Speaker 1: Questlove Supreme is a production of iHeartRadio. This classic episode
Speaker 1: was produced by the team at Pandora.
Speaker 2: This is Sugar, Steve and On this week's Quest Love
Speaker 2: Supreme classic, musician, songwriter and producer Jack White talks about
Speaker 2: how music kept him from the priesthood, his love of
Speaker 2: analog recording technology, and the Amy Winehouse duet that Never
Speaker 2: was originally released May ninth, twenty eighteen.
Speaker 3: Suprema Suprema, roll call, Suprema Suprema, role call, Suprema Suprema
Speaker 3: roll call Suprema Suprema ro.
Speaker 4: Af fartigue of hip hop culture. Yeah, all good, fine, Yeah,
Speaker 4: but is this thing for bananas? Yeah, that's where I
Speaker 4: all the mine Supreme.
Speaker 5: Shun Suprema role called Supreme Suprema roll call.
Speaker 4: In the building. Yeah, it's time to settle the school. Yeah,
Speaker 4: in this room filled Yeah with racking toy roll call
Speaker 4: Supreme Supremo, roll Supreme roll call.
Speaker 6: My name is Sugar, Yeah, the one you trust. Yeah
Speaker 6: until I bust out. Yeah, my blunder car.
Speaker 5: Supreme SUPREMEA role called Supreme Supremo, role called Bill.
Speaker 7: Yeah.
Speaker 8: That's how I'm known. Yeah, happy, I'm not.
Speaker 9: Yeah.
Speaker 8: Michael Cohen ro Suprema Suppremer, road called Supremer Supremo.
Speaker 10: Roll calls Boss Bill Yeah, ain't no debating.
Speaker 4: Yeah, your fool need Jesus.
Speaker 11: Yeah, get behind me, Satan Ro Supremo Supremo.
Speaker 5: Roll called Supremo Supremo roll call.
Speaker 7: It's like yeah yeah and Jack White, Yeah you're looking
Speaker 7: kind of good.
Speaker 11: Yeah.
Speaker 7: One another White.
Speaker 12: Roll roll call.
Speaker 9: Roll call, My name is Jack. Yeah, I don't smoke
Speaker 9: crack Yeah. And if you're nice to me, yeah, I
Speaker 9: might come back.
Speaker 3: Roll call Supremo Supremo, roll called Supremo Son Sun Supremo.
Speaker 5: Roll called Suprema Son Supremo.
Speaker 3: Roll called Suprema Son Supremo roll.
Speaker 4: Yoh minute, we listen to Cardi b.
Speaker 7: Of that, you know, and then side Jack. That was
Speaker 7: a little inspirational.
Speaker 4: So wow, ladies, Uh taping from the world famous Electric
Speaker 4: Lady A Studios in New York City. I got to
Speaker 4: say that this is the most people have ever seen
Speaker 4: in this room. It's like the higher caliber, the guests,
Speaker 4: the most the more more lighting, body yeah, lamb shots,
Speaker 4: and more bad we do. Richard dimple Fields episode like,
Speaker 4: well we get the flashlights. Yeah some cheeto ahol. Yeah, Anyway,
Speaker 4: this is another episode of Quest of Supreme. We got
Speaker 4: funke Alot in the house. Yes, yeah, and uh, you
Speaker 4: know support no news is good news. Yeah, I'm sorry.
Speaker 4: I always want to Gary gow that and you're you're
Speaker 4: in a great Space coaster, are you?
Speaker 12: Yeah?
Speaker 11: I missed, I missed that scary.
Speaker 7: The new was to get Along Gang.
Speaker 4: Really, I really get along game that.
Speaker 9: Great space is good news with Gary get along time anyway.
Speaker 4: We got Boss Bill the house. Hello, I'm come back.
Speaker 4: Are you Are you fine? It's not a to that's
Speaker 4: all I know. That's that's great. Yeah, that's baby got
Speaker 4: the stitches. That was a reference from the movie. Don't explained.
Speaker 4: Just ask your kids, the parents as I'm paid Bill,
Speaker 4: how you doing good? But are you? I'm good?
Speaker 9: Uh?
Speaker 7: And and and it's like everything is great, everything is gravy.
Speaker 4: I'm proud of I'm proud of your your your new you.
Speaker 7: I won't say anything for the rest of you.
Speaker 4: I say the best from last Sugar Steve, Sugar Star.
Speaker 4: You know, for some reason, we were taking this as
Speaker 4: a joke and now like I feel, I feel genuinely
Speaker 4: threatened that you've managed to turn an I G chatting
Speaker 4: UH device into an actual network Oh.
Speaker 12: Yeah, it's the Sugar Networks. It up the road up.
Speaker 8: So you're like Ted Turner the Instagram you've heard own
Speaker 8: some context.
Speaker 6: You know, I have a spin off of this. It's
Speaker 6: an unauthorized spinoff. Okay, it's a spinoff. Nonetheless, it's called
Speaker 6: Chat with Sugar.
Speaker 4: Basically, listen to the things that you collect, like mantage
Speaker 4: MIC's old records, you know. Yeah, so Steve collected.
Speaker 6: He just wants collect to collect the resident Anyway, ladies
Speaker 6: and gentlemen, our guest today.
Speaker 4: I have to say I don't want to say he's
Speaker 4: a renaissance man. I don't say he's a drummer, singer, guitarist,
Speaker 4: piano player, producer, songwriter, label owner. Uh, the hells from
Speaker 4: the d Uh, the city of Detroit, Michigan in Uh.
Speaker 4: He wear as many hats in his lives, you know,
Speaker 4: a member of the Rank of Tours as as fonte.
Speaker 4: Let's say that again, the Racket Tours ranking. I mean
Speaker 4: he said ranking tours. I thought he said rank. I
Speaker 4: thought it right. Okay, well I thought he got it wrong,
Speaker 4: and I was anyway, the Racket Tours. That weather sorry, Uh,
Speaker 4: you know he's produced and gusting appeared on a lot
Speaker 4: of projects that we love from Uh the Red Lends,
Speaker 4: Vanley of Rose one of my favorite records. Uh, Legendarry
Speaker 4: Wander Jackson, don't work with Lisa Keys, Beyonce, Typical Quests now,
Speaker 4: John of ling Stones. Uh, the list goes on and on. Uh,
Speaker 4: but it's and the Muppets. Yeah, but it's Uh as
Speaker 4: one half of that's the one I'm the envioust most
Speaker 4: of I'm jealous too, but as one half of the
Speaker 4: unit known as the White Stripes that once made, Once made.
Speaker 12: Uh my hero.
Speaker 4: John Peel once declared that this is some of the
Speaker 4: best music he's ever heard since the days of James
Speaker 4: Marshall Hendricks, not to mention the massive critical claiming He's
Speaker 4: gotten twelve Grammys as a producer, as an engineer, songwriter,
Speaker 4: and I'm jealous as a package designer. That's a good one.
Speaker 4: I'm highly jealous of his package designing Grammys. Anyway, I
Speaker 4: can go on and on. His third solo record, entitled
Speaker 4: Boarding House Reach, It was released March of twenty eighteen.
Speaker 4: It's his third number one record. Ladies and gentlemen, please
Speaker 4: welcome the eccentric, eclectic, always entertaining.
Speaker 11: Damn, I'm good, Thank you, thank you for that introduction.
Speaker 4: Okay, I gotta get this out. Note what's up with
Speaker 4: you and bananas?
Speaker 9: You know, a lot of you when you make those writers,
Speaker 9: you make a lot of jokes that only people in
Speaker 9: the industry will understand, you know that a lot of
Speaker 9: fans would understand. And that was one of those sort
Speaker 9: of red eminems.
Speaker 4: Did you do that thinking that was? Who was the
Speaker 4: website that used to always put all celebrity right? Did
Speaker 4: you do that thinking that the Smoking Ground pick it up?
Speaker 4: You people?
Speaker 9: Well, people in the industry think it was funny. You know,
Speaker 9: all the stuff on there was you know, for people
Speaker 9: to think it was funny. But you know, I think
Speaker 9: it's one of those mysterious things that people out there think.
Speaker 9: Riders are sort of like, you know, snap your fingers
Speaker 9: and you know, diving encrusted staircases will be made for
Speaker 9: you or something. But so, you know, the artist pays
Speaker 9: for them themselves, you know.
Speaker 4: So well, didn't somebody say that they put the crazy
Speaker 4: stuff on the rider to make sure that the people
Speaker 4: were paying attention. Yeah, Van Halen or something.
Speaker 10: They like, the whole just blew him and them. They
Speaker 10: want to see how how much attention you paid to
Speaker 10: detail right.
Speaker 4: In that case, they never paid, like we still have
Speaker 4: like white white al blunts and like the nineteen ninety
Speaker 4: four tang writer. Now we haven't changed our joini Yetpefully,
Speaker 4: there's less PCP on it. Yeah yeah, wait, way less PCP.
Speaker 4: I get it. So, yeah, we thank you for coming
Speaker 4: to the show. I got to mean so many questions
Speaker 4: to ask, so let's hope I get this right. Were
Speaker 4: you born in Detroit, Michigan?
Speaker 11: Yes, yes, I like the first one from Detroit.
Speaker 9: Yeah, it's it's there's more in the hip hop world,
Speaker 9: like J Dilla and stuff, but there's there's few in
Speaker 9: the rock and roll world since maybe the sixties, actually
Speaker 9: born and raised in the city itself.
Speaker 11: Most are from the.
Speaker 4: So everyone from the outside, where's from from Rochester? On her?
Speaker 4: I g she's trying to front like she's Ravenham Trammick.
Speaker 9: I think for a little while, which is inside the
Speaker 9: city of Detroit's Polish neighborhood inside the city Detroit, So
Speaker 9: she she does have some of that street real street
Speaker 9: cred in that sense.
Speaker 4: What are the what are the actual sections of Detroit?
Speaker 4: Because the black people that talk to me to say
Speaker 4: is the east side and the west side, and then
Speaker 4: there's like, uh, damn, what's the.
Speaker 9: I'm from Southwest Detroit, which is sort of also called
Speaker 9: Mexican Towns in all Mexican neighborhood, but it was once
Speaker 9: an all Polish neighborhood back in the day. But there
Speaker 9: is no you know that that Journey song born and
Speaker 9: raised in South Detroit. That's kind of a joke in
Speaker 9: Detroit because there is no South Detroit. South Detroit is
Speaker 9: windsor Canada. Canada comes underneath Detroit. Okay, so we knew
Speaker 9: Journey had never actually been sounded good though, So what.
Speaker 4: Is what is your version of Detroit? Because I guess
Speaker 4: you're the Yeah, I guess you're the first white musician
Speaker 4: that I know that that I personally know. I haven't
Speaker 4: asked to say Bob like we boys once upon a time,
Speaker 4: but you know, I never knew his story. So like,
Speaker 4: what's your what's your version of growing up in Detroit?
Speaker 11: Like, well, it was sort of like a it's sort
Speaker 11: of like a wasteland.
Speaker 9: Really it was, you know a lot of burned down
Speaker 9: buildings and bandoned houses, empty lots, closed up businesses, you know,
Speaker 9: storefront churches.
Speaker 11: That kind of a thing.
Speaker 9: I mean then the neighborhood really didn't have a didn't
Speaker 9: have a bookstore, didn't have a record store, nothing, you
Speaker 9: know that you could really like. When we needed guitar strings,
Speaker 9: we went to the pawn shop and got guitar strings
Speaker 9: and trump sticks.
Speaker 11: That was the only option in where I lived. In
Speaker 11: music store, no, no, nothing we had.
Speaker 9: We had to get a drive from somebody out to
Speaker 9: the suburbs to get anything useful.
Speaker 11: So it was kind of like that.
Speaker 9: And yeah, it's scary at times, but rough, but also
Speaker 9: feeling like no hope. But what's great about it In
Speaker 9: the last couple of years, everything is finally after forty
Speaker 9: years of that, finally has changed and it's really coming
Speaker 9: around to a whole new renaissance. Really, it's just incredibly
Speaker 9: beautiful what's happening. Things are just coming a live. Buildings
Speaker 9: are being bought and change. And I always think a
Speaker 9: good sign of a city on the rise as a
Speaker 9: new restaurant popping up every months.
Speaker 11: That's always a good sort of template.
Speaker 4: So it's not as opening Cepia Tone great because whenever
Speaker 4: I think of Detroit, I still see Brown Cpiotone. Yeah,
Speaker 4: muddy existence.
Speaker 9: Yeah, it's a lot of that's still there, Yeah, for sure,
Speaker 9: but I think it's finally I think in ten years
Speaker 9: from now, all that's going to be gone. You know,
Speaker 9: I really I would put money on that now because
Speaker 9: the last two or three years it's just been incredible
Speaker 9: because it started in the Cast Corridor and which is
Speaker 9: traditionally the roughest neighborhood in the city, and that's where
Speaker 9: I went to high school, and that's where we've built
Speaker 9: a new Third Man Records location. There are new pressing
Speaker 9: plant is in the Cast Corridor and Masonic Tempa all
Speaker 9: the early.
Speaker 11: Garage rock shows I was a part of.
Speaker 9: We're all in that neighborhood and it's mostly empty lots
Speaker 9: and and you know, like homeless missions and and uh
Speaker 9: you know, some industrial buildings. So now that's for it
Speaker 9: to come out of that neighborhood. For that renaissance to
Speaker 9: start there is a really good sign.
Speaker 7: So you go back a lot and you give you
Speaker 7: give back in your own way because you said you
Speaker 7: have studio there, right.
