Latest / Arroe Collins Like It's Live / Beck's Belero Exploring The Works Of Jeff Beck From David Vito Gregoli

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Beck's Belero Exploring The Works Of Jeff Beck From David Vito Gregoli · Arroe Collins Like It's Live

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Speaker 1: Enjoy your exploration. Hello and good afternoon, everybody. How's everybody doing?
0:34
Speaker 2: So far, so good.
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Speaker 1: I love that. Where are you from to say so far,
0:38
Speaker 1: so good? That's what we said up in Montana. Are
0:40
Speaker 1: you from out west?
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Speaker 2: I'm from L.A., but I'm living in Ojai right now. Woo!
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Speaker 1: That is so awesome. Yeah, because there's certain things that,
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Speaker 1: you know, it's like music. It's so regional, the things
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Speaker 1: that we say and sing about. And yet it's time
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Speaker 1: to explore as musicians and grow forward, isn't it?
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Speaker 2: Absolutely.
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Speaker 1: How did you jump into a Jeff Beck project? And
1:02
Speaker 1: the reason why I bring that up is because back
1:03
Speaker 1: in my early days of radio, Jeff Beck was the
1:06
Speaker 1: one that I went to because he always had concept
1:09
Speaker 1: albums that you could pick up in the back of
1:11
Speaker 1: a music store. What about you?
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Speaker 2: Well, I've been a Beck fan since I first started
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Speaker 2: playing guitar.
1:19
Speaker 3: Gosh, 1972-ish, when I discovered the triumvirate, the holy triumvirate
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Speaker 3: of Beck, Clapton, and Page, you know, all refugees from
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Speaker 3: the Yardbirds.
1:34
Speaker 2: And I just was always very moved by.
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Speaker 3: Beck's playing because out of the three of them, he
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Speaker 3: is the one that he could do one note and
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Speaker 3: you could feel So much passion and heart come through
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Speaker 3: that one note.
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Speaker 2: So true.
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Speaker 3: And I think that pretty much laid the groundwork for
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Speaker 3: every lead guitarist after that.
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Speaker 4: You know, Steve Lukather, Eddie Van Halen, all of them.
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Speaker 3: His tone, that meaty tone, that passionate meaty tone that
2:02
Speaker 3: you could hear from the very early Yardbirds, pretty much
2:05
Speaker 3: dictated how rock guitar was going to go. In the
2:09
Speaker 3: same way that Jimmy Page invented... hard rock rhythm guitar.
2:15
Speaker 3: He listened to all those Zeppelin, early Zeppelin, you know,
2:19
Speaker 3: the way he, he, he, he invented the power chord,
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Speaker 3: you know, I mean, you could say it happened before,
2:27
Speaker 3: but he just, you know, the whole thing about Led
2:29
Speaker 3: Zeppelin wasn't.
2:30
Speaker 2: Just his guitar.
2:32
Speaker 3: It was to me, at least it's 75% his rhythm
2:36
Speaker 3: playing and his textures that he created with it. But
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Speaker 3: Beck wasn't really a rhythm guitar player. He was a
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Speaker 3: lead guitar player. And all the way up to his death,
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Speaker 3: he just kept growing and modifying his playing in the
2:47
Speaker 3: same way that Page and Clapton kind of fell off
2:50
Speaker 3: the wagon, so to speak. Beck was driving the wagon.
2:55
Speaker 1: I've always seen him as somebody who evolves and isn't
2:58
Speaker 1: afraid of doing it because, I mean, like I said,
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Speaker 1: I went into those concept albums and I always got
3:03
Speaker 1: something new. It was never the same Jeff Beck twice
3:06
Speaker 1: on any of those concept albums.
3:09
Speaker 2: Right, right.
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Speaker 3: And I'm listening to his autobiography on, not autobiography, his biography.
3:14
Speaker 2: That just came out. I'm listening to it on audiobook.
3:17
Speaker 3: And it's interesting hearing all the details behind the things
3:20
Speaker 3: that I had perceived.
3:22
Speaker 4: As a fan, as a, you know, as a, you know.
3:25
Speaker 2: Distant mentor, you might say.
3:27
Speaker 3: And it's very interesting, very interesting, his biography. You know,
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Speaker 3: I don't think he thought he was as good as
3:34
Speaker 3: we think he is.
3:35
Speaker 1: Hindsight, man. Hindsight. I mean, that's but that's isn't that
3:41
Speaker 1: the sign of a true artist, though? It's like, OK,
3:43
Speaker 1: you just kind of let it roll off your back.
3:47
Speaker 3: Yeah, but I think there's a certain amount of healthy
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Speaker 3: acknowledgement of where you've been and where you've gotten to.
3:53
Speaker 2: And there's a little bit of that when they quote
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Speaker 2: some things from him from interviews, right?
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Speaker 3: But on the whole is like very not resting on
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Speaker 3: his laurels. And that's, you know, that's something that's very unique.
