WEBVTT - Questlove Supreme: Nathan East 0:00:00.160 --> 0:00:03.080 Quest Love Supreme is a production of iHeartRadio. 0:00:08.400 --> 0:00:10.640 You guys been at thirty Rocket fall along right for 0:00:10.640 --> 0:00:11.080 for a while? 0:00:11.200 --> 0:00:12.959 Pretty much? Yeah, pretty much. 0:00:13.200 --> 0:00:13.920 That's pretty cool. 0:00:14.360 --> 0:00:15.600 We made it through the story. 0:00:16.040 --> 0:00:19.000 I can't believe it. You know, it's like everybody has 0:00:19.079 --> 0:00:20.720 everybody has a story for the last. 0:00:20.520 --> 0:00:22.880 Year, exactly exactly. 0:00:24.360 --> 0:00:24.960 You ready? 0:00:25.600 --> 0:00:28.120 Yeah? Oh, I thought I hate Slart video. My bad? 0:00:28.680 --> 0:00:29.920 What's up here? I was up? Everybody? 0:00:30.200 --> 0:00:32.599 What's up? I made good up? 0:00:32.640 --> 0:00:38.320 What's up? Ladies and gentlemen, Welcome to another episode of 0:00:38.520 --> 0:00:43.360 Quest Love Supreme. I'm your host, Questo. We have Teams 0:00:43.360 --> 0:00:47.560 Supreme with us right now. Well, I can't assign myself 0:00:47.800 --> 0:00:49.159 another moniker. 0:00:49.840 --> 0:00:51.519 It just took you a second. I wasn't sure if 0:00:51.520 --> 0:00:52.560 you knew as. 0:00:52.520 --> 0:00:55.160 Guy who I was, because you know, whenever we're in 0:00:55.200 --> 0:00:59.360 the presence of greatness, I just I understand my thinking 0:01:00.440 --> 0:01:03.360 goes the other wise. Dude just played on every record ever. 0:01:06.959 --> 0:01:11.680 I wish, I truly wish we had like James Brown's intro, 0:01:11.959 --> 0:01:15.000 just so I can right right start naming it like 0:01:15.080 --> 0:01:20.440 literally dud tears in Heaven, get lucky? Uh whatloose? Saving 0:01:20.480 --> 0:01:23.160 all my love for you? I just can't stop loving you. 0:01:25.240 --> 0:01:29.919 Oh morning, algebral morning, Steve Steeves about to fit. 0:01:31.480 --> 0:01:31.880 This stuff? 0:01:32.160 --> 0:01:37.000 Easy, lovers, there you go through the fire. I mean 0:01:37.040 --> 0:01:40.480 even even underground classics like smooth Sailing by the eyes 0:01:40.520 --> 0:01:44.920 of I got freaking who has any work with Tina 0:01:44.959 --> 0:01:54.880 Marie Dion Warwick, like Whoever the Weekend? Justin Timberlake, BB King, 0:01:54.920 --> 0:01:59.200 Mary J Blise, Fish, ladies and gentlemen, the most used 0:01:59.440 --> 0:02:03.480 session musician of Wait, I'm kind of saying this is 0:02:03.720 --> 0:02:07.920 just but anthanist. Are you the most used session musician 0:02:07.960 --> 0:02:08.520 of all time? 0:02:08.760 --> 0:02:11.519 You know what? A mayor? I'm not exactly sure how 0:02:11.560 --> 0:02:17.480 to verify that, but we can say that I've been busy. 0:02:17.040 --> 0:02:22.360 Book and busy gentlemen. I love it. A great Philadelphian 0:02:22.520 --> 0:02:27.280 is on the show. Welcome East to Quest Love Supreme. 0:02:27.480 --> 0:02:29.920 It is a pleasure, a joy, and an honor to 0:02:29.960 --> 0:02:34.400 be here. I mean, you've had everybody from Michelle Obama to. 0:02:37.280 --> 0:02:44.280 We're working on him and now Nathanist Yeah. How how 0:02:44.360 --> 0:02:47.000 how are you right now? Where Where are you? Okay? 0:02:47.639 --> 0:02:49.440 I know that we can't see you because this is 0:02:49.480 --> 0:02:53.880 an audio show, but I should say that in the 0:02:53.960 --> 0:02:57.720 land of zoom, when you're watching like news pundits sit 0:02:57.800 --> 0:03:03.400 behind their library collection while the book Nah Nathan is stunning. 0:03:03.520 --> 0:03:06.560 Like I'm certain that all those guitars and basses hanging 0:03:06.600 --> 0:03:08.799 on your wall have a story to tell, correct. 0:03:08.520 --> 0:03:11.360 You know, they really do. There was there's the one 0:03:12.080 --> 0:03:14.400 that was on some of those early Barry White records 0:03:14.400 --> 0:03:16.959 that was like the white pea bass in the background 0:03:17.080 --> 0:03:17.880 is my Like. 0:03:18.240 --> 0:03:21.080 That's your Barry White? Was your first client as a 0:03:21.080 --> 0:03:22.079 professional bass player? 0:03:22.480 --> 0:03:22.799 Yes? 0:03:23.120 --> 0:03:30.079 Yes, late, Wow, Jesus Christ, let's start. This is the thing, 0:03:30.320 --> 0:03:32.760 Like I've known you for the longest and of course, 0:03:32.880 --> 0:03:34.679 like you know, you've come to the tonight show and 0:03:34.680 --> 0:03:37.080 you've sat it in and all that stuff. I still 0:03:37.120 --> 0:03:40.240 can't wrap my head around the fact that you're a Philadelphian. 0:03:40.560 --> 0:03:45.320 What is your and at that, like I'm really elated 0:03:45.360 --> 0:03:49.960 to speak to someone. Usually all the musician musical luminaries 0:03:49.960 --> 0:03:52.920 from Philadelphia that I talked to are are kind of 0:03:53.240 --> 0:03:57.440 from a certain like my dad's range, like born in 0:03:57.480 --> 0:04:00.760 the late thirties, early forties, and really can't give me 0:04:01.000 --> 0:04:03.080 a lay of the land of what Philly was like 0:04:04.160 --> 0:04:07.760 to grow up in Philly as as a youngster in 0:04:07.880 --> 0:04:10.600 the seventies when all this magic was happening. But what 0:04:11.000 --> 0:04:13.160 is your Philadelphia story? Where in Philly were you born? 0:04:13.280 --> 0:04:18.719 Well, actually North Philly Doctor's Hospital roughly sixty five years ago. 0:04:19.040 --> 0:04:25.680 And my my, that's the that's the we're supposed to 0:04:25.680 --> 0:04:26.520 give away those things. 0:04:28.440 --> 0:04:30.760 Yeah, when you like that, you are actually. 0:04:31.400 --> 0:04:35.440 Rop the skincare routine, Nick, I need a skincare regimen. 0:04:35.960 --> 0:04:37.279 That's a renting all at least at night. 0:04:37.360 --> 0:04:39.960 I don't know. Even as you said that, I was like, oh, 0:04:40.600 --> 0:04:42.480 he might be like five years older than me, right, 0:04:42.880 --> 0:04:46.360 born in the Wow, Yeah, you know, in nineteen sixty. 0:04:46.080 --> 0:04:50.000 Six, nineteen thitty five, you know. And you know, b 0:04:51.279 --> 0:04:55.080 my dad went to Cheney Cheney State in Cheney, Pennsylvania. 0:04:55.160 --> 0:04:57.359 He had the world's record in the fifty one hundred 0:04:57.440 --> 0:05:03.880 yard dash beat Jesse Owens in nineteen forty made the Olympics, 0:05:03.920 --> 0:05:06.080 but due to the war, the Olympics were canceled, So 0:05:06.080 --> 0:05:08.960 I didn't have that bragging right, but he was the 0:05:09.000 --> 0:05:12.520 world's fastest human. My daughter is now keeping it going. 0:05:12.600 --> 0:05:16.320 She runs track for UC Berkeley on their D one 0:05:16.560 --> 0:05:20.760 Pactael twelve track team there in Texas A And then 0:05:20.800 --> 0:05:23.200 this weekend, you know, for the for the regional finals. 0:05:23.240 --> 0:05:27.559 So you know, there's a lot, but Philly I left 0:05:27.920 --> 0:05:33.120 early when he had an aerodynamics aviation job in Convert, 0:05:33.880 --> 0:05:37.240 San Diego, where he moved the family. But we would 0:05:37.279 --> 0:05:39.599 go back to Philly every summer and kind of just 0:05:39.760 --> 0:05:43.320 jam and I a lot of great musical influences. And 0:05:43.360 --> 0:05:45.400 I don't know what's in the water. There's so many 0:05:45.480 --> 0:05:51.120 bass players, Anthony Jackson and Eddie Henderson. It's just like 0:05:51.279 --> 0:05:53.760 what it's base heaven over there. 0:05:53.760 --> 0:05:57.200 You know. So was your family immerged in music as 0:05:57.279 --> 0:06:01.600 well or just like how what was your first musical 0:06:01.600 --> 0:06:03.839 memory that you had? 0:06:04.120 --> 0:06:06.200 Yeah, there was there was always a piano kind of 0:06:06.200 --> 0:06:11.119 around the house that uh, pops and moms both would play. 0:06:11.160 --> 0:06:15.200 But you know it was like, you know, music, music 0:06:15.200 --> 0:06:17.560 filled the neighborhood and and you know, so you'd hear 0:06:17.680 --> 0:06:20.560 Glutys Night, Marvin Gay Out, you know, blasting through the 0:06:20.600 --> 0:06:23.440 homes of this of the neighborhood. But it was really 0:06:24.360 --> 0:06:27.560 I'll never forget My first forty five was More Love 0:06:27.640 --> 0:06:31.000 by Smokey Robinson. We were just always gathered around the 0:06:31.120 --> 0:06:35.760 radio and listening to music. And I remember when I 0:06:36.400 --> 0:06:39.359 played cello for three years and then I discovered the 0:06:39.400 --> 0:06:42.599 bass and it was it was actually in church. My 0:06:42.680 --> 0:06:45.200 brothers and I were doing. They were doing like these 0:06:45.960 --> 0:06:48.240 folk masters back in the day when all that started 0:06:48.640 --> 0:06:50.359 and uh, and then there was a bass on the 0:06:50.400 --> 0:06:54.040 altar and I went up picked it up, and nobody 0:06:54.440 --> 0:06:57.040 claimed it and I picked it up and I said, oh. 0:06:57.000 --> 0:07:00.880 Lord, you take yourself out of play. 0:07:01.560 --> 0:07:05.039 Yeah, I mean I just started playing, just just out 0:07:05.040 --> 0:07:07.919 of my love for music. And it only had four strings, 0:07:07.920 --> 0:07:09.760 so it wasn't it wasn't that difficult. 0:07:09.840 --> 0:07:11.240 But you played the cello before. 0:07:11.640 --> 0:07:14.160 But I played the cello before anyway, I was in 0:07:14.200 --> 0:07:17.080 the range of the bass cleft, so that that kind 0:07:17.080 --> 0:07:19.000 of got me got me going. 0:07:19.440 --> 0:07:23.840 Okay, this is interesting because usually anyone that we interview 0:07:23.880 --> 0:07:27.000 on the show that's an axe men or an ax woman, 0:07:28.920 --> 0:07:31.800 nine times out of ten there's like a the thirty 0:07:31.880 --> 0:07:37.880 dollars Sears guitar thing story that happens, like with Sears 0:07:37.960 --> 0:07:42.640 having these affordable instruments and you know, people teaching their 0:07:43.560 --> 0:07:46.280 getting their kids lessons and whatnot. But you started on 0:07:46.320 --> 0:07:47.840 the cello and then worked your way. 0:07:47.720 --> 0:07:50.679 To the base, right, and the weather is the thirty 0:07:50.800 --> 0:07:53.760 actually forty nine dollars story story from from the pod 0:07:53.800 --> 0:07:56.440 shop where my mom got me. My first base was 0:07:56.600 --> 0:07:59.240 about that long. You know, it was a you know, 0:07:59.280 --> 0:08:03.040 a short scale, no name, but you know that that 0:08:03.200 --> 0:08:06.760 was my uh, you know, ticket to ticket to everything, 0:08:06.800 --> 0:08:08.560 you know. And then I started playing in all the 0:08:08.600 --> 0:08:13.520 bands and uh stage band in high school and okay, 0:08:13.840 --> 0:08:16.280 you know the drill. One thing leads to another, next thing. 0:08:16.280 --> 0:08:19.040 You know, you're doing a couple of gigs I learned. 0:08:19.040 --> 0:08:21.320 I learned the A string, the eastring, and then I 0:08:21.360 --> 0:08:22.679 had a gig already. 0:08:23.080 --> 0:08:25.440 Oh okay, you know. 0:08:25.480 --> 0:08:28.240 And then the first gigs were in church and obviously, 0:08:29.200 --> 0:08:31.280 you know, I always say that's the best place to 0:08:31.320 --> 0:08:33.920 have your first gigs because if you make a mistake, 0:08:33.920 --> 0:08:37.520 they're ready forgiving. You know, you don't get it, you 0:08:37.559 --> 0:08:38.040 don't get it. 0:08:40.080 --> 0:08:44.280 I see. Do you remember, well, at the time when 0:08:44.280 --> 0:08:49.160 you're learning your craft, were there any other notable musicians 0:08:49.200 --> 0:08:53.240 that you grew up with or or artists that you 0:08:53.240 --> 0:08:56.280 were kind of hanging with during your your formative the 0:08:56.360 --> 0:08:57.199 years as a. 0:08:57.120 --> 0:09:00.200 Teen or yeah, you know, well, as a team, we 0:09:01.080 --> 0:09:04.120 It's funny because we backed up. We had a band 0:09:04.160 --> 0:09:08.200 called Power and there was a staxed review that rufus 0:09:08.240 --> 0:09:10.920 Thomas Barry White, a bunch of people came and played 0:09:11.160 --> 0:09:14.400 and we were the house band for everybody. And after 0:09:14.440 --> 0:09:18.000 that gig, Barry White invited us all to his office 0:09:18.080 --> 0:09:20.320 up in Beverly Hills. We went up there and he 0:09:20.440 --> 0:09:22.400 hired our whole band on the spot to go tour 0:09:22.440 --> 0:09:25.800 with him. And so, like, my first gig was at 0:09:25.800 --> 0:09:30.640 the Apollo Theater. Then we did Madison Square Garden, we 0:09:30.679 --> 0:09:33.880 did Cobo Arena and Detroit. You know, I'm like sixteen 0:09:33.920 --> 0:09:34.400 years old. 0:09:34.559 --> 0:09:36.280 Wait, what year is this? 0:09:36.280 --> 0:09:44.120 This was like a let's see, seventy one maybe. 0:09:43.200 --> 0:09:46.160 Okay, so at the very beginning of Barry White's career. 0:09:46.080 --> 0:09:49.280 Yeah, seventy one two, and he started, you know, he 0:09:49.280 --> 0:09:50.280 had all these hits. 0:09:50.360 --> 0:09:56.160 And were you lying about your age? Like anybody you know. 0:09:56.280 --> 0:10:00.800 I didn't volunteer my age. It was just one of 0:10:00.880 --> 0:10:03.800 those things where you know, you're saying, opportunity, Knox, you got. 0:10:03.600 --> 0:10:05.520 To go, you know, and how do you propose this 0:10:05.640 --> 0:10:07.679 to your parents? How did that conversation? 0:10:08.120 --> 0:10:10.480 Well that was another thing that they were, you know 0:10:10.520 --> 0:10:13.240 how parents are. They're they're always a little reluctant about that, 0:10:13.320 --> 0:10:15.920 but they they went along to it because I was 0:10:15.960 --> 0:10:18.800 with my brothers, you know, my and all my my 0:10:18.880 --> 0:10:21.160 homies and from the neighborhood. So we were all together 0:10:21.440 --> 0:10:24.120 in this and it was it was really special to 0:10:24.920 --> 0:10:26.959 to be with an act like that, you know, an 0:10:26.960 --> 0:10:31.080 arena act where you're you know, selling out arenas, and 0:10:31.400 --> 0:10:32.359 it was unbelievable. 0:10:32.640 --> 0:10:36.520 So did you ever do the Philadelphia circuit that would 0:10:36.520 --> 0:10:41.720 have maybe eventually landed you in MFSB Or was that 0:10:41.840 --> 0:10:43.079 already Anthony's gig? 0:10:43.120 --> 0:10:45.760 And yeah, that was that was already done and dusted, 0:10:45.800 --> 0:10:47.520 and that would have been been his gig. And I 0:10:47.559 --> 0:10:50.320 would have been already out on the West coast by then. 0:10:50.400 --> 0:10:53.400 But those those were the you know, those were the 0:10:53.480 --> 0:10:57.080 dream gigs that everybody wanted, you know, gambling, huff and 0:10:57.080 --> 0:10:59.640 and those tombs are very near and dear to my heart. 0:10:59.679 --> 0:11:02.640 But by that time we were out on the West coast. 0:11:02.640 --> 0:11:05.320 And then so so Barry was kind of he was 0:11:05.400 --> 0:11:08.360 kind of it. And and then you know, I played 0:11:08.360 --> 0:11:11.440 with him live before before I started recording, but then 0:11:11.679 --> 0:11:15.120 you know, started doing all those records, and and he would, 0:11:15.320 --> 0:11:17.880 you know, most people don't know, he'd drive up from 0:11:17.920 --> 0:11:21.760 from Watson a stuts bear cat with gold emblems on it, 0:11:21.800 --> 0:11:24.440 and then he'd get out with the three fifty seven magnum. 0:11:24.640 --> 0:11:28.200 You knows, twirling it like like he's in like he's 0:11:28.200 --> 0:11:31.440 in the country Western movie. It would sit on the console, 0:11:31.480 --> 0:11:32.520 you know, like this thing. 0:11:32.720 --> 0:11:35.360 No special occasion special. 0:11:35.600 --> 0:11:37.760 I wanted. I wanted to ask you. So you're you're 0:11:37.840 --> 0:11:41.120 the you're the third guest of the show that's had 0:11:41.400 --> 0:11:47.640 Barry White interactions. But I've heard, you know, through throughout 0:11:47.679 --> 0:11:51.640 my coming up in the industry, like some gangster Berry stories, 0:11:51.960 --> 0:11:55.440 but can't ever get like what was he like to 0:11:55.520 --> 0:11:58.760 deal deal with? Ray Parker Jr. Told the story of like, 0:11:59.040 --> 0:12:04.240 you know, he actually dently crashed Barry White Mercedes trying 0:12:04.240 --> 0:12:07.400 to play him the demo for one of those songs. 0:12:07.440 --> 0:12:11.680 Won't let the music play. And then his former tour manager, 0:12:11.720 --> 0:12:16.400 Alan Leeds had a few stories about you know, Barry's 0:12:16.440 --> 0:12:21.040 whole modus operandi, and you know I knew of the 0:12:21.040 --> 0:12:27.520 gun always there. Like in general, was he I don't 0:12:27.559 --> 0:12:31.560 want to say sugar nitish, Like was he fearsome or 0:12:31.760 --> 0:12:34.280 was he cool to get along with or. 0:12:34.559 --> 0:12:36.760 You know, in general he was he was very cool. 0:12:36.760 --> 0:12:39.600 We had a we had an amazing relationship, and he 0:12:39.640 --> 0:12:42.760 was just always he was always very supportive, I mean, 0:12:42.880 --> 0:12:46.079 especially if he liked you. You know, he was one 0:12:46.120 --> 0:12:49.520 of those guys that that you know, if he liked you. 0:12:49.559 --> 0:12:52.280 And then you know, Gene Page was the arranger for 0:12:52.360 --> 0:12:55.560 all those sessions, and you know, the great Gene Page 0:12:55.640 --> 0:12:59.880 and and so there was always just when it was happening, 0:13:00.559 --> 0:13:02.840 it was it was incredible, Like you know, Barry was 0:13:02.880 --> 0:13:05.520 just he loved the fact and you know we're making 0:13:05.559 --> 0:13:07.640 some some hits in there, so I mean, he was 0:13:07.679 --> 0:13:10.400 he was gracious and appreciative. We wrote a couple of 0:13:10.480 --> 0:13:12.599 things together. I had a song on the Love and 0:13:12.679 --> 0:13:17.880 Limited album called Easing Okay. And you know he would 0:13:17.920 --> 0:13:22.760 always end up with his name on everything, you know, 0:13:22.840 --> 0:13:25.520 the write a word, get a third concept. 0:13:25.640 --> 0:13:30.040 Right exactly the side note, does anyone ever remember the 0:13:30.080 --> 0:13:33.800 bridge to Jay Z's New York New York song? Do 0:13:33.840 --> 0:13:37.920 you remember New York which one exactly exactly jas New 0:13:37.960 --> 0:13:40.600 York song? Do you remember the bridge that's New York 0:13:40.600 --> 0:13:46.920 state of Mind? H Do you remember the bridge exactly? 0:13:47.679 --> 0:13:52.840 So you know, I teased all the time that, oh okay, 0:13:53.200 --> 0:13:56.480 because when Jay won the Grammy for that Alicia one 0:13:56.559 --> 0:14:03.559 two and I was trying to figure out what I 0:14:03.640 --> 0:14:06.360 was like, she insisted on adding that bridge. So that 0:14:06.400 --> 0:14:09.960 she too can get right as good for it. I 0:14:10.160 --> 0:14:12.040 never knew if that song had a bridge. I knew 0:14:12.040 --> 0:14:16.360 the who exactly exactly there's a bridge going, there's a 0:14:16.360 --> 0:14:17.400 bridget it. 0:14:18.559 --> 0:14:22.200 But conversely the bridge that Don't got Don't stop till 0:14:22.200 --> 0:14:24.360 you get Enough, which was written by Greg philin Games. 0:14:24.160 --> 0:14:26.200 Greg Philing Games, Yes, now that's the. 0:14:26.280 --> 0:14:28.880 You know, we know that story. And conversely, now that 0:14:29.040 --> 0:14:33.920 was something that that was worthy of you know what 0:14:34.520 --> 0:14:35.560 five percent. 0:14:36.320 --> 0:14:40.640 So it happens, it goes down with those sessions. Ray 0:14:40.720 --> 0:14:46.520 told us that very tracked everything at the same time, 0:14:47.320 --> 0:14:51.280 with multiple I mean, at least for Ray, you know, 0:14:51.320 --> 0:14:54.200 he would say like sometimes it'd be two sometimes four 0:14:55.480 --> 0:14:58.200 guitarist playing at the same time, and that he didn't 0:14:58.240 --> 0:15:00.920 do a lot of post mixing and none of that stuff. 