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

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Speaker 2: Ladies and Gentlemen. What's Up?

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Speaker 3: This is another episode of Court Love Supreme. I'm your

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Speaker 3: host Quest Love Jenkins. We're We're Team Supreme today Shook

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Speaker 3: Steve in the house. Hello, Hello, Quarantine Steve, Quarantine Bill.

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Speaker 2: Yeah, what's up?

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Speaker 3: Man?

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Speaker 2: How you doing?

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Speaker 4: Holding it down?

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Speaker 2: Okay it's asterisk or just definitive.

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Speaker 4: It holding it semi calling down. Everything's good. Uh, working

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Speaker 4: on some music for the street all as well.

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Speaker 2: Okay, gotta keep the street tapping and h fan take

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Speaker 2: a lot.

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Speaker 5: I'm good brother, I'm good man, doing the work as well.

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Speaker 5: I can't complain.

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Speaker 2: Cool, cool, all right.

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Speaker 3: Bark Yesterday is a Grammy Award winning singer, songwriter, producer, composer.

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Speaker 2: He has actually come to us in many forms.

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Speaker 3: Of the past, real real, for real, either as a

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Speaker 3: soloist or fronting one of his many projects sounds like Quesla,

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Speaker 3: either a member of the range the Noisemakers at one point,

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Speaker 3: Ambrosia and Ambrosia.

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Speaker 6: Yes, not really, but okay.

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Speaker 2: We'll take it.

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Speaker 3: We'll take it. You know, wait a minute, you know what,

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Speaker 3: and I often do this. I'm not interrupting my own

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Speaker 3: intro yes or no? All right, I'm a Soul trained collegist.

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Speaker 3: Is that you on Soul Train with she and Easton?

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Speaker 6: That's hilarious. You've nailed me.

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Speaker 5: Yes, yes, yobs from Downtown.

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Speaker 2: No, I didn't even know.

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Speaker 3: I think like I have all the episodes that I

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Speaker 3: keep them on loop. And like three weeks ago, she

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Speaker 3: was on doing Sugar Walls and.

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Speaker 2: I was like, wait and that was you? Okay, okay, okay.

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Speaker 6: Well well, oh yeah, there's a funny story about it.

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Speaker 7: Look, I played with her for two years and and

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Speaker 7: sure we did Soule Train and I out there looking

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Speaker 7: like a complete clown.

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Speaker 6: Most likely I haven't seen that for years.

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Speaker 7: But I'll tell you what, as a as a parent

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Speaker 7: of a Division one basketball player who's now a pro

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Speaker 7: in Germany, I used that to uh.

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Speaker 6: For a great benefit.

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Speaker 8: He was.

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Speaker 7: He played My son, Keith played at LSU, and he

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Speaker 7: was live on national TV his junior year maybe against

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Speaker 7: testas A and l on ESPN one.

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Speaker 6: And he had a pretty rough game.

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Speaker 7: And we're back at the hotel, the Cook Hotel on

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Speaker 7: LSU campus and he just bumming. He's really down, And

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Speaker 7: I said, you know what, I'm going to change your

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Speaker 7: mood right now, go to YouTube and look up Sheena

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Speaker 7: Easton Strut and the China Easton sugar Walls featuring me

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Speaker 7: looking like a complete idiot. And so he looked at

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Speaker 7: his dad just sort of undulating around with funglasses on,

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Speaker 7: and it just just fell out and his mood chains

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Speaker 7: just like I predicted. And so, you know what, whatever

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Speaker 7: works to help your kids get through the tough times.

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Speaker 7: My clownest appearances in Sena videos worked well.

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Speaker 3: I assure you that exaggerating lazy and gentlemen anyway.

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Speaker 8: You had say, I forgot we was still on the intro. Yeah,

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Speaker 8: who's on a show?

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Speaker 4: Hold on, I never want played with CDs, did allot

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Speaker 4: of second.

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Speaker 3: We don't even talk about his work with U, d

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Speaker 3: J Neet Jack Dsonnet and my high school mate Christa McBride.

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Speaker 6: Yes Philadelphia schoolmates.

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Speaker 3: Yes, yeah, not to mention you know your your musicianship,

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Speaker 3: your DNA is all over our favorites by Bonnie Ray

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Speaker 3: Don Henley, so many projects.

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Speaker 2: This intro is going to be forever.

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Speaker 8: Y uh.

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Speaker 9: He played with Squeeze what yep when I don't know?

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Speaker 7: On Wikipedia, Just to be accurate, I played on one.

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Speaker 7: I played on one of their records. A great record

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Speaker 7: of Walk a Straight Line is a beautiful bet you

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Speaker 7: know that one. No, it's it's a great not a hit,

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Speaker 7: but it's a beautiful song.

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Speaker 2: Squeezehead.

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Speaker 8: What album is it on?

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Speaker 7: It's so called play Okay, early mid nineties and I

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Speaker 7: played Accordion.

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Speaker 6: Yeah on this right, let.

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Speaker 3: Me just say the two words so we can start

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Speaker 3: the episode. Bruce Hornsby the Quest Love Supreme. Thanks anyway, Yeah,

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Speaker 3: we often fall in the rabbit holes even before we

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Speaker 3: get the name of the artist.

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Speaker 6: Who cares. It's fine, Bruce Hornsby, Easton veteran.

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Speaker 3: So right now you're celebrating the release of your twenty

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Speaker 3: second record.

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Speaker 2: Correct, Yes, that's true, sir.

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Speaker 3: So without my knowledge of your your your Deadhead years,

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Speaker 3: can I can I assume that the fact that you

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Speaker 3: have about I believe it is twenty six live albums,

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Speaker 3: that's the less.

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Speaker 2: And that you learned from playing with the Grateful Dead.

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Speaker 6: Well, okay.

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Speaker 7: People always ask me, how did playing with the Dead

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Speaker 7: change your musician, ship, changed your approach, et cetera. I

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Speaker 7: was always an improvising musician. I went to school. I

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Speaker 7: was one of those music school geeks. I started off

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Speaker 7: at Berkeley for two semesters, but then I went to

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Speaker 7: University of Miami. Sun Tan you known to a lot

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Speaker 7: of people for a year paid vacation for rich Nordon kids,

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Speaker 7: Northern white kids. Anyway, I came out with that background,

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Speaker 7: and so the improvisational aspect of the Dead was not

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Speaker 7: anything that was sort of epiphanal for me, epiphantic. What

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Speaker 7: I got out of them mostly was inspiration on the

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Speaker 7: songwriting level. People don't realize that they have fully fifty

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Speaker 7: truly great songs. Half of them sound like they could

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Speaker 7: have been written one hundred years ago or plus. Old

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Speaker 7: folk music keep well of influence there. So so I

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Speaker 7: love them. I miss Garcia. He was quite a guy.

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Speaker 2: He was a rocket during the Garcia years.

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Speaker 7: Oh yes, the last spot I played with him, just

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Speaker 7: for twenty months or so. I played about one hundred

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Speaker 7: shows with them from eight from nineteen ninety to ninety two.

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Speaker 7: We'd opened for them before that.

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Speaker 2: Okay, Oh so you played the ninety two Okay.

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Speaker 7: Yeah, but then I was sitting with them when they

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Speaker 7: were geographically close to me up through ninety five, up

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Speaker 7: right up to his death.

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Speaker 3: Okay, so yeah, I went to one Garcia show. I

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Speaker 3: think in Houston when Branford Marcellus was singing with them.

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Speaker 7: Yes, my guy, Yes, Branford and I played together with

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Speaker 7: it dead quite often. It's his birthday's coming up here

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Speaker 7: pretty soon, Fellas, So maybe you should shout his ass out.

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Speaker 8: Yeah, are you on without a net the deadline?

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Speaker 6: No, that's Branford's on that, okay.

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Speaker 7: To respond to the twenty six live albums to which

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Speaker 7: you're referring, that's albums, I mean they're just available online.

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Speaker 7: There's no CDs made of those. But frankly, we're like

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Speaker 7: a lot of bands. I write the songs, we record

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Speaker 7: the songs, and then we learned how to play the songs.

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Speaker 7: So consequently the live thing expands everything that we started with.

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Speaker 6: On the original record.

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Speaker 7: And so so quite often live is the best way

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Speaker 7: to hear us because it's very loose, it's very free.

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Speaker 7: Branford sits in with this quite often because he knows

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Speaker 7: that we're winging it like crazy because I don't know

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Speaker 7: what I'm gonna do. So if I don't know what

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Speaker 7: I'm gonna do with the band, guys definitely don't and

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Speaker 7: it makes it great fun.

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Speaker 3: Is there a pressure for you to make a memory

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Speaker 3: each and every night knowing that some of these fans

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Speaker 3: will follow you like there. To me is no more

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Speaker 3: loyal fan base than you know, anything associated with the dead.

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Speaker 2: Yes within it.

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Speaker 3: So yeah, that's how did that affect your actual the

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Speaker 3: way that you put on shows?

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Speaker 7: I think I probably started taking a little more out

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Speaker 7: than I had been doing. You know, I was always improvising,

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Speaker 7: but I got a lot freer, much to the chagrin

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Speaker 7: of a lot of my fans. You know, when you

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Speaker 7: come out having these big hit radio songs, you acquire

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Speaker 7: an audience that I call sort of a soft core one,

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Speaker 7: people who are only there to hear the songs. They know, yeah,

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Speaker 7: that's right. And so I was never that guy. So

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Speaker 7: I've it's been my self appointed job to piss those

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Speaker 7: people off for many a year, and so been nasty

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Speaker 7: letters abound in my world for thirty two years.

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Speaker 2: Now.

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Speaker 3: Wait, you're saying that you've gone shows without playing maldern

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Speaker 3: Rain or the way it is.

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Speaker 6: Or yet, well not many I've been.

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Speaker 7: I've become a lot more kind about it in my

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Speaker 7: snessence here in my sixties, but there have been shows.

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Speaker 7: But the only only times that I didn't do that

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Speaker 7: was when I felt the audience was so jacked, so responsive,

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Speaker 7: so deeply involved in what we were doing without playing

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Speaker 7: those old war horses, that I could get away with it,

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Speaker 7: and it wasn't a problem. Of course, I still get

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Speaker 7: a couple of nasty letters from people who again are

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Speaker 7: so core fans and they would just come to hear

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Speaker 7: those five or six songs that they know. But so, yeah,

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Speaker 7: now it's really gotten bad because my last two records

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Speaker 7: have really gone. I'm a modern classical music devo te

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Speaker 7: and so that a stringent atonal chromatic, dough decophonic sound

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Speaker 7: has been filtering into my music much too many fans chagrin.

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Speaker 6: I apologize to that.

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Speaker 5: Mat That is actually the g is the first time

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Speaker 5: we've ever heard the word dough decophonic used on questloads

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Speaker 5: and that is amazing, and I'm.

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Speaker 6: Happy to be a first to give you all a

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Speaker 6: first here.

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Speaker 10: Yeah, I saw you play one downtown and uh, there

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Speaker 10: was a lot of feedback and it.

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Speaker 4: Was in the key of F.

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Speaker 10: So so they played everything in the key of F.

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Speaker 10: And for that it was fucking hilarious because every song

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Speaker 10: was just in F, no matter what in what grange.

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Speaker 10: They took everything into F and so like because they

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Speaker 10: kept out feeding back and so like, so is not

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Speaker 10: to be a total They played everything in f and

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Speaker 10: it was hilarious.

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Speaker 7: Well, look, if you're a musician of any worth, you

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Speaker 7: should be able to transpose instantly.

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Speaker 6: You can't. You're not going to play with me, and so, uh,

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Speaker 6: what's that?

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Speaker 10: We share a guitar player, Doug Doug Derryberry, who used

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Speaker 10: to be a noise maker many years ago, is sesame

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Speaker 10: Streets guitar player.

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Speaker 6: So well, not that many years ago, Doug.

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Speaker 7: Doug was with me for fifteen years and I made

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Speaker 7: a change about maybe six five or six years ago.

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Speaker 7: But Doug, it's a great asset, a great utilitarian sort

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Speaker 7: of an orchestral guitar player. It's a it's a great

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Speaker 7: New York guitar player named John Leventhal, most well known

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Speaker 7: for the Sean Colvin Great Records and Levinthal had played

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Speaker 7: on my sixth record, Spirit Trail in ninety eight, and

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Speaker 7: I wanted somebody to give me eleventh alien sound, and

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Speaker 7: so I got Doug and he did a great job

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Speaker 7: for me. I started hearing another sound in my head,

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Speaker 7: so alas I made a change, but I love Doug

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Speaker 7: and he did a great job for us, Like I say,

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Speaker 7: for fifteen years.

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Speaker 3: So your musical roots. I know that you started out

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Speaker 3: in Virginia. What city were you born in?

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Speaker 7: I was born in Richmond, and I grew up in Willisburg,

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Speaker 7: fifteen miles down the road, and I still this is

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Speaker 7: where I am now. I moved back after ten years

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Speaker 7: in la I moved back in nineteen ninety. So I've

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Speaker 7: been here for back here for thirty years and we're

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Speaker 7: in my garls.

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Speaker 6: Yeah, you can have that shit.

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Speaker 8: I went there once. They took us on the trip

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Speaker 8: there like third grade one time, and like that was it?

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Speaker 3: No roots show there our get the Spontine the the

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Speaker 3: one we did like one.

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Speaker 2: O six in part live.

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Speaker 7: Oh h yeah, so how did you how did you

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Speaker 7: go over?

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Speaker 6: How did they.

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Speaker 2: Our song?

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Speaker 3: Break you off with nice for about four minutes and

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Speaker 3: then the rest of the show was like.

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Speaker 6: Okay, they're just they're just out there a little.

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Speaker 2: They were like, where's mister cheeks? That we're done? So yeah,

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Speaker 2: I can relate.

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Speaker 9: I've been about what about Colonial Williams Williams, Vergon.

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Speaker 7: Well, we made it our self appointed job as local

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Speaker 7: townies to pelt tourists and local College of women marry

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Speaker 7: students with water balloons, and so.

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Speaker 6: We would ride through town and just wear an ass out.

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Speaker 2: Uh Jesus christ Man.

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Speaker 7: Yeah, our karma was probably not so good then hopefully improved.

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Speaker 7: But uh we actually got stopped by the cops and

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Speaker 7: take it to the cop the police station our senior

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Speaker 7: year in high school. Uh, some young, well appointed young

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Speaker 7: College of women marry grad students. We just pelted him

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Speaker 7: and he flagged the cops down and we were through.

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Speaker 7: So that's but yeah, that was as exciting as it

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Speaker 7: got in the little last town of Winnsburg, which I love.

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Speaker 6: Obviously I moved back here, but yes, Williensburg is my town.

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Speaker 2: Yeah, yeah, Worns. We got Karen, Okay, I'm right down

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Speaker 2: the street.

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Speaker 5: Yeah, I'm I'm in North North Carolina, born and raised

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Speaker 5: where where I'm in Raleigh? And I saw your son.

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Speaker 5: He went to Ashville, right, he went to Yes, yeah,

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Speaker 5: in the mountains.

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Speaker 7: Yes, you saw him planc State, yeah, man, Yeah, he

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Speaker 7: put twenty three on Ency State and then they recruited him.

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Speaker 7: Mark Gottfried recruited him, but he picked LSU and it

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Speaker 7: worked out great for him. But yes, Robbie's a good

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Speaker 7: old town. We like playing that museum, the outdoor.

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Speaker 8: One had art museum out uh huh.

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Speaker 7: Yeah, it's nice, it's really nice. And you know Branford

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Speaker 7: lives in Durham.

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Speaker 8: Yeah, man, Bradford.

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Speaker 5: So Bradford he actually I'm I graduated from North Clina

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Speaker 5: Central and Branford taught there. He was there the artist

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Speaker 5: in residence for years and h he's just super cool dude, man.

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Speaker 7: Yeah, the best. He's also a fellow prankster with me.

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Speaker 7: So I could talk about that, but I'll I won't

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Speaker 7: do it because he may not approve. We'll see.

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Speaker 2: What was your first musical memory.

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Speaker 7: Well, it's not a memory when someone's recorded you at

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Speaker 7: a at age three or four. You know, you don't,

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Speaker 7: at least I don't remember that. But since the tapes

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Speaker 7: around then you feel like you remembered it. There's a

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Speaker 7: tape of me singing hound Dog at age about three

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Speaker 7: and a half or four. Yeah, crock and all the time,

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Speaker 7: you know all that business. Uh and some other songs too,

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Speaker 7: with the Wind and the Rain in her Hair by

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Speaker 7: Pat Boone. Our parents were turning us on to this stuff.

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Speaker 7: So yeah, sadly, alas I probably heard Pat Boone's Tutti

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Speaker 7: fruity and not little Richard rich as sad as that sounds.

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Speaker 7: That's that's that was what was happening in my house.

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Speaker 2: But yeah, siblings or was it just you?

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Speaker 6: Yes, I'm the emotionally disturbed middle child, and.

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Speaker 7: So yes, I have an older brother and a younger brother,

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Speaker 7: and uh I it's it's interesting since I was in

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Speaker 7: the middle, I was really close with each of them

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Speaker 7: and they were friendly always, but not like not like

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Speaker 7: relationship that I had with each of them. My older

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Speaker 7: brother was the original deadhead in our family, Bobby Hornsby,

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Speaker 7: and I used in my freshman year of college, I

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Speaker 7: was a little Brucey playing Fender Rose and singing lead

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Speaker 7: in a dead cover band called Bobby High Test and

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Speaker 7: the Octane Kids. So that was Bobby Hornsby and my

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Speaker 7: younger brother ended up writing a lot of songs with

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Speaker 7: me later in the aforementioned Mandolin Rain is a co

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Speaker 7: write with my younger brother, John Valley Road School, about

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Speaker 7: a song about a young girl who gets knocked up,

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Speaker 7: as they used to say, put in the family way,

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Speaker 7: and they sent her away to the school for unwed

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Speaker 7: mothers a while, A strange way to have a hit.

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Speaker 7: The Top five song that one, so he yeah, so

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Speaker 7: he wrote that with me.

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Speaker 6: He wrote songs for several years, but now he's out

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Speaker 6: of it. But yeah, they're I was. I was.

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Speaker 7: I'm the middle guy, the middle little student. I was

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Speaker 7: a jock as a kid, though I was into music

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Speaker 7: a little bit, but I mostly wanted to hoop.

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Speaker 3: Yeah, I was gonna say, your your relationship with basketball.

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Speaker 3: I'm a Philadelphian, So yeah, it has been noted how

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Speaker 3: your involvement in the life of Alan Iverson, some could

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Speaker 3: say literally saved his life. At the time, it's too curious,

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Speaker 3: like what was it about him? Because the thing is

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Speaker 3: that I'm not one, I'm not a sports guy, but

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Speaker 3: I'm still trying to understand the mentality of college sports

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Speaker 3: fans and how they see that just as important as

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Speaker 3: professional sports. And but what was it at the time

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Speaker 3: that made you want to get involved in his situation?

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Speaker 7: Well, I think addressing first the college versus pro thing.

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Speaker 7: You've got a whole lot of people, for instance, in

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Speaker 7: the southern part of the United States where say, in basketball,

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Speaker 7: they're only maybe they're only outside of Florida, there's only

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Speaker 7: the Atlanta Hawks and the New Orleans Pelicans. So for

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Speaker 7: most of this vast area. College sports is king. That's

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Speaker 7: one reason why the SEC, I think is so huge,

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Speaker 7: because the only game into and the a SEC too,

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Speaker 7: so those are the only games in town.

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Speaker 6: And that Having said that, what what did you just

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Speaker 6: ask me?

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Speaker 3: Other than that, what made you personally get involved with

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Speaker 3: Alan iverson situation?

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Speaker 2: Oh?

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Speaker 6: Okay, okay?

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Speaker 7: So well, Chuck as we call him, Bubba Chuck, that

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Speaker 7: was Chuck was his name in locally, at least in

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Speaker 7: the hood of Hampton. When they when he got sent

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Speaker 7: to jail, graffiti all over Hampton said free Chuck. I

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Speaker 7: just got chills thinking of going down and seeing all

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Speaker 7: this because he was a beloved figure. Even as a kid,

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Speaker 7: people just knew he was special. There's an AAU program

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Speaker 7: in our area, legendary program called the Blue Williams League

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Speaker 7: Boo Wiams Summer League, and Chuck was a star in that.

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Speaker 7: And then he played at Bethel High School and he

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Speaker 7: led his team. He was a fantastic football player too.

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Speaker 7: He was just special athlete. He got over two hundred

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Speaker 7: offers in football as well, and so.

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Speaker 2: So he was just as good at football as he

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Speaker 2: was in basketball.

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Speaker 7: Well, it's arguable who can say, he was just fantastic

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Speaker 7: at both. So you know what he is saying, greater, greater,

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Speaker 7: He was just great in both.

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Speaker 2: What was his position in football?

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Speaker 8: He was a quarterback Okay.

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Speaker 7: Yeah, and he was so fast and he had all

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Speaker 7: that juke, all those all those changing directions. You know,

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Speaker 7: he'd go this way and then go there. You just

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Speaker 7: he was crossing people off on the football field. So

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Speaker 7: the story goes that I went to see him played

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Speaker 7: at Fort Eustace. We have a very great military presence,

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Speaker 7: huge military presence in our area. In one of the

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Speaker 7: bases is Fort Ustess. They had a Christmas tournament. Chuck

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Speaker 7: was playing. Bethel High School was playing. So I went

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Speaker 7: to see the game and Anne Iverson, his mom, came

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Speaker 7: up to me and, oh, I don't know, asked me

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Speaker 7: to sign something, and so I told him, yeah, yeah,

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Speaker 7: we left, We left Chuck, et cetera.

