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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Are we

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Speaker 1: rolling one time for Doyling? Make sure all the pizza

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Speaker 1: is eating? Here we go, Let's do it cream Sure.

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Speaker 2: Supremo Supprima su Supremo, Supremo, Sir, Supremo, Supremo, sup Supremo.

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Speaker 3: Hold hold up, hold up, hold up, Yeah, y'all should

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Speaker 3: see my face. Yeah, interfears Woman and change.

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Speaker 1: Yeah, that's you on base.

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Speaker 4: Supreme Su su sup My name is Sponte yeah, and

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Speaker 4: I ain't got no veno, but I'm chilling you today.

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Speaker 1: Yeah. My main man pinos Suprema. My name is Sugar. Yeah,

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Speaker 1: my core beliefs yeah, Peace love and chicken grease.

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Speaker 5: So Supremo, roll called Suprema son Son Supremo.

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Speaker 6: Roll called I'm unpaid Bill. Yeah that's what we know. Yeah,

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Speaker 6: you take your Jamerson, Yeah, I take my Pino.

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Speaker 1: Suprema. It's why you know where finally got.

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Speaker 7: What rhymes with that? You know why you're doing this

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Speaker 7: to me?

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Speaker 2: Goddamn, he ain't.

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Speaker 1: No Suprema Supremo.

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Speaker 8: Yeah, my name is Pino. Yeah, I couldn't rhyme same

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Speaker 8: my life.

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Speaker 1: Yeah, he's wait roll Supprima shut Supreme. Wait a minute,

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Speaker 1: Wait a minute. Again, I gotta go twice. Yeah, that's

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Speaker 1: you on bass. Yeah, and another day in Paradise.

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Speaker 5: Supremo roll supprima s supprimo roll call, subprimo, subprimo roll.

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Speaker 9: This is gonna be that Chris Farley episode. Remember that

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Speaker 9: time he played bass on this ship.

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Speaker 3: Yeah, okay, y'all, this is Questlow Supreme. That's Fante, that's Steve,

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Speaker 3: that's I'm big billed. That's why I'm trying to slow

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Speaker 3: the theme down for you. See, you have more time

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Speaker 3: to think and change your run. Right, No, no, no,

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Speaker 3: you know, I mean now you know, just ride the rhythm.

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Speaker 1: Okay, you're right.

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Speaker 3: I'm trying to help because I was told I don't

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Speaker 3: support you enough on the show, and I want and

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Speaker 3: that's how you're gonna do it. Yeah, I was slowing

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Speaker 3: the music down so you have more time to think

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Speaker 3: about your mind. But and I did it, and you

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Speaker 3: you tipped the ball in, you won the champion.

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Speaker 1: Okay, all right, now you finished now, Yeah it's like

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Speaker 1: something like that.

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Speaker 3: Okay, well, halopeno, good.

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Speaker 10: Cappuccino.

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Speaker 1: Wait a minute, if you do a gospel record, you

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Speaker 1: could call it a hollow nobody like that.

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Speaker 9: Yeah, totally you call your host.

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Speaker 3: This is probably gonna be the shortest introduction ever, Ladies

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Speaker 3: and gentlemen. If I only had one person to choose

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Speaker 3: to play bass with for the rest of my I

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Speaker 3: would choose our guest, Pino Palladino. Because the real truth

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Speaker 3: is something told me to just go to Spotify real

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Speaker 3: quick and see, like, you know, because they'll always make

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Speaker 3: like a playlist or whatever and things you played on

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Speaker 3: or whatever. And I thought, normally, like my thing ends

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Speaker 3: at like at least like seventy four songs. Maybe, Yo, dude,

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Speaker 3: you've played on like five hundred and ten songs, and yo, like,

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Speaker 3: I thought you were just my secret, super kept secret, Yo,

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Speaker 3: dog Like, I didn't realize you're playing base on all

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Speaker 3: good for Daylight Soul.

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Speaker 1: Now do kind of remember that?

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Speaker 3: I believe the day that I was supposed to fix

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Speaker 3: whatever song I forget the name of the song I'm

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Speaker 3: supposed to fix for them on that album, but you

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Speaker 3: came in before to play.

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Speaker 8: Well, you know what happened. We were in Electric Lady,

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Speaker 8: me and you and right. It was the day we finished.

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Speaker 8: You got a call, right, and you're like, yeah, he's here,

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Speaker 8: and You're like, what are you doing? Like, now, can

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Speaker 8: you go over to De La Soul Studio and play

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Speaker 8: on this song? So right, that's how that came about.

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Speaker 8: So thank you.

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Speaker 1: Yeah that was I forgot about that.

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Speaker 3: But I'm literally going through this thing and even with

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Speaker 3: stuff that I should know, Like, I didn't realize that

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Speaker 3: was you. On times of wasting, I had on times

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Speaker 3: of wasting a little bit because I feel like that's

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Speaker 3: other side of the game, diet, the other side of

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Speaker 3: the game without me Erica James. You know, I'm not salty,

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Speaker 3: but people love that song. All right, we got a

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Speaker 3: limited time with you, Brot's just let's just go. First

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Speaker 3: of all, Okay, where are you from?

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Speaker 1: Okay?

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Speaker 8: So I was born in Cardiff and Wales, Okay, to

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Speaker 8: an Italian father Welsh mother. Spent most of my youth

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Speaker 8: in Cardiff, moved to London nineteen eighty one and lived

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Speaker 8: there until twenty sixteen when I moved to la That's

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Speaker 8: a real.

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Speaker 1: Brief really, all right. So then day two just became

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Speaker 1: Funky's motherfucker right there.

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Speaker 8: So yeah, in Cardiff where I grew up, you know,

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Speaker 8: I hit a lot of different music. Down the docks

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Speaker 8: area of Cardiff, there were a lot of a lot

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Speaker 8: of soul music, a lot of African music, stuff like that, reggae.

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Speaker 8: So I grew up listening to a lot of that music,

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Speaker 8: and when I moved to London in the early eighties,

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Speaker 8: I didn't really get to play that music. I was

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Speaker 8: playing fretless space and it became a thing, and I

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Speaker 8: played on a whole bunch of pop records and different

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Speaker 8: artists were calling me for that sound. So move on

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Speaker 8: to like nineteen ninety seven, when I met Dee and you.

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Speaker 8: That was the first time where I really got to

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Speaker 8: express that side of you know, that that roots bass

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Speaker 8: playing thing.

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Speaker 1: Okay, I know that here at iHeart, we're all out

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Speaker 1: like ten seconds of music. So just to let the

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Speaker 1: world know.

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Speaker 3: The song that really set it up that I soon

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Speaker 3: set it off for you and your reputation for bass

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Speaker 3: playing was, of course, uh Lady Ray by Christoper.

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Speaker 8: Well there's one before that, never mind Okay, yeah, sorry, bro,

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Speaker 8: I have to say Paul Young Wherever Lay in My Hat,

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Speaker 8: which is a Marvin Gaye cover. It's a B side

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Speaker 8: of a mind gay So I know we rearranged and

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Speaker 8: it had like a fretless intro and it was mainly

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Speaker 8: like fretless bass.

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Speaker 1: And voice penal wife fretless.

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Speaker 8: That's a good question, thank you. Well, yeah, Jacko, Jacko

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Speaker 8: past stories obviously. But but even before Jacko, when I

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Speaker 8: was a kid, I went to a concert and saw

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Speaker 8: John Martin, who's a great folk guitarist songwriter back in

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Speaker 8: back in the UK, and Danny Thompson was playing upright

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Speaker 8: bass with him, and that sound really did something for

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Speaker 8: me when I was when I was a kid, and

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Speaker 8: that was like the slidy stuff to harmonics, you know,

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Speaker 8: that sort of fretless approach that Jacko also had.

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Speaker 1: So is this you.

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Speaker 8: Yeah, every time you go away?

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Speaker 9: Yeah, right all day.

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Speaker 11: I can see why you were so happy to play Olodo.

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Speaker 9: It's still a classic.

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Speaker 1: No, I can't find Paul Young and I'm going to

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Speaker 1: tear your down and all that stuff. In high school,

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Speaker 1: like were you in a high school band? Like what

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Speaker 1: was your teen years?

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Speaker 11: Like?

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Speaker 1: Playbass?

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Speaker 8: Yeah, I didn't really play guitar until I was like fourteen,

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Speaker 8: I guess. And I came to it from before bass.

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Speaker 8: I played like Spanish guitar, and I came to it

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Speaker 8: because I went to a Catholic school and we had

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Speaker 8: a priest there that would give like lessons. So that

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Speaker 8: you could play like cowboy chords type of stuff, you know,

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Speaker 8: in folk masses. So I kind of started playing in

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Speaker 8: church church.

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Speaker 1: Everybody. I was waiting for that.

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Speaker 9: Black church, all church.

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Speaker 1: All right, I get it now.

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Speaker 8: But we didn't have much of a music of course,

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Speaker 8: a music type of thing in the schools I was

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Speaker 8: in in that in those times. So it's really more

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Speaker 8: about sports for me. When I was a teen, I

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Speaker 8: wasn't really that interested in music till I reached like sixteen.

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Speaker 1: Maybe.

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Speaker 3: So did you always know that the less is more

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Speaker 3: approach is the way to go. There's a moment where

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Speaker 3: I lived for every night, every night whenever we would

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Speaker 3: get to left and right, and I'm speaking of our

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Speaker 3: our time served on the Voodoo toward D'Angelo, and you

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Speaker 3: know that was every night was like a two hour

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Speaker 3: and fifteen minute experience.

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Speaker 1: Or you know, no, indeed, sometimes sometimes three autum right

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Speaker 1: right right.

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Speaker 3: But when the song is over and we go back

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Speaker 3: to that bridge right before the very end, that's when

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Speaker 3: I learned that when you don't play nothing, that's almost

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Speaker 3: as effective as.

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Speaker 1: If you know the bass player.

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Speaker 3: That's like, I gotta get my best flee thing on

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Speaker 3: and do the best and impress people, so you would

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Speaker 3: actually you would play the groove and then come back.

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Speaker 1: In and I don't know, like, I was just like, wait,

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Speaker 1: why does that excite me?

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Speaker 3: Why is not playing some excite me more? So suddenly

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Speaker 3: I was like, what happens if I just take the

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Speaker 3: kick dromount for two bars and see what happens? And

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Speaker 3: then when it comes back in, it's almost like I

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Speaker 3: came back even more branded and I started doing that

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Speaker 3: trick and people, you know, like what you know, musicians,

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Speaker 3: like the highest honor is the post still a who?

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Speaker 1: Like that woo who? Indeed, And that's a trick I

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Speaker 1: stole from you, which is like when I don't do

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Speaker 1: something and.

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Speaker 11: Pay take it away and then bring it back dynamics. Man,

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Speaker 11: it's even better. So how did you learn he just

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Speaker 11: forgot the notes and just.

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Speaker 8: Well, you know, it comes from Okay, if I think

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Speaker 8: about that, it probably comes from like playing sessions for

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Speaker 8: reggae guys back in the day, because you know, there

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Speaker 8: I don't know the names of these guys I was

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Speaker 8: playing with. Because I was a young bass player, I

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Speaker 8: was listening to a lot of fusion stuff, So I

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Speaker 8: want to play a lot of notes, right so you

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Speaker 8: did want to hell, yeah, okay, yeah, but then these

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Speaker 8: guys would just like tap out the rhythm of the

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Speaker 8: baseline on my shoulder in the studio like doo doo,

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Speaker 8: doo doo doo.

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Speaker 1: Nothing, you know.

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Speaker 8: And that told me about space and if you want

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Speaker 8: to get into it. I mean, you got controls of

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Speaker 8: the notes and the length of the notes, but you

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Speaker 8: also have control of the spaces, right, And that's that's

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Speaker 8: where the one for me.

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Speaker 1: Is louder for the people in the back.

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Speaker 3: Man, Yeah, I would love nothing more than for every

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Speaker 3: musician to just lay back and do do less.

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Speaker 6: But you know, well yeah, but that being said, Pano,

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Speaker 6: do you ever want to put together a jazz fusion

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Speaker 6: band where you just fucking kick ass?

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Speaker 8: Oh I've done that too, yeah yeah, yeah, even play.

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Speaker 3: Even the night that we wanted to go see you

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Speaker 3: with Chris, like I've never seen you in that environment.

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Speaker 3: I was wondering, like, well, is Pinal going to be

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Speaker 3: the piano that I know the piano would be or

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Speaker 3: is he going to like flex a little bit?

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Speaker 1: And you like, if you can hang with.

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Speaker 3: Chris David, then you can hang with anyone anything, any

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Speaker 3: you know, So how old were you when you officially

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Speaker 3: changed over to.

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Speaker 1: Playing bass to bass seventeen. How weird of adjustment is that?

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Speaker 1: Is it transferable?

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Speaker 8: Yeah? For sure? Yeah. I mean I was playing guitar

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Speaker 8: in a local rock band and we had a bass player,

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Speaker 8: and you know, I kept on picking up the bay

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Speaker 8: and like working out the lines for him to play.

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Speaker 8: Not a good ear from very early on. And the

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Speaker 8: more I play bass and more it's like I want

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Speaker 8: to do this, this is more fun.

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Speaker 3: So like for me, the drums aren't the focus point.

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Speaker 3: You're just the traffic cop as the drum. And like

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Speaker 3: I'm supposed to be married to the bass player, and

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Speaker 3: you taught me that it's a marriage right and not

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Speaker 3: for nothing.

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Speaker 1: Without being disrespectful to my entire history.

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Speaker 3: But sometimes it's like if you don't have a good

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Speaker 3: marriage air quotes yes with the rhythm section, which is

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Speaker 3: the drum and bass, then you know your music might

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Speaker 3: be in trouble.

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Speaker 1: And I've been in a few situations which you don't vibe.

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Speaker 8: Rhythmically right with you not on the same vocabulary right.

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Speaker 3: So for you when you're in an ensemble, and now

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Speaker 3: like since you're such a god at your craft, I

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Speaker 3: would at least like to think that musicians respect where

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Speaker 3: you come from and kind of want to fall in line.

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Speaker 3: But is it hard to find musicians to come down

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Speaker 3: to your level and you know, to the end. I

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Speaker 3: don't mean the abyss as in like the bottom is

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Speaker 3: a bad place, but like that zone where you are

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Speaker 3: where you do just very little and you do just

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Speaker 3: the right things, and for them not to overplay or

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Speaker 3: over do.

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Speaker 8: It's a good question to me, and I think it

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Speaker 8: can be really frustrating sometimes when you know how something

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Speaker 8: could sound if if they were just like monor adjustments.

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Speaker 8: But in my experience, it never really helps to try

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Speaker 8: and tell somebody that they have to come to it.

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Speaker 1: I was gonna say, are you allowed to tell the person?

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Speaker 8: Yeah? It usually doesn't work.

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Speaker 1: Doesn't work out now, it doesn't work out now.

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Speaker 3: As a drummer, I've learned ways where I can force

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Speaker 3: people to see things my way.

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Speaker 1: I've learned like a loud flam and suddenly everyone's.

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Speaker 10: Like, right, they stop playing, or if you docket their

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Speaker 10: pay they'll notice that all work every time.

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Speaker 1: Yeah, but I mean there's you know, and I'll slow

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Speaker 1: it down or whatever I mean.

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Speaker 3: But now just communication mic, so it's you know, I'll

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Speaker 3: just say stop playing, you know, But is there a

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Speaker 3: way that you talk to other instruments to hm reel

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Speaker 3: them back or if you hear wrong note the keyboard's playing,

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Speaker 3: you sort of not.

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Speaker 8: Really in terms of how many. In terms of rhythm,

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Speaker 8: that's that's my thing, you know, rhythm. I'm hot on

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Speaker 8: that ship. That's why we hit it off so much.

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Speaker 8: But you know what you said about maybe the drums

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Speaker 8: aren't the driving force behind the band. I think in

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Speaker 8: beat driven music for me, like if I'm gonna produce

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Speaker 8: something or put a band together, the first thing I

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Speaker 8: think about is the drums. You know, get that right

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Speaker 8: and then everything's gonna fit in. So I think rhythmically, yes,

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Speaker 8: sometimes if I feel like somebody's hanging back on the

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Speaker 8: drums are slowing down, I'll push a little bit. But

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Speaker 8: I don't have any kind of communication things like you said,

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Speaker 8: a loud flam that would stop everyone playing or stuff

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Speaker 8: like that.

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Speaker 6: But you both are notorious like these from what I

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Speaker 6: hear in playing on the back side of the beat

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Speaker 6: all the time, and that's sort of the angelo where

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Speaker 6: it lives. So like when you go to a different

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Speaker 6: band where it's more like whether it's on a click

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Speaker 6: or it's something like.

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Speaker 1: That, or what was it like? Yeah, the Who?

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Speaker 8: Yeah, yeah like that that ship would not work with

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Speaker 8: the Who.

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Speaker 1: So you got to give what's called for.

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Speaker 8: Yeah, totally, And you know that's what That's what I

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Speaker 8: love too about playing so many different genres of music.

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Speaker 8: It's it's like it's all about the relationship with the

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Speaker 8: bass and the drums, right Like in soul music, black music, generally,

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Speaker 8: the bass is important with the drums. You know that

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Speaker 8: that those are the two things that really put the

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Speaker 8: thing in a place. In rock music, it's more like

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Speaker 8: guitars and drums and the bass is you know, it's supportive.

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Speaker 8: It might be playing some some some licks and stuff,

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Speaker 8: but mainly the interactions between rock guitar and drums.

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Speaker 3: All right, So for every bass player that's listening, that

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Speaker 3: will kill me if I don't ask the right questions.

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Speaker 1: What was your first base that you purchased or the

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Speaker 1: first acts that you endor Precision? Wait, you've always used

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Speaker 1: a Fender Precision, Yeah.

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Speaker 8: From that was the first act I had, Yeah, back

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Speaker 8: in the nineteen seventy five, I guess.

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Speaker 1: Yeah. Okay, So what you're known for, how do you

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Speaker 1: how do you get your tone, Like what bass are

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Speaker 1: you using?

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Speaker 8: Mostly a Precision base, no more moon, Yeah, the moon

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Speaker 8: comes in sometimes that's more like a jazz style based,

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Speaker 8: like a Fender jazz style base.

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Speaker 1: Here's a weird thing.

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Speaker 3: Okay, So just recently played with Larry Graham like two

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Speaker 3: months ago. Wow, and he had not only did he

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Speaker 3: have the moon at a mic Oh, he didn't have

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Speaker 3: a mic thing on him that we were in a

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Speaker 3: studio setting, but I saw blood marks on it.

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Speaker 1: So yeah, like so he really like gets into right.

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Speaker 3: But his it was weird to me because I saw

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Speaker 3: the moon base and I was like, wow, I wonder

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Speaker 3: like if he has the same tone as Pino, because

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Speaker 3: you know, he was just an cornerly practice and whatever

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Speaker 3: and it didn't sound that way. So how do you

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00:18:04,160 --> 00:18:06,760
Speaker 3: what the sound that we know you for? Like which

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Speaker 3: strings are you using?

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Speaker 8: What?

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00:18:09,000 --> 00:18:10,600
Speaker 10: What are all your secrets.

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Speaker 1: Even if you were to give it?

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Speaker 8: Yeah, yeah, I mean it's it's public knowledge is out there.

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00:18:18,600 --> 00:18:22,320
Speaker 8: I've done interviews before kidding hearing stuff like that. But yeah,

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Speaker 8: I mean my Desert Island base would be a fan

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00:18:25,359 --> 00:18:28,200
Speaker 8: of Precision Base. It's just got one sound and a

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Speaker 8: tone control, right, just one pickup on a tone. You

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00:18:30,840 --> 00:18:33,239
Speaker 8: don't have a selection of different sounds from pickups. It's

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Speaker 8: pretty much one sound. And I like the sound of

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00:18:36,520 --> 00:18:39,200
Speaker 8: flat line strings on it. They feel better just physically,

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Speaker 8: they feel better, and the longer you leave them on,

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Speaker 8: the more warmth the sound is warm.

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Speaker 1: So the older Yeah, I played your base before and

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Speaker 1: those strings are really really thin, Like you can't things

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Speaker 1: that I expect. Yeah, like I'm thinking Seinfeld basic.

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00:18:59,400 --> 00:19:02,920
Speaker 8: Absolutely, Yeah, you need luck wild wine strings, round wine

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00:19:02,960 --> 00:19:05,639
Speaker 8: strings for that sound really like Larry Larry sounds, you know.

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Speaker 1: So how often do you break a string?

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00:19:08,520 --> 00:19:08,680
Speaker 8: Never?

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Speaker 1: Yeah, because you barely touched the string.

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00:19:10,800 --> 00:19:12,199
Speaker 8: Yeah, I don't hit the strings out at all.

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Speaker 1: Yeah, So the fender you have, right, I don't know

355
00:19:17,920 --> 00:19:19,240
Speaker 1: how many fenders you have on you?

356
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Speaker 8: Yeah?

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00:19:19,880 --> 00:19:21,399
Speaker 1: Look okay, So.

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00:19:23,720 --> 00:19:27,040
Speaker 3: Well let me ask as your life since Voodoo, has

359
00:19:27,080 --> 00:19:29,480
Speaker 3: your life changed as far as the volume of bases

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00:19:29,520 --> 00:19:29,919
Speaker 3: that you have.

