Narada Michael Walden

Welcome, Welcome, Welcome back to the Bob left Such Podcast. My guess is NARDA. Michael Walder, musician, producer extraordinaire. You have a new album. Why now it feels good?

Man? I still up my jesues, my vitality, I still feel sexy. I still feel young, like nineteen vibe coming down. And I love to sing and play. So it's just my offering to the world to always keep music in the world. It's my job, it's my passion, it's my lift for so it makes me feel good.

Yeah. Yeah, but the game has changed since you started, and it's much harder to get recognized. How does that feel in terms of recording it, you know, and getting the music heard?

Well, the recording is the same, the process. I enjoy making the songs, producing records, do what I do. You're right about the actual game how to get heard. So I just pimped YouTube, Spotify's whatever there are out there, and whatever radios are kind to me to play me.

I want it all. But you're right.

I don't have a big major, you know, pumping it down on the hour hour.

I missed that tremendously. I really do. Okay, you have a track on the album That's Got Superstars, Sting, Stevie Wonder, Carlos Santana. How did that come together?

Oh God, bless you, thank you so much. Yeah, this song I kind of started working on years years back. It's a process. Carlos Santana inspired me with this African music, and I took one of those ideas I heard and then made a new jam called the More I Love My Life, and I asked Carlos come play on it, and he did. And when playing with Carlos, I got the inspiration to have Stevie Wonder do harmonica work with me. So I made spaces for Stevie and get Stevie right away.

He was very kind.

He came in the studio Jamanndricks's studio, Let's Letric lady Land Studios, and just sang it quickly, beautiful harmonized little thing, and we were so happy with a good sound. I then went to Los Angeles where you are, I think, and got Capitol Studios Stevie Wonder. He came in with a box of harmonicas and found the right key for

So I'm happy that. Well, let's go to the route. The song is inspired by another song, right, yeah, yeah, tell me about that.

Oh okay, there's a cat named Ishmaelo with two French cats that put together the song very similar, and Ishmaelo inspired me so much. In fact, he's singing something on this version. I want his voice for that Africa connection. So yeah, that's all it is. It's just like a beautiful melody I loved and to put my own lyrics with a cat name Jeffery Cohen, who helped me compose Freeway of Love for Rutha. Franklin's a great lyric writer.

This is the message. So how do you know these people? How do you know Carlos? Oh?

Okay, good question. I've met Carlos and I was like about damn nineteen years old because I came to mah Vishnina. I wanted to become a disciple of of of Guru Fishtration Moy with Mahavish and Jah mcglalklin for the spirituality of the love, so I wouldn't die. My heroes were like Jimmy Hendrick's Okay, that's my hero and my generation could could die so easily. So when I heard John mcglalklin playing his music with Marvish Orchestra in Harvard, Connecticut

Actually, okay, how were you with the gig? And how did you meet John McLaughlin?

Very sweet, thank you. I walked in the gig. I had a limousine driver named Greg Fell, our manager had an old limousine drove me down from Canaan, Connecticut to.

Heart for Connecticut.

And when I got there, as God would have it, there was a bright shining light on the stage and Mab Schnu with a double a guitar was going at it hardcore with Billy cobbmon on drums in some odd meter of nineteen whatever.

It was.

So incredible to this day it stained my soul, the power and the magisty of what they were doing, just the two of them. And then they would stop on a diam if they wanted to, and go back at it.

And I was so meserzed.

I went right down to the lip of the stage to look up in his eyes and see what's going on, you know, is it memorize what's he doing? And I see his eyes back in his head, and then I realized it's just like he's in a trance and these notes are like bullets flung out a guitar, just channeling his higher being and that's what he was doing.

That so turned me on.

I said, this is what I want to do. I want to be able to do what I see him do tonight. Just channel my higher being what he's doing. No drugs, you know, no no LSD, no more, no more stuff, just pure, pure soul, pure God.

And uh.

That night in the audience, I met a disciple I could tell his all white, had shorty air.

His name was a paik Shah. He recently just passed away.

But in the audience theory was and I said, hey, I have to meet meet my Vishnu. I met Anna Carmel. I did another disciple in Florida when I was living down there. Hook me up so I can just go backstage and meet him. He said, okay, wait and I waited and he came back and got me and I went back in the back stage area and there was like two little rooms back there and on one other room which is locked off. I could hear Cobbin Janhamer.

Are you still a disciple today?

Yes, the Guru has passed on, but in my heart of hearts, the messages I've learned are with me every day, which is very simple. Just to have more love, more love and compassion.

You okay, the Guru gave you a new name. Tell us about that.

Well, that didn't come to like later on by I would have long time to get a name. I became a disciple, you know when I was like, you know, seven seventy three, and then I didn't get a name. Like seventy six, just before my first solo album, Garden Love Light, I already made wired all the Mafish orchestras I had no I was Michael. He said, at the time is now for you to receive your name. I never wanted to spoil you, but the time is now. And he said it's called God's hour. This is God's

No row.

Dum this when on round and round and round and around.

I didn't know if my name was my name is.

Nah Rah or dah until he said Narada Narda, your soul is sweet. Your soul brings from heaven to Earth light, delight and compassion and takes back to Heaven from earth earth sufferings. Throw yourself into your music. Throw yourself into your music. And then he said the name Narda was a name from a sage to a sage who lived in India who had three different Indian incarnations. You want to hear about those, yeah, he said, Narda's soul first was a young boy. He lived in the woods, with

But the man wasn't happy with this news. The austere gentleman was not happy with this news.

Narda kept walking down that road further and then he sees the crazy lunatic, the crazy fellow, and the lunatic again jokingly says, so, Narda, did you ask God about my realization? And Narda said, yes, I did. Do you see all these leaves on this tree, on this on this on this tamarin tree. And the gentleman said, yes, I do. I see all the leaves. And Narda said, as many leaves as are on this tamarin tree. That is how many lifetimes you must come back to the

I will realize God. He started dancing.

He started singing very soulfully that Narda told him one day he realized God. This so pleased God watching this whole thing unfold, that God granted him instant realization at that moment. Then gru said, this is the story of waiting for God's hour. God's hour is now here for you to receive your name, Narda. So this is how I received my name Narada, which means supreme musician.

Okay, what is Shri shin Moy's basic philosophy basic religious philosophy?