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Speaker 6: And uh So.

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Speaker 7: Then after his junior year where he led his team

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Speaker 7: to the state championship in football and then in basketball,

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Speaker 7: he was in a bowling alley in pecosin Virginia, a

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Speaker 7: little an area of Newport News, Porhampton, I guess, and

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Speaker 7: uh well, a brawl broke out and he and a

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Speaker 7: bunch of others, uh were arrested for brawling in a

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Speaker 7: bowling alley and also maving by mob. So he was

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Speaker 7: He and three or four of his friends were convicted

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Speaker 7: and sent to jail. And I thought it was a travesty,

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Speaker 7: miscarriage of justice. So we're I'm proud to say that

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Speaker 7: we and Virginia elected the first black governor in America.

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Speaker 2: Doug Wilder.

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Speaker 7: And he was and he was the governor then, and

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Speaker 7: I had done some work for him, some events for him,

390
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Speaker 7: so I started lobbying him through his chief of staff

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Speaker 7: as a friend of mine. And I don't know, I

392
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Speaker 7: was just one of many probably to do this. But

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Speaker 7: but Wilder, around Christmas time of say ninety two, Wilder,

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Speaker 7: Doug Wilder pardoned Allen. Now he should have pardoned everybody.

395
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Speaker 7: And about two weeks later, the hubub was so intense

396
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Speaker 7: that finally he did let everybody go, so as not

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Speaker 7: to show favoritism to the local favorite son, Killer Hooper,

398
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Speaker 7: you know, killer Jock. So about two months later I

399
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Speaker 7: get call out of the blue from his high school coach,

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Speaker 7: a guy named Mike Bailey, and he says, hey, Bruce

401
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Speaker 7: Alan knows about what you did for oh, and also

402
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Speaker 7: I had just become friends with our mutual guy, Spike

403
00:21:12,320 --> 00:21:16,439
Speaker 7: LEEPI and so Spike and I. The first thing I

404
00:21:16,480 --> 00:21:19,119
Speaker 7: did was Spike in ninety two he made a video

405
00:21:19,200 --> 00:21:21,200
Speaker 7: for me. Branford was in it because he played on

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Speaker 7: the record a song about the first interracial romance in

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Speaker 7: my town of Williamsburg and all the consternation it caused

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Speaker 7: with the local sort of conservative government crowd. Anyway, we're

409
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Speaker 7: in we're in editing, and I told him about Chuck, and.

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Speaker 6: Oh, that's right.

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Speaker 7: I had told him earlier about that. Anyway, I forget

412
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Speaker 7: the exact timeline. But this guy calls me and so

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Speaker 7: I had gotten Spike when when when Chuck was in jail,

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Speaker 7: I said, Spike, you know you know what this kid I

415
00:21:52,720 --> 00:21:54,639
Speaker 7: told you about when now he's in jail. And Spike said, yes,

416
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Speaker 7: I've seen it on ESPN know all about it. I said,

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Speaker 7: will you do me a favor and send him just

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Speaker 7: pat Carre package from Spike Lee. It might pick him

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Speaker 7: up when he's at the City Farm in Newport News.

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Speaker 7: And so Spike did that. Anyway, the sky calls, he said, well,

421
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Speaker 7: Allan knows what you've done. What you've done, and he'd

422
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Speaker 7: like to thank you. I said, well, you guys, come

423
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Speaker 7: up and we'll play some ball, and he said, well,

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Speaker 7: that's what he would like to do. So we ended

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Speaker 7: up doing that and becoming friends through that forever.

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Speaker 8: Wow.

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Speaker 2: Now is there any truth that you Oh no, god, that.

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Speaker 7: It's not just one game. It was three. But you know,

429
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Speaker 7: I'm just setting the record straight. I don't need to

430
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Speaker 7: talk shit. I don't care about living about making that

431
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Speaker 7: some moment. I never bring it up. I never talk

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Speaker 7: about it, but look, it's out.

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Speaker 6: Well though, look it just happened.

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Speaker 7: Maybe I caught him rusty because he had obviously not

435
00:23:01,160 --> 00:23:03,080
Speaker 7: been playing a whole lot of ball for the past

436
00:23:03,119 --> 00:23:05,320
Speaker 7: four months. But I had one of those days where

437
00:23:05,359 --> 00:23:09,119
Speaker 7: I just couldn't miss, you know, I just was just

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00:23:09,119 --> 00:23:13,679
Speaker 7: just just netting my ass off, and and we were

439
00:23:13,720 --> 00:23:15,880
Speaker 7: playing a game. Maybe he was not aware of this game.

440
00:23:15,920 --> 00:23:16,840
Speaker 7: It's perfect for him.

441
00:23:16,880 --> 00:23:19,760
Speaker 6: Really. It helps the smaller guy, and he's a little

442
00:23:19,960 --> 00:23:20,879
Speaker 6: small shorter than me.

443
00:23:21,640 --> 00:23:22,040
Speaker 7: Uh.

444
00:23:22,119 --> 00:23:23,640
Speaker 6: It's it's the way the pros play.

445
00:23:23,760 --> 00:23:25,280
Speaker 7: You start the top of the key and you can

446
00:23:25,359 --> 00:23:28,720
Speaker 7: either pick a two dribble or three dribble maximum, which

447
00:23:28,760 --> 00:23:31,760
Speaker 7: basically means the big guy can't just back in, back in,

448
00:23:32,000 --> 00:23:34,240
Speaker 7: back into the bracket, throws up a little last land

449
00:23:34,240 --> 00:23:36,959
Speaker 7: to a pitiful land hook and and do that all

450
00:23:37,000 --> 00:23:38,600
Speaker 7: the time. So you've got to make a move, you

451
00:23:38,680 --> 00:23:41,440
Speaker 7: gotta you know, you've got to commit and shoot the ball.

452
00:23:41,960 --> 00:23:43,320
Speaker 6: So that's that's what we played.

453
00:23:44,040 --> 00:23:47,000
Speaker 7: Of course, he dunked on my head about five times.

454
00:23:47,040 --> 00:23:48,800
Speaker 7: I mean, you know, he's a freak. He was a

455
00:23:48,840 --> 00:23:52,399
Speaker 7: freaky athlete. Anyway, there are lots of witnesses and I

456
00:23:52,400 --> 00:23:55,439
Speaker 7: could name them all for you, so including including his

457
00:23:55,520 --> 00:23:58,159
Speaker 7: high school cook. But you know, what, the hell with it,

458
00:23:58,240 --> 00:24:01,679
Speaker 7: I don't care. I love I love Chuck and uh,

459
00:24:02,280 --> 00:24:04,119
Speaker 7: you know, maybe maybe he let me.

460
00:24:04,440 --> 00:24:05,480
Speaker 6: You'd have to ask him.

461
00:24:05,920 --> 00:24:11,120
Speaker 3: Okay, Yeah, there's there's Uh there's a friend of Pharrell's

462
00:24:11,200 --> 00:24:16,080
Speaker 3: who I guess went to high school with with Alan,

463
00:24:16,440 --> 00:24:19,560
Speaker 3: and like one night they were at a party for

464
00:24:19,640 --> 00:24:22,879
Speaker 3: the Neptunes, and you know it's like they're in the

465
00:24:22,960 --> 00:24:25,480
Speaker 3: nightclub and you know, the guy was trying to bring

466
00:24:25,560 --> 00:24:27,520
Speaker 3: up like old high school times and you know Alan

467
00:24:27,680 --> 00:24:30,159
Speaker 3: was like, oh yeah, way back in the day, like

468
00:24:30,240 --> 00:24:32,119
Speaker 3: really not trying to talk basketball when you're in a

469
00:24:32,200 --> 00:24:33,080
Speaker 3: nightclub situation.

470
00:24:34,040 --> 00:24:38,160
Speaker 2: Well, this guy like insists, like whatever high school.

471
00:24:37,880 --> 00:24:41,120
Speaker 3: Game they played, like oh boy, he had walked or something,

472
00:24:41,240 --> 00:24:44,400
Speaker 3: or like he did some violations. I don't know what happened.

473
00:24:44,440 --> 00:24:47,040
Speaker 3: But the next thing I know, Farrell told me, tells

474
00:24:47,080 --> 00:24:52,280
Speaker 3: me that this guy grabs his basketball and he's outside

475
00:24:52,280 --> 00:24:56,920
Speaker 3: in the parking lot and it's pouring down rain and

476
00:24:56,960 --> 00:25:02,720
Speaker 3: he's playing against Alan Iverson's roll's voice, like he's just

477
00:25:02,880 --> 00:25:05,040
Speaker 3: in front of the rolls voice, like trying to cross

478
00:25:05,200 --> 00:25:09,159
Speaker 3: as if that roll's voice is Alan Iverson, Like for

479
00:25:09,240 --> 00:25:10,240
Speaker 3: no reason at all.

480
00:25:10,400 --> 00:25:13,679
Speaker 7: Just oh, he was out there alone, playing out there.

481
00:25:13,600 --> 00:25:17,359
Speaker 3: Alone, just like playing a car trying to cross the

482
00:25:17,440 --> 00:25:21,359
Speaker 3: roles voice like it was parked, like Alan was nowhere.

483
00:25:21,480 --> 00:25:23,679
Speaker 2: You know. It was just that is one of those

484
00:25:24,119 --> 00:25:30,359
Speaker 2: moments that's sad. Really, yeah, it was so for you.

485
00:25:30,760 --> 00:25:34,200
Speaker 3: What was your what was the moment that really drew

486
00:25:34,240 --> 00:25:37,280
Speaker 3: you into your music career right now?

487
00:25:37,480 --> 00:25:40,880
Speaker 6: Like, well, what what was the moment that made.

488
00:25:40,720 --> 00:25:43,080
Speaker 2: Me say, I mean as younger.

489
00:25:43,200 --> 00:25:45,879
Speaker 7: Yeah, exactly, there made me say, okay, the hell with

490
00:25:45,960 --> 00:25:49,560
Speaker 7: the standard routine, I'm casting my lot with the muse.

491
00:25:49,560 --> 00:25:53,240
Speaker 7: Tho's that moment you're you're asking about. Okay, Well, I

492
00:25:53,280 --> 00:25:55,000
Speaker 7: went to one year of real college. I was a

493
00:25:55,000 --> 00:25:57,160
Speaker 7: bit of a school hopper. I went to three colleges,

494
00:25:57,440 --> 00:26:01,480
Speaker 7: University of Richmond the one sort of lost year that

495
00:26:01,600 --> 00:26:04,040
Speaker 7: made and then Berkeley and Miami.

496
00:26:04,600 --> 00:26:06,240
Speaker 6: So that was a year that made me.

497
00:26:06,160 --> 00:26:09,720
Speaker 7: Realize, Okay, this, this is what I need to do.

498
00:26:09,880 --> 00:26:11,720
Speaker 7: But I was such a late starter because I had

499
00:26:11,720 --> 00:26:13,159
Speaker 7: been a jock as a kid and that's what I

500
00:26:13,200 --> 00:26:17,320
Speaker 7: cared about. But I started playing piano in eleventh grade,

501
00:26:17,840 --> 00:26:19,920
Speaker 7: and so kind of late stage seven.

502
00:26:19,720 --> 00:26:22,160
Speaker 2: Seven started playing piano in eleventh grade.

503
00:26:22,320 --> 00:26:24,040
Speaker 11: Yeah, yeah, I had a lot of catching up to do,

504
00:26:24,920 --> 00:26:31,480
Speaker 11: and yes started How that's just freaking well okay, so

505
00:26:31,640 --> 00:26:32,440
Speaker 11: how uhause?

506
00:26:32,520 --> 00:26:34,920
Speaker 2: I mean you're really good. So I just think that.

507
00:26:34,960 --> 00:26:37,199
Speaker 8: You can't have started that late. Yeah that's crazy.

508
00:26:37,640 --> 00:26:40,439
Speaker 7: Well, look, it's all about it's all about putting in

509
00:26:40,440 --> 00:26:43,879
Speaker 7: the time, as anyone knows. As you know, I when

510
00:26:43,960 --> 00:26:47,000
Speaker 7: I once I got into it, I got deeply involved.

511
00:26:47,080 --> 00:26:51,119
Speaker 7: And when I went to college, I practiced for several

512
00:26:51,200 --> 00:26:54,919
Speaker 7: years for from five to eight hours every day. So

513
00:26:55,000 --> 00:26:57,359
Speaker 7: if you're willing to do that every day, Christmas Day,

514
00:26:57,400 --> 00:26:58,600
Speaker 7: New Year's Day, then you're going.

515
00:26:58,560 --> 00:26:59,480
Speaker 6: To catch up a little bit.

516
00:26:59,640 --> 00:27:02,840
Speaker 7: All the oh, I do feel like I love classical music,

517
00:27:03,560 --> 00:27:06,480
Speaker 7: but my technique because I was such a late starter.

518
00:27:07,080 --> 00:27:11,000
Speaker 7: It's it's commonly said that if you want to be

519
00:27:11,000 --> 00:27:13,600
Speaker 7: a classical virtuos or a concert pianist, you have to

520
00:27:13,600 --> 00:27:15,800
Speaker 7: start at age three, four, five, six, you know, no late,

521
00:27:15,880 --> 00:27:19,080
Speaker 7: no later than that, because the demands are so intense.

522
00:27:19,760 --> 00:27:22,480
Speaker 7: And I really feel that, to be honest, I always

523
00:27:22,520 --> 00:27:26,400
Speaker 7: going men, bitch you sorry, as you know, to myself,

524
00:27:26,920 --> 00:27:30,840
Speaker 7: and so.

525
00:27:29,640 --> 00:27:32,440
Speaker 6: So that's that's a regret. But hey, everyone's life path

526
00:27:32,520 --> 00:27:32,919
Speaker 6: is different.

527
00:27:32,960 --> 00:27:35,040
Speaker 7: I was just a guy who like like playing sports

528
00:27:35,080 --> 00:27:38,439
Speaker 7: first and so got into this later. So yeah, but

529
00:27:38,520 --> 00:27:40,760
Speaker 7: I got deeply into it and went to music school

530
00:27:41,240 --> 00:27:43,800
Speaker 7: and and got a lot out of that too. So

531
00:27:44,600 --> 00:27:47,399
Speaker 7: that so that's my story. Just started started late, but

532
00:27:47,840 --> 00:27:49,959
Speaker 7: couldn't stop. I just I just had to do it

533
00:27:50,000 --> 00:27:50,760
Speaker 7: at all times.

534
00:27:50,760 --> 00:27:51,719
Speaker 8: Why did you leave Berkeley?

535
00:27:53,160 --> 00:27:55,440
Speaker 7: I went Berkeley because I wanted to practice four hours

536
00:27:55,480 --> 00:27:58,439
Speaker 7: a day and they had a limited number of practice rooms.

537
00:27:58,720 --> 00:28:00,840
Speaker 7: So if you wanted to practice for today, you had

538
00:28:00,840 --> 00:28:02,880
Speaker 7: to wait about six and a half hours to do

539
00:28:02,920 --> 00:28:04,560
Speaker 7: that because they kick you out.

540
00:28:04,800 --> 00:28:06,400
Speaker 6: It was a good a line of sign.

541
00:28:06,240 --> 00:28:08,120
Speaker 7: Up sheet in the line they kick you out after

542
00:28:08,200 --> 00:28:11,120
Speaker 7: two hours for you know, for good reason, I guess,

543
00:28:11,119 --> 00:28:12,480
Speaker 7: because there's got a lot of people waiting.

544
00:28:13,000 --> 00:28:13,840
Speaker 6: Yeah, that's right.

545
00:28:13,880 --> 00:28:17,520
Speaker 7: So and also since I was late to start, I

546
00:28:17,600 --> 00:28:21,480
Speaker 7: felt I needed to. I'd amassed all this information, you know,

547
00:28:21,520 --> 00:28:25,680
Speaker 7: this theoretical knowledge at Berkeley, Heart, take taking, harmony, et cetera,

548
00:28:25,720 --> 00:28:29,440
Speaker 7: and I thought I needed some time to really really

549
00:28:29,480 --> 00:28:32,920
Speaker 7: assimilate and deal with this and really ingest it. So

550
00:28:33,080 --> 00:28:37,000
Speaker 7: I lived in a farmhouse outside of Willnsburg, and that

551
00:28:37,119 --> 00:28:39,760
Speaker 7: was when I started my eight hours hours day regiment.

552
00:28:39,840 --> 00:28:43,800
Speaker 7: I played this little cocktail piano bar and at night

553
00:28:44,160 --> 00:28:46,960
Speaker 7: to make a buck and shed on this old upright.

554
00:28:47,560 --> 00:28:49,200
Speaker 6: And then I went to Miami from there.

555
00:28:49,920 --> 00:28:52,520
Speaker 8: Were you learning just by ear or were you reading

556
00:28:52,600 --> 00:28:53,080
Speaker 8: at that time?

557
00:28:53,440 --> 00:28:56,600
Speaker 7: Well, I started playing by ear because it came fairly

558
00:28:56,720 --> 00:29:00,960
Speaker 7: naturally to me. I started because of two guys. My

559
00:29:01,000 --> 00:29:04,239
Speaker 7: older brother went to New England prep school, and we

560
00:29:04,280 --> 00:29:06,680
Speaker 7: were just local Virginia hooples who listened to the top

561
00:29:06,760 --> 00:29:09,280
Speaker 7: fourtyest station in the soul station. We didn't get the

562
00:29:09,400 --> 00:29:12,920
Speaker 7: underground stuff, you know, the stations where back then you

563
00:29:12,960 --> 00:29:18,520
Speaker 7: could hear Miles Davis next to Hendricks, next to Joni Mitchell,

564
00:29:18,680 --> 00:29:23,360
Speaker 7: you know whatever. And so so he turned me on too.

565
00:29:23,400 --> 00:29:24,960
Speaker 7: I know this sounds crazy, to think that this could

566
00:29:25,000 --> 00:29:28,320
Speaker 7: be sort of underground. But Elton John's second record, Tumble

567
00:29:28,320 --> 00:29:31,680
Speaker 7: Wee Connection, is least mostly the one record he probably

568
00:29:31,720 --> 00:29:34,320
Speaker 7: almost ever made that had no hit on it. It's

569
00:29:34,360 --> 00:29:36,640
Speaker 7: one of the best ones. It's a deep, beautiful record,

570
00:29:36,880 --> 00:29:39,120
Speaker 7: and it got me into playing. And then he turned

571
00:29:39,120 --> 00:29:42,600
Speaker 7: me onto Joe Cocker, Mad Dogs and Englishmen with the

572
00:29:42,600 --> 00:29:47,040
Speaker 7: great Leon Russell playing piano. So Leon and Elton. Leon's

573
00:29:47,080 --> 00:29:50,160
Speaker 7: a soul man. He came straight out of you guys

574
00:29:50,160 --> 00:29:55,600
Speaker 7: familiar with Kojik Church of God in Christy, deep deep

575
00:29:55,680 --> 00:29:59,280
Speaker 7: gospel music roots. I mean, it's just the music that

576
00:29:59,320 --> 00:30:01,800
Speaker 7: comes out of there. Like you hear those old Sam's Cooking,

577
00:30:01,840 --> 00:30:05,200
Speaker 7: the Soul Stirrs records, all that stuff that Leon played, that.

578
00:30:05,120 --> 00:30:06,040
Speaker 6: Good, Good.

579
00:30:07,320 --> 00:30:13,040
Speaker 7: Gonna Go, all that stuff. You're hearing that in the

580
00:30:13,080 --> 00:30:16,040
Speaker 7: background where Sam's cooking, the soul Sterriers are singing that

581
00:30:16,400 --> 00:30:17,280
Speaker 7: killer gospel.

582
00:30:17,680 --> 00:30:18,560
Speaker 6: That's where that came.

583
00:30:18,720 --> 00:30:21,800
Speaker 7: Yeah, that's the right gospels, that's right gospel quartets. And

584
00:30:21,960 --> 00:30:26,000
Speaker 7: so between Elton and Leon, I was hooked, and so

585
00:30:26,240 --> 00:30:26,480
Speaker 7: I was.

586
00:30:26,680 --> 00:30:27,880
Speaker 6: I was learning those by ear.

587
00:30:28,480 --> 00:30:31,000
Speaker 7: But my mom, see, my grandfather was a musician for

588
00:30:31,040 --> 00:30:33,840
Speaker 7: a living in Richmond, and he was the supervisor of

589
00:30:34,080 --> 00:30:37,600
Speaker 7: music in the public schools, the pubic schools system, and

590
00:30:37,760 --> 00:30:43,400
Speaker 7: then uh he uh was also the uh the theater

591
00:30:43,640 --> 00:30:45,840
Speaker 7: organists at the local mosque. If you went to the

592
00:30:45,960 --> 00:30:48,760
Speaker 7: state jc's convention, you you'd be the guy over in

593
00:30:48,840 --> 00:30:52,320
Speaker 7: the corner playing Las Turkey in the star some old

594
00:30:52,680 --> 00:30:58,640
Speaker 7: pretty convincedrul ship. But uh so anyway, uh, she my

595
00:30:58,760 --> 00:31:01,440
Speaker 7: mom look at me, and she's my hands just looked terrible.

