Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Justin Richmond on You'll Hear It: "Still Crazy After All These Years" — Paul Simon

Transcript

Justin Richmond on You'll Hear It: "Still Crazy After All These Years" — Paul Simon · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin.
• 0:20
  Speaker 2: Hey there, it's Justin Richmond. I joined my favorite music
• 0:23
  Speaker 2: educators Adam Manis and Peter Martin of Open Studio on
• 0:26
  Speaker 2: their podcast You'll Hear It to talk about Paul Simon
• 0:29
  Speaker 2: Still Crazy after all these years. It was an album
• 0:33
  Speaker 2: born out of divorce and produced ever so tenderly by
• 0:35
  Speaker 2: Phil Ramone. The songs and hits from that album like
• 0:38
  Speaker 2: Fifty Ways to Leave Your Lover, I Do It for
• 0:40
  Speaker 2: Your Love, Still Crazy, Paul Simon's first collaboration with this
• 0:44
  Speaker 2: wayward partner Art Garfunkel on My Little Town. Those songs
• 0:47
  Speaker 2: are indelible. We dive in the story behind those songs
• 0:51
  Speaker 2: and this remarkable album, including Steve Gadd's famous drum part
• 0:54
  Speaker 2: and how Stevie Wonder's intervisions may have been the catalyst
• 0:57
  Speaker 2: for Paul Simon's divorce and thus this album plus weeponder?
• 1:02
  Speaker 2: Is this the ultimate sad boy album?
• 1:04
  Speaker 1: Hey, Bob, do you like podcasts? Actually you don't have
• 1:08
  Speaker 1: a so, Adam do you like podcasts? Oh Man, I
• 1:11
  Speaker 1: love podcasts. In fact, I'm on a podcast right now. Yes,
• 1:15
  Speaker 1: I'm aware. Do you ever listen to the Broken Record podcast? Yeah,
• 1:19
  Speaker 1: that's one of my favorites with Justin Richmond. Yeah, so
• 1:22
  Speaker 1: I asked him if you could join us on the
• 1:23
  Speaker 1: show today. Oh, that's very exciting. And he's gonna be
• 1:26
  Speaker 1: here in just a minute, very thrilling. And speaking of
• 1:29
  Speaker 1: broken records, I think you broke a few on this range. Yeah,
• 1:33
  Speaker 1: most number of mood chords ever. Yeah, that sounds like
• 1:36
  Speaker 1: something I do. All right, madam, and I'm Peter Martin
• 2:44
  Speaker 1: and you're listening to the You'll here podcast Music.
• 2:46
  Speaker 3: Explore Explore, brought to you today by Open Studio.
• 2:48
  Speaker 4: Go to OpenStudio jazz dot com for our your jazz
• 2:51
  Speaker 4: lesson needs.
• 2:52
  Speaker 3: Peter, we are not alone today.
• 2:53
  Speaker 1: We are not alone. Yeah, we are.
• 2:55
  Speaker 4: An in person guest with us, the great Justin Richmond
• 2:58
  Speaker 4: from the Broken Record Podcast. Justin Man, thank you for
• 3:02
  Speaker 4: having me, man, thank you for coming to Saint Louis.
• 3:04
  Speaker 1: So pleased to be here. Thank you for talking music
• 3:06
  Speaker 1: with us. We've already had a great time. You've been
• 3:08
  Speaker 1: here for a while and we've we've done the podcast.
• 3:13
  Speaker 1: We've already talked for several hours about music. I wish
• 3:15
  Speaker 1: we'd had the microphones on, but yeah, it's so great
• 3:17
  Speaker 1: to have you here, right man, It's real. I'm a
• 3:19
  Speaker 1: podcast royalty.
• 3:20
  Speaker 4: Big watcher of your guys' stuff. Crazy, that's crazy.
• 3:25
  Speaker 1: Likewise and subscribe. I'm a subscriber.
• 3:29
  Speaker 3: Yes, you went to over studio dot com.
• 3:32
  Speaker 1: It was too easy. I just put him PayPal Pyle,
• 3:34
  Speaker 1: I don't know, super we get you.
• 3:38
  Speaker 4: Yeah, well, man, we are talking about one of my
• 3:41
  Speaker 4: all time favorite albums today. Paul Simon is still crazy
• 3:44
  Speaker 4: after all these years. Nineteen seventy five and Justin this
• 3:48
  Speaker 4: was on a list that you gave us of like
• 3:49
  Speaker 4: things you might want to discuss and.
• 3:51
  Speaker 1: Before we get in, and we were nervous when Justin
• 3:53
  Speaker 1: Richmond gave us a list of albums that he wanted
• 3:55
  Speaker 1: to discuss. We didn't like to start shaking as we
• 3:57
  Speaker 1: looked through the list.
• 3:58
  Speaker 3: Believe me, no, not at all. But I'm just curious.
• 4:01
  Speaker 3: Why was this on your list?
• 4:03
  Speaker 1: Man?
• 4:03
  Speaker 3: Well, okay, this has a bit to do with my neurosis.
• 4:08
  Speaker 2: I just didn't I was scared, so I was scared,
• 4:11
  Speaker 2: so I kind of wanted to nerd out. I really
• 4:14
  Speaker 2: wanted to get deep into jazz with you guys. I
• 4:17
  Speaker 2: was kind of wanted, but then I got so I
• 4:18
  Speaker 2: feel like my first list air towards Zach because I
• 4:20
  Speaker 2: was like I want, you know, I want to go
• 4:22
  Speaker 2: I want to talk like mingos, like you know, a
• 4:24
  Speaker 2: classic jazz, you know record.
• 4:27
  Speaker 1: But then I was like, you know what, man, like,
• 4:29
  Speaker 1: it's not my land. Let me get out, you know.
• 4:32
  Speaker 3: Like Peter's face isn't it. It's just super intimidating.
• 4:36
  Speaker 1: I was like, I want to get chewed up. So
• 4:37
  Speaker 1: hold on, let me just right.
• 4:38
  Speaker 2: Let me recommend something that I feel like is that's
• 4:41
  Speaker 2: very much a classic album and incorporates jazz and is
• 4:45
  Speaker 2: and is in the you know, it takes from the
• 4:47
  Speaker 2: milliu but is firmly in the pop arena.
• 4:51
  Speaker 1: Yeah.
• 4:51
  Speaker 2: Yeah, And this was definitely you know, like I think
• 4:55
  Speaker 2: I sent some earth wind and Fire suggestions that was something,
• 4:57
  Speaker 2: but but this seemed to be like the most I
• 4:59
  Speaker 2: don't know, compelling in a way.
• 5:01
  Speaker 1: Yeah, and a little bit strategic. It sounds a little strate.
• 5:04
  Speaker 4: Now that's great because we want to talk to you
• 5:06
  Speaker 4: about something that you could really sink your teeth into.
• 5:08
  Speaker 4: And then I think we could. And you're right, this
• 5:10
  Speaker 4: album is a filled with jazz musicians. Yeah, and we'll
• 5:14
  Speaker 4: talk about that more when we get to it.
• 5:15
  Speaker 1: And we talk about you know, we've been using the
• 5:17
  Speaker 1: term jazz adjacent. You know, I like the you know,
• 5:20
  Speaker 1: jazz influence and stuff, and I'm it's gonna be really
• 5:23
  Speaker 1: interesting to get your guys take on how much of
• 5:26
  Speaker 1: that obviously jazz musicians on there. There's always the idea
• 5:28
  Speaker 1: of like jazz musicians on a pop record playing pop,
• 5:32
  Speaker 1: or like, how much are they invited in to bring jazz,
• 5:35
  Speaker 1: to bring groove? Like is it a harmonic kind of thing?
• 5:38
  Speaker 1: Is it a sensibility? Is an improvisation which this record
• 5:41
  Speaker 1: has some but not really a lot, a lot of truncated,
• 5:43
  Speaker 1: you know, but it's super interesting to me to hear
• 5:46
  Speaker 1: how people like whether or not gets to the point
• 5:49
  Speaker 1: where it's, well, there's one point that's gonna come up
• 5:51
  Speaker 1: later where it definitely gets very jazzy. It's like falls
• 5:53
  Speaker 1: off the rails jazzy all of a sudden too, yeah,
• 5:56
  Speaker 1: which I think is great. But other than that, you know,
• 5:58
  Speaker 1: I'm not sure.
• 5:59
  Speaker 4: Well, let's get a little backstory here on what was
• 6:03
  Speaker 4: going on before this album was made. In nineteen seventy five, So,
• 6:06
  Speaker 4: Paul Seinen grew up in a musical home in Queens,
• 6:08
  Speaker 4: New York. His dad, Lou, played bass professionally for radio stations,
• 6:11
  Speaker 4: and he encouraged his son to appreciate music and study piano,
• 6:15
  Speaker 4: but Paul didn't really take to it, that is until
• 6:17
  Speaker 4: he heard dou wop and Rhythm and Blues on the radio.
• 6:20
  Speaker 4: He was just a kid, maybe nine or ten, and
• 6:23
  Speaker 4: he was completely changed by what he heard. He would
• 6:26
  Speaker 4: obsessively listen to the radio after school, listening to songs
• 6:30
  Speaker 4: like Hearts of Stone by.
• 6:32
  Speaker 5: The Jewelers, Made of Stone, Will Alone, Time.
• 6:46
  Speaker 4: You Can Pass, or Shaboom by the Crew Cuts, Hell That,
• 6:57
  Speaker 4: or good Night Sweetheart by the Spaniels. He met Art
• 7:08
  Speaker 4: Garfunkle in school and the two started singing together, recording
• 7:11
  Speaker 4: their voices on a wire recorder and playing it back
• 7:13
  Speaker 4: to hear how their voices intersected.
• 7:15
  Speaker 1: You see a wire recorder, we got talking. I'm not
• 7:17
  Speaker 1: to google that.
• 7:20
  Speaker 4: Then they started singing together at school talent shows and
• 7:22
  Speaker 4: even writing songs together. They both fell in love with
• 7:25
  Speaker 4: the Everly Brothers with songs like.
• 7:27
  Speaker 3: Bye Bye Love.
• 7:28
  Speaker 4: And then one day after school they walked into a
• 7:31
  Speaker 4: recording studio in Manhattan and paid ten dollars to record
• 7:35
  Speaker 4: this song, Joe.
• 7:42
  Speaker 5: Jo.
• 7:43
  Speaker 4: Of course, everybody knows that Simon and garvocal, so this
• 7:48
  Speaker 4: was recorded under the name Tom and Jerry, not Simon.
• 7:51
  Speaker 3: And Garfunkle, which is a very funny name.
• 7:53
  Speaker 4: It just so happened that Sid Prosen, who owned a
• 7:55
  Speaker 4: small record label, was in the room. He heard them
• 7:58
  Speaker 4: sing and offered them a contract to release Hey school
• 8:00
  Speaker 4: Girl on his label.
• 8:01
  Speaker 1: Did you say Sid Prosen? He didn't have to say
• 8:04
  Speaker 1: Sid Prosen owned a small record label. That was that
• 8:07
  Speaker 1: was implicit in the name.
• 8:09
  Speaker 4: They quickly found their sound, became famous, and eventually broke up.
• 8:14
  Speaker 4: But for Shadowy it was another breakup that would create
• 8:17
  Speaker 4: the conditions for one of his best albums, Still crazy
• 8:20
  Speaker 4: after all these years, so.
• 8:24
  Speaker 3: We thank you very much.
• 8:25
  Speaker 4: We don't often think about Simon and Garfunkel as like
• 8:28
  Speaker 4: a doo wop group, but that is certainly their origins,
• 8:30
  Speaker 4: and you can hear that in the Hey school Girl.
• 8:33
  Speaker 4: But really interesting origin story from Paul. I knew his
• 8:36
  Speaker 4: dad was a musician, but I'm curious, Peter, like your
• 8:39
  Speaker 4: father also a professional musician.
• 8:41
  Speaker 3: Yeah, not in the same context.
• 8:42
  Speaker 4: That you are, but I think that musical there's so
• 8:46
  Speaker 4: many astounding musicians, yourself included, who come from like a
• 8:52
  Speaker 4: dad who's like a workaday musician, right right, Yeah, And I.
• 8:55
  Speaker 1: Wonder i'd love. I think that's an interesting part. But
• 8:59
  Speaker 1: I think a music lover parent, you know, like that's
• 9:02
  Speaker 1: the trend I hear with a lot. I don't know you, oh,
• 9:05
  Speaker 1: I know for you, Adam, your parents, your dad had
• 9:08
  Speaker 1: great some music and will play stuff. And I mean
• 9:11
  Speaker 1: it's just in you, justin just like I think having parents,
• 9:14
  Speaker 1: because both my parents are actually musicians, is an interesting angle.
• 9:17
  Speaker 1: But it's almost more like is music in the home,
• 9:20
  Speaker 1: Like how is it present? Like not that you're at
• 9:22
  Speaker 1: the altar of it, but like culturally, is it a
• 9:24
  Speaker 1: big part of you know, your upbringing? Yeah.
• 9:27
  Speaker 2: I mean for me, neither of my you know, both
• 9:30
  Speaker 2: of my parents sometimes have asked me like how did
• 9:31
  Speaker 2: you come? But for me, it was my I think
• 9:33
  Speaker 2: my mom's mom, my grandma, who was really she's from
• 9:36
  Speaker 2: Detroit and whatever reason just loved. She would always just
• 9:40
  Speaker 2: tell me, like teach me life lessons through like you know,
• 9:43
  Speaker 2: the stories of some celebrities you heard, like I always
• 9:45
  Speaker 2: knew not to do uh.
• 9:46
  Speaker 1: I learned not to take drugs because Judy Garland tell you.
• 9:48
  Speaker 4: I was watching the Wizard of Oz and my granda
• 9:50
  Speaker 4: told me Judy Garlands and I'm like don't take pills, okay,
• 9:55
  Speaker 4: But then she would tell me things like don't sign
• 9:57
  Speaker 4: with MGM.
• 9:58
  Speaker 2: Yeah exactly, you know, don't don't you know? She would
• 10:01
  Speaker 2: tell me about how Nat King Cole used to like
• 10:03
  Speaker 2: to smoke because it would keep his voice like like
• 10:05
  Speaker 2: you know, like he liked the way he made his
• 10:06
  Speaker 2: voice sound, but.
• 10:07
  Speaker 1: That would lung cancer, you know. So then that was
• 10:10
  Speaker 1: the flip.
• 10:11
  Speaker 2: Okay, so don't smoke or you know she made me
• 10:13
  Speaker 2: do uh, she made me join the swim team because
• 10:15
  Speaker 2: Frank Sinatra swam for like greater like lung. So my
• 10:18
  Speaker 2: grandmas liked singers and would always like make me listen
• 10:20
  Speaker 2: to things. And you tell me singers were trash.
• 10:24
  Speaker 1: Yeah, you can learn everything about life, like yeah, don't
• 10:27
  Speaker 1: eat a lot of that stuff. Yeah, so I think
• 10:33
  Speaker 1: it was my grandma.
• 10:33
  Speaker 2: Yeah yeah, And I hated vocalists growing up, but I've
• 10:36
  Speaker 2: come back around to me now it's all I love it.
• 10:39
  Speaker 1: Vocals, love a good love a good singer. Yeah. Yeah,
• 10:42
  Speaker 1: well I think too, like like you hear the music
• 10:45
  Speaker 1: that do? I mean obviously none of us, even me
• 10:47
  Speaker 1: being the elder statesman here, came up listening to that
• 10:49
  Speaker 1: douop style. But I remember my aunt and my uncle
• 10:52
  Speaker 1: and my parents too, like they're more like classical musicians,
• 10:55
  Speaker 1: a little snobby. But you know, I think it's hard
• 10:58
  Speaker 1: for us probably to understand the impact of that's not
• 11:01
  Speaker 1: I remember my aunt Carol talking about Fats Domino, you know,
• 11:06
  Speaker 1: and like one of his hits would come on the
• 11:08
  Speaker 1: radio and she was like, that's when I fell in
• 11:10
  Speaker 1: love with your uncle, and like just like that sound.
• 11:12
  Speaker 1: And so I you know, hearing I've never realized that
• 11:15
  Speaker 1: Paul Simon and Gar but it totally makes sense. Came
• 11:18
  Speaker 1: out of that. But like it's got to inform everything
• 11:20
  Speaker 1: that they did.
• 11:21
  Speaker 4: You can hear that, like the constant harmonies and everything
• 11:25
  Speaker 4: that they're doing is Simon and Garfunkle A long way
• 11:28
  Speaker 4: away from Tom and Jerry Hayes, Skip.
• 11:30
  Speaker 1: School Girl, a little elevated. Yeah.
• 11:43
  Speaker 4: So after Simon and Garfuncle are defunct, Paul makes his
• 11:49
  Speaker 4: first studio album, self titled Paul Simon Album with some
• 11:53
  Speaker 4: good success.
• 11:55
  Speaker 3: I love this album, incredible album.
• 11:58
  Speaker 1: This is the one to cover with He's got the
• 12:01
  Speaker 1: hood up for a hood. Yeah, this is a ten
• 12:04
  Speaker 1: out of ten album cover that's being Julio domb.
• 12:12
  Speaker 4: Nineteen seventy two and nineteen seventy three, Paul releases There
• 12:15
  Speaker 4: Goes Ryman Simon, also a good album, not as good
• 12:17
  Speaker 4: as the self titled or as good as Still Crazy
• 12:19
  Speaker 4: in my opinion, but some good stuff, including this track
• 12:23
  Speaker 4: Code of Crew mixed a song, but as we're already
• 12:26
  Speaker 4: hearing here and still Ryman the sound quality yea for
• 12:31
  Speaker 4: nineteen seventy three, that's some high level.
