WEBVTT - QLS Classic: Jack White 0:00:00.480 --> 0:00:04.720 Questlove Supreme is a production of iHeartRadio. This classic episode 0:00:04.800 --> 0:00:07.040 was produced by the team at Pandora. 0:00:08.960 --> 0:00:11.039 This is Sugar, Steve and On this week's Quest Love 0:00:11.160 --> 0:00:15.760 Supreme classic, musician, songwriter and producer Jack White talks about 0:00:15.760 --> 0:00:18.880 how music kept him from the priesthood, his love of 0:00:18.960 --> 0:00:23.200 analog recording technology, and the Amy Winehouse duet that Never 0:00:23.480 --> 0:00:27.800 was originally released May ninth, twenty eighteen. 0:00:36.640 --> 0:00:47.120 Suprema Suprema, roll call, Suprema Suprema, role call, Suprema Suprema 0:00:47.200 --> 0:00:51.120 roll call Suprema Suprema ro. 0:00:51.560 --> 0:00:55.760 Af fartigue of hip hop culture. Yeah, all good, fine, Yeah, 0:00:55.800 --> 0:00:58.240 but is this thing for bananas? Yeah, that's where I 0:00:58.400 --> 0:01:01.320 all the mine Supreme. 0:01:01.320 --> 0:01:07.720 Shun Suprema role called Supreme Suprema roll call. 0:01:08.240 --> 0:01:11.520 In the building. Yeah, it's time to settle the school. Yeah, 0:01:11.720 --> 0:01:15.680 in this room filled Yeah with racking toy roll call 0:01:16.240 --> 0:01:23.560 Supreme Supremo, roll Supreme roll call. 0:01:23.680 --> 0:01:27.440 My name is Sugar, Yeah, the one you trust. Yeah 0:01:27.600 --> 0:01:31.880 until I bust out. Yeah, my blunder car. 0:01:32.200 --> 0:01:40.520 Supreme SUPREMEA role called Supreme Supremo, role called Bill. 0:01:41.120 --> 0:01:41.360 Yeah. 0:01:41.560 --> 0:01:44.520 That's how I'm known. Yeah, happy, I'm not. 0:01:45.200 --> 0:01:45.440 Yeah. 0:01:45.920 --> 0:01:54.600 Michael Cohen ro Suprema Suppremer, road called Supremer Supremo. 0:01:54.800 --> 0:01:58.560 Roll calls Boss Bill Yeah, ain't no debating. 0:01:59.040 --> 0:02:00.720 Yeah, your fool need Jesus. 0:02:01.120 --> 0:02:06.680 Yeah, get behind me, Satan Ro Supremo Supremo. 0:02:06.920 --> 0:02:11.400 Roll called Supremo Supremo roll call. 0:02:11.720 --> 0:02:15.839 It's like yeah yeah and Jack White, Yeah you're looking 0:02:15.919 --> 0:02:16.440 kind of good. 0:02:17.040 --> 0:02:17.280 Yeah. 0:02:17.560 --> 0:02:18.560 One another White. 0:02:18.919 --> 0:02:23.520 Roll roll call. 0:02:26.800 --> 0:02:30.200 Roll call, My name is Jack. Yeah, I don't smoke 0:02:30.320 --> 0:02:33.519 crack Yeah. And if you're nice to me, yeah, I 0:02:33.639 --> 0:02:34.320 might come back. 0:02:34.840 --> 0:02:42.600 Roll call Supremo Supremo, roll called Supremo Son Sun Supremo. 0:02:42.840 --> 0:02:46.560 Roll called Suprema Son Supremo. 0:02:46.800 --> 0:02:51.120 Roll called Suprema Son Supremo roll. 0:02:52.720 --> 0:02:59.840 Yoh minute, we listen to Cardi b. 0:03:01.400 --> 0:03:03.320 Of that, you know, and then side Jack. That was 0:03:03.320 --> 0:03:04.239 a little inspirational. 0:03:04.360 --> 0:03:15.080 So wow, ladies, Uh taping from the world famous Electric 0:03:15.200 --> 0:03:19.720 Lady A Studios in New York City. I got to 0:03:19.760 --> 0:03:23.000 say that this is the most people have ever seen 0:03:23.000 --> 0:03:25.680 in this room. It's like the higher caliber, the guests, 0:03:25.720 --> 0:03:31.160 the most the more more lighting, body yeah, lamb shots, 0:03:31.240 --> 0:03:35.840 and more bad we do. Richard dimple Fields episode like, 0:03:35.960 --> 0:03:42.960 well we get the flashlights. Yeah some cheeto ahol. Yeah, Anyway, 0:03:43.040 --> 0:03:45.960 this is another episode of Quest of Supreme. We got 0:03:46.080 --> 0:03:48.920 funke Alot in the house. Yes, yeah, and uh, you 0:03:49.000 --> 0:03:51.880 know support no news is good news. Yeah, I'm sorry. 0:03:51.920 --> 0:03:55.480 I always want to Gary gow that and you're you're 0:03:55.880 --> 0:03:57.360 in a great Space coaster, are you? 0:03:58.040 --> 0:03:58.280 Yeah? 0:03:58.520 --> 0:04:00.360 I missed, I missed that scary. 0:04:00.400 --> 0:04:01.560 The new was to get Along Gang. 0:04:01.920 --> 0:04:03.960 Really, I really get along game that. 0:04:05.800 --> 0:04:10.840 Great space is good news with Gary get along time anyway. 0:04:12.160 --> 0:04:14.480 We got Boss Bill the house. Hello, I'm come back. 0:04:15.360 --> 0:04:17.840 Are you Are you fine? It's not a to that's 0:04:17.880 --> 0:04:21.320 all I know. That's that's great. Yeah, that's baby got 0:04:21.360 --> 0:04:30.200 the stitches. That was a reference from the movie. Don't explained. 0:04:30.360 --> 0:04:33.960 Just ask your kids, the parents as I'm paid Bill, 0:04:33.960 --> 0:04:35.839 how you doing good? But are you? I'm good? 0:04:36.320 --> 0:04:36.400 Uh? 0:04:36.720 --> 0:04:40.680 And and and it's like everything is great, everything is gravy. 0:04:40.880 --> 0:04:44.040 I'm proud of I'm proud of your your your new you. 0:04:44.040 --> 0:04:45.040 I won't say anything for the rest of you. 0:04:46.000 --> 0:04:50.159 I say the best from last Sugar Steve, Sugar Star. 0:04:52.040 --> 0:04:55.440 You know, for some reason, we were taking this as 0:04:55.480 --> 0:04:58.599 a joke and now like I feel, I feel genuinely 0:04:58.720 --> 0:05:02.919 threatened that you've managed to turn an I G chatting 0:05:03.960 --> 0:05:06.920 UH device into an actual network Oh. 0:05:06.920 --> 0:05:10.479 Yeah, it's the Sugar Networks. It up the road up. 0:05:10.880 --> 0:05:14.320 So you're like Ted Turner the Instagram you've heard own 0:05:15.440 --> 0:05:16.040 some context. 0:05:16.200 --> 0:05:22.960 You know, I have a spin off of this. It's 0:05:22.960 --> 0:05:26.200 an unauthorized spinoff. Okay, it's a spinoff. Nonetheless, it's called 0:05:26.279 --> 0:05:27.000 Chat with Sugar. 0:05:28.040 --> 0:05:32.320 Basically, listen to the things that you collect, like mantage 0:05:32.400 --> 0:05:40.920 MIC's old records, you know. Yeah, so Steve collected. 0:05:40.920 --> 0:05:45.640 He just wants collect to collect the resident Anyway, ladies 0:05:45.640 --> 0:05:46.839 and gentlemen, our guest today. 0:05:48.080 --> 0:05:49.880 I have to say I don't want to say he's 0:05:49.880 --> 0:05:53.880 a renaissance man. I don't say he's a drummer, singer, guitarist, 0:05:53.920 --> 0:05:57.960 piano player, producer, songwriter, label owner. Uh, the hells from 0:05:58.000 --> 0:06:00.920 the d Uh, the city of Detroit, Michigan in Uh. 0:06:01.080 --> 0:06:02.920 He wear as many hats in his lives, you know, 0:06:02.920 --> 0:06:05.320 a member of the Rank of Tours as as fonte. 0:06:06.560 --> 0:06:08.920 Let's say that again, the Racket Tours ranking. I mean 0:06:10.880 --> 0:06:16.000 he said ranking tours. I thought he said rank. I 0:06:16.040 --> 0:06:19.280 thought it right. Okay, well I thought he got it wrong, 0:06:19.320 --> 0:06:22.800 and I was anyway, the Racket Tours. That weather sorry, Uh, 0:06:23.200 --> 0:06:25.800 you know he's produced and gusting appeared on a lot 0:06:25.839 --> 0:06:28.560 of projects that we love from Uh the Red Lends, 0:06:28.640 --> 0:06:31.840 Vanley of Rose one of my favorite records. Uh, Legendarry 0:06:31.880 --> 0:06:35.840 Wander Jackson, don't work with Lisa Keys, Beyonce, Typical Quests now, 0:06:36.279 --> 0:06:39.920 John of ling Stones. Uh, the list goes on and on. Uh, 0:06:40.480 --> 0:06:43.320 but it's and the Muppets. Yeah, but it's Uh as 0:06:43.400 --> 0:06:45.600 one half of that's the one I'm the envioust most 0:06:45.600 --> 0:06:50.080 of I'm jealous too, but as one half of the 0:06:50.240 --> 0:06:53.760 unit known as the White Stripes that once made, Once made. 0:06:53.880 --> 0:06:55.080 Uh my hero. 0:06:55.480 --> 0:06:58.320 John Peel once declared that this is some of the 0:06:58.400 --> 0:07:01.719 best music he's ever heard since the days of James 0:07:01.800 --> 0:07:07.720 Marshall Hendricks, not to mention the massive critical claiming He's 0:07:07.760 --> 0:07:12.560 gotten twelve Grammys as a producer, as an engineer, songwriter, 0:07:12.720 --> 0:07:16.360 and I'm jealous as a package designer. That's a good one. 0:07:16.480 --> 0:07:22.560 I'm highly jealous of his package designing Grammys. Anyway, I 0:07:22.640 --> 0:07:25.480 can go on and on. His third solo record, entitled 0:07:25.640 --> 0:07:29.400 Boarding House Reach, It was released March of twenty eighteen. 0:07:30.000 --> 0:07:32.200 It's his third number one record. Ladies and gentlemen, please 0:07:32.360 --> 0:07:37.040 welcome the eccentric, eclectic, always entertaining. 0:07:37.520 --> 0:07:46.240 Damn, I'm good, Thank you, thank you for that introduction. 0:07:47.840 --> 0:07:51.120 Okay, I gotta get this out. Note what's up with 0:07:51.200 --> 0:07:51.960 you and bananas? 0:07:54.560 --> 0:07:58.200 You know, a lot of you when you make those writers, 0:07:58.240 --> 0:08:00.400 you make a lot of jokes that only people in 0:08:00.440 --> 0:08:02.600 the industry will understand, you know that a lot of 0:08:02.640 --> 0:08:04.520 fans would understand. And that was one of those sort 0:08:04.520 --> 0:08:05.360 of red eminems. 0:08:08.520 --> 0:08:11.160 Did you do that thinking that was? Who was the 0:08:11.320 --> 0:08:15.560 website that used to always put all celebrity right? Did 0:08:15.600 --> 0:08:18.440 you do that thinking that the Smoking Ground pick it up? 0:08:19.240 --> 0:08:20.000 You people? 0:08:20.000 --> 0:08:22.160 Well, people in the industry think it was funny. You know, 0:08:22.560 --> 0:08:24.800 all the stuff on there was you know, for people 0:08:24.840 --> 0:08:26.440 to think it was funny. But you know, I think 0:08:26.480 --> 0:08:28.480 it's one of those mysterious things that people out there think. 0:08:28.560 --> 0:08:31.880 Riders are sort of like, you know, snap your fingers 0:08:31.960 --> 0:08:35.040 and you know, diving encrusted staircases will be made for 0:08:35.160 --> 0:08:37.280 you or something. But so, you know, the artist pays 0:08:37.360 --> 0:08:38.319 for them themselves, you know. 0:08:38.679 --> 0:08:40.720 So well, didn't somebody say that they put the crazy 0:08:40.720 --> 0:08:42.360 stuff on the rider to make sure that the people 0:08:42.440 --> 0:08:46.760 were paying attention. Yeah, Van Halen or something. 0:08:47.480 --> 0:08:49.080 They like, the whole just blew him and them. They 0:08:49.120 --> 0:08:51.760 want to see how how much attention you paid to 0:08:51.840 --> 0:08:52.600 detail right. 0:08:53.320 --> 0:08:59.839 In that case, they never paid, like we still have 0:09:00.200 --> 0:09:06.679 like white white al blunts and like the nineteen ninety 0:09:06.720 --> 0:09:11.600 four tang writer. Now we haven't changed our joini Yetpefully, 0:09:11.600 --> 0:09:15.280 there's less PCP on it. Yeah yeah, wait, way less PCP. 0:09:16.520 --> 0:09:19.560 I get it. So, yeah, we thank you for coming 0:09:19.559 --> 0:09:22.079 to the show. I got to mean so many questions 0:09:22.200 --> 0:09:27.720 to ask, so let's hope I get this right. Were 0:09:27.800 --> 0:09:29.120 you born in Detroit, Michigan? 0:09:29.280 --> 0:09:33.760 Yes, yes, I like the first one from Detroit. 0:09:34.920 --> 0:09:38.080 Yeah, it's it's there's more in the hip hop world, 0:09:38.120 --> 0:09:40.240 like J Dilla and stuff, but there's there's few in 0:09:40.360 --> 0:09:43.400 the rock and roll world since maybe the sixties, actually 0:09:43.559 --> 0:09:46.040 born and raised in the city itself. 0:09:46.240 --> 0:09:46.960 Most are from the. 0:09:47.240 --> 0:09:52.000 So everyone from the outside, where's from from Rochester? On her? 0:09:52.040 --> 0:09:55.200 I g she's trying to front like she's Ravenham Trammick. 0:09:55.320 --> 0:09:56.880 I think for a little while, which is inside the 0:09:56.920 --> 0:09:59.280 city of Detroit's Polish neighborhood inside the city Detroit, So 0:09:59.360 --> 0:10:02.520 she she does have some of that street real street 0:10:02.559 --> 0:10:03.520 cred in that sense. 0:10:03.800 --> 0:10:06.320 What are the what are the actual sections of Detroit? 0:10:06.400 --> 0:10:08.240 Because the black people that talk to me to say 0:10:08.400 --> 0:10:10.400 is the east side and the west side, and then 0:10:10.440 --> 0:10:13.760 there's like, uh, damn, what's the. 0:10:14.120 --> 0:10:17.079 I'm from Southwest Detroit, which is sort of also called 0:10:17.160 --> 0:10:19.360 Mexican Towns in all Mexican neighborhood, but it was once 0:10:19.360 --> 0:10:22.439 an all Polish neighborhood back in the day. But there 0:10:22.520 --> 0:10:24.520 is no you know that that Journey song born and 0:10:24.600 --> 0:10:27.040 raised in South Detroit. That's kind of a joke in 0:10:27.080 --> 0:10:29.880 Detroit because there is no South Detroit. South Detroit is 0:10:29.920 --> 0:10:35.200 windsor Canada. Canada comes underneath Detroit. Okay, so we knew 0:10:35.320 --> 0:10:40.960 Journey had never actually been sounded good though, So what. 0:10:41.120 --> 0:10:44.880 Is what is your version of Detroit? Because I guess 0:10:44.960 --> 0:10:48.200 you're the Yeah, I guess you're the first white musician 0:10:48.280 --> 0:10:52.320 that I know that that I personally know. I haven't 0:10:52.360 --> 0:10:59.040 asked to say Bob like we boys once upon a time, 0:10:59.160 --> 0:11:01.240 but you know, I never knew his story. So like, 0:11:01.400 --> 0:11:04.440 what's your what's your version of growing up in Detroit? 0:11:04.640 --> 0:11:08.080 Like, well, it was sort of like a it's sort 0:11:08.080 --> 0:11:08.920 of like a wasteland. 0:11:09.000 --> 0:11:11.200 Really it was, you know a lot of burned down 0:11:11.240 --> 0:11:15.160 buildings and bandoned houses, empty lots, closed up businesses, you know, 0:11:15.520 --> 0:11:17.240 storefront churches. 0:11:18.120 --> 0:11:18.840 That kind of a thing. 0:11:18.880 --> 0:11:21.080 I mean then the neighborhood really didn't have a didn't 0:11:21.080 --> 0:11:25.360 have a bookstore, didn't have a record store, nothing, you 0:11:25.480 --> 0:11:29.640 know that you could really like. When we needed guitar strings, 0:11:29.679 --> 0:11:31.920 we went to the pawn shop and got guitar strings 0:11:31.920 --> 0:11:32.840 and trump sticks. 0:11:32.880 --> 0:11:35.679 That was the only option in where I lived. In 0:11:36.040 --> 0:11:38.040 music store, no, no, nothing we had. 0:11:38.440 --> 0:11:40.120 We had to get a drive from somebody out to 0:11:40.160 --> 0:11:42.280 the suburbs to get anything useful. 0:11:43.800 --> 0:11:45.120 So it was kind of like that. 0:11:45.480 --> 0:11:49.480 And yeah, it's scary at times, but rough, but also 0:11:49.840 --> 0:11:53.120 feeling like no hope. But what's great about it In 0:11:53.120 --> 0:11:56.040 the last couple of years, everything is finally after forty 0:11:56.120 --> 0:11:58.920 years of that, finally has changed and it's really coming 0:11:59.000 --> 0:12:03.400 around to a whole new renaissance. Really, it's just incredibly 0:12:03.400 --> 0:12:06.640 beautiful what's happening. Things are just coming a live. Buildings 0:12:06.679 --> 0:12:09.319 are being bought and change. And I always think a 0:12:09.360 --> 0:12:11.280 good sign of a city on the rise as a 0:12:11.320 --> 0:12:13.000 new restaurant popping up every months. 0:12:13.280 --> 0:12:14.880 That's always a good sort of template. 0:12:16.160 --> 0:12:18.800 So it's not as opening Cepia Tone great because whenever 0:12:18.840 --> 0:12:23.120 I think of Detroit, I still see Brown Cpiotone. Yeah, 0:12:23.480 --> 0:12:24.840 muddy existence. 0:12:25.040 --> 0:12:28.080 Yeah, it's a lot of that's still there, Yeah, for sure, 0:12:28.760 --> 0:12:30.880 but I think it's finally I think in ten years 0:12:30.920 --> 0:12:33.400 from now, all that's going to be gone. You know, 0:12:33.559 --> 0:12:36.439 I really I would put money on that now because 0:12:36.440 --> 0:12:39.240 the last two or three years it's just been incredible 0:12:39.240 --> 0:12:43.360 because it started in the Cast Corridor and which is 0:12:43.400 --> 0:12:46.080 traditionally the roughest neighborhood in the city, and that's where 0:12:46.080 --> 0:12:48.960 I went to high school, and that's where we've built 0:12:48.960 --> 0:12:51.320 a new Third Man Records location. There are new pressing 0:12:51.360 --> 0:12:54.080 plant is in the Cast Corridor and Masonic Tempa all 0:12:54.120 --> 0:12:54.600 the early. 0:12:54.440 --> 0:12:55.800 Garage rock shows I was a part of. 0:12:56.160 --> 0:12:59.720 We're all in that neighborhood and it's mostly empty lots 0:12:59.800 --> 0:13:03.560 and and you know, like homeless missions and and uh 0:13:03.960 --> 0:13:06.439 you know, some industrial buildings. So now that's for it 0:13:06.520 --> 0:13:08.319 to come out of that neighborhood. For that renaissance to 0:13:08.360 --> 0:13:09.880 start there is a really good sign. 0:13:10.120 --> 0:13:12.079 So you go back a lot and you give you 0:13:12.160 --> 0:13:13.439 give back in your own way because you said you 0:13:13.520 --> 0:13:14.959 have studio there, right. 0:13:15.040 --> 0:13:19.199 Yeah, trying to the pressing plan especially was yeah, that 0:13:19.400 --> 0:13:22.199 was that was a really I'm really proud of that 0:13:22.280 --> 0:13:24.960 because it also created jobs and it also brought together 0:13:24.960 --> 0:13:28.000 a whole community people who really love music and vinyl 0:13:28.160 --> 0:13:30.120 and you know, music preservation and all that. 0:13:30.280 --> 0:13:33.000 So that was pretty pretty incredible to be able to 0:13:33.040 --> 0:13:34.040 do that in Detroit City. 0:13:34.240 --> 0:13:34.439 You know. 0:13:34.720 --> 0:13:37.600 So the part that I know, like where I don't 0:13:37.600 --> 0:13:40.360 know Saint Andrews is still a thing or not, But 0:13:40.480 --> 0:13:43.439 what part of town is that, Like there's Greek Town, 0:13:43.480 --> 0:13:46.400 there's that monorail thing, or yeah, what part of town 0:13:46.520 --> 0:13:49.080 is that? What part of town is the like where 0:13:49.120 --> 0:13:50.680 Saint Andrew's Hall Andrews. 