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00:19:31,440 --> 00:19:34,600
Speaker 8: Or since probably the who yeah yeah? With the who

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00:19:34,800 --> 00:19:38,040
Speaker 8: yeah gave me the opportunity to buy stuff in.

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00:19:38,080 --> 00:19:40,960
Speaker 3: The Voodoo days between two thousand and two thousand and three,

364
00:19:41,920 --> 00:19:42,840
Speaker 3: how many bases are.

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00:19:42,800 --> 00:19:43,680
Speaker 1: You carrying around with you?

366
00:19:44,240 --> 00:19:45,199
Speaker 8: Like? Two? Pretty much?

367
00:19:45,880 --> 00:19:49,440
Speaker 1: That's what I remember, Okay, Yeah, So the strings you

368
00:19:49,520 --> 00:19:51,280
Speaker 1: had on your Voodoo basse, do you still have your

369
00:19:51,320 --> 00:19:51,840
Speaker 1: Voodoo basse?

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00:19:51,960 --> 00:19:52,959
Speaker 8: Yeah, with the same strings.

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00:19:53,960 --> 00:19:54,240
Speaker 1: Wow.

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00:19:55,080 --> 00:19:57,359
Speaker 8: Oh yeah, I put those on A ninety three.

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Speaker 3: Nineteen ninety three. Yeah, and it's always just stayed in

374
00:20:03,400 --> 00:20:04,080
Speaker 3: working order.

375
00:20:04,160 --> 00:20:07,320
Speaker 8: And yeah, they sound like I said, they sound warm.

376
00:20:07,359 --> 00:20:09,680
Speaker 8: With the longest they kind of settle into the instrument

377
00:20:09,880 --> 00:20:10,679
Speaker 8: just to string itself.

378
00:20:11,440 --> 00:20:15,120
Speaker 1: Remember what happened to your moon base? Yeah, what happened

379
00:20:15,280 --> 00:20:19,120
Speaker 1: that Voodoo base. We're not podcast, we don't get contact.

380
00:20:20,840 --> 00:20:22,040
Speaker 1: We just assumed.

381
00:20:24,480 --> 00:20:25,200
Speaker 9: Please continue.

382
00:20:25,640 --> 00:20:28,320
Speaker 1: Well, yeah, I was what happened to your black moon base?

383
00:20:28,480 --> 00:20:30,760
Speaker 8: It was actually the So this is weird, but the

384
00:20:30,840 --> 00:20:34,119
Speaker 8: moon bases I had two stolen. So the white one

385
00:20:34,240 --> 00:20:36,240
Speaker 8: was stolen. The first one I played on Voodoo album

386
00:20:36,320 --> 00:20:39,600
Speaker 8: was a white base that was stolen somehow. When I

387
00:20:39,720 --> 00:20:42,960
Speaker 8: checked it in in San Francisco Airport and the United flight,

388
00:20:43,080 --> 00:20:44,680
Speaker 8: it just didn't come out in l A. And that

389
00:20:44,800 --> 00:20:45,720
Speaker 8: was a less sort of it.

390
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Speaker 1: Doing the Voodoo tour.

391
00:20:47,760 --> 00:20:49,040
Speaker 8: Just before the Voodoo.

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Speaker 10: Tour, damn, just before I didn't want to hear the story.

393
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Speaker 1: I'm having ptsdright.

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Speaker 8: But but then I had a you know, I had

395
00:20:55,640 --> 00:20:58,600
Speaker 8: a well, then I contacted the company and they made

396
00:20:58,640 --> 00:20:59,640
Speaker 8: me a new Moon base.

397
00:21:00,080 --> 00:21:02,520
Speaker 1: They're like, yeah, right, Pano, we won't give you one.

398
00:21:02,880 --> 00:21:05,159
Speaker 8: Yeah, but they said, you know there's a limited run

399
00:21:05,240 --> 00:21:07,520
Speaker 8: of the Larry Graham so we we you know, we

400
00:21:07,800 --> 00:21:10,080
Speaker 8: can't do you the white one like like Larry Bass.

401
00:21:10,119 --> 00:21:11,919
Speaker 8: And I said, okay, we'll make me a black one there.

402
00:21:12,640 --> 00:21:14,560
Speaker 8: So that's that's how I got the black Moon Base.

403
00:21:15,560 --> 00:21:19,000
Speaker 8: Then that got stolen from a hoo gig in like

404
00:21:19,119 --> 00:21:20,000
Speaker 8: two thousand and eight.

405
00:21:20,119 --> 00:21:22,159
Speaker 1: You who keeps stealing piano's basses.

406
00:21:23,880 --> 00:21:25,879
Speaker 8: But there's a good end to this story.

407
00:21:26,760 --> 00:21:28,879
Speaker 1: It came back to me, Oh thank you.

408
00:21:29,520 --> 00:21:33,680
Speaker 8: That was somebody bought it from a porn store or

409
00:21:33,720 --> 00:21:38,119
Speaker 8: something and they they were they were a fan and

410
00:21:38,240 --> 00:21:40,680
Speaker 8: they've been watching some videos of us playing Voodoo and

411
00:21:40,760 --> 00:21:42,639
Speaker 8: they saw the bass had a couple of knicks out

412
00:21:42,640 --> 00:21:44,960
Speaker 8: of the neck and he's like, I think this is

413
00:21:45,400 --> 00:21:47,680
Speaker 8: Pino's base. And they reached out to me and I

414
00:21:47,760 --> 00:21:50,480
Speaker 8: got it back. Incredible, right, Yeah.

415
00:21:55,560 --> 00:22:00,600
Speaker 3: My thing is is that the Voodoo fender that should

416
00:22:00,760 --> 00:22:02,400
Speaker 3: never leave your house ever again?

417
00:22:02,760 --> 00:22:04,760
Speaker 8: Like yeah, well it's safe, it's safe.

418
00:22:04,840 --> 00:22:08,440
Speaker 3: Yeah, Like seriously for me, I just got my things

419
00:22:08,440 --> 00:22:09,600
Speaker 3: fall apart, drum set back.

420
00:22:10,480 --> 00:22:15,840
Speaker 1: Well, no, the studio tried to auctionit it. So are

421
00:22:15,880 --> 00:22:16,520
Speaker 1: y'all really.

422
00:22:16,359 --> 00:22:18,440
Speaker 7: Saying that an instrument you use an instrument for every

423
00:22:18,520 --> 00:22:19,760
Speaker 7: project and then we just move on.

424
00:22:20,000 --> 00:22:21,159
Speaker 1: Is that what we're saying? You know what?

425
00:22:21,520 --> 00:22:24,800
Speaker 3: I'm different like that, So start with fallon every one

426
00:22:24,880 --> 00:22:27,440
Speaker 3: hundred episodes, I make love Wig make me a brand

427
00:22:27,480 --> 00:22:30,800
Speaker 3: new drum set. It's problematic now for storage because I

428
00:22:30,920 --> 00:22:35,840
Speaker 3: have about sixty three drum sets, like and I'm running

429
00:22:35,880 --> 00:22:38,879
Speaker 3: out of space, so I got to stop that. But

430
00:22:42,119 --> 00:22:45,120
Speaker 3: but for the most part, I've I've documented every drum

431
00:22:45,200 --> 00:22:48,119
Speaker 3: set I've played on for records, you know.

432
00:22:48,480 --> 00:22:49,560
Speaker 7: Every record a different set.

433
00:22:49,560 --> 00:22:50,360
Speaker 8: That's what I'm saying.

434
00:22:52,160 --> 00:22:54,600
Speaker 3: Sort of kind of, I mean, but not by design,

435
00:22:54,880 --> 00:22:56,480
Speaker 3: like oh for this particular one, I'm to use this

436
00:22:56,560 --> 00:23:00,280
Speaker 3: one for this, you know, but I I Yeah, for

437
00:23:00,400 --> 00:23:04,800
Speaker 3: roots albums, I will like, hey, let me especially with Phrenology,

438
00:23:04,840 --> 00:23:06,760
Speaker 3: which was like, okay, let's make the anti things fall

439
00:23:06,760 --> 00:23:08,800
Speaker 3: apart record, Oh, let me try a different drum set.

440
00:23:08,960 --> 00:23:10,720
Speaker 1: So that's where that comes into play.

441
00:23:11,320 --> 00:23:15,720
Speaker 10: So since you're divulging some of your technique, so where's

442
00:23:15,760 --> 00:23:19,000
Speaker 10: the secret sauce? And I'm thinking gain structure and the like,

443
00:23:19,240 --> 00:23:21,120
Speaker 10: because you know me or how you're always talking about

444
00:23:21,200 --> 00:23:23,120
Speaker 10: how the lighter you hit.

445
00:23:23,040 --> 00:23:25,600
Speaker 3: A drum, Yes, the more effective. I just discovered the

446
00:23:25,800 --> 00:23:29,399
Speaker 3: lighter you hit that's where the pop comes on.

447
00:23:29,440 --> 00:23:31,040
Speaker 8: The bass, right, because if you hit well, if you

448
00:23:31,119 --> 00:23:33,600
Speaker 8: hit any instrument too hot, it's going to choke it, right,

449
00:23:33,880 --> 00:23:35,639
Speaker 8: if you the string too hot, it's going to bounce

450
00:23:35,640 --> 00:23:39,000
Speaker 8: against the threat and choke the the envelope with the note,

451
00:23:39,080 --> 00:23:42,200
Speaker 8: you know. So I mean a light touch it gives

452
00:23:42,240 --> 00:23:43,600
Speaker 8: you more bottom man for sure.

453
00:23:44,160 --> 00:23:48,280
Speaker 10: Which is kind of counterintuitive, almost like you would you know,

454
00:23:49,320 --> 00:23:51,840
Speaker 10: but that just takes out the bottom nd and the

455
00:23:52,000 --> 00:23:53,600
Speaker 10: harmonics or how how.

456
00:23:53,560 --> 00:23:56,200
Speaker 1: Do you like? Is that part of that? Not really?

457
00:23:56,280 --> 00:23:58,760
Speaker 8: I mean, you know, I love the sound that James

458
00:23:58,840 --> 00:24:01,160
Speaker 8: Jamison made on the bass, and that was the idea

459
00:24:01,359 --> 00:24:03,720
Speaker 8: back in ninety three. When I got that base, I

460
00:24:03,800 --> 00:24:08,800
Speaker 8: immediately put those old heavy cation Labella strings on it

461
00:24:09,960 --> 00:24:13,040
Speaker 8: and just left them on ever since. You know. But

462
00:24:13,119 --> 00:24:14,680
Speaker 8: they don't have any top on them, so if you

463
00:24:14,720 --> 00:24:18,600
Speaker 8: play like Jacko style harmonics, you won't get them out

464
00:24:18,600 --> 00:24:21,000
Speaker 8: of those flat strings at all. So it's more about

465
00:24:21,040 --> 00:24:24,920
Speaker 8: the fundamental sound. And you know, I don't really have

466
00:24:25,040 --> 00:24:27,200
Speaker 8: the tone on very much either. The tone is kind

467
00:24:27,200 --> 00:24:29,520
Speaker 8: of on half or sometimes less than half, so it's

468
00:24:29,520 --> 00:24:30,280
Speaker 8: a real thump.

469
00:24:30,440 --> 00:24:31,840
Speaker 1: Well what about the volume coming?

470
00:24:31,920 --> 00:24:35,080
Speaker 10: Like, yeah, how do you do your game structure until

471
00:24:35,080 --> 00:24:36,560
Speaker 10: you get to your amp or whatever?

472
00:24:37,000 --> 00:24:37,240
Speaker 1: Yeah?

473
00:24:37,240 --> 00:24:39,760
Speaker 8: I mean I just I just literally have the volume

474
00:24:39,800 --> 00:24:42,160
Speaker 8: on fall and then it's up to whoever's getting the sound.

475
00:24:42,840 --> 00:24:44,080
Speaker 1: What kind of amp? Yeah?

476
00:24:44,200 --> 00:24:46,800
Speaker 8: Well B fifteens are great, right, the MPG B fifteens

477
00:24:47,040 --> 00:24:50,600
Speaker 8: for studio or live or yeah, studio, yeah, but live.

478
00:24:50,680 --> 00:24:53,240
Speaker 8: I mean I used one on a tour recently, live

479
00:24:53,320 --> 00:24:55,719
Speaker 8: because everyone's on your ears now, so you don't need

480
00:24:55,800 --> 00:24:58,600
Speaker 8: that big sound behind you because you can hear it clearly,

481
00:24:58,680 --> 00:24:58,840
Speaker 8: you know.

482
00:24:59,359 --> 00:25:06,320
Speaker 3: Okay, So if I'm learning bass again, I'm using the

483
00:25:06,720 --> 00:25:09,920
Speaker 3: opposite of you, bass player, I still respect, but kind

484
00:25:09,920 --> 00:25:10,880
Speaker 3: of the opposite Flee.

485
00:25:11,160 --> 00:25:11,960
Speaker 8: Yeah, yeah, totally.

486
00:25:12,160 --> 00:25:14,840
Speaker 1: What type of strings am I? Are? Those like heavy

487
00:25:14,920 --> 00:25:17,080
Speaker 1: duty strings that can take the pounding.

488
00:25:16,760 --> 00:25:20,040
Speaker 8: And not necessarily but he probably uses like a medium

489
00:25:20,080 --> 00:25:23,760
Speaker 8: gauge round wild string, I would guess, because then you

490
00:25:23,840 --> 00:25:26,000
Speaker 8: get the pop out of it, and the round wild

491
00:25:26,080 --> 00:25:27,840
Speaker 8: strings allow you to get that bounce when you hit

492
00:25:27,880 --> 00:25:28,440
Speaker 8: it with your thumb.

493
00:25:28,800 --> 00:25:33,120
Speaker 3: Now, do you have the ability to go full throttle

494
00:25:33,800 --> 00:25:36,919
Speaker 3: pop if you? If challenge I mess with a little bit.

495
00:25:39,440 --> 00:25:43,200
Speaker 8: Yeah, yeah, yeah, but no, that's that's not my bullpark.

496
00:25:42,840 --> 00:25:46,040
Speaker 1: Really okay, okay, but if.

497
00:25:47,880 --> 00:25:54,000
Speaker 3: I guess your particular uh, your particular choice of strings,

498
00:25:56,440 --> 00:26:00,639
Speaker 3: if you haven't changed them since nineteen ninety three, and like,

499
00:26:00,920 --> 00:26:04,360
Speaker 3: what if you run into a situation like now Ampex

500
00:26:04,440 --> 00:26:06,959
Speaker 3: tapes are hard to find right now. I was recording

501
00:26:06,960 --> 00:26:08,960
Speaker 3: at a time where the Impact tapes were everywhere. But

502
00:26:09,560 --> 00:26:13,119
Speaker 3: had I known then stock up on Ampex tapes, I

503
00:26:13,160 --> 00:26:15,359
Speaker 3: would have stocked. But now here we are in twenty

504
00:26:15,400 --> 00:26:17,760
Speaker 3: twenty three and you can hardly find them. What if

505
00:26:17,800 --> 00:26:20,760
Speaker 3: you're in a situation in which strings that you haven't

506
00:26:20,880 --> 00:26:25,240
Speaker 3: changed since thirty years ago, go like, is there a

507
00:26:25,400 --> 00:26:25,960
Speaker 3: likelihood of this?

508
00:26:26,040 --> 00:26:28,520
Speaker 8: Well, you know, one of them broke on a two

509
00:26:28,560 --> 00:26:31,359
Speaker 8: with D actually on twenty fifteen to two D. The

510
00:26:31,480 --> 00:26:34,119
Speaker 8: E string on that on that thing broke and I

511
00:26:34,280 --> 00:26:36,639
Speaker 8: put a new version of it on and it sounded

512
00:26:36,760 --> 00:26:37,920
Speaker 8: like it wasn't very good at.

513
00:26:37,840 --> 00:26:40,800
Speaker 1: All, So they changed the recipes throughout the.

514
00:26:41,040 --> 00:26:43,159
Speaker 8: Well, no, but those strings just sound different when they

515
00:26:43,160 --> 00:26:45,960
Speaker 8: get older. So if you got three strings like thirty

516
00:26:46,000 --> 00:26:47,280
Speaker 8: years old and one new one.

517
00:26:47,640 --> 00:26:51,400
Speaker 11: Just the it's the same for microphones, really, oh yeah,

518
00:26:51,680 --> 00:26:56,760
Speaker 11: like I bought a annoyman U eighty seven and like

519
00:26:57,640 --> 00:27:00,440
Speaker 11: fresh out the box, it sounded very harsh and Brita

520
00:27:00,480 --> 00:27:02,120
Speaker 11: and my dealer was telling me, he was like, yeah,

521
00:27:02,240 --> 00:27:05,280
Speaker 11: the older, the older mice over time, like you were saying,

522
00:27:05,359 --> 00:27:07,920
Speaker 11: they warm up like just that age.

523
00:27:07,840 --> 00:27:09,119
Speaker 10: You know, spits all over them.

524
00:27:12,880 --> 00:27:16,160
Speaker 1: That's the flavor. Yeah, you know for real. Mm hmm.

525
00:27:17,480 --> 00:27:23,800
Speaker 3: So besides James Jamerson, is there other unsung heroes that

526
00:27:24,280 --> 00:27:26,560
Speaker 3: you know you don't think get enough credit?

527
00:27:26,640 --> 00:27:28,160
Speaker 1: Bass playing once yeah?

528
00:27:28,320 --> 00:27:32,399
Speaker 8: Oh man, absolutely, I mean we know about Stanley Clark,

529
00:27:32,760 --> 00:27:36,520
Speaker 8: Jacob Pastoriscus a huge influence. Larry Graham too now getting

530
00:27:36,520 --> 00:27:40,359
Speaker 8: the prophecy deserves, you know. But yeah, for me, like

531
00:27:40,440 --> 00:27:44,560
Speaker 8: Michael Henderson is up there absolutely, man, Michael Henderson.

532
00:27:45,600 --> 00:27:50,320
Speaker 3: Yeah, I gotta tell our listeners. I believe, yes, this

533
00:27:50,440 --> 00:27:53,800
Speaker 3: is definitely Michael interested If you buy the Stevie Wonder

534
00:27:53,960 --> 00:27:59,080
Speaker 3: Talk of the Town, Yeah in London, that's his I

535
00:27:59,160 --> 00:28:01,760
Speaker 3: believe that's his word corn on that version of I

536
00:28:01,760 --> 00:28:06,639
Speaker 3: always made the Lover where he's just it's ungodly like

537
00:28:07,200 --> 00:28:07,600
Speaker 3: that to me.

538
00:28:07,760 --> 00:28:11,119
Speaker 8: His solo album is like going Places. Yes, the base

539
00:28:11,200 --> 00:28:12,800
Speaker 8: playing on that, Oh my good.

540
00:28:14,520 --> 00:28:15,520
Speaker 1: I know why we're laughing.

541
00:28:16,119 --> 00:28:18,880
Speaker 8: I know why we're laughing, but we're not messing around

542
00:28:18,920 --> 00:28:19,119
Speaker 8: with that.

543
00:28:20,440 --> 00:28:24,719
Speaker 3: It's good to hear someone speak of places where I praised,

544
00:28:24,720 --> 00:28:26,040
Speaker 3: because we have.

545
00:28:26,080 --> 00:28:29,560
Speaker 1: A different places. That's a jam though.

546
00:28:30,240 --> 00:28:35,680
Speaker 3: All right, So what was your first gig as a professional,

547
00:28:35,960 --> 00:28:38,200
Speaker 3: like your first session gig?

548
00:28:39,640 --> 00:28:42,680
Speaker 8: Yeah, okay, yeah. It was at Rockfield Studios in Monmouth

549
00:28:42,760 --> 00:28:45,600
Speaker 8: in Wales. Quite a famous studio. A lot of a

550
00:28:45,680 --> 00:28:47,360
Speaker 8: lot of great records were done there over the years,

551
00:28:47,400 --> 00:28:50,120
Speaker 8: but that was my first session. My friend was playing

552
00:28:50,200 --> 00:28:52,760
Speaker 8: keys in the show band. When I say show band,

553
00:28:52,760 --> 00:28:55,120
Speaker 8: they would do everything from Glenn Miller to like the

554
00:28:55,360 --> 00:28:57,760
Speaker 8: bony Am to whatever pop was in the charts, you know,

555
00:28:57,920 --> 00:29:00,880
Speaker 8: like So they were in the studio for some reason,

556
00:29:00,920 --> 00:29:02,440
Speaker 8: I don't know why, and I just went down to

557
00:29:02,520 --> 00:29:07,120
Speaker 8: hang and the bass player in the band, you know,

558
00:29:07,200 --> 00:29:09,640
Speaker 8: they wanted like some slap and pop bass and the

559
00:29:09,680 --> 00:29:12,240
Speaker 8: bass player they had wasn't familiar with that style, and

560
00:29:12,360 --> 00:29:14,920
Speaker 8: I happened to be there. So my friend told the

561
00:29:15,240 --> 00:29:18,320
Speaker 8: musical director and he's like, would you would you try

562
00:29:18,400 --> 00:29:20,600
Speaker 8: playing this baseline? So that was the first time I

563
00:29:20,640 --> 00:29:23,160
Speaker 8: put a pair of headphones on in the studio and

564
00:29:23,280 --> 00:29:25,640
Speaker 8: played with the band, and I just loved it, man,

565
00:29:25,920 --> 00:29:26,640
Speaker 8: I couldn't believe it.

