen to love his chemical just fun.

445
00:25:18,080 --> 00:25:26,080
Speaker 1: Oh wow, credible. It's a good sign of everything we've

446
00:25:26,080 --> 00:25:28,639
Speaker 1: listened to that made you smile the most. It's a

447
00:25:28,640 --> 00:25:32,160
Speaker 1: really good sign because you know what, there's like, no,

448
00:25:33,280 --> 00:25:38,240
Speaker 1: there's nothing on it except just pure like that guy's

449
00:25:38,320 --> 00:25:42,160
Speaker 1: just free. Man. Yeah, you know, and I want everybody

450
00:25:42,480 --> 00:25:44,679
Speaker 1: like that. You can feel it, you can feel it.

451
00:25:44,720 --> 00:25:47,800
Speaker 1: So tell me what was it that he What was

452
00:25:47,840 --> 00:25:50,240
Speaker 1: it that you gave him to start from that ended

453
00:25:50,320 --> 00:25:56,480
Speaker 1: up there? Music? Yeah, the music and like melodies and

454
00:25:57,400 --> 00:26:01,680
Speaker 1: some songs I wrote lyrics on as well along with melodies.

455
00:26:02,240 --> 00:26:04,080
Speaker 1: He just knows, you know. I would just play him

456
00:26:04,080 --> 00:26:06,080
Speaker 1: shit and he just would know, like, okay, yeah, let's

457
00:26:06,119 --> 00:26:10,600
Speaker 1: go there. You know that's like a dream. It's just

458
00:26:10,680 --> 00:26:15,400
Speaker 1: so beautiful, so beautiful. Thank you. I'm honored, I really am. Man.

459
00:26:15,800 --> 00:26:18,639
Speaker 1: You know the crazy thing I'm talking to Rick Rubin

460
00:26:18,760 --> 00:26:21,439
Speaker 1: right now. I remember Rock the Bells. I told you

461
00:26:21,480 --> 00:26:23,879
Speaker 1: this before, but I remember Rock the Bells as a child.

462
00:26:24,400 --> 00:26:26,600
Speaker 1: You know, when people were saying like who's cool or

463
00:26:26,640 --> 00:26:31,080
Speaker 1: like lll or or cool mood and you had done

464
00:26:31,080 --> 00:26:34,080
Speaker 1: a lot of ll and all the stuff on Death Cham.

465
00:26:34,720 --> 00:26:38,439
Speaker 1: I remember seeing your name on those on those like cassettes,

466
00:26:38,960 --> 00:26:41,639
Speaker 1: and I'm like actually talking to you right now, and

467
00:26:41,760 --> 00:26:47,639
Speaker 1: you're like actually fucking curious about anything that has to

468
00:26:47,640 --> 00:26:51,040
Speaker 1: do with me and U Chad Hugo, and I just

469
00:26:51,080 --> 00:26:54,240
Speaker 1: gotta say, like, you know, life is crazy, right because

470
00:26:54,920 --> 00:26:57,359
Speaker 1: you know, things can be so great, and at the

471
00:26:57,400 --> 00:27:01,720
Speaker 1: same time, we're always reminded that just next door it

472
00:27:01,800 --> 00:27:05,160
Speaker 1: can be it can be misfortune next door. And that's

473
00:27:05,160 --> 00:27:08,679
Speaker 1: been one of the hardest things for me because every

474
00:27:08,680 --> 00:27:11,080
Speaker 1: time I slip and allow myself to get too happy,

475
00:27:11,560 --> 00:27:16,760
Speaker 1: I'm reminded that on the other side of fortune is misfortune. Absolutely.

476
00:27:17,160 --> 00:27:19,639
Speaker 1: I just you know, this is like a pinch yourself moment.

477
00:27:19,880 --> 00:27:22,239
Speaker 1: But just like you know, listening to that song and

478
00:27:22,320 --> 00:27:25,920
Speaker 1: feeling that way about that music and then going a shit,

479
00:27:26,080 --> 00:27:29,159
Speaker 1: I'm up here talking to Rick Rubin about music and

480
00:27:29,200 --> 00:27:32,440
Speaker 1: he actually cares about what I think. Like I'm not

481
00:27:33,119 --> 00:27:37,520
Speaker 1: I'm not Kanye, I'm not Stevie Wonder or you know,

482
00:27:37,680 --> 00:27:41,720
Speaker 1: Joni Mitchell or you know Michael I'm not any of

483
00:27:41,760 --> 00:27:46,120
Speaker 1: those like really super legendary people. I'm from Virginia Beach, Virginia.

484
00:27:46,880 --> 00:27:50,680
Speaker 1: All the people you mentioned are just people who are

485
00:27:50,720 --> 00:27:56,520
Speaker 1: from where they're from, who love music and shared the

486
00:27:56,600 --> 00:28:01,480
Speaker 1: best of themselves with us and enriched our lives and

487
00:28:01,600 --> 00:28:05,280
Speaker 1: inspired us to want to do the same thing. It's

488
00:28:05,440 --> 00:28:08,760
Speaker 1: it's very much of a community of like minded people

489
00:28:09,680 --> 00:28:13,359
Speaker 1: who are all contributing something. We get something from it.

490
00:28:13,359 --> 00:28:16,320
Speaker 1: It turns us on, it excites us, and then we

491
00:28:16,440 --> 00:28:21,160
Speaker 1: find our way in and you know, if we're lucky,

492
00:28:21,200 --> 00:28:24,320
Speaker 1: we get to participate. But it's it's all beyond us.