596
00:31:01,480 --> 00:31:03,880
Speaker 7: I was probably playing like this, and he said, you

597
00:31:03,920 --> 00:31:06,160
Speaker 7: know what, you you may be sounded okay, but you

598
00:31:06,320 --> 00:31:09,040
Speaker 7: look rough. You got to start taking lessons. And so

599
00:31:09,520 --> 00:31:13,680
Speaker 7: then I started to learn to read and learn sort

600
00:31:13,720 --> 00:31:17,480
Speaker 7: of the the jazz language, the two fives, et.

601
00:31:17,440 --> 00:31:20,840
Speaker 6: Cetera, all the color tones and all that. So that

602
00:31:21,120 --> 00:31:22,120
Speaker 6: my mom was good for me.

603
00:31:22,680 --> 00:31:25,200
Speaker 7: And so that's how that happened.

604
00:31:30,720 --> 00:31:33,280
Speaker 3: Real quick, What year were you at Berkeley and were

605
00:31:33,360 --> 00:31:36,680
Speaker 3: there any other notable students that were there at the

606
00:31:36,760 --> 00:31:39,000
Speaker 3: time that was in the year that you went.

607
00:31:39,600 --> 00:31:42,000
Speaker 7: Yeah, Well, I've always heard it's a it's a badge

608
00:31:42,000 --> 00:31:45,360
Speaker 7: of dishonor to actually graduate from Berkeley, because I've.

609
00:31:45,240 --> 00:31:48,240
Speaker 8: Heard it too. You only go for a little bit. Yeah, yeah,

610
00:31:48,240 --> 00:31:50,040
Speaker 8: I mean, you ain't getting a gege, Yeah.

611
00:31:49,960 --> 00:31:51,160
Speaker 4: You don't have a gig. That's right.

612
00:31:51,520 --> 00:31:55,760
Speaker 7: That means you're saying yeah, you know, so okay. I

613
00:31:55,800 --> 00:32:00,280
Speaker 7: went for summer and fall of seventy four, but I

614
00:32:00,400 --> 00:32:02,880
Speaker 7: was in the accelerated program. So I crammed two years

615
00:32:02,920 --> 00:32:07,160
Speaker 7: into two semesters and let me see anybody who was

616
00:32:07,240 --> 00:32:10,720
Speaker 7: there who really emerged. Pat Metheene was there, but he

617
00:32:10,800 --> 00:32:13,400
Speaker 7: had come from Miami. He had been a student at Miami,

618
00:32:13,760 --> 00:32:16,360
Speaker 7: but he was so bad he became a teacher like instantly.

619
00:32:18,120 --> 00:32:20,400
Speaker 7: But he was playing with Gary Burton when I was

620
00:32:20,480 --> 00:32:23,280
Speaker 7: at Berkeley, and so I saw an amazing concert at

621
00:32:23,320 --> 00:32:28,560
Speaker 7: the Sanders Theater in Harvard with Keith Jarrett opening on

622
00:32:28,760 --> 00:32:33,240
Speaker 7: solo piano, imagine that. And then Gary Burton's great Quartet

623
00:32:33,320 --> 00:32:37,440
Speaker 7: with Pat and Mick Goodrick and maybe Bob Moses. So

624
00:32:38,160 --> 00:32:40,160
Speaker 7: it was a fertile scene in Boston. You know, they

625
00:32:40,200 --> 00:32:42,360
Speaker 7: had the Jazz Workshop in Paul's Ball.

626
00:32:43,000 --> 00:32:44,080
Speaker 6: You could go. I would go.

627
00:32:44,520 --> 00:32:47,400
Speaker 7: I had enough money to go see hearsay Bill Evans

628
00:32:47,520 --> 00:32:50,040
Speaker 7: or Horrace Silver one of the week nights. But I

629
00:32:50,080 --> 00:32:55,400
Speaker 7: would go and listen through the wall on Boylston Avenue,

630
00:32:55,720 --> 00:32:59,840
Speaker 7: Boyston Street, just to hear more So it was amazing

631
00:32:59,880 --> 00:33:03,560
Speaker 7: to be able to hear all these people, all these

632
00:33:03,680 --> 00:33:06,480
Speaker 7: legend Cannonball added Lee Miles, on and on and on.

633
00:33:07,480 --> 00:33:09,760
Speaker 2: Was it? How heavy was the competition there?

634
00:33:09,760 --> 00:33:13,480
Speaker 3: Because I know, especially now, like if we're anywhere near

635
00:33:13,560 --> 00:33:16,880
Speaker 3: that campus in Boston, like or at least the musicians

636
00:33:16,880 --> 00:33:18,960
Speaker 3: I see now looking on YouTube or whatever, I feel

637
00:33:18,960 --> 00:33:21,440
Speaker 3: like there's such a not a cut through, but a

638
00:33:21,560 --> 00:33:26,040
Speaker 3: need to out floss each other into in terms of

639
00:33:26,160 --> 00:33:31,800
Speaker 3: like you know, overplay and yeah, everything is that the

640
00:33:31,880 --> 00:33:34,040
Speaker 3: story of Berkeley, just like, yeah, try to.

641
00:33:35,560 --> 00:33:38,120
Speaker 7: I really wasn't good enough to be perfectly honest with you.

642
00:33:38,200 --> 00:33:41,520
Speaker 7: I really wasn't good enough to really emerge into the

643
00:33:41,600 --> 00:33:44,080
Speaker 7: scene where I was hearing the great guys. I was

644
00:33:44,920 --> 00:33:49,440
Speaker 7: fairly mid level and uh so I don't remember, and

645
00:33:49,520 --> 00:33:54,480
Speaker 7: I also don't remember anyone emerging to have a great career.

646
00:33:54,640 --> 00:33:54,760
Speaker 2: Now.

647
00:33:54,920 --> 00:33:57,000
Speaker 6: When I went to Miami, that's different.

648
00:33:57,120 --> 00:33:59,600
Speaker 7: Okay, When I was at Miami, it was sort of

649
00:33:59,680 --> 00:34:02,760
Speaker 7: the letter stages of the golden era of University.

650
00:34:02,360 --> 00:34:04,080
Speaker 6: Of Miami right when I hit.

651
00:34:04,640 --> 00:34:08,480
Speaker 7: When I got there, Pat Pat had been there, Jocko

652
00:34:08,600 --> 00:34:10,520
Speaker 7: had been teaching near Jocko Obastorius.

653
00:34:11,280 --> 00:34:12,719
Speaker 2: Uh oh he held a job.

654
00:34:12,880 --> 00:34:16,200
Speaker 8: Wow, Yeah, I didn't know, well it.

655
00:34:16,280 --> 00:34:18,000
Speaker 6: Was personally it was private lessons.

656
00:34:18,040 --> 00:34:20,160
Speaker 7: I'm sure it was loose hair, can't I can't make

657
00:34:20,200 --> 00:34:22,359
Speaker 7: it today listen to you know that that kind of thing.

658
00:34:22,480 --> 00:34:25,440
Speaker 7: But the Dixie Drags, you guys know, those guys were

659
00:34:26,640 --> 00:34:31,880
Speaker 7: Steve Morse sort of like I don't know, like virtuosic

660
00:34:33,080 --> 00:34:35,960
Speaker 7: rock and roll, bluegrass or something that Steve Morris was

661
00:34:36,320 --> 00:34:39,680
Speaker 7: crazy that the virtuosity level was high.

662
00:34:40,120 --> 00:34:40,239
Speaker 2: Uh.

663
00:34:40,840 --> 00:34:46,480
Speaker 7: But then uh, Carmen Lundy, Rob Watson but known as

664
00:34:46,520 --> 00:34:51,799
Speaker 7: Bobby Watson now uh and uh and and Carmen's little brother,

665
00:34:52,160 --> 00:34:54,960
Speaker 7: Kurt Lundy. I played in Carmen's band. That was sort

666
00:34:54,960 --> 00:34:56,839
Speaker 7: of a rite of patches. If you were emerging as

667
00:34:56,880 --> 00:34:59,600
Speaker 7: one of the better players in the hierarchy of the school,

668
00:35:00,080 --> 00:35:02,560
Speaker 7: you got to play in Carmen Lundy's band. You guys

669
00:35:02,600 --> 00:35:06,400
Speaker 7: know Carmen, right, you guys know I. Yeah, okay, so

670
00:35:06,920 --> 00:35:09,560
Speaker 7: she's had a nice career as a jazz singer, and

671
00:35:09,960 --> 00:35:15,960
Speaker 7: uh yeah, Bobby Watson, Carmen pat pat Metheenie of course.

672
00:35:16,200 --> 00:35:16,319
Speaker 2: Uh.

673
00:35:17,080 --> 00:35:21,239
Speaker 3: And you're looking at it more serious jazz sort of

674
00:35:21,400 --> 00:35:24,480
Speaker 3: road or just you're going for the whatever it took you.

675
00:35:25,120 --> 00:35:28,000
Speaker 7: Well, I was just going with the inspiration, but it

676
00:35:28,120 --> 00:35:30,000
Speaker 7: was pretty tall tale at that time. I would go

677
00:35:30,120 --> 00:35:33,280
Speaker 7: to the record store and I'd buy an Ornette Coleman

678
00:35:33,360 --> 00:35:36,560
Speaker 7: record and a Joni Mitchell record, and I'd always find

679
00:35:36,600 --> 00:35:39,600
Speaker 7: myself listening to the Joni Mitchell record more. You know,

680
00:35:39,719 --> 00:35:44,480
Speaker 7: I get a ROBERTA. Flack record and a Hubert Laws record,

681
00:35:44,600 --> 00:35:47,160
Speaker 7: say and the flute.

682
00:35:46,920 --> 00:35:49,640
Speaker 8: Player, yeah and so on record.

683
00:35:50,360 --> 00:35:53,240
Speaker 7: Yeah, yeah, it's it's fantastic and so but I always

684
00:35:53,320 --> 00:35:56,440
Speaker 7: I thought to myself, well, I think I really like

685
00:35:56,560 --> 00:35:59,440
Speaker 7: this jazz music. It's a it's a great intellectual pursuit.

686
00:36:00,480 --> 00:36:04,360
Speaker 7: But I I think my heart was in in in

687
00:36:04,520 --> 00:36:07,279
Speaker 7: songs and songs with words. And so when I got

688
00:36:07,320 --> 00:36:09,640
Speaker 7: out of Miami, we put together a band up in

689
00:36:09,760 --> 00:36:14,479
Speaker 7: Virginia and started down the long road. Eight years later,

690
00:36:14,600 --> 00:36:17,680
Speaker 7: I got signed to our Sia Records at age thirty.

691
00:36:17,800 --> 00:36:22,000
Speaker 2: So it was wow, over, let's back that up. Six

692
00:36:22,120 --> 00:36:26,080
Speaker 2: years eighty two, you and you joined Ambrosia.

693
00:36:26,920 --> 00:36:27,960
Speaker 4: No, but I didn't.

694
00:36:28,360 --> 00:36:31,280
Speaker 6: That's a that's a fallacy on Wikipedia whatever.

695
00:36:31,880 --> 00:36:34,520
Speaker 2: Oh so you had nothing to do with No.

696
00:36:34,680 --> 00:36:36,439
Speaker 6: No, they were great friends of mine.

697
00:36:36,480 --> 00:36:40,680
Speaker 7: Okay, I was discovered the aforementioned band we put together

698
00:36:40,719 --> 00:36:44,600
Speaker 7: in Virginia after Miami. After I graduated, we were playing

699
00:36:44,640 --> 00:36:47,720
Speaker 7: around the local area and we where we're playing bars

700
00:36:47,840 --> 00:36:50,799
Speaker 7: and lounges where you're you know, you expected to play

701
00:36:50,840 --> 00:36:53,920
Speaker 7: shake your booty and brick house and all that stuff.

702
00:36:54,080 --> 00:36:57,640
Speaker 7: So we actually acquired an audience who would come to

703
00:36:57,719 --> 00:37:01,600
Speaker 7: these lounges to hear my songs. So we were big

704
00:37:01,719 --> 00:37:04,960
Speaker 7: fans of Mike McDonald of the Doobie Brothers, and so

705
00:37:05,520 --> 00:37:09,040
Speaker 7: they were coming through town and uh so we knew

706
00:37:09,040 --> 00:37:10,920
Speaker 7: where they were staying because the same people that booked

707
00:37:10,920 --> 00:37:13,399
Speaker 7: the big concerts at Hampton Coliseum booked our little ship

708
00:37:13,480 --> 00:37:15,439
Speaker 7: ass gigs at the at the Stake and Ale.

709
00:37:15,800 --> 00:37:17,320
Speaker 2: So we walked in.

710
00:37:17,960 --> 00:37:19,759
Speaker 7: My drummer and I were both sort of big guys.

711
00:37:19,800 --> 00:37:21,799
Speaker 7: I'm big, bony ask guy, but my drummer is a big,

712
00:37:21,880 --> 00:37:24,720
Speaker 7: strong guy. And we walk in and found Mike McDonald

713
00:37:24,800 --> 00:37:27,200
Speaker 7: in the lobby. We went up to him and said, hey,

714
00:37:27,320 --> 00:37:30,680
Speaker 7: Mike with the baddest motherfuckers in his town, and we're

715
00:37:30,719 --> 00:37:31,359
Speaker 7: playing right.

716
00:37:31,320 --> 00:37:33,200
Speaker 6: Over here and you should come here.

717
00:37:33,400 --> 00:37:35,799
Speaker 7: So he says, well, I will if I can. I'm

718
00:37:35,840 --> 00:37:37,799
Speaker 7: going to the movies. But so sure enough he came.

719
00:37:44,960 --> 00:37:45,840
Speaker 6: Everyone could do a.

720
00:37:45,840 --> 00:37:47,240
Speaker 4: Mike McDonald opression.

721
00:37:49,160 --> 00:37:51,160
Speaker 8: We've had him on the show. We actually had him.

722
00:37:51,640 --> 00:37:53,360
Speaker 4: He was doing a depression of himself.

723
00:37:55,040 --> 00:37:57,400
Speaker 7: Well he's a beautiful guy, as you know, he's just

724
00:37:57,520 --> 00:38:01,759
Speaker 7: the sweetest person, so self a face humbled. Anyway, he

725
00:38:01,880 --> 00:38:05,680
Speaker 7: came and we were just raging at it, and he

726
00:38:06,600 --> 00:38:09,080
Speaker 7: invited us over to the long story short, he kind

727
00:38:09,120 --> 00:38:11,680
Speaker 7: of he sort of discovered us and helped us meet

728
00:38:11,760 --> 00:38:14,839
Speaker 7: some people in LA and that's what got me out

729
00:38:14,920 --> 00:38:15,480
Speaker 7: to LA.

730
00:38:16,680 --> 00:38:19,759
Speaker 6: About a year and a half later, a lot of

731
00:38:19,840 --> 00:38:21,560
Speaker 6: us moved to California.

732
00:38:21,800 --> 00:38:24,200
Speaker 9: Did you ever end up working with Michael McDonald after

733
00:38:24,280 --> 00:38:25,760
Speaker 9: that on projects or anything.

734
00:38:26,280 --> 00:38:28,360
Speaker 7: No, But our claim to fame was that Mike McDonald

735
00:38:28,440 --> 00:38:31,440
Speaker 7: and whether the Doobie Brothers were playing some PBS special

736
00:38:31,800 --> 00:38:35,080
Speaker 7: and live thing and he was wearing a Bruce Hornsby

737
00:38:35,239 --> 00:38:40,000
Speaker 7: band T shirt and so that was of course, that

738
00:38:40,120 --> 00:38:43,160
Speaker 7: was a huge thing for us. We thought that was beautiful.

739
00:38:43,520 --> 00:38:46,360
Speaker 7: We slept on his floor for ten nights, my drummer

740
00:38:46,520 --> 00:38:49,160
Speaker 7: John Molo and I and at that time he was

741
00:38:49,239 --> 00:38:52,759
Speaker 7: singing on everybody's record under the La Sun, and so

742
00:38:52,960 --> 00:38:57,359
Speaker 7: he would take our admittedly very mediocre demo tape around

743
00:38:57,400 --> 00:38:59,800
Speaker 7: and try to turn people onto it and that.

744
00:39:00,160 --> 00:39:04,080
Speaker 6: But to no avail again. Years later I got signed.

745
00:39:04,400 --> 00:39:07,440
Speaker 2: Oh but yeah, right, this is from moving to LA.

746
00:39:07,520 --> 00:39:08,759
Speaker 2: What year did you move to LA?

747
00:39:09,280 --> 00:39:13,160
Speaker 7: Nineteen eighty Yeah, okay, graduated seventy seven from UM and

748
00:39:13,280 --> 00:39:16,160
Speaker 7: then two and a half years around the local scene

749
00:39:16,239 --> 00:39:20,720
Speaker 7: from Virginia Beach to Richmond with Willisburg in the middle,

750
00:39:20,800 --> 00:39:23,040
Speaker 7: and then moved, uh to LA.

751
00:39:23,760 --> 00:39:26,359
Speaker 2: Well, obviously I know what prompted to move to La.

752
00:39:26,760 --> 00:39:28,080
Speaker 2: Oh oh, but you know.

753
00:39:29,560 --> 00:39:31,759
Speaker 7: You got we got onto this because you asked me

754
00:39:31,800 --> 00:39:32,640
Speaker 7: about Ambrosia.

755
00:39:33,120 --> 00:39:34,320
Speaker 6: So yes, okay.

756
00:39:34,920 --> 00:39:38,560
Speaker 7: So the opening act for the Dewey Brothers and on

757
00:39:38,640 --> 00:39:41,680
Speaker 7: that tour was Ambrosia, and so they came to the

758
00:39:41,760 --> 00:39:43,480
Speaker 7: gig too, and we became friends with them.

759
00:39:43,480 --> 00:39:45,000
Speaker 6: And when we moved we went to LA.

760
00:39:45,640 --> 00:39:48,600
Speaker 7: Later that summer we slept on some of those guys floors,

761
00:39:49,719 --> 00:39:53,360
Speaker 7: and so they became friends with us. And then about

762
00:39:53,400 --> 00:39:57,440
Speaker 7: eighty three eighty two, eighty three eighty four, they had

763
00:39:57,480 --> 00:40:00,879
Speaker 7: made a record called Rhode Island and very venturous, sort

764
00:40:00,920 --> 00:40:03,560
Speaker 7: of prog rock record because a lot of everyone knows

765
00:40:03,600 --> 00:40:08,680
Speaker 7: the hits make a wish baby, how much I feel yet,

766
00:40:08,920 --> 00:40:11,960
Speaker 7: but really their their heart lay in in the uh

767
00:40:12,320 --> 00:40:13,799
Speaker 7: the more progressive.

768
00:40:16,600 --> 00:40:20,799
Speaker 6: You know that that kind of thing, and I liked

769
00:40:20,920 --> 00:40:21,200
Speaker 6: that too.

770
00:40:21,400 --> 00:40:24,400
Speaker 7: So they made a record called Rhode Island, and uh,

771
00:40:24,960 --> 00:40:28,040
Speaker 7: I wasn't on it, but I wasn't doing much then,

772
00:40:28,200 --> 00:40:30,279
Speaker 7: and they said, hey, why don't you come be in

773
00:40:30,320 --> 00:40:30,800
Speaker 7: a video?

774
00:40:30,960 --> 00:40:32,680
Speaker 6: So now I'm outing myself again.

775
00:40:32,719 --> 00:40:34,279
Speaker 7: I know that I know what you're up to here,

776
00:40:34,840 --> 00:40:39,160
Speaker 7: because now you're making me admit to another laughable performance

777
00:40:39,560 --> 00:40:42,959
Speaker 7: on a video that is unfortunately out in the world.

778
00:40:43,000 --> 00:40:45,760
Speaker 6: But you know what, do I care? I look hilarious again,

779
00:40:46,080 --> 00:40:48,480
Speaker 6: So if you want extra I see now.

780
00:40:49,080 --> 00:40:54,719
Speaker 7: I started off as a video pitiful and so that's

781
00:40:54,840 --> 00:40:55,759
Speaker 7: all I did with him.

782
00:40:55,800 --> 00:40:58,879
Speaker 6: I was just in that video. The Rhode Island.

783
00:40:58,640 --> 00:41:02,359
Speaker 7: Record didn't really do much commercially, and so they kind

784
00:41:02,360 --> 00:41:05,200
Speaker 7: of broke up the band, and uh, but right around

785
00:41:05,239 --> 00:41:06,879
Speaker 7: that time, I was starting to get my own thing going,

786
00:41:06,960 --> 00:41:09,040
Speaker 7: and soon enough I finally got my chance.

787
00:41:09,440 --> 00:41:13,160
Speaker 3: So what was what was pounding the pavement like in

788
00:41:13,400 --> 00:41:18,640
Speaker 3: Los Angeles between nineteen eighty and eighty six when you

789
00:41:18,840 --> 00:41:23,520
Speaker 3: finally got your deal? Well you have what was what

790
00:41:23,680 --> 00:41:27,520
Speaker 3: was the steps of not the steps of heartbreak?

791
00:41:27,600 --> 00:41:30,560
Speaker 2: But I mean, what was it like back then?