566
00:29:26,760 --> 00:29:27,280
Speaker 1: How old were you.

567
00:29:28,840 --> 00:29:29,240
Speaker 8: Nineteen?

568
00:29:29,320 --> 00:29:34,040
Speaker 1: Maybe? Okay, we we know of you, Okay, I guess

569
00:29:34,120 --> 00:29:36,400
Speaker 1: Paul Young was well. Was Dules Holland first?

570
00:29:36,640 --> 00:29:36,840
Speaker 8: Yeah?

571
00:29:36,960 --> 00:29:37,720
Speaker 1: Yeah, yeah yeah.

572
00:29:38,120 --> 00:29:40,720
Speaker 8: Jules Holland got me to move down to London, so

573
00:29:40,880 --> 00:29:41,480
Speaker 8: he offered me.

574
00:29:41,920 --> 00:29:44,360
Speaker 1: Well, let me explain. Was Jules was Jules hollend and

575
00:29:45,200 --> 00:29:48,760
Speaker 1: Squeeze right? He was originally and Squeeze first career. Yeah,

576
00:29:48,800 --> 00:29:51,360
Speaker 1: he had just show host before he.

577
00:29:51,400 --> 00:29:55,440
Speaker 10: Had a solo thing with the Millionaires. Yeah, a millionaires

578
00:29:56,160 --> 00:29:59,200
Speaker 10: so and then the talk show came much later, I think.

579
00:29:59,480 --> 00:30:02,680
Speaker 1: Okay, So what was that experience like playing How long

580
00:30:02,720 --> 00:30:03,800
Speaker 1: did you play with them? Oh?

581
00:30:04,000 --> 00:30:06,080
Speaker 8: I would play with Jewels for probably like a year,

582
00:30:06,200 --> 00:30:07,320
Speaker 8: eighteen months or something like that.

583
00:30:07,640 --> 00:30:08,760
Speaker 10: There's a great album cover.

584
00:30:10,680 --> 00:30:15,240
Speaker 8: Yeah that was fun man, I love those days. It

585
00:30:15,320 --> 00:30:19,160
Speaker 8: was fun days. And so playing with Jewels, I was

586
00:30:19,240 --> 00:30:21,760
Speaker 8: just playing my friend of base and I went down

587
00:30:21,800 --> 00:30:25,240
Speaker 8: to audition in London because sax player in Jules's band.

588
00:30:25,920 --> 00:30:27,840
Speaker 8: I knew him in Cardiff and he said, Jewels is

589
00:30:27,880 --> 00:30:30,080
Speaker 8: looking for bass player. So I went down to London

590
00:30:30,120 --> 00:30:33,480
Speaker 8: and audition, just sat in his room and played with him.

591
00:30:33,480 --> 00:30:35,400
Speaker 8: Followed the left hand piano thing, you know, the boogie

592
00:30:35,440 --> 00:30:38,920
Speaker 8: woogie piano thing. And we hit it off and he said,

593
00:30:39,320 --> 00:30:41,440
Speaker 8: you know, why don't you just join the band. I'll

594
00:30:41,480 --> 00:30:43,480
Speaker 8: pay you fifty pounds a week and sleep on my couch.

595
00:30:43,840 --> 00:30:48,200
Speaker 8: So that's how I moved to London years nineteen eighty one.

596
00:30:49,320 --> 00:30:53,479
Speaker 1: Okay, so was that a good living? Oh?

597
00:30:53,720 --> 00:30:56,920
Speaker 8: Financially yeah, hell no, it was okay, it was okay.

598
00:30:57,160 --> 00:30:57,880
Speaker 8: I survived on it.

599
00:30:58,240 --> 00:30:59,240
Speaker 1: I always asked this question.

600
00:30:59,320 --> 00:31:02,120
Speaker 3: I'd never get like a satisfactory answer, which, you know,

601
00:31:02,160 --> 00:31:05,240
Speaker 3: I'm just trying to time travel and also deal with

602
00:31:05,280 --> 00:31:06,480
Speaker 3: the inflation part of it all.

603
00:31:06,600 --> 00:31:11,000
Speaker 1: Like I want to know in eighty one, in your mind,

604
00:31:11,040 --> 00:31:12,080
Speaker 1: what is a good living?

605
00:31:12,360 --> 00:31:12,400
Speaker 8: Like?

606
00:31:12,560 --> 00:31:16,160
Speaker 1: What would been ideal for you? Is it five hundred

607
00:31:16,160 --> 00:31:16,720
Speaker 1: pounds a week?

608
00:31:17,360 --> 00:31:21,160
Speaker 8: Not even like, you know, two hundred that I would

609
00:31:21,160 --> 00:31:22,680
Speaker 8: have been happy with two hundred a week back, I

610
00:31:22,680 --> 00:31:24,120
Speaker 8: would have thought I was doing really well.

611
00:31:24,760 --> 00:31:28,360
Speaker 3: So what does fifty pounds a week get you in

612
00:31:28,520 --> 00:31:30,880
Speaker 3: London in terms like are you just crashing a room

613
00:31:30,960 --> 00:31:32,120
Speaker 3: and a calcul Yeah?

614
00:31:32,280 --> 00:31:36,760
Speaker 8: Back, and it was eating yeah pretty much. Well, Jules's

615
00:31:36,800 --> 00:31:40,440
Speaker 8: mom used to cook for us, bless her. That was nice,

616
00:31:40,920 --> 00:31:44,200
Speaker 8: but yeah, not a very healthy diet, you know, pack

617
00:31:44,280 --> 00:31:47,400
Speaker 8: of the cigarettes, some weed, you know, usual thing.

618
00:31:49,680 --> 00:31:52,480
Speaker 1: Yeah, as far as touring is concerned, like you also

619
00:31:52,520 --> 00:31:53,520
Speaker 1: had the tour of this unit.

620
00:31:53,480 --> 00:31:56,720
Speaker 8: Correct, yeah, we too. Oh this year did you say sorry, no,

621
00:31:56,800 --> 00:31:57,000
Speaker 8: no no?

622
00:31:57,120 --> 00:31:57,680
Speaker 1: With Jewels?

623
00:31:58,280 --> 00:32:00,440
Speaker 8: Yeah, yeah, we did some touring. That's my first tour

624
00:32:00,480 --> 00:32:01,800
Speaker 8: of America actually in New York.

625
00:32:02,480 --> 00:32:03,160
Speaker 1: Really. Yeah.

626
00:32:03,280 --> 00:32:05,280
Speaker 8: We did a tour of the East coast, just traveling

627
00:32:05,320 --> 00:32:08,160
Speaker 8: up and down in Miles Copeland's van. Miles Copeland was

628
00:32:08,200 --> 00:32:11,880
Speaker 8: the manager back in Starts, right, yeah, manager of the police, okay.

629
00:32:12,080 --> 00:32:16,480
Speaker 1: Was he also the manager of Jewels? Okay, So we

630
00:32:16,560 --> 00:32:17,640
Speaker 1: did a little touring with that.

631
00:32:17,760 --> 00:32:20,440
Speaker 8: We released one record that didn't do too well.

632
00:32:21,840 --> 00:32:24,040
Speaker 1: Nice album coming but what yeah exactly.

633
00:32:24,320 --> 00:32:26,280
Speaker 8: But whilst I was in New York, I went into

634
00:32:26,400 --> 00:32:29,040
Speaker 8: sam Ash Music on forty eighth Street, where all the

635
00:32:29,080 --> 00:32:31,480
Speaker 8: great music stores were back in the day, right, And

636
00:32:31,560 --> 00:32:33,600
Speaker 8: I walked in there and I saw this music man

637
00:32:34,000 --> 00:32:37,120
Speaker 8: fretless base on the wall. I was like, oh, I

638
00:32:37,280 --> 00:32:39,240
Speaker 8: like to try that. So I asked the guy if

639
00:32:39,240 --> 00:32:41,200
Speaker 8: I could try it. And I played it and I

640
00:32:41,280 --> 00:32:43,200
Speaker 8: could I could play it in tune, you know, it

641
00:32:43,360 --> 00:32:46,320
Speaker 8: just it really suited me, that base. So I bought

642
00:32:46,360 --> 00:32:48,840
Speaker 8: that base there and then and that was the base,

643
00:32:49,280 --> 00:32:52,280
Speaker 8: the base that led to all the the fretless sessions

644
00:32:52,320 --> 00:32:53,280
Speaker 8: that I got to do after that.

645
00:32:53,680 --> 00:32:58,480
Speaker 1: So such an unusual sound than what you were previously

646
00:32:58,560 --> 00:32:58,960
Speaker 1: playing on.

647
00:32:59,600 --> 00:33:05,320
Speaker 3: Was there any convincing Paul Young or Chris I always say,

648
00:33:05,400 --> 00:33:07,280
Speaker 3: Chris de Barge, Christ.

649
00:33:07,560 --> 00:33:08,200
Speaker 8: Chris de Burg?

650
00:33:08,480 --> 00:33:12,120
Speaker 3: All right, Chris de Burgh, Like was there any or

651
00:33:12,320 --> 00:33:14,280
Speaker 3: not even them like their producers or.

652
00:33:14,800 --> 00:33:17,480
Speaker 8: You know how that all came about him? Whilst I

653
00:33:17,600 --> 00:33:19,200
Speaker 8: was with Jeweles, I got a call from a friend

654
00:33:19,240 --> 00:33:22,000
Speaker 8: of mine, Chris Slade, who was a drummer at the

655
00:33:22,080 --> 00:33:24,400
Speaker 8: time with Gary Numo. He went on to play with

656
00:33:24,480 --> 00:33:26,840
Speaker 8: ac DC and a whole bunch of stuff and played

657
00:33:26,920 --> 00:33:29,120
Speaker 8: with Tom Jones back in the early days. So this

658
00:33:29,280 --> 00:33:31,240
Speaker 8: guy done incredible.

659
00:33:31,240 --> 00:33:32,880
Speaker 3: Wait, you're trying to tell me the same guy that

660
00:33:33,120 --> 00:33:35,680
Speaker 3: played cards with Gary Numan it was also the guy

661
00:33:35,760 --> 00:33:38,040
Speaker 3: that could have been played on It's not unusual.

662
00:33:38,840 --> 00:33:42,240
Speaker 8: Not because but the album after that, there's an album

663
00:33:42,280 --> 00:33:44,160
Speaker 8: I was involved in called I Assassin by Gary.

664
00:33:44,440 --> 00:33:47,239
Speaker 1: Yeah. You know what, Here's here's the weird thing.

665
00:33:47,800 --> 00:33:51,240
Speaker 3: If you ask Wendy and Lisa about you know, the

666
00:33:51,320 --> 00:33:54,120
Speaker 3: influential records, like it's so weird they mentioned every album

667
00:33:54,160 --> 00:33:57,440
Speaker 3: but that, like they'll mention I Assassin and the one

668
00:33:57,480 --> 00:34:00,760
Speaker 3: that came out, like if you listen into that, if

669
00:34:00,800 --> 00:34:02,440
Speaker 3: you listened to eighty two record, the album that came

670
00:34:02,480 --> 00:34:06,200
Speaker 3: after Prince basically like it's kind of his newest store.

671
00:34:06,360 --> 00:34:08,960
Speaker 8: He listened to that. Yeah, oh that freaks me out.

672
00:34:09,040 --> 00:34:13,880
Speaker 8: It's amazing. Wow. So so yeah, this guy Chris Slade,

673
00:34:13,920 --> 00:34:15,720
Speaker 8: he he phoned me up whilst I was with Jules

674
00:34:15,719 --> 00:34:17,480
Speaker 8: on and he said, look, I'm working with Gary Newman.

675
00:34:17,960 --> 00:34:20,080
Speaker 8: He's looking for a fretless bass player. Do you have

676
00:34:20,160 --> 00:34:22,600
Speaker 8: a fretless And I said, well, as it happens, I

677
00:34:22,719 --> 00:34:25,520
Speaker 8: just bought just a few months ago.

678
00:34:25,680 --> 00:34:25,840
Speaker 5: You know.

679
00:34:26,840 --> 00:34:28,719
Speaker 8: He said, well, bring the fretless and and you know,

680
00:34:28,920 --> 00:34:29,719
Speaker 8: let's see how it goes.

681
00:34:29,800 --> 00:34:31,200
Speaker 1: So I went to the.

682
00:34:31,200 --> 00:34:34,560
Speaker 8: Studio met Gary. He had a bunch of tunes like

683
00:34:34,719 --> 00:34:38,680
Speaker 8: just drum beats and really minimal kind of keyboard things,

684
00:34:39,000 --> 00:34:41,600
Speaker 8: and he just wanted me to do some fretless shit

685
00:34:41,680 --> 00:34:44,880
Speaker 8: all over the record. So that album became my calling

686
00:34:44,960 --> 00:34:47,680
Speaker 8: card in a way because I got to make up

687
00:34:47,719 --> 00:34:51,479
Speaker 8: on my own baselines. People heard that and then yeah,

688
00:34:51,960 --> 00:34:53,680
Speaker 8: you know, I got on Top of the Pops with Gary,

689
00:34:53,719 --> 00:34:55,800
Speaker 8: which is a big thing at the time, and you know,

690
00:34:55,880 --> 00:34:57,759
Speaker 8: the sound was pretty fresh because it didn't sound like

691
00:34:57,880 --> 00:35:02,000
Speaker 8: Jacko's sound, but he was fretless, probably a cross between

692
00:35:02,120 --> 00:35:05,920
Speaker 8: like Jacko and Mick Kahn, you know Mick Kahn from Japan,

693
00:35:06,000 --> 00:35:06,680
Speaker 8: the band Japan.

694
00:35:07,360 --> 00:35:08,520
Speaker 1: I'm not familiar with the word.

695
00:35:08,760 --> 00:35:10,520
Speaker 8: Yeah, So he played fretless bass and he had a

696
00:35:10,760 --> 00:35:13,920
Speaker 8: unique style. So I would put myself somewhere in the

697
00:35:13,960 --> 00:35:17,400
Speaker 8: middle of that, like with jazz references, but also like

698
00:35:17,600 --> 00:35:19,040
Speaker 8: auti style of bass playing.

699
00:35:19,160 --> 00:35:21,719
Speaker 6: Right, you know, how do you approach the construction of

700
00:35:21,760 --> 00:35:25,600
Speaker 6: fretless bass lines versus fretted Is it a different approach?

701
00:35:25,600 --> 00:35:26,919
Speaker 1: Do you think about it differently? Yeah?

702
00:35:27,000 --> 00:35:30,280
Speaker 8: Totally in what sense? Well, the way I would approach

703
00:35:30,320 --> 00:35:33,520
Speaker 8: it on the fretless bace is more from a melodic sense,

704
00:35:33,600 --> 00:35:35,960
Speaker 8: you know, just trying to find melodies because it's a

705
00:35:36,040 --> 00:35:37,120
Speaker 8: very expressive instrument.

706
00:35:37,200 --> 00:35:38,800
Speaker 7: Right, I'm going to try to spell this word and

707
00:35:38,800 --> 00:35:39,680
Speaker 7: I'm going to figure out what.

708
00:35:39,719 --> 00:35:40,400
Speaker 2: This means.

709
00:35:42,520 --> 00:35:46,399
Speaker 3: All right here, Right, So you you've seen a bass

710
00:35:46,440 --> 00:35:49,040
Speaker 3: player before, right, in terms of like the part that

711
00:35:49,080 --> 00:35:52,800
Speaker 3: they play with their left hand. Okay, a fretless bass,

712
00:35:53,000 --> 00:35:55,560
Speaker 3: I would say, is the sound of like, you know,

713
00:35:55,640 --> 00:35:59,320
Speaker 3: the difference between electric what Adam Blackstone plays and in

714
00:35:59,560 --> 00:36:03,960
Speaker 3: upright Christian McBride plays, like the jazzier sound. A fretless

715
00:36:04,360 --> 00:36:08,520
Speaker 3: can give you the sound of an upright jazz in

716
00:36:08,960 --> 00:36:09,799
Speaker 3: my incorrect or.

717
00:36:09,920 --> 00:36:11,680
Speaker 8: Yeah yeah, I mean, you don't have any threats, so

718
00:36:11,760 --> 00:36:13,719
Speaker 8: you can just slide the notes. You know, it's a

719
00:36:13,800 --> 00:36:16,359
Speaker 8: different and it's a different envelope to the note. It's

720
00:36:16,400 --> 00:36:17,040
Speaker 8: a different shape.

721
00:36:17,080 --> 00:36:20,000
Speaker 1: It's a lady in red you know. So that's the

722
00:36:20,040 --> 00:36:25,440
Speaker 1: sound of the threadless. You don't know, lady, Yeah, we

723
00:36:25,560 --> 00:36:26,000
Speaker 1: know your work.

724
00:36:26,520 --> 00:36:27,040
Speaker 8: That's amazing.

725
00:36:27,080 --> 00:36:29,799
Speaker 1: But now wait, now you got me curious about.

726
00:36:31,400 --> 00:36:36,960
Speaker 8: Assassin, right, so like we take Mystery to bed. That's

727
00:36:37,000 --> 00:36:38,200
Speaker 8: one of the titles. I remember that.

728
00:36:38,880 --> 00:36:50,600
Speaker 9: Yes, that's a lot of notes. That's like more notes

729
00:36:50,640 --> 00:36:51,120
Speaker 9: than usual.

730
00:36:51,480 --> 00:36:53,760
Speaker 1: Oh yeah, so let me ask you, do you respect?

731
00:36:53,800 --> 00:36:57,000
Speaker 1: And I've just seen them two weeks ago? Do you respect? Oh? Boy?

732
00:36:57,239 --> 00:36:57,800
Speaker 8: John Taylor?

733
00:36:57,920 --> 00:36:58,480
Speaker 1: John Taylor?

734
00:36:58,680 --> 00:37:01,880
Speaker 3: Sure man, yo, he was killing all right. So I

735
00:37:01,960 --> 00:37:05,440
Speaker 3: saw the Red Rocks. They're on tour with Mount Rodgers

736
00:37:05,560 --> 00:37:07,239
Speaker 3: right now. You guys should really see them like they're

737
00:37:07,320 --> 00:37:12,880
Speaker 3: they're still on top four. I believe it feels like

738
00:37:13,000 --> 00:37:18,200
Speaker 3: some of those songs on the real album are also fretless.

739
00:37:18,520 --> 00:37:20,439
Speaker 8: I don't think so, but you know, well maybe I'm

740
00:37:20,440 --> 00:37:23,160
Speaker 8: not familiar with that album actually, but I think it

741
00:37:23,320 --> 00:37:25,800
Speaker 8: was more sonic thing back in the eighties because he

742
00:37:25,880 --> 00:37:28,440
Speaker 8: didn't he didn't play bass bass right, It wasn't much

743
00:37:28,480 --> 00:37:31,279
Speaker 8: Bottoman based on it, And you would probably play your

744
00:37:31,320 --> 00:37:34,760
Speaker 8: bass track in the control room, you know, when everything

745
00:37:34,800 --> 00:37:37,040
Speaker 8: else had already been put down. So you're going for

746
00:37:37,120 --> 00:37:39,480
Speaker 8: a more kind of you know, a sound that's going

747
00:37:39,520 --> 00:37:41,520
Speaker 8: to pop out of the speakers. You don't really have

748
00:37:41,680 --> 00:37:44,839
Speaker 8: to support, like play play support bass.

749
00:37:45,719 --> 00:37:47,000
Speaker 1: Can you play upright bass?

750
00:37:47,239 --> 00:37:47,879
Speaker 8: No, not at all.

751
00:37:48,560 --> 00:37:50,719
Speaker 1: Have you touched it up right base? I've touched it.

752
00:37:50,800 --> 00:37:52,600
Speaker 8: I love it, but I can't play it. It's a

753
00:37:52,640 --> 00:37:57,719
Speaker 8: different instrument altogether, really, yeah, so just gun to your head, like,

754
00:37:57,880 --> 00:37:59,279
Speaker 8: oh no, I tried to do a gig on it

755
00:37:59,320 --> 00:38:02,320
Speaker 8: and I was My hand was so painful after like

756
00:38:02,440 --> 00:38:05,400
Speaker 8: one get you know, one song. Really, it's such a

757
00:38:05,480 --> 00:38:08,320
Speaker 8: physical thing. It's a different muss. Well, this is what

758
00:38:08,480 --> 00:38:10,239
Speaker 8: I play is like a guitar, right, It's a bass,

759
00:38:10,320 --> 00:38:13,200
Speaker 8: but it's a bass guitar. So that's a whole different thing.

760
00:38:13,280 --> 00:38:23,040
Speaker 1: Yeah, So what steps are in between Newman and Paul

761
00:38:23,960 --> 00:38:24,880
Speaker 1: and Chris.

762
00:38:25,360 --> 00:38:29,160
Speaker 8: Like sir Newman. That led to Paul Young in a way,

763
00:38:29,239 --> 00:38:32,400
Speaker 8: because you know, Paul and his producers got to hear

764
00:38:32,440 --> 00:38:35,560
Speaker 8: those Newman records and imagine that sound on the record

765
00:38:35,640 --> 00:38:39,279
Speaker 8: he was making. And then like Dave Gilmour from Pink

766
00:38:39,320 --> 00:38:41,799
Speaker 8: Floyd I did his solo record. That was a big,

767
00:38:41,960 --> 00:38:44,239
Speaker 8: big one for me, just to get a call from

768
00:38:44,320 --> 00:38:46,360
Speaker 8: him and you know, I want you to come and

769
00:38:46,440 --> 00:38:48,000
Speaker 8: do this album with me in Paris. I was like,

770
00:38:48,080 --> 00:38:50,200
Speaker 8: oh my god, this is it so for you?

