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Speaker 1: Pushkin. Earlier this year, I was asked if I'd go

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Speaker 1: to Brooklyn to interview Daniel Lanois in front of an

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Speaker 1: intimate audience at on AirFest, And although my nerves don't

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Speaker 1: love any form of public speaking, the answer was an

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Speaker 1: unequivocal yes. Landa was made some of my favorite albums,

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Speaker 1: Bob Dylan's Time out of Mind, the Neville Brothers Yellow Moon,

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Speaker 1: and Neil Young's underappreciated twenty ten album Lenoise. Then, of

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Speaker 1: course there's albums he made with You Two with Brian Eno,

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Speaker 1: with Willie Nelson, the record with DeAngelo. There's just so much.

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Speaker 1: We talk about many of these collaborations. During the course

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Speaker 1: of our conversation. We also talk about some of Landoi's

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Speaker 1: solo works that are just as beautiful, and in front

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Speaker 1: of an audience featuring Prince guitarist Donna Grantis, Laraji and

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Speaker 1: Laurie Anderson, land Wha plays us some music on his

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Speaker 1: very first instrument, it the Petal Steal. This is broken record,

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Speaker 1: real musicians, real conversations. Here's my conversation with Daniel Lanois,

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Speaker 1: and if you'd like to watch, you can view this

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Speaker 1: conversation at YouTube dot com. Slash Broken Record Podcast.

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Speaker 2: Ladies and gentlemen and everyone else, Daniel Lannois and Justin Richmond.

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Speaker 3: Oh where you go?

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Speaker 1: Perfect?

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Speaker 4: Would you just check and see if it's on?

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Speaker 1: But it's not, maybe you can. Let's just start things

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Speaker 1: off with like an invocation from from you. We want

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Speaker 1: to do you want to play something? Just to start

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Speaker 1: us off?

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Speaker 5: Cashhock an up copy copy.

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Speaker 4: As usual. I played it better at sound check, but

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Speaker 4: it is no risk. Is brats here?

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Speaker 3: Nice to see you, buddy, Kah.

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Speaker 1: That was that was beautiful, Thank you, thank you.

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Speaker 4: I got there a couple of spots, and once I

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Speaker 4: slowed down, started breathing a little better, it got.

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Speaker 1: What what is what's the history of your relationship with

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Speaker 1: with the pedal steel?

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Speaker 4: Uh? Well, for me, uh, I started on a penny

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Speaker 4: whistle when I was nine, and I really enjoyed that.

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Speaker 4: I was just a one dollar penny whistle. And what's

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Speaker 4: nice about the penny whistle You can only play one

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Speaker 4: note at a time. So I started developing my sense

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Speaker 4: of melody quite early on. And then I found a

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Speaker 4: way of keeping track of my melodies my inventing a

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Speaker 4: little notation system. You know, the high notes up here,

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Speaker 4: the notes over down here because I didn't know how

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Speaker 4: to read music or anything. And and then, as the

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Speaker 4: story goes, this wasn't in a time of door to

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Speaker 4: door canvassing. So the man knocked at my mother's door

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Speaker 4: and he said, you got any kids that like music?

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Speaker 4: She didn't call me one mon, Yeah, she said at

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Speaker 4: this guy.

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Speaker 3: He likes music.

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Speaker 4: He plays a penny whistle. And so that was the

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Speaker 4: beginning of my music career. He said, well, we teach

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Speaker 4: accordion and slide. Which one would you like? So I said, okay,

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Speaker 4: let's go for the slide. So it's been with me

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Speaker 4: since I was about ten or eleven, not this exactly,

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Speaker 4: not this exact guitar, but the slide guitar.

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Speaker 1: As a yes, what when you first started playing? What

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Speaker 1: were the sorts of things you were? What sounds were

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Speaker 1: you drawn to from it?

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Speaker 4: We carried on with melody because I studied with a

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Speaker 4: teacher who did the strumming of the chords, and I

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Speaker 4: then played the maladies and I played things like a

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Speaker 4: Red River Valley, you know, please come back to the

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Speaker 4: Red River Valley again. Just stayed with melody, and then

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Speaker 4: I fell in love with melody and it never left me.

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Speaker 1: And so.

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Speaker 4: I used to play guitar in a band in Toronto,

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Speaker 4: a club called the Brown Derby, and around the corner

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Speaker 4: was the cock Door and they had blues musicians in there,

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Speaker 4: and then the Edison had country musicians. So I used

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Speaker 4: to between my sets, I go to hear what those

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Speaker 4: guys were up to. And I met a fellow by

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Speaker 4: the name of Bob Lucier, also a frenchie like me,

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Speaker 4: and he became my teacher. And that's it. He got

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Speaker 4: me that guitar.

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Speaker 1: You're known. I think one of the things that people

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Speaker 1: talk about a lot when they talk about Daniel Law

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Speaker 1: is the texture and the sounds and the tones you

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Speaker 1: achieve in the studio. Often left out is your wonderful

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Speaker 1: sense of melody and what you bring to that in

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Speaker 1: your own work. And I'm sure you know your work

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Speaker 1: when you work with other artists as well. But I

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Speaker 1: noticed when we were in sound check and we were

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Speaker 1: listening to something, immediately you got to tap in your foot.

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Speaker 4: Oh yeah, yeah. I taped the heel because I can't

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Speaker 4: talk with a toe on that. I'll show you in

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Speaker 4: a minute.

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Speaker 1: I think Miles Davis tap of this heel too. It

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Speaker 1: was supposed to be cooler, but I taped myself. I'm

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Speaker 1: not that cool, but I was really pleased to see

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Speaker 1: that because one of the very underappreciated elements I feel

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Speaker 1: like of your work is your sense of rhythm. Everyone

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Speaker 1: has a unique rhythm, I think, probably whether they play

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Speaker 1: music or not. Some of the great artists, if you wonder,

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Speaker 1: just because I just said wonder, now, Michael Jackson stopped

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Speaker 1: in my head. Those two people, very different people have

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Speaker 1: their own very unique sense of rhythm, Okay, that it

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Speaker 1: gets expressed to their work, and all of your stuff

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Speaker 1: really does. Also. It seems to really have this really

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Speaker 1: unique but deeply soulful rhythm under what is your.

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Speaker 4: Well, that's a nice compliment, thank you, and all that.

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Speaker 4: We all hope to have that as part of our

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Speaker 4: paint box as musicians, you know, but it's always been

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Speaker 4: that for me, you know, like that the piece I

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Speaker 4: just played, you know, it's a six' eight and it

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Speaker 4: reminds me of the Will dance Hall field THAT i

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Speaker 4: remember as a, kid you, know cheek the, cheek the

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Speaker 4: nigga digga sleepwalk and all that. Stuff AND i never

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Speaker 4: forgot those the nights those you, know MAYBE i have

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Speaker 4: a sweaty sweaty and you're holding her girl's, hand then

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Speaker 4: you might ask her to dance and all. That it's

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Speaker 4: very very kind of innocent times of attraction and, uh

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Speaker 4: and it had a pulse to, it you, KNOW i

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Speaker 4: have a romance pulse to. It and a lot of

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Speaker 4: the doop of that era had a similar.

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Speaker 3: Boom boo boom, boo bah boo, boom.

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Speaker 4: You know that kind Of it's got a little love

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Speaker 4: making in it all the.

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Speaker 1: Time so that's the secret sorhythm.

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Speaker 4: Is, yes, Exactly, donna would you? Agree, Yes donna came

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Speaker 4: all the way down From toronto with her. Entourage. There

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Speaker 4: who's that good looking guy With oh It's, trevor her. Husband.

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Speaker 4: Uh But donna AND i are doing some work together right,

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Speaker 4: now SO i get to roaster a little.

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Speaker 1: Bit it's, Acceptable it's acceptable with the story the as

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Speaker 1: as is when you worked with you, too that was With,

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Speaker 1: brian you. Know is it true, that As i've Heard

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Speaker 1: bono tell, it you And Larry Mullen. Jr were the

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Speaker 1: first to sort of form a special kind of relationship

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Speaker 1: WHICH i feel like maybe also as illustrative of your

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Speaker 1: of your your your your sense of rhythm and maybe

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Speaker 1: the fact that you're you're drawn to.

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Speaker 4: It but, WELL i did recognize a special talent That

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Speaker 4: larry had drummer for you.

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Speaker 3: Too, larry.

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Speaker 4: He had developed this wild action on the high. Hat

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Speaker 4: he was a great high hat, player AND i, thought,

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Speaker 4: well maybe he could apply that high hat technique onto another.

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Speaker 4: Drum SO i brought a timballium for him and worked

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Speaker 4: out some new patterns within the. Skills and he was

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Speaker 4: already excellent at and he already appreciated that we were

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Speaker 4: able to expand on what he was already good at

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Speaker 4: into another dimension of.

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Speaker 1: Expression so you had did did? Did Did timbalis that

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Speaker 1: actually make it to the record or was that.

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Speaker 4: Just, yeah, yeah there's A i think there's a song

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Speaker 4: Called Unforgettable fire that has has that bad by Don't,

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Speaker 4: Boone Don't, Boom don't don't bona the get the, boone don't.

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Speaker 4: Bone SO i just had him to play the high hand,

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Speaker 4: part but move from the high hat to the to THEM, timbali,

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Speaker 4: YEAH i got on the. Album what.

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Speaker 1: Had you did you often use timbalas in your work before?

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Speaker 1: That or was it was that really just something you

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Speaker 1: had heard in his playing THAT i.

