The Questlove Show - Questlove Supreme: Pino Palladino

Episode Date: January 31, 2024

One of the greatest bassists ever joins Questlove Supreme in the studio for a special interview. Pino Palladino discusses his journey from working on hit songs in the 1980s to joining Questlove, D'Angelo, Erykah Badu, and others as a critical figure in the Soulquarians sound in the late 1990s. In the 2000s, he toured with The Who, and continues working with the best in music. Pino discusses his playing style on the fretted bass, his move from Wales to the United States, and some stolen guitars. This episode is for lovers of innovative musicians discussing their craft.See 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. Clifford 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.

to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Gillespie and 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 Iheart radio 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. Questlove Supreme is a production of IHeart Radio. Are we rolling? One time for Dillon.

Make sure all the pizza is eating. Here we go. Let's do it. Suprema, Subrema Roll Call. Suprema, Subrema, Subrema, Role Call. Supremma, Subrema, Roca. Suprema, Subrema, Subrema, Role call.

Suprema, Surma, Surma, Sub-Sup, Supremar roll call Hold up, hold up Yeah Y'all should see my face Yeah Tears for Fear is woman and change Yeah

That's you on bass Sok Suprema Roca Cobra Roll Call Supraima Sub-Sup Sub-Sup My name is Fonte

Yeah And I ain't got no vino Yeah But I'm chilling here today Yeah With my main man Pino Roca Supremea

My name is Sugar, Yeah My core beliefs Yeah Peace love Yeah And chicken grease Roll call

Supremma Suprema Supremma Roll call Supremma Subrama Role call I'm unpaid bill Yeah

That's what we know You take your Jamerson Yeah I take my Pino Bro Call Alright, we're not the max, sub, sub, suprema roll call. See, who got no list.

I'll slow down for you. Suprema roll call. It's why, yeah, you know what. Finally got Pino. Yeah. What rhymes with that? You know why you doing this to me? God damn he ain't no Meno.

Whoa, call. That's the part. I'm selling it down for you. Your turn. Suprema, S. Suprema role call. My name is Pino. Yeah.

I couldn't rhyme to save my life. Yeah. He's not saying it. That's it. Roe calm. Syrima. Supreme. Role call.

Suprema. Suprema. Wait a minute. Wait a minute. Again. I got to go twice. Yeah. As you on bass?

Yeah. And another day in paradise? Roll call. Suprema. He don't even remember. I see that. Roll call. He's like, wait.

What's that? Subima. Rocawn. Suprema. Subima. Subima. Suprema Role, Sub, Supraima Role.

This is gonna be that Chris Farley episode. Remember that time you played base on this shit? Yeah, literally. It was awesome. Okay, y'all, this is Questlo Supreme. That's Fonte, that's Steve, that's Unpaidville, that's Light. I was trying to slow the theme down for you, so you have more time to think and change your rhyme.

Right, no, no, no, you know, I mean, now, you know, just ride the rhythm a little more. I was trying to help you. Because I was told I don't support you enough on the show. Oh shit, and that's how you gonna do it. Yeah, I was slow. going the music down so you can have more time to think about your rhyme. And I did it, and you tip the ball in.

You won the champion. Okay. Now you're finished wrong. You finished it. We got a lot of the ghost. Mino, yeah. It's like something like a five-year-old. Okay.

Well, jalapeno could marmalapitio. Cappuccino. Wait a minute. If you do a gospel record, you could call it a jalapino. None. Nobody. I didn't like that. Okay.

I'm sorry. Yeah, totally. You call yourself a host. If he does a spanish record. This is probably going to be the shortest introduction ever. Ladies and gentlemen, if I only had one person to choose to play bass with for the rest of my days, I would choose our guest. Pino Palladino. Oh, wow.

Because the real truth is, something told me to just go to Spotify real quick and see, like, you know, because they'll always make, like, a playlist or whatever and things you played on or whatever. And I thought normally, like, my thing ends at least, like, 74 songs. Maybe, yo, dude,

you've played on, like, 510 songs. and, yo, like, I thought you were just my secret. That's the worst kept secret of all times. Yo, dog, like, I didn't realize you're playing bass on all good for De La Sol. Now I do kind of remember that. I believe the day that I was supposed to fix whatever song I was, I forget the name of the song I was supposed to fix for them on that album, But you came in before to play...

Well, you know what happened? We were in Electric Lady, me and you and D. Right. And it was the day we finished. And you got a call. Right. And you're like, yeah, he's here. And you're like, what are you doing like now?

Can you go over to De La Sol Studio and play on this song? Right. That's how that came about. So thank you. Yeah, that was... I forgot about it. But I'm literally going through this thing. And even with stuff that I should know,

like I didn't realize that was you on Times of Wasting. I eat on time is a waste a little bit because I feel like that's other side of the game, diet, other side of the game without me, Erica, James. You know, I'm not salty. People love that song. All right, we got a limited time with you, bro. Let's just go. First of all, okay, where are you from? Okay, so I was born in Cardiff in Wales.

Okay. To an Italian father, Welsh mother. Spent most of my youth in Cardiff moved to London in 1981 and lived there until 2016 when I moved to LA. That's a real brief. Really? All right, so then day two, you just became the funkies motherfucker ever? Right there. So, yeah, in Cardiff, where I grew up, you know, I had a lot of different music down the Docks area of Cardiff.

There were a lot of soul music, a lot of African music, stuff like that. So I grew up listening to a lot of that music and when I moved to London in the early 80s, I didn't really get to play that music. I was playing fretless bass and it became a thing and I played on a whole bunch of pop records and different artists were calling me for that sound. So move on to like 1997 when I met Dee and you, that was the first time where I really got to express that side of you know, that roots bass playing thing.

Okay. I know that here at IHeart, we're out like 10 seconds of music. So just to let the world know, the song that really set it off, that I assume set it off for you and your reputation for bass playing was, of course,

Lady and Red by Christopher. Well, there's one before that. Never mind. But okay. Yeah, sorry, bro. I have to say Paul Young, wherever I lay in my hat, which is a Marvin Gay cover.

It's a B-Side song, we rearranged okay and it had like a fretless intro and it was mainly like fretless bass and voice peanut why fretless that's a good question thank you well yeah um jacko yeah jacko pastores obviously but but even before jacko when i was a kid i went to a concert and saw john martin who's a great folk guitarist songwriter back in back in the uk and danny thompson was playing upright bass with him and that sound really did something for me when I was a kid. And that was like the slidey stuff, the harmonics,

the, you know, that sort of fretless approach that Jacko also had. So is this you? Yeah, every time you go away, yes. Oh, every time you go away. Wow. Yeah. Oh, God, it's friendless people.

All day. Oh, that's a classic. I can see why you were so happy to play on Voodoo. It's still a classic, though. No, I came from Paul Young. I'm gonna tear your playhouse down and all that stuff. In high school, were you in a high school band? What was your teen years playing bass?

Yeah, I didn't really play guitar until I was like 14, I guess. And I came to it from, before bass I played like Spanish guitar. And I came to it because I went to a Catholic school. And we had a priest there that would give lessons so that you could play cowboy chords type of stuff. you know, in folk masses. Okay. So I kind of started playing in church. Church?

Everybody. That explains everything. Everybody. All the time. I was waiting for that. Oh, yeah, I get it. I was like, okay. That explains it now.

Black church, all church. Right. I get it now. But we didn't have much of a music course, a music type of thing in the schools I was in in those times. So it was really more about sport for me when I was a teen. I wasn't really that interested in music until I reached like 16 maybe. So did you always know.

I know that the less is more approach is the way to go. There's a moment where I lived for every night. Every night whenever we would get to left and right. And I'm speaking of our time served on the Voodoo Tour de Angel. And, you know, that was a, every night was like a two-hour and 15-minute experience. Absolutely. Or, you know, no indeed sometimes. Sometimes even longer.

Three hours. Right, right, right. But when the song is over and we go back to that bridge right before the very end, that's when I learned that when you don't play nothing, that's almost as effective as if, you know, the bass player that's like, I got to get my best flea thing on and do the best and impress people. So you would actually, you would play the groove and then come back in, And I don't know.

Like, I was just like, wait, why does that excite me? Why is not playing some excite me more? So suddenly, I was like, what happens if I just take the kick drum out for two bars and see what happens? And then when it comes back in, it's almost like I came back even more. And I started doing that trick. And people, you know, like, what musicians, like the highest honor is the post dula, like that woohoo thing.

Yes, indeed. And that's a trick I stole from you, which is like when I, I don't do something and take it away and then bring it back. Yeah, dynamics, man. It's even better. So how did you learn? He just forgot the notes and just... Well, you know, it comes from, okay, if I think about that, it probably comes from like playing sessions for reggae guys back in the day.

