You'll Hear It: Full Album Deep Dives with Jazz Musicians - Black Messiah - D'Angelo and the Vanguard

Episode Date: September 14, 2026

D'Angelo's Black Messiah is one of the greatest albums of the 21st century. You can hear his musical influences all over it: Prince's arrangements, the Bee Gees' falsettos, Jimi Hendrix's guitar, Sly's groove. But the alchemy that makes Black Messiah so powerful could only come from one mind: D'Angelo, the artist who gave us Voodoo and Brown Sugar.Jazz pianists Adam Maness and Peter Martin unpack D'Angelo's Black Messiah track by track, detailing what their trained ears hear in the music, and highlighting new textures, harmonies, and song structures you may have missed on the first listen. Plus, Peter shares stories about his friendship and working relationship with legendary trumpet player Roy Hargrove.------------------------------Adam shows you how to play D'Angelo's "Really Love". Get the lesson:https://yhi.link/really-love-------------------------------Learn to talk like a jazz musician. Download the Liner Notes FREE today: https://yhi.link/linernotes-6-------------------------------Start your free Open Studio trial for ALLLLL your jazz lesson needs:https://openstudiojazz.com/------------------------------- Send us a message: https://youllhearit.com/------------------------------0:00 D'Angelo and the Vanguard - Black Messiah1:44 Ain't That Easy7:35 Questlove, Pino Palladino, and James Gadson9:35 1000 Deaths14:09 The Charade17:44 Where this album sits next to Sly, Marvin, and Prince19:33 Roy Hargrove, and the Peter Martin connection22:28 Sugah Daddy28:45 Really Love39:40 Back to the Future (Part I)44:05 Where does talent like this come from?!51:15 Till It's Done (Tutu)53:43 Prayer56:35 Betray My Heart1:02:55 The Door1:07:13 Back to the Future (Part II)1:09:25 Is this album backwards?1:11:11 Another Life1:17:00 Our favorite moments1:17:27 How snobby is this album?1:19:53 Is it better than Voodoo?

I'm Adam Maness. And I'm Peter Martin. And you're listening to The You'll Hear a podcast. Music Explored. Explored, brought today by Open Studio. Peter go to Open Studio, Jazz.com for, Oh, look at him. Look at him.

He's backing up further. I know why. I had to bring it for this one, because this is one of my favorite albums of the 21st century from one of my all-time favorite artists. The great DiAngelo. Man, this is a heavy album.

It's literally heavy. It's double record right there. The two LPs, the materials heavy. 2014's masterpiece. Masterpiece, Black Messiah. Yes, yes. This was a big deal. This was a big deal when this record came out.

And it feels like it was just yesterday because we're, oh, geez, old guys. And what is that, 12 years ago? So I remember everything that was out around it, like Kendrick Lamar's to Bimba Butterfly, which was like really his huge breakthrough that year. Same year. I also remember that St. Vincent self-titled album was everywhere. And I was listening. I actually remember driving in my car going between this and the St. Vincent album.

And then Beck's Morning Phase, which I believe won the Grammy that year. Man, this was such a good year for music. There was so much good stuff from great artists. And we were waiting a long time for this album. I mean, since Voodoo, basically. Yeah, yeah, yeah. What, 14 years?

Yeah. Yeah. This record is, I don't know, man, it's like, it's both raw and refined in such a sophisticated way. I mean, normally those two things don't coexist, but I really feel like they do here. It's both an extension of Voodoo, and it has nothing to do with voodoo.

And Peter, like all the great albums that we talk about on this show, they have to start with a banger. Yes. And this one's no different. Absolutely. First track is called Ain't That Easy. Oh, it just eases his way.

It's already started. A little bit of smoke from me as you dream inside. A little bit of prints on those films, you know. The vocal area. Yeah, I remember when I first heard this, I mean, I listened from the beginning of the CD, and I was like, okay, where are we going?

You know, and I just... So satisfying. I want to take it back. So this is such, like, the beginning of this, and I have a little bit of a reference point. I don't know if this is a conscious connection or whatever. But I always think about, we talk about how does a record start. Like, to me, this starts very unsettled, right?

But then pretty quickly, it gets into some, like, obviously heavy groove, but it's still, like, it's a little bit menacing, right, underneath? And because of a lot of DeAngel, at least for me, like, I can't... I don't focus in. on the lyrics because I can't hear them or understand them. They're all beautifully laid out on some things in here, but I had this... They're mixed solo, first of all.

Right. You know what I mean? But I wrote... Yeah, they're mixed low. He's in a lot of falsetto. There's a lot of layers. But the first thing I could hear on this, I remember, it was like, you can't leave me.

You know, the hook at the chorus. It ain't that easy. Yeah, and then, so there was all this buildup to, like, the record, so it's, you know, definitely about, like, lovers leaving, whatever's thing. But it's also, like, it seems like, a little bit of a play on he's been gone for 14 years, to most people.

Even though he's kind of been out there. I never thought about it like that. That's a great take. Because I remember when I heard that. But check out just the way that it starts because there's silence and then it just kind of comes in, right, with the sound like a guitar, right? It's almost like silence. It's like a psychedelic rock. It's like funkadelic or something.

Right. And so what that reminded me of was, and I was trying to find it. Ooh, did we get this on here? Yes, here. Ever heard of this? Oh, perfect. Yeah, exactly. Good feedback.

Peter, when's the Jimmy episode dropping? Come on, man. Which was not, like, the main connection, I think, with DeAngelo is Voodoo being recorded at Electric Lady Studio. But also, there was definitely an influence on DeAngel's guitar playing. That's the other thing that I'm getting from the beginning of this, is that this is going to be a little bit of guitar-heavy record. For sure. You know what I mean? Yeah, yeah.

And we talk about this with radio. They had their guitar record. Like, he's kind of putting it out there, right? It's good. It's a different sound than Voodio. It's DeAngel. And it's a much different sound than Brown Sugar. Right.

And the bass, okay, so this whole, damn, we're in trouble. We're in trouble. I already listen to one track again. The clap. That clap snare, that. And so that's kind of settled there, right? But then we've got a little bit of, like,

a little bit of, is this going to be a rock record? What's going on? It had. You're absolutely right. The beat, right? But then, get you. Get your baby, slip away. George Clint. With those vocals, come on.

It's that, it's that mid-Atlantic country. That's that mid-Atlantic swampy country. That's right. But then you got a little bit that, you know. So it's like a lot of things. I think it's, you know, look. Yeah, shout out Virginia and the Carolinas for that. Absolutely.