0:13:50.760 --> 0:13:52.400 Yeah, that's downtowntown Detroit. 0:13:52.520 --> 0:13:59.080 Yeah, okay, you see, so without uh, the neighborhood record store, 0:14:00.440 --> 0:14:03.800 assuming that you're born in the seventies and having that experience, 0:14:04.040 --> 0:14:07.160 like how did you discover music if it wasn't a 0:14:07.240 --> 0:14:10.160 thing where like you could hear your favorites on the radio, 0:14:10.600 --> 0:14:12.400 right and Coper record? 0:14:12.600 --> 0:14:13.720 It was a couple of different ways. 0:14:13.840 --> 0:14:17.360 One I have I'm the youngest of ten kids, so 0:14:17.600 --> 0:14:20.680 a lot of a lot of like you, real blues musicians. 0:14:25.160 --> 0:14:28.680 I'm the seventh son in the family too, so heavier. Oh, no, 0:14:29.800 --> 0:14:32.200 seventh son of a seventh daughter. My mom's the youngest 0:14:32.240 --> 0:14:34.680 of ten children as well. And then so there's a 0:14:34.760 --> 0:14:36.840 lot of music a lot of hand me down records. 0:14:37.240 --> 0:14:41.680 Family gigantic, Yeah, you know your mother's children. 0:14:41.680 --> 0:14:45.200 I'm sorry not yea one one family, uh one pair 0:14:45.200 --> 0:14:48.920 of parents, but uh yeah, so a lot of a 0:14:49.000 --> 0:14:51.800 lot of music coming from them, A bunch of musicians 0:14:51.840 --> 0:14:53.560 in the family, you know, they were. 0:14:53.640 --> 0:14:55.160 They had a lot of huge record collection. A lot 0:14:55.160 --> 0:14:57.680 of that got handed down to me for that sort 0:14:57.680 --> 0:14:58.640 of like the rock and roll. 0:14:58.600 --> 0:15:01.640 Side of things, and the forties music from my parents 0:15:01.680 --> 0:15:04.160 and the neck and coals and Glenn Miller stuff, all 0:15:04.360 --> 0:15:08.920 all from them and then out on you know, outside, 0:15:09.920 --> 0:15:10.640 like on the street. 0:15:10.760 --> 0:15:11.240 It was the. 0:15:13.000 --> 0:15:13.880 The neighborhood kids. 0:15:13.880 --> 0:15:15.960 It was just like I think the easiest way to 0:15:16.000 --> 0:15:17.760 describe it, when we were playing four square, it was 0:15:17.920 --> 0:15:20.160 setting up boom boxes next to the four square court 0:15:20.360 --> 0:15:23.400 and that was the music being played. You know, this 0:15:23.560 --> 0:15:25.960 is you know, eight eighty three through eighty six kind 0:15:25.960 --> 0:15:29.080 of era of the those days of hip hop on 0:15:29.200 --> 0:15:31.760 that side of things, which my brothers didn't listen to. 0:15:31.880 --> 0:15:33.000 So it was two sides of. 0:15:33.400 --> 0:15:35.120 The coin, you know, kind of hip hop. Were you 0:15:35.160 --> 0:15:36.000 listening to it at time? 0:15:36.120 --> 0:15:38.120 Well, at that time would have been you know, it 0:15:38.160 --> 0:15:41.440 would have been L Cool Jay's I'm Bad and you know, 0:15:42.640 --> 0:15:46.080 but it would have and a lot of the you know, 0:15:46.120 --> 0:15:48.160 so the one hit wonder stuff that was coming through. 0:15:48.160 --> 0:15:49.440 I think that was a lot of things, you know, 0:15:49.520 --> 0:15:52.360 mixtapes where it's just whatever radio you know, you guys 0:15:52.400 --> 0:15:55.120 remember that obviously the recording from the radio and you 0:15:55.160 --> 0:15:58.320 missed the first five seconds of the sun and those 0:15:58.360 --> 0:16:00.280 were the Those were the mixtapes we listened to during 0:16:00.320 --> 0:16:01.120 foest whare I guess? 0:16:01.160 --> 0:16:08.120 But okay, so uh, as far as you're you said, 0:16:08.160 --> 0:16:11.960 your your other siblings, how many of them are accomplished 0:16:12.040 --> 0:16:14.320 musicians as well? Or it's just like they were there 0:16:14.400 --> 0:16:14.920 or five of them. 0:16:14.960 --> 0:16:16.840 Some of them are really talented, don't care about it though, 0:16:17.600 --> 0:16:21.680 and some of them are still playing gigs today, you know, 0:16:22.040 --> 0:16:24.720 in different kinds of bands in Detroit, and a couple 0:16:24.800 --> 0:16:27.080 of them work at Third Man Records or the Pressing 0:16:27.200 --> 0:16:29.920 Plant and and so it was cool. I was the 0:16:30.000 --> 0:16:32.440 drummer growing up in the family, so all I did 0:16:32.560 --> 0:16:34.840 was play drums my whole childhood. I didn't touch a 0:16:34.880 --> 0:16:36.880 guitar until I was fourteen something like that. 0:16:37.280 --> 0:16:45.080 So does it become somewhat alienating once you have your 0:16:45.760 --> 0:16:48.680 bout with success and you know, the massive success that 0:16:48.800 --> 0:16:52.120 you've had. Are you able? 0:16:52.280 --> 0:16:52.880 Are you able? 0:16:53.200 --> 0:16:56.720 Are you able to maintain a closeness with your family 0:16:56.800 --> 0:16:59.840 members now or is it like some of them are 0:17:00.040 --> 0:17:02.360 You're cool with some it's a little awkward now, Like. 0:17:02.600 --> 0:17:05.200 Yeah, I think I think it goes through phases probably 0:17:05.280 --> 0:17:05.840 with everybody. 0:17:05.960 --> 0:17:08.320 And I mean that re goes for friends too, where 0:17:08.520 --> 0:17:10.560 you know, something happens to you, I mean what happened 0:17:10.560 --> 0:17:13.360 to us, especially in Detroit, where there's just nobody has 0:17:13.720 --> 0:17:15.640 that kind of hope like maybe in La or something 0:17:15.640 --> 0:17:17.520 where you'd have like, oh, yeah, you know, somebody works 0:17:17.560 --> 0:17:18.120 at a record label. 0:17:18.119 --> 0:17:19.400 Well yeah, you know, we'll get you guys a gig 0:17:19.480 --> 0:17:19.760 or whatever. 0:17:20.000 --> 0:17:23.480 Detroit never had any illusions about you could get anywhere, 0:17:23.720 --> 0:17:27.000 especially with rock and roll or lose music either. And 0:17:27.240 --> 0:17:30.879 so for us to go sort of very you know, 0:17:31.000 --> 0:17:34.359 sort of worldwide after a few years, it's very shocking 0:17:34.400 --> 0:17:36.640 to anybody around us, especially the family, not really knowing 0:17:36.680 --> 0:17:38.800 how to relate to what does that mean? You know? 0:17:39.520 --> 0:17:42.720 So even at the time when you guys were for 0:17:42.880 --> 0:17:46.920 starting out with your music, like, there wasn't a thing 0:17:47.040 --> 0:17:50.320 like well, eventually, let's let's phony up enough cash and 0:17:50.359 --> 0:17:52.720 then we'll go to you know, a music city, either 0:17:52.880 --> 0:17:54.720 Nashville or La or never. 0:17:54.880 --> 0:17:57.399 I'd never heard anybody talk about that at all. I 0:17:57.520 --> 0:17:59.720 never heard anybody even mention the dream of that. 0:18:00.080 --> 0:18:01.560 It was always just like, forget it. 0:18:01.760 --> 0:18:03.600 So they beginning ever going to happen. You're just going 0:18:03.680 --> 0:18:06.960 to be a local musician, and that was that was 0:18:07.040 --> 0:18:07.360 the way. 0:18:07.720 --> 0:18:11.040 I'm honest to God, had that exact same attitude until 0:18:11.040 --> 0:18:14.520 probably the third White Stripes album. Uh well, we started 0:18:14.560 --> 0:18:16.240 to go to when we get going to London, John 0:18:16.280 --> 0:18:19.159 Peelee started championing us and label started talking to us, 0:18:19.200 --> 0:18:22.080 and Megan and I were just like, wait, what wait, So. 0:18:22.119 --> 0:18:24.200 You were still moving furniture on the days, just like 0:18:24.359 --> 0:18:24.920 the first time. 0:18:25.280 --> 0:18:27.480 Oh yeah, I had my pholstry shop up until at 0:18:27.600 --> 0:18:29.000 least a second White Stripes album. 0:18:29.080 --> 0:18:35.679 Yeah sounds I've heard ten kids a few jobs. 0:18:35.720 --> 0:18:38.960 Yeah, okay, just for information, what's the age difference between 0:18:38.960 --> 0:18:42.240 you and your oldest brother? You said, the seventh son. 0:18:43.040 --> 0:18:43.359 There we go. 0:18:43.520 --> 0:18:46.080 Yeah, the oldest in the family is twenty one years older. 0:18:45.920 --> 0:18:49.680 Than me, so they were often mistaken from my mom. Yeah, 0:18:50.720 --> 0:18:51.760 damn as a baby. 0:18:52.320 --> 0:18:54.600 I see. I've read once where you said you were 0:18:55.080 --> 0:19:00.840 uh considering uh going in the priesthood. Yeah, was that 0:19:01.359 --> 0:19:02.400 a serious consideration. 0:19:02.600 --> 0:19:05.440 Yeah, it was wild because I got accepted to a 0:19:05.480 --> 0:19:09.159 seminary in Wisconsin, and just short of trying to, you know, 0:19:09.320 --> 0:19:11.640 your brain starts to want to get out of everything. 0:19:11.680 --> 0:19:12.680 I want to get out of this room. 0:19:12.720 --> 0:19:14.040 I want to get out of this house. I want 0:19:14.040 --> 0:19:15.359 to get out of this neighborhood. I want to get 0:19:15.359 --> 0:19:18.879 out out. And that was one way I thought that 0:19:19.119 --> 0:19:19.840 I could get out. 0:19:20.320 --> 0:19:21.040 But the. 0:19:22.680 --> 0:19:24.440 Crux of the problem was I couldn't. 0:19:24.160 --> 0:19:26.840 Bring my musical equipment with me. You couldn't bring drums 0:19:26.880 --> 0:19:29.000 and guitar or whatever with me to this place. He 0:19:29.080 --> 0:19:30.680 was a dorm and you're, you know, you're trying to 0:19:30.720 --> 0:19:32.720 be a priest. I also felt there was some kind 0:19:32.760 --> 0:19:33.520 of calling for me. 0:19:33.840 --> 0:19:34.440 In some way. 0:19:34.680 --> 0:19:35.960 I didn't really know what it was because you know, 0:19:36.000 --> 0:19:38.720 I'm thirteen or something. So so at the last second 0:19:38.720 --> 0:19:39.440 I had changed my mind. 0:19:39.480 --> 0:19:42.720 I went to public school in Detroit, which was a. 0:19:42.720 --> 0:19:44.640 Strange thing for my family because it's a Catholic family 0:19:44.720 --> 0:19:48.399 to go to go to public school. But the public 0:19:48.440 --> 0:19:50.720 school I went to was in downtown Detroit, in the 0:19:50.800 --> 0:19:53.680 cast Court or just you know, right off the outskirts 0:19:53.720 --> 0:19:57.879 of downtown. So it. The neighborhood school I had in 0:19:58.880 --> 0:20:00.879 southwester Retart was kind of full of a lot of 0:20:00.960 --> 0:20:02.960 gangs at the time. They had really exploded at that time, 0:20:03.040 --> 0:20:04.920 so it was sort of dangerous to go to the 0:20:05.000 --> 0:20:08.000 neighborhood school if you weren't part of one of these gangs. 0:20:08.160 --> 0:20:11.720 So it seemed like for you know, several six seven 0:20:11.720 --> 0:20:14.280 different reasons, it led me to this school, cast Tech, 0:20:14.680 --> 0:20:17.320 which ended up being as I got there, realized it 0:20:17.440 --> 0:20:21.720 was a very historically Detroit uh school. Iby Diana Ross 0:20:21.760 --> 0:20:25.879 went there, Harry Batoya, the famous furniture designer, went there, 0:20:25.960 --> 0:20:29.080 John DeLorean. There's this huge, huge list of people who 0:20:29.240 --> 0:20:31.320 that was the school to go to for you know, 0:20:31.440 --> 0:20:34.280 sixty seven years, which I didn't know about until I 0:20:34.320 --> 0:20:34.719 got in there. 0:20:34.840 --> 0:20:43.399 So what did you establish? First of all, a lot 0:20:43.480 --> 0:20:48.000 of your businesses start with the word third. Yeah, what 0:20:48.160 --> 0:20:49.720 was it third furniture or yeah. 0:20:49.960 --> 0:20:52.080 Man of postry and third man records. 0:20:52.520 --> 0:20:55.960 So what is it with the significance of number? The 0:20:56.040 --> 0:20:56.679 third numbers? 0:20:56.800 --> 0:21:01.480 I started all anything creative I did, poetry, music versus 0:21:01.600 --> 0:21:03.680 notes in the song. I would just start revolving around 0:21:03.720 --> 0:21:05.840 the number three a lot. I got obsessed with that number. 0:21:06.119 --> 0:21:09.360 As about in fifteen sixteen. It was we were working 0:21:09.400 --> 0:21:11.080 on a couch and it was three staples I had 0:21:11.119 --> 0:21:13.440 put down, and it was the minimum amount to hold 0:21:13.480 --> 0:21:15.800 a piece of fabric on the side of wood, you know, 0:21:16.080 --> 0:21:18.560 left right center, And I thought, well, that's great. 0:21:18.760 --> 0:21:20.720 That doesn't leave everything black and white. 0:21:20.720 --> 0:21:23.520 So there's two choices, you know, Republican Democrat black and white. 0:21:23.600 --> 0:21:26.280 Is that there's a third option, which sort of means everything. 0:21:26.440 --> 0:21:29.159 And I thought that's a great balance for anything I 0:21:29.280 --> 0:21:32.240 do artistically. So I've been holding on to that for 0:21:32.359 --> 0:21:34.919 dear life ever since, you know, to sort of ground 0:21:34.960 --> 0:21:36.200 me whenever I'm working on anything. 0:21:36.800 --> 0:21:39.840 Damn so lectric relaxation must have blown you away, right, 0:21:43.240 --> 0:21:46.400 So how did you? How did you meet Meg? 0:21:47.600 --> 0:21:51.720 We It was the same plastic surgeon down in Argentina. 0:21:55.800 --> 0:21:57.000 Just we looked so much alike. 0:21:57.080 --> 0:21:57.840 We had to start a. 0:22:00.520 --> 0:22:02.840 Wait, does that mean that you're always you always? Because 0:22:02.920 --> 0:22:04.520 we jumped a may But I was just curious, like 0:22:04.560 --> 0:22:06.080 you always? Who are you are? Like when you went 0:22:06.119 --> 0:22:08.240 to high school? You are the same person that you 0:22:08.320 --> 0:22:09.080 were in high school? 0:22:09.520 --> 0:22:09.720 Yeah? 0:22:10.000 --> 0:22:11.760 Wow, I mean the same height and everything. 0:22:11.920 --> 0:22:14.800 No, I mean you you know what I mean? Some 0:22:14.880 --> 0:22:17.720 people change, They evolved and yeah. 0:22:17.560 --> 0:22:19.480 I'm just I'm just I think I'm just in a 0:22:19.520 --> 0:22:20.760 constant state of confusion. 0:22:23.760 --> 0:22:25.560 Yes, it looks very focused. 0:22:26.200 --> 0:22:29.760 Well, actually I did skip me in good. What were 0:22:29.840 --> 0:22:31.600 your early band experiences like? 0:22:32.280 --> 0:22:35.480 Uh, it was drumming a drum with my brothers and 0:22:35.560 --> 0:22:36.560 their band Catalyst. 0:22:36.800 --> 0:22:38.920 And then I drummed in a like three piece of 0:22:39.119 --> 0:22:41.240 blues band with my brother and Dominic who plays bass 0:22:41.280 --> 0:22:43.200 with me now still we had a bank all the 0:22:43.240 --> 0:22:46.080 funk ups and that was sort of punk and blues 0:22:46.160 --> 0:22:48.800 mixed together kind of in a in a very teenagey way. 0:22:49.520 --> 0:22:53.280 And then I'm sorry, that's the greatest you totally were allowed, Okay, 0:22:53.400 --> 0:22:56.280 and then uh name ever, yea, we were? We so 0:22:56.400 --> 0:22:58.320 Dominic he still plays bass with me now on this 0:22:58.400 --> 0:23:00.719 tour right now. We've been playing together since were thirteen 0:23:00.840 --> 0:23:04.359 or so. And then I was a drummer in this 0:23:04.480 --> 0:23:06.560 sort of cow punk band. I wanted to sort of 0:23:06.640 --> 0:23:10.720 learn about, uh, reading music for drums, so I thought 0:23:10.760 --> 0:23:12.560 I joined them, maybe the Marching Band. I learned how 0:23:12.560 --> 0:23:14.680 to read music for drums, and it didn't work out. 0:23:14.680 --> 0:23:16.719 I lasted one day in the Marching Band and they 0:23:16.800 --> 0:23:20.879 were just like, get out of here. Really When It 0:23:21.040 --> 0:23:23.360 was sort of like three hours a day practice every day, 0:23:23.440 --> 0:23:25.639 then an hour long bus ride home so I wouldn't 0:23:25.640 --> 0:23:27.639 be getting home to like eight thirty every. 0:23:27.440 --> 0:23:30.240 Day, and then just two hours too much all this. 0:23:31.280 --> 0:23:32.800 You know, I love the drums, but it seemed like 0:23:32.840 --> 0:23:35.240 it was almost like joining the rotc or something for me. 0:23:36.800 --> 0:23:38.240 When did you get your first drum set? 0:23:39.880 --> 0:23:42.159 Well, when I was five, we had one in the attic, 0:23:42.280 --> 0:23:44.080 so that was that was the one I played all 0:23:44.200 --> 0:23:45.600 through till high school. 0:23:45.880 --> 0:23:46.520 What kind was it? 0:23:46.880 --> 0:23:49.880 It was a Ludwig black Ludwig set in the seventies, 0:23:50.000 --> 0:23:53.159 some pisty oh shit, yeah, five o five, so it 0:23:53.280 --> 0:23:55.080 was it sounded great, It was really cool. 0:23:55.119 --> 0:23:56.560 My brothers had some pretty cool equipment. 0:23:56.640 --> 0:23:58.720 They sort of were good friends with the paunch out 0:23:59.119 --> 0:24:00.920 a couple blocks away, and they got they got the 0:24:00.960 --> 0:24:03.199 stuff behind the desk kind of treatment. 0:24:03.280 --> 0:24:03.440 You know. 0:24:03.560 --> 0:24:05.280 Did you ever use any of that stuff on any 0:24:05.280 --> 0:24:05.840 of your records? 0:24:06.400 --> 0:24:06.640 Yeah? 0:24:07.440 --> 0:24:10.679 And then the drum set I had in uh high school, 0:24:10.840 --> 0:24:12.520 it was a set of white pearls. That's which became 0:24:12.560 --> 0:24:16.120 Meg's drum set in the white stripes. And then yeah, 0:24:16.200 --> 0:24:17.720 all this stuff I bought as a teenager was the 0:24:17.760 --> 0:24:21.000 Worship's equipment for the first first few years. 0:24:21.080 --> 0:24:24.920 Yeah, So your love for or at least what we 0:24:25.040 --> 0:24:29.840 perceive as your love for vintage equipment, and that isn't 0:24:31.560 --> 0:24:35.439 you coming to a place where you're sort of going, Uh, 0:24:38.040 --> 0:24:41.720 I can't explain it how like this this is, this 0:24:41.840 --> 0:24:45.800 is more necessity of you collecting secondhand equipment, and yeah, 0:24:46.080 --> 0:24:51.360 vintage stuff more than usually like a musicians, not dumb down, 0:24:51.400 --> 0:24:55.400 but like lesson, like a cat like me that has 0:24:55.480 --> 0:25:04.359 asked acts. I'm so black, right, No, but I'm just 0:25:04.400 --> 0:25:10.440 saying that because of the texture and the sound that old, 0:25:10.760 --> 0:25:13.639 older equipment gives, which is why I gravitate to it. 0:25:13.880 --> 0:25:17.879 But if that's all you were working with, I assume 0:25:17.920 --> 0:25:21.920 that even now to the relentless level that you collect 0:25:22.000 --> 0:25:27.240 vintage things is more of you staying in your comfort zone. 0:25:27.600 --> 0:25:31.000 Yeah, there's They're definitely you. You're brought up in that 0:25:31.080 --> 0:25:32.159 sort of circumstances. 