Because, you know, I don't know the names of these guys I was playing with because I was a young bass player. I was listening to a lot of fusion stuff. So I want to play a lot of notes, right? So you did want to flex. Oh, hell yeah. Okay. Yeah, yeah. But then these guys would just like tap out the rhythm of the bass line on my shoulder in the studio like, do, do, do do do.

And nothing, you know. And that told me about space. And if you want to get into it, I mean, you got control of the notes and the length of the notes, but you also have control of the spaces, right? And that's where the fun for me is. Loud for the people in the back, man. Yeah. I would love nothing more than for every musician to just lay back and do less. But, you know, but that being said, Pino, do you ever want to put together a jazz fusion band where you just fucking kick ass?

Oh, I have. Yeah, I've done that too. Yeah, yeah. Even with Chris. All the notes that you don't normally play. Even the night that we wanted to go see you with Chris, like, I'd never seen you in that environment. I was sort of wondering, like, well, is Pino going to be the Pino that I know the Pino to be? Or is he going to, like, flex a little bit?

And you, like, if you can hang with Chris Dave, then you can hang with anyone, anything, any, you know. So how old were you when you officially changed over to playing bass? To bass, 17. How weird of adjustment is that? Is it transferable? Yeah, for sure, yeah. I mean, I was playing guitar in a local rock band, and we had a bass player. And, you know, I kept on picking up the bass and, like, working out the lines for him to play.

I had a good ear from very early on. And the more I played bass, the more I was like, I want to do this. This is more fun. So, like, for me, the drums aren't the focus point. You're just the traffic cop as the drum. And, like, I'm supposed to be married to the bass player. And you taught me that it's a marriage.

Right. And not for nothing without being disrespectful to my entire history. But sometimes it's like if you don't have a good marriage, air quotes, with the rhythm section, which is the drum and bass, then your music might be in trouble. And I've been in a few situations of which you don't vibe rhythmically. Right. With...

You're not on the same vocabulary, right? So for you, when you're in an ensemble, and now, like, since you're such a god at your craft, I would at least like to think that musicians respect where you come from and kind of want to fall in line. but is it hard to find musicians to come down to your level and you know to the and I don't mean the abyss as in like the bottom is a bad place but like that zone where you are where you do just very little you do just the right things and for them not to overplay or over do it's a good question to me and I think it can be really frustrating sometimes when you know how something could sound if if they were just like minor adjustments but but in my experience

It never really helps to try and tell somebody that. They have to come to it. I was going to say, are you allowed to tell the person? Yeah, it usually doesn't work. It doesn't work out? No, it doesn't work out. Now, as a drummer, I've learned ways where I could force people to see things my way. I've learned, like, a loud flam.

And suddenly everyone's like, they stop playing. Or if you dock their pay, they'll notice that. That works. That'll work every time. Yeah, but I mean, there's, you know, and I'll slow it down or whatever. it down or whatever. I mean, but now I just have a communication mic, so it's, it's, you know, I'll just say stop playing, you know. But is there a way that you talk to other instruments to reel them back or if you hear a wrong note, the keyboard's playing, you sort of...

Not really in terms of harmony, in terms of rhythm, that's my thing, you know, rhythm, I'm hot on that shit. That's why we hit it off so much. But, you know, what you said about, maybe the drums aren't the driving force behind a band. I think. in beat-driven music for me like if I'm gonna produce something or put a band together the first thing I think about is the drums you know get that right and then everything's gonna fit in so I think rhythmically yes sometimes if I feel like that somebody's hanging back on the drums or slowing down I'll push a little bit but I don't have any kind of communication things like you said a loud

flam that would stop everyone playing or stuff like that but you both are notorious just like these what I hear in playing on the backside of the beat all the time and that's sort of DeAngelo's where it lives so like when you go to a different band where it's more like whether it's on a click or it's something like that or what was it like yeah the who yeah like let me say that shit would not work with the who at all basically so you got to give what what's called for yeah totally and you know that's where that's what I love too about playing so many different genres of music it's like it's all about the relationship with the bass and the drums right like in soul music

black music generally the bass is important with the drums you know that those are the two things that really put the thing in a place in rock music it's more like guitars and drums and the bass is you know it's supportive it might be playing some some some licks and stuff but mainly the the interactions between rock guitar and drums all right so for every bass player that's listening that will kill me if I don't ask the right questions. What was your first base that you purchased, or the first axe that you used?

Fender precision. Wait, you've always used Fender Precision? Yeah, that was the first axe I had, yeah, back in 1975, I guess, yeah. Okay, so what you're known for, how do you get your tone? Like, what base are you using? Mostly a precision base. No more moon? Yeah, the moon comes in sometimes.

That's more like a jazz style. base like a fan of jazz style base. Here's the weird thing. Okay, so just recently played with Larry Graham like two months ago. Wow. And he had, not only did he have the moon. Yeah. He had the mic?

Oh, he didn't have the mic thing on him. That mic was amazing. We were in a studio setting. But I saw blood marks on it. So, yeah, like, so he really like gets into. That's crazy. Right. But his, it was weird to me because I saw the moon base and I was like, wow, I wonder,

like if he has the same tone as Pino. Because, you know, he was just an important practice and whatever, and it didn't sound that way. So how do you, what, the sound that we know you for, like what strings are you using? What are all your secrets, please? It's just to devolts them to the world right now. Even if he were to give it,

it wouldn't matter. You wouldn't matter. Yeah, I mean, it's public knowledge. It's out there. I've done interviews before. No, I'm kidding. Gear and stuff like that. Tell us everything.

But yeah, I mean, a fan of, my desert island base would be a fan of, a precision bass, it's just got one sound and a tone control, right? Just one pickup on a tone. You don't have a selection of different sounds from pickups. It's pretty much one sound. And I like the sound of flat-wind strings on it. They feel better, just physically they feel better.

And the longer you leave them on, the more warmth they have. The sound is warm. So the older? Yeah. I played your base before, and those strings are really, really thin. Like, you can't... Oh, really? You can't do things that I expect.

Yeah, yeah. Like, I'm thinking Seinfeld, bassy stuff. Yeah, no, absolutely, yeah. You need, like, wirewined strings, round one strings for that sound, really, like Larry, Larry's sound, you know. So how often do you break a string? Never. Yeah, because you barely touch the string. Yeah, I don't hit the strings hard at all, yeah.

So the fender you have right, I don't know how many fenders you have on you. Yeah, a lot. Okay, so in your booth. Well, let me ask. Has your life, since voodoo has your life changed as far as the volume of bases that you have? Or since the who? Yeah, probably the who, yeah, with the who, yeah, gave me the opportunity to buy. To ramp up and all that stuff.

In the voodoo days, between 2000, 2003, how many bases are you carrying around with you? Like two pretty much. That's what I remember. Okay, yeah. So the strings you had on your voodoo bass, do you still have your voodoo bass? Yeah, with the same strings. You do no... Wow.

Oh, yeah. I put those on in 93. Yeah. And it's always just stayed in working order and... Yeah. Like I say, they sound warmer the longer... They kind of settle into the instrument, just the string itself. Wow.

Remember what happened to your moon base? Yeah. What happened? That voodoo base... We're not a real podcast. We don't get context. We just assume that everybody's on the road. The two of you all the time.

Please continue. Well, yeah, I was... Talk about what happened to your black moon base. It was actually... So this is weird, but the moon bases, I had two stolen. So the white one was stolen. The first one I played on the Voodoo album was the White Base. That was stolen.

Somehow, when I checked it in in San Francisco Airport on a United Flight, it just didn't come out in L.A., and that was a Lester sort of it. Doing the Voodoo Tour? Just before the Voodoo Tour. Damn. Just before... I didn't want to hear this story.

I know. Now I'm having PT. D-S-D, all right, keep on. But then I had a, you know, I had a, well, then I contacted the company, and they made me a new moon base. They're like, yeah, right, Pino, we won't give you one. Yeah, but they said, you know, there's a limited run of the Larry Graham,

so we, you know, we can't do you the white one, like Larry base. And I said, okay, well, make me a black one there. So that's how I got the black moon base. Then that got stolen from a Who gig in like 2008. Yeah, who keeps still in Pino's bases? Yeah, strange. But there's a good end to the story. Oh, it came back to me.

Oh, thank you. That was quick. Well, somebody bought it from a porn store or something, and they were a fan, and they've been watching some videos of us playing voodoo, and they saw the bass had a couple of nicks out the neck. And he's like, I think this is Pino's bass. And they reached out to me and I got it back. Incredible, right?

A win is a win. 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 Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. top.

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. What's up, everyone? I'm Ego Wode. My next guest, you know from Stepbrothers, 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 they 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. 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, Ms. Sond'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 Alesspian.

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 Ameriopa 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.