Absolutely. James Genus. Steve Wilson. so many great musicians from there. George Clinton. George Clinton, exactly. DeAngelo. But the thing is, I think that whether it's conscious or not,

whether it's divine intervention, whether DeAngelo planned it, whether somebody else, whether it was by accident, whatever. I think these what become great records, and sometimes it's on the first listening, the introduction, like, it's putting these elements out. It's just like a great story.

You're going to hear these things. It's like opening up the loops, right? Guitar, a little bit of rock, a little bit of, like, Jimmy Henry. man, it's so good, but then you're grooving. You've gotten the bluesy stuff because this record goes all over the place. It wasn't until I really came back with studying for this. I realized how much, because I was hearing them live right around that time,

how much this record goes on a journey when you're listening to it from beginning to end. Yeah, real quick. Let's talk a little bit about some of the personnel on this album. So we've got Questlove, James Gadsden, and Chris Dave are the three drummers listed in the credits. Of course, DeAngelo's longtime collaborator, in the studio and on tour, Pino-Paladino on the bass. And it says the sitar, which we're going to hear a little bit. Well, and DiAngelo's playing bass on a bunch of stuff.

The great Isaiah Sharkey on the guitar, too. Sorry, yeah. But it's not broken down anywhere. The things we're going to talk about, I did make notes on certain tracks where I know because either Russ Elavado or DeAngel himself specifically said who played on, it's not on any of the albums thing. And there's definitely some overlap where they come or go.

There's sometimes when you know on bass in Spino. Well, because that was the angel's process, right? He talked about it. Yeah. This is the instrumentation in how DeAngelo approaches specific on this record, I think. How much bass do you play on Black Messiah? I play bass. I play pretty much everything on all of the songs.

And then after I'm done with the first skeleton, the blueprint, then I'll bring in my guys. I'll bring Pino in and I'll bring a mirror. At the time, James Gasson played a lot of drums on the songs. A lot of times meet, there's times when just me in the mirror, just be me and him. Uh-huh. He'll come up with the drum pattering and I'll sit there and write the music. Sometimes Pino will be in the world with us when we're doing that.

But most of the time it starts it off and then I'll bring Pino on it. Yeah, so I mean, that's kind of, that's what the process was like. Very different from Voodoo. Well, I shouldn't say very different, but different from Voodoo, right? Voodoo when they're in the studio, doing a lot of jams playing stuff together. There is a couple tracks on this that are like that as well that we'll make a note of.

Shout out too on background vocals and the co-writer of eight of these songs on the lyrics, vocalist Kendra Foster. Right. The only other vocals you hear on here. Yeah, that's right. Should we move on? And I hate to even... Yeah, let's do it. Yeah. Next track is a thousand deaths. Yes. With Jesus, when I say Jesus,

I'm not talking about some... That's Fred Hampton and Khalid. I'm doing it. Muhammad. That's got to be Gadsden there. It's so chaotic and then it makes you... Checking it out. There is a little kid A in this actually. Yeah. There is a little bit of this like dystopian thing happening in this track. And it's also

It's definitely got that The production, you know, the tribe called Quest With that It's that bass. Everything's so great here. I want to jump ahead a little bit. I know this is your chance. Do you're famous. What are you doing? But we'll get to that in a minute. What do you do that? No, because like it keeps moving.

along, but then there's this transformation. What makes DeAngelo's music so special to me is like, no matter what texture he's playing around with, and this album uses some different textures than anything he's ever done. It's much denser than voodoo. There's a lot going on all the time, sonically and even musically. Yep. But he's never too far away from the church. He's never too far away from the blues. Right. And like, that comes through in our souls so hard. You know what I mean? And it's going to kind of transform here in a moment.

in this couple of seconds. The guitar's old. I actually go right in with the transition to the next two. Oh, this is great. Bass and drums at the end. He's Prince now. This is God. It's like funkadelic and Prince and Sly all wrapped up.

Glorious package. And then we're going to transition into the charade. Coming up here, track number three. This is a great transition record, too. There's so many. I hope this lets us. But you can hear it, even in this first two tracks, this never-ending da-da-da-da-da-da-da-da-da

is already happening. Right. Now... It's beautiful. This is the Shiree. Now we're opening up. And this is just the trio. And they cut this live.

Pino, Questlove, and DeAngel, just the three of them. Sitar. They did this live a bunch. This is a great Questlove groove. Man, you're right. The first part of this album is a little like a rock album. It is.

It is. And then it starts opening up in the middle. Not yet. Never thought about it. Yeah. That's why a lot of people listen to it from the beginning and they were like, wow. Okay.

Questlove's rock grooves, they're slamming then. But it is in the sort of sly rock groove. You know what I mean? Yeah. Yeah. We got to get a Cedar R around here. Yeah, okay, so the lyrics on this, I had to print them up because we were talking about this, like,

yeah. Something is so lost, but it is fun if you're able to look at it. It is printed in here, too. But he's got one of the great lines in here. All the dreamers have gone to the side of the road, which we will lay on inundated by media, virtual mind fucks in streams. Yeah, yeah.

This is a deep track. I think Questlove is killing us. it obviously. Yeah, he sounds great on this. Yeah. It's like, I mean, playing like a rock part. Yeah, it's just like a rock trio. Yeah.

Yeah. Yeah. It's so good. So we're three tracks in and we're already seeing like a kind of a variety of of themes that he's that he's talking about. And there's going to be more coming. There's going to be a third prong to this. But this is why this album, I think more than voodoo, it reminds me of a couple of albums.

So I think a lot of people talk about this album reminding them of Sly and the Family Stones, there's a riot going on. Which I think is true. I think, like, if you... Well, especially that track. There's a trade for sure. Like, here's Family Affair from... There's a riot going on.

We got to do some slide, too. All right, next season. We already got orders for next season. But I also think, and I haven't heard people talk about this, but I think it's got a little of this going on, too. Maybe not musically, as smooth. But, like, the themes of Marvin Gay's what's going on. There's some social things happening, obviously.

but then there's also some spirituality that we're gonna hear later on here in Black Messiah. I mean, just the title Black Messiah, but he does, you know, we think about prayer and some of the more spiritual sides of this album. And then there's love and sex, which is a huge part of this music.

And DeAngelo actually talks about, like, the line between spirituality and love and sex is very blurry for him. Yeah, and he references in the interviews, Marvin specifically in talking about that. Oh, that's awesome. Yeah. Yeah, but to me, it's those.

And I would even put, too, just on the spirit of the album, maybe not thematically, but a little bit. an album we've talked about here, Prince's sign of the times. In that this is, I think, the process that DeAngelo talked about making this seemed not quite like Prince, you know, locking himself away and making all those tracks mostly himself. But DeAngel did that.

