1 00:00:02,420 --> 00:00:06,120 May 13th, 1971, Stevie Wonder turns 21 years 2 00:00:06,160 --> 00:00:09,780 old, and his Motown contract expires on the spot. 3 00:00:09,820 --> 00:00:11,960 For the first time in his life, he's free. 4 00:00:11,980 --> 00:00:15,430 No more producers telling him what to play, no more Motown foreign 5 00:00:15,480 --> 00:00:18,820 lists. Two weeks later, he shows up unannounced at a studio in New 6 00:00:18,860 --> 00:00:22,580 York, knocks on the door, and asks to meet a thousand-pound 7 00:00:22,900 --> 00:00:26,320 synthesizer named TONTO. He proceeds to play everything 8 00:00:26,340 --> 00:00:29,780 himself: drums, keys, bass, harmonica, vocals, all 9 00:00:29,840 --> 00:00:33,800 Stevie. The back of this album literally reads, "This album is virtually 10 00:00:33,880 --> 00:00:37,620 the work of one man." This is Music of My Mind, and Stevie 11 00:00:37,700 --> 00:00:39,620 Wonder is finally free to fly. 12 00:00:39,740 --> 00:00:43,020 Every day I wanna fly my kite. 13 00:00:44,040 --> 00:00:47,060 And every day I wanna fly my 14 00:00:47,120 --> 00:00:50,930 kite. And every day I wanna get on 15 00:00:51,040 --> 00:00:53,780 my camel and ride. 16 00:00:54,760 --> 00:00:55,840 Ooh, girl. 17 00:00:55,980 --> 00:00:57,480 I'm Adam Maness. 18 00:00:57,490 --> 00:00:58,660 And I'm Peter Martin. 19 00:00:58,670 --> 00:01:00,400 And you're listening to the You'll Hear It podcast. 20 00:01:00,440 --> 00:01:01,740 Music explored. 21 00:01:01,800 --> 00:01:04,300 Explored. Brought to you today by Open Studio. 22 00:01:04,320 --> 00:01:07,550 Go to openstudiojazz.com for all your jazz lesson needs. 23 00:01:07,560 --> 00:01:08,970 Peter, we're exploring like crazy today. 24 00:01:08,980 --> 00:01:09,370 Oh my goodness. 25 00:01:09,400 --> 00:01:12,520 We're gonna explore the hell out of this record. 26 00:01:12,600 --> 00:01:13,020 Ste- 27 00:01:13,060 --> 00:01:13,980 Hail yes! 28 00:01:14,020 --> 00:01:17,680 Yeah, Stevie Wonder's 1972 29 00:01:17,690 --> 00:01:21,610 Music of My Mind. It feels like, and I know it's not, 30 00:01:21,740 --> 00:01:24,700 I know at this point he'd made 14 albums before this one. 31 00:01:24,740 --> 00:01:25,230 Yeah. 32 00:01:25,260 --> 00:01:26,390 But it feels new. 33 00:01:26,390 --> 00:01:26,390 Right. 34 00:01:26,400 --> 00:01:29,640 It feels like the start, it feels like a, an emerging artist somehow, even 35 00:01:29,680 --> 00:01:33,140 though Stevie had already been making music for a 36 00:01:33,160 --> 00:01:33,820 decade. 37 00:01:33,880 --> 00:01:36,890 Right. Right. But I, I mean, it kind of is. It's like, it's a segue. 38 00:01:36,900 --> 00:01:39,810 I think it's a pivot point. It's, this is the launch pad. 39 00:01:40,000 --> 00:01:43,840 I wanna, I wanna nominate that we call it the quiet launch pad of his classic 40 00:01:43,880 --> 00:01:46,470 period, and we'll debate what, what is inclusive in that. 41 00:01:46,470 --> 00:01:47,270 So all the way up through- 42 00:01:47,270 --> 00:01:48,350 Well, let's not even let's- 43 00:01:48,520 --> 00:01:48,570 Okay. Okay 44 00:01:48,570 --> 00:01:50,360 ... let's, let's not go against each other yet. 45 00:01:50,400 --> 00:01:54,090 But I mean, what we do definitely agree on, I think most people do, is that this 46 00:01:54,140 --> 00:01:55,900 was the beginning of a classic period. 47 00:01:55,960 --> 00:01:59,160 How far that goes, uh, is, is an interesting question. 48 00:01:59,180 --> 00:02:03,000 But I say quiet launch pad because this was like, I mean, the record doesn't start 49 00:02:03,020 --> 00:02:04,490 out quiet, you can hear that. It, you know- 50 00:02:04,490 --> 00:02:05,630 It starts out so good 51 00:02:05,660 --> 00:02:09,180 ... and quality-wise, and like, this was kind of a revolutionary record from a 52 00:02:09,220 --> 00:02:10,340 technological standpoint- 53 00:02:10,461 --> 00:02:10,581 For sure 54 00:02:10,590 --> 00:02:11,890 ... from a sonic standpoint- 55 00:02:11,890 --> 00:02:12,180 For sure 56 00:02:12,300 --> 00:02:15,860 ... from people's expectations of Stevie Wonder and those 14 previous 57 00:02:15,900 --> 00:02:19,460 albums. Uh, but this was not, there was no big hits on this, no 58 00:02:19,580 --> 00:02:20,200 Grammys. 59 00:02:20,240 --> 00:02:20,540 Yeah. 60 00:02:20,580 --> 00:02:24,220 You know, which basically, this was the only record over a 20-year 61 00:02:24,380 --> 00:02:28,020 stretch from before this all the way up to, I think like In Square Circle or 62 00:02:28,040 --> 00:02:29,240 something, into the '80s- 63 00:02:29,300 --> 00:02:29,400 Yeah 64 00:02:29,660 --> 00:02:33,360 ... that he didn't have Grammys and/or hit singles from every record 65 00:02:33,400 --> 00:02:34,040 except this one. 66 00:02:34,080 --> 00:02:37,620 I mean, it's almost like this was an aperitif. 67 00:02:37,630 --> 00:02:37,859 Ah. 68 00:02:37,940 --> 00:02:38,940 This was, this was like- 69 00:02:39,040 --> 00:02:39,740 The amuse-bouche 70 00:02:39,800 --> 00:02:40,460 ... the amuse-bouche. 71 00:02:40,470 --> 00:02:40,470 Yeah. 72 00:02:40,500 --> 00:02:44,230 This was like, everybody was like, "Wait, what, what is going on with 73 00:02:44,340 --> 00:02:48,300 music on this album? Like, what is happening here?" It w- it felt, it had to have 74 00:02:48,360 --> 00:02:51,630 felt, I wasn't alive, but it had to have felt so fresh and so new. 75 00:02:51,660 --> 00:02:51,710 Yeah. 76 00:02:51,720 --> 00:02:54,410 From an artist that you kind of already have known, it must have taken people 77 00:02:54,420 --> 00:02:57,620 aback. But you're right, it's, it is kinda weird that there were no huge hits from 78 00:02:57,680 --> 00:02:58,140 this. 79 00:02:58,180 --> 00:02:58,420 Yep. 80 00:02:58,460 --> 00:03:00,220 I mean, great songs- 81 00:03:00,240 --> 00:03:00,250 Yeah 82 00:03:00,250 --> 00:03:02,880 ... just no e- enormous hits for whatever reason. 83 00:03:02,900 --> 00:03:03,070 Right. 84 00:03:03,080 --> 00:03:05,130 And yeah, crazy that there were no Grammys for this. 85 00:03:05,140 --> 00:03:07,900 He started winning Grammys in the very next album, Talking Book, and then, you 86 00:03:07,940 --> 00:03:09,829 know, won like three Album of the Year Grammys in the '70s. 87 00:03:09,860 --> 00:03:10,450 In a row, yeah. 88 00:03:10,460 --> 00:03:11,360 It was incredible. 89 00:03:11,400 --> 00:03:13,160 Yeah. The next three I think all won Grammys. 90 00:03:13,220 --> 00:03:13,700 I mean- 91 00:03:13,710 --> 00:03:15,829 And, and Talking Book actually came out in '72 as well. 92 00:03:15,920 --> 00:03:15,980 Yeah. 93 00:03:15,990 --> 00:03:16,460 So it wasn't like- 94 00:03:16,500 --> 00:03:16,790 Same year 95 00:03:16,800 --> 00:03:17,609 ... he didn't have hits that year. 96 00:03:17,620 --> 00:03:18,530 Well, we'll talk about that. Like- 97 00:03:18,560 --> 00:03:19,070 And the year before 98 00:03:19,100 --> 00:03:22,190 ... it's not like he went into the, uh, this run of albums that he's, that he's 99 00:03:22,280 --> 00:03:25,400 about to make and just like was like, "Here's this album, and here's this album, 100 00:03:25,420 --> 00:03:28,190 and here's this album." A lot of people might know or not know that, you know, 101 00:03:28,240 --> 00:03:32,140 these tracks were done over, you know, the albums were done with different tracks 102 00:03:32,180 --> 00:03:33,340 over different periods of time. 103 00:03:33,460 --> 00:03:33,640 Right. Right. 104 00:03:33,660 --> 00:03:36,000 So it's like all these sessions, just a bunch of songs. 105 00:03:36,060 --> 00:03:36,320 Right. 106 00:03:37,160 --> 00:03:40,790 So, right. Exactly. So let's get into that. So we're talking about May... 107 00:03:40,800 --> 00:03:43,360 I'm gonna take you back to a little time that you might not remember due to not 108 00:03:43,460 --> 00:03:46,990 being born yet. But I was there. I was but a infant. 109 00:03:47,000 --> 00:03:47,040 I don't think I was walking yet. 110 00:03:47,060 --> 00:03:48,780 Yeah, what do you remember about '72? 111 00:03:49,260 --> 00:03:52,260 Not a lot, but I'm gonna take you back even more. 1971, right? 112 00:03:52,340 --> 00:03:55,740 So Stevie Wonder turns 21, his Motown 113 00:03:55,840 --> 00:03:58,420 contract expires on his birthdate. 114 00:03:58,480 --> 00:04:02,300 Uh, that was part of the deal. Um, they, Motown throws a big party for him, Berry 115 00:04:02,360 --> 00:04:06,200 Gord- Gordy, the whole thing. I'm sure there was the, the hope and expectation, 116 00:04:06,260 --> 00:04:09,680 although probably pretty dim, that Stevie was gonna re-sign immediately with 117 00:04:09,720 --> 00:04:12,240 Motown, and they're gonna keep on making hits, and everyone's gonna be making money 118 00:04:12,260 --> 00:04:14,160 and everything. That's not what happened. 119 00:04:14,180 --> 00:04:18,120 The, the day after the party, Stevie's attorney s- uh, served 120 00:04:18,459 --> 00:04:22,210 Berry Gordy and M- Motown with a notice that says, "He's out of contract. 121 00:04:22,220 --> 00:04:24,380 This is over. We're doing our own thing." You know? 122 00:04:24,440 --> 00:04:24,720 Yeah. 123 00:04:24,740 --> 00:04:28,100 In one of, what would become one of the savviest business decisions in the 124 00:04:28,140 --> 00:04:31,860 history, uh, of the recording industry, and what would become a template for many 125 00:04:31,920 --> 00:04:35,190 other huge superstar contracts up to this day, Taylor Swift and everything, really. 126 00:04:35,220 --> 00:04:38,100 We, we, we talked about this when we talked about the Songs in the Key of Life 127 00:04:38,140 --> 00:04:39,560 episode. We talked about the charts- 128 00:04:39,580 --> 00:04:39,620 Mm-hmm 129 00:04:39,630 --> 00:04:43,080 ... on the Songs in the Key of Life. But a lot of people don't give Stevie credit 130 00:04:43,120 --> 00:04:46,130 for, I mean, he's obviously a musical genius from a very young age, but don't 131 00:04:46,140 --> 00:04:49,260 forget, he started in the music business at a very young age. 132 00:04:49,420 --> 00:04:49,460 Right. 133 00:04:49,469 --> 00:04:52,640 And he is incredibly savvy at the business part of this. 134 00:04:52,650 --> 00:04:56,480 And this deal, I think, is, it really a testament to that, that he, 135 00:04:56,540 --> 00:04:57,760 he bet on himself- 136 00:04:57,840 --> 00:04:57,960 Right 137 00:04:58,160 --> 00:04:59,360 ... and he ultimately won. 138 00:04:59,420 --> 00:05:03,200 Yeah. Yeah, and I mean, he was, like, they, you know, it was a 2% royalty 139 00:05:03,300 --> 00:05:06,960 rate. He had made a bunch of money as a, as, you know, before he was 18, and then 140 00:05:07,120 --> 00:05:10,570 even through when he was 21 with his contract, but it was on a really low royalty 141 00:05:10,580 --> 00:05:14,180 rate, which was pretty typical at that time, but he was able to get a deal all the 142 00:05:14,200 --> 00:05:16,660 way up to 14%, which I don't think had been done. 143 00:05:16,740 --> 00:05:16,900 Um- 144 00:05:16,980 --> 00:05:17,370 That's awesome 145 00:05:17,420 --> 00:05:21,360 ... and, um, and he was also able to retroactively get back half 146 00:05:21,400 --> 00:05:24,480 of his publishing that they had been holding back on him for that time up to then, 147 00:05:24,500 --> 00:05:25,780 'cause he'd been writing all this incredible music. 148 00:05:25,800 --> 00:05:27,300 I mean, he deserves all of it and more. 149 00:05:27,340 --> 00:05:31,080 Yeah. Yeah. Um, but what happened was, uh, just a 150 00:05:31,180 --> 00:05:35,080 couple of months before this, a record came out that was called Zero 151 00:05:35,200 --> 00:05:38,980 Time by this thousand-pound synthesizer and a couple 152 00:05:39,040 --> 00:05:42,850 gentlemen, Malcolm Cecil and Robert Margouleff, 153 00:05:42,880 --> 00:05:46,840 who had, uh, the band TONTO as well, and the Exp- Expanding Headband, 154 00:05:46,940 --> 00:05:47,880 I think was the name of the band. 155 00:05:47,920 --> 00:05:48,370 Yeah, yeah. 156 00:05:48,460 --> 00:05:51,600 Uh, and they made this record, Zero Time, and it was not like a huge hit or 157 00:05:51,620 --> 00:05:53,520 something, but Stevie Wonder heard it. 158 00:05:53,530 --> 00:05:53,530 I just- 159 00:05:53,540 --> 00:05:57,420 And I just wanna play you them kind of talking about this as opposed to me fumbling 160 00:05:57,460 --> 00:06:00,120 my way through the history, because there's some great interviews that w- that are, 161 00:06:00,140 --> 00:06:02,160 that are out there from the principals. 162 00:06:02,180 --> 00:06:05,060 There's gonna be three individuals that are, kind of had their hands, obviously 163 00:06:05,120 --> 00:06:06,910 Stevie Wonder had his hands all over this record. 164 00:06:06,910 --> 00:06:06,910 For sure. 165 00:06:06,920 --> 00:06:08,580 But there's two other folks as well. 166 00:06:08,600 --> 00:06:12,500 The first album is the, actually the first alternative album in, uh, in I guess it 167 00:06:12,520 --> 00:06:13,940 was 1971, wasn't it? 168 00:06:13,980 --> 00:06:17,900 Yeah, 1971, TONTO's Expanding Headband, Zero Time. 169 00:06:18,000 --> 00:06:20,120 And, uh, it was put out by Herbie Mann- 170 00:06:20,464 --> 00:06:24,164 Uh, who had a label called Embryo, which was 171 00:06:24,204 --> 00:06:26,404 distributed by Atlantic back then. 172 00:06:26,504 --> 00:06:30,404 And that was how Stevie Wonder came to find us, was, uh, through that 173 00:06:30,484 --> 00:06:34,284 album. He rolled up at M- Media Sound one day with the album under 174 00:06:34,364 --> 00:06:38,244 one a- arm and a friend of ours on the other arm, a fellow 175 00:06:38,284 --> 00:06:39,004 called Ronnie Beinko. 176 00:06:39,044 --> 00:06:42,804 Yeah, and we didn't leave the studio for five years after that. Amazing. 177 00:06:42,844 --> 00:06:43,404 It's so great. 178 00:06:43,444 --> 00:06:47,084 By the way, a lot of buzzwords from the late '60s, early '70s in there: Herbie 179 00:06:47,184 --> 00:06:47,644 Mann. 180 00:06:47,664 --> 00:06:48,404 Herbie Mann, yeah. 181 00:06:48,444 --> 00:06:48,504 Yeah. 182 00:06:48,524 --> 00:06:48,994 Shout out. Great jazz flautist. 183 00:06:49,044 --> 00:06:50,764 Embryo Records. Come on, now. 184 00:06:50,784 --> 00:06:53,764 That was, like, his vanity label on there. Yeah, it's great stuff. 185 00:06:53,824 --> 00:06:56,133 Yeah, so this record, Stevie, I mean, he had just heard it... 186 00:06:56,144 --> 00:06:59,384 Well, it could've been before March, 'cause it came out in March of '71. 187 00:06:59,404 --> 00:07:01,044 But I just wanna give you a little bit of a sample. 188 00:07:01,054 --> 00:07:02,984 You ready to have your ex- your head expanded? 189 00:07:03,004 --> 00:07:03,564 Hit me. 190 00:07:03,704 --> 00:07:05,644 Right, with an incredible expanding headband. 191 00:07:05,664 --> 00:07:06,864 Did you put something in the coffee here? 192 00:07:06,944 --> 00:07:07,484 Yes. 193 00:07:07,584 --> 00:07:10,064 Excellent. 194 00:07:10,944 --> 00:07:15,624 That's 195 00:07:15,644 --> 00:07:17,104 dope, actually. It's really 196 00:07:17,204 --> 00:07:21,084 good. 197 00:07:23,384 --> 00:07:26,664 This is some of the more accessible part of the record I, I was able to find, too, 198 00:07:26,704 --> 00:07:28,694 just to let you know. But, I mean, it's, you know, the- 199 00:07:28,704 --> 00:07:31,384 I mean, there are electronic artists who are trying to do that today. 200 00:07:31,484 --> 00:07:35,324 I know. I know. And I mean, we, like, we think about, uh, I mean, so 201 00:07:35,464 --> 00:07:37,724 yeah, of course, this sounds dated in a way. 202 00:07:37,744 --> 00:07:41,584 I mean, it sort of places it at a, at a time, maybe like a, a documentary is 203 00:07:41,624 --> 00:07:45,604 going on about, you know, some plants that were transported from 204 00:07:45,684 --> 00:07:49,644 one continent to another into a l- laboratory with a fancy accent or 205 00:07:49,684 --> 00:07:53,444 something. But I mean, I think what you can hear, because just a 206 00:07:53,504 --> 00:07:56,144 couple months later, this is happening. 207 00:07:56,154 --> 00:07:56,154 Yeah. 208 00:07:56,224 --> 00:08:00,114 Literally, like, f- in, in, in May, when he goes in the studio over Memorial Day 209 00:08:00,564 --> 00:08:04,104 weekend, holding their rec- their record, this zero-time TONTO 210 00:08:04,114 --> 00:08:05,944 record, saying, "Are you the guys who made this? 211 00:08:06,004 --> 00:08:08,564 I wanna get access to that machine. I'm Stevie Wonder. 212 00:08:08,624 --> 00:08:11,384 I have some ideas about what I can record." He's only, like, 10 days out of his 213 00:08:11,424 --> 00:08:15,264 contract, and they, like they said, they go into the studio then for five 214 00:08:15,284 --> 00:08:18,414 years and make some of the greatest recorded music of all time. 215 00:08:18,444 --> 00:08:20,934 Man, I love that you just framed that TONTO like that. 216 00:08:20,944 --> 00:08:22,254 Can you play that album again one more time? 217 00:08:22,264 --> 00:08:23,244 Yeah. The whole thing? 218 00:08:26,174 --> 00:08:30,114 "As we venture deeper into the Amazon for the feminist gecko." 219 00:08:30,144 --> 00:08:31,204 Doesn't it sound like that would be- 220 00:08:31,244 --> 00:08:31,313 Totally! 221 00:08:31,504 --> 00:08:34,284 ... like, the music to some grainy documentary? 222 00:08:34,294 --> 00:08:35,465 Right. Right. 223 00:08:35,473 --> 00:08:35,473 You know? 224 00:08:35,485 --> 00:08:39,044 Would've, might've, yeah, might've led to, uh, Stevie's secret life of plants a few 225 00:08:39,124 --> 00:08:39,584 years later. 226 00:08:39,644 --> 00:08:40,465 Oh. Yeah. 227 00:08:40,485 --> 00:08:42,853 But I think Stevie... Okay, so there's the technology of this. 228 00:08:42,865 --> 00:08:46,804 So it's like, what is TONTO? There were synthesizers before this, right? 229 00:08:46,864 --> 00:08:50,724 But, uh, TONTO was a very special thing because it was, you'll see 230 00:08:50,744 --> 00:08:53,924 some graphics of this, it might scare you, may make you think you're in Star Wars 231 00:08:54,004 --> 00:08:57,484 or, um, one of those other shows from the, from, from that time. 232 00:08:57,524 --> 00:08:58,204 Battlestar Galactica. 233 00:08:58,224 --> 00:09:00,954 I mean, I assumed if it was a synthesizer, it looked a lot like what we have on the 234 00:09:01,024 --> 00:09:04,814 table here, which is, you know, two octaves, and it weighs about- ... 235 00:09:04,814 --> 00:09:05,904 six pounds, maybe. 236 00:09:05,913 --> 00:09:06,154 It was a ton, my friend. 237 00:09:06,184 --> 00:09:07,144 Cost about 300 bucks. 238 00:09:07,184 --> 00:09:08,184 It was a ton, my friend. 239 00:09:08,224 --> 00:09:08,413 It was a ton. 240 00:09:08,413 --> 00:09:09,464 It was priceless, literally. 241 00:09:09,484 --> 00:09:09,504 Oh my God. 242 00:09:09,524 --> 00:09:12,424 It's in a museum in Canada. I, I really wanna go v- can we take a field trip? 243 00:09:12,514 --> 00:09:12,904 Let's go. 244 00:09:12,924 --> 00:09:13,564 Let's do a field trip. 245 00:09:13,574 --> 00:09:14,484 Let's do a TONTO trip. 246 00:09:14,524 --> 00:09:15,024 Yeah. 247 00:09:15,034 --> 00:09:15,034 Yeah. 248 00:09:15,124 --> 00:09:18,784 Um, but yeah, so, so anyway, so there's Cecil, um, 249 00:09:19,624 --> 00:09:23,014 and Margouleff. The, these two guys were instrumental 250 00:09:23,484 --> 00:09:27,413 to everything that happened on this record because basically, when Stevie shows up, 251 00:09:27,484 --> 00:09:30,584 they did have a mutual friend, this guy Ronnie Blanco. I love that name. 252 00:09:30,684 --> 00:09:31,774 Isn't that somebody who's gonna drop you off? 253 00:09:31,784 --> 00:09:32,394 Ronnie Blanco? 254 00:09:32,424 --> 00:09:32,794 Yeah. 255 00:09:32,794 --> 00:09:33,544 Yeah. Great name. 256 00:09:33,554 --> 00:09:35,464 So he was playing bass, I guess, with Stevie. 257 00:09:35,484 --> 00:09:37,794 They had some gigs on Long Island or something. 258 00:09:37,864 --> 00:09:40,554 And, um, somehow Stevie's talking to him or whatever. 259 00:09:40,564 --> 00:09:42,724 He finds out, he's like, "Oh, I know those guys." And Stevie's like, "Can you 260 00:09:42,804 --> 00:09:46,704 please take me to them?" And it was over the Memorial Day weekend, and one of them, 261 00:09:46,744 --> 00:09:50,644 I can't remember, I think it was, um, I think Malcolm Cecil lived in the building 262 00:09:50,684 --> 00:09:53,864 or something. He said he was, like, getting out the shower, and he looks out, and 263 00:09:54,124 --> 00:09:57,544 Stevie's wearing a, a, he describes it as a green pistachio suit- 264 00:09:57,604 --> 00:09:57,924 Amazing 265 00:09:57,944 --> 00:09:58,844 ... holding the album. 266 00:09:58,884 --> 00:09:59,244 Amazing. 267 00:09:59,284 --> 00:10:01,413 And, and, and, like, they could've been like, "No, come back. 268 00:10:01,424 --> 00:10:03,874 We're closed." And he's like, "No, I'll come down, open up the studio," and, and, 269 00:10:03,904 --> 00:10:05,224 like, they just started creating. 270 00:10:05,244 --> 00:10:07,804 They, they cut, like, 17 songs that first weekend. 271 00:10:07,884 --> 00:10:08,544 Oh my God. 272 00:10:08,624 --> 00:10:11,884 That, that spanned not only on Music of My Mind, but all the, all the way to 273 00:10:11,924 --> 00:10:14,864 fulfilling this first phenom- well, it's a little bit unclear what the breakdown, 274 00:10:14,904 --> 00:10:18,254 but there's definitely stuff that they used throughout the classic period of those 275 00:10:18,304 --> 00:10:18,314 four records. 276 00:10:18,344 --> 00:10:21,084 Can we just shout out bassist Ronnie Blanco, who introduced- ... 277 00:10:21,204 --> 00:10:21,964 Stevie to these guys? Like- 278 00:10:22,024 --> 00:10:23,164 Right, who doesn't play on any of this 279 00:10:23,184 --> 00:10:26,044 ... maybe the most important musician of the early '70s. 280 00:10:26,124 --> 00:10:26,294 I know. 281 00:10:26,304 --> 00:10:28,724 You know, without even playing a note on these albums. 282 00:10:28,744 --> 00:10:29,193 Oh, it's so good. 283 00:10:29,193 --> 00:10:30,384 Incredible. 284 00:10:30,444 --> 00:10:34,404 Yeah, it says, "Bassist Ronnie Blanco showed up with Stevie dressed in a pistachio 285 00:10:34,504 --> 00:10:36,084 green suit." I, I was having to check. 286 00:10:36,104 --> 00:10:39,333 I was like, "Was it pistachio or walnut?" "He got dressed, ran downstairs, and 287 00:10:39,364 --> 00:10:41,354 invited them in to see the machine. 288 00:10:41,383 --> 00:10:44,174 They recorded 17 songs that weekend," so. 289 00:10:44,244 --> 00:10:45,064 Unbelievable. 290 00:10:45,104 --> 00:10:48,954 So you've got the technology in terms of they had this multi-timbral synthesizer. 291 00:10:48,984 --> 00:10:52,484 And just to show people, like, show 'em, like, monophonic synthesizer, which was 292 00:10:52,524 --> 00:10:53,884 the only thing available. 293 00:10:53,924 --> 00:10:54,344 Well, yeah, so- 294 00:10:54,354 --> 00:10:56,504 Like, it means you're not playing chords. Right. 295 00:10:56,544 --> 00:10:57,364 Play one note at a time. 296 00:10:57,424 --> 00:11:00,964 Right. Like, play a, play a C triad. Yeah, you can't do it. 297 00:11:01,004 --> 00:11:01,424 Can't do it. 298 00:11:01,464 --> 00:11:05,044 Yeah. So TONTO was pretty much, I think there were some other things, but it was 299 00:11:05,084 --> 00:11:06,214 the only thing that people could actually get to work. 300 00:11:06,244 --> 00:11:10,224 But again, I assume the TONTO, like this Yamaha Reface, just had a switch where you 301 00:11:10,244 --> 00:11:13,404 can go from this to this. 302 00:11:14,844 --> 00:11:18,664 Oh my God. Their mind m- yeah, except it included a whole room, and by switch, it 303 00:11:18,724 --> 00:11:21,084 meant someone had to ac- it was, there was, like, a telephone operator. 304 00:11:21,104 --> 00:11:23,044 And I, I assume it took four double A batteries, like this. 305 00:11:23,084 --> 00:11:23,684 It did not. 306 00:11:23,694 --> 00:11:23,694 No. 307 00:11:24,044 --> 00:11:27,504 It, it, it took a whole village of, of power, so. 308 00:11:27,604 --> 00:11:31,584 Um, so super exciting. So I wanna play just one more thing of sort of how they're 309 00:11:31,624 --> 00:11:33,904 talking, and then we're gonna get into the music, the important part. 310 00:11:33,944 --> 00:11:34,274 But I do- 311 00:11:34,284 --> 00:11:34,744 Please! 