Legacy and Final Thoughts

ack is a little place where we can get together L baby. Such a crazy good. Crazy gir. Luxury Today we're talking about the signature song of the ultimate New Wave Art Pop band. That's right, Tiallo. This song helped bring the band back to cultural relevance after a two year hiatus, ending up becoming their first billboard topop forty hit and their first million selling single. But we knew we didn't want to keep all this love to ourselves. So we brought the man behind the board producer of the song to Hel us Break it down So hurry up and bring your podcast money because we're talking one song and that song is Love Shack by the B fifty twoos So S. This episode is brought to you by Prime What if you had one more chance with the one that got away? Sam, you came home. Based on the bestselling novel from Carly Fortune. Every year after follows childhood friends, Sam and Percy, as they reunite in the dreamy, nostalgic lakeside town of Berryess Bay Love can be hard to find, so if you're lucky enough to find that person, never let go. A second chance at first love, every year after, now streaming only on Pime Study and play! Come together on a Windows eleven PC. And for a limited time, college students get the best of both worlds. Get the unreal college deal, everything you need to study and play with select Windows eleven PC's. Eligible students get a year of Microsoft three hundred sixty five premium and a year of Xbox GamePass ultimate with a custom color Xbox wireless controller Lear more at windows d. com slash student offffer. Law Supplies last ends june thirteth turns at aka. mS slash college PC. I'm actor, writer, director, and sometimes DJ Diiala Riddle. And I'm producer, DJ, songwriter and music Holologist Luxury, AKA the guy who Whispers And this is One song. The show where we break down the stems and stories behind iconic songs across genres and tell you why they deserve one more listen. You will hear these songs like you've never heard them before, and you can watch one song on YouTube and Spotify. While you're there, please like and subscribe. And if you're looking for even more music facts, more conversations, and more of these two guys, we've got a Patreon now. go to patreon d. com slash Diialo luxury. That's patreon dot com slash our names. So as we've mentioned, we have a very special guest with us on the show today. In addition to producing Love Shack, he has won six Grammys An Emmy, a BAFTA. That's the British Academy Award. You may know him from his band was not was with hits like Walk the Dinosaur or from his work producing the Rolling Stones, Bonnie Rate Pop. We're not done with the intro. He's also worked with Bob Dylan, Will Nelson Joh May, Elen Johnarthrooks Leonard Go, Osy Osbne Mor May, and Franks Electtra Jr And it doesn't stop there. He directed the documentary Brian Wilson. I just wasn't made for these times. He's an incredible bass player most recently with the Bob Weird trio of the Wolf Bothers. and he's the president of Blue Note Records. Please welcome President Don W, not W. President Don. Thank you very much. That's my favorite President Don right there. The best president That's about the best president we have right now ' not saying much blow bar, but you cleared it. Dawn, it's so great having you on the show. beforefore we launch into today's song, we want to talk a little bit about you and your career leading up to this moment in nineteen eighty eight. It's likely that our audience probably best knows you from your solo career from W notot W probably Biggest hit walk the dinosaur. Let's hear a little bit of that. Just sc p the eice. watch my I wasm just gonna say it's a timestamp. It's like a snapshot of the moment. I wonder time that was. I feel like nineteen eighty seven eighty eight is like the last time you have like you know, horn sections in major pop songs. Like I feel like by the nineties, we sort of moved away from that all a bit. All synthesized, ye. I synthesized, but like so perfect. Can you tell us a little bit about like what it was to work on that song? It was the way we always worked, We were primarily a live band. and we come from Detroit And I j out of the motor city I think we sounded like the motor city I can totally see that. I think that's what we really try to do is reflect kind of a jambala of our roots, which includes everything from Heaven Stooges and MC five play play at my high school wow to, you know, George Clinton. George George Clinton actually played a socc hop at my junior high school ninth grade dance For those of you who don't know a sock hop means it's a dance in the gym and they don't want you to scuff up the floor. They tell you to get out of shoes. So you' dance in your socks. I't know that. actually did That's a fantastic. And we talked a little bit about this on a previous episode of this show. The George Clinton, the Parliament Funkalic episode, go check that out. late