Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / PJ Morton

Transcript

PJ Morton · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. Hey everyone, Today we begin our month long celebration
• 0:22
  Speaker 1: of Black Music Month with p J. Morton, the New
• 0:25
  Speaker 1: Orleans based singer, songwriter, producer, and keyboardist of Maroon five.
• 0:30
  Speaker 1: Morton recently earned a Grammy Award for Album of the
• 0:33
  Speaker 1: Year for his contributions to John Battize We Are. But
• 0:37
  Speaker 1: even though he's been up from multiple Grammys, he almost
• 0:39
  Speaker 1: gave up on the idea of a solo career altogether.
• 0:43
  Speaker 1: But then he moved back home to New Orleans and
• 0:45
  Speaker 1: reconnected with what got him interested in music in the
• 0:48
  Speaker 1: first place. Now, Morten's releasing his eighth studio album, Watched
• 0:53
  Speaker 1: the Sun. The new album was made up of eleven
• 0:55
  Speaker 1: original songs and features collaborations with artists like Stevie Wonder, Nas,
• 1:01
  Speaker 1: Jill Scott, and Wallet. On today's episode, p J Morton
• 1:05
  Speaker 1: talks to Bruce held Them about what it was like
• 1:07
  Speaker 1: growing up a preacher's son and how his relationship with
• 1:10
  Speaker 1: gospel impacted the way he makes music. He also talks
• 1:14
  Speaker 1: about being a recovering workaholic and his friendship with the
• 1:17
  Speaker 1: great Stevie Wonder. This is broken record Liner notes for
• 1:23
  Speaker 1: the digital age. I'm justin Mitchell here's Bruce Head them
• 1:27
  Speaker 1: and p J. Morton. You played organ growing up, right?
• 1:31
  Speaker 1: Oh yeah, what was the organ in your church? Yeah?
• 1:34
  Speaker 1: I could be three? It was okay, Yeah, it was
• 1:36
  Speaker 1: auld B three. Uh yeah. My brother in law taught me.
• 1:41
  Speaker 1: I learned on the job basically and by ear, you know,
• 1:44
  Speaker 1: but he taught me to draw bars and settings, and
• 1:48
  Speaker 1: I kind of just built from there. Yeah. I was
• 1:50
  Speaker 1: amazed to hear that. Well, I heard it on your record.
• 1:52
  Speaker 1: You said it. You don't read music. I don't read music. Yeah,
• 1:56
  Speaker 1: so you learned to play in church by ear by ear? Yeah,
• 2:02
  Speaker 1: it kind of blows my mind. You know, when I
• 2:05
  Speaker 1: think about the things I can play, I just remember
• 2:08
  Speaker 1: not being able to play, and then I remember being
• 2:11
  Speaker 1: able to play. I don't really remember learning. Like the
• 2:13
  Speaker 1: only thing I remember I would just play the same
• 2:16
  Speaker 1: thing over and over, and then I would make a
• 2:17
  Speaker 1: mistake and my ear would say, oh, that's the chord
• 2:21
  Speaker 1: from that song. Oh that's how they did that. It
• 2:24
  Speaker 1: literally like one foot in front of the other. Now,
• 2:27
  Speaker 1: your album New Orleans begins with a tape of your father,
• 2:33
  Speaker 1: Paul S Martin. That's right, yeah, introducing you at church. Well,
• 2:37
  Speaker 1: we were actually at home or you were at home. Yeah,
• 2:39
  Speaker 1: so my dad every year since like nineteen eighty three.
• 2:44
  Speaker 1: I mean, I remember the camp chords got smaller and
• 2:47
  Speaker 1: smaller through the years. That was the big one. Every
• 2:49
  Speaker 1: year though, we would have a talent showcase during Christmas.
• 2:53
  Speaker 1: It was me and my sisters. We all had to
• 2:55
  Speaker 1: do something. You know. My sister was a singer. You
• 2:58
  Speaker 1: can see me through the years ago from drums to
• 3:00
  Speaker 1: trying to play guitar to finally you see me set
• 3:03
  Speaker 1: land on piano about seven years old or eight, you know,
• 3:07
  Speaker 1: and that was I think that was eight or nine.
• 3:09
  Speaker 1: Do you remember what you played? Yeah, I used to
• 3:11
  Speaker 1: think I invented this. It was like, oh no, I
• 3:26
  Speaker 1: really thought that I wrote that. I don't know why
• 3:28
  Speaker 1: I thought that, but that was what I played. I
• 3:30
  Speaker 1: remember that clearly. Now you're playing in church. Your father
• 3:34
  Speaker 1: ran the church. Oh yeah, he was the pastor and
• 3:36
  Speaker 1: of course an amazing singer as well, so music was
• 3:39
  Speaker 1: really important. Yeah. Now, what was the relationship between church
• 3:43
  Speaker 1: music and secular music in your house? Because your dad
• 3:47
  Speaker 1: is a very big gospel singer. Yes, he's a very
• 3:50
  Speaker 1: big gospel singer who also was born and raised in
• 3:54
  Speaker 1: wins Or, Ontario. Canada, so he was right across the
• 3:58
  Speaker 1: tunnel from Detroit. So there was so much music in gospel.
• 4:02
  Speaker 1: Of course the Whinings and Cluck Sisters, but Stevie and
• 4:05
  Speaker 1: all of that stuff that was happening as well. So
• 4:07
  Speaker 1: there was a high appreation for music in the house
• 4:11
  Speaker 1: and it was almost like you could listen to it
• 4:13
  Speaker 1: because not on Sundays. We weren't allowed to listen to
• 4:15
  Speaker 1: secular music on Sundays on the radio. It would had
• 4:19
  Speaker 1: to be gospel music. But one of my dad's favorite
• 4:22
  Speaker 1: singers was Anita Baker. I remember Michael Jackson and Prince
• 4:27
  Speaker 1: and Stevie and Whitney Houston. I remember hearing that stuff
• 4:30
  Speaker 1: in the household too, here and there. You know. One
• 4:33
  Speaker 1: of your dad's big hits, let It Rain, Yes, which
• 4:36
  Speaker 1: he did after Katrina. He does a little purple rain
• 4:39
  Speaker 1: in this A little purple rain. Yeah. I used to try.
• 4:41
  Speaker 1: I used to travel with him as he ministered, you know,
• 4:44
  Speaker 1: and did revivals and stuff. We would go full purple
• 4:47
  Speaker 1: rain on there. So it was all right. Yeah, So
• 4:50
  Speaker 1: that's what I mean by the influence was always there.