792
00:41:31,520 --> 00:41:34,440
Speaker 7: Well, you'll have you'll I'll have to set the scene

793
00:41:34,560 --> 00:41:37,959
Speaker 7: by remembering the pop music trend of the time.

794
00:41:38,120 --> 00:41:42,799
Speaker 6: The early eighties were just chock a block with new

795
00:41:42,960 --> 00:41:44,200
Speaker 6: wave music.

796
00:41:44,480 --> 00:41:48,600
Speaker 7: Guys in skinny ties and the kind of haircut buzz

797
00:41:48,719 --> 00:41:51,000
Speaker 7: whatever they had groups.

798
00:41:50,760 --> 00:41:54,000
Speaker 6: Like you, well, I didn't have. I didn't have any

799
00:41:54,080 --> 00:41:54,200
Speaker 6: of that.

800
00:41:54,600 --> 00:41:59,520
Speaker 7: I looked just like some Schmendrick who you know, sold

801
00:42:00,200 --> 00:42:01,360
Speaker 7: sold coffee somewhere.

802
00:42:01,360 --> 00:42:05,680
Speaker 6: I mean, I I just was totally not this. The

803
00:42:05,800 --> 00:42:07,400
Speaker 6: pictures of me are pretty funny. Well if I just

804
00:42:07,520 --> 00:42:09,319
Speaker 6: pictures of me now are probably pretty funny too.

805
00:42:09,360 --> 00:42:13,880
Speaker 7: But anyway, that so I was really I'm trying to

806
00:42:13,960 --> 00:42:16,080
Speaker 7: take the picture that I was really a fish out

807
00:42:16,120 --> 00:42:19,080
Speaker 7: of water stylistically, you know, for that I was wrong

808
00:42:19,200 --> 00:42:23,040
Speaker 7: for the times. But then maybe I kind of caught

809
00:42:23,080 --> 00:42:25,360
Speaker 7: a wave in this way. Maybe that's why I got signed.

810
00:42:25,360 --> 00:42:27,200
Speaker 7: I don't think about it much, but in eighty five,

811
00:42:27,840 --> 00:42:30,960
Speaker 7: the pop trends tended to were starting to move away

812
00:42:31,000 --> 00:42:35,200
Speaker 7: from from this sort of brit pop new wave thing,

813
00:42:36,200 --> 00:42:40,120
Speaker 7: and LA had its own new wave groups like X

814
00:42:40,239 --> 00:42:43,880
Speaker 7: and the Blasters, but it started moving into more of

815
00:42:43,920 --> 00:42:49,160
Speaker 7: an Americana you know, Bruce Springsteen, John Mellencamp, Tom Petty thing.

816
00:42:49,960 --> 00:42:54,360
Speaker 7: So my music was sort of tangentially related to that stylistically,

817
00:42:54,719 --> 00:42:57,719
Speaker 7: and so maybe that, but I was playing all this

818
00:42:57,880 --> 00:43:00,800
Speaker 7: piano and so it was a little differ and I

819
00:43:00,880 --> 00:43:04,080
Speaker 7: don't know. I'm proud to say the guy who signed

820
00:43:04,080 --> 00:43:06,919
Speaker 7: me was the rhythm guitar player for the Zombies back

821
00:43:06,960 --> 00:43:11,239
Speaker 7: in the sixties soul. Just the best British man, Paul Atkinson,

822
00:43:11,840 --> 00:43:16,640
Speaker 7: with that great resume, and he just and I tell

823
00:43:16,719 --> 00:43:19,680
Speaker 7: this to people all the time, the least as far

824
00:43:19,760 --> 00:43:22,239
Speaker 7: of sort of a tale, cautionary tale of what not

825
00:43:22,400 --> 00:43:26,279
Speaker 7: to do, the least commercial tape I ever made was

826
00:43:26,360 --> 00:43:29,080
Speaker 7: the one that got me signed, and the one that

827
00:43:29,239 --> 00:43:31,960
Speaker 7: was the truest to my sort of artistic heart. At

828
00:43:32,000 --> 00:43:35,200
Speaker 7: the time, I'm just soloing on piano, just stuff that's

829
00:43:35,280 --> 00:43:40,040
Speaker 7: not done, and Paul Atkinson basically couldn't take the tape

830
00:43:40,080 --> 00:43:42,600
Speaker 7: out of his car, So you're just trying to move

831
00:43:42,719 --> 00:43:45,759
Speaker 7: somebody in a deep way. And that's what this tape did.

832
00:43:46,280 --> 00:43:49,200
Speaker 7: It was my sort of screw you to the mainstream

833
00:43:49,239 --> 00:43:50,960
Speaker 7: record business. I thought it was going to come out

834
00:43:51,000 --> 00:43:53,640
Speaker 7: in some small label like Windham Hill or something.

835
00:43:53,760 --> 00:43:58,400
Speaker 6: But you laugh, Okay, I get it.

836
00:43:58,680 --> 00:44:02,080
Speaker 9: This kind of sorry, it's kind of interesting that Paul

837
00:44:02,160 --> 00:44:05,640
Speaker 9: Atkinson signed. You have he's from The Zombies, which was

838
00:44:06,280 --> 00:44:08,399
Speaker 9: a keyboard centric band.

839
00:44:08,480 --> 00:44:10,120
Speaker 6: Yeah, Rod Argent, exactly.

840
00:44:10,520 --> 00:44:13,879
Speaker 8: Yeah, so he might have had a taste for that, an.

841
00:44:13,800 --> 00:44:18,640
Speaker 7: Affinity for a keyboard or dominated pop yet. So anyway,

842
00:44:18,719 --> 00:44:21,640
Speaker 7: that's what happened, and then we met our first record

843
00:44:22,520 --> 00:44:24,600
Speaker 7: and it was a total fluke. The Way It Is

844
00:44:24,840 --> 00:44:27,120
Speaker 7: was thought to be a B side. There's lots of

845
00:44:27,160 --> 00:44:31,719
Speaker 7: stories like this, This is not rare. Rod Stewart's Maggie May,

846
00:44:31,840 --> 00:44:34,440
Speaker 7: for instance, one of the iconics that was thought to

847
00:44:34,480 --> 00:44:35,399
Speaker 7: be a B side as well.

848
00:44:35,640 --> 00:44:37,080
Speaker 2: So you're saying the Way It Is was kind of

849
00:44:37,080 --> 00:44:38,200
Speaker 2: an afterthought.

850
00:44:37,840 --> 00:44:40,720
Speaker 7: Like here, Well was the title I titled the record

851
00:44:40,800 --> 00:44:43,120
Speaker 7: that the record our first record was called The Way

852
00:44:43,160 --> 00:44:46,920
Speaker 7: It Is? But again, a song about racism with two,

853
00:44:47,320 --> 00:44:51,239
Speaker 7: not one, but two improvised piano solos is not this

854
00:44:51,480 --> 00:44:54,879
Speaker 7: formula for pop radio, you know, and so at all.

855
00:44:55,239 --> 00:44:59,080
Speaker 7: But it broke on the BBC BBC Radio one broken England,

856
00:44:59,160 --> 00:45:01,839
Speaker 7: then throughout Europe, then throughout the rest of the world,

857
00:45:01,960 --> 00:45:04,839
Speaker 7: and then here and so I was really lucky, man.

858
00:45:05,040 --> 00:45:07,840
Speaker 7: I broke on a song that, at least for me,

859
00:45:08,280 --> 00:45:10,200
Speaker 7: felt like it had a little more gravitage than the

860
00:45:10,280 --> 00:45:14,160
Speaker 7: standard record that you were hearing on hit radio then.

861
00:45:14,400 --> 00:45:17,000
Speaker 6: And so yeah, I was good. It's a I call

862
00:45:17,080 --> 00:45:18,840
Speaker 6: it a wonderful accident, a great fluke.

863
00:45:19,480 --> 00:45:21,840
Speaker 3: I want to ask you before we even get to

864
00:45:22,280 --> 00:45:25,759
Speaker 3: the actual crafting of the way it is. I just

865
00:45:25,840 --> 00:45:30,439
Speaker 3: got to know, how did you avoid, like eighty six

866
00:45:30,640 --> 00:45:35,080
Speaker 3: would have been a very tempting year patch wise for

867
00:45:35,239 --> 00:45:40,440
Speaker 3: you to fall into Yamaha d X seven itis with

868
00:45:40,600 --> 00:45:41,920
Speaker 3: those like fake.

869
00:45:41,880 --> 00:45:44,600
Speaker 2: Road sounds and whatnot. Yeah, I did, and I hate

870
00:45:44,680 --> 00:45:46,960
Speaker 2: no one is such a strong piano player, Like, how

871
00:45:47,000 --> 00:45:50,200
Speaker 2: did you avoid falling into that?

872
00:45:50,280 --> 00:45:54,040
Speaker 3: Because literally every other hit was just peppered with the

873
00:45:54,160 --> 00:45:57,760
Speaker 3: DX seven fake Rhodes bell sound.

874
00:45:57,880 --> 00:45:58,719
Speaker 2: How did you avoid that?

875
00:46:00,040 --> 00:46:02,360
Speaker 6: I thought it was the horror. I thought it was horrible.

876
00:46:02,440 --> 00:46:02,800
Speaker 4: I was not.

877
00:46:02,960 --> 00:46:06,439
Speaker 7: I just I didn't want to make that sound. And look,

878
00:46:06,440 --> 00:46:08,719
Speaker 7: it's what I do, it's what I did. And so

879
00:46:09,640 --> 00:46:13,279
Speaker 7: again I made this tape with no regard to that.

880
00:46:13,320 --> 00:46:16,760
Speaker 7: That's why I said, it's the least commercial attempted tape

881
00:46:16,960 --> 00:46:21,400
Speaker 7: that I ever that I made. And uh so so

882
00:46:21,520 --> 00:46:23,440
Speaker 7: it was again it was it was honest, and it

883
00:46:23,560 --> 00:46:27,040
Speaker 7: was maybe fresh, and so it's easy to Monday Morning

884
00:46:27,120 --> 00:46:29,560
Speaker 7: quarterback to me was just a wonderful accident.

885
00:46:30,120 --> 00:46:32,400
Speaker 5: Yeah, that was a record, man, the way it is,

886
00:46:32,840 --> 00:46:34,680
Speaker 5: and I don't know, you know, you said it was

887
00:46:34,719 --> 00:46:36,279
Speaker 5: a B side and it was kind of a thing

888
00:46:36,360 --> 00:46:38,080
Speaker 5: that kind of went off. That was one of the

889
00:46:38,160 --> 00:46:42,160
Speaker 5: first records I remember it kind of being marketed as

890
00:46:42,960 --> 00:46:46,239
Speaker 5: like a serious song, so to speak, and just as

891
00:46:46,280 --> 00:46:48,840
Speaker 5: a kid, like I just remember just kind of the

892
00:46:48,920 --> 00:46:52,880
Speaker 5: bookends of my elementary school education, like the way it is,

893
00:46:53,120 --> 00:46:55,719
Speaker 5: and we didn't start the fire, like I remember my

894
00:46:55,880 --> 00:47:00,359
Speaker 5: teacher like making us right about those songs, like oh interesting, wow,

895
00:47:00,840 --> 00:47:02,759
Speaker 5: the way it is, like okay, so what do you

896
00:47:02,840 --> 00:47:03,640
Speaker 5: think this is about?

897
00:47:03,760 --> 00:47:06,520
Speaker 8: What do you think you know? And and and it

898
00:47:06,719 --> 00:47:08,799
Speaker 8: just always resonated with me. And I think even the.

899
00:47:08,800 --> 00:47:10,920
Speaker 5: Mirrors one about you know, the d X seven, that

900
00:47:11,040 --> 00:47:13,160
Speaker 5: kind of plastic keyboard kind of sound that was hot

901
00:47:13,160 --> 00:47:13,600
Speaker 5: at the time.

902
00:47:14,120 --> 00:47:15,560
Speaker 8: One of the things that always took out to me

903
00:47:15,719 --> 00:47:17,600
Speaker 8: that you were actually playing a real piano.

904
00:47:17,719 --> 00:47:19,239
Speaker 5: And I mean I was, I mean got I was

905
00:47:19,239 --> 00:47:22,759
Speaker 5: probably like seven eight whatever when it came, but but

906
00:47:22,840 --> 00:47:25,200
Speaker 5: I remember it vividly, and that was just always one

907
00:47:25,200 --> 00:47:27,120
Speaker 5: of my favorite songs. And you know, all the times

908
00:47:27,160 --> 00:47:29,560
Speaker 5: it's sampled and everything. I mean, it was just I

909
00:47:29,640 --> 00:47:31,160
Speaker 5: just always thought that was just a gorgeous song.

910
00:47:31,560 --> 00:47:33,920
Speaker 6: Well, how about a fast car like Tracy Chapman. Did

911
00:47:33,960 --> 00:47:34,440
Speaker 6: you like that when?

912
00:47:35,239 --> 00:47:41,680
Speaker 3: Yeah, of course yeah, But do you do you think

913
00:47:42,000 --> 00:47:47,000
Speaker 3: growing up in Richmond sort of prompted you to craft

914
00:47:47,040 --> 00:47:49,920
Speaker 3: the song and the way that you did, because again,

915
00:47:50,360 --> 00:47:55,719
Speaker 3: I mean, people really weren't especially with uh, I meant

916
00:47:55,880 --> 00:47:58,439
Speaker 3: barely with with hip hop.

917
00:47:58,560 --> 00:47:59,640
Speaker 2: I mean hip hop really.

918
00:47:59,520 --> 00:48:03,120
Speaker 3: Wouldn't wasn't starting to get in your face for real,

919
00:48:03,239 --> 00:48:06,360
Speaker 3: for real until eighty seven eighty eight. Right, Yeah, so

920
00:48:06,640 --> 00:48:10,720
Speaker 3: I meant to even bring up something as topical or whatnot.

921
00:48:11,960 --> 00:48:16,160
Speaker 2: Do you think that's just experience experiences in Richmond, Virginia,

922
00:48:16,680 --> 00:48:19,560
Speaker 2: or or like what prompted that?

923
00:48:20,640 --> 00:48:23,320
Speaker 7: Well, I think it's just growing up in a small town. Yes, Williamsburg,

924
00:48:23,360 --> 00:48:25,160
Speaker 7: which is fifty miles for Richmond. So I have small

925
00:48:25,280 --> 00:48:29,680
Speaker 7: more of a small town feeling in Williamsburg. And look,

926
00:48:29,719 --> 00:48:34,080
Speaker 7: it's just it's just based on my upbringing. I was

927
00:48:34,800 --> 00:48:37,200
Speaker 7: the only white dude on the basketball team in high

928
00:48:37,200 --> 00:48:40,080
Speaker 7: school and that was just the best experience for me.

929
00:48:40,760 --> 00:48:45,399
Speaker 7: My old teammates are still my hanging pals in town.

930
00:48:45,560 --> 00:48:48,239
Speaker 6: Here. We go out and talk shit and have a

931
00:48:48,360 --> 00:48:51,160
Speaker 6: laugh and get some beat all for years now.

932
00:48:51,200 --> 00:48:54,840
Speaker 7: It's just beautiful and so I'll shout out Lawrence Jones,

933
00:48:55,320 --> 00:48:59,960
Speaker 7: Keith Drewett, Pebe Martin, Alonzo Dandridge Algae.

934
00:49:00,760 --> 00:49:01,839
Speaker 6: I could keep naming them.

935
00:49:02,400 --> 00:49:06,480
Speaker 7: So those are my guys. Uh And so it was

936
00:49:06,560 --> 00:49:11,400
Speaker 7: a very intense time. I came in just after integration,

937
00:49:12,080 --> 00:49:15,120
Speaker 7: just after the first couple of years. But it was

938
00:49:15,360 --> 00:49:19,759
Speaker 7: it was still sort of a fraud scene. It was

939
00:49:19,920 --> 00:49:25,800
Speaker 7: was definitely attention in the air. And uh, but I

940
00:49:26,080 --> 00:49:29,799
Speaker 7: don't know, I embraced it. They embraced me, My teammates,

941
00:49:30,040 --> 00:49:34,080
Speaker 7: They my teammates embraced me, and uh and and spin

942
00:49:34,160 --> 00:49:37,040
Speaker 7: ever thus so uh so I I just wrote that

943
00:49:37,160 --> 00:49:40,279
Speaker 7: song based on my my upbringing in Williamsburg.

944
00:49:41,280 --> 00:49:43,000
Speaker 5: I was curious to know what was it like working

945
00:49:43,040 --> 00:49:45,560
Speaker 5: with Huey Lewis as a producer, Like, what was I mean,

946
00:49:45,600 --> 00:49:47,840
Speaker 5: we knew him as an artist, but what was he

947
00:49:47,960 --> 00:49:50,080
Speaker 5: like kind of behind the boards and in working in

948
00:49:50,160 --> 00:49:50,719
Speaker 5: that capacity?

949
00:49:51,560 --> 00:49:54,359
Speaker 7: Well, he he produced three songs on the record, one

950
00:49:54,440 --> 00:49:58,640
Speaker 7: of which I changed completely after the record. The original

951
00:49:58,760 --> 00:50:01,359
Speaker 7: version of the record has a band version of this song,

952
00:50:01,400 --> 00:50:03,839
Speaker 7: the River Runs Lot. I just thought it wasn't doing

953
00:50:03,880 --> 00:50:05,719
Speaker 7: the song justice, so I stripped it all down and

954
00:50:06,000 --> 00:50:11,040
Speaker 7: it made it a keyboard vocal record. Hughuey is one

955
00:50:11,080 --> 00:50:14,960
Speaker 7: of the great guys, and he was He was a

956
00:50:15,080 --> 00:50:17,920
Speaker 7: big cheerleader for me, kind of like Mike McDonald had been.

957
00:50:18,719 --> 00:50:21,000
Speaker 7: We were making a demo for Epic Records in eighty

958
00:50:21,040 --> 00:50:23,600
Speaker 7: four and hue had sports at the time, which was

959
00:50:23,719 --> 00:50:28,000
Speaker 7: just Hugh was all everything around the world. And he

960
00:50:28,200 --> 00:50:31,160
Speaker 7: called up and said, Hi, this is Huey. Lewis signed

961
00:50:31,200 --> 00:50:33,399
Speaker 7: the Range. I was hiding behind the name of the Range.

962
00:50:33,440 --> 00:50:34,320
Speaker 7: We were just the Range.

963
00:50:34,400 --> 00:50:37,920
Speaker 6: Then RCA asked me to just be Bruce Hornsby.

964
00:50:37,960 --> 00:50:40,360
Speaker 7: So I compromised on Bruce Hornsby and the Range. But

965
00:50:41,480 --> 00:50:43,279
Speaker 7: it didn't help us. We didn't get signed by Epic.

966
00:50:43,320 --> 00:50:47,239
Speaker 7: But that just shows you Hughey's real intense feeling for

967
00:50:47,680 --> 00:50:50,960
Speaker 7: what I was doing. And as a producer, we just

968
00:50:51,040 --> 00:50:53,799
Speaker 7: had a great time in the studio and we did

969
00:50:53,880 --> 00:50:57,200
Speaker 7: a song about this old horror this old horrorouse in

970
00:50:57,560 --> 00:50:58,799
Speaker 7: the countryside in Willisburg.

971
00:50:59,600 --> 00:51:03,280
Speaker 6: He called down the road tonight and he he produced.

972
00:51:04,440 --> 00:51:07,120
Speaker 6: He produced that song. He should have cuted himself. He'd

973
00:51:07,160 --> 00:51:08,080
Speaker 6: have had a hit with it.

974
00:51:08,160 --> 00:51:10,959
Speaker 8: I think, yeah, I could imagine hue Lewis sing about

975
00:51:10,960 --> 00:51:11,560
Speaker 8: whole houses that.

976
00:51:16,360 --> 00:51:16,880
Speaker 6: Better than I.

977
00:51:17,080 --> 00:51:21,360
Speaker 12: Yes, I think you're right more better suited with with

978
00:51:21,600 --> 00:51:23,759
Speaker 12: with the shock of or you know, I don't know

979
00:51:23,760 --> 00:51:27,200
Speaker 12: if it shocks you to have your first single totally

980
00:51:27,239 --> 00:51:30,799
Speaker 12: come out the out the box as across the board

981
00:51:30,880 --> 00:51:33,560
Speaker 12: hit pressure wise, what was that like?

982
00:51:34,120 --> 00:51:34,239
Speaker 2: Uh?

983
00:51:35,239 --> 00:51:38,000
Speaker 3: To be like, how did your life change as far

984
00:51:38,120 --> 00:51:43,279
Speaker 3: as the results and you know, of having that hit

985
00:51:43,360 --> 00:51:47,440
Speaker 3: single and then suddenly being ubiquitous because it's.

986
00:51:47,239 --> 00:51:48,440
Speaker 2: Not like you had a hit single.

987
00:51:48,480 --> 00:51:51,360
Speaker 6: I mean this song is you know, it's lasting.

988
00:51:51,440 --> 00:51:53,359
Speaker 7: Yet when you said shock, I thought you were gonna

989
00:51:53,360 --> 00:51:54,680
Speaker 7: ask me about my Shaka song.

990
00:51:56,000 --> 00:51:58,600
Speaker 2: I didn't get there yet. Yeah, I didn't get there yet.

991
00:51:59,160 --> 00:52:00,800
Speaker 2: About to be there everything.

