1 00:00:00,600 --> 00:00:05,200 1995 R&B is all drum machines and digital production, slick 2 00:00:05,280 --> 00:00:08,280 Polish, safe. Hip hop and soul are living in 3 00:00:08,280 --> 00:00:11,000 two different houses. All of a sudden, a 21 year old 4 00:00:11,000 --> 00:00:14,080 from Richmond, VA walks into a New York studio with a Fender 5 00:00:14,080 --> 00:00:16,920 Rhodes, a Hammond organ, and a head full of Marvin, Prince and 6 00:00:16,920 --> 00:00:18,760 Tribe. He plays almost everything 7 00:00:18,760 --> 00:00:21,440 himself, writes it, produces it, arranges it. 8 00:00:21,720 --> 00:00:24,040 Nobody asked for this record, but it would build a bridge 9 00:00:24,040 --> 00:00:26,960 between those two worlds. His manager announced it as the 10 00:00:26,960 --> 00:00:29,800 birth of neo soul, but D'Angelo never claimed that 11 00:00:29,800 --> 00:00:32,000 term. He just said I make black music, 12 00:00:32,320 --> 00:00:35,680 this is brown sugar and he's got someone he wants you to meet. 13 00:00:37,280 --> 00:00:40,800 Let me tell you about this girl. Maybe I shouldn't. 14 00:00:40,880 --> 00:00:44,760 And the name was Brown Sugar. See, we've been making love 15 00:00:44,800 --> 00:00:47,480 constantly. That's why my eyes are shaved. 16 00:00:49,040 --> 00:00:52,240 The way that we kiss isn't like any other way that I be kissing 17 00:00:52,360 --> 00:00:53,720 when I'm kissing. What I'm missing. 18 00:00:53,720 --> 00:00:56,120 Won't you listen? Brown Sugar babe? 19 00:00:57,320 --> 00:00:59,600 I can't high off your love. I don't know how to. 20 00:01:00,760 --> 00:01:02,360 I'm Adam Maness. And I'm Peter. 21 00:01:02,360 --> 00:01:04,400 Martin and you're listening to the You'll Hear It podcast. 22 00:01:04,400 --> 00:01:06,920 Music Explorer. Explorer brought today by Open 23 00:01:06,920 --> 00:01:11,800 Studio Go to Open studiojazz.com for oh, your jazz lesson needs 24 00:01:11,800 --> 00:01:12,960 Peter big day. Big day. 25 00:01:12,960 --> 00:01:15,240 This is going to be fun. We're going back in time. 26 00:01:15,720 --> 00:01:18,160 In fact, we're going so far back in time that I got a little 27 00:01:18,160 --> 00:01:21,320 confused what decade it was. I did say 1995, right? 28 00:01:21,320 --> 00:01:22,040 Yeah. Yeah, right. 29 00:01:22,120 --> 00:01:23,640 Yeah, yeah. But then I realized, I mean, 30 00:01:23,640 --> 00:01:26,880 this, this is 1995 right here. This is Scream in the middle of 31 00:01:26,880 --> 00:01:27,720 the 90s. You how many? 32 00:01:27,840 --> 00:01:30,680 You how many Toyota Celicas I got in the passenger seat of 33 00:01:30,680 --> 00:01:33,280 where? A copy of that CD D Angelo's 34 00:01:33,280 --> 00:01:36,400 Brown Sugar was kind of broken. The case was broken. 35 00:01:36,400 --> 00:01:37,840 It was sitting on the floor of the Celica. 36 00:01:37,840 --> 00:01:39,520 Yeah. And it had the Celica also, by 37 00:01:39,520 --> 00:01:42,520 the way, it had ground effects. It had a had a wing on the back. 38 00:01:42,520 --> 00:01:44,440 Some McDonald French fries. Hell yeah. 39 00:01:44,800 --> 00:01:46,440 Smelled like weed. You know the whole. 40 00:01:46,440 --> 00:01:48,720 Thing half of this was kind of ripped up, but it been looked 41 00:01:48,720 --> 00:01:50,160 you. Know absolutely there was. 42 00:01:50,160 --> 00:01:52,240 What a. Time and it and by the way CD 43 00:01:52,240 --> 00:01:54,880 was on the floor, didn't even that Celica didn't come with ACD 44 00:01:54,880 --> 00:01:56,040 player had a tape deck with that. 45 00:01:56,040 --> 00:01:59,400 Convertible ox. Yeah, yeah, maybe it maybe it 46 00:01:59,400 --> 00:02:01,640 had dogs. Oh, 95 was great because we 47 00:02:01,640 --> 00:02:05,480 weren't really like Y2K. Maybe was just a little like a, 48 00:02:05,600 --> 00:02:07,680 a joke, a glimmer. We weren't freaking out about it 49 00:02:07,680 --> 00:02:08,080 yet. Not. 50 00:02:08,120 --> 00:02:09,120 Yet. Not yet. 51 00:02:09,120 --> 00:02:11,080 But I got confused 'cause I pulled out. 52 00:02:11,280 --> 00:02:12,520 You know what this is, my friend? 53 00:02:13,240 --> 00:02:14,600 Well, of course you know 'cause you were robbed there. 54 00:02:14,880 --> 00:02:17,160 But this was my very first. CD player? 55 00:02:17,160 --> 00:02:18,680 Where did you find that? Thing, this is the Sony. 56 00:02:18,680 --> 00:02:20,360 Well this is actually this is the same model. 57 00:02:20,360 --> 00:02:22,920 This is not the actual player. I found it on a little place 58 00:02:22,920 --> 00:02:24,040 called eBay. I can send you a. 59 00:02:24,040 --> 00:02:26,360 Link that is commitment to physical media this. 60 00:02:26,360 --> 00:02:28,360 Is the D50 though? This was the actual 1st and I 61 00:02:28,360 --> 00:02:30,920 was so excited for this episode but then I realized I got my 62 00:02:30,920 --> 00:02:32,520 decades wrong. I bought this in 1980. 63 00:02:32,520 --> 00:02:36,000 Five, I was going to say that's a little bit bulky for 95. 64 00:02:36,000 --> 00:02:38,000 Yeah, yeah, yeah. But it was sort of piggybacking 65 00:02:38,000 --> 00:02:41,080 on our Michael Jackson bad, which was one of my first early 66 00:02:41,360 --> 00:02:43,400 non jazz C DS. Man, do you remember when this 67 00:02:43,400 --> 00:02:44,520 album came out? Brown Sugar. 68 00:02:44,520 --> 00:02:45,280 Oh. Absolutely. 69 00:02:45,280 --> 00:02:47,960 It blew me away. I, I remember it's one of those 70 00:02:47,960 --> 00:02:49,800 moments. It only happens occasionally in 71 00:02:49,800 --> 00:02:52,400 your lifetime where you hear music and you're like, oh, I 72 00:02:52,400 --> 00:02:54,000 don't think I've ever heard anything quite like this. 73 00:02:54,120 --> 00:02:57,080 This is like a new thing for us. I, I totally agree. 74 00:02:57,080 --> 00:03:00,160 I mean, it just, and you know, records that as soon as you hear 75 00:03:00,160 --> 00:03:03,040 like that intro, that it just takes you back to a place, man, 76 00:03:03,360 --> 00:03:05,360 what, what, what, what a wonderful thing that we have 77 00:03:05,360 --> 00:03:07,720 with this. And I mean, one thing about this 78 00:03:07,720 --> 00:03:12,560 is it it, it is something new and it does like it was like, 79 00:03:12,560 --> 00:03:14,640 whoa, but it was also something backwards. 80 00:03:14,640 --> 00:03:17,160 It feels familiar. That's the the genius about 81 00:03:17,160 --> 00:03:19,760 D'Angelo and actually all three of the studio albums is They 82 00:03:19,760 --> 00:03:22,800 both feel like something totally fresh that you've never heard 83 00:03:22,800 --> 00:03:25,400 before. And it also feels like something 84 00:03:25,400 --> 00:03:27,440 from your childhood somehow. Like it feels like something 85 00:03:27,440 --> 00:03:29,920 that's been around forever. It feels like something that is 86 00:03:29,920 --> 00:03:33,600 very familiar to the culture and yet it has this this air of 87 00:03:33,600 --> 00:03:36,960 freshness, this new combination. It's the mark of I think any 88 00:03:36,960 --> 00:03:39,520 true genius And I'll I'll throw the G word out for D'Angelo. 89 00:03:39,520 --> 00:03:41,640 I truly one of the great musicians. 90 00:03:41,640 --> 00:03:43,360 I'll put a. Capital on that G, my friend. 91 00:03:43,360 --> 00:03:47,280 It's really, really good and I love this album so much. 92 00:03:47,280 --> 00:03:50,360 To me, this is like the classic announcement of a brand new mega 93 00:03:50,360 --> 00:03:54,400 talent and you know, we were so excited about this. 94 00:03:54,400 --> 00:03:56,920 It's what really caused Voodoo to be such a massive hit as 95 00:03:56,920 --> 00:04:00,120 people were so excited to see what was next from, you know, 96 00:04:00,120 --> 00:04:01,680 the artist that made brown sugar. 97 00:04:01,680 --> 00:04:04,320 That, that that anticipation for Voodoo was so incredible. 98 00:04:04,320 --> 00:04:07,280 And it man did that pay off. Absolutely, and this was a time 99 00:04:07,280 --> 00:04:09,040 still maybe the tail end of it kind of. 100 00:04:09,040 --> 00:04:12,320 But when you were expecting, when you were, you know, coming 101 00:04:12,320 --> 00:04:14,840 out with great records and and getting hits and stuff like this 102 00:04:14,840 --> 00:04:18,160 did to have another record that next year, right, Maybe even 103 00:04:18,160 --> 00:04:20,200 nine months later. And he was five years till 104 00:04:20,200 --> 00:04:22,640 Voodoo came out. So that was an eternity then. 105 00:04:22,640 --> 00:04:25,720 I mean, it still would be, but I mean, this is something that's 106 00:04:25,720 --> 00:04:28,440 exciting I think too like this thing of like, what does it 107 00:04:28,440 --> 00:04:32,600 harken back to Marvin Gaye, Stevie Wonder, Those are sort of 108 00:04:32,600 --> 00:04:34,480 obvious things. But I think for folks that maybe 109 00:04:34,480 --> 00:04:38,120 came up kind of Gen. Xer type types like us and a 110 00:04:38,120 --> 00:04:39,680 little older and a little younger too. 111 00:04:39,680 --> 00:04:43,600 It was, you know, Prince, right, who was ever present still there 112 00:04:43,600 --> 00:04:46,680 then, of course, in the mid 90s and before this, but was so 113 00:04:46,680 --> 00:04:49,920 influential on this, but also the connection to hip hop, which 114 00:04:49,920 --> 00:04:53,520 I think D Angelo doesn't get enough credit for the first 115 00:04:53,520 --> 00:04:55,760 track here, Brown Sugar that we're going to dig into a little 116 00:04:55,760 --> 00:04:57,240 bit deeper. Even then we just did. 117 00:04:57,480 --> 00:04:59,440 I think it's such a an example of that. 118 00:04:59,440 --> 00:05:02,760 And with Ali Shaheed Muhammad, that connection with Tribe 119 00:05:02,760 --> 00:05:04,720 called Quest. But the grooves all over this 120 00:05:04,720 --> 00:05:07,520 record are like they're hip hop grooves, but he's singing soul 121 00:05:07,680 --> 00:05:09,640 and background. And he wasn't the first to bring 122 00:05:09,640 --> 00:05:11,440 these disparate elements together. 123 00:05:11,440 --> 00:05:14,040 But I mean, he sure was the first to like put it together 124 00:05:14,040 --> 00:05:16,640 and then his manager coined it Neo soul, which he didn't like 125 00:05:17,200 --> 00:05:19,120 and none of them liked it. He never claimed it. 126 00:05:19,120 --> 00:05:21,520 He never claimed it. But whatever it was, it was 127 00:05:21,520 --> 00:05:24,160 this, this soul jazz. We're going to talk for sure. 128 00:05:24,160 --> 00:05:25,480 We always talk a little jazz, but there's. 129 00:05:25,560 --> 00:05:27,000 Jazz musicians on this album too, but we. 130 00:05:27,000 --> 00:05:29,800 Have jazz some some of the greatest 90s or or anytime jazz 131 00:05:29,800 --> 00:05:31,320 musicians on this room. Let's listen to a little more 132 00:05:31,320 --> 00:05:33,120 brown sugar, and then I want to talk about the 90s a little 133 00:05:33,120 --> 00:05:34,360 more. So maybe let's listen to this 134 00:05:34,360 --> 00:05:35,560 open track. Get it in our ears. 135 00:05:35,560 --> 00:05:46,120 Let's do it big fat B minor 6 to start it out. 136 00:05:46,120 --> 00:05:54,680 Come on. So the background chatter, 137 00:05:55,000 --> 00:05:59,120 studio chatter, very Marvin, but very Tribe also. 138 00:06:01,920 --> 00:06:04,480 Let me tell you about this girl. Maybe I shouldn't. 139 00:06:05,000 --> 00:06:07,320 I met him and the name was Brian. 140 00:06:08,480 --> 00:06:11,640 We be making love constantly. That's why my eyes all the 141 00:06:11,640 --> 00:06:15,360 shade. The way that we kiss isn't like 142 00:06:15,440 --> 00:06:18,120 any other way that I be kissing. What I'm pissing, what I'm 143 00:06:18,120 --> 00:06:23,440 missing. I guess high up your love. 144 00:06:23,480 --> 00:06:29,680 I don't know how to. Be all the background vocals. 145 00:06:29,800 --> 00:06:31,760 This is like, that's the Prince thread. 146 00:06:31,800 --> 00:06:34,760 You know right that the attention to detail on those. 147 00:06:34,920 --> 00:06:39,000 And the mix on these vocals, extraordinary. 148 00:06:39,760 --> 00:06:43,560 The backgrounds in the main, I mean, also, man, yeah. 149 00:06:43,680 --> 00:06:47,440 Virginia dude, yes, the the gospel influence. 150 00:06:48,880 --> 00:06:53,520 Oh sugar, wake it first to me. You love me right down to my 151 00:06:53,600 --> 00:06:56,120 knees and whenever you let me hit it. 152 00:06:57,000 --> 00:06:59,400 Sweet like honey when it comes to me. 153 00:06:59,960 --> 00:07:02,640 Skinless caramel with the Coco eyes. 154 00:07:02,680 --> 00:07:06,440 Even got a big sister by the name of Chocolate Chow Brown 155 00:07:06,440 --> 00:07:10,800 Sugar Bay. Don't know how to behave. 156 00:07:20,600 --> 00:07:28,080 Man, can we talk about the sound of that snare drum? 157 00:07:28,080 --> 00:07:30,320 Real. Quick so great incredible Ali 158 00:07:30,320 --> 00:07:33,400 Shahid Muhammad did the broke the drum brunt the sorry the 159 00:07:33,400 --> 00:07:38,240 drum programming on this the organ, the Hammond B3. 160 00:07:38,240 --> 00:07:43,400 That's that's D'Angelo, of course, but the snare. 161 00:07:43,400 --> 00:07:45,600 Is that organ based too? I think it is. 162 00:07:45,600 --> 00:07:47,120 I mean, I'm convinced that it is. 163 00:07:47,120 --> 00:07:50,440 It's definitely D'Angelo on it. I mean, you hear that sustain on 164 00:07:50,440 --> 00:07:53,000 it. And so I mean, that's the that's 165 00:07:53,000 --> 00:07:55,960 the Virginia Richmond, the the gospel influenced Angela's 166 00:07:55,960 --> 00:07:57,760 father was. There's some great videos on 167 00:07:57,760 --> 00:08:00,840 YouTube of him playing as a teenager in his church and it is 168 00:08:01,560 --> 00:08:03,600 sublime. It's unbelievable. 169 00:08:03,720 --> 00:08:08,680 And he comes out of that, you know, the Pentecostal 4 male 170 00:08:08,680 --> 00:08:11,560 quartet, vocal tradition quartet, which he put his own 171 00:08:11,560 --> 00:08:13,080 thing together and had been doing that. 172 00:08:13,080 --> 00:08:15,240 And then he's doing that with the backgrounds on this. 173 00:08:15,600 --> 00:08:20,360 It's it's incredible. But I think that this, you know, 174 00:08:20,360 --> 00:08:23,840 with Ali programming the drums on this and also probably even a 175 00:08:23,840 --> 00:08:27,920 bigger influence on D'Angelo beyond just this track and this 176 00:08:27,920 --> 00:08:32,159 record, Ali Shaheed Muhammad is the one that introduced that 177 00:08:32,159 --> 00:08:35,880 connected Bob Power, who we just lost this last week. 178 00:08:35,880 --> 00:08:39,520 So I mean, this is as much a celebration of Bob Power and his 179 00:08:39,520 --> 00:08:43,440 collaboration with D'Angelo and and also just all the mini 180 00:08:43,440 --> 00:08:45,120 records from this this period that he worked on. 181 00:08:45,120 --> 00:08:47,440 But I mean, he was the engineer, but he also played guitar. 182 00:08:47,440 --> 00:08:49,280 He produced. They did stuff at his loft up in 183 00:08:49,280 --> 00:08:51,800 Union Square, just him and D Angelo that were demos. 184 00:08:51,800 --> 00:08:53,840 A lot of that stuff made it onto this record. 185 00:08:53,840 --> 00:08:56,720 Some of it D Angelo wanted more of it to come on this record, 186 00:08:56,720 --> 00:08:59,480 but he was just a force. And seeing the outpouring of 187 00:08:59,480 --> 00:09:04,000 love and appreciation and camaraderie with Bob Power this 188 00:09:04,000 --> 00:09:06,720 last week has been amazing from some of the best musicians on 189 00:09:06,720 --> 00:09:07,080 the. Planet. 190 00:09:07,080 --> 00:09:08,560 All right, Peter, one of the best Bob power. 191 00:09:09,520 --> 00:09:11,560 Can I just put in your ears a little bit? 192 00:09:12,000 --> 00:09:13,800 I mean, not literally putting your ears, but do you remember 193 00:09:13,800 --> 00:09:16,640 the early 90s, some of the R&B? You remember Brian McKnight? 194 00:09:16,720 --> 00:09:18,240 Yeah. Remember Boys to Men? 195 00:09:18,240 --> 00:09:20,160 Yeah, sure. They were going stronger. 196 00:09:20,160 --> 00:09:21,120 And Vogue. Yeah. 197 00:09:21,240 --> 00:09:22,120 Right. R Kelly. 198 00:09:22,320 --> 00:09:23,240 R Kelly. Yeah, yeah. 199 00:09:24,400 --> 00:09:27,240 Can't remember him. But the the sort of pop music 200 00:09:27,240 --> 00:09:29,160 influence, especially of like with like Brian McKnight, 201 00:09:29,160 --> 00:09:34,120 Babyface, yeah, even boys to men like the shiny, programmed, 202 00:09:34,120 --> 00:09:37,360 polished. This has more of that organic 203 00:09:37,360 --> 00:09:40,880 70s soul vibe. I think it's easy to take for 204 00:09:40,880 --> 00:09:43,720 granted now because D'Angelo has been such a huge part of music 205 00:09:43,720 --> 00:09:47,360 in our lifetime since this album, that this was so it felt 206 00:09:47,360 --> 00:09:49,880 so different. I remember it so clearly. 207 00:09:49,880 --> 00:09:53,000 I was, I think I was a sophomore in high school when this came 208 00:09:53,000 --> 00:09:58,200 out and I just remember the the video for this and him on a real 209 00:09:58,200 --> 00:09:59,720 roads. And I just learned what a real 210 00:09:59,720 --> 00:10:02,920 roads was right around then, you know, and knowing like that was 211 00:10:02,920 --> 00:10:04,360 even that was a bit of a statement. 