Andy Frasco's World Saving Podcast - EP 26: Charles Goodan (Producer: The Rolling Stones, Beck, Santana)

Episode Date: November 6, 2018

Andy & Yeti strike gold this week with their cannabis-born brainchild: MIND PORN. They play a rousing game of FMK, which will surely make everyone in the band feel very weird. And stop the presses cuz we got legendary producer Charles Goodan on the interview hour! He shares some incredible stories and drops some wisdom on us about what it means to Produce. Also, Shawn sings our favorite Waffle House ballad- Special Lady. It's Tuesday Nov 6th, have you voted yet?! This is Episode 26. To keep up with the podcast, follow us on Instagram @WorldSavingPodcast For more information on Andy Frasco, tour dates, the band and the blog, go to: AndyFrasco.com The views discussed on this podcast do not necessarily reflect those of the guests. Follow our guest, Charles Goodan at charlesgoodan.com Produced by Andy Frasco Yeti Joe Angelhow Chris Lorentz Audio mix by Chris Lorentz Featuring: Shawn Eckels   Arno Bakker

Hey, Andy, it's your grandfather. I wanted to call because I saw a picture of you on the Facebook, and you looked kind of fat. And I thought maybe you should lose some weight. I know you've been doing the Stern Show, and I don't want people to think that my grandsons are fatty. Maybe go on the Weight Watchers or the keto or something. Call me and your grandmother soon.

We'd love to talk to you and see you. Okay, we love you. Hope everything with the new album's going great. Love you, mama. Listen, motherfucker. Stop liking my fucking girlfriend's photos on Instagram. Don't act like I don't fucking see you commenting LOL and fucking Yas Queen on every post

swear to God if she tries to show up at a meet and greet that you fucking have outside of one of your shitty fucking stupid concerts I'll kill you stop this shit you may not be fucking her but this shit's on the road to that. So you better quit now before you take a fucking bat to the head. Back the fuck off.

Here we are. Again. What's up, everybody? Again What's up everybody? This is Andy Frasco here on the Andy Frasco World Saving Podcast with Yeti Yeti died yesterday and we have his ghost here Hello Is that how a ghost is supposed to sound?

All over like Barry White Hello Hey baby I know it's been a while since you saw me hit the pavement But I'm back I'll open like Barry White. Hello. Hey, baby. I know it's been a while since you saw me hit the pavement, but I'm back. Big girth. Do you think they're fucking in heaven?

Do you think ghosts fuck? I don't believe in heaven. I know you don't. You're like an atheist. Do you believe in ghosts? I believe in energies, if that's what you mean. Do you think energy is fuck that's what i'm trying to get at do you think they like they see each other like damn that girl look good big old like like i don't know bullet in her head or something or like when ghosts died like do you see energy that's

does the energy like you see it move like so why do people say they feel like they saw a dude well you i i think it's i think that comes back to whatever belief structure you kind of grew up in and and how you're going to see things and also the mental state that you're in what you're remembering most like i i don't think the energy that exists within us within everything has it doesn't have a physical form it doesn't have a gender it doesn't even have it it doesn't have a physical form. It doesn't have a gender. It definitely doesn't have a race attached to it. And so when people say they saw their mother, what they may be feeling is energy

that could absolutely be connected to them, but as much as it's connected to everything in the universe, and they're remembering what that person looked like. And so it's a vision in their mind, which is fine. Holy fuck, I have an idea, Yeti. Yeah, what's up? We need to invent a new porn. Energy porn.

Energy porn. Be like tantric porn. We could totally mind fuck everybody. Start a cult. Yeah, that's a great idea. It actually is. How do you show we could convince people hold on i'm all i give me that pipe i'm not high enough for this okay let's smoke this we could convince people that they could beat

off by ghost energy you can beat off so is this like you doesn't matter what's in your mind you're just basically going for the feeling of the orgasm or something else. If you're in a threesome with two energies. Oh, shit. So if you're doing that, maybe you have to close your eyes and just make music that feels like energy. And it's kind of like audio porn. This is basically like... We need to make a segment of this on halftime.

Chris, remember this idea. Write that down. Energy porn. Where you just... Maybe I am high. What do you think? Started off strong. I'm going to try...

No, no, no. I really do think. I am going to try to beat off... Okay, go. This is a social experiment. I'm going to try to beat off to just noise. White noise. No.

I'll experiment. Like just noises? First, I'll start with just hearing porn in my ears and closing my eyes and trying to beat off. Well, that's easy to do. Just put the phone somewhere else. But we're going to keep going through this social experiment. Yeah, yeah.

So then I'll try... Are we going to document this? I'm not going to document myself beating off. Not document it in the act. No, I'm not saying that, but you're going to come back and report. I'll report. Okay, okay.

