1 00:00:01,160 --> 00:00:01,880 Speaker 1: Taking a Walk. 2 00:00:02,080 --> 00:00:04,120 Speaker 2: Welcome to Taking a Walk on Buzzs Night, and we're 3 00:00:04,200 --> 00:00:07,120 Speaker 2: kicking off the new year twenty twenty six with a 4 00:00:07,160 --> 00:00:12,119 Speaker 2: special theme week celebrating fresh starts. January is when we 5 00:00:12,160 --> 00:00:16,079 Speaker 2: all hit the reset button. We reimagine possibilities, We open 6 00:00:16,160 --> 00:00:19,599 Speaker 2: ourselves up the new ways of thinking, and few artists 7 00:00:19,680 --> 00:00:24,720 Speaker 2: embody the spirit of reinvention quite like today's guest Narda 8 00:00:24,840 --> 00:00:27,800 Speaker 2: Michael Walton. He didn't just have one fresh start in 9 00:00:27,800 --> 00:00:31,320 Speaker 2: his career. He's had several. From drumming with the Maha 10 00:00:31,400 --> 00:00:34,520 Speaker 2: Vishna Orchestra to becoming one of the most sought after 11 00:00:34,640 --> 00:00:39,800 Speaker 2: producers of the eighties and nineties, Narda transformed himself time 12 00:00:39,920 --> 00:00:44,159 Speaker 2: and time again. He went from jazz fusion virtuoso to 13 00:00:44,320 --> 00:00:50,200 Speaker 2: hit maker extraordinaire, producing chart toppers for Whitney Houston, Aretha Franklin, 14 00:00:50,320 --> 00:00:55,680 Speaker 2: and Mariah Carey. Each pivot was a masterclass and artistic evolution. 15 00:00:56,400 --> 00:01:00,480 Speaker 2: In this conversation, you're going to hear how Narada embraced change, 16 00:01:00,720 --> 00:01:05,560 Speaker 2: trusted his instincts, and continually reinvented his sound and career. 17 00:01:06,080 --> 00:01:08,720 Speaker 2: Whether you're looking to make your own fresh start this year, 18 00:01:09,040 --> 00:01:11,720 Speaker 2: or you simply want to hear from someone who's mastered 19 00:01:11,920 --> 00:01:16,280 Speaker 2: the art of transformation. This episode is for you. Coming 20 00:01:16,400 --> 00:01:21,800 Speaker 2: up next past episode with the uncomparable Nard to Michael Walden. 21 00:01:25,200 --> 00:01:26,000 Speaker 1: Taking a walk. 22 00:01:26,160 --> 00:01:29,479 Speaker 2: This is such an honor. I'm here speaking on taking 23 00:01:29,520 --> 00:01:34,880 Speaker 2: a walk with Nardamichael Walden. Hello, sir, Hey, how are you. 24 00:01:35,520 --> 00:01:39,680 Speaker 2: I'm fantastic, I'm fantastic. Welcome to taking a walk. This 25 00:01:39,720 --> 00:01:42,560 Speaker 2: is what we call the podcast now since we're not 26 00:01:42,600 --> 00:01:47,880 Speaker 2: taking a walk literally, but we are walking through music 27 00:01:48,000 --> 00:01:51,840 Speaker 2: history with you. I do want to ask you if 28 00:01:51,840 --> 00:01:54,840 Speaker 2: you could take a walk with somebody living or deceased, 29 00:01:54,920 --> 00:01:57,440 Speaker 2: who would you take a walk with and where would 30 00:01:57,480 --> 00:02:00,000 Speaker 2: you take that walk with him? 31 00:02:00,280 --> 00:02:03,080 Speaker 1: For some reason, Ali came to me, Muhammad Ali came 32 00:02:03,120 --> 00:02:05,920 Speaker 1: to me and being in the woods, like near woods. 33 00:02:06,240 --> 00:02:08,840 Speaker 1: For some reason he came to me. But then then 34 00:02:08,919 --> 00:02:11,200 Speaker 1: came a lot, Then came Prince, Then came Grew, then 35 00:02:11,280 --> 00:02:14,000 Speaker 1: came Mavis. All of them want to come, Then came Carl. 36 00:02:14,080 --> 00:02:16,200 Speaker 1: They all want to Yeah, mother and Mary Kim. She 37 00:02:16,240 --> 00:02:19,280 Speaker 1: wanted to go on and find the woods to talk. Yes, okay, 38 00:02:19,440 --> 00:02:22,480 Speaker 1: you know my girl who didn't ride the bus, wouldn't 39 00:02:22,480 --> 00:02:26,480 Speaker 1: take the back seat the bus. Yeah, she want to 40 00:02:26,520 --> 00:02:29,440 Speaker 1: go in the woods and talk. Oh my God, and 41 00:02:29,520 --> 00:02:31,079 Speaker 1: it's all it's all good. They all want to come, 42 00:02:31,080 --> 00:02:32,480 Speaker 1: we all want to have a part of the other. 43 00:02:32,880 --> 00:02:39,519 Speaker 2: They're all invited. Everyone is invited before we dig here further, 44 00:02:39,600 --> 00:02:43,000 Speaker 2: including still yours for the summer, and just everything in 45 00:02:43,040 --> 00:02:47,920 Speaker 2: your wonderful career. Though it does hit me. We we 46 00:02:47,960 --> 00:02:51,080 Speaker 2: also produced this other podcast. It's hosted by my friend 47 00:02:51,120 --> 00:02:53,840 Speaker 2: Lyn Hoffman. It's called Music Save Me, and it's about 48 00:02:53,840 --> 00:02:57,120 Speaker 2: the healing power of music and what it does for 49 00:02:57,200 --> 00:03:01,120 Speaker 2: us and how important it is from musicians standpoint. Certainly 50 00:03:01,520 --> 00:03:04,840 Speaker 2: so I believe I know where you're going to go 51 00:03:04,880 --> 00:03:07,160 Speaker 2: with this, but I do have to ask you, knowing 52 00:03:07,440 --> 00:03:12,400 Speaker 2: your spirituality and your core beliefs, do you think music 53 00:03:12,480 --> 00:03:14,079 Speaker 2: has healing power? 54 00:03:14,560 --> 00:03:21,360 Speaker 1: Absolutely, without question, absolutely more than we even recognize or 55 00:03:21,400 --> 00:03:25,359 Speaker 1: realize in fact. But I think in my childhood is 56 00:03:25,360 --> 00:03:27,920 Speaker 1: the music that comes to me first the songs. If 57 00:03:27,960 --> 00:03:29,959 Speaker 1: I hear a song and then I can see what 58 00:03:30,560 --> 00:03:33,800 Speaker 1: I was doing, Smell the air, the kind of car 59 00:03:33,840 --> 00:03:40,520 Speaker 1: we we drow, the conversations, the feelings, the excitement, the enthusiasms. 60 00:03:42,120 --> 00:03:46,080 Speaker 1: Music is the key to lock the whole universe. If 61 00:03:46,120 --> 00:03:50,680 Speaker 1: fat music is right next to God, because dig it. 62 00:03:51,120 --> 00:03:54,400 Speaker 1: If God talks us in silence, what comes right after 63 00:03:54,440 --> 00:03:58,240 Speaker 1: silence music. So music is the highest form on the 64 00:03:58,240 --> 00:04:02,440 Speaker 1: planet to eat each other. I can go with Jeff 65 00:04:02,480 --> 00:04:06,480 Speaker 1: Beck when he was alive, from America to Japan, to China, 66 00:04:06,960 --> 00:04:14,280 Speaker 1: to Russia, anywhere in the world, and that music communicates Mavis. 67 00:04:14,400 --> 00:04:18,080 Speaker 1: You could communicate Carlos, communicate anywhere in the world. That's 68 00:04:18,080 --> 00:04:20,840 Speaker 1: the beauty of music. You don't speak the language you know, 69 00:04:21,120 --> 00:04:25,039 Speaker 1: but the music of the higher language. So I I'm a. 70 00:04:27,160 --> 00:04:30,919 Speaker 1: I am here in honor of music to keep the 71 00:04:31,000 --> 00:04:34,400 Speaker 1: music going and keep my heart young and fresh like 72 00:04:34,400 --> 00:04:36,640 Speaker 1: a little kid excited by the music. 73 00:04:38,160 --> 00:04:42,920 Speaker 2: And the euphoria that that you bring to your your 74 00:04:43,000 --> 00:04:48,280 Speaker 2: craft into your life is so contagious. It's it really 75 00:04:49,240 --> 00:04:52,599 Speaker 2: connects us all at a time when so many things 76 00:04:52,600 --> 00:04:56,480 Speaker 2: don't connect us. But it's the one thread. Certainly not 77 00:04:56,560 --> 00:04:59,800 Speaker 2: only your beautiful work with it and all your collaborations, 78 00:04:59,800 --> 00:05:02,400 Speaker 2: but that in general what music gives to us, It 79 00:05:02,520 --> 00:05:03,359 Speaker 2: keeps us together. 80 00:05:04,400 --> 00:05:06,159 Speaker 1: Yeah, and please tell your friend I want to be 81 00:05:06,200 --> 00:05:09,320 Speaker 1: on a show if you'll have me. They speak about 82 00:05:09,360 --> 00:05:12,960 Speaker 1: the spiritual aspects of music, and I got my name 83 00:05:13,120 --> 00:05:16,480 Speaker 1: narda behind him being a bit divine musician. When Guru 84 00:05:16,520 --> 00:05:18,080 Speaker 1: gave me the name, he told me all the stories 85 00:05:18,120 --> 00:05:20,800 Speaker 1: about Narada with his music came to the earth to 86 00:05:20,839 --> 00:05:25,320 Speaker 1: inspire with loving God more with divine message. So it's all, 87 00:05:26,120 --> 00:05:27,000 Speaker 1: it's all beautiful. 88 00:05:27,960 --> 00:05:30,560 Speaker 2: So do you remember I will you you are invited, 89 00:05:30,640 --> 00:05:34,200 Speaker 2: So hereby you are? You are hereby invited. But the 90 00:05:34,279 --> 00:05:38,479 Speaker 2: first moment you recall in life being connected deeply with music, 91 00:05:39,320 --> 00:05:40,920 Speaker 2: what was that first moments? 