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Speaker 1: What are we even doing? What are we even doing?

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Speaker 2: More?

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Speaker 1: Hey, everybody, welcome to What are we even doing? I'm

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Speaker 1: your host. I love what's happening behind me. Kyle McLachlan.

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Speaker 1: This is a show where we sit down with actors, musicians,

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Speaker 1: creators all type and we basically dive deep into their

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Speaker 1: creative process, how they started, what's important to them, how

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Speaker 1: they use social media today. On the program, I feel

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Speaker 1: like I'm talking like this now today on the program,

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Speaker 1: we want to welcome musician, extraordinary producer songwriter Doctor Pooth

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Speaker 1: is with us. Yes, ladies and gentlemen, Charles Pooth is here.

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Speaker 2: Yeay?

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Speaker 1: Can you come on all my shows and just sort

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Speaker 1: of hang out and just do the music?

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Speaker 2: Yeah, I'm not busy.

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Speaker 1: You could be like, yeah, you got nothing going on? Right?

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Speaker 2: No? I taught I always have this tiny keyboard with

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Speaker 2: me because I tend to trip over my words when

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Speaker 2: I speak, and I feel like the words I speak

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Speaker 2: more cohesively. Uh huh Okay, I have like like a

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Speaker 2: little major behind me.

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Speaker 1: What's wrong with C major? C major is sort of

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Speaker 1: the chord it also it started everything off? Didn't C

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Speaker 1: major start it off?

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Speaker 2: Yeah? I mean twelve twelve notes, and Quincy Jones told

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Speaker 2: me once when I sat with him and went on

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Speaker 2: this tiny little piano bench at his house, he was like,

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Speaker 2: isn't it amazing how there's only twelve notes in a

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Speaker 2: scale and there's an infinite amount of songs to write.

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Speaker 1: Yes, it's just that's when you put it like that,

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Speaker 1: he's incredible. Well, I remember watching one of your professor

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Speaker 1: Booth's shows and you were talking about how some songs

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Speaker 1: sound similar.

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Speaker 2: Yes for the first four notes, yes, and that's I

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Speaker 2: should I should a little asterisk against that. That's not

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Speaker 2: My lawyer called me up one day. It was like,

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Speaker 2: that's not actually the law, but like it's but I

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Speaker 2: wasn't ever offering legal advice. Oh no, that's just like

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Speaker 2: a similar thing that seems to happen. If you take

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Speaker 2: the first couple notes, it's fine, but then if you

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Speaker 2: keep going, okay, now it's a sample. He was just

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Speaker 2: urging me, like, don't offer legal advice. I'm like, I

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Speaker 2: never was.

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Speaker 1: It's so funny because the phone number that came up

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Speaker 1: on the scroll behind that, which was you know, one

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Speaker 1: eight hundred, you know, ask me notes, you know, musical

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Speaker 1: musical accompaniment device.

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Speaker 2: Those this is the music that would always appear on

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Speaker 2: those infomercials like one eight hundred. Are you interested in

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Speaker 2: finding out what your fantasy may be?

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Speaker 1: Operators are standing by, Operators are standing by.

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Speaker 2: This is gonna be fun. This is gonna be my

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Speaker 2: favorite thing I've done all day.

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Speaker 1: I can.

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Speaker 2: I can already tell, Oh my god, I'm so glad.

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Speaker 1: You brought that, because I we're not starting in any

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Speaker 1: particular order, but but we'll get back to it. But

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Speaker 1: one thing this reminds me of is when I did

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Speaker 1: ray Manzeric in the doors. Right, so I can play

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Speaker 1: a little piano. There's no real sheet I mean maybe

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Speaker 1: there was, but I didn't search for it. I said, no,

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Speaker 1: I don't. I don't trust the sheet music. I need

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Speaker 1: to do what Ray was doing in concert, right, So

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Speaker 1: I took a keyboard with me to Europe. I packed

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Speaker 1: the fucking.

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Speaker 2: Do you remember what kind of keyboard it was?

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Speaker 1: No, I don't even remember what, but it was big.

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Speaker 3: Was it electric?

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Speaker 1: It was battery?

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Speaker 2: Just battery of Okay, okay, that's how sophisticated I was.

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Speaker 2: Because you have a classical piano background, so I do Okay,

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Speaker 2: so you already I.

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Speaker 3: Can do it.

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Speaker 1: I can sort of fumble my way around the keys,

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Speaker 1: but it was it was really fun. And I literally

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Speaker 1: would listen and then I would piece it out and

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Speaker 1: then I would kind of notate it, you know, to

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Speaker 1: the best of my ability. What were you watching?

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Speaker 2: I'm sorry to cut you off. What because I'm genuinely interested.

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Speaker 2: What were you watching it on?

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Speaker 1: I was listening. Yeah, So the production office for for

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Speaker 1: the Doors, Oliver's production team sent out and here's the thing.

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Speaker 1: They kept changing the songs, so they'd send you like, Okay,

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Speaker 1: here's the eight songs we're going to use. I'm like, okay, great,

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Speaker 1: working on these, working on these, and it's not easy

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Speaker 1: for me. You have it like that, sure, but it

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Speaker 1: took me time.

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Speaker 3: You know.

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Speaker 2: I also wasn't alive, so you're one step ahead of them.

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Speaker 1: Still went really hard for you.

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Speaker 2: Yes, it would have been really difficult.

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Speaker 1: But I feel you could have done something. I just

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Speaker 1: feel I have faith in you.

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Speaker 2: In the womb. Yes, I wasn't even a thought.

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Speaker 3: Probably.

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Speaker 1: Well, you tell me that your your parents did they

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Speaker 1: do the headphone thing on the.

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Speaker 2: Well it was in the nineties, so the headphones were massive, yah, yeah, yeah,

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Speaker 2: and there were we had a tape player that my

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Speaker 2: mom still has. And there was a song. I've never

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Speaker 2: been able to find the original singer of it, but

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Speaker 2: there was a I grew up in Catholic church, and

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Speaker 2: there was a Catholic song called we are Grateful. Maybe

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Speaker 2: someone watching this can figure it out.

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Speaker 1: It was the number so that they can call.

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Speaker 2: There was a yes, there was a kind of PoCA

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Speaker 2: bells cannon, and it went.

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Speaker 4: We are greatful for our blessings, for blessings great and small,

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Speaker 4: and then had like a bridge is a beauty even

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Speaker 4: give And I'm.

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Speaker 2: Like, oh, that's cold. But I've never I've never been

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Speaker 2: able to find the original singer. My mom used to

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Speaker 2: play that song for me. She used to play We're

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Speaker 2: going to.

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Speaker 5: The zoo, zoo zoo, how about you? You you you

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Speaker 5: can come to to to and uh, you know Barney

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Speaker 5: and et cetera. And also something in the way she moves,

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Speaker 5: looks my way, calls my name.

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Speaker 2: Do you have to pay for every time I sing? Okay, okay,

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Speaker 2: you spent it'll be an expensive guest, some.

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Speaker 1: Thousand dollars last one which I don't know, but James

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Speaker 1: Taylor obviously.

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Speaker 2: That was probably the most. My mom played the most

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Speaker 2: music for me that was James cool and it was.

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Speaker 1: It a reel to reel.

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Speaker 2: It was a white cassette and Walking Man was on

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Speaker 2: side B and Something in the Way.

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Speaker 3: She Moves was the first song.

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Speaker 2: Beautiful song it's in James's music is And I told

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Speaker 2: him this. I saw him a couple of months ago.

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Speaker 2: I told him, I always I always trip him out

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Speaker 2: because I'm such a fan, but like I I can

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Speaker 2: speak to him on like because I've worked with him before.

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Speaker 2: And I told him it was like, your song Something

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Speaker 2: in the Way She Moves is so haunting. It reminds

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Speaker 2: me of Fire and Rain. How it's it's in a

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Speaker 2: happy back to see Major's happy happy key signature. But it's,

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Speaker 2: you know, not the most joyful thing you're singing about.

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Speaker 1: You mentioned that in talking that do some of your

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Speaker 1: most creative moments are when did you finish the show?

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Speaker 1: You come off? Everything is you know, running hot? You know?

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Speaker 2: Oh yeah, man, out of it comes to these ideas absolutely.

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Speaker 2: I remember we're jumping around a lot, but I'll take

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Speaker 2: you up whatever. Let's show those notes away into into

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Speaker 2: that Yello Haisley bag over there, just throw it. I

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Speaker 2: remember finishing a show in the Philippines, and we went

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Speaker 2: to the airport the next day to get him a

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Speaker 2: plane to fly to Japan. And I heard, I heard

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Speaker 2: this little plucky Do I have a little plucky sounding No,

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Speaker 2: that's like kind of a Stevie Wonderson, right, Oh, definitely.

