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Speaker 1: Questlove Supreme is a production of iHeartRadio. This classic episode

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Speaker 1: was produced by the team at Pandora.

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Speaker 2: This is Sugar, Steve and On this week's Quest Love

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Speaker 2: Supreme classic, musician, songwriter and producer Jack White talks about

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Speaker 2: how music kept him from the priesthood, his love of

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Speaker 2: analog recording technology, and the Amy Winehouse duet that Never

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Speaker 2: was originally released May ninth, twenty eighteen.

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Speaker 3: Suprema Suprema, roll call, Suprema Suprema, role call, Suprema Suprema

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Speaker 3: roll call Suprema Suprema ro.

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Speaker 4: Af fartigue of hip hop culture. Yeah, all good, fine, Yeah,

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Speaker 4: but is this thing for bananas? Yeah, that's where I

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Speaker 4: all the mine Supreme.

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Speaker 5: Shun Suprema role called Supreme Suprema roll call.

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Speaker 4: In the building. Yeah, it's time to settle the school. Yeah,

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Speaker 4: in this room filled Yeah with racking toy roll call

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Speaker 4: Supreme Supremo, roll Supreme roll call.

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Speaker 6: My name is Sugar, Yeah, the one you trust. Yeah

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Speaker 6: until I bust out. Yeah, my blunder car.

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Speaker 5: Supreme SUPREMEA role called Supreme Supremo, role called Bill.

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Speaker 7: Yeah.

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Speaker 8: That's how I'm known. Yeah, happy, I'm not.

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Speaker 9: Yeah.

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Speaker 8: Michael Cohen ro Suprema Suppremer, road called Supremer Supremo.

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Speaker 10: Roll calls Boss Bill Yeah, ain't no debating.

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Speaker 4: Yeah, your fool need Jesus.

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Speaker 11: Yeah, get behind me, Satan Ro Supremo Supremo.

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Speaker 5: Roll called Supremo Supremo roll call.

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Speaker 7: It's like yeah yeah and Jack White, Yeah you're looking

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Speaker 7: kind of good.

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Speaker 11: Yeah.

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Speaker 7: One another White.

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Speaker 12: Roll roll call.

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Speaker 9: Roll call, My name is Jack. Yeah, I don't smoke

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Speaker 9: crack Yeah. And if you're nice to me, yeah, I

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Speaker 9: might come back.

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Speaker 3: Roll call Supremo Supremo, roll called Supremo Son Sun Supremo.

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Speaker 5: Roll called Suprema Son Supremo.

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Speaker 3: Roll called Suprema Son Supremo roll.

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Speaker 4: Yoh minute, we listen to Cardi b.

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Speaker 7: Of that, you know, and then side Jack. That was

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Speaker 7: a little inspirational.

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Speaker 4: So wow, ladies, Uh taping from the world famous Electric

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Speaker 4: Lady A Studios in New York City. I got to

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Speaker 4: say that this is the most people have ever seen

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Speaker 4: in this room. It's like the higher caliber, the guests,

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Speaker 4: the most the more more lighting, body yeah, lamb shots,

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Speaker 4: and more bad we do. Richard dimple Fields episode like,

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Speaker 4: well we get the flashlights. Yeah some cheeto ahol. Yeah, Anyway,

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Speaker 4: this is another episode of Quest of Supreme. We got

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Speaker 4: funke Alot in the house. Yes, yeah, and uh, you

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Speaker 4: know support no news is good news. Yeah, I'm sorry.

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Speaker 4: I always want to Gary gow that and you're you're

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Speaker 4: in a great Space coaster, are you?

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Speaker 12: Yeah?

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Speaker 11: I missed, I missed that scary.

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Speaker 7: The new was to get Along Gang.

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Speaker 4: Really, I really get along game that.

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Speaker 9: Great space is good news with Gary get along time anyway.

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Speaker 4: We got Boss Bill the house. Hello, I'm come back.

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Speaker 4: Are you Are you fine? It's not a to that's

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Speaker 4: all I know. That's that's great. Yeah, that's baby got

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Speaker 4: the stitches. That was a reference from the movie. Don't explained.

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Speaker 4: Just ask your kids, the parents as I'm paid Bill,

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Speaker 4: how you doing good? But are you? I'm good?

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Speaker 9: Uh?

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Speaker 7: And and and it's like everything is great, everything is gravy.

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Speaker 4: I'm proud of I'm proud of your your your new you.

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Speaker 7: I won't say anything for the rest of you.

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Speaker 4: I say the best from last Sugar Steve, Sugar Star.

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Speaker 4: You know, for some reason, we were taking this as

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Speaker 4: a joke and now like I feel, I feel genuinely

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Speaker 4: threatened that you've managed to turn an I G chatting

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Speaker 4: UH device into an actual network Oh.

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Speaker 12: Yeah, it's the Sugar Networks. It up the road up.

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Speaker 8: So you're like Ted Turner the Instagram you've heard own

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Speaker 8: some context.

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Speaker 6: You know, I have a spin off of this. It's

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Speaker 6: an unauthorized spinoff. Okay, it's a spinoff. Nonetheless, it's called

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Speaker 6: Chat with Sugar.

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Speaker 4: Basically, listen to the things that you collect, like mantage

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Speaker 4: MIC's old records, you know. Yeah, so Steve collected.

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Speaker 6: He just wants collect to collect the resident Anyway, ladies

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Speaker 6: and gentlemen, our guest today.

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Speaker 4: I have to say I don't want to say he's

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Speaker 4: a renaissance man. I don't say he's a drummer, singer, guitarist,

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Speaker 4: piano player, producer, songwriter, label owner. Uh, the hells from

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Speaker 4: the d Uh, the city of Detroit, Michigan in Uh.

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Speaker 4: He wear as many hats in his lives, you know,

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Speaker 4: a member of the Rank of Tours as as fonte.

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Speaker 4: Let's say that again, the Racket Tours ranking. I mean

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Speaker 4: he said ranking tours. I thought he said rank. I

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Speaker 4: thought it right. Okay, well I thought he got it wrong,

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Speaker 4: and I was anyway, the Racket Tours. That weather sorry, Uh,

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Speaker 4: you know he's produced and gusting appeared on a lot

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Speaker 4: of projects that we love from Uh the Red Lends,

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Speaker 4: Vanley of Rose one of my favorite records. Uh, Legendarry

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Speaker 4: Wander Jackson, don't work with Lisa Keys, Beyonce, Typical Quests now,

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Speaker 4: John of ling Stones. Uh, the list goes on and on. Uh,

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Speaker 4: but it's and the Muppets. Yeah, but it's Uh as

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Speaker 4: one half of that's the one I'm the envioust most

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Speaker 4: of I'm jealous too, but as one half of the

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Speaker 4: unit known as the White Stripes that once made, Once made.

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Speaker 12: Uh my hero.

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Speaker 4: John Peel once declared that this is some of the

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Speaker 4: best music he's ever heard since the days of James

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Speaker 4: Marshall Hendricks, not to mention the massive critical claiming He's

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Speaker 4: gotten twelve Grammys as a producer, as an engineer, songwriter,

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Speaker 4: and I'm jealous as a package designer. That's a good one.

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Speaker 4: I'm highly jealous of his package designing Grammys. Anyway, I

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Speaker 4: can go on and on. His third solo record, entitled

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Speaker 4: Boarding House Reach, It was released March of twenty eighteen.

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Speaker 4: It's his third number one record. Ladies and gentlemen, please

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Speaker 4: welcome the eccentric, eclectic, always entertaining.

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Speaker 11: Damn, I'm good, Thank you, thank you for that introduction.

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Speaker 4: Okay, I gotta get this out. Note what's up with

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Speaker 4: you and bananas?

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Speaker 9: You know, a lot of you when you make those writers,

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Speaker 9: you make a lot of jokes that only people in

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Speaker 9: the industry will understand, you know that a lot of

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Speaker 9: fans would understand. And that was one of those sort

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Speaker 9: of red eminems.

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Speaker 4: Did you do that thinking that was? Who was the

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Speaker 4: website that used to always put all celebrity right? Did

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Speaker 4: you do that thinking that the Smoking Ground pick it up?

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Speaker 4: You people?

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Speaker 9: Well, people in the industry think it was funny. You know,

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Speaker 9: all the stuff on there was you know, for people

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Speaker 9: to think it was funny. But you know, I think

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Speaker 9: it's one of those mysterious things that people out there think.

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Speaker 9: Riders are sort of like, you know, snap your fingers

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Speaker 9: and you know, diving encrusted staircases will be made for

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Speaker 9: you or something. But so, you know, the artist pays

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Speaker 9: for them themselves, you know.

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Speaker 4: So well, didn't somebody say that they put the crazy

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Speaker 4: stuff on the rider to make sure that the people

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Speaker 4: were paying attention. Yeah, Van Halen or something.

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Speaker 10: They like, the whole just blew him and them. They

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Speaker 10: want to see how how much attention you paid to

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Speaker 10: detail right.

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Speaker 4: In that case, they never paid, like we still have

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Speaker 4: like white white al blunts and like the nineteen ninety

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Speaker 4: four tang writer. Now we haven't changed our joini Yetpefully,

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Speaker 4: there's less PCP on it. Yeah yeah, wait, way less PCP.

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Speaker 4: I get it. So, yeah, we thank you for coming

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Speaker 4: to the show. I got to mean so many questions

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Speaker 4: to ask, so let's hope I get this right. Were

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Speaker 4: you born in Detroit, Michigan?

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Speaker 11: Yes, yes, I like the first one from Detroit.

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Speaker 9: Yeah, it's it's there's more in the hip hop world,

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Speaker 9: like J Dilla and stuff, but there's there's few in

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Speaker 9: the rock and roll world since maybe the sixties, actually

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Speaker 9: born and raised in the city itself.

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Speaker 11: Most are from the.

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Speaker 4: So everyone from the outside, where's from from Rochester? On her?

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Speaker 4: I g she's trying to front like she's Ravenham Trammick.

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Speaker 9: I think for a little while, which is inside the

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Speaker 9: city of Detroit's Polish neighborhood inside the city Detroit, So

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Speaker 9: she she does have some of that street real street

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Speaker 9: cred in that sense.

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Speaker 4: What are the what are the actual sections of Detroit?

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Speaker 4: Because the black people that talk to me to say

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Speaker 4: is the east side and the west side, and then

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Speaker 4: there's like, uh, damn, what's the.

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Speaker 9: I'm from Southwest Detroit, which is sort of also called

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Speaker 9: Mexican Towns in all Mexican neighborhood, but it was once

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Speaker 9: an all Polish neighborhood back in the day. But there

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Speaker 9: is no you know that that Journey song born and

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Speaker 9: raised in South Detroit. That's kind of a joke in

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Speaker 9: Detroit because there is no South Detroit. South Detroit is

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Speaker 9: windsor Canada. Canada comes underneath Detroit. Okay, so we knew

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Speaker 9: Journey had never actually been sounded good though, So what.

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Speaker 4: Is what is your version of Detroit? Because I guess

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Speaker 4: you're the Yeah, I guess you're the first white musician

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Speaker 4: that I know that that I personally know. I haven't

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Speaker 4: asked to say Bob like we boys once upon a time,

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Speaker 4: but you know, I never knew his story. So like,

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Speaker 4: what's your what's your version of growing up in Detroit?

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Speaker 11: Like, well, it was sort of like a it's sort

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Speaker 11: of like a wasteland.

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Speaker 9: Really it was, you know a lot of burned down

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Speaker 9: buildings and bandoned houses, empty lots, closed up businesses, you know,

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Speaker 9: storefront churches.

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Speaker 11: That kind of a thing.

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Speaker 9: I mean then the neighborhood really didn't have a didn't

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Speaker 9: have a bookstore, didn't have a record store, nothing, you

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Speaker 9: know that you could really like. When we needed guitar strings,

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Speaker 9: we went to the pawn shop and got guitar strings

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Speaker 9: and trump sticks.

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Speaker 11: That was the only option in where I lived. In

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Speaker 11: music store, no, no, nothing we had.

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Speaker 9: We had to get a drive from somebody out to

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Speaker 9: the suburbs to get anything useful.

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Speaker 11: So it was kind of like that.

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Speaker 9: And yeah, it's scary at times, but rough, but also

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Speaker 9: feeling like no hope. But what's great about it In

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Speaker 9: the last couple of years, everything is finally after forty

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Speaker 9: years of that, finally has changed and it's really coming

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Speaker 9: around to a whole new renaissance. Really, it's just incredibly

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Speaker 9: beautiful what's happening. Things are just coming a live. Buildings

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Speaker 9: are being bought and change. And I always think a

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Speaker 9: good sign of a city on the rise as a

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Speaker 9: new restaurant popping up every months.

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Speaker 11: That's always a good sort of template.

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Speaker 4: So it's not as opening Cepia Tone great because whenever

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Speaker 4: I think of Detroit, I still see Brown Cpiotone. Yeah,

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Speaker 4: muddy existence.

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Speaker 9: Yeah, it's a lot of that's still there, Yeah, for sure,

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Speaker 9: but I think it's finally I think in ten years

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Speaker 9: from now, all that's going to be gone. You know,

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Speaker 9: I really I would put money on that now because

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Speaker 9: the last two or three years it's just been incredible

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Speaker 9: because it started in the Cast Corridor and which is

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Speaker 9: traditionally the roughest neighborhood in the city, and that's where

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Speaker 9: I went to high school, and that's where we've built

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Speaker 9: a new Third Man Records location. There are new pressing

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Speaker 9: plant is in the Cast Corridor and Masonic Tempa all

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Speaker 9: the early.

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Speaker 11: Garage rock shows I was a part of.

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Speaker 9: We're all in that neighborhood and it's mostly empty lots

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Speaker 9: and and you know, like homeless missions and and uh

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Speaker 9: you know, some industrial buildings. So now that's for it

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Speaker 9: to come out of that neighborhood. For that renaissance to

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Speaker 9: start there is a really good sign.

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Speaker 7: So you go back a lot and you give you

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Speaker 7: give back in your own way because you said you

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Speaker 7: have studio there, right.

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Speaker 9: Yeah, trying to the pressing plan especially was yeah, that

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Speaker 9: was that was a really I'm really proud of that

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Speaker 9: because it also created jobs and it also brought together

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Speaker 9: a whole community people who really love music and vinyl

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Speaker 9: and you know, music preservation and all that.

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Speaker 11: So that was pretty pretty incredible to be able to

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Speaker 11: do that in Detroit City.

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Speaker 9: You know.

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Speaker 4: So the part that I know, like where I don't

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Speaker 4: know Saint Andrews is still a thing or not, But

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Speaker 4: what part of town is that, Like there's Greek Town,

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Speaker 4: there's that monorail thing, or yeah, what part of town

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Speaker 4: is that? What part of town is the like where

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Speaker 4: Saint Andrew's Hall Andrews.

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Speaker 11: Yeah, that's downtowntown Detroit.

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Speaker 4: Yeah, okay, you see, so without uh, the neighborhood record store,

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Speaker 4: assuming that you're born in the seventies and having that experience,

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Speaker 4: like how did you discover music if it wasn't a

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Speaker 4: thing where like you could hear your favorites on the radio,

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Speaker 4: right and Coper record?

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Speaker 11: It was a couple of different ways.

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Speaker 9: One I have I'm the youngest of ten kids, so

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Speaker 9: a lot of a lot of like you, real blues musicians.

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Speaker 9: I'm the seventh son in the family too, so heavier. Oh, no,

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Speaker 9: seventh son of a seventh daughter. My mom's the youngest

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Speaker 9: of ten children as well. And then so there's a

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Speaker 9: lot of music a lot of hand me down records.

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Speaker 7: Family gigantic, Yeah, you know your mother's children.

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Speaker 9: I'm sorry not yea one one family, uh one pair

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Speaker 9: of parents, but uh yeah, so a lot of a

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Speaker 9: lot of music coming from them, A bunch of musicians

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Speaker 9: in the family, you know, they were.

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Speaker 11: They had a lot of huge record collection. A lot

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Speaker 11: of that got handed down to me for that sort

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Speaker 11: of like the rock and roll.

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Speaker 9: Side of things, and the forties music from my parents

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Speaker 9: and the neck and coals and Glenn Miller stuff, all

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Speaker 9: all from them and then out on you know, outside,

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Speaker 9: like on the street.

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Speaker 4: It was the.

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Speaker 11: The neighborhood kids.

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Speaker 9: It was just like I think the easiest way to

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Speaker 9: describe it, when we were playing four square, it was

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Speaker 9: setting up boom boxes next to the four square court

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Speaker 9: and that was the music being played. You know, this

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Speaker 9: is you know, eight eighty three through eighty six kind

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Speaker 9: of era of the those days of hip hop on

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Speaker 9: that side of things, which my brothers didn't listen to.

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Speaker 11: So it was two sides of.

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Speaker 12: The coin, you know, kind of hip hop. Were you

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Speaker 12: listening to it at time?

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Speaker 9: Well, at that time would have been you know, it

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Speaker 9: would have been L Cool Jay's I'm Bad and you know,

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Speaker 9: but it would have and a lot of the you know,

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Speaker 9: so the one hit wonder stuff that was coming through.

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Speaker 9: I think that was a lot of things, you know,

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Speaker 9: mixtapes where it's just whatever radio you know, you guys

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Speaker 9: remember that obviously the recording from the radio and you

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Speaker 9: missed the first five seconds of the sun and those

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Speaker 9: were the Those were the mixtapes we listened to during

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Speaker 9: foest whare I guess?

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Speaker 4: But okay, so uh, as far as you're you said,

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Speaker 4: your your other siblings, how many of them are accomplished

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Speaker 4: musicians as well? Or it's just like they were there

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Speaker 4: or five of them.

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Speaker 9: Some of them are really talented, don't care about it though,

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Speaker 9: and some of them are still playing gigs today, you know,

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Speaker 9: in different kinds of bands in Detroit, and a couple

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Speaker 9: of them work at Third Man Records or the Pressing

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Speaker 9: Plant and and so it was cool. I was the

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Speaker 9: drummer growing up in the family, so all I did

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Speaker 9: was play drums my whole childhood. I didn't touch a

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Speaker 9: guitar until I was fourteen something like that.

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Speaker 4: So does it become somewhat alienating once you have your

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Speaker 4: bout with success and you know, the massive success that

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Speaker 4: you've had. Are you able?

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Speaker 12: Are you able?

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Speaker 4: Are you able to maintain a closeness with your family

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Speaker 4: members now or is it like some of them are

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Speaker 4: You're cool with some it's a little awkward now, Like.

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Speaker 11: Yeah, I think I think it goes through phases probably

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Speaker 11: with everybody.

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Speaker 9: And I mean that re goes for friends too, where

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Speaker 9: you know, something happens to you, I mean what happened

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Speaker 9: to us, especially in Detroit, where there's just nobody has

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Speaker 9: that kind of hope like maybe in La or something

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Speaker 9: where you'd have like, oh, yeah, you know, somebody works

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Speaker 9: at a record label.

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Speaker 11: Well yeah, you know, we'll get you guys a gig

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Speaker 11: or whatever.

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Speaker 9: Detroit never had any illusions about you could get anywhere,

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Speaker 9: especially with rock and roll or lose music either. And

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Speaker 9: so for us to go sort of very you know,

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Speaker 9: sort of worldwide after a few years, it's very shocking

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Speaker 9: to anybody around us, especially the family, not really knowing

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Speaker 9: how to relate to what does that mean? You know?

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Speaker 4: So even at the time when you guys were for

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Speaker 4: starting out with your music, like, there wasn't a thing

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Speaker 4: like well, eventually, let's let's phony up enough cash and

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Speaker 4: then we'll go to you know, a music city, either

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Speaker 4: Nashville or La or never.

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Speaker 9: I'd never heard anybody talk about that at all. I

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Speaker 9: never heard anybody even mention the dream of that.

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Speaker 11: It was always just like, forget it.

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Speaker 4: So they beginning ever going to happen. You're just going

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Speaker 4: to be a local musician, and that was that was

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Speaker 4: the way.

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Speaker 9: I'm honest to God, had that exact same attitude until

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Speaker 9: probably the third White Stripes album. Uh well, we started

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Speaker 9: to go to when we get going to London, John

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Speaker 9: Peelee started championing us and label started talking to us,

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Speaker 9: and Megan and I were just like, wait, what wait, So.

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Speaker 4: You were still moving furniture on the days, just like

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Speaker 4: the first time.

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Speaker 9: Oh yeah, I had my pholstry shop up until at

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Speaker 9: least a second White Stripes album.

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Speaker 4: Yeah sounds I've heard ten kids a few jobs.

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Speaker 7: Yeah, okay, just for information, what's the age difference between

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Speaker 7: you and your oldest brother? You said, the seventh son.

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Speaker 4: There we go.

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Speaker 11: Yeah, the oldest in the family is twenty one years older.

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Speaker 9: Than me, so they were often mistaken from my mom. Yeah,

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Speaker 9: damn as a baby.

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Speaker 4: I see. I've read once where you said you were

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Speaker 4: uh considering uh going in the priesthood. Yeah, was that

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Speaker 4: a serious consideration.

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Speaker 9: Yeah, it was wild because I got accepted to a

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Speaker 9: seminary in Wisconsin, and just short of trying to, you know,

355
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Speaker 9: your brain starts to want to get out of everything.

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Speaker 11: I want to get out of this room.

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Speaker 9: I want to get out of this house. I want

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Speaker 9: to get out of this neighborhood. I want to get

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Speaker 9: out out. And that was one way I thought that

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Speaker 9: I could get out.

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Speaker 4: But the.

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Speaker 11: Crux of the problem was I couldn't.

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Speaker 9: Bring my musical equipment with me. You couldn't bring drums

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Speaker 9: and guitar or whatever with me to this place. He

365
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Speaker 9: was a dorm and you're, you know, you're trying to

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Speaker 9: be a priest. I also felt there was some kind

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Speaker 9: of calling for me.

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Speaker 4: In some way.

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Speaker 9: I didn't really know what it was because you know,

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Speaker 9: I'm thirteen or something. So so at the last second

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Speaker 9: I had changed my mind.

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Speaker 11: I went to public school in Detroit, which was a.

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Speaker 9: Strange thing for my family because it's a Catholic family

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Speaker 9: to go to go to public school. But the public

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Speaker 9: school I went to was in downtown Detroit, in the

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Speaker 9: cast Court or just you know, right off the outskirts

377
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Speaker 9: of downtown. So it. The neighborhood school I had in

378
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Speaker 9: southwester Retart was kind of full of a lot of

379
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Speaker 9: gangs at the time. They had really exploded at that time,

380
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Speaker 9: so it was sort of dangerous to go to the

381
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Speaker 9: neighborhood school if you weren't part of one of these gangs.

382
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Speaker 9: So it seemed like for you know, several six seven

383
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Speaker 9: different reasons, it led me to this school, cast Tech,

384
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Speaker 9: which ended up being as I got there, realized it

385
00:20:17,440 --> 00:20:21,720
Speaker 9: was a very historically Detroit uh school. Iby Diana Ross

386
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Speaker 9: went there, Harry Batoya, the famous furniture designer, went there,

387
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Speaker 9: John DeLorean. There's this huge, huge list of people who

388
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Speaker 9: that was the school to go to for you know,

389
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Speaker 9: sixty seven years, which I didn't know about until I

390
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Speaker 9: got in there.

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Speaker 4: So what did you establish? First of all, a lot

392
00:20:43,480 --> 00:20:48,000
Speaker 4: of your businesses start with the word third. Yeah, what

393
00:20:48,160 --> 00:20:49,720
Speaker 4: was it third furniture or yeah.

394
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Speaker 11: Man of postry and third man records.

395
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Speaker 4: So what is it with the significance of number? The

396
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Speaker 4: third numbers?

397
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Speaker 9: I started all anything creative I did, poetry, music versus

398
00:21:01,600 --> 00:21:03,680
Speaker 9: notes in the song. I would just start revolving around

399
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Speaker 9: the number three a lot. I got obsessed with that number.

