Andy Frasco's World Saving Podcast - EP 257: Bruce Hornsby

Episode Date: February 13, 2024

Brian introduces us to a new word today: ADMONISH. Listen in to hear him teach Andy some of its meaning (and on his birthday no less!) Andy Frasco & the U.N. is back on the road and quite possibly in a town near you! Check Andy's tour dates to see just how close and whether your mom will allow it. Your mother aside, lets focus on the real exciting news: we get to welcome to the Interview Hour, legendary songwriter, pianist, and fellow sports fan: Bruce Hornsby! Andy gushes and Nick glues the rougher edges down. And what does one ask of a former touring member of the Grateful Dead? Something sports related, obviously. And on a final note, as Andy Fraso once said: why not make love with each other? And guess what... Watch the full episodes Exclusively on Volume.com now in color!  Psyched to partner up with our buddies at Volume.com! Check out their roster of upcoming live events and on-demand shows to enrich that sweet life of yours. Call, leave a message, and tell us if you think one can get addicted to mushrooms: [phone]  Check out our new album!, L'Optimist on all platforms Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, the band and/or the blog, go to: AndyFrasco.com Check out our good friends that help us unwind and sleep easy while on the road and at home: dialedingummies.com Produced by Andy Frasco, Joe Angelhow, & Chris Lorentz Audio mix by Chris Lorentz Featuring: Arno Bakker Brian Schwartz

Hey, it's Schwartz. Couple things. One, please don't do any mushrooms with the person who we're really working on this amazing deal with. Bad idea. Let them love you mushroom-free. That would be awesome. Two, great job endeavor at the show. It was awesome.

Couple reminders. Act like you've been there before. Be there like you've been there before because you have been there before. yours act like you've been there before be there like you've been there before because you have been there before and when you're on stage and you're telling the whole crowd a sold out show this is the first time i sold out a show in advance and i'm like what the fuck is he talking about you sell out shows in advance all the time i don't get it okay the other thing is no more fucking comps please no more comps like a hundred something comps Andy's friends that listen to this message because Andy fucks me over all the time and puts my messages on his podcast Please and his friends

support your bro and and your bros in the band and go see the fucking show like a normal human being and you don't need To be backstage. You just need to enjoy the show dance your ass off. Have a good time support music Just need to enjoy the show. Dance your ass off. Have a good time. Support music. What the fuck is this? All right, and we're live. Andy Frasco's World Saving Podcast. I'm Andy Frasco. How's our heads?

How's our minds? Are we staying out of trouble? It's a beautiful fucking day in the Midwest. I'm on tour. We're back on tour, baby. How's our heads? How's our minds? Are we staying out of trouble? It's a beautiful fucking day in the Midwest. I'm on tour. We're back on tour, baby. Let's fucking go. Hell yeah, Midwest, here we come, baby. I'm like the Jewish Dorothy. Hell yeah. We got Bruce Horn to be on the show. I got to make this quick because the interview is really good. And I learned so much about the dead and how record labels were giving out record contracts. I mean, it's fucking Bruce Hornsby, the GOAT. Let's go.

Bruce! Bruce is on the show. Big show. Big show. Big show. You're going to love this interview. Nick and I dive deep into the world of Hornsby, and I think you're going to love it.

But how's everyone doing? Y'all staying good, staying happy? It's that check-in. February is always that check-in. I had my birthday, my 36th birthday this weekend. Shout-out to everyone. Thank you guys so much for all the birthday love. It feels good and it's overwhelming as shit. How many people stop their day to message me and just, I don't know, just give me a lot of love on my birthday. It's, uh, it's very special. And,

uh, I just, I don't take it for granted. You guys are the shit and, you know, we're in this together. I love all my fans. I love all my people.

And for you guys to show me this, I'm going to cry for you guys to show me all the same love. It's, uh, woo. It feels good. So, you know,

we're all in this together, people. So keep finding the good fight. Um, turn 36, Jesus fucking Christ. You know, 36 is just a boring ass birthday. It's like, eh, it's like, it's like, I shouldn't even be celebrating it. But, um, my narcissistic ass always plays a show on my birthday. So shout out to Kansas City. That was very special. But yeah, we have more shows actually this week. Let me pull this up because I can't remember shit anymore. We're playing so many shows. Tuesday, this Tuesday, today, we're playing in Peoria, Illinois.

The 14th, tomorrow's Valentine's Day. Lovers, go out there. Go make love with your person. Even if it's a booty call, you're going on a first day's Valentine's Day. Lovers, go out there. Go make love with your person. Even if it's a booty call, you're going on a first day on Valentine's Day, very ballsy. If you're going to have a first day on Valentine's Day, just know that the expectations

are going to be through the roof if you do something spectacular on the first date. So just FYI for all the booty call people on all the first dates. But for the people who've been on relationships for a while, if you haven't hung out with your girl or your guy, gave them some loving, go out there. FYI, for all the booty call people on all the first dates. But for the people who've been on relationships for a while, if you haven't hung out with your girl or your guy, gave them some loving, go out there.

Just fucking go after it. Make love with each other. Just get out there. Go take dinner time. Even though Valentine's Day is kind of bullshit to me, I think, because you should be loving your person this much all the time. But go out there. Fucking get after him.

Make love with your woman. Make love with your man. Go just fellatio him for fucking 15 hours or fellatio her for 27 hours. Go give him the deed. Let's fucking go. Hell yeah. Hornsby's publicist is going to be like, what the fuck? Did I book him?

But for real, give him some love and give her some love into Valentine's Day. And we're playing in Des Moines, the big city of Des Moines. So that show's almost sold out. So grab your tickets. And then the 15th, we're in Omaha, Nebraska. I love Omaha. The land of Chris Lager.

Shout out to Chris. We got a lot of special things planned. We're still on tour with Dogs in the Pile. We love Dogs in the Pile. And then the 16th, we're in Minneapolis. That show's almost sold out too. Come on out. And then the 17th, we're in Chicago, baby.

Yo, the Metro. I thought that was going to be the Eye of the Tiger sound, but I actually changed it to a drum roll. Hell yeah, we're playing the Metro. Famous-ass people play the Metro. I want to sell it out roll. Hell yeah, we're playing the Metro. Famous ass people play the Metro. I want to sell it out. I want to put my name on the wall. So get out there. We're almost sold.