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Speaker 4: Just heard in his? PLAYING i mean it's what we

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Speaker 4: do in, studios you, know we look for people's uh

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Speaker 4: special gifts and moments of. Expression you, know maybe we

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Speaker 4: hit on something that belongs to someone rather than and

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Speaker 4: discarded OR i think it's not part of the. Recipe

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Speaker 4: we welcome a fresh. Ingredient it's always the. Case we're

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Speaker 4: only ever mining from, magic and magic will come in surprising,

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Speaker 4: ways you, know in the. Studio and we're lucky because

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Speaker 4: architects don't get to have this kind of. Flexibility you,

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Speaker 4: know a bridge gets designed or a beautiful building like,

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Speaker 4: this and you've got to stick with the. Plan but

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Speaker 4: we in the, studio we could, say, well there's something

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Speaker 4: very special, here so let's abandon the plan that we

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Speaker 4: had and put our effort into. THIS i just went

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Speaker 4: through this With. Donna you. Know she had a demo

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Speaker 4: of something from home THAT i thought had a little

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Speaker 4: something to it that we didn't quite capture in the,

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Speaker 4: studio AND i, said he we'll bring that in and

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Speaker 4: let me have a go at what you started at.

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Speaker 4: Home And i'm pretty. Good it's all fixed electro, timing

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Speaker 4: And i'm good at, that SO i can just take

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Speaker 4: What donna's started and surprise hear with the whole orchestra

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Speaker 4: stuff that she can't imagine just. Yet all, right that'll

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Speaker 4: be enough, now DON i don't want.

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Speaker 6: To.

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Speaker 4: But you.

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Speaker 1: Do you, said there's magic comes in all sorts of

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Speaker 1: surprising ways in the studio and often unplanned on ways

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Speaker 1: you're unprepared. For but you do prepare still on at

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Speaker 1: the beginning of projects for. Something.

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Speaker 4: Oh, absolutely preparation for sound is a very big thing for.

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Speaker 4: ME i Referenced Neil. Young WHEN i worked With, NEIL

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Speaker 4: i spent a good few weeks preparing, sounds guitar sounds

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Speaker 4: Before neil got. There AND i have a nice collection

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Speaker 4: of old, amps And neil loves as, well and SO

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Speaker 4: i pulled out all my best stuff and built some

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Speaker 4: sounds and introduced a what they call a sub harmonic.

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Speaker 4: Synthesizer it's just a device made BY, dbx and it

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Speaker 4: allows an octave below would come through from the guitar

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Speaker 4: from se on. Down and so he really got hooked

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Speaker 4: on and he, said, whoa this is. Fantastic and then

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Speaker 4: whatever notes the guitar wouldn't quite tracked that, WAY i.

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Speaker 4: Reinforce After neil would go, Home i'd get in there

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Speaker 4: and put in My taurus pedals and just whatever notes

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Speaker 4: were not quite, SPEAKING i would just do an overdub

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Speaker 4: of Mog taurus. Pedals and BUT i didn't Tell. Neil

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Speaker 4: it was All.

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Speaker 1: NEIL i hope he knows about. Now that's not WHAT

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Speaker 1: i don't want him to find out.

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Speaker 4: Here now he, knows he, knows he KNOWS i can

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Speaker 4: mess with him a little.

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Speaker 1: Bit did you did you? That? Love that is The

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Speaker 1: neil is held an adventurous, artist and that is a

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Speaker 1: really adventurous. Record did you Know neil before?

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Speaker 4: That, Yes i've Known neil since uh? That, uh, Yeah

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Speaker 4: i've known him since the late.

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Speaker 1: Eighties, Okay and had you discussed working together Before?

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Speaker 7: Lenois?

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Speaker 1: No.

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Speaker 4: NO i saw him In england WHEN i was music

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Speaker 4: director for the release Of Nelson mandela and there was

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Speaker 4: a big festival and big show was put on AND

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00:20:24,436 --> 00:20:26,436
Speaker 4: i was a music director for a portion of, it

219
00:20:26,556 --> 00:20:29,196
Speaker 4: And neil turned up for that and we had a

220
00:20:29,276 --> 00:20:32,756
Speaker 4: nice long conversation AND i asked him if he Missed,

221
00:20:32,796 --> 00:20:37,396
Speaker 4: canada and he, said of course he. Does you, know

222
00:20:37,996 --> 00:20:42,036
Speaker 4: but life sometimes just takes its own chorus and you

223
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Speaker 4: follow that that. Path but he he understood that we

224
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Speaker 4: were we were both operating by devoted.

225
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Speaker 3: Hearts it's a big.

226
00:20:55,716 --> 00:20:57,236
Speaker 4: Part devoted. Heart it's a big.

227
00:20:57,276 --> 00:21:00,916
Speaker 1: Thing and That neil record was supposed to be acoustic

228
00:21:01,916 --> 00:21:02,596
Speaker 1: to start, Right but.

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Speaker 4: Yes he, said he called me and asked me IF

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Speaker 4: i would record ten acoustic songs and film him as.

231
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Speaker 4: WELL i was making films in those days with my

232
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Speaker 4: Friend Adam, vallack and we had made some very nice,

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Speaker 4: films AND i think that caught his eye and he, thought,

234
00:21:19,076 --> 00:21:20,996
Speaker 4: well that could be a one stop, shop you, know

235
00:21:21,116 --> 00:21:24,396
Speaker 4: to come out with a film as well as a music.

236
00:21:24,476 --> 00:21:27,236
Speaker 4: Performance AND i tried to talk to filmmakers about this

237
00:21:27,396 --> 00:21:32,756
Speaker 4: agen she's sitting right. There we. Were we recorded in

238
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Speaker 4: the front room of my beautiful villa In Los, angeles

239
00:21:37,556 --> 00:21:40,156
Speaker 4: fabulous old place as IF i built, it it's nineteen twenty.

240
00:21:40,196 --> 00:21:45,356
Speaker 4: Five and if we thought we had a, TAKE i

241
00:21:45,396 --> 00:21:48,156
Speaker 4: would immediately knock out a mix and give it To

242
00:21:48,236 --> 00:21:51,556
Speaker 4: adam and he would run upstairs and. Synchronize this a

243
00:21:51,676 --> 00:21:54,236
Speaker 4: one camera, shoot so it was not you didn't have

244
00:21:54,276 --> 00:21:56,116
Speaker 4: to go from camera to. Cameras just a one camera,

245
00:21:56,196 --> 00:22:00,396
Speaker 4: shoot as the performance has seen through the eyes of

246
00:22:00,516 --> 00:22:04,156
Speaker 4: one individual and not an editing. Room that was the.

247
00:22:04,196 --> 00:22:08,876
Speaker 4: Philosophy SO i would run, upstairs give him a mix

248
00:22:08,956 --> 00:22:11,996
Speaker 4: and he'd find the locking. Point in a matter of twenty,

249
00:22:12,076 --> 00:22:14,716
Speaker 4: minutes we had a playback of a film and a

250
00:22:14,876 --> 00:22:18,836
Speaker 4: nice music, mix and it was we were like a

251
00:22:19,356 --> 00:22:23,876
Speaker 4: great machine and we have fast. Results and we would, say,

252
00:22:23,916 --> 00:22:26,956
Speaker 4: okay well let's try another. Take we'd go, down do another,

253
00:22:27,076 --> 00:22:29,516
Speaker 4: take do a, mix take it upstairs And, adam let's,

254
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Speaker 4: say we had a finished film right on the spot

255
00:22:31,796 --> 00:22:32,476
Speaker 4: and it was really.

256
00:22:32,516 --> 00:22:34,956
Speaker 1: Great that's incredible to.

257
00:22:35,036 --> 00:22:38,356
Speaker 3: WORK i tried to Convince jenner.

258
00:22:38,436 --> 00:22:40,276
Speaker 4: That she, said, well that's a bit too cowboy for.

259
00:22:40,436 --> 00:22:42,196
Speaker 4: Us you want to see cowboy you're looking at.

260
00:22:42,276 --> 00:22:46,636
Speaker 1: IT i mean that's fast by record making, standards let

261
00:22:46,676 --> 00:22:47,836
Speaker 1: alone film Standing.

262
00:22:47,916 --> 00:22:51,396
Speaker 4: Yeah, well the there's been some fast. Ones AND i

263
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Speaker 4: worked fast With Willie. Nelson we made a record With,

264
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Speaker 4: willie a nice record Called. Teatro made it in four. Days, yeah, man.

265
00:22:59,156 --> 00:23:02,156
Speaker 1: Fast it's a big sounding.

266
00:23:02,196 --> 00:23:04,676
Speaker 4: Record it's a great sounding, record but a lot of

267
00:23:04,716 --> 00:23:06,916
Speaker 4: preparation went into it for it to be.

268
00:23:07,436 --> 00:23:15,716
Speaker 1: Fast we'll be back with more after the. Break what

269
00:23:16,076 --> 00:23:19,636
Speaker 1: kind of preparation do you do for a record like?

270
00:23:19,676 --> 00:23:21,036
Speaker 1: That and then we can maybe listen to somes of

271
00:23:21,076 --> 00:23:21,836
Speaker 1: people can hear.

272
00:23:22,076 --> 00:23:25,956
Speaker 4: Okay well for the for The William nelson. RECORD i

273
00:23:26,076 --> 00:23:30,036
Speaker 4: met him In Las vegas and we drove in To

274
00:23:30,196 --> 00:23:37,916
Speaker 4: california With Emmy Loof and as we were crossing To,

275
00:23:38,036 --> 00:23:40,636
Speaker 4: CALIFORNIA i called my crew AND i, said, okay you

276
00:23:40,756 --> 00:23:43,516
Speaker 4: got to make the place look like a. Club BECAUSE

277
00:23:43,556 --> 00:23:45,076
Speaker 4: i Asked willie what was it like when you were

278
00:23:45,116 --> 00:23:47,076
Speaker 4: a kid, man when you were getting. Started he, said,

279
00:23:47,116 --> 00:23:49,716
Speaker 4: well we were just a dance. Band we played these

280
00:23:49,756 --> 00:23:53,356
Speaker 4: really nice clubs Around, austin and we had a, responsibility you,

281
00:23:54,476 --> 00:23:57,036
Speaker 4: know cheek to Cheek dan saying two step you, know

282
00:23:57,196 --> 00:23:59,116
Speaker 4: so we that's what we. Were we were a dance

283
00:23:59,196 --> 00:24:02,516
Speaker 4: band and the clubs were. BEAUTIFUL i, thought, well why

284
00:24:02,516 --> 00:24:06,796
Speaker 4: don't we recreate this this environment For. Willy so my

285
00:24:06,996 --> 00:24:10,316
Speaker 4: crew there was A mexican runt across the street that

286
00:24:10,476 --> 00:24:12,876
Speaker 4: just had refurbished and they had the old benches and,

287
00:24:12,956 --> 00:24:15,476
Speaker 4: boots so they gave them to. Us so we set

288
00:24:15,556 --> 00:24:17,716
Speaker 4: up the benches and booths all over the place and

289
00:24:17,836 --> 00:24:20,556
Speaker 4: dimmed the. LIGHTS i had little risers and you wouldn't

290
00:24:20,556 --> 00:24:22,036
Speaker 4: even think it was because it was in an old

291
00:24:22,076 --> 00:24:25,596
Speaker 4: theater my studio at the. Time And willie walked and he, said, wow,

292
00:24:25,796 --> 00:24:28,116
Speaker 4: man what is? THIS i, said, well this is your new.