• 12:34
  Speaker 1: Yeah, the same producer as this Phil Romone. Yeah, I
• 12:40
  Speaker 1: was just wondering if it sounds like his kind of
• 12:44
  Speaker 1: but I mean Simon apparently was very I think anytime,
• 12:47
  Speaker 1: like you talk about the engineers and the production and
• 12:49
  Speaker 1: of course Still Crazy, I think it was Phil Vermont
• 12:51
  Speaker 1: and Paul Seimer and producer together. But I think, like
• 12:54
  Speaker 1: you explore with Michael Jackson, Marvin Gay Stevie, like they
• 12:58
  Speaker 1: when you get that pristine sound, whatever the direction is,
• 13:01
  Speaker 1: like the artist has almost always had. I mean occasionally
• 13:05
  Speaker 1: you'll hear about with ours like I do whatever, yeah,
• 13:07
  Speaker 1: and then they create this match, but they are usually
• 13:09
  Speaker 1: very meticulous with how they want not only their voice,
• 13:12
  Speaker 1: but the whole you know, the whole thing.
• 13:15
  Speaker 4: After There Goes Ryman Simon by nineteen seventy four, Paul
• 13:19
  Speaker 4: and his wife Peggy, had a son together, Harper, who
• 13:21
  Speaker 4: Paul adored. His musical career had been a success so far,
• 13:25
  Speaker 4: but he was still so sad and didn't know why
• 13:28
  Speaker 4: he was isolating himself from his family, spending most nights
• 13:30
  Speaker 4: away from the house. One night, he came home and
• 13:33
  Speaker 4: hopped in the shower to wash off the sadness. He
• 13:36
  Speaker 4: burst into tears, and this phrase came to mind, still
• 13:39
  Speaker 4: crazy after all these years. Soon after a productive shower,
• 13:43
  Speaker 4: I say, I wish that's.
• 13:45
  Speaker 1: A dark moment.
• 13:46
  Speaker 3: I've never heard out of it. But that's Paul Simon
• 13:49
  Speaker 3: for you.
• 13:50
  Speaker 4: Soon after that, his solo album, There Goes Rymond Simon
• 13:52
  Speaker 4: was nominated for a Grammy for Album of the Year.
• 13:55
  Speaker 4: He was up against Stevie Wonders Inner Visions, Ever Heard
• 13:58
  Speaker 4: of It? Inner Visions won the Grammy that year. This
• 14:05
  Speaker 4: is Golden Lady from Innervisions. Imagine hearing this. It'd being
• 14:12
  Speaker 4: a working artists.
• 14:14
  Speaker 3: We talked about this, but talking you can go to
• 14:15
  Speaker 3: the shower come up with nothing.
• 14:17
  Speaker 4: If you're listening to Stevie here in this seventies run
• 14:20
  Speaker 4: that he's on, you gotta be like, well, I guess
• 14:22
  Speaker 4: it's done. I guess music is over hanging it up. Yeah,
• 14:25
  Speaker 4: we should all pack it in. And that's kind of
• 14:27
  Speaker 4: what Paul did. One day, he was pouring over inter
• 14:31
  Speaker 4: visions when his wife reminded him it was time to leave.
• 14:34
  Speaker 4: Paul didn't move. He kept listening. She reminded him again.
• 14:39
  Speaker 4: Now he was feeling angry. She reminded him of my household.
• 14:42
  Speaker 4: By the way, I'm amazing, I'm still married.
• 14:46
  Speaker 1: He walked out the door and went to a hotel.
• 14:49
  Speaker 1: That was the end of his marriage. From the ins,
• 14:53
  Speaker 1: I didn't get a prod. Give some executive decision making
• 14:56
  Speaker 1: like boh Man. Well think about it, like everyone's like
• 14:59
  Speaker 1: Stevie Wonder. He played pretty much every instrument. Well you
• 15:01
  Speaker 1: know he did everything on the record, on intervisions and
• 15:04
  Speaker 1: talking book except like background, well even did that. But
• 15:08
  Speaker 1: come he wrote everything, thing played everything, killed it and
• 15:11
  Speaker 1: was also like breaking up marriages.
• 15:14
  Speaker 4: So Paul wrote the album is still Crazy after all
• 15:16
  Speaker 4: these years from that same hotel as he was divorcing
• 15:20
  Speaker 4: his first wife.
• 15:22
  Speaker 1: And he was the Plaza hotel that was I feel
• 15:25
  Speaker 1: like she probably was.
• 15:27
  Speaker 3: Ended up writing this.
• 15:32
  Speaker 1: It wasn't the holiday and at times square one of
• 15:42
  Speaker 1: the greatest.
• 15:45
  Speaker 4: Love last night.
• 15:49
  Speaker 6: She seems so glad to see me.
• 15:52
  Speaker 4: That just sounds great. On it really sounds great. That's
• 15:55
  Speaker 4: Barry Beckett on the Fender Roads. Yeah, the muscle should
• 15:57
  Speaker 4: rhythm section.
• 15:59
  Speaker 1: San Drake, still Abuse, still crazy, the crazy, the great
• 16:12
  Speaker 1: kick drum sounds of all the time. I am I'm
• 16:20
  Speaker 1: not the cud man who tis.
• 16:24
  Speaker 7: Social phrasing between everyone is yeah, and there's this little
• 16:29
  Speaker 7: details in the songwriting going to that I'm not the
• 16:31
  Speaker 7: cut on the forecoord just that one time, have one.
• 16:34
  Speaker 1: Little change, and I think that, like to start out
• 16:37
  Speaker 1: the record like a lot of Simon stuff and detfine
• 16:39
  Speaker 1: Simon garfunk fl before this it's like soul guitar driven,
• 16:43
  Speaker 1: like to start out with the Roads on this, I
• 16:45
  Speaker 1: don't think there's any guitar. And and then it's has
• 16:46
  Speaker 1: like the strings. It really places his voice and like
• 16:49
  Speaker 1: you said, the phrasing in a different place.
• 16:51
  Speaker 8: One of the greatest bridges, every one of the weirdest
• 16:58
  Speaker 8: bridges ever to string, arranged by by Bob James.
• 17:01
  Speaker 1: Bob James, shout out, Bob James, still doing it, Wash
• 17:17
  Speaker 1: Chazzi flute strings and then this woodwood stuff is weird
• 17:25
  Speaker 1: here because it almost goes, it gets a little dark,
• 17:27
  Speaker 1: foreshadow and dark a little bit that's wild rining. This
• 17:41
  Speaker 1: will get you kicked off Spotify, and then into this
• 17:44
  Speaker 1: Michael Brecker fully armed. The solo song.
• 18:03
  Speaker 4: Also very kind of Unbreckaish soul known for these like
• 18:06
  Speaker 4: huge waves of sound, like.
• 18:09
  Speaker 1: The least amount of notes sees. I mean it's a
• 18:11
  Speaker 1: short solo, but normally rerecor would be trying to get
• 18:13
  Speaker 1: in more notes per per beat, if anything, killing key
• 18:16
  Speaker 1: change would not be in the middle of the first.
• 18:24
  Speaker 9: Still crazy, still crazy, crazy, still crazy.
• 18:41
  Speaker 1: After what do we think Fellas? I mean, it's it's impeccable.
• 18:51
  Speaker 1: I mean it's like pristine and and like there's the deed,
• 18:54
  Speaker 1: like there's the the church stuff. No, No, that four
• 18:58
  Speaker 1: to one movement that's like starts there ends their bookends
• 19:01
  Speaker 1: in and there's a lot of that in between kind
• 19:02
  Speaker 1: of you know, we.
• 19:04
  Speaker 3: Mentioned Barry Beckett.
• 19:05
  Speaker 4: So the muscle this is all with the Muscle Shoals
• 19:07
  Speaker 4: rhythm section, which yeah, exactly, we'll talk more about them.
• 19:11
  Speaker 1: They're on these first two tracks. This was not recorded
• 19:14
  Speaker 1: at Muscle Sholes, though they played different. Though it doesn't
• 19:18
  Speaker 1: sound like necessarily the Muscle Sholes rhythm section, which is
• 19:24
  Speaker 1: cool in a way.
• 19:24
  Speaker 10: I don't know.
• 19:25
  Speaker 4: Yeah, everybody's playing different That's the theme of this album, right,
• 19:29
  Speaker 4: because like all the jazz musicians are.
• 19:30
  Speaker 1: Playing a little differently on Phil. Well, we'll get to that,
• 19:35
  Speaker 1: but not for eight seconds. I love this this Roads part.
• 19:39
  Speaker 4: It's just a beautiful example of the very simple church
• 19:41
  Speaker 4: chords just played flawlessly. The voice leading is unbelievable. Yeah,
• 19:45
  Speaker 4: obviously the sound of a Roads in nineteen, but.
• 19:48
  Speaker 1: Normally they'd be a little bit more exploite, like a
• 19:50
  Speaker 1: little bit of bluesy, like I feel like they were.
• 19:53
  Speaker 1: I think Simon told them or somebody. I don't know
• 19:56
  Speaker 1: if that was Phil Ramon was involved black like, oh,
• 19:59
  Speaker 1: you know, you know which is. I mean, that's probably
• 20:02
  Speaker 1: appropriate for what it is, but for me, I kind
• 20:03
  Speaker 1: of want to hear a little bit, just a little
• 20:06
  Speaker 1: bit of grid or something here.
• 20:07
  Speaker 2: So you think a little more grit would it's a
• 20:11
  Speaker 2: nine point five, a little more grit?
• 20:12
  Speaker 1: Make that a ten out of ten? Yeah, Like what
• 20:15
  Speaker 1: if Donnie Hathaway was playing that role? Oh yeah, eleven?
• 20:20
  Speaker 4: Right, But I kind of agree with you. It feels like,
• 20:23
  Speaker 4: I mean, for Barry Beckett, it's pulled back away. But
• 20:26
  Speaker 4: do you think for Michael Record's pulled back right, do
• 20:28
  Speaker 4: you think.
• 20:28
  Speaker 1: Justin like what you were talking about, like the phrasing
• 20:30
  Speaker 1: that Paul Simon is singing with, that that would have
• 20:33
  Speaker 1: more grit, would have taken away from that.
• 20:34
  Speaker 2: I don't know, if I don't know, If yes, I
• 20:38
  Speaker 2: think I think it terms a way Paul approaches songs
• 20:40
  Speaker 2: and sings. I think that sort of more pulled back,
• 20:43
  Speaker 2: restrained playing is probably more like if Donnie singing.
• 20:46
  Speaker 1: And playing right, okay, you know, yeah, it's gonna go.
• 20:50
  Speaker 1: Not that Paul's not a great vocalist, but it's just
• 20:52
  Speaker 1: you know, he does though it's not what he does.
• 20:54
  Speaker 4: It would be weird if if Paul was like sanging yeah, yeah, yeah,
• 20:58
  Speaker 4: it would feel a little weird, that sort of understated,
• 21:01
  Speaker 4: putting real focus on the lyrics and the turn of
• 21:04
  Speaker 4: the phrase yeah in a very gentle way. That's the
• 21:07
  Speaker 4: Paul Simon I think about ahead when I think about
• 21:10
  Speaker 4: his talent as a vocalist.
• 21:11
  Speaker 3: We can hear that here.
• 21:16
  Speaker 11: On the street last night.
• 21:19
  Speaker 12: She seems so glad to see me.
• 21:23
  Speaker 11: I'll just smile.
• 21:26
  Speaker 1: Then we talked about some old.
• 21:28
  Speaker 9: Time samon drink or sell some views still crazy after
• 21:35
  Speaker 9: all theies?
• 21:38
  Speaker 1: What was still crazy? After all?
• 21:44
  Speaker 4: It's like you're walking with a friend in the Upper
• 21:46
  Speaker 4: West Side, like telling you his story about running into his.
• 21:50
  Speaker 1: So conversational for sure, yes, yeah, absolutely, you know, And
• 21:54
  Speaker 1: and his voice really lends like the authenticity of it
• 21:57
  Speaker 1: because his like I think the little bit of stink
• 22:00
  Speaker 1: or grit that he does bring is that, you know,
• 22:04
  Speaker 1: the pitch is and he has really good insignation, but
• 22:08
  Speaker 1: he does play around a little bit with the pitch,
• 22:10
  Speaker 1: like he's he's not afraid to have it to be
• 22:12
  Speaker 1: a little like stylized, especially when you hear it isolated,
• 22:15
  Speaker 1: because it can seem so like, I mean, thank god
• 22:18
  Speaker 1: he's not doing this in the pitch correction, but you know,
• 22:20
  Speaker 1: I mean if they had, because it doesn't need I mean,
• 22:22
  Speaker 1: it's like that's it's so subtle that you need to
• 22:25
  Speaker 1: kind of kind of hear those like that's part of
• 22:27
  Speaker 1: his style, you know, because the words it's like, I mean,
• 22:29
  Speaker 1: we did diangel a couple, this is like the opposite words,
• 22:31
  Speaker 1: like wait, what was the lyrics that he's saying from
• 22:33
  Speaker 1: the last five it's kill it? But what was he
• 22:36
  Speaker 1: talking about? But like this is just like very you know,
• 22:41
  Speaker 1: still crazy after I'm like, it's right down the middle
• 22:45
  Speaker 1: and I mean it's it's it's it's impressive. And I
• 22:48
  Speaker 1: think too that this this track is such a it's
• 22:51
  Speaker 1: almost like theatrical you know, it's like it's telling the story,
• 22:55
  Speaker 1: but it's like you're going on this journey and it
• 22:57
  Speaker 1: builds up and like obviously James, Bob James like totally
• 23:00
  Speaker 1: understood that and crafted that with the arrangement because that
• 23:02
  Speaker 1: gave it a little bit of epic feel for just
• 23:05
  Speaker 1: a little bit at the right time.
• 23:06
  Speaker 2: You feel like a studio film, like you know, they'd
• 23:08
  Speaker 2: be like showing for like a studio film from that
• 23:11
  Speaker 2: era of like thing. And yeah, I one hundred percent
• 23:13
  Speaker 2: agree that in that mix of conversationalists with that drama
• 23:20
  Speaker 2: or that theatricalness is Yeah, I don't know, that's top
• 23:22
  Speaker 2: tier for me.
• 23:23
  Speaker 4: Yeah, yeah, I agree that the back to the woodwind
• 23:26
  Speaker 4: arrangements and the string rangers from Bob James. You can
• 23:28
  Speaker 4: hear that this was obviously put on I think after
• 23:31
  Speaker 4: the rhythm section and maybe even after the vocals, because
• 23:34
  Speaker 4: Bob James will will do some things with Barry Beckett
• 23:39
  Speaker 4: that you wouldn't put on a chart. He follows his
• 23:42
  Speaker 4: voicings much like the Shirley Horn. Here's the life arranging.
• 23:47
  Speaker 4: It's a great example of how that can work really,
• 23:48
  Speaker 4: really well. And obviously Paul Simon just told them on
• 23:50
  Speaker 4: the bridge, like, hey, Bob, that's your part.
• 23:55
  Speaker 1: Do some weird stuff. Radio's not gonna lose this again.
• 24:01
  Speaker 4: The rhythm section is the muscle shows rh rhythm section.
• 24:03
  Speaker 4: At the time, Barry Beckett, David Hood and Roger Hawkins.
• 24:07
  Speaker 4: You might have heard them on stuff like this.
• 24:10
  Speaker 1: And that already has more creep be your light up
• 24:14
  Speaker 1: favorite all time?
• 24:15
  Speaker 3: Man, Should we just listen to this for the rest?
• 24:23
  Speaker 1: I mean, that's how verstable they were.
• 24:28
  Speaker 13: Ramshot is sot oh Man Staple singers. Obviously it's that.
• 24:40
  Speaker 1: It was definitely the gospel influence, but it's like that
• 24:44
  Speaker 1: Southern kind of folky, but it's got a little bit
• 24:46
  Speaker 1: of that new one you know, dud God, it's you know,
• 24:50
  Speaker 1: it's just yeah, those guys knew how to do it.
• 24:53
  Speaker 4: So this album would be Simon's first solo album on
• 24:55
  Speaker 4: the Billboard Album charts. Still Crazy after all these years
• 24:58
  Speaker 4: won a Grammy four Album of the Year in nineteen
• 25:01
  Speaker 4: seventy six, which is incredible. In his acceptance speech, he
• 25:05
  Speaker 4: thanked Stevie Wonder, who didn't make an album this year, right,
• 25:09
  Speaker 4: this great slipped in and then that's just track one.
• 25:13
  Speaker 4: Track two is we get a We get a Simon
• 25:15
  Speaker 4: and Garfunkle reunion with My Little Town again.
• 25:19
  Speaker 1: This is This was.
• 25:20
  Speaker 4: Recorded at the Muscles Muscle Shoals studios in Mississippi, with
• 25:24
  Speaker 4: the same Alabama.
• 25:25
  Speaker 3: Sorry in Alabama. No one's gonna get upset about that.
• 25:29
  Speaker 1: No one's gonna get upset about that.
• 25:31
  Speaker 14: Uh.
• 25:32
  Speaker 4: This is again with Very Beckett on acoustic piano, David
• 25:34
  Speaker 4: Hood on bass guitar, Roger Hawkins on drums, Peak Carr
• 25:37
  Speaker 4: on the electric guitar, David Matthews with the horn arrangements,
• 25:40
  Speaker 4: Ralph McDonald with the percussion.
• 25:42
  Speaker 1: Shout out, Ralph McDonald kill it on this record on
• 25:44
  Speaker 1: a bunch of kills lit his own little couture months.
• 25:48
  Speaker 1: They really do some cool stuff.
• 25:50
  Speaker 3: This is my little town.