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Speaker 2: I just had those like notes in my and we

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Speaker 2: were running to our gate to get to the plane,

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Speaker 2: and you know, it was it was the first time

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Speaker 2: I had fans show up at the airport. This was

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Speaker 2: like twenty sixteen, so I was kind of excited. I

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Speaker 2: feel like my hard work was finally paying off. So

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Speaker 2: I just started repeating myself, We're running, no running, O, running,

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Speaker 2: no running, no to the gate. And then that turned

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Speaker 2: into a running around, running around, running around to that

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Speaker 2: dirt alo on my name, which is of course the

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Speaker 2: verse to my song attention. And I'm never good at

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Speaker 2: explaining where songs come from. It's just kind of maybe

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Speaker 2: God throwing something at me, and I just picked picked

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Speaker 2: something in the air. I don't know, but that just

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Speaker 2: fell into my brain. I was talking to an artist

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Speaker 2: the other day. He just shows up to the studio

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Speaker 2: every day and sometimes thirty days we'll go by and

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Speaker 2: nothing happens. But the moment you check out of the

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Speaker 2: studio on the way back to your house, then you

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Speaker 2: have an idea.

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Speaker 1: Is there a pressure when you're in the studio to

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Speaker 1: like I got to come up with something.

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Speaker 2: Or there is for me specifically, because I don't think

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Speaker 2: I ever make anything great in a very sterile studio environment.

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Speaker 2: There's a couple exceptions. There's a great studio called Conway

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Speaker 2: down the street and I really love making music app

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Speaker 2: but I got to be able to spill my coffee and.

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Speaker 3: You know, make a mess.

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Speaker 2: And make a little bit of a Mess's just not

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Speaker 2: like be belligerent, but just like a little bit of

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Speaker 2: a mess.

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Speaker 1: You think it's a thing where because it kind of

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Speaker 1: turns the brain. I don't say it doesn't turn it off,

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Speaker 1: but it sort of creates a little bit of a

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Speaker 1: swirl so that you can be more. You're kind of

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Speaker 1: moving like you know, what's that great? Like just what

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Speaker 1: popped in my head? There was like remember I don't

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Speaker 1: know if you ever saw a putastad in The Sundance Kid.

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Speaker 2: I know it. I don't get watch movies.

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Speaker 1: Okay, that's okay, those okay, in the very beginning they

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Speaker 1: The Sundance Kid is trying to shoot something off the floor.

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Speaker 1: I think I'm recalling this right. And he's missing and

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Speaker 1: he's missing and people and he sort of says, can

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Speaker 1: I move like what he said? I'm better if.

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Speaker 3: I move like a different position.

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Speaker 1: Basically as he's moving, he's shooting anything. And I said,

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Speaker 1: that's it. It's like if you're just motion or something. Yeah,

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Speaker 1: somehow it clicks.

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Speaker 2: I understand that reference now. I think I remember seeing

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Speaker 2: that scene right in the beginning of the time. Yeah,

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Speaker 2: I think that's right after I turned it off. I

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Speaker 2: just don't watch movies. I no disrespect to in that movie,

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Speaker 2: but I to. They say to write a song, you

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Speaker 2: have to not write a song, So I have written

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Speaker 2: most of my music while running to my gate at

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Speaker 2: the airport. I'm not focused. I don't have any equipment

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Speaker 2: with me. I'm in the shower and the water is

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Speaker 2: really hot. I'm in the car and I have to,

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Speaker 2: you know, concentrate on making a really dangerous left turn

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Speaker 2: on Las Sianica, like I have to. That's how I

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Speaker 2: come up with a song, by using my subconscious part

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Speaker 2: of my brain. And I guess being in the studio

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Speaker 2: is like I am in the studio it's time to

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Speaker 2: make music.

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Speaker 1: In the expectation, it's probably like sitting down to a

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Speaker 1: blank piece of.

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Speaker 2: Paper, right, Yeah, writers like well, I remember when I

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Speaker 2: moved to la in twenty fourteen and I heard these

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Speaker 2: chords and then I turned that into I'm missing the

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Speaker 2: d pause and I just added nowhere, it's.

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Speaker 5: Been a long day without you, my friend.

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Speaker 2: I don't know where that came from, but maybe it

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Speaker 2: was because my friend, who had passed two years prior

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Speaker 2: to me coming up with that line right then and there,

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Speaker 2: told me that I would write a song for a

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Speaker 2: movie one day. And maybe that was him. I don't know,

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Speaker 2: Maybe that was him speaking to me in a way,

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Speaker 2: like my manifestation is music.

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Speaker 1: Yeah, that's so that process is interesting to me. You

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Speaker 1: start with something, there's something that grabs you, and you're like,

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Speaker 1: I don't want to expand on this a little bit,

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Speaker 1: and then take it from there.

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Speaker 2: There's an artist kid Leroy. There's a song, a great

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Speaker 2: song called Stay that.

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Speaker 3: I was a part of and more than a part of.

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Speaker 2: Well, I'm me and a couple of friends made that

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Speaker 2: song and a year after the pandemic had started and

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Speaker 2: we hadn't been in the room with each other for

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Speaker 2: a year, so we were really excited to kind of

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Speaker 2: get to it, and Leroy asked me to go play something.

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Speaker 2: And the first thing I played was I hadn't listened

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Speaker 2: to anything like any music on the way over. I

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Speaker 2: just because I always listen. I just like kind of

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Speaker 2: sit in silence before I know I'm about to make music,

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Speaker 2: So it's like a blank slate and I just and

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Speaker 2: he took that thing. I thought he was going to

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Speaker 2: do something counterintuitive to that, like like a verse, but

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Speaker 2: he sang literally what I was playing.

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Speaker 6: I did the same.

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Speaker 2: And it's not an easy no, that's not that's a

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Speaker 2: very hard reach no. But he that was the genius

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Speaker 2: that of him. That kind of like sparked that moment.

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Speaker 2: And the song was done in twenty minutes. And when

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Speaker 2: we went on.

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Speaker 3: With our day. Yeah, and we didn't.

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Speaker 2: It didn't feel like a homework assignment, is what I mean.

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Speaker 1: Yeah, I've listened to that version and to your version.

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Speaker 1: Then I was sort of reading the comments and I

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Speaker 1: agreed with the comments.

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Speaker 3: I really love your version.

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Speaker 2: Well that's nice.

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Speaker 1: It's just a little more delicate and there's.

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Speaker 2: A place for everything. Yeah, so you have my version,

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Speaker 2: you have the original version. You know, I'm happy to

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Speaker 2: be a part of it. Yeah, there's my media trained answer.

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Speaker 1: That's what I say too, Because there's two dunes out there,

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Speaker 1: So there's my dune and there's Timothy's dune. Yeah, I honestly,

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Speaker 1: I kind of do love both because I love the

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Speaker 1: book so much, so the source material makes me very happy.

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Speaker 1: The soundtrack was written by Toto. So the guys from

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Speaker 1: Toto all studio musicians, are really really fine musicians. Yeah,

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Speaker 1: and I went to the studio. They had like a

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Speaker 1: little studio in the back of the bell I think

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Speaker 1: on a hisbie where they used to live, and they

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Speaker 1: went to this literally like a studio in their backyard.

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Speaker 1: Nice big studio, but sure, and I sat and listened

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Speaker 1: to the playback, and I was you could hear everything.

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Speaker 2: Toto's music, steely Dan, Toto's there were a group of

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Speaker 2: musicians that just knew how every puzzle piece would fit

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Speaker 2: into the grand pitture, that nothing was ever stepping on

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Speaker 2: each other. And these records, of course, it was all

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Speaker 2: done on tape. These records were recorded so well that

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Speaker 2: you could crank them in your car and your home

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Speaker 2: stereo and they don't pierce your ears a lot of

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Speaker 2: music nowadays, not that I'm a master critiquer, but like

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Speaker 2: a lot of music nowadays, all the frequencies kind of

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Speaker 2: the high end is what is the perceived loudness is,

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Speaker 2: so it kind of pierces your ears if there's too

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Speaker 2: much sixteen K and beyond that. They focused on the

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Speaker 2: mid range right here. If this is the Giant EQ band,

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Speaker 2: they focused on ray here. So you were able to

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Speaker 2: that warmth, like it didn't really matter how loud you

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Speaker 2: made it. It was just pleasing and you could hear the

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Speaker 2: vocal and the drum and the snare, like just perfectly placed.

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Speaker 1: I love I'm listening to you talk and I just

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Speaker 1: feel like so it was so clean. Yeah, it's just

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Speaker 1: another level. It's like you, it's another level of musicianship

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Speaker 1: that is really to me because I play a little bit,

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Speaker 1: you know, and grew up playing a little bit. So

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Speaker 1: you'll have an appreciation, yeah, for what a person is

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Speaker 1: capable a musician is capable of doing. Yeah, if that

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Speaker 1: makes sense.

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Speaker 2: Absolutely. If you listen to Hey nineteen, like, Hey nineteen, dude, No.

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Speaker 4: We can't dance together, No we can't talkget on.

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Speaker 2: Yes, that's one of the cleanest mixes ever, but there's

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Speaker 2: hidden distortion under those guitars, like, oh my god, there's

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Speaker 2: like a little bit of distortion that the human air

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Speaker 2: ear is not picking up on. But it's what brings

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Speaker 2: up the tone. It's just production techniques. You listen to

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Speaker 2: Brian Wilson producing Wouldn't It Be Nice by the Beach

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Speaker 2: Boys and and it's it's unbelievable and gets so mad

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Speaker 2: if they're That recording is also on YouTube the making

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Speaker 2: of and it gets so mad when the musicians mess up.