293
00:24:28,196 --> 00:24:32,876
Speaker 4: Club and we made that record with no. Headphones the

294
00:24:32,956 --> 00:24:37,116
Speaker 4: drummers wore, headphones but nobody else, did and we just

295
00:24:37,556 --> 00:24:40,756
Speaker 4: knocked them. Out AND i had a good relationship with

296
00:24:40,836 --> 00:24:43,796
Speaker 4: the police department in those, days AND i said to, them,

297
00:24:43,836 --> 00:24:46,356
Speaker 4: listen will he's in the parking, lot please don't bother.

298
00:24:46,476 --> 00:24:48,956
Speaker 4: Him you see any smoke? Signals turned the blind?

299
00:24:49,036 --> 00:24:52,356
Speaker 1: Eye AND i guess in case we forgot to, mention

300
00:24:52,476 --> 00:24:53,436
Speaker 1: do was In? Ventura?

301
00:24:54,316 --> 00:24:57,916
Speaker 4: Yeah, yeah which is, right ox start, actually which is.

302
00:24:58,076 --> 00:25:03,316
Speaker 4: Uh it's an agricultural area for THE us in a

303
00:25:03,476 --> 00:25:07,516
Speaker 4: very incredible, place and it was an abandoned theater THAT

304
00:25:07,596 --> 00:25:10,716
Speaker 4: i rented for four years with a friend and we

305
00:25:10,836 --> 00:25:14,436
Speaker 4: made a lot of. Music i'm Recorded Billy bob Thornton

306
00:25:14,596 --> 00:25:17,036
Speaker 4: Sling blade soundtrack in that theater as.

307
00:25:17,076 --> 00:25:22,716
Speaker 1: Well it's good you recorded that with him, there and

308
00:25:22,796 --> 00:25:24,636
Speaker 1: he spent a lot of time there with you while

309
00:25:24,676 --> 00:25:25,236
Speaker 1: you were doing.

310
00:25:25,116 --> 00:25:29,156
Speaker 4: It right With? Billy oh, yeah, yeah this is before cell.

311
00:25:29,196 --> 00:25:33,116
Speaker 4: PHONES i believe it's hard to imagine before cell, Phones

312
00:25:33,916 --> 00:25:37,196
Speaker 4: Like i'm one hundred years. Old he used to call

313
00:25:37,316 --> 00:25:41,236
Speaker 4: me from a phone booth and you, say how's it looking?

314
00:25:41,276 --> 00:25:42,916
Speaker 4: DOWN i, said, Well i've got a couple of things to,

315
00:25:42,956 --> 00:25:45,196
Speaker 4: play and he'd come down and we'd listen to things

316
00:25:45,276 --> 00:25:47,196
Speaker 4: together and he, say, oh that's, great let's try and

317
00:25:47,276 --> 00:25:49,956
Speaker 4: put it over, here and we Use, Okay, jen you're

318
00:25:49,996 --> 00:25:54,236
Speaker 4: gonna laugh at, this because our synchronization system was, okay

319
00:25:54,276 --> 00:25:58,956
Speaker 4: you're watching scene and then, right you, know somebody touches the.

320
00:25:59,076 --> 00:26:03,676
Speaker 4: Doorknob that's when you start. Playing and we do a,

321
00:26:03,756 --> 00:26:05,996
Speaker 4: take and they saw that's, great let's hear it. Back

322
00:26:06,076 --> 00:26:08,716
Speaker 4: so we'd queue up And i'd put a chalk mark

323
00:26:08,836 --> 00:26:11,116
Speaker 4: on it was analog, table that WAS i just put

324
00:26:11,156 --> 00:26:13,556
Speaker 4: a chalk mark on the playback, head you, KNOW i,

325
00:26:13,636 --> 00:26:18,396
Speaker 4: said here comes the door, knob and then we would

326
00:26:18,436 --> 00:26:21,436
Speaker 4: make him a vachy THE vhs pardon me of, that

327
00:26:22,196 --> 00:26:24,476
Speaker 4: and then his editor would just copy what we had

328
00:26:24,556 --> 00:26:25,716
Speaker 4: done to synchronize.

329
00:26:25,796 --> 00:26:25,836
Speaker 6: It.

330
00:26:29,596 --> 00:26:31,396
Speaker 1: Uh but we should play some of That willie record

331
00:26:31,436 --> 00:26:33,356
Speaker 1: because just so people get a sense that, this you,

332
00:26:33,436 --> 00:26:36,396
Speaker 1: know in four days to make this kind of a

333
00:26:36,476 --> 00:26:42,036
Speaker 1: sounding record in a in a makeshift club in sleepy you, Know, Oxford.

334
00:26:42,116 --> 00:26:46,196
Speaker 1: California i'll play this is the maker from from that.

335
00:26:46,276 --> 00:27:28,356
Speaker 1: Album THEN i look at the.

336
00:27:28,436 --> 00:27:30,196
Speaker 4: Drummers you guys, ready.

337
00:27:43,636 --> 00:28:08,876
Speaker 6: Ooh ooh De Wa fly Cool, bly the nice stand Little.

338
00:28:11,756 --> 00:28:16,796
Speaker 6: Iron i'm.

339
00:28:16,876 --> 00:28:23,876
Speaker 1: Strange i'm. Sorry that's a trying to trying to improvise

340
00:28:23,956 --> 00:28:26,596
Speaker 1: along with the music And i'm Really i'm trying to

341
00:28:26,596 --> 00:28:27,516
Speaker 1: contribute and actually.

342
00:28:27,596 --> 00:28:28,876
Speaker 3: NOT i quite liked.

343
00:28:28,876 --> 00:28:31,276
Speaker 4: It it was like A dj, set, yeah.

344
00:28:30,876 --> 00:28:32,956
Speaker 1: Because the WORST dj set you've ever, Heard.

345
00:28:34,276 --> 00:28:36,596
Speaker 4: Laragie is that you right.

346
00:28:38,076 --> 00:28:39,836
Speaker 3: STILL i haven't seen it in such a long.

347
00:28:39,956 --> 00:28:42,556
Speaker 4: Time we were on the same label for a, while

348
00:28:42,636 --> 00:28:44,636
Speaker 4: me And. Laragi nice to see your.

349
00:28:44,676 --> 00:28:47,916
Speaker 1: Brother oh, MAN i, really you, know stepped right On

350
00:28:47,996 --> 00:28:53,196
Speaker 1: willie's beautiful all this, okay you know Something willie sings

351
00:28:53,236 --> 00:28:54,716
Speaker 1: like A i, mean and then that's your. Song and

352
00:28:54,796 --> 00:28:56,476
Speaker 1: what was it like to Hear willie sing a song

353
00:28:56,556 --> 00:28:57,756
Speaker 1: that you.

354
00:28:57,956 --> 00:29:02,556
Speaker 4: Wrote that's quite an honor when somebody sings one of my.

355
00:29:02,716 --> 00:29:08,556
Speaker 4: Songs it's happened a few. Times willie sang another. ONE

356
00:29:08,676 --> 00:29:13,476
Speaker 4: i wrote one Called Cruel world for The red for

357
00:29:13,916 --> 00:29:20,036
Speaker 4: a video. Game we were meant to write it, together

358
00:29:20,556 --> 00:29:23,796
Speaker 4: But willie was In hawaii and there was some kind

359
00:29:23,796 --> 00:29:25,676
Speaker 4: of a. Storm he couldn't make it back To Los,

360
00:29:25,716 --> 00:29:30,276
Speaker 4: angeles and he, said, well you write, it, man and you,

361
00:29:30,356 --> 00:29:32,036
Speaker 4: know come and see me when you got it, done

362
00:29:32,756 --> 00:29:36,556
Speaker 4: and SO i finished, it AND i, thought how are

363
00:29:36,596 --> 00:29:37,516
Speaker 4: we going to get willing to do?

364
00:29:37,676 --> 00:29:37,716
Speaker 5: It?

365
00:29:38,276 --> 00:29:44,876
Speaker 4: Jesus SO i call his, Son, micah Because, rothbaum his, manager, said,

366
00:29:44,996 --> 00:29:47,556
Speaker 4: listen IF i mentioned, anything he won't do.

367
00:29:47,676 --> 00:29:48,436
Speaker 1: It so you do.

368
00:29:48,556 --> 00:29:49,636
Speaker 4: It you call?

369
00:29:49,756 --> 00:29:49,916
Speaker 8: Him.

370
00:29:50,636 --> 00:29:53,796
Speaker 4: CAN i talked To, micah his. SON i, said, well,

371
00:29:53,836 --> 00:29:56,676
Speaker 4: listen if we show, up can we set up in

372
00:29:56,716 --> 00:29:58,916
Speaker 4: the garage or it's got a little side room that

373
00:29:58,996 --> 00:30:01,036
Speaker 4: can we set it up and Then i'll have all

374
00:30:01,116 --> 00:30:03,236
Speaker 4: the sounds ready and then we'll get the lyrics on

375
00:30:03,316 --> 00:30:05,356
Speaker 4: the wall and see if you can sing. It he

376
00:30:05,556 --> 00:30:07,316
Speaker 4: rolled out of bed and came down and looked at.

