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TMP334 OMARI NEVILLE: FAMILY TRADITION · Troubled Men Podcast

• 0:15
  Speaker A: Greetings, troubled listeners. Welcome back to the Troubled Men podcast. I am Renee Coleman, sitting once again in Snake and Jake's Christmas Club Lounge in the heart of the Clempire with my co host, the original troubled man for troubled times, Mr. Manny Chevrolet. Welcome, Manny.
• 0:31
  Speaker B: Hey, thank you, man. Thanks for having me, man.
• 0:34
  Speaker A: Yeah, man, thanks, thanks for. It's been a while. I've missed you.
• 0:37
  Speaker B: Yeah, I've been around and around town. I've been gone, you've been gone, We've been gone.
• 0:42
  Speaker A: Yeah. Ships passing through in the night, as they said.
• 0:45
  Speaker B: And now we're here.
• 0:46
  Speaker C: This dump.
• 0:47
  Speaker A: Yes.
• 0:48
  Speaker B: They call Snake and J.
• 0:50
  Speaker A: It's Tiki Tuesday. It's jumping in here, man. People on the floor with the dogs.
• 0:57
  Speaker B: Yeah, I don't like these.
• 0:58
  Speaker A: I know you don't like the dogs.
• 0:59
  Speaker B: I don't like dogs. In fact, this is, this has happened in the last three months in my neighborhood. Our, my friends and neighbors have been attacked by dogs.
• 1:13
  Speaker A: Really?
• 1:13
  Speaker B: Yes.
• 1:14
  Speaker A: Like a pack of dog, Wild dogs.
• 1:15
  Speaker B: No, these are asshole dog owners who.
• 1:18
  Speaker A: They just dog off the leash.
• 1:20
  Speaker B: Yeah. You know, they fail to keep their dog on a leash, are they? You know, I don't understand this. What is the thing in this city about keeping your front door open? I don't understand people who do that.
• 1:32
  Speaker A: People do that in your neighborhood?
• 1:34
  Speaker B: A lot of people do. And I see it around people just like, they just keep their front door open. They'll be, they'll either be on the porch with their front door open or they're in the front room with the front door open, watching TV or something. I don't get that.
• 1:48
  Speaker A: Yeah, like with the screen, screen closed with the door open.
• 1:51
  Speaker B: No, the, the whole door is open.
• 1:53
  Speaker A: You're gonna get all kind of flies and.
• 1:54
  Speaker B: Yeah, I don't understand. Anyway, there's been two dog attacks in my neighborhood in the last three months.
• 2:01
  Speaker A: Scary, man.
• 2:01
  Speaker B: Yeah. And you know, I, I, I, I, I don't like them. I don't like. I, I know one of the owners, one of the dogs was actually put down because of the attack. Yeah. On my neighbor who was actually just walking our other neighbor's dog because she had ankle surgery and she was going to be put in a boot and couldn't walk for three months. So he said, I'll walk your dog. And he goes and walks the dog and he gets bit by this dog.
• 2:31
  Speaker A: Jesus.
• 2:32
  Speaker B: So, yeah, that's dangerous. They found, they find the owner and they kill the dog, you know?
• 2:38
  Speaker A: Yeah, you can't, you have to blame the owner. You know, it's not the dog's fault. The dog's just doing what? A dog?
• 2:43
  Speaker B: You want to kill the owner?
• 2:44
  Speaker A: Well, I don't know.
• 2:46
  Speaker B: I don't know. The owner.
• 2:48
  Speaker A: I don't know.
• 2:49
  Speaker B: Maybe. Maybe he's an.
• 2:51
  Speaker A: I don't know. Certainly negative.
• 2:53
  Speaker B: Yeah, well, put down the animals. You know, anyway, so you just.
• 2:57
  Speaker A: I know you don't have a problem with the animals. You have a problem with their domestication, their ownership.
• 3:01
  Speaker B: Domestication and their ownership. Get the away from me, dog. All right? Jesus. Yeah, yeah.
• 3:08
  Speaker A: You see, he heard you talking about him. He's trying to make friends.
• 3:10
  Speaker B: Anyway, it's a new year and all that and we're all doing this and. And I'm so glad people are saying. They're stopped saying happy New Year. Yeah, yeah, because I remember that first week of the New Year. People said, happy New Year, Manny. I said, no, thanks. That would imply that I think there's hope for the future, you know, there's no hope for the future. Especially my future.
• 3:36
  Speaker A: Hope is not for the week.
• 3:37
  Speaker C: When the clock struck 12 to begin a new year, he was sitting somewhere like Lieutenant Dan, just sitting there. Remember, everybody's around him just having all the confetti.
• 3:49
  Speaker B: He's just like, I got legs, though, man. I got legs.
• 3:56
  Speaker A: You weren't using them, though.
• 3:57
  Speaker B: No, I was asleep by 10pm I wasn't staying up or nothing.
• 4:02
  Speaker A: You know, it's amateur night.
• 4:03
  Speaker B: Yeah, but everything's going on. We had our Martin Luther King Day and. And I heard our fearless leader, he said that he has a bigger dream. Did you hear that?
• 4:17
  Speaker A: No, I missed that.
• 4:18
  Speaker B: He says he had a bigger dream.
• 4:19
  Speaker A: Oh, bet.
• 4:20
  Speaker B: You know, to me, I don't want a dream. You know, if I'm gonna have a dream, I don't want to end up like mlk, I'll tell you that.
• 4:27
  Speaker A: No, no, it didn't end well. But I mean, it wasn't the dream.
• 4:30
  Speaker B: That's the problem. Anyway, yeah, our fearless leader says that he had a. You know, he's got to take away from everything, you know, he's got to make it his own. So he said he had a bigger dream.
• 4:43
  Speaker C: Was it about Stormy Daniels?
• 4:46
  Speaker B: You know, I saw that footage.
• 4:49
  Speaker A: Really?
• 4:49
  Speaker B: I saw that footage. He sits there in a three piece suit watching Stormy and this other chick just go at it for like an hour. I mean, they're doing everything to two females can do to each other. And he's sitting there lifeless. He doesn't even. He doesn't even whip out his. And jerk off or anything like that. He's Just sitting there lifeless, you know? So anyway, he seems like a good guy. I don't know. Yeah, you know, it's hard to tell. Yeah, yeah, it's hard. He's so busy in court all day going, who wants to sue? You know, that's me too.
• 5:28
  Speaker A: Sure.
• 5:28
  Speaker B: You know, anyway, we're. We're doing this. And speaking of our fearless leader, you know, his, his, his and first lady had a movie made about.
• 5:40
  Speaker A: Oh, yeah, I saw that. It's a big payoff. Payoff from Amazon.
• 5:43
  Speaker B: Yes.
• 5:44
  Speaker A: They spent 70 million making it and then the Amazon bought it for 40 million and committed to 35 million in advertising.
• 5:54
  Speaker C: Yeah, well, I totally missed that news.
• 5:57
  Speaker B: Yeah, yeah, yeah.
• 5:58
  Speaker C: Well, it's not a part of the Marvel Cinematic Universe.
• 6:04
  Speaker B: Apparently the movie was so bad that people who are watching it on a plane walked out.
• 6:10
  Speaker A: Wow, that's bad.
• 6:12
  Speaker C: That's bad. Can you open the exit?
• 6:18
  Speaker B: Sucks. Get me out of here. You know, I don't care if I make my connection or not. I'm out of here.
• 6:25
  Speaker A: Voting with your feet.
• 6:26
  Speaker C: Is that a C word going over? Yeah, just let me off.
• 6:29
  Speaker B: Right, right, right, right. Anyway, that's going on. Okay, all. What's going on with you?
• 6:36
  Speaker A: Well, you know, I was. I was out there in the high seas. I was in the Big Easy cruise.
• 6:40
  Speaker B: Oh, God. And it was a gay cruise.
• 6:43
  Speaker A: No, no, no, it wasn't.
• 6:44
  Speaker C: I mean, no, it wasn't.
• 6:45
  Speaker A: I mean, I was on it, but. No, no, it's. No, it was. I mean, I don't know. I wasn't taking, Taking, taking a survey in that turn. No, it was mostly couples and a lot of people that come to Jazz Fest. You know, it's kind of a mini Jazz fest on, On a ship.
• 6:57
  Speaker C: That's the perfect way to describe.
• 6:59
  Speaker A: And man, what a blast it was. Our guest here was, Was on the, on the ship. That's, that's how we're.
• 7:05
  Speaker B: I was able to pay me to go on a cruise ship?
• 7:07
  Speaker A: Well, no. Well, they did pay us, so that's why we.
• 7:09
  Speaker C: Right.
• 7:11
  Speaker A: But. But it was really fun. Very congenial atmosphere. All the bands went and saw the other bands because they had nothing else.
• 7:18
  Speaker B: To do on the show.
• 7:19
  Speaker A: Yeah, but it was cool that you could do that. So, you know, like, now, did you.
• 7:22
  Speaker B: Do any Port of Calls? Well, or you were just stuck on the ship?
• 7:27
  Speaker A: Well, no. So the ship left from Fort Lauderdale and sailed over up the Mississippi river and docked in New Orleans overnight.
• 7:34
  Speaker C: That kind of like. That was weird. Really screwed me over, but what the hell, right?
• 7:38
  Speaker B: Right.
• 7:38
  Speaker A: Because it feels like you're out now. You're back.
• 7:41
  Speaker C: They made us get on the plane to fly to Fort Lauderdale just to sail back to this mother.
• 7:46
  Speaker A: Right. But. But you know, most of the people aren't from New Orleans, so they liked having a night over. You know, all the passengers they liked having.
• 7:53
  Speaker B: So did you go home or you just stayed.
• 7:56
  Speaker A: I did go home and. And we. It was getting cold, unexpectedly cold. We moved all the plants inside. We slept in our own bed and then when we went back.
• 8:05
  Speaker B: Slept in your own bed. Well, I hope you slept in your own bed.
• 8:09
  Speaker A: Whose bed were you sleeping in as opposed to on the boat, which is.
• 8:13
  Speaker B: Okay. Did you bring your plants on the boat?
• 8:15
  Speaker A: No, no.
• 8:17
  Speaker B: I've noticed in the last two or three years that these. There's a lot of these cruises that have these certain music genres. Oh, yeah, yeah, yeah, yeah. And I looked it up and I realized that these music genre themes are pretty much the worst of the music genres. You know, the worst bands of that genre.
• 8:37
  Speaker A: This one was different. This was all the best bands.
• 8:39
  Speaker B: This is really.
