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Speaker 1: Welcome, Welcome, Welcome back to Bob left Said podcast. My

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Speaker 1: guest today is the one and only Ivan Never, who

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Speaker 1: has a new solo album, Touch My Soul. Ivan, you

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Speaker 1: haven't put out a solo album for almost twenty years.

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Speaker 1: Why now? Yeah?

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Speaker 2: Why not?

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Speaker 3: You know, VENI late than Never, I guess I was

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Speaker 3: kind of just playing around, playing with my band Dumpster Funk,

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Speaker 3: doing a little bit of this, a little bit of that,

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Speaker 3: and it occurred to me, oh, let's write a song, Ivnant,

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Speaker 3: and I kind of just came up with a tune,

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Speaker 3: and next thing you know, I got a whole record

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Speaker 3: going on.

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Speaker 1: So yeah, okay, So how do you know it's a

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Speaker 1: solo record and not a Dumpster Funk record.

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Speaker 3: Ah, I think you can tell. It's not as funky.

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Speaker 3: It's got a little grease. It's is soulful, but a

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Speaker 3: few more ballads and few more mid tempo, kind of

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Speaker 3: soft kind of.

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Speaker 2: Sounding things, and.

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Speaker 3: Topic wise, it's a little more personal from my point

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Speaker 3: of view than with Dumpster So yeah, there's a few

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Speaker 3: few elements that will let you know it's not a

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Speaker 3: dumpster record.

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Speaker 1: Well, I certainly listened to the record and the record

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Speaker 1: is great. You know, I'm not saying that than you,

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Speaker 1: because you know people of aren't vintage and make new

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Speaker 1: music and usually roll in your eyes. But I guess

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Speaker 1: what I'm saying. In the writing process, how did you

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Speaker 1: know you had a solo album and not a Dumpster

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Speaker 1: Funk record?

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Speaker 2: You know, it's funny, it's it's it's uh.

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Speaker 3: The thing about it is, those guys are playing on

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Speaker 3: a lot of this record. The members of Dumpster Funk

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Speaker 3: are playing with me, Tony Hall, Devin Truss, Claire uh

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Speaker 3: ian Neville, Nick Daniels, the whole lot of them in

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Speaker 3: some some form of fashion. They're all involved in this thing.

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Speaker 3: But the writing process was just me by myself in

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Speaker 3: my son room, which is right down a few steps

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Speaker 3: away from where I'm sitting, and there's a piano in there,

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Speaker 3: at the digital piano, and I go sit in there

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Speaker 3: and I start making up little pieces and that's kind

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Speaker 3: of where I developed the ideas for the songs, and

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Speaker 3: I recorded them on my phone on voice memo, little piece,

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Speaker 3: little piece here, little piece there, and then I would

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Speaker 3: go into the recording studio and start building songs based

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Speaker 3: on those ideas. And it was just me by myself,

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Speaker 3: starting the process and building the foundation for what people

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Speaker 3: became this record, So that's the difference. And Dumpster Funk

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Speaker 3: is a group thing, and it's more of a close

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Speaker 3: to a democracy. It's like guys meeting and converging in

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Speaker 3: a room and somebody has an idea, or all of

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Speaker 3: us have ideas.

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Speaker 2: And we meet up in the middle somewhere.

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Speaker 3: But in this process, I was guiding the ship the

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Speaker 3: whole time, whereas in Dumpster Funk we take turns driving

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Speaker 3: kind of so to speak.

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Speaker 2: But here I was doing all the driving.

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Speaker 1: Okay, do you normally write songs or you suddenly got

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Speaker 1: inspirations that I want to write a set of songs?

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Speaker 1: What was the genesis?

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Speaker 2: Well, I do write a lot.

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Speaker 3: I have written a lot with Dumpster Funk, and I've

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Speaker 3: written a lot of lyrics and a lot of ideas

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Speaker 3: that we've had as a group. I've had a big

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Speaker 3: part in a lot of the songwriting. And I wrote

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Speaker 3: some songs maybe a few years ago for a project

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Speaker 3: called Neville Jacobs with a friend of minees by the

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Speaker 3: name of Chris Jacobs. He lives in Baltimore, great singer songwriter,

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Speaker 3: and he and I had a project and we did

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Speaker 3: a little dabbling and co wrote some things, and he

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Speaker 3: actually helped me with a few of these songs as well.

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Speaker 3: So it was a different mindset to start writing some

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Speaker 3: Ivan music. It was a different little mindset, you know.

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Speaker 1: Okay, so you get all the demos, you talk about

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Speaker 1: going into the studio. What's the situation. You have a

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Speaker 1: home studio, use commercial studio? What studios?

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Speaker 3: It was part It was mostly home studio stuff and

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Speaker 3: a couple of different spots. And it wasn't like I

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Speaker 3: was dem I was I was making it up as

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Speaker 3: I went along, basically, So it wasn't like I demoed

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Speaker 3: and then cut the songs. I was making it up

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Speaker 3: and putting parts on and building the tracks and that's

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Speaker 3: what they became. And it was not like I was

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Speaker 3: going to record them again, like I would build a

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Speaker 3: song with just a piano piece. And maybe this thing

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Speaker 3: called a rhythm king, a maestro rhythm king. It's a

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Speaker 3: little beatbox thing that maybe who used it, sly Slyestone

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Speaker 3: used it on this Fresh album. There was a guy

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Speaker 3: by the name of Timmy Thomas who had a song

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Speaker 3: called why Can't We Live Together? Back in the day

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Speaker 3: he had he used that little beatbox. So did a sugary.

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Speaker 3: Oh this used it the same little beat beatbox little thing.

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Speaker 3: I used that in a bunch of songs to when

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Speaker 3: I was starting out with the with the with the

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Speaker 3: ideas and that's and sometimes I would keep that rhythm

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Speaker 3: in the song and I'd put some live drums on

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Speaker 3: them and maybe some other little loopy thing, and maybe

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Speaker 3: I would have Tony C. Hall Tony Hall come and

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Speaker 3: play a bass, or I played bass on a couple

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Speaker 3: of things with some key bass, and I kind of

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Speaker 3: built it and made it up as I went along, because,

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Speaker 3: to tell you the truth, when I started out, I

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Speaker 3: had one song. I had one song that I wrote

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Speaker 3: by itself. It was a one off and it was

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Speaker 3: a song called Hey Altogether. That's the first song I

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Speaker 3: wrote for this project.

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Speaker 1: And yeah, so have you heard Steve Winwood's version of

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Speaker 1: why Can't We Live Together?

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Speaker 2: You know what, I've never heard that. I'm interested to

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Speaker 2: hear that.

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Speaker 1: You know, you hear the you hear the beat box

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Speaker 1: on the original Timmy Thomas, it's the same song. It's

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Speaker 1: not like it's completely it's really great. As a keyboard player,

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Speaker 1: I think you would enjoy it. But are you technically savvy?

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Speaker 1: Are you a good engineer in the studio.

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Speaker 3: I am not technically savvy at all.

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Speaker 1: You know.

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Speaker 3: The thing is, I there was a period in the

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Speaker 3: late eighties when I did a lot of my own recording.

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Speaker 3: I had a place in Los Angeles where I wrote

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Speaker 3: a lot of songs for my first record, and I

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Speaker 3: did a lot of the engineering.

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Speaker 1: But this was before it.

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Speaker 3: Went high tech and it went computer digital and stuff

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Speaker 3: like that, and I was given I was pretty good

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Speaker 3: with a drum machine and all that stuff back then,

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Speaker 3: But for this project kind I kind of dumb me

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Speaker 3: down a little bit, and I haven't really kept up

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Speaker 3: with some of the technical progression that we've made. And

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Speaker 3: I have friends that know how to do something. I

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Speaker 3: know how to tell someone what I want, and I

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Speaker 3: know how to look at the screen and say, see

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Speaker 3: that piece right there, that piece, let's blah blah blah

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Speaker 3: with that piece, you know, let's make a loop out

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Speaker 3: of that little one little section there, and things of

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Speaker 3: that nature. I know how to do that and editing.

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Speaker 3: If I'm in the room with someone who's technically savvy,

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Speaker 3: I could tell them what to do by what I'm hearing.

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Speaker 1: Yeah, okay, the opening track, as you say, is all together.

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Speaker 1: There are a lot of special guests, your father, Bonnie, Ray,

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Speaker 1: Michael McDonald, trompone Shorty. How did they end up on

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Speaker 1: the record? How do you actually record?

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Speaker 3: Well, that they were These pieces were all done separately

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Speaker 3: in their respective homes or their studios that they go

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Speaker 3: to wherever they live. Like Bonnie has an engineer near

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Speaker 3: her house where she lives in northern California, and she

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Speaker 3: had someone she sang. I sent her the song. Now,

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Speaker 3: the funny thing was Michael McDonald. I had cross paths

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Speaker 3: with him over the last several years, maybe about six

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Speaker 3: or seven years ago, there was a project that I

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Speaker 3: was a part of. It was a live performance thing.

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Speaker 3: It was called The Last They were doing a version

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Speaker 3: of the Last Waltz and it was included Warren Haynes

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Speaker 3: and Don was and Mike McDonald was in that group.

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Speaker 3: And I was a part of that. And that's where

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Speaker 3: I really kind of got to know Mike a little bit.

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Speaker 1: Well.

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Speaker 2: He happened to be in New Orleans. Oh, he was

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Speaker 2: coming to New Orleans.

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Speaker 3: And this was like four years ago, like a little

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Speaker 3: bit right before the pandemic. He was coming to New

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Speaker 3: Orleans and I get I text sent them a text.

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Speaker 3: I'm like, Mike, I got this. Oh you're gonna you're

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Speaker 3: gonna be in New Orleans? How long you're gonna be

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Speaker 3: down here for? And we kind of he hit me

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Speaker 3: up and yeah, I'm gonna be down there for a

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Speaker 3: few days. Well, anyway, long story showed, he ended up

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Speaker 3: having a day or a couple of hours and he

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Speaker 3: came by the studio and I he had him sing

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Speaker 3: some stuff on this on this song, and I had

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Speaker 3: him sing some stuff on this song and he, uh,

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Speaker 3: he did.

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Speaker 2: He did. It was amazing.

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Speaker 3: It was amazing listening to him, listening to his voice,

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Speaker 3: especially when he left, and me and the engineer we

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Speaker 3: were just listening back at Michael McDonald's voice. This amazing,

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Speaker 3: you know, distinctive voice that I loved. Right, And then

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Speaker 3: I got I've got my dad.

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Speaker 2: To sing some stuff. And the funny thing was the

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Speaker 2: stuff my dad saying.

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Speaker 3: For some reason, it didn't I didn't get the right

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Speaker 3: stuff from my dad initially.

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Speaker 1: And then Bonnie.

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Speaker 3: I had just finished touring with Bonnie maybe a year

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Speaker 3: before that, and I was I had played you. I

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Speaker 3: known Bonnie for many years, so I found the right time,

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Speaker 3: and I'm like, I got this song, Bonnie, I'm gonna

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Speaker 3: have my dad on it. I got Mike McDonald on it,

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Speaker 3: and I'd love for you to sing on it. And

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Speaker 3: so she she, she said, Okay, send me the song.

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Speaker 3: I said to the song. She dug it. She got

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Speaker 3: with her engineer and she sang a bunch of stuff.

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Speaker 3: Find So I got it back and I listened and

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Speaker 3: I'm like, oh my god, this is so great. And

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Speaker 3: I had Mike McDonald and Bonnie singing on this, on

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Speaker 3: this choruses and on this bridge. And then I got

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Speaker 3: David Shaw. He lives in New Orleans. He's got a

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Speaker 3: band called the Revivalist. I got David Shaw to come

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Speaker 3: over and sang. He sang some harmonies on some of

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Speaker 3: the choruses and whatnot. I got Trumbone Shorty to put

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Speaker 3: a few little licks on it in the vamp section.

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Speaker 1: I sent it.

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Speaker 2: I ended up.

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Speaker 3: Mike McDonald text me and says, hey, how's it going

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Speaker 3: with that song? Do you need anything else for me?

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Speaker 3: I'm like, yes, sure, I want to do a couple.

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Speaker 3: You want to do a couple of little ad libs?

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Speaker 1: Perhaps?

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Speaker 3: And he sang a few ad libs and he sang

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Speaker 3: some little ooh stuff in the beginning. So the first

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Speaker 3: voices you hear on this song is Mike McDonald. He

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Speaker 3: goes in the beginning. So anyway, long story show. I

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Speaker 3: ended up and then I called my dad. I said, Dad,

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Speaker 3: I said, listen, I didn't really get exactly what I

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Speaker 3: need it from you, but I need you to do.

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Speaker 3: I need about five or six just classic Aaron Neville yoldas.

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Speaker 3: You don't even have to sing any words. I just

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Speaker 3: need some oo. I need a few of those. Just

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Speaker 3: give me five or six of those and I'll have

221
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Speaker 3: everything I want.

222
00:11:15,520 --> 00:11:18,400
Speaker 2: And so I ended up with all this beautiful stuff.

223
00:11:19,040 --> 00:11:22,160
Speaker 3: And that's where I really had a fun time, sitting

224
00:11:22,160 --> 00:11:24,360
Speaker 3: with an engineer. It was this guy, this guy name

225
00:11:24,400 --> 00:11:27,360
Speaker 3: is Basie Bob, who helped me with edit all this stuff.

226
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Speaker 1: And he mixed that song.

227
00:11:29,320 --> 00:11:32,760
Speaker 3: And we sat in his studio and listened to this stuff,

228
00:11:32,800 --> 00:11:35,480
Speaker 3: and we listened to me singing, and here comes a

229
00:11:35,520 --> 00:11:38,400
Speaker 3: Bonnie rate little line. Here comes to Mike McDonald line,

230
00:11:38,600 --> 00:11:41,040
Speaker 3: and let's put an Aaron Neville yola right here. And

231
00:11:41,640 --> 00:11:44,200
Speaker 3: it was a beautiful thing. I had so much fun

232
00:11:44,280 --> 00:11:44,640
Speaker 3: doing that.

233
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Speaker 1: Okay, So, as I referenced earlier, we're older, the world

234
00:11:51,240 --> 00:11:56,040
Speaker 1: has changed, acts put out new records and they immediately disappear.

235
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Speaker 1: So you finished the record. It doesn't sound sounds like

236
00:11:59,520 --> 00:12:03,079
Speaker 1: you did. Didn't cost that much. How did you ultimately

237
00:12:03,559 --> 00:12:06,760
Speaker 1: find a record company it amp it up for release.

238
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Speaker 2: Well, that that was a I owed. I owed something.

239
00:12:11,559 --> 00:12:13,120
Speaker 2: I old Dumpster Funk for that.

240
00:12:13,280 --> 00:12:16,600
Speaker 3: Dumpster Funk had been talking to this label of the

241
00:12:16,600 --> 00:12:19,520
Speaker 3: Mascot label group to do a Dumpster Funk record. Now,

242
00:12:19,559 --> 00:12:22,120
Speaker 3: Dumpster Funk had music in the can that we had

243
00:12:22,120 --> 00:12:26,920
Speaker 3: been working on over the past, you know, of five,

244
00:12:27,240 --> 00:12:30,079
Speaker 3: six or seven years, and so we had some stuff

245
00:12:30,800 --> 00:12:33,360
Speaker 3: that we had gathered up, some music. And then so

246
00:12:33,440 --> 00:12:36,440
Speaker 3: when Dumpster got to deal with this label, I had

247
00:12:36,480 --> 00:12:41,000
Speaker 3: this one song, his hay all together song that was done.

248
00:12:41,440 --> 00:12:44,720
Speaker 2: And this is like I'm talking, this is doing two.

249
00:12:44,840 --> 00:12:49,600
Speaker 3: This is like two twenty twenty when they said during

250
00:12:49,600 --> 00:12:53,040
Speaker 3: the pandemic twenty twenty twenty twenty one or something like that,

251
00:12:53,760 --> 00:12:57,240
Speaker 3: when Dumpster got to ink the deal with Mascot label group,

252
00:12:57,280 --> 00:12:59,880
Speaker 3: and they offered me a side a deal as well

253
00:13:00,640 --> 00:13:03,800
Speaker 3: based on the one song. So now we worked the

254
00:13:03,880 --> 00:13:06,160
Speaker 3: Dumpster record a little bit, we played tour and all

255
00:13:06,160 --> 00:13:08,480
Speaker 3: that stuff, and now it's time for me. I have

256
00:13:08,520 --> 00:13:11,959
Speaker 3: to write about eight or nine more songs. That's basically

257
00:13:12,040 --> 00:13:12,679
Speaker 3: what happened.

258
00:13:12,800 --> 00:13:17,680
Speaker 1: Yeah, okay, so the record is done. You're talking to me,

259
00:13:18,240 --> 00:13:20,360
Speaker 1: but how do you plan to get the word out?

260
00:13:20,400 --> 00:13:22,880
Speaker 1: And you're gonna go on the road as I've been.

261
00:13:23,400 --> 00:13:25,920
Speaker 3: Right, Well, I plan on going on the road this

262
00:13:26,160 --> 00:13:30,960
Speaker 3: ivan where it makes sense, especially early on, and then

263
00:13:31,040 --> 00:13:34,400
Speaker 3: I'm gonna incorporate some of this stuff, maybe one or

264
00:13:34,440 --> 00:13:37,640
Speaker 3: two things where where it also.

265
00:13:37,559 --> 00:13:38,920
Speaker 2: Makes sense with Dumpster Funk.

266
00:13:39,360 --> 00:13:41,960
Speaker 3: I might even do some double duties with Dumpster when

267
00:13:42,880 --> 00:13:45,520
Speaker 3: where we can where I might open up some Dumpster

268
00:13:45,559 --> 00:13:48,960
Speaker 3: Funk sets some shows and do an Ivan set. But

269
00:13:49,000 --> 00:13:50,920
Speaker 3: I'm gonna do whatever I have to do to get

270
00:13:50,920 --> 00:13:53,680
Speaker 3: this music out there, to get it get it heard

271
00:13:53,760 --> 00:13:57,240
Speaker 3: by some folks. So I'm ready to play.

272
00:13:57,360 --> 00:14:01,160
Speaker 1: You know. So what's it like having your father be

273
00:14:01,360 --> 00:14:02,240
Speaker 1: Aaron Biftels.

274
00:14:04,640 --> 00:14:07,080
Speaker 3: You know, it's pretty cool because he's a he's a

275
00:14:07,160 --> 00:14:10,680
Speaker 3: very cool guy man, and it was very you know

276
00:14:10,800 --> 00:14:13,720
Speaker 3: growing up with him. He was he was larger than life,

277
00:14:13,840 --> 00:14:16,160
Speaker 3: you know when I was a kid, but for.

278
00:14:16,120 --> 00:14:18,640
Speaker 2: Many reasons, not just because he was this singer guy.

279
00:14:18,679 --> 00:14:22,400
Speaker 3: Because when I was young, he hadn't really found any

280
00:14:22,880 --> 00:14:27,040
Speaker 3: like real success like he had. He was known around

281
00:14:27,280 --> 00:14:30,160
Speaker 3: town a bit, and I knew that by the time

282
00:14:30,200 --> 00:14:32,760
Speaker 3: I was maybe seven years old or something. He had

283
00:14:32,800 --> 00:14:35,080
Speaker 3: this big hit song called tell It Like It Is,

284
00:14:36,120 --> 00:14:39,680
Speaker 3: and we we I remember hearing that song and everybody's saying,

285
00:14:39,680 --> 00:14:41,560
Speaker 3: this is going to be a hit record.

286
00:14:41,720 --> 00:14:43,560
Speaker 2: And all this stuff. And he didn't make he didn't

287
00:14:43,560 --> 00:14:44,440
Speaker 2: make any money.

288
00:14:44,240 --> 00:14:47,560
Speaker 3: Off of that that music, so we didn't wait, wait.

289
00:14:47,440 --> 00:14:49,640
Speaker 1: Wait, since I'm talking to you, do you have any

290
00:14:49,680 --> 00:14:51,920
Speaker 1: idea if it was a big hit record. While he

291
00:14:51,960 --> 00:14:55,400
Speaker 1: didn't make any money.

292
00:14:54,680 --> 00:14:57,400
Speaker 3: The business side was not together at all, and the

293
00:14:57,440 --> 00:15:00,880
Speaker 3: people involved, you know, there was a there were a

294
00:15:00,920 --> 00:15:04,280
Speaker 3: lot of shady dealings going on in those days, and

295
00:15:04,360 --> 00:15:06,800
Speaker 3: somebody made some money, I'm sure, because it sold a

296
00:15:06,800 --> 00:15:09,200
Speaker 3: lot of a lot of copies and it was maybe

297
00:15:09,240 --> 00:15:10,560
Speaker 3: made it to maybe number.

298
00:15:10,280 --> 00:15:12,640
Speaker 2: Two anyway, But this guy is big.

299
00:15:12,680 --> 00:15:16,280
Speaker 3: He was He was generally a big guy, and he

300
00:15:16,360 --> 00:15:19,920
Speaker 3: was kind of tough and he I saw the respect

301
00:15:19,960 --> 00:15:23,960
Speaker 3: that he commanded from the people on the streets. I'm

302
00:15:24,000 --> 00:15:27,840
Speaker 3: talking about in the neighborhood. Like, not music people, I'm

303
00:15:27,880 --> 00:15:32,640
Speaker 3: talking about street people. They respected this guy, Aaron Neville

304
00:15:33,200 --> 00:15:36,400
Speaker 3: was respected, you know, not only in the music but

305
00:15:36,520 --> 00:15:38,120
Speaker 3: on the street. I mean, you know, he's got a

306
00:15:38,120 --> 00:15:40,440
Speaker 3: tattoo in his face. He had a tattoo in his

307
00:15:40,520 --> 00:15:43,880
Speaker 3: face back in the days, and everybody didn't. Everybody didn't

308
00:15:43,920 --> 00:15:47,480
Speaker 3: have tattoos, and so he was a pretty rough, you know,

309
00:15:47,680 --> 00:15:50,560
Speaker 3: tough dude, you know who, you know, held his own.

310
00:15:51,160 --> 00:15:53,960
Speaker 3: But it was also impressive that he could sing like

311
00:15:53,960 --> 00:15:57,240
Speaker 3: like an angel. Here's this big tough guy that he

312
00:15:57,480 --> 00:15:59,720
Speaker 3: his voice. He starts singing and he's got this light,

313
00:15:59,720 --> 00:16:02,080
Speaker 3: little beautiful voice.

314
00:16:02,160 --> 00:16:03,000
Speaker 2: So you know what it was.

315
00:16:03,120 --> 00:16:06,080
Speaker 3: It was very cool growing up with him, and then

316
00:16:06,240 --> 00:16:08,480
Speaker 3: when I got to be a teenager, he and I

317
00:16:08,520 --> 00:16:10,440
Speaker 3: got really close again.

318
00:16:11,240 --> 00:16:14,520
Speaker 2: For there was some reasons that, you know, there.

319
00:16:14,400 --> 00:16:16,080
Speaker 3: Was a time when he and my mom kind of

320
00:16:16,080 --> 00:16:19,280
Speaker 3: didn't see i'd I, and so I got to spend

321
00:16:19,320 --> 00:16:21,440
Speaker 3: a little bit of time with him as a teenager,

322
00:16:21,680 --> 00:16:24,000
Speaker 3: and he kind of treated me like I was kind

323
00:16:24,000 --> 00:16:26,440
Speaker 3: of a grown up a little bit, and I felt

324
00:16:26,440 --> 00:16:29,440
Speaker 3: pretty cool to get to hang with him during that period.

325
00:16:30,440 --> 00:16:33,120
Speaker 3: And sooner later, him and my mom they ironed things

326
00:16:33,120 --> 00:16:35,760
Speaker 3: out and we were back together as a family. And

327
00:16:35,760 --> 00:16:38,120
Speaker 3: by this time I started playing piano, and he showed

328
00:16:38,200 --> 00:16:41,120
Speaker 3: me a couple of songs on the piano he showed

329
00:16:41,160 --> 00:16:42,840
Speaker 3: me the first songs that I lunged how to play.

330
00:16:42,920 --> 00:16:47,640
Speaker 3: My dad showed me, and you know, soon after, I

331
00:16:47,640 --> 00:16:49,560
Speaker 3: mean a few years later, I was in the band

332
00:16:49,560 --> 00:16:52,560
Speaker 3: with he and his brothers, my uncles, with the Nether brothers,

333
00:16:52,880 --> 00:16:54,720
Speaker 3: and that was kind of where I got my educated,

334
00:16:54,720 --> 00:16:58,560
Speaker 3: My music education was playing with those guys. So it's

335
00:16:58,600 --> 00:17:01,800
Speaker 3: always been, you know, like just an honor to like

336
00:17:01,960 --> 00:17:04,360
Speaker 3: Aaron Aaron Nevills my dad. But I got to tell

337
00:17:04,359 --> 00:17:08,400
Speaker 3: you something a lot of people don't know is that

338
00:17:09,440 --> 00:17:13,480
Speaker 3: I was born named after him, and they changed my

339
00:17:13,640 --> 00:17:18,680
Speaker 3: name when I was very young for some other family reasons.