377
00:30:07,356 --> 00:30:11,956
Speaker 4: It he, said who wrote the? SONG i, Said?

378
00:30:11,996 --> 00:30:12,396
Speaker 3: WILLIE i.

379
00:30:12,516 --> 00:30:16,356
Speaker 4: Did we're supposed to write it. Together, anyhow we did

380
00:30:16,396 --> 00:30:18,316
Speaker 4: a little take right on the, spot and that's the

381
00:30:18,396 --> 00:30:20,836
Speaker 4: one that made us way into the video.

382
00:30:20,956 --> 00:30:22,516
Speaker 1: Game, well let me play a little of that as

383
00:30:22,556 --> 00:30:26,716
Speaker 1: SINCE i stepped On willie. Earlier it's also a really great.

384
00:30:26,756 --> 00:30:42,396
Speaker 9: Song cool, cool almost cool cool. World i'm moving.

385
00:30:42,556 --> 00:30:49,716
Speaker 10: All i've been living too fast And i'll be living too.

386
00:30:50,156 --> 00:30:52,876
Speaker 9: Wrong cruel cool.

387
00:30:53,036 --> 00:30:54,996
Speaker 10: World i'm gone.

388
00:30:57,036 --> 00:31:04,196
Speaker 9: Miss big old. World sure got me running, around arvous

389
00:31:04,636 --> 00:31:05,876
Speaker 9: said just st.

390
00:31:08,516 --> 00:31:11,796
Speaker 10: And with them light as my, guide and with his

391
00:31:11,956 --> 00:31:18,356
Speaker 10: feeling deep, INSIDE i know now THAT i am homeward bow.

392
00:31:20,716 --> 00:31:23,876
Speaker 9: Cool, cool mcle.

393
00:31:26,476 --> 00:31:26,876
Speaker 4: Cool.

394
00:31:27,516 --> 00:31:34,436
Speaker 10: Cool i'm moving. On i've been living too fast And

395
00:31:34,596 --> 00:31:41,476
Speaker 10: i've been living too. Wrong cool, Cool i'm gone.

396
00:31:44,196 --> 00:31:58,236
Speaker 4: Let it. So look it's that. Crazy That's.

397
00:31:58,316 --> 00:32:09,236
Speaker 1: WILLIE i mean, again like there's no drums on, that

398
00:32:09,356 --> 00:32:13,396
Speaker 1: but it's also imbued with like just a wonderful sense of.

399
00:32:13,476 --> 00:32:17,436
Speaker 4: Rhythm it's just me And micah And willie sitting in his.

400
00:32:17,556 --> 00:32:20,236
Speaker 4: Garage he sounds like a.

401
00:32:20,356 --> 00:32:24,316
Speaker 1: Kid he sounds sounds could really good for every Young

402
00:32:25,596 --> 00:32:26,636
Speaker 1: how many takes do you get With?

403
00:32:26,756 --> 00:32:32,596
Speaker 4: Willie what you don't get many takes With? Willy? One maybe?

404
00:32:32,676 --> 00:32:32,836
Speaker 3: Two?

405
00:32:34,196 --> 00:32:37,916
Speaker 4: Uh he's just so great with phrasing that you CAN'T

406
00:32:38,396 --> 00:32:39,356
Speaker 4: i can't disagree with.

407
00:32:39,516 --> 00:32:42,876
Speaker 1: Him does he does he rehearse a song like?

408
00:32:42,996 --> 00:32:48,476
Speaker 4: That, WELL i don't know if it's politically correct to say,

409
00:32:48,556 --> 00:32:52,116
Speaker 4: this but let's not kill the.

410
00:32:52,236 --> 00:32:56,636
Speaker 3: Fucker that's what he used to say to. ME i,

411
00:32:56,716 --> 00:32:57,876
Speaker 3: said don't do it too many.

412
00:32:57,996 --> 00:33:02,756
Speaker 4: Times you're gonna knock all the spontaneity and the juice

413
00:33:02,796 --> 00:33:04,156
Speaker 4: on it if you do it too many.

414
00:33:04,276 --> 00:33:07,676
Speaker 1: Times thank you for not Killing?

415
00:33:07,756 --> 00:33:08,596
Speaker 4: Willy all?

416
00:33:08,676 --> 00:33:15,956
Speaker 1: Right and still getting a wonderful. Day uh you also

417
00:33:16,116 --> 00:33:19,476
Speaker 1: got for, that you Got DiAngelo to do a. Song,

418
00:33:20,196 --> 00:33:20,556
Speaker 1: yes that's.

419
00:33:20,636 --> 00:33:23,676
Speaker 4: Right, YEAH i worked with di'angelo and that was a real.

420
00:33:24,196 --> 00:33:29,636
Speaker 4: SPECIAL i went in with a song in mind that

421
00:33:29,916 --> 00:33:32,476
Speaker 4: didn't work out very, well and he said to, Me

422
00:33:33,156 --> 00:33:34,956
Speaker 4: i'm not feeling. This you know, what what do you

423
00:33:34,996 --> 00:33:36,396
Speaker 4: want to? DO i, said, well give me a day

424
00:33:37,516 --> 00:33:41,196
Speaker 4: in the studio AND i prepared a track with A

425
00:33:41,236 --> 00:33:46,596
Speaker 4: Brian blade drum beat THAT i, had AND i just

426
00:33:46,676 --> 00:33:48,556
Speaker 4: came up with a whole other song THAT i, had

427
00:33:48,796 --> 00:33:53,116
Speaker 4: uh presented to him as a co write With rocca De,

428
00:33:53,196 --> 00:33:58,076
Speaker 4: luca myself and D'Angelo AND i worked out really. Well

429
00:33:58,156 --> 00:34:00,956
Speaker 4: he's got an amazing left. Hand we we cut it.

430
00:34:01,916 --> 00:34:04,676
Speaker 4: WELL i already had the, drums AS i, said With

431
00:34:04,756 --> 00:34:08,836
Speaker 4: Brian blade and some With Cyriah neville playing. Percussion. Wow

432
00:34:09,156 --> 00:34:16,636
Speaker 4: and THEN i built we, performed, uh him on roads

433
00:34:16,676 --> 00:34:21,436
Speaker 4: and meon, guitar on guitar and acoustic guitar. Amplified and

434
00:34:22,036 --> 00:34:24,876
Speaker 4: he has the most amazing left hand because D' angela

435
00:34:25,036 --> 00:34:30,316
Speaker 4: was an organist prodigy in his father's, church so he's

436
00:34:30,356 --> 00:34:33,836
Speaker 4: got that amazing dexterity with a left. Hand SO i

437
00:34:33,956 --> 00:34:36,076
Speaker 4: never had to add a bass because he had had

438
00:34:36,436 --> 00:34:37,756
Speaker 4: the most beautiful left hand.

439
00:34:37,836 --> 00:34:40,276
Speaker 1: Part you, know a lot of the roads were. You

440
00:34:41,316 --> 00:34:45,316
Speaker 1: were you a fan of D'Angelo before? That were you

441
00:34:45,916 --> 00:34:47,956
Speaker 1: much aware of his work OR i was aware of his?

442
00:34:48,076 --> 00:34:54,516
Speaker 4: Work, YES I i always admired his sense of. Time you,

443
00:34:54,596 --> 00:34:57,036
Speaker 4: know he talked about everybody has their own way of

444
00:34:57,116 --> 00:35:00,676
Speaker 4: looking at time and the behind the behind the b

445
00:35:00,916 --> 00:35:05,116
Speaker 4: thing that he mastered beautifully and never to be. FORGOTTEN

446
00:35:05,396 --> 00:35:08,436
Speaker 4: i don't know IF i don't know if it's necessary

447
00:35:08,516 --> 00:35:12,756
Speaker 4: to ever get of that, again because h is It Black? Messiah?

448
00:35:12,836 --> 00:35:15,156
Speaker 4: YEAH i think On Black. Messiah he listened to the

449
00:35:15,236 --> 00:35:18,036
Speaker 4: grooves on. This oh my, goodness it's it's really a

450
00:35:18,116 --> 00:35:20,156
Speaker 4: whole other way of looking at. Time.

451
00:35:20,676 --> 00:35:22,796
Speaker 1: YEAH i would love to hear you guys work. Again

452
00:35:22,836 --> 00:35:27,036
Speaker 1: that was such an, unexpected unexpected that he puts something

453
00:35:27,076 --> 00:35:29,556
Speaker 1: out because he doesn't always do, that, unexpected that you

454
00:35:29,756 --> 00:35:33,236
Speaker 1: guys co wrote something together and performed. IT i mean

455
00:35:33,276 --> 00:35:33,516
Speaker 1: it was just.

456
00:35:33,556 --> 00:35:38,876
Speaker 4: Beautiful, yeah he was apparently we were pretty fast by

457
00:35:38,956 --> 00:35:42,356
Speaker 4: comparison to his usual, pace and we knocked it out

458
00:35:42,356 --> 00:35:43,316
Speaker 4: pretty quick in a couple of.

459
00:35:43,396 --> 00:35:46,796
Speaker 1: Weeks and, yeah you didn't kill him, Either, Dangel you

460
00:35:46,796 --> 00:35:47,236
Speaker 1: Didn't kill The.

461
00:35:47,276 --> 00:35:49,516
Speaker 3: Angel, yeah right here In New, york you know it.

462
00:35:49,596 --> 00:35:51,396
Speaker 4: Was it was a lot of. Fun, yeah, MAN i

463
00:35:51,556 --> 00:35:51,876
Speaker 4: love that.

464
00:35:51,956 --> 00:35:57,476
Speaker 1: Guy you Mentioned Cyril neville of the Great Neville, Brothers, yeah,

465
00:35:57,556 --> 00:36:02,716
Speaker 1: yeah And Yellow, moon which you did with with The

466
00:36:02,836 --> 00:36:03,676
Speaker 1: neville Is.

467
00:36:04,556 --> 00:36:07,276
Speaker 4: Yeah Yellow moon is a special record out Of New.