My thing is, is that the voodoo fender, that should never leave your house ever again. Yeah, well, it's safe. It's safe. Yeah, like, seriously. For me, I just got my things fall apart of a drum set back. Where was it? No, the studio tried to auction it.

Wow. So. Are y'all really saying that an instrument, you use an instrument for every project and then we just move on? Is that what we're saying? You know what? I'm different like that.

So start with Fallon. Every 100 episodes, I make Lovewig, make me a brand new drum set. It's problematic now for storage because I have about 63 drum sets like and I'm running out of space so I got to stop that but

to your chagrin but for the most part I've documented every drum set I've played on for records you know every record a different set that's what I'm saying

sort of kind of I mean but not by design like oh for this particular one I'm use this one for this you know but I yeah for roots albums I will like hey let me

especially with for knowledge which was like, okay, let's make the anti-things-fall-part record. Oh, let me try a different drum set. So that's where that comes in the play. So since you're divulging some of your technique, so where's the secret sauce? I'm thinking gain structure. And like, because, you know, Amir,

how you're always talking about how the lighter you hit a drum, the more effective sound will be your heart. I just discovered the lighter you hit, that's where the pop comes. So face-wise. Same on a bass, right? Because if you hit, well, if you hit any instrument too hot, it's going to choke it, right?

If you hit the string too hard, it's going to bounce against the fret and choke the envelope with the note, you know? So, I mean, a light touch gives you more bottom end for sure. Which is kind of counterintuitive almost. Like you would think that, you know, bass, you know, like... But that just takes out the bottom end. And the harmonics or how do you, like... Is that part of that?

Not really. I mean, you know, I love the sound that James James Jameson made on the bass. And that was the idea back in 93 when I got that bass. I immediately put those old heavy gage labella strings on it and just left them on ever since, you know, but they don't have any top on them. So if you play like Jacko-style harmonics, you won't get them out of those flat strings at all. So it's more about the fundamental sound and, you know, I don't really have the tone on very much, either the tone is kind of on half or sometimes less than half, so it's a real thump.

What about the volume? The volume's all full, yeah. full yeah how do you do your game structure until you get to your amp or whatever yeah I mean I just I just literally have the volume on full and then it's up to whoever's getting the sound what kind of amp yeah well B15s are great right the amp fake B15s for studio or for live or yeah studio yeah but live I mean I used one on a tour recently live because everyone's on in ears now so you don't need that big sound behind you because you can hear it clearly you know okay so if I

I am learning bass, again, I'm using the opposite of you. Base player, I still respect, but kind of the opposite. Flea. Yeah, totally. What type of strings am I, those like heavy-duty strings that can take the pounding and... Not necessarily, but he probably uses like a medium gauge, round, round string, I would guess, because you get the pop out of it. And the round-wound strings allow you to get that bounce when you hit it with your thumb.

Now, do you have the ability to go forward? throttle pop if you if challenge i mess with a little bit yeah yeah yeah but no that's that's not my ballpark really okay okay um but if i guess your particular uh your particular uh choice of strings um if you haven't changed them since 1993 then like what if you run into a situation Like now, Apex tapes are hard to find. Right. Now I was recording at a time where AIMPAC tapes were everywhere. But had I known then stock up on Apex tapes, I would have stocked.

But now here we are in 2023 and you can hardly find them. What if you're in a situation in which strings that you haven't changed since 30 years ago, is there a likelihood of them? Well, you know, one of them broke on a two with D actually, on a 2015 two with D, the e-string on that thing broke. And I put a new version of it on, and it sounded like it wasn't very good at all. So they changed the recipes throughout the...

Well, no, but those strings just sound different when they get older. So if you've got three strings from 30 years old and one new one, it just don't have the same tone. It's the same for microphones. Really? Oh, yeah. Like, I bought a Norman U-87 and, like, fresh out the box. It sounded very harsh and brittle,

and my dealer was telling me he was like, yeah, the older, the older mics over time. You know, like you were saying, they warm up, like, just that age, you know. She just spits all over them. Hey, man, the grease of your fingers. That's the flavor, yeah, you know. For real. Hmm. So besides James James Jefferson, is there other unsung heroes that, you know,

you don't think get enough credit base playing wise? Yeah, oh, man, absolutely. I mean, we know about Stanley Clark, Jacob Pastoris, those guys were huge influence. Larry Graham, too, now getting the prophecy deserves, you know. But, yeah, for me, like Michael Henderson is up there. Absolutely, man, Michael Henderson. Yeah, I got to tell our listeners, I believe, yes, this is definitely Michael Henderson. If you buy this Stevie Wonder, talk of the town live in London,

that's his, I believe that's his work on. that version of I was made to love her where he's just ungodly. Like, that to me. His solo album's like, Going Places? Yes.

The bass playing on that? Oh, my goodness. Wait, I'm so glad. I know why we're laughing. I know why we're laughing. I know what we're laughing. It's good to hear someone and speak of

going places with high praise because we have a different going places. Oh, shit. That's a jam, though. All right, so what was your first gig as a professional, like your first session gig? First session gig. Yeah, okay, yeah.

It was at Rockfield Studios in Monmouth in Wales. Quite a famous studio. A lot of great records were done there over the years, but that was my first session. My friend was playing keys in a show band. When I say show band, they would do everything from Glenn Miller to like the Boney M to whatever pop was in the charts. You know, like... So they were in the studio for some reason. I don't know why.

And I just went down to hang. And the bass player in the band, you know, they wanted like some slap and pop bass. And the bass player they had wasn't familiar with that style. And I happened to be there. So my friend told the musical director and he's like, would you try playing this bass line? So that was the first time I put a pair of headphones on in the studio and played with a band. And I just loved it, man. I couldn't believe it.

How old were you? 19 maybe oh okay we we know of you oh okay i guess paul young was well was duals hollum first yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah yeah well let me explain was jules was jules holland in squeeze right he was originally in squeeze first correct yeah yeah he had just before he came a talk show host before he had a solo thing with the millionaires yeah jules holland and millionaires so and then the talk show came much later I think okay so what was that experience like playing how long do you play with him oh I play with Jules for probably like a year 18 months or something like that there's a great album cover in the car that Pino's on yeah that was fine man I

love those days those fun days and and so playing with Jules I was just playing my fan of bass and I went down to audition in London because sax player in Jules his band I knew him in Cardiff and he said Jules is looking for bass player So I went down to London an audition, just sat in his room and played with him, followed the left-hand piano thing, you know, the boogie-woogie kind of piano thing. And we hit it off, and he said,

you know, why don't you just join the band? I'll pay you 50 pound a week. You can sleep on my couch. So that's how I moved to London. What years is this? 1981. Okay, so was that a good living? Financially?

Yeah. Hell no. It was okay. It was okay. I survived on it. I always ask this question. I never get like a satisfactory answer, which, you know, I'm just trying to time travel and also deal with the inflation part of it all.

Like I want to know in 81, in your mind, what is a good living? Like what would have been ideal for you? Is it 500 pounds a week? Not even. Like, you know, 200? I would have been happy with 200 a week by now. I would have thought I was doing really well. So what does 50 pounds a week get you?

In London, in terms of like, are you just crashing a room and a couch? Yeah, back in. Hardly eating? Yeah, pretty much. Okay. Well, Jules' mom used to cook for us, bless her. That was nice. But yeah, not a very healthy diet.

You know, a packet of cigarettes, some weed, you know, usual thing. A normal diet, musicians died. All the food groups, yeah. As far as touring's concerned, like, you all set the tour of this unit, correct? Yeah, we toured. Oh, this year, did you say, sorry? No, no, no. Jules back in the day yeah yeah we did some touring that's my first tour of

America actually in New York really yeah we did a tour of the East Coast just traveling up and down in Miles Copeland's van Miles Copeland was a manager back Stewart's brother right yeah manager of the police okay was he also the manager of Jules yeah okay all right so we did a little touring with that we released one record that didn't do too well nice album cover but what yeah exactly but whilst I was in New York I went into Sam Ash music on 48th Street where all the great music stores were back in the day right and I walked in there and I saw this music man fretless bass on the wall and I was like I like to try that

so I asked the guy if I could try it and I played it and I could I could play it in tune you know it just it really suited me that base so I bought that base there and then and that was the bass that the base that led to all the fretless sessions that I got to do after that So such an unusual sound than what you were previously playing on. Was there any convincing Paul Young or Chris DeBarre? I always say Chris DeBarge. Chris DeBurg. Chris DeBurg.

Chris DeBurg. Like, was there any, or not even them, like they're producers or... You know how that all came about in me. Whilst I was with Jules, I got a call from a friend of mine, Chris Slade, who was a drummer at the time with Gary Newman. He went on to play with ACDC and a whole bunch of stuff and played with Tom Jones back in the early days. So this guy done incredible work. You're trying to tell me the same guy that played cars with Gary Newman.

