WEBVTT - QLS Classic: Elvis Costello Part 1 0:00:00.160 --> 0:00:05.800 Quest Love Supreme is a production of iHeartRadio. 0:00:08.880 --> 0:00:12.760 It's okay to meet your heroes, It's okay to dream, 0:00:12.960 --> 0:00:15.600 It's okay to let life float you to where you 0:00:15.640 --> 0:00:18.680 should be. In twenty twenty one, Quest Love asked me 0:00:18.720 --> 0:00:20.920 to do a one on one interview with Elvis Costello 0:00:20.960 --> 0:00:25.000 at Electric Lady Studios for Questlove Supreme. At first I 0:00:25.040 --> 0:00:29.520 said no, just kidding. I jumped at the opportunity, but 0:00:29.600 --> 0:00:31.840 I wanted Questlove there for part of it, just to 0:00:31.880 --> 0:00:34.760 see what two of the greatest musicologists and music historians 0:00:34.800 --> 0:00:38.519 of our time would discuss. I wasn't disappointed, and you 0:00:38.560 --> 0:00:41.760 won't be either. It's hard to keep up, but it's 0:00:41.760 --> 0:00:44.600 worth it, and it's hilarious listening to me try to. 0:00:45.440 --> 0:00:49.640 They're both legends, they're both brilliant. Enjoy Part one this 0:00:49.720 --> 0:00:52.720 week and Part two next week. This was originally aired 0:00:52.720 --> 0:00:57.160 in April twenty twenty two. Whew, I can't believe this happened. 0:01:06.480 --> 0:01:12.000 That's all rights alone, and he can give you tonight. 0:01:11.720 --> 0:01:15.200 By you know, I don't even know the bloody words 0:01:14.720 --> 0:01:17.280 in direction like it was trying to lift this person up. 0:01:17.440 --> 0:01:20.000 So maybe it's a little gramatic guy. 0:01:20.280 --> 0:01:22.440 I just wanted to get your attention. 0:01:22.880 --> 0:01:24.319 It looks like you're no good. 0:01:24.440 --> 0:01:24.920 Okay. 0:01:25.000 --> 0:01:26.920 The reason I mentioned Elvis Hostels because the record I 0:01:26.959 --> 0:01:28.160 just called that because I can't call it from jackfre 0:01:28.200 --> 0:01:28.520 New City. 0:01:28.520 --> 0:01:29.960 The reason I mentioned el this Hostel. 0:01:29.760 --> 0:01:31.760 Everyday book the way it was written, which is kind 0:01:31.760 --> 0:01:34.360 of much more so a strummy already down with all this. 0:01:34.480 --> 0:01:36.880 What a great first line in the history of first 0:01:36.959 --> 0:01:38.360 lines of rock and roll songs. 0:01:38.400 --> 0:01:38.760 Huh. 0:01:39.000 --> 0:01:41.200 I used to be disgusted, but now I try to 0:01:41.240 --> 0:01:44.399 be amused. Sometimes you can't read the newspaper without keeping 0:01:44.400 --> 0:01:44.920 that in mind. 0:01:45.000 --> 0:01:47.720 But he says, well, that's fine, but you never said 0:01:47.720 --> 0:01:50.520 what the pad's poison closed means. So that's what you 0:01:50.600 --> 0:01:52.120 have to say. I mean in this hang Out with 0:01:52.160 --> 0:01:55.360 Elvis educational part of Right with Bae McCarty incident hang 0:01:55.400 --> 0:01:57.800 Out with Elvis, he's very logical, so. 0:01:57.840 --> 0:01:59.320 He goes, you know, this is. 0:01:59.240 --> 0:02:00.680 What you gotta do that with Elvis. 0:02:00.800 --> 0:02:02.440 There's gonna be music in it, and I'm gonna cut 0:02:02.440 --> 0:02:02.600 it in. 0:02:04.200 --> 0:02:12.600 El got everything everything everything, Yeah, you know, various album throughout. 0:02:12.160 --> 0:02:16.880 The interesting things that they probably want clear like the 0:02:17.000 --> 0:02:20.200 roots running over a high fidelity by themselves at thirty rock. 0:02:20.440 --> 0:02:22.040 You know, before that first performance. 0:02:22.360 --> 0:02:25.560 Oh, let's have that. Yeah, that'd be good. Can we 0:02:25.560 --> 0:02:25.840 get that? 0:02:26.360 --> 0:02:26.560 Yeah? 0:02:26.639 --> 0:02:29.840 Yeah, sure, do we do that? And did we do that? 0:02:29.880 --> 0:02:32.840 And we did that on the show? Yet we did 0:02:32.880 --> 0:02:33.400 that on the show? 0:02:33.520 --> 0:02:37.480 Happy Yeah? It was the first first song I know? 0:02:37.680 --> 0:02:39.120 Is that the same one with the Chelsea? And then 0:02:39.160 --> 0:02:40.760 the second time it was like Stations of the. 0:02:40.760 --> 0:02:42.519 Cross and someone else? 0:02:42.960 --> 0:02:52.960 Yeah, and John exactly hey man belated Happy Birthday. I 0:02:53.040 --> 0:02:55.200 try to play a happy birthright. I couldn't play for ship. 0:02:55.280 --> 0:02:56.720 Don't know if I don't know how to play the piano. 0:02:57.480 --> 0:03:12.679 Still feel h m hmm, I still feel good? H No, 0:03:12.840 --> 0:03:18.880 I said, they said the song. Mm hm, that's great. 0:03:21.440 --> 0:03:21.880 M hm. 0:03:26.000 --> 0:03:34.960 Hm is that the easy Yeah? I'm a I'm a 0:03:36.760 --> 0:03:44.120 mm hmmmmm m h. I'm gonna do a slight preface. 0:03:47.480 --> 0:03:53.840 Ladies and gentlemen, welcome to the first quest Love Supreme 0:03:54.320 --> 0:04:00.320 that has been done in person since the March sixteenth, 0:04:00.480 --> 0:04:05.160 twenty twenty pandemic. How strange that we don't have a 0:04:05.200 --> 0:04:12.920 supreme vow call Candy home. It should also be noted 0:04:12.960 --> 0:04:18.000 that this was recorded on January It's to Day's day, 0:04:18.960 --> 0:04:22.160 twenty fifth. Okay, so the day of this recording is 0:04:22.240 --> 0:04:25.839 January twenty fifth, and the reason why I feel compelled 0:04:25.839 --> 0:04:30.400 to acknowledge the date is because we are also recording 0:04:30.640 --> 0:04:35.159 inside of Electric Lady Studios on this the twenty second 0:04:35.240 --> 0:04:40.159 anniversary of the seminal album that kind of you know, 0:04:40.400 --> 0:04:42.240 brought me to the studio in the first place. 0:04:42.000 --> 0:04:43.560 Which is Voodoo by DiAngelo. 0:04:43.640 --> 0:04:47.960 So I was rather apropos that Sugar Steve and I, oh, 0:04:47.960 --> 0:04:51.159 by the way, Boston. 0:04:52.160 --> 0:04:59.200 Edited, I'm editing this, so don't worry about anything. I'm 0:04:59.240 --> 0:05:01.280 gonna chop it up, not shopping, sit up. 0:05:01.800 --> 0:05:05.960 Yeah, unpaid, Bill Fontigelo and Laia are not with us 0:05:06.080 --> 0:05:08.640 right now, so it's right now, it's just me and Steve. 0:05:08.680 --> 0:05:11.280 The last time we did this was with with Herb 0:05:11.320 --> 0:05:15.400 Alpert right at this very studio. So for me, what's 0:05:15.560 --> 0:05:20.159 very important about this particular episode, and this is again 0:05:21.880 --> 0:05:24.080 me trying to improve as a human. This is all 0:05:24.120 --> 0:05:28.040 about going out of your comfort zone. So I'm here 0:05:28.680 --> 0:05:33.160 as a third will, or as a referee, or as 0:05:33.279 --> 0:05:40.960 training wills, because I really it's my dream for Sugars 0:05:41.000 --> 0:05:45.880 Steve to really bring out his voice and quest of 0:05:45.960 --> 0:05:48.120 supreme episodes because you know, half the time we hog 0:05:48.240 --> 0:05:50.800 up all the the moments and he only gets like 0:05:50.839 --> 0:05:53.760 one comet in and you know that, like Steve really 0:05:53.760 --> 0:06:00.080 has in my opinion, Like I mean, he's like all 0:06:00.279 --> 0:06:02.480 he has so much music knowledge that he has yet 0:06:02.560 --> 0:06:05.119 to share with you people, unless you follow the Sugar 0:06:05.160 --> 0:06:08.039 network like of all of us. He has his own 0:06:08.080 --> 0:06:11.320 fan clubs simply for his music knowledge. So that should 0:06:11.360 --> 0:06:15.480 tell you something. But for me, I thought, what what's 0:06:15.520 --> 0:06:19.479 the best way to throw Sugar Steve in the and 0:06:19.560 --> 0:06:22.880 the long away to jump into the river. And he's 0:06:22.960 --> 0:06:25.600 really uncomfortable right now, is I mean? Long guard? 0:06:26.080 --> 0:06:26.920 I told you I'm editing. 0:06:27.040 --> 0:06:30.640 You're not editing at all. Yo, I'm sorry you're not. 0:06:32.720 --> 0:06:35.039 I'm like you. I'm a little uncomfortable with compliments. But 0:06:35.600 --> 0:06:39.719 and and and see we're at a crossroads here. We're not, Yes, 0:06:39.760 --> 0:06:40.040 we are. 0:06:40.600 --> 0:06:44.440 This is the fact. Look, Steve, we this is the 0:06:44.560 --> 0:06:45.760 very this is where we are. 0:06:45.760 --> 0:06:47.919 We're literally at the cross We're in the we're in 0:06:47.920 --> 0:06:50.120 the center of studio A. Yes, I get it, at 0:06:50.120 --> 0:06:51.760 like the X the middle of the X point. 0:06:52.040 --> 0:06:54.880 Similar to Samuel Jackson and Paul Fixon. You're not talking 0:06:54.920 --> 0:06:56.960 yourself out of this ship. I'm not trying to all 0:06:57.000 --> 0:07:00.279 I'm saying is that you know, there comes a time 0:07:01.320 --> 0:07:02.240 where we have to. 0:07:02.400 --> 0:07:04.559 Like, how long do you have to stay tonight? Because 0:07:05.440 --> 0:07:05.960 I'm here. 0:07:05.880 --> 0:07:09.600 All listen, listen. My whole point is this, My whole 0:07:09.640 --> 0:07:12.800 point is this. The way that you're acting right now 0:07:12.960 --> 0:07:16.360 is exactly how I was acting when David Dinerstein and 0:07:16.520 --> 0:07:21.440 Robert Fevalent had told me that it's my destiny to 0:07:21.560 --> 0:07:24.280 direct the documentary. And I'm like, dude, I'm a first 0:07:24.320 --> 0:07:25.320 time driver, Like. 0:07:25.760 --> 0:07:27.920 All right, I got it. I gotta just jump in here. 0:07:28.040 --> 0:07:34.360 No, no, this is this is a special quest love Supreme. Yes, 0:07:35.320 --> 0:07:39.080 it's my dream to watch Steve talk to his musical hero. 0:07:39.480 --> 0:07:41.800 I've thought about this. This is essentially as if you 0:07:41.880 --> 0:07:44.080 got to interview Prince. I know, you know, like that's 0:07:44.160 --> 0:07:46.920 essentially where that makes sense to people. 0:07:46.920 --> 0:07:48.920 I feel like I'm the guy in the threesome that 0:07:49.160 --> 0:07:49.800 isn't needed. 0:07:50.120 --> 0:07:55.080 So wow, no, well see here's the that's the relief, 0:07:56.080 --> 0:07:59.040 here's here's the problem. And you say you're trying to 0:07:59.080 --> 0:08:02.880 become a better person, So just accept accept this. As 0:08:02.960 --> 0:08:06.040 much as I'm thrilled to be interviewing you know, my 0:08:06.120 --> 0:08:09.560 number one musical hero here, Yes, you're very much a 0:08:09.600 --> 0:08:11.800 part of the story that I want to tell tonight. Yeah, 0:08:12.040 --> 0:08:14.600 I'll be here, but and I need you here to 0:08:14.760 --> 0:08:17.240 tell the story. Not just the story of the last 0:08:17.240 --> 0:08:19.400 ten years since we've met him, let's say, but a 0:08:19.440 --> 0:08:21.920 certain theme that I want to get to that you 0:08:22.040 --> 0:08:25.520 both have in comments. So it's like you're trying to 0:08:25.560 --> 0:08:28.920 like say, you're training wheels, but you're you're the musical encyclopedia. 0:08:28.960 --> 0:08:33.679 I'm here with two of the acknowledged global music encyclopedias, 0:08:33.679 --> 0:08:35.679 and you're telling and you're telling people that I have 0:08:35.800 --> 0:08:37.160 musical knowledge about something. 0:08:37.440 --> 0:08:41.120 Let's just do this. This is three friends talking. But 0:08:41.320 --> 0:08:44.920 eventually I'm gonna get up from the seat and go 0:08:44.960 --> 0:08:47.360 to Studio B. It's going to be just like two thousands. 0:08:47.520 --> 0:08:49.400 It's voodoo all over again. It's voodoo all over again. 0:08:49.400 --> 0:08:52.240 I got kimber waiting next door. Kimber Lee's is next door. 0:08:52.360 --> 0:08:54.200 So okay, you got two rooms tonight. 0:08:54.040 --> 0:08:57.000 Yeah, I got two rooms. However, it's my dream to 0:08:57.120 --> 0:09:01.720 see you top the Jimmy Jam episode. So, ladies and gentlemen, 0:09:01.800 --> 0:09:05.920 this is a very special in person live at Electric 0:09:06.000 --> 0:09:09.120 Lady Studios. You're just cracking up over here with our 0:09:09.120 --> 0:09:13.280 good friend Elvis Costello. Thank you all right, so and 0:09:13.320 --> 0:09:14.600 now for the intro. 0:09:15.320 --> 0:09:18.280 Right now, now, the now, the real intro, because like 0:09:18.520 --> 0:09:20.720 whatever that was, okay. 0:09:21.720 --> 0:09:24.480 Did I mention that I have day hell for later on? 0:09:24.720 --> 0:09:27.640 I mean I really would love to just continue with 0:09:27.679 --> 0:09:31.600 what he was saying, because like this, dude, right here, wait, look, 0:09:31.800 --> 0:09:35.120 this is not okay. Well no, I think people need 0:09:35.160 --> 0:09:38.080 to hear this, okay, just like you thought they needed 0:09:38.080 --> 0:09:38.960 to hear what you just said. 0:09:39.040 --> 0:09:39.560 Yes, okay. 0:09:40.559 --> 0:09:44.280 One of the reasons why he agreed to do Wise 0:09:44.320 --> 0:09:47.520 Up Ghosts he wanted to give me this gift of 0:09:47.559 --> 0:09:50.640 doing an album with you. Isn't that crazy? 0:09:51.080 --> 0:09:53.920 Well, I'm saying him give you gifts like that before 0:09:54.280 --> 0:09:57.160 I was there. I was there on your birthday. 0:09:56.760 --> 0:09:58.840 Though, right, and you've given me gifts to you anyway, 0:09:58.880 --> 0:10:01.840 Let's let's start. Welcome to Quest Love Supreme. My name 0:10:01.960 --> 0:10:03.000 is Sugar Steve. 0:10:03.400 --> 0:10:05.840 I swear to God, Steve. If you cut out what 0:10:06.160 --> 0:10:10.120 just started the show your fire, fire, fire fire. 0:10:10.679 --> 0:10:12.199 I'm gonna put an echo on that fire. 0:10:15.480 --> 0:10:15.920 Go ahead. 0:10:17.240 --> 0:10:23.240 So with thirty something studio albums, dozens of other compilations 0:10:23.280 --> 0:10:27.240 and live releases, box sets and EPs, endless singles and 0:10:27.320 --> 0:10:32.320 B sides, with a substantial autobiography and a forty five 0:10:32.440 --> 0:10:37.040 year career, playing countless live concerts and appearing in media 0:10:37.440 --> 0:10:41.439 as diverse as singing on a commercial jingle with his father, 0:10:42.760 --> 0:10:48.040 guest hosting that David Letterman show, Austin Powers movies, and 0:10:48.280 --> 0:10:53.160 his own influential interview show Spectacle. If you haven't been 0:10:53.200 --> 0:10:56.600 properly introduced to him by now, I certainly can't do 0:10:56.679 --> 0:11:03.080 it in a mere few minutes get it. But because 0:11:03.120 --> 0:11:06.160 Elvis's career has had such a deep connection in the 0:11:06.200 --> 0:11:08.720 lives of his fans, there is a kind of magic 0:11:08.760 --> 0:11:11.600 to it all, and with any kind of magic, one 0:11:11.600 --> 0:11:14.440 of the main attractions is to try to figure out 0:11:14.920 --> 0:11:18.480 how the magician is doing it. So here is a 0:11:18.600 --> 0:11:20.840 very brief look at his background story and a quick 0:11:20.840 --> 0:11:27.040 summation of his discography. Born Declan mcmanuson London to a 0:11:27.120 --> 0:11:30.960 musical family, his dad was a professional trumpet player and singer, 0:11:31.360 --> 0:11:34.640 first in popular big bands and then on his own. 0:11:35.400 --> 0:11:38.360 His mom worked in a record shop whose customers relied 0:11:38.400 --> 0:11:41.320 on her to have the coolest singles and albums from 0:11:41.320 --> 0:11:45.720 the United States. Elvis moved from London to Liverpool and 0:11:45.760 --> 0:11:49.640 then back again before launching his career in London. From 0:11:49.679 --> 0:11:53.160 an early age, Elvis played guitar and by the early 0:11:53.200 --> 0:11:56.160 seventies formed a guitar duo with one of his friends. 0:11:56.080 --> 0:11:56.840 Alan Mays. 0:11:57.400 --> 0:12:00.240 Thank You I knew that He. 0:12:00.240 --> 0:12:03.200 Worked a few non music related jobs, and then in 0:12:03.240 --> 0:12:06.720 nineteen seventy six was signed to Stiff Records, an independent 0:12:06.760 --> 0:12:10.040 record label in London. At the time, Elvis was performing 0:12:10.080 --> 0:12:14.680 as DP Costello. Stiff founder and Elvis manager at the time, 0:12:14.800 --> 0:12:19.920 Jake Riviera, suggested using the name Elvis. His first four albums, 0:12:20.000 --> 0:12:23.160 nineteen seventy seven's Miam Is True, nineteen seventy Eights, This 0:12:23.280 --> 0:12:27.480 Year's Model, nineteen seventy nine's Armed Forces, and nineteen eighties 0:12:27.480 --> 0:12:31.679 Get Happy came with such a variety of intense pleasures, 0:12:32.400 --> 0:12:36.320 the poetic and existential lyrics, the melodies which made you 0:12:36.320 --> 0:12:39.200 play the records over and over, a lot of energy, 0:12:39.320 --> 0:12:42.600 a lot of sound. And that's something else that only 0:12:42.679 --> 0:12:46.920 musicians who inspire the most fanatic audiences have the ability 0:12:46.960 --> 0:12:49.760 to turn all their fans into advocates of the artist, 0:12:50.559 --> 0:12:54.800 ready to lecture you about meanings and understandings only they 0:12:54.840 --> 0:12:59.280 and the artist may explain to you. After his debut, 0:12:59.400 --> 0:13:02.520 the attraction became his recording and touring band for almost 0:13:02.520 --> 0:13:06.880 ten years, and each player in that band, Steve Naive, 0:13:07.000 --> 0:13:10.559 Pete Thomas, and Bruce Thomas, had a skill set which 0:13:10.640 --> 0:13:15.240 elevated the whole until they sounded like an unstoppable machine 0:13:15.679 --> 0:13:20.679 cranking out literate pop which was both political and romantic. 0:13:22.320 --> 0:13:24.720 As he broadened the sounds and styles of the music 0:13:24.720 --> 0:13:28.280 he used on his second great group of records, nineteen 0:13:28.320 --> 0:13:31.200 eighty one's Trust, nineteen eighty one's Almost Blue, and his 0:13:31.320 --> 0:13:36.240 Jeff Emerick produced Imperial Bedroom from nineteen eighty two, Elvis 0:13:36.240 --> 0:13:40.559 displayed a degree of growth that didn't seem possible because 0:13:40.600 --> 0:13:46.080 the first few albums were already so advanced. With nineteen 0:13:46.120 --> 0:13:48.680 eighty three's Punched the Clock. In nineteen eighty four's Goodbye 0:13:48.760 --> 0:13:53.960 Cruel World, Elvis switched producers, if not sounds and styles 0:13:54.080 --> 0:13:58.600 from his earlier albums. Although critiqued harshly by some, including 0:13:58.640 --> 0:14:02.280 Elvis himself, these albums and certainly the songs not only 0:14:02.280 --> 0:14:04.559 hold up today mostly. 0:14:06.640 --> 0:14:09.120 But wait from what it's in. How uncomfortable are you 0:14:09.200 --> 0:14:13.040 right now? But he knows, he knows. 0:14:13.320 --> 0:14:16.200 It's a regurgitation of facts, but it's got some heart. 0:14:16.480 --> 0:14:18.880 Yeah, it has hard Okay, you're boy like man. 0:14:18.880 --> 0:14:23.040 I know you're so poetic, But those albums Punch Clock 0:14:23.080 --> 0:14:26.000 and Goodbye Cruel World can now be seen to have 0:14:26.240 --> 0:14:30.320 charted a course for the rest of his career, a 0:14:30.400 --> 0:14:34.880 willful musical curiosity and ambition which sees him changing genres 0:14:34.880 --> 0:14:38.800 and collaborators with an energy and facility that can inspire 0:14:38.880 --> 0:14:42.600 all who witness it, Like Live Aid nineteen eighty five, 0:14:42.680 --> 0:14:45.720 All You Need Is Love, King of America and Blood 0:14:45.760 --> 0:14:48.240 and Chocolate, both albums from nineteen eighty six hold a 0:14:48.280 --> 0:14:51.560 popular place in the hearts of diehard Elvis fans, not 0:14:51.600 --> 0:14:54.520 only because they are incredible sets of song cycles telling 0:14:54.560 --> 0:14:58.280 compelling stories, but because they mark the point most of 0:14:58.360 --> 0:15:01.400 us who love Elvis gave up trying to figure him out. 0:15:02.440 --> 0:15:05.240 That freed us up for the guilt free enjoyment of 0:15:05.280 --> 0:15:08.920 Elvis's next pop breakthrough, the single Veronica and the album 0:15:09.000 --> 0:15:12.440 Spike Is nineteen eighty nine, which marked a change in 0:15:12.480 --> 0:15:15.920 record companies and a high profile deal with Warner Brothers. 0:15:16.480 --> 0:15:21.960 Spike encompassed still greater musical territory and in general and inclusiveness, 0:15:22.720 --> 0:15:25.880 which made room for contributors as varied as James Burton, 0:15:26.120 --> 0:15:29.880 Mark Reebot, Paul McCartney and Alan Toussant, to name just 0:15:29.920 --> 0:15:33.240 a few, all in service of an album which hooked 0:15:33.240 --> 0:15:36.840 a new generation of fans. Mighty Like a Rose nineteen 0:15:36.880 --> 0:15:39.880 ninety one continued where Spike left off with even more 0:15:39.880 --> 0:15:43.960 sophisticated arrangements and production, and from nineteen ninety one on, 0:15:44.040 --> 0:15:48.880 Elvis's discography has been a hopscotch game of going wherever 0:15:48.920 --> 0:15:52.920 his fans think he won't be spiking his catalog with 0:15:53.000 --> 0:15:55.640 classics of what can only be called the genre of 0:15:55.680 --> 0:16:01.040 Elvis Costello writing for string quartets The Juliet Letters in 0:16:01.120 --> 0:16:06.480 nineteen ninety three. Numerous quote unquote returned to form albums 0:16:06.480 --> 0:16:10.080 over the years, like nineteen ninety four's Brutal Youth, then 0:16:10.200 --> 0:16:14.400 nineteen ninety six is All This Useless Beauty and Kojack 0:16:14.480 --> 0:16:17.720 Variety and album of covers in nineteen ninety five, the 0:16:17.720 --> 0:16:21.120 stunning collaboration with Burt Backrack from nineteen ninety eight title 0:16:21.160 --> 0:16:24.560 Painted from Memory two thousand and twos, When I Was 0:16:24.640 --> 0:16:28.880 Cruel for the Stars, an album with opera singer and 0:16:29.000 --> 0:16:35.080 Sophie von Hotter two thousand threes, Marvelous Piano vocal Album 0:16:35.160 --> 0:16:38.960 North two thousand four as the delivery Man with the Impostors, 0:16:39.040 --> 0:16:43.800 Shout out to David Farreger and oh yeah. Elvis released 0:16:43.800 --> 0:16:49.360 a symphony that year as well, il sogno Al Music. 0:16:50.280 --> 0:16:56.520 It went to number one on the classical charts. Humanitarian 0:16:56.600 --> 0:17:00.239 and artistic efforts came together on the River in Reverse, 0:17:00.360 --> 0:17:03.280 a full LP from two thousand and six with Alan 0:17:03.320 --> 0:17:08.680 Tussana to bring attention to the disaster of Hurricane Katrina, 0:17:08.880 --> 0:17:11.680 an overlooked gem called Momofuku in two thousand and eight 0:17:11.720 --> 0:17:16.480 with the Impostors two thousand and nine and ten bring 0:17:16.520 --> 0:17:20.920 two more t Bone Burnette productions, Secret Profane and Sugarcane 0:17:20.960 --> 0:17:25.800 and National Ransom. Well, that's a lot of albums. 0:17:28.600 --> 0:17:29.720 I'm lying down though. 0:17:31.280 --> 0:17:39.760 And was it over at that point? Perhaps until and 0:17:39.840 --> 0:17:47.160 I was told this by Diana Crawl, until Elvis Costello's 0:17:47.240 --> 0:17:53.160 creative fire and undernourished musical life force was reignited. Oh 0:17:53.200 --> 0:18:01.160 we had come on when he met Sugar. Steve Man questlove. 0:18:03.000 --> 0:18:06.040 With that silence. That's a direct quote from Diana Hau. No. 0:18:06.760 --> 0:18:10.600 Oh wow, God bless Diana Crawl. Can we start out, No, 0:18:11.200 --> 0:18:12.200 it's almost, it's almost. 