992
00:52:01,600 --> 00:52:03,799
Speaker 7: Every time I come to and play with you, guys

993
00:52:04,480 --> 00:52:06,719
Speaker 7: you're keyboard player, somebody in your bend says, can we

994
00:52:06,800 --> 00:52:07,560
Speaker 7: play love me still?

995
00:52:07,600 --> 00:52:10,000
Speaker 6: So I'll get with you, which I love.

996
00:52:10,160 --> 00:52:10,319
Speaker 2: Yeah.

997
00:52:10,320 --> 00:52:12,279
Speaker 7: I have a good, a good story about you and

998
00:52:12,400 --> 00:52:17,200
Speaker 7: that song on Fallin. But that's that's about about nine

999
00:52:17,280 --> 00:52:22,120
Speaker 7: years later. So obviously this is a full dose of

1000
00:52:23,400 --> 00:52:26,439
Speaker 7: pop stardom. That's you know, smacking me in the head.

1001
00:52:27,280 --> 00:52:29,680
Speaker 7: And to be honest, I was pretty bad at it,

1002
00:52:30,239 --> 00:52:34,120
Speaker 7: mostly because when you're when you're making when you're having

1003
00:52:34,400 --> 00:52:36,759
Speaker 7: success at top forty, at least in America. Oh and

1004
00:52:36,800 --> 00:52:40,239
Speaker 7: absolutely in Europe. It's sometimes even sillier over there, with

1005
00:52:40,360 --> 00:52:42,600
Speaker 7: all the lip syncing shows you have to be on.

1006
00:52:43,120 --> 00:52:46,759
Speaker 7: But I would yeah, exactly right, you said a Top

1007
00:52:46,800 --> 00:52:50,800
Speaker 7: of the Pops and the like in You're in Holland,

1008
00:52:51,200 --> 00:52:55,320
Speaker 7: Germany all around, So I would be saying I was

1009
00:52:55,480 --> 00:52:59,799
Speaker 7: being Cleveland because the record company will send me there

1010
00:53:00,239 --> 00:53:04,359
Speaker 7: to sit at a at a table signing autographs.

1011
00:53:04,760 --> 00:53:06,600
Speaker 6: So here I am, and.

1012
00:53:06,719 --> 00:53:10,600
Speaker 7: Next to me is Tiffany, and next to me is

1013
00:53:10,960 --> 00:53:14,080
Speaker 7: Debbie Gibson on the other side, and then there's new kids,

1014
00:53:14,280 --> 00:53:16,640
Speaker 7: kids on the block, and I'm going, man, what's wrong

1015
00:53:16,680 --> 00:53:17,400
Speaker 7: with this picture?

1016
00:53:17,880 --> 00:53:18,239
Speaker 8: It's me?

1017
00:53:19,239 --> 00:53:23,600
Speaker 7: And so it just didn't fit. I just I didn't

1018
00:53:23,640 --> 00:53:25,319
Speaker 7: know how to handle it. I should have just taken

1019
00:53:25,360 --> 00:53:26,920
Speaker 7: the piss out of it, as the Brits would say,

1020
00:53:26,920 --> 00:53:28,279
Speaker 7: and just made it into a big joke.

1021
00:53:28,920 --> 00:53:30,680
Speaker 6: But then people that have got mad at me, and

1022
00:53:30,760 --> 00:53:31,400
Speaker 6: I'd be.

1023
00:53:31,480 --> 00:53:35,400
Speaker 7: Drawing stupid things signing different names. I started.

1024
00:53:35,440 --> 00:53:36,440
Speaker 2: I just did that everyone.

1025
00:53:37,560 --> 00:53:39,840
Speaker 6: Yeah, well I did that for a little while.

1026
00:53:40,000 --> 00:53:43,480
Speaker 7: But I got tired of suffering the slings and arrows

1027
00:53:43,560 --> 00:53:48,239
Speaker 7: of disgruntled fans. Who would go, oh, come on, man,

1028
00:53:48,680 --> 00:53:51,480
Speaker 7: take it seriously. We really like you, you know, And

1029
00:53:51,560 --> 00:53:54,200
Speaker 7: so then you go, you know what, I'm the dick here,

1030
00:53:54,320 --> 00:53:57,840
Speaker 7: and so sorry, you're right, you're right. But but basically

1031
00:53:58,520 --> 00:54:00,879
Speaker 7: it was I was not a good fit for that thing.

1032
00:54:01,719 --> 00:54:05,920
Speaker 7: And so the second record we made was very much

1033
00:54:05,960 --> 00:54:08,839
Speaker 7: of a piece with the first record. Stylistically, I wanted

1034
00:54:08,840 --> 00:54:13,760
Speaker 7: to cement this sound, which was basically a Linn drum machine, piano,

1035
00:54:14,920 --> 00:54:21,520
Speaker 7: an OBX or Juno pad boom, vocals, boom, and so

1036
00:54:22,200 --> 00:54:25,000
Speaker 7: I did this again for that reason. And then I

1037
00:54:25,120 --> 00:54:28,320
Speaker 7: instantly started getting letters from fans well how dare you change?

1038
00:54:29,800 --> 00:54:31,920
Speaker 7: And I thought to myself, well, you know what, motherfucker,

1039
00:54:31,960 --> 00:54:34,719
Speaker 7: you haven't seen anything yet, you know, you.

1040
00:54:35,040 --> 00:54:36,200
Speaker 8: Just just wait.

1041
00:54:37,040 --> 00:54:39,200
Speaker 7: And so then I started taking it out and my

1042
00:54:39,280 --> 00:54:41,360
Speaker 7: third record, I had Wayne Shorter on the record and

1043
00:54:42,000 --> 00:54:47,719
Speaker 7: Bayla Fleck and Oh Charlie Hayden Nig say wow, way

1044
00:54:47,760 --> 00:54:53,920
Speaker 7: to go uh, And so then the letters really started cutting. Uh.

1045
00:54:54,040 --> 00:54:56,840
Speaker 7: But but I so I just never looked back because

1046
00:54:56,880 --> 00:54:59,040
Speaker 7: I never I never trusted hit radio anyway.

1047
00:54:59,520 --> 00:55:02,400
Speaker 6: I knew was sort of ephemeral and not going to

1048
00:55:02,440 --> 00:55:03,160
Speaker 6: be around for me.

1049
00:55:03,239 --> 00:55:06,640
Speaker 7: Because I again, they hit off the second record was

1050
00:55:06,680 --> 00:55:08,200
Speaker 7: the song this aforementioned song.

1051
00:55:08,120 --> 00:55:10,680
Speaker 6: Valley Road. I'm really blowing.

1052
00:55:10,760 --> 00:55:13,919
Speaker 7: I'm playing like McCoy tyner chordal harmony in the left

1053
00:55:13,960 --> 00:55:18,040
Speaker 7: hand seven egg. I got the come, you know, just emphatic,

1054
00:55:18,200 --> 00:55:22,320
Speaker 7: demonstrative stuff, and it's on the radio. My my musician

1055
00:55:22,400 --> 00:55:24,560
Speaker 7: friends could not believe what I was getting away with.

1056
00:55:24,920 --> 00:55:26,520
Speaker 7: And I didn't get away with it for long, just

1057
00:55:26,600 --> 00:55:29,800
Speaker 7: those two times and kind and then that was it.

1058
00:55:30,080 --> 00:55:32,600
Speaker 3: It's kind of weird for me because all right, so

1059
00:55:32,640 --> 00:55:34,560
Speaker 3: I'm slightly older than Fante.

1060
00:55:34,920 --> 00:55:39,880
Speaker 2: So like in my mind though, I think, even to

1061
00:55:40,000 --> 00:55:40,560
Speaker 2: this day, if.

1062
00:55:40,520 --> 00:55:45,000
Speaker 3: I asked myself, I still consider Henley's end of the

1063
00:55:45,120 --> 00:55:48,600
Speaker 3: Innocent mm hmm kind of like your fourth single.

1064
00:55:49,239 --> 00:55:52,920
Speaker 6: Yeah, well it's filing drumming that you know all over again.

1065
00:55:53,160 --> 00:55:57,399
Speaker 3: Yeah, Like I still feel like it's it's I never

1066
00:55:57,560 --> 00:55:59,839
Speaker 3: consider that a Don Henley song, Like to me, that's

1067
00:55:59,920 --> 00:56:01,200
Speaker 3: like your song.

1068
00:56:01,080 --> 00:56:03,719
Speaker 2: And it's your and you're not DNA print.

1069
00:56:04,120 --> 00:56:04,759
Speaker 4: Yeah yet.

1070
00:56:05,719 --> 00:56:08,279
Speaker 2: I don't want to sound like a suit like the

1071
00:56:08,600 --> 00:56:09,960
Speaker 2: suit by on the an R Guy.

1072
00:56:10,160 --> 00:56:13,560
Speaker 3: But you know, you could have you could have just

1073
00:56:13,640 --> 00:56:16,239
Speaker 3: served them of like you could have served at least

1074
00:56:16,800 --> 00:56:21,560
Speaker 3: nineteen of them like hotcakes, like why did you I

1075
00:56:21,840 --> 00:56:23,319
Speaker 3: okay breaks on it like.

1076
00:56:23,960 --> 00:56:27,520
Speaker 7: Well, you asked me if I felt pressure to come

1077
00:56:27,640 --> 00:56:29,560
Speaker 7: up with hits or something like that us and I

1078
00:56:29,640 --> 00:56:30,440
Speaker 7: didn't really answer it.

1079
00:56:30,480 --> 00:56:31,479
Speaker 6: But I can do it now.

1080
00:56:33,480 --> 00:56:37,080
Speaker 7: Because I had this big hit with a song that

1081
00:56:37,239 --> 00:56:41,080
Speaker 7: no one thought was anything. I really felt that no

1082
00:56:41,200 --> 00:56:43,960
Speaker 7: one at the record company felt they knew what a

1083
00:56:44,040 --> 00:56:46,160
Speaker 7: Bruce Hornsby hit was supposed to sound like. So I

1084
00:56:46,200 --> 00:56:50,960
Speaker 7: took that as total license to be free and and

1085
00:56:51,360 --> 00:56:57,239
Speaker 7: and write songs about interracial romances and the girl who

1086
00:56:57,320 --> 00:57:01,680
Speaker 7: got pregnant, on and on so uh so and and

1087
00:57:01,800 --> 00:57:05,719
Speaker 7: then I never got pressured from RCA. They were really

1088
00:57:05,760 --> 00:57:08,120
Speaker 7: good to me. I think I was helped by the

1089
00:57:08,160 --> 00:57:10,279
Speaker 7: fact that the record company was really struggling and I

1090
00:57:10,400 --> 00:57:13,560
Speaker 7: was the only artist that at the time did much

1091
00:57:13,640 --> 00:57:16,760
Speaker 7: for them, so they pretty much left me alone and

1092
00:57:17,000 --> 00:57:20,240
Speaker 7: I ran with that like crazy. Pat mcfeeney started playing

1093
00:57:20,240 --> 00:57:23,400
Speaker 7: on my records. That was really special because he was

1094
00:57:23,960 --> 00:57:28,040
Speaker 7: He played so amazingly on my fourth and fifth records,

1095
00:57:28,080 --> 00:57:31,160
Speaker 7: Harbor Lights and Hothouse Man. He just turned it out.

1096
00:57:31,960 --> 00:57:34,880
Speaker 7: It was so beautiful. Branford played on those just great.

1097
00:57:35,880 --> 00:57:38,280
Speaker 7: So by then the record company has just thrown up

1098
00:57:38,320 --> 00:57:43,280
Speaker 7: their hands. Look, I was trying to sort of be

1099
00:57:43,400 --> 00:57:46,960
Speaker 7: a purist about it and and just follow my musical

1100
00:57:47,200 --> 00:57:51,200
Speaker 7: instinct and and the recipe damn and aggress was kind

1101
00:57:51,200 --> 00:57:53,480
Speaker 7: of damn for me. I stopped topped having hits.

1102
00:57:53,320 --> 00:57:54,080
Speaker 8: But it was okay.

1103
00:57:54,720 --> 00:57:57,720
Speaker 3: So back back in the eighties, when the myth of

1104
00:57:57,800 --> 00:58:03,240
Speaker 3: winning the Best New Artists was an actual that's the curse, Yes.

1105
00:58:03,680 --> 00:58:05,520
Speaker 2: How did you feel when your name was called?

1106
00:58:07,280 --> 00:58:09,400
Speaker 7: I frankly was so clueless at the time that I

1107
00:58:09,800 --> 00:58:12,520
Speaker 7: didn't start hearing about that curse until after we'd won it.

1108
00:58:12,840 --> 00:58:15,080
Speaker 6: And so, so how did I feel?

1109
00:58:15,280 --> 00:58:17,400
Speaker 7: I've thought that, well, this is great, but you know,

1110
00:58:18,400 --> 00:58:21,120
Speaker 7: I'm a three time winner, but I'm a ten time loser.

1111
00:58:21,360 --> 00:58:24,000
Speaker 7: Just so you just set the record straight, it's a

1112
00:58:24,040 --> 00:58:29,360
Speaker 7: pretty it's a pretty sorry batting average three for thirteen.

1113
00:58:30,760 --> 00:58:34,200
Speaker 6: But yeah, how did I feel? I didn't know about it.

1114
00:58:34,280 --> 00:58:37,480
Speaker 7: When I've heard about it later, I thought, well, whatever happens,

1115
00:58:37,880 --> 00:58:41,480
Speaker 7: I'm certainly it seems to me looking back on my

1116
00:58:41,560 --> 00:58:44,440
Speaker 7: career that I had this success and then I've been

1117
00:58:44,560 --> 00:58:48,320
Speaker 7: trying to rid myself of that audience ever since, because well.

1118
00:58:48,960 --> 00:58:52,680
Speaker 2: I'll ask this question, then, is your best new artist?

1119
00:58:52,880 --> 00:58:55,040
Speaker 2: Is it on the mantel piece or is it a doorstopper.

1120
00:58:56,400 --> 00:58:56,960
Speaker 6: It's neither.

1121
00:58:57,120 --> 00:59:02,400
Speaker 7: It's down the bottom shelf of a little a little

1122
00:59:02,760 --> 00:59:06,080
Speaker 7: little case that that that houses old scrap books.

1123
00:59:06,120 --> 00:59:09,600
Speaker 6: And the three Grammys. You know, they they grew with

1124
00:59:09,760 --> 00:59:10,520
Speaker 6: the through the years.

1125
00:59:10,560 --> 00:59:10,680
Speaker 2: You know.

1126
00:59:11,120 --> 00:59:14,360
Speaker 7: My second win was the Best Bluegrass Record, and the

1127
00:59:14,440 --> 00:59:17,880
Speaker 7: third win was with Branford the song we did for

1128
00:59:17,960 --> 00:59:21,840
Speaker 7: the Olympics Barcelona, Mona back then. And uh, I think

1129
00:59:21,920 --> 00:59:24,600
Speaker 7: people just voted for us because Kenny g had won

1130
00:59:24,680 --> 00:59:26,680
Speaker 7: for a hundred years and they wanted somebody.

1131
00:59:26,400 --> 00:59:31,760
Speaker 2: Else to wow.

1132
00:59:32,040 --> 00:59:33,120
Speaker 4: Bruce Horse the problems.

1133
00:59:33,240 --> 00:59:36,240
Speaker 2: I love it exactly, exactly, not a problem.

1134
00:59:36,400 --> 00:59:39,520
Speaker 3: Just you talk about working also with U with Bonnie

1135
00:59:39,600 --> 00:59:41,840
Speaker 3: Ray as well, because that's your.

1136
00:59:45,200 --> 00:59:48,720
Speaker 7: Yeah. Look, she's my big sister in music. Uh we

1137
00:59:49,520 --> 00:59:52,640
Speaker 7: we became tight. She was a big fan of my

1138
00:59:53,120 --> 00:59:54,840
Speaker 7: early records and subsequent records.

1139
00:59:54,960 --> 00:59:57,520
Speaker 8: Uh and uh so.

1140
00:59:59,280 --> 01:00:03,400
Speaker 7: She I would see her at parties in La after

1141
01:00:03,480 --> 01:00:05,520
Speaker 7: I had hits. Of course, not I'm invited to these

1142
01:00:06,360 --> 01:00:11,320
Speaker 7: slickster parties, which was yeah, fun, it was fun. She's

1143
01:00:11,360 --> 01:00:13,520
Speaker 7: a lovely person. She sent me a fan letter one

1144
01:00:13,600 --> 01:00:15,959
Speaker 7: time and it was so sweet. So I'm all.

1145
01:00:15,920 --> 01:00:22,040
Speaker 6: For Debbie Gibson she's a talented person too, so that's fantastic. Yeah.

1146
01:00:22,600 --> 01:00:27,400
Speaker 7: So anyway, Bonnie Uh asked me to play on her

1147
01:00:28,000 --> 01:00:30,560
Speaker 7: record her I guess it was second record she made

1148
01:00:30,600 --> 01:00:35,000
Speaker 7: with Don was and Uh producing, and all of a sudden,

1149
01:00:35,040 --> 01:00:37,200
Speaker 7: I for a little little time there, I was sort

1150
01:00:37,200 --> 01:00:39,760
Speaker 7: of Don was his boy. I played on a Segur record,

1151
01:00:39,800 --> 01:00:42,000
Speaker 7: and a Bob Dylan record, and a Body Rate record,

1152
01:00:42,080 --> 01:00:45,280
Speaker 7: all in the all w just a few months period

1153
01:00:45,720 --> 01:00:47,880
Speaker 7: when I was still living in LA my latter days

1154
01:00:47,880 --> 01:00:51,040
Speaker 7: in l A. But that record was just one of

1155
01:00:51,120 --> 01:00:58,000
Speaker 7: those Kis moments. You had this fantastic song. And I

1156
01:00:58,400 --> 01:01:00,880
Speaker 7: give Don credit because he didn't dressed up a lot.

1157
01:01:01,760 --> 01:01:03,840
Speaker 7: We cut the track just a trio. I was playing

1158
01:01:03,920 --> 01:01:07,440
Speaker 7: some little keyboard roadside, not the ex seven, mind you,

1159
01:01:07,560 --> 01:01:14,080
Speaker 7: but something, some sort of rosy sound, and then they well, yeah.

1160
01:01:13,880 --> 01:01:15,680
Speaker 6: Then they have you have you over dubbed the piano.

1161
01:01:16,120 --> 01:01:19,200
Speaker 7: And he told me later he kept trying to dress

1162
01:01:19,240 --> 01:01:21,960
Speaker 7: it up, maybe strings, I don't know, maybe a little hornted,

1163
01:01:22,360 --> 01:01:25,480
Speaker 7: And finally he just he realized he took all the

1164
01:01:25,520 --> 01:01:28,000
Speaker 7: faders down in the mix and just put on those

1165
01:01:28,040 --> 01:01:33,560
Speaker 7: original four elements drums, bass, election, piano, accousia, piano, and vocal,

1166
01:01:34,240 --> 01:01:37,560
Speaker 7: and it just resonated, So it was very We.

1167
01:01:37,640 --> 01:01:40,320
Speaker 6: Might have cut two or three tracks so fast.

1168
01:01:41,240 --> 01:01:44,840
Speaker 7: And look, I consider that to be Bonnie's iconic hit

1169
01:01:44,960 --> 01:01:47,120
Speaker 7: record and the one that will be around forever.

1170
01:01:47,280 --> 01:01:49,360
Speaker 6: So look, how could I not be proud of being

1171
01:01:49,400 --> 01:01:49,800
Speaker 6: a part of that.

1172
01:01:49,920 --> 01:01:52,720
Speaker 7: It was just and and she's the greatest anyway, she's

1173
01:01:53,240 --> 01:02:01,320
Speaker 7: She's sent me some crazy lude uh to Twitter thing today,

1174
01:02:01,600 --> 01:02:05,600
Speaker 7: you know, so we're she's She's a hilarious, great, just

1175
01:02:05,640 --> 01:02:06,360
Speaker 7: beautiful woman.

1176
01:02:06,880 --> 01:02:08,960
Speaker 5: Do you think there was something with you guys kind

1177
01:02:09,000 --> 01:02:11,840
Speaker 5: of understand each other because or I guess kind of

1178
01:02:11,880 --> 01:02:15,280
Speaker 5: the creative kinship that you guys had, because Bonnie was

1179
01:02:15,280 --> 01:02:18,800
Speaker 5: also someone that didn't really hit paydirt in her career

1180
01:02:18,960 --> 01:02:21,640
Speaker 5: until much later, you know, even later than me. Yes, yeah,

1181
01:02:21,800 --> 01:02:23,200
Speaker 5: you know what I mean. Do you think that kind

1182
01:02:23,200 --> 01:02:25,480
Speaker 5: of played a role with you guys understand each other?

1183
01:02:26,160 --> 01:02:26,960
Speaker 6: Yeah, it could.

1184
01:02:27,720 --> 01:02:35,080
Speaker 7: I think basically we have similar musical interests and she's

1185
01:02:35,120 --> 01:02:38,360
Speaker 7: one of the great singers, one of the great soulful singers,

1186
01:02:39,280 --> 01:02:43,840
Speaker 7: and I like soul music. I'm not one of the

1187
01:02:43,880 --> 01:02:49,000
Speaker 7: great soul singers, but I love it and so so look,

1188
01:02:49,040 --> 01:02:51,160
Speaker 7: I think we just connect personally.