771
00:38:50,719 --> 00:38:53,640
Speaker 1: Is Lady in Red sort of like the the world's

772
00:38:53,680 --> 00:38:55,359
Speaker 1: wake up call? Like get that guy.

773
00:38:56,280 --> 00:38:57,640
Speaker 8: It might have been bro. I think more of the

774
00:38:57,680 --> 00:39:00,759
Speaker 8: poor Young stuff because Chris Chris came to me from

775
00:39:00,800 --> 00:39:03,719
Speaker 8: Paul Young. Christal Brook. Yeah, because everyone kind of wanted

776
00:39:03,760 --> 00:39:07,120
Speaker 8: that sound for a minute, that fretless sound, so.

777
00:39:07,160 --> 00:39:09,000
Speaker 10: At some point that you say, I don't want to

778
00:39:09,160 --> 00:39:11,520
Speaker 10: be pigeonholed into this sound, and uh.

779
00:39:11,600 --> 00:39:13,839
Speaker 8: Much later on, I took it happily for a long time.

780
00:39:14,480 --> 00:39:16,319
Speaker 1: We take fifty dollars a week.

781
00:39:18,880 --> 00:39:21,680
Speaker 8: No, it went for for a good while, yeah, but

782
00:39:21,760 --> 00:39:23,839
Speaker 8: it did get it did get a little tossing, yeah,

783
00:39:23,840 --> 00:39:26,680
Speaker 8: after a while, because you know, when people want you

784
00:39:26,800 --> 00:39:28,719
Speaker 8: to do what you did, not what you're going to do.

785
00:39:30,040 --> 00:39:31,520
Speaker 8: It's a different thing, right.

786
00:39:31,800 --> 00:39:34,240
Speaker 3: That was a freaking gym and a halfway. I gotta

787
00:39:34,560 --> 00:39:37,560
Speaker 3: I gotta say that again when people.

788
00:39:37,640 --> 00:39:39,480
Speaker 8: Well, you know, if if somebody calls you to do

789
00:39:39,560 --> 00:39:42,040
Speaker 8: a session and you're there because they want you to

790
00:39:42,120 --> 00:39:45,359
Speaker 8: do what you've already done, that's different to what you're

791
00:39:45,360 --> 00:39:47,040
Speaker 8: going what you could do. You don't get a chance

792
00:39:47,080 --> 00:39:48,760
Speaker 8: to do what you're going to do because they already

793
00:39:48,840 --> 00:39:50,239
Speaker 8: decided the sort of thing they want.

794
00:39:50,200 --> 00:39:52,839
Speaker 11: Because they're booking you off of password, not where you're

795
00:39:53,160 --> 00:39:54,960
Speaker 11: where you may be artistically currently.

796
00:39:55,480 --> 00:39:59,200
Speaker 1: Yes, so your life must be hell after voodoo.

797
00:40:01,960 --> 00:40:04,239
Speaker 8: Well that that caught some trouble. Yeah, but you know

798
00:40:04,360 --> 00:40:06,600
Speaker 8: that was the amazing thing about Well I met I

799
00:40:06,719 --> 00:40:08,960
Speaker 8: met you and D on the same day, right right, yeah,

800
00:40:09,400 --> 00:40:11,879
Speaker 8: on the BB King session. Yes, and I didn't even

801
00:40:11,960 --> 00:40:15,520
Speaker 8: know he was coming, you know, no idea, So you

802
00:40:15,719 --> 00:40:18,120
Speaker 8: walk in with him and Russ Alvado and like, what's

803
00:40:18,120 --> 00:40:21,960
Speaker 8: going on here anyway? Anyway, that I lost my trainers

804
00:40:22,000 --> 00:40:22,560
Speaker 8: thought there.

805
00:40:22,440 --> 00:40:26,680
Speaker 1: But well, if you're causing problems friendlessly.

806
00:40:26,400 --> 00:40:28,640
Speaker 8: So so you know, as you know, me and D

807
00:40:28,800 --> 00:40:31,040
Speaker 8: hit it off from that session. He hear me playing

808
00:40:31,080 --> 00:40:33,200
Speaker 8: he's like, I like that sound. I wanted to come in.

809
00:40:33,560 --> 00:40:35,920
Speaker 8: But the thing is he knew nothing about my past.

810
00:40:36,000 --> 00:40:39,600
Speaker 8: So I already had like a career before that. But

811
00:40:39,719 --> 00:40:43,640
Speaker 8: he wasn't coming to me from you. Yeah, he's just

812
00:40:43,760 --> 00:40:46,239
Speaker 8: like this dude, I like what he's doing and uh,

813
00:40:46,400 --> 00:40:47,479
Speaker 8: and let's get together.

814
00:40:47,600 --> 00:40:50,120
Speaker 11: But for you, was that was that exciting for you

815
00:40:50,239 --> 00:40:52,600
Speaker 11: to kind of have the opportunity to reinvent yourself in

816
00:40:52,640 --> 00:40:53,160
Speaker 11: a different way?

817
00:40:53,440 --> 00:40:57,640
Speaker 1: Oh yeah, But did you know who or what the

818
00:40:57,760 --> 00:41:00,920
Speaker 1: Angelo was? Because it's not like we came. I mean,

819
00:41:00,960 --> 00:41:02,680
Speaker 1: by that point, all we had was send it on.

820
00:41:03,239 --> 00:41:04,520
Speaker 1: That's all we had. We had sended on.

821
00:41:04,680 --> 00:41:07,960
Speaker 8: We didn't have see song wise, I had heard.

822
00:41:08,640 --> 00:41:11,120
Speaker 1: Brown Sugar, Okay, so you knew about him through.

823
00:41:11,680 --> 00:41:14,040
Speaker 8: I didn't know. I didn't know the whole album. I

824
00:41:14,239 --> 00:41:14,719
Speaker 8: didn't change.

825
00:41:15,160 --> 00:41:19,560
Speaker 3: So what I knew was this was this was two weeks.

826
00:41:20,800 --> 00:41:23,240
Speaker 3: So I always could I always credit Voodoo's.

827
00:41:22,800 --> 00:41:25,359
Speaker 1: Beginning the last day of Philadelphi half life.

828
00:41:25,480 --> 00:41:30,080
Speaker 3: So D'Angelo rushes to Philadelphia the one time he was

829
00:41:30,160 --> 00:41:30,760
Speaker 3: on time.

830
00:41:35,440 --> 00:41:35,640
Speaker 1: Play.

831
00:41:36,400 --> 00:41:41,879
Speaker 3: Yeah, he he like rushed to Philly when he got

832
00:41:42,000 --> 00:41:46,759
Speaker 3: word that you know, a certain head wrapped lady was

833
00:41:47,160 --> 00:41:50,680
Speaker 3: in our side of town, uh working on the record.

834
00:41:50,840 --> 00:41:52,200
Speaker 8: She down there, she down there.

835
00:41:52,680 --> 00:41:54,800
Speaker 3: And I was like yeah, but I almost feel like,

836
00:41:55,280 --> 00:41:57,680
Speaker 3: now that I look at it, it wasn't the excitement

837
00:41:57,800 --> 00:41:59,799
Speaker 3: of like, oh, she's down there, let me come and play.

838
00:42:00,120 --> 00:42:03,000
Speaker 1: It was like, wait, she down there with y'all. She's

839
00:42:03,000 --> 00:42:07,440
Speaker 1: said that Tarik's script. What that moment. I don't give

840
00:42:07,480 --> 00:42:09,799
Speaker 1: away all the thoughts. It's the first and the last time.

841
00:42:09,880 --> 00:42:12,080
Speaker 1: That was like an hour earlier. Like I didn't even

842
00:42:12,120 --> 00:42:15,600
Speaker 1: ask him to come. He's like, I'm here. So that

843
00:42:15,800 --> 00:42:17,239
Speaker 1: to me was like the first day of Voodo.

844
00:42:17,360 --> 00:42:19,839
Speaker 3: We knocked the hypnotic out for our record, and then

845
00:42:19,960 --> 00:42:22,400
Speaker 3: we had like time to kill and we were just

846
00:42:22,440 --> 00:42:23,800
Speaker 3: like all right, let's let's start playing.

847
00:42:23,960 --> 00:42:26,080
Speaker 1: So we we had to test each other to see where.

848
00:42:25,920 --> 00:42:27,760
Speaker 3: Your knowledge was or whatever, and it's like, okay, we're

849
00:42:27,760 --> 00:42:30,640
Speaker 3: gonna get along famously because I had told you that

850
00:42:30,719 --> 00:42:31,440
Speaker 3: I judged him.

851
00:42:31,440 --> 00:42:33,320
Speaker 1: I looked at it. I looked at his timblans and

852
00:42:33,480 --> 00:42:36,359
Speaker 1: they were like worn down, and I judged him.

853
00:42:37,000 --> 00:42:38,680
Speaker 3: And Bob Power is trying to sell me on this guy,

854
00:42:38,800 --> 00:42:41,759
Speaker 3: Like yo, Bob, Bob Power wants me to drum on shit,

855
00:42:41,800 --> 00:42:45,560
Speaker 3: Damn motherfucker. He's like Yo, there's a guy. I think

856
00:42:45,600 --> 00:42:47,239
Speaker 3: you'll love him. Man, He's like the next out Green

857
00:42:47,320 --> 00:42:48,040
Speaker 3: Da Da Day.

858
00:42:48,280 --> 00:42:50,560
Speaker 1: And I was just like, R and B. This sucks,

859
00:42:51,080 --> 00:42:53,279
Speaker 1: you know, hey, R and B, Like you know what

860
00:42:53,320 --> 00:42:56,920
Speaker 1: I mean, Like I wanted soul and not R and B.

861
00:42:57,120 --> 00:42:57,920
Speaker 1: And I looked at him.

862
00:42:58,000 --> 00:43:01,200
Speaker 3: He just walked in and because the tongue of his

863
00:43:01,320 --> 00:43:05,919
Speaker 3: teams was just it was leaning right, I was like, no, man,

864
00:43:06,440 --> 00:43:10,200
Speaker 3: this guy's corny. So I purposely, like, you know, I'm

865
00:43:10,239 --> 00:43:12,080
Speaker 3: going to hang with my dad for Christmas, I can't

866
00:43:12,120 --> 00:43:14,560
Speaker 3: do it. So I'm not on Brown Sugar for that reason.

867
00:43:15,000 --> 00:43:17,640
Speaker 3: But then also Ron Carter didn't want to play on

868
00:43:17,680 --> 00:43:20,120
Speaker 3: a song called Shit Damn Motherfucker, so they.

869
00:43:20,120 --> 00:43:23,920
Speaker 1: Decided to go to get Wrong. So Ron Carter was

870
00:43:24,000 --> 00:43:27,400
Speaker 1: going to play bass on Shitdamn Motherfucker and I was

871
00:43:27,440 --> 00:43:28,160
Speaker 1: going to drama on it.

872
00:43:28,880 --> 00:43:31,759
Speaker 3: And also Bob Powers trying to get a two for

873
00:43:33,080 --> 00:43:36,680
Speaker 3: the drama song on Bob Duism was one of the

874
00:43:36,719 --> 00:43:39,160
Speaker 3: first songs that Bob Power worked on, So me and

875
00:43:39,360 --> 00:43:42,360
Speaker 3: Ron were supposed to do We did drama, but He's like,

876
00:43:42,440 --> 00:43:44,320
Speaker 3: I refused to play on a song with that title.

877
00:43:44,440 --> 00:43:47,080
Speaker 3: I will never play on a song called that. He

878
00:43:47,120 --> 00:43:50,400
Speaker 3: would never call it shit damn motherfucker. So Bob Powers

879
00:43:50,520 --> 00:43:52,200
Speaker 3: is like, all right, I'll do the demo. So the

880
00:43:52,280 --> 00:43:58,279
Speaker 3: thing was day two, we rented out Battery Studios to

881
00:43:58,400 --> 00:44:02,560
Speaker 3: work on Bitch right, and then.

882
00:44:03,480 --> 00:44:06,000
Speaker 1: De was just like, ViBe's not right, man, like I

883
00:44:06,960 --> 00:44:07,120
Speaker 1: you know.

884
00:44:07,440 --> 00:44:09,480
Speaker 3: So for some reason they were like, yo, we're going

885
00:44:09,480 --> 00:44:11,440
Speaker 3: to the house at Hendrix, like we need a new studio.

886
00:44:11,600 --> 00:44:15,360
Speaker 3: So then we go to work at Electric Lady.

887
00:44:15,239 --> 00:44:15,640
Speaker 1: For a week.

888
00:44:15,960 --> 00:44:18,640
Speaker 8: Right, this is what Russ too, right, Yes, we're Russ.

889
00:44:19,560 --> 00:44:22,200
Speaker 3: Famously, they had to have an intervention and talk with

890
00:44:22,280 --> 00:44:24,520
Speaker 3: me because my whole thing was like I know my sound,

891
00:44:24,800 --> 00:44:28,279
Speaker 3: I know my eq's whatever, and Russ was just very quiet.

892
00:44:28,040 --> 00:44:29,440
Speaker 1: So he just like sat in the corner. I thought

893
00:44:29,560 --> 00:44:30,520
Speaker 1: Russ was like D's boy.

894
00:44:30,600 --> 00:44:33,080
Speaker 3: I didn't know Russ was the master. And so after

895
00:44:33,200 --> 00:44:36,600
Speaker 3: like four days like D and these managers.

896
00:44:36,239 --> 00:44:38,400
Speaker 1: Pulled me to side like yo, man, like you know

897
00:44:38,480 --> 00:44:41,480
Speaker 1: you you know, Russ is the engineer. Just let him

898
00:44:41,520 --> 00:44:41,880
Speaker 1: do what you do.

899
00:44:42,040 --> 00:44:43,960
Speaker 3: And at first I was like, what does this guy

900
00:44:44,080 --> 00:44:46,640
Speaker 3: know about like my sound, like because I wanted to craft.

901
00:44:47,600 --> 00:44:49,520
Speaker 1: I didn't want to sound like and.

902
00:44:49,640 --> 00:44:51,000
Speaker 8: Rightfully too right.

903
00:44:51,400 --> 00:44:53,640
Speaker 1: I had no idea Russ was the master, you know

904
00:44:53,680 --> 00:44:54,160
Speaker 1: what I'm saying.

905
00:44:54,239 --> 00:44:59,279
Speaker 3: So we worked for about a week and then I

906
00:44:59,400 --> 00:45:02,160
Speaker 3: came on a Sunday to work again, and he's like, Yo,

907
00:45:02,239 --> 00:45:05,840
Speaker 3: we gotta go to power place, uh, power station station

908
00:45:06,160 --> 00:45:11,440
Speaker 3: studios and work with bb King real quick. And I'm like, well,

909
00:45:11,560 --> 00:45:13,239
Speaker 3: my drummer one thinks, yeah, I'm gonna get you drum

910
00:45:13,320 --> 00:45:17,160
Speaker 3: on it. But you know, Steve's already like Steve George.

911
00:45:17,560 --> 00:45:20,200
Speaker 3: So when Steve Jordan was there, then next thing I knew,

912
00:45:20,920 --> 00:45:23,319
Speaker 3: me and Angie were just babysitting little Mike.

913
00:45:24,640 --> 00:45:26,920
Speaker 1: Right, So all right, I'm babysitting.

914
00:45:26,960 --> 00:45:27,160
Speaker 7: Lord.

915
00:45:27,200 --> 00:45:29,880
Speaker 1: I'm asleep while y'all like working on this song for

916
00:45:30,000 --> 00:45:33,320
Speaker 1: like what two three hours and d comes into me

917
00:45:33,480 --> 00:45:39,560
Speaker 1: wakes me up. It's like, yo, man, Yo, that white

918
00:45:39,680 --> 00:45:45,239
Speaker 1: boy is the ship. I was like, huh, you don't understand.

919
00:45:46,600 --> 00:45:47,959
Speaker 1: He's gonna be part of our army.

920
00:45:48,000 --> 00:45:48,160
Speaker 8: Man.

921
00:45:48,239 --> 00:45:49,600
Speaker 1: He knows what he's doing. Wow.

922
00:45:50,200 --> 00:45:52,400
Speaker 3: Now I was telling him like, yo, man, but you

923
00:45:52,480 --> 00:45:55,879
Speaker 3: know what about we had just gotten what's his name?

924
00:45:56,440 --> 00:45:59,880
Speaker 3: He did the root and Spanish shot y. Yeah, he

925
00:46:00,000 --> 00:46:02,600
Speaker 3: he was all go in my mind, I'm like, no, dude,

926
00:46:02,920 --> 00:46:04,960
Speaker 3: Charlie like, let's stick with him. Listen he says, dope,

927
00:46:05,000 --> 00:46:07,560
Speaker 3: man's level bass player.

928
00:46:07,560 --> 00:46:08,680
Speaker 1: It's just next level.

929
00:46:09,080 --> 00:46:13,760
Speaker 3: And I couldn't imagine because it's not like I knew

930
00:46:14,640 --> 00:46:19,840
Speaker 3: of j Dilla sound like that, So that wasn't even comparison,

931
00:46:20,000 --> 00:46:21,640
Speaker 3: Like now you'd be like, yo, yo, he plays just

932
00:46:21,719 --> 00:46:25,719
Speaker 3: like Dyla things like that wasn't that wasn't even our vernacular,

933
00:46:25,760 --> 00:46:27,560
Speaker 3: and that for the life of me. And I went

934
00:46:27,640 --> 00:46:30,680
Speaker 3: in and looked and I just saw this like six

935
00:46:30,760 --> 00:46:34,960
Speaker 3: foot seven giant and it was just like, yo, there's

936
00:46:35,000 --> 00:46:37,920
Speaker 3: no way you're going to convince me this guy is

937
00:46:38,000 --> 00:46:39,440
Speaker 3: the Lord Jesus Christ whatever.

938
00:46:41,320 --> 00:46:45,080
Speaker 1: And then I played with you, so it's yeah, man,

939
00:46:45,200 --> 00:46:48,480
Speaker 1: it's for real. Like he the way he described you

940
00:46:49,080 --> 00:46:52,120
Speaker 1: was like urgent, like he was gasping for the last

941
00:46:52,200 --> 00:46:52,919
Speaker 1: breath of his life.

942
00:46:52,960 --> 00:46:56,000
Speaker 3: And I was like, for the life of me, did

943
00:46:56,120 --> 00:46:58,160
Speaker 3: I wish I'd known what happened in that session? Like

944
00:46:58,200 --> 00:46:59,959
Speaker 3: what how many takes did y'all do with nobody?

945
00:47:00,800 --> 00:47:01,239
Speaker 1: Not many?

946
00:47:01,400 --> 00:47:06,160
Speaker 8: Maybe two? But you know, there was a media connection

947
00:47:06,400 --> 00:47:10,160
Speaker 8: as soon as we literally second verse of that song

948
00:47:10,560 --> 00:47:13,160
Speaker 8: where d took the lead he was playing I think

949
00:47:13,160 --> 00:47:15,400
Speaker 8: he was playing piano and took the lead, and he

950
00:47:15,480 --> 00:47:18,000
Speaker 8: took the lead and I'm playing, I'm like, he sounds

951
00:47:18,040 --> 00:47:20,640
Speaker 8: so good, and it kind of informed me, you know,

952
00:47:20,840 --> 00:47:22,560
Speaker 8: like all of a sudden, I was like, man, I

953
00:47:22,600 --> 00:47:25,120
Speaker 8: can do yeah, and I just went for some shit,

954
00:47:25,200 --> 00:47:27,920
Speaker 8: you know. Hearing his voice inspired me to try some

955
00:47:28,640 --> 00:47:31,560
Speaker 8: Jameson style, you know, walking around a little bit more,

956
00:47:31,760 --> 00:47:35,680
Speaker 8: playing some busy, busy bass stuff, and I felt him

957
00:47:35,719 --> 00:47:39,160
Speaker 8: react to that immediately. Something happened on that tune. But

958
00:47:39,560 --> 00:47:43,399
Speaker 8: that was BB king too. Wow, you know bb made

959
00:47:43,440 --> 00:47:43,839
Speaker 8: that happen.

960
00:47:45,360 --> 00:47:51,000
Speaker 3: Do you now run into musicians that just insist that

961
00:47:51,160 --> 00:47:55,040
Speaker 3: you play draggy or behind the beat or those things or.

962
00:47:55,880 --> 00:47:57,439
Speaker 8: There was a little bit of that, but not much.

963
00:47:57,760 --> 00:47:59,360
Speaker 8: And the thing is, you know, as well as I

964
00:47:59,480 --> 00:48:02,360
Speaker 8: do that shit don't work. It only works in.

965
00:48:02,400 --> 00:48:04,080
Speaker 1: The right environment when we're all together.

966
00:48:04,200 --> 00:48:07,800
Speaker 8: And for me, the right environment is me you indeed,

967
00:48:08,400 --> 00:48:11,040
Speaker 8: and if Spanky was still alive he isn't. But shocky,

968
00:48:11,880 --> 00:48:14,480
Speaker 8: I mean, it's such a profound understanding of what that is,

969
00:48:14,560 --> 00:48:18,239
Speaker 8: but we couldn't put it into woods right. It's like

970
00:48:18,320 --> 00:48:21,320
Speaker 8: a micro second management thing when you're playing, it's just

971
00:48:22,000 --> 00:48:22,840
Speaker 8: the feel happens.

