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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: You guys been at thirty Rocket fall along right for

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Speaker 2: for a while?

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Speaker 1: Pretty much? Yeah, pretty much.

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Speaker 2: That's pretty cool.

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Speaker 1: We made it through the story.

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Speaker 2: I can't believe it. You know, it's like everybody has

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Speaker 2: everybody has a story for the last.

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Speaker 1: Year, exactly exactly.

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Speaker 3: You ready?

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Speaker 1: Yeah? Oh, I thought I hate Slart video. My bad?

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Speaker 1: What's up here? I was up? Everybody?

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Speaker 2: What's up? I made good up?

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Speaker 1: What's up? Ladies and gentlemen, Welcome to another episode of

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Speaker 1: Quest Love Supreme. I'm your host, Questo. We have Teams

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Speaker 1: Supreme with us right now. Well, I can't assign myself

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Speaker 1: another moniker.

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Speaker 3: It just took you a second. I wasn't sure if

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Speaker 3: you knew as.

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Speaker 1: Guy who I was, because you know, whenever we're in

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Speaker 1: the presence of greatness, I just I understand my thinking

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Speaker 1: goes the other wise. Dude just played on every record ever.

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Speaker 1: I wish, I truly wish we had like James Brown's intro,

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Speaker 1: just so I can right right start naming it like

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Speaker 1: literally dud tears in Heaven, get lucky? Uh whatloose? Saving

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Speaker 1: all my love for you? I just can't stop loving you.

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Speaker 1: Oh morning, algebral morning, Steve Steeves about to fit.

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Speaker 2: This stuff?

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Speaker 1: Easy, lovers, there you go through the fire. I mean

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Speaker 1: even even underground classics like smooth Sailing by the eyes

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Speaker 1: of I got freaking who has any work with Tina

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Speaker 1: Marie Dion Warwick, like Whoever the Weekend? Justin Timberlake, BB King,

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Speaker 1: Mary J Blise, Fish, ladies and gentlemen, the most used

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Speaker 1: session musician of Wait, I'm kind of saying this is

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Speaker 1: just but anthanist. Are you the most used session musician

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Speaker 1: of all time?

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Speaker 2: You know what? A mayor? I'm not exactly sure how

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Speaker 2: to verify that, but we can say that I've been busy.

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Speaker 1: Book and busy gentlemen. I love it. A great Philadelphian

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Speaker 1: is on the show. Welcome East to Quest Love Supreme.

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Speaker 2: It is a pleasure, a joy, and an honor to

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Speaker 2: be here. I mean, you've had everybody from Michelle Obama to.

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Speaker 1: We're working on him and now Nathanist Yeah. How how

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Speaker 1: how are you right now? Where Where are you? Okay?

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Speaker 1: I know that we can't see you because this is

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Speaker 1: an audio show, but I should say that in the

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Speaker 1: land of zoom, when you're watching like news pundits sit

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Speaker 1: behind their library collection while the book Nah Nathan is stunning.

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Speaker 1: Like I'm certain that all those guitars and basses hanging

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Speaker 1: on your wall have a story to tell, correct.

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Speaker 2: You know, they really do. There was there's the one

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Speaker 2: that was on some of those early Barry White records

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Speaker 2: that was like the white pea bass in the background

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Speaker 2: is my Like.

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Speaker 1: That's your Barry White? Was your first client as a

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Speaker 1: professional bass player?

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Speaker 2: Yes?

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Speaker 1: Yes, late, Wow, Jesus Christ, let's start. This is the thing,

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Speaker 1: Like I've known you for the longest and of course,

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Speaker 1: like you know, you've come to the tonight show and

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Speaker 1: you've sat it in and all that stuff. I still

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Speaker 1: can't wrap my head around the fact that you're a Philadelphian.

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Speaker 1: What is your and at that, like I'm really elated

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Speaker 1: to speak to someone. Usually all the musician musical luminaries

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Speaker 1: from Philadelphia that I talked to are are kind of

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Speaker 1: from a certain like my dad's range, like born in

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Speaker 1: the late thirties, early forties, and really can't give me

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Speaker 1: a lay of the land of what Philly was like

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Speaker 1: to grow up in Philly as as a youngster in

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Speaker 1: the seventies when all this magic was happening. But what

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Speaker 1: is your Philadelphia story? Where in Philly were you born?

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Speaker 2: Well, actually North Philly Doctor's Hospital roughly sixty five years ago.

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Speaker 2: And my my, that's the that's the we're supposed to

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Speaker 2: give away those things.

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Speaker 3: Yeah, when you like that, you are actually.

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Speaker 1: Rop the skincare routine, Nick, I need a skincare regimen.

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Speaker 3: That's a renting all at least at night.

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Speaker 1: I don't know. Even as you said that, I was like, oh,

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Speaker 1: he might be like five years older than me, right,

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Speaker 1: born in the Wow, Yeah, you know, in nineteen sixty.

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Speaker 2: Six, nineteen thitty five, you know. And you know, b

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Speaker 2: my dad went to Cheney Cheney State in Cheney, Pennsylvania.

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Speaker 2: He had the world's record in the fifty one hundred

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Speaker 2: yard dash beat Jesse Owens in nineteen forty made the Olympics,

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Speaker 2: but due to the war, the Olympics were canceled, So

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Speaker 2: I didn't have that bragging right, but he was the

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Speaker 2: world's fastest human. My daughter is now keeping it going.

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Speaker 2: She runs track for UC Berkeley on their D one

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Speaker 2: Pactael twelve track team there in Texas A And then

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Speaker 2: this weekend, you know, for the for the regional finals.

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Speaker 2: So you know, there's a lot, but Philly I left

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Speaker 2: early when he had an aerodynamics aviation job in Convert,

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Speaker 2: San Diego, where he moved the family. But we would

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Speaker 2: go back to Philly every summer and kind of just

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Speaker 2: jam and I a lot of great musical influences. And

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Speaker 2: I don't know what's in the water. There's so many

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Speaker 2: bass players, Anthony Jackson and Eddie Henderson. It's just like

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Speaker 2: what it's base heaven over there.

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Speaker 1: You know. So was your family immerged in music as

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Speaker 1: well or just like how what was your first musical

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Speaker 1: memory that you had?

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Speaker 2: Yeah, there was there was always a piano kind of

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Speaker 2: around the house that uh, pops and moms both would play.

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Speaker 2: But you know it was like, you know, music, music

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Speaker 2: filled the neighborhood and and you know, so you'd hear

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Speaker 2: Glutys Night, Marvin Gay Out, you know, blasting through the

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Speaker 2: homes of this of the neighborhood. But it was really

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Speaker 2: I'll never forget My first forty five was More Love

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Speaker 2: by Smokey Robinson. We were just always gathered around the

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Speaker 2: radio and listening to music. And I remember when I

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Speaker 2: played cello for three years and then I discovered the

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Speaker 2: bass and it was it was actually in church. My

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Speaker 2: brothers and I were doing. They were doing like these

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Speaker 2: folk masters back in the day when all that started

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Speaker 2: and uh, and then there was a bass on the

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Speaker 2: altar and I went up picked it up, and nobody

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Speaker 2: claimed it and I picked it up and I said, oh.

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Speaker 1: Lord, you take yourself out of play.

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Speaker 2: Yeah, I mean I just started playing, just just out

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Speaker 2: of my love for music. And it only had four strings,

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Speaker 2: so it wasn't it wasn't that difficult.

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Speaker 3: But you played the cello before.

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Speaker 2: But I played the cello before anyway, I was in

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Speaker 2: the range of the bass cleft, so that that kind

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Speaker 2: of got me got me going.

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Speaker 1: Okay, this is interesting because usually anyone that we interview

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Speaker 1: on the show that's an axe men or an ax woman,

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Speaker 1: nine times out of ten there's like a the thirty

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Speaker 1: dollars Sears guitar thing story that happens, like with Sears

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Speaker 1: having these affordable instruments and you know, people teaching their

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Speaker 1: getting their kids lessons and whatnot. But you started on

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Speaker 1: the cello and then worked your way.

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Speaker 2: To the base, right, and the weather is the thirty

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Speaker 2: actually forty nine dollars story story from from the pod

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Speaker 2: shop where my mom got me. My first base was

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Speaker 2: about that long. You know, it was a you know,

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Speaker 2: a short scale, no name, but you know that that

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Speaker 2: was my uh, you know, ticket to ticket to everything,

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Speaker 2: you know. And then I started playing in all the

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Speaker 2: bands and uh stage band in high school and okay,

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Speaker 2: you know the drill. One thing leads to another, next thing.

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Speaker 2: You know, you're doing a couple of gigs I learned.

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Speaker 2: I learned the A string, the eastring, and then I

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Speaker 2: had a gig already.

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Speaker 1: Oh okay, you know.

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Speaker 2: And then the first gigs were in church and obviously,

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Speaker 2: you know, I always say that's the best place to

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Speaker 2: have your first gigs because if you make a mistake,

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Speaker 2: they're ready forgiving. You know, you don't get it, you

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Speaker 2: don't get it.

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Speaker 1: I see. Do you remember, well, at the time when

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Speaker 1: you're learning your craft, were there any other notable musicians

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Speaker 1: that you grew up with or or artists that you

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Speaker 1: were kind of hanging with during your your formative the

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Speaker 1: years as a.

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Speaker 2: Teen or yeah, you know, well, as a team, we

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Speaker 2: It's funny because we backed up. We had a band

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Speaker 2: called Power and there was a staxed review that rufus

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Speaker 2: Thomas Barry White, a bunch of people came and played

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Speaker 2: and we were the house band for everybody. And after

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Speaker 2: that gig, Barry White invited us all to his office

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Speaker 2: up in Beverly Hills. We went up there and he

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Speaker 2: hired our whole band on the spot to go tour

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Speaker 2: with him. And so, like, my first gig was at

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Speaker 2: the Apollo Theater. Then we did Madison Square Garden, we

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Speaker 2: did Cobo Arena and Detroit. You know, I'm like sixteen

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Speaker 2: years old.

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Speaker 1: Wait, what year is this?

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Speaker 2: This was like a let's see, seventy one maybe.

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Speaker 1: Okay, so at the very beginning of Barry White's career.

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Speaker 2: Yeah, seventy one two, and he started, you know, he

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Speaker 2: had all these hits.

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Speaker 1: And were you lying about your age? Like anybody you know.

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Speaker 2: I didn't volunteer my age. It was just one of

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Speaker 2: those things where you know, you're saying, opportunity, Knox, you got.

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Speaker 4: To go, you know, and how do you propose this

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Speaker 4: to your parents? How did that conversation?

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Speaker 2: Well that was another thing that they were, you know

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Speaker 2: how parents are. They're they're always a little reluctant about that,

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Speaker 2: but they they went along to it because I was

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Speaker 2: with my brothers, you know, my and all my my

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Speaker 2: homies and from the neighborhood. So we were all together

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Speaker 2: in this and it was it was really special to

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Speaker 2: to be with an act like that, you know, an

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Speaker 2: arena act where you're you know, selling out arenas, and

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Speaker 2: it was unbelievable.

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Speaker 1: So did you ever do the Philadelphia circuit that would

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Speaker 1: have maybe eventually landed you in MFSB Or was that

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Speaker 1: already Anthony's gig?

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Speaker 2: And yeah, that was that was already done and dusted,

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Speaker 2: and that would have been been his gig. And I

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Speaker 2: would have been already out on the West coast by then.

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Speaker 2: But those those were the you know, those were the

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Speaker 2: dream gigs that everybody wanted, you know, gambling, huff and

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Speaker 2: and those tombs are very near and dear to my heart.

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Speaker 2: But by that time we were out on the West coast.

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Speaker 2: And then so so Barry was kind of he was

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Speaker 2: kind of it. And and then you know, I played

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Speaker 2: with him live before before I started recording, but then

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Speaker 2: you know, started doing all those records, and and he would,

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Speaker 2: you know, most people don't know, he'd drive up from

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Speaker 2: from Watson a stuts bear cat with gold emblems on it,

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Speaker 2: and then he'd get out with the three fifty seven magnum.

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Speaker 2: You knows, twirling it like like he's in like he's

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Speaker 2: in the country Western movie. It would sit on the console,

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Speaker 2: you know, like this thing.

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Speaker 3: No special occasion special.

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Speaker 1: I wanted. I wanted to ask you. So you're you're

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Speaker 1: the you're the third guest of the show that's had

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Speaker 1: Barry White interactions. But I've heard, you know, through throughout

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Speaker 1: my coming up in the industry, like some gangster Berry stories,

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Speaker 1: but can't ever get like what was he like to

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Speaker 1: deal deal with? Ray Parker Jr. Told the story of like,

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Speaker 1: you know, he actually dently crashed Barry White Mercedes trying

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Speaker 1: to play him the demo for one of those songs.

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Speaker 1: Won't let the music play. And then his former tour manager,

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Speaker 1: Alan Leeds had a few stories about you know, Barry's

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Speaker 1: whole modus operandi, and you know I knew of the

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Speaker 1: gun always there. Like in general, was he I don't

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Speaker 1: want to say sugar nitish, Like was he fearsome or

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Speaker 1: was he cool to get along with or.

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Speaker 2: You know, in general he was he was very cool.

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Speaker 2: We had a we had an amazing relationship, and he

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Speaker 2: was just always he was always very supportive, I mean,

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Speaker 2: especially if he liked you. You know, he was one

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Speaker 2: of those guys that that you know, if he liked you.

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Speaker 2: And then you know, Gene Page was the arranger for

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Speaker 2: all those sessions, and you know, the great Gene Page

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Speaker 2: and and so there was always just when it was happening,

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Speaker 2: it was it was incredible, Like you know, Barry was

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Speaker 2: just he loved the fact and you know we're making

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Speaker 2: some some hits in there, so I mean, he was

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Speaker 2: he was gracious and appreciative. We wrote a couple of

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Speaker 2: things together. I had a song on the Love and

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Speaker 2: Limited album called Easing Okay. And you know he would

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Speaker 2: always end up with his name on everything, you know,

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Speaker 2: the write a word, get a third concept.

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Speaker 1: Right exactly the side note, does anyone ever remember the

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Speaker 1: bridge to Jay Z's New York New York song? Do

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Speaker 1: you remember New York which one exactly exactly jas New

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Speaker 1: York song? Do you remember the bridge that's New York

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Speaker 1: state of Mind? H Do you remember the bridge exactly?

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Speaker 1: So you know, I teased all the time that, oh okay,

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Speaker 1: because when Jay won the Grammy for that Alicia one

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Speaker 1: two and I was trying to figure out what I

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Speaker 1: was like, she insisted on adding that bridge. So that

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Speaker 1: she too can get right as good for it. I

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Speaker 1: never knew if that song had a bridge. I knew

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Speaker 1: the who exactly exactly there's a bridge going, there's a

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Speaker 1: bridget it.

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Speaker 2: But conversely the bridge that Don't got Don't stop till

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Speaker 2: you get Enough, which was written by Greg philin Games.

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Speaker 1: Greg Philing Games, Yes, now that's the.

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Speaker 2: You know, we know that story. And conversely, now that

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Speaker 2: was something that that was worthy of you know what

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Speaker 2: five percent.

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Speaker 1: So it happens, it goes down with those sessions. Ray

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Speaker 1: told us that very tracked everything at the same time,

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Speaker 1: with multiple I mean, at least for Ray, you know,

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Speaker 1: he would say like sometimes it'd be two sometimes four

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Speaker 1: guitarist playing at the same time, and that he didn't

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Speaker 1: do a lot of post mixing and none of that stuff.

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Speaker 1: Like So, I'm just trying to figure out the one

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Speaker 1: question I never got to ask him about that in

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Speaker 1: doing it, is if Barry doesn't do any post mixing

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Speaker 1: once the song is cut, how long do you guys

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Speaker 1: have to play a song in the studio before the

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Speaker 1: engineer captures the right EQ, the right compression, the right sound.

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Speaker 1: Like someone has to play over and over again while

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Speaker 1: they're like okay, getting levels.

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Speaker 2: Right while you're while you're playing over and over again

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Speaker 2: and you're learning the tune, and Barry's given everybody a part.

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Speaker 2: Like if you're looking in the studio, literally there's three

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Speaker 2: guitars there, there's Ray Parker, There's Wah wah, you know,

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Speaker 2: it could be Lee written hoor sometimes Parks, Dean Parks,

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Speaker 2: I mean, David t. And so you'd have those guys.

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Speaker 2: He had like a touring band at the time and

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Speaker 2: they were not really known. So his name was Willie C. Straut,

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Speaker 2: but another bass player because he was on there. Is

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Speaker 2: the thing I remember about is he was always so nervous.

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Speaker 2: He was sweating from the palms of his hand, you know,

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Speaker 2: because when Barry came around you there was a force

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Speaker 2: to be reckoned with, you know, and he'd starts singing

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Speaker 2: a part to you. Okay, you play bowl, boul bowl,

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Speaker 2: you know, and so he would he would so literally

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Speaker 2: you got a room full of musicians Barry. There was

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Speaker 2: a roads in the middle of the room. Jean was

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Speaker 2: in there, Ed Green was over on drums, and then

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Speaker 2: he'd go around and sing the part to every guy

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Speaker 2: and and you would literally start to hear a hit

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Speaker 2: being just developed just right before your very eyes, and

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Speaker 2: pretty soon you're playing this thing like like for hours.

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Speaker 2: And next thing, you know, when you add all those

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Speaker 2: parts and bits and pieces, you know, they hit record.

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Speaker 3: Oh Barry White didn't read or write music.

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Speaker 2: No, no, he would if you said you said, here's

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Speaker 2: play me middle c he wouldn't. He would not know

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Speaker 2: where to go.

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Speaker 1: Really really, as many times as I thought, you know,

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Speaker 1: seeing the piano and all that stuff, even.

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Speaker 2: Though he was the maestro, you know, but but I mean,

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Speaker 2: but at the same time, he knew. You know. That's

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Speaker 2: that's what I love about music anyway, because you don't

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Speaker 2: really have to, you know, be schooled for those notes

305
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Speaker 2: to come out, you know. And we we all have

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Speaker 2: the same twelve notes, like Quincy says, you know, we

307
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Speaker 2: got the same twelve notes fort to work with.

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Speaker 1: So are you on the do you know the the

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Speaker 1: stretch of the very White discography that you were on

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Speaker 1: at the time.

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Speaker 2: Or yeah that I think one of the first ones

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Speaker 2: that I was on was called The Messages Love, and

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Speaker 2: it had just the way you are, A bunch of

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Speaker 2: those tunes I had, you know, there was whichever album

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Speaker 2: had ecstasy when you lay down next to me.

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Speaker 1: Just casually that baseline, you know, and and those you know.

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Speaker 2: That was my first kind of heartbreak in the business,

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Speaker 2: because you know when when you're in the studio every

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Speaker 2: day all day and then you get that album and

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Speaker 2: you crack it open and you look for your name

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Speaker 2: and it's not there. It was like produced by Barry Wright,

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Speaker 2: written by Barry White. Album, all songs and no musicians.

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Speaker 2: And I said, what's what's up with this? Oh, he

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Speaker 2: doesn't want anybody to steal his sound, you know, so

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Speaker 2: you were surprised.

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Speaker 3: You didn't know ahead of time that your name ain't I.

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Speaker 2: Had, Your name is not gonna be on the record.

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Speaker 1: And so really, guys, see, that's why I always thought

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Speaker 1: that like rhythm arranger and all those other like made

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Speaker 1: up credits is for you know, we won't give you

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Speaker 1: right his credit or production credit, but we'll just say

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Speaker 1: that you did rhythm arrangement or you're right, you know,

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Speaker 1: just another auxiliary credit.

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Speaker 2: I mean, love theme was was a gene arrangement to

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Speaker 2: a song, and the arrangement was so bad that it

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Speaker 2: was so powerful that they took the lyrics off the

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Speaker 2: song and they didn't even finish the tune, you know, exactly.

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Speaker 2: That was ABC Wide World is fos every Saturday.

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Speaker 1: I mean it was like watching the guy fall down. Dude, Yeah, no,

340
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Speaker 1: I remember it. How does one I'm not saying, I'm

341
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Speaker 1: not asking, like how does one stay territorial? But okay,

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Speaker 1: so your Barry's go to guy in your mind if

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Speaker 1: you don't say how high when he says jump in

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Speaker 1: terms of like all right, we got a session next week,

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Speaker 1: can you make it? Can you make it? Who are

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Speaker 1: you worried about that's right around the corner that might

347
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Speaker 1: take your gig? Like were you territorial? Like, okay, I

348
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Speaker 1: got Barry White? Now do you start sifting for other

349
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Speaker 1: people so you can go higher and keep Barry White?

350
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Speaker 1: Or because I'm trying to figure out, like if you're

351
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Speaker 1: in LA and you're competing against like Chuck Raney and

352
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Speaker 1: Louis Johnson and all those things. I know that mainly

353
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Speaker 1: producers have their main guy that they always stick with, right,

354
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Speaker 1: but you seem to be the main guy that everyone

355
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Speaker 1: always sticks with. So how do you how do you

356
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Speaker 1: want like your territory to make sure that the next

357
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Speaker 1: guy behind you doesn't take it in case you get

358
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Speaker 1: sick one day or.

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Speaker 3: Well, while still being a teenager.

360
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Speaker 2: Well, the only way to really mark your territory is

361
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Speaker 2: is what you leave on the tape, you know, in

362
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Speaker 2: the studio, the notes you play are your marketing. And

363
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Speaker 2: and like Quincy used to always say, if he to

364
00:20:21,440 --> 00:20:23,080
Speaker 2: get the call is one thing to get the call

365
00:20:23,200 --> 00:20:26,520
Speaker 2: back is uh is the other part of the equation

366
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Speaker 2: that like and and uh. And I never really was

367
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Speaker 2: too territorial. I was. I was always just so appreciative

368
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Speaker 2: because I said, man, with all these bad cats in

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Speaker 2: this town, Lewis Johnson and Abe La Boya, I mean

370
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Speaker 2: just I mean an a list of players. So whenever

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Speaker 2: I kind of got a gig, I was just going,

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Speaker 2: oh man, either they weren't available or you know, just

373
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Speaker 2: just bring your bring your a game, you know. So

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Speaker 2: that for me, it was just like just just leave it,

375
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Speaker 2: you know, leave leave your mark on the on the tape.

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Speaker 1: Right. So I want to ask this hypothetic speaking all right,

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Speaker 1: let's say ed Green does not exist, and it's nineteen

378
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Speaker 1: seventy four and I'm Barry White's studio drummer. How much

379
00:21:11,320 --> 00:21:16,680
Speaker 1: am I getting paid? How do I get paid? Is it?

380
00:21:16,760 --> 00:21:19,480
Speaker 1: Are you getting paid by the hour? Is it by

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Speaker 1: the song or just by the session.

382
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Speaker 2: Those sessions usually had a contractor, and as we all know,

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Speaker 2: there's a lot of politics in this, you know, but

384
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Speaker 2: the contractor was the he was actually the one getting paid,

385
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Speaker 2: so he was like on double scale. And then because

386
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Speaker 2: he was, he would put himself as the leader.

387
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Speaker 1: Okay, so you had to be afm.

388
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Speaker 2: You had to be AFM.

389
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Speaker 1: Yeah.

390
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Speaker 2: And then so there were two sessions to day. There

391
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Speaker 2: was ten to one, two to five basically, so I see.

392
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Speaker 1: So there was always someone there to make sure the

393
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Speaker 1: musicians got paid. So it wasn't like Barry was just

394
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Speaker 1: like reaching in his pocket like all right, here's forty

395
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Speaker 1: five dollars.

396
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Speaker 2: You know, you didn't get an envelope. It was it

397
00:22:04,200 --> 00:22:09,720
Speaker 2: was all. It was all very unionized and and people

398
00:22:09,760 --> 00:22:12,240
Speaker 2: like Gene Page was there. He was there to make

399
00:22:12,240 --> 00:22:14,919
Speaker 2: sure that happened too, you know. So you you got paid,

400
00:22:15,040 --> 00:22:17,120
Speaker 2: you know. And then back in the day, everybody would

401
00:22:17,119 --> 00:22:19,560
Speaker 2: show up at the union and you'd have a stack

402
00:22:19,600 --> 00:22:20,600
Speaker 2: of checks waiting for you.

403
00:22:21,160 --> 00:22:23,399
Speaker 1: Right, and by the way, are you on are you

404
00:22:23,440 --> 00:22:25,280
Speaker 1: on Gene Page's Love Look record?

405
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Speaker 2: Love Look?

406
00:22:28,680 --> 00:22:35,200
Speaker 1: It came out in Atlantic seventy five, nineteen seventy five.

407
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Speaker 2: You know, in all honesty, i'd have to look, okay,

408
00:22:38,920 --> 00:22:43,520
Speaker 2: of course I'm thinking no, because I wouldn't forget that,

409
00:22:43,600 --> 00:22:47,080
Speaker 2: you know. Okay, but there's you know when when there's

410
00:22:47,119 --> 00:22:50,680
Speaker 2: been quite a few, you know, they start to they

411
00:22:50,720 --> 00:22:52,520
Speaker 2: start to ba hard to keep trying.

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Speaker 1: Yeah right.

413
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Speaker 2: I always kind of go to AllMusic dot Com when

414
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Speaker 2: I went, wow, well even they forget stuff too, yeah, exactly.

415
00:23:03,000 --> 00:23:08,560
Speaker 2: So what was your next pivot after Barry White? And

416
00:23:08,600 --> 00:23:11,160
Speaker 2: I can remember when I had to because I started

417
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Speaker 2: getting calls from Hubert Laws and and Ronnie Laws and

418
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Speaker 2: some of the guys in the sort of in the

419
00:23:17,400 --> 00:23:21,880
Speaker 2: jazz idiom. And I can remember having a call where

420
00:23:21,880 --> 00:23:25,240
Speaker 2: it landed on the same day as Barry. And I

421
00:23:25,280 --> 00:23:27,960
Speaker 2: can remember asking him because theoretically the way you go

422
00:23:28,000 --> 00:23:29,960
Speaker 2: from single scale or double is if you have so

423
00:23:30,080 --> 00:23:32,760
Speaker 2: much work that you that you have to charge double

424
00:23:33,600 --> 00:23:36,639
Speaker 2: in order to keep so, so you could say no

425
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Speaker 2: to somebody else, you know. So I can remember going

426
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Speaker 2: to Berry and asking, you know, I said, man, what

427
00:23:43,920 --> 00:23:45,359
Speaker 2: should I do? And the guy said, well, if you

428
00:23:45,400 --> 00:23:49,120
Speaker 2: ask him, it's been nice knowing you, you know, there

429
00:23:49,240 --> 00:23:51,840
Speaker 2: just like giving me their blessings. But I pulled them

430
00:23:51,880 --> 00:23:54,160
Speaker 2: aside and I got up the guts, and I said,

431
00:23:54,600 --> 00:23:57,000
Speaker 2: I was just wondering if I could just ask for

432
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Speaker 2: double scale because I'm getting some other offers and if

433
00:24:00,800 --> 00:24:04,040
Speaker 2: I say no to you, you know, then it'll help

434
00:24:04,080 --> 00:24:06,400
Speaker 2: me say no to them if I get double here.