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Speaker 2: Those are the days we had to show up and

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Speaker 2: know your part. But it was as simple ast move

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Speaker 2: the tambourine over to the left, and it affects the

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Speaker 2: recording in a positive way. Little subtle changes affect everything.

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Speaker 2: He's voice leading. That is a perfect pop song. Yeah,

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Speaker 2: it's so dense and so hard, like it's so hard

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Speaker 2: to sing. He's voice leading each chord whatever that's called,

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Speaker 2: be something. He's spelling out the chord in each phrase

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Speaker 2: and putting lyrics on.

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Speaker 3: Top of it.

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Speaker 2: It's incredible. It's have you ever heard of a you

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Speaker 2: know what I'm talking about that it all has to

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Speaker 2: come from here. I'm sure they told you in classical

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Speaker 2: voice of like if you ever heard a dog bark,

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Speaker 2: it's not it's not coming from the throat, it's coming

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Speaker 2: from dumblowe. The man baby crying. That's that's the That's

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Speaker 2: what people are going to get from this there, that's

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Speaker 2: gonna be the thumbnail.

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Speaker 1: I love hearing you describe it from your.

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Speaker 3: Perspective because it's I get so excited.

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Speaker 2: No, it's very it's because I haven't done that well.

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Speaker 2: I mean a little bit not as good as that,

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Speaker 2: But he's.

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Speaker 1: One of the kind I think. I love that there

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Speaker 1: was a competition. I don't know if it's a competition,

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Speaker 1: but I know Sergeant Peppers would come out right about

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Speaker 1: the same time and they were both like, you know,

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Speaker 1: do you hear what he just did? They're like, oh, we.

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Speaker 2: Got yeah, you know Sergeant Pepper's had at the time.

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Speaker 2: I guess a bit more commercial success because it was

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Speaker 2: the Beatles and I love.

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Speaker 1: This other thing you did, and it was this came

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Speaker 1: from you know, watching stuff that you've done. It was

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Speaker 1: when you were just talking about a sea and the

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Speaker 1: sea sharp I think in relation to like moving someone, Yeah,

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Speaker 1: the comfort zone.

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Speaker 2: I guess right, well, if if if I'm picking up

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Speaker 2: what you're throwing down something about like like a regular

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Speaker 2: C chord is is quite nice, but then when you

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Speaker 2: add the second, it makes you feel a little bit

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Speaker 2: different than just you can still get that happy face,

355
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Speaker 2: but now this face turns into this, this is c.

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Speaker 3: And this is whatever this is called?

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Speaker 2: Right, Oh, still happy, but like, oh, I'm interested. And

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Speaker 2: then you listen to James Ingram, I.

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Speaker 6: Did my best, but I guess my best wasn't good enough.

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Speaker 2: If I played that the same way with just a

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Speaker 2: C major chord, I did my best, but my best

362
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Speaker 2: now it sounds Broadway, which is fucking fine, but like

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Speaker 2: I guess you want it to be. You wanted to

364
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Speaker 2: like find one hundred ways James Ingram compliment.

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Speaker 1: What she does?

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Speaker 2: That little what she does. Can you imagine if I

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00:17:49,080 --> 00:17:56,760
Speaker 2: played compliment what she does? Know, it's like maybe, but

368
00:17:56,800 --> 00:17:59,000
Speaker 2: there's a there's a time and place for everything, but

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Speaker 2: like it's really it's it's it's the little notes in

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Speaker 2: between is what I was talking about.

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00:18:03,320 --> 00:18:06,600
Speaker 1: Those demand like movement, right, So you go to something,

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00:18:06,640 --> 00:18:08,760
Speaker 1: it's like this needs to move into this. Now do

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00:18:08,800 --> 00:18:10,760
Speaker 1: you think that there's like a and then it's how

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00:18:10,840 --> 00:18:14,280
Speaker 1: you steer that don't you don't necessarily go for here's

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00:18:14,320 --> 00:18:17,000
Speaker 1: the obvious and then here's something maybe more interesting.

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Speaker 2: I think it's kind of a hybrid of the two.

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00:18:19,160 --> 00:18:23,119
Speaker 2: You kind of a chord progression like that Taylor Swift

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Speaker 2: uses a lot and a lot of artists uses like

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Speaker 2: in a E F sharp D, like if I just

380
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Speaker 2: broke it down, where am I going? No?

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Speaker 1: Yeah, I'm.

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Speaker 2: So multiple choice, like the like the regis filming a

383
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Speaker 2: B C or D. Where am I going to go

384
00:18:53,240 --> 00:18:58,600
Speaker 2: from here? I guess, But there's like there's tension and

385
00:18:58,640 --> 00:19:09,800
Speaker 2: then yeah, release and then no, I'm gonna go It's

386
00:19:09,800 --> 00:19:12,399
Speaker 2: like it's constant push and pull, push and pull. That,

387
00:19:12,680 --> 00:19:14,480
Speaker 2: in my opinion, is what a hit record is when

388
00:19:14,520 --> 00:19:17,719
Speaker 2: you have constant here's the carrot. Ah, here's the carrot,

389
00:19:18,400 --> 00:19:19,119
Speaker 2: here's the carrot.

390
00:19:19,880 --> 00:19:20,720
Speaker 3: We're all bunnies.

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00:19:20,880 --> 00:19:22,320
Speaker 1: Yeah, and then here's a resolution.

392
00:19:22,440 --> 00:19:23,400
Speaker 3: Yeah, and here's the resolution.

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Speaker 1: Yeah.

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Speaker 2: For me, where I thrive is like kind of describing

395
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Speaker 2: the human feeling and how it can relate to sound.

396
00:19:29,160 --> 00:19:31,160
Speaker 1: That's that's that's enacting. It's the same thing you want

397
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Speaker 1: someone to relate to the experience that the actor is

398
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Speaker 1: going through.

399
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Speaker 2: Absolutely so, boy I I did a couple of tapes recently,

400
00:19:39,640 --> 00:19:41,560
Speaker 2: just because I like to push myself and see if

401
00:19:41,600 --> 00:19:42,320
Speaker 2: I can do things.

402
00:19:43,040 --> 00:19:44,640
Speaker 1: You had a show, right, It's.

403
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Speaker 2: Very hard for I can act like myself. But if

404
00:19:47,920 --> 00:19:50,480
Speaker 2: I'm given a prompt and it's like okay, so Charlie,

405
00:19:50,520 --> 00:19:53,640
Speaker 2: I want you to get into just take a deep breath,

406
00:19:53,680 --> 00:19:57,239
Speaker 2: I'm like, oh god, I'm gonna be so now. The

407
00:19:57,280 --> 00:19:59,880
Speaker 2: casting directors on Zoom like just she was very gracious

408
00:19:59,880 --> 00:20:02,440
Speaker 2: with it is very take a deep breath. I want

409
00:20:02,440 --> 00:20:05,000
Speaker 2: you to think about what it's like to have nothing

410
00:20:05,840 --> 00:20:09,760
Speaker 2: like uh. I mean, I'm very fortunate right now. It's

411
00:20:09,760 --> 00:20:12,200
Speaker 2: going to be hard, but like, there are talented people,

412
00:20:12,280 --> 00:20:14,680
Speaker 2: actors and actresses who can who can do who can

413
00:20:14,680 --> 00:20:18,000
Speaker 2: tap into that. I, for whatever reason, can only act

414
00:20:18,080 --> 00:20:18,800
Speaker 2: like myself.

415
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Speaker 3: So maybe that's my blessing.

416
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Speaker 1: It's the hardest thing in the world act like yourself.

417
00:20:22,320 --> 00:20:25,240
Speaker 1: That's actually true. It's much easier for me to be

418
00:20:26,000 --> 00:20:29,080
Speaker 1: a character. You have to give me really tones, you

419
00:20:29,080 --> 00:20:32,879
Speaker 1: have to give me you know whatever, you know, this

420
00:20:33,280 --> 00:20:37,840
Speaker 1: scenario setting, and then I can build you you know,

421
00:20:38,040 --> 00:20:41,439
Speaker 1: structure or building myself a structure, I should say. And

422
00:20:41,480 --> 00:20:43,440
Speaker 1: from that then I then I start to go down

423
00:20:44,000 --> 00:20:47,000
Speaker 1: interesting channels and rabbit holes and kind of just to

424
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Speaker 1: what if the big what if?

425
00:20:48,400 --> 00:20:48,560
Speaker 2: You know?

426
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Speaker 1: And then I'm like, oh, I like I like that.

427
00:20:50,720 --> 00:20:53,320
Speaker 1: Let me jump on that right anyway, this is really

428
00:20:53,320 --> 00:20:55,760
Speaker 1: really fun. I have to bring this up because I

429
00:20:55,840 --> 00:20:58,760
Speaker 1: want to know the relationship I happen to love Jeff Goldblum.

430
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Speaker 2: I was just within the other he is so he's

431
00:21:01,240 --> 00:21:03,960
Speaker 2: a professional. He is so good at what he does

432
00:21:04,160 --> 00:21:06,200
Speaker 2: is amazing. The other night, I went to the Troubadoor

433
00:21:06,280 --> 00:21:08,480
Speaker 2: and just joined him on stage with his band. That

434
00:21:08,600 --> 00:21:10,360
Speaker 2: was very nice to them to let me do that well.

