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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Here we Go,

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Speaker 1: Suprema Some Supremo.

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Speaker 2: Roll called Suprema Supremo, Roll call Suprema Supremo, Roll Suprema Supreme.

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Speaker 3: Roll call.

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Speaker 1: It's ladies night. Yeah, let's celebrate. Yeah, get down on it.

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Speaker 4: Yeah, Wron James Taylor Supreme Supremo, Role called Suprema So Supreme.

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Speaker 1: Roll call.

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Speaker 5: My name is Sugar. Yeah, I'm the engineer. Yeah, and

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Speaker 5: I love great music. Yeah, that's why I'm here.

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Speaker 2: Supreme Supremo. Roll Supreme Supremo.

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Speaker 1: Roll call. My name's Boss Bill.

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Speaker 6: Yeah.

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Speaker 1: And I ain't no sucker. Yeah, what are we doing?

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Speaker 1: Roll call Brother Trucker, Supremo.

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Speaker 2: Supremo, Roll Suprema So Supremo.

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Speaker 1: Roll call It's like yeah.

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Speaker 7: And James Taylor, Yeah, I ain't no lame, no fine range,

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Speaker 7: roll call Supremo, Son Sun Supremo.

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Speaker 6: Roll I'm James. Yeah, I came up here today. I

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Speaker 6: guess I'm here for you. I'm ready, suprem.

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Speaker 1: We'll take it. Supremo. Roll call Sprema, Roll.

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Speaker 2: Supremo, roll call Suprema Sun Supremo, Roll call Suprema Supremo.

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Speaker 7: Roll call.

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Speaker 1: Nice. All right, we got through that.

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Speaker 6: Just barely know.

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Speaker 4: Ladies and gentlemen, we have less than an hour to

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Speaker 4: unravel the complex artistry of over fifty years. That is

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Speaker 4: our guest today and probably one of my favorite singers ever.

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Speaker 4: I'll just say on a personal note to be selfish

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Speaker 4: on the show that has my name in it, James

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Speaker 4: Taylor is. His voice, in my opinion, is probably hands down.

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Speaker 4: I believe one of the most beautiful, soothing, warm sounds

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Speaker 4: that I can recall. It's kind of my trusted blanket,

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Speaker 4: you know. It's a favorite uncle, my favorite teacher in school.

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Speaker 4: And yeah, this is coming from a guy who also

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Speaker 4: thinks that HR from Bad Brains is equally as soothing.

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Speaker 6: I'm sorry, but I'm gonna take it as a compliment.

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Speaker 4: Yeah, James sale in hr Man, I'll be the first

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Speaker 4: to admit that, Well, one, I'm probably the only media

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Speaker 4: personality that doesn't care if that song was about you.

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Speaker 1: She's already said that it wasn't about him. Well, I know,

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Speaker 1: I know, but you.

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Speaker 4: Know, mainly mainly mainly because I think I pegged it

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Speaker 4: in my head. With a voice that soothing, I'd never

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Speaker 4: bothered to even look under the hood. I don't know

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Speaker 4: if I subconsciously didn't want to look under the hood

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Speaker 4: because it's just like that's my trusted blanket. And in

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Speaker 4: the week and a half of preparation that I decided

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Speaker 4: to search under the James Taylor hood.

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Speaker 1: Yikes, I was wrong.

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Speaker 4: And you know, his his newest book Breakshot, or his

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Speaker 4: audiobook Breakshot Audible. Yes on Audible Exclusive. So it's a

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Speaker 4: must be for us an here for every artist I

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Speaker 4: ever worked with. This is literally like I'm not even

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Speaker 4: separating myself. It's probably I needed this too. It dissects

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Speaker 4: the first twenty one years of his life and which

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Speaker 4: is kind of an understatement to say, is a rather

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Speaker 4: dark journey which now really has me to the point

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Speaker 4: where I'm just obsessed with entertainers or comedians or actors

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Speaker 4: or whoever that managed to ruise me in a way,

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Speaker 4: in a way of like ladies and gentlemen, James Tayale

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Speaker 4: is here.

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Speaker 1: Everyone's looking at each other.

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Speaker 4: Like, yeah, man, it's like we got We've only got you.

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Speaker 4: We got fifty one minutes left his voice. Thank you

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Speaker 4: for coming on the show. You know, you know the

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Speaker 4: special this is Zarah is here. Yeah, and it's not

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Speaker 4: even a political figure thereah one of my managers only here.

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Speaker 4: Whenever someone's here.

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Speaker 1: Discuss politics and Chris, it does it out, especially, you know,

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Speaker 1: if she's in the room watching how how are you?

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Speaker 6: I'm good, I'm good. Yeah, you know, it's it's like

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Speaker 6: a We've got a couple of projects that are coming

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Speaker 6: out at the same time and a tour h starting

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Speaker 6: up in April, so you know, it's a very like

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Speaker 6: a it's a busy season, and it's it's kind of

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Speaker 6: a promotional season, you know, and where you take your

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Speaker 6: stuff to market. And that's always been you know, that's

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Speaker 6: always been a kind of a difficult passage for me.

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Speaker 6: Will you make a project you know over a in

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Speaker 6: this case, it took us a couple of years to

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Speaker 6: make this album, and uh, and then you take it

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Speaker 6: by its little hand and lead it into the marketplace,

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Speaker 6: you know, and and launch it. And that's that's always

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Speaker 6: sort of a can be a you know, a confusing process,

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Speaker 6: but but it's one that I've I've gotten used to.

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Speaker 6: And not only that, it's become much much better as

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Speaker 6: time has gone by. I'm talking to people almost completely

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Speaker 6: who I who I admire and and respect, and and

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Speaker 6: that makes all the difference.

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Speaker 1: You know.

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Speaker 6: I mean back in the beginning, you'd sort of go

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Speaker 6: to Rolling Stone and hope that some intern who is

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Speaker 6: interviewing you, you know, cutting your teeth on on your

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Speaker 6: your project and reviewing it, that that could be really

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Speaker 6: uh just just made it a daunting kind of a

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Speaker 6: process to get into. But but you know, I've been

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Speaker 6: feeling really good about this, this particular project and the

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Speaker 6: people I've met and talked to about it.

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Speaker 4: So you're saying, even this late in the game, when

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Speaker 4: you create product, you still go through the process of

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Speaker 4: its critical reception. It's how it fares well with your

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Speaker 4: fan base and whatnot. You still have those.

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Speaker 6: Absolutely, you know it. It's still a part of the work.

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Speaker 6: It's it's where you you know, music used to happen. Well,

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Speaker 6: it used to happen in the street, and it used

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Speaker 6: to happen in the in the on the farm. Uh.

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Speaker 6: But it used to happen in the church and in

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Speaker 6: the court, you know, those who are or in academia somehow,

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Speaker 6: you know. And I think that having music exists in

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Speaker 6: a commercial context where it's saleable, is a better choice.

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Speaker 6: That's better than the court or the church. In my opinion,

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Speaker 6: It's not better than essentially folk music, which is which

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Speaker 6: is sort of free, but it's definitely a step in

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Speaker 6: the right direction to have it to take it to

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Speaker 6: market in order to get people to hear it.

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Speaker 4: So when you're in your formative years at least for

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Speaker 4: like your first five or six albums, are you obsessively

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Speaker 4: looking to see like do you take a Lester Bangs

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Speaker 4: seriously or even a Christa Gal Or I'm trying to

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Speaker 4: figure out, like who is the the pitchwork of his day,

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Speaker 4: like the the critic that or John.

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Speaker 6: Landau, John Lando or Hillman out out in Los Angeles

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Speaker 6: or Robert Hillman.

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Speaker 4: Yeah, yeah, so that that would mean something.

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Speaker 6: To you, absolutely, I mean, just inas much as it

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Speaker 6: it either pushes the project along and gets it out

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Speaker 6: there for people to hear or it doesn't. That was

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Speaker 6: always the priority. In fact, I made such ruinous deals

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Speaker 6: and decisions early on, mostly due to bad advice, that

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Speaker 6: I never really saw records as a source of income.

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Speaker 6: They never were, so I always just looked at it

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Speaker 6: as a way to support touring and also as a

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Speaker 6: way to just get my thing out there, to get

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Speaker 6: my art out there.

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Speaker 4: Well, that's weird to hear, because I thought I was

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Speaker 4: the only artist that was like, eh, record sales whatever,

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Speaker 4: like when we tore that's how I make my money.

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Speaker 4: And the records so were like the flyer that you advertise, Hey,

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Speaker 4: I'm coming to town, that sort of thing.

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Speaker 6: Well, it's also the medium that we work in if

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Speaker 6: you're a recording artist, and I think that's something I've

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Speaker 6: gotten better at over time. I cringe when I listened

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Speaker 6: to my early stuff, but over time I've gotten better

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Speaker 6: at recording and gotten closer to what I hear in

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Speaker 6: my mind when I when I think about it too.

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Speaker 4: I'm just curious what James Taylor album makes you. I

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Speaker 4: I I'm kind of concerned. I'm like, oh, please, don't

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Speaker 4: let it be one of my favorites.

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Speaker 6: Ye.

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Speaker 4: Yeah, I'm like like for you, like, what's what's your like?

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Speaker 1: Yeah?

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Speaker 4: What what album that Every fan like, Oh my god,

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Speaker 4: oh my god, you're just like whatever.

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Speaker 6: Well, the first one, the James the one.

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Speaker 4: But even then, it's like, if I recall correctly, you've

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Speaker 4: spoken a few times that you know you were creating

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Speaker 4: that right when the Beatles were creating.

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Speaker 1: The White Album. Yeah, White album, correct, So like whenever

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Speaker 1: the Beatles weren't tried in the studio.

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Speaker 6: You were there, that's right, we were. They let you

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Speaker 6: race the board and just yeah, they did. I guess.

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Speaker 6: There weren't digital cameras in those days, so you you

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Speaker 6: you couldn't take a picture of it and expect to

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Speaker 6: have it the next day, right, a polaroid, I guess.

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Speaker 6: But no, I never actually thought about that. Man.

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Speaker 4: Did you realize that you were in the eye of

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Speaker 4: probably the most celebrated creative storm in music history?

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Speaker 6: I did. I was aware of that in a sort

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Speaker 6: of But you know, in those days, I really I lived,

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Speaker 6: you know, a day at a time, maybe a week

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Speaker 6: at a time. I just didn't I didn't really expand

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Speaker 6: beyond what was sort of in the room, you know

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Speaker 6: it all. Yes, it seemed surreal to to have been,

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Speaker 6: you know, a year prior to that, I'd been here

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Speaker 6: in New York and my band had failed, and I'd

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Speaker 6: sort of limped back to North Carolina to lick my wounds,

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Speaker 6: you know, and then lo and behold, a year later,

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Speaker 6: I'm auditioning for for Paul McCartney and George Harrison. So

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Speaker 6: it was on one lem level unbelievable. But you know,

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Speaker 6: I just accepted it as as what was happening now.

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Speaker 4: You know, how did even worried about you get to

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Speaker 4: to Paul and George?

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Speaker 1: Were you the first artist sign to? Yes, okay, I was.

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Speaker 6: The first artist signed. And my lucky break was that

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Speaker 6: my main partner actually through most of my musical life

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Speaker 6: as man a guitarists from from New York, lives in

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Speaker 6: Los Angeles, now named named Danny Kortchmark, Cooch and Coach

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Speaker 6: had backed up Peter and Gordon, a sort of British

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Speaker 6: invasion group like Chad and Jeremy. They had had a

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Speaker 6: World Without Love was a song of Theirs and Knight

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Speaker 6: and Rusty Armor, you know, sort of a British novelty duo,

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Speaker 6: you know, very much British invasion sort of mold. But

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Speaker 6: and then the year after that, I had been in

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Speaker 6: the band with Coach here in New York. So I

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Speaker 6: called Coots after I got to London. I said, if

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Speaker 6: you still got a number for Peter Asher And it

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Speaker 6: turned just thinking that he might have some contacts in

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Speaker 6: the music business in London, And as it turned out,

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Speaker 6: he had just signed on his head of a n

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Speaker 6: R for this brand new label that the Beatles were starting,

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Speaker 6: Apple Records. So he was basically looking for people to sign,

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Speaker 6: and it couldn't have been it couldn't have been better timing.

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Speaker 6: It was just you know, it really threaded the needle

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Speaker 6: and the and the window was very short for you know.

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Speaker 6: I was signed, Billy Preston was signed, Mary Hopkins yeah,

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Speaker 6: m j Q. Yeah, Okay, that's amazing. I didn't realize

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Speaker 6: that a group called Bad Finger and a guy named

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Speaker 6: Jackie Lomax, but the five or six there seven acts

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Speaker 6: that were signed within the ten month period, that Apple

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Speaker 6: was actually open to other people. That's that is to say,

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Speaker 6: before Alan Klein came in and just shut it down.