• 26:16
  Speaker 1: That's Alabama, my little town. Now the New Yorkers have arrived,
• 26:24
  Speaker 1: but it works. They would direct from mon talk to
• 26:29
  Speaker 1: muscle shows. He used to lead a bobby and that
• 26:36
  Speaker 1: liglely just to.
• 26:45
  Speaker 10: Come and hold out to school, fly in.
• 26:49
  Speaker 11: The back pass, the gates of the factory, my mom
• 27:00
  Speaker 11: doing the laundry, hanging out.
• 27:04
  Speaker 6: Shirts in the dirty green.
• 27:09
  Speaker 1: And after it rains, that's rain. All of the colors
• 27:17
  Speaker 1: are black.
• 27:19
  Speaker 11: It's not that the colors, it's just imagine everything's the same.
• 27:30
  Speaker 3: Peter, what's the form of this verse?
• 27:33
  Speaker 1: Well, you know what, you know what. I think it's great.
• 27:35
  Speaker 1: I realized like part of the genius of Paul signed
• 27:38
  Speaker 1: with his songwriting. And then how it's like actualized in
• 27:41
  Speaker 1: the song and the arrangement. Is that pacing, that breath
• 27:45
  Speaker 1: like that's worked in Like there's these odd like little
• 27:48
  Speaker 1: two beat things and stuff, but that works for when
• 27:50
  Speaker 1: the lyric comes back in the pacing up when you
• 27:53
  Speaker 1: look at the charter and I'm thinking about the meter,
• 27:55
  Speaker 1: it's like why that's weird, Why did they put that
• 27:56
  Speaker 1: three four in or whatever? But it works for the storytelling,
• 28:00
  Speaker 1: like highlights the lyric and the melody and the pacing.
• 28:03
  Speaker 1: Such good storytelling. It's a through composed verse, but it
• 28:07
  Speaker 1: pays off. Yeah with this like just repetitive hook.
• 28:16
  Speaker 15: My little.
• 28:18
  Speaker 1: Somewhere else now just important times.
• 28:26
  Speaker 4: M h.
• 28:29
  Speaker 11: Shame dream blood.
• 28:37
  Speaker 1: For those cries major.
• 28:38
  Speaker 12: Same weird like minor second harmony in the background vocals.
• 29:06
  Speaker 1: And those horn lines come like a lot of this
• 29:09
  Speaker 1: stuff shouldn't work as well as it does. Perc like
• 29:12
  Speaker 1: to wait that long to bring in the horns and
• 29:14
  Speaker 1: have them kind of like, you know, the entire.
• 29:16
  Speaker 3: Song shouldn't work.
• 29:17
  Speaker 2: And Ralph McDonald in there like it's like like like
• 29:19
  Speaker 2: you know, like pusher Man, something like Mayfield record like phenomenal. Yeah, yeah,
• 29:26
  Speaker 2: and then the muscle shows.
• 29:28
  Speaker 1: Guys. The rhythm section is like that was a lot
• 29:30
  Speaker 1: of like either reading or like figure it out, you know,
• 29:33
  Speaker 1: all those those little because they're kind of grooving. Then
• 29:35
  Speaker 1: they got to weag some extra beats and then come
• 29:37
  Speaker 1: and come in and stuff. Yeah, cool stuff. Love the
• 29:39
  Speaker 1: sound of the piano. What do you think about that
• 29:41
  Speaker 1: piano sound at the beginning? That's one of the most
• 29:43
  Speaker 1: so that unison. Can you just play the very first
• 29:46
  Speaker 1: note there? Can nerd out?
• 29:48
  Speaker 3: It's not exactly in tune.
• 29:50
  Speaker 1: It's like I was trying to see like the unisons
• 29:52
  Speaker 1: are almost they're like on the edge of oh, and
• 29:55
  Speaker 1: then that delayed from with the guitar, but so just
• 29:59
  Speaker 1: to nerd out real quick. But it's sort of an
• 30:01
  Speaker 1: interest like a piano and down in that range would
• 30:04
  Speaker 1: be two notes. There's actually two strings and the hammer
• 30:07
  Speaker 1: is hitting it, and so like if one of the
• 30:08
  Speaker 1: strings this is a little bit out of the tune,
• 30:10
  Speaker 1: you get this kind of weird you know, it sounds
• 30:13
  Speaker 1: out of tune on its own.
• 30:14
  Speaker 3: If it gets really out of tune, it sounds like
• 30:15
  Speaker 3: a honky tonk piano.
• 30:16
  Speaker 1: Yeah, yeah, it's like a whole pan. But this one
• 30:18
  Speaker 1: is like just on. I don't think it's actually out
• 30:20
  Speaker 1: because you don't hear the waves going, but it's like
• 30:22
  Speaker 1: very close, so it gives and I mean his touch
• 30:24
  Speaker 1: is It's such a simple thing, and you see it
• 30:26
  Speaker 1: on these people like greatest piano intros of all times.
• 30:29
  Speaker 1: Like it's an easy one to learn, but maybe not
• 30:31
  Speaker 1: to play it like that, you know.
• 30:32
  Speaker 2: Yeah, it's a beautiful record. Yeah, it is a beautiful record.
• 30:37
  Speaker 2: And the horn I don't know, man, like I don't.
• 30:39
  Speaker 4: They must have really hated each other too, because to
• 30:41
  Speaker 4: make that record to be like, okay, we're going to
• 30:43
  Speaker 4: make a record together.
• 30:44
  Speaker 1: You make that record, say screw it now, I can't.
• 30:50
  Speaker 1: How do you make that and decide and you mix it?
• 30:52
  Speaker 2: You the whole thing Nowhere in the process you think
• 30:55
  Speaker 2: let's put it aside.
• 30:56
  Speaker 1: Can you imagine ever in your life making Bridge over
• 30:58
  Speaker 1: Troubled Water and be like, I never want to see
• 31:00
  Speaker 1: this person ever again. It wasn't this like the third
• 31:02
  Speaker 1: time they were coming back together? Yeah, but they sound
• 31:09
  Speaker 1: so good on that and it did. Wasn't this released
• 31:12
  Speaker 1: on also on our Garfunk solo records? Yeah?
• 31:16
  Speaker 3: Like yeah, and I think the same position to like
• 31:19
  Speaker 3: track too.
• 31:19
  Speaker 1: Like they just went like so they obviously both approved
• 31:22
  Speaker 1: of the of the recording. It's insanely good.
• 31:24
  Speaker 4: Yeah, yeah, classic classic case of two people whose personalities
• 31:30
  Speaker 4: can't handle each other. Yeah, they end up making some
• 31:34
  Speaker 4: of the greatest art maybe because of even not even
• 31:38
  Speaker 4: despite of but a couple of guys.
• 31:41
  Speaker 1: Don't these cameras? It's icy and yeah this whole time
• 31:49
  Speaker 1: that was cool And I think too, Like one thing
• 31:52
  Speaker 1: that's always interesting to me is like, how you know,
• 31:56
  Speaker 1: when I was coming up learning music, it's like, oh,
• 31:58
  Speaker 1: you're going to get into this, and they do some
• 31:59
  Speaker 1: like weird diminished chords on like that's where the thing is.
• 32:02
  Speaker 1: But the reality is like how do these tunes start?
• 32:05
  Speaker 1: And like the ending is different because there's so many
• 32:07
  Speaker 1: fadeouts on And this was the age of like the
• 32:09
  Speaker 1: beginning of the fade outs, you know, which is my
• 32:11
  Speaker 1: own little quible bit, but like how these first two
• 32:13
  Speaker 1: tracks start with like that road.
• 32:15
  Speaker 3: Sound at the beginning, you with fade outs.
• 32:20
  Speaker 1: Yeah, I'm not I'm not a fan of it. I'm like,
• 32:22
  Speaker 1: end the thing, what's ended? Yeah, that's your Yeah, it's
• 32:25
  Speaker 1: like for radio, it's great, but it's also like when
• 32:28
  Speaker 1: we were here. I mean, this was a little before
• 32:29
  Speaker 1: my time when I was here and on the radio,
• 32:31
  Speaker 1: but it's like the DJ has had so much control
• 32:34
  Speaker 1: over when the thing was gonna. Like that's when I
• 32:36
  Speaker 1: came up in the era of like you didn't know
• 32:38
  Speaker 1: what it was gonna. It was definitely me before, Like
• 32:40
  Speaker 1: I remember that, what is it? Do I do? Stevie
• 32:44
  Speaker 1: wonder where Disney Lestie plays that? So like that never
• 32:46
  Speaker 1: my sister had the LP and so I remember she
• 32:49
  Speaker 1: played it that. I was like, wait, what is that?
• 32:50
  Speaker 1: Because it never it never occurred on the rate, like
• 32:53
  Speaker 1: it was always faded out before you got to that
• 32:55
  Speaker 1: and you're like, we're gonna play the jazz on the
• 32:56
  Speaker 1: on the top station.
• 32:57
  Speaker 2: I always like to the imagination that some some of
• 33:00
  Speaker 2: the fade out, some some fade outs are like a
• 33:01
  Speaker 2: cop out, but then sometimes you're like what, like you know,
• 33:03
  Speaker 2: the end of like like I want you back, you know.
• 33:06
  Speaker 1: You're like Michael's cooking, You're like what what happened?
• 33:11
  Speaker 4: A fade out is you're hearing all the good stuff,
• 33:14
  Speaker 4: like where is it going? But it gives you this
• 33:16
  Speaker 4: mystery to what's Yeah, that song could still be going on.
• 33:19
  Speaker 3: We don't know.
• 33:19
  Speaker 1: Yeah it's still going today. Yeah yeah. And then it's
• 33:23
  Speaker 1: also like, well, like when we can talk about it
• 33:26
  Speaker 1: as we go to like this is I think when
• 33:27
  Speaker 1: we were just reminiscing about this or prepping for this,
• 33:31
  Speaker 1: somebody mentioned or we all commiserated about this is a
• 33:34
  Speaker 1: great you know, put the vinyl on, we did, put
• 33:37
  Speaker 1: berets on, and when it got a little pour over
• 33:39
  Speaker 1: coffee before we said that it was espresso. Yeah. But
• 33:44
  Speaker 1: I mean that's another thing is like how do you
• 33:46
  Speaker 1: get from like if you are listening to this as
• 33:47
  Speaker 1: an album and you're not getting screwed up by Spotify
• 33:50
  Speaker 1: doing some weird like what does it feel like to
• 33:51
  Speaker 1: transition from each track? You know it feels great? Yeah,
• 33:55
  Speaker 1: that's well, speaking of feeling good, I think this track
• 33:59
  Speaker 1: three for me is well, we'll talk about it later.
• 34:02
  Speaker 1: It might be might be the apex.
• 34:04
  Speaker 4: This is I do It for your Love, And for
• 34:05
  Speaker 4: some reason, this is a favorite of Jet well, not
• 34:08
  Speaker 4: for some reason, but it is a favorite of jazz musicians,
• 34:11
  Speaker 4: as we'll talk about in a minute. I'd have been
• 34:15
  Speaker 4: a favorite of Steely Dance too. We got a brand
• 34:20
  Speaker 4: new rhythm section on this one. We got Kenneth Asher
• 34:24
  Speaker 4: on the Fender Roads, Terry Friedman on electric guitar, Joe
• 34:27
  Speaker 4: Beck on electric guitar, the Great Tony Levin on bass,
• 34:32
  Speaker 4: and the immortal Steve Gay on the drums.
• 34:34
  Speaker 1: Here force and again, Ralph McDonalds married on.
• 34:43
  Speaker 11: Sky was yellow and the grass was green.
• 34:49
  Speaker 1: Shine the papers and drove.
• 34:54
  Speaker 6: I do fall.
• 35:01
  Speaker 1: The rules were musty, and the place wollo. All that
• 35:09
  Speaker 1: to a shed of con the most lyric ever drank
• 35:14
  Speaker 1: all the orange juice, the week cold cold.
• 35:19
  Speaker 6: I do it for your found. The road junk shock.
• 35:33
  Speaker 1: Road, ho to you.
• 35:39
  Speaker 9: Along the way, the cover of those red beers.
• 35:47
  Speaker 6: Cobu.
• 36:09
  Speaker 1: Bizarre.
• 36:10
  Speaker 4: Yeah, you know what the instrument that is? That's vocals, right,
• 36:15
  Speaker 4: it's accordion and vocals. An artist named Sivuka.
• 36:23
  Speaker 1: This is why jazz musicians like it's a long ass
• 36:26
  Speaker 1: solo in the middle of it, so an incredible song. Man.
• 36:34
  Speaker 1: I was just thinking, like I would have been scared.
• 36:36
  Speaker 1: I mean, like, this is a really fun way to
• 36:39
  Speaker 1: play on a studio record like this, and I can
• 36:41
  Speaker 1: relate and think about things, but I would like the details.
• 36:45
  Speaker 1: I mean, obviously with with Paul's vocals and the backgrounds
• 36:48
  Speaker 1: and the way he's I mean, it's like everything is perfect.
• 36:51
  Speaker 1: I don't think it's antiseptic, but it's like very much
• 36:53
  Speaker 1: like I feel like if I played one little oh,
• 36:55
  Speaker 1: I think I'm gonna do this like the whole thing. Yeah, yeah, yeah,
• 36:58
  Speaker 1: you gotta fall on line on this, you gotta full line. Yeah.
• 37:01
  Speaker 1: And I think maybe now I'm feeling like the muscle
• 37:03
  Speaker 1: shows rhythm section moving to this one because there's a
• 37:07
  Speaker 1: certain stylized way that the album is produced that it
• 37:10
  Speaker 1: kind of works because normally you start shifting rhythm sections,
• 37:14
  Speaker 1: you know, on track three that can their cohesion can,
• 37:17
  Speaker 1: but it's totally cohesive falling into it. Yeah.
• 37:21
  Speaker 3: The most Paul Simon lyric.
• 37:24
  Speaker 4: That I think has ever been written, besides maybe like
• 37:27
  Speaker 4: Mississippi Delta Shining like a National Guitar is the rooms
• 37:31
  Speaker 4: were musty and the pipes were old all that winter.
• 37:34
  Speaker 4: We shared a cold drank all the orange juice that
• 37:36
  Speaker 4: we could hold.
• 37:37
  Speaker 3: I do it for your love, just that.
• 37:38
  Speaker 4: Little glimpse of a daily life that is unbelievably beautiful.
• 37:44
  Speaker 2: So, you know, just the mundane whatever, just you know,
• 37:47
  Speaker 2: and it's like what but when Paul sings it too,
• 37:49
  Speaker 2: it's like, oh, super difficult to land that and not
• 37:53
  Speaker 2: be super corny, and yeah does it?
• 37:55
  Speaker 3: Yeah, pulls it off?
• 37:57
  Speaker 1: Yeah? Is this a good time to bring up? I
• 37:58
  Speaker 1: have a question for you guys. Is this the ultimate
• 38:01
  Speaker 1: sad boy album? I mean, he was going through a
• 38:04
  Speaker 1: pretty harry divorce.
• 38:05
  Speaker 3: Yeah, I think so, it is.
• 38:08
  Speaker 1: It is, but this is the best. This is also
• 38:11
  Speaker 1: like the platonic form of that.
• 38:15
  Speaker 3: You know.
• 38:15
  Speaker 1: It's like, if you're gonna do a sad boy album,
• 38:17
  Speaker 1: tasteful right right right? Yeah? Yeah, and don't even call
• 38:23
  Speaker 1: her out by name exactly exactly, and.
• 38:27
  Speaker 2: Then throwing Accordion's vocal solo right.
• 38:31
  Speaker 1: Also. I think Bob James I was listening to some
• 38:33
  Speaker 1: of that harmony. I think he might have had a
• 38:35
  Speaker 1: little something to do with some of the the composite. Yeah,
• 38:39
  Speaker 1: at least some of the I mean, I guess that's
• 38:41
  Speaker 1: technically not the songwriting, that's like the harmonic arrangement. But
• 38:44
  Speaker 1: I'm I'm hearing some stuff that makes sense. I mean,
• 38:47
  Speaker 1: he's in there.
• 38:48
  Speaker 3: If you don't know Bob James, might know him from this.
• 38:54
  Speaker 3: I mean, who doesn't know Bob Chance.
• 38:56
  Speaker 1: But it's great jazz pianists as well.
• 39:00
  Speaker 4: I mean, incredible jazz pianist James, incredible pianist composer.
• 39:04
  Speaker 1: This is the Angela the team from Taxi TV show
• 39:07
  Speaker 1: tax and Super Sweet Nice. I met him when I
• 39:09
  Speaker 1: was in high.
• 39:10
  Speaker 6: School, and he was.
• 39:13
  Speaker 1: I think I've ripped that off in so many songs.
• 39:17
  Speaker 4: No.
• 39:18
  Speaker 1: I met Bob James shout out Bob James when I
• 39:20
  Speaker 1: was in high school and he I was at this
• 39:21
  Speaker 1: like band thing in Texas. Same day I met Roargo
• 39:25
  Speaker 1: while he was in high school. But Bob James was
• 39:27
  Speaker 1: just like I would assume. He came over to me
• 39:28
  Speaker 1: after he heard our high school band players like yeah,
• 39:30
  Speaker 1: you sound good. He's like, I'm Bob James. I was
• 39:32
  Speaker 1: like yeah, but it's just one of those guys that
• 39:35
  Speaker 1: you know. It's like, you know, he could have been like, yeah,
• 39:38
  Speaker 1: you sounded like shit, I'm Bob Jay, I would I
• 39:40
  Speaker 1: would have given it up music. I would have been like,
• 39:41
  Speaker 1: you're great. I guess I'm in the wrong field. Did
• 39:43
  Speaker 1: you know it's Bob James before he said it was
• 39:45
  Speaker 1: Bob James? No, because he was so selfish, you know
• 39:47
  Speaker 1: what I mean. It's just so like just like hey,
• 39:49
  Speaker 1: you know, I'm like, why would he be here?