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Speaker 3: I mean, you look at all these artists that we
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Speaker 3: go out to see that are legacy artists that people spend,
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Speaker 3: you know, hundreds and hundreds and sometimes thousands of dollars
4:16
Speaker 3: to go see.
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Speaker 2: And they're pretty much doing.
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Speaker 3: What they did back in the day because that's what
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Speaker 3: people want to hear. But Beck was never in that mindset.
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Speaker 3: It's like, Where can I go now? And from the biography,
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Speaker 3: I'm seeing the things that, you know, didn't come out
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Speaker 3: that he bailed on because it wasn't working. It wasn't
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Speaker 3: giving him the result that he was looking for. And
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Speaker 3: it's like, oh, that's why he wasn't releasing an album
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Speaker 3: for two, three years. There's all these other projects that
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Speaker 3: kind of he went, that's that's not up to the
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Speaker 3: level of what I want to do.
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Speaker 1: One of the things that I've noticed, especially even with
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Speaker 1: Bex Bolero, which you have done, is that you give
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Speaker 1: us that opportunity to explore it even deeper than what
4:57
Speaker 1: it is. Because so many times when we keep hearing
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Speaker 1: the same songs over and over again, we become numb
5:01
Speaker 1: to it. But yet what you have done with Janet here,
5:04
Speaker 1: it gives us that opportunity to step back in there going, oh,
5:07
Speaker 1: by the way, you missed this. And of course, that's
5:10
Speaker 1: exactly how I feel. And I'll go, God, do it again.
5:12
Speaker 1: I want to hear it again. And so did you
5:15
Speaker 1: guys feel the same thing when you were in the studio?
5:21
Speaker 3: It was interesting. I, as a producer, I'm, and who
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Speaker 3: plays a lot of different instruments, I'm used to working alone.
5:28
Speaker 3: And even when I'm working with other people, it usually
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Speaker 3: doesn't happen at the same time. Janet was emphatic about,
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Speaker 3: we have to track the guitars live together, even though
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Speaker 3: we do, we do a few takes, but it was
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Speaker 3: like her and I in the room. And my first
5:44
Speaker 3: thought is, I'm going to get real nervous and intimidated
5:47
Speaker 3: and I'm going to suck.
5:49
Speaker 2: But it was the exact opposite.
5:51
Speaker 3: It was like playing live what we would do live,
5:54
Speaker 3: which is kind of push each other to raise the bar.
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Speaker 3: And so that was a lot of fun. And like
6:01
Speaker 3: I said, for me, very rare experience. And the thing
6:04
Speaker 3: about this song is we're redoing the song in a
6:09
Speaker 3: slightly different way because the record is perfect.
6:14
Speaker 2: I've done a lot of covers for different clients.
6:17
Speaker 3: And the first rule I have is do not try
6:19
Speaker 3: to do what they did. You're never going to sound
6:23
Speaker 3: as good as Joni Mitchell, no matter how good of.
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Speaker 2: A singer you are.
6:27
Speaker 3: And you're never going to replicate that feeling because a
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Speaker 3: record isn't just the song.
6:34
Speaker 2: It isn't just a performance.
6:36
Speaker 3: It's about the historic time that it's created in.
6:40
Speaker 2: It's about the tools that were available to create this.
6:43
Speaker 3: You know, um, you know, things that existed when I
6:47
Speaker 3: think four or eight tracks that they did.
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Speaker 2: Oh yes.
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Speaker 3: Um, you know, and, and the people who were on it,
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Speaker 3: you know, John Paul Jones, Keith moon, uh, Nikki Hopkins,
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Speaker 3: and of course.
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Speaker 2: Beck and page, you know, you're never going to create
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Speaker 2: that magic.
7:02
Speaker 3: So the only thing to do when you're doing a
7:05
Speaker 3: cover is to go far left, circle around the other side,
7:09
Speaker 3: whatever you need to do to remove yourself from, And
7:13
Speaker 3: I think Janet was really good at pushing me to get.
7:16
Speaker 4: It even farther away, even farther away.
7:19
Speaker 1: Yeah, because, you know, even when you watch that video,
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Speaker 1: you can tell that the two of you are encouraging
7:23
Speaker 1: each other to continue to explore. And I want listeners
7:26
Speaker 1: to go watch that video of you and Janet together,
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Speaker 1: because that is something that belongs on the inside sleeve
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Speaker 1: of an album, except these are moving pictures. This is
7:34
Speaker 1: the kind of stuff that you want as a fan
7:36
Speaker 1: of music.
7:38
Speaker 2: Yeah.
7:38
Speaker 3: Yeah.
7:39
Speaker 4: That's a good way of putting it.
7:42
Speaker 3: Um, yeah, it was so fun to do, um, and
7:46
Speaker 3: to have MB Gordy come in and lay some Dubeck
7:50
Speaker 3: and tambourine and, uh, South, South.