435
00:24:07,160 --> 00:24:10,960
Speaker 2: So he looked at me. I saw the three fifty

436
00:24:10,960 --> 00:24:14,600
Speaker 2: seven sitting there on the on the count wow, and

437
00:24:14,680 --> 00:24:17,240
Speaker 2: he put he put his arm, he put his arm

438
00:24:17,280 --> 00:24:19,720
Speaker 2: around me. Said, Nate, if you want that, you got that.

439
00:24:19,840 --> 00:24:21,240
Speaker 2: I mean, it gave you a big smile. And it

440
00:24:21,400 --> 00:24:26,919
Speaker 2: was like, I mean, these are the moments and music

441
00:24:26,960 --> 00:24:30,360
Speaker 2: that like people don't know about, you know, are you stay?

442
00:24:30,680 --> 00:24:32,560
Speaker 2: So that was the that was the first time. And

443
00:24:32,600 --> 00:24:35,359
Speaker 2: then then then I was like a double scale cat,

444
00:24:35,440 --> 00:24:36,359
Speaker 2: you know, which was cool.

445
00:24:36,400 --> 00:24:37,760
Speaker 1: You know, that's what's up?

446
00:24:43,359 --> 00:24:43,639
Speaker 2: All right?

447
00:24:44,040 --> 00:24:47,320
Speaker 1: Are you one any of the Running Loss stuff or

448
00:24:48,480 --> 00:24:50,200
Speaker 1: oh yeah, I want to know if you're on the

449
00:24:50,200 --> 00:24:54,080
Speaker 1: pressure Sensitive album. But that's with uh, that's the that's

450
00:24:54,080 --> 00:24:57,440
Speaker 1: the what you call it sample? Yeah, well tidal wave.

451
00:24:57,280 --> 00:25:02,480
Speaker 2: Is but always there, oh always, that's.

452
00:25:02,359 --> 00:25:05,280
Speaker 1: Uh with uh. That's on friends and strangers, correct, that's

453
00:25:05,320 --> 00:25:08,000
Speaker 1: on friends say yeah, okay, I see again.

454
00:25:08,080 --> 00:25:11,240
Speaker 2: I'd have to look because it's it's it's enough decades.

455
00:25:11,359 --> 00:25:13,879
Speaker 2: It's it's longer than four decades ago. So i'd have

456
00:25:13,960 --> 00:25:15,040
Speaker 2: to look quite.

457
00:25:14,840 --> 00:25:19,240
Speaker 1: All right, quite all right? When you are booked, uh

458
00:25:19,520 --> 00:25:22,560
Speaker 1: for a session, do you least get the courtesy of

459
00:25:22,600 --> 00:25:25,600
Speaker 1: hearing the song first to see if this is something

460
00:25:25,640 --> 00:25:28,639
Speaker 1: you might be into or you just kind of jump

461
00:25:28,680 --> 00:25:31,600
Speaker 1: into it and not know what it's going to wind

462
00:25:31,680 --> 00:25:32,000
Speaker 1: up being.

463
00:25:32,720 --> 00:25:36,120
Speaker 2: Yeah, no, no, courtesy of the song. It's it's it's

464
00:25:36,160 --> 00:25:39,920
Speaker 2: you get there and it's baptism by really or fire

465
00:25:40,680 --> 00:25:42,240
Speaker 2: wow and you.

466
00:25:42,400 --> 00:25:44,200
Speaker 1: So you have to learn these songs on the spot,

467
00:25:44,880 --> 00:25:45,399
Speaker 1: on the spot.

468
00:25:45,520 --> 00:25:48,840
Speaker 3: Yeah, wait a minute, a mere. Let me ask Nathan

469
00:25:48,880 --> 00:25:51,480
Speaker 3: this what kind of music did you want to make?

470
00:25:52,280 --> 00:25:55,480
Speaker 3: Like when you started out? Like what was the dream?

471
00:25:55,840 --> 00:25:58,000
Speaker 2: Oh? Yeah, no, the dream was was all these guys.

472
00:25:58,040 --> 00:26:02,800
Speaker 2: I remember reading an article that sha Ka Khan was

473
00:26:02,840 --> 00:26:05,640
Speaker 2: talking about. She said, Anthony Jackson is my favorite bass

474
00:26:05,640 --> 00:26:08,800
Speaker 2: player because he laid down the gauntlet on all those recording.

475
00:26:08,800 --> 00:26:10,600
Speaker 2: Now it was the bible of bass. You know what

476
00:26:10,640 --> 00:26:13,960
Speaker 2: he played, and I studied it. But when I read

477
00:26:13,960 --> 00:26:16,720
Speaker 2: that article, I thought, oh man, I would like to

478
00:26:16,720 --> 00:26:18,720
Speaker 2: be everybody's favorite bass player. Like that was my.

479
00:26:18,840 --> 00:26:20,359
Speaker 1: Dream and.

480
00:26:22,800 --> 00:26:25,440
Speaker 2: I'm still living the dream. I mean, you couldn't you

481
00:26:25,480 --> 00:26:27,920
Speaker 2: couldn't make it up, you know, once it started hitting

482
00:26:27,960 --> 00:26:32,600
Speaker 2: in January. I remember January second, nineteen eighty I did

483
00:26:32,640 --> 00:26:35,199
Speaker 2: it Hurts Rent a card jingle commercial. Gene Page was

484
00:26:35,200 --> 00:26:40,200
Speaker 2: a composer. James Gatson was on drums, Ray Parker and

485
00:26:40,280 --> 00:26:43,359
Speaker 2: Lee written Aragon guitar, Sonny Burke at the I mean,

486
00:26:43,359 --> 00:26:46,159
Speaker 2: I'm up there writing in my diary all these guys,

487
00:26:46,200 --> 00:26:48,959
Speaker 2: you know, And and I worked every day since then

488
00:26:49,000 --> 00:26:51,240
Speaker 2: because then it was kind of like once these guys

489
00:26:51,240 --> 00:26:53,399
Speaker 2: hear you, they start going telling people about you, and

490
00:26:53,680 --> 00:26:56,760
Speaker 2: it was just like stepping zones and and it was

491
00:26:56,880 --> 00:26:57,720
Speaker 2: crazy that way.

492
00:26:58,040 --> 00:27:01,560
Speaker 3: And that's your tribe. So that's even crazy exactly.

493
00:27:02,280 --> 00:27:09,760
Speaker 1: So for the musicians that listen to this podcast. And

494
00:27:09,800 --> 00:27:12,080
Speaker 1: I'm gonna try and ask this in a way so

495
00:27:12,240 --> 00:27:17,000
Speaker 1: doesn't alienate or offend them. Already knows where I go,

496
00:27:17,800 --> 00:27:20,320
Speaker 1: where I'm going, No, But I think this, I think

497
00:27:20,359 --> 00:27:22,879
Speaker 1: this is important, and you know, this is this is

498
00:27:23,000 --> 00:27:26,440
Speaker 1: a battle I always work with because we live in

499
00:27:26,600 --> 00:27:29,639
Speaker 1: we live in a time now where musicianship is just

500
00:27:29,880 --> 00:27:35,280
Speaker 1: in the wild wild West, right and again. And I've

501
00:27:35,320 --> 00:27:38,520
Speaker 1: talked about gospel chops for a long time where like

502
00:27:38,600 --> 00:27:42,680
Speaker 1: the gospel chop community sort of sci I mean, like, yo, man,

503
00:27:42,680 --> 00:27:44,399
Speaker 1: why are you always coming down on this and playing

504
00:27:44,440 --> 00:27:48,080
Speaker 1: on But and you know, I don't know if the

505
00:27:48,200 --> 00:27:52,360
Speaker 1: rules that apply then apply now now I'm just I'm

506
00:27:52,920 --> 00:27:57,000
Speaker 1: I come from a place where, you know, the musicianship

507
00:27:57,160 --> 00:27:59,320
Speaker 1: of the sixties and seventies and some of the eighties,

508
00:28:00,080 --> 00:28:03,439
Speaker 1: you know, that's my bread and butter, because you know

509
00:28:03,560 --> 00:28:08,600
Speaker 1: it's it's you know, it's undeniably classic. However, you know

510
00:28:08,680 --> 00:28:11,000
Speaker 1: there's a new generation that sort of feels like the

511
00:28:11,080 --> 00:28:14,359
Speaker 1: need to go from one from zero to sixty and

512
00:28:14,640 --> 00:28:18,800
Speaker 1: four seconds and kind of show you everything you know

513
00:28:18,920 --> 00:28:22,000
Speaker 1: they have. But it's it's almost like in your opinion,

514
00:28:22,800 --> 00:28:25,600
Speaker 1: where do you feel that that script got lost in

515
00:28:25,920 --> 00:28:28,840
Speaker 1: or is this just a natural evolution? And now we

516
00:28:28,960 --> 00:28:31,240
Speaker 1: just live in a time where you got to do

517
00:28:31,320 --> 00:28:34,479
Speaker 1: everything but the kitchen sink to impress and keep your

518
00:28:34,560 --> 00:28:37,680
Speaker 1: job right. Whereas you know, all the time I tell

519
00:28:37,760 --> 00:28:40,720
Speaker 1: musicians like, dude, just play. You know, in the beginning

520
00:28:40,760 --> 00:28:42,880
Speaker 1: I used to take their music their stuff away and

521
00:28:42,920 --> 00:28:45,160
Speaker 1: just like play this one thing and this one thing only.

522
00:28:45,720 --> 00:28:47,280
Speaker 1: But like, does someone have to tell you that? Like

523
00:28:47,920 --> 00:28:52,720
Speaker 1: what's I guess what I'm asking is what stopped you

524
00:28:53,440 --> 00:28:57,040
Speaker 1: from trying to showboat, to let people know like I'm

525
00:28:57,120 --> 00:29:00,520
Speaker 1: the shit and just do what's called for. That's it.

526
00:29:00,960 --> 00:29:03,560
Speaker 2: Yeah, you know, it's it's very seductive to to want

527
00:29:03,600 --> 00:29:07,320
Speaker 2: to in certain instruments. I think, like like piano like

528
00:29:07,560 --> 00:29:11,840
Speaker 2: this this like crazy Olympic fast chops, you know they

529
00:29:11,960 --> 00:29:14,720
Speaker 2: it kind of lends itself to to people wanting to

530
00:29:14,760 --> 00:29:17,240
Speaker 2: really it. But but I never wanted somebody to walk

531
00:29:17,240 --> 00:29:19,560
Speaker 2: away from a gig, said while he was the fastest

532
00:29:19,560 --> 00:29:21,120
Speaker 2: guy ever ever heard.

533
00:29:22,000 --> 00:29:22,160
Speaker 1: Right.

534
00:29:22,680 --> 00:29:24,520
Speaker 2: What I actually like to do now is I go

535
00:29:24,600 --> 00:29:27,719
Speaker 2: down the Instagram feed with the sound off, you know so,

536
00:29:27,960 --> 00:29:31,000
Speaker 2: and then you know, you see everybody playing and and

537
00:29:31,040 --> 00:29:34,120
Speaker 2: you try to figure out who's playing something that's worth listening.

538
00:29:34,160 --> 00:29:37,000
Speaker 2: And very rarely do I you when when I turn

539
00:29:37,040 --> 00:29:39,800
Speaker 2: it off, you know, like very few notes. But I

540
00:29:40,120 --> 00:29:43,240
Speaker 2: learned early on too, just play the play the groove

541
00:29:43,280 --> 00:29:46,040
Speaker 2: and the ink and the and and let it, you know,

542
00:29:46,640 --> 00:29:48,040
Speaker 2: play that funk.

543
00:29:48,680 --> 00:29:52,479
Speaker 1: Does that? But does that truly matter? And like I

544
00:29:52,520 --> 00:29:54,840
Speaker 1: think all of us in this room right now like

545
00:29:55,000 --> 00:29:58,600
Speaker 1: agree with you. But then it's also like does that

546
00:29:58,720 --> 00:30:02,440
Speaker 1: matter anymore? Does it truly matter? Yeah?

547
00:30:02,800 --> 00:30:06,400
Speaker 2: I think it will always matter and The only thing

548
00:30:06,440 --> 00:30:09,120
Speaker 2: that I base that on is that I'm still I'm

549
00:30:09,160 --> 00:30:14,880
Speaker 2: still fairly busy, like like like really really busy, you know,

550
00:30:14,920 --> 00:30:18,440
Speaker 2: where every day there's something to do. After we finish here,

551
00:30:18,440 --> 00:30:21,360
Speaker 2: I'm running the studio and uh, I got about four

552
00:30:21,440 --> 00:30:26,600
Speaker 2: songs waiting. So to me, it's the same concept. And

553
00:30:26,640 --> 00:30:29,560
Speaker 2: I remember when Barry said when the Lynn drum Machine came,

554
00:30:29,560 --> 00:30:32,320
Speaker 2: he said, it's over for drummers, you know, and and

555
00:30:32,360 --> 00:30:36,920
Speaker 2: so like, it can't be over for drummers that can play,

556
00:30:37,000 --> 00:30:39,000
Speaker 2: you know, because this is a machine and it will

557
00:30:39,040 --> 00:30:41,920
Speaker 2: not come up with something that God put in its

558
00:30:41,960 --> 00:30:47,240
Speaker 2: head by itself, you know. And so I I think

559
00:30:47,280 --> 00:30:50,320
Speaker 2: that regarding it. But it's tempting. It's seductive when you

560
00:30:50,360 --> 00:30:53,240
Speaker 2: hear a machine to think that that's going to be

561
00:30:53,960 --> 00:30:55,480
Speaker 2: the way of the world. But when it when it

562
00:30:55,480 --> 00:30:58,280
Speaker 2: gets right down to it, just like you, you know,

563
00:30:58,360 --> 00:31:00,360
Speaker 2: you play every day of your life, and and that's

564
00:31:00,400 --> 00:31:03,440
Speaker 2: what you do, you know, and that's what people that's

565
00:31:03,440 --> 00:31:06,800
Speaker 2: what I think the humans want to hear, you know,

566
00:31:07,360 --> 00:31:09,440
Speaker 2: they don't necessarily want to hear a machine. And I

567
00:31:09,440 --> 00:31:11,880
Speaker 2: don't think they want to hear a person playing like

568
00:31:11,920 --> 00:31:12,480
Speaker 2: a machine.

569
00:31:12,920 --> 00:31:15,360
Speaker 4: But that in that proof and like certain new artists

570
00:31:15,360 --> 00:31:17,400
Speaker 4: putting like they still have to dip back like Bruno

571
00:31:17,480 --> 00:31:19,920
Speaker 4: Mars still got to dip back like Anderson, and you

572
00:31:19,960 --> 00:31:22,640
Speaker 4: still gotta dip back like there's just there are some

573
00:31:22,760 --> 00:31:25,000
Speaker 4: artists that see, I'm gonna need this if I'm gonna

574
00:31:25,000 --> 00:31:25,800
Speaker 4: be funky.

575
00:31:26,240 --> 00:31:28,840
Speaker 2: And when they dip back, everybody, Oh, man, if you

576
00:31:28,880 --> 00:31:30,960
Speaker 2: heard this is the most amazing thing I've heard.

577
00:31:30,800 --> 00:31:38,760
Speaker 3: Exactly it. It's new y'all. Remember Childish Gambino's.

578
00:31:36,360 --> 00:31:45,800
Speaker 1: That I'm playing Donald, I'm playing for you. Though, what personally,

579
00:31:45,960 --> 00:31:50,440
Speaker 1: what do you prefer? Do you prefer studio rats or

580
00:31:50,480 --> 00:31:52,880
Speaker 1: do you prefer like being a road dog?

581
00:31:54,120 --> 00:31:57,440
Speaker 2: Which is a great question, you know, because some people

582
00:31:58,600 --> 00:32:02,440
Speaker 2: are either either or I've enjoyed being both. You know,

583
00:32:02,920 --> 00:32:06,440
Speaker 2: I've enjoyed my life on the road. It comes with

584
00:32:06,560 --> 00:32:10,760
Speaker 2: experiences and and something that you know, when it's live,

585
00:32:10,800 --> 00:32:13,080
Speaker 2: there's nothing like that, you know, especially if you're playing.

586
00:32:13,880 --> 00:32:16,280
Speaker 2: You know, we did live aid two hundred fifty thousand

587
00:32:16,320 --> 00:32:19,920
Speaker 2: people in Philly. You know, there's no feeling like that,

588
00:32:20,040 --> 00:32:23,360
Speaker 2: you know, and to look out and see that. But

589
00:32:23,400 --> 00:32:25,680
Speaker 2: then there's nothing else like being in the studio and

590
00:32:25,760 --> 00:32:29,240
Speaker 2: here in your instrument, just like being recorded pristinely by

591
00:32:29,240 --> 00:32:31,920
Speaker 2: one of the top engineers, and then when you hear

592
00:32:31,960 --> 00:32:34,880
Speaker 2: that playback, it just sounds like heaven, you know. And

593
00:32:34,880 --> 00:32:38,040
Speaker 2: and so those are those are the two kind of

594
00:32:38,160 --> 00:32:41,080
Speaker 2: sides of the coin of a music of a musician,

595
00:32:41,360 --> 00:32:43,280
Speaker 2: you know, and I think it's important to have both

596
00:32:43,280 --> 00:32:44,160
Speaker 2: of those qualities.

597
00:32:44,840 --> 00:32:48,920
Speaker 5: How did COVID change, you know, do your workflow in

598
00:32:49,000 --> 00:32:51,640
Speaker 5: terms of you know, how did you have to shift

599
00:32:51,720 --> 00:32:52,760
Speaker 5: once the pandemic hit?

600
00:32:53,640 --> 00:32:57,080
Speaker 2: Yeah, you know, the I watched and I had some

601
00:32:57,240 --> 00:33:00,800
Speaker 2: very significant touring set up. You know, Airic Clapton had

602
00:33:00,840 --> 00:33:03,000
Speaker 2: three months in the summer and we were going to

603
00:33:03,080 --> 00:33:05,520
Speaker 2: do like six Royal Albert Hall shows and then go

604
00:33:05,560 --> 00:33:07,560
Speaker 2: to Europe, and we had all that.

605
00:33:07,560 --> 00:33:11,080
Speaker 1: Planet and we've seen his tweets, I.

606
00:33:13,280 --> 00:33:19,040
Speaker 2: Don't I had a Russian tour, you know, lined up

607
00:33:19,520 --> 00:33:22,600
Speaker 2: and uh, playing with this Russian orchestra. So I was

608
00:33:22,640 --> 00:33:25,440
Speaker 2: looking for that and so I watched. I watched, like

609
00:33:25,800 --> 00:33:27,960
Speaker 2: literally the revenue for the whole year that would have

610
00:33:28,000 --> 00:33:30,720
Speaker 2: tightened me up go right out the window, you know.

611
00:33:31,320 --> 00:33:34,520
Speaker 2: And uh when when when COVID hit, It's like you

612
00:33:34,600 --> 00:33:36,720
Speaker 2: are instantly becoming an entrepreneur.

613
00:33:36,800 --> 00:33:38,800
Speaker 3: Now you got some merchandise.

614
00:33:38,880 --> 00:33:40,520
Speaker 1: Let's talk about it.

615
00:33:39,720 --> 00:33:42,959
Speaker 2: You get to see how to deal with lamb, you know,

616
00:33:43,040 --> 00:33:45,200
Speaker 2: and then what you're going to do, whether that's whether

617
00:33:45,240 --> 00:33:48,320
Speaker 2: that's uber driving or which I have some friends that

618
00:33:48,360 --> 00:33:50,960
Speaker 2: had to hit, you know, or or coming up with

619
00:33:51,040 --> 00:33:53,600
Speaker 2: a way you know, never let a good pandemic go

620
00:33:53,600 --> 00:33:54,200
Speaker 2: to waste. You know.

621
00:33:54,280 --> 00:33:56,760
Speaker 4: So are your voice work because like when you said that,

622
00:33:56,840 --> 00:33:59,200
Speaker 4: I was like, yeah, you are a voice actor, dud

623
00:33:59,560 --> 00:34:02,040
Speaker 4: I hear and that's what you did.

624
00:34:02,320 --> 00:34:04,920
Speaker 2: I was blessed. I did some voiceover working, and since

625
00:34:04,960 --> 00:34:08,399
Speaker 2: I have a studio, it really came in handy because

626
00:34:08,440 --> 00:34:11,839
Speaker 2: people send me songs and files and so I could

627
00:34:11,840 --> 00:34:14,080
Speaker 2: I could do that till four in the morning. I

628
00:34:14,160 --> 00:34:15,000
Speaker 2: end up doing a lot.

629
00:34:16,120 --> 00:34:17,240
Speaker 1: Have you written a book?

630
00:34:17,840 --> 00:34:19,680
Speaker 2: You know what? I have a book in the works,

631
00:34:19,960 --> 00:34:24,680
Speaker 2: and definitely there's some there's some fun stories. So that's

632
00:34:24,760 --> 00:34:26,279
Speaker 2: that's in the works at the moment. No.

633
00:34:26,400 --> 00:34:28,080
Speaker 1: I was just gonna say, I could probably just lists

634
00:34:28,120 --> 00:34:29,759
Speaker 1: all the albums you played on. That would be the

635
00:34:29,760 --> 00:34:34,640
Speaker 1: whole book. Right. Have you have you had a session

636
00:34:36,040 --> 00:34:41,160
Speaker 1: that you were kind of not satisfied with your performance

637
00:34:41,160 --> 00:34:43,960
Speaker 1: and you're shocked that like oh I got away with

638
00:34:43,960 --> 00:34:46,640
Speaker 1: that or that sort of thing, or you.

639
00:34:46,600 --> 00:34:50,280
Speaker 6: Know, it's funny because are you allowed are you allowed

640
00:34:50,280 --> 00:34:54,120
Speaker 6: to like I'm certain that you're being hired because it's like, Okay,

641
00:34:54,280 --> 00:34:56,719
Speaker 6: Nathan will be you know, Nathan will knock this out

642
00:34:56,800 --> 00:34:57,880
Speaker 6: in one or two takes.

643
00:34:58,600 --> 00:35:01,520
Speaker 1: Won't be that hard, let's go through it. Or you know,

644
00:35:01,600 --> 00:35:04,719
Speaker 1: have you had a moment where you felt like I

645
00:35:04,719 --> 00:35:06,160
Speaker 1: could have did better and they were like, no, no,

646
00:35:06,200 --> 00:35:07,840
Speaker 1: I'm fine with that. It's good. And then.

647
00:35:09,400 --> 00:35:12,000
Speaker 2: You know what's funny is every everything that I ever

648
00:35:12,040 --> 00:35:15,000
Speaker 2: hear back, I always think I always hear something that

649
00:35:15,080 --> 00:35:17,360
Speaker 2: I said, Oh man, if I did it again, I

650
00:35:17,360 --> 00:35:19,960
Speaker 2: would have I would have made that little hipperode or

651
00:35:20,040 --> 00:35:22,520
Speaker 2: just put a little something extra on that note or something.

652
00:35:22,520 --> 00:35:24,920
Speaker 2: I mean, everything I hear that I do, I always

653
00:35:24,960 --> 00:35:28,359
Speaker 2: feel like there's there's a room for, uh, for some

654
00:35:28,440 --> 00:35:32,120
Speaker 2: kind of improvement. But however, you know when the guys,

655
00:35:33,080 --> 00:35:37,000
Speaker 2: like when when Daft Punk, they did get lucky and

656
00:35:37,160 --> 00:35:39,640
Speaker 2: they were mixing the bass part and I actually had

657
00:35:39,640 --> 00:35:42,839
Speaker 2: the chance to redo that because we recorded the track

658
00:35:42,880 --> 00:35:45,239
Speaker 2: and then they sent it back and then Nile put

659
00:35:45,239 --> 00:35:48,400
Speaker 2: his guitar on. And when Nile put the guitar on,

660
00:35:48,960 --> 00:35:51,960
Speaker 2: that's where the funk just like it just it just

661
00:35:52,040 --> 00:35:54,080
Speaker 2: pulled the funk out of the thing. So I asked

662
00:35:54,080 --> 00:35:56,200
Speaker 2: the guys, I said, you know, if I could have

663
00:35:56,239 --> 00:35:58,799
Speaker 2: another shot at the base and I kind of went

664
00:35:58,880 --> 00:36:05,560
Speaker 2: from my Bernard Edward impersonation. And I was actually happy

665
00:36:05,560 --> 00:36:09,120
Speaker 2: because they edited everything to the team, but they said, hey,

666
00:36:09,120 --> 00:36:11,520
Speaker 2: your basebar. We ended up just using most of the

667
00:36:11,560 --> 00:36:15,120
Speaker 2: one same take, one whole take. Oh cool wow, which

668
00:36:15,200 --> 00:36:18,160
Speaker 2: was cool, and you know it was funded. Now that

669
00:36:18,239 --> 00:36:20,560
Speaker 2: was a fun one to hear, and my kids thought

670
00:36:20,600 --> 00:36:22,400
Speaker 2: I was cool because I played the.

671
00:36:23,440 --> 00:36:33,000
Speaker 1: Right a question. Okay, So I guess for most bass players,

672
00:36:33,480 --> 00:36:37,960
Speaker 1: especially bass players that are coming of it, sort of

673
00:36:38,000 --> 00:36:42,279
Speaker 1: coming of age in the seventies. You being born in

674
00:36:42,320 --> 00:36:46,719
Speaker 1: fifty five, you would have been fifteen years old in

675
00:36:46,800 --> 00:36:50,560
Speaker 1: nineteen seventy, and I'm certain by this point you were playing.

676
00:36:51,160 --> 00:36:53,640
Speaker 1: Yeah you were, you were a fully realized bass player

677
00:36:53,640 --> 00:36:54,880
Speaker 1: by a nineteen seventy correct.