• 39:51
  Speaker 4: But so I do it for your love was covered
• 39:53
  Speaker 4: by Herbie Hancock on his two thousand and five album
• 39:56
  Speaker 4: Possibilities with Paul sign With Paul it sounds way different, Yeah,
• 40:00
  Speaker 4: actually did it. Paul asked him to do it in
• 40:02
  Speaker 4: a minor key, yeah, and to do it on just
• 40:05
  Speaker 4: one chord, and Herbie's like, I don't think we can
• 40:08
  Speaker 4: do that, Paul.
• 40:09
  Speaker 5: Yeah.
• 40:09
  Speaker 1: Herbie is like, I can play one note here, I'm
• 40:11
  Speaker 1: gonna put a bunch of Herbie ship on top. That's
• 40:13
  Speaker 1: exactly what happens, is exactly what he did. So it's
• 40:17
  Speaker 1: just piano percussion and Paul it's like, m revel Herbie
• 40:27
  Speaker 1: Paul Sneyer like that stuff.
• 40:31
  Speaker 6: H damn mm hmmm. We were married on any day.
• 41:01
  Speaker 1: The sky was yellow and the grass was green. We
• 41:06
  Speaker 1: shigned the papers and we drove dude for I haven't
• 41:18
  Speaker 1: heard this in a while. This is cool. Yeah, I heard.
• 41:37
  Speaker 14: The rooms were musty and the pipes were cool.
• 41:40
  Speaker 1: Man, all that went to We shared good footage of
• 41:45
  Speaker 1: them recording this to.
• 41:48
  Speaker 4: I mean, I mean, another another feather in the cap
• 41:52
  Speaker 4: of maybe a case for Herbie just being the goat.
• 41:56
  Speaker 4: I mean, truly, what other jazz pianist of the big
• 41:59
  Speaker 4: three or four that we can think of could step
• 42:02
  Speaker 4: in and do this in the right way.
• 42:03
  Speaker 1: I mean, I don't think.
• 42:05
  Speaker 4: Any of them would want to want to be curious
• 42:08
  Speaker 4: enough or open enough for or have the personality that
• 42:11
  Speaker 4: is so attractive that Herbie seems to have. You notice
• 42:14
  Speaker 4: how much he attracts other artists. He's just a magnet
• 42:18
  Speaker 4: for me. Yeah, Paul's you know what. I listened to
• 42:22
  Speaker 4: that too.
• 42:22
  Speaker 2: I'm like, we've had some conversations about Paul parachuting into things,
• 42:26
  Speaker 2: but yeah, I think Paul might have the right idea, man.
• 42:29
  Speaker 1: Paul does.
• 42:29
  Speaker 2: I mean, if I was like the idea of someone
• 42:32
  Speaker 2: of Paul Simon's caliber and stature and culture being like,
• 42:37
  Speaker 2: let's rework this, you know, album cut from one of
• 42:40
  Speaker 2: my big albums, not even a hit, not.
• 42:43
  Speaker 1: Even a hit.
• 42:43
  Speaker 2: Yeah, and just you know it's like, you know, I
• 42:46
  Speaker 2: don't know, like I don't want to. You know, most
• 42:48
  Speaker 2: people aren't going to do that, right, That's what's cool
• 42:50
  Speaker 2: about him, And that's how I would use.
• 42:51
  Speaker 1: My powers too. Yeah, I'm like, let me just give
• 42:53
  Speaker 1: with Herbie in the studio real quick and you know,
• 42:56
  Speaker 1: like man like yeah. And I was just thinking the
• 42:58
  Speaker 1: similar thing in terms of like shout out to Paul
• 43:02
  Speaker 1: Simon for going in because I know that he's so
• 43:05
  Speaker 1: detail oriented and would understand and know that when you
• 43:07
  Speaker 1: get in there with the studio like Herbie, he's the sweetest,
• 43:09
  Speaker 1: nice cat, but he's also going to be like like
• 43:12
  Speaker 1: it's not gonna be easy, it's gonna be wonderful. And
• 43:16
  Speaker 1: if you're willing to come in and kind of let
• 43:19
  Speaker 1: your guard down a little bit, like there's a chance
• 43:21
  Speaker 1: for you to kind of like he will elevate your stuff.
• 43:24
  Speaker 1: But I've heard from other vocalists that have played with him,
• 43:26
  Speaker 1: they're just like it's hard, like like if you're not
• 43:28
  Speaker 1: totally open to it and to just being yourself. And
• 43:30
  Speaker 1: you can hear that like Paul's just singing the thing
• 43:33
  Speaker 1: and Herbie's kind of doing different things, and Paul is
• 43:36
  Speaker 1: allowing that to kind of envelop his composition. I mean
• 43:39
  Speaker 1: he's totally reworking the thing. And I know Herbie, like
• 43:42
  Speaker 1: however many takes they did, everyone was different. I guarantee
• 43:45
  Speaker 1: you that that was not like Herbie's like, oh okay,
• 43:47
  Speaker 1: we're gonna go to f Minor Paul is that cool? Awesome?
• 43:50
  Speaker 1: So I mean I think that it is one of
• 43:53
  Speaker 1: those things where it could be like this beautiful, wonderful thing.
• 43:56
  Speaker 1: But if you're kind of because that that whole record,
• 43:59
  Speaker 1: that's a killing this possibilities, right. Yeah. Yeah. There's a
• 44:02
  Speaker 1: bunch of people, and there's some I mean all of them.
• 44:04
  Speaker 1: I love that record. A lot of like hardcore jet
• 44:06
  Speaker 1: Herbie like it's Herby.
• 44:08
  Speaker 3: Doesn't make a bad out him then he really doesn't.
• 44:10
  Speaker 1: But for jazz folks, a lot of them overlook that
• 44:12
  Speaker 1: record because it's like I think there's I'm forgetting. There's
• 44:17
  Speaker 1: a bunch of kind of like weird combinations. I think
• 44:19
  Speaker 1: great stuff. Angelie Key Joe is on there. I think
• 44:21
  Speaker 1: has a really cool thing that she does.
• 44:23
  Speaker 3: This is after like the New Standard era.
• 44:25
  Speaker 1: Yeah, row me done. He does a cool thing with Herbie.
• 44:28
  Speaker 1: But it's all people that are like, yeah, I'm willing
• 44:31
  Speaker 1: to come in. And you know, I mean, Paul was
• 44:33
  Speaker 1: probably the big Actually, I think Sting might be on
• 44:34
  Speaker 1: that too. You know. Sting's another one that can kind
• 44:37
  Speaker 1: of is he.
• 44:37
  Speaker 3: Parachuting or is he?
• 44:38
  Speaker 1: Is he walking in the front door? It's is he
• 44:41
  Speaker 1: private jetting it? Yeah, that's a good question. That's a
• 44:45
  Speaker 1: good question. Hard to know with it.
• 44:48
  Speaker 3: What are we gonna do our police episode?
• 44:50
  Speaker 1: Man, come on, it's coming man. Uh, let's check out.
• 44:53
  Speaker 1: The next track was, well, we do the jazz Police
• 44:55
  Speaker 1: every wee. We're ready for that. The next track was
• 44:58
  Speaker 1: a hit and it's fifty Ways to Leave your lover.
• 45:00
  Speaker 1: Let's check it out.
• 45:01
  Speaker 9: Problem is inside your head?
• 45:04
  Speaker 1: She said to me. The answer is easy, if you
• 45:08
  Speaker 1: take it.
• 45:11
  Speaker 11: I'd like to help you in your struggle to be free.
• 45:14
  Speaker 1: Some some missing here. That was the coffee house. This
• 45:23
  Speaker 1: this song like that, it sounded just as compelling. I
• 45:28
  Speaker 1: don't know about just that, but that very compelling. Guys,
• 45:31
  Speaker 1: did we just start the Simon remix project? Yeah? That
• 45:35
  Speaker 1: really shocked me. Actually, well that's this song.
• 45:38
  Speaker 3: There's not much to it. There's not much going on.
• 45:40
  Speaker 1: If you take the drums out, you.
• 45:44
  Speaker 4: Jack, we gotta talk about the course, I know, one
• 45:48
  Speaker 4: of the weirdest transitions ever.
• 45:50
  Speaker 5: Man.
• 45:50
  Speaker 1: It's like two different too. I mean it's two different.
• 45:52
  Speaker 2: It's like, uh, you know a lot of like, you
• 45:54
  Speaker 2: know a lot of people hate like or talk about
• 45:58
  Speaker 2: uh Ozzie's uh what is that?
• 46:01
  Speaker 1: Uh crazy train transition from the rift to like the verse.
• 46:06
  Speaker 1: That's one of those.
• 46:07
  Speaker 4: It's very, very jar So the chorus came out of
• 46:10
  Speaker 4: a fun rhyming game that Paul was playing with Harper
• 46:13
  Speaker 4: with his son, and.
• 46:15
  Speaker 1: This was bad about his mama.
• 46:19
  Speaker 4: Listen, let me tell you about divorce. Sometimes he's got
• 46:21
  Speaker 4: to sleep. This was happening during the divorce. Paul was
• 46:27
  Speaker 4: playing with Harper in his hotel, showing him simple rhyming games.
• 46:30
  Speaker 4: The rhymes they made up made it into the song
• 46:33
  Speaker 4: you slip out the pack check make a new plant
• 46:35
  Speaker 4: Stand was the game he was playing with his son, Right.
• 46:38
  Speaker 1: Dad, Why is mom got to make a new plants?
• 46:42
  Speaker 6: Other?
• 46:43
  Speaker 1: Waise and you gotta make a sad off like daddy, Dad?
• 46:46
  Speaker 1: Can you not turn this in your album?
• 46:48
  Speaker 6: Right now?
• 46:48
  Speaker 1: I'm actually kind of broken inside. Talk about your dad.
• 46:52
  Speaker 2: Do you think he had the verse or the course?
• 46:55
  Speaker 2: We must have the course. I mean, if he's doing
• 46:57
  Speaker 2: the rhyming or did he have the verse and then
• 46:58
  Speaker 2: didn't have a course? And who's doing the rhyming game?
• 47:00
  Speaker 2: And that's a great question, like how.
• 47:02
  Speaker 1: Did rhyming that would have been a course kind of
• 47:05
  Speaker 1: I mean, how do you heard track from that?
• 47:07
  Speaker 4: I've heard lord that he you know, because so Steve
• 47:09
  Speaker 4: Gadd is a young Jasus just at this point he's
• 47:11
  Speaker 4: coming out of the military and where he's you know,
• 47:15
  Speaker 4: in the in the field band of the military, playing
• 47:17
  Speaker 4: snare drum and so that's the gad stuff, Like that's
• 47:20
  Speaker 4: when he's playing his gad ship is when he brings
• 47:21
  Speaker 4: out that sort of yeah, you can hear him. There's
• 47:24
  Speaker 4: some great videos of a drum battle with him and
• 47:26
  Speaker 4: Vinnie Call You'd and Dave Weckel and Vinnie call you
• 47:29
  Speaker 4: and Dave Weckler are doing some just like incredible technical fireworks,
• 47:33
  Speaker 4: but then Steve Gadd comes in with his like and
• 47:36
  Speaker 4: the place just lights up because it feels like this.
• 47:39
  Speaker 4: So I've heard, and I don't I don't know if
• 47:41
  Speaker 4: this is verified, but I've heard stories that Steve is
• 47:43
  Speaker 4: like playing his military stuff and Paul walks in and says,
• 47:45
  Speaker 4: that's what I want for that verse and wrote the
• 47:47
  Speaker 4: verse around the drum part, just what I've heard.
• 47:51
  Speaker 1: I would love to see Paul's face when you heard that.
• 47:53
  Speaker 1: I know he would like He's like, oh, let me,
• 47:57
  Speaker 1: let me grab some of that and then I'm gonna
• 47:59
  Speaker 1: give I mean, that's great arranging when I hear this
• 48:01
  Speaker 1: drum bee, though, I don't think like slip out the
• 48:04
  Speaker 1: back jack, no, you know what I mean. So he
• 48:06
  Speaker 1: had to write, yeah, well, and the thing about Gad too,
• 48:09
  Speaker 1: it's like he's the kind of drummer like like you
• 48:11
  Speaker 1: say that, like everybody that aren't drummers are gonna be like, damn,
• 48:15
  Speaker 1: that feels good, Like you're not thinking you're not. You
• 48:17
  Speaker 1: don't know why, but like his precision. I didn't even
• 48:20
  Speaker 1: know about him being in the middle. And I got
• 48:21
  Speaker 1: a chance to play with him once and I was
• 48:23
  Speaker 1: always like Steve dam I played with other great drummers.
• 48:26
  Speaker 3: But man, his thing was like, all right, can we
• 48:27
  Speaker 3: can we talk about Gad for a second?
• 48:29
  Speaker 1: Yeah? Yeah, I'm literally trying you listen. Can we just
• 48:32
  Speaker 1: can we just know you nervously.
• 48:33
  Speaker 4: Just here, but come on, no, I want to go
• 48:35
  Speaker 4: we talk about I want to talk seriously about personal anecdotes.
• 48:40
  Speaker 3: So this is Gads. I want to I just want
• 48:43
  Speaker 3: to read.
• 48:43
  Speaker 14: This is.
• 48:45
  Speaker 3: I want to read the highlights of.
• 48:47
  Speaker 1: The personal story. This is the good guy's wikipedia out
• 48:51
  Speaker 1: on me. Man, No, go ahead, you're right on the corner.
• 48:58
  Speaker 1: Come on, I'm trying to slip out the back door.
• 49:00
  Speaker 1: Jack didn't even wrote man, it's time, man, okay, don't
• 49:07
  Speaker 1: need to be quite right.
• 49:07
  Speaker 5: Let's go.
• 49:09
  Speaker 3: That was sheet Pete.
• 49:12
  Speaker 4: So here's here's just like I swear to God. This
• 49:14
  Speaker 4: is twenty five percent of Gad's to Sorrophy as a side.
• 49:17
  Speaker 4: Man is people that he's recorded an album with right
• 49:21
  Speaker 4: and most of these, by the way, he's not on
• 49:23
  Speaker 4: one album, He's on multiple albums. Lorie Anderson, Herb Albert
• 49:26
  Speaker 4: Ashford and Simpson, Chet Baker, The begis George Benson, Carla Blay,
• 49:30
  Speaker 4: Brecker Brothers, Edie Berkel, Kate Bush, Larry Carlton, Ron Carter,
• 49:34
  Speaker 4: Tracy Chapman, Ray Charles Cyrus Chestnut, Eric Clapton, Stanley Clark,
• 49:38
  Speaker 4: Joe Cocker, Natalie Cole, Judy Collins, Korea, Jim Croche, Christopher Cross,
• 49:43
  Speaker 4: John Faddis, Art Farmer, Maynard Ferguson, Aretha Franklin, David Foster,
• 49:46
  Speaker 4: Peter Gabriel Ark randomly like, what's in the order to this,
• 49:50
  Speaker 4: Lart Garfunkle, Alphabetic.
• 49:52
  Speaker 1: Ron Carter, Christopher Cross, Lard.
• 49:54
  Speaker 4: Garfuncle, David Gilmore, Dave Gruson, Jim Hall, Freddie Hubber, Janis, Ian,
• 49:58
  Speaker 4: Milt Jackson, Bob James, al Jero, Doctor, John Quincy Jones,
• 50:02
  Speaker 4: Ricky Lee, Jacket, John B. B.
• 50:04
  Speaker 1: King, Ross, Han.
• 50:05
  Speaker 4: Roland Kirk, Gladys Knight and the Pips, Usef Latief, David
• 50:09
  Speaker 4: lead Men, Kenny Loggins, Paul McCartney, Michael McDonald, Tayo, Marcelo,
• 50:13
  Speaker 4: Chuck Mangioni, Barry Manilo, Lyon May's, Bett Middler, Charles Mingus,
• 50:16
  Speaker 4: Peter Paul and Mary, Michael Michelle, Bertucciani, Bonnie Rate, Diana Ross,
• 50:20
  Speaker 4: Joe Sample, a ton of David Sanborn albums, Tom Scott,
• 50:24
  Speaker 4: Paul Schaeffer, Howard Shore, Carly Simon, Paul Simon, Frank Sinatra,
• 50:27
  Speaker 4: spirodiros Stete, Dan Barber, Streis and James Taylor.
• 50:30
  Speaker 1: Richard t Cedar, Walton, Dion Warware.
• 50:32
  Speaker 4: Grover Washington, Junior Weather Report, Yeah, and Nancy Wilson, Jesus
• 50:36
  Speaker 4: Okay so so yeah, I'm we're we weren't fully aware, but.
• 50:40
  Speaker 1: Now we are of his resume, like he's that guy.
• 50:42
  Speaker 3: Yeah, and that's like that's just a glimpse, that's not
• 50:45
  Speaker 3: even the full pixer.
• 50:46
  Speaker 1: Well, no, I mean I think it's like, you know,
• 50:48
  Speaker 1: Steve gadd is, this is someone I like when you
• 50:50
  Speaker 1: talk to drummers, he's he's not necessarily like your average
• 50:55
  Speaker 1: drummers drummer where theyre going to talk about him first,
• 50:57
  Speaker 1: but like the great great drummers that I know, like
• 50:59
  Speaker 1: the jazz drummers especially, are like, he's that guy, you
• 51:03
  Speaker 1: know what I mean, So like the more because I mean,
• 51:05
  Speaker 1: his technique is so high level that like wait, what
• 51:10
  Speaker 1: do they call it? Like you know, he's like a players,
• 51:12
  Speaker 1: player or coaches, Like we're the ones who really know.
