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TMP347 JACQUES DELATOUR REPORTS FOR DUTY · Troubled Men Podcast

• 0:00
  Speaker A: Foreign.
• 0:15
  Speaker B: Listeners, welcome back to the Troubled Men podcast. I am Renee Coleman, sitting in Snake and Jake's Christmas Club Lounge in the heart of the clampire with my co host, the original troubled man for troubled times, Mr. Manny Chevrolet. Welcome Manny.
• 0:31
  Speaker C: Thank you. I feel welcome. Thank you.
• 0:34
  Speaker B: Yeah, man.
• 0:35
  Speaker C: What's going on?
• 0:36
  Speaker B: Oh, not too much. I was out there on the road in the hinterlands. Midwest.
• 0:42
  Speaker C: The hinterland?
• 0:43
  Speaker B: Well, yeah, you know, out there.
• 0:44
  Speaker C: What is that, a Jewish state?
• 0:46
  Speaker B: No, no, you know, it's like the, not the coasts, not the, just the, the interior of the country. Yeah, yeah, they're in Nebraska.
• 0:56
  Speaker C: That sounds scary to me.
• 0:58
  Speaker B: Missouri. It can be. Well, you know, I think John Kennedy Toole said in Confederacy of Dunces that heart of darkness starts at the parish line. So once you get outside of Orleans Parish, all bets are off. But where I was there dodging tornadoes. Had to drive through a rainstorm so treacherous on the highway, I had to slow down to 40 miles an hour to. To be able to see.
• 1:23
  Speaker C: Now you were driving. Doesn't anyone else drive in your band?
• 1:27
  Speaker B: I was driving on that, that fateful day of the horrible thunderstorm. And I thought, you know, it's like sometimes I watch these programs of storm chasers like on, you know, HBO or something. And so I've seen a lot of these cloud formations, what they look like right before they, they turn into tornadoes. Sometimes you'll have those, those weird looking wispy clouds that kind of dip down,
• 1:53
  Speaker D: you know, and it's the same thing.
• 1:55
  Speaker B: I'm looking, I'm looking over at this thing. I'm like, well, I don't see any rotation but it looks fucking terrifying over there. And then comes the white out rain. And then once the rain is once, you can't see anything. You don't know there could be a tornado that you're driving right towards. Well, it didn't, it didn't wind up happening. I was fine. Made it to the gig. Got that was our second gig. It was in Lincoln, Nebraska, part of this kind of several day festivals put on by this place, the Zoo Bar. And it had some classic bands. One band from the kind of a territory band from the Midwest, these two brothers that had been fronting a trio for years and years, the Bel Airs. And they sounded great and they hung around and listened to us and then we both hung around and listened to the band after us and it was a lot of fellowship.
• 2:45
  Speaker C: Who was the band after though?
• 2:47
  Speaker B: Vanessa Collier Band. Oh, great.
• 2:50
  Speaker C: Sounds like one of the worst gigs ever.
• 2:52
  Speaker B: Oh, for you it would have been one of the worst gigs, but it was a good gig. Anyway, I'm back and we're back.
• 2:58
  Speaker C: Yeah, you're back. And everyone's happy that you're back.
• 3:01
  Speaker B: Well, you know, some people are happier than others.
• 3:03
  Speaker C: Yeah.
• 3:05
  Speaker B: How have you been, Maddie?
• 3:06
  Speaker C: Well, I've been crazy. Going nuts. Yeah. In fact, it's been kind of. Last 48 hours have been weird. I. I was going to the ring room on Monday afternoon and I parked and, you know, across from the ring room where we always used to park, Remember, across the street?
• 3:33
  Speaker B: Right.
• 3:34
  Speaker C: And then I've walking towards the ring room and I'm waiting for traffic to go by. And, you know, there's that neutral ground that they have between on Basin street there, right. And as I'm walking, traffic lets up, and I'm walking towards a neutral ground, and there's these two national guard guys, soldiers, whatever the fuck they're called, right. I don't know. And they're walking in front of the ring room, and one of them stops and looks at me, and I can read his lips, and he says to his partner, hey, is that the guy? And I was terrified, sure, for like. But you laugh.
• 4:17
  Speaker B: Well, you know, you're saying it in a funny way. So I'm laying already going along with stick.
• 4:24
  Speaker C: He lifts up, you know, they all wear these sunglasses. They want to look. He lifts up his sunglasses and he taps his partner, goes, hey, is that the guy? And the guy lifts up his sunglasses and. And I'm sitting there and I'm. I'm walking forward now because the traffic is cleared, and I don't know what to do. And then as his soldier buddy or his booty buddy, whatever the fuck they're called, okay? He says, nah, that's not him.
• 4:51
  Speaker B: Oh.
• 4:52
  Speaker C: And they kept walking.
• 4:53
  Speaker B: Okay.
• 4:54
  Speaker C: You know, but.
• 4:55
  Speaker B: But you resembled the suspect.
• 4:57
  Speaker C: I resembled somebody. And who knows, you know, what's going on in this world, our country, right now. Like what happened in Maine just yesterday, you know, some guy was murdered because they thought he looked like somebody. Right, Right.
• 5:10
  Speaker B: Yeah. Fit the description of the suspect.
• 5:13
  Speaker C: They just shot and killed him.
• 5:14
  Speaker B: Well, and the crazy thing about those situations is those guys are like plain clothes and they. And they have unmarked cars. So any regular person would be. See, they'd be. See themselves being approached by these strangers with guns. You'd think you're getting abducted or you're about to get robbed or something.
• 5:34
  Speaker C: I didn't know what the hell was going to happen. There was like a split second where I was just. Should I just turn away? And walk back to my car.
• 5:43
  Speaker B: I don't start walking real fast. Sir, sir, please wait. Stop. Sir, stop.
• 5:47
  Speaker C: Yeah, you know, so it was crazy. Going nuts. And then just now on the way here for like 12 blocks, an NOPD car was following me.
• 5:59
  Speaker B: Okay.
• 6:00
  Speaker C: But then for some reason he pulled a ride into the chicken wing place on Claiborne.
• 6:05
  Speaker B: Okay.
• 6:06
  Speaker C: Which makes sense.
• 6:07
  Speaker B: Yeah, I had some hot product over there.
• 6:08
  Speaker C: I guess I don't know the n. Anyway, so that's happened.
• 6:15
  Speaker B: Right.
• 6:15
  Speaker C: Also, what's. You know, 13 years ago to this day, we, me and my brother in law invented a holiday called Others Day.
• 6:27
  Speaker B: I remember it well.
• 6:28
  Speaker C: Yeah. And it was 13 years ago today that celebrated Others Day. But it didn't really take off. No, it didn't really take off.
• 6:35
  Speaker B: I remember we had a couple of gatherings at at least at Truck Farm.
• 6:40
  Speaker C: At the Truck Farm? Yes.
• 6:42
  Speaker B: Had some bands play.
• 6:43
  Speaker C: Yeah, bands play. And it didn't really take off. Others Day. I don't know.
• 6:47
  Speaker B: But the idea was you have Father's
• 6:50
  Speaker C: Day and Mother's Day.
• 6:51
  Speaker B: Mother's Day.
• 6:52
  Speaker C: Yeah. But why not? All the other people, they need a day.
• 6:55
  Speaker B: And that was Others Day.
• 6:57
  Speaker C: Yeah, that was Others Day, you know. Yeah. Grandparents Day.
• 7:01
  Speaker D: J fest.
• 7:02
  Speaker B: No, no, it was like kind of in the middle of the summer, huh? Yeah, it was.
• 7:05
  Speaker C: Yeah, it was in the middle of. Well, yeah. Thirteen years ago to this day. So it was July. Yeah, it was July years. Did it go on one year?
• 7:13
  Speaker B: You gotta talk right in the mic.
• 7:15
  Speaker C: Yeah, yeah. You guys talking to mic so we can hear you.
• 7:17
  Speaker B: Yeah. Yeah, right.
• 7:18
  Speaker C: Maybe we should try to bring it back. I don't know.
• 7:20
  Speaker B: Okay.
• 7:20
  Speaker C: Yeah, maybe we should have it here. It might be more popular.
• 7:23
  Speaker B: There you go. Yeah, thanks.
• 7:24
  Speaker C: Everyone here smells like another.
• 7:26
  Speaker B: That, that sounds. This seems like a. You know, a lot of times these events, they really need a. A locale. They need a center of gravity. And I think, you know, maybe Truck Farm was too big. But that's. That sounds like exactly something that would work at Snake and Jake's Christmas Club.
• 7:44
  Speaker C: Right? Yeah. Whatever happened to the Truck Farm?
• 7:47
  Speaker B: Ah, you know, it got sold to a hotel development.
• 7:51
  Speaker C: And then.
• 7:53
  Speaker B: Then the neighborhood was up in arms about it. They had to scuttle that. That those plans. I think it's just still sitting there fallow. It's not. Not. There's nobody living in those buildings. It's just going to waste. It's not in commerce. I don't know.
• 8:07
  Speaker C: Good.
• 8:08
  Speaker B: Yeah, it's a shame. Well, it was even without Others Day, it was a very busy weekend here in New Orleans.
• 8:14
  Speaker C: Oh, really?
• 8:15
  Speaker B: Well, I know some friends of ours went to Bastille Day. That was.
• 8:21
  Speaker C: No friends of mine were there.
• 8:22
  Speaker B: Well, your wife was there.
• 8:24
  Speaker C: Yeah. Were you there?
• 8:25
  Speaker B: I was not there.
• 8:26
  Speaker C: All right.
• 8:27
  Speaker B: But at this, it was a crowded weekend, even though it's, you know, the Dead weekend kind of gem. Maybe that's why people do these. They have everything. That weekend they also had a swingers convention in town.
• 8:41
  Speaker C: You were there for that?
• 8:42
  Speaker B: I was out of town. I missed it. This year they had a little people's convention in town. They also had Galaxy Con, some kind of superheroes cosplay convention with 30,000 people at it. And they had the, the Running of the Bulls.
• 9:00
  Speaker C: No, it's the running of the bull dykes.
• 9:02
  Speaker B: Right.
• 9:03
  Speaker C: Because that's the only ones on roller skates are the fucking bulldikes.
• 9:06
  Speaker E: Sure.
• 9:07
  Speaker B: I don't know for sure, but I, but I could, I could take your word for it. Just from the photos I've seen that that holds true.
• 9:13
  Speaker C: Yeah, it holds true. So.
• 9:15
  Speaker B: So, yeah, it's quite a, Quite an array of humanity here in the dog days. I don't know. You know, I remember even during the pandemic when everything was shut down, the swingers still came and were fucking each other.
• 9:28
  Speaker D: Other.
• 9:29
  Speaker B: Passing around bodily fluids, I suppose. I don't know. And then I had a big flood. I missed the big flood. It's four and a half inches of rain in an hour. It's crazy.