0:18:12.560 --> 0:18:16.520 This is where wise up Ghost happens. Recorded in twenty 0:18:16.560 --> 0:18:19.879 twelve and released in twenty thirteen. Elvis in Quest along 0:18:19.920 --> 0:18:23.160 with the Roots got together to create Wise Up Ghosts, 0:18:23.440 --> 0:18:26.159 and we'll obviously spend some time talking about that tonight. 0:18:27.720 --> 0:18:31.159 But to get current with Elvis's discography after Wise Up 0:18:31.160 --> 0:18:34.920 Ghosts came Grammy Award winning Look Now from twenty eighteen, 0:18:35.520 --> 0:18:38.160 the first of four albums co produced with the most 0:18:38.160 --> 0:18:43.160 wonderful producer and engineer Sebastian Chris. So that's look Now, Hey, Clockface, 0:18:43.240 --> 0:18:46.200 Spanish Model, and the album that just came out. Yet 0:18:46.240 --> 0:18:49.879 another great Elvis album here in twenty twenty two, the 0:18:49.920 --> 0:18:55.520 boy named if is What just dropped QS listeners from 0:18:55.560 --> 0:18:58.600 Electric Lady along with Questlove. As he said, this is 0:18:58.600 --> 0:19:02.480 a very special pisode of Questions of Supreme. Please welcome 0:19:02.560 --> 0:19:04.600 music Icon Elvis Costello. 0:19:04.800 --> 0:19:08.320 This is the longest, like that was seventeen minutes. That's awesome. 0:19:09.680 --> 0:19:12.800 I'm really proud of you, Steve that I'm beaming like 0:19:13.160 --> 0:19:13.960 I'm your dad or. 0:19:13.880 --> 0:19:15.679 Something, and I am too. 0:19:17.080 --> 0:19:21.920 Now this is really Steve is wait, I don't even 0:19:21.920 --> 0:19:23.880 want to say that, like Steve only likes the background 0:19:23.920 --> 0:19:26.639 because I don't know. To me, like Steve and I 0:19:26.680 --> 0:19:29.480 would always talk about like having our own radio show 0:19:29.520 --> 0:19:32.720 when we were like working back in Philly, And this, 0:19:32.920 --> 0:19:36.480 to me sounds this is like the equivalent of his 0:19:36.600 --> 0:19:38.960 radio shows that he used to he used to host 0:19:39.040 --> 0:19:40.879 on his own cassettes when he was like twelve and 0:19:40.920 --> 0:19:41.440 thirteen years. 0:19:41.480 --> 0:19:43.560 I've interviewed you before, way back. 0:19:43.440 --> 0:19:47.000 When I was Yes, so to see this moment happen. 0:19:47.400 --> 0:19:48.159 How are you today? 0:19:48.440 --> 0:19:52.399 I'm doing great. This is exactly what I knew what 0:19:52.560 --> 0:19:53.080 happened here. 0:19:53.440 --> 0:19:55.520 Sorry, No, I love it. Are you kidding? 0:19:55.560 --> 0:19:58.760 You're just I just I mean when you dubbed the 0:19:58.920 --> 0:20:01.760 little little bit Talian organ behind as well, it's kind 0:20:01.760 --> 0:20:06.240 of just sounded like my obituy, like you just have 0:20:06.280 --> 0:20:08.359 to have the boys, and then when you got to 0:20:08.359 --> 0:20:12.199 bring the choir in right you know. No, I appreciate it, no, 0:20:12.280 --> 0:20:14.240 because it's a lot. It's a lot of stuff. When 0:20:14.280 --> 0:20:16.520 I said, it makes me go like did I do that? 0:20:16.680 --> 0:20:17.240 You did a lot? 0:20:17.320 --> 0:20:18.359 It's too damn much. 0:20:19.200 --> 0:20:20.040 Yes, you did. 0:20:20.200 --> 0:20:22.119 That's why I tried to just sum up the past. 0:20:22.240 --> 0:20:24.080 Yeah, well let's start or whatever you want to talk 0:20:24.080 --> 0:20:26.080 about it. Yeah, I know we're going to nerd out 0:20:26.080 --> 0:20:27.960 on your career, but I just want to ask one 0:20:28.040 --> 0:20:30.960 question that's sort of out of the realm of anything 0:20:31.000 --> 0:20:35.239 that was just said in the last eighteen minutes. What 0:20:35.280 --> 0:20:37.400 did you do today? What did I do today? Yeah? 0:20:37.440 --> 0:20:38.320 What times you wake up? 0:20:39.680 --> 0:20:40.359 Turn to six? 0:20:41.200 --> 0:20:42.840 How is it like? How does your day start? 0:20:42.880 --> 0:20:42.960 Like? 0:20:42.960 --> 0:20:43.399 What do you do? 0:20:43.560 --> 0:20:47.280 It's mostly shaken, like a couple of fifteen year olds 0:20:47.320 --> 0:20:50.480 out of bed, different amounts of persuasion. 0:20:50.480 --> 0:20:51.520 So usually still dead. 0:20:51.840 --> 0:20:54.480 Oh yeah, yeah, they got to get on the school bus, 0:20:54.480 --> 0:20:59.439 so five to seven, so that's you know, so you 0:20:59.480 --> 0:21:01.639 take a kid school, No, I take them down of 0:21:01.680 --> 0:21:03.320 the door and they get on the bus. 0:21:03.720 --> 0:21:07.479 Oh okay, yeah. Do you do your kids know you're 0:21:07.520 --> 0:21:10.040 Elvis Costella? Like, do they get it or you're just 0:21:10.080 --> 0:21:11.200 more dead? Oh? 0:21:11.240 --> 0:21:14.280 No, they get that something that's been happening because they 0:21:14.359 --> 0:21:16.760 came and watched the TV show the other night and 0:21:16.800 --> 0:21:17.640 they know what I'm doing. 0:21:18.000 --> 0:21:19.040 Okay, so they hear me. 0:21:19.240 --> 0:21:21.520 I mean, the thing is, the last two years, nobody's 0:21:21.520 --> 0:21:23.359 been able to get away from anybody, you know. I mean, 0:21:23.480 --> 0:21:25.560 even if they know they've been on the road with 0:21:25.640 --> 0:21:28.960 both of us since they were six months old, they 0:21:29.119 --> 0:21:31.400 remember it from when they were four. But when I said, hey, 0:21:31.440 --> 0:21:33.880 this summer we might go on the road with mom. 0:21:34.200 --> 0:21:36.400 That'd be great. You know, they're good at traveling. 0:21:36.680 --> 0:21:39.360 And they're fifteen. They were born in. 0:21:39.320 --> 0:21:42.040 Two thousand and six, Yeah, December two thousand and six, 0:21:42.080 --> 0:21:45.840 so they are you know, they'd be sixteen extra samber, 0:21:45.960 --> 0:21:48.680 so they not long had a birthday. 0:21:48.680 --> 0:21:49.560 And they're great lads. 0:21:49.560 --> 0:21:52.639 And you know, I have in the amount I've traveled 0:21:52.640 --> 0:21:55.480 in my life, and we all have traveled, I wouldn't 0:21:55.480 --> 0:21:57.920 have I wouldn't have traded anything about these last two 0:21:57.960 --> 0:22:02.920 years except the fear of friends and my family and yeah, 0:22:03.119 --> 0:22:05.320 you know far away either you're concerned about them and 0:22:05.359 --> 0:22:08.800 you responding to an emergency or something. But in terms 0:22:08.840 --> 0:22:11.440 of the time we had the four of us, that's unbeatable, 0:22:11.480 --> 0:22:14.000 you know. And they got used to like, why is 0:22:14.080 --> 0:22:16.320 Dad out in the garden shouting into that microphone? That's 0:22:16.320 --> 0:22:17.560 because I was making a record. 0:22:17.640 --> 0:22:17.800 You know. 0:22:18.320 --> 0:22:20.040 I worked out how to do it, and we all 0:22:20.040 --> 0:22:21.480 had to work out how to do it. I learned 0:22:21.520 --> 0:22:24.560 to play the electric violin. That was a worrying sound. 0:22:24.720 --> 0:22:29.440 You know, are they musically inclined? Like? Are they that 0:22:29.720 --> 0:22:31.040 they got music within them? 0:22:31.240 --> 0:22:33.520 And one of them is you know, one of them 0:22:33.520 --> 0:22:38.520 told me that, you know, he said I'm I'm piano 0:22:38.600 --> 0:22:40.320 this year. And I said, well, do you already read 0:22:40.400 --> 0:22:42.440 music right now? Because you played trombone for a year 0:22:42.480 --> 0:22:46.080 in jazz band. He said, I wasn't reading. I had 0:22:46.160 --> 0:22:50.200 memorized it, so you know, oh okay. So there's there's 0:22:50.240 --> 0:22:52.760 some of mom and the summer Dad and it. You know, 0:22:53.000 --> 0:22:56.359 I can't read by a can. I can write it 0:22:56.359 --> 0:22:58.360 now and I can, you know, but I can't read 0:22:58.400 --> 0:22:58.760 it back. 0:22:58.880 --> 0:23:02.720 So what's their epic to nes? Like where your dad 0:23:03.000 --> 0:23:04.600 is Elvis Costill in your mom's. 0:23:04.400 --> 0:23:06.920 Dying and crawl like, I don't know. My dad's a dentist. 0:23:09.160 --> 0:23:12.240 Listen, if you got to school, if you got to 0:23:12.280 --> 0:23:14.879 if you told my sisters like I was, they just 0:23:14.960 --> 0:23:17.640 had such a complete conviction that I could sing when 0:23:17.640 --> 0:23:19.840 I was a little boy because my dad was on 0:23:19.840 --> 0:23:20.720 the radio every week. 0:23:20.720 --> 0:23:21.480 They were convinced. 0:23:21.520 --> 0:23:23.600 And that was fine when it was fine, the drumming 0:23:23.600 --> 0:23:26.080 out of class, maybe sing for who were the priest 0:23:26.160 --> 0:23:28.359 or whoever came to the school. But when you're ten, 0:23:28.480 --> 0:23:31.320 you hate that. You know, that's the worst. So my 0:23:31.359 --> 0:23:34.119 parents never maybe do it. So my dad being so 0:23:34.320 --> 0:23:35.480 never occurred to me. I was going to do it 0:23:35.560 --> 0:23:39.000 until I was I was, I don't know, seventeen. 0:23:39.920 --> 0:23:43.360 So can you sing though, because there was singing around 0:23:43.400 --> 0:23:45.760 you and you sang from an early age. 0:23:45.560 --> 0:23:46.480 Or why that? 0:23:46.640 --> 0:23:49.959 I don't know. I really don't know. I mean I 0:23:49.960 --> 0:23:53.080 can only remember music playing. I mean I can remember 0:23:54.040 --> 0:23:55.960 I can remember being idle wi with this. This is 0:23:56.280 --> 0:23:58.879 Recopli called a decad Kali, and I had this big 0:23:58.920 --> 0:24:01.239 red on on on light on the front of it, 0:24:01.320 --> 0:24:03.800 like one of those ones with a grill, you know, 0:24:03.840 --> 0:24:06.080 like a honeycomb on the front, with a record player, 0:24:06.280 --> 0:24:07.840 like with a lid on it. 0:24:08.560 --> 0:24:09.240 And I just. 0:24:09.200 --> 0:24:12.160 Remember that looking at that, like looking at any toy 0:24:12.240 --> 0:24:13.880 on the ground, you know. So I must have only 0:24:13.920 --> 0:24:16.520 been crawling around and I can remember it. 0:24:16.680 --> 0:24:17.520 I'm not imagining it. 0:24:17.600 --> 0:24:20.520 I've got pictures, you know, where it was in the 0:24:20.560 --> 0:24:23.840 place we lived. So I guess my mother must have 0:24:23.840 --> 0:24:26.200 been playing that a lot back then. 0:24:26.720 --> 0:24:31.000 Let's say, when your father was in his prime, singers 0:24:31.240 --> 0:24:32.280 had to Actually. 0:24:32.040 --> 0:24:35.680 Yeah, he's a way better singer than I. I mean, 0:24:35.720 --> 0:24:39.240 he had what really good voice, but he was also 0:24:39.280 --> 0:24:43.320 good mimic. So the funny thing about my dad was 0:24:43.359 --> 0:24:45.800 he sang in a kind of The band was modeled 0:24:45.800 --> 0:24:47.400 on Glenn Miller. It was the same kind of music 0:24:47.440 --> 0:24:50.160 sweet Bound. Really it wasn't a jazz group. He'd been 0:24:50.200 --> 0:24:54.040 a bebop trumpet player in bulking Head at the time where. 0:24:53.920 --> 0:24:54.400 He was born. 0:24:54.880 --> 0:24:57.320 Came to London to try and make a living in jazz, 0:24:57.880 --> 0:25:00.880 like a lot of jazz musicians, found that difficult. When 0:25:01.040 --> 0:25:03.840 my mother and him got married and then I came along, 0:25:03.880 --> 0:25:06.280 he took a job that was better paying, which was singing, 0:25:06.520 --> 0:25:09.680 because he could sing, and so he had to sing 0:25:09.760 --> 0:25:11.520 whatever was in the hip raide. You didn't get to 0:25:11.600 --> 0:25:14.520 choose and to sing whatever was in the charts. Now, 0:25:14.560 --> 0:25:16.680 that was fine in the fifties for somebody just singing 0:25:16.760 --> 0:25:19.119 a ballad. I got pictures of my dad are as 0:25:19.160 --> 0:25:21.040 big bow ties like Frank sin Archie used to wear 0:25:21.040 --> 0:25:21.640 in the forties. 0:25:21.680 --> 0:25:21.960 You know. 0:25:22.200 --> 0:25:25.440 Everybody just followed the trends, and he wanted to play 0:25:25.520 --> 0:25:27.440 like different people. When he was playing, he wanted to 0:25:27.480 --> 0:25:30.200 play like Dizzy. Then he want to play like Clifford Brown. 0:25:30.119 --> 0:25:30.359 You know. 0:25:30.560 --> 0:25:33.800 And then then he got in this dance band that 0:25:33.960 --> 0:25:36.359 used to just play what was in the charts. Well, 0:25:36.400 --> 0:25:39.000 what was in the charts by nineteen sixty three sixty 0:25:39.000 --> 0:25:43.080 four was a huge range of music that wasn't really 0:25:43.119 --> 0:25:47.040 designed for a sixteen piece sweet man to play, but 0:25:47.119 --> 0:25:50.280 they did it nonetheless because that was how music filtered 0:25:50.280 --> 0:25:53.560 through to us. We didn't have twelve hour day, let 0:25:53.600 --> 0:25:56.520 alone twenty four hour day pop radio. Just that's why 0:25:56.520 --> 0:25:59.479 we had pirate radio because that was a revolution that 0:25:59.560 --> 0:26:03.560 brought like the continuous pop music to English listeners. My 0:26:03.640 --> 0:26:06.280 dad was part of a process that preceded that, which 0:26:06.400 --> 0:26:09.160 was interpreting those songs. So he would have to sing 0:26:09.200 --> 0:26:12.159 a song like it wouldn't matter whether it was the 0:26:12.240 --> 0:26:14.159 latest song by Tom Jones or the latest song by 0:26:14.200 --> 0:26:15.879 the Who, or the latest song by the four Tops 0:26:15.960 --> 0:26:18.639 or the Searchers. You know, he had to do all 0:26:18.640 --> 0:26:21.480 those songs so crazy, I know, but I mean they 0:26:21.520 --> 0:26:23.600 didn't get he didn't get any choice. It's whatever was 0:26:23.600 --> 0:26:23.760 in it. 0:26:23.880 --> 0:26:27.880 Break. So you're saying that there was somewhat a big 0:26:27.920 --> 0:26:31.000 band scene over there, but was there really a jazz 0:26:31.040 --> 0:26:32.760 like a hard bop jazz scene over there. 0:26:32.960 --> 0:26:36.399 Yeah, I mean there's musicians that he that he wanted 0:26:36.440 --> 0:26:39.760 to were some of his friends when they first came 0:26:39.760 --> 0:26:44.320 from Liverpool, were the people that founded the modern jazz scene. 0:26:44.520 --> 0:26:47.119 You know, he tried to get the gig with Ronnie Scott. 0:26:47.160 --> 0:26:50.480 Everybody wanted that gig. Ronnie formed the club. The other 0:26:50.560 --> 0:26:51.720 musicians of that Joe. 0:26:51.640 --> 0:26:53.640 Ronnie Scott was an actual person because. 0:26:53.640 --> 0:26:55.920 Yeah know, Ronie Scott was a tennis saxophone player then 0:26:55.960 --> 0:26:58.040 founded the club and he was like one of the 0:26:58.080 --> 0:27:00.600 people that led the way. And there's one or two musicians. 0:27:01.560 --> 0:27:05.280 Another great Tanner play called Tubby Hayes came to New 0:27:05.359 --> 0:27:06.879 York and was accepted. 0:27:07.359 --> 0:27:08.920 Obviously, some English. 0:27:08.680 --> 0:27:11.359 Musicians made it into the American scene, but there were 0:27:11.440 --> 0:27:15.960 so many great musicians here. Marrimount Partland that the piano players, 0:27:16.359 --> 0:27:19.000 She's from England, so you know there's people like that 0:27:19.000 --> 0:27:21.680 that came over, that came and they wanted to play 0:27:21.720 --> 0:27:24.679 with the great people on fifty second Street. But that 0:27:24.840 --> 0:27:26.960 was it was difficult enough to get in the door 0:27:27.560 --> 0:27:31.080 in London because this music wasn't that popular and popular 0:27:31.200 --> 0:27:33.639 music was. You could turn the radio on when I 0:27:33.680 --> 0:27:35.359 was a kid and it sounded like it was nineteen 0:27:35.400 --> 0:27:39.280 thirty five. I mean the music was still like little 0:27:39.400 --> 0:27:43.040 kind of string group playing the melody of something, but 0:27:43.160 --> 0:27:45.560 it wouldn't be anything like the record. So there was 0:27:45.600 --> 0:27:48.120 a there was so little music. 0:27:47.840 --> 0:27:50.360 And that was known as mainstream radio then that. 0:27:50.400 --> 0:27:53.520 Yeah, we only had one channel playing music on the BBC. 0:27:53.680 --> 0:27:59.440 We just had the light program. 0:27:59.600 --> 0:28:02.480 So what I know is Northern Soul, like when did 0:28:02.520 --> 0:28:03.200 that breakout? 0:28:03.440 --> 0:28:07.359 Norton Soul was kind of like that was really a 0:28:07.359 --> 0:28:11.880 club thing that happened late sixties, I think through mid 0:28:11.920 --> 0:28:15.520 to late sixties. The thing that happened all simultaneously was 0:28:15.560 --> 0:28:19.119 the Pirate Radio happened, and that changed the fact that 0:28:19.160 --> 0:28:21.600 we could get the pop music played by the original 0:28:21.720 --> 0:28:25.600 artists not interpreted in these slightly square ways, and the 0:28:26.480 --> 0:28:30.680 TV shows that played pop music got hippa. Like one week, 0:28:31.119 --> 0:28:35.119 Ready Steadygo, the Friday Night for show just had the 0:28:35.200 --> 0:28:38.520 Motown review on, and like just blew everybody's minds because 0:28:38.520 --> 0:28:41.719 suddenly all these people with like style and you know, 0:28:41.880 --> 0:28:45.080 coordinated moves and everything. You've got to think before that. 0:28:45.120 --> 0:28:48.920 It's four lumpy lads in beetlesuits and their hair brush 0:28:48.960 --> 0:28:51.480 forward for twenty minutes before the show. You know, they 0:28:51.640 --> 0:28:55.280 just thought to do that, and they're doing I don't know, 0:28:55.400 --> 0:28:58.480 Fortune Teller or something by Aunt Hussan. Next thing, you've 0:28:58.480 --> 0:29:01.200 got David ruffin Oh Love and Gay. 0:29:01.320 --> 0:29:03.040 You know, it was a bit of a mind blower. 0:29:03.120 --> 0:29:06.000 Obviously you could hear the bands, you can hear the 0:29:06.080 --> 0:29:10.400 musicians who they were listening to. They copied everything off 0:29:10.440 --> 0:29:13.320 records and records. Took about six weeks to get to England. 0:29:13.720 --> 0:29:17.720 I just met this weekend. I was in LA and 0:29:19.120 --> 0:29:22.480 one of the main cameramen from Ready Steady Go oh Yeah, 0:29:22.720 --> 0:29:25.600 happened to come to an event of mine. So it's 0:29:25.680 --> 0:29:30.280 kind of where in the last month and a half, well, 0:29:30.320 --> 0:29:35.120 I've been talking to the Shindig people air quotes talking 0:29:35.240 --> 0:29:37.880 That's all I can see now. I can't tell you 0:29:38.160 --> 0:29:41.360 the context, but I've been learning a lot about how 0:29:42.120 --> 0:29:46.320 the pop scene got developed over in the UK. And 0:29:46.920 --> 0:29:49.880 you know, I'm learning these things. 0:29:49.360 --> 0:29:54.320 Totally different, totally different timeline, totally different availability. It wasn't 0:29:54.320 --> 0:29:57.480 commercial for one thing, so they didn't have that driving it. 0:29:57.560 --> 0:30:00.000 You know, it didn't have the same thing driving it. 0:30:00.440 --> 0:30:04.480 We had commercial television. We had two only two channels. 0:30:04.640 --> 0:30:06.920 When I when say, at the time the Beatles started, 0:30:06.920 --> 0:30:09.800 there were only two TV channels BBC one BBC two 0:30:09.800 --> 0:30:14.520 hel BBC and ITV so BBC and one commercial channel. Okay, 0:30:14.840 --> 0:30:17.920 so they both had pop shows, but they were kind 0:30:17.920 --> 0:30:20.840 of square and they were based on different things. And 0:30:20.880 --> 0:30:23.040 then then they started BBC two and they would have 0:30:23.120 --> 0:30:26.320 jazz programs and that was kind of amazing actually, because 0:30:26.320 --> 0:30:28.240 they'd get really good people on them. You'd see Errol 0:30:28.280 --> 0:30:31.080 Gahan or he'd see Escapedis and there's a lot of 0:30:31.080 --> 0:30:33.840 footage and the BBC went very good at keeping it, 0:30:33.880 --> 0:30:36.440 so I don't know how much they they went over 0:30:36.480 --> 0:30:38.240 a lot of things. So things I saw as a 0:30:38.280 --> 0:30:39.440 kidnapped memories. 0:30:39.080 --> 0:30:41.840 Of I learned that they would they were they would. 0:30:41.600 --> 0:30:44.520 Wipe the tapes, you know. But I mean, you know, 0:30:44.560 --> 0:30:49.160 if you saw something like Hendrix when he he was 0:30:49.200 --> 0:30:51.400 on the Lulu Show and he and the Weak Cream 0:30:51.480 --> 0:30:54.160 broke up and he just played at Sun Sorrow of 0:30:54.200 --> 0:30:56.360 Your Love. He said, we're going to stop playing this rubbish, 0:30:56.360 --> 0:30:58.800 which was Hey Joe, which was his hit, and that 0:30:58.960 --> 0:31:01.440 was I saw that love and it just blew my mind, 0:31:01.440 --> 0:31:04.240 and it was like, hey, television just went out of control, 0:31:04.360 --> 0:31:08.400 you know, because you remember this is at a time 0:31:08.480 --> 0:31:11.360 when when on the radio, when I was a kid, 0:31:11.360 --> 0:31:14.400 they used to make the news reader put on a 0:31:14.440 --> 0:31:19.360 dinner jacket to read the news on the radio. They 0:31:19.400 --> 0:31:21.680 had to wait, they had to be formally dressed to 0:31:21.720 --> 0:31:25.400 read the news. I don't ask me why. Maybe it 0:31:25.520 --> 0:31:26.160 made of them. 0:31:26.040 --> 0:31:28.040 To think that I was saying this, this is the 0:31:28.080 --> 0:31:30.280 BB Yeah they were. 0:31:30.520 --> 0:31:33.320 Yeah, So it was a whole completely different world. And 0:31:33.360 --> 0:31:38.440 when you know, you can imagine Hard Day's Night was 0:31:38.480 --> 0:31:41.600 a film where the group talking in their ordinary voices, 0:31:42.320 --> 0:31:44.280 not like they were in show business, but they seemed 0:31:44.280 --> 0:31:47.360 like they just were lads from Liverpool. And the American 0:31:48.080 --> 0:31:50.760 hop movies were mostly Elvis Presley and they were just 0:31:50.880 --> 0:31:54.760 involving Elvis as a truck driver, Elvis as a racing driver, 0:31:54.800 --> 0:31:58.240 Elvis as a helicopter pilot, what Elvis on a surfboard, 0:31:58.280 --> 0:31:59.280 you know, Like I. 0:31:59.200 --> 0:32:02.800 Gotta tell you, I saw Jailhouse Rock for the first 0:32:02.800 --> 0:32:07.240 time this Sunday. That's a good movie. Well they okay. 0:32:07.280 --> 0:32:12.320 So in context, Quentin Tarantino has a what we would 0:32:12.320 --> 0:32:15.520 call a grindhouse in la It's called the New Beverly 0:32:15.800 --> 0:32:20.920 and basically, Quentin Tarantino purchased this place because he wanted 0:32:20.960 --> 0:32:23.960 to recreate what movie theaters were like back in the 0:32:24.000 --> 0:32:26.760 seventies when he was a kid. So it's only thirty 0:32:26.760 --> 0:32:30.360 five millimeter or sixteen millimeter print, and it's weird things 0:32:30.400 --> 0:32:33.440 like you know, a kung fu flick, science fiction film, 0:32:33.520 --> 0:32:36.440 an old Western or an old classic or Italian new 0:32:36.520 --> 0:32:42.000 or whatever, and he graciously transferred my movie Summer of 0:32:42.040 --> 0:32:46.520 Soul to thirty five millimeter and was done in double features. 