972
00:48:24,120 --> 00:48:26,359
Speaker 1: It took a big to adjust to because I think

973
00:48:26,400 --> 00:48:30,000
Speaker 1: even for me, I saw this as my chance to

974
00:48:31,920 --> 00:48:32,480
Speaker 1: escape the.

975
00:48:34,000 --> 00:48:35,680
Speaker 3: What I thought in my head was gonna be like

976
00:48:35,719 --> 00:48:39,880
Speaker 3: the claws of the Roots, like, okay, well we're not

977
00:48:40,120 --> 00:48:41,960
Speaker 3: clearly we're not going to make a mark on our

978
00:48:42,000 --> 00:48:45,480
Speaker 3: own music, so this might be an every man for himself.

979
00:48:45,200 --> 00:48:48,440
Speaker 8: Thing, right, right, you started to stray a little and think.

980
00:48:48,760 --> 00:48:50,520
Speaker 3: Well, it's not like I was like, all right, let

981
00:48:50,600 --> 00:48:53,520
Speaker 3: me plant my flag elsewhere to see if I can

982
00:48:53,840 --> 00:48:56,279
Speaker 3: get out there. Like it wasn't like the South promotion thing.

983
00:48:57,040 --> 00:49:02,320
Speaker 3: But it was also like was just paranoid that the

984
00:49:02,400 --> 00:49:05,160
Speaker 3: way that he wanted me to play like. I was

985
00:49:05,280 --> 00:49:07,440
Speaker 3: intrigued by the j Deller shit, but I'm like, wait,

986
00:49:07,520 --> 00:49:09,799
Speaker 3: you want me to act like I'm a drunk three

987
00:49:09,880 --> 00:49:12,000
Speaker 3: year old and you know.

988
00:49:14,160 --> 00:49:15,960
Speaker 8: Well it's a challenge right to try and sound like

989
00:49:16,040 --> 00:49:17,000
Speaker 8: you can't play it right.

990
00:49:17,040 --> 00:49:19,200
Speaker 3: But I'm thinking, I like, man, little John's gonna laugh

991
00:49:19,239 --> 00:49:20,600
Speaker 3: at me, and this drum is gonna laugh at me.

992
00:49:20,680 --> 00:49:21,800
Speaker 1: This drum is gonna laugh at me.

993
00:49:22,320 --> 00:49:26,000
Speaker 3: And so it took it took me a good maybe

994
00:49:26,239 --> 00:49:29,239
Speaker 3: two weeks to get used to because you got these

995
00:49:29,320 --> 00:49:30,160
Speaker 3: things instantly.

996
00:49:30,360 --> 00:49:32,680
Speaker 1: Yeah, and I didn't know who to follow because you

997
00:49:32,880 --> 00:49:33,520
Speaker 1: dragged behind.

998
00:49:33,600 --> 00:49:35,839
Speaker 3: But then he really drags behind you, and I'm trying

999
00:49:35,880 --> 00:49:37,840
Speaker 3: to figure out, like, well where do I fit in

1000
00:49:38,560 --> 00:49:39,439
Speaker 3: between you guys?

1001
00:49:39,880 --> 00:49:42,480
Speaker 1: It took like a good two weeks to.

1002
00:49:44,200 --> 00:49:46,960
Speaker 8: But when that shit really kicks off of man, I

1003
00:49:47,000 --> 00:49:51,719
Speaker 8: mean you're I mean you're playing, you're on time, if

1004
00:49:51,800 --> 00:49:55,359
Speaker 8: not on time in front of time, that rhythmic tension, right.

1005
00:49:55,719 --> 00:49:57,759
Speaker 8: We never talked about it deeply before, but that's what

1006
00:49:57,840 --> 00:50:00,440
Speaker 8: it feels like to me. Because if I'm trying to

1007
00:50:00,480 --> 00:50:03,560
Speaker 8: play that stuff and a drumma will start to slow

1008
00:50:03,600 --> 00:50:07,000
Speaker 8: down with you right right, then it's not working.

1009
00:50:07,080 --> 00:50:10,480
Speaker 9: It has to have you know, So here's on top

1010
00:50:10,520 --> 00:50:12,600
Speaker 9: of your behind and D somewhere in the middle.

1011
00:50:12,760 --> 00:50:15,600
Speaker 8: Oh yeah, we're pretty we're both behind the deal. But

1012
00:50:15,800 --> 00:50:19,160
Speaker 8: but quests will also come in. You know, you'll join

1013
00:50:19,280 --> 00:50:20,839
Speaker 8: us on some things like it might be a little

1014
00:50:20,920 --> 00:50:23,480
Speaker 8: nut on the hight or one kick drum will be misplaced.

1015
00:50:24,120 --> 00:50:28,840
Speaker 3: Just yeah, yeah, he d wants me to like my

1016
00:50:29,360 --> 00:50:32,600
Speaker 3: high hat always has to be like one of my

1017
00:50:32,760 --> 00:50:36,359
Speaker 3: three things, either my kick, my snare or my high

1018
00:50:36,400 --> 00:50:39,600
Speaker 3: hat has to be consistent. Yes, and then I have

1019
00:50:39,680 --> 00:50:43,960
Speaker 3: to divide half my brain to drag this in another

1020
00:50:44,040 --> 00:50:45,400
Speaker 3: way but still.

1021
00:50:45,239 --> 00:50:50,359
Speaker 1: Keep this consistent. But then playing with DiAngelo and Pino.

1022
00:50:52,400 --> 00:50:56,239
Speaker 3: DiAngelo gets the sort of gets the glory position of

1023
00:50:56,560 --> 00:50:59,600
Speaker 3: either playing right on top of the thing or really dragging.

1024
00:51:00,239 --> 00:51:02,680
Speaker 3: And before when he would draged, I'd go with him

1025
00:51:03,360 --> 00:51:05,040
Speaker 3: and he would stop the song like no, no, don't

1026
00:51:05,080 --> 00:51:07,040
Speaker 3: go with it where you were at, stay where you

1027
00:51:07,120 --> 00:51:09,000
Speaker 3: had And I'm just like, wait, dude, like I have

1028
00:51:09,120 --> 00:51:11,200
Speaker 3: my own problems and trying to figure out which limb

1029
00:51:11,280 --> 00:51:14,520
Speaker 3: goes which speed, and then this guy is like slightly

1030
00:51:14,600 --> 00:51:16,160
Speaker 3: behind me. But I could deal with that, but you

1031
00:51:16,520 --> 00:51:17,719
Speaker 3: are really throwing me off.

1032
00:51:18,400 --> 00:51:19,319
Speaker 1: So it really took.

1033
00:51:19,400 --> 00:51:23,600
Speaker 3: It took ten hours, and you know, we'd spend anywhere

1034
00:51:23,680 --> 00:51:28,440
Speaker 3: between six to twelve hours consistently playing.

1035
00:51:28,560 --> 00:51:31,600
Speaker 1: So I just consider that tour my y'all.

1036
00:51:31,640 --> 00:51:33,520
Speaker 7: You're talking before y'all even hit the stage.

1037
00:51:33,600 --> 00:51:35,800
Speaker 1: Yeah, no, no, no, this is just this is the

1038
00:51:36,440 --> 00:51:37,400
Speaker 1: album this is in.

1039
00:51:38,719 --> 00:51:41,480
Speaker 7: Yeah, just because it seemed like at some point just

1040
00:51:41,960 --> 00:51:44,959
Speaker 7: watching y'all during that time and watching a mirror because

1041
00:51:44,960 --> 00:51:46,960
Speaker 7: we shouldn't make note that, like I don't recall a

1042
00:51:47,040 --> 00:51:49,120
Speaker 7: time in your career where you've done what you did

1043
00:51:49,440 --> 00:51:52,000
Speaker 7: for Voodoo, like you Paul stuff. And it seems like

1044
00:51:52,080 --> 00:51:56,040
Speaker 7: when y'all got on stage, everybody, Anthony and Hamilton backgrounds,

1045
00:51:56,040 --> 00:51:59,280
Speaker 7: everybody included. It was like spiritual.

1046
00:52:00,200 --> 00:52:03,160
Speaker 3: Yes, I think that we all came one at a time,

1047
00:52:03,800 --> 00:52:05,759
Speaker 3: Like first it was D, it was D and me,

1048
00:52:06,320 --> 00:52:09,760
Speaker 3: it was us three, and then we brought James Poison

1049
00:52:09,880 --> 00:52:12,839
Speaker 3: in and then it's almost like you have to bring

1050
00:52:13,000 --> 00:52:14,359
Speaker 3: him and Spanky started coming.

1051
00:52:14,760 --> 00:52:16,520
Speaker 1: So it's almost you had to do one at a

1052
00:52:16,600 --> 00:52:18,759
Speaker 1: time thing, and that person had to figure out, like.

1053
00:52:20,719 --> 00:52:21,520
Speaker 8: What is going on here?

1054
00:52:21,800 --> 00:52:23,959
Speaker 7: When y'all all figured it out, it must have felt

1055
00:52:24,040 --> 00:52:27,040
Speaker 7: like y'all were moving as one at some point, right.

1056
00:52:27,080 --> 00:52:31,879
Speaker 8: Like that's exactly right. Yeah, it's the most it's yeah,

1057
00:52:31,920 --> 00:52:34,600
Speaker 8: I mean the Soultronics when we had in the band.

1058
00:52:35,080 --> 00:52:37,640
Speaker 1: Yo, y'all, I still have Crazy Sure was out now?

1059
00:52:37,719 --> 00:52:44,520
Speaker 11: The Live in Stockholm Angelo, Oh yeah, yeah it is.

1060
00:52:45,840 --> 00:52:49,920
Speaker 11: I've cleaned my house so many times out man, y'all, man,

1061
00:52:50,080 --> 00:52:51,120
Speaker 11: I love that record.

1062
00:52:52,440 --> 00:52:53,279
Speaker 8: That's so rid.

1063
00:52:53,760 --> 00:52:54,480
Speaker 1: That is so rid.

1064
00:52:55,280 --> 00:52:57,440
Speaker 8: But the funny thing was, right, you got to remember

1065
00:52:57,560 --> 00:52:59,879
Speaker 8: back when we were doing this, I was already forty

1066
00:53:00,040 --> 00:53:01,400
Speaker 8: forty one, right, so.

1067
00:53:02,160 --> 00:53:03,040
Speaker 1: You're still forty one to.

1068
00:53:05,600 --> 00:53:05,640
Speaker 8: No.

1069
00:53:05,840 --> 00:53:13,120
Speaker 1: But the nominal act doesn't crack, whales don't fail. There.

1070
00:53:13,600 --> 00:53:16,320
Speaker 8: I'm gonna step off the microphone. You can tell me,

1071
00:53:16,400 --> 00:53:19,640
Speaker 8: I'm yeah, that sort of thing is so rare, and

1072
00:53:19,719 --> 00:53:22,040
Speaker 8: that was the first time I've been in great bands before,

1073
00:53:22,080 --> 00:53:24,720
Speaker 8: but it's the first time I'd experienced that kind of feeling.

1074
00:53:25,680 --> 00:53:27,520
Speaker 8: And as I say, I was in my forties at

1075
00:53:27,560 --> 00:53:30,200
Speaker 8: the time, So you know, when we got together and

1076
00:53:30,239 --> 00:53:32,279
Speaker 8: there we also room with the full band before the tour,

1077
00:53:32,600 --> 00:53:35,719
Speaker 8: and I heard that band playing, I was like, these

1078
00:53:35,760 --> 00:53:38,920
Speaker 8: guys don't know. These guys do not know what I know,

1079
00:53:39,120 --> 00:53:41,600
Speaker 8: because you couldn't have had enough experience to know how

1080
00:53:41,719 --> 00:53:42,520
Speaker 8: special that was.

1081
00:53:43,120 --> 00:53:45,359
Speaker 1: Did you have a favorite night on the Voodoo Tour?

1082
00:53:46,040 --> 00:53:48,080
Speaker 8: No, I just know I don't every night.

1083
00:53:48,239 --> 00:53:54,279
Speaker 1: Every night I had Yo Man for me. I hate

1084
00:53:54,360 --> 00:53:58,520
Speaker 1: I hate saying the story the Minneapolis show. I don't

1085
00:53:58,520 --> 00:54:02,480
Speaker 1: remember it all right. So I blamed John Paroles for this.

1086
00:54:03,400 --> 00:54:07,240
Speaker 3: So John Parrales, who's always been kind of a playful

1087
00:54:07,840 --> 00:54:12,000
Speaker 3: thorn in Prince's side since like him and Prince are

1088
00:54:12,000 --> 00:54:15,440
Speaker 3: at the same age. He started writing in Minneapolis at

1089
00:54:15,440 --> 00:54:17,880
Speaker 3: the same time Prince came up, so he's kind of

1090
00:54:17,960 --> 00:54:22,759
Speaker 3: been like the one consistent local Minneapolis writer that you

1091
00:54:22,840 --> 00:54:26,680
Speaker 3: know that Prince would sort of you know, artists claim.

1092
00:54:26,520 --> 00:54:29,040
Speaker 1: Like, oh, I never read my reviews or whatever, but clearly.

1093
00:54:28,960 --> 00:54:32,560
Speaker 3: Like you know, and but he was also not afraid

1094
00:54:32,600 --> 00:54:34,759
Speaker 3: to tell the truth and be like, nah, I'm not

1095
00:54:34,840 --> 00:54:37,239
Speaker 3: feeling this and that that you're phoning it in whatever.

1096
00:54:37,440 --> 00:54:42,279
Speaker 3: So you know, it's it's ninety nine and Voodoo comes

1097
00:54:42,360 --> 00:54:45,680
Speaker 3: out and John Parrales decides to like kind of.

1098
00:54:45,840 --> 00:54:46,799
Speaker 1: Just write a.

1099
00:54:48,440 --> 00:54:51,320
Speaker 3: Ack no no, this for the local Minneapolis thing, like

1100
00:54:52,239 --> 00:54:57,759
Speaker 3: not a mock obituary, but basically like a Prince your

1101
00:54:57,880 --> 00:54:59,800
Speaker 3: numbers up and there's a new king in town, that

1102
00:55:00,040 --> 00:55:03,480
Speaker 3: sort of thing, which you know, as far as I'm concerned,

1103
00:55:03,760 --> 00:55:07,360
Speaker 3: both Voodoo and Black Messiah were always love letters to

1104
00:55:08,200 --> 00:55:12,800
Speaker 3: our hero and so you know it is that what

1105
00:55:12,960 --> 00:55:16,880
Speaker 3: made Prince do Rainbow Children? Well, no, just you make

1106
00:55:16,920 --> 00:55:20,719
Speaker 3: my sunshine thing and yeah, yeah that as well. So

1107
00:55:21,280 --> 00:55:24,719
Speaker 3: the thing was, I knew he felt some sort of way,

1108
00:55:25,120 --> 00:55:28,400
Speaker 3: but it was also so undeniably funky that he couldn't

1109
00:55:28,400 --> 00:55:31,279
Speaker 3: deny it himself. So it's like, okay, I'll give you

1110
00:55:31,320 --> 00:55:33,759
Speaker 3: this one, like this has to be live changing funk

1111
00:55:33,800 --> 00:55:36,160
Speaker 3: for me to So when the show came to town,

1112
00:55:37,440 --> 00:55:39,759
Speaker 3: you know, Paralys was at it again, like I've been

1113
00:55:39,800 --> 00:55:45,839
Speaker 3: hearing reports that this is the show of the year, right,

1114
00:55:46,040 --> 00:55:50,160
Speaker 3: and so and so of course he summons for us

1115
00:55:50,280 --> 00:55:54,160
Speaker 3: to come to Paisley Park the night before before the show.

1116
00:55:54,280 --> 00:56:01,680
Speaker 3: The night before the show, right, I did not know this.

1117
00:56:02,520 --> 00:56:06,080
Speaker 1: I ain't got it. I should have known him better.

1118
00:56:06,360 --> 00:56:08,799
Speaker 1: But you know again, it's it's like, hey, it's our hero.

1119
00:56:08,920 --> 00:56:11,080
Speaker 3: We're gonna hang out with our hero. So we get

1120
00:56:11,120 --> 00:56:14,920
Speaker 3: to Minneapolis. We get there like midnight, and Alan Weis

1121
00:56:15,000 --> 00:56:18,200
Speaker 3: was actually like y'all going out there. I was like, yeah, well,

1122
00:56:18,239 --> 00:56:20,719
Speaker 3: you know, he operates between one am and six in

1123
00:56:20,719 --> 00:56:24,120
Speaker 3: the morning, so let's do it. So Robbie the driver

1124
00:56:25,040 --> 00:56:27,400
Speaker 3: comes to get us at three in the morning and

1125
00:56:27,719 --> 00:56:32,239
Speaker 3: we go out there. And I should have known him better. Yeah,

1126
00:56:32,280 --> 00:56:35,120
Speaker 3: he was first thing he came in. So how does

1127
00:56:35,160 --> 00:56:35,560
Speaker 3: it feel?

1128
00:56:35,840 --> 00:56:36,040
Speaker 7: Huh?

1129
00:56:40,000 --> 00:56:44,440
Speaker 1: And so we were just like, yeah, it feels like me,

1130
00:56:44,640 --> 00:56:45,960
Speaker 1: but I'm just playing.

1131
00:56:47,320 --> 00:56:47,440
Speaker 5: Right.

1132
00:56:48,160 --> 00:56:49,680
Speaker 1: Was he on his own? Was he?

1133
00:56:49,880 --> 00:56:51,320
Speaker 8: Or did he have like he was?

1134
00:56:51,719 --> 00:56:52,000
Speaker 1: Okay?

1135
00:56:52,080 --> 00:56:55,640
Speaker 3: So the weird thing was he was, I believe at

1136
00:56:55,640 --> 00:56:57,400
Speaker 3: the time he was working on what we call the

1137
00:56:57,480 --> 00:57:01,279
Speaker 3: New Powersoul record, and you know, he's blasted music whatever

1138
00:57:01,360 --> 00:57:01,840
Speaker 3: and something.

1139
00:57:02,520 --> 00:57:03,080
Speaker 9: So what year is?

1140
00:57:03,239 --> 00:57:05,000
Speaker 1: This is two thousand?

1141
00:57:05,160 --> 00:57:09,720
Speaker 3: This is June of two thousand and so we're walking

1142
00:57:09,840 --> 00:57:12,799
Speaker 3: down you know, all the hallways at Paisley Park are

1143
00:57:12,880 --> 00:57:15,560
Speaker 3: super dark, and of course it's like these lifestyles murals

1144
00:57:15,600 --> 00:57:18,520
Speaker 3: of him, so it feels like three stooges where you

1145
00:57:18,600 --> 00:57:22,360
Speaker 3: know the controversy, this is painted controversy cover and you swear.

1146
00:57:22,200 --> 00:57:26,280
Speaker 1: To God that the eyes are watching you as because

1147
00:57:26,360 --> 00:57:29,200
Speaker 1: they are right right, yeah, probably Scooby Doode.

1148
00:57:29,560 --> 00:57:32,040
Speaker 3: And I stopped e and I stopped the and I

1149
00:57:32,240 --> 00:57:35,840
Speaker 3: heard the song and I'm just like, I said, oh boy,

1150
00:57:36,280 --> 00:57:39,560
Speaker 3: and he's like what I said, So, you know, by

1151
00:57:39,600 --> 00:57:43,400
Speaker 3: that point, and I've made it clearer to many Prince

1152
00:57:43,480 --> 00:57:46,800
Speaker 3: dot Org fans that I am a seventy eight to

1153
00:57:46,960 --> 00:57:50,400
Speaker 3: eighty eight Prince person. Anything outside of that, Yes, I

1154
00:57:50,440 --> 00:57:52,240
Speaker 3: love him as an artist, but this is my era,

1155
00:57:53,240 --> 00:57:56,000
Speaker 3: and I've been very vocal about like his patches, and

1156
00:57:56,160 --> 00:57:58,120
Speaker 3: I don't like the new keyboards he uses and the

1157
00:57:58,240 --> 00:58:01,200
Speaker 3: drummer scenes and of course he's in some loud song

1158
00:58:01,360 --> 00:58:06,280
Speaker 3: and whatever it was, Okay, No, the cameras are watching me,

1159
00:58:06,360 --> 00:58:06,640
Speaker 3: so my.

1160
00:58:06,680 --> 00:58:08,960
Speaker 1: Face, I forget that I'm not on radio anymore.

1161
00:58:09,520 --> 00:58:12,280
Speaker 3: And so I was just like, let's wait it out

1162
00:58:12,360 --> 00:58:14,000
Speaker 3: until the fate comes on, because I don't want to.

1163
00:58:14,080 --> 00:58:16,840
Speaker 3: I don't want to have to do demo face yeah,

1164
00:58:16,920 --> 00:58:19,960
Speaker 3: right right right when you like some, when you don't

1165
00:58:20,040 --> 00:58:24,520
Speaker 3: like some, and so like right when the song was faded,

1166
00:58:24,520 --> 00:58:27,360
Speaker 3: and then we like walked in and you know, again

1167
00:58:27,400 --> 00:58:28,280
Speaker 3: I failed.