And then he brought in his, you know, the vanguard to play over what he was playing. But he created these, not like voodoo, where it was like a bunch of musicians hanging out for years making the things in real time together. Yes. This is more of just him and his playground doing his thing. Yeah. And that reminds me a sign of the times. That's awesome.

Now let's go on to track number four. So this is we're going to introduce a new character here in the band, and this is the great Roy Hargrove. That's right. Your old friend, R.I.P. Roy, one of the greatest jazz musicians of this or any generation, truly, and was a part of voodoo. It was a huge part of voodoo. Yeah, and I mean, exactly, voodoo on this record.

I think, and was probably the best sort of cross-pollinator ambassador coming from truly the jazz world. I mean, DiAngelo, in his own way, you know, stepped in. We're going to hear something. There's some scatting on this record. There's some piano solo, guitar solos. And we're about to hear a lot more walking bass lines than we would expect. But Roy was a leader on our scene. Exactly.

But then he crossed over into, in the most, you know, seamless and authentic and genuine way out of his love for Solar and B and hip-hop in a way that I think is very similar, you know, very similar age group to Gianjolo and a lot of the same influences. a lot of the same kind of outlook and singularity in terms of like dedication to, I mean, I remember Roy just having the chance to work with them and known for a number of years, but especially the short time when I was in his band.

Like, I hadn't been around anybody that was around my age, and we were exactly the same age, that had so much focus in their early 20s and could like push out the noise. I mean, now it's like, the noise, the world has gotten even more noisy. But even at that time, you know,

we were all like, you know, Roy was just like, boom, boom boom if it was a soul if it was writing a thing if it was showing something on the piano yeah whatever man he had that kind of thing and i know him and d'angelo really connected you know years before yeah i mean just speaking from i think most musicians of our generation like your generation and even a little older than you probably influenced by roy just as like a spiritual leader yes of the music yeah you know of like here's the way it can be done yeah in a way that is not that doesn't feel like you're leaving yourself out of it yeah or or betraying anything that you

want to do whilst making music that people want to hear you Yeah, like this incredible combination of this knack he had for that. And I think participating in things like this, things he did with common is like just proof that he was sort of beyond really small-minded, judginess things that a lot of jazz musicians might put themselves in. No, he busted the door open for that for everything, you know, Robert Glasper, everybody that came after him, you know, was a debt of gratitude. We all do.

What's up everybody just putting in here to let you know that if you're digging all of this music by the great DeAngelo and you're itching to dust off your instrument and learn how to play some of these songs, we got you covered. Head over to the You'll Hear It Players Club and learn how to play some of the greatest music in the world from scratch. This week's lesson I cover Really Love from this Black Messiah album.

I teach you how to play the chords, where to put your hands on the keyboard, the rhythm that you might play. Whether you played a long time ago or you've never played the piano, we're going to get you playing Really Love by DeAngelo at the You'll Hear It Players Club. Check out the show notes to learn more.

Okay, so this is... Oh, and on top of that, this track is amazing. Right. Was this the one that they dropped like the day before? I think it was.

Yeah. They dropped this as like a, it's like a kind of fake out single like the day before the record came out. And the world rejoiced. The world rejoiced. Sugar Daddy. Christmas came early.

Yeah. Oh. It's almost like, you know, playing on. Yeah. It is some kind of like padding. It's so playful. Is Roy already played something?

This is so playful coming from Everything that we've heard, charade, a thousand deaths. He plays the piano line a little different every time. I know. I was learning it early. I was like, oh, it's such a hip transition. We just modulated up a whole step. Are there jumping in?

Oh, no, here. A little hint. Ghost of Roar. And the production on this is incredible. Which is really DiAngelo, Questlove, Russ Elavada. I'm just struck by Peter, like, I don't want to, I don't want this to ever end. But, like, this is one of those things. We're talking about all the influences coming in for everybody.

But the fact of the matter is, is the combination of everything, the alchemy of it could only come from one mind. Yeah. And, like, as we were just listening, I was like, this could only be a track that DiAngelo could write and produce and perform. Just the way it is, it's like, so him, every, it's like, to me, that is, it's one of my all-time favorite sugar. out is one of my all-time favorite DeAngelo tracks. I mean, actually, this whole run we're about to go on in this album, this middle section is like, bangor after bang. It's incredible.

And it's so different than what we've heard, yet it fits so well. I mean, I listen to this thing all the way through to check, and I'm like, it's like a roller coaster, and you're just at this part. But I mean, this is a, like, you're absolutely right. He's the architect, right? So it's like the voice, but it's the production in terms of, like, how these different elements, like, when the guitar first comes in,

we're like a minute and a half in. I know. I would have started that at the beginning. I would have been like, the kik-k-k-k-k, like, come on, let's come on groove. And all those piano lines of the... Satisfy. You know what I mean? They're all a little bit different.

And then, like, the brakes with the drums, and then when Roy comes in and the phase shifting and stuff. And this is another DeAngelo thing I remembered, you know, from reviewing all this and really trying to look at it closely. He pays so much attention to the ends. And by the end, sometimes it's like the last minute. Or sometimes it's the last 30 seconds. Yeah.

And there's always cool stuff happening. We talked about this within rainbows, right? How it's like these great albums, it's like there's these two sections. these songs. Yes. It's some stunning stuff. And in a way, it's almost like this massive Easter egg at the end of a lot of these tracks. I just wanted to jump. If I can figure out how to do that on here, maybe to the last

minute or so. I mean, we should just listen to the whole thing. You mean you can't figure out how to do a progress bar, Peter? I did it. It's 2026. Everything's getting like, it's really just the whole tune is just one idea, but this. The way Roy changed, Roy wrote all these lines. Just doing

a mouthpiece there. Yeah. Yeah. Yeah. We talked about it on the voodoo album, but Roy's contribution is melody. I mean, the man was like a melody machine. All of his melodies, even when he's kind of playing the guitar with the trumpet on those last,

like all these little things, like to be this rhythmic instrument all of a sudden. But his melodic choices are always so compelling, always so inevitable. They feel like they've always existed and yet they're completely fresh. And then he's got all those little deeds. Bo-p-p-de-dap-d-du-pah-pip-p...

Like he just changes the articulation. a little bit, which makes it so... It's not just like a fade-out or repetitive thing or loop it. It just... It like keeps you right there and just... And I love the mouthpiece layer. Yeah. There's a layer of mouthpiece. I never know. It's great. So great. Okay, so that transitions right into number five.