0:32:46.560 --> 0:32:51.080 So on Sunday, the double feature was Elvis's Jailhouse Rock 0:32:51.240 --> 0:32:54.400 in Summer of Soul. So I saw Jailhouse. I've seen 0:32:54.520 --> 0:32:59.080 that scene before, but I've never watched Jailhouse Rock, and 0:32:59.120 --> 0:33:01.160 it just hit me that I I think, with the 0:33:01.160 --> 0:33:03.520 exception of is there a film called Blue Hawaii or 0:33:03.640 --> 0:33:08.280 Blue Yeah, I think that's the only Elvis film that 0:33:08.360 --> 0:33:12.400 I've seen, and now I want to watch them all 0:33:10.760 --> 0:33:16.200 because well, just for the format, the format of this 0:33:16.320 --> 0:33:21.800 film is like, there's any excuse two make what videos 0:33:21.880 --> 0:33:24.480 basically like to you know? All right, Well, we're also 0:33:24.480 --> 0:33:26.360 going to rabbit holes out of it, So let's go 0:33:26.440 --> 0:33:29.560 back to you were taking us to. This is your beginning. 0:33:29.800 --> 0:33:33.000 It's nearly impossible for me to stay to pick up 0:33:33.000 --> 0:33:36.120 the guitar when I was thirteen without referring to the 0:33:36.120 --> 0:33:39.880 fact that I know because I've read you know, your book, 0:33:40.760 --> 0:33:43.240 so I know that we have this one and we 0:33:43.320 --> 0:33:44.880 talked about it before we have this one. 0:33:45.040 --> 0:33:45.280 You know. 0:33:45.440 --> 0:33:48.880 So key similarity despite all the different experiences is the 0:33:48.960 --> 0:33:51.560 example of your father playing music weekend. 0:33:51.560 --> 0:33:52.520 We got whatever it. 0:33:52.520 --> 0:33:56.000 Is is very different and it gives you the sense 0:33:56.040 --> 0:33:59.000 of it being both magical and you get an idea 0:33:59.040 --> 0:34:01.320 of the Monday. And remember really going in with my 0:34:01.400 --> 0:34:04.920 dad to the radio studio when they were on, when 0:34:04.920 --> 0:34:07.040 I was on the school holiday, I'd go with him 0:34:07.080 --> 0:34:08.919 in the morning and to be a bunch of people 0:34:08.920 --> 0:34:11.360 reading the paper and I think still smoking in the theater. 0:34:11.680 --> 0:34:14.600 I remember them as having cigarettes. Maybe they didn't, but 0:34:14.640 --> 0:34:18.040 they were definitely just reading the paper. And then the 0:34:18.120 --> 0:34:20.279 conductor would come, the band leader and then bring it 0:34:20.280 --> 0:34:20.760 to attention. 0:34:20.800 --> 0:34:23.160 They rehearse. Then a group would come in and rehearse, 0:34:23.200 --> 0:34:24.120 and that group would. 0:34:23.880 --> 0:34:26.600 Be somebody from the charts, so it'd be the Hollies 0:34:26.880 --> 0:34:29.760 or Engelbern, Humperdink or whoever was on the show singing 0:34:29.800 --> 0:34:33.960 a couple of songs. Inevitably, if that's your perspective of it, 0:34:33.960 --> 0:34:36.040 it changes. It just me and a kid waiting for 0:34:36.080 --> 0:34:38.080 your favorite record to come on the radio, or your 0:34:38.120 --> 0:34:40.680 favorite record to come on. The couple of TV shows 0:34:40.680 --> 0:34:42.879 a week that played the music. You liked the fact 0:34:42.920 --> 0:34:44.759 that my dad was in the front room learning the 0:34:44.800 --> 0:34:48.120 songs that I loved, Like the first record I ever 0:34:48.200 --> 0:34:51.640 owned was Please Please Meet. He gave it to me 0:34:51.719 --> 0:34:54.400 because I asked him for it, but it was advanced 0:34:54.440 --> 0:34:56.759 copy that he was learning off a piece of sheet 0:34:56.800 --> 0:34:59.279 music so he could sing it on the radio that 0:34:59.400 --> 0:35:02.000 week the Beatles, so he was second hit. 0:35:02.160 --> 0:35:03.560 Okay, I see. 0:35:03.320 --> 0:35:05.560 So he's singing please Please Me in the front room. 0:35:06.280 --> 0:35:08.600 And then my folks split up not long after that, 0:35:08.719 --> 0:35:10.399 so then he would just give me the records. He'd 0:35:10.400 --> 0:35:12.400 come around and give me a stack of singles. 0:35:12.440 --> 0:35:15.040 I was going to ask, what was the first record 0:35:15.719 --> 0:35:18.040 that you remember buying with your own money. 0:35:19.320 --> 0:35:24.040 Fame at Last was an e ep by Georgie Fame 0:35:24.480 --> 0:35:27.520 and it was pretty cool because it had one song 0:35:27.520 --> 0:35:30.040 by Lambert Andricks and ross one by mos Awson, but 0:35:30.080 --> 0:35:33.920 it was a it was a Willie Dixon song, one 0:35:33.960 --> 0:35:37.200 song that was by Lou Jordan and one song by 0:35:37.280 --> 0:35:39.680 Ray Charles that there was that's who he was covering. 0:35:40.480 --> 0:35:42.920 So that was a pretty good education for four songs. 0:35:43.280 --> 0:35:46.400 A twenty one year old organ player from Lancashire. They 0:35:46.400 --> 0:35:49.200 were napped for a nine year old kid. That was 0:35:49.239 --> 0:35:51.800 a lot of information to get all on one record 0:35:52.400 --> 0:35:57.000 because he was he was no no, no was way 0:35:57.000 --> 0:35:58.640 after that was a later one. It was a point 0:35:58.640 --> 0:36:01.520 in no return. It was a it was a golflin 0:36:01.600 --> 0:36:04.839 king song. It was it was sixties like wow, it 0:36:04.880 --> 0:36:07.320 was later later, Yeah, okay. 0:36:07.400 --> 0:36:08.160 And Georgie did. 0:36:08.080 --> 0:36:11.640 G McDaniels and like a Sander Maria, and he had 0:36:11.680 --> 0:36:15.399 like he was Hippie. Knew Eddie Jefferson, and he knew 0:36:15.440 --> 0:36:18.200 a lot of music that the other organ players didn't know, 0:36:18.320 --> 0:36:21.399 like Stevie Winwood, the New R and B R, all 0:36:21.440 --> 0:36:25.680 those guys all knew all the great R and B singers. 0:36:26.320 --> 0:36:28.759 But Georgie was unusual and did he He. 0:36:28.760 --> 0:36:32.000 Sang like like mosaices and he sang like a cross 0:36:32.000 --> 0:36:34.319 between John Hendricks and Moses, and he saying, you know, 0:36:34.600 --> 0:36:37.080 you see me, welcome to this man. He had that 0:36:37.200 --> 0:36:41.279 kind of dead panwez you know, goddamn Like he could 0:36:41.320 --> 0:36:44.319 sing like he could sing John Hendrick's music just great. Yeah, 0:36:44.960 --> 0:36:47.120 he could sing like things like he could sing like 0:36:48.160 --> 0:36:50.960 down for the Count and Little Darling and those things, 0:36:51.000 --> 0:36:53.000 the Neil Hefty things. He could sing, the basy things 0:36:53.640 --> 0:36:56.320 he sang with a big band. He was a really 0:36:56.440 --> 0:36:57.600 great musician. 0:36:57.280 --> 0:37:01.640 Fort For our listeners out there, if you can peep, 0:37:02.480 --> 0:37:06.200 it's a later John Hendrick song, but there's a okay, 0:37:06.280 --> 0:37:08.680 So if you're familiar with I've talked about this on 0:37:08.719 --> 0:37:12.399 the show before. The idea of vocal lise, vocal ease 0:37:12.480 --> 0:37:18.160 is where jazz lyricists would put words to jazz songs 0:37:18.200 --> 0:37:22.279 that never had lyrics before. And so John Hendrix does 0:37:22.360 --> 0:37:27.920 this really amazing version of Miles Davis's Freddy Freeloader, and 0:37:28.000 --> 0:37:32.760 he does it with al Jio, George Benson, and Bobby mcfaerrin, 0:37:33.000 --> 0:37:36.400 and basically the four of them, with their very unusual 0:37:36.520 --> 0:37:43.320 jazzy voices, verbatim recreate all the solos or Miles's original 0:37:43.400 --> 0:37:48.759 Freddy freeload with the lyrics, which is the hardest thing 0:37:48.920 --> 0:37:52.520 to do. I mean, they notated each like I've played 0:37:52.520 --> 0:37:58.280 the original and their version simultaneously, and they followed every 0:37:58.440 --> 0:38:01.000 lick of those solos and put lyrics to it and 0:38:01.080 --> 0:38:04.360 a narrative to a story about a guy loves alcohol. 0:38:04.400 --> 0:38:08.440 But anyway, I digress. If you're into John Hendricks, that 0:38:08.600 --> 0:38:09.800 is definitely. 0:38:09.440 --> 0:38:11.920 Well that That was the song on not EPI that 0:38:11.960 --> 0:38:13.960 they did, which was lined by Hendricks and Ross. Course, 0:38:13.960 --> 0:38:18.959 Sonny Ross also another Scottish import to the jaz saying, 0:38:18.960 --> 0:38:19.279 you know. 0:38:19.360 --> 0:38:22.400 Whoa I did not know that? Yeh she thought she 0:38:22.440 --> 0:38:22.960 was American. 0:38:23.040 --> 0:38:25.399 No, she won Americans, she was I think Scottish. 0:38:25.560 --> 0:38:30.200 Yeah, fuck this, yeah, I mean seriously, like you just 0:38:30.280 --> 0:38:33.360 invented your a new podcast. Like the two of you 0:38:33.480 --> 0:38:38.000 fucks could talk the fucking ever and it's all great. 0:38:38.120 --> 0:38:41.440 But the problems there's like ten references every five seconds. 0:38:42.040 --> 0:38:44.279 So it's like for people trying to figure out what 0:38:44.320 --> 0:38:47.920 the heck what we're talking about, they have to you know, 0:38:48.040 --> 0:38:50.279 you can turn a podcast down to to like half 0:38:50.280 --> 0:38:51.160 speed or like. 0:38:51.120 --> 0:38:54.560 You know, I do that. Actually, I mean, all right, 0:38:54.600 --> 0:38:56.960 you guys are ridiculous. Honestly, it's ridiculous. 0:38:56.960 --> 0:38:58.239 No take over, Steve, forgive me. 0:38:58.320 --> 0:39:01.840 I know that Elvis wants to talk a little bit 0:39:01.840 --> 0:39:02.759 about Summer of Saw. 0:39:03.480 --> 0:39:06.279 I do I know that you that you saw Smer soldiers. 0:39:06.480 --> 0:39:09.000 I mean, I have to thank you for morelos that 0:39:10.000 --> 0:39:13.080 you know some of us al had to come out 0:39:13.160 --> 0:39:17.120 when it came, when when it was shot, it would 0:39:17.160 --> 0:39:21.480 have had a corrective I think for the way people 0:39:21.600 --> 0:39:24.200 sort of regarded is it. And I mean I remember 0:39:24.239 --> 0:39:26.680 going to see Woodstock, and that was our first glimpse 0:39:26.719 --> 0:39:27.480 of a festival. 0:39:28.160 --> 0:39:29.800 You know, I was living in the north of England. 0:39:29.880 --> 0:39:33.480 You know, it rains all the time, like constantly, it 0:39:33.560 --> 0:39:36.719 seems like for years, it seemed in those days. And 0:39:36.760 --> 0:39:38.239 we just thought, Wow, that's gonna be great. One of 0:39:38.239 --> 0:39:40.200 these days, We'll have one of these festivals and everybody, 0:39:40.239 --> 0:39:41.680 all the girls that take the clothes off and were 0:39:41.719 --> 0:39:44.359 all slide around the mudin and all the great you see, 0:39:44.360 --> 0:39:46.239 summer sold. It was kind of for one thing, it 0:39:46.280 --> 0:39:48.960 was in the city, right so right right there, you 0:39:49.120 --> 0:39:51.399 kind of had whole families. You didn't have this one 0:39:51.480 --> 0:39:52.720 generation of people working. 0:39:52.960 --> 0:39:54.359 Wait time out, I got to ask you a question. 0:39:55.040 --> 0:39:58.239 So you're telling me that in nineteen sixty nine, yeah, 0:39:59.400 --> 0:40:03.719 reading aston Bery, they hadn't happened. Oh wait, So I'm 0:40:03.800 --> 0:40:07.640 under the impression that America was lead to the table. No, no, 0:40:07.719 --> 0:40:10.600 and that Europe had been throwing festivals all day. 0:40:10.960 --> 0:40:12.960 They were showing festivals where they used to kind of 0:40:13.000 --> 0:40:15.480 like hit each other on the head with a bladder 0:40:15.520 --> 0:40:17.400 on a stick, you know, or like jump around the 0:40:17.400 --> 0:40:20.319 maypole and stuff back in the medieval times. But they 0:40:20.360 --> 0:40:23.400 didn't have like rock festivals. No, they didn't. I mean 0:40:23.440 --> 0:40:24.480 they had gatherings. 0:40:24.520 --> 0:40:26.920 So when did festival cultures start? 0:40:27.040 --> 0:40:30.400 And I think Glastonbury is the first one? Is seventy 0:40:30.520 --> 0:40:33.759 or seventy one? Wait what yeah, I mean one of 0:40:33.760 --> 0:40:37.520 the big festivals that every remembers was Bath in seventy. Yeah, 0:40:37.520 --> 0:40:40.600 but it was a pretty small festival. And then we 0:40:40.600 --> 0:40:44.920 didn't really have any big gathering, like, like nothing on 0:40:44.960 --> 0:40:48.040 the scale of Woodstock. I mean maybe in Europe they 0:40:48.040 --> 0:40:50.000 had them. I don't remember hearing about them though. I 0:40:50.000 --> 0:40:53.000 didn't wasn't paying that much attention. But we saw so 0:40:53.040 --> 0:40:56.360 we saw the film Woodstock, right, And then I was 0:40:56.400 --> 0:40:58.560 talking to some people the other day about I went 0:40:58.600 --> 0:41:02.520 to the biggest festival in seventy two. I was already 0:41:02.560 --> 0:41:05.640 playing then in Liverpool and I remember did a gig 0:41:05.640 --> 0:41:07.640 on the Friday night and I came out and it 0:41:07.719 --> 0:41:10.400 was raining, like they said, cats and dogs, you know, 0:41:10.560 --> 0:41:12.799 just like looks like a load of needles dancing on 0:41:12.840 --> 0:41:15.640 the on the on the pavement. And it never occurred 0:41:15.640 --> 0:41:18.000 to me that would be slightly damp in the field. 0:41:18.040 --> 0:41:20.719 I was going to outside thirty miles away and then 0:41:20.760 --> 0:41:23.400 got on a train the next morning with just a 0:41:23.440 --> 0:41:27.840 blanket and boots, no sleeping bag, no tent, and I 0:41:27.880 --> 0:41:30.359 didn't even think about it. I just I'll just sleep 0:41:30.400 --> 0:41:34.400 under the stars, like and it was like, you know, 0:41:34.440 --> 0:41:36.440 it was like a way back from the lines in 0:41:36.480 --> 0:41:38.000 the First World War. When I got there, it was 0:41:38.040 --> 0:41:40.399 like you had to wade through feet of mud and 0:41:40.840 --> 0:41:43.520 it was miserable and cold, and I and they were 0:41:43.560 --> 0:41:47.280 selling these giant like messenger bags, human sized messenger bags, 0:41:47.640 --> 0:41:50.279 and that's the only thing that stopped us from all 0:41:50.280 --> 0:41:54.480 getting hypothermia. And then listened to Captain beef Hard at about 0:41:54.440 --> 0:41:56.160 three o'clock in the morning and the next day The 0:41:56.160 --> 0:41:58.279 Grateful Dead played for four hours. You know, it was 0:41:58.360 --> 0:42:00.600 like and that was glamour, you know, that was the 0:42:00.640 --> 0:42:02.919 baddest glamoro. And I had trench foot when I came home. 0:42:02.960 --> 0:42:05.520 You know, it was like it was it was nothing 0:42:05.680 --> 0:42:09.279 like we imagined. So seeing summer soul and seeing a 0:42:09.320 --> 0:42:12.759 festival happening inner city, right, Okay, it's over weekends, so 0:42:12.800 --> 0:42:16.000 it's like it's a collection of festivals really, but with 0:42:16.160 --> 0:42:18.600 the whole thousand. Yeah, But I mean, the thing that's 0:42:18.640 --> 0:42:20.960 so great is the fact that you've got those interviews 0:42:21.000 --> 0:42:24.719 with the little kids that were there, that were witnesses 0:42:24.760 --> 0:42:28.239 to this stuff, and there's a whole corrective to like 0:42:28.360 --> 0:42:31.440 what that all of those people meant a part from 0:42:31.480 --> 0:42:33.960 the fact that they had the jazz and the gospel people, 0:42:34.400 --> 0:42:37.760 and then you know, all the little vignettes like Mehalea 0:42:37.880 --> 0:42:42.400 Jackson handing the mic to mad this, you know, I 0:42:42.400 --> 0:42:44.560 mean parts of it that just I don't know whether 0:42:44.600 --> 0:42:48.359 I'm reading into this, but like having said sixty five 0:42:48.440 --> 0:42:52.120 or something when the Motown review came over, and the 0:42:52.160 --> 0:42:54.120 fact that you were, you know, in the same way 0:42:54.120 --> 0:42:56.840 as people say are you beatles or stones? Are you 0:42:56.960 --> 0:43:01.520 as we said, Temmy's or tops? You know, you can't 0:43:01.600 --> 0:43:04.480 like them both, you know, right, really because I like 0:43:04.560 --> 0:43:04.919 them both. 0:43:04.960 --> 0:43:06.080 You know that. 0:43:06.760 --> 0:43:10.160 So David Ruffin when he comes out and he's he's 0:43:10.239 --> 0:43:13.879 like the kind of returning prints, you know, and then 0:43:13.880 --> 0:43:17.400 he's sort of fragile. You know, it was a curious 0:43:17.480 --> 0:43:21.840 look because when he comes out and then his act 0:43:21.960 --> 0:43:25.080 kind of looks slightly stiff because he's used to playing 0:43:25.160 --> 0:43:28.040 much more he's not. He's also used to four people 0:43:28.200 --> 0:43:30.400 being yeah because it's right after he left, right, so 0:43:30.400 --> 0:43:33.759 it's like yeah, yeah. And then guess what, you know, 0:43:33.800 --> 0:43:37.279 the band that everybody's shocked by is fift to mention 0:43:37.440 --> 0:43:40.359 to completely kill, and they're kind of seen as kind 0:43:40.400 --> 0:43:41.920 of square, and then when you see him, they're not 0:43:41.920 --> 0:43:45.360 square at all. They're looking great, but everything's great. And 0:43:45.400 --> 0:43:47.480 then you get the Vinish vision from the future. You 0:43:47.520 --> 0:43:51.480 get like the visitation from the future with Sly, and 0:43:51.520 --> 0:43:53.520 I mean we just if that at all. I mean 0:43:53.560 --> 0:43:57.080 Sly at Woodstock, it's so far an advance of everything 0:43:57.080 --> 0:43:59.080 else on the bill. I mean, it's so far the 0:43:59.120 --> 0:44:03.200 best thing on It's the best music, even Jimmy. It's 0:44:03.320 --> 0:44:05.400 like by the end of it, it's like there's nobody 0:44:05.400 --> 0:44:10.239 there watching him. The big moment is Sly. But if 0:44:10.400 --> 0:44:13.480 people had seen that in the context of all of it, 0:44:13.760 --> 0:44:16.000 can you imagine how different things would have been the 0:44:16.080 --> 0:44:18.480 Stevie wanted to right before he makes talking book, you know, 0:44:18.640 --> 0:44:21.360 like that's exactly what the hell it's all these things, 0:44:21.400 --> 0:44:21.759 you know. 0:44:21.840 --> 0:44:25.279 That's literally like that's why I made it, because I 0:44:25.280 --> 0:44:27.240 meant the time when it was offered to me, Prince's 0:44:27.320 --> 0:44:31.319 autobiography was out and he was talking about like being 0:44:31.320 --> 0:44:35.200 an eleven year old watching Santana do this guitar solo 0:44:35.239 --> 0:44:36.839 and he's like, that's what I want to do when 0:44:36.880 --> 0:44:39.720 I get older, and like I'm really he was discouraged 0:44:39.719 --> 0:44:41.879 from doing music because his dad was like, he'll never 0:44:41.920 --> 0:44:44.520 be as good as me. So already that chip on 0:44:44.560 --> 0:44:46.520 the shoulder, I got to be better than my dad. 0:44:46.600 --> 0:44:49.600 Thing happened, and his dad wasn't the nurturing type. But 0:44:50.239 --> 0:44:54.600 his dad takes him to the seawoodstock and through Santana's set, 0:44:54.920 --> 0:44:57.120 Prince is like, that's what I want to do. And 0:44:57.200 --> 0:45:01.840 so for me, you know, luckily I got there because 0:45:02.200 --> 0:45:07.120 well again epigenetics, like my parents, coming into that situation 0:45:07.280 --> 0:45:10.560 in the world where your parents are musically inclined, you 0:45:10.600 --> 0:45:13.320 can't help but reach this destination. But I just wondered 0:45:13.400 --> 0:45:16.440 the hundreds of millions of people that who could have 0:45:16.480 --> 0:45:19.640 been affected by this, And again to hear you say it, 0:45:19.680 --> 0:45:23.520 because in my mind, I'm thinking that America got a 0:45:23.560 --> 0:45:28.480 festival idea from over in Europe. But I don't think so. 0:45:28.680 --> 0:45:30.839 No, I think it was a spontaneous I mean, there's 0:45:32.200 --> 0:45:34.160 you know, when you will look at jazzon the summer's day, 0:45:35.239 --> 0:45:37.279 you know, and you see that and you see Chuck 0:45:37.320 --> 0:45:40.760 Berry come out and you watch the band behind him 0:45:41.080 --> 0:45:43.359 like it's an all star band behind him, and they're 0:45:43.360 --> 0:45:46.000 really a band that designed to back Little Armstrong, you 0:45:46.040 --> 0:45:48.879 know they and they're just looking is Jack t God? 0:45:48.880 --> 0:45:51.359 And they played trombone with Little som Strong just looking 0:45:51.400 --> 0:45:54.319 at Chuck Berry like what thing is he doing here? 0:45:54.680 --> 0:45:57.320 Because I guess that guitar sounds like twelve times louder 0:45:57.360 --> 0:46:01.040 than anything, and really it's not that loud. But but 0:46:01.120 --> 0:46:03.600 the difference is in the music is so great and 0:46:03.640 --> 0:46:07.320 that's but that looks pretty, that's pretty kind of still 0:46:07.360 --> 0:46:08.960 like an it's not really like a festival. It's like 0:46:08.960 --> 0:46:11.839 an open air show. It's still like a garden part. 0:46:11.880 --> 0:46:14.800 It's a bunch of people up in Newport, like, looking 0:46:14.840 --> 0:46:17.480 at this, it's great that we got it. Newport Folk 0:46:17.560 --> 0:46:20.600 vessels the same. You get a bunch of bohemians and 0:46:20.640 --> 0:46:22.920 then you get Bob Dylan comes out and it's totally 0:46:23.400 --> 0:46:26.839 like a revolution. But I don't think there's anything in 0:46:26.880 --> 0:46:30.560 England that's there's a Cambridge Folk Festival and things like that. 0:46:30.800 --> 0:46:32.960 I don't remember there being anything that we could go 0:46:33.040 --> 0:46:33.640 to like that. 0:46:33.719 --> 0:46:37.239 Well, this shows me that Woodstock the movie is the 0:46:37.360 --> 0:46:42.680 legend that's set people's thoughts about festivals and people's thoughts 0:46:42.680 --> 0:46:45.360 about hippies and people's tharts about America and people's thoughts 0:46:45.360 --> 0:46:47.160 about those acts that plead. 0:46:47.280 --> 0:46:50.279 So, yeah, we saw all those movies, you know, we 0:46:50.320 --> 0:46:52.480 saw an Easy Rider with all that, with all the music, 0:46:52.520 --> 0:46:57.040 with Hendrix in and Steppenwolf, you know, and that seemed 0:46:57.080 --> 0:47:00.560 like whatever the movie was about, whatever it represented, those 0:47:00.600 --> 0:47:03.000 movies were things that people or have you seen that 0:47:03.040 --> 0:47:04.960 because it was it was an X because there was 0:47:05.400 --> 0:47:08.520 naked people in it and drugs, so those things don't 0:47:08.719 --> 0:47:12.120 The country was pretty buttoned up. People think it's like, oh, 0:47:12.120 --> 0:47:14.160 it's all happening, that's swinging sixties and all that, But 0:47:14.200 --> 0:47:18.160 that's all just happening on the films that the that 0:47:18.320 --> 0:47:21.840 they made pop films in the fifties, like on the 0:47:21.880 --> 0:47:23.719 Elvis Model. They put the star of the day in 0:47:23.760 --> 0:47:27.160 the movie, made up some daft thing. What's this one about? Oh, 0:47:26.640 --> 0:47:29.080 he's he's got a race horse? Okay, well, this one's 0:47:29.080 --> 0:47:31.319 about a race horse, this guy's got a chip shop, 0:47:31.400 --> 0:47:33.160 whatever it is. You know, they make up some story 0:47:33.360 --> 0:47:35.520 right and stick a couple of songs in it. Then 0:47:35.600 --> 0:47:37.960 then it all changes again. So the idea of a 0:47:37.960 --> 0:47:40.759 bunch of people getting together and putting music on and 0:47:40.840 --> 0:47:43.640 I mean, I mean, what's the name of the guys 0:47:43.719 --> 0:47:48.600 that the mc gar Yeah, God is like you could 0:47:48.640 --> 0:47:53.360 make a whole you know. I said to Jeff Jones that, 0:47:53.560 --> 0:47:55.440 you know, I went to the Get Back premiere in 0:47:55.440 --> 0:47:58.560 London and I sat next one away from Glen Johns. 