312 00:11:34,754 --> 00:11:38,244 ... I do think please. I think this framing of, 313 00:11:38,284 --> 00:11:41,744 like, the technology, so Stevie's got sounds in his 314 00:11:41,944 --> 00:11:45,204 mind, but now he's got new sounds also. He's already written hits. 315 00:11:45,244 --> 00:11:49,114 He's a great pianist, harmonica. He can play drums. He can do all this stuff. 316 00:11:49,114 --> 00:11:50,404 One of the greatest singers who ever lived. 317 00:11:50,444 --> 00:11:54,204 Right. Right. In fact, just that very year, 1971, his last 318 00:11:54,784 --> 00:11:58,484 record, which had a huge hit on it, as did many of his, uh, previous one, you might 319 00:11:58,564 --> 00:12:01,944 remember this from 1971. 320 00:12:02,344 --> 00:12:03,384 Oh, yeah. 321 00:12:04,484 --> 00:12:05,204 It's a great song. 322 00:12:05,244 --> 00:12:07,464 Yeah. 323 00:12:07,864 --> 00:12:09,914 Oh, yeah. 324 00:12:09,984 --> 00:12:11,604 Very Motown. Very Motown. 325 00:12:11,644 --> 00:12:13,324 Yeah. 326 00:12:13,964 --> 00:12:14,124 I mean- 327 00:12:14,144 --> 00:12:14,784 Whoo! 328 00:12:14,794 --> 00:12:16,684 ... QA, quality control. QC. 329 00:12:17,024 --> 00:12:18,844 If you feel a little love. 330 00:12:18,924 --> 00:12:19,904 Man. 331 00:12:19,964 --> 00:12:20,364 Yeah. 332 00:12:20,804 --> 00:12:21,654 Whoo! Tight arrangement. 333 00:12:21,654 --> 00:12:22,764 So good. 334 00:12:22,833 --> 00:12:23,044 Yeah. 335 00:12:27,304 --> 00:12:28,904 So this was just a year before 336 00:12:28,924 --> 00:12:29,444 The same year. 337 00:12:29,464 --> 00:12:29,713 The same year. 338 00:12:29,713 --> 00:12:30,524 This is 1971. 339 00:12:30,584 --> 00:12:30,673 Oh, okay. 340 00:12:30,684 --> 00:12:33,334 This is his last record on his junior 341 00:12:33,424 --> 00:12:36,464 contract. Yeah, and so 342 00:12:37,684 --> 00:12:40,284 you know, obviously he already had the voice, he already had the music, he had all 343 00:12:40,344 --> 00:12:42,444 this, but he was hearing some other stuff. 344 00:12:42,524 --> 00:12:42,704 Yeah. 345 00:12:42,764 --> 00:12:45,784 And the, the Motown system at that time didn't really allow for that. 346 00:12:45,824 --> 00:12:47,664 They were like, "No, we know what works. 347 00:12:47,684 --> 00:12:49,904 We're about making hits." This is called Hitsville, my friend. 348 00:12:49,924 --> 00:12:50,104 Yeah. 349 00:12:50,124 --> 00:12:53,434 This isn't called Artistryville, although it was very art- artistic as well. 350 00:12:53,434 --> 00:12:54,184 Absolutely. 351 00:12:54,264 --> 00:12:56,904 Um, and I think what you saw here, then Stevie went on a limb. 352 00:12:56,924 --> 00:12:59,784 He financed all this himself. He was out of contract. 353 00:12:59,864 --> 00:13:02,164 Um, he, you know, found these guys. 354 00:13:02,184 --> 00:13:05,904 They got into the studio, um, and you know, were able to 355 00:13:05,964 --> 00:13:09,884 make four of the most in- four to, to six, depending on how you count 356 00:13:09,924 --> 00:13:13,764 it, four of the most incredible records of all time within just a couple of years. 357 00:13:13,804 --> 00:13:17,744 We talked about this on the Marvin Gaye, uh, What's Going On episode that we 358 00:13:17,824 --> 00:13:18,124 did. 359 00:13:18,194 --> 00:13:18,404 Yeah. 360 00:13:18,444 --> 00:13:21,964 But it's like Berry Gordy and the Motown hit machine, right? 361 00:13:21,984 --> 00:13:25,564 This like, this camp basically, or this, this university- 362 00:13:25,624 --> 00:13:25,724 Yeah 363 00:13:25,824 --> 00:13:29,704 ... to make these superstars: Stevie Wonder, Marvin Gaye, Michael 364 00:13:29,744 --> 00:13:33,584 Jackson, The Supremes. You know, inevitably, they get so 365 00:13:33,624 --> 00:13:34,784 good at what they're doing- 366 00:13:34,824 --> 00:13:34,884 Yeah 367 00:13:34,894 --> 00:13:38,044 ... that they wanna break out of the mold that the machine has 368 00:13:38,804 --> 00:13:39,544 put them in. 369 00:13:39,564 --> 00:13:39,724 Right. 370 00:13:39,744 --> 00:13:40,924 And all of them- 371 00:13:40,964 --> 00:13:41,064 Right 372 00:13:41,104 --> 00:13:44,204 ... end up making this incredible art later in their lives- 373 00:13:44,244 --> 00:13:44,324 Yeah 374 00:13:44,364 --> 00:13:47,944 ... after Motown. But I do credit, you have to credit Motown for like 375 00:13:48,604 --> 00:13:52,554 basically like upping the quality level of already great artists and 376 00:13:52,624 --> 00:13:55,464 putting them all together, too, so they were interacting with each other and- 377 00:13:55,484 --> 00:13:55,784 Yeah 378 00:13:55,844 --> 00:13:58,564 ... you know, talking about this stuff and learning from each other and working on 379 00:13:58,604 --> 00:14:01,804 music together. And it's really unbelievable when you think about like around the 380 00:14:01,864 --> 00:14:05,054 same time as What's Going On and then what Michael does later in the decade. 381 00:14:05,064 --> 00:14:08,004 It- it's pretty ... And, and what, and what Diana Ross does later in the decade. 382 00:14:08,044 --> 00:14:08,844 Pretty amazing. 383 00:14:08,854 --> 00:14:12,394 Yeah. It's incredible. So one more clip of Malcolm Cecil talking 384 00:14:12,484 --> 00:14:15,474 about kind of what was in the air at that time. 385 00:14:15,474 --> 00:14:19,004 Yeah, Stevie was a keyboard player and his 386 00:14:19,064 --> 00:14:22,974 principal, uh, need from us was to provide him 387 00:14:23,004 --> 00:14:26,984 with the sounds and the technical expertise to enable 388 00:14:27,024 --> 00:14:30,054 him to get what he had in his head. That's why we called the first album Music of 389 00:14:30,054 --> 00:14:33,024 My Mind because it was music that was in his head. 390 00:14:33,044 --> 00:14:36,624 He'd been carrying it around for several years because he 391 00:14:36,664 --> 00:14:37,284 didn't own- 392 00:14:37,324 --> 00:14:37,404 Yeah 393 00:14:37,664 --> 00:14:41,524 ... his own publishing. And he was very smart for somebody so young, 394 00:14:41,544 --> 00:14:44,864 and he realized that he, there was a lot of money in 395 00:14:44,904 --> 00:14:48,884 publishing. And, uh, he decided that when he came to 396 00:14:48,984 --> 00:14:52,164 us that he had not written anything 397 00:14:52,564 --> 00:14:56,444 substantial for Motown in perhaps five years. 398 00:14:56,524 --> 00:15:00,404 And he had all these songs in his head, and, uh, he was just bursting to 399 00:15:00,424 --> 00:15:01,064 get them out. 400 00:15:02,204 --> 00:15:05,664 Yeah. And so it was like really fortuitous that these 401 00:15:05,684 --> 00:15:09,604 three met, that Stevie met up with, um, Cecil and Margouleff 402 00:15:09,644 --> 00:15:13,544 because they recognized as soon as he came 403 00:15:13,664 --> 00:15:15,493 in... I mean, of course they know it's Stevie Wonder. 404 00:15:15,544 --> 00:15:17,894 Like, he's, he's a star already, but they don't really... 405 00:15:17,904 --> 00:15:19,224 I mean, he's little Stevie Wonder. 406 00:15:19,234 --> 00:15:21,713 I, I mean, I don't know how in tune and how much they're keeping up. 407 00:15:21,744 --> 00:15:24,144 They know he knows how to make hits, right? 408 00:15:24,164 --> 00:15:28,124 But I don't think anybody could have predicted like the prodigious talent 409 00:15:28,184 --> 00:15:29,874 and like just outpouring that he had. 410 00:15:30,164 --> 00:15:30,174 Of course. 411 00:15:30,204 --> 00:15:33,614 So they kind of trusted that. Of course, they, I think he sat down. Well, he did. 412 00:15:33,624 --> 00:15:36,854 He immediately sat down, and they're like showing him the keyboards, the, not only 413 00:15:36,884 --> 00:15:39,174 TONTO, but all the different things they have in the studio. 414 00:15:39,204 --> 00:15:43,004 And they're kind of like, "Oh my God, we, whatever our other plans are in life, 415 00:15:43,044 --> 00:15:43,264 like- 416 00:15:43,304 --> 00:15:43,854 Let's change them 417 00:15:43,924 --> 00:15:45,024 ... this is the mission." Yeah. 418 00:15:45,044 --> 00:15:45,324 Yeah, yeah, yeah. 419 00:15:45,333 --> 00:15:47,773 And there was like no contracts. There was no like... 420 00:15:47,784 --> 00:15:51,244 They said at one point, like six months into it, Stevie would just sort of like 421 00:15:51,284 --> 00:15:52,833 give them money to kinda keep the studio going. 422 00:15:52,844 --> 00:15:56,444 They ended up moving it down to Electric Lady Land later in the year, all the, the 423 00:15:56,484 --> 00:15:58,954 keyboards and everything, so they could be in a more comfortable environment. 424 00:15:58,964 --> 00:16:02,684 But like the three of them were on a mission, and like they would come in and, and, 425 00:16:02,724 --> 00:16:05,924 and record. Stevie liked to work at night, famously. Still does. 426 00:16:05,944 --> 00:16:08,844 He's like, he'd come in in the evening, and they'd work for 12 hours overnight. 427 00:16:08,864 --> 00:16:11,344 When the sun came up, they'd be done, but then they'd come back. 428 00:16:11,364 --> 00:16:13,564 Like that's, they just all got it, you know? 429 00:16:13,584 --> 00:16:16,964 So it's like one of those times, no social media to get in the way maybe we could 430 00:16:17,044 --> 00:16:17,344 say. 431 00:16:17,354 --> 00:16:17,354 Yeah. 432 00:16:17,384 --> 00:16:20,754 Like, no distractions or whatever, and it was an incredible thing. 433 00:16:20,784 --> 00:16:23,544 Well, it's interesting to hear what he just said about how Stevie was saving these 434 00:16:23,604 --> 00:16:26,354 songs, like the music in his mind, 'cause it does... 435 00:16:26,364 --> 00:16:29,504 You know, I, I, I mentioned in the beginning how it's like, how this feels like a 436 00:16:29,564 --> 00:16:30,724 first album almost. 437 00:16:30,744 --> 00:16:30,814 Yeah. 438 00:16:30,824 --> 00:16:32,154 And it kind of is in that regard- 439 00:16:32,164 --> 00:16:32,234 It is 440 00:16:32,244 --> 00:16:35,524 ... if he's saving all this music. 'Cause you know there is this thing of like an 441 00:16:35,564 --> 00:16:38,553 artist's first album is, uh, really, really great because they've been working on 442 00:16:38,564 --> 00:16:39,414 it their whole lives. 443 00:16:39,524 --> 00:16:39,894 Yeah. Yeah. 444 00:16:39,894 --> 00:16:40,444 You know what I mean? 445 00:16:40,454 --> 00:16:40,454 Yeah. 446 00:16:40,464 --> 00:16:43,683 And then the second album is, is much d- more difficult because they got everything 447 00:16:43,724 --> 00:16:46,683 out in the first album. It just turns out Stevie had about 15 albums worth of 448 00:16:46,724 --> 00:16:47,114 material- 449 00:16:47,123 --> 00:16:47,284 Right 450 00:16:47,424 --> 00:16:47,864 ... in there- 451 00:16:47,924 --> 00:16:48,303 Exactly 452 00:16:48,313 --> 00:16:50,144 ... from the time he was a kid. It's incredible. 453 00:16:50,184 --> 00:16:53,824 And when we talk about Music of My Mind, Talking Book, Innervisions, and fulfilling 454 00:16:53,864 --> 00:16:55,604 this first finale to the classic four- 455 00:16:55,644 --> 00:16:56,104 Wait, wait, wait 456 00:16:56,164 --> 00:16:59,444 ... those are all, like there's overlap from 457 00:16:59,464 --> 00:17:02,904 '72, '73... No, 458 00:17:02,924 --> 00:17:06,285 '71, '72, '73, and even into 459 00:17:06,295 --> 00:17:10,124 '74. Probably among all those albums, there's a little bit of debate- 460 00:17:10,404 --> 00:17:10,414 So- 461 00:17:10,414 --> 00:17:11,664 ... even among the people that there's a little bit- 462 00:17:11,724 --> 00:17:11,734 Wait, wait, wait, wait, wait 463 00:17:11,734 --> 00:17:12,674 ... of conflicting information. 464 00:17:12,684 --> 00:17:16,224 So you're not putting, you're not putting s- 465 00:17:16,285 --> 00:17:16,734 Songs in the Key of Life 466 00:17:16,734 --> 00:17:18,964 ... you're not putting Secret Life of Plants in the classic period? 467 00:17:19,004 --> 00:17:19,214 No. 468 00:17:19,344 --> 00:17:19,864 Hotter than July? 469 00:17:20,144 --> 00:17:20,604 Definitely not. 470 00:17:20,614 --> 00:17:20,614 Definitely not. 471 00:17:20,644 --> 00:17:21,035 No. No. 472 00:17:21,045 --> 00:17:23,484 They're great records, but not even Songs in the Key of Life. 473 00:17:23,524 --> 00:17:25,504 No, no, no, because, not because they're not classic. 474 00:17:25,545 --> 00:17:28,555 I mean, Songs in the Key of Life may be the culmination of the c- classic period. 475 00:17:28,555 --> 00:17:28,874 It feels like it is to me. 476 00:17:28,874 --> 00:17:32,734 I could say that. But that was recorded in, in a very different way entirely in LA, 477 00:17:32,734 --> 00:17:34,764 although a lot of this stuff was... That, that's another story. 478 00:17:34,784 --> 00:17:36,654 They moved everything cross country, too. 479 00:17:36,684 --> 00:17:40,444 But different production crew, a little bit of overlap, different 480 00:17:40,524 --> 00:17:44,184 process. You know, Stevie's mature, m- much more people involved in the 481 00:17:44,264 --> 00:17:47,664 record. Like, this record is darn near one-man band. 482 00:17:47,704 --> 00:17:51,474 All four of those records actually, um, but this is the one that has the least... 483 00:17:51,484 --> 00:17:53,444 You know, it has, um, Buzz Fight- Fightin' 484 00:17:54,284 --> 00:17:55,844 on guitar on, um- 485 00:17:55,884 --> 00:17:57,144 Yeah. I know, I hear what you're saying about it 486 00:17:57,244 --> 00:17:59,024 ... and then one R. Barrett solo. Like, otherwise- 487 00:17:59,064 --> 00:17:59,894 I hear what you're saying. It's, it's the same- 488 00:17:59,904 --> 00:18:01,344 Songs in the Key of Life is a bigger record. 489 00:18:01,404 --> 00:18:01,844 I know. 490 00:18:01,864 --> 00:18:01,994 It's great. 491 00:18:01,994 --> 00:18:02,924 It's the same process. 492 00:18:03,064 --> 00:18:03,334 Yeah. 493 00:18:03,344 --> 00:18:04,714 But, but I think there's a flag on the play there, Pete. 494 00:18:04,744 --> 00:18:05,104 Okay. 495 00:18:05,164 --> 00:18:05,344 Yeah. 496 00:18:05,364 --> 00:18:06,754 There you go. Traveling. 497 00:18:06,804 --> 00:18:07,154 Yeah. 498 00:18:07,244 --> 00:18:07,564 Um- 499 00:18:08,104 --> 00:18:08,294 Wait. 500 00:18:09,124 --> 00:18:09,584 Wrong sport. 501 00:18:09,624 --> 00:18:13,284 Yeah. Sorry. Flag on the ground. 502 00:18:13,424 --> 00:18:14,364 So, um, 503 00:18:15,384 --> 00:18:18,784 so okay, let's talk about this. So when we talk about one-man band, I think a lot 504 00:18:18,804 --> 00:18:21,484 of people miss that 'cause they think, "Oh, yeah, Stevie Wonder, he sings, and I, 505 00:18:21,524 --> 00:18:24,944 sometimes I see him at the piano, and, you know, he can play the 506 00:18:24,984 --> 00:18:28,976 harmonica really well." No, he played everything-On 507 00:18:29,016 --> 00:18:32,825 this ra- record. So he played drums, he played bass, he sang, he played 508 00:18:32,856 --> 00:18:36,365 harmonica, he played bass on the keyboards, he played the 509 00:18:36,396 --> 00:18:40,076 TONTO. He did all these different things, and that in itself is 510 00:18:40,116 --> 00:18:42,226 amazing. But you could be like, "Oh, I know people that are talented. 511 00:18:42,256 --> 00:18:46,146 They can do that." But it's the putting it together to make it feel like 512 00:18:46,196 --> 00:18:49,856 a band, to make it feel like an exciting experience at a time when the 513 00:18:49,896 --> 00:18:53,876 technology did not involve, like, pasting things in and being able to 514 00:18:53,916 --> 00:18:55,986 have automation and all these different things. 515 00:18:55,996 --> 00:18:58,696 Like, you had to have literally the music in your mind. 516 00:18:58,756 --> 00:18:58,956 Yeah. 517 00:18:58,976 --> 00:19:01,326 And then be able to be like, "Okay, what am I gonna do first here?" 518 00:19:01,376 --> 00:19:01,696 Yeah. 519 00:19:01,736 --> 00:19:03,656 You know, sometimes it was drums, sometimes it was keyboards. 520 00:19:03,696 --> 00:19:04,656 So I thought- 521 00:19:04,676 --> 00:19:07,256 Well, I, I love what he does first here on the album, too. 522 00:19:07,316 --> 00:19:10,096 Yeah. I'm thinking we could jump in that, and then we can kinda break it down and 523 00:19:10,136 --> 00:19:11,056 see the different parts. 524 00:19:11,096 --> 00:19:11,486 Let's do it. 525 00:19:11,516 --> 00:19:13,156 Of course, it starts with Love Having You 526 00:19:13,236 --> 00:19:16,676 Around. Lee! 527 00:19:16,896 --> 00:19:18,336 Ah, it's so good. What a start. 528 00:19:18,356 --> 00:19:21,816 What a great start. Have we listened to a great album that didn't start great? 529 00:19:21,836 --> 00:19:22,076 No, we haven't. 530 00:19:22,086 --> 00:19:22,086 No. 531 00:19:22,116 --> 00:19:24,186 Mama, mama baby. Oh. 532 00:19:25,236 --> 00:19:25,566 Baby, baby, baby. 533 00:19:26,376 --> 00:19:27,816 Rhodes. Wurlitzer. 534 00:19:27,836 --> 00:19:29,586 Uh-hmm. Baby, baby, baby. 535 00:19:29,696 --> 00:19:30,436 Drums. 536 00:19:31,916 --> 00:19:32,686 That's me. 537 00:19:33,996 --> 00:19:37,266 Every day I wanna fly my kite. 538 00:19:38,256 --> 00:19:41,296 And every day I wanna fly my 539 00:19:41,396 --> 00:19:42,796 kite. 540 00:19:42,816 --> 00:19:42,826 Whoo! 541 00:19:42,836 --> 00:19:46,556 And every day I wanna get on my camel and 542 00:19:46,616 --> 00:19:49,806 ride. Ooh, 543 00:19:50,616 --> 00:19:50,976 yeah. 544 00:19:50,996 --> 00:19:51,696 Man, he's got- 545 00:19:51,716 --> 00:19:52,756 All these ad libs here 546 00:19:52,816 --> 00:19:53,236 ... yeah. 547 00:19:53,246 --> 00:19:53,246 Yeah. 548 00:19:53,246 --> 00:19:57,076 And this harmonic thing, it's very bluesy, but he immediately goes somewhere 549 00:19:57,116 --> 00:19:57,406 weird. 550 00:19:57,456 --> 00:19:57,896 Make a name for myself. 551 00:19:57,936 --> 00:19:58,476 To the D flat. 552 00:19:58,496 --> 00:19:59,496 Yeah, going up a minor third. 553 00:20:00,836 --> 00:20:01,676 And every, every day- 554 00:20:01,776 --> 00:20:04,096 So this is kinda telling you, this is not gonna be- 555 00:20:04,106 --> 00:20:04,166 ... I wanna get on my camel and ride 556 00:20:04,166 --> 00:20:06,976 ... your average gospel-y, bluesy, jazzy. 557 00:20:07,096 --> 00:20:07,396 Ooh, yeah. 558 00:20:07,416 --> 00:20:08,656 TalkBox. 559 00:20:08,736 --> 00:20:10,706 And when my day is through. 560 00:20:10,706 --> 00:20:12,016 Oh, move up another minor third. 561 00:20:12,136 --> 00:20:13,696 Nothing to do, I- 562 00:20:13,736 --> 00:20:14,256 Back down 563 00:20:14,316 --> 00:20:16,616 ... sit around grooving with you. 564 00:20:16,636 --> 00:20:18,556 And then he pulls it all back together right here. 565 00:20:18,576 --> 00:20:20,656 And I think of the love. 566 00:20:20,696 --> 00:20:22,466 Whoo! Very gospel harmonic turn. 567 00:20:22,476 --> 00:20:23,716 Having you around. 568 00:20:23,756 --> 00:20:26,856 Pulls it together. And you know what? Sounds so good, let's repeat that part. 569 00:20:26,916 --> 00:20:30,516 And I think of the love 570 00:20:31,436 --> 00:20:35,096 having you around. 571 00:20:35,196 --> 00:20:35,616 Whoo. 572 00:20:36,016 --> 00:20:37,926 Yeah. Every day- 573 00:20:37,956 --> 00:20:38,526 Second verse 574 00:20:38,816 --> 00:20:40,736 ... I'm gonna be your friend. 575 00:20:41,576 --> 00:20:44,776 'Cause you have stuck with me through thick and thin. 576 00:20:44,856 --> 00:20:46,176 Syreeta Wright, the lyricist on this. 577 00:20:46,196 --> 00:20:50,036 And every day I wanna smile in your lovely brown 578 00:20:50,116 --> 00:20:52,556 eyes. Your lovely brown eyes. 579 00:20:52,596 --> 00:20:54,196 Say Syreeta Wright wrote the lyrics? 580 00:20:54,276 --> 00:20:55,356 Yeah. 581 00:20:55,476 --> 00:20:57,796 Every day I'm gonna get my 582 00:20:57,936 --> 00:21:01,236 share. 'Cause I know you're gonna 583 00:21:01,296 --> 00:21:02,716 take me there. 584 00:21:03,176 --> 00:21:04,496 This drumming is so- 585 00:21:04,536 --> 00:21:04,716 Man 586 00:21:04,736 --> 00:21:05,356 ... interesting. 587 00:21:05,366 --> 00:21:06,196 Every day I wanna get on my camel and ride. 588 00:21:06,216 --> 00:21:08,225 It's so unique. It's so funky. 589 00:21:08,396 --> 00:21:08,486 Yeah. 590 00:21:08,486 --> 00:21:11,656 It's so... Like, the pocket is so him. 591 00:21:11,665 --> 00:21:11,665 Yes. 592 00:21:11,716 --> 00:21:13,496 It's so singular. 593 00:21:13,516 --> 00:21:13,796 Yeah. 594 00:21:15,416 --> 00:21:15,466 Think of the- 595 00:21:15,466 --> 00:21:16,376 To be able to- 596 00:21:16,386 --> 00:21:16,386 ... nothing to do 597 00:21:16,386 --> 00:21:19,836 ... play that hard in the pocket without, like, precision 598 00:21:19,996 --> 00:21:20,836 tempo. 599 00:21:20,846 --> 00:21:20,945 I sit around grooving with you. 600 00:21:20,945 --> 00:21:22,596 It's not supposed to be on a grid. 601 00:21:22,636 --> 00:21:22,746 And I think of the love. 602 00:21:22,746 --> 00:21:23,996 It's so pocket. 603 00:21:24,036 --> 00:21:25,785 And we talked about this when we listened to Innervisions. 604 00:21:25,796 --> 00:21:25,886 Yeah. 605 00:21:25,916 --> 00:21:29,436 How it's almost preferable to some of the really amazing studio cats he was- 606 00:21:29,456 --> 00:21:29,546 Yeah 607 00:21:29,546 --> 00:21:30,516 ... doing on, like, songs, you know? 608 00:21:30,536 --> 00:21:32,716 Well, they brought in Purdie on a bunch of these tracks- 609 00:21:32,776 --> 00:21:33,256 Which is great 610 00:21:33,396 --> 00:21:36,256 ... but Purdie, Purdie's like, "I can't do, I can't, I can't replace that. 611 00:21:36,356 --> 00:21:36,906 Leave that." 612 00:21:37,056 --> 00:21:40,816 Yeah, yeah. Yeah, yeah. 613 00:21:42,336 --> 00:21:42,785 Oh, bass. 614 00:21:42,785 --> 00:21:42,926 Ah, ah, ah, ah, ah, ah. Ah, ah, ah, ah, ah, ah. 615 00:21:42,926 --> 00:21:45,636 Ooh, the Songbox. 616 00:21:46,976 --> 00:21:49,276 Ah, ah, ah, ah, ah, ah. 617 00:21:49,316 --> 00:21:50,166 So there's already 618 00:21:51,456 --> 00:21:53,516 a lot of technology on here, right? 619 00:21:53,596 --> 00:21:54,116 So much. 620 00:21:54,156 --> 00:21:55,496 Yeah. 621 00:21:55,505 --> 00:21:55,505 Yeah. 622 00:21:55,516 --> 00:21:57,276 But a lot of humanity. 623 00:21:58,156 --> 00:22:01,956 That's the thing. We, we talked about this on Innervisions as well. 624 00:22:01,976 --> 00:22:01,986 Yeah. 625 00:22:02,016 --> 00:22:05,936 He's able to use this technology, which can seem like when we, 626 00:22:05,996 --> 00:22:07,756 even when we listen to the TONTO album- 627 00:22:07,896 --> 00:22:08,036 Yeah 628 00:22:08,096 --> 00:22:10,646 ... futuristic and it doesn't feel that way. 629 00:22:10,656 --> 00:22:12,776 It feels earthy and raw and real, you know? 630 00:22:12,836 --> 00:22:16,696 Right. Right, so good. So okay, I wanna just to jump back and just to sort of, just 631 00:22:16,736 --> 00:22:20,576 to show people how this worked with the TalkBox and 632 00:22:20,616 --> 00:22:23,996 his vocals, the background vocals, and then the rhythm section, and how he kind of 633 00:22:24,036 --> 00:22:27,526 brought all this to life. So this is from the top, just... 634 00:22:27,556 --> 00:22:30,456 Can I do this, just the vocals? Is that something that might interest you? 635 00:22:30,476 --> 00:22:33,316 And backgrounds. And so by backgrounds, you might think, "Oh yeah, he's got those 636 00:22:33,376 --> 00:22:36,186 three ladies that I saw him with on tour," whatever. No, this is all Stevie. 637 00:22:36,196 --> 00:22:39,796 There's a little bit of Syreeta Wright I think on some things, but not this. 638 00:22:39,816 --> 00:22:42,996 And so again, music of my mind. Like, he's gotta have all this in his 639 00:22:43,036 --> 00:22:47,016 imagination, and then put it in one thing at a time, kind of imagining 640 00:22:47,036 --> 00:22:49,876 what the end result is gonna be. 641 00:22:51,456 --> 00:22:52,276 Please. 642 00:22:52,676 --> 00:22:55,356 That's the beginning. 643 00:22:55,636 --> 00:22:59,226 Mama, mama, mama. Mama, mama baby. 644 00:23:00,276 --> 00:23:00,306 Baby, baby, baby. 645 00:23:00,316 --> 00:23:00,796 Mama, 646 00:23:02,396 --> 00:23:02,486 mama, mama. 647 00:23:02,486 --> 00:23:03,645 Uh-hmm. 648 00:23:03,996 --> 00:23:05,676 Baby, baby, baby. 649 00:23:05,716 --> 00:23:06,456 That's the TalkBox. 650 00:23:07,016 --> 00:23:08,096 Baby, baby. 651 00:23:08,356 --> 00:23:09,016 Mwah. 652 00:23:09,136 --> 00:23:12,076 Every day I wanna fly my kite. 653 00:23:12,086 --> 00:23:13,696 And you, you hear how you can feel the groove- 654 00:23:13,796 --> 00:23:14,306 Every day I wanna fly my kite 655 00:23:14,306 --> 00:23:18,096 ... just from his vocals? Even without... 