Speaker 9: Yeah, trying to the pressing plan especially was yeah, that
Speaker 9: was that was a really I'm really proud of that
Speaker 9: because it also created jobs and it also brought together
Speaker 9: a whole community people who really love music and vinyl
Speaker 9: and you know, music preservation and all that.
Speaker 11: So that was pretty pretty incredible to be able to
Speaker 11: do that in Detroit City.
Speaker 9: You know.
Speaker 4: So the part that I know, like where I don't
Speaker 4: know Saint Andrews is still a thing or not, But
Speaker 4: what part of town is that, Like there's Greek Town,
Speaker 4: there's that monorail thing, or yeah, what part of town
Speaker 4: is that? What part of town is the like where
Speaker 4: Saint Andrew's Hall Andrews.
Speaker 11: Yeah, that's downtowntown Detroit.
Speaker 4: Yeah, okay, you see, so without uh, the neighborhood record store,
Speaker 4: assuming that you're born in the seventies and having that experience,
Speaker 4: like how did you discover music if it wasn't a
Speaker 4: thing where like you could hear your favorites on the radio,
Speaker 4: right and Coper record?
Speaker 11: It was a couple of different ways.
Speaker 9: One I have I'm the youngest of ten kids, so
Speaker 9: a lot of a lot of like you, real blues musicians.
Speaker 9: I'm the seventh son in the family too, so heavier. Oh, no,
Speaker 9: seventh son of a seventh daughter. My mom's the youngest
Speaker 9: of ten children as well. And then so there's a
Speaker 9: lot of music a lot of hand me down records.
Speaker 7: Family gigantic, Yeah, you know your mother's children.
Speaker 9: I'm sorry not yea one one family, uh one pair
Speaker 9: of parents, but uh yeah, so a lot of a
Speaker 9: lot of music coming from them, A bunch of musicians
Speaker 9: in the family, you know, they were.
Speaker 11: They had a lot of huge record collection. A lot
Speaker 11: of that got handed down to me for that sort
Speaker 11: of like the rock and roll.
Speaker 9: Side of things, and the forties music from my parents
Speaker 9: and the neck and coals and Glenn Miller stuff, all
Speaker 9: all from them and then out on you know, outside,
Speaker 9: like on the street.
Speaker 4: It was the.
Speaker 11: The neighborhood kids.
Speaker 9: It was just like I think the easiest way to
Speaker 9: describe it, when we were playing four square, it was
Speaker 9: setting up boom boxes next to the four square court
Speaker 9: and that was the music being played. You know, this
Speaker 9: is you know, eight eighty three through eighty six kind
Speaker 9: of era of the those days of hip hop on
Speaker 9: that side of things, which my brothers didn't listen to.
Speaker 11: So it was two sides of.
Speaker 12: The coin, you know, kind of hip hop. Were you
Speaker 12: listening to it at time?
Speaker 9: Well, at that time would have been you know, it
Speaker 9: would have been L Cool Jay's I'm Bad and you know,
Speaker 9: but it would have and a lot of the you know,
Speaker 9: so the one hit wonder stuff that was coming through.
Speaker 9: I think that was a lot of things, you know,
Speaker 9: mixtapes where it's just whatever radio you know, you guys
Speaker 9: remember that obviously the recording from the radio and you
Speaker 9: missed the first five seconds of the sun and those
Speaker 9: were the Those were the mixtapes we listened to during
Speaker 9: foest whare I guess?
Speaker 4: But okay, so uh, as far as you're you said,
Speaker 4: your your other siblings, how many of them are accomplished
Speaker 4: musicians as well? Or it's just like they were there
Speaker 4: or five of them.
Speaker 9: Some of them are really talented, don't care about it though,
Speaker 9: and some of them are still playing gigs today, you know,
Speaker 9: in different kinds of bands in Detroit, and a couple
Speaker 9: of them work at Third Man Records or the Pressing
Speaker 9: Plant and and so it was cool. I was the
Speaker 9: drummer growing up in the family, so all I did
Speaker 9: was play drums my whole childhood. I didn't touch a
Speaker 9: guitar until I was fourteen something like that.
Speaker 4: So does it become somewhat alienating once you have your
Speaker 4: bout with success and you know, the massive success that
Speaker 4: you've had. Are you able?
Speaker 12: Are you able?
Speaker 4: Are you able to maintain a closeness with your family
Speaker 4: members now or is it like some of them are
Speaker 4: You're cool with some it's a little awkward now, Like.
Speaker 11: Yeah, I think I think it goes through phases probably
Speaker 11: with everybody.
Speaker 9: And I mean that re goes for friends too, where
Speaker 9: you know, something happens to you, I mean what happened
Speaker 9: to us, especially in Detroit, where there's just nobody has
Speaker 9: that kind of hope like maybe in La or something
Speaker 9: where you'd have like, oh, yeah, you know, somebody works
Speaker 9: at a record label.
Speaker 11: Well yeah, you know, we'll get you guys a gig
Speaker 11: or whatever.
Speaker 9: Detroit never had any illusions about you could get anywhere,
Speaker 9: especially with rock and roll or lose music either. And
Speaker 9: so for us to go sort of very you know,
Speaker 9: sort of worldwide after a few years, it's very shocking
Speaker 9: to anybody around us, especially the family, not really knowing
Speaker 9: how to relate to what does that mean? You know?
Speaker 4: So even at the time when you guys were for
Speaker 4: starting out with your music, like, there wasn't a thing
Speaker 4: like well, eventually, let's let's phony up enough cash and
Speaker 4: then we'll go to you know, a music city, either
Speaker 4: Nashville or La or never.
Speaker 9: I'd never heard anybody talk about that at all. I
Speaker 9: never heard anybody even mention the dream of that.
Speaker 11: It was always just like, forget it.
Speaker 4: So they beginning ever going to happen. You're just going
Speaker 4: to be a local musician, and that was that was
Speaker 4: the way.
Speaker 9: I'm honest to God, had that exact same attitude until
Speaker 9: probably the third White Stripes album. Uh well, we started
Speaker 9: to go to when we get going to London, John
Speaker 9: Peelee started championing us and label started talking to us,
Speaker 9: and Megan and I were just like, wait, what wait, So.
Speaker 4: You were still moving furniture on the days, just like
Speaker 4: the first time.
Speaker 9: Oh yeah, I had my pholstry shop up until at
Speaker 9: least a second White Stripes album.
Speaker 4: Yeah sounds I've heard ten kids a few jobs.
Speaker 7: Yeah, okay, just for information, what's the age difference between
Speaker 7: you and your oldest brother? You said, the seventh son.
Speaker 4: There we go.
Speaker 11: Yeah, the oldest in the family is twenty one years older.
Speaker 9: Than me, so they were often mistaken from my mom. Yeah,
Speaker 9: damn as a baby.
Speaker 4: I see. I've read once where you said you were
Speaker 4: uh considering uh going in the priesthood. Yeah, was that
Speaker 4: a serious consideration.
Speaker 9: Yeah, it was wild because I got accepted to a
Speaker 9: seminary in Wisconsin, and just short of trying to, you know,
Speaker 9: your brain starts to want to get out of everything.
Speaker 11: I want to get out of this room.
Speaker 9: I want to get out of this house. I want
Speaker 9: to get out of this neighborhood. I want to get
Speaker 9: out out. And that was one way I thought that
Speaker 9: I could get out.
Speaker 4: But the.
Speaker 11: Crux of the problem was I couldn't.
Speaker 9: Bring my musical equipment with me. You couldn't bring drums
Speaker 9: and guitar or whatever with me to this place. He
Speaker 9: was a dorm and you're, you know, you're trying to
Speaker 9: be a priest. I also felt there was some kind
Speaker 9: of calling for me.
Speaker 4: In some way.
Speaker 9: I didn't really know what it was because you know,
Speaker 9: I'm thirteen or something. So so at the last second
Speaker 9: I had changed my mind.
Speaker 11: I went to public school in Detroit, which was a.
Speaker 9: Strange thing for my family because it's a Catholic family
Speaker 9: to go to go to public school. But the public
Speaker 9: school I went to was in downtown Detroit, in the
Speaker 9: cast Court or just you know, right off the outskirts
Speaker 9: of downtown. So it. The neighborhood school I had in
Speaker 9: southwester Retart was kind of full of a lot of
Speaker 9: gangs at the time. They had really exploded at that time,
Speaker 9: so it was sort of dangerous to go to the
Speaker 9: neighborhood school if you weren't part of one of these gangs.
Speaker 9: So it seemed like for you know, several six seven
Speaker 9: different reasons, it led me to this school, cast Tech,
Speaker 9: which ended up being as I got there, realized it
Speaker 9: was a very historically Detroit uh school. Iby Diana Ross
Speaker 9: went there, Harry Batoya, the famous furniture designer, went there,
Speaker 9: John DeLorean. There's this huge, huge list of people who
Speaker 9: that was the school to go to for you know,
Speaker 9: sixty seven years, which I didn't know about until I
Speaker 9: got in there.
Speaker 4: So what did you establish? First of all, a lot
Speaker 4: of your businesses start with the word third. Yeah, what
Speaker 4: was it third furniture or yeah.
Speaker 11: Man of postry and third man records.
Speaker 4: So what is it with the significance of number? The
Speaker 4: third numbers?
Speaker 9: I started all anything creative I did, poetry, music versus
Speaker 9: notes in the song. I would just start revolving around
Speaker 9: the number three a lot. I got obsessed with that number.
Speaker 9: As about in fifteen sixteen. It was we were working
Speaker 9: on a couch and it was three staples I had
Speaker 9: put down, and it was the minimum amount to hold
Speaker 9: a piece of fabric on the side of wood, you know,
Speaker 9: left right center, And I thought, well, that's great.
Speaker 11: That doesn't leave everything black and white.
Speaker 9: So there's two choices, you know, Republican Democrat black and white.
Speaker 9: Is that there's a third option, which sort of means everything.
Speaker 9: And I thought that's a great balance for anything I
Speaker 9: do artistically. So I've been holding on to that for
Speaker 9: dear life ever since, you know, to sort of ground
Speaker 9: me whenever I'm working on anything.
Speaker 4: Damn so lectric relaxation must have blown you away, right,
Speaker 4: So how did you? How did you meet Meg?
Speaker 9: We It was the same plastic surgeon down in Argentina.
Speaker 9: Just we looked so much alike.
Speaker 12: We had to start a.
Speaker 7: Wait, does that mean that you're always you always? Because
Speaker 7: we jumped a may But I was just curious, like
Speaker 7: you always? Who are you are? Like when you went
Speaker 7: to high school? You are the same person that you
Speaker 7: were in high school?
Speaker 9: Yeah?
Speaker 11: Wow, I mean the same height and everything.
Speaker 7: No, I mean you you know what I mean? Some
Speaker 7: people change, They evolved and yeah.
Speaker 11: I'm just I'm just I think I'm just in a
Speaker 11: constant state of confusion.
Speaker 7: Yes, it looks very focused.
Speaker 4: Well, actually I did skip me in good. What were
Speaker 4: your early band experiences like?
Speaker 11: Uh, it was drumming a drum with my brothers and
Speaker 11: their band Catalyst.
Speaker 9: And then I drummed in a like three piece of
Speaker 9: blues band with my brother and Dominic who plays bass
Speaker 9: with me now still we had a bank all the
Speaker 9: funk ups and that was sort of punk and blues
Speaker 9: mixed together kind of in a in a very teenagey way.
Speaker 9: And then I'm sorry, that's the greatest you totally were allowed, Okay,
Speaker 9: and then uh name ever, yea, we were? We so
Speaker 9: Dominic he still plays bass with me now on this
Speaker 9: tour right now. We've been playing together since were thirteen
Speaker 9: or so. And then I was a drummer in this
Speaker 9: sort of cow punk band. I wanted to sort of
Speaker 9: learn about, uh, reading music for drums, so I thought
Speaker 9: I joined them, maybe the Marching Band. I learned how
Speaker 9: to read music for drums, and it didn't work out.
Speaker 9: I lasted one day in the Marching Band and they
Speaker 9: were just like, get out of here. Really When It
Speaker 9: was sort of like three hours a day practice every day,
Speaker 9: then an hour long bus ride home so I wouldn't
Speaker 9: be getting home to like eight thirty every.
Speaker 11: Day, and then just two hours too much all this.
Speaker 9: You know, I love the drums, but it seemed like
Speaker 9: it was almost like joining the rotc or something for me.
Speaker 4: When did you get your first drum set?
Speaker 9: Well, when I was five, we had one in the attic,
Speaker 9: so that was that was the one I played all
Speaker 9: through till high school.
Speaker 4: What kind was it?
Speaker 9: It was a Ludwig black Ludwig set in the seventies,
Speaker 9: some pisty oh shit, yeah, five o five, so it
Speaker 9: was it sounded great, It was really cool.
Speaker 11: My brothers had some pretty cool equipment.
Speaker 9: They sort of were good friends with the paunch out
Speaker 9: a couple blocks away, and they got they got the
Speaker 9: stuff behind the desk kind of treatment.
Speaker 4: You know.
Speaker 12: Did you ever use any of that stuff on any
Speaker 12: of your records?
Speaker 4: Yeah?
Speaker 9: And then the drum set I had in uh high school,
Speaker 9: it was a set of white pearls. That's which became
Speaker 9: Meg's drum set in the white stripes. And then yeah,
Speaker 9: all this stuff I bought as a teenager was the
Speaker 9: Worship's equipment for the first first few years.