678
00:36:55,840 --> 00:36:58,560
Speaker 2: Yeah, I think I was. I was like just jumping

679
00:36:58,640 --> 00:37:00,880
Speaker 2: getting into the realization.

680
00:37:01,239 --> 00:37:06,160
Speaker 1: Okay, So that said, can you describe to me what

681
00:37:07,280 --> 00:37:09,600
Speaker 1: you're what the reaction or what the feeling was when

682
00:37:09,600 --> 00:37:12,160
Speaker 1: you first heard Thank you for letting me be myself again?

683
00:37:12,760 --> 00:37:17,520
Speaker 1: Because okay, so I have this thing with Christa McBride

684
00:37:18,800 --> 00:37:29,320
Speaker 1: about my disdain for songs and E minor because, like I,

685
00:37:29,320 --> 00:37:32,680
Speaker 1: I have an obsession with collecting really horrible funk songs

686
00:37:32,680 --> 00:37:35,040
Speaker 1: in E minor because you know, it's like when you're

687
00:37:35,040 --> 00:37:37,960
Speaker 1: playing E minor that that's the easiest key for a

688
00:37:38,000 --> 00:37:42,040
Speaker 1: beginner and base to play. And of course my thought

689
00:37:42,120 --> 00:37:46,040
Speaker 1: is that you're trying to top the mount Rushmore of

690
00:37:46,080 --> 00:37:48,759
Speaker 1: E Minor, which is basically thank you for letting me

691
00:37:48,760 --> 00:37:53,080
Speaker 1: be myself again music that's in there. But no, that's

692
00:37:53,200 --> 00:37:57,000
Speaker 1: I wouldn't even consider that the mount Rushmore. I mean

693
00:37:57,000 --> 00:37:59,080
Speaker 1: I was definitely not. I was just trying to think

694
00:37:59,200 --> 00:38:01,320
Speaker 1: was that the same thing all songs in the kV

695
00:38:01,960 --> 00:38:05,319
Speaker 1: so thank you for letting me be myself? Shining Star

696
00:38:05,600 --> 00:38:11,680
Speaker 1: could be in there. I would think, Well, it's kind

697
00:38:11,719 --> 00:38:14,200
Speaker 1: of weird because I don't know if I can let

698
00:38:14,280 --> 00:38:17,840
Speaker 1: Larry in twice. I mean, he he's already the alpha.

699
00:38:18,080 --> 00:38:20,840
Speaker 1: So anything that comes after, thank you for letting me

700
00:38:20,880 --> 00:38:23,440
Speaker 1: be myself, no matter what song it is, release yourself,

701
00:38:23,480 --> 00:38:29,880
Speaker 1: hair right, all those things. So but for you, though,

702
00:38:30,880 --> 00:38:33,319
Speaker 1: did you have a like come to Jesus moment when

703
00:38:33,360 --> 00:38:35,360
Speaker 1: you heard that? Like, what did you make of the

704
00:38:35,360 --> 00:38:37,520
Speaker 1: sound because I always wanted to ask a bass player

705
00:38:37,560 --> 00:38:41,640
Speaker 1: that was of age who knew what bass playing was beforehand,

706
00:38:41,640 --> 00:38:43,960
Speaker 1: which I'm certain that you know, James Jamerson was the

707
00:38:44,040 --> 00:38:46,640
Speaker 1: leader of that. Yeah, but what was thank you for

708
00:38:46,719 --> 00:38:50,840
Speaker 1: letting me be myself for you in terms of hearing that.

709
00:38:51,640 --> 00:38:53,520
Speaker 2: I mean, I'd have to say that was that was

710
00:38:53,560 --> 00:38:56,600
Speaker 2: one of the wheels, you know what I mean. It

711
00:38:56,640 --> 00:38:59,759
Speaker 2: was like and I can remember the guys in my

712
00:38:59,800 --> 00:39:02,239
Speaker 2: back and you know, as I said, man, have you

713
00:39:02,320 --> 00:39:05,080
Speaker 2: heard this cat Larry Graham? You know, and so they

714
00:39:05,120 --> 00:39:07,360
Speaker 2: came in with Graham's Central Station and they came in

715
00:39:07,400 --> 00:39:10,239
Speaker 2: with that, and like you're listening and you're just going,

716
00:39:10,719 --> 00:39:13,840
Speaker 2: I mean, to be that innovative at that time period

717
00:39:13,840 --> 00:39:17,279
Speaker 2: where there wasn't too much before that that that said

718
00:39:17,320 --> 00:39:19,759
Speaker 2: that much, you know. And I love those youtubes now

719
00:39:19,760 --> 00:39:22,080
Speaker 2: where you can see Slide in the studio listening to

720
00:39:22,840 --> 00:39:26,000
Speaker 2: listening to those tracks, you know, just going wow, this

721
00:39:26,120 --> 00:39:28,799
Speaker 2: is crazy, you know. And so it was. It was

722
00:39:28,840 --> 00:39:31,560
Speaker 2: a it was a big revelation. I mean, I'm not

723
00:39:31,600 --> 00:39:34,399
Speaker 2: gonna lie and e Minor, I mean, you know, as

724
00:39:34,440 --> 00:39:37,000
Speaker 2: a bass player, it's always funk any you know, everybody

725
00:39:37,360 --> 00:39:41,880
Speaker 2: Lewis Johnson doubt it's drunk and he you know, I

726
00:39:41,920 --> 00:39:44,560
Speaker 2: get I get asked to judge these Battle of the

727
00:39:44,640 --> 00:39:51,120
Speaker 2: base bass contest sometimes, you know, almost I'd rather have

728
00:39:51,160 --> 00:39:56,319
Speaker 2: a root canals. I mean, I walk out of there

729
00:39:56,400 --> 00:39:58,920
Speaker 2: and everybody comes walks in the room with their thumb out,

730
00:40:00,040 --> 00:40:02,160
Speaker 2: and you know, they don't they don't check the tuny,

731
00:40:02,200 --> 00:40:04,879
Speaker 2: they don't check the volume. They just start whacking the bass,

732
00:40:04,960 --> 00:40:07,800
Speaker 2: you know, and it's like funk and e and it's like, please, guys,

733
00:40:09,920 --> 00:40:10,200
Speaker 2: it's like.

734
00:40:10,239 --> 00:40:12,279
Speaker 1: How many ways can they reinvent the will?

735
00:40:12,760 --> 00:40:12,800
Speaker 2: So?

736
00:40:13,880 --> 00:40:19,279
Speaker 1: But for you it's okay. Well, I mean, is there

737
00:40:19,480 --> 00:40:25,440
Speaker 1: still challenges that have yet to be discovered or or

738
00:40:27,040 --> 00:40:29,279
Speaker 1: just in terms of the sport of bass playing.

739
00:40:29,600 --> 00:40:33,160
Speaker 2: Well, if you if you think about baselines, like for

740
00:40:33,280 --> 00:40:35,239
Speaker 2: the Love of Money, when Anthony Jackson walked in and

741
00:40:35,280 --> 00:40:36,759
Speaker 2: saw a D minor on the paper, and then he

742
00:40:36,840 --> 00:40:39,320
Speaker 2: came up with that baseline, you know, right, and and

743
00:40:39,560 --> 00:40:41,960
Speaker 2: and then when you think about till you come back

744
00:40:42,000 --> 00:40:46,800
Speaker 2: to me, Chuck Rainey, you know, these these are to

745
00:40:46,920 --> 00:40:49,840
Speaker 2: me where the bass really caresses the song, you know.

746
00:40:49,920 --> 00:40:52,400
Speaker 2: And and if there's one thing that I that I

747
00:40:52,440 --> 00:40:55,120
Speaker 2: would tell and I have students at my online school

748
00:40:55,160 --> 00:40:59,040
Speaker 2: of base, and I say, make every single note count. Don't.

749
00:40:59,600 --> 00:41:01,680
Speaker 2: Don't just go in there and start playing. You first,

750
00:41:01,719 --> 00:41:04,080
Speaker 2: you have to listen and know what the song is

751
00:41:04,080 --> 00:41:07,839
Speaker 2: all about, you know, and and and we're just part

752
00:41:07,880 --> 00:41:11,759
Speaker 2: of a big picture. So you know, when everybody goes

753
00:41:11,800 --> 00:41:15,120
Speaker 2: in whacking and smacking the bass, it's like, really, guys,

754
00:41:15,160 --> 00:41:17,439
Speaker 2: you know. And I remember Anthony Jackson used to say,

755
00:41:18,120 --> 00:41:19,960
Speaker 2: if you if you want slapping and popping, you got

756
00:41:20,080 --> 00:41:22,840
Speaker 2: to call Marcus, you know. He said, he said that

757
00:41:22,920 --> 00:41:27,279
Speaker 2: cost me two hundred and fifty grand a year, but

758
00:41:27,400 --> 00:41:29,080
Speaker 2: he would he refused to do it.

759
00:41:29,960 --> 00:41:33,759
Speaker 1: Really, Yeah, Evan, he never played with his thumb at all.

760
00:41:34,400 --> 00:41:37,080
Speaker 2: You have not heard if you find it, if you

761
00:41:37,160 --> 00:41:38,440
Speaker 2: can find it, please.

762
00:41:38,280 --> 00:41:39,840
Speaker 1: Did he always play? Did he always play with a

763
00:41:39,840 --> 00:41:41,759
Speaker 1: pick at least? Or he used a pick?

764
00:41:43,280 --> 00:41:45,239
Speaker 2: Yeah, a pick in his fingers. But but I think

765
00:41:45,320 --> 00:41:50,759
Speaker 2: for the love of money is what you can hear?

766
00:41:50,800 --> 00:41:53,560
Speaker 1: The pick? Yeah? For you, though, what is your what

767
00:41:53,719 --> 00:41:56,600
Speaker 1: is your preferred weapon of choice? Your thumb?

768
00:41:57,320 --> 00:41:59,759
Speaker 2: What I do is I grew my I grew my

769
00:41:59,840 --> 00:42:02,319
Speaker 2: name just long enough so that I can switch between.

770
00:42:02,360 --> 00:42:05,239
Speaker 2: If I need a little extra percussive sound, I'll hit

771
00:42:05,280 --> 00:42:08,480
Speaker 2: it with the nail And actually that came from an

772
00:42:08,560 --> 00:42:10,480
Speaker 2: article I read about Chuck Rainey said he did the

773
00:42:10,520 --> 00:42:13,239
Speaker 2: same thing, So he would you'd use the meat, the

774
00:42:13,320 --> 00:42:15,600
Speaker 2: meaty fleshy part of your finger, you know, and get

775
00:42:15,640 --> 00:42:17,600
Speaker 2: that big fat Jamerson sound. But if you wanted to

776
00:42:17,680 --> 00:42:21,160
Speaker 2: have a little more percussive like a pick sound, instead

777
00:42:21,200 --> 00:42:22,920
Speaker 2: of using a pick, I just used my fingernails.

778
00:42:23,680 --> 00:42:27,000
Speaker 1: And what is your preferred weapon as far as your

779
00:42:27,160 --> 00:42:28,200
Speaker 1: your bass collections?

780
00:42:29,000 --> 00:42:31,879
Speaker 2: And one of the basses, like all those songs you named,

781
00:42:31,920 --> 00:42:34,480
Speaker 2: it's it's my U. It was the predecessor to my

782
00:42:34,560 --> 00:42:37,759
Speaker 2: signature Yamaha bass, but it's called a motion bass and

783
00:42:37,840 --> 00:42:40,279
Speaker 2: it's just we we had like this bass that they

784
00:42:40,320 --> 00:42:42,440
Speaker 2: had made for me, and then this box that I

785
00:42:42,560 --> 00:42:44,600
Speaker 2: used to carry around and it has it was like

786
00:42:44,680 --> 00:42:48,520
Speaker 2: an EQ box that would shave the mid frequencies. And

787
00:42:49,400 --> 00:42:51,520
Speaker 2: that's that's been the bass I've played on, you know,

788
00:42:52,239 --> 00:42:54,800
Speaker 2: like countless. I need a bakerrect, I mean everything. You know,

789
00:42:54,800 --> 00:42:57,960
Speaker 2: all those dudes name change the world, you get lucky

790
00:42:58,080 --> 00:43:01,080
Speaker 2: And so that's my my fire string. It's it's the

791
00:43:01,080 --> 00:43:03,840
Speaker 2: equivalent to my five string signature, but it's like a prototype.

792
00:43:04,840 --> 00:43:08,359
Speaker 1: What was your okay, So you know, there's over two

793
00:43:08,400 --> 00:43:11,400
Speaker 1: thousand credits you have, and at least two hundred of

794
00:43:11,440 --> 00:43:14,000
Speaker 1: those songs are like life changing songs. So you know,

795
00:43:14,520 --> 00:43:16,759
Speaker 1: I won't even pick your brain about each and every song.

796
00:43:16,880 --> 00:43:21,600
Speaker 1: But what was the first song that you recalled out

797
00:43:21,640 --> 00:43:25,879
Speaker 1: of your comfort zone that you played on? Like there's

798
00:43:25,920 --> 00:43:28,759
Speaker 1: a difference between Barry White's as Ecstasy when You Lay

799
00:43:28,880 --> 00:43:33,600
Speaker 1: next to Me and Footloose by Kenny Loggins, so like,

800
00:43:34,800 --> 00:43:36,719
Speaker 1: or was it just a gradual thing where it's like, oh,

801
00:43:36,920 --> 00:43:40,040
Speaker 1: rock gig today or a pop gig or a yacht

802
00:43:40,120 --> 00:43:45,240
Speaker 1: rock gig or but what was the first like, Okay,

803
00:43:45,520 --> 00:43:51,560
Speaker 1: this is out of out of my normal my out

804
00:43:51,560 --> 00:43:54,080
Speaker 1: of my normal realm of client clientele.

805
00:43:54,440 --> 00:43:56,560
Speaker 2: Well, well, one of the one of the most challenging

806
00:43:56,640 --> 00:44:01,839
Speaker 2: records was Wayne Short joy Rider and Trease Russian played

807
00:44:01,880 --> 00:44:03,960
Speaker 2: on that. Robin Ford I think was on guitar. And

808
00:44:04,040 --> 00:44:06,920
Speaker 2: it's one of those things like Wayne's writing, it doesn't

809
00:44:07,280 --> 00:44:09,480
Speaker 2: it doesn't take into account like how the stuff lays

810
00:44:09,560 --> 00:44:12,440
Speaker 2: under your fingers. It just it's just these notes that

811
00:44:12,560 --> 00:44:16,799
Speaker 2: are that are in a uniquely random order that are

812
00:44:16,920 --> 00:44:19,440
Speaker 2: that are amazing. But you really, I mean, I remember

813
00:44:19,480 --> 00:44:21,479
Speaker 2: all of us having our heads buried in the music

814
00:44:21,560 --> 00:44:24,120
Speaker 2: thinking and I think somebody said, hey, would it be

815
00:44:24,200 --> 00:44:25,640
Speaker 2: cool to take this home for a couple of days

816
00:44:25,640 --> 00:44:28,759
Speaker 2: and then come and shed it back, And they were

817
00:44:28,840 --> 00:44:31,319
Speaker 2: kind of because you don't want to. You you want

818
00:44:31,320 --> 00:44:32,759
Speaker 2: to make it sound like you own it when you

819
00:44:32,960 --> 00:44:36,800
Speaker 2: when you're playing the music, you know. The song Footloose

820
00:44:37,160 --> 00:44:39,480
Speaker 2: was was a bassline that we had. I had the

821
00:44:40,320 --> 00:44:42,440
Speaker 2: benefit of playing on the road every day like for

822
00:44:43,320 --> 00:44:46,080
Speaker 2: months with Kenny. We'd go practice the tune and by

823
00:44:46,120 --> 00:44:48,839
Speaker 2: the time we recorded it, that was like one take,

824
00:44:48,960 --> 00:44:52,600
Speaker 2: you know, but it was cool. Early on with Hubert Laws,

825
00:44:52,600 --> 00:44:53,800
Speaker 2: there was an album called Family.

826
00:44:54,560 --> 00:44:55,960
Speaker 1: Yes, that's that's my joint.

827
00:44:56,040 --> 00:44:58,480
Speaker 2: Bobby Lyle Chik Korea was on there and.

828
00:44:58,800 --> 00:45:02,800
Speaker 1: His sister was singing Devor sang.

829
00:45:01,719 --> 00:45:05,040
Speaker 2: And and that that was one of the more kind

830
00:45:05,080 --> 00:45:07,239
Speaker 2: of challenging I wrote a song that I played with

831
00:45:07,360 --> 00:45:10,440
Speaker 2: the electric bass and piccolo where played the melody together

832
00:45:10,800 --> 00:45:13,040
Speaker 2: and it was kind of a little bit of a chopbuster.

833
00:45:13,560 --> 00:45:15,520
Speaker 2: It's called wild Fire.

834
00:45:16,840 --> 00:45:18,520
Speaker 3: And the piccolo together.

835
00:45:19,200 --> 00:45:20,200
Speaker 2: Yeah, so piccolo and.

836
00:45:21,880 --> 00:45:23,000
Speaker 1: Or separate tracks.

837
00:45:24,440 --> 00:45:27,320
Speaker 2: And that the separate tracks, you know. I was like,

838
00:45:27,360 --> 00:45:33,560
Speaker 2: wait a minute, yeah, and so uh it was. It

839
00:45:33,719 --> 00:45:35,439
Speaker 2: was one of those that you know, required a little

840
00:45:35,480 --> 00:45:38,160
Speaker 2: bit of shedding before going into the studio. But for

841
00:45:38,280 --> 00:45:41,160
Speaker 2: the most part, you go in the studio like sight Unseen,

842
00:45:41,239 --> 00:45:44,120
Speaker 2: and they you know, they either throw this music in

843
00:45:44,160 --> 00:45:46,279
Speaker 2: front of you or play a demo like you know,

844
00:45:47,280 --> 00:45:50,000
Speaker 2: of the many ways to articulate what they want you

845
00:45:50,080 --> 00:45:51,520
Speaker 2: to play, and you go from there.

846
00:45:51,880 --> 00:45:53,319
Speaker 3: I was just going to ask things that you need

847
00:45:53,480 --> 00:45:57,360
Speaker 3: for your session, that you have to have, you.

848
00:45:57,440 --> 00:46:00,080
Speaker 2: Know, normally, it's it's not a one of the the

849
00:46:01,040 --> 00:46:03,520
Speaker 2: last things we did and and we I got to

850
00:46:03,600 --> 00:46:06,040
Speaker 2: congratulate John Fatist because we did the music for Soul

851
00:46:06,120 --> 00:46:10,680
Speaker 2: and we were in Capitol. Yeah, congratulations, Yeah, and we're

852
00:46:10,719 --> 00:46:14,919
Speaker 2: over there January twenty twenty, like like the first week

853
00:46:14,960 --> 00:46:17,440
Speaker 2: of January twenty twenty. We were in Capital Studio A

854
00:46:18,200 --> 00:46:21,560
Speaker 2: and uh that was interesting because he I had my

855
00:46:21,680 --> 00:46:25,920
Speaker 2: upright bass, I had my electric upright, my electric bass,

856
00:46:26,400 --> 00:46:28,200
Speaker 2: and we kind of auditioned all three and we ended

857
00:46:28,280 --> 00:46:31,239
Speaker 2: up using my my my upright bass. You know, the

858
00:46:31,480 --> 00:46:34,640
Speaker 2: real wood bass engineer got a fantastic sound out of it.

859
00:46:35,320 --> 00:46:38,839
Speaker 2: And I was I was just so proud to see

860
00:46:39,360 --> 00:46:42,200
Speaker 2: him walk away with the statue. You know. That was amazing.

861
00:46:42,800 --> 00:46:43,600
Speaker 1: Yeah, that was awesome.

862
00:46:43,800 --> 00:46:46,680
Speaker 3: You always bring a choice with you at every session, and.

863
00:46:47,400 --> 00:46:49,279
Speaker 2: If I can, a lot of times they if they

864
00:46:49,440 --> 00:46:51,000
Speaker 2: just say, you know, they may just say bring the

865
00:46:51,040 --> 00:46:57,040
Speaker 2: electric bass, you know, and for Babyface, you know, probably

866
00:46:57,080 --> 00:46:58,759
Speaker 2: not going to be a lot of upright playing.

867
00:47:00,520 --> 00:47:04,360
Speaker 1: Right, all right. So when you're when you're doing sessions,

868
00:47:04,760 --> 00:47:08,520
Speaker 1: for instance, with all Right, let's let's say Through the Fire,

869
00:47:09,320 --> 00:47:11,960
Speaker 1: do you mostly do you have good relationships with the

870
00:47:12,040 --> 00:47:15,759
Speaker 1: producer that chooses you for the session or is it

871
00:47:16,160 --> 00:47:19,120
Speaker 1: just all right? So what was it like working with

872
00:47:20,360 --> 00:47:24,960
Speaker 1: I don't hear stories about h. R If Martin. It's

873
00:47:25,000 --> 00:47:28,320
Speaker 1: hard to pronounce his name. Reef Martin, Yeah, a Reef Martin.

874
00:47:30,239 --> 00:47:34,879
Speaker 1: Because you know, Shaka's album was such THEE I Feel

875
00:47:34,920 --> 00:47:37,120
Speaker 1: for You album is such a landmark album which was

876
00:47:37,200 --> 00:47:43,040
Speaker 1: sitting somewhere between uh, the past and the future that

877
00:47:43,200 --> 00:47:47,880
Speaker 1: was to come, you know them, uh sort of exploring

878
00:47:47,960 --> 00:47:51,000
Speaker 1: new sounds and new new technology. Were you on that

879
00:47:51,239 --> 00:47:53,200
Speaker 1: entire record or were you just on Through the Fire?

880
00:47:54,480 --> 00:47:57,480
Speaker 2: See? I was on a few album, a few cuts

881
00:47:57,520 --> 00:48:00,399
Speaker 2: on that I'd have to look. But Through the Fire

882
00:48:00,560 --> 00:48:03,560
Speaker 2: was actually produced by, written and produced by David Foster

883
00:48:03,880 --> 00:48:06,680
Speaker 2: and my buddy who I share a studio with Tom

884
00:48:06,760 --> 00:48:09,919
Speaker 2: Keane wrote it as co writer on that song. Okay,

885
00:48:10,560 --> 00:48:13,720
Speaker 2: that was a cool song because David Foster, years before

886
00:48:13,800 --> 00:48:17,000
Speaker 2: he had he came up with this kind of like

887
00:48:17,080 --> 00:48:20,560
Speaker 2: a solo album of all instrumentals, and that tune was

888
00:48:20,640 --> 00:48:27,879
Speaker 2: actually on it. I don't know if I didn't know that, Okay, Yeah,

889
00:48:27,920 --> 00:48:31,280
Speaker 2: And so I was familiar with the tune, loved the tune,

890
00:48:31,880 --> 00:48:34,719
Speaker 2: and so again, you know, to get to play on it,

891
00:48:34,840 --> 00:48:37,880
Speaker 2: I was I had a my heart was already connected

892
00:48:37,920 --> 00:48:40,759
Speaker 2: to it, and then David was a friend, and so

893
00:48:40,920 --> 00:48:43,000
Speaker 2: we were we were having a great time in the studio.

894
00:48:43,360 --> 00:48:46,360
Speaker 2: John Robinson on drums, I think, Mike Landau on guitar,

895
00:48:46,560 --> 00:48:51,520
Speaker 2: David on keys, and so the tune kind of played

896
00:48:51,560 --> 00:48:55,440
Speaker 2: itself like that. Every song is unique, as we all know,

897
00:48:55,640 --> 00:48:58,520
Speaker 2: like a song like Tears in Heaven. I always say

898
00:48:58,560 --> 00:49:00,719
Speaker 2: that that that I didn't play that song. It played

899
00:49:00,800 --> 00:49:05,040
Speaker 2: me because I knew Condor clapton Beautiful Little Boy, and

900
00:49:06,239 --> 00:49:10,080
Speaker 2: just the emotion of going in the studio and recording

901
00:49:10,120 --> 00:49:12,239
Speaker 2: that knowing what it was all about, you know, I

902
00:49:12,280 --> 00:49:14,520
Speaker 2: mean I don't even remember the notes I played, and

903
00:49:14,640 --> 00:49:16,960
Speaker 2: you know, like I say, the song kind of just

904
00:49:17,040 --> 00:49:17,560
Speaker 2: plays you.

905
00:49:20,000 --> 00:49:22,560
Speaker 1: Are there two versions of Is there a studio version

906
00:49:22,560 --> 00:49:24,840
Speaker 1: of Tears in Heaven and the unplayed version or is

907
00:49:24,880 --> 00:49:26,440
Speaker 1: it just one definitive.

908
00:49:26,200 --> 00:49:30,240
Speaker 2: The other two? The studio version is on a soundtrack

909
00:49:30,280 --> 00:49:32,120
Speaker 2: called Rush. Yeah.

910
00:49:32,360 --> 00:49:33,920
Speaker 1: It was Jefer Jason Lee Joints.

911
00:49:34,160 --> 00:49:34,359
Speaker 2: Yeah.

912
00:49:34,840 --> 00:49:37,240
Speaker 3: Yeah, yeah, and you did both versions.

913
00:49:38,960 --> 00:49:42,799
Speaker 1: Yeah yeah, so you play with Okay, I see, yeah,

914
00:49:42,840 --> 00:49:45,799
Speaker 1: when I I think when I first met you. I'm

915
00:49:45,840 --> 00:49:47,960
Speaker 1: sure that we met before, but the first time I

916
00:49:48,040 --> 00:49:50,080
Speaker 1: really got to talk to you, we were in a

917
00:49:51,200 --> 00:49:55,360
Speaker 1: Carousel and it was one of the most surreal gigs

918
00:49:55,400 --> 00:49:58,560
Speaker 1: of my life because it was at the time you

919
00:49:58,680 --> 00:50:02,200
Speaker 1: were playing with Toto correct, right, Yeah, yeah, so it

920
00:50:02,320 --> 00:50:09,920
Speaker 1: was it was Toto, Dinah Ross the Roots, Prince wow

921
00:50:10,640 --> 00:50:16,160
Speaker 1: right and oh and Los Lobos and uh yeah.

922
00:50:17,000 --> 00:50:18,640
Speaker 3: The one the one fest in London or.

923
00:50:18,640 --> 00:50:21,520
Speaker 1: Something they be No, it was it was it was Okay,

924
00:50:21,880 --> 00:50:25,920
Speaker 1: what's what's what's the event? What's the festival in Rotterdam.