400
00:21:06,119 --> 00:21:09,360
Speaker 9: As about in fifteen sixteen. It was we were working

401
00:21:09,400 --> 00:21:11,080
Speaker 9: on a couch and it was three staples I had

402
00:21:11,119 --> 00:21:13,440
Speaker 9: put down, and it was the minimum amount to hold

403
00:21:13,480 --> 00:21:15,800
Speaker 9: a piece of fabric on the side of wood, you know,

404
00:21:16,080 --> 00:21:18,560
Speaker 9: left right center, And I thought, well, that's great.

405
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Speaker 11: That doesn't leave everything black and white.

406
00:21:20,720 --> 00:21:23,520
Speaker 9: So there's two choices, you know, Republican Democrat black and white.

407
00:21:23,600 --> 00:21:26,280
Speaker 9: Is that there's a third option, which sort of means everything.

408
00:21:26,440 --> 00:21:29,159
Speaker 9: And I thought that's a great balance for anything I

409
00:21:29,280 --> 00:21:32,240
Speaker 9: do artistically. So I've been holding on to that for

410
00:21:32,359 --> 00:21:34,919
Speaker 9: dear life ever since, you know, to sort of ground

411
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Speaker 9: me whenever I'm working on anything.

412
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Speaker 4: Damn so lectric relaxation must have blown you away, right,

413
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Speaker 4: So how did you? How did you meet Meg?

414
00:21:47,600 --> 00:21:51,720
Speaker 9: We It was the same plastic surgeon down in Argentina.

415
00:21:55,800 --> 00:21:57,000
Speaker 9: Just we looked so much alike.

416
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Speaker 12: We had to start a.

417
00:22:00,520 --> 00:22:02,840
Speaker 7: Wait, does that mean that you're always you always? Because

418
00:22:02,920 --> 00:22:04,520
Speaker 7: we jumped a may But I was just curious, like

419
00:22:04,560 --> 00:22:06,080
Speaker 7: you always? Who are you are? Like when you went

420
00:22:06,119 --> 00:22:08,240
Speaker 7: to high school? You are the same person that you

421
00:22:08,320 --> 00:22:09,080
Speaker 7: were in high school?

422
00:22:09,520 --> 00:22:09,720
Speaker 9: Yeah?

423
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Speaker 11: Wow, I mean the same height and everything.

424
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Speaker 7: No, I mean you you know what I mean? Some

425
00:22:14,880 --> 00:22:17,720
Speaker 7: people change, They evolved and yeah.

426
00:22:17,560 --> 00:22:19,480
Speaker 11: I'm just I'm just I think I'm just in a

427
00:22:19,520 --> 00:22:20,760
Speaker 11: constant state of confusion.

428
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Speaker 7: Yes, it looks very focused.

429
00:22:26,200 --> 00:22:29,760
Speaker 4: Well, actually I did skip me in good. What were

430
00:22:29,840 --> 00:22:31,600
Speaker 4: your early band experiences like?

431
00:22:32,280 --> 00:22:35,480
Speaker 11: Uh, it was drumming a drum with my brothers and

432
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Speaker 11: their band Catalyst.

433
00:22:36,800 --> 00:22:38,920
Speaker 9: And then I drummed in a like three piece of

434
00:22:39,119 --> 00:22:41,240
Speaker 9: blues band with my brother and Dominic who plays bass

435
00:22:41,280 --> 00:22:43,200
Speaker 9: with me now still we had a bank all the

436
00:22:43,240 --> 00:22:46,080
Speaker 9: funk ups and that was sort of punk and blues

437
00:22:46,160 --> 00:22:48,800
Speaker 9: mixed together kind of in a in a very teenagey way.

438
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Speaker 9: And then I'm sorry, that's the greatest you totally were allowed, Okay,

439
00:22:53,400 --> 00:22:56,280
Speaker 9: and then uh name ever, yea, we were? We so

440
00:22:56,400 --> 00:22:58,320
Speaker 9: Dominic he still plays bass with me now on this

441
00:22:58,400 --> 00:23:00,719
Speaker 9: tour right now. We've been playing together since were thirteen

442
00:23:00,840 --> 00:23:04,359
Speaker 9: or so. And then I was a drummer in this

443
00:23:04,480 --> 00:23:06,560
Speaker 9: sort of cow punk band. I wanted to sort of

444
00:23:06,640 --> 00:23:10,720
Speaker 9: learn about, uh, reading music for drums, so I thought

445
00:23:10,760 --> 00:23:12,560
Speaker 9: I joined them, maybe the Marching Band. I learned how

446
00:23:12,560 --> 00:23:14,680
Speaker 9: to read music for drums, and it didn't work out.

447
00:23:14,680 --> 00:23:16,719
Speaker 9: I lasted one day in the Marching Band and they

448
00:23:16,800 --> 00:23:20,879
Speaker 9: were just like, get out of here. Really When It

449
00:23:21,040 --> 00:23:23,360
Speaker 9: was sort of like three hours a day practice every day,

450
00:23:23,440 --> 00:23:25,639
Speaker 9: then an hour long bus ride home so I wouldn't

451
00:23:25,640 --> 00:23:27,639
Speaker 9: be getting home to like eight thirty every.

452
00:23:27,440 --> 00:23:30,240
Speaker 11: Day, and then just two hours too much all this.

453
00:23:31,280 --> 00:23:32,800
Speaker 9: You know, I love the drums, but it seemed like

454
00:23:32,840 --> 00:23:35,240
Speaker 9: it was almost like joining the rotc or something for me.

455
00:23:36,800 --> 00:23:38,240
Speaker 4: When did you get your first drum set?

456
00:23:39,880 --> 00:23:42,159
Speaker 9: Well, when I was five, we had one in the attic,

457
00:23:42,280 --> 00:23:44,080
Speaker 9: so that was that was the one I played all

458
00:23:44,200 --> 00:23:45,600
Speaker 9: through till high school.

459
00:23:45,880 --> 00:23:46,520
Speaker 4: What kind was it?

460
00:23:46,880 --> 00:23:49,880
Speaker 9: It was a Ludwig black Ludwig set in the seventies,

461
00:23:50,000 --> 00:23:53,159
Speaker 9: some pisty oh shit, yeah, five o five, so it

462
00:23:53,280 --> 00:23:55,080
Speaker 9: was it sounded great, It was really cool.

463
00:23:55,119 --> 00:23:56,560
Speaker 11: My brothers had some pretty cool equipment.

464
00:23:56,640 --> 00:23:58,720
Speaker 9: They sort of were good friends with the paunch out

465
00:23:59,119 --> 00:24:00,920
Speaker 9: a couple blocks away, and they got they got the

466
00:24:00,960 --> 00:24:03,199
Speaker 9: stuff behind the desk kind of treatment.

467
00:24:03,280 --> 00:24:03,440
Speaker 4: You know.

468
00:24:03,560 --> 00:24:05,280
Speaker 12: Did you ever use any of that stuff on any

469
00:24:05,280 --> 00:24:05,840
Speaker 12: of your records?

470
00:24:06,400 --> 00:24:06,640
Speaker 4: Yeah?

471
00:24:07,440 --> 00:24:10,679
Speaker 9: And then the drum set I had in uh high school,

472
00:24:10,840 --> 00:24:12,520
Speaker 9: it was a set of white pearls. That's which became

473
00:24:12,560 --> 00:24:16,120
Speaker 9: Meg's drum set in the white stripes. And then yeah,

474
00:24:16,200 --> 00:24:17,720
Speaker 9: all this stuff I bought as a teenager was the

475
00:24:17,760 --> 00:24:21,000
Speaker 9: Worship's equipment for the first first few years.

476
00:24:21,080 --> 00:24:24,920
Speaker 4: Yeah, So your love for or at least what we

477
00:24:25,040 --> 00:24:29,840
Speaker 4: perceive as your love for vintage equipment, and that isn't

478
00:24:31,560 --> 00:24:35,439
Speaker 4: you coming to a place where you're sort of going, Uh,

479
00:24:38,040 --> 00:24:41,720
Speaker 4: I can't explain it how like this this is, this

480
00:24:41,840 --> 00:24:45,800
Speaker 4: is more necessity of you collecting secondhand equipment, and yeah,

481
00:24:46,080 --> 00:24:51,360
Speaker 4: vintage stuff more than usually like a musicians, not dumb down,

482
00:24:51,400 --> 00:24:55,400
Speaker 4: but like lesson, like a cat like me that has

483
00:24:55,480 --> 00:25:04,359
Speaker 4: asked acts. I'm so black, right, No, but I'm just

484
00:25:04,400 --> 00:25:10,440
Speaker 4: saying that because of the texture and the sound that old,

485
00:25:10,760 --> 00:25:13,639
Speaker 4: older equipment gives, which is why I gravitate to it.

486
00:25:13,880 --> 00:25:17,879
Speaker 4: But if that's all you were working with, I assume

487
00:25:17,920 --> 00:25:21,920
Speaker 4: that even now to the relentless level that you collect

488
00:25:22,000 --> 00:25:27,240
Speaker 4: vintage things is more of you staying in your comfort zone.

489
00:25:27,600 --> 00:25:31,000
Speaker 11: Yeah, there's They're definitely you. You're brought up in that

490
00:25:31,080 --> 00:25:32,159
Speaker 11: sort of circumstances.

491
00:25:32,200 --> 00:25:34,240
Speaker 9: I know some people like I think, you know, Danger

492
00:25:34,320 --> 00:25:37,600
Speaker 9: Mouse still us as his first computer program he learned

493
00:25:37,680 --> 00:25:39,399
Speaker 9: on and I don't.

494
00:25:39,240 --> 00:25:41,240
Speaker 11: Know if it's what's it called asset asset.

495
00:25:43,200 --> 00:25:47,159
Speaker 9: I think so, yeah, And yo, but he told me,

496
00:25:47,240 --> 00:25:49,160
Speaker 9: he told me it's not worth the time to relearn

497
00:25:49,240 --> 00:25:50,840
Speaker 9: it all on a new thing, you might as well

498
00:25:50,920 --> 00:25:53,159
Speaker 9: just stick with what he started with. And that might

499
00:25:53,200 --> 00:25:55,080
Speaker 9: have something to do with it too. Learning on tape

500
00:25:55,119 --> 00:25:57,040
Speaker 9: by myself, because nobody taught me how to do it. Really,

501
00:25:57,080 --> 00:25:58,480
Speaker 9: I had to really just sort of sit and learn

502
00:25:58,520 --> 00:26:00,119
Speaker 9: how to do a four track reel to reel with

503
00:26:00,160 --> 00:26:05,000
Speaker 9: a mixer myself. So that maybe kind of gets you

504
00:26:05,080 --> 00:26:07,440
Speaker 9: in love with the mechanical nature of it. But also

505
00:26:07,920 --> 00:26:09,640
Speaker 9: as the years went on, whenever I got a chance

506
00:26:09,680 --> 00:26:11,520
Speaker 9: to a be it like we would record on a

507
00:26:11,600 --> 00:26:13,600
Speaker 9: tape and then we were bounce it approaches and I

508
00:26:13,720 --> 00:26:16,840
Speaker 9: bounce and listen to them back and forth, you know,

509
00:26:16,920 --> 00:26:18,080
Speaker 9: and say, God, I guess can't stay.

510
00:26:18,080 --> 00:26:18,680
Speaker 11: I can't help it.

511
00:26:18,760 --> 00:26:18,879
Speaker 12: Man.

512
00:26:19,160 --> 00:26:20,600
Speaker 11: The tape sounds more soulful.

513
00:26:20,640 --> 00:26:22,960
Speaker 9: It has whatever it has, that movement, it has that

514
00:26:23,160 --> 00:26:26,560
Speaker 9: movement to it. It's like intangible. You can't really describe it,

515
00:26:27,080 --> 00:26:29,600
Speaker 9: this movement that it has. All mechanical things have this

516
00:26:29,760 --> 00:26:33,240
Speaker 9: movement that add little wobbles and warbles to what's happening,

517
00:26:33,320 --> 00:26:36,240
Speaker 9: and that maybe kind of comes off as soul or

518
00:26:36,320 --> 00:26:38,199
Speaker 9: soulfulness to the listener.

519
00:26:38,800 --> 00:26:41,920
Speaker 11: I'm not sure, but it just feels alive to me.

520
00:26:43,200 --> 00:26:45,240
Speaker 4: But that's a plug that exactly.

521
00:26:46,080 --> 00:26:46,119
Speaker 9: No.

522
00:26:46,280 --> 00:26:49,680
Speaker 4: But see that's the thing I'm hoping now, a guy

523
00:26:49,800 --> 00:26:55,280
Speaker 4: like me has to work with computer technology simply because

524
00:26:56,880 --> 00:27:01,639
Speaker 4: the small, confined space that I'm in doesn't allow for course,

525
00:27:01,880 --> 00:27:05,800
Speaker 4: you know, the the you know a lot of these

526
00:27:05,880 --> 00:27:07,159
Speaker 4: things that you're using, and.

527
00:27:07,200 --> 00:27:09,520
Speaker 9: It's expensive, you know, so a lot of people don't

528
00:27:09,520 --> 00:27:11,160
Speaker 9: have access to it, so younger kids.

529
00:27:11,440 --> 00:27:15,080
Speaker 4: So I'm hoping that one day, like someone just invents

530
00:27:15,640 --> 00:27:17,239
Speaker 4: you're gonna put a real reel in that little room

531
00:27:17,280 --> 00:27:17,840
Speaker 4: you practice in.

532
00:27:17,880 --> 00:27:19,040
Speaker 8: I would pay money to see that.

533
00:27:19,840 --> 00:27:23,280
Speaker 4: No, I mean, I just want the plugins because I

534
00:27:23,480 --> 00:27:28,240
Speaker 4: spend at least hours trying to uh lower the quality

535
00:27:28,320 --> 00:27:31,159
Speaker 4: of the sound of things that I record, or make

536
00:27:31,240 --> 00:27:33,280
Speaker 4: it sound to make it sound like it's beat up

537
00:27:33,320 --> 00:27:34,080
Speaker 4: and used or whatever.

538
00:27:34,520 --> 00:27:36,120
Speaker 8: Have you Put plugins next to a real, real jack

539
00:27:36,160 --> 00:27:37,080
Speaker 8: and listen to them, do you do you?

540
00:27:37,320 --> 00:27:37,520
Speaker 12: Yeah?

541
00:27:37,880 --> 00:27:39,480
Speaker 11: Well you got you got that sort of you know.

542
00:27:39,680 --> 00:27:41,879
Speaker 9: I get into I get into being sort of the

543
00:27:41,920 --> 00:27:44,440
Speaker 9: poster board, like I'm always preaching for people not to

544
00:27:44,600 --> 00:27:45,040
Speaker 9: use this stuff.

545
00:27:45,040 --> 00:27:47,520
Speaker 11: I'm really not. Yes, people just asking me, I feel,

546
00:27:47,600 --> 00:27:48,200
Speaker 11: how do you do it?

547
00:27:48,760 --> 00:27:49,440
Speaker 4: You know, how do you do it?

548
00:27:49,480 --> 00:27:50,639
Speaker 9: And I say, well, this is how I do it,

549
00:27:50,680 --> 00:27:52,000
Speaker 9: and it's sort of like what amp do you like

550
00:27:52,000 --> 00:27:53,400
Speaker 9: If you listen to a tube bamp and you nix

551
00:27:53,480 --> 00:27:54,880
Speaker 9: it to it next to a solid state and I'd

552
00:27:54,880 --> 00:27:56,920
Speaker 9: be saying it's pretty good, but it's not like the

553
00:27:57,000 --> 00:27:57,440
Speaker 9: tube bamp.

554
00:27:57,520 --> 00:27:57,680
Speaker 7: You know.

555
00:27:57,800 --> 00:28:01,199
Speaker 4: I was going to say, you also edit your own tapes?

556
00:28:01,480 --> 00:28:05,040
Speaker 9: Correct, Yeah, this album I just put out is the

557
00:28:05,080 --> 00:28:08,000
Speaker 9: first time I ever edited on pro tools a whole album,

558
00:28:08,119 --> 00:28:08,399
Speaker 9: so that.

559
00:28:10,160 --> 00:28:12,119
Speaker 11: Before that it was all just razor blade tape and

560
00:28:12,200 --> 00:28:12,960
Speaker 11: razor blade edits.

561
00:28:13,240 --> 00:28:15,480
Speaker 9: So it would keep it another kind of way to

562
00:28:15,560 --> 00:28:17,359
Speaker 9: kind of confine things, to keep it really simple.

563
00:28:17,680 --> 00:28:19,240
Speaker 11: So they didn't get too complicated with this album.

564
00:28:19,280 --> 00:28:21,679
Speaker 4: So it wasn't just a challenge yourself as in like, okay,

565
00:28:21,880 --> 00:28:25,600
Speaker 4: well I conquered that and let me try to force

566
00:28:25,680 --> 00:28:27,240
Speaker 4: myself to do a new.

567
00:28:27,160 --> 00:28:27,800
Speaker 12: Way of recording.

568
00:28:27,880 --> 00:28:29,320
Speaker 11: It was sort of out of necessity.

569
00:28:29,359 --> 00:28:31,040
Speaker 9: I mean, there was a lot of modern techniques being

570
00:28:31,119 --> 00:28:33,080
Speaker 9: used in the album, and that was one of them,

571
00:28:33,119 --> 00:28:35,320
Speaker 9: but it was definitely out of necessity for recording with

572
00:28:35,680 --> 00:28:36,240
Speaker 9: bands here.

573
00:28:36,160 --> 00:28:38,360
Speaker 11: In New York and LA and in Nashville.

574
00:28:38,360 --> 00:28:40,680
Speaker 9: I'd have, you know, eighteen to twenty tracks, which for

575
00:28:40,800 --> 00:28:43,160
Speaker 9: me was a ton I usually only record on eight track,

576
00:28:43,720 --> 00:28:48,080
Speaker 9: so that was a lot of stuff to try to

577
00:28:48,080 --> 00:28:50,080
Speaker 9: get down, and the only only way to possibly do

578
00:28:50,120 --> 00:28:53,160
Speaker 9: it was to edit on pro tools. Do you lose

579
00:28:53,240 --> 00:28:55,960
Speaker 9: my vocal? Seemed like it one out of the headphones.

580
00:28:56,400 --> 00:28:57,600
Speaker 4: Sorry, he's engineering right now.

581
00:29:00,080 --> 00:29:00,960
Speaker 8: All going to tape for sure?

582
00:29:02,800 --> 00:29:10,120
Speaker 4: You know we should do this. Yeah, sound fantastic. Can

583
00:29:10,160 --> 00:29:11,480
Speaker 4: you imagine how long it would take to put the

584
00:29:11,520 --> 00:29:13,720
Speaker 4: show out? That really looked?

585
00:29:13,760 --> 00:29:15,560
Speaker 6: Let's just lie and say we're recording it to tape.

586
00:29:15,560 --> 00:29:16,160
Speaker 12: See if anyway?

587
00:29:16,240 --> 00:29:18,280
Speaker 4: Okay, yes, Lazy and Jonys you we're now on.

588
00:29:19,200 --> 00:29:20,760
Speaker 9: But you know, what you were talking about was that

589
00:29:21,360 --> 00:29:23,840
Speaker 9: they are doing plug ins now with or imitating the

590
00:29:23,880 --> 00:29:26,000
Speaker 9: warble of tape, and that those little squiggles and that

591
00:29:26,080 --> 00:29:30,200
Speaker 9: tiny little mechanical you know, sort of flaws to the

592
00:29:30,240 --> 00:29:33,040
Speaker 9: tape machine and making a plug in and running it

593
00:29:33,080 --> 00:29:34,400
Speaker 9: through that. I know a lot of people record on

594
00:29:34,520 --> 00:29:36,960
Speaker 9: pro tools and run it through a tape machine and back,

595
00:29:37,240 --> 00:29:39,280
Speaker 9: which is kind of a cool technique as well. But

596
00:29:39,480 --> 00:29:42,320
Speaker 9: at the end, at any rate, anytime, whether it's reverb

597
00:29:42,400 --> 00:29:45,520
Speaker 9: or compression or that kind of program, every single one

598
00:29:45,560 --> 00:29:48,200
Speaker 9: of them is an emulation of the real thing, you know.

599
00:29:48,560 --> 00:29:51,680
Speaker 9: Digital reverb, for example, a reverb in a cave is

600
00:29:51,720 --> 00:29:53,040
Speaker 9: real reverb, or reverb through.

601
00:29:52,880 --> 00:29:54,080
Speaker 11: A spring is real reverb.

602
00:29:54,240 --> 00:29:56,959
Speaker 9: So the digital version of it, it can sound exactly

603
00:29:57,120 --> 00:29:59,959
Speaker 9: like it, but it's still an emulation of the real thing,

604
00:30:00,440 --> 00:30:02,280
Speaker 9: which is I don't know if you want to get

605
00:30:02,320 --> 00:30:04,920
Speaker 9: that deep into the psychology of the soulfulness of things.

606
00:30:05,080 --> 00:30:10,160
Speaker 4: I also know that you you you deal with Shanola. Correct, Yeah,

607
00:30:10,200 --> 00:30:16,960
Speaker 4: you Soanola. Oh it's you don't know everybody else explain

608
00:30:17,240 --> 00:30:21,840
Speaker 4: what it is. All right, we're going to start this

609
00:30:21,960 --> 00:30:30,800
Speaker 4: fighting right now. Welcome back. Anyway, Shanola uh turntables.

610
00:30:31,160 --> 00:30:33,480
Speaker 9: And they make watches first, and then they're starting to

611
00:30:33,480 --> 00:30:36,440
Speaker 9: make turntables and headphones. Now we bought a building together

612
00:30:36,520 --> 00:30:39,040
Speaker 9: in Cast Corridor where the Third Man Records location is,

613
00:30:39,080 --> 00:30:43,320
Speaker 9: and Shanola has their flagship store, and they opened a

614
00:30:43,400 --> 00:30:46,600
Speaker 9: factory where they make they make watches in the city

615
00:30:46,600 --> 00:30:47,000
Speaker 9: of Detroit.

616
00:30:47,080 --> 00:30:48,640
Speaker 11: So it's pretty amazing what they did.

617
00:30:49,960 --> 00:30:53,080
Speaker 4: So I'm just saying that I know a lot of

618
00:30:53,160 --> 00:30:57,960
Speaker 4: audio files that you know they have, you know, vinine turntables,

619
00:30:58,440 --> 00:31:01,280
Speaker 4: And I'm a dude that love was collecting records and stuff.

620
00:31:01,560 --> 00:31:04,440
Speaker 4: But the one thing I feel guilty of is that

621
00:31:04,760 --> 00:31:09,520
Speaker 4: I'm not the guy that like gets an orgasm off

622
00:31:09,560 --> 00:31:10,160
Speaker 4: of vinyl.

623
00:31:10,720 --> 00:31:14,280
Speaker 12: Now, as I know a lot about you, I feel

624
00:31:14,320 --> 00:31:15,960
Speaker 12: like I learned so much and I.

625
00:31:16,000 --> 00:31:16,680
Speaker 4: Thought you did.

626
00:31:20,160 --> 00:31:20,200
Speaker 5: Know.

627
00:31:20,400 --> 00:31:22,880
Speaker 4: I'm just saying that it's it's I mean for a

628
00:31:22,960 --> 00:31:26,920
Speaker 4: guy that relentlessly collects records and all those things, Like

629
00:31:29,080 --> 00:31:32,200
Speaker 4: I feel guilty that I'm not one of these, Like

630
00:31:32,280 --> 00:31:35,960
Speaker 4: I don't have what's what's the turntable in the lobby

631
00:31:36,040 --> 00:31:38,800
Speaker 4: right now? Like a Macantize? Like I've yet to get

632
00:31:38,800 --> 00:31:39,960
Speaker 4: a mac. Do you want a mechantize?

