WEBVTT - Questlove Supreme: Bruce Hornsby

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<v Speaker 1>Quest Love Supreme is a production of iHeartRadio.

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<v Speaker 2>Ladies and Gentlemen. What's Up?

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<v Speaker 3>This is another episode of Court Love Supreme. I'm your

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<v Speaker 3>host Quest Love Jenkins. We're We're Team Supreme today Shook

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<v Speaker 3>Steve in the house. Hello, Hello, Quarantine Steve, Quarantine Bill.

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<v Speaker 2>Yeah, what's up?

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<v Speaker 3>Man?

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<v Speaker 2>How you doing?

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<v Speaker 4>Holding it down?

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<v Speaker 2>Okay it's asterisk or just definitive.

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

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<v Speaker 4>on some music for the street all as well.

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<v Speaker 2>Okay, gotta keep the street tapping and h fan take

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<v Speaker 2>a lot.

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<v Speaker 5>I'm good brother, I'm good man, doing the work as well.

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<v Speaker 5>I can't complain.

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<v Speaker 2>Cool, cool, all right.

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<v Speaker 3>Bark Yesterday is a Grammy Award winning singer, songwriter, producer, composer.

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<v Speaker 2>He has actually come to us in many forms.

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<v Speaker 3>Of the past, real real, for real, either as a

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<v Speaker 3>soloist or fronting one of his many projects sounds like Quesla,

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<v Speaker 3>either a member of the range the Noisemakers at one point,

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<v Speaker 3>Ambrosia and Ambrosia.

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<v Speaker 6>Yes, not really, but okay.

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<v Speaker 2>We'll take it.

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

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<v Speaker 3>and I often do this. I'm not interrupting my own

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

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<v Speaker 3>Is that you on Soul Train with she and Easton?

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<v Speaker 6>That's hilarious. You've nailed me.

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<v Speaker 5>Yes, yes, yobs from Downtown.

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<v Speaker 2>No, I didn't even know.

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<v Speaker 3>I think like I have all the episodes that I

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<v Speaker 3>keep them on loop. And like three weeks ago, she

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<v Speaker 3>was on doing Sugar Walls and.

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<v Speaker 2>I was like, wait and that was you? Okay, okay, okay.

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

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<v Speaker 7>Look, I played with her for two years and and

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<v Speaker 7>sure we did Soule Train and I out there looking

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<v Speaker 7>like a complete clown.

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<v Speaker 6>Most likely I haven't seen that for years.

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<v Speaker 7>But I'll tell you what, as a as a parent

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<v Speaker 7>of a Division one basketball player who's now a pro

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<v Speaker 7>in Germany, I used that to uh.

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<v Speaker 6>For a great benefit.

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<v Speaker 8>He was.

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<v Speaker 7>He played My son, Keith played at LSU, and he

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<v Speaker 7>was live on national TV his junior year maybe against

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<v Speaker 7>testas A and l on ESPN one.

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<v Speaker 6>And he had a pretty rough game.

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<v Speaker 7>And we're back at the hotel, the Cook Hotel on

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

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<v Speaker 7>I said, you know what, I'm going to change your

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<v Speaker 7>mood right now, go to YouTube and look up Sheena

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<v Speaker 7>Easton Strut and the China Easton sugar Walls featuring me

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<v Speaker 7>looking like a complete idiot. And so he looked at

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<v Speaker 7>his dad just sort of undulating around with funglasses on,

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<v Speaker 7>and it just just fell out and his mood chains

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<v Speaker 7>just like I predicted. And so, you know what, whatever

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<v Speaker 7>works to help your kids get through the tough times.

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<v Speaker 7>My clownest appearances in Sena videos worked well.

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<v Speaker 3>I assure you that exaggerating lazy and gentlemen anyway.

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

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<v Speaker 8>who's on a show?

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<v Speaker 4>Hold on, I never want played with CDs, did allot

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<v Speaker 4>of second.

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<v Speaker 3>We don't even talk about his work with U, d

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<v Speaker 3>J Neet Jack Dsonnet and my high school mate Christa McBride.

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<v Speaker 6>Yes Philadelphia schoolmates.

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<v Speaker 3>Yes, yeah, not to mention you know your your musicianship,

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<v Speaker 3>your DNA is all over our favorites by Bonnie Ray

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<v Speaker 3>Don Henley, so many projects.

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<v Speaker 2>This intro is going to be forever.

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<v Speaker 8>Y uh.

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<v Speaker 9>He played with Squeeze what yep when I don't know?

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<v Speaker 7>On Wikipedia, Just to be accurate, I played on one.

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<v Speaker 7>I played on one of their records. A great record

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<v Speaker 7>of Walk a Straight Line is a beautiful bet you

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<v Speaker 7>know that one. No, it's it's a great not a hit,

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<v Speaker 7>but it's a beautiful song.

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<v Speaker 2>Squeezehead.

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<v Speaker 8>What album is it on?

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<v Speaker 7>It's so called play Okay, early mid nineties and I

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<v Speaker 7>played Accordion.

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<v Speaker 6>Yeah on this right, let.

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<v Speaker 3>Me just say the two words so we can start

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<v Speaker 3>the episode. Bruce Hornsby the Quest Love Supreme. Thanks anyway, Yeah,

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<v Speaker 3>we often fall in the rabbit holes even before we

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<v Speaker 3>get the name of the artist.

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<v Speaker 6>Who cares. It's fine, Bruce Hornsby, Easton veteran.

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<v Speaker 3>So right now you're celebrating the release of your twenty

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<v Speaker 3>second record.

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<v Speaker 2>Correct, Yes, that's true, sir.

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<v Speaker 3>So without my knowledge of your your your Deadhead years,

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<v Speaker 3>can I can I assume that the fact that you

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<v Speaker 3>have about I believe it is twenty six live albums,

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<v Speaker 3>that's the less.

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<v Speaker 2>And that you learned from playing with the Grateful Dead.

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<v Speaker 6>Well, okay.

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<v Speaker 7>People always ask me, how did playing with the Dead

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<v Speaker 7>change your musician, ship, changed your approach, et cetera. I

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<v Speaker 7>was always an improvising musician. I went to school. I

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<v Speaker 7>was one of those music school geeks. I started off

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<v Speaker 7>at Berkeley for two semesters, but then I went to

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<v Speaker 7>University of Miami. Sun Tan you known to a lot

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<v Speaker 7>of people for a year paid vacation for rich Nordon kids,

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<v Speaker 7>Northern white kids. Anyway, I came out with that background,

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<v Speaker 7>and so the improvisational aspect of the Dead was not

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<v Speaker 7>anything that was sort of epiphanal for me, epiphantic. What

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<v Speaker 7>I got out of them mostly was inspiration on the

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<v Speaker 7>songwriting level. People don't realize that they have fully fifty

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<v Speaker 7>truly great songs. Half of them sound like they could

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<v Speaker 7>have been written one hundred years ago or plus. Old

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<v Speaker 7>folk music keep well of influence there. So so I

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<v Speaker 7>love them. I miss Garcia. He was quite a guy.

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<v Speaker 2>He was a rocket during the Garcia years.

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<v Speaker 7>Oh yes, the last spot I played with him, just

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<v Speaker 7>for twenty months or so. I played about one hundred

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<v Speaker 7>shows with them from eight from nineteen ninety to ninety two.

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<v Speaker 7>We'd opened for them before that.

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<v Speaker 2>Okay, Oh so you played the ninety two Okay.

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<v Speaker 7>Yeah, but then I was sitting with them when they

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<v Speaker 7>were geographically close to me up through ninety five, up

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<v Speaker 7>right up to his death.

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<v Speaker 3>Okay, so yeah, I went to one Garcia show. I

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<v Speaker 3>think in Houston when Branford Marcellus was singing with them.

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<v Speaker 7>Yes, my guy, Yes, Branford and I played together with

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<v Speaker 7>it dead quite often. It's his birthday's coming up here

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<v Speaker 7>pretty soon, Fellas, So maybe you should shout his ass out.

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<v Speaker 8>Yeah, are you on without a net the deadline?

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<v Speaker 6>No, that's Branford's on that, okay.

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<v Speaker 7>To respond to the twenty six live albums to which

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

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

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<v Speaker 7>a lot of bands. I write the songs, we record

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<v Speaker 7>the songs, and then we learned how to play the songs.

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<v Speaker 7>So consequently the live thing expands everything that we started with.

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<v Speaker 6>On the original record.

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<v Speaker 7>And so so quite often live is the best way

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<v Speaker 7>to hear us because it's very loose, it's very free.

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<v Speaker 7>Branford sits in with this quite often because he knows

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<v Speaker 7>that we're winging it like crazy because I don't know

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<v Speaker 7>what I'm gonna do. So if I don't know what

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

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<v Speaker 7>it makes it great fun.

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<v Speaker 3>Is there a pressure for you to make a memory

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<v Speaker 3>each and every night knowing that some of these fans

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<v Speaker 3>will follow you like there. To me is no more

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<v Speaker 3>loyal fan base than you know, anything associated with the dead.

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<v Speaker 2>Yes within it.

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<v Speaker 3>So yeah, that's how did that affect your actual the

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<v Speaker 3>way that you put on shows?

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<v Speaker 7>I think I probably started taking a little more out

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<v Speaker 7>than I had been doing. You know, I was always improvising,

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<v Speaker 7>but I got a lot freer, much to the chagrin

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<v Speaker 7>of a lot of my fans. You know, when you

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<v Speaker 7>come out having these big hit radio songs, you acquire

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<v Speaker 7>an audience that I call sort of a soft core one,

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

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<v Speaker 7>that's right. And so I was never that guy. So

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<v Speaker 7>I've it's been my self appointed job to piss those

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<v Speaker 7>people off for many a year, and so been nasty

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<v Speaker 7>letters abound in my world for thirty two years.

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<v Speaker 2>Now.

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<v Speaker 3>Wait, you're saying that you've gone shows without playing maldern

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<v Speaker 3>Rain or the way it is.

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<v Speaker 6>Or yet, well not many I've been.

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<v Speaker 7>I've become a lot more kind about it in my

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<v Speaker 7>snessence here in my sixties, but there have been shows.

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<v Speaker 7>But the only only times that I didn't do that

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<v Speaker 7>was when I felt the audience was so jacked, so responsive,

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<v Speaker 7>so deeply involved in what we were doing without playing

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<v Speaker 7>those old war horses, that I could get away with it,

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

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<v Speaker 7>a couple of nasty letters from people who again are

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<v Speaker 7>so core fans and they would just come to hear

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<v Speaker 7>those five or six songs that they know. But so, yeah,

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<v Speaker 7>now it's really gotten bad because my last two records

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<v Speaker 7>have really gone. I'm a modern classical music devo te

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<v Speaker 7>and so that a stringent atonal chromatic, dough decophonic sound

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<v Speaker 7>has been filtering into my music much too many fans chagrin.

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<v Speaker 6>I apologize to that.

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<v Speaker 5>Mat That is actually the g is the first time

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<v Speaker 5>we've ever heard the word dough decophonic used on questloads

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<v Speaker 5>and that is amazing, and I'm.

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<v Speaker 6>Happy to be a first to give you all a

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<v Speaker 6>first here.

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<v Speaker 10>Yeah, I saw you play one downtown and uh, there

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<v Speaker 10>was a lot of feedback and it.

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<v Speaker 4>Was in the key of F.

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<v Speaker 10>So so they played everything in the key of F.

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<v Speaker 10>And for that it was fucking hilarious because every song

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<v Speaker 10>was just in F, no matter what in what grange.

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<v Speaker 10>They took everything into F and so like because they

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<v Speaker 10>kept out feeding back and so like, so is not

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<v Speaker 10>to be a total They played everything in f and

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<v Speaker 10>it was hilarious.

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<v Speaker 7>Well, look, if you're a musician of any worth, you

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<v Speaker 7>should be able to transpose instantly.

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

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<v Speaker 6>what's that?

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<v Speaker 10>We share a guitar player, Doug Doug Derryberry, who used

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<v Speaker 10>to be a noise maker many years ago, is sesame

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<v Speaker 10>Streets guitar player.

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<v Speaker 6>So well, not that many years ago, Doug.

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<v Speaker 7>Doug was with me for fifteen years and I made

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<v Speaker 7>a change about maybe six five or six years ago.

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<v Speaker 7>But Doug, it's a great asset, a great utilitarian sort

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<v Speaker 7>of an orchestral guitar player. It's a it's a great

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<v Speaker 7>New York guitar player named John Leventhal, most well known

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<v Speaker 7>for the Sean Colvin Great Records and Levinthal had played

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<v Speaker 7>on my sixth record, Spirit Trail in ninety eight, and

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<v Speaker 7>I wanted somebody to give me eleventh alien sound, and

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<v Speaker 7>so I got Doug and he did a great job

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<v Speaker 7>for me. I started hearing another sound in my head,

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<v Speaker 7>so alas I made a change, but I love Doug

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<v Speaker 7>and he did a great job for us, Like I say,

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<v Speaker 7>for fifteen years.

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<v Speaker 3>So your musical roots. I know that you started out

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<v Speaker 3>in Virginia. What city were you born in?

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<v Speaker 7>I was born in Richmond, and I grew up in Willisburg,

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<v Speaker 7>fifteen miles down the road, and I still this is

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<v Speaker 7>where I am now. I moved back after ten years

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<v Speaker 7>in la I moved back in nineteen ninety. So I've

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<v Speaker 7>been here for back here for thirty years and we're

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<v Speaker 7>in my garls.

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<v Speaker 6>Yeah, you can have that shit.

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<v Speaker 8>I went there once. They took us on the trip

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<v Speaker 8>there like third grade one time, and like that was it?

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<v Speaker 3>No roots show there our get the Spontine the the

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<v Speaker 3>one we did like one.

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<v Speaker 2>O six in part live.

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<v Speaker 7>Oh h yeah, so how did you how did you

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<v Speaker 7>go over?

0:12:20.880 --> 0:12:22.199
<v Speaker 6>How did they.

0:12:23.400 --> 0:12:23.920
<v Speaker 2>Our song?

0:12:24.040 --> 0:12:26.360
<v Speaker 3>Break you off with nice for about four minutes and

0:12:26.400 --> 0:12:27.800
<v Speaker 3>then the rest of the show was like.

0:12:28.320 --> 0:12:30.520
<v Speaker 6>Okay, they're just they're just out there a little.

0:12:32.120 --> 0:12:37.280
<v Speaker 2>They were like, where's mister cheeks? That we're done? So yeah,

0:12:37.360 --> 0:12:38.000
<v Speaker 2>I can relate.

0:12:38.080 --> 0:12:42.960
<v Speaker 9>I've been about what about Colonial Williams Williams, Vergon.

0:12:44.360 --> 0:12:47.840
<v Speaker 7>Well, we made it our self appointed job as local

0:12:47.920 --> 0:12:52.280
<v Speaker 7>townies to pelt tourists and local College of women marry

0:12:52.320 --> 0:12:55.040
<v Speaker 7>students with water balloons, and so.

0:12:54.960 --> 0:12:57.840
<v Speaker 6>We would ride through town and just wear an ass out.

0:12:58.480 --> 0:13:02.240
<v Speaker 2>Uh Jesus christ Man.

0:13:03.360 --> 0:13:07.199
<v Speaker 7>Yeah, our karma was probably not so good then hopefully improved.

0:13:07.400 --> 0:13:10.880
<v Speaker 7>But uh we actually got stopped by the cops and

0:13:10.960 --> 0:13:13.760
<v Speaker 7>take it to the cop the police station our senior

0:13:13.840 --> 0:13:17.840
<v Speaker 7>year in high school. Uh, some young, well appointed young

0:13:17.920 --> 0:13:22.760
<v Speaker 7>College of women marry grad students. We just pelted him

0:13:23.200 --> 0:13:25.520
<v Speaker 7>and he flagged the cops down and we were through.

0:13:25.679 --> 0:13:28.400
<v Speaker 7>So that's but yeah, that was as exciting as it

0:13:28.440 --> 0:13:31.320
<v Speaker 7>got in the little last town of Winnsburg, which I love.

0:13:31.360 --> 0:13:34.920
<v Speaker 6>Obviously I moved back here, but yes, Williensburg is my town.

0:13:35.720 --> 0:13:40.040
<v Speaker 2>Yeah, yeah, Worns. We got Karen, Okay, I'm right down

0:13:40.040 --> 0:13:40.360
<v Speaker 2>the street.

0:13:40.400 --> 0:13:43.520
<v Speaker 5>Yeah, I'm I'm in North North Carolina, born and raised

0:13:43.840 --> 0:13:47.360
<v Speaker 5>where where I'm in Raleigh? And I saw your son.

0:13:47.520 --> 0:13:50.240
<v Speaker 5>He went to Ashville, right, he went to Yes, yeah,

0:13:50.480 --> 0:13:51.160
<v Speaker 5>in the mountains.

0:13:51.840 --> 0:13:55.760
<v Speaker 7>Yes, you saw him planc State, yeah, man, Yeah, he

0:13:56.520 --> 0:13:59.160
<v Speaker 7>put twenty three on Ency State and then they recruited him.

0:13:59.200 --> 0:14:02.960
<v Speaker 7>Mark Gottfried recruited him, but he picked LSU and it

0:14:03.000 --> 0:14:05.760
<v Speaker 7>worked out great for him. But yes, Robbie's a good

0:14:05.760 --> 0:14:09.200
<v Speaker 7>old town. We like playing that museum, the outdoor.

0:14:10.280 --> 0:14:11.800
<v Speaker 8>One had art museum out uh huh.

0:14:11.880 --> 0:14:14.840
<v Speaker 7>Yeah, it's nice, it's really nice. And you know Branford

0:14:14.840 --> 0:14:15.559
<v Speaker 7>lives in Durham.

0:14:16.080 --> 0:14:16.959
<v Speaker 8>Yeah, man, Bradford.

0:14:17.000 --> 0:14:20.040
<v Speaker 5>So Bradford he actually I'm I graduated from North Clina

0:14:20.120 --> 0:14:23.480
<v Speaker 5>Central and Branford taught there. He was there the artist

0:14:23.520 --> 0:14:27.000
<v Speaker 5>in residence for years and h he's just super cool dude, man.

0:14:27.200 --> 0:14:30.160
<v Speaker 7>Yeah, the best. He's also a fellow prankster with me.

0:14:30.240 --> 0:14:32.880
<v Speaker 7>So I could talk about that, but I'll I won't

0:14:32.880 --> 0:14:34.840
<v Speaker 7>do it because he may not approve. We'll see.

0:14:37.600 --> 0:14:40.880
<v Speaker 2>What was your first musical memory.

0:14:41.680 --> 0:14:44.280
<v Speaker 7>Well, it's not a memory when someone's recorded you at

0:14:44.320 --> 0:14:47.240
<v Speaker 7>a at age three or four. You know, you don't,

0:14:47.280 --> 0:14:49.960
<v Speaker 7>at least I don't remember that. But since the tapes

0:14:50.080 --> 0:14:53.200
<v Speaker 7>around then you feel like you remembered it. There's a

0:14:53.280 --> 0:14:57.120
<v Speaker 7>tape of me singing hound Dog at age about three

0:14:57.160 --> 0:15:01.080
<v Speaker 7>and a half or four. Yeah, crock and all the time,

0:15:01.160 --> 0:15:04.560
<v Speaker 7>you know all that business. Uh and some other songs too,

0:15:05.320 --> 0:15:07.440
<v Speaker 7>with the Wind and the Rain in her Hair by

0:15:07.520 --> 0:15:10.840
<v Speaker 7>Pat Boone. Our parents were turning us on to this stuff.

0:15:11.080 --> 0:15:16.680
<v Speaker 7>So yeah, sadly, alas I probably heard Pat Boone's Tutti

0:15:16.760 --> 0:15:21.040
<v Speaker 7>fruity and not little Richard rich as sad as that sounds.

0:15:21.400 --> 0:15:23.840
<v Speaker 7>That's that's that was what was happening in my house.

0:15:24.080 --> 0:15:26.840
<v Speaker 2>But yeah, siblings or was it just you?

0:15:27.400 --> 0:15:30.600
<v Speaker 6>Yes, I'm the emotionally disturbed middle child, and.

0:15:32.760 --> 0:15:35.920
<v Speaker 7>So yes, I have an older brother and a younger brother,

0:15:36.120 --> 0:15:40.160
<v Speaker 7>and uh I it's it's interesting since I was in

0:15:40.200 --> 0:15:42.600
<v Speaker 7>the middle, I was really close with each of them

0:15:42.920 --> 0:15:46.280
<v Speaker 7>and they were friendly always, but not like not like

0:15:46.520 --> 0:15:49.040
<v Speaker 7>relationship that I had with each of them. My older

0:15:49.080 --> 0:15:54.040
<v Speaker 7>brother was the original deadhead in our family, Bobby Hornsby,

0:15:54.160 --> 0:15:57.280
<v Speaker 7>and I used in my freshman year of college, I

0:15:57.440 --> 0:15:59.840
<v Speaker 7>was a little Brucey playing Fender Rose and singing lead

0:16:00.160 --> 0:16:02.680
<v Speaker 7>in a dead cover band called Bobby High Test and

0:16:02.720 --> 0:16:06.720
<v Speaker 7>the Octane Kids. So that was Bobby Hornsby and my

0:16:06.800 --> 0:16:08.760
<v Speaker 7>younger brother ended up writing a lot of songs with

0:16:08.880 --> 0:16:11.760
<v Speaker 7>me later in the aforementioned Mandolin Rain is a co

0:16:11.880 --> 0:16:16.080
<v Speaker 7>write with my younger brother, John Valley Road School, about

0:16:16.720 --> 0:16:20.040
<v Speaker 7>a song about a young girl who gets knocked up,

0:16:20.080 --> 0:16:22.360
<v Speaker 7>as they used to say, put in the family way,

0:16:22.800 --> 0:16:24.560
<v Speaker 7>and they sent her away to the school for unwed

0:16:24.640 --> 0:16:27.920
<v Speaker 7>mothers a while, A strange way to have a hit.

0:16:28.000 --> 0:16:30.880
<v Speaker 7>The Top five song that one, so he yeah, so

0:16:30.960 --> 0:16:32.040
<v Speaker 7>he wrote that with me.

0:16:32.120 --> 0:16:35.080
<v Speaker 6>He wrote songs for several years, but now he's out

0:16:35.080 --> 0:16:37.720
<v Speaker 6>of it. But yeah, they're I was. I was.