925
00:50:27,120 --> 00:50:28,560
Speaker 2: It's the North Sea Jazz Fest.

926
00:50:28,640 --> 00:50:32,640
Speaker 1: Okay. It was like because Carousel is sort of occupied

927
00:50:32,760 --> 00:50:37,359
Speaker 1: by uh yeah, the Netherlands, like it's it's the North

928
00:50:37,400 --> 00:50:40,640
Speaker 1: Sea Jazz Festival before Carousel, like.

929
00:50:40,600 --> 00:50:42,520
Speaker 3: I knew where that was. Ill kept staying out.

930
00:50:42,560 --> 00:50:47,440
Speaker 1: And is is it slightly between like South America and

931
00:50:47,880 --> 00:50:50,760
Speaker 1: it's somewhere in the middle of nowhere. It's not Europe

932
00:50:50,840 --> 00:50:52,759
Speaker 1: and it's not South America. It's like that, you know,

933
00:50:52,920 --> 00:50:55,160
Speaker 1: like it's like way below Cuba.

934
00:50:55,560 --> 00:50:58,760
Speaker 3: Okay, so they brown, they're brown there, Yeah.

935
00:50:58,600 --> 00:51:02,600
Speaker 1: They're kind of brown. Was on that Yeah, there was, Yes,

936
00:51:02,800 --> 00:51:05,920
Speaker 1: there was a lot, but just that was the one

937
00:51:05,960 --> 00:51:07,960
Speaker 1: time because we were there for I think four days

938
00:51:08,040 --> 00:51:10,040
Speaker 1: before the gig even started. Like I thought, it was

939
00:51:10,120 --> 00:51:13,239
Speaker 1: weird that we all came out early. Yeah, me too,

940
00:51:13,920 --> 00:51:16,520
Speaker 1: to hang, I've never done that. Usually I get there

941
00:51:16,560 --> 00:51:18,680
Speaker 1: the day of the gig, do the gig, and I'm

942
00:51:18,719 --> 00:51:21,680
Speaker 1: out and hit it and then I'm like, wow, one,

943
00:51:22,000 --> 00:51:25,799
Speaker 1: you'll you'll never catch me swimming or in the beach.

944
00:51:25,920 --> 00:51:28,920
Speaker 1: But yet here I am swimming in the beach like

945
00:51:29,960 --> 00:51:33,719
Speaker 1: and I'm talking to you know, to Toto, and you know,

946
00:51:33,960 --> 00:51:38,480
Speaker 1: like everyone everyone's there. So yeah, wait a minute, was

947
00:51:38,560 --> 00:51:39,879
Speaker 1: Journey also on that gig as well?

948
00:51:40,600 --> 00:51:44,320
Speaker 2: God it may have been on that gig as well. Yes, Okay,

949
00:51:44,520 --> 00:51:46,719
Speaker 2: so I'll bet you I could find the poster or

950
00:51:46,760 --> 00:51:48,800
Speaker 2: something of that gig because I try to save you know,

951
00:51:48,920 --> 00:51:51,840
Speaker 2: all the yeah, all the information. But I mean, it

952
00:51:51,960 --> 00:51:53,800
Speaker 2: was like all these people and I sat next to

953
00:51:53,840 --> 00:51:57,520
Speaker 2: Diana Russ on the flight back home. It's crazy. Really, yes,

954
00:51:57,880 --> 00:51:59,960
Speaker 2: we got to talk. It was it was incredible.

955
00:52:00,280 --> 00:52:03,120
Speaker 1: It was a very it was a very surreal, surreal gig.

956
00:52:03,239 --> 00:52:05,560
Speaker 1: Even like the fact that Prince was so accessible.

957
00:52:05,719 --> 00:52:09,160
Speaker 2: It was like, wow, let everybody stayed up to see Princes.

958
00:52:09,480 --> 00:52:10,680
Speaker 2: I mean, it was unbelievable.

959
00:52:10,760 --> 00:52:13,600
Speaker 1: Prince. Prince was so killing that he did an additional

960
00:52:13,640 --> 00:52:20,680
Speaker 1: two hours. That was the roots time. So so on

961
00:52:20,840 --> 00:52:23,440
Speaker 1: Prince's side of the stage, there's like sixty thousand people

962
00:52:23,920 --> 00:52:27,360
Speaker 1: warm more so so, and then on our side of

963
00:52:27,400 --> 00:52:30,040
Speaker 1: the stage, it was like three hundred people.

964
00:52:31,360 --> 00:52:34,360
Speaker 2: I mean, we just told them what promoter is going

965
00:52:34,440 --> 00:52:35,799
Speaker 2: to get mad at him? You know what I'm saying.

966
00:52:36,400 --> 00:52:38,080
Speaker 1: We told the promoter, what do you want us to

967
00:52:38,160 --> 00:52:41,160
Speaker 1: do because Princeton took our time. He's just like, uh yeah,

968
00:52:41,280 --> 00:52:43,200
Speaker 1: just do the seat and go home. So literally, like

969
00:52:44,320 --> 00:52:47,440
Speaker 1: we did, Wow, we did three songs, we did the

970
00:52:47,480 --> 00:52:49,719
Speaker 1: next movement. You got me. The scene was like, all right,

971
00:52:49,760 --> 00:52:52,640
Speaker 1: good night people. You literally are like a golf clap.

972
00:52:52,520 --> 00:52:56,759
Speaker 2: Like the promoter's dream, like Prince will not get off

973
00:52:56,840 --> 00:52:57,680
Speaker 2: the stage, you.

974
00:52:57,719 --> 00:53:01,400
Speaker 1: Know, right, dude, that would. We were over there watching

975
00:53:01,480 --> 00:53:02,759
Speaker 1: him and there was like, oh shit, we got to

976
00:53:02,800 --> 00:53:05,600
Speaker 1: go on stage, like and I'm asking I'm literally asking

977
00:53:05,680 --> 00:53:07,680
Speaker 1: him backshas like are you doing another encore? Because I

978
00:53:07,719 --> 00:53:09,600
Speaker 1: gotta run to the other stage and I'm gonna do

979
00:53:09,640 --> 00:53:11,720
Speaker 1: one more. I was like, okay, well there's no more routsho.

980
00:53:11,880 --> 00:53:17,320
Speaker 1: But but when you're in that situation, like especially with

981
00:53:18,280 --> 00:53:23,319
Speaker 1: legacy bands and whatnot, how often, like with TOTE, I'm

982
00:53:23,400 --> 00:53:25,919
Speaker 1: certain that you're not just doing it for that gig.

983
00:53:26,200 --> 00:53:28,720
Speaker 1: But do they hire you for like a year duration

984
00:53:28,920 --> 00:53:31,160
Speaker 1: or is it just like for this particular tour.

985
00:53:32,000 --> 00:53:38,320
Speaker 2: And yeah, that that particular tour was they they actually

986
00:53:38,360 --> 00:53:40,799
Speaker 2: called me and said, you know, Mike Pricaro, who's who

987
00:53:40,880 --> 00:53:44,360
Speaker 2: was the bass player this suffering with the als, and

988
00:53:44,680 --> 00:53:46,160
Speaker 2: what we would like to do is go on tour

989
00:53:46,160 --> 00:53:49,240
Speaker 2: and raise some money to help him with his medical expenses.

990
00:53:49,320 --> 00:53:51,759
Speaker 2: So so this this was the tour where it was

991
00:53:51,840 --> 00:53:54,400
Speaker 2: just from the heart, you know, and these guys I

992
00:53:54,520 --> 00:53:57,360
Speaker 2: know thirty years and and those are all my boys,

993
00:53:57,400 --> 00:54:00,800
Speaker 2: and so we we got together and proceed from the

994
00:54:00,880 --> 00:54:03,239
Speaker 2: tour was going to his family to help him because

995
00:54:03,239 --> 00:54:06,040
Speaker 2: he at that point he was you know, he was

996
00:54:06,080 --> 00:54:06,720
Speaker 2: off the circuit.

997
00:54:07,480 --> 00:54:11,719
Speaker 1: Well, okay, speaking of like Toto, can you can you

998
00:54:11,880 --> 00:54:18,520
Speaker 1: explain the sort of the somewhat stranglehold that they had

999
00:54:19,960 --> 00:54:23,080
Speaker 1: on just a particular sound and sonic Like I know,

1000
00:54:24,000 --> 00:54:26,319
Speaker 1: I'm not insulting when I say, like, oh, yacht rock

1001
00:54:26,400 --> 00:54:28,560
Speaker 1: or whatever, because like I'm a really big fan of

1002
00:54:29,920 --> 00:54:34,560
Speaker 1: all that Michael master Yamaha d X seven right, fretless

1003
00:54:34,640 --> 00:54:38,160
Speaker 1: bass sound like I like, you know, easy match, Like

1004
00:54:38,239 --> 00:54:41,120
Speaker 1: I love that yacht rock stuff. But I mean at

1005
00:54:41,160 --> 00:54:44,040
Speaker 1: the time when you're doing it, when you're doing it

1006
00:54:44,120 --> 00:54:46,400
Speaker 1: in real time, like between that period of like eighty

1007
00:54:46,480 --> 00:54:50,239
Speaker 1: one and eighty seven, when this new sort of la

1008
00:54:50,680 --> 00:54:56,040
Speaker 1: glossy sound sort of takes over, Like are you realizing

1009
00:54:56,120 --> 00:55:01,279
Speaker 1: that sonically it's a little bit different than what was

1010
00:55:03,040 --> 00:55:05,120
Speaker 1: kind of like with with the with the grid of

1011
00:55:05,160 --> 00:55:07,520
Speaker 1: the seventy sound, Like did you notice.

1012
00:55:07,280 --> 00:55:11,120
Speaker 2: A change or yeah, I mean it it and they

1013
00:55:11,200 --> 00:55:14,800
Speaker 2: got they got beat up for oh they're so slick.

1014
00:55:15,760 --> 00:55:18,080
Speaker 1: They got beat up in the beginning. But now it's like,

1015
00:55:18,360 --> 00:55:20,800
Speaker 1: in hindsight, I love the shit out that sound. So

1016
00:55:20,880 --> 00:55:23,719
Speaker 1: it's like, yeah, it's almost like revision of history, Like yeah,

1017
00:55:23,719 --> 00:55:28,040
Speaker 1: I always loved Africa and for example, all those things, right,

1018
00:55:28,200 --> 00:55:31,960
Speaker 1: but like what were they? Were they the the who

1019
00:55:32,160 --> 00:55:36,680
Speaker 1: was who was the And it's always like some up

1020
00:55:36,719 --> 00:55:39,920
Speaker 1: for debate, like who's technically the first yacht rock smooth

1021
00:55:40,080 --> 00:55:43,400
Speaker 1: LA sound? Like people say like whoever the producer was

1022
00:55:43,480 --> 00:55:45,960
Speaker 1: of a captain in to Neil's leve will keep Us Together?

1023
00:55:46,040 --> 00:55:48,959
Speaker 1: Like many will cite that as the the first moment

1024
00:55:49,000 --> 00:55:51,160
Speaker 1: in nineteen seventy three where it's suddenly like that Neil

1025
00:55:51,200 --> 00:55:56,040
Speaker 1: Sedaka does it. And then but you know, at the

1026
00:55:56,120 --> 00:55:58,600
Speaker 1: time when you're gigging in LA, like what was the

1027
00:55:58,960 --> 00:56:04,200
Speaker 1: basic perception of like the Percaro guys, Like Oh, they's

1028
00:56:04,200 --> 00:56:05,880
Speaker 1: some badass motherfuckers.

1029
00:56:05,400 --> 00:56:08,440
Speaker 2: Or like absolutely, and you know, and and and back

1030
00:56:08,520 --> 00:56:11,520
Speaker 2: in the day too, like you had A and M studios,

1031
00:56:11,560 --> 00:56:14,279
Speaker 2: you know where the carpenters, you know, and they were

1032
00:56:15,160 --> 00:56:18,520
Speaker 2: there were all these like very very lush kind of

1033
00:56:18,560 --> 00:56:20,680
Speaker 2: sounding record It's funny. I was over there the other day.

1034
00:56:20,719 --> 00:56:26,319
Speaker 2: We were doing a Mary Clayton Tiny Desk concert. Nice yeah,

1035
00:56:26,360 --> 00:56:27,880
Speaker 2: and it was it was, it was really cool. But

1036
00:56:28,239 --> 00:56:30,480
Speaker 2: every time I go in there, it just takes me

1037
00:56:30,560 --> 00:56:32,320
Speaker 2: back because I mean I was in there. I did Johnny.

1038
00:56:33,200 --> 00:56:35,960
Speaker 2: I did Johnny Mathis with a fifty piece orchestra. I

1039
00:56:36,040 --> 00:56:38,719
Speaker 2: did Dion Warwick. A lot of people in there, uh

1040
00:56:39,320 --> 00:56:42,680
Speaker 2: you know Don Henley, I mean so many. They say

1041
00:56:42,760 --> 00:56:45,040
Speaker 2: the ten thousand hours, like like we we all have

1042
00:56:45,160 --> 00:56:47,600
Speaker 2: ten thousand hours and a lot of studios, you know,

1043
00:56:48,440 --> 00:56:52,640
Speaker 2: and the total the total project. If you think about

1044
00:56:52,719 --> 00:56:56,520
Speaker 2: every one of those guys has such a powerful individual

1045
00:56:56,640 --> 00:57:01,200
Speaker 2: voice on their instrument. I'm Steve Percaro Man wrote he

1046
00:57:01,280 --> 00:57:04,680
Speaker 2: wrote Human Nature from Michael Jackson, and you can hear

1047
00:57:04,880 --> 00:57:07,319
Speaker 2: in those chords that's Steve Pacarl. You know, one guy

1048
00:57:07,400 --> 00:57:11,759
Speaker 2: plays like that. David Page, same thing, very powerful personality.

1049
00:57:12,480 --> 00:57:15,719
Speaker 2: And and those guys were like all of us, you know,

1050
00:57:15,840 --> 00:57:19,480
Speaker 2: students of music. They studied, they studied sly and and everything,

1051
00:57:19,560 --> 00:57:21,880
Speaker 2: you know, so when they went in the studio there,

1052
00:57:22,520 --> 00:57:24,840
Speaker 2: those were the standards that they kept. You Jeff Picarl,

1053
00:57:26,800 --> 00:57:29,520
Speaker 2: you know these there were some bad they're La finance basically,

1054
00:57:29,600 --> 00:57:31,600
Speaker 2: you know. And so they they went in and you

1055
00:57:31,720 --> 00:57:34,520
Speaker 2: listened to you listen to Africa Now and and those

1056
00:57:34,600 --> 00:57:39,320
Speaker 2: songs like hold the Line, and so it was fun

1057
00:57:39,360 --> 00:57:42,240
Speaker 2: for me because as soon as as soon as they

1058
00:57:42,280 --> 00:57:43,640
Speaker 2: asked me to play, you know, it was like playing

1059
00:57:43,640 --> 00:57:46,920
Speaker 2: in the top forty band. He played great songs and

1060
00:57:47,040 --> 00:57:51,520
Speaker 2: Rosanna and and you know, I couldn't ever really figure

1061
00:57:51,520 --> 00:57:53,400
Speaker 2: out why they were getting such a bad rap. Oh

1062
00:57:53,440 --> 00:57:56,440
Speaker 2: they're too slick, and you know, I mean what you're

1063
00:57:56,480 --> 00:57:59,480
Speaker 2: getting punished for trying to have a good sound and

1064
00:57:59,520 --> 00:58:00,720
Speaker 2: come up with some good tunes, you know.

1065
00:58:05,520 --> 00:58:07,840
Speaker 1: Okay, So oftentimes if I get asked to do a

1066
00:58:07,960 --> 00:58:11,120
Speaker 1: gig nine times out of ten, on ass like, well,

1067
00:58:12,280 --> 00:58:14,120
Speaker 1: if I think they're hiring me because of a certain

1068
00:58:14,200 --> 00:58:17,360
Speaker 1: sound that I had, then I'll recommend them, Well, you

1069
00:58:17,400 --> 00:58:19,040
Speaker 1: should go to this studio because this is where I

1070
00:58:19,120 --> 00:58:22,040
Speaker 1: recorded this particular record that I and where you'll get

1071
00:58:22,080 --> 00:58:24,960
Speaker 1: the sound. Yeah, right, you'll get the sound that you want.

1072
00:58:26,680 --> 00:58:32,840
Speaker 1: How much control do you have over like the sound

1073
00:58:32,920 --> 00:58:35,080
Speaker 1: and the texture of what you want or you just

1074
00:58:35,120 --> 00:58:37,520
Speaker 1: got to trust the engineer and the producer and that's it.

1075
00:58:37,680 --> 00:58:42,000
Speaker 2: You know, Al Schmidt who we just lost and worked

1076
00:58:42,040 --> 00:58:45,600
Speaker 2: a capital a lot, and we the Warner Brothers, used

1077
00:58:45,600 --> 00:58:47,440
Speaker 2: to have a studio and that we did when we

1078
00:58:47,560 --> 00:58:52,960
Speaker 2: first started four Play. The first real four Play album

1079
00:58:53,040 --> 00:58:55,640
Speaker 2: was was a Bob James album called Grand Piano Canyon

1080
00:58:56,040 --> 00:59:01,040
Speaker 2: and that was what he called me. Harvey Lee Lee

1081
00:59:01,080 --> 00:59:04,400
Speaker 2: written Hour and actually Harvey Mason and Lee Written and

1082
00:59:04,400 --> 00:59:06,560
Speaker 2: I Are both recommended me when he asked about who

1083
00:59:06,640 --> 00:59:08,640
Speaker 2: should I get on bass, you know, so the four

1084
00:59:08,680 --> 00:59:11,560
Speaker 2: of us got in that quartet. There's a song called Restoration.

1085
00:59:11,680 --> 00:59:14,200
Speaker 2: I call that the first four play songs on that album.

1086
00:59:14,720 --> 00:59:17,520
Speaker 2: And Al Schmidt recorded that. And I used to take

1087
00:59:17,560 --> 00:59:22,840
Speaker 2: that recording around to all the Stay and Sunset sound

1088
00:59:22,880 --> 00:59:25,640
Speaker 2: Oceanway and say, guys, my bass sounds like this, you know,

1089
00:59:27,480 --> 00:59:29,439
Speaker 2: because you know how like your drum you could play

1090
00:59:29,440 --> 00:59:33,000
Speaker 2: in ten different studios and it'll sound like ten different guys,

1091
00:59:33,040 --> 00:59:35,760
Speaker 2: you know, And I can't ever figure out, like how

1092
00:59:35,800 --> 00:59:39,760
Speaker 2: does the same instrument translate so differently in different studios,

1093
00:59:39,800 --> 00:59:42,920
Speaker 2: you know, So whenever possible, yeah, I'll recommend in one

1094
00:59:42,960 --> 00:59:46,800
Speaker 2: of my favorites spend tons of time and was ocean

1095
00:59:46,840 --> 00:59:50,800
Speaker 2: Way Studio. Oh okay, we did the first uh well,

1096
00:59:50,840 --> 00:59:53,520
Speaker 2: we did so much stuff there, but first four play record.

1097
00:59:53,640 --> 00:59:55,760
Speaker 2: But we used to record there with the Lionel Richie.

1098
00:59:55,840 --> 00:59:59,280
Speaker 2: We did, We did Kenny Loggins level will follow, I

1099
00:59:59,360 --> 01:00:01,760
Speaker 2: mean ton because I did. One of the things I'm

1100
01:00:01,800 --> 01:00:05,200
Speaker 2: most proud of is we did a song called if

1101
01:00:05,200 --> 01:00:06,960
Speaker 2: you Think You're Lonely Now Bobby Womack.

1102
01:00:07,000 --> 01:00:09,800
Speaker 1: Yeah, I was going to say you were on the Monster.

1103
01:00:10,160 --> 01:00:14,080
Speaker 2: Yeah, the ocean Way Studio. And as funny as all

1104
01:00:14,120 --> 01:00:16,560
Speaker 2: these tunes I can remember, I could kind of just

1105
01:00:16,680 --> 01:00:20,200
Speaker 2: remember being there. It's almost like the day and so

1106
01:00:21,080 --> 01:00:22,920
Speaker 2: that being one of my favorites. You know, when I

1107
01:00:23,000 --> 01:00:25,320
Speaker 2: went to go do my solo album, you know where

1108
01:00:25,360 --> 01:00:27,520
Speaker 2: did I go? Ocean Way which is now called United

1109
01:00:28,400 --> 01:00:31,000
Speaker 2: Studio back in the day.

1110
01:00:31,200 --> 01:00:34,360
Speaker 1: Record Yeah, yeah, yeah, we did podcasts there.

1111
01:00:34,560 --> 01:00:37,360
Speaker 4: Yeah, we did like three of the studios he dropped

1112
01:00:37,360 --> 01:00:39,920
Speaker 4: so Far, A and M Yeah, yeah.

1113
01:00:41,160 --> 01:00:44,760
Speaker 2: Okay, those are the big ones Capital Record.

1114
01:00:45,360 --> 01:00:47,720
Speaker 7: I have a question, Nathan, at any point in your

1115
01:00:47,760 --> 01:00:51,680
Speaker 7: career did you mess with key bass, you know, playing

1116
01:00:51,720 --> 01:00:53,000
Speaker 7: bass on a keyboard?

1117
01:00:54,200 --> 01:00:58,200
Speaker 2: You know, there was a there was I was sorry.

1118
01:00:58,520 --> 01:01:02,840
Speaker 2: There was a time in the algia days that he

1119
01:01:02,960 --> 01:01:05,160
Speaker 2: had a couple of tunes that had key base on,

1120
01:01:06,240 --> 01:01:11,919
Speaker 2: like uh, boogie down Down. There was one I can't

1121
01:01:12,160 --> 01:01:14,680
Speaker 2: right quite remember the name, but it was that this

1122
01:01:14,960 --> 01:01:17,520
Speaker 2: like really funky key base and.

1123
01:01:17,680 --> 01:01:19,600
Speaker 1: So so I got darked in the roof.

1124
01:01:20,280 --> 01:01:33,560
Speaker 2: Yeah, I loved him so much. I loved him.

1125
01:01:33,800 --> 01:01:35,640
Speaker 3: I loved him so much I couldn't even like him.

1126
01:01:35,720 --> 01:01:38,800
Speaker 2: But I'm trying to get that in Milwaukee. Yes, I

1127
01:01:38,880 --> 01:01:39,320
Speaker 2: used to call me.

1128
01:01:43,640 --> 01:01:46,560
Speaker 1: Wait, Nathan, can I ask have you ever worked with

1129
01:01:46,640 --> 01:01:48,160
Speaker 1: Tommy Lapuma?

1130
01:01:48,920 --> 01:01:50,440
Speaker 2: Yes, many, many, many times.

1131
01:01:50,880 --> 01:01:55,600
Speaker 1: Okay, have you have you worked with him between? Like

1132
01:01:56,360 --> 01:01:58,080
Speaker 1: the era that you worked with him was at least

1133
01:01:58,120 --> 01:02:03,600
Speaker 1: between seventy five and eighty five. Yes, Okay, Tommy Lupuma

1134
01:02:03,800 --> 01:02:07,960
Speaker 1: has such he has such a distinct sound. He has

1135
01:02:08,040 --> 01:02:11,520
Speaker 1: a very distinct sound with his production for all this stuff,

1136
01:02:11,520 --> 01:02:14,640
Speaker 1: for his Algebro stuff, for any record that he produces

1137
01:02:14,720 --> 01:02:20,200
Speaker 1: that I'm almost under the impression that whatever studio he used,

1138
01:02:20,960 --> 01:02:24,760
Speaker 1: he kept it on one setting and never ever adjusted

1139
01:02:25,640 --> 01:02:30,480
Speaker 1: because it's to me, it's it's so like even with

1140
01:02:30,560 --> 01:02:32,640
Speaker 1: the stuff they he did with, like Brenda Russell and

1141
01:02:33,280 --> 01:02:35,680
Speaker 1: oh my God, there's a sound that he gets in

1142
01:02:35,800 --> 01:02:38,920
Speaker 1: his base and his Spender Rhodes where I instantly know

1143
01:02:39,920 --> 01:02:41,200
Speaker 1: that's a Tommy Tommy.

1144
01:02:41,400 --> 01:02:45,160
Speaker 2: Well, first of all, Tommy Lapuma would start every session

1145
01:02:45,240 --> 01:02:49,240
Speaker 2: off with lunch at beach a you know, like you

1146
01:02:49,320 --> 01:02:52,520
Speaker 2: would like. He was more concerned about taking everybody to

1147
01:02:52,640 --> 01:02:55,520
Speaker 2: lunch and get the best bottle of wine in the place.

1148
01:02:55,920 --> 01:02:58,320
Speaker 2: And then once you got that, then you were cool,

1149
01:02:58,840 --> 01:02:59,840
Speaker 2: Let's go make some music.

1150
01:03:00,160 --> 01:03:03,960
Speaker 1: Is just another Quincy fake out. Do you know Quincy's

1151
01:03:03,960 --> 01:03:07,920
Speaker 1: theory about this? No, So Quincy Quincy does the same thing.

1152
01:03:08,200 --> 01:03:12,000
Speaker 1: He wants the sessions late at night, and he wants

1153
01:03:12,040 --> 01:03:14,120
Speaker 1: the guys to have the itis and to be a

1154
01:03:14,160 --> 01:03:19,280
Speaker 1: little tipsy and somewhat sleepy. And then he'll start usually

1155
01:03:19,520 --> 01:03:26,440
Speaker 1: at one in the morning because he knows that any yeah, yeah,

1156
01:03:26,480 --> 01:03:28,960
Speaker 1: you're not thinking, you're tired and all that stuff. So

1157
01:03:29,200 --> 01:03:34,520
Speaker 1: he he purposely will track important things between like one

1158
01:03:34,600 --> 01:03:37,720
Speaker 1: and six in the morning because like you're not as

1159
01:03:37,800 --> 01:03:41,280
Speaker 1: alert and you won't challenge him on something and overthink

1160
01:03:41,400 --> 01:03:42,200
Speaker 1: and overplay.

1161
01:03:42,840 --> 01:03:45,760
Speaker 2: I've had many Sunrise services with Quincy, by the way,

1162
01:03:48,240 --> 01:03:50,560
Speaker 2: and and Algero for that matter. But you know, it's

1163
01:03:50,640 --> 01:03:53,840
Speaker 2: it's it's funny because Stevie is the king. You know,

1164
01:03:53,960 --> 01:03:55,320
Speaker 2: he he called.

