Pino Palladino

00:00:00 Speaker 1: Quest Love Supreme is a production of iHeartRadio. Are we rolling one time for Doyling? Make sure all the pizza is eating? Here we go, Let's do it. Cream shut. 00:00:20 Speaker 2: Supremo Suprima, su Supremo, Supremo, Sir, Supremo, Supremo, sup Supremo. 00:00:33 Speaker 1: Hold hold up, hold up, hold up. Yeah, y'all should see my face. Yeah, interfears woman and change. Yeah, that's you on base. 00:00:44 Speaker 3: Supremo. A lot of sun sun Sure. 00:00:50 Speaker 1: My name is Sponte. Yeah, and I ain't got no veno, but I'm chilling you today. Yeah. My main man Pinos Suprema. My name is Sugar. 00:01:07 Speaker 4: Yeah. 00:01:08 Speaker 1: My core beliefs yeah, Peace love and chicken grease. 00:01:16 Speaker 5: So Supremo, roll called Suprema son Son Supremo. 00:01:21 Speaker 6: Roll called I'm unpaid Bill. Yeah, that's what we know. Yeah, you take your Jamerson, Yeah, I take my Pino. 00:01:32 Speaker 1: Suprema. 00:01:38 Speaker 7: It's why you know where finally got what rhymes with that? You know why you're doing this to me? Goddamn, he ain't. 00:01:46 Speaker 3: No Suprema Supremo. Yeah, my name is Pino. Yeah, I couldn't rhyme the same my life. 00:02:01 Speaker 1: Yeah, he's. 00:02:06 Speaker 3: Wait. 00:02:08 Speaker 1: Roll Supprima shut Supreme. Wait a minute, wait a minute again, I gotta go twice. Yeah, that's you on bass and another day in Paradise. 00:02:27 Speaker 5: Supremo ro supprima supprimo roll call, subpremo, subpremo roll. 00:02:38 Speaker 8: This is gonna be that Chris Farley episode. Remember that time he played bass on this ship. 00:02:41 Speaker 1: Yeah, okay, y'all, this is Questlow Supreme, that's Fante, that's Steve, that's I'm big billed. That's why I'm trying to slow the theme down for you. See, you have more time to think and change your run. Right, No, no, no, you know, I mean now, you know, just ride the rhythm. Okay, you're right. I'm trying to help because I was told I don't support you enough on the show, and I want and that's how you're gonna do it. Yeah, I was slowing the music down so you have more time to think about your mind. But and I did it, and you you tipped the ball in, you won the champion. Okay, all right, now you finished. Now, Yeah it's like something like that. Okay, well, halopeno, good. 00:03:26 Speaker 9: Cappuccino. 00:03:27 Speaker 1: Wait a minute. If you do a gospel record, you could call it a hollow Nobody like that, yeah, totally, you call your host. This is probably gonna be the shortest introduction ever, Ladies and gentlemen. If I only had one person to choose to play bass with for the rest of my I would choose our guest, Pino Palladino. Because the real truth is something told me to just go to Spotify real quick and see, like, you know, because they'll always make like a playlist or whatever and things you played on or whatever. And I thought, normally, like my thing ends at like at least like seventy four songs. Maybe Yo, dude, you've played on like five hundred and ten songs, and yo, like, I thought you were just my secret, super secret. 00:04:47 Speaker 4: Yo. 00:04:48 Speaker 1: Dog Like, I didn't realize you're playing base on all good for Daylight Soul. Now do kind of remember that? I believe the day that I was supposed to fix whatever song I forget the name of the song I'm supposed to fix for them on that album, but you came in before to play. 00:05:07 Speaker 3: Well, you know what happened. We were in Electric Lady, me and you and right. It was the day we finished. You got a call, right, and you're like, yeah, he's here, and You're like what are you doing, Like now, can you go over to De La Soul Studio and play on this song? So right, that's how that came about. So thank you. 00:05:23 Speaker 1: Yeah that was I forgot about that. But I'm literally going through this thing and even with stuff that I should know, Like, I didn't realize that was you. On times of wasting. I had on times of wasting a little bit because I feel like that's other side of the game, diet, the other side of the game without me Erica James. You know, I'm not salty, but people love that song. All right, we got a limited time with you. Brot's just let's just go. First of all, Okay, where are you from? 00:05:57 Speaker 3: Okay? So I was born in Cardiff and Wales, Okay, to an Italian father Welsh mother. Spent most of my youth in Cardiff. Moved to London nineteen eighty one and lived there until twenty sixteen when I moved to la That's a real. 00:06:13 Speaker 1: Brief really, all right. So then day two just became Funky's motherfucker right there. 00:06:22 Speaker 3: So yeah, in Cardiff where I grew up, you know, I hit a lot of different music. Down the docks area of Cardiff, there were a lot of a lot of soul music, a lot of African music, stuff like that, reggae. So I grew up listening to a lot of that music, and when I moved to London in the early eighties, I didn't really get to play that music. I was playing fretless space and it became a thing, and I played on a whole bunch of pop records and different artists were calling me for that sound. So move on to like nineteen ninety seven, when I met Dee and you. That was the first time where I really got to express that side of you know, that that roots bass playing thing. 00:07:07 Speaker 1: Okay, I know that here at iHeart, we're all out like ten seconds of music. So just to let the world know. The song that really set it up that I soon set it off for you and your reputation for bass playing was, of course, uh Lady Ray by Christoper. 00:07:23 Speaker 3: Well there's one before that, never mind Okay, yeah, sorry, bro, I have to say Paul Young Wherever Lay in My Hat, which is a Marvin Gaye cover. It's a B side of a mind gay So I know we rearranged and it had like a fretless intro and it was mainly like fretless bass and voice penal wife fretless. That's a good question, thank you. Well, yeah, Jacko, Jacko past stories obviously. But but even before Jacko, when I was a kid, I went to a concert and saw John Martin, who's a great folk guitarist songwriter back in back in the UK, and Danny Thompson was playing upright bass with him, and that sound really did something for me when I was when I was a kid, and that was like the slidy stuff to harmonics, you know, that sort of fretless approach that Jacko also had. So is this you yeah, every time you go away? 00:08:23 Speaker 8: Yeah, right all day. 00:08:28 Speaker 10: I can see why you were so happy to play old Bodo. 00:08:31 Speaker 7: It's still a classic. 00:08:33 Speaker 1: No, I can't find Paul Young and I'm going to tear your down and all that stuff. In high school like were you in a high school band? Like what was your teen years? Like? Playbass? 00:08:48 Speaker 3: Yeah, I didn't really play guitar until I was like fourteen, I guess. And I came to it from before bass. I played like Spanish guitar, and I came to it because I went to a Catholic school and we had a priest there that would give like lessons so that you could play like cowboy chords type of stuff, you know, in folk masses. So I kind of started playing in church church. 00:09:11 Speaker 1: Everybody. 00:09:13 Speaker 3: I was waiting for that. 00:09:17 Speaker 8: Black church, all church. 00:09:19 Speaker 1: All right, I get it now. 00:09:20 Speaker 3: But we didn't have much of a music of course, a music type of thing in the schools I was in in that in those times. So it's really more about sports for me. When I was a teen, I wasn't really that interested in music till I reached like sixteen maybe. 00:09:34 Speaker 1: So did you always know that the less is more approach is the way to go. There's a moment where I lived for every night, every night whenever we would get to left and right, and I'm speaking of our our time served on the Voodoo toward D'Angelo, and you know that was every night was like a two hour and fifteen minute experience or you know, no, indeed, sometimes sometimes three autum right right right. But when the song is over and we go back to that bridge right before the very end, that's when I learned that when you don't play nothing, that's almost as effective as if you know the bass player. That's like, I gotta get my best flee thing on and do the best and impress people. So you would actually you would play the groove and then come back in and I don't know, like, I was just like, wait, why does that excite me? Why is not playing some excite me more? So suddenly I was like, what happens if I just take the kick dromount for two bars and see what happens? And then when it comes back in, it's almost like I came back even more branded and I started doing that trick and people, you know, like what you know, musicians like the highest honor is the post still a who? Like that woo who? Indeed, And that's a trick I stole from you, which is like when I don't do something and pay take it away and then bring it back dynamics. Man, it's even better. So how did you learn he just forgot the notes and just. 00:11:18 Speaker 3: Well, you know, it comes from Okay, if I think about that, it probably comes from like playing sessions for reggae guys back in the day, because you know, there, I don't know the names of these guys I was playing with. Because I was a young bass player, I was listening to a lot of fusion stuff. So I want to play a lot of notes, right, so you did want to hell yeah, okay, yeah, but then these guys would just like tap out the rhythm of the baseline on my shoulder in the studio like doo doo, doo doo doo. 00:11:47 Speaker 1: Nothing, you know. 00:11:48 Speaker 3: And that told me about space and if you want to get into it. I mean, you got controls of the notes and the length of the notes, but you also have control of the spaces, right, And that's that's where the one for me. 00:12:00 Speaker 1: Is louder for the people in the back. Man, Yeah, I would love nothing more than for every musician to just lay back and do do less. 00:12:11 Speaker 6: But you know, well yeah, but that being said, Pano, do you ever want to put together a jazz fusion band where you just fucking kick ass? 00:12:18 Speaker 3: Oh I've done that too, yeah yeah, yeah, even play. 00:12:23 Speaker 1: Even the night that we wanted to go see you with Chris, like I've never seen you in that environment. I was wondering, like, well, is Pinal going to be the piano that I know the piano to be or is he going to like flex a little bit? And you like, if you can hang with Chris David, then you can hang with anyone anything, any you know, So how old were you when you officially changed over to. 00:12:44 Speaker 3: Playing bass to bass seventeen? 00:12:47 Speaker 1: How weird of adjustment is that? Is it transferable? 