0:16:37.840 --> 0:16:40.080
<v Speaker 7>I'm the middle guy, the middle little student. I was

0:16:40.120 --> 0:16:42.160
<v Speaker 7>a jock as a kid, though I was into music

0:16:42.200 --> 0:16:43.760
<v Speaker 7>a little bit, but I mostly wanted to hoop.

0:16:44.160 --> 0:16:47.840
<v Speaker 3>Yeah, I was gonna say, your your relationship with basketball.

0:16:48.000 --> 0:16:53.200
<v Speaker 3>I'm a Philadelphian, So yeah, it has been noted how

0:16:53.720 --> 0:16:59.640
<v Speaker 3>your involvement in the life of Alan Iverson, some could

0:16:59.680 --> 0:17:05.040
<v Speaker 3>say literally saved his life. At the time, it's too curious,

0:17:05.080 --> 0:17:07.600
<v Speaker 3>like what was it about him? Because the thing is

0:17:07.640 --> 0:17:10.760
<v Speaker 3>that I'm not one, I'm not a sports guy, but

0:17:10.800 --> 0:17:15.840
<v Speaker 3>I'm still trying to understand the mentality of college sports

0:17:15.840 --> 0:17:19.400
<v Speaker 3>fans and how they see that just as important as

0:17:19.640 --> 0:17:22.560
<v Speaker 3>professional sports. And but what was it at the time

0:17:22.600 --> 0:17:24.680
<v Speaker 3>that made you want to get involved in his situation?

0:17:25.320 --> 0:17:28.280
<v Speaker 7>Well, I think addressing first the college versus pro thing.

0:17:28.320 --> 0:17:30.000
<v Speaker 7>You've got a whole lot of people, for instance, in

0:17:30.040 --> 0:17:34.639
<v Speaker 7>the southern part of the United States where say, in basketball,

0:17:34.680 --> 0:17:38.040
<v Speaker 7>they're only maybe they're only outside of Florida, there's only

0:17:38.080 --> 0:17:41.080
<v Speaker 7>the Atlanta Hawks and the New Orleans Pelicans. So for

0:17:41.280 --> 0:17:45.240
<v Speaker 7>most of this vast area. College sports is king. That's

0:17:45.280 --> 0:17:48.120
<v Speaker 7>one reason why the SEC, I think is so huge,

0:17:48.560 --> 0:17:52.000
<v Speaker 7>because the only game into and the a SEC too,

0:17:52.440 --> 0:17:53.960
<v Speaker 7>so those are the only games in town.

0:17:55.440 --> 0:17:58.080
<v Speaker 6>And that Having said that, what what did you just

0:17:58.119 --> 0:17:58.439
<v Speaker 6>ask me?

0:17:58.480 --> 0:18:02.720
<v Speaker 3>Other than that, what made you personally get involved with

0:18:02.880 --> 0:18:04.040
<v Speaker 3>Alan iverson situation?

0:18:04.080 --> 0:18:04.159
<v Speaker 2>Oh?

0:18:04.240 --> 0:18:05.080
<v Speaker 6>Okay, okay?

0:18:05.160 --> 0:18:08.320
<v Speaker 7>So well, Chuck as we call him, Bubba Chuck, that

0:18:08.400 --> 0:18:13.199
<v Speaker 7>was Chuck was his name in locally, at least in

0:18:13.240 --> 0:18:15.520
<v Speaker 7>the hood of Hampton. When they when he got sent

0:18:15.560 --> 0:18:19.119
<v Speaker 7>to jail, graffiti all over Hampton said free Chuck. I

0:18:19.240 --> 0:18:22.040
<v Speaker 7>just got chills thinking of going down and seeing all

0:18:22.080 --> 0:18:24.760
<v Speaker 7>this because he was a beloved figure. Even as a kid,

0:18:25.119 --> 0:18:27.720
<v Speaker 7>people just knew he was special. There's an AAU program

0:18:27.800 --> 0:18:30.520
<v Speaker 7>in our area, legendary program called the Blue Williams League

0:18:30.600 --> 0:18:34.320
<v Speaker 7>Boo Wiams Summer League, and Chuck was a star in that.

0:18:34.880 --> 0:18:37.600
<v Speaker 7>And then he played at Bethel High School and he

0:18:37.680 --> 0:18:40.760
<v Speaker 7>led his team. He was a fantastic football player too.

0:18:40.760 --> 0:18:43.920
<v Speaker 7>He was just special athlete. He got over two hundred

0:18:43.960 --> 0:18:47.800
<v Speaker 7>offers in football as well, and so.

0:18:47.440 --> 0:18:49.359
<v Speaker 2>So he was just as good at football as he

0:18:49.480 --> 0:18:50.240
<v Speaker 2>was in basketball.

0:18:50.359 --> 0:18:53.000
<v Speaker 7>Well, it's arguable who can say, he was just fantastic

0:18:53.040 --> 0:18:55.639
<v Speaker 7>at both. So you know what he is saying, greater, greater,

0:18:55.880 --> 0:18:57.120
<v Speaker 7>He was just great in both.

0:18:57.440 --> 0:18:58.800
<v Speaker 2>What was his position in football?

0:18:59.080 --> 0:19:00.879
<v Speaker 8>He was a quarterback Okay.

0:19:00.680 --> 0:19:03.080
<v Speaker 7>Yeah, and he was so fast and he had all

0:19:03.119 --> 0:19:05.399
<v Speaker 7>that juke, all those all those changing directions. You know,

0:19:05.440 --> 0:19:07.760
<v Speaker 7>he'd go this way and then go there. You just

0:19:08.200 --> 0:19:11.720
<v Speaker 7>he was crossing people off on the football field. So

0:19:12.080 --> 0:19:14.960
<v Speaker 7>the story goes that I went to see him played

0:19:14.960 --> 0:19:18.119
<v Speaker 7>at Fort Eustace. We have a very great military presence,

0:19:18.200 --> 0:19:20.760
<v Speaker 7>huge military presence in our area. In one of the

0:19:20.760 --> 0:19:23.560
<v Speaker 7>bases is Fort Ustess. They had a Christmas tournament. Chuck

0:19:23.680 --> 0:19:26.120
<v Speaker 7>was playing. Bethel High School was playing. So I went

0:19:26.600 --> 0:19:30.040
<v Speaker 7>to see the game and Anne Iverson, his mom, came

0:19:30.160 --> 0:19:32.080
<v Speaker 7>up to me and, oh, I don't know, asked me

0:19:32.119 --> 0:19:34.880
<v Speaker 7>to sign something, and so I told him, yeah, yeah,

0:19:35.000 --> 0:19:37.240
<v Speaker 7>we left, We left Chuck, et cetera.

0:19:37.720 --> 0:19:38.880
<v Speaker 6>And uh So.

0:19:38.920 --> 0:19:41.840
<v Speaker 7>Then after his junior year where he led his team

0:19:41.960 --> 0:19:45.240
<v Speaker 7>to the state championship in football and then in basketball,

0:19:46.160 --> 0:19:50.919
<v Speaker 7>he was in a bowling alley in pecosin Virginia, a

0:19:50.960 --> 0:19:54.119
<v Speaker 7>little an area of Newport News, Porhampton, I guess, and

0:19:54.320 --> 0:19:58.480
<v Speaker 7>uh well, a brawl broke out and he and a

0:19:58.480 --> 0:20:02.720
<v Speaker 7>bunch of others, uh were arrested for brawling in a

0:20:02.720 --> 0:20:07.040
<v Speaker 7>bowling alley and also maving by mob. So he was

0:20:07.280 --> 0:20:10.000
<v Speaker 7>He and three or four of his friends were convicted

0:20:10.040 --> 0:20:12.560
<v Speaker 7>and sent to jail. And I thought it was a travesty,

0:20:13.160 --> 0:20:16.600
<v Speaker 7>miscarriage of justice. So we're I'm proud to say that

0:20:16.640 --> 0:20:19.360
<v Speaker 7>we and Virginia elected the first black governor in America.

0:20:19.040 --> 0:20:19.640
<v Speaker 2>Doug Wilder.

0:20:20.000 --> 0:20:22.320
<v Speaker 7>And he was and he was the governor then, and

0:20:22.359 --> 0:20:26.200
<v Speaker 7>I had done some work for him, some events for him,

0:20:26.560 --> 0:20:29.480
<v Speaker 7>so I started lobbying him through his chief of staff

0:20:29.920 --> 0:20:32.760
<v Speaker 7>as a friend of mine. And I don't know, I

0:20:32.840 --> 0:20:36.320
<v Speaker 7>was just one of many probably to do this. But

0:20:36.600 --> 0:20:41.480
<v Speaker 7>but Wilder, around Christmas time of say ninety two, Wilder,

0:20:41.640 --> 0:20:45.800
<v Speaker 7>Doug Wilder pardoned Allen. Now he should have pardoned everybody.

0:20:45.960 --> 0:20:49.360
<v Speaker 7>And about two weeks later, the hubub was so intense

0:20:49.440 --> 0:20:52.120
<v Speaker 7>that finally he did let everybody go, so as not

0:20:52.160 --> 0:20:56.040
<v Speaker 7>to show favoritism to the local favorite son, Killer Hooper,

0:20:56.119 --> 0:20:59.760
<v Speaker 7>you know, killer Jock. So about two months later I

0:20:59.760 --> 0:21:01.960
<v Speaker 7>get call out of the blue from his high school coach,

0:21:02.000 --> 0:21:05.359
<v Speaker 7>a guy named Mike Bailey, and he says, hey, Bruce

0:21:05.680 --> 0:21:08.200
<v Speaker 7>Alan knows about what you did for oh, and also

0:21:08.760 --> 0:21:12.240
<v Speaker 7>I had just become friends with our mutual guy, Spike

0:21:12.320 --> 0:21:16.439
<v Speaker 7>LEEPI and so Spike and I. The first thing I

0:21:16.480 --> 0:21:19.119
<v Speaker 7>did was Spike in ninety two he made a video

0:21:19.200 --> 0:21:21.200
<v Speaker 7>for me. Branford was in it because he played on

0:21:21.240 --> 0:21:24.960
<v Speaker 7>the record a song about the first interracial romance in

0:21:24.960 --> 0:21:28.679
<v Speaker 7>my town of Williamsburg and all the consternation it caused

0:21:29.160 --> 0:21:34.080
<v Speaker 7>with the local sort of conservative government crowd. Anyway, we're

0:21:34.160 --> 0:21:38.720
<v Speaker 7>in we're in editing, and I told him about Chuck, and.

0:21:39.840 --> 0:21:40.359
<v Speaker 6>Oh, that's right.

0:21:40.400 --> 0:21:42.600
<v Speaker 7>I had told him earlier about that. Anyway, I forget

0:21:42.640 --> 0:21:46.240
<v Speaker 7>the exact timeline. But this guy calls me and so

0:21:46.840 --> 0:21:50.000
<v Speaker 7>I had gotten Spike when when when Chuck was in jail,

0:21:50.720 --> 0:21:52.680
<v Speaker 7>I said, Spike, you know you know what this kid I

0:21:52.720 --> 0:21:54.639
<v Speaker 7>told you about when now he's in jail. And Spike said, yes,

0:21:54.680 --> 0:21:56.960
<v Speaker 7>I've seen it on ESPN know all about it. I said,

0:21:56.960 --> 0:21:59.080
<v Speaker 7>will you do me a favor and send him just

0:21:59.520 --> 0:22:02.480
<v Speaker 7>pat Carre package from Spike Lee. It might pick him

0:22:02.560 --> 0:22:05.240
<v Speaker 7>up when he's at the City Farm in Newport News.

0:22:05.760 --> 0:22:10.040
<v Speaker 7>And so Spike did that. Anyway, the sky calls, he said, well,

0:22:10.080 --> 0:22:12.920
<v Speaker 7>Allan knows what you've done. What you've done, and he'd

0:22:12.960 --> 0:22:16.000
<v Speaker 7>like to thank you. I said, well, you guys, come

0:22:16.040 --> 0:22:18.040
<v Speaker 7>up and we'll play some ball, and he said, well,

0:22:18.040 --> 0:22:20.360
<v Speaker 7>that's what he would like to do. So we ended

0:22:20.440 --> 0:22:25.360
<v Speaker 7>up doing that and becoming friends through that forever.

0:22:26.520 --> 0:22:26.800
<v Speaker 8>Wow.

0:22:27.520 --> 0:22:32.480
<v Speaker 2>Now is there any truth that you Oh no, god, that.

0:22:35.720 --> 0:22:40.959
<v Speaker 7>It's not just one game. It was three. But you know,

0:22:44.000 --> 0:22:46.159
<v Speaker 7>I'm just setting the record straight. I don't need to

0:22:46.200 --> 0:22:49.480
<v Speaker 7>talk shit. I don't care about living about making that

0:22:49.600 --> 0:22:52.200
<v Speaker 7>some moment. I never bring it up. I never talk

0:22:52.240 --> 0:22:53.560
<v Speaker 7>about it, but look, it's out.

0:22:53.640 --> 0:22:58.800
<v Speaker 6>Well though, look it just happened.

0:22:58.800 --> 0:23:01.119
<v Speaker 7>Maybe I caught him rusty because he had obviously not

0:23:01.160 --> 0:23:03.080
<v Speaker 7>been playing a whole lot of ball for the past

0:23:03.119 --> 0:23:05.320
<v Speaker 7>four months. But I had one of those days where

0:23:05.359 --> 0:23:09.119
<v Speaker 7>I just couldn't miss, you know, I just was just

0:23:09.119 --> 0:23:13.679
<v Speaker 7>just just netting my ass off, and and we were

0:23:13.720 --> 0:23:15.880
<v Speaker 7>playing a game. Maybe he was not aware of this game.

0:23:15.920 --> 0:23:16.840
<v Speaker 7>It's perfect for him.

0:23:16.880 --> 0:23:19.760
<v Speaker 6>Really. It helps the smaller guy, and he's a little

0:23:19.960 --> 0:23:20.879
<v Speaker 6>small shorter than me.

0:23:21.640 --> 0:23:22.040
<v Speaker 7>Uh.

0:23:22.119 --> 0:23:23.640
<v Speaker 6>It's it's the way the pros play.

0:23:23.760 --> 0:23:25.280
<v Speaker 7>You start the top of the key and you can

0:23:25.359 --> 0:23:28.720
<v Speaker 7>either pick a two dribble or three dribble maximum, which

0:23:28.760 --> 0:23:31.760
<v Speaker 7>basically means the big guy can't just back in, back in,

0:23:32.000 --> 0:23:34.240
<v Speaker 7>back into the bracket, throws up a little last land

0:23:34.240 --> 0:23:36.959
<v Speaker 7>to a pitiful land hook and and do that all

0:23:37.000 --> 0:23:38.600
<v Speaker 7>the time. So you've got to make a move, you

0:23:38.680 --> 0:23:41.440
<v Speaker 7>gotta you know, you've got to commit and shoot the ball.

0:23:41.960 --> 0:23:43.320
<v Speaker 6>So that's that's what we played.

0:23:44.040 --> 0:23:47.000
<v Speaker 7>Of course, he dunked on my head about five times.

0:23:47.040 --> 0:23:48.800
<v Speaker 7>I mean, you know, he's a freak. He was a

0:23:48.840 --> 0:23:52.399
<v Speaker 7>freaky athlete. Anyway, there are lots of witnesses and I

0:23:52.400 --> 0:23:55.439
<v Speaker 7>could name them all for you, so including including his

0:23:55.520 --> 0:23:58.159
<v Speaker 7>high school cook. But you know, what, the hell with it,

0:23:58.240 --> 0:24:01.679
<v Speaker 7>I don't care. I love I love Chuck and uh,

0:24:02.280 --> 0:24:04.119
<v Speaker 7>you know, maybe maybe he let me.

0:24:04.440 --> 0:24:05.480
<v Speaker 6>You'd have to ask him.

0:24:05.920 --> 0:24:11.120
<v Speaker 3>Okay, Yeah, there's there's Uh there's a friend of Pharrell's

0:24:11.200 --> 0:24:16.080
<v Speaker 3>who I guess went to high school with with Alan,

0:24:16.440 --> 0:24:19.560
<v Speaker 3>and like one night they were at a party for

0:24:19.640 --> 0:24:22.879
<v Speaker 3>the Neptunes, and you know it's like they're in the

0:24:22.960 --> 0:24:25.480
<v Speaker 3>nightclub and you know, the guy was trying to bring

0:24:25.560 --> 0:24:27.520
<v Speaker 3>up like old high school times and you know Alan

0:24:27.680 --> 0:24:30.159
<v Speaker 3>was like, oh yeah, way back in the day, like

0:24:30.240 --> 0:24:32.119
<v Speaker 3>really not trying to talk basketball when you're in a

0:24:32.200 --> 0:24:33.080
<v Speaker 3>nightclub situation.

0:24:34.040 --> 0:24:38.160
<v Speaker 2>Well, this guy like insists, like whatever high school.

0:24:37.880 --> 0:24:41.120
<v Speaker 3>Game they played, like oh boy, he had walked or something,

0:24:41.240 --> 0:24:44.400
<v Speaker 3>or like he did some violations. I don't know what happened.

0:24:44.440 --> 0:24:47.040
<v Speaker 3>But the next thing I know, Farrell told me, tells

0:24:47.080 --> 0:24:52.280
<v Speaker 3>me that this guy grabs his basketball and he's outside

0:24:52.280 --> 0:24:56.920
<v Speaker 3>in the parking lot and it's pouring down rain and

0:24:56.960 --> 0:25:02.720
<v Speaker 3>he's playing against Alan Iverson's roll's voice, like he's just

0:25:02.880 --> 0:25:05.040
<v Speaker 3>in front of the rolls voice, like trying to cross

0:25:05.200 --> 0:25:09.159
<v Speaker 3>as if that roll's voice is Alan Iverson, Like for

0:25:09.240 --> 0:25:10.240
<v Speaker 3>no reason at all.

0:25:10.400 --> 0:25:13.679
<v Speaker 7>Just oh, he was out there alone, playing out there.

0:25:13.600 --> 0:25:17.359
<v Speaker 3>Alone, just like playing a car trying to cross the

0:25:17.440 --> 0:25:21.359
<v Speaker 3>roles voice like it was parked, like Alan was nowhere.

0:25:21.480 --> 0:25:23.679
<v Speaker 2>You know. It was just that is one of those

0:25:24.119 --> 0:25:30.359
<v Speaker 2>moments that's sad. Really, yeah, it was so for you.

0:25:30.760 --> 0:25:34.200
<v Speaker 3>What was your what was the moment that really drew

0:25:34.240 --> 0:25:37.280
<v Speaker 3>you into your music career right now?

0:25:37.480 --> 0:25:40.880
<v Speaker 6>Like, well, what what was the moment that made.

0:25:40.720 --> 0:25:43.080
<v Speaker 2>Me say, I mean as younger.

0:25:43.200 --> 0:25:45.879
<v Speaker 7>Yeah, exactly, there made me say, okay, the hell with

0:25:45.960 --> 0:25:49.560
<v Speaker 7>the standard routine, I'm casting my lot with the muse.

0:25:49.560 --> 0:25:53.240
<v Speaker 7>Tho's that moment you're you're asking about. Okay, Well, I

0:25:53.280 --> 0:25:55.000
<v Speaker 7>went to one year of real college. I was a

0:25:55.000 --> 0:25:57.160
<v Speaker 7>bit of a school hopper. I went to three colleges,

0:25:57.440 --> 0:26:01.480
<v Speaker 7>University of Richmond the one sort of lost year that

0:26:01.600 --> 0:26:04.040
<v Speaker 7>made and then Berkeley and Miami.

0:26:04.600 --> 0:26:06.240
<v Speaker 6>So that was a year that made me.

0:26:06.160 --> 0:26:09.720
<v Speaker 7>Realize, Okay, this, this is what I need to do.

0:26:09.880 --> 0:26:11.720
<v Speaker 7>But I was such a late starter because I had

0:26:11.720 --> 0:26:13.159
<v Speaker 7>been a jock as a kid and that's what I

0:26:13.200 --> 0:26:17.320
<v Speaker 7>cared about. But I started playing piano in eleventh grade,

0:26:17.840 --> 0:26:19.920
<v Speaker 7>and so kind of late stage seven.

0:26:19.720 --> 0:26:22.160
<v Speaker 2>Seven started playing piano in eleventh grade.

0:26:22.320 --> 0:26:24.040
<v Speaker 11>Yeah, yeah, I had a lot of catching up to do,

0:26:24.920 --> 0:26:31.480
<v Speaker 11>and yes started How that's just freaking well okay, so

0:26:31.640 --> 0:26:32.440
<v Speaker 11>how uhause?

0:26:32.520 --> 0:26:34.920
<v Speaker 2>I mean you're really good. So I just think that.

0:26:34.960 --> 0:26:37.199
<v Speaker 8>You can't have started that late. Yeah that's crazy.

0:26:37.640 --> 0:26:40.439
<v Speaker 7>Well, look, it's all about it's all about putting in

0:26:40.440 --> 0:26:43.879
<v Speaker 7>the time, as anyone knows. As you know, I when

0:26:43.960 --> 0:26:47.000
<v Speaker 7>I once I got into it, I got deeply involved.

0:26:47.080 --> 0:26:51.119
<v Speaker 7>And when I went to college, I practiced for several

0:26:51.200 --> 0:26:54.919
<v Speaker 7>years for from five to eight hours every day. So

0:26:55.000 --> 0:26:57.359
<v Speaker 7>if you're willing to do that every day, Christmas Day,

0:26:57.400 --> 0:26:58.600
<v Speaker 7>New Year's Day, then you're going.

0:26:58.560 --> 0:26:59.480
<v Speaker 6>To catch up a little bit.

0:26:59.640 --> 0:27:02.840
<v Speaker 7>All the oh, I do feel like I love classical music,

0:27:03.560 --> 0:27:06.480
<v Speaker 7>but my technique because I was such a late starter.

0:27:07.080 --> 0:27:11.000
<v Speaker 7>It's it's commonly said that if you want to be

0:27:11.000 --> 0:27:13.600
<v Speaker 7>a classical virtuos or a concert pianist, you have to

0:27:13.600 --> 0:27:15.800
<v Speaker 7>start at age three, four, five, six, you know, no late,

0:27:15.880 --> 0:27:19.080
<v Speaker 7>no later than that, because the demands are so intense.