0:25:32.200 --> 0:25:34.240 I know some people like I think, you know, Danger 0:25:34.320 --> 0:25:37.600 Mouse still us as his first computer program he learned 0:25:37.680 --> 0:25:39.399 on and I don't. 0:25:39.240 --> 0:25:41.240 Know if it's what's it called asset asset. 0:25:43.200 --> 0:25:47.159 I think so, yeah, And yo, but he told me, 0:25:47.240 --> 0:25:49.160 he told me it's not worth the time to relearn 0:25:49.240 --> 0:25:50.840 it all on a new thing, you might as well 0:25:50.920 --> 0:25:53.159 just stick with what he started with. And that might 0:25:53.200 --> 0:25:55.080 have something to do with it too. Learning on tape 0:25:55.119 --> 0:25:57.040 by myself, because nobody taught me how to do it. Really, 0:25:57.080 --> 0:25:58.480 I had to really just sort of sit and learn 0:25:58.520 --> 0:26:00.119 how to do a four track reel to reel with 0:26:00.160 --> 0:26:05.000 a mixer myself. So that maybe kind of gets you 0:26:05.080 --> 0:26:07.440 in love with the mechanical nature of it. But also 0:26:07.920 --> 0:26:09.640 as the years went on, whenever I got a chance 0:26:09.680 --> 0:26:11.520 to a be it like we would record on a 0:26:11.600 --> 0:26:13.600 tape and then we were bounce it approaches and I 0:26:13.720 --> 0:26:16.840 bounce and listen to them back and forth, you know, 0:26:16.920 --> 0:26:18.080 and say, God, I guess can't stay. 0:26:18.080 --> 0:26:18.680 I can't help it. 0:26:18.760 --> 0:26:18.879 Man. 0:26:19.160 --> 0:26:20.600 The tape sounds more soulful. 0:26:20.640 --> 0:26:22.960 It has whatever it has, that movement, it has that 0:26:23.160 --> 0:26:26.560 movement to it. It's like intangible. You can't really describe it, 0:26:27.080 --> 0:26:29.600 this movement that it has. All mechanical things have this 0:26:29.760 --> 0:26:33.240 movement that add little wobbles and warbles to what's happening, 0:26:33.320 --> 0:26:36.240 and that maybe kind of comes off as soul or 0:26:36.320 --> 0:26:38.199 soulfulness to the listener. 0:26:38.800 --> 0:26:41.920 I'm not sure, but it just feels alive to me. 0:26:43.200 --> 0:26:45.240 But that's a plug that exactly. 0:26:46.080 --> 0:26:46.119 No. 0:26:46.280 --> 0:26:49.680 But see that's the thing I'm hoping now, a guy 0:26:49.800 --> 0:26:55.280 like me has to work with computer technology simply because 0:26:56.880 --> 0:27:01.639 the small, confined space that I'm in doesn't allow for course, 0:27:01.880 --> 0:27:05.800 you know, the the you know a lot of these 0:27:05.880 --> 0:27:07.159 things that you're using, and. 0:27:07.200 --> 0:27:09.520 It's expensive, you know, so a lot of people don't 0:27:09.520 --> 0:27:11.160 have access to it, so younger kids. 0:27:11.440 --> 0:27:15.080 So I'm hoping that one day, like someone just invents 0:27:15.640 --> 0:27:17.239 you're gonna put a real reel in that little room 0:27:17.280 --> 0:27:17.840 you practice in. 0:27:17.880 --> 0:27:19.040 I would pay money to see that. 0:27:19.840 --> 0:27:23.280 No, I mean, I just want the plugins because I 0:27:23.480 --> 0:27:28.240 spend at least hours trying to uh lower the quality 0:27:28.320 --> 0:27:31.159 of the sound of things that I record, or make 0:27:31.240 --> 0:27:33.280 it sound to make it sound like it's beat up 0:27:33.320 --> 0:27:34.080 and used or whatever. 0:27:34.520 --> 0:27:36.120 Have you Put plugins next to a real, real jack 0:27:36.160 --> 0:27:37.080 and listen to them, do you do you? 0:27:37.320 --> 0:27:37.520 Yeah? 0:27:37.880 --> 0:27:39.480 Well you got you got that sort of you know. 0:27:39.680 --> 0:27:41.879 I get into I get into being sort of the 0:27:41.920 --> 0:27:44.440 poster board, like I'm always preaching for people not to 0:27:44.600 --> 0:27:45.040 use this stuff. 0:27:45.040 --> 0:27:47.520 I'm really not. Yes, people just asking me, I feel, 0:27:47.600 --> 0:27:48.200 how do you do it? 0:27:48.760 --> 0:27:49.440 You know, how do you do it? 0:27:49.480 --> 0:27:50.639 And I say, well, this is how I do it, 0:27:50.680 --> 0:27:52.000 and it's sort of like what amp do you like 0:27:52.000 --> 0:27:53.400 If you listen to a tube bamp and you nix 0:27:53.480 --> 0:27:54.880 it to it next to a solid state and I'd 0:27:54.880 --> 0:27:56.920 be saying it's pretty good, but it's not like the 0:27:57.000 --> 0:27:57.440 tube bamp. 0:27:57.520 --> 0:27:57.680 You know. 0:27:57.800 --> 0:28:01.199 I was going to say, you also edit your own tapes? 0:28:01.480 --> 0:28:05.040 Correct, Yeah, this album I just put out is the 0:28:05.080 --> 0:28:08.000 first time I ever edited on pro tools a whole album, 0:28:08.119 --> 0:28:08.399 so that. 0:28:10.160 --> 0:28:12.119 Before that it was all just razor blade tape and 0:28:12.200 --> 0:28:12.960 razor blade edits. 0:28:13.240 --> 0:28:15.480 So it would keep it another kind of way to 0:28:15.560 --> 0:28:17.359 kind of confine things, to keep it really simple. 0:28:17.680 --> 0:28:19.240 So they didn't get too complicated with this album. 0:28:19.280 --> 0:28:21.679 So it wasn't just a challenge yourself as in like, okay, 0:28:21.880 --> 0:28:25.600 well I conquered that and let me try to force 0:28:25.680 --> 0:28:27.240 myself to do a new. 0:28:27.160 --> 0:28:27.800 Way of recording. 0:28:27.880 --> 0:28:29.320 It was sort of out of necessity. 0:28:29.359 --> 0:28:31.040 I mean, there was a lot of modern techniques being 0:28:31.119 --> 0:28:33.080 used in the album, and that was one of them, 0:28:33.119 --> 0:28:35.320 but it was definitely out of necessity for recording with 0:28:35.680 --> 0:28:36.240 bands here. 0:28:36.160 --> 0:28:38.360 In New York and LA and in Nashville. 0:28:38.360 --> 0:28:40.680 I'd have, you know, eighteen to twenty tracks, which for 0:28:40.800 --> 0:28:43.160 me was a ton I usually only record on eight track, 0:28:43.720 --> 0:28:48.080 so that was a lot of stuff to try to 0:28:48.080 --> 0:28:50.080 get down, and the only only way to possibly do 0:28:50.120 --> 0:28:53.160 it was to edit on pro tools. Do you lose 0:28:53.240 --> 0:28:55.960 my vocal? Seemed like it one out of the headphones. 0:28:56.400 --> 0:28:57.600 Sorry, he's engineering right now. 0:29:00.080 --> 0:29:00.960 All going to tape for sure? 0:29:02.800 --> 0:29:10.120 You know we should do this. Yeah, sound fantastic. Can 0:29:10.160 --> 0:29:11.480 you imagine how long it would take to put the 0:29:11.520 --> 0:29:13.720 show out? That really looked? 0:29:13.760 --> 0:29:15.560 Let's just lie and say we're recording it to tape. 0:29:15.560 --> 0:29:16.160 See if anyway? 0:29:16.240 --> 0:29:18.280 Okay, yes, Lazy and Jonys you we're now on. 0:29:19.200 --> 0:29:20.760 But you know, what you were talking about was that 0:29:21.360 --> 0:29:23.840 they are doing plug ins now with or imitating the 0:29:23.880 --> 0:29:26.000 warble of tape, and that those little squiggles and that 0:29:26.080 --> 0:29:30.200 tiny little mechanical you know, sort of flaws to the 0:29:30.240 --> 0:29:33.040 tape machine and making a plug in and running it 0:29:33.080 --> 0:29:34.400 through that. I know a lot of people record on 0:29:34.520 --> 0:29:36.960 pro tools and run it through a tape machine and back, 0:29:37.240 --> 0:29:39.280 which is kind of a cool technique as well. But 0:29:39.480 --> 0:29:42.320 at the end, at any rate, anytime, whether it's reverb 0:29:42.400 --> 0:29:45.520 or compression or that kind of program, every single one 0:29:45.560 --> 0:29:48.200 of them is an emulation of the real thing, you know. 0:29:48.560 --> 0:29:51.680 Digital reverb, for example, a reverb in a cave is 0:29:51.720 --> 0:29:53.040 real reverb, or reverb through. 0:29:52.880 --> 0:29:54.080 A spring is real reverb. 0:29:54.240 --> 0:29:56.959 So the digital version of it, it can sound exactly 0:29:57.120 --> 0:29:59.959 like it, but it's still an emulation of the real thing, 0:30:00.440 --> 0:30:02.280 which is I don't know if you want to get 0:30:02.320 --> 0:30:04.920 that deep into the psychology of the soulfulness of things. 0:30:05.080 --> 0:30:10.160 I also know that you you you deal with Shanola. Correct, Yeah, 0:30:10.200 --> 0:30:16.960 you Soanola. Oh it's you don't know everybody else explain 0:30:17.240 --> 0:30:21.840 what it is. All right, we're going to start this 0:30:21.960 --> 0:30:30.800 fighting right now. Welcome back. Anyway, Shanola uh turntables. 0:30:31.160 --> 0:30:33.480 And they make watches first, and then they're starting to 0:30:33.480 --> 0:30:36.440 make turntables and headphones. Now we bought a building together 0:30:36.520 --> 0:30:39.040 in Cast Corridor where the Third Man Records location is, 0:30:39.080 --> 0:30:43.320 and Shanola has their flagship store, and they opened a 0:30:43.400 --> 0:30:46.600 factory where they make they make watches in the city 0:30:46.600 --> 0:30:47.000 of Detroit. 0:30:47.080 --> 0:30:48.640 So it's pretty amazing what they did. 0:30:49.960 --> 0:30:53.080 So I'm just saying that I know a lot of 0:30:53.160 --> 0:30:57.960 audio files that you know they have, you know, vinine turntables, 0:30:58.440 --> 0:31:01.280 And I'm a dude that love was collecting records and stuff. 0:31:01.560 --> 0:31:04.440 But the one thing I feel guilty of is that 0:31:04.760 --> 0:31:09.520 I'm not the guy that like gets an orgasm off 0:31:09.560 --> 0:31:10.160 of vinyl. 0:31:10.720 --> 0:31:14.280 Now, as I know a lot about you, I feel 0:31:14.320 --> 0:31:15.960 like I learned so much and I. 0:31:16.000 --> 0:31:16.680 Thought you did. 0:31:20.160 --> 0:31:20.200 Know. 0:31:20.400 --> 0:31:22.880 I'm just saying that it's it's I mean for a 0:31:22.960 --> 0:31:26.920 guy that relentlessly collects records and all those things, Like 0:31:29.080 --> 0:31:32.200 I feel guilty that I'm not one of these, Like 0:31:32.280 --> 0:31:35.960 I don't have what's what's the turntable in the lobby 0:31:36.040 --> 0:31:38.800 right now? Like a Macantize? Like I've yet to get 0:31:38.800 --> 0:31:39.960 a mac. Do you want a mechantize? 0:31:40.160 --> 0:31:42.760 Not a magtish churning table? But I do have the amplifiers, 0:31:42.800 --> 0:31:44.680 yet turntable is a little. 0:31:44.480 --> 0:31:47.960 To expense that truly make a difference to you or. 0:31:49.680 --> 0:31:52.320 I think that what goes on and to me there 0:31:52.360 --> 0:31:55.400 is the mcguffin of whether the format is a tract, 0:31:55.440 --> 0:31:56.880 tapes or cassettes or vinyl. 0:31:57.680 --> 0:31:59.400 I think vinyl is just the most viable thing that 0:31:59.440 --> 0:32:00.160 everyone can kind to. 0:32:00.160 --> 0:32:03.520 Get around to the large artwork and the large object 0:32:03.680 --> 0:32:06.240 just trying to be reverential to music itself. Like a 0:32:06.360 --> 0:32:09.320 movie theater and a seven millimeter film going in there, 0:32:09.400 --> 0:32:12.480 closing the door, turning the lights off, the curtain opens 0:32:12.480 --> 0:32:13.320 and we watch a film. 0:32:13.360 --> 0:32:15.280 We actually think in twenty eighteen. 0:32:15.080 --> 0:32:16.960 We all get off our ass and we drive to 0:32:17.040 --> 0:32:19.560 a theater and sit down in silence, turn our phones 0:32:19.560 --> 0:32:21.600 off and in the dark watching movie. That's incredible. We're 0:32:21.640 --> 0:32:24.960 still doing that. I just want that same reverence for music. 0:32:25.600 --> 0:32:28.200 So the vinyl part, you know, if it's if it's 0:32:28.200 --> 0:32:29.920 eight track or cassettes or whatever it is. I just 0:32:30.000 --> 0:32:32.240 like that it's something you can hold in your hands. 0:32:33.040 --> 0:32:33.240 Yeah. 0:32:33.720 --> 0:32:37.480 And I also think that when it comes to the way, 0:32:37.680 --> 0:32:39.720 you know, I say we travel and stuff. I'm not 0:32:39.760 --> 0:32:42.160 bringing a turntable backstage and setting it up. I'm listening 0:32:42.240 --> 0:32:44.680 on an iPod or or we're listening in someone's phone, 0:32:44.800 --> 0:32:47.600 going through beats pill or something like that, doing whatever 0:32:47.680 --> 0:32:47.959 we can. 0:32:50.000 --> 0:32:55.720 I don't have a phone now, coming to it, so 0:32:55.800 --> 0:32:57.840 you still on no cell phone? 0:32:57.880 --> 0:33:01.520 I don't know, but the family members would you. 0:33:04.720 --> 0:33:04.920 Reach? 0:33:06.520 --> 0:33:07.120 That's real though? 0:33:08.000 --> 0:33:10.840 I do, uh, mostly just emails is how I communicate 0:33:10.920 --> 0:33:12.240 That way I can walk away from it. 0:33:12.320 --> 0:33:13.160 I can sit down and do. 0:33:13.200 --> 0:33:14.120 It and walk away. 0:33:15.040 --> 0:33:17.040 I'm sorry. I know you were making another point, but 0:33:17.160 --> 0:33:18.360 when did you get to this point where you were 0:33:18.360 --> 0:33:19.880 allowed to do that, because you know that's a luxury. 0:33:20.200 --> 0:33:20.720 Oh my god. 0:33:20.920 --> 0:33:23.800 Yeah, don't think people around me, it doesn't drive them crazy. 0:33:24.560 --> 0:33:27.880 Drives them crazy, but it's just sort of a I 0:33:27.960 --> 0:33:30.320 think that it's just one of those things for me personally. Again, 0:33:30.360 --> 0:33:32.360 I'm not preaching to other people that. For me personally, 0:33:32.440 --> 0:33:34.720 I can't do that because I will be on it 0:33:34.840 --> 0:33:37.720 all day long. It will not stop, and there's just 0:33:37.760 --> 0:33:40.240 so much going on in my world that I don't 0:33:40.280 --> 0:33:43.000 really want to be a slave to that. It'll it'll 0:33:43.080 --> 0:33:46.120 just consume my life. And it's nice to be like 0:33:46.200 --> 0:33:47.920 I think, you know, it's it's an interesting thing. I 0:33:47.960 --> 0:33:50.680 can give you example of my kids. We had like 0:33:50.720 --> 0:33:54.720 a family car and the first we had the same 0:33:54.760 --> 0:33:56.400 car for the first like seven years that they were 0:33:56.400 --> 0:33:58.480 growing up. We would take long tips from Nashville to 0:33:58.520 --> 0:33:59.440 Detroit and stuff like that. 0:33:59.560 --> 0:34:04.360 You're actually kids, kids, kids, they're. 0:34:04.160 --> 0:34:04.720 Ten and eleven. 0:34:04.800 --> 0:34:06.920 Now, let's say for the first seven years with this 0:34:07.000 --> 0:34:11.520 family car and this the this car had a DVD 0:34:11.640 --> 0:34:15.080 player that we never told them about, and they would 0:34:15.120 --> 0:34:16.600 point to this thing and the scene like what is that? 0:34:16.719 --> 0:34:18.800 Dad Like, Oh, that's just something for the air condition. 0:34:20.239 --> 0:34:23.279 And my point wasn't to deprive them of whatever. It 0:34:23.440 --> 0:34:25.759 was just like that imagination time where you get to 0:34:25.800 --> 0:34:27.799 really think and look out the window and just that's 0:34:27.840 --> 0:34:29.799 the time where you really start to imagine the best 0:34:29.840 --> 0:34:30.439 things in life. 0:34:30.640 --> 0:34:32.520 See, you're not the dad that let like the Little 0:34:32.560 --> 0:34:34.000 Mermaid babysit your kids. 0:34:33.920 --> 0:34:34.200 So that. 0:34:35.840 --> 0:34:39.279 They don't have iad yo, dude, I admire that shit 0:34:39.440 --> 0:34:43.080 because like I'll go to Sunday brunch restaurants and I'll 0:34:43.120 --> 0:34:44.240 just see a bunch of kids. 0:34:44.640 --> 0:34:47.960 Yeah, that requires real bothering, Like that requires you to 0:34:48.040 --> 0:34:49.040 pay attention and stuff. 0:34:49.560 --> 0:34:52.799 Yes, it's it's nice to be able to Well, it's 0:34:52.800 --> 0:34:54.839 like I remember, like when I whatever, all the jobs 0:34:54.880 --> 0:34:57.320 I've had the best music ideas I think were me 0:34:58.040 --> 0:35:00.960 whatever it was making a making you know, a pizza 0:35:01.040 --> 0:35:04.080 at the restaurant, or busting a table, or or working 0:35:04.120 --> 0:35:04.920 on a piece of furniture. 0:35:04.960 --> 0:35:06.600 That's why I'm like, oh man, I want to get home. 0:35:07.320 --> 0:35:08.200 That's that's what I gotta do. 0:35:08.239 --> 0:35:10.239 I gotta put Reaver on that Snares run when I 0:35:10.280 --> 0:35:13.480 get home. That'll that's this time where you have the 0:35:13.560 --> 0:35:14.280 best ideas. 0:35:14.360 --> 0:35:14.520 You know. 0:35:15.360 --> 0:35:27.160 So if you can name me five albums from your childhood, 0:35:28.120 --> 0:35:31.800 like before the age of thirteen, Like okay, the music 0:35:31.920 --> 0:35:35.000 that defines you, that you hold onto, that you grew 0:35:35.120 --> 0:35:40.240 up with not like you know, you heard your brother's 0:35:40.280 --> 0:35:42.760 playing or whatever like that you personally gravitated towards. 0:35:43.800 --> 0:35:46.640 I loved a lot of deep Purple when I was 0:35:46.680 --> 0:35:48.200 a kid. That was that was a big band for 0:35:48.280 --> 0:35:51.000 your Richie Blackmore and Ian Pace what they were doing. 0:35:51.239 --> 0:35:51.960 I really love that. 0:35:52.719 --> 0:35:53.520 I loved. 0:35:54.800 --> 0:35:55.480 Roger Miller. 0:35:57.080 --> 0:36:00.680 I liked his sort of cross that cross between country 0:36:00.760 --> 0:36:03.760 and sort of I don't know what folk and forties 0:36:03.800 --> 0:36:05.480 tunes or whatever that he did, that sense of humor. 0:36:05.520 --> 0:36:06.080 He had. 0:36:07.520 --> 0:36:09.800 The Beatles a lot Beatles White album. 