0:15:00.960 --> 0:15:04.400 Like So, I'm just trying to figure out the one 0:15:04.480 --> 0:15:06.520 question I never got to ask him about that in 0:15:06.600 --> 0:15:11.120 doing it, is if Barry doesn't do any post mixing 0:15:11.240 --> 0:15:14.560 once the song is cut, how long do you guys 0:15:14.680 --> 0:15:18.560 have to play a song in the studio before the 0:15:18.800 --> 0:15:23.680 engineer captures the right EQ, the right compression, the right sound. 0:15:24.720 --> 0:15:26.880 Like someone has to play over and over again while 0:15:26.880 --> 0:15:28.920 they're like okay, getting levels. 0:15:28.680 --> 0:15:31.400 Right while you're while you're playing over and over again 0:15:31.440 --> 0:15:34.680 and you're learning the tune, and Barry's given everybody a part. 0:15:34.760 --> 0:15:37.840 Like if you're looking in the studio, literally there's three 0:15:37.840 --> 0:15:41.080 guitars there, there's Ray Parker, There's Wah wah, you know, 0:15:41.120 --> 0:15:44.840 it could be Lee written hoor sometimes Parks, Dean Parks, 0:15:44.840 --> 0:15:50.520 I mean, David t. And so you'd have those guys. 0:15:51.600 --> 0:15:54.960 He had like a touring band at the time and 0:15:55.000 --> 0:15:59.840 they were not really known. So his name was Willie C. Straut, 0:16:01.640 --> 0:16:04.320 but another bass player because he was on there. Is 0:16:05.160 --> 0:16:07.360 the thing I remember about is he was always so nervous. 0:16:07.360 --> 0:16:09.320 He was sweating from the palms of his hand, you know, 0:16:09.320 --> 0:16:11.440 because when Barry came around you there was a force 0:16:11.840 --> 0:16:13.640 to be reckoned with, you know, and he'd starts singing 0:16:13.640 --> 0:16:17.040 a part to you. Okay, you play bowl, boul bowl, 0:16:17.240 --> 0:16:20.480 you know, and so he would he would so literally 0:16:20.680 --> 0:16:23.200 you got a room full of musicians Barry. There was 0:16:23.240 --> 0:16:25.360 a roads in the middle of the room. Jean was 0:16:25.360 --> 0:16:27.880 in there, Ed Green was over on drums, and then 0:16:28.040 --> 0:16:30.400 he'd go around and sing the part to every guy 0:16:31.120 --> 0:16:33.880 and and you would literally start to hear a hit 0:16:34.480 --> 0:16:37.520 being just developed just right before your very eyes, and 0:16:37.520 --> 0:16:40.720 pretty soon you're playing this thing like like for hours. 0:16:41.240 --> 0:16:42.920 And next thing, you know, when you add all those 0:16:42.960 --> 0:16:46.920 parts and bits and pieces, you know, they hit record. 0:16:47.640 --> 0:16:49.640 Oh Barry White didn't read or write music. 0:16:50.080 --> 0:16:55.000 No, no, he would if you said you said, here's 0:16:55.440 --> 0:16:57.640 play me middle c he wouldn't. He would not know 0:16:57.680 --> 0:16:58.160 where to go. 0:16:59.040 --> 0:17:03.000 Really really, as many times as I thought, you know, 0:17:03.280 --> 0:17:05.040 seeing the piano and all that stuff, even. 0:17:04.960 --> 0:17:07.320 Though he was the maestro, you know, but but I mean, 0:17:07.840 --> 0:17:10.400 but at the same time, he knew. You know. That's 0:17:10.440 --> 0:17:12.600 that's what I love about music anyway, because you don't 0:17:12.640 --> 0:17:15.440 really have to, you know, be schooled for those notes 0:17:15.480 --> 0:17:17.399 to come out, you know. And we we all have 0:17:17.520 --> 0:17:20.160 the same twelve notes, like Quincy says, you know, we 0:17:20.280 --> 0:17:24.480 got the same twelve notes fort to work with. 0:17:25.000 --> 0:17:28.960 So are you on the do you know the the 0:17:30.320 --> 0:17:33.120 stretch of the very White discography that you were on 0:17:33.320 --> 0:17:34.040 at the time. 0:17:33.920 --> 0:17:36.399 Or yeah that I think one of the first ones 0:17:36.440 --> 0:17:39.959 that I was on was called The Messages Love, and 0:17:40.000 --> 0:17:44.119 it had just the way you are, A bunch of 0:17:44.160 --> 0:17:48.520 those tunes I had, you know, there was whichever album 0:17:48.560 --> 0:17:50.320 had ecstasy when you lay down next to me. 0:17:51.480 --> 0:17:58.480 Just casually that baseline, you know, and and those you know. 0:17:58.880 --> 0:18:01.119 That was my first kind of heartbreak in the business, 0:18:01.119 --> 0:18:03.360 because you know when when you're in the studio every 0:18:03.440 --> 0:18:04.960 day all day and then you get that album and 0:18:05.000 --> 0:18:06.800 you crack it open and you look for your name 0:18:06.800 --> 0:18:09.480 and it's not there. It was like produced by Barry Wright, 0:18:09.720 --> 0:18:15.240 written by Barry White. Album, all songs and no musicians. 0:18:15.240 --> 0:18:16.960 And I said, what's what's up with this? Oh, he 0:18:17.000 --> 0:18:19.720 doesn't want anybody to steal his sound, you know, so 0:18:19.800 --> 0:18:20.520 you were surprised. 0:18:20.560 --> 0:18:23.120 You didn't know ahead of time that your name ain't I. 0:18:23.080 --> 0:18:25.680 Had, Your name is not gonna be on the record. 0:18:25.600 --> 0:18:29.400 And so really, guys, see, that's why I always thought 0:18:29.400 --> 0:18:32.160 that like rhythm arranger and all those other like made 0:18:32.240 --> 0:18:36.359 up credits is for you know, we won't give you 0:18:36.440 --> 0:18:38.680 right his credit or production credit, but we'll just say 0:18:38.680 --> 0:18:41.399 that you did rhythm arrangement or you're right, you know, 0:18:41.560 --> 0:18:44.399 just another auxiliary credit. 0:18:44.560 --> 0:18:47.879 I mean, love theme was was a gene arrangement to 0:18:48.000 --> 0:18:52.320 a song, and the arrangement was so bad that it 0:18:52.440 --> 0:18:54.760 was so powerful that they took the lyrics off the 0:18:54.760 --> 0:18:58.200 song and they didn't even finish the tune, you know, exactly. 0:18:58.240 --> 0:19:00.920 That was ABC Wide World is fos every Saturday. 0:19:00.920 --> 0:19:06.399 I mean it was like watching the guy fall down. Dude, Yeah, no, 0:19:06.720 --> 0:19:10.640 I remember it. How does one I'm not saying, I'm 0:19:10.680 --> 0:19:14.320 not asking, like how does one stay territorial? But okay, 0:19:14.359 --> 0:19:18.240 so your Barry's go to guy in your mind if 0:19:18.280 --> 0:19:21.399 you don't say how high when he says jump in 0:19:21.520 --> 0:19:23.840 terms of like all right, we got a session next week, 0:19:23.840 --> 0:19:26.600 can you make it? Can you make it? Who are 0:19:26.640 --> 0:19:30.160 you worried about that's right around the corner that might 0:19:30.240 --> 0:19:33.439 take your gig? Like were you territorial? Like, okay, I 0:19:33.440 --> 0:19:37.399 got Barry White? Now do you start sifting for other 0:19:37.400 --> 0:19:39.960 people so you can go higher and keep Barry White? 0:19:40.600 --> 0:19:43.600 Or because I'm trying to figure out, like if you're 0:19:43.600 --> 0:19:47.600 in LA and you're competing against like Chuck Raney and 0:19:47.840 --> 0:19:50.359 Louis Johnson and all those things. I know that mainly 0:19:50.480 --> 0:19:54.560 producers have their main guy that they always stick with, right, 0:19:54.760 --> 0:19:56.600 but you seem to be the main guy that everyone 0:19:56.640 --> 0:19:59.760 always sticks with. So how do you how do you 0:19:59.800 --> 0:20:02.359 want like your territory to make sure that the next 0:20:02.359 --> 0:20:04.360 guy behind you doesn't take it in case you get 0:20:04.359 --> 0:20:05.360 sick one day or. 0:20:05.720 --> 0:20:07.440 Well, while still being a teenager. 0:20:08.680 --> 0:20:11.200 Well, the only way to really mark your territory is 0:20:11.359 --> 0:20:14.399 is what you leave on the tape, you know, in 0:20:14.440 --> 0:20:18.600 the studio, the notes you play are your marketing. And 0:20:18.600 --> 0:20:21.399 and like Quincy used to always say, if he to 0:20:21.440 --> 0:20:23.080 get the call is one thing to get the call 0:20:23.200 --> 0:20:26.520 back is uh is the other part of the equation 0:20:26.600 --> 0:20:29.199 that like and and uh. And I never really was 0:20:29.240 --> 0:20:32.040 too territorial. I was. I was always just so appreciative 0:20:32.040 --> 0:20:34.240 because I said, man, with all these bad cats in 0:20:34.280 --> 0:20:38.040 this town, Lewis Johnson and Abe La Boya, I mean 0:20:38.119 --> 0:20:43.240 just I mean an a list of players. So whenever 0:20:43.280 --> 0:20:45.080 I kind of got a gig, I was just going, 0:20:45.160 --> 0:20:50.400 oh man, either they weren't available or you know, just 0:20:50.400 --> 0:20:52.159 just bring your bring your a game, you know. So 0:20:52.240 --> 0:20:54.719 that for me, it was just like just just leave it, 0:20:55.080 --> 0:20:57.280 you know, leave leave your mark on the on the tape. 0:20:57.359 --> 0:21:01.159 Right. So I want to ask this hypothetic speaking all right, 0:21:01.240 --> 0:21:05.679 let's say ed Green does not exist, and it's nineteen 0:21:05.720 --> 0:21:11.240 seventy four and I'm Barry White's studio drummer. How much 0:21:11.320 --> 0:21:16.680 am I getting paid? How do I get paid? Is it? 0:21:16.760 --> 0:21:19.480 Are you getting paid by the hour? Is it by 0:21:19.520 --> 0:21:21.920 the song or just by the session. 0:21:22.640 --> 0:21:27.879 Those sessions usually had a contractor, and as we all know, 0:21:27.920 --> 0:21:29.879 there's a lot of politics in this, you know, but 0:21:30.400 --> 0:21:33.560 the contractor was the he was actually the one getting paid, 0:21:34.920 --> 0:21:38.919 so he was like on double scale. And then because 0:21:38.960 --> 0:21:40.879 he was, he would put himself as the leader. 0:21:41.320 --> 0:21:44.200 Okay, so you had to be afm. 0:21:43.640 --> 0:21:44.480 You had to be AFM. 0:21:44.560 --> 0:21:44.760 Yeah. 0:21:45.160 --> 0:21:47.880 And then so there were two sessions to day. There 0:21:47.880 --> 0:21:53.560 was ten to one, two to five basically, so I see. 0:21:53.600 --> 0:21:55.320 So there was always someone there to make sure the 0:21:55.400 --> 0:21:58.280 musicians got paid. So it wasn't like Barry was just 0:21:58.320 --> 0:22:00.320 like reaching in his pocket like all right, here's forty 0:22:00.320 --> 0:22:00.720 five dollars. 0:22:00.760 --> 0:22:04.119 You know, you didn't get an envelope. It was it 0:22:04.200 --> 0:22:09.720 was all. It was all very unionized and and people 0:22:09.760 --> 0:22:12.240 like Gene Page was there. He was there to make 0:22:12.240 --> 0:22:14.919 sure that happened too, you know. So you you got paid, 0:22:15.040 --> 0:22:17.120 you know. And then back in the day, everybody would 0:22:17.119 --> 0:22:19.560 show up at the union and you'd have a stack 0:22:19.600 --> 0:22:20.600 of checks waiting for you. 0:22:21.160 --> 0:22:23.399 Right, and by the way, are you on are you 0:22:23.440 --> 0:22:25.280 on Gene Page's Love Look record? 0:22:26.359 --> 0:22:27.080 Love Look? 0:22:28.680 --> 0:22:35.200 It came out in Atlantic seventy five, nineteen seventy five. 0:22:35.200 --> 0:22:38.760 You know, in all honesty, i'd have to look, okay, 0:22:38.920 --> 0:22:43.520 of course I'm thinking no, because I wouldn't forget that, 0:22:43.600 --> 0:22:47.080 you know. Okay, but there's you know when when there's 0:22:47.119 --> 0:22:50.680 been quite a few, you know, they start to they 0:22:50.720 --> 0:22:52.520 start to ba hard to keep trying. 0:22:52.560 --> 0:22:53.600 Yeah right. 0:22:53.720 --> 0:22:56.560 I always kind of go to AllMusic dot Com when 0:22:56.560 --> 0:23:02.160 I went, wow, well even they forget stuff too, yeah, exactly. 0:23:03.000 --> 0:23:08.560 So what was your next pivot after Barry White? And 0:23:08.600 --> 0:23:11.160 I can remember when I had to because I started 0:23:11.160 --> 0:23:15.399 getting calls from Hubert Laws and and Ronnie Laws and 0:23:15.400 --> 0:23:17.320 some of the guys in the sort of in the 0:23:17.400 --> 0:23:21.880 jazz idiom. And I can remember having a call where 0:23:21.880 --> 0:23:25.240 it landed on the same day as Barry. And I 0:23:25.280 --> 0:23:27.960 can remember asking him because theoretically the way you go 0:23:28.000 --> 0:23:29.960 from single scale or double is if you have so 0:23:30.080 --> 0:23:32.760 much work that you that you have to charge double 0:23:33.600 --> 0:23:36.639 in order to keep so, so you could say no 0:23:36.760 --> 0:23:40.560 to somebody else, you know. So I can remember going 0:23:40.600 --> 0:23:43.879 to Berry and asking, you know, I said, man, what 0:23:43.920 --> 0:23:45.359 should I do? And the guy said, well, if you 0:23:45.400 --> 0:23:49.120 ask him, it's been nice knowing you, you know, there 0:23:49.240 --> 0:23:51.840 just like giving me their blessings. But I pulled them 0:23:51.880 --> 0:23:54.160 aside and I got up the guts, and I said, 0:23:54.600 --> 0:23:57.000 I was just wondering if I could just ask for 0:23:57.080 --> 0:24:00.760 double scale because I'm getting some other offers and if 0:24:00.800 --> 0:24:04.040 I say no to you, you know, then it'll help 0:24:04.080 --> 0:24:06.400 me say no to them if I get double here. 0:24:07.160 --> 0:24:10.960 So he looked at me. I saw the three fifty 0:24:10.960 --> 0:24:14.600 seven sitting there on the on the count wow, and 0:24:14.680 --> 0:24:17.240 he put he put his arm, he put his arm 0:24:17.280 --> 0:24:19.720 around me. Said, Nate, if you want that, you got that. 0:24:19.840 --> 0:24:21.240 I mean, it gave you a big smile. And it 0:24:21.400 --> 0:24:26.919 was like, I mean, these are the moments and music 0:24:26.960 --> 0:24:30.360 that like people don't know about, you know, are you stay? 0:24:30.680 --> 0:24:32.560 So that was the that was the first time. And 0:24:32.600 --> 0:24:35.359 then then then I was like a double scale cat, 0:24:35.440 --> 0:24:36.359 you know, which was cool. 0:24:36.400 --> 0:24:37.760 You know, that's what's up? 0:24:43.359 --> 0:24:43.639 All right? 0:24:44.040 --> 0:24:47.320 Are you one any of the Running Loss stuff or 0:24:48.480 --> 0:24:50.200 oh yeah, I want to know if you're on the 0:24:50.200 --> 0:24:54.080 pressure Sensitive album. But that's with uh, that's the that's 0:24:54.080 --> 0:24:57.440 the what you call it sample? Yeah, well tidal wave. 0:24:57.280 --> 0:25:02.480 Is but always there, oh always, that's. 0:25:02.359 --> 0:25:05.280 Uh with uh. That's on friends and strangers, correct, that's 0:25:05.320 --> 0:25:08.000 on friends say yeah, okay, I see again. 0:25:08.080 --> 0:25:11.240 I'd have to look because it's it's it's enough decades. 0:25:11.359 --> 0:25:13.879 It's it's longer than four decades ago. So i'd have 0:25:13.960 --> 0:25:15.040 to look quite. 0:25:14.840 --> 0:25:19.240 All right, quite all right? When you are booked, uh 0:25:19.520 --> 0:25:22.560 for a session, do you least get the courtesy of 0:25:22.600 --> 0:25:25.600 hearing the song first to see if this is something 0:25:25.640 --> 0:25:28.639 you might be into or you just kind of jump 0:25:28.680 --> 0:25:31.600 into it and not know what it's going to wind 0:25:31.680 --> 0:25:32.000 up being. 0:25:32.720 --> 0:25:36.120 Yeah, no, no, courtesy of the song. It's it's it's 0:25:36.160 --> 0:25:39.920 you get there and it's baptism by really or fire 0:25:40.680 --> 0:25:42.240 wow and you. 0:25:42.400 --> 0:25:44.200 So you have to learn these songs on the spot, 0:25:44.880 --> 0:25:45.399 on the spot. 0:25:45.520 --> 0:25:48.840 Yeah, wait a minute, a mere. Let me ask Nathan 0:25:48.880 --> 0:25:51.480 this what kind of music did you want to make? 0:25:52.280 --> 0:25:55.480 Like when you started out? Like what was the dream? 0:25:55.840 --> 0:25:58.000 Oh? Yeah, no, the dream was was all these guys. 0:25:58.040 --> 0:26:02.800 I remember reading an article that sha Ka Khan was 0:26:02.840 --> 0:26:05.640 talking about. She said, Anthony Jackson is my favorite bass 0:26:05.640 --> 0:26:08.800 player because he laid down the gauntlet on all those recording. 0:26:08.800 --> 0:26:10.600 Now it was the bible of bass. You know what 0:26:10.640 --> 0:26:13.960 he played, and I studied it. But when I read 0:26:13.960 --> 0:26:16.720 that article, I thought, oh man, I would like to 0:26:16.720 --> 0:26:18.720 be everybody's favorite bass player. Like that was my. 0:26:18.840 --> 0:26:20.359 Dream and. 0:26:22.800 --> 0:26:25.440 I'm still living the dream. I mean, you couldn't you 0:26:25.480 --> 0:26:27.920 couldn't make it up, you know, once it started hitting 0:26:27.960 --> 0:26:32.600 in January. I remember January second, nineteen eighty I did 0:26:32.640 --> 0:26:35.199 it Hurts Rent a card jingle commercial. Gene Page was 0:26:35.200 --> 0:26:40.200 a composer. James Gatson was on drums, Ray Parker and 0:26:40.280 --> 0:26:43.359 Lee written Aragon guitar, Sonny Burke at the I mean, 0:26:43.359 --> 0:26:46.159 I'm up there writing in my diary all these guys, 0:26:46.200 --> 0:26:48.959 you know, And and I worked every day since then 0:26:49.000 --> 0:26:51.240 because then it was kind of like once these guys 0:26:51.240 --> 0:26:53.399 hear you, they start going telling people about you, and 0:26:53.680 --> 0:26:56.760 it was just like stepping zones and and it was 0:26:56.880 --> 0:26:57.720 crazy that way. 0:26:58.040 --> 0:27:01.560 And that's your tribe. So that's even crazy exactly. 0:27:02.280 --> 0:27:09.760 So for the musicians that listen to this podcast. And 0:27:09.800 --> 0:27:12.080 I'm gonna try and ask this in a way so 0:27:12.240 --> 0:27:17.000 doesn't alienate or offend them. Already knows where I go, 0:27:17.800 --> 0:27:20.320 where I'm going, No, But I think this, I think 0:27:20.359 --> 0:27:22.879 this is important, and you know, this is this is 0:27:23.000 --> 0:27:26.440 a battle I always work with because we live in 0:27:26.600 --> 0:27:29.639 we live in a time now where musicianship is just 0:27:29.880 --> 0:27:35.280 in the wild wild West, right and again. And I've 0:27:35.320 --> 0:27:38.520 talked about gospel chops for a long time where like 0:27:38.600 --> 0:27:42.680 the gospel chop community sort of sci I mean, like, yo, man, 0:27:42.680 --> 0:27:44.399 why are you always coming down on this and playing 0:27:44.440 --> 0:27:48.080 on But and you know, I don't know if the 0:27:48.200 --> 0:27:52.360 rules that apply then apply now now I'm just I'm 0:27:52.920 --> 0:27:57.000 I come from a place where, you know, the musicianship 0:27:57.160 --> 0:27:59.320 of the sixties and seventies and some of the eighties, 0:28:00.080 --> 0:28:03.439 you know, that's my bread and butter, because you know 0:28:03.560 --> 0:28:08.600 it's it's you know, it's undeniably classic. However, you know 0:28:08.680 --> 0:28:11.000 there's a new generation that sort of feels like the 0:28:11.080 --> 0:28:14.359 need to go from one from zero to sixty and 0:28:14.640 --> 0:28:18.800 four seconds and kind of show you everything you know 0:28:18.920 --> 0:28:22.000 they have. But it's it's almost like in your opinion, 0:28:22.800 --> 0:28:25.600 where do you feel that that script got lost in 0:28:25.920 --> 0:28:28.840 or is this just a natural evolution? And now we 0:28:28.960 --> 0:28:31.240 just live in a time where you got to do 0:28:31.320 --> 0:28:34.479 everything but the kitchen sink to impress and keep your 0:28:34.560 --> 0:28:37.680 job right. Whereas you know, all the time I tell 0:28:37.760 --> 0:28:40.720 musicians like, dude, just play. You know, in the beginning 0:28:40.760 --> 0:28:42.880 I used to take their music their stuff away and 0:28:42.920 --> 0:28:45.160 just like play this one thing and this one thing only. 0:28:45.720 --> 0:28:47.280 But like, does someone have to tell you that? Like 0:28:47.920 --> 0:28:52.720 what's I guess what I'm asking is what stopped you 0:28:53.440 --> 0:28:57.040 from trying to showboat, to let people know like I'm 0:28:57.120 --> 0:29:00.520 the shit and just do what's called for. That's it. 0:29:00.960 --> 0:29:03.560 Yeah, you know, it's it's very seductive to to want 0:29:03.600 --> 0:29:07.320 to in certain instruments. I think, like like piano like 0:29:07.560 --> 0:29:11.840 this this like crazy Olympic fast chops, you know they 0:29:11.960 --> 0:29:14.720 it kind of lends itself to to people wanting to 0:29:14.760 --> 0:29:17.240 really it. But but I never wanted somebody to walk 0:29:17.240 --> 0:29:19.560 away from a gig, said while he was the fastest 0:29:19.560 --> 0:29:21.120 guy ever ever heard. 