1189
01:02:52,560 --> 01:02:54,640
Speaker 6: She likes to have a laugh and I do too.

1190
01:02:56,520 --> 01:02:59,680
Speaker 6: But anyway, it's just like I said, she's my big sister.

1191
01:02:59,760 --> 01:03:00,640
Speaker 6: That's is it all to me?

1192
01:03:05,080 --> 01:03:05,320
Speaker 8: Bruce?

1193
01:03:05,600 --> 01:03:07,600
Speaker 10: How does how does your mindset change when you're going

1194
01:03:07,640 --> 01:03:10,240
Speaker 10: from like side manning Bonnie Ray to like playing your

1195
01:03:10,280 --> 01:03:13,960
Speaker 10: own shit? Or is it just the same approach, because like,

1196
01:03:14,200 --> 01:03:15,760
Speaker 10: I can't make you love me. It's like a fairly

1197
01:03:15,840 --> 01:03:18,720
Speaker 10: simple harmonic situation. At the end of the d I change,

1198
01:03:18,760 --> 01:03:19,120
Speaker 10: I changed.

1199
01:03:19,120 --> 01:03:21,880
Speaker 3: I'm sure you did that song, so I almost feel

1200
01:03:21,920 --> 01:03:23,440
Speaker 3: like you produced it even though you did.

1201
01:03:23,600 --> 01:03:25,240
Speaker 4: I'd love to hear it before you sat down to

1202
01:03:25,280 --> 01:03:26,520
Speaker 4: play it, but I heard. I'm sure. That's a whole

1203
01:03:26,560 --> 01:03:27,120
Speaker 4: other situation.

1204
01:03:27,280 --> 01:03:30,000
Speaker 7: But the chords were more standard. You know, I'm a

1205
01:03:30,040 --> 01:03:32,960
Speaker 7: Bill Evans fanatic. You know, I love all that. I

1206
01:03:33,040 --> 01:03:38,960
Speaker 7: love that French impressionism, harmony, reveil whatever, and uh so

1207
01:03:39,920 --> 01:03:42,320
Speaker 7: I'm always interested in maybe finding a place for that

1208
01:03:42,480 --> 01:03:45,880
Speaker 7: I called I had to find a fine figure out

1209
01:03:45,880 --> 01:03:48,880
Speaker 7: a fascial way to describe my style because people are

1210
01:03:48,880 --> 01:03:51,320
Speaker 7: always asking me. They always say, well, we can always

1211
01:03:51,360 --> 01:03:52,840
Speaker 7: tell it's you, and why do you think that is?

1212
01:03:53,640 --> 01:03:55,360
Speaker 7: And I say, well, I think it's a sort of

1213
01:03:55,400 --> 01:03:58,920
Speaker 7: a harmonic aesthetic, a way of playing chords. And I

1214
01:03:59,000 --> 01:04:01,560
Speaker 7: call it Bill Evans Me to him book because I

1215
01:04:01,720 --> 01:04:06,160
Speaker 7: love the uh the the movement in the left hand

1216
01:04:06,240 --> 01:04:09,360
Speaker 7: of him of him music church music. But then I

1217
01:04:09,480 --> 01:04:13,600
Speaker 7: love those beautiful sexy chords Bill Evans played too, so

1218
01:04:13,960 --> 01:04:14,720
Speaker 7: uh uh.

1219
01:04:15,280 --> 01:04:15,960
Speaker 2: So I don't know.

1220
01:04:16,240 --> 01:04:18,120
Speaker 6: That's I don't know if I answered your question.

1221
01:04:19,200 --> 01:04:22,000
Speaker 5: That makes total sense because even when I hear something

1222
01:04:22,120 --> 01:04:26,200
Speaker 5: you you play something like I really love your take

1223
01:04:26,400 --> 01:04:29,080
Speaker 5: on Nola's thing for She's got to have it, and

1224
01:04:29,320 --> 01:04:32,480
Speaker 5: just the way you play it, it's like, oh my god,

1225
01:04:32,800 --> 01:04:33,040
Speaker 5: it is.

1226
01:04:33,760 --> 01:04:34,480
Speaker 8: It's gorgeous.

1227
01:04:34,560 --> 01:04:34,720
Speaker 2: Man.

1228
01:04:34,840 --> 01:04:37,160
Speaker 7: So I love it sounds like hearing you say that,

1229
01:04:37,240 --> 01:04:39,960
Speaker 7: because yeah, right, you know that's my thing. If you're

1230
01:04:40,000 --> 01:04:43,400
Speaker 7: gonna do that, do a cover. And in that case,

1231
01:04:43,680 --> 01:04:47,840
Speaker 7: Spike's Dad's great original theme Bill Lee, and I wanted to,

1232
01:04:48,560 --> 01:04:49,400
Speaker 7: you know, make it my own.

1233
01:04:49,480 --> 01:04:49,760
Speaker 8: That's what.

1234
01:04:50,120 --> 01:04:51,800
Speaker 7: Why why do a cover if you're not going to

1235
01:04:51,840 --> 01:04:55,360
Speaker 7: try to spin it and do it and not replicate

1236
01:04:55,440 --> 01:04:58,880
Speaker 7: what's come before? What what's the point of that? So yeah, thanks, man,

1237
01:04:59,280 --> 01:05:02,000
Speaker 7: I was proud of the and I did it pretty fast.

1238
01:05:02,680 --> 01:05:06,520
Speaker 7: I gave him three takes and and Spike used the

1239
01:05:06,640 --> 01:05:08,720
Speaker 7: right one to me, he's the one I liked the most,

1240
01:05:09,360 --> 01:05:13,320
Speaker 7: and so yeah, that's good. That's but we've seen since

1241
01:05:13,320 --> 01:05:16,360
Speaker 7: we seem to be going chronologically. Then we can go

1242
01:05:16,560 --> 01:05:21,760
Speaker 7: back to to ninety five where we were talking about Papathenas.

1243
01:05:22,000 --> 01:05:24,960
Speaker 2: Wait a minute, is one more thing, one more important

1244
01:05:25,000 --> 01:05:29,880
Speaker 2: part you missed? Okay, you just banded the group? Everyone

1245
01:05:29,880 --> 01:05:34,120
Speaker 2: went grateful Dead. So how how was that? Like, hey guys,

1246
01:05:34,760 --> 01:05:37,080
Speaker 2: I'm going over here, you guys take care of Like

1247
01:05:37,200 --> 01:05:37,600
Speaker 2: what was.

1248
01:05:37,640 --> 01:05:40,800
Speaker 6: The Well, it wasn't exactly like that.

1249
01:05:41,000 --> 01:05:44,280
Speaker 7: I joined the Dead in nineteen ninety and the Range

1250
01:05:44,720 --> 01:05:47,960
Speaker 7: was split apart in ninety two, but so probably by

1251
01:05:48,080 --> 01:05:50,640
Speaker 7: joining the Dead played a part of that. But mostly

1252
01:05:51,360 --> 01:05:54,640
Speaker 7: I wanted to move on the first record without that band.

1253
01:05:55,680 --> 01:05:57,880
Speaker 7: And I always loved it when people would say, oh,

1254
01:05:57,960 --> 01:06:00,360
Speaker 7: I just missed the old band sound, and I would

1255
01:06:00,400 --> 01:06:02,920
Speaker 7: say to myself, well, what you're referring to as the

1256
01:06:03,040 --> 01:06:06,040
Speaker 7: old band sound is me playing along with the drum

1257
01:06:06,120 --> 01:06:10,000
Speaker 7: machine and with the bass virtual one man show all

1258
01:06:10,040 --> 01:06:12,360
Speaker 7: those hits that say the Range, I mean, the band

1259
01:06:12,520 --> 01:06:16,080
Speaker 7: was great and just like I've said before, the Range

1260
01:06:16,200 --> 01:06:18,840
Speaker 7: live we beat the dog shit out of those records,

1261
01:06:18,920 --> 01:06:23,400
Speaker 7: you know, just on an impact and intensity and groove level.

1262
01:06:23,720 --> 01:06:27,840
Speaker 7: The guys were great Molo, Joe Puerta, George Marinelli, on

1263
01:06:28,000 --> 01:06:32,960
Speaker 7: and on, Pete Harris, David Mansfield. So they wasn't disbanded,

1264
01:06:33,120 --> 01:06:35,800
Speaker 7: but okay. So we got asked to open for the

1265
01:06:35,880 --> 01:06:38,640
Speaker 7: Dead in nineteen eighty seven out of the blue. And

1266
01:06:39,000 --> 01:06:41,760
Speaker 7: as I said before, my older brother was a big

1267
01:06:41,840 --> 01:06:46,040
Speaker 7: deadhead and all his hippie friends up up in University Virginia.

1268
01:06:46,080 --> 01:06:48,680
Speaker 7: They used to drop acid, paint their faces and go

1269
01:06:48,800 --> 01:06:50,080
Speaker 7: play innermural volleyball.

1270
01:06:51,080 --> 01:06:57,080
Speaker 4: Ah, it sounds like high school life was easier than

1271
01:06:57,600 --> 01:06:57,880
Speaker 4: I think.

1272
01:06:57,920 --> 01:07:00,280
Speaker 7: They just exalted if they ever just hit the ball,

1273
01:07:01,840 --> 01:07:06,760
Speaker 7: made contact, you know. So I had my training with them,

1274
01:07:06,920 --> 01:07:09,040
Speaker 7: so I knew a lot of dead music, and so

1275
01:07:09,280 --> 01:07:12,439
Speaker 7: we played a dead song, well, an old traditional song.

1276
01:07:12,400 --> 01:07:14,120
Speaker 6: In the dead manner called I Know You Ryde or

1277
01:07:14,160 --> 01:07:15,320
Speaker 6: in our gigs. I don't know.

1278
01:07:15,400 --> 01:07:17,040
Speaker 7: Maybe they heard about that or they were just fans

1279
01:07:17,120 --> 01:07:19,200
Speaker 7: of the first record, and we got a call to

1280
01:07:19,360 --> 01:07:22,040
Speaker 7: open for them in Monterey, Californias.

1281
01:07:22,080 --> 01:07:22,440
Speaker 6: We did that.

1282
01:07:22,560 --> 01:07:25,560
Speaker 7: Twice two days in eighty seven eighty eight. They asked

1283
01:07:25,600 --> 01:07:30,240
Speaker 7: us again eighty nine some more, ninety some more. Every

1284
01:07:30,320 --> 01:07:31,880
Speaker 7: year they'd asked us to play a couple of times,

1285
01:07:31,920 --> 01:07:35,680
Speaker 7: and then sadly, their keyboard player, Brent Midland, died of

1286
01:07:35,680 --> 01:07:38,840
Speaker 7: an overdose in the summer of nineteen ninety, right after

1287
01:07:38,920 --> 01:07:41,760
Speaker 7: we'd played with them. And it was so strange because

1288
01:07:42,280 --> 01:07:45,120
Speaker 7: it was this growing relationship Garcia had had before that

1289
01:07:45,200 --> 01:07:48,320
Speaker 7: played on our third record, played fantastically on two songs

1290
01:07:49,200 --> 01:07:51,640
Speaker 7: and I'm in I'm Seattle, And at seven eight in

1291
01:07:51,680 --> 01:07:54,520
Speaker 7: the morning, I just heard it Garcia that Brent died.

1292
01:07:55,200 --> 01:07:57,080
Speaker 7: In the middle of the night, I'm walking down the

1293
01:07:57,120 --> 01:08:00,439
Speaker 7: street and some young guy comes up to me and says, hey, Bruce,

1294
01:08:00,480 --> 01:08:02,720
Speaker 7: You're going to join the Dead. It was so wild.

1295
01:08:03,040 --> 01:08:06,760
Speaker 7: I mean, the rumor mill was already out that I

1296
01:08:07,000 --> 01:08:10,200
Speaker 7: was going to replace and I told them so, yes.

1297
01:08:10,280 --> 01:08:12,000
Speaker 7: Sure enough, they came out to a gig that we

1298
01:08:12,120 --> 01:08:14,840
Speaker 7: did in Concord, California, just a few days after this

1299
01:08:15,560 --> 01:08:18,360
Speaker 7: and asked me to join Garcia and Phil Lesh came

1300
01:08:18,439 --> 01:08:21,559
Speaker 7: out and I said, look, guys, if you'd have caught

1301
01:08:21,600 --> 01:08:23,680
Speaker 7: me four years ago, before I had this thing going on,

1302
01:08:23,760 --> 01:08:26,080
Speaker 7: I would have said yes and lived happily ever after

1303
01:08:26,240 --> 01:08:28,720
Speaker 7: as your keyboard player. But I've got this thing going

1304
01:08:28,760 --> 01:08:31,639
Speaker 7: on pretty solidly. Now. But I will help you if

1305
01:08:31,680 --> 01:08:33,880
Speaker 7: you need me to. So they asked me to help

1306
01:08:33,920 --> 01:08:37,559
Speaker 7: them through the adjustment period. Their new keyboard player, Vince

1307
01:08:37,640 --> 01:08:40,960
Speaker 7: well Nick, who didn't have a long history with the music,

1308
01:08:41,120 --> 01:08:44,479
Speaker 7: he learned it pretty quickly. He grocked it fairly rapidly.

1309
01:08:44,920 --> 01:08:47,120
Speaker 7: And so I played with them for about two years,

1310
01:08:47,920 --> 01:08:51,240
Speaker 7: twenty months, about one hundred shows. And I wouldn't trade that.

1311
01:08:51,320 --> 01:08:53,599
Speaker 7: I wouldn't trade that time with them for anything.

1312
01:08:53,640 --> 01:08:55,840
Speaker 2: It was And how happy was the RCA with you

1313
01:08:56,000 --> 01:08:56,360
Speaker 2: doing this?

1314
01:08:57,439 --> 01:09:02,040
Speaker 7: Look, as I said before, these were really nice that

1315
01:09:02,200 --> 01:09:07,400
Speaker 7: they allowed me major latitude, major leeway, you know, they

1316
01:09:07,479 --> 01:09:13,519
Speaker 7: gave me long rope with which to hang myself on

1317
01:09:13,640 --> 01:09:17,360
Speaker 7: a career level, you know. But again, it wasn't about career.

1318
01:09:17,360 --> 01:09:20,519
Speaker 7: I wasn't trying to build this. I was just trying

1319
01:09:20,600 --> 01:09:24,800
Speaker 7: to to be moved by music and and just it

1320
01:09:24,920 --> 01:09:27,760
Speaker 7: just sounded like great fun, and it really was. I mean,

1321
01:09:27,800 --> 01:09:29,800
Speaker 7: where else can you play one song for an hour?

1322
01:09:30,720 --> 01:09:32,720
Speaker 2: I was gonna say, what was the longest What was

1323
01:09:32,760 --> 01:09:33,840
Speaker 2: the longest show you did?

1324
01:09:35,200 --> 01:09:37,280
Speaker 7: Longest show is probably four four and a half hours,

1325
01:09:37,439 --> 01:09:41,240
Speaker 7: But there's an asterisk asterisk there because there's some long

1326
01:09:41,320 --> 01:09:43,880
Speaker 7: ass breaks. You know, maybe maybe you take an hour

1327
01:09:44,000 --> 01:09:46,640
Speaker 7: between the first set set and the second set. Sometimes

1328
01:09:46,840 --> 01:09:49,760
Speaker 7: it was very loose. I couldn't believe it. They have

1329
01:09:49,880 --> 01:09:54,400
Speaker 7: the most amazing audience anywhere, you know this twenty fifteen

1330
01:09:54,479 --> 01:09:57,040
Speaker 7: fairly well concerts they could have played, they had a

1331
01:09:57,120 --> 01:09:58,480
Speaker 7: million over a million.

1332
01:09:58,280 --> 01:10:03,280
Speaker 3: Takes almost Okay, I almost went. I had a gig

1333
01:10:03,400 --> 01:10:05,280
Speaker 3: that night, the one in San Francisco I wanted to

1334
01:10:05,360 --> 01:10:05,560
Speaker 3: go to.

1335
01:10:06,080 --> 01:10:09,519
Speaker 2: Yeah, I just want to study them from a just from.

1336
01:10:09,680 --> 01:10:12,120
Speaker 6: Out sociological sociological level.

1337
01:10:12,200 --> 01:10:16,120
Speaker 3: Yeah, yeah, I've been getting into them, and I'll say,

1338
01:10:16,200 --> 01:10:20,439
Speaker 3: during this Corona break, there's some video out I think

1339
01:10:20,560 --> 01:10:24,240
Speaker 3: uh Lee Oscar of War sitting in uh with them,

1340
01:10:24,439 --> 01:10:28,120
Speaker 3: and also uh Slide the Family Stones drummer greg Or Rico.

1341
01:10:28,720 --> 01:10:32,200
Speaker 2: I didn't realize how many of like my favorite you

1342
01:10:32,280 --> 01:10:32,760
Speaker 2: know all like.

1343
01:10:32,800 --> 01:10:37,080
Speaker 3: I'm a studio musician, junkie, so I didn't realize how

1344
01:10:37,120 --> 01:10:40,160
Speaker 3: many like luminaries that they pull into the fold, and

1345
01:10:41,240 --> 01:10:42,560
Speaker 3: and how they adapt.

1346
01:10:42,479 --> 01:10:45,240
Speaker 2: You know, and then how they just just instantly.

1347
01:10:45,600 --> 01:10:48,120
Speaker 6: Yet right in Ornett sat in with them a few

1348
01:10:48,160 --> 01:10:51,439
Speaker 6: times and which was always amazing.

1349
01:10:52,200 --> 01:10:53,600
Speaker 2: So opening for the dead is it?

1350
01:10:53,840 --> 01:10:57,000
Speaker 3: Is it a little bit different than like, have you

1351
01:10:57,240 --> 01:11:01,479
Speaker 3: ever met an audience that you didn't vibe with right away,

1352
01:11:02,400 --> 01:11:04,120
Speaker 3: like opening the dead how was that?

1353
01:11:05,080 --> 01:11:08,479
Speaker 7: Well, it could be rough because the dead Heads can

1354
01:11:08,560 --> 01:11:13,200
Speaker 7: be fairly biopic, fairly tunnel vision, you know. They they're

1355
01:11:13,280 --> 01:11:13,640
Speaker 7: really not.

1356
01:11:13,760 --> 01:11:19,320
Speaker 2: There to hear you, and so so jammy version of

1357
01:11:19,600 --> 01:11:20,400
Speaker 2: the way it is or.

1358
01:11:22,120 --> 01:11:25,920
Speaker 6: Sure, but we were kind of doing that anyway. But so, yeah,

1359
01:11:26,320 --> 01:11:26,920
Speaker 6: it was tough.

1360
01:11:27,720 --> 01:11:30,479
Speaker 7: It was really tough when I would we probably opened

1361
01:11:30,520 --> 01:11:33,280
Speaker 7: for them eight times or so eight nine times, and

1362
01:11:33,400 --> 01:11:36,599
Speaker 7: probably only twice did we ever really garner a crowd

1363
01:11:36,680 --> 01:11:39,479
Speaker 7: and have them really be interested in what they were

1364
01:11:39,520 --> 01:11:40,200
Speaker 7: doing and when.

1365
01:11:40,240 --> 01:11:43,000
Speaker 6: So, when I started playing in the band, I ad

1366
01:11:43,040 --> 01:11:43,240
Speaker 6: made it.

1367
01:11:43,600 --> 01:11:47,679
Speaker 7: I was self appointed sort of psychologist to these poor

1368
01:11:47,920 --> 01:11:50,680
Speaker 7: opening acts who would go out there and just be

1369
01:11:51,560 --> 01:11:52,800
Speaker 7: roundly ignored.

1370
01:11:53,160 --> 01:11:53,360
Speaker 5: You know.

1371
01:11:53,560 --> 01:11:56,639
Speaker 7: Dwight Yoakum came out there and he's there playing away,

1372
01:11:57,320 --> 01:12:00,400
Speaker 7: and man, I mean he's a beautifull guy.

1373
01:12:00,600 --> 01:12:03,679
Speaker 6: I just said to him. Then I feel you. I've

1374
01:12:03,840 --> 01:12:08,000
Speaker 6: been there, you know, So so it can be real tough.

1375
01:12:08,080 --> 01:12:12,519
Speaker 7: Now, some acts like Traffic, Steve Winwood or Dylan or

1376
01:12:12,680 --> 01:12:18,000
Speaker 7: Little Feet, you know, the Dead fans just really embrace

1377
01:12:18,840 --> 01:12:22,439
Speaker 7: certain groups, maybe some reggae groups. If Ziggy Marley was playing,

1378
01:12:22,880 --> 01:12:26,839
Speaker 7: they probably love that sort of related musical styles.

1379
01:12:26,920 --> 01:12:29,400
Speaker 8: I guess I have a question, Bruce. Sorry Fante.

1380
01:12:31,520 --> 01:12:35,760
Speaker 9: Uh So, since we're on the Dead and that they

1381
01:12:35,840 --> 01:12:38,760
Speaker 9: asked you to join did And I'm not trying to

1382
01:12:38,800 --> 01:12:41,719
Speaker 9: be funny, morbid or disrespectful here, but the three previous

1383
01:12:41,840 --> 01:12:44,840
Speaker 9: keyboard and piano players keyboard died.