• 51:15
  Speaker 1: But also you know, he makes all these artists you know,
• 51:18
  Speaker 1: want to call him back because it's wow too.
• 51:20
  Speaker 4: Like Mingus played with like one drummer his entire career,
• 51:23
  Speaker 4: Like you know, it's like Daniel Richman's and Steve gadd
• 51:28
  Speaker 4: like on a very.
• 51:28
  Speaker 1: Strange record, you might have found the only artist that
• 51:30
  Speaker 1: wasn't on that list, Charles Mingus, right, was all that.
• 51:33
  Speaker 1: That's why I was like, that's why I never would
• 51:35
  Speaker 1: have known right next to Peter, Paul and Ary all three.
• 51:40
  Speaker 4: Now it's it's an insanely varied group of artists and
• 51:44
  Speaker 4: just I mean of the last part of the twentieth century,
• 51:47
  Speaker 4: in the early part of the twenty first century, it's
• 51:48
  Speaker 4: like incredible and he's on It's not just like he's
• 51:51
  Speaker 4: just on you know, Annie Rate, he's on like street lights,
• 51:54
  Speaker 4: like he's on like.
• 51:55
  Speaker 1: Right the long kind of like it's the Steely Dan
• 51:58
  Speaker 1: you know, the incredible solo is on Asia.
• 52:00
  Speaker 2: Yeah, listen to that and you listen to you like
• 52:02
  Speaker 2: that's all of seventies and eighties radio like that.
• 52:04
  Speaker 1: He just owned the radio like y And so think
• 52:07
  Speaker 1: about the influence on the drummers today. They came up
• 52:09
  Speaker 1: listening to that stuff the top guys and gals like
• 52:12
  Speaker 1: that's this is you.
• 52:13
  Speaker 4: Know, Yeah, guys, let's do one more track. Can I
• 52:15
  Speaker 4: say one more thing about gad please?
• 52:17
  Speaker 1: How do you own? Go right back real quick then,
• 52:23
  Speaker 1: because how do you own a record in that way?
• 52:29
  Speaker 1: On an album?
• 52:31
  Speaker 2: And then you just homously he doesn't disappear, but then
• 52:33
  Speaker 2: you just kind of like go back to you know
• 52:35
  Speaker 2: that you don't like that is like the genius of
• 52:39
  Speaker 2: that guy. I guess you know, like that you could
• 52:41
  Speaker 2: just on every song. I'm sure you could do to
• 52:43
  Speaker 2: every one of these.
• 52:45
  Speaker 1: He's like, well, yeah, this particular moment when it starts out, yes,
• 52:49
  Speaker 1: got this this that was all and this is this
• 52:50
  Speaker 1: is the one that needed it. Right, I'm gonna step
• 52:52
  Speaker 1: up a little bit and then I'm gonna go back
• 52:53
  Speaker 1: to yeah again. Taste made He's a taste.
• 52:55
  Speaker 4: It could be like taste validating the story that something
• 52:58
  Speaker 4: you're conscious about the part of this song. Whereas he
• 53:01
  Speaker 4: wasn't intentionally putting this as the part to shine. He
• 53:04
  Speaker 4: was doing this just warming up as they were getting ready,
• 53:06
  Speaker 4: and Paul Simon was like, no, that's going in.
• 53:08
  Speaker 1: But everything he u is very subtle. His own parts
• 53:11
  Speaker 1: are super.
• 53:12
  Speaker 4: And they are on that whole discography I just mentioned,
• 53:15
  Speaker 4: and I think that's why he gets hired so much.
• 53:17
  Speaker 4: He sounds incredible. The pocket is deep, yeah uh, and
• 53:20
  Speaker 4: he just adds the right thing at the right time
• 53:22
  Speaker 4: and nothing more.
• 53:23
  Speaker 1: You know, Okay, great drummer that listens you get gigs.
• 53:26
  Speaker 2: How many drummers have a part that they probably get
• 53:29
  Speaker 2: sick of being asked about, Like the way like us,
• 53:31
  Speaker 2: like you know, like Paul must be Paul McCartney must
• 53:33
  Speaker 2: be sick of like you know, like you know whatever,
• 53:34
  Speaker 2: all the Beatles questions like he just got to be
• 53:36
  Speaker 2: like I don't want to answer.
• 53:37
  Speaker 1: That fifty ways.
• 53:39
  Speaker 3: Yeah, oh yeah, I'm sure he's just like yeah, I
• 53:41
  Speaker 3: mean I do other stuff.
• 53:42
  Speaker 1: Yeah. I don't know if he's ever in a situation
• 53:44
  Speaker 1: where there's like drunk dudes or like dude New Orleans. Yeah,
• 53:48
  Speaker 1: but he just smacks the ship up.
• 53:50
  Speaker 3: It'd be fun to follow Steve Gad around Nam with
• 53:52
  Speaker 3: a camera.
• 53:53
  Speaker 1: Oh my, I would avoid that. Well. Plus, I think
• 53:58
  Speaker 1: too people always just like what was that kind of snare? Like,
• 54:00
  Speaker 1: because drummers, it's like a lot of them, especially at
• 54:02
  Speaker 1: the lower levels. It's all about the gears, like, well,
• 54:04
  Speaker 1: how did you record that bass drum? Well, you got
• 54:06
  Speaker 1: to fucking kill an ass drummer named Steve Gadd with
• 54:09
  Speaker 1: some MIC's up and make it sound like what he's
• 54:11
  Speaker 1: what he's playing.
• 54:12
  Speaker 4: Yeah, all right, guys, let's do one more track here
• 54:15
  Speaker 4: and do Peter's favorite. I think this, I'm gonna say
• 54:17
  Speaker 4: this is Peter's favorite. I don't know if this is
• 54:19
  Speaker 4: your desert Island Pete. But I'm I'm guessing it's this.
• 54:25
  Speaker 1: It's not, but it was on my list of the
• 54:27
  Speaker 1: possible is it? I changed it yesterday.
• 54:33
  Speaker 2: Shampoo, Desert Island movie, should it's about James on the
• 54:44
  Speaker 2: roads on this one.
• 54:48
  Speaker 1: This is weirdly in seven yeah, one, two, three, four
• 54:52
  Speaker 1: one two dreams should what should my head? What the hell?
• 55:04
  Speaker 12: And that one.
• 55:10
  Speaker 1: Valerie Simpson on the back of vocal Man, one of
• 55:13
  Speaker 1: the great background vocal wives. So simplest harmon bringing Valerie
• 55:27
  Speaker 1: Simpson and Patty Austin on this album. Nice touch, right
• 55:31
  Speaker 1: exag They don't have no good resources to be able
• 55:35
  Speaker 1: to pull up on you know. It's like.
• 55:41
  Speaker 4: Just you should let Paul drafts for the Knicks, you know,
• 55:44
  Speaker 4: like this guy can pick man like Jesus Christ.
• 55:47
  Speaker 1: Well, you know he's a Knicks fan. I don't give
• 55:50
  Speaker 1: him a chance. That's right. We gotta listen to this
• 55:56
  Speaker 1: whole tracks killing yead too again.
• 56:01
  Speaker 16: Gad he.
• 56:04
  Speaker 1: Just playing exactly the right where I got a chance
• 56:07
  Speaker 1: to play. It's like he does not play loud, like
• 56:09
  Speaker 1: even when he's grooged, like his his control of dynamics
• 56:13
  Speaker 1: and like intensity, the group are totally independent.
• 56:15
  Speaker 15: That's what's true about this on too? It's just quiet,
• 56:17
  Speaker 15: but it's just it's subtle. Yeah, admitted quarter is weird.
• 56:27
  Speaker 1: Not a lot of loud moments on this album, all right.
• 56:35
  Speaker 1: I like this line, God bless God, bless our standard
• 56:42
  Speaker 1: of living. Let's keep it that way. Damn that's a
• 56:48
  Speaker 1: divorce line too, hopefully for both, but you know, I'm
• 56:56
  Speaker 1: not sure. And man, Steve Gadd too, We're gonna have
• 57:05
  Speaker 1: to retitle this. This is like the Steve Gadd Appreciation Podcast. No,
• 57:09
  Speaker 1: Like I'm Asian, would turn it into as well if
• 57:11
  Speaker 1: you like Asian. Like, so the solo on there, he's
• 57:14
  Speaker 1: he's so busy obviously and wait, like it's such a thing,
• 57:18
  Speaker 1: but like I appreciate what he's not playing on this
• 57:20
  Speaker 1: hold on there's so much like Phil Woods, Phil Woods?
• 57:36
  Speaker 1: Can we just I love the way too? Like all
• 57:39
  Speaker 1: he's playing all.
• 57:40
  Speaker 17: This bebop and then all of a sudden, it's almost
• 57:43
  Speaker 17: like he remembers, wait, I shouldn't do and he's like
• 57:46
  Speaker 17: he does a little bit of walk in the bar,
• 57:47
  Speaker 17: kind of bluesy, but then he's like whatever, he can't
• 57:50
  Speaker 17: help himself.
• 57:51
  Speaker 1: It's just like bebopped up.
• 57:52
  Speaker 2: Do you think they just like set up a mic
• 57:53
  Speaker 2: and just let him run for like thirty minutes and
• 57:55
  Speaker 2: then just pick that bit.
• 57:57
  Speaker 3: Or like or it just begs the question how why
• 58:00
  Speaker 3: I know?
• 58:01
  Speaker 1: I really like what?
• 58:03
  Speaker 3: Yeah, let's listen to that transition.
• 58:04
  Speaker 1: It's might have been Paulici part of the whole, like
• 58:08
  Speaker 1: I'm down trod, so fuck it, let's just have some bebop.
• 58:15
  Speaker 1: It's gonna lose to Stevie anyways. I'm gonna lose to Stevie.
• 58:31
  Speaker 1: Although diminish skill.
• 58:33
  Speaker 4: Is when the record label guys are like, wait, what
• 58:39
  Speaker 4: you're talking about the most, the most like traditionally yeah,
• 58:43
  Speaker 4: the most traditionally marketable song on the entire I'm just
• 58:46
  Speaker 4: gonna put a giant bebop solo.
• 58:48
  Speaker 1: Sexophe not even like he comes in, like he could
• 58:50
  Speaker 1: have come in. Well, first of all, Phil Woods would
• 58:53
  Speaker 1: not necessarily be the guy like that's his kind of playing.
• 58:56
  Speaker 1: You know, he came up with as he was one
• 58:57
  Speaker 1: of the Charlie Parker acolytes, and it was like bebop
• 59:00
  Speaker 1: for life, you know. But he could have come in
• 59:03
  Speaker 1: over that groove that one to four, you know, one
• 59:07
  Speaker 1: to five and kind of or even Bracker or Sam
• 59:10
  Speaker 1: Born for sure, something else on here but not soloing,
• 59:14
  Speaker 1: So it's it's kind of cool that they have him
• 59:16
  Speaker 1: doing his thing, even though it's just like what the
• 59:20
  Speaker 1: for sure, and I love Beeba, but I'm like.
• 59:24
  Speaker 4: How do you think this album has aged? I mean
• 59:26
  Speaker 4: because it was one album of the year in nineteen
• 59:28
  Speaker 4: seventy six. I remember growing up and this was a
• 59:31
  Speaker 4: big deal album in my parents' household and their record collection.
• 59:35
  Speaker 4: I remember being in love with it from the time.
• 59:37
  Speaker 1: I was like, corespectfully, he's like his parents in his
• 59:40
  Speaker 1: household my parents.
• 59:41
  Speaker 4: Well, no, this is definitely one of those albums that
• 59:43
  Speaker 4: was like I inherited, So it is your parents record
• 59:46
  Speaker 4: in a way if you're a certain age. For sure,
• 59:47
  Speaker 4: for me it was because you know, my parents got
• 59:49
  Speaker 4: married in nineteen seventy five, not before still going and
• 59:53
  Speaker 4: uh and for me this is something that wait, what
• 59:56
  Speaker 4: year were you born?
• 59:57
  Speaker 1: Seven?
• 59:58
  Speaker 3: No, seventy eight?
• 59:59
  Speaker 1: Okay, cool? Yeah, but I don't hear people talking about
• 1:00:03
  Speaker 1: this as much.
• 1:00:04
  Speaker 4: No, it's but you know, like, yeah, it is weird
• 1:00:09
  Speaker 4: because this is in my mind, like because I came
• 1:00:14
  Speaker 4: of age at a time I feel like, you know,
• 1:00:17
  Speaker 4: we're all in the last gasp of like boomerdom. You know,
• 1:00:20
  Speaker 4: we're like we're seeing it in real time. Like boomers
• 1:00:23
  Speaker 4: come go from like the heroes of like culture and society.
• 1:00:26
  Speaker 1: Long enough, you like, yeah, long when it comes right yeah.
• 1:00:29
  Speaker 2: And you're like whoa, but you know, and it's funny,
• 1:00:31
  Speaker 2: like night game is on here, Like I have this
• 1:00:34
  Speaker 2: theory that I'm just gonna workshop here. Yeah that like
• 1:00:38
  Speaker 2: like like peak American cultures like nineteen thirty five to
• 1:00:42
  Speaker 2: two thousand and five, and it's like nineteen thirty five
• 1:00:46
  Speaker 2: you get canned beer, night baseball games and like Monopoly,
• 1:00:50
  Speaker 2: and then like where this is going and you kind
• 1:00:52
  Speaker 2: of like get this like thing and then like peaks
• 1:00:54
  Speaker 2: right around like nineteen seventy and then you just kind
• 1:00:56
  Speaker 2: of like this long tail down to like iTunes two
• 1:00:58
  Speaker 2: thousand and five and like whatever else.
• 1:01:00
  Speaker 1: And boomers are such a big part of culture so
• 1:01:03
  Speaker 1: that you know, like in.
• 1:01:04
  Speaker 2: My mind, this is like an unassailable album. Like it's
• 1:01:08
  Speaker 2: like you can't say anything bad, but but it does
• 1:01:11
  Speaker 2: feel like as as as as as boomers have lived
• 1:01:15
  Speaker 2: and lived long enough, you've gone villains. It's like this
• 1:01:17
  Speaker 2: album is now it's gone from you know, maybe overrated
• 1:01:20
  Speaker 2: to like to underrated I think it's underrated.
• 1:01:23
  Speaker 5: Now.
• 1:01:23
  Speaker 3: You know it is quint essentially a baby boomer expression.
• 1:01:26
  Speaker 4: Yeah yeah, yeah, it's how a baby boomer deals literally
• 1:01:30
  Speaker 4: deals with his divorce.
• 1:01:31
  Speaker 1: Yeah yeah.
• 1:01:31
  Speaker 4: And it's a really interesting take that you would not
• 1:01:33
  Speaker 4: see a similar expression today from the generations, the subsequent generation.
• 1:01:38
  Speaker 1: This is the most boom.
• 1:01:39
  Speaker 2: We didn't talk about your kind, but this is the
• 1:01:40
  Speaker 2: second to last track on the album. The lyrics You're kind,
• 1:01:45
  Speaker 2: You're so kind. You rescued me when I was blind,
• 1:01:47
  Speaker 2: and you put me on your pillow, you know whatever.
• 1:01:50
  Speaker 2: You're so good to me. You introduced me to your neighborhood.
• 1:01:52
  Speaker 2: Seems like I ain't had so many friends before. It's
• 1:01:54
  Speaker 2: because you're good. You're so good. Why do you treat
• 1:01:57
  Speaker 2: me like Why don't you treat me like other humans do?
• 1:01:59
  Speaker 2: It's just a mystery to me. It gets me agitated
• 1:02:01
  Speaker 2: when I think that you're so that you're gonna love
• 1:02:03
  Speaker 2: me and definitely so goodbye, goodbye. I'm gonna leave you now.
• 1:02:08
  Speaker 2: And here's the reason why I like to sleep with
• 1:02:09
  Speaker 2: the open the window open, you like to sleep with
• 1:02:11
  Speaker 2: the window closed.
• 1:02:12
  Speaker 3: Just go talk to the therapist, Paul.
• 1:02:15
  Speaker 1: I know that level of petty it's it's like the
• 1:02:20
  Speaker 1: windows that was just that. That's like, I don't know,
• 1:02:22
  Speaker 1: it's boomerdom in a nutshell. That great. Yeah, it's a
• 1:02:25
  Speaker 1: great call. Wow. Also done in the form of the Blues. Yeah,
• 1:02:42
  Speaker 1: in the twelve Blues form again expression.
• 1:02:47
  Speaker 14: Your come sure can.
• 1:02:52
  Speaker 1: Rescue me when I was blind.
• 1:02:56
  Speaker 11: And you put me on your pillow and always on
• 1:02:59
  Speaker 11: the wall, your cut so can so cane.
• 1:03:06
  Speaker 6: And you're good.
• 1:03:08
  Speaker 7: You're so.
• 1:03:11
  Speaker 11: You introduced me to your neighborhood.
• 1:03:15
  Speaker 1: Seems like I never had so many friends before.
• 1:03:19
  Speaker 9: That's because you're good.
• 1:03:20
  Speaker 1: That's he gets on this record that last Why you
• 1:03:26
  Speaker 1: don't treat me like the other humans?
• 1:03:29
  Speaker 6: Dude?
• 1:03:29
  Speaker 1: Al Simon Major seven, Like you said, ultimate boomer is ultimate.
• 1:03:37
  Speaker 5: Excuse me, fransured you.
• 1:03:41
  Speaker 2: But it's over.
• 1:03:51
  Speaker 6: He's great.
• 1:03:51
  Speaker 1: To the window open and you keep the window close.
• 1:03:57
  Speaker 1: Sod fall. She gave you everything.
• 1:04:06
  Speaker 16: She rescued you, she gave you friends, strange, you better
• 1:04:10
  Speaker 16: than anybody in the neighborhood.