0:29:22.000 --> 0:29:22.160 Right. 0:29:22.680 --> 0:29:24.520 What I actually like to do now is I go 0:29:24.600 --> 0:29:27.719 down the Instagram feed with the sound off, you know so, 0:29:27.960 --> 0:29:31.000 and then you know, you see everybody playing and and 0:29:31.040 --> 0:29:34.120 you try to figure out who's playing something that's worth listening. 0:29:34.160 --> 0:29:37.000 And very rarely do I you when when I turn 0:29:37.040 --> 0:29:39.800 it off, you know, like very few notes. But I 0:29:40.120 --> 0:29:43.240 learned early on too, just play the play the groove 0:29:43.280 --> 0:29:46.040 and the ink and the and and let it, you know, 0:29:46.640 --> 0:29:48.040 play that funk. 0:29:48.680 --> 0:29:52.479 Does that? But does that truly matter? And like I 0:29:52.520 --> 0:29:54.840 think all of us in this room right now like 0:29:55.000 --> 0:29:58.600 agree with you. But then it's also like does that 0:29:58.720 --> 0:30:02.440 matter anymore? Does it truly matter? Yeah? 0:30:02.800 --> 0:30:06.400 I think it will always matter and The only thing 0:30:06.440 --> 0:30:09.120 that I base that on is that I'm still I'm 0:30:09.160 --> 0:30:14.880 still fairly busy, like like like really really busy, you know, 0:30:14.920 --> 0:30:18.440 where every day there's something to do. After we finish here, 0:30:18.440 --> 0:30:21.360 I'm running the studio and uh, I got about four 0:30:21.440 --> 0:30:26.600 songs waiting. So to me, it's the same concept. And 0:30:26.640 --> 0:30:29.560 I remember when Barry said when the Lynn drum Machine came, 0:30:29.560 --> 0:30:32.320 he said, it's over for drummers, you know, and and 0:30:32.360 --> 0:30:36.920 so like, it can't be over for drummers that can play, 0:30:37.000 --> 0:30:39.000 you know, because this is a machine and it will 0:30:39.040 --> 0:30:41.920 not come up with something that God put in its 0:30:41.960 --> 0:30:47.240 head by itself, you know. And so I I think 0:30:47.280 --> 0:30:50.320 that regarding it. But it's tempting. It's seductive when you 0:30:50.360 --> 0:30:53.240 hear a machine to think that that's going to be 0:30:53.960 --> 0:30:55.480 the way of the world. But when it when it 0:30:55.480 --> 0:30:58.280 gets right down to it, just like you, you know, 0:30:58.360 --> 0:31:00.360 you play every day of your life, and and that's 0:31:00.400 --> 0:31:03.440 what you do, you know, and that's what people that's 0:31:03.440 --> 0:31:06.800 what I think the humans want to hear, you know, 0:31:07.360 --> 0:31:09.440 they don't necessarily want to hear a machine. And I 0:31:09.440 --> 0:31:11.880 don't think they want to hear a person playing like 0:31:11.920 --> 0:31:12.480 a machine. 0:31:12.920 --> 0:31:15.360 But that in that proof and like certain new artists 0:31:15.360 --> 0:31:17.400 putting like they still have to dip back like Bruno 0:31:17.480 --> 0:31:19.920 Mars still got to dip back like Anderson, and you 0:31:19.960 --> 0:31:22.640 still gotta dip back like there's just there are some 0:31:22.760 --> 0:31:25.000 artists that see, I'm gonna need this if I'm gonna 0:31:25.000 --> 0:31:25.800 be funky. 0:31:26.240 --> 0:31:28.840 And when they dip back, everybody, Oh, man, if you 0:31:28.880 --> 0:31:30.960 heard this is the most amazing thing I've heard. 0:31:30.800 --> 0:31:38.760 Exactly it. It's new y'all. Remember Childish Gambino's. 0:31:36.360 --> 0:31:45.800 That I'm playing Donald, I'm playing for you. Though, what personally, 0:31:45.960 --> 0:31:50.440 what do you prefer? Do you prefer studio rats or 0:31:50.480 --> 0:31:52.880 do you prefer like being a road dog? 0:31:54.120 --> 0:31:57.440 Which is a great question, you know, because some people 0:31:58.600 --> 0:32:02.440 are either either or I've enjoyed being both. You know, 0:32:02.920 --> 0:32:06.440 I've enjoyed my life on the road. It comes with 0:32:06.560 --> 0:32:10.760 experiences and and something that you know, when it's live, 0:32:10.800 --> 0:32:13.080 there's nothing like that, you know, especially if you're playing. 0:32:13.880 --> 0:32:16.280 You know, we did live aid two hundred fifty thousand 0:32:16.320 --> 0:32:19.920 people in Philly. You know, there's no feeling like that, 0:32:20.040 --> 0:32:23.360 you know, and to look out and see that. But 0:32:23.400 --> 0:32:25.680 then there's nothing else like being in the studio and 0:32:25.760 --> 0:32:29.240 here in your instrument, just like being recorded pristinely by 0:32:29.240 --> 0:32:31.920 one of the top engineers, and then when you hear 0:32:31.960 --> 0:32:34.880 that playback, it just sounds like heaven, you know. And 0:32:34.880 --> 0:32:38.040 and so those are those are the two kind of 0:32:38.160 --> 0:32:41.080 sides of the coin of a music of a musician, 0:32:41.360 --> 0:32:43.280 you know, and I think it's important to have both 0:32:43.280 --> 0:32:44.160 of those qualities. 0:32:44.840 --> 0:32:48.920 How did COVID change, you know, do your workflow in 0:32:49.000 --> 0:32:51.640 terms of you know, how did you have to shift 0:32:51.720 --> 0:32:52.760 once the pandemic hit? 0:32:53.640 --> 0:32:57.080 Yeah, you know, the I watched and I had some 0:32:57.240 --> 0:33:00.800 very significant touring set up. You know, Airic Clapton had 0:33:00.840 --> 0:33:03.000 three months in the summer and we were going to 0:33:03.080 --> 0:33:05.520 do like six Royal Albert Hall shows and then go 0:33:05.560 --> 0:33:07.560 to Europe, and we had all that. 0:33:07.560 --> 0:33:11.080 Planet and we've seen his tweets, I. 0:33:13.280 --> 0:33:19.040 Don't I had a Russian tour, you know, lined up 0:33:19.520 --> 0:33:22.600 and uh, playing with this Russian orchestra. So I was 0:33:22.640 --> 0:33:25.440 looking for that and so I watched. I watched, like 0:33:25.800 --> 0:33:27.960 literally the revenue for the whole year that would have 0:33:28.000 --> 0:33:30.720 tightened me up go right out the window, you know. 0:33:31.320 --> 0:33:34.520 And uh when when when COVID hit, It's like you 0:33:34.600 --> 0:33:36.720 are instantly becoming an entrepreneur. 0:33:36.800 --> 0:33:38.800 Now you got some merchandise. 0:33:38.880 --> 0:33:40.520 Let's talk about it. 0:33:39.720 --> 0:33:42.959 You get to see how to deal with lamb, you know, 0:33:43.040 --> 0:33:45.200 and then what you're going to do, whether that's whether 0:33:45.240 --> 0:33:48.320 that's uber driving or which I have some friends that 0:33:48.360 --> 0:33:50.960 had to hit, you know, or or coming up with 0:33:51.040 --> 0:33:53.600 a way you know, never let a good pandemic go 0:33:53.600 --> 0:33:54.200 to waste. You know. 0:33:54.280 --> 0:33:56.760 So are your voice work because like when you said that, 0:33:56.840 --> 0:33:59.200 I was like, yeah, you are a voice actor, dud 0:33:59.560 --> 0:34:02.040 I hear and that's what you did. 0:34:02.320 --> 0:34:04.920 I was blessed. I did some voiceover working, and since 0:34:04.960 --> 0:34:08.399 I have a studio, it really came in handy because 0:34:08.440 --> 0:34:11.839 people send me songs and files and so I could 0:34:11.840 --> 0:34:14.080 I could do that till four in the morning. I 0:34:14.160 --> 0:34:15.000 end up doing a lot. 0:34:16.120 --> 0:34:17.240 Have you written a book? 0:34:17.840 --> 0:34:19.680 You know what? I have a book in the works, 0:34:19.960 --> 0:34:24.680 and definitely there's some there's some fun stories. So that's 0:34:24.760 --> 0:34:26.279 that's in the works at the moment. No. 0:34:26.400 --> 0:34:28.080 I was just gonna say, I could probably just lists 0:34:28.120 --> 0:34:29.759 all the albums you played on. That would be the 0:34:29.760 --> 0:34:34.640 whole book. Right. Have you have you had a session 0:34:36.040 --> 0:34:41.160 that you were kind of not satisfied with your performance 0:34:41.160 --> 0:34:43.960 and you're shocked that like oh I got away with 0:34:43.960 --> 0:34:46.640 that or that sort of thing, or you. 0:34:46.600 --> 0:34:50.280 Know, it's funny because are you allowed are you allowed 0:34:50.280 --> 0:34:54.120 to like I'm certain that you're being hired because it's like, Okay, 0:34:54.280 --> 0:34:56.719 Nathan will be you know, Nathan will knock this out 0:34:56.800 --> 0:34:57.880 in one or two takes. 0:34:58.600 --> 0:35:01.520 Won't be that hard, let's go through it. Or you know, 0:35:01.600 --> 0:35:04.719 have you had a moment where you felt like I 0:35:04.719 --> 0:35:06.160 could have did better and they were like, no, no, 0:35:06.200 --> 0:35:07.840 I'm fine with that. It's good. And then. 0:35:09.400 --> 0:35:12.000 You know what's funny is every everything that I ever 0:35:12.040 --> 0:35:15.000 hear back, I always think I always hear something that 0:35:15.080 --> 0:35:17.360 I said, Oh man, if I did it again, I 0:35:17.360 --> 0:35:19.960 would have I would have made that little hipperode or 0:35:20.040 --> 0:35:22.520 just put a little something extra on that note or something. 0:35:22.520 --> 0:35:24.920 I mean, everything I hear that I do, I always 0:35:24.960 --> 0:35:28.359 feel like there's there's a room for, uh, for some 0:35:28.440 --> 0:35:32.120 kind of improvement. But however, you know when the guys, 0:35:33.080 --> 0:35:37.000 like when when Daft Punk, they did get lucky and 0:35:37.160 --> 0:35:39.640 they were mixing the bass part and I actually had 0:35:39.640 --> 0:35:42.839 the chance to redo that because we recorded the track 0:35:42.880 --> 0:35:45.239 and then they sent it back and then Nile put 0:35:45.239 --> 0:35:48.400 his guitar on. And when Nile put the guitar on, 0:35:48.960 --> 0:35:51.960 that's where the funk just like it just it just 0:35:52.040 --> 0:35:54.080 pulled the funk out of the thing. So I asked 0:35:54.080 --> 0:35:56.200 the guys, I said, you know, if I could have 0:35:56.239 --> 0:35:58.799 another shot at the base and I kind of went 0:35:58.880 --> 0:36:05.560 from my Bernard Edward impersonation. And I was actually happy 0:36:05.560 --> 0:36:09.120 because they edited everything to the team, but they said, hey, 0:36:09.120 --> 0:36:11.520 your basebar. We ended up just using most of the 0:36:11.560 --> 0:36:15.120 one same take, one whole take. Oh cool wow, which 0:36:15.200 --> 0:36:18.160 was cool, and you know it was funded. Now that 0:36:18.239 --> 0:36:20.560 was a fun one to hear, and my kids thought 0:36:20.600 --> 0:36:22.400 I was cool because I played the. 0:36:23.440 --> 0:36:33.000 Right a question. Okay, So I guess for most bass players, 0:36:33.480 --> 0:36:37.960 especially bass players that are coming of it, sort of 0:36:38.000 --> 0:36:42.279 coming of age in the seventies. You being born in 0:36:42.320 --> 0:36:46.719 fifty five, you would have been fifteen years old in 0:36:46.800 --> 0:36:50.560 nineteen seventy, and I'm certain by this point you were playing. 0:36:51.160 --> 0:36:53.640 Yeah you were, you were a fully realized bass player 0:36:53.640 --> 0:36:54.880 by a nineteen seventy correct. 0:36:55.840 --> 0:36:58.560 Yeah, I think I was. I was like just jumping 0:36:58.640 --> 0:37:00.880 getting into the realization. 0:37:01.239 --> 0:37:06.160 Okay, So that said, can you describe to me what 0:37:07.280 --> 0:37:09.600 you're what the reaction or what the feeling was when 0:37:09.600 --> 0:37:12.160 you first heard Thank you for letting me be myself again? 0:37:12.760 --> 0:37:17.520 Because okay, so I have this thing with Christa McBride 0:37:18.800 --> 0:37:29.320 about my disdain for songs and E minor because, like I, 0:37:29.320 --> 0:37:32.680 I have an obsession with collecting really horrible funk songs 0:37:32.680 --> 0:37:35.040 in E minor because you know, it's like when you're 0:37:35.040 --> 0:37:37.960 playing E minor that that's the easiest key for a 0:37:38.000 --> 0:37:42.040 beginner and base to play. And of course my thought 0:37:42.120 --> 0:37:46.040 is that you're trying to top the mount Rushmore of 0:37:46.080 --> 0:37:48.759 E Minor, which is basically thank you for letting me 0:37:48.760 --> 0:37:53.080 be myself again music that's in there. But no, that's 0:37:53.200 --> 0:37:57.000 I wouldn't even consider that the mount Rushmore. I mean 0:37:57.000 --> 0:37:59.080 I was definitely not. I was just trying to think 0:37:59.200 --> 0:38:01.320 was that the same thing all songs in the kV 0:38:01.960 --> 0:38:05.319 so thank you for letting me be myself? Shining Star 0:38:05.600 --> 0:38:11.680 could be in there. I would think, Well, it's kind 0:38:11.719 --> 0:38:14.200 of weird because I don't know if I can let 0:38:14.280 --> 0:38:17.840 Larry in twice. I mean, he he's already the alpha. 0:38:18.080 --> 0:38:20.840 So anything that comes after, thank you for letting me 0:38:20.880 --> 0:38:23.440 be myself, no matter what song it is, release yourself, 0:38:23.480 --> 0:38:29.880 hair right, all those things. So but for you, though, 0:38:30.880 --> 0:38:33.319 did you have a like come to Jesus moment when 0:38:33.360 --> 0:38:35.360 you heard that? Like, what did you make of the 0:38:35.360 --> 0:38:37.520 sound because I always wanted to ask a bass player 0:38:37.560 --> 0:38:41.640 that was of age who knew what bass playing was beforehand, 0:38:41.640 --> 0:38:43.960 which I'm certain that you know, James Jamerson was the 0:38:44.040 --> 0:38:46.640 leader of that. Yeah, but what was thank you for 0:38:46.719 --> 0:38:50.840 letting me be myself for you in terms of hearing that. 0:38:51.640 --> 0:38:53.520 I mean, I'd have to say that was that was 0:38:53.560 --> 0:38:56.600 one of the wheels, you know what I mean. It 0:38:56.640 --> 0:38:59.759 was like and I can remember the guys in my 0:38:59.800 --> 0:39:02.239 back and you know, as I said, man, have you 0:39:02.320 --> 0:39:05.080 heard this cat Larry Graham? You know, and so they 0:39:05.120 --> 0:39:07.360 came in with Graham's Central Station and they came in 0:39:07.400 --> 0:39:10.239 with that, and like you're listening and you're just going, 0:39:10.719 --> 0:39:13.840 I mean, to be that innovative at that time period 0:39:13.840 --> 0:39:17.279 where there wasn't too much before that that that said 0:39:17.320 --> 0:39:19.759 that much, you know. And I love those youtubes now 0:39:19.760 --> 0:39:22.080 where you can see Slide in the studio listening to 0:39:22.840 --> 0:39:26.000 listening to those tracks, you know, just going wow, this 0:39:26.120 --> 0:39:28.799 is crazy, you know. And so it was. It was 0:39:28.840 --> 0:39:31.560 a it was a big revelation. I mean, I'm not 0:39:31.600 --> 0:39:34.399 gonna lie and e Minor, I mean, you know, as 0:39:34.440 --> 0:39:37.000 a bass player, it's always funk any you know, everybody 0:39:37.360 --> 0:39:41.880 Lewis Johnson doubt it's drunk and he you know, I 0:39:41.920 --> 0:39:44.560 get I get asked to judge these Battle of the 0:39:44.640 --> 0:39:51.120 base bass contest sometimes, you know, almost I'd rather have 0:39:51.160 --> 0:39:56.319 a root canals. I mean, I walk out of there 0:39:56.400 --> 0:39:58.920 and everybody comes walks in the room with their thumb out, 0:40:00.040 --> 0:40:02.160 and you know, they don't they don't check the tuny, 0:40:02.200 --> 0:40:04.879 they don't check the volume. They just start whacking the bass, 0:40:04.960 --> 0:40:07.800 you know, and it's like funk and e and it's like, please, guys, 0:40:09.920 --> 0:40:10.200 it's like. 0:40:10.239 --> 0:40:12.279 How many ways can they reinvent the will? 0:40:12.760 --> 0:40:12.800 So? 0:40:13.880 --> 0:40:19.279 But for you it's okay. Well, I mean, is there 0:40:19.480 --> 0:40:25.440 still challenges that have yet to be discovered or or 0:40:27.040 --> 0:40:29.279 just in terms of the sport of bass playing. 0:40:29.600 --> 0:40:33.160 Well, if you if you think about baselines, like for 0:40:33.280 --> 0:40:35.239 the Love of Money, when Anthony Jackson walked in and 0:40:35.280 --> 0:40:36.759 saw a D minor on the paper, and then he 0:40:36.840 --> 0:40:39.320 came up with that baseline, you know, right, and and 0:40:39.560 --> 0:40:41.960 and then when you think about till you come back 0:40:42.000 --> 0:40:46.800 to me, Chuck Rainey, you know, these these are to 0:40:46.920 --> 0:40:49.840 me where the bass really caresses the song, you know. 0:40:49.920 --> 0:40:52.400 And and if there's one thing that I that I 0:40:52.440 --> 0:40:55.120 would tell and I have students at my online school 0:40:55.160 --> 0:40:59.040 of base, and I say, make every single note count. Don't. 0:40:59.600 --> 0:41:01.680 Don't just go in there and start playing. You first, 0:41:01.719 --> 0:41:04.080 you have to listen and know what the song is 0:41:04.080 --> 0:41:07.839 all about, you know, and and and we're just part 0:41:07.880 --> 0:41:11.759 of a big picture. So you know, when everybody goes 0:41:11.800 --> 0:41:15.120 in whacking and smacking the bass, it's like, really, guys, 0:41:15.160 --> 0:41:17.439 you know. And I remember Anthony Jackson used to say, 0:41:18.120 --> 0:41:19.960 if you if you want slapping and popping, you got 0:41:20.080 --> 0:41:22.840 to call Marcus, you know. He said, he said that 0:41:22.920 --> 0:41:27.279 cost me two hundred and fifty grand a year, but 0:41:27.400 --> 0:41:29.080 he would he refused to do it. 0:41:29.960 --> 0:41:33.759 Really, Yeah, Evan, he never played with his thumb at all. 0:41:34.400 --> 0:41:37.080 You have not heard if you find it, if you 0:41:37.160 --> 0:41:38.440 can find it, please. 0:41:38.280 --> 0:41:39.840 Did he always play? Did he always play with a 0:41:39.840 --> 0:41:41.759 pick at least? Or he used a pick? 0:41:43.280 --> 0:41:45.239 Yeah, a pick in his fingers. But but I think 0:41:45.320 --> 0:41:50.759 for the love of money is what you can hear? 0:41:50.800 --> 0:41:53.560 The pick? Yeah? For you, though, what is your what 0:41:53.719 --> 0:41:56.600 is your preferred weapon of choice? Your thumb? 0:41:57.320 --> 0:41:59.759 What I do is I grew my I grew my 0:41:59.840 --> 0:42:02.319 name just long enough so that I can switch between. 0:42:02.360 --> 0:42:05.239 If I need a little extra percussive sound, I'll hit 0:42:05.280 --> 0:42:08.480 it with the nail And actually that came from an 0:42:08.560 --> 0:42:10.480 article I read about Chuck Rainey said he did the 0:42:10.520 --> 0:42:13.239 same thing, So he would you'd use the meat, the 0:42:13.320 --> 0:42:15.600 meaty fleshy part of your finger, you know, and get 0:42:15.640 --> 0:42:17.600 that big fat Jamerson sound. But if you wanted to 0:42:17.680 --> 0:42:21.160 have a little more percussive like a pick sound, instead 0:42:21.200 --> 0:42:22.920 of using a pick, I just used my fingernails. 0:42:23.680 --> 0:42:27.000 And what is your preferred weapon as far as your 0:42:27.160 --> 0:42:28.200 your bass collections? 0:42:29.000 --> 0:42:31.879 And one of the basses, like all those songs you named, 0:42:31.920 --> 0:42:34.480 it's it's my U. It was the predecessor to my 0:42:34.560 --> 0:42:37.759 signature Yamaha bass, but it's called a motion bass and 0:42:37.840 --> 0:42:40.279 it's just we we had like this bass that they 0:42:40.320 --> 0:42:42.440 had made for me, and then this box that I 0:42:42.560 --> 0:42:44.600 used to carry around and it has it was like 0:42:44.680 --> 0:42:48.520 an EQ box that would shave the mid frequencies. And 0:42:49.400 --> 0:42:51.520 that's that's been the bass I've played on, you know, 0:42:52.239 --> 0:42:54.800 like countless. I need a bakerrect, I mean everything. You know, 0:42:54.800 --> 0:42:57.960 all those dudes name change the world, you get lucky 0:42:58.080 --> 0:43:01.080 And so that's my my fire string. It's it's the 0:43:01.080 --> 0:43:03.840 equivalent to my five string signature, but it's like a prototype. 