I think we have a couple hundred more tickets left. But I know Chicago, big cities are like, oh shit, I forgot to get tickets. So get out there, buy some tickets. And then I'm home for like 10 days. And then it is Winter wondergrass yes come on out the steamboat it's gonna be fun I'm there all weekend I got a lot of fun sit-ins all my friends

are playing hopefully I get Sierra Farrell to come sit in as well we've been pen pals forever and I don't think we've we met each other once kind of at the. I was on the escalator and she was going down the escalator. I'm like, Sierra, she's like, Frasco. And then we just nodded and we had to get to, we had shit to go to. But, um, I get to hang out with Sierra. I can't wait. I haven't seen her live yet, but I heard she's just unbelievable. And she's such a good person.

I just, I'm really excited to hang out with her. So hopefully she sits in with us. I got to ask her what's Gucci, but it's going to be great. Um, but, uh, yeah, Bruce Hornsby,

check it out. Dialed in gummies, baby. Um, if you're in the Colorado area, if you're going to steamboat, I mean, if you're coming to Colorado,

you're flying in for the winter, winter grass, uh, might as well get yourself some dialed in gummies, the best gummies on the planet. I'm not just saying that because they pay us. They really do help me. Um, and they got this new one with CBD in it. It's fucking dope. And if, uh, if you, if you're a type of person who needs like fucking heavy dosage of weed, which I can't, I personally have fucking anxiety attacks.

Our guitar player's wife, Toby, has her own brand of dialing gummies called Toby Juan Kenobi. They're 50 milligrams of gummy. Go grab yourself some. Support the Frasco family. We also have some from Nick and I have a World Saving Podcast

collab. Speaking of the World Saving Podcast, we are on tour, people. And we also have some from Nick and I have a world saving podcast, uh, um, collapse. Speaking of the world saving podcast, we are on tour. People, we are going on tour. We're taking the podcast on the road.

Let's fucking go. We're out here. We're making moves. Uh, March 9th. We're in Philadelphia with the podcast. March 10th. We're in New York.

Um, we have a day off in New York. We're going to have so much fun. Todd Glass is opening, people. Todd Glass is doing stand-up, too. The first, he's opening for us. He's like, Andy, I'll throw you a bone. I'll open.

We'll get this thing popping. There's still tickets available a lot of these shows. March 13th, we're in Raleigh, North Carolina. And March 14th, we are back in Denver. I will announce all the special guests. It's going to be fucking ill. I have all these local musicians in big bands, being the house band, being the world-saving band,

with Shawn Eccles being the band leader. And then we have interviews. We have amazing interviews. I can't believe some of the guests we got in some of these towns. It's going to be special. So grab your tickets for the World Saving Podcast Tour. Me and Nick, Sean, Todd Glass, we're coming into your city. No pun intended. We're just going to blow loads of happiness and smiles all over the city. So come on out. And our. Um, we just renewed our contract with let's go volume.com. We're back. Another year with volume, baby. Head to volume.com. I had a meeting with the COO,

Greg, and it was a blast. He, he really taught me more about the company that I, than I didn't really know. I thought it was just going to be like a live stream company. But we are trying to take the power back for musicians. And it's all about that alert when you pop something up. So if you're a content creator and you need to get your content out and you're not just like hoping people are on Instagram or hoping people are on Facebook for them to see your content,

they'll give you a ping every time. Yo, Frasco band, just put out a live album. Yo, Frasco band, just put out a new podcast. It will pop up on your phone saying, new content, ready to rock. So if you're a content creator, you might as well get all your stuff on volume.com. We're trying to take the power back, people. Don't you want to collect all your emails? Don't you want to build a fan base? What if Instagram or Facebook just disappears? Then you lose all your fans. We need to get, take the power back and get yourself on volume.com. And if you're just a listener, no problem. There's so many great live streams cataloged. There's so many, all our podcasts are cataloged in there. So if you want to watch all our faces,

you want to watch Bruce Hornsby, me and Nick gush about Bruce Hornsby, turn off the Apple or Spotify and head to volume.com to watch it live or re-watch it. Fucking watch it twice. Let's get those fucking residuals, baby. Let's go. We need royalties. We need some royalties.

I want the mailbox money. Let's fucking go. So head to volume.com for everything you need. All right, guys, Bruce Hornsby. If you don't know who Bruce Hornsby is, maybe you're in the younger generation. Chris Play, that's just the way it is. Tupac sampled this guy. I'm a big fan of Tupac. Even Tupac was like, yo, this fucking song slaps. I'm making it into changes. I don't feel no changes. You're going to love it. You're going to love this interview.

He was also in the dead at the end of Jerry's career. And we got really deep about Jerry's death. And we got really deep about just his life. I mean, he's been a musician forever and he's been through the ups and downs in the music industry while having so many hits. It's crazy how many hits he has.

So you're going to love this interview. All right, guys. I'm out. I got to get to sound check, but it's a beautiful day in the Midwest. Thank you for all the birthday love and we love you. All right.

Enjoy Bruce Hornsby and I'll catch you next week with, I won't tell you who, but, actually I will. Jamie White. She's the shit. That interview, she talks about going to prison, hooking up in prison. It's amazing. She's putting out a new record. I want to give her some love

for the podcast. Alright, guys. Enjoy Bruce Hornsby and I will catch you on the tail end. Bruce Hornsby. and I will catch you on the tail end. Bruce Hornsby, how are you doing, sir? Not horrible. Where are you living these days? I'm okay. Well, I live in a town where I grew up, Williamsburg, Virginia.

I lived in L.A. from 80 to 90. I think Tom Wolfe called the 80s the me decade. Either the 70s or the 80s were called by the great Wolfe the me decade. So I went out there for me and tried to get something going in the music scene. Finally got something, got a record deal in 85. And then, so we were there through 90, and then I moved back to Virginia in 1990, and my next move is into a pine box. No way. That's going to be at least 30 or 40 years, bud. Yeah, let's give it some time.

Yeah, give it some time. You're a legend, Bruce. We need you around. What's your love with basketball? Why do you love basketball so much? That's a funny way to start. Yeah. Okay. Look, I was tall-ish as a kid. I was a kid growing up playing every sport in this season, football, basketball, baseball. I was also a little bit into music when you know when the beatles came came on the scene in 63 or so every white kid in america wanted to play guitar wanted to play guitar and be in a band and so i was no different even i was mostly a jock i played guitar and had a little band

in sixth grade and then as i grew up, I was mostly into hoops. By ninth grade, I knew that that was my love. Dollar Bill Bradley was my hero. Oh, right. Bill Bradley for the Knicks, Walt Frazier for the Knicks, Earl the Pearl Monroe. I was a Knicks guy from Virginia. Right, so I was deeply into that

in high school. I was a Division II recruit as a hooper. But then music happened for me. I got deeply involved in it. My older brother turned me on to two great

rock piano players, Leon Russell and Elton John, and I heard the Tumbleweed Connection record, sort of the one Elton record from back then that didn't have a hit on it. But it's that and Mad Men are my favorite Elton records. They just always crushed me then. And then Leon playing with Joe Cocker, Mad Dogs and Englishmen, and then his own great records. Mad Dogs and Englishmen, and then his own great records. And so my focus shifted in 11th grade, 12th grade, from basketball to the piano deeply, and I got really intense about it.