One of the all-time great songs of the 2010s. Yeah. Honestly. I remember when they did this on SNL, like the day after the weekend after the record came out. Incredible. string writing here from Brent Fisher. And there's a bunch of over five,

can we correct the five and a half, six minute pop songs, please? Seven minutes. He's doing it. Not everyone has to. Can you translate for us? She's saying that the strings on the F minor

chord are beautiful. She's not saying that. Although, I love a major seven. Although that would be great bedroom talk for me. You've dreamt of that for many years. Talk to me about harmony in Spanish. Oh, so

gorgeous. Some kind of French horns or something, right? Yeah, there's some woodwinds, yeah. Swins and strings. We're at a minute 25. French horns, by the way, often included in a woodwind section in these chamber contexts. Double guitar, acoustic. I think this is maybe DiAngelo's greatest melody, right?

This is an incredible melody. This could be a jazz standard. Two minutes and ten seconds in. The Walking Bay. This is so great. I remember. was wearing and how the band look and how was lit on the S&L. I just see it was

actually January so it was a couple weeks later but it was this is one of I think three or four songs where there's like a literal quarter note walking bass line yes and the harmony of this is so interesting so there's some deep things about this that I want to talk about so I mentioned the arrangement of the strings and the woodwinds

it was done by sorry I just want to get Plare Fisher's son Brent Fisher. So if you know mid-century, like, pops, arranging, writing, composing, Claire Fisher was, is one of the most respected. Like, this is, Pensativa. Mourning, some incredible standards,

but also just like some incredible music. Bo-boom, it's got to put the boom, boom. It's on a clear day you can see forever. But this is Claire Fisher. So this is Brent Fisher's father. Brent Fisher at the time, it's taken over his father. there's music company. Took over his arranging style too.

Well, that's just the thing. I mean, that's how deep, I think, DiAngelo's, like, thread with roots of things. Yeah. Like, the entire composition of this, from the walking bass line, to this harmony, which is...

I mean, this is a Jerome Kern's style. We're moving up and forth all the things you are. Right. Kind of vibe he's going for here in the way the harmony moves. This is some really, I mean, it's like this mix between this like pulsating walking baseline and this old school harmony.

And then you put in that sort of Brent Fisher arranging that of course like has this lineage of Claire Fisher in it. I just think it's like it just speaks to how deep DiAngelo went and how incredible he was like lining up all of these elements to make something this great, like to fulfill his vision. I think it's a really cool move. And like I said, the harmony of this. this is this cycle that you heard in songs in the 50s, 60s, and 70s, right? I think that's, and that's why it has, even if you weren't around then, that nostalgic, like, you know, you're looking off and there's something's a little fuzzy, it's not like clear, you know, really love. I mean, it's, DeAngelo captured that and took the lyrics and the melody and placed it in the harmony in a way that's so soulful and authentic. Yeah.

There's something. dreaming about it, there's something like Joe Beam about it, there's something Claire Fisher about it. And I think it's just really brilliant. Yeah. It's such a nice change-up pitch and it just, like I said before, it doesn't hurt to that, melodically speaking, it has more

of that cycle of a of a songbook melody than some of his other songs does and he crushes it. Oh, it's great at it. And it's such a, you've got that simplicity, you know, it's diatonic, it's very, it's not like, I mean, look, he goes a lot of different places at different times with, with, with,

advanced harmony and stuff, especially in terms of, you know, the vocal harmony. But it's just so, he's such a, like, tender spirit. That's what you get from his music all over it. And to get to this point from where the record started, though, you know, he's got that other side of him. And it's all him. But I also think you mentioned about, and just to hear it a little bit more, the, the walking baseline.

And so that's that, that's Pinot Piano, of course, famously. And, you know, it's muted. He's playing all this stuff down, too. I mean, not, he's tuned down on everything. He does the D, DG, whatever it is. DG. In force. C.F.

Yeah, exactly. D. Yeah, instead of EGAD. He's not going to EGAD. He knows EGAD. DeAngelo talked about this, and they connected years ago, you know, that's DeAngel's guy, you know. But DeAngelo talked about why that is with these baselines. And it's different.

It's like funk baselines. It's these. But a lot of them are. not, like, that's not a, I mean, it's a walking bass line, but it's not like a, it's like, it's got this other thing to it. It's, it's church. It feels like, it's church, yes. It's something, it's, it's more akin to like, like Stevie Wonder.

Yes, it's the way like church and army guys call swinging. Exactly. Yeah, yeah. And it's just so great. But check out what DeAngelo's said about Pinole and part of the reason that they connect. Pinole is that we've been working together so long. Yeah. And when he plays the bass,

First of all, he's such a master. But when he's playing the bass, when he comes to me playing my music, his bass playing in my left hand on the keys, he has the ability to mirror my left hand in such a way where it's hard to tell the difference, even amongst ourselves. So cool. The other musicians, too. Yeah, and he talked about before, I mean, this is after Black Messiah came out, and that's what the interview was about. but years before they he talked about when they first played together. Actually, on a BB King session, I believe it was, we covered in an earlier podcast about how they just immediately, you know,

immediately connected over, and he's saying like mirror the thing. I think a lot of that is feel too. It's not even so much, yes, it's like harmony, of course, they can hear that. But it's like the way they approach the beat. And a lot of people try to break it down like, oh, it's the deal of the thing. Like that, that's a little something different. That's part of it too. But this is very, because I heard.

They're contemporary. So it's not like they're just like being. totally by Della. Right. They're part of building that. Right. And also, I've heard in an interview before when people asked D'Angelo about that, where they're like, yeah, you're doing that Dilla thing.

And he talks about how much he loved Della. But he was very reticent D'Angelo just to say, oh, it's just playing behind the beat. The way he referred to it, and I'm paraphrasing, I apologize. I wish I think it was a written interview. But he basically was saying that when you have great musicians that feel the music, it can go a lot of different places. That's right. It's not about, oh, we're going to make it feel back, or we're going to make it feel back, or we're going to make it feel forward. It's like, where does it feel good? You know? Every...

And he didn't want to be put in a box as far as like, because he didn't see it that way. He's just like, no, we're just, like he said, we're just mirror. He's mirroring what I'm doing here. We're locked in. We're dialed in. I think every jazz musician that plays 4-4 swing understands the importance of that. Yes. You know what I mean? And that's what it is. And that's really the jazz side of DeAngelo. Like that's Ray Brown at Thickpin. Like that's this push and pull that happens.

Yep. in a 4-4 context. Because you McBride and Greg Hutchinson. I've been on the band's at feeling that. There's nothing better. And it lights our souls on fire. That feels great. Hey, everyone, taking a break real quick.