1384
01:12:46,000 --> 01:12:50,479
Speaker 8: And I don't know if you did that cross your mind, like,

1385
01:12:50,720 --> 01:12:54,160
Speaker 8: uh no, no.

1386
01:12:54,479 --> 01:12:58,519
Speaker 7: I I left the Dead because I came home in

1387
01:12:58,560 --> 01:13:01,599
Speaker 7: the middle of a one of their spring tours. They'd

1388
01:13:01,640 --> 01:13:05,000
Speaker 7: have the spring, the summer, and the fall tours around

1389
01:13:05,040 --> 01:13:07,680
Speaker 7: the US. I came home in the middle of the

1390
01:13:07,840 --> 01:13:12,160
Speaker 7: March tour in ninety two. I just my wife and

1391
01:13:12,200 --> 01:13:14,719
Speaker 7: I had just had our twin sons, Russell and Keith,

1392
01:13:14,840 --> 01:13:18,960
Speaker 7: named for Keith Jarrett and Leon Russell, and so I

1393
01:13:19,040 --> 01:13:22,040
Speaker 7: came home and they didn't know me, and I went,

1394
01:13:22,120 --> 01:13:27,720
Speaker 7: you know what, I don't like this. I need to

1395
01:13:27,920 --> 01:13:30,360
Speaker 7: get off the freaking road at least most of the

1396
01:13:30,479 --> 01:13:33,439
Speaker 7: time for a while anyway. So that's when I went

1397
01:13:33,520 --> 01:13:35,519
Speaker 7: back to finish the tour and I said, hey, guys,

1398
01:13:35,960 --> 01:13:38,280
Speaker 7: and Vin's really had the gig solid.

1399
01:13:38,360 --> 01:13:40,479
Speaker 6: He was doing a great job by then. He was

1400
01:13:40,560 --> 01:13:41,680
Speaker 6: doing solid the whole time.

1401
01:13:41,720 --> 01:13:44,040
Speaker 7: But he really seemed to be getting in the groove

1402
01:13:44,120 --> 01:13:46,719
Speaker 7: with it and so knowledgeable about the music.

1403
01:13:46,960 --> 01:13:49,479
Speaker 6: So that was my swan song.

1404
01:13:49,520 --> 01:13:51,840
Speaker 7: Although I would sit in with them when they were

1405
01:13:51,920 --> 01:13:54,720
Speaker 7: geographically close to me. When he was really struggling in

1406
01:13:54,800 --> 01:13:58,080
Speaker 7: his last year, they would actually call me up and say, Hey,

1407
01:13:58,120 --> 01:14:00,880
Speaker 7: we're in Charlotte, would you would you come down here?

1408
01:14:00,920 --> 01:14:04,320
Speaker 7: Will fly you down here to play because he was

1409
01:14:04,439 --> 01:14:07,640
Speaker 7: having such a hard time it was. It was so

1410
01:14:07,960 --> 01:14:12,439
Speaker 7: listless on stage, so low energy, and they thought I

1411
01:14:12,479 --> 01:14:15,680
Speaker 7: could maybe prod and give a little cattle prod and

1412
01:14:16,680 --> 01:14:19,640
Speaker 7: get him going. So I did that in Charlotte and

1413
01:14:19,800 --> 01:14:23,240
Speaker 7: then in at OURFK Stadium two Knights in DC, and

1414
01:14:23,360 --> 01:14:25,479
Speaker 7: then a month and a half months or five weeks later,

1415
01:14:25,520 --> 01:14:26,200
Speaker 7: he was gone.

1416
01:14:26,880 --> 01:14:28,200
Speaker 8: Damn Yeah.

1417
01:14:28,240 --> 01:14:30,479
Speaker 5: I kind of had like a kind of a two

1418
01:14:30,560 --> 01:14:33,400
Speaker 5: part question along along those lines of just your family

1419
01:14:33,479 --> 01:14:36,479
Speaker 5: and your you know, your kids and everything at this

1420
01:14:36,600 --> 01:14:38,519
Speaker 5: point of your career. When we first got on the show,

1421
01:14:38,560 --> 01:14:40,400
Speaker 5: you were saying, you know, you're in the studio working

1422
01:14:40,439 --> 01:14:44,160
Speaker 5: on something. Do you think of yourself more primarily as

1423
01:14:44,200 --> 01:14:47,680
Speaker 5: a player or a singer or a producer, and like

1424
01:14:48,000 --> 01:14:50,840
Speaker 5: kind of what is the hierarchy you know when you

1425
01:14:50,960 --> 01:14:51,759
Speaker 5: sit down to create.

1426
01:14:52,360 --> 01:14:54,960
Speaker 6: Well, well, I said down to create. It's all about

1427
01:14:55,000 --> 01:14:58,280
Speaker 6: the song. So it's all about being a songwriters.

1428
01:14:57,360 --> 01:14:58,120
Speaker 8: The songwriter first.

1429
01:14:58,600 --> 01:15:01,720
Speaker 7: Yeah, and what Frank, my last two records that are

1430
01:15:02,160 --> 01:15:05,599
Speaker 7: receiving such great I don't know, sort of acclaim around

1431
01:15:05,640 --> 01:15:06,040
Speaker 7: the world.

1432
01:15:06,160 --> 01:15:06,799
Speaker 6: It's amazing.

1433
01:15:06,880 --> 01:15:10,479
Speaker 7: It's some of the more adventurous, strange music I've ever made.

1434
01:15:10,479 --> 01:15:12,439
Speaker 7: And all of a sudden, I'm being embraced by all

1435
01:15:12,520 --> 01:15:18,599
Speaker 7: these these vaunted venues. Uh. I've been taking I've been

1436
01:15:18,600 --> 01:15:21,280
Speaker 7: writing music to some Spike Lee cues.

1437
01:15:22,120 --> 01:15:22,240
Speaker 2: Uh.

1438
01:15:22,640 --> 01:15:26,479
Speaker 7: And because I thought through the years Spike hired me,

1439
01:15:27,400 --> 01:15:30,240
Speaker 7: I'd always do a little bit little things for him

1440
01:15:30,280 --> 01:15:30,680
Speaker 7: here and there.

1441
01:15:30,800 --> 01:15:33,000
Speaker 8: In fact, no, I love that song.

1442
01:15:33,120 --> 01:15:36,040
Speaker 7: Well, I was just gonna say, because question love you.

1443
01:15:36,040 --> 01:15:39,559
Speaker 7: Your first acting gig was bamboozled.

1444
01:15:39,080 --> 01:15:40,800
Speaker 8: Right, Yes, so.

1445
01:15:43,640 --> 01:15:45,680
Speaker 4: And Oscar worthy of performance?

1446
01:15:46,360 --> 01:15:47,880
Speaker 6: Is that your Sheena Easton moment?

1447
01:15:48,200 --> 01:15:54,000
Speaker 2: Yeah, No, it isn't, because you know, I knew that

1448
01:15:54,360 --> 01:15:57,280
Speaker 2: it was a sattire. It's just yeah, the way that

1449
01:15:58,960 --> 01:16:01,520
Speaker 2: Spike often does these these social experiments.

1450
01:16:02,600 --> 01:16:05,720
Speaker 3: So I'll say that the only part that was like

1451
01:16:06,320 --> 01:16:08,400
Speaker 3: hard to do about that movie was the fact that

1452
01:16:08,560 --> 01:16:12,400
Speaker 3: he purposely will put our trailer.

1453
01:16:13,760 --> 01:16:17,080
Speaker 2: Five blocks five city blocks away from where we were shooting.

1454
01:16:17,720 --> 01:16:23,240
Speaker 2: Why because he wanted us He at the end, I

1455
01:16:23,320 --> 01:16:26,160
Speaker 2: was like, you you did a school days on us.

1456
01:16:26,240 --> 01:16:29,439
Speaker 8: You purposely wanted to feel the shame of wanted us to.

1457
01:16:29,520 --> 01:16:33,479
Speaker 3: Walk through the streets of New York and its closed

1458
01:16:33,600 --> 01:16:38,519
Speaker 3: and in black faith like five blocks wow. Yeah, And

1459
01:16:38,640 --> 01:16:42,640
Speaker 3: it was yeah, like we knew it that this was

1460
01:16:42,800 --> 01:16:45,720
Speaker 3: and you know, at the time in two thousand, I

1461
01:16:45,840 --> 01:16:47,479
Speaker 3: was like, yo, you know, you don't think that's going

1462
01:16:47,560 --> 01:16:49,800
Speaker 3: to get it. Now it's like we're past it, Like

1463
01:16:50,120 --> 01:16:54,280
Speaker 3: you know, it's more like a documentary than it's like

1464
01:16:54,760 --> 01:16:55,760
Speaker 3: it's like idiocracy.

1465
01:16:56,240 --> 01:16:58,400
Speaker 2: Yeah, it is, it is. It is.

1466
01:16:58,760 --> 01:17:00,760
Speaker 6: So yeah, well that sounds cool, but it sounds like

1467
01:17:00,840 --> 01:17:02,600
Speaker 6: it has a real purpose what he made, y'all do.

1468
01:17:02,960 --> 01:17:05,400
Speaker 2: Total I know it had an absolute purpose in doing it.

1469
01:17:05,479 --> 01:17:06,760
Speaker 6: Yeah, yeah, I enjoyed it.

1470
01:17:08,640 --> 01:17:10,680
Speaker 2: Yeah, So what was it? How did you do? Was

1471
01:17:10,760 --> 01:17:13,160
Speaker 2: this your where do you did Clockers? First? Correct?

1472
01:17:14,040 --> 01:17:17,640
Speaker 7: Okay, my my Spike, I guess the resume goes like this,

1473
01:17:17,800 --> 01:17:20,360
Speaker 7: we made this video. Uh, we prand for it in

1474
01:17:20,400 --> 01:17:22,800
Speaker 7: New York City. I trove in New York cap Then

1475
01:17:22,840 --> 01:17:24,640
Speaker 7: in ninety five he called messy if I would to

1476
01:17:24,840 --> 01:17:28,080
Speaker 7: write an end title song for his great movie Clockers.

1477
01:17:28,120 --> 01:17:30,519
Speaker 7: I think it's one of his great ones. And you

1478
01:17:30,600 --> 01:17:34,000
Speaker 7: have so many, and I just had. Shaka Khan had

1479
01:17:34,080 --> 01:17:36,479
Speaker 7: called me right around the same time and said said, hey,

1480
01:17:36,520 --> 01:17:39,400
Speaker 7: would you write a song with me? And I said, yes,

1481
01:17:39,560 --> 01:17:42,760
Speaker 7: come to Virginia because I heard Shaka look I love

1482
01:17:42,800 --> 01:17:44,920
Speaker 7: her to death, but I heard she was famous for

1483
01:17:45,400 --> 01:17:48,360
Speaker 7: making a meeting at noon and showing up many hours

1484
01:17:48,439 --> 01:17:54,120
Speaker 7: late being yes. So I thought to myself, well, if

1485
01:17:54,120 --> 01:17:55,599
Speaker 7: I'm going to wait on her, I'm going to wait

1486
01:17:55,600 --> 01:17:56,120
Speaker 7: in my house.

1487
01:17:56,360 --> 01:17:58,360
Speaker 6: So she came and we had the best time.

1488
01:17:58,439 --> 01:18:01,080
Speaker 7: We wrote this the song Love Me Still, and then Spike,

1489
01:18:01,280 --> 01:18:03,639
Speaker 7: right around the time we were writing it, he calls

1490
01:18:03,720 --> 01:18:06,519
Speaker 7: me and said, hey, uh, I'd like I'd like an

1491
01:18:06,680 --> 01:18:08,680
Speaker 7: entitle I need an entitle song. What do you got?

1492
01:18:08,760 --> 01:18:10,400
Speaker 7: I said, well, Jock and I are writing the song

1493
01:18:10,720 --> 01:18:12,920
Speaker 7: and we'll get and said, okay, well I claim it,

1494
01:18:13,360 --> 01:18:14,840
Speaker 7: and so that's as simple as that.

1495
01:18:15,920 --> 01:18:18,639
Speaker 8: Without even having heard the song, he was just like that, Well.

1496
01:18:18,600 --> 01:18:20,719
Speaker 6: I guess I claimed first write a refusal.

1497
01:18:21,000 --> 01:18:22,760
Speaker 8: Oh okay, okay, you know I guess.

1498
01:18:22,800 --> 01:18:26,040
Speaker 3: Oh wait, were you initially trying to put that on her?

1499
01:18:26,439 --> 01:18:28,600
Speaker 3: On another album of hers, or it.

1500
01:18:28,680 --> 01:18:30,280
Speaker 7: Was just we're just writing a song. It was it

1501
01:18:30,400 --> 01:18:32,640
Speaker 7: was for her though, it was for it was she,

1502
01:18:32,920 --> 01:18:35,120
Speaker 7: she was writing the words, she was going to sing it.

1503
01:18:35,360 --> 01:18:38,800
Speaker 7: Uh so, and she's done it. Great, She's on her

1504
01:18:38,840 --> 01:18:42,400
Speaker 7: greatest hits record. And then six years later he asked

1505
01:18:42,439 --> 01:18:45,880
Speaker 7: me again for Bamboozled, and this time though he wanted

1506
01:18:45,960 --> 01:18:50,559
Speaker 7: it to be specific to the the script to the story.

1507
01:18:51,120 --> 01:18:55,120
Speaker 7: I guess it's Damon Wayn's character, right, and so I

1508
01:18:55,200 --> 01:18:58,800
Speaker 7: basically wrote it from his point of view, and uh

1509
01:18:59,720 --> 01:19:02,439
Speaker 7: and look, that ended up being the entitled song for

1510
01:19:02,600 --> 01:19:05,719
Speaker 7: that and then years so we kept asking for little

1511
01:19:05,760 --> 01:19:08,360
Speaker 7: bits and pieces for movies. But then in two thousand

1512
01:19:08,360 --> 01:19:12,040
Speaker 7: and eight he called me and said, hey, I want

1513
01:19:12,080 --> 01:19:17,000
Speaker 7: you to score. I'm doing this documentary ESPN documentary on

1514
01:19:17,240 --> 01:19:19,680
Speaker 7: the late Great Kobe Bryant. It's called Kobe Doing Work,

1515
01:19:19,720 --> 01:19:20,639
Speaker 7: and I'd like you to score.

1516
01:19:20,920 --> 01:19:22,360
Speaker 6: So I think this was my audition.

1517
01:19:23,840 --> 01:19:26,000
Speaker 7: So that was my first one, and that was two

1518
01:19:26,000 --> 01:19:28,120
Speaker 7: thousand and eight, came out in nine, I believe, and

1519
01:19:28,280 --> 01:19:30,080
Speaker 7: then all the way up through last year with this

1520
01:19:30,200 --> 01:19:33,000
Speaker 7: She's Got to Have It Part two, the second season,

1521
01:19:33,680 --> 01:19:36,439
Speaker 7: I did a bunch of stuff, probably six or seven

1522
01:19:36,720 --> 01:19:39,880
Speaker 7: full scores and some little incidental music. So in that

1523
01:19:40,080 --> 01:19:43,840
Speaker 7: time eleven years, I wrote probably almost two hundred and

1524
01:19:43,920 --> 01:19:46,600
Speaker 7: forty different pieces of music, and now and then I

1525
01:19:46,600 --> 01:19:50,280
Speaker 7: would think, Man, this song, this piece, this instrumental cue,

1526
01:19:50,439 --> 01:19:52,479
Speaker 7: it sounds like it needs to be expanded into a song.

1527
01:19:52,800 --> 01:19:55,320
Speaker 7: So I started doing that three years ago. And I

1528
01:19:55,360 --> 01:19:59,559
Speaker 7: started giving myself chills while doing this because the cues

1529
01:19:59,600 --> 01:20:00,840
Speaker 7: themselves were very vibe.

1530
01:20:00,880 --> 01:20:01,720
Speaker 6: He's cinematic.

1531
01:20:02,080 --> 01:20:04,640
Speaker 7: And that became my record absolute zero, and then I

1532
01:20:04,720 --> 01:20:06,760
Speaker 7: can't follow it up with you know, just last week

1533
01:20:06,840 --> 01:20:11,200
Speaker 7: came out non Secure Connection also uh chock full of

1534
01:20:11,960 --> 01:20:14,400
Speaker 7: of score of music that became songs.

1535
01:20:14,439 --> 01:20:18,599
Speaker 8: Yeah, Scott, Yeah, And do you you know you talk

1536
01:20:18,600 --> 01:20:19,839
Speaker 8: about your songwriting process.

1537
01:20:20,080 --> 01:20:22,599
Speaker 5: I was curious to know do you think of yourself

1538
01:20:23,200 --> 01:20:26,240
Speaker 5: as a singer or is it just kind of your

1539
01:20:26,360 --> 01:20:28,680
Speaker 5: voice is just the I guess, the vehicle to kind

1540
01:20:28,720 --> 01:20:29,160
Speaker 5: of get it out.

1541
01:20:29,240 --> 01:20:31,000
Speaker 8: Like if someone came to you and was like, Yo,

1542
01:20:31,120 --> 01:20:33,280
Speaker 8: I have a song I wrote for you. Is that

1543
01:20:33,479 --> 01:20:35,960
Speaker 8: something that you have explored.

1544
01:20:35,880 --> 01:20:38,040
Speaker 6: For oh, people writing songs for me to do?

1545
01:20:38,240 --> 01:20:38,439
Speaker 2: Yeah?

1546
01:20:38,520 --> 01:20:41,160
Speaker 8: Yeah, specifically as a sing Yeah, No, I don't.

1547
01:20:41,840 --> 01:20:44,720
Speaker 7: People excuse me, don't do that much. But I had

1548
01:20:44,800 --> 01:20:48,120
Speaker 7: that look if there was ever a book written about me,

1549
01:20:48,120 --> 01:20:52,439
Speaker 7: you should be called slow learner. And I feel like

1550
01:20:52,520 --> 01:20:55,800
Speaker 7: as a vocalist, what I do now is far, far

1551
01:20:55,920 --> 01:20:58,519
Speaker 7: exceeds what I did then, just on a soulful level,

1552
01:20:58,560 --> 01:21:01,320
Speaker 7: an expressive level, and so.

1553
01:21:02,160 --> 01:21:03,479
Speaker 6: So yeah, I'm just deep.

1554
01:21:03,560 --> 01:21:05,519
Speaker 7: People ask me, well, do you have any interest in

1555
01:21:05,640 --> 01:21:08,720
Speaker 7: doing this and scoring films blah blah blah and or

1556
01:21:08,800 --> 01:21:09,400
Speaker 7: doing this and that.

1557
01:21:09,560 --> 01:21:11,960
Speaker 6: I say, Look, I'm just really trying to do what

1558
01:21:12,120 --> 01:21:13,800
Speaker 6: I do better and better.

1559
01:21:14,840 --> 01:21:17,120
Speaker 7: And I also tell them that I'm like Tom Hagen

1560
01:21:17,200 --> 01:21:20,080
Speaker 7: and The Godfather who has one client as a lawyer

1561
01:21:20,200 --> 01:21:23,720
Speaker 7: Don Corleoni, I'm as a film composer, I'm the same.

1562
01:21:23,800 --> 01:21:27,960
Speaker 7: I have one client, Spike Lee. I'm not interested in

1563
01:21:28,080 --> 01:21:31,240
Speaker 7: doing this for other people. We have a special relationship.

1564
01:21:31,439 --> 01:21:33,840
Speaker 8: And so that's now y'all have a synergy. Man, it

1565
01:21:33,960 --> 01:21:34,479
Speaker 8: definitely is.

1566
01:21:34,600 --> 01:21:36,680
Speaker 5: It's just, you know, when you were just describing your

1567
01:21:37,200 --> 01:21:39,600
Speaker 5: your style kind of like the Bill Evans meets the

1568
01:21:39,720 --> 01:21:40,400
Speaker 5: him kind of thing.

1569
01:21:40,720 --> 01:21:42,080
Speaker 6: Yes, it fits his.

1570
01:21:43,120 --> 01:21:45,160
Speaker 5: I mean it fits the tone of his movies, like

1571
01:21:45,240 --> 01:21:48,280
Speaker 5: the thing you guys have. It works man, Yeah, Well

1572
01:21:48,320 --> 01:21:49,560
Speaker 5: he just likes what I do.

1573
01:21:49,760 --> 01:21:53,080
Speaker 7: He called me up last week about something and said look,

1574
01:21:53,680 --> 01:21:55,400
Speaker 7: just I'm gonna keep calling.

1575
01:21:55,280 --> 01:21:57,720
Speaker 6: You because I like what you do. So so that's

1576
01:21:57,800 --> 01:21:59,439
Speaker 6: not I love him. I'll tell you what.

1577
01:21:59,560 --> 01:22:03,200
Speaker 7: I'll tell you one great Spike story. Speaking of the

1578
01:22:03,640 --> 01:22:05,960
Speaker 7: the Bill Lee the Uh the.

1579
01:22:09,600 --> 01:22:10,760
Speaker 6: Uh, we were.

1580
01:22:10,720 --> 01:22:15,479
Speaker 7: Recording that with Leslie Odom Junior singing uh from Hamilton

1581
01:22:16,280 --> 01:22:19,080
Speaker 7: and he's he's he was in Harriet Tubman lately he's

1582
01:22:19,120 --> 01:22:23,679
Speaker 7: had a great post Hamilton career. Anyway, we're doing recording

1583
01:22:23,720 --> 01:22:28,240
Speaker 7: in Brooklyn, recording Leslie and uh with a great jazz

1584
01:22:28,320 --> 01:22:29,760
Speaker 7: group backing us up.