It was also the guy that could have been playing on. It's not unusual. Not cars, but the album after that, it's an album I was involved in called I Assassin by Gary Newman. Yeah, you know what? Here's a weird thing. If you ask Wendy and Lisa about the influential records, like it's so weird. every album but that like they'll mention i assassin and the one that came out and wow it like if you listen to that if you listen to 82 record that album that came after

prince basically like it's kind of his newer star you might listen to that yeah oh that freaks me out yeah that's amazing wow so so yeah this guy chris slade he he phoned me up whilst i was with jules hon and he said look i'm working with gary newman he's looking for a fretless bass player do you have a fretless and i said well as it happens i just bought one in New York, just a few months ago, you know. He said, well, bring the fretless and, you know, let's see how it goes. So I went to the studio, met Gary. He had a bunch of tunes like just drum beats and really minimal kind of keyboard things.

And he just wanted me to do some fretless shit all over the record. So that album became my calling card in a way because I got to make up all my own bass lines. So people heard that and then... Yeah. You know, I got on top of the pops. with Gary, which was a big thing at the time. And, you know, the sound was pretty fresh, because it didn't sound like Jacko sound, but it was fretless.

Probably a cross between like Jacko and Mick Khan, you know, Mick Khan from Japan, the band Japan. I'm not familiar with the word, no. Yeah, so he played fretless bass and he had a unique style. So I would put myself somewhere in the middle of that, like with jazz references, but also like Artie style of bass playing. Right. Pino, how do you approach construction of fretless bass lines

versus fretted. Is it a different approach? Do you think about it differently? Yeah, totally. Yeah, yeah. In what sense? Well, the way I would approach it on the fretless bass is more from a melodic sense, you know,

just trying to find melodies because it's a very expressive instrument right there. I'm going to try to spell this word and I'm going to figure out what this means. Fretless? Oh, right? So a friendless band out here, right? So you've seen a bass player before, right,

in terms of like the part that they play with their left hand? Okay. A fretless bass, I would say, is the sound of, like, you know the difference between electric what Adam Blackstone plays and in upright that Christopher McBride plays, like the jazzier sound. A fretless can give you the sound of an upright jazz. Am I incorrect? Yeah, yeah.

I mean, you don't have any frets or you can just slide the notes, you know? Wow. It's a different, and it's a different envelope to the note. It's a different shape to a note. It's a lady in red. You know what song? Yeah, yeah. That's the sound of the fretless bass.

You don't know Lady in Red. You're like Lady and Red. Oh, yeah. We know your work, Pino. That's amazing. But now, wait, now you got me curious about... Assassin. I should have just said...

I was a assassin, right? Woman in Red and Fung for me. So, like, we take mystery to bed. That's one of the titles I remember that. Yes. That's a lot of notes, Pino. That's like more notes than usual. Oh, yeah, that's...

So let me ask you, do you respect... And I just seen them two weeks ago. Do you respect, oh boy? John Taylor. John Taylor. Yeah. Sure, man. Yo, he was killing.

All right, so I saw the Red Rocks. They're on tour with Nile Rodgers right now. You guys should really see them like they're still in top four. I believe it feels like some of those songs on the Rio album are also fretless. I don't think so, but maybe I'm not familiar with that album actually. But I think it was more a sonic thing back in the 80s because you didn't play bass bass bass, right? right it wasn't much bottom-end bass on it and you would probably play your bass track in the control room you know when everything else had already been put down so you're going for a more kind of

you know a sound that's going to pop out of the speakers you don't really have to support like play play support base can you play upright bass no not at all have you touched an upright bass I've touched it I love it but I can't play it it's a different instrument altogether really yeah so just gun to your head if you do Oh, no, I tried to do a gig on it, and I was, my hand was so painful after like one you know, one song. Really? It's such a physical thing. It's a different thing.

Well, what I play is like a guitar, right? It's a bass, but it's a bass guitar. So that's a whole different thing. 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.

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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

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Two more men who'd been through the same thing. Greg Alespian 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. So what steps are in between Newman and Paul and Chris DeVert? Oh, yeah. So Newman, that led to Paul Young in a way because, you know, Paul and his producers got to hear those Newman records and imagined that sound on the record he was making. And then, like Dave Gilmore from Pink Floyd, I did that. his solo record. That was a big, big one for me. Really? Just to get a call from him.

And, you know, I want you to come and do this album with me in Paris. I was like, oh, my God, this is it. So for you, is Lady and Red sort of like the world's wake-up call, like, get that guy? It might have been, but I think more to Paul Young stuff. Because Chris came to me from Paul Young, Chris to book. Yeah, because everyone kind of wanted that sound for a minute, that fretless sound. So at some point did you say, I don't want to be pigeonholed into this. sound and much later on I took it happily for a long time yeah we're making for

fifty dollars a week no it went for a good while yeah but did get it did get a little tossing yeah after a while because you know when people want you to do what you did not what you're going to do it's a different thing right that was a freaking gym and a half way I got it I got to register say that again when people well you know if if somebody calls you to do a session and And you're there because they want you to do what you've already done. That's different to what you're going to do. What you could do.

You don't get a chance to do what you're going to do because they already decided the sort of thing they want. Because they're booking you off of password, not where you may be artistically currently. So your life must be hell after voodoo. Well, that caused some trouble. But, you know, that was the amazing thing about, well, I met you and D on the same day, right? Right, yeah. on a BB King session. Yes.

And I didn't even know he was coming, you know, no idea. And I saw you walk in with him and Russ Alavado. And I was like, what's going on here? Anyway, I lost my train of thought there. Well, if you're causing problems, you say, I play not fretless. So, you know, as you know, me and Dee hit it off from that session. He heard me playing. He's like, I like that sound.

I want you to come. But the thing is, he knew nothing about my past. So I already had like a career before that. Right. But he wasn't coming to me from what he knew you could do. Yeah, he's just like, this dude, I like what he's doing and let's get together. But for you, was that, was that exciting for you to kind of have the opportunity to reinvent yourself in a different way? Oh yeah. Yeah. Yeah. Yeah, yeah. Did you know who or what DeAngelo was? Because it's not like we came, I mean, by that point, all we had was send it on. That's all we had, we had send it on.

We didn't have, oh, I see, songwise. So, but I had heard, um, Brown, Okay, so you knew about him through brown sugar. Oh yeah. I didn't know the whole album, but I hit the game. I hit it. So what I knew was this was, this was two weeks. So I always credit Voodoo's beginning the last day of Philadelphia half-life. So DeAngelo rushed us to Philadelphia, the one time he was on time.

Wow. Wow. I played D. Yeah, he like rushed to Philadelphia. rush to Philly when he got word that a you know a certain head-wrapped lady was in our side of town working on a record she down there she down there and I was like yeah but I almost feel like now that look of it it wasn't the excitement of like oh she's down there let me come and play no it was like wait she's down there with y'all

she's saying at Tarek's grip what that moment I don't give away all It's the first and the last time that Mavoc was like an hour early. I didn't even ask him to come. He's like, I'm here. So that to me was like the first day of voodoo. We knocked the hypnotic out for our record. And then we had like time to kill. And we were just like, all right, let's start playing.

So we had to test each other to see where our knowledge was or whatever. And it's like, OK, we're going to get along famously. Because I had told you that I judged him. I looked at it, I looked at his timblins and they were like worn down. And I judged him. And Bob Powers trying to sell me on this guy. Like, yo, Bob Power wants me to drum on shit damn motherfucker. He's like, yo, there's a guy that I think you'll love him, man.

He's like the next out green, da da, da, da, that by then, I was just like, R&B, this sucks, you know. Yeah, I hate R&V. Like, you know what I mean? Like, I wanted soul and not R&B. And I looked at him, he just walked in. And because the tongue of his Tim's was just standing up, it was leaning, right?

I was like, ah, no, man. This guy's corn. So I purposely like, you know, I'm going to hang on my dad for Christmas. I can't do it. So I'm not on Brown Sugar for that reason. But then also, Ron Carter didn't want to play on a song called Shit Damn Motherfucker. So they decided to go. They tried to get wrong?

So Ron Carter was going to play bass on shit damn motherfucker. And I was going to drum on it. And also Bob Powers trying to get a two for the drama song on Badoism was one of the first songs. songs that Bob Power worked on. So me and Ron were supposed to do, we did drama, but he's like, I refuse to play on a song with that title. I will never play on a song called That. He would never call a shit damn motherfucker. So, oh, my goodness. Bob Power was just like, I'll do the demo. So the thing was, day two, we rented out Battery Studios to work on Bitch, right? And then And Dee was just like, ah, the vibe's not right, man.