• 9:40
  Speaker C: Yeah.
• 9:41
  Speaker B: Do you have flooding over by your house?
• 9:43
  Speaker C: No, we don't flood. We're on, we're on Esplanade Ridge, so we don't flood.
• 9:47
  Speaker B: Right, right.
• 9:47
  Speaker C: But other places flood. Like our former guest, Deborah Howell. Yeah, she lost all her electronics because of the lightning.
• 9:58
  Speaker B: I heard about that.
• 9:59
  Speaker C: Yeah. And now she, you know, she should go to her insurance company because that happened to us once on a brown out and our home insurance paid for all our electronics to be reimbursed.
• 10:09
  Speaker B: Yeah, I think that she should do that. Absolutely. No, I think that's covered by insurance.
• 10:13
  Speaker C: Yeah. Yeah.
• 10:15
  Speaker B: All right. We'll have to.
• 10:16
  Speaker C: Yeah. Other things going on. Do you hear about this student pilot in Venezuela whose teacher just jumped out the, out of the plane to his death while she was flying the plane?
• 10:29
  Speaker B: Oh, I, I, I heard part of that. I didn't realize he jumped out without a parachute.
• 10:34
  Speaker C: No, he, yeah, he committed suicide.
• 10:36
  Speaker B: Oh, crazy.
• 10:36
  Speaker C: Yeah. And his last words to her were, you know what to do. His last words to her?
• 10:44
  Speaker B: Well, I guess he must have had confidence that her.
• 10:46
  Speaker C: Huh? I guess so.
• 10:47
  Speaker B: She landed the Plane.
• 10:48
  Speaker C: She did land the plane. Her plane is. All right. The guy is dead. Right. But Venezuela's had it rough the last few weeks, you know.
• 10:57
  Speaker B: Last few weeks. Last. Last few decades, man.
• 11:00
  Speaker C: Yeah, it's been.
• 11:01
  Speaker B: It's been. It's been. You know, it started off as a modern first world country, really, 30 years ago. Modern country. Had.
• 11:10
  Speaker C: Didn't a lot of Nazis go to Venezuela?
• 11:12
  Speaker B: I think that was. I think that was Argentina.
• 11:15
  Speaker C: No. Or Brazil.
• 11:16
  Speaker B: Or Brazil.
• 11:17
  Speaker C: Well, I think all of South America, the Nazis went.
• 11:20
  Speaker B: Could be. Could be. You know, it's a fertile territory for him there. But. But, yeah, they can.
• 11:26
  Speaker C: They can. There's a lot of monkeys in South America that the Nazis could expect, you know, experiment on.
• 11:32
  Speaker B: Huh?
• 11:34
  Speaker C: That's crazy. Amazon monkeys, all that stuff going on. But, yeah, she. She landed the plane fine. And, you know, I don't know what the hell was the problem with that guy. He just seemed. It was like that great philosopher guy. What was his name? Fuck. He was a NYU professor, and he was a great philosopher. And he talked about loving life and all that, and he committed suicide himself. And his note just said, I've gone out the window. That was his note, you know.
• 12:11
  Speaker B: Okay. It's not something I understand or. Or endorse. It's. Talk about an abomination. I think that's such an affront to. You know, you got so many people trying to stay alive, and then. Then others doesn't.
• 12:24
  Speaker C: Well, they say suicide is painless.
• 12:26
  Speaker B: Well, I've heard that before, you know. Yeah.
• 12:29
  Speaker C: And I've thought about that.
• 12:31
  Speaker B: Really?
• 12:31
  Speaker C: Oh, yeah.
• 12:32
  Speaker B: Oh, man.
• 12:33
  Speaker C: Yeah. I remember after I. My first marriage failed back in the late 80s.
• 12:39
  Speaker A: Huh.
• 12:39
  Speaker B: I didn't know there was a first man.
• 12:41
  Speaker C: Yeah, it only lasted about 9, 10 months. I was devastated. But I. I was to blame.
• 12:48
  Speaker B: I could believe that I was to
• 12:50
  Speaker C: blame because, you know, I'm still in touch with my first wife. We're still in touch, kind of. She lives back in Los Angeles, first
• 12:57
  Speaker B: we're hearing about this.
• 12:59
  Speaker C: And she. In fact, you know, when we were just signing the papers and all that kind of stuff, she goes, you know, Manny, I still love you. I just wish you weren't so generous with your.
• 13:13
  Speaker A: Huh.
• 13:14
  Speaker C: Because I was around constantly.
• 13:16
  Speaker B: Okay.
• 13:17
  Speaker C: You know, so that's what she said. All right.
• 13:19
  Speaker B: Well, you know, sometimes you can be too generous, I suppose.
• 13:22
  Speaker C: Yeah. I was generous with my cock.
• 13:25
  Speaker B: Generous to a flower fault, they would say.
• 13:26
  Speaker C: Yeah, exactly. Well, it led to a divorce.
• 13:28
  Speaker A: Right?
• 13:30
  Speaker B: Generous to a divorce.
• 13:31
  Speaker C: Yeah, sure. Anyway. Anyway, she's a good person.
• 13:34
  Speaker A: All right.
• 13:35
  Speaker B: Well, I'm glad it all worked out. Worked out for the best for you.
• 13:37
  Speaker C: Her name was Ann Margaret.
• 13:39
  Speaker B: Okay. I remember her well.
• 13:41
  Speaker C: Yeah, she's still around, an quite a looker. She drives a motorcycle apparently.
• 13:47
  Speaker B: Okay.
• 13:48
  Speaker C: Anyway, what's going on, man?
• 13:49
  Speaker B: Oh, well, let's see, what else? Well, it's been a. It's been a tough week. Tough couple of weeks in New Orleans for some. Some New Orleans luminaries that we lost. First one was this guy, Ricky Castrillo, who I know you don't know, but Ricky Castrillo was a well known New Orleans character guitar player because he was in the. The Playboy Club Band way back in the.
• 14:16
  Speaker C: Why didn't we have him on the show?
• 14:18
  Speaker B: Well, he had moved. By the time we started the show, he had moved to somewhere in Mississippi. I had contacted him many times, hoping on one of his trips back to New Orleans we could get him on the show, but he always demurred.
• 14:32
  Speaker C: Demure.
• 14:33
  Speaker B: He always declined. Okay, the word that you understand. But he also. I knew him best as the stage manager at Tipitinas for years and years and he. He ran it so well. He knew everybody. He's friends with all.
• 14:48
  Speaker C: They're playing Super Tramp, all the musicians.
• 14:51
  Speaker B: We can't really hear it.
• 14:53
  Speaker C: Turn off the Super Tramp, man. Yeah, turn off the Super Tramp. One of the worst bands ever.
• 14:59
  Speaker B: We're trying to ignore this.
• 15:00
  Speaker C: God.
• 15:01
  Speaker B: But back to Ricky Castrillo. So he ran the. You know, you would think that a stage manager is not so critical. It's like, well, the bands play. But I tell you what, when he left Tipitina's you really understood why you need a stage manager. Suddenly you'd have opening bands overplaying their slot by 20 minutes, throwing everything off. So anyway, we sadly lost Ricky Castrillo and he was a.
• 15:27
  Speaker C: How old was he?
• 15:28
  Speaker B: He must have been in his 70s at this point. Early 70s maybe. But also we lost the Rake, the great James Rivers, terrific saxophone player who used to have a steady gig at Tyler's Beer Garden back in the late 70s. I would go see him all the time, along with a lot of other bands there. He played on like Carnival Time by Al Carnival Time Johnson. He's a saxophone player on that. A whole bunch of other records and was a excellent jazz player. He was a. Clint Eastwood was a big fan. He played on several.
• 16:05
  Speaker C: Oh yeah, he's a big musical talent.
• 16:08
  Speaker B: Well, he played on several of his films. Yeah, but no, he didn't play with Clint. He played on. On the. On the scores of several of his films. Who else? Sam Neill. Probably a friend of yours, huh?
• 16:21
  Speaker C: No, no, I don't.
• 16:22
  Speaker B: You didn't care for that actor, Sam Neal?
• 16:25
  Speaker C: I don't like New Zealand. People never have.
• 16:27
  Speaker B: Why is that?
• 16:28
  Speaker C: It just. It's personal.
• 16:29
  Speaker A: It off.
• 16:30
  Speaker C: We don't have to.
• 16:31
  Speaker B: All right, sure. You know what? I remember Sam Neil from first. Was this movie, Dead Calm. Do you ever see that?
• 16:38
  Speaker C: Oh, yeah. With Nicole Kidman and Billy Zayn plays the bad guy.
• 16:42
  Speaker B: And it's a very.
• 16:43
  Speaker C: I kept wanting them to have a threesome in that movie, but they never did. Yeah.
• 16:48
  Speaker E: Yeah.
• 16:49
  Speaker C: The whole time I was watching, I was bored. Was like, just take this chick and banger. Well, banger, big time times.
• 16:55
  Speaker B: Nicole Kidman's very lovely young thing in that picture that was kind of. Kind of an unknown talent at the time in the United States.
• 17:03
  Speaker C: And then Tom Cruise discovered her.
• 17:06
  Speaker B: Oh, yeah?
• 17:07
  Speaker C: Yeah.
• 17:07
  Speaker B: Tried to brainwash her, but she was too strong.
• 17:11
  Speaker C: Well, anyway, she married him for some reason.
• 17:13
  Speaker E: Yeah.
• 17:14
  Speaker C: I don't know now.
• 17:15
  Speaker B: Then they made the.
• 17:16
  Speaker C: Sam Neill died, and he was in Jurassic Park.
• 17:19
  Speaker B: He was in Jurassic Park. Some other things. Yeah.
• 17:23
  Speaker C: I thought he could have been a good James Bond, but he never got offered the parts.
• 17:27
  Speaker B: Huh. Okay.
• 17:28
  Speaker C: You know.
• 17:29
  Speaker B: But anyway, it never crossed my mind. But, yeah, there you go.
• 17:33
  Speaker C: Either that or an Inspector Cluso. He could have been a good impression. All right.
• 17:37
  Speaker B: Okay. It's kind of.
• 17:39
  Speaker C: You know, I was up over the weekend. I was up very late. Late, late, late. I couldn't fall asleep. I'm getting older. I'm getting insomnia. I can't fall asleep. Sleep. I've been sleeping like three hours a night. Oh, gee. Basically. But I was watching, you know, late night, you see these commercials, you know, Sarah McLaughlin saying, you know, with the dogs. With the dogs and the cat. Sure. And then you got the Danny Thomas thing, you know, with the cancer and the kid.
• 18:07
  Speaker B: Oh, geez. Yeah, yeah, yeah.
• 18:08
  Speaker C: St. Jude's yeah, St. Jude's whatever the it's called. And I'm watching this because I can't go to sleep. And Sarah McLaughlin says, for 65 cents a day. And then Danny Thomas says, 55 cents a day. So who am I going to choose? You're gonna go cheap, right? I figured. Yeah. I can't afford, you know, so Sarah's got to come down if she wants me, you know, to do this.