What was the first moment you realized that you fell in love with the piano? Well, we had a little Steinway Grand in our house, so that made it easy to fall in love with that instrument, because we had a nice instrument there. I remember specifically a song from the Elton record, Tumbleweed Connection, called Amarina. And music came pretty easily to me. I had a solid ear. I could hear I knew chords. So I heard this song and could play it. I don't have perfect pitch, but I have good relative pitch. Meaning if you play me a D chord and then go from there, then I'm probably going to be able to follow you fairly well.

You can find the G chord. Which is what I did with the dead. But that's a different story. Winging it with no rehearsal at Madison Square Garden. I was playing a lot on beat two. I hear the chord, okay, got it.

Beat two, okay, got it. So I was starting picking out these Elton songs and these Joe Cocker and Leon Russell songs and then that was it for me. That was 52 years ago, and I've just never stopped.

I'm a lifelong student, so I've never stopped trying to push it in every way, vocally, as a songwriter, pianistically, all of that. Was there pressure in your own internal uh dialogue because your mom was such a great piano player or did that make you want to get better i'm sorry you you broke up a little bit oh sorry can you hear me now i hear you well yeah it was kind of uh what was the internal dialogue like learning the piano with having such a great piano player from your mother being such a great piano player oh your mother being such a great piano

player oh okay well that's not quite accurate my mom was a piano player but she was not really that into it i would she was not a great yes but her her dad my grandfather was a musician in the pubic school system of richmond virginia and uh so uh he he was a musician for a living went in the you know 30s 40s 50s 60s when that was not a standard occupation at all uh so but my mom coming from from that very musical family she really had a clue about it and so for instance she told me at first within the first year of my getting interested in this that my hands just looked terrible you know that i had terrible position and so she prodded me to take lessons and i did and i took it from this this old jazz guy down in virginia beach pat curtis who

taught me bach inventions and uh Evans chords, standard jazz harmony. And I went from there and got my hands to a better place so my mom wasn't riding my ass all the time. I bet. I bet. I mean, who was it? Was it Bill Evans? Was one of the first guys that really... Sorry, we're having technical difficulties today, Bruce. I apologize. So was Bill Evans one of the first guys you really fell in love with or what? Well, okay. After Elton and Leon, I got into Bill Evans.

Okay, so I was a guy who just was listening to rock music. I wasn't into jazz music at all. But I was a subscriber to rolling stone magazine uh and so i was interested in their record review section and and they one issue featured uh uh two two reviews brought by two records of this pianist named keith jared by two records of this pianist named Keith Jarrett. Oh, yeah. So I read this, and of course I was intrigued by this.

And one of the records was his first solo piano record on the then import label ECM, which ended up subsequently making a deal with, I don't know, Warner Brothers or someone. And so then they had American distribution. But I had to look long and hard for this facing new record And I found it and it just turned me out and I just went way Deeply into this world and got into Bill Evans from that and so got into Bill Evans from that. And so, uh, uh, all of that is as informed my, my playing,

people always ask me, they always say to me, Hey, we know it's you. We can hear you. We know it's you. What, why do we know it's you playing? And I said, well, it's just, maybe it's a philosophy of voicing chords. And I had, I had to come up with a facile description. So I describe it as Bill Evans meets the hymn book. Because I love also that hymn, the chordal movement of the hymnal. And so Bill Evans meets the hymn book is how I would sort of describe my style. And so, right. So I got into all that and just went headlong and went into, went to Berserkly College of Music, which was.

Oh, yeah. The best. It was okay. You know, I. It's so refreshing. Thank God. I think I've heard, Andy, that you are proud to have not gone there. Yes, I sure have.

Everyone has not graduated. I'm curious why parents still spend $50,000 a year for them to go to school for a semester. Well, you know, it was always a badge of dishonor to have graduated from Berkeley. It means you failed. Because it knew...

Because it outed you as someone who was pretty sad as a musician so you couldn't get a gig the real killers who were at berkeley were were uh sort of selected and and discovered there and would end up going on the road with who who knows mongo santa maria stan, et cetera, or rock bands. So, right, I get it. I only lasted two semesters there and then went to Suntan Youth, University of Miami. How was the music program there? Well, it's great.

It was great for me. I went down there and just got my ass kicked by this teacher I had. And I got in there and he said, well, you're terrible. this and this and listen to everything I do, you won't be terrible. And he was a total badass. His name was Vince Maggio, and he couldn't wait to move you off the piano stool so he could show you how to do it. And he was a player of great ability, great gifts, and he could really walk the walk, not just talk the talk. So I was lucky after sort of recoiling in horror from the eagle the eagle blast of that first uh meeting i got with this program and so then i got into all the bud powell and winton kelly and uh mccoy tyner and i love hancock and chick korea etc etc and uh yeah dove headlong to that but i was always into popular music too.

I would always go to the record store and buy an Ornette Coleman record, say, but then I'd buy a Joni Mitchell record and Europe 72, which is a Grateful Dead record, and so triple album live. So triple album live. And so I always had sort of one foot in one area and one foot in the other and gradually came out with what I ended up doing. It's amazing. What about your brother?

Give me a little background about your brother as well. I know you guys are such great musical partners. Was he as, was he as serious earlier in his life as you were? Well, okay. I have two brothers. I'm the emotionally disturbed middle child.

Yes, I feel that. So I have an older brother who was really the muse of the family early on. When I was, uh, I was shooting, uh, he was was he had bands he had a soul band the soul solution he had a psychedelic band called love minus zero

they played all the you know birds hippie music at the time uh and but then my younger brother that my older brother's bobby hornsby my younger brother is john hornsby and he ended up older brother's bobby hornsby my younger brother is john hornsby and he ended up writing songs with me the first two or three records feature a serious brother collaboration so i was the guy in sort of in musical cahoots with both brothers older and younger first off first with my older brother playing in his grateful dead cover band up in charlesville. He was at UVA. So we would play. His band was called Bobby Hightest and the Octane Kids. And we played frat parties, grain alcohol parties out on a place called Lake Renovia.