212 00:10:04,680 --> 00:10:09,880 It wasn't a digital, brand new, shiny and Sonic synthesizer, but 213 00:10:09,880 --> 00:10:13,120 it was this earthy, organic roads that Stevie Wonder played. 214 00:10:13,120 --> 00:10:15,640 You know, that kind of thing. It was the sound, it was the 215 00:10:15,640 --> 00:10:18,280 visual, but it was also, you know, somebody sitting at that 216 00:10:18,280 --> 00:10:20,720 instrument and connecting with the elders. 217 00:10:20,720 --> 00:10:23,080 You know what I mean? You know, Herbie in the 70s and 218 00:10:23,080 --> 00:10:24,440 stuff. Like he was making a statement 219 00:10:24,440 --> 00:10:26,720 with that. And the hip hop thing is too is, 220 00:10:26,800 --> 00:10:28,480 is I think I think it's legitimate. 221 00:10:28,480 --> 00:10:30,040 There's no like rapping on this album. 222 00:10:30,040 --> 00:10:32,360 No, there are a lot of four chord vamps on this album. 223 00:10:32,480 --> 00:10:34,840 Like this whole song is just this, these four chords that 224 00:10:34,840 --> 00:10:37,360 happen together and it's a lot. There's a few, few tracks like 225 00:10:37,360 --> 00:10:40,760 that on Brown Sugar and I think it does make for it seems like 226 00:10:40,760 --> 00:10:44,440 at any moment someone's about to come in and like spit a verse, 227 00:10:44,440 --> 00:10:46,040 you know what I mean? Like it's like it could happen 228 00:10:46,040 --> 00:10:47,240 it. Could totally fit over this. 229 00:10:47,440 --> 00:10:49,440 And it's kind of like D'Angelo and he talked about this. 230 00:10:49,440 --> 00:10:52,320 Something like his aesthetic, his connection with the music, 231 00:10:52,320 --> 00:10:54,440 the grooves, the beats, especially Tribe Called Quest, 232 00:10:55,480 --> 00:10:57,960 but also Jay Dillon, we're going to get into some of that, the 233 00:10:57,960 --> 00:10:59,560 connection with that a little bit later. 234 00:10:59,560 --> 00:11:04,800 But like he wanted that sound. But then he also like had a 235 00:11:04,840 --> 00:11:07,760 vision for like he'd already done demos of these mostly songs 236 00:11:08,040 --> 00:11:10,200 or at least half of them he wrote when he was like 1617 237 00:11:10,200 --> 00:11:13,360 years old in Richmond, VA in his bedroom, some of them with his 238 00:11:13,360 --> 00:11:14,800 brother. You know, he had like an in 239 00:11:14,800 --> 00:11:17,320 Sonic, one of those 4 tracks that he won when he came up to 240 00:11:17,320 --> 00:11:20,160 New York, the famous story about, you know, he's won the 241 00:11:20,160 --> 00:11:22,600 Apollo thing and everything. So like he had worked a lot of 242 00:11:22,600 --> 00:11:26,480 this music out and he wanted that sound and so that's 243 00:11:26,640 --> 00:11:30,520 actually how he connected. He asked I I think it was Ali 244 00:11:30,520 --> 00:11:34,320 Shaheed Muhammad or or somebody in tribe to connect him with Bob 245 00:11:34,320 --> 00:11:36,520 power, because he's like I like his sound like. 246 00:11:36,520 --> 00:11:39,840 So he the same way like later on Pinot Paladino, like he went 247 00:11:39,840 --> 00:11:42,760 into the to the to the B.B. King session. 248 00:11:42,760 --> 00:11:44,760 It was like, Oh my God, I've been looking for someone that 249 00:11:44,760 --> 00:11:46,000 loves James Jamerson as much as me. 250 00:11:46,000 --> 00:11:47,200 That's what I want. That's nice. 251 00:11:47,440 --> 00:11:48,880 Yeah. So I'm gonna put I'm gonna put 252 00:11:48,880 --> 00:11:51,120 out there also today. Not only is this an incredible 253 00:11:51,120 --> 00:11:55,840 record and D Angelo yes capital G with the genius, but also 254 00:11:55,840 --> 00:11:58,720 incredible visionary and bandleader. 100%. 255 00:11:58,720 --> 00:12:01,240 You know, I mean, he's 21 years old on this and like, we're 256 00:12:01,240 --> 00:12:02,760 gonna hear some live stuff that he did. 257 00:12:02,880 --> 00:12:05,800 And I remember like when he was on David Letterman, he went on 258 00:12:05,920 --> 00:12:07,960 AI mean, what was the what was the London show? 259 00:12:08,360 --> 00:12:10,400 Jules, Jules. Jules Holland. 260 00:12:10,400 --> 00:12:11,400 Jules Holland. Yeah, yeah. 261 00:12:11,480 --> 00:12:13,840 He went with the band man and he was like sitting at that rose 262 00:12:14,000 --> 00:12:16,320 and then he'd sing these lines and then come man it was. 263 00:12:16,320 --> 00:12:19,480 This is nothing program. This is why church musicians 264 00:12:19,680 --> 00:12:22,400 rule the world because they can do all that like they they they 265 00:12:22,400 --> 00:12:25,240 can back it up with some real playing and real live 266 00:12:25,240 --> 00:12:27,120 performance. Can I get a little music nerdy 267 00:12:27,120 --> 00:12:28,840 for our music Nerdy. And this is some nerdy. 268 00:12:28,840 --> 00:12:31,760 This is some weird nerd jiu jitsu because I'm going to use 269 00:12:31,760 --> 00:12:34,320 some nerdy stuff to encourage my music nerds out there. 270 00:12:34,920 --> 00:12:36,200 No, no, you got it. Do you know this tune? 271 00:12:36,200 --> 00:12:38,480 You know the change of tune? What key is it in here? 272 00:12:39,240 --> 00:12:40,360 Be minor. So be minor. 273 00:12:40,600 --> 00:12:43,960 So for my music nerds out there, don't be too precious with your 274 00:12:43,960 --> 00:12:45,400 keys, with your major in your minor. 275 00:12:45,400 --> 00:12:47,560 One of the, I think most powerful things about brown 276 00:12:47,560 --> 00:12:52,240 sugar, this is a few times when he's like, I guess high, the 277 00:12:52,240 --> 00:12:55,040 high, right, Which is like you're reaching up there. 278 00:12:55,040 --> 00:12:56,320 You're thinking that's going to be the minor. 279 00:12:56,320 --> 00:13:01,160 I guess high a few times he bends it up even more to the D 280 00:13:01,160 --> 00:13:02,200 sharp. Bends it up, yes. 281 00:13:02,200 --> 00:13:04,160 Can you play a B minor? Yeah, I guess. 282 00:13:04,600 --> 00:13:06,680 Hi. Yeah, hi. 283 00:13:07,440 --> 00:13:08,760 Bending it up, right. Bending it up. 284 00:13:08,760 --> 00:13:11,160 Even though the chord he's playing is minor, he's singing 285 00:13:11,160 --> 00:13:14,160 that major third over it. And not only do you like, does 286 00:13:14,160 --> 00:13:17,120 it not sound bad? It sounds amazing. 287 00:13:17,200 --> 00:13:19,920 It's it's like it brings you back into the cosmos, almost 288 00:13:19,920 --> 00:13:22,160 like it takes you to a new a new plane. 289 00:13:22,160 --> 00:13:24,640 I know that sounds grandiose, but this shit is grandiose, man. 290 00:13:24,800 --> 00:13:25,920 It's really. Good it is. 291 00:13:26,160 --> 00:13:29,040 And I mean, it's, it's a little bit overly simplistic to like 292 00:13:29,040 --> 00:13:30,360 call it. It is. 293 00:13:30,400 --> 00:13:31,360 It's bluesy. Yeah. 294 00:13:31,360 --> 00:13:32,320 It's. Stupid, but it is. 295 00:13:32,320 --> 00:13:33,600 But I mean like, it's that element, it's. 296 00:13:33,720 --> 00:13:37,040 The tradition of the Blues, that is, that major minor rub is what 297 00:13:37,040 --> 00:13:40,480 makes Western black American Music so amazing. 298 00:13:40,520 --> 00:13:42,920 Yeah, you know, it's what makes it so different and special. 299 00:13:43,360 --> 00:13:46,120 So this is the beginning. Just the vocals in the 300 00:13:46,120 --> 00:13:49,600 background. So you get this kind of studio 301 00:13:49,600 --> 00:13:52,640 chatter thing, you know, it's it's the Marvin Gaye. 302 00:13:52,640 --> 00:13:54,560 It's the Tribe Called. Quest Is that the Detroit Lions? 303 00:13:54,560 --> 00:13:56,680 Yeah. But it was with Marvin. 304 00:13:57,040 --> 00:14:00,640 But it's throughout the track and so it gives us this, you 305 00:14:00,640 --> 00:14:05,080 know, it's just like this. It keeps going on the whole time 306 00:14:05,120 --> 00:14:06,000 in a vibe. Yeah. 307 00:14:06,760 --> 00:14:07,840 No, it doesn't. Absolutely. 308 00:14:07,840 --> 00:14:08,840 Does it really? Yeah. 309 00:14:09,760 --> 00:14:12,320 And then later on, like when the backgrounds come in, you're not 310 00:14:12,320 --> 00:14:16,280 hearing it. Tribe stuff. 311 00:14:16,280 --> 00:14:17,160 There. Yeah, totally. 312 00:14:17,160 --> 00:14:22,280 Yeah, you hear it. And you know EMI famously, yeah, 313 00:14:22,280 --> 00:14:24,720 that was going on there. I had no idea. 314 00:14:25,360 --> 00:14:27,320 I mean, I heard in the beginning, but I I just didn't 315 00:14:27,320 --> 00:14:28,680 even realize. Yeah, you don't. 316 00:14:28,680 --> 00:14:31,040 Really know I mean, you notice it once you hear your. 317 00:14:31,040 --> 00:14:33,520 Smoldering or something. It's so it's like you're in the 318 00:14:33,520 --> 00:14:36,760 studio and it's it's got a certain and like some of these 319 00:14:36,760 --> 00:14:39,200 tracks, and we're going to even hear D'Angelo talk about this 320 00:14:39,600 --> 00:14:41,080 are very clean and they're killing. 321 00:14:41,080 --> 00:14:43,160 And it's like kind of the opposite of this is the one 322 00:14:43,160 --> 00:14:45,320 track, which is incredible because it's not, this wasn't 323 00:14:45,320 --> 00:14:47,000 the biggest hit, but this was one of the hits, right? 324 00:14:47,040 --> 00:14:48,360 It's got to be the biggest hit. Is it? 325 00:14:48,440 --> 00:14:49,760 I guess ladies probably the biggest. 326 00:14:49,760 --> 00:14:51,400 Yeah, yeah, lady. But this was the first single, 327 00:14:51,400 --> 00:14:53,520 though, and this was the one that he was doing on time when 328 00:14:53,520 --> 00:14:55,160 everybody was like, damn. I'll tell you what though, for 329 00:14:55,160 --> 00:14:57,440 me and my friends, this was the one, this track was the one, 330 00:14:57,440 --> 00:14:59,400 this is still, this is probably going to make it into the 331 00:14:59,400 --> 00:15:01,880 categories for me, this track. Yeah, no, it's so great. 332 00:15:02,040 --> 00:15:07,480 But I mean, and when he goes into like but you can still hear 333 00:15:07,480 --> 00:15:11,480 it, right? Once you hear it, you can't but 334 00:15:11,520 --> 00:15:14,920 but check out this base on the organ. 335 00:15:14,920 --> 00:15:18,200 This is just the left hand, or maybe it's with the feet. 336 00:15:19,240 --> 00:15:22,240 That's probably. The left, do you have a little 337 00:15:22,240 --> 00:15:25,680 filling games in there? That's the thing, man. 338 00:15:26,000 --> 00:15:29,480 He had all of it in there. He, he, it's one of those 339 00:15:29,480 --> 00:15:32,800 musicians. You would just love to talk to 340 00:15:32,800 --> 00:15:34,840 him about music and talking about his influences. 341 00:15:34,880 --> 00:15:36,800 Yeah, listen to music with him would be amazing. 342 00:15:36,960 --> 00:15:40,960 Yeah, You know, it's that organic feel, even though it's 343 00:15:40,960 --> 00:15:43,760 the program drums that like that, that tribe sounded that 344 00:15:43,760 --> 00:15:46,320 just, you know, it's loose. It's that loose production 345 00:15:46,320 --> 00:15:47,880 aesthetic too. And that's that chatter in the 346 00:15:47,880 --> 00:15:49,280 studio. It's just like we're falling 347 00:15:49,280 --> 00:15:51,360 into this thing. EMI was pissed about this. 348 00:15:51,360 --> 00:15:52,880 They were like, no, smooth it out, smooth out. 349 00:15:52,880 --> 00:15:55,600 And he had to really fight to keep this one on there. 350 00:15:55,720 --> 00:15:57,200 And because they were like, you're going to start that, they 351 00:15:57,200 --> 00:15:58,480 just going to be the first single. 352 00:15:58,760 --> 00:16:02,600 And they love the song, but they they thought it was too rough 353 00:16:02,600 --> 00:16:03,640 around the edges. They were wrong. 354 00:16:03,640 --> 00:16:06,640 I think they were wrong on that. OK, let's explore a little bit 355 00:16:06,640 --> 00:16:08,960 more. This is there's some great 356 00:16:09,960 --> 00:16:12,960 archive interviews, Red Bull Music Academy, which I don't 357 00:16:12,960 --> 00:16:15,480 think it exists anymore, but it was a wonderful interview. 358 00:16:15,560 --> 00:16:17,480 Like Red Bull, the energy. Drink the energy drink they're 359 00:16:17,480 --> 00:16:18,800 on. They were in the music interview 360 00:16:18,800 --> 00:16:21,560 business for a while. They won a skydiving F1. 361 00:16:21,800 --> 00:16:23,440 Yeah, D'Angelo. D'Angelo. 362 00:16:23,440 --> 00:16:25,400 But I mean, he did a wonderful interview. 363 00:16:25,520 --> 00:16:26,920 You know, he didn't do a lot of interviews. 364 00:16:26,920 --> 00:16:29,920 He was, he liked, he didn't like big crowds of people. 365 00:16:29,920 --> 00:16:33,160 Rafael Saadiq said that he was like, he liked to be, you know, 366 00:16:33,160 --> 00:16:35,640 even when he would record in the studio, especially later on, 367 00:16:35,640 --> 00:16:38,920 he'd have like a, you know, already a studio's like a cave 368 00:16:38,920 --> 00:16:40,440 usually like no windows or anything. 369 00:16:40,680 --> 00:16:43,480 And then in the vocals, when he was running vocals, he'd have 370 00:16:43,480 --> 00:16:46,600 like a sort of tent cave thing to like a, a cave within a cave. 371 00:16:46,600 --> 00:16:48,800 You know, he wanted to feel, he wanted, he didn't want people 372 00:16:48,800 --> 00:16:50,240 around. He wanted to concentrate. 373 00:16:50,480 --> 00:16:52,320 You know, he was never social media or anything. 374 00:16:52,320 --> 00:16:53,920 I mean, he was like, I get it. Yeah. 375 00:16:54,200 --> 00:16:57,040 But this is where he talks about what we mentioned before about 376 00:16:57,640 --> 00:16:59,160 coming to together with Bob Power. 377 00:16:59,160 --> 00:17:02,800 This is D'Angelo. Just about the entirety like of 378 00:17:02,800 --> 00:17:08,240 the first album, Brown Sugar. I wrote it the majority of that 379 00:17:08,240 --> 00:17:14,160 record in my bedroom in Richmond, and all of the demos 380 00:17:14,160 --> 00:17:20,560 for it were done on a four track in my bedroom. 381 00:17:21,800 --> 00:17:29,360 I think EMI was a little leery of me being in the studio 382 00:17:29,360 --> 00:17:32,360 producing it on my own, which is what I was fighting for. 383 00:17:33,440 --> 00:17:39,200 So it was important for them that I go on with someone, an 384 00:17:39,280 --> 00:17:41,800 engineer. Everyone was trying to pick, 385 00:17:41,800 --> 00:17:44,800 like you should get Prince's engineer or somebody else. 386 00:17:44,800 --> 00:17:49,400 And I picked Bob Power because of my love for Tribe and what 387 00:17:49,400 --> 00:17:54,560 they were doing and it was the best, It was the best thing to 388 00:17:54,560 --> 00:17:56,760 do. And he was so awesome. 389 00:17:56,760 --> 00:18:00,800 He taught me a lot. All of the demos that I had. 390 00:18:00,880 --> 00:18:06,040 Basically before we even set foot in the studio, we were at 391 00:18:06,040 --> 00:18:08,680 Bob Power's house for like 3 months. 392 00:18:09,280 --> 00:18:14,120 Like going over every detail, like tweaking every I had, every 393 00:18:14,120 --> 00:18:17,440 symbol, you name it. Wow. 394 00:18:17,920 --> 00:18:18,960 Yeah, so. That's amazing. 395 00:18:18,960 --> 00:18:20,400 I've never heard that. That's incredible. 396 00:18:20,720 --> 00:18:22,040 Yeah. And, you know, this is one of 397 00:18:22,040 --> 00:18:24,400 those records where they where it's listed. 398 00:18:24,400 --> 00:18:27,400 And this was the fashion at that time because people were 399 00:18:27,400 --> 00:18:30,080 actually doing it. Composed, written, arranged, 400 00:18:30,080 --> 00:18:34,480 produced and performed by D'Angelo, you know, which is 401 00:18:34,480 --> 00:18:36,400 like, you know, very much coming out of the Stevie Wonder 402 00:18:36,400 --> 00:18:39,560 tradition, but very much Prince, Prince, you know, coming out of 403 00:18:39,560 --> 00:18:41,160 that tradition. And then of course, there was 404 00:18:41,160 --> 00:18:43,720 other people on there. But you have to go across a 405 00:18:43,720 --> 00:18:46,040 certain threshold to be able to say that it doesn't mean you 406 00:18:46,040 --> 00:18:48,560 can't have little guitar, little trumpet, little which which is 407 00:18:48,560 --> 00:18:53,040 on here. You know, Rafael Saadiq killing 408 00:18:53,040 --> 00:18:55,200 guitar at bass. But I mean the fact that like 409 00:18:55,200 --> 00:18:59,280 everything, not only is is and he wrote almost everything too. 410 00:18:59,280 --> 00:19:03,600 I mean, there's the one cover cruising and there's a couple of 411 00:19:03,600 --> 00:19:04,880 collaborations. Great cover. 412 00:19:04,880 --> 00:19:09,880 Yes, his covers are amazing. A whole type of thing. 413 00:19:11,360 --> 00:19:13,440 But anyway, yeah, so I just wanted to kind of frame it on 414 00:19:13,440 --> 00:19:17,000 that that partnership with Bob Power and D'Angelo on this. 415 00:19:17,160 --> 00:19:18,480 Shall we move? On Yeah, let's check out the 416 00:19:18,480 --> 00:19:20,640 next track. Yeah, now this was oh man, I 417 00:19:20,640 --> 00:19:22,120 love this. I forgot for some reason. 