00:12:51 Speaker 3: Yeah? For sure? Yeah. I mean I was playing guitar in a local rock band and we had a bass player, and you know, I kept on picking up the bay and like working out the lines for him to play. Not a good ear from very early on. And the more I play bass and more it's like I want to do this, this is more fun. 00:13:09 Speaker 1: So like for me, the drums aren't the focus point. You're just the traffic cop as the drum, And like I'm supposed to be married to the bass player, and you taught me that it's a marriage right and not for nothing without being disrespectful to my entire history. But sometimes it's like if you don't have a good marriage air quotes yes with the rhythm section, which is the drum and bass, then you know your music might be in trouble. And I've been in a few situations which you don't vibe. 00:13:39 Speaker 3: Rhythmically right with you not on the same vocabulary right. 00:13:43 Speaker 1: So for you when you're in an ensemble, and now like since you're such a god at your craft, I would at least like to think that musicians respect where you come from and kind of want to fall in line. But is it hard to find musicians to come down to your level and you know, to the end. I don't mean the abyss as in like the bottom is a bad place, but like that zone where you are where you do just very little and you do just the right things, and for them not to overplay or over do. 00:14:18 Speaker 3: It's a good question to me, and I think it can be really frustrating sometimes when you know how something could sound if if they were just like monor adjustments. But in my experience, it never really helps to try and tell somebody that they have to come to it. 00:14:33 Speaker 1: I was gonna say, are you allowed to tell the person? 00:14:36 Speaker 3: Yeah? It usually doesn't work. 00:14:37 Speaker 1: Doesn't work out now, it doesn't work out now. As a drummer, I've learned ways where I can force people to see things my way. I've learned like a loud flam and suddenly everyone's. 00:14:47 Speaker 9: Like right, they stop playing, or if you docket their pay they'll notice that all work every time. 00:14:56 Speaker 1: Yeah, but I mean there's you know, and I'll slow it down or whatever I mean. But now just communication mic so it's you know, I'll just say stop playing, you know, But is there a way that you talk to other instruments to hm reel them back or if you hear wrong note the keyboard's playing, you sort of not. 00:15:16 Speaker 3: Really in terms of how many. In terms of rhythm, that's that's my thing, you know, rhythm. I'm hot on that ship. That's why we hit it off so much. But you know what you said about maybe the drums aren't the driving force behind the band. I think in beat driven music for me, like if I'm gonna produce something or put a band together, the first thing I think about is the drums. You know, get that right and then everything's gonna fit in. So I think rhythmically, yes, sometimes if I feel like somebody's hanging back on the drums are slowing down, I'll push a little bit. But I don't have any kind of communication things like you said, a loud flam that would stop everyone playing or stuff like that. 00:15:55 Speaker 6: But you both are notorious like these from what I hear in playing on the back side of the beat all the time, and that's sort of the angelo where it lives. So like when you go to a different band where it's more like whether it's on a click or it's something like that or what was it like? 00:16:11 Speaker 1: Yeah the Who? 00:16:12 Speaker 3: Yeah, yeah like that that ship would not work with the Who. 00:16:18 Speaker 1: So you got to give what's called for. 00:16:20 Speaker 3: Yeah, totally, And you know that's what That's what I love too about playing so many different genres of music. It's it's like it's all about the relationship with the bass and the drums, right Like in soul music, black music, generally, the bass is important with the drums. You know that that those are the two things that really put the thing in a place. In rock music, it's more like guitars and drums, and the bass is you know, it's supportive. It might be playing some some some licks and stuff, but mainly the interactions between rock guitar and drums. 00:16:52 Speaker 1: All right, So for every bass player that's listening, that will kill me if I don't ask the right questions. What was your first base that you purchased or the first acts that you endor Precision? Wait, you've always used a Fender Precision, Yeah. 00:17:07 Speaker 3: From that was the first act I had, yeah, back in the nineteen seventy five, I guess. Yeah. 00:17:13 Speaker 1: Okay, So what you're known for, how do you, how do you get your tone? Like what bass are you using? 00:17:19 Speaker 3: Mostly a Precision base, no more moon, Yeah, the moon comes in sometimes that's more like a jazz style based, like a Fender jazz style base. 00:17:26 Speaker 1: Here's a weird thing. Okay, So just recently played with Larry Graham like two months ago. Wow, and he had not only did he have the moon at a mic. Oh, he didn't have a mic thing on him that we were in a studio setting, but I saw blood marks on it. So yeah, like so he really like gets into right. But his it was weird to me because I saw the moon base and I was like, wow, I wonder like if he has the same tone as Pino, because you know he was just an acornerly practice and whatever, and it didn't sound that way. So how do you what the sound that we know you for? Like which strings are you using? 00:18:08 Speaker 3: What? 00:18:09 Speaker 1: What are all your secrets even if you were to give it? 00:18:14 Speaker 3: Yeah, yeah, I mean it's it's public knowledge is out there. I've done interviews before kidding hearing stuff like that. But yeah, I mean my Desert Island Basse would be a fan of Precision Base. It's just got one sound and a tone. Control, right, just one pickup on a tone. You don't have selection of different sounds from pickups. It's pretty much one sound. And I like the sound of flat wine strings on it. They feel better just physically, they feel better, and the longer you leave them on, the more warmth the sound is warm. 00:18:44 Speaker 1: So the older Yeah, I played your base before and those strings are really really thin, Like you can't things that I expect. Yeah, like I'm thinking Seinfeld basic. 00:18:59 Speaker 3: Absolutely, Yeah, you need luck wild wine strings, round wine strings for that sound really like Larry Larry sounds, you know. 00:19:05 Speaker 1: So how often do you break a string? 00:19:08 Speaker 3: Never? 00:19:09 Speaker 1: Yeah, because you barely touched the string. 00:19:10 Speaker 3: Yeah, I don't hit the strings out at all. Yeah. 00:19:12 Speaker 1: So the fender you have, right, I don't know how many fenders you have on you? 00:19:19 Speaker 3: Yeah? 00:19:19 Speaker 1: Look okay, So well let me ask as your life since Voodoo, has your life changed as far as the volume of bases that you have. 00:19:31 Speaker 3: Or since probably the who yeah? Yeah? With the who yeah gave me the opportunity to buy stuff in. 00:19:38 Speaker 1: The Voodoo days between two thousand and two thousand and three, how many bases are you carrying around with you? 00:19:44 Speaker 3: Like? Two? Pretty much? That's what I remember okay, yeah. 00:19:47 Speaker 1: So the strings you had on your Voodoo basse, do you still have your Voodoo basse? 00:19:51 Speaker 3: Yeah, with the same strings. 00:19:53 Speaker 1: Wow. 00:19:55 Speaker 3: Oh yeah, I put those on A ninety three. 00:19:58 Speaker 1: Nineteen ninety three. Yeah, and it's always just stayed in working order. 00:20:04 Speaker 3: And yeah, they sound like I said, they sound warm. With the longest they kind of settle into the instrument just to string itself. 00:20:11 Speaker 1: Remember what happened to your moon base? Yeah, what happened that Voodoo base. We're not podcast, we don't get contact. We just assumed. 00:20:24 Speaker 8: Please continue. 00:20:25 Speaker 1: Well, yeah, I was what happened to your black moon base? 00:20:28 Speaker 3: It was actually the So this is weird, but the moon bases I had two stolen. So the white one was stolen. The first one I played on Voodoo album was a white base that was stolen somehow. When I checked it in in San Francisco Airport and the United flight, it just didn't come out in l A. And that was a less sort of it. 00:20:46 Speaker 1: Doing the Voodoo tour. 00:20:47 Speaker 3: Just before the Voodoo. 00:20:48 Speaker 9: Tour, damn, just before I didn't want to hear the story. 00:20:51 Speaker 6: I'm having ptsdright. 00:20:53 Speaker 3: But but then I had a you know, I had a well, then I contacted the company and they made me a new Moon base. 00:21:00 Speaker 1: They're like, yeah, right, Pano, we won't give you one. 00:21:02 Speaker 3: Yeah, but they said, you know there's a limited run of the Larry Graham so we we you know, we can't do you the white one like like Larry Bass. And I said, okay, we'll make me a black one there. So that's that's how I got the black Moon Base. Then that got stolen from a hoo gig in like two thousand and eight. 00:21:20 Speaker 1: You who keeps stealing piano's basses. 00:21:23 Speaker 3: But there's a good end to this story. It came back to me, Oh thank you. That was somebody bought it from a porn store or something and they they were they were a fan and they've been watching some videos of us playing Voodoo and they saw the bass had a couple of knicks out of the neck and he's like, I think this is Pino's space. And they reached out to me and I got it back. Incredible, right, Yeah. 00:21:55 Speaker 1: My thing is is that the Voodoo fender that should never leave your house ever again? 00:22:02 Speaker 3: Like yeah, well it's safe, it's safe. 00:22:04 Speaker 1: Yeah, Like seriously for me, I just got my things fall apart. Drum set back. Well, no, the studio tried to auctionit it. 00:22:15 Speaker 4: So are y'all really saying that an instrument you use an instrument for every project and then we just move on? 00:22:20 Speaker 7: Is that what we're saying? 