WEBVTT - QLS Classic: Alan Leeds (Part 2) 0:00:01.920 --> 0:00:04.040 What's up, y'all, It's on pay bill here to give 0:00:04.080 --> 0:00:07.400 you the latest quest. Love Supreme Classic episode Back in October, 0:00:08.200 --> 0:00:11.280 Allen leads with a fifth guest on Quels. That conversation 0:00:11.280 --> 0:00:13.039 which I heard you all to check out has been 0:00:13.080 --> 0:00:16.840 re released, but even three hours down was not. He 0:00:16.880 --> 0:00:19.680 came back for a two part interview. Here's Allen Leads 0:00:19.680 --> 0:00:23.759 a second ql S appearance from right this one. He 0:00:23.800 --> 0:00:26.320 talks a lot about it. Here's James crowd some really 0:00:26.320 --> 0:00:28.840 great stuff about playing the Chiland circuit and put it together. 0:00:28.880 --> 0:00:31.560 Those epic James Brown review shows. You can hear why 0:00:31.600 --> 0:00:35.400 Allan Leads deserves three episodes. Episode one oh one. Enjoined 0:00:43.680 --> 0:00:47.120 to volume dolls and hipp yats across the nation. This 0:00:47.240 --> 0:00:50.040 is a special distide of course, Love I always wanted 0:00:50.080 --> 0:00:56.200 to talk like uh like a fifties sixties radio jock 0:00:59.520 --> 0:01:03.000 Uhlas and gentlemen, this is the quiet edition. Of course, 0:01:03.080 --> 0:01:12.600 Love Supreme saw many crabs outside, so should be backing 0:01:12.600 --> 0:01:14.920 about a mom. I'm the only smoker here and everybody 0:01:15.080 --> 0:01:20.160 else right exactly, Ladies and gentlemen, Our guest today needs 0:01:20.200 --> 0:01:23.320 absolutely no introduction. If you're a longtime fan of the show, 0:01:23.520 --> 0:01:26.600 this is one of our rare repeat guests. In my opinion, 0:01:26.680 --> 0:01:29.840 our guest today is probably one of the most organized 0:01:30.200 --> 0:01:34.039 humans in show business. At least I'm like to believe 0:01:34.080 --> 0:01:36.200 that you are. He's shaking his head right now, Denial. 0:01:36.840 --> 0:01:40.480 I would say that he is the glue that really 0:01:40.560 --> 0:01:43.840 ensures that you would have gotten your money's worth if 0:01:43.959 --> 0:01:48.000 you are seeing your favorite act perform in concert. Speaking 0:01:48.000 --> 0:01:50.680 of which which acts would they be? You can name 0:01:50.720 --> 0:01:56.520 them all from Colony Gang, the Bootsies, Robert Van to Kiss, 0:01:56.840 --> 0:02:00.360 to Print, whoever that is Uh, to Chris Rock, to 0:02:00.400 --> 0:02:04.360 D'Angelo to Rathfiel Sadiq to Maxwell Uh and of course 0:02:04.640 --> 0:02:07.920 the main reason that we're all gathered here today me 0:02:10.720 --> 0:02:18.840 My name is Sugar. No, of course, I'm speaking of 0:02:19.639 --> 0:02:24.160 his time with James Brown, which probably a domino effect 0:02:25.120 --> 0:02:30.040 his long standing power um and offered him the credibility 0:02:30.160 --> 0:02:34.680 to pretty much stand next to a kazillion geniuses and 0:02:34.720 --> 0:02:39.560 in music, his book, Thank God, there's this book entitled 0:02:39.560 --> 0:02:43.359 There Was a Time on post O Press, recently released 0:02:44.080 --> 0:02:50.880 this late winter. It was it was late February. Okay, yes, yeah, 0:02:51.080 --> 0:02:56.839 still we don't know that yet anyway, Um, yeah, There 0:02:56.919 --> 0:03:00.960 Was the Time offers a rare glimpse into the world 0:03:01.240 --> 0:03:05.600 of the Chipland circuit, or outside the Chipland circuit as 0:03:05.639 --> 0:03:09.840 it morphed into regular show business for most R and 0:03:09.880 --> 0:03:12.560 b X one of my favorite human beings on Earth. 