92 00:05:40,920 --> 00:05:44,880 Speaker 1: Oh? I loved like Frank Froggy went a court and 93 00:05:44,960 --> 00:05:46,719 Speaker 1: heated live when I was a little little kid, a 94 00:05:46,720 --> 00:05:49,880 Speaker 1: little two year old. Those little nursery rhymes are so cool. 95 00:05:49,880 --> 00:05:51,520 Speaker 1: My dad would buy him from me and it would 96 00:05:51,520 --> 00:05:55,240 Speaker 1: be just so sweet on a record player, you know, 97 00:05:58,480 --> 00:06:05,200 Speaker 1: Mambo music, looking at the beautiful covers of the ladies 98 00:06:05,200 --> 00:06:08,159 Speaker 1: on the covers of the Mambo Music and hearing George 99 00:06:08,200 --> 00:06:11,760 Speaker 1: sharing with Peggy Lee that album, the live album Beating 100 00:06:11,760 --> 00:06:15,280 Speaker 1: in the Beat tips called I think those are earli 101 00:06:15,279 --> 00:06:19,279 Speaker 1: early recollections. Then at my grandpa's house across the way, 102 00:06:19,680 --> 00:06:22,279 Speaker 1: my mom's sisters became a valerie. They would have Nina 103 00:06:22,360 --> 00:06:25,040 Speaker 1: Simone livetown all. Then I had to get out my 104 00:06:26,120 --> 00:06:31,720 Speaker 1: Pieton and a pillow and play along, just softly to 105 00:06:31,760 --> 00:06:36,359 Speaker 1: try to imitate the drummer on those records, you know, Summertime. 106 00:06:36,440 --> 00:06:39,640 Speaker 1: I love GIBORGHI Uh, just that the whole album is 107 00:06:39,680 --> 00:06:43,400 Speaker 1: so deep with Nina Simone Livetown all that really got me, 108 00:06:44,200 --> 00:06:46,760 Speaker 1: you know. Then of course, not long after, we go 109 00:06:46,800 --> 00:06:49,800 Speaker 1: on our little trips to Upper Michigan in our cottage, 110 00:06:49,880 --> 00:06:51,760 Speaker 1: and they'd bring in an album by Horace Silver Cold 111 00:06:51,960 --> 00:06:54,160 Speaker 1: six Pieces of the Silver, and he'd be a piece 112 00:06:54,200 --> 00:06:57,320 Speaker 1: on there called Senor Blues, and they would say the 113 00:06:57,400 --> 00:07:02,200 Speaker 1: drummer's only eighteen, named Lewis Hayes from Detroit. I said, oh, 114 00:07:02,240 --> 00:07:04,400 Speaker 1: he's a little he's young, so that I have like 115 00:07:04,440 --> 00:07:06,880 Speaker 1: memoried to Doom too too too too too too too 116 00:07:06,960 --> 00:07:10,080 Speaker 1: too doom too doo doo doo doo doo doom too 117 00:07:10,120 --> 00:07:14,640 Speaker 1: to do digit do de do Do Do Do do do? 118 00:07:16,080 --> 00:07:19,120 Speaker 1: Didn't memorize all the pieces, just so that's early, early, 119 00:07:19,200 --> 00:07:22,640 Speaker 1: early on all those things. Man. Even though even Harry 120 00:07:22,680 --> 00:07:26,400 Speaker 1: bella Fonte Take My Mother Home was a very scary piece, 121 00:07:27,360 --> 00:07:29,640 Speaker 1: very frightening. I got frightened as a kid. Then I 122 00:07:29,680 --> 00:07:31,800 Speaker 1: remember good memories like when they we first heard on 123 00:07:31,840 --> 00:07:35,040 Speaker 1: the radio Twist and Shop by the Ivy Brothers on 124 00:07:35,120 --> 00:07:40,280 Speaker 1: the radio, just telling don't tum tumm, don't dun, don't doom, 125 00:07:40,640 --> 00:07:42,600 Speaker 1: you know all that, all that rock and roll coming. 126 00:07:42,840 --> 00:07:45,960 Speaker 1: Also little Richard on seventy eighths, you know, good golly 127 00:07:46,000 --> 00:07:48,600 Speaker 1: miss Molly at my Grandma's house. That was real electrifying 128 00:07:48,640 --> 00:07:51,280 Speaker 1: you as a little kid hearing that. Then I loved 129 00:07:51,600 --> 00:07:55,280 Speaker 1: the live album of Ray Charles what I say, Frenzy 130 00:07:56,360 --> 00:08:03,360 Speaker 1: spirit uh drama teers and just so incredible that album. 131 00:08:03,640 --> 00:08:06,960 Speaker 1: So I and then Fingertips came along and this wipe 132 00:08:07,000 --> 00:08:09,320 Speaker 1: me out all the live recordings. Quite frankly, he would 133 00:08:09,360 --> 00:08:11,320 Speaker 1: not me out o the live recordings. 134 00:08:12,880 --> 00:08:16,560 Speaker 2: Isn't that interesting thinking about that, because then you would 135 00:08:16,600 --> 00:08:22,520 Speaker 2: not only apply your craft in studios and you continue 136 00:08:22,560 --> 00:08:25,920 Speaker 2: to brilliantly, but you applied your craft in the live 137 00:08:26,240 --> 00:08:27,200 Speaker 2: performance area. 138 00:08:27,520 --> 00:08:27,720 Speaker 3: Yeah. 139 00:08:28,840 --> 00:08:32,360 Speaker 2: Who taught you the incredible disciplines that take you to 140 00:08:32,800 --> 00:08:35,720 Speaker 2: musical journeys and beauty to this day. 141 00:08:36,480 --> 00:08:39,240 Speaker 1: My mom and dad were very disciplined. My mom was 142 00:08:39,720 --> 00:08:43,640 Speaker 1: raised by her father was a great janitor custodian in 143 00:08:43,760 --> 00:08:47,600 Speaker 1: Kalamus in Michigan. Cleaned all the car places, insurance buildings, 144 00:08:47,840 --> 00:08:50,720 Speaker 1: clean everything, just made a sparkle be up at three 145 00:08:50,760 --> 00:08:53,280 Speaker 1: in the morning to get out, you know, in the 146 00:08:53,360 --> 00:08:56,120 Speaker 1: morning before place of open. So she had a great 147 00:08:56,160 --> 00:08:59,440 Speaker 1: discipline of helping him, you know, and seeing how hard 148 00:08:59,480 --> 00:09:03,160 Speaker 1: he worked. And then my own dad helped helped him too, 149 00:09:03,600 --> 00:09:05,800 Speaker 1: and also ran, you know, a job in a paper mill, 150 00:09:05,920 --> 00:09:08,199 Speaker 1: and then he basically became a drafts room for Consumer's 151 00:09:08,240 --> 00:09:10,760 Speaker 1: Power company. But he was like a sergeant. My dad's 152 00:09:10,880 --> 00:09:14,040 Speaker 1: very serious. You know, whatever he said, we knew he 153 00:09:14,160 --> 00:09:17,880 Speaker 1: meant it. So there was no bullshit in our family. 154 00:09:18,320 --> 00:09:20,200 Speaker 1: And my dad wanted to be a drummer. He would 155 00:09:20,240 --> 00:09:22,520 Speaker 1: carry in the snow his friend's drums, a guy named 156 00:09:22,559 --> 00:09:25,320 Speaker 1: Bill Dowdy from the Three Sounds. So I also had 157 00:09:25,320 --> 00:09:27,120 Speaker 1: to like listen to Three Sounds and you know, when 158 00:09:27,120 --> 00:09:28,520 Speaker 1: I could play along with that record that my dad 159 00:09:28,559 --> 00:09:31,760 Speaker 1: would actually get me a new drum set to go 160 00:09:31,880 --> 00:09:35,079 Speaker 1: on TV and look really professional because I could. I 161 00:09:35,480 --> 00:09:39,360 Speaker 1: impressed my dad. I could play Bill Dowdy. So it's 162 00:09:39,400 --> 00:09:42,400 Speaker 1: all the music, it's all the family. And in Michigan 163 00:09:42,400 --> 00:09:44,560 Speaker 1: where I'm from, him fro kalamazoo. You know, the snow 164 00:09:44,640 --> 00:09:46,880 Speaker 1: outside a lot, the weather's not so good to go 165 00:09:46,920 --> 00:09:49,599 Speaker 1: outside and play, so you're locked inside a law so 166 00:09:49,800 --> 00:09:51,559 Speaker 1: you can play and practice and do things. And my 167 00:09:51,640 --> 00:09:55,959 Speaker 1: mom never complained about drumming the noise. All things she 168 00:09:56,000 --> 00:09:58,199 Speaker 1: ever complained about. One time, Mile is down the stairs 169 00:09:58,200 --> 00:10:01,280 Speaker 1: with my friend Steve Wiffen working over the Who's record 170 00:10:01,320 --> 00:10:03,440 Speaker 1: of him. I could see from miles and miles and miles, 171 00:10:03,760 --> 00:10:05,400 Speaker 1: and I wanted to get it right, and I was 172 00:10:05,440 --> 00:10:07,040 Speaker 1: telling the boys how to play it right. And I 173 00:10:07,080 --> 00:10:08,719 Speaker 1: went upstairs to get a glass of water. My mom said, 174 00:10:08,760 --> 00:10:11,040 Speaker 1: why are you shouting at those boys downstairs? So I'm 175 00:10:11,080 --> 00:10:12,600 Speaker 1: not shouting me and say, yeah, you were being strong 176 00:10:12,600 --> 00:10:13,800 Speaker 1: with him. I said, I didn't mean to. I just 177 00:10:13,880 --> 00:10:15,679 Speaker 1: want to make sure we get the music right. So 178 00:10:16,280 --> 00:10:18,079 Speaker 1: that's the only thing she ever ever complained to me about. 179 00:10:18,920 --> 00:10:20,439 Speaker 1: But other than that, she didn't. 180 00:10:20,200 --> 00:10:24,240 Speaker 2: Care that the noise was there, and it was not noise. 181 00:10:24,280 --> 00:10:25,320 Speaker 2: It was beauty to her. 182 00:10:25,600 --> 00:10:28,040 Speaker 1: In fact, as we lived in Plano, Michigan, outside Calm, 183 00:10:28,520 --> 00:10:31,160 Speaker 1: they would take me to different rehearsals. I would have 184 00:10:31,240 --> 00:10:34,040 Speaker 1: on Saturday mornings with Joel Brooks, who play Oregon in 185 00:10:34,160 --> 00:10:36,800 Speaker 1: his house, and then we'd have Joe Brooks had an 186 00:10:36,920 --> 00:10:40,040 Speaker 1: uncle who owned the Ambassador Lounge, the cool lounge of 187 00:10:40,080 --> 00:10:41,560 Speaker 1: the north side of Calamba Zo where all the people 188 00:10:41,640 --> 00:10:43,760 Speaker 1: would go hang out and drink and whatever. And we 189 00:10:43,800 --> 00:10:45,880 Speaker 1: can go in there early before they're opening at and 190 00:10:46,000 --> 00:10:49,120 Speaker 1: playing there, and my parents would help me view that 191 00:10:49,760 --> 00:10:51,360 Speaker 1: I want up. We have a big gig on New 192 00:10:51,440 --> 00:10:53,719 Speaker 1: Year's Eve, the Crazy Horse, and I'd go in the 193 00:10:53,800 --> 00:10:56,040 Speaker 1: Crazyers and play, so, you know, and you see the 194 00:10:56,080 --> 00:11:01,120 Speaker 1: big spinning light, mirror ball, you know, and all the people. 