418 00:19:22,640 --> 00:19:24,880 I would skip over this a little bit for some time. 419 00:19:25,040 --> 00:19:26,480 Oh, this is good. Man, but it's so good. 420 00:19:26,520 --> 00:19:29,080 I'm not saying it ain't good. I just, that's the joy of music, 421 00:19:29,080 --> 00:19:30,240 right? Coming back to it and you're 422 00:19:30,240 --> 00:19:35,520 like, all right. Shout out to some envelope 423 00:19:35,520 --> 00:19:38,400 filters on this album. Yeah, just full of little wow 424 00:19:38,560 --> 00:19:40,480 things. And that's Bob Power on guitar. 425 00:19:40,480 --> 00:20:08,600 This is just D'Angelo on Power. So good drunk programming. 426 00:20:11,600 --> 00:20:12,960 I think they out wendelled Wendell. 427 00:20:15,320 --> 00:20:18,440 Wendell who? That's all right, That's all 428 00:20:18,560 --> 00:20:22,600 right. We made for misunderstanding. 429 00:20:22,600 --> 00:20:24,080 That's all day. That's all day. 430 00:20:26,320 --> 00:20:28,800 Because you're mine, girl, and not you're married. 431 00:20:28,800 --> 00:20:29,840 That's your. Mind that's your. 432 00:20:30,320 --> 00:20:35,760 Mind girl, you're still trust me while we'll be all we'll be all 433 00:20:35,760 --> 00:20:40,040 and there's all we can do is just. 434 00:21:01,760 --> 00:21:03,600 That melody comes back a little bit too later. 435 00:21:05,400 --> 00:21:12,040 He uses that Lady as well, Yeah. The way they've got the vocals 436 00:21:12,040 --> 00:21:13,640 sitting in the mix in the backgrounds. 437 00:21:13,640 --> 00:21:15,480 We're going to check them out separately because they're it's 438 00:21:15,480 --> 00:21:19,480 so well setting in there. You almost, I mean, like when 439 00:21:19,480 --> 00:21:21,960 you turn it down, you kind of hear it almost better, you know, 440 00:21:22,760 --> 00:21:24,720 and all of these, I mean, this is Wah Wah Watson. 441 00:21:24,720 --> 00:21:26,160 That's that's what power is doing. 442 00:21:26,160 --> 00:21:29,200 He's channeling, you know, the great guitar, you know. 443 00:21:31,000 --> 00:21:33,600 Amazing. The placement of the drum. 444 00:21:35,040 --> 00:21:37,000 And this is the thing, D'angelo's 21 years old. 445 00:21:37,000 --> 00:21:40,400 I mean, he was, you know, I never got a chance to meet him, 446 00:21:40,400 --> 00:21:42,920 but I was kind of around him a couple of times in the same room 447 00:21:43,160 --> 00:21:47,080 and he had that aura, like that old soul aura. 448 00:21:47,080 --> 00:21:47,960 I. Mean you could hear it in the 449 00:21:47,960 --> 00:21:49,440 music. You could hear it in the music 450 00:21:49,480 --> 00:21:51,240 and like and hear. Him talking too, you could hear 451 00:21:51,240 --> 00:21:52,440 it. You hear him talking like that 452 00:21:52,440 --> 00:21:55,360 was authentically who he was. And like when we come across 453 00:21:55,760 --> 00:21:58,840 these artists, these geniuses, you know, and certainly he was 454 00:21:58,840 --> 00:22:01,360 celebrated. And, and since his passing last 455 00:22:01,360 --> 00:22:04,920 year, we're it it, it may feel like whereas everybody's 456 00:22:04,920 --> 00:22:08,400 celebrating even more. And, and you know, 1 wonders is 457 00:22:08,400 --> 00:22:12,480 like, man, do we understand the loss You can you ever under like 458 00:22:12,680 --> 00:22:16,280 when, when it's a you, you can't quantify it with three records 459 00:22:16,480 --> 00:22:18,440 or 4. You know, it's not about that. 460 00:22:18,440 --> 00:22:22,280 It's like the presence of somebody that gave their art, 461 00:22:22,440 --> 00:22:26,280 you know, willingly in a way that was like authentic to them, 462 00:22:26,280 --> 00:22:29,600 certainly, and their old soulless, his old soulless, but 463 00:22:29,600 --> 00:22:31,360 also like the work, like he said, he's like, we sat there 464 00:22:31,360 --> 00:22:33,880 for three months sweating every detail on this. 465 00:22:33,960 --> 00:22:36,080 Yeah, you can hear it, people. Understand, it's like, and he 466 00:22:36,080 --> 00:22:38,760 could have like you see him on those live performances, he's 467 00:22:38,760 --> 00:22:40,040 killing and we're going to listen to some. 468 00:22:40,400 --> 00:22:42,120 I mean, it's not like they couldn't have just gone with the 469 00:22:42,120 --> 00:22:45,120 band, but like he didn't have the vision actualized yet, 470 00:22:45,320 --> 00:22:46,440 right? It was still up here. 471 00:22:46,600 --> 00:22:49,920 And then he's meeting, you know, Ali, Bob Power, the different 472 00:22:49,920 --> 00:22:52,480 people, you know, Rafael Saadiq, you know. 473 00:22:52,560 --> 00:22:55,880 I, I think he is one of the, and, and you know the, we always 474 00:22:55,880 --> 00:22:59,800 say like, you know, we only got 3 studio albums from him, but 475 00:22:59,800 --> 00:23:02,240 it's because we only got 3 studio albums because there's 476 00:23:02,240 --> 00:23:06,680 five years between Brown Sugar and Voodoo and then what, 1213 477 00:23:06,680 --> 00:23:09,960 years between Voodoo and Black Messiah, something like that. 478 00:23:10,000 --> 00:23:12,280 Yeah, maybe 14, maybe 14, something like that. 479 00:23:12,680 --> 00:23:17,200 And we, we get 3 studio albums, but it's like such a clear case 480 00:23:17,240 --> 00:23:22,080 of, you know, the sort of early and then mid and then later 481 00:23:22,080 --> 00:23:25,080 stages of a great artist career that we see in other artists. 482 00:23:25,080 --> 00:23:27,720 I've actually been thinking about this in terms of even like 483 00:23:27,720 --> 00:23:31,080 film directors with as I've been listening to Brown Sugar and 484 00:23:31,080 --> 00:23:33,840 Voodoo this week, honestly, and black Messiah this week too. 485 00:23:33,840 --> 00:23:36,480 I listened to once, but like I've been thinking about people 486 00:23:36,760 --> 00:23:38,440 like, you know, these two directors. 487 00:23:38,600 --> 00:23:42,200 It's almost Oscar season here, Peter in 2026 and it's 488 00:23:42,200 --> 00:23:44,440 like, you know, everybody's talking about sinners and 1 489 00:23:44,440 --> 00:23:46,560 battle after another and Ryan Coogler and Paul Thomas 490 00:23:46,560 --> 00:23:48,480 Anderson. And I think there's like you get 491 00:23:48,480 --> 00:23:51,440 to see in D Angelo's studio albums like the evolution of 492 00:23:51,440 --> 00:23:56,080 this amazing artist happened so clearly where this album is his 493 00:23:56,080 --> 00:23:58,280 like Fruitvale Station, his creed. 494 00:23:58,520 --> 00:24:00,240 Like it's like, wait, who is this? 495 00:24:00,720 --> 00:24:02,760 What is this idea? Yeah, you know, this like 496 00:24:02,760 --> 00:24:05,360 someone is new with a real vision and idea. 497 00:24:05,360 --> 00:24:07,560 And they're not only that, but they're, they're pulling it off 498 00:24:07,560 --> 00:24:09,240 like they're able to execute it right. 499 00:24:09,240 --> 00:24:10,680 Oh. Is this his music of my mind? 500 00:24:11,120 --> 00:24:14,160 This is like his his music of my mind. 501 00:24:14,160 --> 00:24:16,440 This is his off the wall. Yeah. 502 00:24:16,800 --> 00:24:20,000 And then you get voodoo, which is like so with with brown 503 00:24:20,000 --> 00:24:21,080 sugar. The reason why I say that like 504 00:24:21,080 --> 00:24:23,880 it's the beginning is because it's so amazing. 505 00:24:23,880 --> 00:24:26,960 It's so good. But he's about to like realize 506 00:24:26,960 --> 00:24:29,720 what this vision is on a such a deeper level because of the 507 00:24:29,720 --> 00:24:32,840 experience that he has with Brown with brown sugar, which is 508 00:24:32,840 --> 00:24:34,200 like what every artist does, right? 509 00:24:34,440 --> 00:24:37,240 Is like they come in with all these great ideas, but it takes 510 00:24:37,240 --> 00:24:40,040 a few years to marinate sometimes and like learn some 511 00:24:40,040 --> 00:24:42,040 lessons. As he talks to, I think he's 512 00:24:42,040 --> 00:24:44,360 talked about how this album, he's like learning lessons about 513 00:24:44,360 --> 00:24:45,560 how to produce and how to do things. 514 00:24:45,920 --> 00:24:48,840 And then then you get Voodoo five years later and it's like, 515 00:24:49,080 --> 00:24:51,920 oh, he has not only does he have it totally figured out and he's 516 00:24:51,920 --> 00:24:55,360 got a real purpose with it, but the culture has also caught up 517 00:24:55,360 --> 00:24:57,200 to him, right? It's like, it's like a little 518 00:24:57,200 --> 00:24:59,240 bit with music in my mind where the culture kind of wasn't ready 519 00:24:59,240 --> 00:25:01,680 for Stevie that that first album. 520 00:25:01,800 --> 00:25:04,120 But by the time he gets to inner visions, everybody's like, OK, 521 00:25:04,680 --> 00:25:05,960 we get it now and we're here with you. 522 00:25:05,960 --> 00:25:09,880 And by the time D'Angelo gets to Voodoo, it's like, oh, this is 523 00:25:09,880 --> 00:25:11,640 amazing. And also he's speaking 524 00:25:11,880 --> 00:25:13,600 artistically. He's found this voice. 525 00:25:13,840 --> 00:25:16,760 And then you have that the later period of for him, which is 526 00:25:17,040 --> 00:25:20,080 sadly for him, I feel like there was probably more to come that 527 00:25:20,080 --> 00:25:22,120 we just didn't get because he tragically passed away. 528 00:25:22,120 --> 00:25:23,760 So maybe. Still some stuff coming I'm 529 00:25:23,760 --> 00:25:25,040 hearing. Oh wow. 530 00:25:25,120 --> 00:25:28,200 OK. But Black Messiah is a lot, to 531 00:25:28,200 --> 00:25:32,000 me, as musically energetic as these first two. 532 00:25:32,560 --> 00:25:34,240 There's a little more wisdom, There's a little more 533 00:25:34,240 --> 00:25:36,400 interesting Spectin. Spectin, There's a little more, 534 00:25:36,400 --> 00:25:38,360 honestly. He's Black Messiah, which I hope 535 00:25:38,360 --> 00:25:41,120 we listen to someday here. He gets so sophisticated with 536 00:25:41,120 --> 00:25:43,520 the arranging, the orchestration, you know, he's 537 00:25:43,520 --> 00:25:46,720 really stretching the strings. The tonal color palettes that 538 00:25:46,720 --> 00:25:50,600 he's using on that one are of a very experienced, seasoned 539 00:25:50,600 --> 00:25:52,320 person who's made some amazing music. 540 00:25:52,640 --> 00:25:54,960 And it's like, usually you get this in 10 albums, right? 541 00:25:55,000 --> 00:25:58,000 And we get it in three with D'Angelo, or you get it in like 542 00:25:58,000 --> 00:25:59,560 with directors, right? It's like you got Fruitful 543 00:25:59,560 --> 00:26:02,640 Station, you got Creed, Creed 2, and then you got Black Panther. 544 00:26:02,640 --> 00:26:05,400 And now that's like, you know, Cooglers voodoo, right? 545 00:26:05,400 --> 00:26:08,280 And then and then now sinners is in this like classic period, 546 00:26:08,280 --> 00:26:10,200 like this like peak period or whatever. 547 00:26:10,840 --> 00:26:14,120 Listen, Coogler might have like another three films that he's 548 00:26:14,160 --> 00:26:18,800 he's really PTA is like in his later period for sure, like 549 00:26:19,400 --> 00:26:21,520 there will be blood is definitely his voodoo kind of 550 00:26:21,520 --> 00:26:23,240 thing. But man, I love thinking about 551 00:26:23,240 --> 00:26:25,880 that because I think there is just in our lives, we change, we 552 00:26:25,880 --> 00:26:30,320 go through these stages and it's so cool that art so consistently 553 00:26:30,320 --> 00:26:32,840 reflects that with most people. It's really cool. 554 00:26:32,840 --> 00:26:34,640 Yes, absolutely. And I mean, look, we can't 555 00:26:34,640 --> 00:26:36,640 compare. It's it's like with these great 556 00:26:36,640 --> 00:26:38,840 artists, it's it's a quality play. 557 00:26:38,840 --> 00:26:42,680 It's not a quantity play. The, the quantity varies as, as, 558 00:26:42,680 --> 00:26:45,440 as you, as you mentioned with the different film makers, 559 00:26:45,440 --> 00:26:47,720 different artists, you know, Prince, somebody incredibly 560 00:26:47,720 --> 00:26:51,760 prolific, obviously, you know, keeping that quality level. 561 00:26:52,080 --> 00:26:54,680 But I mean, the, The thing is a true artist like sticks with 562 00:26:54,680 --> 00:26:57,520 like what is given to them? What is, what is the higher 563 00:26:57,520 --> 00:27:00,560 power giving to you? And what is the cadence that you 564 00:27:00,560 --> 00:27:02,360 can do that? And that's whatever it is. 565 00:27:02,360 --> 00:27:05,040 There's no playbook for that. So it's like we celebrate what 566 00:27:05,040 --> 00:27:06,880 we're what we're giving when what comes out of that. 567 00:27:08,240 --> 00:27:10,320 So on that before we move on from all right, I just wanted to 568 00:27:10,320 --> 00:27:12,120 play a little bit of the rhythm section on here then, because 569 00:27:12,120 --> 00:27:14,040 we're going to listen to the vocals and I wanted to give a 570 00:27:14,040 --> 00:27:17,560 shout out to, you know, D'Angelo and Bob Power, who's playing 571 00:27:17,560 --> 00:27:18,840 guitar. This is D'Angelo doing all the 572 00:27:18,840 --> 00:27:24,120 rhythm section, you know, isolated. 573 00:27:24,120 --> 00:27:29,600 You can really use some of that roads or that whirly 574 00:27:42,200 --> 00:27:51,120 that why off the timing on it. But I really do think that this 575 00:27:51,120 --> 00:27:54,960 is like because of these these really interesting groups, I 576 00:27:54,960 --> 00:27:57,480 think at the time there was a little bit like, people love 577 00:27:57,480 --> 00:27:58,720 this record and we're like, whoa. 578 00:27:58,920 --> 00:28:00,960 But there was a little bit of sentiment now that I remember 579 00:28:00,960 --> 00:28:03,080 back, just like O'Neill, especially once they got that 580 00:28:03,080 --> 00:28:05,800 term out there, which was early, it was kind of like, oh, this is 581 00:28:05,800 --> 00:28:08,040 just a throwback. And now it's going to be a fad. 582 00:28:08,280 --> 00:28:09,840 You know, everything that's old comes around. 583 00:28:09,840 --> 00:28:11,800 This is like going to the thrift store and getting the Metallica 584 00:28:11,800 --> 00:28:13,640 T-shirt and and that kind of thing. 585 00:28:13,800 --> 00:28:15,960 But like what? And you're talking about it 586 00:28:15,960 --> 00:28:17,400 taking time for people to catch up. 587 00:28:17,800 --> 00:28:20,720 That's what had to catch up was like, Oh, no, this was not just 588 00:28:20,960 --> 00:28:23,880 like, I'm going to look like try to dress like Marvin Gaye and 589 00:28:24,320 --> 00:28:26,200 and wish that I was living in the 70s. 590 00:28:26,200 --> 00:28:29,160 You know, it was like it was the IT was about the process of 591 00:28:29,160 --> 00:28:32,360 making a record, a very intentional record, taking those 592 00:28:32,360 --> 00:28:34,440 influences, but not just those influences. 593 00:28:34,440 --> 00:28:37,600 Some of the the 90s, late 80s hip hop grooves and stuff and 594 00:28:37,600 --> 00:28:39,840 putting it together in something that had never been heard 595 00:28:39,840 --> 00:28:43,120 before, which got coined neo soul, But it was it it that's 596 00:28:43,120 --> 00:28:46,160 not just what it was. And I mean, you know, his gospel 597 00:28:46,160 --> 00:28:48,040 chops and roots. We're going to go back and just 598 00:28:48,040 --> 00:28:52,560 listen to the the vocals. I don't want to tell you that 599 00:28:52,560 --> 00:28:54,240 this is stunning because that'll give it away. 600 00:28:54,240 --> 00:28:56,600 But to me, sue me, I think this is great. 601 00:28:57,200 --> 00:28:59,760 No, it's like I was saying in the mix, the vocals are so well 602 00:28:59,760 --> 00:29:01,320 set that they're they're not lost. 603 00:29:01,320 --> 00:29:03,080 But if you're not like on a killer system at the right 604 00:29:03,080 --> 00:29:04,760 volume, you don't hear it like this. 605 00:29:04,760 --> 00:29:08,520 That's all. Right, we made from 606 00:29:08,520 --> 00:29:13,240 misunderstanding. That's OK, that's OK, because 607 00:29:13,440 --> 00:29:16,520 you're my girl and now you're mad and that's just fun. 608 00:29:16,520 --> 00:29:28,040 That's just we'll be all because all we can do is just talk for. 609 00:29:47,280 --> 00:29:49,160 I'm a sucker and they gave it that space. 610 00:29:49,200 --> 00:29:57,800 They gave it that space. I'm glad you mentioned Marvin 611 00:29:57,800 --> 00:29:59,880 intro in your intro because there's a lot of Marvin. 612 00:29:59,880 --> 00:30:03,440 There Oh for sure, for sure, but I mean that Bo Doo Doo Doo hey 613 00:30:03,600 --> 00:30:06,120 like. And then he he pulled back on 614 00:30:06,120 --> 00:30:08,360 any backgrounds there? Like this is as much about the 615 00:30:08,360 --> 00:30:09,920 arrangement. Like when you see things that 616 00:30:10,080 --> 00:30:12,240 listed like vocal arrangements, you're just like, oh, yeah, he's 617 00:30:12,240 --> 00:30:13,400 singing all the parts. Of course. 618 00:30:13,520 --> 00:30:14,760 What is he got to claim everything? 619 00:30:14,880 --> 00:30:17,200 It's like, yeah, that that's all up in it. 620 00:30:17,200 --> 00:30:19,800 Like, what do you leave out so that things can shine? 