1
00:00:00,120 --> 00:00:07,960
Speaker 1: Quest Love Supreme is a production of iHeartRadio all Right.

2
00:00:08,039 --> 00:00:12,479
Speaker 1: So this season we had Chuck d on first and

3
00:00:12,560 --> 00:00:16,079
Speaker 1: some popping conversations that I hope to have ongoing with

4
00:00:16,160 --> 00:00:20,160
Speaker 1: his platform and mine. Chuck just released an album, Dope,

5
00:00:21,000 --> 00:00:24,160
Speaker 1: with no other than John Densmore of the Doors, and

6
00:00:24,280 --> 00:00:27,000
Speaker 1: John has already been on QLs back in twenty twenty one,

7
00:00:27,600 --> 00:00:31,000
Speaker 1: where he spoke to myself, La Fonte, Sugar, Steve, and

8
00:00:31,360 --> 00:00:35,280
Speaker 1: Mate Bill about music, politics, and the creative process of

9
00:00:35,440 --> 00:00:38,400
Speaker 1: the One of the Wee Jim Marson. So check out

10
00:00:38,680 --> 00:00:41,879
Speaker 1: John and Chuck's album, and also check out this classic

11
00:00:41,920 --> 00:00:55,320
Speaker 1: episode of QLs en joy. Oh oh, there's Joe, I

12
00:00:55,360 --> 00:00:57,280
Speaker 1: having already already.

13
00:00:57,280 --> 00:00:58,000
Speaker 2: Oh let's go.

14
00:01:00,000 --> 00:01:00,480
Speaker 3: How you doing?

15
00:01:00,840 --> 00:01:01,000
Speaker 4: Hey?

16
00:01:02,360 --> 00:01:03,960
Speaker 1: Good to good to be here with you.

17
00:01:04,240 --> 00:01:06,640
Speaker 4: Oh hey, I don't know, I don't know if you

18
00:01:06,680 --> 00:01:08,000
Speaker 4: can see this my.

19
00:01:08,000 --> 00:01:13,200
Speaker 1: Wardrobe, I see it. Thank you? He sat in with us, Yes,

20
00:01:13,400 --> 00:01:13,960
Speaker 1: I remember.

21
00:01:14,880 --> 00:01:19,040
Speaker 4: Remember Is it because of COVID that that the roots

22
00:01:19,040 --> 00:01:20,399
Speaker 4: are pared down?

23
00:01:21,800 --> 00:01:25,920
Speaker 1: Yeah, it's because of COVID. We can't state law says

24
00:01:25,920 --> 00:01:32,240
Speaker 1: that only uh six people out of eleven uh are information.

25
00:01:32,400 --> 00:01:34,360
Speaker 1: So that's how it is. I got okay.

26
00:01:34,560 --> 00:01:38,039
Speaker 4: Well, I used to love that the tube of duplicating

27
00:01:38,080 --> 00:01:39,959
Speaker 4: the baselines that sent me right to.

28
00:01:39,959 --> 00:01:47,039
Speaker 1: Nor nice lower. Yeah, that's cool crap since we already

29
00:01:47,040 --> 00:01:50,280
Speaker 1: talking when we start the introduction. Uh, ladies and gentlemen,

30
00:01:50,640 --> 00:01:52,640
Speaker 1: this is quest Love Supreme. My name is quest Love.

31
00:01:52,720 --> 00:01:55,080
Speaker 1: We have Teams Supreme with us. We gotta fine take

32
00:01:55,120 --> 00:02:00,640
Speaker 1: a low Happy New Year, Happy New Year. This is

33
00:02:00,680 --> 00:02:04,360
Speaker 1: also the time that I'm not pluralizing the word year.

34
00:02:05,560 --> 00:02:08,360
Speaker 1: I always say Happy New Years, and I've been corrected

35
00:02:08,440 --> 00:02:12,520
Speaker 1: one too many times. Sugar Steve, Hello.

36
00:02:12,520 --> 00:02:14,680
Speaker 3: Hello, how you doing everybody? Hi John?

37
00:02:14,880 --> 00:02:16,320
Speaker 1: It's kind of weird for me to say hello to

38
00:02:16,360 --> 00:02:17,639
Speaker 1: you because I see you every day.

39
00:02:17,760 --> 00:02:19,040
Speaker 3: So yeah, I'm pretty sick of you too.

40
00:02:19,120 --> 00:02:25,920
Speaker 1: Let's move on, okay, Yeah, happy run off with the

41
00:02:25,960 --> 00:02:30,160
Speaker 1: Sugar Steve really is a live episode. Yeah, paid Bill, Yeah,

42
00:02:30,160 --> 00:02:32,120
Speaker 1: man's with us as well. How you doing good? Have

43
00:02:32,280 --> 00:02:34,880
Speaker 1: you run off? Day good? Yeah? Happy? Yeah?

44
00:02:35,040 --> 00:02:35,200
Speaker 4: Yeah?

45
00:02:35,360 --> 00:02:40,079
Speaker 1: Happy? Whatever you said day layah, yes as well, that's right.

46
00:02:40,080 --> 00:02:44,440
Speaker 1: Happy fifty month, my friend. Oh you're right with me.

47
00:02:44,960 --> 00:02:47,400
Speaker 1: There's okay, you're still nineteen.

48
00:02:47,680 --> 00:02:48,720
Speaker 5: Yeah, No, I mean I'm not.

49
00:02:48,880 --> 00:02:50,520
Speaker 6: Yes, I'm right with you as far as our birthdays

50
00:02:50,560 --> 00:02:53,160
Speaker 6: on the same day, but it's your fifty you know.

51
00:02:53,200 --> 00:02:53,720
Speaker 6: What I'm saying.

52
00:02:54,320 --> 00:02:59,240
Speaker 1: Yeah, anyway, all right, So our guest today, y'all. Our

53
00:02:59,280 --> 00:03:03,359
Speaker 1: guest is huge man, Yeah, very huge. He's a member

54
00:03:03,360 --> 00:03:06,680
Speaker 1: of the Rock and Roll Hall of Fame and he's

55
00:03:06,800 --> 00:03:11,120
Speaker 1: literally from one of the most influential bands of all time,

56
00:03:12,280 --> 00:03:16,360
Speaker 1: The Doors have sold over one hundred million records. That's

57
00:03:16,400 --> 00:03:19,480
Speaker 1: nothing to stuff at. Their music and their influence still

58
00:03:19,520 --> 00:03:21,400
Speaker 1: resonates to this day. Yes. I don't know if you

59
00:03:21,440 --> 00:03:22,040
Speaker 1: know that, John, but.

60
00:03:23,680 --> 00:03:25,919
Speaker 3: Those were actual records too, not I.

61
00:03:25,880 --> 00:03:27,200
Speaker 4: Better check my royalties.

62
00:03:27,480 --> 00:03:29,560
Speaker 7: Yeah, yeah, we're on the verge of an aswer, you know,

63
00:03:29,639 --> 00:03:30,720
Speaker 7: as pay back today.

64
00:03:30,720 --> 00:03:31,720
Speaker 3: It'd be good for John.

65
00:03:32,120 --> 00:03:36,040
Speaker 1: Not not to mention. Our guest is also an author, actor, playwright,

66
00:03:36,880 --> 00:03:40,680
Speaker 1: Grammy Lifetime Achievement War Winner recipient, and we are extremely

67
00:03:41,160 --> 00:03:43,840
Speaker 1: honored to have him talk shop with us today and

68
00:03:44,120 --> 00:03:48,800
Speaker 1: his illustrious career. Please welcome to Court Left Supreme. John Dinsmore,

69
00:03:49,160 --> 00:03:51,920
Speaker 1: drummer of the Doors.

70
00:03:51,960 --> 00:03:55,560
Speaker 4: Hey, yo, thank you, and and I'm not dead.

71
00:03:56,560 --> 00:03:58,920
Speaker 1: Yes, a good start.

72
00:03:59,480 --> 00:04:01,800
Speaker 5: Congratulation, Thank you, thank you.

73
00:04:02,080 --> 00:04:04,400
Speaker 1: That's an achievement. We're all right now. Where are you

74
00:04:04,560 --> 00:04:05,000
Speaker 1: right now?

75
00:04:05,240 --> 00:04:09,760
Speaker 4: I'm in my office slash rehearsal room, you.

76
00:04:09,640 --> 00:04:12,280
Speaker 1: Know, Okay, I meant like, in what part.

77
00:04:12,080 --> 00:04:17,080
Speaker 4: Of the world. I'm in Laky where I was born,

78
00:04:17,520 --> 00:04:20,760
Speaker 4: my mom was, My mom was born here in nineteen

79
00:04:20,800 --> 00:04:26,600
Speaker 4: oh four. But we're not native. The Chumash Indians are

80
00:04:26,640 --> 00:04:28,159
Speaker 4: the first. People's got to get.

81
00:04:28,040 --> 00:04:30,320
Speaker 5: That, right, You better credit, you better get it.

82
00:04:30,880 --> 00:04:36,160
Speaker 4: Yeah, So listen, I want to say, I'm really pleased

83
00:04:36,240 --> 00:04:38,840
Speaker 4: to be doing this because, you know, Quest and I

84
00:04:38,920 --> 00:04:42,760
Speaker 4: are in the same tribe, a tribe called drummers.

85
00:04:43,120 --> 00:04:46,719
Speaker 1: Yeah, we are, you know, And I just.

86
00:04:48,320 --> 00:04:51,279
Speaker 4: Yeah, I love that. You know, you're the leader of

87
00:04:51,320 --> 00:04:54,400
Speaker 4: the roots and not a lot of drummers or leaders,

88
00:04:54,440 --> 00:04:57,279
Speaker 4: and and it makes me think of you and Lionel

89
00:04:57,320 --> 00:05:01,400
Speaker 4: Hampton or Art Blakey and the jazz Messengers, you know

90
00:05:01,440 --> 00:05:05,320
Speaker 4: who I saw many times, or Chico Hamilton, who I

91
00:05:05,400 --> 00:05:08,560
Speaker 4: stole to ride cymbal bell beat from.

92
00:05:08,600 --> 00:05:12,159
Speaker 1: You know, so wait, how did you pull that time out?

93
00:05:12,200 --> 00:05:15,400
Speaker 3: Please tell tell our audience who Chico Hamilton is, please,

94
00:05:15,440 --> 00:05:16,920
Speaker 3: because nobody ever talks about him.

95
00:05:18,279 --> 00:05:21,240
Speaker 4: He was a wonderful jazz cat in the early sixties

96
00:05:21,240 --> 00:05:23,520
Speaker 4: and I saw him as a teenager. I think Charles

97
00:05:23,640 --> 00:05:27,719
Speaker 4: Lloyd was playing with him, and uh man, you know,

98
00:05:27,920 --> 00:05:30,400
Speaker 4: I heard a real cool thing. And I later I

99
00:05:30,440 --> 00:05:33,440
Speaker 4: put it in the end. You know, you steal from

100
00:05:33,480 --> 00:05:34,240
Speaker 4: the best.

101
00:05:34,040 --> 00:05:38,159
Speaker 1: Right, exactly flattery I was. I was going to say, though,

102
00:05:38,240 --> 00:05:42,080
Speaker 1: you're you told me at Fellin that your your weapon

103
00:05:42,080 --> 00:05:45,880
Speaker 1: of choice wasn't initially the drums. You started out, you

104
00:05:45,920 --> 00:05:47,120
Speaker 1: said as a piano player.

105
00:05:48,040 --> 00:05:52,479
Speaker 4: Yeah. Yeah, that's in my new book My Mom is

106
00:05:52,560 --> 00:05:56,320
Speaker 4: the first chapter, because she encouraged me to play piano,

107
00:05:56,400 --> 00:05:59,640
Speaker 4: and I just was crazy for music and I wanted

108
00:05:59,640 --> 00:06:03,720
Speaker 4: to play any instrument. And then I got into junior

109
00:06:03,800 --> 00:06:06,840
Speaker 4: high and there was no piano in the band or

110
00:06:06,880 --> 00:06:11,359
Speaker 4: the orchestra, and I chose clarinet because I thought, you know,

111
00:06:11,480 --> 00:06:15,440
Speaker 4: Benny Goodman's cool whatever. And I had braces on my

112
00:06:15,560 --> 00:06:18,039
Speaker 4: teeth and they said, no, no, no, you can't do that.

113
00:06:18,520 --> 00:06:20,520
Speaker 4: You're trying to push him back and they're going to

114
00:06:20,560 --> 00:06:25,040
Speaker 4: come out with that instrument. So drums. Yeah, so I

115
00:06:25,080 --> 00:06:26,560
Speaker 4: owe my career to the dentist.

116
00:06:28,880 --> 00:06:32,960
Speaker 1: Oh so you're saying that adults encouraged you to play

117
00:06:32,960 --> 00:06:37,440
Speaker 1: the drums, because normally, in my situation, adults drums are

118
00:06:37,480 --> 00:06:42,160
Speaker 1: always the last resort of every drummer because their parents

119
00:06:42,160 --> 00:06:43,720
Speaker 1: don't want them to make noise or anything.

120
00:06:43,760 --> 00:06:45,920
Speaker 4: I got you, now, My parents were okay with it,

121
00:06:46,240 --> 00:06:48,960
Speaker 4: but quest did you have one of those black rubber

122
00:06:49,040 --> 00:06:54,839
Speaker 4: pads a drum pad? You know they bounced back, but

123
00:06:55,040 --> 00:06:58,320
Speaker 4: they have no sound, and that's what you got to

124
00:06:58,320 --> 00:06:59,800
Speaker 4: do when you're too.

125
00:06:59,600 --> 00:07:05,000
Speaker 1: Loud, right exactly. Well even that, I'll say, like my

126
00:07:05,120 --> 00:07:08,640
Speaker 1: first two years of taking drum lessons, you know, my

127
00:07:08,720 --> 00:07:14,600
Speaker 1: teacher had like this this shiny Ludwig drum set and

128
00:07:15,800 --> 00:07:20,120
Speaker 1: also a practice pad next to that drum set, and

129
00:07:20,160 --> 00:07:23,160
Speaker 1: we would just walk to the practice pad and I

130
00:07:23,160 --> 00:07:25,280
Speaker 1: would ask him like, wait, when do I get to

131
00:07:25,280 --> 00:07:27,920
Speaker 1: play those? And he's like, You're not ready yet. So

132
00:07:28,120 --> 00:07:31,480
Speaker 1: like for two years I had to play on that

133
00:07:31,520 --> 00:07:35,280
Speaker 1: practice pad, almost like it was like torture for you know,

134
00:07:35,360 --> 00:07:37,040
Speaker 1: to sit there in front of that drum set and

135
00:07:37,040 --> 00:07:39,320
Speaker 1: not even touch it for the first two years.

136
00:07:39,600 --> 00:07:42,840
Speaker 4: Yeah, no, same deal with me. I was told if

137
00:07:42,840 --> 00:07:46,760
Speaker 4: I took private lessons, I'd get better, and so I did,

138
00:07:47,200 --> 00:07:51,040
Speaker 4: and I was surrounded by drum sets on the damn

139
00:07:51,120 --> 00:07:52,520
Speaker 4: practice pad with the teacher.

140
00:07:52,920 --> 00:07:56,000
Speaker 1: Who's your north star as far as drumming was concerned,

141
00:07:56,000 --> 00:08:00,200
Speaker 1: Like you know, because I mean you were the rock era,

142
00:08:00,360 --> 00:08:03,760
Speaker 1: the modern rock era, so it wasn't like you have

143
00:08:04,000 --> 00:08:07,760
Speaker 1: tales of seeing anyone that modern musicians see now, So

144
00:08:07,800 --> 00:08:10,680
Speaker 1: who was your north Star? As far as like like

145
00:08:10,760 --> 00:08:14,240
Speaker 1: who would have been your Beatles on Sullivan movement? As

146
00:08:14,240 --> 00:08:15,920
Speaker 1: far as like that's what I want to do for

147
00:08:15,960 --> 00:08:16,320
Speaker 1: a living?

148
00:08:17,080 --> 00:08:18,560
Speaker 4: Elvin Jones.

149
00:08:19,120 --> 00:08:20,840
Speaker 3: Wow, great.

150
00:08:20,600 --> 00:08:24,160
Speaker 4: I got my fake ID in Tijuana and went to

151
00:08:24,400 --> 00:08:28,840
Speaker 4: Shelley's man hall, which the door man looked at and said,

152
00:08:28,840 --> 00:08:32,679
Speaker 4: this is fake, but come on in, you know, and

153
00:08:32,720 --> 00:08:35,360
Speaker 4: I saw Coltrane many times.