656 00:23:18,136 --> 00:23:21,826 And every day I wanna get on my camel and ride. 657 00:23:21,836 --> 00:23:24,206 But you take the drums away... 658 00:23:24,276 --> 00:23:25,056 Ooh, 659 00:23:25,956 --> 00:23:29,716 yeah. Every day I wanna shake your 660 00:23:29,736 --> 00:23:30,776 hand. 661 00:23:30,796 --> 00:23:31,546 Yeah. 662 00:23:31,576 --> 00:23:32,676 For in the world- 663 00:23:32,716 --> 00:23:34,126 This is improv backgrounds 664 00:23:34,416 --> 00:23:34,506 ... make a name for myself. 665 00:23:34,506 --> 00:23:36,716 It's got maybe Baby vibes, the improv backgrounds. 666 00:23:36,756 --> 00:23:37,176 Yeah, yeah. 667 00:23:37,216 --> 00:23:38,126 Every day I wanna get on my camel and ride. 668 00:23:38,136 --> 00:23:41,246 And it's raw AF. But it's precise. 669 00:23:42,316 --> 00:23:45,536 Ooh, baby. And when my day is 670 00:23:45,656 --> 00:23:48,896 through. Nothing to do, I- 671 00:23:49,616 --> 00:23:53,216 Sit around grooving with you. And 672 00:23:53,356 --> 00:23:56,196 I think of the love 673 00:23:57,596 --> 00:23:58,756 having you around. 674 00:23:58,776 --> 00:23:59,176 Amazing. 675 00:23:59,236 --> 00:23:59,786 Those bass and that- 676 00:23:59,796 --> 00:24:00,976 Amazing, amazing. 677 00:24:02,176 --> 00:24:05,696 And I think of the love 678 00:24:06,736 --> 00:24:08,606 having you around. 679 00:24:08,736 --> 00:24:12,216 So while all that great stuff is happening, you've got, here's the rhythm section. 680 00:24:12,756 --> 00:24:14,876 Bass, and he's playing bass on keys. 681 00:24:15,896 --> 00:24:17,996 Rhodes, maybe a little Wurli, I can't- 682 00:24:18,056 --> 00:24:18,946 Yeah. There's Wurli, yeah. 683 00:24:18,956 --> 00:24:19,186 And drums. 684 00:24:19,196 --> 00:24:22,716 For sure. This is so sick right here. 685 00:24:22,916 --> 00:24:23,796 And, like, the bass- 686 00:24:23,816 --> 00:24:24,116 Damn 687 00:24:24,296 --> 00:24:26,166 ... the bass is... 688 00:24:26,176 --> 00:24:27,016 Just a Moog bass. 689 00:24:27,056 --> 00:24:27,436 Yeah. 690 00:24:27,496 --> 00:24:28,836 Or a ARP bass maybe. 691 00:24:28,896 --> 00:24:29,796 I think it's Moog. 692 00:24:31,096 --> 00:24:33,006 Oops, a little... And then here's the drums. 693 00:24:39,446 --> 00:24:39,866 Uh. 694 00:24:39,986 --> 00:24:40,706 Just so much- 695 00:24:40,746 --> 00:24:41,566 Da, da, da, mm, mm 696 00:24:41,576 --> 00:24:45,086 ... so much kick drum happening. It's crazy. That's great. 697 00:24:45,126 --> 00:24:48,126 And you got the the heavy pan from the point of view of the 698 00:24:48,206 --> 00:24:51,966 drummer. Mm, mm. Mm, mm, mm, mm. 699 00:24:52,966 --> 00:24:55,446 Ooh, that bass... Damn, his bass drum is killing. 700 00:24:55,506 --> 00:24:57,586 And then you got the keys. 701 00:24:59,026 --> 00:25:02,926 We don't have great separation on that for some reason. 702 00:25:04,866 --> 00:25:08,826 But yeah, just to hear the whole rhythm sec- I mean, it sounds like 703 00:25:08,886 --> 00:25:11,285 three folks playing together, right? 704 00:25:12,746 --> 00:25:15,426 Fill. Oh. 705 00:25:15,436 --> 00:25:15,436 Ah. 706 00:25:15,466 --> 00:25:17,486 Come on, man. 707 00:25:18,306 --> 00:25:19,186 And then, um- 708 00:25:19,206 --> 00:25:19,326 God 709 00:25:19,336 --> 00:25:21,426 ... should we talk about the trombone solo? Should we jump up to that a little bit? 710 00:25:21,466 --> 00:25:23,836 Yeah. By the way, I love the way that... 711 00:25:23,906 --> 00:25:27,626 I think that's a clavinet there, but it's got... But it's very muffled. 712 00:25:27,686 --> 00:25:30,416 Like, the- it's, it's on a pickup, 'cause the, you know, those clavinets have 713 00:25:30,466 --> 00:25:32,146 different pickups, like a guitar that you can select. 714 00:25:32,166 --> 00:25:32,566 Yeah, yeah, yeah. 715 00:25:32,576 --> 00:25:34,806 And so it's on a very dark version of that pickup. 716 00:25:34,826 --> 00:25:34,836 Yeah. 717 00:25:34,966 --> 00:25:35,746 Sounds so cool. 718 00:25:35,806 --> 00:25:38,466 Yeah. It's awesome. We're gonna get some great clap at the beginning of the second 719 00:25:38,546 --> 00:25:42,006 half too. So we're gonna jump up, Art Baron, the great Art 720 00:25:42,106 --> 00:25:44,746 Baron, wonderful jazz trombonist and otherwise. 721 00:25:44,786 --> 00:25:45,686 Yeah, he crushes this. 722 00:25:45,746 --> 00:25:46,866 Yeah. 723 00:25:47,226 --> 00:25:48,216 Hey, hey, hey, hey, hey, hey. Hey, hey, hey, hey, hey, 724 00:25:49,146 --> 00:25:49,356 hey. 725 00:25:51,086 --> 00:25:54,846 Yeah. Yeah, yeah. 726 00:25:57,186 --> 00:25:59,746 Got the little chromatic horn. 727 00:26:00,946 --> 00:26:02,356 And we play. We just 728 00:26:02,566 --> 00:26:16,366 play. 729 00:26:21,806 --> 00:26:21,946 We 730 00:26:22,026 --> 00:26:25,846 play. 731 00:26:25,856 --> 00:26:26,446 Then we come back. 732 00:26:26,486 --> 00:26:29,476 And when the day is done. Yeah. 733 00:26:29,486 --> 00:26:30,126 So he's got these- 734 00:26:30,146 --> 00:26:30,746 Something to do 735 00:26:30,756 --> 00:26:34,006 ... these cool harmonic areas that he's been going back and forth to. 736 00:26:34,286 --> 00:26:35,176 We get done. 737 00:26:35,206 --> 00:26:37,466 That part of his voice is magical. 738 00:26:37,506 --> 00:26:38,766 So good. 739 00:26:39,946 --> 00:26:43,646 Having you around. Yeah, 740 00:26:43,686 --> 00:26:45,126 yeah. And I- 741 00:26:45,146 --> 00:26:46,376 And every time it's different 742 00:26:46,406 --> 00:26:50,096 ... share your love. And you have- 743 00:26:50,146 --> 00:26:54,086 So much craziness in there. Anyway, I like this. I like this album. 744 00:26:54,126 --> 00:26:55,566 I get it. I get it. 745 00:26:56,826 --> 00:26:57,546 It's very- 746 00:26:57,586 --> 00:26:58,026 Fun stuff, right? 747 00:26:58,046 --> 00:27:00,786 ... very good. Man, what a great track, too. Great song. 748 00:27:00,806 --> 00:27:02,006 I mean, it's got everything, right? 749 00:27:02,046 --> 00:27:02,926 It's got, like- 750 00:27:02,986 --> 00:27:03,536 Coming out of the gate. 751 00:27:03,536 --> 00:27:04,926 You know what it... Coming out the gate. You know what it is? 752 00:27:04,966 --> 00:27:08,846 It's, it's also, it's like... It, because he's so young, 'cause 753 00:27:08,866 --> 00:27:09,586 he's 21- 754 00:27:09,626 --> 00:27:09,686 Yeah 755 00:27:09,846 --> 00:27:11,986 ... still has this incredible youthful energy. 756 00:27:11,996 --> 00:27:11,996 Yeah. 757 00:27:12,006 --> 00:27:15,806 We talked about this on Off the Wall, but it's like, it feels like a 758 00:27:15,846 --> 00:27:19,206 young person that wants to prove himself, that has something to say, that's trying 759 00:27:19,246 --> 00:27:20,866 to change the world with his music. 760 00:27:20,876 --> 00:27:20,876 Yeah. 761 00:27:20,906 --> 00:27:22,126 Man, it's so inspiring. 762 00:27:22,166 --> 00:27:22,776 It's, it totally is. 763 00:27:22,786 --> 00:27:25,746 As an old fogey, it really makes you wanna get up- ... and do something. 764 00:27:25,806 --> 00:27:28,756 Yeah. I mean, this, this output is, is, was, was just crazy. 765 00:27:28,786 --> 00:27:32,276 And then the thing about it is too, and I, I might have some, some... 766 00:27:32,326 --> 00:27:35,206 a little bit of narrative on this too, but, like, the idea, we think of these 767 00:27:35,286 --> 00:27:39,246 albums so well crafted in terms of the sequencing of 768 00:27:39,266 --> 00:27:42,476 them, the combination of songs, the messaging of them, how they're laid out, even 769 00:27:42,506 --> 00:27:45,656 from side A to side B, um, and they are. 770 00:27:45,686 --> 00:27:47,376 There was a lot of craftsmanship that went... 771 00:27:47,376 --> 00:27:49,726 The, the mix of them, the transitions. 772 00:27:49,806 --> 00:27:53,666 Um, but these were not... They didn't work on one album and then 773 00:27:53,746 --> 00:27:56,666 finish it. Like, you know, we've talked about the Steely Dan, the Asia, 774 00:27:56,746 --> 00:27:59,116 Gaucho, um, Tapestry- 775 00:27:59,126 --> 00:27:59,135 Mm-hmm 776 00:27:59,135 --> 00:28:00,506 ... which was done relatively quickly. 777 00:28:00,526 --> 00:28:03,526 But it's like this is an output where you're thinking about the album, you're 778 00:28:03,606 --> 00:28:06,556 starting it. For, you might move some things around, we're not gonna use this, and 779 00:28:06,586 --> 00:28:09,546 then it's done. It's... This didn't have a starting and ending point. 780 00:28:09,586 --> 00:28:12,186 This was just, like, three or four years of recording. 781 00:28:12,246 --> 00:28:14,046 Apparently, they recorded over 300 songs. 782 00:28:14,126 --> 00:28:14,236 Yeah. 783 00:28:14,246 --> 00:28:17,046 And then when it would come time, Robert Margouleff and, um- 784 00:28:17,116 --> 00:28:17,135 That's crazy 785 00:28:17,135 --> 00:28:20,116 ... Malcolm Cecil would, would go to Stevie like, "Hey, Motown's been calling a 786 00:28:20,146 --> 00:28:22,236 lot. They really want a record." And he's... 787 00:28:22,236 --> 00:28:23,396 And they're like, "Okay, let's talk about it. 788 00:28:23,426 --> 00:28:25,426 Maybe we'll try this." And they would just go into the archive. 789 00:28:25,486 --> 00:28:27,326 Actually, can we hear him talk about this a little bit? 790 00:28:27,336 --> 00:28:27,336 Yeah. 791 00:28:27,366 --> 00:28:28,726 If I can find the right thing. Yeah. Here we go. 792 00:28:28,746 --> 00:28:31,186 Well, the thing that's interesting is that, um, 793 00:28:32,326 --> 00:28:36,246 we never really kept track of the hours of how long a song took 794 00:28:36,846 --> 00:28:39,886 because we never really sort of worked with a 795 00:28:39,946 --> 00:28:43,506 concept, with Steve anyway, of ever 796 00:28:43,566 --> 00:28:47,386 making, of now we're gonna do Music of My Mind. This is an album. 797 00:28:47,406 --> 00:28:51,326 We have to do 12 songs and so forth, and then 798 00:28:51,366 --> 00:28:54,146 we would concentrate on doing 12 songs. 799 00:28:54,206 --> 00:28:56,726 We would work for an archive, for a library. 800 00:28:56,746 --> 00:29:00,586 We were constantly in the studio. Some of the songs we 801 00:29:00,626 --> 00:29:04,446 did in the first year ended up on Talking Book or ended up 802 00:29:04,526 --> 00:29:05,466 on Fulfillingness. 803 00:29:05,506 --> 00:29:06,935 Amazing. Amazing. 804 00:29:06,935 --> 00:29:10,435 It was really generating material for a library is the way it worked. 805 00:29:10,466 --> 00:29:12,736 It was an archive of songs. 806 00:29:12,766 --> 00:29:13,556 That's a nice archive. 807 00:29:13,586 --> 00:29:17,166 That's a great archive. You know, I, I mean, it, it really hits me as you describe 808 00:29:17,186 --> 00:29:21,006 this setup that they had with the TONTO system and, and, and also these two men 809 00:29:21,086 --> 00:29:24,486 who were, like, really helping to facilitate Stevie's vision on this. 810 00:29:24,495 --> 00:29:24,495 Yeah. 811 00:29:24,506 --> 00:29:28,396 But, like, it just goes to show, and this is just a... 812 00:29:28,426 --> 00:29:31,536 this is a little bit of my own thing here, but how important a 813 00:29:31,566 --> 00:29:32,746 process- 814 00:29:32,966 --> 00:29:33,066 Mm 815 00:29:33,076 --> 00:29:35,316 ... your space is, your setup is. 816 00:29:35,316 --> 00:29:35,326 Yeah. 817 00:29:35,346 --> 00:29:39,226 Like, you put... I mean, the... Nobody could've just walked in 818 00:29:39,246 --> 00:29:41,666 there and made this kind of music just because the setup is great. 819 00:29:41,726 --> 00:29:41,886 Right. 820 00:29:41,926 --> 00:29:45,426 But when you have a genius like Stevie Wonder, and you give him a space where he 821 00:29:45,466 --> 00:29:47,706 can just seamlessly, frictionlessly- 822 00:29:47,806 --> 00:29:47,956 Right 823 00:29:48,206 --> 00:29:49,276 ... go. There's no friction, right? 824 00:29:49,326 --> 00:29:49,336 Right. 825 00:29:49,366 --> 00:29:53,116 You just, there's a drum set over here. There's a synthesizer over here. 826 00:29:53,126 --> 00:29:56,206 There's a clavinet there and a Rhodes there and a Wurli there, and the vocal mic is 827 00:29:56,266 --> 00:29:59,136 always set up, and apparently, that's what, what it was set up like. 828 00:29:59,136 --> 00:29:59,136 Yeah. 829 00:29:59,166 --> 00:30:02,486 He could just go and, and, and explore, really explore the 830 00:30:02,566 --> 00:30:03,216 space- 831 00:30:03,226 --> 00:30:03,426 Right 832 00:30:03,436 --> 00:30:07,036 ... of the studio, and he does, and he creates, like, these four amazing 833 00:30:07,146 --> 00:30:07,936 albums, you know? 834 00:30:07,966 --> 00:30:08,626 Yeah, and apparently- 835 00:30:08,646 --> 00:30:10,616 I don't think it happens without that frictionless studio. 836 00:30:10,646 --> 00:30:14,006 No, you're absolutely right. The logistics of it are part of the artistic process, 837 00:30:14,026 --> 00:30:16,866 and they started out at Media Sound Studios uptown. 838 00:30:16,886 --> 00:30:19,626 That's where Stevie showed up in the pistachio suit. 839 00:30:19,666 --> 00:30:19,876 But, um- 840 00:30:19,886 --> 00:30:20,956 You keep saying pistachio suit. 841 00:30:20,986 --> 00:30:21,276 I love that the pistac- 842 00:30:21,276 --> 00:30:22,686 It's like it's a really important fact 843 00:30:22,786 --> 00:30:24,406 ... 'cause they've said it in like seven different interviews. 844 00:30:24,466 --> 00:30:25,586 I do like... I like that it sets the scene. 845 00:30:25,606 --> 00:30:26,176 I love it. It's so visual. 846 00:30:26,176 --> 00:30:26,566 I do. Yeah. 847 00:30:26,606 --> 00:30:30,406 But, um, part of the reason they l- they moved famously down to Electric Lady 848 00:30:30,486 --> 00:30:34,396 Studios, of, of course, Jimi Hendrix's studio, Voodoo, a b- a bunch of great 849 00:30:34,426 --> 00:30:34,746 things- 850 00:30:34,806 --> 00:30:35,206 Yeah 851 00:30:35,216 --> 00:30:37,986 ... um, was about this very concept you're talking about, frictionless. 852 00:30:38,026 --> 00:30:39,076 They didn't use that word, but check this out. 853 00:30:39,076 --> 00:30:39,076 This is- 854 00:30:39,086 --> 00:30:42,490 He could find his way around there, and when Jimi passedThere was a 855 00:30:42,530 --> 00:30:46,490 studio, and it was like with Malcolm, me, and Stevie, 856 00:30:46,530 --> 00:30:50,090 it was like putting our shoe in a ready-ma- our foot in a ready-made shoe. 857 00:30:50,610 --> 00:30:53,030 We were able to get in there and to really get to work. 858 00:30:53,070 --> 00:30:55,030 It was beautiful environment to work. 859 00:30:55,490 --> 00:30:59,410 We started 4:30 in the afternoon and finish at 7:00 in the morning when the sun 860 00:30:59,450 --> 00:30:59,900 was coming up. 861 00:30:59,950 --> 00:31:00,750 Amazing. 862 00:31:00,910 --> 00:31:03,690 Night after night, holidays, birthdays, 863 00:31:04,390 --> 00:31:08,370 rains, sleet, summer, storms, you name it, we 864 00:31:08,410 --> 00:31:12,170 were there. Never... It was... We called it Stevie time. 865 00:31:12,210 --> 00:31:15,910 It was never a, uh... And we didn't have to leave and 866 00:31:16,470 --> 00:31:20,230 leave because, uh, Crazy Daisy Toilet Paper's gonna be making a commercial 867 00:31:20,270 --> 00:31:22,290 during the day, and I had to break down the drums. 868 00:31:22,550 --> 00:31:24,470 Everything could stay. 869 00:31:24,530 --> 00:31:26,570 Yeah, so that was the thing, that the other studio, they were still doing 870 00:31:26,610 --> 00:31:30,530 commercial work, but they were very intentional about having the 871 00:31:30,590 --> 00:31:34,270 drums, having the Rhodes, having the vocals, a kind of microphone 872 00:31:34,330 --> 00:31:37,650 that Stevie could feel, and if he bumped into it, it wouldn't sha- Everything was 873 00:31:37,690 --> 00:31:40,930 frictionless so that he could create at any time, so that he didn't have to have a 874 00:31:40,970 --> 00:31:44,810 helper. O- obviously being, uh, sight impaired, he could 875 00:31:44,870 --> 00:31:46,910 move around the studio without anybody helping. 876 00:31:46,930 --> 00:31:49,130 So there was nothing getting in the way of him creating. 877 00:31:49,150 --> 00:31:51,810 And when they moved to LA to the studio out there, it was the same thing. 878 00:31:51,830 --> 00:31:53,350 They actually built out, uh, 879 00:31:54,190 --> 00:31:55,750 a whole room and started renting it by the year. 880 00:31:55,770 --> 00:31:56,960 ’Cause they were like, "We just have to... 881 00:31:57,030 --> 00:32:01,020 He's gotta be able to record at any time," and, and this is the one of the first 882 00:32:01,110 --> 00:32:05,090 gift, the quiet launchpad, uh, that would come for over the next 883 00:32:05,130 --> 00:32:06,250 couple years. 884 00:32:06,290 --> 00:32:09,610 Man, well, and it's amazing that, that, that Love Having You Around, that first 885 00:32:09,650 --> 00:32:11,770 track, wasn't released as a single and wasn't a hit. 886 00:32:11,790 --> 00:32:12,290 Because it's- 887 00:32:12,350 --> 00:32:12,470 Right 888 00:32:12,590 --> 00:32:13,470 ... catchy as hell. 889 00:32:13,530 --> 00:32:13,910 I know. 890 00:32:13,970 --> 00:32:17,860 Uh, the next track, though, was released as the first single on it, and this... 891 00:32:17,890 --> 00:32:20,020 Ah, man, this might be my favorite song. The, uh, the... 892 00:32:20,030 --> 00:32:23,950 It's debatable, but this, this is the song, honestly, of all of 893 00:32:24,010 --> 00:32:27,570 Stevie Wonder... So, like, I got this on... Someone, someone... 894 00:32:28,150 --> 00:32:29,330 Don't, don't tell Stevie. 895 00:32:29,350 --> 00:32:29,550 Okay. 896 00:32:29,570 --> 00:32:32,090 But my first listen to this one w- was when I was 16. 897 00:32:32,330 --> 00:32:32,990 He's getting quiet. 898 00:32:33,030 --> 00:32:33,410 And someone- 899 00:32:33,420 --> 00:32:34,180 Something illicit happened 900 00:32:34,190 --> 00:32:36,150 ... a friend of mine made a tape. 901 00:32:36,170 --> 00:32:36,260 Made a tape. 902 00:32:36,310 --> 00:32:37,890 Of it. Like, you know, a Maxell- 903 00:32:37,970 --> 00:32:38,090 Yeah 904 00:32:38,110 --> 00:32:40,480 ... recordable tape. So I didn't know wh- 905 00:32:40,510 --> 00:32:42,590 Was that a special friend that gave you a mixtape, my friend? 906 00:32:42,630 --> 00:32:44,240 It was a mixtape. Not that special. 907 00:32:44,250 --> 00:32:44,560 Okay. 908 00:32:44,590 --> 00:32:46,580 But, uh, so I just knew it from this tape. 909 00:32:46,580 --> 00:32:46,580 Yeah. 910 00:32:46,580 --> 00:32:48,640 And I didn't know what this song was. But this was the song... 911 00:32:48,670 --> 00:32:51,330 And I, I also, I was like, I knew Stevie Wonder from, like, I Just Called to Say I 912 00:32:51,390 --> 00:32:52,350 Love You at this point. 913 00:32:52,360 --> 00:32:52,360 Yeah. 914 00:32:52,370 --> 00:32:54,630 But I was like, you know, young and dumb and didn't know anything. 915 00:32:54,670 --> 00:32:55,270 Yeah. 916 00:32:55,330 --> 00:32:57,240 And, uh, when I heard Superwoman- 917 00:32:57,410 --> 00:32:57,530 Yeah 918 00:32:57,539 --> 00:33:01,050 ... the, uh, track two, and the other song that is part of Superwoman- 919 00:33:01,070 --> 00:33:02,950 I was gonna say, yeah. I was like, you get two for the price of one on this one. 920 00:33:02,990 --> 00:33:05,690 Where Were You When I Needed You, which I, I legit thought were just two separate 921 00:33:05,750 --> 00:33:07,090 songs because I was listening to it on a tape that- 922 00:33:07,110 --> 00:33:07,220 Yeah 923 00:33:07,220 --> 00:33:08,890 ... didn't have any labels or anything. 924 00:33:09,070 --> 00:33:12,710 I was like, "Oh, we're in somewhere..." This is music that I didn't know 925 00:33:12,770 --> 00:33:13,370 existed. 926 00:33:13,380 --> 00:33:13,400 Right. 927 00:33:13,410 --> 00:33:17,070 Like, this whole genre of music opened up to me, and it's from this next 928 00:33:17,080 --> 00:33:17,550 track. 929 00:33:17,610 --> 00:33:20,410 Yeah. Here we go, Superwoman. 930 00:33:21,990 --> 00:33:35,690 Mary 931 00:33:35,750 --> 00:33:37,530 wants to be a superwoman. 932 00:33:37,550 --> 00:33:39,250 Yeah, this is amazing. So he's- 933 00:33:39,290 --> 00:33:42,570 But is that really in her head? 934 00:33:42,590 --> 00:33:43,770 He's so relaxed here, too. 935 00:33:43,780 --> 00:33:43,780 So relaxed. 936 00:33:43,780 --> 00:33:43,780 Just- 937 00:33:43,810 --> 00:33:47,310 I just wanna live each day to love her for what she 938 00:33:47,530 --> 00:33:51,090 is. How did he fit together that weird synth intro? 939 00:33:51,130 --> 00:33:52,530 It works so well. 940 00:33:52,570 --> 00:33:54,570 And the interlude that happens between. 941 00:33:54,590 --> 00:33:55,090 Oh, dude, that's- 942 00:33:55,750 --> 00:33:56,420 Maxell on that 943 00:33:56,430 --> 00:33:58,350 ... it's on my list. 944 00:34:00,370 --> 00:34:03,930 And all the things she wants to be she needs to leave 945 00:34:04,030 --> 00:34:07,650 behind. ’Cause this is almost like a You Are My Sunshine kinda 946 00:34:07,710 --> 00:34:08,750 track, this part of it. 947 00:34:09,650 --> 00:34:09,660 Yeah. 948 00:34:09,660 --> 00:34:10,060 You know, small. 949 00:34:10,091 --> 00:34:11,430 Yeah. His drumming here- 950 00:34:11,571 --> 00:34:12,259 I believe I know you very well 951 00:34:12,259 --> 00:34:13,830 ... again, it's very unique. 952 00:34:13,850 --> 00:34:15,930 Yeah. Wish that you knew me too. 953 00:34:15,950 --> 00:34:16,699 Very loose. 954 00:34:16,950 --> 00:34:19,710 Very well. Is that chord something you'd be interested in? 955 00:34:19,730 --> 00:34:23,630 We're gonna get into it. Follow me to the nerd nook, my friend. 956 00:34:25,011 --> 00:34:25,210 Oh. 957 00:34:25,350 --> 00:34:26,000 I love that Rhodes sound. 958 00:34:26,031 --> 00:34:28,531 Man, the details. And I think I can 959 00:34:28,630 --> 00:34:30,130 face. 960 00:34:30,210 --> 00:34:33,790 Oh, and the way he alt- Very well. He alters it each time. 961 00:34:33,801 --> 00:34:37,430 Very well. And I think I can cope with 962 00:34:37,531 --> 00:34:38,910 everything going through your head. 963 00:34:38,930 --> 00:34:41,630 And if you know this record, you're already looking forward to the next time how 964 00:34:41,650 --> 00:34:42,380 he's gonna change it. 965 00:34:42,970 --> 00:34:46,290 Oh, the next verse. Mary wants to be a superwoman. 966 00:34:46,370 --> 00:34:50,091 And try to boss the bull around. 967 00:34:50,470 --> 00:34:54,230 But does she really think she'll get by with a 968 00:34:54,350 --> 00:34:58,210 dream? This might be my favorite moment, this second 969 00:34:58,270 --> 00:35:01,490 verse, the- A woman wants to be a superwoman. All the BBs. 970 00:35:01,509 --> 00:35:05,000 Oh, yeah. They're slowly layered in. I just had to say goodbye. 971 00:35:05,030 --> 00:35:06,250 The variation from the- 972 00:35:06,590 --> 00:35:06,600 Oh, yeah 973 00:35:06,600 --> 00:35:10,000 ... first verse of it, you know? Because I can't spend all my time. 974 00:35:10,000 --> 00:35:12,770 That chorus on the Rhodes, perfect. 975 00:35:13,910 --> 00:35:16,260 But. But. 976 00:35:17,190 --> 00:35:19,909 I believe I know you very well. 977 00:35:19,930 --> 00:35:21,170 Ooh, man. 978 00:35:21,190 --> 00:35:21,630 Hold on just a 979 00:35:23,870 --> 00:35:24,270 second. 980 00:35:24,310 --> 00:35:24,980 Best background vocals. Best background vocals. 981 00:35:24,990 --> 00:35:25,880 That background wor- 982 00:35:25,890 --> 00:35:25,940 Yeah 983 00:35:25,950 --> 00:35:27,150 ... we're gonna go back and just hear. 984 00:35:27,190 --> 00:35:30,550 First of all, that's some of the most copied type of background vocals, right, for 985 00:35:30,640 --> 00:35:31,750 this song? 986 00:35:31,790 --> 00:35:33,710 Yeah, see, he's copying it right now. 987 00:35:33,730 --> 00:35:35,480 'Cause he's just like, "But." 988 00:35:35,480 --> 00:35:37,010 "But." Very well. 989 00:35:37,950 --> 00:35:41,880 I believe I know you very well. Oh, harmonic 990 00:35:41,970 --> 00:35:45,950 counterpoint. So good. Wish that you knew me too very well. 991 00:35:45,990 --> 00:35:49,950 Very well. And I think I can deal with everything going through your head. 992 00:35:49,960 --> 00:35:53,950 Coming up on top. Oh. Very well. 993 00:35:54,010 --> 00:35:57,110 Repeat. I think that I know you too very 994 00:35:57,410 --> 00:36:00,850 well. Wish you knew me like I know you 995 00:36:01,110 --> 00:36:04,810 very well. Very well. But I think I think I can deal with 996 00:36:04,930 --> 00:36:08,870 everything going through your head. Amazing. 997 00:36:09,030 --> 00:36:12,990 Very well. Three times. 