0:27:19.760 --> 0:27:22.480
<v Speaker 7>And I really feel that, to be honest, I always

0:27:22.520 --> 0:27:26.400
<v Speaker 7>going men, bitch you sorry, as you know, to myself,

0:27:26.920 --> 0:27:30.840
<v Speaker 7>and so.

0:27:29.640 --> 0:27:32.440
<v Speaker 6>So that's that's a regret. But hey, everyone's life path

0:27:32.520 --> 0:27:32.919
<v Speaker 6>is different.

0:27:32.960 --> 0:27:35.040
<v Speaker 7>I was just a guy who like like playing sports

0:27:35.080 --> 0:27:38.439
<v Speaker 7>first and so got into this later. So yeah, but

0:27:38.520 --> 0:27:40.760
<v Speaker 7>I got deeply into it and went to music school

0:27:41.240 --> 0:27:43.800
<v Speaker 7>and and got a lot out of that too. So

0:27:44.600 --> 0:27:47.399
<v Speaker 7>that so that's my story. Just started started late, but

0:27:47.840 --> 0:27:49.959
<v Speaker 7>couldn't stop. I just I just had to do it

0:27:50.000 --> 0:27:50.760
<v Speaker 7>at all times.

0:27:50.760 --> 0:27:51.719
<v Speaker 8>Why did you leave Berkeley?

0:27:53.160 --> 0:27:55.440
<v Speaker 7>I went Berkeley because I wanted to practice four hours

0:27:55.480 --> 0:27:58.439
<v Speaker 7>a day and they had a limited number of practice rooms.

0:27:58.720 --> 0:28:00.840
<v Speaker 7>So if you wanted to practice for today, you had

0:28:00.840 --> 0:28:02.880
<v Speaker 7>to wait about six and a half hours to do

0:28:02.920 --> 0:28:04.560
<v Speaker 7>that because they kick you out.

0:28:04.800 --> 0:28:06.400
<v Speaker 6>It was a good a line of sign.

0:28:06.240 --> 0:28:08.120
<v Speaker 7>Up sheet in the line they kick you out after

0:28:08.200 --> 0:28:11.120
<v Speaker 7>two hours for you know, for good reason, I guess,

0:28:11.119 --> 0:28:12.480
<v Speaker 7>because there's got a lot of people waiting.

0:28:13.000 --> 0:28:13.840
<v Speaker 6>Yeah, that's right.

0:28:13.880 --> 0:28:17.520
<v Speaker 7>So and also since I was late to start, I

0:28:17.600 --> 0:28:21.480
<v Speaker 7>felt I needed to. I'd amassed all this information, you know,

0:28:21.520 --> 0:28:25.680
<v Speaker 7>this theoretical knowledge at Berkeley, Heart, take taking, harmony, et cetera,

0:28:25.720 --> 0:28:29.440
<v Speaker 7>and I thought I needed some time to really really

0:28:29.480 --> 0:28:32.920
<v Speaker 7>assimilate and deal with this and really ingest it. So

0:28:33.080 --> 0:28:37.000
<v Speaker 7>I lived in a farmhouse outside of Willnsburg, and that

0:28:37.119 --> 0:28:39.760
<v Speaker 7>was when I started my eight hours hours day regiment.

0:28:39.840 --> 0:28:43.800
<v Speaker 7>I played this little cocktail piano bar and at night

0:28:44.160 --> 0:28:46.960
<v Speaker 7>to make a buck and shed on this old upright.

0:28:47.560 --> 0:28:49.200
<v Speaker 6>And then I went to Miami from there.

0:28:49.920 --> 0:28:52.520
<v Speaker 8>Were you learning just by ear or were you reading

0:28:52.600 --> 0:28:53.080
<v Speaker 8>at that time?

0:28:53.440 --> 0:28:56.600
<v Speaker 7>Well, I started playing by ear because it came fairly

0:28:56.720 --> 0:29:00.960
<v Speaker 7>naturally to me. I started because of two guys. My

0:29:01.000 --> 0:29:04.239
<v Speaker 7>older brother went to New England prep school, and we

0:29:04.280 --> 0:29:06.680
<v Speaker 7>were just local Virginia hooples who listened to the top

0:29:06.760 --> 0:29:09.280
<v Speaker 7>fourtyest station in the soul station. We didn't get the

0:29:09.400 --> 0:29:12.920
<v Speaker 7>underground stuff, you know, the stations where back then you

0:29:12.960 --> 0:29:18.520
<v Speaker 7>could hear Miles Davis next to Hendricks, next to Joni Mitchell,

0:29:18.680 --> 0:29:23.360
<v Speaker 7>you know whatever. And so so he turned me on too.

0:29:23.400 --> 0:29:24.960
<v Speaker 7>I know this sounds crazy, to think that this could

0:29:25.000 --> 0:29:28.320
<v Speaker 7>be sort of underground. But Elton John's second record, Tumble

0:29:28.320 --> 0:29:31.680
<v Speaker 7>Wee Connection, is least mostly the one record he probably

0:29:31.720 --> 0:29:34.320
<v Speaker 7>almost ever made that had no hit on it. It's

0:29:34.360 --> 0:29:36.640
<v Speaker 7>one of the best ones. It's a deep, beautiful record,

0:29:36.880 --> 0:29:39.120
<v Speaker 7>and it got me into playing. And then he turned

0:29:39.120 --> 0:29:42.600
<v Speaker 7>me onto Joe Cocker, Mad Dogs and Englishmen with the

0:29:42.600 --> 0:29:47.040
<v Speaker 7>great Leon Russell playing piano. So Leon and Elton. Leon's

0:29:47.080 --> 0:29:50.160
<v Speaker 7>a soul man. He came straight out of you guys

0:29:50.160 --> 0:29:55.600
<v Speaker 7>familiar with Kojik Church of God in Christy, deep deep

0:29:55.680 --> 0:29:59.280
<v Speaker 7>gospel music roots. I mean, it's just the music that

0:29:59.320 --> 0:30:01.800
<v Speaker 7>comes out of there. Like you hear those old Sam's Cooking,

0:30:01.840 --> 0:30:05.200
<v Speaker 7>the Soul Stirrs records, all that stuff that Leon played, that.

0:30:05.120 --> 0:30:06.040
<v Speaker 6>Good, Good.

0:30:07.320 --> 0:30:13.040
<v Speaker 7>Gonna Go, all that stuff. You're hearing that in the

0:30:13.080 --> 0:30:16.040
<v Speaker 7>background where Sam's cooking, the soul Sterriers are singing that

0:30:16.400 --> 0:30:17.280
<v Speaker 7>killer gospel.

0:30:17.680 --> 0:30:18.560
<v Speaker 6>That's where that came.

0:30:18.720 --> 0:30:21.800
<v Speaker 7>Yeah, that's the right gospels, that's right gospel quartets. And

0:30:21.960 --> 0:30:26.000
<v Speaker 7>so between Elton and Leon, I was hooked, and so

0:30:26.240 --> 0:30:26.480
<v Speaker 7>I was.

0:30:26.680 --> 0:30:27.880
<v Speaker 6>I was learning those by ear.

0:30:28.480 --> 0:30:31.000
<v Speaker 7>But my mom, see, my grandfather was a musician for

0:30:31.040 --> 0:30:33.840
<v Speaker 7>a living in Richmond, and he was the supervisor of

0:30:34.080 --> 0:30:37.600
<v Speaker 7>music in the public schools, the pubic schools system, and

0:30:37.760 --> 0:30:43.400
<v Speaker 7>then uh he uh was also the uh the theater

0:30:43.640 --> 0:30:45.840
<v Speaker 7>organists at the local mosque. If you went to the

0:30:45.960 --> 0:30:48.760
<v Speaker 7>state jc's convention, you you'd be the guy over in

0:30:48.840 --> 0:30:52.320
<v Speaker 7>the corner playing Las Turkey in the star some old

0:30:52.680 --> 0:30:58.640
<v Speaker 7>pretty convincedrul ship. But uh so anyway, uh, she my

0:30:58.760 --> 0:31:01.440
<v Speaker 7>mom look at me, and she's my hands just looked terrible.

0:31:01.480 --> 0:31:03.880
<v Speaker 7>I was probably playing like this, and he said, you

0:31:03.920 --> 0:31:06.160
<v Speaker 7>know what, you you may be sounded okay, but you

0:31:06.320 --> 0:31:09.040
<v Speaker 7>look rough. You got to start taking lessons. And so

0:31:09.520 --> 0:31:13.680
<v Speaker 7>then I started to learn to read and learn sort

0:31:13.720 --> 0:31:17.480
<v Speaker 7>of the the jazz language, the two fives, et.

0:31:17.440 --> 0:31:20.840
<v Speaker 6>Cetera, all the color tones and all that. So that

0:31:21.120 --> 0:31:22.120
<v Speaker 6>my mom was good for me.

0:31:22.680 --> 0:31:25.200
<v Speaker 7>And so that's how that happened.

0:31:30.720 --> 0:31:33.280
<v Speaker 3>Real quick, What year were you at Berkeley and were

0:31:33.360 --> 0:31:36.680
<v Speaker 3>there any other notable students that were there at the

0:31:36.760 --> 0:31:39.000
<v Speaker 3>time that was in the year that you went.

0:31:39.600 --> 0:31:42.000
<v Speaker 7>Yeah, Well, I've always heard it's a it's a badge

0:31:42.000 --> 0:31:45.360
<v Speaker 7>of dishonor to actually graduate from Berkeley, because I've.

0:31:45.240 --> 0:31:48.240
<v Speaker 8>Heard it too. You only go for a little bit. Yeah, yeah,

0:31:48.240 --> 0:31:50.040
<v Speaker 8>I mean, you ain't getting a gege, Yeah.

0:31:49.960 --> 0:31:51.160
<v Speaker 4>You don't have a gig. That's right.

0:31:51.520 --> 0:31:55.760
<v Speaker 7>That means you're saying yeah, you know, so okay. I

0:31:55.800 --> 0:32:00.280
<v Speaker 7>went for summer and fall of seventy four, but I

0:32:00.400 --> 0:32:02.880
<v Speaker 7>was in the accelerated program. So I crammed two years

0:32:02.920 --> 0:32:07.160
<v Speaker 7>into two semesters and let me see anybody who was

0:32:07.240 --> 0:32:10.720
<v Speaker 7>there who really emerged. Pat Metheene was there, but he

0:32:10.800 --> 0:32:13.400
<v Speaker 7>had come from Miami. He had been a student at Miami,

0:32:13.760 --> 0:32:16.360
<v Speaker 7>but he was so bad he became a teacher like instantly.

0:32:18.120 --> 0:32:20.400
<v Speaker 7>But he was playing with Gary Burton when I was

0:32:20.480 --> 0:32:23.280
<v Speaker 7>at Berkeley, and so I saw an amazing concert at

0:32:23.320 --> 0:32:28.560
<v Speaker 7>the Sanders Theater in Harvard with Keith Jarrett opening on

0:32:28.760 --> 0:32:33.240
<v Speaker 7>solo piano, imagine that. And then Gary Burton's great Quartet

0:32:33.320 --> 0:32:37.440
<v Speaker 7>with Pat and Mick Goodrick and maybe Bob Moses. So

0:32:38.160 --> 0:32:40.160
<v Speaker 7>it was a fertile scene in Boston. You know, they

0:32:40.200 --> 0:32:42.360
<v Speaker 7>had the Jazz Workshop in Paul's Ball.

0:32:43.000 --> 0:32:44.080
<v Speaker 6>You could go. I would go.

0:32:44.520 --> 0:32:47.400
<v Speaker 7>I had enough money to go see hearsay Bill Evans

0:32:47.520 --> 0:32:50.040
<v Speaker 7>or Horrace Silver one of the week nights. But I

0:32:50.080 --> 0:32:55.400
<v Speaker 7>would go and listen through the wall on Boylston Avenue,

0:32:55.720 --> 0:32:59.840
<v Speaker 7>Boyston Street, just to hear more So it was amazing

0:32:59.880 --> 0:33:03.560
<v Speaker 7>to be able to hear all these people, all these

0:33:03.680 --> 0:33:06.480
<v Speaker 7>legend Cannonball added Lee Miles, on and on and on.

0:33:07.480 --> 0:33:09.760
<v Speaker 2>Was it? How heavy was the competition there?

0:33:09.760 --> 0:33:13.480
<v Speaker 3>Because I know, especially now, like if we're anywhere near

0:33:13.560 --> 0:33:16.880
<v Speaker 3>that campus in Boston, like or at least the musicians

0:33:16.880 --> 0:33:18.960
<v Speaker 3>I see now looking on YouTube or whatever, I feel

0:33:18.960 --> 0:33:21.440
<v Speaker 3>like there's such a not a cut through, but a

0:33:21.560 --> 0:33:26.040
<v Speaker 3>need to out floss each other into in terms of

0:33:26.160 --> 0:33:31.800
<v Speaker 3>like you know, overplay and yeah, everything is that the

0:33:31.880 --> 0:33:34.040
<v Speaker 3>story of Berkeley, just like, yeah, try to.

0:33:35.560 --> 0:33:38.120
<v Speaker 7>I really wasn't good enough to be perfectly honest with you.

0:33:38.200 --> 0:33:41.520
<v Speaker 7>I really wasn't good enough to really emerge into the

0:33:41.600 --> 0:33:44.080
<v Speaker 7>scene where I was hearing the great guys. I was

0:33:44.920 --> 0:33:49.440
<v Speaker 7>fairly mid level and uh so I don't remember, and

0:33:49.520 --> 0:33:54.480
<v Speaker 7>I also don't remember anyone emerging to have a great career.

0:33:54.640 --> 0:33:54.760
<v Speaker 2>Now.

0:33:54.920 --> 0:33:57.000
<v Speaker 6>When I went to Miami, that's different.

0:33:57.120 --> 0:33:59.600
<v Speaker 7>Okay, When I was at Miami, it was sort of

0:33:59.680 --> 0:34:02.760
<v Speaker 7>the letter stages of the golden era of University.

0:34:02.360 --> 0:34:04.080
<v Speaker 6>Of Miami right when I hit.

0:34:04.640 --> 0:34:08.480
<v Speaker 7>When I got there, Pat Pat had been there, Jocko

0:34:08.600 --> 0:34:10.520
<v Speaker 7>had been teaching near Jocko Obastorius.

0:34:11.280 --> 0:34:12.719
<v Speaker 2>Uh oh he held a job.

0:34:12.880 --> 0:34:16.200
<v Speaker 8>Wow, Yeah, I didn't know, well it.

0:34:16.280 --> 0:34:18.000
<v Speaker 6>Was personally it was private lessons.

0:34:18.040 --> 0:34:20.160
<v Speaker 7>I'm sure it was loose hair, can't I can't make

0:34:20.200 --> 0:34:22.359
<v Speaker 7>it today listen to you know that that kind of thing.

0:34:22.480 --> 0:34:25.440
<v Speaker 7>But the Dixie Drags, you guys know, those guys were

0:34:26.640 --> 0:34:31.880
<v Speaker 7>Steve Morse sort of like I don't know, like virtuosic

0:34:33.080 --> 0:34:35.960
<v Speaker 7>rock and roll, bluegrass or something that Steve Morris was

0:34:36.320 --> 0:34:39.680
<v Speaker 7>crazy that the virtuosity level was high.

0:34:40.120 --> 0:34:40.239
<v Speaker 2>Uh.

0:34:40.840 --> 0:34:46.480
<v Speaker 7>But then uh, Carmen Lundy, Rob Watson but known as

0:34:46.520 --> 0:34:51.799
<v Speaker 7>Bobby Watson now uh and uh and and Carmen's little brother,

0:34:52.160 --> 0:34:54.960
<v Speaker 7>Kurt Lundy. I played in Carmen's band. That was sort

0:34:54.960 --> 0:34:56.839
<v Speaker 7>of a rite of patches. If you were emerging as

0:34:56.880 --> 0:34:59.600
<v Speaker 7>one of the better players in the hierarchy of the school,

0:35:00.080 --> 0:35:02.560
<v Speaker 7>you got to play in Carmen Lundy's band. You guys

0:35:02.600 --> 0:35:06.400
<v Speaker 7>know Carmen, right, you guys know I. Yeah, okay, so

0:35:06.920 --> 0:35:09.560
<v Speaker 7>she's had a nice career as a jazz singer, and

0:35:09.960 --> 0:35:15.960
<v Speaker 7>uh yeah, Bobby Watson, Carmen pat pat Metheenie of course.

0:35:16.200 --> 0:35:16.319
<v Speaker 2>Uh.

0:35:17.080 --> 0:35:21.239
<v Speaker 3>And you're looking at it more serious jazz sort of

0:35:21.400 --> 0:35:24.480
<v Speaker 3>road or just you're going for the whatever it took you.

0:35:25.120 --> 0:35:28.000
<v Speaker 7>Well, I was just going with the inspiration, but it

0:35:28.120 --> 0:35:30.000
<v Speaker 7>was pretty tall tale at that time. I would go

0:35:30.120 --> 0:35:33.280
<v Speaker 7>to the record store and I'd buy an Ornette Coleman

0:35:33.360 --> 0:35:36.560
<v Speaker 7>record and a Joni Mitchell record, and I'd always find

0:35:36.600 --> 0:35:39.600
<v Speaker 7>myself listening to the Joni Mitchell record more. You know,

0:35:39.719 --> 0:35:44.480
<v Speaker 7>I get a ROBERTA. Flack record and a Hubert Laws record,

0:35:44.600 --> 0:35:47.160
<v Speaker 7>say and the flute.

0:35:46.920 --> 0:35:49.640
<v Speaker 8>Player, yeah and so on record.

0:35:50.360 --> 0:35:53.240
<v Speaker 7>Yeah, yeah, it's it's fantastic and so but I always

0:35:53.320 --> 0:35:56.440
<v Speaker 7>I thought to myself, well, I think I really like

0:35:56.560 --> 0:35:59.440
<v Speaker 7>this jazz music. It's a it's a great intellectual pursuit.

0:36:00.480 --> 0:36:04.360
<v Speaker 7>But I I think my heart was in in in

0:36:04.520 --> 0:36:07.279
<v Speaker 7>songs and songs with words. And so when I got

0:36:07.320 --> 0:36:09.640
<v Speaker 7>out of Miami, we put together a band up in

0:36:09.760 --> 0:36:14.479
<v Speaker 7>Virginia and started down the long road. Eight years later,

0:36:14.600 --> 0:36:17.680
<v Speaker 7>I got signed to our Sia Records at age thirty.

0:36:17.800 --> 0:36:22.000
<v Speaker 2>So it was wow, over, let's back that up. Six

0:36:22.120 --> 0:36:26.080
<v Speaker 2>years eighty two, you and you joined Ambrosia.

0:36:26.920 --> 0:36:27.960
<v Speaker 4>No, but I didn't.

0:36:28.360 --> 0:36:31.280
<v Speaker 6>That's a that's a fallacy on Wikipedia whatever.

0:36:31.880 --> 0:36:34.520
<v Speaker 2>Oh so you had nothing to do with No.

0:36:34.680 --> 0:36:36.439
<v Speaker 6>No, they were great friends of mine.

0:36:36.480 --> 0:36:40.680
<v Speaker 7>Okay, I was discovered the aforementioned band we put together

0:36:40.719 --> 0:36:44.600
<v Speaker 7>in Virginia after Miami. After I graduated, we were playing

0:36:44.640 --> 0:36:47.720
<v Speaker 7>around the local area and we where we're playing bars

0:36:47.840 --> 0:36:50.799
<v Speaker 7>and lounges where you're you know, you expected to play

0:36:50.840 --> 0:36:53.920
<v Speaker 7>shake your booty and brick house and all that stuff.

0:36:54.080 --> 0:36:57.640
<v Speaker 7>So we actually acquired an audience who would come to

0:36:57.719 --> 0:37:01.600
<v Speaker 7>these lounges to hear my songs. So we were big

0:37:01.719 --> 0:37:04.960
<v Speaker 7>fans of Mike McDonald of the Doobie Brothers, and so

0:37:05.520 --> 0:37:09.040
<v Speaker 7>they were coming through town and uh so we knew

0:37:09.040 --> 0:37:10.920
<v Speaker 7>where they were staying because the same people that booked

0:37:10.920 --> 0:37:13.399
<v Speaker 7>the big concerts at Hampton Coliseum booked our little ship

0:37:13.480 --> 0:37:15.439
<v Speaker 7>ass gigs at the at the Stake and Ale.

0:37:15.800 --> 0:37:17.320
<v Speaker 2>So we walked in.

0:37:17.960 --> 0:37:19.759
<v Speaker 7>My drummer and I were both sort of big guys.

0:37:19.800 --> 0:37:21.799
<v Speaker 7>I'm big, bony ask guy, but my drummer is a big,

0:37:21.880 --> 0:37:24.720
<v Speaker 7>strong guy. And we walk in and found Mike McDonald

0:37:24.800 --> 0:37:27.200
<v Speaker 7>in the lobby. We went up to him and said, hey,

0:37:27.320 --> 0:37:30.680
<v Speaker 7>Mike with the baddest motherfuckers in his town, and we're

0:37:30.719 --> 0:37:31.359
<v Speaker 7>playing right.

0:37:31.320 --> 0:37:33.200
<v Speaker 6>Over here and you should come here.

0:37:33.400 --> 0:37:35.799
<v Speaker 7>So he says, well, I will if I can. I'm

0:37:35.840 --> 0:37:37.799
<v Speaker 7>going to the movies. But so sure enough he came.

0:37:44.960 --> 0:37:45.840
<v Speaker 6>Everyone could do a.

0:37:45.840 --> 0:37:47.240
<v Speaker 4>Mike McDonald opression.

0:37:49.160 --> 0:37:51.160
<v Speaker 8>We've had him on the show. We actually had him.

0:37:51.640 --> 0:37:53.360
<v Speaker 4>He was doing a depression of himself.

0:37:55.040 --> 0:37:57.400
<v Speaker 7>Well he's a beautiful guy, as you know, he's just

0:37:57.520 --> 0:38:01.759
<v Speaker 7>the sweetest person, so self a face humbled. Anyway, he

0:38:01.880 --> 0:38:05.680
<v Speaker 7>came and we were just raging at it, and he

0:38:06.600 --> 0:38:09.080
<v Speaker 7>invited us over to the long story short, he kind

0:38:09.120 --> 0:38:11.680
<v Speaker 7>of he sort of discovered us and helped us meet

0:38:11.760 --> 0:38:14.839
<v Speaker 7>some people in LA and that's what got me out

0:38:14.920 --> 0:38:15.480
<v Speaker 7>to LA.