7:53
Speaker 2: American, um, uh, Serdo.
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Speaker 3: Yeah. Uh, it's something you're not going to normally hear
8:00
Speaker 3: on a rock song. So it was fun to kind
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Speaker 3: of take it a little far away. Cause that added
8:04
Speaker 3: a little bounce to the track. And even though we
8:08
Speaker 3: played the melody pretty straight ahead up until the solos
8:10
Speaker 3: at the end, it still felt different. And it felt
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Speaker 3: to me when I was doing it that it was like,
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Speaker 3: we're taking what Beck did and we're bringing it into
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Speaker 3: the 21st century.
8:24
Speaker 2: And I think he's only really played it live a
8:26
Speaker 2: few times. I've only seen.
8:27
Speaker 3: two videos of him doing it once at the induction
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Speaker 3: to Rock and Roll Hall of Fame with Page and
8:35
Speaker 3: Vinnie Cagliuto and Tal Wickenfield but I haven't really it
8:40
Speaker 3: hasn't been a normal part of his repertoire because it's
8:46
Speaker 3: it's really kind of an outlier because it wasn't the
8:48
Speaker 3: Yardbirds and it wasn't yet the Jeff Peck group it
8:51
Speaker 3: was somewhere in between chronologically and there.
8:54
Speaker 2: Was talk of you know a super group with all
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Speaker 2: the players that were in it.
8:58
Speaker 1: I was going to ask you about that. I was
9:00
Speaker 1: going to ask you.
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Speaker 3: Yep. Cause it's not recorded in 1966 and, and pages
9:05
Speaker 3: and even in the yard birds yet.
9:07
Speaker 2: So it's just two friends getting together contemplating, Oh, what
9:11
Speaker 2: are we going to do? Uh, yeah, let's do this.
9:13
Speaker 3: Let's get, let's get, you know, John Paul Jones, uh,
9:16
Speaker 3: which somehow morphed into John Entwistle when the talks.
9:19
Speaker 2: Of putting a band together.
9:22
Speaker 3: So, you know, obviously Entwistle and Moon stayed in the Who,
9:26
Speaker 3: and Page went on to create Led Zeppelin instead. So
9:30
Speaker 3: it's historically, musically historically, very interesting and an interesting outlier.
9:35
Speaker 3: It ended up on the Jeff Beck Group album, even
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Speaker 3: though it wasn't the Jeff Beck Group.
9:40
Speaker 1: This has got to be so important to you in
9:42
Speaker 1: the way of re-educating the listening audience. Because, I mean,
9:45
Speaker 1: I do a big thing on iHeartRadio now called Music's
9:47
Speaker 1: Lost History. And this project that you're doing is exactly
9:52
Speaker 1: 100% what that show is all about. We are losing
9:56
Speaker 1: out on the greats. We're not getting their full stories.
9:59
Speaker 1: We're not understanding. why someone like you and Janet will
10:01
Speaker 1: come together like this until you sit down and experience it.
10:04
Speaker 1: And you're going, Holy crap. Now I get it. But, but, but,
10:08
Speaker 1: but that's the thing about it. The more you talk
10:10
Speaker 1: about it, the more we see the videos, the more
10:11
Speaker 1: we hear your music. It's like, okay, there is a
10:14
Speaker 1: history here. I'm going to go find it.
10:17
Speaker 3: I think, you know, For me, I'm an amateur historian
10:21
Speaker 3: and I've been into history as long as I've been
10:23
Speaker 3: into music since I was single digit.
10:27
Speaker 2: So for me, it's all about context. And you don't
10:30
Speaker 2: know where you are.
10:31
Speaker 3: Unless you know where you've been or where you've come from.
10:34
Speaker 3: And I think, you know, given where the world is
10:37
Speaker 3: right now, I.
10:37
Speaker 2: Could use a lot of context.
10:40
Speaker 3: And I think musically, when we look at where we are,
10:43
Speaker 3: you know, in some ways, very stagnation oriented context. I
10:48
Speaker 3: think it benefit people to know where what happened before.
10:53
Speaker 3: And you find that people are often quite fast. And
10:55
Speaker 3: I'm sure you experienced it quite fascinated.
10:57
Speaker 4: With, Oh, wow.
10:58
Speaker 2: Listen to that. I've never heard that before.
11:02
Speaker 3: You know, I saw this video from the drum channel,
11:05
Speaker 3: one of the drum channels where this young, younger kid
11:10
Speaker 3: is listening to, I think when the levy breaks or something.
11:12
Speaker 2: Like that for the first time.
11:14
Speaker 4: And, you know.
11:15
Speaker 3: It's like, that is like fundamental to playing drums, knowing
11:20
Speaker 3: what bottom did, what Keith moon and Phil Collins.
11:24
Speaker 4: And, you know, you can go on and on and
11:27
Speaker 4: on with the, you know.