Speaker 4: Yeah, So your love for or at least what we
Speaker 4: perceive as your love for vintage equipment, and that isn't
Speaker 4: you coming to a place where you're sort of going, Uh,
Speaker 4: I can't explain it how like this this is, this
Speaker 4: is more necessity of you collecting secondhand equipment, and yeah,
Speaker 4: vintage stuff more than usually like a musicians, not dumb down,
Speaker 4: but like lesson, like a cat like me that has
Speaker 4: asked acts. I'm so black, right, No, but I'm just
Speaker 4: saying that because of the texture and the sound that old,
Speaker 4: older equipment gives, which is why I gravitate to it.
Speaker 4: But if that's all you were working with, I assume
Speaker 4: that even now to the relentless level that you collect
Speaker 4: vintage things is more of you staying in your comfort zone.
Speaker 11: Yeah, there's They're definitely you. You're brought up in that
Speaker 11: sort of circumstances.
Speaker 9: I know some people like I think, you know, Danger
Speaker 9: Mouse still us as his first computer program he learned
Speaker 9: on and I don't.
Speaker 11: Know if it's what's it called asset asset.
Speaker 9: I think so, yeah, And yo, but he told me,
Speaker 9: he told me it's not worth the time to relearn
Speaker 9: it all on a new thing, you might as well
Speaker 9: just stick with what he started with. And that might
Speaker 9: have something to do with it too. Learning on tape
Speaker 9: by myself, because nobody taught me how to do it. Really,
Speaker 9: I had to really just sort of sit and learn
Speaker 9: how to do a four track reel to reel with
Speaker 9: a mixer myself. So that maybe kind of gets you
Speaker 9: in love with the mechanical nature of it. But also
Speaker 9: as the years went on, whenever I got a chance
Speaker 9: to a be it like we would record on a
Speaker 9: tape and then we were bounce it approaches and I
Speaker 9: bounce and listen to them back and forth, you know,
Speaker 9: and say, God, I guess can't stay.
Speaker 11: I can't help it.
Speaker 12: Man.
Speaker 11: The tape sounds more soulful.
Speaker 9: It has whatever it has, that movement, it has that
Speaker 9: movement to it. It's like intangible. You can't really describe it,
Speaker 9: this movement that it has. All mechanical things have this
Speaker 9: movement that add little wobbles and warbles to what's happening,
Speaker 9: and that maybe kind of comes off as soul or
Speaker 9: soulfulness to the listener.
Speaker 11: I'm not sure, but it just feels alive to me.
Speaker 4: But that's a plug that exactly.
Speaker 9: No.
Speaker 4: But see that's the thing I'm hoping now, a guy
Speaker 4: like me has to work with computer technology simply because
Speaker 4: the small, confined space that I'm in doesn't allow for course,
Speaker 4: you know, the the you know a lot of these
Speaker 4: things that you're using, and.
Speaker 9: It's expensive, you know, so a lot of people don't
Speaker 9: have access to it, so younger kids.
Speaker 4: So I'm hoping that one day, like someone just invents
Speaker 4: you're gonna put a real reel in that little room
Speaker 4: you practice in.
Speaker 8: I would pay money to see that.
Speaker 4: No, I mean, I just want the plugins because I
Speaker 4: spend at least hours trying to uh lower the quality
Speaker 4: of the sound of things that I record, or make
Speaker 4: it sound to make it sound like it's beat up
Speaker 4: and used or whatever.
Speaker 8: Have you Put plugins next to a real, real jack
Speaker 8: and listen to them, do you do you?
Speaker 12: Yeah?
Speaker 11: Well you got you got that sort of you know.
Speaker 9: I get into I get into being sort of the
Speaker 9: poster board, like I'm always preaching for people not to
Speaker 9: use this stuff.
Speaker 11: I'm really not. Yes, people just asking me, I feel,
Speaker 11: how do you do it?
Speaker 4: You know, how do you do it?
Speaker 9: And I say, well, this is how I do it,
Speaker 9: and it's sort of like what amp do you like
Speaker 9: If you listen to a tube bamp and you nix
Speaker 9: it to it next to a solid state and I'd
Speaker 9: be saying it's pretty good, but it's not like the
Speaker 9: tube bamp.
Speaker 7: You know.
Speaker 4: I was going to say, you also edit your own tapes?
Speaker 9: Correct, Yeah, this album I just put out is the
Speaker 9: first time I ever edited on pro tools a whole album,
Speaker 9: so that.
Speaker 11: Before that it was all just razor blade tape and
Speaker 11: razor blade edits.
Speaker 9: So it would keep it another kind of way to
Speaker 9: kind of confine things, to keep it really simple.
Speaker 11: So they didn't get too complicated with this album.
Speaker 4: So it wasn't just a challenge yourself as in like, okay,
Speaker 4: well I conquered that and let me try to force
Speaker 4: myself to do a new.
Speaker 12: Way of recording.
Speaker 11: It was sort of out of necessity.
Speaker 9: I mean, there was a lot of modern techniques being
Speaker 9: used in the album, and that was one of them,
Speaker 9: but it was definitely out of necessity for recording with
Speaker 9: bands here.
Speaker 11: In New York and LA and in Nashville.
Speaker 9: I'd have, you know, eighteen to twenty tracks, which for
Speaker 9: me was a ton I usually only record on eight track,
Speaker 9: so that was a lot of stuff to try to
Speaker 9: get down, and the only only way to possibly do
Speaker 9: it was to edit on pro tools. Do you lose
Speaker 9: my vocal? Seemed like it one out of the headphones.
Speaker 4: Sorry, he's engineering right now.
Speaker 8: All going to tape for sure?
Speaker 4: You know we should do this. Yeah, sound fantastic. Can
Speaker 4: you imagine how long it would take to put the
Speaker 4: show out? That really looked?
Speaker 6: Let's just lie and say we're recording it to tape.
Speaker 12: See if anyway?
Speaker 4: Okay, yes, Lazy and Jonys you we're now on.
Speaker 9: But you know, what you were talking about was that
Speaker 9: they are doing plug ins now with or imitating the
Speaker 9: warble of tape, and that those little squiggles and that
Speaker 9: tiny little mechanical you know, sort of flaws to the
Speaker 9: tape machine and making a plug in and running it
Speaker 9: through that. I know a lot of people record on
Speaker 9: pro tools and run it through a tape machine and back,
Speaker 9: which is kind of a cool technique as well. But
Speaker 9: at the end, at any rate, anytime, whether it's reverb
Speaker 9: or compression or that kind of program, every single one
Speaker 9: of them is an emulation of the real thing, you know.
Speaker 9: Digital reverb, for example, a reverb in a cave is
Speaker 9: real reverb, or reverb through.
Speaker 11: A spring is real reverb.
Speaker 9: So the digital version of it, it can sound exactly
Speaker 9: like it, but it's still an emulation of the real thing,
Speaker 9: which is I don't know if you want to get
Speaker 9: that deep into the psychology of the soulfulness of things.
Speaker 4: I also know that you you you deal with Shanola. Correct, Yeah,
Speaker 4: you Soanola. Oh it's you don't know everybody else explain
Speaker 4: what it is. All right, we're going to start this
Speaker 4: fighting right now. Welcome back. Anyway, Shanola uh turntables.
Speaker 9: And they make watches first, and then they're starting to
Speaker 9: make turntables and headphones. Now we bought a building together
Speaker 9: in Cast Corridor where the Third Man Records location is,
Speaker 9: and Shanola has their flagship store, and they opened a
Speaker 9: factory where they make they make watches in the city
Speaker 9: of Detroit.
Speaker 11: So it's pretty amazing what they did.
Speaker 4: So I'm just saying that I know a lot of
Speaker 4: audio files that you know they have, you know, vinine turntables,
Speaker 4: And I'm a dude that love was collecting records and stuff.
Speaker 4: But the one thing I feel guilty of is that
Speaker 4: I'm not the guy that like gets an orgasm off
Speaker 4: of vinyl.
Speaker 12: Now, as I know a lot about you, I feel
Speaker 12: like I learned so much and I.
Speaker 4: Thought you did.
Speaker 5: Know.
Speaker 4: I'm just saying that it's it's I mean for a
Speaker 4: guy that relentlessly collects records and all those things, Like
Speaker 4: I feel guilty that I'm not one of these, Like
Speaker 4: I don't have what's what's the turntable in the lobby
Speaker 4: right now? Like a Macantize? Like I've yet to get
Speaker 4: a mac. Do you want a mechantize?
Speaker 9: Not a magtish churning table? But I do have the amplifiers,
Speaker 9: yet turntable is a little.
Speaker 4: To expense that truly make a difference to you or.
Speaker 9: I think that what goes on and to me there
Speaker 9: is the mcguffin of whether the format is a tract,
Speaker 9: tapes or cassettes or vinyl.
Speaker 11: I think vinyl is just the most viable thing that
Speaker 11: everyone can kind to.
Speaker 9: Get around to the large artwork and the large object
Speaker 9: just trying to be reverential to music itself. Like a
Speaker 9: movie theater and a seven millimeter film going in there,
Speaker 9: closing the door, turning the lights off, the curtain opens
Speaker 9: and we watch a film.
Speaker 11: We actually think in twenty eighteen.
Speaker 9: We all get off our ass and we drive to
Speaker 9: a theater and sit down in silence, turn our phones
Speaker 9: off and in the dark watching movie. That's incredible. We're
Speaker 9: still doing that. I just want that same reverence for music.
Speaker 9: So the vinyl part, you know, if it's if it's
Speaker 9: eight track or cassettes or whatever it is. I just
Speaker 9: like that it's something you can hold in your hands.
Speaker 12: Yeah.
Speaker 9: And I also think that when it comes to the way,
Speaker 9: you know, I say we travel and stuff. I'm not
Speaker 9: bringing a turntable backstage and setting it up. I'm listening
Speaker 9: on an iPod or or we're listening in someone's phone,
Speaker 9: going through beats pill or something like that, doing whatever
Speaker 9: we can.
Speaker 11: I don't have a phone now, coming to it, so
Speaker 11: you still on no cell phone?
Speaker 4: I don't know, but the family members would you.
Speaker 7: Reach?
Speaker 12: That's real though?
Speaker 9: I do, uh, mostly just emails is how I communicate
Speaker 9: That way I can walk away from it.
Speaker 11: I can sit down and do.
Speaker 4: It and walk away.
Speaker 7: I'm sorry. I know you were making another point, but
Speaker 7: when did you get to this point where you were
Speaker 7: allowed to do that, because you know that's a luxury.
Speaker 4: Oh my god.
Speaker 11: Yeah, don't think people around me, it doesn't drive them crazy.
Speaker 9: Drives them crazy, but it's just sort of a I
Speaker 9: think that it's just one of those things for me personally. Again,
Speaker 9: I'm not preaching to other people that. For me personally,
Speaker 9: I can't do that because I will be on it
Speaker 9: all day long. It will not stop, and there's just
Speaker 9: so much going on in my world that I don't
Speaker 9: really want to be a slave to that. It'll it'll
Speaker 9: just consume my life. And it's nice to be like
Speaker 9: I think, you know, it's it's an interesting thing. I
Speaker 9: can give you example of my kids. We had like
Speaker 9: a family car and the first we had the same
Speaker 9: car for the first like seven years that they were
Speaker 9: growing up. We would take long tips from Nashville to
Speaker 9: Detroit and stuff like that.
Speaker 4: You're actually kids, kids, kids, they're.
Speaker 11: Ten and eleven.
Speaker 9: Now, let's say for the first seven years with this
Speaker 9: family car and this the this car had a DVD
Speaker 9: player that we never told them about, and they would
Speaker 9: point to this thing and the scene like what is that?
Speaker 9: Dad Like, Oh, that's just something for the air condition.
Speaker 9: And my point wasn't to deprive them of whatever. It
Speaker 9: was just like that imagination time where you get to
Speaker 9: really think and look out the window and just that's
Speaker 9: the time where you really start to imagine the best
Speaker 9: things in life.
Speaker 4: See, you're not the dad that let like the Little
Speaker 4: Mermaid babysit your kids.
Speaker 9: So that.
Speaker 4: They don't have iad yo, dude, I admire that shit
Speaker 4: because like I'll go to Sunday brunch restaurants and I'll
Speaker 4: just see a bunch of kids.
Speaker 7: Yeah, that requires real bothering, Like that requires you to
Speaker 7: pay attention and stuff.
Speaker 9: Yes, it's it's nice to be able to Well, it's
Speaker 9: like I remember, like when I whatever, all the jobs
Speaker 9: I've had the best music ideas I think were me
Speaker 9: whatever it was making a making you know, a pizza
Speaker 9: at the restaurant, or busting a table, or or working
Speaker 9: on a piece of furniture.
Speaker 11: That's why I'm like, oh man, I want to get home.
Speaker 11: That's that's what I gotta do.
Speaker 9: I gotta put Reaver on that Snares run when I
Speaker 9: get home. That'll that's this time where you have the
Speaker 9: best ideas.
Speaker 6: You know.
Speaker 4: So if you can name me five albums from your childhood,
Speaker 4: like before the age of thirteen, Like okay, the music
Speaker 4: that defines you, that you hold onto, that you grew
Speaker 4: up with not like you know, you heard your brother's
Speaker 4: playing or whatever like that you personally gravitated towards.
Speaker 9: I loved a lot of deep Purple when I was
Speaker 9: a kid. That was that was a big band for
Speaker 9: your Richie Blackmore and Ian Pace what they were doing.
Speaker 11: I really love that.
Speaker 12: I loved.
Speaker 11: Roger Miller.