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Speaker 6: It was I'm sure it was hemorrhaging money, but I'm

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Speaker 6: also sure that it was just a unique opportunity you

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Speaker 6: know too. And they gave me that that first chance.

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Speaker 6: So that's that's how I ended up. I got my

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Speaker 6: little demo reel to reel tape to Peter Asher. He

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Speaker 6: I played him a number of songs and and he said,

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Speaker 6: let's go up and and see if we can play

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Speaker 6: this for a beatle up.

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Speaker 1: Up at uh. I love how casual that just comes right,

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Speaker 1: you know, It's like, yeah, let's just see if the beatles.

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Speaker 6: Here and the way Peter remembers that the day we

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Speaker 6: went up to I got my guitar in my little

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Speaker 6: cardboard case and I follow him up to, uh, this

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Speaker 6: building in Baker Street in London where their temporary first

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Speaker 6: offices were in and he, uh sort of installs me

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Speaker 6: in a room and says, is there a beadle in

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Speaker 6: the house? Leans out into the hall.

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Speaker 1: And that's amazing, that's amazing.

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Speaker 6: And I say, I say it's as Peter remembers it,

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Speaker 6: because because I myself, the whole day is just like blur. Yeah,

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Speaker 6: I mean I was. I was like made for one

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Speaker 6: ten and plugged into two twenty. You know, it was

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Speaker 6: a totally total reference, totally shocked.

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Speaker 1: You know.

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Speaker 4: Well, okay, we brought up Peter Asher, who's such a

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Speaker 4: at least I consider it. I mean, would you say

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Speaker 4: that Asher is like one of the Mount Rushmore figures

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Speaker 4: of what I think of when I think of the

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Speaker 4: California sound or definitely that.

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Speaker 1: So how what what is that description?

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Speaker 4: Because if someone that's not familiar with your work, like

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Speaker 4: I don't know how your album's got in my household,

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Speaker 4: but they were there because and it wasn't like I mean,

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Speaker 4: now they have titles for it soft rock, yacht rock,

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Speaker 4: or whatever they want to call it.

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Speaker 6: But yacht rock that's good, I know.

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Speaker 4: Well, you know, it's made this sort of niche, comedic,

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Speaker 4: you know, reference comeback thing, but that's made it cool again,

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Speaker 4: like stuff that again a Lester bangs or a christa

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Speaker 4: gal like, I'm better than this type of whatever, Like

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Speaker 4: now it's worship and revered and those things. But how

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Speaker 4: did you and Peter like figure out this plan to

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Speaker 4: sort of is it folky?

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Speaker 1: Is it country? Is it blues leaning? Is it you know?

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Speaker 4: How would you describe the sound that you two molded

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Speaker 4: that I felt really defined the next ten years of

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Speaker 4: what pop music would be, the California sound if you will.

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Speaker 6: Well, yeah, you know I was. I was just playing

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Speaker 6: on the guitar the songs that I'd written, and counting

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Speaker 6: on a a sort of community of players. Russ Kunkle

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Speaker 6: on the drums, coach guy named Lee Sclar playing the bass,

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Speaker 6: Carol King on the on the piano. I basically was,

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Speaker 6: but essentially I was counting on them to be, you know,

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Speaker 6: to do head arrangements of my guitar arrangements, you know,

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Speaker 6: so that you sort of pass it on to another musician,

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Speaker 6: usually a keyboard player. But basically you write out it

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Speaker 6: just a simple chord chart and pass it around and

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Speaker 6: count it off.

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Speaker 1: You know.

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Speaker 6: This strange thing about well, actually it's still the case

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Speaker 6: that often the time when the song is recorded for

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Speaker 6: posterity is the first time it's played. You know, that's

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Speaker 6: an odd thing that you don't, yeah, that you don't

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Speaker 6: get to or even the seventh take. But the point

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Speaker 6: is you haven't had a chance to tour it for

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Speaker 6: twenty performances and sort of you know, nail it down

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Speaker 6: and refine it. And I've always thought that would be

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Speaker 6: a good way to go.

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Speaker 4: Okay, So the question I have about Sweet Baby James

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Speaker 4: is how do you have an active record deal and

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Speaker 4: you're still homeless, like, or at least I've heard you

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Speaker 4: mentioned a few times that for that first album you're

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Speaker 4: kind of just a nomad, like crashing on couches and

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Speaker 4: how like was money just not available back then, or

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Speaker 4: like how did you.

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Speaker 6: Well enough money was you know, and I didn't have

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Speaker 6: a place to stay in Los Angeles, so Peter had

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Speaker 6: a house at the corner of Olympic and Highland, and

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Speaker 6: and you know, I just would crash there with at

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Speaker 6: Peter's house while while we were recording in Sunset Sound.

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Speaker 6: But I started building a house for myself in I

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Speaker 6: think in nineteen seventy two in the back in the

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Speaker 6: woods on Martha's Vineyard Island, where my family had sort

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Speaker 6: of fetched up because my folks had taken me there

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Speaker 6: and had taken all of us there in the summertime

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Speaker 6: from North Carolina. My mom was a you know, she

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Speaker 6: really was culture shocked by moving to North Carolina and

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Speaker 6: where my dad was worked with the University of North Carolina.

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Speaker 6: So she wanted to bring us up north every every

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Speaker 6: and try to keep our sort of Yankee roots to

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Speaker 6: the extent we could. And so my family all gravitated

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Speaker 6: towards that place as being the happiest place, you know,

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Speaker 6: and and we ended all ended up living there. But

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Speaker 6: your question was about being homeless. I suppose that it

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Speaker 6: was sort of rootless.

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Speaker 4: Okay, right, no, no, no, yeah, let me clarify. It wasn't

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Speaker 4: like he was sleeping on the street cords like it

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Speaker 4: was all this guy out.

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Speaker 1: But I don't know.

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Speaker 4: In my mind, I just feel like there's a certain

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Speaker 4: level of comfort that one has to have, at least

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Speaker 4: I think in order to find their creative space. Where

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Speaker 4: I've been in a few situations in which if my

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Speaker 4: personal life is in shambles, that affects my creative output.

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Speaker 1: And so am I.

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Speaker 4: You know, to hear you hear describe that you were

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Speaker 4: crashing on couches and you didn't have a house. I'm

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Speaker 4: I'm wondering, like, is the the rest of the stress

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Speaker 4: of of of not having roots pun intended? Does that

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Speaker 4: affect your creative output or not?

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Speaker 6: You know, I never thought about it, but I think

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Speaker 6: you're right. If I can think back to any two

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Speaker 6: particular creative periods, it's always been a sort of protected

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Speaker 6: period during the time that I'm that I'm writing, you know,

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Speaker 6: And I think you're right. I think it does take

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Speaker 6: that the songs for Sweet Baby James, that that first

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Speaker 6: Warner Brothers album, that which you'd you know, rightly describe

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Speaker 6: as sort of the the beginning of the California sound.

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Speaker 6: But you know, back to that question for a second,

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Speaker 6: you know, Peter, I and I didn't really discuss the sound.

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Speaker 6: We just, you know, as I said, I just introduced

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Speaker 6: the songs to these other players, and we played it

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Speaker 6: the way we heard it, you know, it and recorded it.

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Speaker 6: It really wasn't directed in any real sense other than

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Speaker 6: just the the you know, the sort of template the

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Speaker 6: form of my playing it on the guitar.

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Speaker 4: Were you somewhat aware of what the marketplace was and

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Speaker 4: how somewhat different than the marketplace that you were that

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Speaker 4: this output was presenting itself. I'm not saying it was

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Speaker 4: radically radically different, but you know, I feel as though, you.

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Speaker 6: Know, I definitely distanced myself and identified myself as being

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Speaker 6: apart from music business. You know, to me, music business

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Speaker 6: was still Dean Martin playing at the sands, you know

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Speaker 6: in Las Vegas. Well, in fact, Dean Martin was a

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Speaker 6: great singer and and and did some great songs, but

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Speaker 6: at the time we identified that as being another generation. Yeah,

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Speaker 6: that's right, sort of, so you want to avoid the

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Speaker 6: Kopa tensil Tensil town. Yeah, I swore I'd never play

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Speaker 6: Las Vegas. You know, we I got two Grammys. I

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Speaker 6: didn't show up.

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Speaker 4: I said, ooh oh, even like, oh yeah, that's so funny,

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Speaker 4: and how each artist. Okay, I'm slowly discovering that every

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Speaker 4: clique or people that I would think were the establishment.

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Speaker 1: They have their I'm sort of yeah, I'm above.

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Speaker 4: That, which is weird because not like I see you

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Speaker 4: as the establishment, but even now you're saying like in

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Speaker 4: your way, like I'm rebelling against that.

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Speaker 6: And we very much wanted to to distance our else

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Speaker 6: from it. And I mean we uh that's that was

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Speaker 6: the sense in the you know, the zeitgeist in the

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Speaker 6: in Los Angeles at the time was was that we

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Speaker 6: belonged to a different generation and uh, you know, a

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Speaker 6: sort of the sort of demographic bulge you know that

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Speaker 6: happened after the war, that baby boom bulge in the

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Speaker 6: population when it came to college age. It's sort of

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Speaker 6: it manifested in a way with with FM radio too.

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Speaker 6: It sort of started to and the Beatles and Dylan

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Speaker 6: and you know.

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Speaker 1: I wanted to ask I'll let you give you a question.

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Speaker 8: I wanted to I just want to say, hippies.

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Speaker 4: But that's the thing though, But I feel coming into

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Speaker 4: the seventies, though, what I felt like there was this

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Speaker 4: sort of air at least with like with with Neil

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Speaker 4: Young's after the after the Gold Rush, that there was

377
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Speaker 4: this sole disillusionment with with all the lofty ideas of

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Speaker 4: what the hippies were trying to present in sixty seven

379
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Speaker 4: sixty eight. It was kind of a more of a

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Speaker 4: cynical thing, even though you didn't go that route, Like,

381
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Speaker 4: was this your response to it, like just to be.

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Speaker 1: Establishment, like you know, I'm I'm a serious singer songwriter.

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Speaker 1: I'm not.

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Speaker 6: Right. No. That was part of it too, is that

385
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Speaker 6: there was nothing serious about it. You know, it was

386
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Speaker 6: like it didn't have any pretensions. You know, Wow, was

387
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Speaker 6: was the was the idea? You know? I mean, yes,

388
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Speaker 6: I was judgmental of other music, but you know, I

389
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Speaker 6: realize now that to be judgment metal of Frank Sinatra

390
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Speaker 6: because he's he's my parents' generation, you know, is that's absurd?

391
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Speaker 6: And you know so, uh, you know, I've I've come

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Speaker 6: around to to understanding that that those I've got an

393
00:26:03,640 --> 00:26:06,359
Speaker 6: album coming out of a you know, American songbook type

394
00:26:06,440 --> 00:26:12,000
Speaker 6: tunes arranged for the guitar called called American Standard, which

395
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Speaker 6: is also the name of a toilet manufacturer.

396
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Speaker 1: Is hate you for bringing that up?

397
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Speaker 4: Next to the Beatles, I'll probably say that, Uh, soul

398
00:26:30,080 --> 00:26:35,000
Speaker 4: music interpretations of your songs are probably the most interesting.

399
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Speaker 4: That's really how I got to introduce to it. So

400
00:26:39,240 --> 00:26:42,480
Speaker 4: let me tonight. I was going to say my obsession

401
00:26:42,520 --> 00:26:45,160
Speaker 4: with Oscar Meyer. I mean I was three when three

402
00:26:45,160 --> 00:26:48,439
Speaker 4: plus three came out. I thought it was boloney. I

403
00:26:48,480 --> 00:26:56,000
Speaker 4: thought it was about lunch Ronaldsley, the way he announced it,

404
00:26:56,200 --> 00:26:58,000
Speaker 4: his word, don't let me bolooney?

405
00:27:01,200 --> 00:27:04,639
Speaker 1: Yes, oh god, what did I say? Look, there's just.

406
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Speaker 5: No one knows what bolooney is anymore, so they plant baseballoney.

407
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Speaker 9: Look, we're not do not think that he was my

408
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Speaker 9: My whole point though, was were you aware at all

409
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Speaker 9: of how radical the soul music interpretations of your songs

410
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Speaker 9: were like?