00:22:20 Speaker 1: You know what? I'm different like that? So start with fallon every one hundred episodes, I make love Wig, make me a brand new drum set. It's problematic now for storage because I have about sixty three drum sets, like and I'm running out of space, so I got to stop that. But but for the most part, I've I've documented every drum set I've played on for records, you know. 00:22:48 Speaker 7: Every record a different set, That's what I'm. 00:22:49 Speaker 1: Saying sort of kind of, I mean, but not by design, like oh for this particular one, I'm to use this one for this, you know, but I I Yeah, for roots albums, I will like, hey, let me especially with Phrenology, which was like, okay, let's make the anti things fall apart record, Oh, let me try a different drum set. So that's where that comes into play. 00:23:11 Speaker 9: So since you're divulging some of your technique, so where's the secret sauce? And I'm thinking gain structure and like, because you know, a me or how you're always talking about how the lighter you hit. 00:23:23 Speaker 1: A drum, Yes, the more effective. I just discovered the lighter you hit that's where the pop comes on. 00:23:29 Speaker 3: The bass, right, because if you hit well, if you hit any instrument too hot, it's going to choke it, right, if you the string too hot, it's going to bounce against the threat and choke the the envelope with the note, you know. So I mean a light touch it gives you more bottom man for sure. 00:23:44 Speaker 9: Which is kind of counterintuitive, almost like you would you know, but that just takes out the bottom nd and the harmonics or how how. 00:23:53 Speaker 3: Do you like? 00:23:54 Speaker 1: Is that part of that? 00:23:55 Speaker 3: Not really? I mean, you know, I love the sound that James Jamison made on the bass, and that was the idea back in ninety three. When I got that base, I immediately put those old heavy cation labella strings on it and just left them on ever since. You know. But they don't have any top on them, so if you play like Jacko style harmonics, you won't get them out of those flat strings at all. So it's more about the fundamental sound. And you know, I don't really have the tone on very much either. The tone is kind of on half or sometimes less than half, so it's a real thump. 00:24:30 Speaker 9: Well what about the volume coming like, yeah, how do you do your game structure until you get to your amp or whatever? 00:24:37 Speaker 3: Yeah? I mean I just I just literally have the volume on fall and then it's up to whoever's getting the sound. What kind of amp? Yeah? Well, B fifteens are great, right, the MPG B fifteens for studio or live or yeah, studio, yeah, but live. I mean I used one on a tour recently. Live because everyone's on your ears now, so you don't need that big sound behind you because you can hear it clearly, you know. 00:24:59 Speaker 1: Okay, So if I'm learning bass again, I'm using the opposite of you, bass player, I still respect, but kind of the opposite Flee. 00:25:11 Speaker 3: Yeah, yeah, totally. 00:25:12 Speaker 1: What type of strings am I? 00:25:14 Speaker 3: Are? 00:25:14 Speaker 1: Those like heavy duty strings that can take the pounding. 00:25:16 Speaker 3: And not necessarily but he probably uses like a medium gauge round wild string, I would guess, because then you get the pop out of it, and the round wild strings allow you to get that bounce when you hit it with your thumb. 00:25:28 Speaker 1: Now, do you have the ability to go full throttle pop if you if challenge. 00:25:35 Speaker 3: I mess with a little bit. Yeah, yeah, yeah, but no, that's that's not my bullpark. 00:25:42 Speaker 1: Really okay, okay, But if I guess your particular uh, your particular choice of strings, if you haven't changed them since nineteen ninety three, and like, what if you run into a situation like now Ampex tapes are hard to find right now. I was recording at a time where the Impact tapes were everywhere. But had I known then stock up on Ampex tapes, I would have stocked. But now here we are in twenty twenty three and you can hardly find them. What if you're in a situation in which strings that you haven't changed since thirty years ago, go like, is there a likelihood of this? 00:26:26 Speaker 3: Well, you know, one of them broke on A two with D actually on twenty fifteen to two with D. The E string on that on that thing broke and I put a new version of it on and it sounded like it wasn't very good at. 00:26:37 Speaker 1: All, So they changed the recipes throughout the. 00:26:41 Speaker 3: Well, no, but those strings just sound different when they get older. So if you got three strings like thirty years old and one new one. 00:26:47 Speaker 10: Just the it's the same for microphones really Oh yeah, Like I bought a annoyman U eighty seven and like fresh out the box, it sounded very harsh and Brita and my dealer was telling me. He was like, yeah, the older, the older mice over time, like you were saying, they warm up like just that age. 00:27:07 Speaker 1: You know, spits all over them. That's the flavor. Yeah, you know for real mm hmm. So besides James Jamerson, is there other unsung heroes that you know you don't think get enough credit? Bass playing once? 00:27:27 Speaker 3: Yeah? Oh man, absolutely, I mean we know about Stanley Clark, Jacob Pastoriscus a huge influence. Larry Graham too, now getting the prophecy deserves, you know. But yeah, for me, like Michael Henderson is up there, absolutely, man, Michael Henderson. 00:27:45 Speaker 1: Yeah, I gotta tell our listeners. I believe, yes, this is definitely Michael interested If you buy the Stevie Wonder Talk of the Town, Yeah, in London, that's his I believe that's his word corn on that version of I Always made the Lover where he's just it's ungodly like that to me. 00:28:07 Speaker 3: His solo album is like going places. Yes, the base playing on that, Oh my good so. 00:28:14 Speaker 1: I know why we're laughing. 00:28:16 Speaker 3: I know why we're laughing, but we're not messing around with that. 00:28:20 Speaker 1: It's good to hear someone speak of places where I praised, because we have a different places. 00:28:28 Speaker 3: That's a jam though. 00:28:30 Speaker 1: All right. So what was your first gig as a professional, like your first session gig? 00:28:39 Speaker 3: Yeah, okay, yeah. It was at Rockfield Studios in Monmouth in Wales. Quite a famous studio. A lot of a lot of great records were done there over the years, but that was my first session. My friend was playing keys in the show band. When I say show band, they would do everything from Glenn Miller to like the bony Am to whatever pop was in the charts, you know. Like So they were in the studio for some reason, I don't know why, and I just went down to hang and the bass player in the band, you know, they wanted like some slap and pop bass and the bass player they had wasn't familiar with that style and I happened to be there. So my friend told the musical director and he's like, would you would you try playing this baseline? So that was the first time I put a pair of headphones on in the studio and played with the band, and I just loved it. Man, I couldn't believe it. 00:29:26 Speaker 1: How old were you. 00:29:28 Speaker 3: Nineteen? Maybe? 00:29:29 Speaker 1: Okay, we we know of you, Okay, I guess Paul Young was well. Was Dules Holland first? 00:29:36 Speaker 3: Yeah? Yeah, yeah yeah. Jules Holland got me to move down to London. 00:29:40 Speaker 1: So he offered me, h well, let me explain. Was Jules was Jules hollend and Squeeze right? He was originally and Squeeze first career. 00:29:48 Speaker 3: Yeah, he had just show host. 00:29:50 Speaker 9: Before he had a solo thing with the Millionaires. Yeah, a Millionaires so and then the talk show came much later, I think. 00:29:59 Speaker 1: Okay, so what was that experience like playing How long did you play with him? 00:30:03 Speaker 3: Oh? I would play with Jewels for probably like a year, eighteen months or something like that. 00:30:07 Speaker 9: There's a great album cover. 00:30:10 Speaker 3: Yeah that was fun man, I love those days. It was fun days. And so playing with Jewels, I was just playing my friend of base and I went down to audition in London because sax player in Jules's band, I knew him in Cardiff and he said, Jewels is looking for bass player. So I went down to London and audition, just sat in his room and played with him, followed the left hand piano thing, you know, the boogie woogie piano thing, and we hit it off and he said, you know, why don't you just join the band. I'll pay you fifty pounds a week and sleep on my couch. So that's how I moved to London. Years is nineteen eighty one. 00:30:49 Speaker 1: Okay, So was that a good living? 00:30:53 Speaker 3: Oh? Financially yeah, hell no, it was okay, It was okay. I survived on it. 00:30:58 Speaker 1: I always asked this question. I'd never get like a satisfactory answer, which, you know, I'm just trying to time travel and also deal with the inflation part of it all. Like I want to know in eighty one, in your mind, what is a good living, like, what would been ideal for you? Is it five hundred pounds a week? 00:31:17 Speaker 3: Not even like, you know, two hundred that I would have been happy with two hundred a week back, I would have thought I was doing really well. 00:31:24 Speaker 1: So what does fifty pounds a week get you in London? In terms like are you just crashing a room and a calcul yeah? 00:31:32 Speaker 3: Back, and it was eating yeah pretty much. 00:31:36 Speaker 4: Well. 00:31:36 Speaker 3: Jules's mom used to cook for us, bless her that was nice, but yeah, not a very healthy diet. You know, pack of the cigarettes, some weed, you know, usual thing. 00:31:49 Speaker 1: Yeah, as far as touring is concerned, like, you also had the tour of this unit. 00:31:53 Speaker 3: Correct, Yeah, we to oh this year did you say sorry, no, no no? 00:31:57 Speaker 1: With Jewels? 00:31:58 Speaker 3: Yeah, yeah, we did some touring. That's my first tour of America actually in New York. 00:32:02 Speaker 1: Really. 00:32:02 Speaker 3: Yeah. We did a tour of the East coast, just traveling up and down in Miles Copeland's van. Miles Copeland was the manager back in Starts, right, yeah, manager of the police, okay. 00:32:12 Speaker 1: Was he also the manager of Jewels? 00:32:15 Speaker 3: Okay, So we did a little touring with that. We released one record that didn't do too well. 00:32:21 Speaker 1: Nice album coming but what yeah exactly. 00:32:24 Speaker 3: But whilst I was in New York, I went into sam Ash Music on forty eighth Street, where all the great music stores were back in the day, right, And I walked in there and I saw this music man fretless base on the wall. I was like, oh, I like to try that. So I asked the guy if I could try it. And I played it and I could I could play it in tune, you know, it just it really suited me that base. So I bought that base there and then and that was the base, the base that led to all the fretless sessions that I got to do after that. 00:32:53 Speaker 1: So such an unusual sound than what you were previously playing on. Was there any convincing Paul Young or Chris? I always say, Chris de Barge, Christ Chris de Burg all right, Chris de Burgh, Like was there any or not even them like their producers or. 00:33:14 Speaker 3: You know how that all came about him? Whilst I was with Jeweles, I got a call from a friend of mine, Chris Slade, who was a drummer at the time with Gary Numo. He went on to play with ac DC and a whole bunch of stuff and played with Tom Jones back in the early days. So this guy done incredible. 