0:03:12.639 --> 0:03:17.560 Ladies and gentlemen, welcome, Alan leads back to screen. Were good. 0:03:17.600 --> 0:03:23.040 Thank you, Alan. I'm Alan hates. That's where I get 0:03:23.080 --> 0:03:26.520 it from. When you guys say that I assue compliments, 0:03:26.720 --> 0:03:30.560 compliments and praise. Alan often cringes when I have to 0:03:31.600 --> 0:03:38.040 say that as well. Not on the inside. Gwen tells 0:03:38.040 --> 0:03:40.400 me it's because you don't know how to take compliments, 0:03:40.720 --> 0:03:43.360 so you pretend you don't care. Trying to be cool. 0:03:43.920 --> 0:03:49.920 Compliments are very hard. Um, I get it. Well, Steve, 0:03:49.960 --> 0:03:53.480 you're a great guy than you everybody. So do you 0:03:54.440 --> 0:03:57.400 how weird is it for you to be at this 0:03:57.440 --> 0:03:59.520 phase in your career? Like, are you the type of 0:03:59.520 --> 0:04:01.480 person that it was like when you write the book 0:04:02.600 --> 0:04:05.560 this is sort of end of a life chapter or 0:04:05.840 --> 0:04:07.920 I mean not to sound super morbid, but I just 0:04:08.000 --> 0:04:12.040 mean usually like the people came to me writing books 0:04:12.080 --> 0:04:14.040 like I was like, no, I have more life to 0:04:14.080 --> 0:04:17.040 live and I'll save it for later. Yes and no, 0:04:17.600 --> 0:04:24.480 okay no, because I started this book thirty years ago. Really, okay. 0:04:24.520 --> 0:04:28.360 I actually thought it when my first marriage broke up 0:04:28.360 --> 0:04:30.839 and I was sitting around nothing to do, and I said, okay, 0:04:31.200 --> 0:04:34.920 at least diaries in papers and while it's frushing my mind, 0:04:35.000 --> 0:04:37.839 let me start putting stuff down. Now. I couldn't write 0:04:37.839 --> 0:04:41.880 a lick at that point. It was terrible because I've 0:04:41.920 --> 0:04:47.200 got there. That was after. It was after. Even the 0:04:47.240 --> 0:04:52.920 early line notes are pretty poorly written. But um, talking 0:04:52.920 --> 0:04:57.479 about the payback, he thanks very much. I was asking 0:04:57.520 --> 0:05:00.440 because that's the first one. He did write the line 0:05:00.440 --> 0:05:02.839 of notes for the payback on the inside, right, Yeah, 0:05:03.120 --> 0:05:06.880 that's gonna be a mother Damn. I forgot that. That worked. Ye, 0:05:07.000 --> 0:05:10.320 that work. There was There was a James Brown called Hammer, 0:05:10.880 --> 0:05:14.440 Oh yeah, despite the title was Christmas record, and I 0:05:14.440 --> 0:05:17.719 wrote the line notes for that, and a jew writtening 0:05:17.839 --> 0:05:20.040 liner notes for a Christmas album. It's kind of an 0:05:20.040 --> 0:05:26.240 anomally to start with. What did he ask you to write? Yeah? Really? Yeah, 0:05:26.480 --> 0:05:29.640 because back then, you know, you had to put information 0:05:29.680 --> 0:05:31.280 on the back of the album. Well, he thought it 0:05:31.400 --> 0:05:33.919 was a genius just because I could write publicity releases. 0:05:35.200 --> 0:05:38.080 James Brown is coming to town and I could do that. 0:05:38.200 --> 0:05:40.840 One page in newspapers would take it and fill their 0:05:40.880 --> 0:05:46.040 pages up, and so he thought it was Shakespeare. Um 0:05:46.240 --> 0:05:50.640 so he said, let so you started thirty years ago 0:05:50.720 --> 0:05:53.120 writing in this book. Yeah, and it was. It was 0:05:53.160 --> 0:05:56.839 the kind of thing where you know that original draft 0:05:56.920 --> 0:06:00.599 besides of fact, they just poorly written. I'm looking to 0:06:00.640 --> 0:06:04.400 the finished book. It's just um, that was a bunch 0:06:04.400 --> 0:06:06.800 of drivel. It was really a tour diary. It was. 0:06:06.960 --> 0:06:11.080 It was like personal tour diary in fifty percent James 0:06:11.080 --> 0:06:14.839 Brown Body he was born and made that kind of stuff. 