154
00:08:35,679 --> 00:08:37,720
Speaker 7: Oh my god, God, I wanted you to say that

155
00:08:37,760 --> 00:08:40,679
Speaker 7: your fake ID, said Elvin Jones on it.

156
00:08:42,920 --> 00:08:46,599
Speaker 1: What was that like to see like people that we

157
00:08:46,760 --> 00:08:49,040
Speaker 1: take for granted. I don't think we've ever had a

158
00:08:49,080 --> 00:08:51,960
Speaker 1: guest on the show that I saw Coltrane? Yeah, that

159
00:08:52,240 --> 00:08:55,679
Speaker 1: seen like gods and you knew they were gods then?

160
00:08:55,800 --> 00:08:57,240
Speaker 1: So what was that like for you to see?

161
00:08:57,480 --> 00:08:59,720
Speaker 4: All right, Well you can read all about it. Hey,

162
00:09:00,200 --> 00:09:05,120
Speaker 4: new book, The second or third chapter is on Elvin.

163
00:09:05,559 --> 00:09:09,400
Speaker 4: So you know, I knew there was magic. I mean

164
00:09:09,520 --> 00:09:13,480
Speaker 4: I didn't know that I was seeing iconic, that people

165
00:09:13,520 --> 00:09:16,080
Speaker 4: were going to be just legendary, you know, but I

166
00:09:16,280 --> 00:09:20,440
Speaker 4: sensed just I don't know, there was fire and energy,

167
00:09:20,559 --> 00:09:24,199
Speaker 4: like I couldn't believe the conversation. Elvin would have with Coltrane,

168
00:09:24,600 --> 00:09:27,440
Speaker 4: they'd just be you know, he'd keep the groove, but

169
00:09:27,480 --> 00:09:30,800
Speaker 4: he'd be riffing off him all the time. And you know,

170
00:09:31,040 --> 00:09:32,679
Speaker 4: it gave me a little courage now and then to

171
00:09:32,760 --> 00:09:35,400
Speaker 4: riff off Jim Morrison, you know, to fuck around with

172
00:09:35,440 --> 00:09:37,960
Speaker 4: what he's saying and you know, keep the groove. But

173
00:09:38,920 --> 00:09:44,280
Speaker 4: you know, Elvin, he's my man. And so after Coltrane died,

174
00:09:44,400 --> 00:09:47,600
Speaker 4: I saw Elvin. Well, let me back up, all right,

175
00:09:47,640 --> 00:09:50,959
Speaker 4: So my my idols are in the dressing room at

176
00:09:50,960 --> 00:09:53,640
Speaker 4: the jazz club, and the bathroom is right next to

177
00:09:53,840 --> 00:09:57,080
Speaker 4: the greenroom green room, and so I went to the

178
00:09:57,120 --> 00:10:02,160
Speaker 4: bathroom a lot because they right around the corner, you know.

179
00:10:02,920 --> 00:10:07,640
Speaker 4: And I was afraid to say anything. But later after

180
00:10:07,679 --> 00:10:14,240
Speaker 4: Coltrane died, I I introduced myself to Elvin, and then

181
00:10:14,440 --> 00:10:19,040
Speaker 4: I had I have three self centered memoirs, and the

182
00:10:19,120 --> 00:10:22,120
Speaker 4: first one, Riders on the Storm, I gave to Elvin

183
00:10:22,160 --> 00:10:24,480
Speaker 4: and I quickly said, hey, man, I wrote in here,

184
00:10:24,520 --> 00:10:27,520
Speaker 4: you gave me my hands, you know, worried that he

185
00:10:27,520 --> 00:10:30,440
Speaker 4: would be condescending, this jazz giant, and he was so

186
00:10:31,040 --> 00:10:34,559
Speaker 4: warm and friendly, and I saw him many more times,

187
00:10:34,600 --> 00:10:36,960
Speaker 4: and I took his symbol bag to the car towards

188
00:10:36,960 --> 00:10:39,440
Speaker 4: the end of his life. So we're talking to real

189
00:10:40,440 --> 00:10:41,440
Speaker 4: mentor you know.

190
00:10:42,400 --> 00:10:43,920
Speaker 2: What was it about his playing?

191
00:10:44,280 --> 00:10:46,840
Speaker 8: Because a lot of homies I went to school with

192
00:10:47,280 --> 00:10:50,040
Speaker 8: that were in the jazz department, they all like just

193
00:10:50,080 --> 00:10:53,360
Speaker 8: swore by Elvin Jones. So if you could explain to

194
00:10:53,600 --> 00:10:56,440
Speaker 8: kind of a layperson on what was it about his

195
00:10:56,760 --> 00:10:58,760
Speaker 8: drumming technique that just made him so amazing?

196
00:10:59,679 --> 00:11:02,800
Speaker 4: I think they called it poly rhythms, you know. I

197
00:11:02,840 --> 00:11:05,760
Speaker 4: mean he'd have the pocket. You have to have the pocket,

198
00:11:05,800 --> 00:11:10,080
Speaker 4: of course, but he was continually playing triplets and all

199
00:11:10,120 --> 00:11:13,280
Speaker 4: this shit all going on all the time, like churning

200
00:11:13,400 --> 00:11:18,480
Speaker 4: up an rhythmic egg beater, and it sounded like he

201
00:11:18,559 --> 00:11:19,960
Speaker 4: was going to fall into his kit.

202
00:11:20,080 --> 00:11:20,400
Speaker 3: He was.

203
00:11:20,800 --> 00:11:23,920
Speaker 4: It was just but he didn't, you know, I don't

204
00:11:23,960 --> 00:11:25,480
Speaker 4: know that's how I describe it.

205
00:11:25,559 --> 00:11:31,640
Speaker 3: You know, with your clear love for jazz, did you

206
00:11:31,679 --> 00:11:34,680
Speaker 3: ever actually play jazz in a serious way?

207
00:11:35,520 --> 00:11:38,400
Speaker 4: Yeah, A few years back I had a group called

208
00:11:38,440 --> 00:11:43,840
Speaker 4: Tribal Jazz, which was a jazz quartet or quintet with

209
00:11:44,480 --> 00:11:49,240
Speaker 4: two African drummers, which was really fun because you know,

210
00:11:49,760 --> 00:11:54,400
Speaker 4: I'm trying to integrate Senegalese rhythms into a drum kit,

211
00:11:54,679 --> 00:11:58,960
Speaker 4: you know, so it rearranged some brain cells. It was good.

212
00:11:59,800 --> 00:12:02,720
Speaker 3: And what about back when you were younger, did you

213
00:12:02,720 --> 00:12:03,600
Speaker 3: play any jazz then?

214
00:12:04,240 --> 00:12:07,480
Speaker 4: Well as a kid like crazy and then I stumbled

215
00:12:07,480 --> 00:12:09,800
Speaker 4: into this rock band.

216
00:12:12,400 --> 00:12:15,360
Speaker 8: I say it worked out pretty good.

217
00:12:15,760 --> 00:12:20,199
Speaker 1: Well, let me let me ask, because yeah, like was

218
00:12:20,240 --> 00:12:24,000
Speaker 1: there musical snobbery in the sixties to the level of

219
00:12:24,520 --> 00:12:26,160
Speaker 1: where you know, like it was a big deal for

220
00:12:26,200 --> 00:12:29,160
Speaker 1: like Leonard Cohen to say, like I actually like the

221
00:12:29,160 --> 00:12:30,480
Speaker 1: Beatles like that sort of thing.

222
00:12:30,960 --> 00:12:31,360
Speaker 4: I see?

223
00:12:31,720 --> 00:12:35,600
Speaker 1: Was it was it a struggle back then to win respect,

224
00:12:35,640 --> 00:12:38,360
Speaker 1: Like did you care as much or just were you unaware?

225
00:12:39,280 --> 00:12:43,880
Speaker 4: Uh? Back then the whole country was polarized into four

226
00:12:43,960 --> 00:12:47,760
Speaker 4: and against the Vietnam War, kind of like today's kind

227
00:12:47,760 --> 00:12:52,480
Speaker 4: of polarized, you know, and you know rock and roll

228
00:12:52,880 --> 00:12:58,280
Speaker 4: was against the war and a sort of liberal bent,

229
00:12:58,800 --> 00:13:02,040
Speaker 4: and so you were either for that or you know,

230
00:13:02,679 --> 00:13:06,160
Speaker 4: I would say that country music kind of represented the

231
00:13:06,200 --> 00:13:10,760
Speaker 4: other side. But the last chapter I got in this

232
00:13:10,800 --> 00:13:14,640
Speaker 4: book is on Willie Nelson, And you know, I'm looking

233
00:13:14,679 --> 00:13:17,160
Speaker 4: for the soul in any genre. You know, I can

234
00:13:17,200 --> 00:13:21,599
Speaker 4: get fed by if you're if you're saying something truthful

235
00:13:22,160 --> 00:13:25,560
Speaker 4: and if it's in a simplistic form. It doesn't matter. Man.

236
00:13:25,880 --> 00:13:30,360
Speaker 4: In fact, in my old age, I've learned that if

237
00:13:30,400 --> 00:13:36,080
Speaker 4: I put the right symbol crash in the exact right spot,

238
00:13:36,559 --> 00:13:39,680
Speaker 4: it can be as powerful as you know, in my

239
00:13:39,720 --> 00:13:42,080
Speaker 4: twenties when I showed all my shit or when I

240
00:13:42,080 --> 00:13:44,920
Speaker 4: had more chance, you know what I mean?

241
00:13:45,960 --> 00:13:48,920
Speaker 1: What was the what was the modern music scene like

242
00:13:49,480 --> 00:13:54,720
Speaker 1: in Los Angeles in the mid sixties before yeah, before

243
00:13:54,760 --> 00:13:57,439
Speaker 1: you guys really got established, Like was Whiskey Go Go

244
00:13:57,880 --> 00:14:00,760
Speaker 1: a thing sort of before you guys came along, or

245
00:14:00,920 --> 00:14:03,920
Speaker 1: like what was Yeah, it was just a modern scene.

246
00:14:03,800 --> 00:14:07,640
Speaker 4: Like exactly, No, the Whiskey was mecca and we were

247
00:14:07,640 --> 00:14:10,200
Speaker 4: playing in a little club of blockdown from the Whiskey.

248
00:14:11,080 --> 00:14:13,640
Speaker 4: The night we were fired because there was a fight,

249
00:14:14,000 --> 00:14:16,200
Speaker 4: which we did not cause, but they blamed it on

250
00:14:16,280 --> 00:14:20,520
Speaker 4: the band. The booker from the Whiskey dropped in and

251
00:14:20,560 --> 00:14:23,720
Speaker 4: saw us, and she hired us as the house band

252
00:14:23,800 --> 00:14:29,320
Speaker 4: at the Whiskey. And it was heaven. I mean every

253
00:14:29,440 --> 00:14:33,000
Speaker 4: night the streets were packed with hippies and music freaks

254
00:14:33,040 --> 00:14:38,520
Speaker 4: and and every band that came in, I don't know,

255
00:14:38,640 --> 00:14:43,600
Speaker 4: let's see Frank Zappa, Captain Beefheart, Van Morrison et. Cetera,

256
00:14:43,640 --> 00:14:46,600
Speaker 4: et cetera. The Birds all, you know, they had to

257
00:14:46,640 --> 00:14:53,040
Speaker 4: deal with the opening act. Wow, I don't mean to

258
00:14:53,240 --> 00:14:55,800
Speaker 4: well that sound a little self serving, but we were

259
00:14:56,000 --> 00:14:59,920
Speaker 4: we were different. You know, we were the undeclared via

260
00:15:00,120 --> 00:15:03,280
Speaker 4: non war. We were not singing about peace and love.

261
00:15:03,440 --> 00:15:07,360
Speaker 4: We were singing about this is the end, beautiful friend. Man,

262
00:15:08,640 --> 00:15:12,120
Speaker 4: things are there's a lot of lying going on, and

263
00:15:12,160 --> 00:15:15,040
Speaker 4: so you know, we play light my Fire and everybody

264
00:15:15,200 --> 00:15:17,920
Speaker 4: dance and that was really cool. And then we play

265
00:15:18,000 --> 00:15:24,320
Speaker 4: the end and it got very quiet, and then people

266
00:15:24,400 --> 00:15:27,480
Speaker 4: had to follow that the other bands, which I mean,

267
00:15:27,480 --> 00:15:29,960
Speaker 4: we were friends with them all, but it was a

268
00:15:30,000 --> 00:15:31,080
Speaker 4: really cool scene.

269
00:15:32,080 --> 00:15:36,920
Speaker 1: What were your thoughts on like the postmod kind of

270
00:15:37,240 --> 00:15:40,960
Speaker 1: movement of music, like people that weren't that political, more poppy,

271
00:15:41,080 --> 00:15:43,560
Speaker 1: like I guess I still want to know, like where

272
00:15:43,560 --> 00:15:48,840
Speaker 1: they're different tribes or different clicks of did you guys

273
00:15:49,200 --> 00:15:50,160
Speaker 1: mess together at all?

274
00:15:51,160 --> 00:15:54,480
Speaker 4: You know? The British invasion was kind of poppy, you know,

275
00:15:55,280 --> 00:15:59,520
Speaker 4: but then then we all started experimenting with then legal

276
00:15:59,560 --> 00:16:05,400
Speaker 4: psychos and the Beatles music got a little darker like our.

277
00:16:06,440 --> 00:16:10,320
Speaker 1: Did you appreciate it at the time, Well, appreciate their

278
00:16:10,440 --> 00:16:14,280
Speaker 1: contribution at the time, you know, it's it's from a

279
00:16:14,480 --> 00:16:18,360
Speaker 1: from a person from my generation. We'll be quick to

280
00:16:18,480 --> 00:16:22,920
Speaker 1: lump like anyone that came from the mid to late

281
00:16:22,960 --> 00:16:28,600
Speaker 1: sixties in the same bowl, you know, whereas I'm certain

282
00:16:28,640 --> 00:16:34,080
Speaker 1: that three four decades from now, you know, somebody will

283
00:16:34,080 --> 00:16:37,960
Speaker 1: look at my band or Fonte's band and you know

284
00:16:38,080 --> 00:16:41,840
Speaker 1: just think like, oh, okay, well, you know, Kanye West outcasts.

285
00:16:42,520 --> 00:16:47,440
Speaker 1: You guys are all the same, right, We've talked much

286
00:16:47,720 --> 00:16:49,560
Speaker 1: about each other and that sort of thing. So like,

287
00:16:50,440 --> 00:16:53,720
Speaker 1: you know, were you what are your thoughts on your

288
00:16:53,720 --> 00:16:57,720
Speaker 1: contemporaries at the time, like the Stones, the Beatles, the Who,

289
00:16:58,320 --> 00:16:58,840
Speaker 1: the Kinks.

290
00:16:59,320 --> 00:17:02,360
Speaker 4: Let me break it. You know. In the beginning, I

291
00:17:02,360 --> 00:17:04,760
Speaker 4: I was a jazz snob, but I was certainly aware

292
00:17:04,880 --> 00:17:07,280
Speaker 4: of the roots of rock and roll, Chuck Berry and

293
00:17:07,359 --> 00:17:11,399
Speaker 4: Little Richard and All and Elvis and whatever. Then I

294
00:17:11,440 --> 00:17:16,480
Speaker 4: saw these four mop tops on Ed Sullivan and I thought, wow, man,

295
00:17:16,520 --> 00:17:19,920
Speaker 4: what are they gay? What is this? You know? And

296
00:17:20,359 --> 00:17:27,399
Speaker 4: uh then I noticed I noticed their melodies. I thought, wow,

297
00:17:27,720 --> 00:17:31,720
Speaker 4: you know, because melodies, man, are they key? I don't

298
00:17:31,720 --> 00:17:34,560
Speaker 4: I don't care if it's heavy metal or country. If

299
00:17:34,600 --> 00:17:37,920
Speaker 4: you got a beautiful melody with a with a cool

300
00:17:38,040 --> 00:17:41,360
Speaker 4: lyric they got to be wetted together. Wow, you got

301
00:17:41,400 --> 00:17:44,120
Speaker 4: great songs, So you know, I knew the Beatles had

302
00:17:44,440 --> 00:17:48,200
Speaker 4: great songs, and we we looked up to the stones

303
00:17:48,560 --> 00:17:49,840
Speaker 4: and like.

304
00:17:49,840 --> 00:17:53,800
Speaker 1: That van Were they of an older generation to you?