Like, I, you know, so for some reason, they were like, yo, we're going to the house of Hendrix. Like, we need a new studio. So then we go to work at Electrical Lady for a week. Right. This is with Russ, too, right? Yes. We're Russ, who famously, they have to have an intervention talk with me.

Because my whole thing was like, I know my sound. I know my EQs or whatever. And Russ was just very quiet. So he just, like, sat in the court. I thought Russ was like Dee's boy. I didn't know Russ was the master. Right. So after like four days, like Dee and these managers pulled me to the side, like, yo, man, like, you know, you, you know, Russ is the engineer.

Just let him do what he do. And at first I was like, what does this guy know about like my sound? Like, because I wanted to craft. Totally. I didn't want to sound like. And rightfully, too. Right. I had no idea of Russ was the master.

You know what I'm saying? So we worked for about a week. And then I came on a Sunday to work again. And Dee's like, yo, we got to go. to Power Place, Power Station Studios and work with, um, BB King real quick. And I'm like, well, am I drumming on things? Yeah, I'm gonna get you drum on it. But you know, Steve's already like Steve Jordan.

So once Steve Jordan was there, then next thing I knew, me and Angie are just babysitting little Mike. That's right. Right? I remember. So right, I'm babysitting a little, I'm asleep while y'all like working on this song for like, what, two, three hours. Yeah.

And D comes into me, wakes me up. He's like, yo, man. He said, yo, shit. I was like, huh? He said, you don't understand. He's going to be part of our army, man. He knows what he's doing. Wow.

Now, I was telling him like, yo, man, but what about, we had just got an, what's his name? He did the root in Spanish joint. Charlie, yeah. He was all, in my mind, I'm like, no, dude, just Charlie Hunter. Like, let's stick with him. He says, do, man. He's like his level of bass player. It's just next level.

And I couldn't imagine, because it's not like I knew of J. Dilla's sound like that. Right. So that wasn't even a comparison. Like now you'd be like, yo, yo, he plays just like Dilla thinks. Like, that wasn't even that. That wasn't even our vernacular. And for the life of me, and I went in and looked.

And I just saw this like six foot seven giant and was just like, yo there's no way you're going to convince me this guy is the Lord Jesus Christ whatever you say and then I played with you so it's yeah man it's for real like he the way he described you was like urgent like he was gasping for the last breath of his life and I was like for the life of me did I wish I'd known what happened in that session like what how many takes did y'all do have nobody's home he and not many maybe two But you know, there was an immediate connection as soon as we literally, second verse of that song where Dee took the lead.

He was playing, I think he was playing piano and took the lead. And he took the lead and I'm playing and I'm like, damn, he sounds so good. And he kind of informed me, you know, like all of a sudden I was like, man, I can do. Yeah. And I just went for some shit, you know. Hearing his voice inspired me to try some Jamison style, you know, walking around a little bit more. playing some busy, busy bass stuff. And I felt him react to that immediately.

Someone happened on that tune, but that was Bibi King too. Wow. You know, Bibi made that happen. Do you now run into musicians that just insist that you play draggy or behind the beat or those things? There was a little bit of that, but not much. And the thing is, you know, as well as I do, that shit don't work.

It only works in the right environment. And we're all together. And for me, the right environment is me, you and D. And if Spanky was still alive, he isn't, but shocky. I mean, there's such a profound understanding of what that is, but we couldn't put it into words, right? It's like a micro-second management thing when you're playing. It's just the feel happens.

It took a big to adjust to, because I think even for me, I saw this as my chance to... escape the, what I thought in my head was going to be like the claws of the roots. Like, okay, well, we're not, clearly, we're not going to make a mark on our own music. So this might be an every man for himself thing. Right, right. You started to stray a little and think. Well, it's not like I was like, all right, let me plant my flag elsewhere to see if I can get out there.

Like, it wasn't like the self-promotion thing. But it was also like, I was just paranoid. that the way that he wanted me to play, like I was intrigued by the J. Dillard shit, but I'm like, wait, you want me to act like I'm a drunk three-year-old? And, you know... Well, it's a challenge, right, to try and sound like you can't play it. Right, but I'm thinking, I'm like,

little, man, little John's going to laugh at me, and this drummer's going to laugh at me, and this drummer's going to laugh at me. And so it took me a good, maybe two weeks to get used to, because you got these thing instantly. Yeah. And I didn't know. who to follow because you dragged behind but then he really drags behind you and I'm trying to figure

out like well where do I fit in between you guys so it took like a good two weeks to but when that shit really kicks off of me I mean you're I mean you're playing you're on time if not on time in front of time that rhythmic tension right we never talked about deeply before but that's what it feels like to me because if I'm trying to play that stuff and and a drummer will start to slow down with you, right? Right. Then it's not working. It has to have that tension.

It's a push pool. So, it's on top, you're behind, and Dee somewhere in the middle? Yeah, we're pretty, we're both behind me and deal. But Quest will also come in. You know, you'll join us on some things. Like, it might be a little nod on the hi-hat or one kick drum will be misplaced. Just. Enough to.

Yeah, enough to. Yeah, he, D wants me to, like, my hi-hat always has to be, Like one of my three things, either my kick, my snare, or my high hat has to be consistent. Yes. And then I have to divide half my brain to drag this in another way, but still keep this consistent. But then playing with DeAngelo and Pino, DeAngelo gets the sort of gets the glory position of either playing right on top of the thing or really dragging. Right. And before, when he would drag, I'd go with him.

And he would stop the song. Like, no, no, don't go with me. Stay where you at. Stay where you had. And I'm just like, wait, dude. Like, I have my own problems and trying to figure out which limb goes, which speed. And then this guy's, like, slightly behind me, but I could deal with that. But you are really throwing me off.

So it really took, it took 10 hours. And, you know, we'd spend anywhere between six to 12 hours consistently playing. So I just consider that tour, Amir. You're talking before y'all even hit the stage. No, no, this is just, this is the voodoo album. This is in, yeah, just. Because it seemed like at some point just watching y'all during that time and watching Amir, because we shouldn't make note that like, I don't recall a time in your career where you've done what you did for voodoo.

Like you paused stuff. And it seems like when y'all got on stage, everybody, Anthony Hamilton backgrounds, everybody included, it was like, It was like spiritual. Yes. I think because we all came one at a time. Like first it was D, it was D and me, it was us three. And then we brought James Poyser in. And then it's almost like you have to bring,

and then Spanky started coming. So it was almost you had to do a one at a time thing and that person had to figure out like when the cross-street. What's going on here? But when y'all all figured it out, it must have felt like y'all were moving as one at some point, right? That's exactly right. Yeah, it's the most, it's, yeah, I mean, the sootronics when we had Roy in the band. No, man, yo y'all's, I still have, I'm sure it's out now, the live in Stockholm,

the Angelo, the voodoo. I think that's a bootleg, that's bootleg. Oh, yeah, yeah, it is. I've cleaned my house so many times later that album. Man, y'all, man, I love that record. No, but that is so, that's so rare. That is so rare, let me tell you. But the funny thing was, right, I got to remember back when we were doing this, I was already 40, 41, right? So I knew... You're still 41 to be? Yes, you are, you know. No, but the...

Non-black doesn't crack. Oh, look at that. Whales don't fail. There you go. There you go. I'm going to step off the mic from me. All right, go ahead. Yeah, that sort of thing is so rare.

And that was the first time... I'd been in great bands before, but it's the first time I'd experienced that kind of feeling. And as I say, I was in my... say I was in my 40s at the time. So, you know, when we got together in a rehearsal room with a full band before the tour, and I heard that band playing, I was like, these guys don't know. These guys do not know what I know,

because you couldn't have had enough experience to know how special that was. Did you have a favorite night on the Voodoo tour? No, I just, no, I don't. Every night? Every night. I had, yo, man, for me, ah, I hate, I hate saying the story. The Minneapolis show?

I don't remember it particularly. All right. So I blame John Perales for this. So John Perales, who's always been kind of a playful thorn and Prince's side since, like, him and Prince are at the same age. He started writing in Minneapolis at the same time. Prince came up. So he's kind of been like the one consistent local Minneapolis writer that, you know, that Prince would sort of, you know, artists claim. like oh i never read my reviews or whatever but clearly like you know and but he was also not

afraid to tell the truth and be like nah i'm not feeling this and that that that you're phoning in whatever so you know it's it's 99 and voodoo comes out and john perales decides to like kind of just write a ron stone a mock no no this for the local minneapolis thing like that doesn't mean okay not not a mock obituary but basically like a prince to Your numbers up and there's a new king in town, that sort of thing. Which, you know, as far as I'm concerned, both voodoo and black Messiah were always love letters to our hero. And so, you know, it... Is that what made Prince do Rainbow Children?