We throw around a lot of music theory terms here in the show. If you're Googling things like, what is a triad? Hold on. I'm Googling. What is a triad? What is a Lidian cord? How do you spell Lidian? You know how to play that, bro.

Good news. We have all the answers for you in the liner notes. You'll find the liner notes companion guide with Cleaver. simple explanations of the contents we explore in this episode in the episode description. Download the liner notes for this episode for free today. Should we move on? No. Keep it going.

Do it again. This is, okay, I love this track. I had forgotten about this. I hadn't listened to it in a couple years for some reason. Last time I kind of went through the whole back, I mean, the whole album, Peter, this. I think the back half might have won the thing, man, you know. But the front half is so good. I know.

And we're not even, well, yeah, we're almost right in the middle here. We're in the middle with back to you. Back to the future. Part one. Yeah. Hewee Lewis? Kind of. The lyrics on here, he's a great, hard to hear. Pretty great.

Oh. This has got some tri-production elements on him for sure. Yeah, we should mention, I don't know if we've mentioned Q-Tip's name yet, but his... He co-wrote a couple of the... He's all over this album, too. I mean, his influence is, you could tell, looms large. Yeah. This is another kind of baseliney, swinging kind of, especially towards the end.

Man, that guitar, what a brilliant little architect. It keeps coming back to the end. It starts menacing at the end. Again, the bass line pumping out. Yeah. Eight notes here. And when he, yon. This is some of the most direct DeAngelo's vocals, easy to hear, ever.

Great strings on this, too. We're kind of, you know, we're kind of, you know, With this song too, we're kind of entering the spiritual corner of the album. Okay, look, I could just groove on this all the top. I do want to jump. This is another, oh, man, the whole end of this is great. Can I jump to the end on this? Are you okay with the endings, man?

I love the ending, too. I jump. A vamp tune, right? But now they got cut loose. Oh, now we're just getting mud nap-na-da-da-da-da-ha-ta-ta-ta- Just-mole a bit... Back to the way a-wad-na-da-da-da. Here we go.

I just want to... Back to the way of mud-la-da-da. I used to get real hard. Oh, dude. Now, just get a bud-da-back to the way-da-da-da-da-da. Ah, five minutes in before it gets all... Now, here we go. Totally.

new harmony. Bring this back. This is church here. This is church harmony. It's a jazz harmony. It's too dominant. This is very marvellous. Back to the future.

Yeah. Incredible harmony. Man, it's such a cool combination. That's what I'm saying. I'm like jazz. It sounds like I'm just naming shit. And I am. But it's like gospel.

But it's also very jazz. 1625E. Two dominant. Yeah, I mean, the changes at key of G. Yeah. B7. And he doesn't go. any of that until

A7. What are we? We're five minutes into the tune. And then he does that flat seven. Yep. Yeah.

So great. But he will come back to that. There's an extended thing at the end, back to the future, part two. Yes. Yeah.

Which is very different. They go to the year 2016, I think. Yeah. Okay. Should we move on here? We got to remind me at some point I want to talk about

because I've got this great thing and it won't be me talking. You'll love it. DeAngel, talking about his three biggest influences. Oh, I heard that. Yeah. So we'll throw that in.

when it feels appropriate. Let's do it now. Should we do it now? Okay, here we go. DeAngelo, talking about his three biggest influences. And those were my first musical. The Bee Gees and those two.

The Bsies, Walter Hawkins, and Maggie Ingram and the Ingram mess. Now, think about it, right? So, Walter Hawkins, those musicians, they were young, great musicians from out of Oakland, which is a folk and the choir and the gospel thing. Okay, Maggie Ingram and the Ingram mess,

the three sisters, the three ingramettes they had a very way way high range and their harmonies were just beautiful beautiful harmonies and they sing way up there that's two and then the bgis with the disco funk pop thing and the forcettles yeah so it only makes sense that when i heard when i first heard prince right yeah i was love at first bite it was yeah just for me yeah yeah yeah Yeah, it's so amazing what kind of clarity had with his influence. That's what I'm saying. Like, he was very laser-focused.

He, we're talking about a lot of different styles that he was very adept with pulling together to be hit, to be DeAngelo's style. You look at that guy's. And this was actually, I think he was like five years old is what he's talking about. That Walter Hawkins. Yeah, the Hawkins family. Unbelievable. Oh, it's so great. And I love, I wasn't familiar with this Maggie Ingram and the Ingramettes.

I think there was a local quartet from where he was. Yeah. During this time, you know, DeAngelo. was playing in the church, was playing piano by age five. And so I have this idea. At church, he was playing piano in church in church at age five. You know, in trying to go, it's always easier to be like, oh, well, of course, Janelle, we have these three incredible records, this, you know, these, you know, the live

album, this is amazing what he's done. How did he get to this point? Oh, he's just born a genius. Okay, well, let me just deconstruct this a little bit. By age five, he came up in the church, his father was a pastor, his grandparents, that was, I think, in the city in Richmond, but his grandparents went to a country church. We're going to hear some of that influence. Well, we just heard a little bit. We're going to hear some more.

So he had these wonderful musical influences. He heard a fair amount of jazz. He heard blues. He heard a lot of R&B. But mostly church music, especially at this young age. You're five years old. You're my mom and dad. But then he's in there. You get the feeling that he spent a lot of time of church, too.

He spent a lot of time. It was a very serious church. Like, he talks about in the interview. They didn't call him God, Jesus. Yawa. Only Yawai. And they didn't associate with the Baptists and stuff. You're not showing up for 35 minutes on Sunday. No, no, no. That's a three or four day week thing.

So he's in there. And then his aunt is a choir director. And so she's the way they would do the choir arrangements in a lot of churches still. But at that time, they bring her on a cassette tape. This is the song we're doing on Sunday. You've got to learn this for choir practice. You're learning everything by ear. So he's learning that.

He's learning to do this by ear. Yeah, I heard him say he would pick out, like his aunt would make him pick out the soprano, the alto, the tenor, like. Yeah, so like that's literally ear training. When you're five. That's the purest sense. Like, that's the most advanced level of ear training. So to learn that, that's like saying, okay, before you go to kindergarten,

we're going to teach you like four different languages. For sure. You know what I mean? Which is possible. Like, if you have people there. So, and then you're immersed in it all the time. So then later on, he did some classical lessons. Not a huge amount of sounds.

He said, like, for a couple years when he's like 11, 12, 13. Perfect time. Which is probably the perfect amount. Yeah, yeah. So, like, he had... But you get... You understand now that world a little bit of notation a little bit. Right.