305
00:17:53,920 --> 00:17:58,840
Speaker 1: Because even in my world, like someone that came out

306
00:17:59,160 --> 00:18:02,399
Speaker 1: four or five year years ago, I'll see that as

307
00:18:02,440 --> 00:18:06,280
Speaker 1: in hip hop terms, like someone that made their debut

308
00:18:06,480 --> 00:18:12,280
Speaker 1: in two thousand and ten even is kind of old.

309
00:18:12,680 --> 00:18:16,879
Speaker 1: Even even though they're not old school, they're considered old school. So,

310
00:18:18,520 --> 00:18:22,199
Speaker 1: you know, because of the of the years between you

311
00:18:22,240 --> 00:18:25,479
Speaker 1: guys them starting in sixty one sixty two, was it

312
00:18:25,560 --> 00:18:30,200
Speaker 1: still the same fraternity or were they seeing as older statesmen?

313
00:18:30,840 --> 00:18:33,560
Speaker 1: Not older statesmen? But that's what I'm asking.

314
00:18:33,600 --> 00:18:36,239
Speaker 4: Yeah, no, they were just a few years older, so

315
00:18:36,280 --> 00:18:40,840
Speaker 4: they weren't an entirely different genre, you know. You know,

316
00:18:40,960 --> 00:18:45,120
Speaker 4: and then as you go along, can you keep making

317
00:18:45,560 --> 00:18:49,479
Speaker 4: records that are important? And a lot of folks followed

318
00:18:49,520 --> 00:18:53,640
Speaker 4: by the wayside, And we managed to do okay, even

319
00:18:53,680 --> 00:18:57,639
Speaker 4: though Jim, you know, he started drinking so much that

320
00:18:57,720 --> 00:19:02,679
Speaker 4: it got quite difficult, you know, Like I got a

321
00:19:02,800 --> 00:19:05,000
Speaker 4: chapter in this new book on Jim and one on

322
00:19:05,160 --> 00:19:14,040
Speaker 4: Janis two cautionary Chaplin two cautionary tales. You know, self

323
00:19:14,080 --> 00:19:18,280
Speaker 4: destruction and creativity come in the same package with them,

324
00:19:18,400 --> 00:19:21,800
Speaker 4: but not with everybody.

325
00:19:24,720 --> 00:19:32,200
Speaker 1: We're we're really good friends with Shep Gordon, who told

326
00:19:32,440 --> 00:19:35,560
Speaker 1: us a lot about the scene in la especially at

327
00:19:35,560 --> 00:19:42,520
Speaker 1: the hotel. I forget the hotel and sunset where every yeah,

328
00:19:42,560 --> 00:19:47,080
Speaker 1: everyone yeah, well yeah, everyone just hungt and whatnot. Like

329
00:19:47,359 --> 00:19:51,200
Speaker 1: this book of the group love and and all those things.

330
00:19:51,760 --> 00:19:55,520
Speaker 1: Were you directly like a part of that scene, like

331
00:19:55,640 --> 00:19:58,240
Speaker 1: off stage where you guys sort of.

332
00:19:59,240 --> 00:20:01,240
Speaker 4: Not quite that scene. I'm trying to think of the

333
00:20:01,240 --> 00:20:04,640
Speaker 4: hotel too. But but but once you played the whiskey,

334
00:20:06,200 --> 00:20:10,640
Speaker 4: Mario the door guy let anybody in, so we would

335
00:20:10,680 --> 00:20:12,960
Speaker 4: all go see each other when we were not playing,

336
00:20:13,000 --> 00:20:16,800
Speaker 4: and so was it fraternity, you know, and we love

337
00:20:16,920 --> 00:20:20,440
Speaker 4: for example. Man, they were really like them a lot.

338
00:20:20,640 --> 00:20:24,200
Speaker 4: They were so different. Forever Changes is a masterpiece.

339
00:20:24,280 --> 00:20:29,200
Speaker 3: That album, Yeah, Forever Change, Forever Changes is masterpiece. It's

340
00:20:29,480 --> 00:20:31,680
Speaker 3: you know, the that's from the Summer I love too.

341
00:20:31,960 --> 00:20:33,920
Speaker 3: I mean there was there's just like there's a few

342
00:20:35,160 --> 00:20:38,400
Speaker 3: there's a few albums from from that era that are

343
00:20:38,480 --> 00:20:40,160
Speaker 3: just yeah, I.

344
00:20:40,040 --> 00:20:43,399
Speaker 4: Want to get on the soapbox for a second's go

345
00:20:43,640 --> 00:20:48,080
Speaker 4: get pissed off when people dissed the sixties as a failure.

346
00:20:48,760 --> 00:20:56,400
Speaker 1: Wait, okay, based on everything from the sixties, I.

347
00:20:56,359 --> 00:20:59,080
Speaker 5: Mean, there's no progress without the sixties.

348
00:20:59,520 --> 00:21:01,240
Speaker 4: I never mind what I was going to say.

349
00:21:02,560 --> 00:21:05,800
Speaker 5: I want to hear it. It's feeling that way. So

350
00:21:05,880 --> 00:21:07,160
Speaker 5: glad I talked about, Yeah.

351
00:21:06,960 --> 00:21:10,920
Speaker 1: Well, there is a perception that like post sixty nine,

352
00:21:11,000 --> 00:21:15,760
Speaker 1: that there was not diminished returns per se, but everything

353
00:21:15,840 --> 00:21:18,560
Speaker 1: was over and everything that was fought for and built

354
00:21:18,800 --> 00:21:21,119
Speaker 1: was sort of just washed away.

355
00:21:22,000 --> 00:21:27,520
Speaker 4: So well, what were you saying, Well, yeah, the seeds

356
00:21:27,960 --> 00:21:32,680
Speaker 4: of civil rights, the peace movement, feminism all were planted

357
00:21:32,800 --> 00:21:37,840
Speaker 4: in the sixties, and maybe these seeds take like a

358
00:21:37,880 --> 00:21:42,639
Speaker 4: long time, fifty hundred years for full fruition. So don't

359
00:21:42,920 --> 00:21:46,439
Speaker 4: dis you know, we're on the shoulders of all folks

360
00:21:46,520 --> 00:21:51,160
Speaker 4: before and so you know, yeah, progress is not as

361
00:21:51,200 --> 00:21:55,360
Speaker 4: fast as we wanted, you know, like ge Obama got elected,

362
00:21:55,400 --> 00:22:04,560
Speaker 4: so there's no more racism, yeah, what know? So But anyway,

363
00:22:05,640 --> 00:22:10,080
Speaker 4: and speaking of which, I was hoping, uh, sometime during

364
00:22:10,080 --> 00:22:14,680
Speaker 4: this podcast, I could do a five minute poem for

365
00:22:16,240 --> 00:22:22,600
Speaker 4: Stacy Abrams. Oh, because I've been thinking about Jesus. All right,

366
00:22:22,600 --> 00:22:25,800
Speaker 4: now I'm not approved before I'm going to approve. I'm

367
00:22:25,840 --> 00:22:31,119
Speaker 4: the drummer, not the singer. I've been thinking about Georgia, Georgia,

368
00:22:31,440 --> 00:22:35,440
Speaker 4: No Piece of Fun. You're on my mind when they're

369
00:22:35,520 --> 00:22:40,680
Speaker 4: voting today.

370
00:22:39,320 --> 00:22:42,240
Speaker 1: Everybody, Man, by the time this area as we'll have

371
00:22:42,320 --> 00:22:43,360
Speaker 1: the results that we want.

372
00:22:43,800 --> 00:22:44,040
Speaker 4: Yeah.

373
00:22:44,520 --> 00:22:46,640
Speaker 6: Yeah, but we're going to get that poem too, because

374
00:22:46,640 --> 00:22:48,160
Speaker 6: I want to get that old to stay.

375
00:22:48,760 --> 00:22:52,680
Speaker 8: Yes, I was curious to know, man, do you have

376
00:22:53,440 --> 00:22:57,000
Speaker 8: to give us kind of a parallel the band that

377
00:22:57,119 --> 00:22:59,880
Speaker 8: the Doors and kind of what you guys represented when

378
00:22:59,880 --> 00:23:02,600
Speaker 8: you guys came out, Who would you say is probably

379
00:23:02,640 --> 00:23:06,200
Speaker 8: the closest modern day contemporary And by modern day, I

380
00:23:06,240 --> 00:23:07,639
Speaker 8: mean it could be anyone from the last you know,

381
00:23:07,800 --> 00:23:10,760
Speaker 8: twenty years whatever, But uh, that you think kind of

382
00:23:10,760 --> 00:23:13,960
Speaker 8: embodies the spirit of what you guys were about.

383
00:23:15,119 --> 00:23:17,960
Speaker 4: Oh, putting me on the spot here.

384
00:23:17,880 --> 00:23:20,040
Speaker 3: I mean Nirvana would be my guess.

385
00:23:20,560 --> 00:23:23,000
Speaker 1: Really, you know, it was weird though I always thought

386
00:23:23,040 --> 00:23:27,320
Speaker 1: the doors were doors are really kind of I feel

387
00:23:27,320 --> 00:23:29,560
Speaker 1: like the Doors are hip hop as far as they

388
00:23:29,600 --> 00:23:30,800
Speaker 1: were rebellion is concerned.

389
00:23:30,960 --> 00:23:34,679
Speaker 4: Yeah, yeah, that's good. Okay, Let me let me tell

390
00:23:34,720 --> 00:23:37,640
Speaker 4: you something way back, jay Z asked.

391
00:23:37,359 --> 00:23:42,200
Speaker 1: For five to one on yeah.

392
00:23:42,160 --> 00:23:44,520
Speaker 4: You know, and I was just coming on board. I

393
00:23:44,520 --> 00:23:47,200
Speaker 4: didn't know what was happening, and I went, wait a minute,

394
00:23:47,200 --> 00:23:50,480
Speaker 4: you know what, huh it's all bitches and holes. No,

395
00:23:50,560 --> 00:23:55,720
Speaker 4: you can't have it. And he he writes me a letter,

396
00:23:56,280 --> 00:23:59,399
Speaker 4: and he sends me a Team Rock jersey and he

397
00:23:59,680 --> 00:24:01,359
Speaker 4: breaks it down for me and said, man, you know

398
00:24:02,000 --> 00:24:05,359
Speaker 4: we're doing what you're doing, fighting the establishment, going for truth.

399
00:24:05,440 --> 00:24:13,080
Speaker 4: And and then I got it. Believe me, I got it.

400
00:24:13,119 --> 00:24:14,880
Speaker 7: Along those lines, The Doors is one of the only

401
00:24:14,920 --> 00:24:17,199
Speaker 7: bands that I can think of that didn't have a

402
00:24:17,200 --> 00:24:20,879
Speaker 7: bass player. And while Ray played bass in his left hand,

403
00:24:21,040 --> 00:24:22,879
Speaker 7: it is one of the few bands that didn't have

404
00:24:22,960 --> 00:24:25,320
Speaker 7: like a legit bass player. Can you talk about what

405
00:24:25,359 --> 00:24:28,720
Speaker 7: that was like, because yeah, it's not a thing. It's

406
00:24:28,760 --> 00:24:31,439
Speaker 7: not a normal a lot of work.

407
00:24:33,320 --> 00:24:35,800
Speaker 4: I mean, usually the bass player and the drummer or

408
00:24:35,840 --> 00:24:38,560
Speaker 4: the rhythm section, you know, holding holding down the groove

409
00:24:38,600 --> 00:24:41,879
Speaker 4: in the basement. And it was me and Ray's left

410
00:24:41,880 --> 00:24:48,760
Speaker 4: hand and uh, but but but he he he played

411
00:24:48,960 --> 00:24:52,200
Speaker 4: simplified sort of boogie woogie bass lines with his left hand,

412
00:24:52,240 --> 00:24:55,760
Speaker 4: which turned out to be gold like dome Don't Don't

413
00:24:55,760 --> 00:25:01,040
Speaker 4: do don't it's just hooky stuff. And so fortunately we

414
00:25:01,200 --> 00:25:04,560
Speaker 4: felt the same pocket. Actually, the first tune we played

415
00:25:04,600 --> 00:25:09,960
Speaker 4: together ever was all Blues by Miles Davis, which is

416
00:25:10,000 --> 00:25:12,960
Speaker 4: in three you know, and then I knew, I knew

417
00:25:13,040 --> 00:25:17,760
Speaker 4: Ray knew some shit. So we played the blues and

418
00:25:17,800 --> 00:25:20,240
Speaker 4: we were sort of laying back on the groove as

419
00:25:20,280 --> 00:25:22,399
Speaker 4: you do with the blues, and then we started writing

420
00:25:22,440 --> 00:25:25,000
Speaker 4: our own stuff, and then we kind of found our pocket.

421
00:25:25,880 --> 00:25:29,560
Speaker 8: But so were you and Ray the kind of the beginning,

422
00:25:29,640 --> 00:25:32,359
Speaker 8: the start of the doors? Were you to primary songwriters

423
00:25:32,440 --> 00:25:33,359
Speaker 8: or how did that work?

424
00:25:34,119 --> 00:25:38,479
Speaker 4: Well? Jim had all these words and melodies and couldn't

425
00:25:38,520 --> 00:25:43,880
Speaker 4: play one chord on any instrument. We're talking gifted here.

426
00:25:44,600 --> 00:25:50,280
Speaker 4: So he would sing acappella and and you know roadhouse blues,

427
00:25:50,320 --> 00:25:52,680
Speaker 4: which we played with with I played with you guys,

428
00:25:52,720 --> 00:25:56,000
Speaker 4: you know is blues that's not too difficult. But he

429
00:25:56,080 --> 00:26:03,240
Speaker 4: would sing these complicated before you lip into unconsciousness, I'd

430
00:26:03,400 --> 00:26:07,560
Speaker 4: like to have another kiss, Like wait a minute, f sharp,

431
00:26:07,680 --> 00:26:10,679
Speaker 4: what the hell? You know? He just had his head

432
00:26:11,480 --> 00:26:13,800
Speaker 4: so wow, you know, So what.

433
00:26:13,760 --> 00:26:16,640
Speaker 1: Were those songwriting sessions like? Like he would just would

434
00:26:16,640 --> 00:26:18,399
Speaker 1: it start with him and his words first, and you

435
00:26:18,440 --> 00:26:19,879
Speaker 1: guys figure out where he's going with it.

436
00:26:20,320 --> 00:26:22,840
Speaker 4: Yeah. Yeah, we'd figure out the groove, then we'd stop

437
00:26:23,040 --> 00:26:26,800
Speaker 4: and change chords or say, oh man, well we need

438
00:26:26,800 --> 00:26:29,920
Speaker 4: a bridge or a solo here or whatever. So that's

439
00:26:29,960 --> 00:26:33,800
Speaker 4: why he said, Hey, let's credit all the songs written

440
00:26:33,800 --> 00:26:36,800
Speaker 4: by the Door. It's not lyrics by me, you know, Wow,

441
00:26:37,320 --> 00:26:39,840
Speaker 4: And let's split all the dough really.

442
00:26:40,920 --> 00:26:41,800
Speaker 1: Wow.

443
00:26:43,720 --> 00:26:45,359
Speaker 6: Can I ask a question, because you met, you talked

444
00:26:45,400 --> 00:26:47,520
Speaker 6: about this, and you touched on it. But I gotta

445
00:26:47,600 --> 00:26:49,680
Speaker 6: know you said you were kind of like in your

446
00:26:49,680 --> 00:26:52,119
Speaker 6: own snobby sense when you were an early musician, and

447
00:26:52,200 --> 00:26:55,040
Speaker 6: somehow you met him and he convinced you to go

448
00:26:55,080 --> 00:26:56,720
Speaker 6: to this route, because it sounds like you weren't even

449
00:26:56,760 --> 00:26:59,040
Speaker 6: trying to go this rock and roll route, like you

450
00:26:59,080 --> 00:27:01,320
Speaker 6: had this this jazz mind. So what was that moment

451
00:27:02,240 --> 00:27:04,240
Speaker 6: that he convinced you?

452
00:27:04,240 --> 00:27:07,280
Speaker 4: You know, I was passionate for music, but I never

453
00:27:07,320 --> 00:27:09,600
Speaker 4: thought i'd make a living at it, you know what

454
00:27:09,640 --> 00:27:09,960
Speaker 4: I mean?

455
00:27:10,280 --> 00:27:10,800
Speaker 5: What did you think?

456
00:27:10,840 --> 00:27:13,080
Speaker 7: You know?