493
00:28:24,359 --> 00:28:27,280
Speaker 1: It's beyond it's beyond you, it's beyond me, it's beyond

494
00:28:27,320 --> 00:28:31,560
Speaker 1: all the people you mentioned. What's coming through is much bigger.

495
00:28:32,760 --> 00:28:35,320
Speaker 1: We're just blessed that we get to participate it. And

496
00:28:35,400 --> 00:28:37,800
Speaker 1: it comes from love, you know, That's where it is.

497
00:28:37,840 --> 00:28:42,200
Speaker 1: It's like the love is the connection that allows it

498
00:28:42,240 --> 00:28:47,160
Speaker 1: to come through. Still honored to be a part of

499
00:28:48,080 --> 00:28:51,640
Speaker 1: you know, honored to be a Comma and one tiny

500
00:28:51,720 --> 00:28:56,160
Speaker 1: sentence in the and the Great Book of Music. Same

501
00:28:57,120 --> 00:29:01,280
Speaker 1: on that note, let's listen to drop it like it's hot. Yes, sir,

502
00:29:03,520 --> 00:29:05,560
Speaker 1: you remember the first time you heard him sing the

503
00:29:05,600 --> 00:29:10,840
Speaker 1: hook that way? Yeah, we were in the studio and

504
00:29:11,160 --> 00:29:13,520
Speaker 1: he was in there. You know, Snoop is tall. Snoop

505
00:29:13,680 --> 00:29:17,760
Speaker 1: is like six foot like I don't know, or three

506
00:29:17,960 --> 00:29:20,400
Speaker 1: four or something like that. He was in the studio

507
00:29:20,480 --> 00:29:24,760
Speaker 1: with no less than fifteen dudes that were all as

508
00:29:24,800 --> 00:29:27,560
Speaker 1: tall as him, and then he had these two security

509
00:29:27,560 --> 00:29:33,479
Speaker 1: guys that were absolutely north of seven foot. You know,

510
00:29:33,640 --> 00:29:36,479
Speaker 1: they were smoking. Have you ever been like in like

511
00:29:36,640 --> 00:29:40,480
Speaker 1: New York, like when the fog is there and you're

512
00:29:40,560 --> 00:29:42,880
Speaker 1: like in a skyscraper and you literally can see like

513
00:29:42,960 --> 00:29:46,320
Speaker 1: where the fog starts. Yes, that's what it was like

514
00:29:46,400 --> 00:29:48,520
Speaker 1: being in the room with all those dudes, just a

515
00:29:48,640 --> 00:29:52,160
Speaker 1: layer of smoke in the sky. It was a layer

516
00:29:52,200 --> 00:29:56,080
Speaker 1: of smoke that you just would never believe. It was unbelievable.

517
00:29:56,120 --> 00:29:58,360
Speaker 1: You stood up, you were gonna be high for a

518
00:29:58,480 --> 00:30:03,920
Speaker 1: week contact wise, and was making the Beatum. I did

519
00:30:04,040 --> 00:30:06,880
Speaker 1: my verse. He was like, pee, say we got one.

520
00:30:08,200 --> 00:30:10,320
Speaker 1: We knew it was we knew it was special. I

521
00:30:10,680 --> 00:30:14,000
Speaker 1: loved Let's get blown. Let's Get Blown was just like

522
00:30:14,080 --> 00:30:16,840
Speaker 1: such a zone to me, Like it was just so

523
00:30:16,960 --> 00:30:19,440
Speaker 1: like what is that? You know? We were so inspired

524
00:30:19,480 --> 00:30:23,760
Speaker 1: by Steve Arrington and the label was like we're gonna

525
00:30:23,800 --> 00:30:26,120
Speaker 1: put that out, but now now you're tripping, We're gonna

526
00:30:26,120 --> 00:30:27,880
Speaker 1: come with dropper like a side and I was like,

527
00:30:27,960 --> 00:30:31,800
Speaker 1: all right, cool, And that's the same thing happened with Beautiful. Right.

528
00:30:31,880 --> 00:30:34,040
Speaker 1: We made From the Church to the Palace and I

529
00:30:34,120 --> 00:30:35,920
Speaker 1: was like, oh man, I love Church to the Palace.

530
00:30:35,960 --> 00:30:38,280
Speaker 1: They were like, yeah, that's cool, but this record beautiful

531
00:30:38,920 --> 00:30:41,040
Speaker 1: and I was like, yeah, but I'm on there sounding

532
00:30:41,120 --> 00:30:46,080
Speaker 1: like a sick billy goat and they were like, because,

533
00:30:46,440 --> 00:30:48,640
Speaker 1: by the way, still to this day, I think the

534
00:30:48,760 --> 00:30:52,440
Speaker 1: cook too Beautiful is detuned. I think when I or

535
00:30:52,520 --> 00:30:55,440
Speaker 1: out of tune, yea, I think I'm about it sooom.