00:33:31 Speaker 1: Wait, you're trying to tell me the same guy that played cards with Gary Numan. It was also the guy that could have been played on It's not unusual. 00:33:38 Speaker 3: Not because but the album after that, there's an album I was involved in called I Assassin by Gary. Yeah. 00:33:45 Speaker 1: You know what, Here's here's the weird thing. If you ask Wendy and Lisa about you know, the influential Records, like it's so weird. They mentioned every album but that, like they'll mention I Assassin and the one that came out, like if you listen into that, if you listened to eighty two record, the album that came after Prince basically like it's kind of his newest store. 00:34:06 Speaker 3: Hesten to that. Yeah, oh that freaks me out. It's amazing. Wow. So so yeah, this guy Chris Slade, he he phoned me up whilst I was with Jules On and he said, look, I'm working with Gary Newman. He's looking for a fretless bass player. Do you have a fretless And I said, well, as it happens, I just bought just a few months ago. 00:34:25 Speaker 4: You know. 00:34:26 Speaker 3: He said, well, bring the fretless and and you know, let's see how it goes. So I went to the studio met Gary. He had a bunch of tunes like just drum beats and really minimal kind of keyboard things, and he just wanted me to do some fretless shit all over the record. So that album became my calling card in a way because I got to make up on my own baselines. People heard that and then yeah, you know, I got on top of the Pops with Gary, which is a big thing at the time. And you know, the sound was pretty fresh because it didn't sound like Jacko's sound, but he was fretless, probably a cross between like Jacko and Mick Kahn. You know Mick Kahn from Japan, the band Japan. 00:35:07 Speaker 1: I'm not familiar with the word. 00:35:08 Speaker 3: Yeah, So he played fretless bass and he had a unique style. So I would put myself somewhere in the middle of that, like with jazz references, but also like auti style of bass playing. 00:35:19 Speaker 6: Right, you know, how do you approach the construction of fretless bass lines versus fretted Is it a different approach? 00:35:25 Speaker 1: Do you think about it differently? 00:35:26 Speaker 3: Yeah? Totally in what sense? Well, the way I would approach it on the fretless bace is more from a melodic sense, you know, just trying to find melodies because it's a very expressive instrument. 00:35:37 Speaker 7: Right then, I'm going to try to spell this word and I'm going to figure out what this means. 00:35:42 Speaker 1: All right here. Right, So, you you've seen a bass player before, right in terms of like the part that they play with their left hand. Okay, a fretless bass, I would say, is the sound of like you know, the difference between electric what Adam Blackstone plays and in upright Christian McBride plays, like the jazzier sound. A fretless can give you the sound of an upright jazz in my incorrect or. 00:36:09 Speaker 3: Yeah yeah, I mean, you don't have any threats, so you can just slide the notes. You know, it's a different and it's a different envelope to the note. It's a different shape. 00:36:17 Speaker 1: It's a lady in red you know. 00:36:18 Speaker 6: So that's the sound of the threadless You don't lady. 00:36:24 Speaker 1: Yeah, we know your work. 00:36:26 Speaker 3: That's amazing. 00:36:27 Speaker 1: But now wait, now you got me curious about. 00:36:31 Speaker 3: Assassin, right, so like we take Mystery to bed, that's one of the titles. I remember that. 00:36:38 Speaker 8: Yes, that's a lot of notes. That's like more notes than usual. 00:36:51 Speaker 1: Oh yeah, so let me ask you, do you respect? And I've just seen them two weeks ago? Do you respect? 00:36:56 Speaker 3: Oh? 00:36:56 Speaker 1: Boy? 00:36:57 Speaker 3: John Taylor? 00:36:57 Speaker 1: John Taylor? Sure man, yo, he was killing all right. So I saw the Red Rocks. They're on tour with Mount Rodgers right now. You guys should really see them like they're they're still on top four. I believe it feels like some of those songs on the real album are also fretless. 00:37:18 Speaker 3: I don't think so, but you know, well maybe I'm not familiar with that album actually, but I think it was more sonic thing back in the eighties because he didn't you didn't play bass bass right, It wasn't much Bottoman based on it, and you would probably play your bass track in the control room, you know, when everything else had already been put down. So you're going for a more kind of you know, a sound that's going to pop out of the speakers. You don't really have to support, like play play support bass. 00:37:45 Speaker 1: Can you play upright bass? 00:37:47 Speaker 3: No, not at all. 00:37:48 Speaker 1: Have you touched it up right base? 00:37:50 Speaker 3: I've touched it. I love it, but I can't play it. It's a different instrument altogether, really, Yeah, so just gun to your head, like, oh no, I tried to do a gig on it and I was My hand was so painful after like one get you know one song. Really, it's such a physical it's a different muss. Well, this is what I play is like a guitar, right, It's a bass, but it's a bass guitar, so that's a whole different thing. 00:38:13 Speaker 1: Yeah, So what steps are in between Newman and Paul and Chris. 00:38:25 Speaker 3: Like Sir Newman. That led to Paul Young in a way, because you know, Paul and his producers got to hear those Newman records and imagine that sound on the record he was making. And then like Dave Gilmour from Pink Floyd I did his solo record. That was a big, big one for me, just to get a call from him and you know, I want you to come and do this album with me in Paris. I was like, oh my god, this is it so for you? 00:38:50 Speaker 1: Is Lady in Red sort of like the the world's wake up call? Like get that guy? 00:38:56 Speaker 3: It might have been bro. I think more of the poor Young stuff because Chris Chris came to me from Paul Young, Christal Brook. Yeah, because everyone kind of wanted that sound for a minute, that fretless sound, so. 00:39:07 Speaker 9: At some point that you say, I don't want to be pigeonholed into this sound, and uh. 00:39:11 Speaker 3: Much later on, I took it happily for a long time. 00:39:14 Speaker 1: We take fifty dollars a week. 00:39:18 Speaker 3: No, it went for for a good while, Yeah, but it did get it did get a little tossing, yeah, after a while, because you know when people want you to do what you did, not what you're going to do. It's a different thing. Right. 00:39:31 Speaker 1: That was a freaking gym and a halfway. I gotta I gotta say that again when people. 00:39:37 Speaker 3: Well, you know, if if somebody calls you to do a session and you're there because they want you to do what you've already done, that's different to what you're going what you could do. You don't get a chance to do what you're going to do because they already decided the sort of thing they want. 00:39:50 Speaker 10: Because they're booking you off of password, not where you're where you may be artistically currently. 00:39:55 Speaker 3: Yes, so. 00:39:57 Speaker 1: Your life must be hell after voodoo. 00:40:01 Speaker 3: Well that that caught some trouble, yeah, but you know that was the amazing thing about Well I met I met you and D on the same day, right right, yeah, on the BB King session. Yes, and I didn't even know he was coming, you know, no idea. So you walk in with him and Russ Alvado and I'm like, what's going on here anyway? Anyway that I lost my trainers thought there. 00:40:22 Speaker 1: But well, if you're causing problems friendlessly. 00:40:26 Speaker 3: So so you know, as you know, me and D hit it off from that session. He hear me playing, He's like, I like that sound. I wanted to come in. But the thing is he knew nothing about my past. So I already had like a career before that. But he wasn't coming to me from Yeah, he's just like this dude, I like what he's doing and uh, and let's get together. 00:40:47 Speaker 10: But for you, was that was that exciting for you to kind of have the opportunity to reinvent yourself in a different way? 00:40:53 Speaker 1: Oh yeah, but did you know who or what the Angelo was? Because it's not like we came. I mean, by that point, all we had was send it on. That's all we had. We had sended on. 00:41:04 Speaker 3: We didn't have see song wise, I had heard. 00:41:08 Speaker 1: Brown Sugar, Okay, so you knew about him through. 00:41:11 Speaker 3: I didn't know. I didn't know the whole album. 00:41:14 Speaker 1: I didn't change. So what I knew was this was this was two weeks. So I always could I always credit Voodoo's beginning the last day of Philadelphi half life. So D'Angelo rushes to Philadelphia the one time he was on time. Yeah, he he like rushed to Philly when he got word that, you know, a certain head wrapped lady was in our side of town, uh, working on the record. 00:41:50 Speaker 3: She down there, she down there. 00:41:52 Speaker 1: And I was like yeah, But I almost feel like, now that I look at it, it wasn't the excitement of like, oh, she's down there, let me come and play. It was like, wait, she down there with y'all. She's said that Tarik's script. What that moment. 00:42:06 Speaker 7: I don't give away all the thoughts. 00:42:08 Speaker 1: It's the first and the last time. 00:42:09 Speaker 3: That was like an hour earlier. 00:42:11 Speaker 1: Like I didn't even ask him to come. He's like, I'm here. So that to me was like the first day of Voodo. We knocked the hypnotic out for our record, and then we had like time to kill and we were just like all right, let's let's start playing. So we we had to test each other to see where your knowledge was or whatever, and it's like, okay, we're gonna get along famously because I had told you that I judged him. I looked at it. I looked at his timblans and they were like worn down, and I judged him. And Bob Power is trying to sell me on this guy. Like yo, Bob, Bob Power wants me to drum on shit. Damn motherfucker. He's like, Yo, there's a guy. I think you'll love him. Man, He's like the next out Green Da Da Day. And I was just like, R and B. This sucks, you know, hey, R and B, Like you know what I mean, Like I wanted soul and not R and B. And I looked at him. He just walked in and because the tongue of his teams was just it was leaning right, I was like, no, man, this guy's corny. So I purposely, like, you know, I'm going to hang with my dad for Christmas, I can't do it. So I'm not on Brown Sugar for that reason. But then also Ron Carter didn't want to play on a song called shit Damn motherfucker, so they. 00:43:20 Speaker 3: Decided to go that's got to get wrong. 