• 18:38
  Speaker B: Well, if you're going to help children or dogs, I'd go with the children.
• 18:42
  Speaker C: Yeah, definitely.
• 18:43
  Speaker B: Because the children are.
• 18:44
  Speaker C: But I decided to neither. Neither of them.
• 18:46
  Speaker B: Okay.
• 18:46
  Speaker C: You know, until they go down to like a quarter a day.
• 18:49
  Speaker B: Oh, okay.
• 18:49
  Speaker C: If they go down to 25 cents a day, one of them I'll think about. Sure.
• 18:53
  Speaker D: They'll take your quarter a day.
• 18:55
  Speaker B: You're playing the long game. You're gonna wait them out.
• 18:57
  Speaker A: Yeah, yeah.
• 18:57
  Speaker C: But anyway, get the magazines. Yeah. I just remember my old friend.
• 19:01
  Speaker A: Yeah.
• 19:02
  Speaker B: You can always contribute.
• 19:03
  Speaker C: I don't want a T shirt because I don't want to be a billboard for anybody. Right.
• 19:08
  Speaker D: Yes.
• 19:08
  Speaker C: You know, it's that kind of thing, so. And now I don't even think Sarah is even bothering with this stuff anymore. I think there's a new spokesperson. I don't know. Yeah, she had a big hit. What was her big hit?
• 19:24
  Speaker B: Wings of an angel or something like that. I don't know.
• 19:27
  Speaker A: Is that it?
• 19:27
  Speaker B: Okay, something like that.
• 19:29
  Speaker C: This girl's on fire. Is that her?
• 19:33
  Speaker B: No, that's somebody else. No, anyway, it doesn't really.
• 19:37
  Speaker C: But she played Lilith Fair. I remember that. Yes, she did play. She was one of the headliners. Right, right. And I was invited to play, but I didn't.
• 19:46
  Speaker D: Did you go?
• 19:47
  Speaker C: I went.
• 19:48
  Speaker B: Huh?
• 19:49
  Speaker C: And I was very, very upset because none of those chicks dug me.
• 19:56
  Speaker B: Didn't get a lot of attention because,
• 19:58
  Speaker C: you know, chicks dig me. It's a fact.
• 20:00
  Speaker B: Usually.
• 20:01
  Speaker D: But you don't like live music.
• 20:02
  Speaker C: I don't like live music. Well, back then I used to, but now I don't. Littlest fair bet was back in, what, the early 90s, mid-90s, mid-90s. I just dug, you know, all these chicks sweating and all that kind of, you know. But now I don't dig live music. I don't really. Yeah, exactly. Anyway, what else is.
• 20:21
  Speaker B: Well, maybe we should get to our guests. We've been running on a while here.
• 20:26
  Speaker C: I don't know anything about you because I didn't get any information on you.
• 20:29
  Speaker B: I did sense on what I had on him, but, yeah, we're going to get to. We're going to get to all that. All right, well, let me introduce the guest here. He's a fantastic recording engineer and record producer for artists including Steel Pulse, Dr. John Anders Osborne, Better Than Ezra, Cece Adcock, Irma Thomas, Rebirth Brass Band, Motley Cruelty, Maria Muldar, Lynn Drury, and. And he. He worked on the final album by our good friend Carlo Nuccio. He's also worked at studios such as the Music Show.
• 21:04
  Speaker C: Carlo owe you money?
• 21:06
  Speaker D: Probably.
• 21:06
  Speaker C: Yeah, that he did.
• 21:08
  Speaker B: It's all water under the bridge at this point. He's worked at the Music Shed, Fudge Recording, Marney Studios. He's also a veteran of the armed services. Thank you for your service. We're going to get into all that and much more. So without further ado, the great Mr. Jacques de la Tour. Welcome, Jacques.
• 21:27
  Speaker D: Hi. Thanks for having me. I'm a big fan of the show.
• 21:30
  Speaker B: Outstanding. Well, we're. We're big fans of you. I am, anyway. And you've.
• 21:35
  Speaker C: I never heard of you before today.
• 21:36
  Speaker D: Hold on, Manny.
• 21:37
  Speaker C: Yeah.
• 21:38
  Speaker D: Let's talk.
• 21:39
  Speaker C: Yeah.
• 21:40
  Speaker D: You go to the Athletic Club, right?
• 21:42
  Speaker C: Yeah.
• 21:43
  Speaker D: You and I spent hundreds of hours together in the sauna. Okay, you saw me half naked.
• 21:49
  Speaker B: Now it comes out.
• 21:50
  Speaker A: All right.
• 21:51
  Speaker C: I've never.
• 21:51
  Speaker D: You were half naked? Well, yeah, and we would talk. Who's the photographer that was famous?
• 21:57
  Speaker C: Steve Pike.
• 21:58
  Speaker B: Steve Pike?
• 21:59
  Speaker D: Yeah. Wasn't he on the show?
• 22:00
  Speaker C: Oh, yeah. You. You're in this. I don't. I don't remember you at all. No, I don't. I'm sorry.
• 22:05
  Speaker B: Well, he doesn't usually have headphones on in the song, so maybe it looks.
• 22:08
  Speaker C: When. When was the last time?
• 22:09
  Speaker D: This is for like two years straight.
• 22:12
  Speaker C: So you're no longer a member?
• 22:13
  Speaker D: No, I moved.
• 22:14
  Speaker C: Where'd you move?
• 22:16
  Speaker D: Well, here's the thing. The sauna wasn't hot enough. It only got to about.
• 22:20
  Speaker C: Well, now it's working great the last year.
• 22:22
  Speaker D: What's the temperature?
• 22:23
  Speaker C: Oh, it's like a hundred and fucking. You know, I don't have my glasses in there, but, man, I used to be able.
• 22:30
  Speaker D: Mine goes to 2:30.
• 22:33
  Speaker C: I used to be able to. I used to be able to last 25 minutes in there. It's so good. Now I can only last 15 minutes in there.
• 22:42
  Speaker D: You're getting old.
• 22:43
  Speaker C: Well, that's it, too. But man, it's good. I don't. I don't. I don't. I'm sorry.
• 22:48
  Speaker B: You don't remember me?
• 22:49
  Speaker C: No, sorry. Sorry.
• 22:50
  Speaker D: I'm very forgettable with the red hair and everything.
• 22:53
  Speaker C: Your hair is red?
• 22:55
  Speaker B: Yeah.
• 22:56
  Speaker D: Well, it's hard to tell.
• 22:58
  Speaker B: You can't tell in here this light, but.
• 23:00
  Speaker C: Do you know John? The guy from Kentucky? The big guy, the horse race freak. He's Al. Always in there with Steve.
• 23:09
  Speaker D: It's been a couple years since I've been.
• 23:10
  Speaker B: What about the Midnight Cowboys? Is he still showing up down there?
• 23:14
  Speaker C: Yeah, and he. I. I talked to him just a few weeks ago and he doesn't understand why you call him Midnight Cowboy.
• 23:20
  Speaker B: Because it's just funny. Makes me laugh because he dresses like an Indian. But he, you know, it kind of seems like he could be a hustler so it reminds me of.
• 23:29
  Speaker C: I don't understand it either, Midnight Cowboy, but it's when you just.
• 23:32
  Speaker D: You used to talk about all these books.
• 23:34
  Speaker C: Book. Oh, yeah, cuz I'm in books. That's my whole. Yeah, I'm sorry I don't remember you, man.
• 23:40
  Speaker B: It's all good.
• 23:40
  Speaker C: So sorry.
• 23:42
  Speaker D: You know, I've seen you almost nude.
• 23:44
  Speaker B: Yeah, well, all right, well, the night is young. Who knows what's going.
• 23:48
  Speaker C: Exactly. So where did you move to?
• 23:54
  Speaker B: Not your address, different place. Don't you.
• 23:57
  Speaker D: I haven't worked out in of years. A couple. Couple months.
• 23:59
  Speaker B: Okay.
• 23:59
  Speaker C: But you no longer a member there?
• 24:01
  Speaker D: Oh, no, no, no.
• 24:02
  Speaker C: Cuz you moved too far away.
• 24:03
  Speaker D: Wasn't hot enough.
• 24:04
  Speaker B: Right, right.
• 24:05
  Speaker C: Too far away.
• 24:07
  Speaker D: No.
• 24:08
  Speaker C: So you're still in the city?
• 24:10
  Speaker D: Moved from Alers Point, which was kind of inconvenient.
• 24:14
  Speaker C: Yeah.
• 24:14
  Speaker D: That's for the Athletic club.
• 24:17
  Speaker B: Yeah. Well, go back to your. Your origins here. Now where are you from, Jack?
• 24:22
  Speaker D: Abbeville, Louisiana.
• 24:24
  Speaker B: Abbeville. Okay, now tell for our listeners, where is Abbeville in relation to New Orleans?
• 24:32
  Speaker D: It's pretty much west.
• 24:34
  Speaker B: Okay, there you go.
• 24:36
  Speaker D: Pretty close to the Gulf. So growing up, once you leave Abbeville, south of Abbeville, it starts turning into Martian.
• 24:44
  Speaker B: Okay. It's not much.
• 24:45
  Speaker D: Crawfish fields.
• 24:46
  Speaker B: Right, right, right.
• 24:47
  Speaker D: So it's about 20 minutes south of Lafayette yet.
• 24:50
  Speaker B: Okay, Right on.
• 24:51
  Speaker D: Vermilion Parish.
• 24:52
  Speaker B: Vermilion Parish.
• 24:53
  Speaker D: We talk like that.
• 24:54
  Speaker B: Yeah. Now, now you don't have that accent. At what point did you lose that accent?
• 25:01
  Speaker D: My mom and my father were. My mom was a school teacher. English. English teacher.
• 25:11
  Speaker B: Okay.
• 25:12
  Speaker D: So she beat it out of me.
• 25:13
  Speaker B: There you go. Right on. Okay, so you. So you.
• 25:16
  Speaker D: But it's still legal to beat.
• 25:18
  Speaker C: Sure.
• 25:18
  Speaker B: Yeah, yeah. So you had mom and dad, siblings, one brother.
• 25:23
  Speaker D: I have an older sister from my dad's first marriage in Slidell.
• 25:26
  Speaker B: Okay.
• 25:27
  Speaker D: And I have a younger brother who lives in Lafayette.
• 25:33
  Speaker B: So you went to school down there in Abbeville? Went to.
• 25:36
  Speaker D: No, my mom taught in Erat.
• 25:38
  Speaker E: Okay.
• 25:39
  Speaker D: You ever heard of Erat?
• 25:41
  Speaker B: I've heard of it. I'm not sure I've been there.
• 25:43
  Speaker D: We don't pronounce the H right, but my mom was a teacher in Erath.