0:06:15.640 --> 0:06:19.080 And as time went on, realized that the diary was 0:06:19.120 --> 0:06:21.280 self indulgent and had a lot of stupid stuff that 0:06:21.480 --> 0:06:26.239 was no interest to anybody, not even me. And um, 0:06:26.279 --> 0:06:27.920 you know it was like what I had for breakfast 0:06:27.960 --> 0:06:31.240 before the show was dumb stuff. This guy actually act. 0:06:34.080 --> 0:06:36.040 But I was smoking a lot of weed that and 0:06:39.160 --> 0:06:41.520 it's like so you kept note, see that's the thing 0:06:41.640 --> 0:06:46.440 like I that was the horder So am I Yeah, Well, OK, 0:06:46.800 --> 0:06:51.720 half my houses I think we knew that. Um No. 0:06:52.240 --> 0:06:57.720 And when he left King Records for Paula Door Invent one, 0:06:58.160 --> 0:07:01.720 we're cleaning out the office and there's tons of foul 0:07:01.800 --> 0:07:08.000 cabinets full of old tiner hereies to routings, publicity pictures, UM, 0:07:08.040 --> 0:07:09.880 all kinds of stuff, the kind of stuff you would 0:07:09.880 --> 0:07:13.280 think would be in our office like that. And also 0:07:13.360 --> 0:07:18.520 we're recording session reports UM music Union session reports with 0:07:18.720 --> 0:07:22.600 dates and who plays what and that tracking sheets in 0:07:22.680 --> 0:07:26.679 sessions like saying loud and Funky drummer. The original tracking 0:07:26.720 --> 0:07:30.440 sheets were in the office. Yeah, not inside the real 0:07:30.520 --> 0:07:33.679 box where they were probably copies in the real boxes. 0:07:34.120 --> 0:07:38.400 But you know, it just meticulous with filing back, Like 0:07:38.440 --> 0:07:39.760 how did you know to save all that stuff? Like 0:07:39.760 --> 0:07:42.360 how did you know? Because I was a fanatic. It 0:07:42.400 --> 0:07:44.840 was just I was already you're one of us. He 0:07:44.920 --> 0:07:49.600 never did you already knew that of his history by then. No, 0:07:49.800 --> 0:07:52.800 I knew. I wanted it. It was purely selfish, I 0:07:52.840 --> 0:07:56.680 think it really, it really was. This comes from the 0:07:56.720 --> 0:08:00.400 fact that he never had credits on his records right right, 0:08:00.680 --> 0:08:03.360 So to a real fanatic, it was like, Okay, who's 0:08:03.360 --> 0:08:06.320 the drummer around this session? Who's the guitar point this session? 0:08:06.480 --> 0:08:09.160 Wouldn't did this guy leave the bands and replaced by 0:08:09.280 --> 0:08:12.000 the next guy. I was that guy who wanted to 0:08:12.080 --> 0:08:16.960 know who did everything on his records and here's the 0:08:16.960 --> 0:08:20.360 Holy Grail, and it's a copy of the King Master Book, 0:08:20.400 --> 0:08:23.800 which tells you the recording sessions and locations and dates 0:08:23.840 --> 0:08:26.320 and what time of day and all that kind of crap. 0:08:27.000 --> 0:08:31.920 So this is to somebody who was compiling the discography 0:08:32.080 --> 0:08:34.319 that that never really dreamt anybody who gives a shit 0:08:34.400 --> 0:08:38.200 about except me. But I wanted to know, so I 0:08:38.280 --> 0:08:42.720 asked him. They're gonna trash all this stuff literally dump 0:08:42.760 --> 0:08:45.160 put it in the dumpster because we're moving to New York, 0:08:45.679 --> 0:08:47.839 well some of us to Augusta. That's all another story 0:08:47.920 --> 0:08:51.000 that the book tells you about. But but and I 0:08:51.160 --> 0:08:55.520 just said Mr Brown, can I And He's like, yeah, 0:08:55.679 --> 0:08:58.160 something to somebody want to keep it? It's history. He 0:08:58.280 --> 0:09:01.079 knew it was history. I knew it was a collection. 0:09:01.160 --> 0:09:03.439 I wanted. It was like baseball cards to me, I 0:09:03.520 --> 0:09:06.640 want the collection that was it? Okay? And of course 0:09:06.720 --> 0:09:08.880 time went by and you begin to realize that this 0:09:09.040 --> 0:09:12.920 is gonna be worth something. One as as his his 0:09:13.040 --> 0:09:16.720 stardom becomes a kind of classtic and so on. Time 0:09:16.800 --> 0:09:19.920 goes on. You really be getting to get this incident like, okay, 0:09:19.920 --> 0:09:22.920 I really need to preserve this and documented properly and 0:09:23.000 --> 0:09:24.920 so on. I mean, I've got a four hundred page 0:09:25.000 --> 0:09:31.679 discography that has every session's produced and even has the 0:09:31.760 --> 0:09:35.040 bootlegs of the concert recordings that I mean, it's it's 0:09:35.080 --> 0:09:41.079 stupid little publishers that stuff. I mean, it's read it. 0:09:42.760 --> 0:09:45.080 I'll read it an obsess over it. No, I'm serious, 0:09:45.559 --> 0:09:49.440 it's very important that but it comes out exactly it's important. 