0:47:58.560 --> 0:48:00.560 Well you went to the Get Back premiere? How long 0:48:00.680 --> 0:48:01.240 was the movie? 0:48:01.320 --> 0:48:03.200 It was like one hundred minute cut with a with 0:48:03.280 --> 0:48:06.440 an introduction Peter Jackson on one of the days of 0:48:06.040 --> 0:48:07.239 the eighteenth day. 0:48:07.400 --> 0:48:08.359 Have you seen us yet? 0:48:08.520 --> 0:48:09.920 This is where I got to cut you guys off. 0:48:09.920 --> 0:48:13.000 There's no and you talk about that documentary the next hour. 0:48:13.320 --> 0:48:15.680 Let me, I've decided this ship. 0:48:15.960 --> 0:48:17.920 Let me just say this one thing though, because it 0:48:18.040 --> 0:48:20.960 attains the quest. I mean, I think there was an 0:48:21.000 --> 0:48:23.279 actual article in the New York Times about Glenn john 0:48:23.360 --> 0:48:25.799 Sen that he was kind of like had it with 0:48:25.840 --> 0:48:28.880 people ringing him up, going what about your clothes and 0:48:28.920 --> 0:48:31.920 get back? Because Glen is wearing like the greatest outfits. 0:48:32.239 --> 0:48:34.759 He's the most stylish man in the movie. Likewise, you 0:48:34.800 --> 0:48:36.880 could have had a Summer of Soul line of clothing 0:48:36.960 --> 0:48:37.520 from the. 0:48:37.600 --> 0:48:39.200 MC's got the greatest cussion. 0:48:39.800 --> 0:48:43.080 No matter who's on the stage, He's He's like he's 0:48:43.120 --> 0:48:46.120 got an outfit almost as good and nearly always like 0:48:46.840 --> 0:48:50.920 right for their style too. It's like he dressed he knew, Okay, 0:48:50.960 --> 0:48:52.719 I'm going to come out and I'm going to introduce 0:48:53.440 --> 0:48:55.399 I'm going to be right for that, you know. It's 0:48:55.400 --> 0:48:57.279 like he's given a lot of thought to it. One no, 0:48:57.600 --> 0:48:59.839 he changed for every act. Was that was fantastic? 0:49:00.080 --> 0:49:02.640 So do you want to ask your first question? 0:49:03.000 --> 0:49:07.520 So that was the introduction his first hour of whatever. 0:49:07.920 --> 0:49:12.600 But I did see Get Back. It's freaking mesmerizing. Obviously, 0:49:12.640 --> 0:49:14.400 if you're a Beatles fan, there's so much and. 0:49:14.400 --> 0:49:17.040 Even if you're not, actually I think if it, I think, yeah, sir, 0:49:17.040 --> 0:49:18.719 if you just like people, you know, if you just 0:49:18.800 --> 0:49:19.520 like people. 0:49:19.520 --> 0:49:21.440 Yeah, But if you're a Beatles fan, it's like. 0:49:23.040 --> 0:49:23.399 All right. 0:49:23.719 --> 0:49:26.520 For me, I think this is where the story begins 0:49:26.680 --> 0:49:28.960 with regards to the two of you. It's the year 0:49:29.000 --> 0:49:33.879 two thousand, and it's right after Voodoo had come out 0:49:34.480 --> 0:49:37.680 in nineteen ninety nine. But for me, the story starts 0:49:37.760 --> 0:49:41.880 with a Vanity Fair article more of a list addictionary 0:49:42.200 --> 0:49:45.200 that came out that Elvis put out in Vanity Fair 0:49:45.239 --> 0:49:47.680 in the year two thousand. It was essentially his five 0:49:47.760 --> 0:49:51.200 hundred favorite albums or most recommended album something along those lines, 0:49:51.840 --> 0:49:53.239 and five hundred. 0:49:52.960 --> 0:49:54.680 Records ant to haven if you died. 0:49:54.719 --> 0:49:57.640 I think, yeah, like that. It was very ominous that article. 0:49:58.040 --> 0:50:00.920 That article started my friendship with Lisa Robbins because I 0:50:01.000 --> 0:50:03.080 was like, I want to do that. I could do that, 0:50:03.280 --> 0:50:05.040 you know, so we sort of Yeah. 0:50:05.160 --> 0:50:07.560 I don't know how I came across it, but my 0:50:07.640 --> 0:50:09.680 first subscribe. 0:50:09.160 --> 0:50:11.960 I'm going to I'm gonna tell you how he came across. No. Literally, 0:50:12.480 --> 0:50:14.799 it was a big deal that Vanity Fair did a 0:50:14.920 --> 0:50:19.080 music issue was just unheard of at the time, and 0:50:19.760 --> 0:50:24.640 I remember I think I brought ten copies of that. Okay, 0:50:24.680 --> 0:50:28.440 I'm gonna tell you how how that article and that 0:50:28.520 --> 0:50:35.400 specific issue saved Annie Leebwoitz's life. Are you ready for this? 0:50:35.960 --> 0:50:39.640 And it's a voodoo connection. So my publicist gives me 0:50:39.680 --> 0:50:42.759 a call. We get the roots, get word that we're 0:50:42.840 --> 0:50:45.799 going to be one of the subjects in the music 0:50:45.880 --> 0:50:48.960 issue and at Annie Leewoods is going to shoot us, 0:50:48.719 --> 0:50:52.279 which is the highest honor at the time, Like there's 0:50:52.320 --> 0:50:55.440 a photographer that's going to shoot you, has to be Annie. 0:50:55.520 --> 0:50:57.200 So of course I'm I'm the point person for the 0:50:57.280 --> 0:50:59.440 Roots or whatever. And you know, I talked to her 0:50:59.440 --> 0:51:03.239 on the phone and she's in Paris right now and 0:51:03.280 --> 0:51:06.160 she's shooting maybe three or four artists that like she's 0:51:06.160 --> 0:51:09.840 traveling Europe like getting them and whatnot. So this is 0:51:09.920 --> 0:51:14.360 mid two thousand. We're on tour with DeAngelo. I also 0:51:14.480 --> 0:51:16.839 think that the first leg of the Voodoo Tour is done. 0:51:16.880 --> 0:51:19.360 We're about to start rehearsals for the second leg of 0:51:19.360 --> 0:51:22.600 the Voodoo Tour. And all I remember was okay, So 0:51:22.640 --> 0:51:25.920 we had maybe two or three weeks off of which 0:51:26.120 --> 0:51:29.040 I scheduled time with Anny Leewoods to do this shot 0:51:29.080 --> 0:51:34.520 with the Roots, and something happens on DiAngelo's end. Could 0:51:34.560 --> 0:51:39.319 be anything, right, No, no, but yeah, it was you know, 0:51:39.480 --> 0:51:42.920 like we missed the deadline or missed whatever it was, 0:51:44.680 --> 0:51:47.279 whatever the set date was supposed to be. We had 0:51:47.320 --> 0:51:48.960 to kick the can to the next week, and then 0:51:48.960 --> 0:51:51.279 the next week and then and then when we kicked 0:51:51.280 --> 0:51:54.080 it the third time, I told Alan Leeds and the 0:51:54.120 --> 0:51:57.520 guys like, look, I got a photo shoot with Anny 0:51:57.560 --> 0:51:59.759 Leewoods in Philadelphia. I can't do that day. But it 0:51:59.800 --> 0:52:01.800 was like our only date to rehearse, like, you know, 0:52:01.840 --> 0:52:05.480 it was one of the things where D'Angelo happened. So 0:52:05.840 --> 0:52:10.360 what winds up happening is I don't want to lose 0:52:10.440 --> 0:52:13.759 this shot, and I hit my publisher something. We hit 0:52:13.800 --> 0:52:16.839 her up and we're just apologizing profusely, and she's like, look, 0:52:16.840 --> 0:52:21.200 look it's cool, we can handle it. Matter of fact. 0:52:21.400 --> 0:52:23.160 I'll tell you what this This will give me a 0:52:23.160 --> 0:52:25.960 week to I think Most Death was coming to Paris. 0:52:26.000 --> 0:52:28.080 She's like, it gives me a chance to shoot him 0:52:28.239 --> 0:52:31.160 and do other two other artists, and then I'll hop 0:52:31.200 --> 0:52:32.600 on the plane and come back, and then we could 0:52:32.600 --> 0:52:35.400 do you on this particular day, which was great. So 0:52:36.000 --> 0:52:39.440 we have that settled turns out and this and this 0:52:39.520 --> 0:52:44.520 is where D'Angelo isms saved her life. Had we kept 0:52:44.520 --> 0:52:49.640 that original arrangement, any Leewards would have been on that 0:52:49.800 --> 0:52:55.360 last Concord flight that crashed and killed all the passengers. Wow. 0:52:55.920 --> 0:52:59.960 So in the week that she decided to stay for 0:53:00.200 --> 0:53:04.840 Most Death, she avoided being on that flight. You know, 0:53:05.040 --> 0:53:09.080 Thank God for that. So yeah, it's crazy. And the 0:53:09.200 --> 0:53:15.520 epilogue is that I told di'angelo what happened and he says, 0:53:16.320 --> 0:53:19.640 who's Anny Leewood? And I was like, dude, she's the 0:53:19.680 --> 0:53:24.920 most epic photographer of all time. Dude like, and he's like, 0:53:27.040 --> 0:53:29.000 and he pulls out a Jet magazine that he's on 0:53:29.040 --> 0:53:32.360 the front cover of. Right, this is what I'm about. 0:53:32.880 --> 0:53:37.000 Right, Well, now I know how I found the article 0:53:37.000 --> 0:53:37.680 because it was you. 0:53:37.800 --> 0:53:42.359 Yeah, I was on that tour. I had ten of those. 0:53:42.600 --> 0:53:44.799 But yeah, I think, yeah, I had ten of those 0:53:45.239 --> 0:53:46.520 issues because it was a big deal. 0:53:46.560 --> 0:53:49.200 I still have it because I used to use it. 0:53:49.360 --> 0:53:51.960 I was like, this is the ultimate record store tool 0:53:52.080 --> 0:53:52.440 to have. 0:53:52.560 --> 0:53:59.040 Absolutely, I purchased many an album off that list. 0:54:00.280 --> 0:54:06.520 So on that list was Voodoo. That's the first time 0:54:06.760 --> 0:54:10.880 that I knew that you, Elvis, knew about him quest 0:54:10.960 --> 0:54:13.759 and about t'angelo and I'd heard that record. So how 0:54:13.800 --> 0:54:16.480 did that? How did Voodoo get on your radar? How 0:54:16.520 --> 0:54:17.560 did you get your hands on it? 0:54:17.800 --> 0:54:21.000 I have no idea. I don't remember anybody. 0:54:21.040 --> 0:54:21.319 I think. 0:54:21.320 --> 0:54:24.000 I just you know, like anything, you something filled us 0:54:24.000 --> 0:54:26.920 through and then you listen to it and it's great. 0:54:27.680 --> 0:54:30.160 Maybe I read about it somewhere. 0:54:29.920 --> 0:54:33.680 Well, maybe the video. 0:54:35.440 --> 0:54:39.880 I lived up on hill in Ireland and still in 0:54:39.920 --> 0:54:42.399 those days, I didn't see any I didn't have any 0:54:42.520 --> 0:54:43.360 cable television. 0:54:43.440 --> 0:54:45.839 The story that I've always gotten from people, there's always 0:54:45.880 --> 0:54:49.439 a younger person, someone's life. That's sort of like, I 0:54:49.440 --> 0:54:51.799 think this is an album that's going to resonate with you, 0:54:51.880 --> 0:54:55.360 because this feels like an era that you loved, And 0:54:55.400 --> 0:54:57.279 if you're if you're a fan of Stevie Wonder, if 0:54:57.280 --> 0:55:00.080 you're a fan of if you're a fan of that 0:55:00.160 --> 0:55:05.360 sort of pure soul, then there's no way this record 0:55:05.360 --> 0:55:06.200 didn't hit your radar. 0:55:06.440 --> 0:55:10.640 I think it's probably that recognition, but that's kind of 0:55:10.680 --> 0:55:13.640 also common to a bunch of other records that are 0:55:13.640 --> 0:55:16.560 probably for one thing, I had no idea you were 0:55:16.560 --> 0:55:18.560 going to ask me. I would probably be surprised by 0:55:18.600 --> 0:55:20.520 some of the records that are and aren't on that list, 0:55:20.520 --> 0:55:21.480 because you could have asked me. 0:55:21.440 --> 0:55:22.960 Three days later and I would have got a different 0:55:22.960 --> 0:55:24.560 five hundred. Do you know so? 0:55:24.840 --> 0:55:27.920 I mean I remember thinking that almost The only thing 0:55:27.960 --> 0:55:31.480 I really calculated was I didn't feel obliged to put 0:55:31.520 --> 0:55:33.760 records on that I knew a lot of other people 0:55:33.840 --> 0:55:37.200 really held in high regard, Like there's no records by 0:55:37.239 --> 0:55:39.480 the Doors because I can't stand the doors. 0:55:39.520 --> 0:55:41.319 Why can't you Door? 0:55:41.880 --> 0:55:43.799 I know I knew that about him, but I don't 0:55:44.040 --> 0:55:45.480 I can't figure out why. 0:55:46.239 --> 0:55:48.680 I just never spoke to me. It just never did. 0:55:48.800 --> 0:55:51.279 I don't know why I can. I like a lot 0:55:51.320 --> 0:55:55.040 of them. I don't like it. 0:55:56.880 --> 0:55:57.279 I don't know. 0:55:57.360 --> 0:55:58.799 It's sort of like it's kind of cool that you 0:55:58.800 --> 0:55:59.360 don't like to do it. 0:55:59.400 --> 0:55:59.600 Yeah. 0:55:59.640 --> 0:56:01.719 No, And people always think I would because of the 0:56:01.920 --> 0:56:04.080 organ and you know and everything. But I just and 0:56:04.120 --> 0:56:07.040 I think they're all sure. They're all refined players in 0:56:07.080 --> 0:56:10.200 their own way. And when I break on through to 0:56:10.280 --> 0:56:12.960 the other side. I like that one record that's the 0:56:13.000 --> 0:56:16.960 only record by the Doors. I like the Fame. No, 0:56:17.440 --> 0:56:20.600 my friend played on it. It's like, you know, Jerry 0:56:20.640 --> 0:56:25.480 Chef played on that. He was in my band. But no, no, 0:56:25.680 --> 0:56:28.080 at led Zeppelin, there's no led Zeppelin records on that. 0:56:28.520 --> 0:56:31.840 I literally never owned one. Really, there's no Pink Floyd 0:56:31.880 --> 0:56:36.560 records because I only to own two Pink Floyd discs 0:56:36.600 --> 0:56:40.160 and they're both singles, c Emily Play and Arma Lane. 0:56:40.640 --> 0:56:42.799 I've never even listened to Dark side of the Word. 0:56:42.840 --> 0:56:44.520 I have no idea what the Wall sounds like. 0:56:46.160 --> 0:56:53.319 Is there any homegrown act that you dug homegrown? Well, 0:56:53.360 --> 0:56:55.440 I mean just from I mean from England? 0:56:55.560 --> 0:57:00.279 Yeah, who the peoples? So you forgot the Kinks, the 0:57:00.320 --> 0:57:03.600 Small Faces, the Small Faces for me was the next 0:57:03.640 --> 0:57:06.600 group after the Beatles. It was like, not the Stones, 0:57:06.800 --> 0:57:11.279 it was the Small Faces, really, Tin Soldier, you know, 0:57:11.680 --> 0:57:14.880 all or nothing, all of those records. Yeah, but the Kinks, 0:57:15.200 --> 0:57:18.160 the Kinks, absolutely, the Kinks only. 0:57:18.000 --> 0:57:18.720 Up to a certain period. 0:57:18.800 --> 0:57:20.200 Tell this man please. 0:57:20.080 --> 0:57:22.960 In the same thing. It's really selective. It's anything about 0:57:23.120 --> 0:57:24.840 musical choices. Like I say, it would have been a 0:57:24.880 --> 0:57:27.440 different five hundred of been You could probably pull one 0:57:27.480 --> 0:57:29.800 up there. What's with that record? I go, I don't 0:57:29.840 --> 0:57:32.080 even remember saying that should have been on the list. 0:57:32.680 --> 0:57:34.760 I would still put Voodoo on there now, but I 0:57:34.760 --> 0:57:36.560 don't know what else is on there that was surprise 0:57:36.600 --> 0:57:37.200 and I don't. 0:57:37.000 --> 0:57:38.080 Know that was such a relation. 0:57:38.120 --> 0:57:39.280 I think what I said is right. 0:57:39.360 --> 0:57:41.320 Though I think it's right, I think it speaks to 0:57:41.360 --> 0:57:46.880 some continuity. And you see, this is the part of 0:57:46.920 --> 0:57:50.560 the thing that comes from our inability to hear everything. 0:57:51.200 --> 0:57:54.760 Is the things that we did hear in England really 0:57:54.800 --> 0:57:58.520 went deep. So nobody said have you when you asked 0:57:58.520 --> 0:58:01.720 me about Northern Soul like two hours ago. You know, 0:58:01.840 --> 0:58:06.640 that's an organic kind of movement to kind of dance 0:58:06.720 --> 0:58:10.120 to records that nobody else had. Like there's a particular 0:58:10.200 --> 0:58:12.520 kind of beat. A lot of the Northern Soul records 0:58:13.000 --> 0:58:16.760 are not from Detroit, they're from Chicago. There are a 0:58:16.800 --> 0:58:20.520 lot of Chicago things, so because they I don't know 0:58:20.560 --> 0:58:24.600 why it was, but maybe that slightly different sound motown 0:58:24.920 --> 0:58:26.560 or as we didn't even call it motown. 0:58:26.600 --> 0:58:27.480 We called it Tamla. 0:58:28.080 --> 0:58:29.760 You say you've got the new if you got the 0:58:29.800 --> 0:58:32.200 new Tamla record, right, we said, what do you listen to? 0:58:32.200 --> 0:58:36.600 I listened to Tamla and it's Tamla. And all we 0:58:36.680 --> 0:58:41.440 had were these singles, or we had compilations Motown Chartbusters 0:58:41.440 --> 0:58:46.040 compilations Volume three particular is a particularly good one, you know, 0:58:46.400 --> 0:58:50.560 and What is Soul which was was an Atlantic Records 0:58:50.560 --> 0:58:54.320 compilation of it, and Tighten Up two which is which 0:58:54.360 --> 0:58:58.040 is a regular rosteatic compilation. Those you can have a 0:58:58.040 --> 0:59:00.040 party with those. And we didn't have a lot of 0:59:00.160 --> 0:59:04.240 other records because the radio. Yeah, but that was pretty good. 0:59:04.240 --> 0:59:07.360 You could play those round and round, and I think 0:59:07.400 --> 0:59:10.840 that's it made you really kind of like go behind 0:59:10.880 --> 0:59:11.600 a painted smile. 0:59:12.360 --> 0:59:15.480 You know. This whole herd of mine heard. 0:59:15.360 --> 0:59:17.920 It through the great those records, but we didn't know 0:59:17.960 --> 0:59:20.000 the gladys Knight version who heard it through the Great Vine. 0:59:20.040 --> 0:59:23.760 Necessarily we knew the Marvin version, so all these records 0:59:23.760 --> 0:59:26.440 there were, and then people got into the more esoteric thing, 0:59:26.480 --> 0:59:28.520 and then they started dancing at the week and Casino 0:59:29.480 --> 0:59:32.680 and this kind of slightly looser beat that they had 0:59:32.720 --> 0:59:36.680 on those Chicago records, Major Lance and these kind of 0:59:36.720 --> 0:59:40.560 Curse Mayfield produced records. They're not like the Curtis seventies records. 0:59:40.640 --> 0:59:43.680 These are things that sound like they're imitating Motown, are 0:59:43.760 --> 0:59:45.880 not quite getting it right even yeah, they're not on 0:59:45.880 --> 0:59:49.320 the same level of musicianship as the Motown rhythm section. 0:59:49.960 --> 0:59:53.720 But people, for whatever reason, it was a particular kind 0:59:53.760 --> 0:59:57.360 of bpm. It was a particular kind of rhythm way faster, faster, 0:59:57.680 --> 1:00:01.160 and it and this crazy dancing, the and the crazy clothes. 1:00:01.160 --> 1:00:03.680 You've seen the you've surely seen the documentary about Lord 1:00:03.680 --> 1:00:06.360 and Sold. You know, it's a whole thing, and it's 1:00:06.360 --> 1:00:09.080 totally based in the North and it's nothing to do 1:00:09.240 --> 1:00:13.000 and the suburbs where I lived, we were rock steady, 1:00:14.000 --> 1:00:17.600 motown or tabla you know these that. And then I 1:00:17.640 --> 1:00:20.040 went to Liverpool in nineteen seventy and they asked me 1:00:20.160 --> 1:00:22.880 what kind of music you like? I said, I like 1:00:23.000 --> 1:00:26.479 Otis Renning and Lee Dorsey and you like soul music, 1:00:27.360 --> 1:00:32.320 I said, yeah, and tabla that's for that's for Divvis. 1:00:32.600 --> 1:00:36.000 They would say Divvy's means like yes, it's like like 1:00:36.120 --> 1:00:39.000 idiots like that music really like because it was I. 1:00:39.000 --> 1:00:41.200 Don't know why they. 1:00:40.600 --> 1:00:42.800 Were into kind of pink Floyd and and like all 1:00:42.840 --> 1:00:46.360 this prog rock and heavy rock. And so I ended 1:00:46.440 --> 1:00:48.560 up liking The Grateful Dead because nobody would nobody to 1:00:48.640 --> 1:00:50.400 go with me on that because so, well. 1:00:50.240 --> 1:00:52.520 What's it. You don't you're not a big prog rock guy, 1:00:52.560 --> 1:00:53.800 but you like the Dead. 1:00:54.280 --> 1:00:58.080 The Dead are not a prog rock Well, in nineteen 1:00:58.080 --> 1:01:01.000 seventy seventy, wait. 1:01:01.240 --> 1:01:03.240 We're gonna go down a whole other Robberts. I honestly 1:01:03.240 --> 1:01:04.760 thought I was just going to say one thing and 1:01:04.800 --> 1:01:07.280 the ease out of here, But now you stuck me. 1:01:07.680 --> 1:01:11.440 And I do this with almost every guest. Guest the 1:01:12.040 --> 1:01:17.400 house with your entire record collection is on fire. Yeah, 1:01:17.560 --> 1:01:20.560 you can only say five records, and they can't be 1:01:20.600 --> 1:01:22.320 greatest hits or box sets? All right? 1:01:22.400 --> 1:01:25.439 Can they be forty fives or LPs LP? 1:01:25.800 --> 1:01:27.040 I mean more records? 1:01:27.080 --> 1:01:29.320 He might want is please please meet forty five? 1:01:29.400 --> 1:01:32.080 You know well, I don't mean the sentimental saving but 1:01:32.920 --> 1:01:38.080 what five albums, non greatest hits, non live unless it's 1:01:39.920 --> 1:01:44.240 a special live record like Volume three of James Brown 1:01:44.240 --> 1:01:45.240 at the can't. 1:01:45.080 --> 1:01:47.400 Be a compilation record, though, can't be a compilation record. 1:01:47.400 --> 1:01:49.800 It can't be a compilation That's not fair though, Okay, 1:01:49.960 --> 1:01:51.280 go ahead, go ahead, go ahead. 1:01:51.360 --> 1:01:53.880 No, I'm just saying some artists like you don't know 1:01:53.920 --> 1:01:55.480 their albums because I'm just trying. 1:01:55.320 --> 1:01:57.400 To figure out, like, what what is the what is 1:01:57.480 --> 1:01:59.720 the canon of original albums? Yeah? 1:01:59.720 --> 1:02:01.800 But you I think if you really had a chance 1:02:01.880 --> 1:02:03.320 and you knew where they lived. 1:02:03.040 --> 1:02:04.520 How could you ask him this question? 1:02:04.560 --> 1:02:06.560 If you knew though, if you knew that your house 1:02:06.640 --> 1:02:09.160 was on fine, you're going to lose everything. You'd you'd 1:02:09.240 --> 1:02:12.480 pull the rarest records that you knew you couldn't replace. 1:02:12.520 --> 1:02:16.080 You wouldn't Like it's a difficult question because I would definitely. 1:02:16.160 --> 1:02:18.880 I still have my original Mono Revolver two part of 1:02:18.960 --> 1:02:21.360 all right, I picked that one rare. 1:02:21.640 --> 1:02:24.880 Five the rarest albums that you own? Yeah, and five 1:02:24.920 --> 1:02:30.720 of the seminal okay, Mono Revolver No, okay, but all right, 1:02:30.760 --> 1:02:33.320 what five of the rarest albums you own? What are they? 1:02:34.160 --> 1:02:36.320 I don't know that. I don't really know that I 1:02:36.400 --> 1:02:38.200 have rare records in the same way as you do. 1:02:39.120 --> 1:02:42.919 I mean I think at this time, Revolver a mono 1:02:43.000 --> 1:02:47.000 Revolver definitely Okay, sound Venture sound Venture by Georgie means 1:02:47.000 --> 1:02:49.200 a lot to me. Okay, not so easy to get 1:02:49.680 --> 1:02:51.880 uh from later on? 1:02:52.080 --> 1:02:55.000 I what's the most expensive record you shelled out for? 1:02:56.320 --> 1:02:59.680 I actually probably a seventy eight You know some of 1:02:59.720 --> 1:03:01.920 the D eight's come in like four or five hundred. 