• 25:49
  Speaker B: Is that. Is that close to. It's about Pierre Part.
• 25:52
  Speaker D: No, no, no, no, no, no, no.
• 25:54
  Speaker B: I don't know.
• 25:55
  Speaker D: Just another 20 minutes south of Youngsville.
• 25:58
  Speaker C: So you had a long pause when you said you had a little brother. Is there a problem there? You had this long pause.
• 26:04
  Speaker D: Yeah, we've had a rocky relationship. With, like. With any brother.
• 26:08
  Speaker B: It happens.
• 26:09
  Speaker C: Yeah.
• 26:09
  Speaker A: Yeah, yeah.
• 26:10
  Speaker B: So growing up, were you switched schools a lot. Okay.
• 26:15
  Speaker D: We went to Iraq for, like, four years, and then we moved to Lafayette when I was maybe 12.
• 26:22
  Speaker C: Is that because your dad was on the run?
• 26:25
  Speaker D: I don't know what my dad was doing.
• 26:27
  Speaker C: See?
• 26:28
  Speaker B: Okay.
• 26:29
  Speaker C: He's wild.
• 26:29
  Speaker D: Like, they got divorced when I was about three.
• 26:32
  Speaker C: Oh, okay. All right. So your mom.
• 26:35
  Speaker D: I've cut him off in my life.
• 26:36
  Speaker C: Oh, really? Good.
• 26:37
  Speaker B: All right.
• 26:38
  Speaker C: I never liked your dad.
• 26:40
  Speaker D: Me neither.
• 26:40
  Speaker B: Yeah. All right, well, jeez, now I'm starting to feel sorry for the guy. But, you know, that's what we're here for. It's not my place. So were you always interested in music?
• 26:51
  Speaker D: Yeah. My. My mom's father, my grandfather, he was a pediatrician in Abbeville. He was supposedly the last doctor in Louisiana to do house calls by boat.
• 27:06
  Speaker B: Oh, no.
• 27:06
  Speaker D: So he would go way out into the marsh and swamp where people were living off the land in Vermilion Parish and all that. They would have kids that were dying, and he would pick them up and empty his wallet to get them treated at Abbeville General.
• 27:23
  Speaker C: And then how did he find out about these if there's no phone or anything?
• 27:27
  Speaker D: He wasn't around, bro.
• 27:28
  Speaker C: He just cruised around looking for the ill people, sick people.
• 27:32
  Speaker D: I mean, when you're.
• 27:33
  Speaker C: He's got a boat saying, I'll take your sick. I'll take your sick.
• 27:38
  Speaker D: Okay, well, listen, I didn't learn about this until later in life. We would be walking through Walmart or some grocery store, and people would come up to him and say,
• 27:51
  Speaker C: you saved
• 27:51
  Speaker D: my child's life 40 years ago. Thank you, Dr. Ray. Blah, blah, blah. And just like you, he had forgot them.
• 28:00
  Speaker C: Yeah.
• 28:02
  Speaker B: You. You graduate from high school. Which branch of the service were you in?
• 28:08
  Speaker D: I was in the active duty. Navy.
• 28:10
  Speaker B: Navy. Right now. And tell us what you. Now what. What possessed you to go into the. To join the Navy?
• 28:16
  Speaker D: To get out of Lafayette.
• 28:18
  Speaker B: Okay.
• 28:18
  Speaker D: And Vermilion and Lafayette Parish.
• 28:21
  Speaker B: All right, so you went there straight from high school?
• 28:24
  Speaker D: Pretty much, yeah. I originally signed up when I was 18 for the nuclear program. And then I was like, that's a lot of math.
• 28:33
  Speaker B: Okay.
• 28:34
  Speaker D: And that's not my strong subject.
• 28:37
  Speaker C: Okay. Because you're an English major.
• 28:41
  Speaker D: According to my mom.
• 28:43
  Speaker C: Yeah. There you go.
• 28:45
  Speaker D: And then I went in a couple years later as an avionics tech. So we worked on the weapon system, the radar, gps.
• 28:53
  Speaker B: Now, were you on an aircraft carrier? I seem to recall.
• 28:56
  Speaker D: Well, half the time we were on in Virginia beach at the. That's where all the fighter jets are on the east coast.
• 29:04
  Speaker B: Okay.
• 29:05
  Speaker D: Working for a squadron. It's kind of like a military, like an NFL team. You know, it's like 260 something people.
• 29:13
  Speaker A: Uhhuh.
• 29:14
  Speaker D: You got 30 or 40 pilots and co pilots on the F14 Tomcat.
• 29:22
  Speaker B: Right.
• 29:22
  Speaker D: And then you got about 100 and something maintainers and you got support staff.
• 29:29
  Speaker B: Yeah, yeah.
• 29:30
  Speaker D: So I was a maintainer and they. The Tomcat was too expensive to fly anymore and one of them had my name on it. They flew it to the boneyard which is way out west, where they take all of our jets.
• 29:46
  Speaker B: They just scuttle them out there.
• 29:48
  Speaker D: Yeah. And then we got Super Hornets.
• 29:50
  Speaker C: It's in the desert. I know that boneyard.
• 29:52
  Speaker D: And by the time we got Super Hornets, I was promoted a couple times and was like in the shop. Ended up becoming a final checker, which is the last person to touch the plane before it takes off.
• 30:03
  Speaker B: And you're dealing with all the systems on the plane or. Or guidance system.
• 30:08
  Speaker D: Basically the entire plane is electronics.
• 30:11
  Speaker B: Okay.
• 30:11
  Speaker D: Even down to the wingtip. So. Yeah, basically. Yeah.
• 30:16
  Speaker B: You must have had a. Had to have a lot of training, technical training.
• 30:19
  Speaker C: Yeah.
• 30:19
  Speaker D: There was a lot of schooling before we did all this, but we learned most of it on the job.
• 30:24
  Speaker C: Yeah.
• 30:25
  Speaker D: So we spent about. I did five years, two and a half years was at sea on an aircraft carry, which is no fun.
• 30:34
  Speaker B: No.
• 30:35
  Speaker D: If anybody tries to take me on a cruise.
• 30:37
  Speaker B: Oh yeah.
• 30:39
  Speaker D: I go on a daytime boat trip, but I expect I'm not sleeping on a boat ever again.
• 30:44
  Speaker B: Why is that? Where you're in some rough seas out
• 30:46
  Speaker D: there, there's 6,000 people on like three football fields.
• 30:49
  Speaker B: Yeah. It's too. It's too dense.
• 30:51
  Speaker D: They're stacked in like sardines.
• 30:52
  Speaker C: Just like a cruise ship.
• 30:54
  Speaker D: There's a line for everything. There's a line to eat, there's a line to use the bathroom.
• 30:57
  Speaker B: Oh, geez.
• 30:58
  Speaker D: The bathroom would run out of soap.
• 31:01
  Speaker B: Oh man. Like being in prison.
• 31:02
  Speaker D: Yeah. And the food sucked. And I worked at nights. Thank God for my fair skin because I'm a redhead, but.
• 31:09
  Speaker B: So you weren't out there in the. The burning sun on the deck?
• 31:12
  Speaker D: I was there from like before the sun went down to when the sun came up.
• 31:15
  Speaker B: Oh, okay. Yeah. Night.
• 31:16
  Speaker D: Probably about 14 hours. Yeah. But there was just the meal that they would give us in the middle of the night was called mid rats.
• 31:27
  Speaker B: Called what?
• 31:28
  Speaker D: Mid rats.
• 31:29
  Speaker B: Okay. Which sound appetizing?
• 31:32
  Speaker C: No.
• 31:33
  Speaker D: And that's only if you got a chance to go down there, but it's called midnight rations.
• 31:38
  Speaker B: Oh, okay.
• 31:38
  Speaker D: And it's like all the hot dogs that have been sitting in water all day. Oh, just. It's the most disgusting shit you've ever imagined. Can I curse on here?
• 31:48
  Speaker B: Yeah, yeah, yeah.
• 31:48
  Speaker D: Okay, yeah.
• 31:49
  Speaker B: Say whatever you want. So kind of like prison.
• 31:53
  Speaker D: Yeah, but you on the flight deck.
• 31:57
  Speaker B: Right, right, right. It was that Afghanistan era, Fallujah.
• 32:04
  Speaker D: So I joined in 2003, and by the end of 2003, I was on deployment.
• 32:09
  Speaker B: Okay.
• 32:10
  Speaker D: So we did Fallujah, then we went to the Indian Ocean and did a Afghanistan. Then we went to Somalia. Some terrorists popped up and got really hot.
• 32:18
  Speaker B: Oh, yeah. Like, it was already all that. So, like, not the. The Blackhawk down era, though.
• 32:24
  Speaker D: That was before we had an Iranian plane fly right over us, and we didn't have any jets ready to go. And I was like, holy crap, they could have dropped a bomb on us. You know what I mean?
• 32:39
  Speaker B: They were just sending a signal.
• 32:40
  Speaker D: This is like an 07 or something.
• 32:42
  Speaker B: All right, well, you don't have to worry about that now,
• 32:46
  Speaker C: stupid.
• 32:47
  Speaker B: So. So you. So you. You do your tour there. You decide. You don't want to make a career of that?
• 32:54
  Speaker D: No. I got offered to go work for Top Gun, which they work on.
• 33:00
  Speaker C: And that's when you met Tom Cruise?
• 33:03
  Speaker D: I never met Tom Cruise.
• 33:05
  Speaker C: So you what, you stayed in the Navy to work for the Top Gun? No, no, no, no.
• 33:09
  Speaker D: That was as they. They knew I was getting out after my five years, and they offered me a really great job, but I decided I wanted to come back to New Orleans to get further into music, so.
• 33:25
  Speaker B: So you had been in music, involved music before that started playing?
• 33:29
  Speaker D: My grandparents had a Steinway, which I just got restored by Jacques Furlan. Big shout out. He. I got it picked up in Lafayette. My mom wanted me to have it. My brother was going to put it on the street.
• 33:45
  Speaker B: Oh, geez.
• 33:46
  Speaker D: And it's a 1933 Steinway. Oh, nice. And it's restored, and now it's at Marini Studios.
• 33:53
  Speaker B: Oh, cool. Oh, outstanding, man.
• 33:56
  Speaker D: But, yeah, I was playing piano at 3. There's pictures of me.
• 34:02
  Speaker C: Yeah.
• 34:03
  Speaker D: And then I started the trumpet about two years early.
• 34:06
  Speaker B: Okay.
• 34:07
  Speaker D: Then most kids, because I had access to one.
• 34:12
  Speaker B: Right.
• 34:13
  Speaker D: So on the first day of band class, I could play.
• 34:15
  Speaker B: You could play.
• 34:15
  Speaker D: Marching in and improvise and.
• 34:17
  Speaker B: Oh, cool.
• 34:18
  Speaker D: The other kids quickly caught up, but Because I got interested in guitar.