468
00:36:07,396 --> 00:36:09,916
Speaker 4: ORLEANS i had gone To New york to get away

469
00:36:09,996 --> 00:36:13,316
Speaker 4: from the. WORLD i rented a little apartment AND i

470
00:36:13,516 --> 00:36:15,916
Speaker 4: was happy to be working on my own. Music and

471
00:36:17,076 --> 00:36:22,236
Speaker 4: then but they found me and they, said, Hey, landwill

472
00:36:22,236 --> 00:36:26,276
Speaker 4: why don't you produce A Neville brothers? Record AND i

473
00:36:26,356 --> 00:36:30,476
Speaker 4: had them come over my apartment and we did some

474
00:36:30,636 --> 00:36:34,316
Speaker 4: demos that worked out pretty, well and on the strength

475
00:36:34,956 --> 00:36:38,236
Speaker 4: of those, demos we decided to carry on and finish an.

476
00:36:38,276 --> 00:36:41,756
Speaker 4: Album in, FACT i think one or two of the

477
00:36:41,956 --> 00:36:46,356
Speaker 4: tracks from that record came out of my. Apartment AND

478
00:36:46,476 --> 00:36:48,836
Speaker 4: i had a cheap little, mixer a little hill, mixer

479
00:36:49,556 --> 00:36:52,796
Speaker 4: and a twelve track A kai some bizarre recording, system

480
00:36:53,436 --> 00:36:57,436
Speaker 4: and my mixing machine was a Little sony cassette, machine

481
00:36:57,436 --> 00:37:01,516
Speaker 4: a very nice, machine cassette dole be on it and.

482
00:37:01,556 --> 00:37:05,236
Speaker 4: EVERYTHING i never bettered those, mixes AND i never told

483
00:37:05,236 --> 00:37:07,196
Speaker 4: ANYBODY i used the cassette.

484
00:37:08,276 --> 00:37:11,076
Speaker 3: For the album would have said, Anything, wow.

485
00:37:13,676 --> 00:37:14,356
Speaker 1: No reason to.

486
00:37:14,436 --> 00:37:17,436
Speaker 3: Her you, know there was something about the compression and

487
00:37:17,556 --> 00:37:18,996
Speaker 3: the usual that.

488
00:37:19,236 --> 00:37:19,836
Speaker 4: Happened you, KNOW.

489
00:37:22,596 --> 00:37:23,756
Speaker 1: I want TO i don't.

490
00:37:23,636 --> 00:37:27,956
Speaker 4: Care what medium would you?

491
00:37:28,036 --> 00:37:28,156
Speaker 1: Use?

492
00:37:28,196 --> 00:37:29,116
Speaker 4: Well who cares about?

493
00:37:29,196 --> 00:37:30,556
Speaker 3: Mediums who?

494
00:37:30,636 --> 00:37:34,236
Speaker 1: Cares exactly? Right she listened a little OF i want

495
00:37:34,236 --> 00:37:37,036
Speaker 1: to listen to the Song voodoo from that, record just

496
00:37:37,076 --> 00:37:38,476
Speaker 1: a little, bit listening to a touch of.

497
00:37:38,516 --> 00:38:16,236
Speaker 4: That keep quiet, There, bred don't you just love The?

498
00:38:16,396 --> 00:38:17,916
Speaker 4: South oh you must.

499
00:38:17,756 --> 00:38:18,676
Speaker 6: Have put a budle.

500
00:38:18,876 --> 00:38:32,276
Speaker 11: Home you must have. Casten we're not laughing you. There

501
00:38:34,956 --> 00:38:35,796
Speaker 11: they don't talk.

502
00:38:35,916 --> 00:38:46,956
Speaker 12: Cants oh you must have been born in candle wh

503
00:38:47,436 --> 00:38:56,436
Speaker 12: make at so? Strong you must have springles all around that.

504
00:38:56,676 --> 00:39:01,156
Speaker 12: Bay you must have had a black cat, boone.

505
00:39:07,196 --> 00:39:07,956
Speaker 11: Just set out a.

506
00:39:08,076 --> 00:39:10,436
Speaker 6: Glass what do you cut?

507
00:39:10,436 --> 00:39:10,556
Speaker 2: It this?

508
00:39:10,596 --> 00:39:12,116
Speaker 1: STUFF i don't even know when to take this. Out

509
00:39:12,996 --> 00:39:17,196
Speaker 1: listen to a loop with, That, yeah, FOREVER i.

510
00:39:17,476 --> 00:39:21,596
Speaker 4: Know it's hard to look back and hard to look.

511
00:39:21,636 --> 00:39:27,676
Speaker 4: Ahead it, Is, yes it. Is couldn't agree. More, well,

512
00:39:27,756 --> 00:39:30,836
Speaker 4: Okay i'll give the trick. Away they were all very good,

513
00:39:30,876 --> 00:39:35,236
Speaker 4: percussionists and SO i said to, them, well let's let's

514
00:39:35,316 --> 00:39:38,036
Speaker 4: not play the song just. Yet let's build the percussion.

515
00:39:38,116 --> 00:39:41,316
Speaker 4: LOOPS i had everybody playing percussion and you can hear

516
00:39:41,316 --> 00:39:44,596
Speaker 4: it at the. Beginning so that's all The neville brothers playing,

517
00:39:44,636 --> 00:39:46,876
Speaker 4: percussion various cow bells and whatnot.

518
00:39:46,596 --> 00:39:47,116
Speaker 1: On that fade.

519
00:39:47,156 --> 00:39:51,196
Speaker 4: In on that fade, in and we played it maybe

520
00:39:51,716 --> 00:39:55,236
Speaker 4: maybe a fifteen minute jam of. Percussion they go. Home

521
00:39:55,356 --> 00:39:58,356
Speaker 4: i'd find the best sixteen bars of that and. Loop

522
00:39:58,556 --> 00:40:01,036
Speaker 4: this was like we're talking, loops, right you, know like

523
00:40:01,156 --> 00:40:03,916
Speaker 4: tape loops in those, days kind of around the room

524
00:40:04,036 --> 00:40:07,356
Speaker 4: or on stands and pulleys and. Whatnot AND i dropped

525
00:40:07,436 --> 00:40:10,236
Speaker 4: the best part of THE percussi back to the multi,

526
00:40:10,356 --> 00:40:12,596
Speaker 4: track and when they came in the next, day they

527
00:40:12,836 --> 00:40:16,476
Speaker 4: cut the track to their own. Percussion. Wow so it

528
00:40:16,596 --> 00:40:21,596
Speaker 4: was a way of having a fixed time metronomic, time

529
00:40:21,716 --> 00:40:23,756
Speaker 4: but not a click haoud be something that's got a

530
00:40:23,796 --> 00:40:25,676
Speaker 4: lot of feel to, it as you can hear in the.

531
00:40:25,796 --> 00:40:30,476
Speaker 4: Track and then we're lucky enough to have me And

532
00:40:30,596 --> 00:40:32,996
Speaker 4: Willie green on the drums And Tony hall on the.

533
00:40:33,036 --> 00:40:37,196
Speaker 4: Base these are the top Level New orleans. PLAYERS i

534
00:40:37,276 --> 00:40:39,436
Speaker 4: can't say enough About New, orleans you. KNOW i, Mean

535
00:40:39,476 --> 00:40:41,436
Speaker 4: i'm A French canadian. KID i go down there AND

536
00:40:41,476 --> 00:40:42,276
Speaker 4: i get a groove like.

537
00:40:42,356 --> 00:40:49,116
Speaker 1: That, incredible and you were. SO i, mean and this

538
00:40:49,276 --> 00:40:50,996
Speaker 1: is a, TIME i guess to set the scene as.

539
00:40:51,036 --> 00:40:52,796
Speaker 1: Well like you had, mentioned you went down there to

540
00:40:52,876 --> 00:40:56,916
Speaker 1: just do some, recording and you were. So at this,

541
00:40:57,076 --> 00:41:02,516
Speaker 1: time you're Recording Yellow moon with The, nevilles you're Recording

542
00:41:03,076 --> 00:41:05,196
Speaker 1: Bob Dylan's Oh, Mercy Why, mother that's a little bit,

543
00:41:05,276 --> 00:41:05,956
Speaker 1: later but same.

544
00:41:06,076 --> 00:41:08,956
Speaker 4: Era and you're also just a few months, apart a few.

545
00:41:08,876 --> 00:41:12,516
Speaker 1: Months the, part and you're recording your own debut.

546
00:41:12,596 --> 00:41:17,596
Speaker 4: Album the three albums done over the course of about nine. Months,

547
00:41:17,796 --> 00:41:24,596
Speaker 4: Yeah dylan was on, tour he stopped. In, uh my

548
00:41:24,716 --> 00:41:29,756
Speaker 4: Agent bono lined up The. Rendezvous bob stopped in and

549
00:41:30,236 --> 00:41:32,356
Speaker 4: played in a couple of, tracks including and we had

550
00:41:32,396 --> 00:41:36,116
Speaker 4: already recorded With god On Her, side which is one

551
00:41:36,156 --> 00:41:40,436
Speaker 4: Of bob's songs For Yellow. Moon For Yellow, moon At aaron's,

552
00:41:40,516 --> 00:41:43,396
Speaker 4: request he wanted to cut that, song and we did

553
00:41:43,436 --> 00:41:45,676
Speaker 4: a very powerful version of. IT i played it For

554
00:41:45,836 --> 00:41:50,276
Speaker 4: bob and he, says that sounds like a. Record that's

555
00:41:50,276 --> 00:41:55,356
Speaker 4: a big compliment From, bob and he, said, boy you

556
00:41:55,436 --> 00:41:58,196
Speaker 4: already got a thing going on. Here THEN i, said,

557
00:41:58,236 --> 00:42:01,836
Speaker 4: well why don't we make your record, here not in this,

558
00:42:02,316 --> 00:42:05,116
Speaker 4: location but In New, orleans AND i, said if you

559
00:42:05,236 --> 00:42:07,436
Speaker 4: come back in the, Springtime i'll have a whole setup

560
00:42:07,476 --> 00:42:10,356
Speaker 4: ready for. You don't need to bring any instant, curements no, musicians,

561
00:42:10,436 --> 00:42:13,356
Speaker 4: nothing just show up with your. Songs and he agreed

562
00:42:13,556 --> 00:42:14,796
Speaker 4: to that and that's how we did.