340
00:17:18,920 --> 00:17:21,280
Speaker 3: My mom's folks didn't really get on with my dad

341
00:17:21,280 --> 00:17:22,040
Speaker 3: that that.

342
00:17:22,000 --> 00:17:24,760
Speaker 2: Well when he was when they were young, he was

343
00:17:24,800 --> 00:17:25,760
Speaker 2: a bad dude.

344
00:17:25,560 --> 00:17:27,960
Speaker 3: And my mom's folks didn't like my dad too much,

345
00:17:28,400 --> 00:17:31,720
Speaker 3: so they changed my name from Aaron to Ivan, and

346
00:17:31,800 --> 00:17:34,639
Speaker 3: I still have his middle name. His name's Aaron Joseph

347
00:17:34,720 --> 00:17:38,480
Speaker 3: Neville Senior. My name is Ivan Joseph Neville. I have

348
00:17:38,560 --> 00:17:42,320
Speaker 3: a younger brother who later was he was named Aaron

349
00:17:42,640 --> 00:17:46,280
Speaker 3: James never Junior. So I was able to grow up

350
00:17:46,359 --> 00:17:49,720
Speaker 3: being the oldest of my siblings and kind of known

351
00:17:49,880 --> 00:17:53,000
Speaker 3: as Little Aaron but I was Ivan, so I had

352
00:17:53,040 --> 00:17:57,600
Speaker 3: my own identity, which I didn't have to totally live

353
00:17:57,640 --> 00:18:00,520
Speaker 3: in the shadow of Aaron Neville's son like that. So

354
00:18:00,600 --> 00:18:02,480
Speaker 3: if I would have been kept that name and I

355
00:18:02,480 --> 00:18:06,120
Speaker 3: would have been Aaron Jr. How different things might have been.

356
00:18:06,920 --> 00:18:09,679
Speaker 3: So there was that element as well. So, you know,

357
00:18:09,800 --> 00:18:12,760
Speaker 3: I was known as the oldest and little Aaron, but

358
00:18:12,840 --> 00:18:15,640
Speaker 3: my name was Ivan, so I had my own kind

359
00:18:15,680 --> 00:18:16,200
Speaker 3: of thing.

360
00:18:16,720 --> 00:18:18,000
Speaker 1: How many kids in the family.

361
00:18:18,440 --> 00:18:22,520
Speaker 3: I have two brothers and his sister, and I'm the oldest.

362
00:18:22,320 --> 00:18:24,520
Speaker 1: And what are your two brothers and your sister up to?

363
00:18:26,320 --> 00:18:29,320
Speaker 3: My sisters retired? She but ye know, she retired and

364
00:18:29,359 --> 00:18:32,960
Speaker 3: she works. She works works in a civil sheriff's office.

365
00:18:33,440 --> 00:18:36,040
Speaker 3: She's been working there. She worked there for thirty some

366
00:18:36,200 --> 00:18:40,320
Speaker 3: years and retired. My youngest brother, Jason, he sings and

367
00:18:40,640 --> 00:18:44,440
Speaker 3: he performs. He's got a band. He plays around town

368
00:18:45,320 --> 00:18:47,840
Speaker 3: in New Orleans. His name is Jason Chason Neville. And

369
00:18:47,840 --> 00:18:51,159
Speaker 3: my other brother, little Aaron, we call him Fred's. He

370
00:18:51,840 --> 00:18:55,040
Speaker 3: took on his own identity too. His nickname is Fred.

371
00:18:55,359 --> 00:19:00,159
Speaker 3: But he's Aaron Jr. And he does all kinds the

372
00:19:00,200 --> 00:19:03,960
Speaker 3: odd things, odd jobs and whatnot. But yeah, and he's

373
00:19:04,080 --> 00:19:06,359
Speaker 3: music being clined as well, but he didn't go into

374
00:19:06,600 --> 00:19:08,040
Speaker 3: music the way I did.

375
00:19:08,800 --> 00:19:11,640
Speaker 1: Okay, so your father has this huge hit when you're

376
00:19:11,720 --> 00:19:15,480
Speaker 1: like seven, while you're growing up, does your father what's

377
00:19:15,480 --> 00:19:17,600
Speaker 1: he doing for a living? Is he singing for a

378
00:19:17,640 --> 00:19:19,080
Speaker 1: living or does he have another job?

379
00:19:19,560 --> 00:19:21,960
Speaker 3: He was singing, and he had other jobs as well,

380
00:19:22,200 --> 00:19:24,800
Speaker 3: Like there were times when he was singing and he

381
00:19:24,800 --> 00:19:26,760
Speaker 3: would go on the road, in which I got to

382
00:19:26,800 --> 00:19:29,560
Speaker 3: tell you, I would I would welcome the times when

383
00:19:29,560 --> 00:19:30,280
Speaker 3: he was gone.

384
00:19:30,920 --> 00:19:32,760
Speaker 2: There were times when he would leave because he was

385
00:19:32,800 --> 00:19:33,400
Speaker 2: a tough guy.

386
00:19:33,480 --> 00:19:36,560
Speaker 3: He was a tough He was a stern father figure

387
00:19:37,160 --> 00:19:39,520
Speaker 3: in our house, and when he was gone it would

388
00:19:39,520 --> 00:19:39,919
Speaker 3: seem a.

389
00:19:39,920 --> 00:19:42,480
Speaker 1: Little easier around around for me.

390
00:19:42,880 --> 00:19:45,000
Speaker 3: I could get away with more stuff with my mom

391
00:19:45,040 --> 00:19:46,320
Speaker 3: than I could with my dad.

392
00:19:46,840 --> 00:19:50,480
Speaker 2: But he when he was around, he played music.

393
00:19:50,640 --> 00:19:53,280
Speaker 3: He had some jobs and he played with my uncle

394
00:19:53,320 --> 00:19:55,320
Speaker 3: aunt and stuff like that.

395
00:19:55,760 --> 00:19:58,680
Speaker 2: But he also had jobs working on the riverfront.

396
00:19:59,080 --> 00:20:00,920
Speaker 3: I remember one time he showed up at the house

397
00:20:00,960 --> 00:20:04,119
Speaker 3: with a van would have sit with cigarettes and I

398
00:20:04,200 --> 00:20:08,399
Speaker 3: can remember the Yeah, the van had like cigarettes and

399
00:20:08,720 --> 00:20:11,920
Speaker 3: candy and stuff. He had all kinds of jobs, all

400
00:20:11,960 --> 00:20:14,600
Speaker 3: kinds of little jobs. But the riverfront was a was

401
00:20:14,640 --> 00:20:17,120
Speaker 3: a mainstay. That was his bread and butter. Like when

402
00:20:17,119 --> 00:20:20,080
Speaker 3: he didn't have any singing jobs, he would go work

403
00:20:20,080 --> 00:20:21,479
Speaker 3: on the riverfront.

404
00:20:21,800 --> 00:20:22,960
Speaker 1: So my mom worked.

405
00:20:22,960 --> 00:20:25,920
Speaker 3: My mom worked, she worked, She worked at Charity Charity

406
00:20:25,920 --> 00:20:29,840
Speaker 3: Hospital in New Orleans. My whole child, all my childhood.

407
00:20:30,480 --> 00:20:33,560
Speaker 1: Yeah, I was gonna ask about that. Thanks for answering

408
00:20:34,000 --> 00:20:37,840
Speaker 1: telling me the story. So until you he had come

409
00:20:37,880 --> 00:20:40,600
Speaker 1: with age like eighteen, does your father ever strike it

410
00:20:40,720 --> 00:20:43,720
Speaker 1: rich or is he struggling and doing different stuff while

411
00:20:43,720 --> 00:20:44,359
Speaker 1: you're growing up?

412
00:20:44,720 --> 00:20:47,800
Speaker 3: You know, he didn't strike it rich, but he was maintaining.

413
00:20:48,640 --> 00:20:52,280
Speaker 3: By the time I was eighteen, the Neville Brothers had

414
00:20:52,320 --> 00:20:57,199
Speaker 3: started playing as a group. He and my uncles, my

415
00:20:57,320 --> 00:21:00,919
Speaker 3: uncle Art, Charles and Cyril. They started playing as the

416
00:21:00,960 --> 00:21:07,080
Speaker 3: Neville Brothers around nineteen seventy seven, I would think, And

417
00:21:07,160 --> 00:21:12,360
Speaker 3: they started, uh seventy seven, seventy eight, and they started

418
00:21:12,400 --> 00:21:15,479
Speaker 3: They were making decent money as they started out, And

419
00:21:15,520 --> 00:21:18,520
Speaker 3: then I started playing with them pretty early on, like

420
00:21:18,600 --> 00:21:19,440
Speaker 3: maybe late.

421
00:21:19,320 --> 00:21:22,320
Speaker 2: Seventy eight, early seventy nine. I started playing with the Nevill.

422
00:21:22,119 --> 00:21:26,720
Speaker 3: Brothers as as an additional keyboard player and singing backups

423
00:21:26,720 --> 00:21:27,200
Speaker 3: and stuff.

424
00:21:34,880 --> 00:21:37,360
Speaker 1: So, what what kind of kid were you growing up?

425
00:21:38,320 --> 00:21:42,560
Speaker 3: I was pretty I was pretty smart early on, and

426
00:21:42,640 --> 00:21:46,680
Speaker 3: I started acting up, and I liked sports a lot.

427
00:21:46,920 --> 00:21:50,560
Speaker 3: But you know, I was pretty excitable. I was pretty

428
00:21:50,640 --> 00:21:53,960
Speaker 3: like fidgety and talked a lot. I told you know,

429
00:21:54,000 --> 00:21:56,240
Speaker 3: I was. I would tell a lot of stories and stuff,

430
00:21:56,280 --> 00:21:58,440
Speaker 3: and I was a pretty good kid.

431
00:21:58,720 --> 00:21:59,600
Speaker 1: But I liked sports.

432
00:21:59,640 --> 00:22:03,000
Speaker 2: I like play football, and I was musically inclined.

433
00:22:03,040 --> 00:22:06,760
Speaker 3: I knew that I had I had a slight ability

434
00:22:06,800 --> 00:22:08,639
Speaker 3: to sing a little bit, but I was very shy

435
00:22:08,680 --> 00:22:12,360
Speaker 3: about it. And I did pick up a guitar when

436
00:22:12,359 --> 00:22:15,440
Speaker 3: I was about ten years old, and I asked my mom.

437
00:22:15,480 --> 00:22:17,520
Speaker 3: I said, Mom, I wanted guitar. She bought me a

438
00:22:17,560 --> 00:22:20,240
Speaker 3: guitar from the five and dime store. It was a

439
00:22:20,280 --> 00:22:24,800
Speaker 3: little electric Japanese electric model with a little some little

440
00:22:24,960 --> 00:22:26,960
Speaker 3: little amp. And I would play a little bit. I'd

441
00:22:26,960 --> 00:22:30,520
Speaker 3: play a couple of bass lines or guitar lines from

442
00:22:31,160 --> 00:22:34,720
Speaker 3: Sliner family Stone songs, maybe simple sing a simple song

443
00:22:35,119 --> 00:22:38,600
Speaker 3: I'd learned that. I learned chicken strut by the meters.

444
00:22:39,200 --> 00:22:42,840
Speaker 3: I learned maybe one or two Jackson five songs, and

445
00:22:42,880 --> 00:22:46,840
Speaker 3: then I lost interest. I didn't have the discipline at

446
00:22:46,840 --> 00:22:49,639
Speaker 3: the time, or I was very impatient with it, and

447
00:22:49,720 --> 00:22:53,000
Speaker 3: I didn't I put it down. Matter of fact, I

448
00:22:53,040 --> 00:22:55,920
Speaker 3: think I loaned it. I loaned it to my uncle

449
00:22:55,960 --> 00:22:58,480
Speaker 3: Cyril the guitar. I had kind of set it down

450
00:22:58,520 --> 00:23:00,520
Speaker 3: for a while. I wasn't playing it. See, let me

451
00:23:00,520 --> 00:23:02,600
Speaker 3: borrow that guitar, and I loaned in the guitar and

452
00:23:02,640 --> 00:23:06,720
Speaker 3: I never saw it again. And I wasn't that mad

453
00:23:06,720 --> 00:23:08,600
Speaker 3: about it because I had kind of lost interest in

454
00:23:08,640 --> 00:23:10,960
Speaker 3: playing it. Then I started playing piano when I was

455
00:23:10,960 --> 00:23:12,040
Speaker 3: about fifteen years old.

456
00:23:13,960 --> 00:23:17,280
Speaker 1: Okay, you said you were living with your father. Your

457
00:23:17,320 --> 00:23:20,119
Speaker 1: father showed your stuff. Go a little deeper. How you

458
00:23:20,160 --> 00:23:21,080
Speaker 1: picked up the piano.

459
00:23:21,560 --> 00:23:24,399
Speaker 3: Okay, Now, so at the time I was I was living,

460
00:23:24,440 --> 00:23:27,240
Speaker 3: I was I was living with my mom. When I

461
00:23:27,280 --> 00:23:30,240
Speaker 3: started going up to my dad's house, he was still

462
00:23:30,240 --> 00:23:32,320
Speaker 3: living in our old house where we had where I

463
00:23:32,320 --> 00:23:34,399
Speaker 3: had grown up at. And then when my mom and

464
00:23:34,480 --> 00:23:37,760
Speaker 3: him he got back together. We were all together on

465
00:23:38,240 --> 00:23:41,840
Speaker 3: a street called Valence Street, and Valence Street was pretty

466
00:23:41,880 --> 00:23:45,159
Speaker 3: much Neville Central. My uncle Art lived down the block

467
00:23:45,320 --> 00:23:48,480
Speaker 3: a block away. My grandmother's house, where my dad and

468
00:23:48,520 --> 00:23:52,119
Speaker 3: then grew up, was across the street from Art. I

469
00:23:52,160 --> 00:23:55,800
Speaker 3: had great aunts, great aunts, my great uncle, Big Chief

470
00:23:55,880 --> 00:23:57,280
Speaker 3: Jolly of the Wild, choppatolas.

471
00:23:57,320 --> 00:23:59,920
Speaker 2: They were all around and my dad.

472
00:24:01,000 --> 00:24:03,480
Speaker 3: We had my mom's She was my mom's piano that

473
00:24:03,600 --> 00:24:06,600
Speaker 3: she played as a kid. She took piano lessons as

474
00:24:06,640 --> 00:24:09,280
Speaker 3: a child and her mother and her parents bought her

475
00:24:09,320 --> 00:24:13,320
Speaker 3: a piano. And that piano was in our living room

476
00:24:14,400 --> 00:24:17,399
Speaker 3: in our house uptown, and I would sit down and

477
00:24:17,400 --> 00:24:19,840
Speaker 3: fool around my dad. You know, there was a guy

478
00:24:20,480 --> 00:24:24,600
Speaker 3: by the name of James Booker, and James Booker was

479
00:24:24,640 --> 00:24:27,240
Speaker 3: a family friend. He went to grade school with my dad,

480
00:24:27,320 --> 00:24:29,960
Speaker 3: he went to high school with my mom, and he

481
00:24:30,000 --> 00:24:32,640
Speaker 3: would stop by the house every so often. I mean

482
00:24:32,720 --> 00:24:34,560
Speaker 3: like maybe a couple two or three times a year.

483
00:24:35,480 --> 00:24:38,159
Speaker 3: James Booker would show up out of nowhere, and he

484
00:24:38,280 --> 00:24:43,240
Speaker 3: was this character. He was this very very unique person man.

485
00:24:43,320 --> 00:24:45,439
Speaker 3: And he would sit down and play the piano like

486
00:24:45,640 --> 00:24:48,119
Speaker 3: nothing I had ever heard in my life. And that

487
00:24:48,240 --> 00:24:51,600
Speaker 3: was very inspirational hearing him play. And I'm like, you know,

488
00:24:51,640 --> 00:24:53,440
Speaker 3: I might never get to play like that, but I

489
00:24:53,440 --> 00:24:55,159
Speaker 3: wouldn't mind playing a little bit of piano.

490
00:24:55,240 --> 00:24:58,080
Speaker 2: That's some cool stuff. So my dad taught me a song.

491
00:24:58,160 --> 00:25:01,000
Speaker 3: I think he taught me the song called Cabbage Alley,

492
00:25:01,960 --> 00:25:05,040
Speaker 3: which was a meters song. My uncle Art it was

493
00:25:05,080 --> 00:25:07,720
Speaker 3: a riff my uncle Art and it was kind of

494
00:25:07,720 --> 00:25:10,080
Speaker 3: a riff that he had kind of got from Professor

495
00:25:10,160 --> 00:25:14,200
Speaker 3: long Here, and I learned that song first. I think

496
00:25:14,200 --> 00:25:17,080
Speaker 3: my dad taught me Such a Night by Doctor John.

497
00:25:17,600 --> 00:25:20,800
Speaker 3: He taught me that, and one time when Booker was visiting,

498
00:25:20,880 --> 00:25:23,520
Speaker 3: he taught me a song by Professor long Here called

499
00:25:23,560 --> 00:25:27,119
Speaker 3: Big Chief. And those were my first ones that I

500
00:25:27,200 --> 00:25:28,760
Speaker 3: that I kind of would fool around with.

501
00:25:29,440 --> 00:25:31,000
Speaker 2: And I immediately.

502
00:25:30,480 --> 00:25:33,439
Speaker 3: Started making up little songs, like I started trying to

503
00:25:33,520 --> 00:25:37,360
Speaker 3: write pretty quickly, and I was just that was it?

504
00:25:38,280 --> 00:25:41,399
Speaker 1: What was the inspiration to write? I don't know.

505
00:25:41,480 --> 00:25:43,720
Speaker 3: I've listened to the radio all the time, and I liked,

506
00:25:44,400 --> 00:25:46,760
Speaker 3: you know, I liked all the local music that New

507
00:25:46,840 --> 00:25:49,240
Speaker 3: Orleans is just known for all the stuff that.

508
00:25:49,200 --> 00:25:52,000
Speaker 2: You hear around and you hear on the radio, but.

509
00:25:51,960 --> 00:25:55,040
Speaker 3: You'd also hear this other stuff you'd hear, you know,

510
00:25:55,160 --> 00:25:57,399
Speaker 3: like like I liked a lot of different music as

511
00:25:57,440 --> 00:25:59,480
Speaker 3: a kid. I liked the Beatles, I like the Stones,

512
00:25:59,480 --> 00:26:03,240
Speaker 3: I liked the Family Strong Jackson five. But in the

513
00:26:03,280 --> 00:26:05,399
Speaker 3: early seventies there was a lot of great music that

514
00:26:05,520 --> 00:26:07,919
Speaker 3: was playing that I had really dug a lot, like

515
00:26:08,000 --> 00:26:14,119
Speaker 3: Elton John stuff and later on the Doobie Brothers at

516
00:26:14,440 --> 00:26:18,160
Speaker 3: late seventies, and there was I started wanting to try

517
00:26:18,160 --> 00:26:19,040
Speaker 3: to write songs.

518
00:26:19,400 --> 00:26:22,159
Speaker 1: How did you end up becoming proficient at the piano?

519
00:26:22,240 --> 00:26:24,440
Speaker 2: I just I don't know. I just kind of kept

520
00:26:24,480 --> 00:26:24,879
Speaker 2: doing it.

521
00:26:24,920 --> 00:26:27,680
Speaker 3: I kept at it, I kept playing a little bit,

522
00:26:27,760 --> 00:26:30,240
Speaker 3: and I kept I would sit down and just make

523
00:26:30,320 --> 00:26:35,879
Speaker 3: up little chord progressions. And when I was in high school,

524
00:26:35,880 --> 00:26:38,400
Speaker 3: when I was in eleventh and eleventh to twelfth grade,

525
00:26:38,440 --> 00:26:42,639
Speaker 3: I was in the stage band and the teacher, his

526
00:26:42,720 --> 00:26:45,960
Speaker 3: name was mister Francis. He would let me sit in

527
00:26:46,000 --> 00:26:48,639
Speaker 3: the back room. There was a little piano room, and

528
00:26:48,680 --> 00:26:50,320
Speaker 3: he'd let me sit in there and just play around.

529
00:26:50,359 --> 00:26:52,200
Speaker 3: And I would just be in there, playing and making

530
00:26:52,280 --> 00:26:55,359
Speaker 3: up stuff and practicing the things I knew. I should

531
00:26:55,359 --> 00:26:59,240
Speaker 3: have been studying more about music theory and how to

532
00:26:59,320 --> 00:27:02,720
Speaker 3: learn how to read music, which I did not. But

533
00:27:03,040 --> 00:27:06,200
Speaker 3: I kind of developed a little style of my own,

534
00:27:06,400 --> 00:27:10,040
Speaker 3: and I started writing songs and so the never but

535
00:27:10,160 --> 00:27:13,200
Speaker 3: when I was started playing with the Brothers, I started

536
00:27:13,440 --> 00:27:17,480
Speaker 3: incorporating some of my stuff and my stylings into their music.

537
00:27:17,960 --> 00:27:19,719
Speaker 3: And I would write songs and they would say, oh,

538
00:27:20,000 --> 00:27:22,000
Speaker 3: we might want to play that, and they would maybe

539
00:27:22,080 --> 00:27:25,040
Speaker 3: perform a couple of songs that I have perhaps written.

540
00:27:25,560 --> 00:27:30,520
Speaker 1: You know, Okay, New Orleans is its own world, and

541
00:27:30,760 --> 00:27:35,200
Speaker 1: really the average person doesn't understand it in terms of music.

542
00:27:35,440 --> 00:27:40,879
Speaker 1: There was a heyday with Fats Domino. Then Doctor John

543
00:27:40,960 --> 00:27:44,320
Speaker 1: got signed to Atlantic in the early seventies, there was

544
00:27:44,359 --> 00:27:49,080
Speaker 1: another push. But explain New Orleans to us and where

545
00:27:49,119 --> 00:27:51,120
Speaker 1: you lived in the city.

546
00:27:52,080 --> 00:27:58,240
Speaker 3: I can only explain New Orleans by talking about the

547
00:27:58,359 --> 00:28:06,240
Speaker 3: signature dish. And it's called gumbo, and it's kind of

548
00:28:06,280 --> 00:28:09,320
Speaker 3: a mixture of everything. It's a little bit of this

549
00:28:10,080 --> 00:28:13,520
Speaker 3: like gumbo from when I was growing up and my

550
00:28:13,600 --> 00:28:14,600
Speaker 3: mom and they made gumbo.

551
00:28:14,640 --> 00:28:15,720
Speaker 2: They had a little bit, a little bit.

552
00:28:15,800 --> 00:28:20,960
Speaker 3: They put some chicken, they'd have some seasoning onions, bell peppers, celery,

553
00:28:21,000 --> 00:28:23,159
Speaker 3: and garlic. They mix in a little bit of that.

554
00:28:23,280 --> 00:28:26,560
Speaker 3: They saltaste some chicken. They add some sausages to it.

555
00:28:27,080 --> 00:28:30,200
Speaker 3: They add some shrimp, some crab meat, and they would

556
00:28:30,240 --> 00:28:33,360
Speaker 3: make this thing called the root. And by the way,

557
00:28:33,440 --> 00:28:37,600
Speaker 3: my mom's maiden name, my mom's family's name was root

558
00:28:37,880 --> 00:28:42,400
Speaker 3: l o Ux, So they knew something about making a root.

559
00:28:42,600 --> 00:28:45,880
Speaker 3: And that's what that's with flour and oil and then

560
00:28:45,960 --> 00:28:49,200
Speaker 3: that roole and you add all those ingredients to that

561
00:28:49,400 --> 00:28:52,560
Speaker 3: root and that's what makes that gumbo special and it

562
00:28:52,600 --> 00:28:54,600
Speaker 3: tastes lea. You could taste a little bit of everything

563
00:28:54,640 --> 00:28:57,320
Speaker 3: in there. And that's what New Oleans music is. Because

564
00:28:57,320 --> 00:29:01,760
Speaker 3: you got brass bands, sounds, you got the more Dixieland

565
00:29:01,920 --> 00:29:04,960
Speaker 3: version of that, you got the more street version of it.

566
00:29:05,000 --> 00:29:08,480
Speaker 3: You have the Mardi Gras Indians, you have the sounds

567
00:29:08,600 --> 00:29:10,880
Speaker 3: that you hear on a Sunday afternoon when you go

568
00:29:11,240 --> 00:29:14,160
Speaker 3: on your pouch and there's a second line going down

569
00:29:14,160 --> 00:29:17,520
Speaker 3: the street. There's a social and pleasure club. These guys

570
00:29:17,840 --> 00:29:20,920
Speaker 3: they join these clubs and they put ready, they have

571
00:29:21,080 --> 00:29:24,440
Speaker 3: their little celebrations on a Sunday. And you know about

572
00:29:24,440 --> 00:29:27,400
Speaker 3: where the term second line comes from. Second line comes

573
00:29:27,440 --> 00:29:32,680
Speaker 3: from the funerals, the celebration at a funeral when someone dies,

574
00:29:33,200 --> 00:29:36,600
Speaker 3: you got the you got the casket, the body and

575
00:29:36,680 --> 00:29:38,960
Speaker 3: the family, and you got a brass band, and you

576
00:29:39,040 --> 00:29:40,680
Speaker 3: got the crowd behind the brass band.