• 1:04:11
  Speaker 1: You're so goodbye, Like.
• 1:04:13
  Speaker 4: I wouldn't want to be in to any club that
• 1:04:14
  Speaker 4: would happen me as a member, dude for sure.
• 1:04:18
  Speaker 1: Wow.
• 1:04:19
  Speaker 2: Yeah, that's the apex moment of of boomers and divorce
• 1:04:23
  Speaker 2: on this record, just like.
• 1:04:24
  Speaker 1: What in the world. You know what's interesting? You were mentioning,
• 1:04:28
  Speaker 1: you know, your your parents, your dad saying this was
• 1:04:30
  Speaker 1: such a important I was thinking back to, like, why
• 1:04:31
  Speaker 1: was this. I didn't hear this rucker growing up. My
• 1:04:34
  Speaker 1: dad is a little older and he'm a generation he right,
• 1:04:38
  Speaker 1: but not only he's silent generation. He didn't know this
• 1:04:40
  Speaker 1: is a difference. But even when I think with boomers,
• 1:04:42
  Speaker 1: like we're all aware, like my kids are just like
• 1:04:45
  Speaker 1: especially the younger ones that are like gen Z, they're.
• 1:04:47
  Speaker 18: Like, oh millennials, man, I'm like, wait, all y'all the same.
• 1:04:51
  Speaker 18: And I call one of them an iPad baby. No,
• 1:04:53
  Speaker 18: the other they're collect I was an iPad baby. I
• 1:04:55
  Speaker 18: didn't have it until I was this age. I was like, okay, cool.
• 1:04:57
  Speaker 1: But I was telling my dad this is like within
• 1:04:59
  Speaker 1: the last year. I said something about boomer or whatever,
• 1:05:02
  Speaker 1: and he's like, we had to look it up because
• 1:05:06
  Speaker 1: I was like, wait, are you a boomer? He's I
• 1:05:07
  Speaker 1: don't know. He's like, we didn't talk about that's like
• 1:05:09
  Speaker 1: you guys brought that thing up. He didn't know what generation.
• 1:05:13
  Speaker 1: So I'm looking on I said, well, actually you're in
• 1:05:15
  Speaker 1: the silent generation. He's like, okay, I'll shut up. Is
• 1:05:17
  Speaker 1: that what you're trying to say? Like he had no
• 1:05:19
  Speaker 1: concept like how do you go now?
• 1:05:21
  Speaker 3: You just naturally do the.
• 1:05:22
  Speaker 1: Years of your life and but like there wasn't a
• 1:05:24
  Speaker 1: thing like especially for the boomers, they were just like, well,
• 1:05:26
  Speaker 1: this is our world. Do we define what it is
• 1:05:29
  Speaker 1: to be a teenager? And what a technic? The sixties?
• 1:05:32
  Speaker 1: You know, this is their world.
• 1:05:34
  Speaker 4: This is a very typical thing of that of the
• 1:05:36
  Speaker 4: baby boomer generation. They created the concept of a generation
• 1:05:39
  Speaker 4: and being a group. And by the way, like I
• 1:05:41
  Speaker 4: don't disparage boomers as a generation. I actually think it's
• 1:05:45
  Speaker 4: super fascinating. I also love the culture they created and
• 1:05:49
  Speaker 4: and I think that I just like the most gen
• 1:05:52
  Speaker 4: X thing.
• 1:05:53
  Speaker 1: But here's here's the gen X thing.
• 1:05:54
  Speaker 3: Is like, here's the gen X thing. It's like, I'm
• 1:05:56
  Speaker 3: just tired talking about it.
• 1:05:58
  Speaker 1: Let's get back to work.
• 1:05:59
  Speaker 4: Because because they were so impactful on our lives, the
• 1:06:02
  Speaker 4: generations happened. There are parents obviously, and they've they've you know,
• 1:06:06
  Speaker 4: created this culture. It's just like, can we just like
• 1:06:08
  Speaker 4: take a break from talking about you know, the Beatles
• 1:06:10
  Speaker 4: for a second.
• 1:06:11
  Speaker 3: And Paul Simon and even of what we talked about.
• 1:06:14
  Speaker 4: But I think they're gonna be studied for long after
• 1:06:18
  Speaker 4: we're gone, because I think it's a fascinating case of
• 1:06:21
  Speaker 4: this like explosion in this particular time, this particular place
• 1:06:24
  Speaker 4: make some of the most incredible art, uh and redefine
• 1:06:28
  Speaker 4: what culture is.
• 1:06:29
  Speaker 3: But I'm tired of it for now.
• 1:06:32
  Speaker 2: Yeah, we're talking, but they're gonna, they're gonna out, they're
• 1:06:34
  Speaker 2: gonna live. I mean, nothing matters like what matters before
• 1:06:37
  Speaker 2: nineteen thirty five? What matters like after?
• 1:06:39
  Speaker 1: Like, nothing's gonna nothing sticky from before? Right, But there's.
• 1:06:43
  Speaker 3: Yeah, I know, but I'm still president, still president.
• 1:06:46
  Speaker 1: Yeah, yeah, And I think that that like this, and
• 1:06:49
  Speaker 1: we we always you know, get knocked for like we're
• 1:06:51
  Speaker 1: hitting so many records in the seventies, sue us. There's
• 1:06:53
  Speaker 1: a lot of great records from that time. You tell
• 1:06:56
  Speaker 1: us what's sticky after you know whatever? You know exactly, Well,
• 1:06:58
  Speaker 1: we were talking about it earlier. We had a list,
• 1:07:00
  Speaker 1: but it wasn't like the Steve Gabler.
• 1:07:02
  Speaker 4: Wrote wrote teenage and twenty something boomers were unbelievable for
• 1:07:06
  Speaker 4: us of nature.
• 1:07:06
  Speaker 1: Yeah, incredible, and I mean, look, they also a lot
• 1:07:09
  Speaker 1: of luck, like any kind of like generation or culture
• 1:07:11
  Speaker 1: or country or people that like hit hit on something
• 1:07:15
  Speaker 1: like it's like remain humble and realized that you were
• 1:07:17
  Speaker 1: at a time when like records and radio. It was
• 1:07:20
  Speaker 1: pre internet, so like there was technology. Everything kind of
• 1:07:23
  Speaker 1: lined up. You don't have to go in the war,
• 1:07:25
  Speaker 1: but you won the war. That guess you had to
• 1:07:26
  Speaker 1: go to Vietnam.
• 1:07:27
  Speaker 2: But you know, yeah, yeah, but not if you were
• 1:07:29
  Speaker 2: rich rich most of the yeah, most of the boomers
• 1:07:31
  Speaker 2: that made the culture didn't, you know exactly.
• 1:07:33
  Speaker 1: And I mean also like like you said, like we
• 1:07:35
  Speaker 1: have great standards, the good old US, a great stander
• 1:07:37
  Speaker 1: of living. Let's let's keep it. Let's keep for us, boy,
• 1:07:42
  Speaker 1: going till till now you know, the wealth divide and everything.
• 1:07:45
  Speaker 10: So I mean, crypto bag on the way out, just
• 1:07:47
  Speaker 10: to crypto, let's go dollar who needs it anywhere?
• 1:07:58
  Speaker 6: What right?
• 1:07:58
  Speaker 1: That served swell up to now we're gonna live it up.
• 1:08:04
  Speaker 1: Not the dollar, I barely dollars. I'm out any crypto,
• 1:08:13
  Speaker 1: I give up.
• 1:08:13
  Speaker 14: Meanwhile, Steve Guts, Yeah, what a pocket on those guys
• 1:08:19
  Speaker 14: rolling Stone selling out stadiums no one else, damn it, guys.
• 1:08:24
  Speaker 3: Desert Island tracks on this one. What are what are votes?
• 1:08:28
  Speaker 1: Peter? So I've got fifty ways to lose your lover.
• 1:08:30
  Speaker 1: I think it's just like you know, sometimes on these
• 1:08:33
  Speaker 1: I like to go anti establishment, and after just the
• 1:08:36
  Speaker 1: last five minutes of talking, I kind of wish I
• 1:08:37
  Speaker 1: had a little bit more bring out. Yeah, but now
• 1:08:40
  Speaker 1: I'm a fall in line like I should gen Xcent.
• 1:08:42
  Speaker 1: I mean, look, that's like to me, that's the track
• 1:08:45
  Speaker 1: that there's super interesting stuff musically. Gads just killing it
• 1:08:49
  Speaker 1: of course, but it's also like, I mean it's that
• 1:08:51
  Speaker 1: that because look, I don't know if you've heard how
• 1:08:53
  Speaker 1: we do this. Adam kind of likes to use this
• 1:08:56
  Speaker 1: as a catch all for whatever he missed in earlier
• 1:08:58
  Speaker 1: in the episode. I use it literally as if I'm
• 1:09:01
  Speaker 1: stuck on a desert island, I can only have one
• 1:09:03
  Speaker 1: of these tracks, what do I want it to be?
• 1:09:04
  Speaker 4: So that would be it very subjective. Sell me up, man, Jesse,
• 1:09:09
  Speaker 4: do each other. Just when you got for your desert
• 1:09:11
  Speaker 4: island track.
• 1:09:11
  Speaker 2: I'm gonna take I much read it like like like Peter,
• 1:09:14
  Speaker 2: like if I was really stuck on an island, what
• 1:09:15
  Speaker 2: song would I want to hear?
• 1:09:16
  Speaker 1: Repeat? Because like I think my little town is my favorite. Yeah,
• 1:09:19
  Speaker 1: but fifty Ways to Leave your Lover. It's like, I
• 1:09:22
  Speaker 1: don't think I could ever.
• 1:09:23
  Speaker 2: I don't think I would ever be bored of it
• 1:09:25
  Speaker 2: fifty years later on an island, I'm not gonna be
• 1:09:28
  Speaker 2: It's just it's yeah, that's the mood of being stuck
• 1:09:30
  Speaker 2: on an island, right.
• 1:09:31
  Speaker 4: Also, could you imagine the rhymes you can come up
• 1:09:33
  Speaker 4: on an island? I know with that game, you have
• 1:09:35
  Speaker 4: fifty courses of.
• 1:09:36
  Speaker 1: You know, like and it's got such diversity, almost two tunes.
• 1:09:41
  Speaker 1: You know, it's like the minor and then it goes
• 1:09:43
  Speaker 1: to the you know, it's it's really like.
• 1:09:45
  Speaker 4: So I also think about this as what I would
• 1:09:47
  Speaker 4: like to listen to on a desert island, despite what
• 1:09:50
  Speaker 4: my co host says, and I picked I do it
• 1:09:52
  Speaker 4: for your love.
• 1:09:53
  Speaker 1: I have been in love with that song from the
• 1:09:54
  Speaker 1: first time I heard it, and I still am. Okay
• 1:09:57
  Speaker 1: uh apex moments on the album money Ill Thing, what
• 1:10:00
  Speaker 1: you got, Justine? You know what I'm going.
• 1:10:08
  Speaker 2: I'm going with the of mister Magic Ralph McDonald uh
• 1:10:13
  Speaker 2: on on My Little Town, you know, just getting into that,
• 1:10:17
  Speaker 2: like that that little section of that with the with
• 1:10:20
  Speaker 2: the horns.
• 1:10:21
  Speaker 1: I don't know, it's just unbelievable, but it's driving it forward.
• 1:10:23
  Speaker 3: Man.
• 1:10:24
  Speaker 1: It's like, but you know, the bridge on still crazy.
• 1:10:26
  Speaker 2: I don't know, man, I'm gonna go with I'm gonna
• 1:10:28
  Speaker 2: go with that moment at the end of My Little
• 1:10:29
  Speaker 2: Town Nice.
• 1:10:30
  Speaker 3: I'm going with the bridge I'm still crazy.
• 1:10:32
  Speaker 4: From the Bob James arrangement into the Brecker solo, I
• 1:10:35
  Speaker 4: think is my favorite part.
• 1:10:36
  Speaker 1: Okay, so we're gonna change what you have written here, gotcha?
• 1:10:39
  Speaker 3: What are you talking about?
• 1:10:40
  Speaker 1: I got? Oh, you got, I got you, I got you.
• 1:10:44
  Speaker 6: Know, but.
• 1:10:48
  Speaker 1: This is a glimpse into the off camera situation. Why
• 1:10:52
  Speaker 1: don't you usually be shield and we gotta we got
• 1:10:54
  Speaker 1: royalty towls, which kind of threw me.
• 1:10:57
  Speaker 4: We're still holding the grudge from the Lewis Armstrong episode,
• 1:10:59
  Speaker 4: so go ahead.
• 1:11:00
  Speaker 1: That's right, right, I mean, I got Phil Woods, you know,
• 1:11:04
  Speaker 1: I have a good time, like he's finally somebody had it.
• 1:11:07
  Speaker 1: Everyone's having a good time.
• 1:11:08
  Speaker 19: But finally gave you finally Jazz Street, Cred, Sad Boy Summer,
• 1:11:13
  Speaker 19: and yeah, Sad Boy brought Charlie Park and the Jazz
• 1:11:16
  Speaker 19: Police all up in that boche.
• 1:11:18
  Speaker 1: So yeah, I mean, that's it's it's the most unusual
• 1:11:22
  Speaker 1: and jarring, but I think it's cool thing.
• 1:11:24
  Speaker 4: So Bespoke Spotify playlist, If this were on a playlist,
• 1:11:27
  Speaker 4: what would it be?
• 1:11:27
  Speaker 3: I have Lauren's Hampton playlist.
• 1:11:31
  Speaker 4: Paul Simon famously friends like best friends with Lauren Michael's
• 1:11:34
  Speaker 4: SNL creator, and I just feel like, if Lauren has
• 1:11:38
  Speaker 4: a house in the Hampton's, which I assume he's got
• 1:11:40
  Speaker 4: at least one multiple yeah, that he's got an old
• 1:11:43
  Speaker 4: like third gen iPod out there, just has it just
• 1:11:49
  Speaker 4: says Laurence Hampton playlist. It's mostly Paul Simon and uh
• 1:11:53
  Speaker 4: and Rolling Stones.
• 1:11:55
  Speaker 1: But yeah, and then wasn't there a connection with the
• 1:11:57
  Speaker 1: was the the first Paul Simon appearance on SNL in
• 1:12:01
  Speaker 1: that first season?
• 1:12:02
  Speaker 4: Well, so yeah, my little they do my little Town
• 1:12:05
  Speaker 4: on the very second episode of Saturday.
• 1:12:07
  Speaker 1: Ever. Okay, So for Bespoke Spotify playlist, I have, okay,
• 1:12:12
  Speaker 1: full disclosure here. I saw yours first, and it's so good, Lawrence.
• 1:12:16
  Speaker 1: I was like, I got nervous, and I went to
• 1:12:18
  Speaker 1: Claude for some help on this, and this is what
• 1:12:21
  Speaker 1: Claude gave. But I kind of like it's still a
• 1:12:23
  Speaker 1: large language model, still spinning after all these years. Okay, yeah,
• 1:12:28
  Speaker 1: because this, I mean, this is a great like, this
• 1:12:30
  Speaker 1: is fun listening to it, and here we can trigger
• 1:12:32
  Speaker 1: this stuff. But like you get the vinyl going, yeah,
• 1:12:36
  Speaker 1: like you I should have went to Claude Man. Honestly,
• 1:12:39
  Speaker 1: Lawrence Hampton's playlist was so good. I hate to cop out.
• 1:12:42
  Speaker 16: I hate to have come all the way out here
• 1:12:44
  Speaker 16: to just to to just you know, shrivel in the moment.
• 1:12:48
  Speaker 16: But Laurence Hampton's playlist is like, that's it's really good.
• 1:12:52
  Speaker 3: Perfect, I'll take it. Don't look at that ship.
• 1:12:54
  Speaker 1: Look at it more as like you're not degrading yourself
• 1:12:57
  Speaker 1: to this ridiculousness. That's the way you should look at all. Right,
• 1:13:01
  Speaker 1: up next, what is coming up next on the playlist?
• 1:13:04
  Speaker 1: What what are the other albums tracks, anything that pairs
• 1:13:08
  Speaker 1: with this? So on this I did because I always
• 1:13:11
  Speaker 1: like to think about, especially this stuff that's kind of
• 1:13:13
  Speaker 1: before my time a little bit, like what was happening
• 1:13:17
  Speaker 1: at that time. I always think even in history, that's
• 1:13:19
  Speaker 1: like really interesting. It's like because you know, like when
• 1:13:21
  Speaker 1: we did the Lois armstongs, like he's revolutionizing. Like we
• 1:13:24
  Speaker 1: look back on the twenties and we think of the
• 1:13:26
  Speaker 1: twenties are like, eh, Jess Kid, and like, then you
• 1:13:29
  Speaker 1: have this artist that like set up not single handedly,
• 1:13:32
  Speaker 1: but more so than it has ever happened. Is this
• 1:13:34
  Speaker 1: a little armstrong episode of Paul Simon? I can't remember, no,
• 1:13:36
  Speaker 1: but it's like, but then you think about the twenties
• 1:13:38
  Speaker 1: and like the depression and just all these things. It's
• 1:13:41
  Speaker 1: it's kind of amazing. So seventy five is not that
• 1:13:43
  Speaker 1: long ago. But these are three records that came out
• 1:13:45
  Speaker 1: in seventy five. Bob Dylan's Blood on the tracks, Earth
• 1:13:51
  Speaker 1: Wind and Fire, That's the Way of the World, and
• 1:13:53
  Speaker 1: Keith Jarrett's con Concerts, the best selling solar pianol record
• 1:13:56
  Speaker 1: of all.
• 1:13:57
  Speaker 3: Yeah, we got to do that the world at some point.