Schrechin MOI comes from ponditary India in the Shri Rabindo Ashram, raised in the Ashram. And it's love, It's bakhdi, it's bacta yoga, it's love. He breaks it down into love, devotions, surrender to God, the three steps to love God, to have devotion to God, have surrender. So it's looking at life in that regard of love, which is the most important of all devotion. To have devotion, and then surrender is really for me being happy, being happy with my life.

Is this the same God that other people pray to in other Western religions or Eastern religions. Is it all the same God or a different God?

Well, God is God. But you know we look at God in different ways and that's all good. So you know, in fact, Groom, I say, God could appear to him as a child. God can appear to him as a old man. God can appear in different different forms. But the creator, the energy of God is one one source. And I look at like spirituality and religion. Look a tree. A tree has many many branches, you know, Buddhist and Protestant and Catholic and all these different ways of looking

My personal heart inspires my music, inspires my life, inspires everything I do. Okay, if you go back to this era, you were a follower of the Guru. So was John McLauchlan, Carlos c and Tiana Pete Townshend. Are they all still followers now?

Mavish Knew is very much in touch with the same spirit of Guru. He'll ask me, am I talking to the different disciples or you know how I'm doing in my spiritual life. So he's still very conc connected, and so is Carlos. Carlos will put out aphorisms of Guru with some music going on, and he's very much talking to me about the things he learned on the spiritual life in the Spurgi of path that was life changing for him. Pete Townsend, you mentioned he was never a

Okay, So that gig where you go to see the mahel Vishnu Orchestra, you're in a band at that time, Yes, I am.

The band at that time was called the New McGuire Sisters with Santa Churan on guitar, a brilliant guitar player. We'd flown Ralph Armstrong in from Detroit who was about sixteen seventeen years old. He was brilliant on piano. Another Captain Detroit and Billy McCoy and we had a little manager and we'd rock out every day in our barn

Yeah, okay, And what was the status of the band. How successful were they?

It was trying to become successful with a cat named TiO Massaro, who was the producer for Miles Davis. But then that never really worked out, and that was part of my frustration. I kind of felt like, how am I ever going to make it? Am I ever going to make it? That was always my prayer, how will I make it? Because I really want it to be, you know, able to make a living with music and not just struggle.

Okay, so you're originally from the Midwest. I am from Klamua Zuo, Michigan, Kalamazoom, Michigan. And what kind of circumstances did you grow up in? Uh, circumstances. I'm born in nineteen fifty two April twenty third, and we're not raised with like a lot a lot of money, but there's a lot of love.

My mom was aldost a six. In her family, they're very music driven. They love music. My mom aunt Mary, the twins Vicka and Valerie, Edgar and Travis, they love the music and they're always playing the music. And that's where I got, uh the inspiration to hear the music so early in my life, hearing Nina Simon when I'm four years old, cannibell Adelie, you know, Dave brew Beck, Jimmy Smith. Everything played in the house, even Everly Brothers,

And how many kids in the family. I'm the oldest of six.

There's me, there's Ron, who's passed away in Heaven, Cavin whos passed away in Caaven, Chris has passed away in heaven. And then my two sisters, Yolanda and Edie. Yolanda flies for the Alaska Airlines, and he is a doctor out here for children.

And what did the rest of them do in their lives?

Oh Ron was like a carpenter for a long time, then became a bartender, had.

Some issues with alcohol, and the Good Lord took him out of here.

Kevin, my brother, Kevin, was a manager for me for a long time, worked at worked worked with me very beautifully. When I was doing my Wooden Houston stuff, you know, Shanny Schwolson stuff, havivn Campbell stuff. We went to Japan together with a lot of a lot of great things. My mom kind of passed away, which he looked after my mom. I kind of felt he kind of lost some business inspiration and he went to heaven.

Okay, so you're going to school, Yeah, what's that like. You're a good student, you're a popular kid, you're isolated? What kind of kid are you? In school?

It was all hard. Studies were hard. We went from Kalamazoo, Michigan. I moved. See, I did my kindergarten first half a first grade in Kalamazoo, then moved to a place called Plainwell the second half of first grade. And that was a very strange kind of period of the way out in the country, you know, realizing I was in the same color as everybody else. That was first when I heard the N word out there, It's like, wow, what is all this going on? But I fell in love with

Okay, so how did you know you wanted to play the drums? Oh man?

Born and born to play music. You don't understand me. When I'm little, I watched record spin and just be hypnotized watching the record spin, or stare at an album jacket, you know, a woman dancing to the mambo or whatever. Or here Peggy Lee and you're sharing, you know, the beauty in the in the beat. Or just tap along, get a pie, ten, get a box, play the Nimon's Laba town all play along with horse silvers, six pieces of silver. There was a cat out of Detroit we

Along with him.

So that's how it always was just music all the time. My family loved it, loved it. You understand when you're hearing the radio even twisted and shot by Oisley Brothers. He'd be like life changing the sound of the record. Small things are big things, and don't forget in Michigan, the snow, the cold. You know you're indoors, so you find things to do indoors. So playing on, playing music

Did you take lessons? I'm I have a god gift of it, of it a natural thing.

But then I learned snare drum from a cat named Tom Carey downtown Kalamazoo at Bobby Davidson's music store. Tom carry be downstairs and he would teach me the rudiments, you know, five stroke, seven stroke, you know, paradittals, and how to strengthen my left hand.

So that was important.

And then I found another teacher on the north side kalama Zoo named Harold Mason. He then became the druman for Stevie Wonder and he would teach me independency. He would say, there's a book by a cantnamed Jim Chapin called the Blue Book of Independency, and I need you to break your mind up so you can do change jan and changeing with your right hand. And then when your left hand play against it whatever it is written out different things against it, so you're playing two different things.

I could take all those lessons in me and be free with it. Yeah, okay, so you're playing When do you start playing out with other people? How old are you with the Ambassadors of the eleven got eleven? Yeah, eleven. Do you finish high school? Yes? I do.

I left home though I left home my second, my junior and senior years of high school. I left home because I needed to kind of just branch out more now, and I worked at a place called the sanitarium where I could make my living. You know, you take care of the kids who ran away or burn the house down. You play music for them, you know, like Calm Leaven on a jet play. You put those kind of songs for those kids, kind of calm them, and then you go to what's called seclusion wards from seven thir to

So I learned that early in my life, different sides of people's. And then at the same time, I have my little bands.