And then he played some jazz, but he said he was very interesting. in playing jazz. And we talked about the last pot on DeAngelo about how he went to Ellis Marcellus, who was teaching a University of Virginia in Richmond during that time. And he's like, the only jazz, he's like, played me a jazz song.

I think he was like 13 or 14 or something. And he's like, the only jazz song I knew was Anita Baker. So it's like he had these limitations in the sense of we would say like, oh, you haven't learned Charlie Parker solo by the, but he had this expansive knowledge from an even young

younger age of the foundations of music, ear training, melody, voice leading, like in the most authentic and organic way, trained over and over again, choir practice, four times a week. You know, it's just like you're inundated. I mean, it's like you're the kid of an NBA player and you're just on the court all the time. Yeah. But at such a young age and you're learning everything. And obviously, he had a whole bunch of talent and interest in this. And then he took these restrictions, which I think worked in his favor.

He didn't have like a huge piano technique. He could play though. You can hear it all over this. He learned guitar later. So like he had an understanding of music that would enable him to go like that Prince level. Like, wait, you know, I think I can leave Stevie Wonder. I think I can learn this instrument. I think I can do this because he learned the basics, the foundations of music that a lot of people don't learn to, even if they get to Juilliard or Indiana or Berkeley or the new school, they have holes that you have to learn at that time.

Yeah. He learned all that before he was out of the single digits. Well, and maybe most importantly, Peter, just hearing him talk about it, it seems like his vision was probably his most valuable asset. Like he knew what he won. And like he said, like when he first heard Prince, he's like, there it is. There is. That's what I can do. And thank goodness, because we're all benefiting from it.

Yeah. I mean, just great, but great breakdown. I think you're absolutely right. Like developing those tools so early and so deeply, too, like from that young age, I mean, this is what you get. And then if you have confidence and you have vision, that gives you a lot of. lot of confidence. For sure. When you got the skills like that.

Then you're not swayed to like, oh, I do have to go to jazz school and learn Charlie for it. Just do your thing. Like, do what you want to do. I mean, he went to New York, got a record concert and made a great record. Well, I heard him talk to you that he, uh, he, he, like, specifically was like, I'm not going to be like a local artist here. I'm going to, I'm going to not play these local shows.

I'm going to focus on writing my own music. Because he had done a lot of that. Yeah. He had done a lot of that in high school because everything was pressed for because he learned all this foundational music in the church and then piano. vocals and then he had the vocal group you know four part harmony like he had all that stuff very early and then by the time he's in high school he's

like a hip hop group so he's emceeing also which he got really interested in but he's also doing all the like cover stuff for for the R&B stuff you know the new jack swing and Teddy Riley all the stuff that was happening guy he talks about like he would do talent talent shows and doing all these songs you know

I'll be sure and so he's like I did all that and so he's further developing his ear by learning all this stuff learning the and then by the time he's 19 he's like oh I can write something I'm ready, you know. Of course, this, he's 40 when he comes out. So now you've got a mature artist that even traditionally, as we've said, like you think, oh, you're just coming into your own.

How many great artists have we seen? Wait, what's under this? Oh, yeah, this would be a little foreshadowing for some other. I'll talk about some fun records. Little love deluxe. Is this a good time for a little break about that you'll hear a podcast coming soon? Yeah. Well, in rainbows we've already done.

We did that. Walt's for Debbie, we've already done. Yeah. A little shoddae love deluxe coming here. That's going to be fun. But it's just to say that a lot of these artists, it's, like they're the 30s when they're, so the fact that this came out in his 40s, but

anyway. All right. Next up, we've got Till It's done 2-2. Yes, till it's done 2-2. Track number 7. We've got to move things along. Great press roll there. This is the trio live recording again.

This is kind of a Marvin Gay, the lyrics, kind of environmental awareness. Ah. Kind of out of Memphis. thing going on at this one. So the title of this is till it's done and apparently 2-2 in parentheses. And apparently DeAngel, as far as I could tell, never really talked about what two.

Was that Desmond Tutu? Yeah. Or was that? Okay, I'm going to go on a limb here. This is a little bit. He loved Prince, right? Miles Davis had a great record. I knew you were going to say it.

I was going to say it wasn't that much earlier than this. It was actually quite a bit early. It was like decades off. No, no, no. It was like 10 years or something. What? Tutu? 2,2?

Yeah. Miles Davis, too, too, too? Yeah, was that 90s? That's only like one record for DeA. This is from 2014, buddy. Dude, I told you at the beginning. We're old, man. That's a decade?

How old ago? Do you think the 90s was? That decade did nothing. Anyway, 2-2, you know, that record, that was supposed to be Prince and Miles Davis. Yeah, that's right. That's why I was like, and DeAngel Lo. Okay, maybe I'm going too far.

So, anyway, it's one of those. There you go. I like the speculation. Next up, this is, man, this is really beautiful. This is prayer. Okay. Oh, yeah, this is bad. Okay.

Maybe that's a... Maybe this is the Chris Dave one? Right, exactly. It could be. Yeah, it's probably. That sounds like a move bass or move his bass. Is that? Yeah, it does, doesn't it?

And this he wrote... His textures are so beautiful. This was actually written to... I believe in the voodoo days. This is one of the oldest songs. Russ Alavado talking about that. This is a lot of scripture in here. Like when you see the lyrics,

like he breaks up the Lord's Prayer and a bunch of other things. I love that track. Great stuff. Actually, it goes in really cool places. And then later on, man, the guitar comes heavier. So far in the background, it's literally behind everything. Yeah, I mean, it's like the anti-fade, but because it's so far in the background,

it's great stuff. Okay, we're coming up to track number nine. And the third single. Betray my heart. Oh, that's right. This was a single? Yeah. Is this Michael McDonald's on Michael McDonald's?

Is this Michael McDonald's? I have that in my notes. On Keyes? He's got the sound. You're going to hear it when it comes there. This is all DeAngelo on Keys. This is great Roy again. This is probably kind of the tour de force, you know, for Roy.

Got great walking baseline. Should we talk about it or play it? Let's play it. Okay. And then talk about it. Great segue to go into it. Church bells. coming out of prayer.

Where's the beat? Is that up or is that down? Okay. Okay. Uh. Uh. Walking big. Yeah.

Not everybody breaks at the same time. It's so cool. Uh-huh. Minute ten in. And the night must have this boat. Sure this bowl. It takes forever to get to the bridge, but it's so great when it gets there. I will never be able to feel that my love is nice to see.

I will never train my heart. I will never train my heart. I will never train my heart. So I sat Michael McDonald's Keys. On the roads. To be clear, it's not actually Michael McDonald's. No, it's not Michael. It's the sound.