• 4:53
  Speaker 1: My dad is a musician, so you know, as a musician,
• 4:55
  Speaker 1: you can't pick and choose what's good and bad. I
• 4:58
  Speaker 1: think it became more of an issue if you decided
• 5:01
  Speaker 1: to be a recording artist doing that. You know, once
• 5:03
  Speaker 1: you decided, oh, I'm gonna be a secular artist, that
• 5:06
  Speaker 1: is kind of when you started to get some pushback. Okay,
• 5:09
  Speaker 1: and did you get pushed back from him? I did. Yeah.
• 5:11
  Speaker 1: Initially I got pushed back because I was a very
• 5:14
  Speaker 1: young songwriter. So I think for a preacher's kid, it
• 5:18
  Speaker 1: always comes off as rebellion at first. You know, he's
• 5:21
  Speaker 1: just trying to go against what we're doing. You're a PK.
• 5:24
  Speaker 1: I'm a p K. Yeah, I'm a PK. But for me,
• 5:27
  Speaker 1: it was much purer than that, and it was coming
• 5:29
  Speaker 1: from a real place. And I think once they realized
• 5:32
  Speaker 1: it wasn't like a rebellious phase, they became like my
• 5:36
  Speaker 1: number one supporters. It wasn't this is the family business. Yeah,
• 5:41
  Speaker 1: I felt that pressure initially. I was it's me and
• 5:43
  Speaker 1: my two sisters. I'm the only boy. I'm his namesake.
• 5:47
  Speaker 1: You know. The jais for Junior, you know, so it
• 5:51
  Speaker 1: was almost like that path was written out for me.
• 5:53
  Speaker 1: I mean, it was like this is yours, you know,
• 5:56
  Speaker 1: But for me, I didn't want that, and my dad
• 5:58
  Speaker 1: never quite put that pressure on me. It was more
• 6:01
  Speaker 1: coming from everybody else members, or like just in general,
• 6:05
  Speaker 1: because my dad was known outside of just our church.
• 6:08
  Speaker 1: Of course, he traveled all around the world, and I
• 6:10
  Speaker 1: think everybody just assumed that. So I felt the pressure
• 6:12
  Speaker 1: from everywhere. But internally, I think my dad saw something
• 6:17
  Speaker 1: in me and saw that I was going to be different,
• 6:19
  Speaker 1: and he eventually empowered me to do that. He came around,
• 6:23
  Speaker 1: oh yeah, big time. I don't know the gospel style
• 6:26
  Speaker 1: so well, is there a lot of Detroit gospel and
• 6:28
  Speaker 1: what your dad did? Oh yeah, what's Detroit gospel? What's
• 6:31
  Speaker 1: New Orleans gospel? I think New Orleans gospel always felt
• 6:35
  Speaker 1: like New Orleans music in general. It was I think
• 6:39
  Speaker 1: the blues and the jazz of all of that was
• 6:41
  Speaker 1: all mixed. In Detroit at that time when I was
• 6:44
  Speaker 1: growing up, was always kind of ahead of the game.
• 6:47
  Speaker 1: I mean, when you talk about them, like the Clark's Sisters, Twinkie,
• 6:52
  Speaker 1: who was the producer and one of the lead singers
• 6:55
  Speaker 1: of The Clark's Sisters, it sounded like Stevie Wonder. It
• 6:58
  Speaker 1: just had gospel lyrics. So they were pushing that line
• 7:01
  Speaker 1: of it feeling like what current music was doing. She
• 7:04
  Speaker 1: said she got that song from like master blaster, you know,
• 7:07
  Speaker 1: but it's saying do mean that day name way, So
• 7:15
  Speaker 1: it was like very modern, you know, for that time
• 7:18
  Speaker 1: in New Orleans, I think was still in the you know,
• 7:49
  Speaker 1: someone in a traditional sense. Everybody says, well, it's a
• 7:52
  Speaker 1: gospel piano player. I don't really know what that means.
• 7:54
  Speaker 1: People say, well, this is the gospel scale. I think
• 7:56
  Speaker 1: that's just the scale. Everybody uses this, I think maybe
• 8:00
  Speaker 1: gift and curse. But because I didn't learn music, I
• 8:03
  Speaker 1: can't relate to any of that. I don't I don't
• 8:05
  Speaker 1: even know scales, so I don't you know, you don't
• 8:08
  Speaker 1: know any scales. I mean, I don't know what they are.
• 8:12
  Speaker 1: You know, I know, but and I know that's a
• 8:14
  Speaker 1: g major scale, but I don't know what a gospel
• 8:16
  Speaker 1: scale is. I mean, I guess some people would look
• 8:19
  Speaker 1: down on that, you know, which is there was some purists,
• 8:22
  Speaker 1: you know. I have a weird relationship with some purists
• 8:25
  Speaker 1: because I think the genius is being able to do it,
• 8:28
  Speaker 1: you know, without being taught. I think that before there
• 8:31
  Speaker 1: was notation, somebody had to play it to write it.
• 8:34
  Speaker 1: And I think somewhere along the line notation became higher
• 8:39
  Speaker 1: than being able to do it. But I take pride
• 8:42
  Speaker 1: in the fact that it came through me. It comes
• 8:45
  Speaker 1: through me, and that it's a gift that was given
• 8:47
  Speaker 1: to me. I'm in a huge pop band, you know
• 8:50
  Speaker 1: what I'm saying, Just like, I just play music whatever
• 8:54
  Speaker 1: the moment calls for. So I don't really get into
• 8:56
  Speaker 1: that or I'm not even sure what that means exactly.
• 8:59
  Speaker 1: Of course, I can play church music because that is
• 9:02
  Speaker 1: my foundation, you know, but I don't know that I
• 9:04
  Speaker 1: would consider myself a gospel piano play. Well, your your
• 9:08
  Speaker 1: friend John Batigue, Yeah, he went to juid he wants
• 9:10
  Speaker 1: to Juilliard. Yes, so you can just say to him, yeah,
• 9:12
  Speaker 1: I didn't have to do that. I mean, listen, I
• 9:16
  Speaker 1: think those things and it depends where you're taking it, right.
• 9:19
  Speaker 1: I mean, he's able to score soul and like do
• 9:22
  Speaker 1: all these amazing things. You know, these these different things
• 9:25
  Speaker 1: are tools for different paths, and he's undoubtedly a genius.
• 9:29
  Speaker 1: I mean when he sits at this piano, yes he
• 9:32
  Speaker 1: learned the notes, but you can't teach what he does.
• 9:35
  Speaker 1: I remember, you know a friend of mine who actually
• 9:39
  Speaker 1: was who did go to Berkeley and came to start
• 9:42
  Speaker 1: playing with me. He would tell me stuff like that's
• 9:44
  Speaker 1: wrong or you playing that wrong, and I was like,
• 9:49
  Speaker 1: you know what do you There's no such thing, you
• 9:52
  Speaker 1: know what I mean? And he had to eventually learn that.
