WEBVTT - Andrew Watt: Producer on the Rise

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<v Speaker 1>Pushkin. Just a quick note here, you can listen to

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<v Speaker 1>all of the music mentioned in this episode on our playlist,

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<v Speaker 1>which you can find a link to in the show

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<v Speaker 1>notes for licensing reasons, each time a song is referenced

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<v Speaker 1>in this episode, you'll hear this sound effect all right.

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<v Speaker 1>Enjoy the episode. It's hard to believe Andrew Watt is

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<v Speaker 1>only thirty years old. Just consider the artists he's worked

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<v Speaker 1>with over the last five years. Ozzy Osbourne, Miley Cyrus,

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<v Speaker 1>Sam Smith, Justin Bieber. He's quietly become one of the

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<v Speaker 1>biggest producers in the industry, leading to a nomination of

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<v Speaker 1>the upcoming Grammys for Producer of the Year. But before

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<v Speaker 1>Watt started his production journey five years ago, he was

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<v Speaker 1>a songwriter and guitar player. This song, Ghost in My

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<v Speaker 1>Head is from a twenty fifteen EP he released, and

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<v Speaker 1>it perfectly captures why he's been able to straddle the

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<v Speaker 1>usually firm line between hard rock and pop music. It's

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<v Speaker 1>something he's helped Post Malone do over the last few years,

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<v Speaker 1>and also did from Miley Cyrus on her new album

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<v Speaker 1>Plastic Hearts. In this episode, Andrew Watt talks to Rick

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<v Speaker 1>Rubin about getting to start in music and turning with

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<v Speaker 1>the roots, his journey did becoming a top tier music producer,

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<v Speaker 1>and about a frightening experience with COVID he had in

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<v Speaker 1>the early days of the pandemic. This is broken record

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<v Speaker 1>liner notes for the digital age. I'm justin Richmond. Here's

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<v Speaker 1>Rick Rubin's conversation with Andrew Watt. Let's start with COVID.

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<v Speaker 1>When did you realize you had it? I was working

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<v Speaker 1>with an artist, and literally, canceling is not something that

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<v Speaker 1>I do ever, because people's time, as you know, right,

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<v Speaker 1>that's the most important thing. Showing up somewhere and being there,

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<v Speaker 1>especially for someone that wants to create with you, It's

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<v Speaker 1>such a blessing to be able to do in the beginning.

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<v Speaker 1>So I'm not a canceller. And I just kind of

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<v Speaker 1>woke up and I was feeling so just fluey and

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<v Speaker 1>not good where I was just like, if I go

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<v Speaker 1>to the studio, I'm gonna maybe get people sick. So

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<v Speaker 1>let me just figure out what's happening. This is March fifth,

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<v Speaker 1>and whenever I would get sick before, which thankfully was

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<v Speaker 1>not that much, you start feeling like kind of dream

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<v Speaker 1>like where you're like, okay, something's in me. That's kind

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<v Speaker 1>of making me not like spaced out totally. I can't

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<v Speaker 1>connect thoughts the right way and everything. So I had

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<v Speaker 1>a doctor come and see me. Did a flu test,

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<v Speaker 1>You're negative? And I'm like, in March were people talking

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<v Speaker 1>about coronavirus? Yet just like it's happening in the world,

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<v Speaker 1>there's no cases in lady. You didn't know anyone who

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<v Speaker 1>had it? Nope. But I said to this doctor that

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<v Speaker 1>was there, I was like, do I have corona? Everyone's

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<v Speaker 1>having it. I have the symptoms. I'm like, my throat's

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<v Speaker 1>hurting me, I have dry cough and all this stuff.

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<v Speaker 1>It's like, there's no way you have corona. It's not

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<v Speaker 1>here in America. Yet they're containing it's containing. It's impossible.

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<v Speaker 1>You have the flu. Do a flu test negative, do

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<v Speaker 1>another one negative, Take this uh Tama flu, Take these

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<v Speaker 1>steroids for the swelling, and and you know, take advil

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<v Speaker 1>all And so I do everything he says, and taking

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<v Speaker 1>it and taking it. I'm not getting better. So I'm like, dude,

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<v Speaker 1>I have corona. How long How long was it before

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<v Speaker 1>the next step? Five days? Right, I'm so five days

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<v Speaker 1>You're doing everything. The doctor said, yes, bad flu, taking

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<v Speaker 1>it not getting better, getting better, getting worse, or staying

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<v Speaker 1>the same. Um, just like not getting better. Whereas usually

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<v Speaker 1>like a thing would be whatever, so we passed it.

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<v Speaker 1>Normally would pass quickly. This day like seven days in

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<v Speaker 1>around like March twelve, where I'm like, all right, this

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<v Speaker 1>Tama flu worked and I'm kind of like I feel

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<v Speaker 1>that I'm coming on the other side, right, So call everyone,

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<v Speaker 1>all right, I'm ready to go back to work. I'm

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<v Speaker 1>blah blah. But people are talking about Corona. In this time.

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<v Speaker 1>I find out that Lucy and Grange is like really sick, right,

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<v Speaker 1>and there's this party that happened. You heard about this

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<v Speaker 1>the Palm Springs for his birthday, and a couple of

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<v Speaker 1>people from London were there and they're getting sick. So

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<v Speaker 1>I'm like, okay, maybe I got it. And then I'm better.

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<v Speaker 1>Two days after, I wake up in the middle of

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<v Speaker 1>the night and I'm like hallucinating, you know. I'm like,

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<v Speaker 1>I feel like death. I can't breathe this. I'm like, whoa,

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<v Speaker 1>what's happening? So I called this is worse than it was, Yeah,

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<v Speaker 1>worse than it was. And I call this doctor. I'm

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<v Speaker 1>like this guy was seeing I'm like I gotta get

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<v Speaker 1>to this blah blah, comes over, gives me another flud

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<v Speaker 1>Testa's like, you don't have corona, people don't have it.

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<v Speaker 1>You're like, over and over, take the advill I finally,

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<v Speaker 1>you know, friend of mine got me a different doctor

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<v Speaker 1>who was like a really you know, I guess not

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<v Speaker 1>that this other doctor wasn't a good doctor trying to

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<v Speaker 1>do his best, but no one knows anything at this point, right,

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<v Speaker 1>So he gets me this other doctor and he's like,

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<v Speaker 1>you can't breathe. You're you know, oxygen's lower. We're going

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<v Speaker 1>to the hospital. So go to the hospital. Which hospital

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<v Speaker 1>to go to? I went to UCLA. I'm sitting there.

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<v Speaker 1>I literally can't breathe. It's like a weird feeling. I'm

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<v Speaker 1>twenty nine years old and terrible scary, and I don't

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<v Speaker 1>know what's going on. But I'm like, have you ever

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<v Speaker 1>been in the hospital before. I had been in the

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<v Speaker 1>hospital before, but only for like simple things, never like

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<v Speaker 1>you know, you ever stay in the hospital before, No

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<v Speaker 1>pendix out, that kind of stuff, you know, tonsils, hernia,

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<v Speaker 1>so um, you know, I'm there And finally they're like

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<v Speaker 1>they're giving me a flu test. I'm negative. I'm like,

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<v Speaker 1>can you test me for corona? This other great nice

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<v Speaker 1>doctor comes with me to the hospital. He's like there,

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<v Speaker 1>he's like, test this guy for corona. No one can

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<v Speaker 1>get tests, no one can do anything. So I'm there

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<v Speaker 1>at the hospital. Finally they take me to get a

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<v Speaker 1>chest x ray. They won't test me for anything. Chest

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<v Speaker 1>X ray. My chest X ray comes back with pneumonia. Right,

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<v Speaker 1>they still will not test me for corona. Now is

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<v Speaker 1>everyone around you, all the doctors, everything, We're in masks

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<v Speaker 1>and has matsuits like crazy, but they won't test you.

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<v Speaker 1>Even though they will not test me. No matter what

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<v Speaker 1>I'm doing, I'm texting my manager help me. I need

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<v Speaker 1>to get tested. I don't feel right like I'm at

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<v Speaker 1>this point where I'm like desperate. I never had that

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<v Speaker 1>feeling before of feeling desperate. You know, I'm lucky, I'm blessed.

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<v Speaker 1>I make music. I can't believe it's my job to

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<v Speaker 1>make music and I can kind of do what I want.

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<v Speaker 1>I'm desperate sitting here in this hospital and they will

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<v Speaker 1>not test me even though they know I have pneumonia.

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<v Speaker 1>So they're like, sorry, CDC rules, we can't do it.

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<v Speaker 1>We're only testing old people because they're gonna die. You're young,

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<v Speaker 1>You're not gonna die even if you have it. You

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<v Speaker 1>just need to go home. I wait hours and hours

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<v Speaker 1>and hours for this doctor to come in, and that's

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<v Speaker 1>what they tell me. Right. So the other doctor that's

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<v Speaker 1>there is just like with me. He's like, you know what,

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<v Speaker 1>I'm gonna go to my office right now. I'm gonna

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<v Speaker 1>get a flu test. I'm going to test you for

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<v Speaker 1>this thing, and I'm going to write on the thing

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<v Speaker 1>this person I'm almost positive he has corona. I'm gonna

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<v Speaker 1>send it to Quest Diagnostics and I'm going to see

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<v Speaker 1>what's going on. So he too give me a flu test,

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<v Speaker 1>but wrote I think this person is corona, left it

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<v Speaker 1>on their doorstep, and they tested it for corona. That's

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<v Speaker 1>how you found out, and that's how I found out

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<v Speaker 1>I was positive for corona. Wow. And you know, all

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<v Speaker 1>the people trying to help me and the people there,

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<v Speaker 1>but it's not their fault. They're following regulations by the government.

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<v Speaker 1>That's who's fault. We all know who I You know,

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<v Speaker 1>I could say it was fault. It is to me,

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<v Speaker 1>and you know they're just not handling it the right way.

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<v Speaker 1>And it's so early. Also, now that you have this,

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<v Speaker 1>no one really knows what to do if you do

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<v Speaker 1>have it anyway, there's no there's no treatments, no one

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<v Speaker 1>knows nothing. So all we can do is read and

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<v Speaker 1>do this stuff. And so I was in bed for

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<v Speaker 1>thirty five days. Wow, how long we in the hospital for.

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<v Speaker 1>Let me go. They're like, they didn't even I didn't

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<v Speaker 1>even get my results that night. They're like, go home

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<v Speaker 1>if you have it, just don't see anyone. Like they

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<v Speaker 1>wouldn't test me, did nothing for me. They're like, you

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<v Speaker 1>have pneumonia. You have pneumonia, just rest yea and go home.

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<v Speaker 1>So you stay in bed for you stay home for

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<v Speaker 1>thirty five days. I'm home in bed and I'm just

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<v Speaker 1>feeling awful, hallucinating. What type of therapeutics are you doing?

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<v Speaker 1>I had a fever for sixteen days, which was you

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<v Speaker 1>go crazy? How high did it go? Up? One oh

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<v Speaker 1>three was the worst, and then it was kind of down. Um,

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<v Speaker 1>and you know, it's really hard for me. I've played guitar,

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<v Speaker 1>you're not so how we met. I came and played

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<v Speaker 1>guitar here. We'll talk about that after. But I played

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<v Speaker 1>guitar every day for my whole life, and I'm suddenly

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<v Speaker 1>not wanting to play guitar because it's I don't want

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<v Speaker 1>to play in this negative place, in this mindset. And then,

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<v Speaker 1>you know, I think just after that and dealing with

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<v Speaker 1>post COVID stuff was tricky, but I got back and

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<v Speaker 1>I think I'm making the best music in my life now.

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<v Speaker 1>So and since you've recovered, have you had any bad

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<v Speaker 1>days or has it been pretty consistently good. I haven't

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<v Speaker 1>had knock on wood a bad day in a really

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<v Speaker 1>long time. But you know, a couple of months ago,

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<v Speaker 1>if I was doing kind of strenuous exercise or really

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<v Speaker 1>pushing myself, I would find myself kind of in like

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<v Speaker 1>a mental fog. And that was hard. But what it

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<v Speaker 1>made me do was, you know, and I'm sure I

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<v Speaker 1>know from talking to you before, but I was working.

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<v Speaker 1>I was the producer that was working twenty four hours

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<v Speaker 1>a day, working the day with someone working the night

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<v Speaker 1>with someone else, my studios, in my house, working on stuff.

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<v Speaker 1>It's made me change my hours and work kind of

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<v Speaker 1>more in a in a more of a scheduled thing.

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<v Speaker 1>If creativity strikes at a different time, then I'll deal

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<v Speaker 1>with that or use it as a decision. But it's

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<v Speaker 1>not a necessity, and so doing that has kind of

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<v Speaker 1>made me take better care of yourself, take better care

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<v Speaker 1>of myself. And if and if I want to exercise,

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<v Speaker 1>I'll do it super early in the morning where it

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<v Speaker 1>doesn't affect my day and I'm not going one thing

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<v Speaker 1>into the other or at nighttime, and just kind of

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<v Speaker 1>finding different ways. I'm not in the gym pounding weights,

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<v Speaker 1>but I never really liked doing that anyway, you know, surfing,

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<v Speaker 1>spending time on the water, paddling, doing yoga, walkding, doing

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<v Speaker 1>really long walk stuff like that. It's all I had

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<v Speaker 1>to adjust like that, and doing those adjustments was not

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<v Speaker 1>really something that affect were in New York did you

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<v Speaker 1>grow up? I grew up in Great Nack, originally in

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<v Speaker 1>Long Island, and then funny, I went to NYU and

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<v Speaker 1>lived in Weinstein dorms, just like someone else I know

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<v Speaker 1>a Long Island that went to New York in New

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<v Speaker 1>York City to try and make music. I didn't want

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<v Speaker 1>to go to college. I wanted to play gigs and

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<v Speaker 1>play and in bars. But like I got through with

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<v Speaker 1>my parents of like, okay, if you get I got

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<v Speaker 1>into NYU, so you gotta go went to Weinstein dorms,

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<v Speaker 1>was making music and out of my dorm room until

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<v Speaker 1>I dropped out. And how was that? What was your first,

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<v Speaker 1>um professional experience in music? My first when I like

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<v Speaker 1>really really kind of professional thing besides just making records

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<v Speaker 1>on my own at my house and everything was. I

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<v Speaker 1>got to NYU and the roots had just started there,

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<v Speaker 1>Jimmy Fallon thing and they were doing these amazing jams

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<v Speaker 1>at the high Line Ballroom in New York because they

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<v Speaker 1>were there and they were, you know, wanted to do it.