0:36:12.120 --> 0:36:14.080 I can't think of a Roger Miller name of an album, 0:36:14.160 --> 0:36:16.759 but maybe just say the catalog of Roger Milan or whatever, 0:36:18.880 --> 0:36:22.080 and then you know, you're talking about thirteen fourteen at 0:36:22.120 --> 0:36:24.839 that moment, there was a really funny moment that people 0:36:24.920 --> 0:36:27.480 kind of think is you know, I'm making it up. 0:36:27.520 --> 0:36:29.880 But you know, in Detroit, in the alleys, we had 0:36:29.880 --> 0:36:31.640 these giant dumpsters. They were trying to kill the rat 0:36:31.640 --> 0:36:33.399 problem in Detroit, so they got rid of garbage cans 0:36:33.440 --> 0:36:34.680 and they put giant dumpsters up. 0:36:35.000 --> 0:36:36.960 So one of my favorite things to do was on 0:36:37.040 --> 0:36:37.680 the way home from the. 0:36:37.640 --> 0:36:40.200 School, walk down through the alleys and go through flip 0:36:40.239 --> 0:36:43.040 the top of each dumpster and see what was in there. 0:36:43.680 --> 0:36:45.280 Dumpster diving and trash picking. 0:36:45.400 --> 0:36:45.839 Oh wow. 0:36:46.120 --> 0:36:49.880 And I found the Stooges first album on vinyl in 0:36:50.160 --> 0:36:54.640 in one of those dumpsters, and that really changed my life. 0:36:54.719 --> 0:36:55.759 It really, it was. 0:36:56.160 --> 0:36:58.800 It was kind of I went, I recorded it, I 0:36:58.880 --> 0:37:01.360 record I Want to Be Your Dog four track because 0:37:01.360 --> 0:37:03.800 of that, and it led me into punk rock in 0:37:03.840 --> 0:37:04.399 a bigger way. 0:37:05.440 --> 0:37:08.000 Really. And have you and Iggy worked together or mad? 0:37:08.520 --> 0:37:10.680 Yeah, we've we've We've done a couple of tours together 0:37:10.719 --> 0:37:11.080 and stuff. 0:37:11.480 --> 0:37:13.000 Yeah, he's he's incredible. 0:37:13.560 --> 0:37:21.240 And was that four Yeah, we'll see now, well probably, 0:37:21.760 --> 0:37:23.879 you know, it's anything to do with led Zeppelin would 0:37:23.880 --> 0:37:24.000 have been. 0:37:24.239 --> 0:37:26.359 I think LED's Uppin one. I think led Up one. 0:37:26.400 --> 0:37:28.880 You know, if someone asked me recently, what's the best 0:37:30.640 --> 0:37:33.400 first album of any group? Uh, and I'm kind of 0:37:33.560 --> 0:37:36.440 you think, like maybe Jimmy Hendricks's first album, Ramon's first album, 0:37:36.480 --> 0:37:38.719 But I think led Zeppelin one is pretty tough to 0:37:39.280 --> 0:37:40.880 top for a debut album. 0:37:41.000 --> 0:37:44.239 Oh yeah, So I mean every single track is you know, So. 0:37:44.400 --> 0:37:47.040 Did you ever go because every music stop I know 0:37:47.719 --> 0:37:51.719 usually gets to that place because sometimes they go so 0:37:51.840 --> 0:37:55.400 deep in the abyss of the opposite direction. Like again, 0:37:55.440 --> 0:37:59.479 I grew up in the era of Columbia House. Yeah, 0:38:00.040 --> 0:38:04.840 where kids ask your parents. We used penny, Yeah for 0:38:05.320 --> 0:38:07.960 a penny and TV guy, you tape a penny to 0:38:08.040 --> 0:38:15.480 that to that form here, yeah, and then here you're 0:38:15.520 --> 0:38:17.960 part you're part of a record club. Like that's part 0:38:17.960 --> 0:38:21.399 of my ratchetsness, Like I was signed my grand man. Yeah, 0:38:22.600 --> 0:38:27.520 I did that scam in college. That's my worst punishment, 0:38:27.640 --> 0:38:28.880 Like my grandma. 0:38:28.560 --> 0:38:30.280 Got y'all put them out of business. 0:38:30.400 --> 0:38:35.520 By the way, Well, I'm just saying that I would 0:38:35.520 --> 0:38:40.560 also be too lazy to mail bo mail back via 0:38:40.880 --> 0:38:44.120 the stuff I didn't want an So yeah, I'm just 0:38:44.320 --> 0:38:49.239 like all right, Well, Debbie Gibson all the blue, but 0:38:49.440 --> 0:38:51.880 then wound up listening to this ship and like committed 0:38:51.920 --> 0:38:57.239 it to memory. Like yeah, so I'm saying, like I 0:38:57.360 --> 0:39:02.040 think mine was a Kenny g du Black people came 0:39:02.880 --> 0:39:05.080 want to low song bird. 0:39:06.480 --> 0:39:08.920 My my mother in law cuts for Kenny. 0:39:09.400 --> 0:39:13.239 People first take Debbie Gibson, go listen to the first 0:39:13.280 --> 0:39:16.200 Kenny supposed don't sound like even. 0:39:16.080 --> 0:39:22.919 Before and that on it. Oh yeah, guys, Jack White, 0:39:22.960 --> 0:39:24.920 this year, can we talk about. 0:39:26.640 --> 0:39:27.640 Said nothing about Kenny? 0:39:28.640 --> 0:39:33.320 We fall down. Nobody over here saying anything about Kenny 0:39:33.920 --> 0:39:36.919 getting I'm getting to a point here. Yeah, black people 0:39:36.960 --> 0:39:39.520 had a love kids. White people is the universal brigger 0:39:39.600 --> 0:39:43.680 together and white. He was our first yes, and then 0:39:44.560 --> 0:39:48.200 came out and then like okay, it was Julian Roberts soundtrack. 0:39:48.360 --> 0:39:52.560 So my point is, Columbia House scheme, did you ever 0:39:54.680 --> 0:39:58.960 go through a phase where, like, you know, you just 0:40:01.000 --> 0:40:04.879 is there new kids on the block, cassette in your 0:40:05.160 --> 0:40:08.000 like as you got for when you were twelve years old, 0:40:08.120 --> 0:40:09.320 or something like Wow. 0:40:09.440 --> 0:40:11.160 That's a good question. I'm trying to think of that, 0:40:11.360 --> 0:40:14.040 like something sort of like you wouldn't. 0:40:13.719 --> 0:40:16.960 Totally because I feel like serious, serious musicians and serious 0:40:17.040 --> 0:40:21.280 record people mature once they get out of high school. 0:40:21.840 --> 0:40:24.640 Once I was out of high school then and I 0:40:24.760 --> 0:40:27.239 started messing with y'all and you know what I mean, 0:40:27.760 --> 0:40:32.839 like and then your taste are more refined. But there 0:40:32.920 --> 0:40:36.480 was a period where I was just open and getting everything. 0:40:36.760 --> 0:40:39.359 So it's tough, man. I'm trying to think of a time. 0:40:39.400 --> 0:40:42.560 But I definitely had probably too much of an attitude 0:40:42.600 --> 0:40:45.160 at like you know, eleven through thirteen where I liked 0:40:45.280 --> 0:40:49.320 real musicians, so like I had a chip on my 0:40:49.400 --> 0:40:52.280 shoulder about that, probably because of being raised by senior 0:40:52.320 --> 0:40:54.160 citizens and a lot of people in the family really 0:40:54.200 --> 0:40:57.279 loving music and older and it's you know, by the 0:40:57.320 --> 0:40:58.840 time in the late eighties was hitting, you know, it 0:40:58.960 --> 0:41:02.600 was sort of digital soundings, gated reaver kind of sounding. 0:41:02.600 --> 0:41:05.080 Stuff was starting to sound fake and stuff. 0:41:05.400 --> 0:41:08.840 Yeah, I just gravitated normally to more of the seventies 0:41:08.880 --> 0:41:10.239 and sixties suff I mean I did, like, you know, 0:41:10.320 --> 0:41:12.919 the Guns and Roses, and I loved Michael Jackson of course, 0:41:13.000 --> 0:41:14.840 and lots of things from the eighties. 0:41:15.120 --> 0:41:15.560 So I think that. 0:41:19.719 --> 0:41:23.040 To love to say I pay I paid nominal attention 0:41:23.200 --> 0:41:25.200 to all those bands like Poison and Modley Cruise and 0:41:25.320 --> 0:41:27.400 all that kind of stuff, but I just didn't really. 0:41:27.280 --> 0:41:29.520 Buy those records. Now, the question is where you're having 0:41:29.600 --> 0:41:32.520 musical debates at this age to your peers, because your 0:41:32.520 --> 0:41:34.080 peers were listening to this music, but you were like, 0:41:34.160 --> 0:41:35.000 that's not real music. 0:41:35.120 --> 0:41:37.600 I can say that one thing that was that did 0:41:37.719 --> 0:41:38.960 bug me, you know, I was saying this in the 0:41:39.040 --> 0:41:41.600 interview recently, was you know, when when the first sort 0:41:41.640 --> 0:41:44.040 of sampling kind of came out, and when we're listening 0:41:44.080 --> 0:41:46.479 to on the front porches and stuff where it would 0:41:46.520 --> 0:41:49.160 be I think a good example was like the BC 0:41:49.320 --> 0:41:52.239 Boys of sampling the Ocean bio led Zepplin right, and 0:41:52.280 --> 0:41:54.759 it would be like the kids in the neighborhood didn't 0:41:54.800 --> 0:41:58.279 didn't know that that where that was from? And then 0:41:58.320 --> 0:42:02.320 it was uh epmd I shot the sheriff and it 0:42:02.440 --> 0:42:04.600 was sort of like yeah, it was like hey, whoa, whoa, 0:42:04.719 --> 0:42:07.360 that's that's you know, and they're like, so call and 0:42:07.480 --> 0:42:09.200 I'd be like, what do you mean? So, like, you know, 0:42:09.280 --> 0:42:10.880 I think the cool part is that if you know 0:42:10.920 --> 0:42:14.040 where this's from, that's cool. But then it was it's 0:42:14.120 --> 0:42:16.200 just that other debate of no, it's just the sound 0:42:16.280 --> 0:42:18.600 of it, it doesn't matter where it came from. Well, 0:42:18.640 --> 0:42:20.319 that was hard for me as a twelve thirteen years 0:42:20.360 --> 0:42:22.240 to kind of get my head around. 0:42:22.560 --> 0:42:24.640 It took me a few more years to figure that out. 0:42:24.800 --> 0:42:28.160 But there's some people that also like for me, hip 0:42:28.200 --> 0:42:32.120 hop was crucial and explaining what my dad and my 0:42:32.200 --> 0:42:35.000 sister's record collection was, right, so I don't made a 0:42:35.040 --> 0:42:36.480 sense of it and put it in content. 0:42:36.600 --> 0:42:39.400 Yeah, like my dad had that, uh so your dad 0:42:39.440 --> 0:42:41.919 would he would tell you where this sample came from. 0:42:44.080 --> 0:42:48.040 My family had a large record collection, so something I wouldn't. 0:42:49.320 --> 0:42:53.120 My sister had Houses of the Holy Sure, actually she 0:42:53.200 --> 0:42:55.359 has Zeppelin one too, So I never knew about when 0:42:55.400 --> 0:43:00.239 the levee breaks until one day I saw a kid 0:43:00.320 --> 0:43:01.719 was listening to at lunch and I was like, wait, 0:43:01.760 --> 0:43:03.680 I know that drum break from somewhere right right, And 0:43:03.719 --> 0:43:05.560 then I put two and do together, like, wait a minute. 0:43:06.040 --> 0:43:08.200 The Beastie Boys used this, So in my mind I wasn't. 0:43:08.280 --> 0:43:10.560 I didn't know what sampling technology was or looping and 0:43:10.600 --> 0:43:13.160 none of that stuff. But once I got home then 0:43:13.160 --> 0:43:15.640 I realized, like, oh shit, And then all of a 0:43:15.680 --> 0:43:18.279 sudden I died in the led Zeppelin that way. 0:43:18.400 --> 0:43:19.880 So I mean, but how did it feel that you 0:43:20.000 --> 0:43:24.200 knew that information and your friends didn't didn't matter? 0:43:24.480 --> 0:43:28.120 I you know, as a kid, I thought that everyone 0:43:28.640 --> 0:43:32.120 was supposed to have this samant knowledge of no who 0:43:32.239 --> 0:43:35.640 engineered what, and you know, put the headphones on and 0:43:35.680 --> 0:43:40.800 close your eyes and yeah, I just suggests. But you know, 0:43:41.239 --> 0:43:44.560 I get it now that not everyone is built that way, 0:43:44.960 --> 0:43:45.399 all right. 0:43:45.680 --> 0:43:46.239 And it's fine. 0:43:46.280 --> 0:43:46.560 I think. 0:43:46.920 --> 0:43:48.520 You know, you like the sound of something, it doesn't 0:43:48.520 --> 0:43:49.520 matter where it came from. 0:43:49.840 --> 0:43:52.319 In a lot of ways, I always like, I always say, 0:43:52.320 --> 0:43:53.920 if I'm driving in the car and it's my son 0:43:54.080 --> 0:43:56.680 with me. I'm gonna definitely tell him, you know where 0:43:56.719 --> 0:43:58.800 this is from, this is this and that and this 0:43:58.920 --> 0:44:01.080 is how they did that. I won't be able to 0:44:01.120 --> 0:44:01.640 help myself. 0:44:01.640 --> 0:44:13.160 I have to. So, not knowing you personally, but knowing 0:44:13.320 --> 0:44:18.120 that you are big on collaborations. I mean between all 0:44:18.160 --> 0:44:22.960 the projects that you've done, I can only guess that 0:44:25.280 --> 0:44:28.920 you're the point person or the alpha person or the 0:44:29.080 --> 0:44:34.200 leader of these projects. How do you deal with in 0:44:34.760 --> 0:44:41.600 collaborative situations? Like how are you able to not manage people? Yeah, 0:44:42.000 --> 0:44:42.919 impose your will. 0:44:44.480 --> 0:44:47.960 I love when my hope is that they the other 0:44:48.080 --> 0:44:50.440 person or other people are going to bring tons to 0:44:50.520 --> 0:44:53.000 the table and not just sit there and say tell 0:44:53.040 --> 0:44:54.960 me what to do whatever it is with. What if 0:44:55.000 --> 0:44:57.439 it's a bass player or a hired gun, I still 0:44:57.480 --> 0:44:59.960 want them to bring everything they can to the scenario. 0:45:00.400 --> 0:45:02.840 And especially if it's somebody else, like if it's you know, 0:45:03.040 --> 0:45:05.319 I think we both were talking, we were both played 0:45:05.360 --> 0:45:05.560 on the. 0:45:07.280 --> 0:45:07.560 Record. 0:45:08.600 --> 0:45:12.600 Didn't make it, damn Tip anyway way to go? Jack 0:45:21.760 --> 0:45:22.920 made a right? 0:45:23.239 --> 0:45:23.279 No? 0:45:23.360 --> 0:45:24.800 No, I mean it's one thing if you do on 0:45:24.840 --> 0:45:26.560 a try record where you know, like Tip has a 0:45:26.600 --> 0:45:29.160 pedigree in engineering and all that stuff. But like, you know, 0:45:29.360 --> 0:45:34.719 if it's just that I know that you know your 0:45:34.880 --> 0:45:39.000 music I q is higher than thou like everyone else's. 0:45:39.080 --> 0:45:42.600 But I also would assume that you would know that 0:45:42.680 --> 0:45:43.799 you would alienate people. 0:45:44.120 --> 0:45:47.040 Yeah, just I mostly I mostly keep my mouth shut. 0:45:47.040 --> 0:45:48.759 I think the times where I do say no, no, no, no, 0:45:48.960 --> 0:45:50.719 there's no way we can do it like that. It's 0:45:50.800 --> 0:45:53.920 just it's just not worth the awkwardness and the the 0:45:54.280 --> 0:45:57.320 reaction that I'm being a divo or control freak or 0:45:57.360 --> 0:45:59.920 something like that. So I'm for for ninety a time, 0:46:00.120 --> 0:46:01.840 I will kind of put up with things that I 0:46:02.080 --> 0:46:05.840 can't stand. Uh, I don't know, lout of guilt, you know, 0:46:06.080 --> 0:46:07.560 and it's it's it's. 0:46:07.480 --> 0:46:10.200 Uh so someone just brings a fifty seven shore to 0:46:10.360 --> 0:46:11.799 the session, You're just like. 0:46:12.600 --> 0:46:16.640 Sure, Well, for example, is on this new album there 0:46:16.680 --> 0:46:20.239 were definitely keyboard tones. We had four different keyboardistance you know, 0:46:20.320 --> 0:46:23.200 synth players and keyboard players that were definitely playing tones 0:46:23.239 --> 0:46:24.919 that I would have never picked in a million years. 0:46:25.560 --> 0:46:27.439 And I said, all right, let's let's see if it works. 0:46:27.480 --> 0:46:30.560 I want to be turned out there. At first, it 0:46:30.560 --> 0:46:34.360 would be like but uh, you. 0:46:34.400 --> 0:46:38.160 Know, because DJ Harris is also how how have you 0:46:38.280 --> 0:46:40.799 found Harris record? Yeah? 0:46:40.800 --> 0:46:43.759 He's great man, and uh so they would they would 0:46:43.800 --> 0:46:45.880 they would pick up tones. Some of them I instantly love. 0:46:45.960 --> 0:46:47.160 Some of them. Was like, I don't know about that, 0:46:47.640 --> 0:46:49.359 but all of them, by the time we were into 0:46:49.400 --> 0:46:50.280 mixing the record. 0:46:50.080 --> 0:46:52.239 I thought all of them were amazing choices and they 0:46:52.320 --> 0:46:54.239 turned me onto tones that I would have never picked, 0:46:54.280 --> 0:46:55.239 that would have skipped right over. 0:46:55.400 --> 0:46:56.360 Yeah, how did you cook up? 0:46:56.520 --> 0:46:59.080 Because you actually two good homies of mine, I've played 0:46:59.080 --> 0:47:01.879 with you, Dollard Jone, Yeah, and uh and DJ Hers 0:47:02.360 --> 0:47:03.480 How did you cook up with them? 0:47:03.680 --> 0:47:09.520 Daru is an amazing, uh you know, fine form for 0:47:09.680 --> 0:47:12.600 my life because he came in. I produced a forty 0:47:12.640 --> 0:47:15.319 five with Black Milk, and he brought in Black Milk. 0:47:15.400 --> 0:47:17.359 We did the forty five in my studio and then 0:47:17.360 --> 0:47:19.480 he did a live show at Third Man and he 0:47:19.560 --> 0:47:22.680 brought in Daru to play drums live for that, and 0:47:23.000 --> 0:47:25.680 it was just oh man. I actually said to Black 0:47:25.719 --> 0:47:28.000 Milk man, I'm gonna I'm gonna steal this drummer from you, 0:47:29.560 --> 0:47:31.680 you know, another half juggling half. No, I'm really I'm 0:47:31.680 --> 0:47:32.800 going to steal this drumpers. 0:47:32.960 --> 0:47:35.560 But I just couldn't believe. He's just so unique and 0:47:35.719 --> 0:47:41.520 so incredible, So that that was a cool, uh scenario. 0:47:41.719 --> 0:47:47.799 And it's also great because you know everyone when you're 0:47:47.800 --> 0:47:48.319 in different times. 0:47:48.360 --> 0:47:49.799 If you play with people in Nashville who are from 0:47:49.800 --> 0:47:52.960 the bluegrass scene, they've played with so many other people 0:47:53.040 --> 0:47:55.480 that they're bringing their knowledge from playing with Bill Monroe 0:47:55.640 --> 0:47:58.759 or or some you know, other cat from from from 0:47:58.880 --> 0:48:00.600 back in the day and what they learn from them. 0:48:01.040 --> 0:48:03.080 And then people who played with hip hop live. 0:48:03.200 --> 0:48:05.400 And I think I've talked a lot about you know 0:48:05.560 --> 0:48:07.560 what I was, you know, first impressed when I first 0:48:07.560 --> 0:48:10.759 see roots back up jay Z or something I got 0:48:10.800 --> 0:48:12.840 on a live TV show or it was like playing 0:48:12.880 --> 0:48:16.719 that playing the samples and the recorded version with live instruments, 0:48:17.520 --> 0:48:20.760 which to me was like, that's that's for this albums. 