411
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Speaker 4: Because to me, even though yes, I love your version

412
00:27:42,160 --> 00:27:47,040
Speaker 4: of Fire and Rain, but the Isley Brothers have this

413
00:27:47,200 --> 00:27:49,560
Speaker 4: really notorious eight minute version of the.

414
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Speaker 1: Song that.

415
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Speaker 4: Almost wound up on every mixtape I've ever given a girl.

416
00:28:00,119 --> 00:28:04,280
Speaker 4: So and on top of that, are you rather chagrined

417
00:28:04,840 --> 00:28:10,440
Speaker 4: that for those that don't know the how the song

418
00:28:10,600 --> 00:28:13,080
Speaker 4: came to be and what it's about and how you

419
00:28:13,119 --> 00:28:18,040
Speaker 4: wrote it. How almost like Fire and Rain gets or

420
00:28:18,080 --> 00:28:21,360
Speaker 4: most of your songs get misinterpreted because we just want

421
00:28:21,400 --> 00:28:24,040
Speaker 4: to see it through our rose colored filter.

422
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Speaker 1: This is just this mentioned.

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Speaker 6: Ship.

424
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Speaker 4: This is always the second song on every.

425
00:28:50,320 --> 00:28:53,040
Speaker 6: It's like a minor to mature, Like, uh.

426
00:28:55,560 --> 00:29:01,760
Speaker 4: Yeah, they won't even get to the lyrics until four

427
00:29:01,760 --> 00:29:05,480
Speaker 4: minutes in, Like they just stay here for it for.

428
00:29:05,720 --> 00:29:09,640
Speaker 1: Like five minutes. But I was gonna say.

429
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Speaker 4: The are you are you rather chagrined when people take

430
00:29:16,800 --> 00:29:20,560
Speaker 4: your songs and sort of have it for the wrong meanings,

431
00:29:20,600 --> 00:29:23,480
Speaker 4: Like I'm certain that it's been placed in movies, in

432
00:29:23,600 --> 00:29:28,160
Speaker 4: romantic songs. You're like, no, this is about friends suicide

433
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Speaker 4: and you know, all.

434
00:29:29,120 --> 00:29:34,760
Speaker 6: Right, and drug recovery. Yeah it's it's true, and you know,

435
00:29:34,800 --> 00:29:37,239
Speaker 6: but but it's the emotional impact of the song that

436
00:29:37,320 --> 00:29:42,720
Speaker 6: really counts. And I think that that that's why that

437
00:29:42,720 --> 00:29:47,440
Speaker 6: that song resonated with people, because you know, and I

438
00:29:48,040 --> 00:29:50,640
Speaker 6: think that the line I always thought I'd see you again,

439
00:29:51,520 --> 00:29:54,000
Speaker 6: I think the islay said, right, that's basically the sort

440
00:29:54,000 --> 00:29:56,840
Speaker 6: of the emotional core of it.

441
00:29:57,000 --> 00:30:00,920
Speaker 4: Like well, when I've seen it's always like someone rides

442
00:30:00,960 --> 00:30:02,520
Speaker 4: to the train station too late and the love of

443
00:30:02,520 --> 00:30:05,520
Speaker 4: their life already like left, or like at the the

444
00:30:05,520 --> 00:30:06,680
Speaker 4: the airport.

445
00:30:06,280 --> 00:30:07,160
Speaker 1: Moment, like.

446
00:30:09,680 --> 00:30:10,600
Speaker 3: Commercial TV.

447
00:30:10,680 --> 00:30:14,760
Speaker 1: Yeah yeah, those two puppies, like.

448
00:30:17,760 --> 00:30:23,080
Speaker 6: Yeah, yeah, no, it is it's it's it's an emotional package,

449
00:30:23,240 --> 00:30:26,360
Speaker 6: I think, and uh, and it that's what comes through

450
00:30:27,080 --> 00:30:31,240
Speaker 6: more than the you know, the literal reading of the song,

451
00:30:31,320 --> 00:30:33,720
Speaker 6: I think, and that's but that's the nature of music.

452
00:30:33,880 --> 00:30:36,040
Speaker 6: You we don't get to decide about it. It's not

453
00:30:36,080 --> 00:30:39,800
Speaker 6: a cerebral process. It either connects with us or it doesn't.

454
00:30:40,360 --> 00:30:43,000
Speaker 6: And and to a certain extent to talk about it,

455
00:30:43,040 --> 00:30:45,720
Speaker 6: although I talk about it a lot and think about

456
00:30:45,720 --> 00:30:47,920
Speaker 6: it a lot. But but that's sort of you know,

457
00:30:48,000 --> 00:30:52,720
Speaker 6: after the fact. I mean the music either, you know,

458
00:30:52,960 --> 00:30:56,040
Speaker 6: because it's a real thing. It's it's not you know,

459
00:30:56,120 --> 00:31:01,360
Speaker 6: words are all words represent something else. But the only

460
00:31:01,440 --> 00:31:04,000
Speaker 6: word that is the thing that it represents is the

461
00:31:04,040 --> 00:31:06,760
Speaker 6: word word wow.

462
00:31:07,840 --> 00:31:09,880
Speaker 8: Words of wisdom, time to get something.

463
00:31:15,280 --> 00:31:19,040
Speaker 6: Well so so, you know, so so we we put

464
00:31:19,080 --> 00:31:23,760
Speaker 6: words together to to describe all kinds of things, the world,

465
00:31:24,200 --> 00:31:29,120
Speaker 6: the universe. But but music, although it's like a language,

466
00:31:29,720 --> 00:31:32,480
Speaker 6: we we manipulate it like a language and we use

467
00:31:32,520 --> 00:31:36,120
Speaker 6: it for it definitely has emotional I'm not sure if

468
00:31:36,120 --> 00:31:40,280
Speaker 6: they're culturally you know, established, or if they're if if

469
00:31:40,400 --> 00:31:42,640
Speaker 6: everyone in the world here is a minor chord the

470
00:31:42,680 --> 00:31:45,080
Speaker 6: same way as opposed to a major chord, or you know,

471
00:31:45,600 --> 00:31:49,320
Speaker 6: but I do think that there's a reality to it

472
00:31:49,320 --> 00:31:52,240
Speaker 6: because it follows the laws of physics, you know, an

473
00:31:52,280 --> 00:31:56,040
Speaker 6: octave is twice the frequency of the octave below it,

474
00:31:56,120 --> 00:31:59,280
Speaker 6: and and half of the one above it, and and

475
00:31:59,280 --> 00:32:03,480
Speaker 6: and that the overtone series is a real thing that exists,

476
00:32:03,760 --> 00:32:06,840
Speaker 6: and so music has its base, and it's based in

477
00:32:07,120 --> 00:32:10,640
Speaker 6: a real truth, you know, and and not one that

478
00:32:10,960 --> 00:32:14,240
Speaker 6: we have to arrive at a consensus about. And that

479
00:32:14,360 --> 00:32:18,960
Speaker 6: way it hits us directly, and and that you know

480
00:32:19,080 --> 00:32:22,600
Speaker 6: that means that it you know, the cliche the universal language,

481
00:32:22,640 --> 00:32:28,440
Speaker 6: but you know it, Uh, you know that's that's we

482
00:32:28,440 --> 00:32:33,800
Speaker 6: were talking about people misinterpreting lyrics and and and I

483
00:32:34,400 --> 00:32:38,600
Speaker 6: don't think they really do. I think that, you know,

484
00:32:39,120 --> 00:32:41,840
Speaker 6: the way a song hits you is probably what it

485
00:32:41,960 --> 00:32:42,960
Speaker 6: actually has.

486
00:32:43,000 --> 00:32:46,400
Speaker 1: To find a common emotion. So do you feel as

487
00:32:46,440 --> 00:32:47,240
Speaker 1: though your.

488
00:32:48,680 --> 00:32:51,280
Speaker 4: Your voice Okay, now now I'm gonna feel like Chris

489
00:32:51,320 --> 00:32:57,520
Speaker 4: Farley asking this. Your voice is really cool man, but

490
00:32:57,760 --> 00:33:03,560
Speaker 4: you're just just your The tone and the sound of

491
00:33:03,600 --> 00:33:14,120
Speaker 4: your voice is such a warm gift. Uh, that could

492
00:33:14,200 --> 00:33:18,040
Speaker 4: possibly I mean, I'm certain that you could sing in

493
00:33:18,120 --> 00:33:22,760
Speaker 4: her stand in by by Metallica, by Metallica, and it

494
00:33:22,760 --> 00:33:25,240
Speaker 4: would just be the best feeling in the world.

495
00:33:26,520 --> 00:33:27,320
Speaker 1: Yeah, how did you?

496
00:33:28,400 --> 00:33:30,280
Speaker 4: I know the answer is going to be like, well,

497
00:33:30,680 --> 00:33:32,280
Speaker 4: I've had this voice, and there's a gift from God

498
00:33:32,360 --> 00:33:36,640
Speaker 4: or whatever. People people always say to avoid the question,

499
00:33:36,720 --> 00:33:41,480
Speaker 4: but how did you develop your voice or what made

500
00:33:41,520 --> 00:33:45,680
Speaker 4: you sing? And I guess you're a lower register like

501
00:33:45,720 --> 00:33:48,240
Speaker 4: it's it's it's a rare thing to have that much

502
00:33:48,280 --> 00:33:51,040
Speaker 4: impact under a tenor.

503
00:33:51,960 --> 00:33:55,560
Speaker 6: You know, that's a really good point. I've never you know,

504
00:33:55,640 --> 00:33:59,360
Speaker 6: you're the first person I've ever spoken to who's who's

505
00:33:59,400 --> 00:34:04,320
Speaker 6: actually put it that way. And I totally agree, I totally,

506
00:34:04,680 --> 00:34:07,320
Speaker 6: I totally agree. You know. The way I look at

507
00:34:07,360 --> 00:34:09,960
Speaker 6: it is if if you if you have the guitar

508
00:34:10,120 --> 00:34:14,120
Speaker 6: as your instrument, you know, to sing down in the

509
00:34:14,160 --> 00:34:18,120
Speaker 6: same range as the guitar itself is like it's muddy,

510
00:34:18,160 --> 00:34:20,480
Speaker 6: you know, it's you. You really wish you could get

511
00:34:20,480 --> 00:34:23,520
Speaker 6: above it. But I just don't have that that range.

512
00:34:23,560 --> 00:34:27,359
Speaker 6: I can't get above a you know, literally above an F.

513
00:34:27,760 --> 00:34:30,120
Speaker 3: You know, like and what was the story that I

514
00:34:30,160 --> 00:34:32,160
Speaker 3: read about that you injured your voice because you were

515
00:34:32,200 --> 00:34:35,160
Speaker 3: singing too harshly years and years ago? How does what

516
00:34:35,239 --> 00:34:37,360
Speaker 3: is singing too harshly sound?

517
00:34:37,480 --> 00:34:42,800
Speaker 1: Like, let's not make them, you know, to sing harshly

518
00:34:43,880 --> 00:34:45,400
Speaker 1: like what yeah.

519
00:34:45,480 --> 00:34:51,239
Speaker 6: No, it's uh uh, it's I was just singing in

520
00:34:51,280 --> 00:34:57,040
Speaker 6: a club. Uh you know, six days a week, five shows,

521
00:34:57,080 --> 00:35:02,000
Speaker 6: a night over, a li out, banned without any monitors

522
00:35:02,040 --> 00:35:05,279
Speaker 6: and and eventually I just I got to you know,

523
00:35:05,600 --> 00:35:08,600
Speaker 6: you get little blisters. I guess it's you.

524
00:35:08,840 --> 00:35:10,759
Speaker 3: So what did you learn as a singer in a

525
00:35:10,800 --> 00:35:13,160
Speaker 3: way to learn how to take care of your voice?

526
00:35:13,160 --> 00:35:17,480
Speaker 6: That you did? It took a long time, and now

527
00:35:17,520 --> 00:35:19,720
Speaker 6: I find that as I get older, you know, you

528
00:35:19,719 --> 00:35:22,000
Speaker 6: you use it or you lose it. So I I

529
00:35:22,840 --> 00:35:27,680
Speaker 6: exercise my voice every day. That's Tony Bennett told me that.

530
00:35:28,440 --> 00:35:30,200
Speaker 1: Yeah, so you do warm ups?

531
00:35:30,360 --> 00:35:32,080
Speaker 6: Yeah, well actually.

532
00:35:32,000 --> 00:35:34,040
Speaker 1: Like the seth Riggs variety, Like.

533
00:35:36,080 --> 00:35:40,839
Speaker 6: Right, yeah, I do, and but they're not warm ups.

534
00:35:40,840 --> 00:35:44,520
Speaker 6: They're actually like a workout. It's a it's an hour

535
00:35:44,600 --> 00:35:46,799
Speaker 6: long process and I do it every day.

