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