0:09:50.240 --> 0:09:52.160 So I can assume that if they can do for 0:09:52.200 --> 0:09:53.800 the Beatles, they can do it for times as in 0:09:53.880 --> 0:09:56.640 a side. Everybody I've talked to says, well, making a 0:09:56.720 --> 0:09:59.040 coffee table book, you don't need all the details, And 0:09:59.080 --> 0:10:01.520 I'm like, no, no, no, it's all about the details. 0:10:01.880 --> 0:10:04.600 They just don't get it because they're just looking. It's 0:10:04.640 --> 0:10:07.880 a research book. Yeah, it's not a coffee table book. 0:10:07.920 --> 0:10:11.640 It's not for the casual casual fan. It's it's it's 0:10:11.720 --> 0:10:17.120 for us. Right, So can I assume that the So 0:10:17.480 --> 0:10:19.840 you really were the source of most of the information 0:10:19.920 --> 0:10:24.160 in the startime box set. So you're so anytime I 0:10:24.400 --> 0:10:27.760 read who was on what and blah blah blah. So 0:10:27.920 --> 0:10:32.679 without that we would have just been guessing. Literally now, 0:10:32.920 --> 0:10:36.040 mind you, as time would go on, every time they'd 0:10:36.080 --> 0:10:38.800 have a session and This discontinued for years after I 0:10:39.160 --> 0:10:43.679 stopped working for him. Um, I would call Fred Wesley 0:10:43.840 --> 0:10:48.280 or David Matthews the arranger, and you know any sessions 0:10:48.400 --> 0:10:50.880 lately where when, what did your record? Who was on 0:10:51.000 --> 0:10:54.000 the session? I'm used to drive them crazy. Matthews talks 0:10:54.040 --> 0:10:57.079 about it his wax poetic story. He's like only that 0:10:57.160 --> 0:10:58.559 never really knew what he did, but he used to 0:10:58.640 --> 0:11:01.400 drive me crazy about details of the sessions, and he 0:11:01.440 --> 0:11:05.599 would write everything down. Um so yeah, do you have 0:11:05.720 --> 0:11:08.959 any of the original charts or the charts also in 0:11:09.000 --> 0:11:11.440 the office as well, like the horn arrangements and stuff. 0:11:12.160 --> 0:11:14.280 So they just write them down and then leave him 0:11:14.320 --> 0:11:16.079 at the studio. I think most of them were head 0:11:16.160 --> 0:11:19.760 charts really, just you know, he would do recordings like 0:11:19.840 --> 0:11:22.760 It's a Man the World with an arranger like Sammy Low, 0:11:22.840 --> 0:11:24.880 and it wouldn't be his band. They were charts for that. 0:11:25.040 --> 0:11:27.959 I never saw him the charts for that. I'm sure 0:11:28.040 --> 0:11:32.400 David Matthews did charts for his arrangements. Um, but as 0:11:32.440 --> 0:11:35.679 far as the the bulk of the hit records that 0:11:35.800 --> 0:11:39.760 James would his own band, those were all head charts alright. 0:11:39.840 --> 0:11:49.840 So then for James Brown himself, uh, would he could 0:11:49.880 --> 0:11:55.079 I could. I say that, I'm assuming that he freestyle 0:11:55.600 --> 0:11:57.760 a majority of this stuff, where like he just would 0:11:57.800 --> 0:12:00.679 have an idea and right down four lines. And it 0:12:00.800 --> 0:12:06.920 really varied. Um ofttimes there'd be an idea and many 0:12:07.040 --> 0:12:09.600 times I shouldn't say, Matty, but quite a few times 0:12:09.840 --> 0:12:16.720 ideas would come from having changed the arrangements of pruvious hits. Okay, 0:12:16.960 --> 0:12:21.040 you know, like the vamp becomes the new song exactly, Okay, 0:12:21.160 --> 0:12:23.199 I get it. I mean sex Machine came out of 0:12:23.440 --> 0:12:25.360 a guitar lick that they were doing and give it up, 0:12:25.400 --> 0:12:27.800 return it loose. At some point they changed the guitar 0:12:27.920 --> 0:12:29.679 part and give it up, return it loose on the 0:12:29.800 --> 0:12:33.079 road the road arrangement, and he liked that part and 0:12:33.240 --> 0:12:35.360 ended up building a song around it was sex Machine. 