577
00:29:41,080 --> 00:29:42,360
Speaker 1: And that's the second line.

578
00:29:42,960 --> 00:29:46,600
Speaker 3: And it's like, so there was music involved in every

579
00:29:47,080 --> 00:29:51,560
Speaker 3: aspect of New Orleans life, and it's all about the celebration.

580
00:29:52,240 --> 00:29:55,320
Speaker 3: And you know, I don't know, there's something about the

581
00:29:55,360 --> 00:29:58,440
Speaker 3: mixture of that, and you got the Caribbean vibe.

582
00:29:58,400 --> 00:30:00,959
Speaker 2: You got the Caribbean rhythms that you hear in New

583
00:30:01,080 --> 00:30:01,800
Speaker 2: Orleans music.

584
00:30:03,040 --> 00:30:06,200
Speaker 3: How that was a cross influence, like the Caribbean was

585
00:30:06,240 --> 00:30:10,400
Speaker 3: influenced by New Orleans music, like reggae reggae was influenced

586
00:30:10,400 --> 00:30:13,560
Speaker 3: by New Orleans music, as New Orleans was influenced by

587
00:30:13,600 --> 00:30:16,480
Speaker 3: all those sounds from all over the Caribbean and things

588
00:30:16,480 --> 00:30:17,080
Speaker 3: of that nature.

589
00:30:17,120 --> 00:30:20,680
Speaker 2: So, man, there's a it's just so uh so gumbo.

590
00:30:21,440 --> 00:30:25,080
Speaker 3: Gumbo is the simplest way for me to put how

591
00:30:25,240 --> 00:30:27,120
Speaker 3: I you know what I I mean when you think

592
00:30:27,160 --> 00:30:29,360
Speaker 3: of all of the count and you think of doctor John,

593
00:30:30,240 --> 00:30:33,200
Speaker 3: and you think of the Professor long Hair's and and

594
00:30:33,200 --> 00:30:38,000
Speaker 3: and uh and the Meters and and Alan Tucson, and

595
00:30:38,040 --> 00:30:41,320
Speaker 3: then you got the Marcella's family, the Neville family, the

596
00:30:41,360 --> 00:30:45,760
Speaker 3: Baptiste family, the Lasti family, all these music the Andrews,

597
00:30:46,960 --> 00:30:50,520
Speaker 3: all these musical families and and just it's it's it's

598
00:30:50,560 --> 00:30:53,320
Speaker 3: something to behold, I must tell you. And growing up

599
00:30:53,400 --> 00:30:56,479
Speaker 3: here it was absolutely so much fun and it just

600
00:30:56,520 --> 00:31:00,360
Speaker 3: seemed so natural. I didn't see, like, wow, I thought

601
00:31:00,400 --> 00:31:04,600
Speaker 3: everybody had all this cool music and all this cool food.

602
00:31:04,640 --> 00:31:07,080
Speaker 3: That were, you know, but obviously a lot of it

603
00:31:07,120 --> 00:31:09,560
Speaker 3: was unique is unique to New Orleans.

604
00:31:10,360 --> 00:31:15,160
Speaker 1: Okay, let's talk more socially. You know, Bourbon Street, Party Street.

605
00:31:15,360 --> 00:31:17,239
Speaker 1: Then you go to the other side of town. You

606
00:31:17,320 --> 00:31:21,560
Speaker 1: have big homes. You have to lane where you grew up.

607
00:31:21,880 --> 00:31:26,320
Speaker 1: What was it like, and you know, did the experience racism?

608
00:31:26,680 --> 00:31:28,720
Speaker 1: You know, what was it like just living in the world.

609
00:31:28,960 --> 00:31:31,440
Speaker 2: Yeah, there was, there was. There was definitely some racism.

610
00:31:31,480 --> 00:31:36,080
Speaker 3: And you know, the neighborhoods in New Orleans is so

611
00:31:36,320 --> 00:31:40,880
Speaker 3: unique because you know, where I live right now, it's

612
00:31:41,040 --> 00:31:44,000
Speaker 3: not much different than where I lived long time ago,

613
00:31:44,160 --> 00:31:47,440
Speaker 3: back in the days on Valence Street. Right now, if

614
00:31:47,480 --> 00:31:50,160
Speaker 3: I walk three blocks toward the lake.

615
00:31:51,000 --> 00:31:51,800
Speaker 1: I'm in the hood.

616
00:31:52,360 --> 00:31:54,680
Speaker 3: I mean I'm in I'm in a neighborhood called Central

617
00:31:54,720 --> 00:31:58,960
Speaker 3: City where they might you might hear some gunshots go

618
00:31:59,040 --> 00:32:01,920
Speaker 3: off around there on a regular basis. You gotta watch it,

619
00:32:02,040 --> 00:32:05,400
Speaker 3: watch it back, you know, you know, be aware of

620
00:32:05,440 --> 00:32:06,960
Speaker 3: your surroundings and stuff like that.

621
00:32:07,200 --> 00:32:11,360
Speaker 2: Anyway, but if you walk three blocks toward the river.

622
00:32:11,320 --> 00:32:14,400
Speaker 3: You in a place called what you called, it's called

623
00:32:14,480 --> 00:32:16,960
Speaker 3: uh hang On hang On Garden District.

624
00:32:17,640 --> 00:32:20,640
Speaker 2: The Garden District is lots of old beautiful New.

625
00:32:20,600 --> 00:32:27,160
Speaker 3: Orleans homes and it's obviously predominantly white, you know, And

626
00:32:27,280 --> 00:32:30,040
Speaker 3: that's kind of how New Orleans has always been.

627
00:32:30,080 --> 00:32:32,520
Speaker 2: I mean, when I grew up on Vallence Street, we.

628
00:32:32,520 --> 00:32:37,440
Speaker 3: Had a little area I would say in between Colisseum

629
00:32:37,520 --> 00:32:41,760
Speaker 3: Street or maybe Perry Street. Perry Street to the River

630
00:32:42,560 --> 00:32:46,920
Speaker 3: was predominantly black, but so so. And I lived three

631
00:32:47,000 --> 00:32:49,680
Speaker 3: or four blocks from Perry Street, but if I walked

632
00:32:50,120 --> 00:32:54,560
Speaker 3: half a block across Perry Street, it was it was.

633
00:32:54,960 --> 00:32:59,560
Speaker 3: It was similar to the Garden District. It was white neighborhoods.

634
00:33:00,040 --> 00:33:02,160
Speaker 3: And it was when I when I've come to know

635
00:33:02,240 --> 00:33:07,200
Speaker 3: as like maybe old old white New Orleans money, you know.

636
00:33:07,880 --> 00:33:08,720
Speaker 2: And St.

637
00:33:08,800 --> 00:33:12,640
Speaker 3: Charles Avenue was within walking distance from my house growing up.

638
00:33:12,920 --> 00:33:18,200
Speaker 3: And Saint Charles Avenue is absolutely old, big gazillion dollars,

639
00:33:18,280 --> 00:33:22,600
Speaker 3: million dollar homes. They look like, you know, they're like mansions.

640
00:33:22,640 --> 00:33:25,480
Speaker 3: And some of them also some of them take on there.

641
00:33:25,520 --> 00:33:27,520
Speaker 3: There's a few of them that have like a plantation

642
00:33:27,680 --> 00:33:30,880
Speaker 3: vibe to them. I ain't gonna lie, right, but.

643
00:33:30,960 --> 00:33:31,800
Speaker 1: There was this thing.

644
00:33:31,840 --> 00:33:35,960
Speaker 3: There was a division because Marti Gros, the Mardi Gras

645
00:33:36,040 --> 00:33:40,760
Speaker 3: parades were that was most that was uh, that was

646
00:33:41,040 --> 00:33:44,880
Speaker 3: mostly for white people. So the black people had their

647
00:33:44,880 --> 00:33:47,360
Speaker 3: one parade, it's called the Zulu Parades. So they figured

648
00:33:47,400 --> 00:33:51,320
Speaker 3: they would mock themselves and they would go and be

649
00:33:51,480 --> 00:33:56,160
Speaker 3: on floats in blackface, and that's that's that parade is

650
00:33:56,200 --> 00:33:59,600
Speaker 3: one of the most popular, most beloved parades of all

651
00:33:59,640 --> 00:34:02,160
Speaker 3: But it's still and mind you don't want to tell

652
00:34:02,200 --> 00:34:05,880
Speaker 3: you the truth. It's you would think it would be

653
00:34:05,960 --> 00:34:09,960
Speaker 3: drastically different now, but it's but it's actually not. You

654
00:34:10,000 --> 00:34:14,680
Speaker 3: would think the separation would would not be so drastic,

655
00:34:14,760 --> 00:34:20,200
Speaker 3: but it still is. Because my son who goes through school,

656
00:34:20,520 --> 00:34:24,799
Speaker 3: he goes to private school and he goes through I

657
00:34:24,840 --> 00:34:26,280
Speaker 3: went I went to Catholic school.

658
00:34:26,360 --> 00:34:29,680
Speaker 2: I went to predominantly white school in grade school from

659
00:34:29,800 --> 00:34:30,600
Speaker 2: first grade all the.

660
00:34:30,600 --> 00:34:35,680
Speaker 3: Way through seventh and that school is still predominantly white.

661
00:34:37,400 --> 00:34:41,080
Speaker 3: And that's that blows my mind, you know, and the

662
00:34:41,200 --> 00:34:46,319
Speaker 3: public schools which are predominantly black. And you got a

663
00:34:46,360 --> 00:34:50,160
Speaker 3: few charter schools that are mixed, but to charter schools,

664
00:34:50,200 --> 00:34:53,000
Speaker 3: you have to go through so much red tape to

665
00:34:53,000 --> 00:34:57,440
Speaker 3: get in these charter schools, and there it's you know,

666
00:34:57,480 --> 00:35:01,560
Speaker 3: it's so it's mind blowing to realize how separate we

667
00:35:01,719 --> 00:35:04,560
Speaker 3: kind of still are to some degree, you would think

668
00:35:04,640 --> 00:35:07,160
Speaker 3: that a lot of that stuff would have changed a

669
00:35:07,160 --> 00:35:10,719
Speaker 3: little bit more than it has, you know, I mean,

670
00:35:11,680 --> 00:35:14,040
Speaker 3: that's funny, man, and that you know, when I was

671
00:35:14,040 --> 00:35:18,640
Speaker 3: thinking about that song, hey, altogether, I was thinking about that,

672
00:35:18,920 --> 00:35:22,080
Speaker 3: I was thinking more. I was thinking more about community

673
00:35:22,400 --> 00:35:25,120
Speaker 3: and how we all grew up where I grew up.

674
00:35:25,200 --> 00:35:28,880
Speaker 3: You know, and you walk down the street and the

675
00:35:28,880 --> 00:35:31,399
Speaker 3: people in your neighborhood, you would wave to them and say, hey,

676
00:35:31,400 --> 00:35:33,399
Speaker 3: how you doing, how are you? And then you would

677
00:35:33,480 --> 00:35:36,600
Speaker 3: you would see a stranger, black, white, or whatever color

678
00:35:36,640 --> 00:35:38,279
Speaker 3: they were, and you could say, hey, how you doing,

679
00:35:38,320 --> 00:35:40,279
Speaker 3: and they would speak back to you, Hey, how are you?

680
00:35:40,680 --> 00:35:44,000
Speaker 2: Good morning? Stuff like that, And it's.

681
00:35:43,600 --> 00:35:47,520
Speaker 3: Over the last especially recently, you know, you know, people

682
00:35:47,760 --> 00:35:51,720
Speaker 3: because because everybody's opinions about this and that, political beliefs,

683
00:35:51,760 --> 00:35:55,880
Speaker 3: religious beliefs and all this, we've we've come to let

684
00:35:56,600 --> 00:36:01,200
Speaker 3: our opinions divide us so drastically. Whereas I think, you know,

685
00:36:01,400 --> 00:36:06,319
Speaker 3: I guess for a long time, maybe in politics a

686
00:36:06,360 --> 00:36:09,360
Speaker 3: lot of us agreed to disagree about some things, but

687
00:36:09,480 --> 00:36:13,319
Speaker 3: we could still be friends. Now it's gotten so polarized

688
00:36:13,320 --> 00:36:16,640
Speaker 3: that there's people, you know, who can't be friends with

689
00:36:16,680 --> 00:36:20,640
Speaker 3: each other because of their political beliefs or religious beliefs.

690
00:36:20,400 --> 00:36:21,400
Speaker 2: The things of that nature.

691
00:36:21,480 --> 00:36:24,640
Speaker 3: So you know, this song hey altogether is basically I

692
00:36:24,800 --> 00:36:28,719
Speaker 3: was trying to, you know, say something without being preachy,

693
00:36:29,120 --> 00:36:32,319
Speaker 3: but have put a positive spin on. Look, if we

694
00:36:32,520 --> 00:36:35,560
Speaker 3: just all if people just send hi to one stranger

695
00:36:37,480 --> 00:36:39,520
Speaker 3: a day, if you walking down the street and you

696
00:36:39,520 --> 00:36:41,600
Speaker 3: see somebody you've never seen in your like, you say hey,

697
00:36:41,600 --> 00:36:44,799
Speaker 3: how you doing? And that person responds it says, oh, hey,

698
00:36:44,800 --> 00:36:48,239
Speaker 3: how are you? That would be a beautiful thing. And

699
00:36:48,600 --> 00:36:51,560
Speaker 3: not that it's it's gonna happen, but it would be

700
00:36:51,600 --> 00:36:55,399
Speaker 3: cool if people did acknowledge one another a little bit

701
00:36:55,440 --> 00:36:59,240
Speaker 3: more because we're all just human. We're all human when

702
00:36:59,280 --> 00:37:02,120
Speaker 3: it you know, when the day ends, we all got

703
00:37:02,120 --> 00:37:04,799
Speaker 3: to do certain things that you know, we all have

704
00:37:04,920 --> 00:37:06,719
Speaker 3: in common. We all have to go use the bathroom

705
00:37:06,719 --> 00:37:11,239
Speaker 3: in a similar way. We all have to do you know,

706
00:37:11,400 --> 00:37:13,319
Speaker 3: we all brush our teeth. You know, we all got

707
00:37:13,360 --> 00:37:16,840
Speaker 3: to do certain stuff and and I think we you know,

708
00:37:16,880 --> 00:37:19,080
Speaker 3: it'd be it'd be cool if we remembered a little

709
00:37:19,080 --> 00:37:23,520
Speaker 3: more of our similarities and concentrated more on that than

710
00:37:23,560 --> 00:37:24,600
Speaker 3: our differences.

711
00:37:25,120 --> 00:37:27,480
Speaker 1: Okay, so do you finish high school?

712
00:37:28,120 --> 00:37:28,480
Speaker 2: I did.

713
00:37:28,600 --> 00:37:32,040
Speaker 3: I finished high school. I finished graduated from Walter oh

714
00:37:32,120 --> 00:37:36,200
Speaker 3: Coin Senior High School. I had, by the way, I

715
00:37:36,200 --> 00:37:37,640
Speaker 3: had going to several schools.

716
00:37:37,800 --> 00:37:38,680
Speaker 2: I did.

717
00:37:38,800 --> 00:37:41,520
Speaker 3: I did a few little hands antics that went on

718
00:37:42,120 --> 00:37:45,400
Speaker 3: starting with my I think in seventh grade, I started

719
00:37:45,440 --> 00:37:49,240
Speaker 3: acting a little bit out and I, okay, moved around,

720
00:37:49,280 --> 00:37:51,840
Speaker 3: But I did. I finished high school. I went to college.

721
00:37:52,600 --> 00:37:54,239
Speaker 3: How long did you go to college? I went to

722
00:37:54,320 --> 00:37:58,160
Speaker 3: college for a couple of semesters, maybe three semesters, and

723
00:37:58,200 --> 00:37:58,919
Speaker 3: I and I quit.

724
00:37:59,000 --> 00:38:01,640
Speaker 2: I started playing with the news a.

725
00:38:01,560 --> 00:38:05,520
Speaker 1: Little bit slower. How did you quit college and end

726
00:38:05,600 --> 00:38:06,719
Speaker 1: up playing with the devil Brood?

727
00:38:07,040 --> 00:38:09,400
Speaker 3: I was still I was in college, and I was

728
00:38:09,480 --> 00:38:13,560
Speaker 3: going let me see, I was going to university in

729
00:38:13,600 --> 00:38:15,520
Speaker 3: New Orleans. And I had my band. I had a

730
00:38:15,520 --> 00:38:19,239
Speaker 3: band that me and some of my friends, a band

731
00:38:19,280 --> 00:38:23,040
Speaker 3: called Renegade, And we were playing around, playing like you know,

732
00:38:23,160 --> 00:38:26,279
Speaker 3: like wedding receptions or school dances and stuff like that,

733
00:38:27,000 --> 00:38:31,000
Speaker 3: and a couple of frat parties here and there, and

734
00:38:31,120 --> 00:38:33,880
Speaker 3: I just kind of didn't I wanted to study, and

735
00:38:33,920 --> 00:38:37,080
Speaker 3: I knew that I should have studied harder. I knew

736
00:38:37,120 --> 00:38:39,800
Speaker 3: that I really wanted to I needed to apply myself

737
00:38:39,840 --> 00:38:42,880
Speaker 3: and I just I just didn't do it. And I

738
00:38:42,960 --> 00:38:46,759
Speaker 3: just I just my interests went to the music and

739
00:38:46,840 --> 00:38:49,800
Speaker 3: not the studious side of music. I wanted to play.

740
00:38:49,960 --> 00:38:52,160
Speaker 3: I wanted to play music, and I wanted to play

741
00:38:52,200 --> 00:38:54,000
Speaker 3: with my dad and my uncles. So I went to

742
00:38:54,160 --> 00:38:58,960
Speaker 3: university in New Orleans for one or two semesters, and

743
00:38:59,080 --> 00:39:03,240
Speaker 3: I went to a Gatto community college for half a semester,

744
00:39:04,160 --> 00:39:07,040
Speaker 3: and I had all music classes at del Gatto and

745
00:39:07,080 --> 00:39:10,160
Speaker 3: I didn't even stay. I started playing with my dad

746
00:39:10,160 --> 00:39:14,839
Speaker 3: and my uncles. I started getting those weekly checks, and

747
00:39:14,880 --> 00:39:16,120
Speaker 3: I was like, okay.

748
00:39:16,239 --> 00:39:19,200
Speaker 1: Okay, how did you literally start playing with your dad

749
00:39:19,200 --> 00:39:21,480
Speaker 1: and your uncles because they had a group. I mean,

750
00:39:21,520 --> 00:39:23,440
Speaker 1: you know, do they want to let you in?

751
00:39:24,080 --> 00:39:26,640
Speaker 2: Right? No, that's that's a good question.

752
00:39:26,680 --> 00:39:28,240
Speaker 1: I don't know what were they thinking.

753
00:39:29,239 --> 00:39:31,480
Speaker 3: You know the funny I'm gonna I'm gonna go back

754
00:39:31,480 --> 00:39:34,040
Speaker 3: a little bit and tell you My first paying gig

755
00:39:35,080 --> 00:39:35,960
Speaker 3: was with my dad.

756
00:39:36,400 --> 00:39:40,000
Speaker 2: My dad he had a gig playing for a house party.

757
00:39:40,760 --> 00:39:43,880
Speaker 3: This group of people that purchased this club called the

758
00:39:43,920 --> 00:39:47,920
Speaker 3: five oh one Club that is now known as Tippetinas,

759
00:39:48,920 --> 00:39:53,160
Speaker 3: one of the most beloved and famous UH venues to

760
00:39:53,200 --> 00:39:55,879
Speaker 3: play in New Orleans. Tippotina's. There's a group of people

761
00:39:55,960 --> 00:39:58,520
Speaker 3: that that that bought that club. They used to have

762
00:39:58,600 --> 00:40:01,240
Speaker 3: house parties that were in a basement in a house

763
00:40:01,280 --> 00:40:05,680
Speaker 3: on Calton Avenue, and my dad was hired to play

764
00:40:05,680 --> 00:40:06,520
Speaker 3: a party for them.

765
00:40:06,920 --> 00:40:07,799
Speaker 1: So he got me.

766
00:40:08,400 --> 00:40:12,120
Speaker 3: He got my great uncle George Landry Beating, also know

767
00:40:12,280 --> 00:40:16,080
Speaker 3: his big Chief Jolly of the watch oppatuita jolly. Myself

768
00:40:16,080 --> 00:40:20,279
Speaker 3: and my dad performed at these folks party and he

769
00:40:20,520 --> 00:40:23,640
Speaker 3: there was a piano, there was a set of Hunger drums,

770
00:40:23,760 --> 00:40:26,480
Speaker 3: there was a cow bell and tambourine, and we all

771
00:40:26,520 --> 00:40:30,319
Speaker 3: accompanied one another and we played some songs together and

772
00:40:30,360 --> 00:40:32,520
Speaker 3: there was a lot of weed smoke going on in

773
00:40:32,600 --> 00:40:33,040
Speaker 3: this party.

774
00:40:33,040 --> 00:40:36,040
Speaker 2: It was a fun party and all of that kind

775
00:40:36,120 --> 00:40:36,920
Speaker 2: of stuff. Back then.

776
00:40:36,920 --> 00:40:38,799
Speaker 3: This was magnets is in the seventies. This is like

777
00:40:38,840 --> 00:40:44,520
Speaker 3: maybe nineteen seventy seven, seventy six, seventy seven. And my

778
00:40:44,600 --> 00:40:47,160
Speaker 3: dad paid me one hundred dollars. He gave me a

779
00:40:47,280 --> 00:40:49,520
Speaker 3: hundred dollar bill. After the night was done, I was like,

780
00:40:49,719 --> 00:40:53,399
Speaker 3: what one hundred dollars for this? I got to play

781
00:40:53,520 --> 00:40:56,200
Speaker 3: music and smoke pot and I got a hundred hundred

782
00:40:56,239 --> 00:41:01,640
Speaker 3: dollars for that. I like that, so shortly after when

783
00:41:01,640 --> 00:41:05,000
Speaker 3: my dad and his brother started the Neville Brothers. Now

784
00:41:05,040 --> 00:41:07,760
Speaker 3: I eased into it. Now I didn't immediately start playing.

785
00:41:08,000 --> 00:41:08,359
Speaker 1: They did.

786
00:41:08,440 --> 00:41:08,680
Speaker 2: They did.

787
00:41:08,960 --> 00:41:12,000
Speaker 3: I think it was their second or third tour they did.

788
00:41:12,040 --> 00:41:14,840
Speaker 3: They toured California, and I think it was called the

789
00:41:14,920 --> 00:41:19,080
Speaker 3: Mardy Gra Mambo, and it was the Neville Brothers along

790
00:41:19,120 --> 00:41:23,440
Speaker 3: with Doctor John and maybe I made I think it

791
00:41:23,480 --> 00:41:25,759
Speaker 3: was the Neville Brothers Doctor John, and I think and

792
00:41:25,800 --> 00:41:29,239
Speaker 3: it was. And they brought along my great uncle, Big

793
00:41:29,320 --> 00:41:31,520
Speaker 3: Chief Jolly, and it was the Never brother with the

794
00:41:31,560 --> 00:41:34,719
Speaker 3: Wild Chopp of Toolers and Doctor John opened the show.

795
00:41:35,760 --> 00:41:39,800
Speaker 3: And I went along as dressed up as an Indian,

796
00:41:39,880 --> 00:41:42,520
Speaker 3: as a Mardi Gras Indian. So I had one of

797
00:41:42,640 --> 00:41:45,840
Speaker 3: one of my big my uncle Jolly's Indian suits. I

798
00:41:45,880 --> 00:41:48,440
Speaker 3: would put that on and come out toward the end

799
00:41:48,480 --> 00:41:51,600
Speaker 3: of the show and be an Indian along with Jolly.

800
00:41:51,880 --> 00:41:53,959
Speaker 3: I think Cyril had a few feathers, and my uncle

801
00:41:54,040 --> 00:41:56,640
Speaker 3: Charles would go off stage and he put on the

802
00:41:56,640 --> 00:42:00,279
Speaker 3: Indian costume and we would do music that from the

803
00:42:00,280 --> 00:42:03,200
Speaker 3: Wild Chopp of Tula's album, which was the Neville Brothers

804
00:42:03,600 --> 00:42:07,400
Speaker 3: and the Meters performed that music and the recording studio

805
00:42:07,520 --> 00:42:11,160
Speaker 3: So that was my first tour with them. And the

806
00:42:11,200 --> 00:42:14,359
Speaker 3: fun thing was I did I there was a clavinet

807
00:42:14,880 --> 00:42:19,960
Speaker 3: rhythmic keyboard that you know, I would play. Sometimes they

808
00:42:20,000 --> 00:42:22,560
Speaker 3: didn't let me play that. I got to play Doctor John.