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<v Speaker 1>And I remember I waited outside after the show for

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<v Speaker 1>a long time to talk to quest Love. I wanted

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<v Speaker 1>to talk to him. I was so he's not only

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<v Speaker 1>one of the costs, but how knowledgeable is that guy?

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<v Speaker 1>Just believable on everything? And I was a big you know,

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<v Speaker 1>I loved his website, Okay player that reviewed music. I

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<v Speaker 1>would find a lot of music on there is it

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<v Speaker 1>just always searching and he's such an audio file you know.

0:12:19.840 --> 0:12:22.079
<v Speaker 1>So anyway, so I talked to him and I was like, hey, man,

0:12:22.120 --> 0:12:24.480
<v Speaker 1>I want a jam. I want to jam with you guys.

0:12:24.520 --> 0:12:26.880
<v Speaker 1>Because I would go to jams all the time. I

0:12:26.880 --> 0:12:29.400
<v Speaker 1>would go to blues jams and bring my guitar and

0:12:29.440 --> 0:12:33.120
<v Speaker 1>that's really how I like, I learned to play with

0:12:34.240 --> 0:12:37.559
<v Speaker 1>other people as I had bands, but they my band sucked,

0:12:37.640 --> 0:12:38.960
<v Speaker 1>do you know what I mean? Like I went to

0:12:39.040 --> 0:12:41.839
<v Speaker 1>these jams at the cutting Room and the Bitter End

0:12:41.880 --> 0:12:44.520
<v Speaker 1>and the bottom Line and all these places and would

0:12:44.600 --> 0:12:46.679
<v Speaker 1>just be there with my guitar and I'd get up

0:12:46.720 --> 0:12:49.560
<v Speaker 1>and we'd play little wing for no one practiced with

0:12:49.600 --> 0:12:52.120
<v Speaker 1>each other before or superstition, and I'd to learn how

0:12:52.120 --> 0:12:54.040
<v Speaker 1>to catch horn lines and kind of that was like

0:12:54.320 --> 0:12:56.760
<v Speaker 1>really important to me. I would steal a car and

0:12:57.080 --> 0:12:59.640
<v Speaker 1>drive out to Manhattan from Great Neck and do that

0:12:59.800 --> 0:13:02.920
<v Speaker 1>all the time. So I asked quest of if I

0:13:02.960 --> 0:13:06.040
<v Speaker 1>could jam with him, and he was like, yeah, I

0:13:06.120 --> 0:13:07.800
<v Speaker 1>talked to this girl she does the jams. He was

0:13:07.840 --> 0:13:10.400
<v Speaker 1>just kind of like really nice and cool. So I

0:13:10.440 --> 0:13:14.439
<v Speaker 1>got this woman's number. Their name was Ginny, and I

0:13:14.440 --> 0:13:17.960
<v Speaker 1>called her probably a thousand times and of seventeen at

0:13:17.960 --> 0:13:21.840
<v Speaker 1>this time, and emailed her and she would not answer me.

0:13:22.200 --> 0:13:25.080
<v Speaker 1>So I was like, Okay, the jam, it's Thursday. It's

0:13:25.120 --> 0:13:27.400
<v Speaker 1>next Thursday. And I didn't hear am I jamming? Am

0:13:27.400 --> 0:13:29.280
<v Speaker 1>I not? So I bring my guitar and I go

0:13:29.320 --> 0:13:31.559
<v Speaker 1>at sound check time. I'm like I'm gonna just sneak

0:13:31.559 --> 0:13:34.640
<v Speaker 1>into this place and go because quest Love will see me.

0:13:34.640 --> 0:13:36.360
<v Speaker 1>And he said, oh yeah, you can jam. And I

0:13:36.360 --> 0:13:38.440
<v Speaker 1>had a big heart, you know, I follow my heart.

0:13:38.679 --> 0:13:40.679
<v Speaker 1>Of course he's gonna let me do that, right, So

0:13:40.760 --> 0:13:43.040
<v Speaker 1>I sneak in. I might come here for the gig

0:13:43.840 --> 0:13:47.640
<v Speaker 1>I'm playing tonight, Sir. Suddenly come right, and people are

0:13:47.679 --> 0:13:51.160
<v Speaker 1>coming at all and quest Love's not there, but that

0:13:51.320 --> 0:13:53.319
<v Speaker 1>woman Ginny is there and she sees me and she's

0:13:53.360 --> 0:13:56.680
<v Speaker 1>just her face goes white, right, and so they're like,

0:13:56.720 --> 0:13:58.680
<v Speaker 1>give me a wrist band. And I'm there and I'm

0:13:58.720 --> 0:14:00.520
<v Speaker 1>waiting by the side of the stage with guitar. All

0:14:00.520 --> 0:14:03.080
<v Speaker 1>these people come. I see Bilal play for the first

0:14:03.120 --> 0:14:04.719
<v Speaker 1>time and he does like a whole lot of love it.

0:14:04.800 --> 0:14:07.240
<v Speaker 1>I didn't even know who Bilal was, and then you know,

0:14:07.360 --> 0:14:11.160
<v Speaker 1>I'm like, oh my god, this guy's incredible, and watching

0:14:11.160 --> 0:14:14.560
<v Speaker 1>Captain Kirk play guitar, who's amazing musician. And I'm sitting

0:14:14.600 --> 0:14:17.640
<v Speaker 1>there and I don't get asked the jam obviously, but

0:14:17.720 --> 0:14:21.520
<v Speaker 1>I see this woman Jinny freaking out the whole time.

0:14:21.600 --> 0:14:24.800
<v Speaker 1>She can't handle what's going on with the amount of

0:14:24.840 --> 0:14:26.760
<v Speaker 1>people that are there and the guys need drinks and

0:14:26.840 --> 0:14:29.120
<v Speaker 1>want to smoke weed, and she's just too much for

0:14:29.160 --> 0:14:31.760
<v Speaker 1>her to handle. And so my brain, I'm in the

0:14:31.880 --> 0:14:35.680
<v Speaker 1>music business program at NYU, my brain goes, I need

0:14:35.720 --> 0:14:39.320
<v Speaker 1>an internship. Maybe this could be my internship. So I

0:14:39.400 --> 0:14:41.400
<v Speaker 1>was like, hey, you know, I know I didn't get

0:14:41.440 --> 0:14:43.160
<v Speaker 1>the jam and stuff like that, but like you seem

0:14:43.160 --> 0:14:46.400
<v Speaker 1>like you need an intern, like you're you have too

0:14:46.480 --> 0:14:48.080
<v Speaker 1>much going on. She was like, I actually do need

0:14:48.120 --> 0:14:50.960
<v Speaker 1>an intern. Here send your resume. So send my resume.

0:14:50.960 --> 0:14:52.760
<v Speaker 1>I get a whole thing, and I get the job

0:14:53.320 --> 0:14:57.000
<v Speaker 1>of being this girl's intern and working at Okay Player

0:14:57.080 --> 0:14:59.840
<v Speaker 1>during the week and helping with the jam every week.

0:15:00.120 --> 0:15:02.920
<v Speaker 1>So I'm backstage every time. I bring my guitar every

0:15:02.920 --> 0:15:06.480
<v Speaker 1>single time, and I never get asked to play, and

0:15:06.520 --> 0:15:10.680
<v Speaker 1>I'm annoying little kid. But I learned how to roll

0:15:10.800 --> 0:15:14.200
<v Speaker 1>blunt from Black Thought and rolling his blunts before it

0:15:14.280 --> 0:15:17.520
<v Speaker 1>was smoking, get drinks for people, and I'm around all

0:15:17.560 --> 0:15:25.200
<v Speaker 1>these amazing musicians, like the best musicians, and and you know,

0:15:25.200 --> 0:15:27.440
<v Speaker 1>I get to know James Poyser really well, and it

0:15:27.480 --> 0:15:31.120
<v Speaker 1>gets you know, Black Thought and Kirk and Quest Love

0:15:31.160 --> 0:15:34.240
<v Speaker 1>and all the people around in their crew, and you know,

0:15:35.800 --> 0:15:39.120
<v Speaker 1>guys from the Fuji's Come and Erica Bad Dude Come,

0:15:39.440 --> 0:15:42.800
<v Speaker 1>and and and Balal and all those people, and I'm

0:15:42.840 --> 0:15:44.960
<v Speaker 1>and I'm just meeting all these people, and I'm open

0:15:45.000 --> 0:15:47.160
<v Speaker 1>to a different kind of music than I was listening

0:15:47.160 --> 0:15:49.880
<v Speaker 1>to them, the rock and roll that I was raised on.

0:15:50.480 --> 0:15:58.200
<v Speaker 1>And this one night happens where um Kirk, his father

0:15:58.400 --> 0:16:01.120
<v Speaker 1>was really sick and couldn't make the gig, and so

0:16:01.280 --> 0:16:03.600
<v Speaker 1>quest looks like, all right, you got your guitar, and

0:16:03.640 --> 0:16:07.920
<v Speaker 1>I didn't have my guitar that so I run back

0:16:07.960 --> 0:16:11.160
<v Speaker 1>to at Weinstein Dorms, get my guitar, come back and

0:16:11.200 --> 0:16:13.600
<v Speaker 1>I got to play that night, and I did great.

0:16:14.040 --> 0:16:15.960
<v Speaker 1>It was one of those moments where I did great.

0:16:16.040 --> 0:16:18.680
<v Speaker 1>You know, I understood the space and I had been

0:16:18.720 --> 0:16:21.240
<v Speaker 1>watching how they did their stuff every night and did great.

0:16:21.240 --> 0:16:23.520
<v Speaker 1>And then they let me jam a bum there and

0:16:23.520 --> 0:16:25.280
<v Speaker 1>would let me play a bunch of times, and I

0:16:25.360 --> 0:16:28.880
<v Speaker 1>met amazing artists and got kind of my first gigs

0:16:29.000 --> 0:16:33.080
<v Speaker 1>playing for artists, not doing my own thing from there,

0:16:33.400 --> 0:16:36.120
<v Speaker 1>and that's kind of how it started. What was your

0:16:36.120 --> 0:16:40.240
<v Speaker 1>first studio gig? My first studio gig, I was making

0:16:40.280 --> 0:16:46.480
<v Speaker 1>my own records, and then the first time I produced

0:16:46.920 --> 0:16:50.200
<v Speaker 1>I was working with this kid, Jared Evan. He was

0:16:50.600 --> 0:16:54.600
<v Speaker 1>signed to Interscope, and I was playing guitar for him

0:16:54.800 --> 0:16:57.600
<v Speaker 1>kind of throw all that stuff, and then he would

0:16:57.600 --> 0:16:59.240
<v Speaker 1>always bring me around with him and want me to

0:16:59.240 --> 0:17:01.640
<v Speaker 1>play guitar. And his guy that was producing him was

0:17:01.680 --> 0:17:06.159
<v Speaker 1>Jimmy Douglas, one of the greats, and he kind of

0:17:06.160 --> 0:17:08.720
<v Speaker 1>taught me how to play guitar and the studio and

0:17:08.840 --> 0:17:13.000
<v Speaker 1>double track myself and get parts and work through stuff.

0:17:13.000 --> 0:17:14.680
<v Speaker 1>And I would play for a long time and then

0:17:14.680 --> 0:17:17.240
<v Speaker 1>he chopped parts out so that I kind of cut

0:17:17.280 --> 0:17:21.120
<v Speaker 1>my teeth that way and then used it to make

0:17:21.119 --> 0:17:23.159
<v Speaker 1>my own records. And then as I was going on

0:17:23.200 --> 0:17:25.960
<v Speaker 1>tour with people, I was on tour with an artist

0:17:26.040 --> 0:17:28.919
<v Speaker 1>named Cody Simpson and Justin and then they wanted me

0:17:28.960 --> 0:17:34.439
<v Speaker 1>to make their records and I just would kind of

0:17:34.480 --> 0:17:38.679
<v Speaker 1>did that and moved out to LA and made that

0:17:38.720 --> 0:17:43.120
<v Speaker 1>one album with Glenn and in Nashville on tape, which

0:17:43.240 --> 0:17:45.679
<v Speaker 1>was a great experience too. I think everyone should make

0:17:45.720 --> 0:17:47.879
<v Speaker 1>an album on tape at some point, just wants to

0:17:47.920 --> 0:17:51.920
<v Speaker 1>see what that process is like. It's a fuck ton

0:17:52.080 --> 0:17:54.879
<v Speaker 1>harder and doesn't really make that much of a difference

0:17:54.880 --> 0:17:57.560
<v Speaker 1>for everyone that says it does. It really doesn't. But

0:17:57.800 --> 0:17:59.800
<v Speaker 1>you know, drums sound great on tape, and I'm so

0:18:00.160 --> 0:18:02.520
<v Speaker 1>happy I had the experience. Now we have all the

0:18:02.520 --> 0:18:05.399
<v Speaker 1>plugins that make it sound like tape anyway, So why

0:18:05.440 --> 0:18:09.480
<v Speaker 1>are you going to do that to yourself? Yeah, And

0:18:09.520 --> 0:18:13.080
<v Speaker 1>I came out here and I had this song that

0:18:13.160 --> 0:18:16.159
<v Speaker 1>I wrote with a friend of mine named Ali tem Posey,

0:18:16.200 --> 0:18:20.720
<v Speaker 1>who's still my number one collaborator until today. We're working