At that time, i'd have a band called this is this is in the far where I played keyboards, left hand, bass, right hand organ whatever, sing it, get the smells, play drums, and then have bands like that. So and then you learn the most current song pongs like Junior Walker's uh what does it take? Because he's from Battle Creek, Michigan not far away. Chris Motown music is so close. Chicago's so close. It's all right there. So yeah, I understand,

I played the prom. You know, and you know who you are. You're playing expressway to your heart town. You know, you're you're rocking. So it's all that kind of thing happening. Yeah, yeah, So how'd you learn how to play the organ? Uh?

I love the bass lines of Jimmy Smith, and I have my friend Joe Brooks teaching me the base lines because the baselines themselves are just like genius.

Man.

That he could play that and play the comp and the lead on top and his feet is mind blowing. People don't understand what a genius Jimmy Smith is and those organ players players of that time.

So I had Joel Joel teach me how to play the baselines, you know. Yeah, okay, you talk about top forty hits like Expressway to your Heart, you talk about jazz, you talk about I can see for miles. Oh yeah, there's a corner kopy of music. Where are you and where do you think you want to go?

At that point, I didn't know. I didn't know everything. Obviously, I'm very tender at that time in my life. You know, my dad would say, well, you know, you can sing the Beatles stuff of you know, Hugh say hello, I say goodbye. You can take that kind of thing. Maybe we should do a family group. I said, no, we shouldn't do a family group. Dad, don't let's not do a family group, you know. But you know, I just always loved just doing it. So I didn't know where

Every day.

I'd rush home from school to hear Soul Serenac in Choris. I'd rush home from school to hear April and Paris, you know count Basie, you know the drums. I'd rush home from school to hear maybe the beginning of Johnny mathis boo doo do ya boo, do do ya boo do do boo doo de yabooy deeta doody boo, you know, so a certain smile. I would always be like infatuated with that. But I didn't know to tell you what

So that would be all my mind.

And then I went to college about three semesters and I realized that wasn't gonna work for me because I wasn't able to play drums enough in this college. So on my last day of semesters. This band came through town called Decon Williams and Sole Revival, these white cats from Fresno out in Kalamazoo in a school bus. They said, we heard about you and we want you to join us and come play some some clubs with us, iputed

He took us in.

I had to brought my little drum set in the little bedroom there so I could still play a little bit. I got a job working downtown in LA at the shipping receiving type place. You wrap clothing. You wrap clothing as I'm wrapping clothing here in music all the time. You wrap the clothing. Then I got smart one day I said, you know, I have another cousin. He's a doctor. Maybe he can help me get a little further down the road with this thing. So I called him.

His name is R. Hackley and I go to visit R. Hackley. He had a he had a.

A doctor jointed out near Watts and I go out and visit him, and he says, well, you know, you can stay out out here in Watts area. And then he sees my drum set. He says, wait a minute, No, you can't stay here. They'll steal you. They'll steal your stuff. You got to come with me out to Pasadena where I live. Oh okay, So I got to Pasadena, up in the hills of Altadina, beautiful place, I mean, swimming pool everything. And he says, you take this bedroom and

It was just like mind blowing. I was like, who is this? What is this?

So I brought it home and then I was able to study that and kind of shed on it. That helped me a lot. Shed and I have different different bands, like I have a cat named Eddie Hazel. He was a guitar player from part of a Funkadelic and a band called an album called Maggot Brains, and he was a mean guitar player and he passed around was called angel dust. You take one a hit of it and be like in a different world. But the funk would be so fast and so clean it prepared me.

He'd be.

Check like that you're playing man, oh my god, and the music just flying around the room. I missed some other cats up there too. A cat named Gregg on bass just happened to knock on the door with dead He says, hey, man, I hear you're playing drum from ro down there.

Can I bring my base up here and play with you?

I said sure, And he brings this big old SVT and big amplifier and he's playing. He is incredible.

I kept meeting these incredible cats. It just changed my life.

Helped me so much in La because I couldn't find a gig, but at least I'm playing with these guys. Also, I want to say I did another thing. I joined this registry on Hollywood on sunset. Will you pay a sort of amount of money to find musicians to play with? You put your name in a drum book, then they'll call you if they look for somebody. But that was so hard too.

Man.

Oh god, I did meet one guy who put me in a band. Uh. That was all right for a minute, but then I did a bad thing. We were gonna we're gonna play for this The Stones manager out in La at this house which is really exotic house, and an elite singer like like like a like a like a doors type lead singer and this other count guitar named Greg greg Beck was his name Greg Beck. He was phenomenal organ cat bassing myself and my cousins of all things said you want a little hit of a

She get calm, get coling.

You're playing this jam. And now the effects of this spliff are hitting me because now I hit a symbol. It's like sh drum do everything. He's like due delayed. I'm so frightened. This has never happened in my life.

What what what? What's going on with my inside me?

And now on the singers starting to sing to his song, and he's looking back at me like like a like like a devil, like I'm ruining his career because I really can't focus on the on the time, and I feel terrible and I kind of stand up and I'm barely able to kind of walk and I stumble off the stage and this beautiful blonde haired angel taking care of me. But the singer is like, I'm gonna kill that nigga. I'm gonna kill him, and my cousins had

Man. I'm very sensitive and I've blown some some some things in my life with this that kind of thing. But then what happened.

Also, I had to get a job while I live in Pastena at another nursing home, just to make make some money. I'm working in the nursing home, and then I got a phone call from Santa Torano out in Florida of all places, because saying I'm gonna I'm playing I'm not gonna play with that Edgar Winner right now. Put together new band, and I'm hearing about you fly down to Florida and do an audition with me. I never been on a plane before. I'm now just just

There he was.

And then Jacka says, once you come over to my house, let's jam. So I go to his out and now we're gonna jam together. You know, he wants playing seven. I'm a Plan four, and then we switch it. I'm a plan seven, He'll playing four. He was kind of crazy like that. We had all these chops. So I was like, okay, we became friends. We became friends Pat Mactheeni. Also I rocked out with him. You know, just a lot of that kind of time in Florida and very

It was so cold up there.

But you know that's where I shut it more and got myself together more and enough not long after I was when I went that concert, met mavish New and then he took me in. And then when I became a disciple further on, I then moved from there to not Queens quiet Rick quite yet but yeah down down closer to New York where I could woods shehd more and joined a band of disciples called Jotra. Grew said, play with play with some disciples called Jottra, So I did.

So I was just completely just you know, just an awe and star struck.

And he said, when I come back from Puerto Rico, I'm gonna come to you the house you're in now, for the place you play with Gaelong people.