1168
00:58:28,320 --> 00:58:30,200
Speaker 1: I was like, hey, who, what's you? What's this? What's

1169
00:58:30,200 --> 00:58:34,320
Speaker 1: you working on? He's like some some new funk like whatever,

1170
00:58:34,600 --> 00:58:35,200
Speaker 1: Like he's like.

1171
00:58:38,080 --> 00:58:38,760
Speaker 10: Destroy you.

1172
00:58:41,400 --> 00:58:41,840
Speaker 1: Anyway.

1173
00:58:42,200 --> 00:58:45,400
Speaker 3: So yeah, he like went through the whole thing and

1174
00:58:45,720 --> 00:58:48,520
Speaker 3: tried to be like, don't trust down leads and you

1175
00:58:48,640 --> 00:58:51,280
Speaker 3: know this guy's boot legacy, that guy boot legamy, he's

1176
00:58:51,280 --> 00:58:52,920
Speaker 3: gonna boot leg you and steal your money and da

1177
00:58:53,000 --> 00:58:56,120
Speaker 3: da d d da da and he would leave and

1178
00:58:56,240 --> 00:58:57,720
Speaker 3: De and I would just look at each other.

1179
00:58:57,840 --> 00:58:59,920
Speaker 1: Like what's going on here?

1180
00:59:00,160 --> 00:59:02,280
Speaker 10: I just want to ask you some question about nineteen.

1181
00:59:03,600 --> 00:59:06,360
Speaker 1: Exactly. And you know, then we like went to play,

1182
00:59:06,720 --> 00:59:09,040
Speaker 1: like we went in the room to jam a little bit,

1183
00:59:09,160 --> 00:59:12,080
Speaker 1: and that wasn't working because the thing was like we

1184
00:59:12,200 --> 00:59:13,680
Speaker 1: had such a musical synergy.

1185
00:59:13,880 --> 00:59:17,280
Speaker 3: And then to play with someone normal, which is weird

1186
00:59:17,360 --> 00:59:19,280
Speaker 3: because friends is anything but normal.

1187
00:59:19,600 --> 00:59:24,560
Speaker 1: Yeah, but don't translate, right, and so that was weird,

1188
00:59:25,040 --> 00:59:28,080
Speaker 1: and man, like we just we left.

1189
00:59:28,760 --> 00:59:30,640
Speaker 3: So we asked him, He's like, so are you going

1190
00:59:30,720 --> 00:59:32,280
Speaker 3: to come to the show tomorrow, like will you come,

1191
00:59:32,920 --> 00:59:35,360
Speaker 3: and he's like, no, I got to go to I'm.

1192
00:59:35,240 --> 00:59:36,200
Speaker 1: Gonna go to Marrakesh.

1193
00:59:37,080 --> 00:59:40,200
Speaker 3: And you know, I said, wait, you you go to

1194
00:59:40,240 --> 00:59:43,320
Speaker 3: miss our show, like this is our show is dedicated

1195
00:59:43,320 --> 00:59:47,440
Speaker 3: to you, like everything, and he's like, no, I got

1196
00:59:47,560 --> 00:59:49,000
Speaker 3: to go to Marrakesh.

1197
00:59:49,080 --> 00:59:49,920
Speaker 1: And that's that.

1198
00:59:50,120 --> 00:59:54,840
Speaker 3: He never went to Marrakes. But you know he had

1199
00:59:54,920 --> 00:59:57,760
Speaker 3: all the spies in the thing. And you know, Larry

1200
00:59:57,800 --> 01:00:05,080
Speaker 3: Graham infamously left during shit damn, Like he got up

1201
01:00:05,120 --> 01:00:06,920
Speaker 3: and left and like went out there and it came

1202
01:00:07,000 --> 01:00:09,440
Speaker 3: back when the show was over. Ron Carter left too,

1203
01:00:11,960 --> 01:00:14,920
Speaker 3: And all I remember was there was a moment during

1204
01:00:15,000 --> 01:00:19,919
Speaker 3: the encore where I think suddenly D went from bewilderment

1205
01:00:20,040 --> 01:00:25,040
Speaker 3: to anger, Like it's like D woke up and realized, like, yo, man,

1206
01:00:26,040 --> 01:00:28,080
Speaker 3: I think he was trying to punk us last night.

1207
01:00:30,840 --> 01:00:33,640
Speaker 1: And you don't want to think that your hero doesn't

1208
01:00:33,680 --> 01:00:35,680
Speaker 1: wish you, you know, like what do we do to

1209
01:00:35,720 --> 01:00:40,400
Speaker 1: this guy? And all I remember Man was like, yo, man,

1210
01:00:42,160 --> 01:00:45,320
Speaker 1: we're gonna get him. We're gonna piss all on his carpet.

1211
01:00:46,000 --> 01:00:49,360
Speaker 1: And we did the most ungodly version of Lady ever

1212
01:00:49,680 --> 01:00:50,440
Speaker 1: and Eric.

1213
01:00:50,400 --> 01:00:52,560
Speaker 3: Came out, and it was even to the point where

1214
01:00:53,320 --> 01:00:58,400
Speaker 3: the same schoolyard taunts that Prince was telling Paul Peterson

1215
01:00:58,440 --> 01:01:00,600
Speaker 3: when he left the family like Bunk of the month,

1216
01:01:01,240 --> 01:01:04,520
Speaker 3: punk of the month, Like we started like pe punk

1217
01:01:04,560 --> 01:01:06,880
Speaker 3: of the Month, Like like are we doing this?

1218
01:01:08,800 --> 01:01:11,960
Speaker 1: You went from Pee for the Month to Prince.

1219
01:01:12,000 --> 01:01:15,680
Speaker 3: Punk of the Month like literally in his Yeah, and

1220
01:01:15,800 --> 01:01:17,600
Speaker 3: then and then I had to get some phone calls

1221
01:01:17,680 --> 01:01:19,640
Speaker 3: like a week later. But for me that was like,

1222
01:01:20,480 --> 01:01:27,880
Speaker 3: that was like the best show we've ever done. I

1223
01:01:28,000 --> 01:01:30,919
Speaker 3: hope I asked enough voodoo questions for the fan base.

1224
01:01:31,280 --> 01:01:35,360
Speaker 11: Gone, No, Voodoo was my first I mean clearly was

1225
01:01:35,440 --> 01:01:38,120
Speaker 11: my first time hearing you. But you know, for you

1226
01:01:38,600 --> 01:01:40,520
Speaker 11: hearing you say that, you were like forty at that time.

1227
01:01:41,000 --> 01:01:43,440
Speaker 11: You know, I hope artists like that hear this. They

1228
01:01:43,600 --> 01:01:47,000
Speaker 11: understand like listen, that was my first time and I was,

1229
01:01:47,080 --> 01:01:49,440
Speaker 11: you know, twenty one, you know, twenty whatever, and like

1230
01:01:50,040 --> 01:01:54,320
Speaker 11: that was my first time really hearing about Pino Palladino.

1231
01:01:54,440 --> 01:01:56,760
Speaker 11: You know what I'm saying, So like you were to me,

1232
01:01:56,960 --> 01:01:58,880
Speaker 11: you were a new guy, right, you know what.

1233
01:01:58,880 --> 01:02:03,320
Speaker 8: I'm saying In two thou that generation and those music, Yeah, y,

1234
01:02:03,640 --> 01:02:04,280
Speaker 8: that's a new me.

1235
01:02:05,520 --> 01:02:08,480
Speaker 3: Yeah, were you shocked at the kind of the heroes

1236
01:02:08,560 --> 01:02:12,760
Speaker 3: welcome that you got from the musician community.

1237
01:02:13,000 --> 01:02:16,240
Speaker 8: Yeah, totally. I mean I was already kind of respected

1238
01:02:16,440 --> 01:02:20,760
Speaker 8: in certain places, you know, in the music community, but yeah,

1239
01:02:20,920 --> 01:02:24,640
Speaker 8: to get the props at that point was really Yeah,

1240
01:02:24,680 --> 01:02:25,600
Speaker 8: that was very exciting.

1241
01:02:25,960 --> 01:02:27,760
Speaker 1: Can you talk about how it was different in that way?

1242
01:02:28,320 --> 01:02:29,040
Speaker 1: Why was it different?

1243
01:02:29,040 --> 01:02:29,840
Speaker 11: Way to feel different?

1244
01:02:30,200 --> 01:02:32,439
Speaker 8: Well, I guess because that's the music. I really really

1245
01:02:32,520 --> 01:02:35,040
Speaker 8: loved it. And then I was like, you know, I

1246
01:02:35,120 --> 01:02:39,600
Speaker 8: was always like very conscientious about like feeling right. You know,

1247
01:02:39,640 --> 01:02:42,440
Speaker 8: I wanted to feel right, and when I got to

1248
01:02:42,480 --> 01:02:44,520
Speaker 8: play with the Inquest in that band, then it was

1249
01:02:44,840 --> 01:02:47,520
Speaker 8: I didn't even have to think about it. It just

1250
01:02:47,680 --> 01:02:51,160
Speaker 8: came through, you know, and that was beautiful. And then yeah,

1251
01:02:51,320 --> 01:02:54,080
Speaker 8: just to have people say, wow, that that ship sounds amazing,

1252
01:02:54,240 --> 01:02:55,360
Speaker 8: and yeah, that's great.

1253
01:02:56,280 --> 01:02:59,360
Speaker 3: So a notable night for me was the night that

1254
01:02:59,480 --> 01:03:06,120
Speaker 3: we were recording Aquarius for Common in Philadelphia and then

1255
01:03:07,000 --> 01:03:09,120
Speaker 3: we took a dinner break and then you got a

1256
01:03:09,240 --> 01:03:13,240
Speaker 3: phone call and you said immediately you said, wait, no

1257
01:03:13,320 --> 01:03:17,240
Speaker 3: one knows I'm here, who's calling me? And you step

1258
01:03:17,320 --> 01:03:19,320
Speaker 3: outside the room to take the phone call, and then

1259
01:03:19,360 --> 01:03:23,120
Speaker 3: you come back in and you're like, guys have an announcement.

1260
01:03:23,200 --> 01:03:25,760
Speaker 3: So instantly I'm like, oh damn, something happened to your family,

1261
01:03:25,880 --> 01:03:31,240
Speaker 3: Like what's going on? And he's like John's twistle just

1262
01:03:31,400 --> 01:03:33,960
Speaker 3: died of the Who, and I have to go out

1263
01:03:34,000 --> 01:03:36,760
Speaker 3: and replace him. Like I have to believe right now.

1264
01:03:38,240 --> 01:03:39,720
Speaker 1: What you tell me.

1265
01:03:40,040 --> 01:03:41,560
Speaker 6: That's the most fucked up call I've ever heard of

1266
01:03:41,600 --> 01:03:44,280
Speaker 6: my left okay coming on pretty much.

1267
01:03:44,320 --> 01:03:47,080
Speaker 3: And I never got to ask you this question because

1268
01:03:47,120 --> 01:03:49,720
Speaker 3: what I do know is that you had to learn

1269
01:03:51,120 --> 01:03:52,160
Speaker 3: forty one songs.

1270
01:03:53,600 --> 01:03:55,800
Speaker 8: I don't remember the amount, but there wasn't a set list.

1271
01:03:56,120 --> 01:03:58,800
Speaker 8: It was just learn, you know, like see thes like this.

1272
01:03:59,520 --> 01:04:00,920
Speaker 9: And that plays all the notes.

1273
01:04:02,360 --> 01:04:09,400
Speaker 1: Yeah, so one, what was your WHO? I Q? Before

1274
01:04:09,480 --> 01:04:10,120
Speaker 1: that phone call?

1275
01:04:13,240 --> 01:04:17,320
Speaker 8: Wow, I probably knew four or five songs.

1276
01:04:17,440 --> 01:04:19,800
Speaker 3: Oh wait, I wasn't expecting that. I thought you used

1277
01:04:19,800 --> 01:04:23,920
Speaker 3: to go and say, like four or five records. See,

1278
01:04:23,960 --> 01:04:25,959
Speaker 3: you kind of knew nothing about the Who at that point.

1279
01:04:26,560 --> 01:04:28,240
Speaker 8: I brought some of the records when I was a kid,

1280
01:04:28,280 --> 01:04:31,400
Speaker 8: I bought won't get fooled again. And then I remember,

1281
01:04:31,960 --> 01:04:35,000
Speaker 8: I can't explain my generation the big hits, but I

1282
01:04:35,080 --> 01:04:38,680
Speaker 8: really wasn't familiar with their albums for some reason. I

1283
01:04:38,840 --> 01:04:41,160
Speaker 8: just I missed that stuff, you know, I was I

1284
01:04:41,280 --> 01:04:42,960
Speaker 8: was a big led Zeppelin fan, and I was in

1285
01:04:43,240 --> 01:04:48,760
Speaker 8: like progressive rock like Yes and folk music and stuff

1286
01:04:48,800 --> 01:04:50,920
Speaker 8: like that. So somehow missed.

1287
01:04:50,720 --> 01:04:52,920
Speaker 10: Most of the who You and Getty Lee, Just Have

1288
01:04:53,000 --> 01:04:54,880
Speaker 10: You and Geddy Ever like him?

1289
01:04:54,920 --> 01:04:59,480
Speaker 8: Actually yeah, yeah, but uh not that familiar with with

1290
01:04:59,600 --> 01:05:00,920
Speaker 8: a lot of rush albums out there.

1291
01:05:02,720 --> 01:05:06,040
Speaker 1: So they send a plane to you. They sent a

1292
01:05:06,120 --> 01:05:07,040
Speaker 1: plane to Philadelphia.

1293
01:05:07,080 --> 01:05:09,120
Speaker 8: Correct, No, no, I have to get a regular plane.

1294
01:05:10,040 --> 01:05:13,720
Speaker 1: Oh okay, I thought they just the bells and whistles

1295
01:05:13,760 --> 01:05:16,960
Speaker 1: on you. So what was do you do you remember

1296
01:05:17,040 --> 01:05:18,200
Speaker 1: what that week was like?

1297
01:05:18,400 --> 01:05:20,760
Speaker 3: Because I still, for the life of me, don't understand

1298
01:05:20,880 --> 01:05:26,240
Speaker 3: why they just didn't hold off on like a week's

1299
01:05:26,240 --> 01:05:28,880
Speaker 3: worth of shows. Like I'm sure the fan base will understand.

1300
01:05:29,400 --> 01:05:32,360
Speaker 1: John just died. They were like, no, we're still going

1301
01:05:32,440 --> 01:05:33,000
Speaker 1: on stage.

1302
01:05:33,960 --> 01:05:35,760
Speaker 8: Well, the story I heard was that they wanted to

1303
01:05:35,840 --> 01:05:39,160
Speaker 8: cancel the tour. You know, there was so much gonna

1304
01:05:40,160 --> 01:05:43,280
Speaker 8: that was riding on it. I guess they was financially

1305
01:05:43,360 --> 01:05:46,360
Speaker 8: the cruise, you know, having committed the time to it,

1306
01:05:46,440 --> 01:05:49,000
Speaker 8: they wanted to be able to pay everyone. So the

1307
01:05:49,080 --> 01:05:52,960
Speaker 8: story I heard come from who but the story I

1308
01:05:53,040 --> 01:05:56,800
Speaker 8: heard was a Pete said to the manager, what's Pino doing.

1309
01:05:56,880 --> 01:05:59,200
Speaker 8: If you can get Pino, then we can carry on,

1310
01:06:00,040 --> 01:06:03,280
Speaker 8: which is pretty incredible. So pd I had confidence in me.

1311
01:06:05,480 --> 01:06:07,200
Speaker 8: I guess he knew me as a session player because

1312
01:06:07,200 --> 01:06:11,360
Speaker 8: I've worked with him. Yeah, so that's that's how it went.

1313
01:06:11,480 --> 01:06:14,080
Speaker 8: And the manager phoned me up and said, look, you've

1314
01:06:14,120 --> 01:06:17,920
Speaker 8: heard the Jonas passed away. I think it was Wednesday.

1315
01:06:18,320 --> 01:06:20,480
Speaker 8: He said, we got a gig in Hollywood Bowl on Saturday.

1316
01:06:21,320 --> 01:06:24,880
Speaker 1: I need a yes or no? You said yes? Yeah,

1317
01:06:25,040 --> 01:06:30,800
Speaker 1: I mean so what's like, describe your cheat sheet? Describe

1318
01:06:30,840 --> 01:06:34,160
Speaker 1: your like how do you commit all that to memory? Yeah?

1319
01:06:34,200 --> 01:06:36,160
Speaker 8: I did have a couple of cheat sheets, just just

1320
01:06:36,560 --> 01:06:38,680
Speaker 8: I mean, nothing that anyone else would have understood.

1321
01:06:38,760 --> 01:06:42,960
Speaker 1: Can you read no? Wow? What can you read chord charts? Yeah?

1322
01:06:43,000 --> 01:06:46,120
Speaker 8: I can follow cod shots, but yeah, I mean I've

1323
01:06:46,160 --> 01:06:48,160
Speaker 8: got better at it over the years, but I really

1324
01:06:48,200 --> 01:06:51,880
Speaker 8: try not to. I trust my ear.

1325
01:06:52,280 --> 01:06:55,320
Speaker 9: I've always talked about before thrust your ear. People bore

1326
01:06:55,400 --> 01:06:56,240
Speaker 9: blessed with good ears.

1327
01:06:56,280 --> 01:06:57,160
Speaker 1: Man. Wow.

1328
01:06:57,920 --> 01:07:01,000
Speaker 3: Yeah, there's some musicians that go by feel and some

1329
01:07:01,240 --> 01:07:05,840
Speaker 3: musicians that go by technical that sort of thing.

1330
01:07:06,200 --> 01:07:08,040
Speaker 8: Yeah, and both of those ways will work. You know,

1331
01:07:08,120 --> 01:07:10,120
Speaker 8: there are players that can do both. They are players

1332
01:07:10,160 --> 01:07:12,240
Speaker 8: that can read whatever you put in front of them

1333
01:07:12,280 --> 01:07:15,600
Speaker 8: and can also improvise. But I can't read it.

1334
01:07:16,160 --> 01:07:20,440
Speaker 1: So by that night, by Saturday night, what's going through

1335
01:07:20,480 --> 01:07:20,800
Speaker 1: your head?

1336
01:07:21,160 --> 01:07:21,200
Speaker 8: Like?

1337
01:07:21,280 --> 01:07:23,120
Speaker 1: Are you just cramming twenty four to seven and you're

1338
01:07:23,120 --> 01:07:24,560
Speaker 1: going to sleep to the song I have?

1339
01:07:24,760 --> 01:07:29,040
Speaker 8: Like, really, I had one day in one night and

1340
01:07:29,160 --> 01:07:31,280
Speaker 8: I just was up for twenty four hours just literally

1341
01:07:31,360 --> 01:07:34,720
Speaker 8: headphones based, just trying to go through as many songs

1342
01:07:34,760 --> 01:07:35,120
Speaker 8: as I could.

1343
01:07:35,160 --> 01:07:37,120
Speaker 1: You know, what was the hardest song to do to

1344
01:07:37,240 --> 01:07:37,680
Speaker 1: figure out?

1345
01:07:38,120 --> 01:07:40,680
Speaker 8: Well, there wasn't one song that was really hard technically

1346
01:07:40,680 --> 01:07:42,480
Speaker 8: because I didn't try and play what John was playing.

1347
01:07:42,560 --> 01:07:44,560
Speaker 8: I couldn't have played a lot of those baselines because

1348
01:07:44,600 --> 01:07:47,800
Speaker 8: his technique was so unique. I couldn't. I couldn't do it.

1349
01:07:47,960 --> 01:07:50,560
Speaker 8: So but Pete told me straight away when I got

1350
01:07:50,600 --> 01:07:52,800
Speaker 8: they said, just learn as much as you can. And

1351
01:07:53,560 --> 01:07:55,320
Speaker 8: you know, I don't want to be John, I want

1352
01:07:55,400 --> 01:07:59,520
Speaker 8: to be you. So that gave me. That freed me

1353
01:07:59,600 --> 01:08:01,640
Speaker 8: up a little bit. But having said that, there's so

1354
01:08:01,720 --> 01:08:05,280
Speaker 8: many iconic baselines on whose songs that I did have

1355
01:08:05,400 --> 01:08:06,280
Speaker 8: to learn.

1356
01:08:06,680 --> 01:08:09,000
Speaker 3: You know, a lot of it notes, so eventually once

1357
01:08:09,040 --> 01:08:11,960
Speaker 3: you settled into the group, then they realized that, But

1358
01:08:12,160 --> 01:08:14,120
Speaker 3: is it I kind of baselines in terms of like

1359
01:08:15,520 --> 01:08:17,000
Speaker 3: like he does this in the fourth part.

1360
01:08:18,280 --> 01:08:22,639
Speaker 1: Yeah, and they muscle memory they expected to hear those.

1361
01:08:22,560 --> 01:08:24,200
Speaker 8: Notes kind of yeah. And there are things that you

1362
01:08:24,840 --> 01:08:26,799
Speaker 8: if you didn't have them in the song, you really wouldn't.

1363
01:08:26,800 --> 01:08:30,439
Speaker 8: It wouldn't sound like a song, like melodic lines and stuff.