998 00:36:13,170 --> 00:36:17,070 Very well. Wish you knew me too 999 00:36:17,170 --> 00:36:21,150 very well. Very well. And I wish I could think of 1000 00:36:21,170 --> 00:36:21,210 everything going through your head. 1001 00:36:21,230 --> 00:36:22,230 So this is all in the- 1002 00:36:24,270 --> 00:36:25,150 this first song. 1003 00:36:25,190 --> 00:36:25,590 Yeah. 1004 00:36:25,610 --> 00:36:29,570 Key of E, both major and minor. Very well. 1005 00:36:29,610 --> 00:36:31,170 And we're gonna transition- 1006 00:36:31,550 --> 00:36:31,670 Yeah 1007 00:36:31,710 --> 00:36:33,550 ... to the key of F sharp. 1008 00:36:33,590 --> 00:36:33,910 Yeah. 1009 00:36:33,930 --> 00:36:37,330 So we're gonna go up a whole step. And the way he does it is genius. 1010 00:36:37,990 --> 00:36:39,160 And I think I can deal- 1011 00:36:39,160 --> 00:36:39,670 Oh, it's about to start 1012 00:36:39,770 --> 00:36:42,510 ... with everything going through your head. 1013 00:36:42,550 --> 00:36:46,506 This was the end of the single on the r- on the radio, by the wayOf 1014 00:36:46,526 --> 00:36:46,766 course 1015 00:36:47,266 --> 00:36:48,146 It's a real shame. 1016 00:36:48,166 --> 00:36:48,336 Yeah. 1017 00:36:48,426 --> 00:36:50,046 'Cause what happens next is incredible. 1018 00:36:50,056 --> 00:36:53,586 I know. It's one of the greatest transitions ever. 1019 00:36:54,046 --> 00:36:57,126 It's back to the weird 1020 00:36:57,866 --> 00:37:00,466 new synth sounds, but beautiful. 1021 00:37:01,726 --> 00:37:05,086 The drums, the cymbals. 1022 00:37:07,406 --> 00:37:07,966 Now we're in F# 1023 00:37:07,976 --> 00:37:11,646 major. 1024 00:37:13,886 --> 00:37:15,726 Now we're in A major. 1025 00:37:15,766 --> 00:37:18,406 The chorus cycles perfectly in time 1026 00:37:19,906 --> 00:37:23,806 on the Rhodes. Oh, the 1027 00:37:23,846 --> 00:37:24,986 Moog bass, come on. 1028 00:37:26,146 --> 00:37:27,605 This is the greatest. 1029 00:37:28,466 --> 00:37:31,826 When the summer came, you were not 1030 00:37:31,866 --> 00:37:32,786 around. 1031 00:37:32,826 --> 00:37:33,826 Oh, space. 1032 00:37:34,106 --> 00:37:37,326 Now the summer's gone, and love cannot be 1033 00:37:37,426 --> 00:37:40,746 found. Where were you when 1034 00:37:40,886 --> 00:37:44,506 I needed you last 1035 00:37:44,666 --> 00:37:45,066 winter? 1036 00:37:45,106 --> 00:37:46,386 Maybe his greatest melody. 1037 00:37:46,426 --> 00:37:47,026 Man. 1038 00:37:47,086 --> 00:37:47,886 Maybe his greatest melody. 1039 00:37:48,206 --> 00:37:48,726 I, I'm reactivated. 1040 00:37:48,746 --> 00:37:49,366 Of all time. 1041 00:37:49,426 --> 00:37:50,666 I'm reactivated on this. 1042 00:37:51,306 --> 00:37:53,486 When the winter came, you went further south. 1043 00:37:53,506 --> 00:37:55,026 I mean, you and I- 1044 00:37:55,046 --> 00:37:55,906 But this is up there. 1045 00:37:55,946 --> 00:37:56,326 Yeah. 1046 00:37:56,366 --> 00:37:56,846 This is up there. 1047 00:37:57,966 --> 00:37:59,396 Leaving me in doubt. 1048 00:37:59,406 --> 00:38:01,176 It's the last song on Fulfillingness, that's a great, great track. 1049 00:38:01,176 --> 00:38:04,186 Where are you when I need you? 1050 00:38:05,186 --> 00:38:05,986 Ribbon in the Sky. 1051 00:38:06,006 --> 00:38:08,166 Like right now. 1052 00:38:08,206 --> 00:38:11,026 Ooh, go on, Buzz. 1053 00:38:11,146 --> 00:38:12,406 Our love is endless. 1054 00:38:12,416 --> 00:38:16,306 And like how he gets here without it being awkward, I have no idea. 1055 00:38:16,346 --> 00:38:17,746 But you say now you have changed. 1056 00:38:17,766 --> 00:38:18,836 All these synths here. 1057 00:38:18,986 --> 00:38:21,606 Oh, it's so thick. It was so open. 1058 00:38:21,646 --> 00:38:22,256 But tomorrow. 1059 00:38:22,256 --> 00:38:23,445 And how he got to so much ... 1060 00:38:23,586 --> 00:38:24,946 Will reflect- 1061 00:38:24,986 --> 00:38:25,586 The mix 1062 00:38:26,246 --> 00:38:26,256 ... 1063 00:38:26,326 --> 00:38:32,406 last 1064 00:38:32,476 --> 00:38:32,586 winter's. 1065 00:38:32,596 --> 00:38:32,856 Let's talk about the mix. We're gonna do that. 1066 00:38:32,856 --> 00:38:32,856 Slapstick. 1067 00:38:32,906 --> 00:38:34,546 When the winter came. 1068 00:38:34,566 --> 00:38:35,876 And you're back, and smaller 1069 00:38:35,926 --> 00:38:39,146 ... you were not around. Through the bitter 1070 00:38:39,246 --> 00:38:41,506 winds, love could not be 1071 00:38:41,666 --> 00:38:45,566 found. Where were you when I 1072 00:38:45,666 --> 00:38:48,606 needed you last 1073 00:38:48,706 --> 00:38:49,906 winter? 1074 00:38:49,966 --> 00:38:50,466 Oh. 1075 00:38:50,506 --> 00:38:50,616 My 1076 00:38:50,686 --> 00:38:55,026 love. 1077 00:38:56,846 --> 00:38:57,266 Woo! 1078 00:38:59,506 --> 00:39:02,636 Man, both the guests, great solos. 1079 00:39:02,686 --> 00:39:04,666 Yeah. The guests are additive too. 1080 00:39:04,786 --> 00:39:07,006 The buzz. 1081 00:39:09,546 --> 00:39:12,206 Need you baby, need you baby. 1082 00:39:12,226 --> 00:39:14,476 Oh. Those little descending chromatic, uh- 1083 00:39:14,586 --> 00:39:15,806 Our love is- 1084 00:39:15,906 --> 00:39:17,146 To the bridge? Come on 1085 00:39:17,166 --> 00:39:21,106 ... never ending. But you say 1086 00:39:21,286 --> 00:39:24,286 now you have changed. 1087 00:39:24,806 --> 00:39:25,966 Tomorrow. 1088 00:39:26,006 --> 00:39:29,186 Okay, Motown would have never allowed him to like shove these two songs together. 1089 00:39:29,196 --> 00:39:32,046 No. We talked about this on the Talking Book album and the Innervisions album, but 1090 00:39:32,106 --> 00:39:34,846 the chorus of synths that you're hearing there- 1091 00:39:35,026 --> 00:39:35,086 Yes 1092 00:39:35,186 --> 00:39:37,726 ... it's not like a, it's not like a polyphonic pad. 1093 00:39:37,746 --> 00:39:41,256 That's a bunch of mono synths that he's playing like individual voices. 1094 00:39:41,506 --> 00:39:41,756 Yeah. Yeah. 1095 00:39:41,756 --> 00:39:43,126 Incredible. 1096 00:39:43,206 --> 00:39:46,266 This love of mine that won't let me down. 1097 00:39:46,286 --> 00:39:49,286 Where were you when I needed you 1098 00:39:49,926 --> 00:39:51,846 last winter? 1099 00:39:52,606 --> 00:39:55,386 Oh, man, his, the lyrics. 1100 00:39:55,406 --> 00:39:55,536 My love. 1101 00:39:55,536 --> 00:39:56,426 And like his delivery. 1102 00:39:56,466 --> 00:39:57,015 La da da da, 1103 00:39:58,846 --> 00:40:01,626 da, da, da, da, da. Your 1104 00:40:02,066 --> 00:40:05,586 love. 1105 00:40:06,666 --> 00:40:10,166 Where are you when I need you? 1106 00:40:10,566 --> 00:40:12,806 Like right now. 1107 00:40:12,886 --> 00:40:14,205 Right now. 1108 00:40:14,216 --> 00:40:17,436 Right now. Right now. Right now. Oh. 1109 00:40:17,486 --> 00:40:21,406 Is that a Moog? A little Moog he snuck in there. 1110 00:40:22,366 --> 00:40:25,766 La da da da, oh, 1111 00:40:25,886 --> 00:40:26,726 yeah. 1112 00:40:27,806 --> 00:40:30,586 Where were you when I needed you 1113 00:40:30,926 --> 00:40:32,696 last? 1114 00:40:32,746 --> 00:40:32,756 Man. 1115 00:40:32,756 --> 00:40:32,786 Winter. 1116 00:40:32,846 --> 00:40:36,506 I can't tell you like the energy of a band that this is giving. 1117 00:40:36,526 --> 00:40:37,856 Like I can't almost comprehend... 1118 00:40:37,906 --> 00:40:41,466 I can understand how a band playing with each other, with that energy. 1119 00:40:41,506 --> 00:40:41,666 Yeah. 1120 00:40:41,706 --> 00:40:45,486 I could not imagine putting this in one instrument at a time by yourself. 1121 00:40:45,526 --> 00:40:47,546 It's just, it's like mind-blowing. 1122 00:40:47,866 --> 00:40:51,206 Not that you, somebody couldn't play that, but that you could give it this feel, 1123 00:40:51,246 --> 00:40:54,546 you know? This organic, communal feel. 1124 00:40:54,586 --> 00:40:55,946 Vision. Vision. 1125 00:40:55,986 --> 00:40:57,336 Winter. 1126 00:40:59,306 --> 00:41:02,286 Man, the vocal performance too. We don't talk about it enough. 1127 00:41:02,306 --> 00:41:02,376 We could- 1128 00:41:02,406 --> 00:41:02,705 I know 1129 00:41:02,966 --> 00:41:06,166 ... we, we could talk about it, like that could be the only thing we talk about. 1130 00:41:06,186 --> 00:41:06,626 I know. 1131 00:41:06,786 --> 00:41:06,796 His- 1132 00:41:06,806 --> 00:41:09,746 Like that kind of ... When you talk about the one man band, like we forget, his 1133 00:41:09,806 --> 00:41:12,336 vocals are just revolutionary. 1134 00:41:12,366 --> 00:41:12,726 They're so- 1135 00:41:12,766 --> 00:41:13,526 And influential 1136 00:41:13,546 --> 00:41:17,536 ... playful and they're so, like, he's just improvising 1137 00:41:17,566 --> 00:41:21,226 these melodies, seemingly improvising these melodies, these backgrounds, all these 1138 00:41:21,266 --> 00:41:21,756 things too. 1139 00:41:21,766 --> 00:41:24,006 There's a cool li- like he's got a bunch of great endings on this 1140 00:41:24,026 --> 00:41:27,426 album. Like he- Motown would've made him stop right 1141 00:41:27,466 --> 00:41:28,066 there. 1142 00:41:28,086 --> 00:41:29,586 And they would've made him stop five minutes ago. 1143 00:41:29,606 --> 00:41:33,326 That's true. Ding, ding, ding, ding. 1144 00:41:35,846 --> 00:41:38,466 No, it's a masterpiece. The- ... the whole thing is a masterpiece. 1145 00:41:38,486 --> 00:41:38,806 Can, can- 1146 00:41:38,826 --> 00:41:42,326 And on LP, this transitions right in, which is, you know. 1147 00:41:42,346 --> 00:41:45,246 All right, so great. Can we talk about the mix on this? 1148 00:41:45,346 --> 00:41:45,826 Absolutely. 1149 00:41:45,866 --> 00:41:48,146 I know, 'cause this sometimes people start to be like, "The mix? 1150 00:41:48,166 --> 00:41:50,766 What is that?" It's just like how the record sounds, right? 1151 00:41:50,786 --> 00:41:54,646 So you have these incredible, incredible elements, but what's very unique about 1152 00:41:54,686 --> 00:41:58,586 this record, and really during this time, there was not automated mixing. 1153 00:41:58,606 --> 00:42:00,306 At least, it was not readily available. 1154 00:42:00,366 --> 00:42:03,846 Meaning, like, you know, when you see the, the, this typical studio 1155 00:42:03,926 --> 00:42:07,466 look with, you know, the mini channels and all the faders, like the classic look 1156 00:42:07,506 --> 00:42:10,366 where it's like the producer's sitting there and the artist, and you're like, 1157 00:42:10,386 --> 00:42:13,186 "Should we push this up? Should we do that?" That's about the levels of the 1158 00:42:13,246 --> 00:42:15,666 different mics and the inputs and all that kind of thing. 1159 00:42:15,686 --> 00:42:18,466 But that had to, used to be in the olden days, and I even remember this in like 1160 00:42:18,506 --> 00:42:22,406 late '80s, early '90s, some like you couldn't automate that in any 1161 00:42:22,426 --> 00:42:25,746 way. So you'd have to listen back to what had been recorded once all the different 1162 00:42:25,786 --> 00:42:29,606 tracks are on there, and then adjust if you wanted a little bit more congas at this 1163 00:42:29,646 --> 00:42:31,596 time, or the drums, uh, for just- 1164 00:42:31,596 --> 00:42:31,696 Congas 1165 00:42:31,726 --> 00:42:35,456 ... yeah, for one section. Or you wanted to mute out some of the background vocals. 1166 00:42:35,466 --> 00:42:38,966 And so especially for this kind of recording, where it's not recorded live 1167 00:42:39,046 --> 00:42:40,906 altogether, because Stevie's playing every instrument. 1168 00:42:40,916 --> 00:42:43,626 So he's going track, you know, he'll do the drums first maybe, then he'll add the 1169 00:42:43,646 --> 00:42:47,636 bass, then he adds vocals, then he adds key- whatever the order is, it's like 1170 00:42:47,726 --> 00:42:50,466 one at a time. And then he's got all this, and then it has to be sort of mixed 1171 00:42:50,506 --> 00:42:53,366 together. So they did a really interesting thing. 1172 00:42:53,406 --> 00:42:57,116 The three of them, Robert Margouleff, um, Malcolm Cecil, and 1173 00:42:57,246 --> 00:42:59,366 Stevie Wonder together mixed this record. 1174 00:42:59,376 --> 00:43:00,616 And th- they're talking about it a little bit. 1175 00:43:00,626 --> 00:43:04,586 When it came to mixing the records, Steve, myself, and 1176 00:43:04,626 --> 00:43:05,646 Malcolm would all be 1177 00:43:06,566 --> 00:43:08,246 at the console together 1178 00:43:08,834 --> 00:43:12,694 And we'd all have faders and moves and stuff to do. 1179 00:43:12,704 --> 00:43:12,704 Mm. 1180 00:43:12,714 --> 00:43:15,834 We called it Armstrong automation. 1181 00:43:15,914 --> 00:43:18,524 And, uh, pretty much the records were mixed that way. 1182 00:43:19,194 --> 00:43:21,594 Yeah, so they're all, like, as they're listening to it, it's like- 1183 00:43:21,614 --> 00:43:22,784 Like rehearsing probably, all this? 1184 00:43:22,794 --> 00:43:23,794 Yeah, you have to rehearse it. 1185 00:43:23,814 --> 00:43:24,004 Wow. 1186 00:43:24,014 --> 00:43:26,344 And then they also would say, like, sometimes they'd get a mix, they're like, "It's 1187 00:43:26,374 --> 00:43:30,164 so good." So then they'd print it, they bounce it down to whatever, two-track, and 1188 00:43:30,194 --> 00:43:33,214 then they'd come back the next day, or the next night, it's Stevie time. 1189 00:43:33,234 --> 00:43:33,664 Mm-hmm. 1190 00:43:33,754 --> 00:43:35,684 And, uh, they'd listen to it. They're like, "Oh, that's crap. 1191 00:43:35,694 --> 00:43:36,704 Let's do it again." 1192 00:43:36,714 --> 00:43:36,804 The mix? 1193 00:43:36,804 --> 00:43:37,084 So it was- 1194 00:43:37,214 --> 00:43:37,404 Oh my gosh 1195 00:43:37,414 --> 00:43:38,734 ... yeah, that's be remixing it. 1196 00:43:38,754 --> 00:43:39,074 Wow. 1197 00:43:39,134 --> 00:43:39,744 You know? So. 1198 00:43:39,834 --> 00:43:40,274 Wow, very cool. 1199 00:43:40,314 --> 00:43:43,994 But it's such a big part of the process of, like, how the record sounds 1200 00:43:44,694 --> 00:43:46,623 to the end user, to the listener, right? 1201 00:43:46,674 --> 00:43:46,684 Yeah. 1202 00:43:46,684 --> 00:43:49,984 Of, like, how you're gonna... And, and there's so many just cool, innovative things 1203 00:43:49,994 --> 00:43:52,803 that they did on this record, so a lot of technology in there. 1204 00:43:52,894 --> 00:43:53,384 Um- 1205 00:43:53,394 --> 00:43:56,154 Peter, I just wanna just acknowledge something real quick. 1206 00:43:56,174 --> 00:43:56,644 Are we RIP-ing? 1207 00:43:56,644 --> 00:43:59,374 We're RIP-ing. The Reface is not working now, and we don't know why. 1208 00:43:59,394 --> 00:43:59,484 Right. 1209 00:43:59,494 --> 00:44:03,414 And I, I had so much cool... Just know, listener- I was gonna lay 1210 00:44:03,474 --> 00:44:05,524 some harmonic knowledge on you, but- 1211 00:44:05,524 --> 00:44:06,834 You guys, if- if you weren't- 1212 00:44:06,854 --> 00:44:06,864 Can't do it 1213 00:44:06,864 --> 00:44:09,414 ... planning on being drug into the nerd nook, you just lucked out. 1214 00:44:09,514 --> 00:44:09,564 Yeah. 1215 00:44:09,564 --> 00:44:09,894 You know? 1216 00:44:11,394 --> 00:44:11,414 Yeah. 1217 00:44:11,434 --> 00:44:12,154 Hey, Peter. 1218 00:44:12,194 --> 00:44:12,734 And Adam here. 1219 00:44:12,913 --> 00:44:16,154 Just wanted to jump in real quick and say, well, first of all, I'm having a good 1220 00:44:16,214 --> 00:44:16,714 time. 1221 00:44:16,754 --> 00:44:19,404 Dude, I love Stevie Wonder so much. This might be our best episode. 1222 00:44:19,414 --> 00:44:23,394 It's, it's a good one. And it reminded me of how much great Stevie Wonder material 1223 00:44:23,414 --> 00:44:25,614 we have over at Open Studio Jazz. 1224 00:44:25,624 --> 00:44:25,634 True. 1225 00:44:25,654 --> 00:44:29,284 I mean, if you're a harmony nerd, a piano nerd, a jazz nerd- 1226 00:44:29,314 --> 00:44:29,874 A Stevie nerd 1227 00:44:29,884 --> 00:44:33,794 ... a Stevie nerd, or you're aspiring, or you're Stevie Wonder curious in terms 1228 00:44:33,814 --> 00:44:37,134 of- ... keyboard or guitar, whatever, please come over and check out our stuff. 1229 00:44:37,214 --> 00:44:39,674 Yeah. Even though the little keyboard that we had here died- 1230 00:44:39,694 --> 00:44:39,704 Mm 1231 00:44:39,704 --> 00:44:43,624 ... I actually have two lessons on my Harmony Games course, Peter, just on this 1232 00:44:43,674 --> 00:44:47,204 album, Music in My Mind. I have one on all of the modal interchange on the album, 1233 00:44:47,214 --> 00:44:50,944 and I have a full lesson on the last track, Evil, how Stevie Wonder 1234 00:44:50,974 --> 00:44:52,954 brilliantly modulates around that song. 1235 00:44:52,974 --> 00:44:56,514 They're great lessons. I've also got a whole course called The Harmony of Stevie 1236 00:44:56,574 --> 00:44:56,794 Wonder- 1237 00:44:56,814 --> 00:44:57,134 Very good 1238 00:44:57,234 --> 00:45:00,774 ... where I do deep dives on exactly how to play, how to decipher 1239 00:45:01,134 --> 00:45:03,234 that beautiful harmony of Stevie Wonder. 1240 00:45:03,314 --> 00:45:05,434 Start your 14-day free trial at 1241 00:45:05,514 --> 00:45:09,094 openstudiojazz.com/yhi. Go to 1242 00:45:09,134 --> 00:45:12,074 openstudiojazz.com/yhi for, 1243 00:45:12,154 --> 00:45:15,734 oh, your Stevie Wonder needs. 1244 00:45:15,774 --> 00:45:16,894 Back to the show. 1245 00:45:17,974 --> 00:45:21,714 This is gonna make you feel better. We're gonna go on. 1246 00:45:22,054 --> 00:45:24,754 This does make me feel better. Thank you. 1247 00:45:24,794 --> 00:45:27,434 Is that a great Rhodes sound? 1248 00:45:28,334 --> 00:45:28,494 Oh. 1249 00:45:28,574 --> 00:45:32,554 Though they say you're not my friend. 1250 00:45:32,874 --> 00:45:36,074 You've been here through thick and thin. 1251 00:45:36,894 --> 00:45:40,214 And for that little girl, I love you. 1252 00:45:40,254 --> 00:45:41,114 Hell yeah. 1253 00:45:41,234 --> 00:45:43,744 And all I wanna do is talk about you. 1254 00:45:43,744 --> 00:45:45,694 A great pre here. 1255 00:45:45,854 --> 00:45:48,044 I'm here to say. 1256 00:45:48,074 --> 00:45:48,634 Open it up. 1257 00:45:48,654 --> 00:45:49,614 What are you gonna say? 1258 00:45:49,674 --> 00:45:52,163 I love you more each day. 1259 00:45:52,174 --> 00:45:53,734 Would you play that chord for me, please? 1260 00:45:53,794 --> 00:45:56,824 And I just wanna tell the world that I love you so. 1261 00:45:56,834 --> 00:46:00,174 Well, you are the sunshine. Vocal tone. 1262 00:46:00,184 --> 00:46:01,994 Though they put me down because. 1263 00:46:03,094 --> 00:46:04,974 Vocal percussion, yeah. 1264 00:46:04,994 --> 00:46:06,474 Yeah, that's great. 1265 00:46:06,594 --> 00:46:08,344 I love you as much as I do. 1266 00:46:08,344 --> 00:46:10,394 Okay. We're, we're, we're, we're gonna go, keep going through this, but I wanna 1267 00:46:10,494 --> 00:46:13,314 listen to... This is something I kinda missed until I came back and started 1268 00:46:13,354 --> 00:46:17,314 listening to this again. This kind of has some ASMR kind of vibes to it- 1269 00:46:17,374 --> 00:46:17,544 Interesting 1270 00:46:17,544 --> 00:46:18,474 ... the way that it's mixed. 1271 00:46:18,534 --> 00:46:18,954 Okay. 1272 00:46:18,994 --> 00:46:21,804 Check it out at the beginning. Like, there's, there's a... 1273 00:46:21,834 --> 00:46:24,274 They left all the breathing in, right? 1274 00:46:24,314 --> 00:46:26,654 But not only left it in, like, you can really hear it in the mix. 1275 00:46:26,674 --> 00:46:30,253 A lot of times, you know, if a singer's about to sing something, they're doing 1276 00:46:30,314 --> 00:46:32,814 that. And whether or not you leave it or not, like, now a lot of that stuff is 1277 00:46:32,874 --> 00:46:33,294 taken out- 1278 00:46:33,304 --> 00:46:33,304 Yeah 1279 00:46:33,304 --> 00:46:34,584 ... which gives it a kinda unnatural sound of everything. 1280 00:46:34,594 --> 00:46:37,554 No, I was gonna say, I really prefer when we take out all the humanity- 1281 00:46:37,574 --> 00:46:37,584 Right 1282 00:46:37,584 --> 00:46:39,204 ... and, like, quantitize every drum hit. 1283 00:46:39,214 --> 00:46:39,594 Oh, you do? 1284 00:46:39,614 --> 00:46:40,434 Yeah, well, it's the best. 1285 00:46:40,454 --> 00:46:42,664 And how we unplug the Yamaha Reface as well. 1286 00:46:43,534 --> 00:46:43,544 Yeah. 1287 00:46:43,554 --> 00:46:46,184 But this is the thing. So yeah, they don't do that on this record at all. 1288 00:46:46,194 --> 00:46:47,824 When we isolate the vocals, you can hear that. 1289 00:46:47,874 --> 00:46:50,614 Actually, why don't we just go into the isolated ones, then we'll be able to tell. 1290 00:46:50,634 --> 00:46:54,604 But they really leaned into it on this, like, in terms of, 1291 00:46:54,634 --> 00:46:58,473 like, amplifying that in the mix. And you can hear some of the breathing, and then 1292 00:46:58,534 --> 00:47:02,064 the little bit of background sounds he's doing are actually kinda percussive and 1293 00:47:02,134 --> 00:47:05,294 part of the flow and the feel of this, especially at the 1294 00:47:05,334 --> 00:47:07,774 beginning. 1295 00:47:11,314 --> 00:47:14,894 So this is Fender Rhodes with the, with the chorus. 1296 00:47:14,934 --> 00:47:15,354 Hear that? 1297 00:47:17,814 --> 00:47:20,744 Though they say you're not my friend. 1298 00:47:22,274 --> 00:47:23,274 You hear that big breath there? 1299 00:47:23,314 --> 00:47:23,814 Yeah. 1300 00:47:23,834 --> 00:47:24,914 It's in time. 1301 00:47:26,174 --> 00:47:29,314 And for that little girl, I love 1302 00:47:29,374 --> 00:47:33,294 you. And all I wanna do is talk about 1303 00:47:33,634 --> 00:47:36,674 you. I'm here to 1304 00:47:36,814 --> 00:47:38,134 say 1305 00:47:38,934 --> 00:47:42,614 I love you more each day. 1306 00:47:43,254 --> 00:47:46,184 And I just wanna tell the world that I love you- 1307 00:47:46,184 --> 00:47:47,454 It's almost like background breathing 1308 00:47:47,594 --> 00:47:47,643 ... so much. 1309 00:47:47,654 --> 00:47:49,054 I mean, it's a song about the little things. 1310 00:47:49,074 --> 00:47:49,084 Yeah. 1311 00:47:49,114 --> 00:47:51,684 I love every little thing about you, you know? It's very intimate. 1312 00:47:51,754 --> 00:47:54,484 Though they're putting you down because. 1313 00:47:55,834 --> 00:47:59,094 I love you as much as I do. 1314 00:47:59,434 --> 00:47:59,924 Is that cool? 1315 00:47:59,994 --> 00:48:03,174 But they don't know what you've done for me. 1316 00:48:03,194 --> 00:48:03,204 Come on. 1317 00:48:03,214 --> 00:48:04,134 Yeah. 1318 00:48:04,174 --> 00:48:06,143 You make such a happy man of me. 1319 00:48:06,154 --> 00:48:06,724 That bass is slamming too. 1320 00:48:08,234 --> 00:48:09,364 And I'm here to say. 1321 00:48:09,374 --> 00:48:11,494 But that's the mix. Like, that's putting it all together, right? 1322 00:48:11,654 --> 00:48:12,504 You get this beautiful- 1323 00:48:12,504 --> 00:48:14,934 I love you every day. 1324 00:48:14,974 --> 00:48:16,014 Now he's really bringing it up 1325 00:48:16,694 --> 00:48:18,754 ... yeah. And I just wanna tell the world. 1326 00:48:18,774 --> 00:48:20,294 That whole tone scale is so down. 1327 00:48:20,304 --> 00:48:22,524 Yeah. This chorus too, and, and the background. 1328 00:48:22,534 --> 00:48:23,694 The chorus is unbelievable. 1329 00:48:23,814 --> 00:48:25,534 Oh, the background. 1330 00:48:25,544 --> 00:48:28,914 Baby. I love, I love, I love, I love every little thing 1331 00:48:29,034 --> 00:48:32,284 about you, baby. Oh. 1332 00:48:32,794 --> 00:48:33,844 Come on, dude. 1333 00:48:33,844 --> 00:48:34,884 Who's playing percussion on this track? 1334 00:48:35,114 --> 00:48:37,414 I love, I love, I love every little thing about you. 1335 00:48:37,434 --> 00:48:39,984 Every little, every little thing. 1336 00:48:39,994 --> 00:48:42,974 Baby. Mm, yeah. 1337 00:48:45,254 --> 00:48:46,214 Oh, transition. 1338 00:48:46,294 --> 00:48:46,904 Though they say that I am wrong. 1339 00:48:46,904 --> 00:48:49,114 Here we have a couple bars of transition. 1340 00:48:49,854 --> 00:48:51,444 'Cause my love is strong. 1341 00:48:51,474 --> 00:48:53,414 Man, the bass on this. 1342 00:48:53,874 --> 00:48:57,354 But there's only one that I place above. 1343 00:48:57,794 --> 00:48:58,104 Mm-hmm. Ooh. 1344 00:48:58,114 --> 00:49:01,174 It's God that I place above, 1345 00:49:01,674 --> 00:49:02,274 baby. 1346 00:49:02,434 --> 00:49:02,464 Great. 1347 00:49:02,464 --> 00:49:05,354 Girl, I just wanna say 1348 00:49:06,534 --> 00:49:09,034 I love you more each day. 1349 00:49:09,054 --> 00:49:11,674 Greg Phillinganes said that Stevie Wonder changed his life. He said it. 1350 00:49:11,694 --> 00:49:15,454 Gonna tell the world that I love you so. 1351 00:49:19,444 --> 00:49:21,684 Some folks say that it's strange 1352 00:49:23,044 --> 00:49:23,484 Ooh. 1353 00:49:23,504 --> 00:49:25,444 But my whole life you have changed 1354 00:49:25,454 --> 00:49:26,733 Breathwork. Oh, this is like early breathwork. 