0:18:20.760 --> 0:18:23.560
<v Speaker 1>together on Monday again. We've been working together for nine

0:18:23.640 --> 0:18:28.840
<v Speaker 1>years NonStop, never had an argument. And we wrote the

0:18:28.880 --> 0:18:31.439
<v Speaker 1>song called let Me Love You, which was on a

0:18:31.440 --> 0:18:35.200
<v Speaker 1>guitar and it was a folk song, and it kind

0:18:35.200 --> 0:18:37.800
<v Speaker 1>of got passed around the industry in that way. Everyone

0:18:38.040 --> 0:18:40.399
<v Speaker 1>we've heard this song. And I played it for Justin

0:18:40.440 --> 0:18:41.879
<v Speaker 1>because he was a good friend of mine and he

0:18:41.920 --> 0:18:45.159
<v Speaker 1>really wanted the song, and then everyone else somehow started

0:18:45.200 --> 0:18:47.959
<v Speaker 1>cutting the song. I didn't understand how people were cutting

0:18:47.960 --> 0:18:49.879
<v Speaker 1>my song without asking me or talking to me. It

0:18:49.920 --> 0:18:52.199
<v Speaker 1>felt wrong. It was like, and I told Justin he

0:18:52.240 --> 0:18:54.840
<v Speaker 1>could do the song already. So I kind of had

0:18:54.880 --> 0:18:57.840
<v Speaker 1>to like get involved with that part of the industry,

0:18:57.880 --> 0:19:00.560
<v Speaker 1>which I never did before. I'd start talking to these

0:19:00.600 --> 0:19:03.920
<v Speaker 1>record label guys and these managers and these different people

0:19:03.960 --> 0:19:06.280
<v Speaker 1>and kind of be like no, I learned the power

0:19:06.280 --> 0:19:09.239
<v Speaker 1>of no, kind of the first time, which you know

0:19:09.359 --> 0:19:11.720
<v Speaker 1>you have to say and be like, hey, no, this

0:19:11.800 --> 0:19:14.320
<v Speaker 1>is not actually happening. I don't care what you want

0:19:14.520 --> 0:19:17.080
<v Speaker 1>to pay or what like. I promised this song to

0:19:17.160 --> 0:19:21.320
<v Speaker 1>someone else and so through a long story, justin ended

0:19:21.400 --> 0:19:23.280
<v Speaker 1>up singing the song. And that was my first like

0:19:23.480 --> 0:19:29.359
<v Speaker 1>big hit song and it was such a cool experience

0:19:29.520 --> 0:19:32.240
<v Speaker 1>to I didn't know that it was going to be that.

0:19:32.440 --> 0:19:35.639
<v Speaker 1>I just everyone wanted the song for a reason and

0:19:36.240 --> 0:19:38.920
<v Speaker 1>it was amazing. So like the first time I went

0:19:38.920 --> 0:19:41.080
<v Speaker 1>to one of his shows and I saw him play

0:19:41.119 --> 0:19:44.080
<v Speaker 1>that song and then everyone in the crowd was singing,

0:19:44.160 --> 0:19:46.159
<v Speaker 1>held the mic out and it was words I wrote about,

0:19:46.440 --> 0:19:48.960
<v Speaker 1>like hurt and pain I had, but to them it

0:19:49.040 --> 0:19:51.600
<v Speaker 1>was the happiest thing ever. And it was just like

0:19:51.960 --> 0:19:56.440
<v Speaker 1>in a surreal, amazing experience. And I think it's when

0:19:56.480 --> 0:19:58.920
<v Speaker 1>you see that happened, you want to do that again

0:19:58.960 --> 0:20:02.600
<v Speaker 1>and again and again. And what was the next one?

0:20:04.000 --> 0:20:08.520
<v Speaker 1>The next one after that was a Selena Gomez song

0:20:08.720 --> 0:20:11.320
<v Speaker 1>that she did with Kigo, which was another song that

0:20:11.440 --> 0:20:13.760
<v Speaker 1>was on the guitar. It's called it ain't me. Did

0:20:13.800 --> 0:20:15.479
<v Speaker 1>you write it for her? You just wrote it and

0:20:15.520 --> 0:20:17.680
<v Speaker 1>then she heard it. I just wrote it and played

0:20:17.680 --> 0:20:22.200
<v Speaker 1>it for her because we were friendly, and she loved

0:20:22.200 --> 0:20:25.399
<v Speaker 1>it and cut it kind of instantly. So many of

0:20:25.440 --> 0:20:29.359
<v Speaker 1>my songs that you know became big songs have these

0:20:29.840 --> 0:20:34.119
<v Speaker 1>insane long stories of me flying to Japan for twenty

0:20:34.119 --> 0:20:36.240
<v Speaker 1>four hours and doing all this stuff that I had

0:20:36.240 --> 0:20:38.320
<v Speaker 1>to do to get the record across the finish line,

0:20:38.320 --> 0:20:41.199
<v Speaker 1>which I'm sure you have crazy getting the Getting the

0:20:41.200 --> 0:20:44.560
<v Speaker 1>song sometimes is the easiest part, and getting the artist

0:20:44.640 --> 0:20:48.159
<v Speaker 1>to actually do the song is really hard. Sometimes it

0:20:48.160 --> 0:20:52.520
<v Speaker 1>doesn't make sense, but it is. That was the easiest

0:20:52.520 --> 0:20:55.680
<v Speaker 1>song I ever had, that one. She sang the song

0:20:55.760 --> 0:20:58.480
<v Speaker 1>and made her tweaks to it, and she sounded amazing

0:20:58.520 --> 0:21:00.119
<v Speaker 1>on it, and I did the production with I Go,

0:21:00.200 --> 0:21:01.640
<v Speaker 1>and it kind of just came out two months later,

0:21:03.240 --> 0:21:07.240
<v Speaker 1>and so that one was was was awesome. We'll be

0:21:07.320 --> 0:21:10.080
<v Speaker 1>right back with more from Andrew Watt after the break.

0:21:14.320 --> 0:21:16.639
<v Speaker 1>We're back with more from Andrew Watt and Rick Rubin

0:21:16.960 --> 0:21:19.480
<v Speaker 1>talking about their mutual friend drummer of the Red Hot

0:21:19.560 --> 0:21:22.959
<v Speaker 1>Chili Peppers, Chad Smith. What was the first session you

0:21:22.960 --> 0:21:28.320
<v Speaker 1>ever played on with Chad Chad came to play on

0:21:28.440 --> 0:21:33.080
<v Speaker 1>I was when I was signed to Republic Records as

0:21:33.119 --> 0:21:35.960
<v Speaker 1>a rock artist and kind of doing that. He came

0:21:36.000 --> 0:21:39.720
<v Speaker 1>and played on one of my a couple of my songs.

0:21:40.000 --> 0:21:41.600
<v Speaker 1>I had met him. I was in that band with

0:21:41.600 --> 0:21:44.959
<v Speaker 1>Glenn Hughes and Jason Bonham back in the day, and

0:21:45.040 --> 0:21:47.600
<v Speaker 1>I met Chad through that and we just kind of

0:21:48.840 --> 0:21:52.280
<v Speaker 1>became tight. And as you know, Chad loves music more

0:21:52.280 --> 0:21:54.760
<v Speaker 1>than literally anything in the world. And we'll actually play

0:21:54.880 --> 0:21:58.679
<v Speaker 1>on anything and it'll be great, and it will be

0:21:58.720 --> 0:22:01.879
<v Speaker 1>amazing and in any style. And it's so funny. Chad's

0:22:01.960 --> 0:22:03.880
<v Speaker 1>kid is just permanently set up at my house, old

0:22:03.920 --> 0:22:06.479
<v Speaker 1>gretch kid he has, and he's like the house drummer.

0:22:06.480 --> 0:22:10.199
<v Speaker 1>I mean, he plays on everything that we do. So

0:22:10.240 --> 0:22:13.080
<v Speaker 1>we did that and we just kind of became really close.

0:22:13.400 --> 0:22:17.080
<v Speaker 1>And that Blood Sugar album was like my DNA as

0:22:17.119 --> 0:22:19.680
<v Speaker 1>a musician when I was learning how to play all

0:22:19.680 --> 0:22:22.359
<v Speaker 1>these different instruments and the kids that I was playing

0:22:22.359 --> 0:22:24.040
<v Speaker 1>with didn't want to play as much as to me,

0:22:24.080 --> 0:22:26.840
<v Speaker 1>So I just learned everyone's instrument and I learned how

0:22:26.880 --> 0:22:29.320
<v Speaker 1>to play that in that album kind of on every instrument.

0:22:29.359 --> 0:22:31.879
<v Speaker 1>So first time I sat down to play with Chad.

0:22:32.280 --> 0:22:35.520
<v Speaker 1>My instincts were kind of similar to his because that's

0:22:35.800 --> 0:22:38.800
<v Speaker 1>where my DNA was kind of playing. And even now

0:22:38.840 --> 0:22:41.280
<v Speaker 1>when when we're making an Ausie album or something, he

0:22:41.359 --> 0:22:45.439
<v Speaker 1>does a fill and I'm playing a lick, it's a same.

0:22:45.600 --> 0:22:49.080
<v Speaker 1>It's weird we have. We have really similar instincts, which

0:22:49.080 --> 0:22:52.600
<v Speaker 1>is so cool. He told me another amazing story. I'm

0:22:53.000 --> 0:22:54.960
<v Speaker 1>I'm breaking him out because kind of I want to

0:22:55.000 --> 0:22:59.359
<v Speaker 1>know your answers to this kind of stuff. You know,

0:22:59.440 --> 0:23:02.520
<v Speaker 1>we're talking I think like a year and a half ago,

0:23:03.000 --> 0:23:08.119
<v Speaker 1>just about demos of things, and I don't remember how

0:23:08.119 --> 0:23:09.920
<v Speaker 1>exactly it came up, but he played me the demo

0:23:09.960 --> 0:23:16.680
<v Speaker 1>of Californiacation and the music under that song is completely

0:23:16.720 --> 0:23:20.440
<v Speaker 1>different music. It's like, couldn't be anymore any more different,

0:23:20.640 --> 0:23:23.960
<v Speaker 1>But the top line is the same, exactly the same,

0:23:24.000 --> 0:23:26.359
<v Speaker 1>the same words, the same spacing, the same amount of

0:23:26.440 --> 0:23:31.119
<v Speaker 1>verse to the chorus line. And he was like, you know,

0:23:31.320 --> 0:23:35.400
<v Speaker 1>this music was not right. It wasn't you know, not

0:23:35.400 --> 0:23:37.320
<v Speaker 1>that it wasn't that it was good or bad. It

0:23:37.359 --> 0:23:39.800
<v Speaker 1>just wasn't right and it wasn't working. But you pushed

0:23:39.840 --> 0:23:43.080
<v Speaker 1>them really hard to like go and make different music

0:23:43.280 --> 0:23:46.320
<v Speaker 1>for this amazing top line and then it's like, I

0:23:46.359 --> 0:23:49.639
<v Speaker 1>think it's one of their biggest songs. How does that

0:23:49.800 --> 0:23:52.560
<v Speaker 1>process work for you? I honestly don't remember that happening.

0:23:52.600 --> 0:23:54.880
<v Speaker 1>I believe it did happen, but I don't think that

0:23:54.960 --> 0:23:58.719
<v Speaker 1>it was my idea. I have a feeling as I

0:23:58.760 --> 0:24:02.040
<v Speaker 1>remember it, and again I don't remember. Brit Well, we

0:24:02.160 --> 0:24:05.160
<v Speaker 1>had the song and then John came in one day

0:24:05.160 --> 0:24:06.880
<v Speaker 1>and he said, I think I have a different way

0:24:06.920 --> 0:24:10.000
<v Speaker 1>to play the song that's better because the way it

0:24:10.040 --> 0:24:13.280
<v Speaker 1>typically works is the band works on music and then

0:24:13.320 --> 0:24:15.520
<v Speaker 1>Anthony gets inspired by the music he hears, and then

0:24:15.520 --> 0:24:19.119
<v Speaker 1>he writes the melody and then the words, and he

0:24:19.119 --> 0:24:21.600
<v Speaker 1>had gone through that phase, wrote the melody in the

0:24:21.600 --> 0:24:24.440
<v Speaker 1>words to the music the existing music, and then John

0:24:24.520 --> 0:24:27.439
<v Speaker 1>heard the melody in the words and said, hmm, I

0:24:27.480 --> 0:24:30.920
<v Speaker 1>think there's better music, and then he as I remember it,

0:24:31.000 --> 0:24:34.439
<v Speaker 1>John just had the idea to present a different version

0:24:35.119 --> 0:24:38.119
<v Speaker 1>and we all liked it better. Yeah. I mean, I

0:24:38.119 --> 0:24:40.960
<v Speaker 1>think that's the only time that particular thing happened with them.