536
00:30:56,080 --> 00:30:58,760
Speaker 1: I think I'm pitchy. I think I'm flat. But I

537
00:30:58,760 --> 00:31:01,120
Speaker 1: don't know why people fuck with it. Let's listen. Let's

538
00:31:01,120 --> 00:31:05,320
Speaker 1: listen to it. Let's listen to that beautiful. Yeah. What's

539
00:31:05,320 --> 00:31:07,960
Speaker 1: cool about hip hop is that if you are singing

540
00:31:08,000 --> 00:31:12,280
Speaker 1: a little out of tune, it's hip hop. Aka I was,

541
00:31:14,520 --> 00:31:17,800
Speaker 1: But I feel like sometimes when I hear it tuny

542
00:31:17,960 --> 00:31:20,960
Speaker 1: vocals in hip hop, it feels more like hip hop

543
00:31:21,040 --> 00:31:24,400
Speaker 1: music than you know, like a slick hook on a

544
00:31:24,560 --> 00:31:28,360
Speaker 1: rap track. Yeah, it's true. I mean, it's just it

545
00:31:28,440 --> 00:31:30,760
Speaker 1: just gives it more like a little bit more personality

546
00:31:30,800 --> 00:31:32,960
Speaker 1: and it just feels a little bit more like real

547
00:31:33,080 --> 00:31:37,280
Speaker 1: and authentic to whatever the person was trying to express,

548
00:31:37,320 --> 00:31:39,680
Speaker 1: just like you appreciate that person being a little flat

549
00:31:39,720 --> 00:31:42,080
Speaker 1: because they mean it. Yeah, it feels like it's a

550
00:31:42,120 --> 00:31:44,240
Speaker 1: moment in time. You know that you believe that it's

551
00:31:44,280 --> 00:31:49,160
Speaker 1: really happening. Yeah, I'm meant it. But I never thought

552
00:31:49,160 --> 00:31:52,000
Speaker 1: that record would do what it did. Typically, when you're

553
00:31:52,080 --> 00:31:54,120
Speaker 1: when you're making something new, you go into the studio,

554
00:31:54,160 --> 00:31:56,880
Speaker 1: you have an idea to start something new. Might you

555
00:31:56,960 --> 00:32:00,160
Speaker 1: be influenced by something that you heard recently, might be

556
00:32:00,240 --> 00:32:03,480
Speaker 1: influenced by something that you can remember from childhood, or

557
00:32:04,280 --> 00:32:07,480
Speaker 1: is it more of a clean slate. I love that

558
00:32:07,520 --> 00:32:12,200
Speaker 1: which doesn't exist. That's like my favorite. And then there

559
00:32:12,200 --> 00:32:14,560
Speaker 1: are times where you just like you go, oh, man,

560
00:32:14,760 --> 00:32:17,880
Speaker 1: I love the feeling of that. I don't want that sound,

561
00:32:18,480 --> 00:32:21,400
Speaker 1: but I love that feeling. You know what I'm saying.

562
00:32:21,480 --> 00:32:25,200
Speaker 1: Let me let me how do I reverse engineer that feeling?

563
00:32:25,800 --> 00:32:29,120
Speaker 1: And in their moments where you go, man, I love that,

564
00:32:29,480 --> 00:32:33,000
Speaker 1: I love that like groove, but what if it was

565
00:32:33,040 --> 00:32:37,120
Speaker 1: in a It's like I love that groove aka Silhouette,

566
00:32:37,120 --> 00:32:39,080
Speaker 1: But what if it was like with all complete different

567
00:32:39,400 --> 00:32:43,080
Speaker 1: chords of colors, you know what I mean. Yeah, it's

568
00:32:43,120 --> 00:32:46,040
Speaker 1: just it just depends. Sometimes it's just left the center,

569
00:32:46,080 --> 00:32:49,240
Speaker 1: like dropping like it's high, and then other times it's like, man,

570
00:32:49,320 --> 00:32:51,920
Speaker 1: I love the feeling that I felt when I when

571
00:32:51,960 --> 00:32:57,160
Speaker 1: I hurt, busting loose as a kid, you know. So

572
00:32:57,200 --> 00:33:00,680
Speaker 1: then we try to reverse the engineer that energy and

573
00:33:00,680 --> 00:33:03,720
Speaker 1: and and we make cotton here. It's like if you're

574
00:33:03,720 --> 00:33:06,720
Speaker 1: playing back to back, you realize it's like really completely different,

575
00:33:06,880 --> 00:33:09,680
Speaker 1: but the feeling, you know. So it's almost like you

576
00:33:09,720 --> 00:33:13,720
Speaker 1: hear a song and you imagine if that song was

577
00:33:13,760 --> 00:33:16,719
Speaker 1: a whole genre of music, what would the other songs

578
00:33:16,720 --> 00:33:20,760
Speaker 1: in that genre sound like. That's exactly right, the brother

579
00:33:20,840 --> 00:33:22,840
Speaker 1: of it, the cousin of it. You know. It's like

580
00:33:23,400 --> 00:33:27,160
Speaker 1: Mario and Warrio. You know, there's Mario and then there's

581
00:33:27,160 --> 00:33:29,560
Speaker 1: his evil you know, there's the evil version of Mario,

582
00:33:29,640 --> 00:33:31,640
Speaker 1: which is Warrio. And that's what I like to do.

583
00:33:32,040 --> 00:33:36,680
Speaker 1: I find sometimes that's a great starting point. And sometimes

584
00:33:36,760 --> 00:33:40,640
Speaker 1: during the process of looking for the thing like it,

585
00:33:41,680 --> 00:33:44,920
Speaker 1: you end up going somewhere completely different that was unexpected,

586
00:33:45,480 --> 00:33:48,800
Speaker 1: and you just get surprised. You know. Yeah, you just

587
00:33:48,840 --> 00:33:51,880
Speaker 1: have to keep chasing. We'll be right back with Farrell.