563
00:42:14,876 --> 00:42:20,756
Speaker 1: Him wow, Wow and that is again that's another that's

564
00:42:20,756 --> 00:42:23,356
Speaker 1: an album too WHERE i, mean did you get to

565
00:42:23,596 --> 00:42:27,036
Speaker 1: that's AN i guess to put that in, context that's

566
00:42:27,036 --> 00:42:31,836
Speaker 1: A dylan album WHERE i mean the songs Are was

567
00:42:31,876 --> 00:42:36,396
Speaker 1: this incredibly? Inspired did you did he come with songs

568
00:42:36,756 --> 00:42:37,556
Speaker 1: or was he?

569
00:42:38,436 --> 00:42:41,476
Speaker 4: Yeah oh, yeah he came with songs although he wrote

570
00:42:41,556 --> 00:42:44,476
Speaker 4: some In New. Orleans he wrote one Called man in

571
00:42:44,516 --> 00:42:46,156
Speaker 4: A Long Black coat that was written In New.

572
00:42:46,236 --> 00:42:47,956
Speaker 1: Orleans that's an amazing.

573
00:42:48,036 --> 00:42:50,956
Speaker 4: One, yeah he was very inspired by the whole. Scene

574
00:42:51,796 --> 00:42:56,516
Speaker 4: we had, motorcycles nice vintage motorcycles at, all and he,

575
00:42:56,556 --> 00:42:58,236
Speaker 4: said can you give me one of? These and then

576
00:42:58,276 --> 00:43:00,356
Speaker 4: we got him a nice sixty Six, harley a real

577
00:43:00,436 --> 00:43:03,356
Speaker 4: beauty and so he was having a good. Time you,

578
00:43:03,396 --> 00:43:06,116
Speaker 4: know just nobody knew he was there and need me

579
00:43:07,076 --> 00:43:13,836
Speaker 4: riding in the Night Byron. Body shakoya is the moisture

580
00:43:14,036 --> 00:43:18,036
Speaker 4: and just everything that Your orleans has you, know it's

581
00:43:18,036 --> 00:43:18,676
Speaker 4: a very magic.

582
00:43:18,756 --> 00:43:23,116
Speaker 1: PLACE i was always curious it turned Up LATER i

583
00:43:23,196 --> 00:43:27,796
Speaker 1: saw the very next Record bob, Did there was A

584
00:43:28,076 --> 00:43:31,196
Speaker 1: there was was under The Red. Sky IF i have

585
00:43:31,316 --> 00:43:34,276
Speaker 1: that kind of kind of you know that in the right,

586
00:43:34,436 --> 00:43:38,276
Speaker 1: Order and then like a handful of maybe a decade,

587
00:43:38,276 --> 00:43:41,636
Speaker 1: ago you, know as he's doing his bootleg, RELEASES i

588
00:43:41,756 --> 00:43:45,436
Speaker 1: noticed some outtakes from the sessions you guys did for

589
00:43:45,556 --> 00:43:48,476
Speaker 1: songs that ended up on, that Like God knows And

590
00:43:48,596 --> 00:43:51,516
Speaker 1: born In? Time, yeah that's, right, Yeah AND i didn't, know,

591
00:43:51,636 --> 00:43:56,316
Speaker 1: like so how many songs did you guys record and

592
00:43:56,396 --> 00:43:58,796
Speaker 1: how how did you go? About was that something a

593
00:43:58,876 --> 00:44:00,996
Speaker 1: decision Only bob could make whether a song makes the

594
00:44:01,076 --> 00:44:02,956
Speaker 1: record or, well we we.

595
00:44:03,076 --> 00:44:06,716
Speaker 4: Cut more material than we needed to make an. Album

596
00:44:06,916 --> 00:44:10,756
Speaker 4: AND i was said to see this one knocking on

597
00:44:10,836 --> 00:44:13,956
Speaker 4: the record Called series Of. DREAMS i might have made

598
00:44:13,956 --> 00:44:16,716
Speaker 4: a mistake by not lobbying for it more THAN i.

599
00:44:16,876 --> 00:44:20,916
Speaker 4: Did but if ever you hear that, one that's a real.

600
00:44:21,036 --> 00:44:22,956
Speaker 4: MASTERPIECE A series Of?

601
00:44:23,036 --> 00:44:24,116
Speaker 1: Dreams has that come?

602
00:44:24,156 --> 00:44:27,236
Speaker 4: Out do you know it did come out? Yet thank?

603
00:44:27,316 --> 00:44:27,356
Speaker 6: You?

604
00:44:29,556 --> 00:44:34,236
Speaker 4: YEAH i. Did it has a series Of dreams almost

605
00:44:34,276 --> 00:44:40,356
Speaker 4: a a look at his own life and the journey

606
00:44:40,436 --> 00:44:45,676
Speaker 4: that he Took yes forthn't listening to? That it's quite.

607
00:44:45,756 --> 00:44:47,996
Speaker 4: Touching it's a very emotional.

608
00:44:48,196 --> 00:44:54,196
Speaker 1: Delivery AND i want to play a little from from

609
00:44:54,396 --> 00:44:56,796
Speaker 1: your own record recorded around that time as well A

610
00:44:56,916 --> 00:45:01,236
Speaker 1: katie the song that we. Heard we'll listen to the.

611
00:45:01,276 --> 00:45:05,476
Speaker 1: Two we'll play The maker which we heard will you

612
00:45:05,556 --> 00:45:06,276
Speaker 1: do on his? Record?

613
00:45:06,436 --> 00:45:09,036
Speaker 4: Yes which one were you're? Thinking but we'll play The.

614
00:45:09,196 --> 00:45:12,276
Speaker 1: Maker we've already heard. It we heard this, players hear

615
00:45:12,316 --> 00:45:14,276
Speaker 1: it again because it is just to hear the, Difference

616
00:45:14,396 --> 00:45:16,196
Speaker 1: just to hear the, difference or do you want to

617
00:45:16,196 --> 00:45:17,436
Speaker 1: play what would you like to hear from?

618
00:45:17,476 --> 00:45:25,076
Speaker 4: It still water sounds pretty.

619
00:45:25,116 --> 00:45:31,836
Speaker 1: Good that's a good. One, opener can't go. Wrong m.

620
00:45:36,116 --> 00:45:39,236
Speaker 4: That's Larry mullin on the drum from you to You.

621
00:45:51,316 --> 00:45:54,676
Speaker 9: Save, save.

622
00:45:56,556 --> 00:45:58,356
Speaker 3: Where you're going with the?

623
00:45:58,996 --> 00:46:05,356
Speaker 9: Confidence serve, said.

624
00:46:07,276 --> 00:46:10,796
Speaker 1: Where you're go with, Cold.

625
00:46:12,276 --> 00:46:12,996
Speaker 7: I'm going to.

626
00:46:13,316 --> 00:46:16,196
Speaker 6: About scomb.

627
00:46:17,956 --> 00:46:20,316
Speaker 9: Called on your river flows.

628
00:46:20,596 --> 00:46:23,556
Speaker 4: Swag i'm going to.

629
00:46:23,916 --> 00:46:26,556
Speaker 6: About, scuba.

630
00:46:28,556 --> 00:46:30,436
Speaker 9: Caldon your, river.

631
00:46:30,516 --> 00:46:33,876
Speaker 6: Flat still, water.

632
00:46:35,876 --> 00:46:44,476
Speaker 1: Lay still, water lay over still, water.

633
00:46:46,516 --> 00:46:47,756
Speaker 6: Lay over.

634
00:46:49,916 --> 00:46:52,516
Speaker 3: Caledon river or so.

635
00:46:55,196 --> 00:46:56,676
Speaker 6: While lies in.

636
00:46:56,876 --> 00:47:02,756
Speaker 13: The wilderness where you're born with the devil in, Hand.

637
00:47:03,476 --> 00:47:08,916
Speaker 4: Adam clayton on the, base while lies in the wilderness

638
00:47:09,716 --> 00:47:13,956
Speaker 4: where you're gone with the devil and you know did

639
00:47:14,036 --> 00:47:14,636
Speaker 4: some background.

640
00:47:14,716 --> 00:47:22,796
Speaker 13: Vocals don't build the bridge is high for working, money

641
00:47:24,076 --> 00:47:27,436
Speaker 13: for working, Money i'm gone To.

642
00:47:27,676 --> 00:47:30,956
Speaker 11: Clark and the bridgees.

643
00:47:30,236 --> 00:47:32,956
Speaker 3: Have hella dorm your brother.

644
00:47:33,316 --> 00:47:40,436
Speaker 1: Farm still that's you, know there is One how do

645
00:47:40,476 --> 00:47:47,196
Speaker 1: you get this? Talented do you do? Everything it's that well, unbelievable, well, uh.

646
00:47:47,836 --> 00:47:52,676
Speaker 4: Unbelievable oh THE i mean this is something That larage

647
00:47:52,716 --> 00:47:57,116
Speaker 4: you know as, well that soul is the governor and

648
00:47:58,076 --> 00:48:02,116
Speaker 4: we don't carry on with anything if it doesn't have

649
00:48:02,316 --> 00:48:05,356
Speaker 4: that in tire, intact you, know he isn't even as a.

650
00:48:05,436 --> 00:48:08,476
Speaker 4: Seed the beginning of something has to have some kind

651
00:48:08,516 --> 00:48:11,956
Speaker 4: of soul to to keep motivating as we move. Along,

652
00:48:13,076 --> 00:48:22,756
Speaker 4: laurie how you doing some familiar faces there and so

653
00:48:22,996 --> 00:48:26,756
Speaker 4: what you're hearing, there you, know started with with quite

654
00:48:26,796 --> 00:48:30,676
Speaker 4: a strong feeling that we, were you, know acting as

655
00:48:30,716 --> 00:48:33,116
Speaker 4: a keel for for the rest of the. Work and

656
00:48:34,996 --> 00:48:37,076
Speaker 4: the worst thing THAT i can do in the studio

657
00:48:37,316 --> 00:48:40,396
Speaker 4: is build on something that doesn't have that and that

658
00:48:40,796 --> 00:48:44,836
Speaker 4: never really works. Out it's on the soul is the.