0:24:41.440 --> 0:24:45.080
<v Speaker 1>It's amazing to not to a lot of people would

0:24:45.080 --> 0:24:46.320
<v Speaker 1>just be like, all right, this one's not working. Like

0:24:46.320 --> 0:24:49.199
<v Speaker 1>an A becomes a C and just just leave it,

0:24:49.359 --> 0:24:52.200
<v Speaker 1>throw it. How many great songs are there that you have,

0:24:52.400 --> 0:24:55.480
<v Speaker 1>you know, like that, but to like work something to

0:24:55.640 --> 0:24:58.680
<v Speaker 1>the bone or repurpose it like that, and then it's

0:24:58.720 --> 0:25:02.520
<v Speaker 1>becomes the comes the album. Always we would always try

0:25:02.520 --> 0:25:07.240
<v Speaker 1>to consider every possibility to make every song as good

0:25:07.240 --> 0:25:11.359
<v Speaker 1>as it could be. That takes patience. Absolutely, That's the

0:25:11.440 --> 0:25:15.520
<v Speaker 1>whole job really is sitting and waiting and going through

0:25:15.680 --> 0:25:20.560
<v Speaker 1>and not making trying options, never thinking you know how

0:25:20.560 --> 0:25:23.399
<v Speaker 1>it's supposed to go. If you think you know how

0:25:23.400 --> 0:25:26.560
<v Speaker 1>it's supposed to go, it'll only be as good as

0:25:26.600 --> 0:25:30.480
<v Speaker 1>you can imagine, Whereas when you watch it happen, you're

0:25:30.520 --> 0:25:33.400
<v Speaker 1>surprised and blown away by how much better it can

0:25:33.440 --> 0:25:36.840
<v Speaker 1>be than what you originally imagine. Yeah, and people get

0:25:36.840 --> 0:25:40.240
<v Speaker 1>frustrated in that process sometimes, and that's a balancing act

0:25:40.280 --> 0:25:42.440
<v Speaker 1>as well. Right, somebody was like, no, I like it

0:25:42.520 --> 0:25:45.960
<v Speaker 1>like someone that's unwilling, and I that one of the

0:25:46.040 --> 0:25:48.600
<v Speaker 1>great Rick advice sessions I had with you was I

0:25:48.600 --> 0:25:52.000
<v Speaker 1>had an artist that was unwilling to do what I

0:25:52.040 --> 0:25:56.240
<v Speaker 1>really really felt strongly was like amazing, And you told

0:25:56.240 --> 0:25:58.159
<v Speaker 1>me you can push so far, but at the end

0:25:58.160 --> 0:26:00.240
<v Speaker 1>of the day, you got to let the artist that's

0:26:00.240 --> 0:26:03.040
<v Speaker 1>earned their right make the decision, you know, So get

0:26:03.080 --> 0:26:04.920
<v Speaker 1>to that crossroad sometimes where if they didn't want to

0:26:05.000 --> 0:26:06.560
<v Speaker 1>change that song, it would have just been what it

0:26:06.840 --> 0:26:09.679
<v Speaker 1>but what it was. Yeah, But hopefully then there's a

0:26:09.720 --> 0:26:12.680
<v Speaker 1>situation where someone does listen and does accept the change

0:26:12.680 --> 0:26:16.440
<v Speaker 1>and it's positive. Yeah, and they're also can't None of

0:26:16.520 --> 0:26:18.439
<v Speaker 1>us are rite all the time either, totally. You know,

0:26:18.440 --> 0:26:21.400
<v Speaker 1>it's like we don't know. We think, we have our opinion,

0:26:21.440 --> 0:26:24.800
<v Speaker 1>we share our opinion, and then we see you know,

0:26:24.920 --> 0:26:27.200
<v Speaker 1>I passed on working with Guns n' Roses, I passed

0:26:27.200 --> 0:26:29.600
<v Speaker 1>on working with Jane's Addiction. You know, I passed on

0:26:29.680 --> 0:26:32.120
<v Speaker 1>working with a lot of people because I just when

0:26:32.160 --> 0:26:34.560
<v Speaker 1>I saw it, I didn't hear it at first. Yeah,

0:26:34.600 --> 0:26:38.400
<v Speaker 1>And maybe that's what's supposed to happen, because had I

0:26:38.480 --> 0:26:41.920
<v Speaker 1>made Appetite for Destruction, it might have been a very

0:26:42.040 --> 0:26:44.160
<v Speaker 1>different album, and maybe it wouldn't have been as good,

0:26:44.200 --> 0:26:46.119
<v Speaker 1>you know, maybe it wouldn't have been what it needed

0:26:46.160 --> 0:26:49.840
<v Speaker 1>to be. So who knows, you know, who knows. There's

0:26:49.880 --> 0:26:53.239
<v Speaker 1>so much about the process that's unknown, and we just

0:26:53.280 --> 0:26:56.880
<v Speaker 1>have to ride it and be open to the possibility

0:26:56.880 --> 0:26:58.520
<v Speaker 1>of it being as good as it could be, and

0:26:58.840 --> 0:27:01.080
<v Speaker 1>would I try to sing jest with the artist I

0:27:01.080 --> 0:27:04.439
<v Speaker 1>work with is if we don't both love it at

0:27:04.440 --> 0:27:07.119
<v Speaker 1>the end, then it's not as good as it could be.

0:27:08.200 --> 0:27:11.440
<v Speaker 1>So in both cases, so if you feel strongly about

0:27:11.480 --> 0:27:13.920
<v Speaker 1>it and the artist doesn't like it, that means it's

0:27:13.960 --> 0:27:16.960
<v Speaker 1>not there yet. And if they like a different version

0:27:16.960 --> 0:27:19.200
<v Speaker 1>and you don't like it yet, it's still not done.

0:27:19.600 --> 0:27:22.720
<v Speaker 1>It means there's you haven't really cracked the code. Because

0:27:22.720 --> 0:27:25.200
<v Speaker 1>when you really cracked the code, it's obvious to everyone.

0:27:25.880 --> 0:27:28.440
<v Speaker 1>You couldn't imagine it any other way. Yeah, this is it,

0:27:28.560 --> 0:27:31.720
<v Speaker 1>this is the record. Yeah. So it's just the patience

0:27:31.760 --> 0:27:34.760
<v Speaker 1>of going through that process. It's amazing. Yeah. I had

0:27:35.040 --> 0:27:37.000
<v Speaker 1>an experience the other day. I won't mention the name

0:27:37.000 --> 0:27:40.560
<v Speaker 1>of the artist, but with a producer and an artist

0:27:41.119 --> 0:27:43.919
<v Speaker 1>and they asked my opinion. I gave my opinion, and

0:27:43.920 --> 0:27:46.560
<v Speaker 1>the producer got really defensive and it's like, oh, you know,

0:27:46.600 --> 0:27:50.480
<v Speaker 1>I really believe in this direction that we're going. It's like, okay,

0:27:50.600 --> 0:27:52.879
<v Speaker 1>it's like it's fine. I'm just telling you how it

0:27:52.880 --> 0:27:57.760
<v Speaker 1>strikes me. And at least experiment with the suggestion and

0:27:57.800 --> 0:27:59.520
<v Speaker 1>see if anything good comes from it. You never know.

0:27:59.680 --> 0:28:02.480
<v Speaker 1>Sometimes does sometimes doesn't. Yeah, all you can do is

0:28:02.520 --> 0:28:06.240
<v Speaker 1>share your taste. Yeah, it's it's all taste, and there's

0:28:06.280 --> 0:28:10.000
<v Speaker 1>no right or wrong taste. You know, everyone has their own.

0:28:11.200 --> 0:28:14.520
<v Speaker 1>How do you like working with other producers? Like being involved?

0:28:14.600 --> 0:28:17.840
<v Speaker 1>Kind of like that. It's fine. I'm not attached to anything,

0:28:17.920 --> 0:28:21.960
<v Speaker 1>so I can. I'm very comfortable sharing what I like

0:28:22.040 --> 0:28:25.960
<v Speaker 1>and what I don't. Um. I'll give any suggestions of

0:28:26.080 --> 0:28:30.520
<v Speaker 1>possible solutions, but I'm also open to hearing any possible

0:28:30.560 --> 0:28:34.960
<v Speaker 1>solutions and sharing what I think works best. UM. A

0:28:34.960 --> 0:28:38.280
<v Speaker 1>lot of people also, you know, you have you have

0:28:38.280 --> 0:28:41.080
<v Speaker 1>a myth behind you, which is so cool and awesome.

0:28:41.160 --> 0:28:44.720
<v Speaker 1>Nothing cooler than that. UM. And you know, I just

0:28:44.760 --> 0:28:47.600
<v Speaker 1>wanted to share my experience. I got to work with

0:28:47.640 --> 0:28:52.520
<v Speaker 1>you once in the studio and we were you were

0:28:52.560 --> 0:28:56.880
<v Speaker 1>making a Justin Bieber album, UM, which that stuff was

0:28:56.960 --> 0:28:59.479
<v Speaker 1>killing and I'd love to hear it one day if

0:28:59.480 --> 0:29:04.200
<v Speaker 1>it's still this anywhere on a drive somewhere incredible And

0:29:04.240 --> 0:29:07.280
<v Speaker 1>I remember, you know, So I got a phone call

0:29:07.440 --> 0:29:11.880
<v Speaker 1>from Justin um And who who i'd been playing with

0:29:11.960 --> 0:29:14.520
<v Speaker 1>him was on tour with for a while, and he

0:29:14.600 --> 0:29:16.680
<v Speaker 1>was just like, hey, Andy, what are you doing? Can

0:29:16.680 --> 0:29:18.960
<v Speaker 1>you come down to the studio. I'm making this I'm

0:29:18.960 --> 0:29:21.640
<v Speaker 1>making this album. I want you to play guitar. And

0:29:21.680 --> 0:29:24.280
<v Speaker 1>I was like, yeah, of course, you know that's awesome.

0:29:24.360 --> 0:29:25.440
<v Speaker 1>Like where are you doing And he's like, oh, I'm

0:29:25.480 --> 0:29:27.400
<v Speaker 1>making it with Rick Rubin at Changer Law and I

0:29:27.480 --> 0:29:31.000
<v Speaker 1>was like, what you know. I just got in the

0:29:31.080 --> 0:29:34.160
<v Speaker 1>uber came all the way out. I was like, let's go,

0:29:34.240 --> 0:29:36.840
<v Speaker 1>let's go, let's go, and I and I got to

0:29:37.040 --> 0:29:39.000
<v Speaker 1>I went into that room that we're looking at right there,

0:29:39.800 --> 0:29:44.160
<v Speaker 1>and um, Chris Dave was on drums, who's no one

0:29:44.240 --> 0:29:46.840
<v Speaker 1>better than him? And these other a bunch of other

0:29:46.880 --> 0:29:51.360
<v Speaker 1>amazing musicians, great bass player, great keyboard player. Um, and

0:29:52.160 --> 0:29:55.120
<v Speaker 1>I was the worst musician in the room by far,

0:29:56.320 --> 0:29:59.240
<v Speaker 1>which you know, it's my first time in front of you.

0:30:00.040 --> 0:30:02.560
<v Speaker 1>Justin's put went out on alone. He's like, let me

0:30:02.600 --> 0:30:04.560
<v Speaker 1>bring my guy. You know, I don't know you. I

0:30:04.600 --> 0:30:06.200
<v Speaker 1>know there was another guitar player on the session. I

0:30:06.200 --> 0:30:08.960
<v Speaker 1>don't know what happened to him, But for whatever reason,

0:30:09.000 --> 0:30:11.840
<v Speaker 1>I got brought out there and I got thrown into

0:30:11.840 --> 0:30:17.239
<v Speaker 1>the fire. And you had two choices. You either you know,

0:30:18.200 --> 0:30:20.239
<v Speaker 1>suck and can't do the job, where you try and

0:30:20.400 --> 0:30:24.720
<v Speaker 1>rise and that was like such a challenge as a

0:30:25.080 --> 0:30:28.959
<v Speaker 1>musician for me in the best way, and you did

0:30:29.000 --> 0:30:33.680
<v Speaker 1>the coolest thing, which I do constantly as I'm making

0:30:33.760 --> 0:30:35.840
<v Speaker 1>music now. Is kind of like I think you kind

0:30:35.840 --> 0:30:37.720
<v Speaker 1>of I think if I look back on it, the

0:30:37.800 --> 0:30:39.520
<v Speaker 1>reason why I was there is because, like I got

0:30:39.560 --> 0:30:43.280
<v Speaker 1>like Todd how to produce fire. You in that moment

0:30:43.680 --> 0:30:46.560
<v Speaker 1>where you were playing us all this amazing music, You're

0:30:46.560 --> 0:30:49.480
<v Speaker 1>almost like djaying for us. You're playing us because I

0:30:49.520 --> 0:30:51.920
<v Speaker 1>remember you wanted to from what I remember, make stuff

0:30:51.960 --> 0:30:54.160
<v Speaker 1>with Justin. That was like he kept saying, I want

0:30:54.160 --> 0:30:56.000
<v Speaker 1>to make my thriller. I want to make my thriller, right,

0:30:56.000 --> 0:30:58.680
<v Speaker 1>Like that's what he was saying in that time. And

0:30:58.720 --> 0:31:01.600
<v Speaker 1>so you're playing us all this amazing music, you know,

0:31:02.200 --> 0:31:06.400
<v Speaker 1>Hall of Notes and Cheek and other Nile produce stuff

0:31:06.480 --> 0:31:10.479
<v Speaker 1>and some Michael stuff and all different, all different things,

0:31:11.680 --> 0:31:14.120
<v Speaker 1>and you told us as a band, You're like, okay,

0:31:14.520 --> 0:31:16.880
<v Speaker 1>learn this, play along to this. So we had like

0:31:17.000 --> 0:31:19.920
<v Speaker 1>about five or ten minutes to learn what we're hearing.