I'll go downstairs and I'll teach you how to play with me. And he meant it.

When he came back home in jad January, he came down on that basement and be just he and I and we'd rock out, and he would say, okay, now we're going to play in seven, and don't play the down beats.

I'm not gonna play nine. Don't play down beats. Now.

This was his big thing, this whole cat's mouse thing. That's when I realized how deep he is.

This whole Indian.

Wisdom was so heavy in him that he could play for like bars and bars and measures and measures without ever getting a downbeat. So you really had to kind of learn what he would call the shape of the rhythm feel this shape of the rhythm, work with his shape of the rhythm. And that's how I started really

But I want to say one more thing about that, but if you don't before I go too far it because there's one more thing happened just just to that that was really really pivotal.

Just before he had asked me to join that band, one thing happened that I really want you to know about that was really pivotal in my life.

He came to let me see how how it happened.

He played a content with the Fish Orchestra the second time I ever saw him, at the place called would Tango would Preserve Outdoors, and I went to that show and again I'm floored. It's outside by how genius and the majesty of this band with Yan playing. Now Yan is kicking serious behind back at Vishnu, incredible everything John plays, He's playing right back on. Cobbin's on fire, the band's on fire, Jerry Goodman's on fire. Who I saw with a band called Flock in Chicago. Okay, Man, there it

And he's so beautiful and humble, you know, and we just can't believe he's there. So then we want to, you know, feed him. We used to.

We either brought the cast role. You know, I know you're vegetarian. We make them some food. So then yeah, okay. Then the next morning we have our little cabins. These are the things I want to make sure I tell you, cause you're a deep cat. You want to hear the truth. The next morning, Vicious says, I want to meditate with you. I said, okay, come into my cabin. I'm like in my cabin, I set up a little shrine because now I'm a new disciple. I got a picture, Guru, I

I do the same thing.

I go down to the floor, and when I come up, you know, you know, I look at him to bow to him about, you know, to acknowledge that we're in the same room, and then a history of what's happened. His face is completely full with tears, and on the wooden floor are his tear drops.

A pool. That was the sound I was hearing. That frightened me. It made me think maybe I'm not ready for this. You know.

It's one thing to say you're ready for something, but when you see a man who you love so much in the tears next to you, like that, maybe I'm not really ready for this. So I had to, you know, ask myself, you know. But then he was like, let's go play. So we went across the street to the barn and hooked it up and went to go play. And what I want to tell you is this man,

You hear the sound.

So clear, so precise, so him, it is just daunting, the precision. But his face, Bobby was a stone. There was no expression all on his face. You know, I'm used to cats. You look watch handricks, you watch the cats. It's all this agony, this pain on the face or boxing. There was nothing, but the sound was enormous. I said, you ain't gonna fool me. I'm gonna close my eyes. I'm not gonna watch you. I closed my eyes then I could get out there with him, and that's when

Go ahead. He had records, I think on Douglas Records before he signed with Columbia had my Vshna Orchestra had Inner Mountain Flame. The second album was actually more financially successful, Birds of Fire. I think it was. Yes, I bought the first album. I saw the band. I don't think, including myself, I'm not sure the audience could understand the music. You're right, we were all in shock. We had never heard any say anything like it. Nobody had.

There had never been a concoction of that sort where the funk was so strong, the rock was silence, and the Indian influence was so powerful. Damn, It's like fifty to sixty percent Indian music coming through on the funk, on the blues, on the American thing. So we had never heard that kind of blender a gumbo.

It was rare. No one. No one was doing that, no one. So you're right.

We were all stunned. Even in the audience that night when I saw him and Harper, we're all stunned and tangling.

We were all stunned. So you're right. We had never heard anything like it. We still had ain't nothing never been like that, and that since since now he had his commercial peak at that point in time, to what degree have you played with him or have a you point on his music since the seventies.

Well, I saw him recently with Shocked, he celebrating their fiftieth year anniversary here in town at the Lewis and Davis Hall.

That was beautiful.

Zak here who sank killing on the toablers in his band and the singer just beautiful, so beautiful, and he's so free and he's happy. That's what he wants was more acoustics so it's not so loud and he can just do his thing and they're all just getting on.

Man.

So I have so much love and respect for him, very very very very proud of him, and I'm also very happy he took me on his wing.

A lot of other people you mentioned you played with Yako Pastorius of course, did great things with Joni Mitchell. A million other people died before his time. Yes, how good was Giaco pingusorious? He is the Ali on the base. You know we all love Ali, Muhammad Ali. I'm the greatest. I am the greatest. That's how Jocko was. I am the greatest. No one can touch me. Shoot, I got funk. You want pretty? I got pretty? You want this? You

So then dig I'm on a session with weather Report, Joe zou On weather Report, Wayne Shorter, weather Report, Alexa cunea percussion with Alfonso Johnson weather Report.

They called me in.

I did the album with Alfonso and they loved me, so he said come in the Weatherport. So I came over to play with him, and I cut a song called black Market and the ending went into this long jam like Kalamazoo Michigan jam, like the funk jam, Like here's Wayne Shord of playing like Judy Walker, all that stuff going on and funk for real, And I'm like, damn, these guys are like more street wise than I realized.

But they could also be grounded. So I was like damn.

So then Joe says, why don't you join the band and bring a bass player, because I know a fase is going to go on and do something else. Now, I said, well, Joe, I don't know if I can join the band because I may want to go join Tommy Bon's band. He asked me about playing with him, and I'm like, I want to go more of the rock and roll away now and get some panties on the stage and all that kind of that kind of world. But I have a bass player I think could be

So we did. We flew out of Jocopas Stories.

For the next day, in comes Jacko, and Joe's written a song called Cannonball, which he thinks he wants to either going to call Cannonball Ford, Julian.

Adelete, Canniball, or empty chair.

He's not sure what he's gonna call yet, but he starts teaching us the song if he first runs it through with me, so I can record on casette on a tape. That's how I always learned tongue, I said, play through three once on a cassette, so I can just walk around and study it, you know, and just get it in my soul, not like looking at the peace of paper. I could never just read that stuff. Got to study it in your heart. So then now it's time for Jocko to learn the piece. It's his audition.

And he starts playing this stuff that he would.