0:43:04.840 --> 0:43:08.359 What was your okay, So you know, there's over two 0:43:08.400 --> 0:43:11.400 thousand credits you have, and at least two hundred of 0:43:11.440 --> 0:43:14.000 those songs are like life changing songs. So you know, 0:43:14.520 --> 0:43:16.759 I won't even pick your brain about each and every song. 0:43:16.880 --> 0:43:21.600 But what was the first song that you recalled out 0:43:21.640 --> 0:43:25.879 of your comfort zone that you played on? Like there's 0:43:25.920 --> 0:43:28.759 a difference between Barry White's as Ecstasy when You Lay 0:43:28.880 --> 0:43:33.600 next to Me and Footloose by Kenny Loggins, so like, 0:43:34.800 --> 0:43:36.719 or was it just a gradual thing where it's like, oh, 0:43:36.920 --> 0:43:40.040 rock gig today or a pop gig or a yacht 0:43:40.120 --> 0:43:45.240 rock gig or but what was the first like, Okay, 0:43:45.520 --> 0:43:51.560 this is out of out of my normal my out 0:43:51.560 --> 0:43:54.080 of my normal realm of client clientele. 0:43:54.440 --> 0:43:56.560 Well, well, one of the one of the most challenging 0:43:56.640 --> 0:44:01.839 records was Wayne Short joy Rider and Trease Russian played 0:44:01.880 --> 0:44:03.960 on that. Robin Ford I think was on guitar. And 0:44:04.040 --> 0:44:06.920 it's one of those things like Wayne's writing, it doesn't 0:44:07.280 --> 0:44:09.480 it doesn't take into account like how the stuff lays 0:44:09.560 --> 0:44:12.440 under your fingers. It just it's just these notes that 0:44:12.560 --> 0:44:16.799 are that are in a uniquely random order that are 0:44:16.920 --> 0:44:19.440 that are amazing. But you really, I mean, I remember 0:44:19.480 --> 0:44:21.479 all of us having our heads buried in the music 0:44:21.560 --> 0:44:24.120 thinking and I think somebody said, hey, would it be 0:44:24.200 --> 0:44:25.640 cool to take this home for a couple of days 0:44:25.640 --> 0:44:28.759 and then come and shed it back, And they were 0:44:28.840 --> 0:44:31.319 kind of because you don't want to. You you want 0:44:31.320 --> 0:44:32.759 to make it sound like you own it when you 0:44:32.960 --> 0:44:36.800 when you're playing the music, you know. The song Footloose 0:44:37.160 --> 0:44:39.480 was was a bassline that we had. I had the 0:44:40.320 --> 0:44:42.440 benefit of playing on the road every day like for 0:44:43.320 --> 0:44:46.080 months with Kenny. We'd go practice the tune and by 0:44:46.120 --> 0:44:48.839 the time we recorded it, that was like one take, 0:44:48.960 --> 0:44:52.600 you know, but it was cool. Early on with Hubert Laws, 0:44:52.600 --> 0:44:53.800 there was an album called Family. 0:44:54.560 --> 0:44:55.960 Yes, that's that's my joint. 0:44:56.040 --> 0:44:58.480 Bobby Lyle Chik Korea was on there and. 0:44:58.800 --> 0:45:02.800 His sister was singing Devor sang. 0:45:01.719 --> 0:45:05.040 And and that that was one of the more kind 0:45:05.080 --> 0:45:07.239 of challenging I wrote a song that I played with 0:45:07.360 --> 0:45:10.440 the electric bass and piccolo where played the melody together 0:45:10.800 --> 0:45:13.040 and it was kind of a little bit of a chopbuster. 0:45:13.560 --> 0:45:15.520 It's called wild Fire. 0:45:16.840 --> 0:45:18.520 And the piccolo together. 0:45:19.200 --> 0:45:20.200 Yeah, so piccolo and. 0:45:21.880 --> 0:45:23.000 Or separate tracks. 0:45:24.440 --> 0:45:27.320 And that the separate tracks, you know. I was like, 0:45:27.360 --> 0:45:33.560 wait a minute, yeah, and so uh it was. It 0:45:33.719 --> 0:45:35.439 was one of those that you know, required a little 0:45:35.480 --> 0:45:38.160 bit of shedding before going into the studio. But for 0:45:38.280 --> 0:45:41.160 the most part, you go in the studio like sight Unseen, 0:45:41.239 --> 0:45:44.120 and they you know, they either throw this music in 0:45:44.160 --> 0:45:46.279 front of you or play a demo like you know, 0:45:47.280 --> 0:45:50.000 of the many ways to articulate what they want you 0:45:50.080 --> 0:45:51.520 to play, and you go from there. 0:45:51.880 --> 0:45:53.319 I was just going to ask things that you need 0:45:53.480 --> 0:45:57.360 for your session, that you have to have, you. 0:45:57.440 --> 0:46:00.080 Know, normally, it's it's not a one of the the 0:46:01.040 --> 0:46:03.520 last things we did and and we I got to 0:46:03.600 --> 0:46:06.040 congratulate John Fatist because we did the music for Soul 0:46:06.120 --> 0:46:10.680 and we were in Capitol. Yeah, congratulations, Yeah, and we're 0:46:10.719 --> 0:46:14.919 over there January twenty twenty, like like the first week 0:46:14.960 --> 0:46:17.440 of January twenty twenty. We were in Capital Studio A 0:46:18.200 --> 0:46:21.560 and uh that was interesting because he I had my 0:46:21.680 --> 0:46:25.920 upright bass, I had my electric upright, my electric bass, 0:46:26.400 --> 0:46:28.200 and we kind of auditioned all three and we ended 0:46:28.280 --> 0:46:31.239 up using my my my upright bass. You know, the 0:46:31.480 --> 0:46:34.640 real wood bass engineer got a fantastic sound out of it. 0:46:35.320 --> 0:46:38.839 And I was I was just so proud to see 0:46:39.360 --> 0:46:42.200 him walk away with the statue. You know. That was amazing. 0:46:42.800 --> 0:46:43.600 Yeah, that was awesome. 0:46:43.800 --> 0:46:46.680 You always bring a choice with you at every session, and. 0:46:47.400 --> 0:46:49.279 If I can, a lot of times they if they 0:46:49.440 --> 0:46:51.000 just say, you know, they may just say bring the 0:46:51.040 --> 0:46:57.040 electric bass, you know, and for Babyface, you know, probably 0:46:57.080 --> 0:46:58.759 not going to be a lot of upright playing. 0:47:00.520 --> 0:47:04.360 Right, all right. So when you're when you're doing sessions, 0:47:04.760 --> 0:47:08.520 for instance, with all Right, let's let's say Through the Fire, 0:47:09.320 --> 0:47:11.960 do you mostly do you have good relationships with the 0:47:12.040 --> 0:47:15.759 producer that chooses you for the session or is it 0:47:16.160 --> 0:47:19.120 just all right? So what was it like working with 0:47:20.360 --> 0:47:24.960 I don't hear stories about h. R If Martin. It's 0:47:25.000 --> 0:47:28.320 hard to pronounce his name. Reef Martin, Yeah, a Reef Martin. 0:47:30.239 --> 0:47:34.879 Because you know, Shaka's album was such THEE I Feel 0:47:34.920 --> 0:47:37.120 for You album is such a landmark album which was 0:47:37.200 --> 0:47:43.040 sitting somewhere between uh, the past and the future that 0:47:43.200 --> 0:47:47.880 was to come, you know them, uh sort of exploring 0:47:47.960 --> 0:47:51.000 new sounds and new new technology. Were you on that 0:47:51.239 --> 0:47:53.200 entire record or were you just on Through the Fire? 0:47:54.480 --> 0:47:57.480 See? I was on a few album, a few cuts 0:47:57.520 --> 0:48:00.399 on that I'd have to look. But Through the Fire 0:48:00.560 --> 0:48:03.560 was actually produced by, written and produced by David Foster 0:48:03.880 --> 0:48:06.680 and my buddy who I share a studio with Tom 0:48:06.760 --> 0:48:09.919 Keane wrote it as co writer on that song. Okay, 0:48:10.560 --> 0:48:13.720 that was a cool song because David Foster, years before 0:48:13.800 --> 0:48:17.000 he had he came up with this kind of like 0:48:17.080 --> 0:48:20.560 a solo album of all instrumentals, and that tune was 0:48:20.640 --> 0:48:27.879 actually on it. I don't know if I didn't know that, Okay, Yeah, 0:48:27.920 --> 0:48:31.280 And so I was familiar with the tune, loved the tune, 0:48:31.880 --> 0:48:34.719 and so again, you know, to get to play on it, 0:48:34.840 --> 0:48:37.880 I was I had a my heart was already connected 0:48:37.920 --> 0:48:40.759 to it, and then David was a friend, and so 0:48:40.920 --> 0:48:43.000 we were we were having a great time in the studio. 0:48:43.360 --> 0:48:46.360 John Robinson on drums, I think, Mike Landau on guitar, 0:48:46.560 --> 0:48:51.520 David on keys, and so the tune kind of played 0:48:51.560 --> 0:48:55.440 itself like that. Every song is unique, as we all know, 0:48:55.640 --> 0:48:58.520 like a song like Tears in Heaven. I always say 0:48:58.560 --> 0:49:00.719 that that that I didn't play that song. It played 0:49:00.800 --> 0:49:05.040 me because I knew Condor clapton Beautiful Little Boy, and 0:49:06.239 --> 0:49:10.080 just the emotion of going in the studio and recording 0:49:10.120 --> 0:49:12.239 that knowing what it was all about, you know, I 0:49:12.280 --> 0:49:14.520 mean I don't even remember the notes I played, and 0:49:14.640 --> 0:49:16.960 you know, like I say, the song kind of just 0:49:17.040 --> 0:49:17.560 plays you. 0:49:20.000 --> 0:49:22.560 Are there two versions of Is there a studio version 0:49:22.560 --> 0:49:24.840 of Tears in Heaven and the unplayed version or is 0:49:24.880 --> 0:49:26.440 it just one definitive. 0:49:26.200 --> 0:49:30.240 The other two? The studio version is on a soundtrack 0:49:30.280 --> 0:49:32.120 called Rush. Yeah. 0:49:32.360 --> 0:49:33.920 It was Jefer Jason Lee Joints. 0:49:34.160 --> 0:49:34.359 Yeah. 0:49:34.840 --> 0:49:37.240 Yeah, yeah, and you did both versions. 0:49:38.960 --> 0:49:42.799 Yeah yeah, so you play with Okay, I see, yeah, 0:49:42.840 --> 0:49:45.799 when I I think when I first met you. I'm 0:49:45.840 --> 0:49:47.960 sure that we met before, but the first time I 0:49:48.040 --> 0:49:50.080 really got to talk to you, we were in a 0:49:51.200 --> 0:49:55.360 Carousel and it was one of the most surreal gigs 0:49:55.400 --> 0:49:58.560 of my life because it was at the time you 0:49:58.680 --> 0:50:02.200 were playing with Toto correct, right, Yeah, yeah, so it 0:50:02.320 --> 0:50:09.920 was it was Toto, Dinah Ross the Roots, Prince wow 0:50:10.640 --> 0:50:16.160 right and oh and Los Lobos and uh yeah. 0:50:17.000 --> 0:50:18.640 The one the one fest in London or. 0:50:18.640 --> 0:50:21.520 Something they be No, it was it was it was Okay, 0:50:21.880 --> 0:50:25.920 what's what's what's the event? What's the festival in Rotterdam. 0:50:27.120 --> 0:50:28.560 It's the North Sea Jazz Fest. 0:50:28.640 --> 0:50:32.640 Okay. It was like because Carousel is sort of occupied 0:50:32.760 --> 0:50:37.359 by uh yeah, the Netherlands, like it's it's the North 0:50:37.400 --> 0:50:40.640 Sea Jazz Festival before Carousel, like. 0:50:40.600 --> 0:50:42.520 I knew where that was. Ill kept staying out. 0:50:42.560 --> 0:50:47.440 And is is it slightly between like South America and 0:50:47.880 --> 0:50:50.760 it's somewhere in the middle of nowhere. It's not Europe 0:50:50.840 --> 0:50:52.759 and it's not South America. It's like that, you know, 0:50:52.920 --> 0:50:55.160 like it's like way below Cuba. 0:50:55.560 --> 0:50:58.760 Okay, so they brown, they're brown there, Yeah. 0:50:58.600 --> 0:51:02.600 They're kind of brown. Was on that Yeah, there was, Yes, 0:51:02.800 --> 0:51:05.920 there was a lot, but just that was the one 0:51:05.960 --> 0:51:07.960 time because we were there for I think four days 0:51:08.040 --> 0:51:10.040 before the gig even started. Like I thought, it was 0:51:10.120 --> 0:51:13.239 weird that we all came out early. Yeah, me too, 0:51:13.920 --> 0:51:16.520 to hang, I've never done that. Usually I get there 0:51:16.560 --> 0:51:18.680 the day of the gig, do the gig, and I'm 0:51:18.719 --> 0:51:21.680 out and hit it and then I'm like, wow, one, 0:51:22.000 --> 0:51:25.799 you'll you'll never catch me swimming or in the beach. 0:51:25.920 --> 0:51:28.920 But yet here I am swimming in the beach like 0:51:29.960 --> 0:51:33.719 and I'm talking to you know, to Toto, and you know, 0:51:33.960 --> 0:51:38.480 like everyone everyone's there. So yeah, wait a minute, was 0:51:38.560 --> 0:51:39.879 Journey also on that gig as well? 0:51:40.600 --> 0:51:44.320 God it may have been on that gig as well. Yes, Okay, 0:51:44.520 --> 0:51:46.719 so I'll bet you I could find the poster or 0:51:46.760 --> 0:51:48.800 something of that gig because I try to save you know, 0:51:48.920 --> 0:51:51.840 all the yeah, all the information. But I mean, it 0:51:51.960 --> 0:51:53.800 was like all these people and I sat next to 0:51:53.840 --> 0:51:57.520 Diana Russ on the flight back home. It's crazy. Really, yes, 0:51:57.880 --> 0:51:59.960 we got to talk. It was it was incredible. 0:52:00.280 --> 0:52:03.120 It was a very it was a very surreal, surreal gig. 0:52:03.239 --> 0:52:05.560 Even like the fact that Prince was so accessible. 0:52:05.719 --> 0:52:09.160 It was like, wow, let everybody stayed up to see Princes. 0:52:09.480 --> 0:52:10.680 I mean, it was unbelievable. 0:52:10.760 --> 0:52:13.600 Prince. Prince was so killing that he did an additional 0:52:13.640 --> 0:52:20.680 two hours. That was the roots time. So so on 0:52:20.840 --> 0:52:23.440 Prince's side of the stage, there's like sixty thousand people 0:52:23.920 --> 0:52:27.360 warm more so so, and then on our side of 0:52:27.400 --> 0:52:30.040 the stage, it was like three hundred people. 0:52:31.360 --> 0:52:34.360 I mean, we just told them what promoter is going 0:52:34.440 --> 0:52:35.799 to get mad at him? You know what I'm saying. 0:52:36.400 --> 0:52:38.080 We told the promoter, what do you want us to 0:52:38.160 --> 0:52:41.160 do because Princeton took our time. He's just like, uh yeah, 0:52:41.280 --> 0:52:43.200 just do the seat and go home. So literally, like 0:52:44.320 --> 0:52:47.440 we did, Wow, we did three songs, we did the 0:52:47.480 --> 0:52:49.719 next movement. You got me. The scene was like, all right, 0:52:49.760 --> 0:52:52.640 good night people. You literally are like a golf clap. 0:52:52.520 --> 0:52:56.759 Like the promoter's dream, like Prince will not get off 0:52:56.840 --> 0:52:57.680 the stage, you. 0:52:57.719 --> 0:53:01.400 Know, right, dude, that would. We were over there watching 0:53:01.480 --> 0:53:02.759 him and there was like, oh shit, we got to 0:53:02.800 --> 0:53:05.600 go on stage, like and I'm asking I'm literally asking 0:53:05.680 --> 0:53:07.680 him backshas like are you doing another encore? Because I 0:53:07.719 --> 0:53:09.600 gotta run to the other stage and I'm gonna do 0:53:09.640 --> 0:53:11.720 one more. I was like, okay, well there's no more routsho. 0:53:11.880 --> 0:53:17.320 But but when you're in that situation, like especially with 0:53:18.280 --> 0:53:23.319 legacy bands and whatnot, how often, like with TOTE, I'm 0:53:23.400 --> 0:53:25.919 certain that you're not just doing it for that gig. 0:53:26.200 --> 0:53:28.720 But do they hire you for like a year duration 0:53:28.920 --> 0:53:31.160 or is it just like for this particular tour. 0:53:32.000 --> 0:53:38.320 And yeah, that that particular tour was they they actually 0:53:38.360 --> 0:53:40.799 called me and said, you know, Mike Pricaro, who's who 0:53:40.880 --> 0:53:44.360 was the bass player this suffering with the als, and 0:53:44.680 --> 0:53:46.160 what we would like to do is go on tour 0:53:46.160 --> 0:53:49.240 and raise some money to help him with his medical expenses. 0:53:49.320 --> 0:53:51.759 So so this this was the tour where it was 0:53:51.840 --> 0:53:54.400 just from the heart, you know, and these guys I 0:53:54.520 --> 0:53:57.360 know thirty years and and those are all my boys, 0:53:57.400 --> 0:54:00.800 and so we we got together and proceed from the 0:54:00.880 --> 0:54:03.239 tour was going to his family to help him because 0:54:03.239 --> 0:54:06.040 he at that point he was you know, he was 0:54:06.080 --> 0:54:06.720 off the circuit. 0:54:07.480 --> 0:54:11.719 Well, okay, speaking of like Toto, can you can you 0:54:11.880 --> 0:54:18.520 explain the sort of the somewhat stranglehold that they had 0:54:19.960 --> 0:54:23.080 on just a particular sound and sonic Like I know, 0:54:24.000 --> 0:54:26.319 I'm not insulting when I say, like, oh, yacht rock 0:54:26.400 --> 0:54:28.560 or whatever, because like I'm a really big fan of 0:54:29.920 --> 0:54:34.560 all that Michael master Yamaha d X seven right, fretless 0:54:34.640 --> 0:54:38.160 bass sound like I like, you know, easy match, Like 0:54:38.239 --> 0:54:41.120 I love that yacht rock stuff. But I mean at 0:54:41.160 --> 0:54:44.040 the time when you're doing it, when you're doing it 0:54:44.120 --> 0:54:46.400 in real time, like between that period of like eighty 0:54:46.480 --> 0:54:50.239 one and eighty seven, when this new sort of la 0:54:50.680 --> 0:54:56.040 glossy sound sort of takes over, Like are you realizing 0:54:56.120 --> 0:55:01.279 that sonically it's a little bit different than what was 0:55:03.040 --> 0:55:05.120 kind of like with with the with the grid of 0:55:05.160 --> 0:55:07.520 the seventy sound, Like did you notice. 0:55:07.280 --> 0:55:11.120 A change or yeah, I mean it it and they 0:55:11.200 --> 0:55:14.800 got they got beat up for oh they're so slick. 0:55:15.760 --> 0:55:18.080 They got beat up in the beginning. But now it's like, 0:55:18.360 --> 0:55:20.800 in hindsight, I love the shit out that sound. So 0:55:20.880 --> 0:55:23.719 it's like, yeah, it's almost like revision of history, Like yeah, 0:55:23.719 --> 0:55:28.040 I always loved Africa and for example, all those things, right, 0:55:28.200 --> 0:55:31.960 but like what were they? Were they the the who 0:55:32.160 --> 0:55:36.680 was who was the And it's always like some up 0:55:36.719 --> 0:55:39.920 for debate, like who's technically the first yacht rock smooth 0:55:40.080 --> 0:55:43.400 LA sound? Like people say like whoever the producer was 0:55:43.480 --> 0:55:45.960 of a captain in to Neil's leve will keep Us Together? 0:55:46.040 --> 0:55:48.959 Like many will cite that as the the first moment 0:55:49.000 --> 0:55:51.160 in nineteen seventy three where it's suddenly like that Neil 0:55:51.200 --> 0:55:56.040 Sedaka does it. And then but you know, at the 0:55:56.120 --> 0:55:58.600 time when you're gigging in LA, like what was the 0:55:58.960 --> 0:56:04.200 basic perception of like the Percaro guys, Like Oh, they's 0:56:04.200 --> 0:56:05.880 some badass motherfuckers. 0:56:05.400 --> 0:56:08.440 Or like absolutely, and you know, and and and back 0:56:08.520 --> 0:56:11.520 in the day too, like you had A and M studios, 0:56:11.560 --> 0:56:14.279 you know where the carpenters, you know, and they were 0:56:15.160 --> 0:56:18.520 there were all these like very very lush kind of 0:56:18.560 --> 0:56:20.680 sounding record It's funny. I was over there the other day. 0:56:20.719 --> 0:56:26.319 We were doing a Mary Clayton Tiny Desk concert. Nice yeah, 0:56:26.360 --> 0:56:27.880 and it was it was, it was really cool. But 0:56:28.239 --> 0:56:30.480 every time I go in there, it just takes me 0:56:30.560 --> 0:56:32.320 back because I mean I was in there. I did Johnny. 0:56:33.200 --> 0:56:35.960 I did Johnny Mathis with a fifty piece orchestra. I 0:56:36.040 --> 0:56:38.719 did Dion Warwick. A lot of people in there, uh 0:56:39.320 --> 0:56:42.680 you know Don Henley, I mean so many. They say 0:56:42.760 --> 0:56:45.040 the ten thousand hours, like like we we all have 0:56:45.160 --> 0:56:47.600 ten thousand hours and a lot of studios, you know, 0:56:48.440 --> 0:56:52.640 and the total the total project. If you think about 0:56:52.719 --> 0:56:56.520 every one of those guys has such a powerful individual 0:56:56.640 --> 0:57:01.200 voice on their instrument. I'm Steve Percaro Man wrote he 0:57:01.280 --> 0:57:04.680 wrote Human Nature from Michael Jackson, and you can hear 0:57:04.880 --> 0:57:07.319 in those chords that's Steve Pacarl. You know, one guy 0:57:07.400 --> 0:57:11.759 plays like that. David Page, same thing, very powerful personality. 