435
00:21:10,359 --> 00:21:12,520
Speaker 2: And I got up there and I sang bewitch bothered

436
00:21:12,560 --> 00:21:15,200
Speaker 2: and bewildered, and I was very nervous because I didn't

437
00:21:15,200 --> 00:21:17,919
Speaker 2: have my safety blanket, you know, like I'm lineus with

438
00:21:17,960 --> 00:21:18,480
Speaker 2: his blanket.

439
00:21:18,640 --> 00:21:20,080
Speaker 3: Yeah, that's who had it right.

440
00:21:20,160 --> 00:21:23,960
Speaker 2: And I was up there feeling kind of naked. But

441
00:21:24,119 --> 00:21:27,800
Speaker 2: he kind of was looking at me with his tinted

442
00:21:27,840 --> 00:21:31,800
Speaker 2: sunglasses and just a mooting, calmness, like it's let me

443
00:21:31,880 --> 00:21:34,160
Speaker 2: let me hear what you're going to like doing this face.

444
00:21:34,200 --> 00:21:37,840
Speaker 2: And it's amazing how someone can convey how they want

445
00:21:37,920 --> 00:21:41,440
Speaker 2: you to feel just with like a little subtle movement.

446
00:21:42,440 --> 00:21:45,919
Speaker 1: Yeah. That physicality that he has is there for strong.

447
00:21:45,960 --> 00:21:47,520
Speaker 1: It is for a reason, and it's very it is

448
00:21:47,600 --> 00:21:49,640
Speaker 1: very strong. That's why I think he's a wonderful acting

449
00:21:49,680 --> 00:21:54,000
Speaker 1: teacher because he really connects. I think he really connects

450
00:21:54,000 --> 00:21:54,280
Speaker 1: with you.

451
00:21:54,640 --> 00:21:56,800
Speaker 2: He came to my show at the at the Blue

452
00:21:56,840 --> 00:22:00,320
Speaker 2: Note and like you, I had all the note cards

453
00:22:00,320 --> 00:22:02,760
Speaker 2: and all that. What we like, how we were gonna

454
00:22:03,240 --> 00:22:05,000
Speaker 2: you know, like what he was going to say. First,

455
00:22:05,080 --> 00:22:08,080
Speaker 2: I'm very neurotic with my show. And he gets on

456
00:22:08,160 --> 00:22:11,600
Speaker 2: stage and he was like, have you ever heard all

457
00:22:11,640 --> 00:22:16,600
Speaker 2: this love by El de Barge? This is mind is

458
00:22:16,600 --> 00:22:19,439
Speaker 2: a jazz show. Yeah, and it's like do any of

459
00:22:19,440 --> 00:22:21,400
Speaker 2: your He's looking around, like do any of your young

460
00:22:21,440 --> 00:22:23,760
Speaker 2: fans know? And they're like we do. And I'm like

461
00:22:24,080 --> 00:22:28,200
Speaker 2: a ship, like you want me to just play a

462
00:22:28,240 --> 00:22:31,199
Speaker 2: little bit, see if anybody can single? Yeah, and then

463
00:22:31,240 --> 00:22:38,560
Speaker 2: he goes, I had some problems and no one and

464
00:22:38,600 --> 00:22:40,000
Speaker 2: then they all start that's a.

465
00:22:40,000 --> 00:22:42,239
Speaker 1: Very good jeff By like because there's a lot of

466
00:22:43,280 --> 00:22:43,960
Speaker 1: looking and.

467
00:22:43,960 --> 00:22:45,760
Speaker 2: There's a lot of look at well, you know, he's

468
00:22:45,800 --> 00:22:49,199
Speaker 2: on my album. He's on track eleven. Oh he is

469
00:22:49,240 --> 00:22:52,640
Speaker 2: he speaks, Yeah, he speaks, and uh does a kind

470
00:22:52,640 --> 00:22:52,880
Speaker 2: of like.

471
00:22:53,080 --> 00:22:54,200
Speaker 1: Losing something about losing.

472
00:22:54,320 --> 00:22:54,560
Speaker 3: Yeah.

473
00:22:54,640 --> 00:22:57,320
Speaker 2: Yes, the song is cold until it happens to you,

474
00:22:57,400 --> 00:23:00,919
Speaker 2: and it's about when a parent, the perspective of a

475
00:23:01,040 --> 00:23:05,760
Speaker 2: parent losing their mom or dad. And I wanted Jeff

476
00:23:05,800 --> 00:23:08,920
Speaker 2: to get on the microphone and speak to me through

477
00:23:08,960 --> 00:23:10,760
Speaker 2: you know how the recording students have the glass. I

478
00:23:10,800 --> 00:23:14,240
Speaker 2: wanted him to speak to me like I was his son,

479
00:23:14,359 --> 00:23:15,920
Speaker 2: and he was like, you know, I have a son

480
00:23:16,000 --> 00:23:18,960
Speaker 2: named Charlie. And he delivered the most. We were all

481
00:23:19,000 --> 00:23:21,040
Speaker 2: crying at the end. And the song is not it

482
00:23:21,080 --> 00:23:24,840
Speaker 2: sounds like a it's like a very happy, go lucky

483
00:23:24,920 --> 00:23:28,800
Speaker 2: kind of sounding song. But he made everybody cry, Like

484
00:23:28,840 --> 00:23:30,760
Speaker 2: all these people that I just met, everybody was crying.

485
00:23:30,840 --> 00:23:33,720
Speaker 1: It was amazed because a sense of urgency to it,

486
00:23:33,800 --> 00:23:36,560
Speaker 1: and that because he I think he an actor. He

487
00:23:36,640 --> 00:23:39,720
Speaker 1: just you know, he took that in and spoke to

488
00:23:39,880 --> 00:23:42,560
Speaker 1: his kids. Yeah, you're going to experience that soon.

489
00:23:42,720 --> 00:23:46,200
Speaker 2: Yes, Oh yes, absolutely, I'm excited for you. I am too.

490
00:23:46,400 --> 00:23:49,520
Speaker 2: It's a I'm not like super thrilled I have to

491
00:23:49,680 --> 00:23:52,479
Speaker 2: go on tour right after the baby's born, but I

492
00:23:52,520 --> 00:23:55,080
Speaker 2: am excited to go on tour and the baby will

493
00:23:55,080 --> 00:23:58,399
Speaker 2: come with us. It's just a lot all happening all

494
00:23:58,440 --> 00:23:58,800
Speaker 2: at once.

495
00:23:59,160 --> 00:24:01,199
Speaker 1: Yeah, they're pretty so they don't They don't demand a

496
00:24:01,200 --> 00:24:06,040
Speaker 1: lot sleep, food, you know, that's you know, cleaning them up.

497
00:24:06,200 --> 00:24:09,160
Speaker 2: Usually you do that in the comfort of a station area.

498
00:24:09,200 --> 00:24:11,320
Speaker 1: That's the only thing, that's the only thing. There's a

499
00:24:11,320 --> 00:24:13,640
Speaker 1: sense of gratitude. And certainly as I get older, if

500
00:24:13,680 --> 00:24:15,239
Speaker 1: I were to talk to you through a glass, as

501
00:24:15,240 --> 00:24:20,720
Speaker 1: you get older, music just ladies and gentlemen. What happens is,

502
00:24:20,760 --> 00:24:24,560
Speaker 1: you know, you become the gratitude begins to just expand,

503
00:24:24,640 --> 00:24:28,880
Speaker 1: It just opens, you know, because you've gone a long distance,

504
00:24:29,520 --> 00:24:32,600
Speaker 1: you know, in a world that I you know that

505
00:24:32,720 --> 00:24:35,080
Speaker 1: was just for me, fun and there's no thought of

506
00:24:35,080 --> 00:24:40,320
Speaker 1: what was what the future could bring. Okay a band

507
00:24:40,359 --> 00:24:42,399
Speaker 1: I grew up with love led Zeppelin. Yeah you know

508
00:24:42,960 --> 00:24:45,960
Speaker 1: U huh, Jimmy Page, here's a question. When you're in

509
00:24:45,960 --> 00:24:47,760
Speaker 1: the studio, you know, you have you have an idea

510
00:24:47,880 --> 00:24:50,400
Speaker 1: about you hear a song, you have an idea about

511
00:24:50,400 --> 00:24:53,320
Speaker 1: the song. You have a sense of the sound. This

512
00:24:53,359 --> 00:24:54,960
Speaker 1: is a sound I'm looking for, That's what I think

513
00:24:55,000 --> 00:24:57,080
Speaker 1: it is. It's like when I play this guitar, when

514
00:24:57,119 --> 00:24:59,640
Speaker 1: I play Les Paul with a Marshall stack, I'm trying

515
00:24:59,640 --> 00:25:02,680
Speaker 1: to find a sound, and so then you find the sound,

516
00:25:02,880 --> 00:25:04,800
Speaker 1: but that was not enough. It's like he found that

517
00:25:04,880 --> 00:25:06,800
Speaker 1: sound and said, well, I want to do this sound though,

518
00:25:06,960 --> 00:25:08,400
Speaker 1: and I want to do this, and he had John

519
00:25:08,400 --> 00:25:11,040
Speaker 1: Paul Jones, and I just feel like and they were

520
00:25:11,080 --> 00:25:13,720
Speaker 1: session players and they were on they did a lot

521
00:25:13,760 --> 00:25:17,000
Speaker 1: of stuff. They were session players before they even became

522
00:25:17,440 --> 00:25:19,679
Speaker 1: They're on so many and I wish I could recall them.