• 9:55
  Speaker 1: But I do think, yeah, because I don't know. It
• 9:59
  Speaker 1: allows me to not know what the boundaries are supposed
• 10:02
  Speaker 1: to be. And also the things that I listened to,
• 10:04
  Speaker 1: I mean, when you talk about Stevie or you talk
• 10:07
  Speaker 1: about Quincy, they would have different choices, you know, And
• 10:11
  Speaker 1: these are the things that I that I grew up
• 10:13
  Speaker 1: paying attention to the Beatles as well. I mean when
• 10:17
  Speaker 1: you talk about like different chords and different structures, those
• 10:20
  Speaker 1: guys they were they were all about it. Can you
• 10:23
  Speaker 1: show me, and maybe this will probably help listeners. You've
• 10:26
  Speaker 1: done a couple great versions of How Deep Is Your Love? Yeah,
• 10:30
  Speaker 1: And a lot of your music is like this, including
• 10:32
  Speaker 1: your gospel music. Your gospel music sounds like love songs.
• 10:35
  Speaker 1: Your love song sound like gospel music, which is always nice.
• 10:38
  Speaker 1: It was because he talking about God or you gotta listen. Yeah,
• 10:42
  Speaker 1: So can you just show me when you probably heard
• 10:44
  Speaker 1: that song growing up in the ears because it was
• 10:46
  Speaker 1: on radio when you sat down to say, okay, I'm
• 10:49
  Speaker 1: going to try and play. What was that process? Yea,
• 10:51
  Speaker 1: it was so crazy. Is My sister and I used
• 10:53
  Speaker 1: to transform songs from I mean, Annie was our favorite
• 10:56
  Speaker 1: movie growing up, so I would always always already hear
• 10:59
  Speaker 1: those songs a certain way like so, bgs are you
• 11:08
  Speaker 1: I really need to? Right? And for me, I heard
• 11:12
  Speaker 1: it a deep bits your life, I really mean to
• 11:22
  Speaker 1: that's church right there? Okay, stop there? What's the church
• 11:25
  Speaker 1: about it? Because you just don't really that's where I
• 11:30
  Speaker 1: That's why I hear that voicing. When I say church,
• 11:33
  Speaker 1: I mean the voicing of it, because I could have
• 11:35
  Speaker 1: easily said because yeah, right, but I said, you know,
• 11:47
  Speaker 1: it's just some voicings that I mean, some people call
• 11:50
  Speaker 1: it church, some people call it soul. I hear it
• 11:53
  Speaker 1: that way in my head, and they're probably vocal lines originally, right,
• 11:56
  Speaker 1: It's like a choir sound almost as far as what
• 11:59
  Speaker 1: what you were just playing. Yeah, I mean, yeah, that
• 12:03
  Speaker 1: chord right there is like you know, I think you
• 12:06
  Speaker 1: I use that a lot, like a dominant um. But
• 12:09
  Speaker 1: I hear those voicings, those harmonies. That's a very cost
• 12:13
  Speaker 1: thing as well. Yeah, wow, did you ever hear from
• 12:15
  Speaker 1: Robin gibb or I just very good. Pardon right, yeah,
• 12:18
  Speaker 1: I did well. I heard from the social media account. Okay,
• 12:23
  Speaker 1: I talked to somebody, but no, I got word that
• 12:25
  Speaker 1: they loved that version, and I'm I'm honored. Man. It
• 12:29
  Speaker 1: was always one of my favorite songs and it was
• 12:31
  Speaker 1: a last minute decision to record it. It became one
• 12:34
  Speaker 1: of I have to play that now. You know. You
• 12:37
  Speaker 1: recorded that on Ze on Gumbo. It's on Gumbo and
• 12:40
  Speaker 1: then Gumbo Unplugged with Yebba, and then I did it
• 12:43
  Speaker 1: on the Piano album again with Alex Eisley, a totally different,
• 12:47
  Speaker 1: broken down piano version, yeah, which is a great great
• 12:50
  Speaker 1: Your whole piano record is Oh, thank you man, it's fabulous.
• 12:54
  Speaker 1: We have to take a quick break, but we'll be
• 12:55
  Speaker 1: right back with more from Bruce Headlam and PJ Mortin.
• 13:02
  Speaker 1: We're back with more from Bruce Heatham's conversation with PJ Martin.
• 13:06
  Speaker 1: Did you study a lot of the traditional New Orleans players?
• 13:10
  Speaker 1: You remind me of Alan Tussant maybe because you're a songwriter, yes,
• 13:13
  Speaker 1: and you accompany a lot of people. I was a
• 13:16
  Speaker 1: church kid, right, so I missed a lot of that
• 13:18
  Speaker 1: and because I didn't read, I didn't go through the
• 13:21
  Speaker 1: traditional jazz path in New Orleans. You know, it kind
• 13:25
  Speaker 1: of made me an outcast actually growing up there, because
• 13:28
  Speaker 1: I didn't fit into any New Orleans box. Really, Alan
• 13:33
  Speaker 1: Tucsont later on in life became a blueprint for me
• 13:36
  Speaker 1: because he represented what I wanted to be, you know,
• 13:39
  Speaker 1: which was New Orleans through and through, but really lend
• 13:44
  Speaker 1: my hand outside of New Orleans as well in a
• 13:47
  Speaker 1: big way. The way he had a studio in New
• 13:50
  Speaker 1: Orleans that was all his own, you know, it was
• 13:52
  Speaker 1: a blueprint for me. And you're right, the way he
• 13:55
  Speaker 1: was a producer for a lot of different artists is
• 13:57
  Speaker 1: how I saw myself. So Alan Tussant was He was
• 14:00
  Speaker 1: the person I looked to to say that's what I
• 14:03
  Speaker 1: want to be, But that came later on in life.
• 14:04
  Speaker 1: He was a couple of generations ahead of me. But no,
• 14:07
  Speaker 1: I didn't. I didn't study in that way. I was
• 14:09
  Speaker 1: studying gospel musicians and then I got when like Chick Carea.