0:31:20.000 --> 0:31:22.480
<v Speaker 1>And I'm like the keyboard players right there, I'm like,

0:31:22.640 --> 0:31:24.360
<v Speaker 1>what's the course, what's the course? What's the course? Like

0:31:24.400 --> 0:31:26.560
<v Speaker 1>I'm just like I'm holding on but like trying to

0:31:26.600 --> 0:31:32.240
<v Speaker 1>fit in. And we learned the song and then you said, okay,

0:31:32.280 --> 0:31:34.280
<v Speaker 1>now played it in a different key. So now we

0:31:34.400 --> 0:31:36.400
<v Speaker 1>start playing in a different key. And then you say, okay,

0:31:36.400 --> 0:31:38.040
<v Speaker 1>now play it at this tempo. So then we start

0:31:38.080 --> 0:31:40.320
<v Speaker 1>playing at a different tempo. And then you said, okay,

0:31:40.320 --> 0:31:43.440
<v Speaker 1>now don't play it at all. Just play something that's

0:31:43.480 --> 0:31:45.960
<v Speaker 1>like it. That's not it, but that's like it, that

0:31:46.040 --> 0:31:48.240
<v Speaker 1>feels like it, And we would start doing that, and

0:31:48.280 --> 0:31:51.440
<v Speaker 1>then the red button would get pressed and it was

0:31:51.480 --> 0:31:56.160
<v Speaker 1>such a good exercise in like, you know, yeah, there's

0:31:56.200 --> 0:31:59.400
<v Speaker 1>the times where you write a riff that is in

0:31:59.440 --> 0:32:01.800
<v Speaker 1>your heart or whatever and it comes and it's like,

0:32:01.880 --> 0:32:03.800
<v Speaker 1>but you have a bunch of musicians in a room,

0:32:03.840 --> 0:32:07.560
<v Speaker 1>and to guide us into making music that would be

0:32:07.960 --> 0:32:10.840
<v Speaker 1>appropriate for what you wanted to make with him was

0:32:11.000 --> 0:32:14.240
<v Speaker 1>such a such a cool experience. And then the thing

0:32:14.280 --> 0:32:18.120
<v Speaker 1>I was really amazing was you would come into the

0:32:18.240 --> 0:32:20.720
<v Speaker 1>room and you only you didn't talk to us on

0:32:20.720 --> 0:32:23.400
<v Speaker 1>the talkback. You only talk to us if we were

0:32:23.440 --> 0:32:26.160
<v Speaker 1>doing something that you didn't like. If we were doing

0:32:26.200 --> 0:32:30.280
<v Speaker 1>something that you liked, we weren't. We weren't sculpted. I

0:32:30.360 --> 0:32:32.120
<v Speaker 1>just kept playing the part that I was doing over

0:32:32.120 --> 0:32:34.240
<v Speaker 1>and over again. And if you wanted Chris to change

0:32:34.240 --> 0:32:35.800
<v Speaker 1>your pattern, you kind of took an ear off him

0:32:35.800 --> 0:32:37.240
<v Speaker 1>and told him, or if you wanted me to do something,

0:32:37.280 --> 0:32:39.320
<v Speaker 1>you kind of told me. And that was such like

0:32:39.360 --> 0:32:45.240
<v Speaker 1>a hands on, like amazing exercise. And I don't remember

0:32:45.280 --> 0:32:47.680
<v Speaker 1>what the music sounded like because it was so long ago,

0:32:47.800 --> 0:32:51.280
<v Speaker 1>but it was incredible. And I've made so much of

0:32:51.360 --> 0:32:55.560
<v Speaker 1>my music exactly like that music that's out from there,

0:32:55.600 --> 0:32:57.600
<v Speaker 1>and it was you know, when was the first time

0:32:57.640 --> 0:32:59.280
<v Speaker 1>you did that? What was that might have been the

0:32:59.320 --> 0:33:02.840
<v Speaker 1>first time? Honestly, you remember the process kind of going.

0:33:03.880 --> 0:33:07.400
<v Speaker 1>I remember the process exactly. It's because usually when I

0:33:07.440 --> 0:33:09.720
<v Speaker 1>go into the studio, we go into the student Typically

0:33:09.840 --> 0:33:12.560
<v Speaker 1>we go into the studio with songs already written. I

0:33:12.560 --> 0:33:15.840
<v Speaker 1>don't usually go into the studio with a blank slate

0:33:16.000 --> 0:33:18.640
<v Speaker 1>to make something. Justin wanted to go in with more

0:33:18.640 --> 0:33:20.760
<v Speaker 1>of a blank slate, which was not the way I

0:33:20.840 --> 0:33:24.360
<v Speaker 1>normally work, but I'm down to try whatever. So this

0:33:24.440 --> 0:33:28.320
<v Speaker 1>was a way to jump start the process, to try

0:33:28.360 --> 0:33:34.160
<v Speaker 1>to find grooves or fields or directions, starting points and

0:33:34.200 --> 0:33:37.400
<v Speaker 1>then hopefully that would inspire a vocal idea and which

0:33:37.440 --> 0:33:41.680
<v Speaker 1>when he was up for doing. It was incredible every time, amazing,

0:33:41.800 --> 0:33:46.520
<v Speaker 1>like ridiculous right over there, ridiculous. So then the vocal

0:33:46.560 --> 0:33:49.120
<v Speaker 1>idea would happen, and Matt would kind of determine what's

0:33:49.120 --> 0:33:51.240
<v Speaker 1>supposed to happen next, you know, because now we sort

0:33:51.240 --> 0:33:55.640
<v Speaker 1>of have the maybe not a whole song, but a

0:33:55.840 --> 0:33:58.360
<v Speaker 1>part of a song, like usually the key part of

0:33:58.360 --> 0:34:02.200
<v Speaker 1>the song, maybe not the hook or sometimes just the hook,

0:34:02.280 --> 0:34:05.800
<v Speaker 1>but but like a key component. And Mean's like, okay,

0:34:06.040 --> 0:34:09.520
<v Speaker 1>if this is this part what naturally wants to happen next,

0:34:09.560 --> 0:34:12.120
<v Speaker 1>and you try all the different variations and see where

0:34:12.160 --> 0:34:14.759
<v Speaker 1>it goes. It's amazing. People don't realize how unbelievable of

0:34:14.800 --> 0:34:17.000
<v Speaker 1>a musician he really is, like as a singer, as

0:34:17.000 --> 0:34:19.040
<v Speaker 1>a drummer, as a piano player, like he's it's not

0:34:19.120 --> 0:34:21.200
<v Speaker 1>just like part of the show. I mean, he's really

0:34:21.280 --> 0:34:23.239
<v Speaker 1>is super time gifted like that. And I think he

0:34:23.320 --> 0:34:26.879
<v Speaker 1>really enjoyed that process so much. You know, I want

0:34:26.920 --> 0:34:30.000
<v Speaker 1>to hear those tapes at some point. There's some good

0:34:30.000 --> 0:34:32.920
<v Speaker 1>stuff on there. Yeah. Do you think of yourself more

0:34:33.040 --> 0:34:39.960
<v Speaker 1>now as a songwriter, producer or a guitar player? I

0:34:40.000 --> 0:34:45.560
<v Speaker 1>don't know. Um, I think a producer would you say

0:34:45.600 --> 0:34:48.960
<v Speaker 1>you spend most of your time in producer mode. Yes, yeah,

0:34:49.160 --> 0:34:52.120
<v Speaker 1>makes sense. One thing that I was thinking about the

0:34:52.160 --> 0:34:56.480
<v Speaker 1>other day was I just made this amazing album with

0:34:56.520 --> 0:35:00.839
<v Speaker 1>Miley Cyrus, which I'm so excited about. It's only her

0:35:01.000 --> 0:35:03.920
<v Speaker 1>doing her like rock thing and singing, and the songs

0:35:04.040 --> 0:35:08.920
<v Speaker 1>are totally have you know, their hookie and poppy and

0:35:08.960 --> 0:35:10.560
<v Speaker 1>where they need to be and stuff. But it's her

0:35:11.239 --> 0:35:15.239
<v Speaker 1>really in her ross form. And I was closing my

0:35:15.280 --> 0:35:17.600
<v Speaker 1>eyes the other day as I was making music with

0:35:17.640 --> 0:35:20.239
<v Speaker 1>her headphones on because my studio we have it kind

0:35:20.280 --> 0:35:23.759
<v Speaker 1>of all open, and I was closing my eyes and

0:35:23.800 --> 0:35:26.520
<v Speaker 1>I was listening to this incredible voice come out, and

0:35:26.560 --> 0:35:29.840
<v Speaker 1>I'm like, I am so lucky to like listen to

0:35:29.880 --> 0:35:33.080
<v Speaker 1>the human voice. The human voice is like the most

0:35:33.480 --> 0:35:37.440
<v Speaker 1>incredible because you hear people play great guitar part that

0:35:37.800 --> 0:35:40.839
<v Speaker 1>could message I'm sure Mike Campbell got your heartstrings going

0:35:40.920 --> 0:35:44.000
<v Speaker 1>many times before, or a great you know, keyboard part,

0:35:44.120 --> 0:35:46.840
<v Speaker 1>or a great riff. But like, the human voice is

0:35:46.840 --> 0:35:48.680
<v Speaker 1>the only thing where you can take melody and attach

0:35:48.800 --> 0:35:51.640
<v Speaker 1>lyrics to it and evoke emotion in a different way.

0:35:51.800 --> 0:35:56.839
<v Speaker 1>And like you're sitting there understanding you're you're guiding this

0:35:56.880 --> 0:36:00.319
<v Speaker 1>person to get the vocal that's gonna be it's on

0:36:00.440 --> 0:36:03.600
<v Speaker 1>record that everyone hears and is the emotion strong enough,

0:36:03.719 --> 0:36:06.479
<v Speaker 1>And it's a very cathartic experience for me, like every time,

0:36:07.400 --> 0:36:10.040
<v Speaker 1>And you know, I'm so lucky to work with such

0:36:10.040 --> 0:36:13.600
<v Speaker 1>a great singer, especially like her, And I just had

0:36:13.640 --> 0:36:16.080
<v Speaker 1>this moment where I've just felt like really blessed the

0:36:16.120 --> 0:36:18.600
<v Speaker 1>other day when I was just listening to the vocal

0:36:18.640 --> 0:36:20.640
<v Speaker 1>of a song that I think is so special and

0:36:20.760 --> 0:36:24.279
<v Speaker 1>it comes to life. Is that your favorite part of

0:36:24.320 --> 0:36:28.359
<v Speaker 1>producing when you do the vocal? No, But I think

0:36:28.400 --> 0:36:34.319
<v Speaker 1>for me the most exciting part is when it's it

0:36:34.400 --> 0:36:38.800
<v Speaker 1>goes from ordinary to unusual, like like in the moment

0:36:38.800 --> 0:36:41.920
<v Speaker 1>when everybody's playing and it's pretty good, it's pretty good,

0:36:41.960 --> 0:36:43.400
<v Speaker 1>and it's pretty good, and then all of a sudden

0:36:43.480 --> 0:36:46.839
<v Speaker 1>something happens, and it can be a tiny thing, and

0:36:46.920 --> 0:36:49.520
<v Speaker 1>all of a sudden it shifts into this like you've

0:36:49.560 --> 0:36:52.680
<v Speaker 1>never heard anything that's good before, and you don't know why.

0:36:53.000 --> 0:36:55.319
<v Speaker 1>You know, you don't know why what. You don't know

0:36:55.360 --> 0:36:59.400
<v Speaker 1>what changed between the take before and mistake, or between

0:36:59.400 --> 0:37:03.239
<v Speaker 1>the last thirty seconds and this thirty seconds, but something

0:37:03.239 --> 0:37:11.640
<v Speaker 1>aligns and that feeling of like it's like a harmonic

0:37:11.760 --> 0:37:16.920
<v Speaker 1>convergence that happens, and that's I'm just waiting for that.

0:37:16.920 --> 0:37:18.680
<v Speaker 1>That's what I'm wish And you know it when you

0:37:18.760 --> 0:37:21.480
<v Speaker 1>hear it, you can't you can't miss it, you know.

0:37:21.680 --> 0:37:25.440
<v Speaker 1>I got to hang with Nile Rogers recently, who's one

0:37:25.440 --> 0:37:29.200
<v Speaker 1>of the great records, and he said something similar to

0:37:29.280 --> 0:37:32.880
<v Speaker 1>what you just said, where his process. I loved to

0:37:32.960 --> 0:37:38.360
<v Speaker 1>know everyone's process because everyone's different. He when he was

0:37:38.400 --> 0:37:40.680
<v Speaker 1>recording with shek all the time, they'd record a bunch

0:37:40.719 --> 0:37:44.440
<v Speaker 1>of takes and they would cut out the third course

0:37:44.600 --> 0:37:46.880
<v Speaker 1>and move it to the first chorse because everyone was

0:37:46.960 --> 0:37:49.279
<v Speaker 1>playing better by then. They knew the song and it

0:37:49.360 --> 0:37:51.400
<v Speaker 1>was exciting and they got through the thing, and he

0:37:51.440 --> 0:37:53.279
<v Speaker 1>would just take the third course and make it the

0:37:53.320 --> 0:37:56.120
<v Speaker 1>first course. And like they would have to be playing

0:37:56.360 --> 0:37:57.920
<v Speaker 1>as good as that for him to do it. But

0:37:58.000 --> 0:38:00.799
<v Speaker 1>that was like a trick that like always worked. Yeah,

0:38:00.840 --> 0:38:03.200
<v Speaker 1>And if you think about like good times, that's like

0:38:03.520 --> 0:38:05.800
<v Speaker 1>later in the song, but you hear it at the top,

0:38:06.640 --> 0:38:08.800
<v Speaker 1>it's really weird. We would do the same sometimes, or

0:38:08.840 --> 0:38:12.719
<v Speaker 1>sometimes we would repeat a section of the song just

0:38:12.760 --> 0:38:16.040
<v Speaker 1>because this one particular version of the verse was never

0:38:16.080 --> 0:38:18.200
<v Speaker 1>as good as that. So that became the first hand

0:38:18.239 --> 0:38:23.520
<v Speaker 1>second verse just because just because so you're sitting in

0:38:23.560 --> 0:38:28.200
<v Speaker 1>your dorm at NYU and you're you're making beats, right,

0:38:28.320 --> 0:38:33.200
<v Speaker 1>You're what are you using an MPC or and you

0:38:33.440 --> 0:38:36.359
<v Speaker 1>are listening to when the levee breaks, and you're like,

0:38:36.560 --> 0:38:40.319
<v Speaker 1>these drums are out of control? How do you make

0:38:40.360 --> 0:38:43.359
<v Speaker 1>the decision to be like, I'm gonna this is, I'm

0:38:43.360 --> 0:38:45.640
<v Speaker 1>gonna loop this, I'm gonna show this to someone, and

0:38:45.800 --> 0:38:48.000
<v Speaker 1>these should be the drums for you know, one of

0:38:48.000 --> 0:38:50.680
<v Speaker 1>the best Beastie Boys songs ever. Like, what was that process?