Get into later with johny Mitchell, all the harmonic stuff, harmonic bl bloom bloom bloom, and Joe stopped right in the middle and said, don't play that ship on my song. And like a knife in Jacko's heart, a good knife, a knife that meant, just play what you need to play now because you can. And it made Jocko Jocko. He put those little things where it was supposed to go, with the polls just all over the place. Joe put his ass in the fire and melted him down. And

And that's me. It the Jocko bro.

And then I went on to work a time bowling and jack to stay with that band and then made Heavy Weather. You know, I remark you made Team Town Birdland, that serious stuff. Man made it stuff a star. Okay, you played with a lot of guitarists. You mentioned Pat Methen, You played with Jeff Beck, Alan Holdsworth. Yes, you know these are people considered those three people argue whether the best of all time?

What do you think.

I don't look at things as the best of all time, necessarily because I don't know the best of all time. All I know is that everyone's got a different like capacity, like like fruits, like an orange, banana, an apple, a peach.

They're all great fruits. That's how I look at life.

You need, we need, we need them all Allen Holdsworth fluid fluid. But on the session I did for him on this album, he was unhappy. He was doing a thing for CTI Records, Cree Taylor Studio, Rudvan Gelder, and he was running through the songs and they were recording the run through and they were they want to they want to keep that. But he's like, wait a minute, that was just a run through. No, that was good enough, they would say to him. So he's kind of happy.

He was great.

Then you mentioned who else you mentioned? You said, Jeff Beck Yep, Jeff Beck. I came to know really will because of the second tour we did the MA Fish Orchestra. After Vision of the Animal Beyond in seventy five, Jeff joined for a damn tour. He had his band Bernard Perdi on drums, h Max Mills on a keyboard, the mean bass player who put on wired.

What was his damn name? I'm bounce based not on the name, and he remembers the vocalist Bobby Tench. But but that was earlier.

That was Bobby ten Yeah, yeah, but nevertheless that that you're right, that was a hot band. Butin this time with Jeff, it was just him doing blow by blow music right, and he was he hush, Now, you gotta understand he wasn't just a jazz ars on a little He crossed over to everybody.

It was packed theaters to see Jeff Beck.

So I had a chance to really study him and know what is it The people loving about what he's doing, and they love the funk on the bottom with these sweet melodies and then the way he kind of mixing all together, but it'd be sweetness for the girls and also kind of funky. So I learned his sound. We became really close. That was that was a really also we jammed jam together every night. Movish New and Jeff, me and Bernard both bands would play together. That was incredible.

Very brilliant. Who was the cat you mentioned? The three? You said? You said, well, I don't work at PAT that much. I don't work at PAT. And he was in college.

I said, have you were like bashed out in rock? I know you played great jazz, but can you rock? Can you play loud? Can you come over my house? I bubble bash at you?

See what you do? He said, okay, So I did. I just bashed in him hardcore and he was.

Just like phenomenal. But it wasn't as hard. It wasn't what he wanted to do. He wanted to play on a quiet you know, he was happy playing quiet and and like you know, patmtheene to be, so I didn't take him that serious to go.

Further with him.

How about Alan Holdsworth, Yeah, I mentioned Alan at the beginning. I was saying, Alan Holdsworth, we did the album for ct I called Velvet Darkness, right, and that was the album he wasn't happy making because they kept there, they were keeping.

The takes, I know.

But after that, oh well, you know from me, okay, Alan Holdworth in heaven looking down at me right now, you are. We love you because you're like a violent on guitar. You're the violinist of the guitar. How he does what he does, no one even understands it. This is his own technique. I mean, might have a dear friend Crowder Richard, you another genius and guitar. He's tried to emulate it. No one can really eminent what he does. Alan's under his his own self. He's an orange. He's

He'll played these long phrases. See it's hard to mirror.

The long phrase. But he's genius. So I learned a different gear with him, just to learn the list. Let him go, Just let him go and see.

What it is. Okay, how about drummers, How do you consider yourself to be stacked up? From everybody from Billy Cobbam to Neil Pert to everybody.

Billy Cobbam to me is something that is just rarefied air. He is the astronaut that showed me the highest height. I had never seen anyone go as high as him. To this day, I love Mitch Mitchell when I saw him do with Jimmy Hendricks. I'm a real fan of so many drummers, you know, and I wasn't a big fan of a kid, necessarily of Keith Moon.

Here I am learning.

I can see for miles and miles a miles, but I realized that was Keith Moon. Then later on in my life I realized how strong he was. Then I had more.

Respect for him. How strong he was. But I loved all drummers, and we don't compete. That's one thing Grew taught me.

He said, when you join my Vision Orchestra, don't compete with Billy Cobb because you will lose. They just compete with yourself. And that freedom me so and talking you asking about other drummers. I have just just pure love for all drummers, I really do, and I try to learn from all of them. Learned from Bernard Perry how

Wait wait wait wait wait wait wait wait, how do you even know that band? That band was from San Francisco, never really you know, broke through? How do you how do you even find cold Blood?

I'm in Kalamazoo, Michigan, and my best friend played trumpet with the band we had called Avatar named Bobby Knapp. Bob actually later joined the mob structure, but Bobby w be my god, turned me on this stuff. Bobby said, you gotta hear this thing. He played me cold blood, sissyphus think of shop talk Boa, digging, do, digging tan, don't don't dig it, don't do and.

The drug so clean, so pure, So like, who's that? That's Sandy McGee And then he could.

Sing too, there's been never a funk your cat beside a cobbin, and the dad looked a little.

We love.

But at that time in my life it was Sandy McGee had so much shops and knew how to grab the symbol.

He became my guru. So I have love for all these people.

And quite frankly, the Cold Sweat I can't leave on class Toblefield when I'm a kid, Cole Sweat turned everybody out. And if you couldn't play Cold Sweat, you couldn't play, you know. You look about zigg booh and talk about the Sizzy strip. That was important too. Everything's important in the in the rhythm world. In the rhythm world, if you can't or don't know these things, there's something missing in your vocabulary.

Yeah, so how do you end up getting the solo deal? Oh? God?

But hard. After my vision I was lost. I cried, you know, and then Lenny White helped me. Cause on Lenny White's album Venetian Summer whatever it's called, Venetian Something, Venetian Knights, whatever it's called. He had a cat on their playing guitar who was mean, named Raymond Gomez, and I said, wait a minute, this guy caned meal to play. And I met Raymond Gomez and it made my heart feel happy, and I had met someone of you know,

Yeah this good MISSISSI.

