WEBVTT - QLS Classic: Greg Phillinganes Part 1

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio. This classic

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<v Speaker 1>episode was.

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<v Speaker 2>Produced by the team at Pandora Ladies and Gentlemen. This

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<v Speaker 2>QLs classic we're about to present is one of my

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<v Speaker 2>personal favorites.

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<v Speaker 1>That's writing my personal favorites. You know.

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<v Speaker 2>I always say, if you want to know about your

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<v Speaker 2>favorite artists, you kind of got to get in with

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<v Speaker 2>their circle. Well, this Great Film Games episode is an

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<v Speaker 2>amazing example. His Stevie Wonder, Michael Jackson, and Quincy Jones

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<v Speaker 2>stories are gold, solid gold. This is one of my

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<v Speaker 2>top ten of all time QLs episodes. It's funny, informative,

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<v Speaker 2>dramatic and amazing. Here it is the Great Filling Games

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<v Speaker 2>QLs classic Part one.

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<v Speaker 1>All right, here we go Hit It one two three, sub.

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<v Speaker 3>Premo, sub Bramo, Subprema Sun Sun, Subprema Role Call Son

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<v Speaker 3>Son Supremo, Role called Supreme, So Supremeo.

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<v Speaker 4>Roll Games is the man. Yeah, HiT's on the shelf. Yeah,

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<v Speaker 4>but on Michaels, don't stop to getting up? Yeah, did

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<v Speaker 4>that bridge is right itself?

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<v Speaker 5>Supreme Sun, Supreme Roll Call Suprema Son Sun Supremo Roll Called.

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<v Speaker 1>My name is Fante. Yeah, and I'm a winner. Yeah.

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<v Speaker 1>With filling gangs. Yeah, now let it simmer.

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<v Speaker 5>Supre Supremo roll call Supremo, Supremo roll call.

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<v Speaker 1>My name is Sugar. Yeah, I got the sugars. Yeah,

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<v Speaker 1>I'm having significant pains.

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<v Speaker 2>Yeah, but I'm making significant games.

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<v Speaker 5>Supremo roll call, Supreme Son Son Supremo.

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<v Speaker 1>Roll call Sunshine Yeah moonlight.

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<v Speaker 5>Yeah good Yeah, blame it on Supreme Son Son Supreme

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<v Speaker 5>Suprema Son Son Supremo roll like yeah, yeah.

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<v Speaker 6>I can't help it. Yeah, Greg, Yeah, the reason you

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<v Speaker 6>felt it?

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<v Speaker 5>Call Supreme Son said Rome Suprema.

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<v Speaker 1>Why you're around?

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<v Speaker 5>Wow?

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<v Speaker 1>Called my name is Greg.

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<v Speaker 2>Yeah, I'm with a mir Yeah, but I can't believe,

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<v Speaker 2>Yeah that he's right here.

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<v Speaker 5>Supprema Son some Supremo role came Subprema Son Son Supremo

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<v Speaker 5>role called Suprema Son Son Supremo.

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<v Speaker 1>Roll called Suprema something some Supreme roll call. Yes, Yes,

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<v Speaker 1>I am right here. Wow, what's up? Y'all? Welcome to

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<v Speaker 1>another episode of Quest Love.

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<v Speaker 4>I mean, we are live at United Recording Studios, the

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<v Speaker 4>legendary United Recording Studios. I believe that this is where

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<v Speaker 4>Frank Sinatra and many a.

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<v Speaker 1>Yeah, this Man's World recorded here too.

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<v Speaker 2>The other room here here yes, yes, we're in the legendary,

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<v Speaker 2>legendary United Recording sten.

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<v Speaker 4>I'm just let the QLs listeners know that our guest

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<v Speaker 4>today always always accuses me of putting my nerdom for

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<v Speaker 4>useless music trivia information ahead of our friendship. Absolutely, so

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<v Speaker 4>I will start off before I even start the the

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<v Speaker 4>the introductions, I will just start with Greg filling games.

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<v Speaker 1>How are you? Then?

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<v Speaker 2>I mean, I'm just fine, And it's so good to

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<v Speaker 2>see you at the beginning of twenty eighteen.

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<v Speaker 4>Yes, it's great to see too, all right, So, ladies

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<v Speaker 4>and gentlemen, welcome to the quest Siphony.

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<v Speaker 1>Our guest today is one.

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<v Speaker 4>Of the heaviest heavyweights of musicians and producers and arrangers.

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<v Speaker 4>This is the man that you call when you want

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<v Speaker 4>the special sauce or as Marlon Jackson said, now it's soup.

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<v Speaker 4>I've never heard that served my life, but he said,

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<v Speaker 4>we got we got.

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<v Speaker 1>Filling Games involved. Yeah, now it's soup. Wow, he said that. Yes,

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<v Speaker 1>he said that.

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<v Speaker 2>He says a lot of wacky things.

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<v Speaker 1>Well, I kind of understood what he meant. And you know,

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<v Speaker 1>your your your presence on you know when you read

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<v Speaker 1>some of.

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<v Speaker 4>Our our favorite records and and and productions of of

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<v Speaker 4>the last forty years. Your name is always involved on

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<v Speaker 4>some of the most life changing albums that we've experienced,

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<v Speaker 4>and we want to welcome Greg filling Games to of course,

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<v Speaker 4>you know why I love you.

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<v Speaker 2>Mayor because you're you're such an intense nerd about this

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<v Speaker 2>curator of this, but you're you're keeping the history alive.

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<v Speaker 1>But you're doing it in the creepiest way possible.

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<v Speaker 2>No no, no, no, no, no no, no, seriously, all

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<v Speaker 2>jokes aside, you're doing it in in the absolute best

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<v Speaker 2>way possible. You're you're making it fun. You're using your

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<v Speaker 2>platform from your celebrity to do this. And I for one,

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<v Speaker 2>really appreciate because I don't get out very often these

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<v Speaker 2>days because I'm older now and I have twin boys

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<v Speaker 2>who are almost three they'll be three. That's that's a

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<v Speaker 2>whole and my twelve year old daughter. But but you know,

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<v Speaker 2>I'm I'm older now, and you know, it's it's a

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<v Speaker 2>new day and it's a new world out there, and

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<v Speaker 2>you know, I'm just trying to stay with it.

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<v Speaker 1>So I appreciate.

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<v Speaker 4>But the thing is is that you've you've made some

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<v Speaker 4>of the best graffiti that will never ever be replaced

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<v Speaker 4>no matter what. And yeah, and even if people don't know,

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<v Speaker 4>like it's it's there, like it's no racing the history.

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<v Speaker 2>Well it's I've been very, very blessed in that way.

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<v Speaker 2>And it's true. I've always said, you know, my whole career,

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<v Speaker 2>those that know no and those that don't don't, And

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<v Speaker 2>it's fine with me. And actually I kind of preferred

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<v Speaker 2>that way because I love. This happens to me all

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<v Speaker 2>the time. You know, I'll be talking to someone who

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<v Speaker 2>has no clue of who I am, right, and they

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<v Speaker 2>so you play, you play, you're you're a musician.

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<v Speaker 1>I go, yeah, oh what do you play? Keyboards? Oh?

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<v Speaker 1>You in the band?

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<v Speaker 2>I said, well, I've been in a couple of bands,

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<v Speaker 2>but you know, and I mean, I just I loved it.

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<v Speaker 2>And I have this I have this thing playing in

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<v Speaker 2>my head. Like I was at this incredible museum the

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<v Speaker 2>other day called another cup museum. It's over in Silmar,

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<v Speaker 2>and the curator of all these incredible musical instruments actually

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<v Speaker 2>a mirror. You should see it because it's unbelievable and

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<v Speaker 2>and he one of the things on display was was

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<v Speaker 2>an actual gramophone. And I mentioned to the guy, I said, well,

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<v Speaker 2>you know, you can explain to the to the to

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<v Speaker 2>the tourists there that gramophone is you know where where

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<v Speaker 2>the term Grammy came from? You know, the Grammy Awards,

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<v Speaker 2>you know is Yeah, you're absolutely right, he says, you

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<v Speaker 2>ever been to the Grammys?

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<v Speaker 1>It's really fun.

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<v Speaker 2>And so I have this thing when I get asked

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<v Speaker 2>a question like that, this this this vision runs through

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<v Speaker 2>my mind of like, you know, different times that I've

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<v Speaker 2>mded the Grammys, like you know, like for the segment

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<v Speaker 2>or the segment, and so these things go through my

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<v Speaker 2>head before I answer the question, going yes, I've been

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<v Speaker 2>there a few times, but I never explained that. But

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<v Speaker 2>I just go, yeah, I've been a few times, and

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<v Speaker 2>it's hysterical.

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<v Speaker 4>You acknowledge it because I'm just trying to throw off

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<v Speaker 4>the set, like yeah, hear that a lot.

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<v Speaker 1>But now well sometimes I do that too, you know.

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<v Speaker 2>But it's it's always fun engaging in those conversations and

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<v Speaker 2>still leaving the people not having a clue ifore I am.

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<v Speaker 1>I love that. No, but you never been like yo,

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<v Speaker 1>you're that intro and we are the world.

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<v Speaker 2>Yeah no, no, no, no, okay, no, so something are

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<v Speaker 2>better left?

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<v Speaker 4>Actually you're you're my favorite type of person to interview

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<v Speaker 4>because often you said that the other night. But I'm

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<v Speaker 4>gonna say what's weird is that often when people are

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<v Speaker 4>in the eye of the storm or inside the tornado,

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<v Speaker 4>they really can't give you a good perspective. And I'm

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<v Speaker 4>saying that he has great stories. But for me, in

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<v Speaker 4>talking to engineers is way better than talking.

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<v Speaker 1>To like the guy. Yeah, like I'd rather talk to Susan.

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<v Speaker 4>Rogers about Prince's work habits than Prince himself.

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<v Speaker 1>You know what I mean.

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<v Speaker 2>That's okay, right, because you'll get that, Yeah, you'll get

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<v Speaker 2>a different times exactly. And I feel as though you're

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<v Speaker 2>probably the best eyewitness to some crazy historic shit. I

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<v Speaker 2>mean just between songs in the Key of Life and

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<v Speaker 2>Thriller and I mean the list stop right there, like

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<v Speaker 2>the average person's whole.

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<v Speaker 1>Yeah, I'll give you that. So where you originally from Detroit?

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<v Speaker 1>You're from the D.

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<v Speaker 2>I'm from the D east side or west side. Well,

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<v Speaker 2>it started in Highland, like you know, listen.

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<v Speaker 1>Some of you know some of my my key records

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<v Speaker 1>were created in Detroit as well.

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<v Speaker 4>I'm a lover of Detroit, Okay, but I know that

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<v Speaker 4>people from the West Side sometimes front and tell me

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<v Speaker 4>east side for some credibility, right, so I wanted to

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<v Speaker 4>know where you east side or west?

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<v Speaker 2>Well, first of all, I don't need credit.

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<v Speaker 1>See I already know your west side because you didn't

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<v Speaker 1>even say what up though.

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<v Speaker 2>To No, No, Actually I started in Highland Park if

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<v Speaker 2>you know that, which virtually doesn't exist anymore. And then

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<v Speaker 2>I moved to the northwest side by eight mile. Okay,

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<v Speaker 2>all right, I see, So you're you're, you're your your

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<v Speaker 2>credigenous are still there?

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<v Speaker 4>You're in there side. Note when you read the purple

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<v Speaker 4>ring uh liner notes, Prince actually gives.

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<v Speaker 6>A what up?

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<v Speaker 4>Though, Oh yeah, really he gives what up to Billy

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<v Speaker 4>Sparks from Detroit from Detroit, So.

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<v Speaker 2>Are you as far as your your your era or

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<v Speaker 2>your your period of growing up. We've also interviewed Ray

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<v Speaker 2>Parker Jr. On the show, So lord, how did how

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<v Speaker 2>did that go?

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<v Speaker 1>Amazing? How did you manage to leave? Because we didn't

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<v Speaker 1>want to? No.

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<v Speaker 2>One loves talking about themselves more than.

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<v Speaker 1>I love Ray.

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<v Speaker 2>But he knows, he knows what it's like. You know,

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<v Speaker 2>you sit him down and you want to hear more

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<v Speaker 2>about me. Great, later that same week, you want to

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<v Speaker 2>hear more he makes it entertaining, but he basically said

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<v Speaker 2>that for or from Stevie's Music of My Mind period

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<v Speaker 2>up until fulfilling this first finale, he basically wanted, you know.

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<v Speaker 1>All Detroit Cats and his crew as his band.

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<v Speaker 2>And I didn't know if that was just a preference

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<v Speaker 2>of the something water in Detroit or he just wanted

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<v Speaker 2>to make sure that all the homeboys on the block

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<v Speaker 2>got gigs or that sort of thing.

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<v Speaker 1>But you're incigdnifically younger, though, So how you come to

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<v Speaker 1>his attention?

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<v Speaker 2>I don't Oh really, you don't know the story. Okay, Well,

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<v Speaker 2>settle back and I'll tell you the whole thing.

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<v Speaker 1>Yes, that's what we.

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<v Speaker 2>Want fire hats with well, Uncle Greg, but Uncle Greg, Yeah, Well,

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<v Speaker 2>hello kids, let me tell you about So this is

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<v Speaker 2>what happened. It's a year after I graduated. I'm in Detroit.

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<v Speaker 2>I graduated high school, which was cast Tech in nineteen

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<v Speaker 2>and seventy four, and I was very excited and very

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<v Speaker 2>much looking forward to going to college because you know.

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<v Speaker 1>That's just what you did.

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<v Speaker 2>And I, you know, it was like straight out of

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<v Speaker 2>the Charlie Brown comics. I got my little Joe cool

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<v Speaker 2>briefcase and I was like, I'm going to college. I

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<v Speaker 2>went to Wayne State, and I gradually just started sucking

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<v Speaker 2>at everything, even the even the subjects I liked, Like

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<v Speaker 2>I really liked psychology sucking.

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<v Speaker 1>Wait, you were there for music.

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<v Speaker 2>It was a Liberal arts. I took a Liberal Arts

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<v Speaker 2>because I was lazy and I didn't want to, you know, anything.

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<v Speaker 2>So I took a liberal arts course and one of

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<v Speaker 2>the courses was psychology. And I was really into it.

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<v Speaker 2>But I sucked. I just could not get it together,

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<v Speaker 2>you know. And so I remember telling my mom that,

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<v Speaker 2>you know, college just wasn't working out, and she says, well,

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<v Speaker 2>you know, just give it another chance and and see

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<v Speaker 2>what happens. And I was gaining a lot of notoriety

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<v Speaker 2>in Detroit from playing in a couple of different bands

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<v Speaker 2>fairly regularly and playing around town. And I absolutely idolized

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<v Speaker 2>Steve Steve, you know, the whole I had posters of

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<v Speaker 2>him in my bedroom all and I really internalized, I

0:13:21.160 --> 0:13:27.319
<v Speaker 2>really absorbed his music. I was to his music what

0:13:27.480 --> 0:13:30.959
<v Speaker 2>you are to music in general. I mean I just

0:13:32.360 --> 0:13:37.880
<v Speaker 2>nerd it out, but not in a cerebral way like you,

0:13:39.480 --> 0:13:45.679
<v Speaker 2>more of an organic, spiritual musical way, you know. And

0:13:45.800 --> 0:13:53.280
<v Speaker 2>I mean I really connected with with his approach musically

0:13:54.520 --> 0:13:57.760
<v Speaker 2>and vocally, even though I was really shy about singing.

0:13:57.800 --> 0:13:59.480
<v Speaker 2>I would sing with him in the shower or whatever,

0:13:59.559 --> 0:14:04.600
<v Speaker 2>you know. And you know, I was just mesmerized by

0:14:05.120 --> 0:14:08.200
<v Speaker 2>by his covers of other things, his arrangement. I mean,

0:14:08.240 --> 0:14:10.720
<v Speaker 2>how do you go from v in my way?

0:14:11.760 --> 0:14:15.560
<v Speaker 1>Blame want to uh? You know, we can't work it out.

0:14:16.400 --> 0:14:24.960
<v Speaker 1>We don't work it out. I mean, who does that?

0:14:25.600 --> 0:14:30.360
<v Speaker 2>And not to not to mention the who does that

0:14:30.880 --> 0:14:34.280
<v Speaker 2>on a clavinet? So I was mesmerized, right. I remember

0:14:34.360 --> 0:14:37.760
<v Speaker 2>telling friends of mine in high school that I would

0:14:37.800 --> 0:14:41.400
<v Speaker 2>eventually play with Stevie wonder I don't know why I

0:14:41.440 --> 0:14:44.560
<v Speaker 2>did that. I don't know where that came from. Well,

0:14:44.560 --> 0:14:47.760
<v Speaker 2>actually I do it came from the Lord, because he

0:14:48.680 --> 0:14:51.240
<v Speaker 2>put that dream in me and I and I remember

0:14:51.400 --> 0:14:53.960
<v Speaker 2>just spewing it out, like telling people I was gonna

0:14:53.960 --> 0:14:54.160
<v Speaker 2>play with.

0:14:54.320 --> 0:14:55.080
<v Speaker 1>So here's what happened.

0:14:56.880 --> 0:15:00.880
<v Speaker 2>A dear, dear, dear friend of mine who's a drummer

0:15:01.960 --> 0:15:05.720
<v Speaker 2>was asked to audition for Steve in New York by

0:15:05.800 --> 0:15:10.200
<v Speaker 2>a former band member by a former Wonderland band member.

0:15:10.280 --> 0:15:14.680
<v Speaker 2>He got to my friend and asked and asked him

0:15:14.680 --> 0:15:17.560
<v Speaker 2>if he'd be interested in auditioning for Stevie in New York,

0:15:17.640 --> 0:15:21.120
<v Speaker 2>So the obvious answer was yes. The night before he left,

0:15:21.400 --> 0:15:23.240
<v Speaker 2>the night before my friend left, I went to see

0:15:23.280 --> 0:15:30.440
<v Speaker 2>him because I was just so thrilled for him, and

0:15:30.920 --> 0:15:33.040
<v Speaker 2>you know, he's packing, and you know, we're talking and

0:15:33.120 --> 0:15:36.000
<v Speaker 2>we're all excited and everything. But he insisted that I

0:15:37.200 --> 0:15:42.560
<v Speaker 2>play some things on a cassette and he would give

0:15:42.600 --> 0:15:45.120
<v Speaker 2>that cassette to Steve. This is the kind of friend

0:15:45.160 --> 0:15:48.920
<v Speaker 2>he was, so he insisted I do this. So I

0:15:49.000 --> 0:15:51.360
<v Speaker 2>played some things, but I played I remember one of

0:15:51.400 --> 0:15:53.120
<v Speaker 2>the things I played was you are the Sunshine of

0:15:53.200 --> 0:15:56.360
<v Speaker 2>My Life, but I played it the same way he

0:15:56.520 --> 0:15:58.280
<v Speaker 2>did on the record, to kind of let him know

0:15:58.760 --> 0:16:02.520
<v Speaker 2>I understand, spoke to how you're right, how he thinks.

0:16:02.840 --> 0:16:07.120
<v Speaker 1>And I played some other things, including sun.

0:16:06.960 --> 0:16:10.800
<v Speaker 2>Goddess, I remember playing it, and I played like maybe

0:16:10.840 --> 0:16:13.160
<v Speaker 2>one or two other things, and then he my friend

0:16:13.240 --> 0:16:16.960
<v Speaker 2>took the cassette and flew to New York the next day,

0:16:18.160 --> 0:16:21.240
<v Speaker 2>and it seemed like time stopped. I don't know how

0:16:21.320 --> 0:16:25.080
<v Speaker 2>long he was there, but I remember, uh, one day,

0:16:25.840 --> 0:16:29.760
<v Speaker 2>maybe two three days later, my friend called me early

0:16:29.760 --> 0:16:30.680
<v Speaker 2>in the morning and said.

0:16:30.520 --> 0:16:34.240
<v Speaker 1>Stevie wonderwats to see you in New York today? Wow?

0:16:35.920 --> 0:16:40.240
<v Speaker 2>Exactly. So I'm running around the house screaming like a banshie.

0:16:42.400 --> 0:16:44.560
<v Speaker 2>My mom My mom is like, you know, she's on

0:16:44.640 --> 0:16:46.320
<v Speaker 2>her way to work. You know, she was working at

0:16:46.360 --> 0:16:49.280
<v Speaker 2>a hospital. I said, director of nurses, And she said, but.