195 00:11:01,720 --> 00:11:04,040 Speaker 1: And so I was introduced to early to playing live, 196 00:11:04,679 --> 00:11:07,280 Speaker 1: and my parents loved it. They helped me to holler 197 00:11:07,320 --> 00:11:09,839 Speaker 1: on my drums, which you know is that's not easy, 198 00:11:10,520 --> 00:11:15,520 Speaker 1: and hauler on an organ and even the Leslie no 199 00:11:15,720 --> 00:11:18,640 Speaker 1: roadies with you then, oh that was my parents and 200 00:11:18,880 --> 00:11:23,199 Speaker 1: his parents. So you know, real, real dedication. As I'm 201 00:11:23,200 --> 00:11:25,240 Speaker 1: trying to tell you, we don't think about it, but 202 00:11:25,280 --> 00:11:28,480 Speaker 1: I'm telling you that in the sixties, fifties, sixties, you 203 00:11:28,600 --> 00:11:29,600 Speaker 1: had to work to be in music. 204 00:11:31,960 --> 00:11:34,240 Speaker 2: Who's the mount Rushmore of drummers for you? 205 00:11:35,880 --> 00:11:36,360 Speaker 3: All of them? 206 00:11:37,760 --> 00:11:44,600 Speaker 1: I love peaches, bananas, oranges, strawberry apples, grapes, grapefruits, all 207 00:11:44,600 --> 00:11:46,080 Speaker 1: of them. You don't even know nobody out because they 208 00:11:46,120 --> 00:11:49,600 Speaker 1: all contributed. Like the start behind me. Everybody brought their 209 00:11:49,640 --> 00:11:52,240 Speaker 1: own flavor and you needed it. Mitch Mitchell brought that 210 00:11:52,280 --> 00:11:54,360 Speaker 1: flavor for Hambricks that no one else could have been 211 00:11:54,440 --> 00:11:56,959 Speaker 1: better I did at Jimmy than than Mitch Mitchell. Billy 212 00:11:57,000 --> 00:12:00,120 Speaker 1: Cobben brought that that that kicking, that fire behind the 213 00:12:00,200 --> 00:12:04,040 Speaker 1: mobish youth that just scalded my soul to this very day. 214 00:12:04,480 --> 00:12:06,880 Speaker 1: When I saw him a Harvard Conecticut seventy two whatever, 215 00:12:06,880 --> 00:12:09,800 Speaker 1: it was just and the most uncomble fire I've ever 216 00:12:09,880 --> 00:12:12,520 Speaker 1: seen in my life, so you know, and now, of 217 00:12:12,559 --> 00:12:14,160 Speaker 1: course it's a little look kid, we have an album 218 00:12:14,240 --> 00:12:17,920 Speaker 1: by Buddy Rich and Max Roach going back and forth. 219 00:12:18,000 --> 00:12:20,760 Speaker 1: I was like intrigued to hear that, you know, R 220 00:12:20,880 --> 00:12:24,360 Speaker 1: Blakey on the sermon with Jimmy Smith playing a rock 221 00:12:24,520 --> 00:12:28,280 Speaker 1: backbeat throughout the whole twenty two minutes through that done good, 222 00:12:28,360 --> 00:12:31,480 Speaker 1: Jane Dunk, Jane dang, you know, which we wouldn't think 223 00:12:31,520 --> 00:12:33,839 Speaker 1: and jazz would be a balloons balty, but that's what 224 00:12:33,960 --> 00:12:36,520 Speaker 1: our Blake was playing. That was my favorite because it 225 00:12:36,600 --> 00:12:39,680 Speaker 1: was just so just swinging strong like that. Of course 226 00:12:39,760 --> 00:12:41,320 Speaker 1: Take five comes out with Joe Morella. 227 00:12:41,440 --> 00:12:45,319 Speaker 4: Oh now that's something cool, you know, or Cantable Adley's 228 00:12:45,360 --> 00:12:49,160 Speaker 4: Seven Miles High Mercy, Mercy, Me, Sack of bol this year, 229 00:12:49,679 --> 00:12:52,400 Speaker 4: all that music that was coming out, you know, Michael 230 00:12:52,440 --> 00:12:54,439 Speaker 4: Bloom with Buddy Miles, electric flat. 231 00:12:56,040 --> 00:12:59,920 Speaker 1: Bag, so much. Everywhere you look, even the movie Great 232 00:13:00,559 --> 00:13:04,679 Speaker 1: Cold Cold Blood with Sanny McGee. Everywhere you look. Jagged 233 00:13:04,760 --> 00:13:09,120 Speaker 1: is your first light with Freddy Hubbard, you know Wendy 234 00:13:09,160 --> 00:13:11,800 Speaker 1: with he was Montgomery ding ding ding ding ding ding 235 00:13:12,040 --> 00:13:16,839 Speaker 1: ding ding ding, all of it, plays Percy Faith. All 236 00:13:16,920 --> 00:13:19,599 Speaker 1: that stuff was so beautiful. So I left all of it. 237 00:13:19,679 --> 00:13:22,280 Speaker 1: And there is a rush Marble. If you have a rush, Marmore, 238 00:13:22,360 --> 00:13:23,080 Speaker 1: put them all up there. 239 00:13:23,720 --> 00:13:25,880 Speaker 2: I love that. I have to ask you about one 240 00:13:25,960 --> 00:13:30,959 Speaker 2: drummer though, in particular who was part of the wrecking 241 00:13:31,080 --> 00:13:38,040 Speaker 2: crew and Kyle Blaine hal Blaine. The one I'm thinking of, though, 242 00:13:38,280 --> 00:13:41,880 Speaker 2: is the one that had the tragic ending, Jim Gordon. 243 00:13:43,040 --> 00:13:45,520 Speaker 1: I didn't know much about Jim Gordon. I knew, I'm 244 00:13:45,559 --> 00:13:48,320 Speaker 1: familiar with some of the recordings, but he was taking 245 00:13:48,320 --> 00:13:50,120 Speaker 1: out of the game so quickly with that axe, and 246 00:13:50,160 --> 00:13:52,760 Speaker 1: he hadn't taken it into jail. Now give him the 247 00:13:52,880 --> 00:13:53,959 Speaker 1: name of one or two of the pieces that he 248 00:13:54,080 --> 00:13:56,080 Speaker 1: be honest, I can tell you well. 249 00:13:56,400 --> 00:13:59,120 Speaker 2: Writing credits on Laylah for sure. 250 00:14:00,559 --> 00:14:01,720 Speaker 1: Is that anym playing drums on Laila? 251 00:14:02,320 --> 00:14:02,520 Speaker 2: Yep? 252 00:14:03,040 --> 00:14:03,760 Speaker 1: Okay, I got it. 253 00:14:04,120 --> 00:14:09,520 Speaker 2: And also though good vibrations beach boys, Oh. 254 00:14:09,480 --> 00:14:10,719 Speaker 1: That's him too, Okay, I didn't know that. 255 00:14:10,760 --> 00:14:14,319 Speaker 2: I thought that was how I think Howe was associated 256 00:14:14,360 --> 00:14:16,240 Speaker 2: with it as well, But he was that whole Wrecking 257 00:14:16,400 --> 00:14:20,160 Speaker 2: Crew was the unknown group of you know, experts there 258 00:14:20,280 --> 00:14:23,160 Speaker 2: that were kind of no one knew them, but they 259 00:14:23,200 --> 00:14:27,560 Speaker 2: were all producing this incredible work. But the tragedy of 260 00:14:27,640 --> 00:14:32,600 Speaker 2: Jim Gordon was how the music industry, uh turned its 261 00:14:32,680 --> 00:14:36,760 Speaker 2: back a mental illness. Uh, that's the tragedy. 262 00:14:36,800 --> 00:14:39,200 Speaker 1: Now. I worked at a hospital of mental illness, and 263 00:14:39,320 --> 00:14:41,840 Speaker 1: I saw how it goes down, you know, shock treatments 264 00:14:41,920 --> 00:14:43,640 Speaker 1: and you know, take the people and put them in 265 00:14:43,680 --> 00:14:46,160 Speaker 1: the cages. You know something, I'm gonna strapp them down. 266 00:14:46,520 --> 00:14:48,400 Speaker 1: And my job is orderly to go on and unstrapped 267 00:14:48,440 --> 00:14:51,760 Speaker 1: and wash them, bathe them, clean them, shave them, put 268 00:14:51,800 --> 00:14:54,600 Speaker 1: on their clothing, you know, and reactors who were straining 269 00:14:54,640 --> 00:14:58,320 Speaker 1: against they they'll hurt themselves. Illness is a very serious thing. 270 00:14:58,520 --> 00:15:00,080 Speaker 1: I also I would take care of the kids wh 271 00:15:00,080 --> 00:15:02,760 Speaker 1: would burn the house down. Runaways be my job, and 272 00:15:02,800 --> 00:15:05,080 Speaker 1: I've had I got in high school from freshmen to 273 00:15:05,200 --> 00:15:07,320 Speaker 1: ninth grade freshman, take care of those kids, take them 274 00:15:07,320 --> 00:15:09,160 Speaker 1: for a walk, or keep them the same room playing 275 00:15:09,680 --> 00:15:12,800 Speaker 1: or Happy Day by Edwin, you know, Edmund. 276 00:15:14,840 --> 00:15:20,040 Speaker 2: Edwin's star not Star, No, No, the choir guy, Edwin Hawkins, 277 00:15:20,360 --> 00:15:21,760 Speaker 2: Edward Hawkins Sorry, yes. 278 00:15:21,960 --> 00:15:23,920 Speaker 1: Or I'm leaving on a jet plane by. 279 00:15:25,120 --> 00:15:26,280 Speaker 2: Yeah, Peter, Paul and Mary. 280 00:15:26,520 --> 00:15:26,720 Speaker 1: Yeah. 281 00:15:26,840 --> 00:15:26,960 Speaker 2: You know. 282 00:15:27,160 --> 00:15:30,320 Speaker 1: The things are kind of column now, you know, But 283 00:15:30,400 --> 00:15:33,240 Speaker 1: I would see the mental firsthand, and back then there 284 00:15:33,320 --> 00:15:36,400 Speaker 1: was a budget to actually take people in. Of course, 285 00:15:36,520 --> 00:15:39,760 Speaker 1: Reagan came along and it kind of like dismantled some 286 00:15:39,840 --> 00:15:43,040 Speaker 1: of that stuff. People end up on the streets. So 287 00:15:43,080 --> 00:15:47,040 Speaker 1: you're saying Jim Gordon a mentally problem. God knows, maybe 288 00:15:47,080 --> 00:15:48,920 Speaker 1: there wasn't anything to catch him. There was no net 289 00:15:48,960 --> 00:15:51,760 Speaker 1: to catch him, you know. And that's happening everywhere now, 290 00:15:51,800 --> 00:15:55,400 Speaker 1: even full full force. Anywhere you go. You're seeing Holmes 291 00:15:55,440 --> 00:15:56,840 Speaker 1: on the street right down the street from where I'm 292 00:15:56,840 --> 00:16:01,200 Speaker 1: living here, my studio, off the hanging out. There's there's 293 00:16:01,200 --> 00:16:04,720 Speaker 1: no place on the go. There's no net. Other countries 294 00:16:04,720 --> 00:16:07,360 Speaker 1: have a net. We don't. We don't believe it on 295 00:16:07,440 --> 00:16:09,680 Speaker 1: that over here. And it's gonna get worse because the 296 00:16:09,800 --> 00:16:11,480 Speaker 1: rich get rich and the poor get poor. So the 297 00:16:11,560 --> 00:16:14,880 Speaker 1: net they they don't want to catch you. I'm so 298 00:16:15,080 --> 00:16:19,400 Speaker 1: sorry about it's my it's my. It hurts me well. 299 00:16:19,400 --> 00:16:21,240 Speaker 2: And it goes back to the thread at the beginning 300 00:16:21,360 --> 00:16:23,560 Speaker 2: of the interview, just done the fact of what music 301 00:16:23,720 --> 00:16:26,480 Speaker 2: means and how it brings you know, folks together and 302 00:16:26,520 --> 00:16:30,080 Speaker 2: how it has you know, healing, uh, you know processes 303 00:16:30,280 --> 00:16:30,720 Speaker 2: as well. 304 00:16:31,480 --> 00:16:33,640 Speaker 3: We'll be right back with more of the Taking a 305 00:16:33,680 --> 00:16:41,880 Speaker 3: Walk Podcast. Welcome back to the Taking a Walk Podcast. 