1355 00:49:26,804 --> 00:49:30,584 You say I oughta bend the world but not me 1356 00:49:31,024 --> 00:49:32,674 It's such a progression in this tune. 1357 00:49:32,864 --> 00:49:32,894 Oh, but I want to build my world 1358 00:49:32,894 --> 00:49:33,894 It's so open now, right? 1359 00:49:34,743 --> 00:49:37,184 About you. And I'm here to 1360 00:49:37,264 --> 00:49:39,064 say. 1361 00:49:40,124 --> 00:49:43,724 Love you every day, yeah, yeah. 1362 00:49:44,544 --> 00:49:44,774 Man. 1363 00:49:44,774 --> 00:49:44,834 Every little thing about you 1364 00:49:44,834 --> 00:49:46,854 Right. Stevie's mastery of the, the registers. 1365 00:49:46,904 --> 00:49:50,764 I love you so. Oh, oh, oh, oh, oh. 1366 00:49:50,924 --> 00:49:54,784 Yeah, yeah. I love, I love, I love, I love every 1367 00:49:54,864 --> 00:49:57,764 little thing about you, baby 1368 00:49:57,924 --> 00:49:59,284 Let's nerd out on some backgrounds 1369 00:49:59,304 --> 00:50:02,804 Yeah, yeah. I love, I love, I love, I love 1370 00:50:02,864 --> 00:50:04,684 every little thing about you, baby. 1371 00:50:04,764 --> 00:50:08,404 Every little thing about you. Oh, yeah. 1372 00:50:08,964 --> 00:50:12,644 I love, I love, I love, I love every little thing about you, baby. 1373 00:50:12,704 --> 00:50:15,244 You know I love, I love every little thing about you, 1374 00:50:15,284 --> 00:50:18,884 baby. I love, I love, I love, I love every 1375 00:50:19,324 --> 00:50:21,914 little thing about you, baby. I love, yeah. 1376 00:50:22,424 --> 00:50:24,314 I love, yeah. Woo. 1377 00:50:25,424 --> 00:50:28,604 I love, I love, I love, I love every little thing about 1378 00:50:29,464 --> 00:50:29,984 you, baby 1379 00:50:30,004 --> 00:50:30,914 Unbelievable. 1380 00:50:30,964 --> 00:50:31,984 Every little thing 1381 00:50:33,464 --> 00:50:33,734 about you 1382 00:50:33,734 --> 00:50:33,824 Oh. 1383 00:50:33,844 --> 00:50:33,974 I love, I love, I love, I love every little thing about you 1384 00:50:33,984 --> 00:50:37,234 Man, this is like... Okay, we gotta talk about something, 1385 00:50:37,304 --> 00:50:39,954 Adam. I, I, I think I'm gonna throw the gauntlet down now. 1386 00:50:40,464 --> 00:50:40,474 Okay. 1387 00:50:40,504 --> 00:50:43,104 I wasn't, I wasn't even planning on really doing th- this is a great transition on 1388 00:50:43,144 --> 00:50:43,464 this tune. 1389 00:50:43,484 --> 00:50:43,984 Amazing. 1390 00:50:44,024 --> 00:50:46,074 We need to just sit here and listen to the whole album from beginning to end. 1391 00:50:46,084 --> 00:50:47,104 That's what we should be doing. 1392 00:50:47,204 --> 00:50:48,394 This'll be a, gonna be a four-hour show. 1393 00:50:49,164 --> 00:50:53,074 But this is the thing. Superwoman, basically the last three songs we just 1394 00:50:53,104 --> 00:50:56,844 heard, Superwoman, Where Were You When I Needed You, and I Love Every Little Thing 1395 00:50:56,924 --> 00:51:00,424 About You. These three songs, I think, I don't know why I'm thinking about 1396 00:51:00,444 --> 00:51:03,584 comparing these to You Are The Sunshine Of My Life, but because that came out six 1397 00:51:03,604 --> 00:51:07,544 months later on Talking Book, and was a massive hit, top 10 hit, maybe, 1398 00:51:07,584 --> 00:51:09,484 maybe number one even, um, 1399 00:51:10,384 --> 00:51:10,874 I think these- 1400 00:51:10,874 --> 00:51:11,094 I think it was a number one hit 1401 00:51:11,094 --> 00:51:14,664 ... all three of these are stronger song... I shouldn't say stronger. 1402 00:51:14,744 --> 00:51:14,814 I won't- 1403 00:51:14,824 --> 00:51:15,224 Because- 1404 00:51:15,284 --> 00:51:15,964 Here slander on You Are My Sunshine. 1405 00:51:15,984 --> 00:51:17,784 No, no, I, You Are My Sunshine is great. 1406 00:51:17,824 --> 00:51:21,704 I, I would say I think I prefer these three over that, and that's not slander. 1407 00:51:21,744 --> 00:51:23,194 You Are The Sunshine is a beautiful song. 1408 00:51:23,224 --> 00:51:23,414 You're definitely- 1409 00:51:23,424 --> 00:51:24,164 Everybody loves it. 1410 00:51:24,184 --> 00:51:25,444 You're definitely allowed your preferences. 1411 00:51:25,504 --> 00:51:26,834 I'm just a little bit surprised that- 1412 00:51:26,834 --> 00:51:27,033 But you're wrong 1413 00:51:27,124 --> 00:51:29,184 ... some of, at least one of these wasn't a hit as well. 1414 00:51:29,204 --> 00:51:29,924 They're all amazing. 1415 00:51:29,934 --> 00:51:29,954 You know? 1416 00:51:29,964 --> 00:51:30,654 Honestly, they're all amazing. 1417 00:51:30,684 --> 00:51:30,733 I just- 1418 00:51:30,733 --> 00:51:32,664 I think Superwoman was the only one that was released as a single. 1419 00:51:32,784 --> 00:51:34,264 I love You Are The Sunshine so much. 1420 00:51:34,324 --> 00:51:37,684 I know it's, it's not as, uh, it's, it's a little different than these, but man, 1421 00:51:37,724 --> 00:51:37,994 it's one of my favorites. 1422 00:51:37,994 --> 00:51:40,084 But it's not that... I mean, I, wouldn't you kinda categorize them- 1423 00:51:40,144 --> 00:51:40,604 For sure. 1424 00:51:40,644 --> 00:51:40,924 Yeah. 1425 00:51:40,944 --> 00:51:41,793 For sure. I mean, there's- 1426 00:51:41,793 --> 00:51:44,744 I mean, they're kinda small. They're, they're greatly well-crafted songs, but they 1427 00:51:44,804 --> 00:51:45,494 start small with like- 1428 00:51:45,504 --> 00:51:46,464 Whole tone triads 1429 00:51:46,524 --> 00:51:47,464 ... like we talked about with 1430 00:51:47,604 --> 00:51:48,293 Yeah, yeah, exactly. 1431 00:51:48,304 --> 00:51:48,564 Yeah. 1432 00:51:48,573 --> 00:51:52,544 And we talked about with, um, Sunshine is like, 1433 00:51:52,584 --> 00:51:55,524 the way he's playing Rhodes and even like drums, especially at the beginning- 1434 00:51:55,534 --> 00:51:55,534 Yeah 1435 00:51:55,534 --> 00:51:58,844 ... it's kind of like a hotel lounge, like a really good rhythm section. 1436 00:51:59,084 --> 00:52:01,384 With this, you know like when you go into a hotel and then you're like, "Oh my God, 1437 00:52:01,404 --> 00:52:02,633 there's this incredible singer"? 1438 00:52:02,644 --> 00:52:03,414 And then you start listening- 1439 00:52:03,414 --> 00:52:04,954 What kind of hotel lounges are you hanging out in? 1440 00:52:04,984 --> 00:52:05,314 Hyatt. Hyatt. 1441 00:52:05,314 --> 00:52:05,364 Hyatt. 1442 00:52:05,384 --> 00:52:07,524 This is, this is the Amman. We're talking about the Amman. 1443 00:52:07,564 --> 00:52:10,244 No, but you know what I'm saying? Like, great musicians can be anywhere. 1444 00:52:10,264 --> 00:52:13,184 But they're, they're playing, he's playing every instrument, at least at the 1445 00:52:13,224 --> 00:52:15,444 beginning of all these, very simply. 1446 00:52:15,484 --> 00:52:15,624 Yeah. 1447 00:52:15,644 --> 00:52:19,414 Right? Very small, right? I mean, there's the synthesizers stuff on some of them 1448 00:52:19,444 --> 00:52:22,944 that are expanding things out. But at, at its core it's just, like, great musicians 1449 00:52:23,004 --> 00:52:25,754 playing together, but that's the weird part about it. It's one person playing. 1450 00:52:25,784 --> 00:52:28,234 Well, you know, you know what's awesome about this, this discussion though, Peter, 1451 00:52:28,264 --> 00:52:31,304 is like, 'cause we were talking about how they've made these tracks, you know, for 1452 00:52:31,364 --> 00:52:34,694 these first four albums, you know, all in the same... 1453 00:52:34,744 --> 00:52:36,624 It was just like a, a library of tracks. 1454 00:52:36,664 --> 00:52:36,674 Yeah. 1455 00:52:36,674 --> 00:52:39,284 It's like, it's kinda one big album, isn't it? 1456 00:52:39,324 --> 00:52:39,573 Yeah. 1457 00:52:39,624 --> 00:52:40,444 I mean, this is like, you- 1458 00:52:40,504 --> 00:52:40,594 All four. 1459 00:52:40,664 --> 00:52:41,724 'Cause you could hear- 1460 00:52:41,734 --> 00:52:42,984 Classic period. That's why we call it the classic period. 1461 00:52:43,044 --> 00:52:45,364 Not including You Are the Su- You Are, uh, Songs in the Key of Life. 1462 00:52:45,404 --> 00:52:47,604 But You Are the Sunshine could easily be on this album. 1463 00:52:47,644 --> 00:52:47,874 Yeah. Yeah, yeah. 1464 00:52:47,884 --> 00:52:49,434 It could easily fit into this. Actually, it's- 1465 00:52:49,434 --> 00:52:52,024 And it's that kinda vibe. It's like, it's not a ballad, but it's not, it's kind of 1466 00:52:52,064 --> 00:52:53,674 a medium tempo, you know? 1467 00:52:53,724 --> 00:52:54,644 Yeah. Yeah. 1468 00:52:54,704 --> 00:52:57,154 Okay. Now we're gonna move on, track number four. 1469 00:52:57,204 --> 00:52:58,274 Sweet Little Girl. 1470 00:52:58,324 --> 00:53:01,824 Yeah. So end of side A, and 1471 00:53:01,984 --> 00:53:04,974 this, well, I'm gonna let you speak on it first. 1472 00:53:04,984 --> 00:53:05,073 Wow. 1473 00:53:05,073 --> 00:53:05,804 But just as a reminder, 1474 00:53:06,644 --> 00:53:08,404 great start. 1475 00:53:08,444 --> 00:53:09,384 Hey. 1476 00:53:09,424 --> 00:53:10,844 That's the best part of this track. 1477 00:53:10,904 --> 00:53:12,353 The harmonica is crushing. 1478 00:53:12,384 --> 00:53:13,464 Oh, this harmonica. 1479 00:53:14,444 --> 00:53:16,853 That's kinda like his vocals. We don't, we take it for granted when he does it. 1480 00:53:16,853 --> 00:53:17,474 We take it for granted. 1481 00:53:17,504 --> 00:53:17,704 Yeah. 1482 00:53:17,724 --> 00:53:18,584 Yeah. Who else's- 1483 00:53:18,604 --> 00:53:20,344 Oh my God. Maybe the greatest ever. 1484 00:53:20,384 --> 00:53:22,644 Toots Thielemans and Steve, I mean, who el- you know? 1485 00:53:24,904 --> 00:53:26,664 Sweet little girl 1486 00:53:27,084 --> 00:53:27,814 Uh. 1487 00:53:28,764 --> 00:53:31,424 You know your baby love you. 1488 00:53:33,224 --> 00:53:36,923 Your love is driving me crazy, crazy, 1489 00:53:37,103 --> 00:53:39,664 crazy. Sweet little girl 1490 00:53:41,824 --> 00:53:44,924 Man, his playing is so good on this. 1491 00:53:45,604 --> 00:53:46,054 Sweet little girl 1492 00:53:46,064 --> 00:53:48,304 I bet, but his Rhodes playing, his harmonica- 1493 00:53:48,744 --> 00:53:48,774 You know your baby needs you 1494 00:53:48,774 --> 00:53:52,024 ... like, this could be a novelty song if it was, if, if it weren't for all that, 1495 00:53:52,104 --> 00:53:52,264 you know? 1496 00:53:52,304 --> 00:53:52,454 Your love is driving me crazy 1497 00:53:52,454 --> 00:53:53,224 It's incredible. 1498 00:53:53,964 --> 00:53:56,704 Crazy, crazy, girl, I'm in 1499 00:53:56,824 --> 00:53:58,684 love. 1500 00:54:00,164 --> 00:54:02,014 Hey, my sweet, sweet girl 1501 00:54:02,014 --> 00:54:02,884 Oh, there he goes. 1502 00:54:02,894 --> 00:54:04,884 I remember when I first heard it, I was like, "Is this a country song? 1503 00:54:04,904 --> 00:54:05,754 What the hell is going on?" 1504 00:54:05,754 --> 00:54:06,884 You know you're driving your baby mad 1505 00:54:07,084 --> 00:54:09,314 I love when back of the throat Stevie shows up. 1506 00:54:09,604 --> 00:54:09,614 Yeah. 1507 00:54:09,614 --> 00:54:09,674 Oh, my sweet, sweet girl 1508 00:54:09,674 --> 00:54:13,624 Stevie's got range. No, no, no. And then it's- 1509 00:54:13,684 --> 00:54:14,854 You're driving me mad 1510 00:54:14,924 --> 00:54:15,884 It's almost got like a, 1511 00:54:17,084 --> 00:54:18,174 like... 1512 00:54:21,564 --> 00:54:22,834 Come on, baby 1513 00:54:22,844 --> 00:54:23,384 Come on, baby. 1514 00:54:23,454 --> 00:54:24,484 Come on, baby. 1515 00:54:24,504 --> 00:54:26,224 How many times I've said that to Heather McCorkle? 1516 00:54:26,384 --> 00:54:28,764 Come on, baby. 1517 00:54:28,844 --> 00:54:31,094 I give you cookies and candy 1518 00:54:31,384 --> 00:54:32,624 This part's weird. 1519 00:54:32,644 --> 00:54:32,894 I buy you clothing 1520 00:54:32,894 --> 00:54:34,074 This part's awesome. What are you talking about? 1521 00:54:35,644 --> 00:54:35,714 I still wanna be good 1522 00:54:35,714 --> 00:54:36,294 I love this character. 1523 00:54:36,304 --> 00:54:38,604 Skate a little. Nowhere. 1524 00:54:39,164 --> 00:54:43,063 I wanna sugar, honey sugar. You know your 1525 00:54:43,124 --> 00:54:45,294 baby love you more and more every day 1526 00:54:45,304 --> 00:54:47,904 Can you see, like, uh, the character has, like, droop, a droo- 1527 00:54:47,914 --> 00:54:47,914 Sugar, sugar 1528 00:54:47,914 --> 00:54:50,284 ... kind of a droopy face, and he's really trying to be cool. 1529 00:54:50,294 --> 00:54:51,824 Right, right. No, this is, it's solely theatrical. 1530 00:54:51,964 --> 00:54:52,034 Sugar, sugar 1531 00:54:52,034 --> 00:54:54,964 It's like the, it's like the highest end novelty song you're ever gonna hear. 1532 00:54:54,984 --> 00:54:56,064 Sweet little girl 1533 00:54:56,124 --> 00:54:58,554 Oh. But then it's just so... 1534 00:54:58,564 --> 00:54:59,404 Man. Woo. 1535 00:54:59,784 --> 00:55:03,094 99% of the population singing this song would be schlock. 1536 00:55:03,244 --> 00:55:06,854 Your love is driving me crazy, crazy, 1537 00:55:06,944 --> 00:55:08,724 crazy Sweet little 1538 00:55:08,804 --> 00:55:10,984 girl. 1539 00:55:13,004 --> 00:55:14,344 Come on, baby 1540 00:55:15,784 --> 00:55:18,014 Man, the, the harmo- I forgot how good the harmonica playing is on this one. 1541 00:55:18,014 --> 00:55:18,824 You know your baby loves you 1542 00:55:19,084 --> 00:55:19,374 All right. 1543 00:55:19,404 --> 00:55:21,964 Is this the only piano on the album, like acoustic piano? 1544 00:55:22,004 --> 00:55:22,954 No, uh, no. 1545 00:55:22,954 --> 00:55:23,604 Oh, there's another one. 1546 00:55:23,644 --> 00:55:27,044 I think on, um-I think on Evil or Keep on Running. 1547 00:55:27,084 --> 00:55:27,554 Oh, you're right, you're right. 1548 00:55:27,554 --> 00:55:28,084 Sort of towards the end. 1549 00:55:28,104 --> 00:55:29,004 You're right. 1550 00:55:29,024 --> 00:55:31,104 Yeah. So yeah, but what, what's your feeling overall on this? 1551 00:55:31,124 --> 00:55:34,724 I mean, this is like... This, if this, if there's any song that if we were forced 1552 00:55:34,764 --> 00:55:37,664 to say is a little bit... Well, it's not out of place, 'cause Stevie's, like, 1553 00:55:37,724 --> 00:55:38,544 singing the r- I mean, like- 1554 00:55:38,604 --> 00:55:39,724 That's awesome. What are you talking about? 1555 00:55:39,764 --> 00:55:40,414 It's so in there. But it's a l- 1556 00:55:40,414 --> 00:55:43,594 But is it just the, it's just the character part that's the slow character part 1557 00:55:43,594 --> 00:55:43,604 that's kinda- 1558 00:55:43,614 --> 00:55:46,524 Yeah, and even the... It's almost got, like, it's almost going into, like, rockabi- 1559 00:55:46,584 --> 00:55:50,104 rockabilly a little bit. I mean, it's cool 'cause it shows his range and stuff. 1560 00:55:50,164 --> 00:55:53,464 It just, for me, this has always been the slightest bit of like a whoa. 1561 00:55:53,504 --> 00:55:54,584 The only place on this album. 1562 00:55:54,664 --> 00:55:54,984 I don't know. 1563 00:55:54,994 --> 00:55:54,994 Okay. 1564 00:55:55,024 --> 00:55:58,174 I feel like, man, I, I hear it's, it's kinda country. Like, you... 1565 00:55:58,284 --> 00:56:00,324 I could see this on the Smokey and the Bandit soundtrack. 1566 00:56:00,344 --> 00:56:00,374 Yeah. 1567 00:56:00,374 --> 00:56:00,904 You know what I mean? 1568 00:56:00,924 --> 00:56:04,204 But then when he was doing that, remember when he did the, the Ray Charles tribute 1569 00:56:04,284 --> 00:56:05,724 stuff when he was younger? 1570 00:56:05,764 --> 00:56:06,004 Yeah. 1571 00:56:06,024 --> 00:56:08,604 This is kinda coming out of that, too. And it's all great. It's all great. 1572 00:56:08,644 --> 00:56:12,004 End of side A. Um, do we need to t- do we need to get some batteries, drink some 1573 00:56:12,024 --> 00:56:13,264 water or anything? Can we charge ahead? 1574 00:56:13,284 --> 00:56:13,764 Can we turn the- 1575 00:56:13,774 --> 00:56:14,074 I have nothing to drink. 1576 00:56:14,084 --> 00:56:17,084 Can we turn this record over? Because we're about to hit a- another high point 1577 00:56:17,104 --> 00:56:17,494 right here. 1578 00:56:17,604 --> 00:56:19,894 R.I.P. Reface. Ah. 1579 00:56:21,404 --> 00:56:24,294 Clavinets. If you like your Honers with an H at the 1580 00:56:24,344 --> 00:56:26,404 beginning. 1581 00:56:27,104 --> 00:56:29,294 Bum, bum, bum, bum, bum, bum, bum, bum, bum. 1582 00:56:29,294 --> 00:56:30,503 Bum, bum, bum, bum, bum, bum, bum, bum. 1583 00:56:37,924 --> 00:56:40,744 I'm happier than the morning sun. 1584 00:56:40,804 --> 00:56:42,904 Oh, starting out with the two vocals. Oh. 1585 00:56:42,924 --> 00:56:46,154 That's the way you said that it would be. 1586 00:56:46,884 --> 00:56:49,314 If I should ever bring you inside my life. 1587 00:56:49,324 --> 00:56:52,563 I think this is the only track with no drums. 1588 00:56:52,624 --> 00:56:55,624 He's got that effect on his voice that he's used on other songs in this run. 1589 00:56:55,634 --> 00:56:58,094 Yeah. Happier than the morning sun. 1590 00:56:58,184 --> 00:56:58,534 Oh, the mix. 1591 00:56:58,544 --> 00:57:01,424 It's like a, a phaser or m- something. 1592 00:57:01,464 --> 00:57:01,544 Yeah. 1593 00:57:01,564 --> 00:57:02,384 Not a phaser. 1594 00:57:02,404 --> 00:57:02,754 That's the news you gave to me. 1595 00:57:02,754 --> 00:57:02,754 Chorus. 1596 00:57:02,824 --> 00:57:03,844 It could be a chorus. 1597 00:57:03,864 --> 00:57:04,904 Ri- it might be verbs. 1598 00:57:04,984 --> 00:57:05,244 If I should ever bring you. 1599 00:57:05,264 --> 00:57:07,124 Like, like phased verb or something. 1600 00:57:07,144 --> 00:57:08,284 Inside my life. 1601 00:57:08,324 --> 00:57:09,184 Yeah, something. 1602 00:57:10,564 --> 00:57:13,384 Four to one. Sam, Charlie, you know what that is, that, his vocal quality? 1603 00:57:13,394 --> 00:57:15,204 All my life I was alone. 1604 00:57:15,244 --> 00:57:17,844 This is the most Beat- the Beatles-ish- 1605 00:57:17,864 --> 00:57:18,084 It's the- 1606 00:57:18,104 --> 00:57:22,044 ... influence that you hear, which Stevie was totally tuned into the, 1607 00:57:22,084 --> 00:57:23,923 to the Beatles at this time. He's talked about that. 1608 00:57:23,994 --> 00:57:24,674 Now I see your face all around me. 1609 00:57:24,674 --> 00:57:27,064 That would've been awesome coll- uh, collaboration. 1610 00:57:27,124 --> 00:57:27,484 Yeah. 1611 00:57:27,524 --> 00:57:30,014 If, like, the Beatles would've hung around for just a couple more years. 1612 00:57:30,014 --> 00:57:30,164 I know. 1613 00:57:30,174 --> 00:57:30,524 Every day I thank the Lord. 1614 00:57:30,544 --> 00:57:33,854 And then... I mean, they were so influential on Steve, on everybody. 1615 00:57:33,863 --> 00:57:35,564 And Stevie always had his ear to the, the- 1616 00:57:35,574 --> 00:57:36,684 Pop ground. 1617 00:57:36,694 --> 00:57:36,694 The sky. 1618 00:57:36,704 --> 00:57:39,294 But there, there's, they have s- some similar sensibilities, especially 1619 00:57:39,344 --> 00:57:40,244 arranging-wise and- 1620 00:57:40,384 --> 00:57:40,394 Yeah 1621 00:57:40,394 --> 00:57:41,834 ... orchestration-wise. 1622 00:57:41,844 --> 00:57:45,364 And actually, it's interesting because this, Happier Than the Sun, first track on 1623 00:57:45,404 --> 00:57:48,944 side B, and Sweet Little Girl last on A, shows the biggest range for 1624 00:57:49,004 --> 00:57:50,064 Stevie. 1625 00:57:50,724 --> 00:57:50,734 Sun. 1626 00:57:50,784 --> 00:57:51,164 I also love- 1627 00:57:51,174 --> 00:57:54,384 'Cause this is not like soul, R&B, Motown. 1628 00:57:54,444 --> 00:57:54,644 No. 1629 00:57:54,653 --> 00:57:54,653 You know? 1630 00:57:54,684 --> 00:57:56,044 This is like a folk ballad almost. 1631 00:57:56,084 --> 00:57:56,274 Yeah. 1632 00:57:56,324 --> 00:57:59,944 Like... But I love the folk ballads he does where he's playing clavinet- 1633 00:57:59,984 --> 00:58:00,324 Yeah 1634 00:58:00,334 --> 00:58:00,974 ... as the guitar. 1635 00:58:00,984 --> 00:58:02,134 As the guitar, exactly. 1636 00:58:02,164 --> 00:58:03,534 Essentially playing the role as the acoustic guitar. 1637 00:58:03,534 --> 00:58:06,074 And it's like, and it's the drums, too, 'cause it does... 1638 00:58:06,644 --> 00:58:10,404 And then he's got the 1639 00:58:10,444 --> 00:58:13,064 syncopations on the inner lines. 1640 00:58:13,724 --> 00:58:17,564 Ever since the day you came inside my 1641 00:58:17,624 --> 00:58:20,344 life. 1642 00:58:22,364 --> 00:58:22,774 Bum, bum, 1643 00:58:23,864 --> 00:58:27,414 bum, bum, bum, bum, bum, bum, bum. Bum, bum, bum. 1644 00:58:27,414 --> 00:58:28,364 Oh. 1645 00:58:28,504 --> 00:58:30,124 I love you. 1646 00:58:30,164 --> 00:58:32,634 I mean, it, it almost has, like, a, you're right, like a Beatles or, like, even, 1647 00:58:32,664 --> 00:58:34,884 like, a Led Zeppelin going to California kind of thing. 1648 00:58:34,894 --> 00:58:34,894 Yep. 1649 00:58:34,904 --> 00:58:35,454 You know what I mean? Like- 1650 00:58:35,464 --> 00:58:36,484 Yep. 1651 00:58:36,544 --> 00:58:37,224 It's interesting. 1652 00:58:37,234 --> 00:58:39,584 I love you. 1653 00:58:41,984 --> 00:58:43,204 Now and- 1654 00:58:43,544 --> 00:58:46,744 And Stevie can take influences and, like- 1655 00:58:46,804 --> 00:58:47,433 Yeah. There's, like, James Taylor- 1656 00:58:47,433 --> 00:58:50,684 ... so directly apply or, like, no problem. 1657 00:58:50,764 --> 00:58:54,264 Like, no shame in his game for doing that, and personalizing it in, in a great 1658 00:58:54,344 --> 00:58:55,924 way. 1659 00:58:57,724 --> 00:58:57,824 I. 1660 00:58:59,524 --> 00:59:00,034 Now and- 1661 00:59:00,104 --> 00:59:01,664 Oh, what a move. What a move 1662 00:59:02,584 --> 00:59:06,094 Yeah, this is just, like, expert craftsmanship, um, 1663 00:59:06,284 --> 00:59:07,564 songwriting, you know? 1664 00:59:07,604 --> 00:59:07,904 Yeah. 1665 00:59:07,924 --> 00:59:09,194 And it goes on for two and a half more minutes. This is wonderful. 1666 00:59:09,224 --> 00:59:12,584 It reminds me of, like, the, that behind-the-scenes in We Are the World where he's, 1667 00:59:12,604 --> 00:59:15,384 like, showing Bob Dylan how to sing like Bob Dylan. 1668 00:59:15,424 --> 00:59:18,824 It's like he can, like, "I'm gonna do a folk song, but it's gonna be, like, the 1669 00:59:18,864 --> 00:59:21,824 best folk song." Like folk, acoustic guitar folk song. 1670 00:59:21,834 --> 00:59:21,834 Right. 1671 00:59:21,844 --> 00:59:24,584 And they were like, "Stevie, you don't have a acoustic guitar here." He's like, 1672 00:59:24,644 --> 00:59:25,414 "Yeah, but I'll-" 1673 00:59:25,444 --> 00:59:26,204 I use my Hohner. 1674 00:59:26,213 --> 00:59:28,584 "I'll use my Hohner clavinet and we're gonna make it work." I mean, it's 1675 00:59:28,724 --> 00:59:29,224 unbelievable. 1676 00:59:29,264 --> 00:59:32,304 Yeah, and it's, and it kind of is, it's almost disguised in a way, especially 1677 00:59:32,364 --> 00:59:35,774 because, like, for me, I listened to this album, this was not, like, a rate... 1678 00:59:35,784 --> 00:59:38,864 I mean, this was, I heard this obviously way after it, well, not way after it came 1679 00:59:38,904 --> 00:59:40,544 out, when I, whenever I got into Stevie. 1680 00:59:40,564 --> 00:59:43,293 But even, like, early '80s, there was a big... 1681 00:59:43,304 --> 00:59:46,584 Like, Stevie was really hitting big, and he had, like, Musicarium and, like, the 1682 00:59:46,664 --> 00:59:50,654 best of albums and stuff. So a lot of these records kind of came back or, or were 1683 00:59:50,724 --> 00:59:54,494 always there. But the idea is, like, this, he has a way of 1684 00:59:54,564 --> 00:59:58,234 cloaking a folk song or, like, a rock or rockabilly or c- or 1685 00:59:58,364 --> 01:00:02,124 country or, or whatever in his sound in a way that is 1686 01:00:02,164 --> 01:00:06,094 not, like... Everybody's just like, "Man, he was, he was making the best soul and 1687 01:00:06,264 --> 01:00:09,104 R and..." Like, this is not an R&B record. I don't think this is an R&B. 1688 01:00:09,144 --> 01:00:12,134 I don't think it's a soul record. I mean, that's a, or a blues record. 1689 01:00:12,144 --> 01:00:12,853 It's a Stevie Wonder album. 1690 01:00:12,864 --> 01:00:15,994 It's a Stevie one. And I know that's, like, cliche to be like, "Only..." But it, 1691 01:00:16,104 --> 01:00:17,614 but those elements are there. 