0:38:16.680 --> 0:38:19.759
<v Speaker 6>About a year and a half later, a lot of

0:38:19.840 --> 0:38:21.560
<v Speaker 6>us moved to California.

0:38:21.800 --> 0:38:24.200
<v Speaker 9>Did you ever end up working with Michael McDonald after

0:38:24.280 --> 0:38:25.760
<v Speaker 9>that on projects or anything.

0:38:26.280 --> 0:38:28.360
<v Speaker 7>No, But our claim to fame was that Mike McDonald

0:38:28.440 --> 0:38:31.440
<v Speaker 7>and whether the Doobie Brothers were playing some PBS special

0:38:31.800 --> 0:38:35.080
<v Speaker 7>and live thing and he was wearing a Bruce Hornsby

0:38:35.239 --> 0:38:40.000
<v Speaker 7>band T shirt and so that was of course, that

0:38:40.120 --> 0:38:43.160
<v Speaker 7>was a huge thing for us. We thought that was beautiful.

0:38:43.520 --> 0:38:46.360
<v Speaker 7>We slept on his floor for ten nights, my drummer

0:38:46.520 --> 0:38:49.160
<v Speaker 7>John Molo and I and at that time he was

0:38:49.239 --> 0:38:52.759
<v Speaker 7>singing on everybody's record under the La Sun, and so

0:38:52.960 --> 0:38:57.359
<v Speaker 7>he would take our admittedly very mediocre demo tape around

0:38:57.400 --> 0:38:59.800
<v Speaker 7>and try to turn people onto it and that.

0:39:00.160 --> 0:39:04.080
<v Speaker 6>But to no avail again. Years later I got signed.

0:39:04.400 --> 0:39:07.440
<v Speaker 2>Oh but yeah, right, this is from moving to LA.

0:39:07.520 --> 0:39:08.759
<v Speaker 2>What year did you move to LA?

0:39:09.280 --> 0:39:13.160
<v Speaker 7>Nineteen eighty Yeah, okay, graduated seventy seven from UM and

0:39:13.280 --> 0:39:16.160
<v Speaker 7>then two and a half years around the local scene

0:39:16.239 --> 0:39:20.720
<v Speaker 7>from Virginia Beach to Richmond with Willisburg in the middle,

0:39:20.800 --> 0:39:23.040
<v Speaker 7>and then moved, uh to LA.

0:39:23.760 --> 0:39:26.359
<v Speaker 2>Well, obviously I know what prompted to move to La.

0:39:26.760 --> 0:39:28.080
<v Speaker 2>Oh oh, but you know.

0:39:29.560 --> 0:39:31.759
<v Speaker 7>You got we got onto this because you asked me

0:39:31.800 --> 0:39:32.640
<v Speaker 7>about Ambrosia.

0:39:33.120 --> 0:39:34.320
<v Speaker 6>So yes, okay.

0:39:34.920 --> 0:39:38.560
<v Speaker 7>So the opening act for the Dewey Brothers and on

0:39:38.640 --> 0:39:41.680
<v Speaker 7>that tour was Ambrosia, and so they came to the

0:39:41.760 --> 0:39:43.480
<v Speaker 7>gig too, and we became friends with them.

0:39:43.480 --> 0:39:45.000
<v Speaker 6>And when we moved we went to LA.

0:39:45.640 --> 0:39:48.600
<v Speaker 7>Later that summer we slept on some of those guys floors,

0:39:49.719 --> 0:39:53.360
<v Speaker 7>and so they became friends with us. And then about

0:39:53.400 --> 0:39:57.440
<v Speaker 7>eighty three eighty two, eighty three eighty four, they had

0:39:57.480 --> 0:40:00.879
<v Speaker 7>made a record called Rhode Island and very venturous, sort

0:40:00.920 --> 0:40:03.560
<v Speaker 7>of prog rock record because a lot of everyone knows

0:40:03.600 --> 0:40:08.680
<v Speaker 7>the hits make a wish baby, how much I feel yet,

0:40:08.920 --> 0:40:11.960
<v Speaker 7>but really their their heart lay in in the uh

0:40:12.320 --> 0:40:13.799
<v Speaker 7>the more progressive.

0:40:16.600 --> 0:40:20.799
<v Speaker 6>You know that that kind of thing, and I liked

0:40:20.920 --> 0:40:21.200
<v Speaker 6>that too.

0:40:21.400 --> 0:40:24.400
<v Speaker 7>So they made a record called Rhode Island, and uh,

0:40:24.960 --> 0:40:28.040
<v Speaker 7>I wasn't on it, but I wasn't doing much then,

0:40:28.200 --> 0:40:30.279
<v Speaker 7>and they said, hey, why don't you come be in

0:40:30.320 --> 0:40:30.800
<v Speaker 7>a video?

0:40:30.960 --> 0:40:32.680
<v Speaker 6>So now I'm outing myself again.

0:40:32.719 --> 0:40:34.279
<v Speaker 7>I know that I know what you're up to here,

0:40:34.840 --> 0:40:39.160
<v Speaker 7>because now you're making me admit to another laughable performance

0:40:39.560 --> 0:40:42.959
<v Speaker 7>on a video that is unfortunately out in the world.

0:40:43.000 --> 0:40:45.760
<v Speaker 6>But you know what, do I care? I look hilarious again,

0:40:46.080 --> 0:40:48.480
<v Speaker 6>So if you want extra I see now.

0:40:49.080 --> 0:40:54.719
<v Speaker 7>I started off as a video pitiful and so that's

0:40:54.840 --> 0:40:55.759
<v Speaker 7>all I did with him.

0:40:55.800 --> 0:40:58.879
<v Speaker 6>I was just in that video. The Rhode Island.

0:40:58.640 --> 0:41:02.359
<v Speaker 7>Record didn't really do much commercially, and so they kind

0:41:02.360 --> 0:41:05.200
<v Speaker 7>of broke up the band, and uh, but right around

0:41:05.239 --> 0:41:06.879
<v Speaker 7>that time, I was starting to get my own thing going,

0:41:06.960 --> 0:41:09.040
<v Speaker 7>and soon enough I finally got my chance.

0:41:09.440 --> 0:41:13.160
<v Speaker 3>So what was what was pounding the pavement like in

0:41:13.400 --> 0:41:18.640
<v Speaker 3>Los Angeles between nineteen eighty and eighty six when you

0:41:18.840 --> 0:41:23.520
<v Speaker 3>finally got your deal? Well you have what was what

0:41:23.680 --> 0:41:27.520
<v Speaker 3>was the steps of not the steps of heartbreak?

0:41:27.600 --> 0:41:30.560
<v Speaker 2>But I mean, what was it like back then?

0:41:31.520 --> 0:41:34.440
<v Speaker 7>Well, you'll have you'll I'll have to set the scene

0:41:34.560 --> 0:41:37.959
<v Speaker 7>by remembering the pop music trend of the time.

0:41:38.120 --> 0:41:42.799
<v Speaker 6>The early eighties were just chock a block with new

0:41:42.960 --> 0:41:44.200
<v Speaker 6>wave music.

0:41:44.480 --> 0:41:48.600
<v Speaker 7>Guys in skinny ties and the kind of haircut buzz

0:41:48.719 --> 0:41:51.000
<v Speaker 7>whatever they had groups.

0:41:50.760 --> 0:41:54.000
<v Speaker 6>Like you, well, I didn't have. I didn't have any

0:41:54.080 --> 0:41:54.200
<v Speaker 6>of that.

0:41:54.600 --> 0:41:59.520
<v Speaker 7>I looked just like some Schmendrick who you know, sold

0:42:00.200 --> 0:42:01.360
<v Speaker 7>sold coffee somewhere.

0:42:01.360 --> 0:42:05.680
<v Speaker 6>I mean, I I just was totally not this. The

0:42:05.800 --> 0:42:07.400
<v Speaker 6>pictures of me are pretty funny. Well if I just

0:42:07.520 --> 0:42:09.319
<v Speaker 6>pictures of me now are probably pretty funny too.

0:42:09.360 --> 0:42:13.880
<v Speaker 7>But anyway, that so I was really I'm trying to

0:42:13.960 --> 0:42:16.080
<v Speaker 7>take the picture that I was really a fish out

0:42:16.120 --> 0:42:19.080
<v Speaker 7>of water stylistically, you know, for that I was wrong

0:42:19.200 --> 0:42:23.040
<v Speaker 7>for the times. But then maybe I kind of caught

0:42:23.080 --> 0:42:25.360
<v Speaker 7>a wave in this way. Maybe that's why I got signed.

0:42:25.360 --> 0:42:27.200
<v Speaker 7>I don't think about it much, but in eighty five,

0:42:27.840 --> 0:42:30.960
<v Speaker 7>the pop trends tended to were starting to move away

0:42:31.000 --> 0:42:35.200
<v Speaker 7>from from this sort of brit pop new wave thing,

0:42:36.200 --> 0:42:40.120
<v Speaker 7>and LA had its own new wave groups like X

0:42:40.239 --> 0:42:43.880
<v Speaker 7>and the Blasters, but it started moving into more of

0:42:43.920 --> 0:42:49.160
<v Speaker 7>an Americana you know, Bruce Springsteen, John Mellencamp, Tom Petty thing.

0:42:49.960 --> 0:42:54.360
<v Speaker 7>So my music was sort of tangentially related to that stylistically,

0:42:54.719 --> 0:42:57.719
<v Speaker 7>and so maybe that, but I was playing all this

0:42:57.880 --> 0:43:00.800
<v Speaker 7>piano and so it was a little differ and I

0:43:00.880 --> 0:43:04.080
<v Speaker 7>don't know. I'm proud to say the guy who signed

0:43:04.080 --> 0:43:06.919
<v Speaker 7>me was the rhythm guitar player for the Zombies back

0:43:06.960 --> 0:43:11.239
<v Speaker 7>in the sixties soul. Just the best British man, Paul Atkinson,

0:43:11.840 --> 0:43:16.640
<v Speaker 7>with that great resume, and he just and I tell

0:43:16.719 --> 0:43:19.680
<v Speaker 7>this to people all the time, the least as far

0:43:19.760 --> 0:43:22.239
<v Speaker 7>of sort of a tale, cautionary tale of what not

0:43:22.400 --> 0:43:26.279
<v Speaker 7>to do, the least commercial tape I ever made was

0:43:26.360 --> 0:43:29.080
<v Speaker 7>the one that got me signed, and the one that

0:43:29.239 --> 0:43:31.960
<v Speaker 7>was the truest to my sort of artistic heart. At

0:43:32.000 --> 0:43:35.200
<v Speaker 7>the time, I'm just soloing on piano, just stuff that's

0:43:35.280 --> 0:43:40.040
<v Speaker 7>not done, and Paul Atkinson basically couldn't take the tape

0:43:40.080 --> 0:43:42.600
<v Speaker 7>out of his car, So you're just trying to move

0:43:42.719 --> 0:43:45.759
<v Speaker 7>somebody in a deep way. And that's what this tape did.

0:43:46.280 --> 0:43:49.200
<v Speaker 7>It was my sort of screw you to the mainstream

0:43:49.239 --> 0:43:50.960
<v Speaker 7>record business. I thought it was going to come out

0:43:51.000 --> 0:43:53.640
<v Speaker 7>in some small label like Windham Hill or something.

0:43:53.760 --> 0:43:58.400
<v Speaker 6>But you laugh, Okay, I get it.

0:43:58.680 --> 0:44:02.080
<v Speaker 9>This kind of sorry, it's kind of interesting that Paul

0:44:02.160 --> 0:44:05.640
<v Speaker 9>Atkinson signed. You have he's from The Zombies, which was

0:44:06.280 --> 0:44:08.399
<v Speaker 9>a keyboard centric band.

0:44:08.480 --> 0:44:10.120
<v Speaker 6>Yeah, Rod Argent, exactly.

0:44:10.520 --> 0:44:13.879
<v Speaker 8>Yeah, so he might have had a taste for that, an.

0:44:13.800 --> 0:44:18.640
<v Speaker 7>Affinity for a keyboard or dominated pop yet. So anyway,

0:44:18.719 --> 0:44:21.640
<v Speaker 7>that's what happened, and then we met our first record

0:44:22.520 --> 0:44:24.600
<v Speaker 7>and it was a total fluke. The Way It Is

0:44:24.840 --> 0:44:27.120
<v Speaker 7>was thought to be a B side. There's lots of

0:44:27.160 --> 0:44:31.719
<v Speaker 7>stories like this, This is not rare. Rod Stewart's Maggie May,

0:44:31.840 --> 0:44:34.440
<v Speaker 7>for instance, one of the iconics that was thought to

0:44:34.480 --> 0:44:35.399
<v Speaker 7>be a B side as well.

0:44:35.640 --> 0:44:37.080
<v Speaker 2>So you're saying the Way It Is was kind of

0:44:37.080 --> 0:44:38.200
<v Speaker 2>an afterthought.

0:44:37.840 --> 0:44:40.720
<v Speaker 7>Like here, Well was the title I titled the record

0:44:40.800 --> 0:44:43.120
<v Speaker 7>that the record our first record was called The Way

0:44:43.160 --> 0:44:46.920
<v Speaker 7>It Is? But again, a song about racism with two,

0:44:47.320 --> 0:44:51.239
<v Speaker 7>not one, but two improvised piano solos is not this

0:44:51.480 --> 0:44:54.879
<v Speaker 7>formula for pop radio, you know, and so at all.

0:44:55.239 --> 0:44:59.080
<v Speaker 7>But it broke on the BBC BBC Radio one broken England,

0:44:59.160 --> 0:45:01.839
<v Speaker 7>then throughout Europe, then throughout the rest of the world,

0:45:01.960 --> 0:45:04.839
<v Speaker 7>and then here and so I was really lucky, man.

0:45:05.040 --> 0:45:07.840
<v Speaker 7>I broke on a song that, at least for me,

0:45:08.280 --> 0:45:10.200
<v Speaker 7>felt like it had a little more gravitage than the

0:45:10.280 --> 0:45:14.160
<v Speaker 7>standard record that you were hearing on hit radio then.

0:45:14.400 --> 0:45:17.000
<v Speaker 6>And so yeah, I was good. It's a I call

0:45:17.080 --> 0:45:18.840
<v Speaker 6>it a wonderful accident, a great fluke.

0:45:19.480 --> 0:45:21.840
<v Speaker 3>I want to ask you before we even get to

0:45:22.280 --> 0:45:25.759
<v Speaker 3>the actual crafting of the way it is. I just

0:45:25.840 --> 0:45:30.439
<v Speaker 3>got to know, how did you avoid, like eighty six

0:45:30.640 --> 0:45:35.080
<v Speaker 3>would have been a very tempting year patch wise for

0:45:35.239 --> 0:45:40.440
<v Speaker 3>you to fall into Yamaha d X seven itis with

0:45:40.600 --> 0:45:41.920
<v Speaker 3>those like fake.

0:45:41.880 --> 0:45:44.600
<v Speaker 2>Road sounds and whatnot. Yeah, I did, and I hate

0:45:44.680 --> 0:45:46.960
<v Speaker 2>no one is such a strong piano player, Like, how

0:45:47.000 --> 0:45:50.200
<v Speaker 2>did you avoid falling into that?

0:45:50.280 --> 0:45:54.040
<v Speaker 3>Because literally every other hit was just peppered with the

0:45:54.160 --> 0:45:57.760
<v Speaker 3>DX seven fake Rhodes bell sound.

0:45:57.880 --> 0:45:58.719
<v Speaker 2>How did you avoid that?

0:46:00.040 --> 0:46:02.360
<v Speaker 6>I thought it was the horror. I thought it was horrible.

0:46:02.440 --> 0:46:02.800
<v Speaker 4>I was not.

0:46:02.960 --> 0:46:06.439
<v Speaker 7>I just I didn't want to make that sound. And look,

0:46:06.440 --> 0:46:08.719
<v Speaker 7>it's what I do, it's what I did. And so

0:46:09.640 --> 0:46:13.279
<v Speaker 7>again I made this tape with no regard to that.

0:46:13.320 --> 0:46:16.760
<v Speaker 7>That's why I said, it's the least commercial attempted tape

0:46:16.960 --> 0:46:21.400
<v Speaker 7>that I ever that I made. And uh so so

0:46:21.520 --> 0:46:23.440
<v Speaker 7>it was again it was it was honest, and it

0:46:23.560 --> 0:46:27.040
<v Speaker 7>was maybe fresh, and so it's easy to Monday Morning

0:46:27.120 --> 0:46:29.560
<v Speaker 7>quarterback to me was just a wonderful accident.

0:46:30.120 --> 0:46:32.400
<v Speaker 5>Yeah, that was a record, man, the way it is,

0:46:32.840 --> 0:46:34.680
<v Speaker 5>and I don't know, you know, you said it was

0:46:34.719 --> 0:46:36.279
<v Speaker 5>a B side and it was kind of a thing

0:46:36.360 --> 0:46:38.080
<v Speaker 5>that kind of went off. That was one of the

0:46:38.160 --> 0:46:42.160
<v Speaker 5>first records I remember it kind of being marketed as

0:46:42.960 --> 0:46:46.239
<v Speaker 5>like a serious song, so to speak, and just as

0:46:46.280 --> 0:46:48.840
<v Speaker 5>a kid, like I just remember just kind of the

0:46:48.920 --> 0:46:52.880
<v Speaker 5>bookends of my elementary school education, like the way it is,

0:46:53.120 --> 0:46:55.719
<v Speaker 5>and we didn't start the fire, like I remember my

0:46:55.880 --> 0:47:00.359
<v Speaker 5>teacher like making us right about those songs, like oh interesting, wow,

0:47:00.840 --> 0:47:02.759
<v Speaker 5>the way it is, like okay, so what do you

0:47:02.840 --> 0:47:03.640
<v Speaker 5>think this is about?

0:47:03.760 --> 0:47:06.520
<v Speaker 8>What do you think you know? And and and it

0:47:06.719 --> 0:47:08.799
<v Speaker 8>just always resonated with me. And I think even the.

0:47:08.800 --> 0:47:10.920
<v Speaker 5>Mirrors one about you know, the d X seven, that

0:47:11.040 --> 0:47:13.160
<v Speaker 5>kind of plastic keyboard kind of sound that was hot

0:47:13.160 --> 0:47:13.600
<v Speaker 5>at the time.

0:47:14.120 --> 0:47:15.560
<v Speaker 8>One of the things that always took out to me

0:47:15.719 --> 0:47:17.600
<v Speaker 8>that you were actually playing a real piano.

0:47:17.719 --> 0:47:19.239
<v Speaker 5>And I mean I was, I mean got I was

0:47:19.239 --> 0:47:22.759
<v Speaker 5>probably like seven eight whatever when it came, but but

0:47:22.840 --> 0:47:25.200
<v Speaker 5>I remember it vividly, and that was just always one

0:47:25.200 --> 0:47:27.120
<v Speaker 5>of my favorite songs. And you know, all the times

0:47:27.160 --> 0:47:29.560
<v Speaker 5>it's sampled and everything. I mean, it was just I

0:47:29.640 --> 0:47:31.160
<v Speaker 5>just always thought that was just a gorgeous song.

0:47:31.560 --> 0:47:33.920
<v Speaker 6>Well, how about a fast car like Tracy Chapman. Did

0:47:33.960 --> 0:47:34.440
<v Speaker 6>you like that when?

0:47:35.239 --> 0:47:41.680
<v Speaker 3>Yeah, of course yeah, But do you do you think

0:47:42.000 --> 0:47:47.000
<v Speaker 3>growing up in Richmond sort of prompted you to craft

0:47:47.040 --> 0:47:49.920
<v Speaker 3>the song and the way that you did, because again,

0:47:50.360 --> 0:47:55.719
<v Speaker 3>I mean, people really weren't especially with uh, I meant

0:47:55.880 --> 0:47:58.439
<v Speaker 3>barely with with hip hop.

0:47:58.560 --> 0:47:59.640
<v Speaker 2>I mean hip hop really.

0:47:59.520 --> 0:48:03.120
<v Speaker 3>Wouldn't wasn't starting to get in your face for real,

0:48:03.239 --> 0:48:06.360
<v Speaker 3>for real until eighty seven eighty eight. Right, Yeah, so

0:48:06.640 --> 0:48:10.720
<v Speaker 3>I meant to even bring up something as topical or whatnot.

0:48:11.960 --> 0:48:16.160
<v Speaker 2>Do you think that's just experience experiences in Richmond, Virginia,

0:48:16.680 --> 0:48:19.560
<v Speaker 2>or or like what prompted that?

0:48:20.640 --> 0:48:23.320
<v Speaker 7>Well, I think it's just growing up in a small town. Yes, Williamsburg,

0:48:23.360 --> 0:48:25.160
<v Speaker 7>which is fifty miles for Richmond. So I have small

0:48:25.280 --> 0:48:29.680
<v Speaker 7>more of a small town feeling in Williamsburg. And look,

0:48:29.719 --> 0:48:34.080
<v Speaker 7>it's just it's just based on my upbringing. I was

0:48:34.800 --> 0:48:37.200
<v Speaker 7>the only white dude on the basketball team in high

0:48:37.200 --> 0:48:40.080
<v Speaker 7>school and that was just the best experience for me.

0:48:40.760 --> 0:48:45.399
<v Speaker 7>My old teammates are still my hanging pals in town.

0:48:45.560 --> 0:48:48.239
<v Speaker 6>Here. We go out and talk shit and have a

0:48:48.360 --> 0:48:51.160
<v Speaker 6>laugh and get some beat all for years now.

0:48:51.200 --> 0:48:54.840
<v Speaker 7>It's just beautiful and so I'll shout out Lawrence Jones,

0:48:55.320 --> 0:48:59.960
<v Speaker 7>Keith Drewett, Pebe Martin, Alonzo Dandridge Algae.

0:49:00.760 --> 0:49:01.839
<v Speaker 6>I could keep naming them.