523
00:25:19,720 --> 00:25:21,920
Speaker 2: But very important what you just said. There're session players

524
00:25:22,240 --> 00:25:26,439
Speaker 2: with every notice how it's always the background singers, the

525
00:25:26,480 --> 00:25:30,520
Speaker 2: session players that always eventually come to the front. It's

526
00:25:30,600 --> 00:25:34,639
Speaker 2: because there's patients. Like Luther Vandros was a background singer

527
00:25:34,800 --> 00:25:38,480
Speaker 2: for most of his life and then now everybody heard

528
00:25:38,480 --> 00:25:40,239
Speaker 2: his iconic voice and he lives on to be one

529
00:25:40,240 --> 00:25:42,919
Speaker 2: of the most iconic voices. It's patients that comes with

530
00:25:43,040 --> 00:25:45,480
Speaker 2: being a session musician, because you're dealing with artists who

531
00:25:45,480 --> 00:25:48,440
Speaker 2: show are sometimes showing up late, aren't sure what they want,

532
00:25:48,440 --> 00:25:50,600
Speaker 2: will keep you there for two days straight. Prince would

533
00:25:50,680 --> 00:25:53,400
Speaker 2: literally keep Susan in the studio his engineer for two

534
00:25:53,520 --> 00:25:56,720
Speaker 2: days straight, and she was patient enough to like just

535
00:25:57,280 --> 00:25:59,600
Speaker 2: capture everything that wanted to be captured. Those are the

536
00:25:59,640 --> 00:26:00,480
Speaker 2: best musicians.

537
00:26:00,560 --> 00:26:03,520
Speaker 1: Yeah, yeah, patients, it's key, yeah, but just and also

538
00:26:03,760 --> 00:26:07,200
Speaker 1: just it felt like they're just never quite satisfied as

539
00:26:07,240 --> 00:26:10,640
Speaker 1: always something else. It's like, let's do this. I watch

540
00:26:10,720 --> 00:26:13,440
Speaker 1: you when you when you create, it's like, what about this?

541
00:26:13,440 --> 00:26:13,560
Speaker 6: This?

542
00:26:13,640 --> 00:26:15,960
Speaker 1: And then we could do this? And then you're hearing

543
00:26:16,000 --> 00:26:18,880
Speaker 1: something you're you're saying, I want to go here with

544
00:26:18,920 --> 00:26:21,320
Speaker 1: that that would be better like this, or maybe not,

545
00:26:21,400 --> 00:26:23,840
Speaker 1: let's go here, you know, but you're constantly tinkering.

546
00:26:24,080 --> 00:26:30,119
Speaker 2: I'm hearing a very blanket, borderline broad finished product in

547
00:26:30,200 --> 00:26:32,600
Speaker 2: my head. When I made attention, I heard the whole

548
00:26:32,600 --> 00:26:35,440
Speaker 2: production in my head. I knew it was going to

549
00:26:35,480 --> 00:26:38,320
Speaker 2: be like this tempo, but I didn't know it was

550
00:26:38,359 --> 00:26:40,720
Speaker 2: going to be exactly one hundred bpm. I found that

551
00:26:40,760 --> 00:26:42,920
Speaker 2: out later. I knew that I wanted to kick drum

552
00:26:42,920 --> 00:26:45,719
Speaker 2: to sound like, but I didn't know there was going

553
00:26:45,760 --> 00:26:49,240
Speaker 2: to be a lin drum like in like a drum

554
00:26:49,280 --> 00:26:52,240
Speaker 2: machine like as the drum sample, so I didn't. I

555
00:26:52,840 --> 00:26:54,800
Speaker 2: can kind of hear it. It's like a very it's

556
00:26:54,840 --> 00:26:58,280
Speaker 2: like a cloudy version of the song that I feel

557
00:26:58,280 --> 00:27:01,360
Speaker 2: like it's been out for millions of years and I'm

558
00:27:01,400 --> 00:27:03,199
Speaker 2: just kind of taking it out of my head and

559
00:27:03,240 --> 00:27:05,360
Speaker 2: putting it into the pro tools. But it's it's kind

560
00:27:05,359 --> 00:27:07,600
Speaker 2: of a reverse engineering game for me. I know that's

561
00:27:07,600 --> 00:27:11,720
Speaker 2: not the case for you know, led Zeppelin in this case.

562
00:27:11,800 --> 00:27:14,160
Speaker 3: I think I agree with you, though.

563
00:27:14,200 --> 00:27:16,040
Speaker 1: I think that was the process.

564
00:27:15,760 --> 00:27:17,080
Speaker 2: They probably hurting it.

565
00:27:17,160 --> 00:27:20,120
Speaker 1: I mean it was I was listening to something. It's

566
00:27:20,119 --> 00:27:22,119
Speaker 1: on ZIP three and I'm like, and I'm hearing the

567
00:27:22,160 --> 00:27:23,439
Speaker 1: clapping mm hmm.

568
00:27:24,400 --> 00:27:27,520
Speaker 7: Bum bum bum bun dunk.

569
00:27:27,640 --> 00:27:30,160
Speaker 1: I can't remember name the song anyway, and it's clapping,

570
00:27:30,440 --> 00:27:32,119
Speaker 1: you know, they're doing clapping and the way they and

571
00:27:32,160 --> 00:27:36,480
Speaker 1: it's working because it's not completely perfect perfect.

572
00:27:36,560 --> 00:27:38,480
Speaker 2: It's the imperfections that the song.

573
00:27:38,680 --> 00:27:41,000
Speaker 1: They segue and it was I think it was it

574
00:27:41,040 --> 00:27:44,600
Speaker 1: was bottom they started putting cast the nets. Yeah, and

575
00:27:44,640 --> 00:27:45,680
Speaker 1: in the background, I'm.

576
00:27:45,480 --> 00:27:48,680
Speaker 2: Like, because they probably knew that their fan base at

577
00:27:48,680 --> 00:27:50,880
Speaker 2: when they were reached three, they probably be like, Okay,

578
00:27:50,960 --> 00:27:53,840
Speaker 2: let's do something that's gonna mildly piss people off.

579
00:27:53,920 --> 00:27:57,159
Speaker 1: But it was an acoustic, a primarily acoustic yeah album.

580
00:27:57,240 --> 00:27:59,399
Speaker 2: But that's what artistry is. It's like, you want like

581
00:27:59,480 --> 00:28:02,040
Speaker 2: it's going to sound like them because they're singing it. Yeah,

582
00:28:02,240 --> 00:28:06,040
Speaker 2: it's Robert, but it's gonna you have to push the

583
00:28:06,040 --> 00:28:06,800
Speaker 2: needle a little bit.

584
00:28:06,840 --> 00:28:08,399
Speaker 1: I love that they did that though, because they they

585
00:28:08,400 --> 00:28:08,960
Speaker 1: didn't have to.

586
00:28:09,160 --> 00:28:12,720
Speaker 2: No, they didn't have to. But it's controversial, and it's

587
00:28:13,440 --> 00:28:16,320
Speaker 2: it's how you grow as an artist by just doing

588
00:28:16,359 --> 00:28:18,520
Speaker 2: something like ten percent different. I'm not going to make

589
00:28:19,000 --> 00:28:22,560
Speaker 2: one hundred attention records. I'm going to continue to push on.

590
00:28:22,640 --> 00:28:24,480
Speaker 2: If some people don't get it right away, that's okay,

591
00:28:24,560 --> 00:28:26,600
Speaker 2: because I might reach an entirely new group of people

592
00:28:26,640 --> 00:28:29,960
Speaker 2: who weren't reaching for me before. And then the people

593
00:28:29,960 --> 00:28:33,480
Speaker 2: who are used to me, maybe they'll understand it later.

594
00:28:33,359 --> 00:28:35,560
Speaker 1: Come along, maybe they later point that's the whole thing

595
00:28:35,600 --> 00:28:38,560
Speaker 1: you said. This is actually now you're looking back, you know.

596
00:28:38,640 --> 00:28:39,959
Speaker 1: So there's a masterpiece.

597
00:28:40,080 --> 00:28:41,920
Speaker 3: Absolutely, you have a new album.