Yeah, well, no, just you make my sunshine thing and yeah, yeah, that as well. Yeah, yeah. So the thing was I knew he felt some sort of way, but it was also so. undeniably funky that he couldn't deny it himself. Yeah. So it's like, okay, I'll give you this one. Like, this has to be live-changed and funk for me to... So when the show came to town, you know, Perales was at it again.

Like, I've been hearing reports that this is the show of the year. You don't... The Dan King got this... Yeah. Right. And so, ah, and so, of course, he summons for us to come to Paisley Park the night before... The night before the show. The night before the show.

sabotage. Right. I did you, I did not know this. I ain't got it. Nope, tomorrow. I ain't got it.

I should have known better. But, you know, again, it's like, hey, it's our hero. We're going to hang all with our hero.

So we get to Minneapolis. We get there like midnight. And Alan Leeds was actually like, you're all going out there? I was like, yeah, well, you know,

he operates between 1 a.m. and 6 in the morning. So, let's do it. So Robbie, the driver, comes to get us at three in the morning, and we go out there, and I should have known him better.

Yeah, he was, first thing he came in, so how does it feel, huh? Oh, God. Oh, wow. I can see it. And so we were just like, that's cute. It feels like me.

But I'm just playing, I'm playing it. I'm playing. Was he on his own? Was he or did he have, like, he was, okay, so the weird thing was, he was I believe at the time he was working on what we call the new power soul record and you know he's blasted music whatever and something what year so what years this is 2000 this is June of 2000 and so we're walking down and you know all the hallways of

paisley park are super dark and of course it's like these lifestyles murals of him so it feels like three stooges where you know the controversy this it's painted controversy cover and you swear to God that the eyes are watching you and ask you because they are. Because they are. Right, right. Yeah, probably. Scooby-Dooge. And I stopped, and I stopped, and I heard the song, and I'm just like, I said, oh boy. And he's like, what? I said,

so, you know, by that point, and I've made it clear to many Prince. Dot, org fans that I am a 78 to 88 prince person, anything outside of that. Yes, I love him as an artist, but this is my era and I've been very vocal about like his patches and I don't like the new keyboards he uses and his drum machines and of course he's playing some loud song and whatever it was okay no cameras are watching me so my face I forget that I'm not on radio anymore and so I was just like let's wait it out until the fade comes on because I

don't want to I don't want to have to do demo face yeah right right right when you like some when you don't like some shit and you like that And so, like, right when the song was fading, then we, like, walked in. And, you know, again, I failed. I was like, hey, who, what's this? What's you working on? He's like, some new funk.

Like, whatever, like, he's like, Yo, Prince Hawk, Emmy, if he's so. Yeah. Anyway, so, yeah, he, like, went through the whole thing and tried to be like, don't trust Alan Leeds. And, you know, this guy's bootlegged me. That guy bootlegged me. He's going to bootleg me.

and steal your money and da-da-da-da-da-da-da-da. And he would leave, and D and I would just look at each other, like, wait, what's going on here? I just want to ask you some questions about 1999. Right, right. Exactly. And, you know, then we, like, went to play, like, we went in the room to jam a little bit, and that wasn't working. Because the thing was, like, we had such a musical synergy.

And then to play with someone normal, which is weird, because, for instance, anything but normal. Yeah, but even so it doesn't translate. Right. And so that was weird. And man, like, we just, we left. So we asked him, he's like, so are you going to come to the show tomorrow? Like, will you come? And he's like, no, I got to go to, I'm going to go to Marrakesh. And, you know, I said, wait, you, you're going to miss our show. Like, this is, our show's dedicated to you. Like, everything. And he's like, no, we just, I got to go to Marrakesh. And that's that. He never went to Marrakesh. But, you know, he had all the spies in the thing and, you know, Larry Graham infamously left during shit damn motherfucker. Yes, right here, that's a song, man. Like, he got up and left and went out there and it came back when the show was over. Ron Carter left, too. Right.

He did not like that time. And all I remember was there was a moment during the encore where I think suddenly D went from bewilderment to anger. Like, it's like Dee woke up and realized like, yo man, I think he was trying to punk us last night. Like suddenly like a hit. And you don't want to think that your hero doesn't wish you, you know, like, what do we do to this guy? And all I remember, man, was like, yo, man, we're going to get him. We're going to piss all on his carpet. And we did the most ungodly version of lady ever.

And Eric came out. And it was even to the point where. the same school yard taunts that Prince was telling Paul Peterson when he left the family like Paul punk of the month

Paul punk of the month like we started like P punk of the month like like are we doing this you're going from Pied to the month

to Prince Punk of the month like literally in his town yeah and then I had to get some phone calls like a week later but for me that was like

that was like the best show we've ever done. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford 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.

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I hope I asked enough voodoo questions for the fan base. Someone's going to get pissed. No, voodoo was my first, I mean, clearly it was my first time hearing you. But, you know, for you hearing you say that you were like 40 at that time. You know, I hope artists like hear this, they understand, like, listen, that was my first time at Rulu. I was, you know, 21, you know, 20, whatever. And, like, that was my first time really hearing about Pino Pino, you know what I'm saying. So, like, you were, to me, you were a new guy.

Right. You know what I'm saying? For that generation and for my generation, you were a new guy. Yeah. That's a new me. Straight up. Yeah. Were you shocked at the kind of the heroes welcome that you.

got from the musician community? Yeah, totally. I mean, I was already kind of respected in certain places, you know, in the music community. But yeah, to get the props at that point was really, yeah, that was very exciting. Can you talk about how it was different in that way? Why was it different? Why had it feel different? Well, I guess because that's the music I really, really loved.

And then I was like, you know, I was always like very conscientious about like feeling right, you know, I wanted it to feel right. it. And when I got to play with Deen Quest in that band, then it was, I didn't even have to think about it. It just came through. And that was beautiful. And then, yeah, just to have people say, wow, that, that shit sounds amazing. And yeah, it's great. So a notable night for me was the night that we were recording Aquarius for Common in Philadelphia. And then we took a dinner break and then you got a phone call. and you said immediately you said wait no one knows I'm here who's calling me and you step outside the room to take the phone call and then you come back in and you're like guys I have an announcement so instantly I'm like oh damn something happened to your family like what's going on and he's like

John in Swistle just died of the who and I have to go out and replace him like I have to leave right now what kind of fucked up calls? Tell me. That's the most fucked up call I've ever heard of my life. Okay, moving on. And I never got to ask you this question. Because what I do know is that you had to learn 41 songs? I don't remember the amount, but it wasn't a set list.

It was just learn, you know, like CDs like this. And that guy plays all the notes. Yeah. So, one, what was your Who IQ before? that phone call wow i probably knew who four or five songs oh wait i wasn't expecting that i thought you at least are going to say like four or five records so you kind of knew nothing about the who at that point yeah i bought some of the records when i was kid i bought won't get fooled again and then i i remember i can't explain my generation the big hits but i really wasn't familiar with their albums

for some reason i just i i missed that stuff you know i was a i was a big land Zeppelin fan and I was into like progressive rock like yes and and folk music and stuff like that so somehow I missed most of the who are you and getty lee just you've been said yeah have you and getty ever like I met him actually yeah but yeah but uh not that familiar with with a lot of the rush albums out there so they send a plane to you they sent a plane to philadelphia correct no no i had to get a regular plane oh okay i thought they just the bells and whistles on you. So what was, do you remember what that week was like?

Because I still, for the life of me, don't understand why they just didn't hold off on like a week's worth of shows. Like, I'm sure the fan base will understand. John just died. They were like, no, we're still going on stage. Well, the story I heard was that they wanted to cancel the tour. You know, there was so much going to, that was riding on it. I guess they were thinking financially the crews you know having committed the time to it they wanted to be able to pay everyone So the story I heard I come from who but

Story I hear it was a Pete said to the manager What's Pino doing if you can get Pino then we can carry on which is pretty incredible So Pete had confidence in me I guess he knew me as a session player because I've worked with him Yeah, so that's that's how it was went and the manager phoned me up and said, look, you've heard that John has passed away. I think it was Wednesday. He said, we got a gig in Hollywood Bowl on Saturday.

I need a yes or no. You said yes? Yeah, I mean. So what's like, describe your cheat sheet. Describe your, like, how do you commit all that to memory? Yeah, I did have a couple of cheat sheets. Just, I mean, nothing that anyone else would have understood. Can you read?

No. Wow. Can you read chord charts? Yeah, I can follow chord charts. But, yeah, I mean, I've got better at it over the years, but I'd really try not to. I trust my ear. Cool. I've always trusted my ear.