1692 01:00:17,624 --> 01:00:19,664 Oh. Bro, you know how I feel about it. 1693 01:00:19,704 --> 01:00:23,284 There's, there's a, every artist is its own genre, in my opinion. 1694 01:00:23,294 --> 01:00:26,524 Right. But I mean, but this... No, I'm not... Well, that's great. 1695 01:00:26,564 --> 01:00:28,004 Okay, why do I keep playing that? That's really good. 1696 01:00:28,014 --> 01:00:29,584 Especially these great artists. 1697 01:00:29,604 --> 01:00:33,084 Like, this is a soul, R&B, this is a Motown record. 1698 01:00:33,104 --> 01:00:35,584 And, like, Stevie just sort of transcends it in a way. 1699 01:00:36,204 --> 01:00:39,404 But, like, what he's doing from this on is, like, that's some 1700 01:00:39,524 --> 01:00:43,404 genre-defying. It's genre-defying, but it's also inclusive 1701 01:00:43,464 --> 01:00:47,384 of so many genres. So it's like, it's, it's, it's a very, it's a 1702 01:00:47,404 --> 01:00:51,044 genius mix that he does. Like, he, he takes an influence without giving a s**t. 1703 01:00:51,084 --> 01:00:53,334 He's just like, "Hell yeah. If I like it, I'm bringing it." 1704 01:00:53,364 --> 01:00:54,574 Hey, Peter, do, I gotta, let me ask you a question. 1705 01:00:54,604 --> 01:00:54,964 Yeah, Adam. 1706 01:00:55,004 --> 01:00:58,824 Did you know, did you know that we do, uh, full performances of a track 1707 01:00:58,884 --> 01:01:00,864 from one of these albums on every episode? 1708 01:01:00,904 --> 01:01:01,164 Man. 1709 01:01:01,204 --> 01:01:02,404 At the end of the- 1710 01:01:02,444 --> 01:01:03,844 Can we do it at the end of today? 1711 01:01:03,884 --> 01:01:06,004 Yeah, let's do Superwoman. Um, not- 1712 01:01:06,014 --> 01:01:07,814 But only if you come up with a cool arrangement for us. 1713 01:01:07,844 --> 01:01:08,524 I'm gonna try my best. 1714 01:01:08,564 --> 01:01:08,804 Okay. 1715 01:01:08,824 --> 01:01:11,564 But did you al- also know that n- it's not just at the end of the episodes, but we 1716 01:01:11,624 --> 01:01:14,644 actually have our own YouTube channel just for the tracks. 1717 01:01:14,724 --> 01:01:18,164 Many of them are from songs from You'll Hear It episodes. 1718 01:01:18,204 --> 01:01:21,324 It's Open Studio Music, just YouTube, Open Studio Music. 1719 01:01:21,344 --> 01:01:25,254 And you'll see, you know, all of these incredible, uh, uh, tracks that 1720 01:01:25,284 --> 01:01:27,544 our team has put together here that we've played on. 1721 01:01:27,564 --> 01:01:27,694 Yeah. 1722 01:01:27,704 --> 01:01:29,224 Uh, Caleb and Bob have played on- 1723 01:01:29,244 --> 01:01:29,274 They're fun 1724 01:01:29,274 --> 01:01:32,444 ... over the years, from songs from Off the Wall, from Thriller. 1725 01:01:32,484 --> 01:01:32,574 Yep. 1726 01:01:32,644 --> 01:01:35,664 From Songs in the Key of Life, from Asia, from- 1727 01:01:35,684 --> 01:01:35,764 Yeah 1728 01:01:35,784 --> 01:01:37,324 ... I don't know who I'm hitting with the mic. 1729 01:01:37,364 --> 01:01:38,154 Charlie Parker with Strings. 1730 01:01:38,154 --> 01:01:39,224 Charlie Parker with Strings, we just did Just Friends. 1731 01:01:39,244 --> 01:01:39,384 Yeah. 1732 01:01:39,404 --> 01:01:40,974 Go check it out, Open Studio Music on YouTube. 1733 01:01:40,984 --> 01:01:42,594 On YouTube, there you go. Or Spotify. 1734 01:01:42,594 --> 01:01:42,594 Yeah. 1735 01:01:42,624 --> 01:01:45,984 Or wherever you get your music.Okay. Should we move on? 1736 01:01:46,024 --> 01:01:47,124 One of my favorite songs on the- 1737 01:01:47,144 --> 01:01:47,194 Oh, great 1738 01:01:47,194 --> 01:01:48,804 ... I mean, they're all my favorite in their own way. 1739 01:01:48,944 --> 01:01:49,034 Well- 1740 01:01:49,034 --> 01:01:50,434 It's like, it's like nine, nine children. 1741 01:01:50,434 --> 01:01:53,864 It's like I had nine children, and they're, I mean, they're Stevie's kids, but- 1742 01:01:53,874 --> 01:01:53,874 Okay 1743 01:01:53,874 --> 01:01:57,184 ... it's like I ... I don't wanna get too deep into this. 1744 01:01:57,724 --> 01:01:58,234 Throw the refer. 1745 01:01:58,244 --> 01:02:01,604 But this is, this one is one of my favorite. 1746 01:02:03,044 --> 01:02:04,784 Girl Blue. Amazing. 1747 01:02:04,844 --> 01:02:07,424 Yeah. Another great intro. 1748 01:02:07,524 --> 01:02:11,984 Oh. 1749 01:02:15,904 --> 01:02:18,364 Symbol abstractions. 1750 01:02:19,444 --> 01:02:22,924 Hello, morning. Good, good 1751 01:02:23,144 --> 01:02:26,964 morning to the one I 1752 01:02:27,084 --> 01:02:28,194 love. 1753 01:02:29,884 --> 01:02:33,424 Crystal ringlets paint a 1754 01:02:33,604 --> 01:02:37,004 picture of a golden sunrise 1755 01:02:37,044 --> 01:02:40,844 above. Little girl, 1756 01:02:40,924 --> 01:02:41,844 you say- 1757 01:02:42,004 --> 01:02:42,904 And the sun comes out 1758 01:02:42,924 --> 01:02:44,384 ... you were all you had. 1759 01:02:44,424 --> 01:02:45,524 Quick chorus. I love it 1760 01:02:45,644 --> 01:02:46,664 ... a visible dream. 1761 01:02:46,684 --> 01:02:47,684 But what is going on 1762 01:02:49,004 --> 01:02:49,564 with the drums? 1763 01:02:49,644 --> 01:02:50,194 I know. 1764 01:02:50,284 --> 01:02:51,394 Within your world of make believe. 1765 01:02:51,394 --> 01:02:52,484 Like, the way they're panned. 1766 01:02:52,524 --> 01:02:52,874 Oh, man. 1767 01:02:52,874 --> 01:02:53,164 You had plans. 1768 01:02:53,184 --> 01:02:54,254 And then, like, he's obviously- 1769 01:02:54,344 --> 01:02:54,354 VIP, VIP 1770 01:02:54,354 --> 01:02:57,584 ... playing like three or four different percussion parts all around. 1771 01:02:57,644 --> 01:03:00,944 But upon that sky, the clouds begged blue. 1772 01:03:01,004 --> 01:03:01,014 It's thick. Tambourines. 1773 01:03:01,024 --> 01:03:04,644 Shifting breezes graced the air. 1774 01:03:04,654 --> 01:03:06,204 And this is the most unique- 1775 01:03:06,244 --> 01:03:06,454 Respectful of your glass of tea 1776 01:03:06,454 --> 01:03:08,744 ... effect on his vocal, I think, on this whole record. 1777 01:03:08,764 --> 01:03:11,324 It's almost like the you and I verb on it. 1778 01:03:11,364 --> 01:03:14,814 Leaves on branches for your 1779 01:03:15,004 --> 01:03:16,004 pleasure. 1780 01:03:16,014 --> 01:03:16,224 Excuse me. 1781 01:03:16,244 --> 01:03:18,864 Upon a soothing breeze. 1782 01:03:18,904 --> 01:03:19,384 It's like- 1783 01:03:19,424 --> 01:03:20,404 It's so atmospheric 1784 01:03:20,444 --> 01:03:22,084 ... it is. It's like he's painting this- 1785 01:03:22,144 --> 01:03:23,294 Little girl, it seems- 1786 01:03:23,294 --> 01:03:25,014 ... thick painting 1787 01:03:25,384 --> 01:03:26,284 ... in all my dreams. 1788 01:03:26,404 --> 01:03:26,434 Yeah. 1789 01:03:26,434 --> 01:03:28,884 Your happiness is 1790 01:03:28,944 --> 01:03:32,624 due. But still they 1791 01:03:32,784 --> 01:03:36,534 last, there in your past. 1792 01:03:36,624 --> 01:03:39,604 Events that make you blue. 1793 01:03:39,664 --> 01:03:40,844 Man, so this whole album- 1794 01:03:42,184 --> 01:03:42,644 Monsoon rains- 1795 01:03:42,684 --> 01:03:43,074 Great bridge 1796 01:03:43,644 --> 01:03:43,694 ... wash away- 1797 01:03:43,694 --> 01:03:43,694 Bridge 1798 01:03:43,694 --> 01:03:43,694 ... your mind. 1799 01:03:43,724 --> 01:03:44,904 I was gonna say something. I'm gonna wait 1800 01:03:45,204 --> 01:03:45,824 ... yet stronger hopes. 1801 01:03:45,864 --> 01:03:47,564 Verse, chorus, verse, chorus, quick chorus. 1802 01:03:47,804 --> 01:03:50,684 Push them 1803 01:03:51,084 --> 01:03:52,784 aside. 1804 01:03:52,923 --> 01:03:53,354 Harmony here. 1805 01:03:53,354 --> 01:03:55,604 A look at life- 1806 01:03:55,644 --> 01:03:56,394 Unbelievable 1807 01:03:56,444 --> 01:03:59,324 ... is what you need to 1808 01:03:59,404 --> 01:04:02,493 try. Image yourself- 1809 01:04:02,724 --> 01:04:05,884 I don't know how we're gonna do Apex Moment. This is like a mountain range. 1810 01:04:05,904 --> 01:04:06,254 I know, but this is- 1811 01:04:06,264 --> 01:04:06,604 Just like- 1812 01:04:06,704 --> 01:04:08,914 ... a big song. This is kind of an epic song. 1813 01:04:08,944 --> 01:04:08,974 It's amazing. 1814 01:04:08,984 --> 01:04:09,014 Shining springs in place. 1815 01:04:09,024 --> 01:04:12,784 I forgot, man. Well, no, it's all amazing, but this is like- 1816 01:04:12,824 --> 01:04:14,804 Drops of rain wash- 1817 01:04:14,824 --> 01:04:17,204 I think the drums being so busy is what fits with the- 1818 01:04:17,224 --> 01:04:17,254 ... against the sunpanes- 1819 01:04:17,254 --> 01:04:18,604 ... with the epicness of it, you know? 1820 01:04:18,614 --> 01:04:22,464 ... of your lovely face. 1821 01:04:22,564 --> 01:04:24,804 Little girl, be fair. 1822 01:04:24,844 --> 01:04:25,554 It's got that lilt. 1823 01:04:25,644 --> 01:04:29,144 Show yourself you care. Let others 1824 01:04:29,204 --> 01:04:32,884 care for you. 1825 01:04:32,984 --> 01:04:34,153 Before it's too late. 1826 01:04:34,153 --> 01:04:35,684 All these little harmonica things he's doing. 1827 01:04:35,704 --> 01:04:35,993 Yeah. Like ... 1828 01:04:36,004 --> 01:04:36,464 Like 1829 01:04:37,484 --> 01:04:37,854 chirps. 1830 01:04:37,854 --> 01:04:38,084 Chirps. 1831 01:04:38,124 --> 01:04:40,194 Take your heart's knocks along the way. 1832 01:04:40,204 --> 01:04:44,044 Yeah, but Stevie's ability ... Oh, he set that 1833 01:04:44,124 --> 01:04:46,444 up. He set that up. 1834 01:04:47,704 --> 01:04:51,544 So the, the greatest part about this song is the mix of minor and 1835 01:04:51,624 --> 01:04:52,084 major. 1836 01:04:52,124 --> 01:04:52,524 Yeah. 1837 01:04:52,604 --> 01:04:55,824 These descending minor chords, B flat minor, A flat minor- 1838 01:04:55,864 --> 01:04:56,014 Yeah 1839 01:04:56,024 --> 01:04:59,424 ... G flat minor, and then this, like, F7, this dominant. 1840 01:04:59,444 --> 01:05:02,404 But then the lift up goes to B flat major. 1841 01:05:02,464 --> 01:05:02,744 Right. 1842 01:05:02,784 --> 01:05:03,784 Right? That's the two chord. 1843 01:05:03,824 --> 01:05:04,144 Yeah. 1844 01:05:04,164 --> 01:05:05,604 And the B flat major over D- 1845 01:05:05,864 --> 01:05:05,974 Yeah 1846 01:05:05,984 --> 01:05:08,433 ... and then the four chord E flat. Just for our, our harmony new- 1847 01:05:08,624 --> 01:05:08,654 Yeah 1848 01:05:08,654 --> 01:05:11,234 ... nerds out there. It's so sophisticated. 1849 01:05:11,244 --> 01:05:14,394 This whole album is actually a master class in what's called modal interchange. 1850 01:05:14,404 --> 01:05:14,514 Yeah. 1851 01:05:14,544 --> 01:05:16,674 Stevie is literally mixing on a lot of these songs. 1852 01:05:16,704 --> 01:05:20,264 Superwoman, this song, Evil, there's these, like, 1853 01:05:20,524 --> 01:05:24,464 mix of major and minor and all these chord progressions. That is a hallmark of his. 1854 01:05:24,474 --> 01:05:24,474 Yeah. 1855 01:05:24,484 --> 01:05:25,264 Like, that is something- 1856 01:05:25,284 --> 01:05:25,294 Yeah 1857 01:05:25,294 --> 01:05:29,184 ... that he is a, a master of, something that other artists, you know, 1858 01:05:29,264 --> 01:05:29,484 uh- 1859 01:05:30,644 --> 01:05:34,324 Yeah. Other artists like everybody from, you know, um, Marvin Gaye 1860 01:05:34,464 --> 01:05:36,804 to Michael Jackson to Radiohead to- 1861 01:05:36,814 --> 01:05:36,814 Yeah 1862 01:05:36,814 --> 01:05:39,894 ... a bunch of artists, uh, Hall and Oates use modal interchange. 1863 01:05:39,894 --> 01:05:39,894 Yeah. 1864 01:05:39,924 --> 01:05:43,864 It's a sophisticated harmonic device that is not just like three chords and the 1865 01:05:43,904 --> 01:05:44,544 truth kinda thing. 1866 01:05:44,554 --> 01:05:44,764 Right. 1867 01:05:44,784 --> 01:05:46,604 It is ... Nothing wrong with three chords and the truth, by the way. 1868 01:05:46,614 --> 01:05:46,614 Right. 1869 01:05:46,644 --> 01:05:50,604 But it is, like, a very high level, 1870 01:05:50,704 --> 01:05:52,424 uh, device that Stevie's using- 1871 01:05:52,434 --> 01:05:52,434 Yeah 1872 01:05:52,444 --> 01:05:55,704 ... musically. It feels almost cheap to talk about it because of how deep this 1873 01:05:55,764 --> 01:05:58,034 album is just emotionally, this song in particular. 1874 01:05:58,044 --> 01:06:01,334 But that's the mechanism with which he hits the depth of emotion with it. 1875 01:06:01,334 --> 01:06:02,454 I mean, if ... Yeah 1876 01:06:02,784 --> 01:06:05,444 ... is that, is that mastery of these harmonic tools. 1877 01:06:05,504 --> 01:06:06,063 Absolutely. 1878 01:06:06,104 --> 01:06:06,314 You know? 1879 01:06:06,344 --> 01:06:10,194 It's like how mathematicians talk about mathematics as this beautiful art that 1880 01:06:10,264 --> 01:06:10,354 is- 1881 01:06:10,384 --> 01:06:10,724 Yeah 1882 01:06:10,804 --> 01:06:12,814 ... you know, like, like, to them, they see beauty. 1883 01:06:12,844 --> 01:06:15,944 Like, if you're a harmony nerd and you're into the math of harmony- 1884 01:06:16,024 --> 01:06:16,124 Yeah 1885 01:06:16,544 --> 01:06:18,624 ... this is, like, some high level shit, man. 1886 01:06:18,664 --> 01:06:19,054 It is. It is. 1887 01:06:19,064 --> 01:06:21,894 It is just unbelievable to geek out on all this stuff. 1888 01:06:21,904 --> 01:06:23,004 It's, it's a great way you're putting it. 1889 01:06:23,024 --> 01:06:27,004 And I mean, it's like there's nothing w- wrong with a simple, 1890 01:06:27,044 --> 01:06:27,344 you know, 1891 01:06:28,344 --> 01:06:32,004 a bottle of French wine that's like ta- you know, nothing complex or whatever, 1892 01:06:32,064 --> 01:06:32,824 everyday wine. 1893 01:06:32,984 --> 01:06:33,164 No. 1894 01:06:33,204 --> 01:06:36,424 But there's also something nice with this complex Bordeaux that's got all these 1895 01:06:36,504 --> 01:06:37,894 layers that if you're willing to like ... 1896 01:06:37,904 --> 01:06:38,744 That's what this is- 1897 01:06:38,804 --> 01:06:38,924 Yeah 1898 01:06:39,024 --> 01:06:42,064 ... from a harmonics ... And you don't have to know the names of the chords. 1899 01:06:42,084 --> 01:06:45,104 But you can know major and minor, and you start to hear, like, how are those- 1900 01:06:45,124 --> 01:06:45,133 Well- 1901 01:06:45,164 --> 01:06:48,714 Because if you ... I mean, and even rhythmically with all this percussion and 1902 01:06:48,784 --> 01:06:51,214 stuff, it's like this is, this is definitely that don't try this at home. 1903 01:06:51,224 --> 01:06:51,894 It's so dense. 1904 01:06:51,894 --> 01:06:53,133 There's so much s**t going- 1905 01:06:53,133 --> 01:06:53,133 Yeah 1906 01:06:53,344 --> 01:06:56,044 ... on here. You better be Stevie Wonder to have that kind of vision, and you 1907 01:06:56,064 --> 01:06:59,354 better have these two, two guys plugging everything in and then mixing it, like- 1908 01:06:59,364 --> 01:06:59,564 For sure 1909 01:06:59,684 --> 01:07:01,954 ... a real commitment because, like, this is a ... 1910 01:07:02,004 --> 01:07:04,004 This, this takes a lot to get this out. 1911 01:07:04,024 --> 01:07:06,434 This is not just, "Oh, Stevie Wonder is a genius. 1912 01:07:06,444 --> 01:07:09,074 He's in there doing this." This is a lot. I mean, they're working all night. 1913 01:07:09,074 --> 01:07:10,104 They're working 12 hours. 1914 01:07:10,144 --> 01:07:11,314 The thing with the harmonic stuff, too- 1915 01:07:11,624 --> 01:07:12,164 For five years 1916 01:07:12,184 --> 01:07:16,084 ... with the music theory stuff as we, as we break it down, you know, um, uh, who 1917 01:07:16,124 --> 01:07:18,984 knows how much Stevie's thinking about all of this stuff, like, theoretically, 1918 01:07:19,024 --> 01:07:21,334 probably none at all because he's, he's, you know, the ... 1919 01:07:21,344 --> 01:07:21,584 just- 1920 01:07:21,604 --> 01:07:22,454 He's been doing it a while 1921 01:07:22,484 --> 01:07:24,024 ... comes pouring out of him, right? 1922 01:07:24,044 --> 01:07:24,054 Yeah. 1923 01:07:24,084 --> 01:07:27,464 But, um, it, just like the synthesizer stuff, how it doesn't 1924 01:07:27,544 --> 01:07:30,564 seem, you know, uh, antiseptic 1925 01:07:30,804 --> 01:07:34,584 or, or, like, um, too spacey 1926 01:07:34,784 --> 01:07:36,644 or it's, like, fake or robotic. 1927 01:07:36,684 --> 01:07:36,924 Right. 1928 01:07:36,964 --> 01:07:39,384 He makes those synths sound organic and earthy and like- 1929 01:07:39,394 --> 01:07:39,394 Yeah 1930 01:07:39,394 --> 01:07:41,664 ... a human voice. Same with the harmonic stuff. 1931 01:07:41,684 --> 01:07:41,794 Yes. 1932 01:07:41,804 --> 01:07:43,944 It doesn't seem so snooty- 1933 01:07:43,964 --> 01:07:43,974 Right 1934 01:07:43,974 --> 01:07:45,444 ... or it doesn't seem out of reach. 1935 01:07:45,464 --> 01:07:49,204 Like, the way that he does it, it could get very, very fussy. 1936 01:07:49,244 --> 01:07:49,404 Yeah. 1937 01:07:49,424 --> 01:07:49,594 And it's- 1938 01:07:49,594 --> 01:07:51,394 If you see it on paper, you're like, "Holy, wow." 1939 01:07:51,544 --> 01:07:51,864 Yeah. 1940 01:07:51,874 --> 01:07:52,234 "Ooh." 1941 01:07:52,284 --> 01:07:53,184 It is not fussy. 1942 01:07:53,224 --> 01:07:53,364 No. 1943 01:07:53,404 --> 01:07:54,764 It feels so natural. 1944 01:07:54,784 --> 01:07:54,854 Yeah. 1945 01:07:54,854 --> 01:07:57,344 He's so good. And that actually is harder to do. 1946 01:07:57,516 --> 01:07:57,946 For sure. 1947 01:07:57,976 --> 01:07:58,036 Yeah. 1948 01:07:58,056 --> 01:07:59,696 For sure. To make the complex seem easy- 1949 01:07:59,816 --> 01:08:00,336 Oh, it's- 1950 01:08:00,345 --> 01:08:00,776 ... is beautiful. 1951 01:08:00,796 --> 01:08:01,516 He's so good at it. 1952 01:08:01,525 --> 01:08:05,415 Yeah. I would say I do start to understand now why this, like, why this is a 1953 01:08:05,516 --> 01:08:07,916 launch. Like, this is almost like a buffer record. 1954 01:08:07,936 --> 01:08:09,996 Like, it was gonna take the world not that long- 1955 01:08:10,016 --> 01:08:10,856 They had to catch up 1956 01:08:10,936 --> 01:08:11,786 ... the world had to catch up. 1957 01:08:11,786 --> 01:08:11,786 Yeah. 1958 01:08:11,796 --> 01:08:13,446 But if you think about, it was only a few months because- 1959 01:08:13,476 --> 01:08:14,166 Talking Book 1960 01:08:14,176 --> 01:08:14,386 ... Talking Book comes out. 1961 01:08:14,396 --> 01:08:15,096 But I mean, like, this- 1962 01:08:15,116 --> 01:08:15,716 But- 1963 01:08:15,736 --> 01:08:18,496 Don't you think Talking Book, starting with You Are the Sunshine, that helps? 1964 01:08:18,507 --> 01:08:18,507 It does help. 1965 01:08:18,516 --> 01:08:19,726 'Cause he's like, "Come on, everybody." 1966 01:08:19,757 --> 01:08:20,306 It is. It is. 1967 01:08:20,306 --> 01:08:21,297 I, we're gonna, we're gonna get there. 1968 01:08:21,316 --> 01:08:21,706 Yeah, he just got to follow. 1969 01:08:21,706 --> 01:08:22,696 Maybe that was part of the thing- 1970 01:08:22,736 --> 01:08:22,806 Yeah 1971 01:08:22,806 --> 01:08:24,396 ... as they're picking from the catalog. 1972 01:08:24,416 --> 01:08:28,177 But, I mean, I think to he- after you've heard 14 hit, you know, records of Stevie 1973 01:08:28,196 --> 01:08:30,626 Wonder, the Motown sound or what, like, this is jar... 1974 01:08:30,637 --> 01:08:33,717 I mean, for us to look back and be like, "Yes, this is the beginning of the period 1975 01:08:33,736 --> 01:08:35,856 and the harmony. This is great because of this. 1976 01:08:35,876 --> 01:08:38,246 It makes sense." But in real time... 1977 01:08:38,257 --> 01:08:40,736 And look, this was a w- this is a beloved record. 1978 01:08:40,757 --> 01:08:42,916 This is not like people didn't get it. 1979 01:08:42,936 --> 01:08:44,257 But it should take a little bit of time- 1980 01:08:44,266 --> 01:08:44,266 Yeah 1981 01:08:44,297 --> 01:08:47,036 ... for people to like, "Oh, that's where you're going." I mean, anything great, 1982 01:08:47,096 --> 01:08:47,837 you can't, like- 1983 01:08:47,856 --> 01:08:48,146 Anything change, yeah 1984 01:08:48,146 --> 01:08:50,297 ... just change up your thing and expect everyone to be like, "Yeah." The, the 1985 01:08:50,376 --> 01:08:51,316 masses, you know? 1986 01:08:51,325 --> 01:08:54,396 Yeah, that's right. Anything great and new is gonna be a little jarring at first. 1987 01:08:54,456 --> 01:08:54,736 Yeah. 1988 01:08:54,757 --> 01:08:55,166 For sure. And- 1989 01:08:55,166 --> 01:08:56,016 It didn't take long, though. 1990 01:08:56,036 --> 01:08:59,706 But now, I mean, we, uh, and like you said, hi- like, like, 2020 is the- 1991 01:08:59,717 --> 01:09:00,696 Yeah, hindsight. 1992 01:09:00,717 --> 01:09:01,587 Hindsight is 2020. 1993 01:09:01,587 --> 01:09:01,615 Hindsight is 2020. 1994 01:09:01,637 --> 01:09:03,887 Because we've, we've b- grown up with this. Like, we get to know this. 1995 01:09:03,896 --> 01:09:07,316 By the way, you mentioned, um, Hall and Oates. Just a little fun fact. 1996 01:09:07,337 --> 01:09:09,236 You know, uh, what they call them in Germany? 1997 01:09:09,246 --> 01:09:09,637 Mm-hmm. 1998 01:09:09,677 --> 01:09:11,916 Hall und Oates. Absolutely. 1999 01:09:12,016 --> 01:09:14,816 And do you actually know that the name of the band is not Hall and Oates, but it's 2000 01:09:14,876 --> 01:09:16,156 just Daryl Hall and John Oates- 2001 01:09:16,177 --> 01:09:16,516 Right 2002 01:09:16,526 --> 01:09:16,996 ... always? 2003 01:09:17,016 --> 01:09:17,416 Nice. 2004 01:09:17,476 --> 01:09:17,656 Yeah. 2005 01:09:17,696 --> 01:09:18,516 I mean, no, I didn't know that. 2006 01:09:18,536 --> 01:09:19,736 Yeah. Okay. 2007 01:09:19,797 --> 01:09:20,066 Oh, okay, good. 2008 01:09:20,116 --> 01:09:21,376 Seems so long. Seems so long. 2009 01:09:22,297 --> 01:09:25,916 By the way, there is no bad track on this album. 2010 01:09:25,936 --> 01:09:26,066 No. 2011 01:09:26,076 --> 01:09:26,776 This is just, like- 2012 01:09:26,816 --> 01:09:26,866 No 2013 01:09:26,866 --> 01:09:27,717 ... nine bangers. 2014 01:09:27,757 --> 01:09:32,616 Yeah. 2015 01:09:35,116 --> 01:09:36,036 I mean, he has so much of the 2016 01:09:38,116 --> 01:09:38,936 crazy synth stuff 2017 01:09:40,356 --> 01:09:42,196 at the beginning of tracks. 2018 01:09:42,257 --> 01:09:43,276 He likes to set the mood. 2019 01:09:43,337 --> 01:09:43,696 Yeah. 2020 01:09:43,736 --> 01:09:43,746 Yeah. 2021 01:09:43,757 --> 01:09:45,297 He's not scared. That's another thing. 2022 01:09:45,416 --> 01:09:47,007 I'm sure people were like, "What the hell's going on?" 2023 01:09:58,896 --> 01:10:02,056 Lady love and lady care. 2024 01:10:03,356 --> 01:10:06,355 Lady went away. Now we're in a classy hotel lounge. 2025 01:10:06,376 --> 01:10:08,476 Like the, like the c- the Park Hyatt in Tokyo. 2026 01:10:08,536 --> 01:10:10,776 Left me all alone to 2027 01:10:10,956 --> 01:10:14,396 suffer. 2028 01:10:16,596 --> 01:10:19,376 And now I feel it's not fair. 2029 01:10:20,796 --> 01:10:23,016 It's loose. For me to fall in love. 2030 01:10:23,076 --> 01:10:24,636 Man, he loves a two chord, doesn't he? 2031 01:10:24,656 --> 01:10:24,966 He's... 2032 01:10:24,966 --> 01:10:25,956 He does love a two chord. 2033 01:10:25,976 --> 01:10:27,466 Two minor, major, dominant. 2034 01:10:27,476 --> 01:10:29,645 It makes me question my whole harmonic perspective. 2035 01:10:29,676 --> 01:10:30,796 I don't use two chords nearly enough. 2036 01:10:30,836 --> 01:10:31,566 Two's a g- he- 2037 01:10:31,816 --> 01:10:32,056 Damn 2038 01:10:32,176 --> 01:10:35,626 ... he loves a two, five, one. A backdoor two, five, one. Oh, he really loves that. 2039 01:10:35,626 --> 01:10:37,456 See, I'm messing this up, Pete. I'm messing this up. 2040 01:10:39,336 --> 01:10:42,046 Back door? But this is, you know what I'm saying? 2041 01:10:42,076 --> 01:10:45,536 Like, this is, this is like the jazz lounge-iest he 2042 01:10:45,636 --> 01:10:47,896 gets. He doesn't on, is there a song on Talking- 2043 01:10:47,916 --> 01:10:48,696 Um, 2044 01:10:49,916 --> 01:10:50,556 Intermissions maybe? 2045 01:10:50,576 --> 01:10:52,406 Intermi- there's another track that's kinda like... 2046 01:10:52,406 --> 01:10:56,336 It's been so long. And it's so, like, loose 2047 01:10:56,376 --> 01:10:59,996 in a, in a really appropriate way. Like- Since I trusted in 2048 01:11:00,656 --> 01:11:04,636 someone else. It's not rebuttal, but it's like- I'd like to see it all 2049 01:11:04,696 --> 01:11:08,536 for myself. It's been so long. You know, it's like the way 2050 01:11:08,636 --> 01:11:11,636 really good musicians would be reading something for the first time, where they're 2051 01:11:11,716 --> 01:11:14,916 like, "Yeah, I got it. Okay. Leave some space." Oh. 2052 01:11:14,956 --> 01:11:18,496 That the world 2053 01:11:18,636 --> 01:11:21,816 seems cold. On Jungle Fever, he gets to do some songs like 2054 01:11:21,876 --> 01:11:24,776 this. But I think 2055 01:11:25,576 --> 01:11:27,256 it's time 2056 01:11:28,236 --> 01:11:31,636 in my life to find myself 2057 01:11:31,656 --> 01:11:35,276 again. Okay, we're making this a jazz standard. This should be a jazz standard. 