457
00:27:13,160 --> 00:27:16,760
Speaker 4: How? Then when the Doors got going, I thought, oh, god, man,

458
00:27:16,880 --> 00:27:19,680
Speaker 4: you know, if we can pay the rent for a decade,

459
00:27:19,680 --> 00:27:23,320
Speaker 4: wouldn't that be a miracle. Well let's see. Yeah, I'm

460
00:27:23,400 --> 00:27:28,560
Speaker 4: seventy six and it's wow. Later, I'm still talking about

461
00:27:28,600 --> 00:27:29,400
Speaker 4: this damn band.

462
00:27:29,520 --> 00:27:33,000
Speaker 6: But was it a conversation that you had that that

463
00:27:33,320 --> 00:27:35,520
Speaker 6: convinced you that I'm an ride this ride because I

464
00:27:35,560 --> 00:27:37,520
Speaker 6: know that this is going somewhere or was it something

465
00:27:37,520 --> 00:27:38,840
Speaker 6: that he sang or something?

466
00:27:38,960 --> 00:27:42,440
Speaker 4: Yeah, yeah, good, good good good. All right. So after

467
00:27:42,480 --> 00:27:45,000
Speaker 4: we play all blues and I'm noticing this guy in

468
00:27:45,000 --> 00:27:47,520
Speaker 4: the corner, and Ray says, Jim, this is Jim the singer.

469
00:27:47,800 --> 00:27:50,680
Speaker 4: He's never sung before and he can't play any instrument,

470
00:27:50,760 --> 00:27:55,280
Speaker 4: but look at these lyrics. And he hands me a

471
00:27:55,320 --> 00:27:58,320
Speaker 4: crumpled piece of paper and on the paper it says,

472
00:27:59,480 --> 00:28:03,840
Speaker 4: day just draws the night, night divides, the day, tried

473
00:28:03,840 --> 00:28:06,480
Speaker 4: to run, tried to hide, break on through to the

474
00:28:06,520 --> 00:28:12,840
Speaker 4: other side. Okay, right right away, right rhythmic stuff starts.

475
00:28:13,400 --> 00:28:15,320
Speaker 4: That's that pulled me in immediately, you know.

476
00:28:16,160 --> 00:28:20,440
Speaker 1: So was I always wanted to know? Was that song

477
00:28:20,600 --> 00:28:27,679
Speaker 1: somewhat influenced from Ray Charles? Is what I say? Oh wow,

478
00:28:29,680 --> 00:28:31,760
Speaker 1: it's funny, man, we're past the statue.

479
00:28:32,480 --> 00:28:32,680
Speaker 4: Good.

480
00:28:32,800 --> 00:28:34,439
Speaker 1: No, you know I.

481
00:28:34,920 --> 00:28:38,920
Speaker 4: Used to play that what I say, only I couldn't

482
00:28:38,920 --> 00:28:41,120
Speaker 4: do it with one hand. I had to have both

483
00:28:41,200 --> 00:28:45,280
Speaker 4: hands on the bell of the ride symbol didn't have

484
00:28:45,320 --> 00:28:50,000
Speaker 4: the chop shit Anyway, what was going on was Bosan

485
00:28:50,120 --> 00:28:54,680
Speaker 4: Nova was coming up from Brazil big time, and so

486
00:28:55,640 --> 00:29:07,560
Speaker 4: this little government and I'm digging the groove. It's real light. Okay,

487
00:29:07,600 --> 00:29:10,920
Speaker 4: I'm gonna make it stiffer and harder and faster, and

488
00:29:11,000 --> 00:29:13,600
Speaker 4: so I copped the whole thing and made it rock

489
00:29:13,640 --> 00:29:15,320
Speaker 4: and roll. But break on Through is kind of a

490
00:29:15,400 --> 00:29:21,160
Speaker 4: rock and Bossanova rock or whatever rock brock.

491
00:29:21,760 --> 00:29:25,360
Speaker 3: And I ask a question getting back to what what

492
00:29:25,440 --> 00:29:29,920
Speaker 3: Bill asked you about playing with with Ray Manzeric and

493
00:29:30,000 --> 00:29:34,920
Speaker 3: him playing the bass with his left hand. Uh so

494
00:29:35,080 --> 00:29:39,320
Speaker 3: that's that's that's the main that's the doors sound basically,

495
00:29:39,360 --> 00:29:43,760
Speaker 3: But on later albums you did use uh actual electric

496
00:29:43,800 --> 00:29:46,600
Speaker 3: bass players on certain on certain things.

497
00:29:46,600 --> 00:29:48,120
Speaker 4: Really good question.

498
00:29:49,640 --> 00:29:52,200
Speaker 3: Yeah, yeah, I just I mean my question is, actually,

499
00:29:54,040 --> 00:29:56,960
Speaker 3: you know what, as the drummer from the drummers perspective,

500
00:29:57,080 --> 00:30:01,360
Speaker 3: what's the difference being, you know, part half of the

501
00:30:01,440 --> 00:30:04,120
Speaker 3: rhythm section with somebody who's playing it on the organ

502
00:30:04,160 --> 00:30:05,800
Speaker 3: and somebody who's playing it with the guitar.

503
00:30:06,600 --> 00:30:11,720
Speaker 4: Well, first of all, when we played live, when Ray

504
00:30:11,800 --> 00:30:15,600
Speaker 4: would take a solo on organ, he'd get excited and

505
00:30:15,680 --> 00:30:17,360
Speaker 4: the bass player would speed up.

506
00:30:17,440 --> 00:30:23,320
Speaker 1: Holy moly, there's no more frustrating that happening.

507
00:30:23,000 --> 00:30:27,160
Speaker 4: I got to pull the reins back. Okay, So this

508
00:30:27,440 --> 00:30:32,800
Speaker 4: was before Moog synthesizers were even invented, So we knew

509
00:30:32,880 --> 00:30:36,440
Speaker 4: that the keyboard bass, he had a Fender Rhodes keyboard

510
00:30:36,440 --> 00:30:40,840
Speaker 4: basic kind of kind of was mushy and it needed

511
00:30:40,840 --> 00:30:44,280
Speaker 4: a little more punch. And so even on the first record,

512
00:30:44,680 --> 00:30:48,360
Speaker 4: we had Larry neckt Ol Studio bass player over dub

513
00:30:49,320 --> 00:30:54,280
Speaker 4: on Fender Electric bass. Ray's exact bass lines to give

514
00:30:54,320 --> 00:30:56,840
Speaker 4: it the pluck of the string, gave it the punch

515
00:30:56,920 --> 00:31:01,640
Speaker 4: we needed, you know. And then later we did have

516
00:31:01,720 --> 00:31:04,959
Speaker 4: bass players and you know, God, Harvey Brooks was on

517
00:31:06,000 --> 00:31:10,200
Speaker 4: Soft Parade, great bass player played with Dylan and the

518
00:31:10,240 --> 00:31:12,920
Speaker 4: Electric Flag and so that was a lot of fun

519
00:31:12,920 --> 00:31:16,960
Speaker 4: for me. You know, Elvis's bass player played on La

520
00:31:17,080 --> 00:31:21,040
Speaker 4: Woman Jerry Chef, and that was cool. He even said

521
00:31:21,080 --> 00:31:24,960
Speaker 4: that he put a little line from uh, the La Woman,

522
00:31:25,000 --> 00:31:26,640
Speaker 4: do do do do do do do do do do do?

523
00:31:26,720 --> 00:31:28,800
Speaker 4: He's stuck a little bit of it in an Elvis

524
00:31:28,880 --> 00:31:29,800
Speaker 4: recording session.

525
00:31:29,880 --> 00:31:34,320
Speaker 3: So so we can just finish up this thought that

526
00:31:35,160 --> 00:31:40,320
Speaker 3: playing playing with Ray versus playing with Harvey Brooks, you

527
00:31:40,360 --> 00:31:41,720
Speaker 3: know from a rhythm section.

528
00:31:41,800 --> 00:31:45,360
Speaker 4: Yes, yeah, Well I mean I could almost play one handed,

529
00:31:45,400 --> 00:31:49,640
Speaker 4: because when there's a separate bass player plucking and concentrating

530
00:31:49,640 --> 00:31:53,840
Speaker 4: on the groove, you know, he's helped he's your brother

531
00:31:54,800 --> 00:31:58,560
Speaker 4: helping them. It's it's easier, you know, and you play

532
00:31:58,600 --> 00:32:01,160
Speaker 4: off each other and whatever. Ray was playing sort of

533
00:32:01,200 --> 00:32:06,000
Speaker 4: simplistic lines, but it kind of gave space. There was

534
00:32:06,080 --> 00:32:09,760
Speaker 4: more air and openness in the sound, which was quite

535
00:32:09,800 --> 00:32:14,600
Speaker 4: cool and unique. You know. We auditioned bass players way back.

536
00:32:15,600 --> 00:32:18,360
Speaker 4: We even had a girl for a minute there, but

537
00:32:18,520 --> 00:32:23,480
Speaker 4: we felt like we sound like another white blues band,

538
00:32:23,520 --> 00:32:26,400
Speaker 4: the Rolling Stones or something. And then we discovered this

539
00:32:26,520 --> 00:32:30,960
Speaker 4: keyboard base went oh Man and the guy who made

540
00:32:30,960 --> 00:32:33,720
Speaker 4: all the LSD in San Francisco, I can't think.

541
00:32:33,600 --> 00:32:34,120
Speaker 7: Of his name.

542
00:32:34,640 --> 00:32:35,680
Speaker 3: He can't think of his name.

543
00:32:35,760 --> 00:32:46,160
Speaker 4: Of course, we were playing one of the psychedelic ballrooms.

544
00:32:46,400 --> 00:32:50,440
Speaker 4: He comes back, Owsley, that's his name, Owsley. He comes

545
00:32:50,440 --> 00:32:54,800
Speaker 4: backstage and said, hey man, you guys you're great. You

546
00:32:54,880 --> 00:32:56,680
Speaker 4: got a hole in your sound, though, you need a

547
00:32:56,720 --> 00:33:00,360
Speaker 4: bass player. He leaves and I turned to Ray and

548
00:33:00,400 --> 00:33:05,040
Speaker 4: I said, wow, we're making the Acid King Nervous. I

549
00:33:05,080 --> 00:33:06,360
Speaker 4: think we're on the right track here.

550
00:33:09,120 --> 00:33:14,120
Speaker 1: I have a question of I can't think of another. Besides,

551
00:33:14,600 --> 00:33:20,160
Speaker 1: besides the Look of Love, I believe that Light.

552
00:33:20,000 --> 00:33:24,040
Speaker 2: My Fire, the most covered song is probably.

553
00:33:23,760 --> 00:33:25,640
Speaker 1: No, No, No. Even more than that, I feel like

554
00:33:25,720 --> 00:33:30,760
Speaker 1: light my Fire is probably the only song in which

555
00:33:31,280 --> 00:33:35,560
Speaker 1: you cannot drop the ball as far as covering is concerned,

556
00:33:36,320 --> 00:33:40,520
Speaker 1: and billions of people have covered it, do you have

557
00:33:40,880 --> 00:33:45,120
Speaker 1: a preference of of of the many covers that of

558
00:33:45,160 --> 00:33:45,960
Speaker 1: the of that song.

559
00:33:46,920 --> 00:33:50,160
Speaker 4: First of all, quest thanks for putting Light my Fire

560
00:33:50,200 --> 00:33:52,960
Speaker 4: in the same category as the Look of Love.

561
00:33:53,480 --> 00:33:59,440
Speaker 1: I'm just saying I've never found I never found a

562
00:33:59,440 --> 00:34:02,200
Speaker 1: bad cover of Light my Fire, never found a back

563
00:34:02,240 --> 00:34:05,000
Speaker 1: cover look of bluff like, it's impossible to drop the

564
00:34:05,040 --> 00:34:05,720
Speaker 1: ball in that song.

565
00:34:05,920 --> 00:34:07,120
Speaker 4: Who sang look a Love?

566
00:34:08,760 --> 00:34:12,240
Speaker 2: The original was God? Who was the original?

567
00:34:16,239 --> 00:34:16,480
Speaker 1: It was.

568
00:34:18,760 --> 00:34:22,240
Speaker 4: Right, right, right right. What what's cool is somebody covers

569
00:34:22,239 --> 00:34:27,040
Speaker 4: your song and finds a new way to interpret it.

570
00:34:27,520 --> 00:34:31,280
Speaker 4: That's really cool. I mean, it's cool to get any

571
00:34:31,360 --> 00:34:34,120
Speaker 4: song covered, even if they copy your arrangement, because you

572
00:34:34,200 --> 00:34:43,719
Speaker 4: get the writers share but facts. Jose Feliciano takes my Fire, yea,

573
00:34:44,400 --> 00:34:48,279
Speaker 4: he makes it a ballad. We all went, oh, that

574
00:34:48,480 --> 00:34:49,279
Speaker 4: is beautiful.

575
00:34:49,880 --> 00:34:51,440
Speaker 1: What did you think of Al Green's version?

576
00:34:51,480 --> 00:34:51,640
Speaker 4: Man?

577
00:34:51,680 --> 00:34:53,239
Speaker 2: I think that's probably my favorite one.

578
00:34:53,800 --> 00:34:56,880
Speaker 4: I bet I can't. I didn't hear it. Give it

579
00:34:56,880 --> 00:34:58,239
Speaker 4: to me that really he did it?

580
00:34:58,840 --> 00:35:00,279
Speaker 1: Were you never heard Al Greens version?

581
00:35:01,680 --> 00:35:04,360
Speaker 4: Can we play God?

582
00:35:05,160 --> 00:35:09,160
Speaker 6: This is fair use to podcast, fair use, we talk

583
00:35:09,200 --> 00:35:12,280
Speaker 6: about it journalistic, this is even.

584
00:35:12,080 --> 00:35:12,919
Speaker 1: The spoken part.

585
00:35:13,400 --> 00:35:18,640
Speaker 8: The Right have his version and have you, uh, John,

586
00:35:18,680 --> 00:35:20,640
Speaker 8: have you ever heard the Free Design?

587
00:35:21,040 --> 00:35:22,960
Speaker 2: Have you ever heard their version of Jesus Christ?

588
00:35:23,200 --> 00:35:28,640
Speaker 1: Yeah? Free Design, they they just.

589
00:35:28,640 --> 00:35:30,840
Speaker 2: They just like Mama's and the Papas on LSD.

590
00:35:31,400 --> 00:35:37,800
Speaker 1: Yeah, they take chromatic like Ninth Harmony chords to another place.

591
00:35:38,360 --> 00:35:42,120
Speaker 1: I will say the Free Design is probably my go

592
00:35:42,200 --> 00:35:46,320
Speaker 1: to version, even though I love the Al's version. Actually,

593
00:35:46,360 --> 00:35:50,640
Speaker 1: it's funny you mentioned Jose. Jose actually doubles down because

594
00:35:50,680 --> 00:35:56,880
Speaker 1: even on many Ripperton's version, h Jose shows up and

595
00:35:56,880 --> 00:36:02,000
Speaker 1: and does his riffing at the end the fire right

596
00:36:02,080 --> 00:36:09,360
Speaker 1: right exactly exactly. So Okay, I gotta know this because

597
00:36:09,400 --> 00:36:13,200
Speaker 1: the one thing that I know that you're a big one,

598
00:36:13,560 --> 00:36:17,480
Speaker 1: which you know, it's it's it's weird because even though

599
00:36:18,560 --> 00:36:23,120
Speaker 1: with the rebellion of the first wave of modern rock,

600
00:36:24,160 --> 00:36:28,080
Speaker 1: not modern rock, but you know, the the sixties rock

601
00:36:28,760 --> 00:36:33,640
Speaker 1: cats and hip hop cats, is this rebellious spirit to

602
00:36:33,760 --> 00:36:39,919
Speaker 1: the system. But somehow I will say that in hip

603
00:36:39,960 --> 00:36:48,400
Speaker 1: hop terms, our relationship with capitalism slightly different from the

604
00:36:49,600 --> 00:36:56,440
Speaker 1: sixties rock generation in that, you know, licensing songs and

605
00:36:56,560 --> 00:37:01,360
Speaker 1: commercial uses. You know, rappers about that all day a commercial,

606
00:37:01,560 --> 00:37:05,680
Speaker 1: whereas you know, I often hear the sixties generations sort

607
00:37:05,719 --> 00:37:09,040
Speaker 1: of like I'm not selling out and so you're world

608
00:37:09,120 --> 00:37:18,759
Speaker 1: famous for your thumbs down on which you know that.

609
00:37:19,239 --> 00:37:20,960
Speaker 1: I'm like, that must be nice, But.

610
00:37:21,560 --> 00:37:27,239
Speaker 4: Uh, I see it from all sides. I mean, you know,

611
00:37:27,320 --> 00:37:30,479
Speaker 4: Tavis Smiley said to me, you're you're you're either really

612
00:37:30,520 --> 00:37:31,719
Speaker 4: great or you're crazy.