0:49:02.400 --> 0:49:06.480
<v Speaker 7>So those are my guys. Uh And so it was

0:49:06.560 --> 0:49:11.400
<v Speaker 7>a very intense time. I came in just after integration,

0:49:12.080 --> 0:49:15.120
<v Speaker 7>just after the first couple of years. But it was

0:49:15.360 --> 0:49:19.759
<v Speaker 7>it was still sort of a fraud scene. It was

0:49:19.920 --> 0:49:25.800
<v Speaker 7>was definitely attention in the air. And uh, but I

0:49:26.080 --> 0:49:29.799
<v Speaker 7>don't know, I embraced it. They embraced me, My teammates,

0:49:30.040 --> 0:49:34.080
<v Speaker 7>They my teammates embraced me, and uh and and spin

0:49:34.160 --> 0:49:37.040
<v Speaker 7>ever thus so uh so I I just wrote that

0:49:37.160 --> 0:49:40.279
<v Speaker 7>song based on my my upbringing in Williamsburg.

0:49:41.280 --> 0:49:43.000
<v Speaker 5>I was curious to know what was it like working

0:49:43.040 --> 0:49:45.560
<v Speaker 5>with Huey Lewis as a producer, Like, what was I mean,

0:49:45.600 --> 0:49:47.840
<v Speaker 5>we knew him as an artist, but what was he

0:49:47.960 --> 0:49:50.080
<v Speaker 5>like kind of behind the boards and in working in

0:49:50.160 --> 0:49:50.719
<v Speaker 5>that capacity?

0:49:51.560 --> 0:49:54.359
<v Speaker 7>Well, he he produced three songs on the record, one

0:49:54.440 --> 0:49:58.640
<v Speaker 7>of which I changed completely after the record. The original

0:49:58.760 --> 0:50:01.359
<v Speaker 7>version of the record has a band version of this song,

0:50:01.400 --> 0:50:03.839
<v Speaker 7>the River Runs Lot. I just thought it wasn't doing

0:50:03.880 --> 0:50:05.719
<v Speaker 7>the song justice, so I stripped it all down and

0:50:06.000 --> 0:50:11.040
<v Speaker 7>it made it a keyboard vocal record. Hughuey is one

0:50:11.080 --> 0:50:14.960
<v Speaker 7>of the great guys, and he was He was a

0:50:15.080 --> 0:50:17.920
<v Speaker 7>big cheerleader for me, kind of like Mike McDonald had been.

0:50:18.719 --> 0:50:21.000
<v Speaker 7>We were making a demo for Epic Records in eighty

0:50:21.040 --> 0:50:23.600
<v Speaker 7>four and hue had sports at the time, which was

0:50:23.719 --> 0:50:28.000
<v Speaker 7>just Hugh was all everything around the world. And he

0:50:28.200 --> 0:50:31.160
<v Speaker 7>called up and said, Hi, this is Huey. Lewis signed

0:50:31.200 --> 0:50:33.399
<v Speaker 7>the Range. I was hiding behind the name of the Range.

0:50:33.440 --> 0:50:34.320
<v Speaker 7>We were just the Range.

0:50:34.400 --> 0:50:37.920
<v Speaker 6>Then RCA asked me to just be Bruce Hornsby.

0:50:37.960 --> 0:50:40.360
<v Speaker 7>So I compromised on Bruce Hornsby and the Range. But

0:50:41.480 --> 0:50:43.279
<v Speaker 7>it didn't help us. We didn't get signed by Epic.

0:50:43.320 --> 0:50:47.239
<v Speaker 7>But that just shows you Hughey's real intense feeling for

0:50:47.680 --> 0:50:50.960
<v Speaker 7>what I was doing. And as a producer, we just

0:50:51.040 --> 0:50:53.799
<v Speaker 7>had a great time in the studio and we did

0:50:53.880 --> 0:50:57.200
<v Speaker 7>a song about this old horror this old horrorouse in

0:50:57.560 --> 0:50:58.799
<v Speaker 7>the countryside in Willisburg.

0:50:59.600 --> 0:51:03.280
<v Speaker 6>He called down the road tonight and he he produced.

0:51:04.440 --> 0:51:07.120
<v Speaker 6>He produced that song. He should have cuted himself. He'd

0:51:07.160 --> 0:51:08.080
<v Speaker 6>have had a hit with it.

0:51:08.160 --> 0:51:10.959
<v Speaker 8>I think, yeah, I could imagine hue Lewis sing about

0:51:10.960 --> 0:51:11.560
<v Speaker 8>whole houses that.

0:51:16.360 --> 0:51:16.880
<v Speaker 6>Better than I.

0:51:17.080 --> 0:51:21.360
<v Speaker 12>Yes, I think you're right more better suited with with

0:51:21.600 --> 0:51:23.759
<v Speaker 12>with the shock of or you know, I don't know

0:51:23.760 --> 0:51:27.200
<v Speaker 12>if it shocks you to have your first single totally

0:51:27.239 --> 0:51:30.799
<v Speaker 12>come out the out the box as across the board

0:51:30.880 --> 0:51:33.560
<v Speaker 12>hit pressure wise, what was that like?

0:51:34.120 --> 0:51:34.239
<v Speaker 2>Uh?

0:51:35.239 --> 0:51:38.000
<v Speaker 3>To be like, how did your life change as far

0:51:38.120 --> 0:51:43.279
<v Speaker 3>as the results and you know, of having that hit

0:51:43.360 --> 0:51:47.440
<v Speaker 3>single and then suddenly being ubiquitous because it's.

0:51:47.239 --> 0:51:48.440
<v Speaker 2>Not like you had a hit single.

0:51:48.480 --> 0:51:51.360
<v Speaker 6>I mean this song is you know, it's lasting.

0:51:51.440 --> 0:51:53.359
<v Speaker 7>Yet when you said shock, I thought you were gonna

0:51:53.360 --> 0:51:54.680
<v Speaker 7>ask me about my Shaka song.

0:51:56.000 --> 0:51:58.600
<v Speaker 2>I didn't get there yet. Yeah, I didn't get there yet.

0:51:59.160 --> 0:52:00.800
<v Speaker 2>About to be there everything.

0:52:01.600 --> 0:52:03.799
<v Speaker 7>Every time I come to and play with you, guys

0:52:04.480 --> 0:52:06.719
<v Speaker 7>you're keyboard player, somebody in your bend says, can we

0:52:06.800 --> 0:52:07.560
<v Speaker 7>play love me still?

0:52:07.600 --> 0:52:10.000
<v Speaker 6>So I'll get with you, which I love.

0:52:10.160 --> 0:52:10.319
<v Speaker 2>Yeah.

0:52:10.320 --> 0:52:12.279
<v Speaker 7>I have a good, a good story about you and

0:52:12.400 --> 0:52:17.200
<v Speaker 7>that song on Fallin. But that's that's about about nine

0:52:17.280 --> 0:52:22.120
<v Speaker 7>years later. So obviously this is a full dose of

0:52:23.400 --> 0:52:26.439
<v Speaker 7>pop stardom. That's you know, smacking me in the head.

0:52:27.280 --> 0:52:29.680
<v Speaker 7>And to be honest, I was pretty bad at it,

0:52:30.239 --> 0:52:34.120
<v Speaker 7>mostly because when you're when you're making when you're having

0:52:34.400 --> 0:52:36.759
<v Speaker 7>success at top forty, at least in America. Oh and

0:52:36.800 --> 0:52:40.239
<v Speaker 7>absolutely in Europe. It's sometimes even sillier over there, with

0:52:40.360 --> 0:52:42.600
<v Speaker 7>all the lip syncing shows you have to be on.

0:52:43.120 --> 0:52:46.759
<v Speaker 7>But I would yeah, exactly right, you said a Top

0:52:46.800 --> 0:52:50.800
<v Speaker 7>of the Pops and the like in You're in Holland,

0:52:51.200 --> 0:52:55.320
<v Speaker 7>Germany all around, So I would be saying I was

0:52:55.480 --> 0:52:59.799
<v Speaker 7>being Cleveland because the record company will send me there

0:53:00.239 --> 0:53:04.359
<v Speaker 7>to sit at a at a table signing autographs.

0:53:04.760 --> 0:53:06.600
<v Speaker 6>So here I am, and.

0:53:06.719 --> 0:53:10.600
<v Speaker 7>Next to me is Tiffany, and next to me is

0:53:10.960 --> 0:53:14.080
<v Speaker 7>Debbie Gibson on the other side, and then there's new kids,

0:53:14.280 --> 0:53:16.640
<v Speaker 7>kids on the block, and I'm going, man, what's wrong

0:53:16.680 --> 0:53:17.400
<v Speaker 7>with this picture?

0:53:17.880 --> 0:53:18.239
<v Speaker 8>It's me?

0:53:19.239 --> 0:53:23.600
<v Speaker 7>And so it just didn't fit. I just I didn't

0:53:23.640 --> 0:53:25.319
<v Speaker 7>know how to handle it. I should have just taken

0:53:25.360 --> 0:53:26.920
<v Speaker 7>the piss out of it, as the Brits would say,

0:53:26.920 --> 0:53:28.279
<v Speaker 7>and just made it into a big joke.

0:53:28.920 --> 0:53:30.680
<v Speaker 6>But then people that have got mad at me, and

0:53:30.760 --> 0:53:31.400
<v Speaker 6>I'd be.

0:53:31.480 --> 0:53:35.400
<v Speaker 7>Drawing stupid things signing different names. I started.

0:53:35.440 --> 0:53:36.440
<v Speaker 2>I just did that everyone.

0:53:37.560 --> 0:53:39.840
<v Speaker 6>Yeah, well I did that for a little while.

0:53:40.000 --> 0:53:43.480
<v Speaker 7>But I got tired of suffering the slings and arrows

0:53:43.560 --> 0:53:48.239
<v Speaker 7>of disgruntled fans. Who would go, oh, come on, man,

0:53:48.680 --> 0:53:51.480
<v Speaker 7>take it seriously. We really like you, you know, And

0:53:51.560 --> 0:53:54.200
<v Speaker 7>so then you go, you know what, I'm the dick here,

0:53:54.320 --> 0:53:57.840
<v Speaker 7>and so sorry, you're right, you're right. But but basically

0:53:58.520 --> 0:54:00.879
<v Speaker 7>it was I was not a good fit for that thing.

0:54:01.719 --> 0:54:05.920
<v Speaker 7>And so the second record we made was very much

0:54:05.960 --> 0:54:08.839
<v Speaker 7>of a piece with the first record. Stylistically, I wanted

0:54:08.840 --> 0:54:13.760
<v Speaker 7>to cement this sound, which was basically a Linn drum machine, piano,

0:54:14.920 --> 0:54:21.520
<v Speaker 7>an OBX or Juno pad boom, vocals, boom, and so

0:54:22.200 --> 0:54:25.000
<v Speaker 7>I did this again for that reason. And then I

0:54:25.120 --> 0:54:28.320
<v Speaker 7>instantly started getting letters from fans well how dare you change?

0:54:29.800 --> 0:54:31.920
<v Speaker 7>And I thought to myself, well, you know what, motherfucker,

0:54:31.960 --> 0:54:34.719
<v Speaker 7>you haven't seen anything yet, you know, you.

0:54:35.040 --> 0:54:36.200
<v Speaker 8>Just just wait.

0:54:37.040 --> 0:54:39.200
<v Speaker 7>And so then I started taking it out and my

0:54:39.280 --> 0:54:41.360
<v Speaker 7>third record, I had Wayne Shorter on the record and

0:54:42.000 --> 0:54:47.719
<v Speaker 7>Bayla Fleck and Oh Charlie Hayden Nig say wow, way

0:54:47.760 --> 0:54:53.920
<v Speaker 7>to go uh, And so then the letters really started cutting. Uh.

0:54:54.040 --> 0:54:56.840
<v Speaker 7>But but I so I just never looked back because

0:54:56.880 --> 0:54:59.040
<v Speaker 7>I never I never trusted hit radio anyway.

0:54:59.520 --> 0:55:02.400
<v Speaker 6>I knew was sort of ephemeral and not going to

0:55:02.440 --> 0:55:03.160
<v Speaker 6>be around for me.

0:55:03.239 --> 0:55:06.640
<v Speaker 7>Because I again, they hit off the second record was

0:55:06.680 --> 0:55:08.200
<v Speaker 7>the song this aforementioned song.

0:55:08.120 --> 0:55:10.680
<v Speaker 6>Valley Road. I'm really blowing.

0:55:10.760 --> 0:55:13.919
<v Speaker 7>I'm playing like McCoy tyner chordal harmony in the left

0:55:13.960 --> 0:55:18.040
<v Speaker 7>hand seven egg. I got the come, you know, just emphatic,

0:55:18.200 --> 0:55:22.320
<v Speaker 7>demonstrative stuff, and it's on the radio. My my musician

0:55:22.400 --> 0:55:24.560
<v Speaker 7>friends could not believe what I was getting away with.

0:55:24.920 --> 0:55:26.520
<v Speaker 7>And I didn't get away with it for long, just

0:55:26.600 --> 0:55:29.800
<v Speaker 7>those two times and kind and then that was it.

0:55:30.080 --> 0:55:32.600
<v Speaker 3>It's kind of weird for me because all right, so

0:55:32.640 --> 0:55:34.560
<v Speaker 3>I'm slightly older than Fante.

0:55:34.920 --> 0:55:39.880
<v Speaker 2>So like in my mind though, I think, even to

0:55:40.000 --> 0:55:40.560
<v Speaker 2>this day, if.

0:55:40.520 --> 0:55:45.000
<v Speaker 3>I asked myself, I still consider Henley's end of the

0:55:45.120 --> 0:55:48.600
<v Speaker 3>Innocent mm hmm kind of like your fourth single.

0:55:49.239 --> 0:55:52.920
<v Speaker 6>Yeah, well it's filing drumming that you know all over again.

0:55:53.160 --> 0:55:57.399
<v Speaker 3>Yeah, Like I still feel like it's it's I never

0:55:57.560 --> 0:55:59.839
<v Speaker 3>consider that a Don Henley song, Like to me, that's

0:55:59.920 --> 0:56:01.200
<v Speaker 3>like your song.

0:56:01.080 --> 0:56:03.719
<v Speaker 2>And it's your and you're not DNA print.

0:56:04.120 --> 0:56:04.759
<v Speaker 4>Yeah yet.

0:56:05.719 --> 0:56:08.279
<v Speaker 2>I don't want to sound like a suit like the

0:56:08.600 --> 0:56:09.960
<v Speaker 2>suit by on the an R Guy.

0:56:10.160 --> 0:56:13.560
<v Speaker 3>But you know, you could have you could have just

0:56:13.640 --> 0:56:16.239
<v Speaker 3>served them of like you could have served at least

0:56:16.800 --> 0:56:21.560
<v Speaker 3>nineteen of them like hotcakes, like why did you I

0:56:21.840 --> 0:56:23.319
<v Speaker 3>okay breaks on it like.

0:56:23.960 --> 0:56:27.520
<v Speaker 7>Well, you asked me if I felt pressure to come

0:56:27.640 --> 0:56:29.560
<v Speaker 7>up with hits or something like that us and I

0:56:29.640 --> 0:56:30.440
<v Speaker 7>didn't really answer it.

0:56:30.480 --> 0:56:31.479
<v Speaker 6>But I can do it now.

0:56:33.480 --> 0:56:37.080
<v Speaker 7>Because I had this big hit with a song that

0:56:37.239 --> 0:56:41.080
<v Speaker 7>no one thought was anything. I really felt that no

0:56:41.200 --> 0:56:43.960
<v Speaker 7>one at the record company felt they knew what a

0:56:44.040 --> 0:56:46.160
<v Speaker 7>Bruce Hornsby hit was supposed to sound like. So I

0:56:46.200 --> 0:56:50.960
<v Speaker 7>took that as total license to be free and and

0:56:51.360 --> 0:56:57.239
<v Speaker 7>and write songs about interracial romances and the girl who

0:56:57.320 --> 0:57:01.680
<v Speaker 7>got pregnant, on and on so uh so and and

0:57:01.800 --> 0:57:05.719
<v Speaker 7>then I never got pressured from RCA. They were really

0:57:05.760 --> 0:57:08.120
<v Speaker 7>good to me. I think I was helped by the

0:57:08.160 --> 0:57:10.279
<v Speaker 7>fact that the record company was really struggling and I

0:57:10.400 --> 0:57:13.560
<v Speaker 7>was the only artist that at the time did much

0:57:13.640 --> 0:57:16.760
<v Speaker 7>for them, so they pretty much left me alone and

0:57:17.000 --> 0:57:20.240
<v Speaker 7>I ran with that like crazy. Pat mcfeeney started playing

0:57:20.240 --> 0:57:23.400
<v Speaker 7>on my records. That was really special because he was

0:57:23.960 --> 0:57:28.040
<v Speaker 7>He played so amazingly on my fourth and fifth records,

0:57:28.080 --> 0:57:31.160
<v Speaker 7>Harbor Lights and Hothouse Man. He just turned it out.

0:57:31.960 --> 0:57:34.880
<v Speaker 7>It was so beautiful. Branford played on those just great.

0:57:35.880 --> 0:57:38.280
<v Speaker 7>So by then the record company has just thrown up

0:57:38.320 --> 0:57:43.280
<v Speaker 7>their hands. Look, I was trying to sort of be

0:57:43.400 --> 0:57:46.960
<v Speaker 7>a purist about it and and just follow my musical

0:57:47.200 --> 0:57:51.200
<v Speaker 7>instinct and and the recipe damn and aggress was kind

0:57:51.200 --> 0:57:53.480
<v Speaker 7>of damn for me. I stopped topped having hits.

0:57:53.320 --> 0:57:54.080
<v Speaker 8>But it was okay.

0:57:54.720 --> 0:57:57.720
<v Speaker 3>So back back in the eighties, when the myth of

0:57:57.800 --> 0:58:03.240
<v Speaker 3>winning the Best New Artists was an actual that's the curse, Yes.

0:58:03.680 --> 0:58:05.520
<v Speaker 2>How did you feel when your name was called?

0:58:07.280 --> 0:58:09.400
<v Speaker 7>I frankly was so clueless at the time that I

0:58:09.800 --> 0:58:12.520
<v Speaker 7>didn't start hearing about that curse until after we'd won it.

0:58:12.840 --> 0:58:15.080
<v Speaker 6>And so, so how did I feel?

0:58:15.280 --> 0:58:17.400
<v Speaker 7>I've thought that, well, this is great, but you know,

0:58:18.400 --> 0:58:21.120
<v Speaker 7>I'm a three time winner, but I'm a ten time loser.

0:58:21.360 --> 0:58:24.000
<v Speaker 7>Just so you just set the record straight, it's a

0:58:24.040 --> 0:58:29.360
<v Speaker 7>pretty it's a pretty sorry batting average three for thirteen.

0:58:30.760 --> 0:58:34.200
<v Speaker 6>But yeah, how did I feel? I didn't know about it.

0:58:34.280 --> 0:58:37.480
<v Speaker 7>When I've heard about it later, I thought, well, whatever happens,

0:58:37.880 --> 0:58:41.480
<v Speaker 7>I'm certainly it seems to me looking back on my

0:58:41.560 --> 0:58:44.440
<v Speaker 7>career that I had this success and then I've been

0:58:44.560 --> 0:58:48.320
<v Speaker 7>trying to rid myself of that audience ever since, because well.

0:58:48.960 --> 0:58:52.680
<v Speaker 2>I'll ask this question, then, is your best new artist?

0:58:52.880 --> 0:58:55.040
<v Speaker 2>Is it on the mantel piece or is it a doorstopper.

0:58:56.400 --> 0:58:56.960
<v Speaker 6>It's neither.

0:58:57.120 --> 0:59:02.400
<v Speaker 7>It's down the bottom shelf of a little a little

0:59:02.760 --> 0:59:06.080
<v Speaker 7>little case that that that houses old scrap books.

0:59:06.120 --> 0:59:09.600
<v Speaker 6>And the three Grammys. You know, they they grew with

0:59:09.760 --> 0:59:10.520
<v Speaker 6>the through the years.

0:59:10.560 --> 0:59:10.680
<v Speaker 2>You know.

0:59:11.120 --> 0:59:14.360
<v Speaker 7>My second win was the Best Bluegrass Record, and the

0:59:14.440 --> 0:59:17.880
<v Speaker 7>third win was with Branford the song we did for

0:59:17.960 --> 0:59:21.840
<v Speaker 7>the Olympics Barcelona, Mona back then. And uh, I think

0:59:21.920 --> 0:59:24.600
<v Speaker 7>people just voted for us because Kenny g had won

0:59:24.680 --> 0:59:26.680
<v Speaker 7>for a hundred years and they wanted somebody.

0:59:26.400 --> 0:59:31.760
<v Speaker 2>Else to wow.

0:59:32.040 --> 0:59:33.120
<v Speaker 4>Bruce Horse the problems.

0:59:33.240 --> 0:59:36.240
<v Speaker 2>I love it exactly, exactly, not a problem.

0:59:36.400 --> 0:59:39.520
<v Speaker 3>Just you talk about working also with U with Bonnie

0:59:39.600 --> 0:59:41.840
<v Speaker 3>Ray as well, because that's your.

0:59:45.200 --> 0:59:48.720
<v Speaker 7>Yeah. Look, she's my big sister in music. Uh we

0:59:49.520 --> 0:59:52.640
<v Speaker 7>we became tight. She was a big fan of my

0:59:53.120 --> 0:59:54.840
<v Speaker 7>early records and subsequent records.

0:59:54.960 --> 0:59:57.520
<v Speaker 8>Uh and uh so.

0:59:59.280 --> 1:00:03.400
<v Speaker 7>She I would see her at parties in La after

1:00:03.480 --> 1:00:05.520
<v Speaker 7>I had hits. Of course, not I'm invited to these

1:00:06.360 --> 1:00:11.320
<v Speaker 7>slickster parties, which was yeah, fun, it was fun. She's

1:00:11.360 --> 1:00:13.520
<v Speaker 7>a lovely person. She sent me a fan letter one

1:00:13.600 --> 1:00:15.959
<v Speaker 7>time and it was so sweet. So I'm all.

1:00:15.920 --> 1:00:22.040
<v Speaker 6>For Debbie Gibson she's a talented person too, so that's fantastic. Yeah.