598
00:28:42,000 --> 00:28:44,400
Speaker 2: But yeah, that's the name of my album. Whatever's clever,

599
00:28:44,440 --> 00:28:46,080
Speaker 2: And it's kind of the first time I took the

600
00:28:46,120 --> 00:28:49,240
Speaker 2: approach of putting the life experience first and then letting

601
00:28:49,240 --> 00:28:51,680
Speaker 2: the music follow. Usually I'm on the internet talking about,

602
00:28:51,720 --> 00:28:53,320
Speaker 2: Oh I had a tone popped into my head. I

603
00:28:53,640 --> 00:28:56,520
Speaker 2: I better figure out what lyric goes with this? Fine,

604
00:28:56,960 --> 00:28:59,280
Speaker 2: But I want I've always want to push myself and

605
00:28:59,360 --> 00:29:02,520
Speaker 2: doing things that I normally do. A good example is

606
00:29:02,600 --> 00:29:05,080
Speaker 2: my collaborator Blood Pop told me that I should write

607
00:29:05,080 --> 00:29:09,160
Speaker 2: a song for my dad, and I was like, I

608
00:29:09,160 --> 00:29:11,040
Speaker 2: don't want to. Yeah, yeah, I don't want to talk

609
00:29:11,040 --> 00:29:13,240
Speaker 2: about mine my dad. I just a'm like kind of

610
00:29:13,400 --> 00:29:16,640
Speaker 2: private and protective of my family. And when he said

611
00:29:16,640 --> 00:29:19,560
Speaker 2: that my dad's probably gonna need it one day, I

612
00:29:19,600 --> 00:29:21,320
Speaker 2: was like, I don't know what that means. And then

613
00:29:21,320 --> 00:29:23,760
Speaker 2: a week later, his mom passed away at ninety four

614
00:29:24,280 --> 00:29:26,840
Speaker 2: years old. Night, I imagine living till ninety four. I

615
00:29:27,360 --> 00:29:30,440
Speaker 2: saw everything, and then I realized, oh, I know what

616
00:29:30,800 --> 00:29:33,280
Speaker 2: blood can kind of predict the future. Sometimes he was

617
00:29:33,440 --> 00:29:35,320
Speaker 2: he was like, your dad's going to need it. And

618
00:29:35,520 --> 00:29:38,440
Speaker 2: we ended up writing a song called Cry as Kenny

619
00:29:38,440 --> 00:29:41,720
Speaker 2: g playing a wonderful like lifted. Oh my God.

620
00:29:42,000 --> 00:29:42,800
Speaker 3: I hope I get to do.

621
00:29:42,760 --> 00:29:45,320
Speaker 1: It a lot Kenny wanting because sometimes it's it's sort

622
00:29:45,360 --> 00:29:46,760
Speaker 1: of melodic and kind of a love the place. But

623
00:29:46,800 --> 00:29:47,920
Speaker 1: I think this was very specific.

624
00:29:48,040 --> 00:29:52,840
Speaker 2: Kenny's playing m very like eight bars, very specific, a

625
00:29:52,880 --> 00:29:55,480
Speaker 2: little bit of reverb on there. He recorded it himself

626
00:29:55,480 --> 00:29:58,760
Speaker 2: and Malibu it was. It's a song about just not

627
00:29:58,920 --> 00:30:01,920
Speaker 2: being afraid to show your emotions. You don't always have

628
00:30:02,000 --> 00:30:05,920
Speaker 2: to be the strong force and you know I'm super tough,

629
00:30:06,000 --> 00:30:10,280
Speaker 2: like you know, that actually makes you even tougher in

630
00:30:10,560 --> 00:30:13,760
Speaker 2: my opinion, if you tell me exactly what's going on.

631
00:30:14,160 --> 00:30:17,240
Speaker 2: And I think we bonded even closer because of it,

632
00:30:17,280 --> 00:30:19,200
Speaker 2: and that's interesting power of twelve notes.

633
00:30:19,240 --> 00:30:21,640
Speaker 1: When you played it for him, he's like.

634
00:30:21,680 --> 00:30:24,440
Speaker 2: Okay, yeah, well I actually played it for him in

635
00:30:24,440 --> 00:30:27,000
Speaker 2: front of Kenny Loggins, and I think there, you know,

636
00:30:27,040 --> 00:30:28,720
Speaker 2: there was we were both like kind of like crying

637
00:30:28,760 --> 00:30:31,080
Speaker 2: a little bit. It's like a really special moment. And

638
00:30:33,640 --> 00:30:35,920
Speaker 2: Kenny was like I had just met Kenny, so I

639
00:30:35,920 --> 00:30:38,360
Speaker 2: don't blame him. He looked at everybody was like a

640
00:30:38,360 --> 00:30:42,840
Speaker 2: little uncomfortable. He was like maybe want sugar fish, But

641
00:30:43,040 --> 00:30:44,960
Speaker 2: then he was we all over hug and it was

642
00:30:45,000 --> 00:30:45,960
Speaker 2: a really nice moment.

643
00:30:46,440 --> 00:30:47,720
Speaker 3: Good yeah, so good.

644
00:30:47,920 --> 00:30:50,400
Speaker 1: What a nice thing to be able to share. So

645
00:30:51,360 --> 00:30:53,520
Speaker 1: you're going on to it, Oh yeah, because we can

646
00:30:53,560 --> 00:30:54,440
Speaker 1: do this promotion thing.

647
00:30:54,640 --> 00:30:59,120
Speaker 2: We're going on tour. Where are you from again?

648
00:30:59,440 --> 00:31:01,880
Speaker 1: I'm from your Come on, We're going to Yakima.

649
00:31:02,560 --> 00:31:10,640
Speaker 2: We'll see you later. Yeah, we'll play the Sundom. Yeah,

650
00:31:10,800 --> 00:31:14,840
Speaker 2: we'll play some songs for you. H oh yeah.

651
00:31:15,720 --> 00:31:16,240
Speaker 3: If you are.

652
00:31:16,160 --> 00:31:18,840
Speaker 2: Intrigued by this conversation and want to see it at

653
00:31:18,880 --> 00:31:22,200
Speaker 2: Madison Square Garden or the Forum or any arena near you.

654
00:31:22,720 --> 00:31:24,960
Speaker 2: Please come to a Charlie Pooth show where we shove

655
00:31:25,000 --> 00:31:27,280
Speaker 2: as many musicians as we can on the stage and

656
00:31:27,320 --> 00:31:29,840
Speaker 2: play the hits and play some new songs and we

657
00:31:29,880 --> 00:31:33,920
Speaker 2: make up stuff on the spot, because judging by this spontaneity,

658
00:31:34,360 --> 00:31:36,760
Speaker 2: can you imagine how much more it's going to be

659
00:31:36,800 --> 00:31:41,760
Speaker 2: on stage with instruments and trombones and trum on down?

660
00:31:41,800 --> 00:31:45,200
Speaker 1: Please, I hope there are trombones. Yes, that would make

661
00:31:45,280 --> 00:31:47,840
Speaker 1: my day. Yeah, you did a very funny way to

662
00:31:48,000 --> 00:31:51,120
Speaker 1: announce it, though, which was yes, do you know the crew?

663
00:31:51,440 --> 00:31:54,160
Speaker 2: I do know the crew. I did not expect that

664
00:31:54,160 --> 00:31:57,240
Speaker 2: I would be such a talking point and they're brilliant show.

665
00:31:57,440 --> 00:32:00,760
Speaker 2: But you know, I'm I enjoy I only do things

666
00:32:00,760 --> 00:32:03,360
Speaker 2: I enjoy, I only and I really enjoyed Bennie and

667
00:32:03,360 --> 00:32:06,320
Speaker 2: Mary Best show. I think it's brilliant and I'm flattered

668
00:32:06,360 --> 00:32:08,320
Speaker 2: that I'm a talking point in the show. And I thought,

669
00:32:08,360 --> 00:32:10,200
Speaker 2: what better way to announce the tour.

670
00:32:10,320 --> 00:32:13,240
Speaker 1: Yeah, they're there's they're really fun people and they and

671
00:32:13,280 --> 00:32:15,160
Speaker 1: we're doing the show. We left and left and left

672
00:32:15,200 --> 00:32:15,840
Speaker 1: and left and laughing.

673
00:32:15,880 --> 00:32:18,000
Speaker 2: You got some cool guests coming on this show. Yea

674
00:32:18,840 --> 00:32:19,840
Speaker 2: sparkling water brick.

675
00:32:20,000 --> 00:32:24,640
Speaker 1: Sparkling water brick, Good afternoon. I'm hydrating, which I think

676
00:32:24,720 --> 00:32:25,280
Speaker 1: is something.

677
00:32:25,320 --> 00:32:26,680
Speaker 3: It sounds like there's a weather alert.

678
00:32:26,880 --> 00:32:29,120
Speaker 2: Sorry, but do you know why they did the little

679
00:32:29,920 --> 00:32:33,200
Speaker 2: back in the day special news alert. If they did

680
00:32:34,520 --> 00:32:35,440
Speaker 2: that would sound.

681
00:32:35,200 --> 00:32:37,560
Speaker 1: A little you get that react now in trouble.

682
00:32:37,640 --> 00:32:39,560
Speaker 2: But they don't want to alarm people. They just want

683
00:32:39,560 --> 00:32:42,720
Speaker 2: people to be alert, So they play one note. If

684
00:32:42,720 --> 00:32:45,800
Speaker 2: they did, what a fire alarm?

685
00:32:45,840 --> 00:32:47,240
Speaker 1: That's it. That's the way you're playing.

686
00:32:47,480 --> 00:32:51,280
Speaker 2: That's that's gonna, that's gonna, you know, cause some cast

687
00:32:51,360 --> 00:32:55,360
Speaker 2: some problems. They want people to be calm. Okay, what's

688
00:32:55,360 --> 00:33:00,000
Speaker 2: going on. I'm a little nervous right now. That's everything.

689
00:33:00,040 --> 00:33:02,360
Speaker 2: There's there's a I'm serious. There's a real reason we're

690
00:33:02,360 --> 00:33:04,240
Speaker 2: behind all of these musical choices.