613
00:37:31,760 --> 00:37:33,520
Speaker 3: You know about that.

614
00:37:33,880 --> 00:37:39,279
Speaker 4: But you know, what, can I say it? If you're

615
00:37:39,320 --> 00:37:42,239
Speaker 4: trying to pay the rent and you get to do

616
00:37:42,320 --> 00:37:45,399
Speaker 4: it commercial paid, you do it. Man, It's hard enough

617
00:37:45,480 --> 00:37:50,840
Speaker 4: out there. What happened was that we got this offer,

618
00:37:51,880 --> 00:37:54,120
Speaker 4: come on buick light my fire.

619
00:37:56,239 --> 00:38:01,160
Speaker 1: No no, yeah, and.

620
00:38:01,400 --> 00:38:05,560
Speaker 7: See the article that's not on the Google. Like if

621
00:38:05,560 --> 00:38:07,600
Speaker 7: the Google said that, it would be a very different thing.

622
00:38:07,680 --> 00:38:09,520
Speaker 2: That's everyone would understand why you did.

623
00:38:10,760 --> 00:38:11,880
Speaker 1: Yeah.

624
00:38:11,920 --> 00:38:15,640
Speaker 4: So Jim was out of town. It was a lot

625
00:38:15,680 --> 00:38:19,279
Speaker 4: of dough and we were kind of drooling and he

626
00:38:19,440 --> 00:38:22,759
Speaker 4: came back and he said, yeah, let's do it. And

627
00:38:22,840 --> 00:38:26,040
Speaker 4: I got a really good idea for a TV ad.

628
00:38:26,440 --> 00:38:29,640
Speaker 4: I'll smash a buick on television with a sledgehammer.

629
00:38:32,760 --> 00:38:35,000
Speaker 3: Okay, and that's on fire.

630
00:38:38,000 --> 00:38:42,320
Speaker 4: That's a no. And so all right, Uh, Jim wrote

631
00:38:42,440 --> 00:38:46,879
Speaker 4: one line in light my fire. Robbie Krieger wrote all

632
00:38:46,920 --> 00:38:51,680
Speaker 4: the lyrics, and Jim added, our love become a funeral

633
00:38:51,719 --> 00:38:57,759
Speaker 4: Pyre Morrison esque. And so this guy is so upset

634
00:38:58,280 --> 00:39:03,520
Speaker 4: about a song he didn't write. I'm like, wow, he

635
00:39:03,640 --> 00:39:08,120
Speaker 4: cares about the whole catalog, everything we're doing. And you know,

636
00:39:09,320 --> 00:39:13,440
Speaker 4: I'm a little hard ass, but he's passed. He's my ancestor,

637
00:39:13,920 --> 00:39:17,560
Speaker 4: so I'm trying to stick to what he wanted. But

638
00:39:17,680 --> 00:39:21,120
Speaker 4: I mean, you know, I get hey, you know, I

639
00:39:21,160 --> 00:39:24,160
Speaker 4: get hip hoppers doing. I get it. You know, It's

640
00:39:24,200 --> 00:39:29,360
Speaker 4: just we're different, and it was back always, and I

641
00:39:29,360 --> 00:39:30,600
Speaker 4: don't know exet.

642
00:39:30,400 --> 00:39:33,920
Speaker 3: In a modern context if they might offer you a

643
00:39:33,960 --> 00:39:36,640
Speaker 3: lot more money now for something than you were offered

644
00:39:36,680 --> 00:39:39,840
Speaker 3: for the Buick ad, and it would be kind of

645
00:39:39,840 --> 00:39:41,320
Speaker 3: a no brainer to take the money.

646
00:39:41,440 --> 00:39:43,399
Speaker 2: I mean, and also too, to be fair, I think

647
00:39:43,520 --> 00:39:45,720
Speaker 2: now it may be. I think now you have people

648
00:39:45,760 --> 00:39:49,120
Speaker 2: in position who understand kind of the spirit of what

649
00:39:49,160 --> 00:39:50,840
Speaker 2: you guys are about and would do it in a

650
00:39:50,960 --> 00:39:53,960
Speaker 2: very tasteful way as opposed to a cheesy way like

651
00:39:54,440 --> 00:39:56,360
Speaker 2: you know, like my view or whatever. The hell? You

652
00:39:56,360 --> 00:39:58,600
Speaker 2: know what I think? People, now you know what I'm saying.

653
00:39:58,920 --> 00:40:04,000
Speaker 1: Actually, I would like to see someone said of going fire.

654
00:40:06,880 --> 00:40:10,080
Speaker 4: All right, let's see break on a new deodorant.

655
00:40:10,400 --> 00:40:16,279
Speaker 1: No, right, I think. But the thing is is that

656
00:40:16,480 --> 00:40:24,319
Speaker 1: I think the common denominator for the average creator is

657
00:40:25,640 --> 00:40:31,520
Speaker 1: avoiding a rasure. And yes, the music of the Doors,

658
00:40:31,560 --> 00:40:34,840
Speaker 1: I feel is the ripple effect and the resonance of

659
00:40:34,880 --> 00:40:39,319
Speaker 1: it all. I have no doubt that the songs you know,

660
00:40:40,280 --> 00:40:44,320
Speaker 1: writers of the Storm still stand every time I play it. People,

661
00:40:45,200 --> 00:40:46,719
Speaker 1: you know, oh my god, what is that like it's

662
00:40:46,760 --> 00:40:51,560
Speaker 1: brand new or something, so you know it's it's timeless.

663
00:40:51,600 --> 00:40:56,839
Speaker 1: But does it ever? Do you ever have thoughts that

664
00:40:57,800 --> 00:41:00,160
Speaker 1: you know one day? Because you know, I will say

665
00:41:00,200 --> 00:41:04,000
Speaker 1: that when songs are placed in and this is me

666
00:41:04,040 --> 00:41:06,520
Speaker 1: as a DJ speaking, when songs are placed in a

667
00:41:06,560 --> 00:41:11,719
Speaker 1: movie or placed on a television show or in a commercial,

668
00:41:12,600 --> 00:41:16,240
Speaker 1: it just extends the life of it just a little

669
00:41:16,280 --> 00:41:19,600
Speaker 1: bit more. So. I'm one of those guys. And again,

670
00:41:19,800 --> 00:41:23,040
Speaker 1: as a DJ who mainly uses as DJ sets to

671
00:41:23,200 --> 00:41:26,360
Speaker 1: educate people and stuff. It kind of makes my job easier,

672
00:41:27,600 --> 00:41:30,160
Speaker 1: even though I have to re you know, correct them, like, no,

673
00:41:30,239 --> 00:41:32,719
Speaker 1: this isn't just the song that you heard in the

674
00:41:32,760 --> 00:41:35,560
Speaker 1: blah blah blah movie, Like this is where it comes from.

675
00:41:35,560 --> 00:41:39,520
Speaker 1: But do you ever have thoughts of like if you

676
00:41:40,719 --> 00:41:45,640
Speaker 1: clutch too tight to the pearls, that there's a possibility

677
00:41:45,760 --> 00:41:48,359
Speaker 1: of erasure. I know the Beast Boys are going through

678
00:41:48,360 --> 00:41:53,680
Speaker 1: that right now, Like they just recently kind of loosen

679
00:41:53,719 --> 00:41:57,120
Speaker 1: the reins a little bit to allow one of their

680
00:41:57,160 --> 00:42:00,399
Speaker 1: songs to get licensed for a commercial, even though they

681
00:42:00,400 --> 00:42:03,879
Speaker 1: took this hard stance like we will never ever do that,

682
00:42:04,000 --> 00:42:05,480
Speaker 1: right integrity.

683
00:42:06,440 --> 00:42:08,719
Speaker 4: Yeah, I gotcha. I mean, you know, Bob Dylan is

684
00:42:08,719 --> 00:42:10,000
Speaker 4: certainly making me nervous.

685
00:42:11,200 --> 00:42:15,239
Speaker 1: Man. Man, Yeah, he sold all his ship it for

686
00:42:15,280 --> 00:42:17,880
Speaker 1: a while, right, Yeah, you can't take it with him,

687
00:42:17,920 --> 00:42:19,719
Speaker 1: so you might as well just you know what I'm saying.

688
00:42:20,000 --> 00:42:27,719
Speaker 4: Yeah, Like, okay, So first of all, I don't we okay, movies,

689
00:42:28,040 --> 00:42:34,680
Speaker 4: TV shows, it's just a specific product selling, which makes

690
00:42:34,719 --> 00:42:39,360
Speaker 4: me twitch a little. I mean, like, and also we

691
00:42:39,520 --> 00:42:41,960
Speaker 4: are pretty established and there's a lot of people who

692
00:42:42,000 --> 00:42:45,600
Speaker 4: say to us, oh, man, you know I was in Vietnam.

693
00:42:46,120 --> 00:42:49,359
Speaker 4: You guys helped me the first time I made love,

694
00:42:49,440 --> 00:42:52,319
Speaker 4: the first time I had a joint whatever, And so

695
00:42:52,400 --> 00:42:55,239
Speaker 4: it's sort of like the soundtrack to people's lives, and

696
00:42:55,320 --> 00:42:59,600
Speaker 4: so I kind of well Vietnam. For example, recently, Robbie

697
00:42:59,640 --> 00:43:02,680
Speaker 4: told me, I didn't know this that the lyric loved

698
00:43:02,680 --> 00:43:05,719
Speaker 4: Me two times? He wrote, he goes love me two

699
00:43:05,760 --> 00:43:08,560
Speaker 4: times because I'm going away. He was thinking going away

700
00:43:08,600 --> 00:43:13,399
Speaker 4: to Vietnam. That's not in lyric, And so how about

701
00:43:13,840 --> 00:43:16,840
Speaker 4: love me two times? Because I just took viagra.

702
00:43:20,440 --> 00:43:26,880
Speaker 3: It's some commercials have seriously ruined certain songs forever, you know,

703
00:43:27,000 --> 00:43:29,560
Speaker 3: where they're known more for the commercial than from the

704
00:43:29,680 --> 00:43:30,960
Speaker 3: original album or from.

705
00:43:30,840 --> 00:43:36,560
Speaker 1: Yeah, Hot Chocolate's You Sexy Thing is definitely ruined viagra.

706
00:43:36,800 --> 00:43:41,719
Speaker 4: Yes, yeah, but you're right. You know I'm going to

707
00:43:41,760 --> 00:43:44,960
Speaker 4: be erased, I don't know in the next twenty years

708
00:43:45,080 --> 00:43:47,440
Speaker 4: or so. Anyway, so I got to think about it.

709
00:43:49,760 --> 00:43:52,320
Speaker 3: Now, stick to your guns, I've wrote stick to your guns.

710
00:43:53,000 --> 00:43:55,520
Speaker 1: Yeah, stick to your guns how I want to.

711
00:43:55,560 --> 00:43:58,799
Speaker 8: I was on to know how accurate or what were

712
00:43:58,800 --> 00:44:02,000
Speaker 8: your thoughts on Oliver Stones filmed The Doors.

713
00:44:02,520 --> 00:44:04,160
Speaker 3: Yeah he was in it?

714
00:44:04,280 --> 00:44:08,000
Speaker 4: Yeah, No, no, I wasn't it for a second there, No,

715
00:44:08,400 --> 00:44:15,480
Speaker 4: I liked it. It was it was primarily about a

716
00:44:15,520 --> 00:44:21,480
Speaker 4: tortured artist, and Oliver, you know, kind of fits that category.

717
00:44:21,600 --> 00:44:26,560
Speaker 4: Brilliant and kind of out there, and uh, I wished

718
00:44:26,640 --> 00:44:29,160
Speaker 4: it had been a little more about the sixties and

719
00:44:29,600 --> 00:44:34,560
Speaker 4: in the climate of the times. There was a documentary

720
00:44:34,680 --> 00:44:39,000
Speaker 4: called When You're Strange that Johnny Depp narrated, and that

721
00:44:39,040 --> 00:44:42,560
Speaker 4: has that has more of that, and I think the

722
00:44:42,600 --> 00:44:46,640
Speaker 4: two of them together really represent our whole career. But

723
00:44:46,680 --> 00:44:50,240
Speaker 4: I gotta say, Val kilmer Man, he gave me the creeps.

724
00:44:50,320 --> 00:44:51,439
Speaker 4: I thought Jim was back.

725
00:44:51,840 --> 00:44:54,880
Speaker 6: Yes, he looked just like him, he sounded just like

726
00:44:54,920 --> 00:44:56,680
Speaker 6: it was. I mean, I didn't know him like you did,

727
00:44:56,719 --> 00:44:58,520
Speaker 6: but it gave me the creeps of watching him play

728
00:44:58,520 --> 00:44:58,919
Speaker 6: that role.

729
00:45:00,280 --> 00:45:03,360
Speaker 4: These actors are amazing, the way they transformed their bodies

730
00:45:03,400 --> 00:45:04,279
Speaker 4: and everything. Yeah.

731
00:45:04,680 --> 00:45:08,200
Speaker 7: Yeah, can we talk about like drummers from your era

732
00:45:08,320 --> 00:45:11,799
Speaker 7: and the the African influence, the ginger Bakers in the

733
00:45:11,840 --> 00:45:15,560
Speaker 7: mid and like dudes like that. I feel like like

734
00:45:15,719 --> 00:45:17,279
Speaker 7: I got that bug when I was a kid, but

735
00:45:17,440 --> 00:45:20,360
Speaker 7: I was I'm not the same thing, but like, was

736
00:45:20,400 --> 00:45:20,759
Speaker 7: it the same?

737
00:45:20,920 --> 00:45:21,040
Speaker 2: Was it?

738
00:45:21,560 --> 00:45:23,920
Speaker 7: My experience was It's like everything sort of began there,

739
00:45:23,960 --> 00:45:26,120
Speaker 7: so it made sense to figure out that shit and

740
00:45:26,160 --> 00:45:27,680
Speaker 7: how to bring it into your own thing, like what

741
00:45:27,719 --> 00:45:29,680
Speaker 7: was why did you get into it? And how did

742
00:45:29,680 --> 00:45:32,399
Speaker 7: you apply it to the doors or whatever?

743
00:45:32,400 --> 00:45:32,560
Speaker 1: Else?

744
00:45:32,560 --> 00:45:33,280
Speaker 3: Are you doing.

745
00:45:33,760 --> 00:45:37,160
Speaker 4: Well with the African stuff? I primarily got into later,

746
00:45:37,840 --> 00:45:42,759
Speaker 4: but I will say that we were recording Hello, I

747
00:45:42,840 --> 00:45:47,600
Speaker 4: Love You, and we're struggling with the arrangement, and Robbie

748
00:45:47,640 --> 00:45:50,680
Speaker 4: the guitar player, said, why don't you turn the beat

749
00:45:50,760 --> 00:45:54,080
Speaker 4: around like Ginger does in Sunshiny or Love.

750
00:45:56,320 --> 00:45:58,240
Speaker 2: Yeah?

751
00:45:58,960 --> 00:46:07,920
Speaker 4: So I go, okay, I love you. So I copped

752
00:46:07,920 --> 00:46:09,520
Speaker 4: a couple of bars of Ginger.

753
00:46:13,760 --> 00:46:16,480
Speaker 7: And here we are coping, and Ginger coping.

754
00:46:16,600 --> 00:46:21,600
Speaker 1: Here we are. I was going to ask, the recording

755
00:46:21,640 --> 00:46:27,280
Speaker 1: of that particular song has such a distinctive like modern

756
00:46:27,960 --> 00:46:32,239
Speaker 1: made for FM radio sort of recording technique to it.

757
00:46:32,560 --> 00:46:35,800
Speaker 1: Were you guys aware of that as far as like,

758
00:46:35,840 --> 00:46:41,200
Speaker 1: because there's a clear difference sonically between the recording that

759
00:46:41,239 --> 00:46:44,839
Speaker 1: particular album and what came before it. So were you

760
00:46:44,840 --> 00:46:49,560
Speaker 1: guys aware of the sort of transforming of AM radio.

761
00:46:50,480 --> 00:46:54,560
Speaker 1: AM radio being the I guess the destination point of

762
00:46:54,600 --> 00:46:58,120
Speaker 1: most music had been slowly morphing into f M radio

763
00:46:58,200 --> 00:47:01,080
Speaker 1: at the time. Because there's just just such a clarity

764
00:47:01,120 --> 00:47:06,040
Speaker 1: to it that sounds super modern, like even if you

765
00:47:06,080 --> 00:47:09,640
Speaker 1: listen to it now with the synth working, even the

766
00:47:09,680 --> 00:47:14,520
Speaker 1: way that your drums are are tuned on that song

767
00:47:14,600 --> 00:47:17,560
Speaker 1: like a deeper a deeper sound.