• 1:13:58
  Speaker 14: Yeah.
• 1:13:59
  Speaker 3: Also we got to do con concert at some point.
• 1:14:00
  Speaker 1: Yeah.
• 1:14:01
  Speaker 3: I like those picks. Those are good, justin you.
• 1:14:05
  Speaker 4: Know, I was going I went with the CSNS nineteen
• 1:14:08
  Speaker 4: seventy seven self titled, just because it felt like it.
• 1:14:13
  Speaker 1: Come on, you know, after we listened to this on LORDE.
• 1:14:17
  Speaker 1: Hampton's Hampton by Lawrence.
• 1:14:20
  Speaker 2: On Lauryn's Hampton Playlist, like yeah, I want to hear
• 1:14:22
  Speaker 2: like Dark Star by Es and the Yacht Vibe vibe.
• 1:14:26
  Speaker 1: I'm gonna go innervisions. I'm gonna go like I want
• 1:14:29
  Speaker 1: to listen to this album and then I want to
• 1:14:31
  Speaker 1: listen to the album, and then you're gonna divorce your wife,
• 1:14:35
  Speaker 1: slip out the back door.
• 1:14:36
  Speaker 3: I man, I love you know.
• 1:14:38
  Speaker 4: The classic is like the pet Sounds Beatles playing off
• 1:14:42
  Speaker 4: each other. But I love stories like this where someone
• 1:14:45
  Speaker 4: who I think is a top tier artist here is
• 1:14:47
  Speaker 4: another top tier artist feels challenged and inspired because don't
• 1:14:52
  Speaker 4: forget Paul Simon at this point has made some bangers.
• 1:14:55
  Speaker 3: Like it's not like he's just like an aspiring artist.
• 1:14:58
  Speaker 4: He's already been through Simon and Garfunkle, He's already made
• 1:15:00
  Speaker 4: the self titled album.
• 1:15:01
  Speaker 1: He's already made.
• 1:15:02
  Speaker 4: Here goes Ryman Simon and he gets beat by Stevie
• 1:15:05
  Speaker 4: Wonder and he gets super into inner visions and.
• 1:15:08
  Speaker 3: Just like how we were talking about, I have this vision.
• 1:15:11
  Speaker 4: I don't know if it's true, but I feel like
• 1:15:12
  Speaker 4: when Stevie made Talking Book, I can here let it
• 1:15:14
  Speaker 4: be on that like I can hear Stevie listening to
• 1:15:17
  Speaker 4: the Beatles and being like I can do that but better.
• 1:15:19
  Speaker 3: And I feel like this is Paul's maybe not I
• 1:15:21
  Speaker 3: can do that but better.
• 1:15:22
  Speaker 4: But his like answer to Inner Visions and his thoughts
• 1:15:24
  Speaker 4: about it, not that you could ever compete with Vision.
• 1:15:27
  Speaker 1: But Paul's not scared to like go to the manor.
• 1:15:30
  Speaker 1: And I really like that thought that these two albums
• 1:15:34
  Speaker 1: were like one after the other, at least in Paul
• 1:15:36
  Speaker 1: Simon's mind. Yeah, that's great. It's a great pick quibble bits,
• 1:15:40
  Speaker 1: anything that you want to quibble with on this. You guys,
• 1:15:43
  Speaker 1: I'm gonna go.
• 1:15:44
  Speaker 4: You know, we talked about this a little bit, but
• 1:15:45
  Speaker 4: it's this is a front loaded album. Like the first
• 1:15:48
  Speaker 4: side of this of this record is incredible, the second
• 1:15:51
  Speaker 4: side is you know, Yeah.
• 1:15:54
  Speaker 1: The first half was boomers are taking you don't want
• 1:16:02
  Speaker 1: to generally, I'm just wondering, like could they have? But
• 1:16:05
  Speaker 1: wasn't this the era of the front loaded like literally
• 1:16:08
  Speaker 1: about fixed for this though.
• 1:16:10
  Speaker 2: And this goes to my quipble bits leaving off slip
• 1:16:13
  Speaker 2: Slide in a way was which which was stupid.
• 1:16:18
  Speaker 1: One of the album was slip sliding on.
• 1:16:21
  Speaker 4: That That's how you hear the demo of slip Sliding
• 1:16:25
  Speaker 4: Away on Spotify. But I imagine slip Side and Away
• 1:16:27
  Speaker 4: as track number seven or eight on this album. Unbelievable, unbelievable,
• 1:16:32
  Speaker 4: the rescues the second side.
• 1:16:33
  Speaker 2: I mean, the second side is great, but it needed
• 1:16:35
  Speaker 2: it needed a slip slide, it needed a song that good.
• 1:16:38
  Speaker 1: Yeah, great, yeah. And I think it's just like it's
• 1:16:41
  Speaker 1: the whole thing of like we talked about the advantage
• 1:16:43
  Speaker 1: of technology at this time and like, you know, just
• 1:16:45
  Speaker 1: to be able to write stuff like this and have
• 1:16:47
  Speaker 1: people's attentions and ear for a huge album like this.
• 1:16:51
  Speaker 1: But there is another thing of like the turning over
• 1:16:53
  Speaker 1: of the record because I remember like certain records like
• 1:16:56
  Speaker 1: it was just like you know, and that was okay,
• 1:16:58
  Speaker 1: like it was still worth the seven bucks or whatever.
• 1:17:00
  Speaker 1: But and that's why I think, like Steve, you talk
• 1:17:02
  Speaker 1: about certain records like Stevie had that run where it
• 1:17:05
  Speaker 1: was like it was key, I mean talking about the
• 1:17:07
  Speaker 1: apex moments on the middle of the B side and stuff,
• 1:17:09
  Speaker 1: especially if you're into music like that was an exciting thing,
• 1:17:12
  Speaker 1: but that was not the norm. So quibble bits I have, uh,
• 1:17:17
  Speaker 1: And if you're feel free to pause this or fast
• 1:17:20
  Speaker 1: forward this for some folks, if you don't want to
• 1:17:23
  Speaker 1: hear this, why would you know, because no, are some
• 1:17:27
  Speaker 1: of the grooves on this record are sanitized to me
• 1:17:31
  Speaker 1: a little bit, like the whole I mean, there's nothing
• 1:17:34
  Speaker 1: that's not grooving.
• 1:17:35
  Speaker 3: So you're saying that, you're saying that Steve Gadd isn't grooving.
• 1:17:38
  Speaker 1: No what I'm saying. Of course he's grew, but I
• 1:17:40
  Speaker 1: think he's been And I wouldn't even say I have
• 1:17:42
  Speaker 1: no knowledge. It's not like, oh I heard they told
• 1:17:44
  Speaker 1: him don't play this or don't dig in. I think
• 1:17:46
  Speaker 1: it's just he appropriately played the situation and listening to
• 1:17:49
  Speaker 1: it with you guys and getting your feedback. I'm kind
• 1:17:51
  Speaker 1: of turned around on this a little bit because I
• 1:17:53
  Speaker 1: think situation, especially as you go through and listen to
• 1:17:56
  Speaker 1: this record, everything's appropriate. Like we get into this thing
• 1:17:58
  Speaker 1: where we're really analyzing and I'm thinking, like, oh, I
• 1:18:00
  Speaker 1: know what Steve Gadd can do. I know what the
• 1:18:02
  Speaker 1: muscle shows guys can do. But it's like you don't
• 1:18:05
  Speaker 1: have to bring any of that to it. If you
• 1:18:06
  Speaker 1: just take it for what it is, it totally you
• 1:18:08
  Speaker 1: know has on its way. But it's just like like
• 1:18:10
  Speaker 1: Steve Gack can really hit a New Orleans groove like
• 1:18:13
  Speaker 1: two X that no problem.
• 1:18:15
  Speaker 2: So you know you're not wrong, man, because you know
• 1:18:17
  Speaker 2: and Paul, Like, we listened to Cecilia Cecilia to like
• 1:18:22
  Speaker 2: and then the kind of made rhythm of the Saints,
• 1:18:24
  Speaker 2: and then you listen to the demo of Gone at Last,
• 1:18:28
  Speaker 2: yeah versus not. You know, Richard T's play is great
• 1:18:31
  Speaker 2: and whatever, but you listen to the demo Gone out
• 1:18:33
  Speaker 2: Last compared to the what you Know, You're like.
• 1:18:35
  Speaker 1: Exactly Now, that's probably the most sanitized track on him,
• 1:18:40
  Speaker 1: which is weird because like Richard T, I think is
• 1:18:41
  Speaker 1: one of the greatest like blues gospel anything pianist.
• 1:18:45
  Speaker 3: That sounds like it's from a musical.
• 1:18:47
  Speaker 1: Yeah, it's like the wing Damn, I'm not gonna be
• 1:18:50
  Speaker 1: do here that And there's nothing wrong with the way
• 1:18:54
  Speaker 1: that this is like perfect gospel musical.
• 1:18:56
  Speaker 2: But you know what someone said, I don't know who
• 1:18:59
  Speaker 2: phil someone said, white people have to listen to this,
• 1:19:03
  Speaker 2: you know, Oh I'm sure, sorry, this.
• 1:19:07
  Speaker 1: Is totally there for that. Yeah, and it was like, yeah,
• 1:19:11
  Speaker 1: it's probably like, yeah, we could win a Grammy.
• 1:19:16
  Speaker 3: Richard T is killing. I don't care what anybody, no,
• 1:19:18
  Speaker 3: he is killing.
• 1:19:19
  Speaker 1: But like this is probably the least it's weird because
• 1:19:22
  Speaker 1: like the inspirations like even you're here, what He's like
• 1:19:24
  Speaker 1: bah dah da dude. But it's almost like he would
• 1:19:26
  Speaker 1: have been like, like, there's just little things that if
• 1:19:29
  Speaker 1: you know, you're like, there's nothing wrong with that, but
• 1:19:32
  Speaker 1: if you know, so to me. But again, like it's
• 1:19:35
  Speaker 1: it's kind of better when you don't know how this
• 1:19:37
  Speaker 1: sausage is made to listen to this stuff, because you're like, wow,
• 1:19:39
  Speaker 1: this is gospel, you know, and it's like, I mean,
• 1:19:42
  Speaker 1: my parents would totally be like, oh, this is gospel.
• 1:19:46
  Speaker 4: I think if I could, if I could paraphrase what
• 1:19:49
  Speaker 4: I think you're trying to say here is it feels
• 1:19:51
  Speaker 4: like there's like these are the grooves are in broad strokes,
• 1:19:54
  Speaker 4: like we're not getting the details that you would get
• 1:19:56
  Speaker 4: in sort of like a more loose, gritty situation.
• 1:19:58
  Speaker 3: Yeah, you're just letting the musicians do what they want.
• 1:20:00
  Speaker 4: It just feels like this is a songwriter's album and
• 1:20:03
  Speaker 4: we're gonna we're gonna do this in a in the
• 1:20:05
  Speaker 4: sort of broadway possible so that people in the middle
• 1:20:08
  Speaker 4: Missouri can listen to this and feel okay about it
• 1:20:12
  Speaker 4: at that time.
• 1:20:13
  Speaker 3: And yeah, I mean that was done all the time.
• 1:20:15
  Speaker 1: And I don't know that like, you know, was Paul
• 1:20:18
  Speaker 1: Simon and Phil Ramone and others like like, I definitely
• 1:20:22
  Speaker 1: can't see Bob James being like, Okay, I can help
• 1:20:24
  Speaker 1: make these I mean I don't. I don't know how
• 1:20:25
  Speaker 1: conscious or if that was just sort of their default
• 1:20:27
  Speaker 1: way of like, oh I like gospel, let's.
• 1:20:29
  Speaker 2: Do some g Paul wasn't afraid to like stretch, you know, like,
• 1:20:33
  Speaker 2: so I can't Maybe it was the zone he was in,
• 1:20:36
  Speaker 2: but I can't imagine Paul was would have been afraid
• 1:20:39
  Speaker 2: to go off the rails with you know.
• 1:20:41
  Speaker 4: I mean, he's made whole albums where they just were
• 1:20:43
  Speaker 4: just jamming yeah, and then pieced it together later yeah,
• 1:20:46
  Speaker 4: and Graceland was made. Is they just like he just
• 1:20:48
  Speaker 4: recorded a bunch of people just playing yeah and pieced together.
• 1:20:51
  Speaker 3: So yeah, that has a whole other, whole other thing.
• 1:20:55
  Speaker 3: But yeah, I can see that, Peter.
• 1:20:57
  Speaker 1: I don't fully agree in that.
• 1:20:59
  Speaker 4: I do think when I think about this album, I
• 1:21:02
  Speaker 4: don't think about like, oh, this has got to be
• 1:21:04
  Speaker 4: like some authentic gospel. It's more about the expression of
• 1:21:06
  Speaker 4: Paul's lyrics are telling the story glory of and I
• 1:21:10
  Speaker 4: get that. And I think it's a balance because you
• 1:21:13
  Speaker 4: could lose that pretty easily if it goes out of.
• 1:21:15
  Speaker 2: Whack, you know what I mean, maybe it's maybe Paul
• 1:21:17
  Speaker 2: felt that stops beIN a divorce album.
• 1:21:19
  Speaker 1: If we go to you know, we go to up
• 1:21:21
  Speaker 1: to right, you know, and there's just a cohesion thing
• 1:21:24
  Speaker 1: that nowadays wouldn't matter as much because of how people listen.
• 1:21:27
  Speaker 1: But like if it had been going like you know,
• 1:21:30
  Speaker 1: the Muscle Show, guys were like really and then you're
• 1:21:32
  Speaker 1: going sing, you know, singer song right, it could be jarring.
• 1:21:35
  Speaker 2: It would have been probably probably would have been jarring.
• 1:21:37
  Speaker 2: So maybe I understand why I think they did it.
• 1:21:40
  Speaker 2: But all right, would you have quibble bits?
• 1:21:42
  Speaker 1: Yeah? I did.
• 1:21:43
  Speaker 3: I did the it was front loaded, just not kind
• 1:21:45
  Speaker 3: of have the same one.
• 1:21:46
  Speaker 1: That's right, go stmometer. I'm listening. How snobby is it
• 1:21:50
  Speaker 1: is it?
• 1:21:50
  Speaker 4: Is it on the low end of the scale where
• 1:21:52
  Speaker 4: it's very commercially accessible, or is it at the high
• 1:21:56
  Speaker 4: end of the scale where it's super snobby not very
• 1:21:58
  Speaker 4: So that's how we're defining it.
• 1:21:59
  Speaker 1: I mean, that's how I've always designed to find it. Peter,
• 1:22:03
  Speaker 1: I put this as a two. Yeah, I mean I
• 1:22:05
  Speaker 1: put it as a three. Just cauz like, I almost
• 1:22:08
  Speaker 1: think it's sort of a one, but as as as
• 1:22:12
  Speaker 1: we mentioned before and talked about, like it's sort of
• 1:22:14
  Speaker 1: changed over time, so I don't really have it like
• 1:22:16
  Speaker 1: is this snobby now? I mean definitely, Look it won
• 1:22:19
  Speaker 1: a I mean it was a huge record where it
• 1:22:20
  Speaker 1: came out. So it's not snoppy, right, it's a one
• 1:22:22
  Speaker 1: or ten. It's buying. It's like it's either it's like
• 1:22:24
  Speaker 1: this is not like so I'm torn. It's like one.
• 1:22:26
  Speaker 2: It's like this is quintessential New York and in that
• 1:22:29
  Speaker 2: in one sense, and so it's like a ten. Yeah,
• 1:22:31
  Speaker 2: but it's also like, what's it's not? It's pretty accessive.
• 1:22:36
  Speaker 1: Oh and see Justin is seen right through and found
• 1:22:38
  Speaker 1: the fault with the cnemometer precise measuring to It's kind
• 1:22:43
  Speaker 1: of this, you know what?
• 1:22:44
  Speaker 3: This is kind of like a Woody Allen movie.
• 1:22:46
  Speaker 4: Like it's like, if you're the right kind of fan,
• 1:22:48
  Speaker 4: it's super accessible, but if you're not the right kind
• 1:22:51
  Speaker 4: of fan, it is not.
• 1:22:52
  Speaker 1: You're like, what is this?
• 1:22:53
  Speaker 3: And it's a little bit it's a.
• 1:22:56
  Speaker 1: Super a snoppy car. It's kind of like that if
• 1:22:58
  Speaker 1: you go no. But if that's it's it's hard to
• 1:23:01
  Speaker 1: rate the same way. Did you give a number one
• 1:23:03
  Speaker 1: or ten. I don't know. It's so I've fallen into that.
• 1:23:07
  Speaker 1: Well that's what I did. It is mad if I
• 1:23:09
  Speaker 1: give it a five, because I still think it's a
• 1:23:11
  Speaker 1: one or ten. Yeah, well that's why sometimes I think
• 1:23:14
  Speaker 1: the same thing. So I'll average it out.
• 1:23:16
  Speaker 4: Okay, so five, This is so classics nomometer right now,
• 1:23:20
  Speaker 4: this is just perfect this thermometers. Is it better than
• 1:23:23
  Speaker 4: kob Is it better than Miles Davis's nineteen fifty nine
• 1:23:25
  Speaker 4: masterpiece kind of Blue you had?
• 1:23:27
  Speaker 1: Maybe? I don't know he teged it. I don't want to,
• 1:23:32
  Speaker 1: but I was messed up about that.
• 1:23:35
  Speaker 3: I thought I saw that, and I was like, I
• 1:23:36
  Speaker 3: was surprised.
• 1:23:37
  Speaker 1: I knew he liked this record, but I was surprised.
• 1:23:39
  Speaker 3: I just thought about it some more. I've been listening
• 1:23:41
  Speaker 3: to it.