536
00:35:47,400 --> 00:35:52,520
Speaker 4: Really okay, So I guess yeah, if you're working that,

537
00:35:52,640 --> 00:35:53,279
Speaker 4: you're working out.

538
00:35:53,440 --> 00:35:56,239
Speaker 6: Like a trumpet player and you know his chops, his

539
00:35:56,440 --> 00:35:59,360
Speaker 6: his armbro sure and his you know you got to

540
00:35:59,440 --> 00:36:00,799
Speaker 6: keep it going or.

541
00:36:01,880 --> 00:36:05,719
Speaker 4: So okay, Can I ask what your daily workout is,

542
00:36:05,760 --> 00:36:07,880
Speaker 4: like what time do you wake up in the morning

543
00:36:08,000 --> 00:36:11,560
Speaker 4: and do you set time to create like at six

544
00:36:11,600 --> 00:36:12,960
Speaker 4: am when everyone's asleep.

545
00:36:13,000 --> 00:36:16,239
Speaker 1: Do you ride at three in the morning when everyone's asleep, or.

546
00:36:16,880 --> 00:36:21,200
Speaker 6: I guess it's just that entertainment tainer's hours. I don't

547
00:36:21,239 --> 00:36:22,920
Speaker 6: know what what's it like for you? When do you

548
00:36:22,960 --> 00:36:24,960
Speaker 6: wake up? When do you wake up in the day?

549
00:36:26,400 --> 00:36:26,920
Speaker 1: Shut up?

550
00:36:28,640 --> 00:36:37,160
Speaker 4: First of all, Okay, as of this speaking, As as

551
00:36:37,200 --> 00:36:40,479
Speaker 4: of this talking, I'm in a relationship with someone who

552
00:36:40,880 --> 00:36:45,200
Speaker 4: absolutely insists I sleep eight to ten hours every night.

553
00:36:46,200 --> 00:36:48,520
Speaker 1: So he used to sleep three hours a night. Right.

554
00:36:48,560 --> 00:36:50,040
Speaker 1: I used to be one of those people that's very

555
00:36:50,080 --> 00:36:54,000
Speaker 1: proud to you know, whatever sleep sleep is death, right right.

556
00:36:54,120 --> 00:36:55,200
Speaker 1: I was one of those people.

557
00:36:55,560 --> 00:37:00,640
Speaker 4: But you know I I had to get out the situation.

558
00:37:00,719 --> 00:37:02,640
Speaker 4: No sleep is the best thing that ever happened in

559
00:37:02,640 --> 00:37:05,120
Speaker 4: my life, which I'm like, kind of mad I missed

560
00:37:05,120 --> 00:37:14,719
Speaker 4: out on it. But that said, I like, at least preliminary.

561
00:37:15,680 --> 00:37:17,399
Speaker 4: I'm used to creating late at night.

562
00:37:17,760 --> 00:37:17,880
Speaker 7: Yea.

563
00:37:18,600 --> 00:37:23,200
Speaker 4: So I'll say that a lot of my practice was

564
00:37:23,280 --> 00:37:28,080
Speaker 4: kind of a I'll say that's eighty percent of my

565
00:37:28,120 --> 00:37:36,680
Speaker 4: career was somewhere between seven pm and eleven am, which

566
00:37:38,160 --> 00:37:42,520
Speaker 4: Quincy Jones has a has a weird theory about what

567
00:37:42,600 --> 00:37:45,239
Speaker 4: he calls what the alpha alpha state. The alpha state,

568
00:37:45,600 --> 00:37:52,839
Speaker 4: so Quincy Jones would purposely have his his musicians come

569
00:37:52,880 --> 00:37:56,360
Speaker 4: in around six pm. He feeds them a lot of food,

570
00:37:57,000 --> 00:37:59,720
Speaker 4: give them a lot of wine, and they fall asleep

571
00:37:59,760 --> 00:38:02,520
Speaker 4: in the break room. Then he weighed around midnight one

572
00:38:02,560 --> 00:38:05,479
Speaker 4: am and wake them up one by one to start

573
00:38:05,480 --> 00:38:10,080
Speaker 4: playing their parts. The short version is because when you're tired,

574
00:38:10,160 --> 00:38:14,319
Speaker 4: you can't argue with Quincy Jones is like, all right,

575
00:38:14,400 --> 00:38:19,000
Speaker 4: but you're not you're not overthinking the part you're He's like,

576
00:38:19,040 --> 00:38:22,720
Speaker 4: when you're tired, you actually give a better performance, which

577
00:38:23,360 --> 00:38:26,640
Speaker 4: which is mainly to go back to your first take thing.

578
00:38:27,960 --> 00:38:32,000
Speaker 4: A lot of times, I Steve uh has been like

579
00:38:32,040 --> 00:38:34,799
Speaker 4: my longtime engineering for like twenty years. A lot of

580
00:38:34,840 --> 00:38:37,080
Speaker 4: times I don't want to know when the tape is rolling,

581
00:38:37,120 --> 00:38:39,480
Speaker 4: because usually when it's like, all right, this is running

582
00:38:39,480 --> 00:38:41,279
Speaker 4: down real quick and then we'll record it. For like,

583
00:38:41,320 --> 00:38:44,239
Speaker 4: the best performance is always when you're not aware, you're

584
00:38:44,239 --> 00:38:47,319
Speaker 4: not hyper aware that it's that that the.

585
00:38:47,360 --> 00:38:50,800
Speaker 6: Meter's running and you're saying, oh man, just just sixteen

586
00:38:50,800 --> 00:38:52,759
Speaker 6: bars to go, you know kind of you know that

587
00:38:52,920 --> 00:38:53,319
Speaker 6: right when?

588
00:38:54,280 --> 00:38:54,560
Speaker 1: Yeah.

589
00:38:54,600 --> 00:38:59,759
Speaker 4: So a lot of the times I'm reading something I

590
00:38:59,760 --> 00:39:05,200
Speaker 4: can I can now play effortlessly without thinking, you know,

591
00:39:05,400 --> 00:39:08,600
Speaker 4: and people see me a few times check my phone

592
00:39:08,680 --> 00:39:13,080
Speaker 4: or eat cereal or while I'm playing. That's how effortless

593
00:39:13,080 --> 00:39:15,279
Speaker 4: I am as a musician. But I mean for you, like,

594
00:39:15,360 --> 00:39:18,520
Speaker 4: if you get an idea, do you keep always keep

595
00:39:18,520 --> 00:39:19,759
Speaker 4: a device.

596
00:39:19,480 --> 00:39:22,520
Speaker 6: On you need to, Yeah, yeah, I sort of have

597
00:39:22,680 --> 00:39:26,160
Speaker 6: to to trap those song ideas. Sometimes it'll come when

598
00:39:26,160 --> 00:39:29,440
Speaker 6: you're driving the car. Sometimes it'll come when you're you know,

599
00:39:29,680 --> 00:39:32,759
Speaker 6: just often when you're sitting down and just practicing a

600
00:39:32,760 --> 00:39:36,400
Speaker 6: little start playing a little figure, a little wheel, and

601
00:39:36,440 --> 00:39:39,160
Speaker 6: then you get the thought of a melody and a

602
00:39:39,160 --> 00:39:41,399
Speaker 6: little scrap of lyric and you you have to put

603
00:39:41,440 --> 00:39:45,080
Speaker 6: that down so that you know, and sometimes you'll be

604
00:39:45,160 --> 00:39:47,600
Speaker 6: lucky and that thing will like be half the song

605
00:39:47,800 --> 00:39:50,799
Speaker 6: you know, you'll get and then you you know, come

606
00:39:50,840 --> 00:39:53,680
Speaker 6: back to it and write a bridge or But I've

607
00:39:53,719 --> 00:39:57,280
Speaker 6: always assumed it was because I had to be ready

608
00:39:57,640 --> 00:40:01,560
Speaker 6: to be on the stand at at eight o'clock at night.

609
00:40:02,320 --> 00:40:05,200
Speaker 6: Between eight and eleven is when I was performing, and

610
00:40:05,239 --> 00:40:08,480
Speaker 6: then it takes me about three hours to you know,

611
00:40:08,560 --> 00:40:12,000
Speaker 6: calm down enough to go to sleep. So and often

612
00:40:12,040 --> 00:40:14,279
Speaker 6: I'm on the bus go into the next town, you know.

613
00:40:14,400 --> 00:40:20,080
Speaker 6: So I just drifted into this thing where I was

614
00:40:20,080 --> 00:40:23,760
Speaker 6: falling asleep at two o'clock, you know, and I just yeah,

615
00:40:23,400 --> 00:40:25,839
Speaker 6: and I'm sleeping till till ten.

616
00:40:26,160 --> 00:40:27,960
Speaker 1: You know. Do you have performance anxiety?

617
00:40:28,400 --> 00:40:30,359
Speaker 6: Yeah? I do to this day, Yes I do.

618
00:40:31,080 --> 00:40:32,000
Speaker 3: What does that mean for you?

619
00:40:32,040 --> 00:40:35,680
Speaker 1: What is that so it's not a thing? Yeah? Okay, Hi, guys,

620
00:40:35,800 --> 00:40:39,239
Speaker 1: I see you, like you still have anxiety.

621
00:40:39,600 --> 00:40:41,960
Speaker 6: You know, it calms down after a week on the road,

622
00:40:42,320 --> 00:40:46,760
Speaker 6: but that first night. I'll definitely I've gotten a little

623
00:40:46,760 --> 00:40:48,840
Speaker 6: bit more efficient at dealing with it. You know, I

624
00:40:48,880 --> 00:40:51,560
Speaker 6: don't feel it until about half an hour before I

625
00:40:51,600 --> 00:40:54,839
Speaker 6: go on, but it's sort of packaged in that time.

626
00:40:54,840 --> 00:41:01,200
Speaker 1: But I definitely must you be alone. To you, you're like,

627
00:41:01,280 --> 00:41:05,120
Speaker 1: how do what a half hour before showtime? What are

628
00:41:05,160 --> 00:41:05,520
Speaker 1: you doing?

629
00:41:06,080 --> 00:41:10,560
Speaker 6: That's right? You know, I put in contact lenses because

630
00:41:10,600 --> 00:41:13,239
Speaker 6: I if I have my glasses in the in the

631
00:41:13,280 --> 00:41:16,680
Speaker 6: stage lights, it's like it's hard to read, uh, and

632
00:41:16,760 --> 00:41:23,120
Speaker 6: hard to read the set list and uh, but I

633
00:41:23,320 --> 00:41:26,200
Speaker 6: don't use the teleprompter. I still remember the lyrics.

634
00:41:26,239 --> 00:41:29,600
Speaker 1: But you're better man than I don't know what artists.

635
00:41:29,719 --> 00:41:32,960
Speaker 4: Once you get past like sixty songs, then something's gonna

636
00:41:33,400 --> 00:41:35,080
Speaker 4: you're going to forget the second verse to something.

637
00:41:35,239 --> 00:41:38,040
Speaker 6: Yeah, that's right, and and that does happen. Sometimes you

638
00:41:38,760 --> 00:41:41,279
Speaker 6: you'll get to the what what more typically happens is

639
00:41:41,360 --> 00:41:43,600
Speaker 6: you you'll get to the end of the second chorus

640
00:41:43,680 --> 00:41:45,800
Speaker 6: and you say, wait a minute, was that the first

641
00:41:46,000 --> 00:41:47,920
Speaker 6: or the second chorus? I just fini, you don't know,

642
00:41:48,440 --> 00:41:49,960
Speaker 6: and you're not sure it's fun it is. Are we

643
00:41:50,080 --> 00:41:51,640
Speaker 6: going into the bridge or are we going into the

644
00:41:51,680 --> 00:41:52,160
Speaker 6: next verse?

645
00:41:52,280 --> 00:41:54,480
Speaker 1: May I suggest to you pulling what they call a

646
00:41:54,680 --> 00:42:02,080
Speaker 1: Bobby Brown y'all say it sing that ship?

647
00:42:04,080 --> 00:42:04,239
Speaker 6: You know?

648
00:42:08,640 --> 00:42:15,840
Speaker 4: Okay, Well, actually I'm curious about something. So for the

649
00:42:16,200 --> 00:42:19,200
Speaker 4: two songs that I got introduced to you in real

650
00:42:19,320 --> 00:42:25,200
Speaker 4: time as a five year old in first grade, now

651
00:42:25,239 --> 00:42:26,279
Speaker 4: I'm realizing that.

652
00:42:28,280 --> 00:42:32,080
Speaker 1: Is it the One Man Dog album? All right?