0:38:52.160 --> 0:38:55.319
<v Speaker 1>Do you remember? Or I would say I was in

0:38:55.400 --> 0:38:59.840
<v Speaker 1>general always making beats, djaying, listening to records in djaying

0:39:00.640 --> 0:39:04.319
<v Speaker 1>and looking for opportunities too. And there was no such

0:39:04.360 --> 0:39:07.520
<v Speaker 1>thing as sampling then, so it was more like things

0:39:07.520 --> 0:39:11.040
<v Speaker 1>to either scratch in or like a breakbeat where you

0:39:11.040 --> 0:39:13.400
<v Speaker 1>could play, you know, on two turntables and play a

0:39:13.400 --> 0:39:17.239
<v Speaker 1>little section back and forth. So it was just an

0:39:17.280 --> 0:39:19.440
<v Speaker 1>interesting idea to use something like when Levy breaks as

0:39:19.480 --> 0:39:22.160
<v Speaker 1>a breakbeat, because most people were making breakbeats out of

0:39:22.200 --> 0:39:25.520
<v Speaker 1>more R and B records. Yeah, and when you when

0:39:25.640 --> 0:39:30.600
<v Speaker 1>Paul's Boutique comes out and samplings changed forever. Are you like, fuck,

0:39:30.600 --> 0:39:32.360
<v Speaker 1>how am I gonna make records now? No? I just

0:39:32.360 --> 0:39:33.920
<v Speaker 1>thought it was the greatest thing I ever heard. I

0:39:34.000 --> 0:39:38.319
<v Speaker 1>never thought I never I never thought about how it

0:39:38.360 --> 0:39:41.200
<v Speaker 1>affected me. I just thought about, this is great music,

0:39:41.200 --> 0:39:43.719
<v Speaker 1>and I want to listen to this. I remember when

0:39:43.719 --> 0:39:46.920
<v Speaker 1>I first heard Paul's boutique, was before it came out,

0:39:46.960 --> 0:39:48.239
<v Speaker 1>and I was with Chuck d and we were at

0:39:48.239 --> 0:39:52.560
<v Speaker 1>the Mandrean Hotel in la and we listened to it

0:39:52.600 --> 0:39:55.239
<v Speaker 1>together and both of us said, this is the future

0:39:55.360 --> 0:39:56.920
<v Speaker 1>hip hop. This is the greatest thing we ever heard.

0:39:56.920 --> 0:40:01.399
<v Speaker 1>Were so excited. We loved it. We loved it. We'll

0:40:01.400 --> 0:40:04.120
<v Speaker 1>be right back with more from Andrew Watt after the break.

0:40:08.640 --> 0:40:11.120
<v Speaker 1>We're back with more from Andrew Watt and Rick Rubin.

0:40:11.680 --> 0:40:14.600
<v Speaker 1>What was I what's your first memory of music in

0:40:14.600 --> 0:40:17.800
<v Speaker 1>your life? First thing you remember any experience in music?

0:40:22.960 --> 0:40:24.840
<v Speaker 1>I went to go see George Benson when I was

0:40:24.880 --> 0:40:29.760
<v Speaker 1>like six with my parents at like a Westbury music fair. Yes,

0:40:30.040 --> 0:40:31.920
<v Speaker 1>that would be the place you'd see George Benson at

0:40:31.920 --> 0:40:36.160
<v Speaker 1>the Westbury Music Fair. And I remember him. I didn't

0:40:36.160 --> 0:40:38.560
<v Speaker 1>playing any instruments at this point, but I remember him

0:40:38.600 --> 0:40:42.080
<v Speaker 1>singing and playing his guitar solos at the same time,

0:40:42.320 --> 0:40:45.680
<v Speaker 1>and being like my mind was just like blown, like

0:40:45.719 --> 0:40:48.440
<v Speaker 1>how this guy is not I mean now reflecting on

0:40:48.480 --> 0:40:51.840
<v Speaker 1>it's like he could how many good, great guitar players

0:40:51.880 --> 0:40:54.480
<v Speaker 1>have you seen just play the most melodic things you've

0:40:54.480 --> 0:40:57.320
<v Speaker 1>ever seen, but he could sing it at the same time,

0:40:57.840 --> 0:41:01.200
<v Speaker 1>and that two parts of his brain completely working together.

0:41:01.800 --> 0:41:04.120
<v Speaker 1>Just that was like one of the first things that

0:41:04.200 --> 0:41:07.799
<v Speaker 1>I ever remember what kind of music was playing in

0:41:07.840 --> 0:41:11.920
<v Speaker 1>your house growing up? My dad played me The Beatles

0:41:12.160 --> 0:41:16.960
<v Speaker 1>was the number one thing, but Sabbath and Zeppelin and

0:41:17.080 --> 0:41:20.799
<v Speaker 1>The Who, and my mom was listening to Stevie Wonder

0:41:20.800 --> 0:41:24.640
<v Speaker 1>and George Michael and Neil Young and just all that stuff.

0:41:24.640 --> 0:41:27.080
<v Speaker 1>And my dad's final collection was like a huge thing

0:41:27.080 --> 0:41:29.200
<v Speaker 1>for me. I remember finding like the All Things Must

0:41:29.200 --> 0:41:34.200
<v Speaker 1>Pass album super young and playing that as like, you know,

0:41:34.280 --> 0:41:36.680
<v Speaker 1>you go through the Beatles and then you get the

0:41:36.719 --> 0:41:39.680
<v Speaker 1>Beatles spinoffs. That to me is the best of the

0:41:39.680 --> 0:41:43.320
<v Speaker 1>Beatles spinoffs because he had those songs for so long

0:41:43.440 --> 0:41:46.480
<v Speaker 1>and it was kind of holding him back. But yeah,

0:41:46.520 --> 0:41:50.160
<v Speaker 1>all that stuff just listen to. And then my brother,

0:41:50.840 --> 0:41:53.680
<v Speaker 1>who was the one that was like Alison Chain's Unplugged

0:41:53.840 --> 0:41:57.960
<v Speaker 1>in Pearl Jam, Blood Sugar Sex five years, five years

0:41:58.000 --> 0:42:01.240
<v Speaker 1>so I'm turning thirty on Tuesday. Actually Coagulations, Yeah, Libra

0:42:01.480 --> 0:42:05.719
<v Speaker 1>Libra gang. Yeah, what was the first music that you

0:42:05.760 --> 0:42:08.439
<v Speaker 1>felt like? Was your music as a as a kid?

0:42:09.640 --> 0:42:12.960
<v Speaker 1>Not your older brothers music, not your parents music, but

0:42:13.080 --> 0:42:16.800
<v Speaker 1>your music. So funny, man, it was like one of

0:42:16.840 --> 0:42:18.440
<v Speaker 1>the things I want to talk to about. But like

0:42:18.480 --> 0:42:21.600
<v Speaker 1>I went to Sam Goody and I remember being like

0:42:22.280 --> 0:42:26.120
<v Speaker 1>eight years old, kind of nine years old, and my

0:42:26.160 --> 0:42:27.640
<v Speaker 1>mom would just leave me in there and go and

0:42:27.680 --> 0:42:33.080
<v Speaker 1>do stuff. And I was talking to the guy at

0:42:33.120 --> 0:42:34.959
<v Speaker 1>the store. I was like, I want to buy these

0:42:35.120 --> 0:42:38.759
<v Speaker 1>some CDs. I have money for three CDs, and he

0:42:38.800 --> 0:42:40.879
<v Speaker 1>was showing me stuff and asking me about what I liked.

0:42:41.040 --> 0:42:43.680
<v Speaker 1>And the three CDs he gave me were bloods Up

0:42:43.680 --> 0:42:49.200
<v Speaker 1>in the One, Appetite for Destruction by Guns and Roses

0:42:49.640 --> 0:42:52.520
<v Speaker 1>and Blood Sugar Sex Magic by the Red Chili Peppers,

0:42:52.960 --> 0:42:57.560
<v Speaker 1>which that album affected me the most. Really, Yeah, it

0:42:57.680 --> 0:43:02.440
<v Speaker 1>was because at the time that's like a true melding

0:43:02.440 --> 0:43:08.319
<v Speaker 1>of genres. Zeppelin is my favorite band ever, you know,

0:43:08.680 --> 0:43:13.000
<v Speaker 1>and obviously Guns and Roses amazing and I both those

0:43:13.040 --> 0:43:16.360
<v Speaker 1>albums are in my DNA for sure. But the Blood

0:43:16.360 --> 0:43:19.719
<v Speaker 1>Sugar Sex Magic album was like I had to know

0:43:19.920 --> 0:43:21.799
<v Speaker 1>every crevice of that and it was so cool to

0:43:21.880 --> 0:43:25.200
<v Speaker 1>hear rap and rock and funk and all of those

0:43:25.239 --> 0:43:30.200
<v Speaker 1>different things kind of coming together and it really just

0:43:30.400 --> 0:43:36.000
<v Speaker 1>had a super profound effect on me. I have no idea. Yeah, nice, Yeah.

0:43:36.000 --> 0:43:39.240
<v Speaker 1>And then you know, being becoming so close with Chad

0:43:39.400 --> 0:43:42.920
<v Speaker 1>kind of working with him and that's how we met.

0:43:42.920 --> 0:43:45.000
<v Speaker 1>We did session together and then we became so close.

0:43:45.000 --> 0:43:48.520
<v Speaker 1>And then obviously he was you know, gracious enough to

0:43:48.560 --> 0:43:50.560
<v Speaker 1>bring me around the other guys and they've all become

0:43:50.600 --> 0:43:53.200
<v Speaker 1>friends and are I know those are your that's your family.

0:43:53.320 --> 0:43:57.040
<v Speaker 1>They're the most special group of people that you can imagine.

0:43:58.080 --> 0:43:59.920
<v Speaker 1>But you know, it's this weird thing where you could

0:44:00.000 --> 0:44:03.800
<v Speaker 1>on your idols become your friends and that's such a trip.

0:44:03.880 --> 0:44:06.560
<v Speaker 1>You know. That's where I feel like the simulation is

0:44:06.600 --> 0:44:09.440
<v Speaker 1>like a real thing. You know. I found myself in

0:44:09.560 --> 0:44:14.200
<v Speaker 1>Egypt with them when they played at the Pyramids last year,

0:44:14.239 --> 0:44:18.520
<v Speaker 1>and I'm like getting I'm so lucky to like not

0:44:18.560 --> 0:44:21.080
<v Speaker 1>only go and watch them play, but they let me

0:44:21.160 --> 0:44:24.400
<v Speaker 1>come on this amazing adventure of like riding camels and

0:44:24.440 --> 0:44:27.759
<v Speaker 1>they shut down the Pyramids and I was like they're

0:44:27.800 --> 0:44:31.920
<v Speaker 1>taking in that culture of like privately looking at these

0:44:31.960 --> 0:44:34.640
<v Speaker 1>things that are older than time and that no one

0:44:34.680 --> 0:44:36.960
<v Speaker 1>really knows how they got there. And I was just like,

0:44:37.160 --> 0:44:39.319
<v Speaker 1>you know what, maybe this whole life thing is not

0:44:39.600 --> 0:44:41.640
<v Speaker 1>really a real thing because you're not supposed to do this.

0:44:41.880 --> 0:44:44.920
<v Speaker 1>You know, you're not supposed to like get these experiences.

0:44:45.360 --> 0:44:50.000
<v Speaker 1>It's miraculous. I'm sure you had those moments. Absolutely, It's unbelievable. Happens.

0:44:50.080 --> 0:44:52.239
<v Speaker 1>It happens all the time, and I still every day

0:44:52.239 --> 0:44:55.799
<v Speaker 1>I can't believe when it happens, happened yesterday, happened, yes

0:44:55.880 --> 0:44:59.479
<v Speaker 1>what happened yesterday? Just had a long conversation with Bruce

0:44:59.480 --> 0:45:02.360
<v Speaker 1>Springsteen that was mind blowing and it was just a trip.

0:45:02.640 --> 0:45:09.880
<v Speaker 1>Yeah real. I heard this awesome story of Jimmy was

0:45:10.239 --> 0:45:15.439
<v Speaker 1>producing that album Born to Run, and he brought down

0:45:15.560 --> 0:45:19.239
<v Speaker 1>like the mix mixes back to his dad's house in

0:45:20.000 --> 0:45:24.440
<v Speaker 1>and he had him on cassette. It's like cassette at

0:45:24.440 --> 0:45:26.560
<v Speaker 1>that time, and he went to sleep. He was like late.

0:45:26.560 --> 0:45:29.120
<v Speaker 1>They worked on the mixes all night and he got

0:45:29.160 --> 0:45:30.360
<v Speaker 1>up in the morning to like go get it and

0:45:30.400 --> 0:45:32.000
<v Speaker 1>make sure it's still sounded good in the morning. Gives

0:45:32.080 --> 0:45:35.840
<v Speaker 1>ears a break and the cassette was gone. He's like,

0:45:36.239 --> 0:45:39.479
<v Speaker 1>where the fuck are these mixes? Like, oh my god,

0:45:39.800 --> 0:45:42.560
<v Speaker 1>and freaking out calls his dad, and his dad's like

0:45:42.560 --> 0:45:45.799
<v Speaker 1>on the construction site that he works on. He's like,

0:45:45.920 --> 0:45:48.279
<v Speaker 1>oh my god, Jimmy, this is the best thing you've

0:45:48.280 --> 0:45:51.279
<v Speaker 1>ever done. The guys on the site they love it.

0:45:50.800 --> 0:45:53.920
<v Speaker 1>It's amazing. He's like, Dad, bring the mixes home. You

0:45:53.960 --> 0:45:56.040
<v Speaker 1>don't understand. You gotta bring the mixes home. And he

0:45:56.120 --> 0:45:59.840
<v Speaker 1>never told Bruce that story until like, really really recently.

0:46:00.640 --> 0:46:03.080
<v Speaker 1>And but if you think about it, the working class

0:46:03.160 --> 0:46:07.719
<v Speaker 1>guy on the construction site heard this stuff before anyone else.

0:46:07.760 --> 0:46:10.200
<v Speaker 1>There's kind of nothing more that Bruce would have. I

0:46:10.200 --> 0:46:12.400
<v Speaker 1>don't know Bruce at all, but I just know what

0:46:12.480 --> 0:46:15.480
<v Speaker 1>I've heard, and I think he would probably really like

0:46:15.640 --> 0:46:18.680
<v Speaker 1>that absolutely. So I just love that story. I love

0:46:18.719 --> 0:46:22.880
<v Speaker 1>those stories behind the record. And then you know, I've

0:46:23.120 --> 0:46:27.040
<v Speaker 1>I got the ultimate honor, which you've had a bunch

0:46:27.040 --> 0:46:31.040
<v Speaker 1>of times of making an Aussie album last year, which

0:46:31.360 --> 0:46:33.120
<v Speaker 1>you know, you asked me what the first thing my

0:46:33.200 --> 0:46:36.719
<v Speaker 1>dad played me Sabbath and and like you've spent time

0:46:36.719 --> 0:46:40.600
<v Speaker 1>with that guy was amazing. Is he not the greatest, kindest,

0:46:41.120 --> 0:46:44.960
<v Speaker 1>super funny, the funniest person ever, you know. He told me.

0:46:45.160 --> 0:46:46.879
<v Speaker 1>He told me a story like he went to hang

0:46:46.880 --> 0:46:48.640
<v Speaker 1>out with you one night after he was drinking and

0:46:48.680 --> 0:46:51.440
<v Speaker 1>he's like saying you he did, he did. I got

0:46:51.480 --> 0:46:56.600
<v Speaker 1>an entire black Sabbath concert in my living room as

0:46:56.640 --> 0:47:01.600
<v Speaker 1>the sun was coming up from from a high and drunk.

0:47:01.680 --> 0:47:04.640
<v Speaker 1>Azzi was unbelievable. Did you put on the records and

0:47:04.719 --> 0:47:07.799
<v Speaker 1>he's singing along? Yes? So I found out with him

0:47:08.520 --> 0:47:12.799
<v Speaker 1>that if I start any of his songs, go automatically

0:47:12.800 --> 0:47:16.640
<v Speaker 1>sing along. So for me, as like, I'm such a Sabbathan,

0:47:16.719 --> 0:47:18.520
<v Speaker 1>I'll just like the other day, we're in the middle

0:47:18.520 --> 0:47:23.000
<v Speaker 1>of writing. We're doing another album and I started playing

0:47:23.000 --> 0:47:25.000
<v Speaker 1>sweet Leaf and he just sang the whole song. It's like,

0:47:25.040 --> 0:47:27.239
<v Speaker 1>what else do you want out of life? Just listen

0:47:27.280 --> 0:47:30.120
<v Speaker 1>to Azzi singing. He still loves his songs. He's been

0:47:30.160 --> 0:47:32.239
<v Speaker 1>singing the same songs for fifty years and he can

0:47:32.280 --> 0:47:35.480
<v Speaker 1>still do it. It's amazing. It's amazing for me, the

0:47:35.480 --> 0:47:41.600
<v Speaker 1>coolest that, you know, working with him. I didn't want to.

0:47:41.680 --> 0:47:43.880
<v Speaker 1>I didn't I would like, almost didn't want to do it.

0:47:43.920 --> 0:47:46.279
<v Speaker 1>I made the song with him in post I had

0:47:46.320 --> 0:47:49.280
<v Speaker 1>like the idea to put them together because Post loves

0:47:49.360 --> 0:47:52.880
<v Speaker 1>Azzi so much. And I had taken Post to the

0:47:53.000 --> 0:47:56.600
<v Speaker 1>Rainbow Bar and grill because he just like, where can

0:47:56.640 --> 0:47:58.480
<v Speaker 1>I drink in la work and listen to rock And

0:47:58.520 --> 0:48:01.120
<v Speaker 1>I'm like, there's actually the pace where you want to be.

0:48:01.239 --> 0:48:03.399
<v Speaker 1>I brought him the Rainbow. Then he started. He was like,

0:48:03.480 --> 0:48:05.040
<v Speaker 1>he's the new Lemmy over there, you know know what I mean,

0:48:05.040 --> 0:48:07.480
<v Speaker 1>He's there every night, that's where he drinks. Probably not

0:48:07.520 --> 0:48:09.440
<v Speaker 1>anymore with all this going on, but that's where he was,

0:48:10.120 --> 0:48:14.080
<v Speaker 1>and he bought I wasn't there, but he bought an

0:48:14.120 --> 0:48:17.759
<v Speaker 1>azzy photo off the wall there and he has the

0:48:17.920 --> 0:48:21.719
<v Speaker 1>studio that he records in that's right down sunset from

0:48:21.760 --> 0:48:25.040
<v Speaker 1>the Rainbow. So he's walking down sunset with the photo

0:48:25.080 --> 0:48:28.200
<v Speaker 1>of Azzi a beer in his hand like hammered post malone,

0:48:28.480 --> 0:48:31.720
<v Speaker 1>And that visual in my head made me, for whatever reason,

0:48:31.800 --> 0:48:33.960
<v Speaker 1>be like Post an Azzi have to do a song together.

0:48:34.480 --> 0:48:36.120
<v Speaker 1>If he could have got a picture of him walking

0:48:36.160 --> 0:48:37.759
<v Speaker 1>along with the Azzi photo, that would have been the

0:48:37.800 --> 0:48:40.319
<v Speaker 1>perfect cover for the same, the best, the best ever.

0:48:41.800 --> 0:48:44.920
<v Speaker 1>And so yeah, we did that whole song, which was

0:48:44.960 --> 0:48:46.840
<v Speaker 1>so much fun for me. And then he wanted to

0:48:46.880 --> 0:48:49.319
<v Speaker 1>make an album, and I don't want to make like

0:48:50.880 --> 0:48:53.600
<v Speaker 1>a shitty Azzi album because his stuff is so good.

0:48:53.640 --> 0:48:56.680
<v Speaker 1>Like so, you know, Duff and Chad played on the album,

0:48:56.920 --> 0:48:59.040
<v Speaker 1>which you know both those guys as well, and they're

0:48:59.400 --> 0:49:03.320
<v Speaker 1>amazing and really helped make it authentic. But the moment

0:49:03.360 --> 0:49:06.080
<v Speaker 1>for me that it was real was like Azzi sang

0:49:06.600 --> 0:49:08.680
<v Speaker 1>and then he doubled his voice. Yeah, and when he

0:49:08.760 --> 0:49:13.120
<v Speaker 1>doubles his voice, it sounds like asion record. It's crazy.

0:49:13.400 --> 0:49:15.560
<v Speaker 1>I've never experienced that before because usually you want like

0:49:15.600 --> 0:49:17.520
<v Speaker 1>a double at least for me to be like as

0:49:17.719 --> 0:49:21.480
<v Speaker 1>close to each other as possible, and with him, the

0:49:21.560 --> 0:49:24.560
<v Speaker 1>more different it is, the cooler it is. And it

0:49:24.600 --> 0:49:27.319
<v Speaker 1>makes one that's clearly out of tune automatically not be

0:49:27.400 --> 0:49:29.879
<v Speaker 1>out of tune. It's like one plus one equals two.

0:49:30.040 --> 0:49:33.880
<v Speaker 1>I've never experienced it before. Are you still listening to

0:49:34.000 --> 0:49:36.960
<v Speaker 1>music all the time. I listened to music all the time,

0:49:37.000 --> 0:49:40.040
<v Speaker 1>but my default listening is not music that I would

0:49:40.080 --> 0:49:43.600
<v Speaker 1>ever work on. I probably listened to more classical and

0:49:43.680 --> 0:49:48.040
<v Speaker 1>jazz now, just because I want a relief from you know,

0:49:48.320 --> 0:49:51.200
<v Speaker 1>I spend so many hours in the recording studio and

0:49:51.360 --> 0:49:56.319
<v Speaker 1>over so many years that my enjoyment. Listening tends to

0:49:56.360 --> 0:49:59.359
<v Speaker 1>be a palette cleanser from what I'm working on. Yeah,

0:49:59.400 --> 0:50:01.640
<v Speaker 1>I don't. I don't find myself listening to a lot

0:50:01.640 --> 0:50:05.080
<v Speaker 1>of music anymore. Like in the car, I love silence

0:50:05.320 --> 0:50:09.080
<v Speaker 1>because I like podcasts. I listen to people talking. Yeah,

0:50:09.120 --> 0:50:13.680
<v Speaker 1>that that too, interviews or lectures. I really like learning stuff.

0:50:13.680 --> 0:50:16.160
<v Speaker 1>So you're hearing so much music and loud music all

0:50:16.160 --> 0:50:18.400
<v Speaker 1>the time, and it's like almost like you want to

0:50:18.400 --> 0:50:20.880
<v Speaker 1>save your ears to be able to Do you listen

0:50:20.960 --> 0:50:26.000
<v Speaker 1>for fun or do you listen to see what's happening both.

0:50:28.160 --> 0:50:32.600
<v Speaker 1>The other night, I was, you know, we all go

0:50:32.680 --> 0:50:35.320
<v Speaker 1>through our personal journeys. I was feeling a bit sad,

0:50:36.760 --> 0:50:39.200
<v Speaker 1>and I you know why, Do I know why I

0:50:39.280 --> 0:50:41.719
<v Speaker 1>was feeling sad? Yeah, I know why I was feeling sad.

0:50:43.200 --> 0:50:46.040
<v Speaker 1>But I was kind of going through a thing where

0:50:46.080 --> 0:50:49.279
<v Speaker 1>I realized whatever, you know, you make decisions and then

0:50:49.280 --> 0:50:51.960
<v Speaker 1>there's outcomes and you have to live with that kind

0:50:51.960 --> 0:50:57.359
<v Speaker 1>of stuff. So so I came home and I there's

0:50:57.400 --> 0:51:00.680
<v Speaker 1>a package for me my house. Opened it up and

0:51:00.880 --> 0:51:05.640
<v Speaker 1>Ozzie had sent me the fiftieth anniversary A Paranoid. The

0:51:05.719 --> 0:51:09.319
<v Speaker 1>vinyl had just come out, and I opened it up,

0:51:09.520 --> 0:51:12.200
<v Speaker 1>great packaging, they know what they're doing with that stuff.

0:51:12.600 --> 0:51:18.239
<v Speaker 1>And in it were two live bootlegs concerts. One of

0:51:18.239 --> 0:51:21.719
<v Speaker 1>them was from Zurich. So I popped it in on

0:51:21.800 --> 0:51:24.000
<v Speaker 1>my turntable and I just sat on my floor and

0:51:24.080 --> 0:51:26.960
<v Speaker 1>I just turned it up loud and I just listened

0:51:26.960 --> 0:51:32.080
<v Speaker 1>to this Sabbath live show and it's like before Paranoid

0:51:32.120 --> 0:51:35.400
<v Speaker 1>came out, and the words are different, but they're basically

0:51:35.440 --> 0:51:39.799
<v Speaker 1>playing down Paranoid and it's like they're on fire. And

0:51:39.840 --> 0:51:43.560
<v Speaker 1>I just couldn't stop smiling. It didn't matter what was

0:51:43.600 --> 0:51:48.279
<v Speaker 1>going on. This music, it just affects me in such

0:51:48.320 --> 0:51:51.520
<v Speaker 1>a way it's amazing. So listening to that vinyl was

0:51:51.680 --> 0:51:55.080
<v Speaker 1>just like a really good It was the first time

0:51:55.120 --> 0:51:57.680
<v Speaker 1>I like sat and listened to a record through all

0:51:57.719 --> 0:52:00.440
<v Speaker 1>the way and they flipped it and just listen, and

0:52:00.480 --> 0:52:03.000
<v Speaker 1>I was like, I gotta go back and just do

0:52:03.040 --> 0:52:05.399
<v Speaker 1>that more. It wasn't like the pressure of you saying,

0:52:05.400 --> 0:52:08.200
<v Speaker 1>like you want to hear what's happening, you know. I

0:52:08.280 --> 0:52:11.320
<v Speaker 1>listened every Friday, New Music Friday comes out on Spotify,

0:52:11.600 --> 0:52:15.040
<v Speaker 1>and that's you know, they do their best to give

0:52:15.080 --> 0:52:18.040
<v Speaker 1>you a bunch of songs that are coming out from

0:52:19.000 --> 0:52:21.600
<v Speaker 1>artists that they you know, whoever is choosing that they

0:52:21.760 --> 0:52:24.840
<v Speaker 1>whether they're relevant or it's just cool or whatever it is.

0:52:25.000 --> 0:52:27.759
<v Speaker 1>I kind of skimmed through that. I think usually once

0:52:27.800 --> 0:52:29.640
<v Speaker 1>a week or I get it later. What percentage of

0:52:29.680 --> 0:52:35.360
<v Speaker 1>those things to end up liking? Very few? Because I

0:52:35.680 --> 0:52:38.600
<v Speaker 1>don't know listen to old stuff when I when I

0:52:38.640 --> 0:52:41.720
<v Speaker 1>do listen and listen to very old, very old music.

0:52:42.040 --> 0:52:45.719
<v Speaker 1>But I just justin and just put out a new

0:52:45.760 --> 0:52:48.520
<v Speaker 1>song with Benny Blanco that I thought was amazing and

0:52:48.680 --> 0:52:52.680
<v Speaker 1>understated and really cool instead of overproduced and the opposite.

0:52:52.800 --> 0:52:55.360
<v Speaker 1>I just heard that on Friday, which I thought was

0:52:55.440 --> 0:53:01.200
<v Speaker 1>awesome and amazing. Yeah, I'm trying to think when the

0:53:01.320 --> 0:53:06.360
<v Speaker 1>last time I. I don't really listen to that many.

0:53:07.160 --> 0:53:09.000
<v Speaker 1>I'll listen for like a second, just like I just

0:53:09.000 --> 0:53:11.080
<v Speaker 1>want to like see what's going on. It's almost like

0:53:11.920 --> 0:53:16.120
<v Speaker 1>Spotify has become like of like it's like checking the stocks.

0:53:17.600 --> 0:53:21.399
<v Speaker 1>It's really weird because that's the chart. It's chart. There's

0:53:21.400 --> 0:53:24.240
<v Speaker 1>a chart on there. It's like there's Global Top fifty.

0:53:24.480 --> 0:53:28.319
<v Speaker 1>You can fully see when your song where it is

0:53:28.680 --> 0:53:32.439
<v Speaker 1>Global Top fifty and how far it's moving up now

0:53:32.480 --> 0:53:35.439
<v Speaker 1>far it's moving down, And like people are listening to

0:53:35.520 --> 0:53:37.719
<v Speaker 1>your music in real time and you're seeing how they

0:53:37.800 --> 0:53:42.640
<v Speaker 1>like it. It's just it's strange. It's really strange. So

0:53:43.000 --> 0:53:46.439
<v Speaker 1>of course I look at that, try not to when

0:53:46.440 --> 0:53:48.319
<v Speaker 1>I'm in the middle of making stuff. I try and

0:53:48.640 --> 0:53:50.920
<v Speaker 1>when i'm you know, I'm working so hard on the

0:53:51.040 --> 0:53:55.600
<v Speaker 1>music that I make and mixing it and mastering it

0:53:55.920 --> 0:53:57.600
<v Speaker 1>that by the time I'm done with it, it's like

0:53:57.680 --> 0:54:01.279
<v Speaker 1>for everyone else, I kind of them getting worn out

0:54:01.320 --> 0:54:06.319
<v Speaker 1>in the process of mixing. Lately, I don't think. I mean,

0:54:06.360 --> 0:54:10.080
<v Speaker 1>I've had songs, of course where the mix is catapulted

0:54:10.120 --> 0:54:13.520
<v Speaker 1>the song and changed it. But you know, I have

0:54:13.600 --> 0:54:17.080
<v Speaker 1>an engineer who I think is incredible named Paul Amalfa,

0:54:17.120 --> 0:54:19.279
<v Speaker 1>who works with me on everything I do, and is

0:54:19.440 --> 0:54:22.799
<v Speaker 1>roughs are getting so good and they're doing what I

0:54:22.880 --> 0:54:26.839
<v Speaker 1>want to the record, I'm like, why am I now

0:54:27.200 --> 0:54:31.160
<v Speaker 1>then going to sit with someone else who is amazing

0:54:31.200 --> 0:54:33.400
<v Speaker 1>at what they do? So naturally, they have an ego

0:54:33.600 --> 0:54:36.239
<v Speaker 1>about how they think stuff should be, and they've never

0:54:36.280 --> 0:54:40.279
<v Speaker 1>heard my song. They don't know how what the words mean,

0:54:40.400 --> 0:54:43.120
<v Speaker 1>or which words should be a little louder, or which

0:54:43.160 --> 0:54:45.319
<v Speaker 1>parts I love the most. Because I've spend so much

0:54:45.320 --> 0:54:46.600
<v Speaker 1>time on it, and then I got to go and

0:54:46.680 --> 0:54:51.560
<v Speaker 1>spend another like two weeks doing this again with someone else,

0:54:52.080 --> 0:54:54.200
<v Speaker 1>and I'm already burnt on the song because we worked

0:54:54.200 --> 0:54:56.320
<v Speaker 1>on it for so long. I just find the process

0:54:56.480 --> 0:54:59.000
<v Speaker 1>like now, just because we can get the roughs so

0:54:59.120 --> 0:55:03.799
<v Speaker 1>close to be almost a little bit unnecessary. Sometimes do

0:55:03.840 --> 0:55:07.719
<v Speaker 1>you run into that at all? Or well, I've definitely

0:55:07.719 --> 0:55:09.920
<v Speaker 1>gotten to the point where we've got demos so good

0:55:09.920 --> 0:55:12.839
<v Speaker 1>that no matter how much time we spend mixing it,

0:55:12.840 --> 0:55:15.600
<v Speaker 1>it's not as good as the rough mix. And we

0:55:15.680 --> 0:55:17.600
<v Speaker 1>end up going with the rough mix a lot more

0:55:17.680 --> 0:55:20.600
<v Speaker 1>now than ever. Is that happening because of how good

0:55:20.600 --> 0:55:27.839
<v Speaker 1>the technology is and how good your engineers are. I'll

0:55:27.880 --> 0:55:30.440
<v Speaker 1>just say sometimes yes and sometimes Noah. And same is

0:55:30.440 --> 0:55:34.160
<v Speaker 1>true with mastering, by the way, like usually now for

0:55:34.640 --> 0:55:38.120
<v Speaker 1>a while now, I'll always have the mastering lab master

0:55:38.200 --> 0:55:40.479
<v Speaker 1>it the way they imagine it, and then also send

0:55:40.480 --> 0:55:43.319
<v Speaker 1>me a flat master, which all that all that is

0:55:43.320 --> 0:55:46.280
<v Speaker 1>is there's no eq there's no compression. All they're doing

0:55:46.480 --> 0:55:48.880
<v Speaker 1>is balancing the level between songs, so it doesn't get

0:55:48.920 --> 0:55:51.759
<v Speaker 1>you know, if one mixes quieter than the next, they

0:55:51.800 --> 0:55:54.000
<v Speaker 1>just get it so that they all flow into each

0:55:54.000 --> 0:55:57.719
<v Speaker 1>other without level changes, but without doing anything to them.

0:55:57.719 --> 0:56:00.799
<v Speaker 1>And I would say eight out of ten times we

0:56:00.880 --> 0:56:03.080
<v Speaker 1>end up picking that over there because they leave your

0:56:03.080 --> 0:56:05.799
<v Speaker 1>mix ALUs. They leave your mix alone, and you can

0:56:05.840 --> 0:56:08.239
<v Speaker 1>get the mixes so loud now, right, that was the

0:56:08.360 --> 0:56:10.320
<v Speaker 1>overall thing. I wanted to be loud. I wanted to

0:56:10.400 --> 0:56:16.360
<v Speaker 1>be loud. Also, now you know you can change things,

0:56:16.640 --> 0:56:19.440
<v Speaker 1>Like are there any albums that you've made where you're like,

0:56:19.840 --> 0:56:22.480
<v Speaker 1>I want to remaster this. I never look back, I

0:56:22.880 --> 0:56:25.080
<v Speaker 1>will say. The only thing I'll say is like, if

0:56:25.120 --> 0:56:28.879
<v Speaker 1>it was mastered using old technology, you know, thirty years ago,

0:56:29.480 --> 0:56:32.799
<v Speaker 1>we might try remastering it now to see if just

0:56:32.880 --> 0:56:36.640
<v Speaker 1>the technology has gotten better to where it sounds better. Yeah,

0:56:36.760 --> 0:56:38.640
<v Speaker 1>you know, But also, what's the point If it's such

0:56:38.640 --> 0:56:41.279
<v Speaker 1>a classic album that people love so much and have

0:56:41.719 --> 0:56:44.879
<v Speaker 1>bought zillions of copies and it means something to them,

0:56:45.160 --> 0:56:48.360
<v Speaker 1>why change it? Yeah, it's true. Is it for the

0:56:48.440 --> 0:56:50.879
<v Speaker 1>love of just making it better? This could sound better

0:56:50.960 --> 0:56:54.680
<v Speaker 1>for you. Yeah, I would never think about remixing anything,

0:56:55.080 --> 0:56:58.840
<v Speaker 1>or it's more just that. I'll give you an example,

0:56:58.920 --> 0:57:01.680
<v Speaker 1>although this is an ample about a remix and it

0:57:01.800 --> 0:57:03.279
<v Speaker 1>has nothing to do with me. I'm just a fan,

0:57:03.800 --> 0:57:06.960
<v Speaker 1>but I don't know if you've heard the last year's

0:57:07.000 --> 0:57:12.200
<v Speaker 1>release of the White album deluxe version remixed and remastered.

0:57:12.719 --> 0:57:15.960
<v Speaker 1>It blew my mind. Now. It's probably my favorite album.

0:57:16.280 --> 0:57:18.919
<v Speaker 1>Listened to it a million times in my life, and

0:57:19.640 --> 0:57:24.120
<v Speaker 1>it only sounded better. It didn't sound different, but I

0:57:24.120 --> 0:57:25.640
<v Speaker 1>felt like I could hear it in a way that

0:57:25.840 --> 0:57:28.320
<v Speaker 1>was never able to hear it before. Like there, it

0:57:28.400 --> 0:57:33.440
<v Speaker 1>had a clarity that was never there and a detail.

0:57:34.080 --> 0:57:37.440
<v Speaker 1>And it's not like, well, I hear this other thing

0:57:37.480 --> 0:57:40.120
<v Speaker 1>that I never heard before because it's louder. It never

0:57:40.160 --> 0:57:44.040
<v Speaker 1>felt like shined. It just was clear, and I loved it.

0:57:44.280 --> 0:57:48.360
<v Speaker 1>So that was the best example of somebody using technology

0:57:48.640 --> 0:57:51.720
<v Speaker 1>to take something that couldn't be better and making it better.

0:57:51.800 --> 0:57:53.919
<v Speaker 1>And they mixed it at Abbey Road, and they did

0:57:53.920 --> 0:57:56.160
<v Speaker 1>it where it was made, and they did it the

0:57:56.240 --> 0:58:01.280
<v Speaker 1>right way. And did George's son do that? Yeah? It's awesomes? Yeah,

0:58:02.520 --> 0:58:05.200
<v Speaker 1>I mean those are those are those are the album.

0:58:05.280 --> 0:58:08.680
<v Speaker 1>I always say that every person that I work with,

0:58:08.720 --> 0:58:11.760
<v Speaker 1>if I'm working with an artist or a friend, anyone

0:58:12.040 --> 0:58:15.120
<v Speaker 1>that's like, I want to play guitar, what should I do?

0:58:16.240 --> 0:58:18.160
<v Speaker 1>The only thing to do if you want to learn

0:58:18.160 --> 0:58:21.520
<v Speaker 1>to play guitar is or write songs. It's by a

0:58:21.520 --> 0:58:24.720
<v Speaker 1>Beatles chord book. That is. If you sit with that

0:58:24.760 --> 0:58:28.040
<v Speaker 1>book and you can play through every one of those songs,

0:58:28.120 --> 0:58:30.280
<v Speaker 1>don't have to do it well, but you can finger

0:58:30.320 --> 0:58:32.040
<v Speaker 1>though every one of those chords and every one of

0:58:32.040 --> 0:58:34.440
<v Speaker 1>those songs, you will know everything you need to know

0:58:34.480 --> 0:58:37.200
<v Speaker 1>about writing a song, because that's just it. I mean.

0:58:37.240 --> 0:58:43.240
<v Speaker 1>And they were like badly classically trained musicians, you know

0:58:43.280 --> 0:58:46.040
<v Speaker 1>what I mean. Like they all started on classical music

0:58:46.040 --> 0:58:49.080
<v Speaker 1>at Blackbird is like a flip of an old classical song.

0:58:49.720 --> 0:58:52.840
<v Speaker 1>They were just like that was so important to them,

0:58:53.520 --> 0:58:56.880
<v Speaker 1>you know, and in their upbringing of music. And because

0:58:56.880 --> 0:58:59.160
<v Speaker 1>of that, the chords are so detailed, but they put

0:58:59.200 --> 0:59:01.640
<v Speaker 1>them into pops. So I mean, I think that's just

0:59:01.680 --> 0:59:05.720
<v Speaker 1>like for me, I'm taking chords and playing it and

0:59:05.760 --> 0:59:08.440
<v Speaker 1>then making a buyner after. It's all Beatles all the

0:59:08.520 --> 0:59:14.240
<v Speaker 1>time forever. Well, thank you for sharing stories, Thank you

0:59:14.280 --> 0:59:15.760
<v Speaker 1>for talking to me. I don't even know really why

0:59:15.760 --> 0:59:18.080
<v Speaker 1>I'm here. I just want to hang out with you.

0:59:19.000 --> 0:59:24.760
<v Speaker 1>Who will continue now on a personal note, cool, thank

0:59:24.800 --> 0:59:30.640
<v Speaker 1>you thanks to Andrew Watt for sharing some amazing stories

0:59:30.640 --> 0:59:32.960
<v Speaker 1>with us. Look forward to hearing more music from him

0:59:33.000 --> 0:59:35.320
<v Speaker 1>in the future. You can hear a playlist of some

0:59:35.360 --> 0:59:38.560
<v Speaker 1>of our favorite Andrew Watt records at broken record podcast

0:59:38.640 --> 0:59:41.480
<v Speaker 1>dot com, and be sure to subscribe to our YouTube

0:59:41.520 --> 0:59:45.520
<v Speaker 1>channel at YouTube dot com slash broken record Podcast. There

0:59:45.520 --> 0:59:48.120
<v Speaker 1>you can find excited cuts of new and old episodes.

0:59:48.720 --> 0:59:52.040
<v Speaker 1>Broken Record is produced with help from Leah Rose, Jason Gambrel,

0:59:52.320 --> 0:59:57.120
<v Speaker 1>Martin Gonzalez, Eric Sandler and his executive produced by Miolabelle.

0:59:57.960 --> 1:00:00.760
<v Speaker 1>Broken Record is a production of Pushkin Industry and if

1:00:00.800 --> 1:00:02.800
<v Speaker 1>you like our show, please remember to share, rate, and

1:00:02.840 --> 1:00:05.840
<v Speaker 1>review us on your podcast app. Our theme mus expect

1:00:05.880 --> 1:00:08.400
<v Speaker 1>any beats. I'm justin Richmond Pace