Speaker 9: I liked his sort of cross that cross between country
Speaker 9: and sort of I don't know what folk and forties
Speaker 9: tunes or whatever that he did, that sense of humor.
Speaker 12: He had.
Speaker 11: The Beatles a lot Beatles White album.
Speaker 9: I can't think of a Roger Miller name of an album,
Speaker 9: but maybe just say the catalog of Roger Milan or whatever,
Speaker 9: and then you know, you're talking about thirteen fourteen at
Speaker 9: that moment, there was a really funny moment that people
Speaker 9: kind of think is you know, I'm making it up.
Speaker 9: But you know, in Detroit, in the alleys, we had
Speaker 9: these giant dumpsters. They were trying to kill the rat
Speaker 9: problem in Detroit, so they got rid of garbage cans
Speaker 9: and they put giant dumpsters up.
Speaker 11: So one of my favorite things to do was on
Speaker 11: the way home from the.
Speaker 9: School, walk down through the alleys and go through flip
Speaker 9: the top of each dumpster and see what was in there.
Speaker 11: Dumpster diving and trash picking.
Speaker 12: Oh wow.
Speaker 9: And I found the Stooges first album on vinyl in
Speaker 9: in one of those dumpsters, and that really changed my life.
Speaker 12: It really, it was.
Speaker 9: It was kind of I went, I recorded it, I
Speaker 9: record I Want to Be Your Dog four track because
Speaker 9: of that, and it led me into punk rock in
Speaker 9: a bigger way.
Speaker 12: Really. And have you and Iggy worked together or mad?
Speaker 9: Yeah, we've we've We've done a couple of tours together
Speaker 9: and stuff.
Speaker 11: Yeah, he's he's incredible.
Speaker 9: And was that four Yeah, we'll see now, well probably,
Speaker 9: you know, it's anything to do with led Zeppelin would
Speaker 9: have been.
Speaker 11: I think LED's Uppin one. I think led Up one.
Speaker 9: You know, if someone asked me recently, what's the best
Speaker 9: first album of any group? Uh, and I'm kind of
Speaker 9: you think, like maybe Jimmy Hendricks's first album, Ramon's first album,
Speaker 9: But I think led Zeppelin one is pretty tough to
Speaker 9: top for a debut album.
Speaker 11: Oh yeah, So I mean every single track is you know, So.
Speaker 4: Did you ever go because every music stop I know
Speaker 4: usually gets to that place because sometimes they go so
Speaker 4: deep in the abyss of the opposite direction. Like again,
Speaker 4: I grew up in the era of Columbia House. Yeah,
Speaker 4: where kids ask your parents. We used penny, Yeah for
Speaker 4: a penny and TV guy, you tape a penny to
Speaker 4: that to that form here, yeah, and then here you're
Speaker 4: part you're part of a record club. Like that's part
Speaker 4: of my ratchetsness, Like I was signed my grand man. Yeah,
Speaker 4: I did that scam in college. That's my worst punishment,
Speaker 4: Like my grandma.
Speaker 7: Got y'all put them out of business.
Speaker 4: By the way, Well, I'm just saying that I would
Speaker 4: also be too lazy to mail bo mail back via
Speaker 4: the stuff I didn't want an So yeah, I'm just
Speaker 4: like all right, Well, Debbie Gibson all the blue, but
Speaker 4: then wound up listening to this ship and like committed
Speaker 4: it to memory. Like yeah, so I'm saying, like I
Speaker 4: think mine was a Kenny g du Black people came
Speaker 4: want to low song bird.
Speaker 12: My my mother in law cuts for Kenny.
Speaker 7: People first take Debbie Gibson, go listen to the first
Speaker 7: Kenny supposed don't sound like even.
Speaker 4: Before and that on it. Oh yeah, guys, Jack White,
Speaker 4: this year, can we talk about.
Speaker 7: Said nothing about Kenny?
Speaker 4: We fall down. Nobody over here saying anything about Kenny
Speaker 4: getting I'm getting to a point here. Yeah, black people
Speaker 4: had a love kids. White people is the universal brigger
Speaker 4: together and white. He was our first yes, and then
Speaker 4: came out and then like okay, it was Julian Roberts soundtrack.
Speaker 4: So my point is, Columbia House scheme, did you ever
Speaker 4: go through a phase where, like, you know, you just
Speaker 4: is there new kids on the block, cassette in your
Speaker 4: like as you got for when you were twelve years old,
Speaker 4: or something like Wow.
Speaker 11: That's a good question. I'm trying to think of that,
Speaker 11: like something sort of like you wouldn't.
Speaker 4: Totally because I feel like serious, serious musicians and serious
Speaker 4: record people mature once they get out of high school.
Speaker 4: Once I was out of high school then and I
Speaker 4: started messing with y'all and you know what I mean,
Speaker 4: like and then your taste are more refined. But there
Speaker 4: was a period where I was just open and getting everything.
Speaker 11: So it's tough, man. I'm trying to think of a time.
Speaker 9: But I definitely had probably too much of an attitude
Speaker 9: at like you know, eleven through thirteen where I liked
Speaker 9: real musicians, so like I had a chip on my
Speaker 9: shoulder about that, probably because of being raised by senior
Speaker 9: citizens and a lot of people in the family really
Speaker 9: loving music and older and it's you know, by the
Speaker 9: time in the late eighties was hitting, you know, it
Speaker 9: was sort of digital soundings, gated reaver kind of sounding.
Speaker 11: Stuff was starting to sound fake and stuff.
Speaker 9: Yeah, I just gravitated normally to more of the seventies
Speaker 9: and sixties suff I mean I did, like, you know,
Speaker 9: the Guns and Roses, and I loved Michael Jackson of course,
Speaker 9: and lots of things from the eighties.
Speaker 4: So I think that.
Speaker 9: To love to say I pay I paid nominal attention
Speaker 9: to all those bands like Poison and Modley Cruise and
Speaker 9: all that kind of stuff, but I just didn't really.
Speaker 7: Buy those records. Now, the question is where you're having
Speaker 7: musical debates at this age to your peers, because your
Speaker 7: peers were listening to this music, but you were like,
Speaker 7: that's not real music.
Speaker 9: I can say that one thing that was that did
Speaker 9: bug me, you know, I was saying this in the
Speaker 9: interview recently, was you know, when when the first sort
Speaker 9: of sampling kind of came out, and when we're listening
Speaker 9: to on the front porches and stuff where it would
Speaker 9: be I think a good example was like the BC
Speaker 9: Boys of sampling the Ocean bio led Zepplin right, and
Speaker 9: it would be like the kids in the neighborhood didn't
Speaker 9: didn't know that that where that was from? And then
Speaker 9: it was uh epmd I shot the sheriff and it
Speaker 9: was sort of like yeah, it was like hey, whoa, whoa,
Speaker 9: that's that's you know, and they're like, so call and
Speaker 9: I'd be like, what do you mean? So, like, you know,
Speaker 9: I think the cool part is that if you know
Speaker 9: where this's from, that's cool. But then it was it's
Speaker 9: just that other debate of no, it's just the sound
Speaker 9: of it, it doesn't matter where it came from. Well,
Speaker 9: that was hard for me as a twelve thirteen years
Speaker 9: to kind of get my head around.
Speaker 11: It took me a few more years to figure that out.
Speaker 4: But there's some people that also like for me, hip
Speaker 4: hop was crucial and explaining what my dad and my
Speaker 4: sister's record collection was, right, so I don't made a
Speaker 4: sense of it and put it in content.
Speaker 9: Yeah, like my dad had that, uh so your dad
Speaker 9: would he would tell you where this sample came from.
Speaker 4: My family had a large record collection, so something I wouldn't.
Speaker 4: My sister had Houses of the Holy Sure, actually she
Speaker 4: has Zeppelin one too, So I never knew about when
Speaker 4: the levee breaks until one day I saw a kid
Speaker 4: was listening to at lunch and I was like, wait,
Speaker 4: I know that drum break from somewhere right right, And
Speaker 4: then I put two and do together, like, wait a minute.
Speaker 4: The Beastie Boys used this, So in my mind I wasn't.
Speaker 4: I didn't know what sampling technology was or looping and
Speaker 4: none of that stuff. But once I got home then
Speaker 4: I realized, like, oh shit, And then all of a
Speaker 4: sudden I died in the led Zeppelin that way.
Speaker 11: So I mean, but how did it feel that you
Speaker 11: knew that information and your friends didn't didn't matter?
Speaker 4: I you know, as a kid, I thought that everyone
Speaker 4: was supposed to have this samant knowledge of no who
Speaker 4: engineered what, and you know, put the headphones on and
Speaker 4: close your eyes and yeah, I just suggests. But you know,
Speaker 4: I get it now that not everyone is built that way,
Speaker 4: all right.
Speaker 11: And it's fine.
Speaker 12: I think.
Speaker 11: You know, you like the sound of something, it doesn't
Speaker 11: matter where it came from.
Speaker 9: In a lot of ways, I always like, I always say,
Speaker 9: if I'm driving in the car and it's my son
Speaker 9: with me. I'm gonna definitely tell him, you know where
Speaker 9: this is from, this is this and that and this
Speaker 9: is how they did that. I won't be able to
Speaker 9: help myself.
Speaker 4: I have to. So, not knowing you personally, but knowing
Speaker 4: that you are big on collaborations. I mean between all
Speaker 4: the projects that you've done, I can only guess that
Speaker 4: you're the point person or the alpha person or the
Speaker 4: leader of these projects. How do you deal with in
Speaker 4: collaborative situations? Like how are you able to not manage people? Yeah,
Speaker 4: impose your will.
Speaker 9: I love when my hope is that they the other
Speaker 9: person or other people are going to bring tons to
Speaker 9: the table and not just sit there and say tell
Speaker 9: me what to do whatever it is with. What if
Speaker 9: it's a bass player or a hired gun, I still
Speaker 9: want them to bring everything they can to the scenario.
Speaker 9: And especially if it's somebody else, like if it's you know,
Speaker 9: I think we both were talking, we were both played
Speaker 9: on the.
Speaker 12: Record.
Speaker 4: Didn't make it, damn Tip anyway way to go? Jack
Speaker 4: made a right?
Speaker 12: No?
Speaker 4: No, I mean it's one thing if you do on
Speaker 4: a try record where you know, like Tip has a
Speaker 4: pedigree in engineering and all that stuff. But like, you know,
Speaker 4: if it's just that I know that you know your
Speaker 4: music I q is higher than thou like everyone else's.
Speaker 4: But I also would assume that you would know that
Speaker 4: you would alienate people.
Speaker 9: Yeah, just I mostly I mostly keep my mouth shut.
Speaker 9: I think the times where I do say no, no, no, no,
Speaker 9: there's no way we can do it like that. It's
Speaker 9: just it's just not worth the awkwardness and the the
Speaker 9: reaction that I'm being a divo or control freak or
Speaker 9: something like that. So I'm for for ninety a time,
Speaker 9: I will kind of put up with things that I
Speaker 9: can't stand. Uh, I don't know, lout of guilt, you know,
Speaker 9: and it's it's it's.
Speaker 4: Uh so someone just brings a fifty seven shore to
Speaker 4: the session, You're just like.
Speaker 9: Sure, Well, for example, is on this new album there
Speaker 9: were definitely keyboard tones. We had four different keyboardistance you know,
Speaker 9: synth players and keyboard players that were definitely playing tones
Speaker 9: that I would have never picked in a million years.
Speaker 11: And I said, all right, let's let's see if it works.
Speaker 11: I want to be turned out there. At first, it
Speaker 11: would be like but uh, you.
Speaker 4: Know, because DJ Harris is also how how have you
Speaker 4: found Harris record? Yeah?
Speaker 11: He's great man, and uh so they would they would
Speaker 11: they would pick up tones. Some of them I instantly love.
Speaker 11: Some of them. Was like, I don't know about that,
Speaker 11: but all of them, by the time we were into
Speaker 11: mixing the record.
Speaker 9: I thought all of them were amazing choices and they
Speaker 9: turned me onto tones that I would have never picked,
Speaker 9: that would have skipped right over.
Speaker 12: Yeah, how did you cook up?
Speaker 10: Because you actually two good homies of mine, I've played
Speaker 10: with you, Dollard Jone, Yeah, and uh and DJ Hers
Speaker 10: How did you cook up with them?
Speaker 9: Daru is an amazing, uh you know, fine form for
Speaker 9: my life because he came in. I produced a forty
Speaker 9: five with Black Milk, and he brought in Black Milk.
Speaker 9: We did the forty five in my studio and then
Speaker 9: he did a live show at Third Man and he
Speaker 9: brought in Daru to play drums live for that, and
Speaker 9: it was just oh man. I actually said to Black
Speaker 9: Milk man, I'm gonna I'm gonna steal this drummer from you,
Speaker 9: you know, another half juggling half. No, I'm really I'm
Speaker 9: going to steal this drumpers.
Speaker 11: But I just couldn't believe. He's just so unique and
Speaker 11: so incredible, So that that was a cool, uh scenario.
Speaker 11: And it's also great because you know everyone when you're
Speaker 11: in different times.
Speaker 9: If you play with people in Nashville who are from
Speaker 9: the bluegrass scene, they've played with so many other people
Speaker 9: that they're bringing their knowledge from playing with Bill Monroe
Speaker 9: or or some you know, other cat from from from
Speaker 9: back in the day and what they learn from them.
Speaker 11: And then people who played with hip hop live.
Speaker 9: And I think I've talked a lot about you know
Speaker 9: what I was, you know, first impressed when I first
Speaker 9: see roots back up jay Z or something I got
Speaker 9: on a live TV show or it was like playing
Speaker 9: that playing the samples and the recorded version with live instruments,
Speaker 9: which to me was like, that's that's for this albums.