653
00:42:32,760 --> 00:42:38,960
Speaker 4: So all the songs are what I would call when

654
00:42:39,080 --> 00:42:44,480
Speaker 4: when I refer to the end a series or vignettes

655
00:42:44,560 --> 00:42:48,120
Speaker 4: of short, shortest songs, it's like a beatles the end.

656
00:42:48,560 --> 00:42:49,320
Speaker 1: That's how I referred it.

657
00:42:50,200 --> 00:42:53,800
Speaker 6: Yeah, it's like a it is they're they're compressed that

658
00:42:53,960 --> 00:42:56,240
Speaker 6: there's not one of them that's longer than a minute,

659
00:42:56,360 --> 00:43:00,520
Speaker 6: and and they're they're all they all lead into each other.

660
00:43:00,760 --> 00:43:04,719
Speaker 1: Yeah, but it's really great for kids because one of

661
00:43:04,800 --> 00:43:06,000
Speaker 1: the first songs. All right.

662
00:43:06,080 --> 00:43:09,320
Speaker 4: The second song I've ever had to perform in second

663
00:43:09,360 --> 00:43:14,160
Speaker 4: grade was Chili Dog. All right, Miss Lewynn made us

664
00:43:14,200 --> 00:43:18,560
Speaker 4: all earned Chili Dog, No kidding, Yeah, dude, bless my heart,

665
00:43:19,640 --> 00:43:20,360
Speaker 4: blown smoke up.

666
00:43:23,320 --> 00:43:27,080
Speaker 1: But yeah, with what was what was the reasoning for

667
00:43:28,080 --> 00:43:30,480
Speaker 1: the way you structured that album? You know?

668
00:43:31,520 --> 00:43:34,680
Speaker 6: I realized that I had all of these short pieces,

669
00:43:36,280 --> 00:43:38,759
Speaker 6: and uh, I just found a way to put them

670
00:43:38,760 --> 00:43:41,719
Speaker 6: all together, like Little David play on your Heart. That's like,

671
00:43:42,760 --> 00:43:45,480
Speaker 6: you know, I had a dog I lost, and I

672
00:43:46,000 --> 00:43:47,759
Speaker 6: and I really shouldn't have had a dog, and I

673
00:43:47,800 --> 00:43:50,200
Speaker 6: felt bad about it. You know, I was traveling too

674
00:43:50,280 --> 00:43:54,279
Speaker 6: much to have my dog, and and you know.

675
00:43:54,480 --> 00:43:59,719
Speaker 1: So this is why I have a dog. There, that's true,

676
00:44:00,080 --> 00:44:00,520
Speaker 1: poor guy.

677
00:44:00,600 --> 00:44:03,360
Speaker 5: Before we move on, though, Yeah, I know I encourage

678
00:44:03,400 --> 00:44:05,399
Speaker 5: every listener to check out One Man Dog. I feel

679
00:44:05,400 --> 00:44:09,080
Speaker 5: like it's overlooked and underrated and nobody really mentions it

680
00:44:10,320 --> 00:44:10,920
Speaker 5: often enough.

681
00:44:11,440 --> 00:44:13,920
Speaker 1: So One Man Dog, You're right, Steve, I'm adding it

682
00:44:14,080 --> 00:44:15,959
Speaker 1: right now? Yeah? Why? Okay?

683
00:44:16,400 --> 00:44:19,200
Speaker 4: So I don't know why I feel like I again

684
00:44:19,400 --> 00:44:23,920
Speaker 4: my history of embracing the wrong album the wrong albums,

685
00:44:23,960 --> 00:44:24,960
Speaker 4: and everyone's cannon.

686
00:44:26,840 --> 00:44:27,960
Speaker 1: I don't know about One Man Dog.

687
00:44:28,040 --> 00:44:31,800
Speaker 4: Because miss Lewin would play that in second grade, and

688
00:44:32,040 --> 00:44:35,080
Speaker 4: you know they're short songs, they're easy to learn.

689
00:44:35,200 --> 00:44:42,000
Speaker 1: But why what were your at the time. You're on Warner? Correct?

690
00:44:42,480 --> 00:44:44,359
Speaker 4: I was on Warner at that point, So what's more

691
00:44:44,480 --> 00:44:48,399
Speaker 4: Austin and those guys saying as far as like, yeah,

692
00:44:48,920 --> 00:44:49,920
Speaker 4: we neede a single.

693
00:44:50,440 --> 00:44:53,160
Speaker 6: Well, they don't let me be lonely. Tonight was a

694
00:44:53,239 --> 00:44:57,480
Speaker 6: single from that that album, and it did well enough too,

695
00:44:57,680 --> 00:45:00,239
Speaker 6: and it also is covered more than any of my

696
00:45:00,360 --> 00:45:07,759
Speaker 6: other songs, so it you know, it was a The

697
00:45:07,880 --> 00:45:10,279
Speaker 6: thing that was a problem is that if you look

698
00:45:10,320 --> 00:45:13,040
Speaker 6: at the album and count each one of those little songs,

699
00:45:15,080 --> 00:45:19,160
Speaker 6: you know, little David, Chili Dog Jig, you know, all

700
00:45:19,239 --> 00:45:25,440
Speaker 6: of those various little scraps, they wouldn't pay for individual songs.

701
00:45:25,640 --> 00:45:27,839
Speaker 6: You know, they're not going to pay publishing on an

702
00:45:27,880 --> 00:45:31,360
Speaker 6: album that's got twenty two songs on it, right, So

703
00:45:31,480 --> 00:45:33,960
Speaker 6: we have to make that's right. It was a rule

704
00:45:34,000 --> 00:45:37,200
Speaker 6: of ten, I think. And if you do a cover

705
00:45:37,320 --> 00:45:40,920
Speaker 6: of someone else's song, they're definitely getting paid. If you know,

706
00:45:41,080 --> 00:45:43,520
Speaker 6: you're the one who has to has to eat.

707
00:45:45,560 --> 00:45:45,880
Speaker 1: I see.

708
00:45:46,520 --> 00:45:49,239
Speaker 5: So they's just certain songs you get publishing on, and

709
00:45:49,320 --> 00:45:51,840
Speaker 5: certain songs just you don't on that record.

710
00:45:51,960 --> 00:45:57,279
Speaker 6: If your contract says that an album shall constitute ten

711
00:45:57,480 --> 00:46:01,360
Speaker 6: songs and the record company, will you know, we'll only

712
00:46:01,520 --> 00:46:04,479
Speaker 6: pay for that, you know, publishing on that many songs.

713
00:46:04,560 --> 00:46:06,279
Speaker 6: If you want to put extras on, it has to

714
00:46:06,320 --> 00:46:09,719
Speaker 6: come out of your piece. If if you wrote the song,

715
00:46:09,840 --> 00:46:12,880
Speaker 6: it's that that's an obvious choice. But if if someone

716
00:46:12,960 --> 00:46:17,120
Speaker 6: else wrote it then and if you do cover another

717
00:46:17,200 --> 00:46:19,879
Speaker 6: person's song, you're going to have to pay someone will

718
00:46:20,000 --> 00:46:23,879
Speaker 6: I mean, that's that's not you can't contract yourself out

719
00:46:23,920 --> 00:46:25,120
Speaker 6: of somebody else's rights.

720
00:46:25,320 --> 00:46:28,440
Speaker 1: So any inspiring musicians just rewind that and listen to

721
00:46:28,520 --> 00:46:29,560
Speaker 1: that one more time again.

722
00:46:30,960 --> 00:46:40,560
Speaker 4: Yeah, question, okay, true. If I'm afraid to ask this question,

723
00:46:41,360 --> 00:46:45,759
Speaker 4: the I guess the myth of what you would call

724
00:46:47,719 --> 00:46:50,480
Speaker 4: again the do you call it the Kenyon Ranch or

725
00:46:50,880 --> 00:46:55,080
Speaker 4: or or just not the Canyon Ranch. There's there's a

726
00:46:55,160 --> 00:46:59,919
Speaker 4: specific title for it, the California Lord. Well the click

727
00:47:00,520 --> 00:47:06,760
Speaker 4: of right of Jonie, you like, was there an actual

728
00:47:08,560 --> 00:47:11,000
Speaker 4: were you guys interacting with each other in the way

729
00:47:11,160 --> 00:47:14,840
Speaker 4: that it was kind of the myth of it of

730
00:47:15,000 --> 00:47:17,520
Speaker 4: the stories or how we see it in our heads,

731
00:47:17,680 --> 00:47:20,799
Speaker 4: like oh, okay, yeah, you probably hung with Linda.

732
00:47:21,040 --> 00:47:24,719
Speaker 1: You know Linda Poker at Linda Ronstadt's house on Thursdays.

733
00:47:24,280 --> 00:47:28,560
Speaker 6: Or oh you know Peter Peter managed and produced both

734
00:47:29,480 --> 00:47:33,480
Speaker 6: both myself and Linda. So so yeah, I saw a

735
00:47:33,520 --> 00:47:35,759
Speaker 6: lot of Linda, and I sang on a number of

736
00:47:36,160 --> 00:47:38,759
Speaker 6: her records. Carol and I were sort of in a

737
00:47:38,840 --> 00:47:42,480
Speaker 6: band together and and toured together for for a long time.

738
00:47:42,760 --> 00:47:45,719
Speaker 1: Well, Carol, Carol King, you knew were even back in

739
00:47:45,760 --> 00:47:47,840
Speaker 1: the Bridal days or no, I didn't.

740
00:47:47,640 --> 00:47:49,520
Speaker 6: Know her when she was here in town, although Cooch

741
00:47:49,600 --> 00:47:51,840
Speaker 6: says that she came down to the night Al Cafe

742
00:47:52,000 --> 00:47:54,839
Speaker 6: and met us when we were the house band down there,

743
00:47:55,520 --> 00:47:58,279
Speaker 6: our ill fated Flying Machine days.

744
00:47:58,320 --> 00:48:03,160
Speaker 1: Yeah, but I'm saying that does he even is he

745
00:48:03,200 --> 00:48:05,880
Speaker 1: a where the breakbeat or flying Machine? I don't know.

746
00:48:06,360 --> 00:48:08,799
Speaker 1: I didn't even know there was one. Yeah, oh there's

747
00:48:08,800 --> 00:48:18,279
Speaker 1: a bonterfid uh Diamond, Oh we go tell somebody there's

748
00:48:18,280 --> 00:48:19,560
Speaker 1: a well known breakbeat.

749
00:48:20,719 --> 00:48:21,040
Speaker 2: Record.

750
00:48:21,440 --> 00:48:23,239
Speaker 1: I was like, that's part of the that's part of

751
00:48:23,280 --> 00:48:26,040
Speaker 1: the hip hop diet. But good digress.

752
00:48:26,239 --> 00:48:33,279
Speaker 6: But uh, I think, oh so yeah, Linda and I

753
00:48:33,480 --> 00:48:36,759
Speaker 6: had that connection, and Carol King and I had that

754
00:48:37,120 --> 00:48:39,520
Speaker 6: Linda on set and Carol King and I had a connection.

755
00:48:40,080 --> 00:48:42,799
Speaker 6: Joany and I were together for a for a year.

756
00:48:42,960 --> 00:48:46,080
Speaker 6: We we we traveled together, we lived together. I stayed

757
00:48:46,120 --> 00:48:51,120
Speaker 6: at her placing in Laurel Canyon and and we we

758
00:48:51,440 --> 00:48:56,040
Speaker 6: also uh performed on each other's record. She's the background

759
00:48:56,120 --> 00:48:59,879
Speaker 6: vocals on on You've Got a Friend and long ago

760
00:49:00,040 --> 00:49:04,800
Speaker 6: on far Away Uh, She's you know uh and on

761
00:49:04,960 --> 00:49:07,560
Speaker 6: a later song of mine called you Are My Only

762
00:49:07,680 --> 00:49:13,680
Speaker 6: One that was Jony and Don Henley singing. But at

763
00:49:13,719 --> 00:49:19,040
Speaker 6: any rate, Jony was also very personally involved with with

764
00:49:19,560 --> 00:49:24,560
Speaker 6: Crosby Stills and Nash Jackson. Brown worked with Coats with

765
00:49:24,680 --> 00:49:27,359
Speaker 6: Danny kurtzbar in the section which was my band made

766
00:49:27,640 --> 00:49:30,480
Speaker 6: that Running on Empty album for him. So there there

767
00:49:30,719 --> 00:49:33,799
Speaker 6: was a sense of a of a group of sort

768
00:49:33,800 --> 00:49:36,560
Speaker 6: of community of musicians, and it it centered around the

769
00:49:36,640 --> 00:49:41,200
Speaker 6: Troubadour Cafe, which was which is a dive in.