1165
01:03:58,600 --> 01:03:59,919
Speaker 1: You his time.

1166
01:04:00,200 --> 01:04:02,880
Speaker 2: He marches to a different I mean we recorded the

1167
01:04:03,040 --> 01:04:06,480
Speaker 2: last record. It was me, Ricky Lawson and him in

1168
01:04:06,520 --> 01:04:08,960
Speaker 2: the studio and he got to take it four am.

1169
01:04:09,720 --> 01:04:11,520
Speaker 2: And I remember thinking, oh, man, I got I got

1170
01:04:11,560 --> 01:04:15,320
Speaker 2: a ten am with Jay Graydon on someone he doesn't care.

1171
01:04:16,360 --> 01:04:19,320
Speaker 2: And but but yet, you know, getting back to Tommy,

1172
01:04:19,360 --> 01:04:23,600
Speaker 2: he he was that guy that he wasn't the kind

1173
01:04:23,640 --> 01:04:25,760
Speaker 2: of producer that told you, hey, I need an a

1174
01:04:25,920 --> 01:04:28,800
Speaker 2: flat on the third bar, the the you know, of

1175
01:04:28,960 --> 01:04:31,960
Speaker 2: the of the bridge, you know. But he he just

1176
01:04:32,040 --> 01:04:34,080
Speaker 2: knew how to put people together. And to this day,

1177
01:04:34,080 --> 01:04:36,080
Speaker 2: Anita Baker will tell you that the record she did

1178
01:04:36,160 --> 01:04:39,440
Speaker 2: with him is sonically her favorite record.

1179
01:04:39,840 --> 01:04:42,080
Speaker 1: Giving you the best that I got. No, it was

1180
01:04:42,760 --> 01:04:44,320
Speaker 1: was it Rhythm of Love or.

1181
01:04:45,200 --> 01:04:48,040
Speaker 2: I think it's Rhythm of Love? I'll have to check.

1182
01:04:48,240 --> 01:04:51,400
Speaker 1: It was the one that I apologize and body and soul.

1183
01:04:51,520 --> 01:04:52,760
Speaker 1: It was the one that came out in ninety four.

1184
01:04:53,480 --> 01:04:55,800
Speaker 1: I think you Fronte went on record and say that

1185
01:04:56,120 --> 01:05:00,360
Speaker 1: was his favorite. It's not a favorite. I think my

1186
01:05:00,440 --> 01:05:01,440
Speaker 1: favorite was Compositions.

1187
01:05:01,480 --> 01:05:04,440
Speaker 2: But I was just going to say we we had

1188
01:05:04,480 --> 01:05:07,200
Speaker 2: the most fun on compositions and Fair Tales being one

1189
01:05:07,200 --> 01:05:12,040
Speaker 2: of my favorite, two eleven minutes long, going acting a

1190
01:05:12,160 --> 01:05:14,800
Speaker 2: fool at the end. And for Ronnie, you know what

1191
01:05:14,880 --> 01:05:15,840
Speaker 2: it is, Okay?

1192
01:05:16,440 --> 01:05:22,960
Speaker 1: Well one her entire discography is not available for streaming,

1193
01:05:24,240 --> 01:05:26,520
Speaker 1: so I really I can't even lay judgment. I mean,

1194
01:05:26,560 --> 01:05:28,200
Speaker 1: I have a cassette somewhere, but it's like I haven't

1195
01:05:28,200 --> 01:05:31,720
Speaker 1: touched my cassettes and eons, so you know, for me,

1196
01:05:31,800 --> 01:05:33,840
Speaker 1: I'm just like no rapture, nothing else.

1197
01:05:33,840 --> 01:05:37,520
Speaker 2: But you're well, I mean songstress was was? That was

1198
01:05:37,560 --> 01:05:39,920
Speaker 2: our first time in the studio together, and that the

1199
01:05:40,000 --> 01:05:40,720
Speaker 2: song as.

1200
01:05:40,520 --> 01:05:44,040
Speaker 1: Your own songstress? Oh yeah, that's your own angel. Yeah

1201
01:05:44,280 --> 01:05:52,480
Speaker 1: of course you Oh my gosh, from day one, you know,

1202
01:05:52,520 --> 01:05:57,240
Speaker 1: I love it? Wow? Yeah? What was her producer? The

1203
01:05:57,400 --> 01:05:58,160
Speaker 1: guy Michael J.

1204
01:05:58,320 --> 01:05:59,120
Speaker 2: Powell? What was he like?

1205
01:05:59,160 --> 01:06:01,240
Speaker 1: Because I've always you know, stuff about it.

1206
01:06:01,280 --> 01:06:05,760
Speaker 2: Michael, the gentle giant and the greatest, I mean, one

1207
01:06:05,800 --> 01:06:09,520
Speaker 2: of the greatest producers ever. We speak, we speak from

1208
01:06:09,560 --> 01:06:15,000
Speaker 2: time to time and again a producer's producer. It's really

1209
01:06:15,080 --> 01:06:17,760
Speaker 2: really soft spoken, but knew what he knew what he

1210
01:06:17,880 --> 01:06:20,280
Speaker 2: needed and got the best out of everybody, you know,

1211
01:06:20,360 --> 01:06:22,600
Speaker 2: and put some great cats together, you know.

1212
01:06:23,680 --> 01:06:28,760
Speaker 1: All right, So without naming names, because I know there's

1213
01:06:28,800 --> 01:06:33,120
Speaker 1: always two sides to a coin, right. Have you ever

1214
01:06:33,240 --> 01:06:36,840
Speaker 1: been in a situation where it's kind of like amateur

1215
01:06:36,920 --> 01:06:39,919
Speaker 1: hour with the producer like he didn't know what he's

1216
01:06:40,000 --> 01:06:46,400
Speaker 1: doing or not too communicative with you know, they wanted.

1217
01:06:46,560 --> 01:06:48,600
Speaker 2: Every now and then you get those guys that you say,

1218
01:06:48,720 --> 01:06:51,560
Speaker 2: how did they get to be the producer for this

1219
01:06:51,760 --> 01:06:55,680
Speaker 2: important project? You know? And one of the things those

1220
01:06:55,760 --> 01:06:58,520
Speaker 2: kind of producers do, and I have to give it

1221
01:06:58,600 --> 01:07:01,480
Speaker 2: to their credit is they'll they'll call the cats, you know,

1222
01:07:01,560 --> 01:07:04,800
Speaker 2: and one guy who will remain nameless. But we were

1223
01:07:05,440 --> 01:07:08,480
Speaker 2: in and Jeff Pacara was playing drums and after every

1224
01:07:08,520 --> 01:07:10,760
Speaker 2: take he would look to Jeff and Jeff would either say.

1225
01:07:10,680 --> 01:07:11,200
Speaker 1: Yeah or nay.

1226
01:07:11,760 --> 01:07:13,560
Speaker 2: It either was the take or wasn't, you know, And

1227
01:07:13,600 --> 01:07:16,520
Speaker 2: that's how you would determine if you do another take again.

1228
01:07:16,600 --> 01:07:20,200
Speaker 2: But I mean, for the most part, and a lot

1229
01:07:20,240 --> 01:07:23,080
Speaker 2: of people say, oh, have there been some some session

1230
01:07:23,160 --> 01:07:25,560
Speaker 2: that you've hated, But for the most part, I've enjoyed

1231
01:07:25,880 --> 01:07:29,080
Speaker 2: all of them and been blessed with some really talented,

1232
01:07:29,200 --> 01:07:30,040
Speaker 2: gifted producers.

1233
01:07:30,600 --> 01:07:36,680
Speaker 1: How do you know if a session is bad, Like

1234
01:07:36,800 --> 01:07:38,640
Speaker 1: if you have to spend more than an hour on

1235
01:07:38,720 --> 01:07:40,320
Speaker 1: a particular song, or.

1236
01:07:41,800 --> 01:07:44,440
Speaker 2: Yeah, they're beating up on a song and next thing

1237
01:07:44,480 --> 01:07:46,320
Speaker 2: you know, everybody's looking up at their watch and you

1238
01:07:46,400 --> 01:07:49,520
Speaker 2: don't have a take, and like you keep trying, and

1239
01:07:49,600 --> 01:07:53,200
Speaker 2: then the takes just get worse. I mean, for whatever reason,

1240
01:07:53,320 --> 01:07:56,360
Speaker 2: maybe it wasn't in the song, but uh, you know,

1241
01:07:56,760 --> 01:08:00,840
Speaker 2: even even up till recently, you know, sometimes people bring

1242
01:08:00,920 --> 01:08:03,000
Speaker 2: a song in and somebody'll say, oh, man, this isn't

1243
01:08:03,040 --> 01:08:05,480
Speaker 2: really a great song, but they'll have like if you

1244
01:08:05,560 --> 01:08:08,960
Speaker 2: got filling gains on keys, he's gonna make the first different.

1245
01:08:09,720 --> 01:08:09,919
Speaker 1: Yeah.

1246
01:08:10,880 --> 01:08:12,960
Speaker 2: And and I was telling David Foster the other day,

1247
01:08:12,960 --> 01:08:16,439
Speaker 2: I'll never forget. And of course Quincy, Quincy's the you know,

1248
01:08:16,520 --> 01:08:19,400
Speaker 2: one of the top guys ever. But we were doing

1249
01:08:19,760 --> 01:08:22,120
Speaker 2: uh Patty Austin, James Ingram, how do you keep the

1250
01:08:22,200 --> 01:08:22,759
Speaker 2: music playing?

1251
01:08:24,560 --> 01:08:25,839
Speaker 3: Dropping? Nathan dropping?

1252
01:08:28,280 --> 01:08:30,160
Speaker 2: But but we were in there and we don't have it,

1253
01:08:30,400 --> 01:08:31,960
Speaker 2: just like Quincy said, well, we don't have an intro

1254
01:08:32,080 --> 01:08:35,439
Speaker 2: for this, and and anybody and David Fosterer literally he

1255
01:08:35,520 --> 01:08:38,400
Speaker 2: has his legs closed and he says crossed, and he goes,

1256
01:08:38,800 --> 01:08:42,760
Speaker 2: what about this? And he plays the intro exactly what

1257
01:08:42,920 --> 01:08:43,719
Speaker 2: you hear on the record.

1258
01:08:46,320 --> 01:08:48,320
Speaker 3: Yes, yes, David Foston, Lord, thank you.

1259
01:08:48,400 --> 01:08:50,960
Speaker 1: Okay, speaking of which, and I'm sorry, fantee you, I

1260
01:08:50,960 --> 01:08:53,160
Speaker 1: feel like I'm about to steal your question, but I

1261
01:08:53,400 --> 01:09:01,479
Speaker 1: gotta ask the intro to after the dance. Oh that's

1262
01:09:01,520 --> 01:09:05,000
Speaker 1: my question for play after the dance the barge. Yes,

1263
01:09:08,080 --> 01:09:14,360
Speaker 1: that intro to me is probably the first thing that

1264
01:09:14,520 --> 01:09:17,400
Speaker 1: I think of if I start thinking of like smooth

1265
01:09:17,520 --> 01:09:22,880
Speaker 1: Jazz FM. Yes, yes, it's such an earworm. It never

1266
01:09:23,000 --> 01:09:24,759
Speaker 1: leaves you. So it's not like I have an opinion

1267
01:09:24,840 --> 01:09:26,680
Speaker 1: on it. It's not like, oh that's my favorite or

1268
01:09:26,720 --> 01:09:29,160
Speaker 1: I hate that intro, but it's like it lives in

1269
01:09:29,240 --> 01:09:32,599
Speaker 1: my head. Rent Free, that was my favorite? Who came

1270
01:09:32,720 --> 01:09:37,760
Speaker 1: up with that intro? And by? Because I can't get rid.

1271
01:09:37,720 --> 01:09:41,479
Speaker 2: Of vibe James? You know what? And that's the same thing.

1272
01:09:41,560 --> 01:09:44,360
Speaker 2: That's what he he just said, how about you know

1273
01:09:44,439 --> 01:09:46,920
Speaker 2: he always writes everything else and he says, stand by

1274
01:09:46,960 --> 01:09:49,760
Speaker 2: and he writes this, how about this? And you play it?

1275
01:09:50,439 --> 01:09:53,920
Speaker 2: And now I'll go on record saying that's probably my

1276
01:09:54,000 --> 01:09:58,160
Speaker 2: favorite intro. Of course you can't gave it it's too

1277
01:09:58,240 --> 01:10:03,599
Speaker 2: only second to minute by minute Michael McDonald, Nathan, can

1278
01:10:03,600 --> 01:10:04,080
Speaker 2: you tell.

1279
01:10:03,960 --> 01:10:06,519
Speaker 4: The story of Nathan East and Bob James, because like,

1280
01:10:06,840 --> 01:10:08,479
Speaker 4: how did that marriage come together?

1281
01:10:08,520 --> 01:10:09,200
Speaker 3: And when did y'all know?

1282
01:10:09,320 --> 01:10:13,240
Speaker 2: It was like like we we knew we had something

1283
01:10:13,280 --> 01:10:15,320
Speaker 2: special on Bob's record and he was an an R.

1284
01:10:15,880 --> 01:10:18,080
Speaker 2: He was an executive at Warner Brothers Records when we

1285
01:10:18,200 --> 01:10:21,120
Speaker 2: did his solo album. So he said, guys, I could

1286
01:10:22,760 --> 01:10:25,479
Speaker 2: I could propose this to the Warner Brothers. He said,

1287
01:10:25,479 --> 01:10:27,680
Speaker 2: I think we could get a deal right away. He

1288
01:10:27,840 --> 01:10:30,679
Speaker 2: came back, he and and you know what, they didn't

1289
01:10:30,680 --> 01:10:33,240
Speaker 2: even have to hear a demo or anything. They said signed.

1290
01:10:33,880 --> 01:10:35,680
Speaker 2: And when we did our first session, we showed up

1291
01:10:35,680 --> 01:10:39,639
Speaker 2: at Ocean Way and and there was Mo Austin, Michael Austin,

1292
01:10:39,720 --> 01:10:43,640
Speaker 2: Lenny Warnker, I'm in the big Warner Brothers. Would they

1293
01:10:43,680 --> 01:10:44,639
Speaker 2: beat us to the studio?

1294
01:10:44,840 --> 01:10:46,479
Speaker 3: They were excited? That excited Dan.

1295
01:10:47,400 --> 01:10:49,160
Speaker 1: How was more Austin as an executive?

1296
01:10:49,200 --> 01:10:49,280
Speaker 2: Man?

1297
01:10:49,320 --> 01:10:50,960
Speaker 1: I've heard like a lot of stories about him, But

1298
01:10:51,120 --> 01:10:51,560
Speaker 1: how was he?

1299
01:10:52,640 --> 01:10:54,400
Speaker 2: You know, the last of the Mohicans. You know, he

1300
01:10:54,800 --> 01:10:58,160
Speaker 2: was record When you look up record executive, there's his

1301
01:10:58,240 --> 01:11:01,720
Speaker 2: picture right there, you know. But that that was like

1302
01:11:02,600 --> 01:11:04,400
Speaker 2: our first you know, and it's it's it's here. It

1303
01:11:04,479 --> 01:11:07,120
Speaker 2: is nineteen ninety nineteen ninety one. And we go in

1304
01:11:07,160 --> 01:11:10,639
Speaker 2: the studio and when Bob wrote that intro, I just said,

1305
01:11:10,880 --> 01:11:15,240
Speaker 2: bro And but of course, like he wrote, you know

1306
01:11:15,760 --> 01:11:20,200
Speaker 2: that crazy arrangement of feel like making love and matter

1307
01:11:20,240 --> 01:11:23,719
Speaker 2: of fact, he had a hit with that instrumentally and ROBERTA.

1308
01:11:23,760 --> 01:11:25,240
Speaker 2: Flack had a hit with it. I mean it was

1309
01:11:25,360 --> 01:11:30,200
Speaker 2: like a hit time on two different formats, right, And

1310
01:11:30,800 --> 01:11:33,360
Speaker 2: so it's been you know, and believe it or not,

1311
01:11:33,520 --> 01:11:35,960
Speaker 2: we're having our thirtieth anniversary right now.

1312
01:11:36,240 --> 01:11:38,120
Speaker 4: Yeah, in my mind, my child mind, you're like the

1313
01:11:38,160 --> 01:11:40,519
Speaker 4: best of friends and y'all you'll have Sunday dinner and

1314
01:11:40,560 --> 01:11:40,960
Speaker 4: that's all.

1315
01:11:41,000 --> 01:11:45,920
Speaker 2: No, we're brothers. We're brothers without a dit from another mother,

1316
01:11:46,080 --> 01:11:48,640
Speaker 2: and and you know we we've had a chance to

1317
01:11:49,160 --> 01:11:52,519
Speaker 2: go around the world together and and just have you know,

1318
01:11:52,600 --> 01:11:56,560
Speaker 2: have the best time. And so he's he's actually he

1319
01:11:56,640 --> 01:11:59,120
Speaker 2: and Greg are actually godfathers to my son Noah, who

1320
01:11:59,200 --> 01:12:05,240
Speaker 2: plays keys. I'm I didn't know what, uh we want

1321
01:12:05,320 --> 01:12:07,960
Speaker 2: to do a record because we we've been playing a

1322
01:12:08,000 --> 01:12:09,920
Speaker 2: couple of gigs over the weekend. We played in Omaha

1323
01:12:10,200 --> 01:12:15,000
Speaker 2: for Walter Scott Junior's ninetieth birthday celebration and we had

1324
01:12:15,080 --> 01:12:19,040
Speaker 2: the best time ever. And you know, David Foster was

1325
01:12:19,040 --> 01:12:22,639
Speaker 2: there and all the guys and and he's he's turned

1326
01:12:22,680 --> 01:12:23,920
Speaker 2: into one of my favorite musicians.

1327
01:12:24,600 --> 01:12:28,320
Speaker 5: Man the four play catalog. Man that for me, like

1328
01:12:28,479 --> 01:12:31,160
Speaker 5: the Between the Sheets album and the Alixa album. Those

1329
01:12:31,240 --> 01:12:33,200
Speaker 5: came out when I was in high school and so

1330
01:12:33,360 --> 01:12:35,160
Speaker 5: I used to do my homework of those records and

1331
01:12:35,479 --> 01:12:40,400
Speaker 5: like chant was my joints. I love those joints and

1332
01:12:41,160 --> 01:12:43,920
Speaker 5: y'all like I noticed like leave written now he was

1333
01:12:43,960 --> 01:12:46,479
Speaker 5: on those records and then the guitarist y'all switch?

1334
01:12:46,560 --> 01:12:48,160
Speaker 1: What was the reason for the changing personnel?

1335
01:12:49,040 --> 01:12:52,320
Speaker 2: Yeah, I think after three records Lee Lee really got

1336
01:12:54,160 --> 01:12:56,920
Speaker 2: into the more of executive branch of the of the

1337
01:12:57,000 --> 01:13:00,479
Speaker 2: record record business series in one of his friends and

1338
01:13:00,560 --> 01:13:03,400
Speaker 2: he and Dave Gruson and and g r P g

1339
01:13:03,560 --> 01:13:07,200
Speaker 2: r P Larry Rose, he started getting busy with kind

1340
01:13:07,240 --> 01:13:10,880
Speaker 2: of doing doing records on the executive level level, and

1341
01:13:11,000 --> 01:13:12,599
Speaker 2: so that takes up so much time too.

1342
01:13:13,560 --> 01:13:16,479
Speaker 5: Yeah, y'all record the joint the Phil Collins the why

1343
01:13:16,479 --> 01:13:17,400
Speaker 5: can't it wait till morning?

1344
01:13:17,920 --> 01:13:20,080
Speaker 1: Man? Y'all tell me about that session?

1345
01:13:20,120 --> 01:13:22,880
Speaker 2: Man? You know we sent that over to Phil. I

1346
01:13:23,000 --> 01:13:26,160
Speaker 2: called Phil's manager and uh, you know, it's great when

1347
01:13:26,160 --> 01:13:27,920
Speaker 2: these guys are your friends too. But I called Phil's

1348
01:13:27,960 --> 01:13:33,280
Speaker 2: manager and uh secretary answers and she said, she said,

1349
01:13:33,280 --> 01:13:35,200
Speaker 2: what what's this regard? And I said, it's far regarding

1350
01:13:35,320 --> 01:13:37,000
Speaker 2: for play. They said, well, I don't know if he

1351
01:13:37,040 --> 01:13:44,599
Speaker 2: can help you with that, but I'll get But I mean,

1352
01:13:45,000 --> 01:13:48,000
Speaker 2: he we said, and we wanted to do something obscure,

1353
01:13:48,120 --> 01:13:51,160
Speaker 2: so we we kind of found this song that wasn't necessary,

1354
01:13:51,320 --> 01:13:54,720
Speaker 2: like it wasn't the number one hit, but I can't

1355
01:13:54,800 --> 01:13:56,439
Speaker 2: wait till morning. It was a little obscure, and we

1356
01:13:57,000 --> 01:13:59,160
Speaker 2: we sent him over and again, Bob came up with

1357
01:13:59,240 --> 01:14:02,840
Speaker 2: this this in arrangement. We sent it over and he

1358
01:14:02,960 --> 01:14:05,800
Speaker 2: went into his studio put the vocal arm. When he

1359
01:14:05,840 --> 01:14:08,160
Speaker 2: sent it back, we all sat in the studio cried.

1360
01:14:08,520 --> 01:14:11,040
Speaker 5: You know, it was just like, what is this na,

1361
01:14:11,280 --> 01:14:13,599
Speaker 5: That's a gorgeous song man. Yeah, there was a singer

1362
01:14:13,760 --> 01:14:16,880
Speaker 5: that There was a singer that Lee used to work

1363
01:14:16,920 --> 01:14:19,800
Speaker 5: with the lot, Eric Tagg. Did you ever get any

1364
01:14:19,800 --> 01:14:20,439
Speaker 5: sessions with him?

1365
01:14:20,960 --> 01:14:23,240
Speaker 1: Yes? Dude, what was he like?

1366
01:14:23,320 --> 01:14:23,400
Speaker 3: Man?

1367
01:14:23,439 --> 01:14:26,439
Speaker 5: Because he's like one of my favorite singers everybody's solo key.

1368
01:14:26,439 --> 01:14:28,080
Speaker 5: I don't even know if he's still making music now.

1369
01:14:28,160 --> 01:14:28,320
Speaker 1: Yeah.

1370
01:14:28,439 --> 01:14:31,360
Speaker 2: He sang like Stevie Wonder too.

1371
01:14:31,320 --> 01:14:34,120
Speaker 1: You know, yes, yes, real big Steven Floydce.

1372
01:14:34,240 --> 01:14:37,080
Speaker 2: He was from Uh, he was from Texas mm hm.

1373
01:14:37,479 --> 01:14:40,040
Speaker 2: Really great guy and he was in Lee's band. I

1374
01:14:40,080 --> 01:14:42,200
Speaker 2: remember when I Lee's band was one of the first

1375
01:14:42,200 --> 01:14:44,640
Speaker 2: ones I was in. Uh. First time we went to

1376
01:14:44,800 --> 01:14:46,960
Speaker 2: Japan was with Lee and you know Eric was in

1377
01:14:47,040 --> 01:14:50,559
Speaker 2: those bands. You know that. That's the thing I love

1378
01:14:50,600 --> 01:14:52,920
Speaker 2: about music. There's so many great people out there that

1379
01:14:53,560 --> 01:14:54,920
Speaker 2: a lot of people hadn't even heard of.

1380
01:14:55,720 --> 01:14:58,720
Speaker 4: But you know, it was something about the way y'all

1381
01:14:58,720 --> 01:15:00,479
Speaker 4: pulled stuff out of People were talking about that earlier,

1382
01:15:00,560 --> 01:15:03,840
Speaker 4: about the Michael McDonald record. I was like, the way

1383
01:15:03,920 --> 01:15:06,479
Speaker 4: that Michael was singing on that record, but just felt different.

1384
01:15:09,680 --> 01:15:10,400
Speaker 2: Michael's different.

1385
01:15:10,840 --> 01:15:13,240
Speaker 1: Yeah, yeah, we know that different.

1386
01:15:13,680 --> 01:15:16,439
Speaker 2: If I could, if I could have a voice, it

1387
01:15:16,479 --> 01:15:19,040
Speaker 2: would be his, you know. And then I really enjoyed

1388
01:15:19,080 --> 01:15:22,400
Speaker 2: his his h Quest Love Supreme podcast too. He was

1389
01:15:22,720 --> 01:15:24,840
Speaker 2: he's so, he's so down and he sang on my

1390
01:15:24,920 --> 01:15:27,760
Speaker 2: first solo album, we did that version of moon Dance,

1391
01:15:27,840 --> 01:15:31,000
Speaker 2: you know, like a big band version came in and

1392
01:15:31,360 --> 01:15:32,559
Speaker 2: crushed this record.

1393
01:15:32,960 --> 01:15:35,200
Speaker 4: Yeah, I was, what's the process of picking the songs

1394
01:15:35,240 --> 01:15:37,240
Speaker 4: to reinvent? Because I was just listening to a song

1395
01:15:37,320 --> 01:15:40,400
Speaker 4: you did with Bob It was uh oh and Vince

1396
01:15:40,439 --> 01:15:46,439
Speaker 4: gil Oh crazy crazy crazy crazy crazy crazy Yeah from

1397
01:15:46,520 --> 01:15:48,000
Speaker 4: crazy everybody do that.

1398
01:15:48,600 --> 01:15:51,759
Speaker 1: But I was singing, this is supreme your homework.

1399
01:15:52,240 --> 01:15:53,440
Speaker 2: You guys are unbelievable.

1400
01:15:53,600 --> 01:15:56,520
Speaker 4: But yeah, how do y'all decide which songs to reinvent?

1401
01:15:56,720 --> 01:15:58,760
Speaker 4: Which in your mind are you thinking this is how

1402
01:15:58,800 --> 01:16:01,120
Speaker 4: I always heard it? Or or man if I could

1403
01:16:01,160 --> 01:16:03,799
Speaker 4: only touch it a story and if you can apply.

1404
01:16:03,680 --> 01:16:06,720
Speaker 1: It and if you can apply that answer to your

1405
01:16:06,800 --> 01:16:10,640
Speaker 1: arrangement to Sir Duke, I would appreciate that because we

1406
01:16:10,800 --> 01:16:15,880
Speaker 1: still haven't forgive you were still are not forgiving you

1407
01:16:16,040 --> 01:16:19,760
Speaker 1: for that. It's some genius shit to this day, we

1408
01:16:20,400 --> 01:16:24,160
Speaker 1: we've studied it so much that it never moves us.