Speaker 11: That's the musician. I want the musician that can do that.
Speaker 9: If you can perform live on stage, what what's what's
Speaker 9: been recorded as a sample or a loop or something
Speaker 9: like that.
Speaker 11: And and luckily a lot of those people were up
Speaker 11: for the idea.
Speaker 12: And then DJ Harrison, how did you guys, how did
Speaker 12: he you.
Speaker 4: Know, specifically on DJ?
Speaker 9: I can't I can't remember specifically, but I was definitely
Speaker 9: going through footage and saying, who's this guy?
Speaker 11: How about that guy?
Speaker 9: I thought the randomness of saying, who's this guy playing
Speaker 9: keyboards behind Kanye in this clip?
Speaker 11: And okay, can we get him?
Speaker 9: And who's this person playing bass with Little John or
Speaker 9: whatever it would be, uh or Lil Wayne. So it's
Speaker 9: just like, you know, we'll get to people through these
Speaker 9: just random picks. And so some of them were there,
Speaker 9: showed up, someone were on tour, couldn't do it. Some
Speaker 9: of them, Oh I can't do it, but my friend can.
Speaker 9: So a lot of stuff would come.
Speaker 4: Out of that. Yeah, he's just such a a hero
Speaker 4: of ours, like we have like a lot of his
Speaker 4: underground tapes.
Speaker 12: Yeah yeah, yeah, yeah.
Speaker 9: Very cool and so such a humble guy too, and
Speaker 9: really just ye, real interesting tones.
Speaker 12: I didn't realize how young he was. I didn't really yet.
Speaker 9: Me.
Speaker 7: Let me ask a question. I guess this goes to
Speaker 7: you in a mirror. Is it a small collective of
Speaker 7: those kind of musicians? Like how small is that collective
Speaker 7: of like repute, reputable musicians who can do that task?
Speaker 4: Yeah? Well, see the thing.
Speaker 12: I don't know.
Speaker 4: Okay, So the thing that I really admire about all
Speaker 4: the projects that you've done, especially.
Speaker 12: With uh.
Speaker 4: Your non White Stripes projects, is the discipline, And a
Speaker 4: lot of times it's hard for me to convey the
Speaker 4: musicians that sometimes less is more, that it doesn't always
Speaker 4: have to be about I'm over here. I'm over here,
Speaker 4: because you know, I mean, there's complete websites dedicated to
Speaker 4: how many notes can I squeeze into you know this
Speaker 4: particular two par So for me, it's not about the
Speaker 4: quality or the level of the music. I'm more into
Speaker 4: if they're disciplined, if they can keep it in the pocket,
Speaker 4: even though they play the most simple thing in the world,
Speaker 4: if they could play it consistent.
Speaker 9: I hear them talking about what's the drummers name he
Speaker 9: played on Billy Jean.
Speaker 4: Oh.
Speaker 12: No in Doogo channel? Oh oh yeah, Leon?
Speaker 4: Yes, simple that just yeah. Second, you hear that snare,
Speaker 4: you know exactly what it is, and it's just that
Speaker 4: means way harder than you know.
Speaker 8: But that's your mantra too, That's always been your mantra.
Speaker 8: How can I sound like a metronome? But that's always
Speaker 8: what you say, But that's bullshit because you work hard
Speaker 8: to be.
Speaker 7: A metronome, and that closes up the gap then, because
Speaker 7: that's like even smaller number of musicians that I about.
Speaker 4: To say if like for me, Daru is actually, oh god,
Speaker 4: I don't want to say this statement. That means.
Speaker 8: Someone's got a razor blade and the thing cut it out.
Speaker 4: We're good. No, they couldn't shut out this analog. No,
Speaker 4: Like he is a cat that I that he's my
Speaker 4: number one thumbs up drummer cat because he just understands
Speaker 4: the pocket, you know, and.
Speaker 9: He has methodology to what he does, the way he
Speaker 9: sets up his kit reverse. I've never seen any drum.
Speaker 4: Yeah to say, I thought that was something when I
Speaker 4: first saw him play. Uh we did a show with
Speaker 4: you and I saw Jo say, yo, it's just gonna
Speaker 4: fall over. And I never once to I tried that once.
Speaker 11: I tried sitting down and his kid, I can't play it.
Speaker 11: It's just impossible.
Speaker 4: Yeah, it's that's a very neat thing to listen.
Speaker 11: He kills the snare on the floor, tim towards the audience.
Speaker 11: He's hitting. He's hitting like this in a mirror. Your
Speaker 11: wrists are bending the other way.
Speaker 12: Oh wow.
Speaker 4: In the mirror speak. He smoothed criminal leans the entire
Speaker 4: time smooth criminal leans the entire drum set towards the audience.
Speaker 9: You know, okay, did you know that's Michael Jackson's only
Speaker 9: patent application.
Speaker 7: I know, I don't even know what that means to lean.
Speaker 9: He he did a slit in the shoe and he
Speaker 9: would slide into a nail on the floor and that's
Speaker 9: how they lean.
Speaker 11: So they were their feet were.
Speaker 7: No, God, every single dancers on nails. That's crazy.
Speaker 4: Yeah, there's a good blooper Michael once. Michael Once fell
Speaker 4: into the audience and it's it's well, he laughed like
Speaker 4: it was like a blooper movement. But because they were
Speaker 4: on pro tools and fish and.
Speaker 11: So I want to see something interesting, Michael.
Speaker 9: I don't know if you guys have seen this clip,
Speaker 9: but have you ever seen this clip where Slash keeps
Speaker 9: playing guitar solo and Michael gets.
Speaker 11: Mad at him?
Speaker 4: No? Oh my god?
Speaker 9: Really, I mean that was the only the only time
Speaker 9: I've ever seen Michael getting mad. Mad he Slash for
Speaker 9: somebody who is pissed about something and he's coming out
Speaker 9: to do a black or white the end of the
Speaker 9: guitar sol blah blah blah, and Michael's like you know,
Speaker 9: give smoke and pointing right. He just doesn't stop, and
Speaker 9: then Michael starts going like this, folding his arms and
Speaker 9: looking around like.
Speaker 4: He's like why is he doing this?
Speaker 11: And the joke to pull off the two guys came
Speaker 11: and pulled slash.
Speaker 4: Off really.
Speaker 12: YouTube.
Speaker 4: There's a good one also where it's raining, uh, like
Speaker 4: in Argentina it's raining and it's for Slippery's help. Michael's
Speaker 4: angry because like the guys aren't there, but he's just
Speaker 4: skating on the It's like at the beginning, he's skating
Speaker 4: all over the thing, but he's looking at them like
Speaker 4: make it stop, ready, and he's like passive aggressively like
Speaker 4: it's just running all over the place. And I'm like, motherfucker,
Speaker 4: you're in Argentina, inf monsoon on a slippery stage with
Speaker 4: the open like with no roof, like handl the damn show.
Speaker 7: We missed you, Mike.
Speaker 4: Anyway, So okay, with about to say, it's an hour
Speaker 4: and I think you get.
Speaker 12: Well play.
Speaker 4: Actually I want to start at the end. How do
Speaker 4: you know when it's time to close the chapter?
Speaker 11: That's really great question. And I think that's probably.
Speaker 4: Because I still think you guys are gonna come back
Speaker 4: with the record stripes.
Speaker 9: You mean, yeah, yeah, And I think that in order
Speaker 9: for me to move on and call things under the
Speaker 9: name Jack White on my albums, that that band needed
Speaker 9: to be done so that it wasn't constantly okay, well
Speaker 9: thanks Jack, but can you get back to what we
Speaker 9: wanted you to do or whatever? And that kind of
Speaker 9: goes with you know, I've started over several times, start
Speaker 9: over with the rack and tours from scratch, start over
Speaker 9: the Dead Weather from scratch, started off solo from scratch.
Speaker 9: So you're not really supposed to do this if you
Speaker 9: have the act that's working and people are digging in
Speaker 9: and it's it's it's working out.
Speaker 12: With people, so.
Speaker 4: Well, I keep doing it.
Speaker 11: But you know, I and it's just the way I have.
Speaker 11: I have to move forward and progress. So a lot
Speaker 11: of times I think, you know, I think Meg was
Speaker 11: always like, yeah, that I like finishing.
Speaker 9: Up on top where I don't I don't feel any
Speaker 9: regret about not even one song we ever did, and
Speaker 9: that that was kind of nice about that moment too.
Speaker 4: And so yeah, I don't. I don't.
Speaker 9: I don't feel any urged, urged for that to happen.
Speaker 9: And I've you know, I've also talked to people like,
Speaker 9: you know, Jimmy Page and Robert planming to continue the
Speaker 9: lad Zepplin thread that you know. I mean, they obviously
Speaker 9: get asked every day for the last forty.
Speaker 4: Year, When's when's the honey Drippers come back?
Speaker 11: The Honeydrippers?
Speaker 4: So it's it's uh. I mean, I don't want you
Speaker 4: to have to reveal the smoke of mirrors of whatever
Speaker 4: your uh presentations are. But for those White Stripe records,
Speaker 4: were they completely a collaborative drum meg Jack moment or
Speaker 4: did you do some songs by yourself. I'm only asking
Speaker 4: because my my personal favorite album is Satan Yeah. And
Speaker 4: the first time I heard uh the Nurse, Yeah, I
Speaker 4: was just like, yo, like, no one has no one's timing?
Speaker 4: Is this goddamn good except for people that play with
Speaker 4: themselves anyway. Well, Prince has a way of doing that
Speaker 4: on Dirty Mind. There's a way that he and he
Speaker 4: answered this question. I was asking, like, why did you
Speaker 4: fluctuate on the title cut Dirty Mind so much? And
Speaker 4: he was like, well, you know, I have to give
Speaker 4: the impression that, you know, Prince the bass player is
Speaker 4: trying to keep up with Prince the drummer and Prince
Speaker 4: the synthesizer players trying to keep up with the bass
Speaker 4: player and that. So there's there's like a there's such
Speaker 4: a scientific, calculated, beautiful mess of fluctuation that I feel
Speaker 4: that only I've heard Stevie do it, I heard Prince
Speaker 4: do it. I've heard you doing on some of your
Speaker 4: solo records. Its assuming that the two songs in my
Speaker 4: head were completely done by you, But for some of
Speaker 4: those songs, like even you had to put in ten
Speaker 4: hours of rehearsal to get those hits correct or like
Speaker 4: what was what was the process? Was that all you
Speaker 4: at least on the nurse.
Speaker 9: Well the nurse I'm playing marimba and the Meg's playing
Speaker 9: the drums, and that was done in my living room.
Speaker 11: We record that in my living room. But all those
Speaker 11: stabs and it's Meg.
Speaker 4: I didn't see that. I didn't want to be accused
Speaker 4: of sex.
Speaker 9: No, No, I hear what you're saying. I think you
Speaker 9: thinking on the flip side of that. Yeah, she nailed
Speaker 9: that song and then she you know, it's there was
Speaker 9: time megs. Meg's rhythm is beautiful, it's it's I think
Speaker 9: people think I'm dissinger when I say it's childlike, but
Speaker 9: I think there's that thing about saying. Papa Picasso said,
Speaker 9: I spent my whole life trying to learn how to
Speaker 9: paint like a five year old time.
Speaker 11: She she I would play white Strip song with other like.
Speaker 9: Sort of you know whatever, proficient drummers and and it
Speaker 9: wouldn't sound and when she would do it was like,
Speaker 9: that's just that's it. But she also say something like
Speaker 9: on that same album My Doorbell, the drum beat on
Speaker 9: that is very jumbly. The timing is squeezed together at times,
Speaker 9: spread out at times on the drums, and the drum.
Speaker 11: Beats really funky.
Speaker 4: It's very cool.
Speaker 11: I remember Jimmy Ivy and I had talked to him.
Speaker 11: He goes, Man, that Wrecked is a hit.
Speaker 9: He goes, but you needed to record it right, you know,
Speaker 9: it needs to be recorded properly by somebody.
Speaker 12: You know.
Speaker 11: It's like, well, I'll tell me what's wrong with you know,
Speaker 11: the way we did it. I know obviously there's no
Speaker 11: pop appeal really to what the way we did it.
Speaker 11: It's a it's a very you know.
Speaker 4: When came I was spending the ship out there, like
Speaker 4: I thought that was going to be like thanks that moment.
Speaker 9: It felt, it felt, it felt really cool and maybe
Speaker 9: you know, I would love someone to cover that song.
Speaker 9: I think that's there's some there's some really cool things
Speaker 9: that that could happen with the harmonies and stuff. But uh, yeah,
Speaker 9: for example, that that drum beat was it's like almost
Speaker 9: squeezed together.
Speaker 11: Forced at times, and feels like that, but it's it
Speaker 11: just works out. It makes sense.
Speaker 4: You know.
Speaker 7: Can you talk about Meg's relationship with the drums, because
Speaker 7: whenever I read about it, it sounds like she met
Speaker 7: the drum, she fell in love with the drum, and
Speaker 7: then she just killed it.