306 00:16:43,520 --> 00:16:48,360 Speaker 2: Talk about your first time running into and then ultimately 307 00:16:49,040 --> 00:16:52,240 Speaker 2: making great magic with Aretha Franklin. 308 00:16:52,960 --> 00:16:58,800 Speaker 1: Aretha Franklin daunting. Clive Davis opened that door for me 309 00:16:59,800 --> 00:17:03,200 Speaker 1: and he just said direct, give her phone call like 310 00:17:03,280 --> 00:17:09,240 Speaker 1: that very understated, And I called her and the conversation 311 00:17:09,440 --> 00:17:12,040 Speaker 1: was just magical. I'm so glad. I was prepared for 312 00:17:12,119 --> 00:17:15,480 Speaker 1: the phone call with my pen and my paper to 313 00:17:15,560 --> 00:17:18,040 Speaker 1: take little notes and things because she speaks in a 314 00:17:18,080 --> 00:17:21,720 Speaker 1: way that I couldn't ever understand prior to going into 315 00:17:21,720 --> 00:17:24,440 Speaker 1: the conversation that that's how she would talk. But she 316 00:17:24,600 --> 00:17:28,200 Speaker 1: speaks in a very high faluting, has her own language, 317 00:17:28,760 --> 00:17:35,600 Speaker 1: her own way describing things that it's just it's just 318 00:17:35,760 --> 00:17:38,600 Speaker 1: her so for example, I'll be on the phone. I said, well, 319 00:17:39,440 --> 00:17:40,840 Speaker 1: what do you do? What do you do? They have fun? 320 00:17:41,840 --> 00:17:45,720 Speaker 1: And she said, oh, I might go out to a nightclub. 321 00:17:46,840 --> 00:17:48,720 Speaker 1: In the nightclub, I see a guy in the corner. 322 00:17:48,720 --> 00:17:50,479 Speaker 1: He looked good. I look good. He was looking at hi. 323 00:17:50,640 --> 00:17:56,640 Speaker 1: He both look good, kind of like who's them and who? Yeah? 324 00:17:56,760 --> 00:17:59,360 Speaker 1: But then you know he's looking at me. I'm looking 325 00:17:59,359 --> 00:18:03,080 Speaker 1: at him. Well, you think he got me, But then 326 00:18:03,080 --> 00:18:07,359 Speaker 1: the fish jumps off the hook. He thinks he's got me, 327 00:18:07,440 --> 00:18:10,280 Speaker 1: but the fish jumps off the hook. What are you talking? 328 00:18:10,880 --> 00:18:13,840 Speaker 1: But that's how she was. Now I'll get off the phone. 329 00:18:13,840 --> 00:18:16,720 Speaker 1: I tell Presta Glass, this is what she said. We 330 00:18:16,800 --> 00:18:19,080 Speaker 1: gotta make a hitphone out of us. And we did 331 00:18:19,160 --> 00:18:23,320 Speaker 1: this out of the phone call, just her being her. 332 00:18:24,800 --> 00:18:27,000 Speaker 1: So when you talk about her, that had hat that 333 00:18:27,080 --> 00:18:29,119 Speaker 1: comes to my mind. Then when I went with the 334 00:18:29,160 --> 00:18:31,639 Speaker 1: tape from San Francisco to Detroit to go meet her, 335 00:18:32,359 --> 00:18:34,680 Speaker 1: that's a whole other history. Her walking in the room 336 00:18:34,680 --> 00:18:36,399 Speaker 1: with her fur coat and a cigarette. You're still smoking 337 00:18:37,720 --> 00:18:40,200 Speaker 1: and looking in my eyes. I look in her eyes. 338 00:18:40,640 --> 00:18:42,520 Speaker 1: I let her know right away, I'm here to be 339 00:18:42,560 --> 00:18:44,119 Speaker 1: your friend and serve the music. 340 00:18:44,200 --> 00:18:44,720 Speaker 3: And love you. 341 00:18:44,880 --> 00:18:46,680 Speaker 1: And be kind to you. I'm now you're to fight 342 00:18:46,760 --> 00:18:50,760 Speaker 1: with you. And then it was like cool because I 343 00:18:50,800 --> 00:18:53,560 Speaker 1: could see in her eyes the genius they're all knowing, 344 00:18:54,240 --> 00:18:56,800 Speaker 1: you know, can hear everything and sing everything, and play everything, 345 00:18:57,280 --> 00:19:02,840 Speaker 1: piano everything, just looking at you, the all knowingness of God. 346 00:19:03,720 --> 00:19:07,480 Speaker 1: She is. He's walking dative God, the highest form. So 347 00:19:07,640 --> 00:19:09,280 Speaker 1: how about that God. No, I'm not here to fight, 348 00:19:09,640 --> 00:19:12,280 Speaker 1: I'm here to make music. And then sure enough, when 349 00:19:12,359 --> 00:19:14,320 Speaker 1: Dave Frasier hit the play button, let the music come on, 350 00:19:15,119 --> 00:19:18,280 Speaker 1: I saw that whole thing like just go and she 351 00:19:18,440 --> 00:19:21,639 Speaker 1: was like that sounds so good, you know, you know, 352 00:19:22,359 --> 00:19:24,000 Speaker 1: and then she go, I'm gonna go out to the microphone. 353 00:19:24,320 --> 00:19:26,280 Speaker 1: And she was singing down the out there four times 354 00:19:26,800 --> 00:19:28,720 Speaker 1: straight through the whole song, down the outer look like 355 00:19:28,760 --> 00:19:31,640 Speaker 1: a man lane. And she'll say, okay, I'm going to cut. 356 00:19:32,520 --> 00:19:35,560 Speaker 1: I say okay, And now she sounds up in her 357 00:19:35,640 --> 00:19:37,800 Speaker 1: arrange like Aretha, and the whole take us like a 358 00:19:37,920 --> 00:19:41,760 Speaker 1: hit record. In fact, to her, it is almost done. 359 00:19:43,440 --> 00:19:45,119 Speaker 1: So I'll sing one more time for you, you know, 360 00:19:45,119 --> 00:19:47,959 Speaker 1: because you have a choice. She's singing a second time 361 00:19:48,040 --> 00:19:51,000 Speaker 1: like done, okay. The time I'm so smart because I 362 00:19:51,080 --> 00:19:53,880 Speaker 1: am smart I'm a porpoise and I'm like flipper. They 363 00:19:54,000 --> 00:19:57,720 Speaker 1: called him flipper Flipper, but he hit it. I said, 364 00:19:57,760 --> 00:19:59,520 Speaker 1: you know what, because now you're so high on the 365 00:19:59,600 --> 00:20:01,800 Speaker 1: ending all these riffs and stuff. She did one or 366 00:20:01,840 --> 00:20:04,280 Speaker 1: two more takes adjust that, so I got all that 367 00:20:04,440 --> 00:20:07,280 Speaker 1: in the bag. She said, okay, so I let get happy. 368 00:20:08,320 --> 00:20:11,359 Speaker 1: Whatever the riffs are, all those ideas just flowing. Because 369 00:20:11,400 --> 00:20:13,520 Speaker 1: I realized what people like that, you can't come back to. 370 00:20:13,560 --> 00:20:16,200 Speaker 1: You gotta get it right then, then go back to 371 00:20:16,280 --> 00:20:19,440 Speaker 1: the first verse and get studious, because that first verse 372 00:20:19,520 --> 00:20:21,600 Speaker 1: is critical for the R and B singer. If there's 373 00:20:21,640 --> 00:20:23,080 Speaker 1: too much R and B on the first verse, you 374 00:20:23,119 --> 00:20:27,800 Speaker 1: can lose all of your pop audience. I know that. 375 00:20:28,600 --> 00:20:31,720 Speaker 1: So now I'm a little concerned that the first verse 376 00:20:31,800 --> 00:20:34,840 Speaker 1: is still too R and B sounding, perhaps too much 377 00:20:35,160 --> 00:20:37,680 Speaker 1: flippancy going on. Maybe we need to have a little 378 00:20:37,720 --> 00:20:40,840 Speaker 1: more subtle or people in their cars and their officers 379 00:20:40,880 --> 00:20:43,520 Speaker 1: can sing it back more easily. I'm the first opening. 380 00:20:43,680 --> 00:20:45,600 Speaker 1: We can get more progressive as we go along, but 381 00:20:45,720 --> 00:20:48,320 Speaker 1: let's start hop a little simpler. So she would say 382 00:20:48,320 --> 00:20:49,399 Speaker 1: to me, and then she got kind to me, and 383 00:20:49,560 --> 00:20:51,440 Speaker 1: she knew I was She knew I'm a good person. 