• 14:14
  Speaker 1: And for me, though although I was a musician, I
• 14:16
  Speaker 1: was always drawn to the songs. It was always the
• 14:20
  Speaker 1: songs over the plan, over the singing. So I never
• 14:22
  Speaker 1: really studied outside of chick trying to learn Spain. I
• 14:27
  Speaker 1: never really studied keys that way. I studied songwriters. So
• 14:30
  Speaker 1: I was drawn to Stevie of course, Like that's what
• 14:33
  Speaker 1: started it all for me. Do you remember what the
• 14:36
  Speaker 1: song or album was with him? I do. I don't
• 14:38
  Speaker 1: remember if it was an album, but a friend of
• 14:40
  Speaker 1: mine gave me a cassette tape and I knew I'm
• 14:42
  Speaker 1: an eighties baby, right, so I knew I just called
• 14:45
  Speaker 1: to say I love you and you know, part time
• 14:48
  Speaker 1: lover when I was you know, I knew those songs,
• 14:50
  Speaker 1: but I hadn't heard that early voice and it was
• 14:53
  Speaker 1: I ain't never dreamed You're leaving somebody that song. I
• 14:58
  Speaker 1: can remember playing that cassette tape and hearing that and
• 15:01
  Speaker 1: like my mind just like, how does why is this
• 15:05
  Speaker 1: making me feel this way? You know? And soon after
• 15:09
  Speaker 1: he gave me Donnie Live, Donnie Hathaway Live. It seemed
• 15:13
  Speaker 1: like that was happening all like back to back to back,
• 15:15
  Speaker 1: and my lad, I don't remember how much there was
• 15:17
  Speaker 1: a break in it. But then I heard the Beatles
• 15:20
  Speaker 1: and I'm like, we like, what are these melodies and
• 15:23
  Speaker 1: how are they saying the same thing? But a different way.
• 15:26
  Speaker 1: And then that got me to James Taylor somehow. Actually
• 15:29
  Speaker 1: was watching an Awards show and they were honoring him
• 15:32
  Speaker 1: and they were playing Fire and Rain as he was
• 15:34
  Speaker 1: walking up, and I was like, what is that? You
• 15:37
  Speaker 1: really were a church kid. You hadn't heard James Taylor.
• 15:39
  Speaker 1: I hadn't heard James Taylor, and I knew the big stuff,
• 15:42
  Speaker 1: you know, but like it was a different mind as
• 15:44
  Speaker 1: a songwriter. It was like I started to want us
• 15:47
  Speaker 1: do that. How wild were you when you heard Stevie
• 15:50
  Speaker 1: wondering Donnie Hathaway? That was like twelve. Somebody gave me
• 15:54
  Speaker 1: that stuff at twelve. Like again, I had heard Stevie
• 15:57
  Speaker 1: and he was just a part of it, you know.
• 15:59
  Speaker 1: I hadn't heard Donnie actually, but that was about twelve
• 16:03
  Speaker 1: or thirteen. The Beatles my mom told me stories because
• 16:08
  Speaker 1: my name's Paul, and my little sister was born and
• 16:11
  Speaker 1: she got a Lullaby CD and it had Hey Jude
• 16:16
  Speaker 1: on there. So I was really young at that time.
• 16:18
  Speaker 1: I was probably seven, but I didn't really get to
• 16:21
  Speaker 1: the Beatles until later. So what was it like when
• 16:24
  Speaker 1: you finally met Stevie Wonder And how did you meet
• 16:26
  Speaker 1: Stevie wonder So like Matt in person, there were a
• 16:29
  Speaker 1: couple of like quick ones. Remer Kirk Franklin is the
• 16:33
  Speaker 1: first person that introduced me to him in person, but
• 16:36
  Speaker 1: that was really quick. And then twenty thirteen, I had
• 16:40
  Speaker 1: a song called Only One that I wanted him to
• 16:43
  Speaker 1: play harmonica and didn't know him at all. But I
• 16:47
  Speaker 1: just was like, you know, I'm just gonna try stout
• 16:51
  Speaker 1: to a drummer friend of mine, Teddy, who was played
• 16:54
  Speaker 1: for him, and he hooked me up with a stylus
• 16:58
  Speaker 1: of his who happened to be from New Orleans and
• 17:00
  Speaker 1: it happened to be familiar with me, so she was
• 17:02
  Speaker 1: down to get him the song. If you can get
• 17:04
  Speaker 1: it to him, that's I mean, that's it's two things.
• 17:06
  Speaker 1: He's got to want to do it and you gotta
• 17:08
  Speaker 1: be able to get it to you know. But it's
• 17:09
  Speaker 1: not like you can sell him on the idea of
• 17:12
  Speaker 1: this being a good career move. Yeah, you know, it's
• 17:15
  Speaker 1: like he just gotta want to do yeah. Yeah, man, Stevie,
• 17:18
  Speaker 1: I'm telling you, if you just do this one, it's
• 17:20
  Speaker 1: gonna take you to the top. You know. It was
• 17:22
  Speaker 1: none of that. I feel like he heard some of
• 17:25
  Speaker 1: himself in it and was down and he cut harmonica
• 17:28
  Speaker 1: on it. That still hadn't met him in person. Then
• 17:31
  Speaker 1: we were on a plane and I didn't know he
• 17:34
  Speaker 1: was sitting behind me and I went to the restroom
• 17:37
  Speaker 1: and Stevies comes behind me like meaning to use the
• 17:40
  Speaker 1: restroom too, and I turned around like, Stevie, it's it's PJ.
• 17:44
  Speaker 1: You just did my song and he was like, oh,
• 17:46
  Speaker 1: I love that song. And we we connected then and
• 17:51
  Speaker 1: that was special, but it didn't really turn into a
• 17:53
  Speaker 1: full relationship until maybe three years ago. He invited me
• 17:57
  Speaker 1: to do toys for Todds his Christmas thing, and we
• 18:02
  Speaker 1: did a song together and we really started to build.
• 18:06
  Speaker 1: Then after my album Gumbo first began, he told me
• 18:09
  Speaker 1: love this song. He told me he wished that he
• 18:11
  Speaker 1: wrote that song, which is, you know, I don't need
• 18:13
  Speaker 1: any more compliments in life. That's it, you know, that's
• 18:16
  Speaker 1: it for me. And so now we have a bond
• 18:19
  Speaker 1: that is and I'm not over it. But he told me,
• 18:22
  Speaker 1: like you can call me like you don't have to,
• 18:24
  Speaker 1: you know, we're friends. I'm like, you're Stevie wonder though,
• 18:28
  Speaker 1: you know, it's like more than I ever dreamed. This
• 18:30
  Speaker 1: is that's the biggest that's the biggest thing I ever dreamed.
• 18:33
  Speaker 1: So it's amazing. Have you ever talked about songwriting with him?
• 18:36
  Speaker 1: We talk about it in a way we more talk
• 18:38
  Speaker 1: about life. But what's fascinating about Stevie to me is
• 18:43
  Speaker 1: his recall I don't have that, I can't I got.