Because I swear before that's true. What do you call it? Backphrasing? This is like triple backphrase. Triple backflip. When you're feeling down, down to, you must own. You can't depend on me.

You don't never have to feel. That my love's Yeah, I will never Train I will never train my heart Yeah The blood in your vein I will never train my heart

It's a whole thing I will never train my heart I will never train my heart Here we go. This was a single. Yeah. Didn't chart because it was a jazz single. I'm going to say it didn't actually.

They released the jazz track as a single. That's impressive. I can't imagine why. It's so great. Roy's a guy. This is actually the best part, so I can't stop it. Oh, listen that. Oh, check out what happens here.

If you listen closely. Okay. Abs. Wait, hold up. I got to take it back a little bit more. Sorry. Okay, so there's the breakdown, and then I think they must have been playing this live because, like, the baseline stops and somebody sounds like, oh, and they just keep going.

Oh, it's so great. Now I'm going to be able to find it. We don't know. It's such a great climax in it. Here it is, I think. then he's back on it it's great man that's great man man it's just i mean it's just one thing

it takes forever to get to that bridge but it's so killing man so patient next up we've got the door man this is like this blew my mind when i first heard this track this like i feel like the the progression and then the entry points of this as the 10th track works totally but it's such a he's going to on to the country. Now I'm projecting. I didn't hear him say this, but he talked about his grandparents out the country church outside of Virginia. And look, Richmond's already kind of country. Let's be

honest. This is coming from us. We live in St. Louis. This is a big city like Richmond that's kind of country too. So when you go out of the country, outside of a country city. There are cows, not two miles from where we're sitting right now. That's right. Right. But I mean, this is like, I don't know, let's play it. And I just, I want to get your take because we didn't prepare on this, because we wanted it to be raw in terms of our opinion on this. But I think this is one of the most like offbeat expansive and you know kind of

indescribable maybe multi-genre I don't know let's just check it out okay this is the door okay pedal that's just slide guitar isn't it oh slide guitar oh yeah I think that's

this slide guitar and that little funny tag and you help my extra two beats right oh man as any good country song has it's like phrasing around the melody makes it a little bit uneven.

It's like, it's country. It's very bluesy the way, it's not like blues, but the way it adds the beats whenever it needs it, right? But the harmony, it's actually some of the most jazzy harmony on the whole record, too. Peter, I don't know if you remember,

I love this track so much, by this. This is one of my favorite songs on the album. And I don't know if you remember what was going on in a lot white people music around this time, but there was a lot of tweed. I'm sorry, what did you say? A lot of white people. Is that a genre? I'm familiar with that genre.

It very much is. But there was a lot of stomping, some whistling, some twee things happening. Some twee? And this, when I hear the whistling on here, I was like, this is what whistling on a track should be. Right. When I say twee, I mean cutesy, like. Oh. You know the kind of white people music I'm talking about.

There's a lot of stomping. You're tripling down on that. There's a lot of woes. You know what I'm saying. Millennials know what I'm talking about. Whoa. And this to me is like, it just dunks on that so hard. The whistling on this is just so, so perfect.

and just tells a much better story. It is, man. It's so authentic, and it's so straight and, like, just the way it starts. I mean, after, once they... Yeah. But even, like, the... Like, it's just, like, triads going into it, you know?

It's much more on the... Yeah. Yeah, yeah, right. You know? Go down, can't... Oh, man. Just killing. Yeah.

That's fun. But think about, like, where we've gotten on, from here. Save, I'm going to save it from my hot take. Save it from my hot take. You know what I'm saying? I got a hot take. This is a wide and deep album, man. I got a hot take.

All right. Peter. Yes. It's 2015. Yes. Martin McFly is in the future. Back to the future. Part two.

Part two. We're back. That was in the 90s, too. Or the 80s, rather. I just want to, I just want to, I just want to go. Pick up a kind of where we left off. Yeah. But...

See something come with your luck just make a bridge coming though too. Oh, that's a memory. Oh, yeah. It's connected, right? But this is also like... All that you have is a memory. Oh, yeah, man.

Oh. See some memory. Oh, with your nuts just make for a All that you have is a memory Oh, this is great transition. Oh, for sure. Oh. And all that you have is some memory.

Shabbudda da da da da da da da. This is great. Transition. Go to devil's pie from here? I know. Oh, totally. I know. Is I say Sharkling coming back?

Okay, so he just keeps doing his thing. It's, man, this is such a great transitional track to what we're about to hear, which is the final track, which... Yes. Oh, oh, he's getting serious. May I? Yes, please. Can we head into the categories real quick?

Yes. So my Desert Island track is the final track. Perfect. And this is also aligned with my hot take. You want to lay down now or after we live? So this is, the hot take is in two parts. The first part is, this is one of the only albums that I can remember we've ever talked about, where I think the final track on the album,

Another Life, is the best track on the album. Okay, there's Stevie Wonder. I think you said that on, was it fulfillingness? Nope. There was something we did of the classic period, though. Well, there's Evil, which I thought was... Evil, right. Is that Inervisions?

I think it's music of my mind. Okay. And I think. And Evil, I had the Apex moment. Okay. But I don't think that was my favorite track on that album. Gotcha. But this is my favorite track.

And my hot take, part two, is, what if this album was played back to front? Like you played that first track again when we were on the door, but what if it was another life? Is that a hot take or a request? Well, it's a hot take, like what would happen

if it started with another life, then Backs the Future Part 2, then the door, then betray my heart, then prayer until it's done. And then you would get to like track 7, 8, real love, Sugar Daddy, the Sharia,

you know what I mean? Like, you'd hit the meat at the same kind of place and you'd be cool, but I think to end, I don't know, because we would think of what you'd be ending on. A charade, Thousand Deaths,

and it ain't that easy. And I feel like that was, there was a reason those were placed at the beginning of the album. I know, I know, I know, I know. Listen, this is why I'm not DeAngelo, but. It would work still, though. But he talked about, though, how they were like,

one of the interviews was like, oh, it's so brilliant the way it's sequence and on it. And he was like, well, actually, because we just had to sort of rush and throw it together. Oh. Yeah. He was just like. Well, is the project still open?

Can we? No, I think this is a brilliant song. This has like some earthwind and fire elements to it that I'm hearing. And like, Prince. Prince's little hands all over it again. This little hands. But I do stand by my hot take that I can't remember another album where it's like the last song is maybe the best song. Yeah.

So we should just jump into it then. Here we. Epic. Sitar. Back with the sitar. A little Betcha by Ghaliwa. Yeah. Yeah.