384 00:20:51,640 --> 00:20:52,800 Speaker 1: She looked at me, say you know what I'm gonna 385 00:20:52,800 --> 00:20:56,640 Speaker 1: do for you? I say what, I'll give you one 386 00:20:56,680 --> 00:21:00,800 Speaker 1: more take. It's called the straight reading. I go with 387 00:21:00,880 --> 00:21:04,800 Speaker 1: the straight reading. What is that? I go in, I 388 00:21:04,880 --> 00:21:07,600 Speaker 1: say it one more time for you, a little closer 389 00:21:07,680 --> 00:21:12,240 Speaker 1: to the melody that gives you one more take, like okay, 390 00:21:13,040 --> 00:21:16,479 Speaker 1: And she goes back in and she'll sing it to her, 391 00:21:16,600 --> 00:21:19,600 Speaker 1: a little closer to melody. To me, not that much different, 392 00:21:19,800 --> 00:21:23,359 Speaker 1: but a little bit. So Inevitably, when I come back 393 00:21:23,400 --> 00:21:27,359 Speaker 1: home to my still sammons, let's go here and comp 394 00:21:27,600 --> 00:21:30,560 Speaker 1: where comp means put the words, put the best lyrics together, 395 00:21:30,560 --> 00:21:34,880 Speaker 1: the best performances together, I end up using what I'm 396 00:21:35,119 --> 00:21:37,200 Speaker 1: I thought was too R and B. It's just so good. 397 00:21:37,840 --> 00:21:41,760 Speaker 1: It's just so pure that you can't you can't ignore it. 398 00:21:42,320 --> 00:21:45,080 Speaker 1: You can't act like you're gonna be simple because you 399 00:21:45,080 --> 00:21:46,600 Speaker 1: want to be simple. No, it's just too good. So 400 00:21:46,640 --> 00:21:49,320 Speaker 1: I end up using it. So I've learned so much 401 00:21:49,320 --> 00:21:52,600 Speaker 1: from her, just to kind of flow with her, make 402 00:21:52,640 --> 00:21:55,040 Speaker 1: sure the choruses are hit. I'd always go over there 403 00:21:55,160 --> 00:21:57,879 Speaker 1: with the choruses stacked up backgrounds, so I knew that 404 00:21:57,920 --> 00:21:59,760 Speaker 1: I would be powerful. No, matter why she would do 405 00:21:59,760 --> 00:22:03,280 Speaker 1: flip around or carrying on the cours be so powerful 406 00:22:03,359 --> 00:22:04,840 Speaker 1: that I get one take where she sing with the 407 00:22:04,880 --> 00:22:08,040 Speaker 1: chorus to make sure I had it. And then once 408 00:22:08,080 --> 00:22:09,960 Speaker 1: we knew each other how we worked, we got on 409 00:22:10,080 --> 00:22:12,399 Speaker 1: like peanut, butter and jelly. And then she want to 410 00:22:12,800 --> 00:22:14,800 Speaker 1: what you want to eat? You want to you want? 411 00:22:14,840 --> 00:22:17,000 Speaker 1: You want to want cheeseburger, you want you want some 412 00:22:17,080 --> 00:22:22,080 Speaker 1: fried chicken? Nod going down there getting naught, Gnada going 413 00:22:22,119 --> 00:22:24,760 Speaker 1: down and getting naughds and fried chicken and some cheeseburger. 414 00:22:25,880 --> 00:22:28,320 Speaker 1: Feel beyond man. Then she opened up her pants. How 415 00:22:29,119 --> 00:22:30,920 Speaker 1: let her let her belly come out and go and 416 00:22:31,000 --> 00:22:33,000 Speaker 1: sing one more thing for you? Or whatever one might be? 417 00:22:36,000 --> 00:22:39,000 Speaker 1: Power unknown. No one can understand what it's like to 418 00:22:39,080 --> 00:22:41,720 Speaker 1: be in control of them with speakers hearing he read 419 00:22:41,720 --> 00:22:43,719 Speaker 1: the frame of the boys coming out. But I make 420 00:22:43,800 --> 00:22:49,200 Speaker 1: things loud anyway, but powerful, clear, clean. Every note is 421 00:22:49,240 --> 00:22:51,600 Speaker 1: what she wants it to be. She doesn't sing anything 422 00:22:51,680 --> 00:22:54,240 Speaker 1: unless she hears it that way. For example, one time 423 00:22:54,280 --> 00:22:56,800 Speaker 1: I said this might be a little bit much here. 424 00:22:56,840 --> 00:22:58,840 Speaker 1: She goes, Well, she goes, we'll play it to me. 425 00:22:58,880 --> 00:23:01,040 Speaker 1: She'll let us say women play it to me, you know, 426 00:23:01,480 --> 00:23:05,000 Speaker 1: And the ash almost be burning down. Just hang a cigarette, 427 00:23:05,320 --> 00:23:07,040 Speaker 1: you know, listen to the whole thing, loving love and 428 00:23:07,080 --> 00:23:10,400 Speaker 1: every damn think about it. And I said, well, maybe 429 00:23:10,480 --> 00:23:12,480 Speaker 1: this area right here, you know, could be a little simple. 430 00:23:13,040 --> 00:23:17,080 Speaker 1: She goes, well, that's just the way I hear it. Okay, 431 00:23:17,359 --> 00:23:19,399 Speaker 1: I get it. I get it in the hen I 432 00:23:19,520 --> 00:23:23,760 Speaker 1: get it. So she she open minds and I opened 433 00:23:23,760 --> 00:23:26,080 Speaker 1: her eyes too. We both got along great. We met 434 00:23:26,119 --> 00:23:30,359 Speaker 1: her first planning with George Michael. I knew you waiting, Damn, 435 00:23:30,520 --> 00:23:34,240 Speaker 1: I knew you waiting for me, first big number one 436 00:23:34,280 --> 00:23:38,720 Speaker 1: pop record, million seller Freeway. I love Who's that? We 437 00:23:38,800 --> 00:23:40,240 Speaker 1: knew all that stuff we did. I'm so proud of 438 00:23:40,280 --> 00:23:43,520 Speaker 1: her and part of my history with her. When I 439 00:23:43,560 --> 00:23:47,399 Speaker 1: went to her funeral. She's the people's champion, all on 440 00:23:47,520 --> 00:23:50,240 Speaker 1: the blocks in Detroit, just far as you could ever see. 441 00:23:51,320 --> 00:23:55,200 Speaker 1: All the people just lined up to come and look 442 00:23:55,400 --> 00:23:58,680 Speaker 1: at her. The night before the big funeral, you know, 443 00:23:59,160 --> 00:24:01,320 Speaker 1: and they had this song I'm playing out from that 444 00:24:01,480 --> 00:24:07,520 Speaker 1: church called Mary Don't You Weep? With her singing just perfect, 445 00:24:08,880 --> 00:24:13,040 Speaker 1: you realize how damn genie she is. Was is Mary 446 00:24:13,119 --> 00:24:15,679 Speaker 1: don't you Weep? As these people are all lined up 447 00:24:15,720 --> 00:24:20,840 Speaker 1: her people, the disenfranchise of the world, the poor people. 448 00:24:21,040 --> 00:24:24,040 Speaker 1: People ain't got nothing, but just loved her. And it'd 449 00:24:24,040 --> 00:24:26,240 Speaker 1: be a little symbolized a little pink Cadillac off front. 450 00:24:26,440 --> 00:24:29,280 Speaker 1: But I was very proud to see but free were 451 00:24:29,320 --> 00:24:31,680 Speaker 1: of love. It's Sam right there. I never and I 452 00:24:31,800 --> 00:24:33,280 Speaker 1: never actually went in to the church to look at her. 453 00:24:33,800 --> 00:24:35,320 Speaker 1: It was too patt I couldn't even get in there. 454 00:24:35,960 --> 00:24:37,600 Speaker 1: Even the day I want for them for the funeral. 455 00:24:37,920 --> 00:24:40,359 Speaker 1: I'm playing in the band, you know, for the music, 456 00:24:40,640 --> 00:24:42,040 Speaker 1: and I wanted to go take a speak of peek 457 00:24:42,040 --> 00:24:45,480 Speaker 1: at her before they close the coffin. Rolph Armstrong and 458 00:24:45,520 --> 00:24:48,159 Speaker 1: I went around for the band, standing all the way 459 00:24:48,160 --> 00:24:49,960 Speaker 1: around the church. We can get into the before they close. 460 00:24:50,000 --> 00:24:55,159 Speaker 1: The captain I said, no, respect the family. It's closed 461 00:24:55,200 --> 00:24:58,800 Speaker 1: off now. You you're five minutes too late. And then 462 00:24:59,000 --> 00:25:02,920 Speaker 1: but there's a na he's part of the family. Respect 463 00:25:03,000 --> 00:25:06,119 Speaker 1: the family. It's closed off now. So it wasn't for 464 00:25:06,200 --> 00:25:09,000 Speaker 1: me to see her like that. But we had the 465 00:25:09,080 --> 00:25:11,280 Speaker 1: best of times before she passed. The way she called 466 00:25:11,280 --> 00:25:13,879 Speaker 1: me on the phone. I was gonna tell you, I 467 00:25:14,000 --> 00:25:16,479 Speaker 1: love sitting on the couch laughing with you. We had 468 00:25:16,520 --> 00:25:18,880 Speaker 1: the best of times. See, that's the best it gets. 469 00:25:19,240 --> 00:25:22,600 Speaker 1: Let me shoot say, she said, and don't ever lose 470 00:25:22,640 --> 00:25:27,639 Speaker 1: your million dollar smile. Okay, oh man, you see what 471 00:25:27,680 --> 00:25:27,959 Speaker 1: I mean. 472 00:25:28,520 --> 00:25:30,560 Speaker 2: You can't beat that man, that's priceless. 473 00:25:31,040 --> 00:25:32,040 Speaker 1: You can't beat that stup. 474 00:25:32,520 --> 00:25:33,040 Speaker 2: Oh man. 475 00:25:33,480 --> 00:25:36,600 Speaker 1: Oh I got one thing. I never played live with her. 476 00:25:36,640 --> 00:25:39,480 Speaker 1: Back then, toward the end of her life, the last 477 00:25:39,520 --> 00:25:41,679 Speaker 1: seven shows of her life, she said, would you come 478 00:25:41,720 --> 00:25:44,800 Speaker 1: play with Messa, I'd be honored. And I made seven 479 00:25:44,880 --> 00:25:48,080 Speaker 1: shows with her, you know, in New Jersey and a 480 00:25:48,200 --> 00:25:51,480 Speaker 1: JPAX Center what it was called Boston was incredible. Oh 481 00:25:51,560 --> 00:25:56,760 Speaker 1: my god, uh New York at that Radio City Music Hall, 482 00:25:57,280 --> 00:26:00,720 Speaker 1: that Clive Davis event we did. And the last show 483 00:26:02,400 --> 00:26:07,880 Speaker 1: was the Elton John Aids concert at Saint John Divine, 484 00:26:08,440 --> 00:26:13,400 Speaker 1: and I mean it was packed with sting, Billy, Joel Clyde, Davis, 485 00:26:14,160 --> 00:26:17,040 Speaker 1: anybody with anybody in New York was there. Now this 486 00:26:17,080 --> 00:26:19,600 Speaker 1: would be her last show, and she came up kind 487 00:26:19,600 --> 00:26:22,160 Speaker 1: of rail thin now and people like, I'm like whoo, 488 00:26:22,320 --> 00:26:25,320 Speaker 1: you know, but it didn't matter. Man, She's sang her 489 00:26:25,560 --> 00:26:28,240 Speaker 1: ass off and that band played its ass off in 490 00:26:28,280 --> 00:26:31,160 Speaker 1: Free Love when before the Bunny was like fifteen minutes long. 491 00:26:31,840 --> 00:26:33,960 Speaker 1: She wanted us a rocket man and she leave the 492 00:26:34,000 --> 00:26:37,399 Speaker 1: stage and come back and still rocket. So that's how 493 00:26:37,480 --> 00:26:40,639 Speaker 1: she was. And I remember at one point she did 494 00:26:40,720 --> 00:26:44,680 Speaker 1: her tribute to Nis and Dorma live and I put 495 00:26:44,760 --> 00:26:47,040 Speaker 1: the symbols with the Malice and I could see it 496 00:26:47,119 --> 00:26:50,240 Speaker 1: over there, sting and every sting, all crying just to 497 00:26:50,280 --> 00:26:53,000 Speaker 1: hear her sing this in Duma. It was so beautiful. 