Okay, and then I'll go into like rain sounds and see if I can get off from just the sound of rain. And then I'll go until like, and then we'll keep going in degrees until it's just white noise. And if I could beat off to white noise, I'm going to start this porn. You've got to start with like lounge music

or elevator music. You have to start there. Like no got to start with like lounge music or elevator music You have to start there Like no words No words at all This is not about language You've got to start off with instrumental music So I mean do everything Do Bach and Beethoven

Start there in the classics And just beat off to Bach and Beethoven I mean that's some good action too You get some of those That's some good stuff right too. I mean, you get some of those, like... I mean, that's some good stuff, right? Okay, so we start at the easy stuff. Classical. The stuff that, yeah.

Highly instrumental. Can I start with listening to vocal porn? Just like... No, no audio. No Coptic vocalizations. Yeah, Coptic vocalizations. Whatever that guy said. Okay, so I first start with classical music.

Yeah, music. And it can't have any words. It can't have chanting either. Okay. And then you got to go to, I guess, lounge music? No, it's got to be more primal. If you're going to do one music, well, I guess you could do specific genres, too. But then we're getting deep into the experiment.

I think we should do, like, yeah, maybe do classical, and then you go lounge music, okay? Okay. Just kind of like elevator music, basically. Not words, just sounds in the background. You know, I'm thinking, like, the organ playing, you know, basically some funk. Then what about, like, rainforest? Right. And then you get into natural sounds.

So the ocean scratching. So now I have to beat off to that sound. Yeah, the sound of animals. Oh my God, I have the greatest story of that, by the way. Really? Old drummer. Yeah. We were playing. Former Frasco and the UN drummer.

Yeah, old drummer. Now he's like touring with all these like Disney pop stars and shit. Sounds like a life. Yeah, he's happy. Yeah. And so he's like, this like, he was in the water. He said, we were on mushrooms, I think, or like ecstasy. And like, this is the greatest moment.

He was by himself on the ocean. There's no one around him. He's like, how can I make this moment even better? He pulls down his pants and starts beating off. Like ultimate nirvana moment i'm like great you just fucking jerked off in the ocean that's fucking dope that's hilarious that's the type of shit i want to do oh that's too funny i thought that was fucking i was like god damn he's like how it was more about how the perfect moment how to capitalize on that yeah like what can this i'm gonna come all over this come all over this fucking moment he's like he's

like this most beautiful girl in the world i need to come all over her like god bless his heart i love him he's my favorite i don't think he's wrong about that no i don't think he's i'm like i obviously don't do anything that's going to cause a felony or injure children permanently. Like, yeah, you got to be mindful of that. But that's dope. Connect to nature in that way. I mean, there's, fuck, I totally believe in that. And we started this conversation about energy.

And that's really what it comes down to is connecting all of that energy. Because I firmly believe that the energy that sustains our consciousness, you and I being able to connect, you and I going through our moments and everything and our emotions and all of that is built off of that. I firmly believe that that energy is also what causes the waves to move and that it's all connected. And if you can get back to that connect, I mean, you want to do something crazy, like in a building wherever you are just lay down on the ground and just feel what's going on around you like whether it's busy or not do it in the middle of a quiet area that's what i'm telling you i think we could monetize on energy porn no one has done it yeti this is what i'm saying you're getting all fucking

high about it i'm seeing your calf chub going on talking about this thing. We are fucking onto something here. Yeah. Mind porn. Do you think we do like a guided masturbation? Ew. No? It's got to be dark.

They got to be just thinking about the energy. This is the we are so stoned episode. We are high as fuck we're talking about everything we're talking about you asked me if i believe in ghosts yeah do you believe in ghosts i not in that form but yeah i believe energy exists that we don't necessarily have the capability all right let's play a game then okay fuck marry kill oh okay what's the category we're talking about female celebrities no not even female celebrities just general situations oh okay okay so like a person fuck marry kill all right let's

start this all right this isn't a we are so poly this is 2018 fuck marry kill this is straight old school yeah that's what i'm saying that's what i'm saying. That's what I'm saying. I'm like, yeah, and when you get married, you don't have sex. All right, give me one. Give me one. Give me one. All right. You have to choose between a hot woman, like smoking hot woman of your dreams that has a voice like a man.

Like me. She talks like me. She talks exactly like me. The hottest woman, woman of your dreams, but she talks like me. She talks like me. She talks exactly like me. Hottest woman, woman of your dreams, but she talks like me. So you hear this all the time. Oh, Andy.

Yes. Yes. All right. Okay. Put that in your mind. Okay. All right. And then,

um, uh, the second person is, uh, hilarious. You guys get each other on a mental level, uh, but they look like a 12-year-old boy.

Okay. Everything clicks. Everything clicks except for the fact that they'd look like a 12-year-old boy. Okay. Like there's no way around it. I mean, like if we made the movie, Haley Jo Osment in Paying It Forward would play this kid. Okay. that's who it is. And then the third person is, um, wealthy beyond anybody's dreams. I mean, they're like basically a Rothschild, um, and a decent person, but they like to cause you pain, um, physical pain. I'd kill there. Um, I'd probably, I'd probably I'd probably marry The 12 year old boy You would?