0:48:21.239 --> 0:48:23.440 That's the musician. I want the musician that can do that. 0:48:23.800 --> 0:48:28.040 If you can perform live on stage, what what's what's 0:48:28.080 --> 0:48:30.840 been recorded as a sample or a loop or something 0:48:30.960 --> 0:48:31.160 like that. 0:48:31.400 --> 0:48:34.120 And and luckily a lot of those people were up 0:48:34.160 --> 0:48:35.080 for the idea. 0:48:35.280 --> 0:48:37.200 And then DJ Harrison, how did you guys, how did 0:48:37.239 --> 0:48:37.920 he you. 0:48:37.960 --> 0:48:39.200 Know, specifically on DJ? 0:48:39.280 --> 0:48:41.520 I can't I can't remember specifically, but I was definitely 0:48:41.640 --> 0:48:44.359 going through footage and saying, who's this guy? 0:48:44.760 --> 0:48:45.600 How about that guy? 0:48:45.920 --> 0:48:48.680 I thought the randomness of saying, who's this guy playing 0:48:48.719 --> 0:48:50.520 keyboards behind Kanye in this clip? 0:48:51.480 --> 0:48:52.799 And okay, can we get him? 0:48:52.800 --> 0:48:55.080 And who's this person playing bass with Little John or 0:48:55.080 --> 0:48:58.319 whatever it would be, uh or Lil Wayne. So it's 0:48:58.560 --> 0:49:02.719 just like, you know, we'll get to people through these 0:49:02.800 --> 0:49:06.120 just random picks. And so some of them were there, 0:49:06.160 --> 0:49:07.840 showed up, someone were on tour, couldn't do it. Some 0:49:07.920 --> 0:49:09.640 of them, Oh I can't do it, but my friend can. 0:49:10.239 --> 0:49:11.840 So a lot of stuff would come. 0:49:11.719 --> 0:49:15.759 Out of that. Yeah, he's just such a a hero 0:49:15.880 --> 0:49:17.880 of ours, like we have like a lot of his 0:49:18.040 --> 0:49:18.719 underground tapes. 0:49:19.320 --> 0:49:20.920 Yeah yeah, yeah, yeah. 0:49:21.280 --> 0:49:24.600 Very cool and so such a humble guy too, and 0:49:24.840 --> 0:49:27.200 really just ye, real interesting tones. 0:49:27.200 --> 0:49:32.200 I didn't realize how young he was. I didn't really yet. 0:49:32.200 --> 0:49:32.239 Me. 0:49:32.360 --> 0:49:33.719 Let me ask a question. I guess this goes to 0:49:33.800 --> 0:49:35.680 you in a mirror. Is it a small collective of 0:49:35.760 --> 0:49:38.160 those kind of musicians? Like how small is that collective 0:49:38.200 --> 0:49:41.520 of like repute, reputable musicians who can do that task? 0:49:43.160 --> 0:49:44.640 Yeah? Well, see the thing. 0:49:50.120 --> 0:49:50.480 I don't know. 0:49:50.719 --> 0:49:54.160 Okay, So the thing that I really admire about all 0:49:54.239 --> 0:49:57.160 the projects that you've done, especially. 0:50:00.160 --> 0:50:01.160 With uh. 0:50:02.680 --> 0:50:08.279 Your non White Stripes projects, is the discipline, And a 0:50:08.400 --> 0:50:14.640 lot of times it's hard for me to convey the 0:50:14.840 --> 0:50:21.120 musicians that sometimes less is more, that it doesn't always 0:50:21.160 --> 0:50:23.120 have to be about I'm over here. I'm over here, 0:50:23.200 --> 0:50:28.040 because you know, I mean, there's complete websites dedicated to 0:50:29.280 --> 0:50:31.680 how many notes can I squeeze into you know this 0:50:31.880 --> 0:50:39.600 particular two par So for me, it's not about the 0:50:40.080 --> 0:50:42.919 quality or the level of the music. I'm more into 0:50:43.160 --> 0:50:45.720 if they're disciplined, if they can keep it in the pocket, 0:50:45.880 --> 0:50:47.919 even though they play the most simple thing in the world, 0:50:48.680 --> 0:50:49.880 if they could play it consistent. 0:50:50.480 --> 0:50:52.759 I hear them talking about what's the drummers name he 0:50:52.800 --> 0:50:54.040 played on Billy Jean. 0:50:54.520 --> 0:50:54.840 Oh. 0:50:56.239 --> 0:50:58.600 No in Doogo channel? Oh oh yeah, Leon? 0:50:59.160 --> 0:51:04.400 Yes, simple that just yeah. Second, you hear that snare, 0:51:04.440 --> 0:51:09.040 you know exactly what it is, and it's just that 0:51:09.280 --> 0:51:11.880 means way harder than you know. 0:51:12.560 --> 0:51:14.319 But that's your mantra too, That's always been your mantra. 0:51:14.320 --> 0:51:17.280 How can I sound like a metronome? But that's always 0:51:17.280 --> 0:51:18.920 what you say, But that's bullshit because you work hard 0:51:18.920 --> 0:51:19.080 to be. 0:51:19.040 --> 0:51:21.959 A metronome, and that closes up the gap then, because 0:51:22.000 --> 0:51:25.960 that's like even smaller number of musicians that I about. 0:51:25.760 --> 0:51:31.479 To say if like for me, Daru is actually, oh god, 0:51:31.680 --> 0:51:35.560 I don't want to say this statement. That means. 0:51:37.960 --> 0:51:39.799 Someone's got a razor blade and the thing cut it out. 0:51:39.840 --> 0:51:45.400 We're good. No, they couldn't shut out this analog. No, 0:51:45.960 --> 0:51:49.800 Like he is a cat that I that he's my 0:51:50.080 --> 0:51:54.600 number one thumbs up drummer cat because he just understands 0:51:54.680 --> 0:51:57.200 the pocket, you know, and. 0:51:57.239 --> 0:51:59.160 He has methodology to what he does, the way he 0:51:59.200 --> 0:52:01.640 sets up his kit reverse. I've never seen any drum. 0:52:01.960 --> 0:52:04.279 Yeah to say, I thought that was something when I 0:52:04.360 --> 0:52:07.000 first saw him play. Uh we did a show with 0:52:07.080 --> 0:52:08.879 you and I saw Jo say, yo, it's just gonna 0:52:08.880 --> 0:52:13.839 fall over. And I never once to I tried that once. 0:52:14.200 --> 0:52:15.920 I tried sitting down and his kid, I can't play it. 0:52:15.960 --> 0:52:16.880 It's just impossible. 0:52:16.960 --> 0:52:20.600 Yeah, it's that's a very neat thing to listen. 0:52:20.680 --> 0:52:23.560 He kills the snare on the floor, tim towards the audience. 0:52:23.800 --> 0:52:27.200 He's hitting. He's hitting like this in a mirror. Your 0:52:27.200 --> 0:52:28.440 wrists are bending the other way. 0:52:28.840 --> 0:52:29.319 Oh wow. 0:52:29.520 --> 0:52:32.279 In the mirror speak. He smoothed criminal leans the entire 0:52:32.560 --> 0:52:38.760 time smooth criminal leans the entire drum set towards the audience. 0:52:39.200 --> 0:52:44.719 You know, okay, did you know that's Michael Jackson's only 0:52:44.840 --> 0:52:45.840 patent application. 0:52:46.080 --> 0:52:49.600 I know, I don't even know what that means to lean. 0:52:49.680 --> 0:52:52.640 He he did a slit in the shoe and he 0:52:52.680 --> 0:52:55.279 would slide into a nail on the floor and that's 0:52:55.280 --> 0:52:55.759 how they lean. 0:52:55.840 --> 0:52:57.320 So they were their feet were. 0:52:58.920 --> 0:53:03.160 No, God, every single dancers on nails. That's crazy. 0:53:03.320 --> 0:53:08.319 Yeah, there's a good blooper Michael once. Michael Once fell 0:53:08.640 --> 0:53:11.400 into the audience and it's it's well, he laughed like 0:53:11.520 --> 0:53:15.200 it was like a blooper movement. But because they were 0:53:15.360 --> 0:53:16.759 on pro tools and fish and. 0:53:16.800 --> 0:53:21.279 So I want to see something interesting, Michael. 0:53:21.280 --> 0:53:22.480 I don't know if you guys have seen this clip, 0:53:22.560 --> 0:53:24.560 but have you ever seen this clip where Slash keeps 0:53:24.600 --> 0:53:26.360 playing guitar solo and Michael gets. 0:53:26.239 --> 0:53:26.879 Mad at him? 0:53:27.440 --> 0:53:29.640 No? Oh my god? 0:53:30.200 --> 0:53:32.799 Really, I mean that was the only the only time 0:53:32.800 --> 0:53:35.440 I've ever seen Michael getting mad. Mad he Slash for 0:53:35.480 --> 0:53:38.200 somebody who is pissed about something and he's coming out 0:53:38.239 --> 0:53:39.960 to do a black or white the end of the 0:53:40.000 --> 0:53:41.840 guitar sol blah blah blah, and Michael's like you know, 0:53:42.080 --> 0:53:45.680 give smoke and pointing right. He just doesn't stop, and 0:53:45.760 --> 0:53:48.040 then Michael starts going like this, folding his arms and 0:53:48.120 --> 0:53:48.880 looking around like. 0:53:52.440 --> 0:53:54.560 He's like why is he doing this? 0:53:55.719 --> 0:53:58.200 And the joke to pull off the two guys came 0:53:58.280 --> 0:53:59.359 and pulled slash. 0:53:59.040 --> 0:53:59.720 Off really. 0:54:01.880 --> 0:54:02.240 YouTube. 0:54:03.080 --> 0:54:06.920 There's a good one also where it's raining, uh, like 0:54:07.200 --> 0:54:10.840 in Argentina it's raining and it's for Slippery's help. Michael's 0:54:10.920 --> 0:54:13.840 angry because like the guys aren't there, but he's just 0:54:14.040 --> 0:54:16.280 skating on the It's like at the beginning, he's skating 0:54:16.400 --> 0:54:18.800 all over the thing, but he's looking at them like 0:54:19.440 --> 0:54:22.960 make it stop, ready, and he's like passive aggressively like 0:54:23.719 --> 0:54:28.279 it's just running all over the place. And I'm like, motherfucker, 0:54:28.440 --> 0:54:33.120 you're in Argentina, inf monsoon on a slippery stage with 0:54:33.200 --> 0:54:36.759 the open like with no roof, like handl the damn show. 0:54:37.080 --> 0:54:37.879 We missed you, Mike. 0:54:38.800 --> 0:54:43.759 Anyway, So okay, with about to say, it's an hour 0:54:43.800 --> 0:54:44.839 and I think you get. 0:54:47.160 --> 0:54:47.719 Well play. 0:54:50.440 --> 0:54:54.000 Actually I want to start at the end. How do 0:54:54.120 --> 0:54:58.200 you know when it's time to close the chapter? 0:54:58.880 --> 0:55:01.880 That's really great question. And I think that's probably. 0:55:02.080 --> 0:55:04.279 Because I still think you guys are gonna come back 0:55:04.280 --> 0:55:05.920 with the record stripes. 0:55:05.640 --> 0:55:10.759 You mean, yeah, yeah, And I think that in order 0:55:11.120 --> 0:55:14.480 for me to move on and call things under the 0:55:14.560 --> 0:55:18.319 name Jack White on my albums, that that band needed 0:55:18.360 --> 0:55:21.040 to be done so that it wasn't constantly okay, well 0:55:21.080 --> 0:55:23.880 thanks Jack, but can you get back to what we 0:55:24.000 --> 0:55:25.640 wanted you to do or whatever? And that kind of 0:55:25.640 --> 0:55:28.239 goes with you know, I've started over several times, start 0:55:28.280 --> 0:55:30.120 over with the rack and tours from scratch, start over 0:55:30.160 --> 0:55:33.160 the Dead Weather from scratch, started off solo from scratch. 0:55:33.640 --> 0:55:35.759 So you're not really supposed to do this if you 0:55:35.840 --> 0:55:38.440 have the act that's working and people are digging in 0:55:38.480 --> 0:55:39.920 and it's it's it's working out. 0:55:39.800 --> 0:55:41.120 With people, so. 0:55:44.480 --> 0:55:45.400 Well, I keep doing it. 0:55:45.560 --> 0:55:47.759 But you know, I and it's just the way I have. 0:55:47.920 --> 0:55:50.640 I have to move forward and progress. So a lot 0:55:50.680 --> 0:55:52.040 of times I think, you know, I think Meg was 0:55:52.040 --> 0:55:54.520 always like, yeah, that I like finishing. 0:55:54.280 --> 0:55:55.960 Up on top where I don't I don't feel any 0:55:56.000 --> 0:55:58.480 regret about not even one song we ever did, and 0:55:58.960 --> 0:56:01.359 that that was kind of nice about that moment too. 0:56:01.440 --> 0:56:03.839 And so yeah, I don't. I don't. 0:56:03.840 --> 0:56:07.120 I don't feel any urged, urged for that to happen. 0:56:07.840 --> 0:56:09.320 And I've you know, I've also talked to people like, 0:56:09.760 --> 0:56:12.160 you know, Jimmy Page and Robert planming to continue the 0:56:12.239 --> 0:56:14.840 lad Zepplin thread that you know. I mean, they obviously 0:56:14.880 --> 0:56:17.240 get asked every day for the last forty. 0:56:17.080 --> 0:56:22.279 Year, When's when's the honey Drippers come back? 0:56:23.120 --> 0:56:23.839 The Honeydrippers? 0:56:24.360 --> 0:56:29.759 So it's it's uh. I mean, I don't want you 0:56:29.920 --> 0:56:32.400 to have to reveal the smoke of mirrors of whatever 0:56:32.480 --> 0:56:38.200 your uh presentations are. But for those White Stripe records, 0:56:39.480 --> 0:56:45.600 were they completely a collaborative drum meg Jack moment or 0:56:45.719 --> 0:56:48.400 did you do some songs by yourself. I'm only asking 0:56:48.520 --> 0:56:53.719 because my my personal favorite album is Satan Yeah. And 0:56:55.080 --> 0:57:01.520 the first time I heard uh the Nurse, Yeah, I 0:57:01.680 --> 0:57:05.880 was just like, yo, like, no one has no one's timing? 0:57:05.960 --> 0:57:12.040 Is this goddamn good except for people that play with 0:57:12.120 --> 0:57:20.160 themselves anyway. Well, Prince has a way of doing that 0:57:20.240 --> 0:57:24.240 on Dirty Mind. There's a way that he and he 0:57:24.400 --> 0:57:27.760 answered this question. I was asking, like, why did you 0:57:27.920 --> 0:57:31.640 fluctuate on the title cut Dirty Mind so much? And 0:57:31.720 --> 0:57:32.960 he was like, well, you know, I have to give 0:57:33.000 --> 0:57:36.080 the impression that, you know, Prince the bass player is 0:57:36.120 --> 0:57:38.280 trying to keep up with Prince the drummer and Prince 0:57:38.320 --> 0:57:40.400 the synthesizer players trying to keep up with the bass 0:57:40.400 --> 0:57:44.320 player and that. So there's there's like a there's such 0:57:44.760 --> 0:57:51.960 a scientific, calculated, beautiful mess of fluctuation that I feel 0:57:52.000 --> 0:57:57.919 that only I've heard Stevie do it, I heard Prince 0:57:58.040 --> 0:57:59.760 do it. I've heard you doing on some of your 0:57:59.760 --> 0:58:03.360 solo records. Its assuming that the two songs in my 0:58:03.400 --> 0:58:07.400 head were completely done by you, But for some of 0:58:07.440 --> 0:58:10.680 those songs, like even you had to put in ten 0:58:10.800 --> 0:58:17.120 hours of rehearsal to get those hits correct or like 0:58:17.320 --> 0:58:19.680 what was what was the process? Was that all you 0:58:20.120 --> 0:58:21.240 at least on the nurse. 0:58:21.280 --> 0:58:25.880 Well the nurse I'm playing marimba and the Meg's playing 0:58:25.920 --> 0:58:28.160 the drums, and that was done in my living room. 0:58:28.160 --> 0:58:30.040 We record that in my living room. But all those 0:58:30.080 --> 0:58:32.600 stabs and it's Meg. 0:58:34.520 --> 0:58:36.360 I didn't see that. I didn't want to be accused 0:58:36.360 --> 0:58:36.640 of sex. 0:58:38.760 --> 0:58:40.440 No, No, I hear what you're saying. I think you 0:58:40.560 --> 0:58:42.480 thinking on the flip side of that. Yeah, she nailed 0:58:42.520 --> 0:58:44.520 that song and then she you know, it's there was 0:58:44.600 --> 0:58:48.400 time megs. Meg's rhythm is beautiful, it's it's I think 0:58:48.400 --> 0:58:50.560 people think I'm dissinger when I say it's childlike, but 0:58:50.640 --> 0:58:53.320 I think there's that thing about saying. Papa Picasso said, 0:58:53.360 --> 0:58:55.000 I spent my whole life trying to learn how to 0:58:55.000 --> 0:58:57.360 paint like a five year old time. 0:58:57.600 --> 0:59:00.800 She she I would play white Strip song with other like. 0:59:01.240 --> 0:59:05.040 Sort of you know whatever, proficient drummers and and it 0:59:05.080 --> 0:59:07.400 wouldn't sound and when she would do it was like, 0:59:07.560 --> 0:59:11.000 that's just that's it. But she also say something like 0:59:11.520 --> 0:59:13.880 on that same album My Doorbell, the drum beat on 0:59:14.000 --> 0:59:17.560 that is very jumbly. The timing is squeezed together at times, 0:59:17.600 --> 0:59:19.880 spread out at times on the drums, and the drum. 0:59:19.800 --> 0:59:20.600 Beats really funky. 0:59:21.040 --> 0:59:21.600 It's very cool. 0:59:21.640 --> 0:59:23.640 I remember Jimmy Ivy and I had talked to him. 0:59:23.680 --> 0:59:26.360 He goes, Man, that Wrecked is a hit. 0:59:27.440 --> 0:59:29.400 He goes, but you needed to record it right, you know, 0:59:29.440 --> 0:59:31.760 it needs to be recorded properly by somebody. 0:59:31.760 --> 0:59:31.880 You know. 0:59:31.920 --> 0:59:33.960 It's like, well, I'll tell me what's wrong with you know, 0:59:34.840 --> 0:59:36.960 the way we did it. I know obviously there's no 0:59:37.160 --> 0:59:39.320 pop appeal really to what the way we did it. 0:59:39.600 --> 0:59:41.120 It's a it's a very you know. 0:59:42.320 --> 0:59:44.840 When came I was spending the ship out there, like 0:59:44.960 --> 0:59:48.400 I thought that was going to be like thanks that moment. 0:59:48.240 --> 0:59:50.680 It felt, it felt, it felt really cool and maybe 0:59:50.680 --> 0:59:52.120 you know, I would love someone to cover that song. 0:59:52.120 --> 0:59:55.200 I think that's there's some there's some really cool things 0:59:55.240 --> 0:59:58.640 that that could happen with the harmonies and stuff. But uh, yeah, 0:59:58.720 --> 1:00:00.680 for example, that that drum beat was it's like almost 1:00:00.680 --> 1:00:01.600 squeezed together. 1:00:01.840 --> 1:00:03.720 Forced at times, and feels like that, but it's it 1:00:04.120 --> 1:00:05.439 just works out. It makes sense. 1:00:05.520 --> 1:00:05.680 You know. 1:00:06.040 --> 1:00:08.320 Can you talk about Meg's relationship with the drums, because 1:00:08.320 --> 1:00:10.640 whenever I read about it, it sounds like she met 1:00:10.720 --> 1:00:12.480 the drum, she fell in love with the drum, and 1:00:12.600 --> 1:00:13.680 then she just killed it. 1:00:14.200 --> 1:00:17.000 I think she's just very reluctant and then also got 1:00:17.720 --> 1:00:20.760 pick picked on so much through all the years of 1:00:20.920 --> 1:00:23.240 you know, everyone saying she's the worst drummer in music, 1:00:23.320 --> 1:00:26.200 and and that really effects that do this just seemed 1:00:26.240 --> 1:00:28.000 like every day she was saying that. I think a 1:00:28.040 --> 1:00:30.200 lot of people that I spent a lot of time 1:00:30.280 --> 1:00:32.720 sort of defending that because and here's what happened when 1:00:32.720 --> 1:00:34.440 we were before we when we were first started to 1:00:34.440 --> 1:00:38.280 get got signed on our third album, she said to me, so, 1:00:38.400 --> 1:00:40.800 you know, Jack, people out there in the mainstream, they 1:00:40.840 --> 1:00:43.560 don't know the glories and the Velvet Underground and this 1:00:43.680 --> 1:00:46.200 simple kind of drumming style on things. They're not going 1:00:46.280 --> 1:00:48.920 to understand me reference and they're not going to get 1:00:49.000 --> 1:00:51.360 this this idea. They're just going to think I suck, 1:00:51.520 --> 1:00:53.919 you know. And I said, you know, there are gonna 1:00:53.920 --> 1:00:56.919 people who aren't going to understand that. But I don't 1:00:56.920 --> 1:00:59.400 think it's worth us. You know, we have to go 1:00:59.440 --> 1:01:02.240 out and push lord and and just bring that to people, 1:01:02.360 --> 1:01:03.120 that simplicity. 