The frat parties would be three different layers of dancers, people dancing on tables, people dancing normally, and then the people doing the dying cockroach on the floor. Also known in Southern parlance as the gator. Okay, you guys know beach music? Are you familiar with the term beach music? Maybe not. No, tell me about it. You're looking confused about beach music. Beach music is a regional type of soul music, really deeply entrenched in the Virginia Carolinas, Georgia area. Basically, frat party soul music. If you joined the K.A. House at University of Georgia, you would try to book certain beach music acts.

One of the most famous was a group called Doug Clark and the Hot Nuts, and they just wore jock straps the whole time. That's all they wore on the gigs. Was it very sticky? Was that like part of the era? Was it kind of sticky like that? Everyone had their own vibe to it, or was it just them?

Well, there was always a showbiz element you know there's a guy uh people people everyone knows about little richard but little richard had a model a guy named escarita leon russell turned me on to escarita as you go look up look up escarita he has the same pompadour the same hair. And he was sexually fluid, sexually ambiguous for the time. And he was a big frat guy, soul brother singer. And so we knew this beach music scene pretty intimately. We would get hired to play the North Carolina State JC's convention, where all they wanted to hear was this beach music stuff.

So frankly, if you, with your band, Andy, if you go and find classic beach music songs and you play them, I'll bet you'll drive the jam band crowd wild, because this stuff is just straight- ass party music from the old days. So there you have it. I hear that. When was the when did the music history start becoming real to you? Well, OK, we I I graduated from University of Miami in 77 and then went back to came back to virginia where i am now uh and put together a band with my brother and a couple of uh miami uh schoolmates and we were playing around and we were serious

about so all of a sudden it came time for somebody to to write songs we knew that we weren't going to make it just playing brick house you know that could pay the bills you know in the lounges that we were playing see we were lucky to come along when the drinking age was 18 so the the bars were just flooded with with kids college kids a few years that kind of when we were lucky when we stopped doing it too because right around when we stopped the drinking age in virginia and care the carolinas moved to 21 and it's never come back i thought i don't think not sure about that uh so uh all right so so we so somebody had to write the songs and and i knew the most chords so i sort of was silently elected and so i started writing writing songs at age 22 23

and we started playing them in these lounge gigs where uh where you're supposed to be playing top 40 but we we sneaked some of my songs in there and we gradually we pulled what's sort of a difficult trick we pulled it off in these bars and lounges because we started gradually acquiring an audience who was interested in, not interested in us playing That's the Way, uh-huh, uh-huh. They were interested in hearing my songs. And so they'd come for that. And the club owners, they don't care why people are in the club. They just want people in the club owners, they don't care why the people are in the club. They just want people in the club. So we were able to play, you know, the Steak and Ale Lounge in Hampton, Virginia, for instance,

or at the Janice Shopping Center, Pembroke Mall in Norfolk or Virginia Beach, and play my music and have a crowd. So then we were fans of Steely dan and the doobies you know we came from this jazz background in school we also loved the dead we play i know you rider and big railroad blues and all blah blah blah have sugary uh so we knew that the doobie Brothers were playing Hampton Coliseum. And so we knew where they were staying because the people, Whisper Concerts, booked our little crappy ass lounge gigs. But they also booked the big Coliseum, too. So Doobies are playing Hampton Coliseum. We're playing at the, again, aforementioned Steak and ale and hampton at the coliseum mall and uh we went over to my drummer john molo who's now uh sort of a titan of the jam band world he's

been playing with phil lesh for many many years and yeah he's pretty important he's pretty important yeah the jamming world yeah yeah yeah you know you know who Molo is? You got good guys? Yeah, yeah. I'm close with Graham. Oh, Graham. He's great. Graham has really become a strong-ass musician. So happy. I just love how humble he is for being a kid flying in private jets his whole life. And he still gets in that van, and he still plays D D'Chipsy and he still really does it.

I'm with you. I'm a total Graham fan. And Brian too. Brian Lesh too. I don't know what Brian's doing now, but I always loved Brian as a kid when I knew him in my days in that world. Okay, so we were talking about

Yeah, 22. So your first time you feel like you got screwed. Okay, yeah, got it. We find the Newt and the Doobie Brothers were playing Hampton Coliseum. And so Molo and I... Yeah, bringing Molo into it threw me. Okay, so Molo and I go in there to the lobby of the Coliseum, Sheraton. And there's Mike McDonald standing right there

So we go we go up to him and we say we're looking down on him by many inches and we say Hey Mike with the baddest motherfuckers in this town Hell yeah, let's go and you need to come hear us. We're playing it's a steak and a hill over here You know those two those two statements don't go together. We're the baddest and're playing at the steak and ale over here. Those two statements don't go together. We're the baddest, and we're playing at the steak and ale. We almost have our bills paid this month. That's how good we are.

Baddest in our own minds. But anyway, again, we developed this following. We were riding pretty high on our local or regional level. He said, well, look look i'm going to a movie but i afterwards i'll come if i if i can and so sure enough he showed up it was their off night and so we had saved all my songs for in case he came and so we just were fucking wearing it out you know we we meant it hard you know we really uh we

if we were terrible, it was not for lack of effort. What did you see in him that you wanted to impress him so much? Oh, I don't know. We just liked the music. I liked his kind of white R&B approach to his song. It keeps you running,

taking it to the streets. yeah those songs sick so and all the sideman work so anyway he discovered her us i in the family tree of sort of connections and it starts with him he's i call him my discoverer and founder and uh and he then tried to help us and we went out molo and i went out and slept on his floor but he ended up coming back the next night bringing everybody from the gig after they finished the coliseum concert they all came back to the steak and ale the jolly ox it was called and he sat in with us that night. I mean, that was unbelievable. And he said, well, I'll do anything I can. You guys just crush me and I want to help you.

So two months later, Molo and I were sleeping on his floor for 10 nights in Studio City. And so that was, he heard us December 1, 1978. And here's a great one. He took us back. He said, come back to the hotel. We hung out in the bar. He said, come up to my room. I want to play you our new record that's coming out tomorrow.

And it was minute by minute. Whoa. What? I love that record. Yeah, I get chills thinking about it. It was one of those life moments that you can't believe this is actually real.

Was that your first time coming into LA too or have you been there before? We've been there on a couple of family trips. Yeah, right. But as a professional, even if you're sleeping on the floor, it's like this is your first time as a man. Oh, absolutely.

That was our first time. I think that was our first. Yes, it was and so uh and so then i could i could be very specific about that this because i've told this story a few times so i kind of know it well but but so anyway if you're bored with it i'll we can move on but anyway we ended up a year and a half later i ended up getting a songwriting deal with 20th Century Fox as a staff writer. Mostly they signed me because they thought I was going to get a record deal. I was working with a producer, David Foster, who was an up-and-comer at the time.