00:43:22 Speaker 1: So Ron Carter was going to play bass on Shitdamn motherfucker and I was going to drama on it. And also Bob Powers trying to get a two for the drama song on Bob Duism was one of the first songs that Bob Power worked on. So me and Ron were supposed to do we did drama, but He's like, I refused to play on a song with that title. I will never play on a song called that. He would never call it shit damn motherfucker. So Bob Powers is like, all right, I'll do the demo. So the thing was day two, we rented out Battery Studios to work on Bitch right, and then de was just like, ViBe's not right, man, like I you know. So for some reason they were like, yo, we're going to the house at Hendrix, like we need a new studio. So then we go to work at Electric Lady for a week. 00:44:15 Speaker 3: Right, this is what Russ too, Right, Yes, we're Russ. 00:44:19 Speaker 1: Famously, they had to have an intervention and talk with me because my whole thing was like I know my sound, I know my eq's whatever, and Russ was just very quiet, so he just like sat in the corner. I thought Russ was like D's boy. I didn't know Russ was the master. And so after like four days like D and these managers pulled me to side like yo, man, like you know you you know Russ is the engineer. Just let him do what you do. And at first I was like, what does this guy know about like my sound like because I wanted to craft. I didn't want to sound like and. 00:44:49 Speaker 3: Rightfully, too right. 00:44:51 Speaker 1: I had no idea Russ was the master, you know what I'm saying. So we worked for about a week and then I came on a Sunday to work again, and he's like, Yo, we gotta go to power place, uh, power station station studios and work with bb King real quick. And I'm like, well, my drummer one thinks, yeah, I'm gonna get you drum on it. But you know, Steve's already like Steve George. So when Steve Jordan was there, then next thing I knew, me and Angie were just babysitting little Mike. Right, So all right, I'm babysitting Lord. I'm asleep while y'all like working on this song for like what two three hours and d comes into me wakes me up. It's like, yo, man, yo, that white boy is the ship. I was like, huh, you don't understand. He's gonna be part of our army. 00:45:48 Speaker 3: Man. 00:45:48 Speaker 1: He knows what he's doing. 00:45:49 Speaker 3: Wow. 00:45:50 Speaker 1: Now I was telling him like, yo, man, but you know what about we had just gotten what's his name? He did the root and Spanish shot y. Yeah, he he was all go in my mind, I'm like, no, dude, Charlie like, let's stick with him. Listen, he's just dope man's level bass player. 00:46:07 Speaker 3: It's just next level. 00:46:09 Speaker 1: And I couldn't imagine because it's not like I knew of J Dilla sound like that, So that wasn't even comparison, Like now you'd be like, yo, yo, he plays just like Dyla things like that wasn't that wasn't even our vernacular, and that for the life of me. And I went in and looked and I just saw this like six foot seven giant, and it was just like, yo, there's no way you're going to convince me this guy is the Lord Jesus Christ whatever. And then I played with you, so it's yeah, man, it's for real. Like he the way he described you was like urgent, like he was gasping for the last breath of his life. And I was like, for the life of me, did I wish I'd known what happened in that session? Like how many takes did y'all do with nobody? 00:47:00 Speaker 3: Not many? Maybe two? But you know, there was a media connection as soon as we literally second verse of that song where d took the lead he was playing I think he was playing piano and took the lead, and he took the lead and I'm playing, I'm like, he sounds so good, and it kind of informed me, you know, like all of a sudden, I was like, man, I can do yeah, and I just went for some shit, you know. Hearing his voice inspired me to try some Jameson style, you know, walking around a little bit more, playing some busy, busy bass stuff, and I felt him react to that immediately. Something happened on that tune. But that was BB king too. Wow, you know, bb made that happen. 00:47:45 Speaker 1: Do you now run into musicians that just insist that you play draggy or behind the beat or those things or. 00:47:55 Speaker 3: There was a little bit of that, but not much. And the thing is, you know, as well as I do that shit don't work. It only works in. 00:48:02 Speaker 1: The right environment when we're all together. 00:48:04 Speaker 3: And for me, the right environment is me you indeed, and if Spanky was still alive he isn't. But shocky, I mean, it's such a profound understanding of what that is, but we couldn't put it into woods right. It's like a micro second management thing when you're playing, it's just the feel happens. 00:48:24 Speaker 1: It took a big to adjust to because I think even for me, I saw this as my chance to escape the what I thought in my head was gonna be like the claws of the roots, Like, Okay, well we're not clearly we're not going to make a mark on our own music, so this might be an every man for himself. 00:48:45 Speaker 3: Thing, right, right, you started to stray a little and think. 00:48:48 Speaker 1: Well, it's not like I was like, all right, let me plant my flag elsewhere to see if I can get out there. Like it wasn't like the South promotion thing. But it was also like, was this paranoid that the way that he wanted me to play like? I was intrigued by the J Deller shit, but I'm like, wait, you want me to act like I'm a drunk three year old and you know. 00:49:14 Speaker 3: Well it's a challenge right to try and sound like you can't play it right. 00:49:17 Speaker 1: But I'm thinking, I'm like, oh man, little John's gonna laugh at me, and this drum is gonna laugh at me. This drum is gonna laugh at me. And so it took it took me a good maybe two weeks to get used to because you got these things instantly. Yeah, And I didn't know who to follow because you dragged behind, but then he really drags behind you, and I'm trying to figure out, like, well where do I fit in between you guys? It took like a good two weeks to. 00:49:44 Speaker 3: But when that shit really kicks off of man, I mean you're I mean you're playing, you're on time, if not on time in front of time, that rhythmic tension, right. We never talked about it deeply before, but that's what it feels like to me, because if I'm trying to play that stuff and a drumma will start to slow down with you right right, then it's not working. It has to have you know. 00:50:09 Speaker 8: So here's on top of your behind and D somewhere in the middle. 00:50:12 Speaker 3: Oh yeah, we're pretty we're both behind the deal. But but quests will also come in. You know, you'll join us on some things, like it might be a little nut on the high at or one kick drum will be misplaced. 00:50:24 Speaker 1: Just yeah, yeah, he d wants me to like my high hat always has to be like one of my three things, either my kick, my snare or my high hat has to be consistent. Yes, and then I have to divide half my brain to drag this in another way. But still keep this consistent. But then playing with DiAngelo and Pino, DiAngelo gets the sort of gets the glory position of either playing right on top of the thing or really dragging. And before when he would draged, I'd go with him and he would stop the song like no, no, don't go with it where you were at, stay where you had And I'm just like, wait, dude, like I have my own problems and trying to figure out which limb goes which speed, and then this guy is like slightly behind me. But I could deal with that, but you are really throwing me off. So it really took. It took ten hours, and you know, we'd spend anywhere between six to twelve hours consistently playing. So I just consider that tour a myr y'all. 00:51:31 Speaker 7: You're talking before y'all even hit the stage. 00:51:33 Speaker 1: Yeah, no, no, this is just this is the album this is in. 00:51:38 Speaker 4: Yeah, just because it seemed like at some point just watching y'all during that time and watching a mirror because we shouldn't make note that, like I don't recall a time in your career where you've done what you did for Voodoo, like you Paul stuff, And it seems like when y'all got on stage, everybody, Anthony and Hamilton, backgrounds, everybody included. It was like spiritual. 00:52:00 Speaker 1: Yes, I think that we all came one at a time, Like first it was D, it was D and me, it was us three, and then we brought James poison in and then it's almost like you have to bring him and Spanky started coming, so it's almost you had to do one at a time thing and that person had to figure out. 00:52:18 Speaker 3: Like what is going on here? 00:52:21 Speaker 4: When y'all all figured it out, it must have felt like y'all were moving as one at some point, right. 00:52:27 Speaker 3: Like that's exactly right. Yeah, it's the most it's yeah, I mean the Soultronics when we had in the band. 00:52:35 Speaker 10: Yo, y'alls, I still have Crazy sure was out now the live in Stockholm Angelo, Oh yeah, yeah it is. 00:52:45 Speaker 1: I've cleaned my house so many times out man, y'all, Man, I love that record a lot. 00:52:52 Speaker 3: That's so rid. That is so rid. But the funny thing was, right, you got to remember back when we were doing this, I was already forty forty one, right. 00:53:01 Speaker 1: So you're still forty one to. 00:53:05 Speaker 3: No. 00:53:05 Speaker 1: But the non act doesn't crack, whales don't fail. 00:53:12 Speaker 3: There I'm gonna step off the microphone. 00:53:15 Speaker 1: You can tell me. 00:53:16 Speaker 3: I'm yeah, that sort of thing is so rare. And that was the first time I've been in great bands before, but it's the first time I'd experienced that kind of feeling. And as I say, I was in my forties at the time, so you know, when we got together and there we also room with the full band before the tour, and I heard that band playing, I was like, these guys don't know. These guys do not know what I know, because you couldn't have had enough experience to know how special that was. 00:53:43 Speaker 1: Did you have a favorite night on the Voodoo Tour? 00:53:46 Speaker 3: No, I just know I don't. 00:53:47 Speaker 1: Every night. 