0:12:35.880 --> 0:12:39.839 I see. So then with but I'm saying, like what 0:12:40.040 --> 0:12:42.280 I mean, a song that has actual lyrics like black 0:12:42.320 --> 0:12:45.400 and proud. I'm certain it was notated on paper whatnot, 0:12:45.520 --> 0:12:49.079 but then maybe maybe not, because the story goes I 0:12:49.240 --> 0:12:52.360 wasn't at that session, but Charles Bobb it was, and 0:12:52.720 --> 0:12:54.719 Bob a Dolt was claimed that it was a very 0:12:54.760 --> 0:12:58.280 impulsive thing, like they were talking in a hotel late 0:12:58.320 --> 0:13:00.439 at night, and Brown was staying, there needs to be 0:13:00.520 --> 0:13:03.719 a song like this, and I've got a lyric, and 0:13:04.200 --> 0:13:07.720 I suppose he went to pee and said, let's cook 0:13:07.800 --> 0:13:12.160 something up around this lyric. And you know whether whether 0:13:12.240 --> 0:13:15.439 they did it in the studio or the night before 0:13:15.480 --> 0:13:19.079 in the hotel, on the bus or whatever. But but 0:13:19.200 --> 0:13:22.360 I'm saying it has actual lyric structure. It's a poem, right, 0:13:22.760 --> 0:13:28.400 but for something like escapism, doing it? Escape it? All right? 0:13:28.720 --> 0:13:33.400 So alright, so Key's playing a song like escapism? Is 0:13:33.480 --> 0:13:36.400 it Escapeism? A long version, I think it's it's like 0:13:36.480 --> 0:13:39.480 a twenty minute it's ridiculous rap session where they just talk, 0:13:40.160 --> 0:13:42.600 actually talk about that session in the book and tell 0:13:42.679 --> 0:13:45.400 the whole story. But the short version is he was 0:13:45.600 --> 0:13:48.600 out of the club in Cincinnati where the de Police 0:13:48.679 --> 0:13:51.680 trio What's the House? But and this was a cocktail 0:13:51.760 --> 0:13:55.640 trio ja as you know, soft jazz trio that mostly 0:13:55.679 --> 0:13:57.719 played standards, and he used them for a couple of 0:13:57.800 --> 0:14:00.600 records where he dreamt the bean Sinatra for a minute. 0:14:02.200 --> 0:14:08.959 There was a time accident exactly exact example exactly. He 0:14:09.080 --> 0:14:11.360 was hanging out at this club and somebody used the 0:14:11.440 --> 0:14:15.439 word escape pism in the context of a casual conversation, 0:14:15.600 --> 0:14:17.440 like they had a drink and said, you know what's 0:14:17.480 --> 0:14:20.560 wrong to its kids. It's all escapism. They're not paying 0:14:20.600 --> 0:14:22.720 attention to what's going on in the New world. So 0:14:23.200 --> 0:14:26.640 and I just heard the horn squeal in my exactly. 0:14:27.240 --> 0:14:29.920 He came into the studio the next day and I 0:14:30.120 --> 0:14:33.040 was there. This wasn't an anti during one time. And 0:14:33.440 --> 0:14:35.160 as a matter of fact, my brother Eric should be 0:14:35.200 --> 0:14:37.120 here to tell his story because he actually said it 0:14:37.240 --> 0:14:39.480 on the session. He didn't play, but but he was 0:14:39.560 --> 0:14:43.120 in the booths the whole day. The session was for 0:14:43.560 --> 0:14:46.920 and I know you got sold, Bobby Burn. Okay, we're 0:14:46.920 --> 0:14:50.760 about to record very real quick exactly, that's what the 0:14:50.840 --> 0:14:54.760 session was for. But James had this obsession with the 0:14:54.840 --> 0:14:58.920 word escapeism. So he comes in the running over the trap, 0:14:59.520 --> 0:15:02.600 which was ostensibly gonna be for a you Got Sold 0:15:04.000 --> 0:15:06.960 and at some point Jesus bird, I'm gonna do this one, 0:15:07.840 --> 0:15:12.400 and he had libbed to escape by sometimes I don't 0:15:13.200 --> 0:15:19.440 down the night, abody looking for it, everybody looking for 0:15:19.560 --> 0:15:28.760 the day. And according to Eric, who was actually in 0:15:28.800 --> 0:15:31.000 the boots, I was in the office. I couldn't hang out. 0:15:31.000 --> 0:15:33.240 It was during the afternoon so I had to be busy. 0:15:33.320 --> 0:15:35.760 I couldn't just hang in the studio or you know, 0:15:36.680 --> 0:15:39.000 how far is the studio from proximity for where the 0:15:39.080 --> 0:15:43.800 home offices were the same building. It's just you know, 0:15:43.960 --> 0:15:46.000 go down the hallway, go through a door, up a 0:15:46.120 --> 0:15:48.200 ramp in your in the studio because you hear them 0:15:48.320 --> 0:15:51.200 or was it like it was the studio there was 0:15:51.240 --> 0:15:54.160 a warehouse between that you had to kind of walk around, 0:15:54.280 --> 0:15:59.440 but it's in the same it's a huge factory like building. 