588
00:33:52,360 --> 00:33:59,840
Speaker 1: After this quick break, here's the rest of Rick's conversation

589
00:34:00,400 --> 00:34:03,360
Speaker 1: with Pharrell Williams. Can you remember the last thing that

590
00:34:03,400 --> 00:34:07,040
Speaker 1: you heard where that you didn't make, that you just

591
00:34:07,160 --> 00:34:10,319
Speaker 1: heard and your mind was blown, like just like this

592
00:34:10,400 --> 00:34:16,239
Speaker 1: is unbelievable. Thundercat them changes and it just hit you

593
00:34:16,320 --> 00:34:19,759
Speaker 1: right away first time. It's just like h Scott Venner

594
00:34:19,800 --> 00:34:23,760
Speaker 1: played me that song and I said, what in the fuck?

595
00:34:24,719 --> 00:34:26,640
Speaker 1: And we played it? He played it, I played it.

596
00:34:26,640 --> 00:34:28,920
Speaker 1: I made him play that ship over and over again,

597
00:34:29,000 --> 00:34:33,560
Speaker 1: like maybe twenty times. I could not believe what I

598
00:34:33,640 --> 00:34:37,719
Speaker 1: was feeling. Such a great feeling, isn't it? Oh my goodness?

599
00:34:38,040 --> 00:34:43,160
Speaker 1: I was like, what is this? Kim Burrell's you know,

600
00:34:43,400 --> 00:34:48,600
Speaker 1: Holy Ghost, that's really unbelievable. I mean, She's just unbelievable.

601
00:34:49,480 --> 00:34:54,879
Speaker 1: Don Tolliver's no idea, Wow, what the hell? And then

602
00:34:54,880 --> 00:34:57,480
Speaker 1: when I was a kid, there was like just a

603
00:34:57,520 --> 00:35:00,520
Speaker 1: thousand of them that just would blow my brains as out,

604
00:35:00,960 --> 00:35:04,200
Speaker 1: like blow my heart out, blow my organs out, blow

605
00:35:04,280 --> 00:35:09,360
Speaker 1: my existence out of my body, like the systems don't Disturb,

606
00:35:09,480 --> 00:35:17,840
Speaker 1: Discroove or Beach Boys, sail On Sailor or Benita Apple

607
00:35:17,880 --> 00:35:23,360
Speaker 1: bomb by trip call quests, or many repretends the reasons

608
00:35:23,560 --> 00:35:28,640
Speaker 1: or Donny Hathaways take a love song Lady in My Life,

609
00:35:28,719 --> 00:35:34,520
Speaker 1: Michael Jackson, Johnny Mitchell, Don't it always seemed to go

610
00:35:35,520 --> 00:35:37,840
Speaker 1: that you don't know what you got to list on?

611
00:35:39,840 --> 00:35:44,160
Speaker 1: When she also sings help me Johnny Mitchell helped me.

612
00:35:44,600 --> 00:35:47,760
Speaker 1: When you would hear one of those records, how often

613
00:35:48,080 --> 00:35:51,880
Speaker 1: put you listen to it over and over and over

614
00:35:52,120 --> 00:35:56,320
Speaker 1: and over and over and over again. I listened to

615
00:35:56,400 --> 00:35:59,400
Speaker 1: him Benita apple Bomb. I would have it on a

616
00:35:59,440 --> 00:36:02,359
Speaker 1: loop for like an hour straight. When I was I

617
00:36:02,440 --> 00:36:04,759
Speaker 1: was really young, I listened to that song over and

618
00:36:04,800 --> 00:36:07,879
Speaker 1: over again because I could not understand why it made

619
00:36:07,880 --> 00:36:10,960
Speaker 1: me feel that way. And then I realized that those

620
00:36:10,960 --> 00:36:14,080
Speaker 1: were the chords, and I realized that, you know, while

621
00:36:14,160 --> 00:36:18,480
Speaker 1: that song was from Roy Air's musical production, a song

622
00:36:18,520 --> 00:36:22,120
Speaker 1: called Daylight, the whole song was that I loved it

623
00:36:22,160 --> 00:36:26,480
Speaker 1: because it was doing what bridges typically did, progression chord

624
00:36:26,520 --> 00:36:29,520
Speaker 1: progression wise. So if you listen to the Roy Air

625
00:36:29,680 --> 00:36:32,000
Speaker 1: song that inspired it or that it was based on,

626
00:36:32,560 --> 00:36:34,640
Speaker 1: would that have the same effect on you or not?

627
00:36:34,680 --> 00:36:38,760
Speaker 1: Necessarily it did. It did because the chords were the saying.

628
00:36:39,280 --> 00:36:42,000
Speaker 1: But I, of course I loved the Tribe version. You know,

629
00:36:42,800 --> 00:36:47,200
Speaker 1: you to pick the best pocket in a Footprints another one?

630
00:36:47,600 --> 00:36:50,239
Speaker 1: Can you just play that song real quick? Tribe called

631
00:36:50,800 --> 00:36:56,040
Speaker 1: Footprints Really fun listening to that with you, and I

632
00:36:56,120 --> 00:36:59,120
Speaker 1: just learned something about hip hop just now just listening

633
00:36:59,160 --> 00:37:02,760
Speaker 1: to that. In the days of hip hop being based

634
00:37:02,760 --> 00:37:06,480
Speaker 1: on a sample like this is, the sample's picked and

635
00:37:06,520 --> 00:37:09,360
Speaker 1: then additional tracks are put in to reinforce the sound,

636
00:37:09,960 --> 00:37:12,879
Speaker 1: and then sometimes the sample goes away and then we're

637
00:37:12,880 --> 00:37:15,120
Speaker 1: only left with the new stuff and sometimes so the

638
00:37:15,160 --> 00:37:19,279
Speaker 1: sample works in different ways. But it's almost like we