659
00:48:44,916 --> 00:48:49,156
Speaker 1: Governor you can you can hear. That that's you can

660
00:48:49,236 --> 00:48:52,836
Speaker 1: definitely hear that after this, break we're back with the

661
00:48:52,876 --> 00:49:00,596
Speaker 1: rest of my conversation With Daniel. Landois after making some

662
00:49:00,756 --> 00:49:04,036
Speaker 1: records like, that how do you decide to Leave New?

663
00:49:04,196 --> 00:49:06,716
Speaker 1: ORLEANS i don't know IF i ever would have left

664
00:49:06,796 --> 00:49:09,956
Speaker 1: if you're going to do with me been working to mind.

665
00:49:10,036 --> 00:49:12,476
Speaker 4: You BUT i Left New orleans to go To mexico

666
00:49:12,516 --> 00:49:19,676
Speaker 4: BECAUSE i wanted to keep going. South, yeah that's, IT

667
00:49:19,796 --> 00:49:23,236
Speaker 4: i THOUGHT i. WAS i always like something About mexican,

668
00:49:24,036 --> 00:49:27,716
Speaker 4: baselines AND i still don't fully comprehend them to this.

669
00:49:27,916 --> 00:49:34,516
Speaker 4: Day and so those those amazing uh three, fours you,

670
00:49:34,596 --> 00:49:38,996
Speaker 4: know with odd baselines and in between, rhythms they've got

671
00:49:39,036 --> 00:49:42,796
Speaker 4: a little Di angelo in them. Themselves such an old

672
00:49:42,836 --> 00:49:47,876
Speaker 4: culture of those grooves that they've found all the iss

673
00:49:47,956 --> 00:49:51,396
Speaker 4: and in, betweens and it's quite touching for me to.

674
00:49:53,076 --> 00:49:53,196
Speaker 7: Hear.

675
00:49:53,316 --> 00:49:55,716
Speaker 4: Them AND i just wanted to keep going further. South

676
00:49:55,836 --> 00:49:59,076
Speaker 4: AND i still want to keep going further. South what

677
00:49:59,196 --> 00:49:59,636
Speaker 4: are we doing?

678
00:49:59,716 --> 00:50:00,756
Speaker 7: Here where are you going?

679
00:50:00,836 --> 00:50:04,236
Speaker 1: Next let's? Go did you make any records In?

680
00:50:04,316 --> 00:50:10,436
Speaker 4: Mexico, YES I i Had Brian blade down there And Darryl,

681
00:50:10,516 --> 00:50:14,516
Speaker 4: johnson great bass player From New. Ormans brian's From, Shreveport

682
00:50:14,636 --> 00:50:18,196
Speaker 4: SO i was in the presence of two of the

683
00:50:18,316 --> 00:50:22,196
Speaker 4: finest and we went down there and for about a

684
00:50:22,316 --> 00:50:26,316
Speaker 4: YEAR i was stationed down there In, mexico AND i

685
00:50:26,396 --> 00:50:28,956
Speaker 4: came up with a lot of very great psychedelic music

686
00:50:29,036 --> 00:50:31,916
Speaker 4: THAT i still, have you, know have in my. Library

687
00:50:32,036 --> 00:50:35,036
Speaker 4: some of it's. Unreleased, Man, well maybe we'll get to

688
00:50:35,116 --> 00:50:35,636
Speaker 4: it one of these.

689
00:50:35,716 --> 00:50:39,396
Speaker 1: Days you gotta you gotta gotta put that, out. Man

690
00:50:39,596 --> 00:50:41,116
Speaker 1: AND i just got to, SAY i mean you always,

691
00:50:41,396 --> 00:50:45,836
Speaker 1: Again Brian, Blade Tony, Hall DARRYL i, mean you're always

692
00:50:45,996 --> 00:50:48,476
Speaker 1: just got the most incredible rhythm sections with.

693
00:50:48,556 --> 00:50:53,676
Speaker 4: You you, know well why? Not you know it's, yeah

694
00:50:53,756 --> 00:50:56,716
Speaker 4: why there's great players out there and they just need

695
00:50:56,796 --> 00:51:00,076
Speaker 4: to build a little nest and lay some.

696
00:51:00,196 --> 00:51:06,556
Speaker 1: EGGS i asked you about a song speaking of songs

697
00:51:06,556 --> 00:51:10,516
Speaker 1: that are from deep within your your catalog and weren't

698
00:51:10,516 --> 00:51:12,156
Speaker 1: released and then maybe or this one came, out but

699
00:51:12,196 --> 00:51:14,836
Speaker 1: you're saying maybe you shouldn't have put it. Out BUT

700
00:51:15,156 --> 00:51:17,316
Speaker 1: i asked you about a song called Warm up to The,

701
00:51:17,436 --> 00:51:20,956
Speaker 1: heart which came out on a series of releases Called

702
00:51:20,996 --> 00:51:24,916
Speaker 1: omni or is a three disc. Release would you mind

703
00:51:25,076 --> 00:51:25,996
Speaker 1: playing through that a?

704
00:51:26,076 --> 00:51:28,516
Speaker 4: Bit, well justin you, Know i'll do it for, you.

705
00:51:28,716 --> 00:51:31,316
Speaker 4: MAN i haven't played it, since so let's see IF

706
00:51:31,316 --> 00:51:31,836
Speaker 4: i can get through.

707
00:51:31,876 --> 00:51:32,196
Speaker 1: It thank.

708
00:51:32,236 --> 00:51:48,316
Speaker 4: You i'll do a.

709
00:51:48,356 --> 00:55:19,036
Speaker 14: Preamble spot.

710
00:54:48,276 --> 00:55:17,276
Speaker 8: Are a.

711
00:55:32,076 --> 00:55:39,276
Speaker 5: Stock, o.

712
00:56:46,916 --> 00:56:47,196
Speaker 1: Thank.

713
00:56:47,276 --> 00:56:48,196
Speaker 10: You Thank.

714
00:56:56,956 --> 00:56:59,396
Speaker 4: Maybe while we're, here we've talked a little bit about

715
00:56:59,476 --> 00:57:04,396
Speaker 4: this technique of turning up loud but playing quiet, please

716
00:57:05,236 --> 00:57:09,236
Speaker 4: which is, Uh dawna knows this well because she is

717
00:57:09,276 --> 00:57:11,676
Speaker 4: a fand Of Jim hendrix AS i. Am and so

718
00:57:12,396 --> 00:57:15,596
Speaker 4: you can pluck a, note, garth you crank me up

719
00:57:15,636 --> 00:57:19,436
Speaker 4: about fifteen twenty. Percent i'll give you an example of.

720
00:57:19,556 --> 00:57:24,116
Speaker 4: This so SO i pluck a note and THEN i

721
00:57:24,236 --> 00:57:40,076
Speaker 4: bring the shimmer, up So i'm not doing anything here.

722
00:58:33,716 --> 00:59:41,436
Speaker 7: Change so it's A it's a technique THAT.

723
00:59:43,556 --> 00:59:46,116
Speaker 4: I found pretty early on in my playing BECAUSE i

724
00:59:46,276 --> 00:59:49,716
Speaker 4: wasn't about to be a Great texas steel guitar, player

725
00:59:49,796 --> 00:59:53,156
Speaker 4: SO i, thought, well maybe there's something in there that

726
00:59:53,316 --> 00:59:56,156
Speaker 4: belongs to me, Then so that's that's one of the

727
00:59:56,276 --> 00:59:58,756
Speaker 4: things that came to me is IF i played the,

728
00:59:58,836 --> 01:00:06,436
Speaker 4: melody let me just clean things up me we'll Play Danny.

729
01:00:06,476 --> 01:00:49,596
Speaker 4: Boy so little scraping THAT i do triggers the notes

730
01:00:49,676 --> 01:00:51,836
Speaker 4: THAT i didn't play in the, melody but they're in the,

731
01:00:51,956 --> 01:00:56,516
Speaker 4: chord and so you get them monamable and then that's

732
01:00:56,556 --> 01:00:59,716
Speaker 4: as if somebody had written a little arrangement of harmonics

733
01:00:59,756 --> 01:01:03,836
Speaker 4: surrounding the. Melody and so that's a technique That i'd

734
01:01:03,916 --> 01:01:07,636
Speaker 4: like to. Use and it takes me to those WHAT

735
01:01:07,756 --> 01:01:10,596
Speaker 4: i Call Bernard hermann chore is one of my Favorite

736
01:01:10,636 --> 01:01:22,636
Speaker 4: american composers. Psychamical excuse, me, sorry that was fault of my.

737
01:01:22,796 --> 01:02:09,436
Speaker 4: Shoe THEN i got the scraping sound And, wayne Whereas

738
01:02:09,436 --> 01:02:13,556
Speaker 4: Wayne Wayne lorenz built me this little sustained machine here that.

739
01:02:13,876 --> 01:02:45,036
Speaker 4: Goes SO i can think of them as little hidden

740
01:02:45,156 --> 01:02:51,076
Speaker 4: chords available in between melodies that make the almost as

741
01:02:51,116 --> 01:02:55,396
Speaker 4: if harmonics are our a little, orchestra orchestra behind the.

742
01:02:55,476 --> 01:02:56,956
Speaker 4: Melody and it's.

743
01:02:58,676 --> 01:03:02,796
Speaker 1: Because you're playing softly and because you've turned to the

744
01:03:02,876 --> 01:03:04,156
Speaker 1: volume up so loud that you're.

745
01:03:03,996 --> 01:03:05,916
Speaker 4: Able to AND i can do the shimmer thing THAT i.