809
00:42:23,280 --> 00:42:26,600
Speaker 3: He invited me to play in his set. He would say,

810
00:42:26,600 --> 00:42:28,480
Speaker 3: I haven't man, why don't you come play face and

811
00:42:28,560 --> 00:42:29,600
Speaker 3: claud net with me?

812
00:42:30,000 --> 00:42:32,680
Speaker 2: Come play somebody that funk and clavinet on right place.

813
00:42:32,800 --> 00:42:34,560
Speaker 2: I would go play the right place, wrong time with

814
00:42:34,640 --> 00:42:35,640
Speaker 2: him lavinet.

815
00:42:37,080 --> 00:42:38,719
Speaker 1: And that was my.

816
00:42:38,800 --> 00:42:44,319
Speaker 3: First uh uh entry into being with the Never Brothers band.

817
00:42:44,400 --> 00:42:47,320
Speaker 3: Then when we got back home, I had started writing

818
00:42:47,320 --> 00:42:49,640
Speaker 3: some songs. They let me come join the band. I

819
00:42:49,680 --> 00:42:52,600
Speaker 3: came in the band. I started playing the second or

820
00:42:52,600 --> 00:42:54,799
Speaker 3: third keyboard because they were at the time.

821
00:42:54,840 --> 00:42:56,360
Speaker 2: There was another keyboard player.

822
00:42:56,600 --> 00:42:59,480
Speaker 3: There was a guy named Jerald Chilman, my uncle Art,

823
00:43:00,000 --> 00:43:02,680
Speaker 3: and here comes Ivan as well. So there was three

824
00:43:02,760 --> 00:43:06,879
Speaker 3: keyboard players in that version of Neville Brother's band.

825
00:43:14,040 --> 00:43:17,359
Speaker 1: Okay, you said your father was a tough guy. Were

826
00:43:17,400 --> 00:43:19,360
Speaker 1: your uncles like Campa? Were they different?

827
00:43:20,000 --> 00:43:22,600
Speaker 2: Oh? They were, you know what, They were very in

828
00:43:22,640 --> 00:43:25,320
Speaker 2: their own ways, like Art.

829
00:43:25,280 --> 00:43:30,400
Speaker 3: Was more of the father, I would say, kind of

830
00:43:30,400 --> 00:43:33,000
Speaker 3: a father figured all of them. To everybody, and he

831
00:43:33,080 --> 00:43:35,279
Speaker 3: was kind of he was the big brother, and they

832
00:43:35,320 --> 00:43:39,280
Speaker 3: all respected art. And how I looked at my dad.

833
00:43:39,360 --> 00:43:41,399
Speaker 3: I saw how my dad and him looked at art.

834
00:43:41,760 --> 00:43:43,600
Speaker 3: So art scared the.

835
00:43:43,560 --> 00:43:44,279
Speaker 1: Crap out of me.

836
00:43:44,360 --> 00:43:47,520
Speaker 3: When I was young, I was like, I was behaving

837
00:43:47,600 --> 00:43:49,200
Speaker 3: really well when I was around art.

838
00:43:49,400 --> 00:43:51,680
Speaker 2: Usually at all times.

839
00:43:52,160 --> 00:43:54,560
Speaker 1: We got really close and we started playing music together.

840
00:43:54,600 --> 00:43:58,600
Speaker 3: But my uncle Cyrriel was the youngest of the brothers,

841
00:43:58,640 --> 00:44:01,120
Speaker 3: and he was closer in age to me and so,

842
00:44:01,320 --> 00:44:04,279
Speaker 3: but he had a wild streak in him, and he

843
00:44:04,400 --> 00:44:07,759
Speaker 3: was kind of the one that was more apt to

844
00:44:07,960 --> 00:44:10,840
Speaker 3: go kind of buck wild and kind of had to

845
00:44:10,920 --> 00:44:13,040
Speaker 3: keep an eye on soil back back then.

846
00:44:14,120 --> 00:44:15,440
Speaker 2: And my uncle.

847
00:44:15,280 --> 00:44:19,080
Speaker 3: Charles was the quiet one who was probably the most

848
00:44:19,280 --> 00:44:22,239
Speaker 3: lethal of all of them as far as being being

849
00:44:22,239 --> 00:44:25,759
Speaker 3: a tough guy. Charles is probably the most dangerous one

850
00:44:25,880 --> 00:44:29,480
Speaker 3: of all. But he was quiet, very soft spoken. But

851
00:44:29,640 --> 00:44:33,439
Speaker 3: don't get on his bad side, do not. He would

852
00:44:33,520 --> 00:44:36,200
Speaker 3: quietly give you a look like okay, and you would know,

853
00:44:36,360 --> 00:44:38,600
Speaker 3: you would know, okay, okay, I'm gonna shut my mouth up.

854
00:44:39,440 --> 00:44:42,640
Speaker 3: I'm not messing with Uncle Charles. So yeah, they all

855
00:44:42,640 --> 00:44:46,920
Speaker 3: had their own little version of you know, that tough side,

856
00:44:46,960 --> 00:44:48,440
Speaker 3: and they all carried it differently.

857
00:44:49,840 --> 00:44:52,719
Speaker 1: Not only are you going on the road leaving the

858
00:44:52,719 --> 00:44:58,880
Speaker 1: home still a teenager making money with your father. So

859
00:44:58,960 --> 00:45:01,000
Speaker 1: what do I know, the eye fage guy and this

860
00:45:01,120 --> 00:45:04,680
Speaker 1: is long before smartphones, etc. They go on the road,

861
00:45:05,600 --> 00:45:09,840
Speaker 1: they're drinking and drugging, you know, having sex whatever. That

862
00:45:10,000 --> 00:45:11,600
Speaker 1: is part of the road. But you're also out with

863
00:45:11,640 --> 00:45:12,200
Speaker 1: your father.

864
00:45:12,360 --> 00:45:15,239
Speaker 4: So what was your experience Like I was, Hey, I

865
00:45:15,360 --> 00:45:18,880
Speaker 4: was the youngest one, and those guys were all like

866
00:45:19,040 --> 00:45:22,080
Speaker 4: mostly kind of they were all married and stuff like

867
00:45:22,120 --> 00:45:22,759
Speaker 4: that at the time.

868
00:45:22,840 --> 00:45:25,400
Speaker 3: So I was definitely doing all of that, all of

869
00:45:25,440 --> 00:45:29,319
Speaker 3: the above. I was drinking, drugging, I got a lot

870
00:45:29,360 --> 00:45:31,880
Speaker 3: of the overflow. I got a lot of the women

871
00:45:31,920 --> 00:45:35,279
Speaker 3: that those guys didn't spend time. They didn't you know,

872
00:45:35,800 --> 00:45:38,600
Speaker 3: they were like busy being cool guys, and they I

873
00:45:38,600 --> 00:45:41,799
Speaker 3: would do all of the dirty work for them. Believe me,

874
00:45:44,320 --> 00:45:46,200
Speaker 3: I know. I loved that. Part of it is weell

875
00:45:46,280 --> 00:45:51,840
Speaker 3: because I had to think for drinking and doing drugs.

876
00:45:51,960 --> 00:45:55,000
Speaker 3: I really enjoyed that stuff at that time. I really did.

877
00:45:56,640 --> 00:45:59,520
Speaker 1: Okay, So how does it evolve from you playing in

878
00:46:00,320 --> 00:46:02,800
Speaker 1: the Double Brothers to the next thing.

879
00:46:04,400 --> 00:46:04,799
Speaker 2: I ended?

880
00:46:04,800 --> 00:46:07,239
Speaker 3: I wrote a bunch of songs. I started writing a

881
00:46:07,280 --> 00:46:10,960
Speaker 3: little bit more. I got an opportunity to go to

882
00:46:11,000 --> 00:46:16,040
Speaker 3: California once with UH and and perform and record with

883
00:46:16,120 --> 00:46:21,120
Speaker 3: a group called Rufus Rufus Uh you might know Rufus

884
00:46:21,120 --> 00:46:21,759
Speaker 3: and Shaka Khan.

885
00:46:21,920 --> 00:46:24,359
Speaker 2: Shaka was the singer with the band Rufus.

886
00:46:24,560 --> 00:46:28,000
Speaker 3: Well, they did a recording that Shaka wasn't wasn't was

887
00:46:28,040 --> 00:46:30,360
Speaker 3: not involved in it, and I was on a.

888
00:46:30,400 --> 00:46:31,000
Speaker 2: Record with them.

889
00:46:31,040 --> 00:46:34,200
Speaker 3: The record was called Sealed and Red, and I sang

890
00:46:34,280 --> 00:46:37,040
Speaker 3: some of the songs. I wrote a song that was

891
00:46:37,080 --> 00:46:39,840
Speaker 3: on that record and played keyboards on some of the stuff.

892
00:46:40,280 --> 00:46:43,320
Speaker 3: And that was my first real trip to Los Angeles

893
00:46:43,880 --> 00:46:48,000
Speaker 3: without like on my own. And then I came back

894
00:46:48,040 --> 00:46:52,880
Speaker 3: to New Orleans and I UH, I reacquainted with my

895
00:46:53,000 --> 00:46:56,320
Speaker 3: with my dad, my uncle's and we ended up going

896
00:46:57,400 --> 00:46:59,520
Speaker 3: We ended up going on the road and opening up

897
00:46:59,520 --> 00:47:04,520
Speaker 3: for the roll Stones, I think in nineteen eighty one,

898
00:47:04,680 --> 00:47:08,800
Speaker 3: and I was I met Keith Richards and Ron Woods

899
00:47:08,840 --> 00:47:12,560
Speaker 3: and those guys and hit it off with them.

900
00:47:12,440 --> 00:47:15,560
Speaker 2: Pretty pretty, pretty pretty good, and.

901
00:47:17,640 --> 00:47:21,720
Speaker 3: That kind of UH that that that in a later

902
00:47:21,840 --> 00:47:25,480
Speaker 3: time that would come, that relationship would come back and

903
00:47:25,560 --> 00:47:29,239
Speaker 3: I would I would explore more stuff with them. But

904
00:47:29,560 --> 00:47:34,600
Speaker 3: around nineteen eighty four eighty three, I went back to

905
00:47:34,640 --> 00:47:37,680
Speaker 3: Los Angeles and I moved to Los Angeles, maybe eighty

906
00:47:37,719 --> 00:47:40,200
Speaker 3: two eighty three, probably eighty.

907
00:47:40,000 --> 00:47:40,600
Speaker 2: Three eighty three.

908
00:47:40,600 --> 00:47:44,520
Speaker 3: I moved to Los Angeles and I met a friend

909
00:47:44,600 --> 00:47:48,000
Speaker 3: who was playing, who had previously played.

910
00:47:47,719 --> 00:47:48,240
Speaker 1: With the Brothers.

911
00:47:48,280 --> 00:47:51,840
Speaker 2: His name was hutch Hutchinson, hug Hutchinson was playing.

912
00:47:52,000 --> 00:47:55,960
Speaker 3: He had met Bonnie Raid and some other mutual friends

913
00:47:56,000 --> 00:47:58,600
Speaker 3: that I knew some I knew of some of these people,

914
00:47:59,120 --> 00:48:02,560
Speaker 3: but he had joined Bonnie Rate's band. So in nineteen

915
00:48:02,600 --> 00:48:05,600
Speaker 3: eighty four I got a gig playing with Bonnie Ray

916
00:48:06,480 --> 00:48:09,080
Speaker 3: and I played with her from maybe eighty four to

917
00:48:09,200 --> 00:48:13,799
Speaker 3: maybe eighty six or eighty seven, maybe three four years,

918
00:48:13,800 --> 00:48:15,080
Speaker 3: three years or something like that.

919
00:48:16,280 --> 00:48:19,279
Speaker 1: Well, that was a dark period in her career where

920
00:48:19,320 --> 00:48:20,200
Speaker 1: she lost her.

921
00:48:20,920 --> 00:48:23,200
Speaker 3: She she had she she didn't had your loss. You

922
00:48:23,360 --> 00:48:25,719
Speaker 3: had didn't have the deal at the time, a record deal,

923
00:48:26,320 --> 00:48:28,520
Speaker 3: and she was mostly playing to like a cult kind

924
00:48:28,520 --> 00:48:31,800
Speaker 3: of following. But did she had a loyal a loyal following,

925
00:48:32,040 --> 00:48:34,719
Speaker 3: you know, on the circuit and it was not you

926
00:48:34,760 --> 00:48:38,040
Speaker 3: know what she would later do in the later in

927
00:48:38,080 --> 00:48:41,040
Speaker 3: the later eighties, she would And it's basically you know what,

928
00:48:41,120 --> 00:48:43,560
Speaker 3: it's basically probably a product of what she did.

929
00:48:43,400 --> 00:48:44,640
Speaker 2: With her life.

930
00:48:45,239 --> 00:48:47,879
Speaker 3: She kind of straightened her stuff out a little bit

931
00:48:48,400 --> 00:48:52,239
Speaker 3: because we were all partying. It was the eighties, and

932
00:48:52,960 --> 00:48:56,759
Speaker 3: by the time I left her group, uh, she had

933
00:48:57,000 --> 00:49:00,480
Speaker 3: she started. She changed her life a bit. And then

934
00:49:00,520 --> 00:49:04,120
Speaker 3: she's I mean her in her her story. You know,

935
00:49:04,200 --> 00:49:07,000
Speaker 3: that's her story. But I know she ended up making

936
00:49:07,000 --> 00:49:11,600
Speaker 3: that record of Nick a time late eighties in that

937
00:49:11,960 --> 00:49:15,279
Speaker 3: catapult of her career to a whole nother level, and

938
00:49:15,320 --> 00:49:16,959
Speaker 3: she became a big star.

939
00:49:17,760 --> 00:49:22,759
Speaker 1: Okay, you're playing in her band, you gotta check. But

940
00:49:22,920 --> 00:49:24,840
Speaker 1: are you happy or you say, man, I want to

941
00:49:24,880 --> 00:49:27,200
Speaker 1: do my own thing, you know what?

942
00:49:27,280 --> 00:49:30,080
Speaker 3: I was very happy. And then at some point while

943
00:49:30,200 --> 00:49:32,640
Speaker 3: while I was not on the road, we had a

944
00:49:32,680 --> 00:49:36,600
Speaker 3: little studio place we called the Room, and it was

945
00:49:36,719 --> 00:49:40,279
Speaker 3: on It was on Santa Monica Boulevard, Santa Monica, right

946
00:49:40,320 --> 00:49:43,000
Speaker 3: off of Vine Street, and it was right near all

947
00:49:43,080 --> 00:49:47,160
Speaker 3: kinds of other classic Clover studios, which was a famous

948
00:49:47,160 --> 00:49:50,640
Speaker 3: studio that I think Bruce Springsteen, maybe.

949
00:49:50,360 --> 00:49:53,200
Speaker 2: Even maybe even Elvis might have recorded. I don't know.

950
00:49:53,480 --> 00:49:56,200
Speaker 3: I heard all kinds of people recorded right across the

951
00:49:56,239 --> 00:49:59,880
Speaker 3: parking lot from our little place. Paramount Studios was a

952
00:50:00,080 --> 00:50:02,319
Speaker 3: maybe on the other side of the street, as was

953
00:50:02,560 --> 00:50:06,319
Speaker 3: SI R. It's a lot of stuff going on around there,

954
00:50:06,360 --> 00:50:08,800
Speaker 3: and I would be in this place. I started writing

955
00:50:08,840 --> 00:50:13,480
Speaker 3: songs there. I started developing what would become my first

956
00:50:13,480 --> 00:50:16,680
Speaker 3: album and my answer if my ancestors could see me now.

957
00:50:16,920 --> 00:50:21,319
Speaker 3: So basically, when I stopped playing with Bonnie around eighty

958
00:50:21,360 --> 00:50:25,280
Speaker 3: six or eighty seven, I started working on that music.

959
00:50:25,360 --> 00:50:29,719
Speaker 3: It's something cool happened along the way too, Like right,

960
00:50:30,320 --> 00:50:33,040
Speaker 3: Bonnie had just finished and I don't know, this may

961
00:50:33,080 --> 00:50:35,840
Speaker 3: be one of your questions you might have to do.

962
00:50:35,920 --> 00:50:37,879
Speaker 3: I don't know, but I'm just gonna go into it.

963
00:50:38,400 --> 00:50:42,640
Speaker 3: This is a it's a cool story. When I finished

964
00:50:42,640 --> 00:50:45,200
Speaker 3: the tour with Bonnie in New York, I think it

965
00:50:45,280 --> 00:50:49,200
Speaker 3: was around nineteen eighty six, maybe eighties, it had to

966
00:50:49,200 --> 00:50:53,120
Speaker 3: be eighty six, and the Rolling Stones were recording in

967
00:50:53,239 --> 00:50:56,840
Speaker 3: New York and I happened to go to a the

968
00:50:57,000 --> 00:51:00,040
Speaker 3: session where they were recording, and I ended up singing

969
00:51:00,120 --> 00:51:04,200
Speaker 3: backups and playing bass guitar on a song on an

970
00:51:04,320 --> 00:51:09,000
Speaker 3: album called Dirty Work by The Stones. And got to say,

971
00:51:09,040 --> 00:51:12,000
Speaker 3: that's my favorite credit of all time on any record,

972
00:51:12,320 --> 00:51:17,439
Speaker 3: was playing bass on the Stones record and that that

973
00:51:18,239 --> 00:51:23,160
Speaker 3: kind of kindled rekindle a little spark between me and

974
00:51:23,280 --> 00:51:27,439
Speaker 3: Keith during those sessions, which would later I would later

975
00:51:27,480 --> 00:51:30,440
Speaker 3: get a call from him to help him with some

976
00:51:30,480 --> 00:51:32,319
Speaker 3: solo stuff he was working on.

977
00:51:33,000 --> 00:51:38,120
Speaker 1: But yeah, okay, how does it end with Bonnie?

978
00:51:39,040 --> 00:51:42,920
Speaker 2: No, we were I had, I think, I wanted. I wanted.

979
00:51:43,000 --> 00:51:45,600
Speaker 3: I wanted to start working more on my own stuff,

980
00:51:46,440 --> 00:51:48,359
Speaker 3: and I was ready that I had written all these

981
00:51:48,360 --> 00:51:51,440
Speaker 3: songs and I got a chance to. So I was

982
00:51:51,480 --> 00:51:54,120
Speaker 3: talking to some people about managing me as well, and

983
00:51:54,200 --> 00:51:57,560
Speaker 3: I talked to someone that was at the time, Bill

984
00:51:57,600 --> 00:52:01,040
Speaker 3: Graham was managing my dad and my uncle's and someone

985
00:52:01,080 --> 00:52:04,560
Speaker 3: over there was talking to me about doing getting getting

986
00:52:04,600 --> 00:52:07,640
Speaker 3: myself a record deal and stuff like that, and I

987
00:52:08,280 --> 00:52:11,120
Speaker 3: joined up with them with Bill Graham's management company, and

988
00:52:11,160 --> 00:52:14,200
Speaker 3: I got a record recording contract. So I had to

989
00:52:14,280 --> 00:52:16,239
Speaker 3: go on and do you know, do my own thing.

990
00:52:18,160 --> 00:52:21,120
Speaker 1: Okay, how did Diddy Gorchbar end up being the producer

991
00:52:22,719 --> 00:52:23,080
Speaker 1: I had?

992
00:52:23,320 --> 00:52:25,960
Speaker 3: You know, when I met I met Danny through some

993
00:52:26,120 --> 00:52:29,759
Speaker 3: other mutual friends. So when I was when I did

994
00:52:29,800 --> 00:52:34,000
Speaker 3: the Dirty Work album, is where I met Steve. No,

995
00:52:34,080 --> 00:52:36,400
Speaker 3: you know Steve Jordans a matter of fact, No, you

996
00:52:36,440 --> 00:52:40,040
Speaker 3: know what I met. Jim Keltner brought Steve Jordan to

997
00:52:40,320 --> 00:52:43,680
Speaker 3: our studio in La one time, and that's when I

998
00:52:43,719 --> 00:52:45,920
Speaker 3: met Steve Jordan. But when I went to these dirty

999
00:52:45,960 --> 00:52:51,000
Speaker 3: Work sessions there Steve Jordan was and he and Charlie

1000
00:52:51,120 --> 00:52:55,479
Speaker 3: Drayton were at those sessions and we got acquainted during

1001
00:52:55,520 --> 00:53:01,120
Speaker 3: that time. And fast forward, I'm in La talking to

1002
00:53:01,600 --> 00:53:04,040
Speaker 3: the label about who was going to possibly produce my

1003
00:53:04,160 --> 00:53:09,960
Speaker 3: record and we talked to one person that Uh, I

1004
00:53:10,000 --> 00:53:11,440
Speaker 3: forget the guy's name, but he was.

1005
00:53:11,560 --> 00:53:13,920
Speaker 2: He was a cool guy. I just didn't at.

1006
00:53:13,760 --> 00:53:17,080
Speaker 3: The time, I was really partying heavy and I was one.

1007
00:53:17,200 --> 00:53:20,320
Speaker 3: I was into playing music, but I was into having

1008
00:53:20,360 --> 00:53:23,960
Speaker 3: a good time as well. My priorities I don't know what.

1009
00:53:24,760 --> 00:53:26,719
Speaker 3: I guess the music was at that time. The music

1010
00:53:26,800 --> 00:53:28,880
Speaker 3: was more important, but I still I wanted to have

1011
00:53:28,920 --> 00:53:31,960
Speaker 3: a fun time. And I met with this guy, I

1012
00:53:31,960 --> 00:53:36,000
Speaker 3: think his name was David Segerson and to maybe produce

1013
00:53:36,080 --> 00:53:38,400
Speaker 3: and he I didn't He and I didn't really click,

1014
00:53:39,239 --> 00:53:42,520
Speaker 3: so they said, well we maybe, and I happened to

1015
00:53:42,560 --> 00:53:48,560
Speaker 3: meet up with with Jordan and someone we were doing

1016
00:53:48,600 --> 00:53:52,560
Speaker 3: some stuff with, Keith Uh. I had been hanging out

1017
00:53:52,600 --> 00:53:54,640
Speaker 3: with Keith a little bit, and then we were all

1018
00:53:55,480 --> 00:53:58,160
Speaker 3: I was gonna meet Jordan and some other fellas at

1019
00:53:58,160 --> 00:54:01,759
Speaker 3: the Chateau Montmont and and and.

1020
00:54:01,480 --> 00:54:03,840
Speaker 2: There was Coach. That's where I met Coach.

1021
00:54:03,960 --> 00:54:08,200
Speaker 3: And we were sitting in a room hanging partying, and

1022
00:54:08,200 --> 00:54:10,520
Speaker 3: and I had heard of Coach. I'd heard he had

1023
00:54:10,520 --> 00:54:13,359
Speaker 3: done work with Don Henley and stuff like that. And

1024
00:54:13,360 --> 00:54:15,719
Speaker 3: he was a cat who had been around on the

1025
00:54:15,760 --> 00:54:19,880
Speaker 3: California scene and played with Linda Ronstat and James Taylor

1026
00:54:19,920 --> 00:54:20,640
Speaker 3: and all this stuff.

1027
00:54:20,880 --> 00:54:22,719
Speaker 2: So I and I met Cooch and he was a

1028
00:54:22,760 --> 00:54:23,319
Speaker 2: cool guy.

1029
00:54:23,640 --> 00:54:26,759
Speaker 3: And then his name came up, said maybe, how would

1030
00:54:26,760 --> 00:54:29,640
Speaker 3: you feel about working with this guy, Coach Dandy Kochmint

1031
00:54:29,719 --> 00:54:31,279
Speaker 3: And I'm like, yeah, you know what, I just hung

1032
00:54:31,280 --> 00:54:34,520
Speaker 3: out with him like two weeks ago with Jordans and them. Yeah,

1033
00:54:34,520 --> 00:54:37,560
Speaker 3: I could. I could work with that cat. But you

1034
00:54:37,640 --> 00:54:41,319
Speaker 3: know what funny thing was, he wasn't. He didn't let

1035
00:54:41,320 --> 00:54:44,760
Speaker 3: me get away with all my party and ship stuff.

1036
00:54:44,800 --> 00:54:47,920
Speaker 3: When we when we got the recording, he was he

1037
00:54:48,440 --> 00:54:51,080
Speaker 3: put he put the he put the foot down and

1038
00:54:51,239 --> 00:54:53,240
Speaker 3: was like, you know what, dude, this is your record.

1039
00:54:53,520 --> 00:54:56,360
Speaker 3: You got to show up for this stint. Partying is

1040
00:54:56,360 --> 00:54:58,520
Speaker 3: one thing, but you gotta you gotta make your music.

1041
00:54:58,960 --> 00:55:02,360
Speaker 3: And he was a pretty stern character, you know, and

1042
00:55:02,600 --> 00:55:05,640
Speaker 3: it was an amazing time working with him as well.

1043
00:55:08,000 --> 00:55:12,640
Speaker 1: Okay, you actually have a hit and you're on MTV.

1044
00:55:12,800 --> 00:55:14,719
Speaker 1: I think that's why I first became aware of you.