0:16:49.320 --> 0:16:52.080
<v Speaker 1>What's the matter with you? What did you do it?

0:16:52.920 --> 0:16:57.960
<v Speaker 2>So I so She's like, well, just bring clean underwear,

0:17:00.760 --> 0:17:03.800
<v Speaker 2>no matter what, no matter how bad of an accident

0:17:03.880 --> 0:17:06.560
<v Speaker 2>you get. If you die, the first thing your mother's

0:17:06.600 --> 0:17:09.600
<v Speaker 2>gonna ask was his under the work or then he stands.

0:17:10.800 --> 0:17:15.800
<v Speaker 2>That's all they want to know. So now, but I'm

0:17:15.880 --> 0:17:18.160
<v Speaker 2>asked to go to New York that day, but I'm

0:17:18.200 --> 0:17:21.919
<v Speaker 2>also asked to stop by Stevie's house to pick up

0:17:21.960 --> 0:17:25.800
<v Speaker 2>one of his brothers. So now I'm sitting inside Stevie

0:17:25.840 --> 0:17:28.480
<v Speaker 2>Wonders and I knew where he lived. There were many

0:17:28.520 --> 0:17:31.080
<v Speaker 2>of us that knew where he lived. But now I'm

0:17:31.119 --> 0:17:32.400
<v Speaker 2>sitting inside the house.

0:17:32.240 --> 0:17:35.200
<v Speaker 1>Going, Okay, well I'm just here sitting inside Stevie Wonder's house.

0:17:35.240 --> 0:17:37.399
<v Speaker 2>All right, I'm just waiting for his brother, one of

0:17:37.440 --> 0:17:39.240
<v Speaker 2>his brothers to come down and we're gonna go to

0:17:39.280 --> 0:17:41.679
<v Speaker 2>the airport, all right, let me just absorb this right now.

0:17:42.480 --> 0:17:45.199
<v Speaker 2>So Timothy comes down, we go to the airport. Now

0:17:46.480 --> 0:17:47.639
<v Speaker 2>there are a few backstories.

0:17:47.720 --> 0:17:47.880
<v Speaker 1>Now.

0:17:48.280 --> 0:17:50.720
<v Speaker 2>The first backstory is, remember I was telling you how

0:17:50.800 --> 0:17:55.600
<v Speaker 2>I was sucking in college and Mom said to give

0:17:55.640 --> 0:17:57.520
<v Speaker 2>it one more try, and I remember saying to myself,

0:17:57.520 --> 0:18:00.560
<v Speaker 2>all right, look, I'm gonna try this one more time,

0:18:01.880 --> 0:18:03.520
<v Speaker 2>and I'm going to.

0:18:05.480 --> 0:18:06.360
<v Speaker 1>If nothing.

0:18:07.600 --> 0:18:11.520
<v Speaker 2>Earth shattering happens, I'll register for the spring quarter on

0:18:11.640 --> 0:18:12.760
<v Speaker 2>the last data register.

0:18:14.560 --> 0:18:17.199
<v Speaker 1>Okay, The day I was.

0:18:17.280 --> 0:18:19.960
<v Speaker 2>Leaving for the airport to meet Stevie in New York

0:18:20.160 --> 0:18:24.840
<v Speaker 2>was the final data register for the state. Look at God,

0:18:25.400 --> 0:18:29.200
<v Speaker 2>And I remember being on you know, going to the

0:18:29.520 --> 0:18:32.640
<v Speaker 2>metro report and it started snowing, you know, and it's

0:18:32.720 --> 0:18:38.440
<v Speaker 2>just like and it was April first, on top of

0:18:38.480 --> 0:18:43.159
<v Speaker 2>all that, so flat of New York. Get settled at

0:18:43.200 --> 0:18:47.119
<v Speaker 2>the hotel, going to the studio. I'm sitting on pins

0:18:47.160 --> 0:18:51.359
<v Speaker 2>and needles because I realized I'm about to meet my

0:18:51.520 --> 0:18:55.840
<v Speaker 2>idol that i'd only seen twice in concert before, and

0:18:55.920 --> 0:18:58.680
<v Speaker 2>I'm getting ready to meet this guy like face to face,

0:18:58.720 --> 0:19:00.880
<v Speaker 2>and I'm sitting I'm really trying to cool. The engineer

0:19:01.000 --> 0:19:02.879
<v Speaker 2>is just like, you know, we're making small talk but

0:19:02.960 --> 0:19:06.480
<v Speaker 2>I'm just your hand sweating. Everything is just I'm I'm

0:19:06.640 --> 0:19:09.480
<v Speaker 2>really just is this at the record play? This was

0:19:09.520 --> 0:19:12.879
<v Speaker 2>at the Hit Factory, the original one okay with the

0:19:13.240 --> 0:19:14.119
<v Speaker 2>one elevator and the.

0:19:14.640 --> 0:19:17.600
<v Speaker 1>Street Mariah carry boysmen in the elevator there.

0:19:17.520 --> 0:19:21.800
<v Speaker 2>You go and also known as the Greg Filling Gangs

0:19:21.800 --> 0:19:24.440
<v Speaker 2>elevator because I have a story about that, that particular elevator.

0:19:25.080 --> 0:19:28.800
<v Speaker 2>Yeah I do. It'll crack you up. But anyway, so

0:19:28.880 --> 0:19:32.359
<v Speaker 2>I'm waiting on Pensilan. Finally elevated door opens, and you know,

0:19:32.480 --> 0:19:34.760
<v Speaker 2>because you're you're in the studio and there's a monitor

0:19:34.840 --> 0:19:37.280
<v Speaker 2>that's there's a camera this pointing at the elevator to

0:19:37.320 --> 0:19:41.119
<v Speaker 2>see who goes in and out. Elevator door finally opens,

0:19:41.160 --> 0:19:42.960
<v Speaker 2>in out he comes he.

0:19:43.160 --> 0:19:44.360
<v Speaker 1>You know thing.

0:19:45.600 --> 0:19:48.720
<v Speaker 2>His sister Rene is towing him and he just he

0:19:48.800 --> 0:19:49.199
<v Speaker 2>comes in.

0:19:49.640 --> 0:19:56.480
<v Speaker 1>And I go, oh my god, because you know, that's

0:19:56.480 --> 0:19:58.920
<v Speaker 1>what you do. Yeah, that is what you do.

0:19:59.040 --> 0:20:04.080
<v Speaker 2>You don't say, but this is what's going on. So

0:20:06.080 --> 0:20:08.720
<v Speaker 2>you know, and he's coming in and so they say

0:20:08.880 --> 0:20:12.720
<v Speaker 2>Steve Gregs here and so he how you doing? And

0:20:12.840 --> 0:20:17.800
<v Speaker 2>that handshake, that single handshake was a thing that changed

0:20:17.840 --> 0:20:22.840
<v Speaker 2>my life. We uh, from that point on, we made

0:20:22.920 --> 0:20:27.320
<v Speaker 2>small talk, and you know, he actually showed me, uh

0:20:27.880 --> 0:20:32.080
<v Speaker 2>an original unreleased song of his, and he wanted to

0:20:32.080 --> 0:20:34.760
<v Speaker 2>see if I could play it. I see, of course,

0:20:36.240 --> 0:20:39.320
<v Speaker 2>Well there's an answer for that mirror, and it was

0:20:39.480 --> 0:20:42.920
<v Speaker 2>called Spring High.

0:20:43.880 --> 0:20:44.080
<v Speaker 5>Oh.

0:20:44.440 --> 0:20:46.359
<v Speaker 1>He ended up cutting it on Ramsey Lewis.

0:20:46.520 --> 0:20:55.960
<v Speaker 2>You're good, You're good, You're good. You over there, you're good. Wow,

0:20:56.680 --> 0:20:57.960
<v Speaker 2>I've seen good. You're one of them.

0:20:59.760 --> 0:21:01.840
<v Speaker 1>So yes, but.

0:21:03.600 --> 0:21:05.200
<v Speaker 2>You know, at some point, you know, early on he

0:21:05.240 --> 0:21:06.399
<v Speaker 2>said it was going to give it to me, but

0:21:06.600 --> 0:21:10.600
<v Speaker 2>you know, I'm not better because I know and love

0:21:10.720 --> 0:21:14.640
<v Speaker 2>Ramsey and it was fantastic. So that's the first song

0:21:14.720 --> 0:21:19.119
<v Speaker 2>I learned. How about that? That was the first one

0:21:19.160 --> 0:21:22.840
<v Speaker 2>I learned, right.

0:21:24.600 --> 0:21:27.399
<v Speaker 1>Come on, you know, I didn't read my credits, but

0:21:27.440 --> 0:21:30.320
<v Speaker 1>I know that song very well. We have the h track, so.

0:21:31.840 --> 0:21:34.359
<v Speaker 2>Okay, okay, but when you think about it, how about

0:21:34.400 --> 0:21:48.439
<v Speaker 2>that chorus? He goes, right, so there, you know, Uh,

0:21:48.760 --> 0:21:51.359
<v Speaker 2>too bad. I don't have a keyboard anyway, don't say that.

0:21:53.960 --> 0:21:56.880
<v Speaker 2>But but yeah, So that was the first one I learned.

0:21:56.920 --> 0:22:03.159
<v Speaker 2>Now that's the night of April Fools. Next day is

0:22:03.280 --> 0:22:04.439
<v Speaker 2>more of the formal audition.

0:22:06.200 --> 0:22:10.000
<v Speaker 1>H wait, one quick question. Yes, this is nineteen seventy five.

0:22:10.119 --> 0:22:11.399
<v Speaker 2>This is nineteen seventy five.

0:22:11.320 --> 0:22:13.320
<v Speaker 1>So Songs and Key Life did not come out yet.

0:22:13.720 --> 0:22:16.640
<v Speaker 2>No, he was still working on it, okay, seventy five.

0:22:17.320 --> 0:22:19.520
<v Speaker 2>Next day is more of the formal audition. It's between

0:22:19.640 --> 0:22:22.960
<v Speaker 2>me and an older looking white guy, which I came

0:22:23.040 --> 0:22:26.360
<v Speaker 2>to find out later on much later, years years later,

0:22:27.160 --> 0:22:31.880
<v Speaker 2>that guy was sent to audition by Chick Korea.

0:22:32.560 --> 0:22:34.640
<v Speaker 1>Wow, because Chick.

0:22:34.560 --> 0:22:38.960
<v Speaker 2>Heard about Steve auditioning, and he sent this guy and

0:22:40.119 --> 0:22:42.680
<v Speaker 2>wait a minute, wait a minute, wait a minute. His

0:22:43.119 --> 0:22:45.960
<v Speaker 2>name Mike Garson.

0:22:46.760 --> 0:22:47.040
<v Speaker 1>Okay.

0:22:47.240 --> 0:22:49.800
<v Speaker 2>And the reason why I know this is because it

0:22:49.960 --> 0:22:53.760
<v Speaker 2>was just like maybe a few years ago, this guy

0:22:54.000 --> 0:22:57.600
<v Speaker 2>approached me at the Nam Show and Anaheim and said,

0:22:58.280 --> 0:23:02.240
<v Speaker 2>I know you, but you may not know me. I go, Wise,

0:23:02.320 --> 0:23:06.119
<v Speaker 2>it's because I'm the one that auditioned against you for

0:23:06.320 --> 0:23:08.560
<v Speaker 2>Wonder Love. I go, You've got to be kidding me,

0:23:09.240 --> 0:23:11.120
<v Speaker 2>Mike Garson, And he told me the whole story from

0:23:11.160 --> 0:23:12.879
<v Speaker 2>his side. He told me that Chickory has sent him,

0:23:12.920 --> 0:23:14.920
<v Speaker 2>and I'm like, you've got to be kidding. So I

0:23:14.960 --> 0:23:18.200
<v Speaker 2>put his name, uh, you know, my contact list, and

0:23:18.880 --> 0:23:21.800
<v Speaker 2>there's there's a there's a picture of us, uh you know,

0:23:21.920 --> 0:23:22.880
<v Speaker 2>standing side by side.

0:23:22.920 --> 0:23:28.000
<v Speaker 1>But there's another picture of me going like, you're the one, right.

0:23:28.240 --> 0:23:31.680
<v Speaker 2>So so it's between between me and Mike, you know,

0:23:31.760 --> 0:23:34.240
<v Speaker 2>and we're at We're at Bill's rehearsal.

0:23:34.760 --> 0:23:35.520
<v Speaker 1>I remember Bill's.

0:23:36.119 --> 0:23:38.360
<v Speaker 2>You don't know about that, no, okay, it was called

0:23:39.400 --> 0:23:42.879
<v Speaker 2>but okay, fine, Right, So it's a place called Bill's.

0:23:42.920 --> 0:23:50.880
<v Speaker 2>And I met everybody in Wonder Love, including Ali, Raymond Raymond,

0:23:51.119 --> 0:23:57.119
<v Speaker 2>and and and oh my Nissi okay, and Nice was

0:23:57.320 --> 0:24:00.680
<v Speaker 2>very very precocious. She would, you know, run up to

0:24:00.760 --> 0:24:02.760
<v Speaker 2>me from time to time. It pins me on the butt.

0:24:03.080 --> 0:24:05.320
<v Speaker 2>I was going through the process, and from time to

0:24:05.400 --> 0:24:07.119
<v Speaker 2>time different band members would come up to me on

0:24:07.200 --> 0:24:11.480
<v Speaker 2>the side and go, it's okay, you got it. And

0:24:11.640 --> 0:24:13.600
<v Speaker 2>so and I'm still a little nervous. But I don't

0:24:13.600 --> 0:24:16.000
<v Speaker 2>even remember what I did was. I have no idea

0:24:16.080 --> 0:24:18.119
<v Speaker 2>we were playing all day. I have no idea. I

0:24:18.160 --> 0:24:20.680
<v Speaker 2>don't remember anything about it. I just remember going through

0:24:20.720 --> 0:24:23.920
<v Speaker 2>the process and playing with everybody and and kind of

0:24:24.600 --> 0:24:27.120
<v Speaker 2>you know, feeling my way through and this other guy, Mike,

0:24:27.280 --> 0:24:31.760
<v Speaker 2>you know, and that was that. Uh So, after that

0:24:32.000 --> 0:24:37.240
<v Speaker 2>whole day, back in the car with Steve, it's evening time.

0:24:37.320 --> 0:24:39.240
<v Speaker 2>Now we're on our way back to the Hit Factory.

0:24:39.359 --> 0:24:40.680
<v Speaker 2>I'm in the back, Steve's in the front, and he

0:24:40.720 --> 0:24:45.240
<v Speaker 2>turns around at one point goes, so, how does it

0:24:45.320 --> 0:24:54.440
<v Speaker 2>feel to be a member of Wonderlove? So my in

0:24:54.560 --> 0:24:59.120
<v Speaker 2>my head I'm thinking is because now all these things

0:24:59.160 --> 0:25:00.720
<v Speaker 2>are coming back to me out like how I heard

0:25:00.760 --> 0:25:02.560
<v Speaker 2>he was a practical joker, and he never you know,

0:25:02.920 --> 0:25:06.680
<v Speaker 2>all these things right? So I wasn't sure, so I said,

0:25:07.200 --> 0:25:09.480
<v Speaker 2>are you serious? He goes, of course, I'm serious.

0:25:10.160 --> 0:25:10.200
<v Speaker 5>What?

0:25:10.520 --> 0:25:11.080
<v Speaker 1>Oh? Really?

0:25:12.280 --> 0:25:14.159
<v Speaker 2>So now I'm trying to think how can I prove this?

0:25:14.240 --> 0:25:14.760
<v Speaker 1>How can I prove that?

0:25:14.920 --> 0:25:18.920
<v Speaker 2>I said, well, would you mind telling my mom? Because

0:25:19.160 --> 0:25:23.920
<v Speaker 2>it's not gonna lie to them? Okay, the instagram is Mom,

0:25:24.280 --> 0:25:26.240
<v Speaker 2>you ain't gonna lie to the mob. So he says sure.

0:25:26.280 --> 0:25:29.879
<v Speaker 2>So we get to the studio, I dial the house

0:25:30.320 --> 0:25:32.600
<v Speaker 2>and give him the phone. The first voice my mom

0:25:32.760 --> 0:25:36.560
<v Speaker 2>hears is Stevie Wonders telling her that he wants to

0:25:36.720 --> 0:25:39.280
<v Speaker 2>have her son in his band and he'll take care

0:25:39.359 --> 0:25:41.520
<v Speaker 2>of him, and he thinks he's very talented, and this

0:25:41.640 --> 0:25:45.040
<v Speaker 2>and this and this and this and this, and they

0:25:45.119 --> 0:25:46.800
<v Speaker 2>talked for a couple of minutes, and then he has

0:25:46.840 --> 0:25:48.760
<v Speaker 2>the phone back to me, and for the next few minutes.

0:25:48.800 --> 0:25:58.159
<v Speaker 1>This is what you hear. So you made it.

0:25:58.600 --> 0:26:01.520
<v Speaker 6>Yeah, like at that moment, did you like your mother's response?

0:26:01.560 --> 0:26:03.359
<v Speaker 6>That was the first time you ever probably got that.

0:26:04.280 --> 0:26:06.520
<v Speaker 2>Well that I well, we were doing that to each other.

0:26:06.600 --> 0:26:08.240
<v Speaker 2>I was just screaming. But the thing is that, you

0:26:08.280 --> 0:26:11.200
<v Speaker 2>know she thought, because she told me later on, she

0:26:11.280 --> 0:26:12.840
<v Speaker 2>thought that it was just going to be a weekend

0:26:12.960 --> 0:26:17.119
<v Speaker 2>fleing and I was gonna, you know, meet him and

0:26:17.280 --> 0:26:19.239
<v Speaker 2>have a little thing and then come back home, back

0:26:19.280 --> 0:26:22.520
<v Speaker 2>and go to school. Well it was a weekend flaying.

0:26:22.640 --> 0:26:24.680
<v Speaker 2>I did meet him, and I did go back home

0:26:25.040 --> 0:26:26.280
<v Speaker 2>to get the rest of my shit.

0:26:28.600 --> 0:26:29.040
<v Speaker 1>She was happy.

0:26:29.080 --> 0:26:30.440
<v Speaker 6>That's a music thing to make you some money.

0:26:30.560 --> 0:26:33.399
<v Speaker 1>You were, Oh, and that's the punchline.

0:26:33.560 --> 0:26:38.920
<v Speaker 2>It was a month before my nineteenth birthday, but it

0:26:39.080 --> 0:26:41.639
<v Speaker 2>was a month before Stevie's twenty fifth.

0:26:43.960 --> 0:26:45.359
<v Speaker 1>Okay, let's say that again.

0:26:45.520 --> 0:26:49.680
<v Speaker 2>A month before Stevie's twenty fifth birthday, which means he

0:26:49.840 --> 0:26:53.320
<v Speaker 2>was working on songs in the Key of Life at

0:26:53.400 --> 0:26:53.960
<v Speaker 2>twenty four.

0:26:55.000 --> 0:26:57.679
<v Speaker 1>That's crazy, Yes, it is. That is crazy.

0:26:58.359 --> 0:27:01.520
<v Speaker 2>So when he after he turned twenty five, was when

0:27:01.560 --> 0:27:05.879
<v Speaker 2>that was released twenty five. I was still trying to

0:27:05.920 --> 0:27:09.440
<v Speaker 2>learn how to time my shoelaces. This guy songs in

0:27:09.520 --> 0:27:13.200
<v Speaker 2>the Key of Life. So let that marinate.

0:27:13.359 --> 0:27:18.320
<v Speaker 4>Yeah, you put it in perspective because I wait, this

0:27:18.640 --> 0:27:20.600
<v Speaker 4>is something I want to ask you about your your

0:27:20.680 --> 0:27:24.840
<v Speaker 4>Stevie experience. And I have two other backstories. No, no, okay,

0:27:25.440 --> 0:27:27.199
<v Speaker 4>but that SCO asked me for you. Well see now

0:27:27.200 --> 0:27:28.520
<v Speaker 4>I'm asking for another backstory, and.