• 8:40
  Speaker A: I went around and heard every group and there was not a bad musician or a bad ban on that whole thing.
• 8:46
  Speaker C: They really did their homework.
• 8:48
  Speaker B: Keep patting yourself on the back.
• 8:49
  Speaker A: Oh, well, you know, I'm just looking at everybody else, but yeah, lined up a lot of. A lot of terrific future guests from the. The talent there. You know, I. So I was playing. I was on the boat playing with Susan Cowsell. That's what I was hired.
• 9:02
  Speaker B: She's a. She's been on the show.
• 9:04
  Speaker A: She's been on the show? Yeah. She's not one. She doesn't want to come back on the show. She has her own podcast. Cow Cells have a very successful podcast among them.
• 9:12
  Speaker B: They make money on it.
• 9:14
  Speaker A: I'm not sure.
• 9:15
  Speaker B: Probably okay. Cuz we make no money on this.
• 9:18
  Speaker A: We make drinks.
• 9:18
  Speaker B: We can't even pay you to be on here.
• 9:20
  Speaker C: Yeah, you gave me one.
• 9:22
  Speaker A: Find your drinks. Yeah, yeah.
• 9:23
  Speaker B: Dave Clemens got you wine.
• 9:25
  Speaker C: See? Shout out Dave.
• 9:26
  Speaker A: Shout out to Dave Clemence the Clemperer here.
• 9:29
  Speaker C: That's Cranston brother, I just found out.
• 9:31
  Speaker A: And he's a good bass player too.
• 9:33
  Speaker C: Oh yeah. I play in the band with his nephew that is also a great, excellent bass player.
• 9:37
  Speaker D: Yeah.
• 9:37
  Speaker C: Shout out to Audi.
• 9:38
  Speaker A: Yeah. And I was also playing with the Trixie Minx review. The burlesque review, and got to be friendly with Trixie and she wants to come on the show, which is exciting.
• 9:48
  Speaker B: Wasn't she on the show already?
• 9:50
  Speaker A: No, no, no, no.
• 9:51
  Speaker B: We had somebody Else who will she come naked? I'll only do the show if she's naked.
• 9:56
  Speaker A: No, maybe you can be naked and she'll, she'll. I don't know. Y' all can work that out between you.
• 10:01
  Speaker B: Well, never call me.
• 10:03
  Speaker A: Okay.
• 10:04
  Speaker B: Because I don't text anymore.
• 10:05
  Speaker A: Right, I saw that.
• 10:06
  Speaker B: My New Year's resolution.
• 10:08
  Speaker A: What kind of New Year's resolution is that?
• 10:10
  Speaker B: That's because I think it's stupid.
• 10:12
  Speaker A: Well, it's texting. It's a. It's a much more convenient way for someone to send you information.
• 10:18
  Speaker B: It doesn't matter to me cuz I don't have any friends. Well, you have me. Yeah. So why not just call me or email me?
• 10:25
  Speaker A: Okay. Well, I can. I can call you. I would get it today.
• 10:27
  Speaker B: That's fine. I don't text.
• 10:29
  Speaker A: No, because I don't. I don't check my emails. I don't. When I get an email, I don't get a notification that I have an email.
• 10:34
  Speaker B: So that's a problem.
• 10:36
  Speaker C: Wait, wait, you're serious? This is not a bit.
• 10:38
  Speaker A: No, that's not a bit.
• 10:39
  Speaker B: No texting.
• 10:41
  Speaker D: Oh.
• 10:42
  Speaker B: Because really, I have no friends. I have no friends. The only people that I'm in touch with is this guy and your wife and my wife and child and maybe some family in California. So just call me. You know this. That's cool.
• 10:56
  Speaker A: I like calling, you know, because I'm.
• 10:58
  Speaker B: And actually, to be honest, I'm not really good at doing this.
• 11:02
  Speaker A: Yeah, the typing in typing with one finger.
• 11:04
  Speaker B: Yeah, yeah. Because my hand. From multiple arthritis. Yeah. Habitual masturbation.
• 11:10
  Speaker C: Sure.
• 11:10
  Speaker B: You know, it's like.
• 11:14
  Speaker A: The knuckles out.
• 11:15
  Speaker B: Exactly. So texting. Okay. All right.
• 11:18
  Speaker A: We're going old school. We're all phone calls.
• 11:20
  Speaker B: All phone calls. And the great thing about phone calls is I don't have to answer them if I don't want.
• 11:25
  Speaker A: Sure.
• 11:26
  Speaker B: You know, right?
• 11:27
  Speaker C: You know.
• 11:28
  Speaker B: Yeah, yeah. So yeah, that's a thing. And also I. Another New Year's resolution is that I'm not having ice in my cocktails anymore. Okay. Because I find that ice can be addicting.
• 11:40
  Speaker C: Huh.
• 11:41
  Speaker B: Yeah. Really? The alcohol's fine, but it's the ice that gets. The ice is the problem.
• 11:48
  Speaker A: Well, that's what they say. Everybody's have. They on the Grammys, they had those ice out pens. So you're right in.
• 11:55
  Speaker B: Right in the Grammys. I didn't see where's Vicky Carr's award after all these years, man.
• 12:02
  Speaker A: I know, I know, I know.
• 12:03
  Speaker B: Now I grew up in la.
• 12:06
  Speaker A: Hey, listen, dude, you got to talk in the.
• 12:09
  Speaker C: Never watch the full episode of Grammys. Grammy Award. Never. Because it's everyone catch.
• 12:14
  Speaker B: Like, it's everyone just saying, hey, you did a good job, man.
• 12:17
  Speaker A: You're all right.
• 12:18
  Speaker B: You know, I love that they gave.
• 12:20
  Speaker C: Like, Grammys to, like, people like John Batiste and stuff like that. That's like. That's great.
• 12:25
  Speaker A: Yeah, it's nice. We got some New Orleans.
• 12:27
  Speaker B: How's that going to help you out?
• 12:29
  Speaker C: Oh, well, it's good to see.
• 12:31
  Speaker B: It doesn't help me out.
• 12:32
  Speaker C: Good to see your peers do good because it lets you know that it's.
• 12:35
  Speaker B: Possible that they're better than you. Right?
• 12:37
  Speaker C: In. In ways, yeah.
• 12:38
  Speaker B: They're better than you. No. I grew up. I'm from Los Angeles. Award shows are the worst things ever.
• 12:47
  Speaker C: Yeah, right, right, right.
• 12:48
  Speaker B: They're the stupidest things ever. Award shows. It's like, look at me. Oh, look at me. Look how I'm so great.
• 12:55
  Speaker A: I remember you said telling stories about how you'd go to people's houses whose families were in the. In the movie business.
• 13:01
  Speaker B: The Academy. Yeah.
• 13:02
  Speaker A: And they would have their housekeeper fill out the ballot.
• 13:05
  Speaker B: Yeah.
• 13:06
  Speaker C: When you think about it, it's legitimate. It's just them pretty much saying, look, stand up. But you guys did okay. But that guy is just better than you.
• 13:15
  Speaker B: Right, Right.
• 13:16
  Speaker A: Well, I heard somebody else say, she's better.
• 13:18
  Speaker C: You know what I mean?
• 13:19
  Speaker A: I heard somebody else say they made a movie. They were so thrilled that they made the movie. It came out. They were happy, man.
• 13:25
  Speaker C: People be happy to be nominees, bro.
• 13:26
  Speaker A: And then they got no. And then they were excited about that, and then they didn't win. And now suddenly you're a loser. You know, it's like I was a winner, you know, if you wouldn't have put me into this. This thing, I was happy, you know? But now somehow you set up a thing where I didn't win.
• 13:43
  Speaker B: Well, you know, here's the thing. You know, it's like those awards, like he said earlier, it's like I had friends whose parents in high school and, you know, whose parents were part of the Academy or, you know, and Jose the gardener would vote on Best Picture.
• 13:59
  Speaker A: They'd have him fill out the ballot. Here, man. Oh, God. Pick some movies.
• 14:04
  Speaker B: Or, you know, Esmeralda the maid would say, oh, I like that song. I'm gonna vote for that song. You know, it wasn't even nominated. So what's the difference between Best Song? Is best song the lyrics or is best song a song? Because I heard something this morning that this guy said that best Song means it's best lyrics. Like Billie Eilish won the other night for best song and that means best lyrics. It's not the best song, it's the best lyrics.
• 14:35
  Speaker C: Never knew the criteria.
• 14:36
  Speaker B: Yeah. And what is best record as opposed to album?
• 14:40
  Speaker A: Yeah, I'm not sure, but I don't think there's. It's. I don't think that person is correct with it. With it being strictly the lyrics. It's the overall melody.
• 14:49
  Speaker B: Because that song sucks lyrics and.
• 14:52
  Speaker A: Well.
• 14:52
  Speaker B: Yeah, yeah.
• 14:53
  Speaker A: No account for taste, man. You know, I have no idea. But I dig her, okay.
• 14:58
  Speaker B: Really dig her. I'd like to strap a saddle on her. Just write her for a while.
• 15:02
  Speaker A: Okay.
• 15:03
  Speaker B: You know.
• 15:03
  Speaker A: All right, well, I'll let y' all work that out.
• 15:06
  Speaker B: Yeah.
• 15:06
  Speaker A: What else? Well, we have the. The class show coming off. I've been rehearsals for that and we don't doing that. We don't. They're doing it again. They do it every year.
• 15:15
  Speaker C: Yeah, it's like a class tribute.
• 15:17
  Speaker A: Yeah, yeah.
• 15:17
  Speaker B: It's.
• 15:17
  Speaker A: It's. We're doing all of London calling entirety and then about another 10 or 12, you know, non album cuts, you know, hits.
• 15:28
  Speaker B: Or you can mark that under who gives a.
• 15:32
  Speaker C: I was about to say I've heard about the class. I've never really got into them.
• 15:37
  Speaker A: Yeah.
• 15:38
  Speaker C: I probably have like two songs saved on Spotify.
• 15:40
  Speaker B: Smoke a lot of hash and drink vodka and then listen to their records.
• 15:45
  Speaker A: It's. It's a great band. Manny and I grew up listening to that. We were just the right age. Manny actually became friends with Joe Strummer, the singer of the band.
• 15:53
  Speaker B: Later on, guys. For a while. Yeah. My wife.
• 15:58
  Speaker A: Okay. Well, that was bound to happen anyway.
• 16:00
  Speaker B: But it was all good because, I.
• 16:01
  Speaker C: Mean, he's a rock star. Oh, he's a rock star.