621 00:30:19,960 --> 00:30:21,880 But man, I could sit here and like, we're not going to do it 622 00:30:21,880 --> 00:30:23,480 because we got a whole killer album. 623 00:30:24,000 --> 00:30:25,640 We got Jones in my bones next, man. 624 00:30:30,120 --> 00:30:32,560 And. It's different every time. 625 00:30:33,760 --> 00:30:35,160 And you know what's interesting about this? 626 00:30:37,680 --> 00:30:40,880 So he was able to put these backgrounds, he would be record 627 00:30:40,880 --> 00:30:43,200 the lead vocal, then he'd come in one at a time and layer these 628 00:30:43,200 --> 00:30:44,640 on. And they were not like written 629 00:30:44,640 --> 00:30:45,840 out. They were arranged, but they're 630 00:30:45,840 --> 00:30:47,440 arranged up here. And then he'd listen. 631 00:30:47,440 --> 00:30:51,760 And then he'd add, what, 2, two years later, maybe three years 632 00:30:51,760 --> 00:30:56,200 later when he met Roy Hargrove and they started working 633 00:30:56,200 --> 00:30:58,760 together, he realized, and again, this is the cure. 634 00:30:58,760 --> 00:31:01,800 This is D'Angelo, the curator, the bandleader, the producer, 635 00:31:01,800 --> 00:31:05,240 that like the playing chess, that like, Roy could do that. 636 00:31:05,240 --> 00:31:07,000 Yeah. With the trumpet background. 637 00:31:07,560 --> 00:31:09,480 And he gave him that space in the arrangement. 638 00:31:09,480 --> 00:31:11,800 He's like, OK, just add in what you hear in there. 639 00:31:11,800 --> 00:31:13,840 And you could say like, oh, yeah, we happen to be around a 640 00:31:13,840 --> 00:31:15,240 great trumpet player. So it all came together. 641 00:31:15,240 --> 00:31:18,320 But knowing how to place that and and to give him that space 642 00:31:18,720 --> 00:31:20,320 changes. Yeah. 643 00:31:21,600 --> 00:31:23,840 OK. Yeah. 644 00:31:23,840 --> 00:31:26,680 You like that, didn't you? OK, now we're going to go on to 645 00:31:27,520 --> 00:31:31,760 Jones and My Bones. Envelope filter. 646 00:31:31,840 --> 00:31:38,200 Yeah, and this is a little shades of voodoo black Masai 647 00:31:38,200 --> 00:31:39,320 made. This is Russell Lovato. 648 00:31:39,320 --> 00:31:43,920 Make sure this not Bob powered we're and this is D'Angelo 649 00:31:43,920 --> 00:31:57,080 playing everything. Do you like fat with pH bass? 650 00:31:57,080 --> 00:31:58,280 Yeah, I do. I do I. 651 00:31:58,320 --> 00:31:59,880 Remember when I heard the bass on this album? 652 00:31:59,880 --> 00:32:12,120 I was like, come on. 653 00:32:12,600 --> 00:32:16,800 But it's like 45 seconds of just like vibing before the groove 654 00:32:16,800 --> 00:32:44,080 comes in. Yeah, this is really closer to 655 00:32:44,080 --> 00:32:46,240 the voodoo vibes if this were like Questlove. 656 00:32:46,480 --> 00:32:48,160 Yeah. You could have this on Voodoo 657 00:32:48,440 --> 00:32:50,400 and a little right some Roy. Backgrounds. 658 00:32:50,400 --> 00:32:51,680 Exactly. You could hear this. 659 00:32:51,680 --> 00:32:52,600 Yeah. And this is, you know, the 660 00:32:52,600 --> 00:32:55,920 beginning. Russell Lovato, who we go on to 661 00:32:55,920 --> 00:32:59,480 work with, you know, mixing and tracking most of Voodoo, maybe 662 00:32:59,480 --> 00:33:02,400 all of it. And Black Messiah, really, you 663 00:33:02,400 --> 00:33:05,080 know, part and parcel with D'angel from this. 664 00:33:05,080 --> 00:33:07,520 So this is kind of cool to hear. He's on a couple of these tracks 665 00:33:08,400 --> 00:33:11,160 mixing, but you get that sound and those ideas, that creative 666 00:33:11,160 --> 00:33:12,760 input. OK? 667 00:33:12,920 --> 00:33:17,000 So don't, don't say your famous thing. 668 00:33:17,000 --> 00:33:18,360 I'm gonna turn that off, but I'm give it to you, right? 669 00:33:18,520 --> 00:33:21,560 Right. Again in a second, OK, I want to 670 00:33:21,560 --> 00:33:25,120 talk about another record here, which is like, why do we need to 671 00:33:25,120 --> 00:33:26,920 talk about another record? This is a killing record, a 672 00:33:26,920 --> 00:33:30,080 little thing called Live at the Jazz Cafe in London. 673 00:33:30,080 --> 00:33:33,280 I love this record. And to me, and it came out, I 674 00:33:33,280 --> 00:33:34,920 mean it, well, it came out a couple years later. 675 00:33:34,920 --> 00:33:36,680 It's kind of a weird. One of the greatest live albums 676 00:33:36,680 --> 00:33:39,360 ever. Yeah, but they recorded it in I 677 00:33:39,360 --> 00:33:42,120 believe it's September. It's definitely like in the 678 00:33:42,120 --> 00:33:46,480 fall, just a couple months after Brown Sugar came out and they 679 00:33:46,480 --> 00:33:47,800 played a lot of the songs off of this. 680 00:33:47,880 --> 00:33:50,040 You know, he was doing a lot of press and just a few gigs. 681 00:33:50,040 --> 00:33:51,240 He was doing some touring though. 682 00:33:51,520 --> 00:33:53,840 But I got to tell you, for a couple months, for a new artist 683 00:33:53,840 --> 00:33:57,080 that's 21 years old, to get to the level that this band was at 684 00:33:57,080 --> 00:33:59,160 with his playing and singing is amazing. 685 00:33:59,160 --> 00:34:00,960 So we're going to reference on a couple of these tracks because 686 00:34:00,960 --> 00:34:02,720 this is the thing. This is great, what we just 687 00:34:02,720 --> 00:34:06,760 heard. I love this intro like that 688 00:34:06,760 --> 00:34:12,960 melodic material is so great, but it's very clean. 689 00:34:13,159 --> 00:34:16,880 It's very, you know, a lot of affectation, studio, not 690 00:34:16,880 --> 00:34:18,360 trickery, but studio sound on it. 691 00:34:18,679 --> 00:34:21,600 OK, so let me just play that one more time because I do like it. 692 00:34:22,080 --> 00:34:23,880 You can have that, but wouldn't you rather? 693 00:34:23,880 --> 00:34:37,800 Oh, man, come on. 694 00:34:38,480 --> 00:34:43,920 In a little club, Bass. So it's gone from his head now. 695 00:34:46,159 --> 00:34:51,920 I'll check this. I'll push. 696 00:34:52,159 --> 00:34:54,480 Come on, put the jerk up on my temple. 697 00:34:54,480 --> 00:35:21,000 What is it on my temple? So look, this is not about like 698 00:35:21,040 --> 00:35:22,720 wait. Was I there in a Kangol bucket 699 00:35:22,720 --> 00:35:23,840 hat? I feel like I might have been 700 00:35:23,840 --> 00:35:25,240 there in a. Kangol bed and this. 701 00:35:25,680 --> 00:35:30,840 Was 95, yeah. 95 September 95 Jazz Cafe, which is in Camden in 702 00:35:30,840 --> 00:35:33,640 London and really cool place. I, I played there a couple 703 00:35:33,640 --> 00:35:35,680 times. I couldn't imagine what a mob 704 00:35:35,680 --> 00:35:37,920 seat it must have been because this is like, you know, he had, 705 00:35:38,000 --> 00:35:42,000 he had hits out. And but the idea of like that 706 00:35:42,000 --> 00:35:44,480 you can go from just a few months before. 707 00:35:44,600 --> 00:35:46,960 I mean, I probably recorded maybe a year before, but within 708 00:35:46,960 --> 00:35:49,960 the year of, of that kind of sound in your mind and then 709 00:35:49,960 --> 00:35:52,680 putting it and then to actualize it with the whole band. 710 00:35:52,680 --> 00:35:54,920 I think it's just, it's just fantastic. 711 00:35:54,920 --> 00:35:57,400 So yes, I do like that record. We'll be hearing more from it. 712 00:35:58,360 --> 00:36:00,440 Should we move on? Yeah, me and those dreaming eyes 713 00:36:00,440 --> 00:36:02,240 of mine. This is an amazing song man I 714 00:36:02,240 --> 00:36:03,680 love this. One this is another good one. 715 00:36:03,680 --> 00:36:05,760 That's good, by the way, this whole album, like I was just 716 00:36:05,760 --> 00:36:07,400 about to say this first half is so good. 717 00:36:07,760 --> 00:36:11,400 So is the second-half. Like there's not a bad song on. 718 00:36:11,440 --> 00:36:14,200 I mean, there's no bad songs. I mean D'Angelo, but there's no 719 00:36:15,120 --> 00:36:16,680 let up. I know they're all bangers. 720 00:36:16,680 --> 00:36:18,440 I know I. Thought that there was, there's. 721 00:36:18,440 --> 00:36:21,160 No, there's no. But upon further listen, I was 722 00:36:21,160 --> 00:36:23,560 like, I had a lot, a lot of trouble finding any kind of 723 00:36:24,160 --> 00:36:27,360 drop, not weakness, but just drop me and those dreaming eyes 724 00:36:27,360 --> 00:36:42,600 of mine. Country. 725 00:36:43,280 --> 00:36:50,480 Power. That Hammond, Come on, you. 726 00:36:51,080 --> 00:36:54,040 Know when you have the bass that's so sub bass heavy? 727 00:36:54,040 --> 00:36:55,720 Yeah. Some of the most powerful things 728 00:36:55,720 --> 00:36:58,840 that it does is leave space. Like those breaks between notes 729 00:36:58,840 --> 00:37:00,040 are so important. Yes. 730 00:37:01,640 --> 00:37:06,240 But to place in the mix and just keep that power of that low end 731 00:37:06,240 --> 00:37:08,680 on the organ is very difficult technically, technically. 732 00:37:25,480 --> 00:37:31,520 Quartet. It goes so hard. 733 00:37:31,520 --> 00:37:33,320 This whole album goes so hard man. 734 00:37:33,520 --> 00:37:37,360 I'm gonna blow your mind if you like this song. 735 00:37:38,760 --> 00:37:40,360 My brother got his energy back. Come on. 736 00:37:40,360 --> 00:37:52,680 High 5 D'Angelo, the master of the small little dude. 737 00:37:52,960 --> 00:37:55,920 The small melodic riff. Well, you know who that is It 738 00:37:55,920 --> 00:37:58,000 reminds me of anyway. It's Donny Hathaway. 739 00:37:58,600 --> 00:38:02,000 Donny Hathaway on all of those albums, those live albums, his 740 00:38:02,000 --> 00:38:04,400 roads playing, the whirly playing where he's doing those 741 00:38:04,400 --> 00:38:06,080 little riffs in between his own singing. 742 00:38:06,680 --> 00:38:08,280 I think there's a lot of that in this man. 743 00:38:08,280 --> 00:38:12,880 And and you can just hear that that that influence in it, man. 744 00:38:13,000 --> 00:38:14,680 That's a great call. So good, great call. 745 00:38:14,920 --> 00:38:17,080 OK if I can find this since since you like this I wasn't 746 00:38:17,080 --> 00:38:19,120 planning on this so I have to find it but if you like that. 747 00:38:19,560 --> 00:38:23,320 Oh, I love that. Yeah, this. 748 00:38:26,960 --> 00:38:28,480 Is with Angie Stone singing background? 749 00:38:30,680 --> 00:38:32,240 That'd be nice to have Angie Stone in your back. 750 00:38:39,080 --> 00:38:43,280 Groove activated. Hey. 751 00:38:43,560 --> 00:38:59,120 The bed backgrounds This is this is a killing band. 752 00:39:01,360 --> 00:39:04,720 Dynamics, All of his live bands were always killing. 753 00:39:04,720 --> 00:39:06,800 It's like Prince, like he had you were. 754 00:39:06,920 --> 00:39:09,000 You're so right. In one of his many talents, 755 00:39:09,000 --> 00:39:12,720 besides obviously like singing and creating music, was picking 756 00:39:12,720 --> 00:39:14,920 personnel. And then leading it and yeah, 757 00:39:14,960 --> 00:39:17,000 but not leading like D'Angelo. And I know some people have 758 00:39:17,000 --> 00:39:19,760 played with him and stuff. It's like it was very much from 759 00:39:19,760 --> 00:39:22,480 the keyboard, from the mic. But that is such a like those 760 00:39:22,480 --> 00:39:25,360 dynamics, those. And it's very easy to be like, 761 00:39:25,360 --> 00:39:27,680 oh, look who he had. He had, you know, you know, from 762 00:39:27,720 --> 00:39:30,240 from this band up to, you know, Chris, Dave and Pinot band. 763 00:39:30,440 --> 00:39:32,040 It's like, oh, you got these great musicians. 764 00:39:32,040 --> 00:39:33,600 No, you still got to pull that shit together. 765 00:39:34,000 --> 00:39:37,320 And you know, we we've seen this before, especially back when I 766 00:39:37,320 --> 00:39:39,560 mean this is the thing. I don't want to be I don't want 767 00:39:39,560 --> 00:39:40,960 to I don't want to old man it up in here. 768 00:39:41,040 --> 00:39:43,040 Do it boomer time. OK, now we're going to do a 769 00:39:43,040 --> 00:39:45,760 little bit boomer time. No, but it's like not that 770 00:39:45,760 --> 00:39:49,320 there's many bands or acts that could release an album now and 771 00:39:49,320 --> 00:39:52,000 then go out on what is it? I don't know, and then go out on 772 00:39:52,000 --> 00:39:54,920 tour and you know, a couple months later with the hits from 773 00:39:54,920 --> 00:39:56,560 that. But we've we used to see this a 774 00:39:56,560 --> 00:39:58,880 lot like people and it's like you're going out and doing gigs 775 00:39:58,880 --> 00:40:01,400 and even great artists. What would happen if you go to 776 00:40:01,400 --> 00:40:03,040 see them? It would not be as good as the 777 00:40:03,040 --> 00:40:05,920 album because they didn't have the technology to cover it up 778 00:40:05,920 --> 00:40:08,240 back then. That's part of it and it's just 779 00:40:08,240 --> 00:40:09,440 they didn't have their shit together yet. 780 00:40:09,440 --> 00:40:11,920 It was hard to recreate it. The fact that three months later 781 00:40:11,920 --> 00:40:15,000 he's out with the band, I would say arguably doing this better 782 00:40:15,000 --> 00:40:17,040 than on the record. It's really good. 783 00:40:17,040 --> 00:40:18,840 You know what I mean? That's that's that's at 20. 784 00:40:18,840 --> 00:40:21,040 One, I'll argue with it about with you about that point, but 785 00:40:21,040 --> 00:40:23,720 it's it's I think as good as a live album is. 786 00:40:23,840 --> 00:40:25,160 Yeah, I mean, it's different, of course. 787 00:40:25,160 --> 00:40:26,320 You've got people and this is a cool. 788 00:40:26,320 --> 00:40:27,640 I mean, it was a cool gig, you know? 789 00:40:28,400 --> 00:40:31,040 OK, so me and those dreaming eyes, I'm glad you liked this 790 00:40:31,040 --> 00:40:33,240 because this was like, I kind of forgot about this. 791 00:40:33,560 --> 00:40:35,880 But this was a big like remix. This was actually the most. 792 00:40:35,920 --> 00:40:37,760 This is the the era of the remix, you know? 793 00:40:37,840 --> 00:40:40,480 Well, it still exists, but it was really like, like the prime 794 00:40:40,480 --> 00:40:42,320 time for that. And so there's a couple good 795 00:40:42,320 --> 00:40:45,000 ones. Do you want to hear #1 or #2 you 796 00:40:45,000 --> 00:40:47,280 don't know what they are. I mean, I'm going to give you #1 797 00:40:47,280 --> 00:40:50,640 what if something happens? This is Jay Dilla 1997. 798 00:40:54,440 --> 00:41:07,320 This, this is dope. Might be better than the 799 00:41:07,320 --> 00:41:18,040 original. I've never heard this Man. 800 00:41:18,040 --> 00:41:20,240 Where have I been on my life? This. 801 00:41:25,760 --> 00:41:30,360 The contrast for that Dilla snare sample and those those. 802 00:41:30,360 --> 00:41:31,680 Keys. This is the greatest thing I've 803 00:41:31,680 --> 00:41:34,160 ever heard. This is the greatest thing I've 804 00:41:34,160 --> 00:41:40,360 ever heard. That chromatic chord. 805 00:41:40,600 --> 00:41:42,440 Figure that shit out. Peter, What is that? 806 00:41:42,440 --> 00:41:46,120 I want to know. I don't want. 807 00:42:04,280 --> 00:42:06,040 Crunchy. So nasty so. 808 00:42:06,440 --> 00:42:13,960 Good man Dylan's base no choices are so weird and wonderful. 809 00:42:13,960 --> 00:42:15,360 News flash, Jay Dylan was a great news. 810 00:42:15,360 --> 00:42:21,000 No, no, but like what his and like in the cracks and then what 811 00:42:21,000 --> 00:42:25,920 he's leaving off we got we got to get Kareem Briggins on this 812 00:42:25,920 --> 00:42:28,800 show to break this stuff down and and put his own. 813 00:42:32,000 --> 00:42:34,640 He's got a Kareem Briggins has a great new album out right now 814 00:42:34,640 --> 00:42:37,320 with a producer named Liv. You featured it on Gina. 815 00:42:37,320 --> 00:42:38,440 It's incredible. Yeah, on. 816 00:42:39,240 --> 00:42:41,560 Fresh fresh take Fridays. OK, if you like that. 817 00:42:41,560 --> 00:42:43,720 OK, this is dangerous. It's it's bad to play any other. 818 00:42:43,720 --> 00:42:45,240 This one's good too. But I'm have to feel I should 819 00:42:45,240 --> 00:42:47,360 have played. I should have reversed it but 820 00:42:47,360 --> 00:42:50,280 this is Eric Sermon which I always loved his stuff. 821 00:42:51,600 --> 00:42:52,680 And Redmond. Yeah. 822 00:42:52,680 --> 00:42:55,080 And Redmond, Yeah, yeah. Redmond. 823 00:42:55,200 --> 00:43:04,360 Redmond, Joshua Redmond. This was now we're in the 90s, 824 00:43:04,360 --> 00:43:05,480 early 90s. Come on. 825 00:43:05,960 --> 00:43:09,280 I'm here all day for this. Don't tell me with a good time. 826 00:43:09,440 --> 00:43:11,600 This might not have come out tonight, but there's still some 827 00:43:11,600 --> 00:43:27,280 of these around then. Damn Peter deep cuts. 828 00:43:27,280 --> 00:43:29,200 Here, man, Great pants. That's how we do it. 829 00:43:29,400 --> 00:43:31,480 Wow, this stuff's not even on the record, but yeah, anyway. 830 00:43:31,480 --> 00:43:33,760 So that one, that one was the most remixed one for whatever. 831 00:43:33,760 --> 00:43:37,720 It's enough to make me say like shit, damn motherfucker. 832 00:43:39,360 --> 00:43:40,960 Which happens to be the name of the next. 833 00:43:40,960 --> 00:43:42,200 Yeah, we're not just potty mouths. 