• 18:46
  Speaker 1: If I don't record it in my phone and like
• 18:49
  Speaker 1: have a voice note, I'll forget something great. He'll recall
• 18:53
  Speaker 1: ten songs that he's never put out that he's got
• 18:55
  Speaker 1: and he'll just run through them. I think it just
• 18:58
  Speaker 1: speaks to his genius. You know that he can hold
• 19:00
  Speaker 1: all of this stuff full songs and me will play
• 19:02
  Speaker 1: them for me. But we never really talked about technique
• 19:05
  Speaker 1: or anything. I mean, I think he just appreciates what
• 19:08
  Speaker 1: I do, and he tells me. He's not bashed for
• 19:11
  Speaker 1: about telling me how much he supports me. I think
• 19:14
  Speaker 1: that in general. I don't think that's unique to me.
• 19:16
  Speaker 1: He's very encouraging to artists and writers that he believes in.
• 19:20
  Speaker 1: Now you almost you've done a lot of producing. I
• 19:23
  Speaker 1: think he wouldn't your first Grammy for India Aria, I think, yeah,
• 19:27
  Speaker 1: well not technically, so I had to I had to
• 19:31
  Speaker 1: come back. I thought the Grammy rules. I didn't get
• 19:34
  Speaker 1: a trophy for that album. I wrote and produced on
• 19:37
  Speaker 1: the album and it won Best R and B Album,
• 19:40
  Speaker 1: But I didn't produce a certain percentage of the album,
• 19:42
  Speaker 1: so I didn't get a trophy for it. But yeah,
• 19:44
  Speaker 1: I was a part of this Grammy Award winning album
• 19:47
  Speaker 1: my junior year in college. Yeah, wow, did you take
• 19:49
  Speaker 1: time off from college for that? No? I went right.
• 19:52
  Speaker 1: It made me want to quit. The only thing that
• 19:54
  Speaker 1: got me through is I had one semester left. I
• 19:56
  Speaker 1: finished more House in three and a half years, and
• 19:58
  Speaker 1: that was my junior year. The first semester and I
• 20:01
  Speaker 1: was like, oh, this is all I want to do, Like,
• 20:04
  Speaker 1: I got to get out of here. But I had
• 20:06
  Speaker 1: like one more semester, something like, let me just knocked
• 20:09
  Speaker 1: this out. That's the best summer job ever. Oh, for sure,
• 20:12
  Speaker 1: I was mowing one. You were winning Grammy, Man, it
• 20:15
  Speaker 1: was amazing. I moved off campus my second year and
• 20:19
  Speaker 1: met Indi re right there in the apartments we were
• 20:23
  Speaker 1: living in. Well, her brother was living there, and she
• 20:25
  Speaker 1: happened to be up there and heard me playing the piano,
• 20:28
  Speaker 1: and we started talking about Stevie Wonder and she hadn't
• 20:31
  Speaker 1: put out her first motown record yet, and she let
• 20:34
  Speaker 1: me hear that, and so when the other one came around,
• 20:36
  Speaker 1: we were friends by then, and I had this little
• 20:39
  Speaker 1: song and played it for and she loved it. And
• 20:42
  Speaker 1: the restless history and you'd never produced before that. I
• 20:45
  Speaker 1: had produced some gospel stuff, yeah, because my first placement
• 20:49
  Speaker 1: as a producer was when I was sixteen. Yeah, fifteen,
• 20:52
  Speaker 1: I did the song sixteen it came out, and so
• 20:55
  Speaker 1: I kind of was used to it a little bit,
• 20:57
  Speaker 1: but that, in my mind, that is the first thing
• 21:00
  Speaker 1: that I truly produced. But then after a couple of
• 21:03
  Speaker 1: your own albums, you were gonna you were gonna stop
• 21:05
  Speaker 1: doing solo stuff? Yeah? Why what was going on? Yeah?
• 21:09
  Speaker 1: Right before Gumbo, I was just Gumbo was going to
• 21:13
  Speaker 1: be the last thing I think for me. I had
• 21:16
  Speaker 1: been pushing independently for a long time, and you know,
• 21:20
  Speaker 1: it's an uphill battle. I mean, it can be, you know,
• 21:23
  Speaker 1: and I just felt like I didn't necessarily fit in.
• 21:25
  Speaker 1: I would give these songs, I could write songs for
• 21:28
  Speaker 1: other people, but when I did my presentation, it was
• 21:30
  Speaker 1: just kind of like the labels didn't get it. You know.
• 21:33
  Speaker 1: We went to every label at one time and couldn't
• 21:35
  Speaker 1: get signed, and I just felt like, all right, listen.
• 21:39
  Speaker 1: I was in my room five a few years by then,
• 21:41
  Speaker 1: and I'm like, you know, this is great. I mean,
• 21:43
  Speaker 1: I'm fine. You know, I was still producing, right, and
• 21:46
  Speaker 1: I think part of it was I just wasn't successful
• 21:49
  Speaker 1: at being myself or it just hadn't come together, you know.
• 21:52
  Speaker 1: So then I signed a major deal. I was with
• 21:54
  Speaker 1: Young Money, with Lil Wayne and Universal, and that was cool.
• 21:59
  Speaker 1: It was a learning experience. But then that didn't work out.
• 22:02
  Speaker 1: So I asked to get off the label and I
• 22:05
  Speaker 1: was India again, and I'm like, you know what, I'm
• 22:07
  Speaker 1: leaving La and I'm leaving all of this, like I
• 22:10
  Speaker 1: just you know, so Gumbo kind of was my I
• 22:13
  Speaker 1: was just disarmed, you know. I wasn't thinking about anything
• 22:17
  Speaker 1: business wise, radio, pr, none of that. I just was like,
• 22:23
  Speaker 1: I'm just gonna make what I want to make, which
• 22:25
  Speaker 1: I realized now that that's what was missing, just me
• 22:29
  Speaker 1: overthinking some things. Yeah, I was making good songs and
• 22:32
  Speaker 1: doing all of this, but I wasn't fully connecting because
• 22:36
  Speaker 1: I had those blocks, and I wasn't creating fully in
• 22:40
  Speaker 1: a free way, not since my very first album. It
• 22:43
  Speaker 1: just put me back where I was supposed to be,
• 22:45
  Speaker 1: I guess, because that's when a lot of the more
• 22:48
  Speaker 1: recent success started. Yeah, and you've got your own studio now, yeah,
• 22:52
  Speaker 1: I got on Yeah, yeah, Morn Records. Yeah. But you're
• 22:56
  Speaker 1: still producing for other people, and you're still producing and
• 22:59
  Speaker 1: we just snow A Legra shout out to snow A Legra.