Speaker 9: I think she's just very reluctant and then also got
Speaker 9: pick picked on so much through all the years of
Speaker 9: you know, everyone saying she's the worst drummer in music,
Speaker 9: and and that really effects that do this just seemed
Speaker 9: like every day she was saying that. I think a
Speaker 9: lot of people that I spent a lot of time
Speaker 9: sort of defending that because and here's what happened when
Speaker 9: we were before we when we were first started to
Speaker 9: get got signed on our third album, she said to me, so,
Speaker 9: you know, Jack, people out there in the mainstream, they
Speaker 9: don't know the glories and the Velvet Underground and this
Speaker 9: simple kind of drumming style on things. They're not going
Speaker 9: to understand me reference and they're not going to get
Speaker 9: this this idea. They're just going to think I suck,
Speaker 9: you know. And I said, you know, there are gonna
Speaker 9: people who aren't going to understand that. But I don't
Speaker 9: think it's worth us. You know, we have to go
Speaker 9: out and push lord and and just bring that to people,
Speaker 9: that simplicity.
Speaker 11: You know, what are you gonna do? Some people are
Speaker 11: gonna get it, some people aren't. And it's the same
Speaker 11: thing to me. You know, how much how much.
Speaker 9: Crap does Charlie Watson Ringo Star get all these years later?
Speaker 9: I mean, Ringo is insanely good man. I mean there's
Speaker 9: some drum fills that are planning in my brain that
Speaker 9: Ringo has done. And because he's not John Bonham or
Speaker 9: or Neil Burt or something, I don't understand.
Speaker 11: I don't understand that kind.
Speaker 4: Of I didn't realize he was catching hell because like
Speaker 4: for me, for me, uh what gregsonier the drummer of
Speaker 4: a Dierhof and Meg are like definitely my tooth. Like
Speaker 4: I've stalked to you guys, millions of times like yeah,
Speaker 4: in concert, but I never thought that that was.
Speaker 9: She's very I think she was the kind of person
Speaker 9: to make people want to start playing about this.
Speaker 7: Is it true? Does she really felt it? Like she
Speaker 7: learned very easily and mastered it.
Speaker 12: Yeah.
Speaker 11: Very early stress recordings were just those stabs, just.
Speaker 12: You know, and it was like that.
Speaker 11: I think the first thing we do is David Bowie's
Speaker 11: she wanted to record.
Speaker 9: Ah, what's the song I'm an Alligator my mama? Yeah,
Speaker 9: it's on Ziggie. Sorry the names escaping me, but we
Speaker 9: we did that song first, and it was just that
Speaker 9: was the beginning of our sound, was not just these
Speaker 9: stabs bam, and we thought, wow, let's keep going with this,
Speaker 9: and it turned into a whole thing and so changed
Speaker 9: my whole outlook on music completely. That brought it down
Speaker 9: to a minimalism, and then it was a great, great
Speaker 9: out let to do the blues and not be that
Speaker 9: sort of stratocaster sort of white boy blues at the time,
Speaker 9: which was very sort of super super un cool, and
Speaker 9: you yeah, I think so now, Yeah, the blues had
Speaker 9: become that kind of you know, that stratocaster, really clean,
Speaker 9: slick thing at that at that moment through the nineties,
Speaker 9: and it was a little bit like a bar band,
Speaker 9: a little bit of an embarrassing thing too, but it's
Speaker 9: also at the same time we wanted to do the raw,
Speaker 9: getting down to the real nitty gritty of it, the
Speaker 9: Lightning Hopkins and the you know, hound dog tailor and
Speaker 9: those kind of things, and figure out a way we
Speaker 9: could get away with it, you know, and a lot
Speaker 9: of the things to do with white starts, the red,
Speaker 9: white and black color scheme and the way we presented
Speaker 9: it like children was a great way for us to get.
Speaker 8: Away with it, because that's how you found your personal voice,
Speaker 8: because you're speaking voices relatively low, and all of your
Speaker 8: vocal deliveries are super high and super in that stratosphere.
Speaker 8: Sort of comes from a blues place, but it's interesting
Speaker 8: just listen.
Speaker 11: To I don't know, that was a natural thing and
Speaker 11: that that really high stuff.
Speaker 9: And I know there was one song and I had
Speaker 9: my postery shop that love was the BBC Beatles BBC
Speaker 9: Sessions and it was the Beatles Hippy Hippie Shake, their
Speaker 9: cover of Hippy Hippie Shake, And when it starts off
Speaker 9: with pau McCartney you know I won't do it now
Speaker 9: to blow out the mic, but oh goodness, sake just
Speaker 9: super high, shake it to the left, shake it do
Speaker 9: oh oh yo my and shake can just go even
Speaker 9: higher than the highest note you did before that.
Speaker 11: I started to get really into that, so yeah, now
Speaker 11: it gets it gets wilder.
Speaker 9: I think there's some stuff on the new album where
Speaker 9: I'm I'm really squealing up in some some two octaves
Speaker 9: above where I'd normally say it's just skiddy up and
Speaker 9: some wilder stuff.
Speaker 4: What is your your weapon of choice? And I know
Speaker 4: that you have an array of guitars and a collection
Speaker 4: from heaven, but you're I can't die without it? Is
Speaker 4: it the k how value?
Speaker 12: Or is it?
Speaker 4: Is it?
Speaker 9: There's I have this Army and Navy Gibson Acoustic now
Speaker 9: that I got a few years ago that's now become
Speaker 9: like that's my favorite guitar.
Speaker 11: It's really it's from nineteen seventeen.
Speaker 9: They built it for They made these for supportedly for
Speaker 9: World War One soldier and as soon as they finally
Speaker 9: got the guitar of reproduction, the war was over, so
Speaker 9: there's not very.
Speaker 11: Many of them.
Speaker 9: They're like this scale down, stripped down version of an
Speaker 9: l one like Robert Johnson would have used. So it's
Speaker 9: really really soft and and the neck as I could
Speaker 9: baseball bat, and it's just it just it fits me perfectly.
Speaker 4: So for you, the instrument also has to have a
Speaker 4: specific tone. I don't know, it's weird for me because
Speaker 4: back when I didn't have a choice, when like we
Speaker 4: would have to play in shitty studios. Like my first
Speaker 4: drum set is some out of like Alex Van Helen's Nightmare,
Speaker 4: Like it's like some tama like power Stroke, you know,
Speaker 4: like it's straight heavy metal, like all of the organ No,
Speaker 4: I'm seriously, you.
Speaker 9: Know, maybe that goes back to like the what's the record,
Speaker 9: the you know, the boy band record. Maybe maybe maybe
Speaker 9: I went through that same period too, which is like
Speaker 9: you kind of get into maybe two kick drums, maybe
Speaker 9: rototomas maybe seventeen times, and you kind of have to
Speaker 9: go through that moment and put that out of your system.
Speaker 12: My point was that.
Speaker 4: At the time, like I was bitching, I was like, yo,
Speaker 4: like I can't I can't do no break beats on
Speaker 4: a you know, a triple kicks your own tama and
Speaker 4: the drums like this big. Yes, it was. It was
Speaker 4: serious everything you're described is what I did my first
Speaker 4: record was And then my engineer was like, dude, it
Speaker 4: doesn't matter because the only thing that matters is how
Speaker 4: we translated it in the mixing board. And once I realized, like, oh,
Speaker 4: I can manipulate this to sound any way I want to.
Speaker 4: I mean, it's smoking mirrors a lot, but it's in
Speaker 4: the engineering. So I mean, does it truly matter if
Speaker 4: you know, if you have a particular you know, Gibson
Speaker 4: or Strata or this. Did you have a Montgomery Ward? Yeah?
Speaker 9: I mean for the most part was it headlines and
Speaker 9: silver tones and really cheap auto tune, hard to work
Speaker 9: with guitars up until this album right now where I wanted.
Speaker 11: To use the easiest guitar I could possibly play.
Speaker 9: So I'm playing this Eddie van Halen's Wolfgang that he
Speaker 9: designed for all this too.
Speaker 11: New and it's and it's just like, I've never played
Speaker 11: a guitar tard this easy to play. It's crazy.
Speaker 9: I don't It's it's one of those things where what
Speaker 9: do you do you know, when you get a first
Speaker 9: class ticket on a plane, do you can you ever
Speaker 9: go back?
Speaker 4: I was gonna say, do you have do you have
Speaker 4: a fear of once you sort of dabble and dip
Speaker 4: your toe into all right, let me see what garage
Speaker 4: band is about. Or get this particular new shiny drum
Speaker 4: set or guitar whatever that you might slip into a
Speaker 4: rabbit hole you can't fall out of.
Speaker 12: Yeah, I think I definitely.
Speaker 11: I'm sure you know.
Speaker 9: I'm definitely what we were saying before, from the disciplined
Speaker 9: sort of side of things, where I can dabble and
Speaker 9: and and get something out of it, but then return
Speaker 9: to what I think feels more soul form and more
Speaker 9: makes more sense for what I trying to accomplish. I'll
Speaker 9: love I'll sit around and play with a synthesizer for hours,
Speaker 9: knowing full well that I'm never going to use this
Speaker 9: thing live or something like that, you know, but sometimes
Speaker 9: it does. When we did I dump, I was trying
Speaker 9: to I use this instrument that you the Beels used on. Baby,
Speaker 9: you're a rich man, this clavioline, the very first synthesizer,
Speaker 9: And that became a thing. It took on stage and
Speaker 9: I turned into a mold, little fatty and then I
Speaker 9: started to, you know, learn more about that, and that's
Speaker 9: now become a big instrument for me is that mug.
Speaker 4: So when you're making decisions on what instruments and to
Speaker 4: use and to play, do you have a judgment jeurey
Speaker 4: in your head? So, okay, say if I presented to
Speaker 4: you the first edition of a Yamaha DX seven from
Speaker 4: like nineteen eighty six, like this horrible Richard marks patches.
Speaker 11: Sure you turn a purple, Yeah, says.
Speaker 4: Richard playing the electric piano patch. No, but it's it's like, uh,
Speaker 4: if if presented with that, I mean, oh my god,
Speaker 4: you just ever have a moment where you just fucking
Speaker 4: forget your question? Oh yeah, make it work?
Speaker 11: Where you trying to say that could make I think
Speaker 11: I was going to go there, but there was a
Speaker 11: reason why.
Speaker 4: No whatever. But I mean, could you I mean, could
Speaker 4: you make it work?
Speaker 11: Or well there's that line from what's that line?
Speaker 9: I think John Lennon said something about you know, I'm
Speaker 9: an artist. If you give me a tub, but I'll
Speaker 9: fucking make some sounds come out of it. You know
Speaker 9: that that that's your job as an artist. That went
Speaker 9: handed the scenario, which I think that I've done a
Speaker 9: lot in the in the past, which is the set
Speaker 9: up the scenario of here's where we're gonna be, here's where.
Speaker 11: People are going to be in the room, and here's
Speaker 11: how long we're going to be here. That's it.
Speaker 9: As far as the music sounds like, I don't care
Speaker 9: what it's going to come out, like if it comes
Speaker 9: out Soulfa comes out punk, it doesn't matter to me
Speaker 9: as long as I've set up the scenario. And like
Speaker 9: I said some of the keyboard choices that some of
Speaker 9: those tones to me at first was like wow, okay,
Speaker 9: and then later I'm like, okay, yeah, now I get it.
Speaker 11: That really does work. It really does work. And I
Speaker 11: don't remember emitting any of them while we were mixing
Speaker 11: the album.
Speaker 4: So part two that question is are you afraid that
Speaker 4: snobs like us will be cool man? Everyone uses the
Speaker 4: data d like I can instantly tell that it was
Speaker 4: a DATAA app that he used, or sure.
Speaker 9: I'm a big fan of not noticing production, which is
Speaker 9: it's hard for me to like when I hear like,
Speaker 9: oh they put that even todd reverb on that vocal.
Speaker 9: I hear that, I hear that when I don't hear it,
Speaker 9: when I just hear the music, I don't even notice
Speaker 9: the production.
Speaker 11: I really love that that feels good to me.
Speaker 4: But can you But can you even enjoy an album
Speaker 4: without getting into It's hard for me to do that,
Speaker 4: Like I'm analytical and figure out what they.
Speaker 11: That's my hope.
Speaker 9: My hope is the first just love it, love it
Speaker 9: and listen to it, and maybe ten listens down start thinking, wow,
Speaker 9: how did they get that drum sound?
Speaker 11: That that's Uh? I was just thinking about that.
Speaker 7: Uh.
Speaker 9: Yesterday in the car we were listening to uh, Let's
Speaker 9: Go Crazy guitar solo and it was sort of like,
Speaker 9: you know.
Speaker 11: I never thought about it. What was using an octave
Speaker 11: pedal on this? I never heard a solo a thousand times?
Speaker 9: Uh?
Speaker 12: Just saw it.
Speaker 4: I don't know.
Speaker 11: I'm not kind of want to go look that up now.
Speaker 8: But can you talk about your evolution of thinking of that?
Speaker 8: Because until Thursday, because I didn't say that because I
Speaker 8: think like with the Early White Stripes record, it was
Speaker 8: just like two people in a room press recording go
Speaker 8: whereas this this last album feels like to me the opposite.
Speaker 8: But you did put it into pro tools, and you
Speaker 8: did cut it, you did smush it around because and
Speaker 8: then that and that seems not antithetical to what you're saying,
Speaker 8: but like like an evolution and even like the let's
Speaker 8: say that the White Stripes early records seemed super riffy
Speaker 8: to me and super hooky. The middle of your career,
Speaker 8: to really put it bluntly, like the Dead Weather Racket
Speaker 8: tour stuff is a is a different thing, moving more
Speaker 8: towards rock, and then this feels that's the hope.
Speaker 4: Yeah, right, But what was like your song.
Speaker 8: Writing process during those whole things, because it feels like
Speaker 8: a definite crescendo and or move.
Speaker 11: Yeah, it's it's a definite move.
Speaker 9: And I use a lot of techniques I've never used before.