1045
00:55:15,280 --> 00:55:17,200
Speaker 1: What was that experience like for you?

1046
00:55:18,719 --> 00:55:22,759
Speaker 3: It was it was a lot of fun. I was

1047
00:55:22,840 --> 00:55:26,360
Speaker 3: kind of I was a little bit confused because it

1048
00:55:26,400 --> 00:55:28,560
Speaker 3: seemed to me like the label. The people at the

1049
00:55:28,600 --> 00:55:33,520
Speaker 3: record label were not They didn't understand because I was

1050
00:55:33,719 --> 00:55:36,920
Speaker 3: my music was not. I wasn't didn't sound like some

1051
00:55:37,000 --> 00:55:39,200
Speaker 3: guy that was from the Neville family in New Orleans,

1052
00:55:39,719 --> 00:55:42,680
Speaker 3: first of all, and I didn't sound really like a

1053
00:55:42,719 --> 00:55:44,920
Speaker 3: black guy at the time. I was making music that

1054
00:55:45,000 --> 00:55:48,479
Speaker 3: sounded more rock pop kind of stuff. So they didn't

1055
00:55:48,520 --> 00:55:51,520
Speaker 3: really know what to do with me, I thought, and

1056
00:55:51,600 --> 00:55:55,040
Speaker 3: I was playing doing I was open. Matter of fact

1057
00:55:55,040 --> 00:55:58,000
Speaker 3: around this time, right when I was making when I

1058
00:55:58,040 --> 00:56:00,920
Speaker 3: was finished making my record, Keith called up and he

1059
00:56:01,040 --> 00:56:04,320
Speaker 3: was gonna make he started working on on Keith Richard's

1060
00:56:04,360 --> 00:56:07,560
Speaker 3: first solo album, Talk is Cheap. So I did that

1061
00:56:07,640 --> 00:56:12,520
Speaker 3: record with him, and then I ended up doing I

1062
00:56:12,600 --> 00:56:15,720
Speaker 3: ended up opening up for some of the Keith Richards,

1063
00:56:15,760 --> 00:56:21,080
Speaker 3: an expensive Windo shows. I opened up for that for Keith,

1064
00:56:21,160 --> 00:56:24,200
Speaker 3: and then I played with Keith, and I did a

1065
00:56:24,239 --> 00:56:26,760
Speaker 3: lot of ground, a lot of stuff that you're supposed

1066
00:56:26,800 --> 00:56:28,279
Speaker 3: to do when you have a record out. I was

1067
00:56:28,320 --> 00:56:32,160
Speaker 3: on MTV or it was playing the videos and the

1068
00:56:32,560 --> 00:56:35,680
Speaker 3: song the one song went to like number twenty something

1069
00:56:35,760 --> 00:56:39,319
Speaker 3: on the pop charts, I believe, or twenty seven or

1070
00:56:39,320 --> 00:56:41,680
Speaker 3: something like that, and it was pretty doing pretty well,

1071
00:56:41,680 --> 00:56:44,600
Speaker 3: but it didn't go any further than that. And I

1072
00:56:44,640 --> 00:56:47,160
Speaker 3: had a couple of songs that were in films, that

1073
00:56:47,320 --> 00:56:51,080
Speaker 3: song Not Just Another Girl, and it was a song

1074
00:56:51,120 --> 00:56:52,839
Speaker 3: called Falling out of Love that was.

1075
00:56:52,800 --> 00:56:56,360
Speaker 2: In a John Ritter movie called skin Deep.

1076
00:56:57,280 --> 00:57:00,000
Speaker 3: I was doing a lot of stuff, and you think

1077
00:57:00,200 --> 00:57:02,320
Speaker 3: that it would have translated into a little bit more

1078
00:57:03,360 --> 00:57:07,920
Speaker 3: a more success and more uh touring and more money,

1079
00:57:08,360 --> 00:57:10,440
Speaker 3: but you know what, and it was a combination of

1080
00:57:11,080 --> 00:57:14,040
Speaker 3: maybe a little miss uh, I ain't gonna say mismanageable,

1081
00:57:14,080 --> 00:57:16,000
Speaker 3: but them not really knowing what to do with me

1082
00:57:16,680 --> 00:57:18,840
Speaker 3: because I did everything I thought I was supposed to do.

1083
00:57:18,920 --> 00:57:21,800
Speaker 3: I toured with Robert Cray, I opened up for Little Feet,

1084
00:57:21,800 --> 00:57:24,920
Speaker 3: I opened up for Keith, played with the Winos, I

1085
00:57:25,040 --> 00:57:27,280
Speaker 3: was visible on MTV, but you know what, I was

1086
00:57:27,320 --> 00:57:28,320
Speaker 3: getting loaded.

1087
00:57:28,760 --> 00:57:30,400
Speaker 2: I was getting high as.

1088
00:57:30,280 --> 00:57:34,720
Speaker 3: A kite on a daily basis, and so that was

1089
00:57:34,800 --> 00:57:38,240
Speaker 3: probably that probably had something to do with some of

1090
00:57:38,320 --> 00:57:44,880
Speaker 3: the non productive factor, because there were times when I

1091
00:57:44,880 --> 00:57:46,840
Speaker 3: did I would I didn't show up for a thing,

1092
00:57:47,080 --> 00:57:50,360
Speaker 3: a thing or two here and there. I maybe didn't

1093
00:57:50,400 --> 00:57:53,360
Speaker 3: show up, or I showed up, and maybe the people

1094
00:57:53,400 --> 00:57:55,520
Speaker 3: were maybe like, damn, I we wish he wouldn't have

1095
00:57:55,560 --> 00:57:59,680
Speaker 3: showed up because I was doing a lot of drugs.

1096
00:57:59,680 --> 00:58:02,920
Speaker 3: I was doing a lot of coke, drinking a lot,

1097
00:58:03,080 --> 00:58:06,200
Speaker 3: and I was it was. It was kind of taking

1098
00:58:06,200 --> 00:58:08,960
Speaker 3: a toll to to many degrees, to a to a.

1099
00:58:09,080 --> 00:58:09,760
Speaker 2: In a big way.

1100
00:58:10,880 --> 00:58:14,640
Speaker 3: Because by the time the nineties, the nineties hit and

1101
00:58:14,640 --> 00:58:17,720
Speaker 3: then we did I did an. The second record never

1102
00:58:17,800 --> 00:58:21,439
Speaker 3: came out on Poly Poly Door, the follow up never

1103
00:58:21,520 --> 00:58:25,800
Speaker 3: came out. I was pretty I was doing I was

1104
00:58:25,840 --> 00:58:28,520
Speaker 3: pretty heavy into getting high and.

1105
00:58:28,400 --> 00:58:31,160
Speaker 2: The drug the drug use and all that started.

1106
00:58:30,800 --> 00:58:35,800
Speaker 3: Taking a uh kind of a uh you know, taking

1107
00:58:35,800 --> 00:58:37,400
Speaker 3: a precedent over the music.

1108
00:58:38,160 --> 00:58:41,160
Speaker 2: And it was that was I was.

1109
00:58:41,280 --> 00:58:43,560
Speaker 3: It was more important for me to get loaded than

1110
00:58:43,600 --> 00:58:46,400
Speaker 3: it was to make music. Now I was still making

1111
00:58:46,520 --> 00:58:49,240
Speaker 3: music and I was still playing. I was I did

1112
00:58:49,320 --> 00:58:53,360
Speaker 3: Keeps second record, we did another couple of tours. I

1113
00:58:53,400 --> 00:58:57,400
Speaker 3: did another record finally called Thanks. When I was making

1114
00:58:57,400 --> 00:58:59,320
Speaker 3: that record, I was living in New York at the time,

1115
00:58:59,760 --> 00:59:02,960
Speaker 3: and I was pretty I was coming to the point

1116
00:59:03,000 --> 00:59:05,720
Speaker 3: where I was just spiraling out of control and I

1117
00:59:05,800 --> 00:59:09,840
Speaker 3: was gonna soon be going down because by the time

1118
00:59:10,040 --> 00:59:15,040
Speaker 3: I played on a Voodoo Lounge album, which was a

1119
00:59:15,200 --> 00:59:18,600
Speaker 3: total like when I played on Dirty Work, it was

1120
00:59:18,640 --> 00:59:21,960
Speaker 3: a fun experience. It was I'm playing there when we're

1121
00:59:21,960 --> 00:59:24,720
Speaker 3: in a studio with the Rolling Stones, and it was

1122
00:59:24,760 --> 00:59:28,520
Speaker 3: like nineteen eighty six or something like that, and everything

1123
00:59:28,640 --> 00:59:30,960
Speaker 3: was going on, and I was getting high and I

1124
00:59:31,040 --> 00:59:33,240
Speaker 3: was playing some music with the greatest rock and roll

1125
00:59:33,320 --> 00:59:35,920
Speaker 3: band in the world. I was having a blast. But

1126
00:59:35,960 --> 00:59:39,120
Speaker 3: by the time nineteen ninety five hit, I wasn't having

1127
00:59:39,120 --> 00:59:47,640
Speaker 3: so much fun anymore. I wasn't having fun and the

1128
00:59:47,760 --> 00:59:52,840
Speaker 3: drugs and alcohol abuse was taken over and the music

1129
00:59:53,200 --> 00:59:57,760
Speaker 3: was less important to me. Like I said, And I

1130
00:59:57,800 --> 01:00:00,640
Speaker 3: remember I remember one night in particular. I remember I

1131
01:00:00,720 --> 01:00:03,560
Speaker 3: was in I was in Los Angeles. I was in

1132
01:00:03,600 --> 01:00:07,400
Speaker 3: a club place called the Viper Room. You heard of

1133
01:00:07,400 --> 01:00:08,920
Speaker 3: the Viper Room before.

1134
01:00:08,400 --> 01:00:12,240
Speaker 1: I was in the Viper Room, and it was a

1135
01:00:12,320 --> 01:00:12,920
Speaker 1: hot night.

1136
01:00:13,040 --> 01:00:16,360
Speaker 3: The Stones were in town that week playing and it

1137
01:00:16,440 --> 01:00:19,280
Speaker 3: was like star studyed. It was like all the musicians.

1138
01:00:19,560 --> 01:00:23,400
Speaker 3: It was a musicians dream to be in this room.

1139
01:00:24,000 --> 01:00:27,960
Speaker 3: I think the band Bernard Fowler and Stevie Sallas and

1140
01:00:28,560 --> 01:00:31,560
Speaker 3: Carmin Rojas had a band and I was playing with

1141
01:00:31,600 --> 01:00:34,400
Speaker 3: them a little bit, and up on stage at some

1142
01:00:34,560 --> 01:00:37,800
Speaker 3: point was all of us, Billy Gibbons from Zz Top,

1143
01:00:38,120 --> 01:00:44,480
Speaker 3: Michael Hutchins from in Excess, and Adam Durrants from County Crows,

1144
01:00:45,000 --> 01:00:48,560
Speaker 3: and it was women like you wouldn't believe in drugs

1145
01:00:48,600 --> 01:00:52,920
Speaker 3: all over the place. And I was absolutely miserable. I

1146
01:00:53,200 --> 01:00:56,760
Speaker 3: was miserable. And I remember that night, I'm like, why

1147
01:00:56,960 --> 01:00:59,680
Speaker 3: am I not having fun? Why is this not the

1148
01:00:59,680 --> 01:01:03,800
Speaker 3: most fun night in ever? And it was because I

1149
01:01:03,840 --> 01:01:09,240
Speaker 3: had I was spiritually sick. I was spiritually and emotionally sick.

1150
01:01:10,600 --> 01:01:14,440
Speaker 3: It was the things I was doing had run its

1151
01:01:14,520 --> 01:01:17,320
Speaker 3: course and it was time for me to start to

1152
01:01:17,360 --> 01:01:19,080
Speaker 3: figure out a way to change my life.

1153
01:01:19,160 --> 01:01:24,240
Speaker 2: Now. It took me until nineteen ninety eight to make

1154
01:01:24,280 --> 01:01:24,880
Speaker 2: that change.

1155
01:01:26,720 --> 01:01:31,880
Speaker 5: And yeah, it was like I got, okay, you have

1156
01:01:31,960 --> 01:01:37,160
Speaker 5: to ru music the VIP room, I mean fun. How

1157
01:01:37,160 --> 01:01:38,240
Speaker 5: do you make the change?

1158
01:01:38,280 --> 01:01:40,479
Speaker 1: What is that look like it took a long time.

1159
01:01:40,560 --> 01:01:43,320
Speaker 3: It took some another couple of years, and I was

1160
01:01:43,440 --> 01:01:47,720
Speaker 3: just kind of delving deeper into the drug world, and

1161
01:01:48,200 --> 01:01:50,840
Speaker 3: you know, I was doing you know, I had been

1162
01:01:50,880 --> 01:01:54,520
Speaker 3: doing cocaine and drinking like on a regular basis every day.

1163
01:01:54,560 --> 01:01:57,640
Speaker 3: I was smoking crack at the time I was doing that,

1164
01:01:58,000 --> 01:02:03,160
Speaker 3: you know, I was. I was pretty miserable, and you know,

1165
01:02:03,280 --> 01:02:06,480
Speaker 3: I'm fortunate that I escaped. I had gone to I

1166
01:02:06,480 --> 01:02:09,320
Speaker 3: had gone to rehabs. I had gone to drug treatment centers.

1167
01:02:09,800 --> 01:02:12,280
Speaker 3: I had been to five of them up to this point.

1168
01:02:13,000 --> 01:02:15,320
Speaker 3: I had started going. I had started going, like around

1169
01:02:15,360 --> 01:02:17,920
Speaker 3: nineteen eighty nine. I went to the Betty Ford Center,

1170
01:02:18,080 --> 01:02:21,040
Speaker 3: and I got out and I didn't do anything to

1171
01:02:21,120 --> 01:02:24,560
Speaker 3: better myself or to try to find some program or

1172
01:02:24,600 --> 01:02:28,280
Speaker 3: find some formula that was working without drugs and alcohol.

1173
01:02:28,280 --> 01:02:28,840
Speaker 2: And I didn't.

1174
01:02:28,920 --> 01:02:30,920
Speaker 3: It didn't work, it didn't take and I went to

1175
01:02:31,680 --> 01:02:37,640
Speaker 3: rehabs five more times. The sixth time was my last time.

1176
01:02:38,280 --> 01:02:40,680
Speaker 3: The last time I went, I was in nineteen ninety eight.

1177
01:02:41,560 --> 01:02:45,920
Speaker 3: And it wasn't anything spectacular that had happened. It was

1178
01:02:46,000 --> 01:02:48,040
Speaker 3: just that I was just I had this big hole

1179
01:02:49,080 --> 01:02:52,440
Speaker 3: in the middle of me, this big hole inside me

1180
01:02:52,600 --> 01:02:56,200
Speaker 3: that was I couldn't fill it. And with all the

1181
01:02:56,280 --> 01:02:58,479
Speaker 3: drugs and all the alcohol, I couldn't fill that hole.

1182
01:02:58,520 --> 01:03:02,360
Speaker 3: And I knew it, and I went to I called someone.

1183
01:03:02,400 --> 01:03:04,680
Speaker 3: I called the guy by the name of Buddy Arnold.

1184
01:03:04,760 --> 01:03:07,720
Speaker 3: Buddy Arnold had come up with this thing called MAP,

1185
01:03:07,840 --> 01:03:11,600
Speaker 3: the Musician's Assistance Program, and Buddy I had. I had

1186
01:03:11,680 --> 01:03:16,360
Speaker 3: met with Buddy. It was maybe in June of nineteen

1187
01:03:16,480 --> 01:03:20,920
Speaker 3: ninety eight and my friend rest his soul, Marty Grebb.

1188
01:03:21,480 --> 01:03:24,480
Speaker 3: Marty Greb who was an amazing musician who played with

1189
01:03:24,520 --> 01:03:27,760
Speaker 3: me and Bonnie rates Band years before. He had been

1190
01:03:27,800 --> 01:03:30,880
Speaker 3: sober for like maybe twelve or thirteen years at the time.

1191
01:03:31,600 --> 01:03:34,040
Speaker 3: And I called him up as as Marty, which come

1192
01:03:34,080 --> 01:03:36,720
Speaker 3: get me, man, I think, I'm I want to try

1193
01:03:36,760 --> 01:03:40,520
Speaker 3: to go to treatment reab, you know. So he come

1194
01:03:40,560 --> 01:03:43,000
Speaker 3: and got me and I went to see Buddy Arnold

1195
01:03:43,040 --> 01:03:46,760
Speaker 3: at the Musicians Union on Vine Street. That was where

1196
01:03:46,800 --> 01:03:53,040
Speaker 3: the office was for the Musician's Assistance Program. And I

1197
01:03:53,080 --> 01:03:55,880
Speaker 3: talked to Buddy, Buddy, you know, did with the assessment

1198
01:03:55,960 --> 01:03:58,400
Speaker 3: and whatnot, and it's okay, we got a place for you.

1199
01:03:59,640 --> 01:04:02,920
Speaker 3: And it was maybe a Thursday, and I was like, ah,

1200
01:04:03,200 --> 01:04:06,080
Speaker 3: how about if I come back Monday and we go

1201
01:04:06,160 --> 01:04:08,920
Speaker 3: to this place. And Buddy said, you know what I

1202
01:04:08,960 --> 01:04:12,720
Speaker 3: haven't Yeah, yeah, you jive call me a jive MF

1203
01:04:13,000 --> 01:04:14,240
Speaker 3: jive man SAMF.

1204
01:04:14,520 --> 01:04:15,320
Speaker 2: And he said, you.

1205
01:04:15,280 --> 01:04:20,000
Speaker 3: Know what, don't o D don't go to jail. Call

1206
01:04:20,080 --> 01:04:23,640
Speaker 3: me when you're ready. So this is about around June

1207
01:04:23,920 --> 01:04:28,640
Speaker 3: of ninety eight, so August two, two or so months later,

1208
01:04:29,360 --> 01:04:31,960
Speaker 3: I was in that same kind of frame of mind,

1209
01:04:32,760 --> 01:04:46,919
Speaker 3: in the depths of despair, and I.

1210
01:04:43,560 --> 01:04:44,640
Speaker 2: I called Marty.

1211
01:04:44,800 --> 01:04:47,400
Speaker 3: I said, Marty, can we get a hold of Buddy

1212
01:04:47,400 --> 01:04:51,680
Speaker 3: tonight because I need to go and I don't want

1213
01:04:51,680 --> 01:04:54,080
Speaker 3: to wait until tomorrow. I don't want to wait till Monday.

1214
01:04:54,240 --> 01:04:56,440
Speaker 3: We can go right now. And it was a Thursday.

1215
01:04:56,440 --> 01:04:59,240
Speaker 3: The funny thing was there had been an intervention that

1216
01:04:59,400 --> 01:05:04,120
Speaker 3: was playing that following Sunday at the Universal Amphitheater where

1217
01:05:04,120 --> 01:05:07,320
Speaker 3: the Neville Brothers, Doctor John and bb King were playing

1218
01:05:07,320 --> 01:05:11,600
Speaker 3: the show. And the brothers and Doctor John had they

1219
01:05:11,640 --> 01:05:13,800
Speaker 3: had talked to Buddy had talked to these people, and

1220
01:05:13,800 --> 01:05:16,320
Speaker 3: they were gonna corral me. I was going to go

1221
01:05:16,360 --> 01:05:19,160
Speaker 3: to this concert and somebody was gonna put me in

1222
01:05:19,160 --> 01:05:21,680
Speaker 3: a car and bring me to some treatment center. But

1223
01:05:21,880 --> 01:05:25,160
Speaker 3: I beat them to the punch, and that Thursday, Marty

1224
01:05:25,240 --> 01:05:28,280
Speaker 3: came and picked me up. This last time, he picked

1225
01:05:28,320 --> 01:05:30,120
Speaker 3: me up and brought me to this place and passed

1226
01:05:30,120 --> 01:05:32,600
Speaker 3: it called Buddy on and woke Buddy up about twelve

1227
01:05:32,640 --> 01:05:35,240
Speaker 3: midnight that night and brought me to this place in

1228
01:05:35,280 --> 01:05:41,600
Speaker 3: Pasadena called Larsoncinas Hospital. And I went there and that

1229
01:05:41,720 --> 01:05:44,600
Speaker 3: was that was it. I went there for twenty eight

1230
01:05:44,680 --> 01:05:47,120
Speaker 3: days or so, and I did, you know, I did

1231
01:05:47,160 --> 01:05:49,240
Speaker 3: what you do when you go to reab, you know.

1232
01:05:49,320 --> 01:05:51,760
Speaker 3: I knew the lingo, I knew what to do. But

1233
01:05:51,840 --> 01:05:54,880
Speaker 3: for some reason, something happened. I got out of that

1234
01:05:54,960 --> 01:05:57,320
Speaker 3: place and I did what these people told me to do,

1235
01:05:57,920 --> 01:06:01,240
Speaker 3: and I started working a twelve step program and all

1236
01:06:01,280 --> 01:06:04,800
Speaker 3: of that, and I just I got in there.

1237
01:06:04,840 --> 01:06:05,840
Speaker 2: I got into it, you know.

1238
01:06:05,920 --> 01:06:09,680
Speaker 3: And I knew people I knew Bonnie and Steve Bruton

1239
01:06:10,280 --> 01:06:14,360
Speaker 3: and Mike Finnegan and Marty and a few other people

1240
01:06:14,360 --> 01:06:17,320
Speaker 3: that I knew that were musicians who had gotten sober.

1241
01:06:17,760 --> 01:06:21,439
Speaker 3: So that helped and that inspired me. And I saw

1242
01:06:21,520 --> 01:06:24,400
Speaker 3: others who had done it, you know. I saw Steve

1243
01:06:24,520 --> 01:06:27,280
Speaker 3: Jones from the Sex Pistols. He used to go to

1244
01:06:27,360 --> 01:06:29,840
Speaker 3: this one meeting. I used to go to saw a

1245
01:06:29,840 --> 01:06:33,520
Speaker 3: guy named Tony Morehead used to he was this big

1246
01:06:33,840 --> 01:06:36,680
Speaker 3: time tour manager. And I saw a bunch of people

1247
01:06:36,720 --> 01:06:40,480
Speaker 3: doing this thing, and I just started doing it. And

1248
01:06:40,520 --> 01:06:42,320
Speaker 3: the funny thing was I was wanted and when I

1249
01:06:42,320 --> 01:06:43,880
Speaker 3: play music again, what's gonna happen?

1250
01:06:43,880 --> 01:06:45,920
Speaker 2: Am I gonna be creative and all this crap?

1251
01:06:46,760 --> 01:06:51,320
Speaker 3: And when I started, I was playing with a band

1252
01:06:51,640 --> 01:06:54,880
Speaker 3: called the Spin Doctors at the time, that was the

1253
01:06:55,000 --> 01:06:55,880
Speaker 3: last gig.

1254
01:06:55,640 --> 01:06:56,240
Speaker 1: On the block.

1255
01:06:57,000 --> 01:07:00,280
Speaker 3: Their fame had kind of waned a little bit. They

1256
01:07:00,280 --> 01:07:02,960
Speaker 3: had kind of they had peaked and were kind of

1257
01:07:03,600 --> 01:07:06,080
Speaker 3: on the downslide from where they where they where their

1258
01:07:06,120 --> 01:07:08,840
Speaker 3: peaked success was. But they were still working and they

1259
01:07:08,880 --> 01:07:11,760
Speaker 3: were still performing. And I was playing keyboards with Spin

1260
01:07:11,840 --> 01:07:16,880
Speaker 3: Doctors during my first couple of years, and uh, I

1261
01:07:16,960 --> 01:07:19,080
Speaker 3: was able to do it, you know, and and and

1262
01:07:19,840 --> 01:07:23,680
Speaker 3: realize the beauty and how cool it was to play

1263
01:07:23,800 --> 01:07:30,320
Speaker 3: music and not be all, you know, stuck and stupid stuck,

1264
01:07:31,440 --> 01:07:34,880
Speaker 3: and and not be mine altered and stuff like that.

1265
01:07:35,680 --> 01:07:37,800
Speaker 3: And it became a beautiful thing over a period of

1266
01:07:37,840 --> 01:07:41,120
Speaker 3: time one, you know, and I it's twenty five years

1267
01:07:41,600 --> 01:07:44,800
Speaker 3: coming up on twenty five years later this year, it'll

1268
01:07:44,840 --> 01:07:50,880
Speaker 3: be twenty five years.

1269
01:07:53,360 --> 01:07:57,120
Speaker 1: Okay, the first five times you went to uh, was

1270
01:07:57,160 --> 01:07:59,800
Speaker 1: that because somebody told you you had to go? Or

1271
01:07:59,840 --> 01:08:02,760
Speaker 1: was not because you wanted to go? You know what?

1272
01:08:03,560 --> 01:08:05,320
Speaker 3: Every one of those times it was for one of

1273
01:08:05,320 --> 01:08:07,479
Speaker 3: those type of reasons. The first time I was told

1274
01:08:07,520 --> 01:08:11,640
Speaker 3: to go, the second time I had another reason to go.