0:57:12.480 --> 0:57:15.719 And and those guys were like all of us, you know, 0:57:15.840 --> 0:57:19.480 students of music. They studied, they studied sly and and everything, 0:57:19.560 --> 0:57:21.880 you know, so when they went in the studio there, 0:57:22.520 --> 0:57:24.840 those were the standards that they kept. You Jeff Picarl, 0:57:26.800 --> 0:57:29.520 you know these there were some bad they're La finance basically, 0:57:29.600 --> 0:57:31.600 you know. And so they they went in and you 0:57:31.720 --> 0:57:34.520 listened to you listen to Africa Now and and those 0:57:34.600 --> 0:57:39.320 songs like hold the Line, and so it was fun 0:57:39.360 --> 0:57:42.240 for me because as soon as as soon as they 0:57:42.280 --> 0:57:43.640 asked me to play, you know, it was like playing 0:57:43.640 --> 0:57:46.920 in the top forty band. He played great songs and 0:57:47.040 --> 0:57:51.520 Rosanna and and you know, I couldn't ever really figure 0:57:51.520 --> 0:57:53.400 out why they were getting such a bad rap. Oh 0:57:53.440 --> 0:57:56.440 they're too slick, and you know, I mean what you're 0:57:56.480 --> 0:57:59.480 getting punished for trying to have a good sound and 0:57:59.520 --> 0:58:00.720 come up with some good tunes, you know. 0:58:05.520 --> 0:58:07.840 Okay, So oftentimes if I get asked to do a 0:58:07.960 --> 0:58:11.120 gig nine times out of ten, on ass like, well, 0:58:12.280 --> 0:58:14.120 if I think they're hiring me because of a certain 0:58:14.200 --> 0:58:17.360 sound that I had, then I'll recommend them, Well, you 0:58:17.400 --> 0:58:19.040 should go to this studio because this is where I 0:58:19.120 --> 0:58:22.040 recorded this particular record that I and where you'll get 0:58:22.080 --> 0:58:24.960 the sound. Yeah, right, you'll get the sound that you want. 0:58:26.680 --> 0:58:32.840 How much control do you have over like the sound 0:58:32.920 --> 0:58:35.080 and the texture of what you want or you just 0:58:35.120 --> 0:58:37.520 got to trust the engineer and the producer and that's it. 0:58:37.680 --> 0:58:42.000 You know, Al Schmidt who we just lost and worked 0:58:42.040 --> 0:58:45.600 a capital a lot, and we the Warner Brothers, used 0:58:45.600 --> 0:58:47.440 to have a studio and that we did when we 0:58:47.560 --> 0:58:52.960 first started four Play. The first real four Play album 0:58:53.040 --> 0:58:55.640 was was a Bob James album called Grand Piano Canyon 0:58:56.040 --> 0:59:01.040 and that was what he called me. Harvey Lee Lee 0:59:01.080 --> 0:59:04.400 written Hour and actually Harvey Mason and Lee Written and 0:59:04.400 --> 0:59:06.560 I Are both recommended me when he asked about who 0:59:06.640 --> 0:59:08.640 should I get on bass, you know, so the four 0:59:08.680 --> 0:59:11.560 of us got in that quartet. There's a song called Restoration. 0:59:11.680 --> 0:59:14.200 I call that the first four play songs on that album. 0:59:14.720 --> 0:59:17.520 And Al Schmidt recorded that. And I used to take 0:59:17.560 --> 0:59:22.840 that recording around to all the Stay and Sunset sound 0:59:22.880 --> 0:59:25.640 Oceanway and say, guys, my bass sounds like this, you know, 0:59:27.480 --> 0:59:29.439 because you know how like your drum you could play 0:59:29.440 --> 0:59:33.000 in ten different studios and it'll sound like ten different guys, 0:59:33.040 --> 0:59:35.760 you know, And I can't ever figure out, like how 0:59:35.800 --> 0:59:39.760 does the same instrument translate so differently in different studios, 0:59:39.800 --> 0:59:42.920 you know, So whenever possible, yeah, I'll recommend in one 0:59:42.960 --> 0:59:46.800 of my favorites spend tons of time and was ocean 0:59:46.840 --> 0:59:50.800 Way Studio. Oh okay, we did the first uh well, 0:59:50.840 --> 0:59:53.520 we did so much stuff there, but first four play record. 0:59:53.640 --> 0:59:55.760 But we used to record there with the Lionel Richie. 0:59:55.840 --> 0:59:59.280 We did, We did Kenny Loggins level will follow, I 0:59:59.360 --> 1:00:01.760 mean ton because I did. One of the things I'm 1:00:01.800 --> 1:00:05.200 most proud of is we did a song called if 1:00:05.200 --> 1:00:06.960 you Think You're Lonely Now Bobby Womack. 1:00:07.000 --> 1:00:09.800 Yeah, I was going to say you were on the Monster. 1:00:10.160 --> 1:00:14.080 Yeah, the ocean Way Studio. And as funny as all 1:00:14.120 --> 1:00:16.560 these tunes I can remember, I could kind of just 1:00:16.680 --> 1:00:20.200 remember being there. It's almost like the day and so 1:00:21.080 --> 1:00:22.920 that being one of my favorites. You know, when I 1:00:23.000 --> 1:00:25.320 went to go do my solo album, you know where 1:00:25.360 --> 1:00:27.520 did I go? Ocean Way which is now called United 1:00:28.400 --> 1:00:31.000 Studio back in the day. 1:00:31.200 --> 1:00:34.360 Record Yeah, yeah, yeah, we did podcasts there. 1:00:34.560 --> 1:00:37.360 Yeah, we did like three of the studios he dropped 1:00:37.360 --> 1:00:39.920 so Far, A and M Yeah, yeah. 1:00:41.160 --> 1:00:44.760 Okay, those are the big ones Capital Record. 1:00:45.360 --> 1:00:47.720 I have a question, Nathan, at any point in your 1:00:47.760 --> 1:00:51.680 career did you mess with key bass, you know, playing 1:00:51.720 --> 1:00:53.000 bass on a keyboard? 1:00:54.200 --> 1:00:58.200 You know, there was a there was I was sorry. 1:00:58.520 --> 1:01:02.840 There was a time in the algia days that he 1:01:02.960 --> 1:01:05.160 had a couple of tunes that had key base on, 1:01:06.240 --> 1:01:11.919 like uh, boogie down Down. There was one I can't 1:01:12.160 --> 1:01:14.680 right quite remember the name, but it was that this 1:01:14.960 --> 1:01:17.520 like really funky key base and. 1:01:17.680 --> 1:01:19.600 So so I got darked in the roof. 1:01:20.280 --> 1:01:33.560 Yeah, I loved him so much. I loved him. 1:01:33.800 --> 1:01:35.640 I loved him so much I couldn't even like him. 1:01:35.720 --> 1:01:38.800 But I'm trying to get that in Milwaukee. Yes, I 1:01:38.880 --> 1:01:39.320 used to call me. 1:01:43.640 --> 1:01:46.560 Wait, Nathan, can I ask have you ever worked with 1:01:46.640 --> 1:01:48.160 Tommy Lapuma? 1:01:48.920 --> 1:01:50.440 Yes, many, many, many times. 1:01:50.880 --> 1:01:55.600 Okay, have you have you worked with him between? Like 1:01:56.360 --> 1:01:58.080 the era that you worked with him was at least 1:01:58.120 --> 1:02:03.600 between seventy five and eighty five. Yes, Okay, Tommy Lupuma 1:02:03.800 --> 1:02:07.960 has such he has such a distinct sound. He has 1:02:08.040 --> 1:02:11.520 a very distinct sound with his production for all this stuff, 1:02:11.520 --> 1:02:14.640 for his Algebro stuff, for any record that he produces 1:02:14.720 --> 1:02:20.200 that I'm almost under the impression that whatever studio he used, 1:02:20.960 --> 1:02:24.760 he kept it on one setting and never ever adjusted 1:02:25.640 --> 1:02:30.480 because it's to me, it's it's so like even with 1:02:30.560 --> 1:02:32.640 the stuff they he did with, like Brenda Russell and 1:02:33.280 --> 1:02:35.680 oh my God, there's a sound that he gets in 1:02:35.800 --> 1:02:38.920 his base and his Spender Rhodes where I instantly know 1:02:39.920 --> 1:02:41.200 that's a Tommy Tommy. 1:02:41.400 --> 1:02:45.160 Well, first of all, Tommy Lapuma would start every session 1:02:45.240 --> 1:02:49.240 off with lunch at beach a you know, like you 1:02:49.320 --> 1:02:52.520 would like. He was more concerned about taking everybody to 1:02:52.640 --> 1:02:55.520 lunch and get the best bottle of wine in the place. 1:02:55.920 --> 1:02:58.320 And then once you got that, then you were cool, 1:02:58.840 --> 1:02:59.840 Let's go make some music. 1:03:00.160 --> 1:03:03.960 Is just another Quincy fake out. Do you know Quincy's 1:03:03.960 --> 1:03:07.920 theory about this? No, So Quincy Quincy does the same thing. 1:03:08.200 --> 1:03:12.000 He wants the sessions late at night, and he wants 1:03:12.040 --> 1:03:14.120 the guys to have the itis and to be a 1:03:14.160 --> 1:03:19.280 little tipsy and somewhat sleepy. And then he'll start usually 1:03:19.520 --> 1:03:26.440 at one in the morning because he knows that any yeah, yeah, 1:03:26.480 --> 1:03:28.960 you're not thinking, you're tired and all that stuff. So 1:03:29.200 --> 1:03:34.520 he he purposely will track important things between like one 1:03:34.600 --> 1:03:37.720 and six in the morning because like you're not as 1:03:37.800 --> 1:03:41.280 alert and you won't challenge him on something and overthink 1:03:41.400 --> 1:03:42.200 and overplay. 1:03:42.840 --> 1:03:45.760 I've had many Sunrise services with Quincy, by the way, 1:03:48.240 --> 1:03:50.560 and and Algero for that matter. But you know, it's 1:03:50.640 --> 1:03:53.840 it's it's funny because Stevie is the king. You know, 1:03:53.960 --> 1:03:55.320 he he called. 1:03:58.600 --> 1:03:59.919 You his time. 1:04:00.200 --> 1:04:02.880 He marches to a different I mean we recorded the 1:04:03.040 --> 1:04:06.480 last record. It was me, Ricky Lawson and him in 1:04:06.520 --> 1:04:08.960 the studio and he got to take it four am. 1:04:09.720 --> 1:04:11.520 And I remember thinking, oh, man, I got I got 1:04:11.560 --> 1:04:15.320 a ten am with Jay Graydon on someone he doesn't care. 1:04:16.360 --> 1:04:19.320 And but but yet, you know, getting back to Tommy, 1:04:19.360 --> 1:04:23.600 he he was that guy that he wasn't the kind 1:04:23.640 --> 1:04:25.760 of producer that told you, hey, I need an a 1:04:25.920 --> 1:04:28.800 flat on the third bar, the the you know, of 1:04:28.960 --> 1:04:31.960 the of the bridge, you know. But he he just 1:04:32.040 --> 1:04:34.080 knew how to put people together. And to this day, 1:04:34.080 --> 1:04:36.080 Anita Baker will tell you that the record she did 1:04:36.160 --> 1:04:39.440 with him is sonically her favorite record. 1:04:39.840 --> 1:04:42.080 Giving you the best that I got. No, it was 1:04:42.760 --> 1:04:44.320 was it Rhythm of Love or. 1:04:45.200 --> 1:04:48.040 I think it's Rhythm of Love? I'll have to check. 1:04:48.240 --> 1:04:51.400 It was the one that I apologize and body and soul. 1:04:51.520 --> 1:04:52.760 It was the one that came out in ninety four. 1:04:53.480 --> 1:04:55.800 I think you Fronte went on record and say that 1:04:56.120 --> 1:05:00.360 was his favorite. It's not a favorite. I think my 1:05:00.440 --> 1:05:01.440 favorite was Compositions. 1:05:01.480 --> 1:05:04.440 But I was just going to say we we had 1:05:04.480 --> 1:05:07.200 the most fun on compositions and Fair Tales being one 1:05:07.200 --> 1:05:12.040 of my favorite, two eleven minutes long, going acting a 1:05:12.160 --> 1:05:14.800 fool at the end. And for Ronnie, you know what 1:05:14.880 --> 1:05:15.840 it is, Okay? 1:05:16.440 --> 1:05:22.960 Well one her entire discography is not available for streaming, 1:05:24.240 --> 1:05:26.520 so I really I can't even lay judgment. I mean, 1:05:26.560 --> 1:05:28.200 I have a cassette somewhere, but it's like I haven't 1:05:28.200 --> 1:05:31.720 touched my cassettes and eons, so you know, for me, 1:05:31.800 --> 1:05:33.840 I'm just like no rapture, nothing else. 1:05:33.840 --> 1:05:37.520 But you're well, I mean songstress was was? That was 1:05:37.560 --> 1:05:39.920 our first time in the studio together, and that the 1:05:40.000 --> 1:05:40.720 song as. 1:05:40.520 --> 1:05:44.040 Your own songstress? Oh yeah, that's your own angel. Yeah 1:05:44.280 --> 1:05:52.480 of course you Oh my gosh, from day one, you know, 1:05:52.520 --> 1:05:57.240 I love it? Wow? Yeah? What was her producer? The 1:05:57.400 --> 1:05:58.160 guy Michael J. 1:05:58.320 --> 1:05:59.120 Powell? What was he like? 1:05:59.160 --> 1:06:01.240 Because I've always you know, stuff about it. 1:06:01.280 --> 1:06:05.760 Michael, the gentle giant and the greatest, I mean, one 1:06:05.800 --> 1:06:09.520 of the greatest producers ever. We speak, we speak from 1:06:09.560 --> 1:06:15.000 time to time and again a producer's producer. It's really 1:06:15.080 --> 1:06:17.760 really soft spoken, but knew what he knew what he 1:06:17.880 --> 1:06:20.280 needed and got the best out of everybody, you know, 1:06:20.360 --> 1:06:22.600 and put some great cats together, you know. 1:06:23.680 --> 1:06:28.760 All right, So without naming names, because I know there's 1:06:28.800 --> 1:06:33.120 always two sides to a coin, right. Have you ever 1:06:33.240 --> 1:06:36.840 been in a situation where it's kind of like amateur 1:06:36.920 --> 1:06:39.919 hour with the producer like he didn't know what he's 1:06:40.000 --> 1:06:46.400 doing or not too communicative with you know, they wanted. 1:06:46.560 --> 1:06:48.600 Every now and then you get those guys that you say, 1:06:48.720 --> 1:06:51.560 how did they get to be the producer for this 1:06:51.760 --> 1:06:55.680 important project? You know? And one of the things those 1:06:55.760 --> 1:06:58.520 kind of producers do, and I have to give it 1:06:58.600 --> 1:07:01.480 to their credit is they'll they'll call the cats, you know, 1:07:01.560 --> 1:07:04.800 and one guy who will remain nameless. But we were 1:07:05.440 --> 1:07:08.480 in and Jeff Pacara was playing drums and after every 1:07:08.520 --> 1:07:10.760 take he would look to Jeff and Jeff would either say. 1:07:10.680 --> 1:07:11.200 Yeah or nay. 1:07:11.760 --> 1:07:13.560 It either was the take or wasn't, you know, And 1:07:13.600 --> 1:07:16.520 that's how you would determine if you do another take again. 1:07:16.600 --> 1:07:20.200 But I mean, for the most part, and a lot 1:07:20.240 --> 1:07:23.080 of people say, oh, have there been some some session 1:07:23.160 --> 1:07:25.560 that you've hated, But for the most part, I've enjoyed 1:07:25.880 --> 1:07:29.080 all of them and been blessed with some really talented, 1:07:29.200 --> 1:07:30.040 gifted producers. 1:07:30.600 --> 1:07:36.680 How do you know if a session is bad, Like 1:07:36.800 --> 1:07:38.640 if you have to spend more than an hour on 1:07:38.720 --> 1:07:40.320 a particular song, or. 1:07:41.800 --> 1:07:44.440 Yeah, they're beating up on a song and next thing 1:07:44.480 --> 1:07:46.320 you know, everybody's looking up at their watch and you 1:07:46.400 --> 1:07:49.520 don't have a take, and like you keep trying, and 1:07:49.600 --> 1:07:53.200 then the takes just get worse. I mean, for whatever reason, 1:07:53.320 --> 1:07:56.360 maybe it wasn't in the song, but uh, you know, 1:07:56.760 --> 1:08:00.840 even even up till recently, you know, sometimes people bring 1:08:00.920 --> 1:08:03.000 a song in and somebody'll say, oh, man, this isn't 1:08:03.040 --> 1:08:05.480 really a great song, but they'll have like if you 1:08:05.560 --> 1:08:08.960 got filling gains on keys, he's gonna make the first different. 1:08:09.720 --> 1:08:09.919 Yeah. 1:08:10.880 --> 1:08:12.960 And and I was telling David Foster the other day, 1:08:12.960 --> 1:08:16.439 I'll never forget. And of course Quincy, Quincy's the you know, 1:08:16.520 --> 1:08:19.400 one of the top guys ever. But we were doing 1:08:19.760 --> 1:08:22.120 uh Patty Austin, James Ingram, how do you keep the 1:08:22.200 --> 1:08:22.759 music playing? 1:08:24.560 --> 1:08:25.839 Dropping? Nathan dropping? 1:08:28.280 --> 1:08:30.160 But but we were in there and we don't have it, 1:08:30.400 --> 1:08:31.960 just like Quincy said, well, we don't have an intro 1:08:32.080 --> 1:08:35.439 for this, and and anybody and David Fosterer literally he 1:08:35.520 --> 1:08:38.400 has his legs closed and he says crossed, and he goes, 1:08:38.800 --> 1:08:42.760 what about this? And he plays the intro exactly what 1:08:42.920 --> 1:08:43.719 you hear on the record. 1:08:46.320 --> 1:08:48.320 Yes, yes, David Foston, Lord, thank you. 1:08:48.400 --> 1:08:50.960 Okay, speaking of which, and I'm sorry, fantee you, I 1:08:50.960 --> 1:08:53.160 feel like I'm about to steal your question, but I 1:08:53.400 --> 1:09:01.479 gotta ask the intro to after the dance. Oh that's 1:09:01.520 --> 1:09:05.000 my question for play after the dance the barge. Yes, 1:09:08.080 --> 1:09:14.360 that intro to me is probably the first thing that 1:09:14.520 --> 1:09:17.400 I think of if I start thinking of like smooth 1:09:17.520 --> 1:09:22.880 Jazz FM. Yes, yes, it's such an earworm. It never 1:09:23.000 --> 1:09:24.759 leaves you. So it's not like I have an opinion 1:09:24.840 --> 1:09:26.680 on it. It's not like, oh that's my favorite or 1:09:26.720 --> 1:09:29.160 I hate that intro, but it's like it lives in 1:09:29.240 --> 1:09:32.599 my head. Rent Free, that was my favorite? Who came 1:09:32.720 --> 1:09:37.760 up with that intro? And by? Because I can't get rid. 1:09:37.720 --> 1:09:41.479 Of vibe James? You know what? And that's the same thing. 1:09:41.560 --> 1:09:44.360 That's what he he just said, how about you know 1:09:44.439 --> 1:09:46.920 he always writes everything else and he says, stand by 1:09:46.960 --> 1:09:49.760 and he writes this, how about this? And you play it? 1:09:50.439 --> 1:09:53.920 And now I'll go on record saying that's probably my 1:09:54.000 --> 1:09:58.160 favorite intro. Of course you can't gave it it's too 1:09:58.240 --> 1:10:03.599 only second to minute by minute Michael McDonald, Nathan, can 1:10:03.600 --> 1:10:04.080 you tell. 1:10:03.960 --> 1:10:06.519 The story of Nathan East and Bob James, because like, 1:10:06.840 --> 1:10:08.479 how did that marriage come together? 1:10:08.520 --> 1:10:09.200 And when did y'all know? 1:10:09.320 --> 1:10:13.240 It was like like we we knew we had something 1:10:13.280 --> 1:10:15.320 special on Bob's record and he was an an R. 1:10:15.880 --> 1:10:18.080 He was an executive at Warner Brothers Records when we 1:10:18.200 --> 1:10:21.120 did his solo album. So he said, guys, I could 1:10:22.760 --> 1:10:25.479 I could propose this to the Warner Brothers. He said, 1:10:25.479 --> 1:10:27.680 I think we could get a deal right away. He 1:10:27.840 --> 1:10:30.679 came back, he and and you know what, they didn't 1:10:30.680 --> 1:10:33.240 even have to hear a demo or anything. They said signed. 1:10:33.880 --> 1:10:35.680 And when we did our first session, we showed up 1:10:35.680 --> 1:10:39.639 at Ocean Way and and there was Mo Austin, Michael Austin, 1:10:39.720 --> 1:10:43.640 Lenny Warnker, I'm in the big Warner Brothers. Would they 1:10:43.680 --> 1:10:44.639 beat us to the studio? 1:10:44.840 --> 1:10:46.479 They were excited? That excited Dan. 1:10:47.400 --> 1:10:49.160 How was more Austin as an executive? 1:10:49.200 --> 1:10:49.280 Man? 1:10:49.320 --> 1:10:50.960 I've heard like a lot of stories about him, But 1:10:51.120 --> 1:10:51.560 how was he? 1:10:52.640 --> 1:10:54.400 You know, the last of the Mohicans. You know, he 1:10:54.800 --> 1:10:58.160 was record When you look up record executive, there's his 1:10:58.240 --> 1:11:01.720 picture right there, you know. But that that was like 1:11:02.600 --> 1:11:04.400 our first you know, and it's it's it's here. It 1:11:04.479 --> 1:11:07.120 is nineteen ninety nineteen ninety one. And we go in 1:11:07.160 --> 1:11:10.639 the studio and when Bob wrote that intro, I just said, 1:11:10.880 --> 1:11:15.240 bro And but of course, like he wrote, you know 1:11:15.760 --> 1:11:20.200 that crazy arrangement of feel like making love and matter 1:11:20.240 --> 1:11:23.719 of fact, he had a hit with that instrumentally and ROBERTA. 1:11:23.760 --> 1:11:25.240 Flack had a hit with it. I mean it was 1:11:25.360 --> 1:11:30.200 like a hit time on two different formats, right, And 1:11:30.800 --> 1:11:33.360 so it's been you know, and believe it or not, 1:11:33.520 --> 1:11:35.960 we're having our thirtieth anniversary right now. 1:11:36.240 --> 1:11:38.120 Yeah, in my mind, my child mind, you're like the 1:11:38.160 --> 1:11:40.519 best of friends and y'all you'll have Sunday dinner and 1:11:40.560 --> 1:11:40.960 that's all. 1:11:41.000 --> 1:11:45.920 No, we're brothers. We're brothers without a dit from another mother, 1:11:46.080 --> 1:11:48.640 and and you know we we've had a chance to 1:11:49.160 --> 1:11:52.519 go around the world together and and just have you know, 1:11:52.600 --> 1:11:56.560 have the best time. And so he's he's actually he 1:11:56.640 --> 1:11:59.120 and Greg are actually godfathers to my son Noah, who 1:11:59.200 --> 1:12:05.240 plays keys. I'm I didn't know what, uh we want 1:12:05.320 --> 1:12:07.960 to do a record because we we've been playing a 1:12:08.000 --> 1:12:09.920 couple of gigs over the weekend. We played in Omaha 1:12:10.200 --> 1:12:15.000 for Walter Scott Junior's ninetieth birthday celebration and we had 1:12:15.080 --> 1:12:19.040 the best time ever. And you know, David Foster was 1:12:19.040 --> 1:12:22.639 there and all the guys and and he's he's turned 1:12:22.680 --> 1:12:23.920 into one of my favorite musicians. 