00:53:48 Speaker 3: Every night I had Yo Man for me. 00:53:53 Speaker 1: I hate I hate saying the story the Minneapolis show. I don't remember it all right. So I blamed John Paroles for this. So John Parrales, who's always been kind of a playful thorn in Prince's side since like him and Prince are at the same age, he started writing in Minneapolis at the same time Prince came up, so he's kind of been like the one consistent local Minneapolis writer that you know that Prince would sort of you know, artists claim like, oh, I never read my reviews or whatever, but clearly like you know, and but he was also not afraid to tell the truth and be like, nah, I'm not feeling this and that that you're phoning it in whatever. So you know, it's it's ninety nine and Voodoo comes out and John Parrales decides to like kind of just write a ack no no this for the local Minneapolis thing, like not a mock obituary, but basically like a Prince your numbers up and there's a new king in town, that sort of thing, which you know, as far as I'm concerned, both Voodoo and Black Messiah were always love letters to our hero and so you know it is that what made Prince do Rainbow Children? Well, no, just you make my sunshine thing and yeah, yeah that as well. So the thing was I knew he felt some sort of way, but it was also so undeniably funky that he couldn't deny it himself. So it's like, okay, I'll give you this one, like this has to be live changing funk for me to So when the show came to town, you know, Paralys was at it again, like I've been hearing reports that this is the show of the year, right and so and so, of course he summons for us to come to Paisley Park the night before before the show. The night before the show, right, I did not know this. I ain't got it. I should have known him better. But you know again, it's it's like, hey, it's our hero. We're gonna hang out with our hero. So we get to Minneapolis. We get there like midnight, and Alan Weis was actually like y'all going out there. I was like, yeah, well, you know, he operates between one am and six in the morning, so let's do it. So Robbie the driver comes to get us at three in the morning and we go out there. And I should have known him better. Yeah, he was first thing he came in. So how does it feel? 00:56:35 Speaker 2: Huh? 00:56:40 Speaker 1: And so we were just like, yeah, it feels like me, but I'm just playing. 00:56:47 Speaker 3: Right. 00:56:48 Speaker 1: Was he on his own? Was he? 00:56:49 Speaker 3: Or did he have like he was? 00:56:51 Speaker 1: Okay? So the weird thing was he was I believe at the time he was working on what we call the new Power Soul record and you know he's blasted music whatever and something. So what year is this is two thousand? This is June of two thousand and so we're walking down. You know, all the hallways at Paisley Park are super dark, and of course it's like these lifestyles murals of him, so it feels like three stooges where you know the controversy, this is painted controversy cover and you swear to God that the eyes are watching you as because they are right right, yeah, probably Scooby Doode. And I stopped e and I stopped the and I heard the song and I'm just like, I said, oh boy, and he's like what I said. So, you know, by that point, and I've made it clearer to many Prince dot Org fans that I am a seventy eight to eighty eight prince person. Anything outside of that. Yes, I love him as an artist, but this is my era, and I've been very vocal about like his patches, and I don't like the new keyboards he uses and the drummer scenes and of course he's in some loud song and whatever it was, Okay, No, the cameras are watching me, so my face, I forget that I'm not on radio anymore. And so I was just like, let's wait it out until the fate comes on because I don't want to. I don't want to have to do demo face. Yeah right right right when you like some, when you don't like some, and so like right when the song was faded, and then we like walked in and you know, again I failed. I was like, hey, who, what's you? What's this? What's you working on? He's like some some new funk like whatever, Like he's like. 00:58:38 Speaker 9: Destroy you. 00:58:41 Speaker 1: Anyway. So yeah, he like went through the whole thing and tried to be like, don't trust down leads and you know, this guy's boot legacy, that guy boot legamy, he's gonna boot leg you and steal your money, and da da d d da da and he would leave and De and I would just look at each other like what's going on here? I just want to ask you some question about nineteen exactly. And you know, then we like went to play, like we went in the room to jam a little bit, and that wasn't working because the thing was like we had such a musical synergy. And then to play with someone normal, which is weird because friends is anything but normal. Yeah, but don't translate, right, and so that was weird and man like we just we left, so we asked him, He's like, so, are you going to come to the show tomorrow, Like will you come? And he's like, no, I got to go to I'm gonna go to Marrakesh. And you know, I said, wait, you you go to miss our show, like this is our show is dedicated to you, like everything, and he's like, no, I got to go to Marrakesh. And that's that. He never went to Marrakes. But you know, he had all the spies in the thing. And you know, Larry Graham infamously left during shit damn, Like he got up and left and like went out there and it came back when the show was over. Ron Carter left too, And all I remember was there was a moment during the encore where I think suddenly D went from bewilderment to anger. Like it's like D woke up and realized, like, yo, man, I think he was trying to punk us last night. And you don't want to think that your hero doesn't wish you, you know, like what do we do to this guy? And all I remember Man was like, yo, man, we're gonna get him. We're gonna piss all on his carpet and we did the most ungodly version of Lady ever and Eric came out. And it was even to the point where the same schoolyard taunts that Prince was telling Paul Peterson when he left the family, like Bunk of the month, punk of the month, Like we started like pe punk of the month, Like like are we doing this? You went from Pee for the Month to Prince Punk of the Month like literally in his Yeah, and then and then I had to get some phone calls like a week later, But for me, that was like that was like the best show we've ever done. I hope I asked enough voodoo questions for the fan base. 01:01:31 Speaker 10: Good Voodoo was my first I mean clearly was my first time hearing you. But you know, for you hearing you say that, you were like forty at that time. 01:01:41 Speaker 4: You know. 01:01:41 Speaker 10: I hope artists like that hear this they understand like listen, that was my first time and I was, you know, twenty one, you know, twenty whatever, and like that was my first time really hearing about Pino Palladino. 01:01:54 Speaker 1: You know what I'm saying. So like you were to me, you were a new guy, right, you know what I'm saying. 01:01:59 Speaker 3: In two Thou that generation and those music. Yeah, that's a new me. Yeah. 01:02:05 Speaker 1: Were you shocked at the kind of the heroes welcome that you got from the musician community. 01:02:13 Speaker 3: Yeah totally. I mean I was already kind of respected in certain places, you know, in the music community, but yeah, to get the props at that point was really Yeah, that was very exciting. 01:02:25 Speaker 7: Can you talk about how it was different in that way? Why was it different? 01:02:29 Speaker 3: Way to feel different? Well, I guess because that's the music. I really really loved it. And then I was like, you know, I was always like very conscientious about like feeling right, you know, I wanted to feel right, and when I got to play with the Inquest in that band, then it was I didn't even have to think about it. It just came through, you know, and that was beautiful. And then yeah, just to have people say, wow, that that ship sounds amazing, and yeah, that's great. 01:02:56 Speaker 1: So a notable night for me was the night that we were recording Aquarius for Common in Philadelphia and then we took a dinner break and then you got a phone call and you said, immediately you said, wait, no one knows I'm here, who's calling me? And you step outside the room to take the phone call, and then you come back in and you're like, guys have an announcement. So instantly I'm like, oh damn, something happened to your family, Like what's going on? And he's like John's twistle just died of the Who, and I have to go out and replace him, Like I have to believe right now? What can you tell me? 01:03:40 Speaker 8: That's the most fucked up call I've ever heard of my left okay coming. 01:03:42 Speaker 1: On pretty much. And I never got to ask you this question because what I do know is that you had to learn forty one songs. 01:03:53 Speaker 3: I don't remember the amount, but there wasn't a set list. It was just learn, you know, like see thes like this. 01:03:59 Speaker 8: And that plays all the notes. 01:04:02 Speaker 1: Yeah, so one, what was your WHO? I Q before that phone call? 01:04:13 Speaker 3: Wow, I probably knew four or five songs. 01:04:17 Speaker 1: Oh wait, I wasn't expecting that. I thought you used to go and say, like four or five records. See, you kind of knew nothing about the Who at that point. 01:04:26 Speaker 3: I brought some of the records when I was a kid, I bought won't get fooled again. And then I remember, I can't explain my generation. The big hits, but I really wasn't familiar with their albums for some reason. I just I missed that stuff, you know, I was I was a big led Zeppelin fan, and I was in like progressive rock like Yes and folk music and stuff like that. So somehow missed most of the who You and Getty Lee, Just Have You and Geddy ever like him? Actually yeah, yeah, but uh, not that familiar with with a lot of rush albums out there. 01:05:02 Speaker 1: So they send a plane to you. They sent a plane to Philadelphia. 01:05:07 Speaker 3: Correct, No, no, I have to get a regular plane. 01:05:10 Speaker 1: Oh okay, I thought they just the bells and whistles on you. So what was Do you do you remember what that week was like? Because I still, for the life of me, don't understand why they just didn't hold off on like a week's worth of shows. Like I'm sure the fan base will understand. John just died. They were like, no, we're still going on stage. 01:05:33 Speaker 3: Well, the story I heard was that they wanted to cancel the tour. You know, there was so much gonna that was riding on it. I guess they was financially the cruise, you know, having committed the time to it, they wanted to be able to pay everyone. So the story I heard come from who. But the story I heard was a Pete said to the manager, what's Pino doing? If you can get Pino, then we can carry on, which is pretty incredible. So pd I had confidence in me. I guess he knew me as a session player because I've worked with him. Yeah, So that's that's how it went. And the manager phoned me up and said, look, you've heard the Jonas passed away. I think it was Wednesday. He said, we got a gig in Hollywood Bowl on Saturday. I need a yes or no? 01:06:23 Speaker 1: You said yes, Yeah, I mean so what's like? Describe your cheat sheet? Describe your like how do you commit all that to memory? 01:06:33 Speaker 3: Yeah? I did have a couple of cheat sheets, just just I mean, nothing that anyone else would have understood. 