0:16:00.840 --> 0:16:04.240 So no, you couldn't hear a thing. But so Eric 0:16:04.440 --> 0:16:06.760 was saying, yeah, so he was hearing, and he said 0:16:06.840 --> 0:16:09.800 that that you know, James just loved the track and 0:16:09.880 --> 0:16:12.240 he was dying to do something with this thing escapism, 0:16:12.320 --> 0:16:15.360 and listened to the record, you realized there's, as you say, 0:16:15.360 --> 0:16:19.960 there's a lyrical structure. It's just him, just him fucking 0:16:20.000 --> 0:16:23.160 with the band and at the limping ship. And it 0:16:23.200 --> 0:16:24.840 gets to the port where he's out of ideas. So 0:16:25.000 --> 0:16:27.560 he starts walking around the studio asking who's where are 0:16:27.560 --> 0:16:30.280 you from? You know? Okay, So when he does that, okay, 0:16:30.480 --> 0:16:32.760 So during this period he does that a lot, a 0:16:32.840 --> 0:16:37.840 lot on the JVS records, where he'll talk to jabbo 0:16:38.000 --> 0:16:40.520 and talk to various members of the band. Where is 0:16:40.560 --> 0:16:42.400 he holding a free mic in his hand as he's 0:16:42.440 --> 0:16:44.440 doing it? Or is it like a traditional studio set 0:16:44.520 --> 0:16:48.640 up that like, you know, are they like he set 0:16:48.720 --> 0:16:52.760 up like his stage show? No? No, actually, a few 0:16:52.840 --> 0:16:57.320 times I saw him record with the band. Um, probably 0:16:57.360 --> 0:17:00.400 have dozen, It's not a dozen times. First he'd be 0:17:00.480 --> 0:17:06.200 recording live, okay, and much to the engineer's chagrin, he'd 0:17:06.280 --> 0:17:12.560 sacrificed separation in favor of chemistry, vibe chemistry. So ofttimes 0:17:12.640 --> 0:17:16.520 the band was in like a semicircle and he would 0:17:16.560 --> 0:17:19.080 just be in the middle so he didn't have to 0:17:19.160 --> 0:17:21.639 walk with the mic. He could just you know, like 0:17:22.040 --> 0:17:23.920 I'm talking to a mic now. And he was just 0:17:24.000 --> 0:17:26.640 looking to hey, Jimmy from North Carolina, tell me about 0:17:26.720 --> 0:17:29.600 old Carolina. What do you have for breakfast? Fred? Where 0:17:29.600 --> 0:17:32.280 are you from? L A, Yeah, Lower Alabama? And to 0:17:32.560 --> 0:17:36.800 you know, this is just what he did. Okay. The 0:17:36.920 --> 0:17:38.800 track goes on and on and on, and of course 0:17:38.880 --> 0:17:43.720 the group was ferocious, and um, he walks in the 0:17:44.040 --> 0:17:46.879 I guess table was running out Ron Lenn HAPs the 0:17:46.920 --> 0:17:49.720 engineer probably signaled to him like, yo, dude, you know 0:17:50.280 --> 0:17:53.640 and he walks in and he says, whoa. And Eric 0:17:54.040 --> 0:17:55.840 just wrote this down. He had to remember it, and 0:17:55.960 --> 0:18:00.600 he says he could quote it perfectly. Um, he said. 0:18:00.640 --> 0:18:02.880 He walks into Run looking up and he said, well, Run, 0:18:03.119 --> 0:18:06.240 that's a long one. That's gotta be ten minutes. Ron said, 0:18:06.359 --> 0:18:12.159 Mr Brown, it's twenty one minutes. And Brown looks at 0:18:12.240 --> 0:18:14.720 him and said, well that's enough for part one, two, three, 0:18:14.880 --> 0:18:19.400 four and five, all right. And so of course after 0:18:19.520 --> 0:18:21.320 that they recorded I know you got so Old with 0:18:21.680 --> 0:18:26.800 its own left because of right Eric, yeah, whatever else. 0:18:27.000 --> 0:18:30.280 But the thing is is that they also do this live, 0:18:31.240 --> 0:18:34.359 and at least on the live of the Apollo did 0:18:34.400 --> 0:18:39.000 they often do Escapism live and recreate um because it's 0:18:39.000 --> 0:18:43.920 almost like, yeah, it's sorry to recreate, but they kind 0:18:43.920 --> 0:18:46.040 of matched on the Apollo record. Or he just knew, 0:18:47.000 --> 0:18:50.920 here's something interesting. When we were going through tapes back 0:18:50.960 --> 0:18:53.159 when the tape Vault was in Edison, New Jersey, and 0:18:53.200 --> 0:18:55.640 we had access, We're doing Start Time and a few 0:18:55.680 --> 0:19:00.959 of the other early CDs Harry and nine, Harry Executive 0:19:01.720 --> 0:19:04.600 Universe A Universal, we would go to the tape Fault 0:19:04.680 --> 0:19:07.800 and just spend days in there going through tapes and 0:19:08.240 --> 0:19:11.320 my whole mission. Again, it's my discography, what's in the tapes, 0:19:11.400 --> 0:19:14.040 what's on the tape boxes. So I'm just running around 0:19:14.440 --> 0:19:17.720 and making copies because they had a studio there where 0:19:17.760 --> 0:19:21.359 I could put the tapes up and burnt cededs or 0:19:21.440 --> 0:19:27.440 not sorry, make exactly and um, you know. And this 0:19:27.600 --> 0:19:30.399 all help because I'm listening to unishoot stuff that I 0:19:30.480 --> 0:19:33.680 can then document in the discography as well as the 0:19:33.760 --> 0:19:36.800 complete versions and stuff and get data. Anyway, long story short, 0:19:37.520 --> 0:19:40.720 So we're going through the tapes for Revolution of the Mind, 0:19:40.840 --> 0:19:44.960 which was the third live at the Apollo album, recorded 0:19:45.040 --> 0:19:48.600 in seventy one, shortly after he joined poland Or Records. 0:19:49.240 --> 0:19:53.679 They recorded eight shows and pulled from the eight shows 0:19:53.760 --> 0:19:58.240 to sequency album. And yes, yeah, I mean I don't 0:19:58.280 --> 0:20:01.280 think they used portions of all. Maybe they used portions 0:20:01.320 --> 0:20:03.960 at two or three, but they had eight shows to 0:20:04.080 --> 0:20:07.760 draw from, and no, I haven't listened to all eight shows. 0:20:07.880 --> 0:20:10.560 But here's the point. Someday we'll do with deluxe version. 0:20:10.720 --> 0:20:13.960 And you know then I've been on Harida. You know, 0:20:14.080 --> 0:20:19.800 it's it's university there you go, so it'll come me 0:20:19.880 --> 0:20:22.639 for you and bringing this up. But that's why I 0:20:22.680 --> 0:20:27.600 bring it up. But here's here's the interesting thing. The 0:20:27.880 --> 0:20:31.560 only show he did Escapeism, all the other shows are identical, 0:20:32.359 --> 0:20:36.960 meeting the sequence is identical for all for the seven 0:20:37.040 --> 0:20:40.000 of the eight shows. He only did Escapism on the 0:20:40.080 --> 0:20:45.080 first show. Now, was that intentional because he wanted the 0:20:45.200 --> 0:20:48.240 title on the album but it wasn't really part of 0:20:48.320 --> 0:20:51.600 the show yet, or didn't he like cow it came off? 0:20:52.440 --> 0:20:54.600 I can't tell you why. I can just tell you 0:20:54.760 --> 0:20:57.920 that there's only one live version of that. Whereas we 0:20:58.040 --> 0:21:01.159 had eight shows, there's one escape him Now after the 0:21:01.240 --> 0:21:04.600 record came out and hit, it was in the show, 0:21:04.960 --> 0:21:08.720 but very briefly, and I honestly can't remember what it 0:21:08.880 --> 0:21:15.080 was like. I just I can hear the audience actually channing, 0:21:15.400 --> 0:21:17.680 you know, the lyrics, which I was like, wow, like 0:21:17.840 --> 0:21:23.600 they I'm just baffled that a spontaneous conversation is now 0:21:23.760 --> 0:21:26.840 a hit single, or at least where people are repeating 0:21:27.600 --> 0:21:29.479 a lyric back. That was actually my first thought when 0:21:29.520 --> 0:21:31.119 I first heard. I was like, wow, this this this 0:21:31.280 --> 0:21:34.840 was a hit record. Like it's strange people of course, 0:21:35.119 --> 0:21:37.280 who did that? I mean, can you see this reading 0:21:37.880 --> 0:21:42.160 I'm talking to Steve Cropper breakfast? Like that wasn't good 0:21:42.240 --> 0:21:45.879 appen So for that particular album, do you remember, all right? 