691
00:33:04,520 --> 00:33:09,239
Speaker 1: Well, major key, minor keys. Everything has a certain absolutely feeling, right,

692
00:33:09,400 --> 00:33:12,360
Speaker 1: gives you a certain wherever you go. Yeah, so you're

693
00:33:12,400 --> 00:33:16,640
Speaker 1: taking the sound of a crosswalk. You know when it says.

694
00:33:16,480 --> 00:33:17,920
Speaker 2: Uh in Massachusetts?

695
00:33:18,600 --> 00:33:20,080
Speaker 1: Yeah, what was that that?

696
00:33:20,920 --> 00:33:21,200
Speaker 2: Wait?

697
00:33:22,320 --> 00:33:23,960
Speaker 3: Wait, you know.

698
00:33:26,280 --> 00:33:28,520
Speaker 2: It was something like that. I don't think it was that.

699
00:33:28,680 --> 00:33:31,040
Speaker 2: There's someone screaming at their computer right now having a

700
00:33:31,040 --> 00:33:35,760
Speaker 2: hot dog soup. What did you was higher? That's right,

701
00:33:35,920 --> 00:33:36,800
Speaker 2: that's not right.

702
00:33:37,040 --> 00:33:40,160
Speaker 1: Okay, we're gonna take a break. When we come back,

703
00:33:40,200 --> 00:33:45,880
Speaker 1: we're going to play a deranged game. Okay, we're back.

704
00:33:45,920 --> 00:33:47,440
Speaker 7: We're back, ladies and gentlemen, hooray.

705
00:33:47,960 --> 00:33:50,280
Speaker 1: Okay, this segment's called in the Booth with mister Pooth.

706
00:33:51,680 --> 00:33:55,200
Speaker 1: We're gonna do some good old fashioned role reversals where

707
00:33:55,680 --> 00:33:59,560
Speaker 1: I'll be singing and you will be a voiceover actor.

708
00:34:00,080 --> 00:34:01,640
Speaker 2: Okay, voiceover actor.

709
00:34:03,120 --> 00:34:05,560
Speaker 1: I'm in the recording booth. You're in the video booth.

710
00:34:06,360 --> 00:34:08,640
Speaker 1: Voice of booth and it rhymes with booth. Look at that.

711
00:34:09,280 --> 00:34:12,680
Speaker 1: We're gonna take turns picking a card from a mystery box, okay,

712
00:34:13,080 --> 00:34:14,320
Speaker 1: which looks like a clean xbox.

713
00:34:14,360 --> 00:34:16,239
Speaker 2: Do you want me to get it?

714
00:34:16,239 --> 00:34:18,719
Speaker 1: It has a theme or an idea written on it.

715
00:34:19,520 --> 00:34:23,279
Speaker 1: You need to sneeze. And because this is what are

716
00:34:23,239 --> 00:34:25,040
Speaker 1: we even doing, this is gonna get bit hinged. We

717
00:34:25,120 --> 00:34:29,120
Speaker 1: have a pink, clean xbox plastic. Yeah, we have headphones on,

718
00:34:29,200 --> 00:34:31,759
Speaker 1: because whether we're singing or doing voiceover, you got to

719
00:34:31,760 --> 00:34:33,880
Speaker 1: have headphones. Yeah, you have the purple ones with the

720
00:34:33,920 --> 00:34:35,840
Speaker 1: little fun of your ears. I have green ones.

721
00:34:36,120 --> 00:34:37,880
Speaker 2: I closed my eyes when I put mine on. I

722
00:34:38,239 --> 00:34:39,640
Speaker 2: told them, just give you the normal pair.

723
00:34:40,440 --> 00:34:42,319
Speaker 1: If that's what you have, you have the normal pair.

724
00:34:42,520 --> 00:34:45,920
Speaker 2: Personally, got like little got to maintain the image.

725
00:34:46,239 --> 00:34:49,360
Speaker 1: Okay, so we're gonna improv for fifteen seconds.

726
00:34:50,000 --> 00:34:54,520
Speaker 6: Reach in the box, in the box before your producer

727
00:34:54,760 --> 00:34:58,760
Speaker 6: kills you. Reach in the box. Reach in the box,

728
00:35:00,120 --> 00:35:02,640
Speaker 6: stretch her arms, reach in the box.

729
00:35:03,400 --> 00:35:06,040
Speaker 1: Walking a cat on a leash.

730
00:35:06,160 --> 00:35:11,920
Speaker 2: Okay, ready, you don't do that. Okay.

731
00:35:13,560 --> 00:35:20,440
Speaker 7: She's looking at me with those big shiny eyes. She

732
00:35:20,640 --> 00:35:24,600
Speaker 7: needs something, and then she needs to go outside.

733
00:35:25,960 --> 00:35:28,880
Speaker 1: I pull up the leash and I wrap it on

734
00:35:28,960 --> 00:35:30,319
Speaker 1: her neck and.

735
00:35:30,320 --> 00:35:35,680
Speaker 7: We exit out into the street.

736
00:35:36,120 --> 00:35:38,120
Speaker 1: We're walking a cat on.

737
00:35:37,960 --> 00:35:41,280
Speaker 7: A leash in the street. We're having some fun.

738
00:35:42,160 --> 00:35:43,640
Speaker 6: She seems to like it.

739
00:35:44,160 --> 00:35:48,919
Speaker 1: I don't know, but people are watching us where we go.

740
00:35:49,160 --> 00:35:51,239
Speaker 1: We're walking a cat.

741
00:35:53,000 --> 00:36:02,640
Speaker 2: On a leaf, so much better than you. Again, now

742
00:36:02,640 --> 00:36:06,160
Speaker 2: do I reach into the Okay, so we're well prepared. Now,

743
00:36:06,239 --> 00:36:08,080
Speaker 2: so now I understand the objective.

744
00:36:09,160 --> 00:36:10,799
Speaker 1: I think I have the event because the music this

745
00:36:10,880 --> 00:36:12,800
Speaker 1: sort of carries you along. Okay.

746
00:36:12,920 --> 00:36:16,799
Speaker 2: Getting a tattoo of a rabbid raccoon, rabbit raccoon yes,

747
00:36:16,880 --> 00:36:19,120
Speaker 2: all right, can I play this while?

748
00:36:19,160 --> 00:36:20,440
Speaker 1: I think it's a good idea.

749
00:36:21,040 --> 00:36:26,760
Speaker 2: It's gonna make me feel better like shuffling papers, shuffling papers,

750
00:36:26,800 --> 00:36:29,759
Speaker 2: shuffling papers. All right, we got to do an ad now, Oh,

751
00:36:29,800 --> 00:36:32,160
Speaker 2: we got to do an ad now. So this is

752
00:36:33,200 --> 00:36:35,279
Speaker 2: big Joe Henry on one on one point one w

753
00:36:35,400 --> 00:36:40,640
Speaker 2: CBS FM. Have you ever oh this sucks? I was

754
00:36:40,680 --> 00:36:42,960
Speaker 2: with you, I was with you. I was with you.

755
00:36:42,960 --> 00:36:44,440
Speaker 2: You know how they used to put like echo on

756
00:36:44,600 --> 00:36:48,400
Speaker 2: like the voices back in then local business of getting

757
00:36:48,400 --> 00:36:52,960
Speaker 2: a rabbid raccoon tattoos. That's rabbid raccoon tattoos and Neptune,

758
00:36:53,320 --> 00:36:57,920
Speaker 2: New Jersey. Hey have you ever won? Hey? Have you

759
00:36:57,960 --> 00:37:01,120
Speaker 2: ever wondered what it's like to scare your fiance? What

760
00:37:01,320 --> 00:37:05,000
Speaker 2: is what that feels like? You say, I would come

761
00:37:05,000 --> 00:37:06,880
Speaker 2: home from a long day where he say, hey, baby,

762
00:37:08,480 --> 00:37:14,439
Speaker 2: look at this. Lift the the wife, please her up

763
00:37:15,880 --> 00:37:17,920
Speaker 2: and it's a raccoon eating a corn and a cob

764
00:37:18,360 --> 00:37:25,120
Speaker 2: and a human hand. She says, this is temporary, this

765
00:37:25,200 --> 00:37:27,920
Speaker 2: is temporary. He said, no, this is meant to be.

766
00:37:28,719 --> 00:37:32,520
Speaker 2: It's not temporary. It's meant for me. Like we are

767
00:37:32,600 --> 00:37:35,560
Speaker 2: late on rent and this is what how much did

768
00:37:35,560 --> 00:37:39,400
Speaker 2: this cost you? And she says we're gonna get evicted

769
00:37:39,480 --> 00:37:42,440
Speaker 2: next month. Having a domain is already chasing us. And

770
00:37:42,480 --> 00:37:46,360
Speaker 2: now you were chasing a tattoo artist tattooing a raccoon

771
00:37:46,640 --> 00:37:49,880
Speaker 2: on your back, covering all these wonderful freckles, which is

772
00:37:49,920 --> 00:37:53,360
Speaker 2: the reason why I married you. And now the freckles

773
00:37:53,400 --> 00:37:56,640
Speaker 2: are covered in spats of blood from the human hand

774
00:37:56,719 --> 00:37:59,320
Speaker 2: biting into each other. I don't know what I'm.