1:00:22.600 --> 1:00:27.400
<v Speaker 7>So anyway, Bonnie Uh asked me to play on her

1:00:28.000 --> 1:00:30.560
<v Speaker 7>record her I guess it was second record she made

1:00:30.600 --> 1:00:35.000
<v Speaker 7>with Don was and Uh producing, and all of a sudden,

1:00:35.040 --> 1:00:37.200
<v Speaker 7>I for a little little time there, I was sort

1:00:37.200 --> 1:00:39.760
<v Speaker 7>of Don was his boy. I played on a Segur record,

1:00:39.800 --> 1:00:42.000
<v Speaker 7>and a Bob Dylan record, and a Body Rate record,

1:00:42.080 --> 1:00:45.280
<v Speaker 7>all in the all w just a few months period

1:00:45.720 --> 1:00:47.880
<v Speaker 7>when I was still living in LA my latter days

1:00:47.880 --> 1:00:51.040
<v Speaker 7>in l A. But that record was just one of

1:00:51.120 --> 1:00:58.000
<v Speaker 7>those Kis moments. You had this fantastic song. And I

1:00:58.400 --> 1:01:00.880
<v Speaker 7>give Don credit because he didn't dressed up a lot.

1:01:01.760 --> 1:01:03.840
<v Speaker 7>We cut the track just a trio. I was playing

1:01:03.920 --> 1:01:07.440
<v Speaker 7>some little keyboard roadside, not the ex seven, mind you,

1:01:07.560 --> 1:01:14.080
<v Speaker 7>but something, some sort of rosy sound, and then they well, yeah.

1:01:13.880 --> 1:01:15.680
<v Speaker 6>Then they have you have you over dubbed the piano.

1:01:16.120 --> 1:01:19.200
<v Speaker 7>And he told me later he kept trying to dress

1:01:19.240 --> 1:01:21.960
<v Speaker 7>it up, maybe strings, I don't know, maybe a little hornted,

1:01:22.360 --> 1:01:25.480
<v Speaker 7>And finally he just he realized he took all the

1:01:25.520 --> 1:01:28.000
<v Speaker 7>faders down in the mix and just put on those

1:01:28.040 --> 1:01:33.560
<v Speaker 7>original four elements drums, bass, election, piano, accousia, piano, and vocal,

1:01:34.240 --> 1:01:37.560
<v Speaker 7>and it just resonated, So it was very We.

1:01:37.640 --> 1:01:40.320
<v Speaker 6>Might have cut two or three tracks so fast.

1:01:41.240 --> 1:01:44.840
<v Speaker 7>And look, I consider that to be Bonnie's iconic hit

1:01:44.960 --> 1:01:47.120
<v Speaker 7>record and the one that will be around forever.

1:01:47.280 --> 1:01:49.360
<v Speaker 6>So look, how could I not be proud of being

1:01:49.400 --> 1:01:49.800
<v Speaker 6>a part of that.

1:01:49.920 --> 1:01:52.720
<v Speaker 7>It was just and and she's the greatest anyway, she's

1:01:53.240 --> 1:02:01.320
<v Speaker 7>She's sent me some crazy lude uh to Twitter thing today,

1:02:01.600 --> 1:02:05.600
<v Speaker 7>you know, so we're she's She's a hilarious, great, just

1:02:05.640 --> 1:02:06.360
<v Speaker 7>beautiful woman.

1:02:06.880 --> 1:02:08.960
<v Speaker 5>Do you think there was something with you guys kind

1:02:09.000 --> 1:02:11.840
<v Speaker 5>of understand each other because or I guess kind of

1:02:11.880 --> 1:02:15.280
<v Speaker 5>the creative kinship that you guys had, because Bonnie was

1:02:15.280 --> 1:02:18.800
<v Speaker 5>also someone that didn't really hit paydirt in her career

1:02:18.960 --> 1:02:21.640
<v Speaker 5>until much later, you know, even later than me. Yes, yeah,

1:02:21.800 --> 1:02:23.200
<v Speaker 5>you know what I mean. Do you think that kind

1:02:23.200 --> 1:02:25.480
<v Speaker 5>of played a role with you guys understand each other?

1:02:26.160 --> 1:02:26.960
<v Speaker 6>Yeah, it could.

1:02:27.720 --> 1:02:35.080
<v Speaker 7>I think basically we have similar musical interests and she's

1:02:35.120 --> 1:02:38.360
<v Speaker 7>one of the great singers, one of the great soulful singers,

1:02:39.280 --> 1:02:43.840
<v Speaker 7>and I like soul music. I'm not one of the

1:02:43.880 --> 1:02:49.000
<v Speaker 7>great soul singers, but I love it and so so look,

1:02:49.040 --> 1:02:51.160
<v Speaker 7>I think we just connect personally.

1:02:52.560 --> 1:02:54.640
<v Speaker 6>She likes to have a laugh and I do too.

1:02:56.520 --> 1:02:59.680
<v Speaker 6>But anyway, it's just like I said, she's my big sister.

1:02:59.760 --> 1:03:00.640
<v Speaker 6>That's is it all to me?

1:03:05.080 --> 1:03:05.320
<v Speaker 8>Bruce?

1:03:05.600 --> 1:03:07.600
<v Speaker 10>How does how does your mindset change when you're going

1:03:07.640 --> 1:03:10.240
<v Speaker 10>from like side manning Bonnie Ray to like playing your

1:03:10.280 --> 1:03:13.960
<v Speaker 10>own shit? Or is it just the same approach, because like,

1:03:14.200 --> 1:03:15.760
<v Speaker 10>I can't make you love me. It's like a fairly

1:03:15.840 --> 1:03:18.720
<v Speaker 10>simple harmonic situation. At the end of the d I change,

1:03:18.760 --> 1:03:19.120
<v Speaker 10>I changed.

1:03:19.120 --> 1:03:21.880
<v Speaker 3>I'm sure you did that song, so I almost feel

1:03:21.920 --> 1:03:23.440
<v Speaker 3>like you produced it even though you did.

1:03:23.600 --> 1:03:25.240
<v Speaker 4>I'd love to hear it before you sat down to

1:03:25.280 --> 1:03:26.520
<v Speaker 4>play it, but I heard. I'm sure. That's a whole

1:03:26.560 --> 1:03:27.120
<v Speaker 4>other situation.

1:03:27.280 --> 1:03:30.000
<v Speaker 7>But the chords were more standard. You know, I'm a

1:03:30.040 --> 1:03:32.960
<v Speaker 7>Bill Evans fanatic. You know, I love all that. I

1:03:33.040 --> 1:03:38.960
<v Speaker 7>love that French impressionism, harmony, reveil whatever, and uh so

1:03:39.920 --> 1:03:42.320
<v Speaker 7>I'm always interested in maybe finding a place for that

1:03:42.480 --> 1:03:45.880
<v Speaker 7>I called I had to find a fine figure out

1:03:45.880 --> 1:03:48.880
<v Speaker 7>a fascial way to describe my style because people are

1:03:48.880 --> 1:03:51.320
<v Speaker 7>always asking me. They always say, well, we can always

1:03:51.360 --> 1:03:52.840
<v Speaker 7>tell it's you, and why do you think that is?

1:03:53.640 --> 1:03:55.360
<v Speaker 7>And I say, well, I think it's a sort of

1:03:55.400 --> 1:03:58.920
<v Speaker 7>a harmonic aesthetic, a way of playing chords. And I

1:03:59.000 --> 1:04:01.560
<v Speaker 7>call it Bill Evans Me to him book because I

1:04:01.720 --> 1:04:06.160
<v Speaker 7>love the uh the the movement in the left hand

1:04:06.240 --> 1:04:09.360
<v Speaker 7>of him of him music church music. But then I

1:04:09.480 --> 1:04:13.600
<v Speaker 7>love those beautiful sexy chords Bill Evans played too, so

1:04:13.960 --> 1:04:14.720
<v Speaker 7>uh uh.

1:04:15.280 --> 1:04:15.960
<v Speaker 2>So I don't know.

1:04:16.240 --> 1:04:18.120
<v Speaker 6>That's I don't know if I answered your question.

1:04:19.200 --> 1:04:22.000
<v Speaker 5>That makes total sense because even when I hear something

1:04:22.120 --> 1:04:26.200
<v Speaker 5>you you play something like I really love your take

1:04:26.400 --> 1:04:29.080
<v Speaker 5>on Nola's thing for She's got to have it, and

1:04:29.320 --> 1:04:32.480
<v Speaker 5>just the way you play it, it's like, oh my god,

1:04:32.800 --> 1:04:33.040
<v Speaker 5>it is.

1:04:33.760 --> 1:04:34.480
<v Speaker 8>It's gorgeous.

1:04:34.560 --> 1:04:34.720
<v Speaker 2>Man.

1:04:34.840 --> 1:04:37.160
<v Speaker 7>So I love it sounds like hearing you say that,

1:04:37.240 --> 1:04:39.960
<v Speaker 7>because yeah, right, you know that's my thing. If you're

1:04:40.000 --> 1:04:43.400
<v Speaker 7>gonna do that, do a cover. And in that case,

1:04:43.680 --> 1:04:47.840
<v Speaker 7>Spike's Dad's great original theme Bill Lee, and I wanted to,

1:04:48.560 --> 1:04:49.400
<v Speaker 7>you know, make it my own.

1:04:49.480 --> 1:04:49.760
<v Speaker 8>That's what.

1:04:50.120 --> 1:04:51.800
<v Speaker 7>Why why do a cover if you're not going to

1:04:51.840 --> 1:04:55.360
<v Speaker 7>try to spin it and do it and not replicate

1:04:55.440 --> 1:04:58.880
<v Speaker 7>what's come before? What what's the point of that? So yeah, thanks, man,

1:04:59.280 --> 1:05:02.000
<v Speaker 7>I was proud of the and I did it pretty fast.

1:05:02.680 --> 1:05:06.520
<v Speaker 7>I gave him three takes and and Spike used the

1:05:06.640 --> 1:05:08.720
<v Speaker 7>right one to me, he's the one I liked the most,

1:05:09.360 --> 1:05:13.320
<v Speaker 7>and so yeah, that's good. That's but we've seen since

1:05:13.320 --> 1:05:16.360
<v Speaker 7>we seem to be going chronologically. Then we can go

1:05:16.560 --> 1:05:21.760
<v Speaker 7>back to to ninety five where we were talking about Papathenas.

1:05:22.000 --> 1:05:24.960
<v Speaker 2>Wait a minute, is one more thing, one more important

1:05:25.000 --> 1:05:29.880
<v Speaker 2>part you missed? Okay, you just banded the group? Everyone

1:05:29.880 --> 1:05:34.120
<v Speaker 2>went grateful Dead. So how how was that? Like, hey guys,

1:05:34.760 --> 1:05:37.080
<v Speaker 2>I'm going over here, you guys take care of Like

1:05:37.200 --> 1:05:37.600
<v Speaker 2>what was.

1:05:37.640 --> 1:05:40.800
<v Speaker 6>The Well, it wasn't exactly like that.

1:05:41.000 --> 1:05:44.280
<v Speaker 7>I joined the Dead in nineteen ninety and the Range

1:05:44.720 --> 1:05:47.960
<v Speaker 7>was split apart in ninety two, but so probably by

1:05:48.080 --> 1:05:50.640
<v Speaker 7>joining the Dead played a part of that. But mostly

1:05:51.360 --> 1:05:54.640
<v Speaker 7>I wanted to move on the first record without that band.

1:05:55.680 --> 1:05:57.880
<v Speaker 7>And I always loved it when people would say, oh,

1:05:57.960 --> 1:06:00.360
<v Speaker 7>I just missed the old band sound, and I would

1:06:00.400 --> 1:06:02.920
<v Speaker 7>say to myself, well, what you're referring to as the

1:06:03.040 --> 1:06:06.040
<v Speaker 7>old band sound is me playing along with the drum

1:06:06.120 --> 1:06:10.000
<v Speaker 7>machine and with the bass virtual one man show all

1:06:10.040 --> 1:06:12.360
<v Speaker 7>those hits that say the Range, I mean, the band

1:06:12.520 --> 1:06:16.080
<v Speaker 7>was great and just like I've said before, the Range

1:06:16.200 --> 1:06:18.840
<v Speaker 7>live we beat the dog shit out of those records,

1:06:18.920 --> 1:06:23.400
<v Speaker 7>you know, just on an impact and intensity and groove level.

1:06:23.720 --> 1:06:27.840
<v Speaker 7>The guys were great Molo, Joe Puerta, George Marinelli, on

1:06:28.000 --> 1:06:32.960
<v Speaker 7>and on, Pete Harris, David Mansfield. So they wasn't disbanded,

1:06:33.120 --> 1:06:35.800
<v Speaker 7>but okay. So we got asked to open for the

1:06:35.880 --> 1:06:38.640
<v Speaker 7>Dead in nineteen eighty seven out of the blue. And

1:06:39.000 --> 1:06:41.760
<v Speaker 7>as I said before, my older brother was a big

1:06:41.840 --> 1:06:46.040
<v Speaker 7>deadhead and all his hippie friends up up in University Virginia.

1:06:46.080 --> 1:06:48.680
<v Speaker 7>They used to drop acid, paint their faces and go

1:06:48.800 --> 1:06:50.080
<v Speaker 7>play innermural volleyball.

1:06:51.080 --> 1:06:57.080
<v Speaker 4>Ah, it sounds like high school life was easier than

1:06:57.600 --> 1:06:57.880
<v Speaker 4>I think.

1:06:57.920 --> 1:07:00.280
<v Speaker 7>They just exalted if they ever just hit the ball,

1:07:01.840 --> 1:07:06.760
<v Speaker 7>made contact, you know. So I had my training with them,

1:07:06.920 --> 1:07:09.040
<v Speaker 7>so I knew a lot of dead music, and so

1:07:09.280 --> 1:07:12.439
<v Speaker 7>we played a dead song, well, an old traditional song.

1:07:12.400 --> 1:07:14.120
<v Speaker 6>In the dead manner called I Know You Ryde or

1:07:14.160 --> 1:07:15.320
<v Speaker 6>in our gigs. I don't know.

1:07:15.400 --> 1:07:17.040
<v Speaker 7>Maybe they heard about that or they were just fans

1:07:17.120 --> 1:07:19.200
<v Speaker 7>of the first record, and we got a call to

1:07:19.360 --> 1:07:22.040
<v Speaker 7>open for them in Monterey, Californias.

1:07:22.080 --> 1:07:22.440
<v Speaker 6>We did that.

1:07:22.560 --> 1:07:25.560
<v Speaker 7>Twice two days in eighty seven eighty eight. They asked

1:07:25.600 --> 1:07:30.240
<v Speaker 7>us again eighty nine some more, ninety some more. Every

1:07:30.320 --> 1:07:31.880
<v Speaker 7>year they'd asked us to play a couple of times,

1:07:31.920 --> 1:07:35.680
<v Speaker 7>and then sadly, their keyboard player, Brent Midland, died of

1:07:35.680 --> 1:07:38.840
<v Speaker 7>an overdose in the summer of nineteen ninety, right after

1:07:38.920 --> 1:07:41.760
<v Speaker 7>we'd played with them. And it was so strange because

1:07:42.280 --> 1:07:45.120
<v Speaker 7>it was this growing relationship Garcia had had before that

1:07:45.200 --> 1:07:48.320
<v Speaker 7>played on our third record, played fantastically on two songs

1:07:49.200 --> 1:07:51.640
<v Speaker 7>and I'm in I'm Seattle, And at seven eight in

1:07:51.680 --> 1:07:54.520
<v Speaker 7>the morning, I just heard it Garcia that Brent died.

1:07:55.200 --> 1:07:57.080
<v Speaker 7>In the middle of the night, I'm walking down the

1:07:57.120 --> 1:08:00.439
<v Speaker 7>street and some young guy comes up to me and says, hey, Bruce,

1:08:00.480 --> 1:08:02.720
<v Speaker 7>You're going to join the Dead. It was so wild.

1:08:03.040 --> 1:08:06.760
<v Speaker 7>I mean, the rumor mill was already out that I

1:08:07.000 --> 1:08:10.200
<v Speaker 7>was going to replace and I told them so, yes.

1:08:10.280 --> 1:08:12.000
<v Speaker 7>Sure enough, they came out to a gig that we

1:08:12.120 --> 1:08:14.840
<v Speaker 7>did in Concord, California, just a few days after this

1:08:15.560 --> 1:08:18.360
<v Speaker 7>and asked me to join Garcia and Phil Lesh came

1:08:18.439 --> 1:08:21.559
<v Speaker 7>out and I said, look, guys, if you'd have caught

1:08:21.600 --> 1:08:23.680
<v Speaker 7>me four years ago, before I had this thing going on,

1:08:23.760 --> 1:08:26.080
<v Speaker 7>I would have said yes and lived happily ever after

1:08:26.240 --> 1:08:28.720
<v Speaker 7>as your keyboard player. But I've got this thing going

1:08:28.760 --> 1:08:31.639
<v Speaker 7>on pretty solidly. Now. But I will help you if

1:08:31.680 --> 1:08:33.880
<v Speaker 7>you need me to. So they asked me to help

1:08:33.920 --> 1:08:37.559
<v Speaker 7>them through the adjustment period. Their new keyboard player, Vince

1:08:37.640 --> 1:08:40.960
<v Speaker 7>well Nick, who didn't have a long history with the music,

1:08:41.120 --> 1:08:44.479
<v Speaker 7>he learned it pretty quickly. He grocked it fairly rapidly.

1:08:44.920 --> 1:08:47.120
<v Speaker 7>And so I played with them for about two years,

1:08:47.920 --> 1:08:51.240
<v Speaker 7>twenty months, about one hundred shows. And I wouldn't trade that.

1:08:51.320 --> 1:08:53.599
<v Speaker 7>I wouldn't trade that time with them for anything.

1:08:53.640 --> 1:08:55.840
<v Speaker 2>It was And how happy was the RCA with you

1:08:56.000 --> 1:08:56.360
<v Speaker 2>doing this?

1:08:57.439 --> 1:09:02.040
<v Speaker 7>Look, as I said before, these were really nice that

1:09:02.200 --> 1:09:07.400
<v Speaker 7>they allowed me major latitude, major leeway, you know, they

1:09:07.479 --> 1:09:13.519
<v Speaker 7>gave me long rope with which to hang myself on

1:09:13.640 --> 1:09:17.360
<v Speaker 7>a career level, you know. But again, it wasn't about career.

1:09:17.360 --> 1:09:20.519
<v Speaker 7>I wasn't trying to build this. I was just trying

1:09:20.600 --> 1:09:24.800
<v Speaker 7>to to be moved by music and and just it

1:09:24.920 --> 1:09:27.760
<v Speaker 7>just sounded like great fun, and it really was. I mean,

1:09:27.800 --> 1:09:29.800
<v Speaker 7>where else can you play one song for an hour?

1:09:30.720 --> 1:09:32.720
<v Speaker 2>I was gonna say, what was the longest What was

1:09:32.760 --> 1:09:33.840
<v Speaker 2>the longest show you did?

1:09:35.200 --> 1:09:37.280
<v Speaker 7>Longest show is probably four four and a half hours,

1:09:37.439 --> 1:09:41.240
<v Speaker 7>But there's an asterisk asterisk there because there's some long

1:09:41.320 --> 1:09:43.880
<v Speaker 7>ass breaks. You know, maybe maybe you take an hour

1:09:44.000 --> 1:09:46.640
<v Speaker 7>between the first set set and the second set. Sometimes

1:09:46.840 --> 1:09:49.760
<v Speaker 7>it was very loose. I couldn't believe it. They have

1:09:49.880 --> 1:09:54.400
<v Speaker 7>the most amazing audience anywhere, you know this twenty fifteen

1:09:54.479 --> 1:09:57.040
<v Speaker 7>fairly well concerts they could have played, they had a

1:09:57.120 --> 1:09:58.480
<v Speaker 7>million over a million.

1:09:58.280 --> 1:10:03.280
<v Speaker 3>Takes almost Okay, I almost went. I had a gig

1:10:03.400 --> 1:10:05.280
<v Speaker 3>that night, the one in San Francisco I wanted to

1:10:05.360 --> 1:10:05.560
<v Speaker 3>go to.

1:10:06.080 --> 1:10:09.519
<v Speaker 2>Yeah, I just want to study them from a just from.

1:10:09.680 --> 1:10:12.120
<v Speaker 6>Out sociological sociological level.

1:10:12.200 --> 1:10:16.120
<v Speaker 3>Yeah, yeah, I've been getting into them, and I'll say,

1:10:16.200 --> 1:10:20.439
<v Speaker 3>during this Corona break, there's some video out I think

1:10:20.560 --> 1:10:24.240
<v Speaker 3>uh Lee Oscar of War sitting in uh with them,

1:10:24.439 --> 1:10:28.120
<v Speaker 3>and also uh Slide the Family Stones drummer greg Or Rico.

1:10:28.720 --> 1:10:32.200
<v Speaker 2>I didn't realize how many of like my favorite you

1:10:32.280 --> 1:10:32.760
<v Speaker 2>know all like.

1:10:32.800 --> 1:10:37.080
<v Speaker 3>I'm a studio musician, junkie, so I didn't realize how

1:10:37.120 --> 1:10:40.160
<v Speaker 3>many like luminaries that they pull into the fold, and

1:10:41.240 --> 1:10:42.560
<v Speaker 3>and how they adapt.

1:10:42.479 --> 1:10:45.240
<v Speaker 2>You know, and then how they just just instantly.

1:10:45.600 --> 1:10:48.120
<v Speaker 6>Yet right in Ornett sat in with them a few

1:10:48.160 --> 1:10:51.439
<v Speaker 6>times and which was always amazing.

1:10:52.200 --> 1:10:53.600
<v Speaker 2>So opening for the dead is it?

1:10:53.840 --> 1:10:57.000
<v Speaker 3>Is it a little bit different than like, have you

1:10:57.240 --> 1:11:01.479
<v Speaker 3>ever met an audience that you didn't vibe with right away,

1:11:02.400 --> 1:11:04.120
<v Speaker 3>like opening the dead how was that?

1:11:05.080 --> 1:11:08.479
<v Speaker 7>Well, it could be rough because the dead Heads can

1:11:08.560 --> 1:11:13.200
<v Speaker 7>be fairly biopic, fairly tunnel vision, you know. They they're

1:11:13.280 --> 1:11:13.640
<v Speaker 7>really not.

1:11:13.760 --> 1:11:19.320
<v Speaker 2>There to hear you, and so so jammy version of

1:11:19.600 --> 1:11:20.400
<v Speaker 2>the way it is or.