1:03:02.280 --> 1:03:05.080 Are you you have a seventy eighths collection? Because that's 1:03:05.120 --> 1:03:06.000 a whole rabbit hole. 1:03:06.040 --> 1:03:08.400 That's a whole rabbit hole. Yeah, So should I accept 1:03:08.440 --> 1:03:11.960 those because people all the time, well no, not real 1:03:12.080 --> 1:03:15.280 records don't go into that world, dude. I mean, I'm 1:03:15.280 --> 1:03:17.680 not really interested in seventy eighths, But you know, like 1:03:17.840 --> 1:03:21.040 old great grandmothers are passing away, the nieces and nephews 1:03:21.040 --> 1:03:22.800 are like your quest. I don't know what to do this, 1:03:22.920 --> 1:03:27.040 but it's an endless way, know you, I should take it. 1:03:27.120 --> 1:03:27.880 I'll tell you why. 1:03:28.280 --> 1:03:33.280 Because acoustic records acoustic records before there was electrical recording. 1:03:33.920 --> 1:03:36.840 Think about it, You're like literally staring into the horn 1:03:37.000 --> 1:03:40.160 of the Victrola and you're you can go right through 1:03:40.160 --> 1:03:41.840 that little hole into the room they're playing. 1:03:41.840 --> 1:03:42.520 It's coming. 1:03:42.760 --> 1:03:46.720 It's one generation away, isn't it. It's one generation closer 1:03:47.280 --> 1:03:48.400 than electrical recording. 1:03:48.560 --> 1:03:48.840 Wow. 1:03:49.520 --> 1:03:52.000 All right, so the answers, yes, I should accept it. 1:03:52.120 --> 1:03:54.160 I'm strong on an electrical recording, absolutely. 1:03:54.200 --> 1:03:57.440 But his collections are pretty He's got a collection of collections, 1:03:57.440 --> 1:03:57.680 are right. 1:03:57.720 --> 1:03:58.120 I'm sure. 1:03:58.240 --> 1:03:58.480 I know. 1:03:58.560 --> 1:04:00.760 I've seen that he's got a storage room for his 1:04:00.840 --> 1:04:01.680 storage rooms. 1:04:01.920 --> 1:04:05.440 Yes, yeah, So what you don't know the most expensive. 1:04:05.280 --> 1:04:07.960 I never in a way of collecting records. It's always 1:04:07.960 --> 1:04:10.280 been about what's in the groove. It's never been about 1:04:10.280 --> 1:04:13.320 the catalog number, or the funny label, or this is 1:04:13.360 --> 1:04:15.960 a different sleeve. I never cared about any of that stuff. 1:04:16.520 --> 1:04:18.760 The other reason is because when I first came to 1:04:18.760 --> 1:04:22.920 America after the first trip, I you know, the handle 1:04:22.960 --> 1:04:24.760 fell off my suitcase on the way home because it 1:04:24.840 --> 1:04:27.160 was so full of records I'd bought in second hand stores. 1:04:27.520 --> 1:04:30.640 I used to come with an empty suitcase, no one, 1:04:30.680 --> 1:04:33.120 I'd fill it up. And the whole joy of it 1:04:33.160 --> 1:04:35.840 was like, Oh, here's a whole album by Bobby blue Blant, 1:04:35.880 --> 1:04:38.280 here's a whole album by the Luvin Brothers. You know, 1:04:38.880 --> 1:04:41.800 I had maybe one track on a compilation all those 1:04:42.040 --> 1:04:43.680 here's a whole team one Walker record. 1:04:43.800 --> 1:04:45.640 You know you were a complition guy. 1:04:46.080 --> 1:04:48.200 Well, no, that's what we That's how we got to 1:04:48.320 --> 1:04:51.760 know about stuff because of getting the Motown records or 1:04:52.600 --> 1:04:56.479 stacks and Atlantic collections. I didn't have a whole record 1:04:56.520 --> 1:04:59.760 of William Bell until it came to America. Then you 1:04:59.760 --> 1:05:02.280 could you could find them everywhere. You could find like 1:05:02.320 --> 1:05:06.120 Great records, whatever it was. You know, it's weird Detroit 1:05:06.200 --> 1:05:08.400 Spinners as we called them, you know, right, you could. 1:05:08.520 --> 1:05:11.160 I had singles on the Spinners, but then you could 1:05:11.160 --> 1:05:11.720 just go buy. 1:05:11.600 --> 1:05:14.120 Albums of them, you know, So you know it's weird now, 1:05:14.400 --> 1:05:18.360 Philip Wynd, you know, yes, you know it's weird. Now. 1:05:19.040 --> 1:05:26.880 I am collecting and paying top dollar for UK acts 1:05:27.240 --> 1:05:31.040 that would cover American stuff. Like I'm going through a 1:05:31.120 --> 1:05:36.160 kitchen phage now where I'm big into cover songs. So 1:05:36.440 --> 1:05:39.480 there will be again like party records, the idea of 1:05:40.160 --> 1:05:43.280 doing a compilation with just straight up hits that you 1:05:43.320 --> 1:05:45.480 could put on at a party and let play all 1:05:45.480 --> 1:05:46.760 the way through, and then put on side to and 1:05:46.840 --> 1:05:48.439 let play all the way. So there would be these 1:05:48.480 --> 1:05:54.480 bands from like from Liverpool, pans from Brighton, especially in 1:05:54.480 --> 1:05:56.320 Brighton there's one group with the name Brighton in it 1:05:56.480 --> 1:06:00.960 but they're not known, but it's like they're cheap imitation 1:06:01.120 --> 1:06:05.160 of James Brown's I got the feeling or whatever was 1:06:05.240 --> 1:06:07.600 hitting at that time, like science will delivery. 1:06:07.200 --> 1:06:09.280 And what what what kind of period of time is 1:06:09.320 --> 1:06:10.360 this sixty. 1:06:10.080 --> 1:06:12.640 Six to seventy six? It would be like the k 1:06:12.840 --> 1:06:17.240 Tell of whatever, shout out to k Tel where did 1:06:17.240 --> 1:06:19.200 they come from? Hey? Before? I mean, this is this 1:06:19.240 --> 1:06:19.960 is the thing. I know. 1:06:20.000 --> 1:06:21.440 This sounds like I'm bringing my dad in this all 1:06:21.440 --> 1:06:22.800 the time, but this is what he did. 1:06:23.040 --> 1:06:25.400 That's what I'm saying. He did it in the early sixties. 1:06:25.440 --> 1:06:26.760 I mean you, I don't know whether you know this, 1:06:26.840 --> 1:06:30.160 but the beginning of pirate radio, there was the guy 1:06:30.240 --> 1:06:33.080 Ryan O'Reilly. Everybody knows about that name is Irish guy 1:06:33.120 --> 1:06:37.640 who's found of Radio Caroline. His partner was an Australian 1:06:37.680 --> 1:06:41.840 guy who had the other pirate radio ship was which 1:06:41.920 --> 1:06:43.720 was anchored in the in the estuary of the Thames, 1:06:43.800 --> 1:06:47.160 broadcast into London. Now, this guy had a crazy scheme 1:06:47.360 --> 1:06:50.760 and this is true. He thought that he could cover 1:06:50.920 --> 1:06:54.880 records make him cheaply at nine in the morning in downtime, 1:06:55.960 --> 1:06:59.440 and the record the song was because he'd come out 1:06:59.480 --> 1:07:03.720 of publishing. He believed that he could have those records 1:07:04.280 --> 1:07:07.960 taught the original versions, so those are the super kitch 1:07:08.080 --> 1:07:11.560 versions because they are no phino copies, and he thought 1:07:11.600 --> 1:07:14.160 he could get away without paying anything but publishing. 1:07:14.560 --> 1:07:16.640 I guarantee he's saying this is genius. 1:07:16.760 --> 1:07:18.960 It was like, okay, of course it failed, and that 1:07:19.040 --> 1:07:21.200 the plan failed, you know, because people so through it. 1:07:21.240 --> 1:07:25.919 Okay, So in Portland, Oregon, Yeah, there's a writer who 1:07:26.320 --> 1:07:30.760 wrote the Encyclopedia of Kitsch Records or whatever. He sold me. 1:07:31.760 --> 1:07:33.960 It's like the most I've ever paid for a record collection. 1:07:34.080 --> 1:07:36.560 But even the stories like wait, you guys, you know 1:07:36.600 --> 1:07:39.120 this not the original stuff, right, these like cheap imitations 1:07:39.200 --> 1:07:43.800 or whatever. But for me, the same drum break intro 1:07:44.000 --> 1:07:47.720 for Superstition of Stevie, it's just as valuable if another 1:07:47.800 --> 1:07:50.080 drummer did it, like it's still a drum break is 1:07:50.080 --> 1:07:50.480 a drummer. 1:07:51.040 --> 1:07:54.480 Plus, there warn't that many musicians in England plan on 1:07:54.520 --> 1:07:56.280 these records. So when my dad would go and sing 1:07:56.280 --> 1:07:58.800 on these records, it was the guitar player would be 1:07:59.040 --> 1:08:02.240 Vic Flick, the same guy that played the James Bond thing. 1:08:02.400 --> 1:08:04.600 It would be that it would it would be the 1:08:04.640 --> 1:08:07.280 same guy that would be playing on the legit session. Anyway, 1:08:07.320 --> 1:08:10.640 they did these things and they paid them cash and 1:08:10.680 --> 1:08:12.880 they sold them at the supermarket. They sold them at 1:08:12.880 --> 1:08:15.280 the gas station or the petrol stations, we called them, 1:08:15.480 --> 1:08:17.920 and they were they were forty five EPs. These were 1:08:17.960 --> 1:08:20.599 before the albums that you'd probably know from the you know, 1:08:20.960 --> 1:08:22.840 they were later called Top of the Pops because that 1:08:22.920 --> 1:08:25.280 was the name of the BBC weekly show. This a 1:08:25.320 --> 1:08:27.920 whole subculture of music. We used to get them even 1:08:27.920 --> 1:08:29.760 when we were on the road. First we'd get our 1:08:29.840 --> 1:08:33.760 records done in Sweden where they wouldn't know any of 1:08:33.800 --> 1:08:35.599 the words. They just make up a bunch of nonsense 1:08:35.640 --> 1:08:39.799 words to my lyrics. It's half Swedish, half English. 1:08:40.439 --> 1:08:41.280 Wait for the record. 1:08:41.479 --> 1:08:44.160 What is your dad's name, Ross McManus, And that's the 1:08:44.920 --> 1:08:47.519 that's his. He had a bunch of names because he 1:08:47.600 --> 1:08:50.639 was a different person on every track. Dude, Okay, you'd 1:08:50.680 --> 1:08:51.439 never find him. 1:08:51.479 --> 1:08:54.719 So I have seven thousand pieces of just a bunch 1:08:54.720 --> 1:08:59.719 of bands from Europe covering American funk songs and American 1:08:59.720 --> 1:09:01.559 soul songs and rock songs or whatever. 1:09:01.640 --> 1:09:04.280 But also the other thing quess is that there was 1:09:04.360 --> 1:09:07.400 five There was five or six weeks between an American release. 1:09:07.880 --> 1:09:11.519 So no matter how fast they got that the publisher 1:09:11.560 --> 1:09:13.880 got that song over. What was going to happen first 1:09:13.920 --> 1:09:15.959 was sheet music travel faster than records. 1:09:16.720 --> 1:09:18.680 So if you had Billy J. 1:09:18.880 --> 1:09:21.759 Kramer or somebody, some good looking guy out of Liverpool, 1:09:22.120 --> 1:09:24.080 he could get a cover of a but new Bert 1:09:24.080 --> 1:09:27.439 backrack song before the American version could come out. Quite 1:09:27.520 --> 1:09:29.679 often you'd see two songs on the charts, the same 1:09:29.760 --> 1:09:33.799 song done by you know, the the English cover version, 1:09:34.280 --> 1:09:37.200 which and then there'd be a ghost record, as you 1:09:37.280 --> 1:09:40.040 might say that the ones we're talking about, So there'd 1:09:40.080 --> 1:09:42.840 be that version playing on a pirate radio station. There'd 1:09:42.840 --> 1:09:47.000 be the local English group like Silla Black singing anyone 1:09:47.000 --> 1:09:49.880 who had a heart and Warwick hates her for having 1:09:49.960 --> 1:09:52.680 done that, really still was going on about it. Now 1:09:52.680 --> 1:09:57.040 after next time you see the on Silla Black and 1:09:57.080 --> 1:10:03.640 see what, No, she's still matter. So and then of 1:10:03.640 --> 1:10:06.120 course what would happen was the version would come out, 1:10:06.560 --> 1:10:09.000 the American version. People would notice it was a little 1:10:09.120 --> 1:10:12.320 slick or maybe the broc list was better. Certainly the 1:10:12.360 --> 1:10:15.000 standard of production I think generally was better. It's sound 1:10:15.040 --> 1:10:17.559 of arrangement. There's a big difference in the sound of 1:10:17.600 --> 1:10:20.360 an English horn section of American horn section, different tombra. 1:10:21.080 --> 1:10:24.000 I could tell you two bars whether it's an American 1:10:24.080 --> 1:10:25.880 or English record from if there's brass on it. 1:10:25.920 --> 1:10:28.080 You know, well, I'm gonna blow your mind now because 1:10:29.920 --> 1:10:36.679 now the inferior covers is what would attract a hip 1:10:36.680 --> 1:10:40.479 hop producer today, like the trash here and the more 1:10:40.560 --> 1:10:41.559 off notes they play. 1:10:41.760 --> 1:10:44.479 Yeah, this is right over all, I've got one for 1:10:44.600 --> 1:10:48.040 you right before we go back to Steve's agenda here because. 1:10:47.800 --> 1:10:48.360 You got to go. 1:10:50.240 --> 1:10:54.240 Do you know the label Habibi Funk I've heard of it, Yes, Yeah, 1:10:54.320 --> 1:10:57.559 it's they do all they do companies get the compilation. Yeah, 1:10:57.680 --> 1:11:02.360 Number seven in the series cast a Blanker's Shuffle. Okay, 1:11:02.760 --> 1:11:04.920 it's a note for note cover of Bob and Nol 1:11:06.040 --> 1:11:09.800 Harlem shovel. Yeah, and the guy goes to the first 1:11:09.800 --> 1:11:13.120 phrase of it, you know, the lid, except he goes 1:11:13.200 --> 1:11:15.320 up past the note down under the note because he's 1:11:15.360 --> 1:11:20.400 hearing microtones, you know, he's hearing like like Arabic music. Inflection. 1:11:20.760 --> 1:11:21.479 You got to hear it. 1:11:21.479 --> 1:11:24.439 It's it's crazy. First time you hear it, you think, oh, 1:11:24.479 --> 1:11:26.439 that's just out of tune. Then he does it the 1:11:26.439 --> 1:11:29.160 second time he realized that's the way he sings. He's 1:11:29.280 --> 1:11:32.960 and other than that, sounds like they got a you know, 1:11:33.000 --> 1:11:35.160 a real to real tape recorder and put the microphone 1:11:35.720 --> 1:11:38.760 against the wall of an apartment that was playing the 1:11:38.760 --> 1:11:41.320 record next door. That's what the fidelity sounds like. But 1:11:41.360 --> 1:11:45.080 it's killer, damn ya, you really know your music, That's 1:11:45.080 --> 1:11:47.920 what it sounds like. My memory of the Harlem Shoffle 1:11:48.040 --> 1:11:51.960 is going to a works dance at a chocolate factory 1:11:51.960 --> 1:11:56.920 when I was about fifteen, and all the girls lining up, 1:11:57.080 --> 1:11:59.720 all the girls. It was somebody a cousin of some 1:11:59.840 --> 1:12:02.280 word there and I got to go to this works 1:12:02.400 --> 1:12:05.439 dance and they all lined up, all these all these 1:12:05.479 --> 1:12:08.439 girls at work there and did the dance that they thought. 1:12:08.280 --> 1:12:10.280 Was the whole no idea what it was. 1:12:10.600 --> 1:12:12.000 It was like, you know, they just gone it there 1:12:12.000 --> 1:12:15.080 when that record came on, and that record didn't sound 1:12:15.360 --> 1:12:18.040 in that place reverberating. It wasn't played through a very 1:12:18.080 --> 1:12:22.599 good system. It sounded no more you know, polished than 1:12:22.600 --> 1:12:25.000 that right exactly, but the spirit of it and all 1:12:25.040 --> 1:12:27.559 of all of these records, because half of them are 1:12:27.600 --> 1:12:31.040 like mishearings of records that you know, they sound like 1:12:31.120 --> 1:12:33.280 dyking the Blazers is what this sounds like. 1:12:33.360 --> 1:12:35.760 You know. Oh Jesus Christ, don't even give me to 1:12:35.800 --> 1:12:38.639 start there. All right, I'll be right there. But Steve, 1:12:38.760 --> 1:12:40.360 this is now officially your show. 1:12:40.960 --> 1:12:49.760 Okay's He brings up a topic that I that I 1:12:49.800 --> 1:12:53.880 wanted to bring up anyway about what's now become known. 1:12:54.080 --> 1:12:58.559 I think in general as flipping something. Somebody will hear 1:12:58.600 --> 1:13:01.880 a song in old songs, a producer, let's say, and 1:13:01.920 --> 1:13:05.760 we'll say I'm gonna flip that, which means essentially, I'm 1:13:05.760 --> 1:13:08.880 going to take that, chop it up, sample it, or 1:13:08.880 --> 1:13:12.200 even not sample it physically, but take the idea or 1:13:12.240 --> 1:13:13.479 the vibe by energy. 1:13:13.760 --> 1:13:18.760 I mean, you know, obviously when we started is like 1:13:19.280 --> 1:13:21.559 we had about three I don't think there was any 1:13:21.600 --> 1:13:24.960 ability to sample it. There was, I wasn't aware of it, 1:13:25.000 --> 1:13:27.679 and music didn't take the same advantage of it. People 1:13:27.720 --> 1:13:30.960 might have copied choruses, I guess they would have had 1:13:30.960 --> 1:13:32.799 to lose a generation to do that. An analog. 1:13:32.960 --> 1:13:33.599 No, No, I'm not. 1:13:33.640 --> 1:13:36.200 No, no, I'm talking about we would in terms of 1:13:36.640 --> 1:13:41.640 hearing figures within songs, you know, Like that's why I 1:13:41.720 --> 1:13:44.160 never had to write anything down early on because you're going, 1:13:44.840 --> 1:13:47.479 it's the rhythm from this song with the guitar part 1:13:47.520 --> 1:13:47.800 from that. 1:13:47.840 --> 1:13:48.800 We want no change. 1:13:48.880 --> 1:13:49.920 So you get what I'm saying now. 1:13:49.960 --> 1:13:52.400 It's not different to sampling, except we were just playing it. 1:13:52.400 --> 1:13:54.320 It's not different, and that's kind of what. 1:13:54.200 --> 1:13:57.479 I'm That's why when Somon begame dominant, it didn't necessarily 1:13:57.600 --> 1:14:00.320 sort of seem to me like some people had their 1:14:00.320 --> 1:14:03.120 instruments reacted to it like it was some kind of cheating. 1:14:03.680 --> 1:14:05.960 I said, this is everything we've been doing all along. 1:14:06.640 --> 1:14:09.559 It's the degree of imagination that you bring to the 1:14:09.640 --> 1:14:12.280 to the new version of it, the flipped version, as 1:14:12.280 --> 1:14:14.479 you say, is whether it's. 1:14:14.479 --> 1:14:15.280 Any good at all. 1:14:15.439 --> 1:14:18.400 I mean, that's the difference between being Jeff Lynn and 1:14:19.160 --> 1:14:22.200 somebody you know, like from Manchester. Like I won't to 1:14:22.200 --> 1:14:23.920 say the name you know, but you know what I'm talking. 1:14:23.720 --> 1:14:27.320 About, and you sometimes, I believe, reveal these types of 1:14:27.360 --> 1:14:30.320 things your inspirations for certain songs in concert in the 1:14:30.360 --> 1:14:31.320 middle of you might. 1:14:31.240 --> 1:14:34.680 Quote something you know that's obviously underneath the song that 1:14:34.720 --> 1:14:37.679 you play it, or I think it's also the way 1:14:37.720 --> 1:14:40.120 you get the particular notes in a vocal. If you're not, 1:14:40.240 --> 1:14:43.080 like you alluded to, the kind of not having a 1:14:43.160 --> 1:14:47.360 melodious or particularly beautiful voice, it helps to think like 1:14:47.439 --> 1:14:51.280 another sing of phrases, so that you know you do 1:14:51.439 --> 1:14:54.679 something with your own. 1:14:53.880 --> 1:14:55.400 Are you still doing that these days? 1:14:55.439 --> 1:14:56.400 Oh yeah, totally. 1:14:56.520 --> 1:14:56.760 Yeah. 1:14:56.840 --> 1:14:59.759 Sometimes odd words will come out of my mouth actually 1:15:00.120 --> 1:15:03.240 sound mom entirely like somebody else for one word, but 1:15:04.240 --> 1:15:06.760 it's not really important to the understanding of the song, 1:15:06.840 --> 1:15:09.040 so I never underline it. If somebody comments on it, 1:15:09.120 --> 1:15:12.040 then if they notice it, then it was because it 1:15:12.120 --> 1:15:16.040 was there. But it's not important to the telling of 1:15:16.080 --> 1:15:19.160 the story that people reckon. I'm not doing it to 1:15:19.160 --> 1:15:21.960 be recognized. It might have been like, how would such 1:15:22.000 --> 1:15:23.840 and such a single approach that line? 1:15:24.400 --> 1:15:28.800 Well, there's a I guess, innumerable ways of approaching what 1:15:28.840 --> 1:15:32.040 we're talking about. You hear a baseline that you admire 1:15:32.160 --> 1:15:35.519 and so you inverted or you use well, but didn't. 1:15:35.320 --> 1:15:36.679 We get into this when we did? 1:15:36.720 --> 1:15:40.519 When we when we first started, when I first came 1:15:40.600 --> 1:15:43.240 on the show, and we were I was playing with 1:15:43.240 --> 1:15:46.200 the roots, and you know, when we listen back now 1:15:46.240 --> 1:15:49.240 to the sample that you made, and we're getting a 1:15:49.240 --> 1:15:51.719 little ahead of ourselves into wise up ghosts. But say, 1:15:52.360 --> 1:15:55.400 the sample for my new haunt is Quest Play, and 1:15:56.200 --> 1:16:00.320 it is derived from Quest Play and Chelsea, which is 1:16:00.320 --> 1:16:03.679 Pete Thomas playing fire by Mitch Mitchell, well by Hendrix, 1:16:03.720 --> 1:16:09.719 but it's specifically the firepart that he's referencing. So that's 1:16:09.800 --> 1:16:12.720 like a that's like, you know, a flip of a 1:16:12.720 --> 1:16:15.080 flip of a flip correct four times. 1:16:15.160 --> 1:16:16.720 And I don't know if you're counting this as one 1:16:16.760 --> 1:16:19.400 of your flips. But the sound is actually a sample 1:16:20.120 --> 1:16:24.320 of you and the Roots playing live on the stage. Yeah, 1:16:24.400 --> 1:16:26.080 so it's a sample of you guys. 1:16:26.320 --> 1:16:28.360 Yeah, that's what I mean. No, I mean, but but 1:16:28.640 --> 1:16:32.400 it's being quoted twice over, you know, because Quest is 1:16:32.560 --> 1:16:35.800 rationalizing it to his style of play based on Pete's part, 1:16:35.800 --> 1:16:39.639 which is based on Mitch's part. So that's that's that's why, 1:16:39.880 --> 1:16:42.920 you know, people are a surprise that I didn't take 1:16:42.960 --> 1:16:46.200 exception about, you know, the pump it up quote on 1:16:46.360 --> 1:16:49.000 the Olivia Rodriga record. But that would be just ludicrous 1:16:49.000 --> 1:16:52.360 because it's like it's common language really, you know, if 1:16:52.360 --> 1:16:54.479 it had been a whole melody or a whole lyric 1:16:54.600 --> 1:16:57.760 that was just stolen. That that would be obvious and 1:16:57.800 --> 1:17:00.519 you would take exception. But I think it's amount of 1:17:00.560 --> 1:17:04.960 language in songs and beads particularly, that's that's common. 1:17:05.080 --> 1:17:09.040 That's folk music, right, I mean, that's that's how it happens. 1:17:09.400 --> 1:17:11.240 I'm certainly not trying to get into that discussion of 1:17:11.240 --> 1:17:13.320 whether this is right to do or to do or 1:17:13.320 --> 1:17:15.840 anything like that, but just to acknowledge that, you know, 1:17:16.040 --> 1:17:20.280 motes are probably sampled from chopin or whatever. Okay, that 1:17:20.400 --> 1:17:25.200 figures you fing out, But anyway, the real comparison I 1:17:25.240 --> 1:17:27.040 want to get you guys to talk about is how 1:17:27.080 --> 1:17:29.439 you've been doing that since the beginning, you know, and 1:17:29.760 --> 1:17:32.200 he's been doing that, and you're both doing essentially the 1:17:32.200 --> 1:17:35.720 same thing but with different techniques and different technologies. 1:17:36.000 --> 1:17:38.760 Definitely, Yeah, I mean one of the things that I 1:17:38.760 --> 1:17:40.880 think that we've talked about, you and I have talked 1:17:40.920 --> 1:17:44.720 about and we experienced over the you know, I was 1:17:44.760 --> 1:17:47.559 still making the previous record I've made before we worked 1:17:47.560 --> 1:17:50.879 together was recorded analog and and edited digitally. 1:17:51.760 --> 1:17:54.400 Most of the records part of that were recorded analogue. 