768
00:47:18,120 --> 00:47:19,319
Speaker 4: Yeah, you're right about that.

769
00:47:19,880 --> 00:47:23,399
Speaker 1: It could have. Like it's almost like the you hear

770
00:47:23,440 --> 00:47:27,720
Speaker 1: the seeds of what talking heads like a Devo's second record,

771
00:47:27,719 --> 00:47:30,560
Speaker 1: even Gary Numan's like first record, you hear the seeds

772
00:47:30,560 --> 00:47:31,239
Speaker 1: of that in there.

773
00:47:31,560 --> 00:47:34,919
Speaker 4: Well, you know, our first single was break on Through,

774
00:47:35,480 --> 00:47:38,920
Speaker 4: and it was too sophisticated. You know, it got to

775
00:47:39,000 --> 00:47:42,280
Speaker 4: number thirteen or something. That was due to us calling

776
00:47:42,360 --> 00:47:45,279
Speaker 4: up the station saying, hey, this is Fred Schwartz, will

777
00:47:45,280 --> 00:47:48,520
Speaker 4: you play this and wait?

778
00:47:48,560 --> 00:47:50,520
Speaker 1: Break Oning Through was not a top ten hit.

779
00:47:51,480 --> 00:47:55,319
Speaker 4: No, but later it became just you know, everybody just

780
00:47:55,440 --> 00:48:00,160
Speaker 4: is crazy for it. So okay, okay, Light My Fire

781
00:48:00,320 --> 00:48:03,760
Speaker 4: was six minutes. You know, we had that long jam

782
00:48:04,600 --> 00:48:09,080
Speaker 4: and then we cut it to three minutes, and then

783
00:48:09,120 --> 00:48:12,400
Speaker 4: it became a hit. But then FM radio started bragging

784
00:48:12,440 --> 00:48:16,279
Speaker 4: about playing the long version, which was really cool. So

785
00:48:16,440 --> 00:48:19,400
Speaker 4: you know, we had some hits. I guess people are strange.

786
00:48:19,440 --> 00:48:22,840
Speaker 4: I think was the next hit. And then in the studio.

787
00:48:23,200 --> 00:48:26,920
Speaker 4: We were struggling and Paul Rothschild, our producer, pressed us

788
00:48:26,960 --> 00:48:29,520
Speaker 4: on Hello, I love you. He said, Man, we got

789
00:48:29,600 --> 00:48:32,520
Speaker 4: to make this a hit. And fuzz tones that just

790
00:48:32,560 --> 00:48:38,600
Speaker 4: came in on guitar, you know, fuzzboxes, and we just

791
00:48:38,760 --> 00:48:41,759
Speaker 4: worked on that and worked on it, and frankly, I

792
00:48:41,840 --> 00:48:46,000
Speaker 4: thought it turned out a little too poppy for me.

793
00:48:46,719 --> 00:48:50,640
Speaker 4: But that's just for me personally. But I always was

794
00:48:50,760 --> 00:48:54,400
Speaker 4: just absolutely crazy for Jim's lyrics.

795
00:48:54,680 --> 00:48:55,359
Speaker 1: Oh my god.

796
00:48:57,320 --> 00:48:59,920
Speaker 3: And what about Bruce Bonnick, the engineer, what was his

797
00:49:00,239 --> 00:49:02,719
Speaker 3: special sauce? He did all your albums.

798
00:49:03,200 --> 00:49:06,160
Speaker 4: Yeah, he did all of them, and he worked at

799
00:49:06,160 --> 00:49:10,600
Speaker 4: Sunset Sound and all the great studios as a teenager

800
00:49:10,760 --> 00:49:15,040
Speaker 4: with the Supremes and Phil Spector, and he knew what

801
00:49:15,080 --> 00:49:19,200
Speaker 4: he was doing. And each time you know, CDs, streaming,

802
00:49:19,239 --> 00:49:23,520
Speaker 4: whatever it is, he keeps us up to date sonically.

803
00:49:23,600 --> 00:49:26,839
Speaker 4: You know, he's on it. Yeah, he's the fifth door.

804
00:49:31,800 --> 00:49:35,480
Speaker 1: Most will say that, of course. You know, when you

805
00:49:35,520 --> 00:49:42,319
Speaker 1: think of historic concert and events, everyone of course makes

806
00:49:42,480 --> 00:49:47,440
Speaker 1: a big deal of woodstock. However, I feel like enough

807
00:49:47,480 --> 00:49:51,399
Speaker 1: has not been made of the Olive Whight Festival that

808
00:49:51,480 --> 00:49:55,080
Speaker 1: you guys did in nineteen seventy do you have any

809
00:49:55,160 --> 00:49:59,240
Speaker 1: particular memories of that, you know, because the lineup was Yeah,

810
00:49:59,560 --> 00:50:02,640
Speaker 1: to me, this is crazy, Uh that that year it

811
00:50:02,719 --> 00:50:10,800
Speaker 1: was Hendricks, Joni Mitchell who Moody Blues, Uh Slim in

812
00:50:10,840 --> 00:50:16,239
Speaker 1: the family Stone ten years after Chicago. Usually, you know,

813
00:50:16,440 --> 00:50:19,160
Speaker 1: I know that for a lot of artists, this for

814
00:50:19,239 --> 00:50:21,600
Speaker 1: a lot of fans. This is always a disappointing question

815
00:50:21,719 --> 00:50:28,239
Speaker 1: because you know, the the festivals are a spectator thing,

816
00:50:28,480 --> 00:50:31,800
Speaker 1: and usually artists are just getting in doing the gig,

817
00:50:32,320 --> 00:50:35,000
Speaker 1: leaving really not soaking in the atmosphere. Were you able

818
00:50:35,040 --> 00:50:38,120
Speaker 1: to really soak in the festival at the time or

819
00:50:38,200 --> 00:50:40,200
Speaker 1: was it just like you showed up and did your

820
00:50:40,200 --> 00:50:40,800
Speaker 1: thing and left.

821
00:50:41,360 --> 00:50:45,640
Speaker 4: Yeah. I took a hit off of Roger Daltrey's Peppermage

822
00:50:45,640 --> 00:50:46,680
Speaker 4: snapps bottle.

823
00:50:47,719 --> 00:50:54,160
Speaker 2: You know, I didn't know they made peppermint.

824
00:50:55,600 --> 00:50:57,960
Speaker 7: Oh yeah, I think.

825
00:50:59,560 --> 00:51:04,480
Speaker 4: The white. We were under a lot of stress because

826
00:51:04,560 --> 00:51:09,480
Speaker 4: Jim was on trial in Miami for supposedly exposing himself,

827
00:51:10,080 --> 00:51:14,040
Speaker 4: which he did not do, but but he was drunk

828
00:51:14,080 --> 00:51:17,279
Speaker 4: and he got real political and said you're letting him

829
00:51:17,360 --> 00:51:19,960
Speaker 4: shove your faces in the ship of the world. Wake up,

830
00:51:20,400 --> 00:51:21,640
Speaker 4: And that didn't go over well.

831
00:51:22,480 --> 00:51:28,320
Speaker 6: So closing yourself that's crazy how he translated it into that.

832
00:51:28,640 --> 00:51:32,360
Speaker 4: Well, I got the climate at the time was this

833
00:51:32,520 --> 00:51:37,480
Speaker 4: polarized country and and we were, you know, the hippies,

834
00:51:37,560 --> 00:51:44,640
Speaker 4: and we were the dirty doors, and so Jim was targeted.

835
00:51:45,160 --> 00:51:47,760
Speaker 4: There was a rally for decency at the Orange Bowl.

836
00:51:47,880 --> 00:51:51,359
Speaker 4: Thirty thousand people showed up. Nixon sent a letter, and

837
00:51:51,360 --> 00:51:55,760
Speaker 4: then Nita Bryant presided, and it was because of us,

838
00:51:55,960 --> 00:52:00,680
Speaker 4: you know. Yeah, well back to the Isle of White,

839
00:52:01,000 --> 00:52:04,000
Speaker 4: the isle of white. So Jim was kind of subdued

840
00:52:04,040 --> 00:52:07,440
Speaker 4: in his performance. I was trying to make up for it,

841
00:52:07,600 --> 00:52:12,400
Speaker 4: playing really strong, but it's pretty good. But the whole

842
00:52:12,440 --> 00:52:17,120
Speaker 4: festival had the feeling of the end of the era,

843
00:52:17,280 --> 00:52:21,640
Speaker 4: the end of Woodstock. There was some dispute about the

844
00:52:21,680 --> 00:52:25,000
Speaker 4: ticket prices and they busted down the fences and people

845
00:52:25,040 --> 00:52:27,839
Speaker 4: came in, which, you know, it was all right. It

846
00:52:27,880 --> 00:52:31,240
Speaker 4: was just kind of a chaotic festival. Had incredible lineup,

847
00:52:31,320 --> 00:52:34,080
Speaker 4: like you said, but it kind of didn't get the

848
00:52:34,120 --> 00:52:37,640
Speaker 4: attention because it was sort of the crumbling of the

849
00:52:37,680 --> 00:52:41,680
Speaker 4: outdoor hippie festivals being the ultimate you know.

850
00:52:41,840 --> 00:52:44,000
Speaker 6: And just a clarification for nobody, people who don't know

851
00:52:44,040 --> 00:52:47,400
Speaker 6: the concert and the cituative venue this is an island

852
00:52:47,520 --> 00:52:51,560
Speaker 6: right close to London where they exclusively have this big festival.

853
00:52:51,560 --> 00:52:55,160
Speaker 6: They've been doing this for like the last forty fifty years, right, yeah, correct, right,

854
00:52:56,400 --> 00:52:57,799
Speaker 6: yeah yeah.

855
00:52:58,160 --> 00:53:02,040
Speaker 3: Are you more of a touring person or studio studio person?

856
00:53:02,480 --> 00:53:06,919
Speaker 4: Either one? Either one. I mean at first I was frustrated.

857
00:53:06,960 --> 00:53:10,040
Speaker 4: I didn't understand it's kind of cool to muffle the

858
00:53:10,120 --> 00:53:12,960
Speaker 4: drumheads in the studio, you know. I thought you just

859
00:53:13,000 --> 00:53:19,680
Speaker 4: play live and make a record, and so it was

860
00:53:19,719 --> 00:53:20,600
Speaker 4: a learning curve.

861
00:53:21,360 --> 00:53:24,879
Speaker 1: I like both what was your weapon of choice, uh,

862
00:53:26,160 --> 00:53:28,200
Speaker 1: in in the early part of your career, What what

863
00:53:28,400 --> 00:53:29,319
Speaker 1: drums were you using?

864
00:53:30,160 --> 00:53:34,000
Speaker 4: Oh? My first set was Gretch and then I Ludwick.

865
00:53:34,160 --> 00:53:38,560
Speaker 4: I went crazy for Ludwig and Ludwig silver snare drum,

866
00:53:38,640 --> 00:53:44,920
Speaker 4: and yeah, I always kept kept a little kit. I

867
00:53:45,160 --> 00:53:48,680
Speaker 4: had rivets in my symbol. I saw Oscar Peterson's drummer

868
00:53:49,200 --> 00:53:51,680
Speaker 4: ed Thigpen. He had a lot of rivets, and I went, oh, man,

869
00:53:51,760 --> 00:53:55,000
Speaker 4: I'm that's good. You can hear that on riders. There's

870
00:53:55,040 --> 00:53:56,360
Speaker 4: kind of rivet sound.

871
00:53:56,200 --> 00:53:59,120
Speaker 7: In the right Yeah, yeah, exactly.

872
00:53:59,640 --> 00:54:03,920
Speaker 1: Do you have you kept uh a majority of your

873
00:54:03,960 --> 00:54:09,319
Speaker 1: drum sets or like the sort of iconic your career. Yeah,

874
00:54:09,520 --> 00:54:10,440
Speaker 1: I'll be taking them over.

875
00:54:10,520 --> 00:54:15,719
Speaker 4: Thank you some not enough, damn it like like like

876
00:54:15,760 --> 00:54:19,720
Speaker 4: the floor Tom. Uh it's the floor Tom. That's barking

877
00:54:19,800 --> 00:54:22,280
Speaker 4: back in the Hello, I love you, but it about

878
00:54:25,400 --> 00:54:29,200
Speaker 4: I like it when the heads are tired and rancid,

879
00:54:29,239 --> 00:54:30,880
Speaker 4: and then when they break, I have to get a

880
00:54:30,880 --> 00:54:33,440
Speaker 4: new one. And I hate it because I like the

881
00:54:33,480 --> 00:54:35,280
Speaker 4: personality of it talking back.

882
00:54:35,360 --> 00:54:40,840
Speaker 1: You know, I see you still have that time time. No, oh, okay,

883
00:54:40,880 --> 00:54:47,440
Speaker 1: that's what I was asking.

884
00:54:47,680 --> 00:54:50,240
Speaker 5: My address is collection.

885
00:54:50,480 --> 00:54:51,600
Speaker 1: You have a collection too.

886
00:54:53,239 --> 00:54:55,080
Speaker 6: It's just a dumb drummer question. Y'all can tell me

887
00:54:55,120 --> 00:54:57,400
Speaker 6: if not, if it is or not. But my father's

888
00:54:57,400 --> 00:54:59,040
Speaker 6: the drummer. He always has to say that he likes

889
00:54:59,160 --> 00:55:02,200
Speaker 6: he prefers playing with brushes. Is that a thing where

890
00:55:02,200 --> 00:55:03,920
Speaker 6: you have a certain kind of stick that you prefer,

891
00:55:04,000 --> 00:55:07,480
Speaker 6: like mallet versus just regular stick versus brushes versus whatever

892
00:55:07,560 --> 00:55:08,600
Speaker 6: else is around these days?

893
00:55:08,600 --> 00:55:10,080
Speaker 5: Because I haven't been checking in the latest.

894
00:55:10,560 --> 00:55:11,359
Speaker 1: Not a dumb question.

895
00:55:12,440 --> 00:55:15,440
Speaker 4: That's a real good questions.

896
00:55:15,440 --> 00:55:21,080
Speaker 7: Don't play with brushes, that's true, you know, it's you know,

897
00:55:21,120 --> 00:55:21,560
Speaker 7: it's weird.

898
00:55:22,200 --> 00:55:29,000
Speaker 1: What so when I was working on uh Welcome to

899
00:55:29,080 --> 00:55:35,520
Speaker 1: Detroit up in uh uh in studio A where Dilla was.

900
00:55:36,960 --> 00:55:41,200
Speaker 1: He only played with mallets, and at the time I thought,

901
00:55:42,080 --> 00:55:45,000
Speaker 1: all right, that's dumb, Like not that's dumb, because by

902
00:55:45,040 --> 00:55:49,600
Speaker 1: then anything he did I declared like this, I'm sorry,

903
00:55:49,719 --> 00:55:53,920
Speaker 1: it's it's my my my. Elvin Jones is a producer

904
00:55:53,960 --> 00:55:55,799
Speaker 1: from Detroit. His name is Jay Diller.

905
00:55:56,320 --> 00:56:01,640
Speaker 4: Yeah, yeah, I just can't. I just can't hear.

906
00:56:02,600 --> 00:56:07,640
Speaker 1: Okay, I'm sorry. Yeah, j Dill is a actually to

907
00:56:07,680 --> 00:56:11,600
Speaker 1: bring it back to five to one the okay. I

908
00:56:11,600 --> 00:56:17,239
Speaker 1: won't say that I know the original producer of that,

909
00:56:19,360 --> 00:56:22,440
Speaker 1: but he would. I'd ask him like, why are you

910
00:56:22,560 --> 00:56:28,719
Speaker 1: using mallets instead of traditional traditional drumsticks? And he just

911
00:56:29,560 --> 00:56:33,760
Speaker 1: wanted a different texture than that of what when sticks

912
00:56:33,840 --> 00:56:37,400
Speaker 1: hit the skins? So I think at the time I

913
00:56:37,719 --> 00:56:42,160
Speaker 1: scoffed like that's whatever, and then I caught myself doing

914
00:56:42,200 --> 00:56:45,960
Speaker 1: it a lot, so I actually like the texture of it.

915
00:56:46,040 --> 00:56:49,280
Speaker 4: I'm curious, what what size sticks do you use.

916
00:56:55,640 --> 00:56:57,439
Speaker 1: Here? It is I'm a seven eight guy.