• 34:24
  Speaker C: All right.
• 34:25
  Speaker D: And that whole loophole.
• 34:26
  Speaker B: So you had a successful career as a student musician?
• 34:30
  Speaker D: Oh, yeah.
• 34:31
  Speaker B: Early on, were you playing in bands around, around Abbeville, Lafayette?
• 34:36
  Speaker D: Yeah, like once I started playing guitar for a couple years. We formed a band. I don't even remember the name of it. You know, I think we played at the VFW once.
• 34:47
  Speaker B: That makes sense.
• 34:48
  Speaker D: And we had a lot of rehearsals.
• 34:50
  Speaker B: Sure.
• 34:53
  Speaker D: I was guitar and vocals on some songs, drummer sang on some songs, wrote a bunch of them, but. But then I joined the Navy.
• 35:03
  Speaker B: Okay, so. So you get out of the Navy and you, you already had your eye on the, on getting. Having a career in the music business.
• 35:10
  Speaker D: Yeah. So as soon as I got out the Navy, I went to the Conservatory Recording Arts and Sciences in Arizona. They have two campuses near the Phoenix area.
• 35:24
  Speaker B: Okay.
• 35:24
  Speaker D: They have like 16 or 20 studios by now, and both campuses are exactly the same, but you spend your first six months at like one campus and then you transfer to the other. And it's the same equipment, it's the same consoles, same sso, same neve, same neotech, same tape machines. But the older campus has much shorter ceilings, kind of like this place. And the new campus has 20, 30 foot ceilings.
• 35:56
  Speaker B: Okay, so they have good instructors there.
• 36:00
  Speaker D: Oh, all the instructors there have Grammys and have worked with everybody you could think of.
• 36:07
  Speaker B: Nice. Now how did you get turned on to that program?
• 36:11
  Speaker D: It was cheaper than full sale.
• 36:12
  Speaker B: Okay.
• 36:14
  Speaker D: And anyway, I was able to use my GI Bill do that.
• 36:19
  Speaker B: Right on.
• 36:20
  Speaker D: And I did not. That's the first time in my life I didn't work. And so after 8pm we had free access to the studios. And I was one of the few people who would book time for free. And I would go around to like Arizona State University, just walk around, see some dude carrying a double bass and be like, hey man, you're a musician, Please come do bring your trio and let's do a record, you know, in one night.
• 36:54
  Speaker B: And just, just to get time on the equipment and be.
• 36:57
  Speaker D: I would stay at from 8am to 8, well, 8pm to 8am Take a power nap and get ready for my evening classes and then just keep doing that. So when it came to all the tests and all the things that you have to pass, you know, I had like the most experience.
• 37:17
  Speaker B: Now I remember talking to you one time when I first remember meeting you when we worked on this Lynn Drury record maybe close to 10 years ago at this point, it was the rise of the Fall album and Lynn and I were mixing the record with you and I was, I remembered so much about you today. I almost could do all my notes just from memory. But I remember asking you about the. You going there after having been in the Navy and you were saying that you were older than a lot of the other students at the Conservatory of Recording.
• 37:50
  Speaker D: Yeah, they were probably like 18, 19. So I'm 26.
• 37:53
  Speaker B: So you understood that this was not playtime. This was the time to apply yourself and learn.
• 38:00
  Speaker D: So we had two coordinators. In order to finish the program, you have to do a three month internship. So most kids went to LA and burned out if you missed one day of class. They would not send you to like Warner Brothers or they would not recommend you for, you know, Universal or whatever.
• 38:24
  Speaker B: Cause they don't want to hear.
• 38:24
  Speaker D: I thought I wanted to do audio for film, you know, Foley or surround mixing. We did three weeks of that. We had to redo the Pirates of the Caribbean. They gave us a three minute clip of Pirates of the Caribbean and we had to. They stripped the sound and we had to create the orchestra. The steps, the bird, the seagulls, the redo the accents. It was miserable. I don't like working with 20 people. Yeah, I just want to work with the band.
• 39:01
  Speaker B: Okay.
• 39:01
  Speaker D: So at that point I was like, LA is out of the question. I kept asking the coordinators about New Orleans and they said, we're going to go there for this convention, this like audio convention in like a week or two. And they came back and they said. So we had to have a top 10 list of which studios we wanted to work at. And I think my top one was Piety. Oh, which is burned down.
• 39:31
  Speaker B: Right.
• 39:32
  Speaker D: My number two is the Music Shed and number three was Fudge.
• 39:37
  Speaker B: Oh, okay. Because you wanted to be back in New Orleans, so.
• 39:41
  Speaker D: Yeah, for sure. I wanted to come help rebuild the city after Katrina. And, you know, anyway, my coordinator said, you need to change number one with number three and go to Fudge. They need you right now. That was better than Studio, right. So I go there. It's messy. Before I even had my interview with Jack and Tom from Beth and Ezra and Jack Mealy.
• 40:10
  Speaker B: Okay.
• 40:12
  Speaker D: There was a Category 2 or 3 hurricane called Gustave headed that way. 2008, it was the first hurricane since Katrina. So we didn't know if the levees are gonna work. Everybody, they don't even know my last name. And they're like, here's keys.
• 40:29
  Speaker B: If you.
• 40:29
  Speaker D: If you want to bring any of the equipment from downstairs to upstairs, help yourself. And you know, so they hired, basically trusted me with keys to the place. So I did that. And I also threw away 50 phone books. I mean, who uses the phone book? Do you have A phone book, Manny.
• 40:52
  Speaker C: Yeah, yeah.
• 40:54
  Speaker B: Just to sit on when you get your hair cut.
• 40:59
  Speaker D: I really. Me and the chick that I was dating at the time, we really cleaned the place up, and then we stayed there because I never.
• 41:05
  Speaker C: At least I don't have my wife cutting my hair.
• 41:07
  Speaker B: Okay.
• 41:08
  Speaker D: Yeah.
• 41:09
  Speaker B: I'm glad you got that out.
• 41:10
  Speaker D: But. So, you know, the studio owners eventually came back and were like, instead of being an intern. My first session was Doug Beloat, Kirk Joseph, Adam Nitty on bass, and Shane Terrio on guitar.
• 41:27
  Speaker B: Oh, nice.
• 41:28
  Speaker D: And Jack is recording Sousaphone. Doug Belo and Shane downstairs. And I'm in the B room recording Adam Needy. And I'd been watching him for, like 10 or 15 years on early YouTube, just playing all this crazy.
• 41:45
  Speaker B: Okay.
• 41:46
  Speaker D: I thought Victor Wooten was the virtuoso. And then you see this other guy, totally different style.
• 41:53
  Speaker B: You know what I mean? Right.
• 41:54
  Speaker D: Just. But what was cool, he just played regular bass parts.
• 41:59
  Speaker B: Yeah.
• 42:00
  Speaker D: He just played what was needed.
• 42:02
  Speaker E: Cool.
• 42:02
  Speaker D: And, you know, after that, it was just. We hit the ground running, just recording all sorts of records there.
• 42:09
  Speaker B: Right. And, man, that was. That was such a fertile time for Fudge then.
• 42:14
  Speaker D: Yeah. That's the first Lynn Drury record that I did. We did it all in the live room.
• 42:19
  Speaker B: Oh.
• 42:19
  Speaker D: That's where I met Carlo. Carlo got hired to play on Jamie Hayes's record.
• 42:25
  Speaker B: Okay.
• 42:26
  Speaker D: He was the artist who was colorblind and very eccentric dude. And he's no longer with us, but.
• 42:35
  Speaker B: Oh, man, he.
• 42:36
  Speaker D: But Carlo was like, if you place a Coles ribbon mic right here and right here, you can do anything else that you want.
• 42:46
  Speaker B: That's my sound. That's what he wanted.
• 42:47
  Speaker D: Yeah, he totally took over the session and.
• 42:51
  Speaker B: Sure. Sure.
• 42:52
  Speaker D: Well, ever since then, we just hit it off. You know what I mean?
• 42:56
  Speaker B: Nice. Well, you know, I'm looking at the. The. The time here, Manny and. And Jacques. And it is that time, man. He wants you to tell the troubled
• 43:04
  Speaker C: nation we know they know what to do do we'll be right back.
• 43:07
  Speaker B: All right.
• 43:09
  Speaker E: Me and my dog we woke up and we saw the summer moon
• 43:17
  Speaker A: A
• 43:17
  Speaker E: moon so big, so right it could brighten this town Without a let you fly and as I ran him through his drill I could going to wonder what the stars look like in Austin as clear as the night sky I will come to see Through a window into me. And don't be in a hurry dialing Just walk along in peace Like a lonely little star that trips the summer sky In Austin, life has its little setbacks I'm sure we'll Know many more. You're there to strengthen, life to break. And the people on sculpted horses, they don't always reach the brass ring. They may never see the heat ignite the summer sky in Austin. But I'm here. I'll wait for you. And I know things ain't been great for you. You might see this that I once saw emanating from a star.
• 44:58
  Speaker B: And we're back. Back with Mr. Manny Chevrolet. Yes, I am Renee Coleman.
• 45:02
  Speaker C: Yes.
• 45:03
  Speaker B: Back with our guest, Mr. Jacques de la Tour. I love that name. Now, Jacques, I know you are a devoted listener to the show. You understand that we are a listener supported operation. To that end, we have The Venmo and PayPal links in the show, notes of every show and the Facebook page, and we also have the Patreon link there. We have a handful of patrons that support us week in and week out. And we didn't have any new patrons or any support for the direct support for the Venmo or PayPal thing. But I do have something for you, Manny. I came across this. Sometimes you have, like, a junk drawer that has stuff, way too much stuff in it. Sometimes things fall back off the back end of the drawer and they get caught in that little, you know, container where the drawer goes into, and you pull it out. You pull that stuff out, so the drawer closes. Well, look what I found. I found a 25 cent coupon for Bosco with no expiration date on it. So that might be from 15 years
• 46:14
  Speaker C: ago, but I don't do coupons. That's too ghetto for me. I don't do coupons. Thank you, though, for the thought.
• 46:19
  Speaker B: I'll take it.
• 46:21
  Speaker D: Never tried this Bosco.
• 46:23
  Speaker B: We determined. We determined that they do have Bosco at Dorn Yaks.
• 46:28
  Speaker D: Is it like Yahoo?
• 46:30
  Speaker B: No, it's like Hershey syrup, but better pure. It's chocolate syrup. It just. It's not so watery as. As Hershey's syrup is.
• 46:40
  Speaker C: It's a lot thicker. You gotta move that spoon a lot faster.
• 46:43
  Speaker D: Let me put it on.
• 46:44
  Speaker B: You can put it on ice cream, put it in milk.
• 46:46
  Speaker C: You know, it's on your girl's tits.
• 46:49
  Speaker B: Anything you do with chocolate syrup.