0:27:29.840 --> 0:27:32.080
<v Speaker 2>Okay, I'd rather you go. Okay, all right, So here's

0:27:32.080 --> 0:27:36.080
<v Speaker 2>the thing. The thing is, my dear friend, the drummer

0:27:37.040 --> 0:27:38.000
<v Speaker 2>did not get the gig.

0:27:38.320 --> 0:27:40.280
<v Speaker 6>I was wondering, okay, who was he?

0:27:41.960 --> 0:27:46.399
<v Speaker 2>Well, unfortunately you have to ask in that you know,

0:27:47.119 --> 0:27:50.359
<v Speaker 2>in that grammar, you have to say it was because Ricky,

0:27:50.720 --> 0:27:51.560
<v Speaker 2>Ricky last.

0:27:54.400 --> 0:27:54.720
<v Speaker 1>Ricky.

0:27:56.520 --> 0:28:01.000
<v Speaker 2>You have not experienced friendship until Ricky was a friend

0:28:01.040 --> 0:28:01.399
<v Speaker 2>of yours.

0:28:01.680 --> 0:28:01.920
<v Speaker 1>Wow.

0:28:02.720 --> 0:28:07.720
<v Speaker 2>Man, Ricky Lawson was the very definition of friend in

0:28:07.920 --> 0:28:11.160
<v Speaker 2>every aspect. I mean, you know you hear there's there's

0:28:11.160 --> 0:28:12.480
<v Speaker 2>a line that goes, he will give you the shirt

0:28:12.480 --> 0:28:15.800
<v Speaker 2>off your He literally would give you the shirt.

0:28:17.320 --> 0:28:19.080
<v Speaker 1>Off his back. Wow.

0:28:19.320 --> 0:28:22.680
<v Speaker 2>Their story after story, after thousands of stories about how

0:28:22.800 --> 0:28:27.520
<v Speaker 2>he impacted people's lives just quietly, and he was the

0:28:27.680 --> 0:28:31.760
<v Speaker 2>sweetest guy ever ever. And it will never be another

0:28:31.840 --> 0:28:32.480
<v Speaker 2>Ricky Lawson.

0:28:32.960 --> 0:28:34.960
<v Speaker 1>Dennis used to talk about it. You told you told

0:28:35.000 --> 0:28:36.040
<v Speaker 1>this story on Soul Train.

0:28:36.320 --> 0:28:38.320
<v Speaker 4>You're the first cat I knew that didn't even talk

0:28:38.360 --> 0:28:41.360
<v Speaker 4>about your album. It was a tribute to Ricky Lawson.

0:28:41.360 --> 0:28:43.840
<v Speaker 4>I was like, this is the weirdest thing you usually have.

0:28:44.080 --> 0:28:46.360
<v Speaker 4>You got two minutes to sell your product at don

0:28:46.560 --> 0:28:49.400
<v Speaker 4>Yes a new album and this one single, and Donna

0:28:49.440 --> 0:28:51.600
<v Speaker 4>asked you, like, tell us about your beginning. He just said,

0:28:51.600 --> 0:28:53.880
<v Speaker 4>it's all because this man right here, and it was

0:28:53.920 --> 0:28:56.040
<v Speaker 4>like it was almost a tearful moment. I was like, wow,

0:28:56.200 --> 0:28:58.280
<v Speaker 4>Like damn, I gotta treat the roots better.

0:28:58.200 --> 0:29:03.200
<v Speaker 6>Because so can you tell the drummer story then? Because

0:29:03.240 --> 0:29:05.120
<v Speaker 6>Ricky didn't get the gig. But I know she used

0:29:05.160 --> 0:29:06.920
<v Speaker 6>to talk about Ricky all the time.

0:29:07.280 --> 0:29:11.080
<v Speaker 2>Weird well, but you know, and it turned out Dennis Davis.

0:29:11.160 --> 0:29:13.480
<v Speaker 2>But it turned out that Steve was just trying to

0:29:17.160 --> 0:29:20.040
<v Speaker 2>I don't know, intimidat or strike fear into the But

0:29:20.240 --> 0:29:23.640
<v Speaker 2>actually the drummer that was there was Raymond Pounds. Raymond Pounds,

0:29:23.720 --> 0:29:26.720
<v Speaker 2>So that's where I'm at. But Ricky didn't get it

0:29:26.760 --> 0:29:29.880
<v Speaker 2>with Steve. But Roy Airs was hanging around a lot

0:29:30.000 --> 0:29:32.320
<v Speaker 2>at the time, and Roy said, if you don't get

0:29:32.360 --> 0:29:34.160
<v Speaker 2>it with him, you got it with me. So he

0:29:34.440 --> 0:29:37.720
<v Speaker 2>ended up with Roy, and technically.

0:29:38.120 --> 0:29:43.400
<v Speaker 6>Because with Roy and Stevie and but Dennis and Ricky were.

0:29:43.360 --> 0:29:45.959
<v Speaker 2>Like yes, yes, so it was it was a lot

0:29:46.000 --> 0:29:49.239
<v Speaker 2>of ancestual action going on there. But here's the thing.

0:29:50.440 --> 0:29:53.720
<v Speaker 2>So technically, even though I just joined Steve's band and

0:29:53.720 --> 0:29:55.520
<v Speaker 2>I was working on songs in the Life, songs in

0:29:55.520 --> 0:29:57.960
<v Speaker 2>the Key of Life, technically the first album that was

0:29:58.040 --> 0:30:05.080
<v Speaker 2>released and I'm on is Everybody Loves the Sunshine. Yes, yes,

0:30:05.600 --> 0:30:08.400
<v Speaker 2>that's you as me, not on not on everything. I

0:30:08.520 --> 0:30:13.440
<v Speaker 2>think on two songs, but there's one song that I

0:30:13.520 --> 0:30:15.880
<v Speaker 2>have a solon at the end that it was I'm

0:30:16.000 --> 0:30:18.280
<v Speaker 2>just I was just blazing and I was very young

0:30:18.360 --> 0:30:20.880
<v Speaker 2>and crazy and hungry, and I was just like, you know,

0:30:21.520 --> 0:30:25.000
<v Speaker 2>so uh yeah, that was the first thing that was released.

0:30:24.760 --> 0:30:27.600
<v Speaker 1>That I'm on. What equipment were you using at the

0:30:27.680 --> 0:30:30.920
<v Speaker 1>time and whatever the hell I wanted to what was out?

0:30:31.080 --> 0:30:34.080
<v Speaker 1>I was working with Stevie Wanner. Dude, he had two

0:30:34.160 --> 0:30:36.680
<v Speaker 1>of everything. Well I'm just saying, now, you know, we

0:30:36.800 --> 0:30:39.600
<v Speaker 1>get a chord, we get a you know, no, because no, no, no, no.

0:30:39.800 --> 0:30:44.240
<v Speaker 2>First of all, I had several Pristine Roads that's what

0:30:44.680 --> 0:30:46.360
<v Speaker 2>that's what I want to know. Like okay, I mean

0:30:46.440 --> 0:30:49.680
<v Speaker 2>like roads like you cannot believe, like roads, like the

0:30:49.800 --> 0:30:54.160
<v Speaker 2>intro to Superwoman. I mean, I'm like roads, right, and

0:30:54.840 --> 0:30:59.200
<v Speaker 2>uh oh we had the Yamaha stuff, the CS eighty,

0:31:00.880 --> 0:31:04.400
<v Speaker 2>the Our twenty six hundred, the Mini Moons, and of

0:31:04.520 --> 0:31:09.960
<v Speaker 2>course the dream Machine. Tanto no no, no, no, you

0:31:10.000 --> 0:31:12.880
<v Speaker 2>know about the dream Machine. This is glav no no no, no, no,

0:31:13.320 --> 0:31:16.200
<v Speaker 2>way before Sintklaviy. This is what Sintklavier was trying to be.

0:31:16.320 --> 0:31:19.200
<v Speaker 1>Like, is this what's the one black man that little

0:31:19.720 --> 0:31:21.680
<v Speaker 1>automated No, no.

0:31:21.760 --> 0:31:25.440
<v Speaker 2>No, no, this is this is a custom keyboard from Yamaha,

0:31:27.480 --> 0:31:33.760
<v Speaker 2>three tier keyboard, all white and chrome. And the speakers

0:31:33.880 --> 0:31:35.719
<v Speaker 2>are about as tall as I am. And for those

0:31:35.760 --> 0:31:39.240
<v Speaker 2>of you who don't know, that's like five six feet

0:31:39.960 --> 0:31:43.280
<v Speaker 2>n right, no, five seven five eight on a good day.

0:31:43.320 --> 0:31:49.560
<v Speaker 2>But they're they're tall, beautiful speakers. And I have beautiful,

0:31:49.720 --> 0:31:53.000
<v Speaker 2>fond memories of sitting next to Stevie, just the two

0:31:53.040 --> 0:31:57.400
<v Speaker 2>of us, wagging our heads together, playing the parts to Saturn,

0:31:59.120 --> 0:32:02.560
<v Speaker 2>playing the string hearts to Joy inside my DearS, just

0:32:02.640 --> 0:32:03.160
<v Speaker 2>the two of us.

0:32:03.640 --> 0:32:07.480
<v Speaker 1>Wow, Okay, that's just a couple of things and then

0:32:09.440 --> 0:32:13.000
<v Speaker 1>and there are I believe four of these in the world.

0:32:13.080 --> 0:32:17.000
<v Speaker 2>Of course Steve bones two of them, and they're not

0:32:17.280 --> 0:32:20.320
<v Speaker 2>cheap and they're not even they're not even in production anymore.

0:32:20.440 --> 0:32:22.680
<v Speaker 1>They stopped, you know, years ago.

0:32:22.840 --> 0:32:27.920
<v Speaker 2>But yeah, incredible instrument and so yeah, I mean I had,

0:32:29.560 --> 0:32:32.760
<v Speaker 2>you know, well, my clavanets and all that other kind

0:32:32.760 --> 0:32:33.080
<v Speaker 2>of stuff.

0:32:33.360 --> 0:32:37.960
<v Speaker 4>So let me ask if usually in a musician's life,

0:32:38.520 --> 0:32:41.360
<v Speaker 4>I mean, they're just a sponge when you know, if

0:32:41.400 --> 0:32:43.840
<v Speaker 4>they discovered music early from like ten eleven twelve, you

0:32:43.920 --> 0:32:44.840
<v Speaker 4>know they're sponge.

0:32:44.840 --> 0:32:45.640
<v Speaker 1>They're open to anything.

0:32:46.160 --> 0:32:49.720
<v Speaker 4>Usually your first taste of maturity comes when you're like

0:32:49.800 --> 0:32:53.080
<v Speaker 4>fifteen sixteen years old, when you start like putting away

0:32:53.160 --> 0:32:56.600
<v Speaker 4>childish things and you you know, something affects you. Can

0:32:56.640 --> 0:32:59.760
<v Speaker 4>you tell me I've heard I like to hear the

0:33:00.000 --> 0:33:04.160
<v Speaker 4>ounce of people when they first discovered music of my mind?

0:33:04.800 --> 0:33:04.960
<v Speaker 5>Was that?

0:33:06.560 --> 0:33:08.760
<v Speaker 1>Was that? Did that album have an effect on you

0:33:08.960 --> 0:33:12.440
<v Speaker 1>as far as like a huge whoa what is this huge? See?

0:33:12.480 --> 0:33:13.560
<v Speaker 1>Because I love it so much.

0:33:13.640 --> 0:33:15.480
<v Speaker 4>But of course I was born in seventy one, so

0:33:16.280 --> 0:33:18.840
<v Speaker 4>me discovering it in nineteen seventy nine is way different

0:33:18.880 --> 0:33:22.120
<v Speaker 4>than being there in real time listening what was that

0:33:22.280 --> 0:33:25.840
<v Speaker 4>moment like to hear those patches and those.

0:33:27.160 --> 0:33:28.160
<v Speaker 1>Like music like that.

0:33:28.360 --> 0:33:29.920
<v Speaker 2>Well, first of all, I just it just made me

0:33:30.040 --> 0:33:36.600
<v Speaker 2>realize that he was a visionary when it came to

0:33:39.080 --> 0:33:42.040
<v Speaker 2>creating sounds that.

0:33:44.040 --> 0:33:46.480
<v Speaker 1>That you know, that.

0:33:48.560 --> 0:33:58.520
<v Speaker 2>Accurately described his feelings, you know, and the the amazing

0:33:58.600 --> 0:34:02.920
<v Speaker 2>way he used the new technology of that time to

0:34:03.760 --> 0:34:08.920
<v Speaker 2>essentially orchestrate, because you know when you hear things like uh,

0:34:09.200 --> 0:34:16.200
<v Speaker 2>you know again Superwoman and his use of those high

0:34:17.600 --> 0:34:21.400
<v Speaker 2>sense and everything and and and and how he combined uh,

0:34:22.120 --> 0:34:26.480
<v Speaker 2>you know, the newer instruments with traditional instruments like piano,

0:34:27.320 --> 0:34:31.520
<v Speaker 2>drums and so forth. So uh and of course the songwriting,

0:34:31.600 --> 0:34:36.880
<v Speaker 2>every aspect of it, the songwriting, the vocal approach, the

0:34:37.360 --> 0:34:40.080
<v Speaker 2>level of musicianship, because you know, let's let's remember he

0:34:40.160 --> 0:34:41.080
<v Speaker 2>played everything.

0:34:42.480 --> 0:34:44.640
<v Speaker 1>And uh so that had a huge effect.

0:34:44.680 --> 0:34:46.600
<v Speaker 2>But you know, it was it was a it was

0:34:46.680 --> 0:34:48.719
<v Speaker 2>a gradual progression because I didn't just get into him

0:34:48.719 --> 0:34:50.360
<v Speaker 2>as songs in the key of live cousin. It was like,

0:34:50.480 --> 0:34:53.920
<v Speaker 2>you know, from yeah, it was from that, but then

0:34:54.000 --> 0:34:59.520
<v Speaker 2>you know, just just going along the ride, the journey

0:34:59.600 --> 0:35:05.080
<v Speaker 2>with him, the progression you know, from fingertips to uh,

0:35:06.320 --> 0:35:09.200
<v Speaker 2>you know, from even before no, no, before that, like

0:35:10.480 --> 0:35:13.600
<v Speaker 2>signs to Delivery place, you know, the cover of we

0:35:13.719 --> 0:35:17.560
<v Speaker 2>can work it out, Uh should be dude ot day,

0:35:17.680 --> 0:35:21.439
<v Speaker 2>you know, uh right now, Yeah, I met your match,

0:35:21.480 --> 0:35:24.600
<v Speaker 2>you know, things like that, and then from that, uh,

0:35:25.040 --> 0:35:30.840
<v Speaker 2>solely crossing over into uh, the more mature era, you know,

0:35:31.080 --> 0:35:33.200
<v Speaker 2>starting with Where I'm Coming From, which was of course

0:35:33.239 --> 0:35:36.759
<v Speaker 2>a precursor to to uh line, and and where I'm

0:35:36.800 --> 0:35:40.000
<v Speaker 2>Coming From kind of doesn't get enough credit because Where

0:35:40.000 --> 0:35:42.320
<v Speaker 2>I'm coming from had a couple of gems like I

0:35:42.520 --> 0:35:50.399
<v Speaker 2>never dreamed. Let's not forget that exactly, sugar, and take

0:35:50.440 --> 0:35:56.480
<v Speaker 2>your course in happiness, you know, not science delivery, do yourself,

0:36:01.239 --> 0:36:06.200
<v Speaker 2>educate your mind, you know, so gadget that. Yeah there,

0:36:07.120 --> 0:36:10.359
<v Speaker 2>you know, so all that kind of stuff, and uh

0:36:11.080 --> 0:36:15.239
<v Speaker 2>so going along that journey and then ending up at

0:36:15.600 --> 0:36:20.480
<v Speaker 2>the beginning of the five Great album era, starting with

0:36:20.640 --> 0:36:24.839
<v Speaker 2>songs with Music in My Mind because the reason why

0:36:24.960 --> 0:36:27.560
<v Speaker 2>I call it that is because there were five albums

0:36:28.120 --> 0:36:32.279
<v Speaker 2>that were completely great, where every song was great. There

0:36:32.360 --> 0:36:35.600
<v Speaker 2>are other albums before and after that had great songs

0:36:35.800 --> 0:36:38.680
<v Speaker 2>but not complete. Music in my Mind was a complete

0:36:38.719 --> 0:36:42.560
<v Speaker 2>great album, Intervisions was a complete great album. Talking Book

0:36:42.680 --> 0:36:46.360
<v Speaker 2>was a complete great album feeling This first Finalitey was

0:36:46.400 --> 0:36:48.560
<v Speaker 2>a complete great album, and we won't even discuss songs

0:36:48.560 --> 0:36:50.560
<v Speaker 2>in Key of Life. So that's five right there, that

0:36:50.800 --> 0:36:56.879
<v Speaker 2>five album run by the Way that ended at twenty five. Wow,

0:36:56.960 --> 0:36:59.279
<v Speaker 2>it's reminding you that because he was twenty five when

0:36:59.320 --> 0:37:04.040
<v Speaker 2>songs in the Keep Life was exactly that's the perspective.

0:37:08.800 --> 0:37:12.920
<v Speaker 2>But can I just give you one last backstory about.

0:37:14.760 --> 0:37:15.000
<v Speaker 1>Okay?

0:37:15.440 --> 0:37:19.879
<v Speaker 2>So I was given another perspective years later by one

0:37:19.920 --> 0:37:25.040
<v Speaker 2>of Steve's former managers who explained from his end how

0:37:25.120 --> 0:37:30.959
<v Speaker 2>the process went down from my audition. So Ricky goes

0:37:31.040 --> 0:37:34.880
<v Speaker 2>to the studio and the auditions and he's told he

0:37:35.000 --> 0:37:37.719
<v Speaker 2>doesn't get the gig. He kind of leaves with his

0:37:37.840 --> 0:37:41.719
<v Speaker 2>tale between his legs, you know, and he's like obviously disheartened,

0:37:42.000 --> 0:37:45.279
<v Speaker 2>and he leaves the studio. He's outside the studio, he

0:37:45.440 --> 0:37:48.040
<v Speaker 2>feels in his pocket and he remembers that my cassettes

0:37:48.280 --> 0:37:50.120
<v Speaker 2>in this that he still has my cassette. He goes

0:37:50.239 --> 0:37:52.759
<v Speaker 2>back to the studio and says to one of the

0:37:52.920 --> 0:37:55.600
<v Speaker 2>managers at the time, Listen, you know I got this friend,

0:37:55.719 --> 0:37:58.480
<v Speaker 2>his name is Greg, and you know I promised him

0:37:58.520 --> 0:38:01.160
<v Speaker 2>that I give this tape to he's a keyboard player,

0:38:01.160 --> 0:38:03.959
<v Speaker 2>and I promise it, I'd give this cassette to Steve

0:38:04.000 --> 0:38:05.719
<v Speaker 2>so he could check him out. Would you mind just

0:38:05.800 --> 0:38:07.480
<v Speaker 2>making sure he gets it? And the guy says sure.

0:38:08.239 --> 0:38:11.440
<v Speaker 2>He puts it on a table with a pile of

0:38:11.480 --> 0:38:14.360
<v Speaker 2>other cassettes. Steve was not there at the time. He

0:38:14.440 --> 0:38:18.080
<v Speaker 2>stepped away. Some time later, he comes back. He sits

0:38:18.120 --> 0:38:20.560
<v Speaker 2>down at the table with the cassettes. He's fishing around.

0:38:20.560 --> 0:38:23.840
<v Speaker 2>All of a sudden, he just grabs one at random,

0:38:24.239 --> 0:38:28.879
<v Speaker 2>grabs random, sticks it in press his plays listening. He's

0:38:31.640 --> 0:38:34.200
<v Speaker 2>and then he stops wagging his head because he's got

0:38:34.320 --> 0:38:37.440
<v Speaker 2>like a kind of disconcerted look on his face. And

0:38:37.520 --> 0:38:41.640
<v Speaker 2>he said still, and he goes He takes the cassette

0:38:41.640 --> 0:38:46.439
<v Speaker 2>out and goes, what's to say? So the guy says, Greg,

0:38:46.719 --> 0:38:50.279
<v Speaker 2>of course he butchered my last name, and so Steve

0:38:50.360 --> 0:38:51.799
<v Speaker 2>reportedly said get him.

0:38:53.600 --> 0:38:53.880
<v Speaker 1>Wow.