• 1:23:41
  Speaker 1: Obviously. He had an exclamation point after maybe too well,
• 1:23:44
  Speaker 1: only because that's been a thing of me. I usually
• 1:23:45
  Speaker 1: get one.
• 1:23:46
  Speaker 4: Peter always does maybe like even he doesn't like right,
• 1:23:49
  Speaker 4: Maybe I never do it, but I kind of I
• 1:23:51
  Speaker 4: did it first. I did move to no into the
• 1:23:53
  Speaker 4: no category. I just think it's just not as good
• 1:23:57
  Speaker 4: of a work of art as kind of what had
• 1:24:00
  Speaker 4: you considering it as?
• 1:24:02
  Speaker 1: How important it was for me as a musician, like
• 1:24:05
  Speaker 1: you know again, I learned that Roads part on like
• 1:24:08
  Speaker 1: one of the first things I transcribed that wasn't jazz.
• 1:24:11
  Speaker 1: So that's how we're deciding if it's better then I
• 1:24:14
  Speaker 1: think it's like how much stuff we learned off.
• 1:24:19
  Speaker 3: I have a personal connection to it. It means that
• 1:24:21
  Speaker 3: it has meant a lot to me.
• 1:24:23
  Speaker 4: That's even as a songwriter of like of of you know,
• 1:24:27
  Speaker 4: I occasionally do like to write pop songs and Paul
• 1:24:29
  Speaker 4: Simon is like my number one for learning how to
• 1:24:32
  Speaker 4: because he does a similar a similar workflow that I do,
• 1:24:36
  Speaker 4: where he apparently does uh you know, melodies syllobically first
• 1:24:41
  Speaker 4: and then writes a whole form around it and then
• 1:24:42
  Speaker 4: it inserts a story later, which is by the way,
• 1:24:45
  Speaker 4: insane for how great his stories are, Like usually when
• 1:24:48
  Speaker 4: the lyrics are that good, it's the other way around.
• 1:24:50
  Speaker 1: The reverse engineer.
• 1:24:51
  Speaker 4: He's like he would be a Sudoku master at filling
• 1:24:54
  Speaker 4: in blank spaces because he's just so good at that,
• 1:24:58
  Speaker 4: And so it meant a lot to me personally.
• 1:24:59
  Speaker 1: So yes, but I did move it away because I
• 1:25:01
  Speaker 1: am a rational human being. Now I feel bad. I
• 1:25:04
  Speaker 1: don't know, I don't want to give you a hard time. No,
• 1:25:07
  Speaker 1: I was thinking the same thing. I remember that I
• 1:25:08
  Speaker 1: saw the maybe yeah, because that was surprised. You are
• 1:25:11
  Speaker 1: relentless what you got justin hell no? Hell No? I
• 1:25:17
  Speaker 1: had that, I had a strong note. I hadn't know
• 1:25:19
  Speaker 1: what the exclamation on another record. I gotta be more confident.
• 1:25:22
  Speaker 1: Yeah yeah, I mean it's.
• 1:25:23
  Speaker 3: Just that's our first hell.
• 1:25:26
  Speaker 4: But I like it because there could be a hell yes,
• 1:25:27
  Speaker 4: which would be like eleven, like oh yeah, that's way better.
• 1:25:30
  Speaker 1: We could have a whole meter. It could be like no,
• 1:25:33
  Speaker 1: hell no, hell mails.
• 1:25:34
  Speaker 4: No, yeah, f no, you know, but okay, uh Accoutrement's
• 1:25:40
  Speaker 4: album cover and whatnot.
• 1:25:41
  Speaker 3: I have a ten just for the mustache.
• 1:25:43
  Speaker 1: The mustache is good. I have a nine and and
• 1:25:46
  Speaker 1: I probably would have done seven or eight. The reason
• 1:25:48
  Speaker 1: I did nine is because I know I'm starting to
• 1:25:50
  Speaker 1: see I didn't realize how influential this style is right now,
• 1:25:55
  Speaker 1: Like there's a bunch of people kind of and it's
• 1:25:57
  Speaker 1: it's coming gone a couple of times. With having the
• 1:25:59
  Speaker 1: little picture within the solid background on the cover, I'm
• 1:26:03
  Speaker 1: seeing that so that I don't know why that would
• 1:26:05
  Speaker 1: push it up higher, but it seems like it would
• 1:26:07
  Speaker 1: be important.
• 1:26:08
  Speaker 2: I'm gonna say like four, I like it and and like,
• 1:26:13
  Speaker 2: on one hand, personally I like it. I think it's
• 1:26:15
  Speaker 2: one of his best. I still think the self titled
• 1:26:17
  Speaker 2: album cover is better incredible, and then like Bookends is
• 1:26:22
  Speaker 2: like a great but so if we're including it's an
• 1:26:26
  Speaker 2: all timer, so it's maybe like the third best, but
• 1:26:29
  Speaker 2: like like it might be partially it's not like it's
• 1:26:33
  Speaker 2: just not in your face enough that I wonder if
• 1:26:35
  Speaker 2: that's why the album is you know, you know, for
• 1:26:38
  Speaker 2: for for casual listeners. You know, I think if you're
• 1:26:40
  Speaker 2: pulling something, you're gonna pick a Paul Simon album on
• 1:26:42
  Speaker 2: off of like whatever streaming, Like, I don't know if
• 1:26:45
  Speaker 2: that album cover is gonna like And it might be.
• 1:26:47
  Speaker 4: Why it's aged not as great as it maybe could have.
• 1:26:51
  Speaker 4: I mean it's aged sonically very well.
• 1:26:54
  Speaker 2: Yeah, but in terms of like in the popular imagination
• 1:26:56
  Speaker 2: of like what a great album is, like a more
• 1:26:59
  Speaker 2: like iconic like you know cover that pops.
• 1:27:03
  Speaker 1: It's definitely not made for like a little thumbnail.
• 1:27:05
  Speaker 3: No, it is definitely not made it's made for a
• 1:27:07
  Speaker 3: twelve inch yeah cover.
• 1:27:09
  Speaker 1: Yeah.
• 1:27:10
  Speaker 4: I think what I like about it is you we're
• 1:27:11
  Speaker 4: talking about the divorce. We're talking about what personal things
• 1:27:14
  Speaker 4: that it means to Paul. It looks like someone snapped
• 1:27:17
  Speaker 4: a photo of a guy trying to look happy when
• 1:27:20
  Speaker 4: he's going through some ship, you know what I mean,
• 1:27:22
  Speaker 4: Like he's grown a mustache, cowboy.
• 1:27:26
  Speaker 1: He's definitely going through a break in Indiana, but he's
• 1:27:29
  Speaker 1: from Queens. It's like, this is a man who's really
• 1:27:31
  Speaker 1: as the Plaza. He's cosplaying. That's the divorce guy.
• 1:27:36
  Speaker 4: He's gone, he's got a new he's got he's got
• 1:27:39
  Speaker 4: a new apartment, phill ikea furniture that he just got.
• 1:27:43
  Speaker 1: He's grown a mustache and his hair out.
• 1:27:49
  Speaker 4: He's read about seventies swingers. He grew the mustache. The
• 1:27:54
  Speaker 4: subculture here.
• 1:27:56
  Speaker 1: Oh yeah, well I think that also. This is such
• 1:28:00
  Speaker 1: a great reminder and thank you justin for being here
• 1:28:02
  Speaker 1: and bringing your spirit, like you're having listened to you
• 1:28:06
  Speaker 1: so much. Like your approach to like music appreciation and
• 1:28:10
  Speaker 1: like connection is so deep, and I think, you know,
• 1:28:13
  Speaker 1: we we we go into that and then we'll get
• 1:28:15
  Speaker 1: pulled out with like oh the a major seven bro
• 1:28:18
  Speaker 1: high five. But I mean it brings back and like
• 1:28:21
  Speaker 1: what you were saying too, it's like the personal connection
• 1:28:23
  Speaker 1: with these things guides like the accouterments right like that. Yes,
• 1:28:28
  Speaker 1: we could sit here and be like, well, the design
• 1:28:30
  Speaker 1: is not according to the standards of whatever. But like
• 1:28:32
  Speaker 1: when you learn a chord or like you're going through
• 1:28:35
  Speaker 1: a divorce. I mean, could you imagine if you're going
• 1:28:37
  Speaker 1: through your own breakup at the same time, and you
• 1:28:39
  Speaker 1: lived in New York and you like to wear Indiana,
• 1:28:41
  Speaker 1: like you would connect on that. You'd be like, that's
• 1:28:43
  Speaker 1: my man, But I mean you would and you're trying
• 1:28:47
  Speaker 1: to keep your standard a living goal. Pop probably got
• 1:28:51
  Speaker 1: some high fives walking around. Yeah, but I mean that's
• 1:28:55
  Speaker 1: the and then the music, you know, I think more
• 1:28:58
  Speaker 1: than holds up in terms of that, and then if
• 1:29:00
  Speaker 1: you have that connection with it even more so. So
• 1:29:02
  Speaker 1: it's been exciting for me to like just experience this
• 1:29:05
  Speaker 1: with with you guys. This is the you were talking
• 1:29:09
  Speaker 1: about what ilon this is?
• 1:29:10
  Speaker 2: This is, this is I don't know, like this is
• 1:29:12
  Speaker 2: a woody this is I don't know, like that's just
• 1:29:14
  Speaker 2: final thoughts is like, yeah, that is the great it
• 1:29:16
  Speaker 2: like it's it's it's a I mean, masterfully made. There's
• 1:29:21
  Speaker 2: almost nothing you could nitpick, but you can nitpick, you know,
• 1:29:23
  Speaker 2: but it's like it's it's just it's it's like precisions great.
• 1:29:27
  Speaker 2: It's a great album.
• 1:29:28
  Speaker 1: Yeah.
• 1:29:29
  Speaker 2: I've gone back and forth about like whether like how
• 1:29:31
  Speaker 2: much I love this or not over just the time
• 1:29:33
  Speaker 2: I've been here in Saint Louis.
• 1:29:35
  Speaker 1: I love I love it.
• 1:29:36
  Speaker 3: It's a great album. I think it's it's at.
• 1:29:38
  Speaker 4: That stage of its life where people are kind of
• 1:29:40
  Speaker 4: going back and forth on it. Yeah, And we all
• 1:29:42
  Speaker 4: are kind of going back and forth on even that era,
• 1:29:46
  Speaker 4: on certain in certain genres, and if like there's you know,
• 1:29:49
  Speaker 4: I think to your point about the broadness of the
• 1:29:51
  Speaker 4: grooves and not going.
• 1:29:53
  Speaker 1: Fully deep on it, I think it holds it back
• 1:29:56
  Speaker 1: in retrospect a little bit. Yeah. Yeah, And I think
• 1:29:58
  Speaker 1: even any of the quibble bits like that one or
• 1:30:00
  Speaker 1: any of the things we've talked about that may be
• 1:30:02
  Speaker 1: a little questionable. I think we'd have to question more
• 1:30:06
  Speaker 1: the times and the way the music industry was set
• 1:30:08
  Speaker 1: up at that time. It's not like a Paul thing
• 1:30:10
  Speaker 1: or even a Phil Ramone thing, although obviously they're part
• 1:30:12
  Speaker 1: of that system, but like it would be more of
• 1:30:15
  Speaker 1: a slight indictment upon that whole period, you know, in
• 1:30:18
  Speaker 1: the system they were working with.
• 1:30:20
  Speaker 2: It's not the fault of But then to an indict
• 1:30:22
  Speaker 2: we were talking earlier, to indict our current system, like
• 1:30:25
  Speaker 2: where tracks or songs, whatever you want to call them,
• 1:30:28
  Speaker 2: are much more about.
• 1:30:31
  Speaker 3: The atmosphere created in the vibe.
• 1:30:33
  Speaker 2: Yeah, this would feel a little antiseptic and a little
• 1:30:36
  Speaker 2: like but like I feel like it's no one, But
• 1:30:39
  Speaker 2: at the same time, I feel like no one values
• 1:30:40
  Speaker 2: the level of songwriting here. No one values that as
• 1:30:44
  Speaker 2: much as they should anymore.
• 1:30:45
  Speaker 4: First minute and fifteen seconds in my little town, what
• 1:30:47
  Speaker 4: is happening is insane. You would never hear that on
• 1:30:50
  Speaker 4: a modern like from one of the biggest pop artists
• 1:30:53
  Speaker 4: in the world. Yeah, writing a song like that where
• 1:30:56
  Speaker 4: it's just this through composed line and chords are happening
• 1:30:59
  Speaker 4: and space is happening, and then there's this like hook
• 1:31:02
  Speaker 4: out of nowhere. Yeah, these two incredible, iconic, angelic voices
• 1:31:07
  Speaker 4: that have sung together since.
• 1:31:09
  Speaker 1: Were children, and we're not too fond of each other
• 1:31:11
  Speaker 1: at that point each other.
• 1:31:13
  Speaker 4: There's baggage there, but like just the way it's written,
• 1:31:16
  Speaker 4: with the with the sheen of the seventies production, Yeah,
• 1:31:20
  Speaker 4: is I think makes it stand alone a little bit
• 1:31:25
  Speaker 4: but it's interesting because that has not aged well because
• 1:31:27
  Speaker 4: people don't just.
• 1:31:28
  Speaker 2: Because people don't value it, people don't do it, don't
• 1:31:31
  Speaker 2: necessarily no one has the time to like make it
• 1:31:33
  Speaker 2: through like those extended verses.
• 1:31:35
  Speaker 1: We don't even write bridges anymore now, like let alone
• 1:31:37
  Speaker 1: like a bridge that changes keys by a major third,
• 1:31:40
  Speaker 1: you know what I mean? Like yeah, or a bridge
• 1:31:43
  Speaker 1: over troubled water. No one writes that anymore.
• 1:31:46
  Speaker 4: I think we got to go out on that. Pete Wow, Justin,
• 1:31:49
  Speaker 4: Thank you so much, man, Thank you for it's been great.
• 1:31:51
  Speaker 4: Even my daughter loves Saint Louis, So we'll be best
• 1:31:54
  Speaker 4: whether you want us or not. Come to the Earth
• 1:31:57
  Speaker 4: Wind and Fire.
• 1:31:57
  Speaker 1: Yeah done, And I'm sure you guys already know about it. Listen,
• 1:32:01
  Speaker 1: but check out Justin on Broken Record with occasional guest
• 1:32:05
  Speaker 1: appearances from Rick Rubin.
• 1:32:06
  Speaker 4: And Rick's now doing tetra Grammonton. But you know we
• 1:32:09
  Speaker 4: love that too. I love Tetragramm, butrip but broken Record,
• 1:32:12
  Speaker 4: that's say I'm doing that.
• 1:32:12
  Speaker 5: Yeah.
• 1:32:13
  Speaker 1: What do you got coming up on the Broken Record
• 1:32:15
  Speaker 1: that you can talk about? That I can talk about
• 1:32:18
  Speaker 1: You know that you can if you want to break news?
• 1:32:20
  Speaker 1: Here can I break some news? An hour to half
• 1:32:24
  Speaker 1: pot that one's there. This isn't Megan Show. What have
• 1:32:28
  Speaker 1: coming up? You know, I'm excited.
• 1:32:31
  Speaker 5: It.
• 1:32:31
  Speaker 2: Maybe not that excitedly, but talking to John Oates next month,
• 1:32:34
  Speaker 2: which I'm excited about because I talked to Darryl Hall
• 1:32:37
  Speaker 2: three months ago.
• 1:32:38
  Speaker 3: Are you trying to mend that Relationshipah?
• 1:32:40
  Speaker 1: Are they talking? I'll say there's not.
• 1:32:41
  Speaker 4: I thought like like when I was talking to Daryl
• 1:32:43
  Speaker 4: Hall and I love I love both of those guys,
• 1:32:45
  Speaker 4: but when I was talking.
• 1:32:46
  Speaker 1: To her Hall, they got to bring up.
• 1:32:47
  Speaker 2: I approached that interview by like I'm going to pick
• 1:32:52
  Speaker 2: some like songs to highlight where it's very clear like
• 1:32:55
  Speaker 2: they they collaborated and like the kind of like in
• 1:32:58
  Speaker 2: my little Tea like I wanted to pick myself, was like,
• 1:33:01
  Speaker 2: look what you guys just undeniable without without saying it.
• 1:33:04
  Speaker 1: And he wouldn't budget And she was just like John
• 1:33:07
  Speaker 1: didn't do.
• 1:33:09
  Speaker 2: Has he?
• 1:33:10
  Speaker 1: I told him to sing that far? He never wrote anything?
• 1:33:13
  Speaker 1: Like I think he wrote half of that song. You know.
• 1:33:15
  Speaker 2: Like, so I am gonna, like you know, I'm gonna
• 1:33:19
  Speaker 2: I'm gonna pull some quotes from my Darryl I'll interview
• 1:33:21
  Speaker 2: and read them back to John and.
• 1:33:23
  Speaker 1: Yeah, see what do think? Oh, it's amazing. So I'm
• 1:33:25
  Speaker 1: excited to do that.
• 1:33:26
  Speaker 2: And uh, you know, other than that, man, I got
• 1:33:29
  Speaker 2: a kid come in, so I'm gonna take a little
• 1:33:30
  Speaker 2: break there you go.
• 1:33:31
  Speaker 1: I got so, I got some other fun stuff. Yeah
• 1:33:34
  Speaker 1: that's right. Good. Well man, we appreciate you and this
• 1:33:38
  Speaker 1: is fun.
• 1:33:38
  Speaker 3: It's good to be here. Thanks guys.
• 1:33:40
  Speaker 1: Until next time. Well you'll hear it.
• 1:33:42
  Speaker 6: Yeah that's a sir, it's foo