Oh, my God. Yeah, I've heard of him. Whatever happened to that guy? Well, he's still around, you know. He still does concerts, and I think he he has a netflix special uh what what was his what was that conversation with david because he was young too what did you see in david where you felt like you guys were like really mixing together well i wasn't sure that it really was a mix but he he uh i liked him personally and he was a fantastic musician and a great songwriter

in in that very pop sort of top 40 area and we're still friends i i like david uh and so we made a tape and uh man this is crazy we made a two song tape and i went back home to move my my my girlfriend who's still my wife we just celebrated our 40th wedding anniversary new year's eve oh my good grass got married so i wouldn't forget you know the anniversary date new year's eve is easy to remember and so uh so anyway i get out there and i i get a call from my publisher at 20th saying, where have you been? We've been trying to call you. Of course, this is way before the cell phone era. The next day, he was freaking out so much because the next day we drove to David Geffen's house in Beverly Hills because he'd heard our tape and he was starting this label that had no no name yet it became

geffen records very clever right who who was he who was he managing at the time who was uh geffen that's like my idol that's one of my idols well geffen is one of the great uh impresarios of of the of in pop music history of course and. And so, again, here I found myself kind of like in the hotel room with Mike, listening to Minute by Minute. I thought, wow, this is unbelievable. He said to me, okay, go play me a song, Brucey. So I played him this song. It was sort of not unlike a Mike McDonald-esque

rhythmic R&B thing. Model S. Rhythmic R&B thing. So, and David Geffen jumps up and says, Brucie, I want you to make records for me. I thought, God, how easy was this? I just moved to LA. This is 1980 now. June of 1980.

Well, then they waltzed around with me for about four months and then they called me in in october or so and said you know what you're the kind of artist we're looking for at what was now known as geffen records but you're not ready yet and you know what they were of course that was we were crestfallen you know we were uh destroyed by that for a while but but but they were right they were absolutely right it not unique. It didn't have its own sound. And the songs were okay. They were pretty good. Pretty good's not good enough. But that whole time is where I realized, just to put a period or come back, circle around to

your question. Your question was, when did I first, what was my first sort of real experience in the real music industry? You have something like that. So, so that's what it is. Those stories tell that that tale. So what I was more curious about was like, when was your first heartbreak in the music industry? You know, like how we have this visualization of like, we're get a record deal we're gonna you know like these big dreams when we were kids what was the first one that said welcome to the music industry well there

were loads of them but the first one is okay we made this in 78 we made this just in hindsight just dog shit ass tape of my first six songs okay that i'd written and so and then you know we were we had no fear of flying our crowd molo my brother bobby and i had no fear so we we took my james blair high school jb's jock bag full of cassettes up to new New York on a train and went to the phone book and and copied the addresses of every record company we'd ever heard of. You know, we we went to Buddha Records because I had an old Melanie record. Lay down, lay down candles in the rain. You know that you white birds. So. So, right.

So we went to all these labels demanding to see the president or whatever we were doing. Well, we got to Atlantic Records. And so Molo goes in with this guy. His name was a British guy named Roger Probert. And he listened to the whole six songs, the whole demo tape, about 30 minutes worth. About two-thirds of the way into this, I joined the meeting because I'd been down at

another label in the same building. I went to Fania Records, not knowing anything about it. They told me, sorry, Fania is a Latin label. And you'd... Wrong demo. Wrong demo, Bruce.

You're the farthest from a Latin looking person. I'm sure your music reflects your look, so you're not our guy. You're just like a white dude from Virginia just rolling into the... This blue-eyed geezer. So anyway, I've joined the meeting,

and we listen, and I'm thinking, wow, KK must be into it. He listened to the whole thing. And then the last song winds off, the awkward silence after the song stops, and then he punctures the silence with this statement, you guys got problems.

So, should we leave? Is that your time that we should leave, or is problems good? Is the problem we're too good? Well, the problem, it's very simple. You guys don't have a hit. They were hearing us as a pop band,

and it was true we were coming from steely dan doobie brothers which you know for all of steely dan's sophistication musically they had hits on the radio you know songs like peg and ricky don't lose that number you know so they were more simple you know they weren't trying to get asia on the record on the radio right right what gave you the confidence bruce after one year of you know did who taught you confidence in your life where you felt after one year i'm going to pitch every single record label well yeah okay i just thought i was getting better at it i just thought every year i felt i was improving but also every year there would be some bit of affirmation from the business that gave me reason to continue.

Okay, so then there was 1980 when I signed with 20th Century Fox. So that's something. You're actually in the business making money, making a salary. a salary uh then in 82 the great lenny warren kerr the great producer and head of a and r at water builders records who produced all those ricky lee and randy newman records for god's sake and james taylor with his great partner russ titleman lenny offered me demo money okay so then there's more affirmation then you go okay well okay, well, I must be doing something right, say. You know, you figure that. But it would always be, yeah, yeah, yeah, not quite.

We made the demo in 82. But so then in 84, we had put together this band. We called ourselves Just the Range. I was hiding behind a band name, like Dire Straits,it like martin opfer always right right i thought bruce hornsby was about as good a stage name as martin opfer it is a pretty dope name bruce yeah it's good not really a good name is what i mean by that uh not so so 84 then we we were playing around the la scene uh madame wong's hop sings the central the lingerie we were playing around the LA scene. Madam Wong's, Hop Sing's, The Central, The Lingerie. We were doing the circuit.

And at that point, we were kind of a, we thought ourselves, you remember the group Big Country? Oh, my God. I love Big Country. Big Country, dreams stay with you. Like a lover's voice, mountainside it's just fantastic such a beautiful melody we love that uh sort of an american version of big country or just a modern version of the band i was playing i wasn't playing piano then i was playing uh accordion and playing hammer dulcimer and we had david mansfield the

great mansfield oh wow rolling thunder review he was in the original range etc and uh so so we played around and we had five offers for uh from labels different epic rca warners etc wanting us to make a demo for them so again there's what i was knocking on the door bubbling under the hot 100 say and uh and so that's why so it kept me going i think you can understand if you had been in that situation you thought well okay i'm still scuffling here but but these people who are real people and people of who command great respect in the music business are think there's something in there and and all this time i was gradually starting to find my own voice and by that time when i made those those first songs, look, they're a little boneheaded.