1:01:05.000 --> 1:01:06.720 You know, what are you gonna do? Some people are 1:01:06.720 --> 1:01:09.360 gonna get it, some people aren't. And it's the same 1:01:09.440 --> 1:01:11.160 thing to me. You know, how much how much. 1:01:11.400 --> 1:01:14.360 Crap does Charlie Watson Ringo Star get all these years later? 1:01:14.640 --> 1:01:17.080 I mean, Ringo is insanely good man. I mean there's 1:01:17.080 --> 1:01:19.680 some drum fills that are planning in my brain that 1:01:19.760 --> 1:01:23.040 Ringo has done. And because he's not John Bonham or 1:01:23.320 --> 1:01:25.480 or Neil Burt or something, I don't understand. 1:01:25.520 --> 1:01:26.560 I don't understand that kind. 1:01:26.480 --> 1:01:28.480 Of I didn't realize he was catching hell because like 1:01:28.640 --> 1:01:36.160 for me, for me, uh what gregsonier the drummer of 1:01:36.240 --> 1:01:41.800 a Dierhof and Meg are like definitely my tooth. Like 1:01:41.880 --> 1:01:44.800 I've stalked to you guys, millions of times like yeah, 1:01:44.920 --> 1:01:49.240 in concert, but I never thought that that was. 1:01:50.280 --> 1:01:51.760 She's very I think she was the kind of person 1:01:51.840 --> 1:01:53.760 to make people want to start playing about this. 1:01:54.280 --> 1:01:55.920 Is it true? Does she really felt it? Like she 1:01:56.080 --> 1:01:58.280 learned very easily and mastered it. 1:01:58.640 --> 1:01:58.840 Yeah. 1:01:59.200 --> 1:02:02.200 Very early stress recordings were just those stabs, just. 1:02:04.720 --> 1:02:06.360 You know, and it was like that. 1:02:06.480 --> 1:02:08.240 I think the first thing we do is David Bowie's 1:02:09.080 --> 1:02:10.160 she wanted to record. 1:02:09.960 --> 1:02:17.480 Ah, what's the song I'm an Alligator my mama? Yeah, 1:02:17.720 --> 1:02:21.000 it's on Ziggie. Sorry the names escaping me, but we 1:02:21.160 --> 1:02:25.360 we did that song first, and it was just that 1:02:25.520 --> 1:02:27.960 was the beginning of our sound, was not just these 1:02:28.000 --> 1:02:32.160 stabs bam, and we thought, wow, let's keep going with this, 1:02:32.400 --> 1:02:35.000 and it turned into a whole thing and so changed 1:02:35.040 --> 1:02:37.440 my whole outlook on music completely. That brought it down 1:02:37.480 --> 1:02:40.400 to a minimalism, and then it was a great, great 1:02:40.520 --> 1:02:43.160 out let to do the blues and not be that 1:02:43.280 --> 1:02:45.680 sort of stratocaster sort of white boy blues at the time, 1:02:45.720 --> 1:02:51.080 which was very sort of super super un cool, and 1:02:51.120 --> 1:02:57.720 you yeah, I think so now, Yeah, the blues had 1:02:57.720 --> 1:03:00.680 become that kind of you know, that stratocaster, really clean, 1:03:00.880 --> 1:03:04.480 slick thing at that at that moment through the nineties, 1:03:04.600 --> 1:03:06.560 and it was a little bit like a bar band, 1:03:06.560 --> 1:03:08.160 a little bit of an embarrassing thing too, but it's 1:03:08.200 --> 1:03:11.120 also at the same time we wanted to do the raw, 1:03:11.440 --> 1:03:13.440 getting down to the real nitty gritty of it, the 1:03:14.440 --> 1:03:17.720 Lightning Hopkins and the you know, hound dog tailor and 1:03:17.840 --> 1:03:20.280 those kind of things, and figure out a way we 1:03:20.320 --> 1:03:22.160 could get away with it, you know, and a lot 1:03:22.200 --> 1:03:23.600 of the things to do with white starts, the red, 1:03:23.600 --> 1:03:25.920 white and black color scheme and the way we presented 1:03:25.960 --> 1:03:28.120 it like children was a great way for us to get. 1:03:28.040 --> 1:03:30.040 Away with it, because that's how you found your personal voice, 1:03:30.040 --> 1:03:33.560 because you're speaking voices relatively low, and all of your 1:03:33.600 --> 1:03:36.240 vocal deliveries are super high and super in that stratosphere. 1:03:36.520 --> 1:03:38.360 Sort of comes from a blues place, but it's interesting 1:03:38.600 --> 1:03:39.320 just listen. 1:03:39.120 --> 1:03:41.440 To I don't know, that was a natural thing and 1:03:41.520 --> 1:03:42.720 that that really high stuff. 1:03:42.880 --> 1:03:45.680 And I know there was one song and I had 1:03:45.720 --> 1:03:48.680 my postery shop that love was the BBC Beatles BBC 1:03:48.880 --> 1:03:52.640 Sessions and it was the Beatles Hippy Hippie Shake, their 1:03:52.680 --> 1:03:54.960 cover of Hippy Hippie Shake, And when it starts off 1:03:55.000 --> 1:03:56.960 with pau McCartney you know I won't do it now 1:03:57.040 --> 1:04:00.680 to blow out the mic, but oh goodness, sake just 1:04:00.840 --> 1:04:04.600 super high, shake it to the left, shake it do 1:04:05.400 --> 1:04:08.720 oh oh yo my and shake can just go even 1:04:08.760 --> 1:04:10.880 higher than the highest note you did before that. 1:04:11.000 --> 1:04:15.160 I started to get really into that, so yeah, now 1:04:16.320 --> 1:04:17.600 it gets it gets wilder. 1:04:17.600 --> 1:04:19.240 I think there's some stuff on the new album where 1:04:19.280 --> 1:04:23.120 I'm I'm really squealing up in some some two octaves 1:04:23.160 --> 1:04:25.240 above where I'd normally say it's just skiddy up and 1:04:25.320 --> 1:04:26.600 some wilder stuff. 1:04:31.400 --> 1:04:35.040 What is your your weapon of choice? And I know 1:04:35.240 --> 1:04:38.840 that you have an array of guitars and a collection 1:04:39.000 --> 1:04:43.640 from heaven, but you're I can't die without it? Is 1:04:43.720 --> 1:04:45.960 it the k how value? 1:04:46.040 --> 1:04:46.280 Or is it? 1:04:46.480 --> 1:04:46.640 Is it? 1:04:46.880 --> 1:04:50.520 There's I have this Army and Navy Gibson Acoustic now 1:04:50.560 --> 1:04:52.600 that I got a few years ago that's now become 1:04:52.840 --> 1:04:54.400 like that's my favorite guitar. 1:04:54.480 --> 1:04:56.280 It's really it's from nineteen seventeen. 1:04:56.320 --> 1:04:58.720 They built it for They made these for supportedly for 1:04:58.760 --> 1:05:01.480 World War One soldier and as soon as they finally 1:05:01.520 --> 1:05:03.800 got the guitar of reproduction, the war was over, so 1:05:04.880 --> 1:05:05.600 there's not very. 1:05:05.560 --> 1:05:06.040 Many of them. 1:05:06.440 --> 1:05:08.640 They're like this scale down, stripped down version of an 1:05:08.760 --> 1:05:10.600 l one like Robert Johnson would have used. So it's 1:05:10.680 --> 1:05:13.640 really really soft and and the neck as I could 1:05:13.720 --> 1:05:17.040 baseball bat, and it's just it just it fits me perfectly. 1:05:18.400 --> 1:05:23.120 So for you, the instrument also has to have a 1:05:23.920 --> 1:05:27.080 specific tone. I don't know, it's weird for me because 1:05:28.800 --> 1:05:31.000 back when I didn't have a choice, when like we 1:05:31.080 --> 1:05:38.280 would have to play in shitty studios. Like my first 1:05:38.680 --> 1:05:42.040 drum set is some out of like Alex Van Helen's Nightmare, 1:05:42.240 --> 1:05:47.080 Like it's like some tama like power Stroke, you know, 1:05:47.240 --> 1:05:52.000 like it's straight heavy metal, like all of the organ No, 1:05:52.080 --> 1:05:55.880 I'm seriously, you. 1:05:55.880 --> 1:05:58.360 Know, maybe that goes back to like the what's the record, 1:05:58.440 --> 1:06:02.560 the you know, the boy band record. Maybe maybe maybe 1:06:02.920 --> 1:06:04.600 I went through that same period too, which is like 1:06:04.680 --> 1:06:06.640 you kind of get into maybe two kick drums, maybe 1:06:06.760 --> 1:06:10.280 rototomas maybe seventeen times, and you kind of have to 1:06:10.320 --> 1:06:12.480 go through that moment and put that out of your system. 1:06:12.600 --> 1:06:13.280 My point was that. 1:06:14.880 --> 1:06:16.960 At the time, like I was bitching, I was like, yo, 1:06:17.160 --> 1:06:19.480 like I can't I can't do no break beats on 1:06:19.560 --> 1:06:23.360 a you know, a triple kicks your own tama and 1:06:23.400 --> 1:06:25.840 the drums like this big. Yes, it was. It was 1:06:26.440 --> 1:06:28.760 serious everything you're described is what I did my first 1:06:28.840 --> 1:06:31.520 record was And then my engineer was like, dude, it 1:06:31.600 --> 1:06:34.320 doesn't matter because the only thing that matters is how 1:06:34.360 --> 1:06:38.640 we translated it in the mixing board. And once I realized, like, oh, 1:06:38.720 --> 1:06:41.000 I can manipulate this to sound any way I want to. 1:06:41.240 --> 1:06:45.080 I mean, it's smoking mirrors a lot, but it's in 1:06:45.200 --> 1:06:49.000 the engineering. So I mean, does it truly matter if 1:06:50.360 --> 1:06:53.960 you know, if you have a particular you know, Gibson 1:06:54.160 --> 1:06:58.520 or Strata or this. Did you have a Montgomery Ward? Yeah? 1:06:58.560 --> 1:07:00.880 I mean for the most part was it headlines and 1:07:00.920 --> 1:07:04.120 silver tones and really cheap auto tune, hard to work 1:07:04.200 --> 1:07:07.520 with guitars up until this album right now where I wanted. 1:07:07.280 --> 1:07:09.200 To use the easiest guitar I could possibly play. 1:07:09.360 --> 1:07:12.360 So I'm playing this Eddie van Halen's Wolfgang that he 1:07:12.520 --> 1:07:14.439 designed for all this too. 1:07:14.600 --> 1:07:17.320 New and it's and it's just like, I've never played 1:07:17.320 --> 1:07:19.640 a guitar tard this easy to play. It's crazy. 1:07:19.840 --> 1:07:23.000 I don't It's it's one of those things where what 1:07:23.080 --> 1:07:24.520 do you do you know, when you get a first 1:07:24.560 --> 1:07:26.880 class ticket on a plane, do you can you ever 1:07:27.040 --> 1:07:27.439 go back? 1:07:29.000 --> 1:07:30.480 I was gonna say, do you have do you have 1:07:30.560 --> 1:07:35.320 a fear of once you sort of dabble and dip 1:07:35.360 --> 1:07:38.520 your toe into all right, let me see what garage 1:07:38.560 --> 1:07:43.160 band is about. Or get this particular new shiny drum 1:07:43.240 --> 1:07:46.880 set or guitar whatever that you might slip into a 1:07:46.960 --> 1:07:48.280 rabbit hole you can't fall out of. 1:07:48.680 --> 1:07:50.360 Yeah, I think I definitely. 1:07:50.760 --> 1:07:51.800 I'm sure you know. 1:07:52.040 --> 1:07:54.960 I'm definitely what we were saying before, from the disciplined 1:07:55.040 --> 1:07:57.280 sort of side of things, where I can dabble and 1:07:57.440 --> 1:07:59.720 and and get something out of it, but then return 1:07:59.800 --> 1:08:03.240 to what I think feels more soul form and more 1:08:03.640 --> 1:08:06.040 makes more sense for what I trying to accomplish. I'll 1:08:06.080 --> 1:08:09.120 love I'll sit around and play with a synthesizer for hours, 1:08:09.360 --> 1:08:11.400 knowing full well that I'm never going to use this 1:08:11.520 --> 1:08:14.520 thing live or something like that, you know, but sometimes 1:08:14.600 --> 1:08:16.519 it does. When we did I dump, I was trying 1:08:16.560 --> 1:08:19.240 to I use this instrument that you the Beels used on. Baby, 1:08:19.240 --> 1:08:21.840 you're a rich man, this clavioline, the very first synthesizer, 1:08:22.320 --> 1:08:24.640 And that became a thing. It took on stage and 1:08:24.640 --> 1:08:26.280 I turned into a mold, little fatty and then I 1:08:26.320 --> 1:08:29.519 started to, you know, learn more about that, and that's 1:08:29.560 --> 1:08:32.479 now become a big instrument for me is that mug. 1:08:32.840 --> 1:08:36.040 So when you're making decisions on what instruments and to 1:08:36.280 --> 1:08:40.880 use and to play, do you have a judgment jeurey 1:08:40.920 --> 1:08:44.040 in your head? So, okay, say if I presented to 1:08:44.080 --> 1:08:51.080 you the first edition of a Yamaha DX seven from 1:08:51.120 --> 1:08:56.240 like nineteen eighty six, like this horrible Richard marks patches. 1:08:55.960 --> 1:08:59.280 Sure you turn a purple, Yeah, says. 1:09:01.760 --> 1:09:07.519 Richard playing the electric piano patch. No, but it's it's like, uh, 1:09:09.080 --> 1:09:14.599 if if presented with that, I mean, oh my god, 1:09:15.280 --> 1:09:17.080 you just ever have a moment where you just fucking 1:09:17.120 --> 1:09:20.439 forget your question? Oh yeah, make it work? 1:09:20.439 --> 1:09:22.400 Where you trying to say that could make I think 1:09:22.439 --> 1:09:23.800 I was going to go there, but there was a 1:09:23.840 --> 1:09:24.360 reason why. 1:09:25.800 --> 1:09:30.880 No whatever. But I mean, could you I mean, could 1:09:30.960 --> 1:09:31.679 you make it work? 1:09:31.800 --> 1:09:35.439 Or well there's that line from what's that line? 1:09:35.439 --> 1:09:37.080 I think John Lennon said something about you know, I'm 1:09:37.080 --> 1:09:38.760 an artist. If you give me a tub, but I'll 1:09:38.800 --> 1:09:40.960 fucking make some sounds come out of it. You know 1:09:41.120 --> 1:09:43.479 that that that's your job as an artist. That went 1:09:43.560 --> 1:09:45.680 handed the scenario, which I think that I've done a 1:09:45.720 --> 1:09:47.120 lot in the in the past, which is the set 1:09:47.200 --> 1:09:50.120 up the scenario of here's where we're gonna be, here's where. 1:09:49.960 --> 1:09:51.080 People are going to be in the room, and here's 1:09:51.080 --> 1:09:52.960 how long we're going to be here. That's it. 1:09:53.080 --> 1:09:55.040 As far as the music sounds like, I don't care 1:09:55.520 --> 1:09:57.040 what it's going to come out, like if it comes 1:09:57.080 --> 1:09:59.400 out Soulfa comes out punk, it doesn't matter to me 1:09:59.600 --> 1:10:02.680 as long as I've set up the scenario. And like 1:10:02.760 --> 1:10:04.960 I said some of the keyboard choices that some of 1:10:05.000 --> 1:10:07.719 those tones to me at first was like wow, okay, 1:10:08.400 --> 1:10:10.720 and then later I'm like, okay, yeah, now I get it. 1:10:10.800 --> 1:10:12.680 That really does work. It really does work. And I 1:10:12.720 --> 1:10:14.920 don't remember emitting any of them while we were mixing 1:10:14.920 --> 1:10:15.280 the album. 1:10:15.760 --> 1:10:19.240 So part two that question is are you afraid that 1:10:20.040 --> 1:10:24.200 snobs like us will be cool man? Everyone uses the 1:10:24.280 --> 1:10:27.680 data d like I can instantly tell that it was 1:10:27.720 --> 1:10:29.960 a DATAA app that he used, or sure. 1:10:30.280 --> 1:10:34.200 I'm a big fan of not noticing production, which is 1:10:34.360 --> 1:10:36.080 it's hard for me to like when I hear like, 1:10:36.160 --> 1:10:39.160 oh they put that even todd reverb on that vocal. 1:10:39.920 --> 1:10:41.800 I hear that, I hear that when I don't hear it, 1:10:41.960 --> 1:10:43.679 when I just hear the music, I don't even notice 1:10:43.720 --> 1:10:44.160 the production. 1:10:44.280 --> 1:10:46.120 I really love that that feels good to me. 1:10:46.400 --> 1:10:50.080 But can you But can you even enjoy an album 1:10:50.280 --> 1:10:53.280 without getting into It's hard for me to do that, 1:10:53.439 --> 1:10:57.160 Like I'm analytical and figure out what they. 1:10:57.439 --> 1:10:58.040 That's my hope. 1:10:58.160 --> 1:10:59.840 My hope is the first just love it, love it 1:11:00.000 --> 1:11:02.800 and listen to it, and maybe ten listens down start thinking, wow, 1:11:02.840 --> 1:11:04.240 how did they get that drum sound? 1:11:04.960 --> 1:11:06.720 That that's Uh? I was just thinking about that. 1:11:06.960 --> 1:11:07.080 Uh. 1:11:07.680 --> 1:11:10.360 Yesterday in the car we were listening to uh, Let's 1:11:10.400 --> 1:11:13.240 Go Crazy guitar solo and it was sort of like, 1:11:14.080 --> 1:11:14.240 you know. 1:11:14.240 --> 1:11:15.840 I never thought about it. What was using an octave 1:11:15.880 --> 1:11:18.559 pedal on this? I never heard a solo a thousand times? 1:11:19.320 --> 1:11:19.439 Uh? 1:11:20.240 --> 1:11:20.680 Just saw it. 1:11:21.160 --> 1:11:21.519 I don't know. 1:11:21.640 --> 1:11:23.120 I'm not kind of want to go look that up now. 1:11:23.200 --> 1:11:25.160 But can you talk about your evolution of thinking of that? 1:11:25.240 --> 1:11:28.519 Because until Thursday, because I didn't say that because I 1:11:28.600 --> 1:11:30.840 think like with the Early White Stripes record, it was 1:11:30.960 --> 1:11:33.120 just like two people in a room press recording go 1:11:33.200 --> 1:11:36.479 whereas this this last album feels like to me the opposite. 1:11:36.600 --> 1:11:37.840 But you did put it into pro tools, and you 1:11:37.920 --> 1:11:39.800 did cut it, you did smush it around because and 1:11:39.920 --> 1:11:42.559 then that and that seems not antithetical to what you're saying, 1:11:42.560 --> 1:11:45.960 but like like an evolution and even like the let's 1:11:46.000 --> 1:11:48.240 say that the White Stripes early records seemed super riffy 1:11:48.320 --> 1:11:50.960 to me and super hooky. The middle of your career, 1:11:51.120 --> 1:11:53.320 to really put it bluntly, like the Dead Weather Racket 1:11:53.320 --> 1:11:55.639 tour stuff is a is a different thing, moving more 1:11:55.680 --> 1:11:57.800 towards rock, and then this feels that's the hope. 1:11:57.880 --> 1:12:00.120 Yeah, right, But what was like your song. 1:12:00.040 --> 1:12:01.720 Writing process during those whole things, because it feels like 1:12:01.720 --> 1:12:03.880 a definite crescendo and or move. 1:12:04.280 --> 1:12:06.360 Yeah, it's it's a definite move. 1:12:06.520 --> 1:12:09.240 And I use a lot of techniques I've never used before. 1:12:09.280 --> 1:12:11.800 I recorded and I rented in an apartment where I 1:12:12.080 --> 1:12:13.799 used the same equipment I had when I was a teenager, 1:12:14.040 --> 1:12:17.599 the same reel to reel by myself, no amps, no drums, 1:12:17.640 --> 1:12:20.880 So I was singing along with a drum machine, writing 1:12:20.960 --> 1:12:23.200 the songs, writing the melody of the song without any 1:12:23.320 --> 1:12:25.519 musical accompaniment. So a lot of these songs started as 1:12:25.680 --> 1:12:27.200 just a vocal melody and. 1:12:27.240 --> 1:12:28.479 Then everything was added later. 