770
00:49:41,440 --> 00:49:42,640
Speaker 7: In l A.

771
00:49:43,800 --> 00:49:48,120
Speaker 4: That's where Donnie Hathaway recorded. His version of You Got

772
00:49:48,200 --> 00:49:49,880
Speaker 4: a Friend was made of the Troubadoor.

773
00:49:51,280 --> 00:49:53,480
Speaker 5: He skipped over the part where you where he played

774
00:49:53,520 --> 00:50:02,799
Speaker 5: on Blue Mitchell's album for People who fantastic.

775
00:50:02,320 --> 00:50:04,239
Speaker 1: Fucking album Blue It is.

776
00:50:04,640 --> 00:50:06,120
Speaker 6: It is great Johnny, So.

777
00:50:07,120 --> 00:50:13,600
Speaker 4: Uh, why is walking Man the one album that at

778
00:50:14,080 --> 00:50:20,720
Speaker 4: let's see Peter why he didn't produced.

779
00:50:20,600 --> 00:50:23,640
Speaker 6: It was the first album he didn't produce. Well, you know,

780
00:50:23,800 --> 00:50:27,719
Speaker 6: I had made already my first four albums with Peter,

781
00:50:28,680 --> 00:50:33,279
Speaker 6: and I really wanted to uh to Well, for one thing,

782
00:50:33,320 --> 00:50:35,960
Speaker 6: I wanted to record in New York because I never

783
00:50:36,040 --> 00:50:40,160
Speaker 6: lived in Los Angeles. I always lived East Coast, and

784
00:50:41,400 --> 00:50:46,600
Speaker 6: I would stay out there with with Peter or at

785
00:50:46,640 --> 00:50:51,640
Speaker 6: another you know place. But I did three albums, one

786
00:50:51,719 --> 00:50:55,400
Speaker 6: with Spinosa and then two with with Warner Brothers staff

787
00:50:55,520 --> 00:51:00,800
Speaker 6: producers Lenny Warrenker and uh and Russ Titelmann and and

788
00:51:00,960 --> 00:51:02,799
Speaker 6: those guys who also.

789
00:51:02,600 --> 00:51:06,160
Speaker 1: Said that so casually like those are gods. Wait, they

790
00:51:06,200 --> 00:51:07,160
Speaker 1: were just staff members.

791
00:51:07,680 --> 00:51:10,880
Speaker 6: Well, they were staff members at Warner Brothers.

792
00:51:11,040 --> 00:51:15,000
Speaker 4: And never I'm one second year old now that I'm

793
00:51:15,080 --> 00:51:17,359
Speaker 4: realizing that all the good stuff, all the stuff they

794
00:51:17,400 --> 00:51:20,520
Speaker 4: produced was on Warner which explains.

795
00:51:20,120 --> 00:51:22,120
Speaker 1: Why the sound was so consistent, why.

796
00:51:23,160 --> 00:51:25,719
Speaker 6: All those things were made at Amigo's studios right there

797
00:51:25,800 --> 00:51:26,400
Speaker 6: in Burbank.

798
00:51:26,560 --> 00:51:30,000
Speaker 4: It never occurred to me that, like, oh, that they

799
00:51:30,040 --> 00:51:34,000
Speaker 4: were staff producers. And I mean I came after an

800
00:51:34,040 --> 00:51:37,440
Speaker 4: era where labels didn't have producers on standby to take

801
00:51:37,480 --> 00:51:39,879
Speaker 4: all the artists in like people just chose on their.

802
00:51:39,800 --> 00:51:40,960
Speaker 1: Own who they wanted to work with.

803
00:51:41,160 --> 00:51:47,400
Speaker 4: But that explains why Russ okay, all the all the

804
00:51:47,400 --> 00:51:50,400
Speaker 4: stuffs engineered the same and has the consistent sound.

805
00:51:50,520 --> 00:51:53,279
Speaker 6: And yeah, a guy named Lee Hirschberg was the was

806
00:51:53,400 --> 00:51:56,760
Speaker 6: the staff, you know, that was the record company studio.

807
00:51:57,000 --> 00:51:59,879
Speaker 6: So it was sort of like if you were making

808
00:52:00,360 --> 00:52:02,879
Speaker 6: a movie on the on the Warner Brothers lot.

809
00:52:03,239 --> 00:52:03,480
Speaker 1: It was.

810
00:52:03,760 --> 00:52:06,400
Speaker 6: It was the musical equivalent of that. So we'd go

811
00:52:06,560 --> 00:52:11,160
Speaker 6: to I made two albums, Gorilla in the Pocket.

812
00:52:11,120 --> 00:52:12,320
Speaker 1: In the Pocket one of my favorites.

813
00:52:12,480 --> 00:52:18,080
Speaker 5: Yeah, those were those were good days.

814
00:52:18,280 --> 00:52:21,880
Speaker 6: I felt as though I had sort of negotiated the

815
00:52:22,040 --> 00:52:26,239
Speaker 6: process of being public, of going public. I felt I

816
00:52:26,360 --> 00:52:30,319
Speaker 6: felt stable in my marriage, and I felt healthy and well,

817
00:52:30,520 --> 00:52:33,160
Speaker 6: and it was just like you show up at the studio,

818
00:52:33,320 --> 00:52:35,520
Speaker 6: you do your work for day, you go home. You know,

819
00:52:35,600 --> 00:52:38,720
Speaker 6: it was very work a day. It was very stable

820
00:52:38,840 --> 00:52:43,560
Speaker 6: place to work, the you know, the basically working for

821
00:52:43,680 --> 00:52:49,440
Speaker 6: Warner Brothers, making these two albums, and I really I

822
00:52:49,560 --> 00:52:52,880
Speaker 6: think that was a very good period for me.

823
00:52:54,800 --> 00:52:56,960
Speaker 5: Yeah, I mean it makes sense for a record label

824
00:52:57,000 --> 00:53:00,919
Speaker 5: to have staff engineers to have a continuity to their sound.

825
00:53:01,120 --> 00:53:02,719
Speaker 5: I mean I think that's a sort of a lost

826
00:53:02,800 --> 00:53:04,200
Speaker 5: thing now with labels where.

827
00:53:04,080 --> 00:53:06,960
Speaker 8: There's just now I came after that era, so yeah.

828
00:53:07,040 --> 00:53:09,400
Speaker 5: I'm thinking of CTI and things and jazz labels and

829
00:53:09,560 --> 00:53:11,920
Speaker 5: where it's just sort of like, you know, you always

830
00:53:11,960 --> 00:53:14,359
Speaker 5: have the same engineers and the same producers, and it's

831
00:53:14,520 --> 00:53:18,160
Speaker 5: the same studios and it's branding.

832
00:53:18,280 --> 00:53:18,440
Speaker 1: Yeah.

833
00:53:18,560 --> 00:53:20,840
Speaker 5: Yeah, labels used to do a better job of branding

834
00:53:20,920 --> 00:53:22,400
Speaker 5: and having their own studio.

835
00:53:22,800 --> 00:53:25,000
Speaker 6: And also the music was made live, you know, it

836
00:53:25,200 --> 00:53:29,480
Speaker 6: wasn't all a process of put down an idea with

837
00:53:29,960 --> 00:53:33,120
Speaker 6: a keyboard and a drum machine, get a vocal on it,

838
00:53:33,440 --> 00:53:36,840
Speaker 6: and then start making the rounds of people to overdub

839
00:53:36,920 --> 00:53:39,160
Speaker 6: on it, which is which is a great way to record,

840
00:53:39,320 --> 00:53:43,719
Speaker 6: but but it doesn't give you the same sound you

841
00:53:43,800 --> 00:53:48,120
Speaker 6: know of if you have a room, you're micing the room,

842
00:53:48,200 --> 00:53:52,040
Speaker 6: you're miking the players and and they're actually you know,

843
00:53:52,520 --> 00:53:57,600
Speaker 6: like that Stan Getz album go from Me Panimas on it.

844
00:53:59,200 --> 00:54:02,239
Speaker 6: But at any rate, that's a three day process. I

845
00:54:02,320 --> 00:54:07,360
Speaker 6: think round Midnight probably also three or four days, you know,

846
00:54:07,680 --> 00:54:12,800
Speaker 6: very very live albums and uh and and that's a

847
00:54:13,440 --> 00:54:14,200
Speaker 6: that's a rarity.

848
00:54:18,719 --> 00:54:23,239
Speaker 1: It just hit me Steve that one of our most

849
00:54:23,440 --> 00:54:25,560
Speaker 1: heated debates ever about.

850
00:54:25,400 --> 00:54:36,040
Speaker 4: Music is over Her Town Too? Sorry, Uh, exactly. We

851
00:54:36,280 --> 00:54:39,120
Speaker 4: always have this debate, all right, Oh I.

852
00:54:39,160 --> 00:54:43,160
Speaker 8: See yeah, yeah, so yeah, what's going on.

853
00:54:43,360 --> 00:54:44,080
Speaker 1: I don't know what's going on.

854
00:54:44,360 --> 00:54:51,239
Speaker 8: I'm afraid to ask. Yeah, well he knows, he knows

855
00:54:51,280 --> 00:54:52,680
Speaker 8: what he heard on the radio.

856
00:54:53,520 --> 00:54:57,200
Speaker 4: No, dude, like I live Dawn and my dad like Dawn.

857
00:54:57,360 --> 00:55:01,759
Speaker 4: My dad had all pop and soft ron covered. So

858
00:55:03,120 --> 00:55:05,440
Speaker 4: there's at least eight of his records in my house right,

859
00:55:05,680 --> 00:55:07,799
Speaker 4: not in real time, not like, oh I'm in the supermarket.

860
00:55:07,960 --> 00:55:09,520
Speaker 1: Oh it's James Taylor, that's James Tale.

861
00:55:09,800 --> 00:55:13,200
Speaker 4: My whole point was that we were going this this

862
00:55:13,400 --> 00:55:16,279
Speaker 4: is ten years ago, where we're just nerded now on

863
00:55:17,320 --> 00:55:21,680
Speaker 4: James Taylor classics and in my top five is Her

864
00:55:21,800 --> 00:55:26,279
Speaker 4: Town Too, which it was on Dad's work.

865
00:55:26,640 --> 00:55:27,080
Speaker 1: Dad likes.

866
00:55:28,520 --> 00:55:31,120
Speaker 4: Right, right right, that was out when I was like ten.

867
00:55:31,640 --> 00:55:36,120
Speaker 4: It's my sister's favorite record. So I'm telling him like

868
00:55:36,320 --> 00:55:41,279
Speaker 4: Her Town Too, and it just and I was so angry.

869
00:55:42,800 --> 00:55:45,960
Speaker 1: For a week and I played it for him. I'm like,

870
00:55:46,000 --> 00:55:50,640
Speaker 1: you what this No, I'm like and you know, I'm sorry.

871
00:55:51,280 --> 00:55:54,279
Speaker 5: Well different, different, all right, Well, I actually have a

872
00:55:54,400 --> 00:55:56,440
Speaker 5: very similar story because this is this album right here

873
00:55:56,520 --> 00:55:57,399
Speaker 5: from eighty five.

874
00:55:57,520 --> 00:55:58,160
Speaker 8: That's why I'm here.

875
00:55:58,680 --> 00:56:01,360
Speaker 5: My sister had the cassette and brought it on some

876
00:56:01,520 --> 00:56:04,359
Speaker 5: family vacation, and that's why I know this one back

877
00:56:04,360 --> 00:56:07,520
Speaker 5: to front and maybe don't know, you know a different

878
00:56:07,560 --> 00:56:10,920
Speaker 5: one back to front, but it's it's the oldest sister story.

879
00:56:11,120 --> 00:56:15,440
Speaker 1: Basically, Yes, both of our oldest sisters put James Taylor

880
00:56:15,640 --> 00:56:17,320
Speaker 1: that that song was a was a.

881
00:56:18,320 --> 00:56:24,360
Speaker 6: It was a real collaboration. And you know, uh, I

882
00:56:24,440 --> 00:56:28,640
Speaker 6: wrote it with a guy named John David Souther, Watti

883
00:56:28,719 --> 00:56:31,279
Speaker 6: walk Tel and Coots. I think we were all in

884
00:56:31,360 --> 00:56:34,080
Speaker 6: the room. We were all, you know, staying up way

885
00:56:34,160 --> 00:56:37,400
Speaker 6: too late. There might have been some substances involved. We

886
00:56:38,040 --> 00:56:39,239
Speaker 6: we we ended up.