Here's sus Houston comes in with her whole troop and a little eleven year old girl in the corner that's the daughter Whitney watching. And these women sound like incredible. So Tommy dwd really helped me a lot at that time in my life seventy six. And he also big on compression. Tell me about compression. Ray Charles will say, don't use your eyes, use your ears, so.

I hope him.

I'm not just gap babbling here. I'm just telling you what happened at that time.

Well, how is your experience in Atlantic and how did you feel about that? I love the fact that I could have a deal.

You understand, it's hard, brother, to make have half things happen in this music world, really hard and that.

But I had to make a deal. At the time.

I just say, listen, they said, you will give you a deal. We want to have your publishing. Okay, see those kinds of things we have to just do just to make it. What you gonna do shine shoes, What you wanna do my floors? You want to clean ash trays? No, So I'll give you half the publishing and Wired, I'll give you half pushing whatever it is, just to give me a shot to start making my own sound. So Garden, lovelight, I cry and smile Awakening And then that's when the

You know. I love Atlantic Records. I love Atlanta Records. So how did you end up getting into the other side of the business, on the other side of the glass.

After I had I Should Have Loved You? Now I'm watching Don't Forget. I watched George Martin produce Apocalypse of Marvish Orchestra. I watched Kenny Scott Ken Scott do Vision aw moving on. I watched you know, Tommy Down, I watched these hot shot cats. You know, just by being around you, you learn. And then I told Henry Allen, who was the president of Cotillion records. You know, we don't talk about Henry, but Henry was a big shot.

And I said, you know, Henry, why you let me produce this girl for four tracks? And I'm four songs now, I'll make an album if you like it for stats Aleatta's all I know you want something happened for her, She's eleven years old. And he said, okay, okay.

I said, if you know you won't lose that much of it to do four songs, and if you like it, just you know you would finish it up. So I got a very small budget and I went back home to Samay school and I wrote and put together with my band, you know, Corodo Crodon guitar, Frank Bartiner keyboards, TM Stevens bass, and myself. I wrote let Me be Your Angel with Bunny Home, Dynamite Jumped to the Beat

So I finished the album. She had a hit.

Liviy r Angel was a big hit Dynamite did did really well for her. That made the phone ring. Now Clive Davis is calling me. He said, well, how do you learn how to make that kind of record? Said, well, I'm from Michigan. I love music, you know. He said, well you want to produce Dean Warick. Damn, Dean Warck is my my hero back, I'm my heroes.

He'll go and visit with her.

That was Clyde that said it to me. So I go to LA I bring thirteen songs. But Diane didn't like my songs at that time.

I come back. Call my call Claude. Is it clid? She didn't like my songs. He ain't don't work, don't wory about I about to read Franklin or Wreatha Franklin. Uh yeah, he said, just give her a call. Just give her a call. So I called Wreatha Franklin. So I say, well, what do you do to have fun? You know?

She goes, well, maybe I'll go out to a night club at night. I look around the club. I see a guy in the corner looking good looking at me. I'm looking at him.

She goes, it's kind of like a whozu Manhu. He thinks he's got me. But then the fish jumps off the hook. Damn, the fish jumps off the hook. Who's When I'm writing this down, this is how she talks for real. So I got off the phone call.

I called my buddy, Preston Glass said, Press, we gotta take her the way she talks.

Make a song out of this. Here we did.

I go back to Detroit and I start working with Aretha, and then I realize how tender she is because her dad just died. Her dad died from the colma being shot in the church, so she's very tender. But she sings her ass off two songs Who's Them? And who and Until You Say You Love Me my favorite of all. And then when I come back home back to California, Preston says to me, what about that song Freeway of Love?

Whitney.

You want to be on this project, he said, And I think, He said, I think I have a song idea. He sent me the course of how will I know? But there was no verses. I said, I gotta write some verses of those things. He said, then let me ask the writers.

If you can do that.

You call the writers and the writer said, okay. So I jammed out on the same section for Aretha.

How will I know? Bang on the piano, sing the thing, bang it out, call it Whitney. Can you sing high? I'm the other thing with the high? Yeah, I can sing Hi. That's how I'll just start a snowballing.

Don't forget ant the ballfield came before that too, Philips Hymon, Patty Austin. There was a whole lot of work in there building me up that I was doing different different people, different labels and things.

Okay, Clive has got a reputation for meddling with the music. To what degree did he meddle with the record?

You made different degrees on different different things early on, for as the book feel he may want me to do a song or something. He might choose a song or two, but then beyond that he wouldn't. He wasn't that crazy. He was always cool, you know, feel the time.

Whatever? Because the demo the baseroom pattern was wrong to me. It was a four a five bar pattern, the base from going around wrong to me? Were it never really grounded.

And when I couldn't make Clive happy about the thing, he just so much loved the demo, I said, well, what is I said, you know the baseroum pattern is a five bar pad and he says, well, maybe that's what I love about it, the floatings of it. I said, all right, So I cut up with the floatings that he liked from them, and then he was happy. But I haven't had like a lot of battles with Climb

That was my combination of how to make that stuff swing, and we did. So what's your magic in the studio? What is it that you had that makes the song go over the top?

Oh, honey, I love you. Thank you if you asking me something like that. I'm very dedicated to work quickly. I don't take a long time to do stuff, and I use my gut. I always think what's the hot what's gonna be hot on the jukebox at the black ghetto joint in Kalamazoo on the jukebox, what's gonna make them chicks when they get that little drink on feel good? I think about that, And I also think about on NASA's boat, what's gonna sound good for the rich people.

And what does that mean.

That means the rhythm. The rhythm gotta be right. When the rhythm is right, everything's right, then you're gonna make it. The little pop up sound good. Oh I want it with somebody. Uh, I want to feel o the hey with somebody.

Huh d. It's all the rhythm. How you do it. If it sounds too straight, no, you gotta put that thing on it. So that's what it is. Put it. Put a thing on it with the rhythms.

The musicians, the bass player, Randy Jackson's guitars, put the rhythms.

Okay, there are a million different musicians with a million different attitudes. Do you find people are amenable to you saying, hey, let's do it this way that way, or do they come and say, no, we got to do it my way. No.

I work at cats who do it my way, and they'll take my way and make it even better. I take I take cats. We'll start with my way. If they bring something better to the pie, I'm cool. But if it's not better than no, no, no, it's.

Gotta be this. You got to have a leader. You gotta be a leader, Bobby, you gotta be a leader. Well, sometimes that causes friction, doesn't it.