11:29
Speaker 3: The drummers that shaped what we're doing, even, you know,
11:32
Speaker 3: getting into the R and B drummers, uh, you know,
11:36
Speaker 3: you can't, you can't understand, you can't understand hip hop
11:39
Speaker 3: if you don't understand R and B drumming and how much,
11:44
Speaker 3: and you don't understand, I'm going to go off on
11:45
Speaker 3: a thing here. You don't understand rock and roll until
11:48
Speaker 3: you understand that the very first rock singers, Rod Stewart,
11:52
Speaker 3: Paul Rogers, even Lennon and McCartney, Robert Plant, they.
11:57
Speaker 2: Were not rock singers. They were blues singers.
12:00
Speaker 1: That's right. That's right.
12:02
Speaker 2: And they were doing blues.
12:03
Speaker 4: With the overdrive driven app.
12:06
Speaker 3: Otherwise, if you take out if you take out, like, say,
12:10
Speaker 3: all right now, which is to me the ultimate thing.
12:13
Speaker 3: epitome of the early rock song and it's perfectly recorded
12:17
Speaker 3: and played and etc if you take out the guitars
12:20
Speaker 3: and you put in say a jimmy jamerson bass which
12:23
Speaker 3: is actually what happens in the chorus and a horn
12:26
Speaker 3: section paul rogers same vocal it'll sound like you're listening
12:31
Speaker 3: to otis redding or something like that because.
12:32
Speaker 2: Those are the people yes paul rogers listened to you.
12:36
Speaker 1: Know That's interesting you say that because Paul Stanley of
12:40
Speaker 1: KISS has been on this big kick now for about
12:42
Speaker 1: two or three years about, you guys don't understand that
12:45
Speaker 1: all of our music comes from the blues. It comes
12:47
Speaker 1: from R & B. And he is adamant and making
12:50
Speaker 1: sure that we start really studying the art of music,
12:54
Speaker 1: that it didn't just happen, that it was happening before
12:57
Speaker 1: they put their little teeth into it.
12:59
Speaker 2: Yeah, absolutely.
13:01
Speaker 3: And if you want to go one step further, you
13:03
Speaker 3: can say, none of popular music starting probably from the
13:08
Speaker 3: late 1800s, all of it had its origin among black music,
13:13
Speaker 3: whether you're talking the blues, country music, you know, the
13:17
Speaker 3: banjo was an African instrument, early jazz, you know, ragtime,
13:22
Speaker 3: Scott Joplin, you know, and as jazz moves on, it's
13:27
Speaker 3: still all black artists doing this shift all the way
13:30
Speaker 3: up to Coltrane and Miles and And early rock and roll,
13:35
Speaker 3: you know, Elvis came from.
13:37
Speaker 2: All these black acts.
13:37
Speaker 4: Yes, he did.
13:38
Speaker 1: Yes, he did.
13:39
Speaker 2: Yep.
13:40
Speaker 4: So et cetera, et cetera.
13:41
Speaker 3: R & B creating, you know, Paul Rogers, Robert Plant,
13:44
Speaker 3: what we just talked about on into hip hop, which
13:47
Speaker 3: is now dominated the spectrum, whether you're white or black,
13:51
Speaker 3: it's still what's.
13:53
Speaker 2: And so for anybody to be racist, they have to
13:56
Speaker 2: hate music.
13:57
Speaker 3: Because all the music, all this dress sense that their
14:01
Speaker 3: kids are.
14:01
Speaker 2: Doing, it's all. You know, that urban thing.
14:06
Speaker 1: Please do not move. There's more with David Vito Gregoli
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Speaker 1: coming up next. The name of their song together, first
14:14
Speaker 1: of all, Janet Robin is on it. And so is
14:17
Speaker 1: this guy, David Vito Gregoli. One of the things that
14:20
Speaker 1: I studied at the beginning part of the summer was
14:22
Speaker 1: how fused it has become between hip hop and jazz music.
14:26
Speaker 1: And when you sit back and you go in there
14:28
Speaker 1: and you listen to this new age of jazz, you're going,
14:31
Speaker 1: it was so meant to be. And you realize now
14:33
Speaker 1: in talking with you, because it's already been married. It's
14:36
Speaker 1: already been there. It's always been there.
14:39
Speaker 2: Yeah, yeah.
14:41
Speaker 3: If you think about rap, there's kind of, I just
14:46
Speaker 3: don't know if I'm making this up, but I'm noticing
14:49
Speaker 3: that there's two different kinds of rap.
14:51
Speaker 2: There's one that's more.
14:54
Speaker 3: urbanized and kind of has more of that nursery rhyme endless, uh,
15:00
Speaker 3: you know, using the same rhyme over and over and
15:03
Speaker 3: over and.
15:03
Speaker 2: Over again, which in itself is an art. And then
15:05
Speaker 2: there's the thing that's more connected.