639
00:37:19,400 --> 00:37:24,360
Speaker 1: learn more about the original song through this hip hop record,

640
00:37:24,480 --> 00:37:28,680
Speaker 1: because it's like we've taken this piece of music and

641
00:37:28,880 --> 00:37:31,759
Speaker 1: put it in an X ray machine and we get

642
00:37:31,760 --> 00:37:35,360
Speaker 1: to see the different layers of it and the DNA

643
00:37:35,480 --> 00:37:38,640
Speaker 1: of it, and we examine it in a way that

644
00:37:38,760 --> 00:37:41,960
Speaker 1: doesn't get to happen when we just listen to the

645
00:37:41,960 --> 00:37:49,440
Speaker 1: original in its original holistic version. There's a unity and

646
00:37:49,640 --> 00:37:54,279
Speaker 1: balance that gets upset in the hip hop process to

647
00:37:54,360 --> 00:37:57,919
Speaker 1: create something new, and we get to learn so much

648
00:37:57,960 --> 00:38:01,040
Speaker 1: through this process. It's amazing. I never really realized that

649
00:38:01,200 --> 00:38:05,239
Speaker 1: for just now listening with you, that is called tripical

650
00:38:05,320 --> 00:38:07,479
Speaker 1: quests that's what that's what they that's what they do.

651
00:38:07,600 --> 00:38:10,319
Speaker 1: They make you listen to music, and they teach you

652
00:38:11,080 --> 00:38:14,200
Speaker 1: how they hear music. They teach you how to appreciate

653
00:38:14,280 --> 00:38:16,440
Speaker 1: something that you might have just skipped over because it

654
00:38:16,480 --> 00:38:19,160
Speaker 1: was only four bars or two bars and something and

655
00:38:19,239 --> 00:38:20,960
Speaker 1: you never got to hear it again, or it just

656
00:38:21,040 --> 00:38:23,719
Speaker 1: came like two or three times in the song, but

657
00:38:23,800 --> 00:38:26,160
Speaker 1: that wasn't where the hook was, and so you ignored it.

658
00:38:26,400 --> 00:38:28,759
Speaker 1: They go, no, no, no, no, this part right here,

659
00:38:29,120 --> 00:38:31,920
Speaker 1: and like you said, you walk away going, well, what

660
00:38:32,160 --> 00:38:33,800
Speaker 1: is that sample? And then you go back and listen

661
00:38:33,800 --> 00:38:36,440
Speaker 1: to that record. It's like you listen to it and

662
00:38:36,480 --> 00:38:38,760
Speaker 1: you appreciate it very differently, and then you go, wow,

663
00:38:38,800 --> 00:38:42,719
Speaker 1: they heard that part. And I don't never forget. When

664
00:38:42,719 --> 00:38:45,120
Speaker 1: I blah because I got the album because of Beneath

665
00:38:45,120 --> 00:38:46,600
Speaker 1: Apple Bump, I was like, man, I don't give a

666
00:38:46,640 --> 00:38:50,360
Speaker 1: shit if the rest of the album is trash, that's

667
00:38:50,560 --> 00:38:54,040
Speaker 1: all I want to hear. Man. When I got that

668
00:38:54,120 --> 00:38:57,520
Speaker 1: album and listen from the top, first song is good,

669
00:38:58,600 --> 00:39:03,239
Speaker 1: second song is good, third songs good. And then that

670
00:39:03,360 --> 00:39:07,000
Speaker 1: song came on and I was and I'm telling you,

671
00:39:07,000 --> 00:39:09,719
Speaker 1: the other songs are good. Yeah, you know, the luck

672
00:39:09,719 --> 00:39:14,040
Speaker 1: of Lucienne, like push it Along. All those songs are great.

673
00:39:15,520 --> 00:39:21,160
Speaker 1: When Footprints came in, I remember thinking to myself, first

674
00:39:21,200 --> 00:39:25,799
Speaker 1: of all, those chords are nocturnal. I don't see sunshine

675
00:39:25,800 --> 00:39:28,000
Speaker 1: when I hear that. So that was the first thing

676
00:39:28,000 --> 00:39:30,879
Speaker 1: that blew my mind. I was like, oh shit, I'm

677
00:39:30,920 --> 00:39:33,799
Speaker 1: listening to this song and they have looped up something

678
00:39:33,840 --> 00:39:36,640
Speaker 1: that makes me think of nighttime. Some certain songs, the

679
00:39:36,719 --> 00:39:39,399
Speaker 1: chords make me think of, you know, four or five

680
00:39:39,440 --> 00:39:41,480
Speaker 1: in the morning, right when the sun is coming up

681
00:39:41,600 --> 00:39:44,520
Speaker 1: and it's kind of blue outside, it's not quite sunny yet,

682
00:39:44,560 --> 00:39:47,440
Speaker 1: and it's coming out of night it's coming out of nighttime.

683
00:39:47,480 --> 00:39:53,040
Speaker 1: It's like that, you know, four fifty to six o'clock time.

684
00:39:54,040 --> 00:39:56,480
Speaker 1: And then there's the same thing that happens in the evening.

685
00:39:57,120 --> 00:40:01,239
Speaker 1: When I heard Footprints, it felt like eleven o'clock at night,

686
00:40:02,000 --> 00:40:08,000
Speaker 1: full moon, concord blue, there's some purple in there, and

687
00:40:08,160 --> 00:40:12,279
Speaker 1: like the beigeness of the moon. That's what That's what

688
00:40:12,360 --> 00:40:14,600
Speaker 1: I heard. And I heard that on Loop and that

689
00:40:15,440 --> 00:40:18,719
Speaker 1: was like alchemy to me, and I just was like,

690
00:40:19,400 --> 00:40:22,359
Speaker 1: what the fuck is this? Like, Okay, my friends are

691
00:40:22,360 --> 00:40:25,480
Speaker 1: obsessed with like sports and football players and like basketball

692
00:40:25,520 --> 00:40:28,440
Speaker 1: players and Jordan is amazing and we love the sneakers.