She's a girl right? Yeah yeah yeah Okay yeah 12 Yeah no big deal Okay Cause I Eventually People stop having sex

Okay I'd definitely fuck The girl that kinda Sounds like me I'd be like Shh I'd be like Shh Hey baby be quiet Shh You'd fuck and kill the girl that kind of sounds like me I'd be like shh I'd be like shh

you'd fuck and kill because you just have a pillow over their face no I really like it she's beautiful she's beautiful just like I just want to look at you

shh let's just own this moment she's a vocalizer though can't just add fucking extracurricular things to them you know that's the way it would go, though.

All right, fuck, marry, kill. All right, here we go. These are good. I like this. We're getting into it. Andy, me, Frasco, your ex-girlfriend, and your fucking gumar. Okay, all right. Fuck, marry, kill.

I'm fucking the gumar. That's straight up. We know that. And then who do I have to marry and who do I have to kill? Yeah, me or your ex-girlfriend. And I'm killing my ex-girlfriend. Really? Yeah. And then who do I have to marry and who do I have to kill? Me or your ex-girlfriend? And I'm killing my ex-girlfriend. Really? Yeah.

You'd marry me? Yeah, maybe. I fucking always knew you'd marry me. I just wanted to hear you say it. I was already technically married to her anyway. Oh, man. You forgot. That's a flaw in the story. I mean, just for the...

I don't want to kill Meg, by the way. I just want you to say that. I know you just wanted me to say it. Should we... Give me one. All right. I don't want to kill Meg, by the way. I just want you to say that. I know you just want me to say that. Fuck. Should we... Give me one. All right. Oh, somebody...

People we know. Okay. People that are in my life. Is there anybody that's off limits? No one's off limits. No one's off limits. Okay. I have a feeling you're going after my band here, so...

No, because I like those guys. I wouldn't do that to them. I'll talk about Fuck, Marry, Kill the kill the band yeah let's do it okay fuck mary kill the band uh chang beats eccles oh actually damn that's a good one this is good i like this all right so fuck mary kill andy frasco do you fuck m, marry, or kill Andy Avila, Sean Eccles, or Ernie Chang? I'd probably accidentally

kill Andy Avila. No, there's no accident. This is premeditated motherfucking murder. Okay? Damn! You know this is going to happen. There's no way. You're playing a show, and he might be dead. You're just trying to figure out how to do it. Oh my god. Andy Avila. You're going to kill him. I'm going to happen. There's no way. You're playing a show and he might be dead. You're just trying to figure out how to do it. Oh my God.

Andy Alva. You're going to kill him. I'm going to have to kill Andy Alva. You're taking beats out. Taking beats out of the picture. Not because I want to kill beats. It's just because... Just shut up.

It's a game. Who would I fuck and who would I marry between... Ooh. Ooh. Actually, I'm going to have I marry between? Ooh. Ooh. Actually, I'm going to have to reverse it. Wow.

You're killing somebody else now? To think that I have to. You didn't think it through. You forgot about the fucking marry. Damn. Okay. Let me think about this. Okay.

I'd probably kill. Yeah. I'd probably have to kill Andy Avila that hurts killing you killing beats all right I'd probably fuck Ernie yeah and I'd probably marry Sean yeah that makes sense or no no no Here it is I think I'd have to marry Ernie Yeah it makes sense you guys would have cute babies Me and Ernie

And I'd fuck Sean You would get your asshole You would never shit out of your asshole again Cause you know you're the bottom in that situation I'm definitely the bottom on that situation Just to, for like, maybe I,

fuck Sean, just to, just to say I survived. Yeah, I survived Sean Eccles. I survived anal with Sean Eccles. We're getting those t-shirts.

That is a t-shirt. It's right there. Yeah. Anyway, there it is. Damn, that's hard, dude. That dude that's because i love those guys yeah right i and i feel the same way you know we're talking about my ex and i just i feel the same way like i don't ever want that but hilarious i got fucked by sean eccles i got fucked and lived to tell

about it and all i got was this t-shirt i I saw that fool's dick in China. I know you did. It's fucking huge. It's a monster. It's a monster copy. It's unbelievable. I'm not trying to. It's a thing of beauty, isn't it? I'm like, damn, dude.

You know, sometimes I'm like, you know, sometimes when I'm like half chub, look myself in the mirror. I'm like, hey, it's not that bad. And then I fucking won in locker room talk. All of a sudden, fucking, fucking big, big dick eckles slapping his fucking thing through his fucking jesus christ i'm like damn well big dick show now i know because me and me and sean has been have been eskimo brothers a bunch oh yeah definitely first time second time i won't say how many but it's like oh fuck i was we'd like the same women, me and Sean. We like the same type of girls.

The same women are attracted to you. I mean, you guys. Yeah, I think they. I mean, you're front men. You're both front men in your own right. Well, there was one time with Sean where he was dating my. Yeah, fuck. I'm just going to say he was dating my old booking agent.