887
00:56:39,320 --> 00:56:43,879
Speaker 1: Wait he played, I don't mean to interrupt you. Yeah

888
00:56:44,160 --> 00:56:46,160
Speaker 1: he he came with Stevie Nicks.

889
00:56:46,560 --> 00:56:48,920
Speaker 4: Yeah wait, you're trying to tell me the guy that

890
00:56:49,120 --> 00:56:51,600
Speaker 4: I freaking did the intro to Edge of seventeen.

891
00:56:52,080 --> 00:56:54,479
Speaker 1: No, no, no, no, no no no, he co wrote

892
00:56:54,520 --> 00:56:54,799
Speaker 1: the song.

893
00:56:55,520 --> 00:56:58,279
Speaker 6: Yes he did. Watty was was was in the room

894
00:56:58,480 --> 00:56:59,040
Speaker 6: and I get.

895
00:56:58,920 --> 00:57:00,920
Speaker 1: To ask him this question. I wish everybody can see

896
00:57:00,920 --> 00:57:01,360
Speaker 1: your face.

897
00:57:01,280 --> 00:57:05,200
Speaker 6: Right, Yeah, actually we should look it up and make

898
00:57:05,280 --> 00:57:08,120
Speaker 6: sure he that's how I'm remembering it, but.

899
00:57:08,239 --> 00:57:09,560
Speaker 1: Oh I'm looking right now.

900
00:57:10,280 --> 00:57:11,560
Speaker 6: Yeah, does it say walked out?

901
00:57:11,800 --> 00:57:12,000
Speaker 1: Yes?

902
00:57:12,239 --> 00:57:13,320
Speaker 6: Oh great, great?

903
00:57:15,440 --> 00:57:19,280
Speaker 4: Right, yeah, I'm sorry when when when Stevie came on

904
00:57:20,120 --> 00:57:23,000
Speaker 4: the Tonight should do Edge of seventeen, he came with

905
00:57:23,120 --> 00:57:25,720
Speaker 4: her and we've been nerding out on him for at

906
00:57:25,800 --> 00:57:26,840
Speaker 4: least three to four hours.

907
00:57:27,200 --> 00:57:29,960
Speaker 6: He is that's a that's another You know, there's so

908
00:57:30,080 --> 00:57:35,880
Speaker 6: many of these really important musical figures who figure at

909
00:57:36,000 --> 00:57:39,440
Speaker 6: least as deeply as the person you know who fronts

910
00:57:39,520 --> 00:57:43,920
Speaker 6: the band, but you know who like the the you know,

911
00:57:44,080 --> 00:57:48,400
Speaker 6: the the Wrecking Crew, like the you know that that

912
00:57:48,680 --> 00:57:49,800
Speaker 6: the Motown.

913
00:57:50,280 --> 00:57:51,360
Speaker 1: House band brothers.

914
00:57:51,440 --> 00:57:54,640
Speaker 6: Yeah, you know all of all of these these people

915
00:57:55,080 --> 00:57:59,600
Speaker 6: who Yeah, that's what I meant.

916
00:57:59,680 --> 00:58:01,480
Speaker 1: Yes, how did you choose these musicians?

917
00:58:02,160 --> 00:58:06,680
Speaker 6: You know it? The for the first album, the Apple album,

918
00:58:06,880 --> 00:58:09,840
Speaker 6: I just ran ads in the music papers in London.

919
00:58:10,000 --> 00:58:12,560
Speaker 6: There were two. There was one called New Musical Express

920
00:58:12,920 --> 00:58:16,200
Speaker 6: and another one called Melody Maker, and we just went

921
00:58:16,240 --> 00:58:19,080
Speaker 6: to the want ads and advertised for a keyboard player

922
00:58:19,120 --> 00:58:24,600
Speaker 6: and a bass player and my friend Joel O'Brien came

923
00:58:24,640 --> 00:58:32,840
Speaker 6: over to play drums. But but ultimately it was like, uh,

924
00:58:34,760 --> 00:58:38,440
Speaker 6: by the time we got to California. I hooked up

925
00:58:38,480 --> 00:58:41,960
Speaker 6: with Coach again, and Coach had been working with Carol,

926
00:58:42,760 --> 00:58:46,560
Speaker 6: so that gave us that basic just two guitars and

927
00:58:46,840 --> 00:58:51,720
Speaker 6: uh and and and Carol's piano and and we had

928
00:58:51,760 --> 00:58:56,240
Speaker 6: a number of bass players, but eventually we settled on

929
00:58:56,400 --> 00:58:59,520
Speaker 6: lease clar. There was a guy named Bobby West who

930
00:58:59,600 --> 00:59:04,000
Speaker 6: played on Fire and Rain. He he played upright bass,

931
00:59:04,160 --> 00:59:06,840
Speaker 6: you know, acoustic bass, and and he boted it to

932
00:59:07,160 --> 00:59:08,760
Speaker 6: for for one verse.

933
00:59:09,080 --> 00:59:14,560
Speaker 8: I think anyway, we know Scolar too, you know a studio.

934
00:59:16,720 --> 00:59:22,360
Speaker 6: Yeah he's yeah, Li's Lee's uh also uh, you know,

935
00:59:22,520 --> 00:59:26,120
Speaker 6: one of these deep sources of music. And and I

936
00:59:26,400 --> 00:59:30,680
Speaker 6: think there there are musical cultures like in in Japan

937
00:59:30,960 --> 00:59:35,040
Speaker 6: and and in Europe and Germany where where people follow

938
00:59:35,160 --> 00:59:39,840
Speaker 6: who these session players are and understand their value. But

939
00:59:40,000 --> 00:59:44,560
Speaker 6: we you know, and and particularly back when when music

940
00:59:44,880 --> 00:59:49,080
Speaker 6: was being made live uh uh in the studio. Uh

941
00:59:49,320 --> 00:59:53,200
Speaker 6: you know, these these players were were you know, Linda

942
00:59:53,320 --> 00:59:57,400
Speaker 6: Ronstadt depended on a guy named Andrew gold As as

943
00:59:57,480 --> 01:00:00,800
Speaker 6: her sort of musical director. And Andrew, you know, is

944
01:00:01,200 --> 01:00:04,560
Speaker 6: a big part of that sound that that she she had.

945
01:00:04,640 --> 01:00:07,080
Speaker 6: And I know you know what I'm talking about, of course.

946
01:00:07,320 --> 01:00:10,640
Speaker 4: No, well, yeah, even hip hop heads. We collect records,

947
01:00:11,280 --> 01:00:12,760
Speaker 4: the first thing we do is look at the credits

948
01:00:13,080 --> 01:00:13,880
Speaker 4: that are not played on it.

949
01:00:13,960 --> 01:00:14,840
Speaker 1: Yeah, I'll buy this record.

950
01:00:15,840 --> 01:00:20,400
Speaker 4: Like Bobby Hall playing percussion on on on your albums.

951
01:00:20,720 --> 01:00:24,000
Speaker 4: It was an instant whoa, I know that name Bill

952
01:00:24,040 --> 01:00:25,400
Speaker 4: Withers and dada, YadA YadA.

953
01:00:28,480 --> 01:00:32,480
Speaker 1: We're okay, so I asked, and of course Steve.

954
01:00:32,800 --> 01:00:39,040
Speaker 5: No just speaking about collaborations and things our listeners might

955
01:00:39,120 --> 01:00:43,160
Speaker 5: not know that you on albums you've appeared on, like

956
01:00:44,280 --> 01:00:46,600
Speaker 5: just things. I wanted to bring up Steve Winwoods back

957
01:00:46,640 --> 01:00:51,120
Speaker 5: in the high life again singing background vocals on that song,

958
01:00:51,960 --> 01:00:54,200
Speaker 5: and uh, that was that was a.

959
01:00:54,240 --> 01:00:58,840
Speaker 6: Rust that was a rough produced that particular track.

960
01:00:59,120 --> 01:01:03,040
Speaker 5: Yeah, and I mentioned you played on Blue You should

961
01:01:03,080 --> 01:01:07,560
Speaker 5: really talk about that more. Uh Is it true you

962
01:01:07,600 --> 01:01:08,960
Speaker 5: played banjo on Old Man?

963
01:01:09,800 --> 01:01:11,960
Speaker 6: Yes, that's right. Yeah, and Linda and I sang on

964
01:01:12,120 --> 01:01:15,080
Speaker 6: that too. It was a session in in Nashville, back

965
01:01:15,120 --> 01:01:20,160
Speaker 6: when Nashville was, you know, an earlier generation of Nashville,

966
01:01:20,200 --> 01:01:24,880
Speaker 6: which I really didn't you know, identify with. I just

967
01:01:25,720 --> 01:01:28,520
Speaker 6: the country music at the at that time seemed like

968
01:01:28,640 --> 01:01:32,760
Speaker 6: another country to me, you know, it did it seemed

969
01:01:32,800 --> 01:01:34,720
Speaker 6: like and I was I was raised in the South,

970
01:01:34,840 --> 01:01:37,320
Speaker 6: so I had a sense of what the line was.

971
01:01:37,440 --> 01:01:39,840
Speaker 6: You know what the dividing line was. You know that

972
01:01:40,040 --> 01:01:45,200
Speaker 6: kind of Christian gun rack, uh, a cowboy hat thing.

973
01:01:45,360 --> 01:01:47,640
Speaker 6: You know that that line?

974
01:01:49,680 --> 01:01:49,800
Speaker 7: Uh?

975
01:01:50,680 --> 01:01:55,840
Speaker 6: Yeah, oh you've noticed that.

976
01:01:55,960 --> 01:02:00,360
Speaker 1: Did you notice?

977
01:02:01,160 --> 01:02:03,640
Speaker 8: Is that the only uh is that the only banjo

978
01:02:03,760 --> 01:02:05,320
Speaker 8: you've you've recorded?

979
01:02:05,560 --> 01:02:08,200
Speaker 6: That's right. It was a six string banjo and it

980
01:02:08,840 --> 01:02:11,040
Speaker 6: so you played it like a guitar and it just,

981
01:02:11,360 --> 01:02:14,560
Speaker 6: you know, was stretched across that membrane that that a

982
01:02:14,640 --> 01:02:16,400
Speaker 6: banjo has and made that sound.

983
01:02:16,520 --> 01:02:21,200
Speaker 5: But yeah, there's one more collaboration that I don't I

984
01:02:21,200 --> 01:02:22,720
Speaker 5: don't think a lot of people know about. There's a

985
01:02:22,800 --> 01:02:25,880
Speaker 5: song on an Art Garfunkel album cover of Sam Cook's

986
01:02:26,240 --> 01:02:27,200
Speaker 5: What a Wonderful World.

987
01:02:27,680 --> 01:02:30,880
Speaker 6: Yes, that's right, Paul Simon and Art and and I.

988
01:02:31,160 --> 01:02:34,080
Speaker 8: Yeah, yeah, everybody takes a verse. It's really cool.

989
01:02:34,880 --> 01:02:38,320
Speaker 6: Yeah, we wrote an extra verse to it too. Don't

990
01:02:38,360 --> 01:02:40,800
Speaker 6: know much about the Middle Ages, looked at the pictures

991
01:02:40,840 --> 01:02:44,040
Speaker 6: and turned the pages, don't know nothing about no rise

992
01:02:44,120 --> 01:02:48,160
Speaker 6: and fall, don't know nothing about nothing at all. And

993
01:02:48,280 --> 01:02:51,600
Speaker 6: that that was an extra verse that we snuck into

994
01:02:51,720 --> 01:02:53,840
Speaker 6: it so that all three of us got a verse.

995
01:02:54,800 --> 01:02:57,440
Speaker 8: Yeah, everybody should check that out. It's really pretty. We

996
01:02:57,560 --> 01:02:58,640
Speaker 8: will I just guess.

997
01:03:00,200 --> 01:03:03,000
Speaker 1: I have a real quick question. Can you confirm something

998
01:03:03,040 --> 01:03:06,600
Speaker 1: that I've always thought in my head and in the pocket.

999
01:03:06,600 --> 01:03:09,040
Speaker 1: There's a song that you did with Stevie wonder, Don't

1000
01:03:09,080 --> 01:03:12,000
Speaker 1: be sad because your son is down? Did Stevie come

1001
01:03:12,040 --> 01:03:15,040
Speaker 1: up with that title? Yes, okay, I knew it. I

1002
01:03:15,120 --> 01:03:17,480
Speaker 1: knew it. What's it there? It's just because that's it

1003
01:03:17,800 --> 01:03:19,840
Speaker 1: just sounds like Stevie, you know, it sounds like a

1004
01:03:19,880 --> 01:03:20,600
Speaker 1: Stevie sentence.