It's just a freaking Linn drum machine and me playing synth bass on an OBX. That's what those records are. They're so good, though. Well, okay. Nothing wrong with the drum loop. I don't feel like they age well, but that's just my own cross to bear. And I was not that sure about them even then, to be honest. But that's just my own uh cross to bear uh uh and i was not that sure about him even then to be honest but that's a different story uh uh so so so after the after the 84 thing

with the range where we we went we got got all this high all this uh attention and all this interest and we made a we made we picked epic records we made the demo for them. And they passed on it. And then Warner Brothers passed on it. And so then we were kind of out again. The next year, I decided. I was always disappointed when I would bring my songs of that time to the band. I'd always come out of it saying, damn, I thought this song was better than than this and i thought to myself i need to just record these by myself yeah and again with a lindrum machine and me put me playing everything on the record so that tape started with mandolin

rain and then the second song was the way it is and the third song was red plains from one of the best song is off the first record the font less and that's and so I thought that major labels were not for me so I Knew this woman who had worked with who would work for the new age label Wyndham Hill and they were starting a vocal label So I thought maybe this is my play so i sent this to her uh don atkinson is her name and she played it for will ackerman who was the head of the label and he called me up on a sunday night i get chills thinking about that so i got chills about the mcdonald thing uh and he said i love this i can't stop listening to it

and i want to sign you so i thought that's great and so then that happened and that but but i then i had to tell my lawyer and manager okay this is what happened this just this i just did this myself and so now you know and you can try to make the deal my lawyer who's still my lawyer 43 years later well no way. Yeah. Fred answers as his name. Shout out to Fred. Yeah. Yeah. Absolutely.

Fred, Fred had great clients like Charlie Hayden and priority records that were hip hop label. He's quite a, quite a cat kind of, I call him my Brooklyn beat, beat Nick lawyer, president of the student body of Erasmus hall high school in Brooklyn year, you know,

years ago in the fs uh so he he he hears the tape and he calls me up he said this is too good for this wyndham hill give me a couple of tapes i want to uh i want to share it with some of my friends you know in the in the big time scene i said oh fred i've had i've been passed on 70 times in the past seven years i think this is seems like the right move he said well just give me a couple of cassettes so one of the he shared it with a couple of guys most notably the former rhythm guitar player from the zombies paul atkinson the beautiful british man who was the head of A&R at RCA. And he heard this tape.

And again, he said, I don't know if this is commercial. I just can't stop listening to it. And it doesn't sound like anything else I've ever heard. And so they signed me. And that's how it happened. How did... I have many questions about this whole uh scenario first off how'd your band feel when you said when you yeah i'm doing this alone yo by the way i think i could figure this out by myself are they bitter salty or are they proud of you well it's a great question and but

but i had my way of sort of massaging this and making it a little of both. I decided that I didn't. The label only signed me and they wanted it to just be Bruce Hornsby. But I wanted to include the band because I thought some of the band songs that I felt they did justice to. I thought that they should be included. These songs should be included, too. So I called it Bruce Hornsby in the range and And I said to the guys look this is what's happening and I'm gonna sign you they're not gonna sign you guys

They just want me but I'm going I'm gonna make a deal with you and you'll participate very solidly in the in the points in the royalties from this record, from whatever we do. And so they said, yeah, okay. And I'm not sure what they, I don't remember what they thought of the actual piano drum machine tapes that got signed. But, of course, as anyone knows who knows this story, all the hits were those piano and drum machine songs.

I know. That's wild. So that was obviously the deal seller, the deal maker. And so they were fine. So we ended up doing that, and they recorded the record. But those demos, we kept trying to beat the demo. But I'm sure you guys are aware of the demo love, demo item. Yeah, demo item.

You can't beat that first take. The phenomenon, the first time you put it down, it has a certain je ne sais quoi, a certain intangible quality. No one can describe it, but you know it when you hear it. And that's what happened here. And then so then it when you hear it. And that's what happened here. And then so then it blew up in England. I'm getting ready to go over to London next week to play with the BBC Radio Orchestra. A little concert, a mini concert live on the air.

BBC Radio in London. And it was so it's appropriate because my record brokeke on Radio 1 BBC, broke in London Oh, that's amazing You know, my question is Through those seven years of getting declined Or getting denied and denied Who was your rock That helped you keep going?

Was your girlfriend, wife? Or was it yourself? Or how'd you quit? My girlfriend girlfriend wife or was it yourself or how'd you how'd you quit my girlfriend wife she's fantastic and she was fantastic then she was so supportive because she liked what i was doing uh but uh but i think i i gotta say i was the rock there was nobody else yeah oh yeah the whole family because again like i like I said it before, I felt I've always felt that I was getting better at figuring it out. The music, I was, it was becoming more me, more personal, more unique, more original. And so that's what you need. I tell people all the time who come to me, for instance, someone will tell me, man, Bruce, you've got to come. There's a singer in our church, and she just can sing the phone book, and she sounds like Aretha Franklin or whatever.

And I tell them, okay, that's great. I'm sure if I came to your church that this young person would give me chills, that I would love it. But here's the problem. The black church is such a deep well, such a deep training ground for musicianship. Drummers from the church, bass players, rhythm section players, singers, of course. And so I would say to this person, look, we're in Williamsburg. You can go to a whole lot of churches in Williamsburg and hear a singer, a great singer. Now you go down to Hampton, New Bernous, Northern Virginia Beach, forget it.

A thousand great singers. So what you've got to do, you've got to set yourself apart and you've got to write and you've got to come up with not just good songs, but you have to come up with your own voice, your own unique style. Because this is sort of a black community situation that I'm describing. I say, OK, who are the people who had lengthy, lifelong careers? Marvin Gaye, Stevie Wonder. You know, these people are incredibly creative forces. You know, they wrote their own material and the music was so original, sly, etc. You could just keep naming and uh so so that's so i tell them that and that's what i think is true here uh it's uh uh find your own voice because uh you should you should take it as a cut if somebody comes up to you in the bar you're playing and says say wow you're fantastic you sound just like jerry garcia you know yeah i mean of course i i use that i use that name that's you know he's one of my favorite people i've ever met you know he's one of the greatest people i've ever known but uh but i i say look that's great

you're on to something there but you're not on to enough. You want someone to come tell you that you sound like yourself. You said, I've never heard anything quite like you. And that's what will give you a career that sustains of some length and depth. And so that's just my feeling about it and that and that's my story the least the least commercial tape i ever made in those yet days was the one that got me signed and it was the most original you know i gotta clap for you bruce it's unbelievable because i is it the middle is it the middle child in you that is seeking for attention and seeking for love from your whole family that made you keep going, Bruce? Look, it might be, but it may be that.