• 46:51
  Speaker C: Yeah, yeah, it has more body nipples.
• 46:54
  Speaker B: It's a little bit gritty.
• 46:55
  Speaker C: Jerk off with it.
• 46:57
  Speaker B: Not as smart. Slippery. It has more of a grit to it.
• 47:01
  Speaker D: Yeah, it has a grit to a bit.
• 47:03
  Speaker B: A bit of a. What did you just say, Manny?
• 47:05
  Speaker C: So you could jerk off. Lubricate your hand with it, man, I don't know.
• 47:10
  Speaker B: That's just up to you.
• 47:11
  Speaker C: Dark chocolate and the white semen man.
• 47:14
  Speaker B: Would you like a. Here, you take the coupon.
• 47:17
  Speaker D: Okay.
• 47:18
  Speaker B: You can try it out for 25 cents less than you could otherwise. Anyway. Also, what do we. We say, yes, we have the. The link for the Troubleman podcast T shirts right there in the show notes. Also, follow us on social media, Instagram, Facebook, and rate. Review and subscribe to the podcast wherever you're listening to us. Give us five stars. Cost you. Nothing helps us a lot. And what else? So I'll be.
• 47:44
  Speaker C: Are we still number one in Serbia?
• 47:46
  Speaker B: We're still number one in Serbia. We are. We are.
• 47:49
  Speaker D: Awesome.
• 47:50
  Speaker B: And actually, some guy I don't know sent something to me and posted it on social media about we're number four in Louisiana podcasts generally, not just music podcasts. I don't know how he determined that, but that's what he said. So I'll take his word for it. DJ something. Shout out to you.
• 48:08
  Speaker D: May God they don't. I feel special now.
• 48:11
  Speaker B: Yeah. Yeah. You're gonna drive us up to number three, Jacqueline, we may be number zero. And no, it doesn't work that way. Can't get more than number one in Serbia. Maybe we'll break into Slovenia. What else? Oh, I'll be out on the road in and out of town all summer long. I'll be out with the Iguanas. You can find those dates in the Iguanas dates page. The link is right there in all the show notes. And I'll be out with Sunny Landreth as well. And you can find all. All my dates on my Renee Coleman Facebook page, which is linked there in the show notes. All right, enough of that. Back to our guest, the great Mr. Jacques de la Tour. I've always loved that name. It just has such a.
• 48:54
  Speaker D: Do you know my middle name?
• 48:56
  Speaker B: No.
• 48:57
  Speaker C: Stanley.
• 48:58
  Speaker D: I wish. Laurent.
• 49:01
  Speaker B: Oh, there. Jacques Laurent.
• 49:04
  Speaker D: A U, R E, N, T. Yeah, yeah.
• 49:06
  Speaker B: Nice. So very exotic.
• 49:09
  Speaker A: Yeah.
• 49:09
  Speaker D: People from France meet me and they. They're like, parlez vous francais? And I'm like, not really, bro.
• 49:15
  Speaker C: You say you Frenchie, but my.
• 49:18
  Speaker D: And my name is a compromise. My dad wanted to name me some off the wall stuff like Beauregard. Can you imagine being named Beauregard? New Orleans right now?
• 49:28
  Speaker B: Yeah.
• 49:28
  Speaker D: Or Emil. You know, my mom was like, no, they're going to call him Emily.
• 49:33
  Speaker E: Am I?
• 49:34
  Speaker B: Sure.
• 49:34
  Speaker D: But I have an ancestor named Emil. Okay, Great grandfather.
• 49:38
  Speaker B: Right on.
• 49:38
  Speaker D: Oh, it sounds like Jacques was a compromise to get me home.
• 49:41
  Speaker B: It sounds like royalty. I mean, what does that mean of the tour of the Tower of the Tower. There you go.
• 49:50
  Speaker C: Where you're going to be seen shooting people from. Right. One day when it all falls apart for you. Right.
• 49:58
  Speaker B: He's already got the name for it, so. So back to you, Jacques. So you're working there at Fudge, as I say. And now. Now I think I may have first met you. I did a session there that. It was an Ethan Allen produced session on some, like, Kevin Griffin solo stuff.
• 50:20
  Speaker D: Okay.
• 50:21
  Speaker B: And I'm not sure if you recall that at all. I don't know.
• 50:24
  Speaker D: It's night, it's a blur.
• 50:25
  Speaker B: Yeah, it's a blur for me.
• 50:26
  Speaker D: I used to stay up for two, three days straight just because I'd get booked at night and during the day.
• 50:33
  Speaker B: Right.
• 50:34
  Speaker D: It's. It ruined a lot of relationships.
• 50:36
  Speaker B: Oh, sure. Well, yeah, music. Music does that. But anyway, but. But when I went in there, I. I saw these headphone mixing, you know, consoles, and I thought, man, you know, Keith Keller used to have some just like this.
• 50:56
  Speaker D: Those are some of the best ones.
• 50:58
  Speaker B: They said, these came from Keith Keller's place. And I said, well, in that case, the iguanas paid for these because we did a record at Keith's place. And we had. We had done a session somewhere where they had those. And we said, well, we want those. Those individually mixed headphone stations. And Keith went to the record company, said, okay, I'm gonna need a budget to rent some of these things. And he got so much money from the record company to rent them that he was able to buy them. And then he just kept them. And I was like, oh, wait, those are oz. He goes, no, they're.
• 51:31
  Speaker D: What sucks about them is when you break a cable.
• 51:34
  Speaker B: Yes.
• 51:35
  Speaker D: 3, 400 bucks. I've heard that the headphone system I have is the same one that the music should had forever. It's. And I think Esplanade.
• 51:47
  Speaker B: Yeah, that one was the first ones that. Yeah.
• 51:51
  Speaker D: It's Ethernet. So if. If we break an ethernet cable, I've got 20 extra.
• 51:56
  Speaker B: Right, right, right.
• 51:57
  Speaker C: Ethan Allen. Isn't that a furniture company?
• 52:00
  Speaker D: Ethernet?
• 52:01
  Speaker B: No, no, Ethan Allen is the name of a furniture company. He's. It's no relation to the guy, to the.
• 52:06
  Speaker E: The.
• 52:07
  Speaker B: The engineer and record producer, Ethan Allen. Just his parents, I guess, were cheeky. They named him after a chair. After a chair.
• 52:17
  Speaker C: But they named you after a tower.
• 52:19
  Speaker B: A tower? Well, after something.
• 52:21
  Speaker D: I didn't have a choice in it.
• 52:22
  Speaker A: Right, right.
• 52:23
  Speaker C: Now you a gun owner?
• 52:25
  Speaker D: I have two guns.
• 52:26
  Speaker C: You do have two guns. Are they in a lockbox? No, no, they're under your pillow.
• 52:32
  Speaker D: No, there.
• 52:33
  Speaker C: You're on. You have them right now.
• 52:35
  Speaker D: One's at.
• 52:37
  Speaker C: One's in your glove box.
• 52:39
  Speaker D: Parents house, and one is somewhere in my house.
• 52:42
  Speaker B: That's what I say.
• 52:43
  Speaker D: You see, I'm not a gun guy. Trust me.
• 52:46
  Speaker B: I have guns.
• 52:47
  Speaker D: During the pandemic, I was like, anything could happen.
• 52:50
  Speaker B: Anything could happen.
• 52:51
  Speaker D: I can't just throw microphones at these people.
• 52:53
  Speaker B: No, that's right, man. You know, if you have a gun, not that you're going to go out and start waving it at somebody, but if you hear a window break and somebody's coming into your house, at least you're not a lamb to the slaughter, you know, at least you might have a fighting chance. And. And a. A gun that's. That's unloaded is the. The guns that accidentally kill people. Every gun should be loaded in my.
• 53:15
  Speaker D: It's loaded. There's none in the chamber. You have to actually cock.
• 53:19
  Speaker B: Well, yeah, exactly. That's what I have, too. Yeah.
• 53:21
  Speaker A: Yeah.
• 53:21
  Speaker D: And she. She don't know how to do that.
• 53:23
  Speaker C: Yeah.
• 53:23
  Speaker B: Anyway, moving on back.
• 53:25
  Speaker C: Is your wife here? You keep going looking.
• 53:27
  Speaker B: This wife is sitting at the bar.
• 53:29
  Speaker C: I didn't know that. I didn't know that.
• 53:31
  Speaker B: Biding her time.
• 53:32
  Speaker D: She said, let me drive you so you can have a good time.
• 53:37
  Speaker C: Little did she know.
• 53:38
  Speaker B: Right, right. No chance of that.
• 53:42
  Speaker C: So.
• 53:42
  Speaker B: So you're there at Fudge, but. And you have all kind of artists going through there. You have rock acts, folk acts, a lot of, like, bounce acts are coming through there.
• 53:51
  Speaker D: Yeah, everything. Dr. John was always there. Kind of most of the time is like a hired gun.
• 53:58
  Speaker B: Yeah.
• 53:59
  Speaker D: To play piano. And there would always be, like, a film crew with him. It was like more. Sometimes it was more film people there documenting Kim playing on this session than they were like everybody else, other musicians, you know what I mean?
• 54:18
  Speaker C: So.
• 54:18
  Speaker B: So you did some sessions where he was just a side man and didn't have his own band.
• 54:23
  Speaker D: And then Chris Fenney was wrapping up the tribal record, and I got to engineer on that.
• 54:30
  Speaker B: Okay.
• 54:30
  Speaker D: And take my one and only photo with him and.
• 54:37
  Speaker B: Well, that must have been.
• 54:37
  Speaker D: We had all sorts of people come through. I mean, Steel Pulse and I, they were too cheap to take a taxi, so I had to bring him in my Honda Civic, like, three times to their hotel.
• 54:49
  Speaker B: Yeah.
• 54:49
  Speaker D: Like three trips.
• 54:50
  Speaker C: Right.
• 54:51
  Speaker D: Like, just take a taxi. You know what I mean?
• 54:54
  Speaker C: Well.
• 54:55
  Speaker B: But it gives you an opportunity to fellowship with these guys, you know, get some good stories. Now, do you have some stories from that time? Anything unusual or memorable happening on any.
• 55:06
  Speaker D: I learned all Sorts of stuff. I mean, I think for like a whole summer I was on call with Most Def and Manny Fresh, okay? And they were like, we're gonna show up at midnight and not show up till 2 in the morning, you know, so it was like, you're really on call.
• 55:25
  Speaker B: Right.
• 55:26
  Speaker D: At least you get together, get there three hours early and make sure everything's set up.
• 55:30
  Speaker C: Right.
• 55:31
  Speaker B: Right.
• 55:32
  Speaker C: But.
• 55:33
  Speaker B: Well, it must have been a tremendous learning experience, huh? You already had, you know, all this technical experience, but being there, you know, on the floor, getting the rep, the repetition.
• 55:42
  Speaker C: You were working the graveyard shift in the Navy, right?