1275
01:08:11,720 --> 01:08:14,840
Speaker 3: I went because I had my The second time I

1276
01:08:14,880 --> 01:08:19,120
Speaker 3: went my Oh no, the second time I was gone,

1277
01:08:19,160 --> 01:08:20,760
Speaker 3: I was going to be arrested. I was going to

1278
01:08:20,800 --> 01:08:23,800
Speaker 3: be arrested. Second time I was going to maybe go

1279
01:08:23,840 --> 01:08:27,439
Speaker 3: to jail. I had gotten popped. I got popped in

1280
01:08:27,680 --> 01:08:31,360
Speaker 3: lax for something from possession or some shit whatever. And

1281
01:08:31,400 --> 01:08:35,240
Speaker 3: then the third time, my daughter was born and I

1282
01:08:35,280 --> 01:08:37,160
Speaker 3: had I was trying to straighten up to be a

1283
01:08:37,160 --> 01:08:40,200
Speaker 3: better dad, which it took me another It took me

1284
01:08:40,240 --> 01:08:42,760
Speaker 3: another eight years after she was born. She was born

1285
01:08:42,800 --> 01:08:46,479
Speaker 3: in nineteen ninety. In ninety eight, I finally did it.

1286
01:08:46,520 --> 01:08:49,000
Speaker 3: But I've gone to Yeah, I had gone for all

1287
01:08:49,040 --> 01:08:51,719
Speaker 3: the you know, for me, would I like to say

1288
01:08:51,760 --> 01:08:54,559
Speaker 3: that I don't think there's any bad reason to try,

1289
01:08:55,520 --> 01:08:57,920
Speaker 3: whether it's because you want to go or because of

1290
01:08:58,000 --> 01:08:59,680
Speaker 3: other people, because you never know it.

1291
01:08:59,720 --> 01:09:01,400
Speaker 2: Maybe it'll stick, maybe it won't.

1292
01:09:01,520 --> 01:09:02,040
Speaker 1: But for me.

1293
01:09:02,479 --> 01:09:05,240
Speaker 2: Those other times didn't It didn't work, and I.

1294
01:09:06,439 --> 01:09:12,639
Speaker 1: Was okay, so the five times it doesn't work, How

1295
01:09:12,720 --> 01:09:15,120
Speaker 1: long does it take until you fall off the wagon?

1296
01:09:16,160 --> 01:09:18,800
Speaker 2: Well, some sometimes it took like the next day.

1297
01:09:18,880 --> 01:09:22,559
Speaker 3: I sometimes it took one day.

1298
01:09:23,000 --> 01:09:24,519
Speaker 1: Sometimes I would leave a rehab.

1299
01:09:24,560 --> 01:09:27,439
Speaker 3: At least twice or three times I left rehab and

1300
01:09:27,479 --> 01:09:30,879
Speaker 3: went straight back to getting loaded. At least three times.

1301
01:09:31,040 --> 01:09:33,040
Speaker 3: There was a couple of times where I maybe stayed

1302
01:09:33,080 --> 01:09:36,800
Speaker 3: sober for maybe ninety days, three months. Maybe once I

1303
01:09:36,840 --> 01:09:42,320
Speaker 3: stayed clean for it, maybe six months. And yeah, maybe

1304
01:09:42,439 --> 01:09:46,240
Speaker 3: twice I stayed clean along a little bit longer than normal.

1305
01:09:46,320 --> 01:09:50,679
Speaker 3: But it was pretty much inevitable until I figured out

1306
01:09:51,320 --> 01:09:53,000
Speaker 3: that I was done and that I don't you know,

1307
01:09:53,080 --> 01:09:55,280
Speaker 3: I kind of made up. I made up in my mind,

1308
01:09:55,320 --> 01:09:58,720
Speaker 3: and I kind of accepted some things, and I kind

1309
01:09:58,760 --> 01:10:03,120
Speaker 3: of followed this. I saw this, uh uh, you know,

1310
01:10:03,200 --> 01:10:05,640
Speaker 3: this little game plan, this format that I was that

1311
01:10:05,720 --> 01:10:07,720
Speaker 3: was laid out in front of me. I knew about it,

1312
01:10:08,439 --> 01:10:10,439
Speaker 3: and I kind of did what these people told me

1313
01:10:10,479 --> 01:10:12,920
Speaker 3: to do. And my friends that I knew, I started

1314
01:10:12,960 --> 01:10:15,960
Speaker 3: doing this stuff and it just started working, and I

1315
01:10:16,000 --> 01:10:19,840
Speaker 3: started figuring out about, you know, about myself and how

1316
01:10:19,840 --> 01:10:24,080
Speaker 3: to how to be comfortable in my own skin on

1317
01:10:24,120 --> 01:10:27,799
Speaker 3: the match without having to you know, be around people

1318
01:10:27,840 --> 01:10:30,360
Speaker 3: and not have to have a drink, and you know,

1319
01:10:30,439 --> 01:10:35,160
Speaker 3: and be okay with being somewhat sensitive and somewhat vulnerable

1320
01:10:35,200 --> 01:10:39,040
Speaker 3: and awkward and those human feelings that we get that

1321
01:10:39,160 --> 01:10:41,640
Speaker 3: we try to mask and we try to you know,

1322
01:10:42,680 --> 01:10:45,080
Speaker 3: take off the edge. I figured that, you know what,

1323
01:10:45,200 --> 01:10:48,240
Speaker 3: I think I can deal with this stuff without taking it.

1324
01:10:48,280 --> 01:10:49,120
Speaker 1: What edge is there?

1325
01:10:49,160 --> 01:10:52,280
Speaker 3: Okay, I feel a little bit uncomfortable, so what let

1326
01:10:52,280 --> 01:10:55,240
Speaker 3: me just try to look within and feel some comfort

1327
01:10:55,320 --> 01:10:59,200
Speaker 3: here if I can't. And I kind of just took it.

1328
01:10:59,320 --> 01:11:03,000
Speaker 3: I took uh. I took kind of pride in in

1329
01:11:03,000 --> 01:11:06,559
Speaker 3: in getting getting through those times, and especially early on

1330
01:11:06,720 --> 01:11:09,840
Speaker 3: it was more difficult. As time went on, it just

1331
01:11:09,880 --> 01:11:10,880
Speaker 3: got easier to do.

1332
01:11:12,600 --> 01:11:14,600
Speaker 1: And at this late date, did you ever go to

1333
01:11:14,640 --> 01:11:15,080
Speaker 1: a meeting?

1334
01:11:15,320 --> 01:11:20,080
Speaker 2: I still do? Yeah, I still go. Yeah.

1335
01:11:20,680 --> 01:11:26,000
Speaker 1: Okay, so you you play with the spin doctors. What's

1336
01:11:26,040 --> 01:11:27,200
Speaker 1: the next step? After that?

1337
01:11:27,880 --> 01:11:30,240
Speaker 3: I started working on some of my own music again,

1338
01:11:30,320 --> 01:11:33,960
Speaker 3: and I did a record called Uh. The record was

1339
01:11:34,040 --> 01:11:39,840
Speaker 3: initially called Saturday Morning Music, but I repackaged that same record,

1340
01:11:39,920 --> 01:11:43,439
Speaker 3: and I something a friend of mine that I that

1341
01:11:43,520 --> 01:11:46,240
Speaker 3: I met. His name is Gary, Gary Gold. He he

1342
01:11:46,360 --> 01:11:48,960
Speaker 3: was we we had an acquaint I was acquainted with

1343
01:11:49,000 --> 01:11:52,479
Speaker 3: Bruce Willis, and Bruce Willis had a studio up his

1344
01:11:52,560 --> 01:11:56,680
Speaker 3: house up up up maul Holland near Colewater Canyon and

1345
01:11:56,720 --> 01:11:59,320
Speaker 3: somewhere up there. And I recorded that record up at

1346
01:11:59,320 --> 01:12:03,920
Speaker 3: Bruce's house, and Bruce decided he didn't want to be

1347
01:12:03,960 --> 01:12:04,919
Speaker 3: in the business anymore.

1348
01:12:05,240 --> 01:12:06,160
Speaker 2: We did the record.

1349
01:12:06,240 --> 01:12:08,880
Speaker 3: It was put out on a label that Bruce had

1350
01:12:08,960 --> 01:12:12,320
Speaker 3: kind of come up with, and he didn't want to

1351
01:12:12,360 --> 01:12:14,800
Speaker 3: be involved in that business anymore, and so he let

1352
01:12:14,880 --> 01:12:16,720
Speaker 3: me say take the record, do what you want with it,

1353
01:12:17,080 --> 01:12:19,800
Speaker 3: and I re released it and repackaged it. It was

1354
01:12:19,840 --> 01:12:23,320
Speaker 3: called initially Saturday Morning Music, and then it was the

1355
01:12:24,560 --> 01:12:27,920
Speaker 3: re released version was called Scrape, and it was some

1356
01:12:28,040 --> 01:12:31,080
Speaker 3: songs that a lot of songs that were written about

1357
01:12:31,479 --> 01:12:34,759
Speaker 3: kind of where I was at that point and trying

1358
01:12:34,800 --> 01:12:36,840
Speaker 3: to you know, trying to be a man and trying

1359
01:12:36,840 --> 01:12:40,320
Speaker 3: to mature as an adult and stuff like that. Because

1360
01:12:40,320 --> 01:12:43,240
Speaker 3: then you realize, when you do take away the drugs

1361
01:12:43,240 --> 01:12:46,920
Speaker 3: and alcohol, you realize how stunted your growth had been

1362
01:12:47,080 --> 01:12:49,840
Speaker 3: for many years. You know, you realize how you know,

1363
01:12:50,320 --> 01:12:55,920
Speaker 3: how emotionally immature that I really was, and so it

1364
01:12:55,960 --> 01:12:59,000
Speaker 3: took a lot, you know, to a lot of acceptance

1365
01:12:59,080 --> 01:13:00,599
Speaker 3: to try to grow it the person.

1366
01:13:00,760 --> 01:13:09,960
Speaker 1: You know. Okay, rehab is expensive. Sometimes insurance pays. You know,

1367
01:13:11,280 --> 01:13:13,679
Speaker 1: what was it like financially for you? Okay?

1368
01:13:13,840 --> 01:13:18,280
Speaker 3: So the first five rehabs were all paid by insurance.

1369
01:13:19,360 --> 01:13:23,120
Speaker 3: I had done enough sag stuff where I had done

1370
01:13:23,200 --> 01:13:25,600
Speaker 3: enough songs and films and things of that nature. And

1371
01:13:25,680 --> 01:13:28,439
Speaker 3: over the years that I was able to, I had

1372
01:13:28,520 --> 01:13:32,320
Speaker 3: insurance to pay for rehabs and they would pay probably

1373
01:13:32,360 --> 01:13:36,000
Speaker 3: what fourteen fifteen grand or something, and I would maybe

1374
01:13:36,000 --> 01:13:38,400
Speaker 3: do pay like a deduction or what they call it

1375
01:13:38,439 --> 01:13:42,200
Speaker 3: a prem what they call that the.

1376
01:13:41,080 --> 01:13:42,640
Speaker 1: Deductible, the deductible.

1377
01:13:42,640 --> 01:13:45,000
Speaker 3: I would pay maybe something, And there were times when

1378
01:13:45,000 --> 01:13:48,040
Speaker 3: I didn't pay, I didn't pay anything. But the last

1379
01:13:48,120 --> 01:13:52,880
Speaker 3: one was paid for by Music Cares and by MAP

1380
01:13:53,040 --> 01:13:56,200
Speaker 3: Music Musicians' Assistance Program. They paid for me to go

1381
01:13:56,240 --> 01:14:00,040
Speaker 3: to that last one. The insurance was used up on

1382
01:14:00,120 --> 01:14:03,840
Speaker 3: the first. I went five times and it was paid

1383
01:14:03,920 --> 01:14:08,120
Speaker 3: for and that last one I had run out of

1384
01:14:08,160 --> 01:14:12,800
Speaker 3: all of that stuff. And Music Musicians Assistance Program, now

1385
01:14:13,479 --> 01:14:16,240
Speaker 3: you know, it is Music Cares, and that's what they do.

1386
01:14:17,000 --> 01:14:19,920
Speaker 3: They're still doing that stuff for people, and they paid

1387
01:14:19,920 --> 01:14:20,679
Speaker 3: for my treatment.

1388
01:14:22,320 --> 01:14:24,559
Speaker 1: Did you have any did you have any guilt? Did

1389
01:14:24,560 --> 01:14:27,679
Speaker 1: you think that helped you? Oh?

1390
01:14:27,760 --> 01:14:29,840
Speaker 2: That I had used up all of these people's money,

1391
01:14:30,240 --> 01:14:32,719
Speaker 2: that U using MAPS money?

1392
01:14:32,760 --> 01:14:33,200
Speaker 1: Oh, you know?

1393
01:14:33,240 --> 01:14:35,040
Speaker 2: And no, I didn't have any joke I felt.

1394
01:14:35,040 --> 01:14:37,840
Speaker 3: I was so kind of I was so tore up

1395
01:14:38,439 --> 01:14:40,640
Speaker 3: and just kind of desperate to try to get my

1396
01:14:40,680 --> 01:14:42,680
Speaker 3: life somewhat together.

1397
01:14:42,600 --> 01:14:43,960
Speaker 2: Because I knew.

1398
01:14:44,000 --> 01:14:46,080
Speaker 3: I was like, you know what, I might not get

1399
01:14:46,080 --> 01:14:49,720
Speaker 3: another chance like this, and I better try to do this.

1400
01:14:50,160 --> 01:14:54,000
Speaker 3: I've had chances before and I blew them, So maybe

1401
01:14:54,040 --> 01:14:54,680
Speaker 3: this is the one.

1402
01:14:54,800 --> 01:14:55,760
Speaker 2: Let me try it, you know.

1403
01:14:57,680 --> 01:15:01,000
Speaker 1: Okay, So you play with spin Doctors, you make another

1404
01:15:01,160 --> 01:15:04,200
Speaker 1: record which you know as me package comes out twice.

1405
01:15:05,040 --> 01:15:09,439
Speaker 1: Where does that leave it? I ended up?

1406
01:15:09,800 --> 01:15:10,439
Speaker 2: I end up?

1407
01:15:10,600 --> 01:15:15,800
Speaker 3: Uh I did that record. I soon started. I got

1408
01:15:15,840 --> 01:15:19,640
Speaker 3: back my uncle Art. My uncle Art had had a

1409
01:15:19,680 --> 01:15:25,280
Speaker 3: back surgery and I had to come and help him out,

1410
01:15:25,320 --> 01:15:29,000
Speaker 3: and I subbed for him with the Neville Brothers. This

1411
01:15:29,040 --> 01:15:32,080
Speaker 3: is in maybe two thousand and one, two thousand and two.

1412
01:15:32,360 --> 01:15:34,880
Speaker 3: While the time I was those records had come out

1413
01:15:34,920 --> 01:15:39,360
Speaker 3: and things of that nature. I ended up playing back

1414
01:15:39,400 --> 01:15:42,479
Speaker 3: with the Brothers. I played with my dad and my

1415
01:15:42,560 --> 01:15:48,400
Speaker 3: uncles for a while. And during that time I started

1416
01:15:48,400 --> 01:15:51,200
Speaker 3: a band. In two thousand and three, we had a

1417
01:15:51,240 --> 01:15:53,719
Speaker 3: one off gig at the New Orleans Jazz and Heritage Festival.

1418
01:15:53,760 --> 01:15:55,400
Speaker 3: I started a band called Dumpster Phone.

1419
01:15:56,400 --> 01:16:01,120
Speaker 1: Okay, a couple of questions. First, you're cleaning, so you're

1420
01:16:01,160 --> 01:16:04,559
Speaker 1: out with the brothers. What are they doing?

1421
01:16:05,920 --> 01:16:06,280
Speaker 2: You know what?

1422
01:16:06,400 --> 01:16:09,880
Speaker 3: Those guys had pretty much mellowed out during this time.

1423
01:16:09,920 --> 01:16:13,799
Speaker 3: They were not doing They were all cleaning their own ways.

1424
01:16:13,840 --> 01:16:18,599
Speaker 3: I mean, they weren't like practicing, uh a twelve step

1425
01:16:18,680 --> 01:16:20,439
Speaker 3: kind of thing or whatever, but they were they were

1426
01:16:20,479 --> 01:16:21,080
Speaker 3: pretty tame.

1427
01:16:21,439 --> 01:16:22,519
Speaker 2: Like there was a bus.

1428
01:16:22,880 --> 01:16:25,000
Speaker 3: There was a there was maybe two tour buses, and

1429
01:16:25,080 --> 01:16:27,439
Speaker 3: one bus was the bus you went on if you

1430
01:16:27,479 --> 01:16:31,160
Speaker 3: didn't want to be around marijuana smoke. And the other

1431
01:16:31,200 --> 01:16:33,759
Speaker 3: bus was the bus that people some of the younger

1432
01:16:33,800 --> 01:16:36,439
Speaker 3: people like my you know, some people in the band

1433
01:16:36,479 --> 01:16:39,200
Speaker 3: that still smoked and you I was on.

1434
01:16:39,120 --> 01:16:43,160
Speaker 2: The clean bus. I was on the clean bus, and

1435
01:16:43,479 --> 01:16:44,160
Speaker 2: yeah it was cool.

1436
01:16:45,200 --> 01:16:49,080
Speaker 1: Okay, some people there's just turned out California sober people

1437
01:16:49,080 --> 01:16:52,880
Speaker 1: occasionally have a drake or keep people occasionally smoke, and

1438
01:16:52,920 --> 01:16:56,519
Speaker 1: then ultimately that David Crosby smoked a little bit, are you.

1439
01:16:58,200 --> 01:17:01,280
Speaker 3: I'm one hundred percent sover since nineteen ninety and I've

1440
01:17:01,280 --> 01:17:04,400
Speaker 3: had nothing but maybe an advil.

1441
01:17:06,000 --> 01:17:10,479
Speaker 1: That's it, you know, Okay, So tell us a little

1442
01:17:10,479 --> 01:17:12,760
Speaker 1: bit slower how you end up forming the band that

1443
01:17:12,840 --> 01:17:14,320
Speaker 1: becomes dumpster Fuck.

1444
01:17:15,120 --> 01:17:16,960
Speaker 3: I got an offer to play the Jazz and Heritage

1445
01:17:17,040 --> 01:17:21,599
Speaker 3: Festival in two thousand and three, and I was thinking

1446
01:17:21,600 --> 01:17:23,120
Speaker 3: to myself, what do I want to do. Do I

1447
01:17:23,160 --> 01:17:26,960
Speaker 3: want to put together a band to back up ivan

1448
01:17:27,080 --> 01:17:30,800
Speaker 3: Neville And I'm thinking, no, you know what, I want

1449
01:17:30,800 --> 01:17:34,200
Speaker 3: to put together a band like just I want a

1450
01:17:34,240 --> 01:17:36,759
Speaker 3: band of guys where I don't sing all the songs,

1451
01:17:36,960 --> 01:17:39,840
Speaker 3: where I got other guys that sing and we all

1452
01:17:39,920 --> 01:17:43,599
Speaker 3: can play and create some cool, unique thing. And I

1453
01:17:43,680 --> 01:17:45,240
Speaker 3: was thinking, so I said, yeah, that's what I'm going

1454
01:17:45,280 --> 01:17:47,040
Speaker 3: to do. And let me think of who I'm going

1455
01:17:47,120 --> 01:17:50,559
Speaker 3: to call for to play bass. It's either gonna be

1456
01:17:50,640 --> 01:17:53,439
Speaker 3: Nick Daniels or it's gonna be Tony Hall. And you

1457
01:17:53,479 --> 01:17:56,360
Speaker 3: know what, I called both of them, and I said,

1458
01:17:56,360 --> 01:17:59,080
Speaker 3: because I know Tony can play guitar as well. But

1459
01:17:59,200 --> 01:18:02,479
Speaker 3: I already had some songs in mind that I can

1460
01:18:02,520 --> 01:18:06,040
Speaker 3: call can incorporate two basses. So I said we'll call

1461
01:18:05,760 --> 01:18:09,200
Speaker 3: it get Tony and Nick I called Raymond Weber for drums.

1462
01:18:09,960 --> 01:18:12,800
Speaker 3: Raymond had been playing with Tony a little bit on

1463
01:18:12,840 --> 01:18:15,640
Speaker 3: the side on some other stuff, and I think I

1464
01:18:15,640 --> 01:18:19,320
Speaker 3: think Raymond and Tony had been playing with Harry Connick Jr. Together,

1465
01:18:20,040 --> 01:18:23,559
Speaker 3: and I called up Raymond. I called Ian my cousin Ian.

1466
01:18:24,360 --> 01:18:27,000
Speaker 3: And for the first gig, it was probably other people

1467
01:18:27,040 --> 01:18:30,200
Speaker 3: that was involved. I think my younger brother Fred, he

1468
01:18:30,240 --> 01:18:33,920
Speaker 3: played percussion and sang Dirty Dozen brass band with a

1469
01:18:33,960 --> 01:18:34,599
Speaker 3: horn section.

1470
01:18:34,960 --> 01:18:35,559
Speaker 1: And we had.

1471
01:18:35,479 --> 01:18:39,760
Speaker 3: Juniora mcgeechee, Japanese guitar player who's a New Orleans Cat

1472
01:18:40,040 --> 01:18:43,080
Speaker 3: became a New Orleans Cat on guitar as well, And

1473
01:18:43,080 --> 01:18:46,120
Speaker 3: that was the first version of Dumpster Funk, and I

1474
01:18:46,160 --> 01:18:50,439
Speaker 3: called it dumpster Funk I had. I had written some

1475
01:18:50,520 --> 01:18:53,240
Speaker 3: songs with my two younger brothers, and there was a

1476
01:18:53,240 --> 01:18:56,360
Speaker 3: song that we had that I came I was trying

1477
01:18:56,360 --> 01:18:59,120
Speaker 3: to think of what's stinky, what's really nasty and stinky,

1478
01:18:59,520 --> 01:19:01,800
Speaker 3: and I came up with the with the term with

1479
01:19:01,840 --> 01:19:05,679
Speaker 3: the word dumpster funk. I'm like, dumpster funk, what's nastier

1480
01:19:05,680 --> 01:19:08,400
Speaker 3: than a dumpster? And so that became the name of

1481
01:19:08,439 --> 01:19:10,439
Speaker 3: the band. And for that first gig, it was called

1482
01:19:10,479 --> 01:19:15,360
Speaker 3: ivan Nevills Dumpster Funk, and we played one show and

1483
01:19:15,400 --> 01:19:17,559
Speaker 3: that was it, and then we ended up playing a

1484
01:19:17,600 --> 01:19:21,959
Speaker 3: couple of more one offs. We played Bonneroo Music Festival

1485
01:19:22,479 --> 01:19:25,080
Speaker 3: a few years later, and we played a gig here

1486
01:19:25,120 --> 01:19:27,920
Speaker 3: and there around the time of Jazz Festival. We played

1487
01:19:28,000 --> 01:19:31,559
Speaker 3: Jazz Festival the next couple of years, and we played

1488
01:19:31,560 --> 01:19:35,799
Speaker 3: a few shows around the Jazz Festival night night shows,

1489
01:19:36,520 --> 01:19:40,040
Speaker 3: and we played Bonnaroo, I think, and after when Katrina

1490
01:19:40,120 --> 01:19:45,960
Speaker 3: happened in five we were all obviously, people were everywhere

1491
01:19:46,000 --> 01:19:48,000
Speaker 3: and we weren't able to come back to New Orleans.

1492
01:19:48,280 --> 01:19:53,560
Speaker 3: And then Dumpster played way more shows, and then eventually

1493
01:19:54,439 --> 01:19:59,000
Speaker 3: we played Bonnaroo Music Festival and it was an epic set.

1494
01:19:59,280 --> 01:20:00,040
Speaker 3: We played at two.

1495
01:20:00,120 --> 01:20:02,120
Speaker 2: In the morning. We played right after Doctor John.

1496
01:20:02,200 --> 01:20:05,240
Speaker 3: Doctor John had a set, He had a set set

1497
01:20:05,280 --> 01:20:06,639
Speaker 3: and it was called a night Tripper.

1498
01:20:07,960 --> 01:20:09,360
Speaker 1: He did the night trip a set.

1499
01:20:09,840 --> 01:20:13,000
Speaker 3: Nobody had seen that in years, and we did a

1500
01:20:13,040 --> 01:20:15,960
Speaker 3: Dumpster Funk set right after Doctor John Knight Triper set,

1501
01:20:16,080 --> 01:20:19,840
Speaker 3: and it was crushing and that was like, Okay, we're this.

1502
01:20:19,720 --> 01:20:20,320
Speaker 1: Is a band.

1503
01:20:20,360 --> 01:20:24,559
Speaker 3: This is a band, And we basically became a full

1504
01:20:24,560 --> 01:20:30,960
Speaker 3: time band the following year and yeah.

1505
01:20:29,560 --> 01:20:31,800
Speaker 1: How many dates a year do you play as Dumpster Funk?