01:06:38 Speaker 1: Can you read no? 01:06:40 Speaker 3: Wow? 01:06:41 Speaker 1: What can you read coord charts? Yeah? 01:06:43 Speaker 3: I can follow cod shots but yeah, I mean I've got better at it over the years, but I really try not to. I trust my ear. 01:06:52 Speaker 1: I've always talked about before thrust your ear. 01:06:54 Speaker 8: People bore blessed with good ears. 01:06:56 Speaker 1: Man. Wow. Yeah, there's some musicians that go by feel and some musicians that go by technical that sort of thing. 01:07:06 Speaker 3: Yeah, and both of those ways will work. You know, there are players that can do both. They are players that can read whatever you put in front of them and can also improvise. But I can't read it. 01:07:16 Speaker 1: So by that night, by Saturday night, what's going through your head? 01:07:21 Speaker 3: Like? 01:07:21 Speaker 1: Are you just cramming twenty four to seven and you're going to sleep to the. 01:07:23 Speaker 3: Song I have? Like, really, I had one day in one night and I just was up for twenty four hours just literally headphones based, just trying to go through as many songs as I could. 01:07:35 Speaker 1: You know, what was the hardest song to do to figure out? 01:07:38 Speaker 3: Well, there wasn't one song that was really hard technically because I didn't try and play what John was playing. I couldn't have played a lot of those baselines because his technique was so unique. I couldn't. I couldn't do it. So but Pete told me straight away when I got they said, just learn as much as you can. And you know, I don't want to be John, I want to be you. So that gave me. That freed me up a little bit. But having said that, there's so many iconic baselines on whose songs that I did have to learn, you know, a lot of it notes. 01:08:08 Speaker 1: So eventually, once you settled into the group, then they realized that. But is it I kind of baselines in terms of like like he does this in the fourth part. Yeah, and they muscle memory they expected to hear those notes. 01:08:23 Speaker 3: Kind of Yeah, And there are things that you if you didn't have them in the song, you really wouldn't. It wouldn't sound like a song, like melodic lines and stuff. And the Who fans in the front row would be mim in to the baselines as well, so they know all the stuff. 01:08:36 Speaker 1: No pressure. 01:08:37 Speaker 3: Yeah, but I wouldn't be playing it a lot of times. 01:08:40 Speaker 1: So how long did it take for you to actually get a place of muscle memory? Like, Okay, I got this. 01:08:47 Speaker 3: Yeah, I mean I had it on the first night pretty much. I pretty much knew I pretty much once we've done the show, I was like, Okay, it's gonna be fine. 01:08:58 Speaker 1: Wow, Okay, are you still with the Who? Like I don't know what they're. 01:09:05 Speaker 3: Yeah, they're still playing. But I stopped touring with them in twenty sixteen. 01:09:10 Speaker 1: Okay, yeah, but was it hard to walk away from that? 01:09:14 Speaker 3: It was? Yeah, it was absolutely Yeah, because I've been there a long time. I've been touring with them fourteen years. 01:09:20 Speaker 1: So when you commit to them and I know they're not a twenty four to seven touring unit, is it a thing where it's like, Okay, we have you on retainer to always be available. 01:09:31 Speaker 3: No, they don't do that shit. You just get gig the gig. 01:09:34 Speaker 1: Yeah, but what if you what if you decided to order D'Angelo again? 01:09:42 Speaker 3: Yeah, right, you had that problem. 01:09:44 Speaker 1: I did. 01:09:44 Speaker 3: Yeah, yeah, I had taken on some who shows. I didn't want to let those guys down, and then d suddenly put some shows in that I couldn't do. Yeah, so but that all worked out. 01:09:56 Speaker 1: Of course. You had to raise your own pino. Yes, he's not there, Rocco Palladino. Oh yeah, oh you best believe. And I hate to say this, but god damn. Yeah, but he's your son. Sound think you'll get offended? 01:10:16 Speaker 3: God damn? 01:10:17 Speaker 1: How how old is your sign? 01:10:19 Speaker 3: Man? He's study one? Okay, yeah, now do Rocco is currently drumming with A he's playing with usef DA. 01:10:28 Speaker 1: Yes, you said, but he's also he killed the picnic. 01:10:31 Speaker 3: Yeah, oh, no doubt. Yes, he came to the picnic and killed But Rucco's here now. Actually he's playing Fabiano. My daughter, my oldest daughter, is also playing in the band this called J Paul j A. I Yeah, Paul, Wow, they're playing to Paul. Yeah, okay, okay, yeah, so Fabiano and Rucco are playing with him at the moment. He's playing at the mine tonight. 01:10:54 Speaker 1: This is so weird. 01:10:55 Speaker 10: It's like those are kind of I mean, maybe not as much Paul, but definitely use those are all kinds of children love voodoo. 01:11:01 Speaker 3: Yeah, yeah, I think so, and I think so with Jay as well. Yeah, yeah, I definitely inspired by that stuff. 01:11:07 Speaker 1: That is crazy. I remember meeting your kids when they were away. 01:11:10 Speaker 3: They were Radio City when we played in two thousands. You know, Rocco is like six or something. 01:11:15 Speaker 1: I wondered like, did they pay attention? 01:11:19 Speaker 3: Oh yeah, you think so. That's what happened to Rocco. 01:11:25 Speaker 1: So for him seeing that show Radio City Music Art, I. 01:11:27 Speaker 3: Think definitely that and also just being around me when when I was doing that music. 01:11:33 Speaker 1: Yeah, the Rocco is like Rocco plays with di'angelo. That's how good Rocco Palladino is. And yeah wow, that's just. 01:11:43 Speaker 7: How many children do you have? 01:11:45 Speaker 1: Yeah? 01:11:46 Speaker 3: Fabiana, my oldest is a keyboar player, songwriter, singer, songwriter. She has a record coming out soon. And then Giancarla is also very musical, but she actually doesn't work in the music business. And then Rocco does work in the music business. Yeah. Yeah, I'm so lucky. 01:12:01 Speaker 1: How do you divide your now that you're your own planet and you're not just like, you know, just just a session yet, right, So like, at what point did you decided to establish your brand and do these like records and all this. 01:12:16 Speaker 3: Yeah, that pretty much came through round about twenty eighteen. I suppose that when when we started recording the first record I've done an album with John Legend with Blake Mills producing. 01:12:29 Speaker 1: I didn't know you on that record. 01:12:31 Speaker 3: Yeah, well and Chris too. Yeah. He called me and Chris to play on that record, and that's how I met Blake. 01:12:36 Speaker 1: Yeah. That's that's such a it's weird living in kind of in the non uh what do you call it, non tangible record way, Yes, where I don't recredits anymore. I just listened to it on Spotify, so I know. When I was going with your history, I'm like, wait, you're on that, You're on that. Yeah, I didn't realize you on that record. Okay, So talk about your work with the Drumheads and playing because you guys just on a whole nother level of musicianship. 01:13:04 Speaker 3: Well that's with Chris and Sharky and yeah, I mean that's crazy. I mean Chris, as you know, played with D. I think you recommended him for that when you could do it right. 01:13:13 Speaker 1: Yeah. 01:13:13 Speaker 3: Yeah, so that's where Chris met Sharky and me and Kristen Sharky would hang and hit it off obviously. Then to cut a long story short, we were on the twenty twelve tour with D and Chris had a gig at the Billboard Live in Tokyo and we were going to take Pooky with us, right the keyboard player and a horn player. I can't remember who it was, but anyway, the day before we due to fly out after the after the tour with D, Pooky said he couldn't make it, So we lost a keyboard player and then we lost the horn player. He pulled out too, so it's just me, Sharky and Chris and we had to fly out to Japan and we played like three nights at the Billboard Live. So that was the start of the Drumhead. Shit. Really, we just played as a trio, which is what we went back to the Blue Note recently. 01:14:06 Speaker 1: Now, is it intimidating playing in a combo that doesn't have a lead singer or doesn't have someone for you to hide behind? 01:14:15 Speaker 3: Yeah? I love it. I love it, especially with that lineup because it's it's unique. Well, we played so many different styles of music, and well, you know, Chris is just unbelievable. All kinds of weird and wonderful stuff can come from him. 01:14:32 Speaker 1: It's my guess that you are the anchor of definitely that unit. Because when I last saw you guys at the Blue Note, you were the one that was tapping your book constantly, like you tap your foot and your chin goes up and down, and so I realized, like, okay, so you give christ freedom to do what he wants to do, and you have to keep that in your head. So you're the anchor of it. I know, if it's confusing for me, it has to be crazy for you to keep counting all those things because Chris is such a radical. 01:15:06 Speaker 3: Yeah. I'm with that lineup too, you know, I feel like those two guys of the virtuosi and that's never been my forte. 01:15:15 Speaker 1: You know. 01:15:15 Speaker 3: It's so I like that place in the middle there trying to you know, enable, just enable the music so that they can do their thing. I mean not purely unselfish. I mean I care about me too a little bit. But yeah, it's really interesting. And when Chris goes for some of that stuff, you know, you just have to be ready to go with it wherever it's going, be very kind of fluid and malleable. You know. 01:15:42 Speaker 1: It's question I think fans would like to know. Have you ever had a session in which was like I gotta get through this, like in terms of complexity or just a producer that is driving you to the limit. 01:15:58 Speaker 3: No, not really. I had one producer I won't mention the name of one time that I figured that if he kind of made me angry, I would play better. Yeah. It was kind of weird so that people still do psychological Yeah, He's like, what's the matter with you? Can't you do any better than that? 01:16:13 Speaker 1: And I was like what Cantlice asked, was this the eighties, nineties or two thousands or. 01:16:19 Speaker 3: It was after Voodoo, right? 01:16:26 Speaker 1: Yeah, I was like, I'm ready to. 01:16:31 Speaker 6: Wait can I ask a question, including you Steve, like on sessions like voodoo, which are notoriously went on for years, like does it become too like? Does it does the dragging out of it? Does the frustration of that taking forever? Does it become a thing? 01:16:45 Speaker 4: Or is it not? 01:16:46 Speaker 6: I've never been in the studio that long my life like it. You know, you read about it, and it's just like we're not allowed to talk about this. That's fine too, No, No, I just I'm just I'm fascinated. 