• 16:03
  Speaker B: But he's dead now because I can talk about him.
• 16:06
  Speaker C: Okay, but he still hears you.
• 16:08
  Speaker B: If he was alive, I wouldn't be able to do that.
• 16:10
  Speaker A: Yeah, yeah.
• 16:10
  Speaker B: I'd be walking around the wheelchair going, walk on. Walk on like Jerry's kids.
• 16:17
  Speaker A: Never know what that means.
• 16:18
  Speaker B: Yeah, but you remember walking.
• 16:20
  Speaker A: No, I know, but I never. When you bring it up in that. In that context, I never know. We don't. You don't need to explain it, but, you know, we lost some other people recently. Great. Chuck Negron.
• 16:31
  Speaker B: I don't know who that is.
• 16:32
  Speaker A: You know, singer from Three Dog Night.
• 16:34
  Speaker B: Oh, yeah.
• 16:35
  Speaker A: Had a great behind the Music. Talked about all about his, uh.
• 16:39
  Speaker B: You know, and he's the one who broke his penis. Three Dog Night.
• 16:43
  Speaker D: Is that right?
• 16:43
  Speaker A: Yeah, yeah, they had a couple lead singers.
• 16:47
  Speaker B: Oh, yeah, they had.
• 16:48
  Speaker D: He.
• 16:48
  Speaker B: There was a documentary I saw about how he. He so many chicks during his career in the 70s that he was banging this chick, and I guess there wasn't enough lubrication that he tore up his penis and he had to go to the hospital.
• 17:02
  Speaker A: Okay. It happens. I know you're talking to that mic, man. What the.
• 17:11
  Speaker B: Yeah, he broke. I don't know if it's that guy, but it's the other guy.
• 17:14
  Speaker A: Okay.
• 17:16
  Speaker B: But became a big dope fiend. And then he became a big.
• 17:20
  Speaker A: That's Chuck Nagron was the big dope fiend. That's him.
• 17:23
  Speaker B: Yeah, he died, but I thought also he became a big, you know, counselor. Drug counselor, probably.
• 17:30
  Speaker A: So. Yeah. Yeah. And then he's been out. He's been touring with Susan and different.
• 17:34
  Speaker B: Uh, oldies and Three Dog Night.
• 17:37
  Speaker A: No, Susan is in the Cow Sills, but they go out on these tours where they have, you know, the turtles, Three dogs.
• 17:42
  Speaker B: Maybe we should get him on the show.
• 17:44
  Speaker A: Well, it's too late.
• 17:45
  Speaker B: We can talk about his penis.
• 17:47
  Speaker A: Okay, we can still talk about it, but. But. So we lost him just yesterday or something.
• 17:52
  Speaker B: I remember back in la.
• 17:54
  Speaker A: Yeah, yeah, yeah, yeah.
• 17:55
  Speaker B: I remember back in la. I used to. I was seeing this yoga instructor in the mid-80s, and she was fine, man. She was fine, but her. Her was dry. Oh, it was dry, man. And it tore up my penis.
• 18:10
  Speaker C: And we're not even 30 minutes in.
• 18:12
  Speaker A: I know. Yeah, yeah, ye.
• 18:14
  Speaker B: But she was a hot chick. Yeah, she was a hot chick, man.
• 18:19
  Speaker C: You just lost your core female audience just right there.
• 18:22
  Speaker A: Just all three of them just tuned out.
• 18:27
  Speaker B: Don't worry, he'll cut it out. Don't worry.
• 18:29
  Speaker A: No, no, I'll leave that out.
• 18:30
  Speaker B: No, yeah, he'll cut it. Maybe. We'll see. Yeah.
• 18:34
  Speaker A: Now, another former guest of the show. And that's why, you know, when I. When I have people on the show, you know, sometimes I feel a sense of urgency, you know, and then other times you think, well, that guy's got plenty more time on the. On the timeline. But you never know because we just lost the great Michael Skinkus, percussionist, out of nowhere. He was on the show maybe a couple of years ago, and he was a long time fan of the podcast, of the podcast and came on as a guest.
• 19:02
  Speaker B: When was he on the show?
• 19:04
  Speaker A: Maybe a couple years ago. Yeah, he was here in person with us. Yeah, there's photographs of us together.
• 19:11
  Speaker B: What the hell?
• 19:12
  Speaker A: I don't know what kind of Name that is.
• 19:14
  Speaker B: He probably got teased a lot in school, you would think.
• 19:17
  Speaker A: Yeah, a lot of stuff. But he was a good guy. Great percussionist. Real sweetheart of a guy, man. It's a real shock to the New Orleans music community. Not.
• 19:27
  Speaker C: Yeah, the reaction and everything. I know. I don't think I got a chance.
• 19:31
  Speaker B: He had aids.
• 19:32
  Speaker A: No, no, no. We don't know. It was something unexpected. He had just played bunch of gigs on the. With the Radiators reunion show. I think he played all four of those. And. And no, he was active. I just saw him on a gig, you know, six weeks ago or something, and.
• 19:47
  Speaker C: Yeah.
• 19:47
  Speaker B: He was on the boat with you?
• 19:49
  Speaker A: No, no, no.
• 19:50
  Speaker B: Oh, he's not on the boat.
• 19:51
  Speaker A: No.
• 19:51
  Speaker B: Because those cruises will kill you sometimes. They can be with a dysentery.
• 19:55
  Speaker C: Yeah.
• 19:56
  Speaker A: They can be toxic, man.
• 19:57
  Speaker B: You know, in the buffet.
• 19:58
  Speaker A: Right, right.
• 19:59
  Speaker B: Buffet will kill you, man.
• 20:01
  Speaker A: Right. This, the food was good on.
• 20:03
  Speaker C: That's heartbreaking because I was at that mother every day.
• 20:06
  Speaker B: Yeah, yeah, yeah.
• 20:07
  Speaker C: I felt like that was the best thing. Yeah.
• 20:09
  Speaker A: No, I ate the buffet.
• 20:10
  Speaker C: I was good.
• 20:13
  Speaker A: Well, Manny, maybe we should get here, huh?
• 20:16
  Speaker B: Well, wait a minute. I gotta talk about one more time.
• 20:18
  Speaker A: Okay?
• 20:18
  Speaker C: All right.
• 20:19
  Speaker B: All right. You know, while you were gone, you know, on the ship, looking for a message in a bottle.
• 20:25
  Speaker D: Right.
• 20:26
  Speaker B: There was a. A big story that made national news where a New Orleans Parish school bus driver got in an argument with one of the kids on the bus, pulled over, walked out and left.
• 20:42
  Speaker A: I saw that.
• 20:43
  Speaker B: Just left. All these kids walked away from the bus, Walked away from these kids on the bus, and it was right on canal, near the cemeteries. Now, I don't know what school these kids went to. I don't know. But the one thing I do know is, is that they haven't found this bus driver to this day.
• 21:00
  Speaker A: Really?
• 21:01
  Speaker B: They have not found this bus driver.
• 21:03
  Speaker C: Wow.
• 21:03
  Speaker B: And this has been like, over a month.
• 21:05
  Speaker A: Kind of a DB Cooper situation, you.
• 21:07
  Speaker B: Know, it's just like. And I get that sometimes, you know, like, you've been in the car with your family, you just want to pull over and leave, walk away. Yeah, I, I, I, I've been there, you know? Or the time when you're, you know, you're, you know, back in the day, when my girl would, like, you know, just be yapping and yapping and yapping. It's like, shut the up, you know?
• 21:29
  Speaker D: Yeah.
• 21:30
  Speaker B: I don't want to hear this. And in la, it's so easy because you just pull off on an off ramp and say, see ya. You know?
• 21:38
  Speaker C: Huh?
• 21:38
  Speaker B: What the hell was that?
• 21:39
  Speaker A: Leave the car. Leave it running.
• 21:41
  Speaker B: Yeah, just leave it running away. Throw the keys over the bridge.
• 21:44
  Speaker A: Oh, wow.
• 21:46
  Speaker B: And say you're on your own, you know, because those bitches are like a union man, you know that they pay their dues and we pay our dues.
• 21:58
  Speaker D: Yeah.
• 21:58
  Speaker A: No free lunch.
• 21:59
  Speaker C: That's what they say.
• 22:00
  Speaker B: Yeah, everybody pays. Well, I got some free king cake the other day. Okay.
• 22:05
  Speaker C: Yeah, that's nice.
• 22:05
  Speaker B: And I hate free dessert.
• 22:07
  Speaker C: Oh, you don't like king cake?
• 22:08
  Speaker B: I don't like king cake. It's just sugar. I don't need all that sugar. I get enough sugar with the booze.
• 22:14
  Speaker D: Right, right.
• 22:15
  Speaker B: You know, because that's just turns into sugar.
• 22:18
  Speaker A: Yes.
• 22:18
  Speaker B: You know what I'm saying? Yep. I don't like. And you know, one time when I first had king cake in the early 90s, I bit into the baby and nobody told me about this whole baby.
• 22:29
  Speaker D: Yeah.
• 22:30
  Speaker A: Broke a tooth.
• 22:31
  Speaker B: No, I broke the baby. Oh, okay. You know, and then they said I had to buy the next king cake.
• 22:36
  Speaker A: Got a strong bite. That's.
• 22:37
  Speaker B: I said that. I'm not buying any cake. So anyway, let's get our guest.
• 22:44
  Speaker A: Yeah, let's get our guest.
• 22:45
  Speaker B: Yeah. I don't know who he is. He seems exciting.
• 22:48
  Speaker A: Oh, yeah, no, he's full of life.
• 22:50
  Speaker C: He's my man.
• 22:52
  Speaker A: Terrific. Musician, drummer, singer, percussionist, composer, band leader of his own group, Omari Neville and the Fuel. He's a son of legendary singer and percussionist Cyril Neville of the Meters and Neville Brothers Band. He grew up soaking in the funk soul and R and B of the family and their associated musicians. And he just returned from the Big Easy cruise where he performed with the Fuel, backing up his dad, Cyril. We're going to get into all that and much more. But without further ado, representing the next generation of New Orleans first family of funk, the great Mr. Omari Neville. Welcome, Omari.
• 23:32
  Speaker C: Yeah. Hey, I like that you like that intro. Oh. What made me feel important.
• 23:37
  Speaker A: Right, man, that's what.
• 23:38
  Speaker B: That's what we want to do.
• 23:39
  Speaker A: Because you are important, you know, I appreciate that. We try to. We try to set the context. You know, it's sometimes I call it the build up to the letdown.
• 23:47
  Speaker C: Hey, guys, it's just me.
• 23:49
  Speaker A: When I saw you on the boat, we had. We had played a session together maybe a year or so ago with Sean Williams.
• 23:56
  Speaker C: Shout Out Sean.
• 23:57
  Speaker A: Yeah, yeah, yeah. And a former guest of the podcast and very talented writer and performer singer. And we did that one session. It was a really cool session. It was track Turned out great, man.
• 24:11
  Speaker C: Was it the Christmas track she did?
• 24:13
  Speaker A: Yes, it was. Yeah, it was. And it turned out pretty rocking, too.
• 24:16
  Speaker C: It was rocking.
• 24:17
  Speaker B: Yeah.
• 24:17
  Speaker A: And. And I wasn't sure if you. You remembered me. And then you. We saw each other on the boat, and you came over and hugged me and said, oh, Renee. And then you introduced, oh, this is Renee Coleman. And to the people, I was like, wow, he does remember me. So that was. That was very gratifying. And. And, you know, I saw you a bunch of times on the boat. Saw you with your own group. Terrific group, man.
• 24:37
  Speaker C: Appreciate you.
• 24:38
  Speaker A: Incredible. And then also saw you at some other bands. Like, saw you watching Samantha Fish standing right in front of the. The main speakers, rocking the fuck out.
• 24:49
  Speaker C: She's amazing.
• 24:50
  Speaker A: Yeah. But I was like, look at Omari. Right on, man. He likes to rock.
• 24:53
  Speaker C: Hell, yeah.
• 24:55
  Speaker A: So anyway, it's thrilled to have you on the podcast.
• 24:58
  Speaker C: Appreciate y' all for having me, man. Well, so let's.
• 25:00
  Speaker A: Let's go back a little bit. For people that don't know you personally now, you are definitely from New Orleans.
• 25:06
  Speaker C: Yes, sir.
• 25:07
  Speaker A: So what neighborhood you grow up in?
• 25:10
  Speaker C: Well, I grew up in Gentilly. I was born on 1014 Valley street, though.
• 25:17
  Speaker A: Right, right.
• 25:18
  Speaker C: Same street where Papa Funk stayed at. You know, stayed at until he, you know, was the late Papa Funk. So Art Neville. Yeah, that's your uncle. And that's been turned into Neville Way.
• 25:29
  Speaker A: Okay, nice.
• 25:30
  Speaker C: That the thousand to the 1100 block? Yeah, it's been turned into Neville Way. So I was born there, and my mom moved to Gentilly very early. A guy dropped a flower pot on her foot. My dad was on the road and sent flowers, and the guy dropped the flower pot on my mom's foot and kind of like, snickered and laughed. So my mom actually sued the company, and that was how we was able to by the house. And I stayed there until Katrina.
• 26:04
  Speaker B: Okay, so you can ftd Flores.
• 26:09
  Speaker C: I have no idea.
• 26:11
  Speaker B: How long ago was this?
• 26:12
  Speaker C: This? I probably wasn't even two years old yet.
• 26:15
  Speaker A: Okay. Way back there. Did you go to Gentile Terrace?
• 26:20
  Speaker C: No, I actually didn't. And it actually, like.
• 26:23
  Speaker A: Was that your neighborhood, though?
• 26:24
  Speaker C: It was. That was right down the street. My mother.
• 26:26
  Speaker A: My mother went to elementary school at Gentile Terrace.
• 26:28
  Speaker C: 5130 Architect Street. Man, I was right down us right in the middle, right down the street from Milne park. If you go left. If you go right, I'm right down the street from Gentile Terrace.
• 26:38
  Speaker A: Right.
• 26:38
  Speaker C: It always confused me why I didn't go to that school. They brought me all the way to the 7th Ward to go to Corpus Christi.
• 26:45
  Speaker D: Huh.
• 26:46
  Speaker C: And.
• 26:46
  Speaker B: But Texas.
• 26:48
  Speaker C: No, no, no, not Texas. Carpus Christie Catholic school. And which I'm so grateful for that because I never would have met the people that I met that I pretty much went there. No. Hell no. Wasn't the altar boy. But they were nice. And you know, whatever was going on, I don't know nothing about that. But I do know that they were very nice and they treated the kids and we all grew up actually to.
• 27:13
  Speaker A: Be still tight with guys.
• 27:16
  Speaker C: Yeah.
• 27:16
  Speaker A: That's so cool, man.
• 27:17
  Speaker C: Since pre K. No, I've known some of those people that I talk to till to this day. Since pre K. Nice, man. Actually, one of them just is just one city councilman, Matthew Willard. Oh, I went to elementary with him.
• 27:33
  Speaker A: Since pre K. See, that's the nice thing about staying in New Orleans, man. Eventually a lot of people, you know, will get into positions of power. You know, you stay on everybody's good side. You never know when it's gonna, you know, you're gonna need to make that phone call, you know, help, help me out, man. Got a situation here.
• 27:49
  Speaker C: A good thing I'm in the lane to where I don't need that type of help, you know what I mean? I can just send my shots out and stuff like that. But you, you. You'll never know.
• 27:58
  Speaker A: So you're growing up in the bosom of the, the Neville universe now. It must have been music. Non stop, huh?
• 28:06
  Speaker C: Non stop. It's all that I know. All that I can really think of to remember. I don't remember a time that it wasn't music. I just grew up into it. My dad tells me stories that I don't even remember, but it's like, it's something that sticks around. Like my first beat was Pocky weave.
• 28:25
  Speaker A: Yeah.
• 28:26
  Speaker C: You know what I mean? I can't. I don't know when this happened or how this happened, but my dad strictly says that I was in the walker and I hit a jim bay and played the Pocky weave beat. And he looked back like nah. And moved it just in case it was a fluke. And I followed the drum in my walk and hit it. You know what I mean?
• 28:45
  Speaker B: What do you play?
• 28:46
  Speaker C: Drums.
• 28:47
  Speaker B: You're a drummer?
• 28:48
  Speaker C: Yes, sir.
• 28:49
  Speaker A: Also amazing singer. I'm sure you probably played 10 different instruments.
• 28:54
  Speaker C: The piano and I dabbled with the guitar. I'm not that good at. I, you know, can probably write a song or two off the guitar, but mainly drums and a little bit of piano.
• 29:05
  Speaker A: Okay.
• 29:05
  Speaker C: And I got into the singing, like, kind of like late. Like my late 20s. I kind of started to really hone and get into singing and like rock and roll and stuff like that, you know, I didn't really get into stuff like Nirvana until like my, like, mid-20s. And that kind of me up. I was.
• 29:25
  Speaker B: So you got into Nirvana and it fucked you up with heroin, right? Yeah.
• 29:31
  Speaker C: Nah, man. I'm strictly Herb. I never had nothing else but Herb. Really Never tried nothing else.
• 29:38
  Speaker A: Yeah, you don't need it.
• 29:39
  Speaker C: Nothing but the flower, man. Flower power.
• 29:41
  Speaker A: Right on. Right on. Yeah. You don't need to go down there.
• 29:44
  Speaker B: And the vino.
• 29:45
  Speaker C: And the vino.
• 29:46
  Speaker B: Yeah, the vino.
• 29:47
  Speaker C: Cheers. Cheers.
• 29:49
  Speaker B: You're a good guy.
• 29:51
  Speaker A: Absolutely.
• 29:51
  Speaker B: Yeah.
• 29:52
  Speaker A: Well. So you don't have a memory of a time when you weren't playing?
• 29:57
  Speaker C: I really don't do like my. They put it in front of me and it wasn't nothing that was forced. It was just something that I just gravitated towards. Yeah. And I'm having a lot of influences growing up, like my big cousins, Jason Neville, Damien Neville, Aaron Neville Jr. We call him Fred. My brother was a Fred. Yeah, I never.
• 30:23
  Speaker B: Why you call him Fred?
• 30:25
  Speaker A: I don't know, to differentiate from. From.
• 30:28
  Speaker C: I guess it's just a nickname that he grew up, you know what I'm saying? Big Fred, you know, that's what we call him. I never asked. You know, it's just cousins that, you know, that grew up with a certain name, you know. You really didn't. I really didn't know his name was Aaron Neville Jr. Till later in life. I called him Fred my whole life. So me finding out that his real name was actually Aaron Neville Jr. Kind of took me aback. But we call him Fred. Shout Out Fred. But what I was saying is my dad developed a group with them called Deaf Generation. There was the first band to actually mix hip hop and brass. It was brass band. And my brother, MC Smooths, was a guy that wasn't really family, but he was family oriented and kind of adopted into our family to be like a cousin to me and my cousin Damon, who was also MCs. They called my brother Cyril Neville Jr. C major, that was his name. And they was kind of like the rappers. And my cousin Jason Neville was the singer. And also my cousins Norman and Ricky Caesar, which is my cousins from my mom's side.
• 31:32
  Speaker A: Okay.
• 31:33
  Speaker C: They're with the Caesar Brothers funk box. You could catch them at Blue Nile every Friday. You know, they kind of then made their own little name as far as you know, standing out on their own is, you know, running with this legacy stuff, you know.
• 31:46
  Speaker A: So your mom's family was musicians too?
• 31:48
  Speaker C: Yeah, yeah, yeah. My mom. My mom can sing and she's one of the greatest writers, you know what I mean? As far as that I've ever encountered and been around and I didn't, you know, I didn't. I look up to people like Anders Osborne, who was also a great writer, my dad. But to like, to make for me, my mom is an unsung hero when it comes to just being an amazing writer and an amazing artist in herself and singer as well. So. Shout out my mom, Gaynell Neville.
• 32:16
  Speaker A: Yeah.
• 32:17
  Speaker B: Oh, man.
• 32:17
  Speaker D: Yeah.
• 32:18
  Speaker A: So, like, you have memories of all these heavy musicians hanging around or did it even make an impression on you? Do you even have. I mean.
• 32:26
  Speaker C: Yeah, dude. Nick Daniels, Tony hall, like, the musicians that came when I was. When I started to be old enough to kind of start paying attention. The Neville Brothers Band was like the end all be all for me. Like, to me, those were the greatest musicians that ever walked the planet. You know what I mean? To me, they was, you know what I mean, like, just heroes. Like, I didn't really get into. I liked Batman and stuff like that, but it wasn't like me wanting to like, be Batman and Superman and shit. I just enjoyed that for what it was. My heroes was Tony Hall, Art Neville, Aaron Neville, Charles Neville, Nick Daniels, Earl Smith, Cyril Neville, Willie, me. And Willie Green was just, you know what I mean? If I. If I could get posters of him, I probably would have had posters of him plastered all over my wall. Cause that was like the first, like, drummer that. You know what I mean, that I kind of gravitated towards. You know, I didn't really know that my. That really was a drummer first until he was able to tell me. Because by the time I seen him, he just did the percussion and was pretty much the fire of the Neville Brothers. A fire vocalist, you know what I mean? And just that energy. I didn't know that his first instrument was drums, you know, Mean Willie Green was my drumming hero, you know, And I kind of like put myself to kind of want to be in those guys, like the footsteps that they kind of laid down the foundation as far as being like the Never Brothers Band. Because I got it early that, you know, my Uncle Art and my Uncle Charles and my dad and Uncle Aaron is in the front. These guys is back there playing that music.
• 34:06
  Speaker A: Yeah.
• 34:07
  Speaker C: You know what I mean?
• 34:07
  Speaker A: Yeah.
• 34:08
  Speaker C: So that stuck out to me that these guys are really making These guys look good in their own right. And it's kind of.
• 34:15
  Speaker B: Is there anyone in your family who's not musical?
• 34:19
  Speaker C: No, that's really not. And you want to hear something? The thing about that Gene is it is like, if they didn't tap into the musical part of it, something else that they tapped into, they're just amazingly great at it. Okay. Like, my uncle Aaron has a daughter, Ernestine Neville, that's my cousin, and her side of the family, when I went over there was. Was just strictly sports, you know what I mean? Like, my Uncle Aaron, he had a piano in there, but when I went in there, nobody played the piano. It was just strictly for sports trophies. It was a freaking mantle for sports trophies to sit on. So my cousin Jaren, my cousin Ernest. My cousin Ernest was one of the best baseball players in that time when he was coming up that he could have went, probably, okay. My cousin Jaren was a sports extraordinaire, and to this day, he is refing, coaching for Tulane, stuff like that. You know what I mean? Like, so even though that they didn't tap into that side, whatever that Neville Gene decides to tap into, they become great in their own right. Shout out my nephew Latrell, who is my brother Louis, my dad's son. Louis is his son, and he's. That's my dad's grandson. He's just got. He's like a draft pick in college and stuff like that.
• 35:43
  Speaker A: With sports, you think there's a certain expectation of excellence in the family or just not even. That just comes naturally, naturally with the human being.
• 35:54
  Speaker C: We expect greatness, you know what I mean? And I think just because of what.
• 35:59
  Speaker B: We come from has to be in someone who's been disappointing.
• 36:03
  Speaker C: Nah, I can't never. You know, like, everybody is great in their own right, no matter what they choose to do, no matter if it's music or not. You know what I mean? And it's like, that's the best thing about the family. Like, nobody is disappointed in anything as long as that individual is trying. You know what I mean? And we're. That's what we're proud of, that they're trying to further that Neville legacy in their own lane, in their own right, you know what I mean? Nice.
• 36:31
  Speaker A: Nice.
• 36:32
  Speaker B: Yeah.
• 36:32
  Speaker A: Now, did you ever go out on tour with the Neville Brothers as a kid, all that?
• 36:37
  Speaker C: I did, yeah. My dad said he's coming with me.
• 36:42
  Speaker A: Okay.
• 36:42
  Speaker C: From when I can start to, you know what I mean, not be under the moms and everything, which before I would stay home and the stuff that I would hear, I would just play it. My grandma would sit there with me and I would play a whole show. I can sit on drums and play for hours and stuff like that. And I guess my dad. Yeah. Six, five, four. From two, all the way to like six, seven, eight. I was just. Drums, drums, drums.
• 37:10
  Speaker A: You had a drum kit that you could.
• 37:12
  Speaker C: Drum kit. I tore up my first Mickey Mouse drum set. I'll never forget, they bought me a Mickey Mouse drum set. And me and Willie Green used to play with these fucking fat ass sticks. Hit and busted that drum set early. And my dad's like, all right, I can't play around with this. I'm not gonna get him Fisher Price shit. I'm gonna go actually get him a real set of kids.
• 37:31
  Speaker B: Why are you so angry?
• 37:32
  Speaker C: I don't know, man. It was just. I don't know. I was just an angry little fight. No, I'm just playing. Nah, man. I was a kid that was full of life and full of fire, you know, and seeing these upgrades and all of these people come in and out of your life and see. Seeing what they're doing in front of you is like, either you. You know what I mean?
• 37:51
  Speaker A: Like, inspiring.
• 37:52
  Speaker C: It's very inspiring. You know, so that's something that I always wanted to be a part of. Like in school, when they asked me what I wanted to be when I grew up, I would say a magician. Thinking that. I'm saying musician. That's like, but you want to do magic? And I'm like, nah, I want to play music. And I was like, oh, you mean a musician.
• 38:08
  Speaker A: It is magic, though.
• 38:09
  Speaker C: Oh, right. You know, so I've said that my whole life. Like, I've never wanted to be, you know, a fireman or none of that other stuff. I always wanted to be a drummer. To play with the Neville Brothers. That was my dream.
• 38:22
  Speaker D: Yeah, man.
• 38:23
  Speaker A: Now. Now, like, my father's a saxophone player. He taught school during the day, but he always played his whole life. And. And that's the primary way that he and I could ever relate to each other is from playing music. I mean. Yeah, what a, you know, incredible opportunity or like, you know, the intimacy of playing music with somebody, like doing that with your parent.
• 38:45
  Speaker B: Right.
• 38:45
  Speaker C: You know, it's always just been, like I said, a. A dream of mine since day one. You know, my dad started taking me on the road early, you know what I mean? So.
• 38:56
  Speaker A: So were these other guys like, you know, seeing your interest pull you aside, say, or I'm sure you were like, hanging on Their arms.
• 39:05
  Speaker C: Listen, listen. Back in those days, they would have, like a tourist sheet, right, to where they have every number and every room number of every member of the band.
• 39:16
  Speaker A: Right, right.
• 39:16
  Speaker C: I made it. And I'm a kid. I'm not knowing that. I'm not thinking. These guys is on the road, driving from city to city. Probably they want to get rest.
• 39:25
  Speaker A: They want their prize, you know what I mean?
• 39:26
  Speaker C: I'm going to these guys rooms, knocking.
• 39:29
  Speaker B: Wanting to hang out, banging whip.
• 39:34
  Speaker C: They never shooed me away. They never was never that type of energy from every. Every, like, rendition of that band. Because I done seen, you know, band members come and go.
• 39:46
  Speaker A: Sure.
• 39:47
  Speaker C: Every rendition of that band was very receptive and very willing to teach me whatever I wanted to know, you know what I mean? And I had a lot of questions. I had. Oh, man. Like, I just wanted to just soak up as much knowledge that I could. It was something that I wanted to do, something that I knew that I wanted to do, and something that I knew that the level that these guys are playing this stuff at, that, you know, I just don't want to be another person that's just old, you know what I mean? I'm just getting by. I want to actually make something of this legacy once it's in my hand, you know, I want to make sure that I carry it and do it good as I see these guys doing, you know?
• 40:26
  Speaker A: Right, Right. Man. Man, so powerful. Well, man, I'm loving this, Omari, but it seems like a good time to take a little break and get some.
• 40:34
  Speaker B: Okay, yeah, we take a break. We take a break. We'll be right back.
• 40:41
  Speaker D: They say there's something in the water they say there's something. Some things stay in the past.
• 40:52
  Speaker B: Learn.
• 40:53
  Speaker D: To sin from my father you told me Hard times they never last Another night turns into the day Another torch lights another way Leave all your baggage at the gate Meet me at the junction at the junction Ain't no telling when you're going home Meet me at the junction at the junction and I'll let you know when I know Meet me at the junction at the junction at the funky soul function Meet me at the junction at the junction at the soul junction. On and on the world keeps turning.
• 41:51
  Speaker C: I wish we could but we can't.
• 41:53
  Speaker D: Go back they say our souls was forced to fire.
• 42:02
  Speaker C: How bright can we.
• 42:03
  Speaker D: Burn before we fade the black? Another night turns into the day Another torch lights another way Leave all your baggage.
• 42:20
  Speaker A: And we're back back with Mr. Manny Chevrolet. I am Renee Coleman, Back with our guest Mr. Omari Neville. You know Omari, I know you're new to the podcast, but our listeners are aware that this is a listener supported operation. We have a PayPal and Venmo links there in the show notes of every show as well as the Facebook page. And we have a whole slew of devoted listeners who use those links to support us. Buy us cocktails, shout out to the listeners. Yes, yes. Notebooks, ink pens. You see we have a lot of notebooks and ink pen action here. Also our, you know, our operating costs. So thank you all you people who have supported us. Haven't had any contributions lately but we're still, we have faith. Also we have the. The Troubleman podcast T shirt link right there and we did. Someone bought a T shirt. William bought a T shirt. Shout out to William.
• 43:17
  Speaker C: I'm gonna have to get one of them.
• 43:18
  Speaker A: Oh yeah, yeah, yeah, yeah. Also Patreon link. We have a handful of full of patrons that support us week in and week out. I guess that's what we're running on right now currently. And also follow us on social media, Instagram and Facebook and rate review and subscribe to the podcast wherever you're listening to it. Give us five stars. Cost you. Nothing helps us a lot. Also have some dates coming up. The Iguanas are still at the Carousel Lounge every at the Hotel Montley on every Sunday 7 to 10 and and we'll be going out with the great Sunny Lamberth who just won a Grammy last night for the Clifton Cheniere tribute record. And we're going out through New York City, through D.C. and Virginia the first week in March. When first week in March and then we'll be back out with him the fourth week in March at around Minneapolis and Chicago Midwest corridor.
• 44:14
  Speaker B: I'd stay away from.
• 44:16
  Speaker A: Yeah, yeah, I'm just going to the club into my hotel room. I'm not going to be out rabble rousing at all.
• 44:22
  Speaker B: But your bandmates, I doubt it. They're Hispanic persuasion. Some of you. They might get pulled over.
• 44:30
  Speaker A: Well they should carry their passports or something. I was wondering about you man. Have you, have you had any, any dicey interactions with border patrol? Anybody give you a side eye or.
• 44:43
  Speaker B: Well every day someone gives me a side.
• 44:45
  Speaker A: Okay. Has nothing to do with law enforce. Hispanic heritage. Yeah.
• 44:51
  Speaker B: Every day with me.
• 44:53
  Speaker A: Who can tell why?