834 00:43:42,320 --> 00:43:45,280 We're what's funny is wasn't this the wait mid 90s? 835 00:43:45,280 --> 00:43:47,200 This was like the tip of Gore. Tip of. 836 00:43:49,320 --> 00:43:50,600 Gore, this was the What was your thing? 837 00:43:50,600 --> 00:43:53,360 Just say no, no that. Was parental advisory stickers. 838 00:43:53,400 --> 00:43:55,320 Yeah, this, this one, definitely. 839 00:43:55,320 --> 00:43:58,880 I took it off, but it was definitely on it Yes. 840 00:43:58,880 --> 00:44:03,040 OK, so now we're coming to shit. Damn motherfucker. 841 00:44:03,080 --> 00:44:07,480 And this, this is like this is just D'Angelo and Bob Power. 842 00:44:07,480 --> 00:44:10,640 You're seeing a a outside of the two of the cuts. 843 00:44:10,720 --> 00:44:12,440 A real pattern on this. This is hard. 844 00:44:12,440 --> 00:44:15,240 This might be my favorite track. Every track when I once I hear 845 00:44:15,240 --> 00:44:17,440 it and I'm in it is my favorite track, but this one is the one I 846 00:44:17,440 --> 00:44:20,040 think about a lot. Do you like a nice nasty 847 00:44:20,040 --> 00:44:22,240 cheating song? Yes, that's what this is. 848 00:44:23,720 --> 00:44:25,520 It might be my favorite genre of song. 849 00:44:26,000 --> 00:44:27,160 Nasty cheating song? Yeah. 850 00:44:28,560 --> 00:44:30,480 Borderline murder Boozy. Murder. 851 00:44:30,480 --> 00:44:36,800 Big payback, yeah. Yeah, I mean, it's it's ominous. 852 00:44:36,800 --> 00:44:40,560 It's it's creepy, not creepy. It's it's nefarious already, 853 00:44:40,560 --> 00:44:45,520 right. And I love to build on this. 854 00:44:47,480 --> 00:44:51,960 Double it. That's crazy. 855 00:44:51,960 --> 00:44:56,280 And then a little jazzy release, like, like maybe it's not true. 856 00:44:56,400 --> 00:44:57,600 They're tipping. Oh, it's true. 857 00:44:57,600 --> 00:45:09,440 No, we've been power. It ain't even started yet. 858 00:45:12,560 --> 00:45:14,320 What happened to this? What happened for a minute of 859 00:45:14,400 --> 00:45:15,800 just vibing? Can we do that are. 860 00:45:22,040 --> 00:45:27,040 You sleeping with a woman? OK. 861 00:45:28,280 --> 00:45:30,040 It's a great question. It's a great. 862 00:45:30,040 --> 00:45:32,200 Question. It's valid man. 863 00:45:32,200 --> 00:45:35,920 This is the most direct tracked. There's no. 864 00:45:36,280 --> 00:45:41,960 Allegory or simile or metaphor? Why are you sleeping with my 865 00:45:41,960 --> 00:45:43,760 woman? It's not even a setup of I came 866 00:45:43,760 --> 00:45:45,760 home early from work. There's none of that. 867 00:45:45,920 --> 00:45:48,280 And apparently, damn. And you know what? 868 00:45:49,280 --> 00:45:51,920 He he that Would you not feel that way? 869 00:45:52,000 --> 00:45:53,160 Yeah. It's not what you'd say. 870 00:45:53,160 --> 00:45:53,520 Shit. Damn. 871 00:45:53,720 --> 00:45:56,760 What the? Be the first thing I would say. 872 00:45:56,760 --> 00:45:59,480 Apparently people ask D'Angelo like in interviews with this all 873 00:45:59,480 --> 00:46:01,320 blew up or like, what's the story all that? 874 00:46:01,320 --> 00:46:03,000 They're like, what do you mean? They're like in Virginia, this 875 00:46:03,000 --> 00:46:13,280 happens all the time. He's like, that's oh, float on 876 00:46:13,280 --> 00:46:15,320 into the next purse. I mean this might be. 877 00:46:15,640 --> 00:46:17,880 Motherfucker, how do you make it sound so pretty? 878 00:46:18,720 --> 00:46:21,000 I used to think that was an ugly word, but not after this. 879 00:46:21,880 --> 00:46:23,480 That's so good, man, That's so good. 880 00:46:23,840 --> 00:46:24,840 Let's keep going. I could. 881 00:46:24,840 --> 00:46:26,840 I could talk forever about. It well, I could also say if you 882 00:46:26,840 --> 00:46:29,440 like that, wouldn't you live? Version. 883 00:46:31,280 --> 00:46:34,120 This is 1. That it is cool that there's 884 00:46:34,120 --> 00:46:35,760 like the studio version. Made. 885 00:46:36,760 --> 00:46:38,200 The studio version is hard to beat. 886 00:46:38,400 --> 00:46:40,520 It's great that you're showing this, like, because this came 887 00:46:40,520 --> 00:46:42,080 out right as the album was coming. 888 00:46:42,080 --> 00:46:48,560 Out the tipping part is hit on this. 889 00:46:48,560 --> 00:46:57,240 I think they just go harder. I think I saw a shark. 890 00:46:57,240 --> 00:47:01,160 I don't know if it was shark. I mean. 891 00:47:01,280 --> 00:47:03,560 They go big man. In a live context, it makes so 892 00:47:03,560 --> 00:47:12,520 much sense. So good, so good. 893 00:47:13,760 --> 00:47:15,600 I want to get this smooth because we have. 894 00:47:15,920 --> 00:47:18,520 I want to just, I just want to, I want to go, I want to go sit 895 00:47:18,760 --> 00:47:21,560 in front of the Jazz Cafe in Camden and London with, with 896 00:47:21,560 --> 00:47:25,480 some B&O headphones on and just listen to this with my eyes 897 00:47:25,480 --> 00:47:27,000 closed. I don't care if I get robbed. 898 00:47:27,000 --> 00:47:28,840 I don't care what they if it rains every day. 899 00:47:28,840 --> 00:47:30,840 I don't care, Suey. OK. 900 00:47:31,080 --> 00:47:32,360 What'd you say? You heard it here folks. 901 00:47:32,360 --> 00:47:35,880 London, be on the lookout. No, I want to get to smooth 902 00:47:35,880 --> 00:47:37,880 because we actually have not only do have a friend of the 903 00:47:37,880 --> 00:47:40,120 show, actually a couple friends of the show on this. 904 00:47:40,120 --> 00:47:42,400 Friends of mine, we. Actually interviewed the 905 00:47:42,400 --> 00:47:44,720 guitarist on this next track back up you remember the 906 00:47:44,720 --> 00:47:47,160 remember the I'm going to take you back to 2020 Peter January 907 00:47:47,160 --> 00:47:48,280 2020 was. It still out? 908 00:47:48,280 --> 00:47:49,200 No, this was. After no. 909 00:47:49,320 --> 00:47:50,560 January 2020? Yes. 910 00:47:50,960 --> 00:47:53,320 Before the COVID pandemic. What's that? 911 00:47:53,320 --> 00:47:55,640 When we, you, me and our good friend Sean Wilde, we're in New 912 00:47:55,640 --> 00:47:57,480 Orleans. Yes, New Orleans is what we were 913 00:47:57,480 --> 00:47:59,760 saying back then. And we were at the Gen. 914 00:47:59,760 --> 00:48:04,480 Conference and we interviewed 1 Mark Whitfield for this show. 915 00:48:04,600 --> 00:48:05,680 Yes, we did. Do you remember that? 916 00:48:05,680 --> 00:48:07,400 I absolutely do. Now that you've reminded me. 917 00:48:07,400 --> 00:48:08,760 I remembered it. I remember that's where it was. 918 00:48:08,760 --> 00:48:10,160 That was great. Well, you, we're going to hear 919 00:48:10,160 --> 00:48:11,080 right at the beginning of the strike. 920 00:48:11,080 --> 00:48:19,000 This is Mark Whitfield. Just cutting like a dagger 921 00:48:19,000 --> 00:48:20,000 through there. Mark Whitfield. 922 00:48:20,080 --> 00:48:23,160 Man, his whole personality. Personality. 923 00:48:23,880 --> 00:48:25,600 Shredding, shredding. Yeah. 924 00:48:29,600 --> 00:48:36,560 And this is. The groove what? 925 00:48:36,560 --> 00:48:40,200 Gene Lake on the drums, Larry Grenadier on the bass. 926 00:48:41,000 --> 00:48:42,640 At this time, the Brad Mehldau Trio. 927 00:48:44,640 --> 00:48:48,160 OK, I I got to just play. This is one of the great little 928 00:48:48,160 --> 00:48:50,920 like to me. This is almost like, well, I 929 00:48:50,920 --> 00:48:54,880 think Larry said something about this like it's almost like Count 930 00:48:54,880 --> 00:48:56,800 Basie where you're like, oh, that's so simple, but it's so 931 00:48:56,800 --> 00:48:58,840 perfect. But this little line, this piano 932 00:48:58,840 --> 00:49:01,120 line, and this is some of the, there's not a lot of acoustic 933 00:49:01,120 --> 00:49:03,440 piano that D'Angelo plays on this record, but there is some. 934 00:49:03,680 --> 00:49:06,360 And this is some of, but this little, little melody line, it's 935 00:49:06,360 --> 00:49:08,880 just so perfect. And I was saying like, I like, 936 00:49:08,880 --> 00:49:11,920 well, I'm going to play it and I'll tell you what. 937 00:49:18,800 --> 00:49:21,240 Tinkly Basie that Tinkly Ahmad Jamal. 938 00:49:21,240 --> 00:49:24,840 What would I have played? You. 939 00:49:24,840 --> 00:49:26,080 You would have marked Whitfield. The hell. 940 00:49:26,080 --> 00:49:29,880 Out I would have but and then the the sort of not antithesis, 941 00:49:29,880 --> 00:49:33,280 but the the the the contrary, the contrast to what Whitfield 942 00:49:33,280 --> 00:49:34,880 just played for sure Oh so great. 943 00:49:35,320 --> 00:49:39,480 And this minor 65. It's a little. 944 00:49:40,560 --> 00:49:41,720 Sneaky. Jazz, right? 945 00:49:43,080 --> 00:49:45,840 Definitely jazzy. It's like Henry Mancini, like, 946 00:49:46,440 --> 00:50:05,840 is it jazz? Sharp 9 chord there. 947 00:50:05,840 --> 00:50:09,280 Yeah. There's a great piano solo on 948 00:50:09,280 --> 00:50:12,080 this too, yeah. Yeah, we're going to get to that 949 00:50:12,080 --> 00:50:14,280 a little later. As in the categories though. 950 00:50:14,280 --> 00:50:18,560 So, I mean, could D Angelo have been it could have been a jazz 951 00:50:18,560 --> 00:50:20,600 pianist, almost. Interesting you would say that, 952 00:50:20,640 --> 00:50:22,320 yes. And I, I don't know that this is 953 00:50:22,320 --> 00:50:24,800 a pivotal point, but this is straight from D Angelo's mouth 954 00:50:24,800 --> 00:50:27,280 talking about a really interesting thing from the same 955 00:50:27,840 --> 00:50:30,000 interview we heard earlier, which was I believe from like 956 00:50:30,000 --> 00:50:32,000 around 2014, something like that. 957 00:50:33,080 --> 00:50:37,240 I'm going to pass you to this guy at VCU who still. 958 00:50:37,480 --> 00:50:39,240 Yeah, in Virginia, who still taught at VCU. 959 00:50:39,240 --> 00:50:44,640 It was Ellis Marsalis, Wynton's father, who's still teaching at 960 00:50:45,280 --> 00:50:50,760 VCU, and I went and auditioned for Ellis Marsalis and James 961 00:50:50,760 --> 00:50:52,840 Moody. Matter of fact, James Moody was 962 00:50:52,840 --> 00:51:01,960 up there and I was like 1314 and got on the piano and I played. 963 00:51:02,520 --> 00:51:05,840 I played the Anita Baker song because it was the jazziest song 964 00:51:05,840 --> 00:51:06,640 I could think of. That's so. 965 00:51:06,840 --> 00:51:12,600 Funny. Or so I put in the Baker and you 966 00:51:12,600 --> 00:51:16,040 know, they were impressed and like, Ah, that's good young 967 00:51:16,040 --> 00:51:20,640 blood and wow, I was like, you're so you know, are you 968 00:51:20,640 --> 00:51:22,880 going to teach me? So I get to you know, it's like, 969 00:51:23,720 --> 00:51:25,200 Nah, I'm I'm getting ready to leave. 970 00:51:25,200 --> 00:51:28,000 So he's getting ready to leave that year and go teach back in 971 00:51:28,000 --> 00:51:30,160 New Orleans. So I never got a chance to 972 00:51:30,680 --> 00:51:35,760 really get any like jazz training or what have you like 973 00:51:35,760 --> 00:51:37,720 that. But I always felt like that was 974 00:51:37,720 --> 00:51:42,160 a good thing that I didn't why? Because it it would have changed 975 00:51:42,160 --> 00:51:45,960 my whole style, I would have changed my whole style of plan. 976 00:51:45,960 --> 00:51:48,360 That's what it meant to be, I guess. 977 00:51:48,800 --> 00:51:51,000 Yeah, man, what a what a wise old soul. 978 00:51:51,000 --> 00:51:52,880 I mean, it's kind of like, you know, I. 979 00:51:52,880 --> 00:51:54,640 Mean, it's a real sliding doors moment. 980 00:51:54,640 --> 00:51:58,080 You know, if Ellis Marsalis is there for another three years 981 00:51:58,080 --> 00:51:59,360 and he's like, yeah, let's do it. 982 00:52:00,040 --> 00:52:03,280 I mean, D'Angelo could have been Sullivan Fortner before Sullivan 983 00:52:03,280 --> 00:52:04,760 Fordner, you know what I mean? Like I know. 984 00:52:05,760 --> 00:52:07,600 It's like, what do you expose? Like, wait, wait, where's the 985 00:52:07,600 --> 00:52:09,120 intersection? Serendipity, right? 986 00:52:09,560 --> 00:52:11,160 It's like, what? What's meant to be? 987 00:52:11,280 --> 00:52:13,840 We just mentioned two 90s ROM coms, by the way, sliding door 988 00:52:13,840 --> 00:52:16,800 serendipity, so shout out, but yeah, it is It is like. 989 00:52:16,800 --> 00:52:20,040 Shut up, Matthew McConaughey, I. Also meant I wouldn't be lying 990 00:52:20,040 --> 00:52:22,520 if I thought sometimes the same thing about me, like if I didn't 991 00:52:22,520 --> 00:52:27,040 have a band director shout out Jeff Melcha in my sophomore year 992 00:52:27,040 --> 00:52:28,560 in high school. Thanks a lot for all the Herbie 993 00:52:28,560 --> 00:52:29,840 Hancock CD's, man. Yeah. 994 00:52:29,920 --> 00:52:32,240 No, but I mean someone who's pointing me towards straight 995 00:52:32,240 --> 00:52:35,920 ahead jazz very heavily and got me lessons and those lessons led 996 00:52:35,920 --> 00:52:39,040 to gigs really early and that led to a path of this, that and 997 00:52:39,040 --> 00:52:40,960 the other. Like, I wonder about that 998 00:52:40,960 --> 00:52:43,880 Sliding doors moment, and I wonder too, about the money. 999 00:52:44,640 --> 00:52:47,080 Well, yeah, I know. More or less I don't know. 1000 00:52:47,520 --> 00:52:49,320 I'm kidding. No, but but you know, maybe 1001 00:52:49,320 --> 00:52:50,560 that's a little bit what he's talking about. 1002 00:52:50,560 --> 00:52:53,480 It's like there is like a limiting mindset sometimes, not 1003 00:52:53,600 --> 00:52:57,400 in jazz musicians ever, but in like the jazz industry about 1004 00:52:57,400 --> 00:53:00,680 what it could be, what the sound is, how how broad it is. 1005 00:53:00,680 --> 00:53:03,120 And there's not in other in other forms of the music. 1006 00:53:03,120 --> 00:53:04,160 You know what's crazy about this? 1007 00:53:04,160 --> 00:53:08,680 I just realized like I had met Ellis Marsalis right before this 1008 00:53:08,680 --> 00:53:12,640 when I was in high school and I was actually thinking about 1009 00:53:13,440 --> 00:53:15,240 going. I've met Wint Marsalis before 1010 00:53:15,240 --> 00:53:16,920 that He had talked about, you know, you should, you should 1011 00:53:16,920 --> 00:53:19,080 study with my dad. He could show, he'll show he 1012 00:53:19,080 --> 00:53:21,000 because Wint was helping with different things every time he 1013 00:53:21,000 --> 00:53:24,320 come to Saint Louis and was a mentor to me and to Minnie. 1014 00:53:24,560 --> 00:53:27,800 And he's like, you should study. And then I think he told me or I 1015 00:53:27,800 --> 00:53:31,120 found out that Ellis had gotten this position at VCU in 1016 00:53:31,120 --> 00:53:32,880 Virginia. And when I was thinking about, 1017 00:53:33,160 --> 00:53:35,040 you know, going to music school, I really want to play jazz. 1018 00:53:35,040 --> 00:53:36,360 And I was like, can I go to New York? 1019 00:53:36,520 --> 00:53:40,040 But there wasn't like there was jazz programs, but not like 1020 00:53:40,040 --> 00:53:42,600 there is today. And so I kind of had my mind on 1021 00:53:42,600 --> 00:53:44,680 it. And I remember calling because 1022 00:53:44,680 --> 00:53:48,240 you used to have to call on the telephone and say hello, you 1023 00:53:48,240 --> 00:53:50,320 know. Yeah, a little bit. 1024 00:53:50,320 --> 00:53:51,920 I was. It's Mr. Marsalis. 1025 00:53:52,080 --> 00:53:55,560 But I called him and was like, I, I'd love Ellis Ellis. 1026 00:53:55,800 --> 00:53:58,320 Ellis Marsalis, in fact, went and gave me his number in 1027 00:53:58,320 --> 00:54:00,160 Virginia and I called him on a landline. 1028 00:54:00,160 --> 00:54:02,120 We were going landline to landline back there with my 1029 00:54:02,120 --> 00:54:02,720 friend. Yeah. 1030 00:54:03,320 --> 00:54:06,160 And I remember we talked, he's like, yeah, well, you know, the 1031 00:54:06,160 --> 00:54:08,400 program, he kind of discouraged me 'cause he's like, I'm not 1032 00:54:08,400 --> 00:54:11,200 really sure about the program or how much longer I'm going to be 1033 00:54:11,200 --> 00:54:11,720 here. Wow. 1034 00:54:11,920 --> 00:54:14,200 And then I heard this guy playing Anita Baker in the 1035 00:54:14,200 --> 00:54:15,840 background. Now it's all coming together. 1036 00:54:16,040 --> 00:54:18,000 No, I didn't hear that. But he discouraged me. 1037 00:54:18,000 --> 00:54:20,240 And sure enough, the next year he went back to your own, 1038 00:54:20,240 --> 00:54:23,000 started the program at the. Same time for you and D Angelo, 1039 00:54:23,000 --> 00:54:24,800 we're both talking about he was. Yeah. 1040 00:54:25,080 --> 00:54:27,840 Well, actually now that I just put that together, me and like 1041 00:54:27,840 --> 00:54:30,520 100 other. Like Sliding doors moment you 1042 00:54:30,520 --> 00:54:33,560 could have gone to music school studying with Ellis Marsalis and 1043 00:54:33,720 --> 00:54:35,880 been a peer of. Well, more more importantly, I 1044 00:54:35,880 --> 00:54:37,680 could have been hanging with D'Angelo and made it on this 1045 00:54:37,680 --> 00:54:41,240 record, but yeah, no, but I was. That is crazy. 17. 1046 00:54:41,720 --> 00:54:43,480 Yeah, it was. 17 that it is crazy. 