Yeah, that may be the explication for my situation. But anybody who knew me growing up knew that, for instance, when I was into basketball I was deeply involved I was always out there I was always sneaking into the College of William & Mary gym getting kicked out and going around the back and knock on the door and let me back in and do it all over again so cool so so whatever I decided to deal with I was deeply committed and and always pretty much willing to do the work And I'm still that way I still get up every day And work on something

To try to improve And be productive And just keep evolving I'm so curious about Your love for the dead And when you met the dead How perfect And simpatico was was that after being in cover bands,

after being in cover bands and loving the band? Like, can you tell me a little bit about that story? Cause I know you probably told us a hundred times, but I'm very curious about it. Yeah. Well, okay.

Uh, so this first record, it went a long way around the world. And so we had to become headliners on a nine-song record. So, of course, we have to flesh the concert out with some covers. So we did two main covers.

We take my song Red Plains into I Know You're Riders. So, rather than China Cat Rider, we were doing Red Plains Ride. So we did that, and it worked great. It kind of double times, just like the, uh, uh, from red plains to, I know you're right. Or just like China cat into riders.

And so there's that. And then we did, uh, I love, again, I love the band. I love leave on. And they did. I always loved their version with Garth's great accordion of the old Dylan song when I paid my masterpiece You know all that stuff is leave on so we so we played when I paint my masterpiece I didn't know at the time when we were doing that that weird that that was a weird song in the dead world So but I didn't know that but so I guess the dead heard about this band who was making some noise around the country and around the world and that they were playing what could be thought of as two dead songs. I didn't think it was that. I thought it was one dead song, one Dylan band song.

when dylan band saw uh so i guess they got interested in it and we got a call about say february of 1987 from the grateful dead saying would you like to open two concerts for us at laguna seca race racetrack in monterey ricuder vh and the r and a dead in May, May 87. So, of course, I said yes. Hell yes. So it was beautiful, man. I met them. We played the thing. This was funny, though.

We played these same 11 songs every night, of course. Oh, we played 12 because we were playing the song Jacob's Ladder that Huey subsequently recorded for his next record for and he had a big Hit that was a huge hit. That was a huge hit. Yeah. Yeah Jacob's Ladder. So so we played our 12 song set Second day. It's the same, you know same gig and we're playing our 12 songs and so a bunch of deadheads are coming at the front of the stage and they're just Screaming with great venom and vitriol. They're screaming, same set, same set.

Oh, no. It's the same shit, man. They're still doing it. They're still doing it. I didn't know that. I figured that out, of course, later. So, right, that was the beginning. And then the next year, they asked us to open for them

two more shows uh one at laguna at the buckeye lake in ohio and then i sat in with them that that night after we opened for them and it just kept growing and evolving the next year we did three uh opened three gigs for them and i would sit in every time then i would sit in with them when i wasn't opening and uh played with them at the forum and then garcia played on our third record he played guitar on tucson so beautifully and then it culminated really sadly with the death of brent and them asking me to to join them and i said look you'd have gotten me a few years ago i would have gladly i would i'm popping jerry i got my own career jerry things are going pretty well for me but i will but if you need me

to i'll help you through any adjustment period that you have with what with the the chair that was filled by vince welnick uh and so yeah so then then that's where I get back to what I mentioned a good while ago, winging it with no rehearsal at Madison Square Garden for five straight nights in September of 1990. Oh, my God. What did Jerry teach you about music, Bruce? What did he teach you? Well, I would say that he, I've always said this, he was a walking encyclopedia of folk music. As you know, he was a big bluegrass guy.

He had his groups holding himcyclopedia of folk music. As you know, he was a big bluegrass guy. He had his groups all in the way, jug band music. And he was probably a big devotee of the Harry Smith anthology of folk music, which is a total compendium of every style from Cajun music to the nastiest gut bucket Delta Blues to light, airy white women folk music, you know, folk society. And so I learned about that. I was always interested in that. I knew something about it, but nothing like him. So I remember, so we, after the five nights at the garden, we did a Europe night.

It wasn't like Europe 72, but I had a great time with them. And we rode around on buses. And Garcia and I would always sit in two adjacent seats on the same side of the aisle. And where we would just talk about this sort of stuff all the time. And so that was my Garcia tutelage moment. I learned a lot from him. Otherwise, I just learned about a lot of the great Catskill comics, like Henny Youngman and Roger Dangerfield and the Jerky Boys.

He would listen to these tapes in his tent. I love it. We would just sit there and laugh our asses off and then go play a gig. How did you not get into substance abuse? I told them that if they ever dosed me, I would leave. Oh, good.

You guys need a piano player, right? And I got some hit records. I'm moving tickets, too. I'm hot, too. Jerry, you don't need to dose me with no LSD. I'm doing fine without the LSD. It wasn't about hot. It was just about fear of the unknown. I'd never done it.

And so I didn't want to be... Garcia told me stories about him doing some drug that made him just catatonic. He could not move his hands on the stage. He could not move his fingers. And same thing happened with my wife and me in amsterdam at the bull you guys ever heard of the bulldog bar oh yeah we were just there last month okay so so we went to the bulldog and we ate some hash and we got back to our room and we could not move we were as if we were strapped to our bed yeah and so i'd had

that experience i'd heard about jerry's experience and so so i just so they told bear hey leave him alone and so yeah we need we need a keyboard player you never got into cocaine or alcohol none of that i did blow one time at the cave biker bar in virginia beach virginia in the late 70s i was just sick as a dog and i needed to get to the gig and this uh this uh sort of uh independent record promoter guy used to hang around a lot was in the bathroom and he was just tooting his ass off and he said hey man you want a hit? And I said, man, I feel like shit. I'll try anything. And damned if it didn't get me through the gig. I nod.

I have to nod to blow because it did help me through one sad night at this old biker bar called The Cave, bar called the cave where we where we used to be the the soundtrack for the the chef the cook getting his ass beat because the biker didn't like the way he made his steaks we we'd we'd play in big railroad blues and my brother would reach up and turn the light around to light the fight and oh my they're gonna do cocaine somewhere it might as well be there yeah if you're gonna do cocaine somewhere you might as well do it at the biker bar no question yeah it all goes together so no i didn't get into that uh so how did how'd you how'd you like approach jerry's death approach i just look okay i must say that that it was a shock but not a surprise right and so that's really the truth of it if anybody goes oh my god i can't believe it happened then they weren't really knowledgeable about what was going

on uh this had been happening and we and but most people are knowledgeable and know and shouldn't be surprised i okay i called him toward the end of the time Dead time Well, I stopped playing with him I actually left I think I'm probably the only person who actually quit Yeah In 92 I just thought Vince was really doing great

I thought it was time for me I just had twin sons They didn't know me when I came off the road. I was on a dead tour. And I went, okay, I need to stop doing this. Mostly because Vinny had it. He had really grokked the whole thing. Yeah.