1:12:29.200 --> 1:12:31.760 And then took it to New York and LA and 1:12:31.800 --> 1:12:34.200 played with people I've never met before and with three 1:12:34.280 --> 1:12:36.679 days only in each studio. Let's hurry up and figure 1:12:36.720 --> 1:12:39.519 something out, and then recording all that to tape and 1:12:39.560 --> 1:12:41.360 then dumping it to pro tools and edding in pro 1:12:41.439 --> 1:12:42.200 tools for months. 1:12:42.280 --> 1:12:43.800 I had something I'd never done before either. 1:12:44.040 --> 1:12:45.559 So you put yourself on a time limit. 1:12:46.080 --> 1:12:48.320 Yeah for each city? Yeah, three days in each city. 1:12:48.439 --> 1:12:48.960 Why do that? 1:12:49.320 --> 1:12:51.960 Because I wanted the energy of uh. 1:12:53.400 --> 1:12:55.280 I didn't tell them as I told them as late 1:12:55.320 --> 1:12:57.360 as possible before we did it, so that the energy is, 1:12:57.520 --> 1:12:58.720 holy shit, what are we doing? 1:12:59.160 --> 1:13:00.320 And then nobody knows each other. 1:13:00.439 --> 1:13:01.960 So you have that great energy in the room of 1:13:02.400 --> 1:13:04.560 everyone's scared a little bit, and they also want to 1:13:04.560 --> 1:13:07.800 impress each other, so you get that great energy. That's 1:13:07.840 --> 1:13:09.479 totally different if I would have said two weeks at 1:13:09.520 --> 1:13:11.639 that time. Okay, guys, here's the demo for the song. 1:13:11.800 --> 1:13:13.880 Learn this part, learn that part. See on Wednesday at 1:13:13.880 --> 1:13:15.400 two o'clock and then we'll have lunch. 1:13:16.720 --> 1:13:16.920 Yeah. 1:13:16.960 --> 1:13:18.920 Then they've got they've prepared it, they figured it all out. 1:13:19.080 --> 1:13:21.080 But to walk in the room and nobody knows what's 1:13:21.120 --> 1:13:26.439 gonna happen, that's a wig more interesting, Davis. 1:13:26.560 --> 1:13:29.640 Something that happened in this room with with d and 1:13:29.720 --> 1:13:33.640 you guys, all the millions of hours. 1:13:33.400 --> 1:13:35.839 Of Angelo everybody. 1:13:36.160 --> 1:13:39.040 We recorded Voodoo in this room. Who were the players 1:13:39.080 --> 1:13:41.040 on this new record? Players? 1:13:41.160 --> 1:13:45.040 We got Neil Evans and DJ Harris, he's in New York. 1:13:45.600 --> 1:13:49.080 There's a monster Charlotte Camp on bass who plays with 1:13:49.200 --> 1:13:52.080 the Ghost to the Saber due Tiger Sean lynon his band. 1:13:52.640 --> 1:13:54.320 She has her own band. I think it's called Oonie. 1:13:54.520 --> 1:13:58.759 And then Uh, the drummer was Lewis Cato on this session. 1:13:58.800 --> 1:14:00.800 I gotta ask you, Tip who the who he thought 1:14:00.920 --> 1:14:03.639 was good New York to grab and he said Lewis 1:14:04.280 --> 1:14:08.839 and then I And then in La we had Carla 1:14:09.120 --> 1:14:12.719 Azaar on drums, who I brought one person I knew 1:14:13.160 --> 1:14:15.479 there as a you know, sort of anchor, like, Okay, 1:14:15.640 --> 1:14:17.080 I've got one person I work with and I know 1:14:17.120 --> 1:14:19.360 everyone else is going to be strangers. And we got 1:14:19.479 --> 1:14:24.200 brew what's his name, Brewster Brew forgot his last name 1:14:24.920 --> 1:14:27.960 on keys, as well as Quincy McCrary. And then we 1:14:28.160 --> 1:14:31.760 had el Nino from Ozon Motley on percussion. 1:14:32.360 --> 1:14:35.120 Oh, Bobby Allende on on Conga's in New York too, 1:14:35.160 --> 1:14:35.560 I forgot that. 1:14:36.400 --> 1:14:38.040 Who mixed uh this album? 1:14:38.600 --> 1:14:41.599 I mixed it with Josh Smith, my engineer in Nashville. 1:14:41.680 --> 1:14:44.920 We did it on pro tools, the editing, and then 1:14:44.960 --> 1:14:46.960 we mixed it through my Neive console. 1:14:47.200 --> 1:14:52.680 So okay, yeah, I want to also talk about other 1:14:52.800 --> 1:14:58.760 projects he worked on. You produced Vanlair Rose. Yes, I 1:14:58.880 --> 1:15:03.000 want to know well, and also I wanted to Jackson's 1:15:04.400 --> 1:15:11.400 album as well. How do you how do you when 1:15:11.439 --> 1:15:13.880 you're when you're working with someone that's obviously not in 1:15:14.000 --> 1:15:14.639 your generation? 1:15:14.880 --> 1:15:15.880 Yeah, and. 1:15:18.040 --> 1:15:20.920 How do you cause again you well, Fantine mentioned earlier 1:15:20.960 --> 1:15:22.240 that you have to manage people. 1:15:22.439 --> 1:15:23.640 Oh yeah, so. 1:15:25.760 --> 1:15:28.439 Havn't been in her presence a few times? 1:15:28.960 --> 1:15:29.479 How did you. 1:15:31.040 --> 1:15:33.960 Get that album achieved? And it's tough. 1:15:34.000 --> 1:15:36.280 I mean, every every person is different, obviously, but I've 1:15:36.320 --> 1:15:40.160 definitely done my time with many octagenarians. 1:15:41.560 --> 1:15:45.680 But but it's uh, Loretta was just great because she's 1:15:45.760 --> 1:15:48.800 just so funny and so talented, and it would be 1:15:48.920 --> 1:15:51.040 line by line a lot of it. She rushes. 1:15:51.120 --> 1:15:54.160 She starts singing the next line before it's time, before 1:15:54.160 --> 1:15:56.880 we've gotten to that moment, and I said, okay, you 1:15:57.160 --> 1:15:58.840 got to put that pause in there, and she goes, 1:15:58.920 --> 1:16:01.600 jack I've been doing this miss my first record. I'm 1:16:01.800 --> 1:16:03.600 I'm famous for this needs to make fun of me 1:16:03.640 --> 1:16:06.360 back in the sixties about this, I rush and she does, 1:16:06.439 --> 1:16:08.280 she rushes a live on stage. The band has to 1:16:08.400 --> 1:16:11.439 jump to the next verse because she just runs to 1:16:11.520 --> 1:16:13.200 the next line, so we'd have to do it, and 1:16:13.280 --> 1:16:14.360 we did it on tape, so we had to do 1:16:14.439 --> 1:16:14.960 it line. 1:16:14.760 --> 1:16:16.960 By line a lot of that stuff because we couldn't 1:16:17.040 --> 1:16:19.720 edit it later and you didn't use pro tools. No, 1:16:19.880 --> 1:16:22.280 that was on a TRAKYS wanted to know if. 1:16:22.200 --> 1:16:27.560 You oh shit, really yeah, so the patient's factor. 1:16:27.360 --> 1:16:28.960 Was, oh yeah, very patient. 1:16:29.120 --> 1:16:31.880 Yeah, you know what. One of my favorite but see, 1:16:31.880 --> 1:16:36.200 one of my favorite Jowins was, uh, how did you 1:16:36.240 --> 1:16:38.320 get her to do? Was it a little red shoes? 1:16:38.560 --> 1:16:41.120 Yeah? Yeah, she told the story and yeah, she was 1:16:41.200 --> 1:16:43.439 just telling us that story in between takes, and I 1:16:43.600 --> 1:16:45.800 was like, who hold on, don't don't finish, you know, 1:16:46.000 --> 1:16:47.040 let's roll tape real quick. 1:16:47.080 --> 1:16:49.240 And she went back and enrolled to he had a 1:16:49.320 --> 1:16:50.000 music afterwards. 1:16:50.400 --> 1:16:53.519 I added the music later and edited that together back 1:16:53.560 --> 1:16:55.960 in Detroit at Brendon Studio. 1:16:55.760 --> 1:16:57.600 Because in my head, I'm like, yo, how in the 1:16:57.680 --> 1:17:00.200 world did he manage to oh man, that it have 1:17:00.200 --> 1:17:01.080 been a night perfect? 1:17:01.200 --> 1:17:01.360 Yeah? 1:17:01.360 --> 1:17:02.280 I like this. 1:17:02.680 --> 1:17:05.680 She actually tried to do it. She actually tried to 1:17:05.720 --> 1:17:07.920 tell a story along with the music. But the story 1:17:08.040 --> 1:17:08.400 kept going. 1:17:08.479 --> 1:17:10.360 This song had ended long ago, and she had five 1:17:10.400 --> 1:17:12.000 more minutes of story to tell, so that took a 1:17:12.040 --> 1:17:14.439 lot of time to edit that down into making it work. 1:17:14.479 --> 1:17:16.599 But it was it was very cool. She got the idea. 1:17:16.680 --> 1:17:17.920 She thought it was a very cool idea. 1:17:18.640 --> 1:17:25.040 Okay, when you uh, you also did a Bond song? Yes, yeah, 1:17:25.640 --> 1:17:26.519 with Alicia? 1:17:26.720 --> 1:17:27.720 What movie was it for? 1:17:28.479 --> 1:17:29.320 Quantum of Silent? 1:17:29.680 --> 1:17:32.400 Quantum of So? 1:17:32.760 --> 1:17:33.240 Is it? 1:17:33.840 --> 1:17:38.559 Is it caricature? Is it an honor to be asked, 1:17:38.840 --> 1:17:42.160 you know, to do the the iconic Bond song? Yeah? 1:17:42.280 --> 1:17:44.760 That that that is? That was an insane honor. 1:17:45.040 --> 1:17:47.439 It was also I knew I was entering sort of 1:17:47.560 --> 1:17:49.880 like you're like you're doing something for Star Wars or 1:17:49.960 --> 1:17:52.360 Star Trekers, and you entering this franchise. You're entering a 1:17:52.439 --> 1:17:55.240 world of of pain because you know, this is a 1:17:55.320 --> 1:17:59.160 whole fifty years of fans who are very scratchy about 1:17:59.240 --> 1:18:01.240 anything to do with their beloved characters. 1:18:01.320 --> 1:18:02.719 So you have to careful. 1:18:02.720 --> 1:18:05.160 But the reason I got that gig was because Amy 1:18:05.200 --> 1:18:09.160 Winehouse wouldn't show up to the recording sessions they were 1:18:09.240 --> 1:18:09.600 going to do. 1:18:09.960 --> 1:18:11.320 I think it was I don't know what it was. 1:18:11.360 --> 1:18:13.840 I guess it was Amy Winehouse and someone else was 1:18:13.880 --> 1:18:18.559 a duet, and because she wasn't showing up, they asked 1:18:18.600 --> 1:18:21.160 if I would do it, and what about me doing 1:18:21.200 --> 1:18:23.680 a duet? And I said yeah, and I offered the 1:18:23.760 --> 1:18:28.080 idea of Alicia Keys and they said okay, and they 1:18:28.240 --> 1:18:30.040 just didn't have much time. So I thought, oh, this 1:18:30.200 --> 1:18:31.840 is good. Now I'm going to get to do some 1:18:31.960 --> 1:18:33.960 shit out that way would never let me do if 1:18:34.000 --> 1:18:36.360 they had given me a year to work on this. 1:18:36.560 --> 1:18:38.839 So it was super complex. 1:18:39.320 --> 1:18:42.160 I recommend to people that listen to just the instrumental 1:18:42.200 --> 1:18:46.000 of that song because it's really really bizarre changes that 1:18:46.400 --> 1:18:48.880 go on in that And that was a drum based thing, 1:18:49.680 --> 1:18:50.840 and Alicia. 1:18:50.520 --> 1:18:52.560 Came into to Nashville and did her thing with it. 1:18:53.800 --> 1:18:54.719 But it's very divisive. 1:18:54.720 --> 1:18:55.720 I think it was the first time I had to 1:18:55.760 --> 1:18:58.320 put out a song as divisive and people just loved 1:18:58.320 --> 1:18:58.920 it or hated it. 1:18:59.439 --> 1:19:03.040 The time I got to hang out with Prince, he was. 1:19:04.760 --> 1:19:07.519 At this club and I walked over and sat down 1:19:07.600 --> 1:19:13.160 and he said, well, I really loved that James Bond 1:19:13.200 --> 1:19:14.960 thing you did all sudden it was at the time 1:19:15.040 --> 1:19:17.280 it had just come out, and oh, thanks for saying that, 1:19:17.280 --> 1:19:19.400 because a lot of people hate it, and he goes, really, 1:19:19.600 --> 1:19:20.639 I thought it was real. 1:19:20.520 --> 1:19:27.320 Strong, wildly she keys, because you said that was the 1:19:27.360 --> 1:19:28.720 first person that you thought that. 1:19:28.880 --> 1:19:31.599 I just thought her voice would just be like who's 1:19:32.360 --> 1:19:35.960 you know, like the just the soaring thing, and she 1:19:36.280 --> 1:19:38.240 did a lot of that kind of just the soaring vocals. 1:19:38.600 --> 1:19:41.280 How many did they make you do? Several different drafts 1:19:41.280 --> 1:19:43.519 of that song before you they finally they did. 1:19:43.600 --> 1:19:44.720 They came back to me and they wanted me to 1:19:44.760 --> 1:19:46.679 put a power ballot in the middle of the song, 1:19:46.880 --> 1:19:48.719 and they wanted it. They wanted me to try again 1:19:48.800 --> 1:19:50.599 on something else, but I knew they were running out 1:19:50.640 --> 1:19:54.120 of time, so it's like, I'll try. 1:19:54.360 --> 1:20:00.519 But was it like the most creative, most hands in 1:20:00.560 --> 1:20:01.720 your creative process ever? 1:20:02.400 --> 1:20:03.559 Yeah, it was definitely. 1:20:03.760 --> 1:20:03.960 Wow. 1:20:04.120 --> 1:20:06.000 If this had been if we had started this six 1:20:06.080 --> 1:20:08.000 months ago, I probably would have dropped out because it 1:20:08.000 --> 1:20:09.160 would have just been Okay. 1:20:09.000 --> 1:20:11.479 Guys, you just get somebody else. I'm not your guy, 1:20:11.680 --> 1:20:14.120 you know, well, okay, he was one of those funny you. 1:20:14.120 --> 1:20:17.200 Know some always wanted to ask, Okay, so last time 1:20:17.560 --> 1:20:19.640 I did a show with you, you do this very 1:20:19.720 --> 1:20:23.839 unique thing where none of your okay, so he travels 1:20:23.880 --> 1:20:27.240 with I don't know if you still do this. But 1:20:28.280 --> 1:20:33.200 two bands, an all male band, all female band. Yeah, 1:20:33.320 --> 1:20:34.960 I did that, and they all get dressed to the 1:20:35.080 --> 1:20:39.200 nines and then about forty five minutes into show time, 1:20:40.760 --> 1:20:43.160 they're told which band is going to be his band tonight? 1:20:43.600 --> 1:20:43.640 What? 1:20:50.040 --> 1:20:56.599 But what do I think we still do that? I'm 1:20:56.640 --> 1:21:02.639 not coming to the day Sinray angry there, but one. 1:21:03.320 --> 1:21:05.560 I mean I never I'm never going to ask you 1:21:05.640 --> 1:21:07.680 why you do things? Because you are you are and 1:21:07.800 --> 1:21:08.200 that's why. 1:21:08.439 --> 1:21:09.360 So, but. 1:21:11.920 --> 1:21:15.200 Do they feel some sort of way like, Okay, if 1:21:15.200 --> 1:21:15.479 they're in. 1:21:15.680 --> 1:21:16.439 L A, have an hour. 1:21:16.479 --> 1:21:16.880 I'll give you. 1:21:17.120 --> 1:21:19.920 I'll give you all the the reactions to taking an 1:21:19.960 --> 1:21:20.639 hour to explain. 1:21:21.040 --> 1:21:23.680 I was gonna say, like because the first time I 1:21:23.760 --> 1:21:26.240 did it, ah Man, rest in peace. To Ike. Ike 1:21:26.479 --> 1:21:28.640 was telling me like, yo, I might come to your 1:21:28.680 --> 1:21:31.240 jam session, but I gotta wait for word. It's a 1:21:31.280 --> 1:21:33.040 word or what He's like. I don't know if I'm 1:21:33.040 --> 1:21:34.600 gonna playing with Jackson. I said, I thought you were 1:21:34.640 --> 1:21:36.080 a keyboard player, and then he explained to me the 1:21:36.160 --> 1:21:38.560 system that he might and just happened to be the 1:21:38.680 --> 1:21:40.519 night that you chose. Are they the Peacocks? 1:21:40.720 --> 1:21:43.160 Yeah, the girls with the Peacocks and the boys were 1:21:43.160 --> 1:21:44.400 the Buzzards, right, so. 1:21:45.200 --> 1:21:47.360 You chose the Peacocks when he was like a great, 1:21:47.400 --> 1:21:48.280 I'm off yeah, and then. 1:21:48.280 --> 1:21:51.640 He came to our gig and but this was this 1:21:51.840 --> 1:21:53.880 was for two albums ago, and Ike was the first 1:21:53.920 --> 1:21:56.680 person to positively love it and respond to it, at 1:21:56.720 --> 1:21:57.719 least to my face. 1:21:58.160 --> 1:21:58.599 But uh. 1:22:00.040 --> 1:22:03.240 So I had gathered them together and said, you know, 1:22:03.280 --> 1:22:05.000 I had a group me like, here's what's going to happen. 1:22:05.080 --> 1:22:06.600 I want to have an all male band and an 1:22:06.600 --> 1:22:07.439 all female band. 1:22:07.439 --> 1:22:09.200 And the reason why is I want people to not 1:22:09.360 --> 1:22:11.200 know who's going to play with me that night, and 1:22:11.320 --> 1:22:13.040 I want them to react and say. 1:22:15.360 --> 1:22:16.800 You know, it would be almost like I'm trying to 1:22:16.800 --> 1:22:18.400 think of a way to do it, Like if I had. 1:22:18.320 --> 1:22:20.439 A band of all eighty year old people and a 1:22:20.520 --> 1:22:23.479 band of all teenagers, a wait for them to directly 1:22:23.560 --> 1:22:25.680 know this is a different band. So if it was 1:22:25.760 --> 1:22:28.120 a mixed together band, maybe a lot of people wouldn't 1:22:28.120 --> 1:22:28.479 pay attention. 1:22:28.520 --> 1:22:29.200 You wouldn't say, was. 1:22:29.200 --> 1:22:31.800 That the same band that played in Cleveland yesterday. So 1:22:31.920 --> 1:22:33.720 this was a definite way for them to know, oh no, 1:22:33.840 --> 1:22:37.920 this is a different band completely. So that was the 1:22:38.000 --> 1:22:39.519 one way to do it. And also to mess with 1:22:39.600 --> 1:22:43.160 the preconceptions that people have about female musicians too, which 1:22:43.280 --> 1:22:46.519 you know, I think don't kind of ridiculously in this 1:22:46.640 --> 1:22:48.879 thing and age still kind of treat like a novelty. 1:22:49.160 --> 1:22:51.559 Oh isn't that cute? You play girl, you play fiddle, 1:22:51.640 --> 1:22:55.280 or you play you know, steal guitar. So I sat 1:22:55.320 --> 1:22:56.519 them all Don said, here's what's gonna happen. 1:22:56.520 --> 1:22:59.880 We're gonna go on tore and there's at breakfast, I'm 1:23:00.120 --> 1:23:00.679 to decide. 1:23:00.479 --> 1:23:03.200 Who's playing that night. It's gonna have absolutely nothing to 1:23:03.280 --> 1:23:05.440 do with what you did last night. It's not a competition, 1:23:06.000 --> 1:23:06.160 you know. 1:23:06.520 --> 1:23:08.639 But here's the great thing. You get paid either way. 1:23:08.920 --> 1:23:11.320 Wow, you're gonna get a day off when you didn't 1:23:11.320 --> 1:23:12.760 know it, so it's gonna be a nice surprise, or 1:23:12.800 --> 1:23:14.840 you get to play that night. And sometimes we're gonna 1:23:14.880 --> 1:23:16.519 do two nights in a row, three nights in a row, 1:23:17.000 --> 1:23:18.240 and you can't get your feelings. 