1506
01:20:32,160 --> 01:20:33,960
Speaker 3: I don't know how many dates we play a year,

1507
01:20:34,080 --> 01:20:36,680
Speaker 3: Maybe one hundred or so, maybe something like that.

1508
01:20:36,880 --> 01:20:41,439
Speaker 1: Maybe, So that's you main source of income in this period.

1509
01:20:42,280 --> 01:20:45,040
Speaker 1: You you're playing with the brothers and the two buses,

1510
01:20:45,600 --> 01:20:48,920
Speaker 1: you get called at O three to do jazz Fest

1511
01:20:49,479 --> 01:20:53,080
Speaker 1: the next five years years or so in between before

1512
01:20:53,160 --> 01:20:55,639
Speaker 1: it becomes full time dumpster Funk. What are you doing?

1513
01:20:57,760 --> 01:21:00,479
Speaker 2: I was Dumpster Funk. I could do others stuff. I

1514
01:21:00,520 --> 01:21:01,439
Speaker 2: had other projects.

1515
01:21:01,479 --> 01:21:03,920
Speaker 3: I had another project that we did that was born

1516
01:21:03,960 --> 01:21:06,759
Speaker 3: out of the out of Katrina, called the New Orleans

1517
01:21:06,760 --> 01:21:11,879
Speaker 3: Social Club, and that was a band with myself, myself,

1518
01:21:11,960 --> 01:21:12,880
Speaker 3: Raymond Webber.

1519
01:21:12,640 --> 01:21:13,679
Speaker 2: George Porter Jr.

1520
01:21:13,680 --> 01:21:17,120
Speaker 3: And Leon Os Telly from the Meters along with Henry Butler.

1521
01:21:17,680 --> 01:21:20,519
Speaker 3: We did a record we were stranded in Austin just

1522
01:21:20,600 --> 01:21:22,840
Speaker 3: right after Katrina. We did a record called sing Me

1523
01:21:22,960 --> 01:21:26,240
Speaker 3: Back Home. And they had a bunch of special guests uncle,

1524
01:21:26,400 --> 01:21:30,880
Speaker 3: my uncle, Cyril, Willie T from New Orleans or Willy

1525
01:21:31,000 --> 01:21:40,120
Speaker 3: Willy Willie T, h Irma, Thomas trum On, Shorty John Bote,

1526
01:21:40,920 --> 01:21:43,680
Speaker 3: and some others I can't think of right now I

1527
01:21:43,680 --> 01:21:45,200
Speaker 3: think sub Dudes.

1528
01:21:46,120 --> 01:21:47,720
Speaker 2: That was a record called sing Me Back Home.

1529
01:21:47,840 --> 01:21:50,400
Speaker 3: That was a project that we played maybe six dates

1530
01:21:50,400 --> 01:21:56,360
Speaker 3: a year with that group, and just obvious recording sessions

1531
01:21:56,400 --> 01:21:58,559
Speaker 3: with various people would call me up to play on

1532
01:21:58,640 --> 01:22:01,800
Speaker 3: a record here or two or whatever her and just stay.

1533
01:22:01,880 --> 01:22:05,519
Speaker 3: I just stayed busy doing stuff, you know, and Dumpster

1534
01:22:05,520 --> 01:22:06,640
Speaker 3: played a lot of shows.

1535
01:22:07,120 --> 01:22:08,799
Speaker 1: Where were you when Katrina happened?

1536
01:22:10,840 --> 01:22:15,160
Speaker 3: I was in Brazil. We were in Brazil playing a gig.

1537
01:22:16,000 --> 01:22:19,559
Speaker 3: Tony was doing an annual gig in Brazil in the

1538
01:22:19,600 --> 01:22:22,639
Speaker 3: month during the month of August, and we were over

1539
01:22:22,680 --> 01:22:24,280
Speaker 3: there and a bunch of us were over there. It

1540
01:22:24,320 --> 01:22:26,840
Speaker 3: was most of the guys that dumps the Funk were there,

1541
01:22:28,439 --> 01:22:31,920
Speaker 3: and No May a matter of fact, I think no,

1542
01:22:32,040 --> 01:22:34,240
Speaker 3: the whole Dumpster Funk, the whole band Dumpster Funk was

1543
01:22:34,240 --> 01:22:38,880
Speaker 3: that was over there, as was John uh wh who

1544
01:22:38,880 --> 01:22:46,519
Speaker 3: else was there, Develle Crawford, Uh, Terrence Simeon, a few

1545
01:22:46,520 --> 01:22:48,280
Speaker 3: other a few other groups that I can't think of

1546
01:22:48,320 --> 01:22:49,479
Speaker 3: with New Orleans groups.

1547
01:22:50,000 --> 01:22:51,759
Speaker 2: And we were all over there in Brazil.

1548
01:22:51,840 --> 01:22:55,640
Speaker 3: And then we were watching it, watching the news as

1549
01:22:56,000 --> 01:22:58,880
Speaker 3: best we could, and we saw this hurricane coming to

1550
01:22:58,920 --> 01:23:02,840
Speaker 3: hit New Orleans, we got stranded over there, which I mean,

1551
01:23:02,840 --> 01:23:05,680
Speaker 3: if you're in Brazil, it's not the worst place to

1552
01:23:05,680 --> 01:23:06,679
Speaker 3: be stranded, I guess.

1553
01:23:06,720 --> 01:23:09,160
Speaker 2: And then we couldn't come back to New Orleans.

1554
01:23:09,160 --> 01:23:13,479
Speaker 3: And then we I flew to Hawaii from from uh,

1555
01:23:13,520 --> 01:23:16,960
Speaker 3: from from Brazil. We had a gig in Brazil and

1556
01:23:16,960 --> 01:23:20,560
Speaker 3: in Hawaii Jumps to funk it. We played in Hawaii

1557
01:23:21,240 --> 01:23:24,840
Speaker 3: and then uh, we found out that New Orleans was

1558
01:23:24,920 --> 01:23:28,679
Speaker 3: underwater and all of that, that all that in that

1559
01:23:28,680 --> 01:23:34,240
Speaker 3: that uh happened here, the tragic stories that we heard

1560
01:23:34,600 --> 01:23:36,439
Speaker 3: about people that were in New Orleans.

1561
01:23:36,479 --> 01:23:38,400
Speaker 2: It was pretty pretty pretty sad.

1562
01:23:40,960 --> 01:23:43,360
Speaker 1: What happened to your property in the world? You know what?

1563
01:23:43,479 --> 01:23:45,840
Speaker 2: At that time, I was in between stuff.

1564
01:23:45,880 --> 01:23:50,000
Speaker 3: I had a place in California with my with my

1565
01:23:50,000 --> 01:23:52,960
Speaker 3: my ex wife and my daughter, and I had kind

1566
01:23:52,960 --> 01:23:55,120
Speaker 3: of been spending most of my time in New Orleans

1567
01:23:55,280 --> 01:23:58,000
Speaker 3: at my mom and dad's place. And that place got

1568
01:23:58,040 --> 01:24:02,680
Speaker 3: maybe eight feet of water in that house. And I

1569
01:24:02,720 --> 01:24:04,679
Speaker 3: never went back to that house. My mom and dad

1570
01:24:04,720 --> 01:24:05,880
Speaker 3: never went back to that house.

1571
01:24:07,200 --> 01:24:08,639
Speaker 1: So where are your mom and dad now?

1572
01:24:08,720 --> 01:24:12,160
Speaker 3: Well, my mom passed away in seven and my dad's

1573
01:24:12,200 --> 01:24:14,120
Speaker 3: living in New York. Now, he's living in New York

1574
01:24:14,160 --> 01:24:17,720
Speaker 3: he got remarried and he's got a farm up there

1575
01:24:17,760 --> 01:24:21,519
Speaker 3: in New York, upstate New York, and he's chilling. He

1576
01:24:21,600 --> 01:24:25,559
Speaker 3: and his dog Apache and his wife Sarah, My mom,

1577
01:24:26,000 --> 01:24:29,920
Speaker 3: Joel rue Neville. She passed away in seven. She died

1578
01:24:29,960 --> 01:24:30,519
Speaker 3: of cancer.

1579
01:24:31,960 --> 01:24:32,479
Speaker 2: And uh.

1580
01:24:34,200 --> 01:24:39,040
Speaker 1: Okay, southern California kind of like New Orleans without humidity

1581
01:24:39,960 --> 01:24:44,879
Speaker 1: Hawaiian between New York state farm could be more different

1582
01:24:45,400 --> 01:24:50,960
Speaker 1: from New Orleans. Yeah, and he's happy that, you know,

1583
01:24:51,040 --> 01:24:51,599
Speaker 1: It's funny.

1584
01:24:51,600 --> 01:24:52,960
Speaker 2: He loves it.

1585
01:24:53,479 --> 01:24:58,200
Speaker 3: And for years, I don't think he ever really cared

1586
01:24:58,200 --> 01:24:59,280
Speaker 3: for New York that much.

1587
01:25:00,160 --> 01:25:01,679
Speaker 2: I remember when we used to go to New York.

1588
01:25:01,720 --> 01:25:02,120
Speaker 2: He couldn't.

1589
01:25:02,320 --> 01:25:04,040
Speaker 3: He'd stay in the hotel room the whole time, in

1590
01:25:04,080 --> 01:25:07,200
Speaker 3: all the club sandwiches and the hey good way to

1591
01:25:07,200 --> 01:25:10,640
Speaker 3: get out of there. But he had had some experiences

1592
01:25:10,680 --> 01:25:13,360
Speaker 3: in New York that I guess maybe you know, and

1593
01:25:13,400 --> 01:25:16,679
Speaker 3: some of it was was he had some dark times

1594
01:25:16,720 --> 01:25:19,200
Speaker 3: in New York back in the days that I'm sure

1595
01:25:19,240 --> 01:25:21,120
Speaker 3: he doesn't regret, because they had a lot of stuff

1596
01:25:21,240 --> 01:25:24,599
Speaker 3: was bowing out of that. But he loved it where

1597
01:25:24,640 --> 01:25:26,680
Speaker 3: he is now. He's got a farm. He and his

1598
01:25:26,720 --> 01:25:31,800
Speaker 3: wife they up there growing garlic and eating their fresh

1599
01:25:31,920 --> 01:25:36,320
Speaker 3: eggs and stuff like that. They grow all you know,

1600
01:25:36,640 --> 01:25:42,400
Speaker 3: food and vegetables and whatnot. And he likes that. He

1601
01:25:42,600 --> 01:25:46,840
Speaker 3: likes it. Let's go back to funk. What's your definition

1602
01:25:47,000 --> 01:25:51,520
Speaker 3: of funk? And funk has had very peaks in the seventies,

1603
01:25:51,520 --> 01:25:54,439
Speaker 3: et cetera. Where's funk in the marketplace today?

1604
01:25:55,080 --> 01:25:55,960
Speaker 1: What can it become?

1605
01:25:56,160 --> 01:25:56,880
Speaker 2: That's a hard one.

1606
01:25:56,920 --> 01:26:00,720
Speaker 3: The definition, you know, what funk is is just vibe, man,

1607
01:26:00,760 --> 01:26:01,679
Speaker 3: and it's kind.

1608
01:26:01,439 --> 01:26:04,920
Speaker 2: Of where the groove. You got the groove, you.

1609
01:26:04,960 --> 01:26:08,479
Speaker 3: Got drum space, and it can be you know, you

1610
01:26:08,600 --> 01:26:11,320
Speaker 3: got the one, you got the one that, but then

1611
01:26:11,320 --> 01:26:15,080
Speaker 3: you got space. And my, my, my idea of funk

1612
01:26:15,240 --> 01:26:20,479
Speaker 3: is where where the notes are not played in between

1613
01:26:20,520 --> 01:26:23,160
Speaker 3: the notes is to me is where the funk lives.

1614
01:26:23,560 --> 01:26:26,240
Speaker 3: You got the one and then you got the space.

1615
01:26:27,120 --> 01:26:32,880
Speaker 3: Boom d do do do boom.

1616
01:26:34,120 --> 01:26:38,200
Speaker 1: Could do you can do do big, big dude? You

1617
01:26:38,240 --> 01:26:40,120
Speaker 1: know that. I mean, that's just something that just came

1618
01:26:40,160 --> 01:26:42,040
Speaker 1: to mind, just all though. What that is.

1619
01:26:42,080 --> 01:26:45,639
Speaker 3: But funk is very is it's all kinds of funk.

1620
01:26:46,760 --> 01:26:49,640
Speaker 3: There's a lot of different variations of funk. But to me,

1621
01:26:49,760 --> 01:26:53,800
Speaker 3: funk is where the where the notes are not the

1622
01:26:53,840 --> 01:26:57,000
Speaker 3: space in between the grooves.

1623
01:26:56,600 --> 01:26:59,040
Speaker 1: You're touring, you're with dumpster funk, with just a funk

1624
01:26:59,120 --> 01:27:02,720
Speaker 1: band in your own unique way. What's the status of

1625
01:27:02,760 --> 01:27:06,559
Speaker 1: funk in America in the world today.

1626
01:27:07,800 --> 01:27:15,519
Speaker 3: There's a lot of groups that are borrowing from the period,

1627
01:27:15,600 --> 01:27:17,320
Speaker 3: you know, there's a lot of funks that a lot

1628
01:27:17,320 --> 01:27:20,360
Speaker 3: of groups that try to that. I guess they've listened

1629
01:27:20,400 --> 01:27:22,680
Speaker 3: to that stuff that were coming out of the seventies,

1630
01:27:23,840 --> 01:27:28,720
Speaker 3: the early seventies specifically, And there is there are some

1631
01:27:29,160 --> 01:27:32,479
Speaker 3: there is some music out there that's pretty funky and nasty.

1632
01:27:33,000 --> 01:27:38,360
Speaker 2: There is some stuff, and I guess in its own way.

1633
01:27:38,680 --> 01:27:41,639
Speaker 3: It's being kept alive, it's being it's it's still it's

1634
01:27:41,640 --> 01:27:47,320
Speaker 3: still growing, it's still generating, and it's still it's still regenerating,

1635
01:27:47,400 --> 01:27:52,400
Speaker 3: like it's influencing next generations and because of what what

1636
01:27:52,400 --> 01:27:56,600
Speaker 3: what funk did for hip hop and how that regenerated

1637
01:27:56,640 --> 01:28:00,360
Speaker 3: funk in some way, and it keeps, it keeps kind

1638
01:28:00,400 --> 01:28:01,599
Speaker 3: of reinventing.

1639
01:28:01,120 --> 01:28:03,479
Speaker 2: Itself in some kind of in some way or another.

1640
01:28:04,360 --> 01:28:07,200
Speaker 3: And I think it's alive and well, I mean, you're

1641
01:28:07,200 --> 01:28:10,000
Speaker 3: not gonna hear as much of it as you, you know,

1642
01:28:10,080 --> 01:28:13,280
Speaker 3: as you used to hear, but it's it's alive and well.

1643
01:28:20,960 --> 01:28:24,400
Speaker 1: Okay, you play the dumpster Funk. You have this new

1644
01:28:24,479 --> 01:28:27,000
Speaker 1: solo record. The game used to be completely different. The

1645
01:28:27,040 --> 01:28:29,840
Speaker 1: game used to be I want to get a label deal.

1646
01:28:30,320 --> 01:28:32,519
Speaker 1: The label is going to spread the name and hopefully

1647
01:28:32,560 --> 01:28:37,040
Speaker 1: something catches fire. Today there's so much stuff in the marketplace.

1648
01:28:37,920 --> 01:28:41,240
Speaker 1: Are you fine with being where you are? Or you'd

1649
01:28:41,320 --> 01:28:44,400
Speaker 1: have a desire or a burning desire to have more

1650
01:28:44,439 --> 01:28:45,839
Speaker 1: people aware of your music?

1651
01:28:46,360 --> 01:28:51,160
Speaker 3: Yeah, I definitely want you definitely, you definitely kind of uh.

1652
01:28:52,880 --> 01:28:55,200
Speaker 2: You want you want more people to be aware of

1653
01:28:55,240 --> 01:28:55,800
Speaker 2: what you're doing.

1654
01:28:57,000 --> 01:28:59,080
Speaker 3: I feel like I got, you know, I got some

1655
01:28:59,200 --> 01:29:01,880
Speaker 3: cool messages in some of this music, and this music

1656
01:29:01,920 --> 01:29:06,960
Speaker 3: is very it's very refreshing, I think, and it's soulful,

1657
01:29:07,160 --> 01:29:09,240
Speaker 3: and I really want people to hear it, you know.

1658
01:29:09,479 --> 01:29:12,960
Speaker 3: And I mean in this day and age, you got

1659
01:29:13,120 --> 01:29:16,479
Speaker 3: to hope that, you know, right, people hear it and

1660
01:29:16,520 --> 01:29:20,320
Speaker 3: you maybe get some songs and some films or some

1661
01:29:20,320 --> 01:29:24,320
Speaker 3: some that and that and that venue that's kind of

1662
01:29:24,360 --> 01:29:27,599
Speaker 3: where you know, it can really get that extra little

1663
01:29:28,520 --> 01:29:33,759
Speaker 3: leap to the next next thing, to that extra little life.

1664
01:29:33,920 --> 01:29:37,600
Speaker 3: You know, So you you gotta be optimistic about it

1665
01:29:37,640 --> 01:29:39,280
Speaker 3: and hope that it can get out there and hope

1666
01:29:39,320 --> 01:29:43,080
Speaker 3: the right people can hear it, and enough people hear it,

1667
01:29:43,120 --> 01:29:46,680
Speaker 3: you know, because it needs to touch some souls, you know.

1668
01:29:49,240 --> 01:29:50,759
Speaker 1: So how many times have been married?

1669
01:29:51,880 --> 01:29:56,639
Speaker 2: I've been married once and soon to be married again.

1670
01:29:58,240 --> 01:30:02,680
Speaker 1: I'm with Okay, okay, how many kids do you have?

1671
01:30:03,600 --> 01:30:04,000
Speaker 2: Two kids?

1672
01:30:04,080 --> 01:30:07,880
Speaker 3: One one on a grown young lady by the name

1673
01:30:07,920 --> 01:30:12,960
Speaker 3: of Ivy, Ivy Joel. She's thirty two, and I have

1674
01:30:13,000 --> 01:30:16,320
Speaker 3: a son who's nine. His name is Isaiah.

1675
01:30:16,560 --> 01:30:19,920
Speaker 1: Okay, okay, a little bit slower. So you have the

1676
01:30:20,040 --> 01:30:22,639
Speaker 1: daughter with your first wife. What is your daughter up?

1677
01:30:22,680 --> 01:30:24,200
Speaker 1: What is Ivy up to today?

1678
01:30:24,280 --> 01:30:29,599
Speaker 3: Ivy is right now, Ivy's working. She works for groomed

1679
01:30:29,600 --> 01:30:34,120
Speaker 3: for grooming pets. She's really into animals and she does,

1680
01:30:34,400 --> 01:30:38,240
Speaker 3: uh she does. She has a little dog walking side

1681
01:30:38,320 --> 01:30:41,640
Speaker 3: business and she works at a pet grooming place. And

1682
01:30:41,720 --> 01:30:44,160
Speaker 3: she's a hustler. She does a little bit of everything.

1683
01:30:44,240 --> 01:30:46,879
Speaker 3: She does a I think she does a little driving,

1684
01:30:47,000 --> 01:30:50,760
Speaker 3: does a little delivering stuff and yeah, she but she

1685
01:30:51,160 --> 01:30:56,560
Speaker 3: her passion right now is dog grooming animals, grooming animals.

1686
01:30:57,280 --> 01:30:58,400
Speaker 1: Is she off the payroll?

1687
01:31:00,160 --> 01:31:03,400
Speaker 2: Is he off the pay rum? You know?

1688
01:31:03,560 --> 01:31:03,600
Speaker 1: Not?

1689
01:31:03,800 --> 01:31:05,400
Speaker 2: I mean not really, but.

1690
01:31:06,920 --> 01:31:09,160
Speaker 3: Kind of you She's got she does her own thing,

1691
01:31:09,600 --> 01:31:11,680
Speaker 3: but actually I still help out a little bit.

1692
01:31:13,200 --> 01:31:18,200
Speaker 1: Okay. And then did substances break up your first marriage

1693
01:31:18,280 --> 01:31:18,880
Speaker 1: or what happened?

1694
01:31:18,960 --> 01:31:23,040
Speaker 3: Nah, it's just kind of you know, we you know,

1695
01:31:23,120 --> 01:31:26,200
Speaker 3: we kind of grew apart somewhere in there. I mean,

1696
01:31:26,240 --> 01:31:29,080
Speaker 3: there was a lot of that, you know, the substance

1697
01:31:29,120 --> 01:31:29,720
Speaker 3: when when when?

1698
01:31:29,760 --> 01:31:30,000
Speaker 1: When?

1699
01:31:30,080 --> 01:31:35,960
Speaker 3: When when all that stopped? You know, and you kind

1700
01:31:35,960 --> 01:31:38,519
Speaker 3: of just grow kind of apart from a person. You know,

1701
01:31:38,720 --> 01:31:43,960
Speaker 3: we kind of grew apart and it just wasn't the same. Uh,

1702
01:31:44,280 --> 01:31:46,479
Speaker 3: we weren't on the same path anymore, you know to

1703
01:31:46,560 --> 01:31:49,080
Speaker 3: some degree, and you just kind of, I don't know,

1704
01:31:49,120 --> 01:31:51,680
Speaker 3: you outgrew I don't know. Your relationships just do that

1705
01:31:51,960 --> 01:31:56,599
Speaker 3: sometimes where you just he's somewhere else, you know, and.

1706
01:31:56,680 --> 01:32:00,160
Speaker 1: It Okay, So you're saying it wasn't the drugs an

1707
01:32:00,160 --> 01:32:02,680
Speaker 1: alcohol that broke up the relationship. It was when you

1708
01:32:02,760 --> 01:32:03,519
Speaker 1: got sober.

1709
01:32:03,880 --> 01:32:06,640
Speaker 3: That's probably is the combination of the two, because the

1710
01:32:07,000 --> 01:32:09,920
Speaker 3: drugs and alcohol made it very There were some dark

1711
01:32:10,040 --> 01:32:12,960
Speaker 3: periods in there, but when the so when the so

1712
01:32:13,320 --> 01:32:18,400
Speaker 3: so sobriety started, that wasn't it wasn't exact like if

1713
01:32:18,400 --> 01:32:21,519
Speaker 3: that's not if you're it's hard. It's hard to be

1714
01:32:21,600 --> 01:32:25,160
Speaker 3: on the exact same page with someone, especially on that path.

1715
01:32:25,880 --> 01:32:29,360
Speaker 2: So that uh, she had her own path.

1716
01:32:30,600 --> 01:32:33,040
Speaker 3: In that avenue, and and I have my own path,

1717
01:32:33,880 --> 01:32:35,360
Speaker 3: and we basically grew apart.

1718
01:32:35,560 --> 01:32:36,920
Speaker 2: I mean we and we're friends.

1719
01:32:38,439 --> 01:32:42,040
Speaker 1: Okay, this woman you're going to marry imminently? Is she

1720
01:32:42,240 --> 01:32:43,559
Speaker 1: the mother of the nine year old?

1721
01:32:43,640 --> 01:32:45,000
Speaker 2: She's the mother of the nine year old?

1722
01:32:45,080 --> 01:32:48,519
Speaker 1: Yes? Yes, So why do you suddenly get married after all?

1723
01:32:50,280 --> 01:32:50,519
Speaker 1: You know?

1724
01:32:53,439 --> 01:32:56,840
Speaker 2: Yeah, you would go there right, you know. It's you know,

1725
01:32:58,040 --> 01:32:58,840
Speaker 2: one of those things.

1726
01:32:58,840 --> 01:32:58,960
Speaker 1: Man.

1727
01:32:59,000 --> 01:33:02,840
Speaker 2: I love I love her, and.

1728
01:33:02,280 --> 01:33:05,080
Speaker 3: I just kind of I think we should we should

1729
01:33:05,080 --> 01:33:07,599
Speaker 3: we should just do it, you know, sheould just be married,

1730
01:33:07,640 --> 01:33:10,360
Speaker 3: you know, and then it just and you know what's

1731
01:33:10,360 --> 01:33:12,640
Speaker 3: funny is my my son was like, why why do

1732
01:33:12,680 --> 01:33:16,000
Speaker 3: you remmmy? He have different names? And that's come up before.

1733
01:33:16,560 --> 01:33:18,519
Speaker 3: But I don't even think she wants to change her name.

1734
01:33:18,680 --> 01:33:21,160
Speaker 3: I think she's going to keep her own last name.

1735
01:33:21,400 --> 01:33:23,559
Speaker 3: She didn't want to change her name in the novel, so,

1736
01:33:24,080 --> 01:33:25,320
Speaker 3: uh whatever.

1737
01:33:26,240 --> 01:33:27,240
Speaker 1: So how did you beat her?

1738
01:33:28,360 --> 01:33:31,280
Speaker 2: I met her? I met her actually through music. I

1739
01:33:31,320 --> 01:33:34,439
Speaker 2: met her through music at uh at.