1047 00:54:43,880 --> 00:54:45,720 It is crazy. I'm not by the way, I'm not 1048 00:54:45,720 --> 00:54:47,800 trying to discourage anybody from a career in jazz at all. 1049 00:54:48,040 --> 00:54:49,320 It is just an interesting thought. 1050 00:54:49,320 --> 00:54:51,480 It's like, I mean, for all of us, it's like you get on these 1051 00:54:51,480 --> 00:54:55,720 paths and like just one decision gets made or one person points 1052 00:54:55,720 --> 00:54:58,200 you in a direction and like, you know, now that's your whole 1053 00:54:58,200 --> 00:55:00,080 life. I think D'Angelo was and look, 1054 00:55:00,080 --> 00:55:03,200 I'm projecting some, this is not like I'm not a journalist and I, 1055 00:55:03,280 --> 00:55:05,280 I didn't know him. I know a lot of people that know 1056 00:55:05,280 --> 00:55:07,400 him and I've heard the same stories most people have. 1057 00:55:07,720 --> 00:55:09,840 But you just got the feeling from listening to interviews and 1058 00:55:09,840 --> 00:55:11,600 researching for this and listen to his music. 1059 00:55:11,600 --> 00:55:14,160 And when you love somebody's music so much, you do start to 1060 00:55:14,160 --> 00:55:16,360 project certain things on. Of course, I may be doing that, 1061 00:55:16,680 --> 00:55:18,280 but I have the feeling he's just one of those people. 1062 00:55:18,280 --> 00:55:21,320 We all know people like this that they're just so damn good 1063 00:55:21,600 --> 00:55:25,960 at, like doing what they're supposed to do in this world. 1064 00:55:26,320 --> 00:55:28,440 You know, they don't get caught up with like what you're saying, 1065 00:55:28,440 --> 00:55:32,080 like, like you're even questioning. 1066 00:55:32,320 --> 00:55:34,560 You know, if I had in my band, like, I don't think he 1067 00:55:34,560 --> 00:55:36,480 questioned. He's just like, no, I didn't. 1068 00:55:36,480 --> 00:55:37,440 Say it just wasn't meant to be it. 1069 00:55:37,440 --> 00:55:39,640 Wasn't meant and then later on I'm I'm willing to wait till 1070 00:55:39,640 --> 00:55:42,720 later on to have that filled in when that other door opens like 1071 00:55:42,720 --> 00:55:45,080 just to give themselves and that's a very rare thing. 1072 00:55:45,080 --> 00:55:47,240 I'm not good at that at all. No, to be perfectly clear, I 1073 00:55:47,240 --> 00:55:49,320 think I'm I'm exactly where I should be. 1074 00:55:49,320 --> 00:55:52,280 Like just with all my skills have luckily come together to be 1075 00:55:52,280 --> 00:55:54,120 sitting in front of this microphone with you, my friend. 1076 00:55:54,400 --> 00:55:57,320 But it is it is these interesting moments that happen 1077 00:55:57,360 --> 00:55:59,600 early in our life that dictate the rest of our life. 1078 00:55:59,800 --> 00:56:02,480 Man, it's like I think about and I connect D'Angelo so much with 1079 00:56:02,480 --> 00:56:06,280 Roy Hargrove and, and they their musical camaraderie and their, 1080 00:56:06,440 --> 00:56:09,080 their brotherhood through the music and kind of like, you 1081 00:56:09,080 --> 00:56:12,000 know, this intersection of hip hop, soul, jazz, gospel, that 1082 00:56:12,000 --> 00:56:14,600 they were both such just so much innately. 1083 00:56:14,600 --> 00:56:16,360 And then Raphael Saadiq. Like these different people that 1084 00:56:16,360 --> 00:56:18,480 come together where they're just like they're, you're connected 1085 00:56:18,480 --> 00:56:22,400 and you know it, you know? OK, Peter, this next track. 1086 00:56:23,080 --> 00:56:24,080 Cruising. Cruising. 1087 00:56:24,320 --> 00:56:27,200 I love the original Smokey Robinson. 1088 00:56:27,240 --> 00:56:29,760 Yeah, Susan, I'm not going to sue you Cruising together. 1089 00:56:29,880 --> 00:56:31,920 Let's do. It and I love this porn. 1090 00:56:33,560 --> 00:56:34,880 You would not be the first to say that. 1091 00:56:35,720 --> 00:56:38,520 On both, I mean those both are amazing, but this is. 1092 00:56:38,600 --> 00:56:42,240 And #3 the highest level. Is this at the Jazz Cafe? 1093 00:56:42,280 --> 00:56:46,160 No, they didn't do this also. It's like we're now in the back 1094 00:56:46,160 --> 00:56:49,480 half of the album. Yeah, perfect place for a color. 1095 00:56:49,480 --> 00:56:51,760 #7 out of 10. Perfect spot. 1096 00:56:51,840 --> 00:56:55,680 Just when you're like, OK, I'm learning all these new songs. 1097 00:56:55,680 --> 00:56:57,280 I've never heard these sounds before. 1098 00:56:57,600 --> 00:56:59,880 Have a little Smokey Robin. Oh man, you know, have a little 1099 00:56:59,880 --> 00:57:00,920 childhood. How can we all? 1100 00:57:00,960 --> 00:57:03,040 Can we gather on the fire the soul fireplace? 1101 00:57:03,040 --> 00:57:17,360 Come on, kids. And this one's interesting too, 1102 00:57:17,360 --> 00:57:20,800 because this is I think, the only track is entirely played, 1103 00:57:20,800 --> 00:57:27,160 produced everything by D Angelo, and I think it's the one with 1104 00:57:27,160 --> 00:57:34,560 strings, too. Now let's go Dominant 7. 1105 00:57:37,400 --> 00:57:50,520 Dominant 4. I mean, I think about this was 1106 00:57:50,520 --> 00:57:52,120 from 1979, right? Yeah. 1107 00:57:52,120 --> 00:57:54,800 I think about his choice of covers on these first two 1108 00:57:54,800 --> 00:57:56,360 albums. He does this on Brown Sugar and 1109 00:57:56,360 --> 00:57:59,920 he does feel like making love that Roberta Flack made famous 1110 00:57:59,920 --> 00:58:04,080 from from. That first take. 1111 00:58:04,280 --> 00:58:05,720 It was that first take, I think. Yeah, yeah. 1112 00:58:06,320 --> 00:58:09,160 And it just shows you. I mean, it backs up what we're 1113 00:58:09,160 --> 00:58:12,920 talking about here, his love for those 70s soul music that sound, 1114 00:58:12,920 --> 00:58:15,360 you know, are. Both of those right up there 1115 00:58:15,360 --> 00:58:19,080 with the originals. I think both of those for me, in 1116 00:58:19,080 --> 00:58:22,360 my humble opinion, I like better than the original and I know I 1117 00:58:22,360 --> 00:58:24,960 got some Flack when I said that about Feel like Making Love when 1118 00:58:24,960 --> 00:58:28,360 we did our Voodoo album. I stand by it, man, that version 1119 00:58:28,360 --> 00:58:31,880 of Feel like Making love on Voodoo is it might. 1120 00:58:32,000 --> 00:58:34,080 I mean, it's one of the better tracks on that whole album is 1121 00:58:34,080 --> 00:58:35,400 great, which is full of great tracks. 1122 00:58:35,400 --> 00:58:38,000 Another no no skip album, you know what I mean? 1123 00:58:38,080 --> 00:58:40,520 So. I think too like it's it's hard 1124 00:58:40,520 --> 00:58:44,360 for us to remember like how revolutionary or evolutionary 1125 00:58:44,400 --> 00:58:48,120 like the sound of this record you really hear on this track in 1126 00:58:48,120 --> 00:58:50,400 mid 90s R&B when you talk about boys demand. 1127 00:58:50,400 --> 00:58:52,200 Mariah Carey was huge. Yes, Sir. 1128 00:58:52,680 --> 00:58:54,600 I mean, there's great records out of this time, but this was. 1129 00:58:54,600 --> 00:58:56,360 Like, no, all of those artists were amazing. 1130 00:58:56,360 --> 00:58:58,080 Jodeci Yeah, like all that stuff. 1131 00:58:58,080 --> 00:58:59,520 I. Couldn't Landis Morrissette had 1132 00:58:59,720 --> 00:59:01,320 probably the biggest record of this period? 1133 00:59:01,640 --> 00:59:03,280 R&B Landis. Morrissette No, but I'm just, 1134 00:59:03,440 --> 00:59:05,120 you know, the Jagged Little R&B and Jason. 1135 00:59:05,120 --> 00:59:07,240 That was a huge monster album, but yeah, yeah. 1136 00:59:07,720 --> 00:59:09,400 Man, there were some people like me listening to. 1137 00:59:09,400 --> 00:59:11,480 I had both those CDs my friend. Jagged Little Pill. 1138 00:59:11,560 --> 00:59:12,680 Absolutely. You had Jagged. 1139 00:59:12,680 --> 00:59:15,680 I love that record. I had That was actually a year 1140 00:59:15,680 --> 00:59:17,720 before this though wasn't. It no, I was 90. 5 Was that OK? 1141 00:59:17,720 --> 00:59:19,400 I think so, yeah. I was a good record. 1142 00:59:20,800 --> 00:59:22,800 Cool. Cool. 1143 00:59:22,800 --> 00:59:23,720 Cruising. I like it. 1144 00:59:24,240 --> 00:59:24,920 I love it. Yeah. 1145 00:59:25,280 --> 00:59:27,480 OK. Hey Peter, we were just talking 1146 00:59:27,480 --> 00:59:30,760 about that feel like making love from D'angelo's Voodoo album. 1147 00:59:31,280 --> 00:59:34,080 Did you know that I did a whole lesson on that song? 1148 00:59:34,080 --> 00:59:36,760 That version of the song, all of the harmonic moves, the mobile 1149 00:59:36,760 --> 00:59:37,720 interchange that happened. It's. 1150 00:59:37,720 --> 00:59:38,800 Great, remember I was here. With you. 1151 00:59:38,840 --> 00:59:40,880 But yeah. Oh yeah, on my course, the 1152 00:59:40,880 --> 00:59:43,360 Harmony Games Unlimited at Open Studio Jazz. 1153 00:59:43,960 --> 00:59:48,120 And just today, literally this morning as I speak this, I 1154 00:59:48,120 --> 00:59:51,160 recorded a lesson on the last track of Brown Sugar Higher, 1155 00:59:51,160 --> 00:59:53,440 also from that course. Yeah. 1156 00:59:53,760 --> 00:59:55,000 How many games Unlimited. Yeah. 1157 00:59:55,000 --> 00:59:57,000 We're not just jazz here. We're jazz adjacent. 1158 00:59:57,000 --> 00:59:59,480 We're we're soul. We what we like to do is take 1159 00:59:59,480 --> 01:00:02,280 that lens of jazz and shine it does a lens shine. 1160 01:00:02,280 --> 01:00:03,560 We don't know. We're looking at it. 1161 01:00:03,800 --> 01:00:06,440 We're looking through that jazz lens because it exposes so much 1162 01:00:06,440 --> 01:00:10,160 great stuff in soul music, R&B, great music. 1163 01:00:10,240 --> 01:00:12,240 That's right. So if you're looking to not just 1164 01:00:12,240 --> 01:00:16,000 enjoy the great music of people like D'Angelo, Stevie Wonder, 1165 01:00:16,200 --> 01:00:19,160 and jazz musicians too like Bill Evans, Duke Ellington, Herbie 1166 01:00:19,160 --> 01:00:23,080 Hancock, Miles Davis, check out open studiojazz.com. 1167 01:00:23,080 --> 01:00:27,120 Go to open studiojazz.com/yhi to start your free trial. 1168 01:00:27,120 --> 01:00:35,040 That's open studiojazz.com/yhi for your jazz lesson needs. 1169 01:00:35,360 --> 01:00:40,480 There he is, back to the show. OK, we're moving on to track #8 1170 01:00:41,120 --> 01:00:43,720 we got a little more jazz. I I have this listed as jazzy #2 1171 01:00:43,720 --> 01:00:46,360 for sure OK, there might even be a little straight up swing on 1172 01:00:46,360 --> 01:00:49,160 this when we get by. This is another one of the Russ 1173 01:00:49,160 --> 01:00:51,560 Elavado mixes, just for those of you following at. 1174 01:00:51,560 --> 01:00:52,680 Home. Shout out to Russ Elavado. 1175 01:00:52,680 --> 01:00:55,160 We didn't talk about enough on him enough on the voodoo 1176 01:00:55,800 --> 01:00:57,640 episode, although we did talk about him a lot. 1177 01:00:57,640 --> 01:00:59,840 But he still deserves so much credit on these things, man. 1178 01:00:59,840 --> 01:01:02,080 He's his sound is so distinct. Yeah. 1179 01:01:02,200 --> 01:01:08,040 Absolutely. I mean, that's straight up 1180 01:01:08,040 --> 01:01:15,400 tipping. Yeah, Ben, this song has grown 1181 01:01:15,400 --> 01:01:17,200 on me so much over the years. I love this. 1182 01:01:17,200 --> 01:01:19,280 I used to skip all. I was kind of a jazz purist. 1183 01:01:19,960 --> 01:01:22,000 For sure this is not. A nerdy jazz purist. 1184 01:01:22,320 --> 01:01:23,480 It doesn't swing like Art Blakey. 1185 01:01:23,480 --> 01:01:25,720 I can't listen to it. I mean, I was damn. 1186 01:01:25,720 --> 01:01:27,920 You're still listening to Art Blakey live at this time, you 1187 01:01:31,040 --> 01:01:38,850 know. What pulls this together? 1188 01:01:38,850 --> 01:01:40,130 Is this the melody? Yeah. 1189 01:02:04,440 --> 01:02:07,000 I love the 90s. Man, I want to go back. 1190 01:02:07,000 --> 01:02:11,360 Man, nobody unfollowed me then. Just everything smelled like 1191 01:02:11,360 --> 01:02:15,120 Drakar Noir. No, no, no YouTube comments 1192 01:02:15,120 --> 01:02:20,880 saying the bald one I could get by. 1193 01:02:21,360 --> 01:02:25,360 You know what's interesting on this too, is that I got him, I 1194 01:02:25,360 --> 01:02:28,600 got him. No, I realized this whole 1195 01:02:28,600 --> 01:02:32,280 record, and we're going to talk right after this about is this 1196 01:02:32,280 --> 01:02:35,320 too clean or as I don't want to give away what D'Angelo calls 1197 01:02:35,320 --> 01:02:40,120 his own record, but because of maybe a cleaner Sonic palette 1198 01:02:40,120 --> 01:02:45,040 that's provided in the mixes compared to Voodoo, for sure you 1199 01:02:45,040 --> 01:02:47,080 can understand everything D'Angelo's singing. 1200 01:02:47,120 --> 01:02:48,320 We talked about this with Voodoo. 1201 01:02:48,320 --> 01:02:51,200 You can understand. So sublimated in the mix and 1202 01:02:52,600 --> 01:02:55,280 even a little more mumbly in the performances on Voodoo. 1203 01:02:55,280 --> 01:02:57,920 Yeah, which Kayla producer Kayla was like, I mean, it's kind of 1204 01:02:57,920 --> 01:02:59,440 good. It's a pretty dirty album if 1205 01:02:59,440 --> 01:03:00,440 you'd listen to what he's singing. 1206 01:03:00,440 --> 01:03:02,120 This. Was Crystal Well, this is a few 1207 01:03:02,120 --> 01:03:06,880 things that you're kind of but it's like shit damn motherfucker 1208 01:03:06,880 --> 01:03:11,920 elocution, but it's but a lot of it is the mix, you know, so in 1209 01:03:11,920 --> 01:03:15,280 fact, actually this is a good this is D'Angelo speaking, you 1210 01:03:15,280 --> 01:03:17,920 know, years later about this record and sort of some very 1211 01:03:17,920 --> 01:03:20,720 interesting thoughts specifically about kind of the 1212 01:03:20,720 --> 01:03:25,280 sound of it and the mix of it. And so we went into the studio 1213 01:03:25,280 --> 01:03:33,120 to record. I mean, it was really like a, in 1214 01:03:33,120 --> 01:03:35,760 my opinion. I felt like after it was done, I 1215 01:03:35,760 --> 01:03:40,880 loved it, but there were certain songs that I felt it lost 1216 01:03:42,000 --> 01:03:46,640 something between the demo version and all of the 1217 01:03:46,640 --> 01:03:51,360 production that went into it. I felt like it lost, like it got 1218 01:03:51,360 --> 01:03:53,400 a little homogenized in my opinion. 1219 01:03:53,920 --> 01:03:57,600 That's very, very interesting. I remember hearing something 1220 01:03:57,600 --> 01:04:00,280 about it that he was like learning from this experience 1221 01:04:00,280 --> 01:04:02,040 and put that into voodoo. And it might have been something 1222 01:04:02,040 --> 01:04:05,720 I read on Voodoo itself, but like, that's very interesting to 1223 01:04:05,720 --> 01:04:09,480 hear him say that, you know, and you can hear how much more 1224 01:04:09,480 --> 01:04:12,480 organic he goes in in Voodoo five years later, you know, and 1225 01:04:12,480 --> 01:04:14,480 how much of more of a band album that is even. 1226 01:04:14,480 --> 01:04:16,680 It's not just him, right? It's like all of these amazing 1227 01:04:16,680 --> 01:04:20,360 musicians that are really jamming for years to get that 1228 01:04:20,400 --> 01:04:22,240 album. And I think it kind of validates 1229 01:04:22,240 --> 01:04:25,960 a little bit my, my, my, my thoughts in terms of the live 1230 01:04:25,960 --> 01:04:28,720 stuff right after this being a little bit closer to his vision 1231 01:04:28,720 --> 01:04:30,480 on it, perhaps. But let's just hear. 1232 01:04:30,520 --> 01:04:33,680 OK, You ready for the big hit? You ready? 1233 01:04:33,920 --> 01:04:36,840 You want to hear Rafael Saidiq, who's, you know, Co wrote this 1234 01:04:36,840 --> 01:04:40,320 famously, Lady with D'Angelo. You want to hear me talking 1235 01:04:40,320 --> 01:04:41,920 about this first, or you want to just jump in? 1236 01:04:42,320 --> 01:04:44,120 You do whatever you need to. Do I started? 1237 01:04:44,120 --> 01:04:48,600 Playing, Rafael said he. Lady, that's the first thing we 1238 01:04:48,600 --> 01:04:52,520 worked on was lady, I played it the guitar riff for D'Angelo and 1239 01:04:52,520 --> 01:04:55,440 he said he said I like it. I said cool. 1240 01:04:55,440 --> 01:04:59,320 So I was going to call somebody over to be to play my guitar 1241 01:04:59,320 --> 01:05:03,480 parts over He he said no, you should leave what you did. 1242 01:05:04,200 --> 01:05:08,240 And that's the first time my guitar playing playing ever got 1243 01:05:08,240 --> 01:05:10,600 on the record. Never got on the record. 1244 01:05:10,600 --> 01:05:13,520 Yeah. So, but I think the how how we 1245 01:05:13,520 --> 01:05:15,120 came up with that, we figured it out. 1246 01:05:15,480 --> 01:05:18,760 We was we were playing and we were playing behind the beat. 1247 01:05:18,760 --> 01:05:21,520 But I think we were just really trying to lock, lock something 1248 01:05:21,520 --> 01:05:24,760 in. And so he would fall back and he 1249 01:05:24,760 --> 01:05:26,720 would start laughing, then I would fall back. 1250 01:05:27,080 --> 01:05:28,720 And we started kind of smiling and laughing. 