1:23:20.160 --> 1:23:22.480 Was there a night where it was like the Pecks 1:23:22.520 --> 1:23:25.320 at like six nights in a row and I think 1:23:25.400 --> 1:23:26.280 three was the most. 1:23:26.560 --> 1:23:29.720 And there was definitely times where people were sort of 1:23:30.400 --> 1:23:31.400 they felt some way. 1:23:31.479 --> 1:23:33.280 I think it was the one sign where they actually 1:23:33.439 --> 1:23:36.120 spoke up and we had I I conceded was I 1:23:36.240 --> 1:23:38.280 wanted them to come out in New York and I 1:23:38.320 --> 1:23:40.120 wanted the male band to come out and play one 1:23:40.240 --> 1:23:40.960 note and leave. 1:23:48.360 --> 1:23:49.400 They were insult. 1:23:51.640 --> 1:23:54.360 What about but what about yeah? Because it's nice for 1:23:54.520 --> 1:23:55.880 like my parents are coming to see. 1:23:56.360 --> 1:23:57.160 Yeah, it was. 1:23:57.360 --> 1:23:58.320 It was that kind of thing. 1:23:58.600 --> 1:24:00.560 It was our friends are here, it's New York, and 1:24:01.320 --> 1:24:03.000 if we're doing it, we got to do it. It 1:24:03.040 --> 1:24:04.639 was that kind of thing. I was, all right, I'll concede. 1:24:04.680 --> 1:24:07.160 I understand, you know, you know. The idea was it 1:24:07.240 --> 1:24:08.680 was to fake out, to fake the crowd out. 1:24:08.840 --> 1:24:10.920 And Carlo was also your drummer. 1:24:11.000 --> 1:24:12.000 She was the girl in the girl man. 1:24:12.360 --> 1:24:15.800 Right. So the thing is is if you make the 1:24:15.880 --> 1:24:21.360 decision two hours before showtime, then does she have to 1:24:21.439 --> 1:24:25.000 adjust Daru's jump set. It's at breakfast at Breste. 1:24:25.400 --> 1:24:28.759 Yeah, breakfast, and then one of these nights the decision 1:24:28.880 --> 1:24:31.559 was me, okay, so no, no normal that You're right, 1:24:31.640 --> 1:24:33.280 There were no there were times you you might have 1:24:33.320 --> 1:24:36.479 been at that. There were times where okay. The a 1:24:36.520 --> 1:24:38.639 lot of times all the musicians would come and watch 1:24:38.720 --> 1:24:40.200 the show anyway, which was great. 1:24:40.240 --> 1:24:41.240 There was like a real family. 1:24:41.320 --> 1:24:43.400 They already wanted to see, and they also want to 1:24:43.400 --> 1:24:44.840 see what we were doing, because we were doing different 1:24:44.880 --> 1:24:47.000 versions of the same song with two different bands, which 1:24:47.640 --> 1:24:49.720 so I was rehearsing in Nashville one studio, and then 1:24:49.720 --> 1:24:51.639 I would drive across town and this other student rehearsed 1:24:51.680 --> 1:24:52.840 with them and try to come up with a whole 1:24:52.840 --> 1:24:54.719 different arrangement for that same song. 1:24:55.000 --> 1:24:57.000 And you never put them together. They never got to. 1:24:57.200 --> 1:24:59.880 We did when Portland, Oregon, from the vanle Rose album 1:25:00.000 --> 1:25:02.439 we played Portland, we did the whole band to get 1:25:02.479 --> 1:25:03.759 all boys and girls together. 1:25:04.600 --> 1:25:06.760 A guy like me, like I can see right now 1:25:06.800 --> 1:25:09.479 if I was like playing Madden on the tour bus 1:25:09.560 --> 1:25:12.360 and maybe one of the dudes kicked my ass, and 1:25:12.400 --> 1:25:14.160 I feel like, all right, whatever girls tonight. 1:25:21.439 --> 1:25:25.040 I got a question, Jack, My my favorite scene in 1:25:25.120 --> 1:25:30.040 the in the Guitar Guys documentary do you know what 1:25:31.040 --> 1:25:33.920 what is it called? It has a great yeah, yeah, Okay, 1:25:34.000 --> 1:25:36.400 So my favorite scene is You're in a room with Edge. 1:25:36.439 --> 1:25:38.240 It's like a room like this with Edge and Jimmy 1:25:38.320 --> 1:25:42.480 Page and you and and Jimmy Page lights into Kashmir, 1:25:42.840 --> 1:25:44.640 and the best part of this film is it then 1:25:44.760 --> 1:25:46.519 pans over to you and I just want to know 1:25:46.560 --> 1:25:47.439 what you were thinking, because you. 1:25:47.520 --> 1:25:47.920 Just look like. 1:25:51.160 --> 1:25:51.400 Whatever. 1:25:51.560 --> 1:25:52.920 It was something like that, and you were just like, 1:25:53.320 --> 1:25:55.400 holy shit, I'm in a room like this is happening. 1:25:55.479 --> 1:25:57.519 And just I thought there was such a genuine reaction 1:25:57.760 --> 1:25:59.320 but b Roll, talk about b Roll. It was that 1:25:59.400 --> 1:26:00.639 was like a legit be real. 1:26:00.720 --> 1:26:02.840 It was because it was it was a surprise moment 1:26:02.920 --> 1:26:05.439 because he had I often joke and say, well people 1:26:05.479 --> 1:26:06.880 a while of people don't realize it was because the 1:26:06.920 --> 1:26:12.920 dessert cart was standing right, But it was actually a 1:26:12.960 --> 1:26:15.000 surprise moment. We were just talking and nobody had said 1:26:15.000 --> 1:26:17.160 anything about anything about playing at that moment. We were 1:26:17.160 --> 1:26:18.920 just talking like this and he just stood up and 1:26:19.000 --> 1:26:20.479 plugged in and just started playing Whole. 1:26:20.280 --> 1:26:21.320 Lot of Love. It was like whoa. 1:26:22.680 --> 1:26:24.479 But the director sent me that clip and I'm like, 1:26:25.600 --> 1:26:31.320 damn man, people are gonna be talking about that for 1:26:31.400 --> 1:26:32.120 the rest of my life. 1:26:32.120 --> 1:26:33.719 And I was like, all right, let it go ahead, 1:26:33.760 --> 1:26:34.280 put it in the movie. 1:26:34.320 --> 1:26:34.960 It was so real. 1:26:35.960 --> 1:26:40.200 It was genuinely not this is just beautiful. It just 1:26:40.439 --> 1:26:41.200 it was incredible. 1:26:42.600 --> 1:26:44.519 When it was pitched to you, you didn't have any 1:26:44.640 --> 1:26:48.920 reservations of like because to me, it's almost like summit 1:26:49.000 --> 1:26:53.559 meetings like that had they have the tendency to turn 1:26:53.640 --> 1:26:57.160 on their face. There's there's the infamous Uh you ever 1:26:57.240 --> 1:27:00.800 heard of a toot and a snort? Are you talking 1:27:00.840 --> 1:27:04.679 about him? You know about it? Okay? So a tune 1:27:04.720 --> 1:27:08.600 to snort is there's the worst, the worst piece of 1:27:08.640 --> 1:27:12.080 shit ever. It's a record on paper, it's awesome. So 1:27:12.200 --> 1:27:17.080 John Lennon is producing, Harry Nielsen and Stevie Wonder also 1:27:17.160 --> 1:27:19.639 happens to be working on fulfilling this first finality down 1:27:19.720 --> 1:27:23.479 the hall, and Paul McCartney happens to be in doing 1:27:23.560 --> 1:27:25.320 something in the sea room. And so I guess during 1:27:25.360 --> 1:27:27.759 like a dinner break, they all decided to get together 1:27:28.360 --> 1:27:30.479 and let's just have a jam. So this will be 1:27:30.600 --> 1:27:33.840 the last noted time that Lennon McCartney on the studio together. 1:27:34.560 --> 1:27:39.919 So Stevie's on drums, I think, So Stevie's on drums, 1:27:41.439 --> 1:27:46.120 Nielsen's on guitar, McCartney's on bass, and I think also 1:27:46.560 --> 1:27:55.960 Lennon's on guitar, and again Stevie Wonder, John Lennon, when 1:27:56.000 --> 1:27:58.920 you said, Steve, that's what you went wrong, right, Steve 1:28:00.080 --> 1:28:06.800 that the peacocks and they struggle through stand by me 1:28:06.920 --> 1:28:10.400 for like forty five minutes and it's like a bunch 1:28:10.479 --> 1:28:12.920 of five year olds are playing like it's the worst 1:28:13.200 --> 1:28:16.280 of shit ever. And it's called a snort because at 1:28:16.360 --> 1:28:20.720 one point I think Lennon offers it goes to Steven says, 1:28:21.000 --> 1:28:24.240 you want to to snort? You know that sort of thing? No, man, 1:28:26.240 --> 1:28:28.559 but it's you would think that, you know, the summit 1:28:28.640 --> 1:28:30.920 meeting of the gods would result in you know, some 1:28:31.040 --> 1:28:34.560 sort of million dollar sun record session ship. No, no, 1:28:35.720 --> 1:28:36.759 there's the worst piece. 1:28:36.600 --> 1:28:39.200 Of cameras in the room or what ruins it too? 1:28:40.080 --> 1:28:45.000 Because speaking of which, everyone, Okay, so we got cameras 1:28:45.000 --> 1:28:48.040 in this room. Everyone, can we just say yes one second? Like, 1:28:48.160 --> 1:28:51.080 not yes, the cameras. Okay, can we all just laugh 1:28:51.200 --> 1:28:59.880 right now? Stop? 1:29:00.360 --> 1:29:07.840 Okay, Steve's sugar, Steve's literally or his I g right now. 1:29:08.240 --> 1:29:11.000 So your regularly third man. You guys, actually you're a 1:29:11.080 --> 1:29:13.519 plant your press records. What is the lead time on 1:29:13.600 --> 1:29:15.320 your stuff? Because I might actually need the press. 1:29:16.840 --> 1:29:18.719 We try to be as fast as possible. 1:29:18.840 --> 1:29:20.200 Like one of the one of the hold ups is 1:29:20.360 --> 1:29:22.519 plating a record, you know, getting it, getting the metal 1:29:22.560 --> 1:29:25.880 plates made. That usually is the is the one thing 1:29:25.960 --> 1:29:29.600 that installs the project. The most because once you have 1:29:29.760 --> 1:29:31.880 the masters in the room and you can just kind 1:29:31.880 --> 1:29:34.760 of start whipping whipping them out as long as the 1:29:34.840 --> 1:29:38.479 test pressings are sound properly. So there's there's some stumbling 1:29:38.520 --> 1:29:40.200 things that test pressing come back and there's a there's 1:29:40.200 --> 1:29:42.040 a skip, and then you got to start over again, 1:29:42.120 --> 1:29:44.200 get a new plate made so that that can be 1:29:44.560 --> 1:29:46.880 But but usually it's pretty can be pretty fast a 1:29:46.920 --> 1:29:47.360 few weeks. 1:29:47.800 --> 1:29:53.560 Does the various UH artwork are creature is then caricature? 1:29:54.040 --> 1:29:54.200 UH? 1:29:54.920 --> 1:29:59.160 Does the various options of artwork that you do to 1:29:59.439 --> 1:30:05.479 your vinyl like you once had uh an angel appear 1:30:06.280 --> 1:30:10.000 Holograham angel one like? Does that affect the sound at all? 1:30:10.880 --> 1:30:11.000 Uh? 1:30:11.120 --> 1:30:11.840 Some of those things do? 1:30:12.240 --> 1:30:15.000 Number one, if you the reason why black vinyl is 1:30:15.200 --> 1:30:17.960 became the normal color for vinyl is because it's the 1:30:18.000 --> 1:30:21.879 best sounding color, the best sounding substrate, well not substrate, 1:30:21.880 --> 1:30:25.360 but the best sounding material. When you use colored vinyl 1:30:25.400 --> 1:30:27.640 like red or blue or anything like that, you do 1:30:28.560 --> 1:30:30.080 lose lose sound quality. 1:30:30.640 --> 1:30:32.080 So that's why black became the standard. 1:30:32.680 --> 1:30:51.680 Right, Okay, UH, any final questions before I wrap this 1:30:52.120 --> 1:30:52.559 one or two? 1:30:54.880 --> 1:30:58.160 So, as a mir stated earlier, we're in electrically studios 1:30:58.200 --> 1:30:58.800 here in New York. 1:30:59.439 --> 1:31:00.639 I know you here before? 1:31:00.680 --> 1:31:01.840 Have you ever recorded here? 1:31:02.439 --> 1:31:04.880 The White Stress put on a concert here. That is 1:31:04.920 --> 1:31:07.360 the only time I've ever recorded here, and we actually 1:31:07.680 --> 1:31:09.400 released it. It was we did a version of our 1:31:09.479 --> 1:31:11.240 song Ball and Biscuit. We did like a ten minute 1:31:11.280 --> 1:31:12.680 version of it. I think we released it on a 1:31:12.800 --> 1:31:16.880 twelve inch vinyl at the time. And that was a 1:31:16.920 --> 1:31:21.280 great show. That was the only time I'd ever been before. 1:31:21.439 --> 1:31:24.200 Any future desire to do a record here or. 1:31:24.200 --> 1:31:26.000 Anything, Oh, I would love to, I really love to. 1:31:26.120 --> 1:31:29.679 Well, I'm only asking, h Yeah, I didn't. Who's cracking 1:31:29.760 --> 1:31:30.200 up right now? 1:31:30.280 --> 1:31:31.559 I am. We don't know why. 1:31:33.000 --> 1:31:35.439 Because of the legacy obviously Jimi Hendrix and. 1:31:35.439 --> 1:31:41.400 So forth and everybody else's who's recorded here, and and 1:31:41.600 --> 1:31:43.559 plus it's almost fifty years. 1:31:43.360 --> 1:31:43.720 Old, and. 1:31:45.680 --> 1:31:48.479 Recording this new album at Sears Sound when we came 1:31:48.520 --> 1:31:50.040 to New York, that was the first time I've ever 1:31:50.120 --> 1:31:51.160 recorded in New York City. 1:31:51.320 --> 1:31:53.840 So I have never recorded in New York and LA 1:31:53.960 --> 1:31:54.400 and anything. 1:31:54.479 --> 1:31:56.519 I did one little thing with Keith Richards here once 1:31:56.600 --> 1:31:58.560 and one little thing for Cold Mountain in LA and 1:31:58.600 --> 1:31:59.960 that was the only time I ever recorded in those. 1:32:00.360 --> 1:32:03.320 The big cities always kind of was scared to come 1:32:03.400 --> 1:32:05.360 to New York and LA to record like it was 1:32:05.760 --> 1:32:10.599 too much going on to Clusterphobe. So I thought, well, 1:32:10.640 --> 1:32:13.040 that was another way in this album to break out 1:32:13.080 --> 1:32:15.320 of some things I'd never done before, was to do that. 1:32:17.200 --> 1:32:20.680 I guess unrelated question, but have you are you a 1:32:20.760 --> 1:32:22.599 fan of the Daptone Records label. 1:32:22.720 --> 1:32:25.160 Yeah, they're doing great, great work, great work. 1:32:25.280 --> 1:32:25.960 For those who don't know. 1:32:26.000 --> 1:32:28.760 They do a lot of vintage sounding recordings and use 1:32:29.120 --> 1:32:29.559 eight track. 1:32:29.840 --> 1:32:31.360 Yeah, you know. 1:32:31.479 --> 1:32:33.800 It's also what's what's good about it, though, is the 1:32:33.880 --> 1:32:36.200 marriage of trying to find what's soulful about anything. If 1:32:36.200 --> 1:32:39.640 it's an amplifier, if it's equipment, you know, it's not 1:32:39.800 --> 1:32:41.800 just the idea of using it because it's old or 1:32:41.840 --> 1:32:44.639 because it's novelty or something like that. It's about finding 1:32:44.720 --> 1:32:46.479 what's the best sound for whatever you're trying to do. 1:32:46.840 --> 1:32:49.240 I mean, if you're using you know, I saw Stevie 1:32:49.320 --> 1:32:52.439 Wonder one time we played and his clavinet broke. You know, 1:32:52.520 --> 1:32:54.840 it's like, that's amazing that he's using a real clav 1:32:54.920 --> 1:32:58.760 He doesn't have to use a real clav but it's 1:32:58.840 --> 1:33:00.760 nice to see that he is. And and you know 1:33:00.840 --> 1:33:02.760 the difference between a cloud emulation and. 1:33:02.800 --> 1:33:03.320 A real cloud. 1:33:03.320 --> 1:33:03.880 I want to see. 1:33:03.880 --> 1:33:06.599 It's there's two different things. Not to say, you can't 1:33:06.680 --> 1:33:08.599 use a cloud sitting on a keyboard and blow my mind, 1:33:08.600 --> 1:33:10.360 you know. You know, I think we did on this album. 1:33:10.400 --> 1:33:12.120 I think we used a fake cloud on some song 1:33:12.160 --> 1:33:14.479 and it was it was. It sounds amazing. 1:33:15.360 --> 1:33:16.720 It's just about what works for you. 1:33:16.840 --> 1:33:18.680 And you know what if what I like to do 1:33:18.840 --> 1:33:20.600 is marry the best from the future and the and 1:33:20.680 --> 1:33:23.120 the past together and find some some kind of synthesis 1:33:23.200 --> 1:33:25.519 between that and that way you get somewhere new with it. 1:33:25.800 --> 1:33:28.840 I'm always trying to get somewhere new, you know, regardless 1:33:28.840 --> 1:33:31.760 of how what what microphone and what pamp is in there. 1:33:33.000 --> 1:33:34.080 Bill, I'm good man. 1:33:35.640 --> 1:33:37.679 I got that was a great way to close. 1:33:42.600 --> 1:33:44.000 Signals. I got the yea. 1:33:49.760 --> 1:33:54.880 So anyway, so we want to thank you for coming 1:33:54.920 --> 1:33:55.880 to show so much. 1:33:55.920 --> 1:34:00.479 I mean, should tell you incredibly interesting and intelligent questions 1:34:00.520 --> 1:34:00.800 you guys. 1:34:01.240 --> 1:34:03.439 Thank you really really did your homework and everything. I'm 1:34:03.439 --> 1:34:04.000 just impressed. 1:34:04.320 --> 1:34:05.120 We're amazing. 1:34:05.920 --> 1:34:08.320 You obviously really love music, and that's I love to 1:34:08.360 --> 1:34:09.800 hear that music nerds. 1:34:10.880 --> 1:34:13.320 So before I sign off, I just want to remind 1:34:13.400 --> 1:34:16.560 you listeners. Yeah, I'm doing my wet to pay. My 1:34:16.800 --> 1:34:20.280 fourth book HarperCollins comes out. Uh, you can get it 1:34:20.360 --> 1:34:23.840 right now. Is this recording, It's called Creative Quest. It's 1:34:24.000 --> 1:34:29.080 a book or a manual guide uh to creativity. If 1:34:29.680 --> 1:34:30.799 that's such a hard. 1:34:32.400 --> 1:34:33.560 Stay tuned for the audiobooks. 1:34:33.720 --> 1:34:36.320 I'm excited actually the other audio books and ship I 1:34:37.439 --> 1:34:41.360 after hearing Jennifer Lewis's audio book, I went and readid 1:34:41.439 --> 1:34:44.760 my entire audiobook over again and it's fully there's a 1:34:44.840 --> 1:34:50.479 soundtrack to it, there's vignettes, there's acting, it's it's on point. Yeah, 1:34:50.880 --> 1:34:57.160 that was like a creative It is Richard Nimblefield Quest Love. Anyway, 1:34:57.640 --> 1:35:01.439 when we have a fan Tickelo unpaid Bill Boss, Bill Sugar, 1:35:01.479 --> 1:35:07.000 Steve Star of Chat with Sugar, it's like, we gotta 1:35:07.000 --> 1:35:08.840 get chat or you know when you when you come 1:35:08.880 --> 1:35:11.040 to fallin uh in the future, we gotta get you 1:35:11.160 --> 1:35:16.400 on No, I'm we just for three minutes Chat with Sugar. 1:35:16.760 --> 1:35:19.360 You and Jack white Jack. Thank you very much. This 1:35:19.479 --> 1:35:21.040 is Quest Love and we'll see you in the next 1:35:21.080 --> 1:35:24.600 go around and Love Supreme only on Pandora. Thank you. 1:35:35.000 --> 1:35:38.719 What's Love Supreme is a production of iHeartRadio This classic 1:35:38.760 --> 1:35:40.120 episode was produced. 1:35:39.800 --> 1:35:41.480 By the team at Pandora. 1:35:44.360 --> 1:35:47.599 For more podcasts from iHeart Radio, visit the iHeart Radio app, 1:35:47.840 --> 1:35:50.880 Apple Podcasts, or wherever you listen to your favorite shows.