498 00:26:55,160 --> 00:26:56,760 Speaker 1: I had one woman I'm gonna share with you because 499 00:26:56,960 --> 00:26:59,560 Speaker 1: it's on my brain. Sure. The first time I played 500 00:26:59,600 --> 00:27:02,400 Speaker 1: live with her would be what do you call those? 501 00:27:02,720 --> 00:27:05,560 Speaker 1: An affair where they're like a private function, not for 502 00:27:06,400 --> 00:27:10,600 Speaker 1: just the public, for a private affair in New York. 503 00:27:10,840 --> 00:27:11,600 Speaker 2: Corporate or whatever. 504 00:27:11,840 --> 00:27:14,240 Speaker 1: A great one, though, I like a high faluting one. 505 00:27:15,000 --> 00:27:16,679 Speaker 1: And that was the first one I played live with her, 506 00:27:18,320 --> 00:27:21,160 Speaker 1: and I went up on a jam called Chain of Fools. 507 00:27:21,200 --> 00:27:25,320 Speaker 1: She had another drummer from the Detroit forgetting her name, Gayleen, Gayleen, 508 00:27:25,359 --> 00:27:27,800 Speaker 1: the beautiful girl and a woman play really great, so 509 00:27:27,920 --> 00:27:30,320 Speaker 1: she'd be there and then it'd be my turn, and 510 00:27:30,440 --> 00:27:33,399 Speaker 1: I came on on chaann of Fools. Chain of Fools 511 00:27:33,440 --> 00:27:36,600 Speaker 1: got so rocking with Ralph Armstrong and I. They actually 512 00:27:36,640 --> 00:27:38,760 Speaker 1: sang the song. She said, keep on going. We kept 513 00:27:38,760 --> 00:27:41,200 Speaker 1: going rock Channa fools. Right, she goes and sits down 514 00:27:42,480 --> 00:27:44,840 Speaker 1: like like a prize fight, like in the corner, like 515 00:27:44,880 --> 00:27:47,360 Speaker 1: sitting down the chair. Then she says, tells the guys 516 00:27:47,400 --> 00:27:51,399 Speaker 1: bring me some towels. They wrap her with towels, you know, 517 00:27:51,560 --> 00:27:54,560 Speaker 1: like like a prize fighter, all wrapped up record. Look like, 518 00:27:54,640 --> 00:27:58,600 Speaker 1: what towels? We're over rocking, you know, Channa fools. You 519 00:27:58,640 --> 00:28:01,399 Speaker 1: know what I'm saying. It's really into it. And she's 520 00:28:01,440 --> 00:28:03,520 Speaker 1: sitting there looking at me, you know, as I'm grooving. 521 00:28:04,320 --> 00:28:07,359 Speaker 1: At one point she stood up through all them towels, 522 00:28:07,600 --> 00:28:12,040 Speaker 1: went back to Mike and started rocking hardcore. That's why 523 00:28:12,160 --> 00:28:16,800 Speaker 1: people love her. She just gave everything, every thing. Man. 524 00:28:17,640 --> 00:28:20,880 Speaker 1: It was like Ali and Frasier just bow bow bow 525 00:28:20,960 --> 00:28:25,040 Speaker 1: bow bow bow wow. And then I started realizing when 526 00:28:25,080 --> 00:28:27,639 Speaker 1: you go to Boston, before she even come out, the 527 00:28:27,760 --> 00:28:31,720 Speaker 1: audience be like, oh, oh real, but you're here. Oh, 528 00:28:32,080 --> 00:28:33,800 Speaker 1: it'd be like a friends in the audience before she 529 00:28:33,840 --> 00:28:36,600 Speaker 1: even walk on the stage. And another thing I learned, 530 00:28:36,680 --> 00:28:39,360 Speaker 1: you could never talk to before before the show, and 531 00:28:39,520 --> 00:28:42,440 Speaker 1: she knows you're there, but she be dead quiet, not 532 00:28:42,840 --> 00:28:45,640 Speaker 1: mentioning a word to anybody, saving your voice for a show, 533 00:28:45,920 --> 00:28:47,840 Speaker 1: and also to be back there, missed to make it 534 00:28:48,000 --> 00:28:50,480 Speaker 1: misty for her, but never you can never talk to her. 535 00:28:50,920 --> 00:28:53,120 Speaker 1: You can never talk to her. And she come out 536 00:28:53,120 --> 00:28:56,040 Speaker 1: and jumps kill and she warned you to kill and 537 00:28:56,200 --> 00:29:00,400 Speaker 1: we did. And after every show, the classic thing that's true. 538 00:29:01,040 --> 00:29:04,120 Speaker 1: You go into her bra, pull out the cash, pay 539 00:29:04,200 --> 00:29:06,800 Speaker 1: you in cash. Then you have to sign a little 540 00:29:06,800 --> 00:29:09,840 Speaker 1: piece of paper. You got paid in cash. All right, 541 00:29:10,360 --> 00:29:12,440 Speaker 1: But then one time I got embarrassed because I knew 542 00:29:12,440 --> 00:29:14,000 Speaker 1: I was getting paid more another cat in the band. 543 00:29:14,600 --> 00:29:19,800 Speaker 1: So her girlfriend, part of the family said, go on, 544 00:29:19,920 --> 00:29:22,080 Speaker 1: count your money. No, I think it's gay. Not Gaileen 545 00:29:22,200 --> 00:29:25,400 Speaker 1: said early early, gone count your money. Nod. But I 546 00:29:25,440 --> 00:29:27,080 Speaker 1: feel embarrass the counting in front everyone in all the 547 00:29:27,120 --> 00:29:29,760 Speaker 1: band looking at me like this, yeah, count your money. Now, 548 00:29:30,440 --> 00:29:35,400 Speaker 1: see how much I turn my back and counting. Okay, 549 00:29:35,440 --> 00:29:37,160 Speaker 1: thank you, it's all here, thank you. But I don't 550 00:29:37,160 --> 00:29:38,600 Speaker 1: want to see how much it was he making make 551 00:29:38,640 --> 00:29:42,920 Speaker 1: the band upset, and then read the sipent me you 552 00:29:43,000 --> 00:29:45,040 Speaker 1: gotta enjoy me in New Orleans for the jazz Fest. 553 00:29:45,560 --> 00:29:47,920 Speaker 1: I said, of course, I'll be there for you. But 554 00:29:48,080 --> 00:29:50,840 Speaker 1: she never made the jazz fest. She never made the 555 00:29:50,920 --> 00:29:53,280 Speaker 1: jazz fest. She kind of hold her little side. I 556 00:29:53,360 --> 00:29:54,080 Speaker 1: knew she was in pain. 557 00:29:56,840 --> 00:29:57,320 Speaker 2: Oh thank you. 558 00:29:57,520 --> 00:29:58,640 Speaker 1: We had a close relationship. 559 00:29:58,920 --> 00:30:01,400 Speaker 2: You sure did close the guests. I think you know, 560 00:30:01,960 --> 00:30:04,720 Speaker 2: I'm still trying to get my arms around. I love 561 00:30:04,800 --> 00:30:07,040 Speaker 2: the visual when you said in the studio, how she 562 00:30:07,320 --> 00:30:11,120 Speaker 2: just kind of you know, unbuttoned things there and let 563 00:30:11,200 --> 00:30:13,840 Speaker 2: things hang and said, let me let it rip, baby, 564 00:30:14,240 --> 00:30:15,160 Speaker 2: That's how it was. 565 00:30:16,640 --> 00:30:18,360 Speaker 1: What she wanted to really go for it, like you know, 566 00:30:18,440 --> 00:30:22,480 Speaker 1: she under under her pants. I love it. Oh yes, 567 00:30:23,640 --> 00:30:25,560 Speaker 1: And one more thing you should know. This is a 568 00:30:25,600 --> 00:30:29,000 Speaker 1: classic on the number one record. You know. I in 569 00:30:29,120 --> 00:30:31,200 Speaker 1: those days it was tape, so I only had like 570 00:30:32,000 --> 00:30:36,000 Speaker 1: one reel tape for George, ten tracks another I mean 571 00:30:36,040 --> 00:30:37,960 Speaker 1: I want him two reels, one with a track of 572 00:30:38,040 --> 00:30:40,680 Speaker 1: the band and then another reel of the track. Be 573 00:30:41,240 --> 00:30:46,160 Speaker 1: twenty four ten for George, ten for refam and four 574 00:30:46,240 --> 00:30:49,880 Speaker 1: for they can mess around. So the first day Rereath 575 00:30:49,920 --> 00:30:52,040 Speaker 1: would come in and do our parts, not the all 576 00:30:52,080 --> 00:30:54,320 Speaker 1: the ad lit stuff, just the verse and the real 577 00:30:54,760 --> 00:30:57,920 Speaker 1: was the chorus, isn't the you know verse, the basic 578 00:30:58,000 --> 00:31:01,600 Speaker 1: stuff that George going the next really nervous to let 579 00:31:01,640 --> 00:31:04,840 Speaker 1: out his stuff. He let on his verses, his choruses, 580 00:31:05,160 --> 00:31:06,840 Speaker 1: and I wouldn't do too much oultro sty. I want 581 00:31:06,840 --> 00:31:08,360 Speaker 1: to save a third day for them to come together 582 00:31:08,480 --> 00:31:12,160 Speaker 1: for the ending. But even the verses and choruses, George 583 00:31:12,160 --> 00:31:16,080 Speaker 1: will say to me, you know what, after doing ten tracks, here, 584 00:31:17,160 --> 00:31:20,080 Speaker 1: go back over my first four tracks and I'm feeling stronger. 