693
00:40:28,920 --> 00:40:33,080
Speaker 1: This track, though, it's made me think of nighttime. And

694
00:40:33,200 --> 00:40:35,960
Speaker 1: every time this sample comes in, which I didn't know

695
00:40:36,000 --> 00:40:37,759
Speaker 1: what's called a sample at the time, but every time

696
00:40:38,120 --> 00:40:40,680
Speaker 1: that loop came in, I was like, it makes me

697
00:40:40,719 --> 00:40:43,640
Speaker 1: think of nighttime? What the fuck is this? Like? What's

698
00:40:43,680 --> 00:40:47,360
Speaker 1: going on? And then when I heard beneath Albabam, that

699
00:40:47,480 --> 00:40:49,200
Speaker 1: was like time to me, and it was kind of

700
00:40:49,200 --> 00:40:52,800
Speaker 1: blue with like pinks in it, and I'd start like, Wow, Okay,

701
00:40:52,800 --> 00:40:56,560
Speaker 1: this is crazy this music. This is like rap music

702
00:40:56,600 --> 00:40:58,799
Speaker 1: that's making me think of colors, the way that, like

703
00:40:58,840 --> 00:41:02,200
Speaker 1: Stevie wondered, music may makes me think of colors. I

704
00:41:02,200 --> 00:41:05,480
Speaker 1: had never experienced that before. Would you listen in your

705
00:41:05,560 --> 00:41:08,319
Speaker 1: room or would you listen outside walking around? Where where

706
00:41:09,000 --> 00:41:12,560
Speaker 1: paint the picture of what the scene looked like? Sometimes

707
00:41:12,600 --> 00:41:14,560
Speaker 1: I would like listen to my listening to my room,

708
00:41:14,560 --> 00:41:16,720
Speaker 1: when other times I would go and sitting in my parents'

709
00:41:16,800 --> 00:41:19,680
Speaker 1: car when it was raining and listen but with my

710
00:41:19,760 --> 00:41:22,400
Speaker 1: headphones because I liked being in the rain. That's the

711
00:41:22,440 --> 00:41:25,400
Speaker 1: other thing too, Rain is like everything for me. I

712
00:41:25,520 --> 00:41:27,799
Speaker 1: was always obsessed with rain as a kid, That's how

713
00:41:27,840 --> 00:41:30,800
Speaker 1: we ended up being called the Neptune's Water. What was

714
00:41:30,840 --> 00:41:33,040
Speaker 1: the first time you got to see music live? I

715
00:41:33,200 --> 00:41:34,920
Speaker 1: was like five years old. I don't remember this, but

716
00:41:34,960 --> 00:41:37,080
Speaker 1: it was a story. We went to King's Dominion, which

717
00:41:37,080 --> 00:41:42,560
Speaker 1: is like this Dame Park and we I guess they

718
00:41:42,640 --> 00:41:45,040
Speaker 1: lost me somehow and they found me. I was over

719
00:41:45,160 --> 00:41:51,120
Speaker 1: dancing to Kenny Rogers, good singer, pretty crazy. What's the

720
00:41:51,160 --> 00:41:55,520
Speaker 1: first one you remember? Oh, Eric being rock Kim at

721
00:41:55,560 --> 00:41:59,479
Speaker 1: Da Hampton Colliseam And how was that amazing? Rock? Him

722
00:41:59,520 --> 00:42:03,280
Speaker 1: was every thing I mean lyrically that God, the stuff

723
00:42:03,320 --> 00:42:05,640
Speaker 1: that he would say, and where he was coming from,

724
00:42:05,680 --> 00:42:09,480
Speaker 1: and his tone and his rhythm, and that was all

725
00:42:09,520 --> 00:42:14,320
Speaker 1: crazy for me. Anything else you feel like would be

726
00:42:14,400 --> 00:42:17,160
Speaker 1: helpful for us to talk about, I don't know. I

727
00:42:17,440 --> 00:42:20,680
Speaker 1: think I'm in a state of like gratitude at the moment. Beautiful,

728
00:42:21,200 --> 00:42:25,160
Speaker 1: you know. And that's a constant exercise. It's a constant exercise.

729
00:42:25,760 --> 00:42:29,400
Speaker 1: The best exercises one could do mind, body, and soul,

730
00:42:30,239 --> 00:42:32,400
Speaker 1: because there's a lot of physical exercises that you can do,

731
00:42:32,440 --> 00:42:35,239
Speaker 1: but they're not necessarily they required the mental, but they

732
00:42:35,280 --> 00:42:40,280
Speaker 1: may not be as spiritual. But these are three spiritual

733
00:42:40,320 --> 00:42:45,880
Speaker 1: exercises three mental and physical exercises, which is gratitude, empathy,

734
00:42:46,040 --> 00:42:49,319
Speaker 1: and humility. And you know, talking to you right now

735
00:42:49,360 --> 00:42:51,560
Speaker 1: and just when you asked me to go back, when

736
00:42:51,600 --> 00:42:54,280
Speaker 1: you ask me about these songs or music or whatever.