917
00:56:58,440 --> 00:56:59,360
Speaker 4: Yeah.

918
00:56:59,520 --> 00:57:05,080
Speaker 1: However, however, my sticks are a little bit unusual because

919
00:57:07,000 --> 00:57:11,560
Speaker 1: I learned through well Steve. Steve is like one of

920
00:57:11,640 --> 00:57:15,799
Speaker 1: my longtime music engineers, so I had to I learned

921
00:57:15,840 --> 00:57:19,880
Speaker 1: about twenty years ago that the softer, at least for

922
00:57:20,360 --> 00:57:25,600
Speaker 1: my purposes, the softer that you play, the better the

923
00:57:25,640 --> 00:57:27,680
Speaker 1: mixing options are. Because I use a lot of old

924
00:57:27,760 --> 00:57:30,320
Speaker 1: ribbon mics. So I used to like power play, like

925
00:57:30,720 --> 00:57:34,240
Speaker 1: in my mind, you think like take like like Bonzo,

926
00:57:34,360 --> 00:57:37,880
Speaker 1: like John Bonham from Zeppelin. Like you know, everyone thinks

927
00:57:37,920 --> 00:57:41,560
Speaker 1: that they have to play like Animal from the Muppets. Uh,

928
00:57:41,840 --> 00:57:44,240
Speaker 1: and you know, and that really destroys the sound because

929
00:57:44,280 --> 00:57:47,560
Speaker 1: the compression and the microphones like it just it just crunches.

930
00:57:48,360 --> 00:57:50,720
Speaker 1: It's not good. So I learned the softer you play,

931
00:57:51,440 --> 00:57:54,120
Speaker 1: the better it is. So I when I got my

932
00:57:54,160 --> 00:57:56,240
Speaker 1: deal with Vic Firth, I told them to make me

933
00:57:57,560 --> 00:58:01,000
Speaker 1: seven eight drumsticks, but I made mine two inches longer

934
00:58:01,640 --> 00:58:05,520
Speaker 1: so that way I could put my wrist on my

935
00:58:05,680 --> 00:58:11,120
Speaker 1: legs and not move my hands at all. What most

936
00:58:11,160 --> 00:58:15,120
Speaker 1: non drummers would look at uh uh what's the name

937
00:58:15,160 --> 00:58:19,680
Speaker 1: of Foo Fighters Nirvana? Yeah, they'll look at David growling

938
00:58:19,760 --> 00:58:22,480
Speaker 1: like smells like teen spirit and think like that's how

939
00:58:22,560 --> 00:58:25,920
Speaker 1: I should be German like like modern Animal. And for me,

940
00:58:27,240 --> 00:58:30,120
Speaker 1: I get the best results when I when I do

941
00:58:30,240 --> 00:58:34,000
Speaker 1: the least, just you know, the quietest. So I made

942
00:58:34,040 --> 00:58:37,120
Speaker 1: seven eight drumsticks two inches longer so that I don't

943
00:58:37,200 --> 00:58:38,320
Speaker 1: have to move my arms at all.

944
00:58:38,520 --> 00:58:42,280
Speaker 4: Wow, that's what I was saying about. Playing the right

945
00:58:42,840 --> 00:58:45,440
Speaker 4: beat in the right spot is as much power as

946
00:58:45,480 --> 00:58:50,440
Speaker 4: all that animal shit. But you know what's so beautiful

947
00:58:50,440 --> 00:58:53,680
Speaker 4: about your playing is the way you sit. You know,

948
00:58:53,800 --> 00:58:58,160
Speaker 4: you don't slump over the kit, and you see relaxed.

949
00:58:58,240 --> 00:58:59,760
Speaker 4: You know, it's just beautiful.

950
00:59:00,200 --> 00:59:04,720
Speaker 1: A little too or like sometimes.

951
00:59:02,320 --> 00:59:05,120
Speaker 5: Whatever, John, you didn't answer that question for yourself, But

952
00:59:05,120 --> 00:59:06,560
Speaker 5: that's a no, it's.

953
00:59:06,640 --> 00:59:12,040
Speaker 4: No seven A. They're they're thin. They're thin sticks, so

954
00:59:12,120 --> 00:59:15,320
Speaker 4: I can play faster, but they break all the time.

955
00:59:15,400 --> 00:59:18,040
Speaker 4: If you're playing a big concert, you know, so you

956
00:59:18,080 --> 00:59:19,960
Speaker 4: know you just throw them in the audience and grab

957
00:59:20,000 --> 00:59:20,400
Speaker 4: some more.

958
00:59:20,440 --> 00:59:24,200
Speaker 1: You know, speaking of throw in the audience.

959
00:59:23,800 --> 00:59:25,720
Speaker 5: You think that's not your role, but it's just try it.

960
00:59:28,280 --> 00:59:31,520
Speaker 1: Speaking Yeah, speaking of throwing them in the audience, what

961
00:59:31,640 --> 00:59:35,960
Speaker 1: did this make you to watch Keith Moon destroy a

962
00:59:36,080 --> 00:59:39,400
Speaker 1: kit occasionally? Like? Is that blasphemous to you?

963
00:59:40,160 --> 00:59:43,240
Speaker 4: It was over the top. I understood the anger because

964
00:59:43,440 --> 00:59:46,800
Speaker 4: you know, we were pissed off about the establishment and

965
00:59:46,840 --> 00:59:51,160
Speaker 4: everything's going on. I get it. Uh. He was bizarre.

966
00:59:51,400 --> 00:59:54,480
Speaker 4: He was the most unusual drummer i've ever seen. I

967
00:59:54,840 --> 00:59:57,360
Speaker 4: watched him on stage right at the Isle of White,

968
00:59:57,400 --> 01:00:00,320
Speaker 4: stood next to him. You know, he the wait, he

969
01:00:00,920 --> 01:00:03,840
Speaker 4: hits the sticks. He's like he's conducting or something. I

970
01:00:03,840 --> 01:00:08,320
Speaker 4: don't know what it is, but speaking of brushes, Hey,

971
01:00:08,840 --> 01:00:11,920
Speaker 4: this is what This is what I'm gonna accompany myself with.

972
01:00:12,040 --> 01:00:17,360
Speaker 6: On that I didn't get, John, I didn't.

973
01:00:20,280 --> 01:00:23,480
Speaker 3: What I would want to ask you is not not

974
01:00:23,600 --> 01:00:25,760
Speaker 3: which Doors album is your favorite, or not which one

975
01:00:25,800 --> 01:00:28,120
Speaker 3: you think is the best, but which one do you

976
01:00:28,120 --> 01:00:31,640
Speaker 3: think you're playing the best on? Oh, that's a good question,

977
01:00:32,480 --> 01:00:33,040
Speaker 3: all of them.

978
01:00:36,440 --> 01:00:39,000
Speaker 1: That's why you gotta start with guns your head, because.

979
01:00:40,920 --> 01:00:42,840
Speaker 3: I'm just trying to make a point. I think, like

980
01:00:42,880 --> 01:00:45,600
Speaker 3: the first Doors album was recorded in just a few

981
01:00:45,640 --> 01:00:47,360
Speaker 3: days or a couple of weeks or something like that,

982
01:00:47,760 --> 01:00:51,400
Speaker 3: and other albums later down the line probably took longer.

983
01:00:51,480 --> 01:00:53,960
Speaker 3: And ye, but you may think that you're playing on

984
01:00:54,160 --> 01:00:56,840
Speaker 3: light my fire is your is your absolute pinnacle or

985
01:00:56,840 --> 01:00:57,200
Speaker 3: something like.

986
01:00:57,920 --> 01:01:01,760
Speaker 4: A good question. All right, So first album, we're trying

987
01:01:01,800 --> 01:01:04,120
Speaker 4: to learn how to make records, you know, and we

988
01:01:04,240 --> 01:01:08,360
Speaker 4: only did a few takes. But you know it's second album,

989
01:01:08,440 --> 01:01:11,360
Speaker 4: we're getting more relaxed in the studio, like using the

990
01:01:11,400 --> 01:01:14,520
Speaker 4: studio as a as another door and fooling around with

991
01:01:14,680 --> 01:01:19,560
Speaker 4: backward tracks and ship and having fun experimenting. But then

992
01:01:19,760 --> 01:01:22,280
Speaker 4: you know, we have to make our own Sergeant Pepper.

993
01:01:22,760 --> 01:01:25,560
Speaker 4: So we get to Soft Parade.

994
01:01:25,280 --> 01:01:27,640
Speaker 1: And put string.

995
01:01:28,520 --> 01:01:31,080
Speaker 4: Strings and horns and all this ship and it was fun,

996
01:01:31,160 --> 01:01:36,760
Speaker 4: and people got angry with us changing our sound. Uh

997
01:01:36,800 --> 01:01:44,960
Speaker 4: but touch Me was number one Morrison Hotel. And then

998
01:01:45,000 --> 01:01:48,800
Speaker 4: finally La Woman we get back to the garage and

999
01:01:48,840 --> 01:01:55,240
Speaker 4: the blues and and La Woman is I like it

1000
01:01:55,400 --> 01:01:58,960
Speaker 4: a lot. It's just a few takes. I said to Ray.

1001
01:01:59,200 --> 01:02:04,040
Speaker 4: You know, Miles live at Carnegie Hall. There was a

1002
01:02:04,160 --> 01:02:07,640
Speaker 4: terrible trumpet note at the beginning of So What, And

1003
01:02:07,680 --> 01:02:10,680
Speaker 4: the engineer said to Miles, I can fix that, and

1004
01:02:10,720 --> 01:02:13,919
Speaker 4: he said, no, it feels good. See there it is.

1005
01:02:14,080 --> 01:02:17,320
Speaker 4: That's the key to La Woman. It's the first punk album.

1006
01:02:17,320 --> 01:02:19,920
Speaker 4: We're gonna fuck the mistakes. We're gonna go for it

1007
01:02:19,920 --> 01:02:23,000
Speaker 4: in a few takes, put as much passion as we can.

1008
01:02:24,040 --> 01:02:24,600
Speaker 1: See there you go.

1009
01:02:24,640 --> 01:02:27,200
Speaker 3: It's like a jazz album. I mean, that's how a

1010
01:02:27,280 --> 01:02:28,400
Speaker 3: jazz album is recorded.

1011
01:02:28,680 --> 01:02:31,080
Speaker 1: Well you kind of pre answered, I was going to

1012
01:02:31,240 --> 01:02:37,920
Speaker 1: say that with the Soft Parade, was there a pressure

1013
01:02:39,280 --> 01:02:45,400
Speaker 1: two suddenly deliver like the highest art. I mean, based

1014
01:02:45,440 --> 01:02:49,120
Speaker 1: on the kind of atmosphere that brought upon, like Pet

1015
01:02:49,200 --> 01:02:54,640
Speaker 1: Sounds and Sergeant Pepper's and even with their Satanic Majesty's

1016
01:02:54,680 --> 01:02:58,560
Speaker 1: request and all that stuff. Well, I know people laugh

1017
01:02:58,600 --> 01:03:02,000
Speaker 1: at that, but I feel like one day, some generations

1018
01:03:02,040 --> 01:03:11,640
Speaker 1: really going on. Now I'm telling you thanks for playing. Look,

1019
01:03:12,080 --> 01:03:16,560
Speaker 1: I'm a guy who love uh. I know, critics hated

1020
01:03:16,600 --> 01:03:20,040
Speaker 1: Black and Blues by the Stones, and that's one of

1021
01:03:20,080 --> 01:03:23,280
Speaker 1: my favorite records. So I feel like somebody's going to

1022
01:03:23,400 --> 01:03:26,120
Speaker 1: find the wrong record and make it their record. But

1023
01:03:26,680 --> 01:03:30,720
Speaker 1: what I was asking was what the salt Parade was

1024
01:03:30,760 --> 01:03:35,280
Speaker 1: that the intent to show that we're just as artistic

1025
01:03:35,320 --> 01:03:39,680
Speaker 1: and just as experimental as our contemporaries.

1026
01:03:40,160 --> 01:03:53,080
Speaker 4: Yeah, no, thank you. Ray and I had talked about

1027
01:03:54,000 --> 01:03:57,600
Speaker 4: before recording the first album, man, someday if we could

1028
01:03:57,640 --> 01:04:01,800
Speaker 4: ever have some like horn solo tenor sacks and you know,

1029
01:04:02,440 --> 01:04:05,960
Speaker 4: that'd be cool, some jazz stuff, and so we finally

1030
01:04:06,000 --> 01:04:11,640
Speaker 4: got to that by Soft Parade. Actually, I think Sergeant

1031
01:04:11,720 --> 01:04:15,520
Speaker 4: Pepper and Pet Sounds they were out kind of around

1032
01:04:16,160 --> 01:04:21,000
Speaker 4: Strange days our second album, and that's when we were like, wow, man,

1033
01:04:21,160 --> 01:04:26,640
Speaker 4: we this is a challenge, you know, but but turn

1034
01:04:26,720 --> 01:04:27,600
Speaker 4: on too, you know.

1035
01:04:28,320 --> 01:04:31,360
Speaker 3: Think about the Doors though, is like I never I

1036
01:04:31,400 --> 01:04:35,280
Speaker 3: never think about them in comparison to other bands because

1037
01:04:35,320 --> 01:04:38,760
Speaker 3: they have this their own world. You know, they created

1038
01:04:39,200 --> 01:04:41,880
Speaker 3: one of these few bands or artists that can create

1039
01:04:41,920 --> 01:04:45,640
Speaker 3: their own sonic universe, and you it's like pointless to

1040
01:04:45,680 --> 01:04:47,720
Speaker 3: compare them to to other bands.

1041
01:04:47,760 --> 01:04:51,840
Speaker 4: Almost well, keep talking, I feel healing andizing and.

1042
01:04:53,680 --> 01:04:56,080
Speaker 3: Still it wasn't a compliment. I'm saying you're weird.

1043
01:05:00,080 --> 01:05:01,520
Speaker 4: Oh, you guys are amazing.

1044
01:05:03,200 --> 01:05:07,240
Speaker 1: You know, we try. Thank you. I do have to

1045
01:05:07,280 --> 01:05:11,200
Speaker 1: ask for our listeners and for myself as well, Like

1046
01:05:12,880 --> 01:05:17,520
Speaker 1: what was how long did it take you guys to

1047
01:05:19,240 --> 01:05:23,160
Speaker 1: come to grips after Marson's death on whether or not

1048
01:05:23,280 --> 01:05:29,000
Speaker 1: you should continue or not continue? And the creative direction?

1049
01:05:29,920 --> 01:05:32,200
Speaker 1: First of all, I mean, is the idea of a

1050
01:05:32,240 --> 01:05:36,440
Speaker 1: group really kind of an illusion that's not real? Like

1051
01:05:36,960 --> 01:05:40,320
Speaker 1: is it really everyone gets their equals say, and if

1052
01:05:40,480 --> 01:05:42,880
Speaker 1: one doesn't agree and it's not unanimous, then we don't

1053
01:05:42,920 --> 01:05:43,240
Speaker 1: do it.

1054
01:05:44,080 --> 01:05:45,240
Speaker 4: Well that's how we were.

1055
01:05:45,640 --> 01:05:49,080
Speaker 1: But okay, so absolutely everyone A.

1056
01:05:49,440 --> 01:05:56,120
Speaker 4: Lot of groups have singer songwriters Lennon McCartney, Keith Richards

1057
01:05:56,200 --> 01:05:59,720
Speaker 4: and Mick and and they're kind of the dominant force,

1058
01:06:00,400 --> 01:06:04,160
Speaker 4: whereas Jim not being able to you know, how do

1059
01:06:04,240 --> 01:06:07,320
Speaker 4: we write songs? But I got all these words and melodies.

1060
01:06:08,280 --> 01:06:11,200
Speaker 4: It were we were really more equal because of that.

1061
01:06:11,560 --> 01:06:14,400
Speaker 2: You know, you always translated almost.

1062
01:06:14,360 --> 01:06:17,800
Speaker 4: Yeah, beautiful, that's it. Yeah.

1063
01:06:17,840 --> 01:06:22,360
Speaker 1: So yeah, the the as far as the meeting with

1064
01:06:22,400 --> 01:06:26,560
Speaker 1: you guys in what direction to take his work? Well, yeah,

1065
01:06:26,600 --> 01:06:28,520
Speaker 1: I mean, can you just talk about that period of

1066
01:06:30,120 --> 01:06:31,400
Speaker 1: the decision to continue on?

1067
01:06:32,120 --> 01:06:34,240
Speaker 4: Oh yeah, that's good man. You don't let me off

1068
01:06:34,240 --> 01:06:38,160
Speaker 4: the hook, all right, No, no, no, it's good. Okay.