1:17:55.200 --> 1:18:00.360 Since then, the distance between the two mediums is closed 1:18:01.040 --> 1:18:04.559 because nearly all of the outboard plugins that people designed 1:18:04.600 --> 1:18:07.680 to work in digital recording today are in it. Our 1:18:07.840 --> 1:18:15.680 imitations of analog, the warmth of analog equipment, valve equipment, 1:18:15.880 --> 1:18:22.160 and and you know, sort of very carefully modulated recreations 1:18:22.200 --> 1:18:25.679 of spaces and all of these things. All these libraries 1:18:25.680 --> 1:18:29.040 of plates you can download in an attempt to bring 1:18:29.160 --> 1:18:34.280 something less brittle to this very facile way of recording 1:18:34.400 --> 1:18:38.559 of digital, which of course is amazing if you don't 1:18:38.600 --> 1:18:40.400 want to bother to play more than two bars and 1:18:40.520 --> 1:18:43.720 music in succession, because you could go on forever, you know, 1:18:44.000 --> 1:18:47.880 you could, you could have every two bars have a 1:18:48.520 --> 1:18:52.120 slightly different sort of resonance. If you could be bothered 1:18:52.160 --> 1:18:54.519 to do it, you could. You could, you could process. 1:18:55.080 --> 1:18:58.000 You could just play a two bar loop and and 1:18:58.000 --> 1:19:01.400 and you know, paste it sequentially and make it sound 1:19:01.479 --> 1:19:03.400 like the most incredibly. 1:19:03.200 --> 1:19:04.240 Organic sounding track. 1:19:04.320 --> 1:19:06.280 Now if you wanted to do that, or you could 1:19:06.360 --> 1:19:07.320 just fucking play it. 1:19:07.439 --> 1:19:10.240 You know, digital is like a photograph of something where 1:19:10.240 --> 1:19:13.000 you like sort of immediately lose a generation just right 1:19:13.040 --> 1:19:13.639 off the bat. 1:19:13.760 --> 1:19:16.679 There is something to that, for sure, but I actually 1:19:16.800 --> 1:19:18.920 come into piece with it because it is much more 1:19:19.040 --> 1:19:22.120 and I certainly couldn't have made the latest record unless 1:19:22.120 --> 1:19:22.719 we had. 1:19:22.880 --> 1:19:24.679 Or wise Up Ghosts for that matter. 1:19:24.640 --> 1:19:26.840 Wise Up Ghosts and as we you know, from the 1:19:26.920 --> 1:19:29.160 one first time we played the music in the room, 1:19:29.479 --> 1:19:33.640 the music changed shape the minute. Even though you know, 1:19:34.360 --> 1:19:36.599 we were all the same people that had played those 1:19:36.640 --> 1:19:40.439 parts for the most part. The minute we actually just 1:19:40.520 --> 1:19:44.360 played those numbers in a room, the music completely changed shape. 1:19:44.640 --> 1:19:45.880 It stopped being quite as. 1:19:45.720 --> 1:19:49.439 Angular and became greasier and like you know, flowed in 1:19:49.479 --> 1:19:54.240 a different, totally different way, just because it was happening simultaneously. 1:19:54.439 --> 1:19:55.680 It's a totally different. 1:19:55.640 --> 1:19:56.640 Not a collage, you know. 1:19:56.760 --> 1:19:58.639 Yeah, And I wasn't involved at that point. 1:20:00.240 --> 1:20:01.560 I didn't want to say. 1:20:02.280 --> 1:20:05.759 But before we get to wise Up goes more in depth. 1:20:06.080 --> 1:20:09.200 You know, you're on Quest of Supreme and the audience 1:20:09.280 --> 1:20:13.439 here are as fanatic about Quest as I am about you. 1:20:13.880 --> 1:20:17.200 So can you tell the audience what it was like 1:20:18.040 --> 1:20:20.360 the first time you played live with Quest and the 1:20:20.439 --> 1:20:23.719 Roots when you came onto Late Night with Jimmy Fallon 1:20:24.720 --> 1:20:27.880 in December of two thousand and nine and you did 1:20:27.920 --> 1:20:30.280 high Fidelity and Chelsea. 1:20:30.320 --> 1:20:35.680 Well, I think the high Fidelity was a particularly interesting 1:20:35.800 --> 1:20:40.240 thing because it was the decision, which I don't think 1:20:40.400 --> 1:20:41.320 was mine, was it? 1:20:41.439 --> 1:20:42.320 No, it was mine. 1:20:42.360 --> 1:20:44.040 That was your idea. 1:20:44.080 --> 1:20:48.120 You you had heard the which was then a bootleg. 1:20:48.520 --> 1:20:51.240 You'd heard the bootleg. We were since legitimized it and 1:20:51.280 --> 1:20:53.880 released it in the Aufuls's box set, But it was 1:20:54.160 --> 1:20:57.000 an arrangement that we had not issued. I don't think 1:20:57.040 --> 1:20:58.360 was it available. 1:20:57.880 --> 1:20:59.720 That it was available for Rhino. 1:21:00.040 --> 1:21:02.120 Well maybe we hadn't released it, but we hadn't remixed 1:21:02.120 --> 1:21:04.040 it as well. We hadn't done We hadn't because we 1:21:04.080 --> 1:21:06.240 hadn't gone back to the So what you you were 1:21:06.280 --> 1:21:09.439 referencing was a board tape, and so we put the 1:21:09.479 --> 1:21:13.400 board tape on that Rhino thing, and then in twenty 1:21:13.840 --> 1:21:16.080 twenty we actually went back to the multi tracks. We 1:21:16.160 --> 1:21:18.519 got the multi track and remixed the whole Wow. 1:21:19.000 --> 1:21:20.519 That's sebass ended that wow. 1:21:20.520 --> 1:21:22.439 So that's why the version that's in Unfuls is a 1:21:22.479 --> 1:21:25.080 little bit more kind of bodied to it. But that 1:21:25.200 --> 1:21:29.320 was that was this. I mean, when we did that 1:21:29.439 --> 1:21:36.080 record in Hillsham Wistloud Studios in nineteen eighty, it was 1:21:36.080 --> 1:21:39.840 supposed to be some sort of take on all the 1:21:39.920 --> 1:21:42.320 music that we were talking about earlier, the stuff that 1:21:42.960 --> 1:21:46.519 was kind of like that wasn't made in England. It 1:21:46.560 --> 1:21:49.240 was all the stuff that filtered through. There's much about 1:21:49.360 --> 1:21:51.439 R and B as we kind of knew as we 1:21:51.520 --> 1:21:53.479 call it R and B and soul, that's the words 1:21:53.520 --> 1:21:56.360 we use for it. Those words have different meanings now 1:21:56.760 --> 1:22:00.000 they have different associations. But when I said, you know, 1:22:00.000 --> 1:22:02.880 you know, like nowadays and say you're talking about fifties 1:22:02.960 --> 1:22:05.799 R and B, you're talking about early sixties like Halean 1:22:05.840 --> 1:22:08.960 Woolf or Slim Harper, you're talking about you know, these 1:22:10.320 --> 1:22:13.519 these different kind of feels. And then the music that 1:22:13.560 --> 1:22:16.519 we identified we saw as distinct. It was a sudden 1:22:16.560 --> 1:22:20.280 soul or soul that was on the Atlantic label. We 1:22:20.320 --> 1:22:24.519 saw something different than Tamla, which was obviously had a 1:22:24.560 --> 1:22:27.280 more poppy The way the voices were and the way 1:22:27.320 --> 1:22:30.200 things were arranged, and the way that, you know, the 1:22:30.200 --> 1:22:32.519 the orchestration, the different kind of other instruments that would 1:22:32.560 --> 1:22:34.400 pop up in them, they seem to have more in 1:22:34.439 --> 1:22:37.200 common with a lot of pop records that were being 1:22:37.240 --> 1:22:39.880 made by the mid sixties. And you know, in these 1:22:39.920 --> 1:22:43.640 definitions of what we heard, it was the just just 1:22:43.680 --> 1:22:47.679 the fact that the Atlantic records, for the most part, 1:22:48.320 --> 1:22:51.479 had horns and a rhythm section with maybe piano and organ, 1:22:52.120 --> 1:22:56.160 whereas the Motown or Tamela records from the mid sixties 1:22:56.280 --> 1:22:59.440 had a lot of vocal group like often the Temptations, 1:22:59.479 --> 1:23:02.960 even the six and on other people's records, but really 1:23:03.040 --> 1:23:08.400 kind of like very very well arranged vocal parts and strings, 1:23:08.439 --> 1:23:10.559 and they were played by jazz musicians. You can tell 1:23:10.560 --> 1:23:14.800 they're played by jazz musicians. They're kind of light, feel incredible, 1:23:15.360 --> 1:23:17.559 you know, James jameson to hold that whole kind of 1:23:17.560 --> 1:23:20.839 funk brother's band. It's a very different sound to something 1:23:20.960 --> 1:23:25.040 like Musclesholls or the you know stuff made up on 1:23:25.120 --> 1:23:28.160 forty eighth Street Atlantic, you know, and they're all the 1:23:28.200 --> 1:23:30.799 bands in England that copied the cues from these records 1:23:30.840 --> 1:23:33.599 were trying very hard to play that. So we grew 1:23:33.720 --> 1:23:36.680 up hearing, as I said, twice over those things and 1:23:36.760 --> 1:23:39.640 sometimes then turned up a little bit like the small Faces. 1:23:40.560 --> 1:23:43.400 Gradually brought volume to bear on that picture. You know, 1:23:43.560 --> 1:23:48.080 you could tell which records different English singers were listening to, 1:23:48.960 --> 1:23:52.400 but they didn't necessarily sound like Faithful Colors. I gradually 1:23:52.400 --> 1:23:57.280 got looser and then by the time we got making records, 1:23:57.479 --> 1:24:00.439 it was completely different. We had a lot of stuff 1:24:00.439 --> 1:24:05.760 to draw from when we went to do that record 1:24:06.080 --> 1:24:09.120 in Holland that we had already had pretty much all 1:24:09.120 --> 1:24:11.639 the hit records that we were likely to have in England. 1:24:11.720 --> 1:24:14.360 We'd had from Get Happy, you mean well up to 1:24:14.360 --> 1:24:16.280 Get Happy, we had a couple of hits off that 1:24:16.840 --> 1:24:19.800 everything we made was a hit. From late seventy seven 1:24:19.880 --> 1:24:24.000 to eighty there was everything was a top thirty to 1:24:24.000 --> 1:24:28.400 top five record, every single So that was a good run, 1:24:28.439 --> 1:24:30.519 you know. That was like what established us in England. 1:24:30.760 --> 1:24:33.280 At the same time we were barely getting on the 1:24:33.360 --> 1:24:36.200 radio in America, so the things are kind of out 1:24:36.240 --> 1:24:39.400 of joint, you know. So when we got in to 1:24:39.479 --> 1:24:42.320 do that record, we had arrangements that were still carried 1:24:42.360 --> 1:24:46.040 some of our ideas from the previous year. And the 1:24:46.080 --> 1:24:49.639 big influence on the Armed Forces record were European signing 1:24:49.720 --> 1:24:55.080 records like ABBA and funnily enough, the Bowie records, you know, 1:24:55.520 --> 1:24:59.559 specifically low in Heroes, but also stationed the station and 1:24:59.640 --> 1:25:02.120 station the station was what we were aiming at when 1:25:02.160 --> 1:25:05.280 we did the slow, high fidelity that's brain you know stuff. No, 1:25:05.439 --> 1:25:07.320 that's before Brian, you know, that's the I don't know 1:25:07.360 --> 1:25:11.000 who produced that record, I don't know, I don't know. 1:25:11.040 --> 1:25:13.000 I never really checked who produced it, but it was, 1:25:13.640 --> 1:25:16.360 you know it it had a sort of a funk bass, 1:25:16.880 --> 1:25:19.640 you know, it had a funk bassis to it. But 1:25:19.680 --> 1:25:22.200 then David Bower's kind of vocal and it had like 1:25:22.240 --> 1:25:26.200 the Nina Simone the song associated with Nina Simone, Wild 1:25:26.360 --> 1:25:28.360 is the wind on that record and at TVC one 1:25:28.439 --> 1:25:31.200 five and the beginning of that kind of you know, 1:25:31.360 --> 1:25:36.000 European influenced funk that it didn't. So we were trying 1:25:36.000 --> 1:25:39.320 to we were enamored of that, all that music, and 1:25:39.360 --> 1:25:40.600 we're trying to play. 1:25:40.439 --> 1:25:41.120 Like a machine. 1:25:41.560 --> 1:25:43.439 But we didn't have the guitars, we didn't have the 1:25:43.479 --> 1:25:46.600 sustained guitars, we didn't have the layers of synth, we 1:25:46.640 --> 1:25:48.760 didn't have the layers of production that he did. You know, 1:25:49.360 --> 1:25:52.880 we were just a four piece band. So the live 1:25:53.040 --> 1:25:55.600 arrangement of that was a sort of feeble attempt to 1:25:55.640 --> 1:25:58.640 play like station to station. And all that happened was 1:25:58.640 --> 1:26:00.200 when we got in the studio, I said we better 1:26:00.240 --> 1:26:02.160 pick up the tempo because the song is getting away, 1:26:02.240 --> 1:26:02.519 you know. 1:26:02.680 --> 1:26:06.160 So the live recording was prior to the recording the. 1:26:06.080 --> 1:26:07.400 Studio that was in the summer. 1:26:07.640 --> 1:26:10.280 That was in the summer of seventy nine, so we 1:26:10.280 --> 1:26:13.080 were yeah, well a strange. 1:26:13.200 --> 1:26:16.559 I mean, maybe you weren't satisfied with with that arrangement, 1:26:16.600 --> 1:26:19.960 but that arrangement does have so much hard to it. 1:26:19.960 --> 1:26:22.559 It has a lot of freedom to the to the 1:26:22.600 --> 1:26:25.519 where the vocal lies. Yeah, because you can dance around 1:26:25.560 --> 1:26:27.320 the beat a lot more because it's much slower, and 1:26:27.360 --> 1:26:29.639 you can sing the melody. I mean, if you here's 1:26:29.680 --> 1:26:32.200 the thing is that high fidelity song at that tempo 1:26:32.479 --> 1:26:35.720 is similar territory to You'll Never Be a Man. It's 1:26:35.760 --> 1:26:39.720 both influenced by the Spinners. You know, they're like the 1:26:39.720 --> 1:26:45.800 Spinner's tunes, you know some things, you know. You know, 1:26:45.960 --> 1:26:49.200 so Philip Winn was like one of my you know, 1:26:49.240 --> 1:26:51.160 the people the voices in the head kind of thing 1:26:51.240 --> 1:26:53.680 I could never sing, like wow, but it shapes the 1:26:53.720 --> 1:26:57.400 way you phrase melody. Allison is based on Philip Winn, 1:26:57.720 --> 1:27:03.400 you know. So it's based on Ghetto Child, you know that. 1:27:05.000 --> 1:27:06.879 I know it sounds crazy to say that. 1:27:06.680 --> 1:27:09.400 It doesn't tracks my tears or tears of clown or 1:27:09.479 --> 1:27:10.040 something like that. 1:27:10.080 --> 1:27:12.320 Well I would quote those on the end of it, 1:27:12.400 --> 1:27:15.519 but but it's it's really laughing just a little. And 1:27:15.560 --> 1:27:21.040 the spinners that are much more the the staccato way 1:27:21.080 --> 1:27:28.040 that the figure, that part of the Allison, you know, 1:27:28.160 --> 1:27:31.560 comes from the spinners, or the Detroit Spinners as we 1:27:31.640 --> 1:27:32.400 knew them, right. 1:27:33.000 --> 1:27:34.800 I guess my point and we got to it, which 1:27:34.880 --> 1:27:37.439 was that this this arrangement had some real funk to it, 1:27:37.520 --> 1:27:40.320 some hump to it. It sounded to me like questlove. 1:27:41.040 --> 1:27:42.920 That's why that was exactly I mean, when he dropped 1:27:42.920 --> 1:27:45.599 into it, it was like, oh, now it's home because 1:27:45.640 --> 1:27:50.320 now he understands that thing and that and it's more resolute, 1:27:50.360 --> 1:27:53.960 and we've got like a bigger band, you know. It's 1:27:54.160 --> 1:27:57.280 it's got the sounds and had horns, got horns, and 1:27:57.320 --> 1:28:00.040 you've got Coke who can has got you know, I 1:28:00.040 --> 1:28:02.599 I just had i'd have any effects in those days, 1:28:02.600 --> 1:28:07.200 I'm like God, instead of effects was travelop I don't 1:28:07.200 --> 1:28:09.559 think I had even a distortion that might have had 1:28:09.560 --> 1:28:12.479 a distortion pedal by the time we got to seventy 1:28:12.560 --> 1:28:15.479 nine or some sort of lyft because I never played solos, 1:28:15.520 --> 1:28:18.920 so it was like the guitar straight in and maybe 1:28:18.960 --> 1:28:22.040 just a tramlo pedal. Later on, I used to play 1:28:22.040 --> 1:28:26.400 with a rolling space Echo, you know, and then later 1:28:26.479 --> 1:28:30.400 on an Ecoplex an Acoplex so what Watkins copycat? You know. 1:28:30.880 --> 1:28:35.800 But I didn't really get into processing pedals so much 1:28:35.880 --> 1:28:38.240 later twenty years ago. Really, I didn't play with any 1:28:38.280 --> 1:28:39.160 really until then. 1:28:39.479 --> 1:28:43.160 So so you come onto the show apparently not to 1:28:43.200 --> 1:28:46.960 promote anything at that appearance, because there's no even that way. 1:28:47.040 --> 1:28:48.519 Yeah, I don't know how that even came about. 1:28:48.520 --> 1:28:49.800 It was it? 1:28:49.800 --> 1:28:50.720 It could have had. 1:28:51.120 --> 1:28:53.360 I think you were either supporting Fallon or you want 1:28:53.400 --> 1:28:54.880 to play with the roots or something. 1:28:55.120 --> 1:28:58.080 I think it was just that, or it's what year 1:28:58.120 --> 1:28:58.559 is it again? 1:28:58.800 --> 1:29:01.800 This was end of two thousand and nine, December of 1:29:01.880 --> 1:29:02.599 two thousand and nine. 1:29:02.880 --> 1:29:06.200 It could have been something. Do it spectful? That's around 1:29:06.200 --> 1:29:08.040 then as well. Yeah, give maybe you were a couch 1:29:08.080 --> 1:29:09.200 guest too. I can't remember. 1:29:09.200 --> 1:29:10.360 I can't remember now, you know. 1:29:10.400 --> 1:29:13.680 I just remember two thousand and nine is around the 1:29:13.720 --> 1:29:19.320 time of that Secret Friends Sugarcane and being in Nashville 1:29:19.320 --> 1:29:22.280 and Momofuku. I was making those records all at the 1:29:22.280 --> 1:29:24.680 same time, you know. If it had been in the 1:29:24.800 --> 1:29:27.840 days of Twitter and I remember when we were making 1:29:27.880 --> 1:29:30.920 What Was Up Ghost? I remember one time we were 1:29:30.920 --> 1:29:33.160 waiting for Quest to come from something that he was 1:29:33.200 --> 1:29:36.120 at and we were checking his feed to find out 1:29:36.120 --> 1:29:38.800 where he was. So, you know, and if that had 1:29:38.800 --> 1:29:40.519 been the case, it would have been like that. There 1:29:40.560 --> 1:29:43.200 was a period where I was doing like a lot 1:29:43.200 --> 1:29:47.400 of different things. When we did the Spectacle show. That 1:29:47.479 --> 1:29:49.759 required a lot of balancing of getting all these people, 1:29:49.960 --> 1:29:52.920 you know, like anything like any television show, getting the 1:29:52.960 --> 1:29:56.120 guests to be there, and then rehearsing for it and 1:29:56.160 --> 1:29:58.920 the different musicians that played on each one. But I 1:29:58.960 --> 1:30:01.960 could be coming from Nash having made Zigrafine was made 1:30:01.960 --> 1:30:04.880 in three days, so you know, we just went It 1:30:04.960 --> 1:30:07.800 was a three day session. It wasn't an album. There 1:30:07.800 --> 1:30:10.160 were three record dates as in the old Star because 1:30:10.160 --> 1:30:12.760 it was acoustic music. You know, I'd been in. 1:30:13.160 --> 1:30:15.080 So were you thinking EP or something for that now? 1:30:15.160 --> 1:30:18.160 I was thinking I was thinking something. But I was thinking, 1:30:18.200 --> 1:30:20.400 we'll get these songs in the time, because look who 1:30:20.439 --> 1:30:21.160 is playing on it. 1:30:21.320 --> 1:30:22.920 Wow, I got the beggest greatest. 1:30:22.960 --> 1:30:24.720 You know, that's like an all star band to beat 1:30:24.760 --> 1:30:28.559 the band, you know that those players. I had nothing 1:30:28.600 --> 1:30:30.280 at all to do it with Bluegrass. I mean half the 1:30:30.280 --> 1:30:33.000 songs we recorded there I wrote for an opera, you know, 1:30:33.080 --> 1:30:35.519 half the songs we can't on that record were written 1:30:35.520 --> 1:30:38.000 for an opera that I wrote that I did for 1:30:38.200 --> 1:30:41.720 Copenhagen about Hans Chris and Anderson. So it was a 1:30:41.920 --> 1:30:44.960 kind of wild lot of harmony for players who played 1:30:44.960 --> 1:30:47.120 a mandolin to play, you know, they all were like 1:30:48.200 --> 1:30:50.320 they never had anything to do with bluegrass, so it 1:30:50.360 --> 1:30:53.040 was just acoustic acoustically rendered. 1:30:53.080 --> 1:30:54.360 It was like chamber of music, you know. 1:30:55.240 --> 1:30:59.320 So all those different experiences there, I think playing with 1:30:59.360 --> 1:31:03.720 the band again in this in a studio on television 1:31:04.400 --> 1:31:07.080 was pretty much unprecedented. The previous band I'd played with 1:31:07.120 --> 1:31:11.800 on television that wasn't my own group in some. 1:31:11.880 --> 1:31:12.679 One way or another. 1:31:13.680 --> 1:31:15.880 Would it be in Letterman's band or something. 1:31:16.000 --> 1:31:19.920 I never played with Lettermans band ever. No, No, never 1:31:19.960 --> 1:31:22.679 played with them. I always played with on my own. 1:31:23.320 --> 1:31:25.519 Well, on Spectacle you must have played with I. 1:31:25.520 --> 1:31:27.280 Played with other mans on that. But prior to that, 1:31:27.680 --> 1:31:31.439 the other experiences for the return to SNL. When I 1:31:31.479 --> 1:31:33.400 went back, I played with the house ban of SNL, 1:31:34.280 --> 1:31:36.320 and Paul may have been in that band then. I 1:31:36.360 --> 1:31:40.000 don't think you think he'd already left and the Beasties. 1:31:40.439 --> 1:31:43.280 But when the beastis backed me and whenever he did 1:31:43.360 --> 1:31:44.720 on the twenty fifth anniversary show. 1:31:45.760 --> 1:31:48.559 But the Roots known as one of the greatest live 1:31:48.560 --> 1:31:50.679 acts that there is on the planet for the last 1:31:50.760 --> 1:31:54.000 thirty years something like that, and so you know, to 1:31:54.040 --> 1:31:58.400 feel that energy behind you on that version of high fidelity, yeah, 1:31:58.479 --> 1:32:00.400 I guess you felt like you made the right decision 1:32:00.560 --> 1:32:03.040 to come on the show hopefully totally. 1:32:03.120 --> 1:32:05.519 Yeah, totally. I mean it's like it. 1:32:05.400 --> 1:32:07.920 Was like a realization and we would have never gone 1:32:07.960 --> 1:32:09.759 back to that version in that arrangement. 1:32:09.880 --> 1:32:10.080 You know. 1:32:11.040 --> 1:32:13.960 I did it occasionally after that, and I think the 1:32:13.960 --> 1:32:16.760 band Impostus did learn it and we did it occasionally 1:32:16.880 --> 1:32:19.839 that way or started like that and then cut into tempo. 1:32:20.320 --> 1:32:24.040 That version is what's known as a banger, yeah, because 1:32:24.080 --> 1:32:26.280 it bangs, yeah, like you know, no question. 1:32:26.880 --> 1:32:29.599 And then here in Chelsea that's a different thing again, 1:32:29.800 --> 1:32:31.400 you know, because that's. 1:32:31.439 --> 1:32:34.280 That was I think a mistake on my why. I mean, 1:32:34.680 --> 1:32:36.920 obviously we got a whole new song out of it, 1:32:37.320 --> 1:32:40.200 and you know, we were referencing not only the original, 1:32:40.240 --> 1:32:43.120 but there's a like a there's another demo version of 1:32:43.160 --> 1:32:44.840 it with a like a distorted organ. 1:32:44.880 --> 1:32:47.400 Oh yeah, that's the earlier version. Yeah, slightly slow. 1:32:47.520 --> 1:32:51.040 Slower and bit reggae and you know, like and we 1:32:51.120 --> 1:32:52.760 used to come in. You know, bear in mind they 1:32:52.840 --> 1:32:56.160 used to make us re record for television, so when 1:32:56.400 --> 1:32:58.800 the record was a hit in England, you would get 1:32:59.760 --> 1:33:03.000 you would get these three hour sessions and most bands 1:33:03.040 --> 1:33:05.400 couldn't play their records, so they were glad to just 1:33:05.439 --> 1:33:10.120 switch the tape while they weren't looking. They'd switch it 1:33:10.200 --> 1:33:13.799 for a copy of the record and give the BBC 1:33:14.400 --> 1:33:17.080 essentially just a dove at the record and then say 1:33:17.120 --> 1:33:17.800 they'd cut it. 1:33:18.479 --> 1:33:18.720 You know. 1:33:19.439 --> 1:33:21.720 So there was this whole subterfuge where you had to 1:33:21.720 --> 1:33:24.200 go into the studio for three hours. 