• 23:02
  Speaker 1: She was just up at the Grammys for a song
• 23:04
  Speaker 1: that I helped write. Now I'm going to continue to
• 23:07
  Speaker 1: do that. I just love other voices, I love other expressions,
• 23:12
  Speaker 1: So I always want to lend my hand when when
• 23:15
  Speaker 1: I can add something. And you're going to restore Buddy
• 23:18
  Speaker 1: Boone's help. Yes, yes, yes, it was a happy mistake
• 23:21
  Speaker 1: that happened after Katrina. It was a house not far
• 23:25
  Speaker 1: from my parents' church, literally steps away, so the church
• 23:30
  Speaker 1: brought up most of the land after Katrina and happened
• 23:33
  Speaker 1: to buy this house not knowing. No, we should explain
• 23:35
  Speaker 1: who he is because yeah, oh yeah, yeah for sure,
• 23:38
  Speaker 1: because that's that's part of where my passion comes from.
• 23:40
  Speaker 1: Because I didn't know who he was growing up, unfortunately,
• 23:43
  Speaker 1: and we all should. Buddy Bolden, the legend has it
• 23:46
  Speaker 1: that he is the seed that planet jazz music. The
• 23:50
  Speaker 1: story is that he was playing his horn too loud
• 23:52
  Speaker 1: in the house, so his mom told him go outside.
• 23:55
  Speaker 1: He goes on the stoop and plays it. The legend
• 23:57
  Speaker 1: says you could hear him all the way like across town,
• 24:00
  Speaker 1: and so a friend of his heard him playing and
• 24:03
  Speaker 1: they formed the band that majority of the world says
• 24:06
  Speaker 1: is the first time they heard jazz music. He died
• 24:10
  Speaker 1: at a young age. He died mental illness. You know.
• 24:14
  Speaker 1: There's a theory that he had a vitamin deficiency, is
• 24:17
  Speaker 1: that right, which is very common apparently if he were poor,
• 24:21
  Speaker 1: and that it wasn't you know, because people assumed to
• 24:23
  Speaker 1: schizophrenia because I think he ended up an asylum, but
• 24:26
  Speaker 1: they may have actually been breakdown. It may have been
• 24:28
  Speaker 1: a nutritional Wow. Yeah, something so simple now right, YEA,
• 24:31
  Speaker 1: like seemed complex then. But I just think his story
• 24:35
  Speaker 1: is important. There's literally one picture of him that exists,
• 24:39
  Speaker 1: no recordings, and we're still talking about him one hundred
• 24:42
  Speaker 1: years later. So he did something, you know, King Oliver
• 24:46
  Speaker 1: playing this band different people, right, that's right, and that
• 24:49
  Speaker 1: these are the people who carried on his story. Um,
• 24:52
  Speaker 1: So we got this house which was actually low income
• 24:56
  Speaker 1: housing before Katrina wasn't nobody was making a big deal
• 24:59
  Speaker 1: about it, which is probably why my parents didn't know. Um.
• 25:02
  Speaker 1: So it's it's been sort of an uphill battle just
• 25:05
  Speaker 1: because it was new for me. I was just excited
• 25:07
  Speaker 1: about it, but never been in the nonprofit space, never
• 25:10
  Speaker 1: had to raise money for anything. But this vision man
• 25:14
  Speaker 1: is so important. It's the house that he actually lived in,
• 25:17
  Speaker 1: and then there's an identical house right next to it,
• 25:20
  Speaker 1: so I'm calling it the past house in the future house.
• 25:22
  Speaker 1: So I want his actual home. The left side of
• 25:25
  Speaker 1: it to be a small museum just the lineage of
• 25:28
  Speaker 1: New Orleans, which I think is not only jazz but
• 25:31
  Speaker 1: really American music. You know, our jazz didn't really turn
• 25:35
  Speaker 1: into contemporary jazz. It turned into R and B with
• 25:39
  Speaker 1: Fats and those guys, and I feel like Elvis was
• 25:42
  Speaker 1: chasing Fats, you know, and became rock and roll, you know.
• 25:46
  Speaker 1: So I just think that it's an important story to tell.
• 25:49
  Speaker 1: So we want to do the museum, and then the
• 25:51
  Speaker 1: right side where he actually lived, will be his house
• 25:54
  Speaker 1: as it was lived in. And then the right house
• 25:57
  Speaker 1: I want to make like an event center to continue
• 26:00
  Speaker 1: that innovation. I want to teach everything from except performance really,
• 26:04
  Speaker 1: because I think New Orleans has that cover it. But
• 26:06
  Speaker 1: I want to teach the things that maybe left him
• 26:10
  Speaker 1: to die broke, you know, teach publishing and teach songwriting,
• 26:14
  Speaker 1: and teach engineering and law. So I'm really excited about it.
• 26:19
  Speaker 1: It has taken much longer than I wanted it to,
• 26:21
  Speaker 1: but I'm still inspired and still passionate about the project
• 26:26
  Speaker 1: and can't wait to see it come to fruition Fully.
• 26:30
  Speaker 1: We'll be right back after a break with more from
• 26:32
  Speaker 1: PJ Martin and Bruce had them. We're back with the
• 26:38
  Speaker 1: rest of Bruce Hethlem's conversation with PJ Martin. I do
• 26:42
  Speaker 1: want to talk about this new album yea, Watch the Sun. Yeah,
• 26:45
  Speaker 1: of course, tell me about the recording of this album.
• 26:47
  Speaker 1: Tell me what you were thinking going into it. Yeah,
• 26:50
  Speaker 1: while I wasn't really planning on doing an album, I
• 26:53
  Speaker 1: just was coming off of a like crazy run. I mean,
• 26:56
  Speaker 1: I just went back to back to back with music
• 27:00
  Speaker 1: more than I ever had before. Actually, but it just
• 27:02
  Speaker 1: was rolling. So I was rolling with it and then
• 27:05
  Speaker 1: we got shut down. I was with my Room five
• 27:07
  Speaker 1: in South America. In real time, the show started to
• 27:10
  Speaker 1: get canceled. We had to fly back to the States
• 27:13
  Speaker 1: and when we got back. Initially I had voice notes
• 27:16
  Speaker 1: from like March twenty twenty. I was in this creative
• 27:19
  Speaker 1: like it was just coming faster than I could even
• 27:23
  Speaker 1: control it. And I got some music beds that actually
• 27:27
  Speaker 1: ended up on this album two years later. But my
• 27:30
  Speaker 1: laptop crashed like right after that, and I lost all
• 27:35
  Speaker 1: that stuff. All that was the voice not he couldn't
• 27:38
  Speaker 1: nobody could get it back. I got a lot of
• 27:40
  Speaker 1: my files back, a lot of my drums back, but
• 27:42
  Speaker 1: not those new songs that I was working on. It
• 27:45
  Speaker 1: was just not saved yet. It was pretty pretty always
• 27:47
  Speaker 1: back up for the musicians. Oh my god, please, yeah,
• 27:50
  Speaker 1: I know this too, Like this is what I did,
• 27:53
  Speaker 1: was it got bad and I probably could have recovered it.