Speaker 9: I recorded and I rented in an apartment where I
Speaker 9: used the same equipment I had when I was a teenager,
Speaker 9: the same reel to reel by myself, no amps, no drums,
Speaker 9: So I was singing along with a drum machine, writing
Speaker 9: the songs, writing the melody of the song without any
Speaker 9: musical accompaniment. So a lot of these songs started as
Speaker 9: just a vocal melody and.
Speaker 11: Then everything was added later.
Speaker 9: And then took it to New York and LA and
Speaker 9: played with people I've never met before and with three
Speaker 9: days only in each studio. Let's hurry up and figure
Speaker 9: something out, and then recording all that to tape and
Speaker 9: then dumping it to pro tools and edding in pro
Speaker 9: tools for months.
Speaker 11: I had something I'd never done before either.
Speaker 4: So you put yourself on a time limit.
Speaker 11: Yeah for each city? Yeah, three days in each city.
Speaker 4: Why do that?
Speaker 11: Because I wanted the energy of uh.
Speaker 9: I didn't tell them as I told them as late
Speaker 9: as possible before we did it, so that the energy is,
Speaker 9: holy shit, what are we doing?
Speaker 11: And then nobody knows each other.
Speaker 9: So you have that great energy in the room of
Speaker 9: everyone's scared a little bit, and they also want to
Speaker 9: impress each other, so you get that great energy. That's
Speaker 9: totally different if I would have said two weeks at
Speaker 9: that time. Okay, guys, here's the demo for the song.
Speaker 9: Learn this part, learn that part. See on Wednesday at
Speaker 9: two o'clock and then we'll have lunch.
Speaker 4: Yeah.
Speaker 11: Then they've got they've prepared it, they figured it all out.
Speaker 9: But to walk in the room and nobody knows what's
Speaker 9: gonna happen, that's a wig more interesting, Davis.
Speaker 6: Something that happened in this room with with d and
Speaker 6: you guys, all the millions of hours.
Speaker 7: Of Angelo everybody.
Speaker 12: We recorded Voodoo in this room. Who were the players
Speaker 12: on this new record? Players?
Speaker 11: We got Neil Evans and DJ Harris, he's in New York.
Speaker 9: There's a monster Charlotte Camp on bass who plays with
Speaker 9: the Ghost to the Saber due Tiger Sean lynon his band.
Speaker 9: She has her own band. I think it's called Oonie.
Speaker 9: And then Uh, the drummer was Lewis Cato on this session.
Speaker 9: I gotta ask you, Tip who the who he thought
Speaker 9: was good New York to grab and he said Lewis
Speaker 9: and then I And then in La we had Carla
Speaker 9: Azaar on drums, who I brought one person I knew
Speaker 9: there as a you know, sort of anchor, like, Okay,
Speaker 9: I've got one person I work with and I know
Speaker 9: everyone else is going to be strangers. And we got
Speaker 9: brew what's his name, Brewster Brew forgot his last name
Speaker 9: on keys, as well as Quincy McCrary. And then we
Speaker 9: had el Nino from Ozon Motley on percussion.
Speaker 11: Oh, Bobby Allende on on Conga's in New York too,
Speaker 11: I forgot that.
Speaker 4: Who mixed uh this album?
Speaker 11: I mixed it with Josh Smith, my engineer in Nashville.
Speaker 9: We did it on pro tools, the editing, and then
Speaker 9: we mixed it through my Neive console.
Speaker 4: So okay, yeah, I want to also talk about other
Speaker 4: projects he worked on. You produced Vanlair Rose. Yes, I
Speaker 4: want to know well, and also I wanted to Jackson's
Speaker 4: album as well. How do you how do you when
Speaker 4: you're when you're working with someone that's obviously not in
Speaker 4: your generation?
Speaker 12: Yeah, and.
Speaker 4: How do you cause again you well, Fantine mentioned earlier
Speaker 4: that you have to manage people.
Speaker 11: Oh yeah, so.
Speaker 4: Havn't been in her presence a few times?
Speaker 12: How did you.
Speaker 4: Get that album achieved? And it's tough.
Speaker 9: I mean, every every person is different, obviously, but I've
Speaker 9: definitely done my time with many octagenarians.
Speaker 11: But but it's uh, Loretta was just great because she's
Speaker 11: just so funny and so talented, and it would be
Speaker 11: line by line a lot of it. She rushes.
Speaker 9: She starts singing the next line before it's time, before
Speaker 9: we've gotten to that moment, and I said, okay, you
Speaker 9: got to put that pause in there, and she goes,
Speaker 9: jack I've been doing this miss my first record. I'm
Speaker 9: I'm famous for this needs to make fun of me
Speaker 9: back in the sixties about this, I rush and she does,
Speaker 9: she rushes a live on stage. The band has to
Speaker 9: jump to the next verse because she just runs to
Speaker 9: the next line, so we'd have to do it, and
Speaker 9: we did it on tape, so we had to do
Speaker 9: it line.
Speaker 11: By line a lot of that stuff because we couldn't
Speaker 11: edit it later and you didn't use pro tools. No,
Speaker 11: that was on a TRAKYS wanted to know if.
Speaker 4: You oh shit, really yeah, so the patient's factor.
Speaker 11: Was, oh yeah, very patient.
Speaker 4: Yeah, you know what. One of my favorite but see,
Speaker 4: one of my favorite Jowins was, uh, how did you
Speaker 4: get her to do? Was it a little red shoes?
Speaker 9: Yeah? Yeah, she told the story and yeah, she was
Speaker 9: just telling us that story in between takes, and I
Speaker 9: was like, who hold on, don't don't finish, you know,
Speaker 9: let's roll tape real quick.
Speaker 11: And she went back and enrolled to he had a
Speaker 11: music afterwards.
Speaker 9: I added the music later and edited that together back
Speaker 9: in Detroit at Brendon Studio.
Speaker 4: Because in my head, I'm like, yo, how in the
Speaker 4: world did he manage to oh man, that it have
Speaker 4: been a night perfect?
Speaker 11: Yeah?
Speaker 4: I like this.
Speaker 11: She actually tried to do it. She actually tried to
Speaker 11: tell a story along with the music. But the story
Speaker 11: kept going.
Speaker 9: This song had ended long ago, and she had five
Speaker 9: more minutes of story to tell, so that took a
Speaker 9: lot of time to edit that down into making it work.
Speaker 11: But it was it was very cool. She got the idea.
Speaker 11: She thought it was a very cool idea.
Speaker 4: Okay, when you uh, you also did a Bond song? Yes, yeah,
Speaker 4: with Alicia?
Speaker 12: What movie was it for?
Speaker 11: Quantum of Silent?
Speaker 12: Quantum of So?
Speaker 5: Is it?
Speaker 4: Is it caricature? Is it an honor to be asked,
Speaker 4: you know, to do the the iconic Bond song? Yeah?
Speaker 11: That that that is? That was an insane honor.
Speaker 9: It was also I knew I was entering sort of
Speaker 9: like you're like you're doing something for Star Wars or
Speaker 9: Star Trekers, and you entering this franchise. You're entering a
Speaker 9: world of of pain because you know, this is a
Speaker 9: whole fifty years of fans who are very scratchy about
Speaker 9: anything to do with their beloved characters.
Speaker 11: So you have to careful.
Speaker 9: But the reason I got that gig was because Amy
Speaker 9: Winehouse wouldn't show up to the recording sessions they were
Speaker 9: going to do.
Speaker 11: I think it was I don't know what it was.
Speaker 9: I guess it was Amy Winehouse and someone else was
Speaker 9: a duet, and because she wasn't showing up, they asked
Speaker 9: if I would do it, and what about me doing
Speaker 9: a duet? And I said yeah, and I offered the
Speaker 9: idea of Alicia Keys and they said okay, and they
Speaker 9: just didn't have much time. So I thought, oh, this
Speaker 9: is good. Now I'm going to get to do some
Speaker 9: shit out that way would never let me do if
Speaker 9: they had given me a year to work on this.
Speaker 11: So it was super complex.
Speaker 9: I recommend to people that listen to just the instrumental
Speaker 9: of that song because it's really really bizarre changes that
Speaker 9: go on in that And that was a drum based thing,
Speaker 9: and Alicia.
Speaker 11: Came into to Nashville and did her thing with it.
Speaker 11: But it's very divisive.
Speaker 9: I think it was the first time I had to
Speaker 9: put out a song as divisive and people just loved
Speaker 9: it or hated it.
Speaker 11: The time I got to hang out with Prince, he was.
Speaker 9: At this club and I walked over and sat down
Speaker 9: and he said, well, I really loved that James Bond
Speaker 9: thing you did all sudden it was at the time
Speaker 9: it had just come out, and oh, thanks for saying that,
Speaker 9: because a lot of people hate it, and he goes, really,
Speaker 9: I thought it was real.
Speaker 7: Strong, wildly she keys, because you said that was the
Speaker 7: first person that you thought that.
Speaker 9: I just thought her voice would just be like who's
Speaker 9: you know, like the just the soaring thing, and she
Speaker 9: did a lot of that kind of just the soaring vocals.
Speaker 12: How many did they make you do? Several different drafts
Speaker 12: of that song before you they finally they did.
Speaker 9: They came back to me and they wanted me to
Speaker 9: put a power ballot in the middle of the song,
Speaker 9: and they wanted it. They wanted me to try again
Speaker 9: on something else, but I knew they were running out
Speaker 9: of time, so it's like, I'll try.
Speaker 7: But was it like the most creative, most hands in
Speaker 7: your creative process ever?
Speaker 11: Yeah, it was definitely.
Speaker 2: Wow.
Speaker 9: If this had been if we had started this six
Speaker 9: months ago, I probably would have dropped out because it
Speaker 9: would have just been Okay.
Speaker 11: Guys, you just get somebody else. I'm not your guy,
Speaker 11: you know, well, okay, he was one of those funny you.
Speaker 4: Know some always wanted to ask, Okay, so last time
Speaker 4: I did a show with you, you do this very
Speaker 4: unique thing where none of your okay, so he travels
Speaker 4: with I don't know if you still do this. But
Speaker 4: two bands, an all male band, all female band. Yeah,
Speaker 4: I did that, and they all get dressed to the
Speaker 4: nines and then about forty five minutes into show time,
Speaker 4: they're told which band is going to be his band tonight?
Speaker 9: What?
Speaker 4: But what do I think we still do that? I'm
Speaker 4: not coming to the day Sinray angry there, but one.
Speaker 4: I mean I never I'm never going to ask you
Speaker 4: why you do things? Because you are you are and
Speaker 4: that's why.
Speaker 7: So, but.
Speaker 4: Do they feel some sort of way like, Okay, if
Speaker 4: they're in.
Speaker 11: L A, have an hour.
Speaker 12: I'll give you.
Speaker 11: I'll give you all the the reactions to taking an
Speaker 11: hour to explain.
Speaker 4: I was gonna say, like because the first time I
Speaker 4: did it, ah Man, rest in peace. To Ike. Ike
Speaker 4: was telling me like, yo, I might come to your
Speaker 4: jam session, but I gotta wait for word. It's a
Speaker 4: word or what He's like. I don't know if I'm
Speaker 4: gonna playing with Jackson. I said, I thought you were
Speaker 4: a keyboard player, and then he explained to me the
Speaker 4: system that he might and just happened to be the
Speaker 4: night that you chose. Are they the Peacocks?
Speaker 11: Yeah, the girls with the Peacocks and the boys were
Speaker 11: the Buzzards, right, so.
Speaker 4: You chose the Peacocks when he was like a great,
Speaker 4: I'm off yeah, and then.
Speaker 9: He came to our gig and but this was this
Speaker 9: was for two albums ago, and Ike was the first
Speaker 9: person to positively love it and respond to it, at
Speaker 9: least to my face.
Speaker 11: But uh.
Speaker 9: So I had gathered them together and said, you know,
Speaker 9: I had a group me like, here's what's going to happen.
Speaker 11: I want to have an all male band and an
Speaker 11: all female band.
Speaker 9: And the reason why is I want people to not
Speaker 9: know who's going to play with me that night, and
Speaker 9: I want them to react and say.
Speaker 11: You know, it would be almost like I'm trying to
Speaker 11: think of a way to do it, Like if I had.
Speaker 9: A band of all eighty year old people and a
Speaker 9: band of all teenagers, a wait for them to directly
Speaker 9: know this is a different band. So if it was
Speaker 9: a mixed together band, maybe a lot of people wouldn't
Speaker 9: pay attention.
Speaker 11: You wouldn't say, was.
Speaker 9: That the same band that played in Cleveland yesterday. So
Speaker 9: this was a definite way for them to know, oh no,
Speaker 9: this is a different band completely. So that was the
Speaker 9: one way to do it. And also to mess with
Speaker 9: the preconceptions that people have about female musicians too, which
Speaker 9: you know, I think don't kind of ridiculously in this
Speaker 9: thing and age still kind of treat like a novelty.
Speaker 9: Oh isn't that cute? You play girl, you play fiddle,
Speaker 9: or you play you know, steal guitar. So I sat
Speaker 9: them all Don said, here's what's gonna happen.
Speaker 11: We're gonna go on tore and there's at breakfast, I'm
Speaker 11: to decide.
Speaker 9: Who's playing that night. It's gonna have absolutely nothing to
Speaker 9: do with what you did last night. It's not a competition,
Speaker 9: you know.
Speaker 11: But here's the great thing. You get paid either way.