• 44:54
  Speaker B: Yeah, yeah, yeah, I get it and I don't need that. I know. I hear you man.
• 44:59
  Speaker A: You just want to keep going and mind your own business.
• 45:02
  Speaker D: Get.
• 45:03
  Speaker A: Go along to get along. That's what we say. Well Anyway, I don't know. I know, I know. That's something that sort of.
• 45:08
  Speaker B: Those.
• 45:09
  Speaker D: Those.
• 45:09
  Speaker B: Go along and get along.
• 45:11
  Speaker A: Yeah, yeah, yeah.
• 45:12
  Speaker B: Sounds like a nursery run.
• 45:14
  Speaker A: Sure, sure.
• 45:16
  Speaker C: You know, sounds like a Dr. John song. It does, it does, it does.
• 45:20
  Speaker A: We could have. We have to corrupt it a little bit, make it.
• 45:24
  Speaker B: Haven't we got him on this show. I don't know.
• 45:26
  Speaker A: You know, it's. It's tough. He's a. He's a tough booking.
• 45:29
  Speaker B: Yeah. We got to get him on this show.
• 45:31
  Speaker A: Yeah, yeah, yeah. Well. Well, anyway, that's enough of that. Back to our guest, the great Mr. Omari Nunu. Now, where do you wind up going to high school?
• 45:42
  Speaker C: A few places, actually, until I landed at John F. Kennedy.
• 45:47
  Speaker A: Okay.
• 45:47
  Speaker C: So I started when public high school started, De La Salle. I went there for, like.
• 45:53
  Speaker A: Well, after.
• 45:54
  Speaker C: Well, it's Corpus Christian Elementary. Then you go to Marion Central. I did that from, like, sixth to seventh grade. And then eighth grade, I did homeschool with my teacher, Ms. Jones. It's like a homeschool thing. And then ninth grade, I went to Myrtle McGee Christian Academy after switching so many.
• 46:16
  Speaker A: Right, right. Cause you were really. Your mind. You were on the road with the Neville Brothers.
• 46:21
  Speaker D: Nah.
• 46:22
  Speaker C: Around school time. It was just strictly because, man, like, I had a lot of energy. It was a lot of stuff.
• 46:28
  Speaker A: Yeah.
• 46:28
  Speaker C: Going on. I grew up with cruzone syndrome.
• 46:31
  Speaker A: Okay.
• 46:31
  Speaker C: It's a. It's a bone. It's something that's up. It's like a bone disease. So I grew up having to get surgeries. I got three surgeries in my whole life. By the age of two, they were splitting me open. Oh, man. You know what I mean? So.
• 46:48
  Speaker B: Well, that explains a lot.
• 46:49
  Speaker C: See, the kookness is. You know what I mean? It's finally clicking.
• 46:54
  Speaker B: Right. I just met you and now I understand.
• 46:59
  Speaker C: It's like, oh, I knew there was something off about this mother.
• 47:04
  Speaker A: So you had to contend with that growing up.
• 47:06
  Speaker C: Yeah. So it's a lot of bully. Bullying. Yeah. Fights, stuff like that. You get to a certain age to where it's like this, man, I'm. I'm gonna strike if. Even if you laugh, you cannot even be laughing at me. But I'm just so used and so insecure about laughter at that age. It's like. It's kind of grew to. Yeah. To kind of, you know, be a little bit resent, you know, towards, like, the other kids and stuff like that. So it just took a while for me to find, like. To find, you know, the group. I will say that My core group when it comes to who I grew up with. But you gotta understand, Corpus Christi stopped at fifth grade, you know what I mean? Marion Central stopped at 8th grade. So all of these people that I grew up with, we're going separate places, right? It's high school. People live in certain places. We're going separate places. So I gotta make all of this stuff brand new again, you know? And new friends. Yeah. Yes.
• 48:08
  Speaker B: That old school I grew up, I went to a grammar school, which was one area, and I went to a middle school, that was another area. So I, I, I grammar school. People I never saw after sixth grade.
• 48:20
  Speaker C: After six, that's it.
• 48:21
  Speaker B: Yeah. And then middle school, I didn't see half these people until maybe we became adults.
• 48:26
  Speaker C: Right.
• 48:26
  Speaker B: And then high school, I don't even. I have no idea where these people are.
• 48:32
  Speaker C: Right.
• 48:33
  Speaker B: You know, I really don't care where they are.
• 48:35
  Speaker C: Growing up in Gentle Tilly, though, my neighborhood friends, you know what I mean? That became, like, the safe haven for me, you know, to where it's like they were at my house all the time.
• 48:46
  Speaker A: Right.
• 48:46
  Speaker C: Like, you know what I mean? And then you got my cousins coming from the east, so that's. I'm introducing them to my friends, and my friends are becoming cool with my cousins. And now it's a whole brigade of us, you know, meeting new people. People coming and going. But the core, like, to this day, some of my best friends that were best men in my wedding and groomsmen in my wedding was people that I grew up with on our street and then gentilly and stuff like that.
• 49:15
  Speaker A: So that's part of the beauty of.
• 49:16
  Speaker B: My best man was my drug dealer at my wedding.
• 49:20
  Speaker C: You can never go wrong with a guy that's gonna answer the phone at any time to make sure you get what you need.
• 49:25
  Speaker B: Exactly. So best line ever. I'm on the way. Best line ever, I'm on the way.
• 49:34
  Speaker C: So I guess, you know, just the jumping around and stuff like that with the schools. I finally landed at John F. Kennedy, and that was some of the best days of my life. I went there from 10th to 11th grade and my 12th grade year. I only got a chance to spend, like a week or two in school. And then Katrina hit. And my last year was actually when we went to Austin, Texas.
• 49:55
  Speaker A: Oh, yeah.
• 49:56
  Speaker C: My last year was at Austin in Austin High.
• 49:59
  Speaker A: Oh, nice.
• 50:00
  Speaker C: It's my last year of high school.
• 50:01
  Speaker A: If you had to be somewhere outside.
• 50:02
  Speaker C: Of New Orleans, Austin is the place to be.
• 50:05
  Speaker A: Manny and I were both in Austin at the same time.
• 50:07
  Speaker C: We stayed there for four years, man. We went. Right after Katrina. We went to. I think it was either Memphis, Tennessee, and it was either a choice to go to Nashville or go to somewhere around Austin, Texas. But I think we went to Round Rock first.
• 50:24
  Speaker A: Okay.
• 50:25
  Speaker C: And stayed in, like, a Candlewood Suite.
• 50:29
  Speaker B: That's North Austin, right?
• 50:30
  Speaker C: Yeah, yeah, it was like a Candlewood Suite. We stayed at for like.
• 50:34
  Speaker A: It's kind of the slidell of all.
• 50:36
  Speaker C: A week or two. Exactly. You know, so. And then we went to Austin, Texas, and those people were so good to us that we stayed there for, like, four years.
• 50:44
  Speaker A: I hear you, man. Now I can say it now. Jump into your band, the Fuel. I know some of those guys in the band. Like, for instance, we were talking about how. How Austin Clements is the.
• 50:54
  Speaker C: The.
• 50:55
  Speaker D: The.
• 50:56
  Speaker A: The. The nephew of. Of our patron here, Dave Clements. Didn't. Haven't you and Austin been playing together for a really long time?
• 51:05
  Speaker C: Really long time. We were actually in a band first called Rejected Youth Nation.
• 51:10
  Speaker A: Okay. You know, how old were y' all doing that?
• 51:13
  Speaker C: Dude, these guys wasn't even out of high school. They was like, in their, like, kind of like 11th grade or 12th grade year or something like that. Probably not even that. And doing classes at NOCA and stuff like that.
• 51:26
  Speaker A: Were you at noca?
• 51:27
  Speaker C: I went to noka, but at this time with Rejective Nation, I wasn't. Okay. I was actually just. You were out of school? Yeah, I was. I'm coming down from Austin, Texas. I turned. I was 19. I had my first. My first daughter shout out Alani Kai. And at first I was dibbling, dabbling with, like. I stopped playing drums for years. Kind of like at the age of like 14, 13, like, my fucking drum set just sat in my room and collected dust. It was kind of like an era of mine where I was trying to figure out was this is the teenager. Because I'm telling you, as a young. And this is just all I wanted to do, you know what I mean? That teenage hormone said, nah. Yeah, you're gonna try to figure out what you're gonna do.
• 52:18
  Speaker A: Okay.
• 52:18
  Speaker C: When you already, you know, them teenage hormones that kind of trick you right into thinking that what you're doing is not the right path, you know what I mean? So sometimes you gotta. Yeah, man. It's very anxious times. You're going.
• 52:30
  Speaker B: Women, you know what I mean?
• 52:32
  Speaker C: I'm living, man. I wanted to start rapping, you know what I mean? I wanted to start rapping, you know what I mean? I started within influences of cash money, of course. No Limit and stuff like that. But I got heavy into New York rap. Dipset, Cam', Ron, Joel, Santana, that whole Jim Jones, that whole era. I can go on and on about that shit.
• 52:57
  Speaker D: But.
• 52:57
  Speaker B: But 90s, this is the 90s.
• 53:00
  Speaker C: It's kind of like early mid 2000s. Like 2000s going on.
• 53:06
  Speaker B: See, I lived in New York, man, when DMC and Public Enemy were happening.
• 53:12
  Speaker C: And I didn't know nothing about that. I got into, like, the New York scene and everything that was going on as far as their importance to hip hop later in the game, because for some reason, reason, something in me just didn't want it. Like, as much as I loved Cash Money and as much as I love no Limit, I felt like the local sound is all that they were offering me. And I can't grow musically by just listening to that. And if I want to be a mc, you know what I mean? No disrespect to them. They were great, you know, and still are to this day. But as far as my hunger, you know what I mean? It's kind of like the stuff with the Neville Brothers stuff. I kind of just put that into, like, rap. I started to dive deep into Jay Z, Biggie Smalls and all this type of stuff and really adapt the songwriter. That's where that started to come in at. I started to write rhymes. I had books of rhymes and stuff like that. And my peers that I was hooking up with, my cousin Renard Brown, Deuce, my cousin Jaren Neville, Lance Dodd, trombone shorty, was even a part of the rap group at one point called the Young Fellas Craig Smith. Like all of these people, that was really important to me, honing and wanting to be great because we wanted to push each other. One of my best friends to this day, who I met in 10th grade year, Phil Burris, was a person that when I first met him, he was battle rapping. That was another thing that I kind of got into walking to my barbershop. Around the corner was battle rapping. That's why I first seen Loaded Lux versus Murder Mook. You know what I mean? Those guys is New York legends when it comes to. From Harlem, New York legends. J. Mills versus Murder Mook, stuff like that. Uncasa versus T. Rex. I'm watching Smack DVD and really just wanting to really hone that as a. As a rapper. So that's kind of what I started to do to really, you know, to hone my songwriting ability. So that's what I did for a long time, up until like, my early 18, 17, my last year of high school, we're still doing the rap and we're still doing it, but I kind of developed a melodic tone of it as the music changed because, you know, I paid attention to that as well. A sponge of the game. Once the music change, I'm gonna try my best to change with it. And as. As you grow and know hip hop changes, the melodic auto tune stuff started to take shape when it got people like T. Pain and stuff like that started taking to take shape and change hip hop as we know it, you know what I mean? So that's kind of like what dived me into more singing. Okay, now I got rebellious towards that. Here comes the early 19, 18, 17, you know what I mean? Past the. I got rebellious towards the drum and left that alone. I started to get rebellious towards that and found rock and roll, Led Zeppelin and. And all this type of stuff. So I was a road. Listen, bro, listen, I. I didn't know. Now I've heard of this stuff.