633
00:31:40,160 --> 00:31:42,760
Speaker 9: Not a magtish churning table? But I do have the amplifiers,

634
00:31:42,800 --> 00:31:44,680
Speaker 9: yet turntable is a little.

635
00:31:44,480 --> 00:31:47,960
Speaker 4: To expense that truly make a difference to you or.

636
00:31:49,680 --> 00:31:52,320
Speaker 9: I think that what goes on and to me there

637
00:31:52,360 --> 00:31:55,400
Speaker 9: is the mcguffin of whether the format is a tract,

638
00:31:55,440 --> 00:31:56,880
Speaker 9: tapes or cassettes or vinyl.

639
00:31:57,680 --> 00:31:59,400
Speaker 11: I think vinyl is just the most viable thing that

640
00:31:59,440 --> 00:32:00,160
Speaker 11: everyone can kind to.

641
00:32:00,160 --> 00:32:03,520
Speaker 9: Get around to the large artwork and the large object

642
00:32:03,680 --> 00:32:06,240
Speaker 9: just trying to be reverential to music itself. Like a

643
00:32:06,360 --> 00:32:09,320
Speaker 9: movie theater and a seven millimeter film going in there,

644
00:32:09,400 --> 00:32:12,480
Speaker 9: closing the door, turning the lights off, the curtain opens

645
00:32:12,480 --> 00:32:13,320
Speaker 9: and we watch a film.

646
00:32:13,360 --> 00:32:15,280
Speaker 11: We actually think in twenty eighteen.

647
00:32:15,080 --> 00:32:16,960
Speaker 9: We all get off our ass and we drive to

648
00:32:17,040 --> 00:32:19,560
Speaker 9: a theater and sit down in silence, turn our phones

649
00:32:19,560 --> 00:32:21,600
Speaker 9: off and in the dark watching movie. That's incredible. We're

650
00:32:21,640 --> 00:32:24,960
Speaker 9: still doing that. I just want that same reverence for music.

651
00:32:25,600 --> 00:32:28,200
Speaker 9: So the vinyl part, you know, if it's if it's

652
00:32:28,200 --> 00:32:29,920
Speaker 9: eight track or cassettes or whatever it is. I just

653
00:32:30,000 --> 00:32:32,240
Speaker 9: like that it's something you can hold in your hands.

654
00:32:33,040 --> 00:32:33,240
Speaker 12: Yeah.

655
00:32:33,720 --> 00:32:37,480
Speaker 9: And I also think that when it comes to the way,

656
00:32:37,680 --> 00:32:39,720
Speaker 9: you know, I say we travel and stuff. I'm not

657
00:32:39,760 --> 00:32:42,160
Speaker 9: bringing a turntable backstage and setting it up. I'm listening

658
00:32:42,240 --> 00:32:44,680
Speaker 9: on an iPod or or we're listening in someone's phone,

659
00:32:44,800 --> 00:32:47,600
Speaker 9: going through beats pill or something like that, doing whatever

660
00:32:47,680 --> 00:32:47,959
Speaker 9: we can.

661
00:32:50,000 --> 00:32:55,720
Speaker 11: I don't have a phone now, coming to it, so

662
00:32:55,800 --> 00:32:57,840
Speaker 11: you still on no cell phone?

663
00:32:57,880 --> 00:33:01,520
Speaker 4: I don't know, but the family members would you.

664
00:33:04,720 --> 00:33:04,920
Speaker 7: Reach?

665
00:33:06,520 --> 00:33:07,120
Speaker 12: That's real though?

666
00:33:08,000 --> 00:33:10,840
Speaker 9: I do, uh, mostly just emails is how I communicate

667
00:33:10,920 --> 00:33:12,240
Speaker 9: That way I can walk away from it.

668
00:33:12,320 --> 00:33:13,160
Speaker 11: I can sit down and do.

669
00:33:13,200 --> 00:33:14,120
Speaker 4: It and walk away.

670
00:33:15,040 --> 00:33:17,040
Speaker 7: I'm sorry. I know you were making another point, but

671
00:33:17,160 --> 00:33:18,360
Speaker 7: when did you get to this point where you were

672
00:33:18,360 --> 00:33:19,880
Speaker 7: allowed to do that, because you know that's a luxury.

673
00:33:20,200 --> 00:33:20,720
Speaker 4: Oh my god.

674
00:33:20,920 --> 00:33:23,800
Speaker 11: Yeah, don't think people around me, it doesn't drive them crazy.

675
00:33:24,560 --> 00:33:27,880
Speaker 9: Drives them crazy, but it's just sort of a I

676
00:33:27,960 --> 00:33:30,320
Speaker 9: think that it's just one of those things for me personally. Again,

677
00:33:30,360 --> 00:33:32,360
Speaker 9: I'm not preaching to other people that. For me personally,

678
00:33:32,440 --> 00:33:34,720
Speaker 9: I can't do that because I will be on it

679
00:33:34,840 --> 00:33:37,720
Speaker 9: all day long. It will not stop, and there's just

680
00:33:37,760 --> 00:33:40,240
Speaker 9: so much going on in my world that I don't

681
00:33:40,280 --> 00:33:43,000
Speaker 9: really want to be a slave to that. It'll it'll

682
00:33:43,080 --> 00:33:46,120
Speaker 9: just consume my life. And it's nice to be like

683
00:33:46,200 --> 00:33:47,920
Speaker 9: I think, you know, it's it's an interesting thing. I

684
00:33:47,960 --> 00:33:50,680
Speaker 9: can give you example of my kids. We had like

685
00:33:50,720 --> 00:33:54,720
Speaker 9: a family car and the first we had the same

686
00:33:54,760 --> 00:33:56,400
Speaker 9: car for the first like seven years that they were

687
00:33:56,400 --> 00:33:58,480
Speaker 9: growing up. We would take long tips from Nashville to

688
00:33:58,520 --> 00:33:59,440
Speaker 9: Detroit and stuff like that.

689
00:33:59,560 --> 00:34:04,360
Speaker 4: You're actually kids, kids, kids, they're.

690
00:34:04,160 --> 00:34:04,720
Speaker 11: Ten and eleven.

691
00:34:04,800 --> 00:34:06,920
Speaker 9: Now, let's say for the first seven years with this

692
00:34:07,000 --> 00:34:11,520
Speaker 9: family car and this the this car had a DVD

693
00:34:11,640 --> 00:34:15,080
Speaker 9: player that we never told them about, and they would

694
00:34:15,120 --> 00:34:16,600
Speaker 9: point to this thing and the scene like what is that?

695
00:34:16,719 --> 00:34:18,800
Speaker 9: Dad Like, Oh, that's just something for the air condition.

696
00:34:20,239 --> 00:34:23,279
Speaker 9: And my point wasn't to deprive them of whatever. It

697
00:34:23,440 --> 00:34:25,759
Speaker 9: was just like that imagination time where you get to

698
00:34:25,800 --> 00:34:27,799
Speaker 9: really think and look out the window and just that's

699
00:34:27,840 --> 00:34:29,799
Speaker 9: the time where you really start to imagine the best

700
00:34:29,840 --> 00:34:30,439
Speaker 9: things in life.

701
00:34:30,640 --> 00:34:32,520
Speaker 4: See, you're not the dad that let like the Little

702
00:34:32,560 --> 00:34:34,000
Speaker 4: Mermaid babysit your kids.

703
00:34:33,920 --> 00:34:34,200
Speaker 9: So that.

704
00:34:35,840 --> 00:34:39,279
Speaker 4: They don't have iad yo, dude, I admire that shit

705
00:34:39,440 --> 00:34:43,080
Speaker 4: because like I'll go to Sunday brunch restaurants and I'll

706
00:34:43,120 --> 00:34:44,240
Speaker 4: just see a bunch of kids.

707
00:34:44,640 --> 00:34:47,960
Speaker 7: Yeah, that requires real bothering, Like that requires you to

708
00:34:48,040 --> 00:34:49,040
Speaker 7: pay attention and stuff.

709
00:34:49,560 --> 00:34:52,799
Speaker 9: Yes, it's it's nice to be able to Well, it's

710
00:34:52,800 --> 00:34:54,839
Speaker 9: like I remember, like when I whatever, all the jobs

711
00:34:54,880 --> 00:34:57,320
Speaker 9: I've had the best music ideas I think were me

712
00:34:58,040 --> 00:35:00,960
Speaker 9: whatever it was making a making you know, a pizza

713
00:35:01,040 --> 00:35:04,080
Speaker 9: at the restaurant, or busting a table, or or working

714
00:35:04,120 --> 00:35:04,920
Speaker 9: on a piece of furniture.

715
00:35:04,960 --> 00:35:06,600
Speaker 11: That's why I'm like, oh man, I want to get home.

716
00:35:07,320 --> 00:35:08,200
Speaker 11: That's that's what I gotta do.

717
00:35:08,239 --> 00:35:10,239
Speaker 9: I gotta put Reaver on that Snares run when I

718
00:35:10,280 --> 00:35:13,480
Speaker 9: get home. That'll that's this time where you have the

719
00:35:13,560 --> 00:35:14,280
Speaker 9: best ideas.

720
00:35:14,360 --> 00:35:14,520
Speaker 6: You know.

721
00:35:15,360 --> 00:35:27,160
Speaker 4: So if you can name me five albums from your childhood,

722
00:35:28,120 --> 00:35:31,800
Speaker 4: like before the age of thirteen, Like okay, the music

723
00:35:31,920 --> 00:35:35,000
Speaker 4: that defines you, that you hold onto, that you grew

724
00:35:35,120 --> 00:35:40,240
Speaker 4: up with not like you know, you heard your brother's

725
00:35:40,280 --> 00:35:42,760
Speaker 4: playing or whatever like that you personally gravitated towards.

726
00:35:43,800 --> 00:35:46,640
Speaker 9: I loved a lot of deep Purple when I was

727
00:35:46,680 --> 00:35:48,200
Speaker 9: a kid. That was that was a big band for

728
00:35:48,280 --> 00:35:51,000
Speaker 9: your Richie Blackmore and Ian Pace what they were doing.

729
00:35:51,239 --> 00:35:51,960
Speaker 11: I really love that.

730
00:35:52,719 --> 00:35:53,520
Speaker 12: I loved.

731
00:35:54,800 --> 00:35:55,480
Speaker 11: Roger Miller.

732
00:35:57,080 --> 00:36:00,680
Speaker 9: I liked his sort of cross that cross between country

733
00:36:00,760 --> 00:36:03,760
Speaker 9: and sort of I don't know what folk and forties

734
00:36:03,800 --> 00:36:05,480
Speaker 9: tunes or whatever that he did, that sense of humor.

735
00:36:05,520 --> 00:36:06,080
Speaker 12: He had.

736
00:36:07,520 --> 00:36:09,800
Speaker 11: The Beatles a lot Beatles White album.

737
00:36:12,120 --> 00:36:14,080
Speaker 9: I can't think of a Roger Miller name of an album,

738
00:36:14,160 --> 00:36:16,759
Speaker 9: but maybe just say the catalog of Roger Milan or whatever,

739
00:36:18,880 --> 00:36:22,080
Speaker 9: and then you know, you're talking about thirteen fourteen at

740
00:36:22,120 --> 00:36:24,839
Speaker 9: that moment, there was a really funny moment that people

741
00:36:24,920 --> 00:36:27,480
Speaker 9: kind of think is you know, I'm making it up.

742
00:36:27,520 --> 00:36:29,880
Speaker 9: But you know, in Detroit, in the alleys, we had

743
00:36:29,880 --> 00:36:31,640
Speaker 9: these giant dumpsters. They were trying to kill the rat

744
00:36:31,640 --> 00:36:33,399
Speaker 9: problem in Detroit, so they got rid of garbage cans

745
00:36:33,440 --> 00:36:34,680
Speaker 9: and they put giant dumpsters up.

746
00:36:35,000 --> 00:36:36,960
Speaker 11: So one of my favorite things to do was on

747
00:36:37,040 --> 00:36:37,680
Speaker 11: the way home from the.

748
00:36:37,640 --> 00:36:40,200
Speaker 9: School, walk down through the alleys and go through flip

749
00:36:40,239 --> 00:36:43,040
Speaker 9: the top of each dumpster and see what was in there.

750
00:36:43,680 --> 00:36:45,280
Speaker 11: Dumpster diving and trash picking.

751
00:36:45,400 --> 00:36:45,839
Speaker 12: Oh wow.

752
00:36:46,120 --> 00:36:49,880
Speaker 9: And I found the Stooges first album on vinyl in

753
00:36:50,160 --> 00:36:54,640
Speaker 9: in one of those dumpsters, and that really changed my life.

754
00:36:54,719 --> 00:36:55,759
Speaker 12: It really, it was.

755
00:36:56,160 --> 00:36:58,800
Speaker 9: It was kind of I went, I recorded it, I

756
00:36:58,880 --> 00:37:01,360
Speaker 9: record I Want to Be Your Dog four track because

757
00:37:01,360 --> 00:37:03,800
Speaker 9: of that, and it led me into punk rock in

758
00:37:03,840 --> 00:37:04,399
Speaker 9: a bigger way.

759
00:37:05,440 --> 00:37:08,000
Speaker 12: Really. And have you and Iggy worked together or mad?

760
00:37:08,520 --> 00:37:10,680
Speaker 9: Yeah, we've we've We've done a couple of tours together

761
00:37:10,719 --> 00:37:11,080
Speaker 9: and stuff.

762
00:37:11,480 --> 00:37:13,000
Speaker 11: Yeah, he's he's incredible.

763
00:37:13,560 --> 00:37:21,240
Speaker 9: And was that four Yeah, we'll see now, well probably,

764
00:37:21,760 --> 00:37:23,879
Speaker 9: you know, it's anything to do with led Zeppelin would

765
00:37:23,880 --> 00:37:24,000
Speaker 9: have been.

766
00:37:24,239 --> 00:37:26,359
Speaker 11: I think LED's Uppin one. I think led Up one.

767
00:37:26,400 --> 00:37:28,880
Speaker 9: You know, if someone asked me recently, what's the best

768
00:37:30,640 --> 00:37:33,400
Speaker 9: first album of any group? Uh, and I'm kind of

769
00:37:33,560 --> 00:37:36,440
Speaker 9: you think, like maybe Jimmy Hendricks's first album, Ramon's first album,

770
00:37:36,480 --> 00:37:38,719
Speaker 9: But I think led Zeppelin one is pretty tough to

771
00:37:39,280 --> 00:37:40,880
Speaker 9: top for a debut album.

772
00:37:41,000 --> 00:37:44,239
Speaker 11: Oh yeah, So I mean every single track is you know, So.

773
00:37:44,400 --> 00:37:47,040
Speaker 4: Did you ever go because every music stop I know

774
00:37:47,719 --> 00:37:51,719
Speaker 4: usually gets to that place because sometimes they go so

775
00:37:51,840 --> 00:37:55,400
Speaker 4: deep in the abyss of the opposite direction. Like again,

776
00:37:55,440 --> 00:37:59,479
Speaker 4: I grew up in the era of Columbia House. Yeah,

777
00:38:00,040 --> 00:38:04,840
Speaker 4: where kids ask your parents. We used penny, Yeah for

778
00:38:05,320 --> 00:38:07,960
Speaker 4: a penny and TV guy, you tape a penny to

779
00:38:08,040 --> 00:38:15,480
Speaker 4: that to that form here, yeah, and then here you're

780
00:38:15,520 --> 00:38:17,960
Speaker 4: part you're part of a record club. Like that's part

781
00:38:17,960 --> 00:38:21,399
Speaker 4: of my ratchetsness, Like I was signed my grand man. Yeah,

782
00:38:22,600 --> 00:38:27,520
Speaker 4: I did that scam in college. That's my worst punishment,

783
00:38:27,640 --> 00:38:28,880
Speaker 4: Like my grandma.

784
00:38:28,560 --> 00:38:30,280
Speaker 7: Got y'all put them out of business.

785
00:38:30,400 --> 00:38:35,520
Speaker 4: By the way, Well, I'm just saying that I would

786
00:38:35,520 --> 00:38:40,560
Speaker 4: also be too lazy to mail bo mail back via

787
00:38:40,880 --> 00:38:44,120
Speaker 4: the stuff I didn't want an So yeah, I'm just

788
00:38:44,320 --> 00:38:49,239
Speaker 4: like all right, Well, Debbie Gibson all the blue, but

789
00:38:49,440 --> 00:38:51,880
Speaker 4: then wound up listening to this ship and like committed

790
00:38:51,920 --> 00:38:57,239
Speaker 4: it to memory. Like yeah, so I'm saying, like I

791
00:38:57,360 --> 00:39:02,040
Speaker 4: think mine was a Kenny g du Black people came

792
00:39:02,880 --> 00:39:05,080
Speaker 4: want to low song bird.

793
00:39:06,480 --> 00:39:08,920
Speaker 12: My my mother in law cuts for Kenny.

794
00:39:09,400 --> 00:39:13,239
Speaker 7: People first take Debbie Gibson, go listen to the first

795
00:39:13,280 --> 00:39:16,200
Speaker 7: Kenny supposed don't sound like even.

796
00:39:16,080 --> 00:39:22,919
Speaker 4: Before and that on it. Oh yeah, guys, Jack White,

797
00:39:22,960 --> 00:39:24,920
Speaker 4: this year, can we talk about.

798
00:39:26,640 --> 00:39:27,640
Speaker 7: Said nothing about Kenny?

799
00:39:28,640 --> 00:39:33,320
Speaker 4: We fall down. Nobody over here saying anything about Kenny

800
00:39:33,920 --> 00:39:36,919
Speaker 4: getting I'm getting to a point here. Yeah, black people

801
00:39:36,960 --> 00:39:39,520
Speaker 4: had a love kids. White people is the universal brigger

802
00:39:39,600 --> 00:39:43,680
Speaker 4: together and white. He was our first yes, and then

803
00:39:44,560 --> 00:39:48,200
Speaker 4: came out and then like okay, it was Julian Roberts soundtrack.

804
00:39:48,360 --> 00:39:52,560
Speaker 4: So my point is, Columbia House scheme, did you ever

805
00:39:54,680 --> 00:39:58,960
Speaker 4: go through a phase where, like, you know, you just

806
00:40:01,000 --> 00:40:04,879
Speaker 4: is there new kids on the block, cassette in your

807
00:40:05,160 --> 00:40:08,000
Speaker 4: like as you got for when you were twelve years old,

808
00:40:08,120 --> 00:40:09,320
Speaker 4: or something like Wow.

809
00:40:09,440 --> 00:40:11,160
Speaker 11: That's a good question. I'm trying to think of that,

810
00:40:11,360 --> 00:40:14,040
Speaker 11: like something sort of like you wouldn't.

811
00:40:13,719 --> 00:40:16,960
Speaker 4: Totally because I feel like serious, serious musicians and serious

812
00:40:17,040 --> 00:40:21,280
Speaker 4: record people mature once they get out of high school.

813
00:40:21,840 --> 00:40:24,640
Speaker 4: Once I was out of high school then and I

814
00:40:24,760 --> 00:40:27,239
Speaker 4: started messing with y'all and you know what I mean,

815
00:40:27,760 --> 00:40:32,839
Speaker 4: like and then your taste are more refined. But there

816
00:40:32,920 --> 00:40:36,480
Speaker 4: was a period where I was just open and getting everything.

817
00:40:36,760 --> 00:40:39,359
Speaker 11: So it's tough, man. I'm trying to think of a time.

818
00:40:39,400 --> 00:40:42,560
Speaker 9: But I definitely had probably too much of an attitude

819
00:40:42,600 --> 00:40:45,160
Speaker 9: at like you know, eleven through thirteen where I liked

820
00:40:45,280 --> 00:40:49,320
Speaker 9: real musicians, so like I had a chip on my

821
00:40:49,400 --> 00:40:52,280
Speaker 9: shoulder about that, probably because of being raised by senior

822
00:40:52,320 --> 00:40:54,160
Speaker 9: citizens and a lot of people in the family really

823
00:40:54,200 --> 00:40:57,279
Speaker 9: loving music and older and it's you know, by the

824
00:40:57,320 --> 00:40:58,840
Speaker 9: time in the late eighties was hitting, you know, it

825
00:40:58,960 --> 00:41:02,600
Speaker 9: was sort of digital soundings, gated reaver kind of sounding.

826
00:41:02,600 --> 00:41:05,080
Speaker 11: Stuff was starting to sound fake and stuff.

827
00:41:05,400 --> 00:41:08,840
Speaker 9: Yeah, I just gravitated normally to more of the seventies

828
00:41:08,880 --> 00:41:10,239
Speaker 9: and sixties suff I mean I did, like, you know,

829
00:41:10,320 --> 00:41:12,919
Speaker 9: the Guns and Roses, and I loved Michael Jackson of course,

830
00:41:13,000 --> 00:41:14,840
Speaker 9: and lots of things from the eighties.

831
00:41:15,120 --> 00:41:15,560
Speaker 4: So I think that.

832
00:41:19,719 --> 00:41:23,040
Speaker 9: To love to say I pay I paid nominal attention

833
00:41:23,200 --> 00:41:25,200
Speaker 9: to all those bands like Poison and Modley Cruise and

834
00:41:25,320 --> 00:41:27,400
Speaker 9: all that kind of stuff, but I just didn't really.

835
00:41:27,280 --> 00:41:29,520
Speaker 7: Buy those records. Now, the question is where you're having

836
00:41:29,600 --> 00:41:32,520
Speaker 7: musical debates at this age to your peers, because your

837
00:41:32,520 --> 00:41:34,080
Speaker 7: peers were listening to this music, but you were like,

838
00:41:34,160 --> 00:41:35,000
Speaker 7: that's not real music.

839
00:41:35,120 --> 00:41:37,600
Speaker 9: I can say that one thing that was that did

840
00:41:37,719 --> 00:41:38,960
Speaker 9: bug me, you know, I was saying this in the

841
00:41:39,040 --> 00:41:41,600
Speaker 9: interview recently, was you know, when when the first sort

842
00:41:41,640 --> 00:41:44,040
Speaker 9: of sampling kind of came out, and when we're listening

843
00:41:44,080 --> 00:41:46,479
Speaker 9: to on the front porches and stuff where it would

844
00:41:46,520 --> 00:41:49,160
Speaker 9: be I think a good example was like the BC

845
00:41:49,320 --> 00:41:52,239
Speaker 9: Boys of sampling the Ocean bio led Zepplin right, and

846
00:41:52,280 --> 00:41:54,759
Speaker 9: it would be like the kids in the neighborhood didn't

847
00:41:54,800 --> 00:41:58,279
Speaker 9: didn't know that that where that was from? And then

848
00:41:58,320 --> 00:42:02,320
Speaker 9: it was uh epmd I shot the sheriff and it

849
00:42:02,440 --> 00:42:04,600
Speaker 9: was sort of like yeah, it was like hey, whoa, whoa,

850
00:42:04,719 --> 00:42:07,360
Speaker 9: that's that's you know, and they're like, so call and

851
00:42:07,480 --> 00:42:09,200
Speaker 9: I'd be like, what do you mean? So, like, you know,

852
00:42:09,280 --> 00:42:10,880
Speaker 9: I think the cool part is that if you know

853
00:42:10,920 --> 00:42:14,040
Speaker 9: where this's from, that's cool. But then it was it's

854
00:42:14,120 --> 00:42:16,200
Speaker 9: just that other debate of no, it's just the sound

855
00:42:16,280 --> 00:42:18,600
Speaker 9: of it, it doesn't matter where it came from. Well,

856
00:42:18,640 --> 00:42:20,319
Speaker 9: that was hard for me as a twelve thirteen years

857
00:42:20,360 --> 00:42:22,240
Speaker 9: to kind of get my head around.

858
00:42:22,560 --> 00:42:24,640
Speaker 11: It took me a few more years to figure that out.

859
00:42:24,800 --> 00:42:28,160
Speaker 4: But there's some people that also like for me, hip

860
00:42:28,200 --> 00:42:32,120
Speaker 4: hop was crucial and explaining what my dad and my

861
00:42:32,200 --> 00:42:35,000
Speaker 4: sister's record collection was, right, so I don't made a

862
00:42:35,040 --> 00:42:36,480
Speaker 4: sense of it and put it in content.

863
00:42:36,600 --> 00:42:39,400
Speaker 9: Yeah, like my dad had that, uh so your dad

864
00:42:39,440 --> 00:42:41,919
Speaker 9: would he would tell you where this sample came from.

865
00:42:44,080 --> 00:42:48,040
Speaker 4: My family had a large record collection, so something I wouldn't.

866
00:42:49,320 --> 00:42:53,120
Speaker 4: My sister had Houses of the Holy Sure, actually she

867
00:42:53,200 --> 00:42:55,359
Speaker 4: has Zeppelin one too, So I never knew about when

868
00:42:55,400 --> 00:43:00,239
Speaker 4: the levee breaks until one day I saw a kid

869
00:43:00,320 --> 00:43:01,719
Speaker 4: was listening to at lunch and I was like, wait,

870
00:43:01,760 --> 00:43:03,680
Speaker 4: I know that drum break from somewhere right right, And

871
00:43:03,719 --> 00:43:05,560
Speaker 4: then I put two and do together, like, wait a minute.

872
00:43:06,040 --> 00:43:08,200
Speaker 4: The Beastie Boys used this, So in my mind I wasn't.

873
00:43:08,280 --> 00:43:10,560
Speaker 4: I didn't know what sampling technology was or looping and

874
00:43:10,600 --> 00:43:13,160
Speaker 4: none of that stuff. But once I got home then

875
00:43:13,160 --> 00:43:15,640
Speaker 4: I realized, like, oh shit, And then all of a

876
00:43:15,680 --> 00:43:18,279
Speaker 4: sudden I died in the led Zeppelin that way.

877
00:43:18,400 --> 00:43:19,880
Speaker 11: So I mean, but how did it feel that you

878
00:43:20,000 --> 00:43:24,200
Speaker 11: knew that information and your friends didn't didn't matter?

879
00:43:24,480 --> 00:43:28,120
Speaker 4: I you know, as a kid, I thought that everyone

880
00:43:28,640 --> 00:43:32,120
Speaker 4: was supposed to have this samant knowledge of no who

881
00:43:32,239 --> 00:43:35,640
Speaker 4: engineered what, and you know, put the headphones on and

882
00:43:35,680 --> 00:43:40,800
Speaker 4: close your eyes and yeah, I just suggests. But you know,

883
00:43:41,239 --> 00:43:44,560
Speaker 4: I get it now that not everyone is built that way,

884
00:43:44,960 --> 00:43:45,399
Speaker 4: all right.

885
00:43:45,680 --> 00:43:46,239
Speaker 11: And it's fine.

886
00:43:46,280 --> 00:43:46,560
Speaker 12: I think.

887
00:43:46,920 --> 00:43:48,520
Speaker 11: You know, you like the sound of something, it doesn't

888
00:43:48,520 --> 00:43:49,520
Speaker 11: matter where it came from.

889
00:43:49,840 --> 00:43:52,319
Speaker 9: In a lot of ways, I always like, I always say,

890
00:43:52,320 --> 00:43:53,920
Speaker 9: if I'm driving in the car and it's my son

891
00:43:54,080 --> 00:43:56,680
Speaker 9: with me. I'm gonna definitely tell him, you know where

892
00:43:56,719 --> 00:43:58,800
Speaker 9: this is from, this is this and that and this

893
00:43:58,920 --> 00:44:01,080
Speaker 9: is how they did that. I won't be able to

894
00:44:01,120 --> 00:44:01,640
Speaker 9: help myself.

895
00:44:01,640 --> 00:44:13,160
Speaker 4: I have to. So, not knowing you personally, but knowing

896
00:44:13,320 --> 00:44:18,120
Speaker 4: that you are big on collaborations. I mean between all

897
00:44:18,160 --> 00:44:22,960
Speaker 4: the projects that you've done, I can only guess that

898
00:44:25,280 --> 00:44:28,920
Speaker 4: you're the point person or the alpha person or the

899
00:44:29,080 --> 00:44:34,200
Speaker 4: leader of these projects. How do you deal with in

900
00:44:34,760 --> 00:44:41,600
Speaker 4: collaborative situations? Like how are you able to not manage people? Yeah,

901
00:44:42,000 --> 00:44:42,919
Speaker 4: impose your will.

902
00:44:44,480 --> 00:44:47,960
Speaker 9: I love when my hope is that they the other

903
00:44:48,080 --> 00:44:50,440
Speaker 9: person or other people are going to bring tons to

904
00:44:50,520 --> 00:44:53,000
Speaker 9: the table and not just sit there and say tell

905
00:44:53,040 --> 00:44:54,960
Speaker 9: me what to do whatever it is with. What if

906
00:44:55,000 --> 00:44:57,439
Speaker 9: it's a bass player or a hired gun, I still

907
00:44:57,480 --> 00:44:59,960
Speaker 9: want them to bring everything they can to the scenario.

908
00:45:00,400 --> 00:45:02,840
Speaker 9: And especially if it's somebody else, like if it's you know,

909
00:45:03,040 --> 00:45:05,319
Speaker 9: I think we both were talking, we were both played

910
00:45:05,360 --> 00:45:05,560
Speaker 9: on the.

911
00:45:07,280 --> 00:45:07,560
Speaker 12: Record.

912
00:45:08,600 --> 00:45:12,600
Speaker 4: Didn't make it, damn Tip anyway way to go? Jack

913
00:45:21,760 --> 00:45:22,920
Speaker 4: made a right?

914
00:45:23,239 --> 00:45:23,279
Speaker 12: No?

915
00:45:23,360 --> 00:45:24,800
Speaker 4: No, I mean it's one thing if you do on

916
00:45:24,840 --> 00:45:26,560
Speaker 4: a try record where you know, like Tip has a

917
00:45:26,600 --> 00:45:29,160
Speaker 4: pedigree in engineering and all that stuff. But like, you know,

918
00:45:29,360 --> 00:45:34,719
Speaker 4: if it's just that I know that you know your

919
00:45:34,880 --> 00:45:39,000
Speaker 4: music I q is higher than thou like everyone else's.

920
00:45:39,080 --> 00:45:42,600
Speaker 4: But I also would assume that you would know that

921
00:45:42,680 --> 00:45:43,799
Speaker 4: you would alienate people.

922
00:45:44,120 --> 00:45:47,040
Speaker 9: Yeah, just I mostly I mostly keep my mouth shut.

923
00:45:47,040 --> 00:45:48,759
Speaker 9: I think the times where I do say no, no, no, no,

924
00:45:48,960 --> 00:45:50,719
Speaker 9: there's no way we can do it like that. It's

925
00:45:50,800 --> 00:45:53,920
Speaker 9: just it's just not worth the awkwardness and the the

926
00:45:54,280 --> 00:45:57,320
Speaker 9: reaction that I'm being a divo or control freak or

927
00:45:57,360 --> 00:45:59,920
Speaker 9: something like that. So I'm for for ninety a time,

928
00:46:00,120 --> 00:46:01,840
Speaker 9: I will kind of put up with things that I

929
00:46:02,080 --> 00:46:05,840
Speaker 9: can't stand. Uh, I don't know, lout of guilt, you know,

930
00:46:06,080 --> 00:46:07,560
Speaker 9: and it's it's it's.

931
00:46:07,480 --> 00:46:10,200
Speaker 4: Uh so someone just brings a fifty seven shore to

932
00:46:10,360 --> 00:46:11,799
Speaker 4: the session, You're just like.

933
00:46:12,600 --> 00:46:16,640
Speaker 9: Sure, Well, for example, is on this new album there

934
00:46:16,680 --> 00:46:20,239
Speaker 9: were definitely keyboard tones. We had four different keyboardistance you know,

935
00:46:20,320 --> 00:46:23,200
Speaker 9: synth players and keyboard players that were definitely playing tones

936
00:46:23,239 --> 00:46:24,919
Speaker 9: that I would have never picked in a million years.

937
00:46:25,560 --> 00:46:27,439
Speaker 11: And I said, all right, let's let's see if it works.

938
00:46:27,480 --> 00:46:30,560
Speaker 11: I want to be turned out there. At first, it

939
00:46:30,560 --> 00:46:34,360
Speaker 11: would be like but uh, you.

940
00:46:34,400 --> 00:46:38,160
Speaker 4: Know, because DJ Harris is also how how have you

941
00:46:38,280 --> 00:46:40,799
Speaker 4: found Harris record? Yeah?

942
00:46:40,800 --> 00:46:43,759
Speaker 11: He's great man, and uh so they would they would

943
00:46:43,800 --> 00:46:45,880
Speaker 11: they would pick up tones. Some of them I instantly love.

944
00:46:45,960 --> 00:46:47,160
Speaker 11: Some of them. Was like, I don't know about that,

945
00:46:47,640 --> 00:46:49,359
Speaker 11: but all of them, by the time we were into

946
00:46:49,400 --> 00:46:50,280
Speaker 11: mixing the record.

947
00:46:50,080 --> 00:46:52,239
Speaker 9: I thought all of them were amazing choices and they

948
00:46:52,320 --> 00:46:54,239
Speaker 9: turned me onto tones that I would have never picked,

949
00:46:54,280 --> 00:46:55,239
Speaker 9: that would have skipped right over.

950
00:46:55,400 --> 00:46:56,360
Speaker 12: Yeah, how did you cook up?

951
00:46:56,520 --> 00:46:59,080
Speaker 10: Because you actually two good homies of mine, I've played

952
00:46:59,080 --> 00:47:01,879
Speaker 10: with you, Dollard Jone, Yeah, and uh and DJ Hers

953
00:47:02,360 --> 00:47:03,480
Speaker 10: How did you cook up with them?

954
00:47:03,680 --> 00:47:09,520
Speaker 9: Daru is an amazing, uh you know, fine form for

955
00:47:09,680 --> 00:47:12,600
Speaker 9: my life because he came in. I produced a forty

956
00:47:12,640 --> 00:47:15,319
Speaker 9: five with Black Milk, and he brought in Black Milk.

957
00:47:15,400 --> 00:47:17,359
Speaker 9: We did the forty five in my studio and then

958
00:47:17,360 --> 00:47:19,480
Speaker 9: he did a live show at Third Man and he

959
00:47:19,560 --> 00:47:22,680
Speaker 9: brought in Daru to play drums live for that, and

960
00:47:23,000 --> 00:47:25,680
Speaker 9: it was just oh man. I actually said to Black

961
00:47:25,719 --> 00:47:28,000
Speaker 9: Milk man, I'm gonna I'm gonna steal this drummer from you,

962
00:47:29,560 --> 00:47:31,680
Speaker 9: you know, another half juggling half. No, I'm really I'm

963
00:47:31,680 --> 00:47:32,800
Speaker 9: going to steal this drumpers.

964
00:47:32,960 --> 00:47:35,560
Speaker 11: But I just couldn't believe. He's just so unique and

965
00:47:35,719 --> 00:47:41,520
Speaker 11: so incredible, So that that was a cool, uh scenario.

966
00:47:41,719 --> 00:47:47,799
Speaker 11: And it's also great because you know everyone when you're

967
00:47:47,800 --> 00:47:48,319
Speaker 11: in different times.

968
00:47:48,360 --> 00:47:49,799
Speaker 9: If you play with people in Nashville who are from

969
00:47:49,800 --> 00:47:52,960
Speaker 9: the bluegrass scene, they've played with so many other people

970
00:47:53,040 --> 00:47:55,480
Speaker 9: that they're bringing their knowledge from playing with Bill Monroe

971
00:47:55,640 --> 00:47:58,759
Speaker 9: or or some you know, other cat from from from

972
00:47:58,880 --> 00:48:00,600
Speaker 9: back in the day and what they learn from them.

973
00:48:01,040 --> 00:48:03,080
Speaker 11: And then people who played with hip hop live.

974
00:48:03,200 --> 00:48:05,400
Speaker 9: And I think I've talked a lot about you know

975
00:48:05,560 --> 00:48:07,560
Speaker 9: what I was, you know, first impressed when I first

976
00:48:07,560 --> 00:48:10,759
Speaker 9: see roots back up jay Z or something I got

977
00:48:10,800 --> 00:48:12,840
Speaker 9: on a live TV show or it was like playing

978
00:48:12,880 --> 00:48:16,719
Speaker 9: that playing the samples and the recorded version with live instruments,

979
00:48:17,520 --> 00:48:20,760
Speaker 9: which to me was like, that's that's for this albums.

980
00:48:21,239 --> 00:48:23,440
Speaker 11: That's the musician. I want the musician that can do that.

981
00:48:23,800 --> 00:48:28,040
Speaker 9: If you can perform live on stage, what what's what's

982
00:48:28,080 --> 00:48:30,840
Speaker 9: been recorded as a sample or a loop or something

983
00:48:30,960 --> 00:48:31,160
Speaker 9: like that.

984
00:48:31,400 --> 00:48:34,120
Speaker 11: And and luckily a lot of those people were up

985
00:48:34,160 --> 00:48:35,080
Speaker 11: for the idea.

986
00:48:35,280 --> 00:48:37,200
Speaker 12: And then DJ Harrison, how did you guys, how did

987
00:48:37,239 --> 00:48:37,920
Speaker 12: he you.

988
00:48:37,960 --> 00:48:39,200
Speaker 4: Know, specifically on DJ?

989
00:48:39,280 --> 00:48:41,520
Speaker 9: I can't I can't remember specifically, but I was definitely

990
00:48:41,640 --> 00:48:44,359
Speaker 9: going through footage and saying, who's this guy?

991
00:48:44,760 --> 00:48:45,600
Speaker 11: How about that guy?

992
00:48:45,920 --> 00:48:48,680
Speaker 9: I thought the randomness of saying, who's this guy playing

993
00:48:48,719 --> 00:48:50,520
Speaker 9: keyboards behind Kanye in this clip?

994
00:48:51,480 --> 00:48:52,799
Speaker 11: And okay, can we get him?

995
00:48:52,800 --> 00:48:55,080
Speaker 9: And who's this person playing bass with Little John or

996
00:48:55,080 --> 00:48:58,319
Speaker 9: whatever it would be, uh or Lil Wayne. So it's

997
00:48:58,560 --> 00:49:02,719
Speaker 9: just like, you know, we'll get to people through these

998
00:49:02,800 --> 00:49:06,120
Speaker 9: just random picks. And so some of them were there,

999
00:49:06,160 --> 00:49:07,840
Speaker 9: showed up, someone were on tour, couldn't do it. Some

1000
00:49:07,920 --> 00:49:09,640
Speaker 9: of them, Oh I can't do it, but my friend can.

1001
00:49:10,239 --> 00:49:11,840
Speaker 9: So a lot of stuff would come.

1002
00:49:11,719 --> 00:49:15,759
Speaker 4: Out of that. Yeah, he's just such a a hero

1003
00:49:15,880 --> 00:49:17,880
Speaker 4: of ours, like we have like a lot of his

1004
00:49:18,040 --> 00:49:18,719
Speaker 4: underground tapes.

1005
00:49:19,320 --> 00:49:20,920
Speaker 12: Yeah yeah, yeah, yeah.

1006
00:49:21,280 --> 00:49:24,600
Speaker 9: Very cool and so such a humble guy too, and

1007
00:49:24,840 --> 00:49:27,200
Speaker 9: really just ye, real interesting tones.

1008
00:49:27,200 --> 00:49:32,200
Speaker 12: I didn't realize how young he was. I didn't really yet.

1009
00:49:32,200 --> 00:49:32,239
Speaker 9: Me.

1010
00:49:32,360 --> 00:49:33,719
Speaker 7: Let me ask a question. I guess this goes to

1011
00:49:33,800 --> 00:49:35,680
Speaker 7: you in a mirror. Is it a small collective of

1012
00:49:35,760 --> 00:49:38,160
Speaker 7: those kind of musicians? Like how small is that collective

1013
00:49:38,200 --> 00:49:41,520
Speaker 7: of like repute, reputable musicians who can do that task?

1014
00:49:43,160 --> 00:49:44,640
Speaker 4: Yeah? Well, see the thing.

1015
00:49:50,120 --> 00:49:50,480
Speaker 12: I don't know.

1016
00:49:50,719 --> 00:49:54,160
Speaker 4: Okay, So the thing that I really admire about all

1017
00:49:54,239 --> 00:49:57,160
Speaker 4: the projects that you've done, especially.

1018
00:50:00,160 --> 00:50:01,160
Speaker 12: With uh.

1019
00:50:02,680 --> 00:50:08,279
Speaker 4: Your non White Stripes projects, is the discipline, And a

1020
00:50:08,400 --> 00:50:14,640
Speaker 4: lot of times it's hard for me to convey the

1021
00:50:14,840 --> 00:50:21,120
Speaker 4: musicians that sometimes less is more, that it doesn't always

1022
00:50:21,160 --> 00:50:23,120
Speaker 4: have to be about I'm over here. I'm over here,

1023
00:50:23,200 --> 00:50:28,040
Speaker 4: because you know, I mean, there's complete websites dedicated to

1024
00:50:29,280 --> 00:50:31,680
Speaker 4: how many notes can I squeeze into you know this

1025
00:50:31,880 --> 00:50:39,600
Speaker 4: particular two par So for me, it's not about the

1026
00:50:40,080 --> 00:50:42,919
Speaker 4: quality or the level of the music. I'm more into

1027
00:50:43,160 --> 00:50:45,720
Speaker 4: if they're disciplined, if they can keep it in the pocket,

1028
00:50:45,880 --> 00:50:47,919
Speaker 4: even though they play the most simple thing in the world,

1029
00:50:48,680 --> 00:50:49,880
Speaker 4: if they could play it consistent.

1030
00:50:50,480 --> 00:50:52,759
Speaker 9: I hear them talking about what's the drummers name he

1031
00:50:52,800 --> 00:50:54,040
Speaker 9: played on Billy Jean.

1032
00:50:54,520 --> 00:50:54,840
Speaker 4: Oh.

1033
00:50:56,239 --> 00:50:58,600
Speaker 12: No in Doogo channel? Oh oh yeah, Leon?

1034
00:50:59,160 --> 00:51:04,400
Speaker 4: Yes, simple that just yeah. Second, you hear that snare,

1035
00:51:04,440 --> 00:51:09,040
Speaker 4: you know exactly what it is, and it's just that

1036
00:51:09,280 --> 00:51:11,880
Speaker 4: means way harder than you know.

1037
00:51:12,560 --> 00:51:14,319
Speaker 8: But that's your mantra too, That's always been your mantra.

1038
00:51:14,320 --> 00:51:17,280
Speaker 8: How can I sound like a metronome? But that's always

1039
00:51:17,280 --> 00:51:18,920
Speaker 8: what you say, But that's bullshit because you work hard

1040
00:51:18,920 --> 00:51:19,080
Speaker 8: to be.

1041
00:51:19,040 --> 00:51:21,959
Speaker 7: A metronome, and that closes up the gap then, because

1042
00:51:22,000 --> 00:51:25,960
Speaker 7: that's like even smaller number of musicians that I about.

1043
00:51:25,760 --> 00:51:31,479
Speaker 4: To say if like for me, Daru is actually, oh god,

1044
00:51:31,680 --> 00:51:35,560
Speaker 4: I don't want to say this statement. That means.

1045
00:51:37,960 --> 00:51:39,799
Speaker 8: Someone's got a razor blade and the thing cut it out.

1046
00:51:39,840 --> 00:51:45,400
Speaker 4: We're good. No, they couldn't shut out this analog. No,

1047
00:51:45,960 --> 00:51:49,800
Speaker 4: Like he is a cat that I that he's my

1048
00:51:50,080 --> 00:51:54,600
Speaker 4: number one thumbs up drummer cat because he just understands

1049
00:51:54,680 --> 00:51:57,200
Speaker 4: the pocket, you know, and.

1050
00:51:57,239 --> 00:51:59,160
Speaker 9: He has methodology to what he does, the way he

1051
00:51:59,200 --> 00:52:01,640
Speaker 9: sets up his kit reverse. I've never seen any drum.

1052
00:52:01,960 --> 00:52:04,279
Speaker 4: Yeah to say, I thought that was something when I

1053
00:52:04,360 --> 00:52:07,000
Speaker 4: first saw him play. Uh we did a show with

1054
00:52:07,080 --> 00:52:08,879
Speaker 4: you and I saw Jo say, yo, it's just gonna

1055
00:52:08,880 --> 00:52:13,839
Speaker 4: fall over. And I never once to I tried that once.

1056
00:52:14,200 --> 00:52:15,920
Speaker 11: I tried sitting down and his kid, I can't play it.

1057
00:52:15,960 --> 00:52:16,880
Speaker 11: It's just impossible.

1058
00:52:16,960 --> 00:52:20,600
Speaker 4: Yeah, it's that's a very neat thing to listen.

1059
00:52:20,680 --> 00:52:23,560
Speaker 11: He kills the snare on the floor, tim towards the audience.

1060
00:52:23,800 --> 00:52:27,200
Speaker 11: He's hitting. He's hitting like this in a mirror. Your

1061
00:52:27,200 --> 00:52:28,440
Speaker 11: wrists are bending the other way.

1062
00:52:28,840 --> 00:52:29,319
Speaker 12: Oh wow.

1063
00:52:29,520 --> 00:52:32,279
Speaker 4: In the mirror speak. He smoothed criminal leans the entire

1064
00:52:32,560 --> 00:52:38,760
Speaker 4: time smooth criminal leans the entire drum set towards the audience.

1065
00:52:39,200 --> 00:52:44,719
Speaker 9: You know, okay, did you know that's Michael Jackson's only

1066
00:52:44,840 --> 00:52:45,840
Speaker 9: patent application.

1067
00:52:46,080 --> 00:52:49,600
Speaker 7: I know, I don't even know what that means to lean.

1068
00:52:49,680 --> 00:52:52,640
Speaker 9: He he did a slit in the shoe and he

1069
00:52:52,680 --> 00:52:55,279
Speaker 9: would slide into a nail on the floor and that's

1070
00:52:55,280 --> 00:52:55,759
Speaker 9: how they lean.

1071
00:52:55,840 --> 00:52:57,320
Speaker 11: So they were their feet were.

1072
00:52:58,920 --> 00:53:03,160
Speaker 7: No, God, every single dancers on nails. That's crazy.

1073
00:53:03,320 --> 00:53:08,319
Speaker 4: Yeah, there's a good blooper Michael once. Michael Once fell

1074
00:53:08,640 --> 00:53:11,400
Speaker 4: into the audience and it's it's well, he laughed like

1075
00:53:11,520 --> 00:53:15,200
Speaker 4: it was like a blooper movement. But because they were

1076
00:53:15,360 --> 00:53:16,759
Speaker 4: on pro tools and fish and.

1077
00:53:16,800 --> 00:53:21,279
Speaker 11: So I want to see something interesting, Michael.

1078
00:53:21,280 --> 00:53:22,480
Speaker 9: I don't know if you guys have seen this clip,

1079
00:53:22,560 --> 00:53:24,560
Speaker 9: but have you ever seen this clip where Slash keeps

1080
00:53:24,600 --> 00:53:26,360
Speaker 9: playing guitar solo and Michael gets.

1081
00:53:26,239 --> 00:53:26,879
Speaker 11: Mad at him?

1082
00:53:27,440 --> 00:53:29,640
Speaker 4: No? Oh my god?

1083
00:53:30,200 --> 00:53:32,799
Speaker 9: Really, I mean that was the only the only time

1084
00:53:32,800 --> 00:53:35,440
Speaker 9: I've ever seen Michael getting mad. Mad he Slash for

1085
00:53:35,480 --> 00:53:38,200
Speaker 9: somebody who is pissed about something and he's coming out

1086
00:53:38,239 --> 00:53:39,960
Speaker 9: to do a black or white the end of the

1087
00:53:40,000 --> 00:53:41,840
Speaker 9: guitar sol blah blah blah, and Michael's like you know,

1088
00:53:42,080 --> 00:53:45,680
Speaker 9: give smoke and pointing right. He just doesn't stop, and

1089
00:53:45,760 --> 00:53:48,040
Speaker 9: then Michael starts going like this, folding his arms and

1090
00:53:48,120 --> 00:53:48,880
Speaker 9: looking around like.

1091
00:53:52,440 --> 00:53:54,560
Speaker 4: He's like why is he doing this?

1092
00:53:55,719 --> 00:53:58,200
Speaker 11: And the joke to pull off the two guys came

1093
00:53:58,280 --> 00:53:59,359
Speaker 11: and pulled slash.

1094
00:53:59,040 --> 00:53:59,720
Speaker 4: Off really.

1095
00:54:01,880 --> 00:54:02,240
Speaker 12: YouTube.

1096
00:54:03,080 --> 00:54:06,920
Speaker 4: There's a good one also where it's raining, uh, like

1097
00:54:07,200 --> 00:54:10,840
Speaker 4: in Argentina it's raining and it's for Slippery's help. Michael's

1098
00:54:10,920 --> 00:54:13,840
Speaker 4: angry because like the guys aren't there, but he's just

1099
00:54:14,040 --> 00:54:16,280
Speaker 4: skating on the It's like at the beginning, he's skating

1100
00:54:16,400 --> 00:54:18,800
Speaker 4: all over the thing, but he's looking at them like

1101
00:54:19,440 --> 00:54:22,960
Speaker 4: make it stop, ready, and he's like passive aggressively like

1102
00:54:23,719 --> 00:54:28,279
Speaker 4: it's just running all over the place. And I'm like, motherfucker,

1103
00:54:28,440 --> 00:54:33,120
Speaker 4: you're in Argentina, inf monsoon on a slippery stage with

1104
00:54:33,200 --> 00:54:36,759
Speaker 4: the open like with no roof, like handl the damn show.

1105
00:54:37,080 --> 00:54:37,879
Speaker 7: We missed you, Mike.

1106
00:54:38,800 --> 00:54:43,759
Speaker 4: Anyway, So okay, with about to say, it's an hour

1107
00:54:43,800 --> 00:54:44,839
Speaker 4: and I think you get.

1108
00:54:47,160 --> 00:54:47,719
Speaker 12: Well play.

1109
00:54:50,440 --> 00:54:54,000
Speaker 4: Actually I want to start at the end. How do

1110
00:54:54,120 --> 00:54:58,200
Speaker 4: you know when it's time to close the chapter?

1111
00:54:58,880 --> 00:55:01,880
Speaker 11: That's really great question. And I think that's probably.

1112
00:55:02,080 --> 00:55:04,279
Speaker 4: Because I still think you guys are gonna come back

1113
00:55:04,280 --> 00:55:05,920
Speaker 4: with the record stripes.

1114
00:55:05,640 --> 00:55:10,759
Speaker 9: You mean, yeah, yeah, And I think that in order

1115
00:55:11,120 --> 00:55:14,480
Speaker 9: for me to move on and call things under the

1116
00:55:14,560 --> 00:55:18,319
Speaker 9: name Jack White on my albums, that that band needed

1117
00:55:18,360 --> 00:55:21,040
Speaker 9: to be done so that it wasn't constantly okay, well

1118
00:55:21,080 --> 00:55:23,880
Speaker 9: thanks Jack, but can you get back to what we

1119
00:55:24,000 --> 00:55:25,640
Speaker 9: wanted you to do or whatever? And that kind of

1120
00:55:25,640 --> 00:55:28,239
Speaker 9: goes with you know, I've started over several times, start

1121
00:55:28,280 --> 00:55:30,120
Speaker 9: over with the rack and tours from scratch, start over

1122
00:55:30,160 --> 00:55:33,160
Speaker 9: the Dead Weather from scratch, started off solo from scratch.

1123
00:55:33,640 --> 00:55:35,759
Speaker 9: So you're not really supposed to do this if you

1124
00:55:35,840 --> 00:55:38,440
Speaker 9: have the act that's working and people are digging in

1125
00:55:38,480 --> 00:55:39,920
Speaker 9: and it's it's it's working out.

1126
00:55:39,800 --> 00:55:41,120
Speaker 12: With people, so.

1127
00:55:44,480 --> 00:55:45,400
Speaker 4: Well, I keep doing it.

1128
00:55:45,560 --> 00:55:47,759
Speaker 11: But you know, I and it's just the way I have.

1129
00:55:47,920 --> 00:55:50,640
Speaker 11: I have to move forward and progress. So a lot

1130
00:55:50,680 --> 00:55:52,040
Speaker 11: of times I think, you know, I think Meg was

1131
00:55:52,040 --> 00:55:54,520
Speaker 11: always like, yeah, that I like finishing.

1132
00:55:54,280 --> 00:55:55,960
Speaker 9: Up on top where I don't I don't feel any

1133
00:55:56,000 --> 00:55:58,480
Speaker 9: regret about not even one song we ever did, and

1134
00:55:58,960 --> 00:56:01,359
Speaker 9: that that was kind of nice about that moment too.

1135
00:56:01,440 --> 00:56:03,839
Speaker 4: And so yeah, I don't. I don't.

1136
00:56:03,840 --> 00:56:07,120
Speaker 9: I don't feel any urged, urged for that to happen.

1137
00:56:07,840 --> 00:56:09,320
Speaker 9: And I've you know, I've also talked to people like,

1138
00:56:09,760 --> 00:56:12,160
Speaker 9: you know, Jimmy Page and Robert planming to continue the

1139
00:56:12,239 --> 00:56:14,840
Speaker 9: lad Zepplin thread that you know. I mean, they obviously

1140
00:56:14,880 --> 00:56:17,240
Speaker 9: get asked every day for the last forty.

1141
00:56:17,080 --> 00:56:22,279
Speaker 4: Year, When's when's the honey Drippers come back?

1142
00:56:23,120 --> 00:56:23,839
Speaker 11: The Honeydrippers?

1143
00:56:24,360 --> 00:56:29,759
Speaker 4: So it's it's uh. I mean, I don't want you

1144
00:56:29,920 --> 00:56:32,400
Speaker 4: to have to reveal the smoke of mirrors of whatever

1145
00:56:32,480 --> 00:56:38,200
Speaker 4: your uh presentations are. But for those White Stripe records,

1146
00:56:39,480 --> 00:56:45,600
Speaker 4: were they completely a collaborative drum meg Jack moment or

1147
00:56:45,719 --> 00:56:48,400
Speaker 4: did you do some songs by yourself. I'm only asking

1148
00:56:48,520 --> 00:56:53,719
Speaker 4: because my my personal favorite album is Satan Yeah. And

1149
00:56:55,080 --> 00:57:01,520
Speaker 4: the first time I heard uh the Nurse, Yeah, I

1150
00:57:01,680 --> 00:57:05,880
Speaker 4: was just like, yo, like, no one has no one's timing?

1151
00:57:05,960 --> 00:57:12,040
Speaker 4: Is this goddamn good except for people that play with

1152
00:57:12,120 --> 00:57:20,160
Speaker 4: themselves anyway. Well, Prince has a way of doing that

1153
00:57:20,240 --> 00:57:24,240
Speaker 4: on Dirty Mind. There's a way that he and he

1154
00:57:24,400 --> 00:57:27,760
Speaker 4: answered this question. I was asking, like, why did you

1155
00:57:27,920 --> 00:57:31,640
Speaker 4: fluctuate on the title cut Dirty Mind so much? And

1156
00:57:31,720 --> 00:57:32,960
Speaker 4: he was like, well, you know, I have to give

1157
00:57:33,000 --> 00:57:36,080
Speaker 4: the impression that, you know, Prince the bass player is

1158
00:57:36,120 --> 00:57:38,280
Speaker 4: trying to keep up with Prince the drummer and Prince

1159
00:57:38,320 --> 00:57:40,400
Speaker 4: the synthesizer players trying to keep up with the bass

1160
00:57:40,400 --> 00:57:44,320
Speaker 4: player and that. So there's there's like a there's such

1161
00:57:44,760 --> 00:57:51,960
Speaker 4: a scientific, calculated, beautiful mess of fluctuation that I feel

1162
00:57:52,000 --> 00:57:57,919
Speaker 4: that only I've heard Stevie do it, I heard Prince

1163
00:57:58,040 --> 00:57:59,760
Speaker 4: do it. I've heard you doing on some of your

1164
00:57:59,760 --> 00:58:03,360
Speaker 4: solo records. Its assuming that the two songs in my

1165
00:58:03,400 --> 00:58:07,400
Speaker 4: head were completely done by you, But for some of

1166
00:58:07,440 --> 00:58:10,680
Speaker 4: those songs, like even you had to put in ten

1167
00:58:10,800 --> 00:58:17,120
Speaker 4: hours of rehearsal to get those hits correct or like

1168
00:58:17,320 --> 00:58:19,680
Speaker 4: what was what was the process? Was that all you

1169
00:58:20,120 --> 00:58:21,240
Speaker 4: at least on the nurse.

1170
00:58:21,280 --> 00:58:25,880
Speaker 9: Well the nurse I'm playing marimba and the Meg's playing

1171
00:58:25,920 --> 00:58:28,160
Speaker 9: the drums, and that was done in my living room.

1172
00:58:28,160 --> 00:58:30,040
Speaker 11: We record that in my living room. But all those

1173
00:58:30,080 --> 00:58:32,600
Speaker 11: stabs and it's Meg.

1174
00:58:34,520 --> 00:58:36,360
Speaker 4: I didn't see that. I didn't want to be accused

1175
00:58:36,360 --> 00:58:36,640
Speaker 4: of sex.

1176
00:58:38,760 --> 00:58:40,440
Speaker 9: No, No, I hear what you're saying. I think you

1177
00:58:40,560 --> 00:58:42,480
Speaker 9: thinking on the flip side of that. Yeah, she nailed

1178
00:58:42,520 --> 00:58:44,520
Speaker 9: that song and then she you know, it's there was

1179
00:58:44,600 --> 00:58:48,400
Speaker 9: time megs. Meg's rhythm is beautiful, it's it's I think

1180
00:58:48,400 --> 00:58:50,560
Speaker 9: people think I'm dissinger when I say it's childlike, but

1181
00:58:50,640 --> 00:58:53,320
Speaker 9: I think there's that thing about saying. Papa Picasso said,

1182
00:58:53,360 --> 00:58:55,000
Speaker 9: I spent my whole life trying to learn how to

1183
00:58:55,000 --> 00:58:57,360
Speaker 9: paint like a five year old time.

1184
00:58:57,600 --> 00:59:00,800
Speaker 11: She she I would play white Strip song with other like.

1185
00:59:01,240 --> 00:59:05,040
Speaker 9: Sort of you know whatever, proficient drummers and and it

1186
00:59:05,080 --> 00:59:07,400
Speaker 9: wouldn't sound and when she would do it was like,

1187
00:59:07,560 --> 00:59:11,000
Speaker 9: that's just that's it. But she also say something like

1188
00:59:11,520 --> 00:59:13,880
Speaker 9: on that same album My Doorbell, the drum beat on

1189
00:59:14,000 --> 00:59:17,560
Speaker 9: that is very jumbly. The timing is squeezed together at times,

1190
00:59:17,600 --> 00:59:19,880
Speaker 9: spread out at times on the drums, and the drum.

1191
00:59:19,800 --> 00:59:20,600
Speaker 11: Beats really funky.

1192
00:59:21,040 --> 00:59:21,600
Speaker 4: It's very cool.

1193
00:59:21,640 --> 00:59:23,640
Speaker 11: I remember Jimmy Ivy and I had talked to him.

1194
00:59:23,680 --> 00:59:26,360
Speaker 11: He goes, Man, that Wrecked is a hit.

1195
00:59:27,440 --> 00:59:29,400
Speaker 9: He goes, but you needed to record it right, you know,

1196
00:59:29,440 --> 00:59:31,760
Speaker 9: it needs to be recorded properly by somebody.

1197
00:59:31,760 --> 00:59:31,880
Speaker 12: You know.

1198
00:59:31,920 --> 00:59:33,960
Speaker 11: It's like, well, I'll tell me what's wrong with you know,

1199
00:59:34,840 --> 00:59:36,960
Speaker 11: the way we did it. I know obviously there's no

1200
00:59:37,160 --> 00:59:39,320
Speaker 11: pop appeal really to what the way we did it.

1201
00:59:39,600 --> 00:59:41,120
Speaker 11: It's a it's a very you know.

1202
00:59:42,320 --> 00:59:44,840
Speaker 4: When came I was spending the ship out there, like

1203
00:59:44,960 --> 00:59:48,400
Speaker 4: I thought that was going to be like thanks that moment.

1204
00:59:48,240 --> 00:59:50,680
Speaker 9: It felt, it felt, it felt really cool and maybe

1205
00:59:50,680 --> 00:59:52,120
Speaker 9: you know, I would love someone to cover that song.

1206
00:59:52,120 --> 00:59:55,200
Speaker 9: I think that's there's some there's some really cool things

1207
00:59:55,240 --> 00:59:58,640
Speaker 9: that that could happen with the harmonies and stuff. But uh, yeah,

1208
00:59:58,720 --> 01:00:00,680
Speaker 9: for example, that that drum beat was it's like almost

1209
01:00:00,680 --> 01:00:01,600
Speaker 9: squeezed together.

1210
01:00:01,840 --> 01:00:03,720
Speaker 11: Forced at times, and feels like that, but it's it

1211
01:00:04,120 --> 01:00:05,439
Speaker 11: just works out. It makes sense.

1212
01:00:05,520 --> 01:00:05,680
Speaker 4: You know.

1213
01:00:06,040 --> 01:00:08,320
Speaker 7: Can you talk about Meg's relationship with the drums, because

1214
01:00:08,320 --> 01:00:10,640
Speaker 7: whenever I read about it, it sounds like she met

1215
01:00:10,720 --> 01:00:12,480
Speaker 7: the drum, she fell in love with the drum, and

1216
01:00:12,600 --> 01:00:13,680
Speaker 7: then she just killed it.

1217
01:00:14,200 --> 01:00:17,000
Speaker 9: I think she's just very reluctant and then also got

1218
01:00:17,720 --> 01:00:20,760
Speaker 9: pick picked on so much through all the years of

1219
01:00:20,920 --> 01:00:23,240
Speaker 9: you know, everyone saying she's the worst drummer in music,

1220
01:00:23,320 --> 01:00:26,200
Speaker 9: and and that really effects that do this just seemed

1221
01:00:26,240 --> 01:00:28,000
Speaker 9: like every day she was saying that. I think a

1222
01:00:28,040 --> 01:00:30,200
Speaker 9: lot of people that I spent a lot of time

1223
01:00:30,280 --> 01:00:32,720
Speaker 9: sort of defending that because and here's what happened when

1224
01:00:32,720 --> 01:00:34,440
Speaker 9: we were before we when we were first started to

1225
01:00:34,440 --> 01:00:38,280
Speaker 9: get got signed on our third album, she said to me, so,

1226
01:00:38,400 --> 01:00:40,800
Speaker 9: you know, Jack, people out there in the mainstream, they

1227
01:00:40,840 --> 01:00:43,560
Speaker 9: don't know the glories and the Velvet Underground and this

1228
01:00:43,680 --> 01:00:46,200
Speaker 9: simple kind of drumming style on things. They're not going

1229
01:00:46,280 --> 01:00:48,920
Speaker 9: to understand me reference and they're not going to get

1230
01:00:49,000 --> 01:00:51,360
Speaker 9: this this idea. They're just going to think I suck,

1231
01:00:51,520 --> 01:00:53,919
Speaker 9: you know. And I said, you know, there are gonna

1232
01:00:53,920 --> 01:00:56,919
Speaker 9: people who aren't going to understand that. But I don't

1233
01:00:56,920 --> 01:00:59,400
Speaker 9: think it's worth us. You know, we have to go

1234
01:00:59,440 --> 01:01:02,240
Speaker 9: out and push lord and and just bring that to people,

1235
01:01:02,360 --> 01:01:03,120
Speaker 9: that simplicity.

1236
01:01:05,000 --> 01:01:06,720
Speaker 11: You know, what are you gonna do? Some people are

1237
01:01:06,720 --> 01:01:09,360
Speaker 11: gonna get it, some people aren't. And it's the same

1238
01:01:09,440 --> 01:01:11,160
Speaker 11: thing to me. You know, how much how much.

1239
01:01:11,400 --> 01:01:14,360
Speaker 9: Crap does Charlie Watson Ringo Star get all these years later?

1240
01:01:14,640 --> 01:01:17,080
Speaker 9: I mean, Ringo is insanely good man. I mean there's

1241
01:01:17,080 --> 01:01:19,680
Speaker 9: some drum fills that are planning in my brain that

1242
01:01:19,760 --> 01:01:23,040
Speaker 9: Ringo has done. And because he's not John Bonham or

1243
01:01:23,320 --> 01:01:25,480
Speaker 9: or Neil Burt or something, I don't understand.

1244
01:01:25,520 --> 01:01:26,560
Speaker 11: I don't understand that kind.

1245
01:01:26,480 --> 01:01:28,480
Speaker 4: Of I didn't realize he was catching hell because like

1246
01:01:28,640 --> 01:01:36,160
Speaker 4: for me, for me, uh what gregsonier the drummer of

1247
01:01:36,240 --> 01:01:41,800
Speaker 4: a Dierhof and Meg are like definitely my tooth. Like

1248
01:01:41,880 --> 01:01:44,800
Speaker 4: I've stalked to you guys, millions of times like yeah,

1249
01:01:44,920 --> 01:01:49,240
Speaker 4: in concert, but I never thought that that was.

1250
01:01:50,280 --> 01:01:51,760
Speaker 9: She's very I think she was the kind of person

1251
01:01:51,840 --> 01:01:53,760
Speaker 9: to make people want to start playing about this.

1252
01:01:54,280 --> 01:01:55,920
Speaker 7: Is it true? Does she really felt it? Like she

1253
01:01:56,080 --> 01:01:58,280
Speaker 7: learned very easily and mastered it.

1254
01:01:58,640 --> 01:01:58,840
Speaker 12: Yeah.

1255
01:01:59,200 --> 01:02:02,200
Speaker 11: Very early stress recordings were just those stabs, just.

1256
01:02:04,720 --> 01:02:06,360
Speaker 12: You know, and it was like that.

1257
01:02:06,480 --> 01:02:08,240
Speaker 11: I think the first thing we do is David Bowie's

1258
01:02:09,080 --> 01:02:10,160
Speaker 11: she wanted to record.

1259
01:02:09,960 --> 01:02:17,480
Speaker 9: Ah, what's the song I'm an Alligator my mama? Yeah,

1260
01:02:17,720 --> 01:02:21,000
Speaker 9: it's on Ziggie. Sorry the names escaping me, but we

1261
01:02:21,160 --> 01:02:25,360
Speaker 9: we did that song first, and it was just that

1262
01:02:25,520 --> 01:02:27,960
Speaker 9: was the beginning of our sound, was not just these

1263
01:02:28,000 --> 01:02:32,160
Speaker 9: stabs bam, and we thought, wow, let's keep going with this,

1264
01:02:32,400 --> 01:02:35,000
Speaker 9: and it turned into a whole thing and so changed

1265
01:02:35,040 --> 01:02:37,440
Speaker 9: my whole outlook on music completely. That brought it down

1266
01:02:37,480 --> 01:02:40,400
Speaker 9: to a minimalism, and then it was a great, great

1267
01:02:40,520 --> 01:02:43,160
Speaker 9: out let to do the blues and not be that

1268
01:02:43,280 --> 01:02:45,680
Speaker 9: sort of stratocaster sort of white boy blues at the time,

1269
01:02:45,720 --> 01:02:51,080
Speaker 9: which was very sort of super super un cool, and

1270
01:02:51,120 --> 01:02:57,720
Speaker 9: you yeah, I think so now, Yeah, the blues had

1271
01:02:57,720 --> 01:03:00,680
Speaker 9: become that kind of you know, that stratocaster, really clean,

1272
01:03:00,880 --> 01:03:04,480
Speaker 9: slick thing at that at that moment through the nineties,

1273
01:03:04,600 --> 01:03:06,560
Speaker 9: and it was a little bit like a bar band,

1274
01:03:06,560 --> 01:03:08,160
Speaker 9: a little bit of an embarrassing thing too, but it's

1275
01:03:08,200 --> 01:03:11,120
Speaker 9: also at the same time we wanted to do the raw,

1276
01:03:11,440 --> 01:03:13,440
Speaker 9: getting down to the real nitty gritty of it, the

1277
01:03:14,440 --> 01:03:17,720
Speaker 9: Lightning Hopkins and the you know, hound dog tailor and

1278
01:03:17,840 --> 01:03:20,280
Speaker 9: those kind of things, and figure out a way we

1279
01:03:20,320 --> 01:03:22,160
Speaker 9: could get away with it, you know, and a lot

1280
01:03:22,200 --> 01:03:23,600
Speaker 9: of the things to do with white starts, the red,

1281
01:03:23,600 --> 01:03:25,920
Speaker 9: white and black color scheme and the way we presented

1282
01:03:25,960 --> 01:03:28,120
Speaker 9: it like children was a great way for us to get.

1283
01:03:28,040 --> 01:03:30,040
Speaker 8: Away with it, because that's how you found your personal voice,

1284
01:03:30,040 --> 01:03:33,560
Speaker 8: because you're speaking voices relatively low, and all of your

1285
01:03:33,600 --> 01:03:36,240
Speaker 8: vocal deliveries are super high and super in that stratosphere.

1286
01:03:36,520 --> 01:03:38,360
Speaker 8: Sort of comes from a blues place, but it's interesting

1287
01:03:38,600 --> 01:03:39,320
Speaker 8: just listen.

1288
01:03:39,120 --> 01:03:41,440
Speaker 11: To I don't know, that was a natural thing and

1289
01:03:41,520 --> 01:03:42,720
Speaker 11: that that really high stuff.

1290
01:03:42,880 --> 01:03:45,680
Speaker 9: And I know there was one song and I had

1291
01:03:45,720 --> 01:03:48,680
Speaker 9: my postery shop that love was the BBC Beatles BBC

1292
01:03:48,880 --> 01:03:52,640
Speaker 9: Sessions and it was the Beatles Hippy Hippie Shake, their

1293
01:03:52,680 --> 01:03:54,960
Speaker 9: cover of Hippy Hippie Shake, And when it starts off

1294
01:03:55,000 --> 01:03:56,960
Speaker 9: with pau McCartney you know I won't do it now

1295
01:03:57,040 --> 01:04:00,680
Speaker 9: to blow out the mic, but oh goodness, sake just

1296
01:04:00,840 --> 01:04:04,600
Speaker 9: super high, shake it to the left, shake it do

1297
01:04:05,400 --> 01:04:08,720
Speaker 9: oh oh yo my and shake can just go even

1298
01:04:08,760 --> 01:04:10,880
Speaker 9: higher than the highest note you did before that.

1299
01:04:11,000 --> 01:04:15,160
Speaker 11: I started to get really into that, so yeah, now

1300
01:04:16,320 --> 01:04:17,600
Speaker 11: it gets it gets wilder.

1301
01:04:17,600 --> 01:04:19,240
Speaker 9: I think there's some stuff on the new album where

1302
01:04:19,280 --> 01:04:23,120
Speaker 9: I'm I'm really squealing up in some some two octaves

1303
01:04:23,160 --> 01:04:25,240
Speaker 9: above where I'd normally say it's just skiddy up and

1304
01:04:25,320 --> 01:04:26,600
Speaker 9: some wilder stuff.

1305
01:04:31,400 --> 01:04:35,040
Speaker 4: What is your your weapon of choice? And I know

1306
01:04:35,240 --> 01:04:38,840
Speaker 4: that you have an array of guitars and a collection

1307
01:04:39,000 --> 01:04:43,640
Speaker 4: from heaven, but you're I can't die without it? Is

1308
01:04:43,720 --> 01:04:45,960
Speaker 4: it the k how value?

1309
01:04:46,040 --> 01:04:46,280
Speaker 12: Or is it?

1310
01:04:46,480 --> 01:04:46,640
Speaker 4: Is it?

1311
01:04:46,880 --> 01:04:50,520
Speaker 9: There's I have this Army and Navy Gibson Acoustic now

1312
01:04:50,560 --> 01:04:52,600
Speaker 9: that I got a few years ago that's now become

1313
01:04:52,840 --> 01:04:54,400
Speaker 9: like that's my favorite guitar.

1314
01:04:54,480 --> 01:04:56,280
Speaker 11: It's really it's from nineteen seventeen.

1315
01:04:56,320 --> 01:04:58,720
Speaker 9: They built it for They made these for supportedly for

1316
01:04:58,760 --> 01:05:01,480
Speaker 9: World War One soldier and as soon as they finally

1317
01:05:01,520 --> 01:05:03,800
Speaker 9: got the guitar of reproduction, the war was over, so

1318
01:05:04,880 --> 01:05:05,600
Speaker 9: there's not very.

1319
01:05:05,560 --> 01:05:06,040
Speaker 11: Many of them.

1320
01:05:06,440 --> 01:05:08,640
Speaker 9: They're like this scale down, stripped down version of an

1321
01:05:08,760 --> 01:05:10,600
Speaker 9: l one like Robert Johnson would have used. So it's

1322
01:05:10,680 --> 01:05:13,640
Speaker 9: really really soft and and the neck as I could

1323
01:05:13,720 --> 01:05:17,040
Speaker 9: baseball bat, and it's just it just it fits me perfectly.

1324
01:05:18,400 --> 01:05:23,120
Speaker 4: So for you, the instrument also has to have a

1325
01:05:23,920 --> 01:05:27,080
Speaker 4: specific tone. I don't know, it's weird for me because

1326
01:05:28,800 --> 01:05:31,000
Speaker 4: back when I didn't have a choice, when like we

1327
01:05:31,080 --> 01:05:38,280
Speaker 4: would have to play in shitty studios. Like my first

1328
01:05:38,680 --> 01:05:42,040
Speaker 4: drum set is some out of like Alex Van Helen's Nightmare,

1329
01:05:42,240 --> 01:05:47,080
Speaker 4: Like it's like some tama like power Stroke, you know,

1330
01:05:47,240 --> 01:05:52,000
Speaker 4: like it's straight heavy metal, like all of the organ No,

1331
01:05:52,080 --> 01:05:55,880
Speaker 4: I'm seriously, you.

1332
01:05:55,880 --> 01:05:58,360
Speaker 9: Know, maybe that goes back to like the what's the record,

1333
01:05:58,440 --> 01:06:02,560
Speaker 9: the you know, the boy band record. Maybe maybe maybe

1334
01:06:02,920 --> 01:06:04,600
Speaker 9: I went through that same period too, which is like

1335
01:06:04,680 --> 01:06:06,640
Speaker 9: you kind of get into maybe two kick drums, maybe

1336
01:06:06,760 --> 01:06:10,280
Speaker 9: rototomas maybe seventeen times, and you kind of have to

1337
01:06:10,320 --> 01:06:12,480
Speaker 9: go through that moment and put that out of your system.

1338
01:06:12,600 --> 01:06:13,280
Speaker 12: My point was that.

1339
01:06:14,880 --> 01:06:16,960
Speaker 4: At the time, like I was bitching, I was like, yo,

1340
01:06:17,160 --> 01:06:19,480
Speaker 4: like I can't I can't do no break beats on

1341
01:06:19,560 --> 01:06:23,360
Speaker 4: a you know, a triple kicks your own tama and

1342
01:06:23,400 --> 01:06:25,840
Speaker 4: the drums like this big. Yes, it was. It was

1343
01:06:26,440 --> 01:06:28,760
Speaker 4: serious everything you're described is what I did my first

1344
01:06:28,840 --> 01:06:31,520
Speaker 4: record was And then my engineer was like, dude, it

1345
01:06:31,600 --> 01:06:34,320
Speaker 4: doesn't matter because the only thing that matters is how

1346
01:06:34,360 --> 01:06:38,640
Speaker 4: we translated it in the mixing board. And once I realized, like, oh,

1347
01:06:38,720 --> 01:06:41,000
Speaker 4: I can manipulate this to sound any way I want to.

1348
01:06:41,240 --> 01:06:45,080
Speaker 4: I mean, it's smoking mirrors a lot, but it's in

1349
01:06:45,200 --> 01:06:49,000
Speaker 4: the engineering. So I mean, does it truly matter if

1350
01:06:50,360 --> 01:06:53,960
Speaker 4: you know, if you have a particular you know, Gibson

1351
01:06:54,160 --> 01:06:58,520
Speaker 4: or Strata or this. Did you have a Montgomery Ward? Yeah?

1352
01:06:58,560 --> 01:07:00,880
Speaker 9: I mean for the most part was it headlines and

1353
01:07:00,920 --> 01:07:04,120
Speaker 9: silver tones and really cheap auto tune, hard to work

1354
01:07:04,200 --> 01:07:07,520
Speaker 9: with guitars up until this album right now where I wanted.

1355
01:07:07,280 --> 01:07:09,200
Speaker 11: To use the easiest guitar I could possibly play.

1356
01:07:09,360 --> 01:07:12,360
Speaker 9: So I'm playing this Eddie van Halen's Wolfgang that he

1357
01:07:12,520 --> 01:07:14,439
Speaker 9: designed for all this too.

1358
01:07:14,600 --> 01:07:17,320
Speaker 11: New and it's and it's just like, I've never played

1359
01:07:17,320 --> 01:07:19,640
Speaker 11: a guitar tard this easy to play. It's crazy.

1360
01:07:19,840 --> 01:07:23,000
Speaker 9: I don't It's it's one of those things where what

1361
01:07:23,080 --> 01:07:24,520
Speaker 9: do you do you know, when you get a first

1362
01:07:24,560 --> 01:07:26,880
Speaker 9: class ticket on a plane, do you can you ever

1363
01:07:27,040 --> 01:07:27,439
Speaker 9: go back?

1364
01:07:29,000 --> 01:07:30,480
Speaker 4: I was gonna say, do you have do you have

1365
01:07:30,560 --> 01:07:35,320
Speaker 4: a fear of once you sort of dabble and dip

1366
01:07:35,360 --> 01:07:38,520
Speaker 4: your toe into all right, let me see what garage

1367
01:07:38,560 --> 01:07:43,160
Speaker 4: band is about. Or get this particular new shiny drum

1368
01:07:43,240 --> 01:07:46,880
Speaker 4: set or guitar whatever that you might slip into a

1369
01:07:46,960 --> 01:07:48,280
Speaker 4: rabbit hole you can't fall out of.

1370
01:07:48,680 --> 01:07:50,360
Speaker 12: Yeah, I think I definitely.

1371
01:07:50,760 --> 01:07:51,800
Speaker 11: I'm sure you know.

1372
01:07:52,040 --> 01:07:54,960
Speaker 9: I'm definitely what we were saying before, from the disciplined

1373
01:07:55,040 --> 01:07:57,280
Speaker 9: sort of side of things, where I can dabble and

1374
01:07:57,440 --> 01:07:59,720
Speaker 9: and and get something out of it, but then return

1375
01:07:59,800 --> 01:08:03,240
Speaker 9: to what I think feels more soul form and more

1376
01:08:03,640 --> 01:08:06,040
Speaker 9: makes more sense for what I trying to accomplish. I'll

1377
01:08:06,080 --> 01:08:09,120
Speaker 9: love I'll sit around and play with a synthesizer for hours,

1378
01:08:09,360 --> 01:08:11,400
Speaker 9: knowing full well that I'm never going to use this

1379
01:08:11,520 --> 01:08:14,520
Speaker 9: thing live or something like that, you know, but sometimes

1380
01:08:14,600 --> 01:08:16,519
Speaker 9: it does. When we did I dump, I was trying

1381
01:08:16,560 --> 01:08:19,240
Speaker 9: to I use this instrument that you the Beels used on. Baby,

1382
01:08:19,240 --> 01:08:21,840
Speaker 9: you're a rich man, this clavioline, the very first synthesizer,

1383
01:08:22,320 --> 01:08:24,640
Speaker 9: And that became a thing. It took on stage and

1384
01:08:24,640 --> 01:08:26,280
Speaker 9: I turned into a mold, little fatty and then I

1385
01:08:26,320 --> 01:08:29,519
Speaker 9: started to, you know, learn more about that, and that's

1386
01:08:29,560 --> 01:08:32,479
Speaker 9: now become a big instrument for me is that mug.

1387
01:08:32,840 --> 01:08:36,040
Speaker 4: So when you're making decisions on what instruments and to

1388
01:08:36,280 --> 01:08:40,880
Speaker 4: use and to play, do you have a judgment jeurey

1389
01:08:40,920 --> 01:08:44,040
Speaker 4: in your head? So, okay, say if I presented to

1390
01:08:44,080 --> 01:08:51,080
Speaker 4: you the first edition of a Yamaha DX seven from

1391
01:08:51,120 --> 01:08:56,240
Speaker 4: like nineteen eighty six, like this horrible Richard marks patches.

1392
01:08:55,960 --> 01:08:59,280
Speaker 11: Sure you turn a purple, Yeah, says.

1393
01:09:01,760 --> 01:09:07,519
Speaker 4: Richard playing the electric piano patch. No, but it's it's like, uh,

1394
01:09:09,080 --> 01:09:14,599
Speaker 4: if if presented with that, I mean, oh my god,

1395
01:09:15,280 --> 01:09:17,080
Speaker 4: you just ever have a moment where you just fucking

1396
01:09:17,120 --> 01:09:20,439
Speaker 4: forget your question? Oh yeah, make it work?

1397
01:09:20,439 --> 01:09:22,400
Speaker 11: Where you trying to say that could make I think

1398
01:09:22,439 --> 01:09:23,800
Speaker 11: I was going to go there, but there was a

1399
01:09:23,840 --> 01:09:24,360
Speaker 11: reason why.

1400
01:09:25,800 --> 01:09:30,880
Speaker 4: No whatever. But I mean, could you I mean, could

1401
01:09:30,960 --> 01:09:31,679
Speaker 4: you make it work?

1402
01:09:31,800 --> 01:09:35,439
Speaker 11: Or well there's that line from what's that line?

1403
01:09:35,439 --> 01:09:37,080
Speaker 9: I think John Lennon said something about you know, I'm

1404
01:09:37,080 --> 01:09:38,760
Speaker 9: an artist. If you give me a tub, but I'll

1405
01:09:38,800 --> 01:09:40,960
Speaker 9: fucking make some sounds come out of it. You know

1406
01:09:41,120 --> 01:09:43,479
Speaker 9: that that that's your job as an artist. That went

1407
01:09:43,560 --> 01:09:45,680
Speaker 9: handed the scenario, which I think that I've done a

1408
01:09:45,720 --> 01:09:47,120
Speaker 9: lot in the in the past, which is the set

1409
01:09:47,200 --> 01:09:50,120
Speaker 9: up the scenario of here's where we're gonna be, here's where.

1410
01:09:49,960 --> 01:09:51,080
Speaker 11: People are going to be in the room, and here's

1411
01:09:51,080 --> 01:09:52,960
Speaker 11: how long we're going to be here. That's it.

1412
01:09:53,080 --> 01:09:55,040
Speaker 9: As far as the music sounds like, I don't care

1413
01:09:55,520 --> 01:09:57,040
Speaker 9: what it's going to come out, like if it comes

1414
01:09:57,080 --> 01:09:59,400
Speaker 9: out Soulfa comes out punk, it doesn't matter to me

1415
01:09:59,600 --> 01:10:02,680
Speaker 9: as long as I've set up the scenario. And like

1416
01:10:02,760 --> 01:10:04,960
Speaker 9: I said some of the keyboard choices that some of

1417
01:10:05,000 --> 01:10:07,719
Speaker 9: those tones to me at first was like wow, okay,

1418
01:10:08,400 --> 01:10:10,720
Speaker 9: and then later I'm like, okay, yeah, now I get it.

1419
01:10:10,800 --> 01:10:12,680
Speaker 11: That really does work. It really does work. And I

1420
01:10:12,720 --> 01:10:14,920
Speaker 11: don't remember emitting any of them while we were mixing

1421
01:10:14,920 --> 01:10:15,280
Speaker 11: the album.

1422
01:10:15,760 --> 01:10:19,240
Speaker 4: So part two that question is are you afraid that

1423
01:10:20,040 --> 01:10:24,200
Speaker 4: snobs like us will be cool man? Everyone uses the

1424
01:10:24,280 --> 01:10:27,680
Speaker 4: data d like I can instantly tell that it was

1425
01:10:27,720 --> 01:10:29,960
Speaker 4: a DATAA app that he used, or sure.

1426
01:10:30,280 --> 01:10:34,200
Speaker 9: I'm a big fan of not noticing production, which is

1427
01:10:34,360 --> 01:10:36,080
Speaker 9: it's hard for me to like when I hear like,

1428
01:10:36,160 --> 01:10:39,160
Speaker 9: oh they put that even todd reverb on that vocal.

1429
01:10:39,920 --> 01:10:41,800
Speaker 9: I hear that, I hear that when I don't hear it,

1430
01:10:41,960 --> 01:10:43,679
Speaker 9: when I just hear the music, I don't even notice

1431
01:10:43,720 --> 01:10:44,160
Speaker 9: the production.

1432
01:10:44,280 --> 01:10:46,120
Speaker 11: I really love that that feels good to me.

1433
01:10:46,400 --> 01:10:50,080
Speaker 4: But can you But can you even enjoy an album

1434
01:10:50,280 --> 01:10:53,280
Speaker 4: without getting into It's hard for me to do that,

1435
01:10:53,439 --> 01:10:57,160
Speaker 4: Like I'm analytical and figure out what they.

1436
01:10:57,439 --> 01:10:58,040
Speaker 11: That's my hope.

1437
01:10:58,160 --> 01:10:59,840
Speaker 9: My hope is the first just love it, love it

1438
01:11:00,000 --> 01:11:02,800
Speaker 9: and listen to it, and maybe ten listens down start thinking, wow,

1439
01:11:02,840 --> 01:11:04,240
Speaker 9: how did they get that drum sound?

1440
01:11:04,960 --> 01:11:06,720
Speaker 11: That that's Uh? I was just thinking about that.

1441
01:11:06,960 --> 01:11:07,080
Speaker 7: Uh.

1442
01:11:07,680 --> 01:11:10,360
Speaker 9: Yesterday in the car we were listening to uh, Let's

1443
01:11:10,400 --> 01:11:13,240
Speaker 9: Go Crazy guitar solo and it was sort of like,

1444
01:11:14,080 --> 01:11:14,240
Speaker 9: you know.

1445
01:11:14,240 --> 01:11:15,840
Speaker 11: I never thought about it. What was using an octave

1446
01:11:15,880 --> 01:11:18,559
Speaker 11: pedal on this? I never heard a solo a thousand times?

1447
01:11:19,320 --> 01:11:19,439
Speaker 9: Uh?

1448
01:11:20,240 --> 01:11:20,680
Speaker 12: Just saw it.

1449
01:11:21,160 --> 01:11:21,519
Speaker 4: I don't know.

1450
01:11:21,640 --> 01:11:23,120
Speaker 11: I'm not kind of want to go look that up now.

1451
01:11:23,200 --> 01:11:25,160
Speaker 8: But can you talk about your evolution of thinking of that?

1452
01:11:25,240 --> 01:11:28,519
Speaker 8: Because until Thursday, because I didn't say that because I

1453
01:11:28,600 --> 01:11:30,840
Speaker 8: think like with the Early White Stripes record, it was

1454
01:11:30,960 --> 01:11:33,120
Speaker 8: just like two people in a room press recording go

1455
01:11:33,200 --> 01:11:36,479
Speaker 8: whereas this this last album feels like to me the opposite.

1456
01:11:36,600 --> 01:11:37,840
Speaker 8: But you did put it into pro tools, and you

1457
01:11:37,920 --> 01:11:39,800
Speaker 8: did cut it, you did smush it around because and

1458
01:11:39,920 --> 01:11:42,559
Speaker 8: then that and that seems not antithetical to what you're saying,

1459
01:11:42,560 --> 01:11:45,960
Speaker 8: but like like an evolution and even like the let's

1460
01:11:46,000 --> 01:11:48,240
Speaker 8: say that the White Stripes early records seemed super riffy

1461
01:11:48,320 --> 01:11:50,960
Speaker 8: to me and super hooky. The middle of your career,

1462
01:11:51,120 --> 01:11:53,320
Speaker 8: to really put it bluntly, like the Dead Weather Racket

1463
01:11:53,320 --> 01:11:55,639
Speaker 8: tour stuff is a is a different thing, moving more

1464
01:11:55,680 --> 01:11:57,800
Speaker 8: towards rock, and then this feels that's the hope.

1465
01:11:57,880 --> 01:12:00,120
Speaker 4: Yeah, right, But what was like your song.

1466
01:12:00,040 --> 01:12:01,720
Speaker 8: Writing process during those whole things, because it feels like

1467
01:12:01,720 --> 01:12:03,880
Speaker 8: a definite crescendo and or move.

1468
01:12:04,280 --> 01:12:06,360
Speaker 11: Yeah, it's it's a definite move.

1469
01:12:06,520 --> 01:12:09,240
Speaker 9: And I use a lot of techniques I've never used before.

1470
01:12:09,280 --> 01:12:11,800
Speaker 9: I recorded and I rented in an apartment where I

1471
01:12:12,080 --> 01:12:13,799
Speaker 9: used the same equipment I had when I was a teenager,

1472
01:12:14,040 --> 01:12:17,599
Speaker 9: the same reel to reel by myself, no amps, no drums,

1473
01:12:17,640 --> 01:12:20,880
Speaker 9: So I was singing along with a drum machine, writing

1474
01:12:20,960 --> 01:12:23,200
Speaker 9: the songs, writing the melody of the song without any

1475
01:12:23,320 --> 01:12:25,519
Speaker 9: musical accompaniment. So a lot of these songs started as

1476
01:12:25,680 --> 01:12:27,200
Speaker 9: just a vocal melody and.

1477
01:12:27,240 --> 01:12:28,479
Speaker 11: Then everything was added later.

1478
01:12:29,200 --> 01:12:31,760
Speaker 9: And then took it to New York and LA and

1479
01:12:31,800 --> 01:12:34,200
Speaker 9: played with people I've never met before and with three

1480
01:12:34,280 --> 01:12:36,679
Speaker 9: days only in each studio. Let's hurry up and figure

1481
01:12:36,720 --> 01:12:39,519
Speaker 9: something out, and then recording all that to tape and

1482
01:12:39,560 --> 01:12:41,360
Speaker 9: then dumping it to pro tools and edding in pro

1483
01:12:41,439 --> 01:12:42,200
Speaker 9: tools for months.

1484
01:12:42,280 --> 01:12:43,800
Speaker 11: I had something I'd never done before either.

1485
01:12:44,040 --> 01:12:45,559
Speaker 4: So you put yourself on a time limit.

1486
01:12:46,080 --> 01:12:48,320
Speaker 11: Yeah for each city? Yeah, three days in each city.

1487
01:12:48,439 --> 01:12:48,960
Speaker 4: Why do that?

1488
01:12:49,320 --> 01:12:51,960
Speaker 11: Because I wanted the energy of uh.

1489
01:12:53,400 --> 01:12:55,280
Speaker 9: I didn't tell them as I told them as late

1490
01:12:55,320 --> 01:12:57,360
Speaker 9: as possible before we did it, so that the energy is,

1491
01:12:57,520 --> 01:12:58,720
Speaker 9: holy shit, what are we doing?

1492
01:12:59,160 --> 01:13:00,320
Speaker 11: And then nobody knows each other.

1493
01:13:00,439 --> 01:13:01,960
Speaker 9: So you have that great energy in the room of

1494
01:13:02,400 --> 01:13:04,560
Speaker 9: everyone's scared a little bit, and they also want to

1495
01:13:04,560 --> 01:13:07,800
Speaker 9: impress each other, so you get that great energy. That's

1496
01:13:07,840 --> 01:13:09,479
Speaker 9: totally different if I would have said two weeks at

1497
01:13:09,520 --> 01:13:11,639
Speaker 9: that time. Okay, guys, here's the demo for the song.

1498
01:13:11,800 --> 01:13:13,880
Speaker 9: Learn this part, learn that part. See on Wednesday at

1499
01:13:13,880 --> 01:13:15,400
Speaker 9: two o'clock and then we'll have lunch.

1500
01:13:16,720 --> 01:13:16,920
Speaker 4: Yeah.

1501
01:13:16,960 --> 01:13:18,920
Speaker 11: Then they've got they've prepared it, they figured it all out.

1502
01:13:19,080 --> 01:13:21,080
Speaker 9: But to walk in the room and nobody knows what's

1503
01:13:21,120 --> 01:13:26,439
Speaker 9: gonna happen, that's a wig more interesting, Davis.

1504
01:13:26,560 --> 01:13:29,640
Speaker 6: Something that happened in this room with with d and

1505
01:13:29,720 --> 01:13:33,640
Speaker 6: you guys, all the millions of hours.

1506
01:13:33,400 --> 01:13:35,839
Speaker 7: Of Angelo everybody.

1507
01:13:36,160 --> 01:13:39,040
Speaker 12: We recorded Voodoo in this room. Who were the players

1508
01:13:39,080 --> 01:13:41,040
Speaker 12: on this new record? Players?

1509
01:13:41,160 --> 01:13:45,040
Speaker 11: We got Neil Evans and DJ Harris, he's in New York.

1510
01:13:45,600 --> 01:13:49,080
Speaker 9: There's a monster Charlotte Camp on bass who plays with

1511
01:13:49,200 --> 01:13:52,080
Speaker 9: the Ghost to the Saber due Tiger Sean lynon his band.

1512
01:13:52,640 --> 01:13:54,320
Speaker 9: She has her own band. I think it's called Oonie.

1513
01:13:54,520 --> 01:13:58,759
Speaker 9: And then Uh, the drummer was Lewis Cato on this session.

1514
01:13:58,800 --> 01:14:00,800
Speaker 9: I gotta ask you, Tip who the who he thought

1515
01:14:00,920 --> 01:14:03,639
Speaker 9: was good New York to grab and he said Lewis

1516
01:14:04,280 --> 01:14:08,839
Speaker 9: and then I And then in La we had Carla

1517
01:14:09,120 --> 01:14:12,719
Speaker 9: Azaar on drums, who I brought one person I knew

1518
01:14:13,160 --> 01:14:15,479
Speaker 9: there as a you know, sort of anchor, like, Okay,

1519
01:14:15,640 --> 01:14:17,080
Speaker 9: I've got one person I work with and I know

1520
01:14:17,120 --> 01:14:19,360
Speaker 9: everyone else is going to be strangers. And we got

1521
01:14:19,479 --> 01:14:24,200
Speaker 9: brew what's his name, Brewster Brew forgot his last name

1522
01:14:24,920 --> 01:14:27,960
Speaker 9: on keys, as well as Quincy McCrary. And then we

1523
01:14:28,160 --> 01:14:31,760
Speaker 9: had el Nino from Ozon Motley on percussion.

1524
01:14:32,360 --> 01:14:35,120
Speaker 11: Oh, Bobby Allende on on Conga's in New York too,

1525
01:14:35,160 --> 01:14:35,560
Speaker 11: I forgot that.

1526
01:14:36,400 --> 01:14:38,040
Speaker 4: Who mixed uh this album?

1527
01:14:38,600 --> 01:14:41,599
Speaker 11: I mixed it with Josh Smith, my engineer in Nashville.

1528
01:14:41,680 --> 01:14:44,920
Speaker 9: We did it on pro tools, the editing, and then

1529
01:14:44,960 --> 01:14:46,960
Speaker 9: we mixed it through my Neive console.