1:12:24.600 --> 1:12:28.320 Man the four play catalog. Man that for me, like 1:12:28.479 --> 1:12:31.160 the Between the Sheets album and the Alixa album. Those 1:12:31.240 --> 1:12:33.200 came out when I was in high school and so 1:12:33.360 --> 1:12:35.160 I used to do my homework of those records and 1:12:35.479 --> 1:12:40.400 like chant was my joints. I love those joints and 1:12:41.160 --> 1:12:43.920 y'all like I noticed like leave written now he was 1:12:43.960 --> 1:12:46.479 on those records and then the guitarist y'all switch? 1:12:46.560 --> 1:12:48.160 What was the reason for the changing personnel? 1:12:49.040 --> 1:12:52.320 Yeah, I think after three records Lee Lee really got 1:12:54.160 --> 1:12:56.920 into the more of executive branch of the of the 1:12:57.000 --> 1:13:00.479 record record business series in one of his friends and 1:13:00.560 --> 1:13:03.400 he and Dave Gruson and and g r P g 1:13:03.560 --> 1:13:07.200 r P Larry Rose, he started getting busy with kind 1:13:07.240 --> 1:13:10.880 of doing doing records on the executive level level, and 1:13:11.000 --> 1:13:12.599 so that takes up so much time too. 1:13:13.560 --> 1:13:16.479 Yeah, y'all record the joint the Phil Collins the why 1:13:16.479 --> 1:13:17.400 can't it wait till morning? 1:13:17.920 --> 1:13:20.080 Man? Y'all tell me about that session? 1:13:20.120 --> 1:13:22.880 Man? You know we sent that over to Phil. I 1:13:23.000 --> 1:13:26.160 called Phil's manager and uh, you know, it's great when 1:13:26.160 --> 1:13:27.920 these guys are your friends too. But I called Phil's 1:13:27.960 --> 1:13:33.280 manager and uh secretary answers and she said, she said, 1:13:33.280 --> 1:13:35.200 what what's this regard? And I said, it's far regarding 1:13:35.320 --> 1:13:37.000 for play. They said, well, I don't know if he 1:13:37.040 --> 1:13:44.599 can help you with that, but I'll get But I mean, 1:13:45.000 --> 1:13:48.000 he we said, and we wanted to do something obscure, 1:13:48.120 --> 1:13:51.160 so we we kind of found this song that wasn't necessary, 1:13:51.320 --> 1:13:54.720 like it wasn't the number one hit, but I can't 1:13:54.800 --> 1:13:56.439 wait till morning. It was a little obscure, and we 1:13:57.000 --> 1:13:59.160 we sent him over and again, Bob came up with 1:13:59.240 --> 1:14:02.840 this this in arrangement. We sent it over and he 1:14:02.960 --> 1:14:05.800 went into his studio put the vocal arm. When he 1:14:05.840 --> 1:14:08.160 sent it back, we all sat in the studio cried. 1:14:08.520 --> 1:14:11.040 You know, it was just like, what is this na, 1:14:11.280 --> 1:14:13.599 That's a gorgeous song man. Yeah, there was a singer 1:14:13.760 --> 1:14:16.880 that There was a singer that Lee used to work 1:14:16.920 --> 1:14:19.800 with the lot, Eric Tagg. Did you ever get any 1:14:19.800 --> 1:14:20.439 sessions with him? 1:14:20.960 --> 1:14:23.240 Yes? Dude, what was he like? 1:14:23.320 --> 1:14:23.400 Man? 1:14:23.439 --> 1:14:26.439 Because he's like one of my favorite singers everybody's solo key. 1:14:26.439 --> 1:14:28.080 I don't even know if he's still making music now. 1:14:28.160 --> 1:14:28.320 Yeah. 1:14:28.439 --> 1:14:31.360 He sang like Stevie Wonder too. 1:14:31.320 --> 1:14:34.120 You know, yes, yes, real big Steven Floydce. 1:14:34.240 --> 1:14:37.080 He was from Uh, he was from Texas mm hm. 1:14:37.479 --> 1:14:40.040 Really great guy and he was in Lee's band. I 1:14:40.080 --> 1:14:42.200 remember when I Lee's band was one of the first 1:14:42.200 --> 1:14:44.640 ones I was in. Uh. First time we went to 1:14:44.800 --> 1:14:46.960 Japan was with Lee and you know Eric was in 1:14:47.040 --> 1:14:50.559 those bands. You know that. That's the thing I love 1:14:50.600 --> 1:14:52.920 about music. There's so many great people out there that 1:14:53.560 --> 1:14:54.920 a lot of people hadn't even heard of. 1:14:55.720 --> 1:14:58.720 But you know, it was something about the way y'all 1:14:58.720 --> 1:15:00.479 pulled stuff out of People were talking about that earlier, 1:15:00.560 --> 1:15:03.840 about the Michael McDonald record. I was like, the way 1:15:03.920 --> 1:15:06.479 that Michael was singing on that record, but just felt different. 1:15:09.680 --> 1:15:10.400 Michael's different. 1:15:10.840 --> 1:15:13.240 Yeah, yeah, we know that different. 1:15:13.680 --> 1:15:16.439 If I could, if I could have a voice, it 1:15:16.479 --> 1:15:19.040 would be his, you know. And then I really enjoyed 1:15:19.080 --> 1:15:22.400 his his h Quest Love Supreme podcast too. He was 1:15:22.720 --> 1:15:24.840 he's so, he's so down and he sang on my 1:15:24.920 --> 1:15:27.760 first solo album, we did that version of moon Dance, 1:15:27.840 --> 1:15:31.000 you know, like a big band version came in and 1:15:31.360 --> 1:15:32.559 crushed this record. 1:15:32.960 --> 1:15:35.200 Yeah, I was, what's the process of picking the songs 1:15:35.240 --> 1:15:37.240 to reinvent? Because I was just listening to a song 1:15:37.320 --> 1:15:40.400 you did with Bob It was uh oh and Vince 1:15:40.439 --> 1:15:46.439 gil Oh crazy crazy crazy crazy crazy crazy Yeah from 1:15:46.520 --> 1:15:48.000 crazy everybody do that. 1:15:48.600 --> 1:15:51.759 But I was singing, this is supreme your homework. 1:15:52.240 --> 1:15:53.440 You guys are unbelievable. 1:15:53.600 --> 1:15:56.520 But yeah, how do y'all decide which songs to reinvent? 1:15:56.720 --> 1:15:58.760 Which in your mind are you thinking this is how 1:15:58.800 --> 1:16:01.120 I always heard it? Or or man if I could 1:16:01.160 --> 1:16:03.799 only touch it a story and if you can apply. 1:16:03.680 --> 1:16:06.720 It and if you can apply that answer to your 1:16:06.800 --> 1:16:10.640 arrangement to Sir Duke, I would appreciate that because we 1:16:10.800 --> 1:16:15.880 still haven't forgive you were still are not forgiving you 1:16:16.040 --> 1:16:19.760 for that. It's some genius shit to this day, we 1:16:20.400 --> 1:16:24.160 we've studied it so much that it never moves us. 1:16:24.439 --> 1:16:27.000 First of all, you can't, like you can't touch a 1:16:27.040 --> 1:16:29.280 steviee song, Like if you're doing a Stevie song, it's 1:16:29.840 --> 1:16:32.280 it's it's already the Bible, you know, so you do that. 1:16:32.439 --> 1:16:35.000 But then for some weird reason, like right in the 1:16:35.040 --> 1:16:37.880 middle of the studio, I said, what if we when 1:16:37.920 --> 1:16:40.479 we got to this this part, we just changed like 1:16:40.600 --> 1:16:41.479 every four bars. 1:16:42.280 --> 1:16:44.240 Wait, let me let me explain to put in perspective. 1:16:44.479 --> 1:16:46.519 And I got it because I forget. 1:16:46.800 --> 1:16:50.920 Yeah, like you you know, he's taken. He's taking songs, 1:16:50.960 --> 1:16:52.600 you know, and sort of putting a new spin on it. 1:16:53.400 --> 1:16:56.600 So the song that he really did that too, was 1:16:56.960 --> 1:17:00.559 there's an arrangement of Sir Duke, of which that horn 1:17:00.640 --> 1:17:05.040 part is very intricate, just as is anyway, And what 1:17:05.200 --> 1:17:09.960 he decided to do was to just modulate and in 1:17:10.080 --> 1:17:14.320 some sort of non secutor way modulate the key into 1:17:14.520 --> 1:17:17.040 keys that aren't supposed to fit. So, in other words, 1:17:17.120 --> 1:17:26.640 instead of regularly to another key and then and then 1:17:26.720 --> 1:17:32.719 another key, so you you basically have to transpose every 1:17:32.880 --> 1:17:36.280 four bars a new key that's not related to what 1:17:36.360 --> 1:17:36.960 you did before. 1:17:40.040 --> 1:17:40.800 Stevie song. 1:17:40.960 --> 1:17:44.880 So there's no rhyme or reason. Literally, it's it's kind 1:17:44.880 --> 1:17:47.800 of random, just like pulling him out of there and saying, oh, 1:17:47.800 --> 1:17:49.599 well that works, and then okay, we got to get back. 1:17:49.680 --> 1:17:51.680 So what would we end? Which one? You know? So 1:17:51.760 --> 1:17:54.080 the first one you know is, you know, the last 1:17:54.120 --> 1:17:55.800 one has to lead you back, and then the other 1:17:55.880 --> 1:17:57.800 two heaven nose with it. 1:17:58.640 --> 1:17:59.960 I'll put it this way. I'll put it this way. 1:18:00.160 --> 1:18:06.040 Hip hop heads, if you're familiar with uh most y'all 1:18:06.080 --> 1:18:11.920 seen bays Cassy song, Yes and ye constant switching, Ye 1:18:12.080 --> 1:18:17.120 done this? This has nothing on that song. We I mean, 1:18:17.160 --> 1:18:21.639 we practiced Cassa Bay like maybe as a whole song 1:18:21.760 --> 1:18:25.200 an hour straight. But this one part of that Stevie 1:18:25.280 --> 1:18:29.439 Wonders song. Oh god, that that was almost like a 1:18:29.479 --> 1:18:33.840 two hour nightmare thing. Sorry, but I'm glad we survived it, 1:18:33.960 --> 1:18:36.000 and it was it was fun hittinged with it. 1:18:36.320 --> 1:18:38.280 No rhyme or reason. There was no song that y'all picked, 1:18:38.320 --> 1:18:39.840 and y'all were like, yeah, no, this is this is 1:18:39.920 --> 1:18:41.080 why I want to. 1:18:41.080 --> 1:18:44.800 Do, you know Stevie. And and I realized that every 1:18:44.920 --> 1:18:48.840 everything I've ever recorded, I I had Stevie. I've done 1:18:48.920 --> 1:18:51.880 like at least two or three Stevie. We did Overjoyed, 1:18:51.960 --> 1:18:56.759 which came out of I do these sting Rainforest benefits. 1:18:56.800 --> 1:18:59.880 We do them at Carnegie Hall every year, and Stevie 1:19:00.120 --> 1:19:02.000 was on one, and I was just fooling with the 1:19:02.120 --> 1:19:05.000 changes of uh over Joyed on Basi's kind of like 1:19:05.080 --> 1:19:07.519 at rehearsal when nothing was happening, and I'm kind of 1:19:07.600 --> 1:19:10.280 trying to figure him out. And next thing, you know, 1:19:10.360 --> 1:19:14.040 I hear harmonica and now he's playing, and now I 1:19:14.120 --> 1:19:17.080 look up their sting Elton, John Bonnie Rait. They're all 1:19:17.160 --> 1:19:19.320 just standing there looking like looking on and I'm going, 1:19:19.439 --> 1:19:24.080 oh Lord. And as I'm learning the changes, Stevie's playing 1:19:24.840 --> 1:19:27.559 and we get to the end, and you know, they 1:19:27.640 --> 1:19:30.160 all give they all start clapping, and then Stevie comes 1:19:30.160 --> 1:19:32.240 over and says, if you ever record that, call me. 1:19:32.240 --> 1:19:33.600 I want to play on it. So that was my 1:19:33.720 --> 1:19:34.320 next question. 1:19:35.120 --> 1:19:38.040 Some of the responses from these revisions, can you share 1:19:38.320 --> 1:19:40.560 like what have been those like? 1:19:40.640 --> 1:19:42.679 I wish I would have done that, Nathan, I wish 1:19:42.680 --> 1:19:43.240 you was suggested that. 1:19:43.400 --> 1:19:46.120 Well, I mean, if Stevie offers to play on your record, 1:19:46.760 --> 1:19:49.320 you have to do it right, right, right, right, right, man. 1:19:49.360 --> 1:19:51.000 I could have had Stevie on my record, you know. 1:19:51.400 --> 1:19:53.360 So he came and blessed the record. And the way 1:19:53.439 --> 1:19:57.160 we what we did was we recorded a track and 1:19:57.240 --> 1:19:59.720 then when I played on his record, I brought the 1:19:59.760 --> 1:20:01.920 track over and then he you know, two in the morning, 1:20:02.000 --> 1:20:04.599 he he popped it on one take see you later 1:20:06.040 --> 1:20:06.800 because he wrote it. 1:20:07.520 --> 1:20:13.760 Really all right? We a former quest Love Supreme guest 1:20:13.840 --> 1:20:17.400 that we just had was out the barge. I know 1:20:17.560 --> 1:20:20.839 your name is on the In a Special Way album, 1:20:21.200 --> 1:20:24.840 but do you recall anything from that the barge session? 1:20:24.920 --> 1:20:27.240 Do you know what songs you played on? Are you 1:20:27.280 --> 1:20:30.360 going to Stay with Me? Are you on time Will Revealed? 1:20:30.640 --> 1:20:31.639 Are you on a dream? 1:20:33.560 --> 1:20:35.560 You know? I'm embarrassed. 1:20:35.600 --> 1:20:38.639 This is don't many records. 1:20:39.439 --> 1:20:42.439 It's called great It's called greatness of. 1:20:43.080 --> 1:20:46.000 An album called did you do an album called Gemini? 1:20:46.840 --> 1:20:46.960 Yes? 1:20:48.400 --> 1:20:48.680 Do you know? 1:20:49.400 --> 1:20:49.639 Yes? 1:20:49.720 --> 1:20:51.360 That that when we did the whole thing and there 1:20:51.360 --> 1:20:53.640 are a few songs that really like stand out in 1:20:53.720 --> 1:21:00.840 my mind, like Broken Dreams, Okay and Turned Away, I mean, 1:21:01.360 --> 1:21:04.400 chick out these tunes, these and these are El Debars 1:21:04.760 --> 1:21:08.720 at his finest writing style, you know. And and and 1:21:08.840 --> 1:21:11.240 I'd have to look on the on the other one 1:21:11.320 --> 1:21:14.880 because back in those days, you were just ripping and 1:21:14.960 --> 1:21:17.400 running in and out of Motown studios and these studios, 1:21:17.439 --> 1:21:20.280 and literally everything was like a machine, you know. And 1:21:20.360 --> 1:21:23.000 I know Freddie Washington's on on at. 1:21:22.960 --> 1:21:26.679 Least the Yeah, the reason why I asked was because 1:21:27.240 --> 1:21:31.519 the other two names on bass were already Freddie Washington, 1:21:32.120 --> 1:21:33.759 but then James Jamison Jr. 1:21:34.400 --> 1:21:36.160 And jameson I did. 1:21:36.560 --> 1:21:40.759 I didn't realize that James Jamison Junior had a career 1:21:41.040 --> 1:21:44.800 as a professional basis on records, you know. I didn't 1:21:44.840 --> 1:21:46.800 know that. So I was trying to figure out like 1:21:47.439 --> 1:21:49.280 what songs were yours and what songs. 1:21:49.040 --> 1:21:52.479 Were Yeah, he was getting called and sometimes it's it's 1:21:52.479 --> 1:21:55.160 a little unfair because the way they listed they just 1:21:55.240 --> 1:21:57.439 they was a bass and they'd have three names, you know, 1:21:57.520 --> 1:22:00.080 so you wouldn't really know who played what in that 1:22:00.240 --> 1:22:03.120 you were very familiar with their their style. But speaking 1:22:03.160 --> 1:22:06.040 of James Jamison at that very studio that that we 1:22:06.200 --> 1:22:09.880 used to record at Motown. One day somebody asked me 1:22:10.000 --> 1:22:13.400 to replace the Jamison part. And that's the only time 1:22:13.439 --> 1:22:16.320 I've ever refused to play a part because I am 1:22:16.439 --> 1:22:22.000 not going to replace James Jamison, you know, right, please? 1:22:22.760 --> 1:22:26.759 Are you the type of can you shape shift your sound? 1:22:28.000 --> 1:22:31.360 So if I say like, okay, I want to go 1:22:31.560 --> 1:22:34.439 for something more bestore sounding, and you're like, okay, well 1:22:34.960 --> 1:22:37.000 I know exactly how to approximate that sound. 1:22:36.840 --> 1:22:41.720 And absolutely it's like, you know, it's like drawbars on 1:22:41.800 --> 1:22:43.560 the Hammond. You know, you can go from church to 1:22:44.439 --> 1:22:47.400 to jazz, you know, and everything in between, you know. 1:22:47.640 --> 1:22:49.960 But but on the base, if I want to go 1:22:50.040 --> 1:22:52.360 for the jackal signd, I go for the back pick up, 1:22:53.000 --> 1:22:54.320 you know, which is what he used to do. And 1:22:54.400 --> 1:22:57.080 then of course I have I offender jazz bassis yamaha, 1:22:57.120 --> 1:22:59.799 I mean I have I have a lot of basses 1:22:59.840 --> 1:23:02.840 that we can just get different sounds on. So yeah, 1:23:02.960 --> 1:23:04.680 that's and that's one of the fun things to do. 1:23:04.760 --> 1:23:06.880 You know, you listen to the song, figure out you 1:23:06.960 --> 1:23:09.360 know what what is this song called for? Oh? 1:23:09.400 --> 1:23:11.120 I was gonna ask who were some of your favorite players, 1:23:11.160 --> 1:23:13.040 Like who were the guys that you learned from and 1:23:13.240 --> 1:23:14.920 that you learned from as you know, when you were younger, 1:23:15.240 --> 1:23:16.600 and some of the guys that you still pick up 1:23:16.600 --> 1:23:17.200 stuff from now. 1:23:17.479 --> 1:23:20.200 Yeah, I mean the guys I mentioned and early on 1:23:20.400 --> 1:23:23.120 it was like verding White from Mirth Wind, you know, 1:23:23.840 --> 1:23:29.360 Rocko from Tower Power, James Jammerson, Chuck Rainey, Ron Carter, 1:23:30.160 --> 1:23:32.800 Charlie Mingus. I mean it was like just the best, 1:23:33.160 --> 1:23:35.679 so many yeah, only the best, so many great guys. 1:23:35.720 --> 1:23:41.080 Anthony Jackson, Marcus Marx Miller Aby you know, you know, 1:23:41.320 --> 1:23:42.280 Jocko of course. 1:23:43.720 --> 1:23:49.720 So excluding excluding your four play guys, who would you 1:23:49.960 --> 1:23:57.480 pick in your your starting five lineup? Like career retrospective? 1:23:57.520 --> 1:24:02.000 Who's on drums? Well, who's on drums? And you played 1:24:02.040 --> 1:24:02.519 with the best? 1:24:03.800 --> 1:24:04.400 Dead or live? 1:24:05.200 --> 1:24:08.479 Yeah, dead or alive? Who who did you gel with 1:24:08.880 --> 1:24:12.560 the like what drummer brought brought the best out of you? 1:24:14.320 --> 1:24:18.680 I'll tell you. I have to say, Jeffrey picarl If 1:24:18.720 --> 1:24:20.880 you listen to a song called Lady Loved Me by 1:24:20.920 --> 1:24:29.799 George Benson, Reef Martin produced it, I think. 1:24:29.720 --> 1:24:31.720 So yes, I know the song. 1:24:31.840 --> 1:24:35.960 Yes, okay, another song, Yes, listen to the fade and 1:24:36.520 --> 1:24:38.760 what you hear in me and Jeff. It sounds like 1:24:38.800 --> 1:24:41.080 two kids playing in the sandbox, you know, I mean 1:24:41.120 --> 1:24:44.400 it was like it it was, and he was just 1:24:45.800 --> 1:24:47.680 every time we walked in the studio and saw each other, 1:24:47.760 --> 1:24:50.040 we just started smiling and we did We did everything 1:24:50.120 --> 1:24:56.040 for Maurice White's solo album, BG's Barbara streisand we did 1:24:56.680 --> 1:24:59.599 Randy Newman, I Love La all that kind of dude. 1:25:00.080 --> 1:25:04.439 Wow, Okay, I was going to ask you next, love 1:25:04.520 --> 1:25:08.519 it and doing and doing? Why do I feel like 1:25:08.560 --> 1:25:11.800 you're more or less ear to what's her name's video 1:25:11.840 --> 1:25:13.559 of that as opposed to the actual song? 1:25:13.800 --> 1:25:13.960 Right? 1:25:14.760 --> 1:25:23.120 Oh wait, no, Chris Jenner made a You're allergic to 1:25:23.160 --> 1:25:23.479 that name? 1:25:24.280 --> 1:25:24.719 Original? 1:25:24.880 --> 1:25:28.240 I Love l A Right, But I'm only asking because 1:25:28.680 --> 1:25:31.960 that's one of my favorite Randy Newman albums ever. And 1:25:33.200 --> 1:25:37.040 Real Emotional Girl is like one of my all time 1:25:37.080 --> 1:25:37.759 favorite songs. 1:25:38.040 --> 1:25:41.599 Uh, idiot, that's not David Lee Roth the original. I'm 1:25:41.600 --> 1:25:42.160 an idiot. 1:25:43.320 --> 1:25:48.439 Yeah, now, people, Randy, Randy was first. But yeah, what 1:25:48.520 --> 1:25:51.360 were your memories of doing that? The Randy Newman album. 1:25:52.000 --> 1:25:55.360 You know, the Memories was basically that was that was 1:25:55.479 --> 1:26:02.240 the entire total band, you know, Luke Lenny Castro was 1:26:02.479 --> 1:26:07.080 playing Cushion, Carl you know, I mean it was like Jeffcarl, 1:26:07.200 --> 1:26:10.120 it was. It was literally and and those guys were 1:26:10.160 --> 1:26:12.840 the go to guys for for everybody. You know, when 1:26:12.960 --> 1:26:16.560 when they're Clapton came to record his first uh you 1:26:16.640 --> 1:26:18.720 know when it's it's called behind the Sun in l A. 1:26:19.080 --> 1:26:21.360 The Warner, the Brothers guys. Okay, use our guys and 1:26:21.439 --> 1:26:24.759 there you go again, Jeff Carl Hill and Gaines Lucather, 1:26:25.960 --> 1:26:28.439 Michael Omarty and I mean it was like the the 1:26:28.760 --> 1:26:31.200 the session aces of that time. So that was the 1:26:31.320 --> 1:26:34.080 Randy Newman record was just amazing because he we'd sit 1:26:34.160 --> 1:26:36.519 around the piano and he showed up the tunes and 1:26:36.600 --> 1:26:37.799 then we just start go cutting. 1:26:42.880 --> 1:26:46.040 There's there's two guys that often see their names on credits, 1:26:46.120 --> 1:26:49.200 but they're not in the total circle because of course 1:26:49.280 --> 1:26:53.160 the page the page cats. But did you work a 1:26:53.200 --> 1:26:59.920 lot with uh like Bill Wolfer or Michael Bodkick Michael Bodkerker, 1:27:00.080 --> 1:27:00.880 Yes at all. 1:27:00.840 --> 1:27:03.960 Yeah, absolutely, yeah. And Michael Botaker was another one of 1:27:03.960 --> 1:27:05.880 those names. You'd look on all these records and there's 1:27:05.920 --> 1:27:10.759 Michael Bodaker. George Benson, give me the Night, There's Michael Bodaker, 1:27:10.800 --> 1:27:13.120 you know, like all these records, and I and I 1:27:13.240 --> 1:27:18.559 did several several things with him, including the Academy Awards. Yeah, 1:27:18.600 --> 1:27:20.920 he was down, we were down underneath the stage. 1:27:21.640 --> 1:27:25.479 Wait a minute, guys, I knew, I know this is 1:27:25.479 --> 1:27:27.400 going to be an episode. We always have like a 1:27:27.479 --> 1:27:31.759 pors Mo post mortem thing where we finished an episode 1:27:32.600 --> 1:27:35.000 and then we start getting mad because we forgot. Oh, 1:27:35.040 --> 1:27:37.480 I forgot to askhole, We forgot. 1:27:37.160 --> 1:27:40.280 To ask place with Nathan. That's gonna happen recorded. 1:27:40.720 --> 1:27:43.479 I believe. I was trying to sit here and figure out, like, 1:27:44.840 --> 1:27:51.120 what is the ultimate signature based performance you've given on 1:27:51.200 --> 1:27:56.479 a record. I'm praying this is you. Are you playing 1:27:56.600 --> 1:28:01.559 bass on Dennis Edwards? Don't look any further. Yes there, Yes, indeed, 1:28:07.800 --> 1:28:09.760 I can't believe that's the one thing I did. That's 1:28:09.760 --> 1:28:11.160 the one thing I need to do my homework. I 1:28:11.240 --> 1:28:15.040 was just like, get paid in full without that songo, dude, 1:28:15.160 --> 1:28:18.720 I totally forgot. I was like, I know, he has 1:28:18.800 --> 1:28:22.160 a signature song that is like a tattoo that's we're 1:28:22.560 --> 1:28:23.360 forgetting about. 1:28:24.520 --> 1:28:27.840 You know that is such you know, that is just 1:28:28.040 --> 1:28:28.760 incredible to me. 1:28:30.920 --> 1:28:34.639 This is a musicologist, but it's it's such an iconic 1:28:34.760 --> 1:28:39.640 bassline that Did you write that baseline or was it 1:28:39.800 --> 1:28:43.240 just like like it's such a base led thing. Did 1:28:43.320 --> 1:28:45.160 you get writers credit for it or did they tell 1:28:45.200 --> 1:28:47.400 you this is what you're playing. The baseline is the 1:28:47.439 --> 1:28:48.080 hook of that song. 1:28:48.360 --> 1:28:50.880 It's a combination and that's one of my favorite lines. 1:28:50.920 --> 1:28:53.360 It's a combination of what was already it was basically 1:28:53.840 --> 1:28:57.280 already there. Uh and so I was I was the 1:28:57.400 --> 1:28:59.439 executioner of that line. 1:29:00.400 --> 1:29:02.880 And wow, so did you how many times did you 1:29:02.920 --> 1:29:05.160 work with because you mentioned Dennis Lambert, did you work 1:29:05.200 --> 1:29:06.760 with them at all after that? 1:29:06.960 --> 1:29:10.479 Or yeah? Lots? Yeah, and Dennis So, I mean, you know, 1:29:11.400 --> 1:29:14.600 it was it was a very fertile period. I mean 1:29:14.640 --> 1:29:17.000 we're talking you know. I'm just thankful that we were 1:29:17.040 --> 1:29:21.400 born at a time like the seventies, eighties, nineties where 1:29:21.520 --> 1:29:24.280 music was just it was so fertile. I mean, there 1:29:24.400 --> 1:29:25.240 was so much music. 1:29:25.320 --> 1:29:25.479 Now. 1:29:25.880 --> 1:29:28.240 I had somebody sent me a picture of a piano 1:29:28.280 --> 1:29:30.160 with two keys on it the other day, and the 1:29:31.880 --> 1:29:35.439 they used to write, you write it too now, you know, 1:29:35.720 --> 1:29:39.680 like and like you almost get penalized for having too 1:29:39.720 --> 1:29:43.360 many cores. Now you know where this you had lines, baselines, 1:29:43.479 --> 1:29:47.680 you had chords, you had melodies and and so uh 1:29:48.200 --> 1:29:51.040 you know another one of those baselines that it was 1:29:51.200 --> 1:29:54.840 the at the barge do Doom. 1:29:55.479 --> 1:29:57.760 That's what I'm saying, a dream okay, that is you Okay, 1:29:57.800 --> 1:30:01.240 good right, but all of these. 1:30:02.960 --> 1:30:08.040 Dud I mean. And I'll never forget, you know, being 1:30:08.080 --> 1:30:09.920 in the studio that day, knowing that you know this 1:30:10.080 --> 1:30:12.160 one is special, very special. 1:30:12.960 --> 1:30:16.080 Okay. I was gonna ask you win all right? Good 1:30:16.200 --> 1:30:17.680 Steve asked the question to hit it. 1:30:18.080 --> 1:30:18.880 It's your question. 1:30:19.040 --> 1:30:21.080 He never answered it. The dream lineup. We only got 1:30:21.120 --> 1:30:22.960 to the drummer. We didn't get to the other. 1:30:23.600 --> 1:30:26.559 Way to go Steve way to referee to go yeah, 1:30:27.400 --> 1:30:28.320 Greg feeling games. 1:30:28.840 --> 1:30:30.439 Okay, that's your keyboard player. 1:30:30.560 --> 1:30:31.400 That's your keyboard player. 1:30:31.479 --> 1:30:32.400 So who's your guitarist? 1:30:32.720 --> 1:30:36.720 We got guitarist, I have to say, And this is 1:30:37.040 --> 1:30:39.280 you're gonna You're gonna you may you may laugh at 1:30:39.320 --> 1:30:41.639 this one, but Pat Metheni is my favorite guitar player. 1:30:41.800 --> 1:30:47.880 Yes, yes, I wouldn't. I'm not mad. Wait a minute, 1:30:48.439 --> 1:30:53.840 I Spring isn't here, not even how many how many 1:30:54.120 --> 1:30:55.200 Athenie albums are you on? 1:30:56.320 --> 1:31:00.200 None? You're not okay, I'm not a single Mathenia that's 1:31:00.280 --> 1:31:06.800 that's that's my bucket list. Yeah, wow, story really yep. 1:31:08.000 --> 1:31:10.400 We uh, we played a we played a concert for 1:31:11.360 --> 1:31:13.360 we had to sing at at Dodger Stadium. It was 1:31:13.400 --> 1:31:16.439 Elton John and Airic Clapton and and METHENI came and 1:31:16.600 --> 1:31:18.879 Steve and I quoted one of the songs that Steve's 1:31:18.880 --> 1:31:21.200 playing on it's in seven four and Steve and we 1:31:21.280 --> 1:31:23.719 started playing that during the solo and Pat went crazy. 1:31:23.800 --> 1:31:27.320 You know, it was like, you know, fifty thousand people 1:31:27.400 --> 1:31:29.720 out there. We saw Pat giving his wife a high 1:31:29.800 --> 1:31:32.680 five when we played this tune. You know, But you know, 1:31:33.040 --> 1:31:37.040 Pat's he's just he's just a consummate musician. And I've 1:31:37.080 --> 1:31:38.840 always he's always been one of the guys on my 1:31:38.920 --> 1:31:41.400 bucket list to play with, you know, to record with. 1:31:41.520 --> 1:31:43.639 We've played together, kind of jammed up at his place 1:31:44.200 --> 1:31:47.240 on the Upper West Side, but I've never had the 1:31:47.240 --> 1:31:49.280 pleasure of being on one of his records. Of course, 1:31:49.360 --> 1:31:51.800 Georgia Man saying, I mean and then you know, as 1:31:51.880 --> 1:31:55.200 bands go, you know, if you look at you know, 1:31:55.280 --> 1:31:59.600 we lost four play lost, Chuck Lobe, Who's oars. You know, 1:32:01.280 --> 1:32:03.240 the guy could do no wrong for I mean, he 1:32:03.240 --> 1:32:06.880 could play funk, jazz, rock and uh. And on top 1:32:06.960 --> 1:32:08.800 of all that, he was the sweetest guy. So you know, 1:32:08.960 --> 1:32:10.599 check I think about him every day. 1:32:12.000 --> 1:32:13.519 When did he pass? When did Chuck pass? 1:32:14.120 --> 1:32:14.960 Twenty seventeen? 1:32:15.520 --> 1:32:17.479 Yeah, okay, they think. 1:32:17.640 --> 1:32:20.120 Can I ask what musicians or music you and Noah 1:32:20.240 --> 1:32:22.519 talk about? What is what does he put you onto? 1:32:22.640 --> 1:32:24.320 Since he is like an amazing musician. 1:32:24.400 --> 1:32:27.120 H Well, you know he's amazing because well, of course 1:32:27.520 --> 1:32:31.840 everybody's you know, onto Jacob Kayer, So he's like, he's 1:32:31.920 --> 1:32:35.040 like phenom of phenoms. But we you know, we we 1:32:35.200 --> 1:32:38.280 go with Herbie and he's I look at his you know, 1:32:38.360 --> 1:32:41.080 because he goes to the not only does he go 1:32:41.160 --> 1:32:43.720 to University of California b at Berkeley, but he goes 1:32:43.760 --> 1:32:45.600 to YouTube University. 1:32:45.320 --> 1:32:47.600 And so yeah, you started him there and. 1:32:47.680 --> 1:32:53.599 He studies you know, Billy Preston Goat Yeah, and people 1:32:53.760 --> 1:33:00.240 like Billy and and Herbie. Uh, you know, he he's 1:33:00.320 --> 1:33:03.080 kind of all over the map, you know, with with everything, 1:33:03.160 --> 1:33:05.840 and he loved we we do one of our favorite 1:33:05.880 --> 1:33:08.040 songs to play, Sunny Side of the Street, you know, 1:33:08.120 --> 1:33:11.479 which is a sixty year old song that that Louis 1:33:11.600 --> 1:33:15.160 Armstrong sang back in the day. So he he knows everything. 1:33:15.240 --> 1:33:19.920 But then we we love Algiou and you know, kind 1:33:19.960 --> 1:33:21.920 of kind of a z. I mean, he's just a 1:33:22.080 --> 1:33:23.280 musical musical guy. 1:33:23.479 --> 1:33:25.000 Yeah by the looks of YouTube, but like you had 1:33:25.040 --> 1:33:26.080 a baby music genius. 1:33:28.160 --> 1:33:32.120 Well, you know, he has perfect pitch and he not 1:33:32.280 --> 1:33:34.360 only does, he's not one of these guys that like, 1:33:34.439 --> 1:33:37.439 if you look, you're gonna hear a million Olympic chops, 1:33:37.479 --> 1:33:41.160 you know, but he's got heart and soul and the choices. 1:33:41.200 --> 1:33:44.120 You know, it's the it's the it's what you don't play. 1:33:44.120 --> 1:33:47.280 It's a space you leave that makes makes it specially, 1:33:47.280 --> 1:33:49.120 you know. And that's what I'd like to see a 1:33:49.160 --> 1:33:52.479 lot of the younger guys kind of understanding, because you know, 1:33:52.600 --> 1:33:54.880 now I just he starts scrolling. It's like you just 1:33:55.000 --> 1:33:57.759 hear everything a Z in the first bar. 1:33:58.439 --> 1:34:02.280 Right, Steve, do you want to ask the question? Should 1:34:02.320 --> 1:34:02.439 I go? 1:34:03.000 --> 1:34:05.960 Well, actually, I'm curious about you said you played at 1:34:06.000 --> 1:34:07.320 Live A in Philly. 1:34:08.800 --> 1:34:12.919 Was that with Phil Collins? That was with Kenny Moggins. 1:34:13.479 --> 1:34:16.559 Kenny Logins, Yeah, you're. 1:34:18.080 --> 1:34:19.200 Also very well known. 1:34:19.080 --> 1:34:22.000 For playing fifteen nineteen eighty five and. 1:34:23.560 --> 1:34:31.720 Mmy said at Ulliot Live. Yeah, yeah, but you're I 1:34:31.800 --> 1:34:36.599 guess you're you're you're applying my obsession with easy Lover 1:34:36.720 --> 1:34:39.759 and your association with with Phil How many Phil Collins? 1:34:41.800 --> 1:34:44.439 That was a Philip Bailey album that that song was on. 1:34:44.880 --> 1:34:46.960 Yet you know it was a Philip and and my 1:34:47.120 --> 1:34:50.240 relationship with Philip is what got me on the gig 1:34:50.360 --> 1:34:53.320 phil Phil Collins. He was going to be the producer 1:34:53.800 --> 1:34:55.599 and Phillip said, hey, I want to bring I want 1:34:55.640 --> 1:34:58.040 to bring Nate Nate East over to London with me 1:34:58.840 --> 1:35:01.439 and so yeah, you know, so we went to London, 1:35:01.560 --> 1:35:02.240 recorded that in. 1:35:03.760 --> 1:35:04.280 Wrote that song. 1:35:04.360 --> 1:35:07.400 Correct, Yeah, we wrote that song. It was the last 1:35:07.439 --> 1:35:10.439 song that we recorded. It was like after two weeks 1:35:10.439 --> 1:35:12.560 of recording and Philips said, man, we still need like 1:35:12.600 --> 1:35:16.479 an undeniable single, and we went over the piano and 1:35:16.560 --> 1:35:18.120 about twenty minutes later that came out. 1:35:19.280 --> 1:35:21.120 Wow, just twenty minutes later. 1:35:21.840 --> 1:35:23.760 Yeah, And what it was was we kind of like 1:35:23.840 --> 1:35:27.800 had the we had all the parts and we said, 1:35:27.880 --> 1:35:30.400 let's make a demo over the track and then tomorrow 1:35:30.439 --> 1:35:32.479 we'll listen to the demo and come back. And so 1:35:33.000 --> 1:35:35.479 we made the demo. The next morning we put it 1:35:35.600 --> 1:35:39.800 up and George Masenberg was the engineer. He recorded, we 1:35:39.960 --> 1:35:44.479 played it and everybody, Hey, everybody liked it. Was wrong 1:35:44.520 --> 1:35:47.000 with that? Let's go with that. And then I heard 1:35:47.080 --> 1:35:50.519 Phil Collins kind of singing these choosy lover was the name, 1:35:50.760 --> 1:35:52.320 you know it was. It was the lyric and singing. 1:35:52.360 --> 1:35:55.679 But as he was singing, I said, manage voice sounds 1:35:55.680 --> 1:35:56.800 and I said, man, wy, don't you guys just do 1:35:56.840 --> 1:35:58.880 it as a duet? Okay? 1:36:00.200 --> 1:36:02.840 Really yeah, Nathan, everyone it. 1:36:02.920 --> 1:36:04.720 Was it was a Phil Bailey record, you know. But 1:36:04.840 --> 1:36:07.680 then you could hear like Phil's voice, and at that 1:36:07.920 --> 1:36:11.200 particular week, the song Against All Odds was number one, 1:36:11.400 --> 1:36:13.800 Phil's first number one, and it was like number one 1:36:13.840 --> 1:36:16.280 on the charts. So it was like, this is a 1:36:16.400 --> 1:36:17.880 no brainer. The two of them has to do it. 1:36:18.000 --> 1:36:21.320 And man used to hear it on like three radio 1:36:21.360 --> 1:36:22.160 stations at once. 1:36:23.840 --> 1:36:25.080 It's still one of the greatest. 1:36:25.400 --> 1:36:26.960 So that is I love that song. 1:36:27.080 --> 1:36:30.320 That was that that allowed me to kind of solidify 1:36:30.479 --> 1:36:34.000 my my standing with the folks. I bought my house 1:36:34.560 --> 1:36:36.680 and finally they said, you know, because you know, your 1:36:36.720 --> 1:36:39.960 parents were saying, yeah, but you should have something on. 1:36:43.360 --> 1:36:45.240 Your dad had a whole job. I still can't repeat 1:36:45.400 --> 1:36:45.960 arrows something. 1:36:47.200 --> 1:36:50.000 So he was in the air space business that design 1:36:50.040 --> 1:36:55.439 engineer aircraft. Yeah, he designed the F sixteen swept wings 1:36:55.479 --> 1:36:57.760 and the C five a tail, you know, and he 1:36:57.800 --> 1:37:01.120 used to always bring these rocket pictures home of these 1:37:01.240 --> 1:37:03.720 rockets and silos. So that's where we got our kind 1:37:03.760 --> 1:37:06.880 of We had four pilots in the family fly my 1:37:07.240 --> 1:37:07.760 brother's fly. 1:37:08.120 --> 1:37:09.880 My dad was a rocket scientist. 1:37:12.760 --> 1:37:18.439 Is there is there a session or song that you 1:37:18.560 --> 1:37:23.200 had to pass on that wound up becoming like like 1:37:23.920 --> 1:37:25.519 did you get the call first for like we Are 1:37:25.600 --> 1:37:28.479 the World or something like that, and you had to 1:37:28.520 --> 1:37:30.679 pass on it because you were already doing a gig somewhere. 1:37:31.400 --> 1:37:34.920 Well, fortunately I can't tell that story because because no 1:37:35.240 --> 1:37:37.000 is one of the words that I have not been 1:37:37.040 --> 1:37:39.280 able to say. And I don't turn down anything but 1:37:39.400 --> 1:37:39.800 my collar. 1:37:40.439 --> 1:37:42.120 No, no, no, no, talk about it. 1:37:42.320 --> 1:37:43.080 That's not possible. 1:37:43.840 --> 1:37:45.439 So I should take all the gigs, all right, thank you? 1:37:46.920 --> 1:37:49.479 You know. I mean I learned early on, like my 1:37:49.520 --> 1:37:52.160 accountant said, nobody's following you around with a pension plan. 1:37:52.240 --> 1:37:56.000 And we got to you know the career, well a 1:37:56.120 --> 1:37:59.080 studio musicians careers four years, so we got to figure 1:37:59.120 --> 1:38:00.439 out what to do with your money. And he told 1:38:00.479 --> 1:38:04.200 me that in nineteen eighty. You know, wow, So you 1:38:04.320 --> 1:38:08.320 know you're always thinking, you know, is this is this 1:38:08.479 --> 1:38:10.439 it a man the peak? And is it gonna? Am 1:38:10.439 --> 1:38:11.720 I going to be on the other side? You know? 1:38:11.760 --> 1:38:16.040 They say that the four stages of a musician's career 1:38:16.160 --> 1:38:21.280 is who's Nathanist, Get me a get me Nathanist, get 1:38:21.320 --> 1:38:25.640 me a young Nathanist. Who's nathan Who nathan How do 1:38:25.720 --> 1:38:26.320 you get that? 1:38:26.479 --> 1:38:30.519 One more time? I've read that before, one more time, say. 1:38:31.960 --> 1:38:36.800 Who's Nathanist, get me Nathanist, get me a young Nathanist. 1:38:37.840 --> 1:38:38.679 Who's Nathanist? 1:38:41.479 --> 1:38:44.320 I hate that. David Foster told me that that Hurtrillian. 1:38:45.200 --> 1:38:46.760 I've read that in one of my voice over books. 1:38:46.760 --> 1:38:50.280 They the U right of that has kept me going 1:38:50.479 --> 1:38:51.679 for forty years. 1:38:51.720 --> 1:38:57.360 Now, Wow, I've never heard it put that way, and 1:38:57.439 --> 1:38:59.080 now that that totally. 1:38:59.080 --> 1:39:01.200 Don't don't you start feeling all the part and the 1:39:01.280 --> 1:39:03.240 other part they say, The only other part I've heard 1:39:03.479 --> 1:39:05.920 of that same saying only other verision I've heard is 1:39:05.960 --> 1:39:09.280 the additional stage of get me Nathan East at any price. 1:39:09.720 --> 1:39:12.760 So like that's kind of before, you know, I mean, I. 1:39:12.880 --> 1:39:15.760 Like that to this day. My brothers called me and 1:39:15.800 --> 1:39:18.120 they always and soon as they answer that get me 1:39:18.200 --> 1:39:21.040 a young Nathan Eist. You know, they always you know, 1:39:21.160 --> 1:39:23.360 but but it's good to kind of have a little 1:39:23.360 --> 1:39:25.519 bit of that fear because especially back in the day, 1:39:25.600 --> 1:39:28.000 there was always the new guy, you know, like in 1:39:28.360 --> 1:39:30.360 the eighties, you know, like especially young guitar you know, 1:39:30.920 --> 1:39:33.680 you had you had like Larry Carlton, and then you 1:39:33.800 --> 1:39:36.160 had Lee Written Hour and on these guys coming and 1:39:36.360 --> 1:39:39.360 Luca Third and so there was always like this this 1:39:39.720 --> 1:39:43.160 heavy hitter waiting in the wings, you know, to be 1:39:43.280 --> 1:39:47.560 the next guy. You know. So now I think we 1:39:47.680 --> 1:39:49.880 can we can rest a little easier because there's not 1:39:50.160 --> 1:39:52.640 a million studios and a million gigs going on like 1:39:52.680 --> 1:39:53.479 they were back then. 1:39:54.560 --> 1:40:00.200 Well, who who in your in your eyes was uh 1:40:01.840 --> 1:40:05.120 kind of uh who who do you admire of that? Well, 1:40:05.240 --> 1:40:10.160 I guess like young lions to you are now established musicians. 