We were talking about this before. Trust your ear. People born blessed with good ears, man. Wow. Yeah, there's some musicians that go by feel and some musicians that go by technical, that sort of thing. Yeah, and both of those ways will work. You know, they're players that can do both. There are players that can read whatever you put in front of them,

and can also improvise. But I can't read it. So by that night, by Saturday night, what's going through your head? Like, are you just cramming 24-7? Are you going to sleep to the songs? Yeah, well, I had, like, really, I had one day and one night. And I just was up for 24 hours, just literally headphones,

the bass, just trying to go through as many songs as I could. What was the hardest song to do, to figure out? Well, there wasn't one song that was really hard technically because I didn't try and play what John was playing. I couldn't have played a lot of those baselines because his technique was so unique. I couldn't do it. But Pete told me straight away when I got there,

he said, just learn as much as you can. And, you know, I don't want you to be John. I want you to be you. So that gave me, that freed me up a little bit. But having said that, there's so many iconic baselines on whose songs that I did have to learn, you know, a lot of it notes. So eventually, once you settled into the group, they realize that but is it iconic baselines in terms of like like he does this on the fourth bar

or yeah yeah and they muscle memory they expected to hear those notes kind of yeah and there are things that you if you didn't have them in the song you really wouldn't it wouldn't sound like a song like melodic lines and stuff and the who fans in the front row would be mime into the bass lines as well so they know all the stuff no pressure yeah but i wouldn't be playing it a lot of time it's pretty funny so How long did it take for you to actually get a place of muscle memory like, okay, I got this? Yeah, I mean, I had it on the first night. I pretty much knew.

I pretty much, once we'd done the show, I was like, okay, it's going to be fine. Wow, okay, okay. Are you still with the Who? Like, I don't know what they're... Yeah, they're still playing, but I stopped touring with them in 2016. Okay. Yeah, but... Was it hard to walk away from that?

It was, yeah, it was. Absolutely, yeah, because I've been there a long time. I've been touring with them for 14 years. So when you commit to them, and I know they're not a 24-7 touring unit, is the thing where it's like, okay, we have you on retainer to always be available? No, no.

They don't do that shit. You just get... Gig-to- gig? Yeah. But what if you... What have you decided to tour the DeAngelo again? Yeah, right. They would have to.

Well, you had that problem. I did, yeah. Yeah, I had taken on some who shows. I didn't want to let those guys down. And then Dee suddenly put some shows in that I couldn't do. Yeah, so, but that all worked out. Of course it did. You had to raise your own Pino.

Yes, I did. His Pino is out there. Yeah, that's a good movie. That was pretty good. No, who is Pino when he's not? Rocco. Rocco Palladino. Oh, yeah.

Oh, yeah. Oh, you best believe. And I hate to say this, but God damn. Oh yeah, for real. But he's your son, so I don't think you'll get offended. But goddamn. Wow. How old is your son, man?

He's 31. Oh, okay. Yeah. That's dope. No, dog. Rocco is currently drumming with, um... He's playing with Yousef Days. Yes, Yusuf.

But he's also... He killed the picnic, yo. Oh, no doubt. Yeah, he came to the picnic and killed him. It's a great band. But Rocco's here now, actually, he's playing... I'm Fabiano. My daughter, my oldest daughter is also playing in the band.

This guy called J.P. Paul. J-A-I? Yeah. Paul. Yeah. Wow. So they're playing tonight. Jay Paul? Yeah. Okay. Okay. Yeah. So Fabiano and Rocco are playing with him at the moment. He's playing at the Mayan tonight. This is so weird. And the thing is like those are kind of, I mean, maybe not as much Jay Paul, but definitely use of those are all kind of the children of voodoo. Yeah, yeah. I think so. And I think so with Jay as well. Yeah. Yeah. Definitely inspired by that stuff. That is crazy. I remember meeting your kids when they were, hey. They were at Radio City. When we played in 2000, you know, Rocco was like six or something. I wonder, like, did they pay attention?

Oh, yeah. You think so? That's what happened to Rocco. So for him, seeing that show Radio City Music, all? I think definitely that. And also just being around me when I was doing that music. Yeah, now Rocco is, like, Rocco plays with DiAngelo. That's how good Rocco Paladino is.

Mm-hmm. And, yeah. Wow, that's just... How many children do you have? Yeah, Fabiana, my oldest is a keyboard player, songwriter, singer-songwriter. She has a record coming out soon. And then, Jan Carla is also very musical, but she actually doesn't work in the music business. And then Rocco does work in the music business, yeah.

Yeah, I'm so lucky. How do you divide your... Now that you're your own planet and you're not just like, you know, just a music... Just a session musician, yeah. Right. So, like, at what point do you know, did you decide to establish your brand and do these, like, records and all those? Yeah, that pretty much came through around about 2018, I suppose, that when we started recording the first record,

I'd done an album with John Legend with Blake Mills producing. I didn't know you on that record. Yeah, well, and Chris too. Yeah, he called me and Chris to play on that record, and that's how I met Blake. Yeah, that's such a, it's weird living in kind of in the non- what do you call it, non-tangible record way? Yes. Where I don't read credits anymore.

I just listen to it on Spotify. So I didn't know. When I was going through your history, I'm like, wait, you're on that? You're on that? You're on that? So talk about your work with the drumheads and playing, because you guys are just on a whole other level of musicianship. Well, that's...

With Chris and Sharkey and... Yeah, I mean, that's crazy. I mean, Chris, as you know, played with Dee. recommended him for that when you could do it right yeah yeah yeah so that's where um Chris met Sharkey and me and Chris and Sharkey would hang and hit it off obviously then to cut a long story short we were on the 2012 tour with Dee and Chris had a gig at the Billboard Live in Tokyo and we were going to take Pookie with us right the keyboard player and a horn player I can't remember who it was but anyway the day before we due to fly out

out after the tour with D. Pookie said he couldn't make it. So we lost the keyboard player and then we lost the horn player. He pulled out too. So it was just me, Shaki, and Chris, and we had to fly out of Japan and we played like three nights of the Billboard Live. So that was the start of the drumhead shit, really. And we just played as a trio, which is what we went back to at the Blue Note recently. Now, is it intimidating playing in a combo that

doesn't have a lead singer or doesn't have someone for you to hide behind. It's different. Yeah. I love it. I love it. Especially with that lineup, because it's unique. We played so many different styles of music. And, well, you know, Chris is just unbelievable.

All kinds of weird and wonderful stuff can come from him. It's my guess that you are the anchor of that unit because when I last saw you guys at the Blue Note. you were the one that was tapping your foot constantly. Like you tap your foot and your chin goes up and down. Yes. And so I realized like, okay, so you give Chris the freedom to do what he wants to do, and you have to keep that in your head.

So you're the anchor of it. I don't know if it's confusing for me. It has to be crazy for you to keep counting all those things, because Chris is such a radical. Yeah, yeah. And with that lineup, too, you know, I feel like, Those two guys are the virtuosi and that's never been my forte you know it's so I I like that place in the middle there trying to you know enable Just enable the music so that they can do their thing

I mean not not purely unselfish. I mean I care about me too a little bit But but yeah, it's really interesting and when Chris goes for some of that stuff You know you just have to be ready to go with it wherever it's going be very kind of fluid and malleable, you know. It's a question I think fans would like to know. Have you ever had a session in which was like, I gotta get through this? Like, in terms of complexity or

just a producer that is driving you to the limit? No, not really. I had one producer, I won't mention the name of one time that figured that if he kind of made me angry, I would play better. Yeah, that was kind of weird. People still do psychological games? Yeah.

he's like what's the matter where you can't you do any better than that and i was like what can't at least ask was this is the 80s 90s or two thousands or it was after voodoo oh oh no man and somebody's trying to come run right right yeah i was like i'm really go out there and give her it's like wait wait can i ask a question yeah including you steve like on sessions like voodoo which are notoriously went on for years like does it become too like Does the dragging out of it, does the frustration of that taking forever, does it become a thing? Or is it not? I've never been in the studio that long of my life.

Like, you know, you read about it and it's just like, and we're not allowed to talk about this? That's fine too. I don't know. No, no, no. I just, I'm fascinated. My answer is quick, you know, I will selfishly say that I have the best seat in the house. Fair. So I've never had a drought, a DeAngelo drought.

And I feel bad for you people that only get your, you know, DeAngela fix once every, 10 to 20 years whereas, you know, I still got shit on this computer that the world's never going to hear again. But you know, I'm satisfied but I also feel frustrated that it takes forever.

Certainly worth it, but like... You know, it's weird. In terms of preference, though, I like Black Messiah a little better. I don't know if it's because it's last or whatever, but just like, I have a time of my life with voodoo. But for me there's something about the moments in catching till it's done or oh god especially oh god the way

we another life you know we did another life didn't we do that without planning yeah you know i played on that later you and d played on that i i feel like we went okay so was it till it's done where we all had to do it together or something we play till it's done together yeah okay to do it yeah to do Yeah. Another life is literally, it was just unplanned. It wasn't like, hey, what's that part? Okay, do we do that in 12 bars? It was just like, he just started playing it.