0:38:54.880 --> 0:39:00.960
<v Speaker 2>So because apparently, well I'll I'll forget to that, and

0:39:01.239 --> 0:39:05.520
<v Speaker 2>so he they they they call Ricky back. They see

0:39:05.560 --> 0:39:06.440
<v Speaker 2>a Ricky and he goes.

0:39:06.360 --> 0:39:12.480
<v Speaker 1>Oh, then he changed his mind. Well, well not exactly,

0:39:12.920 --> 0:39:17.600
<v Speaker 1>but but you know your friend, can you call him? Oh?

0:39:19.000 --> 0:39:22.080
<v Speaker 2>Okay, So so I know right, So so that's what.

0:39:22.360 --> 0:39:26.280
<v Speaker 2>But then the reason why Steve reacted the way he did, apparently,

0:39:26.440 --> 0:39:27.080
<v Speaker 2>legend has it.

0:39:27.200 --> 0:39:29.680
<v Speaker 1>Is because he thought it was him.

0:39:32.080 --> 0:39:34.880
<v Speaker 2>Oh, he thought it was him playing and he couldn't

0:39:35.120 --> 0:39:39.279
<v Speaker 2>quite figure it out. Well, I guess I left a

0:39:39.320 --> 0:39:40.920
<v Speaker 2>bit of an impression, which is kind of what I

0:39:41.000 --> 0:39:41.360
<v Speaker 2>wanted to do.

0:39:41.520 --> 0:39:45.000
<v Speaker 1>So that's damn. That is crazy.

0:39:45.120 --> 0:39:48.840
<v Speaker 2>It's bananas. And I actually remember telling Steve that, like

0:39:50.600 --> 0:39:54.520
<v Speaker 2>maybe like a couple of years ago, and he said,

0:39:54.560 --> 0:39:57.000
<v Speaker 2>all right, well that sounds yeah, we'll go with that.

0:39:57.800 --> 0:40:04.920
<v Speaker 4>He didn't, right, So you were just auditioning to be

0:40:05.000 --> 0:40:08.279
<v Speaker 4>in the band, but you wound up on songs in

0:40:08.320 --> 0:40:10.480
<v Speaker 4>the Key of Life four times.

0:40:11.560 --> 0:40:16.640
<v Speaker 1>So okay, being in the eye of the storm? What?

0:40:17.360 --> 0:40:21.800
<v Speaker 4>Because I remember, like now, it doesn't seem like a

0:40:21.920 --> 0:40:24.040
<v Speaker 4>year and a half was all that long to wait

0:40:24.239 --> 0:40:27.000
<v Speaker 4>from seventy four till seventy six.

0:40:27.239 --> 0:40:27.960
<v Speaker 1>Oh, but it was.

0:40:28.480 --> 0:40:31.920
<v Speaker 2>Yeah, And it was if you're Berry Gordy exactly right, right.

0:40:32.239 --> 0:40:41.000
<v Speaker 1>So one, what what was taking so long? And why? Well,

0:40:41.320 --> 0:40:43.759
<v Speaker 1>of course I know that, you know, fine wine takes

0:40:44.680 --> 0:40:45.200
<v Speaker 1>it's time.

0:40:45.320 --> 0:40:47.399
<v Speaker 2>But there's fine wine and then there's Stevie Wonder.

0:40:47.960 --> 0:40:49.960
<v Speaker 4>So by the time you're there, do you know that

0:40:50.080 --> 0:40:52.919
<v Speaker 4>it's going to be a double album or two point

0:40:53.000 --> 0:40:53.640
<v Speaker 4>five albums.

0:40:53.800 --> 0:40:56.120
<v Speaker 1>No, I just know it's a lot. Did he know that?

0:40:58.880 --> 0:41:00.759
<v Speaker 1>I don't know. I don't know.

0:41:00.840 --> 0:41:04.439
<v Speaker 2>It was just because for every one song that ended

0:41:04.520 --> 0:41:07.560
<v Speaker 2>up on the record, there's about three or four that didn't.

0:41:08.840 --> 0:41:11.480
<v Speaker 1>So you multiply, you do the maath on that, and

0:41:12.280 --> 0:41:14.120
<v Speaker 1>so how many songs do you think around doing just

0:41:14.200 --> 0:41:14.960
<v Speaker 1>during that period?

0:41:15.200 --> 0:41:18.440
<v Speaker 2>It's endless because you know what, I have.

0:41:20.320 --> 0:41:21.040
<v Speaker 1>A few.

0:41:22.360 --> 0:41:28.279
<v Speaker 2>Cassettes of unreleased stuff. Yeah, it was one, two, I'm

0:41:28.280 --> 0:41:32.000
<v Speaker 2>pretty sure too, pretty sure, I have to and just

0:41:32.120 --> 0:41:36.960
<v Speaker 2>and that's not even you know, that's barely the typically

0:41:37.000 --> 0:41:41.200
<v Speaker 2>aspert and that's from back then, okay, you know, so

0:41:42.160 --> 0:41:47.440
<v Speaker 2>it's it's added up over the decades. So yeah, he

0:41:47.520 --> 0:41:49.920
<v Speaker 2>had a lot of stuff, and he had he had

0:41:49.960 --> 0:41:53.839
<v Speaker 2>things like, oh, oh, you got to hear this story.

0:41:53.840 --> 0:41:54.799
<v Speaker 1>You gotta hear this. You gotta hear.

0:41:56.760 --> 0:41:59.799
<v Speaker 2>Because it's sort of uh, ties in with your question,

0:42:02.000 --> 0:42:06.239
<v Speaker 2>all kinds of unreleased stuff. And the night before my

0:42:06.440 --> 0:42:10.560
<v Speaker 2>first show with him, which was in DC for a

0:42:10.600 --> 0:42:13.000
<v Speaker 2>little thing called Human Kindness Day, which was on the

0:42:13.040 --> 0:42:16.879
<v Speaker 2>grounds of the Washington Monument, two hundred and fifty thousand people.

0:42:16.920 --> 0:42:20.719
<v Speaker 2>That's my first show. Wo there's an audition for you.

0:42:20.880 --> 0:42:21.080
<v Speaker 1>Yeah.

0:42:21.560 --> 0:42:28.320
<v Speaker 2>So it's the night before and you know, usually, or traditionally,

0:42:28.360 --> 0:42:31.000
<v Speaker 2>Steve would have a massive black bag full.

0:42:30.880 --> 0:42:32.960
<v Speaker 1>Of tapes of guess what.

0:42:34.400 --> 0:42:42.000
<v Speaker 2>So I somewhere found the you know, intestinal fortitude to

0:42:42.080 --> 0:42:48.279
<v Speaker 2>ask him if I could borrow the bag, and do

0:42:48.400 --> 0:42:53.840
<v Speaker 2>you know, he said, yes, what about that I have?

0:42:55.560 --> 0:42:59.000
<v Speaker 2>I'm nineteen years old, I have Stevie barely nineteen. I

0:42:59.040 --> 0:43:03.959
<v Speaker 2>have Stevie Wonders bag of unreleased music in my room

0:43:04.760 --> 0:43:05.840
<v Speaker 2>with a pair of headphones.

0:43:05.960 --> 0:43:07.719
<v Speaker 1>What are you gonna do? Stay in there for like

0:43:07.800 --> 0:43:08.080
<v Speaker 1>a week?

0:43:08.440 --> 0:43:11.920
<v Speaker 2>Okay, So I'm just rifling through stuff. I can't I

0:43:11.960 --> 0:43:12.920
<v Speaker 2>can't believe he said yes.

0:43:13.120 --> 0:43:13.840
<v Speaker 1>To this day.

0:43:15.400 --> 0:43:18.799
<v Speaker 2>And I'm playing stuff and Amir, for the first time,

0:43:19.520 --> 0:43:23.520
<v Speaker 2>I'm hearing the original version of sem on Your Love

0:43:23.719 --> 0:43:27.759
<v Speaker 2>and I cannot tell you. I cannot describe to you

0:43:27.840 --> 0:43:30.759
<v Speaker 2>what it was like, Amir. All I can say was

0:43:30.840 --> 0:43:34.400
<v Speaker 2>that it was an instrumental and all the synthesizers were

0:43:34.440 --> 0:43:40.640
<v Speaker 2>singing what we're singing, Amir. Now you know how it goes,

0:43:40.680 --> 0:43:41.080
<v Speaker 2>you know, do.

0:43:45.480 --> 0:43:45.600
<v Speaker 1>Right?

0:43:46.280 --> 0:43:49.520
<v Speaker 2>But in addition to the melody, they had these background

0:43:49.640 --> 0:43:53.839
<v Speaker 2>since going doo doo wop doo doo doo up doo

0:43:54.040 --> 0:43:58.040
<v Speaker 2>doop in harmony. I'm telling you, it was otherworldly. I

0:43:58.160 --> 0:43:59.879
<v Speaker 2>never heard anything like it in my life. And I'm

0:44:00.120 --> 0:44:04.919
<v Speaker 2>in They're like, it was like LSD and the best

0:44:05.000 --> 0:44:08.000
<v Speaker 2>way you ever can and I don't do drugs, but

0:44:08.040 --> 0:44:10.280
<v Speaker 2>I'm talking about it was like all of those combined.

0:44:10.320 --> 0:44:13.560
<v Speaker 1>It was just like, oh my god, I can't believe.

0:44:16.120 --> 0:44:18.640
<v Speaker 2>And that's one thing I heard. And I heard all

0:44:18.800 --> 0:44:22.880
<v Speaker 2>kinds of stuff that I I can't even describe, uh,

0:44:23.200 --> 0:44:26.680
<v Speaker 2>the feeling, and and I gave it all back to

0:44:26.800 --> 0:44:30.279
<v Speaker 2>him the next day and I was a changed man.

0:44:31.120 --> 0:44:32.640
<v Speaker 1>Yeah wow.

0:44:32.800 --> 0:44:34.320
<v Speaker 2>So none of this stuff has ever come out of

0:44:34.360 --> 0:44:37.600
<v Speaker 2>the outtakes from from songs in them and all that.

0:44:37.880 --> 0:44:41.800
<v Speaker 2>There was another song called living for Your Love, and

0:44:41.920 --> 0:44:45.480
<v Speaker 2>I think he has since released that, but the original

0:44:45.560 --> 0:44:49.040
<v Speaker 2>version of that was the best. And that was done

0:44:49.080 --> 0:44:52.120
<v Speaker 2>on the dream Machine too. And all these weird sounds and.

0:44:55.920 --> 0:44:56.840
<v Speaker 1>What wo.

0:45:00.040 --> 0:45:03.000
<v Speaker 2>They're knowing what I mean, just crazy stuff, you know,

0:45:03.840 --> 0:45:06.239
<v Speaker 2>and original sin when Your Love that was, I mean,

0:45:06.360 --> 0:45:09.040
<v Speaker 2>the version you heard was what seventy five, seventy six,

0:45:10.120 --> 0:45:14.240
<v Speaker 2>seventy five sounds about seventy five man sounds about yeah, God.

0:45:14.200 --> 0:45:18.000
<v Speaker 1>And usually when we get stuff, especially that. Yeah.

0:45:18.400 --> 0:45:20.800
<v Speaker 2>Years later, Yeah, it's been water that has been a

0:45:21.040 --> 0:45:22.160
<v Speaker 2>little bit yeah, yeah.

0:45:22.000 --> 0:45:22.759
<v Speaker 1>God, you know.

0:45:24.280 --> 0:45:27.360
<v Speaker 2>To just leave it off the record, like yeah not

0:45:27.520 --> 0:45:30.759
<v Speaker 2>yet yeah yeah yeah that one and so the one

0:45:30.800 --> 0:45:31.759
<v Speaker 2>you know about.

0:45:31.640 --> 0:45:33.080
<v Speaker 1>Yeah, doesn't hold it.

0:45:33.160 --> 0:45:36.480
<v Speaker 2>It doesn't even compare, doesn't even you think you like that?

0:45:38.400 --> 0:45:38.680
<v Speaker 5>Wow?

0:45:40.320 --> 0:45:44.400
<v Speaker 4>So I gotta know why did he part ways with

0:45:45.560 --> 0:45:48.640
<v Speaker 4>the Tanto guys with Bob and Malcolm.

0:45:48.840 --> 0:45:51.680
<v Speaker 1>Yeah, Bob and Malcolm. I don't think it was anything.

0:45:53.440 --> 0:45:54.960
<v Speaker 1>I think it was just there the program.

0:45:55.520 --> 0:45:57.920
<v Speaker 2>Well, I mean they they introduced him to the whole

0:45:58.360 --> 0:46:01.840
<v Speaker 2>world of sense with with Tato, and I think it

0:46:01.960 --> 0:46:07.480
<v Speaker 2>was just time to change.

0:46:07.840 --> 0:46:08.040
<v Speaker 1>Yeah.

0:46:08.040 --> 0:46:12.920
<v Speaker 2>I don't think it was anything, you know, negative. I

0:46:13.000 --> 0:46:15.680
<v Speaker 2>don't really know much about this split, but I don't

0:46:15.719 --> 0:46:20.359
<v Speaker 2>think it was anything, you know. I don't think it's

0:46:20.400 --> 0:46:23.759
<v Speaker 2>because of any issues. Well no, no, I don't mean,

0:46:23.840 --> 0:46:24.680
<v Speaker 2>like was it amicable.

0:46:24.760 --> 0:46:27.759
<v Speaker 4>But I was just trying to figure out, if you know,

0:46:29.200 --> 0:46:31.560
<v Speaker 4>for what they were doing with him between seventy one

0:46:32.239 --> 0:46:35.760
<v Speaker 4>and seventy four with you know, synthesizes were the size

0:46:35.800 --> 0:46:39.440
<v Speaker 4>of rooms. He suddenly Yamaha is making these because of

0:46:39.480 --> 0:46:46.160
<v Speaker 4>what I want to know is is the ability to

0:46:46.200 --> 0:46:50.120
<v Speaker 4>play chords with these patches. And what year was it

0:46:50.239 --> 0:46:53.120
<v Speaker 4>that you were able to play more than one note

0:46:53.160 --> 0:46:53.400
<v Speaker 4>at the.

0:46:54.440 --> 0:46:56.840
<v Speaker 1>Well that kicked? Oh, I can't remember the exact year, but.

0:46:59.040 --> 0:47:02.360
<v Speaker 2>It it was kind of going on when I was

0:47:02.400 --> 0:47:04.440
<v Speaker 2>there because of the dream machine and because of the

0:47:04.520 --> 0:47:07.880
<v Speaker 2>cs AD you had polyphony with those instruments. But I

0:47:08.000 --> 0:47:10.280
<v Speaker 2>think as far as the split from Malcolm and Bobby,

0:47:10.320 --> 0:47:16.160
<v Speaker 2>he just he just it just seems to me thinking

0:47:16.239 --> 0:47:19.840
<v Speaker 2>about it, that he wanted a more hands on approach

0:47:20.040 --> 0:47:22.480
<v Speaker 2>and he was able to do he felt he could

0:47:22.520 --> 0:47:28.160
<v Speaker 2>do more on his own with the technology of that time,

0:47:28.200 --> 0:47:30.640
<v Speaker 2>because you know, you got the R twenty six hundred

0:47:30.680 --> 0:47:33.839
<v Speaker 2>now and you know, but that was that was even there,

0:47:33.920 --> 0:47:36.640
<v Speaker 2>that was around even during a before songs didn't keep

0:47:36.680 --> 0:47:39.640
<v Speaker 2>life because that was on you know, it was the

0:47:40.440 --> 0:47:42.560
<v Speaker 2>bass sound for boogiey On. So I mean, you know,

0:47:43.239 --> 0:47:45.680
<v Speaker 2>you know that it was around. But I just think

0:47:46.040 --> 0:47:49.320
<v Speaker 2>he wanted to take more of a hands on approach

0:47:49.360 --> 0:47:51.439
<v Speaker 2>and just do just create the sounds on his own.

0:47:52.760 --> 0:47:55.600
<v Speaker 1>So what songs are you on as far as the

0:47:55.920 --> 0:47:57.120
<v Speaker 1>actual tracking in right?

0:47:57.440 --> 0:48:02.640
<v Speaker 2>So Saturn, Okay, Intusion, contusion, And the only reason why

0:48:02.680 --> 0:48:06.040
<v Speaker 2>I'm on contusion is because that crazy line that Mike

0:48:06.360 --> 0:48:10.919
<v Speaker 2>Simbela came up with. He couldn't play it, and I said,

0:48:10.960 --> 0:48:16.120
<v Speaker 2>well I can't, so he said, okay, go So in

0:48:16.200 --> 0:48:20.719
<v Speaker 2>the ridge that's me doing doubling. Yeah, that's me. That's

0:48:20.800 --> 0:48:25.200
<v Speaker 2>me doubling Michael on a on a synth. Yeah, and

0:48:25.360 --> 0:48:26.400
<v Speaker 2>that's the only reason why I'm on that.

0:48:26.520 --> 0:48:27.040
<v Speaker 5>And then.

0:48:28.520 --> 0:48:34.040
<v Speaker 2>Probably isn't my my favorite? Well, one of my favorites

0:48:34.080 --> 0:48:39.279
<v Speaker 2>for sure? Well, yes, isn't She love laim?

0:48:39.280 --> 0:48:39.440
<v Speaker 5>On that?

0:48:39.680 --> 0:48:41.759
<v Speaker 2>And one of my favorites for sure, joy inside my

0:48:41.840 --> 0:48:45.160
<v Speaker 2>tears string parts of that, so and I played the

0:48:45.239 --> 0:48:47.640
<v Speaker 2>Roads on Isn't She Lovely?

0:48:48.360 --> 0:48:48.640
<v Speaker 5>Yeah?

0:48:48.960 --> 0:48:52.960
<v Speaker 1>Yeah? So were those songs all tracked together with a

0:48:53.040 --> 0:48:53.600
<v Speaker 1>group of people?

0:48:53.760 --> 0:48:56.600
<v Speaker 2>No, No, Isn't She Lovely? Was an overdub I I

0:48:58.000 --> 0:49:03.720
<v Speaker 2>definitely remember that. But I also remember meeting the subject

0:49:03.800 --> 0:49:07.200
<v Speaker 2>of that song in a little crib at his brownstone

0:49:07.200 --> 0:49:09.520
<v Speaker 2>in New York, and I remember going up stairs and

0:49:09.600 --> 0:49:11.719
<v Speaker 2>looking down on the crib and going, oh, she's cute.

0:49:15.120 --> 0:49:18.120
<v Speaker 2>But yes, it was a Roads over dub on Isn't

0:49:18.160 --> 0:49:18.560
<v Speaker 2>She Lovely?

0:49:21.160 --> 0:49:22.040
<v Speaker 1>It was kind of like.

0:49:23.960 --> 0:49:28.719
<v Speaker 2>What was overdub On on Confusion as well. Steve and

0:49:28.800 --> 0:49:34.120
<v Speaker 2>I did the string parts and the the orchestral parts

0:49:34.239 --> 0:49:38.160
<v Speaker 2>together on Joy Inside My Tears and Saturn.

0:49:39.000 --> 0:49:41.080
<v Speaker 1>So when the album comes out in seventy six.

0:49:42.040 --> 0:49:44.080
<v Speaker 2>By the way, we we he actually had t shirts

0:49:44.120 --> 0:49:47.839
<v Speaker 2>made up. We're not done yet, We're almost finished. We're

0:49:47.840 --> 0:49:49.400
<v Speaker 2>almost finished yet, So Steve.

0:49:49.960 --> 0:49:53.360
<v Speaker 1>Yeah, you guys are gonna do that for Voodoo. They

0:49:53.440 --> 0:49:59.480
<v Speaker 1>did that. We was taking five years with Voodoo. Oh yeah, yeah,

0:49:59.520 --> 0:50:01.879
<v Speaker 1>I shirts there, you know, and you can still wear

0:50:01.880 --> 0:50:08.520
<v Speaker 1>them today. So I do love that guy. Though.

0:50:09.000 --> 0:50:12.799
<v Speaker 4>When when in seventy six, in September seventy six, when

0:50:12.840 --> 0:50:17.560
<v Speaker 4>this comes out? Yeah, what was I just recently found

0:50:17.600 --> 0:50:20.799
<v Speaker 4>Have you guys ever seen that ePK that's online when

0:50:20.880 --> 0:50:23.880
<v Speaker 4>the press is hearing songs in the Keep Life for

0:50:23.920 --> 0:50:24.359
<v Speaker 4>the first time.