• 27:56
  Speaker 1: I went further than I should have and got this
• 28:00
  Speaker 1: something offline to say that could save my files, and
• 28:03
  Speaker 1: it just my computer did something I've never seen before.
• 28:06
  Speaker 1: It was so bad. I was just desperate. What I
• 28:09
  Speaker 1: realized was I needed to stop, like to stop, you know,
• 28:13
  Speaker 1: and not do anything. It's okay, like I'm just you know,
• 28:17
  Speaker 1: I say, I'm a recovering workaholic. So I took that
• 28:20
  Speaker 1: time to really focus on family, focus on life, taught
• 28:24
  Speaker 1: my two youngest how to ride bikes. I mean just
• 28:27
  Speaker 1: just really, I was building bookcases and bikes and all
• 28:31
  Speaker 1: kinds of stuff, you know. So I had these music
• 28:33
  Speaker 1: beds because I wanted to start with just music, no lyrics.
• 28:36
  Speaker 1: And I usually don't do that. I go pretty quick
• 28:39
  Speaker 1: after I have music, I usually go and write it.
• 28:43
  Speaker 1: But I wanted to be so intentional this time around,
• 28:46
  Speaker 1: like more intentional than that. I've ever been, more honest
• 28:50
  Speaker 1: and open than I've ever been, and so I took
• 28:53
  Speaker 1: that time to just have the music beds. Then we
• 28:56
  Speaker 1: moved into Gumbo Studios and I started to build it
• 28:59
  Speaker 1: even more, still music no lyrics. And maybe about a
• 29:02
  Speaker 1: year after that, I told my engineer, Reggie, that we
• 29:06
  Speaker 1: should find a studio where we could lived there. So
• 29:10
  Speaker 1: you just built a studio and then you wanted to
• 29:12
  Speaker 1: use the studio else because you know, I don't know
• 29:15
  Speaker 1: if people realize, but when we were all shut down,
• 29:19
  Speaker 1: we lost all these gigs, but it was replaced with
• 29:22
  Speaker 1: live streams and like more interviews than ever really because
• 29:27
  Speaker 1: you were there, you know. So I feel like I
• 29:30
  Speaker 1: had to. I wasn't away enough, you know, Like I
• 29:33
  Speaker 1: needed and away from the away. So I was like,
• 29:36
  Speaker 1: I just need to go away. And we discovered studio
• 29:39
  Speaker 1: in the country in Buggaloosa, Louisiana, where Stevie did Secret
• 29:44
  Speaker 1: Life of Plants. There's a Frankie Beverly and May's album
• 29:47
  Speaker 1: that was made out there. Here, there's an unreleased Betty
• 29:51
  Speaker 1: Davis record that was recorded out there. But this amazing
• 29:54
  Speaker 1: studio that was built in the seventies, and there's a
• 29:58
  Speaker 1: house on the grounds that you can stay at. Me
• 30:01
  Speaker 1: and the band, and this was the first time we
• 30:03
  Speaker 1: were even starting to you know. I remember we had
• 30:05
  Speaker 1: to test to go out there. First time we were
• 30:07
  Speaker 1: around people without mat ask and so that was freeing
• 30:10
  Speaker 1: in itself. And this place was so magical. It just
• 30:14
  Speaker 1: made me want to write immediately, like that's all I
• 30:17
  Speaker 1: wanted to do. I threw myself into it, and this
• 30:20
  Speaker 1: is the first time I started to write some lyrics.
• 30:24
  Speaker 1: I feel like I had finally processed these things I
• 30:27
  Speaker 1: want to say, and we just started building. I had
• 30:30
  Speaker 1: the band, so that how it would go is I'd
• 30:33
  Speaker 1: wake up because I wake up pretty early every day,
• 30:36
  Speaker 1: and go in myself, go to piano right, come up
• 30:39
  Speaker 1: with some ideas and then I called the band in
• 30:41
  Speaker 1: to hit the parts that I wanted to hit, and
• 30:44
  Speaker 1: first week of us being there is majority of the
• 30:48
  Speaker 1: album as far as sonically, Yeah, a couple of the vocals.
• 30:53
  Speaker 1: I ended up cutting vocals. Later Reggie and I went again.
• 30:56
  Speaker 1: I mean we did three four trips to the country.
• 30:59
  Speaker 1: I didn't fully started singing, and to the second time
• 31:03
  Speaker 1: it just wasn't experienced. It felt magical and it felt
• 31:06
  Speaker 1: deeper than just records. At this point, it's like I
• 31:10
  Speaker 1: really was by being as honest and authentic as I
• 31:13
  Speaker 1: was trying to be. I think it's going to connect
• 31:16
  Speaker 1: to people. I've seen it that I've let people here now,
• 31:19
  Speaker 1: but I think it's going to connect in another way.
• 31:22
  Speaker 1: After you made as much music, if as I made,
• 31:25
  Speaker 1: It's almost like that was all that was left at
• 31:27
  Speaker 1: this point was for me to get, you know, just
• 31:31
  Speaker 1: give you more of myself because the type of songwriter
• 31:34
  Speaker 1: I am, there's always myself in it. But I also
• 31:37
  Speaker 1: in general bring other people's stories. I'm a people watch her,
• 31:41
  Speaker 1: you know, but this time was a lot more specific
• 31:43
  Speaker 1: to me. Can you play a little bit of a
• 31:45
  Speaker 1: song that came out of that first week? Yeah? Well
• 31:48
  Speaker 1: please don't walk away. I said this on the Piano album,
• 31:51
  Speaker 1: just as a passing thing, where when I before I
• 31:54
  Speaker 1: sang to my wife, I said that, you know, this
• 31:56
  Speaker 1: has been like the toughest either I said year or
• 32:00
  Speaker 1: you know, it's been a rough period for us. But
• 32:03
  Speaker 1: that was true. We had really gone through some challenges,
• 32:06
  Speaker 1: you know, been married thirteen years, that married really young.
• 32:09
  Speaker 1: So please don't walk Away was literally the first song
• 32:12
  Speaker 1: I think I wrote lyrics to, um um, I just
• 32:21
  Speaker 1: do the verse. It's never gone this far, it's never
• 32:31
  Speaker 1: been this bad, But I won't lady to raise the
• 32:38
  Speaker 1: memories of good times we've had. Oh and even with
• 32:49
  Speaker 1: everything that we've been going through, Oh, you never have
• 33:01
  Speaker 1: to ask. I still choose you. Oh girl, please don't
• 33:14
  Speaker 1: walk way from my love. Please don't oh wait, from
• 33:29
  Speaker 1: my love. Yeah. Yeah, that was the first one. Yeah,
• 33:40
  Speaker 1: I hope it did the tray it did. She didn't
• 33:43
  Speaker 1: walk away all as well. We're good now. Yeah. I
• 33:47
  Speaker 1: can't write another one, so I was fabulous, right. Yeah.