1:11:22.120 --> 1:11:25.920
<v Speaker 6>Sure, but we were kind of doing that anyway. But so, yeah,

1:11:26.320 --> 1:11:26.920
<v Speaker 6>it was tough.

1:11:27.720 --> 1:11:30.479
<v Speaker 7>It was really tough when I would we probably opened

1:11:30.520 --> 1:11:33.280
<v Speaker 7>for them eight times or so eight nine times, and

1:11:33.400 --> 1:11:36.599
<v Speaker 7>probably only twice did we ever really garner a crowd

1:11:36.680 --> 1:11:39.479
<v Speaker 7>and have them really be interested in what they were

1:11:39.520 --> 1:11:40.200
<v Speaker 7>doing and when.

1:11:40.240 --> 1:11:43.000
<v Speaker 6>So, when I started playing in the band, I ad

1:11:43.040 --> 1:11:43.240
<v Speaker 6>made it.

1:11:43.600 --> 1:11:47.679
<v Speaker 7>I was self appointed sort of psychologist to these poor

1:11:47.920 --> 1:11:50.680
<v Speaker 7>opening acts who would go out there and just be

1:11:51.560 --> 1:11:52.800
<v Speaker 7>roundly ignored.

1:11:53.160 --> 1:11:53.360
<v Speaker 5>You know.

1:11:53.560 --> 1:11:56.639
<v Speaker 7>Dwight Yoakum came out there and he's there playing away,

1:11:57.320 --> 1:12:00.400
<v Speaker 7>and man, I mean he's a beautifull guy.

1:12:00.600 --> 1:12:03.679
<v Speaker 6>I just said to him. Then I feel you. I've

1:12:03.840 --> 1:12:08.000
<v Speaker 6>been there, you know, So so it can be real tough.

1:12:08.080 --> 1:12:12.519
<v Speaker 7>Now, some acts like Traffic, Steve Winwood or Dylan or

1:12:12.680 --> 1:12:18.000
<v Speaker 7>Little Feet, you know, the Dead fans just really embrace

1:12:18.840 --> 1:12:22.439
<v Speaker 7>certain groups, maybe some reggae groups. If Ziggy Marley was playing,

1:12:22.880 --> 1:12:26.839
<v Speaker 7>they probably love that sort of related musical styles.

1:12:26.920 --> 1:12:29.400
<v Speaker 8>I guess I have a question, Bruce. Sorry Fante.

1:12:31.520 --> 1:12:35.760
<v Speaker 9>Uh So, since we're on the Dead and that they

1:12:35.840 --> 1:12:38.760
<v Speaker 9>asked you to join did And I'm not trying to

1:12:38.800 --> 1:12:41.719
<v Speaker 9>be funny, morbid or disrespectful here, but the three previous

1:12:41.840 --> 1:12:44.840
<v Speaker 9>keyboard and piano players keyboard died.

1:12:46.000 --> 1:12:50.479
<v Speaker 8>And I don't know if you did that cross your mind, like,

1:12:50.720 --> 1:12:54.160
<v Speaker 8>uh no, no.

1:12:54.479 --> 1:12:58.519
<v Speaker 7>I I left the Dead because I came home in

1:12:58.560 --> 1:13:01.599
<v Speaker 7>the middle of a one of their spring tours. They'd

1:13:01.640 --> 1:13:05.000
<v Speaker 7>have the spring, the summer, and the fall tours around

1:13:05.040 --> 1:13:07.680
<v Speaker 7>the US. I came home in the middle of the

1:13:07.840 --> 1:13:12.160
<v Speaker 7>March tour in ninety two. I just my wife and

1:13:12.200 --> 1:13:14.719
<v Speaker 7>I had just had our twin sons, Russell and Keith,

1:13:14.840 --> 1:13:18.960
<v Speaker 7>named for Keith Jarrett and Leon Russell, and so I

1:13:19.040 --> 1:13:22.040
<v Speaker 7>came home and they didn't know me, and I went,

1:13:22.120 --> 1:13:27.720
<v Speaker 7>you know what, I don't like this. I need to

1:13:27.920 --> 1:13:30.360
<v Speaker 7>get off the freaking road at least most of the

1:13:30.479 --> 1:13:33.439
<v Speaker 7>time for a while anyway. So that's when I went

1:13:33.520 --> 1:13:35.519
<v Speaker 7>back to finish the tour and I said, hey, guys,

1:13:35.960 --> 1:13:38.280
<v Speaker 7>and Vin's really had the gig solid.

1:13:38.360 --> 1:13:40.479
<v Speaker 6>He was doing a great job by then. He was

1:13:40.560 --> 1:13:41.680
<v Speaker 6>doing solid the whole time.

1:13:41.720 --> 1:13:44.040
<v Speaker 7>But he really seemed to be getting in the groove

1:13:44.120 --> 1:13:46.719
<v Speaker 7>with it and so knowledgeable about the music.

1:13:46.960 --> 1:13:49.479
<v Speaker 6>So that was my swan song.

1:13:49.520 --> 1:13:51.840
<v Speaker 7>Although I would sit in with them when they were

1:13:51.920 --> 1:13:54.720
<v Speaker 7>geographically close to me. When he was really struggling in

1:13:54.800 --> 1:13:58.080
<v Speaker 7>his last year, they would actually call me up and say, Hey,

1:13:58.120 --> 1:14:00.880
<v Speaker 7>we're in Charlotte, would you would you come down here?

1:14:00.920 --> 1:14:04.320
<v Speaker 7>Will fly you down here to play because he was

1:14:04.439 --> 1:14:07.640
<v Speaker 7>having such a hard time it was. It was so

1:14:07.960 --> 1:14:12.439
<v Speaker 7>listless on stage, so low energy, and they thought I

1:14:12.479 --> 1:14:15.680
<v Speaker 7>could maybe prod and give a little cattle prod and

1:14:16.680 --> 1:14:19.640
<v Speaker 7>get him going. So I did that in Charlotte and

1:14:19.800 --> 1:14:23.240
<v Speaker 7>then in at OURFK Stadium two Knights in DC, and

1:14:23.360 --> 1:14:25.479
<v Speaker 7>then a month and a half months or five weeks later,

1:14:25.520 --> 1:14:26.200
<v Speaker 7>he was gone.

1:14:26.880 --> 1:14:28.200
<v Speaker 8>Damn Yeah.

1:14:28.240 --> 1:14:30.479
<v Speaker 5>I kind of had like a kind of a two

1:14:30.560 --> 1:14:33.400
<v Speaker 5>part question along along those lines of just your family

1:14:33.479 --> 1:14:36.479
<v Speaker 5>and your you know, your kids and everything at this

1:14:36.600 --> 1:14:38.519
<v Speaker 5>point of your career. When we first got on the show,

1:14:38.560 --> 1:14:40.400
<v Speaker 5>you were saying, you know, you're in the studio working

1:14:40.439 --> 1:14:44.160
<v Speaker 5>on something. Do you think of yourself more primarily as

1:14:44.200 --> 1:14:47.680
<v Speaker 5>a player or a singer or a producer, and like

1:14:48.000 --> 1:14:50.840
<v Speaker 5>kind of what is the hierarchy you know when you

1:14:50.960 --> 1:14:51.759
<v Speaker 5>sit down to create.

1:14:52.360 --> 1:14:54.960
<v Speaker 6>Well, well, I said down to create. It's all about

1:14:55.000 --> 1:14:58.280
<v Speaker 6>the song. So it's all about being a songwriters.

1:14:57.360 --> 1:14:58.120
<v Speaker 8>The songwriter first.

1:14:58.600 --> 1:15:01.720
<v Speaker 7>Yeah, and what Frank, my last two records that are

1:15:02.160 --> 1:15:05.599
<v Speaker 7>receiving such great I don't know, sort of acclaim around

1:15:05.640 --> 1:15:06.040
<v Speaker 7>the world.

1:15:06.160 --> 1:15:06.799
<v Speaker 6>It's amazing.

1:15:06.880 --> 1:15:10.479
<v Speaker 7>It's some of the more adventurous, strange music I've ever made.

1:15:10.479 --> 1:15:12.439
<v Speaker 7>And all of a sudden, I'm being embraced by all

1:15:12.520 --> 1:15:18.599
<v Speaker 7>these these vaunted venues. Uh. I've been taking I've been

1:15:18.600 --> 1:15:21.280
<v Speaker 7>writing music to some Spike Lee cues.

1:15:22.120 --> 1:15:22.240
<v Speaker 2>Uh.

1:15:22.640 --> 1:15:26.479
<v Speaker 7>And because I thought through the years Spike hired me,

1:15:27.400 --> 1:15:30.240
<v Speaker 7>I'd always do a little bit little things for him

1:15:30.280 --> 1:15:30.680
<v Speaker 7>here and there.

1:15:30.800 --> 1:15:33.000
<v Speaker 8>In fact, no, I love that song.

1:15:33.120 --> 1:15:36.040
<v Speaker 7>Well, I was just gonna say, because question love you.

1:15:36.040 --> 1:15:39.559
<v Speaker 7>Your first acting gig was bamboozled.

1:15:39.080 --> 1:15:40.800
<v Speaker 8>Right, Yes, so.

1:15:43.640 --> 1:15:45.680
<v Speaker 4>And Oscar worthy of performance?

1:15:46.360 --> 1:15:47.880
<v Speaker 6>Is that your Sheena Easton moment?

1:15:48.200 --> 1:15:54.000
<v Speaker 2>Yeah, No, it isn't, because you know, I knew that

1:15:54.360 --> 1:15:57.280
<v Speaker 2>it was a sattire. It's just yeah, the way that

1:15:58.960 --> 1:16:01.520
<v Speaker 2>Spike often does these these social experiments.

1:16:02.600 --> 1:16:05.720
<v Speaker 3>So I'll say that the only part that was like

1:16:06.320 --> 1:16:08.400
<v Speaker 3>hard to do about that movie was the fact that

1:16:08.560 --> 1:16:12.400
<v Speaker 3>he purposely will put our trailer.

1:16:13.760 --> 1:16:17.080
<v Speaker 2>Five blocks five city blocks away from where we were shooting.

1:16:17.720 --> 1:16:23.240
<v Speaker 2>Why because he wanted us He at the end, I

1:16:23.320 --> 1:16:26.160
<v Speaker 2>was like, you you did a school days on us.

1:16:26.240 --> 1:16:29.439
<v Speaker 8>You purposely wanted to feel the shame of wanted us to.

1:16:29.520 --> 1:16:33.479
<v Speaker 3>Walk through the streets of New York and its closed

1:16:33.600 --> 1:16:38.519
<v Speaker 3>and in black faith like five blocks wow. Yeah, And

1:16:38.640 --> 1:16:42.640
<v Speaker 3>it was yeah, like we knew it that this was

1:16:42.800 --> 1:16:45.720
<v Speaker 3>and you know, at the time in two thousand, I

1:16:45.840 --> 1:16:47.479
<v Speaker 3>was like, yo, you know, you don't think that's going

1:16:47.560 --> 1:16:49.800
<v Speaker 3>to get it. Now it's like we're past it, Like

1:16:50.120 --> 1:16:54.280
<v Speaker 3>you know, it's more like a documentary than it's like

1:16:54.760 --> 1:16:55.760
<v Speaker 3>it's like idiocracy.

1:16:56.240 --> 1:16:58.400
<v Speaker 2>Yeah, it is, it is. It is.

1:16:58.760 --> 1:17:00.760
<v Speaker 6>So yeah, well that sounds cool, but it sounds like

1:17:00.840 --> 1:17:02.600
<v Speaker 6>it has a real purpose what he made, y'all do.

1:17:02.960 --> 1:17:05.400
<v Speaker 2>Total I know it had an absolute purpose in doing it.

1:17:05.479 --> 1:17:06.760
<v Speaker 6>Yeah, yeah, I enjoyed it.

1:17:08.640 --> 1:17:10.680
<v Speaker 2>Yeah, So what was it? How did you do? Was

1:17:10.760 --> 1:17:13.160
<v Speaker 2>this your where do you did Clockers? First? Correct?

1:17:14.040 --> 1:17:17.640
<v Speaker 7>Okay, my my Spike, I guess the resume goes like this,

1:17:17.800 --> 1:17:20.360
<v Speaker 7>we made this video. Uh, we prand for it in

1:17:20.400 --> 1:17:22.800
<v Speaker 7>New York City. I trove in New York cap Then

1:17:22.840 --> 1:17:24.640
<v Speaker 7>in ninety five he called messy if I would to

1:17:24.840 --> 1:17:28.080
<v Speaker 7>write an end title song for his great movie Clockers.

1:17:28.120 --> 1:17:30.519
<v Speaker 7>I think it's one of his great ones. And you

1:17:30.600 --> 1:17:34.000
<v Speaker 7>have so many, and I just had. Shaka Khan had

1:17:34.080 --> 1:17:36.479
<v Speaker 7>called me right around the same time and said said, hey,

1:17:36.520 --> 1:17:39.400
<v Speaker 7>would you write a song with me? And I said, yes,

1:17:39.560 --> 1:17:42.760
<v Speaker 7>come to Virginia because I heard Shaka look I love

1:17:42.800 --> 1:17:44.920
<v Speaker 7>her to death, but I heard she was famous for

1:17:45.400 --> 1:17:48.360
<v Speaker 7>making a meeting at noon and showing up many hours

1:17:48.439 --> 1:17:54.120
<v Speaker 7>late being yes. So I thought to myself, well, if

1:17:54.120 --> 1:17:55.599
<v Speaker 7>I'm going to wait on her, I'm going to wait

1:17:55.600 --> 1:17:56.120
<v Speaker 7>in my house.

1:17:56.360 --> 1:17:58.360
<v Speaker 6>So she came and we had the best time.

1:17:58.439 --> 1:18:01.080
<v Speaker 7>We wrote this the song Love Me Still, and then Spike,

1:18:01.280 --> 1:18:03.639
<v Speaker 7>right around the time we were writing it, he calls

1:18:03.720 --> 1:18:06.519
<v Speaker 7>me and said, hey, uh, I'd like I'd like an

1:18:06.680 --> 1:18:08.680
<v Speaker 7>entitle I need an entitle song. What do you got?

1:18:08.760 --> 1:18:10.400
<v Speaker 7>I said, well, Jock and I are writing the song

1:18:10.720 --> 1:18:12.920
<v Speaker 7>and we'll get and said, okay, well I claim it,

1:18:13.360 --> 1:18:14.840
<v Speaker 7>and so that's as simple as that.

1:18:15.920 --> 1:18:18.639
<v Speaker 8>Without even having heard the song, he was just like that, Well.

1:18:18.600 --> 1:18:20.719
<v Speaker 6>I guess I claimed first write a refusal.

1:18:21.000 --> 1:18:22.760
<v Speaker 8>Oh okay, okay, you know I guess.

1:18:22.800 --> 1:18:26.040
<v Speaker 3>Oh wait, were you initially trying to put that on her?

1:18:26.439 --> 1:18:28.600
<v Speaker 3>On another album of hers, or it.

1:18:28.680 --> 1:18:30.280
<v Speaker 7>Was just we're just writing a song. It was it

1:18:30.400 --> 1:18:32.640
<v Speaker 7>was for her though, it was for it was she,

1:18:32.920 --> 1:18:35.120
<v Speaker 7>she was writing the words, she was going to sing it.

1:18:35.360 --> 1:18:38.800
<v Speaker 7>Uh so, and she's done it. Great, She's on her

1:18:38.840 --> 1:18:42.400
<v Speaker 7>greatest hits record. And then six years later he asked

1:18:42.439 --> 1:18:45.880
<v Speaker 7>me again for Bamboozled, and this time though he wanted

1:18:45.960 --> 1:18:50.559
<v Speaker 7>it to be specific to the the script to the story.

1:18:51.120 --> 1:18:55.120
<v Speaker 7>I guess it's Damon Wayn's character, right, and so I

1:18:55.200 --> 1:18:58.800
<v Speaker 7>basically wrote it from his point of view, and uh

1:18:59.720 --> 1:19:02.439
<v Speaker 7>and look, that ended up being the entitled song for

1:19:02.600 --> 1:19:05.719
<v Speaker 7>that and then years so we kept asking for little

1:19:05.760 --> 1:19:08.360
<v Speaker 7>bits and pieces for movies. But then in two thousand

1:19:08.360 --> 1:19:12.040
<v Speaker 7>and eight he called me and said, hey, I want

1:19:12.080 --> 1:19:17.000
<v Speaker 7>you to score. I'm doing this documentary ESPN documentary on

1:19:17.240 --> 1:19:19.680
<v Speaker 7>the late Great Kobe Bryant. It's called Kobe Doing Work,

1:19:19.720 --> 1:19:20.639
<v Speaker 7>and I'd like you to score.

1:19:20.920 --> 1:19:22.360
<v Speaker 6>So I think this was my audition.

1:19:23.840 --> 1:19:26.000
<v Speaker 7>So that was my first one, and that was two

1:19:26.000 --> 1:19:28.120
<v Speaker 7>thousand and eight, came out in nine, I believe, and

1:19:28.280 --> 1:19:30.080
<v Speaker 7>then all the way up through last year with this

1:19:30.200 --> 1:19:33.000
<v Speaker 7>She's Got to Have It Part two, the second season,

1:19:33.680 --> 1:19:36.439
<v Speaker 7>I did a bunch of stuff, probably six or seven

1:19:36.720 --> 1:19:39.880
<v Speaker 7>full scores and some little incidental music. So in that

1:19:40.080 --> 1:19:43.840
<v Speaker 7>time eleven years, I wrote probably almost two hundred and

1:19:43.920 --> 1:19:46.600
<v Speaker 7>forty different pieces of music, and now and then I

1:19:46.600 --> 1:19:50.280
<v Speaker 7>would think, Man, this song, this piece, this instrumental cue,

1:19:50.439 --> 1:19:52.479
<v Speaker 7>it sounds like it needs to be expanded into a song.

1:19:52.800 --> 1:19:55.320
<v Speaker 7>So I started doing that three years ago. And I

1:19:55.360 --> 1:19:59.559
<v Speaker 7>started giving myself chills while doing this because the cues

1:19:59.600 --> 1:20:00.840
<v Speaker 7>themselves were very vibe.

1:20:00.880 --> 1:20:01.720
<v Speaker 6>He's cinematic.

1:20:02.080 --> 1:20:04.640
<v Speaker 7>And that became my record absolute zero, and then I

1:20:04.720 --> 1:20:06.760
<v Speaker 7>can't follow it up with you know, just last week

1:20:06.840 --> 1:20:11.200
<v Speaker 7>came out non Secure Connection also uh chock full of

1:20:11.960 --> 1:20:14.400
<v Speaker 7>of score of music that became songs.

1:20:14.439 --> 1:20:18.599
<v Speaker 8>Yeah, Scott, Yeah, And do you you know you talk

1:20:18.600 --> 1:20:19.839
<v Speaker 8>about your songwriting process.

1:20:20.080 --> 1:20:22.599
<v Speaker 5>I was curious to know do you think of yourself

1:20:23.200 --> 1:20:26.240
<v Speaker 5>as a singer or is it just kind of your

1:20:26.360 --> 1:20:28.680
<v Speaker 5>voice is just the I guess, the vehicle to kind

1:20:28.720 --> 1:20:29.160
<v Speaker 5>of get it out.

1:20:29.240 --> 1:20:31.000
<v Speaker 8>Like if someone came to you and was like, Yo,

1:20:31.120 --> 1:20:33.280
<v Speaker 8>I have a song I wrote for you. Is that

1:20:33.479 --> 1:20:35.960
<v Speaker 8>something that you have explored.

1:20:35.880 --> 1:20:38.040
<v Speaker 6>For oh, people writing songs for me to do?

1:20:38.240 --> 1:20:38.439
<v Speaker 2>Yeah?

1:20:38.520 --> 1:20:41.160
<v Speaker 8>Yeah, specifically as a sing Yeah, No, I don't.

1:20:41.840 --> 1:20:44.720
<v Speaker 7>People excuse me, don't do that much. But I had

1:20:44.800 --> 1:20:48.120
<v Speaker 7>that look if there was ever a book written about me,

1:20:48.120 --> 1:20:52.439
<v Speaker 7>you should be called slow learner. And I feel like

1:20:52.520 --> 1:20:55.800
<v Speaker 7>as a vocalist, what I do now is far, far

1:20:55.920 --> 1:20:58.519
<v Speaker 7>exceeds what I did then, just on a soulful level,

1:20:58.560 --> 1:21:01.320
<v Speaker 7>an expressive level, and so.

1:21:02.160 --> 1:21:03.479
<v Speaker 6>So yeah, I'm just deep.

1:21:03.560 --> 1:21:05.519
<v Speaker 7>People ask me, well, do you have any interest in

1:21:05.640 --> 1:21:08.720
<v Speaker 7>doing this and scoring films blah blah blah and or

1:21:08.800 --> 1:21:09.400
<v Speaker 7>doing this and that.

1:21:09.560 --> 1:21:11.960
<v Speaker 6>I say, Look, I'm just really trying to do what

1:21:12.120 --> 1:21:13.800
<v Speaker 6>I do better and better.

1:21:14.840 --> 1:21:17.120
<v Speaker 7>And I also tell them that I'm like Tom Hagen

1:21:17.200 --> 1:21:20.080
<v Speaker 7>and The Godfather who has one client as a lawyer

1:21:20.200 --> 1:21:23.720
<v Speaker 7>Don Corleoni, I'm as a film composer, I'm the same.

1:21:23.800 --> 1:21:27.960
<v Speaker 7>I have one client, Spike Lee. I'm not interested in

1:21:28.080 --> 1:21:31.240
<v Speaker 7>doing this for other people. We have a special relationship.

1:21:31.439 --> 1:21:33.840
<v Speaker 8>And so that's now y'all have a synergy. Man, it

1:21:33.960 --> 1:21:34.479
<v Speaker 8>definitely is.

1:21:34.600 --> 1:21:36.680
<v Speaker 5>It's just, you know, when you were just describing your

1:21:37.200 --> 1:21:39.600
<v Speaker 5>your style kind of like the Bill Evans meets the

1:21:39.720 --> 1:21:40.400
<v Speaker 5>him kind of thing.

1:21:40.720 --> 1:21:42.080
<v Speaker 6>Yes, it fits his.