1740
01:33:34,560 --> 01:33:38,320
Speaker 3: Uh maybe I've first met her at at tip of

1741
01:33:38,320 --> 01:33:42,040
Speaker 3: tin as as a matter of fact, and mutual friends.

1742
01:33:42,120 --> 01:33:43,000
Speaker 1: Mutual friends.

1743
01:33:43,400 --> 01:33:46,400
Speaker 3: She she knew some some some uh, we had some

1744
01:33:46,400 --> 01:33:52,240
Speaker 3: similar acquaintances and happened to kind of some sparks, kind

1745
01:33:52,240 --> 01:33:56,400
Speaker 3: of had something and something happened. We saw each other

1746
01:33:56,439 --> 01:33:59,120
Speaker 3: one time and it was like, oh you how you doing?

1747
01:33:59,240 --> 01:34:02,559
Speaker 3: It's not and then went from there and then next thing,

1748
01:34:02,560 --> 01:34:04,559
Speaker 3: you know, we've been together for quite a while.

1749
01:34:06,479 --> 01:34:10,280
Speaker 1: Okay. I could tell only after a couple of minutes

1750
01:34:10,320 --> 01:34:13,640
Speaker 1: that you're a great guy, a great friend, great to

1751
01:34:13,720 --> 01:34:18,080
Speaker 1: hang around. So is this part of your success that

1752
01:34:18,160 --> 01:34:20,880
Speaker 1: people like you and they will want to hang around you?

1753
01:34:23,120 --> 01:34:23,760
Speaker 1: Say that again?

1754
01:34:23,800 --> 01:34:25,160
Speaker 2: I didn't. I didn't get that cause yet.

1755
01:34:25,280 --> 01:34:30,120
Speaker 1: Okay, you're there's something about you that's very inviting. Talk

1756
01:34:30,240 --> 01:34:35,120
Speaker 1: to you and it's like you're intelligent, you're warm, you're laughing,

1757
01:34:35,280 --> 01:34:40,480
Speaker 1: you're good. Hay, okay, is that been part of your success?

1758
01:34:41,040 --> 01:34:44,559
Speaker 1: Like you know, working with Bonnie of course you knew much,

1759
01:34:45,080 --> 01:34:47,840
Speaker 1: or working with Keith, you know, do they just like

1760
01:34:47,960 --> 01:34:49,680
Speaker 1: being around you? You know?

1761
01:34:49,880 --> 01:34:52,559
Speaker 3: I'd like to think so. I'd like to think that,

1762
01:34:52,760 --> 01:34:55,360
Speaker 3: you know, people kind of have a fun time around me,

1763
01:34:55,560 --> 01:34:58,680
Speaker 3: and I'm I'm kind of I'm a funny guy sometimes

1764
01:34:58,720 --> 01:35:03,160
Speaker 3: as well, and I try. I tend to to to

1765
01:35:03,320 --> 01:35:05,840
Speaker 3: be in a decent mood for the most part, and

1766
01:35:06,280 --> 01:35:08,880
Speaker 3: I tend I think people kind of enjoy being around

1767
01:35:08,880 --> 01:35:11,800
Speaker 3: me a little bit, and I really, I really appreciate that.

1768
01:35:12,000 --> 01:35:14,400
Speaker 2: Actually I'm not a bad guy.

1769
01:35:16,000 --> 01:35:20,160
Speaker 1: Okay, but uh, in typical life, and I realize every

1770
01:35:20,240 --> 01:35:23,479
Speaker 1: day isn't identical. But you're home. To what degree are

1771
01:35:23,520 --> 01:35:27,360
Speaker 1: you in contact with other people? Texting, email, talking on

1772
01:35:27,400 --> 01:35:30,559
Speaker 1: the phone, or only when you need something? What's your

1773
01:35:30,560 --> 01:35:31,080
Speaker 1: life like?

1774
01:35:32,200 --> 01:35:34,800
Speaker 3: I stay in touch with people. I call people sometimes

1775
01:35:34,840 --> 01:35:38,040
Speaker 3: just to say hi, you know. I call people and say, hey,

1776
01:35:38,040 --> 01:35:39,439
Speaker 3: it was up, Yeah, how you doing.

1777
01:35:39,600 --> 01:35:40,479
Speaker 2: I'm you know what.

1778
01:35:40,520 --> 01:35:44,160
Speaker 3: I talked to a buddy of mine, a friend. Uh

1779
01:35:45,439 --> 01:35:49,400
Speaker 3: uh his name, his name Dwight. I talked to Dwight.

1780
01:35:50,040 --> 01:35:52,519
Speaker 3: I was just thought of I thought about him, and

1781
01:35:52,560 --> 01:35:56,479
Speaker 3: I'm like, uh, you know.

1782
01:35:57,200 --> 01:35:58,160
Speaker 1: I just called him up.

1783
01:35:58,200 --> 01:35:58,800
Speaker 2: I called him up.

1784
01:35:58,800 --> 01:36:00,880
Speaker 1: Hey, how you doing? Said, oh, what's going on?

1785
01:36:01,000 --> 01:36:03,680
Speaker 3: Man? So glad you called. But you know what, I

1786
01:36:03,680 --> 01:36:09,479
Speaker 3: have a friend that I've known since I was I've

1787
01:36:09,520 --> 01:36:12,240
Speaker 3: known him since I was in ninth grade, and we

1788
01:36:12,360 --> 01:36:17,400
Speaker 3: talked almost at least every few days. And I do

1789
01:36:17,439 --> 01:36:19,720
Speaker 3: stuff like that, Like I got folks that I kind

1790
01:36:19,720 --> 01:36:21,439
Speaker 3: of just stay in touch with and I just we

1791
01:36:21,640 --> 01:36:23,800
Speaker 3: just you know, have conversations and talk.

1792
01:36:24,960 --> 01:36:27,600
Speaker 1: Are they civilians or are they in the business.

1793
01:36:27,640 --> 01:36:30,840
Speaker 3: My boy, my friend Rage Rage, I've known, you know what.

1794
01:36:31,000 --> 01:36:33,120
Speaker 3: He's not in the business now, he's a civilian. But

1795
01:36:33,200 --> 01:36:35,880
Speaker 3: he and I actually wrote songs together be back in

1796
01:36:35,920 --> 01:36:38,760
Speaker 3: the days. We were songwriter. We were budding songwriters when

1797
01:36:38,760 --> 01:36:41,599
Speaker 3: we were teenagers. But he went on to do some

1798
01:36:41,640 --> 01:36:45,280
Speaker 3: different things as and I stayed into the music and

1799
01:36:46,240 --> 01:36:48,920
Speaker 3: me and I just are close friends and we've remained

1800
01:36:48,960 --> 01:36:50,400
Speaker 3: close for many years.

1801
01:36:51,320 --> 01:36:55,880
Speaker 1: Yeah, okay, So in a typical day, are you hearing

1802
01:36:56,080 --> 01:37:00,120
Speaker 1: from other musicians? Is that constantly going on? Or is

1803
01:37:00,120 --> 01:37:02,120
Speaker 1: that only when you cross paths.

1804
01:37:02,479 --> 01:37:06,519
Speaker 3: That that that happens? Look mostly mostly the close circle,

1805
01:37:07,000 --> 01:37:09,599
Speaker 3: our inner circle. I hear, you know, like I might

1806
01:37:09,640 --> 01:37:14,400
Speaker 3: hear from George Porter Junior every you know, every so often, Hey,

1807
01:37:14,439 --> 01:37:16,320
Speaker 3: what's up by and blah blah blah. We have something

1808
01:37:16,320 --> 01:37:19,200
Speaker 3: to talk about. We have a show that we're doing

1809
01:37:19,280 --> 01:37:21,400
Speaker 3: in the coming weeks, and we may talk about that.

1810
01:37:22,040 --> 01:37:24,840
Speaker 3: I talk to Tony Hall, who plays bass and dumps

1811
01:37:24,840 --> 01:37:28,920
Speaker 3: the funk and he plays on my record, the solo record.

1812
01:37:28,920 --> 01:37:31,479
Speaker 3: I talk to Tony pretty every day. I talk to

1813
01:37:31,520 --> 01:37:35,360
Speaker 3: Tony every day. I talk to my cousin Ian at

1814
01:37:35,439 --> 01:37:39,080
Speaker 3: least almost every every day. And I talk to my brother,

1815
01:37:39,240 --> 01:37:43,200
Speaker 3: my brother Fred, probably once a week. I probably talked

1816
01:37:43,200 --> 01:37:47,280
Speaker 3: to my dad probably every two days at least. And

1817
01:37:47,320 --> 01:37:49,080
Speaker 3: I have a group I have a group text with

1818
01:37:49,080 --> 01:37:52,040
Speaker 3: my dad, my aunt and my uncle and some of

1819
01:37:52,040 --> 01:37:54,280
Speaker 3: my cousins, and we have a group text that we

1820
01:37:54,360 --> 01:37:58,400
Speaker 3: say good morning every day.

1821
01:37:58,920 --> 01:38:01,960
Speaker 1: Every day, say good morning. The rest of the day.

1822
01:38:02,360 --> 01:38:05,200
Speaker 2: What happens the reason say good nothing more, just say

1823
01:38:05,200 --> 01:38:05,759
Speaker 2: good morning.

1824
01:38:05,840 --> 01:38:08,679
Speaker 3: Somebody might text later on it says oh I'm late, hey,

1825
01:38:08,840 --> 01:38:11,120
Speaker 3: But I usually send good morning in some in a

1826
01:38:11,160 --> 01:38:13,920
Speaker 3: foreign language. I go and look up good morning in

1827
01:38:14,000 --> 01:38:18,439
Speaker 3: many languages, and I send my text via whatever language

1828
01:38:18,479 --> 01:38:21,880
Speaker 3: I found that looked interesting for that morning. I send

1829
01:38:21,880 --> 01:38:25,479
Speaker 3: it and my aunt, my aunt athel Groth, she will

1830
01:38:25,520 --> 01:38:27,920
Speaker 3: go and look up that language and tell me what

1831
01:38:28,040 --> 01:38:31,280
Speaker 3: it is. And she'll say, oh, is that Arabic or

1832
01:38:31,320 --> 01:38:35,200
Speaker 3: is that whatever language is that Korean or whatever language

1833
01:38:35,240 --> 01:38:38,160
Speaker 3: you chose today, And I'll put the thumbs up by

1834
01:38:38,160 --> 01:38:42,519
Speaker 3: her answer if it's correct.

1835
01:38:42,880 --> 01:38:45,720
Speaker 1: Well, you're talking about you're talking about good morning? Are

1836
01:38:45,760 --> 01:38:47,520
Speaker 1: you an early morning person.

1837
01:38:47,320 --> 01:38:48,719
Speaker 2: Or I'm early.

1838
01:38:48,840 --> 01:38:50,519
Speaker 3: I got well, I have a nine year old, so

1839
01:38:50,960 --> 01:38:53,920
Speaker 3: he goes to school, so I got it. My first uh,

1840
01:38:54,400 --> 01:38:57,320
Speaker 3: my first duty of the day is I got to

1841
01:38:57,360 --> 01:38:59,880
Speaker 3: make him breakfast at like six forty five.

1842
01:39:01,120 --> 01:39:03,880
Speaker 2: So I'm up. I'm up, six thirty five, six forty

1843
01:39:03,920 --> 01:39:04,280
Speaker 2: I'm up.

1844
01:39:06,680 --> 01:39:11,679
Speaker 1: Okay. And you talked about being down and ultimately going

1845
01:39:11,760 --> 01:39:14,559
Speaker 1: to rehab, and then you said just a few minutes

1846
01:39:14,600 --> 01:39:17,840
Speaker 1: ago that you're a generally up guy. What's it like

1847
01:39:17,880 --> 01:39:20,599
Speaker 1: when you're down?

1848
01:39:20,880 --> 01:39:25,719
Speaker 3: You know, that happens sometimes, it's just it's just kind

1849
01:39:25,720 --> 01:39:29,439
Speaker 3: of it passes, basically. I mean, you kind of have

1850
01:39:29,720 --> 01:39:33,280
Speaker 3: times when you feel a little when you and that's

1851
01:39:33,360 --> 01:39:36,120
Speaker 3: usually when I'm thinking about when I'm in my own mind,

1852
01:39:36,240 --> 01:39:41,040
Speaker 3: almost in my own head, thinking about me, that's usually

1853
01:39:41,040 --> 01:39:49,080
Speaker 3: when the the uh, the more negative uh ivan comes

1854
01:39:49,120 --> 01:39:52,080
Speaker 3: to the fourth to the fourth to the uh to

1855
01:39:52,160 --> 01:39:57,920
Speaker 3: the you know, appears. He rears his ugly head, and

1856
01:39:57,960 --> 01:39:59,840
Speaker 3: I'm you know, I have to just work out of

1857
01:39:59,840 --> 01:40:02,519
Speaker 3: it it basically, I have to just figure out Okay.

1858
01:40:03,080 --> 01:40:05,760
Speaker 3: Usually when I start thinking about what can I do

1859
01:40:05,840 --> 01:40:08,720
Speaker 3: for somebody else, Like sometimes in the morning, I might

1860
01:40:08,760 --> 01:40:12,760
Speaker 3: wake up and I might have an impending doom concept

1861
01:40:12,840 --> 01:40:17,280
Speaker 3: going on in my head and I'm not feeling very positive,

1862
01:40:17,720 --> 01:40:19,479
Speaker 3: and then I remember, oh, I got to go and

1863
01:40:19,479 --> 01:40:23,560
Speaker 3: make breakfast for Isaiah, and I immediately.

1864
01:40:23,240 --> 01:40:25,440
Speaker 2: Thinking of someone else other than myself.

1865
01:40:25,840 --> 01:40:31,080
Speaker 3: It changes my concept, it changes my outlook, and I

1866
01:40:31,960 --> 01:40:36,200
Speaker 3: use that tool a lot. If I get into a funk,

1867
01:40:37,080 --> 01:40:39,080
Speaker 3: I try to think of what I could do maybe

1868
01:40:39,120 --> 01:40:42,400
Speaker 3: for someone else, or I'll call someone that may need

1869
01:40:42,439 --> 01:40:45,840
Speaker 3: a helping hand in some nature of some kind.

1870
01:40:46,360 --> 01:40:52,720
Speaker 6: And that's kind of what I do in those situations. Now,

1871
01:40:52,760 --> 01:40:54,760
Speaker 6: I know you've ben asked a million times and I

1872
01:40:54,840 --> 01:40:57,320
Speaker 6: don't want to. I'm not looking for some story that

1873
01:40:57,400 --> 01:40:58,200
Speaker 6: hasn't been.

1874
01:40:58,040 --> 01:41:02,719
Speaker 1: Told, but since you know, what's the story with Keith Richards.

1875
01:41:03,760 --> 01:41:09,040
Speaker 3: Keith is absolutely an amazing cat man. He's so intelligent,

1876
01:41:09,800 --> 01:41:13,320
Speaker 3: he's so like, very nice man.

1877
01:41:14,520 --> 01:41:17,400
Speaker 2: All the stories that we've always you know, heard about.

1878
01:41:17,200 --> 01:41:23,160
Speaker 3: Keith over the years, and how notorious he's known for being.

1879
01:41:23,520 --> 01:41:25,360
Speaker 3: Now I've been hey, I've been around him and some

1880
01:41:25,400 --> 01:41:30,120
Speaker 3: hell in some serious Hans, and we've had some amazing Hans.

1881
01:41:31,040 --> 01:41:34,760
Speaker 2: But he's probably the most.

1882
01:41:34,920 --> 01:41:41,280
Speaker 3: I would say, the most productive and structured person in

1883
01:41:41,360 --> 01:41:45,040
Speaker 3: those kind of environments that I've ever been around. Like

1884
01:41:45,280 --> 01:41:48,160
Speaker 3: when we when we were into those kinds of things,

1885
01:41:48,200 --> 01:41:52,400
Speaker 3: like into the whatever substances who were doing or whatever.

1886
01:41:52,920 --> 01:41:55,920
Speaker 2: He was always the guy that was focused on the music.

1887
01:41:57,560 --> 01:42:01,439
Speaker 3: And whereas another like myself or other would be waiting

1888
01:42:01,520 --> 01:42:05,719
Speaker 3: for the next round of drink and drug, he's still

1889
01:42:05,760 --> 01:42:06,599
Speaker 3: playing this riff.

1890
01:42:09,680 --> 01:42:11,240
Speaker 2: You're like, oh my god, look at him.

1891
01:42:11,240 --> 01:42:16,680
Speaker 3: He's all about the music and he's one of the

1892
01:42:16,680 --> 01:42:19,799
Speaker 3: most productive people I've ever been around in that mindset,

1893
01:42:19,840 --> 01:42:22,360
Speaker 3: I mean, you know, and to see him how he's

1894
01:42:22,439 --> 01:42:25,800
Speaker 3: you know, he's had to adjust his his situation in

1895
01:42:25,840 --> 01:42:28,559
Speaker 3: his life. As you get older, you have to change

1896
01:42:28,560 --> 01:42:33,000
Speaker 3: a little bit, you have to. And I mean Keith's

1897
01:42:33,000 --> 01:42:36,599
Speaker 3: with Keiths with seventy what is he seventy eight or seventy?

1898
01:42:36,880 --> 01:42:37,519
Speaker 1: How old is.

1899
01:42:39,600 --> 01:42:39,840
Speaker 2: I mean?

1900
01:42:41,560 --> 01:42:42,040
Speaker 1: You right?

1901
01:42:43,280 --> 01:42:47,519
Speaker 3: I mean, look he's man, he's and they're they're just

1902
01:42:47,560 --> 01:42:51,240
Speaker 3: working on a new record from what I understand, and

1903
01:42:51,439 --> 01:42:56,280
Speaker 3: a possible another tour, you know, so he's still doing it. Man,

1904
01:42:56,320 --> 01:42:59,400
Speaker 3: He's He's an amazing cat. He's always been.

1905
01:42:59,840 --> 01:43:02,760
Speaker 1: A very a very sweet man to me.

1906
01:43:02,920 --> 01:43:06,679
Speaker 3: You know, He's like a big brother, an uncle, and

1907
01:43:06,800 --> 01:43:10,720
Speaker 3: uh yeah, I cherish uh my time with him and

1908
01:43:11,800 --> 01:43:13,120
Speaker 3: in my relationship with him.

1909
01:43:13,160 --> 01:43:13,600
Speaker 2: I really do.

1910
01:43:15,040 --> 01:43:18,400
Speaker 1: He's seventy nine eighty at the end of the year December.

1911
01:43:18,760 --> 01:43:24,519
Speaker 1: You know, people like Bonnie and Keith. Do you keep

1912
01:43:24,600 --> 01:43:26,519
Speaker 1: in contact with him or you're just gonna run into

1913
01:43:26,560 --> 01:43:27,160
Speaker 1: him at some point?

1914
01:43:27,479 --> 01:43:30,479
Speaker 3: No, I keep I keep I keep contact with Keith.

1915
01:43:30,520 --> 01:43:33,360
Speaker 3: I mean, you know, you you've got every blue moon

1916
01:43:33,479 --> 01:43:35,960
Speaker 3: or so. I might call him up just to see

1917
01:43:35,960 --> 01:43:38,519
Speaker 3: what he's doing, to check in with him, and he's

1918
01:43:38,560 --> 01:43:41,120
Speaker 3: not like he's got a cell phone. Well, you know,

1919
01:43:41,760 --> 01:43:44,160
Speaker 3: I've ever seen him with a cell phone. So I

1920
01:43:44,280 --> 01:43:47,800
Speaker 3: called him on his landline at home when I kind

1921
01:43:47,800 --> 01:43:51,360
Speaker 3: of maybe maybe get a heads up and just find

1922
01:43:51,360 --> 01:43:54,000
Speaker 3: out if he's home. I usually get a heads up,

1923
01:43:54,000 --> 01:43:56,559
Speaker 3: and if I think he's home, I just give it

1924
01:43:56,560 --> 01:44:00,240
Speaker 3: a shot and call and you and he might if

1925
01:44:00,240 --> 01:44:02,240
Speaker 3: he's walking by the phone, he might pick up.

1926
01:44:02,479 --> 01:44:04,800
Speaker 2: He sees my name, you probably pick up and say, oh, hey,

1927
01:44:04,840 --> 01:44:05,559
Speaker 2: I was up.

1928
01:44:05,960 --> 01:44:08,880
Speaker 3: And we'll have a chat and talk or whatever, and

1929
01:44:08,920 --> 01:44:13,440
Speaker 3: that's it. But yeah, I do stay in touch with him.

1930
01:44:13,560 --> 01:44:18,599
Speaker 1: Okay, you've been through a lot. We've delineated it, both

1931
01:44:18,640 --> 01:44:22,680
Speaker 1: the drugs and alcohol. You have a pedigree with your family,

1932
01:44:24,200 --> 01:44:28,519
Speaker 1: You've had successes and solo artists to what degree are

1933
01:44:28,520 --> 01:44:32,320
Speaker 1: you concerned about legacy If everything just goes around like

1934
01:44:32,520 --> 01:44:36,000
Speaker 1: now and you end up dying twenty years from now,

1935
01:44:36,040 --> 01:44:38,479
Speaker 1: are you happy or not if you want to die

1936
01:44:38,520 --> 01:44:43,200
Speaker 1: twenty forty years now, are you really concerned with leaving

1937
01:44:43,200 --> 01:44:43,639
Speaker 1: your mondy?

1938
01:44:43,680 --> 01:44:45,800
Speaker 2: You know, I kind of.

1939
01:44:47,120 --> 01:44:48,519
Speaker 1: I just want to do the best I.

1940
01:44:48,439 --> 01:44:51,600
Speaker 3: Can while I'm around here, you know, and try to

1941
01:44:51,680 --> 01:44:55,599
Speaker 3: just enjoy the rest of this journey, you know. And

1942
01:44:56,880 --> 01:45:00,479
Speaker 3: I want my son to remember his dad's cool guy

1943
01:45:00,600 --> 01:45:05,280
Speaker 3: and uh uh, you know, a righteous person that you know,

1944
01:45:06,240 --> 01:45:10,200
Speaker 3: try to be helpful to others, and just what I

1945
01:45:10,280 --> 01:45:13,360
Speaker 3: just want to to be remembered as someone who tried

1946
01:45:13,360 --> 01:45:15,280
Speaker 3: to help a little bit, who tried to help someone

1947
01:45:15,280 --> 01:45:17,800
Speaker 3: else when he had the chance, and to.

1948
01:45:19,280 --> 01:45:20,400
Speaker 2: That's mostly it, you know.

1949
01:45:20,520 --> 01:45:22,840
Speaker 3: And it made some good music here and there, you know,

1950
01:45:22,960 --> 01:45:25,920
Speaker 3: and hopefully some of this music will, you know, people

1951
01:45:25,960 --> 01:45:28,920
Speaker 3: will listen to it and it will create those times

1952
01:45:28,960 --> 01:45:31,479
Speaker 3: and places that music has done for me in my life,

1953
01:45:31,560 --> 01:45:34,360
Speaker 3: because there are songs that I hear that remind me

1954
01:45:34,479 --> 01:45:38,559
Speaker 3: of places and people, and hopefully some of my music

1955
01:45:39,320 --> 01:45:42,760
Speaker 3: touches people like that, you know. That's that's really all

1956
01:45:42,800 --> 01:45:43,519
Speaker 3: I can ask for.

1957
01:45:46,080 --> 01:45:48,960
Speaker 1: Well, on that note, it's been great talking to you Ivan.

1958
01:45:49,320 --> 01:45:52,040
Speaker 1: Really you're a great guy. I want to wish you

1959
01:45:52,120 --> 01:45:54,320
Speaker 1: luck on the record. And once again, as I say,

1960
01:45:54,800 --> 01:45:56,960
Speaker 1: you know, people send me this stuff and you know

1961
01:45:57,000 --> 01:45:59,840
Speaker 1: I rolled my eyes, but I was shocked your stuff is.

1962
01:46:00,400 --> 01:46:02,280
Speaker 2: Thank you very much, thank you, thank you.

1963
01:46:02,400 --> 01:46:04,680
Speaker 1: I wish you success. I can't tell you whether you're

1964
01:46:04,680 --> 01:46:06,840
Speaker 1: going to have it or die right right people, but

1965
01:46:06,960 --> 01:46:09,559
Speaker 1: if people met you when they hurt the record, you

1966
01:46:09,600 --> 01:46:10,759
Speaker 1: know you've got a good shot.

1967
01:46:10,920 --> 01:46:13,360
Speaker 2: Thank you very much, man, I really really appreciate it.

1968
01:46:13,880 --> 01:46:15,479
Speaker 2: Thank you a lot. Man. Thanks for talking.

1969
01:46:15,560 --> 01:46:15,760
Speaker 1: Man.

1970
01:46:15,920 --> 01:46:17,200
Speaker 2: I enjoy talking to you.

1971
01:46:17,600 --> 01:46:20,920
Speaker 1: I love talking to you too. In any event, till

1972
01:46:21,040 --> 01:46:23,120
Speaker 1: next time. This is Bob Leftsis