1:33:24.800 --> 1:33:26.559 It was intended to protect the. 1:33:26.600 --> 1:33:30.360 Jobs and the union members that had played on records 1:33:30.800 --> 1:33:33.400 in the sixties, and by the time we got to 1:33:33.479 --> 1:33:36.360 everybody playing on their own records, which was most everybody 1:33:36.560 --> 1:33:39.120 that was on these shows, there was a whole game 1:33:39.160 --> 1:33:41.200 going on where all the studio time went to waste. 1:33:41.600 --> 1:33:44.400 So of course, because we could play, we would come 1:33:44.400 --> 1:33:47.200 in and play the live arrangement, which maybe faster or 1:33:47.400 --> 1:33:49.080 had a different break, and then get pissed off with 1:33:49.160 --> 1:33:52.920 us because we they got their camera cues from the record, 1:33:52.920 --> 1:33:54.640 and then it would be different when we turned up 1:33:54.680 --> 1:33:56.559 at the studio. We just used to fuck with them, 1:33:56.600 --> 1:33:59.360 you know, Ray, But it was just something to keep 1:33:59.400 --> 1:34:01.720 it from getting stale, because the. 1:34:01.680 --> 1:34:02.559 Whole thing is like. 1:34:04.439 --> 1:34:07.559 The one thing about American television from the get go. 1:34:07.680 --> 1:34:09.519 And the very first time I was ever on TV 1:34:09.560 --> 1:34:12.880 in Americas, he did play live. I was never heard 1:34:12.920 --> 1:34:16.880 on the BBC until Live eight. Every single performance on 1:34:16.880 --> 1:34:19.800 the BBC I was lip syncing. So my first ever 1:34:19.840 --> 1:34:22.320 performance is in front of seventy thousand people. 1:34:22.120 --> 1:34:22.799 With one guitar. 1:34:23.400 --> 1:34:26.200 Good chart on the BBC, I did okay, but I 1:34:26.360 --> 1:34:29.000 played on the other side, on the commercial side. My 1:34:29.160 --> 1:34:31.840 debut was on was just with one guitar as well, 1:34:32.520 --> 1:34:35.040 on a sort of early evening, Sharon Manchester and I 1:34:35.080 --> 1:34:38.200 did one or two performances with the band and then the. 1:34:38.680 --> 1:34:41.320 Shout out to wave away flag while we're here sorry 1:34:41.320 --> 1:34:44.679 and the attractions played only one time a session where 1:34:44.680 --> 1:34:47.160 we played more than one song on the BBC in 1:34:47.200 --> 1:34:48.840 eighty six when Blood and. 1:34:48.840 --> 1:34:51.519 Chocolate was out, and then we didn't play again until 1:34:51.520 --> 1:34:54.559 the nineties. There was no live at all, and even 1:34:54.600 --> 1:34:57.280 now you don't. The other night I was on TV 1:34:57.400 --> 1:34:59.559 in England, I sang up a track which is just 1:34:59.600 --> 1:35:03.680 carry out it's not real because the music doesn't go 1:35:03.840 --> 1:35:06.080 with you anyway. You have to kind of just sing 1:35:06.120 --> 1:35:07.599 over it. It doesn't sound very good. 1:35:07.920 --> 1:35:09.599 No, I'm not a fan of that. 1:35:09.760 --> 1:35:11.439 No, it doesn't feel very alive. 1:35:11.560 --> 1:35:14.679 And Aretha Franklin came on The Tonight Show or Leaking 1:35:14.680 --> 1:35:17.639 Now with Jimmy Fallon a long time ago. She sang 1:35:17.680 --> 1:35:20.800 to a track and I was like, come on, you know, 1:35:20.920 --> 1:35:23.760 you got the roots here and for one and even 1:35:23.800 --> 1:35:24.120 you know. 1:35:24.160 --> 1:35:27.479 Just that does seem like a missed opportunity, but a 1:35:27.479 --> 1:35:27.920 little bit. 1:35:28.439 --> 1:35:29.960 She was great obviously, but you know. 1:35:30.040 --> 1:35:31.640 Yeah, no, but you still want to you know, And 1:35:32.240 --> 1:35:35.479 I mean by the same token, there's a clip of 1:35:35.520 --> 1:35:38.439 her like dragging a BBC band through Don't play that 1:35:38.560 --> 1:35:42.519 song from about sixty eight where she's just killing on 1:35:42.560 --> 1:35:45.599 the piano. She's playing piano and you hear like how 1:35:45.680 --> 1:35:48.320 one player that really knows how it goes can influence 1:35:48.400 --> 1:35:51.040 even a band of musicians that probably wouldn't ever have 1:35:51.120 --> 1:35:54.439 played anything like that before. So well, sometimes that was 1:35:54.479 --> 1:35:56.000 a really great thing when you have that. 1:35:56.200 --> 1:35:59.080 Sure. Yeah, with regards to Chelsea, the reason why, I 1:35:59.240 --> 1:36:01.680 just I thought it was going to be perfect for 1:36:01.720 --> 1:36:04.400 the Roots, and they played it just too similar, I think, 1:36:04.439 --> 1:36:06.880 to the original, and it didn't. I was trying to 1:36:06.880 --> 1:36:09.400 get the reggae aspect into I was trying to mash 1:36:09.479 --> 1:36:12.160 those two versions up the original, and they. 1:36:12.080 --> 1:36:13.800 Should have played it even a little slower. 1:36:13.800 --> 1:36:16.080 It would have been interesting, because then that would have been. 1:36:15.960 --> 1:36:16.759 A different field. 1:36:16.880 --> 1:36:19.800 So the second time you came on, you were promoting 1:36:20.040 --> 1:36:20.960 National Ransom. 1:36:21.200 --> 1:36:23.599 Oh yeah, that's the one I really have a clear 1:36:23.680 --> 1:36:25.880 memory of. Really right, the other one, I think it's 1:36:25.880 --> 1:36:28.160 also intimidating when you go in and it's a whole 1:36:28.160 --> 1:36:29.920 bunch of new guys and you don't know. 1:36:30.640 --> 1:36:32.200 What they made of it. 1:36:32.280 --> 1:36:34.760 And I'm not bringing in a hit song or a 1:36:34.800 --> 1:36:38.439 song that's even on the radio or anything I'm playing. 1:36:39.200 --> 1:36:41.600 But even the first time, I'm bringing in like a 1:36:41.880 --> 1:36:43.320 here's a version. 1:36:43.040 --> 1:36:44.639 That we didn't record in the studio. 1:36:44.760 --> 1:36:47.080 This is something I just did in a field in Holland, 1:36:47.400 --> 1:36:49.599 well twenty five years ago. This is a good idea, 1:36:49.640 --> 1:36:51.720 I fellas you know, I think we know. But I 1:36:52.280 --> 1:36:56.960 think I knew right away that the curiosity coming from 1:36:57.000 --> 1:36:59.439 you and coming from everything that I knew about the 1:36:59.479 --> 1:37:03.519 band and than you'd already done, was this was this 1:37:03.680 --> 1:37:06.280 was okay, This was really good. In fact, it was 1:37:06.400 --> 1:37:09.880 actually what it's about. And I think a little bit 1:37:09.920 --> 1:37:12.599 like you're talking about the festival band. You know, they 1:37:12.680 --> 1:37:15.280 used to put festival bands together that have like all 1:37:15.320 --> 1:37:18.880 stars played together on jazz festivals. Particularly harder to do 1:37:19.000 --> 1:37:21.439 with rock and roll bands or any other kind of 1:37:21.479 --> 1:37:23.760 music because they're not equipped to do it, you know, 1:37:23.800 --> 1:37:25.800 to get off their own script. 1:37:25.640 --> 1:37:28.040 But they but they but to do this. 1:37:28.760 --> 1:37:31.280 It seems like really in the spirit of being on 1:37:31.360 --> 1:37:36.280 TV where you'd get like really unusual combinations like being 1:37:36.400 --> 1:37:40.040 Crosby House. Here Feliciano and the Supremes. Now check that 1:37:40.120 --> 1:37:43.160 one out on YouTube. You know, there is actually a 1:37:43.160 --> 1:37:47.240 clip of them going through about ninety not ninety, about 1:37:47.240 --> 1:37:51.040 twenty five songs in about four minutes medley on those 1:37:51.080 --> 1:37:54.760 crazy Medalis. It changes every three lines, you know. I 1:37:54.760 --> 1:37:56.920 know they make you nervous, but it's in the same 1:37:57.040 --> 1:37:59.679 spirit of the way they used to jam people together 1:37:59.680 --> 1:38:02.719 that should have never been seen and occasion that there'd 1:38:02.720 --> 1:38:05.200 be magic, there would be on TV there would be 1:38:05.240 --> 1:38:06.559 some risk involved as well. 1:38:11.439 --> 1:38:17.519 So on November fifth, twenty ten, promoting National Ransom, playing 1:38:17.560 --> 1:38:20.280 Stations of the Cross and Black and White World with 1:38:20.400 --> 1:38:21.680 the Roots tell us. 1:38:21.720 --> 1:38:22.559 What happened that day? 1:38:23.400 --> 1:38:25.960 Well, first thing, the first thing I remember is that 1:38:26.439 --> 1:38:30.439 I was playing World as I don't usually play piano 1:38:30.520 --> 1:38:33.679 for one thing, not leading the band, but I really 1:38:33.760 --> 1:38:35.519 wanted to play. 1:38:35.760 --> 1:38:36.559 I wanted to play the. 1:38:36.520 --> 1:38:39.920 Field of that song simply on the World's that sort 1:38:39.960 --> 1:38:42.320 of get it locked in From where I was sitting. 1:38:42.360 --> 1:38:43.719 I knew the rhythm would be great. 1:38:44.640 --> 1:38:47.400 I felt like there was something going on with the 1:38:47.439 --> 1:38:51.200 bassline that had been played on a double bass by 1:38:51.240 --> 1:38:53.760 Dennis Crouch, so I was really interested. 1:38:53.320 --> 1:38:54.400 To hear I play it. 1:38:55.640 --> 1:38:57.840 Shout out to Mark Kelley, who specifically asked me to 1:38:57.880 --> 1:38:59.599 mention his name on this pot bet. 1:39:00.840 --> 1:39:04.799 And then it's it's kind of like it was always 1:39:04.840 --> 1:39:06.840 supposed to be a really ominous song. It was a 1:39:07.040 --> 1:39:10.320 very dark song. It is a very dark song. Then 1:39:10.360 --> 1:39:11.960 I remember we were walking I don't know, in the 1:39:11.960 --> 1:39:15.040 hallway and quest said this thing about I think you've 1:39:15.080 --> 1:39:19.400 been in here right with with D'Angelo and it had 1:39:19.439 --> 1:39:21.840 gone really late, that's what he told me. Or it'd 1:39:21.880 --> 1:39:24.559 been working or something, you'd been on a session anyway, 1:39:25.320 --> 1:39:27.559 you know, this was for some other thing. 1:39:27.720 --> 1:39:28.360 I don't know what it was. 1:39:28.400 --> 1:39:30.360 And then he said, and now we're learning these inner 1:39:30.360 --> 1:39:33.320 Mountain Flame songs and what the hell for me? You know, 1:39:33.400 --> 1:39:36.280 that's so difficult, it said because John mcgoughlin is here 1:39:36.280 --> 1:39:39.240 as I was sitting in with us, so I said, well, 1:39:39.280 --> 1:39:40.519 can he play on my song? 1:39:41.680 --> 1:39:43.479 And the next thing we're in what I think of? 1:39:43.600 --> 1:39:45.760 I mean, I am always I don't know where are 1:39:45.800 --> 1:39:47.799 you still in that little room or you've got bigger 1:39:48.280 --> 1:39:50.640 since COVID never had to give you a bigger rule? 1:39:50.760 --> 1:39:51.599 Where do you think we are? 1:39:51.760 --> 1:39:54.639 I imagine you're still in that little room. The tartis 1:39:55.280 --> 1:39:57.759 so the tartist I'm sure has been described at length 1:39:57.800 --> 1:40:00.120 on this show, but I mean, from my perspective, it 1:40:00.160 --> 1:40:02.760 is incredible that I'm sure it was just the tech 1:40:02.800 --> 1:40:05.960 covered where they used to keep like spanners and whatever 1:40:06.000 --> 1:40:08.879 it was before it was your studio. It is amazing 1:40:08.920 --> 1:40:11.559 that so many people can function and breathe in there. 1:40:11.720 --> 1:40:13.880 You know, we can't function or breathe, but go ahead. 1:40:13.960 --> 1:40:16.599 Yeah, But so that I think is part of the 1:40:16.600 --> 1:40:19.920 magic of playing. In preparation for playing on the show 1:40:20.000 --> 1:40:23.400 is to be in that room in close proximity, because 1:40:23.439 --> 1:40:26.120 you there's no avoiding it. Even though Cress has got 1:40:26.120 --> 1:40:29.120 his booth horn sections in the back lounge. The rest 1:40:29.160 --> 1:40:32.120 of the mad is in this narrow thing behind your board. 1:40:32.160 --> 1:40:34.559 I mean, it is an amazing And then you add 1:40:34.600 --> 1:40:38.000 John mcgoughlin playing five hundred thousand notes. 1:40:38.080 --> 1:40:39.640 You know, every time I pointed. 1:40:39.280 --> 1:40:41.960 At him because it was simply a vamp on one 1:40:42.080 --> 1:40:44.040 chord in between the verses, so we just let him 1:40:44.040 --> 1:40:47.840 fly and as everybody knows, and he was so good 1:40:47.960 --> 1:40:50.719 natured about it. I mean, I have no idea whether 1:40:50.800 --> 1:40:53.160 he had ever heard my name before that day, but 1:40:53.240 --> 1:40:56.880 he went into it so openly right, and it was 1:40:57.080 --> 1:41:00.240 it created a different kind of tension, if any. It 1:41:00.320 --> 1:41:03.240 was like a moment of lightness him playing all those 1:41:03.240 --> 1:41:04.120 crazy But. 1:41:04.120 --> 1:41:07.640 You've played a lot of those tribute shows and fundraising 1:41:07.720 --> 1:41:10.040 shows where everybody comes on that end of. 1:41:09.920 --> 1:41:13.080 This, Yeah, but they not always that well, you know, 1:41:13.479 --> 1:41:14.040 it's rare. 1:41:14.720 --> 1:41:17.360 I've been in a number of very old bands over 1:41:17.400 --> 1:41:18.120 the years. You know. 1:41:18.200 --> 1:41:21.479 I was once on the stage in a club for 1:41:21.520 --> 1:41:23.960 a birthday show. I was cut through where I ended 1:41:24.040 --> 1:41:26.559 up on stage with James Burton and Jerry Garcia playing 1:41:26.560 --> 1:41:29.880 behind me. You know, that was pretty weird, wonderful, you know, 1:41:30.040 --> 1:41:33.639 and all playing the wrong guitar. But but for to 1:41:33.680 --> 1:41:37.360 have that kind of lock on that on this ominous 1:41:37.360 --> 1:41:40.160 groove and this kind of hump that that that Quest 1:41:40.240 --> 1:41:42.240 found in it in the in the beat, which ended 1:41:42.280 --> 1:41:47.320 up being like another piece for us. That was great. 1:41:47.520 --> 1:41:50.000 I mean that John was playing on it too, was wonderful. 1:41:51.400 --> 1:41:53.519 And Black and White World was a song that wanted 1:41:53.520 --> 1:41:55.479 to go like that. Now that's a song that Quest 1:41:55.520 --> 1:41:57.880 have played with us on me already. Had he had 1:41:57.920 --> 1:41:59.439 he played it with us then there or did he 1:41:59.479 --> 1:42:00.439 play No. 1:42:00.880 --> 1:42:03.680 Shortly after this appearance he came and played with us. 1:42:03.760 --> 1:42:05.880 He came to the Beacon or something and played Black 1:42:05.880 --> 1:42:07.200 and White World on stage with you. 1:42:07.520 --> 1:42:10.000 Part of the wheel show, Yeah, part of the spinning song. 1:42:09.960 --> 1:42:12.479 Right, right, but you just called it it wasn't chosen 1:42:12.479 --> 1:42:12.880 on the wheel. 1:42:14.680 --> 1:42:16.240 Yeah, yeah he did. 1:42:16.320 --> 1:42:18.360 We often cheated in that way when we got in 1:42:18.400 --> 1:42:20.599 the later and we want some song we wanted to play, 1:42:20.640 --> 1:42:20.840 you know. 1:42:21.880 --> 1:42:22.040 Yeah. 1:42:22.080 --> 1:42:24.880 He actually ends up singing that night because he was 1:42:24.920 --> 1:42:26.120 pushed off the drums store, right. 1:42:26.160 --> 1:42:27.120 It wasn't best pleased. 1:42:27.160 --> 1:42:30.760 I was like, why isn't Pete Thomas universally known as 1:42:30.800 --> 1:42:34.000 one of the greatest British or whatever drummers. 1:42:33.720 --> 1:42:37.080 Met Any drummers from have you met any other drummers. Yeah, 1:42:37.080 --> 1:42:39.639 there's a lot of really maniacal like. 1:42:39.640 --> 1:42:41.920 Really that's one in particular, But. 1:42:41.880 --> 1:42:43.920 I mean there are there are some that really are 1:42:44.200 --> 1:42:47.240 going to tell you all about their own brilliance. There's 1:42:47.280 --> 1:42:48.960 a lot of them that are not as good as 1:42:48.960 --> 1:42:49.280 they that. 1:42:49.360 --> 1:42:50.960 He doesn't need to speak about himself. 1:42:50.960 --> 1:42:51.439 But why is it? 1:42:51.600 --> 1:42:53.439 Why hasn't I think it's been part of that that 1:42:53.479 --> 1:42:57.439 he hasn't been broadcasting it, and partly, you know, big mouth, 1:42:57.439 --> 1:42:59.439 he has been kind of taking up all the airspace 1:42:59.520 --> 1:43:02.200 up in front of him for forty five years. I 1:43:02.600 --> 1:43:05.360 absolutely say straight out now I just have I'll tell 1:43:05.360 --> 1:43:08.320 anybody that wants to listen, now, Charlie Wats has gone. 1:43:08.479 --> 1:43:11.040 He's number one. He's the number one rock and roll 1:43:11.120 --> 1:43:14.559 drummer playing today. Wow, I'll say that right out. That's 1:43:14.640 --> 1:43:16.120 all kinds of other kind of music. But as a 1:43:16.200 --> 1:43:18.040 rock and roll drummer, there's nobody close. 1:43:18.280 --> 1:43:21.720 And be honest, he's playing now as good as he 1:43:21.800 --> 1:43:22.320 played then. 1:43:22.640 --> 1:43:24.640 I think he might actually be playing better now than that. 1:43:25.000 --> 1:43:27.720 And he would say, I think he would admit the fact. 1:43:27.840 --> 1:43:29.760 Like the one thing about going a Spanish model, you 1:43:29.840 --> 1:43:32.840 know the record we did where we re recorded all 1:43:32.880 --> 1:43:37.040 the vocals in Spanish with guest artists to over the 1:43:37.040 --> 1:43:40.160 attraction's original parts. A lot of those artists are very 1:43:40.200 --> 1:43:43.679 much used to the you know, the conveniences of modern 1:43:43.720 --> 1:43:47.920 recording technique. Two of them, in particular, click track, an 1:43:47.920 --> 1:43:52.120 auto tune. There's none other on that. Obviously we didn't 1:43:52.120 --> 1:43:54.160 have access to that. Neither of those things were really 1:43:54.200 --> 1:43:57.960 part of our scene. So that was a lot for 1:43:58.040 --> 1:44:00.439 some of those younger artists who used to knowing what 1:44:00.479 --> 1:44:03.160 the tempo was and they've always got that click going 1:44:03.280 --> 1:44:05.960 keeping them in time, and they said, well, what's the 1:44:06.000 --> 1:44:08.400 tempo and we're going well in the first vers is 1:44:08.439 --> 1:44:11.200 that people want me to say this, but our records 1:44:11.280 --> 1:44:13.559 do speed up a lot, and well they slow down 1:44:13.680 --> 1:44:17.080 sometimes and as they're supposed to, and then certainly there's 1:44:17.080 --> 1:44:19.479 no autitude on them, you know, so thank god. 1:44:19.720 --> 1:44:23.960 Yeah, Yeah, the Roots and Elvis Costello with John McLachlin. 1:44:24.040 --> 1:44:26.840 You can look it up. Yeah, November fifth, twenty ten 1:44:26.920 --> 1:44:29.479 on Fallon and Black and White World, which again had 1:44:29.479 --> 1:44:32.400 that high fidelity arrangement hump that I'm talking about. 1:44:32.560 --> 1:44:34.639 Yeah, that was that. 1:44:35.240 --> 1:44:37.800 Always had it, that was always had it that when 1:44:37.840 --> 1:44:39.840 we arrange it like that it went a different way 1:44:39.880 --> 1:44:42.800 originally that song, Yeah, it was completely different song. It 1:44:42.840 --> 1:44:46.080 was an acoustic folk song. Sounded like a Gray Davis song. 1:44:46.240 --> 1:44:47.720 Which version you like better. 1:44:48.960 --> 1:44:51.320 As a story piece of storytelling? The first version is 1:44:51.680 --> 1:44:54.960 is that's called number two, right, that's a better. That's 1:44:54.960 --> 1:44:58.800 a better for telling the story of the song. That's 1:44:58.800 --> 1:45:01.320 better as a piece of music. I liked the version 1:45:01.320 --> 1:45:04.040 that we played that night, but that was sort of 1:45:04.080 --> 1:45:07.000 like I remember as being in you know, that was 1:45:07.000 --> 1:45:09.760 a lot of drinking involved in that happy record. So 1:45:09.800 --> 1:45:12.960 there were these episodes where we just get frustrated and 1:45:13.000 --> 1:45:16.000 all be sort of squabbling and there saying, oh fuck it, 1:45:16.080 --> 1:45:18.439 let's just do that. Play it like Little Feet. That 1:45:18.600 --> 1:45:21.000 was actually what it was like. That was us trying 1:45:21.000 --> 1:45:23.479 to play like Little Feet. And if you sort of 1:45:23.479 --> 1:45:27.160 can hear some of their wilder stuff, not particularly sailing 1:45:27.200 --> 1:45:29.799 Shoes kind of record, you can sort of get that 1:45:29.800 --> 1:45:32.400 that that Pete is kind of referencing Richie Heywood. It 1:45:32.439 --> 1:45:35.400 was this great drummer that played with that group. People 1:45:35.400 --> 1:45:38.599 don't much know that their their music now so much, 1:45:38.760 --> 1:45:41.479 but then there were they were a band that you know, 1:45:41.520 --> 1:45:44.040 we all admired, and so that was in our references 1:45:44.080 --> 1:45:45.320 along with all the other things. 1:45:45.360 --> 1:45:48.200 You know, we're talking about drummers, but but let's get 1:45:48.200 --> 1:45:51.439 back to guitarists like John McLaughlin And you mentioned Jerry Garcia. 1:45:52.000 --> 1:45:53.880 So can you just tell us what it was like 1:45:54.040 --> 1:45:56.639 to know him and to play with him on stage 1:45:56.720 --> 1:45:57.720 a couple of times. 1:45:58.520 --> 1:46:01.040 I only played with him one time. I spent a 1:46:01.080 --> 1:46:03.240 little time with them. I did an interview for a 1:46:03.280 --> 1:46:05.400 magazine about. 1:46:06.040 --> 1:46:08.040 I'm only asked because I know you're a fan as well. 1:46:08.120 --> 1:46:10.040 Yeah, well, I just think it was there was a 1:46:10.080 --> 1:46:13.800 period where I really did really love the records really 1:46:13.840 --> 1:46:16.800 from I never really did like the long improvisational things 1:46:16.840 --> 1:46:19.439 as much. That didn't fascinate me as much. I liked 1:46:19.479 --> 1:46:21.720 the sound of some of their records that are kind 1:46:21.760 --> 1:46:24.960 of strange, kind of folk baroque, kind of psychedelic stuff. 1:46:25.560 --> 1:46:29.639 And I really love the stuff that's very you can 1:46:29.680 --> 1:46:32.960 hear in so called Americana records. Now all these things 1:46:32.960 --> 1:46:37.639 that echo the Dead from seventy to about seventy four, 1:46:37.720 --> 1:46:42.120 but specifically American Beauty and the record that preceded it, 1:46:42.680 --> 1:46:45.439 wor Commen's Dead. They just have really good songs. They 1:46:45.479 --> 1:46:48.639 did this really good good like maybe twenty songs that 1:46:48.680 --> 1:46:52.439 were really unbeatable, and I saw them play a couple 1:46:52.479 --> 1:46:55.000 of times at that time and they were terrific, and 1:46:55.200 --> 1:46:57.720 I just didn't when they went off into the other thing. 1:46:57.840 --> 1:47:00.240 I could think of other music that extend I did 1:47:00.360 --> 1:47:03.840 like that that held my interest Moble, but I could 1:47:03.880 --> 1:47:05.960 see why people liked it, it just wasn't my thing. 