0:50:24.480 --> 0:50:25.520
<v Speaker 1>Have any of you guys seen this?

0:50:25.960 --> 0:50:29.359
<v Speaker 4>No, So when you like google songs in the Key

0:50:29.360 --> 0:50:32.560
<v Speaker 4>of Life ePK and it's like a listening session of

0:50:32.719 --> 0:50:36.800
<v Speaker 4>really of yeah, like fifty key rock critics, even like

0:50:36.880 --> 0:50:39.120
<v Speaker 4>Robert Cristagala was there when he was in like his

0:50:39.280 --> 0:50:43.520
<v Speaker 4>younger days. But they're all listening together and to watch

0:50:43.600 --> 0:50:48.680
<v Speaker 4>them collectively jaw drop, like after they hear Sir Duke

0:50:48.760 --> 0:50:51.359
<v Speaker 4>for the first time, and you know it's it's one

0:50:51.360 --> 0:50:54.200
<v Speaker 4>of the coolest things I've ever seen. But yeah, it's

0:50:54.280 --> 0:51:01.000
<v Speaker 4>on YouTube, but for YouTube to watch people, Well that album.

0:51:01.120 --> 0:51:02.680
<v Speaker 4>You know, like I was in first grade by the

0:51:02.760 --> 0:51:05.280
<v Speaker 4>time it came out, and what was it, September?

0:51:05.680 --> 0:51:09.440
<v Speaker 1>No homework, no home. I've got socks older than you

0:51:11.000 --> 0:51:14.160
<v Speaker 1>the first grade. Yeah, like my homework was you know,

0:51:14.360 --> 0:51:16.760
<v Speaker 1>have mom and dad by this album?

0:51:16.840 --> 0:51:18.719
<v Speaker 4>And you know we all had our copies in in

0:51:18.920 --> 0:51:21.759
<v Speaker 4>school the next day and we're reading the liner notes

0:51:21.800 --> 0:51:24.000
<v Speaker 4>and all this stuff. No, the liner notes alone, like

0:51:24.400 --> 0:51:27.560
<v Speaker 4>changed my life. But what was it just in in

0:51:28.120 --> 0:51:30.280
<v Speaker 4>real time? And to tour behind this album?

0:51:31.160 --> 0:51:32.080
<v Speaker 1>What was it like to.

0:51:34.400 --> 0:51:37.680
<v Speaker 2>Well, first of all, it wasn't he didn't tour off

0:51:37.719 --> 0:51:37.920
<v Speaker 2>of this.

0:51:39.440 --> 0:51:42.120
<v Speaker 1>Wait a minute, you sure. I'm kind of sure because.

0:51:43.480 --> 0:51:45.759
<v Speaker 4>He was like you guys were in the episode of

0:51:46.040 --> 0:51:47.840
<v Speaker 4>the Grammy Awards where he was in Africa.

0:51:48.239 --> 0:51:50.480
<v Speaker 1>Yeah, but that wasn't a tour. We went.

0:51:50.800 --> 0:51:57.320
<v Speaker 2>We went to Legos, Nigeria because he wanted to perform

0:51:57.400 --> 0:51:59.680
<v Speaker 2>down there, and it was it turned out to be,

0:52:00.760 --> 0:52:04.279
<v Speaker 2>you know, in time or during the Grammys, and we

0:52:04.320 --> 0:52:06.600
<v Speaker 2>did a remote segment and that's the that's where you

0:52:07.320 --> 0:52:10.040
<v Speaker 2>you you have Andy Williams asking the immortal question.

0:52:09.880 --> 0:52:14.600
<v Speaker 1>Stevie, can you see us? Yea, that was the weirdest

0:52:14.640 --> 0:52:16.040
<v Speaker 1>thing to watch us a seven year old.

0:52:17.280 --> 0:52:20.280
<v Speaker 4>He was like on this telephone but okay, that explains

0:52:20.320 --> 0:52:22.840
<v Speaker 4>why he was dressing all that African garb was fla.

0:52:22.960 --> 0:52:27.400
<v Speaker 2>After the shows, I I think, I think so, I

0:52:27.480 --> 0:52:30.480
<v Speaker 2>don't remember. I don't remember, but I think so I

0:52:30.880 --> 0:52:33.520
<v Speaker 2>have kind of I only have one memory of Legos.

0:52:34.360 --> 0:52:39.120
<v Speaker 2>But anyway, what it is well that that we we

0:52:39.320 --> 0:52:42.360
<v Speaker 2>rolled up and we stayed in this very opulent hotel

0:52:43.600 --> 0:52:46.360
<v Speaker 2>and it was like, you know, gold fixtures in the

0:52:46.400 --> 0:52:49.839
<v Speaker 2>bathrooms and everything. And I remember, I remember my room

0:52:49.960 --> 0:52:53.160
<v Speaker 2>was high up, and I remember looking down on the

0:52:53.239 --> 0:52:56.680
<v Speaker 2>beach and seeing people squatting on the beach and and

0:52:56.880 --> 0:53:02.200
<v Speaker 2>and being in huts. I remember that, but it was

0:53:02.280 --> 0:53:05.120
<v Speaker 2>wild man. I also remember like the auditorium we we

0:53:05.520 --> 0:53:08.560
<v Speaker 2>actually performed that, you know, the crowd was great. They

0:53:08.600 --> 0:53:11.359
<v Speaker 2>were rack us, you know, and and I'm like, can

0:53:11.400 --> 0:53:14.480
<v Speaker 2>we're doing a remote broad broadcast to the Grammys.

0:53:14.719 --> 0:53:15.640
<v Speaker 1>This is crazy?

0:53:16.680 --> 0:53:20.440
<v Speaker 2>Ah, But that's it. So we didn't tour off of

0:53:20.960 --> 0:53:25.319
<v Speaker 2>that album. He didn't really do formal tours, just did

0:53:25.400 --> 0:53:30.919
<v Speaker 2>one offs, like playing Jamaica and having Bob Marley open

0:53:31.040 --> 0:53:31.359
<v Speaker 2>for us.

0:53:33.760 --> 0:53:37.560
<v Speaker 1>That didn't suck, you know.

0:53:37.680 --> 0:53:40.359
<v Speaker 2>And I remember when we were rehearsing and he told

0:53:40.480 --> 0:53:43.120
<v Speaker 2>us that we were going to Jamaica, Like, I immediately

0:53:43.160 --> 0:53:49.080
<v Speaker 2>went out and got uh, Marley's Marley's album which was, uh,

0:53:51.000 --> 0:53:51.360
<v Speaker 2>what was.

0:53:51.360 --> 0:53:54.120
<v Speaker 1>That hallmark album? What was the name of that? No,

0:53:57.840 --> 0:53:58.320
<v Speaker 1>it had.

0:53:59.840 --> 0:54:01.279
<v Speaker 2>I remember the name of the album, but it had

0:54:01.280 --> 0:54:02.319
<v Speaker 2>you know, lovely.

0:54:03.719 --> 0:54:06.160
<v Speaker 1>And it had looking.

0:54:06.520 --> 0:54:09.080
<v Speaker 2>Yeah, look it's it's as you know he said.

0:54:09.080 --> 0:54:12.680
<v Speaker 1>No, catch a fire burning, Natty Dread must be Natty Dredd.

0:54:12.840 --> 0:54:18.239
<v Speaker 2>Okay, yeah, roots rock run, Okay, Okay, that's music, that's

0:54:18.320 --> 0:54:19.240
<v Speaker 2>roster Man vibration.

0:54:19.719 --> 0:54:20.080
<v Speaker 1>That one.

0:54:20.400 --> 0:54:25.360
<v Speaker 2>Okay, well I remember, yeah, okay, So I remember getting

0:54:25.400 --> 0:54:27.719
<v Speaker 2>that and just playing it over and over again, and

0:54:27.800 --> 0:54:30.480
<v Speaker 2>then like next thing, you know, we'rett Marley's opening up

0:54:30.480 --> 0:54:30.680
<v Speaker 2>for us.

0:54:31.160 --> 0:54:35.760
<v Speaker 1>Damn. It's crazy. So that no touring though, because he's.

0:54:35.600 --> 0:54:38.279
<v Speaker 2>Steady wonder, it's just different. He's just you know, all

0:54:38.320 --> 0:54:40.279
<v Speaker 2>over the place. No, he's just he was just all

0:54:40.280 --> 0:54:43.120
<v Speaker 2>over the place. He talked for those albums, like those songs,

0:54:43.239 --> 0:54:45.359
<v Speaker 2>and that's so weird.

0:54:45.640 --> 0:54:48.160
<v Speaker 4>I thought he didn't tour behind a Secret Life of Plants,

0:54:48.200 --> 0:54:49.200
<v Speaker 4>but I definitely thought he tour.

0:54:49.360 --> 0:54:52.759
<v Speaker 1>He didn't know, no, no, no, no, we like I said,

0:54:52.840 --> 0:54:55.719
<v Speaker 1>my five days with Secret Life, Yeah no, my My

0:54:56.040 --> 0:54:59.080
<v Speaker 1>My first gig was.

0:55:00.960 --> 0:55:06.000
<v Speaker 2>The Human Kindness Day in DC, and I don't remember

0:55:06.160 --> 0:55:10.520
<v Speaker 2>what what happened consecutively after that, but I know Jamaica,

0:55:12.200 --> 0:55:16.200
<v Speaker 2>you know, legos and things like that. But but not

0:55:16.400 --> 0:55:20.080
<v Speaker 2>a lot of not a lot of action, not a

0:55:20.160 --> 0:55:24.160
<v Speaker 2>lot of action, not anything for more or consistent that

0:55:24.239 --> 0:55:26.920
<v Speaker 2>you would you would you know, classify as a tour.

0:55:26.880 --> 0:55:29.759
<v Speaker 4>But did he want you exclusively his? Because I'm trying

0:55:29.760 --> 0:55:33.080
<v Speaker 4>to figure out exactly when did you ease to the Jacksons.

0:55:33.360 --> 0:55:35.480
<v Speaker 2>Well, we were all on retainer and that was that

0:55:35.680 --> 0:55:39.040
<v Speaker 2>was the other cool thing about being in the band.

0:55:39.160 --> 0:55:43.120
<v Speaker 2>And it's like I just joined, I just turned nineteen,

0:55:43.200 --> 0:55:45.399
<v Speaker 2>and I'm making five hundred dollars a week and I'm like, okay,

0:55:45.480 --> 0:55:47.480
<v Speaker 2>this is it, this is it, but this is it

0:55:47.640 --> 0:55:48.799
<v Speaker 2>on retainer like every week?

0:55:50.280 --> 0:55:53.480
<v Speaker 1>And was that? Okay, I'm so glad you said that.

0:55:53.680 --> 0:55:57.680
<v Speaker 1>What for a working musician? Yeah? Was that a good

0:55:57.760 --> 0:56:00.520
<v Speaker 1>living in nineteen seventy five, seventy six that time? Yeah?

0:56:00.800 --> 0:56:03.359
<v Speaker 2>Okay, oh for it was great for me. Okay, yeah,

0:56:05.400 --> 0:56:08.439
<v Speaker 2>today that's not even an hour.

0:56:09.360 --> 0:56:13.320
<v Speaker 4>Well, but I know that but like your five hundred

0:56:13.360 --> 0:56:16.600
<v Speaker 4>back then today would probably be like, you know, four thousand,

0:56:16.920 --> 0:56:18.760
<v Speaker 4>five hundred a week or something.

0:56:18.680 --> 0:56:21.000
<v Speaker 2>But yeah, something like that, but or at least ten

0:56:21.080 --> 0:56:23.560
<v Speaker 2>times as much as that. But no, it was great,

0:56:25.360 --> 0:56:28.759
<v Speaker 2>and uh so I was with him from seventy five

0:56:28.880 --> 0:56:33.719
<v Speaker 2>till the beginning of seventy nine. January seventy nine, the

0:56:33.840 --> 0:56:37.160
<v Speaker 2>last chat chat with him was in Atlanta. I remember that,

0:56:38.440 --> 0:56:42.360
<v Speaker 2>and then it was it was tough to say goodbye,

0:56:43.840 --> 0:56:47.200
<v Speaker 2>but I realized that I needed to or else I

0:56:47.400 --> 0:56:49.240
<v Speaker 2>was gonna remain stagnant.

0:56:49.480 --> 0:56:52.080
<v Speaker 1>It's gonna be comfortable. Yeah. So you had a goal

0:56:52.239 --> 0:56:55.080
<v Speaker 1>to be a producer or was it just no? I had.

0:56:55.200 --> 0:57:01.920
<v Speaker 2>I had a goal to expand to the to the

0:57:02.000 --> 0:57:08.200
<v Speaker 2>extent that I could because this was based on promises,

0:57:09.520 --> 0:57:14.160
<v Speaker 2>unkept promises of you know, producing an album on Wonderlove.

0:57:15.719 --> 0:57:18.400
<v Speaker 2>Everyone has that story. Yeah, he kept promising us he

0:57:18.560 --> 0:57:22.880
<v Speaker 2>was gonna, uh, you know, do an album, and it

0:57:23.000 --> 0:57:25.120
<v Speaker 2>got to the point where we believed him less and less,

0:57:25.240 --> 0:57:27.120
<v Speaker 2>and then one day he said, all right, look, I'm

0:57:27.160 --> 0:57:29.320
<v Speaker 2>doing this, and this is where we're gonna do it.

0:57:29.360 --> 0:57:32.160
<v Speaker 1>We're gonna go We're gonna leave here, We're going out

0:57:32.200 --> 0:57:32.360
<v Speaker 1>of here.

0:57:32.360 --> 0:57:36.000
<v Speaker 2>And we're going to Louisiana. We I don't know how

0:57:36.080 --> 0:57:38.440
<v Speaker 2>he found this place, but there is. I don't even

0:57:38.480 --> 0:57:41.080
<v Speaker 2>know if it still exists now, but there was back

0:57:41.160 --> 0:57:48.919
<v Speaker 2>then a studio called studio in the country. Never more

0:57:50.080 --> 0:57:55.240
<v Speaker 2>was there an appropriate name for a facility, because this

0:57:55.400 --> 0:57:57.560
<v Speaker 2>place was in Boga Usa, Louisiana.

0:57:59.080 --> 0:58:01.760
<v Speaker 1>Thank you, look that up. Google it.

0:58:01.800 --> 0:58:04.280
<v Speaker 2>I don't even know if bol exists anymore, but it

0:58:04.360 --> 0:58:07.640
<v Speaker 2>did then. And it was deep, deep, deep in the country,

0:58:08.200 --> 0:58:12.000
<v Speaker 2>and it was a studio and it was a cool studio.

0:58:12.880 --> 0:58:14.720
<v Speaker 2>It was. It was a it was a proper studio.

0:58:14.920 --> 0:58:16.640
<v Speaker 2>It was how deep in the country and the l

0:58:17.080 --> 0:58:19.400
<v Speaker 2>it was. It was deep, it was, it was it.

0:58:19.440 --> 0:58:20.919
<v Speaker 1>Was in the sticks. But it was great. The people

0:58:20.960 --> 0:58:24.040
<v Speaker 1>were wonderful. It's still okay.

0:58:24.080 --> 0:58:26.920
<v Speaker 2>How about that studio in the country and Bogel, Louisiana.

0:58:27.240 --> 0:58:29.840
<v Speaker 2>We went down there and uh, you know, we hung

0:58:29.920 --> 0:58:37.320
<v Speaker 2>out and I have to tell you about my most

0:58:37.400 --> 0:58:41.400
<v Speaker 2>memorable experience of being there. Because you haven't lived until

0:58:41.440 --> 0:58:43.320
<v Speaker 2>you've been in a car with Stevie Wonder.

0:58:43.760 --> 0:58:45.520
<v Speaker 1>Yeah, I was waiting for the car driving story.

0:58:45.600 --> 0:58:52.000
<v Speaker 2>So you haven't lived until you've been driven. No, So

0:58:52.040 --> 0:58:54.240
<v Speaker 2>here's what happened. So we're feeling frisky. We're in the

0:58:54.280 --> 0:58:59.120
<v Speaker 2>hotel and you know, we're just like, you know, messing around,

0:58:59.240 --> 0:59:02.800
<v Speaker 2>and all sudden I don't remember who else I was with,

0:59:03.000 --> 0:59:06.840
<v Speaker 2>but it's a small group of us, and somebody said, hey, Steve,

0:59:06.880 --> 0:59:11.880
<v Speaker 2>you want to drive? Sure, So we go down go

0:59:12.000 --> 0:59:14.920
<v Speaker 2>to somebody's car in the parking lot. It was it

0:59:15.040 --> 0:59:17.560
<v Speaker 2>was open, you know, there were very few cars in

0:59:17.600 --> 0:59:20.080
<v Speaker 2>a lot. And we all get in the car and

0:59:20.240 --> 0:59:29.960
<v Speaker 2>he gets behind the wheel and it's like, is.

0:59:30.000 --> 0:59:31.240
<v Speaker 1>He having the time of his life?

0:59:31.600 --> 0:59:35.480
<v Speaker 2>He's cracking up, and whoever was sitting next to him

0:59:35.640 --> 0:59:37.720
<v Speaker 2>was like, okay, go this go right, go laft. He's

0:59:37.760 --> 0:59:43.120
<v Speaker 2>like okay, and it's hysterical and we're just dying laughing.

0:59:43.160 --> 0:59:45.360
<v Speaker 2>We're cracking up, and I go, okay, this is something

0:59:45.400 --> 0:59:50.600
<v Speaker 2>to remember. Ship. Yeah, so that was the most memorable

0:59:50.640 --> 0:59:51.760
<v Speaker 2>thing unfortunately that happened.

0:59:51.800 --> 0:59:52.120
<v Speaker 1>We made.

0:59:52.280 --> 0:59:54.920
<v Speaker 2>We made a good amount of music. We all took

0:59:55.000 --> 0:59:59.520
<v Speaker 2>turns trying to be junior Stevie's you know, I I

1:00:01.000 --> 1:00:03.640
<v Speaker 2>came up with a couple of songs that weren't really great,

1:00:03.720 --> 1:00:08.560
<v Speaker 2>but you know whatever. And but then at one point

1:00:08.840 --> 1:00:14.080
<v Speaker 2>he left went to New York and that was the

1:00:14.120 --> 1:00:16.280
<v Speaker 2>beginning of the end, and he started phoning things in

1:00:16.440 --> 1:00:17.920
<v Speaker 2>and then all of a sudden he just kind of

1:00:18.000 --> 1:00:22.080
<v Speaker 2>left us to fend for ourselves. And I was like, okay,

1:00:22.120 --> 1:00:27.640
<v Speaker 2>you know what, this isn't really gonna happen. So I

1:00:27.840 --> 1:00:31.280
<v Speaker 2>had to make up my mind and it was a

1:00:31.360 --> 1:00:34.200
<v Speaker 2>tough decision. But there were two times in my life

1:00:34.720 --> 1:00:40.440
<v Speaker 2>when I felt spiritually depleted and it was crucial for

1:00:40.520 --> 1:00:42.280
<v Speaker 2>me to move, and that was the first time.

1:00:43.480 --> 1:00:47.280
<v Speaker 1>Man, Yeah, so what this was so now at the

1:00:47.400 --> 1:00:53.080
<v Speaker 1>beginning of secret Life of Plants or no, well, let's see, no, because.

1:00:55.760 --> 1:00:57.120
<v Speaker 2>I was still in the band when he was working

1:00:57.160 --> 1:01:01.040
<v Speaker 2>on that. Okay, I didn't play, that was all him.

1:01:01.520 --> 1:01:03.960
<v Speaker 4>What was the I mean the general but general, what

1:01:04.080 --> 1:01:08.360
<v Speaker 4>was the general conversation? Because you know, usually with what

1:01:08.520 --> 1:01:11.760
<v Speaker 4>they call the departure record, it's supposed to be seeing

1:01:11.840 --> 1:01:13.800
<v Speaker 4>as yes, this is my artistic left turn and da

1:01:13.880 --> 1:01:16.480
<v Speaker 4>da da da da. But I guess later in life,

1:01:16.560 --> 1:01:18.760
<v Speaker 4>all of us here sort of discovered that the departure

1:01:18.800 --> 1:01:19.320
<v Speaker 4>record is.