1409
01:16:24,439 --> 01:16:27,000
Speaker 2: First of all, you can't, like you can't touch a

1410
01:16:27,040 --> 01:16:29,280
Speaker 2: steviee song, Like if you're doing a Stevie song, it's

1411
01:16:29,840 --> 01:16:32,280
Speaker 2: it's it's already the Bible, you know, so you do that.

1412
01:16:32,439 --> 01:16:35,000
Speaker 2: But then for some weird reason, like right in the

1413
01:16:35,040 --> 01:16:37,880
Speaker 2: middle of the studio, I said, what if we when

1414
01:16:37,920 --> 01:16:40,479
Speaker 2: we got to this this part, we just changed like

1415
01:16:40,600 --> 01:16:41,479
Speaker 2: every four bars.

1416
01:16:42,280 --> 01:16:44,240
Speaker 1: Wait, let me let me explain to put in perspective.

1417
01:16:44,479 --> 01:16:46,519
Speaker 3: And I got it because I forget.

1418
01:16:46,800 --> 01:16:50,920
Speaker 1: Yeah, like you you know, he's taken. He's taking songs,

1419
01:16:50,960 --> 01:16:52,600
Speaker 1: you know, and sort of putting a new spin on it.

1420
01:16:53,400 --> 01:16:56,600
Speaker 1: So the song that he really did that too, was

1421
01:16:56,960 --> 01:17:00,559
Speaker 1: there's an arrangement of Sir Duke, of which that horn

1422
01:17:00,640 --> 01:17:05,040
Speaker 1: part is very intricate, just as is anyway, And what

1423
01:17:05,200 --> 01:17:09,960
Speaker 1: he decided to do was to just modulate and in

1424
01:17:10,080 --> 01:17:14,320
Speaker 1: some sort of non secutor way modulate the key into

1425
01:17:14,520 --> 01:17:17,040
Speaker 1: keys that aren't supposed to fit. So, in other words,

1426
01:17:17,120 --> 01:17:26,640
Speaker 1: instead of regularly to another key and then and then

1427
01:17:26,720 --> 01:17:32,719
Speaker 1: another key, so you you basically have to transpose every

1428
01:17:32,880 --> 01:17:36,280
Speaker 1: four bars a new key that's not related to what

1429
01:17:36,360 --> 01:17:36,960
Speaker 1: you did before.

1430
01:17:40,040 --> 01:17:40,800
Speaker 3: Stevie song.

1431
01:17:40,960 --> 01:17:44,880
Speaker 2: So there's no rhyme or reason. Literally, it's it's kind

1432
01:17:44,880 --> 01:17:47,800
Speaker 2: of random, just like pulling him out of there and saying, oh,

1433
01:17:47,800 --> 01:17:49,599
Speaker 2: well that works, and then okay, we got to get back.

1434
01:17:49,680 --> 01:17:51,680
Speaker 2: So what would we end? Which one? You know? So

1435
01:17:51,760 --> 01:17:54,080
Speaker 2: the first one you know is, you know, the last

1436
01:17:54,120 --> 01:17:55,800
Speaker 2: one has to lead you back, and then the other

1437
01:17:55,880 --> 01:17:57,800
Speaker 2: two heaven nose with it.

1438
01:17:58,640 --> 01:17:59,960
Speaker 1: I'll put it this way. I'll put it this way.

1439
01:18:00,160 --> 01:18:06,040
Speaker 1: Hip hop heads, if you're familiar with uh most y'all

1440
01:18:06,080 --> 01:18:11,920
Speaker 1: seen bays Cassy song, Yes and ye constant switching, Ye

1441
01:18:12,080 --> 01:18:17,120
Speaker 1: done this? This has nothing on that song. We I mean,

1442
01:18:17,160 --> 01:18:21,639
Speaker 1: we practiced Cassa Bay like maybe as a whole song

1443
01:18:21,760 --> 01:18:25,200
Speaker 1: an hour straight. But this one part of that Stevie

1444
01:18:25,280 --> 01:18:29,439
Speaker 1: Wonders song. Oh god, that that was almost like a

1445
01:18:29,479 --> 01:18:33,840
Speaker 1: two hour nightmare thing. Sorry, but I'm glad we survived it,

1446
01:18:33,960 --> 01:18:36,000
Speaker 1: and it was it was fun hittinged with it.

1447
01:18:36,320 --> 01:18:38,280
Speaker 3: No rhyme or reason. There was no song that y'all picked,

1448
01:18:38,320 --> 01:18:39,840
Speaker 3: and y'all were like, yeah, no, this is this is

1449
01:18:39,920 --> 01:18:41,080
Speaker 3: why I want to.

1450
01:18:41,080 --> 01:18:44,800
Speaker 2: Do, you know Stevie. And and I realized that every

1451
01:18:44,920 --> 01:18:48,840
Speaker 2: everything I've ever recorded, I I had Stevie. I've done

1452
01:18:48,920 --> 01:18:51,880
Speaker 2: like at least two or three Stevie. We did Overjoyed,

1453
01:18:51,960 --> 01:18:56,759
Speaker 2: which came out of I do these sting Rainforest benefits.

1454
01:18:56,800 --> 01:18:59,880
Speaker 2: We do them at Carnegie Hall every year, and Stevie

1455
01:19:00,120 --> 01:19:02,000
Speaker 2: was on one, and I was just fooling with the

1456
01:19:02,120 --> 01:19:05,000
Speaker 2: changes of uh over Joyed on Basi's kind of like

1457
01:19:05,080 --> 01:19:07,519
Speaker 2: at rehearsal when nothing was happening, and I'm kind of

1458
01:19:07,600 --> 01:19:10,280
Speaker 2: trying to figure him out. And next thing, you know,

1459
01:19:10,360 --> 01:19:14,040
Speaker 2: I hear harmonica and now he's playing, and now I

1460
01:19:14,120 --> 01:19:17,080
Speaker 2: look up their sting Elton, John Bonnie Rait. They're all

1461
01:19:17,160 --> 01:19:19,320
Speaker 2: just standing there looking like looking on and I'm going,

1462
01:19:19,439 --> 01:19:24,080
Speaker 2: oh Lord. And as I'm learning the changes, Stevie's playing

1463
01:19:24,840 --> 01:19:27,559
Speaker 2: and we get to the end, and you know, they

1464
01:19:27,640 --> 01:19:30,160
Speaker 2: all give they all start clapping, and then Stevie comes

1465
01:19:30,160 --> 01:19:32,240
Speaker 2: over and says, if you ever record that, call me.

1466
01:19:32,240 --> 01:19:33,600
Speaker 2: I want to play on it. So that was my

1467
01:19:33,720 --> 01:19:34,320
Speaker 2: next question.

1468
01:19:35,120 --> 01:19:38,040
Speaker 4: Some of the responses from these revisions, can you share

1469
01:19:38,320 --> 01:19:40,560
Speaker 4: like what have been those like?

1470
01:19:40,640 --> 01:19:42,679
Speaker 3: I wish I would have done that, Nathan, I wish

1471
01:19:42,680 --> 01:19:43,240
Speaker 3: you was suggested that.

1472
01:19:43,400 --> 01:19:46,120
Speaker 2: Well, I mean, if Stevie offers to play on your record,

1473
01:19:46,760 --> 01:19:49,320
Speaker 2: you have to do it right, right, right, right, right, man.

1474
01:19:49,360 --> 01:19:51,000
Speaker 2: I could have had Stevie on my record, you know.

1475
01:19:51,400 --> 01:19:53,360
Speaker 2: So he came and blessed the record. And the way

1476
01:19:53,439 --> 01:19:57,160
Speaker 2: we what we did was we recorded a track and

1477
01:19:57,240 --> 01:19:59,720
Speaker 2: then when I played on his record, I brought the

1478
01:19:59,760 --> 01:20:01,920
Speaker 2: track over and then he you know, two in the morning,

1479
01:20:02,000 --> 01:20:04,599
Speaker 2: he he popped it on one take see you later

1480
01:20:06,040 --> 01:20:06,800
Speaker 2: because he wrote it.

1481
01:20:07,520 --> 01:20:13,760
Speaker 1: Really all right? We a former quest Love Supreme guest

1482
01:20:13,840 --> 01:20:17,400
Speaker 1: that we just had was out the barge. I know

1483
01:20:17,560 --> 01:20:20,839
Speaker 1: your name is on the In a Special Way album,

1484
01:20:21,200 --> 01:20:24,840
Speaker 1: but do you recall anything from that the barge session?

1485
01:20:24,920 --> 01:20:27,240
Speaker 1: Do you know what songs you played on? Are you

1486
01:20:27,280 --> 01:20:30,360
Speaker 1: going to Stay with Me? Are you on time Will Revealed?

1487
01:20:30,640 --> 01:20:31,639
Speaker 1: Are you on a dream?

1488
01:20:33,560 --> 01:20:35,560
Speaker 2: You know? I'm embarrassed.

1489
01:20:35,600 --> 01:20:38,639
Speaker 1: This is don't many records.

1490
01:20:39,439 --> 01:20:42,439
Speaker 3: It's called great It's called greatness of.

1491
01:20:43,080 --> 01:20:46,000
Speaker 2: An album called did you do an album called Gemini?

1492
01:20:46,840 --> 01:20:46,960
Speaker 1: Yes?

1493
01:20:48,400 --> 01:20:48,680
Speaker 2: Do you know?

1494
01:20:49,400 --> 01:20:49,639
Speaker 1: Yes?

1495
01:20:49,720 --> 01:20:51,360
Speaker 2: That that when we did the whole thing and there

1496
01:20:51,360 --> 01:20:53,640
Speaker 2: are a few songs that really like stand out in

1497
01:20:53,720 --> 01:21:00,840
Speaker 2: my mind, like Broken Dreams, Okay and Turned Away, I mean,

1498
01:21:01,360 --> 01:21:04,400
Speaker 2: chick out these tunes, these and these are El Debars

1499
01:21:04,760 --> 01:21:08,720
Speaker 2: at his finest writing style, you know. And and and

1500
01:21:08,840 --> 01:21:11,240
Speaker 2: I'd have to look on the on the other one

1501
01:21:11,320 --> 01:21:14,880
Speaker 2: because back in those days, you were just ripping and

1502
01:21:14,960 --> 01:21:17,400
Speaker 2: running in and out of Motown studios and these studios,

1503
01:21:17,439 --> 01:21:20,280
Speaker 2: and literally everything was like a machine, you know. And

1504
01:21:20,360 --> 01:21:23,000
Speaker 2: I know Freddie Washington's on on at.

1505
01:21:22,960 --> 01:21:26,679
Speaker 1: Least the Yeah, the reason why I asked was because

1506
01:21:27,240 --> 01:21:31,519
Speaker 1: the other two names on bass were already Freddie Washington,

1507
01:21:32,120 --> 01:21:33,759
Speaker 1: but then James Jamison Jr.

1508
01:21:34,400 --> 01:21:36,160
Speaker 2: And jameson I did.

1509
01:21:36,560 --> 01:21:40,759
Speaker 1: I didn't realize that James Jamison Junior had a career

1510
01:21:41,040 --> 01:21:44,800
Speaker 1: as a professional basis on records, you know. I didn't

1511
01:21:44,840 --> 01:21:46,800
Speaker 1: know that. So I was trying to figure out like

1512
01:21:47,439 --> 01:21:49,280
Speaker 1: what songs were yours and what songs.

1513
01:21:49,040 --> 01:21:52,479
Speaker 2: Were Yeah, he was getting called and sometimes it's it's

1514
01:21:52,479 --> 01:21:55,160
Speaker 2: a little unfair because the way they listed they just

1515
01:21:55,240 --> 01:21:57,439
Speaker 2: they was a bass and they'd have three names, you know,

1516
01:21:57,520 --> 01:22:00,080
Speaker 2: so you wouldn't really know who played what in that

1517
01:22:00,240 --> 01:22:03,120
Speaker 2: you were very familiar with their their style. But speaking

1518
01:22:03,160 --> 01:22:06,040
Speaker 2: of James Jamison at that very studio that that we

1519
01:22:06,200 --> 01:22:09,880
Speaker 2: used to record at Motown. One day somebody asked me

1520
01:22:10,000 --> 01:22:13,400
Speaker 2: to replace the Jamison part. And that's the only time

1521
01:22:13,439 --> 01:22:16,320
Speaker 2: I've ever refused to play a part because I am

1522
01:22:16,439 --> 01:22:22,000
Speaker 2: not going to replace James Jamison, you know, right, please?

1523
01:22:22,760 --> 01:22:26,759
Speaker 1: Are you the type of can you shape shift your sound?

1524
01:22:28,000 --> 01:22:31,360
Speaker 1: So if I say like, okay, I want to go

1525
01:22:31,560 --> 01:22:34,439
Speaker 1: for something more bestore sounding, and you're like, okay, well

1526
01:22:34,960 --> 01:22:37,000
Speaker 1: I know exactly how to approximate that sound.

1527
01:22:36,840 --> 01:22:41,720
Speaker 2: And absolutely it's like, you know, it's like drawbars on

1528
01:22:41,800 --> 01:22:43,560
Speaker 2: the Hammond. You know, you can go from church to

1529
01:22:44,439 --> 01:22:47,400
Speaker 2: to jazz, you know, and everything in between, you know.

1530
01:22:47,640 --> 01:22:49,960
Speaker 2: But but on the base, if I want to go

1531
01:22:50,040 --> 01:22:52,360
Speaker 2: for the jackal signd, I go for the back pick up,

1532
01:22:53,000 --> 01:22:54,320
Speaker 2: you know, which is what he used to do. And

1533
01:22:54,400 --> 01:22:57,080
Speaker 2: then of course I have I offender jazz bassis yamaha,

1534
01:22:57,120 --> 01:22:59,799
Speaker 2: I mean I have I have a lot of basses

1535
01:22:59,840 --> 01:23:02,840
Speaker 2: that we can just get different sounds on. So yeah,

1536
01:23:02,960 --> 01:23:04,680
Speaker 2: that's and that's one of the fun things to do.

1537
01:23:04,760 --> 01:23:06,880
Speaker 2: You know, you listen to the song, figure out you

1538
01:23:06,960 --> 01:23:09,360
Speaker 2: know what what is this song called for? Oh?

1539
01:23:09,400 --> 01:23:11,120
Speaker 5: I was gonna ask who were some of your favorite players,

1540
01:23:11,160 --> 01:23:13,040
Speaker 5: Like who were the guys that you learned from and

1541
01:23:13,240 --> 01:23:14,920
Speaker 5: that you learned from as you know, when you were younger,

1542
01:23:15,240 --> 01:23:16,600
Speaker 5: and some of the guys that you still pick up

1543
01:23:16,600 --> 01:23:17,200
Speaker 5: stuff from now.

1544
01:23:17,479 --> 01:23:20,200
Speaker 2: Yeah, I mean the guys I mentioned and early on

1545
01:23:20,400 --> 01:23:23,120
Speaker 2: it was like verding White from Mirth Wind, you know,

1546
01:23:23,840 --> 01:23:29,360
Speaker 2: Rocko from Tower Power, James Jammerson, Chuck Rainey, Ron Carter,

1547
01:23:30,160 --> 01:23:32,800
Speaker 2: Charlie Mingus. I mean it was like just the best,

1548
01:23:33,160 --> 01:23:35,679
Speaker 2: so many yeah, only the best, so many great guys.

1549
01:23:35,720 --> 01:23:41,080
Speaker 2: Anthony Jackson, Marcus Marx Miller Aby you know, you know,

1550
01:23:41,320 --> 01:23:42,280
Speaker 2: Jocko of course.

1551
01:23:43,720 --> 01:23:49,720
Speaker 1: So excluding excluding your four play guys, who would you

1552
01:23:49,960 --> 01:23:57,480
Speaker 1: pick in your your starting five lineup? Like career retrospective?

1553
01:23:57,520 --> 01:24:02,000
Speaker 1: Who's on drums? Well, who's on drums? And you played

1554
01:24:02,040 --> 01:24:02,519
Speaker 1: with the best?

1555
01:24:03,800 --> 01:24:04,400
Speaker 2: Dead or live?

1556
01:24:05,200 --> 01:24:08,479
Speaker 1: Yeah, dead or alive? Who who did you gel with

1557
01:24:08,880 --> 01:24:12,560
Speaker 1: the like what drummer brought brought the best out of you?

1558
01:24:14,320 --> 01:24:18,680
Speaker 2: I'll tell you. I have to say, Jeffrey picarl If

1559
01:24:18,720 --> 01:24:20,880
Speaker 2: you listen to a song called Lady Loved Me by

1560
01:24:20,920 --> 01:24:29,799
Speaker 2: George Benson, Reef Martin produced it, I think.

1561
01:24:29,720 --> 01:24:31,720
Speaker 1: So yes, I know the song.

1562
01:24:31,840 --> 01:24:35,960
Speaker 2: Yes, okay, another song, Yes, listen to the fade and

1563
01:24:36,520 --> 01:24:38,760
Speaker 2: what you hear in me and Jeff. It sounds like

1564
01:24:38,800 --> 01:24:41,080
Speaker 2: two kids playing in the sandbox, you know, I mean

1565
01:24:41,120 --> 01:24:44,400
Speaker 2: it was like it it was, and he was just

1566
01:24:45,800 --> 01:24:47,680
Speaker 2: every time we walked in the studio and saw each other,

1567
01:24:47,760 --> 01:24:50,040
Speaker 2: we just started smiling and we did We did everything

1568
01:24:50,120 --> 01:24:56,040
Speaker 2: for Maurice White's solo album, BG's Barbara streisand we did

1569
01:24:56,680 --> 01:24:59,599
Speaker 2: Randy Newman, I Love La all that kind of dude.

1570
01:25:00,080 --> 01:25:04,439
Speaker 1: Wow, Okay, I was going to ask you next, love

1571
01:25:04,520 --> 01:25:08,519
Speaker 1: it and doing and doing? Why do I feel like

1572
01:25:08,560 --> 01:25:11,800
Speaker 1: you're more or less ear to what's her name's video

1573
01:25:11,840 --> 01:25:13,559
Speaker 1: of that as opposed to the actual song?

1574
01:25:13,800 --> 01:25:13,960
Speaker 2: Right?

1575
01:25:14,760 --> 01:25:23,120
Speaker 1: Oh wait, no, Chris Jenner made a You're allergic to

1576
01:25:23,160 --> 01:25:23,479
Speaker 1: that name?

1577
01:25:24,280 --> 01:25:24,719
Speaker 3: Original?

1578
01:25:24,880 --> 01:25:28,240
Speaker 1: I Love l A Right, But I'm only asking because

1579
01:25:28,680 --> 01:25:31,960
Speaker 1: that's one of my favorite Randy Newman albums ever. And

1580
01:25:33,200 --> 01:25:37,040
Speaker 1: Real Emotional Girl is like one of my all time

1581
01:25:37,080 --> 01:25:37,759
Speaker 1: favorite songs.

1582
01:25:38,040 --> 01:25:41,599
Speaker 3: Uh, idiot, that's not David Lee Roth the original. I'm

1583
01:25:41,600 --> 01:25:42,160
Speaker 3: an idiot.

1584
01:25:43,320 --> 01:25:48,439
Speaker 1: Yeah, now, people, Randy, Randy was first. But yeah, what

1585
01:25:48,520 --> 01:25:51,360
Speaker 1: were your memories of doing that? The Randy Newman album.

1586
01:25:52,000 --> 01:25:55,360
Speaker 2: You know, the Memories was basically that was that was

1587
01:25:55,479 --> 01:26:02,240
Speaker 2: the entire total band, you know, Luke Lenny Castro was

1588
01:26:02,479 --> 01:26:07,080
Speaker 2: playing Cushion, Carl you know, I mean it was like Jeffcarl,

1589
01:26:07,200 --> 01:26:10,120
Speaker 2: it was. It was literally and and those guys were

1590
01:26:10,160 --> 01:26:12,840
Speaker 2: the go to guys for for everybody. You know, when

1591
01:26:12,960 --> 01:26:16,560
Speaker 2: when they're Clapton came to record his first uh you

1592
01:26:16,640 --> 01:26:18,720
Speaker 2: know when it's it's called behind the Sun in l A.

1593
01:26:19,080 --> 01:26:21,360
Speaker 2: The Warner, the Brothers guys. Okay, use our guys and

1594
01:26:21,439 --> 01:26:24,759
Speaker 2: there you go again, Jeff Carl Hill and Gaines Lucather,

1595
01:26:25,960 --> 01:26:28,439
Speaker 2: Michael Omarty and I mean it was like the the

1596
01:26:28,760 --> 01:26:31,200
Speaker 2: the session aces of that time. So that was the

1597
01:26:31,320 --> 01:26:34,080
Speaker 2: Randy Newman record was just amazing because he we'd sit

1598
01:26:34,160 --> 01:26:36,519
Speaker 2: around the piano and he showed up the tunes and

1599
01:26:36,600 --> 01:26:37,799
Speaker 2: then we just start go cutting.

1600
01:26:42,880 --> 01:26:46,040
Speaker 1: There's there's two guys that often see their names on credits,

1601
01:26:46,120 --> 01:26:49,200
Speaker 1: but they're not in the total circle because of course

1602
01:26:49,280 --> 01:26:53,160
Speaker 1: the page the page cats. But did you work a

1603
01:26:53,200 --> 01:26:59,920
Speaker 1: lot with uh like Bill Wolfer or Michael Bodkick Michael Bodkerker,

1604
01:27:00,080 --> 01:27:00,880
Speaker 1: Yes at all.

1605
01:27:00,840 --> 01:27:03,960
Speaker 2: Yeah, absolutely, yeah. And Michael Botaker was another one of

1606
01:27:03,960 --> 01:27:05,880
Speaker 2: those names. You'd look on all these records and there's

1607
01:27:05,920 --> 01:27:10,759
Speaker 2: Michael Bodaker. George Benson, give me the Night, There's Michael Bodaker,

1608
01:27:10,800 --> 01:27:13,120
Speaker 2: you know, like all these records, and I and I

1609
01:27:13,240 --> 01:27:18,559
Speaker 2: did several several things with him, including the Academy Awards. Yeah,

1610
01:27:18,600 --> 01:27:20,920
Speaker 2: he was down, we were down underneath the stage.

1611
01:27:21,640 --> 01:27:25,479
Speaker 1: Wait a minute, guys, I knew, I know this is

1612
01:27:25,479 --> 01:27:27,400
Speaker 1: going to be an episode. We always have like a

1613
01:27:27,479 --> 01:27:31,759
Speaker 1: pors Mo post mortem thing where we finished an episode

1614
01:27:32,600 --> 01:27:35,000
Speaker 1: and then we start getting mad because we forgot. Oh,

1615
01:27:35,040 --> 01:27:37,480
Speaker 1: I forgot to askhole, We forgot.

1616
01:27:37,160 --> 01:27:40,280
Speaker 3: To ask place with Nathan. That's gonna happen recorded.

1617
01:27:40,720 --> 01:27:43,479
Speaker 1: I believe. I was trying to sit here and figure out, like,

1618
01:27:44,840 --> 01:27:51,120
Speaker 1: what is the ultimate signature based performance you've given on

1619
01:27:51,200 --> 01:27:56,479
Speaker 1: a record. I'm praying this is you. Are you playing

1620
01:27:56,600 --> 01:28:01,559
Speaker 1: bass on Dennis Edwards? Don't look any further. Yes there, Yes, indeed,

1621
01:28:07,800 --> 01:28:09,760
Speaker 1: I can't believe that's the one thing I did. That's

1622
01:28:09,760 --> 01:28:11,160
Speaker 1: the one thing I need to do my homework. I

1623
01:28:11,240 --> 01:28:15,040
Speaker 1: was just like, get paid in full without that songo, dude,

1624
01:28:15,160 --> 01:28:18,720
Speaker 1: I totally forgot. I was like, I know, he has

1625
01:28:18,800 --> 01:28:22,160
Speaker 1: a signature song that is like a tattoo that's we're

1626
01:28:22,560 --> 01:28:23,360
Speaker 1: forgetting about.

1627
01:28:24,520 --> 01:28:27,840
Speaker 2: You know that is such you know, that is just

1628
01:28:28,040 --> 01:28:28,760
Speaker 2: incredible to me.

1629
01:28:30,920 --> 01:28:34,639
Speaker 1: This is a musicologist, but it's it's such an iconic

1630
01:28:34,760 --> 01:28:39,640
Speaker 1: bassline that Did you write that baseline or was it

1631
01:28:39,800 --> 01:28:43,240
Speaker 1: just like like it's such a base led thing. Did

1632
01:28:43,320 --> 01:28:45,160
Speaker 1: you get writers credit for it or did they tell

1633
01:28:45,200 --> 01:28:47,400
Speaker 1: you this is what you're playing. The baseline is the

1634
01:28:47,439 --> 01:28:48,080
Speaker 1: hook of that song.

1635
01:28:48,360 --> 01:28:50,880
Speaker 2: It's a combination and that's one of my favorite lines.

1636
01:28:50,920 --> 01:28:53,360
Speaker 2: It's a combination of what was already it was basically

1637
01:28:53,840 --> 01:28:57,280
Speaker 2: already there. Uh and so I was I was the

1638
01:28:57,400 --> 01:28:59,439
Speaker 2: executioner of that line.

1639
01:29:00,400 --> 01:29:02,880
Speaker 1: And wow, so did you how many times did you

1640
01:29:02,920 --> 01:29:05,160
Speaker 1: work with because you mentioned Dennis Lambert, did you work

1641
01:29:05,200 --> 01:29:06,760
Speaker 1: with them at all after that?

1642
01:29:06,960 --> 01:29:10,479
Speaker 2: Or yeah? Lots? Yeah, and Dennis So, I mean, you know,

1643
01:29:11,400 --> 01:29:14,600
Speaker 2: it was it was a very fertile period. I mean

1644
01:29:14,640 --> 01:29:17,000
Speaker 2: we're talking you know. I'm just thankful that we were

1645
01:29:17,040 --> 01:29:21,400
Speaker 2: born at a time like the seventies, eighties, nineties where

1646
01:29:21,520 --> 01:29:24,280
Speaker 2: music was just it was so fertile. I mean, there

1647
01:29:24,400 --> 01:29:25,240
Speaker 2: was so much music.

1648
01:29:25,320 --> 01:29:25,479
Speaker 1: Now.