585 00:31:20,880 --> 00:31:24,640 Speaker 1: And I would say, no, George, I ain't doing that. 586 00:31:24,920 --> 00:31:27,600 Speaker 1: Those first four tracks are the record. You think you're 587 00:31:27,600 --> 00:31:30,880 Speaker 1: getting better, but if beck is not, you're going down. 588 00:31:31,520 --> 00:31:33,920 Speaker 1: The first four tracks were your strongest, and I'm saving 589 00:31:34,040 --> 00:31:35,880 Speaker 1: those tracks. And he looked at me like, who the 590 00:31:36,000 --> 00:31:39,040 Speaker 1: hell do you think you are. I'm George Michael. I 591 00:31:39,160 --> 00:31:40,960 Speaker 1: know you, George Michael. But he wasn't used to having 592 00:31:40,960 --> 00:31:43,040 Speaker 1: a producer. I wasn't used to working with him. But 593 00:31:43,120 --> 00:31:44,840 Speaker 1: I had to stand up a strong because I knew 594 00:31:44,880 --> 00:31:47,920 Speaker 1: what I knew, And I said, George, if you just 595 00:31:48,040 --> 00:31:50,320 Speaker 1: go home, I'll stay up all night copy together the 596 00:31:50,360 --> 00:31:52,200 Speaker 1: best parts to show you when you come tomorrow. If 597 00:31:52,200 --> 00:31:53,880 Speaker 1: you got any problem, we could do it tomorrow. But 598 00:31:53,960 --> 00:31:56,040 Speaker 1: right now I'm stopping. I can't go any further because 599 00:31:56,080 --> 00:31:58,720 Speaker 1: these are the best tracks. So when he came next day, 600 00:31:59,000 --> 00:32:00,920 Speaker 1: I was able to knock him out with how how 601 00:32:01,000 --> 00:32:03,240 Speaker 1: good it sounded, then we could focus on the ending 602 00:32:03,360 --> 00:32:05,520 Speaker 1: and then the ending. I got two mics for a 603 00:32:05,520 --> 00:32:07,240 Speaker 1: wreath end for him. I had just enough to go 604 00:32:07,640 --> 00:32:10,760 Speaker 1: over the ending four different times. First couple of times 605 00:32:10,800 --> 00:32:12,640 Speaker 1: and Aretha is being really nice to him, you know, 606 00:32:13,560 --> 00:32:17,480 Speaker 1: just being kind of mild. Third and fourth time, Hell, 607 00:32:18,720 --> 00:32:22,680 Speaker 1: now she's she's hot. She ripped you listening to but 608 00:32:22,760 --> 00:32:27,440 Speaker 1: you hear that Just an incredible thing, and stun George. 609 00:32:27,440 --> 00:32:31,520 Speaker 1: It was like a stun. It's so incredible. It's on 610 00:32:31,600 --> 00:32:34,520 Speaker 1: the record. So I love that moment to see George 611 00:32:34,560 --> 00:32:37,480 Speaker 1: then stumber her. Yeah, do the knock out blow on him. 612 00:32:38,480 --> 00:32:41,040 Speaker 1: She didn't want to scare him. The hell is she gonna? 613 00:32:41,160 --> 00:32:44,200 Speaker 1: I canna help it? She's a wreatha oh man. Yeah. 614 00:32:44,960 --> 00:32:46,440 Speaker 2: I have two more things I wanted to talk to 615 00:32:46,480 --> 00:32:49,800 Speaker 2: you about. One is I want to talk about Euphoria 616 00:32:50,800 --> 00:32:54,360 Speaker 2: and still yours for the summer. Oh, there it is. 617 00:32:55,080 --> 00:32:58,720 Speaker 2: The hearts are coming up. Tell me how much enjoyment 618 00:32:58,840 --> 00:33:00,520 Speaker 2: you had creating that work? 619 00:33:01,560 --> 00:33:05,040 Speaker 1: Which one euphoriah Yeah, that was great. That was with 620 00:33:05,160 --> 00:33:07,800 Speaker 1: our partner in Italy named Leno Nickelossi and his family 621 00:33:08,120 --> 00:33:10,200 Speaker 1: where I write my songs over here. Caught him do 622 00:33:10,280 --> 00:33:12,640 Speaker 1: what I'm going to do sing them and some over 623 00:33:12,680 --> 00:33:15,480 Speaker 1: there for his touch to add into it, his guitar work, 624 00:33:15,920 --> 00:33:18,120 Speaker 1: his sister of Bad Bad as bass player, his brother 625 00:33:18,160 --> 00:33:20,200 Speaker 1: Bat has keyboard players, kind of just dress it up. 626 00:33:20,480 --> 00:33:22,880 Speaker 1: From the European standpoint, I wanted to make sure I 627 00:33:22,960 --> 00:33:26,120 Speaker 1: offer them into the European people of my work because 628 00:33:26,120 --> 00:33:28,440 Speaker 1: they loved me over there ever since I I should 629 00:33:28,520 --> 00:33:31,880 Speaker 1: love James Nnamri divine emotion. Europe comes to life with 630 00:33:31,960 --> 00:33:33,880 Speaker 1: my music. Give Me, Give Me Game is like number 631 00:33:33,920 --> 00:33:36,440 Speaker 1: one in Sweden. So I thought, let's have some fun 632 00:33:36,480 --> 00:33:38,560 Speaker 1: with the European touch, and that's what he brought. That 633 00:33:38,640 --> 00:33:40,120 Speaker 1: was a lot of fun for me to hear back 634 00:33:40,160 --> 00:33:44,240 Speaker 1: and forth, the culmination of my vibe, his vibe coming together, 635 00:33:44,960 --> 00:33:48,000 Speaker 1: and on the song for Sting, I had that Lavault 636 00:33:48,480 --> 00:33:51,360 Speaker 1: staying Carlos Stevie the more I Love my Life, and 637 00:33:51,440 --> 00:33:53,440 Speaker 1: I said, let me just make this into the little 638 00:33:53,440 --> 00:33:55,960 Speaker 1: European touch on it. So he did that too, and 639 00:33:56,040 --> 00:33:57,720 Speaker 1: that was lovely called them more I love my life. 640 00:33:58,280 --> 00:34:00,040 Speaker 1: So that was a lot of fun to me. A 641 00:34:00,080 --> 00:34:03,360 Speaker 1: lot of hard work because it's you're working two carlets. 642 00:34:03,840 --> 00:34:05,880 Speaker 1: You know, when I'm when I'm sleeping he's awake and 643 00:34:06,080 --> 00:34:08,120 Speaker 1: vice versa. You know, I wake up at six in 644 00:34:08,160 --> 00:34:09,880 Speaker 1: the morning whatever, and there he'd be like on me, 645 00:34:09,960 --> 00:34:13,320 Speaker 1: but no, it's a notees a notes. So that was 646 00:34:13,360 --> 00:34:16,319 Speaker 1: a lot, but it was it was great music. Now 647 00:34:16,400 --> 00:34:18,320 Speaker 1: this new album line, I made. 648 00:34:18,200 --> 00:34:21,000 Speaker 2: It right here in my in my house two years 649 00:34:21,040 --> 00:34:21,560 Speaker 2: for the summer. 650 00:34:21,920 --> 00:34:23,200 Speaker 1: It's in a way it's easier for me because I 651 00:34:23,200 --> 00:34:25,840 Speaker 1: can just do it, you know, and. 652 00:34:25,960 --> 00:34:29,279 Speaker 2: You had the great version of Hot Fun in the summertime. 653 00:34:29,800 --> 00:34:33,120 Speaker 1: Yeah, I felt like, uh, an honor to Sly. I 654 00:34:33,200 --> 00:34:35,960 Speaker 1: didn't realize it's gonna die, but something in my spirits 655 00:34:36,000 --> 00:34:38,600 Speaker 1: to honor Sly and make it a dance version, like 656 00:34:38,800 --> 00:34:40,120 Speaker 1: just change it up. So I took Hot Fun and 657 00:34:40,160 --> 00:34:42,239 Speaker 1: Madute a dance kind of disco way and fun and 658 00:34:42,840 --> 00:34:45,640 Speaker 1: what you wouldn't expect. And when I did it, Jeff 659 00:34:45,680 --> 00:34:47,759 Speaker 1: mcclus go out of Chicago. The big radio grew from 660 00:34:47,880 --> 00:34:48,879 Speaker 1: Clyde Davis's camp. 661 00:34:49,040 --> 00:34:50,919 Speaker 2: I know Jeff Yea and his team. 662 00:34:50,960 --> 00:34:53,000 Speaker 1: They said this should be your first single because it's 663 00:34:53,040 --> 00:34:55,279 Speaker 1: something old, something new. I said, okay, put it up, 664 00:34:55,400 --> 00:34:57,560 Speaker 1: so they did. But then I kept and I came 665 00:34:57,640 --> 00:35:01,000 Speaker 1: on another song, cale Boujie cherry Bomb, the Summertime. Call 666 00:35:01,040 --> 00:35:05,080 Speaker 1: it kind of funky bikini sexy type song, having fun 667 00:35:05,760 --> 00:35:07,120 Speaker 1: in the you know, in the beaches and all that. 668 00:35:07,800 --> 00:35:10,919 Speaker 1: And then our third single decided to make uh Warren 669 00:35:11,040 --> 00:35:13,960 Speaker 1: Chappele said, do something from your catalog, you know, because 670 00:35:14,120 --> 00:35:16,840 Speaker 1: you got this great catalog. Take one those songs and 671 00:35:17,080 --> 00:35:19,399 Speaker 1: redo it. I said, well, let's take I Should Loved 672 00:35:19,440 --> 00:35:21,839 Speaker 1: You and and and I had I remember that Leono 673 00:35:21,880 --> 00:35:23,279 Speaker 1: had done a remix of I Should Have Loved You. 674 00:35:23,520 --> 00:35:26,160 Speaker 1: So I took Leno's remix, make sure I had did 675 00:35:26,239 --> 00:35:29,800 Speaker 1: my did new vocals, new stuff on it, you know. 676 00:35:30,080 --> 00:35:34,799 Speaker 1: And that became our third single. And now the album 677 00:35:34,920 --> 00:35:38,040 Speaker 1: is just freshly out and I'm really problem to. 678 00:35:38,000 --> 00:35:40,279 Speaker 5: The song stinger It's the Summer Beach is Neil Sean 679 00:35:40,320 --> 00:35:43,880 Speaker 5: from journr great soul of me him got another testimony 680 00:35:43,960 --> 00:35:46,080 Speaker 5: from my vision how much I love him, how much 681 00:35:46,080 --> 00:35:49,560 Speaker 5: he helped me, discovering me, bringing me opening the door. 682 00:35:49,960 --> 00:35:54,000 Speaker 1: Because I got to tell you, buzz night to making 683 00:35:54,080 --> 00:35:56,759 Speaker 1: this industry is the hardest thing in the world. There's 684 00:35:56,800 --> 00:36:00,240 Speaker 1: no book on it. There's no book on it, there's 685 00:36:00,280 --> 00:36:04,439 Speaker 1: no magic, it's just happ of the stance. I saw 686 00:36:04,560 --> 00:36:08,760 Speaker 1: so many talented talented people in Midwest, you know, touring, 687 00:36:08,840 --> 00:36:11,520 Speaker 1: I see they're so great, gifted, but maybe they'd never 688 00:36:11,600 --> 00:36:13,759 Speaker 1: make it. So I was just always praying I was 689 00:36:13,800 --> 00:36:16,240 Speaker 1: gonna do with this mobiste that you know that actually 690 00:36:16,280 --> 00:36:17,920 Speaker 1: took me in and mainly because I think I was. 691 00:36:18,000 --> 00:36:20,160 Speaker 1: I was ready to pray and meditate with the Guru 692 00:36:20,480 --> 00:36:23,560 Speaker 1: and and just make myself what he needed me to be. 693 00:36:24,560 --> 00:36:27,560 Speaker 1: And it was where it worked out, and God blessed 694 00:36:27,560 --> 00:36:29,719 Speaker 1: it because from there I toured Mavishnin and met Jeff 695 00:36:29,800 --> 00:36:33,040 Speaker 1: Back and the Weather Report and you know, all kind 696 00:36:33,040 --> 00:36:35,919 Speaker 1: of about Tommy Bowling. I actually talked with Jordan, Tommy 697 00:36:35,960 --> 00:36:38,440 Speaker 1: Bowlen's band over Weather Report because I wanted to do 698 00:36:38,520 --> 00:36:40,520 Speaker 1: more rock and roll at that time. So all those 699 00:36:40,560 --> 00:36:43,680 Speaker 1: doors just started opening for me, you know, Garden Love Life. 700 00:36:43,680 --> 00:36:45,920 Speaker 1: I was able to make my album solo albums with Atlantic. 