15:07
Speaker 3: To the, um, beat poets, you know, where you'd have
15:12
Speaker 3: jazz playing in the background and Ginsburg or somebody like that, or, uh,
15:18
Speaker 3: would be, uh, you know, reciting their poetry, which is
15:21
Speaker 3: always very edgy for its time. Um, And I had
15:23
Speaker 3: the advantage of about five years ago working with a
15:29
Speaker 3: rapper who was older. So we had the sensibility of
15:32
Speaker 3: a beat poet, but it was still rap.
15:35
Speaker 2: And it was like, oh, yeah, that's cool.
15:38
Speaker 3: Because it becomes performance art and removes itself from the
15:42
Speaker 3: music because the music is incidental, you know.
15:45
Speaker 4: So anyway, I digress.
15:47
Speaker 1: Wow. I was with a band today that is known
15:49
Speaker 1: for being a prog band. And I said, are you
15:51
Speaker 1: still qualified for that in this age? And he goes,
15:53
Speaker 1: don't even bring up prog. He says, that's such an
15:55
Speaker 1: evil thing anymore that people don't even want a genre
15:58
Speaker 1: to be attached to music. And now in talking with you,
16:01
Speaker 1: I get that vibe. Don't put a label on it.
16:04
Speaker 1: Just let music be what music is.
16:07
Speaker 3: I was speaking to one of my collaborators who's in
16:10
Speaker 3: India and he was He had just had a conversation
16:13
Speaker 3: with the guy from Spotify India, the head of it.
16:16
Speaker 3: And he said, the guy told him that they're moving
16:19
Speaker 3: away from genres and into moods, moods.
16:24
Speaker 2: And that made so.
16:26
Speaker 3: Much sense because I'm somebody who, you know, one day
16:28
Speaker 3: I'll be working on an Americana album.
16:31
Speaker 2: One day I'm producing a.
16:32
Speaker 4: New age album.
16:32
Speaker 3: One day I'm working on a global album.
16:35
Speaker 2: And one day I'm doing Jeff back.
16:37
Speaker 3: Yep.
16:38
Speaker 2: And so out of everybody, it resonated with me.
16:43
Speaker 3: And I think that really is, you know, when we
16:47
Speaker 3: see the Grammy categories change to moods, that's when we.
16:51
Speaker 2: Know we've arrived.
16:52
Speaker 3: Because right now the Grammy community is so locked into
16:56
Speaker 3: this genre thing. And it's difficult for me because I
17:00
Speaker 3: have stuff that, you know, as I said, you know,
17:03
Speaker 3: has one leg in each style. Wow.
17:07
Speaker 2: You know.
17:08
Speaker 3: Like I'll put a Puerto Rican quattro on a singer-songwriter song,
17:13
Speaker 3: you know, instead of just keeping it in the global feel.
17:17
Speaker 3: Or I'll put a sitar on a pop tune or
17:19
Speaker 3: something like that. Because that makes it more interesting. Because
17:23
Speaker 3: if we're locked into these genres, we're locked into the instrumentation,
17:27
Speaker 3: the production, the lyrics, the whole presentation.
17:31
Speaker 1: Yeah, because when I got into radio in the 1970s,
17:34
Speaker 1: we weren't locked into genres. Everybody played top 40 music
17:37
Speaker 1: or country music. There was only two styles. And nowadays,
17:40
Speaker 1: I mean, it's like you can go in any direction.
17:42
Speaker 1: It's like, well, what do I want to be? There's
17:45
Speaker 1: too many here to choose from. I'm just going to
17:47
Speaker 1: step away. I mean, there's just so many ways to
17:50
Speaker 1: describe music nowadays. How do you take that to a
17:53
Speaker 1: live stage? If what you're saying is that one day
17:55
Speaker 1: you're doing this style of music, then another style of music.
17:58
Speaker 1: When you're on that live stage, how do you stay
18:00
Speaker 1: in a moment when you've been giving yourself permission to
18:03
Speaker 1: explore anything right now?
18:07
Speaker 3: Interesting, because what you said about 70s, you know, we
18:11
Speaker 3: had the advent of FM radio, which was the absolute
18:15
Speaker 3: opening up of anything.
18:16
Speaker 2: And, you know, you got the Beatles having just wrapped
18:19
Speaker 2: up there.
18:20
Speaker 3: Their eight years, and I'm just going to drop down this,
18:22
Speaker 3: their eight years had more shifts than any other band
18:26
Speaker 3: within 40 years.
18:27
Speaker 2: So true. And part of that is historical.
18:32
Speaker 3: Part of it is the time that they were in,
18:35
Speaker 3: and part of it is the development.
18:36
Speaker 2: Of technology within the time they're in. So a lot
18:39
Speaker 2: of what.
18:39
Speaker 3: We're dealing with is the development of technology, and it
18:42
Speaker 3: all sits in the time that it sits in.