1530
01:14:47,200 --> 01:14:52,680
Speaker 4: So okay, yeah, I want to also talk about other

1531
01:14:52,800 --> 01:14:58,760
Speaker 4: projects he worked on. You produced Vanlair Rose. Yes, I

1532
01:14:58,880 --> 01:15:03,000
Speaker 4: want to know well, and also I wanted to Jackson's

1533
01:15:04,400 --> 01:15:11,400
Speaker 4: album as well. How do you how do you when

1534
01:15:11,439 --> 01:15:13,880
Speaker 4: you're when you're working with someone that's obviously not in

1535
01:15:14,000 --> 01:15:14,639
Speaker 4: your generation?

1536
01:15:14,880 --> 01:15:15,880
Speaker 12: Yeah, and.

1537
01:15:18,040 --> 01:15:20,920
Speaker 4: How do you cause again you well, Fantine mentioned earlier

1538
01:15:20,960 --> 01:15:22,240
Speaker 4: that you have to manage people.

1539
01:15:22,439 --> 01:15:23,640
Speaker 11: Oh yeah, so.

1540
01:15:25,760 --> 01:15:28,439
Speaker 4: Havn't been in her presence a few times?

1541
01:15:28,960 --> 01:15:29,479
Speaker 12: How did you.

1542
01:15:31,040 --> 01:15:33,960
Speaker 4: Get that album achieved? And it's tough.

1543
01:15:34,000 --> 01:15:36,280
Speaker 9: I mean, every every person is different, obviously, but I've

1544
01:15:36,320 --> 01:15:40,160
Speaker 9: definitely done my time with many octagenarians.

1545
01:15:41,560 --> 01:15:45,680
Speaker 11: But but it's uh, Loretta was just great because she's

1546
01:15:45,760 --> 01:15:48,800
Speaker 11: just so funny and so talented, and it would be

1547
01:15:48,920 --> 01:15:51,040
Speaker 11: line by line a lot of it. She rushes.

1548
01:15:51,120 --> 01:15:54,160
Speaker 9: She starts singing the next line before it's time, before

1549
01:15:54,160 --> 01:15:56,880
Speaker 9: we've gotten to that moment, and I said, okay, you

1550
01:15:57,160 --> 01:15:58,840
Speaker 9: got to put that pause in there, and she goes,

1551
01:15:58,920 --> 01:16:01,600
Speaker 9: jack I've been doing this miss my first record. I'm

1552
01:16:01,800 --> 01:16:03,600
Speaker 9: I'm famous for this needs to make fun of me

1553
01:16:03,640 --> 01:16:06,360
Speaker 9: back in the sixties about this, I rush and she does,

1554
01:16:06,439 --> 01:16:08,280
Speaker 9: she rushes a live on stage. The band has to

1555
01:16:08,400 --> 01:16:11,439
Speaker 9: jump to the next verse because she just runs to

1556
01:16:11,520 --> 01:16:13,200
Speaker 9: the next line, so we'd have to do it, and

1557
01:16:13,280 --> 01:16:14,360
Speaker 9: we did it on tape, so we had to do

1558
01:16:14,439 --> 01:16:14,960
Speaker 9: it line.

1559
01:16:14,760 --> 01:16:16,960
Speaker 11: By line a lot of that stuff because we couldn't

1560
01:16:17,040 --> 01:16:19,720
Speaker 11: edit it later and you didn't use pro tools. No,

1561
01:16:19,880 --> 01:16:22,280
Speaker 11: that was on a TRAKYS wanted to know if.

1562
01:16:22,200 --> 01:16:27,560
Speaker 4: You oh shit, really yeah, so the patient's factor.

1563
01:16:27,360 --> 01:16:28,960
Speaker 11: Was, oh yeah, very patient.

1564
01:16:29,120 --> 01:16:31,880
Speaker 4: Yeah, you know what. One of my favorite but see,

1565
01:16:31,880 --> 01:16:36,200
Speaker 4: one of my favorite Jowins was, uh, how did you

1566
01:16:36,240 --> 01:16:38,320
Speaker 4: get her to do? Was it a little red shoes?

1567
01:16:38,560 --> 01:16:41,120
Speaker 9: Yeah? Yeah, she told the story and yeah, she was

1568
01:16:41,200 --> 01:16:43,439
Speaker 9: just telling us that story in between takes, and I

1569
01:16:43,600 --> 01:16:45,800
Speaker 9: was like, who hold on, don't don't finish, you know,

1570
01:16:46,000 --> 01:16:47,040
Speaker 9: let's roll tape real quick.

1571
01:16:47,080 --> 01:16:49,240
Speaker 11: And she went back and enrolled to he had a

1572
01:16:49,320 --> 01:16:50,000
Speaker 11: music afterwards.

1573
01:16:50,400 --> 01:16:53,519
Speaker 9: I added the music later and edited that together back

1574
01:16:53,560 --> 01:16:55,960
Speaker 9: in Detroit at Brendon Studio.

1575
01:16:55,760 --> 01:16:57,600
Speaker 4: Because in my head, I'm like, yo, how in the

1576
01:16:57,680 --> 01:17:00,200
Speaker 4: world did he manage to oh man, that it have

1577
01:17:00,200 --> 01:17:01,080
Speaker 4: been a night perfect?

1578
01:17:01,200 --> 01:17:01,360
Speaker 11: Yeah?

1579
01:17:01,360 --> 01:17:02,280
Speaker 4: I like this.

1580
01:17:02,680 --> 01:17:05,680
Speaker 11: She actually tried to do it. She actually tried to

1581
01:17:05,720 --> 01:17:07,920
Speaker 11: tell a story along with the music. But the story

1582
01:17:08,040 --> 01:17:08,400
Speaker 11: kept going.

1583
01:17:08,479 --> 01:17:10,360
Speaker 9: This song had ended long ago, and she had five

1584
01:17:10,400 --> 01:17:12,000
Speaker 9: more minutes of story to tell, so that took a

1585
01:17:12,040 --> 01:17:14,439
Speaker 9: lot of time to edit that down into making it work.

1586
01:17:14,479 --> 01:17:16,599
Speaker 11: But it was it was very cool. She got the idea.

1587
01:17:16,680 --> 01:17:17,920
Speaker 11: She thought it was a very cool idea.

1588
01:17:18,640 --> 01:17:25,040
Speaker 4: Okay, when you uh, you also did a Bond song? Yes, yeah,

1589
01:17:25,640 --> 01:17:26,519
Speaker 4: with Alicia?

1590
01:17:26,720 --> 01:17:27,720
Speaker 12: What movie was it for?

1591
01:17:28,479 --> 01:17:29,320
Speaker 11: Quantum of Silent?

1592
01:17:29,680 --> 01:17:32,400
Speaker 12: Quantum of So?

1593
01:17:32,760 --> 01:17:33,240
Speaker 5: Is it?

1594
01:17:33,840 --> 01:17:38,559
Speaker 4: Is it caricature? Is it an honor to be asked,

1595
01:17:38,840 --> 01:17:42,160
Speaker 4: you know, to do the the iconic Bond song? Yeah?

1596
01:17:42,280 --> 01:17:44,760
Speaker 11: That that that is? That was an insane honor.

1597
01:17:45,040 --> 01:17:47,439
Speaker 9: It was also I knew I was entering sort of

1598
01:17:47,560 --> 01:17:49,880
Speaker 9: like you're like you're doing something for Star Wars or

1599
01:17:49,960 --> 01:17:52,360
Speaker 9: Star Trekers, and you entering this franchise. You're entering a

1600
01:17:52,439 --> 01:17:55,240
Speaker 9: world of of pain because you know, this is a

1601
01:17:55,320 --> 01:17:59,160
Speaker 9: whole fifty years of fans who are very scratchy about

1602
01:17:59,240 --> 01:18:01,240
Speaker 9: anything to do with their beloved characters.

1603
01:18:01,320 --> 01:18:02,719
Speaker 11: So you have to careful.

1604
01:18:02,720 --> 01:18:05,160
Speaker 9: But the reason I got that gig was because Amy

1605
01:18:05,200 --> 01:18:09,160
Speaker 9: Winehouse wouldn't show up to the recording sessions they were

1606
01:18:09,240 --> 01:18:09,600
Speaker 9: going to do.

1607
01:18:09,960 --> 01:18:11,320
Speaker 11: I think it was I don't know what it was.

1608
01:18:11,360 --> 01:18:13,840
Speaker 9: I guess it was Amy Winehouse and someone else was

1609
01:18:13,880 --> 01:18:18,559
Speaker 9: a duet, and because she wasn't showing up, they asked

1610
01:18:18,600 --> 01:18:21,160
Speaker 9: if I would do it, and what about me doing

1611
01:18:21,200 --> 01:18:23,680
Speaker 9: a duet? And I said yeah, and I offered the

1612
01:18:23,760 --> 01:18:28,080
Speaker 9: idea of Alicia Keys and they said okay, and they

1613
01:18:28,240 --> 01:18:30,040
Speaker 9: just didn't have much time. So I thought, oh, this

1614
01:18:30,200 --> 01:18:31,840
Speaker 9: is good. Now I'm going to get to do some

1615
01:18:31,960 --> 01:18:33,960
Speaker 9: shit out that way would never let me do if

1616
01:18:34,000 --> 01:18:36,360
Speaker 9: they had given me a year to work on this.

1617
01:18:36,560 --> 01:18:38,839
Speaker 11: So it was super complex.

1618
01:18:39,320 --> 01:18:42,160
Speaker 9: I recommend to people that listen to just the instrumental

1619
01:18:42,200 --> 01:18:46,000
Speaker 9: of that song because it's really really bizarre changes that

1620
01:18:46,400 --> 01:18:48,880
Speaker 9: go on in that And that was a drum based thing,

1621
01:18:49,680 --> 01:18:50,840
Speaker 9: and Alicia.

1622
01:18:50,520 --> 01:18:52,560
Speaker 11: Came into to Nashville and did her thing with it.

1623
01:18:53,800 --> 01:18:54,719
Speaker 11: But it's very divisive.

1624
01:18:54,720 --> 01:18:55,720
Speaker 9: I think it was the first time I had to

1625
01:18:55,760 --> 01:18:58,320
Speaker 9: put out a song as divisive and people just loved

1626
01:18:58,320 --> 01:18:58,920
Speaker 9: it or hated it.

1627
01:18:59,439 --> 01:19:03,040
Speaker 11: The time I got to hang out with Prince, he was.

1628
01:19:04,760 --> 01:19:07,519
Speaker 9: At this club and I walked over and sat down

1629
01:19:07,600 --> 01:19:13,160
Speaker 9: and he said, well, I really loved that James Bond

1630
01:19:13,200 --> 01:19:14,960
Speaker 9: thing you did all sudden it was at the time

1631
01:19:15,040 --> 01:19:17,280
Speaker 9: it had just come out, and oh, thanks for saying that,

1632
01:19:17,280 --> 01:19:19,400
Speaker 9: because a lot of people hate it, and he goes, really,

1633
01:19:19,600 --> 01:19:20,639
Speaker 9: I thought it was real.

1634
01:19:20,520 --> 01:19:27,320
Speaker 7: Strong, wildly she keys, because you said that was the

1635
01:19:27,360 --> 01:19:28,720
Speaker 7: first person that you thought that.

1636
01:19:28,880 --> 01:19:31,599
Speaker 9: I just thought her voice would just be like who's

1637
01:19:32,360 --> 01:19:35,960
Speaker 9: you know, like the just the soaring thing, and she

1638
01:19:36,280 --> 01:19:38,240
Speaker 9: did a lot of that kind of just the soaring vocals.

1639
01:19:38,600 --> 01:19:41,280
Speaker 12: How many did they make you do? Several different drafts

1640
01:19:41,280 --> 01:19:43,519
Speaker 12: of that song before you they finally they did.

1641
01:19:43,600 --> 01:19:44,720
Speaker 9: They came back to me and they wanted me to

1642
01:19:44,760 --> 01:19:46,679
Speaker 9: put a power ballot in the middle of the song,

1643
01:19:46,880 --> 01:19:48,719
Speaker 9: and they wanted it. They wanted me to try again

1644
01:19:48,800 --> 01:19:50,599
Speaker 9: on something else, but I knew they were running out

1645
01:19:50,640 --> 01:19:54,120
Speaker 9: of time, so it's like, I'll try.

1646
01:19:54,360 --> 01:20:00,519
Speaker 7: But was it like the most creative, most hands in

1647
01:20:00,560 --> 01:20:01,720
Speaker 7: your creative process ever?

1648
01:20:02,400 --> 01:20:03,559
Speaker 11: Yeah, it was definitely.

1649
01:20:03,760 --> 01:20:03,960
Speaker 2: Wow.

1650
01:20:04,120 --> 01:20:06,000
Speaker 9: If this had been if we had started this six

1651
01:20:06,080 --> 01:20:08,000
Speaker 9: months ago, I probably would have dropped out because it

1652
01:20:08,000 --> 01:20:09,160
Speaker 9: would have just been Okay.

1653
01:20:09,000 --> 01:20:11,479
Speaker 11: Guys, you just get somebody else. I'm not your guy,

1654
01:20:11,680 --> 01:20:14,120
Speaker 11: you know, well, okay, he was one of those funny you.

1655
01:20:14,120 --> 01:20:17,200
Speaker 4: Know some always wanted to ask, Okay, so last time

1656
01:20:17,560 --> 01:20:19,640
Speaker 4: I did a show with you, you do this very

1657
01:20:19,720 --> 01:20:23,839
Speaker 4: unique thing where none of your okay, so he travels

1658
01:20:23,880 --> 01:20:27,240
Speaker 4: with I don't know if you still do this. But

1659
01:20:28,280 --> 01:20:33,200
Speaker 4: two bands, an all male band, all female band. Yeah,

1660
01:20:33,320 --> 01:20:34,960
Speaker 4: I did that, and they all get dressed to the

1661
01:20:35,080 --> 01:20:39,200
Speaker 4: nines and then about forty five minutes into show time,

1662
01:20:40,760 --> 01:20:43,160
Speaker 4: they're told which band is going to be his band tonight?

1663
01:20:43,600 --> 01:20:43,640
Speaker 9: What?

1664
01:20:50,040 --> 01:20:56,599
Speaker 4: But what do I think we still do that? I'm

1665
01:20:56,640 --> 01:21:02,639
Speaker 4: not coming to the day Sinray angry there, but one.

1666
01:21:03,320 --> 01:21:05,560
Speaker 4: I mean I never I'm never going to ask you

1667
01:21:05,640 --> 01:21:07,680
Speaker 4: why you do things? Because you are you are and

1668
01:21:07,800 --> 01:21:08,200
Speaker 4: that's why.

1669
01:21:08,439 --> 01:21:09,360
Speaker 7: So, but.

1670
01:21:11,920 --> 01:21:15,200
Speaker 4: Do they feel some sort of way like, Okay, if

1671
01:21:15,200 --> 01:21:15,479
Speaker 4: they're in.

1672
01:21:15,680 --> 01:21:16,439
Speaker 11: L A, have an hour.

1673
01:21:16,479 --> 01:21:16,880
Speaker 12: I'll give you.

1674
01:21:17,120 --> 01:21:19,920
Speaker 11: I'll give you all the the reactions to taking an

1675
01:21:19,960 --> 01:21:20,639
Speaker 11: hour to explain.

1676
01:21:21,040 --> 01:21:23,680
Speaker 4: I was gonna say, like because the first time I

1677
01:21:23,760 --> 01:21:26,240
Speaker 4: did it, ah Man, rest in peace. To Ike. Ike

1678
01:21:26,479 --> 01:21:28,640
Speaker 4: was telling me like, yo, I might come to your

1679
01:21:28,680 --> 01:21:31,240
Speaker 4: jam session, but I gotta wait for word. It's a

1680
01:21:31,280 --> 01:21:33,040
Speaker 4: word or what He's like. I don't know if I'm

1681
01:21:33,040 --> 01:21:34,600
Speaker 4: gonna playing with Jackson. I said, I thought you were

1682
01:21:34,640 --> 01:21:36,080
Speaker 4: a keyboard player, and then he explained to me the

1683
01:21:36,160 --> 01:21:38,560
Speaker 4: system that he might and just happened to be the

1684
01:21:38,680 --> 01:21:40,519
Speaker 4: night that you chose. Are they the Peacocks?

1685
01:21:40,720 --> 01:21:43,160
Speaker 11: Yeah, the girls with the Peacocks and the boys were

1686
01:21:43,160 --> 01:21:44,400
Speaker 11: the Buzzards, right, so.

1687
01:21:45,200 --> 01:21:47,360
Speaker 4: You chose the Peacocks when he was like a great,

1688
01:21:47,400 --> 01:21:48,280
Speaker 4: I'm off yeah, and then.

1689
01:21:48,280 --> 01:21:51,640
Speaker 9: He came to our gig and but this was this

1690
01:21:51,840 --> 01:21:53,880
Speaker 9: was for two albums ago, and Ike was the first

1691
01:21:53,920 --> 01:21:56,680
Speaker 9: person to positively love it and respond to it, at

1692
01:21:56,720 --> 01:21:57,719
Speaker 9: least to my face.

1693
01:21:58,160 --> 01:21:58,599
Speaker 11: But uh.

1694
01:22:00,040 --> 01:22:03,240
Speaker 9: So I had gathered them together and said, you know,

1695
01:22:03,280 --> 01:22:05,000
Speaker 9: I had a group me like, here's what's going to happen.

1696
01:22:05,080 --> 01:22:06,600
Speaker 11: I want to have an all male band and an

1697
01:22:06,600 --> 01:22:07,439
Speaker 11: all female band.

1698
01:22:07,439 --> 01:22:09,200
Speaker 9: And the reason why is I want people to not

1699
01:22:09,360 --> 01:22:11,200
Speaker 9: know who's going to play with me that night, and

1700
01:22:11,320 --> 01:22:13,040
Speaker 9: I want them to react and say.

1701
01:22:15,360 --> 01:22:16,800
Speaker 11: You know, it would be almost like I'm trying to

1702
01:22:16,800 --> 01:22:18,400
Speaker 11: think of a way to do it, Like if I had.

1703
01:22:18,320 --> 01:22:20,439
Speaker 9: A band of all eighty year old people and a

1704
01:22:20,520 --> 01:22:23,479
Speaker 9: band of all teenagers, a wait for them to directly

1705
01:22:23,560 --> 01:22:25,680
Speaker 9: know this is a different band. So if it was

1706
01:22:25,760 --> 01:22:28,120
Speaker 9: a mixed together band, maybe a lot of people wouldn't

1707
01:22:28,120 --> 01:22:28,479
Speaker 9: pay attention.

1708
01:22:28,520 --> 01:22:29,200
Speaker 11: You wouldn't say, was.

1709
01:22:29,200 --> 01:22:31,800
Speaker 9: That the same band that played in Cleveland yesterday. So

1710
01:22:31,920 --> 01:22:33,720
Speaker 9: this was a definite way for them to know, oh no,

1711
01:22:33,840 --> 01:22:37,920
Speaker 9: this is a different band completely. So that was the

1712
01:22:38,000 --> 01:22:39,519
Speaker 9: one way to do it. And also to mess with

1713
01:22:39,600 --> 01:22:43,160
Speaker 9: the preconceptions that people have about female musicians too, which

1714
01:22:43,280 --> 01:22:46,519
Speaker 9: you know, I think don't kind of ridiculously in this

1715
01:22:46,640 --> 01:22:48,879
Speaker 9: thing and age still kind of treat like a novelty.

1716
01:22:49,160 --> 01:22:51,559
Speaker 9: Oh isn't that cute? You play girl, you play fiddle,

1717
01:22:51,640 --> 01:22:55,280
Speaker 9: or you play you know, steal guitar. So I sat

1718
01:22:55,320 --> 01:22:56,519
Speaker 9: them all Don said, here's what's gonna happen.

1719
01:22:56,520 --> 01:22:59,880
Speaker 11: We're gonna go on tore and there's at breakfast, I'm

1720
01:23:00,120 --> 01:23:00,679
Speaker 11: to decide.

1721
01:23:00,479 --> 01:23:03,200
Speaker 9: Who's playing that night. It's gonna have absolutely nothing to

1722
01:23:03,280 --> 01:23:05,440
Speaker 9: do with what you did last night. It's not a competition,

1723
01:23:06,000 --> 01:23:06,160
Speaker 9: you know.

1724
01:23:06,520 --> 01:23:08,639
Speaker 11: But here's the great thing. You get paid either way.

1725
01:23:08,920 --> 01:23:11,320
Speaker 9: Wow, you're gonna get a day off when you didn't

1726
01:23:11,320 --> 01:23:12,760
Speaker 9: know it, so it's gonna be a nice surprise, or

1727
01:23:12,800 --> 01:23:14,840
Speaker 9: you get to play that night. And sometimes we're gonna

1728
01:23:14,880 --> 01:23:16,519
Speaker 9: do two nights in a row, three nights in a row,

1729
01:23:17,000 --> 01:23:18,240
Speaker 9: and you can't get your feelings.

1730
01:23:20,160 --> 01:23:22,480
Speaker 4: Was there a night where it was like the Pecks

1731
01:23:22,520 --> 01:23:25,320
Speaker 4: at like six nights in a row and I think

1732
01:23:25,400 --> 01:23:26,280
Speaker 4: three was the most.

1733
01:23:26,560 --> 01:23:29,720
Speaker 11: And there was definitely times where people were sort of

1734
01:23:30,400 --> 01:23:31,400
Speaker 11: they felt some way.

1735
01:23:31,479 --> 01:23:33,280
Speaker 9: I think it was the one sign where they actually

1736
01:23:33,439 --> 01:23:36,120
Speaker 9: spoke up and we had I I conceded was I

1737
01:23:36,240 --> 01:23:38,280
Speaker 9: wanted them to come out in New York and I

1738
01:23:38,320 --> 01:23:40,120
Speaker 9: wanted the male band to come out and play one

1739
01:23:40,240 --> 01:23:40,960
Speaker 9: note and leave.

1740
01:23:48,360 --> 01:23:49,400
Speaker 11: They were insult.

1741
01:23:51,640 --> 01:23:54,360
Speaker 4: What about but what about yeah? Because it's nice for

1742
01:23:54,520 --> 01:23:55,880
Speaker 4: like my parents are coming to see.

1743
01:23:56,360 --> 01:23:57,160
Speaker 7: Yeah, it was.

1744
01:23:57,360 --> 01:23:58,320
Speaker 12: It was that kind of thing.

1745
01:23:58,600 --> 01:24:00,560
Speaker 11: It was our friends are here, it's New York, and

1746
01:24:01,320 --> 01:24:03,000
Speaker 11: if we're doing it, we got to do it. It

1747
01:24:03,040 --> 01:24:04,639
Speaker 11: was that kind of thing. I was, all right, I'll concede.

1748
01:24:04,680 --> 01:24:07,160
Speaker 11: I understand, you know, you know. The idea was it

1749
01:24:07,240 --> 01:24:08,680
Speaker 11: was to fake out, to fake the crowd out.

1750
01:24:08,840 --> 01:24:10,920
Speaker 4: And Carlo was also your drummer.

1751
01:24:11,000 --> 01:24:12,000
Speaker 11: She was the girl in the girl man.

1752
01:24:12,360 --> 01:24:15,800
Speaker 4: Right. So the thing is is if you make the

1753
01:24:15,880 --> 01:24:21,360
Speaker 4: decision two hours before showtime, then does she have to

1754
01:24:21,439 --> 01:24:25,000
Speaker 4: adjust Daru's jump set. It's at breakfast at Breste.