Well, I don't care about friction. If if I'm the producer, that's my job. On the director, that's my job to put lay down the law. Try try your idea? Is it either good as not?

Sometimes it is? And the ideas you have like some things like the rhythm you know, or part of your DNA. But did the other thing just come out of thin air? Like you're standing in the shower or you walk into the bathroom in the studio and all of a sudden you have an idea? Where do the ideas come from? Oh?

I got an inspiration. It's with this twenty four hours a day. You're right, Grew taught us. Just reach your hand up and grab the birds inspiration and bring them down anytime.

So I know that trick.

I can write hit anytime if I really focus or write something. I think it's strong if I really focus on it, pray on it, and you ask God to come through. God can come through, you.

Know, and you say you work quickly. Yes. It's one thing to get the sounds lay them down. It's another thing to mix any cute To what degree do you labor over the mix? Very good.

I got you, So I'll cut something quickly if I can. I work with a team of people who understand my tempa. Because what it is, Bobby, when you sweat and you're and dirfor it's kicking in, you want to grab that while it's happening, even a ritha. I'll have her get the ending of the record first, sing all the soul, get all that first, before we ever get too technical in the verse.

I don't.

I want to go so fast we go beyond the mind because you break the mind up. The mind's gonna start judging and criticizing now that and you can ruin it. So then I go quickly on that stage. But then mixing, now I can say they phraser my main cat. Will take your time, take a couple of days and get it together. I'll give them a rough mix what I love, the balance of what I love. Then you can take another couple days where refine it. That's fine, that's fine.

Okay, you're in the studio night and day. You're not doing drugs, you're not drinking. No, no, no, no, it's music. It's all music, okay. And now the money's starting to roll in. What do you do with the money? Hm hmm.

Well, you know, money's funny, man. Money comes in, money goes out quick too. You got to careful, you know. I had a good time. I was married back then, married married and did nice things. And now I have three, three children, and money comes in and money goes out. So it's funny, man. Hard hard to keep keep a hand on it. But I've had some wone of the times in my life. One of the times my life. I'm very very happy with my life. But money, money, money, money is tricky.

Man. Money's tricky. That's why I ask about it. Now, you gave up fifty percent of your action in Atlantic, the songs, in the producer royalties that you have. Do you still own those or did you sell them?

I have sold some publishing of a few of my things, and I have the publishing of some other things, so it's kind of a mixed bag. I own the writers, writers share and all my points as a producer. So I'm like like like like that, and so why did you sell the publishing?

Oh maybe I went through a divorce and I wanted to make it all, you know, good for somebody else like that, I see. But at this point in time, is revenue's still pretty good from these royals.

Yes, I'm happy to have a good life. I'm happy to have you know, my studio which I'd love to come visit. It's called tart Ban Studios. I've had eighty five. I mean, the molecules in here are just just incredible. So yeah, I'm I'm able to make it. I'm able to feel good. I'm able to keep to continue to make more music, you know, and stay happy.

So how did you meet Q and what influence was Q? Quincy Jones? Early in my life?

It's funny, I hadn't gotten the tarpen yet. I was still over the automat studios and San Francisco. I don't know how we actually hooked up at one point on the phone or something, but he told me said, we need we need more helpers in the production world, more helpers, okay, And I kind of knew he was right because I was having a hard time finding other helpers in my world,

Okay, okay, not everyone's gonna understand that. Go a little deeper. Don't strangle the babies in the crib.

Yeah, when you write a song, love it like your baby. You love your baby, You have a baby, you love your He goes, oh this trash, Oh theok got cute. Oh you've washed them, you know, washed the blood off because think public a chord, put a little hat on some little clothes. It smells so sweet. It might need some little mama's milk. Whatever, you take care of it. That's how Quincy taught me to take care of the songs. And then he would also say, you know, the chorus,

End up getting into sound tracks?

They call you when you get hot, everybody calls you. And when I realized about soundtracks, they're looking for a hit. They don't really just want an album track.

For example, a movie like even License to Kill, a James Bond theme, you know, License of Kill.

How do you make a hit out of that? But damn, I challenged myself. I said, nah, to make a hit out of License to Kill? So I think I go to the piano and make a sweet powerful the bottom of Sweet Melloy and make the theme like I have lies to kill? Anybody will try to hurt you or take or take or take you to take you from me.

So every producer has their moment and then it starts to fall off a little bit. What was that experience? Like? Have I fallen off? Bobby? Have I fallen off? I'm not saying you have a phone off, but I'm not saying you're done. I'm saying that it's sometimes you know, the phone doesn't doesn't stop ringing, then it rings less.

I got you, well, how my hand and phoning and rest ringing less. I'm good. I'm good. I have so many people I love working with still and still enjoy making the music. I regret that I don't have a better situation to get the music heard the way I like. That's what I most regret. People who are unsigned. We'd love to sign them, but how do we get him hurt the way? Want to get him a hurt. That's the thing I missed with Clive and becn day old day of Rster Records.

You could produce Kenny G, who be nobody but he Now you're hearing Kenny G every hour, take a catle, even Jamaine Stewart, We're gonna take our clothes up.

Now you're hearing him every hour, even when he Houston this year, every hour everything you were hearing, hear and hearing.

I missed that component. That's what I missed the most. He had all that success behind the board. How did that aff affect your solo career and do you have any regrets? No, I have no regrets at all.

I love my life everything I've done, but with a good feeling of what's good for me, what's what's right for me.

So I have no regrets about anything. No. No. I mean, do you have a regrets that you didn't spend more time on your solo career? No, no, no, Because I wanted to do many things which I have done. I wanted to do many things. I can say to you.

You know, I've played with the greatest jazz rock cats in the world. You know, I played with Ruther Franklin. I worked with the greatest singers of all time.

So I like that.

I like being versatile and spreading the love around more so than just doing one thing over and over and over and over and over again. Yeah, so how do you end up in Journey? Well, I don't play live with Journey. I don't do that anymore.

I just did, but you did for a while. Oh yeah, I did you know? I did? I tough strong. I did a double album.

First, I did the solo album for Neil Neil and showing the guitar player, called the Universe, which is a hell of an album. Then during COVID, it overspills and it well, let's make a Journey record. It was became a double album during COVID.

Here I'm.