18:44
Speaker 4: So that's a long way of saying that we now have.
18:47
Speaker 3: The ability to to do so much variety um and
18:52
Speaker 3: you know people can sit in their front room and
18:55
Speaker 3: create anything from any style that that's a fairly new
19:00
Speaker 3: thing in the history of music.
19:02
Speaker 1: Wow wow that yeah because I'll do that I'll do
19:05
Speaker 1: that with Alexa I'll sit there and I'll ask for
19:07
Speaker 1: I'll need I'll go I need head music that's good
19:09
Speaker 1: for a workout Alexa I need this I need and
19:12
Speaker 1: I'll tell her exactly what my mood is And the
19:14
Speaker 1: music comes up. So you are spot on when you
19:17
Speaker 1: say that about, it has to be about moods because
19:19
Speaker 1: that's how people are picking their songs.
19:22
Speaker 3: Yeah.
19:23
Speaker 2: And you couldn't do that in 1965.
19:24
Speaker 3: I had a transition radio up onto my ear when
19:29
Speaker 3: I was five years old, six years old.
19:32
Speaker 2: And the only music I got was the music that
19:35
Speaker 2: they fed me.
19:35
Speaker 3: Yeah.
19:36
Speaker 2: So true. Okay. So when we got Targed and Peppers,
19:39
Speaker 2: we all sat around.
19:41
Speaker 3: Around the turntable and looked at the liner notes and
19:43
Speaker 3: all the pictures. And we had this different experience versus
19:47
Speaker 3: Alexa playing.
19:47
Speaker 2: Me something that's going to make me feel X, Y, Z.
19:51
Speaker 3: And that in one sense it opens up the whole
19:55
Speaker 3: world of music to you the same way that um
19:58
Speaker 3: you know artificial intelligence and as much as i hate
20:02
Speaker 3: it it is basically the encyclopedia britannica on steroids, which
20:07
Speaker 3: is something that I always wanted as a kid was
20:09
Speaker 3: in encyclopedia Britannica. So, you know, at my fingertips can
20:14
Speaker 3: be the knowledge of anything, you know, albeit somewhat colored
20:18
Speaker 3: by its, um, uh, hallucinations, but that's another story. Um, so,
20:23
Speaker 3: you know, here we are in music and we can
20:25
Speaker 3: have any music that we want. So we, instead of
20:28
Speaker 3: having it fed to us and us choosing which ones
20:31
Speaker 3: we like, we are the choosers. And that's why, music
20:35
Speaker 3: discovery is such an interesting thing where you get things
20:39
Speaker 3: like Pandora, where they will recommend to you things based
20:43
Speaker 3: on the stuff that you listen to. They were the
20:44
Speaker 3: first to do that. Other services are now doing a
20:48
Speaker 3: different version of that.
20:50
Speaker 4: But you know, it's like, yeah, give me this, give
20:54
Speaker 4: me that.
20:55
Speaker 3: It's instant gratification. On the other hand, it's instant information.
21:01
Speaker 3: So they say we're an information glut and nobody understands
21:05
Speaker 3: anything of the information that's being sent to them. And
21:08
Speaker 3: it's all colored by different modes.
21:10
Speaker 2: By which you get it.
21:11
Speaker 3: Some people get it from Fox News. Some people get
21:14
Speaker 3: it from MSNBC, depending on your proclivities.
21:18
Speaker 2: And it's the same with music.
21:21
Speaker 1: I think AI is getting tired of me because now
21:23
Speaker 1: there'll be this great song playing and I'll ask, I say,
21:27
Speaker 1: who is this? And they go, it is you. And
21:29
Speaker 1: I go, what do you mean it's me? It's not
21:30
Speaker 1: me singing that song. I'm talking to you right now.
21:33
Speaker 1: And they know exactly what I'm talking about. I want
21:36
Speaker 1: to know who the band is. It's almost like they're saying,
21:38
Speaker 1: you go find out, you go do the work so
21:41
Speaker 1: that you can be a lot smarter than what you
21:43
Speaker 1: are instead of sitting here asking for me to do
21:45
Speaker 1: the work for you.
21:47
Speaker 4: I like that.
21:48
Speaker 2: I haven't thought about it that way. That's a real positive.
21:51
Speaker 1: Yeah, I think so too, because I feel like I'm
21:53
Speaker 1: back in music land again, or even Tower Records. And
21:56
Speaker 1: it gives me that opportunity to walk into this place
21:59
Speaker 1: where all these bins are, which I know Beck Bolero
22:02
Speaker 1: is going to be there as well, because that's how
22:04
Speaker 1: people are going to find you. It's going to be
22:05
Speaker 1: one of those moments where they go, oh, by the way,
22:08
Speaker 1: here's what I think you're going to like. You're going
22:09
Speaker 1: to go, damn! Who is that? It's you. No, it's
22:12
Speaker 1: not me.