1:21:43.120 --> 1:21:45.160
<v Speaker 5>I mean it fits the tone of his movies, like

1:21:45.240 --> 1:21:48.280
<v Speaker 5>the thing you guys have. It works man, Yeah, Well

1:21:48.320 --> 1:21:49.560
<v Speaker 5>he just likes what I do.

1:21:49.760 --> 1:21:53.080
<v Speaker 7>He called me up last week about something and said look,

1:21:53.680 --> 1:21:55.400
<v Speaker 7>just I'm gonna keep calling.

1:21:55.280 --> 1:21:57.720
<v Speaker 6>You because I like what you do. So so that's

1:21:57.800 --> 1:21:59.439
<v Speaker 6>not I love him. I'll tell you what.

1:21:59.560 --> 1:22:03.200
<v Speaker 7>I'll tell you one great Spike story. Speaking of the

1:22:03.640 --> 1:22:05.960
<v Speaker 7>the Bill Lee the Uh the.

1:22:09.600 --> 1:22:10.760
<v Speaker 6>Uh, we were.

1:22:10.720 --> 1:22:15.479
<v Speaker 7>Recording that with Leslie Odom Junior singing uh from Hamilton

1:22:16.280 --> 1:22:19.080
<v Speaker 7>and he's he's he was in Harriet Tubman lately he's

1:22:19.120 --> 1:22:23.679
<v Speaker 7>had a great post Hamilton career. Anyway, we're doing recording

1:22:23.720 --> 1:22:28.240
<v Speaker 7>in Brooklyn, recording Leslie and uh with a great jazz

1:22:28.320 --> 1:22:29.760
<v Speaker 7>group backing us up.

1:22:30.280 --> 1:22:30.760
<v Speaker 6>And uh.

1:22:31.960 --> 1:22:34.360
<v Speaker 7>So I said, hey, Spike, I need a ride to

1:22:34.520 --> 1:22:37.960
<v Speaker 7>my hotel. Somewhere in the middle middle of the session.

1:22:38.080 --> 1:22:40.120
<v Speaker 7>He said, yeah, no problem, we'll get it. So the

1:22:40.240 --> 1:22:43.000
<v Speaker 7>session ends and he says, hey, let's it's a nice day.

1:22:43.080 --> 1:22:46.519
<v Speaker 7>Let's just walk to your hotel. So we go out

1:22:46.560 --> 1:22:49.760
<v Speaker 7>in the street, just the two of us, and man,

1:22:50.400 --> 1:22:57.120
<v Speaker 7>it was like walking with I don't know, I mean, well,

1:22:57.840 --> 1:23:00.760
<v Speaker 7>I just I was just I just love people are

1:23:00.840 --> 1:23:02.719
<v Speaker 7>hanging out of cars, hanging out of an apartment.

1:23:02.800 --> 1:23:05.720
<v Speaker 8>Go spy, Go spy, it was.

1:23:06.240 --> 1:23:09.519
<v Speaker 7>I said to him, is it always like this? Yeah,

1:23:09.600 --> 1:23:12.479
<v Speaker 7>pretty much. But then later on, you know, Spike, Spike,

1:23:12.520 --> 1:23:15.040
<v Speaker 7>Spike he looks at me, so, well, maybe today is

1:23:15.080 --> 1:23:18.479
<v Speaker 7>a little more intense than you, but it was. We

1:23:18.600 --> 1:23:20.879
<v Speaker 7>had the best time. It was a beautiful November afternoon

1:23:21.200 --> 1:23:23.599
<v Speaker 7>in Brooklyn and we just walked and walked and walked,

1:23:24.200 --> 1:23:26.599
<v Speaker 7>and it's just it's one of my great Spike Lee

1:23:26.640 --> 1:23:29.880
<v Speaker 7>Mogoks is walking with him while he's just getting the

1:23:30.280 --> 1:23:33.920
<v Speaker 7>love from you know, he was just getting his King.

1:23:33.840 --> 1:23:36.320
<v Speaker 2>Of Boklyn exactly right.

1:23:36.360 --> 1:23:37.280
<v Speaker 6>It's just fantastic.

1:23:37.560 --> 1:23:40.200
<v Speaker 3>So let me ask you, so with where we are

1:23:40.360 --> 1:23:44.080
<v Speaker 3>now today and Corona and the world slowed down, I

1:23:44.160 --> 1:23:46.840
<v Speaker 3>know for a lot of musicians, this is the time

1:23:46.880 --> 1:23:50.160
<v Speaker 3>period in which the portals of a lot of ideas

1:23:50.800 --> 1:23:55.519
<v Speaker 3>are opening up. And you know, again you've done blue

1:23:55.600 --> 1:23:58.599
<v Speaker 3>grass work with Ricky Skaggs, and you know, jazz working

1:23:59.120 --> 1:23:59.880
<v Speaker 3>all the other things.

1:24:00.040 --> 1:24:03.400
<v Speaker 2>Like what have you what have you been trying to

1:24:03.680 --> 1:24:04.800
<v Speaker 2>cook up as of late?

1:24:05.080 --> 1:24:07.599
<v Speaker 3>Like how have you how have you spent the last

1:24:08.520 --> 1:24:10.759
<v Speaker 3>well as of this recording six seven months?

1:24:11.720 --> 1:24:15.960
<v Speaker 7>Yeah, Well, in early mid March when the quarantine shut

1:24:16.040 --> 1:24:19.720
<v Speaker 7>down era began, obviously, like everyone else, I wasn't going

1:24:19.800 --> 1:24:23.200
<v Speaker 7>to go go anywhere. But I have this great facility,

1:24:23.439 --> 1:24:26.360
<v Speaker 7>this great studio, so I just decided Okay, well, I'm

1:24:26.400 --> 1:24:29.360
<v Speaker 7>going to try to take the deep dive and and

1:24:29.560 --> 1:24:33.320
<v Speaker 7>try to really take it to another level. So I

1:24:33.439 --> 1:24:37.400
<v Speaker 7>wrote six songs in six weeks from mid March to

1:24:37.560 --> 1:24:39.800
<v Speaker 7>the end of April. Then I had to go do

1:24:39.920 --> 1:24:43.080
<v Speaker 7>a few other things, some music for other records, et cetera.

1:24:43.160 --> 1:24:46.800
<v Speaker 7>But uh, and I've learned how to play these the

1:24:46.920 --> 1:24:49.760
<v Speaker 7>songs off this current new record because now we're in

1:24:49.800 --> 1:24:53.479
<v Speaker 7>the remote era and so you have to perform in your.

1:24:53.400 --> 1:24:56.439
<v Speaker 6>House and so I did that.

1:24:56.560 --> 1:24:58.679
<v Speaker 7>And I was just in l A last week working

1:24:58.800 --> 1:25:02.720
<v Speaker 7>with with ton Burr, who says, hi to you, questlove.

1:25:03.160 --> 1:25:06.720
<v Speaker 7>Tony Berg has a studio in Brentwood on Kent, and

1:25:06.760 --> 1:25:08.759
<v Speaker 7>he said, you work there with a woman named Susan

1:25:08.880 --> 1:25:10.120
<v Speaker 7>Rodgers and engineer.

1:25:10.200 --> 1:25:13.080
<v Speaker 8>Okay, wow, yeah, yeah, yeah.

1:25:13.160 --> 1:25:13.559
<v Speaker 6>That's right.

1:25:13.680 --> 1:25:17.040
<v Speaker 7>So he says, hello, Tony Brooks a great, great producer.

1:25:17.360 --> 1:25:20.400
<v Speaker 7>He produces It produced Fiona Apples of her great records.

1:25:20.439 --> 1:25:23.559
<v Speaker 7>He produces young girl Phoebe Bridges, who's sort of all

1:25:23.640 --> 1:25:27.599
<v Speaker 7>the rage in that world, very very strong. So that's

1:25:27.640 --> 1:25:30.479
<v Speaker 7>what I've been doing, just uh, just working on new stuff.

1:25:30.760 --> 1:25:34.200
<v Speaker 6>And that's I'm lucky, just like I guess all of us.

1:25:34.240 --> 1:25:35.600
<v Speaker 7>We get to do what we love to do for

1:25:35.640 --> 1:25:40.160
<v Speaker 7>a living. And so I'm just continuing to try to

1:25:40.439 --> 1:25:43.519
<v Speaker 7>be creative at this point in my career. Sometimes I'm

1:25:43.560 --> 1:25:45.599
<v Speaker 7>trying to make a sound that I've never heard before.

1:25:46.320 --> 1:25:47.599
<v Speaker 6>So it takes me far.

1:25:47.479 --> 1:25:51.440
<v Speaker 7>Afield into again dough decophonic stylings.

1:25:53.120 --> 1:25:54.040
<v Speaker 4>Wow, there you.

1:25:58.000 --> 1:26:00.000
<v Speaker 2>Were, you were coming up?

1:26:00.120 --> 1:26:00.960
<v Speaker 8>Were your kids?

1:26:01.360 --> 1:26:01.400
<v Speaker 2>Like?

1:26:01.479 --> 1:26:04.599
<v Speaker 5>Were they aware that you know their dad was Bruce Hornsby?

1:26:04.720 --> 1:26:07.800
<v Speaker 5>Like how did you navigate being a musician and a parent?

1:26:07.880 --> 1:26:11.599
<v Speaker 7>And I think I think they gradually it just as

1:26:11.680 --> 1:26:13.720
<v Speaker 7>you grew up as a kid, you you sort of

1:26:13.840 --> 1:26:19.120
<v Speaker 7>gradually become awake, you know, you wake up every year

1:26:19.160 --> 1:26:23.040
<v Speaker 7>a little bit more. And so they they knew about it.

1:26:23.160 --> 1:26:24.880
<v Speaker 7>Say when they were seven or eight, where they'd go

1:26:25.000 --> 1:26:29.160
<v Speaker 7>see we did a tour. And when they were six,

1:26:30.000 --> 1:26:33.080
<v Speaker 7>Bonnie Ray Jackson, Brown, Sean Colvin and I and David

1:26:33.120 --> 1:26:36.080
<v Speaker 7>Linley did a tour. The boys came around on this

1:26:36.360 --> 1:26:38.640
<v Speaker 7>tour and you know, they're red rocks and seeing a

1:26:38.720 --> 1:26:42.360
<v Speaker 7>big crowd of nine thousand going crazy for their grizzled

1:26:42.400 --> 1:26:45.600
<v Speaker 7>old code of a dad. And uh so anyway that

1:26:45.760 --> 1:26:48.000
<v Speaker 7>that's they've enjoined it. My boys are fans of what.

1:26:48.080 --> 1:26:51.599
<v Speaker 6>I do and so that's really really nice.

1:26:52.040 --> 1:26:52.280
<v Speaker 8>Really.

1:26:52.479 --> 1:26:54.519
<v Speaker 2>Oh okay, before we let you go, I do have

1:26:54.600 --> 1:26:55.080
<v Speaker 2>one question.

1:26:55.640 --> 1:27:00.920
<v Speaker 3>So obviously you got a long, long mile out of

1:27:01.000 --> 1:27:05.760
<v Speaker 3>the way it is via Tupac, But did you ever

1:27:06.040 --> 1:27:08.920
<v Speaker 3>foresee or think that there will be a time in which,

1:27:10.120 --> 1:27:14.240
<v Speaker 3>even twenty years after Tupac, that the way it is

1:27:14.280 --> 1:27:15.200
<v Speaker 3>would come back again?

1:27:16.200 --> 1:27:17.200
<v Speaker 2>Another pology?

1:27:17.800 --> 1:27:19.439
<v Speaker 6>Polo g wishing for a hero.

1:27:19.720 --> 1:27:22.640
<v Speaker 2>Many wish for a hero. So I love it.

1:27:23.080 --> 1:27:24.720
<v Speaker 6>I really love what Polog did.

1:27:24.800 --> 1:27:28.640
<v Speaker 7>We got out of the blue and maybe February of

1:27:28.720 --> 1:27:33.599
<v Speaker 7>this year, we got reached out to by his people saying, Polog,

1:27:33.640 --> 1:27:36.440
<v Speaker 7>you would like to fly to Virginia to ask your permission.

1:27:36.880 --> 1:27:38.320
<v Speaker 6>I said, we'll just send me the thing. And I

1:27:38.400 --> 1:27:40.680
<v Speaker 6>heard it. I went mad, save your dats to do that.

1:27:41.880 --> 1:27:45.360
<v Speaker 3>Well, they fly out and asked for miss an input person,

1:27:45.439 --> 1:27:48.280
<v Speaker 3>and wait, that's that's really a thing.

1:27:49.120 --> 1:27:49.560
<v Speaker 6>Well it was.

1:27:49.680 --> 1:27:50.759
<v Speaker 7>It wasn't this case.

1:27:51.200 --> 1:27:55.000
<v Speaker 6>It wasn't this case. So I said, hey, save your

1:27:55.040 --> 1:27:56.400
<v Speaker 6>time money. I love what you did.

1:27:56.560 --> 1:28:00.080
<v Speaker 7>It's called wishing for a hero. And and yes you

1:28:00.160 --> 1:28:02.439
<v Speaker 7>may work together at some point. Yeah, the odd couple

1:28:02.880 --> 1:28:05.160
<v Speaker 7>kind of like Spike and Bruce, another odd cop.

1:28:06.800 --> 1:28:09.280
<v Speaker 8>It works though, Man, it works well, look, I.

1:28:09.640 --> 1:28:12.240
<v Speaker 7>Just uh, I love what. I love what Tupac did.

1:28:12.640 --> 1:28:15.720
<v Speaker 7>It's a positive message and same with Polo g.

1:28:15.920 --> 1:28:17.879
<v Speaker 6>The the video is beautiful.

1:28:17.920 --> 1:28:21.679
<v Speaker 7>This record has this great gospel choir coming in sort

1:28:21.680 --> 1:28:24.120
<v Speaker 7>of halfway through and taking you home when it it's

1:28:24.840 --> 1:28:28.120
<v Speaker 7>I love it. So I'm I'm proud and grateful to

1:28:28.720 --> 1:28:33.800
<v Speaker 7>these great young artists for for their interest in my music,

1:28:33.840 --> 1:28:34.639
<v Speaker 7>at least that song.

1:28:34.720 --> 1:28:35.040
<v Speaker 6>Anyway.

1:28:36.400 --> 1:28:39.320
<v Speaker 3>No, that's that, you know, that's the I always wondered

1:28:39.439 --> 1:28:44.240
<v Speaker 3>if if that myth is really real? Like on on

1:28:44.360 --> 1:28:46.720
<v Speaker 3>television and movies, you always hear this thing about like

1:28:47.000 --> 1:28:49.400
<v Speaker 3>it just takes one song to change your life, and

1:28:49.520 --> 1:28:54.759
<v Speaker 3>then you know that. I guess I think Carl Douglas,

1:28:55.320 --> 1:29:00.240
<v Speaker 3>creator of what is now the unplayable Kung Fu Fight Fight.

1:29:02.720 --> 1:29:05.240
<v Speaker 2>Once Fantasy, said that you know, just that one.

1:29:05.240 --> 1:29:08.600
<v Speaker 3>Song can you know, can change your life and you

1:29:08.680 --> 1:29:10.000
<v Speaker 3>don't have to work another day again.

1:29:10.400 --> 1:29:12.240
<v Speaker 2>You got this one song to fall back on.

1:29:12.479 --> 1:29:16.200
<v Speaker 6>But maybe I'm gonna try to get to those cats

1:29:16.280 --> 1:29:18.360
<v Speaker 6>as fast as lightning. Maybe I'm gonna try to get

1:29:18.360 --> 1:29:23.280
<v Speaker 6>the lyrics there you go. I'm sorry I cut you off.

1:29:23.320 --> 1:29:23.760
<v Speaker 7>What you say?

1:29:23.840 --> 1:29:27.040
<v Speaker 3>Man, No, no, no, no, I was no I was

1:29:27.320 --> 1:29:30.439
<v Speaker 3>saying that, well, you confirmed it then, but I mean

1:29:30.439 --> 1:29:32.760
<v Speaker 3>I also know that you're not in the game just

1:29:32.840 --> 1:29:37.639
<v Speaker 3>to monetarily, you know, kick off of you know, burn

1:29:37.640 --> 1:29:38.960
<v Speaker 3>one hundred dollars bills with.

1:29:39.040 --> 1:29:42.879
<v Speaker 2>The cigar or burn cigars with one hundred dollar bills.

1:29:42.680 --> 1:29:44.320
<v Speaker 4>So you should see that.

1:29:46.760 --> 1:29:48.799
<v Speaker 8>I'll go to the whole house with Huey Lewis, that's.

1:29:50.920 --> 1:29:51.479
<v Speaker 4>He was there.

1:29:52.160 --> 1:29:53.679
<v Speaker 6>Maybe I'll start burning hundreds.

1:29:53.720 --> 1:29:56.720
<v Speaker 7>No, I don't think so, I'll leave that to uh

1:29:57.080 --> 1:30:00.439
<v Speaker 7>the Wolf of Wall Street guy, you know, Aprio.

1:30:00.520 --> 1:30:04.000
<v Speaker 3>And then good, that's good. Well, we thank you very

1:30:04.080 --> 1:30:09.080
<v Speaker 3>much Bruce for being on the show today. And and

1:30:09.479 --> 1:30:11.120
<v Speaker 3>yes we are still.

1:30:11.400 --> 1:30:14.559
<v Speaker 2>I listened to our version of love Me Still from

1:30:15.200 --> 1:30:15.920
<v Speaker 2>the tonight show.

1:30:16.520 --> 1:30:18.040
<v Speaker 7>Well, I'm so glad you brought it up. Can I

1:30:18.160 --> 1:30:20.080
<v Speaker 7>just end with my quest love story?

1:30:20.439 --> 1:30:22.519
<v Speaker 8>So yes, yes, yes please.

1:30:23.880 --> 1:30:27.240
<v Speaker 7>We're in that little, that little rehearsal room. It's tiny, right,

1:30:27.760 --> 1:30:33.840
<v Speaker 7>and uh so you're piano player. He says, hey, can

1:30:33.920 --> 1:30:36.040
<v Speaker 7>we play Lovely Still? So I said sure. So we're

1:30:36.040 --> 1:30:38.280
<v Speaker 7>playing it in the normal way, and all of a sudden,

1:30:38.280 --> 1:30:41.680
<v Speaker 7>I guess you had this great idea to play it

1:30:41.760 --> 1:30:44.960
<v Speaker 7>as a slow shuffle, so we can we try it

1:30:44.960 --> 1:30:45.240
<v Speaker 7>this way.

1:30:45.280 --> 1:30:46.000
<v Speaker 6>So we start playing.

1:30:46.160 --> 1:30:49.320
<v Speaker 7>We're playing a little bit, and I guess so you

1:30:49.520 --> 1:30:53.320
<v Speaker 7>you made the greatest sort of producer sort of request.

1:30:53.880 --> 1:31:00.360
<v Speaker 7>You said, hey, play it like you're drunk, which was

1:31:00.439 --> 1:31:02.760
<v Speaker 7>which was great because because what I really felt was,

1:31:04.360 --> 1:31:07.479
<v Speaker 7>I was when I think you really meant truly you

1:31:07.600 --> 1:31:11.080
<v Speaker 7>meant was, hey, man, you're a little on top, we're

1:31:11.160 --> 1:31:12.000
<v Speaker 7>laying back.

1:31:13.960 --> 1:31:14.320
<v Speaker 2>Always.

1:31:14.800 --> 1:31:17.720
<v Speaker 7>You just need to get back with us. So I

1:31:17.840 --> 1:31:22.560
<v Speaker 7>started really sitting on it, and what a feel. The

1:31:22.640 --> 1:31:25.080
<v Speaker 7>next time I came back, we had to do it again.

1:31:25.240 --> 1:31:28.920
<v Speaker 7>And now my band plays Love Me still, the Quest

1:31:29.000 --> 1:31:29.639
<v Speaker 7>Love version.

1:31:30.000 --> 1:31:34.160
<v Speaker 3>Wow, okay, question, I was going to have to cover

1:31:34.280 --> 1:31:36.880
<v Speaker 3>that version before you recover and govern your version.

1:31:39.000 --> 1:31:39.599
<v Speaker 6>Whatever you want.

1:31:40.280 --> 1:31:42.680
<v Speaker 8>Yeah, well we got to do it.

1:31:43.000 --> 1:31:43.840
<v Speaker 2>We gotta do it now.

1:31:44.320 --> 1:31:44.880
<v Speaker 6>Sounds great.

1:31:45.120 --> 1:31:47.559
<v Speaker 8>That room was going crazy that day.

1:31:48.000 --> 1:31:52.559
<v Speaker 3>Yeah, that's that's probably one of our movements. That's that's

1:31:52.640 --> 1:31:56.600
<v Speaker 3>the top ten moment inside that room. Well, it was

1:31:56.640 --> 1:31:59.720
<v Speaker 3>you and we're now playing accordion with us. Yes, that

1:32:00.040 --> 1:32:04.200
<v Speaker 3>I put that up there, definitely, definitely, Well.

1:32:04.080 --> 1:32:04.800
<v Speaker 6>I'll take it up.

1:32:05.200 --> 1:32:07.919
<v Speaker 7>I'll be lumped in with weird Al anytime.

1:32:08.040 --> 1:32:08.759
<v Speaker 8>He's a bad.

1:32:10.920 --> 1:32:13.880
<v Speaker 2>Go man, this Quest Love.

1:32:14.479 --> 1:32:17.200
<v Speaker 3>Thank you very much, Bruce Sorensby for joining us and

1:32:17.720 --> 1:32:19.360
<v Speaker 3>we'll see you on the next go round of Quest

1:32:19.439 --> 1:32:20.080
<v Speaker 3>Love Supremo.

1:32:20.720 --> 1:32:22.360
<v Speaker 6>It's been a real pleasure. Thank you so much.

1:32:22.520 --> 1:32:24.880
<v Speaker 8>No, thank you for your time. Thanks thanks for the music.

1:32:25.080 --> 1:32:25.320
<v Speaker 8>Thank you.

1:32:31.520 --> 1:32:37.439
<v Speaker 1>Quest Love Supreme is a production of iHeart Radio. For

1:32:37.600 --> 1:32:40.639
<v Speaker 1>more podcasts from iHeart Radio, visit the iHeart Radio app,

1:32:40.920 --> 1:32:43.920
<v Speaker 1>Apple Podcasts, or wherever you listen to your favorite shows.