1005
01:03:20,720 --> 01:03:23,600
Speaker 6: What what Stevie gave me was this this thing that

1006
01:03:23,720 --> 01:03:52,800
Speaker 6: goes like a don't be sad goes your songs is down? Anyway,

1007
01:03:53,000 --> 01:04:02,400
Speaker 6: that's as much as here with the Tarry James Taylor,

1008
01:04:02,480 --> 01:04:07,600
Speaker 6: give it James Taylor, take it away. But the the

1009
01:04:08,040 --> 01:04:10,880
Speaker 6: the thing is that he gave me those chord changes,

1010
01:04:11,520 --> 01:04:14,440
Speaker 6: and he gave me but on the piano, and he

1011
01:04:14,560 --> 01:04:18,240
Speaker 6: gave me, uh, the title don't be said because your

1012
01:04:18,280 --> 01:04:20,920
Speaker 6: son is down? And he said, you know, take that And.

1013
01:04:23,600 --> 01:04:46,640
Speaker 1: So I think that song and shove it. This is happening.

1014
01:04:49,960 --> 01:04:52,800
Speaker 6: I haven't thought of that song in many a year.

1015
01:04:53,160 --> 01:04:55,800
Speaker 6: But we we we we did it live one year

1016
01:04:55,840 --> 01:04:57,800
Speaker 6: and it was really it was great. But you know,

1017
01:04:58,000 --> 01:05:01,240
Speaker 6: to to be able to work. Stevie was you know,

1018
01:05:01,640 --> 01:05:03,840
Speaker 6: it was one of those things. He sent it over

1019
01:05:04,080 --> 01:05:07,920
Speaker 6: and and called me up and and said, you know,

1020
01:05:08,160 --> 01:05:10,920
Speaker 6: give it a try, and and you you know, i'll

1021
01:05:11,000 --> 01:05:13,440
Speaker 6: take the publishing on this one. You take the publishing

1022
01:05:13,520 --> 01:05:15,320
Speaker 6: on the next one. And we we haven't got to

1023
01:05:15,400 --> 01:05:15,959
Speaker 6: the next one.

1024
01:05:15,920 --> 01:05:19,720
Speaker 3: Yet, he said, I as in him.

1025
01:05:19,800 --> 01:05:22,520
Speaker 1: Okay, guys, Stevie, it was you want.

1026
01:05:26,640 --> 01:05:31,200
Speaker 4: Yeah, I just had a light bulb of the moment. Ah, damn,

1027
01:05:31,720 --> 01:05:34,040
Speaker 4: he wants to flip some ship. There's I know, like

1028
01:05:34,080 --> 01:05:37,560
Speaker 4: I gotta go, I gotta flip some ship. No, it's

1029
01:05:37,640 --> 01:05:39,840
Speaker 4: just okay, I have one last question then I gotta

1030
01:05:39,920 --> 01:05:43,880
Speaker 4: let you go. Okay, I do want to tell about

1031
01:05:43,920 --> 01:05:48,680
Speaker 4: traffic damn. Yeah, But also I want to ask him

1032
01:05:49,120 --> 01:05:51,040
Speaker 4: why was it necessary for the book to come out?

1033
01:05:51,120 --> 01:05:55,600
Speaker 1: Right now? What's more important? All right, Well, I'll ask.

1034
01:05:55,440 --> 01:05:58,400
Speaker 4: You about yes, yes, ask him off the air about traffic, tam, Yes,

1035
01:05:58,440 --> 01:06:01,040
Speaker 4: I'll ask you off the air. Okay, I mean that

1036
01:06:01,120 --> 01:06:04,520
Speaker 4: was some pioneer, Nash Damn near rapping and he was

1037
01:06:04,600 --> 01:06:08,400
Speaker 4: rapping on that you're rapped in nineteen seventy seven. Okay,

1038
01:06:09,480 --> 01:06:12,320
Speaker 4: why did you feel was necessary to share. Thank you

1039
01:06:12,400 --> 01:06:15,400
Speaker 4: for sharing your story? Yes, yes, why did you feel

1040
01:06:15,520 --> 01:06:18,800
Speaker 4: was necessary to at the stage in your life to

1041
01:06:18,920 --> 01:06:19,680
Speaker 4: share that story?

1042
01:06:20,200 --> 01:06:25,080
Speaker 6: Audible came to me and suggested, sort of through my management,

1043
01:06:25,720 --> 01:06:28,640
Speaker 6: suggested that I do a project of some sort. And

1044
01:06:29,040 --> 01:06:31,640
Speaker 6: initially the idea was to take five songs of mine,

1045
01:06:32,920 --> 01:06:36,040
Speaker 6: play them and talk about them, you know, just sort

1046
01:06:36,040 --> 01:06:38,800
Speaker 6: of elaborate on them, and you know, to the extent

1047
01:06:38,880 --> 01:06:41,840
Speaker 6: that it would take up. However, many songs were necessary

1048
01:06:41,920 --> 01:06:45,720
Speaker 6: for that chunk of work, which it's ninety minutes. But

1049
01:06:46,040 --> 01:06:50,040
Speaker 6: when I started talking to Bill Flanagan about getting a

1050
01:06:50,080 --> 01:06:53,840
Speaker 6: script together, he said, you know, why don't we just

1051
01:06:54,760 --> 01:06:57,760
Speaker 6: take a certain that that portion of your life that

1052
01:06:58,560 --> 01:07:02,840
Speaker 6: predates your being public before every you know, and and

1053
01:07:02,920 --> 01:07:06,720
Speaker 6: why don't you just tell that story? So we sort

1054
01:07:06,760 --> 01:07:08,080
Speaker 6: of backed into it a little bit.

1055
01:07:08,440 --> 01:07:09,200
Speaker 1: Uh and.

1056
01:07:10,800 --> 01:07:17,000
Speaker 6: But why why we why we decided uh, just now

1057
01:07:18,120 --> 01:07:21,560
Speaker 6: you know it. I took the fall off because I've

1058
01:07:21,600 --> 01:07:24,640
Speaker 6: got kids who are seniors in high school and they're

1059
01:07:24,720 --> 01:07:29,360
Speaker 6: going to that through that college uh, you know, admissions thing,

1060
01:07:29,440 --> 01:07:31,480
Speaker 6: and I wanted to not be on the road for that.

1061
01:07:31,560 --> 01:07:32,520
Speaker 8: I wanted to be around.

1062
01:07:32,600 --> 01:07:36,240
Speaker 6: So I just had the time to do it, you.

1063
01:07:36,320 --> 01:07:41,400
Speaker 1: Know, thank you. Yeah, that it was necessary. I appreciate that.

1064
01:07:41,880 --> 01:07:47,160
Speaker 1: Thank you, thank you. Wow, this is one for the ages. Yeah,

1065
01:07:52,240 --> 01:07:53,680
Speaker 1: well on behalf of time?

1066
01:07:54,080 --> 01:07:56,479
Speaker 6: Did you did? But did you you had a question

1067
01:07:56,560 --> 01:07:58,640
Speaker 6: about fire and rain you were thinking of asking?

1068
01:07:58,880 --> 01:08:01,960
Speaker 4: No, no, I had a question about uh traffic jam,

1069
01:08:02,800 --> 01:08:07,280
Speaker 4: which what made you even think to approach the song

1070
01:08:07,440 --> 01:08:10,280
Speaker 4: like that? Because you know it's essentially hip hop.

1071
01:08:10,920 --> 01:08:13,000
Speaker 1: You know, it was very four or five? Was that

1072
01:08:13,120 --> 01:08:13,720
Speaker 1: bad that day?

1073
01:08:14,160 --> 01:08:18,519
Speaker 6: Yeah? You know it was written right there in the studio,

1074
01:08:20,080 --> 01:08:22,760
Speaker 6: right in and in the amount of time really that

1075
01:08:22,880 --> 01:08:25,960
Speaker 6: it took to sing the song. It was written, okay,

1076
01:08:26,080 --> 01:08:31,559
Speaker 6: it was freestyle and and Russ Kunkle took a foot

1077
01:08:31,600 --> 01:08:35,120
Speaker 6: pedal and a box, you know, like a box filled

1078
01:08:35,160 --> 01:08:38,679
Speaker 6: with packing peanuts and uh, and he attached the foot

1079
01:08:38,720 --> 01:08:40,960
Speaker 6: pedal to the box and played the top of it

1080
01:08:41,120 --> 01:08:43,800
Speaker 6: and with brushes, so it wasn't even a drum.

1081
01:08:43,920 --> 01:08:50,519
Speaker 1: It was like, you know, and Russes.

1082
01:08:50,720 --> 01:08:55,120
Speaker 6: Russ Russ was was you know, he's a very funky player.

1083
01:08:55,240 --> 01:08:59,280
Speaker 6: He's he's a great player, and and uh, you know,

1084
01:08:59,439 --> 01:09:05,080
Speaker 6: we just basically put it together and then harmonize the Uh.

1085
01:09:05,520 --> 01:09:08,639
Speaker 6: The only melody in the song is in the chorus.

1086
01:09:08,800 --> 01:09:10,920
Speaker 6: Damn this traffic jam. How I hate to be late.

1087
01:09:11,280 --> 01:09:13,479
Speaker 6: It hurts my motor to go so slow. Damn this

1088
01:09:13,960 --> 01:09:15,880
Speaker 6: traffic jam. By the time I get home, my sup

1089
01:09:16,000 --> 01:09:19,519
Speaker 6: will be cold. Damn this traffic jam. And and we

1090
01:09:19,960 --> 01:09:24,040
Speaker 6: so uh, you know, it just uh, it just came out,

1091
01:09:24,160 --> 01:09:26,280
Speaker 6: and it was a very la thing because you know,

1092
01:09:26,479 --> 01:09:28,560
Speaker 6: he lived in Los Angeles. She just lived in that

1093
01:09:28,680 --> 01:09:29,720
Speaker 6: traffic all the time.

1094
01:09:30,600 --> 01:09:33,080
Speaker 4: And well, just because it came out in seventy seven,

1095
01:09:33,120 --> 01:09:35,680
Speaker 4: I was like, well, hip hop didn't exist yet. I

1096
01:09:35,720 --> 01:09:38,160
Speaker 4: didn't know if it was like post Woody Guthrie folky

1097
01:09:38,400 --> 01:09:39,040
Speaker 4: talkie thing.

1098
01:09:39,160 --> 01:09:42,360
Speaker 6: Right, talking blues like Bob Dylan is talking blues.

1099
01:09:42,479 --> 01:09:42,599
Speaker 1: Right.

1100
01:09:42,840 --> 01:09:47,000
Speaker 4: But yeah, okay, you answered it, and I appreciate that.

1101
01:09:47,240 --> 01:09:48,719
Speaker 4: All right, we gotta go lazier gentlemen.

1102
01:09:49,200 --> 01:09:50,800
Speaker 8: Wait, white people invented rapping.

1103
01:09:50,920 --> 01:09:51,519
Speaker 1: Just want to let.

1104
01:09:53,680 --> 01:09:56,400
Speaker 8: Just let everyone know, no.

1105
01:09:56,600 --> 01:10:00,920
Speaker 4: Man on behalf of Wasp Bill and Sugar Steve and like, yeah,

1106
01:10:01,240 --> 01:10:04,200
Speaker 4: and sorry, Fante, you missed one. For the record, I'm

1107
01:10:04,280 --> 01:10:07,599
Speaker 4: baby Bill and uh even Sarah, am I missing somebody?

1108
01:10:08,000 --> 01:10:11,479
Speaker 4: Oh James Taylor and Julian Julian of course you're your

1109
01:10:11,520 --> 01:10:12,040
Speaker 4: family though.

1110
01:10:13,120 --> 01:10:13,840
Speaker 1: Thank you very much.

1111
01:10:14,400 --> 01:10:15,320
Speaker 6: This has been great man.

1112
01:10:15,400 --> 01:10:19,479
Speaker 1: Thank you so much for Thank you. Well, this is

1113
01:10:20,080 --> 01:10:26,080
Speaker 1: our episode of Ples Love Supreme. Amazing. Oh I don't

1114
01:10:26,080 --> 01:10:28,360
Speaker 1: even know how to sign off on my own television.

1115
01:10:28,000 --> 01:10:31,719
Speaker 8: Show, television show exactly.

1116
01:10:35,560 --> 01:10:37,599
Speaker 1: We'll see you on that story on a plust Love Supree.

1117
01:10:37,720 --> 01:10:38,000
Speaker 1: All right.

1118
01:10:53,880 --> 01:10:57,120
Speaker 4: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1119
01:10:57,360 --> 01:11:00,439
Speaker 4: Apple Podcasts, or wherever you listen to your favorite chose