1755
01:24:25,400 --> 01:24:28,759
Speaker 9: Yeah, breakfast, and then one of these nights the decision

1756
01:24:28,880 --> 01:24:31,559
Speaker 9: was me, okay, so no, no normal that You're right,

1757
01:24:31,640 --> 01:24:33,280
Speaker 9: There were no there were times you you might have

1758
01:24:33,320 --> 01:24:36,479
Speaker 9: been at that. There were times where okay. The a

1759
01:24:36,520 --> 01:24:38,639
Speaker 9: lot of times all the musicians would come and watch

1760
01:24:38,720 --> 01:24:40,200
Speaker 9: the show anyway, which was great.

1761
01:24:40,240 --> 01:24:41,240
Speaker 11: There was like a real family.

1762
01:24:41,320 --> 01:24:43,400
Speaker 9: They already wanted to see, and they also want to

1763
01:24:43,400 --> 01:24:44,840
Speaker 9: see what we were doing, because we were doing different

1764
01:24:44,880 --> 01:24:47,000
Speaker 9: versions of the same song with two different bands, which

1765
01:24:47,640 --> 01:24:49,720
Speaker 9: so I was rehearsing in Nashville one studio, and then

1766
01:24:49,720 --> 01:24:51,639
Speaker 9: I would drive across town and this other student rehearsed

1767
01:24:51,680 --> 01:24:52,840
Speaker 9: with them and try to come up with a whole

1768
01:24:52,840 --> 01:24:54,719
Speaker 9: different arrangement for that same song.

1769
01:24:55,000 --> 01:24:57,000
Speaker 7: And you never put them together. They never got to.

1770
01:24:57,200 --> 01:24:59,880
Speaker 9: We did when Portland, Oregon, from the vanle Rose album

1771
01:25:00,000 --> 01:25:02,439
Speaker 9: we played Portland, we did the whole band to get

1772
01:25:02,479 --> 01:25:03,759
Speaker 9: all boys and girls together.

1773
01:25:04,600 --> 01:25:06,760
Speaker 4: A guy like me, like I can see right now

1774
01:25:06,800 --> 01:25:09,479
Speaker 4: if I was like playing Madden on the tour bus

1775
01:25:09,560 --> 01:25:12,360
Speaker 4: and maybe one of the dudes kicked my ass, and

1776
01:25:12,400 --> 01:25:14,160
Speaker 4: I feel like, all right, whatever girls tonight.

1777
01:25:21,439 --> 01:25:25,040
Speaker 8: I got a question, Jack, My my favorite scene in

1778
01:25:25,120 --> 01:25:30,040
Speaker 8: the in the Guitar Guys documentary do you know what

1779
01:25:31,040 --> 01:25:33,920
Speaker 8: what is it called? It has a great yeah, yeah, Okay,

1780
01:25:34,000 --> 01:25:36,400
Speaker 8: So my favorite scene is You're in a room with Edge.

1781
01:25:36,439 --> 01:25:38,240
Speaker 8: It's like a room like this with Edge and Jimmy

1782
01:25:38,320 --> 01:25:42,480
Speaker 8: Page and you and and Jimmy Page lights into Kashmir,

1783
01:25:42,840 --> 01:25:44,640
Speaker 8: and the best part of this film is it then

1784
01:25:44,760 --> 01:25:46,519
Speaker 8: pans over to you and I just want to know

1785
01:25:46,560 --> 01:25:47,439
Speaker 8: what you were thinking, because you.

1786
01:25:47,520 --> 01:25:47,920
Speaker 4: Just look like.

1787
01:25:51,160 --> 01:25:51,400
Speaker 11: Whatever.

1788
01:25:51,560 --> 01:25:52,920
Speaker 8: It was something like that, and you were just like,

1789
01:25:53,320 --> 01:25:55,400
Speaker 8: holy shit, I'm in a room like this is happening.

1790
01:25:55,479 --> 01:25:57,519
Speaker 8: And just I thought there was such a genuine reaction

1791
01:25:57,760 --> 01:25:59,320
Speaker 8: but b Roll, talk about b Roll. It was that

1792
01:25:59,400 --> 01:26:00,639
Speaker 8: was like a legit be real.

1793
01:26:00,720 --> 01:26:02,840
Speaker 9: It was because it was it was a surprise moment

1794
01:26:02,920 --> 01:26:05,439
Speaker 9: because he had I often joke and say, well people

1795
01:26:05,479 --> 01:26:06,880
Speaker 9: a while of people don't realize it was because the

1796
01:26:06,920 --> 01:26:12,920
Speaker 9: dessert cart was standing right, But it was actually a

1797
01:26:12,960 --> 01:26:15,000
Speaker 9: surprise moment. We were just talking and nobody had said

1798
01:26:15,000 --> 01:26:17,160
Speaker 9: anything about anything about playing at that moment. We were

1799
01:26:17,160 --> 01:26:18,920
Speaker 9: just talking like this and he just stood up and

1800
01:26:19,000 --> 01:26:20,479
Speaker 9: plugged in and just started playing Whole.

1801
01:26:20,280 --> 01:26:21,320
Speaker 12: Lot of Love. It was like whoa.

1802
01:26:22,680 --> 01:26:24,479
Speaker 9: But the director sent me that clip and I'm like,

1803
01:26:25,600 --> 01:26:31,320
Speaker 9: damn man, people are gonna be talking about that for

1804
01:26:31,400 --> 01:26:32,120
Speaker 9: the rest of my life.

1805
01:26:32,120 --> 01:26:33,719
Speaker 11: And I was like, all right, let it go ahead,

1806
01:26:33,760 --> 01:26:34,280
Speaker 11: put it in the movie.

1807
01:26:34,320 --> 01:26:34,960
Speaker 4: It was so real.

1808
01:26:35,960 --> 01:26:40,200
Speaker 11: It was genuinely not this is just beautiful. It just

1809
01:26:40,439 --> 01:26:41,200
Speaker 11: it was incredible.

1810
01:26:42,600 --> 01:26:44,519
Speaker 4: When it was pitched to you, you didn't have any

1811
01:26:44,640 --> 01:26:48,920
Speaker 4: reservations of like because to me, it's almost like summit

1812
01:26:49,000 --> 01:26:53,559
Speaker 4: meetings like that had they have the tendency to turn

1813
01:26:53,640 --> 01:26:57,160
Speaker 4: on their face. There's there's the infamous Uh you ever

1814
01:26:57,240 --> 01:27:00,800
Speaker 4: heard of a toot and a snort? Are you talking

1815
01:27:00,840 --> 01:27:04,679
Speaker 4: about him? You know about it? Okay? So a tune

1816
01:27:04,720 --> 01:27:08,600
Speaker 4: to snort is there's the worst, the worst piece of

1817
01:27:08,640 --> 01:27:12,080
Speaker 4: shit ever. It's a record on paper, it's awesome. So

1818
01:27:12,200 --> 01:27:17,080
Speaker 4: John Lennon is producing, Harry Nielsen and Stevie Wonder also

1819
01:27:17,160 --> 01:27:19,639
Speaker 4: happens to be working on fulfilling this first finality down

1820
01:27:19,720 --> 01:27:23,479
Speaker 4: the hall, and Paul McCartney happens to be in doing

1821
01:27:23,560 --> 01:27:25,320
Speaker 4: something in the sea room. And so I guess during

1822
01:27:25,360 --> 01:27:27,759
Speaker 4: like a dinner break, they all decided to get together

1823
01:27:28,360 --> 01:27:30,479
Speaker 4: and let's just have a jam. So this will be

1824
01:27:30,600 --> 01:27:33,840
Speaker 4: the last noted time that Lennon McCartney on the studio together.

1825
01:27:34,560 --> 01:27:39,919
Speaker 4: So Stevie's on drums, I think, So Stevie's on drums,

1826
01:27:41,439 --> 01:27:46,120
Speaker 4: Nielsen's on guitar, McCartney's on bass, and I think also

1827
01:27:46,560 --> 01:27:55,960
Speaker 4: Lennon's on guitar, and again Stevie Wonder, John Lennon, when

1828
01:27:56,000 --> 01:27:58,920
Speaker 4: you said, Steve, that's what you went wrong, right, Steve

1829
01:28:00,080 --> 01:28:06,800
Speaker 4: that the peacocks and they struggle through stand by me

1830
01:28:06,920 --> 01:28:10,400
Speaker 4: for like forty five minutes and it's like a bunch

1831
01:28:10,479 --> 01:28:12,920
Speaker 4: of five year olds are playing like it's the worst

1832
01:28:13,200 --> 01:28:16,280
Speaker 4: of shit ever. And it's called a snort because at

1833
01:28:16,360 --> 01:28:20,720
Speaker 4: one point I think Lennon offers it goes to Steven says,

1834
01:28:21,000 --> 01:28:24,240
Speaker 4: you want to to snort? You know that sort of thing? No, man,

1835
01:28:26,240 --> 01:28:28,559
Speaker 4: but it's you would think that, you know, the summit

1836
01:28:28,640 --> 01:28:30,920
Speaker 4: meeting of the gods would result in you know, some

1837
01:28:31,040 --> 01:28:34,560
Speaker 4: sort of million dollar sun record session ship. No, no,

1838
01:28:35,720 --> 01:28:36,759
Speaker 4: there's the worst piece.

1839
01:28:36,600 --> 01:28:39,200
Speaker 11: Of cameras in the room or what ruins it too?

1840
01:28:40,080 --> 01:28:45,000
Speaker 4: Because speaking of which, everyone, Okay, so we got cameras

1841
01:28:45,000 --> 01:28:48,040
Speaker 4: in this room. Everyone, can we just say yes one second? Like,

1842
01:28:48,160 --> 01:28:51,080
Speaker 4: not yes, the cameras. Okay, can we all just laugh

1843
01:28:51,200 --> 01:28:59,880
Speaker 4: right now? Stop?

1844
01:29:00,360 --> 01:29:07,840
Speaker 10: Okay, Steve's sugar, Steve's literally or his I g right now.

1845
01:29:08,240 --> 01:29:11,000
Speaker 10: So your regularly third man. You guys, actually you're a

1846
01:29:11,080 --> 01:29:13,519
Speaker 10: plant your press records. What is the lead time on

1847
01:29:13,600 --> 01:29:15,320
Speaker 10: your stuff? Because I might actually need the press.

1848
01:29:16,840 --> 01:29:18,719
Speaker 11: We try to be as fast as possible.

1849
01:29:18,840 --> 01:29:20,200
Speaker 9: Like one of the one of the hold ups is

1850
01:29:20,360 --> 01:29:22,519
Speaker 9: plating a record, you know, getting it, getting the metal

1851
01:29:22,560 --> 01:29:25,880
Speaker 9: plates made. That usually is the is the one thing

1852
01:29:25,960 --> 01:29:29,600
Speaker 9: that installs the project. The most because once you have

1853
01:29:29,760 --> 01:29:31,880
Speaker 9: the masters in the room and you can just kind

1854
01:29:31,880 --> 01:29:34,760
Speaker 9: of start whipping whipping them out as long as the

1855
01:29:34,840 --> 01:29:38,479
Speaker 9: test pressings are sound properly. So there's there's some stumbling

1856
01:29:38,520 --> 01:29:40,200
Speaker 9: things that test pressing come back and there's a there's

1857
01:29:40,200 --> 01:29:42,040
Speaker 9: a skip, and then you got to start over again,

1858
01:29:42,120 --> 01:29:44,200
Speaker 9: get a new plate made so that that can be

1859
01:29:44,560 --> 01:29:46,880
Speaker 9: But but usually it's pretty can be pretty fast a

1860
01:29:46,920 --> 01:29:47,360
Speaker 9: few weeks.

1861
01:29:47,800 --> 01:29:53,560
Speaker 4: Does the various UH artwork are creature is then caricature?

1862
01:29:54,040 --> 01:29:54,200
Speaker 9: UH?

1863
01:29:54,920 --> 01:29:59,160
Speaker 4: Does the various options of artwork that you do to

1864
01:29:59,439 --> 01:30:05,479
Speaker 4: your vinyl like you once had uh an angel appear

1865
01:30:06,280 --> 01:30:10,000
Speaker 4: Holograham angel one like? Does that affect the sound at all?

1866
01:30:10,880 --> 01:30:11,000
Speaker 7: Uh?

1867
01:30:11,120 --> 01:30:11,840
Speaker 11: Some of those things do?

1868
01:30:12,240 --> 01:30:15,000
Speaker 9: Number one, if you the reason why black vinyl is

1869
01:30:15,200 --> 01:30:17,960
Speaker 9: became the normal color for vinyl is because it's the

1870
01:30:18,000 --> 01:30:21,879
Speaker 9: best sounding color, the best sounding substrate, well not substrate,

1871
01:30:21,880 --> 01:30:25,360
Speaker 9: but the best sounding material. When you use colored vinyl

1872
01:30:25,400 --> 01:30:27,640
Speaker 9: like red or blue or anything like that, you do

1873
01:30:28,560 --> 01:30:30,080
Speaker 9: lose lose sound quality.

1874
01:30:30,640 --> 01:30:32,080
Speaker 11: So that's why black became the standard.

1875
01:30:32,680 --> 01:30:51,680
Speaker 4: Right, Okay, UH, any final questions before I wrap this

1876
01:30:52,120 --> 01:30:52,559
Speaker 4: one or two?

1877
01:30:54,880 --> 01:30:58,160
Speaker 6: So, as a mir stated earlier, we're in electrically studios

1878
01:30:58,200 --> 01:30:58,800
Speaker 6: here in New York.

1879
01:30:59,439 --> 01:31:00,639
Speaker 4: I know you here before?

1880
01:31:00,680 --> 01:31:01,840
Speaker 12: Have you ever recorded here?

1881
01:31:02,439 --> 01:31:04,880
Speaker 9: The White Stress put on a concert here. That is

1882
01:31:04,920 --> 01:31:07,360
Speaker 9: the only time I've ever recorded here, and we actually

1883
01:31:07,680 --> 01:31:09,400
Speaker 9: released it. It was we did a version of our

1884
01:31:09,479 --> 01:31:11,240
Speaker 9: song Ball and Biscuit. We did like a ten minute

1885
01:31:11,280 --> 01:31:12,680
Speaker 9: version of it. I think we released it on a

1886
01:31:12,800 --> 01:31:16,880
Speaker 9: twelve inch vinyl at the time. And that was a

1887
01:31:16,920 --> 01:31:21,280
Speaker 9: great show. That was the only time I'd ever been before.

1888
01:31:21,439 --> 01:31:24,200
Speaker 12: Any future desire to do a record here or.

1889
01:31:24,200 --> 01:31:26,000
Speaker 4: Anything, Oh, I would love to, I really love to.

1890
01:31:26,120 --> 01:31:29,679
Speaker 6: Well, I'm only asking, h Yeah, I didn't. Who's cracking

1891
01:31:29,760 --> 01:31:30,200
Speaker 6: up right now?

1892
01:31:30,280 --> 01:31:31,559
Speaker 4: I am. We don't know why.

1893
01:31:33,000 --> 01:31:35,439
Speaker 12: Because of the legacy obviously Jimi Hendrix and.

1894
01:31:35,439 --> 01:31:41,400
Speaker 6: So forth and everybody else's who's recorded here, and and

1895
01:31:41,600 --> 01:31:43,559
Speaker 6: plus it's almost fifty years.

1896
01:31:43,360 --> 01:31:43,720
Speaker 12: Old, and.

1897
01:31:45,680 --> 01:31:48,479
Speaker 9: Recording this new album at Sears Sound when we came

1898
01:31:48,520 --> 01:31:50,040
Speaker 9: to New York, that was the first time I've ever

1899
01:31:50,120 --> 01:31:51,160
Speaker 9: recorded in New York City.

1900
01:31:51,320 --> 01:31:53,840
Speaker 11: So I have never recorded in New York and LA

1901
01:31:53,960 --> 01:31:54,400
Speaker 11: and anything.

1902
01:31:54,479 --> 01:31:56,519
Speaker 9: I did one little thing with Keith Richards here once

1903
01:31:56,600 --> 01:31:58,560
Speaker 9: and one little thing for Cold Mountain in LA and

1904
01:31:58,600 --> 01:31:59,960
Speaker 9: that was the only time I ever recorded in those.

1905
01:32:00,360 --> 01:32:03,320
Speaker 9: The big cities always kind of was scared to come

1906
01:32:03,400 --> 01:32:05,360
Speaker 9: to New York and LA to record like it was

1907
01:32:05,760 --> 01:32:10,599
Speaker 9: too much going on to Clusterphobe. So I thought, well,

1908
01:32:10,640 --> 01:32:13,040
Speaker 9: that was another way in this album to break out

1909
01:32:13,080 --> 01:32:15,320
Speaker 9: of some things I'd never done before, was to do that.

1910
01:32:17,200 --> 01:32:20,680
Speaker 6: I guess unrelated question, but have you are you a

1911
01:32:20,760 --> 01:32:22,599
Speaker 6: fan of the Daptone Records label.

1912
01:32:22,720 --> 01:32:25,160
Speaker 11: Yeah, they're doing great, great work, great work.

1913
01:32:25,280 --> 01:32:25,960
Speaker 12: For those who don't know.

1914
01:32:26,000 --> 01:32:28,760
Speaker 6: They do a lot of vintage sounding recordings and use

1915
01:32:29,120 --> 01:32:29,559
Speaker 6: eight track.

1916
01:32:29,840 --> 01:32:31,360
Speaker 11: Yeah, you know.

1917
01:32:31,479 --> 01:32:33,800
Speaker 9: It's also what's what's good about it, though, is the

1918
01:32:33,880 --> 01:32:36,200
Speaker 9: marriage of trying to find what's soulful about anything. If

1919
01:32:36,200 --> 01:32:39,640
Speaker 9: it's an amplifier, if it's equipment, you know, it's not

1920
01:32:39,800 --> 01:32:41,800
Speaker 9: just the idea of using it because it's old or

1921
01:32:41,840 --> 01:32:44,639
Speaker 9: because it's novelty or something like that. It's about finding

1922
01:32:44,720 --> 01:32:46,479
Speaker 9: what's the best sound for whatever you're trying to do.

1923
01:32:46,840 --> 01:32:49,240
Speaker 9: I mean, if you're using you know, I saw Stevie

1924
01:32:49,320 --> 01:32:52,439
Speaker 9: Wonder one time we played and his clavinet broke. You know,

1925
01:32:52,520 --> 01:32:54,840
Speaker 9: it's like, that's amazing that he's using a real clav

1926
01:32:54,920 --> 01:32:58,760
Speaker 9: He doesn't have to use a real clav but it's

1927
01:32:58,840 --> 01:33:00,760
Speaker 9: nice to see that he is. And and you know

1928
01:33:00,840 --> 01:33:02,760
Speaker 9: the difference between a cloud emulation and.

1929
01:33:02,800 --> 01:33:03,320
Speaker 11: A real cloud.

1930
01:33:03,320 --> 01:33:03,880
Speaker 4: I want to see.

1931
01:33:03,880 --> 01:33:06,599
Speaker 9: It's there's two different things. Not to say, you can't

1932
01:33:06,680 --> 01:33:08,599
Speaker 9: use a cloud sitting on a keyboard and blow my mind,

1933
01:33:08,600 --> 01:33:10,360
Speaker 9: you know. You know, I think we did on this album.

1934
01:33:10,400 --> 01:33:12,120
Speaker 9: I think we used a fake cloud on some song

1935
01:33:12,160 --> 01:33:14,479
Speaker 9: and it was it was. It sounds amazing.

1936
01:33:15,360 --> 01:33:16,720
Speaker 11: It's just about what works for you.

1937
01:33:16,840 --> 01:33:18,680
Speaker 9: And you know what if what I like to do

1938
01:33:18,840 --> 01:33:20,600
Speaker 9: is marry the best from the future and the and

1939
01:33:20,680 --> 01:33:23,120
Speaker 9: the past together and find some some kind of synthesis

1940
01:33:23,200 --> 01:33:25,519
Speaker 9: between that and that way you get somewhere new with it.

1941
01:33:25,800 --> 01:33:28,840
Speaker 9: I'm always trying to get somewhere new, you know, regardless

1942
01:33:28,840 --> 01:33:31,760
Speaker 9: of how what what microphone and what pamp is in there.

1943
01:33:33,000 --> 01:33:34,080
Speaker 4: Bill, I'm good man.

1944
01:33:35,640 --> 01:33:37,679
Speaker 12: I got that was a great way to close.

1945
01:33:42,600 --> 01:33:44,000
Speaker 7: Signals. I got the yea.

1946
01:33:49,760 --> 01:33:54,880
Speaker 4: So anyway, so we want to thank you for coming

1947
01:33:54,920 --> 01:33:55,880
Speaker 4: to show so much.

1948
01:33:55,920 --> 01:34:00,479
Speaker 9: I mean, should tell you incredibly interesting and intelligent questions

1949
01:34:00,520 --> 01:34:00,800
Speaker 9: you guys.

1950
01:34:01,240 --> 01:34:03,439
Speaker 11: Thank you really really did your homework and everything. I'm

1951
01:34:03,439 --> 01:34:04,000
Speaker 11: just impressed.

1952
01:34:04,320 --> 01:34:05,120
Speaker 12: We're amazing.

1953
01:34:05,920 --> 01:34:08,320
Speaker 11: You obviously really love music, and that's I love to

1954
01:34:08,360 --> 01:34:09,800
Speaker 11: hear that music nerds.

1955
01:34:10,880 --> 01:34:13,320
Speaker 4: So before I sign off, I just want to remind

1956
01:34:13,400 --> 01:34:16,560
Speaker 4: you listeners. Yeah, I'm doing my wet to pay. My

1957
01:34:16,800 --> 01:34:20,280
Speaker 4: fourth book HarperCollins comes out. Uh, you can get it

1958
01:34:20,360 --> 01:34:23,840
Speaker 4: right now. Is this recording, It's called Creative Quest. It's

1959
01:34:24,000 --> 01:34:29,080
Speaker 4: a book or a manual guide uh to creativity. If

1960
01:34:29,680 --> 01:34:30,799
Speaker 4: that's such a hard.

1961
01:34:32,400 --> 01:34:33,560
Speaker 7: Stay tuned for the audiobooks.

1962
01:34:33,720 --> 01:34:36,320
Speaker 4: I'm excited actually the other audio books and ship I

1963
01:34:37,439 --> 01:34:41,360
Speaker 4: after hearing Jennifer Lewis's audio book, I went and readid

1964
01:34:41,439 --> 01:34:44,760
Speaker 4: my entire audiobook over again and it's fully there's a

1965
01:34:44,840 --> 01:34:50,479
Speaker 4: soundtrack to it, there's vignettes, there's acting, it's it's on point. Yeah,

1966
01:34:50,880 --> 01:34:57,160
Speaker 4: that was like a creative It is Richard Nimblefield Quest Love. Anyway,

1967
01:34:57,640 --> 01:35:01,439
Speaker 4: when we have a fan Tickelo unpaid Bill Boss, Bill Sugar,

1968
01:35:01,479 --> 01:35:07,000
Speaker 4: Steve Star of Chat with Sugar, it's like, we gotta

1969
01:35:07,000 --> 01:35:08,840
Speaker 4: get chat or you know when you when you come

1970
01:35:08,880 --> 01:35:11,040
Speaker 4: to fallin uh in the future, we gotta get you

1971
01:35:11,160 --> 01:35:16,400
Speaker 4: on No, I'm we just for three minutes Chat with Sugar.

1972
01:35:16,760 --> 01:35:19,360
Speaker 4: You and Jack white Jack. Thank you very much. This

1973
01:35:19,479 --> 01:35:21,040
Speaker 4: is Quest Love and we'll see you in the next

1974
01:35:21,080 --> 01:35:24,600
Speaker 4: go around and Love Supreme only on Pandora. Thank you.

1975
01:35:35,000 --> 01:35:38,719
Speaker 1: What's Love Supreme is a production of iHeartRadio This classic

1976
01:35:38,760 --> 01:35:40,120
Speaker 1: episode was produced.

1977
01:35:39,800 --> 01:35:41,480
Speaker 4: By the team at Pandora.

1978
01:35:44,360 --> 01:35:47,599
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1979
01:35:47,840 --> 01:35:50,880
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.