1251 01:05:28,720 --> 01:05:32,720 And it became, we just kept going back and forth, but not 1252 01:05:32,720 --> 01:05:37,000 talking about it. And it became sort of the style 1253 01:05:37,000 --> 01:05:39,200 of his record. But that's the way he sing 1254 01:05:39,520 --> 01:05:43,000 sings, that's the way he plays. And it's just natural for him. 1255 01:05:43,000 --> 01:05:45,280 But he's a Dilla fan. And so then, you know, I'm a 1256 01:05:45,280 --> 01:05:48,320 Dilla fan too. So I figured it out later. 1257 01:05:48,840 --> 01:05:51,480 We were just mocking Dilla. Are we just are. 1258 01:05:51,480 --> 01:05:53,720 We heard it through hip hop. Yeah, right. 1259 01:05:53,960 --> 01:05:56,720 Maybe just not. Just maybe we heard it on some, 1260 01:05:56,720 --> 01:05:58,480 on some, on some Wu Tang records. 1261 01:05:58,480 --> 01:06:00,360 Maybe we heard it on some Tribe records. 1262 01:06:00,400 --> 01:06:03,360 That's cool. We just love, I love hip hop. 1263 01:06:03,720 --> 01:06:04,960 Yeah, right. So that's very cool. 1264 01:06:06,000 --> 01:06:10,840 Both our love for the Hawk is in gospel and hip hop and rock and 1265 01:06:10,840 --> 01:06:14,160 songwriting. It's just it was just a perfect 1266 01:06:14,160 --> 01:06:17,120 storm at the right time. Shout out Justin Richmond, front 1267 01:06:17,120 --> 01:06:19,720 of the pod, guest of the pod. That was from his interview for 1268 01:06:19,720 --> 01:06:21,160 Broken Records. Here's lady. 1269 01:06:26,120 --> 01:06:30,760 You heard that? Yeah, I think Raphael had that 1270 01:06:30,760 --> 01:06:36,680 line together. That's it for me, that when the 1271 01:06:36,680 --> 01:06:38,040 bass comes in there, that's all I need. 1272 01:06:38,440 --> 01:06:40,600 I've started the course, a good course start. 1273 01:06:40,600 --> 01:06:43,720 Let's do it, intro. That's an important part of the 1274 01:06:43,720 --> 01:06:46,360 floor, man. It usually comes later, though. 1275 01:06:47,120 --> 01:06:54,280 It's all right. 01 of the greatest songs of the 1990s. 1276 01:06:54,320 --> 01:06:58,760 Yes. Don't think I'm sleeping, 1277 01:06:59,280 --> 01:07:04,600 looking at you, all of them. And there's a bunch. 1278 01:07:04,920 --> 01:07:06,480 Of them, is this the biggest hit? 1279 01:07:09,480 --> 01:07:14,760 I think so right here. Here's that line again. 1280 01:07:21,960 --> 01:07:24,760 Said bass as well. And guitars. 1281 01:07:30,280 --> 01:07:32,040 We got to get some bigger speakers in here, man. 1282 01:07:32,040 --> 01:07:33,440 We got to get a better sound system. 1283 01:07:33,440 --> 01:07:35,520 I know, but I want to hear that. I want to feel it. 1284 01:07:40,760 --> 01:07:42,960 OK, again, that's what. A great partnership, him and 1285 01:07:42,960 --> 01:07:44,720 Rafael Sadiq. It's so cool that he had this 1286 01:07:44,720 --> 01:07:46,000 mentor. They did hits together. 1287 01:07:47,080 --> 01:07:49,320 That's nice. Perhaps you'd rather? 1288 01:07:50,200 --> 01:07:51,800 No. I don't know. 1289 01:07:51,800 --> 01:07:56,120 Check the. OK, maybe. 1290 01:07:57,480 --> 01:08:06,120 It's not either or Man Live Soul Records. 1291 01:08:06,520 --> 01:08:09,960 This is channeling Donny Hathaway live at the bitter end. 1292 01:08:18,439 --> 01:08:22,000 It's different, not better. Unbelievable. 1293 01:08:24,600 --> 01:08:28,000 Free open form. You have to be able to click. 1294 01:08:28,000 --> 01:08:30,600 Track It's a little Teddy Pendergrass in this one live 1295 01:08:30,600 --> 01:08:34,279 version. He couldn't have done that many 1296 01:08:34,279 --> 01:08:36,399 gigs while he did do a lot of gigs in church. 1297 01:08:38,520 --> 01:08:50,279 You're so seasoned though. That's something that might 1298 01:08:50,279 --> 01:09:13,439 interest you. So good. 1299 01:09:13,920 --> 01:09:16,080 Man, this is the kind of thing, how many gigs have you been on, 1300 01:09:16,080 --> 01:09:17,960 especially in your younger years, where stuff like this 1301 01:09:17,960 --> 01:09:19,319 just goes disaster? You can't. 1302 01:09:19,319 --> 01:09:20,840 I mean, I've. Never been on a gig like that, 1303 01:09:20,880 --> 01:09:21,920 I'll be honest. Oh man. 1304 01:09:22,000 --> 01:09:27,920 And later on, I'm going to jump ahead just to really they really 1305 01:09:27,920 --> 01:09:59,960 start. Yeah, it's fun. 1306 01:10:06,320 --> 01:10:07,680 We're having fun. We're just, we're just having 1307 01:10:07,680 --> 01:10:09,360 fun here on a, on a on a Thursday. 1308 01:10:09,400 --> 01:10:11,480 That's so great and ultimate track on the album too. 1309 01:10:11,480 --> 01:10:13,200 There's only one left, and. Yeah. 1310 01:10:13,200 --> 01:10:15,600 How did that happen that the that the big hit was? 1311 01:10:16,120 --> 01:10:17,600 #9. Was buried down there. 1312 01:10:17,600 --> 01:10:19,120 Happens a lot, man, it happens a lot. 1313 01:10:19,400 --> 01:10:26,200 But #10 first of all, can I just say just my, my, my lizard brain 1314 01:10:26,200 --> 01:10:29,400 loves the 10. My my Roman brain loves the 10 1315 01:10:30,640 --> 01:10:32,600 woman. That's Monty Python. 1316 01:10:32,640 --> 01:10:34,480 Thank you loves the 10 track album. 1317 01:10:34,480 --> 01:10:36,560 There's just something very clean about it. 1318 01:10:36,560 --> 01:10:41,200 That's right XX. But the the higher this is, I 1319 01:10:41,200 --> 01:10:42,280 love it. I love this so. 1320 01:10:42,280 --> 01:10:44,720 Much should we maybe jump in as we're coming towards the end of 1321 01:10:44,720 --> 01:10:46,640 the episode? Jump into the tracks for sure, 1322 01:10:46,640 --> 01:10:48,320 for sure. I mean the category, sorry. 1323 01:10:48,320 --> 01:10:50,400 So we have, as you like to say, we have 10 categories, right? 1324 01:10:50,400 --> 01:10:54,200 9810, just like you like it. And this the first category is 1325 01:10:54,200 --> 01:10:57,200 Desert island tracks and this is my desert island. 1326 01:10:57,200 --> 01:10:59,720 Track. It's higher and he's gonna end 1327 01:10:59,920 --> 01:11:02,280 with church. Yeah, exactly. 1328 01:11:15,680 --> 01:11:18,080 It's Ralph, I believe. It's roll is how you pronounce 1329 01:11:18,080 --> 01:11:19,440 it. Ralph roll, Ralph roll, I think, 1330 01:11:19,440 --> 01:11:21,680 on the drums. Rich rolls, brother, my friend. 1331 01:11:21,680 --> 01:11:24,680 Doubt it Will Lee on the bass from The Late Show with David 1332 01:11:24,680 --> 01:11:29,120 Letterman's band. That's. 1333 01:11:29,240 --> 01:11:35,840 Such a church entrance to 00. My goodness, it's so great. 1334 01:11:39,720 --> 01:11:41,360 It's not going anywhere. Peter, come on, we're not going 1335 01:11:41,360 --> 01:11:43,200 anywhere. I don't have an appointment. 1336 01:11:44,720 --> 01:11:53,720 Appointment with the Lord. Organ playing on it is so 1337 01:11:53,720 --> 01:11:56,880 amazing. Oh. 1338 01:11:58,480 --> 01:12:00,680 Kick your tick bed. Everybody's doing the right 1339 01:12:00,680 --> 01:12:02,360 thing. Doing the right thing or. 1340 01:12:03,480 --> 01:12:15,760 When I think about you, I. Love that. 1341 01:12:29,360 --> 01:12:33,120 Am I doing? Watching and watching over, 1342 01:12:33,840 --> 01:12:36,000 right? I love you, right? 1343 01:12:36,040 --> 01:12:40,240 I love you, right? I love you. 1344 01:12:42,200 --> 01:12:47,800 Please give us strength alone. Love to fight our battles and we 1345 01:12:47,800 --> 01:12:52,560 can walk over. The streets are cold. 1346 01:13:02,320 --> 01:13:05,400 I mean, it's not just soul music of the 70s, it's gospel music of 1347 01:13:05,400 --> 01:13:06,440 the 70s, straight up, you know, and. 1348 01:13:06,440 --> 01:13:08,040 These are not all gospel musicians. 1349 01:13:08,040 --> 01:13:09,400 They came up with the church like, yeah, that's what I'm 1350 01:13:09,400 --> 01:13:11,240 talking about, leadership. They're even planning on 1351 01:13:11,240 --> 01:13:14,840 leadership. Bob Power, Willie, I, I, I don't 1352 01:13:14,840 --> 01:13:16,400 know. I doubt they did, but they're 1353 01:13:16,400 --> 01:13:37,960 playing it. The changes are killing all 1354 01:13:37,960 --> 01:13:44,320 this. I mean this. 1355 01:13:45,080 --> 01:13:51,560 With everything is so great on this record, this might be like 1356 01:13:51,560 --> 01:13:54,720 D'angelo's right down the middle of his lane. 1357 01:13:55,960 --> 01:13:57,720 I mean, this is what he's been doing since he's a kid. 1358 01:13:57,720 --> 01:14:00,480 And this is like, you just feel like, you know. 1359 01:14:02,440 --> 01:14:08,600 Oh, and I mean this is his highest creativity for vocal 1360 01:14:08,600 --> 01:14:32,240 arrangements on this record too. You put the CD of the CD player, 1361 01:14:32,240 --> 01:14:58,520 go for it B. Yeah, so I'm on the I'm on the 1362 01:14:58,520 --> 01:15:00,640 desert island. I mean, I'm cool. 1363 01:15:00,840 --> 01:15:04,040 Yeah, you're good with the. Lord, every day this is. 1364 01:15:04,040 --> 01:15:06,440 I'm getting right with the Lord. I'm being entertained. 1365 01:15:06,640 --> 01:15:08,600 Man. The soul is satisfied. 1366 01:15:09,400 --> 01:15:11,160 Yeah. This, I, I just think that like 1367 01:15:11,160 --> 01:15:13,080 his, he's so creative on everything. 1368 01:15:13,200 --> 01:15:16,600 Hip hop, soul, talk about gospel, jazz, you know, rock, 1369 01:15:16,600 --> 01:15:20,240 especially later on, you know, but like, I don't know, maybe 1370 01:15:20,240 --> 01:15:24,560 gospel is like sometimes you know, he's got rage, but when he 1371 01:15:24,560 --> 01:15:27,120 comes here for sure just he because he gets it's so creative 1372 01:15:27,160 --> 01:15:29,560 everything he's doing. What I love about this track for 1373 01:15:29,560 --> 01:15:32,600 me is this has been like coming back to Brown Sugar over the 1374 01:15:32,600 --> 01:15:36,360 years as an album. This one means more to me as the 1375 01:15:36,360 --> 01:15:39,240 years go by. When I was 15, when I first 1376 01:15:39,240 --> 01:15:41,680 heard this album, I didn't really get it. 1377 01:15:42,000 --> 01:15:43,480 I didn't wasn't that interested in it. 1378 01:15:44,000 --> 01:15:46,840 It's why my desert island track is Brown Sugar, just because the 1379 01:15:46,840 --> 01:15:51,520 nostalgic factor of it, like of remembering high school parties 1380 01:15:51,560 --> 01:15:55,240 with it playing, remembering driving around in my 84 S 10 1381 01:15:55,240 --> 01:15:59,400 with it bumping of like of like feeling like I was like it's 1382 01:15:59,400 --> 01:16:02,640 something from my generation, like a new kind of music that 1383 01:16:02,640 --> 01:16:04,800 I've never heard before. So Brown Sugar is my desert 1384 01:16:04,800 --> 01:16:07,280 island. But man, higher means probably 1385 01:16:07,280 --> 01:16:09,440 the most to me right now. For this whole album. 1386 01:16:10,280 --> 01:16:11,360 That's great. Apex moment what do? 1387 01:16:11,800 --> 01:16:14,480 You got, so I've got. This would be apex moment means 1388 01:16:14,480 --> 01:16:18,800 like the the our our personal opinions on the highlight of the 1389 01:16:18,800 --> 01:16:19,600 album. Yeah. 1390 01:16:19,600 --> 01:16:22,000 And this is very counterintuitive because there's 1391 01:16:22,000 --> 01:16:26,240 a bunch of moments that I first wrote down on hire that are 1392 01:16:26,240 --> 01:16:27,640 true. I mean, like to me that track, 1393 01:16:27,640 --> 01:16:31,120 it's almost, you know, in a different way stylistically and 1394 01:16:31,120 --> 01:16:34,360 temple wise, but it's like a music in my mind to evil, like 1395 01:16:34,520 --> 01:16:36,840 in a way. There's no debate like the apex 1396 01:16:36,840 --> 01:16:38,240 moment of the album. It all leads. 1397 01:16:38,240 --> 01:16:40,160 It is leads to Rome, right, I think you're right. 1398 01:16:40,320 --> 01:16:42,840 So there's that, but. Second Rome reference. 1399 01:16:43,120 --> 01:16:47,960 Well, this is the X but so I'm going a little counterintuitive, 1400 01:16:47,960 --> 01:16:50,560 but I like my new thing is on apex moments I'm trying to find 1401 01:16:50,560 --> 01:16:53,760 little weird hidden things that are just like woo like fun 1402 01:16:53,760 --> 01:16:56,000 things that you would expect. We like fun around here. 1403 01:16:56,000 --> 01:16:56,480 We like. Fun. 1404 01:16:56,480 --> 01:16:59,720 Yeah. So D'angelo's piano playing, how 1405 01:16:59,720 --> 01:17:01,880 smooth we talked about, but I love his solo. 1406 01:17:01,880 --> 01:17:04,040 Like he was not known as like this. 1407 01:17:04,040 --> 01:17:05,320 Incredible. I mean, he had a lot of jazz. 1408 01:17:05,320 --> 01:17:07,680 He's a good solo and jazz harmony, but he wasn't like 1409 01:17:07,680 --> 01:17:10,680 ripping and running on that. But on this, I don't know, man. 1410 01:17:10,680 --> 01:17:16,640 There's some killing stuff and it's not even an official solo. 1411 01:17:18,840 --> 01:17:30,400 Kind of sneaks in there though. Come on. 1412 01:17:43,800 --> 01:17:46,160 He could have done it. He could have learned how to. 1413 01:17:46,640 --> 01:17:48,920 But I mean, the reality is that's all the jazz piano most 1414 01:17:48,920 --> 01:17:50,840 people want to hear anyway. One. 100% that's all. 1415 01:17:50,920 --> 01:17:52,680 That's all a lot of ours so. He nailed it. 1416 01:17:53,720 --> 01:17:55,720 Yeah, but you know what that reminded me of, Man? 1417 01:17:56,000 --> 01:17:58,320 Talk about Jay Dilla. So I I got your spirits up. 1418 01:17:58,320 --> 01:18:01,560 I got you higher earlier, but man, I can't take it. 1419 01:18:01,560 --> 01:18:03,000 Man, I forgot about this. You might not know. 1420 01:18:03,000 --> 01:18:04,320 Can we do some Dilla on this show either? 1421 01:18:04,320 --> 01:18:06,800 We got to do a whole Dilla show. We, we, my, my dream's been the 1422 01:18:06,800 --> 01:18:09,440 whole Riggins going to be sitting here in the middle of us 1423 01:18:09,440 --> 01:18:11,160 and we're going to be like, high fiving about. 1424 01:18:11,240 --> 01:18:14,760 Yeah, but check this out, OK. And then I can tell my Kareem 1425 01:18:14,760 --> 01:18:16,880 Riggins story when he came and played with us with Roy Hargrove 1426 01:18:16,880 --> 01:18:19,360 when I first met him when he was 20 years old and killed it. 1427 01:18:20,880 --> 01:18:24,320 You might not know this as one of D'Angelo's greatest piano 1428 01:18:24,320 --> 01:18:29,000 solos, but check this out. I love this track. 1429 01:18:29,000 --> 01:18:30,680 This is common, right? This is common. 1430 01:18:30,680 --> 01:18:33,200 Dilla beat from what? Is this the light? 1431 01:18:33,720 --> 01:18:39,480 Yeah, yeah, yeah, yeah, yeah. Yeah, yeah. 1432 01:18:39,480 --> 01:18:43,560 And there's it's similar to the little sneaky and it's got this 1433 01:18:43,560 --> 01:18:51,680 great mix on the. Yeah, exactly. 1434 01:18:57,120 --> 01:19:01,280 And he's speaking in with so great Common stuff I'm going to 1435 01:19:01,520 --> 01:19:07,840 sneak ahead. Sorry. 1436 01:19:12,840 --> 01:19:15,680 Is that a D'Angelo? That's D'Angelo. 1437 01:19:21,400 --> 01:19:25,520 I I RIP, I steal this. Yeah, I do that. 1438 01:19:32,440 --> 01:19:43,920 You talk about knowing what to play right there. 1439 01:19:43,920 --> 01:19:46,640 That line man this gets me everything. 1440 01:19:48,840 --> 01:20:00,920 This turned into a Dilla show. Check this line. 1441 01:20:01,440 --> 01:20:04,720 Out to that Dominus 7, that's another Donnie thing, another 1442 01:20:04,720 --> 01:20:07,760 Donnie Hathaway thing thrown in that Dominus 7 when over the 1443 01:20:07,760 --> 01:20:09,360 Major 7. Herbie octaves. 1444 01:20:09,360 --> 01:20:13,080 Come on. Yeah, So anyway, that's man, the 1445 01:20:13,080 --> 01:20:14,360 whole rest of this thing is just killing. 1446 01:20:14,440 --> 01:20:16,120 So your apex moment is a Dilla track. 1447 01:20:16,520 --> 01:20:18,360 What's D'Angelo playing solo on a different? 1448 01:20:18,360 --> 01:20:19,880 Record my apex. Moment I highlighted the other 1449 01:20:19,880 --> 01:20:23,680 record that I thought was. My apex moment from Brown sugar 1450 01:20:23,680 --> 01:20:26,640 Peter is you didn't. Want me to play you that and? 1451 01:20:26,640 --> 01:20:29,400 Tell you that it was D'Angelo. We do have to do a Dilla episode 1452 01:20:29,400 --> 01:20:32,080 for sure. Come on, I feel like you just I 1453 01:20:32,080 --> 01:20:33,760 know. I love it so much when the bass 1454 01:20:33,760 --> 01:20:37,080 drops on lady, like when that first you're my lady and the 1455 01:20:37,080 --> 01:20:39,960 bass comes in. I feel like that's to me the 1456 01:20:39,960 --> 01:20:42,240 greatest moment of the whole album, if not the greatest 1457 01:20:42,240 --> 01:20:44,000 moment of 1995, right? You know. 1458 01:20:44,480 --> 01:20:49,160 This was 1995, not this version. I love the live version. 1459 01:20:49,160 --> 01:20:50,440 I'm talking about the studio. Yeah, yeah. 1460 01:20:52,840 --> 01:20:54,240 What is that? Reverse bass. 1461 01:21:01,200 --> 01:21:05,000 Oh, and it's like he somehow gets that rhythm in. 1462 01:21:06,680 --> 01:21:08,200 Killing with the bass drum. So good. 1463 01:21:08,760 --> 01:21:10,520 What do you got for a bespoke playlist title? 