737
00:42:54,360 --> 00:42:56,600
Speaker 1: What it does is it transports you back in time

738
00:42:57,120 --> 00:42:59,319
Speaker 1: and you remember who you were and what was going

739
00:42:59,400 --> 00:43:02,239
Speaker 1: on and what was your reality. And so it's just

740
00:43:02,360 --> 00:43:04,799
Speaker 1: humbling when you fast forward back to where you are now.

741
00:43:04,840 --> 00:43:08,239
Speaker 1: It's like, oh shit, man, so much has happened, and

742
00:43:08,280 --> 00:43:11,000
Speaker 1: I'm just I guess I'm just ever so grateful. You know,

743
00:43:11,080 --> 00:43:13,640
Speaker 1: God was so patient with me. I wasn't on it

744
00:43:13,719 --> 00:43:16,880
Speaker 1: like I needed to be. How much of you now

745
00:43:17,920 --> 00:43:22,120
Speaker 1: is the same kid listening to Tribe on the headphones.

746
00:43:23,080 --> 00:43:25,080
Speaker 1: I mean you just saw it. I mean Footprints just

747
00:43:25,120 --> 00:43:28,640
Speaker 1: took me right back, you know, to be in fifteen

748
00:43:28,760 --> 00:43:31,400
Speaker 1: sixteen or whatever I was at whatever age I was

749
00:43:31,480 --> 00:43:36,400
Speaker 1: at that time. Yeah, music has that incredible transformative power

750
00:43:37,400 --> 00:43:39,840
Speaker 1: to change everything. I can remember when I was a

751
00:43:39,920 --> 00:43:44,799
Speaker 1: kid and really didn't feel connected to anything. The first

752
00:43:44,800 --> 00:43:47,760
Speaker 1: time I really felt connected to anything, it was music.

753
00:43:49,040 --> 00:43:52,560
Speaker 1: It's so magical. It's so crazy. Man, We're living in

754
00:43:52,560 --> 00:43:56,000
Speaker 1: a different time where like these ethereal connections that we

755
00:43:56,080 --> 00:44:02,560
Speaker 1: have to various points in our lives and various points

756
00:44:02,560 --> 00:44:07,280
Speaker 1: of our personality feel more effervescent than they ever have before.

757
00:44:07,880 --> 00:44:09,840
Speaker 1: I don't know if that's because the Internet is alive

758
00:44:09,920 --> 00:44:14,759
Speaker 1: now well because we just are where we are culturally.

759
00:44:15,320 --> 00:44:18,080
Speaker 1: You know, we're in the age of Aquarius, so everything

760
00:44:18,120 --> 00:44:20,680
Speaker 1: is up in the air. So I just it's crazy

761
00:44:20,680 --> 00:44:22,759
Speaker 1: because I could feel it. Yeah, I think we were

762
00:44:22,840 --> 00:44:27,120
Speaker 1: lucky to grow up when we did. I agree. I

763
00:44:27,200 --> 00:44:29,279
Speaker 1: want to ask you about one one more thing because

764
00:44:29,680 --> 00:44:32,840
Speaker 1: it speaks something you said earlier about about listening to

765
00:44:32,880 --> 00:44:34,759
Speaker 1: the Tribe album and how it made you feel. And

766
00:44:36,160 --> 00:44:39,840
Speaker 1: it feels like the relationship people's relationship to music has changed,

767
00:44:40,440 --> 00:44:43,319
Speaker 1: and the album as a format seems less, i want

768
00:44:43,360 --> 00:44:47,960
Speaker 1: to say, less relevant than it used to. And if

769
00:44:48,000 --> 00:44:51,040
Speaker 1: you could speak a bit to the feeling of the

770
00:44:51,160 --> 00:44:55,239
Speaker 1: album as a thing, the idea of the container of

771
00:44:55,239 --> 00:44:59,320
Speaker 1: the album when we were younger was a key feature

772
00:44:59,360 --> 00:45:02,920
Speaker 1: of it. Like you said, you bought the album for

773
00:45:03,080 --> 00:45:05,200
Speaker 1: one song, hoping the rest of it would be good.

774
00:45:05,200 --> 00:45:07,280
Speaker 1: But if the rest of it wasn't good, that might happen.

775
00:45:08,360 --> 00:45:11,359
Speaker 1: And you remember the ones where it was one song

776
00:45:11,400 --> 00:45:13,200
Speaker 1: that got you to buy it, but the whole album

777
00:45:13,360 --> 00:45:17,160
Speaker 1: was good, that changed your life. Yeah, I don't know

778
00:45:17,200 --> 00:45:21,000
Speaker 1: that people have that experience as much today. Well, because

779
00:45:21,000 --> 00:45:23,680
Speaker 1: there's more of a democracy and you're not forced to

780
00:45:23,719 --> 00:45:25,799
Speaker 1: buy a whole bunch of things that you don't know

781
00:45:25,840 --> 00:45:30,520
Speaker 1: anything about. You can try things, you know. Do you

782
00:45:30,520 --> 00:45:32,799
Speaker 1: think there's something being missed though by not getting to

783
00:45:32,800 --> 00:45:35,719
Speaker 1: get that experience of you know, Dark Side of the

784
00:45:35,719 --> 00:45:39,600
Speaker 1: Moon as a body of work. Well, that was Pink

785
00:45:39,640 --> 00:45:41,839
Speaker 1: Floyd and Dark Side of the Moon. Right, if every

786
00:45:41,880 --> 00:45:44,520
Speaker 1: album was at I think the argument would stand. But

787
00:45:44,640 --> 00:45:47,279
Speaker 1: because every album is not, and because the point of

788
00:45:47,320 --> 00:45:49,440
Speaker 1: vitry is so wide for so many people to come

789
00:45:49,440 --> 00:45:52,400
Speaker 1: in and make music. What is a beautiful thing is

790
00:45:52,440 --> 00:45:54,120
Speaker 1: that you got a lot of one hit wonders and

791
00:45:54,200 --> 00:45:56,279
Speaker 1: you can sometimes you got two hit Wonders, three hit

792
00:45:56,320 --> 00:45:59,440
Speaker 1: Wonders or one album. But like, it's not like it

793
00:45:59,640 --> 00:46:02,000
Speaker 1: used to be because the point of entry is so wide.