The whole aesthetic and the songs. He'd done his homework. He was ready and had been ready. So, I lost my train of thought there. About Jerry, you're about to end. I got it. But a couple of years later, say 90, in the last year of Garcia's life, they would call me up a couple of times, and they asked me,

they said, we're playing Charlotte. Would you fly down here and we'll run a piano? Cause if you would come play with us, cause Jerry needs a lift. And we were thinking maybe your presence might lift him up because he was really struggling. I mean, really? And this was just, again, uh, in hindsight, a few months before he died. So that was say March of the spring tour. I went down there, played at the Charlotte Coliseum with him and had a great time with him. And then they asked me to do the same thing at RFK three months later in June.

Uh, so I played both nights at RFK and he, but I could tell he was really having a hard time. And so, uh, so I decided i was worried about him and so a couple weeks after that maybe a week after their tour ended i called his house and steve parish answered you guys know who steve parish is right oh yeah oh yeah big steve answered the phone and he says hey bruce Bruce, we're just taking Jerry to Betty Ford, man. I said, okay, okay, well, that's great to hear.

And he said, here he is. So Garcia got on the phone, and we had a nice talk, and he said, yeah, okay, I've decided to do this. I guess there was some sort of intervention that happened. I'm not sure about that, but I'm just guessing because he was always really resistant. So then, okay. So he, so then I said, okay, good luck. And a couple of weeks after that, I decided to call out there to hear, to get a progress report. If, if, if anyone picked up, you know, picked up the phone, well, sure enough, Parrish answers again. He says, Hey man, Jerry's back. I said, oh man oh man really he's supposed to be there for weeks and weeks and this is just two weeks after i called he said yeah he is a jerry got on the garcia got

on the phone yeah i think i think i've kicked it i think i'm i'm good i think i feel great he told me stories about all these people that he met, some guy who used to play with Django Reinhardt in the 20s in France. You know, all these interesting stories that people he'd met. And so we talked a lot that day. He sounded pretty good. I was getting ready to do something with Ornette Coleman, and Ornette had played with them. And so we talked about that. And he said, wow, I'd sure like to be playing on the wall with that.

I said, well, let's try to get it hooked up, get you to be a part of that. You know, so we were making plans for for projects to come. And then four days later, he was gone. Four days after that. Wow. It was four days after he got a rehab. He was out. Yeah, he went to Serenity Knolls and copped.

And so that was so that was that. Yeah. So that's that from where i sit that's my version of that that time of the end do you ever regret not telling him he needs help i didn't feel it was my place man he i also felt he had enough guys who knew him way for way longer and way better than I. So I just didn't feel like... I also knew that he resented it when people said it. Yeah.

And you're his friend. He would really get snarky. But these were all his friends, too. But they were his brothers. They always called me Cousin Brucie. And that's who I was. But I was... Those other guys were brothers.

Right. Brothers in arms. arms and so musical arms and so uh so that's that that's that that uh so no that's the answer to why i never was trying to be that guy to bust him about that were those guys ever asking you to talk to him because he listened to you? No. I don't think they ever asked me. I know they asked me. The reason it took me a second to think about that is when Sting was opening for the dead,

he opened for the dead. So many people opened for the dead. Miles Davis opened for him. So many people opened for the Dead. Miles Davis opened for them. So many people opened for the Dead. It's amazing. If you wanted to play for 60,000 people, then that was the place to go. Who liked to listen to music.

If the Dead would accept you, it would take you. It turns out that the Dead Sound Man was only giving stings band half the pa or something like that and he found out about it and they and so he was pissed and they found out he was pissed and they asked me because they knew i knew him a little bit they asked me if i would be the go-between, the ombudsman, the fixer, to fix the bad vibes,

the stink vibes that were in the air at that point. So that's the only time they ever asked me to do anything in that regard was with Sting. Yeah, it's hard. Being the new band member, they've had these years of stuff. It's got to be tough. It's not your position.

Yeah, it's tough. You know, guys, we're way over our time. I know. An hour over. If you guys want to do it again. Totally. But, you know, I'll just. Thanks, Bruce.

I'll do my own plug for our upcoming chamber music record that we have coming out with the great New York chamber group, Why Music. You guys ever heard of Why Music? No, tell me about it. I have heard of it, yeah. You know Why Music? They're just fantastic. I met him through Justin Vernon, the great Justin Vernon of Bon Iver. And Justin had the most amazing festival for a few years there in the, in the teens, the Eau Claire music and arts festival. And this amazing band was playing chamber group was playing before me and I became friends with them. And then they've been part of my last three records. And then in the COVID time, we ended up making a, uh, a record together. And that comes out. It's called Deep Sea Vents. It's an aquatic-themed record, and it's, again, talking about trying to find your own voice, trying to find a style that

is unique, that doesn't sound like anything else. Now, that's what this record is. It's very, it's an original take on music, and so that's coming out on March 1. And so there's my sorry-ass little... I love it. Bruce... But yeah, if you guys want to do it again... Yeah, let's do it again. I'd love to get past After the Dead.

I want to hear more about that stuff. Before we go, just in case I don't get another time with you, I got to quit one last question. You know, when it's all said and done, what do you want to be remembered by Bruce? It doesn't matter. You know, that's the response I have. That's my favorite answer. Yeah. Anyone's ever had that? I don't. Yeah. I, who cares?

Yeah. I don't care. Uh uh just we won't i won't know and so i i hope they remember me as fondly as they remember biggie smalls over there on your wall or tupac shakur baby i wanted to talk about tupac we'll talk about another time yeah of course that's my guys one of my guys in that world no question i love it well bruce thanks so much for being part of the show and thank you for sharing your time with me. You're a legend in our book. I'm a fan. Yeah, we're huge fans of you

and we're just honored that you shared some time with us. Thank you, sir. Appreciate it. Yeah, we'll do it again. We'll pick up. You tuned in to the World's Health Podcast with Andy Fresco. Thank you for listening to this episode. Produced by Andy Fresco, Joe Ang listening to this episode produced by Andy Fresco

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and check our socials to see what's up next. Might be a video dance party, a showcase concert, that crazy shit show or whatever springs to Andy's wicked brain. And after a year of keeping clean and playing safe, the band is back on tour.

We thank our brand new talent booker Mara Davis. We thank this week's guest, our co-host, and all the fringy frenzies that help make this show great. Thank you all. And thank you for listening. Be your best, be safe, and we will be back next week. No animals were harmed in the making of this podcast.

As far as we know, any similarity, interaction, or knowledge, facts, or fake is purely coincidental.