Okay. In Germany Okay And this was Oh my god This is when me and Sean Almost broke up Oh really Like I was

I was so fucking fed up Cause I knew Sean Was gonna fucking Be Sean And ghost him And then I am You've got this

I got this work to do With this girl Who's obsessed With my guitar player I'm like this ain't't going to cut it. You're like, dude, this is mixing business for pleasure. Is that where you were coming from? Don't shit where you sleep.

We're not at that point yet. I was egging them on like an asshole because they were all fighting. You were making worse, just pouring gas on the fire, weren't you? He was just going through a breakup with his girlfriend. This was his first rebound and oh shit so it was now that i look at it i was being a dick he was going through a stressful time in his life but sorry sean sorry sean um but he jumped out of

the seat this is i knew he has anger he jumped out of the front seat with these fucking bloody red eyes. I will fucking end you, Frasco. And I knew him. Oh, that's it. I took one step too much over there. Somebody pissed the T-Rex off. Somebody pissed the T. Oh, man.

Well, that was great. Let's listen to the next interview. Let him roll. Let him roll. Man, mind porn. It's on. It's on. It's on. All right.

Enjoy it. Get it out. Getting it out. Charles Gooden. Hi, buddy. Hello. It's good to be here in your studio. We're finishing another record we've done together.

Another single, Up Down, right? Up Down. Up Down. We've been friends for a couple years now. More than a couple. How long do you think it's been? When was the first time we met? We met at Bailey's wedding. Key West.

I was dancing in a pink floral suit. You were, and you were sweating a lot, I remember. Florida is hot, people. This was Key Largo. Key Largo, wedding band, and I knew you were playing piano. Yeah, I played for the ceremony. So people don't know who Charles Gooden is. Charles is a Grammy Award winning.

Would you consider yourself a Grammy Award producer, engineer? Producer. Producer. I engineer as well, but no, I'm a producer. So you're a producer. Yeah. What's the difference? I want to talk about producing.

First of all, what did you get a Grammy in? Just tell the people what you got a Grammy in. Santana's album, Supernatural. Are you also recorded, what, the Rolling Stones? Yeah, Rolling Stones. Who else? Beck, Smash Mouth. Smash Mouth.

Keep going. Marilyn Manson. Primus. Primus? Oh, you did Les Claypool During the prime time No we did a couple of songs For Orgasmo

Which was Which was The South Park Primus Was the music for Orgasmo They did a couple songs yeah And then what about Fight Club Fight Club

I scored Fight Club You scored Fight Club too Yeah So most of You worked for Who did you work for I worked for the Dust Brothers for four years. And if people don't know who the Dust Brothers are, explain who the Dust Brothers are.

They produced Beastie Boys Paul's Boutique and Beck Odelay. And way back in the day, Tone Loke and Young MC. Holy shit. Producing, like when the idea idea Like I want to be a producer When was that idea? That's when I got to LA From I always wanted to be a rock star

From upstate? No from I went to Stanford Yeah so upstate California Upstate California yeah So did you grow up there? No I moved every year My dad was in the oil business

So I lived overseas I was the new kid every year. So where have you moved to? I went to junior high in Tokyo. What? I didn't know this about you. Yeah. And then I went to high school in London and New York.

Dad was oil. Uh-huh. And were you playing music then? Always. Was this like your getaway? Because you had no friends because you always had to move cities every year i suppose i mean i was playing cartoon themes at age two on the piano i would just hear them and just play them by ear and so i started formal lessons at four did you ever want to be

in a band or do you always want to be a producer i was always in a band once i got a guitar at 16. I got my grandfather's 57 Gretsch. What? He gave it to me, and so I started a band. No way. What was the band called? That band was called Slow Children at Play. Fucking weirdo. Everything.

You've honestly, when it comes down to it we made happy bastards together no we made half a man together so I remember being in sessions with you and you would totally fuck my world up I'd be like I have this great song I was so pumped to bring it to you

and then you're like you know it's good but let's fuck it up that's what I do as a producer is to bring it to you And then you're like You know that's good But let's fuck it up Yeah That's what I do as a producer Is to You know Shake it up a little bit And Get you to do things

You didn't know you could do Like who Who's the guy who taught you To get out of your comfort zone As a musician And Get You know

As a producer And getting The kinks out Was it the Dust Brothers Or was it Yeah I mean partly I mean, partly. But I've kind of evolved into my own thing.

Yeah, totally. Like in the beginning, I'm talking about. Yeah, so I showed up to LA, and I answered a, it was a AOL ad for music publicists. And I'm like, all right, well, I need to get into music somehow. And so I went to that meeting, and he said, you're too qualified. He sent me to the owner of Spaceland, and he said, you're too qualified. He sent me to the owner of Spaceland and he said, you're too qualified. You should go meet with the Dust Brothers. And I did.

So Spaceland said you're overqualified? Yeah. We're just doing sound? Spaceland as in the music video? No, they're a label. You're overqualified. What's that mean though? Well, I was a major in music science and technology.

That's Stanford. That's Stanford. So that was all computer science. And you're also the stanford tree that's true so then i got i got to the dust brothers doorstep and they're like can you start working tomorrow and i said hell yeah and so started and the first day was engineering Hanson Mbop. What? Yeah. So how was that session like? Was it, were they? Well, this is, this is why I got to it is talk about being out of your comfort zone.

I was thrown into the fire. Like, I don't know what I'm doing right now, but I just have to do it. And that's the way you learn. Yeah. So were you an engineer? You're an engineer. Engineer, yeah. So what kind of, you know know how you know how to run those boards though those was it a neve console i didn't at the time so how what were you going what i was seconding you know you're so

you're learning yeah you're seconding yeah so but i can't you can't tell anybody that you don't know what you're doing hell no so what what what do So when you're a second engineer, what's mostly your job entail? These days it's the Pro Tools operator or setting up and tearing down. What about back then? Back then it's set up, tear down, anything like

go move the mic on this amp and see if we can get different sounds. How much has Pro Tools changed between the 90s and now? Oh, massively. Yeah. And so the workflow has changed too. Yeah.

So getting to that. So you're an engineer. How many years were you doing that engineering for Dust Brothers? I started as an engineer, but I was also answering phones and doing the faxes. Oh, so you were like the one man shop. Yeah, doing the billing. I was doing everything. And getting lunch, they realized, wait a minute, we can get somebody

else to get lunch. Yeah. And so I quickly, they're like, you need to be doing the music part. And so I just went right into producing for them right then. So after Odelay, did just like the work pile up and they would just like throw you your own work? Like, all right, I need you to take care of this whole project. The phone was ringing off the hook and they couldn't manage it all themselves.

So they just threw me all this stuff. So what was the first big project they threw you? The stones. You did that by yourself? No, but I was part of a team. Yeah, but they threw you stones? They weren't in a session? Yeah, Mick was over for four and a half months every other day at the house.

Mick Jagger. Yeah. Tell me about that. What years was that? This was 96. Fall of 96. What were they working on? Bridges to Babylon.

Bridges to Babylon. Oh, my God. You worked on Bridges to Babylon? Yeah, at 22. So you're in there, and you basically bullshitted your way into this session. I mean, you're a super talented guy. Don't get me wrong. But 22 years old working with the Stones is like, what?

Did you have epiphany? Like, how the fuck did I get here? Oh, absolutely. Every day was just a new surprise. Did it make you want to work harder? And I used to make cappuccinos for clients. So when Mick was over, he loved cappuccino. So I brought him a cappuccinos for clients so when mick was over he loved cappuccino so i brought him a cappuccino one day and he pulled me aside he's like hey charlie

follow me i'll show you how to make a proper cappuccino so he gave me a cappuccino lesson and to this day it's the best cappuccino you've ever had no and who would have thought mick knew how to make a cappuccino he's had people make him coffee for his whole life. So what was the band chemistry like in 96 with the Stones? Oh, this was the best part. Keith. Okay, so we did three songs with Mick. So there are always five Keith songs and five Mick songs.

Oh, that's how it works? So we were in the Mick camp. There are always five Keith songs and five Mick songs. Oh, that's how it works? So we were in the Mick camp. And so when we got to a point where we needed guitars, we said to Mick, hey, we got to get Keith on this. Do you know what his schedule is? And he's like, what are you talking about?

I said, well, we got to get Keith on this song. And he's like, I don't want Keith messing up my song. What? Yeah. And so we're like, wait, this is the Stones. I mean, it's Keith. He's got to be on their songs. And Mick's like, no, he's going to mess it up.

And we're like, but. And he's like, listen, if you want to try to get Keith on these things, it's all you. I'm not going to be around. Good luck. What? So we did. And they have opposite schedules mick is up at

like seven and and runs five miles and then goes to the studio and he's at dinner by six and out with the ladies yeah whereas keith gets up at 6 p.m and goes to the studio has a big steak and then works all night he's's a vampire. Okay. So did you get to work with Keith at all? Yes. So we did an overnight thing recording Keith on guitar. So what was the vibe like? He was just fucking with us the whole time, just giving us total garbage. Because he knew it was a mixed track.

Yeah. And so he was just crapping all over the thing, just track after track after track. I'm like, oh, I'll get it this time. And then just totally sabotaging it. Was he fucked up or he was just sabotaging it? He was sabotaging it. Yeah. Yeah.

I heard he has like- So then I had to go through, bring them all back, and go through and try to find some good bits. And it was like two days of that. And there just wasn't anything good. So late night session. So what's the vibe like? You're in there at 4 a.m.

He's fucking with pride. There's probably 30 amps in the room. Oh, at least. So, you know, Mick is... Who is easier to work with, Mick or Keith? Well, we were in Mick's camp, so I worked more with him. So Mick was more professional with it? Yeah, but, you know he he likes to

sing on a mic like we are right now in SM58 in the control room and he dances like he dances in the studio like he dances on stage were those the original recordings with the SM58 yeah that's what he uses either that or

an SM7 oh my god so dynamic mics that's his shit yeah but he with the SM58? Yeah. That's what he uses. What? Either that or an SM7. Oh my God. So dynamic mics. Yeah. That's his shit. Yeah. But he dances,

he does his stage moves in the studio while he's recording. Damn. That's just him. So you did the Stones. What else did you do? That's, what else,

what other crazy sessions? Like, I want to hear about crazy sessions. Crazy sessions. Like, what? I'm like, we're making either, we're making magic here, or this is a shit show waiting to happen. Oh, I gotta think about that one. Because in the 90s and the 2000s, I mean, they're giving a lot of money out to record, to make records. And we were doing three or four things at once.

Yeah, so like, how long, like, how long was that bridges the babylon record take oh that was a good five months or so and then what about like um so you didn't what would you do any other beck records uh yeah midnight vultures oh sick how long that take what what's working like what's working with beck like oh he's he's an absolute genius yeah how so he bangs stuff out so quickly from scratch and he plays everything so we had this the house in silver lake with just old y'all recorded in silver lake a house yeah in a house and silver like what kind of rig uh soundcraft board and old semi-broken keyboards all over the place and and you know like a bass that was impossible to tune and he would just like disappear and come back and in 30 seconds with some weird maybe it works

maybe it doesn't something and then turn it on and, and he's like, okay, I'm ready, and just lay down a track and then disappear and come back with something else. And three hours later, the whole thing's done. What? Just like that? Yeah. Did he play every instrument?

Yeah. Did he play every instrument on the track? Oh, on Midnight Vultures, he had a band's part. But he had the idea. He said, this is what you're doing. He said on Midnight Vultures, he had a band's part. But he had the idea. He said, this is what you're doing. He said on Midnight Vultures, I want every section of every song to sound like its own chorus. What? Yeah.

That's insane, man. He's a crazy person. Like, brilliantly crazy. Yeah. It is halftime at the Envy Fresco interview hour. And now the most awkward orgasms

of the week. Mmm, get that motherfucker in that pussy. Give me that juicy, juicy dick right there. Ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, ooh, Let it drain down your body. So you did Beck. So, yeah. And then he called to do some more work.

And the same day, David Fincher called saying, I got this movie and you guys would be perfect to score it. And the Dust Brothers were like, we just got the Beck call. And so they're like, here, get Charles started on it. So they gave me a box of tapes and said, here, go for it. He's coming in two days, Fincher. And- For Fight Club. Yeah. The director of Fight Club. And so I'd never done anything like that. So I did my first

two cues. He came two days later and I played them for him. And he just sat there staring at the computer screen for a very awkward 30 seconds not saying anything after after you heard him you spun around his chair and looked me in the eye and said that's not at all what i'd envisioned for these scenes and my heart i was like that was my one big chance i blew it he goes in fact it's way better so from this point on i'm not going to tell you anything you just do what you do and i'll do what i do and make this was as a director like if you're getting was at first was he pissed that you were working on the tracks and not the dust brothers didn't appear so no no it's awesome that's insane so what was your inspiration inspiration? Did you feel this eeriness in the film without the music?

I mean, the music is pretty eerie as fuck. Well, but it's also very playful. Yeah. That was the big point is I wanted to do the scary and the playful and quirky and weird. And why would you put a Hawaiian guitar with a driving synth bass? See, but that's but that's your vibe though yeah i mean that's in even in our records you know we named the fun

machine you know we felt like we put the fucking fun machine keyboard in every on every track yeah it's perfect it's all over fight club oh the fun machine yeah no way that same one that is insane so you did fight club did you Club Did you get recognition from that To move on to the Santana stuff Or what was next in the progression Oh man the phone was just Every day Yeah I mean

They were top of the top And everybody was calling And so there was just so much work Any albums that You guys had to decline because you're so busy that you regret? Like any records that turned out to be just smash hits? I mean, I don't know that we declined anything. Not declined, but you're just so busy, you just don't have time.

And there's like a certain deadline for this, this client or artist. Well, there was a Scott Weiland song that just was not very good. Yeah. And he couldn't get it together. Well, he was all fucked up. Yeah. Yeah. He was the nicest guy though.

He is nice. But like we worked with Linkin Park and they are a whole different breed. What's that like? How's Chester? Yeah, that's crazy. He just passed away. Yeah, he did. Was he depressed during those sessions?

He wasn't around much. It's all Mike Shinoda. Oh, so it's production. And he is a micromanager. Oh, really? Yeah. How so? He just wants his hand in everything.

Oh, yeah. Well, maybe that's why he got so stressed out. I just think he's a very type a type a yeah uh that's crazy so lincoln park so when did you so when did you get the santana call uh soon after that and that one was you were asking about like crazy sessions that one was hard because we recorded it in Sausalito at the record plant. And the engineer had mistimed the two tape machines. So when we got

the reels back... Explain that. Explain the tape and how hard it is. Well, you've got 24 tracks on a machine. And in those days you would have two machines and they'd be synced together but you had to have a box in between that was set right to sync the two and this was not

synced properly so the one machine was not um slaving to the other machine properly so they were out of time so i had to go in cut by cut on the whole second reel and align it manually because we could never figure out what the sync mess up was so that took like four or five days just to line everything up what yeah Before we could get started. So did they, was it, they had, how many producers did they have on the record? Well, that was the first of the, I want, the hit producers won for every song. And that was the first album of that kind, yeah. Really? So they had like 12 producers or 10 producers? Oh, yeah.

At the end of the Grammys, there might have been 18 of us standing up on the stage. And we were sitting in the back. And I was convinced the TLC was going to win that year. And we're way in the back. We can't even see the stage. Where was this at? Where was the Grammys? It was at Staples.

Oh, still. Yeah. And so they call Santana. Who were you competing against? TLC? TLC. Shoot, I don't remember who else. I just knew TLC had it.

That was the Waterfalls year. Oh, really? Yeah. I remember that year, actually. And so they call Santana's name. And it's like, okay, we got to run because they're not going to, they might think we're crashing the stage. We're so far back.

So were all the producers that far back or like the bigger producers? They were scattered all about, but I mean, most of them didn't get, you know, close up seats, of course. So you ran your ass on stage? Yeah, and we barely made it on stage. 18 fools just run. I'd be so fucking pumped up dude that's crazy so you did that and did you have you made a record too you after that what was that band you're in uh with that with the internet's for porn not internet's for porn oh Not internet's for porn. Oh, porn. Girl problems. Girl problems. Tell me about girl problems. That's me

and a buddy from college. I live in LA. He lives in New York and I'm the music guy and he was the lyric guy. Yeah. And we crossed over

quite a bit, but that was just, again, being weird and both silly and dark. They're all real stories, but with some humor added to it.

Yeah. It was fun. Oh, that's amazing. So I have a couple questions, and then I'll let you go. First off, as a producer, what do you look for in an artist? And what do you look for in making that perfect record? Okay. In the artist.

Let's go first with the artist, yeah. It's got to have a good voice, good energy. Thank you. I'm just kidding. And if you don't have that, you got to have a big fro and dance moves. Yeah, we gotta... What do you look for when you're producing a band?

You could just... They gotta be able to play. And they gotta be able to take some direction. Not be set in their ways, because I can't help if you won't let me help yeah and then you know if it's good writing it's good writing i mean you could make it into a jazz polka or into a hawaiian goth song the same thing and it would still be good so so what about records like what do you what do you consider what do you what do you consider a good record? A full circle great record?

Variety? Wait, you mean an actual one? When you're producing a record, you're trying to get these points across throughout a whole... This is a singles industry now, so people forget the idea of making a whole record right so what tell me about that process and what you try to achieve i look for story um definitely passion um energy whether it's like high or or low, flow, it's got a roller coaster a little bit, wave.

And it's interesting, the texture of what's involved, what's playing, what's not playing. It's harder, but better to have less stuff going on. Yeah. Simplicity is the hardest thing you could do, I think. Yeah. You want somebody to hear it once and be like, either I want to hear it again, or it's like,

I can't get that melody out of my head. Or that line. So songs are all about melody. Writing a great melody. That's almost essential. But it could be just a hooky lyric that's like, oh my gosh, that's the funniest line I've ever heard. Or it's the weirdest and I can't stop thinking about it.

What do you think the future of the music industry is going to be? You could be pessimistic. I'm pessimistic. Well, I think we have a whole generation of people who have never bought music ever. And they don't know that you're supposed to pay for it. And they just think it gets made and that's just how it is. So it's hard to put the toothpaste back in the tube.

It's hard to tell them, okay, now you've got to tell them okay now you've got to buy and i've got to pay for it so how do you think what if you were in those shoes what do you think you'd give it out free or do you well right now it used to be you went on tour to sell the cd and now it's the opposite yeah you make the cd to go on tour it's crazy and so the money's in the touring yeah that's what everyone says oh and in placement if you get a Nissan commercial how hard is it to get placement

it's a total crapshoot it's crazy what a life you've worked with so many different eclectic people from Beck to Santana to the fucking Rolling Stones. You've had such a life with music. Are you satisfied with where you are in your musical career,

or do you feel like you can never be satisfied? Never be satisfied. Why? That to me is what an artist is. You've never created your masterpiece. The next one's always going to one-up that one. Why? That to me is what an artist is. It's like you've never created your masterpiece. The next one's always going to one-up that one. Yeah? That's a good way to think about it.

Because, I mean, if you made your best sculpture ever, why would you make another one? Yeah, it's true. So you've got to get out of that mind state. You want to make the next one that's going to be twice as good. The next one is going to be better. Yeah. That's amazing. Charles, thank you so much for being as good. The next one is just going to be better. Yeah. That's amazing.

Charles, thank you so much for being on this. Thank you, Andy. You're the man. What are you working on now? I'm working on this Andy Frasco. We've been working on forever, it feels like. How long have you been working on this track? Hours-wise, not that long.

Hours-wise. But days-wise wise a long time whenever I try I always try to come over to you well since you left us high and dry for Kansas City I know I'm the only Jew out there Charles I love you buddy thanks for doing this let's get back to work

and if you guys check out all you gotta check out Charles records he did some amazing singles did some amazing records and he also did Half a Man But if you guys check out all, you got to check out Charles' records. He did some amazing singles, did some amazing records. And he also did Half a Man that I am very proud of. And I'm proud of that. You're proud of that record?

Hell yeah. I mean, you got a lot of me that I didn't think I could get out. You asked me very early on, what does a producer do? That's one of the big things. At least that's the way I produce. Yeah, get it out of me. Charles, I love you, buddy. I want you to do stuff you don't know you can do. That's one of the big things. At least that's the way I produce. Yeah, get it out of him. Charles, I love you, buddy. I want you to do stuff you don't know you can do. As I stare into your eyes. Crack that whip.

I always, you know, I could tell when you're about to do, you're about to tell me something crazy because your eyes start twitching. Like, when you're about, because you're very passionate about music and like, it really gets, like, I've seen you almost cry when we do sessions like yeah because you love you're such a passionate guy that's why that's why i fuck with

you because you're the man well that's why i fuck with you back and you're also my life coach yeah i feel like i come here to write songs with you just so i get a therapy lesson sometimes ah well i'll start charging you for that too don't't. You didn't hear anything from me. Charles, love you, buddy. Thanks for doing this, bud. All right. All right. Just a sound in my wheels in the night But I know just ahead someone's waiting So I look for that big yellow sign With a coffee that's fresh like the morning I smile when I walk through the door All it took was just one time to meet her

Now I'm not a stranger no more Special lady, waiting on me at the Waffle House She's amazing, calling all those orders out He'll say hello And welcome me in She'll serve a cup Just like we were old friends Special lady Waiting on me at the Waffle House.

Var she blows. Var she blows. Do you think aliens are just laughing at us now that how stupid we are? Oh, I think it's like, honestly, it's, I would compare it to how

we look at ants. We're just like, look at them. Just fucking knock over the ant house. These man pilots go back to doing it again. Like, that's exactly how they think of us. Because, I mean, at ants we're just like look at them just cute fucking knock over the ant how these man pile they just go back to doing it again like that's exactly how they think of us because i mean that's i would say on a scale of like evolution that's where we are compared to aliens yeah yeah we're

totally ants that's such a fucking metaphor that's that's the thing don't be an ant like just like if you like if you want to like really we should make sure it's called don thing. Don't be an ant. Like, just, like, if you want to, like, really live this. We should make shirts called Don't Be an Ant. Don't Be an Ant. Like, it's like, fuck being an ass. Like, just don't be an ant. God, we're going. We're so fucking high. This is awesome.

This is the high. We are stoned as fuck episode. This is good lemon kush. Guys, thanks for listening. Subscribe to our podcast. Frasco and Yeti. Go to iTunes. Give us some comments.

We need to really start brewing this bitch up a little bit. Tell your friends about it. And new fans. Thanks for showing up. Yes, thank you. Late to the game, but you're here. You're here. And we'll tell you, just ignore the first four episodes.

I'm just kidding. Those were great. Yeah, you definitely go back and check them out. We're getting great guests, and I'm really excited. What we're trying to do now is I think I'm going to, instead of just doing musicians, I'm going to do just people I think are interesting. I think we have a fan base now where I don't have to piggyback on all these bands.

You can start telling stories. I mean, we meet, you and I. We're storytellers. Let's talk stories with people. I love hearing people's stories, and I love telling them. And I'm going to be doing that too because, I mean, I'm a bartender also, so I talk to a lot of people. I'm a bartender in Boise, Idaho Wednesdays and Thursdays during happy hour

there's not a lot of people coming out for drinks I got time and I got my regulars there's some good stories out there send us your stories if you think you got a good story so follow Yeti maybe buy some drinks off him

if you're in Boise, Idaho come by and see me that means he wants to have sex with me have a good one guys love you, be safe Arno, take us out Idaho, come by and see me. That means he wants to have sex with me. Oh, my God. Have a good one, guys. Love you. Be safe. Arno, take us out with something nice and sweet for that asshole. Yeah.

Bye, guys. Love you. Well, thank you for listening to episode 26 of Andy Fresco's World Saving Podcast with Yeti, produced by Andy Fresco, Yeti, Joe Ingelhout and Chris Lawrence. Please subscribe and rate this show on iTunes and Spotify so we can make this a worldwide phenomenon. For info on the show, please head to our Instagram at frescoandyeti. For more info on the blog and tour dates, head to andyfresco.com. For more information on our guest, Charles Gooden, please head to charlesgooden.com.

That is Charles G-O-O-D-A-N, gooden.com. This week's special guests are Sean Eccles and a couple of amateur porn stars. May your week be full of surprises. The other day I received a package of Chinese condoms accidentally delivered at the wrong address. They taste like strawberry. Mmm, bop-a-doop-a-dop.