1:01:19.520 --> 1:01:26.160
<v Speaker 1>Kind of a uh means to ruin it before you

1:01:27.120 --> 1:01:31.960
<v Speaker 1>get ruined, or it's the self sabbage sabotage move. And

1:01:32.400 --> 1:01:34.600
<v Speaker 1>as what you think Life for Plants was well, I

1:01:34.680 --> 1:01:35.040
<v Speaker 1>mean just.

1:01:35.280 --> 1:01:39.920
<v Speaker 4>Most most departure albums usually happened after your biggest your

1:01:39.960 --> 1:01:43.840
<v Speaker 4>biggest album, and you don't want to express the fear of.

1:01:45.360 --> 1:01:47.920
<v Speaker 1>You having run hour of ideas or that sort of thing.

1:01:48.080 --> 1:01:49.880
<v Speaker 4>So it's sort of like it's safe to do with

1:01:50.240 --> 1:01:52.880
<v Speaker 4>let me do the Yeah, let me do the absolute

1:01:53.080 --> 1:01:55.920
<v Speaker 4>left turn trouble man, Yeah.

1:01:55.960 --> 1:01:59.400
<v Speaker 1>Trouble around the world in the day peers.

1:01:59.760 --> 1:02:02.560
<v Speaker 4>I mean, sometimes it backfires and it becomes it becomes

1:02:02.600 --> 1:02:05.600
<v Speaker 4>even bigger. So, I mean, what was just the general

1:02:05.760 --> 1:02:08.120
<v Speaker 4>movement like, Hey, I'm gonna do an all instrumental album.

1:02:08.360 --> 1:02:10.800
<v Speaker 2>Another world's waiting. No, I don't think it had anything

1:02:10.840 --> 1:02:13.400
<v Speaker 2>to do with that. I think you have to look

1:02:13.400 --> 1:02:16.120
<v Speaker 2>at it like this. I think it had to do

1:02:16.280 --> 1:02:20.360
<v Speaker 2>with wanting to take on the challenge of doing a score.

1:02:22.320 --> 1:02:24.320
<v Speaker 2>This was a score to a movie done by a

1:02:24.400 --> 1:02:24.920
<v Speaker 2>blind guy.

1:02:25.160 --> 1:02:28.280
<v Speaker 1>Let's just let's just know that the movie he was

1:02:28.320 --> 1:02:31.680
<v Speaker 1>done by, the score was the score the score itself.

1:02:35.280 --> 1:02:38.000
<v Speaker 2>Okay, I get a blind guy doing a score for

1:02:38.080 --> 1:02:38.360
<v Speaker 2>a movie.

1:02:39.000 --> 1:02:44.040
<v Speaker 1>Who does that? Who does that? I see so he

1:02:44.760 --> 1:02:45.760
<v Speaker 1>who hires that guy?

1:02:46.440 --> 1:02:55.320
<v Speaker 2>Somebody really crazy or somebody really extra visionary? But no

1:02:55.800 --> 1:03:00.840
<v Speaker 2>he I think he just dug the challenge. M he

1:03:01.040 --> 1:03:03.160
<v Speaker 2>was really into the challenge of doing it, and that

1:03:03.520 --> 1:03:06.760
<v Speaker 2>was the premiere of Semone Your Love. But he really

1:03:06.880 --> 1:03:08.800
<v Speaker 2>got into it. He really got into the challenge and

1:03:08.840 --> 1:03:12.560
<v Speaker 2>wanted to know as much about the movie, you know,

1:03:12.760 --> 1:03:16.120
<v Speaker 2>as many details as he could get, and he just forced.

1:03:17.920 --> 1:03:20.760
<v Speaker 1>His entire being into that. For the record, that's my

1:03:20.960 --> 1:03:22.280
<v Speaker 1>favorite Stevie record.

1:03:22.800 --> 1:03:25.240
<v Speaker 2>And not to be kind really, I mean it's just

1:03:25.440 --> 1:03:27.200
<v Speaker 2>you know, I was eight years old and that was

1:03:27.360 --> 1:03:30.360
<v Speaker 2>that was my Pink Floyd Dark side.

1:03:30.160 --> 1:03:30.560
<v Speaker 1>Of the movement.

1:03:31.240 --> 1:03:33.720
<v Speaker 4>Put the headphones on my eyes and imagine stuff and

1:03:33.840 --> 1:03:35.880
<v Speaker 4>sure it just like I didn't know about oh this,

1:03:36.120 --> 1:03:38.440
<v Speaker 4>I have pop hooks. Like my dad hated it. So

1:03:38.560 --> 1:03:41.040
<v Speaker 4>he's like, here you take it, ha ha. And it

1:03:41.200 --> 1:03:43.480
<v Speaker 4>just spoke to me as as an eight year old.

1:03:43.560 --> 1:03:45.520
<v Speaker 1>So it that's pretty well. You know.

1:03:45.960 --> 1:03:51.400
<v Speaker 4>Actually we're talking to him right now about doing some

1:03:52.840 --> 1:03:55.800
<v Speaker 4>hopefully some some dates like to do it.

1:03:55.920 --> 1:04:01.000
<v Speaker 1>And it's entirety for plants. Yeah, that's okay. Did I

1:04:01.120 --> 1:04:05.800
<v Speaker 1>just let the cat We'll just we won't guide this

1:04:05.920 --> 1:04:10.000
<v Speaker 1>until after four words for you, bro, good luck with that.

1:04:12.600 --> 1:04:16.680
<v Speaker 1>I mean, we're in the talking stage. It's we'll be talking.

1:04:18.800 --> 1:04:21.520
<v Speaker 1>The longest dream it's our dreams. So I mean that's

1:04:21.600 --> 1:04:24.040
<v Speaker 1>basically dreams can't come true. But I just good luck

1:04:24.080 --> 1:04:27.240
<v Speaker 1>with that. I'll be calling you. You don't need to

1:04:31.720 --> 1:04:37.920
<v Speaker 1>arms crossed the audience. So, was Destiny your first foray

1:04:38.120 --> 1:04:39.400
<v Speaker 1>into arranging?

1:04:41.560 --> 1:04:44.800
<v Speaker 4>And really, to me, it's producing and like, why, okay,

1:04:45.080 --> 1:04:47.959
<v Speaker 4>we gotta get into the titles of because I only

1:04:48.040 --> 1:04:49.960
<v Speaker 4>saw these credits on jackson Down.

1:04:49.880 --> 1:04:51.400
<v Speaker 1>Like Fingersnap arranger.

1:04:53.160 --> 1:04:56.520
<v Speaker 2>You know that's because they were all dying for credit. Yeah,

1:04:56.800 --> 1:04:58.960
<v Speaker 2>I get it, because they wanted they were so desperate

1:04:59.000 --> 1:05:01.200
<v Speaker 2>to be on their own and they just wanted to

1:05:01.360 --> 1:05:03.280
<v Speaker 2>do Okay, look, I'm the one that set the mic,

1:05:04.120 --> 1:05:06.840
<v Speaker 2>you know. I you know, I'm the one that chose

1:05:06.880 --> 1:05:07.840
<v Speaker 2>the studio whatever.

1:05:08.000 --> 1:05:11.360
<v Speaker 1>The Jackson's have the strangest album credits of all time.

1:05:11.560 --> 1:05:14.600
<v Speaker 1>That stuck with me for life. So talk to me

1:05:14.680 --> 1:05:16.760
<v Speaker 1>about you coming aboard for Destiny.

1:05:16.920 --> 1:05:19.200
<v Speaker 2>I will. But to answer the question, no, it wasn't

1:05:19.280 --> 1:05:23.480
<v Speaker 2>my first for foray into arranging because I was cutting

1:05:23.560 --> 1:05:28.080
<v Speaker 2>my teeth. I was allowed to cut my teeth arranging wise,

1:05:28.600 --> 1:05:35.720
<v Speaker 2>thanks to the partnership of Dick Griffy and Don Cornelius.

1:05:35.280 --> 1:05:40.360
<v Speaker 1>Thank you, WHOA served some time in Griffyville. Yeah, Soul

1:05:40.400 --> 1:05:43.840
<v Speaker 1>Training Records. Yeah. No, don't say don't don't you dare

1:05:43.880 --> 1:05:49.160
<v Speaker 1>say Uptown festivals. Please don't say it. Shalla Mars Discoogarden. No,

1:05:50.040 --> 1:05:52.760
<v Speaker 1>but let me see. Did I do some You did

1:05:52.800 --> 1:05:53.880
<v Speaker 1>the souling Ging album?

1:05:55.680 --> 1:05:57.760
<v Speaker 2>Oh god, I remember that, but I remember doing I

1:05:57.800 --> 1:06:00.600
<v Speaker 2>remember working on different artists. If there's of course, I

1:06:00.720 --> 1:06:07.960
<v Speaker 2>believe it. Of course, uh Dix Dix Uh, I did

1:06:08.840 --> 1:06:09.800
<v Speaker 2>a couple of her albums.

1:06:09.840 --> 1:06:11.520
<v Speaker 1>I did, uh uh.

1:06:11.840 --> 1:06:15.240
<v Speaker 2>There there was another Oh god, it was another band.

1:06:15.280 --> 1:06:19.160
<v Speaker 2>It was like two guys and they had sort of

1:06:19.280 --> 1:06:21.800
<v Speaker 2>like an Indian name, and I can't remember right now,

1:06:23.560 --> 1:06:25.480
<v Speaker 2>but they had all these They had a small stable

1:06:25.520 --> 1:06:29.800
<v Speaker 2>of artists and including the Whispers. And I did a

1:06:29.840 --> 1:06:31.840
<v Speaker 2>lot of stuff and then they let me just do

1:06:32.360 --> 1:06:33.360
<v Speaker 2>they just let me arrange.

1:06:33.960 --> 1:06:37.160
<v Speaker 1>Wait, you know what's weird in your Wikipedia.

1:06:38.000 --> 1:06:43.080
<v Speaker 2>It's just that I know Carrie. No that is so

1:06:44.000 --> 1:06:46.080
<v Speaker 2>I don't know who, and they won't take it away.

1:06:46.360 --> 1:06:48.200
<v Speaker 2>I don't know who to write to make that correction.

1:06:48.320 --> 1:06:50.280
<v Speaker 2>But it's really annoying. It doesn't matter because one of

1:06:50.320 --> 1:06:52.840
<v Speaker 2>the Dixie humming Birds was my grandfather. Okay, and I

1:06:53.240 --> 1:06:55.160
<v Speaker 2>got you know, I had to get embarrassed on National

1:06:55.360 --> 1:06:58.720
<v Speaker 2>TV once he told me like, he's not your grandfather.

1:06:58.880 --> 1:07:00.000
<v Speaker 1>Oops, yeah exactly.

1:07:01.520 --> 1:07:02.600
<v Speaker 5>So you.

1:07:04.200 --> 1:07:06.000
<v Speaker 1>Did some time under Soul Train Records.

1:07:06.080 --> 1:07:10.440
<v Speaker 2>Yeah, but I enjoyed it. And I remember working a

1:07:10.560 --> 1:07:12.560
<v Speaker 2>lot with the Whispers, and I remember one of the

1:07:12.640 --> 1:07:15.120
<v Speaker 2>twins saying to me, you know what your problem is? Like, oh, no,

1:07:15.360 --> 1:07:16.440
<v Speaker 2>because you know too much.

1:07:18.400 --> 1:07:18.920
<v Speaker 5>Go out.

1:07:21.080 --> 1:07:26.439
<v Speaker 2>Of backhanded compliment, but you know yeah, he's like, yeah,

1:07:26.680 --> 1:07:28.400
<v Speaker 2>I didn't understand it then, but I sort of get

1:07:28.400 --> 1:07:28.640
<v Speaker 2>it now.

1:07:28.840 --> 1:07:35.439
<v Speaker 1>Did you work on Let's Go all the Way? Yeah? Yeah, yes, yeah.

1:07:36.000 --> 1:07:39.200
<v Speaker 4>So when you're brought aboard, like what were you there?

1:07:39.320 --> 1:07:43.120
<v Speaker 4>Just recession work or like what what was your title?

1:07:43.600 --> 1:07:46.360
<v Speaker 2>I don't really think I had a title. I wasn't

1:07:46.440 --> 1:07:49.920
<v Speaker 2>like a I wasn't like a staff producer or anything

1:07:49.960 --> 1:07:52.760
<v Speaker 2>like that. I was just brought into play sessions and

1:07:53.120 --> 1:07:56.400
<v Speaker 2>sometimes arrange either horns or rhythm or whatever.

1:07:56.760 --> 1:08:03.400
<v Speaker 1>Okay, yeah, now I want to get to the Jackson. Okay.

1:08:04.680 --> 1:08:11.720
<v Speaker 2>So dear friend of mine, Bobby Colombia, uh tears right, Yeah, okay,

1:08:11.960 --> 1:08:16.439
<v Speaker 2>the drummer who became an executive at CBS said.

1:08:16.280 --> 1:08:18.840
<v Speaker 1>You know, you need to do more arranging, and I go, well,

1:08:20.520 --> 1:08:21.920
<v Speaker 1>really seriously no, actually you do.

1:08:22.120 --> 1:08:24.400
<v Speaker 2>And here's who you here here, here's who you're gonna

1:08:24.400 --> 1:08:26.400
<v Speaker 2>do it with. Next thing, you know, I'm in a

1:08:26.479 --> 1:08:33.040
<v Speaker 2>room with the Jackson's. So I met all the brothers

1:08:33.160 --> 1:08:36.320
<v Speaker 2>and uh, you know, now you have to remember the time.

1:08:36.479 --> 1:08:42.519
<v Speaker 2>This was when they finally left the clutches of Motown

1:08:42.760 --> 1:08:47.080
<v Speaker 2>and uh, this was after the Philly thing, you know.

1:08:47.880 --> 1:08:52.480
<v Speaker 2>And so now they're trying to establish themselves as producers.

1:08:52.560 --> 1:08:56.360
<v Speaker 2>But CBS was cautious, so they they brought in Bobby

1:08:56.560 --> 1:08:58.639
<v Speaker 2>Yes to make sure things didn't get too out of hand,

1:08:58.720 --> 1:08:58.880
<v Speaker 2>you know.

1:08:59.600 --> 1:09:06.360
<v Speaker 1>And so were you aware? I mean, was okay, dude?

1:09:06.400 --> 1:09:07.920
<v Speaker 4>I mean you were part of songs in the Keev

1:09:07.960 --> 1:09:11.160
<v Speaker 4>life by then, Like, was the Jackson's or going places

1:09:11.360 --> 1:09:12.759
<v Speaker 4>on your radar by then.

1:09:12.960 --> 1:09:13.240
<v Speaker 5>Or was it?

1:09:13.280 --> 1:09:16.320
<v Speaker 2>Like dude, no, no, no, no, no, no, no you

1:09:16.560 --> 1:09:20.320
<v Speaker 2>I love the Jacksons. I had just as many dreams

1:09:20.320 --> 1:09:24.280
<v Speaker 2>about them, just about as I had of Steve. Oh no, absolutely, man,

1:09:24.360 --> 1:09:27.240
<v Speaker 2>Because the thing well, first of all, when I was

1:09:27.320 --> 1:09:33.200
<v Speaker 2>eight and I saw the Beatles on Sullivan, I said, right,

1:09:33.439 --> 1:09:37.800
<v Speaker 2>that's what I want to do. So the Beatles just

1:09:38.400 --> 1:09:43.720
<v Speaker 2>changed my life. And then the Monkeys changed my life

1:09:43.720 --> 1:09:47.280
<v Speaker 2>because they were the American Beatles, and then the Jackson

1:09:47.479 --> 1:09:49.120
<v Speaker 2>Five are.

1:09:49.000 --> 1:09:52.800
<v Speaker 7>The Black Beatles, Like is this fantastic? I mean they

1:09:52.880 --> 1:09:56.920
<v Speaker 7>even have their own cartoon show. What brand you know

1:09:57.080 --> 1:09:59.880
<v Speaker 7>has her own cartoon show on Saturdays. It's fantastic.

1:10:00.600 --> 1:10:02.920
<v Speaker 1>So I was all, you know, please, I want you back.

1:10:02.960 --> 1:10:04.800
<v Speaker 1>Are you kidding me? Are you kidding me?

1:10:04.920 --> 1:10:05.160
<v Speaker 5>Right now?

1:10:05.240 --> 1:10:08.040
<v Speaker 2>So it's like, yeah, I was all about the Jackson Five,

1:10:08.360 --> 1:10:10.479
<v Speaker 2>and I had visions on the Wow, wouldn't it be

1:10:10.560 --> 1:10:13.280
<v Speaker 2>great if I could actually like meet them or work

1:10:13.439 --> 1:10:15.120
<v Speaker 2>what's incredible? Next thing, you know, I'm in a room

1:10:15.160 --> 1:10:19.120
<v Speaker 2>and here they are, and we're doing the Destiny album.

1:10:19.160 --> 1:10:24.639
<v Speaker 2>And my first assignment was this little overly white bread

1:10:24.680 --> 1:10:26.000
<v Speaker 2>tune called Blame It on the Boogiet.

1:10:27.160 --> 1:10:32.759
<v Speaker 1>I was like, blame it on the Dane. I'm like, okay,

1:10:32.800 --> 1:10:34.519
<v Speaker 1>well girl, let's see how we can funk this up.

1:10:38.360 --> 1:10:38.880
<v Speaker 1>Mick Jackson.

1:10:39.200 --> 1:10:41.680
<v Speaker 4>Yeah, well back then it seemed cute, kind it's kind

1:10:41.680 --> 1:10:44.280
<v Speaker 4>of white. It works now because no one expects it

1:10:44.360 --> 1:10:45.400
<v Speaker 4>when when.

1:10:45.240 --> 1:10:48.559
<v Speaker 2>They spin it exactly, But back then I was like, really,

1:10:48.920 --> 1:10:50.720
<v Speaker 2>we're gonna make this a Jackson thing.

1:10:51.720 --> 1:10:54.720
<v Speaker 1>So my my, so Bobby brought that song to you guys.

1:10:56.439 --> 1:10:58.559
<v Speaker 1>I I can't remember if Bobby brought it to them.

1:10:59.360 --> 1:11:10.519
<v Speaker 2>But well, actually yeah, yeah, you know, uh generally speaking. Yeah,

1:11:11.560 --> 1:11:13.680
<v Speaker 2>But my monitor back then was all right, I'm out

1:11:13.680 --> 1:11:14.920
<v Speaker 2>here on my own. What would Stevie do?

1:11:15.080 --> 1:11:15.640
<v Speaker 1>That was my thing.

1:11:15.720 --> 1:11:18.439
<v Speaker 2>What would Stevie do? What would Stevie do? So, you know,

1:11:18.520 --> 1:11:21.880
<v Speaker 2>and I would bring in like former band members to

1:11:22.000 --> 1:11:22.320
<v Speaker 2>play on.

1:11:23.120 --> 1:11:23.240
<v Speaker 5>Uh.

1:11:23.800 --> 1:11:26.519
<v Speaker 2>You know, those are early recordings, and so I'm always

1:11:26.520 --> 1:11:29.280
<v Speaker 2>thinking what would Stevie do? So it's like, all right, see,

1:11:29.520 --> 1:11:30.320
<v Speaker 2>gotta make it funny.

1:11:36.520 --> 1:11:37.120
<v Speaker 1>So that's what you know.

1:11:37.200 --> 1:11:39.280
<v Speaker 2>That was the basis of that, and then you know,

1:11:39.680 --> 1:11:43.920
<v Speaker 2>things built from there. I didn't do the Horner arrangers

1:11:43.960 --> 1:11:45.439
<v Speaker 2>for that song, but they did turn out cool.

1:11:46.560 --> 1:11:47.360
<v Speaker 1>Was that Tom Tom?