2058 01:11:35,296 --> 01:11:35,656 Come on. 2059 01:11:35,756 --> 01:11:36,516 Isn't that good? 2060 01:11:36,536 --> 01:11:36,956 Yeah. 2061 01:11:37,036 --> 01:11:37,716 So good. 2062 01:11:37,756 --> 01:11:41,496 Yeah. Seems so long. But that's the jazziest thing- 2063 01:11:41,516 --> 01:11:41,526 For sure 2064 01:11:41,526 --> 01:11:42,446 ... I think feel-wise on here. 2065 01:11:42,456 --> 01:11:42,985 For sure. 2066 01:11:42,996 --> 01:11:43,196 You know? 2067 01:11:43,256 --> 01:11:44,816 Great song. Great song. 2068 01:11:44,836 --> 01:11:46,816 Um, what are we doing now? Ooh, look, he's, he's- 2069 01:11:46,836 --> 01:11:47,496 I'm going for it. 2070 01:11:47,536 --> 01:11:48,476 Okay. Go for, go for it. 2071 01:11:48,496 --> 01:11:49,516 'Cause I can't wait- 2072 01:11:50,676 --> 01:11:51,676 ... for Keep on Running. 2073 01:11:51,686 --> 01:11:51,985 Oh, this is so good. 2074 01:11:51,985 --> 01:11:53,526 And Evil. The, I mean, it ends on such a bang. 2075 01:11:53,536 --> 01:11:57,356 Man, this is such a strong ending. Again, a 2076 01:11:57,396 --> 01:11:59,386 lot of crazy synth stuff at the beginning of the track, right? 2077 01:11:59,396 --> 01:12:00,496 And then we just go to church. 2078 01:12:00,596 --> 01:12:00,796 Yeah. 2079 01:12:01,636 --> 01:12:04,476 Yeah. This is like the, the back and forth, 2080 01:12:04,496 --> 01:12:07,925 right? But it's between a synthesizer and the deacon, you 2081 01:12:07,956 --> 01:12:09,956 know? 2082 01:12:11,436 --> 01:12:12,116 Clavinet there. 2083 01:12:12,126 --> 01:12:14,636 Man, what a vision to have to get those sounds, like- 2084 01:12:14,816 --> 01:12:17,756 Dude. Hear that, too? The pan of it? 2085 01:12:18,176 --> 01:12:21,416 It's electronic, but it's not automated. 2086 01:12:21,476 --> 01:12:21,486 No. 2087 01:12:21,486 --> 01:12:25,456 It's like human and, and, um, the 2088 01:12:25,516 --> 01:12:26,216 machine. 2089 01:12:26,285 --> 01:12:26,516 All these- 2090 01:12:26,536 --> 01:12:27,456 Humanizing the machine 2091 01:12:27,816 --> 01:12:30,506 ... all these TONTO albums are amazing headphone listens, too. 2092 01:12:30,536 --> 01:12:32,236 Yeah. Oh, of course. 2093 01:12:33,336 --> 01:12:33,906 Yeah. 2094 01:12:33,906 --> 01:12:37,776 Yeah. So soulful. You keep on 2095 01:12:37,816 --> 01:12:39,686 running. Ah. 2096 01:12:40,496 --> 01:12:44,336 Shaft. Keep on running from my love. 2097 01:12:44,516 --> 01:12:48,216 Keep on running, yeah. Keep on 2098 01:12:48,376 --> 01:12:52,306 running from my love. Some folks say- 2099 01:12:52,316 --> 01:12:55,076 The drums here ... that you really, really bite. 2100 01:12:55,136 --> 01:12:58,726 All you wanna be is just a friend of mine. But I know. 2101 01:12:58,756 --> 01:13:02,595 Woo. The man who is gonna break your 2102 01:13:02,676 --> 01:13:05,345 heart. This feels like maybe one he had in the- You really sad this time 2103 01:13:05,345 --> 01:13:06,416 ... in the head for a while. 2104 01:13:06,456 --> 01:13:06,806 Yeah, for sure. 2105 01:13:06,806 --> 01:13:07,786 Like, you know, this feels like- 2106 01:13:07,936 --> 01:13:07,946 For sure 2107 01:13:07,946 --> 01:13:09,156 ... it could've gone on a Motown album. 2108 01:13:09,176 --> 01:13:09,496 Yeah. 2109 01:13:09,536 --> 01:13:09,776 You know? 2110 01:13:10,936 --> 01:13:12,116 Hey. 2111 01:13:12,136 --> 01:13:13,706 Woo. Keep on running. 2112 01:13:14,976 --> 01:13:18,586 Oh. And man, he played that a little sloppy on piano 'cause he wanted to for the 2113 01:13:18,616 --> 01:13:20,646 vibe, you know? You can tell. Keep on running. 2114 01:13:20,656 --> 01:13:23,886 Going down that blues scale. Keep on running from my love. 2115 01:13:23,886 --> 01:13:27,776 Clavinet. And then- Some folks say 2116 01:13:27,936 --> 01:13:30,686 that you really, really bite. How this can be so funky- All you wanna be is just a 2117 01:13:30,686 --> 01:13:30,686 friend of mine 2118 01:13:30,686 --> 01:13:33,136 ... without guitar. 2119 01:13:33,176 --> 01:13:34,216 It's again, it's that clavinet. 2120 01:13:34,226 --> 01:13:35,126 Piano, clavinet. 2121 01:13:35,156 --> 01:13:36,216 That clavinet. 2122 01:13:36,696 --> 01:13:37,596 It's just piano, clavinet. 2123 01:13:37,636 --> 01:13:40,896 Man, it's making me feel like I don't play enough clavinet. I'm messing up, Pete. 2124 01:13:40,936 --> 01:13:42,526 Okay, wait, we gotta do something here. I gotta... 2125 01:13:42,526 --> 01:13:45,535 'Cause now I'm thinking, there's no, I don't think there's Rhodes on that, is 2126 01:13:45,576 --> 01:13:46,036 there? 2127 01:13:46,046 --> 01:13:46,046 I'm- 2128 01:13:46,056 --> 01:13:46,926 Which is amazing too 2129 01:13:46,926 --> 01:13:48,136 ... it's just piano and clavinet, right? 2130 01:13:48,196 --> 01:13:48,496 Yeah. 2131 01:13:48,536 --> 01:13:49,656 Yeah. 2132 01:13:50,596 --> 01:13:52,536 Yeah, I wanna see if we can hear just the piano on 2133 01:13:52,576 --> 01:13:55,096 here. 2134 01:13:57,576 --> 01:14:01,512 YeahAnd then the clav. No, 2135 01:14:01,532 --> 01:14:04,542 that's the bass. Oh, ooh, 2136 01:14:04,552 --> 01:14:08,512 the ... The 2137 01:14:08,592 --> 01:14:09,972 clav on the dominant seventh. 2138 01:14:09,982 --> 01:14:11,492 It's panning to both sides. 2139 01:14:12,152 --> 01:14:15,992 Yeah. But that's the whole vibe, even without ... 2140 01:14:16,012 --> 01:14:18,732 Well, the drums aren't even coming in. 2141 01:14:20,212 --> 01:14:20,492 Whoa. 2142 01:14:20,592 --> 01:14:23,812 Yeah, man. 2143 01:14:24,692 --> 01:14:28,552 Woo. So it's really the piano that, even though it's sublimated in the overall 2144 01:14:28,592 --> 01:14:29,972 mix, I think that's what's holding it down. 2145 01:14:30,012 --> 01:14:31,872 It is holding it down. 2146 01:14:33,732 --> 01:14:34,512 Woo. 2147 01:14:36,112 --> 01:14:38,552 Clavinet, that's what's giving it that funk, right? 2148 01:14:48,252 --> 01:14:51,072 You like that? I don't like this. 2149 01:14:52,372 --> 01:14:55,012 I mean, you know, it's high-risk, man. 2150 01:14:55,252 --> 01:14:58,132 It's, uh 2151 01:14:59,672 --> 01:15:00,192 ... 2152 01:15:00,232 --> 01:15:01,652 That piano, man. 2153 01:15:01,732 --> 01:15:05,212 Yeah. Tell me now when I'm done. 2154 01:15:06,472 --> 01:15:07,192 Claves in. 2155 01:15:07,532 --> 01:15:10,342 We'll lose it, we'll lose it. Amazing track. Amazing track. 2156 01:15:10,392 --> 01:15:14,012 All running from myself. All 2157 01:15:14,152 --> 01:15:15,552 running, yeah. 2158 01:15:15,592 --> 01:15:17,422 Ah, fun stuff. Thank you, Stevie. Stevie Wonder. 2159 01:15:17,452 --> 01:15:18,572 Amazing, man. Amazing. 2160 01:15:18,582 --> 01:15:18,582 So that's Piano. 2161 01:15:18,592 --> 01:15:22,032 And I love the piano sound on that. Um, it's, it's cool too, that, like, there's 2162 01:15:22,072 --> 01:15:24,002 just two tracks where he's using piano. 2163 01:15:24,052 --> 01:15:24,122 Yeah. 2164 01:15:24,122 --> 01:15:26,192 He uses it kind of in unexpected ways. 2165 01:15:26,252 --> 01:15:26,322 I also love- 2166 01:15:26,332 --> 01:15:30,022 Yeah, like on this, you would think, like, for that kind of vi- It's almost, dare I 2167 01:15:30,092 --> 01:15:32,632 say, pre-disco? Am I going out on a limb on that? 2168 01:15:32,692 --> 01:15:35,062 I was thinking about this. It feels a little ... 2169 01:15:35,172 --> 01:15:38,752 It does feel a little bit, like, more l- l- mid to late '70s than it does- 2170 01:15:38,792 --> 01:15:39,192 Yeah 2171 01:15:39,202 --> 01:15:39,862 ... '72. 2172 01:15:40,032 --> 01:15:40,062 Yeah. 2173 01:15:40,062 --> 01:15:40,422 But I could be wrong about that. 2174 01:15:40,422 --> 01:15:41,952 He's looking around the corner for the groove. 2175 01:15:42,112 --> 01:15:42,262 It's, it's ... Or- 2176 01:15:42,262 --> 01:15:43,862 But to have it piano-based, instead of like- 2177 01:15:43,872 --> 01:15:43,972 Yeah 2178 01:15:44,472 --> 01:15:46,092 ... and, and no guitar, but it's still so funky. 2179 01:15:46,112 --> 01:15:48,752 I mean, can you imagine being a musician around this time and hearing this album, 2180 01:15:48,772 --> 01:15:51,142 and being like, "Oh, my gosh. What are we gonna do, guys?" 2181 01:15:51,212 --> 01:15:51,792 I know. 2182 01:15:51,832 --> 01:15:53,252 All right, last track, Peter. 2183 01:15:53,332 --> 01:15:53,652 Okay. 2184 01:15:53,712 --> 01:15:56,582 I wanna listen to the whole thing. This ... And we can get in ... 2185 01:15:56,612 --> 01:15:58,672 Actually, let's get into Desert Island Tracks. We'll get into categories. 2186 01:15:59,212 --> 01:15:59,312 Okay. 2187 01:15:59,322 --> 01:16:01,952 So, uh, if you h- if you're new to the show, we know we have a lot of new people 2188 01:16:02,012 --> 01:16:03,262 here in the, in the show. 2189 01:16:03,262 --> 01:16:03,262 Yeah. 2190 01:16:03,272 --> 01:16:05,682 Because we've had a couple ... We're on a run, Peter. We're on a heater. 2191 01:16:05,692 --> 01:16:06,342 We're on a run. 2192 01:16:06,372 --> 01:16:07,052 I don't know if you knew that. 2193 01:16:07,092 --> 01:16:08,052 Is this our classic period? 2194 01:16:08,092 --> 01:16:08,812 This might be. 2195 01:16:09,092 --> 01:16:09,842 Four episodes. 2196 01:16:09,852 --> 01:16:11,801 It all, it's all down- it's all downhill from here, my friend. 2197 01:16:11,852 --> 01:16:13,782 Uh, no, but if you're new to the show, and- 2198 01:16:13,792 --> 01:16:15,002 Where you been? 2199 01:16:15,012 --> 01:16:17,672 and you like it, why not share it with a friend? 2200 01:16:17,932 --> 01:16:18,172 Oh. 2201 01:16:18,192 --> 01:16:21,752 Uh, like right now. Think of someone in your life who you think would get something 2202 01:16:21,852 --> 01:16:24,352 out of this episode, and send them a note. Send them a text. 2203 01:16:25,472 --> 01:16:28,592 Peter's actually gonna do it. Peter, if your friends and family aren't listening to 2204 01:16:28,612 --> 01:16:29,882 the show ... Actually, that's true. 2205 01:16:29,912 --> 01:16:30,842 All of my friends and family- 2206 01:16:30,932 --> 01:16:30,942 Hey, Adam 2207 01:16:30,942 --> 01:16:31,962 ... they don't wanna hear me talk anymore. 2208 01:16:31,962 --> 01:16:34,332 I'm texting you. Oh, I don't need to hear you. That's fine. 2209 01:16:34,352 --> 01:16:37,532 Yeah, I listen to the show. Uh, no, but sh- share it with your friends. 2210 01:16:37,612 --> 01:16:39,212 Uh, we really appreciate you listening. 2211 01:16:39,312 --> 01:16:42,272 And, uh, yeah, we're really excited about this season. So, okay. 2212 01:16:42,352 --> 01:16:42,612 Um, 2213 01:16:43,952 --> 01:16:45,212 I wanna listen to this- 2214 01:16:45,232 --> 01:16:45,242 Yeah 2215 01:16:45,242 --> 01:16:47,262 ... to this whole track, because, uh- 2216 01:16:47,272 --> 01:16:48,382 Oh, you were gonna tell them about the categories- 2217 01:16:48,392 --> 01:16:48,682 Oh, yeah, yeah 2218 01:16:48,692 --> 01:16:49,392 ... for people that are new. 2219 01:16:49,402 --> 01:16:53,092 So we ... Yeah, for people that are new, we do, at the end of the show, we do, uh, 2220 01:16:53,112 --> 01:16:56,612 eight categories. And we, you know, this is kind of a fun thing. 2221 01:16:56,632 --> 01:16:57,232 They, they- 2222 01:16:57,252 --> 01:16:57,462 Yeah, we do 2223 01:16:57,462 --> 01:16:58,632 ... they really matter, though. 2224 01:16:58,641 --> 01:16:58,641 Yeah. 2225 01:16:58,652 --> 01:17:02,372 They really, really matter. And so our first category is Desert 2226 01:17:02,472 --> 01:17:06,462 Island Tracks. Meaning, if you were stranded on a desert island, and you could only 2227 01:17:06,472 --> 01:17:08,422 pick one track from this album, what would you pick? 2228 01:17:08,422 --> 01:17:10,792 I would pick this last song, Evil. 2229 01:17:10,812 --> 01:17:13,172 Okay. So you want me to give mine, or should we listen to it? 2230 01:17:13,192 --> 01:17:14,052 Let's listen to Evil- 2231 01:17:14,062 --> 01:17:14,062 Okay 2232 01:17:14,062 --> 01:17:16,472 ... and then you can give yours. 2233 01:17:17,512 --> 01:17:19,332 Big C chord. Why not? 2234 01:17:19,372 --> 01:17:21,552 Yeah. 2235 01:17:25,732 --> 01:17:26,742 Move on the bass, of 2236 01:17:26,812 --> 01:17:29,732 course. 2237 01:17:39,801 --> 01:17:42,332 Again, starting with those atmospheric synths. 2238 01:17:44,212 --> 01:17:46,312 Yep. How many tracks did he do that on? 2239 01:17:47,392 --> 01:17:50,412 There's such a gravity to this too. 2240 01:17:52,572 --> 01:17:56,132 He loves to end his albums with these epic pedals too. Have you noticed that? 2241 01:17:56,212 --> 01:17:56,361 Right. 2242 01:17:56,372 --> 01:17:59,252 Where there's just, like, this one low base note that drones. 2243 01:17:59,272 --> 01:18:02,352 Think about how many albums from this period have a similar vibe. 2244 01:18:02,361 --> 01:18:02,361 Right. 2245 01:18:02,392 --> 01:18:03,272 Evil. 2246 01:18:03,352 --> 01:18:05,392 Like, leave it with some weight. 2247 01:18:05,572 --> 01:18:08,372 Why have you engulfed so many hearts? 2248 01:18:08,392 --> 01:18:11,972 Please don't go. That's for, for the next, for an album's last notes. 2249 01:18:12,092 --> 01:18:14,152 Evil. 2250 01:18:15,572 --> 01:18:18,072 Evil. 2251 01:18:18,931 --> 01:18:21,632 Why have you destroyed so many 2252 01:18:21,752 --> 01:18:25,252 minds? 2253 01:18:25,352 --> 01:18:27,632 Leaving- 2254 01:18:27,652 --> 01:18:28,512 This is so him here 2255 01:18:28,592 --> 01:18:30,052 ... room for 2256 01:18:32,012 --> 01:18:34,352 darkness. 2257 01:18:34,362 --> 01:18:34,362 Ooh. 2258 01:18:34,362 --> 01:18:36,212 The secondary dominant to the sixth chord. 2259 01:18:36,292 --> 01:18:37,812 Where lost dreams- 2260 01:18:37,872 --> 01:18:39,272 The secondary dominant to the four 2261 01:18:40,752 --> 01:18:43,652 ... lie. Evil. 2262 01:18:43,872 --> 01:18:45,182 Now the groove starts. 2263 01:18:45,212 --> 01:18:48,302 Why do you infest all children's minds? 2264 01:18:48,312 --> 01:18:50,342 We're not just on the four chord, Peter. We're in a whole new key. 2265 01:18:50,372 --> 01:18:53,011 Oh, yeah. Stevie's got you. 2266 01:18:53,392 --> 01:18:56,932 With hatred, evil. 2267 01:18:56,952 --> 01:18:59,482 And he has so much space now. It is range starting down there. 2268 01:18:59,482 --> 01:19:02,332 Why have you stolen so much 2269 01:19:02,412 --> 01:19:05,332 love? 2270 01:19:05,452 --> 01:19:05,762 It starts to move up. Um- 2271 01:19:05,772 --> 01:19:07,592 Leaving 2272 01:19:08,932 --> 01:19:10,872 everyone's- 2273 01:19:11,412 --> 01:19:11,972 Let's do it again 2274 01:19:12,012 --> 01:19:13,992 ... emotions lost and wandering. 2275 01:19:14,012 --> 01:19:15,452 Secondary down to the six. 2276 01:19:15,472 --> 01:19:15,542 Yeah. 2277 01:19:15,542 --> 01:19:19,292 Again, these amazing musical 2278 01:19:19,332 --> 01:19:20,082 devices. 2279 01:19:20,112 --> 01:19:22,192 Yep. 2280 01:19:22,352 --> 01:19:24,752 Evil. 2281 01:19:25,652 --> 01:19:27,162 Why have you taken over- 2282 01:19:27,162 --> 01:19:27,672 Uh-oh 2283 01:19:27,912 --> 01:19:28,251 ... God's children's minds? 2284 01:19:28,272 --> 01:19:31,022 Now we're somewhere new. We're somewhere new. We like it. We like it. 2285 01:19:32,212 --> 01:19:35,001 Evil. 2286 01:19:35,352 --> 01:19:37,132 Vocal performance. 2287 01:19:37,312 --> 01:19:41,242 Evil. Before they could 2288 01:19:41,272 --> 01:19:41,402 really learn to see. 2289 01:19:41,402 --> 01:19:45,212 Think about where he started, and now where he's gone. 2290 01:19:45,652 --> 01:19:47,092 Your way 2291 01:19:48,732 --> 01:19:50,652 is not the way- 2292 01:19:51,732 --> 01:19:52,152 Do it again 2293 01:19:52,172 --> 01:19:54,012 ... to make 2294 01:19:54,152 --> 01:19:57,912 life what it 2295 01:19:58,052 --> 01:19:59,652 should be. 2296 01:20:04,976 --> 01:20:07,236 Oh, like a choir. E flat. 2297 01:20:07,316 --> 01:20:09,976 You've destroyed, you've destroyed so much of this broken 2298 01:20:10,096 --> 01:20:12,096 world 2299 01:20:12,316 --> 01:20:12,346 D**n. Let me open this up. 2300 01:20:12,476 --> 01:20:16,156 Evil, evil 2301 01:20:18,716 --> 01:20:19,256 Oh, my God 2302 01:20:19,616 --> 01:20:22,796 Oh, you've broke, broken so many 2303 01:20:22,896 --> 01:20:24,576 homes 2304 01:20:24,586 --> 01:20:25,396 Vision. 2305 01:20:25,456 --> 01:20:27,676 Leaving 2306 01:20:28,916 --> 01:20:30,776 sweet love 2307 01:20:32,276 --> 01:20:34,076 all alone 2308 01:20:34,276 --> 01:20:35,296 Ooh. 2309 01:20:35,376 --> 01:20:36,975 An outcast 2310 01:20:37,936 --> 01:20:41,656 on the world 2311 01:20:42,836 --> 01:20:44,696 Oh. 2312 01:20:47,356 --> 01:20:48,256 That's a banger. 2313 01:20:48,296 --> 01:20:48,636 Come on. 2314 01:20:48,696 --> 01:20:50,136 That's, that's a great call. Damn. 2315 01:20:50,176 --> 01:20:50,485 Come on, man. 2316 01:20:50,485 --> 01:20:51,236 I might have to change my- 2317 01:20:51,296 --> 01:20:52,136 Isn't that amazing? 2318 01:20:52,176 --> 01:20:54,805 I was just like, I mean, could you, but if you're on a desert island- 2319 01:20:54,816 --> 01:20:54,826 Don't sleep on Evil 2320 01:20:54,826 --> 01:20:56,246 ... with that every, every day would be- 2321 01:20:56,276 --> 01:20:57,966 I wake up to that, I go to bed to that. 2322 01:20:57,966 --> 01:20:58,256 Oh, my God. 2323 01:20:58,276 --> 01:20:58,506 Every day. 2324 01:20:58,506 --> 01:20:59,756 Your day would be so epic. 2325 01:20:59,816 --> 01:21:00,256 Oh, my God. 2326 01:21:00,276 --> 01:21:02,296 Like, in between, like, how are you gonna fill your time? 2327 01:21:02,316 --> 01:21:02,326 Yeah. 2328 01:21:02,336 --> 01:21:03,646 You're just looking forward to hearing that again. 2329 01:21:03,676 --> 01:21:04,486 It's so deep and I, I- 2330 01:21:04,496 --> 01:21:05,776 This is the shortest track on the album. 2331 01:21:05,816 --> 01:21:07,046 I know, it's only like three minutes or something. 2332 01:21:07,056 --> 01:21:07,546 It's crazy. Three and a half minutes. 2333 01:21:07,656 --> 01:21:08,186 Yeah, yeah. 2334 01:21:08,186 --> 01:21:08,186 Yeah. 2335 01:21:08,216 --> 01:21:11,636 No, uh, not to, again, I feel like it, it does, like, it's almost vulgar to talk 2336 01:21:11,716 --> 01:21:14,456 about the music theory behind this or the little nuts and bolts things happening. 2337 01:21:14,476 --> 01:21:14,526 Yeah. 2338 01:21:14,536 --> 01:21:17,526 But, again, if you're a math nerd about music, it's 2339 01:21:17,576 --> 01:21:21,186 so sophisticated what's going on here. Like, he leads... 2340 01:21:21,216 --> 01:21:23,136 So it starts off in C, the key of C. 2341 01:21:23,176 --> 01:21:23,296 Yeah. 2342 01:21:23,306 --> 01:21:26,976 And he leads you down a secondary downer to the A minor, then a secondary downer to 2343 01:21:27,036 --> 01:21:27,926 the four chord. 2344 01:21:28,096 --> 01:21:28,106 Yeah. 2345 01:21:28,106 --> 01:21:31,726 F major, right? So when you're at that four chord, it feels like, you know, 2346 01:21:32,076 --> 01:21:33,296 you could go back up- 2347 01:21:33,356 --> 01:21:33,516 Yeah 2348 01:21:33,556 --> 01:21:34,376 ... to the key of C. 2349 01:21:34,456 --> 01:21:34,696 Yeah. 2350 01:21:34,896 --> 01:21:35,186 That, that's what- 2351 01:21:35,186 --> 01:21:35,966 Go to five and then maybe back to the one. 2352 01:21:35,976 --> 01:21:37,336 Right, you go F sharp diminished. 2353 01:21:37,456 --> 01:21:37,486 Yeah. 2354 01:21:37,486 --> 01:21:40,356 Then you C over G. Lesser hands, right? 2355 01:21:40,396 --> 01:21:40,646 Yeah. 2356 01:21:40,656 --> 01:21:43,466 But as soon as we're on that four chord, now we're starting the sequence all over 2357 01:21:43,496 --> 01:21:43,676 again. 2358 01:21:43,716 --> 01:21:44,066 That's a gutsy thing. 2359 01:21:44,096 --> 01:21:45,346 And he does it two more times. 2360 01:21:45,346 --> 01:21:45,346 Yeah. 2361 01:21:45,376 --> 01:21:48,306 So then he does the same thing and that's a, that's a perfect forethought. 2362 01:21:48,306 --> 01:21:51,306 Peter, that's not like a, that's not like a lift of a half step or a lift of a 2363 01:21:51,316 --> 01:21:51,546 whole step. 2364 01:21:51,556 --> 01:21:51,686 No, it's not an obvious- 2365 01:21:51,686 --> 01:21:53,146 It's a giant leap up, right? 2366 01:21:53,156 --> 01:21:53,286 Yeah. 2367 01:21:53,516 --> 01:21:57,096 So he takes this huge leap up and then he does it again 2368 01:21:57,576 --> 01:21:57,996 to B flat. 2369 01:21:58,006 --> 01:21:58,006 Yeah. 2370 01:21:58,016 --> 01:21:59,236 And then he does it again- 2371 01:21:59,276 --> 01:21:59,416 Right 2372 01:21:59,456 --> 01:22:02,256 ... to E flat and then he ends on this crazy big chord at the end. 2373 01:22:02,296 --> 01:22:06,096 It's like, um, you know, uh, Johnny Cash's version of, of 2374 01:22:06,196 --> 01:22:09,366 Walk the Line where he, he modulates so that he can keep getting lower until 2375 01:22:09,396 --> 01:22:09,776 eventually- 2376 01:22:09,796 --> 01:22:09,926 Yeah 2377 01:22:10,036 --> 01:22:13,395 ... he's just like, you know, uh, "Oh, the heart of 2378 01:22:13,436 --> 01:22:14,046 mine." 2379 01:22:14,046 --> 01:22:14,046 Yeah, yeah, yeah. 2380 01:22:14,196 --> 01:22:17,836 This is like the opposite of that where St- keep, Stevie keeps, like, modulating to 2381 01:22:17,916 --> 01:22:21,666 lift us up, but he's, like, going so far in these modulations. 2382 01:22:21,666 --> 01:22:21,666 Yeah. 2383 01:22:21,676 --> 01:22:24,486 It's insane. And it's also really unexpected. 2384 01:22:24,486 --> 01:22:24,486 Yeah. 2385 01:22:24,536 --> 01:22:28,416 Like, because he's, he's modulating using this chord that is, it feels like 2386 01:22:28,456 --> 01:22:30,016 it's in the key that you started in. 2387 01:22:30,026 --> 01:22:33,636 And before you even, I mean, it's like three chords later you're like, "Wait, are 2388 01:22:33,676 --> 01:22:35,345 we... We're somewhere new." 2389 01:22:35,396 --> 01:22:38,516 Right. Because it's somewhat relate- it's far away phys- physically. 2390 01:22:38,636 --> 01:22:38,816 Yeah. 2391 01:22:38,826 --> 01:22:39,236 Like, the key. 2392 01:22:39,246 --> 01:22:39,496 The key. 2393 01:22:39,516 --> 01:22:41,786 But it's related enough that it's hard to pull off. 2394 01:22:41,796 --> 01:22:42,586 It's hard to pull off. 2395 01:22:42,586 --> 01:22:43,996 Right? 'Cause it's like, wait, are we there or not? 2396 01:22:44,056 --> 01:22:44,376 It would be- 2397 01:22:44,386 --> 01:22:45,836 And I think he's, like, he uses the melody. 2398 01:22:45,856 --> 01:22:46,216 Ah. 2399 01:22:46,226 --> 01:22:49,706 The time, and then his range. Like, he starts down in that low tenor and, and- 2400 01:22:49,706 --> 01:22:52,006 And the whole arrangement just keeps getting bigger and bigger 2401 01:22:52,036 --> 01:22:53,656 ... ah. It's like he had a plan for the whole thing, obviously. 2402 01:22:53,666 --> 01:22:56,336 Yeah. No, lesser hands, it's, it could be kinda clunky, but in- 2403 01:22:56,345 --> 01:22:56,386 Yeah 2404 01:22:56,386 --> 01:22:58,216 ... Stevie's masterful hands it's unbelievable. 2405 01:22:58,236 --> 01:22:59,776 That's why you don't hear people singing this song. 2406 01:22:59,836 --> 01:23:02,916 So- It's, I mean, it's, it'd be tough. 2407 01:23:02,956 --> 01:23:03,006 Yeah. 2408 01:23:03,076 --> 01:23:04,576 What, uh, what's your desert island track? 2409 01:23:04,616 --> 01:23:07,156 Oh, oh, yeah, way to go, buddy. Set me up with that. 2410 01:23:07,196 --> 01:23:07,446 What's your- 2411 01:23:07,456 --> 01:23:07,946 Beat that. 2412 01:23:07,976 --> 01:23:10,496 What's your little track? I mean, I got Love Having You Around. 2413 01:23:10,536 --> 01:23:11,396 I love the way this record- 2414 01:23:11,416 --> 01:23:11,476 It's a great song 2415 01:23:11,486 --> 01:23:12,166 ... starts just as a riser. 2416 01:23:12,176 --> 01:23:13,345 It's a great ... 2417 01:23:13,416 --> 01:23:14,405 Oh. 2418 01:23:14,496 --> 01:23:14,606 Lee! 2419 01:23:14,656 --> 01:23:15,625 You start your day like that. 2420 01:23:15,625 --> 01:23:16,176 It's a great start. 2421 01:23:16,276 --> 01:23:17,616 So we got the beginning and the last. 2422 01:23:17,656 --> 01:23:18,086 Yeah, yeah, yeah. 2423 01:23:18,116 --> 01:23:21,836 And you know, Stevie famously is great at starting and ending his records. 