• 56:33
  Speaker D: I've heard of this stuff.
• 56:35
  Speaker C: And of course when you watch. I watch a lot of television and I watch a lot of movies, so, you know, some of these songs is popping up. You're growing up hearing this stuff.
• 56:43
  Speaker A: You've heard it.
• 56:44
  Speaker C: Rappers will say stuff like Kurt Cobain, but you don't really know. But you know what I mean, unless you really know, you don't really know. So as I got older, I started to dive into that stuff and want to become that type of rider. I went on a road with the Voice of the Wetlands. This when I was trying to figure out how to start making, you know, as you get. Start making some money, you know what I mean? So my dad going on the road with the Voice of the Wetlands. They hired me as a roadie. This was my first time seeing Johnny Vakovic, Tab Benoit, Corey D, Shout Out Corey D, bass player from Louisiana, Anders. I seen Andis Osborne and it blew my freaking mind. Yeah, you know what I mean? To where I wanted to soak up as much. It started to come back, you know what I mean? The Neville Brothers. Stopping kind of is another thing that I took to heart once my uncle Aaron started to go his separate ways. And it wasn't the. Pretty much the Neville Brothers Band as much as it was as when I was young. That broke me. I took that. It's kind of like the Beatles breaking, you know what I mean? Not like they was not close anymore. It's just they wanted to. To do their own path. They're all getting older, right? You know what I mean, my Uncle Aaron is, like, evolving into his own artist. He want to do his own thing and not. You know what I mean? So it happens. As a kid, you don't know that. You think that this is something that's supposed to last for your lifetime. You're supposed to be the drummer for this band.
• 58:26
  Speaker B: Right? Right.
• 58:27
  Speaker C: You know what I mean? This is your dream.
• 58:28
  Speaker A: There's no. Nothing's guaranteed in life where you cannot predict exactly, man. Like, you got to cover all your bases.
• 58:35
  Speaker C: The first time I'm seeing Willie Green play with anybody else, it's called the New Orleans Suspects. Now, that's my first time hearing about the Suspects, and that fucked me up. Like, wait, Willie Green is not the Neville Brothers drummer anymore? Who is the Suspects. Like, what's happening to my childhood? What is happening? And I took that to heart and tried to. But I look at it as lessons. I'm looking at it as a L. But you can't spell L without, you know. You can't spell lessons without the L. Okay. You know what I mean?
• 59:08
  Speaker B: All right, all right.
• 59:09
  Speaker C: So philosophical with us here, man. Look, I'm thinking about it as that's the worst thing that's happening. But you got a chance to dive into songwriting, which puts you into the MC thing, which puts you into a whole different, like, just mode of songwriting, and adds to whatever flavor that you can bring to once you start to take this shit serious. Which, at that time, I didn't know that I'm about to start the field. A decade later, I didn't even know I'm about to start rejecting Youth Nation. I'm just getting so inspired and, like, you know what? I think I need to get back to what started the inspiration that made me just dive into the rest of this stuff. And that's how I started to write music as far as, like, man from the Underground. The world is mine if. If, you know. You know, like, this was the era that started the, like, the Omari Never that you see today. This is what started this. Me starting to write these songs and wanting to kind of patent stuff after Anders, and how, like, I introduced. I started introducing my dad to Led Zeppelin, the Working man by Rush, okay? And he started to cover this stuff. And I'm just noticing that it's kind of like a reinvention in his lane as far as the rock and roll thing. So I'm starting to apply it to myself.
• 1:00:25
  Speaker B: Right on.
• 1:00:25
  Speaker C: Shout Out Harold Markle. When we moved to Slidell after Austin, Texas, we came back here and moved to Slidell I stayed with Harold Marco, a guy that was a part of a band called Tabula Rasa.
• 1:00:38
  Speaker A: Oh, yeah, sure.
• 1:00:39
  Speaker C: I don't if you.
• 1:00:41
  Speaker A: Nicky Sonzebach was on the show right from the neighborhood. He was in that band.
• 1:00:47
  Speaker C: All of those guys was a big help because I didn't think all of this, I guess you would call it potential or just aspirations to do music. I didn't know what to do with it, right? So when I got to his freaking house and he had all of this stuff in the garage. When I started to record, I recorded like, the drums for the tracks that I was doing. This was the first time I done got back and started playing drums in damn near a decade. Yeah, I wasn't playing drums at all. You know what I mean? It just had to just go off of muscle memory pretty much to remember what I was, you know.
• 1:01:24
  Speaker A: Now did it feel good to get behind the camera?
• 1:01:26
  Speaker C: Oh, it felt great. And to just to record it. And in that time, I didn't know what I was recording. I just knew that this was songs that I had to get off of my heart, you know what I mean? This was something that was near dear. It was. I felt that I'm finally like funk music and I'mma give an inside out. I'm watching what's Love Gotta Do With It. It's the Tina Turner Story. Yeah, yeah, yeah, yeah. There's a song that they were doing in the movie Nutbush.
• 1:02:00
  Speaker A: Nutbush City Limits.
• 1:02:02
  Speaker C: Yeah, yeah. So the. I'm listening to that, that, that riff that. I wrote a song around that. And that was man from the Underground. Man from the Underground. Running out of time. Running out of time and put some badass music behind that. And, bro, listen, I was so, like, like lost in what to do. I got with the dads, and when I first started singing some of this, it didn't sound how I thought it would sound. And I called him, like, ready to erase everything. Like, it sounds horrible. I, I can't do this. I thought I was preparing my whole life to do this, and I, I, I can't do it. I don't sound good at all. His advice was, bro, do you know what my first song was? Singing Gossip. I'm like, that's not making me feel better.
• 1:03:02
  Speaker A: You fucking killed that shit.
• 1:03:03
  Speaker C: He's like, no, just, just think about. I felt that that wasn't the best vocal performance that I can do. You know what I mean? I was just doing what I felt and doing this music that me and Leo said, sat down and wrote I Just was doing what I love. Right, right. And that's what it turned into. It's a classic. So that kind of, like, just put into perspective that I can't try to sound like my dad. Don't try to sound like my Uncle Aaron or my uncle, Auntie Mare. There you go.
• 1:03:35
  Speaker A: So you got excited about playing the drums.
• 1:03:36
  Speaker C: Got excited about playing the drums again. But it wasn't at that level yet. I was just using it for studio purposes. I wanted to be a frontman at that time. So when I'm getting all this stuff together and doing all this stuff and recording it. My mom had a band. It was the New Orleans Ladies of Funk. It was her, Jan Clements.
• 1:04:04
  Speaker A: Clements, right.
• 1:04:04
  Speaker C: You know what I mean? And I was looking for actually some people to start recording this music in band form, you know what I mean? Because I was doing all this stuff by track, you know what I mean? I would play the drums. I would call a couple musicians to come in.
• 1:04:21
  Speaker D: Yeah.
• 1:04:22
  Speaker C: Johnny Sansone came on and played on the World Is Mine early. The early stages of it, and played on it. And it's freaking classic. It's a classic. I have to send that to you early on.
• 1:04:33
  Speaker A: You've been pulling a lot of people from. From the New Orleans music community. Not just the Neville Brothers universe, but everybody.
• 1:04:41
  Speaker C: I started recording this music and right away, the Voice of the Wetlands, because they inspired it. They inspired, like, me listening to Anders Osbourne. Kind of like, just lay on one riff, kind of, like the whole song. I'm kind of thinking in depth about songwriting, that it has to be a bridge. It has to go here.
• 1:05:03
  Speaker A: And, you know, trance music.
• 1:05:06
  Speaker C: Oh, man. I'm like, oh, oh. You could just ride on one riff and everybody's gonna dig it.
• 1:05:11
  Speaker A: Right.
• 1:05:11
  Speaker C: I need to write a song like this. Put one change in the middle to go to. To transition back to the chorus.
• 1:05:17
  Speaker A: Just to give you a couple seconds where you're doing something.
• 1:05:20
  Speaker B: This is genius.
• 1:05:21
  Speaker C: And I actually went to him and asked him about it. He's, you know, just in that moment, I'm kind of like a, you know, a college student with wanting to, you know, pretty much trying to get everything out of this guy. And he was just like, bro, I'm just having fun up there. Just. It's all about that one riff. That's what he said. Pretty much. Probably not even knowing that I'm taking that and, like, running with it. Yeah, he said that. And that was boom. I started to get all of that stuff. So when I first started to do this music, these are the Guys that I first started to text these audio files to probably when they were in there, like beginning stages, you know what I mean? And good job. Keep going. Johnny Sansoni was. I need a part of this.
• 1:06:04
  Speaker A: Yeah.
• 1:06:05
  Speaker C: Name the place, name the studio. I'm there. And he came and laid down a fire track to one of the songs that I play to this day, the World Is Mine. And these are songs that I was just pretty much just recording and like I said, getting the musicians to come and play. So when I came down here to new, um, pretty much to start to trying to figure out to get a band together, my mom had them been playing with these, playing with Jan and everything. And she's like my sons Tyler and Austin.
• 1:06:35
  Speaker D: Right, Right.
• 1:06:36
  Speaker C: It's perfect for this. Tyler's a drummer, Austin's a bassist player.
• 1:06:40
  Speaker D: Yeah.
• 1:06:40
  Speaker C: That's the foundation.
• 1:06:41
  Speaker A: They both play great.