701 00:36:47,000 --> 00:36:50,359 Speaker 1: You know, it's it was easy, but but God made away. 702 00:36:51,280 --> 00:36:54,040 Speaker 1: So I was very thankful in my life that I've 703 00:36:54,040 --> 00:36:57,080 Speaker 1: been able to kind of cross reading across. You know, 704 00:36:57,200 --> 00:37:00,520 Speaker 1: meet Tommy Dowd, you know who says you got to 705 00:37:00,520 --> 00:37:03,520 Speaker 1: bring a Sissy Houston singing on the Guarden Love Light. Okay, 706 00:37:03,760 --> 00:37:06,000 Speaker 1: I know Sissy, but he did so he din't come 707 00:37:06,040 --> 00:37:08,600 Speaker 1: to Sissy Houston with her whole group. And here's little 708 00:37:08,600 --> 00:37:10,960 Speaker 1: Whitney Houston, eleven years old on the corner watching the 709 00:37:11,040 --> 00:37:14,440 Speaker 1: session and they sound incredible. Wow, I met Whitney when 710 00:37:14,440 --> 00:37:18,560 Speaker 1: she's eleven. That's because of telling me doubt incredible that 711 00:37:18,600 --> 00:37:20,640 Speaker 1: saw I got another piece for Jeff Beck. Jeff flew 712 00:37:20,680 --> 00:37:23,160 Speaker 1: in from London to come on saying the Rascal Carlos 713 00:37:23,200 --> 00:37:26,360 Speaker 1: and Vantandna come play on First Love on my first album. 714 00:37:26,880 --> 00:37:29,239 Speaker 1: Sounds so blessed. Mike Gibbs, who arranged the strings for 715 00:37:29,280 --> 00:37:34,080 Speaker 1: Apocalypse from official Organs arrange the strings for my album 716 00:37:34,160 --> 00:37:41,279 Speaker 1: Garden Lovelight. So I'm just I'm really really grateful, uh 717 00:37:42,160 --> 00:37:44,080 Speaker 1: that so many nice things that's been in able to 718 00:37:44,160 --> 00:37:45,160 Speaker 1: come across my path. 719 00:37:46,360 --> 00:37:48,560 Speaker 2: Can you share the new project that you're that you're 720 00:37:48,600 --> 00:37:48,920 Speaker 2: working on? 721 00:37:49,520 --> 00:37:50,880 Speaker 1: Which one you mean that one? Today? 722 00:37:51,320 --> 00:37:51,520 Speaker 3: Yeah? 723 00:37:51,640 --> 00:37:51,960 Speaker 2: Today? 724 00:37:52,360 --> 00:37:54,800 Speaker 1: Today we're on a very heavy project, heavy in the 725 00:37:54,880 --> 00:37:58,000 Speaker 1: sense that is so mind blow mind boggling. We're doing 726 00:37:58,040 --> 00:38:00,239 Speaker 1: a tribute to Motown. It's called the Motown Still. It's 727 00:38:02,280 --> 00:38:04,560 Speaker 1: a song that Otis Williams from the Temptations wants me 728 00:38:04,640 --> 00:38:07,319 Speaker 1: to write and we're running it together to honor all 729 00:38:07,360 --> 00:38:11,160 Speaker 1: the greatness of Motown. So I couldn't attract twice because 730 00:38:11,160 --> 00:38:12,320 Speaker 1: I wanted to make it. First time I did, it 731 00:38:12,400 --> 00:38:15,600 Speaker 1: was more like kind of easy going, like a what's 732 00:38:15,640 --> 00:38:18,239 Speaker 1: going on kind of cool? But then we want to 733 00:38:18,360 --> 00:38:20,360 Speaker 1: put up we man, we have going to attracted twice 734 00:38:20,400 --> 00:38:27,000 Speaker 1: now making it more more more dynamic. So and then 735 00:38:27,040 --> 00:38:28,239 Speaker 1: I had I had to look good to change my 736 00:38:28,320 --> 00:38:30,600 Speaker 1: lyric to make them more than them two. But it's 737 00:38:30,600 --> 00:38:32,600 Speaker 1: so much of a story who you who you? Who 738 00:38:32,680 --> 00:38:34,239 Speaker 1: you put in? Who do we have to leave out? 739 00:38:34,360 --> 00:38:37,920 Speaker 1: Because you only got four minutes, you know. But it's 740 00:38:38,000 --> 00:38:41,040 Speaker 1: incredible that the word that came out of Motown. It 741 00:38:41,120 --> 00:38:45,080 Speaker 1: is staggering, you know. James Jamison, Benny Benjamin, how they 742 00:38:45,160 --> 00:38:47,920 Speaker 1: found a little Cde Wonder Ronald White for the miracles, 743 00:38:48,160 --> 00:38:51,319 Speaker 1: How Smooky wrote, my guy and my girl produced them. 744 00:38:51,600 --> 00:38:53,280 Speaker 1: Of course all he hit some month them for the miracles, 745 00:38:53,320 --> 00:38:56,200 Speaker 1: became the vice president of the company. How the Temptations 746 00:38:56,239 --> 00:38:58,080 Speaker 1: came on, that came on the scene and became the 747 00:38:58,120 --> 00:39:02,359 Speaker 1: biggest act over there. You know, four tops. Dinah Ross 748 00:39:02,440 --> 00:39:06,560 Speaker 1: was a receptionist. They came down to Ross became the supremes. 749 00:39:06,960 --> 00:39:10,040 Speaker 1: Martha Reeves told me. She had the Hottage records, you know, 750 00:39:10,120 --> 00:39:12,600 Speaker 1: heat waved and quicksand and dancing, just because you paid 751 00:39:12,640 --> 00:39:14,960 Speaker 1: them more money. So that's why my records had more heat. 752 00:39:15,000 --> 00:39:18,120 Speaker 1: Of damn, it's true. Those those records she put out 753 00:39:18,160 --> 00:39:21,560 Speaker 1: was had fire. There's just so much in there. 754 00:39:21,880 --> 00:39:24,520 Speaker 2: Yeah, oh my god, how exciting and blessed the great 755 00:39:24,560 --> 00:39:25,920 Speaker 2: Mickey Stevenson. 756 00:39:25,640 --> 00:39:29,280 Speaker 1: Right right, but his name is not mentioned, but exactly. 757 00:39:29,160 --> 00:39:32,080 Speaker 2: Yeah, well he was always the man behind the scenes, right. 758 00:39:32,320 --> 00:39:34,520 Speaker 1: Yeah, the andante's all the backing singers, they're not real. 759 00:39:34,520 --> 00:39:36,759 Speaker 1: They mentioned what they were there, Kim Weston, who I loved, 760 00:39:37,520 --> 00:39:39,560 Speaker 1: you know, take me your armors, brock me a little while. 761 00:39:39,600 --> 00:39:41,600 Speaker 1: That's not what you mentioned. It is more of the 762 00:39:41,680 --> 00:39:45,439 Speaker 1: main thing that we all know, o man and Barry Gordy. Yeah, 763 00:39:45,480 --> 00:39:47,719 Speaker 1: and the team. How hard they worked. They take all 764 00:39:47,800 --> 00:39:51,240 Speaker 1: these kids from the ghettos, they had nothing and polish 765 00:39:51,280 --> 00:39:52,800 Speaker 1: them up, teach them how to eat, out of dress, 766 00:39:52,840 --> 00:39:55,360 Speaker 1: how to dance, how to meet the king and the 767 00:39:55,440 --> 00:40:02,000 Speaker 1: queen and had him records and they did all right. 768 00:40:02,080 --> 00:40:05,880 Speaker 2: Man, I can't thank you enough. I can't thank you 769 00:40:06,080 --> 00:40:08,640 Speaker 2: enough for being on taking a walk narrative, Michael Bold, 770 00:40:08,640 --> 00:40:11,239 Speaker 2: and for all you give us well. You continue to 771 00:40:11,320 --> 00:40:13,840 Speaker 2: give us the joy, you give us, the energy, you 772 00:40:14,000 --> 00:40:17,640 Speaker 2: give us, the positive vibes and the love. Oh man, 773 00:40:17,719 --> 00:40:19,520 Speaker 2: thank you so much, Thank you too. 774 00:40:20,960 --> 00:40:21,759 Speaker 1: Do you want to anything else? 775 00:40:21,800 --> 00:40:25,239 Speaker 2: You all done? I I you know what Part two 776 00:40:25,360 --> 00:40:28,680 Speaker 2: will be coming around. I love it. I love that. 777 00:40:28,719 --> 00:40:30,399 Speaker 1: I'm so great that one says a by. 778 00:40:31,840 --> 00:40:31,880 Speaker 3: Me. 779 00:40:32,000 --> 00:40:35,399 Speaker 2: Man, you are the best. 780 00:40:36,000 --> 00:40:37,800 Speaker 1: Thank you so much. I love you. 781 00:40:39,239 --> 00:40:41,640 Speaker 3: Thanks for listening to this episode of the Taking a 782 00:40:41,719 --> 00:40:45,560 Speaker 3: Walk podcast. Share this and other episodes with your friends 783 00:40:45,719 --> 00:40:49,200 Speaker 3: and follow us so you never miss an episode. Taking 784 00:40:49,239 --> 00:40:53,120 Speaker 3: a Walk is available on the iHeartRadio app, Apple Podcasts, 785 00:40:53,360 --> 00:40:55,600 Speaker 3: and wherever you get your podcasts.