775
00:37:59,160 --> 00:38:02,719
Speaker 1: Selling, Okay, coming in I wish.

776
00:38:03,000 --> 00:38:04,399
Speaker 2: I'm so glad I do what I do.

777
00:38:04,600 --> 00:38:11,360
Speaker 1: It almost reads like it's salteeing caterpillars, but it's sauteing caterpillars.

778
00:38:16,120 --> 00:38:25,080
Speaker 7: Sometimes when I'm lonely, I need an activity, inactivity.

779
00:38:25,280 --> 00:38:30,719
Speaker 1: Go outside. I find the cacoon. I open it up,

780
00:38:30,760 --> 00:38:36,680
Speaker 1: and inside there's a caterpillar. I love caterpillars.

781
00:38:37,000 --> 00:38:38,760
Speaker 2: I like to eat them, these dead kids.

782
00:38:38,920 --> 00:38:43,560
Speaker 1: I love caterpillars. I like to feed them to myself.

783
00:38:43,760 --> 00:38:46,160
Speaker 2: But only when the better sound.

784
00:38:47,160 --> 00:38:50,120
Speaker 7: And only when there's sauteed and butter.

785
00:38:51,200 --> 00:38:55,760
Speaker 2: Say it again, saut with a burger. Sauted with a burger.

786
00:38:55,880 --> 00:38:58,960
Speaker 2: Repetition is key while writing a song. See, I'm teaching you.

787
00:38:58,960 --> 00:39:05,040
Speaker 1: Something like cat but we don't use the carrer we

788
00:39:05,200 --> 00:39:09,520
Speaker 1: go right now because we've decided.

789
00:39:09,360 --> 00:39:12,239
Speaker 2: It's not we don't have money for it. Because I

790
00:39:12,320 --> 00:39:21,680
Speaker 2: got a raccoon tattoo tattoo. I like callback tattoo tat

791
00:39:21,800 --> 00:39:25,160
Speaker 2: too on my back. We're in bad shape.

792
00:39:27,480 --> 00:39:31,760
Speaker 1: What this is We've gone into the land of cereal, which.

793
00:39:31,560 --> 00:39:34,520
Speaker 2: Is yeah, we're breaking the ninth wall.

794
00:39:35,440 --> 00:39:37,959
Speaker 1: It's important to capture otain caterpillars. Is very good because

795
00:39:37,960 --> 00:39:39,080
Speaker 1: that was it got We went into sort of a

796
00:39:39,160 --> 00:39:41,040
Speaker 1: child sort of thing, and then we kind of came

797
00:39:41,080 --> 00:39:42,160
Speaker 1: out of it, which I liked.

798
00:39:42,239 --> 00:39:44,719
Speaker 2: Drinking a milkshake made from human remains.

799
00:39:44,840 --> 00:39:45,480
Speaker 1: Oh my god.

800
00:39:45,840 --> 00:39:48,080
Speaker 2: Today's show is brought to you by our sponsors from

801
00:39:48,280 --> 00:39:51,759
Speaker 2: human remain Milkshakes. Everybody, human remain milkshakes. Hey, have you

802
00:39:51,800 --> 00:39:59,479
Speaker 2: ever been to Scranton? I come on down after eating

803
00:39:59,560 --> 00:40:02,399
Speaker 2: that at that big old buffet with your family. Get

804
00:40:02,400 --> 00:40:07,440
Speaker 2: in the nineteen ninety nine Pontiac az Tech and get

805
00:40:07,480 --> 00:40:10,919
Speaker 2: yourself a sweet treat you deserve. It can change the key.

806
00:40:12,320 --> 00:40:15,400
Speaker 1: But but mommy, what if I don't want But I

807
00:40:15,400 --> 00:40:17,120
Speaker 1: don't know if I want this movie, I don't want to.

808
00:40:17,520 --> 00:40:22,120
Speaker 4: I want a chocolate milkshake from Tootlesberry's.

809
00:40:21,360 --> 00:40:25,480
Speaker 2: Down the street. It's what we can afford right now, Jimmy.

810
00:40:26,360 --> 00:40:30,279
Speaker 2: All the ingredients used in that milkshake are organic. We

811
00:40:30,280 --> 00:40:32,080
Speaker 2: don't have any time for that. We need to use

812
00:40:32,120 --> 00:40:37,879
Speaker 2: what we what we have, and what we have is

813
00:40:38,320 --> 00:40:44,120
Speaker 2: the layer below the dermis, the lay changing the key,

814
00:40:44,239 --> 00:40:51,239
Speaker 2: but the laya below the epidermis. And what's what's what's that?

815
00:40:51,239 --> 00:40:52,840
Speaker 2: That would be blood?

816
00:40:53,800 --> 00:40:55,960
Speaker 8: You're I'm having a blood milkshake.

817
00:40:56,080 --> 00:41:02,000
Speaker 2: Yes, Human remain milkshakes and Scranton pencil Vania. What does

818
00:41:02,040 --> 00:41:05,280
Speaker 2: my career come to? I don't know. I'm here making

819
00:41:05,360 --> 00:41:06,080
Speaker 2: up nonsense.

820
00:41:06,200 --> 00:41:07,080
Speaker 1: A family favorite.

821
00:41:07,080 --> 00:41:12,359
Speaker 2: It's a family's favorite. I blacked out. It's actually kind

822
00:41:12,360 --> 00:41:15,880
Speaker 2: of like I feel free, pretty pre freeing, freeing. Improv

823
00:41:16,040 --> 00:41:19,799
Speaker 2: is freeing, I know, I kind of I feel like energizing.

824
00:41:19,600 --> 00:41:22,440
Speaker 1: Charl It's been a real pleasure. I think this has

825
00:41:22,480 --> 00:41:29,640
Speaker 1: been one of the great Yeah.

826
00:41:28,120 --> 00:41:31,719
Speaker 2: Good times in the bad times, I'll be on your

827
00:41:31,920 --> 00:41:48,000
Speaker 2: side forever more or Backrock. That's when friends are for.

828
00:41:44,800 --> 00:41:46,760
Speaker 8: Nanny games and all.

829
00:41:50,280 --> 00:41:51,160
Speaker 2: That's Stevie Wonder.

830
00:41:51,200 --> 00:41:51,799
Speaker 1: I love that.

831
00:41:52,680 --> 00:41:55,640
Speaker 2: And this is Elton and when a couple of times

832
00:41:55,640 --> 00:42:03,960
Speaker 2: we fall apart, you was same is brilliant. It's kind

833
00:42:03,960 --> 00:42:05,520
Speaker 2: of like a mix between anyway.

834
00:42:05,800 --> 00:42:07,000
Speaker 1: And Michael McDonald would be.

835
00:42:07,000 --> 00:42:13,919
Speaker 4: Like, whooars and birtars hoy are your side.

836
00:42:13,520 --> 00:42:18,960
Speaker 1: Forever more more. I could sit and listen to you

837
00:42:19,000 --> 00:42:19,520
Speaker 1: for hours.

838
00:42:19,560 --> 00:42:21,239
Speaker 2: I swear to god, I could be here for hours,

839
00:42:22,160 --> 00:42:23,560
Speaker 2: but you have to get to an I have to

840
00:42:23,560 --> 00:42:24,720
Speaker 2: get to Anahem Gosh.

841
00:42:24,960 --> 00:42:26,680
Speaker 1: I mean, I'm just kind of floored. I just had

842
00:42:26,680 --> 00:42:29,279
Speaker 1: a wonderful This has been a wonderful interview. We didn't

843
00:42:29,280 --> 00:42:31,280
Speaker 1: figure out what we've been doing, but you know we

844
00:42:31,280 --> 00:42:32,160
Speaker 1: we took a stab at it.

845
00:42:32,160 --> 00:42:34,440
Speaker 2: I guess I think we should say goodbye.

846
00:42:34,680 --> 00:42:42,160
Speaker 5: So long farewell, vidas do to you, to you, to

847
00:42:42,400 --> 00:42:43,800
Speaker 5: you and you and.

848
00:42:43,640 --> 00:42:50,280
Speaker 2: You good bye. Now you say goodbye good First.

849
00:42:50,080 --> 00:42:55,799
Speaker 8: One was good goodbye, good bye, and one more time

850
00:42:55,960 --> 00:43:00,920
Speaker 8: good bye.

851
00:43:01,080 --> 00:43:04,200
Speaker 1: What Are We Even Doing is a production of iHeartMedia

852
00:43:04,320 --> 00:43:08,360
Speaker 1: and the Elvis Duran podcast Network, hosted by me Kyle

853
00:43:08,480 --> 00:43:12,960
Speaker 1: McLachlin and created and produced by Full Picture productionists Hey,

854
00:43:13,960 --> 00:43:17,920
Speaker 1: featuring music by Yata and artwork by Danica Robinson. For

855
00:43:17,960 --> 00:43:21,040
Speaker 1: more information about the podcast, please visit our Instagram and

856
00:43:21,120 --> 00:43:28,359
Speaker 1: TikTok at wawed with Kyle. Please rate, review, and subscribe

857
00:43:28,560 --> 00:43:33,080
Speaker 1: to What Are We Even Doing on Apple, Spotify, YouTube,

858
00:43:33,400 --> 00:43:38,200
Speaker 1: or anywhere you get your podcasts. Exclamation pointcras