746
01:03:06,036 --> 01:03:11,636
Speaker 4: Described it's a technique That jamaican bass players abused, historically

747
01:03:12,236 --> 01:03:15,876
Speaker 4: where you turn up super, loud lot all the bass

748
01:03:16,836 --> 01:03:18,716
Speaker 4: base all the way, up trouble all the way, down

749
01:03:19,116 --> 01:03:24,596
Speaker 4: but you play. Soft you don't hammer it because then

750
01:03:24,676 --> 01:03:28,396
Speaker 4: you kill the. Sounds so it's it's a similar. Philosophy

751
01:03:29,156 --> 01:03:29,716
Speaker 4: but did.

752
01:03:29,676 --> 01:03:32,036
Speaker 1: You know that when you did you did you discover

753
01:03:32,116 --> 01:03:35,516
Speaker 1: that after you discovered this technique or did you know that?

754
01:03:35,756 --> 01:03:39,756
Speaker 4: Well and then it was pretty easy to figure out

755
01:03:40,956 --> 01:03:43,316
Speaker 4: all of the bass players we're doing In, jamaica you.

756
01:03:43,396 --> 01:03:46,716
Speaker 4: Know JUST i, Mean i'm not SAYING i played like,

757
01:03:46,796 --> 01:03:47,836
Speaker 4: them BUT i could figure it.

758
01:03:47,916 --> 01:03:53,316
Speaker 1: Out you, know not everyone. HAS i can say.

759
01:03:53,356 --> 01:03:57,036
Speaker 4: THAT i think a lot of soul would be part

760
01:03:57,076 --> 01:04:00,796
Speaker 4: of the recipe back to SO i don't know IF

761
01:04:00,836 --> 01:04:04,676
Speaker 4: i can say, up let me play a little melody

762
01:04:04,796 --> 01:04:09,996
Speaker 4: for you THAT i wrote as a hymn and it

763
01:04:10,156 --> 01:04:13,436
Speaker 4: made its way into the Film Friday Night. Lights if

764
01:04:13,476 --> 01:04:15,876
Speaker 4: anyone ever saw that, Film just when they don't make

765
01:04:15,916 --> 01:04:20,756
Speaker 4: that last, yard the screen goes silent and it goes slow,

766
01:04:20,876 --> 01:06:00,116
Speaker 4: mode and then this tune come. Up M. M i'll

767
01:06:00,196 --> 01:06:02,956
Speaker 4: kill my echoes here and Let garth do his. Thing,

768
01:06:03,076 --> 01:06:05,956
Speaker 4: garth you're. On he's got some beautiful shut on sound

769
01:06:05,996 --> 01:06:08,876
Speaker 4: here is designed By John, meyer one of the greats.

770
01:06:12,836 --> 01:06:12,876
Speaker 6: And.

771
01:06:14,636 --> 01:07:43,116
Speaker 15: Change WHEN i play it, LIVE i usually go, crazy

772
01:07:43,236 --> 01:07:44,356
Speaker 15: but that's with a much bigger.

773
01:07:44,436 --> 01:07:45,916
Speaker 4: Sound let's see IF i can get away with. It,

774
01:07:46,036 --> 01:08:16,036
Speaker 4: Hire i'll go to a rain drop sound to try

775
01:08:16,076 --> 01:09:20,596
Speaker 4: and take. It how us speak Of Laurie anderson?

776
01:09:20,716 --> 01:09:55,156
Speaker 5: Sound oh, well, yeah.

777
01:10:36,116 --> 01:10:36,596
Speaker 1: Oh that's.

778
01:10:36,596 --> 01:10:46,716
Speaker 4: Beautiful now these, uh these folks that put a lot

779
01:10:46,796 --> 01:10:50,356
Speaker 4: of time into this. Room behind these panels are multiple

780
01:10:50,476 --> 01:10:54,076
Speaker 4: speakers and designed By John, meyer one of the one

781
01:10:54,116 --> 01:10:56,596
Speaker 4: of the, greats And garth up there is that in The.

782
01:10:56,676 --> 01:10:59,236
Speaker 4: Helm thank You. Garth you could hear the WHEN i

783
01:10:59,236 --> 01:11:03,316
Speaker 4: Asked gartha give us the beautiful surround sounded. It it

784
01:11:04,276 --> 01:11:08,436
Speaker 4: developed more of an. Expanse so we look for things.

785
01:11:08,276 --> 01:11:08,796
Speaker 1: Like that in The.

786
01:11:08,836 --> 01:11:11,996
Speaker 4: Student you, KNOW i Mean john is obviously done here

787
01:11:12,076 --> 01:11:16,396
Speaker 4: in a physical, space but we try and create The

788
01:11:17,676 --> 01:11:20,676
Speaker 4: we are illusionists really as record, makers so we create

789
01:11:20,796 --> 01:11:24,476
Speaker 4: a sense of depth because if everything's on the same,

790
01:11:24,636 --> 01:11:29,076
Speaker 4: plane if you if you have everything on the same

791
01:11:29,196 --> 01:11:31,796
Speaker 4: plane where you don't have things sounding far, away then

792
01:11:31,876 --> 01:11:34,956
Speaker 4: that's not as interesting a. Painting so if you think

793
01:11:34,996 --> 01:11:37,716
Speaker 4: of music as, painting it's nice to see something in the.

794
01:11:37,796 --> 01:11:41,276
Speaker 4: Shadows maybe on a second, listen you hear a little

795
01:11:41,316 --> 01:11:44,876
Speaker 4: component that you hadn't noticed before and keeps you curious

796
01:11:44,916 --> 01:11:48,436
Speaker 4: about her. Work AND i think great photographs have that in,

797
01:11:48,556 --> 01:11:52,756
Speaker 4: them great, Films donna's plan has.

798
01:11:52,876 --> 01:11:53,636
Speaker 3: That you know SHE.

799
01:11:55,276 --> 01:11:57,676
Speaker 4: I won't go on too much more In. Donna she's

800
01:11:58,036 --> 01:12:01,716
Speaker 4: my favorite, guitarist right now we're working, together AND i

801
01:12:01,796 --> 01:12:03,356
Speaker 4: got a couple of tricks up in my sleep for.

802
01:12:03,436 --> 01:12:09,596
Speaker 4: You so depth we're experiencing it in this, room as

803
01:12:09,636 --> 01:12:12,836
Speaker 4: small as it, is there's a sense of depth and

804
01:12:13,316 --> 01:12:15,516
Speaker 4: depth in sound and depth in.

805
01:12:16,236 --> 01:12:20,396
Speaker 1: SENTIMENT i think it's a great note to go out.

806
01:12:20,396 --> 01:12:21,876
Speaker 1: On is we're not going to get any better than that.

807
01:12:22,036 --> 01:12:25,396
Speaker 4: Plane I'm i'm GLAD i let you hear that little

808
01:12:25,476 --> 01:12:30,836
Speaker 4: hymn because there's something about These it's obviously designed in

809
01:12:30,956 --> 01:12:34,276
Speaker 4: an ancient. Manner it's as if it could have been,

810
01:12:34,316 --> 01:12:37,916
Speaker 4: written you, know one hundred years. Ago that has a

811
01:12:37,956 --> 01:12:39,796
Speaker 4: little bit Of ireland in. It AND i spent a

812
01:12:39,876 --> 01:12:42,676
Speaker 4: lot of time, there AND i THINK i wrote that,

813
01:12:42,836 --> 01:12:44,276
Speaker 4: song that little melody In.

814
01:12:44,356 --> 01:12:45,916
Speaker 1: Ireland you did.

815
01:12:47,676 --> 01:12:50,716
Speaker 4: Just walk home from work every night looking down at

816
01:12:50,756 --> 01:12:55,156
Speaker 4: The Liffy liffey's the river runs through a doublin on

817
01:12:55,276 --> 01:13:00,956
Speaker 4: a quiet, night it's almost spilling over the brim and

818
01:13:01,116 --> 01:13:04,156
Speaker 4: it's like like, black like you're looking at a black.

819
01:13:04,276 --> 01:13:08,956
Speaker 4: Mirror that river was so inspiring to. ME i spent

820
01:13:09,596 --> 01:13:11,756
Speaker 4: looking at that. River that's.

821
01:13:11,836 --> 01:13:20,036
Speaker 1: Amazing, well thank you so, Much Daniel. Lanoi, everybody you

822
01:13:20,116 --> 01:13:21,756
Speaker 1: can find a link to a playlist of some of

823
01:13:21,836 --> 01:13:25,716
Speaker 1: our Favorite Daniel lanois works and the episode description and.

824
01:13:25,836 --> 01:13:27,996
Speaker 1: Again to see the video version of this, episode visit

825
01:13:28,116 --> 01:13:31,716
Speaker 1: YouTube dot com slash Broken Record podcast and be sure

826
01:13:31,756 --> 01:13:34,356
Speaker 1: to follow us On instagram at The Broken Record. Pod

827
01:13:35,036 --> 01:13:38,156
Speaker 1: you can follow us On twitter at Broken. Record Broken

828
01:13:38,236 --> 01:13:40,956
Speaker 1: record is produced By Lea rose with marketing help From

829
01:13:41,076 --> 01:13:44,636
Speaker 1: Eric sandler And jordan. McMillan our engineer Is Ben. Tollinay

830
01:13:45,316 --> 01:13:48,796
Speaker 1: Broken record is a production Of Pushkin. Industries if you

831
01:13:48,876 --> 01:13:52,756
Speaker 1: love this show and others From, pushkin consider subscribing To Pushkin.

832
01:13:52,836 --> 01:13:56,596
Speaker 1: Plus Pushkin plus is a podcast subscription that offers bonus

833
01:13:56,676 --> 01:13:59,836
Speaker 1: content and atree listening for four ninety nine a. Month

834
01:14:00,556 --> 01:14:04,436
Speaker 1: look For Pushkin plus On apple podcast, subscriptions and if

835
01:14:04,476 --> 01:14:06,916
Speaker 1: you like this, show please remember to, share, rate and

836
01:14:06,956 --> 01:14:10,076
Speaker 1: review us on your podcast. App The musics By Anny.

837
01:14:10,076 --> 01:14:11,636
Speaker 1: Beats i'm Justin, richmond

838
01:14:14,356 --> 01:14:14,396
Speaker 7: M