1:11:47.520 --> 1:11:50.479
<v Speaker 2>Or it wasn't It wasn't Tom yet, I don't I

1:11:50.520 --> 1:11:52.760
<v Speaker 2>don't remember who did the horns for that, but Tom

1:11:52.840 --> 1:11:55.760
<v Speaker 2>Tom didn't come until later on. I mean Tom Tom

1:11:55.800 --> 1:11:58.160
<v Speaker 2>did the horns for shake Your Body Down. I mean

1:11:58.160 --> 1:12:01.280
<v Speaker 2>that was you know, they they they wanted that, but

1:12:01.800 --> 1:12:03.960
<v Speaker 2>that by that point, they definitely wanted the earth winding

1:12:04.000 --> 1:12:06.120
<v Speaker 2>fire influence, you know, so we got a little little

1:12:06.160 --> 1:12:08.800
<v Speaker 2>Tom Washington come in with his crazy stelf. I love Tom,

1:12:09.680 --> 1:12:13.160
<v Speaker 2>but for Destiny, yeah, that's that was the first song,

1:12:13.240 --> 1:12:14.640
<v Speaker 2>and then we just took it from there and it was,

1:12:17.240 --> 1:12:19.479
<v Speaker 2>you know, marriage made in Heaven.

1:12:20.280 --> 1:12:23.080
<v Speaker 1>How do you even approach like you're dealing with the

1:12:23.160 --> 1:12:28.320
<v Speaker 1>five of them? Who's the alpha as far as like

1:12:28.640 --> 1:12:33.160
<v Speaker 1>the music ideas? Who do you have to like? Who's

1:12:33.200 --> 1:12:33.519
<v Speaker 1>the dad?

1:12:33.560 --> 1:12:35.880
<v Speaker 4>Who's who's the person that you have to get the

1:12:36.000 --> 1:12:39.080
<v Speaker 4>idea from? Because I'm certain then it's like, well, my

1:12:39.200 --> 1:12:40.720
<v Speaker 4>piece and it was all of them.

1:12:41.000 --> 1:12:42.479
<v Speaker 1>It was all of them in that way, you know.

1:12:43.000 --> 1:12:44.960
<v Speaker 4>But was it a psychological thing where it's like you

1:12:45.040 --> 1:12:48.559
<v Speaker 4>have the Jedi mind trick? And I don't like this arrangement.

1:12:48.560 --> 1:12:50.080
<v Speaker 4>I don't like the song in my mind?

1:12:50.160 --> 1:12:54.360
<v Speaker 1>Your mane was broke vocal? Okay, so Jackie was vocal?

1:12:54.800 --> 1:12:59.840
<v Speaker 2>No, no, Jackie was actually not as vocal. It certainly

1:12:59.880 --> 1:13:00.920
<v Speaker 2>not a vocal as Jermaine.

1:13:01.680 --> 1:13:01.800
<v Speaker 6>Uh.

1:13:02.520 --> 1:13:06.439
<v Speaker 2>I think that the the the main characters and give

1:13:06.479 --> 1:13:11.519
<v Speaker 2>me yeah, sorry, I lost something. I found it okay.

1:13:16.760 --> 1:13:22.559
<v Speaker 1>Wrong? You know, I'm having so much fun right now,

1:13:22.960 --> 1:13:26.280
<v Speaker 1>I want to do another one. I mean, did Jermaine

1:13:26.320 --> 1:13:26.880
<v Speaker 1>come around?

1:13:27.000 --> 1:13:27.280
<v Speaker 5>I just.

1:13:28.920 --> 1:13:37.960
<v Speaker 2>Okay, stop, you had the crush? Okay, all right, marlin girl,

1:13:38.560 --> 1:13:46.080
<v Speaker 2>let's see. Okay, So we had Michael Randy Randy, uh, Marlon,

1:13:46.960 --> 1:13:54.120
<v Speaker 2>Jackie and Okay, so the the most vocal were Michael,

1:13:54.160 --> 1:13:59.000
<v Speaker 2>Marlon and Randy. Randy was one of the more creative ones,

1:13:59.600 --> 1:14:05.840
<v Speaker 2>okay for sure, yea, And but all the ideas were

1:14:05.920 --> 1:14:10.720
<v Speaker 2>just kind of run through the the the general pipeline

1:14:10.760 --> 1:14:15.040
<v Speaker 2>between all of them. It wasn't I don't I don't

1:14:15.040 --> 1:14:21.240
<v Speaker 2>remember being as difficult as you might think. But you know,

1:14:21.400 --> 1:14:24.679
<v Speaker 2>here's the thing though, so the question they usually loved.

1:14:24.680 --> 1:14:27.720
<v Speaker 2>They generally loved my ideas, you know, what was the

1:14:27.800 --> 1:14:31.040
<v Speaker 2>division of labor, like at working on Destiny, like who

1:14:31.880 --> 1:14:42.200
<v Speaker 2>did what? Oh? Gosh, well, uh, A little foggy on

1:14:42.280 --> 1:14:48.800
<v Speaker 2>the best way to answer that. They all kind of

1:14:48.880 --> 1:14:59.160
<v Speaker 2>wanted to chip in, for instance, with with with Ken

1:14:59.240 --> 1:15:02.080
<v Speaker 2>you feel was on Triumph, right, Okay, so I gotta

1:15:02.080 --> 1:15:04.040
<v Speaker 2>I gotta go to that album as as an example,

1:15:04.160 --> 1:15:09.280
<v Speaker 2>so can you feel it? Specifically? I had, you know,

1:15:09.880 --> 1:15:14.760
<v Speaker 2>several orchestral ideas, and one of them was, like, you know,

1:15:14.880 --> 1:15:19.560
<v Speaker 2>during the main part of the Vamp, you know, so

1:15:19.720 --> 1:15:21.200
<v Speaker 2>you got that thing going on, and then you got

1:15:23.240 --> 1:15:26.959
<v Speaker 2>so I had to where you know, you'd have an

1:15:27.080 --> 1:15:31.280
<v Speaker 2>orchestra chime followed by a gone, I mean by a timpany,

1:15:31.560 --> 1:15:37.280
<v Speaker 2>so you'd be like like that, so you'd have that,

1:15:38.160 --> 1:15:41.120
<v Speaker 2>you know, you'd have like one ethnot being the orchestra

1:15:41.240 --> 1:15:43.839
<v Speaker 2>chime and then the very next eight being the timpany.

1:15:44.360 --> 1:15:46.640
<v Speaker 2>And so they you know, we had one guy do

1:15:46.760 --> 1:15:49.760
<v Speaker 2>the chime and another guy do the timpany. Everybody wanted to,

1:15:50.240 --> 1:15:52.320
<v Speaker 2>you know, play a part in it, and it was cool,

1:15:52.360 --> 1:15:56.320
<v Speaker 2>you know. So I would just answered by saying they

1:15:56.400 --> 1:15:59.800
<v Speaker 2>all kind of wanted to do whatever they could.

1:15:59.840 --> 1:16:01.759
<v Speaker 1>It was reasonable just to contribute.

1:16:01.880 --> 1:16:04.880
<v Speaker 4>Yeah, question about things I Do for you? Oh yeah,

1:16:06.040 --> 1:16:11.080
<v Speaker 4>now it's seventy eight, so all in all, by Earth

1:16:11.120 --> 1:16:15.240
<v Speaker 4>Winding Fire is about a year old. How much did

1:16:15.400 --> 1:16:20.320
<v Speaker 4>Jupiter have to do with that song? Because basically, like East.

1:16:20.280 --> 1:16:25.240
<v Speaker 2>Dude five minutes later, fifteen seconds later, that like literally

1:16:25.520 --> 1:16:29.080
<v Speaker 2>the first verse and the bridge of things I Do

1:16:29.240 --> 1:16:34.400
<v Speaker 2>for You is like from the DNA of Jupiter by

1:16:34.479 --> 1:16:36.599
<v Speaker 2>Earth Wind and Fire, of which I mean I can

1:16:36.680 --> 1:16:40.080
<v Speaker 2>imagine that, you know, most songs. I mean, I even

1:16:40.120 --> 1:16:44.040
<v Speaker 2>think that the DNA of Teddy Pendergrass is get up,

1:16:44.040 --> 1:16:48.120
<v Speaker 2>Get down, can funk, Get loose was somewhat of a

1:16:48.240 --> 1:16:50.040
<v Speaker 2>basis for Shaky Body down to the ground.

1:16:55.160 --> 1:16:58.600
<v Speaker 1>You it's isn't it.

1:16:58.680 --> 1:17:01.680
<v Speaker 2>It's frightening because most songs, I don't think of it

1:17:01.920 --> 1:17:02.519
<v Speaker 2>that deep.

1:17:02.800 --> 1:17:06.320
<v Speaker 1>But the thing is is that most songs, most songs

1:17:06.360 --> 1:17:08.000
<v Speaker 1>are usually started.

1:17:07.800 --> 1:17:12.120
<v Speaker 2>With songs that there's a germ, So how can I

1:17:12.200 --> 1:17:12.560
<v Speaker 2>twist it?

1:17:13.320 --> 1:17:16.599
<v Speaker 1>I totally agree with that. I I did not live

1:17:16.640 --> 1:17:21.519
<v Speaker 1>it up. You know, all about let's dance, Let's shout.

1:17:22.280 --> 1:17:24.760
<v Speaker 1>Game Funk was all about, like you know that that

1:17:24.880 --> 1:17:25.720
<v Speaker 1>was seventy six.

1:17:26.080 --> 1:17:29.560
<v Speaker 2>I can imagine that the DNA of that stuff just

1:17:29.640 --> 1:17:32.240
<v Speaker 2>being up in the air and then taking it okay. Well,

1:17:32.400 --> 1:17:34.560
<v Speaker 2>while I didn't, while I never looked at it that

1:17:34.880 --> 1:17:38.640
<v Speaker 2>way for that song, I do see your point. And

1:17:39.200 --> 1:17:43.320
<v Speaker 2>to that point, it's very possible because I can tell

1:17:43.400 --> 1:17:47.280
<v Speaker 2>you that they were highly influenced by EWF as we

1:17:47.360 --> 1:17:57.840
<v Speaker 2>all were, because for uh Heartbreak Hotel, they wanted the

1:17:58.000 --> 1:17:59.040
<v Speaker 2>exact same.

1:18:00.360 --> 1:18:02.120
<v Speaker 1>Sound uh.

1:18:04.360 --> 1:18:10.519
<v Speaker 2>From Fantasy MM. They wanted that. They specifically talked about

1:18:10.560 --> 1:18:14.040
<v Speaker 2>that to the point where we brought in Vernie Wow

1:18:14.240 --> 1:18:19.600
<v Speaker 2>to try to have him duplicated on due right and

1:18:19.760 --> 1:18:24.040
<v Speaker 2>he couldn't. I mean because you sat him down and

1:18:24.120 --> 1:18:24.719
<v Speaker 2>asked him.

1:18:24.720 --> 1:18:27.000
<v Speaker 1>What was that sound? And he was like, I don't know.

1:18:29.200 --> 1:18:31.840
<v Speaker 2>We couldn't get that thick sound. It was like you

1:18:31.920 --> 1:18:34.160
<v Speaker 2>know in Fantasy because they wanted to duplicate it for

1:18:37.040 --> 1:18:41.800
<v Speaker 2>Hartford Hotel and it was close, but it wasn't. Actually,

1:18:41.800 --> 1:18:44.160
<v Speaker 2>it wasn't even close. It wasn't It wasn't that same

1:18:44.280 --> 1:18:47.800
<v Speaker 2>sound from Fantasy, and we were slightly disappointed, but you know,

1:18:47.920 --> 1:18:49.000
<v Speaker 2>we used it anyway.

1:18:53.600 --> 1:18:56.880
<v Speaker 1>So what what was I gonna say about that? Yeah?

1:18:56.920 --> 1:19:00.439
<v Speaker 1>So I mean to your point about that, this what

1:19:00.600 --> 1:19:01.519
<v Speaker 1>was the song you brought up?

1:19:02.080 --> 1:19:05.400
<v Speaker 2>Things I'll do for you just possible. I just never

1:19:05.479 --> 1:19:07.559
<v Speaker 2>looked at it that way. But it's an interesting take.

1:19:08.000 --> 1:19:14.920
<v Speaker 4>Well, also, you're in the thick of disco. Yeah, and

1:19:15.400 --> 1:19:20.559
<v Speaker 4>I'm super shocked there's no four on the floor. I mean,

1:19:20.640 --> 1:19:23.360
<v Speaker 4>the remix to blame it on the bookie was four

1:19:23.400 --> 1:19:25.719
<v Speaker 4>on the floor enough with the little extra Conka things.

1:19:26.560 --> 1:19:32.320
<v Speaker 4>But you guys were obviously putting all of your eggs

1:19:32.479 --> 1:19:34.719
<v Speaker 4>in the basket of shake your body down to the ground.

1:19:34.760 --> 1:19:36.160
<v Speaker 1>Because I was gonna say, what do you think that was?

1:19:36.280 --> 1:19:39.000
<v Speaker 4>But here's the thing, though, it's like it's that was

1:19:39.200 --> 1:19:43.280
<v Speaker 4>such not since seven seven, seven ninety three eleven have

1:19:43.400 --> 1:19:48.720
<v Speaker 4>I heard a funk song in which the one, the two,

1:19:48.880 --> 1:19:51.320
<v Speaker 4>the three, and the four are not even emphasized.

1:19:51.680 --> 1:19:54.160
<v Speaker 2>Okay, I mair, I have two words for you hit me.

1:19:54.560 --> 1:19:59.160
<v Speaker 2>You're welcome. Yeah, But it was you know, I came

1:19:59.240 --> 1:19:59.680
<v Speaker 2>up with the beat.

1:20:00.000 --> 1:20:00.479
<v Speaker 1>I know you did.

1:20:00.560 --> 1:20:06.479
<v Speaker 4>That's why you're here. But it's like it's it's it's

1:20:06.640 --> 1:20:11.280
<v Speaker 4>nineteen seventy eight, yeah, and disco is at.

1:20:12.640 --> 1:20:13.200
<v Speaker 1>It's flaming.

1:20:13.760 --> 1:20:18.120
<v Speaker 4>I mean, you guys were basically David to this goliath.

1:20:19.479 --> 1:20:22.559
<v Speaker 4>I don't know why did y'all decide to take that risk.

1:20:22.840 --> 1:20:25.800
<v Speaker 2>I didn't even look at it like that. I don't

1:20:25.840 --> 1:20:28.760
<v Speaker 2>know if they did. I certainly didn't. I just my

1:20:28.920 --> 1:20:31.120
<v Speaker 2>thing was what would Stevie do? And I wanted to

1:20:31.160 --> 1:20:33.120
<v Speaker 2>come up with something really cool, and you wanted to

1:20:33.160 --> 1:20:34.360
<v Speaker 2>go with funk and not disco.

1:20:36.520 --> 1:20:38.960
<v Speaker 1>That's what That's how it spoke to me.

1:20:39.320 --> 1:20:42.559
<v Speaker 2>Sure, So I wasn't even I wasn't thinking about disco.

1:20:42.640 --> 1:20:47.120
<v Speaker 2>I was thinking about what would be the most effective

1:20:47.280 --> 1:20:55.679
<v Speaker 2>way to make this, this long song remain interesting six

1:20:55.760 --> 1:20:58.719
<v Speaker 2>minutes later. Was there even a suggestion for a bridge

1:20:58.840 --> 1:21:02.360
<v Speaker 2>or No? No, because it was cool. We all knew

1:21:02.400 --> 1:21:04.600
<v Speaker 2>that was cool the way it was. I I just

1:21:04.720 --> 1:21:10.160
<v Speaker 2>wanted to give it something unique rhythmically that would drive

1:21:10.240 --> 1:21:13.800
<v Speaker 2>it and my and my and my my inspiration was

1:21:14.160 --> 1:21:18.400
<v Speaker 2>was Steve's unorthodox drumming style with.

1:21:18.520 --> 1:21:20.880
<v Speaker 1>The hat ands. Yeah, yeah, so you're thinking like love

1:21:20.920 --> 1:21:22.680
<v Speaker 1>having you around like that, that whole like.

1:21:23.000 --> 1:21:26.479
<v Speaker 2>Yeah, I was thinking, yeah, I was thinking. So that's

1:21:26.479 --> 1:21:30.160
<v Speaker 2>why I came up with the you know, the high hat,

1:21:30.200 --> 1:21:34.280
<v Speaker 2>the times everything. And by the way, when we had

1:21:35.200 --> 1:21:38.320
<v Speaker 2>ed Green, the legendary session drummer play, he couldn't play

1:21:38.360 --> 1:21:38.880
<v Speaker 2>the whole thing.

1:21:39.760 --> 1:21:41.599
<v Speaker 1>I don't know. We had to do it in three

1:21:41.680 --> 1:21:45.960
<v Speaker 1>different okay, so when we got we when yeah, I

1:21:46.080 --> 1:21:48.920
<v Speaker 1>heard I heard the master of it.

1:21:49.000 --> 1:21:53.759
<v Speaker 4>Yeah, and once I pulled the second and the third

1:21:54.400 --> 1:21:57.520
<v Speaker 4>edition of the Drums away and heard just a typical.

1:21:57.479 --> 1:22:02.320
<v Speaker 1>Boots like, oh this is a normal drum break. Oh yeah, no, no, no,

1:22:02.400 --> 1:22:03.840
<v Speaker 1>what it was. But it was just.

1:22:05.680 --> 1:22:07.400
<v Speaker 2>That was the first take I heard that, right, And

1:22:07.479 --> 1:22:10.640
<v Speaker 2>then then the Times and then the high had So what.

1:22:10.800 --> 1:22:13.000
<v Speaker 1>Was on your mind when you added those tom toms?

1:22:13.120 --> 1:22:14.760
<v Speaker 1>And in such an odd.

1:22:14.600 --> 1:22:17.720
<v Speaker 2>Spot because I didn't add it in my head, I

1:22:17.800 --> 1:22:20.439
<v Speaker 2>was able to play the whole thing at once. So

1:22:21.120 --> 1:22:26.240
<v Speaker 2>the the the entire thing is So that's how I

1:22:26.360 --> 1:22:29.519
<v Speaker 2>was hearing it. And that's but since he could only

1:22:29.720 --> 1:22:33.479
<v Speaker 2>do one bit at a time. That's how we you know,

1:22:34.160 --> 1:22:36.760
<v Speaker 2>mapped it out. But for me, it was the whole

1:22:36.840 --> 1:22:41.320
<v Speaker 2>rhythmic concept that I felt would work for the for

1:22:41.439 --> 1:22:44.840
<v Speaker 2>the whole song that was not normal. Think him though, well,

1:22:44.880 --> 1:22:45.960
<v Speaker 2>that's because I'm a keyboard player.

1:22:46.120 --> 1:22:46.719
<v Speaker 1>It wasn't normal.

1:22:46.840 --> 1:22:49.960
<v Speaker 4>It's the it's the equivalent I'll explain that. It's the

1:22:50.080 --> 1:22:54.320
<v Speaker 4>equivalent of all right, if you go to a roulette

1:22:54.320 --> 1:22:57.600
<v Speaker 4>table with a hundred bucks and then let's say like

1:22:57.720 --> 1:23:00.920
<v Speaker 4>you got lucky, and then you made three hundred, and

1:23:01.040 --> 1:23:03.120
<v Speaker 4>you could just you're walking away and you're in the

1:23:03.200 --> 1:23:03.680
<v Speaker 4>parking lot.

1:23:04.680 --> 1:23:07.360
<v Speaker 1>Greg basically did the rhythm version of wait, I'll be

1:23:07.439 --> 1:23:07.920
<v Speaker 1>our back.

1:23:08.000 --> 1:23:12.599
<v Speaker 4>And he ran and just put everything on like one

1:23:13.080 --> 1:23:14.479
<v Speaker 4>really not even on all Black.

1:23:15.200 --> 1:23:18.240
<v Speaker 1>I'm gonna play forty two and see what happens. And

1:23:18.320 --> 1:23:24.759
<v Speaker 1>there's roulette. He still won and it's Russian roulette.

1:23:25.200 --> 1:23:27.320
<v Speaker 4>Really is that how you look at it, dude? Because

1:23:27.360 --> 1:23:30.320
<v Speaker 4>it's like they got three chances. I mean, okay, the

1:23:30.439 --> 1:23:33.599
<v Speaker 4>Jackson's was fine and they went gold and it was cute,

1:23:33.920 --> 1:23:35.880
<v Speaker 4>and then you know, the little summer serious thing on

1:23:36.000 --> 1:23:39.600
<v Speaker 4>the CBS kind of sustained them. But going places was

1:23:39.680 --> 1:23:42.240
<v Speaker 4>like a decline. And I love that record still, but

1:23:43.240 --> 1:23:48.320
<v Speaker 4>they needed they needed it, They needed a miracle for sure.