And then like, and I was like, okay, this should be like a bridge or something. Okay, I'm going to do a turnaround for two bars. And he just, like, the synergy was otherworldly. Well, you guys really have that. Yeah, we have to be cool. Because in the very beginning, in the very beginning, I think there was like unspoken tension there that we didn't resolve for like four or five years. Yes. And the first thing he plays me is like Sugar Daddy.

And it kind of in a taunting way, not a taunting way, but it's almost like the ex-wife. Yeah. You know, the husband's showing you the new girlfriend to the ex-wife. And I'm like, how am I supposed to compete with James Gadsden? with James Gatson playing his lap. Yeah, and the story of that is basically, he was just, all right, play me the song. And he's like, just sitting there like that. Okay, so I'll do that and then.

All right, let's roll it. And they're like, no, no, no, I was hitting my leg. And he's like, no, no, that was perfect. I'll tell you what really happened there. Something like that. But James was just drum checking. Right. He was just trumptracking, playing a bass drum on the hi-hat and tapping his legs like that.

And Dee said, keep playing that. James, keep playing that. Right. And just fell until by accident. I found a beat. I just went, dump, dump, dump, dump, do. Right. And then literally, I'm like, how am I supposed

to compete with that shit? And so. Yeah, but your thing is so unique in me too. Betraying my heart. We recorded that song in 1997. Yeah. Do you realize that in 1997 before voodoo? Right.

I remember. Brought that one back to life, so. Yeah. Steve, any Pino moments, bacon? Oh man, I did wanna ask you about, you were part of the, one of the Simon and Garfunkel reunion tours, or maybe it was just a show or two at the garden or something, I'm not,

I can't remember, he didn't invite me that one. Yeah, it was an old too. 2000, what was it, five or something? Yeah, so what was that like to work with Paul? And I mean, to be in such a weird kind of setting, and those baselines are also very iconic. Absolutely. Was that Carol Kaye who did a lot of stuff originally?

Maybe she did some of it. Joe Osborne. Oh, right. Was the LA session guy back in the days and did a lot of that stuff. Only living boy in New York, you know, that iconic based on that's Joe Oswald. Oh, man. Yeah.

So was that a fun gig or? It really was. It was amazing for me because the Simon and Garfunkel album with Cecilia, I come up, Bridget Over Trouble Water. Yeah, that album was so big for me when I was, before I even knew I was going to be a musician. Right. So to come around.

full circle and get to play live with those guys was incredible yeah they the bass lines are so kind of Pino-ish in in a lot of that music you know that's a lot of like that but but yeah i mean very melodic though yeah yeah and it was a fantastic band jim keltner was on drums um what's it like playing with him tremendous that's my hero man incredible man early yeah you should get him on here he's he's loved to get him keldon on here yeah what a ledge what a ledge what a lege what a Yes, it was just a fun tour. And then, of course, we would, you know, Paul and Audi is so, wow. We would do two sound checks pretty much every day.

Oh, one for them. Yeah, one for each of them and one together. Oh, wow. Wait, really? Like, they were that divided as a unit? No, not necessarily divided. Just they had particular things that they wanted in the sound check. So with the Who and with Paul Simon, didn't you also end up doing,

being part of some studio recordings as well, album? that they were putting out? I did a Paul Simon album, surprise, but that was just Paul. Yeah, he wasn't that Simon Guffalo. Right, right. And The Who, yeah, did the last record, The Who did, which was a really good record, actually.

What was it like to work with Pete Townsend in a, in a recording studio? Yeah, I'd work with him over the years in that environment. Pete's an absolute genius, man. He's incredible. It's just great being around him, great playing music with him. I want to skip a little bit ahead. Can you talk about working on the sob rock record,

with John you didn't play bass on you only did it live no I did some of the record but not much of it like maybe a couple of tracks because that was kind of in during the pandemic I think he recorded a lot of that stuff really okay because my shock was that you know for those that don't like the the sob rock record for John Mayer was like his version of the yacht rock yes like if he had he released a record to 83 to 84 like that period what would he sound like, which all of you, all the musicians on that record didn't sound like themselves, but...

Yeah, well, I only played on a few tracks. I sort of let you down on that, wouldn't you? But did, even the songs you played on, did you have to unsound like yourself? No, not at all. No, and those songs that I played on were ones that he did before he went in the studio to do that record, so they were just sort of random one-off songs

that he wanted to record anyway. Okay. So when he went in to do the full album with Sean Hurley on bass and Aaron on drums, yeah, I wasn't around for that. I see. Questions? People? This man got a session to get away.

Yo, we were trying to get peanut work. Clearly, you guys are having a conversation. We are. We are trying to get peanut work. We were texting the phone. It's time for a commercial break. No, when this show is happening, phones are down. So I'm not getting text.

Oh. It's time for a special break. I know. I'm supposed to stop at 8 o'clock. It's so good. You get it. No, no. Y'all got to let me know.

I'm under the impression that 8 o'clock is when we stop this. No, we were trying to get Pinole 2 is. It's fine. Pino's good. We're all good. Y'all got to communicate that to me. We don't communicate it to each other. No, I called you.

I didn't know your phone. Yeah, I'm about to call you too. My phone is off. No, your phone is off. I turned my phones off and my text. All that stuff is off. Man. Sorry. I was just too frustrated. I'm like, okay, I thought I was asking too many questions.

What all about Pino's punctuality? We're very concerned about Pino's next gig. Because clearly, you're saying that Pino has to be at the gig at eight. Right. But it's okay. Let me know. Okay, I didn't know that. I'm sorry. I already told him we're gonna be late. So we're good. Well, let's wrap it. All right. Also, don't ask Pino what the gig is a big fucking secret. So there you go.

We don't know what gig it is? We don't know what gig is. Well, I don't. You might because you're you. Can we follow you to this gig? No. I asked to come, he said I could go. Amir can. Do I want to follow you to this gig? Hmm.

I couldn't say. Said the last time you told me about a gig, I went to go see, I wound up playing a gig, and the mushrooms had kicked in. That was a hell of a night. That was a hell of a man. All I wanted to do was watch my idol drum, and then suddenly, Ted was calling me like, you got one on the show, he has COVID. Oh, yeah, I remember when they had. Me and Steve had a great time.

I just didn't know about the mushroom part of that. Well, yeah, by then, you know, I think. I got to you guys, the mushrooms they kicked in. Well, man, if you're around tomorrow nights or you got any time tomorrow, I'm in the studio with Blake over at Sound City. Really? We'd love to have you. I'm finally glad that Blake, of all people, Blake, the way that he talks about,

Voodoo's like his whole dream. So the fact that he finally connected with you. I know one, you know, is his dream to connect with D also. I'm glad that's happening. No, well, I think I'm going to cut it so that, Pito can get to his session. I mean, you know. Or,

we have a legend in the building. It actually still works, too. Those kind of work. Let's keep that man working. Yes. No, I will say that, you know, it's your mind. You make, you make us all play better. You make us listen better.

And, you know, for that, I thank you, man. Thank you so much. Every bass player's favorite bass player. Everybody's favorite bass player. Everybody's favorite bass player. Now, get out of here and go to your gig. This is much love, Supreme. Let's go get the money.

Out the door. Goodbye. Wait, we got to take a picture, Pino. A, thank y'all for listening to Questlove Supreme. This podcast is hosted by an Afro, a mouth, a rapper, an engineer, and a man with too many jobs, aka Amir Questlove Thompson, Yia St. Clair, Fonte Coleman, Shuka, Steve, Mandel, and unpaid Bill Sherman. The executive producers who get paid the big bucks,

Amir, Questlove, Thompson, Sean G, and Brian Calhoun. Asked him for money. Produced by The People Who Do All the Real Work, Brittany Benjamin, Jake Payne, and, yes, Laius St. Clair. Edited by another person who does the real work, Alex Conroy. And those who approve the real work, produced for IHeart by Noel Brown and Mike John. And don't forget, the man is making me sound good right now because I do. Audio engineering by Graham Gibson at IHeart's L.A. studio. Thanks y'all.

Much Love Supreme is a production of IHeart Radio. For more podcasts from IHartRadio, visit the IHartRadio 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 you're saying. Yep, that's me.

Clifford 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. all of that excitement to my brand new podcast, The Clifford 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 Clifford Show on the IHeard 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. 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, for wherever you get your podcast. And for more, follow Timbo Slical 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.

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Trust me, babe, on the Iheart radio app, Apple Podcasts, or wherever you get your podcast. Everyone, I'm Ago Vodam. 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 Podcasts, or wherever you get your podcasts. This is an IHeart podcast. Guaranteed Human.