• 33:50
  Speaker 1: What's crazy is we were in a good space then,
• 33:54
  Speaker 1: like we had. It's almost like I have to process
• 33:56
  Speaker 1: it and go through it first, uh, in order to
• 33:59
  Speaker 1: talk about what I can't really talk about what's happening
• 34:02
  Speaker 1: while it's happening. Usually, Yeah, but a lot of the
• 34:04
  Speaker 1: album's very heartfelt, very vulnerable. I would say, yeah, very
• 34:09
  Speaker 1: much about breakups or the possibility of breakups. It's a
• 34:13
  Speaker 1: tough album. Sure when you sat down, you know, you
• 34:16
  Speaker 1: play that for your band and then you don't write music,
• 34:19
  Speaker 1: So how do you arrange it with them? Yeah? Well, thankfully,
• 34:22
  Speaker 1: I mean, well I do have you know, Berkeley graduates
• 34:26
  Speaker 1: with me and stuff. So but but thankfully all my
• 34:29
  Speaker 1: guys around me are also church cats the way I
• 34:32
  Speaker 1: grew up, So we communicate in a different way. It's
• 34:36
  Speaker 1: not through you know, sheet music, is through just talking.
• 34:39
  Speaker 1: You know. I can call out two or five or one,
• 34:43
  Speaker 1: you know, or four, so I know enough where we
• 34:47
  Speaker 1: can communicate musically. It's not because I didn't go through school.
• 34:50
  Speaker 1: It's not that I don't understand the movements of things.
• 34:54
  Speaker 1: We just kind of have come up with our own language.
• 34:57
  Speaker 1: I guess it's a shame they had to go to Berkeley. Really, yeah,
• 35:03
  Speaker 1: it takes them so long. So what's next for you?
• 35:07
  Speaker 1: I am going to get on the road though I
• 35:10
  Speaker 1: missed that so much. We just did a few shows
• 35:13
  Speaker 1: and I can't wait to play this new stuff live.
• 35:18
  Speaker 1: I mean, it's made for it. I thought of the
• 35:20
  Speaker 1: album in that way. The album just continues like my shows,
• 35:24
  Speaker 1: do you know. It's not really a lot of break
• 35:26
  Speaker 1: in there. They just flow from one to the other.
• 35:28
  Speaker 1: And I just can't wait to present that to everybody.
• 35:32
  Speaker 1: And really it's the community. I think it's me that church,
• 35:36
  Speaker 1: growing up in church and having that weekly community where
• 35:39
  Speaker 1: you share this experience. I just can't wait to share
• 35:43
  Speaker 1: this experience of this really honest music with my supporters.
• 35:48
  Speaker 1: So that's next. I'm scoring an animated film right now. Okay,
• 35:52
  Speaker 1: what's that like? It's fun man, well in my case
• 35:56
  Speaker 1: because the director is a fan of mine, Like, you know,
• 36:00
  Speaker 1: he really already digs what I do. I imagine it
• 36:02
  Speaker 1: could be frustrating when somebody is just you're just put
• 36:05
  Speaker 1: in a position to do it. But this guy wants
• 36:08
  Speaker 1: PJ song. So it's so cool because this story is
• 36:12
  Speaker 1: so weird that it allows me to go places that
• 36:16
  Speaker 1: I would never get to go in my own music.
• 36:18
  Speaker 1: So it's like PJ doing weird, different, cool stuff. It's
• 36:23
  Speaker 1: really exciting for me. I'm enjoying that process. So there's
• 36:27
  Speaker 1: that there's some TV shows that I'm scoring as well.
• 36:31
  Speaker 1: I like that side of it too, because my music
• 36:34
  Speaker 1: is so visual that I like when I have to
• 36:36
  Speaker 1: create two a visual it's pretty fun. So recovering workaholic. Yeah,
• 36:42
  Speaker 1: in my in my sense, you know, even like this
• 36:44
  Speaker 1: big tour, this is new for me, brand new for me.
• 36:47
  Speaker 1: Where in the summer will do two weeks on, two
• 36:50
  Speaker 1: weeks off, something I've never done in my life. But
• 36:52
  Speaker 1: I understand now that just as much as I plan
• 36:56
  Speaker 1: for these things, I have to actually plan for the
• 36:59
  Speaker 1: other stuff that's important to me. So we'll see how
• 37:02
  Speaker 1: that goes. But two weeks on, two weeks off is
• 37:05
  Speaker 1: a big start for this recovering work. Okay, let's see
• 37:08
  Speaker 1: how that works. We'll see. I'll check back in. Okay,
• 37:12
  Speaker 1: it's been fabulous and the album is fast. Thank thank
• 37:14
  Speaker 1: you so much for coming in. Thank you for having
• 37:16
  Speaker 1: so beautiful and Pleasure's great album's retreat. Thanks to PJ.
• 37:23
  Speaker 1: Morton for taking us through his incredible career as a
• 37:26
  Speaker 1: solo musician and a sideline. We can hear all of
• 37:29
  Speaker 1: our favorite PREJ Morton songs on a playlist at Broken
• 37:32
  Speaker 1: record podcast dot com. Be sure to subscribe to our
• 37:35
  Speaker 1: YouTube channel at YouTube dot com slash broken Record Podcast,
• 37:38
  Speaker 1: where you can find all our new episodes. You can
• 37:42
  Speaker 1: follow us on Twitter at broken Record. Broken Record is
• 37:45
  Speaker 1: produced Helpful Lea Rose, Jason Gambrel, Beentaliday, Eric Sandler, and
• 37:49
  Speaker 1: Jennifer Sanchez for engineering help from Nick chaf Our. Executive
• 37:53
  Speaker 1: producer is Mia Lobell. Broken Record is a production of
• 37:57
  Speaker 1: Pushkin Industries. If you like this show and others from Pushkin,
• 38:00
  Speaker 1: consider subscribing to Pushkin Plus. Pushkin Plus is a podcast
• 38:04
  Speaker 1: subscription that offers bonus content an uninterrupted ad free listening
• 38:08
  Speaker 1: for four ninety nine a month. Look for Pushkin Plus
• 38:11
  Speaker 1: on Apple Podcasts subscriptions, and if you'd like the show,
• 38:15
  Speaker 1: please remember to share, rate, and review us on your
• 38:17
  Speaker 1: podcast app or the music Expect any beats. I'm justin
• 38:20
  Speaker 1: hedgment