1649
01:29:25,880 --> 01:29:28,240
Speaker 2: I had somebody sent me a picture of a piano

1650
01:29:28,280 --> 01:29:30,160
Speaker 2: with two keys on it the other day, and the

1651
01:29:31,880 --> 01:29:35,439
Speaker 2: they used to write, you write it too now, you know,

1652
01:29:35,720 --> 01:29:39,680
Speaker 2: like and like you almost get penalized for having too

1653
01:29:39,720 --> 01:29:43,360
Speaker 2: many cores. Now you know where this you had lines, baselines,

1654
01:29:43,479 --> 01:29:47,680
Speaker 2: you had chords, you had melodies and and so uh

1655
01:29:48,200 --> 01:29:51,040
Speaker 2: you know another one of those baselines that it was

1656
01:29:51,200 --> 01:29:54,840
Speaker 2: the at the barge do Doom.

1657
01:29:55,479 --> 01:29:57,760
Speaker 1: That's what I'm saying, a dream okay, that is you Okay,

1658
01:29:57,800 --> 01:30:01,240
Speaker 1: good right, but all of these.

1659
01:30:02,960 --> 01:30:08,040
Speaker 2: Dud I mean. And I'll never forget, you know, being

1660
01:30:08,080 --> 01:30:09,920
Speaker 2: in the studio that day, knowing that you know this

1661
01:30:10,080 --> 01:30:12,160
Speaker 2: one is special, very special.

1662
01:30:12,960 --> 01:30:16,080
Speaker 1: Okay. I was gonna ask you win all right? Good

1663
01:30:16,200 --> 01:30:17,680
Speaker 1: Steve asked the question to hit it.

1664
01:30:18,080 --> 01:30:18,880
Speaker 2: It's your question.

1665
01:30:19,040 --> 01:30:21,080
Speaker 1: He never answered it. The dream lineup. We only got

1666
01:30:21,120 --> 01:30:22,960
Speaker 1: to the drummer. We didn't get to the other.

1667
01:30:23,600 --> 01:30:26,559
Speaker 2: Way to go Steve way to referee to go yeah,

1668
01:30:27,400 --> 01:30:28,320
Speaker 2: Greg feeling games.

1669
01:30:28,840 --> 01:30:30,439
Speaker 1: Okay, that's your keyboard player.

1670
01:30:30,560 --> 01:30:31,400
Speaker 2: That's your keyboard player.

1671
01:30:31,479 --> 01:30:32,400
Speaker 1: So who's your guitarist?

1672
01:30:32,720 --> 01:30:36,720
Speaker 2: We got guitarist, I have to say, And this is

1673
01:30:37,040 --> 01:30:39,280
Speaker 2: you're gonna You're gonna you may you may laugh at

1674
01:30:39,320 --> 01:30:41,639
Speaker 2: this one, but Pat Metheni is my favorite guitar player.

1675
01:30:41,800 --> 01:30:47,880
Speaker 1: Yes, yes, I wouldn't. I'm not mad. Wait a minute,

1676
01:30:48,439 --> 01:30:53,840
Speaker 1: I Spring isn't here, not even how many how many

1677
01:30:54,120 --> 01:30:55,200
Speaker 1: Athenie albums are you on?

1678
01:30:56,320 --> 01:31:00,200
Speaker 2: None? You're not okay, I'm not a single Mathenia that's

1679
01:31:00,280 --> 01:31:06,800
Speaker 2: that's that's my bucket list. Yeah, wow, story really yep.

1680
01:31:08,000 --> 01:31:10,400
Speaker 2: We uh, we played a we played a concert for

1681
01:31:11,360 --> 01:31:13,360
Speaker 2: we had to sing at at Dodger Stadium. It was

1682
01:31:13,400 --> 01:31:16,439
Speaker 2: Elton John and Airic Clapton and and METHENI came and

1683
01:31:16,600 --> 01:31:18,879
Speaker 2: Steve and I quoted one of the songs that Steve's

1684
01:31:18,880 --> 01:31:21,200
Speaker 2: playing on it's in seven four and Steve and we

1685
01:31:21,280 --> 01:31:23,719
Speaker 2: started playing that during the solo and Pat went crazy.

1686
01:31:23,800 --> 01:31:27,320
Speaker 2: You know, it was like, you know, fifty thousand people

1687
01:31:27,400 --> 01:31:29,720
Speaker 2: out there. We saw Pat giving his wife a high

1688
01:31:29,800 --> 01:31:32,680
Speaker 2: five when we played this tune. You know, But you know,

1689
01:31:33,040 --> 01:31:37,040
Speaker 2: Pat's he's just he's just a consummate musician. And I've

1690
01:31:37,080 --> 01:31:38,840
Speaker 2: always he's always been one of the guys on my

1691
01:31:38,920 --> 01:31:41,400
Speaker 2: bucket list to play with, you know, to record with.

1692
01:31:41,520 --> 01:31:43,639
Speaker 2: We've played together, kind of jammed up at his place

1693
01:31:44,200 --> 01:31:47,240
Speaker 2: on the Upper West Side, but I've never had the

1694
01:31:47,240 --> 01:31:49,280
Speaker 2: pleasure of being on one of his records. Of course,

1695
01:31:49,360 --> 01:31:51,800
Speaker 2: Georgia Man saying, I mean and then you know, as

1696
01:31:51,880 --> 01:31:55,200
Speaker 2: bands go, you know, if you look at you know,

1697
01:31:55,280 --> 01:31:59,600
Speaker 2: we lost four play lost, Chuck Lobe, Who's oars. You know,

1698
01:32:01,280 --> 01:32:03,240
Speaker 2: the guy could do no wrong for I mean, he

1699
01:32:03,240 --> 01:32:06,880
Speaker 2: could play funk, jazz, rock and uh. And on top

1700
01:32:06,960 --> 01:32:08,800
Speaker 2: of all that, he was the sweetest guy. So you know,

1701
01:32:08,960 --> 01:32:10,599
Speaker 2: check I think about him every day.

1702
01:32:12,000 --> 01:32:13,519
Speaker 1: When did he pass? When did Chuck pass?

1703
01:32:14,120 --> 01:32:14,960
Speaker 2: Twenty seventeen?

1704
01:32:15,520 --> 01:32:17,479
Speaker 1: Yeah, okay, they think.

1705
01:32:17,640 --> 01:32:20,120
Speaker 4: Can I ask what musicians or music you and Noah

1706
01:32:20,240 --> 01:32:22,519
Speaker 4: talk about? What is what does he put you onto?

1707
01:32:22,640 --> 01:32:24,320
Speaker 4: Since he is like an amazing musician.

1708
01:32:24,400 --> 01:32:27,120
Speaker 2: H Well, you know he's amazing because well, of course

1709
01:32:27,520 --> 01:32:31,840
Speaker 2: everybody's you know, onto Jacob Kayer, So he's like, he's

1710
01:32:31,920 --> 01:32:35,040
Speaker 2: like phenom of phenoms. But we you know, we we

1711
01:32:35,200 --> 01:32:38,280
Speaker 2: go with Herbie and he's I look at his you know,

1712
01:32:38,360 --> 01:32:41,080
Speaker 2: because he goes to the not only does he go

1713
01:32:41,160 --> 01:32:43,720
Speaker 2: to University of California b at Berkeley, but he goes

1714
01:32:43,760 --> 01:32:45,600
Speaker 2: to YouTube University.

1715
01:32:45,320 --> 01:32:47,600
Speaker 3: And so yeah, you started him there and.

1716
01:32:47,680 --> 01:32:53,599
Speaker 2: He studies you know, Billy Preston Goat Yeah, and people

1717
01:32:53,760 --> 01:33:00,240
Speaker 2: like Billy and and Herbie. Uh, you know, he he's

1718
01:33:00,320 --> 01:33:03,080
Speaker 2: kind of all over the map, you know, with with everything,

1719
01:33:03,160 --> 01:33:05,840
Speaker 2: and he loved we we do one of our favorite

1720
01:33:05,880 --> 01:33:08,040
Speaker 2: songs to play, Sunny Side of the Street, you know,

1721
01:33:08,120 --> 01:33:11,479
Speaker 2: which is a sixty year old song that that Louis

1722
01:33:11,600 --> 01:33:15,160
Speaker 2: Armstrong sang back in the day. So he he knows everything.

1723
01:33:15,240 --> 01:33:19,920
Speaker 2: But then we we love Algiou and you know, kind

1724
01:33:19,960 --> 01:33:21,920
Speaker 2: of kind of a z. I mean, he's just a

1725
01:33:22,080 --> 01:33:23,280
Speaker 2: musical musical guy.

1726
01:33:23,479 --> 01:33:25,000
Speaker 3: Yeah by the looks of YouTube, but like you had

1727
01:33:25,040 --> 01:33:26,080
Speaker 3: a baby music genius.

1728
01:33:28,160 --> 01:33:32,120
Speaker 2: Well, you know, he has perfect pitch and he not

1729
01:33:32,280 --> 01:33:34,360
Speaker 2: only does, he's not one of these guys that like,

1730
01:33:34,439 --> 01:33:37,439
Speaker 2: if you look, you're gonna hear a million Olympic chops,

1731
01:33:37,479 --> 01:33:41,160
Speaker 2: you know, but he's got heart and soul and the choices.

1732
01:33:41,200 --> 01:33:44,120
Speaker 2: You know, it's the it's the it's what you don't play.

1733
01:33:44,120 --> 01:33:47,280
Speaker 2: It's a space you leave that makes makes it specially,

1734
01:33:47,280 --> 01:33:49,120
Speaker 2: you know. And that's what I'd like to see a

1735
01:33:49,160 --> 01:33:52,479
Speaker 2: lot of the younger guys kind of understanding, because you know,

1736
01:33:52,600 --> 01:33:54,880
Speaker 2: now I just he starts scrolling. It's like you just

1737
01:33:55,000 --> 01:33:57,759
Speaker 2: hear everything a Z in the first bar.

1738
01:33:58,439 --> 01:34:02,280
Speaker 1: Right, Steve, do you want to ask the question? Should

1739
01:34:02,320 --> 01:34:02,439
Speaker 1: I go?

1740
01:34:03,000 --> 01:34:05,960
Speaker 7: Well, actually, I'm curious about you said you played at

1741
01:34:06,000 --> 01:34:07,320
Speaker 7: Live A in Philly.

1742
01:34:08,800 --> 01:34:12,919
Speaker 2: Was that with Phil Collins? That was with Kenny Moggins.

1743
01:34:13,479 --> 01:34:16,559
Speaker 2: Kenny Logins, Yeah, you're.

1744
01:34:18,080 --> 01:34:19,200
Speaker 1: Also very well known.

1745
01:34:19,080 --> 01:34:22,000
Speaker 2: For playing fifteen nineteen eighty five and.

1746
01:34:23,560 --> 01:34:31,720
Speaker 7: Mmy said at Ulliot Live. Yeah, yeah, but you're I

1747
01:34:31,800 --> 01:34:36,599
Speaker 7: guess you're you're you're applying my obsession with easy Lover

1748
01:34:36,720 --> 01:34:39,759
Speaker 7: and your association with with Phil How many Phil Collins?

1749
01:34:41,800 --> 01:34:44,439
Speaker 1: That was a Philip Bailey album that that song was on.

1750
01:34:44,880 --> 01:34:46,960
Speaker 2: Yet you know it was a Philip and and my

1751
01:34:47,120 --> 01:34:50,240
Speaker 2: relationship with Philip is what got me on the gig

1752
01:34:50,360 --> 01:34:53,320
Speaker 2: phil Phil Collins. He was going to be the producer

1753
01:34:53,800 --> 01:34:55,599
Speaker 2: and Phillip said, hey, I want to bring I want

1754
01:34:55,640 --> 01:34:58,040
Speaker 2: to bring Nate Nate East over to London with me

1755
01:34:58,840 --> 01:35:01,439
Speaker 2: and so yeah, you know, so we went to London,

1756
01:35:01,560 --> 01:35:02,240
Speaker 2: recorded that in.

1757
01:35:03,760 --> 01:35:04,280
Speaker 1: Wrote that song.

1758
01:35:04,360 --> 01:35:07,400
Speaker 2: Correct, Yeah, we wrote that song. It was the last

1759
01:35:07,439 --> 01:35:10,439
Speaker 2: song that we recorded. It was like after two weeks

1760
01:35:10,439 --> 01:35:12,560
Speaker 2: of recording and Philips said, man, we still need like

1761
01:35:12,600 --> 01:35:16,479
Speaker 2: an undeniable single, and we went over the piano and

1762
01:35:16,560 --> 01:35:18,120
Speaker 2: about twenty minutes later that came out.

1763
01:35:19,280 --> 01:35:21,120
Speaker 1: Wow, just twenty minutes later.

1764
01:35:21,840 --> 01:35:23,760
Speaker 2: Yeah, And what it was was we kind of like

1765
01:35:23,840 --> 01:35:27,800
Speaker 2: had the we had all the parts and we said,

1766
01:35:27,880 --> 01:35:30,400
Speaker 2: let's make a demo over the track and then tomorrow

1767
01:35:30,439 --> 01:35:32,479
Speaker 2: we'll listen to the demo and come back. And so

1768
01:35:33,000 --> 01:35:35,479
Speaker 2: we made the demo. The next morning we put it

1769
01:35:35,600 --> 01:35:39,800
Speaker 2: up and George Masenberg was the engineer. He recorded, we

1770
01:35:39,960 --> 01:35:44,479
Speaker 2: played it and everybody, Hey, everybody liked it. Was wrong

1771
01:35:44,520 --> 01:35:47,000
Speaker 2: with that? Let's go with that. And then I heard

1772
01:35:47,080 --> 01:35:50,519
Speaker 2: Phil Collins kind of singing these choosy lover was the name,

1773
01:35:50,760 --> 01:35:52,320
Speaker 2: you know it was. It was the lyric and singing.

1774
01:35:52,360 --> 01:35:55,679
Speaker 2: But as he was singing, I said, manage voice sounds

1775
01:35:55,680 --> 01:35:56,800
Speaker 2: and I said, man, wy, don't you guys just do

1776
01:35:56,840 --> 01:35:58,880
Speaker 2: it as a duet? Okay?

1777
01:36:00,200 --> 01:36:02,840
Speaker 3: Really yeah, Nathan, everyone it.

1778
01:36:02,920 --> 01:36:04,720
Speaker 2: Was it was a Phil Bailey record, you know. But

1779
01:36:04,840 --> 01:36:07,680
Speaker 2: then you could hear like Phil's voice, and at that

1780
01:36:07,920 --> 01:36:11,200
Speaker 2: particular week, the song Against All Odds was number one,

1781
01:36:11,400 --> 01:36:13,800
Speaker 2: Phil's first number one, and it was like number one

1782
01:36:13,840 --> 01:36:16,280
Speaker 2: on the charts. So it was like, this is a

1783
01:36:16,400 --> 01:36:17,880
Speaker 2: no brainer. The two of them has to do it.

1784
01:36:18,000 --> 01:36:21,320
Speaker 2: And man used to hear it on like three radio

1785
01:36:21,360 --> 01:36:22,160
Speaker 2: stations at once.

1786
01:36:23,840 --> 01:36:25,080
Speaker 3: It's still one of the greatest.

1787
01:36:25,400 --> 01:36:26,960
Speaker 1: So that is I love that song.

1788
01:36:27,080 --> 01:36:30,320
Speaker 2: That was that that allowed me to kind of solidify

1789
01:36:30,479 --> 01:36:34,000
Speaker 2: my my standing with the folks. I bought my house

1790
01:36:34,560 --> 01:36:36,680
Speaker 2: and finally they said, you know, because you know, your

1791
01:36:36,720 --> 01:36:39,960
Speaker 2: parents were saying, yeah, but you should have something on.

1792
01:36:43,360 --> 01:36:45,240
Speaker 3: Your dad had a whole job. I still can't repeat

1793
01:36:45,400 --> 01:36:45,960
Speaker 3: arrows something.

1794
01:36:47,200 --> 01:36:50,000
Speaker 2: So he was in the air space business that design

1795
01:36:50,040 --> 01:36:55,439
Speaker 2: engineer aircraft. Yeah, he designed the F sixteen swept wings

1796
01:36:55,479 --> 01:36:57,760
Speaker 2: and the C five a tail, you know, and he

1797
01:36:57,800 --> 01:37:01,120
Speaker 2: used to always bring these rocket pictures home of these

1798
01:37:01,240 --> 01:37:03,720
Speaker 2: rockets and silos. So that's where we got our kind

1799
01:37:03,760 --> 01:37:06,880
Speaker 2: of We had four pilots in the family fly my

1800
01:37:07,240 --> 01:37:07,760
Speaker 2: brother's fly.

1801
01:37:08,120 --> 01:37:09,880
Speaker 3: My dad was a rocket scientist.

1802
01:37:12,760 --> 01:37:18,439
Speaker 1: Is there is there a session or song that you

1803
01:37:18,560 --> 01:37:23,200
Speaker 1: had to pass on that wound up becoming like like

1804
01:37:23,920 --> 01:37:25,519
Speaker 1: did you get the call first for like we Are

1805
01:37:25,600 --> 01:37:28,479
Speaker 1: the World or something like that, and you had to

1806
01:37:28,520 --> 01:37:30,679
Speaker 1: pass on it because you were already doing a gig somewhere.

1807
01:37:31,400 --> 01:37:34,920
Speaker 2: Well, fortunately I can't tell that story because because no

1808
01:37:35,240 --> 01:37:37,000
Speaker 2: is one of the words that I have not been

1809
01:37:37,040 --> 01:37:39,280
Speaker 2: able to say. And I don't turn down anything but

1810
01:37:39,400 --> 01:37:39,800
Speaker 2: my collar.

1811
01:37:40,439 --> 01:37:42,120
Speaker 1: No, no, no, no, talk about it.

1812
01:37:42,320 --> 01:37:43,080
Speaker 3: That's not possible.

1813
01:37:43,840 --> 01:37:45,439
Speaker 1: So I should take all the gigs, all right, thank you?

1814
01:37:46,920 --> 01:37:49,479
Speaker 2: You know. I mean I learned early on, like my

1815
01:37:49,520 --> 01:37:52,160
Speaker 2: accountant said, nobody's following you around with a pension plan.

1816
01:37:52,240 --> 01:37:56,000
Speaker 2: And we got to you know the career, well a

1817
01:37:56,120 --> 01:37:59,080
Speaker 2: studio musicians careers four years, so we got to figure

1818
01:37:59,120 --> 01:38:00,439
Speaker 2: out what to do with your money. And he told

1819
01:38:00,479 --> 01:38:04,200
Speaker 2: me that in nineteen eighty. You know, wow, So you

1820
01:38:04,320 --> 01:38:08,320
Speaker 2: know you're always thinking, you know, is this is this

1821
01:38:08,479 --> 01:38:10,439
Speaker 2: it a man the peak? And is it gonna? Am

1822
01:38:10,439 --> 01:38:11,720
Speaker 2: I going to be on the other side? You know?

1823
01:38:11,760 --> 01:38:16,040
Speaker 2: They say that the four stages of a musician's career

1824
01:38:16,160 --> 01:38:21,280
Speaker 2: is who's Nathanist, Get me a get me Nathanist, get

1825
01:38:21,320 --> 01:38:25,640
Speaker 2: me a young Nathanist. Who's nathan Who nathan How do

1826
01:38:25,720 --> 01:38:26,320
Speaker 2: you get that?

1827
01:38:26,479 --> 01:38:30,519
Speaker 1: One more time? I've read that before, one more time, say.

1828
01:38:31,960 --> 01:38:36,800
Speaker 2: Who's Nathanist, get me Nathanist, get me a young Nathanist.

1829
01:38:37,840 --> 01:38:38,679
Speaker 1: Who's Nathanist?

1830
01:38:41,479 --> 01:38:44,320
Speaker 2: I hate that. David Foster told me that that Hurtrillian.

1831
01:38:45,200 --> 01:38:46,760
Speaker 1: I've read that in one of my voice over books.

1832
01:38:46,760 --> 01:38:50,280
Speaker 2: They the U right of that has kept me going

1833
01:38:50,479 --> 01:38:51,679
Speaker 2: for forty years.

1834
01:38:51,720 --> 01:38:57,360
Speaker 1: Now, Wow, I've never heard it put that way, and

1835
01:38:57,439 --> 01:38:59,080
Speaker 1: now that that totally.

1836
01:38:59,080 --> 01:39:01,200
Speaker 5: Don't don't you start feeling all the part and the

1837
01:39:01,280 --> 01:39:03,240
Speaker 5: other part they say, The only other part I've heard

1838
01:39:03,479 --> 01:39:05,920
Speaker 5: of that same saying only other verision I've heard is

1839
01:39:05,960 --> 01:39:09,280
Speaker 5: the additional stage of get me Nathan East at any price.

1840
01:39:09,720 --> 01:39:12,760
Speaker 1: So like that's kind of before, you know, I mean, I.

1841
01:39:12,880 --> 01:39:15,760
Speaker 2: Like that to this day. My brothers called me and

1842
01:39:15,800 --> 01:39:18,120
Speaker 2: they always and soon as they answer that get me

1843
01:39:18,200 --> 01:39:21,040
Speaker 2: a young Nathan Eist. You know, they always you know,

1844
01:39:21,160 --> 01:39:23,360
Speaker 2: but but it's good to kind of have a little

1845
01:39:23,360 --> 01:39:25,519
Speaker 2: bit of that fear because especially back in the day,

1846
01:39:25,600 --> 01:39:28,000
Speaker 2: there was always the new guy, you know, like in

1847
01:39:28,360 --> 01:39:30,360
Speaker 2: the eighties, you know, like especially young guitar you know,

1848
01:39:30,920 --> 01:39:33,680
Speaker 2: you had you had like Larry Carlton, and then you

1849
01:39:33,800 --> 01:39:36,160
Speaker 2: had Lee Written Hour and on these guys coming and

1850
01:39:36,360 --> 01:39:39,360
Speaker 2: Luca Third and so there was always like this this

1851
01:39:39,720 --> 01:39:43,160
Speaker 2: heavy hitter waiting in the wings, you know, to be

1852
01:39:43,280 --> 01:39:47,560
Speaker 2: the next guy. You know. So now I think we

1853
01:39:47,680 --> 01:39:49,880
Speaker 2: can we can rest a little easier because there's not

1854
01:39:50,160 --> 01:39:52,640
Speaker 2: a million studios and a million gigs going on like

1855
01:39:52,680 --> 01:39:53,479
Speaker 2: they were back then.

1856
01:39:54,560 --> 01:40:00,200
Speaker 1: Well, who who in your in your eyes was uh

1857
01:40:01,840 --> 01:40:05,120
Speaker 1: kind of uh who who do you admire of that? Well,

1858
01:40:05,240 --> 01:40:10,160
Speaker 1: I guess like young lions to you are now established musicians.

1859
01:40:10,240 --> 01:40:16,160
Speaker 1: But I mean, if I'm talking to mid nineties Nathan Ese, like,

1860
01:40:16,240 --> 01:40:18,920
Speaker 1: who who are the musicians that were coming up that

1861
01:40:19,040 --> 01:40:21,680
Speaker 1: you were like, okay, I messed with them? Or you know,

1862
01:40:22,160 --> 01:40:26,200
Speaker 1: like who's do you feel that the future is safe with?

1863
01:40:26,760 --> 01:40:30,719
Speaker 2: Yeah? I mean when because I remember, you know, first

1864
01:40:30,800 --> 01:40:33,160
Speaker 2: here in s browns Espaldine and she was one of

1865
01:40:33,200 --> 01:40:37,240
Speaker 2: these like she was young, new newcomer, and then next thing,

1866
01:40:37,280 --> 01:40:39,519
Speaker 2: you know, she had Album of the Year, you know,

1867
01:40:39,880 --> 01:40:44,799
Speaker 2: the Grammys. And then again there's people like Jacob Kaier

1868
01:40:45,000 --> 01:40:48,280
Speaker 2: and and Justin Lee Schultz. Now that are that I

1869
01:40:48,360 --> 01:40:53,000
Speaker 2: think are very very promising that I feel comfortable leaving

1870
01:40:53,040 --> 01:40:55,000
Speaker 2: them with the with the torch, you know, because they

1871
01:40:55,680 --> 01:40:57,720
Speaker 2: they seem to be putting in some serious time. And

1872
01:40:57,840 --> 01:40:59,720
Speaker 2: then they're there. There are quite a few, and and

1873
01:40:59,800 --> 01:41:02,680
Speaker 2: I'm I'm excited by my son Noah too, because I

1874
01:41:02,960 --> 01:41:08,479
Speaker 2: think he's he's becoming a student of music and really

1875
01:41:08,600 --> 01:41:12,400
Speaker 2: like a sponge, you know, just absorbing everybody from Keith

1876
01:41:12,520 --> 01:41:17,360
Speaker 2: Charott to Bill Levin's too, you know, to Herbie and uh,

1877
01:41:17,880 --> 01:41:20,599
Speaker 2: everybody in between these. But now he's playing Hammond Oregon

1878
01:41:20,920 --> 01:41:23,040
Speaker 2: B three and so he's listening to a lot of

1879
01:41:23,120 --> 01:41:27,160
Speaker 2: the lot of the cats there, Jimmy Smith, Joey, It's

1880
01:41:27,200 --> 01:41:28,519
Speaker 2: crazy all right.

1881
01:41:28,560 --> 01:41:32,320
Speaker 1: Before we wind up, I just I'm still thinking of

1882
01:41:32,400 --> 01:41:34,360
Speaker 1: the post mortem talk.

1883
01:41:34,520 --> 01:41:36,320
Speaker 3: It's no way you can avoid it.

1884
01:41:36,880 --> 01:41:41,960
Speaker 1: No I just okay, are you I know you play

1885
01:41:42,000 --> 01:41:44,679
Speaker 1: with the Pointer sisters. Are you on? I'm so excited,

1886
01:41:46,560 --> 01:41:48,480
Speaker 1: I'm on, I'm so excited.

1887
01:41:49,640 --> 01:41:53,320
Speaker 2: Jesus I played the posters of my Cousins by Marriage.

1888
01:41:55,680 --> 01:42:00,120
Speaker 2: So we actually uh, we actually re recorded all the

1889
01:42:00,200 --> 01:42:03,200
Speaker 2: hits and they asked me to produce it because a

1890
01:42:03,240 --> 01:42:05,040
Speaker 2: lot of times, you know, like PEPSI will say hey,

1891
01:42:05,080 --> 01:42:07,840
Speaker 2: we want to use I'm so excited, and the record

1892
01:42:07,880 --> 01:42:10,479
Speaker 2: labels say, okay, give us something master and give us

1893
01:42:10,520 --> 01:42:14,760
Speaker 2: something crazy, and so they they hired me to produce it.