0:21:45.960 --> 0:21:50.719 So if all the shows were recorded, um, were they 0:21:50.880 --> 0:21:53.800 all done night after night? Or were these like, okay, 0:21:53.840 --> 0:21:57.600 we'll record the twelve o'clock show, the three o'clock show, 0:21:57.680 --> 0:22:00.040 now he was doing. But then instead of doing the 0:22:00.119 --> 0:22:03.080 old four or five shows a day, he'd cut. He 0:22:03.280 --> 0:22:05.680 convinced the Apollos that for his appearance as he would 0:22:05.720 --> 0:22:08.440 just do to at night and maybe three on weekends, 0:22:09.160 --> 0:22:11.280 so he would do at seven o'clock, in ten o'clock 0:22:11.640 --> 0:22:15.800 something like that. And ye, when did that same thing 0:22:15.920 --> 0:22:21.240 stop in the seventies or early seventies? So was it 0:22:21.480 --> 0:22:24.120 that system for the live of the Apollo two albums? 0:22:25.000 --> 0:22:30.960 So in nine was seven the apollowed. There was a 0:22:31.359 --> 0:22:35.119 jun Juno sixties seven and they recorded two and a 0:22:35.200 --> 0:22:38.240 half shows that we found. We have two complete shows 0:22:38.480 --> 0:22:41.199 and about half of the third show. But what I'm 0:22:41.280 --> 0:22:44.560 asking is for that particular run at the Apollo, was 0:22:44.720 --> 0:22:47.560 that the one o'clock in the afternoon, the two o'clock, 0:22:48.040 --> 0:22:51.760 the three o'clock. Yes, okay, So, and I don't think 0:22:51.800 --> 0:22:56.720 we went through this the last time because I'm still 0:22:56.800 --> 0:23:02.200 trying to imagine how you squeezing five shows with I'm 0:23:02.200 --> 0:23:07.840 assuming that he at least had sort of a cavalcade 0:23:07.840 --> 0:23:11.120 of at least four acts. I mean it's Bird doing 0:23:11.200 --> 0:23:15.199 some solos. Yeah. In fact, on the deluxe edition, they 0:23:15.240 --> 0:23:19.720 didn't record Bird sets, but they did get two songs 0:23:19.840 --> 0:23:22.200 on tape and we used to we used to he 0:23:22.320 --> 0:23:26.920 did Sweets Sold Music, Arthurchly Sweet sould Music. And did 0:23:27.000 --> 0:23:30.320 we use a second track? Is? I don't think so? Um, 0:23:31.080 --> 0:23:35.880 you got to change your mind or ye that later. 0:23:36.240 --> 0:23:38.040 I think the only thing that we found with Sweets 0:23:38.040 --> 0:23:41.760 Sold Music. But what I'm asking is he's not not 0:23:41.960 --> 0:23:44.640 The show ran, yes, okay, the band would come out 0:23:45.560 --> 0:23:48.480 and and this was the shorter Obviously, you're doing four 0:23:48.520 --> 0:23:51.240 or five shows a day. They're shorter than you would 0:23:51.280 --> 0:23:54.800 get in a arena or a concert hall where you're 0:23:54.840 --> 0:23:57.600 just doing one show at eight o'clock, and the shows 0:23:57.640 --> 0:24:01.000 would maybe run three hours. In the Apollos had run 0:24:01.119 --> 0:24:05.960 maybe an hour forty five. Okay, okay, the band would 0:24:06.000 --> 0:24:08.760 come out and just do one or two instrumentals, whereas 0:24:09.000 --> 0:24:12.000 on tour they might do a half hour of instrumentals. 0:24:13.280 --> 0:24:18.080 For example, the the the nine eight Boston show that's 0:24:18.119 --> 0:24:22.400 on video, they recently discovered a reel with the instrumental 0:24:22.480 --> 0:24:25.399 set and they're doing five or six instrumentals before anything 0:24:25.480 --> 0:24:29.359 happens the band is but in the Apollo they do 0:24:29.480 --> 0:24:33.840 one or two just as a warm up. Okay, then 0:24:34.000 --> 0:24:39.199 Brown would come out and all right, let me think back. Um, 0:24:40.000 --> 0:24:43.159 he would come out and he would would go right 0:24:43.240 --> 0:24:47.520 into his his nightclub set where he does. That's life 0:24:47.680 --> 0:24:50.919 for if I ruled the world in Kansas City. All right, 0:24:51.000 --> 0:24:55.280 now I'm trying fifteen minutes. I'm treating you as a 0:24:55.520 --> 0:25:00.560 DVR right now, I'm pausing the show. So with someone 0:25:00.680 --> 0:25:05.439