1464 01:21:11,480 --> 01:21:14,480 I got bridge builders, I think, you know, bringing the different 1465 01:21:14,480 --> 01:21:19,720 styles, hip hop soul, not neo soul, jazz, gospel. 1466 01:21:19,720 --> 01:21:20,760 As we said, what? Do you got? 1467 01:21:20,760 --> 01:21:25,040 I have not neo soul, but I have Neo Bam. 1468 01:21:25,920 --> 01:21:28,560 So you know, you mentioned these bridge builders, right? 1469 01:21:28,560 --> 01:21:33,840 This is like soul hip hop, jazz. Like this to me is why Nicholas 1470 01:21:33,840 --> 01:21:36,480 Payton coined that term black American Music and has been 1471 01:21:36,480 --> 01:21:39,120 pushing for the use of it to define this because the 1472 01:21:39,120 --> 01:21:42,400 sensibilities of this philosophical alignment of those 1473 01:21:42,400 --> 01:21:46,720 three kinds of music is so evident in black American Music. 1474 01:21:46,760 --> 01:21:49,720 It is it is the IT is the DNA of it. 1475 01:21:50,000 --> 01:21:55,480 And this album is black American Music at its core, at its best. 1476 01:21:55,840 --> 01:22:03,440 And it is the in 1995, like the pinnacle of, of really all music 1477 01:22:03,440 --> 01:22:06,400 in in America. To me, this album was, but like 1478 01:22:06,760 --> 01:22:09,640 to me it, it, it combines all of those elements in a way that I 1479 01:22:09,640 --> 01:22:13,560 think for my ear, all black American Music has like it's, 1480 01:22:13,560 --> 01:22:16,400 it's just a continuous thread. There's the genres are a bunch 1481 01:22:16,400 --> 01:22:21,840 of usually like marketing exec BS, you know what I mean? 1482 01:22:22,360 --> 01:22:25,120 I mean, even we learned here, you know, everybody said does 1483 01:22:25,120 --> 01:22:27,720 birth of a new genre, Neo soul and Angel himself is like that's 1484 01:22:27,720 --> 01:22:29,520 not how I see it. I see it as black music. 1485 01:22:30,040 --> 01:22:32,240 And I think there's something important for all people who 1486 01:22:32,240 --> 01:22:38,600 make music to think about how that artist is that you love 1487 01:22:38,680 --> 01:22:41,800 thinks about how they make their music because it helps us make 1488 01:22:41,800 --> 01:22:48,800 music like the sensibilities and the, the way the black American 1489 01:22:48,800 --> 01:22:53,480 Music is is made is as important, the culture of that 1490 01:22:53,480 --> 01:22:55,840 is as important as anything else as any of the sounds or anything 1491 01:22:55,840 --> 01:22:58,240 that we're getting here. So I, I think you can't, you 1492 01:22:58,240 --> 01:22:59,960 can't take the gospel out of jazz. 1493 01:22:59,960 --> 01:23:01,400 You can't take the jazz out of soul. 1494 01:23:01,400 --> 01:23:02,720 You can't take the soul out of hip hop. 1495 01:23:02,720 --> 01:23:05,560 Like it's all connected. You can't take the D out of 1496 01:23:05,560 --> 01:23:08,600 Angelo 100% Why it's D Angelo. Thank you for that. 1497 01:23:08,600 --> 01:23:10,720 Yeah. And I think that's but this is 1498 01:23:10,720 --> 01:23:14,600 what makes it so fun to like deconstruct or just to look at 1499 01:23:14,600 --> 01:23:17,320 the construction of this stuff because when you have something 1500 01:23:17,320 --> 01:23:20,040 that's great, you know, if you believe that it's great or if 1501 01:23:20,040 --> 01:23:23,120 you don't care what whatever. But it's like to go in and see, 1502 01:23:23,360 --> 01:23:25,000 you know, what are the gospel elements? 1503 01:23:25,000 --> 01:23:26,800 What were the details that were worked on? 1504 01:23:26,800 --> 01:23:29,880 Like this stuff isn't just it's not just random improvisatory of 1505 01:23:29,880 --> 01:23:31,760 like look at genius just came up with this. 1506 01:23:32,000 --> 01:23:34,120 Like the craft that goes into this, especially when you're 1507 01:23:34,320 --> 01:23:38,240 bringing in these different elements, is is it's it's it, 1508 01:23:38,320 --> 01:23:39,640 it's uncanny for sure. Yeah. 1509 01:23:40,480 --> 01:23:42,360 So that was bespoke place. Oh. 1510 01:23:42,440 --> 01:23:44,040 Oh, quibble bits. This will be an interesting one. 1511 01:23:44,040 --> 01:23:46,040 What's your quibble? Bit so mine really is I mean it 1512 01:23:46,040 --> 01:23:48,960 really is a small bit, but like some of the drum loops, I do 1513 01:23:48,960 --> 01:23:52,360 wish that there was Questlove. I do wish that he had like like 1514 01:23:52,360 --> 01:23:56,320 we were we were listening to me and those dreaming eyes, right? 1515 01:23:56,320 --> 01:23:58,400 I think that was one of the ones we were listening to and I was 1516 01:23:58,400 --> 01:24:01,560 like, man, I wish that was on Voodoo so that I could hear 1517 01:24:01,560 --> 01:24:03,480 Pino Palladino and Questlove play on that. 1518 01:24:03,480 --> 01:24:07,120 And Roy, you know what I mean? Like now that's a very like, I 1519 01:24:07,120 --> 01:24:11,040 still love this whole album and I love the drum samples, but if 1520 01:24:11,040 --> 01:24:13,400 I had to, if I had to put something in this category, it 1521 01:24:13,400 --> 01:24:15,000 would be that. Well, you can just listen to 1522 01:24:15,000 --> 01:24:16,640 Jazz Cafe and that's, that's what I'm saying. 1523 01:24:16,640 --> 01:24:17,920 That's there's your solution right there. 1524 01:24:17,920 --> 01:24:19,920 Evangelist for Jazz cafe? What's your equivalent? 1525 01:24:20,840 --> 01:24:25,280 Bit that is this record maybe similar to that, but not so much 1526 01:24:25,280 --> 01:24:28,840 so much with the drum loops. But is it too, in the words of 1527 01:24:28,840 --> 01:24:32,360 D'Angelo, homogenized? And also in that interview, he 1528 01:24:32,360 --> 01:24:34,120 goes on to call it buttery. Interesting. 1529 01:24:34,160 --> 01:24:35,760 He felt that is. And I I mean. 1530 01:24:35,840 --> 01:24:37,840 Too clean and too pristine. Yeah, well, the the interviewer 1531 01:24:37,840 --> 01:24:40,000 actually said is too clean. He's like not clean. 1532 01:24:40,000 --> 01:24:41,640 He's just like buttery interesting, you know? 1533 01:24:41,640 --> 01:24:44,160 Is the is it too he said some of the tracks, some of the stuff 1534 01:24:44,160 --> 01:24:46,920 that he felt was ready to go off of the demos that he human power 1535 01:24:46,920 --> 01:24:48,240 had done over those three months. 1536 01:24:48,240 --> 01:24:51,520 Yeah, he felt that the the gene on him after that. 1537 01:24:51,560 --> 01:24:53,000 Are those demos anywhere in your research? 1538 01:24:53,000 --> 01:24:54,200 That would have been something, yeah. 1539 01:24:54,200 --> 01:24:56,000 If only we had an hour and a half podcast, we could have 1540 01:24:56,000 --> 01:24:58,440 played those on Come Back. I used to admit when I was 1541 01:24:58,440 --> 01:25:01,760 writing a lot of more pop songs, I love making demos. 1542 01:25:01,760 --> 01:25:03,280 And I would, I would. It was a problem. 1543 01:25:03,280 --> 01:25:05,600 You get attached to those demos, you know, It's like it's hard 1544 01:25:05,600 --> 01:25:06,920 not to. But to tell you the truth, 1545 01:25:06,920 --> 01:25:09,400 that's not even I mean, Paul, listen to this because we have 1546 01:25:09,400 --> 01:25:11,400 jazz cap. I actually love that we have 1547 01:25:11,400 --> 01:25:13,360 this studio version. I think it's great. 1548 01:25:13,560 --> 01:25:16,720 My my actual quibble bit would probably be the strings on 1549 01:25:16,720 --> 01:25:18,360 cruising, which I think are the only strings on here. 1550 01:25:18,560 --> 01:25:21,560 It's just I, you know, they're way in the background to. 1551 01:25:21,560 --> 01:25:23,280 I think it might actually be better if you could hear them. 1552 01:25:23,280 --> 01:25:24,880 Better, I think they're good, but I think there's you're 1553 01:25:24,880 --> 01:25:26,320 right, there's something a little bit that could be a 1554 01:25:26,320 --> 01:25:28,280 little better. That later he does on his last 1555 01:25:28,280 --> 01:25:31,040 record he does snubometer. Yeah, the strings on Black 1556 01:25:31,040 --> 01:25:32,880 Messiah are amazing. Amazing. 1557 01:25:33,440 --> 01:25:36,760 I have a three. OK, I have a 5 so that comes out 1558 01:25:36,760 --> 01:25:38,760 to 8. That's not how it works. 1559 01:25:38,760 --> 01:25:40,920 OK, is it better? So this is interesting. 1560 01:25:40,920 --> 01:25:42,360 That's what we're going to do. We're not even going to. 1561 01:25:42,440 --> 01:25:44,000 Talk about it anymore. We don't talk about thermometer. 1562 01:25:44,000 --> 01:25:47,160 So you so usually you have like, is it better than Kind of Blue? 1563 01:25:47,160 --> 01:25:49,480 Or for an album like this, we might do is it better than 1564 01:25:49,480 --> 01:25:51,360 Stevie Wonder's Inner Visions? But you have. 1565 01:25:51,800 --> 01:25:53,480 You have. Is it better than Alanis 1566 01:25:53,480 --> 01:25:55,520 Morissette's Jagged Little Pill? Because I knew we were going to 1567 01:25:55,520 --> 01:25:58,120 talk about it. I I don't have prescient of me 1568 01:25:58,120 --> 01:26:00,560 right? I, you know, I actually do also 1569 01:26:00,560 --> 01:26:03,280 love Jagged Little pill stick in high school, like it was such 1570 01:26:03,280 --> 01:26:05,600 popular music. I, I never bought that album or 1571 01:26:05,600 --> 01:26:08,680 anything like I bought this one, but I do love a lot of those 1572 01:26:08,680 --> 01:26:11,440 songs. But I do think that yes, it is 1573 01:26:11,440 --> 01:26:13,440 better than Jagged Little. Pill, I'd agree, yes, but I 1574 01:26:13,440 --> 01:26:15,280 think Jagged Little pill, I wouldn't mind that showing up on 1575 01:26:15,280 --> 01:26:16,520 this. I'm just wondering. 1576 01:26:16,560 --> 01:26:18,800 If we do, Jagged Little Pill producer Liz in Canada would 1577 01:26:19,000 --> 01:26:20,640 probably appreciate. Yeah, I mean, there's some great 1578 01:26:20,640 --> 01:26:22,760 stuff on there. I mean, I don't know if like we 1579 01:26:22,760 --> 01:26:24,960 get it like some of these records we get into and it's 1580 01:26:24,960 --> 01:26:26,520 like, Oh yeah, it's great as expect. 1581 01:26:26,520 --> 01:26:28,560 Like this these really, really great ones. 1582 01:26:28,560 --> 01:26:31,160 Like the more you go back to him, be like, oh, oh, like 1583 01:26:31,160 --> 01:26:33,040 there's so many layers. I don't know. 1584 01:26:33,040 --> 01:26:36,280 There's definitely some layers there, but not like on this one. 1585 01:26:36,400 --> 01:26:38,840 Accoutrements. So the cover, the album notes, 1586 01:26:39,040 --> 01:26:40,480 the back cover. What do you think? 1587 01:26:40,480 --> 01:26:45,840 Man, I'm going 9 and because I think the back cover is so just 1588 01:26:45,840 --> 01:26:48,000 a reminder. Yeah, I mean, that's so not like 1589 01:26:48,000 --> 01:26:50,160 that soul. That's R&B, that's hip hop, 1590 01:26:50,160 --> 01:26:53,800 that's 90s. Got the Big Timberlands on and I 1591 01:26:53,800 --> 01:26:55,920 love this picture in here. I love the one with the piano. 1592 01:26:55,920 --> 01:26:57,160 It's a great jacket. It's great. 1593 01:26:57,160 --> 01:26:59,800 Boots great. Jeans model D'Angelo was have 1594 01:26:59,800 --> 01:27:03,280 you seen the Vanity Fair shop? I mean, just a superbly 1595 01:27:03,280 --> 01:27:04,800 attractive man, but with at the piano. 1596 01:27:04,800 --> 01:27:07,400 I love piano. So that's a great one that that 1597 01:27:07,400 --> 01:27:10,360 look and his hair to me, the only thing that pulls it back 1598 01:27:10,360 --> 01:27:13,280 from A10 in a way is the cover. I I would give the cover an 8 1599 01:27:13,480 --> 01:27:15,840 only because it looks like the background's been removed, which 1600 01:27:15,840 --> 01:27:17,320 is easy to do on your iPhone now. 1601 01:27:17,600 --> 01:27:20,480 And they did. I mean it's great, but I think 1602 01:27:20,480 --> 01:27:22,280 all these other pictures, the whole package is. 1603 01:27:22,320 --> 01:27:23,520 I have 9. I have 9 as well. 1604 01:27:23,600 --> 01:27:25,400 OK, what do you got in up next? Oh. 1605 01:27:26,760 --> 01:27:29,320 You're going to be shocked at this Live at the Jazz Cafe. 1606 01:27:29,880 --> 01:27:32,240 Live at London Jazz Cafe. OK, because that's. 1607 01:27:32,240 --> 01:27:33,800 Literally what? What? 1608 01:27:33,800 --> 01:27:37,680 What do you have all? Been I have Baduizm 1997, couple 1609 01:27:37,680 --> 01:27:43,360 years later Erykah Badu kind of solidifies this quote UN quote 1610 01:27:43,440 --> 01:27:43,960 genre. Yeah. 1611 01:27:44,400 --> 01:27:46,880 Absolutely so Soulquarian now that that we should be talking about 1612 01:27:46,880 --> 01:27:49,280 Soulquarians as opposed to the yeah, Neo soul. 1613 01:27:50,320 --> 01:27:50,920 Agreed. You know what? 1614 01:27:50,920 --> 01:27:53,760 We are back on Apple podcasts. Apple podcast loves us. 1615 01:27:53,760 --> 01:27:56,240 We got featured as a new on the new page. 1616 01:27:56,240 --> 01:27:58,160 We've been making a lot of moves over there. 1617 01:27:58,200 --> 01:28:00,000 Yeah, it's great. But we do want to remind. 1618 01:28:00,040 --> 01:28:02,400 Of our Ambie nominations. OK, let's not brag. 1619 01:28:02,960 --> 01:28:05,000 We do want to remind you though, that we really appreciate any 1620 01:28:05,000 --> 01:28:08,440 ratings and review reviews you put for this podcast, whether 1621 01:28:08,440 --> 01:28:10,880 that's on Apple Podcast or Spotify or on YouTube. 1622 01:28:11,840 --> 01:28:14,920 Give us a rating and review. Now if you're not like a 1623 01:28:14,920 --> 01:28:17,640 technological working in Silicon Valley, it can be difficult. 1624 01:28:17,640 --> 01:28:19,640 I'm going to put that out there. Is that a good for Apple 1625 01:28:19,640 --> 01:28:21,120 podcast? Yeah, to get to the review you. 1626 01:28:21,120 --> 01:28:21,960 Can do it you can. Do it. 1627 01:28:21,960 --> 01:28:23,760 You got to log. In I mean we have hundreds. 1628 01:28:23,760 --> 01:28:24,480 Of them, yeah, we do. Actually. 1629 01:28:24,480 --> 01:28:26,280 It's not hard at all. That's a challenge for you. 1630 01:28:26,520 --> 01:28:28,880 So here's a couple. This one is from Fletch NYCI. 1631 01:28:28,880 --> 01:28:30,200 Think that's Chevy Chase's account. 1632 01:28:30,680 --> 01:28:32,480 It says my no. It's the guy from Saint from 1633 01:28:32,480 --> 01:28:34,120 Ledoux. Actually it's my favorite new 1634 01:28:34,120 --> 01:28:36,560 podcast. Great tunes and expert analysis. 1635 01:28:36,800 --> 01:28:40,080 This one is from Curious House Hunter and this is I stumbled 1636 01:28:40,080 --> 01:28:42,880 upon this podcast accidentally while looking for jazz piano 1637 01:28:42,880 --> 01:28:44,920 tutorials. It has become a weekly ritual. 1638 01:28:44,920 --> 01:28:47,600 Listen to Adam and Peter discuss amazing music, some of which I 1639 01:28:47,600 --> 01:28:49,880 grew up with, but some they've introduced me to. 1640 01:28:50,400 --> 01:28:53,040 This podcast has brought a tremendous amount of joy into my 1641 01:28:53,040 --> 01:28:55,760 life, in addition to being warm and funny and authentic. 1642 01:28:55,760 --> 01:28:57,760 Adam and Peter, I think. It's a warm and fuzzy and 1643 01:28:57,760 --> 01:29:00,440 authentic. Musicians and the intro and 1644 01:29:00,440 --> 01:29:02,120 outro musical arrangements are fantastic. 1645 01:29:02,280 --> 01:29:05,760 I'm also an open studio member. Shout out curious how Hunter 1646 01:29:05,800 --> 01:29:08,720 house Hunter, so I will give that a plug here as well. 1647 01:29:08,720 --> 01:29:12,280 I appreciate that as a lifetime classically trained pianist, I'd 1648 01:29:12,280 --> 01:29:15,040 long given up transitioning to jazz, but I'm giving it one more 1649 01:29:15,040 --> 01:29:16,240 shot. Thanks so much for all the work 1650 01:29:16,240 --> 01:29:17,600 that goes into the show, it's truly special. 1651 01:29:17,600 --> 01:29:19,760 Thank you, House Hunter. And a reminder, if you want to 1652 01:29:19,760 --> 01:29:22,400 learn more about some of the piano courses we make at Open 1653 01:29:22,400 --> 01:29:25,400 Studio, go to Open studiojazz.com/YHI and start 1654 01:29:25,400 --> 01:29:27,400 your 14 day free trial. Peter, you got anything else? 1655 01:29:27,680 --> 01:29:29,440 I think that's it, man. I'm inspired, man. 1656 01:29:29,640 --> 01:29:31,920 Just I'm thankful. I'm thankful for this record, 1657 01:29:32,000 --> 01:29:33,280 record. I'm thankful for you. 1658 01:29:33,360 --> 01:29:35,520 I'm thankful for my family, for my parents. 1659 01:29:35,520 --> 01:29:36,360 I'm not going to name everything. 1660 01:29:36,360 --> 01:29:38,800 Like an acceptance speech, Oscars came early. 1661 01:29:38,840 --> 01:29:41,560 I want to just, I've been so excited about the nomination. 1662 01:29:41,560 --> 01:29:43,920 Buddy, we didn't win the Ambie. Just a reminder, OK? 1663 01:29:43,920 --> 01:29:45,680 Forget it until next time you'll hear it. 1664 01:30:36,400 --> 01:31:06,440 The. The. 1665 01:31:36,240 --> 01:32:09,200 The. The. 1666 01:32:35,200 --> 01:33:05,200 The. The. 1667 01:33:32,240 --> 01:34:02,440 Music. None. 1668 01:34:32,280 --> 01:35:01,960 The. Music.