2424 01:23:21,896 --> 01:23:23,776 Just like his songs, and everything in between. 2425 01:23:23,796 --> 01:23:27,676 But I mean, he knows about balance and architecture of albums and 2426 01:23:27,796 --> 01:23:31,016 so, I mean, that's, that's a great thing. What you got as your apex moment? 2427 01:23:31,036 --> 01:23:34,116 And just to let folks know, this is, like, a top moment. 2428 01:23:34,136 --> 01:23:35,446 I mean, in a record like this, it's silly to say, there's so many. 2429 01:23:35,446 --> 01:23:36,856 That's what I was saying. This is so hard. 2430 01:23:36,866 --> 01:23:36,866 I mean- 2431 01:23:36,876 --> 01:23:37,366 It's like there's so many 2432 01:23:37,366 --> 01:23:39,566 ... the apex moment's gotta be the last chord of of Evil, right? 2433 01:23:39,566 --> 01:23:42,776 Of... Well, that's, that's kind of the, the genius of this album is it's all 2434 01:23:42,816 --> 01:23:45,356 pointing toward a, a, the last chord of Evil. 2435 01:23:45,376 --> 01:23:45,646 Yeah. 2436 01:23:45,676 --> 01:23:46,936 Which is this huge apex. 2437 01:23:46,946 --> 01:23:46,946 Yeah. 2438 01:23:46,976 --> 01:23:48,546 It's the biggest moment on the album. 2439 01:23:48,556 --> 01:23:49,096 Oh, is that yours? 2440 01:23:49,156 --> 01:23:49,556 That is mine. 2441 01:23:49,596 --> 01:23:51,376 Oh, okay, good. Well, that makes sense. We just heard that. 2442 01:23:51,396 --> 01:23:55,016 So I've got apex moment, I love going to, for these slightly longer 2443 01:23:55,116 --> 01:23:58,946 ones, um, the transition between Superwoman and 2444 01:23:59,056 --> 01:24:02,836 Where Were You When I Needed You, which is weird and wonderful and just one of the 2445 01:24:02,876 --> 01:24:05,176 most, I'm gonna jump up to it. 2446 01:24:06,376 --> 01:24:09,376 It's very abrupt 2447 01:24:10,676 --> 01:24:13,036 and soothing at the same time, and it's 2448 01:24:13,056 --> 01:24:14,965 got... 2449 01:24:14,996 --> 01:24:16,236 This is really good. 2450 01:24:16,256 --> 01:24:18,556 And it's, like, clunky and human 2451 01:24:18,596 --> 01:24:20,956 and, and bringing in 2452 01:24:20,996 --> 01:24:23,296 the... 2453 01:24:23,375 --> 01:24:24,836 I mean, there's some music nerd stuff here. 2454 01:24:24,846 --> 01:24:25,356 It's so compelling. 2455 01:24:25,375 --> 01:24:28,296 He leans a lot on, on the G sharp minor sound. 2456 01:24:28,356 --> 01:24:28,636 Yeah. 2457 01:24:28,656 --> 01:24:31,356 Which is the tr- it's a, it's a chord that's in both keys. 2458 01:24:31,416 --> 01:24:32,676 Yeah. Oh, right. Really good. 2459 01:24:32,696 --> 01:24:34,046 It's an E major, it's an F sharp major. 2460 01:24:34,076 --> 01:24:35,396 Yeah. 2461 01:24:36,256 --> 01:24:39,636 I love the way he just, like, slides into this. 2462 01:24:40,836 --> 01:24:40,946 Oh, man. 2463 01:24:40,956 --> 01:24:43,116 You don't, like you said, you don't even know you're there. 2464 01:24:43,156 --> 01:24:43,596 No. 2465 01:24:43,616 --> 01:24:47,026 And then all of a sudden when the melody comes in, you're like, "H**y s**t." 2466 01:24:47,056 --> 01:24:49,886 It's just like, like you're walking around a corner and then you're seeing a new 2467 01:24:49,996 --> 01:24:51,766 part of the land that you've never seen. 2468 01:24:51,776 --> 01:24:55,096 And you're like, there's a valley below, and you're like, "Let's do it." 2469 01:24:55,156 --> 01:24:56,236 Amazing. Amazing. 2470 01:24:57,956 --> 01:24:59,446 And then in my opinion- ... 2471 01:25:00,676 --> 01:25:02,476 this Where Were You When I Needed You melody- 2472 01:25:02,486 --> 01:25:02,486 Yeah 2473 01:25:02,486 --> 01:25:04,686 ... the whole thing, including the bridge- ... 2474 01:25:04,716 --> 01:25:06,306 it might be my favorite Stevie Wonder melody ever. 2475 01:25:06,316 --> 01:25:07,776 Better Than Your Last Song Of My Life. I agree. 2476 01:25:09,116 --> 01:25:10,546 That, "Mm, where were you when I needed you?" 2477 01:25:10,576 --> 01:25:11,216 Oh, that's great. 2478 01:25:11,476 --> 01:25:13,436 It's so well-written and so, so beautiful. 2479 01:25:13,506 --> 01:25:13,976 Yeah. 2480 01:25:14,056 --> 01:25:18,036 Uh, bespoke playlist. So if you were to put this album in a playlist 2481 01:25:18,136 --> 01:25:21,976 on, you know, Apple Music or Spotify with a bunch of other albums, what 2482 01:25:22,016 --> 01:25:24,296 would you call that playlist? 2483 01:25:24,336 --> 01:25:26,456 The Actual Classic Run. 2484 01:25:26,496 --> 01:25:28,796 Oh, so you would fill it with the four albums from the classic run- 2485 01:25:28,856 --> 01:25:29,096 Yeah 2486 01:25:29,116 --> 01:25:30,336 ... and call it The Actual Classic Run. 2487 01:25:30,346 --> 01:25:30,346 Just so that- 2488 01:25:30,356 --> 01:25:32,926 And you would leave out Songs in the Key of Life, I'm guessing 2489 01:25:32,956 --> 01:25:35,056 ... well, and Hotter than July and Musiquarium. 2490 01:25:35,096 --> 01:25:35,226 You're insane. You're horrible. 2491 01:25:35,236 --> 01:25:36,986 And a bunch of great records. I mean, yeah. 2492 01:25:36,986 --> 01:25:36,986 You're, you're- 2493 01:25:36,996 --> 01:25:38,436 Because they're not part of the classic run. 2494 01:25:38,496 --> 01:25:41,176 We can't be friends anymore. Uh, I, I- 2495 01:25:41,196 --> 01:25:41,756 What would you call it? 2496 01:25:43,336 --> 01:25:44,066 Spiritual Synth. 2497 01:25:45,036 --> 01:25:46,896 Spiritual Synth. 2498 01:25:46,956 --> 01:25:47,346 Yeah. That- 2499 01:25:47,346 --> 01:25:48,926 Thank you, ChatGPT. Okay. 2500 01:25:48,926 --> 01:25:50,116 Oh, come on. 2501 01:25:50,156 --> 01:25:50,455 No, it's good. 2502 01:25:50,476 --> 01:25:52,126 Uh, quibble bits. If there's anything you could quibble bit. 2503 01:25:52,136 --> 01:25:53,756 I mean, I kind of mentioned it before. 2504 01:25:53,796 --> 01:25:57,676 It's not a huge, I mean, Sweet Little Girl is, is not, to me, it's not a quibble 2505 01:25:57,736 --> 01:26:00,116 bit, but I do find myself jumping past that sometimes. 2506 01:26:00,176 --> 01:26:00,656 Yeah. 2507 01:26:00,756 --> 01:26:04,606 Um, but hearing it again, like, sitting through the whole thing, it's like, there's 2508 01:26:04,656 --> 01:26:07,476 so much cool stuff in there. It's, it's a very m- I, like, there's nothing 2509 01:26:07,516 --> 01:26:09,286 sonically, and I, that's what I was trying to find. 2510 01:26:09,296 --> 01:26:12,196 I'm like, there's something gonna be messed up in the mix or something weird. 2511 01:26:12,216 --> 01:26:13,116 No, it's really cool, actually. 2512 01:26:13,156 --> 01:26:15,836 Man, there's, yeah, even the stuff that I was always like, "It's weird," it's like, 2513 01:26:15,876 --> 01:26:18,696 oh, my God, that's the perfect place to have something weird in the mix. 2514 01:26:18,856 --> 01:26:22,116 Um, his vocals, they, he's flawless. Harmonica playing. 2515 01:26:22,136 --> 01:26:24,896 The drumming, I mean, I can't, I mean, some people would be quibble like, "Oh, he 2516 01:26:24,956 --> 01:26:27,456 played that fill sloppy." I'm like, he played it perfect for- 2517 01:26:27,476 --> 01:26:27,506 Yeah 2518 01:26:27,506 --> 01:26:28,236 ... for what that was. 2519 01:26:28,316 --> 01:26:28,586 Yeah. 2520 01:26:28,586 --> 01:26:32,508 So I don't, I don't really have any.Stevie's perfect. What's your quibble bit? 2521 01:26:32,548 --> 01:26:35,588 Well, when I tried to fill out the quibble bit category, I just wrote without even 2522 01:26:35,628 --> 01:26:38,448 thinking about it, "How dare you?" 2523 01:26:38,548 --> 01:26:38,788 Ooh. 2524 01:26:39,668 --> 01:26:42,348 The quibble bits category. For even assuming there would be- 2525 01:26:42,358 --> 01:26:42,818 Okay, let's just cross that one out 2526 01:26:42,818 --> 01:26:44,008 ... a bit to quibble. 2527 01:26:44,048 --> 01:26:46,368 No, but there could... I mean, yeah. 2528 01:26:46,408 --> 01:26:48,758 I don't have, I actually can't think of anything that I, I don't love. 2529 01:26:48,768 --> 01:26:52,108 Ooh, so that's an interesting thing. This is a perfect album then. 2530 01:26:52,148 --> 01:26:52,658 Yeah. 2531 01:26:52,668 --> 01:26:53,638 Are we gonna add that as a category? 2532 01:26:53,688 --> 01:26:55,958 It could be. Is this a perfect al- I mean, this is... 2533 01:26:56,008 --> 01:26:59,148 As, as far as, like, did he fulfill what he was going for? I think so. 2534 01:26:59,188 --> 01:27:01,668 All right. Well, dude, he didn't really do that until he got to fulfilling this, 2535 01:27:01,708 --> 01:27:02,498 his first for now. 2536 01:27:02,548 --> 01:27:03,368 That's just 'cause the title. 2537 01:27:03,388 --> 01:27:03,398 Okay. 2538 01:27:03,428 --> 01:27:04,608 Snobbometer. So this is- 2539 01:27:04,618 --> 01:27:04,628 Snobbometer. 2540 01:27:04,648 --> 01:27:06,628 You, you explain snobbometer. 2541 01:27:06,688 --> 01:27:10,408 Unexplainable. I'm giving... Okay, snobbometer is one, Aunt Linda, your dear Aunt 2542 01:27:10,448 --> 01:27:13,328 Linda would love this, who has more- 2543 01:27:13,368 --> 01:27:14,548 It's very accessible 2544 01:27:14,557 --> 01:27:15,318 ... American accessible tastes. 2545 01:27:15,348 --> 01:27:16,088 It's broad. 2546 01:27:16,128 --> 01:27:18,408 Yeah. The Swifties would love it, but- 2547 01:27:18,448 --> 01:27:20,108 10, 10 2548 01:27:20,118 --> 01:27:21,908 ... 10. Ethan Iverson and Alan Iverson. 2549 01:27:21,948 --> 01:27:24,958 It's gotta be an Iverson that loves this record. A real connoisseur of it. 2550 01:27:24,968 --> 01:27:25,908 Yeah. Yeah. 2551 01:27:25,917 --> 01:27:25,917 Um- 2552 01:27:25,948 --> 01:27:27,248 Stockhausen would like it. 2553 01:27:27,308 --> 01:27:27,568 Right. 2554 01:27:27,608 --> 01:27:27,838 Right, it's a 10. 2555 01:27:27,838 --> 01:27:28,988 Christopher Stark, our friend. 2556 01:27:29,048 --> 01:27:29,417 Yeah, yeah. 2557 01:27:29,417 --> 01:27:29,648 Might like it. 2558 01:27:29,708 --> 01:27:30,057 Right, yeah. 2559 01:27:30,068 --> 01:27:33,178 Right? Snobbometer. So I'm gonna go, I'm gonna go unusual. 2560 01:27:33,208 --> 01:27:36,538 I'm gonna drift off of my usual five, and I'm gonna go up to eight and say that 2561 01:27:36,568 --> 01:27:40,448 this is a little bit snobby because... Wait, is that what you got? 2562 01:27:40,488 --> 01:27:44,238 No, just congratulations. Just for finally... 2563 01:27:44,488 --> 01:27:46,908 What the hell, man? How many weeks were we fives? 2564 01:27:46,918 --> 01:27:47,528 Well, we've been, this has been hard. 2565 01:27:47,568 --> 01:27:48,448 No, but this, I, I- 2566 01:27:48,468 --> 01:27:49,058 Geez Louise. 2567 01:27:49,088 --> 01:27:52,918 No, it's weird 'cause I'm like, I'm not, this is not like an insider pi- Everybody 2568 01:27:52,918 --> 01:27:54,468 knows this is the beginning of the classic run. 2569 01:27:54,528 --> 01:27:54,918 Yeah. 2570 01:27:55,008 --> 01:27:57,868 Um, everyone knows this is one... But I do think that to 2571 01:27:57,928 --> 01:28:01,908 say... And I'm not gonna say this, this is the best out of these four or 2572 01:28:02,108 --> 01:28:03,018 five or six records. 2573 01:28:03,048 --> 01:28:04,068 It's like one big album, isn't it? 2574 01:28:04,088 --> 01:28:06,268 It's one big album, but this is a damn strong start. 2575 01:28:06,288 --> 01:28:06,398 It really is. 2576 01:28:06,428 --> 01:28:09,508 And I think the fact that it didn't win any Grammys, didn't really have any big top 2577 01:28:09,548 --> 01:28:09,838 10 hits. 2578 01:28:10,008 --> 01:28:10,968 Didn't have any hits, yeah. 2579 01:28:11,028 --> 01:28:13,898 You could say that it's the snobbiest of this. I mean, you know what? 2580 01:28:13,908 --> 01:28:16,798 The snobbiest of Stevie's records is Secret Life of Plants, of course. 2581 01:28:16,808 --> 01:28:19,678 Secret Life of Plants, which w- I would totally do on this show. 2582 01:28:19,688 --> 01:28:19,798 I love that record. Yeah. 2583 01:28:19,798 --> 01:28:20,218 We should do that on the show. 2584 01:28:20,218 --> 01:28:22,558 But that's a weird, that's a snobby rec- As soon as you say... 2585 01:28:22,558 --> 01:28:24,738 'Cause you imagine being like, "What do you like better from the classic run?" 2586 01:28:24,738 --> 01:28:26,608 "Secret Life of Plants." Snob. 2587 01:28:26,618 --> 01:28:26,988 Yeah. Okay. 2588 01:28:27,048 --> 01:28:28,508 Snob. A snob Iverson. 2589 01:28:28,518 --> 01:28:28,908 Yeah. Hipster. 2590 01:28:28,928 --> 01:28:30,088 But they wouldn't be wrong. 2591 01:28:30,368 --> 01:28:32,168 I have a seven. I have a, kind of a high one, too. 2592 01:28:32,208 --> 01:28:32,388 Okay. 2593 01:28:32,408 --> 01:28:33,928 For Stevie, I think that's pretty high. 2594 01:28:33,988 --> 01:28:34,188 Yeah. 2595 01:28:34,328 --> 01:28:36,608 It's not Secret... Like, I would put Secret Life of Plants at nine or 10. 2596 01:28:36,648 --> 01:28:39,447 Yeah, you could almost be like, "How could any Stevie Wonder be above five-" 2597 01:28:39,468 --> 01:28:39,637 I agree 2598 01:28:39,637 --> 01:28:40,308 ... on a certain level. 2599 01:28:40,348 --> 01:28:43,297 Yeah. But, but I do find myself, I would say that this is, like... 2600 01:28:43,328 --> 01:28:45,868 It wouldn't be the first thing I would show someone who- 2601 01:28:45,878 --> 01:28:45,878 Yeah 2602 01:28:45,878 --> 01:28:46,838 ... I knew had very broad tastes. 2603 01:28:46,868 --> 01:28:49,588 Well, 'cause in this d- day and age where everything is available at all times, 2604 01:28:49,648 --> 01:28:53,308 like, the, the, the genius and legendary status of Stevie 2605 01:28:53,388 --> 01:28:56,688 Wonder is, is well-known, right? So somebody that's like, "I love Stevie Wonder, 2606 01:28:56,708 --> 01:29:00,148 and I love The Beatles, and I love, you know, Ludwig van Be- Beethoven, and so 2607 01:29:00,388 --> 01:29:02,457 Stevie, of course, Innervisions," they're talking about... 2608 01:29:02,488 --> 01:29:04,348 Like, this one wouldn't necessarily come up, right? 2609 01:29:04,368 --> 01:29:04,438 Yeah. 2610 01:29:04,508 --> 01:29:05,648 As, as one of the top one or two. 2611 01:29:05,688 --> 01:29:09,648 By the way, just before we get to is it better than, can I just point out some 2612 01:29:09,788 --> 01:29:11,708 other albums that came out in this year? 2613 01:29:11,748 --> 01:29:12,488 Yeah. 2614 01:29:12,498 --> 01:29:16,138 So The Rolling Stones in 1972 released Exile on Main Street, which is- 2615 01:29:16,138 --> 01:29:16,468 Yeah 2616 01:29:16,478 --> 01:29:19,628 ... one of their biggest albums. David Bowie released Ziggy Stardust. 2617 01:29:19,648 --> 01:29:20,028 Very big. 2618 01:29:20,048 --> 01:29:21,608 Steely Dan, Can't Buy a Thrill. 2619 01:29:21,648 --> 01:29:22,508 Can't Buy a Thrill. 2620 01:29:22,548 --> 01:29:25,168 Lou Reed, Transformer. Neil Young, Harvest. 2621 01:29:25,228 --> 01:29:27,168 Al Green, I'm Still in Love with You. 2622 01:29:27,178 --> 01:29:27,178 Mm-hmm. 2623 01:29:27,188 --> 01:29:30,478 And then on, like, the jazz side of things, you got Chick Corea with Return to 2624 01:29:30,548 --> 01:29:30,848 Forever. 2625 01:29:30,868 --> 01:29:31,538 D**n. Big ass record. 2626 01:29:31,568 --> 01:29:33,448 Weather Report, I Sing the Body Electric. 2627 01:29:33,457 --> 01:29:33,548 Yeah. 2628 01:29:33,568 --> 01:29:35,108 Charles Mingus, Let My Children Hear Music. 2629 01:29:35,148 --> 01:29:35,158 Mm. 2630 01:29:35,158 --> 01:29:36,268 Miles Davis, On the Corner. 2631 01:29:36,328 --> 01:29:37,858 Ooh, that's a good, that's a good record, On the Corner. 2632 01:29:37,868 --> 01:29:38,508 John McLaughlin's Ma- 2633 01:29:38,528 --> 01:29:39,077 We could jump on that 2634 01:29:39,108 --> 01:29:39,778 ... Mahavishnu Orchestra. 2635 01:29:39,788 --> 01:29:40,838 Oh, damn. That's a big record. 2636 01:29:40,848 --> 01:29:41,457 It's a big record. 2637 01:29:41,457 --> 01:29:42,358 That was a big fusion album. 2638 01:29:42,358 --> 01:29:43,288 I know. But what a year, man. 2639 01:29:43,448 --> 01:29:43,558 What a year. S**t. Yeah. 2640 01:29:43,568 --> 01:29:44,708 '72, one of the all-time great years. 2641 01:29:44,718 --> 01:29:44,718 Yeah. 2642 01:29:44,768 --> 01:29:47,237 I think some Bobby Womack came out in this year, too, that was really good. 2643 01:29:47,288 --> 01:29:47,517 Yeah. 2644 01:29:47,608 --> 01:29:51,258 Uh, better than, is this album better than Innervisions? 2645 01:29:51,308 --> 01:29:52,928 Okay. Do we have to do Innervisions? 2646 01:29:53,068 --> 01:29:53,808 You chose it. 2647 01:29:53,828 --> 01:29:57,797 Well, I couldn't think of anything else. I mean, it ain't worse. 2648 01:29:58,688 --> 01:30:00,338 I'll, I'll, I'll accept that as an answer. 2649 01:30:00,368 --> 01:30:01,028 I'd say it ain't worse. 2650 01:30:01,038 --> 01:30:01,048 It ain't worse. 2651 01:30:01,088 --> 01:30:03,017 I think it's equal. I think it's the same thing, in a way. 2652 01:30:03,017 --> 01:30:03,748 It's the same thing. 2653 01:30:03,788 --> 01:30:06,628 Now, if they're both sitting there, which one would I take? Either one. 2654 01:30:06,668 --> 01:30:07,428 I mean, like, one day- 2655 01:30:07,448 --> 01:30:07,458 Yeah 2656 01:30:07,458 --> 01:30:10,598 ... maybe the... Like, I, I, I w- I, I'm, the more... 2657 01:30:10,608 --> 01:30:13,048 This has been great for us to go through these albums, 'cause as much as I've 2658 01:30:13,088 --> 01:30:15,908 listened to them over the years, and as much as I love these four albums, the more 2659 01:30:15,948 --> 01:30:18,548 I'm realizing now in researching, like, they're one and the same thing. 2660 01:30:18,558 --> 01:30:18,558 Yeah. 2661 01:30:18,568 --> 01:30:19,577 That's always how it's felt. 2662 01:30:19,577 --> 01:30:19,577 I know. 2663 01:30:19,588 --> 01:30:22,188 Like, these are ones that you can, like, just mix and match. 2664 01:30:22,248 --> 01:30:24,588 Although they're so well-crafted, these albums. 2665 01:30:24,628 --> 01:30:26,708 Listen to this bad boy, like I've been doing. 2666 01:30:26,788 --> 01:30:26,818 Oh, man. 2667 01:30:26,818 --> 01:30:28,168 Beginning to end on LP. 2668 01:30:28,188 --> 01:30:28,297 Yeah, it's awesome. 2669 01:30:28,308 --> 01:30:31,688 Oh my God, from beginning to end. Everything on it, man. 2670 01:30:31,698 --> 01:30:31,758 Accout- 2671 01:30:31,758 --> 01:30:32,988 In order. In order. 2672 01:30:32,998 --> 01:30:34,088 Accoutrements. 2673 01:30:34,098 --> 01:30:34,098 Accoutrements. 2674 01:30:34,108 --> 01:30:36,448 Like, this is, like, the album cover. 2675 01:30:36,458 --> 01:30:36,558 Ban- I've g- Yeah. 2676 01:30:36,588 --> 01:30:40,358 The, the photo, the art, the inside ar- art, how the lyrics are 2677 01:30:40,368 --> 01:30:42,458 presented, especially on these LPs. They're amazing. 2678 01:30:42,488 --> 01:30:43,308 Man, this is 10. 2679 01:30:43,368 --> 01:30:43,708 I agree. 2680 01:30:43,748 --> 01:30:47,557 This is a 10. And shout-out Robert Margu- Margouleff, who not only was, 2681 01:30:47,588 --> 01:30:51,088 like, the engineer and the one, you know, programming and, and helping and doing 2682 01:30:51,128 --> 01:30:54,078 all this stuff, one of the two associate producers. 2683 01:30:54,128 --> 01:30:55,428 He was the art director of this, too. 2684 01:30:55,437 --> 01:30:55,437 No way. 2685 01:30:55,468 --> 01:30:58,738 Like, this was, this was kind of a small production team, considering, like, 2686 01:30:58,748 --> 01:31:00,798 especially how, Talking Book, how big it was. 2687 01:31:00,828 --> 01:31:02,048 Like, they were in there picking the stuff. 2688 01:31:02,068 --> 01:31:05,018 They didn't have, like, a bunch of entourage and stuff. He did the art. 2689 01:31:05,068 --> 01:31:07,248 Uh, Talking Book, Robert took the picture 2690 01:31:08,108 --> 01:31:08,478 of Stevie. 2691 01:31:08,628 --> 01:31:08,638 Damn. 2692 01:31:08,648 --> 01:31:11,368 Literally did the photograph. He's like, "After an all-night session, we went up by 2693 01:31:11,408 --> 01:31:12,437 the high..." 'Cause they were in LA by then. 2694 01:31:12,468 --> 01:31:15,048 Wait, do we have a bigger team to make the podc- that makes this podcast- 2695 01:31:15,088 --> 01:31:15,178 Yeah, no, this is 2696 01:31:15,178 --> 01:31:16,858 ... than made Innervisions? Oh, that's sad. 2697 01:31:16,868 --> 01:31:17,998 They were in there for five years. 2698 01:31:18,168 --> 01:31:18,758 Okay, that's true. 2699 01:31:18,758 --> 01:31:19,358 But there is that. 2700 01:31:19,358 --> 01:31:23,138 Um, okay. Up next, like, if this were, if there were an autoplay after this album- 2701 01:31:23,148 --> 01:31:24,158 Wait, what'd you have for accoutrements? 2702 01:31:24,188 --> 01:31:25,028 Oh, I had 10 as well. 2703 01:31:25,068 --> 01:31:25,488 Okay. 2704 01:31:25,568 --> 01:31:27,638 Um, up next, what, what would be the next thing you would play? 2705 01:31:27,648 --> 01:31:29,888 I mean, Talking Book. It's the next, you know- 2706 01:31:29,988 --> 01:31:30,018 Yeah 2707 01:31:30,018 --> 01:31:31,548 ... of the, of, of the classic four. 2708 01:31:31,568 --> 01:31:32,048 That makes sense. 2709 01:31:32,058 --> 01:31:32,058 Yeah. 2710 01:31:32,108 --> 01:31:33,508 I actually, I put Off the Wall- 2711 01:31:33,528 --> 01:31:35,558 Oh, four being in the classic, it makes sense. Thank you. Yeah. 2712 01:31:35,588 --> 01:31:37,478 I put Michael Jackson's Off the Wall, because I feel like- 2713 01:31:37,478 --> 01:31:37,478 Ooh 2714 01:31:37,488 --> 01:31:41,208 ... it's a, it's a cousin of this album in the sense that Michael Jackson had 2715 01:31:41,248 --> 01:31:42,638 already made a bunch of music before- 2716 01:31:42,688 --> 01:31:42,708 Yeah 2717 01:31:42,748 --> 01:31:43,338 ... he made Off the Wall. 2718 01:31:43,368 --> 01:31:44,068 Coming out party. 2719 01:31:44,108 --> 01:31:47,328 He was coming out of, out of the Jackson 5, Motown artist. 2720 01:31:47,338 --> 01:31:47,338 Yeah. 2721 01:31:47,368 --> 01:31:51,008 And then he makes Off the Wall as his own, like, declaration of 2722 01:31:51,068 --> 01:31:52,768 independence of, as an artist. 2723 01:31:52,788 --> 01:31:52,798 Yeah. 2724 01:31:52,828 --> 01:31:55,508 Just like this is, and it's amazing. 2725 01:31:55,528 --> 01:31:56,028 It's amazing. 2726 01:31:56,068 --> 01:31:56,098 Yeah. 2727 01:31:56,108 --> 01:31:58,158 And those are cool kinda bookends of the '70s, too- 2728 01:31:58,168 --> 01:31:58,248 For sure 2729 01:31:58,258 --> 01:31:58,618 ... a little bit. 2730 01:31:58,628 --> 01:31:59,608 For sure. 2731 01:31:59,618 --> 01:32:02,248 Yeah. Uh, great. Oh, check into our... B- bend. 2732 01:32:02,308 --> 01:32:05,708 I haven't been doing this recently because I'm overwhelmed with 2733 01:32:06,168 --> 01:32:07,978 newsletters. But if you're looking for a new newsletter- 2734 01:32:07,988 --> 01:32:08,688 Oh, we got a good one 2735 01:32:08,828 --> 01:32:09,538 ... we have a great one. 2736 01:32:09,588 --> 01:32:09,748 Yeah. 2737 01:32:09,788 --> 01:32:10,928 That's what people are saying. 2738 01:32:10,937 --> 01:32:11,618 They love it, yeah. 2739 01:32:11,648 --> 01:32:12,618 It's called You'll Read It. 2740 01:32:12,618 --> 01:32:12,618 Yeah. 2741 01:32:12,628 --> 01:32:14,678 And it's available if you go to you'llhearit.com. You can sign up. 2742 01:32:14,708 --> 01:32:15,538 It's totally free. 2743 01:32:15,538 --> 01:32:15,538 Yeah. 2744 01:32:15,548 --> 01:32:16,448 Well, it's free 99. 2745 01:32:16,488 --> 01:32:20,088 You sign up and you get some behind-the-scenes stuff and some stories about, uh, 2746 01:32:20,128 --> 01:32:21,968 these albums that weren't included in the show. 2747 01:32:22,088 --> 01:32:24,468 Uh, our incredible producer Liz- 2748 01:32:24,548 --> 01:32:24,648 Yep 2749 01:32:24,828 --> 01:32:26,038 ... produces this newsletter, too. 2750 01:32:26,048 --> 01:32:26,078 And- 2751 01:32:26,088 --> 01:32:28,088 Shout-out Liz. Shout-out Caleb. Shout-out Ian. 2752 01:32:28,128 --> 01:32:30,688 Shout-out the whole Open Studio and You'll Hear It team. 2753 01:32:30,698 --> 01:32:31,038 Sam Maul. 2754 01:32:31,038 --> 01:32:31,548 Sam Maul. 2755 01:32:31,608 --> 01:32:32,208 Andy Stevens. 2756 01:32:32,228 --> 01:32:34,028 Andy Stevens. Charlie. Intern Charlie. 2757 01:32:34,048 --> 01:32:34,728 Intern Charlie. 2758 01:32:34,788 --> 01:32:36,888 Yeah. Um, I think we nailed it. 2759 01:32:36,948 --> 01:32:37,458 I think we did, buddy. 2760 01:32:37,468 --> 01:32:38,898 Should we start over or just move on to next week? 2761 01:32:38,908 --> 01:32:40,008 Let's do another version. 2762 01:32:40,028 --> 01:32:40,588 Until next time. You'll Hear It.