22:16
Speaker 3: Yeah, well, Beck Bolero has always been a fairly um
22:21
Speaker 3: random thing you know it's it doesn't belong on any
22:25
Speaker 3: album it's a it was a single actually was a
22:28
Speaker 3: b-side um and it ended up accident somewhat accidentally on
22:31
Speaker 3: the jeff back group album um and you know it's
22:36
Speaker 3: not something that people are going to accidentally normally fall
22:39
Speaker 3: into because it's so obscure yeah and the fact that
22:42
Speaker 3: we're bringing it forward and i gotta tell you the
22:45
Speaker 3: reason we did it is I was feeling strongly that
22:50
Speaker 3: my identity and Janet's identity through the string revolution was.
22:55
Speaker 2: So tied to acoustic music, which is great. I love
22:59
Speaker 2: doing acoustic music.
23:00
Speaker 3: And God knows Janet does, but you know, we were
23:05
Speaker 3: rock and rollers from the start from early, early. Um,
23:09
Speaker 3: and we actually went to the same high school about
23:11
Speaker 3: 10 years apart.
23:12
Speaker 1: Oh my God.
23:13
Speaker 3: Uh, so we grew up the same environment, um, I'll
23:16
Speaker 3: be one generation off. And so I kind of let's
23:21
Speaker 3: flip everybody's perception, perception of us on its head, you know,
23:28
Speaker 3: as producers, each of us has clients and we play.
23:31
Speaker 2: A lot of electric guitar, but we.
23:33
Speaker 3: Don't shred for, for the most part in a way
23:37
Speaker 3: that people are noticing it, say on social media. So
23:41
Speaker 3: I thought, let's do a cover song and let's, you know,
23:44
Speaker 3: just rip it apart. and we just kind of came
23:48
Speaker 3: out onto this. I don't think Janet had ever heard
23:51
Speaker 3: it before, partly because she's, like I said, about 10
23:56
Speaker 3: years younger than me. And then she heard it. She goes, yeah,
23:59
Speaker 3: I think I've heard this before. But for me, it
24:01
Speaker 3: was like, it was seminal. You know, the truth album was, was,
24:05
Speaker 3: you know, my, you know, elementary school for rock and roll,
24:09
Speaker 3: you know, that and any cream album and Led Zeppelin
24:13
Speaker 3: one and two and three, um, you know, So it was,
24:17
Speaker 3: it was kind of interesting, like kind of exposing her
24:19
Speaker 3: to that. And she absolutely got it because everybody that
24:23
Speaker 3: she had grown up with, you know, she studied with
24:26
Speaker 3: Randy Rhodes.
24:26
Speaker 2: Yes. They all, they all came out of Beck and
24:30
Speaker 2: Clapton and Page. Um, you know, they were the next generation,
24:34
Speaker 2: you know?
24:35
Speaker 3: So it was all very interesting on so many levels
24:38
Speaker 3: and I'm so gratified at how it came out.
24:41
Speaker 2: Um, it's just so fun. Wow.
24:46
Speaker 1: Where can people go to find out more about you
24:48
Speaker 1: and Janet? Because I'm, I'm hoping and praying that you
24:51
Speaker 1: guys are going to be doing intimate tours throughout the country.
24:55
Speaker 3: Um, if we weren't so busy, uh, with other commitments
24:58
Speaker 3: that might happen, but we're definitely planning on a, on a,
25:00
Speaker 3: another single, possibly something original, just putting our talents together
25:05
Speaker 3: because it seemed to work in a, in a way
25:08
Speaker 3: that like, The same way that, you know, having Beck
25:11
Speaker 3: and Page on the Yardbirds for whatever it was a year,
25:16
Speaker 3: there's a similarity and there's a dissimilarity. I think we
25:20
Speaker 3: have that same sort of commonality, but yet very different stylistics.
25:26
Speaker 2: So we're definitely going to do something better.
25:27
Speaker 3: You can reach me at VitoGrigoliMusic.com and you can reach
25:31
Speaker 3: Janet at, surprisingly, JanetRobin.com.
25:34
Speaker 1: You know, what's really interesting is that I love the
25:36
Speaker 1: idea that you're going to go right into more music
25:38
Speaker 1: because I won't see Fleetwood Mac in concert because rumors
25:42
Speaker 1: had touched me so much that I felt a live
25:44
Speaker 1: performance would take away from my moment in 1977. So therefore,
25:48
Speaker 1: I know what I feel when I hear Bex Bolero.
25:50
Speaker 1: And now I'm really excited because I know there's more
25:52
Speaker 1: music on the way. So it's almost like, my God,
25:55
Speaker 1: do I want to see them live? I mean, if
25:57
Speaker 1: they're going to give it to me this way, then
25:59
Speaker 1: my imagination can do what it's supposed to do and
26:02
Speaker 1: be enthralled by it.