Speaker 9: Wow, you're gonna get a day off when you didn't
Speaker 9: know it, so it's gonna be a nice surprise, or
Speaker 9: you get to play that night. And sometimes we're gonna
Speaker 9: do two nights in a row, three nights in a row,
Speaker 9: and you can't get your feelings.
Speaker 4: Was there a night where it was like the Pecks
Speaker 4: at like six nights in a row and I think
Speaker 4: three was the most.
Speaker 11: And there was definitely times where people were sort of
Speaker 11: they felt some way.
Speaker 9: I think it was the one sign where they actually
Speaker 9: spoke up and we had I I conceded was I
Speaker 9: wanted them to come out in New York and I
Speaker 9: wanted the male band to come out and play one
Speaker 9: note and leave.
Speaker 11: They were insult.
Speaker 4: What about but what about yeah? Because it's nice for
Speaker 4: like my parents are coming to see.
Speaker 7: Yeah, it was.
Speaker 12: It was that kind of thing.
Speaker 11: It was our friends are here, it's New York, and
Speaker 11: if we're doing it, we got to do it. It
Speaker 11: was that kind of thing. I was, all right, I'll concede.
Speaker 11: I understand, you know, you know. The idea was it
Speaker 11: was to fake out, to fake the crowd out.
Speaker 4: And Carlo was also your drummer.
Speaker 11: She was the girl in the girl man.
Speaker 4: Right. So the thing is is if you make the
Speaker 4: decision two hours before showtime, then does she have to
Speaker 4: adjust Daru's jump set. It's at breakfast at Breste.
Speaker 9: Yeah, breakfast, and then one of these nights the decision
Speaker 9: was me, okay, so no, no normal that You're right,
Speaker 9: There were no there were times you you might have
Speaker 9: been at that. There were times where okay. The a
Speaker 9: lot of times all the musicians would come and watch
Speaker 9: the show anyway, which was great.
Speaker 11: There was like a real family.
Speaker 9: They already wanted to see, and they also want to
Speaker 9: see what we were doing, because we were doing different
Speaker 9: versions of the same song with two different bands, which
Speaker 9: so I was rehearsing in Nashville one studio, and then
Speaker 9: I would drive across town and this other student rehearsed
Speaker 9: with them and try to come up with a whole
Speaker 9: different arrangement for that same song.
Speaker 7: And you never put them together. They never got to.
Speaker 9: We did when Portland, Oregon, from the vanle Rose album
Speaker 9: we played Portland, we did the whole band to get
Speaker 9: all boys and girls together.
Speaker 4: A guy like me, like I can see right now
Speaker 4: if I was like playing Madden on the tour bus
Speaker 4: and maybe one of the dudes kicked my ass, and
Speaker 4: I feel like, all right, whatever girls tonight.
Speaker 8: I got a question, Jack, My my favorite scene in
Speaker 8: the in the Guitar Guys documentary do you know what
Speaker 8: what is it called? It has a great yeah, yeah, Okay,
Speaker 8: So my favorite scene is You're in a room with Edge.
Speaker 8: It's like a room like this with Edge and Jimmy
Speaker 8: Page and you and and Jimmy Page lights into Kashmir,
Speaker 8: and the best part of this film is it then
Speaker 8: pans over to you and I just want to know
Speaker 8: what you were thinking, because you.
Speaker 4: Just look like.
Speaker 11: Whatever.
Speaker 8: It was something like that, and you were just like,
Speaker 8: holy shit, I'm in a room like this is happening.
Speaker 8: And just I thought there was such a genuine reaction
Speaker 8: but b Roll, talk about b Roll. It was that
Speaker 8: was like a legit be real.
Speaker 9: It was because it was it was a surprise moment
Speaker 9: because he had I often joke and say, well people
Speaker 9: a while of people don't realize it was because the
Speaker 9: dessert cart was standing right, But it was actually a
Speaker 9: surprise moment. We were just talking and nobody had said
Speaker 9: anything about anything about playing at that moment. We were
Speaker 9: just talking like this and he just stood up and
Speaker 9: plugged in and just started playing Whole.
Speaker 12: Lot of Love. It was like whoa.
Speaker 9: But the director sent me that clip and I'm like,
Speaker 9: damn man, people are gonna be talking about that for
Speaker 9: the rest of my life.
Speaker 11: And I was like, all right, let it go ahead,
Speaker 11: put it in the movie.
Speaker 4: It was so real.
Speaker 11: It was genuinely not this is just beautiful. It just
Speaker 11: it was incredible.
Speaker 4: When it was pitched to you, you didn't have any
Speaker 4: reservations of like because to me, it's almost like summit
Speaker 4: meetings like that had they have the tendency to turn
Speaker 4: on their face. There's there's the infamous Uh you ever
Speaker 4: heard of a toot and a snort? Are you talking
Speaker 4: about him? You know about it? Okay? So a tune
Speaker 4: to snort is there's the worst, the worst piece of
Speaker 4: shit ever. It's a record on paper, it's awesome. So
Speaker 4: John Lennon is producing, Harry Nielsen and Stevie Wonder also
Speaker 4: happens to be working on fulfilling this first finality down
Speaker 4: the hall, and Paul McCartney happens to be in doing
Speaker 4: something in the sea room. And so I guess during
Speaker 4: like a dinner break, they all decided to get together
Speaker 4: and let's just have a jam. So this will be
Speaker 4: the last noted time that Lennon McCartney on the studio together.
Speaker 4: So Stevie's on drums, I think, So Stevie's on drums,
Speaker 4: Nielsen's on guitar, McCartney's on bass, and I think also
Speaker 4: Lennon's on guitar, and again Stevie Wonder, John Lennon, when
Speaker 4: you said, Steve, that's what you went wrong, right, Steve
Speaker 4: that the peacocks and they struggle through stand by me
Speaker 4: for like forty five minutes and it's like a bunch
Speaker 4: of five year olds are playing like it's the worst
Speaker 4: of shit ever. And it's called a snort because at
Speaker 4: one point I think Lennon offers it goes to Steven says,
Speaker 4: you want to to snort? You know that sort of thing? No, man,
Speaker 4: but it's you would think that, you know, the summit
Speaker 4: meeting of the gods would result in you know, some
Speaker 4: sort of million dollar sun record session ship. No, no,
Speaker 4: there's the worst piece.
Speaker 11: Of cameras in the room or what ruins it too?
Speaker 4: Because speaking of which, everyone, Okay, so we got cameras
Speaker 4: in this room. Everyone, can we just say yes one second? Like,
Speaker 4: not yes, the cameras. Okay, can we all just laugh
Speaker 4: right now? Stop?
Speaker 10: Okay, Steve's sugar, Steve's literally or his I g right now.
Speaker 10: So your regularly third man. You guys, actually you're a
Speaker 10: plant your press records. What is the lead time on
Speaker 10: your stuff? Because I might actually need the press.
Speaker 11: We try to be as fast as possible.
Speaker 9: Like one of the one of the hold ups is
Speaker 9: plating a record, you know, getting it, getting the metal
Speaker 9: plates made. That usually is the is the one thing
Speaker 9: that installs the project. The most because once you have
Speaker 9: the masters in the room and you can just kind
Speaker 9: of start whipping whipping them out as long as the
Speaker 9: test pressings are sound properly. So there's there's some stumbling
Speaker 9: things that test pressing come back and there's a there's
Speaker 9: a skip, and then you got to start over again,
Speaker 9: get a new plate made so that that can be
Speaker 9: But but usually it's pretty can be pretty fast a
Speaker 9: few weeks.
Speaker 4: Does the various UH artwork are creature is then caricature?
Speaker 9: UH?
Speaker 4: Does the various options of artwork that you do to
Speaker 4: your vinyl like you once had uh an angel appear
Speaker 4: Holograham angel one like? Does that affect the sound at all?
Speaker 7: Uh?
Speaker 11: Some of those things do?
Speaker 9: Number one, if you the reason why black vinyl is
Speaker 9: became the normal color for vinyl is because it's the
Speaker 9: best sounding color, the best sounding substrate, well not substrate,
Speaker 9: but the best sounding material. When you use colored vinyl
Speaker 9: like red or blue or anything like that, you do
Speaker 9: lose lose sound quality.
Speaker 11: So that's why black became the standard.
Speaker 4: Right, Okay, UH, any final questions before I wrap this
Speaker 4: one or two?
Speaker 6: So, as a mir stated earlier, we're in electrically studios
Speaker 6: here in New York.
Speaker 4: I know you here before?
Speaker 12: Have you ever recorded here?
Speaker 9: The White Stress put on a concert here. That is
Speaker 9: the only time I've ever recorded here, and we actually
Speaker 9: released it. It was we did a version of our
Speaker 9: song Ball and Biscuit. We did like a ten minute
Speaker 9: version of it. I think we released it on a
Speaker 9: twelve inch vinyl at the time. And that was a
Speaker 9: great show. That was the only time I'd ever been before.
Speaker 12: Any future desire to do a record here or.
Speaker 4: Anything, Oh, I would love to, I really love to.
Speaker 6: Well, I'm only asking, h Yeah, I didn't. Who's cracking
Speaker 6: up right now?
Speaker 4: I am. We don't know why.
Speaker 12: Because of the legacy obviously Jimi Hendrix and.
Speaker 6: So forth and everybody else's who's recorded here, and and
Speaker 6: plus it's almost fifty years.
Speaker 12: Old, and.
Speaker 9: Recording this new album at Sears Sound when we came
Speaker 9: to New York, that was the first time I've ever
Speaker 9: recorded in New York City.
Speaker 11: So I have never recorded in New York and LA
Speaker 11: and anything.
Speaker 9: I did one little thing with Keith Richards here once
Speaker 9: and one little thing for Cold Mountain in LA and
Speaker 9: that was the only time I ever recorded in those.
Speaker 9: The big cities always kind of was scared to come
Speaker 9: to New York and LA to record like it was
Speaker 9: too much going on to Clusterphobe. So I thought, well,
Speaker 9: that was another way in this album to break out
Speaker 9: of some things I'd never done before, was to do that.
Speaker 6: I guess unrelated question, but have you are you a
Speaker 6: fan of the Daptone Records label.
Speaker 11: Yeah, they're doing great, great work, great work.
Speaker 12: For those who don't know.
Speaker 6: They do a lot of vintage sounding recordings and use
Speaker 6: eight track.
Speaker 11: Yeah, you know.
Speaker 9: It's also what's what's good about it, though, is the
Speaker 9: marriage of trying to find what's soulful about anything. If
Speaker 9: it's an amplifier, if it's equipment, you know, it's not
Speaker 9: just the idea of using it because it's old or
Speaker 9: because it's novelty or something like that. It's about finding
Speaker 9: what's the best sound for whatever you're trying to do.
Speaker 9: I mean, if you're using you know, I saw Stevie
Speaker 9: Wonder one time we played and his clavinet broke. You know,
Speaker 9: it's like, that's amazing that he's using a real clav
Speaker 9: He doesn't have to use a real clav but it's
Speaker 9: nice to see that he is. And and you know
Speaker 9: the difference between a cloud emulation and.
Speaker 11: A real cloud.
Speaker 4: I want to see.
Speaker 9: It's there's two different things. Not to say, you can't
Speaker 9: use a cloud sitting on a keyboard and blow my mind,
Speaker 9: you know. You know, I think we did on this album.
Speaker 9: I think we used a fake cloud on some song
Speaker 9: and it was it was. It sounds amazing.
Speaker 11: It's just about what works for you.
Speaker 9: And you know what if what I like to do
Speaker 9: is marry the best from the future and the and
Speaker 9: the past together and find some some kind of synthesis
Speaker 9: between that and that way you get somewhere new with it.
Speaker 9: I'm always trying to get somewhere new, you know, regardless
Speaker 9: of how what what microphone and what pamp is in there.
Speaker 4: Bill, I'm good man.
Speaker 12: I got that was a great way to close.
Speaker 7: Signals. I got the yea.
Speaker 4: So anyway, so we want to thank you for coming
Speaker 4: to show so much.
Speaker 9: I mean, should tell you incredibly interesting and intelligent questions
Speaker 9: you guys.
Speaker 11: Thank you really really did your homework and everything. I'm
Speaker 11: just impressed.
Speaker 12: We're amazing.
Speaker 11: You obviously really love music, and that's I love to
Speaker 11: hear that music nerds.
Speaker 4: So before I sign off, I just want to remind
Speaker 4: you listeners. Yeah, I'm doing my wet to pay. My
Speaker 4: fourth book HarperCollins comes out. Uh, you can get it
Speaker 4: right now. Is this recording, It's called Creative Quest. It's
Speaker 4: a book or a manual guide uh to creativity. If
Speaker 4: that's such a hard.
Speaker 7: Stay tuned for the audiobooks.
Speaker 4: I'm excited actually the other audio books and ship I
Speaker 4: after hearing Jennifer Lewis's audio book, I went and readid
Speaker 4: my entire audiobook over again and it's fully there's a
Speaker 4: soundtrack to it, there's vignettes, there's acting, it's it's on point. Yeah,
Speaker 4: that was like a creative It is Richard Nimblefield Quest Love. Anyway,
Speaker 4: when we have a fan Tickelo unpaid Bill Boss, Bill Sugar,
Speaker 4: Steve Star of Chat with Sugar, it's like, we gotta
Speaker 4: get chat or you know when you when you come
Speaker 4: to fallin uh in the future, we gotta get you
Speaker 4: on No, I'm we just for three minutes Chat with Sugar.
Speaker 4: You and Jack white Jack. Thank you very much. This
Speaker 4: is Quest Love and we'll see you in the next
Speaker 4: go around and Love Supreme only on Pandora. Thank you.
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