• 1:06:42
  Speaker C: Yeah. First day I met them guys, we clicked, like, you know what I mean? It's like Kendrick souls. You know, a lot of people say that stuff like that and like, it's real true. There's just people that you just connect with from Jump.
• 1:06:55
  Speaker A: Right.
• 1:06:55
  Speaker C: You know what I mean? You don't have to find out their favorite color. You don't have to know their favorite movie. Growing up watching. It's just something about something in the air that you just click.
• 1:07:06
  Speaker A: Like you and me.
• 1:07:07
  Speaker C: Exactly. You know what I mean? And that's why when I seen you. Hey, Renee, come. This is real. I felt like we'd have been knowing each other. We had one session.
• 1:07:14
  Speaker A: I know, man.
• 1:07:15
  Speaker C: And pretty much must just locked on that session. And it felt like I knew you my whole life. You know what I mean?
• 1:07:20
  Speaker A: Right on.
• 1:07:21
  Speaker C: So hooking up with these guys and they. We was trying to figure out a guitar player. It was either between two cats. I can't remember the other the cat's name, but one name. They said, Greg Molinario. We're going to get Greg Molinario. Boom. Got Greg connected with him on an instant as just as much as that because they were friends with him.
• 1:07:44
  Speaker B: Right.
• 1:07:44
  Speaker C: But you're not expected to be friends with somebody just because two other people. You got to develop your own connection. And it was the same thing with him that it was with them too. I guess we all just figured out, like, I guess we got a goal, a common goal. You know what I mean? I wanted to add something different because in that time ours were rebellious towards. I got different eras of being rebellious towards what I want to be rebellious towards. And that time it was people recognizing me as Omari first and not Neville, you know what I mean? So I wanted to be a part of like a band and be one of like the members of a band. Like Nirvana.
• 1:08:29
  Speaker A: Right?
• 1:08:30
  Speaker C: You. It's not Kurt Cobain, it's Nirvana. You, Chris, Dave, Kurt. You know what I mean? And who you gravitate towards is who you gravitate towards.
• 1:08:39
  Speaker A: And you know, I was. It goes back to, you know, like the idea of being bullied and you want to have a tight group of friends.
• 1:08:49
  Speaker C: Exactly.
• 1:08:50
  Speaker A: What's better than a band?
• 1:08:52
  Speaker C: Right? Right.
• 1:08:54
  Speaker A: I mean, that's the ultimate dude gang, you know.
• 1:08:57
  Speaker C: And hooking up with those guys, it's. It just clicked. And I wanted to add something different that I know for sure that I can't get lumped into the. You know what I mean? Just, oh, he's just trying to just ride on the legacy type of thing, you know. He's trying. I added my best friend Phil Burris, who's an emcee, and started to incorporate some of these songs in a hip hop, rock and roll, rage against the machine type of vibe.
• 1:09:23
  Speaker A: Right.
• 1:09:25
  Speaker C: So we were kind of like, fuck everything else. Like we will turn up, you know what I mean?
• 1:09:32
  Speaker A: The whole show, crazy amalgam of influences.
• 1:09:35
  Speaker C: Yeah, dude, like just. And we got together and started. Some of those songs came from the days when I was writing man from the Underground, World is Mine, et cetera. But we wrote all new stuff, you know what I mean? The stuff that I helped to do with Tabula Rasa and stuff like that, we bought it to the these guys and we made it. We made it something, you know, and that was the birth of rejected youth nation, you know what I mean? And for like, for a minute, bro, we had something good and special that I feel was the catalyst of what everybody sees with the field today. To bring it segue, a long ass segue. But to bring it back to that, it's a long story, you know, and there's a lot of history behind it.
• 1:10:24
  Speaker A: Yeah, man.
• 1:10:24
  Speaker C: You might need three or four podcasts.
• 1:10:26
  Speaker A: Life is a long journey, man.
• 1:10:28
  Speaker C: Absolutely.
• 1:10:29
  Speaker A: Thing. And you never know the pieces that you pick up along the way, how you're going to use those to further your goals, man.
• 1:10:37
  Speaker C: Absolutely.
• 1:10:38
  Speaker A: How it's all going to come together at this time.
• 1:10:41
  Speaker C: I'm not knowing about nothing what's going on. I'm just throwing everything that I got.
• 1:10:47
  Speaker B: At my age, I have no more goals.
• 1:10:50
  Speaker A: Well, your goal is to make it back home tonight.
• 1:10:53
  Speaker B: Yeah.
• 1:10:55
  Speaker C: And, and, and your goal is to not answer no text or send none out Exactly.
• 1:11:00
  Speaker B: Yeah, yeah, yeah.
• 1:11:01
  Speaker C: For the rest of this year.
• 1:11:03
  Speaker B: Yeah, maybe I'm doing it.
• 1:11:05
  Speaker A: Go back to Texas next year.
• 1:11:06
  Speaker C: I'm doing it and you're doing it, see?
• 1:11:08
  Speaker B: Yeah.
• 1:11:08
  Speaker D: Yeah.
• 1:11:09
  Speaker A: Well, Amari, we could talk forever, bro. Well, let's just.
• 1:11:13
  Speaker B: You guys could talk forever. But I could go.
• 1:11:17
  Speaker A: Just to wrap up. So the Fuel is going out on tour. I see you doing dates out. You're going to be playing at jazz festival.
• 1:11:24
  Speaker B: The band's called the Fuel.
• 1:11:26
  Speaker C: Oh, my. Neville and the Fuel.
• 1:11:27
  Speaker B: Oh, okay. Because there was a band called fuel in the 90s.
• 1:11:30
  Speaker A: Oh, yeah, yeah.
• 1:11:32
  Speaker C: No, it actually comes from my. My Uncle Daryl. Shout Out Uncle. Uncle Daryl Johnson. He was a former bassist of the Neville Brothers. Oh, my God. Emmy Lou Harris. Yeah, yeah.
• 1:11:44
  Speaker A: I play on a track with me and Daryl. I played keyboard and on an Emmylou Harris track. And he goes, oh, you play nice, man. Who do you play with? I said, I'm actually a bass player. And he looks at me like, oh, fuck you.
• 1:11:58
  Speaker C: Oh, shout Out Uncle Darryl, man.
• 1:12:00
  Speaker A: We love you, Darren.
• 1:12:01
  Speaker C: It was a name that he actually.
• 1:12:03
  Speaker B: Played with the Stones.
• 1:12:05
  Speaker C: I think he had a couple times where he, like, sat in Johnson, you know what I mean?
• 1:12:09
  Speaker B: But I don't think he's, like, been like Bill Wyman.
• 1:12:12
  Speaker A: I don't think he was a different dude.
• 1:12:13
  Speaker D: No, no, no, no.
• 1:12:14
  Speaker A: That's Daryl Jones.
• 1:12:15
  Speaker C: Oh, I think he, like, just. I don't think he played for the Stones. I don't think so.
• 1:12:21
  Speaker A: Yeah, no, but. But anyway, we could go on.
• 1:12:24
  Speaker C: Yeah, man. The Fuel is about to go on tour, man. We're doing a West coast tour with Cyril Neville and King Young Blood. Shout out King Young Blood.
• 1:12:31
  Speaker A: Right.
• 1:12:31
  Speaker C: I saw a band out of Seattle, which is amazing.
• 1:12:35
  Speaker A: Junction, too.
• 1:12:35
  Speaker C: Oh, man. And that. That actually, that's. This song is about to drop February 6th. It's between me, Cyril Neville and King Youngblood, the singer. Cameron Lavi Jones, the lead singer for that band, is great friend of mine, great talent. One of the just greatest songwriters that I've ever had the pleasure to be a part of writing in a session with. Right. You know what I mean? You know, you just have those people that you connect with and they push you. You know what I mean? Those are one of those individuals like that shout out to King Youngblood and that whole staff over there. But we're all about to hit the road together on the Seoul Junction Tour, Mardi Gras. We're coming to a city near you on the west coast, going up to.
• 1:13:21
  Speaker A: Denver, California, Washington State and beyond. Now, my wife said she Heard a single of yours that Cole Williams played today. She said I loved it before I even knew it was Omari.
• 1:13:32
  Speaker C: Wait, which one did they play? The Black soul. Harder. Goal. Was it normal?
• 1:13:36
  Speaker A: Normal. Sorry.
• 1:13:36
  Speaker C: Normal.
• 1:13:37
  Speaker B: I gotta pee like the Cooley dams. All right. Say good night. Yeah, yeah, yeah.
• 1:13:41
  Speaker C: This guy has to pee, man.
• 1:13:43
  Speaker B: Yeah, we're.
• 1:13:44
  Speaker C: We've been talking for hours. Like I said, this can be in conversation that can go on for decades. So guess what? I will be back. This is not the last time you were here for me.
• 1:13:55
  Speaker A: Oh, no.
• 1:13:56
  Speaker C: Come and check out the band whenever you can. Check them out. Check them out online. Check us out anywhere. If we're anywhere near you. Shout out to S. Neville. Shout out to the whole King Young Blood staff. Shout out to Soul Junction. Shout out the Village. Shout out Renee Coleman for having me.
• 1:14:13
  Speaker A: Oh, man.
• 1:14:13
  Speaker C: Shout out the madman.
• 1:14:18
  Speaker B: Okay, we have to go.
• 1:14:19
  Speaker A: As always, on the Troubleman podcast, we like to say trouble never ends, but the struggle continues.
• 1:14:24
  Speaker B: Good night.
• 1:14:25
  Speaker A: Good night.
• 1:14:25
  Speaker D: You know, so I'm cool I can't help it if I try Normal is the best way to live my life so look at you, you're so cool all the time and I'm just trying to find a way to socialize Awkward and so stiff can barely vocalize and they don't see the nervousness behind a smile no words in my head can barely make it I out I guess this is my time to make my exit now. When I'm around people either I'm not cool in the dark. Head up to the skies time to look alive Normally the best way to limit my life so look at you, you're so cool all the time and I'm just trying to find a way to socialize oh, now I'm not trying to kill your vibe don't want to kill nobody's vibe I'm just trying to socialize oh, but I can barely vocalize I tend to ruin the mood when I'm I'm with you either I'm not cool and you're too cool either way, I still ruin the mood so normal I can do Ruined the mo When I'm around people either I'm not cool and they're too cool either way I still I'm still normal I'm so normal I'm so normal I'm so normal I'm so normal. Sam. Oh, I can't do When I'm around people either I'm not cool. Either way I still ruin the I'm so normal I tend to ruin the moon when I'm around people either I'm not cool and they're too cool. Either way, I still ruin the so normal.