1:47:07.120 --> 1:47:09.760 I guess the next thing chronologically as far as leading 1:47:09.800 --> 1:47:13.879 up to Wysup Ghost is when you graciously cut vocals 1:47:13.920 --> 1:47:17.720 for the Swindles project. For the Squeeze Covers record, you 1:47:17.800 --> 1:47:20.720 and the Roots did a version of someone Else's Heart, 1:47:20.880 --> 1:47:22.760 and that was certainly fun and the first time I 1:47:22.800 --> 1:47:24.120 got to do that, but I felt it more like 1:47:24.160 --> 1:47:26.519 that record was a bit of a proving ground for 1:47:26.840 --> 1:47:31.520 a larger project with the Roots, Like. 1:47:30.200 --> 1:47:32.719 I didn't know that was in your mind at the time, 1:47:32.760 --> 1:47:34.000 but for me it was like. 1:47:34.280 --> 1:47:36.320 It's more looking back on it, it was really like 1:47:36.360 --> 1:47:36.920 I loved. 1:47:36.760 --> 1:47:40.800 It because I produced the original version obviously in East 1:47:40.840 --> 1:47:43.439 Side Story, and I quit when I was ahead as 1:47:43.479 --> 1:47:45.960 a producer, right, So I mean I had three hit 1:47:46.080 --> 1:47:49.879 albums and succession as a producer of other people's records, 1:47:50.600 --> 1:47:52.600 and I wasn't credited as a co producer on my 1:47:52.640 --> 1:47:56.040 early records. I mean, Nick would say from Enforces onwards, 1:47:56.080 --> 1:47:58.840 I had a fairly strong input on the way things 1:47:59.080 --> 1:48:02.360 went and sounded and final mixes, but I was never credited. 1:48:03.160 --> 1:48:06.360 I deliberately didn't credit myself on Imperial Bedroom, even though 1:48:06.400 --> 1:48:09.320 I was the co producer effectively of that record, because 1:48:09.360 --> 1:48:12.439 I gave so much of the responsibility for the way 1:48:12.439 --> 1:48:15.599 the record actually sounded to Jeff Emory. But the music, 1:48:16.000 --> 1:48:18.479 the musical input, and the musical arrangement of the record, 1:48:18.479 --> 1:48:20.839 everything that you would call production now was my idea. 1:48:21.720 --> 1:48:24.200 You know, weeks in the studio on my own, just 1:48:24.240 --> 1:48:27.240 me and Jeff. Half of the Recession was just me 1:48:27.360 --> 1:48:30.280 and him. So when I got to do some of 1:48:30.360 --> 1:48:37.519 my own production eighty eighty one and eighty five, it 1:48:37.560 --> 1:48:40.840 was only usually with either with friends or bands that 1:48:40.880 --> 1:48:43.519 I thought somebody else would fuck up. So that's how 1:48:43.520 --> 1:48:46.639 I came to do The Specials, which was a band 1:48:46.680 --> 1:48:49.960 that had a very vivid sound live and a genius 1:48:50.080 --> 1:48:54.320 kind of arranger, Jerry Dammers, and I just needed to 1:48:54.360 --> 1:49:02.560 protect his vision, as I understood it, from any frailties 1:49:02.600 --> 1:49:05.519 that I could detect in the actual playing and they 1:49:05.520 --> 1:49:09.040 didn't have many because they were really very balanced in 1:49:09.400 --> 1:49:12.320 most cases, and the same was true of The Poes, 1:49:12.360 --> 1:49:15.320 which was the last record I produced. The band obviously 1:49:15.360 --> 1:49:19.479 a genius songwriter and a mixed bag of instrumentalists, so 1:49:19.600 --> 1:49:22.240 sometimes I'd have to step in and maybe bring a 1:49:22.360 --> 1:49:26.479 kind of steadying thing somewhere in the instrumental you know, ensemble, 1:49:27.320 --> 1:49:29.040 But the rest of the time I just tried to 1:49:29.040 --> 1:49:31.800 catch it while it was going on. Squeeze is entirely 1:49:31.840 --> 1:49:37.360 different because you've got like incredible facile in the American sense, 1:49:38.200 --> 1:49:41.840 in the sense that Glenn has tremendous musical facility. Glenn 1:49:41.920 --> 1:49:46.080 Hilborough as a composer, as a singer, as a very 1:49:46.200 --> 1:49:49.040 very underrated guitar player, but he's like the Pete Thomas 1:49:49.040 --> 1:49:51.439 of the guitar you know, you really you never see 1:49:51.479 --> 1:49:54.759 his name quoted as great guitar players. Glenn should easily 1:49:54.800 --> 1:49:59.800 be in that bag. Great melodic you know, the signatures 1:50:00.160 --> 1:50:03.840 melodies of his solos, it's like George Harrison, they're like 1:50:03.840 --> 1:50:06.280 like hooks and themselves. He's not just string bending kind 1:50:06.320 --> 1:50:09.040 of fancy, you know, dazzling kind of playing the other 1:50:09.080 --> 1:50:14.080 way can do that too, and incredible lyricist in Christofford 1:50:14.439 --> 1:50:17.200 and the two voices in this octave kind of relationship, 1:50:18.200 --> 1:50:20.240 and in that bad of course they had they had 1:50:20.240 --> 1:50:23.439 Paul character as well. He'd replaced Charles Hallan, the original 1:50:23.560 --> 1:50:26.840 keyboard player. And then I knew that was the secret weapon. 1:50:26.920 --> 1:50:29.439 So that's how we made Tempted, which was the big hit. 1:50:30.360 --> 1:50:32.320 And that was my ideas to do it like that, 1:50:32.400 --> 1:50:34.040 to sort of take it and like as if it 1:50:34.080 --> 1:50:37.680 were an Algreen song and put the kind of like 1:50:38.400 --> 1:50:42.320 little single line kind of clickerty click clin of rhythm 1:50:42.400 --> 1:50:44.559 guitar that runs through it. It's not playing a backbeat, 1:50:46.439 --> 1:50:50.880 don't that's me playing that, you know, not singing background vocals, 1:50:50.880 --> 1:50:53.599 singing background vocals. I mean I listened to background vocals 1:50:53.600 --> 1:50:55.960 another kind of ludicrous. And I was kind of doing 1:50:57.000 --> 1:50:58.679 all of the Temptations parts. 1:50:58.800 --> 1:51:00.960 You know, I'm doing but coffee in bed too. 1:51:01.040 --> 1:51:02.800 Yeah, I'm doing the bass voice as well as the 1:51:02.800 --> 1:51:05.560 false htto. But but but we didn't know anybody we 1:51:05.600 --> 1:51:07.479 could get to do that, so we're just doing it 1:51:07.479 --> 1:51:10.479 in imitation of records that we loved, you know, and 1:51:10.560 --> 1:51:13.120 they and it seemed to just work to break it 1:51:13.240 --> 1:51:15.280 up like that. To divide it up, make it more 1:51:15.320 --> 1:51:16.320 of a group composition. 1:51:16.439 --> 1:51:19.720 You know, is the reason you haven't self produced more 1:51:19.720 --> 1:51:23.479 of your records because getting a producer is it's just 1:51:23.479 --> 1:51:28.240 another opportunity to collaborate with another great music mind. Well 1:51:28.280 --> 1:51:31.800 I haven't, or do you have some like disaffinity for 1:51:31.880 --> 1:51:32.360 it or no? 1:51:32.760 --> 1:51:34.439 I mean, I think there's a couple of records that 1:51:34.439 --> 1:51:39.240 are definitely I have to take more responsibility for than others. 1:51:39.400 --> 1:51:44.080 I mean, but I mean, you co produce a lot 1:51:44.080 --> 1:51:48.200 of record I co produced, you know. I mean, there's 1:51:48.200 --> 1:51:49.880 no doubt I didn't have anything to do with the 1:51:49.920 --> 1:51:53.640 sound of King of America, but that's I'm credited as 1:51:53.640 --> 1:51:55.760 a co producer on that because I had, you know, 1:51:56.000 --> 1:51:59.640 this sort of like brotherlike partnership with Temabnett from the 1:51:59.640 --> 1:52:02.960 MINUTEIME met him, and there was a lot of things 1:52:02.960 --> 1:52:05.160 that I wanted to try and do on that record, 1:52:05.360 --> 1:52:09.320 which changed because we were going to acoustic instruments for 1:52:09.360 --> 1:52:11.240 the most part. In the first part of it. It 1:52:11.320 --> 1:52:14.120 was supposed to be half acoustic half electric, and really 1:52:14.120 --> 1:52:17.280 because the success rate at the first sessions, which were 1:52:17.280 --> 1:52:21.320 with the Hollywood based musicians, you know, the many of 1:52:21.320 --> 1:52:24.760 whom had played that they mean ex Wrecking Crew kind 1:52:24.800 --> 1:52:28.000 of and seventies here of Jim Caltoner and people like that. 1:52:28.720 --> 1:52:30.840 When the attractions arrived at the sessions, was nothing for 1:52:30.880 --> 1:52:33.240 them to play. There was nothing, don't know songs left 1:52:33.439 --> 1:52:36.200 Sude Lights, which was a really great one, but there 1:52:36.240 --> 1:52:38.360 was a tense session. It was a tense session that 1:52:38.439 --> 1:52:41.120 added to go down ver well because they still saw 1:52:41.160 --> 1:52:43.320 it as a as a you know, unified band. 1:52:43.439 --> 1:52:44.840 I'd want to be on that record too. 1:52:45.920 --> 1:52:47.640 I don't know that they particularly wanted to play the 1:52:47.680 --> 1:52:50.080 other songs. I don't think there was much feeling for 1:52:50.120 --> 1:52:51.839 those other songs where. 1:52:51.640 --> 1:52:52.280 I was headed. 1:52:53.000 --> 1:52:55.479 But we did make one more record, which again was 1:52:55.640 --> 1:52:58.559 where we gave it the control to Nick Lowe. I 1:52:58.560 --> 1:53:01.400 had a little bit more put in terms of processing 1:53:01.479 --> 1:53:04.040 things that I maybe had done earlier. But it was 1:53:04.160 --> 1:53:06.800 Nick's decision to say that's an old Bird, which is 1:53:06.840 --> 1:53:10.080 a pretty great record. That's a Nick low idea to 1:53:10.160 --> 1:53:13.320 cut between the two keys and have this sort of 1:53:13.400 --> 1:53:15.840 Strawberry Feels Forever incident where it just sort of goes 1:53:15.840 --> 1:53:19.040 into phasing and comes out in another key. These are 1:53:19.120 --> 1:53:21.280 things you'd assume I had kind of picked up from 1:53:21.360 --> 1:53:23.680 Jeff Emertt, but that was all next idea. So it 1:53:23.720 --> 1:53:26.240 was like, so you know, he was capable of getting 1:53:26.240 --> 1:53:30.360 into there wasn't always in the bash it down kind 1:53:30.400 --> 1:53:34.160 of thing. He could also hone ideas. I also produced 1:53:34.240 --> 1:53:36.679 him around that time as well, which was the only 1:53:36.720 --> 1:53:37.840 time I ever produced Nick. 1:53:38.479 --> 1:53:41.200 A lot of artists may not want some other fucking 1:53:41.240 --> 1:53:44.080 genius in the room and keep their album. I wanted 1:53:44.160 --> 1:53:45.960 to be the way that I have it in my 1:53:46.040 --> 1:53:47.080 mind and somebody. 1:53:46.760 --> 1:53:50.360 Else I think you I mean certainly with Debon, I 1:53:50.400 --> 1:53:53.600 think it was the It was his advocacy for the 1:53:53.720 --> 1:53:55.560 simple storytelling. 1:53:55.680 --> 1:53:55.880 You know. 1:53:55.920 --> 1:53:58.640 I had this idea that you that I wanted to 1:53:58.720 --> 1:54:02.200 write with the that I liked about Hank Williams songs. 1:54:02.200 --> 1:54:03.960 Even though I was never going to be a country singer. 1:54:04.280 --> 1:54:06.280 I think had already proved that by going to Nashville 1:54:06.479 --> 1:54:07.560 and cutting. 1:54:07.320 --> 1:54:07.840 A whole record. 1:54:08.040 --> 1:54:08.960 It's a great record. 1:54:09.000 --> 1:54:11.000 No I liked that record, but I mean it was 1:54:11.240 --> 1:54:13.960 I had to accept that that Billy Cheryl didn't really 1:54:14.000 --> 1:54:16.960 know why it was those singing those songs, and he 1:54:17.080 --> 1:54:20.040 just brought where he could recognize the ability to try 1:54:20.040 --> 1:54:22.439 and make a hit. He did what he did, which 1:54:22.600 --> 1:54:27.400 was put the you know, make those sweetening devices which 1:54:27.400 --> 1:54:29.800 he developed over the hits with George Shows and Charlie 1:54:29.840 --> 1:54:31.680 Rich which was the whole reason I wanted to work 1:54:31.720 --> 1:54:34.880 with him. With the benefit of hindsight, I can think 1:54:34.920 --> 1:54:37.720 of maybe three or four other producers. I might have 1:54:37.800 --> 1:54:40.000 got to the heart of what I liked about those 1:54:40.040 --> 1:54:43.760 songs a little easier, but I wasn't that my most 1:54:44.000 --> 1:54:47.680 kind of reasonable or disciplined at that time. There was 1:54:47.720 --> 1:54:50.000 a lot of drinking going on on that record, as 1:54:50.000 --> 1:54:53.080 well as Nine Day, But you know, like tear really 1:54:53.120 --> 1:54:55.840 that we were on in Nashville. You know that that 1:54:56.120 --> 1:54:57.720 was a miracle that any record. 1:54:57.440 --> 1:54:57.960 Came out of it. 1:54:58.080 --> 1:55:00.560 Frankly, there's some video of that, right, Yeah, there is 1:55:00.600 --> 1:55:03.560 a documentary, but it's pretty it's pretty sodden at. 1:55:03.480 --> 1:55:06.520 Times, you know. Yeah, and kind of modeling. 1:55:07.720 --> 1:55:11.200 So just to continue on the timeline, someone Else's Heart 1:55:11.600 --> 1:55:12.920 is where we left off. And then you came on 1:55:13.000 --> 1:55:16.080 for what we were calling Springsteen Week on the fount 1:55:16.920 --> 1:55:17.560 That's where. 1:55:17.600 --> 1:55:19.680 I'm thinking about fire, That's right, that's right. 1:55:20.440 --> 1:55:24.560 Brilliant diskies just with Quest and James poyser as an arrangement, 1:55:24.600 --> 1:55:26.200 just a drums, piano, vocal thing. 1:55:26.280 --> 1:55:28.280 Yeah, because I had done it as a pretty much 1:55:28.960 --> 1:55:31.280 I'd done it as a solo, and I cut it 1:55:31.280 --> 1:55:35.280 with just a rhythm section with Pete or Well. 1:55:35.160 --> 1:55:36.680 It was on the extra extras. 1:55:36.720 --> 1:55:39.920 Yeah, it was actually was a demo I cut for 1:55:39.920 --> 1:55:43.000 for George Jones. I had done it a really weird 1:55:43.000 --> 1:55:47.560 assignment where I'd been asked to interview him for Interview magazine, 1:55:47.600 --> 1:55:50.160 which is even stranger. George Jones an interview magazine doesn't 1:55:50.200 --> 1:55:52.840 really go. You know, we were on either end of 1:55:52.880 --> 1:55:56.400 a line from wherever he lived outside of Nashville. I 1:55:56.440 --> 1:55:59.120 think I had some villa somewhere he lived, and I 1:55:59.120 --> 1:56:00.800 don't know where he lived in any way, he was 1:56:00.800 --> 1:56:03.160 in America, and I was kind of talking to him 1:56:03.200 --> 1:56:07.200 from Dublin, and it was I was asking him why 1:56:07.240 --> 1:56:09.880 he had never looked like Willie Nelson had done to 1:56:10.040 --> 1:56:13.480 kind of a broader world of songs, because I really 1:56:13.800 --> 1:56:16.480 had these same songwriters that gave him tunes over the years, 1:56:16.480 --> 1:56:19.200 and truthfully, many of them were unworthy of his voice. 1:56:19.840 --> 1:56:22.760 And so I started naming songs that I thought he 1:56:22.760 --> 1:56:25.960 could sing, and he had not heard of any of them. 1:56:26.360 --> 1:56:29.200 I mean, there were songs by songwriters he'd never considered 1:56:29.840 --> 1:56:32.560 and sort of I said, well, maybe you know, I 1:56:32.600 --> 1:56:34.400 could send you some of those. And I was trying 1:56:34.400 --> 1:56:36.960 to basically get a gig producing him, and. 1:56:36.960 --> 1:56:39.080 He didn't quite take the bait, so I thought, well 1:56:39.320 --> 1:56:39.760 he didn't. 1:56:40.520 --> 1:56:42.160 He didn't ask me to do this, but I'm going 1:56:42.160 --> 1:56:43.440 to go in on my own dime. 1:56:43.480 --> 1:56:45.480 And you had worked with him long before. 1:56:45.680 --> 1:56:48.400 I had recorded with him in nineteen seventy nine on Try, 1:56:48.440 --> 1:56:51.040 and have been on TV with him Stranger interim and 1:56:51.200 --> 1:56:53.440 sung with him on a television show a couple of times. 1:56:54.040 --> 1:56:56.760 So I didn't know him, and I just went for 1:56:56.880 --> 1:56:59.480 my own amusement as much as anything to go in. 1:56:59.520 --> 1:57:02.840 And I did, I think ten songs in one day, 1:57:03.920 --> 1:57:08.000 just recorded them like me, Pete Thomas, and the bass 1:57:08.040 --> 1:57:10.720 player that Pete used to play with before the Attractions, 1:57:11.240 --> 1:57:14.320 a guy called Paul Riley, who'd been the engineer at 1:57:14.400 --> 1:57:18.400 Nicklaus Studio Amperor and had been my first choice for 1:57:18.440 --> 1:57:22.480 the attractions. He'd been he'd turned me down, a guy 1:57:22.520 --> 1:57:25.160 called Paul Riley, and I had actually asked him to 1:57:25.160 --> 1:57:27.280 be in a band before we had the Attractions. What 1:57:27.320 --> 1:57:28.400 did he play bass? 1:57:28.920 --> 1:57:29.160 Yeah? 1:57:29.200 --> 1:57:32.640 And he didn't want to do it. So now Paul 1:57:32.960 --> 1:57:34.480 is a great bass pay and he played in a 1:57:34.480 --> 1:57:36.360 group called Rugulator, which was a great group. 1:57:38.440 --> 1:57:40.720 And he ended up being a valuable. 1:57:40.440 --> 1:57:44.440 Engineer at Nicklas Studio, which was a little home studio 1:57:44.440 --> 1:57:47.200 which had been own by Tony Vasconti. Tony Vasconti had 1:57:47.200 --> 1:57:50.000 downed that building and had a little studio where he'd 1:57:50.040 --> 1:57:52.520 mixed a bunch of things, sparks and diamond dogs and things, 1:57:52.520 --> 1:57:54.160 and then Nick did a bunch of things in there. 1:57:54.720 --> 1:57:56.120 I cut with Johnny Cash. 1:57:55.880 --> 1:58:00.080 There, So there was like it was a tiny. 1:58:00.240 --> 1:58:01.960 You wouldn't even know it was there. It was a 1:58:02.000 --> 1:58:03.440 little bit like the Tardis, you know. 1:58:03.440 --> 1:58:05.600 It was like you'd be walking along you would never 1:58:05.640 --> 1:58:07.800 guess it was a studio inside that building, you know, 1:58:07.800 --> 1:58:09.600 it didn't look like it looked like a house. 1:58:10.440 --> 1:58:13.520 So is like the whole bonus disc of Kojak Variety, 1:58:13.720 --> 1:58:15.720 like all those demos, like you're going to make ever lunch? 1:58:15.840 --> 1:58:19.360 Yeah, yeah, You're gonna make me lonesome. I don't know 1:58:19.360 --> 1:58:22.160 what I put out in the end. How long has 1:58:22.160 --> 1:58:24.800 this been going on? George Gershman song. I always heard 1:58:24.840 --> 1:58:26.400 that as a country song. I thought that could be done. 1:58:26.440 --> 1:58:28.000 Drig shows could sing the hell out of that. 1:58:28.200 --> 1:58:31.280 So on March first, twenty twelve, you came on and 1:58:31.320 --> 1:58:35.520 played brilliant disguise in this totally weird arrangement. I guess 1:58:35.560 --> 1:58:39.360 it's a very spare, very sparse yes, yeah and also 1:58:39.960 --> 1:58:43.360 fire Bruce Springsteen's song as made famous by the Pointer 1:58:43.440 --> 1:58:45.120 Sisters and yeah. 1:58:44.680 --> 1:58:48.600 And that's where you added two yeah too hot. 1:58:48.440 --> 1:58:53.000 Which I'd cut with the specials, which was righttles. 1:58:53.800 --> 1:58:54.280 He said again. 1:58:54.320 --> 1:58:57.800 You see, that's the thing is so we that I 1:58:57.800 --> 1:59:01.000 don't know that so much that people I don't know 1:59:01.000 --> 1:59:03.040 whether they realized that the kind of second kind of 1:59:03.960 --> 1:59:07.640 like the way a lot of musicians really know a 1:59:07.640 --> 1:59:12.120 lot of R and B references. You had all these 1:59:12.240 --> 1:59:14.360 kind of bands that were really kind of blues fanatics 1:59:14.400 --> 1:59:17.160 in the early sixties. By the late sixties, you had 1:59:17.160 --> 1:59:20.400 people who like that are my age and a little 1:59:20.440 --> 1:59:24.760 bit older younger than me, who had totally heard reggae 1:59:25.560 --> 1:59:26.960 in a way that I just don't think it was 1:59:27.000 --> 1:59:29.040 part of American music in quite the same way. 1:59:29.760 --> 1:59:29.920 You know. 1:59:29.960 --> 1:59:33.160 It's just like Jimmy Cliff and then Bob Marley and 1:59:33.200 --> 1:59:35.120 a few other one off hits. But we had a 1:59:35.160 --> 1:59:38.120 lot of it, you know, we had a lot of records, 1:59:38.160 --> 1:59:41.240 sort of blue beat records, and if they weren't actually 1:59:41.240 --> 1:59:44.280 in the charts, they were like the sort of secret 1:59:44.360 --> 1:59:47.440 music like that we were talking about Northern soul, that 1:59:47.560 --> 1:59:51.360 kind of reggae that from scad through rockstady through reggae 1:59:51.760 --> 1:59:55.680 before Male and Whalers. It was like we all knew 1:59:55.680 --> 1:59:58.600 these vocal groups that sounded sort of like the impressions 1:59:59.200 --> 2:00:01.920 that were all sort of like influenced by that close 2:00:01.960 --> 2:00:07.120 harmony groups sometimes doing covers. You know, people, I think 2:00:07.120 --> 2:00:09.600 the question and I had this talk about this before. 2:00:09.800 --> 2:00:13.400 Don't don't dun, Dun dum, don't. 2:00:12.640 --> 2:00:13.480 Don't go don't dun. 2:00:14.880 --> 2:00:16.800 Everybody says that's I'll take you there, but it's not. 2:00:16.960 --> 2:00:20.000 It's from a reggae record that they were covering, you know. 2:00:20.160 --> 2:00:23.000 So it's like this cross talk between all these musics, 2:00:23.040 --> 2:00:23.240 you know. 2:00:23.560 --> 2:00:25.440 So I think this is kind of that point where 2:00:25.440 --> 2:00:28.400 you said that famous line standing in the Tartist, which 2:00:28.440 --> 2:00:32.919 was like, hey, uh, we've recorded half of Get Happy already, 2:00:33.160 --> 2:00:37.280 you know, uh, or remixed or whatever recorded Get Happy, 2:00:37.640 --> 2:00:40.240 Maybe we should make a record. And that's when me 2:00:40.280 --> 2:00:41.800 and Quest looked at each other, you know, and. 2:00:42.280 --> 2:00:44.919 I see that's not you see that's you. That's the victors. 2:00:45.400 --> 2:00:47.280 The victors get to write the history. 2:00:47.800 --> 2:00:47.960 Now. 2:00:48.080 --> 2:00:50.600 My memory is as I was walking off from the 2:00:50.680 --> 2:00:54.520 set that that second or third time, I don't know 2:00:54.520 --> 2:00:57.880 which time it was, and Quest saying to me, you 2:00:58.000 --> 2:00:58.920 know you we're going to. 2:00:58.920 --> 2:00:59.560 Make a record. 2:01:00.360 --> 2:01:03.240 So I don't know which which of those remarks happened first. 2:01:03.440 --> 2:01:05.920 Both things could have happened. Maybe I said that because 2:01:05.960 --> 2:01:08.680 he said that. It's true the other way around. Why's 2:01:08.760 --> 2:01:09.160 up Ghosts? 2:01:09.160 --> 2:01:11.360 Which you know connects with this conversation that I want 2:01:11.360 --> 2:01:14.560 to have if if he ever comes back, is you 2:01:14.600 --> 2:01:18.280 know the ultimate example, do you have to pee? Tune 2:01:18.320 --> 2:01:20.960 in next week to see if Elvis needs to pee. 2:01:21.560 --> 2:01:24.280 This has been part one of our Questlove Supreme interview 2:01:24.320 --> 2:01:28.120 with Elvis Costello. Check out part two when I squirmed 2:01:28.120 --> 2:01:31.440 some more as this music monster lets loose and jumps 2:01:31.440 --> 2:01:34.680 the skinny on wise up ghost his collab with the Roots. 2:01:34.800 --> 2:01:39.240 My name is Sugar Steve, I Love my job. Questlove 2:01:39.320 --> 2:01:43.760 Supreme is a production of iHeartRadio. For more podcasts from 2:01:43.760 --> 2:01:47.640 iHeart Radio, visit the iHeart Radio app, Apple Podcasts, or 2:01:47.680 --> 2:01:49.280 wherever you listen to your favorite shows.