794
00:46:02,760 --> 00:46:06,760
Speaker 1: So I don't know that, you know, unless you're getting

795
00:46:07,480 --> 00:46:11,279
Speaker 1: two thousand Pink Floyds, then it probably is good at

796
00:46:11,320 --> 00:46:13,279
Speaker 1: Its just way that people get a chance to just

797
00:46:13,760 --> 00:46:17,160
Speaker 1: taste tests until they feel like they've figured out who

798
00:46:17,280 --> 00:46:19,799
Speaker 1: makes a great meal. And then versus who makes a

799
00:46:19,800 --> 00:46:23,399
Speaker 1: good side dish. I still find myself if I hear

800
00:46:23,440 --> 00:46:25,200
Speaker 1: something that I haven't heard before, whether it be new

801
00:46:25,280 --> 00:46:29,240
Speaker 1: or old, I usually want to go deeper and listen

802
00:46:29,320 --> 00:46:32,600
Speaker 1: to everything the artist was doing in that period and

803
00:46:32,719 --> 00:46:36,600
Speaker 1: try to get a sense of beyond the song, who

804
00:46:36,640 --> 00:46:39,319
Speaker 1: they are, where they are, where, where it comes from.

805
00:46:39,480 --> 00:46:41,640
Speaker 1: That's not a bad thing. You should continue to do that,

806
00:46:42,040 --> 00:46:47,600
Speaker 1: but it doesn't always deliver, and that's because there's so much. Yeah,

807
00:46:47,600 --> 00:46:51,480
Speaker 1: it's endless. It can't all be good. It definitely. All

808
00:46:51,520 --> 00:46:55,239
Speaker 1: can't be great. Absolutely, On the other side, they can't

809
00:46:55,239 --> 00:46:58,960
Speaker 1: all be bad, right, but it but one thing that

810
00:46:59,280 --> 00:47:03,080
Speaker 1: it is is all and because you're dealing with all,

811
00:47:03,640 --> 00:47:06,880
Speaker 1: you're gonna want to taste tests absolutely, And I do

812
00:47:07,040 --> 00:47:11,640
Speaker 1: love the ability to anything I think of be able

813
00:47:11,680 --> 00:47:13,920
Speaker 1: to call it up and listen to it on demand

814
00:47:14,440 --> 00:47:17,480
Speaker 1: versus you know, having to wait for it. It's really

815
00:47:17,560 --> 00:47:20,680
Speaker 1: nice being able to find all music all the time.

816
00:47:21,160 --> 00:47:22,920
Speaker 1: It's a great way to listen. So it's like a

817
00:47:23,040 --> 00:47:26,040
Speaker 1: dream growing up in a place the way we did

818
00:47:26,560 --> 00:47:29,200
Speaker 1: to now get to this place where it's literally all

819
00:47:29,280 --> 00:47:32,320
Speaker 1: music on demand at all times. It's a miracle. Yeah,

820
00:47:32,360 --> 00:47:38,239
Speaker 1: it's beautiful to see and experience. Cool Man. I love you, Blessings,

821
00:47:38,280 --> 00:47:42,360
Speaker 1: my brother be blessed, and most importantly, be a blessing.

822
00:47:45,719 --> 00:47:47,320
Speaker 1: Thanks to for Herrell for taking time out of his

823
00:47:47,400 --> 00:47:50,719
Speaker 1: studio work to chat and reminisce with Rick. You can

824
00:47:50,719 --> 00:47:52,719
Speaker 1: hear all of Horrell's favorite songs that he mentioned on

825
00:47:52,719 --> 00:47:55,719
Speaker 1: a playlist at broken Record podcast dot com. Plus to

826
00:47:55,760 --> 00:47:57,480
Speaker 1: listen to some of his favorite hits that he sent

827
00:47:57,640 --> 00:48:00,440
Speaker 1: Rick just before the interview. Be sure to suscribe to

828
00:48:00,440 --> 00:48:03,680
Speaker 1: our YouTube channel at YouTube dot com slash Broken Record Podcasts.

829
00:48:04,320 --> 00:48:07,279
Speaker 1: There you can find extended cuts of new and old episodes.

830
00:48:07,960 --> 00:48:11,120
Speaker 1: Broken Record is produced with help from Lea Rose, Jason Gambrel,

831
00:48:11,440 --> 00:48:16,000
Speaker 1: Martin Gonzalez, Eric Sandler, and is executive produced by MIO Label.

832
00:48:16,800 --> 00:48:19,520
Speaker 1: Broken Record is a production of Pushkin Industries, and if

833
00:48:19,520 --> 00:48:21,560
Speaker 1: you like our show, please remember to share, rate, and

834
00:48:21,600 --> 00:48:24,080
Speaker 1: review us on your podcast at our team. Music is

835
00:48:24,120 --> 00:48:26,680
Speaker 1: by Kenny Beats. I'm Jessin Richmond bass