• 55:46
  Speaker D: No, no, no, I was out of the Navy.
• 55:48
  Speaker C: No, but I mean, you were. You did.
• 55:51
  Speaker D: I dedicated 24 hours of my life to that studio. The studio the three owners decided to sell it to. Trombone Shorty. Right now it's called Bunk Jump Studios or something. I've been invited to do a few sessions there. I've just turned them down.
• 56:10
  Speaker B: Yeah, it's like, can't go.
• 56:13
  Speaker D: Then I kind of went to the music shed and that was cool for a little bit, but then they built a ballet studio above it.
• 56:21
  Speaker B: Oh, geez.
• 56:22
  Speaker D: So I was doing what would become a Grammy nominated record, which I was producer and engineer on Torkonowski's, like, hey, I can hear hip hop above me.
• 56:40
  Speaker B: Oh, oh, yeah.
• 56:42
  Speaker D: And so I'd have to make a call. Somebody else would make a call to the owner up there and he was like, I'm gonna turn the music down, but I'm not turning it off.
• 56:51
  Speaker B: Turn it off.
• 56:52
  Speaker C: Because they ballet dancers.
• 56:54
  Speaker D: Oh, they built a world class ballet
• 56:57
  Speaker C: studio and they're dancing to hip hop.
• 56:59
  Speaker D: Well, all sorts of stuff.
• 57:01
  Speaker C: There's this dance, but I bet you there's a lot of tight asses up there, man. Young, right? Huh? You never went up there?
• 57:12
  Speaker D: No, I never went up really, but so I kind of stopped going there because of working with people like Tor. Expect the best.
• 57:23
  Speaker B: Now, is that the time when. When during. During the time that Bruce Burrell had his mastering studio there.
• 57:30
  Speaker D: Exactly. Yeah.
• 57:30
  Speaker B: Okay. And it's a big complex.
• 57:33
  Speaker D: Bruce mastered almost everything. If there was a budget and the band could wait in turn.
• 57:41
  Speaker B: Right.
• 57:42
  Speaker D: They would. I would always recommend Bruce.
• 57:44
  Speaker B: He's great, man.
• 57:45
  Speaker D: Yeah, he's a man.
• 57:47
  Speaker B: Yeah.
• 57:47
  Speaker D: And he's like big mentor of mine.
• 57:50
  Speaker B: Yeah.
• 57:50
  Speaker D: And now I'm kind of getting into mastering. I bought a bunch of high end mastering equipment over the past couple years and.
• 57:58
  Speaker B: Nice.
• 58:00
  Speaker D: But if the band has a budget to afford him, I will definitely recommend him.
• 58:06
  Speaker C: Sure.
• 58:06
  Speaker D: Yeah. I'm about a third of the price.
• 58:08
  Speaker B: Right, right, right, right.
• 58:11
  Speaker D: The first time I remember working with you is at Marine Studios on Len's project.
• 58:17
  Speaker B: Oh, okay.
• 58:18
  Speaker D: And that's the first time I met Rick and Rick G. Nelson. Yes, yes. And the next day he had keys for me.
• 58:25
  Speaker B: Oh, nice.
• 58:27
  Speaker D: 11 keys or something to the studio. I was like, why so many keys? He's like, it makes me feel safer at night. But each key has a different right lock. You know all that.
• 58:38
  Speaker B: Right.
• 58:38
  Speaker D: And so I did quite a few sessions there.
• 58:41
  Speaker B: Now, you know, Mary is a. It's a famous room. I mean, it's a long stand. It used to be Luth Jens dance hall. Still on the sidewalk. Still has the bar there. And I was in there the first time I was recording. I was like, man, this seems so familiar. What did this used to be? And they're saying, no, it was Luth Jens. I was like, yeah, it's not that. And they're like, oh, it used to be the Beat Exchange. I'm like, there it is, the Beat Exchange. It was like a punk rock club that I. Yeah, you can feel when
• 59:10
  Speaker D: you walk in there that there's some history.
• 59:12
  Speaker B: That's the first gig I had with Alex Chilton was at the Beat Exchange, run by. It was owned by Barbara Hoover. The notorious Barbara Hoover. And. But yeah, the place is. I have a session booked there coming up in what, August with Loose Cattle. Were going in for a six day session there. Great. John on Yellow coming down to produce it. But yeah, they got a. Such a nice operation going over there. So you do a lot of. Still do a lot of sessions.
• 59:46
  Speaker D: It's been a little while since I did stuff there. I'm kind of. Now that I have 3200 square foot house, I can. I basically spent the last six months wiring up the house to have. I can record in every room if I wanted to.
• 1:00:06
  Speaker B: So you have kind of. So describe.
• 1:00:08
  Speaker D: I have a vocal booth. I have a 10 foot wide desk. I have tons of boutique outboard gear. Half of them are tube amps, two preamps.
• 1:00:20
  Speaker B: And where. Where are you located?
• 1:00:22
  Speaker D: We moved from. Well, we couldn't find anything that we could afford in Algiers Point for that size. It just doesn't exist.
• 1:00:32
  Speaker B: Right, right.
• 1:00:33
  Speaker D: And she wanted a pool. So we ended up moving to Metairie.
• 1:00:37
  Speaker B: Okay, well, still close. Yeah. You're not on the north.
• 1:00:40
  Speaker D: Neighbors are super cool. They're all like 83. They can't hear it might.
• 1:00:45
  Speaker B: You might live for close to. My parents. They moved out to mat finally.
• 1:00:48
  Speaker D: Yeah, we're. We're On Kawani?
• 1:00:49
  Speaker B: Oh, yeah, sure, yeah.
• 1:00:51
  Speaker D: And we love it. We have a amazing tropical backyard with a pool. And I've got control room upstairs. I got a piano room right below that with a 77 Rhodes.
• 1:01:05
  Speaker B: Oh, yeah, I saw a picture of that. That was my first piano Hammond.
• 1:01:09
  Speaker D: I got a Hammond keyboard sounds amazing, drum sets, cymbals. It's five different snares to choose from. So, yeah, I'm trying to make it as easy as possible bands to show up empty handed. I know the guitar players and the bass players are always going to show up there, you know, if every bass or guitar.
• 1:01:32
  Speaker B: Oh, well, sure, yeah.
• 1:01:33
  Speaker D: I have a couple of guitars. I've had 20 of them back in the day, but I don't know where they were.
• 1:01:38
  Speaker C: Right.
• 1:01:38
  Speaker D: They just kind of got loaned out to people and trashed.
• 1:01:42
  Speaker A: Yeah.
• 1:01:42
  Speaker B: Now, you know what I've, I've. I've started doing the last, I don't know, 10 years or so of recording. You know, I used to go into a session and go and set the amp the way I would set my amp for a live gig and, you know, get my sound and then we
• 1:01:57
  Speaker D: change it and then.
• 1:01:58
  Speaker B: No, and then at some point I thought, well, this guy records here all the time. Let me just take the lead from him and plug it in my bass and let him. And record like that.
• 1:02:13
  Speaker D: When I'm mastering, it takes a big weight off my shoulder.
• 1:02:17
  Speaker B: And from the very first time I did that, I thought, well, if I don't like the sound when I walk into playback, I'll then comment on it or tell them something. And every time, like, sounds great, man. I love it.
• 1:02:31
  Speaker C: Yeah.
• 1:02:31
  Speaker D: I just invested in like three ready, two preamps that excel on bass and keys.
• 1:02:38
  Speaker B: Right, right, right.
• 1:02:39
  Speaker D: It's a, it's like a brick that weighs 10 or 12 pounds.
• 1:02:43
  Speaker B: Yeah, yeah, yeah, yeah. I'm familiar.
• 1:02:45
  Speaker D: So I've got one for the bass player and at least one set for keyboards. But I got a bunch of other nice Rupert Neve design preamps.
• 1:02:55
  Speaker B: Right, right.
• 1:02:56
  Speaker D: You know, options. But it sounds pretty. It's pretty hard to beat.
• 1:03:01
  Speaker B: Nice, man. So, so you were mentioning Carlo Nuccio earlier. You're saying, you know, he, he, he took over right off the bat. Yes. How to do this. At some point, he comes back to you and, and he has his solo. One of his, his second solo.
• 1:03:17
  Speaker D: First we did the Lynn Jury thing. Well, Jamie Hayes, then Lynn Jury.
• 1:03:21
  Speaker B: Oh, the one that he produced that I.
• 1:03:23
  Speaker D: Before.
• 1:03:23
  Speaker B: I wasn't in the playing with Len at that point. He played almost everything on that Record.
• 1:03:27
  Speaker D: Yeah, that was the Malone brothers. And like.
• 1:03:30
  Speaker B: Okay. Brought different people in.
• 1:03:32
  Speaker D: Bill Macho.
• 1:03:34
  Speaker B: Right, Right.
• 1:03:35
  Speaker D: Yeah. Then Carlos started doing his own thing. He got like a thread heads grant.
• 1:03:41
  Speaker E: Huh.
• 1:03:42
  Speaker D: And then I don't know what happened exactly, because it's been.
• 1:03:47
  Speaker B: Yeah, Alex.
• 1:03:47
  Speaker D: 10 years.
• 1:03:47
  Speaker B: Alex McMurray was telling a story about. They did some basics that got lost at.
• 1:03:51
  Speaker D: They went to.
• 1:03:52
  Speaker B: They went to some things, got lost, started redoing, but I re.
• 1:03:57
  Speaker D: Backed them all up.
• 1:03:58
  Speaker B: Oh, okay.
• 1:03:58
  Speaker D: And then we redid a bunch of stuff, and then Carlo just kind of moved on.
• 1:04:07
  Speaker C: Yeah.
• 1:04:07
  Speaker B: Alex was saying he lost interest in it.
• 1:04:09
  Speaker C: He.
• 1:04:09
  Speaker B: He took up with Carmen and kind of.
• 1:04:12
  Speaker A: His life.
• 1:04:13
  Speaker B: His life. You know, his life took up.
• 1:04:15
  Speaker C: He took up with something else. Oh, no, it was just Carmen.
• 1:04:19
  Speaker B: No, that was already. That was. That was already in the past, I
• 1:04:22
  Speaker C: thought, but I don't think so.
• 1:04:23
  Speaker D: So anyway, maybe not. Alex invited me to his. I think it was the 4th of July party, and there was like a bunch of musicians that showed up.
• 1:04:33
  Speaker B: Oh, you mean the memorial that Carla
• 1:04:35
  Speaker D: threw for himself while he was still.
• 1:04:36
  Speaker B: He's still alive. Yeah, yeah, yeah.
• 1:04:38
  Speaker D: But Alex just said, hey, we're having a big party for Carlo at Carlo's house. It'd be really special if you could come. But I just kind of. I didn't think. I didn't. I hadn't been on Facebook for a few years. I was just, like, focusing on myself, getting in shape, eating healthy, losing weight.