1894
01:42:14,840 --> 01:42:16,559
Speaker 2: So it was so easy because then I just called

1895
01:42:16,600 --> 01:42:18,599
Speaker 2: Greg and John Barnes and all the guys that played

1896
01:42:18,640 --> 01:42:21,120
Speaker 2: on the original and we went in and recruit recreated

1897
01:42:21,160 --> 01:42:25,479
Speaker 2: all those songs oh wowow and used them on you

1898
01:42:25,560 --> 01:42:27,479
Speaker 2: know now when you see them on a Pepsi commercial,

1899
01:42:27,880 --> 01:42:30,760
Speaker 2: those are the ones and they're they're benefiting from it,

1900
01:42:30,800 --> 01:42:33,120
Speaker 2: which is great, so cool, And that's.

1901
01:42:33,000 --> 01:42:35,760
Speaker 1: What Prince did you know, Yeah you can re recall.

1902
01:42:35,520 --> 01:42:38,920
Speaker 2: Yeah yeah, yeah, because you you know, the label onto

1903
01:42:38,920 --> 01:42:41,200
Speaker 2: the Masters and you know that's when Prince put slave

1904
01:42:41,280 --> 01:42:44,400
Speaker 2: on his right head and he just went in and

1905
01:42:44,520 --> 01:42:45,080
Speaker 2: recut him.

1906
01:42:45,400 --> 01:42:49,519
Speaker 1: But sometimes it backfires, like you know before, think, thank

1907
01:42:49,560 --> 01:42:53,720
Speaker 1: you Sylvia Room for finally releasing the heat Wave discography

1908
01:42:54,000 --> 01:42:56,600
Speaker 1: for streaming, because I don't know if I could have

1909
01:42:56,880 --> 01:43:02,680
Speaker 1: taken another like Boogie Nights twenty twenty. You know, some

1910
01:43:02,920 --> 01:43:05,479
Speaker 1: acts like re recording it not really quite nailing it

1911
01:43:05,600 --> 01:43:08,880
Speaker 1: the way that you know in some cases it doesn't work,

1912
01:43:09,040 --> 01:43:12,479
Speaker 1: but in this case it does work. Another dance classic

1913
01:43:12,560 --> 01:43:15,760
Speaker 1: of yours is that your base work on Wolmack and

1914
01:43:15,800 --> 01:43:17,240
Speaker 1: Womack's Baby I'm Scared of You.

1915
01:43:19,160 --> 01:43:22,360
Speaker 2: I'm on Womack and Willmack, and I'd have to I'd

1916
01:43:22,439 --> 01:43:25,000
Speaker 2: have to look and remember if I could the particular tune.

1917
01:43:25,040 --> 01:43:26,400
Speaker 2: So let me look that up and I'll get back

1918
01:43:26,439 --> 01:43:27,040
Speaker 2: to you on that one.

1919
01:43:27,280 --> 01:43:32,080
Speaker 1: That's a great problem to have fully accept it, I except.

1920
01:43:31,840 --> 01:43:35,680
Speaker 2: Start stacking them up, you know, after after a ten

1921
01:43:35,760 --> 01:43:37,439
Speaker 2: thousand tunes, it's just crazy.

1922
01:43:37,800 --> 01:43:42,160
Speaker 1: Yeah, Fante, he's on another iconic hip hop bass sample?

1923
01:43:42,840 --> 01:43:47,720
Speaker 1: Which one? So you you're you're you're playing on uh

1924
01:43:48,040 --> 01:43:52,760
Speaker 1: Flack and Bryson's Born to Love album? Correct? Oh my god,

1925
01:43:53,000 --> 01:43:57,920
Speaker 1: they're they're there duet right yeah, yeah, second Childhood Primo

1926
01:43:58,080 --> 01:43:59,880
Speaker 1: boo b B boom.

1927
01:44:03,479 --> 01:44:06,240
Speaker 2: You know, you reminded me of stuff that I that

1928
01:44:06,360 --> 01:44:09,439
Speaker 2: I completed. And you know this happens in Japan because

1929
01:44:09,439 --> 01:44:11,840
Speaker 2: they pay attention to everything, and sometimes I'm walking down

1930
01:44:11,880 --> 01:44:14,240
Speaker 2: the street, they come up with a big armful of

1931
01:44:14,320 --> 01:44:17,840
Speaker 2: vinyl records that you completely forgot that you played on

1932
01:44:18,720 --> 01:44:20,320
Speaker 2: the side and everything.

1933
01:44:20,400 --> 01:44:24,320
Speaker 1: But see, that's and that's what I I wish that

1934
01:44:25,120 --> 01:44:28,800
Speaker 1: you know, the powers that be and and the Red

1935
01:44:28,840 --> 01:44:32,839
Speaker 1: Tape the red Tape people and the lawyers and whatnot

1936
01:44:34,920 --> 01:44:39,240
Speaker 1: would realize that the beauty of sampling is that cats

1937
01:44:39,320 --> 01:44:44,760
Speaker 1: like us will see what gets sampled, and now not

1938
01:44:45,000 --> 01:44:50,519
Speaker 1: only will we purchase the the ROBERTA. Flack and people

1939
01:44:50,600 --> 01:44:53,439
Speaker 1: bryceon album, but then we're gonna read the credits and

1940
01:44:53,479 --> 01:44:57,000
Speaker 1: see who played on it and then purchase everything that

1941
01:44:57,040 --> 01:44:59,840
Speaker 1: they played on and so on and so the rabbit

1942
01:44:59,840 --> 01:45:00,560
Speaker 1: hole p s.

1943
01:45:00,720 --> 01:45:02,559
Speaker 4: I would like to tell the masters who are listening

1944
01:45:02,560 --> 01:45:04,200
Speaker 4: to this, there's an app for that, and it's called Deeper.

1945
01:45:04,360 --> 01:45:07,640
Speaker 3: Just saying black owned, go get it deeper. It's an

1946
01:45:07,640 --> 01:45:08,360
Speaker 3: app called Deeper.

1947
01:45:08,479 --> 01:45:10,479
Speaker 4: Like if you find a song you like the bass player,

1948
01:45:10,560 --> 01:45:12,240
Speaker 4: you touched the bass player's name and you can see

1949
01:45:12,360 --> 01:45:13,639
Speaker 4: everything that the bass player did.

1950
01:45:14,160 --> 01:45:17,479
Speaker 1: Wow, okay, are yeah deeper?

1951
01:45:18,280 --> 01:45:23,759
Speaker 2: And well you know it's it's it's like Aaron Schwartz

1952
01:45:23,840 --> 01:45:28,360
Speaker 2: did with Reddit. He he wanted to make available legal

1953
01:45:28,479 --> 01:45:32,880
Speaker 2: documents that usually people that are in MT studying, they

1954
01:45:32,960 --> 01:45:35,800
Speaker 2: have to pay thirty five bucks to get a legal thing.

1955
01:45:35,960 --> 01:45:38,800
Speaker 2: So so he kind of he started making those things

1956
01:45:38,840 --> 01:45:40,680
Speaker 2: available and that's where he got in trouble. He got

1957
01:45:40,720 --> 01:45:44,840
Speaker 2: sued by the government. But oh, it's it's one of

1958
01:45:44,880 --> 01:45:48,759
Speaker 2: those things where you are we gonna are we gonna

1959
01:45:49,560 --> 01:45:52,280
Speaker 2: keep it going, moving forward so that people can know

1960
01:45:53,360 --> 01:45:55,680
Speaker 2: what would happened before, you know, because we don't want

1961
01:45:55,720 --> 01:45:59,560
Speaker 2: them to forget about Natalie Cole and you know, Ella Fitzgerald.

1962
01:46:01,240 --> 01:46:04,560
Speaker 2: You just don't want you know, Billie Holiday and and

1963
01:46:04,840 --> 01:46:08,720
Speaker 2: you you want our youth to really have access to that.

1964
01:46:09,400 --> 01:46:12,200
Speaker 2: You know, So if we put too many restrictions and

1965
01:46:12,439 --> 01:46:14,559
Speaker 2: and again, you know, they'll they'll figure out a way

1966
01:46:14,600 --> 01:46:18,200
Speaker 2: to monetize and get it. But I think to to

1967
01:46:18,320 --> 01:46:20,519
Speaker 2: kind of put so many restrictions on everything, it's just

1968
01:46:20,720 --> 01:46:23,280
Speaker 2: it's just rough, you know.

1969
01:46:23,760 --> 01:46:28,720
Speaker 1: Okay, warmer thing. Okay, give me three more because there's

1970
01:46:28,760 --> 01:46:31,599
Speaker 1: too many, man, because be remiss.

1971
01:46:31,680 --> 01:46:34,880
Speaker 3: And I would hate how long I'm trying to remember

1972
01:46:34,920 --> 01:46:36,639
Speaker 3: because those are two.

1973
01:46:39,439 --> 01:46:43,040
Speaker 1: I'm gonna have this. I'm gonna in the whole. But

1974
01:46:43,320 --> 01:46:47,519
Speaker 1: you've also worked with NARDA. Michael Walden of course doing

1975
01:46:47,600 --> 01:46:51,400
Speaker 1: his magic streak with Aretha and Whitney and whatnot. That's

1976
01:46:51,479 --> 01:46:55,719
Speaker 1: you on saving all my love for you? Yes, dude,

1977
01:46:57,080 --> 01:47:00,360
Speaker 1: that okay, what kind of base are you play on

1978
01:47:01,680 --> 01:47:02,880
Speaker 1: on saving all my love for you?

1979
01:47:03,040 --> 01:47:05,960
Speaker 2: Because that white base, right, it's this white base right

1980
01:47:06,000 --> 01:47:10,280
Speaker 2: behind me. It's a BB three thousand yamaha bass. Wow,

1981
01:47:11,600 --> 01:47:15,360
Speaker 2: it's uh, Gene Page wrote, listen. Gene Page wrote all

1982
01:47:15,400 --> 01:47:19,720
Speaker 2: those those notes too. Michael Masser was producing. We were

1983
01:47:19,720 --> 01:47:23,720
Speaker 2: at Devonshire Studios. We you know that the greatest love

1984
01:47:23,760 --> 01:47:24,200
Speaker 2: of all.

1985
01:47:25,240 --> 01:47:29,160
Speaker 1: Right behind me. But my question about saving all my

1986
01:47:29,240 --> 01:47:33,080
Speaker 1: love for you though? And is that a five string bass?

1987
01:47:33,360 --> 01:47:34,320
Speaker 2: It's five string bass.

1988
01:47:34,680 --> 01:47:37,320
Speaker 1: Okay. That explains everything, because the thing is is that

1989
01:47:38,120 --> 01:47:40,960
Speaker 1: even though I didn't, I didn't. I mean when when

1990
01:47:41,160 --> 01:47:43,360
Speaker 1: when I don came out, I was fourteen years old,

1991
01:47:44,000 --> 01:47:47,120
Speaker 1: but was it was in the eighties, yeah, eighty five.

1992
01:47:47,560 --> 01:47:52,240
Speaker 1: And so for me though, when you get to the

1993
01:47:52,400 --> 01:47:55,599
Speaker 1: last bridge, because the night is the night, good Field

1994
01:47:55,600 --> 01:47:59,960
Speaker 1: and all right, you played in such a low register

1995
01:48:00,040 --> 01:48:04,320
Speaker 1: there that I was like, there's no there's no base

1996
01:48:04,400 --> 01:48:08,680
Speaker 1: that can actually pay like he's playing below uh an

1997
01:48:08,760 --> 01:48:14,800
Speaker 1: e right, you were, and I never heard that, like

1998
01:48:14,960 --> 01:48:17,439
Speaker 1: normally someone would would go to the upper register to

1999
01:48:17,520 --> 01:48:21,000
Speaker 1: play it. But you went low with it and okay,

2000
01:48:21,160 --> 01:48:23,040
Speaker 1: you played on a five string and I.

2001
01:48:23,200 --> 01:48:25,920
Speaker 2: Was I was actually shocked that because that was the

2002
01:48:26,000 --> 01:48:28,280
Speaker 2: first kind of some of the first five string records

2003
01:48:28,280 --> 01:48:30,840
Speaker 2: I was playing on, and I was kind of saying,

2004
01:48:30,920 --> 01:48:32,680
Speaker 2: as is this really going to be cool? Or am

2005
01:48:32,680 --> 01:48:33,600
Speaker 2: I going to get away with this?

2006
01:48:34,120 --> 01:48:38,040
Speaker 1: You know, because it was that was a risk. It

2007
01:48:38,160 --> 01:48:40,720
Speaker 1: was unusual to hear because I just never heard a

2008
01:48:41,080 --> 01:48:42,400
Speaker 1: base go that low before.

2009
01:48:42,640 --> 01:48:45,400
Speaker 2: Yeah, and okay, you know, I have to say, and

2010
01:48:45,680 --> 01:48:49,160
Speaker 2: by the way, congratulations. You did an amazing job as

2011
01:48:49,280 --> 01:48:56,160
Speaker 2: musical director for the Oscars and I appreciate that you have.

2012
01:48:56,960 --> 01:49:00,800
Speaker 2: You know, to me, you brought the show into into

2013
01:49:00,920 --> 01:49:02,760
Speaker 2: the current statement.

2014
01:49:03,320 --> 01:49:08,240
Speaker 1: Let's talk about something beyond nineteen fifty. No, but I'm

2015
01:49:08,240 --> 01:49:11,240
Speaker 1: gonna tell you it seemed like on paper, it just

2016
01:49:11,320 --> 01:49:15,400
Speaker 1: seems easy, like oh, quest love dj' di it. But man, oh,

2017
01:49:15,600 --> 01:49:18,760
Speaker 1: the only reason why I know those three letters AFM. Yes,

2018
01:49:18,960 --> 01:49:21,000
Speaker 1: of course we have an AFM here at the tonight show,

2019
01:49:21,520 --> 01:49:26,439
Speaker 1: and we deal with the rigamarole of whatever. But yo,

2020
01:49:26,880 --> 01:49:31,559
Speaker 1: they do not play in Los Angeles, and I thought

2021
01:49:31,600 --> 01:49:34,080
Speaker 1: everything was going to be gravy, and then the AFM

2022
01:49:34,160 --> 01:49:36,960
Speaker 1: rep came and was like he wanted to know every

2023
01:49:37,000 --> 01:49:39,439
Speaker 1: song I was playing, and I guess the deal they

2024
01:49:39,520 --> 01:49:48,120
Speaker 1: made was like, basically, if these are AFM Orchestra members,

2025
01:49:48,240 --> 01:49:49,720
Speaker 1: then you have to pay a certain rate for this

2026
01:49:49,840 --> 01:49:53,840
Speaker 1: and that. So it's it's really the night before I

2027
01:49:53,840 --> 01:49:56,719
Speaker 1: had to redo and clear a whole bunch of songs

2028
01:49:57,320 --> 01:49:59,400
Speaker 1: because you know, I plan on just playing like movie

2029
01:49:59,439 --> 01:50:02,280
Speaker 1: themes and John Williams scores and not like do the

2030
01:50:02,400 --> 01:50:05,400
Speaker 1: normal thing. And then the AFM guy was like, nope,

2031
01:50:05,560 --> 01:50:07,880
Speaker 1: there are FM union members. We got to pay them

2032
01:50:07,880 --> 01:50:11,400
Speaker 1: all like we were trying to find our way to

2033
01:50:11,479 --> 01:50:13,840
Speaker 1: safety in a pandemic. And then like the last minute,

2034
01:50:13,880 --> 01:50:16,880
Speaker 1: the guy's like, no, you must play. You must pay

2035
01:50:16,960 --> 01:50:19,040
Speaker 1: all seventy members of the people who played the theme

2036
01:50:19,080 --> 01:50:20,679
Speaker 1: the Rocky in order for you to play the song

2037
01:50:20,720 --> 01:50:23,200
Speaker 1: out there. And I was like, no, we're not doing that.

2038
01:50:23,439 --> 01:50:26,600
Speaker 1: So I had to get super super creative and it

2039
01:50:26,720 --> 01:50:29,920
Speaker 1: was just like, Okay, I'm just going to play regular songs.

2040
01:50:29,960 --> 01:50:34,720
Speaker 2: Are most young musicians in the union, well, those those

2041
01:50:34,800 --> 01:50:37,120
Speaker 2: particular things that you mentioned are going to be a

2042
01:50:37,240 --> 01:50:40,400
Speaker 2: lot of the strength players that you know had had recorded.

2043
01:50:40,000 --> 01:50:41,720
Speaker 3: Those, right, That's what I was thinking.

2044
01:50:41,840 --> 01:50:44,439
Speaker 1: A lot of them aren't even living right, So the

2045
01:50:44,680 --> 01:50:47,040
Speaker 1: generation do they know that money on the money goes

2046
01:50:47,080 --> 01:50:47,639
Speaker 1: to the FM.

2047
01:50:49,280 --> 01:50:52,160
Speaker 2: But but it's it's great that if it's possible for

2048
01:50:52,240 --> 01:50:55,719
Speaker 2: it to get to the people that they're a state deal.

2049
01:50:56,160 --> 01:50:59,479
Speaker 2: But but they yeah, they will, they will come and

2050
01:50:59,640 --> 01:51:03,040
Speaker 2: and check on you now. And you had access to

2051
01:51:03,479 --> 01:51:06,000
Speaker 2: the tracks, right, I mean you yeah?

2052
01:51:06,120 --> 01:51:11,320
Speaker 1: Well for uh for as as was great by the way.

2053
01:51:11,640 --> 01:51:14,000
Speaker 1: I took a risk and I was just like I

2054
01:51:14,120 --> 01:51:16,680
Speaker 1: hit up Stevie. It was just like can I can

2055
01:51:16,760 --> 01:51:19,680
Speaker 1: I get the master please? And you know wow, had

2056
01:51:19,680 --> 01:51:21,320
Speaker 1: to explain like what I wanted to do and all

2057
01:51:21,360 --> 01:51:24,800
Speaker 1: that stuff. And when he heard it, one, I didn't

2058
01:51:24,840 --> 01:51:28,479
Speaker 1: know that Dean Parks was playing acoustic guitar on that.

2059
01:51:29,320 --> 01:51:32,479
Speaker 1: And what's even funnier was you think you're bad? Stevie

2060
01:51:32,520 --> 01:51:34,880
Speaker 1: didn't know that, and so he was sort of like,

2061
01:51:35,040 --> 01:51:36,439
Speaker 1: you know, how did you make this? It's it's like

2062
01:51:36,479 --> 01:51:39,280
Speaker 1: a country song. And I was like, no, that's that's

2063
01:51:39,360 --> 01:51:41,040
Speaker 1: just Dean Parks. I just left you and Dean Parks

2064
01:51:41,040 --> 01:51:43,400
Speaker 1: singing alone. He felt like we redid and did a

2065
01:51:43,439 --> 01:51:45,280
Speaker 1: whole nother arrangement to it, and I'm like no, I

2066
01:51:45,439 --> 01:51:48,479
Speaker 1: just I took what was there and just accented some

2067
01:51:48,640 --> 01:51:52,760
Speaker 1: things and that sort of thing, but that's literally you know.

2068
01:51:54,960 --> 01:51:58,400
Speaker 2: It was really a beautiful person. And how great is

2069
01:51:58,439 --> 01:52:01,679
Speaker 2: it that you can get the original master from Stevie

2070
01:52:01,720 --> 01:52:04,320
Speaker 2: and be able to do that. You know, that's that's impressive.

2071
01:52:04,920 --> 01:52:06,920
Speaker 1: That's that's the perky. That's the perk of the job.

2072
01:52:06,960 --> 01:52:07,519
Speaker 1: I enjoyed that.

2073
01:52:07,880 --> 01:52:10,640
Speaker 2: And I was with Dean Parks over the weekend and

2074
01:52:11,280 --> 01:52:14,200
Speaker 2: it's we were playing. We went to a club and

2075
01:52:14,280 --> 01:52:16,640
Speaker 2: sat in and I said, Man, it's not every day

2076
01:52:16,680 --> 01:52:18,439
Speaker 2: we get to hear Dean Park stretch out like this,

2077
01:52:18,600 --> 01:52:20,080
Speaker 2: you know. I mean he was he brought it and

2078
01:52:21,080 --> 01:52:22,920
Speaker 2: here he is, you know, still doing it after all

2079
01:52:22,960 --> 01:52:23,360
Speaker 2: these years.

2080
01:52:23,400 --> 01:52:27,439
Speaker 1: But he's another dream of mine. Yeah, he's I got

2081
01:52:27,479 --> 01:52:30,960
Speaker 1: to meet him two years ago at the Oscars and

2082
01:52:31,120 --> 01:52:32,479
Speaker 1: he's such a such a.

2083
01:52:32,520 --> 01:52:37,479
Speaker 2: Cool cat, very cool and but yeah, the original open

2084
01:52:37,520 --> 01:52:40,160
Speaker 2: I'm going wait a second, I think A Mayor got

2085
01:52:40,200 --> 01:52:46,479
Speaker 2: the track. Oh this is incredible. Yeah, yeah, I got

2086
01:52:46,600 --> 01:52:48,120
Speaker 2: lucky work about working your magic.

2087
01:52:48,200 --> 01:52:51,280
Speaker 1: No, it was really great, Thank you, Thank you. Yo.

2088
01:52:51,800 --> 01:52:56,320
Speaker 1: I know there's like forty nine other songs that I

2089
01:52:56,600 --> 01:52:58,519
Speaker 1: can nerd out on and albums that you've played on.

2090
01:52:58,720 --> 01:53:01,760
Speaker 1: But you know, the whole thing is that you. You

2091
01:53:02,080 --> 01:53:06,519
Speaker 1: You're the You're the magic touch. And I really appreciate

2092
01:53:06,560 --> 01:53:08,960
Speaker 1: you for coming on the show and man, talking to us.

2093
01:53:09,120 --> 01:53:11,599
Speaker 2: I was so excited that last night I kept looking

2094
01:53:11,640 --> 01:53:14,280
Speaker 2: at my watch. Oh man, okay, it's only twelve more hours.

2095
01:53:16,000 --> 01:53:18,200
Speaker 2: I'm so excited to come because listen, I mean, you've

2096
01:53:18,600 --> 01:53:21,680
Speaker 2: you've met everybody. Come on, Michelle Obama.

2097
01:53:23,000 --> 01:53:26,519
Speaker 3: Man, I'm excited about it.

2098
01:53:26,720 --> 01:53:29,799
Speaker 1: Wait now now that you mentioned it, yo, you should

2099
01:53:30,040 --> 01:53:32,600
Speaker 1: really because when I'm closing my eyes I thought I

2100
01:53:32,680 --> 01:53:35,920
Speaker 1: was talking to Donnie Simpson for half a second. You

2101
01:53:36,479 --> 01:53:40,360
Speaker 1: you really have you you have a future in voice over,

2102
01:53:40,439 --> 01:53:45,080
Speaker 1: working it, but really have a future like that should

2103
01:53:45,120 --> 01:53:47,479
Speaker 1: be your your your your pivot, Brenton.

2104
01:53:47,520 --> 01:53:49,880
Speaker 2: But it's a lot of fun. You know. I was

2105
01:53:49,960 --> 01:53:52,960
Speaker 2: friends with Don la Fontaine, who was the Yes who

2106
01:53:53,120 --> 01:53:55,920
Speaker 2: is the guy? Yes? Yes, family and I are still

2107
01:53:56,400 --> 01:53:59,080
Speaker 2: very dear and very close. But he he's you have

2108
01:53:59,160 --> 01:54:04,800
Speaker 2: great pipes. Wow, he had the voice of god. You know. Yeah.

2109
01:54:05,760 --> 01:54:08,160
Speaker 1: Well, I thank you very much for doing the show.

2110
01:54:08,200 --> 01:54:12,000
Speaker 2: And thank you guys, and no thanks man, this is music.

2111
01:54:12,080 --> 01:54:13,599
Speaker 1: Thank you for the music on what you're doing.

2112
01:54:15,400 --> 01:54:19,960
Speaker 2: It's it's very relevant. It's not irreal relevant very much,

2113
01:54:20,000 --> 01:54:22,680
Speaker 2: so thank you very much, thanks for everything you do,

2114
01:54:22,760 --> 01:54:28,040
Speaker 2: and congratulations on everything Disney collaboration and you know, thank

2115
01:54:28,120 --> 01:54:29,040
Speaker 2: you everything.

2116
01:54:29,640 --> 01:54:31,679
Speaker 3: We're looking forward to the next generation of East shout

2117
01:54:31,720 --> 01:54:31,960
Speaker 3: us and.

2118
01:54:31,960 --> 01:54:38,120
Speaker 2: Noah, okay, now right, yeah, well listen, it's been a joy,

2119
01:54:38,280 --> 01:54:41,200
Speaker 2: pleasure and a honor and uh let's uh, let's keep

2120
01:54:41,240 --> 01:54:43,000
Speaker 2: it going a show.

2121
01:54:43,400 --> 01:54:45,440
Speaker 1: Well you heard it from the horses, mount ladies and gentlemen.

2122
01:54:45,520 --> 01:54:48,200
Speaker 1: That was Nathan East and on behalf of Fontillo. Like,

2123
01:54:49,680 --> 01:54:51,320
Speaker 1: my name is quest Love and this is pust Love

2124
01:54:51,400 --> 01:54:53,240
Speaker 1: Supreme and we'll see you on the next go round

2125
01:54:53,360 --> 01:54:58,480
Speaker 1: the next episode of Love Supreme. All right, yoh, what's up?

2126
01:54:58,520 --> 01:55:00,800
Speaker 5: It's is Sponte. Make sure you keep up with us

2127
01:55:00,880 --> 01:55:03,520
Speaker 5: on Instagram at QLs and let us know what you

2128
01:55:03,600 --> 01:55:05,400
Speaker 5: think and who should be next to sit down with us.

2129
01:55:05,640 --> 01:55:08,800
Speaker 5: Don't forget to subscribe to our podcast, all right, peace.

2130
01:55:16,680 --> 01:55:23,160
Speaker 1: What's Love Supreme is a production on iheartnet Radio. For

2131
01:55:23,280 --> 01:55:27,480
Speaker 1: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

2132
01:55:27,920 --> 01:55:29,640
Speaker 1: or wherever you listen to your favorite shows.