I bet this went so hard live too, man. B major. Oh, man. So optimistic. And the piano's above the vocals in the mix. And the sitar is too. Pretty much everything. Brilliant mixing.

Brilliant mixing. May the sitar connects it with another era. So beautiful. Where are we now? Where do we go? Pino's starting to get excited. Oh. Little piano hit.

You want to check us out. This is you taking stuff out, by the way. Peter's taking some voices out here. We just jump up here. So, yeah, just vocals. What a great ender. I take it all back. I'm glad we're ending with it.

Oh, we got to go to the variant. This is actually my Apex Mallory. Okay. The varying the Peters. We're almost there. The last couple of chords. So great. Great.

I love that. Yeah, Apex Moment, the end of a record. Great Desert Island track. I had betrayed my heart. I love Roy on there. I love the whole thing. But this is a very even... This is a very even record for me for desert island tracks.

I want the whole album. Sorry, I'm taking the whole, I'm taking two LPs. I'm going to need a turntable also on the dead. As I mentioned, my Desert Island track is another life. Why do you get to mention it twice? My apex moment is when the guitar enters and really love. Oh, yeah. That's such a great moment.

What do you got for the thermometer? How snobby is this on a scale of one-o-day? Man, I was thinking about that this morning, as I was driving around the greater country-ass St. Louis. Dodging people running red lights and potholes. A little sport we do here in the country. It is. Called the same Louis Slalom.

Yeah, with people with either no license plate or with a temporary tag from 1987. How do you keep it going so far? So I think it's kind of snobby, actually. I knew we'd be on an opposite ends. I have a two. Oh, I'm going eight. I was thinking maybe seven, like if you, no,

but I think it's an eight. Tell me why this is not a snobby record. Lyndon loves this record? I feel like this is not a, It debuted at number five on the Billboard Hot 200. How snobby can it be? No, that doesn't, but I don't think it stayed there like a super long time. This was not, like when people heard that, people, this is, you know what this is?

This is a classic, if you know, you know. Okay, I hear you. A lot of people know about it, but most people, I mean, like voodoo is, even voodoo, I would say, is a little bit snobby because I don't know, man, these records, like, they demand a little bit. Not in that you have to study or something. Okay. But there's, I don't. to really get something out of it.

Like, there's no, like, banger, banger hits on it. But everything feels amazing and the melodies are singable. I feel like that's... Snobbs can, like, cool stuff, too. What do you mean? I think... I feel like when I mean snobby, I mean, people who appreciate music that's difficult and doesn't...

You know what I mean? That's like... Is this difficult? Did I make it sound like that? Because I don't mean to make it sound like it's fussy. It's not fussy. It's not difficult. I don't think it's fussy at all,

which is why I have it to, too. But I don't know, I hear what you're saying. I don't find it as accessible, I would say, to just, like, I would never give this as the first, I would give this as the fourth record to introduce somebody to DeAngelo. Oh, interesting. I would never give it as the first.

Okay. It would actually be in order. It would be brown sugar. That it'd be live at Jazz Cafe, then Voodoo. I mean, maybe Voodoo moves up a little more. Though I feel like you... I think you got to introduce Voodoo first. You could, but that's not as accessible a record

as brown sugar is. I disagree. Not from beginning to end. I don't know. Oh, okay. So you give this a two. I give it a two. Okay.

Yeah. Well, it's a knobometer broken. No, which means it's working just fine. Okay, usually... I don't like this question. Who put this on here? Liz. I already don't like it.

So this is usually where we reserve the question, is it better than kind of blue. Miles Davis kind of blue. But now we have, is this better than voodoo than his previous album? I have that I will not participate in this sham... You felt bad about it? I know.

In this shamment of examination. I have N.A. It's like a big N.A. Yeah. It's a not up. Not applicable. I really honestly feel like his whole career is one big... It's like Steedy.

It's like his whole career is one big thing. His intervisions better than music of my mind. It just depends on the day what you're feeling. You know, like every album that DiAngelo gave us is a gift for us, for humanity, for being people in the world. And so I'd hate to say, like sometimes I prefer this to Voodoo. Sometimes I prefer Voodoo to this. Like it depends on where I am, you know, what I want to hear. Yeah, I agree.

And I think when you have an artist like DiAngelo that had a really... relatively small output, as in three to four records. Although you could also say, like, these are big epic records, at least two of them, for sure. For sure. So there's the argument to be made of, like, it wasn't a small thing. He's a perfectionist.

Yeah. He was a perfectionist. Huge part of his life. So, like, that's what happens. I mean, he was an admitted perfectionist. He embraced it. So in a way, it's not a small output. And I feel like this, this is, the whole output is the apex moment.

Like, that is the kind of blue. like those four records all connected together. They're not separate. They're just all along the journey. Peter, this was fun. You know what we got coming up, by the way? Yes. Our first mailbag episode in quite a long time.

So you've been sending us our... Muckbang! Well, is that something different. Muckbang? What's Muckbang? I believe that's a kind of country dance. Muckbang, Muckbang. That was your white people song, Swistle. Muckbang, Muckbang, called me...

Actually, I think there probably was a band named Muckbang that did a stomp clap. No, muck bang is like a type of mailbag. You never heard of that? Nope. But we got a mailbag episode. You've been sending your questions to you'll hear at dot com and keep sending them because we're going to do mailbags

I think on the regular. We're going to try to get them in a little bit more and we might have some special episodes coming up here in the future so we'll be on the lookout. Muckbang. He's looking up muckbang. Often spelled muckbang is an online video

where a host eats large amounts of food while talking to an audience. This comes from the Korean terms for eating and broadcasting. Okay? I was a little bit off. So it isn't online. We are online. That's weird.

Mass of portions. This is where this is this. We need to do this, dude. No, no, no, no. You don't want... Posts often eat huge piles of fast food, spicy noodles. You do not want any part of this world. Trust me, when I say that this is the darkest corner of the internet.

You don't want to... Loud sounds. Many videos use close-up mics to capture chewing and slurping sounds. It's so disgusting. And also, people have like... I'm good at. People have like... Answer fan questions.

Have, like, put themselves at serious health risks. And I think even died from being professional muckbangers. Why you have to make the muckbang and take a dark turn, sorry, but... Until next time. You'll... No, come on. It started in South Korea on 2008. We're not doing it. We're not turning our channel into a muckback today coming.

This is going to be awesome. Until next time. You'll try it. Try it called Quest. Come on. You'll hear it. Oh, here. This will make you happy again. It's your boys. Well, it's for Debbie. Everybody loves Bill Evans.

You'll hear it.