1364
01:08:30,720 --> 01:08:32,320
Speaker 8: And the Who fans in the front row would be

1365
01:08:32,360 --> 01:08:34,200
Speaker 8: mim in to the baselines as well, so they know

1366
01:08:34,280 --> 01:08:34,840
Speaker 8: all the stuff.

1367
01:08:36,479 --> 01:08:37,000
Speaker 9: No pressure.

1368
01:08:37,320 --> 01:08:39,080
Speaker 8: Yeah, but I wouldn't be playing it a lot of times.

1369
01:08:40,000 --> 01:08:42,679
Speaker 1: So how long did it take for you to actually

1370
01:08:42,800 --> 01:08:46,080
Speaker 1: get a place of muscle memory? Like, Okay, I got this.

1371
01:08:47,680 --> 01:08:49,320
Speaker 8: Yeah, I mean I had it on the first night

1372
01:08:50,840 --> 01:08:54,000
Speaker 8: pretty much. I pretty much knew I pretty much once

1373
01:08:54,080 --> 01:08:57,000
Speaker 8: we've done the show, I was like, Okay, it's gonna

1374
01:08:57,000 --> 01:08:57,360
Speaker 8: be fine.

1375
01:08:58,600 --> 01:09:04,600
Speaker 1: Wow, Okay, are you still with the Who? Like I

1376
01:09:04,640 --> 01:09:05,080
Speaker 1: don't know what.

1377
01:09:05,120 --> 01:09:07,920
Speaker 8: They're Yeah, they're still playing. But I stopped touring with

1378
01:09:08,040 --> 01:09:09,439
Speaker 8: them in twenty sixteen.

1379
01:09:10,479 --> 01:09:13,320
Speaker 1: Okay, yeah, But was it hard to walk away from that?

1380
01:09:14,720 --> 01:09:17,080
Speaker 8: It was? Yeah, it was absolutely yeah, because I've been

1381
01:09:17,120 --> 01:09:19,320
Speaker 8: there a long time. I've been touring with them fourteen years.

1382
01:09:20,200 --> 01:09:23,320
Speaker 3: So when you commit to them and I know they're

1383
01:09:23,400 --> 01:09:26,960
Speaker 3: not a twenty four to seven touring unit. Is it

1384
01:09:27,000 --> 01:09:29,040
Speaker 3: a thing where it's like, Okay, we have you on

1385
01:09:29,320 --> 01:09:31,400
Speaker 3: retainer to always be available.

1386
01:09:31,680 --> 01:09:32,840
Speaker 8: No, they don't do that shit.

1387
01:09:32,960 --> 01:09:36,400
Speaker 1: You just get gig the gig. Yeah, but what if

1388
01:09:36,520 --> 01:09:41,840
Speaker 1: you what if you decided to order D'Angelo again?

1389
01:09:42,080 --> 01:09:44,160
Speaker 9: Yeah, right, you had that problem.

1390
01:09:44,520 --> 01:09:44,800
Speaker 1: I did.

1391
01:09:44,960 --> 01:09:48,160
Speaker 8: Yeah, yeah, I had taken on some who shows. I

1392
01:09:48,200 --> 01:09:49,800
Speaker 8: didn't want to let those guys down, and then d

1393
01:09:49,920 --> 01:09:54,160
Speaker 8: suddenly put some shows in that I couldn't do. Yeah,

1394
01:09:54,360 --> 01:09:55,960
Speaker 8: so but that all worked out.

1395
01:09:56,760 --> 01:09:57,120
Speaker 1: Of course.

1396
01:09:57,439 --> 01:10:03,680
Speaker 3: You had to raise your own Pino. Yes he's not there,

1397
01:10:04,840 --> 01:10:09,960
Speaker 3: Rocco Palladino. Oh yeah, oh you best believe. And I

1398
01:10:10,040 --> 01:10:14,320
Speaker 3: hate to say this, but god damn, yeah, but he's

1399
01:10:14,360 --> 01:10:15,880
Speaker 3: your son. Sound think you'll get offended?

1400
01:10:16,479 --> 01:10:17,160
Speaker 8: God damn?

1401
01:10:17,800 --> 01:10:19,080
Speaker 1: How how old is your sign?

1402
01:10:19,160 --> 01:10:24,439
Speaker 8: Man? He's study one? Okay, yeah, now do Rocco is

1403
01:10:24,960 --> 01:10:28,320
Speaker 8: currently drumming with a he's playing with usef DA.

1404
01:10:28,600 --> 01:10:32,760
Speaker 1: Yes, you said, but he's also he killed the Picnic. Yeah, oh,

1405
01:10:32,920 --> 01:10:34,920
Speaker 1: no doubt. Yes, he came to the Picnic and kills.

1406
01:10:35,640 --> 01:10:38,840
Speaker 8: But Rucco's here now. Actually he's playing Fabiano my daughter,

1407
01:10:38,960 --> 01:10:41,280
Speaker 8: My oldest daughter is also playing in the band this

1408
01:10:41,640 --> 01:10:46,320
Speaker 8: called J Paul j A I Yeah, Paul, Wow, they're

1409
01:10:46,360 --> 01:10:50,760
Speaker 8: playing to Paul. Yeah, okay, okay, yeah, So Fabiano and

1410
01:10:50,840 --> 01:10:52,719
Speaker 8: Rucco are playing with him at the moment he's playing

1411
01:10:52,800 --> 01:10:53,599
Speaker 8: at the mine tonight.

1412
01:10:54,240 --> 01:10:54,880
Speaker 1: This is so weird.

1413
01:10:55,240 --> 01:10:57,200
Speaker 11: It's like those are kind of I mean, maybe not

1414
01:10:57,439 --> 01:10:59,800
Speaker 11: as much Paul, but definitely use Those are all kinds

1415
01:10:59,800 --> 01:11:00,920
Speaker 11: of children love voodoo.

1416
01:11:01,680 --> 01:11:03,640
Speaker 8: Yeah, yeah, I think so, and I think so with

1417
01:11:03,760 --> 01:11:06,400
Speaker 8: Jay as well. Yeah yeah, I definitely inspired by that stuff.

1418
01:11:07,000 --> 01:11:09,599
Speaker 1: That is crazy. I remember meeting your kids when they

1419
01:11:09,600 --> 01:11:10,080
Speaker 1: were away.

1420
01:11:10,760 --> 01:11:13,519
Speaker 8: They were Radio City when we played in two thousands.

1421
01:11:13,560 --> 01:11:15,479
Speaker 8: You know, Rocco is like six or something.

1422
01:11:15,600 --> 01:11:18,679
Speaker 1: I wondered like, did they pay attention?

1423
01:11:19,040 --> 01:11:23,479
Speaker 8: Oh yeah, you think so. That's what happened to Rocco.

1424
01:11:25,160 --> 01:11:27,760
Speaker 1: So for him seeing that show Radio City Music Art, I.

1425
01:11:27,840 --> 01:11:30,400
Speaker 8: Think definitely that and also just being around me when

1426
01:11:30,479 --> 01:11:31,599
Speaker 8: when I was doing that music.

1427
01:11:33,360 --> 01:11:37,599
Speaker 3: Yeah, the Rocco is like Rocco plays with di'angelo. That's

1428
01:11:37,640 --> 01:11:43,280
Speaker 3: how good Rocco Palladino is. And yeah wow, that's just.

1429
01:11:43,840 --> 01:11:44,840
Speaker 7: How many children do you have?

1430
01:11:45,520 --> 01:11:49,000
Speaker 8: Yeah, Fabiana, my oldest is a keyboar player. Songwriter, singer songwriter.

1431
01:11:49,080 --> 01:11:52,040
Speaker 8: She has a record coming out soon. And then Giancarla

1432
01:11:52,280 --> 01:11:54,680
Speaker 8: is also very musical, but she actually doesn't work in

1433
01:11:54,720 --> 01:11:57,080
Speaker 8: the music business. And then Rocco does work in the

1434
01:11:57,160 --> 01:11:57,679
Speaker 8: music business.

1435
01:11:57,760 --> 01:11:57,960
Speaker 1: Yeah.

1436
01:11:59,160 --> 01:12:00,719
Speaker 8: Yeah, I'm so lucky.

1437
01:12:01,200 --> 01:12:04,320
Speaker 3: How do you divide your now that you're your own

1438
01:12:04,479 --> 01:12:07,800
Speaker 3: planet and you're not just like, you know, just just

1439
01:12:08,120 --> 01:12:12,160
Speaker 3: a session yet, right, So, like, at what point did

1440
01:12:12,240 --> 01:12:14,440
Speaker 3: you decided to establish.

1441
01:12:14,040 --> 01:12:16,320
Speaker 1: Your brand and do these like records and all this.

1442
01:12:16,960 --> 01:12:20,759
Speaker 8: Yeah, that pretty much came through round about twenty eighteen.

1443
01:12:20,840 --> 01:12:23,240
Speaker 8: I suppose that when when we started recording the first

1444
01:12:23,280 --> 01:12:27,360
Speaker 8: record I've done an album with John Legend with Blake

1445
01:12:27,439 --> 01:12:28,160
Speaker 8: Mills producing.

1446
01:12:29,120 --> 01:12:30,360
Speaker 1: I didn't know you on that record.

1447
01:12:31,520 --> 01:12:32,880
Speaker 8: Yeah, well and Chris too.

1448
01:12:32,960 --> 01:12:33,160
Speaker 1: Yeah.

1449
01:12:33,200 --> 01:12:34,840
Speaker 8: He called me and Chris to play on that record,

1450
01:12:34,920 --> 01:12:35,880
Speaker 8: and that's how I met Blake.

1451
01:12:36,640 --> 01:12:40,160
Speaker 3: Yeah, that's that's such a it's weird living in kind

1452
01:12:40,200 --> 01:12:42,479
Speaker 3: of in the non uh what do you call it,

1453
01:12:42,640 --> 01:12:44,040
Speaker 3: non tangible record way?

1454
01:12:44,360 --> 01:12:46,759
Speaker 1: Yes, where I don't recredits anymore.

1455
01:12:46,920 --> 01:12:48,960
Speaker 3: I just listened to it on Spotify, so I know.

1456
01:12:49,240 --> 01:12:50,599
Speaker 3: When I was going with your history, I'm like, wait,

1457
01:12:50,680 --> 01:12:52,880
Speaker 3: you're on that, You're on that. Yeah, I didn't realize

1458
01:12:52,880 --> 01:12:56,720
Speaker 3: you on that record. Okay, so talk about your work

1459
01:12:56,880 --> 01:13:00,600
Speaker 3: with the Drumheads and playing because you guys just on

1460
01:13:01,240 --> 01:13:04,280
Speaker 3: a whole nother level of musicianship.

1461
01:13:04,800 --> 01:13:06,920
Speaker 1: Well that's with Christ and Sharky.

1462
01:13:06,600 --> 01:13:09,640
Speaker 8: And yeah, I mean that's crazy. I mean Chris, as

1463
01:13:09,680 --> 01:13:11,760
Speaker 8: you know, played with D. I think you recommended him

1464
01:13:11,760 --> 01:13:12,920
Speaker 8: for that when you could do it right.

1465
01:13:13,040 --> 01:13:13,240
Speaker 1: Yeah.

1466
01:13:13,320 --> 01:13:17,320
Speaker 8: Yeah, So that's where Chris met Sharky and me and

1467
01:13:17,439 --> 01:13:21,280
Speaker 8: Kristen Sharky would hang and hit it off obviously. Then,

1468
01:13:22,240 --> 01:13:24,680
Speaker 8: to cut a long story short, we were on the

1469
01:13:24,720 --> 01:13:28,479
Speaker 8: twenty twelve tour with D and Chris had a gig

1470
01:13:28,680 --> 01:13:33,120
Speaker 8: at the Billboard Live in Tokyo and we were going

1471
01:13:33,200 --> 01:13:35,960
Speaker 8: to take Pooky with us, right the keyboard player and

1472
01:13:36,600 --> 01:13:39,320
Speaker 8: a horn player. I can't remember who it was, but anyway,

1473
01:13:39,400 --> 01:13:41,519
Speaker 8: the day before we due to fly out after the

1474
01:13:41,880 --> 01:13:45,840
Speaker 8: after the tour with D, Pooky said he couldn't make it,

1475
01:13:46,040 --> 01:13:48,240
Speaker 8: So we lost a keyboard player and then we lost

1476
01:13:48,280 --> 01:13:50,640
Speaker 8: the horn player he pulled out too, so it's just me,

1477
01:13:50,800 --> 01:13:52,840
Speaker 8: Sharky and Chris and we had to fly out to

1478
01:13:52,920 --> 01:13:56,360
Speaker 8: Japan and we played like three nights at the Billboard Live.

1479
01:13:56,840 --> 01:14:00,719
Speaker 8: So that was the start of the drumhead shit. Really,

1480
01:14:01,840 --> 01:14:03,519
Speaker 8: we just played as a trio, which is what we

1481
01:14:03,760 --> 01:14:05,360
Speaker 8: went back to the Blue Note recently.

1482
01:14:06,360 --> 01:14:11,240
Speaker 3: Now, is it intimidating playing in a combo that doesn't

1483
01:14:11,280 --> 01:14:13,240
Speaker 3: have a lead singer or doesn't have someone for you

1484
01:14:13,320 --> 01:14:14,000
Speaker 3: to hide behind?

1485
01:14:15,080 --> 01:14:17,280
Speaker 1: Now? Yeah, I love it.

1486
01:14:17,600 --> 01:14:20,880
Speaker 8: I love it, especially with that lineup because it's it's unique. Well,

1487
01:14:21,400 --> 01:14:24,639
Speaker 8: we played so many different styles of music, and well,

1488
01:14:24,680 --> 01:14:28,479
Speaker 8: you know, Chris is just unbelievable. All kinds of weird

1489
01:14:28,520 --> 01:14:31,160
Speaker 8: and wonderful stuff can come from him.

1490
01:14:32,640 --> 01:14:36,759
Speaker 1: It's my guess that you are the anchor of definitely

1491
01:14:37,240 --> 01:14:37,720
Speaker 1: that unit.

1492
01:14:37,960 --> 01:14:40,519
Speaker 3: Because when I last saw you guys at the Blue Note,

1493
01:14:41,400 --> 01:14:43,479
Speaker 3: you were the one that was tapping your book constantly,

1494
01:14:43,640 --> 01:14:45,720
Speaker 3: like you tap your foot and your chin goes up

1495
01:14:45,760 --> 01:14:49,960
Speaker 3: and down. And so I realized, like, okay, so you

1496
01:14:50,240 --> 01:14:53,800
Speaker 3: give christ freedom to do what he wants to do,

1497
01:14:54,920 --> 01:14:56,679
Speaker 3: and you have to keep that in your head.

1498
01:14:56,760 --> 01:14:57,960
Speaker 1: So you're the anchor of it.

1499
01:14:58,640 --> 01:14:58,840
Speaker 8: I know.

1500
01:14:58,880 --> 01:15:02,000
Speaker 3: If it's confusing for me, it has to be crazy

1501
01:15:02,080 --> 01:15:04,760
Speaker 3: for you to keep counting all those things because Chris

1502
01:15:04,880 --> 01:15:05,679
Speaker 3: is such a radical.

1503
01:15:06,160 --> 01:15:10,559
Speaker 8: Yeah, I'm with that lineup too. You know, I feel

1504
01:15:10,640 --> 01:15:14,439
Speaker 8: like those two guys of the Virtuosi, and that's never

1505
01:15:14,520 --> 01:15:17,720
Speaker 8: been my forte you know, it's so I like that

1506
01:15:17,840 --> 01:15:20,240
Speaker 8: place in the middle there trying to you know, enable

1507
01:15:21,680 --> 01:15:24,040
Speaker 8: just enable the music so that they can do their thing.

1508
01:15:24,960 --> 01:15:27,760
Speaker 8: I mean not purely unselfish. I mean I care about

1509
01:15:27,800 --> 01:15:31,240
Speaker 8: me too a little bit. But yeah, it's really interesting.

1510
01:15:31,400 --> 01:15:35,000
Speaker 8: And when Chris goes for some of that stuff, you know,

1511
01:15:35,280 --> 01:15:36,640
Speaker 8: you just have to be ready to go with it

1512
01:15:36,800 --> 01:15:41,519
Speaker 8: wherever it's going. Be very kind of fluid and malleable.

1513
01:15:41,600 --> 01:15:44,479
Speaker 1: You know. It's question I think fans would like to know.

1514
01:15:45,040 --> 01:15:46,800
Speaker 3: Have you ever had a session in which was like

1515
01:15:48,200 --> 01:15:52,160
Speaker 3: I gotta get through this, like in terms of complexity,

1516
01:15:52,360 --> 01:15:53,720
Speaker 3: or just a producer that.

1517
01:15:55,280 --> 01:15:58,920
Speaker 1: Is driving you to the limit. No, not really.

1518
01:15:59,560 --> 01:16:01,560
Speaker 8: I had one producer I won't mention the name of

1519
01:16:01,680 --> 01:16:03,920
Speaker 8: one time that I figured that if he kind of

1520
01:16:03,960 --> 01:16:05,639
Speaker 8: made me angry, I would play better.

1521
01:16:07,120 --> 01:16:07,320
Speaker 1: Yeah.

1522
01:16:07,400 --> 01:16:09,479
Speaker 8: It was kind of weird so that people still do

1523
01:16:09,560 --> 01:16:12,160
Speaker 8: psychological Yeah, he's like, what's the matter with you? Can't

1524
01:16:12,160 --> 01:16:13,000
Speaker 8: you do any better than that?

1525
01:16:13,160 --> 01:16:16,720
Speaker 1: And I was like what you cant? Lice asked? Was

1526
01:16:16,800 --> 01:16:19,040
Speaker 1: this the eighties, nineties or two thousands or.

1527
01:16:19,280 --> 01:16:24,360
Speaker 8: It was after Voodoo right?

1528
01:16:26,520 --> 01:16:28,439
Speaker 1: Yeah, I was like, I'm ready to.

1529
01:16:31,479 --> 01:16:31,639
Speaker 4: Wait.

1530
01:16:31,680 --> 01:16:32,320
Speaker 1: Can I ask a question?

1531
01:16:32,720 --> 01:16:35,439
Speaker 6: Including you Steve, Like on sessions like voodoo, which are

1532
01:16:35,479 --> 01:16:40,000
Speaker 6: notoriously went on for years. Like does it become too?

1533
01:16:40,360 --> 01:16:40,400
Speaker 8: Like?

1534
01:16:41,000 --> 01:16:42,640
Speaker 1: Does it does the dragging out of it?

1535
01:16:42,840 --> 01:16:44,559
Speaker 9: Does the frustration of that taking forever?

1536
01:16:44,760 --> 01:16:45,599
Speaker 1: Does it become a thing?

1537
01:16:45,760 --> 01:16:46,240
Speaker 7: Or is it not?

1538
01:16:46,520 --> 01:16:48,840
Speaker 6: I've never been in the studio that long my life

1539
01:16:49,400 --> 01:16:51,479
Speaker 6: like it. You know, you read about it, and it's

1540
01:16:51,520 --> 01:16:53,720
Speaker 6: just like we're not allowed to talk about this. That's

1541
01:16:53,760 --> 01:16:56,760
Speaker 6: fine too, No, No, I just I'm just I'm fascinated.

1542
01:16:57,080 --> 01:16:57,880
Speaker 1: My answer is quick.

1543
01:16:58,520 --> 01:17:01,400
Speaker 3: You know, I was selfishly say that I have the

1544
01:17:01,479 --> 01:17:05,360
Speaker 3: best seat in the house, so I've never had a drought,

1545
01:17:05,520 --> 01:17:07,760
Speaker 3: a D'Angelo drought, and I feel bad for you people

1546
01:17:07,840 --> 01:17:10,920
Speaker 3: that only get your you know, d'angela fixed once every

1547
01:17:11,160 --> 01:17:15,080
Speaker 3: ten to twenty years, whereas you know, I still got

1548
01:17:15,120 --> 01:17:17,240
Speaker 3: shited on this computer that the world's never going to

1549
01:17:17,280 --> 01:17:21,679
Speaker 3: hear again. But you know, I'm satisfied, but I also

1550
01:17:22,040 --> 01:17:25,040
Speaker 3: feel frustrated that it takes forever.

1551
01:17:25,640 --> 01:17:26,840
Speaker 1: But it's certainly worth it.

1552
01:17:26,960 --> 01:17:29,799
Speaker 3: But like you know, it's weird in terms of preference,

1553
01:17:29,840 --> 01:17:32,920
Speaker 3: though I like Black Messia a little better. I don't

1554
01:17:32,920 --> 01:17:35,000
Speaker 3: know if it's because it's last or whatever, but just

1555
01:17:35,240 --> 01:17:38,360
Speaker 3: like I have the time of my life with voodoo.

1556
01:17:40,040 --> 01:17:44,120
Speaker 3: But for me, there's something about the moments in catching

1557
01:17:44,920 --> 01:17:50,880
Speaker 3: til it's done yes or uh oh god, especially oh God,

1558
01:17:50,960 --> 01:17:52,880
Speaker 3: the way the way we know life.

1559
01:17:53,400 --> 01:17:56,960
Speaker 1: You know, we did Another Life. Didn't we do that

1560
01:17:57,040 --> 01:17:57,719
Speaker 1: without planning?

1561
01:17:59,200 --> 01:18:00,680
Speaker 8: You know? I played on the later you and d

1562
01:18:00,800 --> 01:18:01,240
Speaker 8: played on that.