1:40:10.240 --> 1:40:16.160 But I mean, if I'm talking to mid nineties Nathan Ese, like, 1:40:16.240 --> 1:40:18.920 who who are the musicians that were coming up that 1:40:19.040 --> 1:40:21.680 you were like, okay, I messed with them? Or you know, 1:40:22.160 --> 1:40:26.200 like who's do you feel that the future is safe with? 1:40:26.760 --> 1:40:30.719 Yeah? I mean when because I remember, you know, first 1:40:30.800 --> 1:40:33.160 here in s browns Espaldine and she was one of 1:40:33.200 --> 1:40:37.240 these like she was young, new newcomer, and then next thing, 1:40:37.280 --> 1:40:39.519 you know, she had Album of the Year, you know, 1:40:39.880 --> 1:40:44.799 the Grammys. And then again there's people like Jacob Kaier 1:40:45.000 --> 1:40:48.280 and and Justin Lee Schultz. Now that are that I 1:40:48.360 --> 1:40:53.000 think are very very promising that I feel comfortable leaving 1:40:53.040 --> 1:40:55.000 them with the with the torch, you know, because they 1:40:55.680 --> 1:40:57.720 they seem to be putting in some serious time. And 1:40:57.840 --> 1:40:59.720 then they're there. There are quite a few, and and 1:40:59.800 --> 1:41:02.680 I'm I'm excited by my son Noah too, because I 1:41:02.960 --> 1:41:08.479 think he's he's becoming a student of music and really 1:41:08.600 --> 1:41:12.400 like a sponge, you know, just absorbing everybody from Keith 1:41:12.520 --> 1:41:17.360 Charott to Bill Levin's too, you know, to Herbie and uh, 1:41:17.880 --> 1:41:20.599 everybody in between these. But now he's playing Hammond Oregon 1:41:20.920 --> 1:41:23.040 B three and so he's listening to a lot of 1:41:23.120 --> 1:41:27.160 the lot of the cats there, Jimmy Smith, Joey, It's 1:41:27.200 --> 1:41:28.519 crazy all right. 1:41:28.560 --> 1:41:32.320 Before we wind up, I just I'm still thinking of 1:41:32.400 --> 1:41:34.360 the post mortem talk. 1:41:34.520 --> 1:41:36.320 It's no way you can avoid it. 1:41:36.880 --> 1:41:41.960 No I just okay, are you I know you play 1:41:42.000 --> 1:41:44.679 with the Pointer sisters. Are you on? I'm so excited, 1:41:46.560 --> 1:41:48.480 I'm on, I'm so excited. 1:41:49.640 --> 1:41:53.320 Jesus I played the posters of my Cousins by Marriage. 1:41:55.680 --> 1:42:00.120 So we actually uh, we actually re recorded all the 1:42:00.200 --> 1:42:03.200 hits and they asked me to produce it because a 1:42:03.240 --> 1:42:05.040 lot of times, you know, like PEPSI will say hey, 1:42:05.080 --> 1:42:07.840 we want to use I'm so excited, and the record 1:42:07.880 --> 1:42:10.479 labels say, okay, give us something master and give us 1:42:10.520 --> 1:42:14.760 something crazy, and so they they hired me to produce it. 1:42:14.840 --> 1:42:16.559 So it was so easy because then I just called 1:42:16.600 --> 1:42:18.599 Greg and John Barnes and all the guys that played 1:42:18.640 --> 1:42:21.120 on the original and we went in and recruit recreated 1:42:21.160 --> 1:42:25.479 all those songs oh wowow and used them on you 1:42:25.560 --> 1:42:27.479 know now when you see them on a Pepsi commercial, 1:42:27.880 --> 1:42:30.760 those are the ones and they're they're benefiting from it, 1:42:30.800 --> 1:42:33.120 which is great, so cool, And that's. 1:42:33.000 --> 1:42:35.760 What Prince did you know, Yeah you can re recall. 1:42:35.520 --> 1:42:38.920 Yeah yeah, yeah, because you you know, the label onto 1:42:38.920 --> 1:42:41.200 the Masters and you know that's when Prince put slave 1:42:41.280 --> 1:42:44.400 on his right head and he just went in and 1:42:44.520 --> 1:42:45.080 recut him. 1:42:45.400 --> 1:42:49.519 But sometimes it backfires, like you know before, think, thank 1:42:49.560 --> 1:42:53.720 you Sylvia Room for finally releasing the heat Wave discography 1:42:54.000 --> 1:42:56.600 for streaming, because I don't know if I could have 1:42:56.880 --> 1:43:02.680 taken another like Boogie Nights twenty twenty. You know, some 1:43:02.920 --> 1:43:05.479 acts like re recording it not really quite nailing it 1:43:05.600 --> 1:43:08.880 the way that you know in some cases it doesn't work, 1:43:09.040 --> 1:43:12.479 but in this case it does work. Another dance classic 1:43:12.560 --> 1:43:15.760 of yours is that your base work on Wolmack and 1:43:15.800 --> 1:43:17.240 Womack's Baby I'm Scared of You. 1:43:19.160 --> 1:43:22.360 I'm on Womack and Willmack, and I'd have to I'd 1:43:22.439 --> 1:43:25.000 have to look and remember if I could the particular tune. 1:43:25.040 --> 1:43:26.400 So let me look that up and I'll get back 1:43:26.439 --> 1:43:27.040 to you on that one. 1:43:27.280 --> 1:43:32.080 That's a great problem to have fully accept it, I except. 1:43:31.840 --> 1:43:35.680 Start stacking them up, you know, after after a ten 1:43:35.760 --> 1:43:37.439 thousand tunes, it's just crazy. 1:43:37.800 --> 1:43:42.160 Yeah, Fante, he's on another iconic hip hop bass sample? 1:43:42.840 --> 1:43:47.720 Which one? So you you're you're you're playing on uh 1:43:48.040 --> 1:43:52.760 Flack and Bryson's Born to Love album? Correct? Oh my god, 1:43:53.000 --> 1:43:57.920 they're they're there duet right yeah, yeah, second Childhood Primo 1:43:58.080 --> 1:43:59.880 boo b B boom. 1:44:03.479 --> 1:44:06.240 You know, you reminded me of stuff that I that 1:44:06.360 --> 1:44:09.439 I completed. And you know this happens in Japan because 1:44:09.439 --> 1:44:11.840 they pay attention to everything, and sometimes I'm walking down 1:44:11.880 --> 1:44:14.240 the street, they come up with a big armful of 1:44:14.320 --> 1:44:17.840 vinyl records that you completely forgot that you played on 1:44:18.720 --> 1:44:20.320 the side and everything. 1:44:20.400 --> 1:44:24.320 But see, that's and that's what I I wish that 1:44:25.120 --> 1:44:28.800 you know, the powers that be and and the Red 1:44:28.840 --> 1:44:32.839 Tape the red Tape people and the lawyers and whatnot 1:44:34.920 --> 1:44:39.240 would realize that the beauty of sampling is that cats 1:44:39.320 --> 1:44:44.760 like us will see what gets sampled, and now not 1:44:45.000 --> 1:44:50.519 only will we purchase the the ROBERTA. Flack and people 1:44:50.600 --> 1:44:53.439 bryceon album, but then we're gonna read the credits and 1:44:53.479 --> 1:44:57.000 see who played on it and then purchase everything that 1:44:57.040 --> 1:44:59.840 they played on and so on and so the rabbit 1:44:59.840 --> 1:45:00.560 hole p s. 1:45:00.720 --> 1:45:02.559 I would like to tell the masters who are listening 1:45:02.560 --> 1:45:04.200 to this, there's an app for that, and it's called Deeper. 1:45:04.360 --> 1:45:07.640 Just saying black owned, go get it deeper. It's an 1:45:07.640 --> 1:45:08.360 app called Deeper. 1:45:08.479 --> 1:45:10.479 Like if you find a song you like the bass player, 1:45:10.560 --> 1:45:12.240 you touched the bass player's name and you can see 1:45:12.360 --> 1:45:13.639 everything that the bass player did. 1:45:14.160 --> 1:45:17.479 Wow, okay, are yeah deeper? 1:45:18.280 --> 1:45:23.759 And well you know it's it's it's like Aaron Schwartz 1:45:23.840 --> 1:45:28.360 did with Reddit. He he wanted to make available legal 1:45:28.479 --> 1:45:32.880 documents that usually people that are in MT studying, they 1:45:32.960 --> 1:45:35.800 have to pay thirty five bucks to get a legal thing. 1:45:35.960 --> 1:45:38.800 So so he kind of he started making those things 1:45:38.840 --> 1:45:40.680 available and that's where he got in trouble. He got 1:45:40.720 --> 1:45:44.840 sued by the government. But oh, it's it's one of 1:45:44.880 --> 1:45:48.759 those things where you are we gonna are we gonna 1:45:49.560 --> 1:45:52.280 keep it going, moving forward so that people can know 1:45:53.360 --> 1:45:55.680 what would happened before, you know, because we don't want 1:45:55.720 --> 1:45:59.560 them to forget about Natalie Cole and you know, Ella Fitzgerald. 1:46:01.240 --> 1:46:04.560 You just don't want you know, Billie Holiday and and 1:46:04.840 --> 1:46:08.720 you you want our youth to really have access to that. 1:46:09.400 --> 1:46:12.200 You know, So if we put too many restrictions and 1:46:12.439 --> 1:46:14.559 and again, you know, they'll they'll figure out a way 1:46:14.600 --> 1:46:18.200 to monetize and get it. But I think to to 1:46:18.320 --> 1:46:20.519 kind of put so many restrictions on everything, it's just 1:46:20.720 --> 1:46:23.280 it's just rough, you know. 1:46:23.760 --> 1:46:28.720 Okay, warmer thing. Okay, give me three more because there's 1:46:28.760 --> 1:46:31.599 too many, man, because be remiss. 1:46:31.680 --> 1:46:34.880 And I would hate how long I'm trying to remember 1:46:34.920 --> 1:46:36.639 because those are two. 1:46:39.439 --> 1:46:43.040 I'm gonna have this. I'm gonna in the whole. But 1:46:43.320 --> 1:46:47.519 you've also worked with NARDA. Michael Walden of course doing 1:46:47.600 --> 1:46:51.400 his magic streak with Aretha and Whitney and whatnot. That's 1:46:51.479 --> 1:46:55.719 you on saving all my love for you? Yes, dude, 1:46:57.080 --> 1:47:00.360 that okay, what kind of base are you play on 1:47:01.680 --> 1:47:02.880 on saving all my love for you? 1:47:03.040 --> 1:47:05.960 Because that white base, right, it's this white base right 1:47:06.000 --> 1:47:10.280 behind me. It's a BB three thousand yamaha bass. Wow, 1:47:11.600 --> 1:47:15.360 it's uh, Gene Page wrote, listen. Gene Page wrote all 1:47:15.400 --> 1:47:19.720 those those notes too. Michael Masser was producing. We were 1:47:19.720 --> 1:47:23.720 at Devonshire Studios. We you know that the greatest love 1:47:23.760 --> 1:47:24.200 of all. 1:47:25.240 --> 1:47:29.160 Right behind me. But my question about saving all my 1:47:29.240 --> 1:47:33.080 love for you though? And is that a five string bass? 1:47:33.360 --> 1:47:34.320 It's five string bass. 1:47:34.680 --> 1:47:37.320 Okay. That explains everything, because the thing is is that 1:47:38.120 --> 1:47:40.960 even though I didn't, I didn't. I mean when when 1:47:41.160 --> 1:47:43.360 when I don came out, I was fourteen years old, 1:47:44.000 --> 1:47:47.120 but was it was in the eighties, yeah, eighty five. 1:47:47.560 --> 1:47:52.240 And so for me though, when you get to the 1:47:52.400 --> 1:47:55.599 last bridge, because the night is the night, good Field 1:47:55.600 --> 1:47:59.960 and all right, you played in such a low register 1:48:00.040 --> 1:48:04.320 there that I was like, there's no there's no base 1:48:04.400 --> 1:48:08.680 that can actually pay like he's playing below uh an 1:48:08.760 --> 1:48:14.800 e right, you were, and I never heard that, like 1:48:14.960 --> 1:48:17.439 normally someone would would go to the upper register to 1:48:17.520 --> 1:48:21.000 play it. But you went low with it and okay, 1:48:21.160 --> 1:48:23.040 you played on a five string and I. 1:48:23.200 --> 1:48:25.920 Was I was actually shocked that because that was the 1:48:26.000 --> 1:48:28.280 first kind of some of the first five string records 1:48:28.280 --> 1:48:30.840 I was playing on, and I was kind of saying, 1:48:30.920 --> 1:48:32.680 as is this really going to be cool? Or am 1:48:32.680 --> 1:48:33.600 I going to get away with this? 1:48:34.120 --> 1:48:38.040 You know, because it was that was a risk. It 1:48:38.160 --> 1:48:40.720 was unusual to hear because I just never heard a 1:48:41.080 --> 1:48:42.400 base go that low before. 1:48:42.640 --> 1:48:45.400 Yeah, and okay, you know, I have to say, and 1:48:45.680 --> 1:48:49.160 by the way, congratulations. You did an amazing job as 1:48:49.280 --> 1:48:56.160 musical director for the Oscars and I appreciate that you have. 1:48:56.960 --> 1:49:00.800 You know, to me, you brought the show into into 1:49:00.920 --> 1:49:02.760 the current statement. 1:49:03.320 --> 1:49:08.240 Let's talk about something beyond nineteen fifty. No, but I'm 1:49:08.240 --> 1:49:11.240 gonna tell you it seemed like on paper, it just 1:49:11.320 --> 1:49:15.400 seems easy, like oh, quest love dj' di it. But man, oh, 1:49:15.600 --> 1:49:18.760 the only reason why I know those three letters AFM. Yes, 1:49:18.960 --> 1:49:21.000 of course we have an AFM here at the tonight show, 1:49:21.520 --> 1:49:26.439 and we deal with the rigamarole of whatever. But yo, 1:49:26.880 --> 1:49:31.559 they do not play in Los Angeles, and I thought 1:49:31.600 --> 1:49:34.080 everything was going to be gravy, and then the AFM 1:49:34.160 --> 1:49:36.960 rep came and was like he wanted to know every 1:49:37.000 --> 1:49:39.439 song I was playing, and I guess the deal they 1:49:39.520 --> 1:49:48.120 made was like, basically, if these are AFM Orchestra members, 1:49:48.240 --> 1:49:49.720 then you have to pay a certain rate for this 1:49:49.840 --> 1:49:53.840 and that. So it's it's really the night before I 1:49:53.840 --> 1:49:56.719 had to redo and clear a whole bunch of songs 1:49:57.320 --> 1:49:59.400 because you know, I plan on just playing like movie 1:49:59.439 --> 1:50:02.280 themes and John Williams scores and not like do the 1:50:02.400 --> 1:50:05.400 normal thing. And then the AFM guy was like, nope, 1:50:05.560 --> 1:50:07.880 there are FM union members. We got to pay them 1:50:07.880 --> 1:50:11.400 all like we were trying to find our way to 1:50:11.479 --> 1:50:13.840 safety in a pandemic. And then like the last minute, 1:50:13.880 --> 1:50:16.880 the guy's like, no, you must play. You must pay 1:50:16.960 --> 1:50:19.040 all seventy members of the people who played the theme 1:50:19.080 --> 1:50:20.679 the Rocky in order for you to play the song 1:50:20.720 --> 1:50:23.200 out there. And I was like, no, we're not doing that. 1:50:23.439 --> 1:50:26.600 So I had to get super super creative and it 1:50:26.720 --> 1:50:29.920 was just like, Okay, I'm just going to play regular songs. 1:50:29.960 --> 1:50:34.720 Are most young musicians in the union, well, those those 1:50:34.800 --> 1:50:37.120 particular things that you mentioned are going to be a 1:50:37.240 --> 1:50:40.400 lot of the strength players that you know had had recorded. 1:50:40.000 --> 1:50:41.720 Those, right, That's what I was thinking. 1:50:41.840 --> 1:50:44.439 A lot of them aren't even living right, So the 1:50:44.680 --> 1:50:47.040 generation do they know that money on the money goes 1:50:47.080 --> 1:50:47.639 to the FM. 1:50:49.280 --> 1:50:52.160 But but it's it's great that if it's possible for 1:50:52.240 --> 1:50:55.719 it to get to the people that they're a state deal. 1:50:56.160 --> 1:50:59.479 But but they yeah, they will, they will come and 1:50:59.640 --> 1:51:03.040 and check on you now. And you had access to 1:51:03.479 --> 1:51:06.000 the tracks, right, I mean you yeah? 1:51:06.120 --> 1:51:11.320 Well for uh for as as was great by the way. 1:51:11.640 --> 1:51:14.000 I took a risk and I was just like I 1:51:14.120 --> 1:51:16.680 hit up Stevie. It was just like can I can 1:51:16.760 --> 1:51:19.680 I get the master please? And you know wow, had 1:51:19.680 --> 1:51:21.320 to explain like what I wanted to do and all 1:51:21.360 --> 1:51:24.800 that stuff. And when he heard it, one, I didn't 1:51:24.840 --> 1:51:28.479 know that Dean Parks was playing acoustic guitar on that. 1:51:29.320 --> 1:51:32.479 And what's even funnier was you think you're bad? Stevie 1:51:32.520 --> 1:51:34.880 didn't know that, and so he was sort of like, 1:51:35.040 --> 1:51:36.439 you know, how did you make this? It's it's like 1:51:36.479 --> 1:51:39.280 a country song. And I was like, no, that's that's 1:51:39.360 --> 1:51:41.040 just Dean Parks. I just left you and Dean Parks 1:51:41.040 --> 1:51:43.400 singing alone. He felt like we redid and did a 1:51:43.439 --> 1:51:45.280 whole nother arrangement to it, and I'm like no, I 1:51:45.439 --> 1:51:48.479 just I took what was there and just accented some 1:51:48.640 --> 1:51:52.760 things and that sort of thing, but that's literally you know. 1:51:54.960 --> 1:51:58.400 It was really a beautiful person. And how great is 1:51:58.439 --> 1:52:01.679 it that you can get the original master from Stevie 1:52:01.720 --> 1:52:04.320 and be able to do that. You know, that's that's impressive. 1:52:04.920 --> 1:52:06.920 That's that's the perky. That's the perk of the job. 1:52:06.960 --> 1:52:07.519 I enjoyed that. 1:52:07.880 --> 1:52:10.640 And I was with Dean Parks over the weekend and 1:52:11.280 --> 1:52:14.200 it's we were playing. We went to a club and 1:52:14.280 --> 1:52:16.640 sat in and I said, Man, it's not every day 1:52:16.680 --> 1:52:18.439 we get to hear Dean Park stretch out like this, 1:52:18.600 --> 1:52:20.080 you know. I mean he was he brought it and 1:52:21.080 --> 1:52:22.920 here he is, you know, still doing it after all 1:52:22.960 --> 1:52:23.360 these years. 1:52:23.400 --> 1:52:27.439 But he's another dream of mine. Yeah, he's I got 1:52:27.479 --> 1:52:30.960 to meet him two years ago at the Oscars and 1:52:31.120 --> 1:52:32.479 he's such a such a. 1:52:32.520 --> 1:52:37.479 Cool cat, very cool and but yeah, the original open 1:52:37.520 --> 1:52:40.160 I'm going wait a second, I think A Mayor got 1:52:40.200 --> 1:52:46.479 the track. Oh this is incredible. Yeah, yeah, I got 1:52:46.600 --> 1:52:48.120 lucky work about working your magic. 1:52:48.200 --> 1:52:51.280 No, it was really great, Thank you, Thank you. Yo. 1:52:51.800 --> 1:52:56.320 I know there's like forty nine other songs that I 1:52:56.600 --> 1:52:58.519 can nerd out on and albums that you've played on. 1:52:58.720 --> 1:53:01.760 But you know, the whole thing is that you. You 1:53:02.080 --> 1:53:06.519 You're the You're the magic touch. And I really appreciate 1:53:06.560 --> 1:53:08.960 you for coming on the show and man, talking to us. 1:53:09.120 --> 1:53:11.599 I was so excited that last night I kept looking 1:53:11.640 --> 1:53:14.280 at my watch. Oh man, okay, it's only twelve more hours. 1:53:16.000 --> 1:53:18.200 I'm so excited to come because listen, I mean, you've 1:53:18.600 --> 1:53:21.680 you've met everybody. Come on, Michelle Obama. 1:53:23.000 --> 1:53:26.519 Man, I'm excited about it. 1:53:26.720 --> 1:53:29.799 Wait now now that you mentioned it, yo, you should 1:53:30.040 --> 1:53:32.600 really because when I'm closing my eyes I thought I 1:53:32.680 --> 1:53:35.920 was talking to Donnie Simpson for half a second. You 1:53:36.479 --> 1:53:40.360 you really have you you have a future in voice over, 1:53:40.439 --> 1:53:45.080 working it, but really have a future like that should 1:53:45.120 --> 1:53:47.479 be your your your your pivot, Brenton. 1:53:47.520 --> 1:53:49.880 But it's a lot of fun. You know. I was 1:53:49.960 --> 1:53:52.960 friends with Don la Fontaine, who was the Yes who 1:53:53.120 --> 1:53:55.920 is the guy? Yes? Yes, family and I are still 1:53:56.400 --> 1:53:59.080 very dear and very close. But he he's you have 1:53:59.160 --> 1:54:04.800 great pipes. Wow, he had the voice of god. You know. Yeah. 1:54:05.760 --> 1:54:08.160 Well, I thank you very much for doing the show. 1:54:08.200 --> 1:54:12.000 And thank you guys, and no thanks man, this is music. 1:54:12.080 --> 1:54:13.599 Thank you for the music on what you're doing. 1:54:15.400 --> 1:54:19.960 It's it's very relevant. It's not irreal relevant very much, 1:54:20.000 --> 1:54:22.680 so thank you very much, thanks for everything you do, 1:54:22.760 --> 1:54:28.040 and congratulations on everything Disney collaboration and you know, thank 1:54:28.120 --> 1:54:29.040 you everything. 1:54:29.640 --> 1:54:31.679 We're looking forward to the next generation of East shout 1:54:31.720 --> 1:54:31.960 us and. 1:54:31.960 --> 1:54:38.120 Noah, okay, now right, yeah, well listen, it's been a joy, 1:54:38.280 --> 1:54:41.200 pleasure and a honor and uh let's uh, let's keep 1:54:41.240 --> 1:54:43.000 it going a show. 1:54:43.400 --> 1:54:45.440 Well you heard it from the horses, mount ladies and gentlemen. 1:54:45.520 --> 1:54:48.200 That was Nathan East and on behalf of Fontillo. Like, 1:54:49.680 --> 1:54:51.320 my name is quest Love and this is pust Love 1:54:51.400 --> 1:54:53.240 Supreme and we'll see you on the next go round 1:54:53.360 --> 1:54:58.480 the next episode of Love Supreme. All right, yoh, what's up? 1:54:58.520 --> 1:55:00.800 It's is Sponte. Make sure you keep up with us 1:55:00.880 --> 1:55:03.520 on Instagram at QLs and let us know what you 1:55:03.600 --> 1:55:05.400 think and who should be next to sit down with us. 1:55:05.640 --> 1:55:08.800 Don't forget to subscribe to our podcast, all right, peace. 1:55:16.680 --> 1:55:23.160 What's Love Supreme is a production on iheartnet Radio. For 1:55:23.280 --> 1:55:27.480 more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1:55:27.920 --> 1:55:29.640 or wherever you listen to your favorite shows.