26:04
Speaker 3: You brought up such an important point, and most people
26:07
Speaker 3: don't understand this. There is a connection between the song,
26:13
Speaker 3: the listener, and what the listener is experiencing in their
26:16
Speaker 3: life at that moment.
26:18
Speaker 2: And you can never, as you said, recreate that.
26:20
Speaker 3: I've seen Yes twice, Genesis once, and it was great,
26:25
Speaker 3: but it wasn't what I experienced when I first heard XYZ.
26:30
Speaker 2: Right.
26:32
Speaker 3: So much of music is tied to the time, to
26:35
Speaker 3: its historical time, its social time, its technology, technological time.
26:41
Speaker 2: And I realized another thing, and this is, this is
26:45
Speaker 2: something I've.
26:45
Speaker 3: Never heard anybody else speak about, but I don't think
26:49
Speaker 3: artists know what it was that made whatever song so
26:55
Speaker 3: absolutely perfect because they're never able to recreate it. And
26:58
Speaker 3: when they go on the road, especially, you know, here
27:01
Speaker 3: they are 20, 30, 40 years later, trying to do that.
27:04
Speaker 3: You notice that magic isn't there.
27:06
Speaker 2: It's the same players. It's the same song. They're playing
27:10
Speaker 2: probably the same instruments.
27:11
Speaker 3: With some technological advancements, but it's not the same because
27:14
Speaker 3: they don't understand it the same way you got, you
27:18
Speaker 3: go to see X film and then we get X
27:20
Speaker 3: V2 and, And it's never as good as the first
27:23
Speaker 3: one because the filmmakers.
27:24
Speaker 4: Don't understand how it happened.
27:27
Speaker 3: It just happened. It's just the magical alchemy of the director,
27:33
Speaker 3: the producer, the actors, the script, the time of which
27:37
Speaker 3: it happened, what happened before it, film-wise, all over the world,
27:41
Speaker 3: what happened afterwards.
27:43
Speaker 2: All those things come together. And the same thing with music.
27:45
Speaker 2: to create the magic of that moment.
27:47
Speaker 3: Plus you put, Oh, I just, I just broke up
27:50
Speaker 3: with my girlfriend or my mother just died or anything
27:54
Speaker 3: you want to, you want to put onto that from
27:56
Speaker 3: your own personal experience, that's never going to be recreated.
28:00
Speaker 3: So we can, nobody can, you know, it's, what is
28:03
Speaker 3: it to say? You can never step in the same
28:06
Speaker 3: spot twice. I can't remember the context of that, but
28:12
Speaker 3: you know, you can never, Do that in your life.
28:14
Speaker 2: You can never recreate something.
28:17
Speaker 3: And that makes you appreciate every moment because it will
28:19
Speaker 3: never happen again in that way. And you'll never feel
28:23
Speaker 3: it that way. So when you get something, something hits you,
28:25
Speaker 3: you see a movie that makes you cry or inspires
28:28
Speaker 3: you or a piece of music comes on. you know,
28:31
Speaker 3: savor it as like, wow, this is a once in
28:35
Speaker 3: a lifetime thing, whether it's big or small, you know? Wow.
28:39
Speaker 1: You got to come back to this show anytime in
28:41
Speaker 1: the future. I love the idea that you're not afraid
28:43
Speaker 1: to break down music and say, you figure it out, dude.
28:48
Speaker 2: It's music's important to us.
28:49
Speaker 3: It's the, you know, and, and we've only been able
28:52
Speaker 3: to experience this in this way since the mid 20th century,
28:56
Speaker 3: you know, right. Hundreds of hundreds of thousands of years
29:02
Speaker 3: of people having very small and esoteric.
29:06
Speaker 2: Exposures to music.
29:07
Speaker 3: You know, if you're poor, you know, it's a guy,
29:10
Speaker 3: it's a guy who's got a violin that's beat up or,
29:13
Speaker 3: or they're banging on the, on the table or something,
29:16
Speaker 3: you know, you can go back hundreds of thousands of
29:18
Speaker 3: years and people are just banging on logs and singing whatever,
29:22
Speaker 3: but having it be as a source of entertainment coming out,
29:27
Speaker 3: from an external world to you is very new.
29:29
Speaker 2: And we're, we're experiencing, you know, something that's very unique
29:33
Speaker 2: to history.
29:34
Speaker 1: Wow.
29:35
Speaker 2: Wow. We can talk more about that later.
29:37
Speaker 1: We could, man. Well, you be brilliant today, okay, sir?
29:40
Speaker 1: And thank you so much for taking the time to
29:42
Speaker 1: let us explore with you.
29:45
Speaker 3: Oh, thanks so much for having me and giving some
29:48
Speaker 3: voice to Bex Bolero.
29:49
Speaker 1: Absolutely.
29:51
Speaker 2: Really appreciate it.
29:51
Speaker 1: Be brilliant today, okay, sir?
29:53
Speaker 2: You too.