01:16:57 Speaker 1: My answer is quick. You know, I was selfishly say that I have the best seat in the house. So I've never had a drought, a D'Angelo drought, and I feel bad for you people that only get your you know, d'angela fixed once every ten to twenty years, whereas you know, I still got shited on this computer that the world's never going to hear again. But you know, I'm satisfied, but I also feel frustrated that it takes forever. But it's certainly worth it. But like you know, it's weird in terms of preference, though I like Black Messia a little better. I don't know if it's because it's last or whatever, but just like I have the time of my life with Voodoo. But for me, there's something about the moments in catching til it's done yes or uh oh God, especially oh God, the way the way we know life. You know, we did Another Life? Did we do that without planning? 01:17:59 Speaker 3: You know? I played on the later you and d played on that. 01:18:02 Speaker 1: I feel like we went okay, so was it till it's done where we all had to do it together? 01:18:07 Speaker 3: Something we played till it's done together? 01:18:09 Speaker 1: Yeah? Okay, yeah, Another Life is literally it was just unplanned. It wasn't like, hey, what's that part? Okay, do you get it in twelve bars? It was just like he just started playing it and then like and I was like, okay, this should be like a bridge or something. Okay, I'm gonna do a turnaround for two bars, and he just like it. The synergy was was otherworldly. 01:18:35 Speaker 3: Well you guys really have that. 01:18:37 Speaker 1: Yeah, we have to be cool because at the very beginning, in the very beginning, I think there was like unspoken tension there that we didn't resolve for like four or five years. Yes, and the first thing he plays me is like sugar Daddy, and it kind of in a taunting way. Not a taunting way, but it's almost like the ex wife, you know, the husband's showing you the new girlfriend to the ex wife, and I'm like, how am I? How am I supposed to compete with Gatson? With James Gatson playing his lap? 01:19:11 Speaker 3: Yeah? 01:19:11 Speaker 1: And the story, yeah, the story of that is basically, he was just all right, play with the song, and he's like just sitting there like that, okay, okay, so I'll do that and then all right, let's roll it and they're like, no, we got it. He's like, no, no, no, I was. I was hitting my leg and he's like, no, no, that was perfect. 01:19:26 Speaker 3: And I'll tell you what really happened there, something like that. But James was just drum checking, right, he was just trump track and playing a bass, strumming the high and tapping his legs like that, and d said, keep playing that, James. 01:19:40 Speaker 1: Keep playing that right, and just fell until by accident. 01:19:42 Speaker 3: Found a bait. I just went dump dump, don't dump, don't. 01:19:46 Speaker 1: Right, And then literally I'm like, how am I supposed to compete with that shit? 01:19:51 Speaker 3: And so yeah, but your thing is so unique of me too, Betray my Heart. We recorded that song in yeah seven do you realize that ninety seven. 01:20:01 Speaker 1: Right, I remember brought that one back to life. So Steve any Pino moments. 01:20:10 Speaker 9: Oh man, I did want to ask you about you were a part of the one of the Simon and garlf Uncle reunion tours or maybe it was just a show or two at the Garden or something. 01:20:21 Speaker 1: I'm not I can't remember that one. 01:20:23 Speaker 3: Yeah, it was all too two thousand and what was it five or something? Yes? 01:20:27 Speaker 9: So what was that like to work with with Paul and I mean to be in such a weird kind of setting, I mean, and those baselines are also very iconic. 01:20:36 Speaker 1: Absolutely? Is that Carol Ka who did a lot of that stuff originally? 01:20:40 Speaker 3: Maybe she did some of it. Joe Osborne, right was the was the l a session guy back in back in the days and did a lot of that stuff only living boy in New York? You know that iconic based on man? Yeah, So was that a fun gig or it really was? It was amazing for me because the Simon and girlf Uncle album with Cecilia I become a bridge over trouble water. Yeah, that album was so big for me when I was before I even knew I was going to be a musician. So to come around full circle and get to play live with those guys. 01:21:09 Speaker 1: Wasn't the base Yeah? 01:21:10 Speaker 9: They the baselines are so kind of penoish in a lot of that music, you know, there's a lot of. 01:21:17 Speaker 3: But but yeah, I mean very melodic though. Yeah. Yeah, and it was a fantastic band. Jim Caltoner was on drums. 01:21:25 Speaker 1: What's it like playing with him? 01:21:27 Speaker 3: Tremendous man, hero, incredible man earl. Yeah, you should get him on here? What an edge, what a legend? Yes, it was just a fun too. And then of course we would you know, pull pull an audience. So wow. We would do two sound checks pretty much every day. Yeah, one for each of them then one together. 01:21:51 Speaker 1: Wait. 01:21:52 Speaker 3: Really like they were divided as a you know, not necessarily divided, just they had particular things that they wanted in the sound check. 01:22:00 Speaker 9: So with the Who and with Paul Simon, didn't you also end up doing being part of some studio recordings as well, albums that they were putting out. 01:22:07 Speaker 3: I did a Paul Simon album Surprise, but that was just Paul, Yeah, he wasn't that Simon golf right? 01:22:12 Speaker 1: And the Who? 01:22:13 Speaker 3: Yeah, I did the last record Who did, which which was a really good record. 01:22:17 Speaker 9: Actually, what was I like to work with Pete Townsend in that in the. 01:22:20 Speaker 3: Studio, work with him over the years in that environment. Pizza absolute genius. Man, He's incredible. It's just great being around him, great playing music with him. 01:22:31 Speaker 1: I want to skip a little bit ahead. Can you talk about working on the side rock record with John? You didn't play bass on? You only did it live? No. 01:22:40 Speaker 3: I did some other record, but not much of it, like maybe a couple of tracks, because that was kind of during the pandemic. I think you record a lot of. 01:22:47 Speaker 1: That stuff really okay, because my shock was that, you know, for those that don't like the side rock record for John Mayer was like his version of the yacht rock. Yes, like if he had he released a record in eighty three to eighty four like that period, what would he sound like? Which all of you, all the musicians on that record didn't sound like themselves. 01:23:12 Speaker 3: But yeah, well I only played a few tracks. I sort of let you down on that woman. 01:23:17 Speaker 1: But did even the songs you played on, did you have to unsound like yourself? 01:23:24 Speaker 3: No, not at all. No. Those songs that I played on were ones that he did before he went in the studio to do that record. So they were just a random one off songs that that he wanted to record anyway. 01:23:35 Speaker 1: Okay, so when he went in to do the. 01:23:37 Speaker 3: Full album with Sean Hurley on bass and uh uh Aaron on drums, Yeah, I wasn't around for that. 01:23:46 Speaker 1: I see questions, even conversations. I was we can take your ball commercial right now? When when when this show is happening. Phones are down, so I'm not getting text to stop. It's like, you're gonna let me know. I'm I'm under the impression that eight o'clock is when we stop this. 01:24:19 Speaker 7: We're trying to get to Fine. 01:24:21 Speaker 1: You're gonna communicate that to me. We don't get any dating to each other. 01:24:25 Speaker 3: No, I called you. 01:24:26 Speaker 1: I didn't know your phone. 01:24:28 Speaker 3: Off. 01:24:29 Speaker 1: Your phone, my phone is off. I turned my phones off and my my text all that stuff is off. Sorry, I was just frustrated. I'm like, okay, I thought I was asking too many questions. 01:24:40 Speaker 8: We're all about punctuality. 01:24:41 Speaker 1: We're very concerned about Peno's next gig. Clearly has to be at the gig, but it's just let me know. Okay, I didn't know that. I'm sorry. 01:24:52 Speaker 3: I already told him we're gonna be late, so okay, we're good. 01:24:54 Speaker 1: Well let's wrap it all right. 01:24:56 Speaker 8: Also, don't ask you know what the gig is a big secret, So there going on, we don't know what gig it is. 01:25:01 Speaker 3: We don't know what it is. 01:25:01 Speaker 1: Well I don't you might because can we follow you to this gig? Do I want to follow you to this gig? 01:25:10 Speaker 3: M I could said. 01:25:13 Speaker 1: The last time you told me about a gig, I went to go see. I wound up playing the gig and the mushrooms that kicked in. 01:25:19 Speaker 8: That was the hell of a day. 01:25:22 Speaker 1: All I wanted to do was watch my idol drum and then suddenly that call me like you learn the show? Yes, COVID. 01:25:28 Speaker 3: So I just didn't know about the mushroom part of that. 01:25:33 Speaker 1: That's well yeah, but then you know, I've got guys, the mushrooms that kicked in. 01:25:37 Speaker 3: Man, if you're around tomorrow nights or you got any time tomorrow, I'm in the studio with Blake over in Sound City. 01:25:43 Speaker 1: Really love to have you. I'm finally glad that Blake, of all people, Blake, the way that he talks about Voodoo's like his old dream. So the fact that he finally connected with you. I know one, you know is his dream to connect with the Also, I'm sure I'm that's happening. No, well, I think I'm gonna cut it so that Peter can get to his session or we. 01:26:08 Speaker 7: Are legend in the building who actually still works. 01:26:15 Speaker 1: No, I will say that, you know it's it's your mind. You make you make us all play better, you make us listen better, and you know for that, I thank you. 01:26:24 Speaker 3: Man, and thank you so much every race. 01:26:28 Speaker 1: Everybody, Now get out of here and go to your gig. 01:26:33 Speaker 4: This is. 01:26:35 Speaker 7: You know, hey, thank y'all be listening to The Quest Love Supreme. 01:26:44 Speaker 4: This podcast is hosted by an Afro, a mouth, a rapper, an engineer, and a man with too many jobs a k a. 01:26:51 Speaker 7: A Mere Quest Love. 01:26:51 Speaker 4: Thompson, Why You A Saint Clair, Fonte Coleman, Sugar, Steve Mandel and unpaid Bill Sherman. 01:26:58 Speaker 7: The executive producers who get paid the big bucks. 01:27:01 Speaker 4: Amir Quest Love Thompson, Sean g and Brian Calhoun ask them for money. Produced by the people who do all the real work Brittany Benjamin, Jake Payne and Yes Shy of Saint Clair. Edited by another person who does the real work. Alex Conroy and those who approve the real work. Produced for iHeart by Noel Brown and Mike John And don't forget man, it's making me sound good right now because up too. Audio engineering by Graham Gibson at Iheart's La Studio, Thanks Sean. 01:27:34 Speaker 3: West. 01:27:34 Speaker 1: Love Supreme is a production of iHeart Radio. For more podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows.