The Questlove Show - QLS Classic: Bernard Purdie & Chuck Rainey

Episode Date: September 29, 2025

Questlove sits down with legendary musicians Chuck Rainey and Bernard Purdie to talk through how they influenced and, in some cases, invented the ubiquitous groove that’s become the music of our lives. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

A win is a win. A win is a win. I don't care what I'm saying. Yep, that's me. Clivert Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media.

Well, now I'm bringing all of that excitement to my brand new podcast, The Clifers Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clivert Show on the I-Hard Radio app,

Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern.

Two more men who'd been through the same thing. Greg Gillespie and Michael Ranchini. My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

When a group of women discover they've all day to do. the same prolific con artist. They take matters into their own hands. I vowed, I will be his last target. He is not going to get away with this. He's going to get what he deserves. We always say that, trust your girlfriends. Listen to the girlfriends.

Trust me, babe. On the IHartRadio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Wood. My next guest, it's Will Ferrell. My dad gave me the best advice ever. He goes, just give it a shot.

But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

Kossloff Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. Hey, this is Sugar Steve. And in this week's QLS classic episode, Questlove and I sit down with legendary musicians Chuck Rainey and Bernard Purdy to talk through how they influenced and in some cases invented the ubiquitous groove that became the music of our lives. originally released April 17, 2019. Ladies and gentlemen, do not attempt to adjust your dial. This is a special, special edition of Questlove Supreme, only on Pandora. If you remember previously when Sugar to Steve and I had a chance to chat it up with brother Herb Alpert,

we just did a rogue episode without the family. So we all still family, but right now this is a rogue episode of Quest Love Supreme. I would say right now we are having a summit meeting of the gods. We have two gentlemen who have shaped some of the most daring art, funk, pop, rock, soul music of our lives. Not of music, but just of our lives. Our first guest, Brother Chuck Rainey, his session resume is life goals, having played on classic album after classic album after classic album, projects and musicians

such as Brother Cal Jada Eddie Harris, Lauren Niro, George Benson, Quincy Jones, Roberta Flack, Donahe Hathaway, Crusaders, Donald Burke, Bobby Humphrey, Marlina Shaw, Sergio Mendez, Marvin Gay, Minnie Ripperton, Stilly Dan. It just goes on forever. And not to be outdone as a drummer.

Brother Bernard Purdy inspired the drummer who inspired the drummers who inspires drummers and continues on. This man is quite literally unavoidable and his influence, both men are. His resume also, too, reads like life goals. Name it. Herbie Mann, Jack McDuff, James Brown,

Nina Simone, Shirley Scott, Hank Crawford, Gene Ammons, Dizzy Gillespie, B.B. King, Five Stair Steps, David Fatt Hand, Newman, Sister Ritha Franklin, King Curtis, Gil Scott Herron, Les McCann, Esther Phillips, Kat Stevens, Hall of Notes, Jill Cocker.

Ahem! The Beatles. And yes, Yeah, I said it. Steely Dan Please give it up, y'all, for the one and only Chuck Rainey, Bernard Perney. It's a QLS. Man, thank you so very much.

I really appreciate you guys making it happen. It should be noted that both of you are kind of doing the rounds in celebration of a film that we never thought would see the light of day, which is Aretha Franklin's documentary amazing grace. Many people know that the classic live album that came from those sessions

in 1972, but many people don't know that there was an accompanying film that went along with it. And it's been a miracle to finally get it out to the people. And I highly recommend it. It's a masterclass and a miracle. So we thank you for coming. So how weird is it to, I mean, you guys have written history, and we just take for musicians like myself and all my peers take from it. But for you, is it just like breathing, like, oh, it's nothing like, oh, it's just a Thursday?

I'm going to make history today. Oh, never like that. So you're appreciative of where we are now. Well, number one, working is important, you know, having a gig. And of course, what makes it better is when you get, pair it up with the same person a whole lot. Okay. And so Bernard and I have been paired up a whole lot. He's so much a part of my career as I am.

And if I were a drummer, my man, I would play just like him. Well, explain this to me. As a musician asking, uh, in the 60s and 70s, what were the most important, uh, traits or what are the most important characteristics to have to make sure that you are always constantly being the call guy, being the go-to person for session gigs. Well, for me, it was always the easiest part. Getting the gig was the easiest part? Oh, yeah. I'd beg.

I knew how to beg. You begged for gigs. No shame. No shame whatsoever. Really? And the beauty of it was I wasn't begging just for myself. I was taking the credit of Chuck Rainey and everybody else that wanted to do it with us. But Chuck and I actually 50% of all the records that I made was with Chuck.

So how in a time in which, okay, let's take the late 60s, in a time in which a crew like the reckon crew were the default go-to people for a lot of, West Coast musicians. Like, how are you able to even ease your way into a system in which, you know, most people just want half the time I just hear like, hey,

half the people just show up on time, other half just shuts up and do what they're told, they're not high maintenance, like how do you infiltrate your way into a system that otherwise normally would be occupied by someone who's been grandfathered in and locked into a gift?

You know, actually, that's a great question. For me, I'm a bass player. I've always wanted to just play the bass. So whenever I get a call, coming out of King Curtis's band, just about everybody came through his band, the King Curtis All-Stars in the 60s ended up in the studio. And I just wanted to play. So like I did not maneuver my way into anything

other than just be the best player that I could and a new face always helps too. But just to be prepared and be able to play, to be able to read when it's necessary and also be able to just play the bass. So I never considered myself working yet being a part of a group. And the record crew, you know, you mentioned that,

you know, like those guys and guy and Yale. And lady, yeah. But with Carol, they were, L.A. is a very huge scene. Very big scene. Hollywood's a big scene in music. Right. And they just happen to be the kind of selective group that producers would hire because they work together all the time. Between me and Bernard, Paul Griffin, and while you just basically, Cornel Dupre or Billy Butler. We worked together so much, Eric Gale, I don't know why, he should have been the first.

We worked together so much that if I were a producer, I would hire the people that are on your. your record that would work for Alan. I work for C. I mean, you hire the same people. I think, now, don't get me wrong, I think I'm a good bass player. I think I'm a very good musician. You're right.

But I will say this. A large part of me being involved in so many projects is because I habit. My name was a habit. Who should we get on a bass? Chuck Rain is like, who should we get on the guitar? I mean, drums burn our pretty. Because our names,

were a habit. We were on everybody's records. And so usually people hire the last person that they saw or the one that they remember. I did jams. I was a bachelor. Thought I was kind of halfway cute to begin with, but I had a lot of friends.

Right. You know, and I played my base all of the time. And jams, I played for nothing. Many, many times. That's how I got into business. I think we all went that way with Eric. You know, you got a year coming up. you don't have a budget, and you want to do it on Sunday.

I'm not working on Sunday. And you tell me that Paul Griffin or the Eric Gale or Bernard Pertie's on the gate to what I want to share it with them. So I played a whole lot for nothing. I kind of think that that's what kind of helped both of us in that if I do something for you for nothing and you happen to get it signed, and you want to do the rest of the album, basically people will call the same people to help them out.

Okay. And I help out just by wanting to play the bass. now I would say that as a listener what made both of you very distinctive in your playing style is the fact that you were able to infuse your personality per se in these songs normally I would think that I mean I've been told by many a producer

musician like you know when you do a session just do what the song is called for try not to infuse yourself too much in it but as far as trademarks are concerned. I mean, I think of you and I instantly think of like that's your

little business card or your little graffiti tag left on every song. So whenever I hear those near harmonic slide notes, I know, okay, this is a Chuck Rainey affair. And the same with Bernard Purdy. I mean, you know, I'll be honest with you.

So my father was a singer, a musician, a singer who had his period like in the 50s and did some stuff in the 70s. He had a du-op group called Leander's in the Hearts. And so, yeah, that's my dad, I think. So there was a session that producer, Billy Jackson, was having in the early 70s. So I was at this gig, and Bernard was the drummer on the gig. and I was around four years old

and at the end of the session my dad says, Am here, come here. And he says, I want you to shake this man in his hand and he's like, Bernard, I want you to tell my son how you keep food on the table.

And I'll never forget. This is the first thing I remember in life. Bernard said the two and the four. And at the time I was confused, like, huh? But my dad was such a stickler and disciplinary for just keep it in the pocket. That's all you got to do. You keep it in the pocket. You'll work forever. And of course, you know, when you're young, you're impressionable. You want to go all over the place.

But I will say that you were able to, I wouldn't know, people, people know about the fabled Purdy Shuffle, which of course is kind of a slowed down halftime groove. which for listeners of today, I would actually say that the Purdy Shuffle could be the genesis of what a lot of trap producers today, I feel like that's the beginning of trap. The Purdy Shuffle is basically,

trap music today is basically the Purdy Shuffle minus the swing on it. So still half time. and a lot of high hat grace notes on it but in addition to like your fills like all these things all these fills how are you able to insert your personality on songs that otherwise I feel like any other producer would say whoa whoa whoa I just want it straight no filler like were you were producers then giving you guys freedom to add your personality to things and or you just have free reign of the land.

We have never, ever had free range. Really? No. When you get free range is when you can actually tell the producer, try it. You might like it. So you're saying, have you met a producer that was a little bit like, whoop, that's too much?

Yeah. Oh, really? Absolutely. So you had the fight to get to your... Well, fighting, you know. Well, not fight, but, you know. But there's a time to deal with that. Fighting is the right word.

But diplomacy, that's the one that I had to learn. Okay. That was the hardest thing in the world for me. Because I knew immediately when you asked for something what you knew, what you wanted to hear. Having Chuck on the base, freed me.

Okay. It freed me to I could do the Purdy Shuffle. I could do the circle in the music. So he was the anchor? Yes, sir. Okay, this is similar to the relationship of Ron Carter and Tony Williams, where Ron Carter was the anchor of Miles Davis and allowed Tony Williams the freedom to weave in and out.

That's very interesting because I would say the same thing about him. See, a lot of my... rhythm ideas. A lot of ideas when I do, like when I'm giving the chord chart, I come up with great ideas by getting rhythm input from the drums. Okay. And like I said earlier, if I were a drummer, I know I would play just like him

because of the way that it feels. But like I sit on his shoulder. He may think he's sitting on mine, but I'm sitting on his. But what he just said earlier, if I had to play bass, I would be Chuck Rainey. And I'd be better. than Chuck Randy. All my life, I wanted to be better than Chuck Rainey, but I can't play the bass.

Who do you, both of you, who do you feel your greatest disciples were? Like, I would think, as a listener, I would kind of think that perhaps as a drummer, maybe Steve Ferone, who played with the average white band, was a student of yours, because he would infuse your personality, and he had a tight pocket rhythm. And as a basis, I always thought that Willie Weeks was very severely under-championed as far as his playing style and infusing your style.

But in your eyes, like, who were some of the musicians that you felt? Or maybe you don't see them as disciples. Maybe they were just your equal peers or whatever. But, like, who were the cats that you? you guys enjoyed or perhaps we're a little like, hmm, okay. I got to you know, I get

something from everybody. Okay. Basically, I came out of King Curtis's band. I was there for four years. And he is my musical father, hero, because he taught me discipline, being on time, when to do something and when not to do it.

And to play in tune. That was my, that's so I would say King Curtis, and he wasn't a bass player. But other than that, what was he like as a bandleader? Great. Really?

I mean, nobody could. I mean, he was the epitome of a band leader. And why was he the go-to MD for a lot of these projects that raised me? His talent. Okay. His talent.

Everybody knew him, number one, that he was a great musician. He also knew who the guys were. He knew who the musicians were that could play. Okay. And if he called you to play, he wouldn't have called you if he knew that you couldn't do it.

Because he was a rhythm. If he listened to the way he plays, he was like a drummer or a bass player. So I would say King Curtis, other than that, James Jameson has been all very influential to the way that I think as a bass player. So those two people first come to mind, James James James Jameson and King Curtis.

Now, I could go on forever. I was going to say the same thing. But you can count me in on King Curtis. Okay. Most definitely. The other one was my teacher, Mr. Leonard Hayward. Okay. He had a 14-piece orchestra that wasn't his.

It was called a Clyde Bessig's orchestra. But I got this in my hometown in Elkton, Maryland. Every Friday and Saturday, that band played. Right. And they played dance music. Everything was dance. You have to move. You've got to play something simple.

Simple is the key to what music is. And that's what people remember. They can hum, they can sing, they can do anything they want. But you need to move the butts in the chairs, the feet, whatever that had to be done. They had to move their bodies. and 99% of the people sitting can move in the chair. Well, let me ask. Okay, so I know that you guys came from an era,

and I listened, even as someone in the hip-hop generation, for a lot of the stuff that we gravitate towards, is all pocket base, finding the perfect four measures, of nothing fancy, of nothing just straight pocket. I mean, I have my thoughts, and I've had a lot of arguments on social media concerning what I feel about the state of... Okay, so right now in 2019, we're kind of in the era of the polar opposite of where you two came from. And there's a thing called gospel chops. And gospel chops are kind of like...

It's kind of like watching an all-star NBA basketball game. Now, we know that true NBA sportsmanship and the mark of a true championship team are people that know their roles. You know, this guy's really good at assist, but this guy's good at outside shooting. And this guy's good at dribbling. This guy's great at rebounds. Like, everyone knows their roles. However, in an all-star game, you do run into the danger of if you have five LeBron's, on the squad or if you have five Michael Jordan's on the same squad,

then suddenly it's overkill. So a lot of musicians today, because we live in a highlight real era, it's sort of like the musical equivalent of, hey, Ma, look at me, look at me, look at me, look at me. And whatever I have to do to get your attention, I will do it. So, I mean, it's a cute novelty for a while, but similar to like a rope adobe style you get worn out and you never seen you've rarely

see musicians trust the process of playing in the pocket just playing a groove without feel free or without okay i'm going to go off time here and then i'll pick them up later so but i will say that in this in the 70s in which a lot of your work is prominent what I now know as gospel chops was just being born. So like when new styles are coming in as far as bass playing, say uh, uh, less than Stanley Clark, let's say with the playing of Lewis Johnson or, or even Larry Graham where it's like, okay, now funk songs and E

minor and going all over the place is a thing. Like what keeps you grounded and just keeping straight ahead and, and being such a melodic pocket bass player. Well, I've sort of been trained to first do what the leader wants and how they're doing. Also, too, from our generation, the me aspect of us was a little different.

And that the social media was not at all like it is now. Like, I could come to the studio like Hiram Bullock, come to the studio but naked and play. Nobody cares. Now, of course, when I say it. Are you saying Hyron Bullock was a little crazy, with this. No, no, he would dress.

He would wear, wearing no shoes. Okay. And stuff like that, you know, but he was such a good player. It doesn't matter in New York in particular. Okay. So, like, we didn't have,

I didn't have to look good to go to a session. Right, okay. Unless you're someone like Bernard. He wore a suit every day. He was clean. He was clean. He clean now. But, you know,

I would think to answer that question, sort of like, today's, I know at Victor Wooten's camp, where I'm a regular instructor every year. Right. They posted my allmusic.com resume on the bar and wall. Okay.

It's 19 pages. So at the time, I must have been, well, I won't say, but I wasn't, you know, I've been around for a while. You've been around, all right. And so, like, in talking to the students and in my rotations, there were two or three students that found it hard to believe that I was involved in so much stuff until I told him how old I was. they think today they wake up on Monday and they want to be Stanley Clark on Friday

or they want to be a Larry Graham and they don't understand that Stanley Clark Larry Graham Chuck Rainey James Jimbson before you even heard of us

we had a large background of experience and playing with a lot of people like I've been on the road which is about every R&B act in the out of the 50s and 60s

before I even got to do one session Okay. You know, so like a lot of the guys that they want it too quick. Also, too, they want it for another reason. They want it to look at me. They want to say look at me. Right. I'm just a bass player.

I just want to play the bass. I get a kick out of playing the base and I'm elated that it shows. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me. Clever Taylor the 4th. You might have seen the skits, the reactions,

my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes,

creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space.

For honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford Show on the iHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok.

There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And Rule 2, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist.

I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care. So, they take matters into their own hands. I said, oh, hell no, I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends.

Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I'm Ego Wode. My next guest, you know from Step Brothers Anchorman, Saturday Night Live and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo.

My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot.

He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest, the director of the NFL's East West Shrine Bowl, Eric Galko joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar, this is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get

your podcast. And for more, follow Timbo Slical Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so much. I doctored the test ones. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Gregalespian and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice has served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. No, no, no, no. So you have the opposite? Definitely.

Most definitely. Everything that he said, I'm going to double it. Okay. But I had a big, big problem when I was coming because I had to beg for everything that I got. Are you sure? All right. Can you give me an example of a gig that you almost didn't get that you had to, like, please, please give me a chance? Because I would think the work would speak for itself.

Just one look. Really? Just one look. Bonnie Richmond came around the corner. He's the contractor. There was not one drummer and Sweet and Charlie's, the bar. None around the corner. None around the corners in the other bar.

The restaurant. Not one drummer. And I was running after him. Please, please, please. I'm a drummer. I'm good. I'm good. I can do anything.

I can play anything. I read music. I do whatever has to be done. I begged and pleaded. And I followed him for the 15 minutes that he was out there looking. And this was all. demo. Really?

This was a demo. So I got there, Bob Bushnell, Hayes, Ernie Hayes, and the guitarist, Wally Richardson. Okay.

They were sitting there. They had been sitting there for half hour or more, waiting for a drummer to show up. So they literally came in a restaurant to for a bar to find a drummer. But that's where all the musicians.

That's where they were all wearing. Charlie's. That's where everybody. Everybody hung there. So that was like the holding place. Either Charles or beef state, Charlie. Is that the same place? Yeah, beef steak, yes.

This is in California? No. Here in New York. Oh, New York. Oh, New York. On Broadway. It's stuff on that. On Broadway.

Right off a brother, around the corner. So does that's one look? That's all I took? Yeah. Be steak, Charlie's had like, oh, you can eat shrimp, right? The peel and eat the big salad.

bar. They did? Yeah. Yeah. Well, that was one of the main reasons because that was the cheapest thing in there. Oh, I see. And they cater to musicians. Thank you. Everybody. Because the musicians would play free in the place just to play. They didn't, nobody. Nobody wanted any money. They wanted to be there. They got drinks. They just, that was the place to hang. Okay. But I was actually too young to hang. But the thing was, oh. You're right. But the beauty for me is that all I did,

I asked Ernie Hayes to play the piano. And Bob Bushnell, he started playing the bass because I wanted to find out what the tune was about. So for me, basically, I just wanted to wear the temple. Just show me where the temple. And then I just went cross stick only so I could just feel. Okay. But I put the feeling into the four people.

They were in the control room fussing and cursing each other out and everything else, blah, blah, blah, blah. And the engineer, he's, you know, tap and says, hey, listen. Because he had turned it up just a tiny bit. Just to hear you playing. Yeah. And then they turned, they look, they listen for it. And it was like, whoa, what's that?

Well, who's the drummer? Who's earned, Bart and Richard said, I don't know. He's been bug at me. He says he can play anything. I don't even know who he is, you know. So they listen. She started singing. Because the only thing that was missing was where the flavor should be.

Right. Whether you're playing quarter notes, whether you're playing eights, whether you're playing eights, whether you're playing dotted. So you just have to know where the rhythm needs to be. Can I ask? Okay, so based on everyone that I get on this podcast, the story always varies. I'm slowly finding out, now again, I was raised by, you know, a drill sergeant father who's like, you know, you got to practice five hours a day. I want to go outside.

No, you got to practice, which I get. How imperative, or how much of an advantage was it, to be able to know how. to read thoroughly. So when new songs come to you, do you get a cassette a week at advance? Or is it just like, here's your charts, I'm giving you three minutes to look it over? Really?

Listen, if I got three minutes, that was a lifetime for me. What? Everybody, go ahead. We were young. Okay. And Bob Bushnell and all those people were at least 10 years our senior.

Okay. So when we came on the same, scene, we were younger. Eric, me, Cornell, although Cornell, weren't that much involved, but we were young people. And we also had a different view of what he's saying about the groove. We played the groove a little differently. I played more rhythm on my bass than Bob. Okay. He was older than I was. Now, what did you just ask? Well, like, when you're getting a song? Oh, now, hold it,

hold it right there. Okay. I'm being very honest with you. Okay. coming from demos, nothing's written. And we both got involved in this business doing demos, working for people who don't know sick them from come here about music. But they have the money and they have the connection. Right. And so they just hire the people to make things up.

Like most of the, just making it, if there's a chord chart, sometimes you will make out your own chord chart. I stopped doing it because they ain't my job. But now... See, you always felt. like I was lied to. No, when you're eight years old

and your dad's like, you got to go to Juilliard so you can know, I'm under the impression that these albums I'm listening to were thoroughly written out like part for part for part. Here you go,

and then I got to get the piece of paper and know one, two, two, three, and yeah, you got to know, like I learned, I was taught that you have to know

how to read on site the second you see these drum charts because ain't no producer going to have the patience to sit there and wait for you to figure out what it is. But are you saying half the time is just like... Not half.

More than half the time. Here's the chords and make up the rhythm. You go to Steely Dan. Yeah. Go to Quincy. All of them, they don't write no bass parts. And they don't write the drum parts. So they're like, you got it.

And they're smart because the continuity of the director, they say, okay, we know what to do here. Like Walter and Donald did not know anything at all about us. at all. Gary Katz did because he was a New York producer. Right, okay. And so, like, he would hire because he knows Walter and Donald. Number one, they're very strange to begin with. And when I say strange, it's not negative. It's just that they're different. But they don't know what to play.

They don't know what the bass should do. Maybe they have an idea. They don't know what kind of drum beats should be there. They don't know these things. They don't have that, you know, the word I'm talking about. Even Quincy never wrote one note for me. Really? Same here. So like walking in space and all that stuff? No, one note, a chord.

What? Now, I tell you why that is. Yeah. Okay. I tell you why that is. You have people, you have musicians that are talented. Of course, talent is the word to use, but they are, they rhythm is very important. Like he said earlier, people want to dance.

Even in jazz, they want to dance. And there are certain people that can give you, if you don't know what to play, if you don't know what I should play on this song, I bet you the house, the farm, I got something for you if you ain't got nothing. Because I'm a rhythm person. Right. And I've had experience with it.

There's only seven notes in music. Rhythms, I would think, that probably there's 32, but I've only seen maybe nine rhythms as a bass player. Right. So now, when you start worrying about reading, you have to learn how to read by experience. Okay. Now, you don't have to, and you also have to have experience to create something. But there are jobs that you get, like we both have clients that write out everything.

Okay. But then we have most of our clients, don't write out nothing. Thank you. They hired a person that can come up with a part. I'm supposed to create a part for you that sounds like you wrote it. So if you look at the baselines that I play, they are repetitive. Like the lines are repaired because it sounds like Quincy wrote it or sounds like, Donnie Hathaway was different.

Maticulous? Oh. Before you play anything, Chuck, before you do anything, do this first, and I really don't want anything else. Okay. Now, it took a couple of years for Donnie to trust me to do because, like, I was popular. And I do have a style and a flare about how I'm seeing things. Right. He insisted that you played this first before you do your thing.

And I don't really want your thing. He was a master. Yes. Really? Not only a master, but the point is that it wasn't his date. Wasn't his, he was writing for other artists. Okay, okay. So all of this was all written down, written out.

If you want that gig, you got to know how to read. You got to know how to read. Okay. Okay, there's so much of Both of your collective canons are You know It's so much to Dig through

I'll briefly touch on a few of them But I'll start with What gig Was considered A fun gig Who did you look forward to As a bassist as a drummer Who's the one artist like

Woo we're going to have fun on this one? A river Really? Yes Yes. Tell us, okay, let's pick a random song. Tell me about Rocksteady or just a memorable. Rock steady is very interesting.

Okay. Number one, I love telling the story. Okay. If I get along with it, you all stop. No, that's what this show's for. We went down to Miami in the wintertime. Okay. Now, living in New York in the winter is different than living in Miami.

Okay. And so we're going to Miami, beach, and Lanny took good care of us. We were staying in a mansion, you know, and we played. Now, we went to the studio criteria one morning, and our car picked us up. Okay. Before Tommy Dow and Rhe and whoever else was there before the car picked them up. So we got there first with Jane Paul. And all I'm saying is Gene Paul is...

Les Paul's son. Les Paul's son. Okay. But Gene Paul was the second engineer. Second engineer. Everything that came out of Atlantic Records, As far as engineering goes, Tommy Dowell is the one that they look to. Wrong.

Gene Paul. He's the one to set the mics. He's the one to set the anyway. So we're at Cartier. We had a great breakfast. The sun is shining. It's 85, 90 degrees. And Aretha was there.

So I guess Aretha did come. But Tommy Dowd and Jerry Worcester weren't there. And so Dream Paul set up in the mics. I think it was the second song that we've done. And she taught us the song. She taught us all the songs. She would sit down and play this and teach us the song. A reef wasn't there.

Or they didn't pick a reef up, the arranger. Right. And so she taught us the song. Now when a reef and Tommy Dowell and Jay Westa got there, we knew the song. But the reef's job was, he was the arranger. So he would now have to learn the song. So we sit there and play what we knew when he would write down a chord chart. You know, he would write down.

And he did that all the time. Right, okay. I write a chord chart. Now, we tracked the song and before they got there as a demo. We demoed the song as a demo. So when they got there, they heard the demo and blah, blah, blah, blah. I think we worked all morning trying to improve.

Trying to improve it. So what you're hearing on Rock Steady is a demo. So the only thing that's different. They went back to the original demo and kept the... They went back to the original... music that they heard. And the feel. And the field.

That was everything. So he came in and tried to change it up a little bit. They always do. We always do. Every arranger in the world does it. Because they want to get, they're a producer or they're the arranger. They get paid for that. They get paid for.

Whether they did it or not. But Rocksteady is a demo. If you listen to it, it almost, you can see it in a way. But it's the groove. It's the groove. It's the groove. And so like a thing about, you mentioned the gospel world. Yes.

A second. I'm out of the Pentecostal church. Right. And I've been immersed in that all my life and you can't get no more rhythmic. You can't get no more feel out of a good Pentecostal shout down. You know, as far as you know, like the amazing grace album, it's showed a little bit of it. Yes. A little bit of it.

Now, the border song is not on an album. But the border song is the most precious thing I've ever recorded because it takes me right back to my being 12 years old sitting up in church and listening to the choir. Okay. You know, and the feel of it, that's gospel, that's Pentecostal gospel. And so we both said, at Ruth's funeral and cried. But listen to it, that choir was slamming.

That choir was just, it was very large, but slamming. So like when it gets to, I've talked so much that I forgot what we were talking about. Rocksteady. Rocksteady. Yes. It's a demo.

We had a good time that way, too. We had a very, very good time with that. We did, I don't know how many songs we did, but Rocksteady's a demo. And Aretha played with, she played with us on every song, by the way, first. Yes. How is she as a musician?

Not much is made about her piano playing. She's a great piano player like Marlena Shaw, great piano player. Marleneyna Saw play piano? Are you kidding me? What? Oh, man. Pentecostal.

Like Valerie Simpson? Pentecostal. Both. They can play. I never knew Marlene or so as a piano player. Well, she doesn't play much because her nails are that long now. Glody and White Nails. Like she has played, I've been on tour with her for the last nine years.

She retired. Wow. And we just go to Japan. Okay. Me and David T. Walk and Harvey Mason. Does she still do the go away little boy speech? Absolutely. Yeah.

Really? Oh, man. That's off the who is his bishop? Who's this bitch anyway? Yeah, I had that record. No. But Aretha had a lot to do with, all she had to do is sit down. Sit down.

Just sit down and play by herself. She tinker. She's played with the field. That was the whole thing. Spanish Harlem is a song that crosses two rhythm borders. Right. It's eight to the bar and it's also a shuffle. Not a shuffle, but it's just two different grooves there.

Right. But it is. The idea of it is to make it feel like a shuffle. Because that part I got from you. No, but I got it from you. Yeah. You're just going to compliment each other, a whole episode.

No, but it's just, see, for me, I was fresh out of Jamaica. Okay. Doing Bob Marley and all this other stuff. I had done two. You just casually drop that like it's... Well, I made two albums with it. The first two albums.

Really? Yeah. That's you? Yes. But the point is that... Mind-blown right now. See, I don't mind anything with anybody. Okay.

I don't have a problem. If somebody wants to take credit for somebody, you go right ahead. Because I know what I did. Also, too, if you're listening, you can tell the difference between this drummer and that drummer. You know the difference

between this bass player and that bass player and I'm not talking about musicians. I'm talking about the general public. They know the difference between like Steve Gad who's a great drummer and Bernard R. Purdy.

You can tell. Just like with bass players and I'm a musician, but a lot of the people who are not musicians, they can say, that's you. Okay, so let's talk about that. All right, I'm going to get to

the Beatles' ghosting story. What sessions have you done that you had to go somebody? I have the worst kill somebody. No, no, no, ghost. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th.

You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new. podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment,

and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So, if you've ever supported me, or you're just chasing down a dream, This is right where you need to be. Listen to The Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of The Girlfriends,

Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care, so they take matters into their own hands. I said, oh, hell no. I vowed I will be his last target. He's going to get what he deserves.

Listen to the Girlfriends. Trust me, babe. on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. I'm Ago Wadam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever.

I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit.

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know. The cat just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to thanks, Dad, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast.

This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits, teams look for to the best. biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode.

Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so-ins, correct? I doctored the test ones. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, and Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I've heard sessions of like well-known bands that when which the baseball are like okay let's get da-da-da-da coming here and sweeten it up for real but it's not even about using the word ghosting we fix

okay okay so give me some fixing stories like who have you fixed that you weren't credited for but that's you well for me there's about 2,000 at least okay there's about 2,000 I got paid Can we talk about the Beatles story? You can talk about it, but what it is for me, it's a dead issue.

That issue has hurt me so badly. It has? Yeah. See, I've fixed 21 tracks. Okay. That's it. There was nothing. She has a musician, I get it all the time.

I do it all the time. I pick people and... But what I was doing at that particular time is that I was, was doing the group from France, all these different countries. They were bringing the music over to fix music and to make music. Right. Because it was the way things were done. The record labels would not pay, would not, none of these groups would have gotten signed.

Right. If studio musicians were not playing. Yeah. I think that's one, okay, so for our listeners out there, they're a little lost, Basically, you know, okay, well, as you, as we discussed in the Phil of Bailey, Earth One and Fire episode, we made some discoveries that, yes, you know, occasionally Marys White would use a core of a few musicians that weren't the central members of Earth One Fire, either they're touring, or even the Beach Boys. like Brian Wilson pretty much made pet sounds with the record crew

while the people that we know as the Beach Boys went and toured, but it doesn't make it any less of a fraud or anything. It's just you got to... It was the way of the world. Yes, exactly. And many non-musicians don't know that's the modus operandi, you know. And that is what

all the record companies, all of them. They all said the same thing. I'm not going to spend $150,000 on somebody that we don't know. Your voice, we like your voice, but you've got to use studio musicians. Yeah.

Because what it is, bam, bam, bam, bam, they knock the songs out. Also, too, for drummers. I've experienced this, too. The drummer has to hit the snare in the same place. Every time. Consistently. Yeah.

But now, on the road, you don't have to be. Because sound equipment will make the sound okay. Because you've got to use the studio drummer, who's used to hearing that snare in the same place. or else you're going to have a million dollars worth of remix money, which you don't have. The same way with bass players, a good, I know I'm a good bass player.

However, I think there are a lot of bass players that play better than me, but they're road bass players. When I sit down to play, when I've overdone a lot of other bass players, mainly because what they played was okay, it's just that it was not as audible as it should be. Tone-in- Tone-wise, where it's like I play a certain way in the studio

to make a note of particular. kind of way. Did you, okay, so was the preference for you to be a road drummer or a studio musician, like, or is the grass greener on the other side? Like, you're in the studio like, damn, I wish we were in Europe and you're on the road and it's like, ah, I miss New York sessions. Like, what's the...

No. Being able to play, and whether you're on the road or in the studio, that is the best news. in the world. You're working. And your name is going to be out there. It took the record labels

maybe 40 years before they put studio musicians' name on the record. When they found out that they can guarantee 10% more profit and not have to do anything, they didn't give us anything.

By putting our names on it, gave us a little bit of something that kept Does working. Like who you know today. I know it says today. Okay. I agree.

I probably have said the same thing. Working is important. It's so important. Baby shoes, the bank, and I'm missing stuff. Alan helped me out here. You know, they're very important for baby shoes and the bank. Right. Okay.

You know, so you have to work for your card note. I see. So you have to make money. You have to work. So working in life in Europe doing the session to me is the same thing. Are there, could you tell me anything that you guys remember about the particular Amazing Grace project? How was presented and what the preparations that went into it were? I'm sorry that the world would never be able to hear the rehearsal.

That's what I talked about was somebody today. the rehearsals was the real deal. For real. And when you listen to the recording, the sound is not bad. The sound is good. It's good. But they should have recorded that album

in James Cleveland's Church. Okay. Because we were there all week, and we got used to it. Right. You know. So you rehearsing James Cleveland's Church? Yeah.

And then relocate it to... Okay. Okay. But I, you know, I've been talking about, talking about it, I've said it for years, if people could have seen, seen what happened in the rehearsals. Besides her singing, she preached. She actually preached. Oh, oh my heavens. Alan, were you there during the rehearsals?

Oh, seven. All right. You know. Well, you only seven, but you went to studio. I saw you in the studio. So you were seven years old watching this? No, I wasn't there. He wasn't there. Yeah, the project first came to my attention in, I think, 2003. And I saw just maybe a four-minute mark of it. And I was like, wait a minute, is that the Rolling Stone sitting in the Deacons pew?

Yeah. Like, how major was this? Like, again, I just thought it was a live album. And that's what it's supposed to be. He was there on the last day. And Pollack just happened to have cameras running and? No, no. No, no.

No. The cameras all week. Okay. The cameras are all week. Really? And you had other folks that are now superstars that were there early. Right. But you don't see them.

Are there any other projects that you guys have done that's like sitting in the can somewhere? Like you're any festivals? that have been... It could be. We're not privy. We're not privy to a lot of me. I'm privy to one. Okay.

And that was on Bang Records. Okay. I know the Bang label. Well, the bang label, 85% of the artists, I made their records. Don't tell me you're on Bricks. Listen to it.

That's all you have to do. I mean, being a drummer, just listen to it. Yes. What album? All right. So, Brick, um, our listenership should know the lead singer Brick is the father of Sleepy Brown,

who's made a lot of outcast classics in Atlanta. They're a unit from, um, Atlanta. And, uh, they had a major hit. Uh,

they, they, they wrote a song about their amalgamation of disco and jazz called Daz. And, um, It was a notable hit. Yeah.

You know, we were talking earlier about groove, the disco era proved to the point that the burnout was making. The beat, the feel, people want to dance. How did you feel about four on the floor? Did you feel a certain way about it? Yeah, I didn't like it. Really? Because it got in your way? Only in country music.

Now, being in New York playing country music is progressive country music. Yeah. Now, see, with Len Novi, pure country from the mountains of West Virginia. Yeah. Except that we got a chance to put a little bit of this country, violin, fiddle, is everything like that, except that underneath it, it was progressive. And so you could do something other than 400 floor. Now, I've been in Dallas, Texas for the last 35 years, and I had to learn how to deal with the 400 floor because of the baby shoes and the bank.

you know, as far as playing with the downbeat of the drummer and also following the left hand of a piano. That's traditional country. I did it because I had never done it before, and I came out of New York not doing that. In New York, they didn't do that. So floor on the floor doesn't bother me anymore, especially when I get to all the babies are grown now,

no more baby shoes. Right. Well, grandbabies, maybe. Yeah, well, yeah. Yep. But daddy. Yeah, go ahead, baby. You know, you had mentioned memorable things from Amazing Grace.

Mm-hmm. I'm going to say this. I'm probably going too far. Nope. Not far enough. But I've done at least 15 interviews since she died. Okay. And I'm always compelled.

I've talked to Rita at least once a year. Okay. And it was always short. And one thing that I remember about that whole thing is, number one, King Curtis had put together a band of gentlemen. Okay. We weren't loosey-goosey, average musicians. When we got to California, James Cleveland went out of his way a couple of times

to remind us that we were in church and about the women and blah, blah, blah. To be good. I remember somebody told him to back off because this was a different kind of band. Right, okay. And that bothered me because I am a gentleman. So is he. Also, too, when it came to rehearsing, I felt that the whole deal was more about James.

Cleveland and Aretha. I mean, I saw it, I felt it. Okay. I felt it that he, it was all about him. All during the week was a pain in the butt and how he was doing things. If you look at the film, although I haven't seen the latest film, but I do know there's a whole

lot of hesitation deciding what to do after each song. He's going over and talking to what was his name, the, he's in a wheelchair now, Alexander. Oh, okay. Talking. There's nothing there. And the wreaths is just sitting there.

You know, it's like a service, you know. And that it was too much about him. That didn't bother. Micromanaging? Yeah. Well, no, managing. Okay. Now, the only thing that's my saving grace was this.

I just moved L.A. Okay. And I was engaged to be married. Okay. And she also thought it was a big deal to come to church, you know, to look at, you know, what was going on because Doretha was a big deal. Right.

But during the whole thing, people being too protective over their pastor. I mean, I parked somewhere one time in front of the church. I came and said, my pastor parks here. And so I say, well, they should be a sign, you know, something like that. I mean, I wasn't rude or anything like that, but there's a whole lot of,

there's a whole lot of California, patriarchy, New York kind of things. And, you know, the two coasts have always had a little different kind of thing going on. But saving grace for me was playing those songs over and over and over. It wasn't really necessary. As a matter of fact, on the second day of rehearsal, they could have recorded the album. Really? Because when it comes to the...

How many days of rehearsal were there? Were they all week? Four. We had four days of rehearsal. And the three days of recording. And you guys were that intense with those songs, or was it just a job? just like, I run through. We all knew those songs. We knew what we were supposed to do.

Okay. Every song on that album is from the Gospel Pearl songbook. And I played gospel before I played anything else in life. Okay. So I didn't have a problem playing gospel. And I didn't have a problem playing for the last 40, 50 years. Because I still go and I play with gospel groups. So on the other side of that coin,

I would imagine the answer would be Steely Dan, but, okay, well, pretty much the world knows how hard or how rigid or anal retentive or whatever difficult word you want to put in that description. But besides the Steely Dan sessions, what client was also quasi-tight tightly wound as far as? as rigorous rehearsals, micromanaging, a session that would make you want to roll your eyes like, okay. That happens 40 to 50% of the time.

Well, just give me an example. It's hard. But you played on so many, like the Maisel brothers. Usually you forget those people. Bert de Coteau. Bert de Coteau. Well, Bert wasn't that? What were his sessions, though?

What were his sessions that I would No. Peridico was like Donaheathaway. They arranged hundreds of artists that were recording here.

Okay. It's hard to find one. You can't name one song? No, I found that. Oh, one of the songs is that three degrees. Which one? The biggest one they've had.

That would be like maybe. Yep. Keep going. Maybe. Maybe. Keep on. Keep on. Wait.

To the hip-hop generation, maybe means everything to us because it's been chopped and sampled. And so, of course. Like three degrees version of maybe, before they went to Philly International, that means something to my generation.

Oh, you're making us really look old. No, but it's new. It's super new. But it's not new. It's not new. Because that's what we had to do. It means new for you? Well, it's, okay, not new for me, per se,

because I grew up with that record. Let me give an example. So in my world, there's, shall we say, a guru. And his name is James Yancey, aka J. Dilla, who was a producer from Detroit, who basically made us just listen to older records in a new way. So this is an example of him taking the three degrees maybe. and what he calls flipping it, which he will take a song, sort of chop the parts, and redo them.

So, I just fell all apart inside. Because I hadn't heard that voice in such a long time. I turned around. So Dill is the kind of guy he'll use a record. And he's so inspirational. Now, what makes this particular project notable was that he passed away from Lupus.

So he's making this, this kind of his, he's making this record in the hospital, kind of in the last months of his life. So he wasn't even able to talk or be mobile, but his brain was still able to create miracles. So any record that he ever uses will then make cats like me turn around and pay top dollar for those old records, read the credits, and then study those credits, and then buy all those records. And then buy all those records. And so that's what I mean about him being a guru. But is this weird that what might be an eye roll session for you, that time we play, you know, for someone in my generation, that could be everything.

Like, I didn't know that you played drums on synthetic substitution by Herb Rooney. And I'm certain that you're tired of hip-hop historians like, Oh my God, you playing on synthetic substitute? Like, I'm sure that's a footnote in your life. Like, oh, that thing, I did that in two seconds. But that was the way things were. You guys wanted something different. So you would actually take and try to turn records completely all the way around.

Yeah, but it's just so weird that something that could be a footnote in your life could be an anchor like 30 years down the line. Like, how do you feel about that? I mean, I think it's great, but we don't think of it that way. If we did, do you know how important? We would have fought. Your work on Donald Byrd's records are, like, something like think twice. Or, or, I'm assuming, like, Harlem River Drive or fancy dancing, like, all that Bobby Humphrey stuff. Especially now that we have access to the stems and individualized the tracks and just little.

Listen, like, it's Pete Rock would die right now if he knew I was talking to you. Like, you, you, between, between, uh, between, uh, the Ohio players, um, uh, turban, what is it, uh, Marshall Jones? Marshall. Between Marshall Jones and you, like, you guys birthed Pete Rock's whole life, which in turn, he birthed us, you know what I mean? And it just goes in circles. You guys are in this generation, you know, you have so much technology that you can do

these kind of things. We couldn't do that. And plus, you mentioned Donald. You are that. You are the technology. You mentioned Donald Byr and Bobby Humphrey. You see, once, and we talked about this early, once you come into favoritism with the one producer.

Everything they do, they call you. Everything the Milesells did, I was a bass player during a certain span of time. Freddie Perry Perry and the Milesales. What is Freddie Parent like? I never get to hear stories about him. As a producer, what was he? He's one of those kind of people that sort of kind of, he's able to be in a room and you don't know that he's there. I don't remember much about Freddie other than he was very religious.

Really? Yeah. Okay. Okay, okay. But once you start working with them, they keep everything they do. They got their thing. They called the same people over and over and over and over and over again. Okay.

You know, I was listening to a radio program where Donald Bird's band, the original band, Blackbirds? The Blackbirds? They were talking, and I kind of feel sorry for a lot of these guys. because I did three records with Donald Bird. But you listen to these guys and everything's made about that they were the original band. And how they're talking.

Of course they feel free. Everybody has the ego. And so I'm in there with my son-in-law. And we're talking about, you know, they said, wow, do you know these guys I do not have a clue on who they are. Other than that they had to have been a road band for Donald Bird. But they did not make those records. going to say that has to be you on the Blackbird Records too.

Oh yeah. So that's you on Rock Creek Park and walking rhythm and... And the music business is very, very good. Bobby Humphrey is not a great musician. No. But her records sold a lot. Okay. A lot because of the rhythm section.

They put Jerry Peters, Harvey Mason, me, David T. Walker. We also work as a group. David T. Walker. Absolutely. Are you on love? His, uh, the album with the... Love vibrations? Yes.

No. Oh. Okay. But I'm glad. I was going to die right now. You know, you, you have a, uh, you know a lot about, um, I'm a sponge, man. I'm a sponge, man. I'm a sponge.

David T. Walker. Yeah. Um, Love Vibrations. I was here in New York. I just got to New York when I record came out. Okay. Okay. And David was here with the, uh, with the band called the Kenfolk.

Yes. Okay. And, um, love vibration. vibrations when I heard that record I almost died. Really? Because of

the feel and the sound not so much of what the rhythm was, although I'm a rhythm guy. But nobody, no guitar player sounds like David E. Walker. He's special.

You're right. None. You know, with a solo and everything. Yeah. Yeah. A win is a win. A win is a win.

I don't care what you're saying. Yep. That's me. Cliver Taylor, The fourth. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated.

One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast, it's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by.

Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends... Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit.

by a truck. I thought, how could this happen to me? The cops didn't seem to care. So they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. I'm Ego Wode. My next guest, you know from Step Brothers, Anchorman, Saturday Night Live and The Big Money Players Now. work. It's Will Ferrell. Woo. Woo. Woo. My dad gave me the best advice ever.

I went and had lunch with him one day and I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah.

He goes, but there's so much luck involved. And he's like, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that.

There's a lot of luck. Listen to Thanks Dad on the IHeartRadio app, Apple Podcasts, or wherever you get your podcasts. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth.

You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alespie and Michael Marantini.

My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

So I assume with Freddie Parenthood, can I also assume that the Silvers and the Jackson Five are also under your... No, I didn't play with the Silvers. Jerry Peters and Kay Johnson produced the Silvers. Okay. a little bit before my time in Hollywood. But for the Jackson 5? Oh, the Jackson 5. No.

The Jackson 5 was the Jackson 5. It wasn't... Because I'm the one that also made the records for the Jackson 5, the beginning. Which ones? The very beginning. The first one, the one that was written by the... The corporation? No.

Well... He was on TV. He had his... Big job on TV. You talk about a producer? No, he wasn't a producer. He was the actual writer of the song. Oh, Clifton, Clifton Davis.

So Never Can Save Goodbye. Yes. That's you. What songs are you on? That's down. I don't think itty-dun-dance-a-dance-machine. Shit, that's you? And, um, do-d-d-d-d-d-d-d-d-d-d-h-ha!

I'm sorry, Bill. I know there's a nightmare for you. Oh, very interesting, too, about when you get to. if it's okay. Tell it. I just come from New York. Yes. And I was living in Hollywood.

Now, if you come from New York, you have a certain New York attitude, especially if you're making money. That you're hipper? You know, not that you're hipper, but you just don't have to put up with... You don't have to put it with... B.S. Right.

Thank you. And the New York attitude is to tell you when it's full of shit. Oh, you know, when it's not cool. I like you. Steve approves. And number one, Motown had a Ben Barrett. I don't mind talking about him because everybody hated him. I did.

And so now everybody knows he was not a likable guy. Okay. And I came up around, not came up around, but I knew Smokey Robinson. I knew the devastating affair. I knew a lot of these people because they're from my neck of the woods. I'm from Ohio. Right. And every nine, then I would be on tour.

with one band from Ohio, there's somebody from Detroit or from Chicago. It's anyway. Right. Smokey or somebody else would call, they had two studios, Sunset and Sunrise. And so they would call for me, because the number one, personally, they knew me.

And plus I did have a little bit of a rep. Right. But Ben sometimes would take the liberty of putting you over here in this studio. Okay. Putting you over here, and I had to straighten him out real quick. Okay.

And I didn't mind doing it because I was fresh out of New York. I said, he hired me. Right. I know him. So I'm not going to sunset. Okay. I'm going, blah, blah, blah. So that was one thing.

I'm getting away from the Jackson and fire thing. I got you. The producer was a pain in the butt. It's the kind of producer where when you're going to do a session, he's got four or five people in the control room. His cousin, his old lady, his blah, blah, blah, blah, blah, blah. And drugs were very, very prominent at that time. Right.

And when we did a day, dancing machine perfect I mean perfect James Gadsden I mean it was perfect

on like the second take Yes But Motown would keep you there for 40 takes Just to get

their money's worth Just to get In the band The guy who wrote The song We'll be producing And we got a Clicktrack

But he's breaking A sweat Directing us Right Five music Anyway We recorded So back then

You even used Clicktracks Huh Back then Clicktracks Were still use? Absolutely. Absolutely. If you know how to

play with a click track, you don't have that problem. Right, okay. And it's very very hard for people to play, especially drummers, the average drummers to play with the click track. I've experienced that in Texas, I mean, a whole lot. Yeah. Now, so we record the song. The producers did now, but his name

is Hal. Hal Davis? Hal Davis. Yes. So he decides. He decides. He decides that they don't want to hear the bass. They don't want to hear the bass until maybe the third verse. What? Okay.

That was his problem. So now the engineer and James Carmichael wrote the arrangement. Right. James Carmichael told him, the engineer told him, James Gatson told him, and I told him. All you got to do is pull the fader down. Mute. Right. And then bring it back up. he's producing.

He just knows is running and he's producing. Uh-huh. And so he don't want me to play. And it's ridiculous. No town I thought was very ridiculous. I can talk about that a lot. Right. However, so like, okay,

did the session. About two or three weeks later, Ben Barrett calls me, he wants me to come back and do an overdove, and I ignore him. I didn't need a Motown client. Right. I didn't need Motown.

Right. I was from Quincy all the way down to his father to, to a lot of people, I was taking care of business. My wife, the baby, the bank was happy with my butt. Right. So I didn't need more time, especially if it was giving me some kind of a, and there are a lot of things I'm not saying that's in that.

I feel you. I can read it. I don't return the call to your girl, to Ben Barrett. Right. I don't want to work for him. Right. I don't have to, put it that way. I feel you.

I feel you. And so time goes by. So how David calls me, oh, number one, Ben Barrett had a habit of calling you directly on your line directly to you. It ain't supposed to happen that way. You call the answering service. The answer service calls you.

Calls you and then. So anyway, he, Ben Barrett, he calls me for, he calls me to come back. I have to come back and fix something. Anyway, I didn't, I didn't call him back. Right.

Now, I lived in Hollywood, in Vermont in the Oklahoma Garden apartments that was huge. All musicians stayed. You know, it was just huge. And to get to my, apartment, you had to know where my apartment was.

Right. You know, I came on one day and Hal David's car was in my door. And he said, shall you, please give me a call? We need you to come and fix something. Uh-huh. So when somebody went that far, I said, well, I'll give him a call. And so he said he made a mistake that

I had to come. They had tried Wilton Felder. They had tried Tom Scott's, I can think of his name, the bass player. They had tried two or three bass players to put a bass line on the front of that song. Wilton Felder, said, what you need to go do is go back and get the same guy because they didn't have the same kind of feel.

Yes. And so they tried to do it without me because Ben Barry probably didn't care much about me because I would call him down when he called me down, you know, and things like that. So finally I went and went ahead and did it. But the style is kind of, I had no problem, just playing the same thing. I got to tell you now

it's weird because even the Jackson's are touring now, their base player has nailed every note of that song, which is not is not, it's not usual at all.

Like I feel as though the star of dancing machine is the bass work on it. It's just unusual. And how that almost didn't come to be is some mind-boggling shit. Part of my involvement with Michael Jackson

in the film Ben and with the black stars, it's called it Jermaine. Germain always pretended to play the bass. And then he became a bass player. He's the bass player. He had to learn. Him and Kenny Burke. Ah, five stair steps.

Yeah. And you're playing on Uchall, correct? Yes, sir. Yes, you are. Okay. And so him and Kenny Burke were always very, very, to me. I'm trying to find a word, but I can't write a now, but you know what I'm saying. Yeah.

And so, Dermaine, I did his first album. That's me playing bass on his first album. on Let's Be Young Tonight and all those... Are you playing based on Iruku? Please don't break my heart right now. I'm not sure. All I do know is I did his first album. Right.

I remember asking him, said, Germain, why don't you do he says, I can't play this? I will play it, I will be, I will play it, he said, but right now we're trying to get the record done. He has a study, right, okay. You know, so like, Germain basically was the reason that I even got involved with Michael.

I did two, Michael sang on two songs. One was Ben. Okay. And then there was another song that he did. But I think my association with the Jackson Five, definitely because of Germain. And I think for the whole thing around, although, you know, when your name is kind of shining everybody's face, they do want to get what they call the best players who are not always the best players, but the name is familiar. Right.

All about the name. I see that. You know, I tell you, it's very important. You know, like I've run across base players. I just say I don't come out to house or this is for $150 or for $100. Right, right. That's not a musician. Okay.

You should say I don't come out of a house if I'm sick. Or I don't come out of the house if it's in and say you don't smoke cigarettes. Right. And you're going to do a bar, playing a bar. Like I stopped smoking quite a while ago and going to playing a bar is totally beneath me. Right. Because of the cigarette smoke. You know, now I know how you didn't feel it.

So speaking of Motown, do you also, have you, how many Motown sessions have you done? Me? Yeah. Probably four or five hundred. Really? Yeah. Well, you've got me being lying. Man, Jesus.

You're also and I want you, correct? The thing is that everybody thinks that it was all done in Detroit. Half of those things we did here in New York. Really? You know what? Speaking of that, here in New York, a lot of the Motown artists, when they were on tour, when they come to New York, me, Bernard, and Eric would do a lot of Sunday demos for the temptations, for a lot of groups coming out of Detroit when they came this way. That's because of the name value that we had, me, him, and Eric.

So a lot of times we would do little demo sessions with what that said, traveling. You remember the OJs? Yeah. Talk to me. The old jays are my homeboys, by the way. Oh, Cleveland. The Cleveland connection. Well, I had six months out of a year on Saturdays when they were not working.

Yes. And trying to do things. They'd be here making their records. Wow. And a lot of people don't. don't know that. It's going to blow a lot of minds. Yes. When you look at Detroit, now I've been to both studios,

or the one studio that's not closed, but to the regular studio, I've been there. Get ready to go there again in June for the base day. But a lot of people don't understand. When you read a credit, or when you read someone's interview,

or when you read someone's biography, you have to be very careful on what you believe. Okay. Because so many things like we're just talking about. I would not be surprised if a lot of demos that we made, well, I'm not surprised.

A lot of demos that we made for Detroit artists come in here. Number one, we're not in Detroit. Detroit used the same people all the time and they lived in Detroit. Yes. When you come to New York, then you got at least 10 bass players

that are different, 10 drummers that are different. Right. Well, I never read, I didn't never, really care for, I shouldn't say it that way, but I can't find the right words. But the multi-rhythm section was very, very basic. The only body that was different was Jameson. That's why those records are so base ominous, if that's a word.

You know, but a lot of things that we did here in New York helped everybody go back home and better their record, or maybe to add to it. Okay. That kind of thing, you know, like, so like we definitely, like, we look at the, the record. crew. Somebody had the money. The ego from those musicians, they're not the only musicians in LA. I've gotten all kinds of, not all kinds, let me stop. I've gotten at least three people that have called me or emailed me asking me to be a part of doing a New York rhythm section thing. Similar. Similar. Similar. To me, you don't need my okay. You don't need to do it. You don't need it.

I lived in California for 12 years California people have huge egos Right Because it's Hollywood Right And so they can do something like that In New York we don't care We didn't care

We just didn't care There was the time that I could listen to a record And I can tell you who the bass player was Can't do that anymore Can't do that now Yeah It's different now because it's the machine Some cats

I mean you know I feel Pino Paladino is probably the one cat who he holds you and Jamerson in high regards and still to this day on his work with DeAngelo projects that he does.

I mean, you know, he still has the same precision base from 95 a gazillion years ago that's in your hands right now. Like, he's definitely keeping the torch alive. Wait, I have just a few more questions. I know we got to wrap up soon. But I got to know. So your work with Leon Ware, I'm starting to realize that it's, it's, once a producer uses you guys and continues to use.

Have you ever worked with Leon Ware before, Brother Purdy? I got to say that your work on his record for many Repertent and for, could you describe any of those? like the I Want You sessions or any of those? Well, everything on I Want You, James Gaston describes it as a jam and that there were no notes written. Okay. All Carl Michael did was just put down core changes.

And maybe every now and then an ensemble lick or something like that. What did you just ask me? About, no, no, about the I Want You sessions. And so when it comes out of I Want You, one basic thing. now, that ain't a Marvin Jay record. Okay. It was a Leon

Ware record. A weird record. Yeah. And Leon always used the same people. Me, Sonny Burke, Unclean, Reddonnell, James Gasson, and David T. Walker. And Leon, when he died, he was worth in the millions because of his

songwriting. He wrote a couple of things that Quincy did. When I Want You, the only drag about I Want You was that it was done in Motown. Because Leon was signed the Motown. Okay, I feel you. You know, going over there was always, when I say it's a drag, when I say it's a drag.

I feel you. Sometimes business is janky. It's cool, man. You earn the right. You earn the right. But I have never complained. I feel you. Because like you said, just like I said, my car note, my house note, my baby's shoes, and a wife who was satisfied.

Hey, at the end of the day, man. He kept food on the table with the two and the four. When you start and the continuation of the thing of Motown, the person that was so underrated, Mel Brown. Describe Mel Brown. Hmm? Describe Mel Brown for me, for those that don't know. That's the name for the past.

Well, he was there and he was covering for Papa. Because half the time he was out of it. But he played on every act. They used to get him, put him on the road, on the road. Oh, okay. Okay. They didn't want him to stay in Detroit. So the Supremes, it didn't matter, the temptations,

whoever he was out with, he could get home, And they, one day, maybe two days. And they get him out because there was friction inside with all the different musicians. And you know how that friction goes. Oh. The greatest Motown producer for me is Willie Hutch. Really? Willie.

Willie was phenomenal. Not because he's from Dallas. No, but he was. Because I worked with Willie and he was a good producer. Okay. Well, you know. So you're playing on the Mac and? No.

Okay, I'm sad to ask. Simpson, Asford and Simpson. You know, it's same thing. But see, they were from here, from New York. And they were the heavy-duty songwriters just like Smokey Brothers. Or the brothers, the three brothers. Holland Dozer. Holland.

You know what? Wait, before I rap, there's something I got to ask that the world doesn't know about. How did you get this project, this movie Project Lee, that came out in 1973? You're drumming on it. It's like, it's you on a stage with a dancing woman. It just came on YouTube like, I'll say like a couple years ago. But do you know this project? Mm-hmm.

How did that come to be? It was the first time. Okay. The very first time that I got credit. Oh, okay. And it was the first black X-rated movie. Oh, okay, okay. I remember that movie.

Have you seen that movie? Yes, I have. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clever Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football,

or my career in sports media. Well, somewhere along. the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next, we'll talk about life, mental health, purpose, and even music.

The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me, or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast.

And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never. ever mess with her friends either. We always say that, trust your girlfriends.

I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man. A group of women discover they've all dated the same prolific con artist. I felt like I got hit by a truck. I thought, how could this happen to me? The cops didn't seem to care, so they take matters into their own hands. I said, oh, hell no. I vowed. I will be his last target.

He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everyone? I'm Ego Wodom. My next guest, you know from Step Brothers Anchorman,

Saturday Night Live, and the Big Money Players Network, it's Will Ferrell. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, And dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings.

I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat.

Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice

podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok.

Former Bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected.

They would uncover a disturbing. pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped Podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. So, okay, when all is said and done for both of you, what do you feel like your top three definitive works are as far as, can you even do that? Like your three, what three songs would you save, like the three songs that define for both of you? What three songs are they? well damn

okay rock steady okay until you come back to me yes okay and not one of the shuffles

yes nothing of them silly den not uh oh yeah it was a steely damn oh homemade at last okay

I'll give you home at last okay all right so brother Rainey What are the three that you feel are like? Well, my favorite is the border song. Okay.

I just get goosebumps and sometimes I cry. It has to, it's not recorded anywhere? Yeah. The border song? The border song was... Well, no, no, no. I'm talking about the live version that didn't make the final... We didn't do that on Amazing Grace.

Okay. No, it wasn't. The border song and then also to home and last also gives me goosebumps. It's something about... I like minor keys anyway, but it gives me good for goosebumps. Okay. Quincy's a long-cambeddie is also something that I really, really enjoy playing. Really?

Actually, when you ask me that question, I don't really have, I mean, it's hard to pick out three. It's hard to pick out three. Yeah, but for me, he just said the magic words. It's the hardest thing in the world. Now, I played safe for the last 45, 50 years. Okay. by talking about Aretha. But this album right here...

Which album is that? This is done by an arranger. Gary McFarland. Gary McFarland. Gary McFarland. Yeah. Creator River of Dreams and so many other classes. And the point is, is that...

Sack full of Dreams, not River of Dreams. Sorry, Steve. I was going up on the elevator on 48th Street to A&R recording studio, and Grady Tate was on the elevator with us. So we're going upstairs, you know, to record. Wow, Grady, okay. I said, where are you going? He said, I'm going the same place you're going.

I said, well, it don't sense to me going up there. They don't need me. I didn't know he also sang. Oh, no one knew Grady takes sing, yeah. I didn't know. I've been knowing the man for him. Oh, you just thought he's coming there and take your drumming gig and that was it? Yeah, well, hey, I loved him.

I loved watching him and do things. And the arranger knew exactly what he wanted. and he also knew that I was going to be the one playing the drums even the ones where he wasn't singing so we actually did this album almost live

with the whole band I thought about one of my mind the windmills came after but this this particular album he was in the process of also doing his record so I did his record right after So they come from rehearsal together.

Right. And we go upstairs. This isn't the first time that I heard a weird Grady Tate story where people didn't know that he was also a singer. Awesome. A lot of my generation, us growing up on television, never knew that he was the voice on Schoolhouse Rock, like all those little. all those cartoons we grew up. Gentlemen, I could

nerd out and ask questions forever, but I got to wrap it up, but I just have to say from the bottom of my heart that having this conversation with you two is this is one of the greatest, this is why I do what I do.

You guys have no idea what you're working, your contribution. And this isn't blowing smoke up your ass. None of that. Like this, you guys have truly are the architects and the gas to

a lot of us, not just me as a musician, but for a lot of us out there. And I truly thank you for it. Once again, Chuck Rainey and brother Bernard Purdy on Questlove Supreme, special addition. On behalf of Fonticolo, both bills,

Sugar Steve, and Laia. This is Questlove. signing off for probably one of the greatest Questlove Supremes ever. We will see you next time on the next go round. It's Quest Love Supreme

only on Pandora. Thank you. Quest Love Supreme is a production of IHeart Radio. This classic episode was produced by the team at Pandora. For more podcasts from

on IHeart Radio, visit the IHeart Radio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win is a win.

I don't care what I'm saying. Yep. That's me, Clivert Taylor the 4th. You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Cliford Show. This is a place for raw, unfills of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated.

So let's get to it. Listen to The Cliford Show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galko, joins the Sports Slice podcast to break down what really matters when evaluating draft

prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast. on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok Podcast Network on TikTok.

In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Ellen's, correct? I doctored the test ones. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Lesbian. Michael Mancini.

My mind was blown. I'm Stephanie Young. This is Love Trapped. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed.

I will be his last. target. He is not going to get away with this. He's going to get what he deserves. We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe. On the IHartRadio app, Apple Podcasts, or wherever you get your podcast. I'm I go one. My next guest, it's Will Ferrell. My dad gave me the best advice ever. He goes, just give it a shot. But if you ever reach a point where You're banging your head against the wall and it doesn't feel fun anymore. It's okay to quit. If you saw it written down, it would not be an inspiration.

It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed human.