Writing songs with Neil or you know, in letting him do his thing because he's missed a journey. And then you bring in Jonathan Kan to do his thing. Send tapes to Randy Jackson for bass, get on the zoom skype for RNL in the Philippines, get his vocal you know that way put it all together. Maybe give some stuff to Bobby Clemon and mix it up. Bobby's doing a good job doing that. So he made a double album. And then it came down to play some live shows

Oh it was so hard, but I loved it. But it was just hard. Care who you are. You don't want to step into that gig and just learn nothing. You got to know it.

So then we brought in Dean Castranova, who knows that from twenty years playing that book, and that helped me a lot because now we can play a lot of the different pieces they wanted to get into and we could rock it together and that was great. I think about nine shows live, some big ones like Lollapaloo's and all. That was really a lot of fun.

Yeah, okay, you know, the music changed certainly in black music. It became more of a hip hop world. What's your viewpoint on hip hop?

You know, I'm a student of all the music. I try to learn from it, whether I like it all no or you know, like or love. I just try to learn from it so I can be competitive if I want to be competitive. That's where I come from I missed the lack of melody and music. I missed the lack of bridges. I missed the lack of what I learned from Motown when I learned from all the great songs, an you won't can hear no Burt Backright tape songs no more unless I maybe it's Golden Hour,

So I missed that.

I can't lie about it, you know, but as being a producer, if you hire me as a producer, then you're hiring me to be competitive with what's going on. So I got to know what's going on. So I learned from it and I used parts I like and then mix it with But I think it's some good music. That's what I've always kind of done, really mix good music with the thing of the day.

Okay, this is audio only and people can't see. But you're wearing jewelry around your neck. What is that jewelry represent? Oh?

I have a cross today I'm across my wife gave me. I want to make sure I'm telling you the truth, nothing but the truth. I got a little hook from that grit, great film, Well the Maana the hook Man. I got some beautiful beads from my son Michael. He's five years old, Keep me youthful happy. I got some beets from Hawaii the Aloha love Spirit. I want to break tround bringing everything to you for your interview because I heard all about you.

Two things.

When I did a concert with Jeff Beck at the Grammys. You said something that was very kind about my work at the Grammys of Jeff Beck. I don't know, I don't even know what it was now you said, but it was just something that was kind, and I thought, this is very nice, and I have wanted to find out more about you. Then I realized, you know, you're you're not spoken cat. So then I say, well, you want to do, like, you know, an hour and a

So here while you're doing you've have brought the best. So just tell me a little bit. You know the other thing people can't see. They can't see your studio. Tell me about your studio. Oh, it's the best.

Tarpan Studios it was first Tres Virgo, a pre existing place where they've done Greg Grateful Dad, Stuart Copan, your big guest. I heard that show you're recorded in here for Rumblefish right out there. It's just a massively beautifully built room with great wood at each room is isolated with iron steel, so it's really like the gooda one of isolation going on.

What about equipment, are you equipment geek?

I'm not a geek. No, those are those my engineers. I've got the SSL console from the day we used to have tried and console. Now it's SSL. I have to have my tape machines over here if I want tape. But we're mainly pro tools. Can't lie about it, mainly pro tools, you know. And got great microphones quite frankly. My favorite microphone is a cheap microphone, the SM seven. That's why I used for a wreathing for Whitney because it cauld handle screaming and tender at the same time.

Tell me about the racism experienced in the business. Say it again, what is it? What racism? Yeah, you said racism, right, racism? A racis what you want to know? Man, what do you want to know? What you want to know? Well, you're an interesting cat because, first and foremost, whether it be racism or not, a lot of rock music was white, okay, and you played in jazz and rock and you know it's listen, we live in a racist country and I'm sure it's something you've experienced. Yeah. I have.

At the same time, I learned how to how to how to get through it. And the way to get through is just keep being bad ass and don't worry about it.

You know you don't.

You can't crack you in on a rolling Stone magazine. You're gonna ever be on a rolling Stone magazine, you know what I'm saying. You learn to live with the reality of what it is. At the same time, you keep kicking ass.

That's what I do.

No matter who I am with, I kick ass. If I'm with Jeff Bett, kicking that ass, he loves it. Whoever it is, whatever, kick the ass in the studio, kicked the ass. Don't worry about the thing, just do it. Put it down, Put it down. You talked about.

When you first went to see Mahavi shu to Orchestra, you were in a bad place and you thought the world was in a bad place. What do you think about the space that the world's in today.

I think we're gone. You go two steps forward, one step back. I think we're still going one step back. We're still kind of requestioning. What we did when we went two steps forward was really good. Now we're step back to kind of reassess everything and then doing so, we're getting caught up in the quicksands.

The quicksands are catching us.

So I'm praying we can kind of get the quicksand off our boots and be able to step a little bit forward now on the light. Keep what we were searching for, what Martin Luther King tried to put down the sixties, feeling good about each other, feeling good about trying to bring love to the situation.

Even the hippies smoking the little grass Hendricks, the flower power. Keep that love going, the flower power, keep the love for the family, for yourself, for each other. It's important America thrives on the best of all of us coming together. What will the world will be with that little Richard and the music came.

Out out of New Orleans and Louis Armstrong and Ray Charles and all that music came down.

So we have to love America. That's what I'm saying.

Let's not go back, Let's go forward. Let's not let anyone like divide us. All that dividing thing is bullshits. We got to see it together, you know. And when I watch sports, I see a lot of black cats playing the football and white's cats are embracing that. That's wonderful. Let's keep it going. Let's keep it all going. We need each other and music brings us together, which is what I love the most.

Speaking.

Our racist might can go to inn in the country and play the music and they love it. So I found a secret how to get above it. Just play the music and bring us all together.

And you've accomplished so much. Anything that you're reaching for in the time you have left, hopefully thirty years or so. But anything you want to implic sure, doom. I want to accomplish that. I'll make you happy today. You're a smile makes me happy because I know if I make you smile, because I know you've heard a lot of music.

Then you've been and you're a Taurus. You're born at the April twenty first, like that April twenty second. A second, Yeah, yeah, you're born David, David before you, but a year later.

Well okay, see if I can make you happy. Shoot, man, I'm doing I'm doing something. I'm doing something. Well, you really have made me happy. This has been a wonderful surprise. You're a great rock and tour fascinating stories, Nord. I want to thank you so much for spending time with my audience.

Oh, thank you, Bob, and do come and visit us to tarp Insidios. You know I'd love to and anything I ever do with you. I'm down with you now.

Thanks so much. Till next time. This is Bob Left Sets