1069
01:06:38,240 --> 01:06:43,840
Speaker 4: So Jim dies and we're working on stuff, and we

1070
01:06:44,000 --> 01:06:51,680
Speaker 4: first entertained replacing him, and I said, excuse me, who's

1071
01:06:51,720 --> 01:06:57,320
Speaker 4: going to fill Jim's leather pants. That's a tall order.

1072
01:06:57,880 --> 01:07:03,280
Speaker 4: Uh so uh then Ray and Robbie tried to sing.

1073
01:07:03,560 --> 01:07:06,440
Speaker 4: We made two albums because we had this material and

1074
01:07:06,760 --> 01:07:11,040
Speaker 4: we were tight. And after those couple of albums, we realized,

1075
01:07:11,360 --> 01:07:14,480
Speaker 4: wait a minute, this is ridiculous. Our focal point is gone,

1076
01:07:15,120 --> 01:07:17,720
Speaker 4: and let's do you know, we wanted to do individual stuff,

1077
01:07:17,760 --> 01:07:21,720
Speaker 4: and so it naturally kind of fell away. We went

1078
01:07:21,800 --> 01:07:24,880
Speaker 4: our own ways. We came back later and we did

1079
01:07:24,920 --> 01:07:29,000
Speaker 4: a poetry album. It's pretty cool American prayer way out

1080
01:07:29,040 --> 01:07:32,160
Speaker 4: there Jim's words, you know, he had died and we

1081
01:07:32,200 --> 01:07:34,280
Speaker 4: wrote all this music and that was fun.

1082
01:07:35,880 --> 01:07:37,720
Speaker 5: I wonder if you think that Queen pulled it off.

1083
01:07:38,760 --> 01:07:40,520
Speaker 6: Was trying to think of another man who actually has

1084
01:07:40,640 --> 01:07:47,840
Speaker 6: done that with their lead singer who's passed, and I'm like, yeah.

1085
01:07:46,240 --> 01:07:47,000
Speaker 4: Pretty close.

1086
01:07:47,280 --> 01:07:56,040
Speaker 1: I don't know, no, no, for nostalgia's sake. I mean,

1087
01:07:56,080 --> 01:08:02,240
Speaker 1: you know, Lambert is yeah, yeah, yeah, leather pants to fill, yes, huge.

1088
01:08:03,880 --> 01:08:08,560
Speaker 4: You know, like my second book was called The Doors Unhinged.

1089
01:08:08,920 --> 01:08:12,560
Speaker 4: It was about my struggle with Ray and Robbie playing

1090
01:08:13,320 --> 01:08:16,000
Speaker 4: and I love their playing, but they were going out

1091
01:08:16,040 --> 01:08:17,519
Speaker 4: as the Doors.

1092
01:08:17,960 --> 01:08:18,320
Speaker 1: Right.

1093
01:08:18,560 --> 01:08:22,800
Speaker 4: Well wait, you know, Ian asked Berry from the cult.

1094
01:08:22,840 --> 01:08:28,400
Speaker 4: It's fine, but but it's like the police without sting

1095
01:08:30,160 --> 01:08:34,280
Speaker 4: come on call it founding members of the Doors or whatever.

1096
01:08:34,400 --> 01:08:37,320
Speaker 5: You know, but Earth went Maurice.

1097
01:08:37,800 --> 01:08:38,720
Speaker 1: Well that's how it is.

1098
01:08:39,600 --> 01:08:40,640
Speaker 5: I know.

1099
01:08:42,080 --> 01:08:44,599
Speaker 4: Yeah, But I mean I understand people want to hear

1100
01:08:44,600 --> 01:08:48,160
Speaker 4: and hear them play like hear Queen and Earth Wind

1101
01:08:48,160 --> 01:08:49,759
Speaker 4: and Fire. I get it, you know, I get.

1102
01:08:50,280 --> 01:08:53,360
Speaker 1: Where we are today. Does it irk you a little

1103
01:08:53,400 --> 01:08:57,479
Speaker 1: bit that somehow not only do we wind back at

1104
01:08:57,520 --> 01:09:02,920
Speaker 1: square one, we're kind of way like damn near Neanderthal

1105
01:09:03,040 --> 01:09:08,880
Speaker 1: times that we took forty eight steps backwards, like just

1106
01:09:08,960 --> 01:09:13,200
Speaker 1: as just as a person who had ideas in the

1107
01:09:13,200 --> 01:09:18,439
Speaker 1: sixties to you know, to fight against this corrupt system

1108
01:09:18,520 --> 01:09:22,040
Speaker 1: and push us forward, just to see us come back

1109
01:09:22,120 --> 01:09:25,760
Speaker 1: to the place where we now have to struggle all

1110
01:09:25,800 --> 01:09:27,960
Speaker 1: over again like it was the sixties. Like does that

1111
01:09:28,040 --> 01:09:29,720
Speaker 1: this may you like? Was it?

1112
01:09:29,800 --> 01:09:29,880
Speaker 2: Like?

1113
01:09:30,160 --> 01:09:31,240
Speaker 1: Was your work for naught?

1114
01:09:32,479 --> 01:09:32,839
Speaker 4: Oh?

1115
01:09:33,040 --> 01:09:34,920
Speaker 3: Man, love you promised us?

1116
01:09:34,920 --> 01:09:38,920
Speaker 1: Bro? Where's the peace and love?

1117
01:09:38,960 --> 01:09:41,040
Speaker 4: You see there?

1118
01:09:41,080 --> 01:09:41,439
Speaker 5: It is?

1119
01:09:42,439 --> 01:09:49,240
Speaker 4: Oh my god, big questions, you know, I mean, uh,

1120
01:09:49,280 --> 01:09:52,280
Speaker 4: this country was founded on racism.

1121
01:09:53,160 --> 01:09:53,880
Speaker 2: Say that, and.

1122
01:09:55,600 --> 01:09:58,200
Speaker 4: You know I got a piece of rolling Stone asking

1123
01:09:58,200 --> 01:10:02,400
Speaker 4: Obama to pardon Leonard Healthier, Native American who has been

1124
01:10:02,479 --> 01:10:05,600
Speaker 4: in jail frigging fifty years. You know, there was a

1125
01:10:05,640 --> 01:10:08,439
Speaker 4: shootout and FBI guy died and nobody knows who did it,

1126
01:10:08,479 --> 01:10:12,280
Speaker 4: but they had to nail somebody and whatever. So in

1127
01:10:12,320 --> 01:10:15,600
Speaker 4: that article, I also said, oh god, you know, it

1128
01:10:15,600 --> 01:10:20,160
Speaker 4: wouldn't be a bad thing if if we could apologize

1129
01:10:20,200 --> 01:10:23,599
Speaker 4: to the first people's the genocide, and then we can

1130
01:10:23,720 --> 01:10:26,839
Speaker 4: move on. And there's a that's how you go forward,

1131
01:10:26,880 --> 01:10:27,920
Speaker 4: admit shit.

1132
01:10:28,360 --> 01:10:30,920
Speaker 6: You know, they'd be there a long time admitting an

1133
01:10:30,920 --> 01:10:32,160
Speaker 6: apologize doesn't worry.

1134
01:10:34,920 --> 01:10:40,720
Speaker 4: But I guess I'm an eternal optimist. I mean, we

1135
01:10:40,880 --> 01:10:43,760
Speaker 4: got agent Orange out or any minute.

1136
01:10:43,439 --> 01:10:48,040
Speaker 2: Now, right, Yes, oh, we're all he's out.

1137
01:10:48,400 --> 01:10:49,920
Speaker 5: According to this recording, he's out.

1138
01:10:50,560 --> 01:10:50,920
Speaker 1: Yes.

1139
01:10:51,400 --> 01:10:53,280
Speaker 2: Now we're just waiting to see what George is doing. We'

1140
01:10:53,320 --> 01:10:54,360
Speaker 2: just waiting on Georgia now.

1141
01:10:54,680 --> 01:10:57,000
Speaker 4: And you know, between you and me and and and

1142
01:10:57,080 --> 01:11:00,360
Speaker 4: your zillions of listeners, you know, Biden is.

1143
01:11:03,040 --> 01:11:03,320
Speaker 1: Like me.

1144
01:11:03,560 --> 01:11:08,599
Speaker 4: He's another old white guy, but.

1145
01:11:08,040 --> 01:11:09,960
Speaker 5: He wish he like you, though. We hope that he's

1146
01:11:10,040 --> 01:11:10,280
Speaker 5: like you.

1147
01:11:10,560 --> 01:11:13,840
Speaker 4: Well, hey, hey, you know what. Okay, here it is.

1148
01:11:14,760 --> 01:11:19,280
Speaker 4: Hillary loses and I go, God, damn it, I'm going

1149
01:11:19,360 --> 01:11:22,960
Speaker 4: to see a woman president before I die. And I'm

1150
01:11:23,040 --> 01:11:27,920
Speaker 4: up there and now I'm like, whoa wait a minute.

1151
01:11:28,280 --> 01:11:35,120
Speaker 4: Now I might see a black woman. Yeah, and you know,

1152
01:11:35,240 --> 01:11:39,160
Speaker 4: and she's I love her, but you know, I don't

1153
01:11:39,160 --> 01:11:43,519
Speaker 4: want I can't idealize her like Biden either. You know,

1154
01:11:43,600 --> 01:11:46,479
Speaker 4: she was a prosecutor, holy oh.

1155
01:11:46,320 --> 01:11:49,560
Speaker 5: My god, everything everything you stand.

1156
01:11:49,320 --> 01:11:49,840
Speaker 1: For, John.

1157
01:11:50,600 --> 01:11:53,920
Speaker 4: She's a beautiful you know, she threw me in jail,

1158
01:11:53,960 --> 01:11:55,040
Speaker 4: but she's a beautiful woman.

1159
01:11:57,280 --> 01:11:59,080
Speaker 5: It was her job, you know.

1160
01:11:59,720 --> 01:12:07,280
Speaker 4: But I I still we're just it can it's slow,

1161
01:12:07,560 --> 01:12:13,480
Speaker 4: but we're going forward here it is Leonard Cohen. Democracy

1162
01:12:13,640 --> 01:12:18,280
Speaker 4: is coming to the USA. It's not here. We're working

1163
01:12:18,320 --> 01:12:21,800
Speaker 4: on it, you know. So there it is.

1164
01:12:22,920 --> 01:12:24,679
Speaker 5: You can't let me go without the poem.

1165
01:12:24,760 --> 01:12:26,960
Speaker 1: Yeah, I was, I was going to say before before

1166
01:12:26,960 --> 01:12:29,080
Speaker 1: you close this out with this poem. That's also one

1167
01:12:29,080 --> 01:12:34,240
Speaker 1: of the reminder listeners that you're The Secrets is your

1168
01:12:34,240 --> 01:12:38,160
Speaker 1: third book, correct, correct? Okay, Yeah, The Secrets Meetings with

1169
01:12:39,200 --> 01:12:45,080
Speaker 1: Remarkable Musicians is available. Came out late twenty twenty, and

1170
01:12:45,280 --> 01:12:53,120
Speaker 1: it's you exploring the creative process of modern artist. And yeah,

1171
01:12:53,360 --> 01:12:55,080
Speaker 1: we want to thank you for doing this. So could

1172
01:12:55,120 --> 01:12:59,920
Speaker 1: you please bless us with this poem in closing my.

1173
01:13:00,080 --> 01:13:02,200
Speaker 5: Thing on mute til it was time for my snaps?

1174
01:13:02,600 --> 01:13:06,639
Speaker 4: Okay, okay, So uh yeah, this goes out to Stacy

1175
01:13:06,680 --> 01:13:11,320
Speaker 4: Abrams and uh, I'm gonna play it. I'm gonna play

1176
01:13:11,320 --> 01:13:15,960
Speaker 4: my jazz brushes on my on my doom back, which

1177
01:13:16,000 --> 01:13:21,160
Speaker 4: is crazy, but so what and what can I say?

1178
01:13:21,240 --> 01:13:24,519
Speaker 4: All Right? This is a poem by Ethridge Knight, African

1179
01:13:24,520 --> 01:13:28,639
Speaker 4: American poet who I think he won the National Book

1180
01:13:28,640 --> 01:13:33,960
Speaker 4: Award or was nominated, and Gwendolyn Gwendolyn Brooks Pulitzer Poet

1181
01:13:34,080 --> 01:13:39,200
Speaker 4: was his mentor. Yes, and so uh Ethridge wrote this

1182
01:13:39,360 --> 01:13:42,679
Speaker 4: for his daughter when she was fourteen. Now I'm gonna

1183
01:13:42,720 --> 01:13:45,360
Speaker 4: move this mic down in the front of my face

1184
01:13:46,040 --> 01:13:50,360
Speaker 4: so I won't drown out the vocal. We'll see if

1185
01:13:50,360 --> 01:14:13,880
Speaker 4: this works. It's called circling the daughter. You came to

1186
01:14:14,000 --> 01:14:19,400
Speaker 4: be in the month of Malcolm, and the rain fell

1187
01:14:19,960 --> 01:14:24,680
Speaker 4: with a fierce gentleness, like a martyr's tears on the

1188
01:14:24,720 --> 01:14:30,240
Speaker 4: streets of Manhattan, when your light was lit and the

1189
01:14:30,240 --> 01:14:36,719
Speaker 4: city sang you welcome. Now I sit trembling in your presence.

1190
01:14:37,800 --> 01:14:41,880
Speaker 4: Fourteen years have brought the moon, blood, the roundness, the

1191
01:14:41,880 --> 01:14:47,360
Speaker 4: girl giggles, the grand leaps. We are touched, tender in

1192
01:14:47,439 --> 01:14:52,479
Speaker 4: our fears. You break my eyes with your beauty. Oh baby, I.

1193
01:14:52,439 --> 01:15:03,000
Speaker 1: Love you, OK, listen, that is the legend. John Dinsmore

1194
01:15:03,479 --> 01:15:07,759
Speaker 1: orn brushes poet quests supreme.

1195
01:15:09,080 --> 01:15:09,280
Speaker 4: Yo.

1196
01:15:09,360 --> 01:15:10,160
Speaker 1: Man, I was watching.

1197
01:15:10,280 --> 01:15:12,240
Speaker 8: I was thinking, Yo, they need to get John Dinsmore

1198
01:15:12,320 --> 01:15:14,760
Speaker 8: and cast you as Joe Biden on sn L.

1199
01:15:18,200 --> 01:15:18,879
Speaker 4: That's funny.

1200
01:15:20,720 --> 01:15:23,160
Speaker 5: You can Jim Carrey can't do what you could do.

1201
01:15:24,520 --> 01:15:25,000
Speaker 1: There you go.

1202
01:15:25,880 --> 01:15:28,920
Speaker 4: If this damn virus gets better, maybe next year my

1203
01:15:29,000 --> 01:15:31,120
Speaker 4: paper back will be out and I'll get to sit

1204
01:15:31,160 --> 01:15:32,240
Speaker 4: in with the roots again.

1205
01:15:32,640 --> 01:15:35,840
Speaker 1: So, ladies and gentlemen, this is Quest Love Supreme. We

1206
01:15:35,960 --> 01:15:39,840
Speaker 1: like to think John Dinsmore for blessing us, uh with

1207
01:15:39,920 --> 01:15:43,400
Speaker 1: this interview, very informative the performance. We gotta bring the

1208
01:15:43,400 --> 01:15:47,880
Speaker 1: performance back on. Behalf of Team Supreme. Want take a

1209
01:15:47,920 --> 01:15:51,559
Speaker 1: little on pay bill Sugar Steve and like, yeah, this

1210
01:15:51,720 --> 01:15:53,280
Speaker 1: is Quest Love. We will see you on the next

1211
01:15:53,280 --> 01:15:54,320
Speaker 1: go round. Thank you.

1212
01:15:55,520 --> 01:15:58,120
Speaker 9: Hey, this is Sugar Steve. Make sure you keep up

1213
01:15:58,120 --> 01:16:01,680
Speaker 9: with us on Instagram at L and let us know

1214
01:16:01,720 --> 01:16:04,040
Speaker 9: what you think and who should be next to sit

1215
01:16:04,080 --> 01:16:08,440
Speaker 9: down with us. Don't forget to subscribe to our podcast.

1216
01:16:12,360 --> 01:16:18,040
Speaker 1: Must Love Supreme is a production of iHeartRadio. For more

1217
01:16:18,080 --> 01:16:22,560
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

1218
01:16:22,600 --> 01:16:24,560
Speaker 1: wherever you listen to your favorite shows.