1563
01:18:02,200 --> 01:18:05,599
Speaker 1: I feel like we went okay, so was it till

1564
01:18:05,640 --> 01:18:07,320
Speaker 1: it's done where we all have to do it together?

1565
01:18:07,520 --> 01:18:10,320
Speaker 1: Something we played till it's done together? Yeah? Okay, yeah,

1566
01:18:10,560 --> 01:18:13,000
Speaker 1: Another Life is literally.

1567
01:18:14,160 --> 01:18:17,639
Speaker 3: It was just unplanned. It wasn't like, hey, what's that part? Okay,

1568
01:18:17,720 --> 01:18:19,560
Speaker 3: do we get it in twelve bars? It was just

1569
01:18:19,680 --> 01:18:24,560
Speaker 3: like he just started playing it and then like and

1570
01:18:24,640 --> 01:18:26,559
Speaker 3: I was like, okay, this should be like a bridge

1571
01:18:26,600 --> 01:18:28,439
Speaker 3: or something. Okay, I'm gonna do a turnaround for two bars,

1572
01:18:28,520 --> 01:18:35,120
Speaker 3: and he just like it. The synergy was was otherworldly.

1573
01:18:35,600 --> 01:18:36,920
Speaker 8: Well, you guys really have that.

1574
01:18:37,640 --> 01:18:38,839
Speaker 1: Yeah, we have to be cool.

1575
01:18:38,680 --> 01:18:42,120
Speaker 3: Because at the very beginning, in the very beginning, I

1576
01:18:42,160 --> 01:18:45,880
Speaker 3: think there was like unspoken tension there that we didn't

1577
01:18:45,920 --> 01:18:48,640
Speaker 3: resolve for like four or five years. Yes, and the

1578
01:18:48,680 --> 01:18:51,439
Speaker 3: first thing he plays me is like sugar Daddy, and

1579
01:18:51,640 --> 01:18:54,360
Speaker 3: it kind of in a taunting way, not a taunting way,

1580
01:18:55,120 --> 01:18:57,880
Speaker 3: but it's almost like the ex wife.

1581
01:18:58,880 --> 01:19:02,760
Speaker 1: You know, the husband's showing you the new girlfriend to

1582
01:19:02,840 --> 01:19:05,519
Speaker 1: the ex wife. And I'm like, how am I? How

1583
01:19:05,520 --> 01:19:08,879
Speaker 1: am I supposed to compete with Gatson? With James Gatson

1584
01:19:09,439 --> 01:19:11,200
Speaker 1: playing his lap? Yeah?

1585
01:19:11,240 --> 01:19:14,240
Speaker 3: And the story, yeah, the story of that is basically,

1586
01:19:14,680 --> 01:19:16,280
Speaker 3: he was just all right, play with the song, and

1587
01:19:16,320 --> 01:19:18,400
Speaker 3: he's like just sitting there like that, okay, okay, so

1588
01:19:18,479 --> 01:19:20,439
Speaker 3: I'll do that and then all right, let's roll.

1589
01:19:20,320 --> 01:19:23,360
Speaker 1: It and they're like, no, we got it. He's like, no, no, no,

1590
01:19:23,479 --> 01:19:25,280
Speaker 1: I was. I was hitting my leg and he's like, no, no,

1591
01:19:25,439 --> 01:19:26,080
Speaker 1: that was perfect.

1592
01:19:26,320 --> 01:19:29,479
Speaker 8: And I'll tell you what really happened there, something like that.

1593
01:19:29,880 --> 01:19:33,680
Speaker 8: But James was just drum checking, right, he was just

1594
01:19:33,720 --> 01:19:35,680
Speaker 8: trump track and playing a bass, strumming the high and

1595
01:19:35,720 --> 01:19:40,120
Speaker 8: tapping his legs like that, and d said, keep playing that, James.

1596
01:19:40,040 --> 01:19:42,680
Speaker 1: Keep playing that right, and just fell until by accident.

1597
01:19:42,439 --> 01:19:45,200
Speaker 8: Found a bait. I just went dump dump, don't dump, don't.

1598
01:19:46,400 --> 01:19:49,920
Speaker 1: Right, And then literally I'm like, how am I supposed

1599
01:19:49,920 --> 01:19:50,639
Speaker 1: to compete with that shit?

1600
01:19:51,000 --> 01:19:53,760
Speaker 8: And so yeah, but your thing is so unique of

1601
01:19:53,880 --> 01:19:57,080
Speaker 8: me too, Betray my Heart. We recorded that song in

1602
01:19:57,760 --> 01:20:00,000
Speaker 8: yeah seven Do you realize that ninety seven?

1603
01:20:01,160 --> 01:20:07,679
Speaker 1: Right? I remember brought that one back to life. So Steve,

1604
01:20:07,760 --> 01:20:10,280
Speaker 1: any Pino moments.

1605
01:20:10,920 --> 01:20:13,439
Speaker 10: Oh man, I did want to ask you about you

1606
01:20:13,520 --> 01:20:15,640
Speaker 10: were a part of the one of the Simon and

1607
01:20:15,720 --> 01:20:19,320
Speaker 10: garlf Uncle reunion tours or maybe it was just a

1608
01:20:19,400 --> 01:20:21,280
Speaker 10: show or two at the Garden or something. I'm not

1609
01:20:21,479 --> 01:20:23,479
Speaker 10: I can't remember that one.

1610
01:20:23,840 --> 01:20:26,720
Speaker 8: Yeah, it was all too two thousand and what was

1611
01:20:26,760 --> 01:20:27,679
Speaker 8: it five or something?

1612
01:20:27,760 --> 01:20:27,920
Speaker 1: Yes?

1613
01:20:27,960 --> 01:20:30,240
Speaker 10: So what was that like to work with with Paul

1614
01:20:30,360 --> 01:20:32,720
Speaker 10: and I mean to be in such a weird kind

1615
01:20:32,760 --> 01:20:36,160
Speaker 10: of setting, I mean, and those baselines are also very iconic.

1616
01:20:36,600 --> 01:20:39,000
Speaker 1: Absolutely? Is that Carol Ka who did a lot of

1617
01:20:39,040 --> 01:20:39,839
Speaker 1: that stuff originally?

1618
01:20:40,160 --> 01:20:43,400
Speaker 8: Maybe she did some of it. Joe Osborne right was

1619
01:20:43,479 --> 01:20:45,519
Speaker 8: the was the l a session guy back in back

1620
01:20:45,560 --> 01:20:47,160
Speaker 8: in the days and did a lot of that stuff

1621
01:20:47,560 --> 01:20:49,559
Speaker 8: only living boy in New York. You know that iconic

1622
01:20:49,600 --> 01:20:53,280
Speaker 8: based on man. Yeah, So was that a fun gig

1623
01:20:53,439 --> 01:20:55,760
Speaker 8: or it really was? It was amazing for me because

1624
01:20:56,000 --> 01:20:59,360
Speaker 8: the Simon and girlf Uncle album with Cecilia I become

1625
01:20:59,360 --> 01:21:01,720
Speaker 8: a bridge over trouble Water. Yeah, that album was so

1626
01:21:01,880 --> 01:21:03,720
Speaker 8: big for me when I was before I even knew

1627
01:21:03,800 --> 01:21:06,400
Speaker 8: I was going to be a musician. So to come

1628
01:21:06,479 --> 01:21:09,200
Speaker 8: around full circle and get to play live with those guys.

1629
01:21:09,840 --> 01:21:10,720
Speaker 1: Wasn't the base Yeah?

1630
01:21:10,760 --> 01:21:14,720
Speaker 10: They the baselines are so kind of penoish in a

1631
01:21:14,760 --> 01:21:16,920
Speaker 10: lot of that music, you know, there's a lot of.

1632
01:21:17,600 --> 01:21:19,680
Speaker 8: But but yeah, I mean very melodic though.

1633
01:21:19,960 --> 01:21:20,160
Speaker 1: Yeah.

1634
01:21:20,320 --> 01:21:22,840
Speaker 8: Yeah, And it was a fantastic band. Jim Caltoner was

1635
01:21:22,880 --> 01:21:23,439
Speaker 8: on drums.

1636
01:21:25,160 --> 01:21:26,280
Speaker 1: What's it like playing with him?

1637
01:21:27,200 --> 01:21:31,280
Speaker 8: Tremendous man, hero, incredible man earl. Yeah you should get

1638
01:21:31,320 --> 01:21:38,160
Speaker 8: him on here? What an edge? What a legend? Yes,

1639
01:21:38,360 --> 01:21:40,479
Speaker 8: it was just a fun too. And then of course

1640
01:21:40,520 --> 01:21:45,519
Speaker 8: we would you know, pull pull an audience. So wow.

1641
01:21:45,640 --> 01:21:49,920
Speaker 8: We would do two sound checks pretty much every day. Yeah,

1642
01:21:50,040 --> 01:21:51,439
Speaker 8: one for each of them then one together.

1643
01:21:51,800 --> 01:21:52,640
Speaker 10: Wait.

1644
01:21:52,840 --> 01:21:55,680
Speaker 8: Really like they were divided as a you know, not

1645
01:21:55,800 --> 01:21:59,120
Speaker 8: necessarily divided, just they had particular things that they wanted

1646
01:21:59,280 --> 01:21:59,960
Speaker 8: in the sound check.

1647
01:22:00,320 --> 01:22:02,519
Speaker 10: So with the Who and with Paul Simon, didn't you

1648
01:22:02,560 --> 01:22:05,600
Speaker 10: also end up doing being part of some studio recordings

1649
01:22:05,920 --> 01:22:07,599
Speaker 10: as well, albums that they were putting out.

1650
01:22:07,680 --> 01:22:09,840
Speaker 8: I did a Paul Simon album Surprise, but that was

1651
01:22:10,040 --> 01:22:12,040
Speaker 8: just Paul Yeah, he wasn't that Simon golf? Right?

1652
01:22:12,800 --> 01:22:13,240
Speaker 1: And the Who?

1653
01:22:13,320 --> 01:22:15,960
Speaker 8: Yeah, I did the last record Who did, which which

1654
01:22:16,080 --> 01:22:17,080
Speaker 8: was a really good record.

1655
01:22:17,160 --> 01:22:19,439
Speaker 10: Actually, What was I like to work with Pete Townsend in.

1656
01:22:20,360 --> 01:22:23,240
Speaker 8: That in the studio, work with him over the years

1657
01:22:23,280 --> 01:22:28,120
Speaker 8: in that environment. Pizza absolute genius. Man, He's incredible. It's

1658
01:22:28,280 --> 01:22:30,680
Speaker 8: just great being around him, great playing music with him.

1659
01:22:31,640 --> 01:22:33,120
Speaker 1: I want to skip a little bit ahead.

1660
01:22:33,360 --> 01:22:35,599
Speaker 3: Could you talk about working on the side rock record

1661
01:22:36,360 --> 01:22:39,760
Speaker 3: with John You didn't play bass on You only did

1662
01:22:39,840 --> 01:22:40,640
Speaker 3: it live. No.

1663
01:22:40,800 --> 01:22:42,880
Speaker 8: I did some other record, but not much of it,

1664
01:22:43,040 --> 01:22:45,240
Speaker 8: like maybe a couple of tracks, because that was kind

1665
01:22:45,280 --> 01:22:47,280
Speaker 8: of during the pandemic. I think you record a lot

1666
01:22:47,280 --> 01:22:48,080
Speaker 8: of that stuff.

1667
01:22:48,280 --> 01:22:52,800
Speaker 3: Really okay, because my shock was that, you know, for

1668
01:22:52,920 --> 01:22:56,080
Speaker 3: those that don't like the side rock record for John

1669
01:22:56,120 --> 01:23:00,680
Speaker 3: Mayer was like his version of the yacht rock Yes,

1670
01:23:01,000 --> 01:23:03,519
Speaker 3: like if he had he released a record in eighty

1671
01:23:03,600 --> 01:23:06,760
Speaker 3: three to eighty four like that period, what would he

1672
01:23:06,840 --> 01:23:10,720
Speaker 3: sound like? Which all of you, all the musicians on

1673
01:23:10,800 --> 01:23:12,480
Speaker 3: that record didn't sound like themselves.

1674
01:23:12,640 --> 01:23:15,519
Speaker 8: But yeah, well I only played a few tracks. I

1675
01:23:15,600 --> 01:23:16,840
Speaker 8: sort of let you down on that woman.

1676
01:23:17,600 --> 01:23:20,240
Speaker 1: But did even the songs you played on, did you

1677
01:23:20,320 --> 01:23:22,559
Speaker 1: have to unsound like yourself?

1678
01:23:24,600 --> 01:23:27,200
Speaker 8: No, not at all. No. Those songs that I played

1679
01:23:27,240 --> 01:23:29,960
Speaker 8: on were ones that he did before he went in

1680
01:23:30,080 --> 01:23:31,880
Speaker 8: the studio to do that record, So they were just

1681
01:23:31,960 --> 01:23:34,080
Speaker 8: a random one off songs that that he wanted to

1682
01:23:34,120 --> 01:23:34,839
Speaker 8: record anyway.

1683
01:23:35,320 --> 01:23:37,519
Speaker 1: Okay, so when he went in to do the full.

1684
01:23:37,439 --> 01:23:44,760
Speaker 8: Album with Sean Hurley on bass and uh Aaron on drums, Yeah,

1685
01:23:44,800 --> 01:23:45,600
Speaker 8: I wasn't around for that.

1686
01:23:46,600 --> 01:23:59,439
Speaker 1: I see questions, conversations. I was just taking your ball

1687
01:24:00,200 --> 01:24:01,040
Speaker 1: commercial right now?

1688
01:24:01,439 --> 01:24:05,280
Speaker 3: When when when this show is happening, phones are down,

1689
01:24:05,439 --> 01:24:07,240
Speaker 3: so I'm not getting text.

1690
01:24:09,720 --> 01:24:14,439
Speaker 1: To stop. It's like, You're gonna let me know. I'm

1691
01:24:14,479 --> 01:24:16,960
Speaker 1: I'm under the impression that eight o'clock is when we

1692
01:24:17,080 --> 01:24:21,800
Speaker 1: stop this. We're trying to get to Fine, you're gonna

1693
01:24:21,880 --> 01:24:24,160
Speaker 1: communicate that to me. We don't get any dating to

1694
01:24:24,240 --> 01:24:27,599
Speaker 1: each other. No, I called you. I didn't know your phone.

1695
01:24:28,920 --> 01:24:29,080
Speaker 8: Off.

1696
01:24:29,680 --> 01:24:32,559
Speaker 1: Your phone, my phone is off. I turned my phones

1697
01:24:32,560 --> 01:24:36,040
Speaker 1: off and my my text all that stuff is off. Sorry,

1698
01:24:36,800 --> 01:24:37,839
Speaker 1: I was just frustrated.

1699
01:24:37,880 --> 01:24:39,960
Speaker 3: I'm like, okay, I thought I was asking too many

1700
01:24:40,040 --> 01:24:41,760
Speaker 3: questions all about punctuality.

1701
01:24:41,800 --> 01:24:43,559
Speaker 9: We're very concerned about Peno's next gig.

1702
01:24:44,000 --> 01:24:47,720
Speaker 1: Clearly has to be at the gig.

1703
01:24:48,800 --> 01:24:50,200
Speaker 9: But it's good because let me know.

1704
01:24:50,560 --> 01:24:52,080
Speaker 1: Okay, I didn't know that. I'm sorry.

1705
01:24:52,160 --> 01:24:53,479
Speaker 8: I already told him we're gonna be late.

1706
01:24:53,520 --> 01:24:56,280
Speaker 1: So okay, we're good. Well, let's wrap it all right.

1707
01:24:56,439 --> 01:24:57,920
Speaker 9: Also, don't ask you know what the gig is a

1708
01:24:57,960 --> 01:24:59,439
Speaker 9: big secret. So there go going on.

1709
01:25:00,160 --> 01:25:01,360
Speaker 1: We don't know what gig it is. We don't know

1710
01:25:01,400 --> 01:25:01,920
Speaker 1: what it is.

1711
01:25:01,960 --> 01:25:03,439
Speaker 9: Well I don't you might because can we.

1712
01:25:03,479 --> 01:25:08,160
Speaker 1: Follow you to this gig? Do I want to follow

1713
01:25:08,200 --> 01:25:13,160
Speaker 1: you to this gig? M I could said.

1714
01:25:13,160 --> 01:25:14,640
Speaker 3: The last time you told me about a gig, I

1715
01:25:14,680 --> 01:25:16,160
Speaker 3: went to go see. I wound up playing the gig

1716
01:25:16,200 --> 01:25:17,240
Speaker 3: and the mushrooms that kicked in.

1717
01:25:19,280 --> 01:25:20,160
Speaker 9: That was the hell of a day.

1718
01:25:22,880 --> 01:25:25,120
Speaker 1: All I wanted to do was watch my idol drum

1719
01:25:25,200 --> 01:25:28,479
Speaker 1: and then suddenly like the show yes COVID.

1720
01:25:28,600 --> 01:25:33,120
Speaker 8: So I just didn't know about the mushroom part of that.

1721
01:25:33,240 --> 01:25:35,720
Speaker 1: That's well yeah, but then you know, I've got guys,

1722
01:25:35,840 --> 01:25:36,760
Speaker 1: the mushrooms that kicked in.

1723
01:25:37,439 --> 01:25:40,200
Speaker 8: Man, if you're around tomorrow nights or you got any

1724
01:25:40,240 --> 01:25:42,240
Speaker 8: time tomorrow, I'm in the studio with Blake over in

1725
01:25:42,320 --> 01:25:42,800
Speaker 8: Sound City.

1726
01:25:43,160 --> 01:25:47,920
Speaker 3: Really, I'm finally glad that Blake, of all people, Blake,

1727
01:25:48,439 --> 01:25:52,759
Speaker 3: the way that he talks about voodoo's like his old dream.

1728
01:25:52,960 --> 01:25:55,960
Speaker 3: So the fact that he finally connected with you, I

1729
01:25:56,080 --> 01:25:58,080
Speaker 3: know one you know is his dream to connect with

1730
01:25:58,160 --> 01:26:02,920
Speaker 3: the Also, I'm sure I'm that's happening. No, I think

1731
01:26:03,200 --> 01:26:05,920
Speaker 3: I'm gonna cut it so that Peter can get to

1732
01:26:06,040 --> 01:26:08,559
Speaker 3: his session or we.

1733
01:26:08,600 --> 01:26:10,719
Speaker 7: Are legend in the building who actually still works.

1734
01:26:15,439 --> 01:26:19,840
Speaker 3: No, I will say that, you know it's it's your mind.

1735
01:26:20,160 --> 01:26:22,479
Speaker 3: You make you make us all play better, you make

1736
01:26:22,560 --> 01:26:24,720
Speaker 3: us listen better, and you know for that, I thank you.

1737
01:26:24,800 --> 01:26:26,240
Speaker 8: Man, and thank you so much.

1738
01:26:26,840 --> 01:26:32,479
Speaker 1: Every race. Everybody, Now get out of here and go

1739
01:26:32,640 --> 01:26:33,600
Speaker 1: to your gig. This is.

1740
01:26:35,120 --> 01:26:43,320
Speaker 7: You know, hey, thank y'all be listening to the Quest

1741
01:26:43,360 --> 01:26:47,160
Speaker 7: Love Supreme. This podcast is hosted by an Afro, a mouth,

1742
01:26:47,320 --> 01:26:49,960
Speaker 7: a rapper, an engineer, and a man with too many

1743
01:26:50,040 --> 01:26:52,479
Speaker 7: jobs a k a. A Mere Quest Love Thompson, Why

1744
01:26:52,560 --> 01:26:55,880
Speaker 7: You a Saint Clair, Fonte, Coleman Sugar, Steve Mandel and

1745
01:26:56,080 --> 01:26:57,080
Speaker 7: unpaid Bill Sherman.

1746
01:26:58,000 --> 01:27:01,400
Speaker 1: The executive producers who get paid the big bucks.

1747
01:27:01,520 --> 01:27:05,280
Speaker 7: Amir Quest Love Thompson, Sean g and Brian Calhoun ask

1748
01:27:05,360 --> 01:27:08,320
Speaker 7: them for money. Produced by the people who do all

1749
01:27:08,360 --> 01:27:12,320
Speaker 7: the real work Britney Benjamin, Jake Payne and Yes Slyya

1750
01:27:12,360 --> 01:27:15,400
Speaker 7: Saint Clair. Edited by another person who does the real work,

1751
01:27:15,520 --> 01:27:19,320
Speaker 7: Alex Conroy and those who approve the real work. Produced

1752
01:27:19,360 --> 01:27:23,360
Speaker 7: for iHeart by Noel Brown and Mike John and don't

1753
01:27:23,400 --> 01:27:26,320
Speaker 7: forget man, it's making me sound good right now because

1754
01:27:26,439 --> 01:27:31,200
Speaker 7: up too. Audio engineering by Graham Gibson at Iheart's La Studio,

1755
01:27:31,760 --> 01:27:32,479
Speaker 7: Thanks Sean.

1756
01:27:34,200 --> 01:27:40,800
Speaker 1: West. Love Supreme is a production of iHeart Radio. For

1757
01:27:40,920 --> 01:27:44,000
Speaker 1: more podcasts from iHeart Radio, visit the iHeart Radio app,

1758
01:27:44,240 --> 01:27:47,280
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.