• 1:04:59
  Speaker B: Okay.
• 1:05:00
  Speaker D: Kind of avoiding the negativity of social media.
• 1:05:03
  Speaker B: Right, Sure.
• 1:05:04
  Speaker D: I think it's good to take a break.
• 1:05:05
  Speaker B: Yeah.
• 1:05:06
  Speaker D: And anyway, I heard about it afterwards, and it was like I had no idea that he was sick.
• 1:05:14
  Speaker B: Oh, wow.
• 1:05:15
  Speaker D: So I, like, immediately dropped whatever I was doing, whatever projects I was doing, and I was like, hey, man, if you want to do anything, I'm here for you. And so I went to his house and he had like. All of a sudden he went from this real basic setup to having these racks of vintage APIs. I bought some nice mics over and we recorded some stuff. He could barely sing. Yeah, but he could. He could barely play acoustic guitar, but he could still play drums. Yeah, like one take.
• 1:05:55
  Speaker C: And. And then.
• 1:05:56
  Speaker B: Yeah, that day, that gig came over that day.
• 1:05:59
  Speaker D: And played accordion.
• 1:06:02
  Speaker B: Glenn Hartman.
• 1:06:04
  Speaker C: Yeah.
• 1:06:05
  Speaker D: And maybe some keys. And Joe Cabal played, like a pretty simple bass part. And then he was getting tired. Carla was getting tired. It was like 4pm and he said. I said, look, anytime you want to. If you want to redo the vocals or work on the guitar part or do some mixing or whatever. I drop everything that I'm doing for you and then never heard back from him. And I think it was like a week or two later that he passed.
• 1:06:39
  Speaker B: Yeah, it wasn't. Wasn't long at that point.
• 1:06:42
  Speaker D: So then Alex and I had to go over there and scour over hard drives to see it was unfinished.
• 1:06:51
  Speaker B: Right.
• 1:06:51
  Speaker D: And after we did the Carlo record that just came out, Alex is still sending me songs from.
• 1:06:59
  Speaker B: Yeah.
• 1:07:00
  Speaker D: That he's transferring from, like, adat. He's finding people on online who have ADAP machines that still work.
• 1:07:07
  Speaker C: Right.
• 1:07:07
  Speaker D: And transferring them, and they sound incredible.
• 1:07:10
  Speaker B: And what are those recordings of? It's Carlo or. I don't know when they record It's Alex stuff.
• 1:07:17
  Speaker D: It's both of them.
• 1:07:18
  Speaker B: Okay.
• 1:07:19
  Speaker D: But as you know, as soon as Carlo's involved, he just takes over.
• 1:07:24
  Speaker C: Sure.
• 1:07:26
  Speaker E: So.
• 1:07:27
  Speaker B: So you've.
• 1:07:28
  Speaker E: You.
• 1:07:28
  Speaker B: And Alex was saying. Alex was on the show not too long ago, and he was saying that that's. Your name came up. Your name has come up a number of times. Podcast. I think I actually approached you about being a guest on the podcast a few years ago. Years ago.
• 1:07:43
  Speaker D: I wasn't ready.
• 1:07:44
  Speaker B: And that's what you.
• 1:07:45
  Speaker D: I was still working on myself.
• 1:07:46
  Speaker B: That's what you said. You're like, not right now, Renee. And then I was like, okay, but
• 1:07:50
  Speaker D: I love the podcast.
• 1:07:51
  Speaker B: God bless you.
• 1:07:52
  Speaker D: From day one.
• 1:07:53
  Speaker B: God bless you.
• 1:07:54
  Speaker D: Like, you guys beat me to it. I always. I have obviously the equipment to do this, and I just thought having a podcast in New Orleans with all these wonderful characters and even people not from New Orleans that move here, you know, it's a brilliant idea. So thank you. Keep it going.
• 1:08:16
  Speaker B: Right on, right on.
• 1:08:17
  Speaker D: Because if not, I'm going to take over.
• 1:08:20
  Speaker B: Okay. Maybe.
• 1:08:21
  Speaker D: I know plenty of them may be
• 1:08:23
  Speaker B: ready to pass the baton to you here, but you have your house, you have artists that you bring in there.
• 1:08:29
  Speaker D: Yeah. I've been shut down for a couple of weeks because I'm installing two new patch bays.
• 1:08:36
  Speaker E: Right.
• 1:08:37
  Speaker D: That's not fun.
• 1:08:39
  Speaker B: Yeah.
• 1:08:41
  Speaker D: You just got done wiring up your studio, and now you have to unwire it.
• 1:08:45
  Speaker B: Oh, geez.
• 1:08:46
  Speaker D: And then spend thousands on DB25 cables and patch bays.
• 1:08:51
  Speaker B: Oh, yeah, it sounds like a nightmare,
• 1:08:53
  Speaker D: but I'm pretty close. I think by Thursday I'll have it done. And, yeah, I do a lot of remote mixing and mastering and. And the Walrus just came over and finished their record with me. Oh, very cool.
• 1:09:07
  Speaker B: Outstanding.
• 1:09:08
  Speaker D: Jonathan Pridus, Andre Boren and Dave. And.
• 1:09:12
  Speaker B: Yeah, man, I love those guys.
• 1:09:13
  Speaker D: Yeah.
• 1:09:14
  Speaker A: Yeah.
• 1:09:15
  Speaker B: Well, we're kind of on the downslope of the podcast here, kind of wrapping it up, but with all of your experience, I was wondering, you have any advice for young recording engineers?
• 1:09:25
  Speaker D: Get into real estate.
• 1:09:27
  Speaker B: Okay.
• 1:09:28
  Speaker D: I get asked by people that.
• 1:09:30
  Speaker C: Is that what you've done? No, no, no, no, no.
• 1:09:33
  Speaker D: Hell no.
• 1:09:34
  Speaker B: Well, that's like, if people ask me for their kids, Any advice for my child in the. Getting into the music business? Well, no, I say they call me. Don't do it.
• 1:09:42
  Speaker D: Your children might call me, like other parents or people that I know. And they asked me if they can be an intern. I've trained so many interns, and after six months, they still don't know what an SM 57 or 58 is. I'm like, go, go, set an s this different SM57 on the snare. And they're like, what is that? I'm like, I am wasting my time.
• 1:10:04
  Speaker B: Yeah, yeah, yeah.
• 1:10:05
  Speaker D: No, you should know this before you even come in.
• 1:10:08
  Speaker B: Absolutely.
• 1:10:08
  Speaker D: Especially with YouTube.
• 1:10:10
  Speaker B: Oh, yeah.
• 1:10:11
  Speaker D: But yeah, on the phone or text or email all the time with their children, and they're like, I want to get into this. You know, and they're still in high school, and I'm like, no. And. Because if they really want to get into it, they're going to get into it anyway.
• 1:10:29
  Speaker B: Exactly. That's why you tell me, let them
• 1:10:31
  Speaker D: choose their own path.
• 1:10:33
  Speaker B: Don't do it if they do it anyway, that's who belongs in them.
• 1:10:36
  Speaker D: Yeah, but right on. Financially, you know, you gotta.
• 1:10:41
  Speaker B: Well, there's the joke about how you make a small fortune in the recording business.
• 1:10:45
  Speaker D: Oh, yeah.
• 1:10:45
  Speaker C: You start.
• 1:10:46
  Speaker B: Start with a large fortune.
• 1:10:47
  Speaker D: No, no, no, I. I know this joke. You start with $5 million and you end up with 1 million.
• 1:10:54
  Speaker B: Okay.
• 1:10:54
  Speaker D: Or Hunter S. Thompson, he's got the greatest quote of all time. Let me see if I can remember it. It's one of the few quotes I know from the top of my head. The music business. Venice is a long, hollow plastic money trench where pimps and thieves run free and good men die like dogs. And there's also a negative side.
• 1:11:20
  Speaker B: There's also a downside. Right on.
• 1:11:23
  Speaker D: That's the good side.
• 1:11:24
  Speaker C: Wow, that was a great quote. You remember?
• 1:11:26
  Speaker D: Well, I don't know if I got it word for word, but you get the gist.
• 1:11:29
  Speaker C: Close enough, close enough.
• 1:11:30
  Speaker B: Well, I don't think we can top that, Jacques. That's words to live by right there.
• 1:11:35
  Speaker C: Yeah.
• 1:11:36
  Speaker B: Well, thank you so much, Jacques. I'm glad we made it happen after all these years, man.
• 1:11:40
  Speaker C: All right. Thank you, Jacques. All right.
• 1:11:42
  Speaker A: Hand.
• 1:11:43
  Speaker B: Handshakes. And I would love to give you a troubleman podcast sticker, but I didn't bring them with me. But we do have a Bosco coupon for you and I will. I will get those troubleman podcast stickers for to you, you and well again, thank you so much, Jacques. It's been been a gas.
• 1:12:01
  Speaker C: You should have drank more, man. Your wife's driving. You should have drank more.
• 1:12:06
  Speaker D: He pregamed it.
• 1:12:07
  Speaker B: It's not too late.
• 1:12:08
  Speaker D: Nice and relaxed.
• 1:12:09
  Speaker B: Right on. Well, as always on the trouble men podcast, we like to say trouble never
• 1:12:13
  Speaker C: ends, but the struggle continues. Good night.
• 1:12:16
  Speaker B: Good night.
• 1:12:17
  Speaker A: I've got a feeling I'm feeling deep inside oh yeah oh yeah I've got a feeling A feeling I can't hide
• 1:12:32
  Speaker C: oh no
• 1:12:34
  Speaker A: oh no oh no yeah, yeah I've got a feeling. Oh, please believe me I'd hate to miss the train oh, yeah oh yeah and if you leave me I won't be late again oh no oh no oh no yeah, yeah I've got a feeling. All these years I've been running around Wondering how come nobody told me all that I've been looking for Is somebody who looks like you. I've got a feeling that keeps me on my toes oh, yeah oh yeah I've got a feeling I think that everybody knows oh, yeah oh yeah oh, yeah yeah, yeah I've got a feeling.
• 1:14:12
  Speaker B: Everybody had a hard year Everybody had
• 1:14:15
  Speaker C: a good time Everybody had a wet
• 1:14:19
  Speaker B: dream Everybody saw the sunshine oh, yeah
• 1:14:23
  Speaker A: oh yeah oh yeah
• 1:14:28
  Speaker B: Everybody had a
• 1:14:29
  Speaker C: hard year Everybody let their hair down
• 1:14:34
  Speaker B: Everybody put the socks up Everybody put
• 1:14:37
  Speaker C: the foot down oh, yeah.
• 1:14:59
  Speaker A: Side oh, yeah Everybody have a wet dream oh yeah Everybody saw the sunshine I've got a feeling A feeling I can't hide oh, yeah everybody oh, yeah Everybody put the foot down oh, yeah oh yeah oh, yeah yeah oh, yeah oh yeah I got a feeling Sam.