1585
01:22:30,280 --> 01:22:30,760
Speaker 6: And uh.

1586
01:22:31,960 --> 01:22:34,360
Speaker 7: So I said, hey, Spike, I need a ride to

1587
01:22:34,520 --> 01:22:37,960
Speaker 7: my hotel. Somewhere in the middle middle of the session.

1588
01:22:38,080 --> 01:22:40,120
Speaker 7: He said, yeah, no problem, we'll get it. So the

1589
01:22:40,240 --> 01:22:43,000
Speaker 7: session ends and he says, hey, let's it's a nice day.

1590
01:22:43,080 --> 01:22:46,519
Speaker 7: Let's just walk to your hotel. So we go out

1591
01:22:46,560 --> 01:22:49,760
Speaker 7: in the street, just the two of us, and man,

1592
01:22:50,400 --> 01:22:57,120
Speaker 7: it was like walking with I don't know, I mean, well,

1593
01:22:57,840 --> 01:23:00,760
Speaker 7: I just I was just I just love people are

1594
01:23:00,840 --> 01:23:02,719
Speaker 7: hanging out of cars, hanging out of an apartment.

1595
01:23:02,800 --> 01:23:05,720
Speaker 8: Go spy, Go spy, it was.

1596
01:23:06,240 --> 01:23:09,519
Speaker 7: I said to him, is it always like this? Yeah,

1597
01:23:09,600 --> 01:23:12,479
Speaker 7: pretty much. But then later on, you know, Spike, Spike,

1598
01:23:12,520 --> 01:23:15,040
Speaker 7: Spike he looks at me, so, well, maybe today is

1599
01:23:15,080 --> 01:23:18,479
Speaker 7: a little more intense than you, but it was. We

1600
01:23:18,600 --> 01:23:20,879
Speaker 7: had the best time. It was a beautiful November afternoon

1601
01:23:21,200 --> 01:23:23,599
Speaker 7: in Brooklyn and we just walked and walked and walked,

1602
01:23:24,200 --> 01:23:26,599
Speaker 7: and it's just it's one of my great Spike Lee

1603
01:23:26,640 --> 01:23:29,880
Speaker 7: Mogoks is walking with him while he's just getting the

1604
01:23:30,280 --> 01:23:33,920
Speaker 7: love from you know, he was just getting his King.

1605
01:23:33,840 --> 01:23:36,320
Speaker 2: Of Boklyn exactly right.

1606
01:23:36,360 --> 01:23:37,280
Speaker 6: It's just fantastic.

1607
01:23:37,560 --> 01:23:40,200
Speaker 3: So let me ask you, so with where we are

1608
01:23:40,360 --> 01:23:44,080
Speaker 3: now today and Corona and the world slowed down, I

1609
01:23:44,160 --> 01:23:46,840
Speaker 3: know for a lot of musicians, this is the time

1610
01:23:46,880 --> 01:23:50,160
Speaker 3: period in which the portals of a lot of ideas

1611
01:23:50,800 --> 01:23:55,519
Speaker 3: are opening up. And you know, again you've done blue

1612
01:23:55,600 --> 01:23:58,599
Speaker 3: grass work with Ricky Skaggs, and you know, jazz working

1613
01:23:59,120 --> 01:23:59,880
Speaker 3: all the other things.

1614
01:24:00,040 --> 01:24:03,400
Speaker 2: Like what have you what have you been trying to

1615
01:24:03,680 --> 01:24:04,800
Speaker 2: cook up as of late?

1616
01:24:05,080 --> 01:24:07,599
Speaker 3: Like how have you how have you spent the last

1617
01:24:08,520 --> 01:24:10,759
Speaker 3: well as of this recording six seven months?

1618
01:24:11,720 --> 01:24:15,960
Speaker 7: Yeah, Well, in early mid March when the quarantine shut

1619
01:24:16,040 --> 01:24:19,720
Speaker 7: down era began, obviously, like everyone else, I wasn't going

1620
01:24:19,800 --> 01:24:23,200
Speaker 7: to go go anywhere. But I have this great facility,

1621
01:24:23,439 --> 01:24:26,360
Speaker 7: this great studio, so I just decided Okay, well, I'm

1622
01:24:26,400 --> 01:24:29,360
Speaker 7: going to try to take the deep dive and and

1623
01:24:29,560 --> 01:24:33,320
Speaker 7: try to really take it to another level. So I

1624
01:24:33,439 --> 01:24:37,400
Speaker 7: wrote six songs in six weeks from mid March to

1625
01:24:37,560 --> 01:24:39,800
Speaker 7: the end of April. Then I had to go do

1626
01:24:39,920 --> 01:24:43,080
Speaker 7: a few other things, some music for other records, et cetera.

1627
01:24:43,160 --> 01:24:46,800
Speaker 7: But uh, and I've learned how to play these the

1628
01:24:46,920 --> 01:24:49,760
Speaker 7: songs off this current new record because now we're in

1629
01:24:49,800 --> 01:24:53,479
Speaker 7: the remote era and so you have to perform in your.

1630
01:24:53,400 --> 01:24:56,439
Speaker 6: House and so I did that.

1631
01:24:56,560 --> 01:24:58,679
Speaker 7: And I was just in l A last week working

1632
01:24:58,800 --> 01:25:02,720
Speaker 7: with with ton Burr, who says, hi to you, questlove.

1633
01:25:03,160 --> 01:25:06,720
Speaker 7: Tony Berg has a studio in Brentwood on Kent, and

1634
01:25:06,760 --> 01:25:08,759
Speaker 7: he said, you work there with a woman named Susan

1635
01:25:08,880 --> 01:25:10,120
Speaker 7: Rodgers and engineer.

1636
01:25:10,200 --> 01:25:13,080
Speaker 8: Okay, wow, yeah, yeah, yeah.

1637
01:25:13,160 --> 01:25:13,559
Speaker 6: That's right.

1638
01:25:13,680 --> 01:25:17,040
Speaker 7: So he says, hello, Tony Brooks a great, great producer.

1639
01:25:17,360 --> 01:25:20,400
Speaker 7: He produces It produced Fiona Apples of her great records.

1640
01:25:20,439 --> 01:25:23,559
Speaker 7: He produces young girl Phoebe Bridges, who's sort of all

1641
01:25:23,640 --> 01:25:27,599
Speaker 7: the rage in that world, very very strong. So that's

1642
01:25:27,640 --> 01:25:30,479
Speaker 7: what I've been doing, just uh, just working on new stuff.

1643
01:25:30,760 --> 01:25:34,200
Speaker 6: And that's I'm lucky, just like I guess all of us.

1644
01:25:34,240 --> 01:25:35,600
Speaker 7: We get to do what we love to do for

1645
01:25:35,640 --> 01:25:40,160
Speaker 7: a living. And so I'm just continuing to try to

1646
01:25:40,439 --> 01:25:43,519
Speaker 7: be creative at this point in my career. Sometimes I'm

1647
01:25:43,560 --> 01:25:45,599
Speaker 7: trying to make a sound that I've never heard before.

1648
01:25:46,320 --> 01:25:47,599
Speaker 6: So it takes me far.

1649
01:25:47,479 --> 01:25:51,440
Speaker 7: Afield into again dough decophonic stylings.

1650
01:25:53,120 --> 01:25:54,040
Speaker 4: Wow, there you.

1651
01:25:58,000 --> 01:26:00,000
Speaker 2: Were, you were coming up?

1652
01:26:00,120 --> 01:26:00,960
Speaker 8: Were your kids?

1653
01:26:01,360 --> 01:26:01,400
Speaker 2: Like?

1654
01:26:01,479 --> 01:26:04,599
Speaker 5: Were they aware that you know their dad was Bruce Hornsby?

1655
01:26:04,720 --> 01:26:07,800
Speaker 5: Like how did you navigate being a musician and a parent?

1656
01:26:07,880 --> 01:26:11,599
Speaker 7: And I think I think they gradually it just as

1657
01:26:11,680 --> 01:26:13,720
Speaker 7: you grew up as a kid, you you sort of

1658
01:26:13,840 --> 01:26:19,120
Speaker 7: gradually become awake, you know, you wake up every year

1659
01:26:19,160 --> 01:26:23,040
Speaker 7: a little bit more. And so they they knew about it.

1660
01:26:23,160 --> 01:26:24,880
Speaker 7: Say when they were seven or eight, where they'd go

1661
01:26:25,000 --> 01:26:29,160
Speaker 7: see we did a tour. And when they were six,

1662
01:26:30,000 --> 01:26:33,080
Speaker 7: Bonnie Ray Jackson, Brown, Sean Colvin and I and David

1663
01:26:33,120 --> 01:26:36,080
Speaker 7: Linley did a tour. The boys came around on this

1664
01:26:36,360 --> 01:26:38,640
Speaker 7: tour and you know, they're red rocks and seeing a

1665
01:26:38,720 --> 01:26:42,360
Speaker 7: big crowd of nine thousand going crazy for their grizzled

1666
01:26:42,400 --> 01:26:45,600
Speaker 7: old code of a dad. And uh so anyway that

1667
01:26:45,760 --> 01:26:48,000
Speaker 7: that's they've enjoined it. My boys are fans of what.

1668
01:26:48,080 --> 01:26:51,599
Speaker 6: I do and so that's really really nice.

1669
01:26:52,040 --> 01:26:52,280
Speaker 8: Really.

1670
01:26:52,479 --> 01:26:54,519
Speaker 2: Oh okay, before we let you go, I do have

1671
01:26:54,600 --> 01:26:55,080
Speaker 2: one question.

1672
01:26:55,640 --> 01:27:00,920
Speaker 3: So obviously you got a long, long mile out of

1673
01:27:01,000 --> 01:27:05,760
Speaker 3: the way it is via Tupac, But did you ever

1674
01:27:06,040 --> 01:27:08,920
Speaker 3: foresee or think that there will be a time in which,

1675
01:27:10,120 --> 01:27:14,240
Speaker 3: even twenty years after Tupac, that the way it is

1676
01:27:14,280 --> 01:27:15,200
Speaker 3: would come back again?

1677
01:27:16,200 --> 01:27:17,200
Speaker 2: Another pology?

1678
01:27:17,800 --> 01:27:19,439
Speaker 6: Polo g wishing for a hero.

1679
01:27:19,720 --> 01:27:22,640
Speaker 2: Many wish for a hero. So I love it.

1680
01:27:23,080 --> 01:27:24,720
Speaker 6: I really love what Polog did.

1681
01:27:24,800 --> 01:27:28,640
Speaker 7: We got out of the blue and maybe February of

1682
01:27:28,720 --> 01:27:33,599
Speaker 7: this year, we got reached out to by his people saying, Polog,

1683
01:27:33,640 --> 01:27:36,440
Speaker 7: you would like to fly to Virginia to ask your permission.

1684
01:27:36,880 --> 01:27:38,320
Speaker 6: I said, we'll just send me the thing. And I

1685
01:27:38,400 --> 01:27:40,680
Speaker 6: heard it. I went mad, save your dats to do that.

1686
01:27:41,880 --> 01:27:45,360
Speaker 3: Well, they fly out and asked for miss an input person,

1687
01:27:45,439 --> 01:27:48,280
Speaker 3: and wait, that's that's really a thing.

1688
01:27:49,120 --> 01:27:49,560
Speaker 6: Well it was.

1689
01:27:49,680 --> 01:27:50,759
Speaker 7: It wasn't this case.

1690
01:27:51,200 --> 01:27:55,000
Speaker 6: It wasn't this case. So I said, hey, save your

1691
01:27:55,040 --> 01:27:56,400
Speaker 6: time money. I love what you did.

1692
01:27:56,560 --> 01:28:00,080
Speaker 7: It's called wishing for a hero. And and yes you

1693
01:28:00,160 --> 01:28:02,439
Speaker 7: may work together at some point. Yeah, the odd couple

1694
01:28:02,880 --> 01:28:05,160
Speaker 7: kind of like Spike and Bruce, another odd cop.

1695
01:28:06,800 --> 01:28:09,280
Speaker 8: It works though, Man, it works well, look, I.

1696
01:28:09,640 --> 01:28:12,240
Speaker 7: Just uh, I love what. I love what Tupac did.

1697
01:28:12,640 --> 01:28:15,720
Speaker 7: It's a positive message and same with Polo g.

1698
01:28:15,920 --> 01:28:17,879
Speaker 6: The the video is beautiful.

1699
01:28:17,920 --> 01:28:21,679
Speaker 7: This record has this great gospel choir coming in sort

1700
01:28:21,680 --> 01:28:24,120
Speaker 7: of halfway through and taking you home when it it's

1701
01:28:24,840 --> 01:28:28,120
Speaker 7: I love it. So I'm I'm proud and grateful to

1702
01:28:28,720 --> 01:28:33,800
Speaker 7: these great young artists for for their interest in my music,

1703
01:28:33,840 --> 01:28:34,639
Speaker 7: at least that song.

1704
01:28:34,720 --> 01:28:35,040
Speaker 6: Anyway.

1705
01:28:36,400 --> 01:28:39,320
Speaker 3: No, that's that, you know, that's the I always wondered

1706
01:28:39,439 --> 01:28:44,240
Speaker 3: if if that myth is really real? Like on on

1707
01:28:44,360 --> 01:28:46,720
Speaker 3: television and movies, you always hear this thing about like

1708
01:28:47,000 --> 01:28:49,400
Speaker 3: it just takes one song to change your life, and

1709
01:28:49,520 --> 01:28:54,759
Speaker 3: then you know that. I guess I think Carl Douglas,

1710
01:28:55,320 --> 01:29:00,240
Speaker 3: creator of what is now the unplayable Kung Fu Fight Fight.

1711
01:29:02,720 --> 01:29:05,240
Speaker 2: Once Fantasy, said that you know, just that one.

1712
01:29:05,240 --> 01:29:08,600
Speaker 3: Song can you know, can change your life and you

1713
01:29:08,680 --> 01:29:10,000
Speaker 3: don't have to work another day again.

1714
01:29:10,400 --> 01:29:12,240
Speaker 2: You got this one song to fall back on.

1715
01:29:12,479 --> 01:29:16,200
Speaker 6: But maybe I'm gonna try to get to those cats

1716
01:29:16,280 --> 01:29:18,360
Speaker 6: as fast as lightning. Maybe I'm gonna try to get

1717
01:29:18,360 --> 01:29:23,280
Speaker 6: the lyrics there you go. I'm sorry I cut you off.

1718
01:29:23,320 --> 01:29:23,760
Speaker 7: What you say?

1719
01:29:23,840 --> 01:29:27,040
Speaker 3: Man, No, no, no, no, I was no I was

1720
01:29:27,320 --> 01:29:30,439
Speaker 3: saying that, well, you confirmed it then, but I mean

1721
01:29:30,439 --> 01:29:32,760
Speaker 3: I also know that you're not in the game just

1722
01:29:32,840 --> 01:29:37,639
Speaker 3: to monetarily, you know, kick off of you know, burn

1723
01:29:37,640 --> 01:29:38,960
Speaker 3: one hundred dollars bills with.

1724
01:29:39,040 --> 01:29:42,879
Speaker 2: The cigar or burn cigars with one hundred dollar bills.

1725
01:29:42,680 --> 01:29:44,320
Speaker 4: So you should see that.

1726
01:29:46,760 --> 01:29:48,799
Speaker 8: I'll go to the whole house with Huey Lewis, that's.

1727
01:29:50,920 --> 01:29:51,479
Speaker 4: He was there.

1728
01:29:52,160 --> 01:29:53,679
Speaker 6: Maybe I'll start burning hundreds.

1729
01:29:53,720 --> 01:29:56,720
Speaker 7: No, I don't think so, I'll leave that to uh

1730
01:29:57,080 --> 01:30:00,439
Speaker 7: the Wolf of Wall Street guy, you know, Aprio.

1731
01:30:00,520 --> 01:30:04,000
Speaker 3: And then good, that's good. Well, we thank you very

1732
01:30:04,080 --> 01:30:09,080
Speaker 3: much Bruce for being on the show today. And and

1733
01:30:09,479 --> 01:30:11,120
Speaker 3: yes we are still.

1734
01:30:11,400 --> 01:30:14,559
Speaker 2: I listened to our version of love Me Still from

1735
01:30:15,200 --> 01:30:15,920
Speaker 2: the tonight show.

1736
01:30:16,520 --> 01:30:18,040
Speaker 7: Well, I'm so glad you brought it up. Can I

1737
01:30:18,160 --> 01:30:20,080
Speaker 7: just end with my quest love story?

1738
01:30:20,439 --> 01:30:22,519
Speaker 8: So yes, yes, yes please.

1739
01:30:23,880 --> 01:30:27,240
Speaker 7: We're in that little, that little rehearsal room. It's tiny, right,

1740
01:30:27,760 --> 01:30:33,840
Speaker 7: and uh so you're piano player. He says, hey, can

1741
01:30:33,920 --> 01:30:36,040
Speaker 7: we play Lovely Still? So I said sure. So we're

1742
01:30:36,040 --> 01:30:38,280
Speaker 7: playing it in the normal way, and all of a sudden,

1743
01:30:38,280 --> 01:30:41,680
Speaker 7: I guess you had this great idea to play it

1744
01:30:41,760 --> 01:30:44,960
Speaker 7: as a slow shuffle, so we can we try it

1745
01:30:44,960 --> 01:30:45,240
Speaker 7: this way.

1746
01:30:45,280 --> 01:30:46,000
Speaker 6: So we start playing.

1747
01:30:46,160 --> 01:30:49,320
Speaker 7: We're playing a little bit, and I guess so you

1748
01:30:49,520 --> 01:30:53,320
Speaker 7: you made the greatest sort of producer sort of request.

1749
01:30:53,880 --> 01:31:00,360
Speaker 7: You said, hey, play it like you're drunk, which was

1750
01:31:00,439 --> 01:31:02,760
Speaker 7: which was great because because what I really felt was,

1751
01:31:04,360 --> 01:31:07,479
Speaker 7: I was when I think you really meant truly you

1752
01:31:07,600 --> 01:31:11,080
Speaker 7: meant was, hey, man, you're a little on top, we're

1753
01:31:11,160 --> 01:31:12,000
Speaker 7: laying back.

1754
01:31:13,960 --> 01:31:14,320
Speaker 2: Always.

1755
01:31:14,800 --> 01:31:17,720
Speaker 7: You just need to get back with us. So I

1756
01:31:17,840 --> 01:31:22,560
Speaker 7: started really sitting on it, and what a feel. The

1757
01:31:22,640 --> 01:31:25,080
Speaker 7: next time I came back, we had to do it again.

1758
01:31:25,240 --> 01:31:28,920
Speaker 7: And now my band plays Love Me still, the Quest

1759
01:31:29,000 --> 01:31:29,639
Speaker 7: Love version.

1760
01:31:30,000 --> 01:31:34,160
Speaker 3: Wow, okay, question, I was going to have to cover

1761
01:31:34,280 --> 01:31:36,880
Speaker 3: that version before you recover and govern your version.

1762
01:31:39,000 --> 01:31:39,599
Speaker 6: Whatever you want.

1763
01:31:40,280 --> 01:31:42,680
Speaker 8: Yeah, well we got to do it.

1764
01:31:43,000 --> 01:31:43,840
Speaker 2: We gotta do it now.

1765
01:31:44,320 --> 01:31:44,880
Speaker 6: Sounds great.

1766
01:31:45,120 --> 01:31:47,559
Speaker 8: That room was going crazy that day.

1767
01:31:48,000 --> 01:31:52,559
Speaker 3: Yeah, that's that's probably one of our movements. That's that's

1768
01:31:52,640 --> 01:31:56,600
Speaker 3: the top ten moment inside that room. Well, it was

1769
01:31:56,640 --> 01:31:59,720
Speaker 3: you and we're now playing accordion with us. Yes, that

1770
01:32:00,040 --> 01:32:04,200
Speaker 3: I put that up there, definitely, definitely, Well.

1771
01:32:04,080 --> 01:32:04,800
Speaker 6: I'll take it up.

1772
01:32:05,200 --> 01:32:07,919
Speaker 7: I'll be lumped in with weird Al anytime.

1773
01:32:08,040 --> 01:32:08,759
Speaker 8: He's a bad.

1774
01:32:10,920 --> 01:32:13,880
Speaker 2: Go man, this Quest Love.

1775
01:32:14,479 --> 01:32:17,200
Speaker 3: Thank you very much, Bruce Sorensby for joining us and

1776
01:32:17,720 --> 01:32:19,360
Speaker 3: we'll see you on the next go round of Quest

1777
01:32:19,439 --> 01:32:20,080
Speaker 3: Love Supremo.

1778
01:32:20,720 --> 01:32:22,360
Speaker 6: It's been a real pleasure. Thank you so much.

1779
01:32:22,520 --> 01:32:24,880
Speaker 8: No, thank you for your time. Thanks thanks for the music.

1780
01:32:25,080 --> 01:32:25,320
Speaker 8: Thank you.

1781
01:32:31,520 --> 01:32:37,439
Speaker 1: Quest Love Supreme is a production of iHeart Radio. For

1782
01:32:37,600 --> 01:32:40,639
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app,

1783
01:32:40,920 --> 01:32:43,920
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.