1:23:48.560 --> 1:23:54.000
<v Speaker 2>And yes, this was Super Bowl Patriots versus the Giants

1:23:54.680 --> 1:23:57.599
<v Speaker 2>with first time with yes, I'm making a football restaurants seam.

1:23:57.720 --> 1:23:59.840
<v Speaker 1>Yes I'm waiting. I'm waiting for me to mess up.

1:24:00.760 --> 1:24:03.240
<v Speaker 4>Well, you saw in the super Bowl the last ten

1:24:03.280 --> 1:24:05.519
<v Speaker 4>seconds left and the Giants is through a hell Mary

1:24:05.640 --> 1:24:16.360
<v Speaker 4>pass and okay, all right, reference correct, No, dude.

1:24:16.800 --> 1:24:21.240
<v Speaker 1>That's it's that's just amazing to me because.

1:24:24.080 --> 1:24:27.360
<v Speaker 2>Because I wasn't really looking looking at it that way.

1:24:27.439 --> 1:24:30.439
<v Speaker 2>I just, first of all, if I felt that kind

1:24:30.439 --> 1:24:32.760
<v Speaker 2>of pressure, I'm sure I wouldn't have come over that.

1:24:33.360 --> 1:24:35.639
<v Speaker 1>But I mean, I just you know, they they played

1:24:35.680 --> 1:24:37.160
<v Speaker 1>me the song and I thought, oh, it's so cool.

1:24:37.280 --> 1:24:40.120
<v Speaker 6>Let's that So you're not conscious of your genius?

1:24:40.520 --> 1:24:42.800
<v Speaker 1>MS stop that I wasn't. I didn't.

1:24:42.960 --> 1:24:45.640
<v Speaker 2>All I wanted to do was come up with a

1:24:45.920 --> 1:24:51.800
<v Speaker 2>really hip and different groove. And again it goes back

1:24:51.840 --> 1:24:54.120
<v Speaker 2>to what would Stevie do? And that's that was the

1:24:54.200 --> 1:24:55.240
<v Speaker 2>inspiration for the whole thing.

1:24:55.360 --> 1:24:55.920
<v Speaker 1>Does he know that?

1:24:56.040 --> 1:24:58.280
<v Speaker 6>Does he know that you think you approached things that way?

1:24:58.800 --> 1:24:59.280
<v Speaker 1>Did Steve know?

1:24:59.600 --> 1:24:59.920
<v Speaker 2>Does he know?

1:25:01.840 --> 1:25:05.040
<v Speaker 1>I think he does? Or did you know that that

1:25:05.560 --> 1:25:07.280
<v Speaker 1>was the template for that song. No he didn't know

1:25:07.280 --> 1:25:12.920
<v Speaker 1>it then. Wow. No, so don't stop, Tea get enough?

1:25:15.520 --> 1:25:23.880
<v Speaker 1>Did that bridge right itself? We know the song? Guys

1:25:25.479 --> 1:25:26.719
<v Speaker 1>give background music.

1:25:28.840 --> 1:25:32.160
<v Speaker 2>Anyway you can play it. But actually I should have.

1:25:32.760 --> 1:25:37.280
<v Speaker 2>I should have brought my little souvenir. We found it

1:25:37.400 --> 1:25:39.920
<v Speaker 2>by the way, you found it. It's a podcast. It's

1:25:39.920 --> 1:25:41.760
<v Speaker 2>not visual anyway. But you know I I have at

1:25:41.800 --> 1:25:45.920
<v Speaker 2>the house. I have a forty five with both our names.

1:25:46.520 --> 1:25:49.320
<v Speaker 1>Yeah. We was talking about that. Yeah, yeah, we found

1:25:49.360 --> 1:25:50.200
<v Speaker 1>about after you.

1:25:50.520 --> 1:25:55.080
<v Speaker 2>Okay, So backstory, Greg did me and Boss bills class

1:25:55.160 --> 1:25:57.720
<v Speaker 2>and in n y u h where he told us

1:25:57.760 --> 1:26:01.160
<v Speaker 2>the story that he's about to tell. And since then

1:26:01.520 --> 1:26:04.200
<v Speaker 2>it's been my mission to find every forty five with

1:26:04.280 --> 1:26:04.880
<v Speaker 2>your name on it.

1:26:06.479 --> 1:26:07.959
<v Speaker 1>I have three now really.

1:26:07.960 --> 1:26:11.280
<v Speaker 2>Yeah, hell yeah, that's that's my obsession. Any an, he

1:26:11.439 --> 1:26:13.120
<v Speaker 2>don't stop to get enough with your name on.

1:26:13.160 --> 1:26:14.000
<v Speaker 1>The writer's credits.

1:26:14.960 --> 1:26:18.200
<v Speaker 2>Wow, I found it, all right, So tell tell the

1:26:18.800 --> 1:26:27.640
<v Speaker 2>story okay. Well, and you know, Spike asked me to

1:26:28.600 --> 1:26:31.400
<v Speaker 2>tell the story too when he did the doc.

1:26:33.800 --> 1:26:42.800
<v Speaker 1>For what was It? And I did and he loved it,

1:26:42.880 --> 1:26:46.760
<v Speaker 1>but it didn't make it. The state. The state said,

1:26:46.840 --> 1:26:50.760
<v Speaker 1>I don't think the estate has no control over this show.

1:26:50.880 --> 1:26:53.800
<v Speaker 2>So yeah, okay, because they say it was like, I

1:26:53.840 --> 1:27:01.040
<v Speaker 2>don't think so, cause I don't think so. So get

1:27:01.040 --> 1:27:02.760
<v Speaker 2>a call from Mike. He wants me to come by

1:27:06.120 --> 1:27:10.559
<v Speaker 2>to write a song, or to hear a song to write.

1:27:10.600 --> 1:27:15.519
<v Speaker 2>I go okay, So I hop on over to haven

1:27:15.560 --> 1:27:20.320
<v Speaker 2>Hurst and uh see him and he uh plays me

1:27:20.439 --> 1:27:20.840
<v Speaker 2>this thing.

1:27:20.960 --> 1:27:25.280
<v Speaker 1>It's just it just needs something, it just needs another section.

1:27:27.479 --> 1:27:28.640
<v Speaker 1>So I hear it, and.

1:27:30.200 --> 1:27:32.760
<v Speaker 2>You know it's fantastic. I mean, you know, everything's there,

1:27:33.200 --> 1:27:38.320
<v Speaker 2>the first, the hook, you know, it's cool, groove, everything

1:27:38.439 --> 1:27:38.760
<v Speaker 2>is great.

1:27:39.080 --> 1:27:41.120
<v Speaker 1>He says, yeah, it just needs one more second section.

1:27:41.280 --> 1:27:41.600
<v Speaker 1>So I go.

1:27:43.479 --> 1:27:46.560
<v Speaker 2>And probably in the time that it would take you

1:27:46.800 --> 1:27:51.240
<v Speaker 2>to hum the Jeopardy theme song, I came up with

1:27:52.280 --> 1:27:52.840
<v Speaker 2>c Bridge.

1:28:10.800 --> 1:28:14.320
<v Speaker 1>So I played that and then I said, so what

1:28:14.400 --> 1:28:16.200
<v Speaker 1>do you think? He goes, I like it.

1:28:17.080 --> 1:28:20.720
<v Speaker 2>Oh yeah, he says, yeah, this is cool. So and

1:28:20.760 --> 1:28:23.000
<v Speaker 2>I'm thinking, okay, well, now he did ask me to

1:28:23.120 --> 1:28:27.760
<v Speaker 2>come over to ride, so I'm guessing I should call

1:28:27.880 --> 1:28:29.519
<v Speaker 2>myself a co writer.

1:28:31.479 --> 1:28:37.960
<v Speaker 1>So I says, well, so what am I gonna get it?

1:28:38.400 --> 1:28:38.960
<v Speaker 1>A piece of this?

1:28:39.120 --> 1:28:43.960
<v Speaker 2>He goes, yeah it really, he says yeah. I says, well,

1:28:44.400 --> 1:28:45.639
<v Speaker 2>what do you think? He goes, what do you think?

1:28:45.680 --> 1:28:46.400
<v Speaker 2>I go, what do you think?

1:28:46.680 --> 1:28:48.280
<v Speaker 1>So we're doing we're going back and forth on that.

1:28:48.400 --> 1:28:54.760
<v Speaker 1>So now in my mind there's another sound for what's

1:28:54.800 --> 1:28:56.840
<v Speaker 1>going on in my mind. But it's just like.

1:28:58.360 --> 1:29:01.439
<v Speaker 2>The wheels are spinning in and all this is happening

1:29:01.479 --> 1:29:03.479
<v Speaker 2>in nanoseconds. Right, So I'm thinking, oh my god, what

1:29:03.560 --> 1:29:03.920
<v Speaker 2>do I say?

1:29:03.960 --> 1:29:05.240
<v Speaker 1>What do I what do I say?

1:29:06.960 --> 1:29:07.000
<v Speaker 2>What?

1:29:07.680 --> 1:29:12.479
<v Speaker 1>How much? No, that's too much? Forty No, not quite

1:29:12.920 --> 1:29:16.439
<v Speaker 1>thirty five I don't know. Twenty five well maybe I'm

1:29:16.439 --> 1:29:20.799
<v Speaker 1>not sure. Fifteen I don't know. So I keep talking myself.

1:29:21.680 --> 1:29:23.600
<v Speaker 1>I talk myself down, I talk myself. I admit it

1:29:23.920 --> 1:29:24.839
<v Speaker 1>to what numbers?

1:29:25.160 --> 1:29:28.519
<v Speaker 2>So I says, well, how about ten percent?

1:29:28.680 --> 1:29:33.840
<v Speaker 1>Oh my, that sounds fair. I know, I know, I know,

1:29:34.000 --> 1:29:36.880
<v Speaker 1>but stay with me. So I says, what what about

1:29:36.920 --> 1:29:37.360
<v Speaker 1>ten percent?

1:29:37.400 --> 1:29:42.439
<v Speaker 2>He goes, okay, I go really, He goes, yeah, I

1:29:42.479 --> 1:29:46.120
<v Speaker 2>don't even know how I drove home because I'm sure

1:29:46.120 --> 1:29:58.080
<v Speaker 2>I could have levitated. I'm like, so, I'm just like

1:29:58.400 --> 1:30:00.960
<v Speaker 2>Lopy at this point, right, and I'm I'm just so excited.

1:30:01.760 --> 1:30:06.320
<v Speaker 2>Some days past, I get something in the mail. It's

1:30:06.360 --> 1:30:11.439
<v Speaker 2>a contract. Open it up, and I'm looking and I'm

1:30:11.439 --> 1:30:13.200
<v Speaker 2>scrolling out. First of all, I don't even pay attention

1:30:13.280 --> 1:30:15.160
<v Speaker 2>to the fact that they misspelled my name, my last name.

1:30:15.200 --> 1:30:17.439
<v Speaker 1>I don't care. I don't even care that they use

1:30:17.479 --> 1:30:19.880
<v Speaker 1>the T instead of a P. I don't care. I

1:30:20.000 --> 1:30:24.040
<v Speaker 1>don't care games instead of.

1:30:25.760 --> 1:30:25.800
<v Speaker 5>So.

1:30:26.720 --> 1:30:29.640
<v Speaker 1>I don't care. I get past that. It's at the

1:30:29.720 --> 1:30:31.639
<v Speaker 1>top of the contract anyway, I don't care. I scrolled down.

1:30:31.720 --> 1:30:35.080
<v Speaker 2>I go, man, I'm looking for the punch sign and

1:30:35.320 --> 1:30:39.240
<v Speaker 2>I see, I go, it's there.

1:30:39.439 --> 1:30:39.759
<v Speaker 1>Okay.

1:30:44.400 --> 1:30:48.800
<v Speaker 2>So some more time passes, right, some more days past,

1:30:49.120 --> 1:30:51.479
<v Speaker 2>and then I got a phone call and it's from

1:30:52.080 --> 1:30:55.360
<v Speaker 2>one of Mike's managers at the time, it was either

1:30:55.560 --> 1:30:58.400
<v Speaker 2>Ron Rising or Freddie Demand. It was probably Freddy Freddy

1:30:59.080 --> 1:31:02.839
<v Speaker 2>and he said, as hey, Greg, you know that contract pretender.

1:31:02.840 --> 1:31:04.720
<v Speaker 1>I said, yes, no problem, is on the way back

1:31:04.760 --> 1:31:06.559
<v Speaker 1>to you any any.

1:31:06.439 --> 1:31:08.719
<v Speaker 2>Second out, no worries. He's like, well, not so fast,

1:31:13.960 --> 1:31:16.400
<v Speaker 2>and this is where you have the sound effect for

1:31:16.439 --> 1:31:23.400
<v Speaker 2>a breaking carlic work too, And I go, what do

1:31:23.439 --> 1:31:25.400
<v Speaker 2>you mean not so fast? Because well, Michael has been

1:31:25.479 --> 1:31:29.680
<v Speaker 2>thinking about this, and it turns out that he is

1:31:29.800 --> 1:31:35.520
<v Speaker 2>determined that what you did was more of an arrangement.

1:31:38.600 --> 1:31:41.479
<v Speaker 2>So that falls into the category of arrangements. So what

1:31:41.600 --> 1:31:46.800
<v Speaker 2>we're gonna do is we're just gonna We're gonna we're

1:31:46.840 --> 1:31:50.120
<v Speaker 2>gonna pass on that contract part. So thanks for your

1:31:50.160 --> 1:31:52.240
<v Speaker 2>contribution and we'll check back with you.

1:31:52.320 --> 1:31:54.960
<v Speaker 1>What do you get for the arrangement? I mean the difference?

1:31:55.360 --> 1:31:58.400
<v Speaker 2>Oh god? Yeah, well I got a pat on the back,

1:31:59.320 --> 1:32:03.760
<v Speaker 2>and liyah, see, this was my introduction to.

1:32:06.479 --> 1:32:10.040
<v Speaker 1>Business. So do you slight question?

1:32:10.160 --> 1:32:10.320
<v Speaker 5>Though?

1:32:10.479 --> 1:32:12.680
<v Speaker 2>Okay, did you because I have a lot more to

1:32:12.680 --> 1:32:15.080
<v Speaker 2>say about it, but did you know this is let me,

1:32:15.439 --> 1:32:16.479
<v Speaker 2>this is one of the times I got it in

1:32:16.520 --> 1:32:21.599
<v Speaker 2>the rut so with destiny and triumph, With destiny and triumph,

1:32:23.040 --> 1:32:25.360
<v Speaker 2>weren't there any talks of hey guys, can I get

1:32:25.720 --> 1:32:29.120
<v Speaker 2>co production at least? Or what am I doing here?

1:32:29.720 --> 1:32:32.920
<v Speaker 2>Because here are those sessions you're like leading that ship?

1:32:33.080 --> 1:32:37.000
<v Speaker 2>Yeah I know, I know, And and yes there were

1:32:38.680 --> 1:32:42.479
<v Speaker 2>and there was an answer for that question, and they add, no,

1:32:42.800 --> 1:32:45.800
<v Speaker 2>there was an answer. The answer came in the form

1:32:45.880 --> 1:32:53.599
<v Speaker 2>of the term associate producer, which doesn't mean it doesn't

1:32:53.640 --> 1:32:56.320
<v Speaker 2>mean anything. But you know, they figured they just throw

1:32:56.439 --> 1:32:58.719
<v Speaker 2>me half of a bone, an old bone, and shut

1:32:58.800 --> 1:33:01.519
<v Speaker 2>me up. That's the answer to that question. But I

1:33:01.560 --> 1:33:06.160
<v Speaker 2>got to go back because as I was saying to

1:33:07.240 --> 1:33:13.439
<v Speaker 2>my introduction to business and and the fact that I

1:33:13.720 --> 1:33:22.000
<v Speaker 2>was not only young, but of the makeup that didn't

1:33:22.760 --> 1:33:29.879
<v Speaker 2>want to fight, non confrontational. And this is the difference

1:33:29.920 --> 1:33:34.760
<v Speaker 2>between me and I'd say nine out of the ten

1:33:36.040 --> 1:33:40.000
<v Speaker 2>artists in today's world, because they are freaking savvy and

1:33:40.040 --> 1:33:44.400
<v Speaker 2>they don't care. And I applaud them for that. I

1:33:44.439 --> 1:33:47.479
<v Speaker 2>applaud them for their their business savvy and their their

1:33:48.320 --> 1:33:56.679
<v Speaker 2>their their understanding. But unfortunately, in a lot of ways,

1:33:56.760 --> 1:34:02.000
<v Speaker 2>nothing has changed from what happened to me, and you know,

1:34:02.520 --> 1:34:05.479
<v Speaker 2>forty years before that in the fifties, to listen to

1:34:05.920 --> 1:34:08.439
<v Speaker 2>these days, because there's still those horror stories of people

1:34:08.560 --> 1:34:14.760
<v Speaker 2>just being grossly unfair for virtually no reason. And who

1:34:14.920 --> 1:34:16.840
<v Speaker 2>did you You said the ten percent would have broken?

1:34:16.920 --> 1:34:19.439
<v Speaker 2>Of course not, wasn't that? That's not the issue. The

1:34:19.520 --> 1:34:23.680
<v Speaker 2>issue is the appearance. I want no yeah, I want

1:34:23.760 --> 1:34:26.360
<v Speaker 2>it all, And the issue is the But now, while

1:34:26.439 --> 1:34:28.920
<v Speaker 2>this is going on, while these days are passing, and

1:34:29.000 --> 1:34:31.599
<v Speaker 2>while the the you know, the contracts in the works,

1:34:31.880 --> 1:34:35.640
<v Speaker 2>and before I get the phone call from Freddy the

1:34:35.760 --> 1:34:39.760
<v Speaker 2>forty five, the single was already going to print, it

1:34:39.840 --> 1:34:43.320
<v Speaker 2>was already being pressed. That's why you have initial copies

1:34:44.040 --> 1:34:49.400
<v Speaker 2>with my name and Michaels because even people like Quincy thought,

1:34:49.479 --> 1:34:50.960
<v Speaker 2>oh man, Greg is in he's in there.

1:34:51.200 --> 1:34:51.960
<v Speaker 1>He was so proud of me.

1:34:52.040 --> 1:34:54.240
<v Speaker 2>And then, you know, because that was the first pressing,

1:34:55.880 --> 1:34:58.800
<v Speaker 2>so it already went to press with my name on it,

1:35:00.400 --> 1:35:02.080
<v Speaker 2>only for Michael to change his mind later on.

1:35:02.360 --> 1:35:04.080
<v Speaker 6>See, that's when we talked to Quincy. He had this

1:35:04.200 --> 1:35:06.280
<v Speaker 6>kind of disposition of yeah, that's Michael and that was

1:35:06.320 --> 1:35:07.400
<v Speaker 6>messed up, but that's Michael.

1:35:08.520 --> 1:35:11.760
<v Speaker 1>Yeah. But guess what, there's a Quincy version of that too.

1:35:14.960 --> 1:35:17.759
<v Speaker 4>And if you want to hear that Quincy Jones story,

1:35:18.160 --> 1:35:20.439
<v Speaker 4>make sure you tune in the next week for part

1:35:20.520 --> 1:35:23.479
<v Speaker 4>two of the Quest Love Supreme Interview with the one

1:35:23.520 --> 1:35:25.400
<v Speaker 4>and only Greg filling Games.

1:35:25.800 --> 1:35:25.960
<v Speaker 1>Yeah.

1:35:26.000 --> 1:35:27.800
<v Speaker 4>I know, I'm sorry to leave y'all hanging like that,

1:35:27.960 --> 1:35:30.519
<v Speaker 4>but you know how it is, y'all. Make sure y'all

1:35:30.560 --> 1:35:33.040
<v Speaker 4>come back next week. We'll have more treats for y'all.

1:35:33.160 --> 1:35:35.120
<v Speaker 4>We'll see you on the next go round see it.

1:35:45.680 --> 1:35:49.439
<v Speaker 4>Quest Love Supreme is a production of iHeartRadio. This classic

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<v Speaker 4>episode was produced by the team at Pandora. For more

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<v Speaker 4>podcasts from iHeart Radio, visit the iHeart Radio app Apple

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<v Speaker 4>podcasts or wherever you listen to your favorite shows up