sixties into early seventies, Detroit and that area has an incredible blend. You've got Ted Nugent, you've got the Stges, as youentioned, you've got Gars Clinton. And this Stew of musicians Everyone was listening to each other, and everyone was borrowing ideas from each other Part of this Jum Belah, as you said is, what makes it into this song? Yeah, and there's a rawnist. music that comes out of the city. I think it comes from being a one industry town. So people, first of all, came from after World War I, they came from all over the world work on the assembly line and they brought the cultures with him. So it was a really rich musical tapestry. But beyond that If it's a one industry town and everyone's fate is tied to success or failure of the auto business. We live in Los Angeles, we don't know that's. There's actually no point in putting on any errors there, you know, because everyone's you just know you're in the same boat. I never knew anyone who you leased a Mercedes to impress their friends in Detroit because no one would be impressed. They'd just say, what are you pissing your money away on that? We know who you are, So the music kind of reflects that. I'd actually He' John Lee Hooker as the epitome of what Detroit music is all about. He does kind of like come at's like he's almost like the hub of a wheel. I believe so. I think everything whether it's the jazz, the R and B or the rock and roll. everything kind of stems from the black experience and by extension Ein M, who who's You can do hippoem andem, you'd have no white stripes. Yeah. You'd have no J Dilla without John Lee Hooker You've literally mentioned like artist that we've covered on the show. So by the way, that song was by W notot was. and we could do a whole episode on that. I did want to ask you have You know, production credits on all those was not was records was producing for others something that you always wanted to do I did. I always want to produce records For some reason, when I listened to them, even when I didn't know anything about how records were made I'd focus in and think, that's a cool snare sound. And I was thinking about behind the scenes stuff And then I was lucky. My partner in wasn't I was a guy named David Weiss, guy grew up with. Th folks were voice over actors When we were little kids, theyd take us to the studio with them and go down to United Sound, which is where John Ly Hooker cut Boogy Chillin, where George Clinton cut dog an incredible history to this place. and Just to be around a room that had like looked like this, had mic cables all over the floor and cool. How old are you? How young are you? Yeah, eleven or twelve. Wow. But I just knew I wanted to be. You knew you wanted to be in that room. Yeah. And I ended up in the seventies They taught a class there. It was a terrible class. No one knew what they were talking about in retrospect, but it got me through the doors and behind the board of this flickkinger le, you know, and hands on and I and I learned the one thing I did learn was that Well, a couple of things I learned. One was that if you look at the big mixing consoles, you think, wow, how does anyone know how to work that? And then you realize, oh, each line going down is the same. So if you learn one It's not that hard. twenty four track machine, twenty four the same thing. Right. Yes, exactly. So that was the first thing. And the other thing I learned was that? You can learn all about that stuff, but you better have good songs thoseose two lessons made it work. And you're very fortunate too to point it out in this era, in the era where everyone on their phone has almost the same level of at least technological capability. You can do essentially the same thing with You know, certainly Ableton and Pro Tools, but even on your phone that you could do in the studio with these giant machines. But back then It was very rare and experience and expensive to be able to be in a room and forget about knowing how to learn having the ability to learn it, having the time, having the capacity. So you're quite fortunate. And as cool as the technology is, it still doesn't guarantee you're going write a song like a rolling st. completely different than a skill set ye. So If you don't have that, I don't know what you got So then is part of what your journey was, understanding that the full process of making a completed record included both the performing, the songwriting, as well as the technological capabilities. And very early, you were just there was all kind of one process for you. You're making something. It was. Growing up in the sixties, you became aware that the technology behind it becoming one of the musical colors. Beatles, really to Sergeant Pepper is what kind of illuminated that. where production techniques now started to dwell in started some awareness of there was a George Martin, that was part of what happen here. Yeah. yeah, you didn't know. they didn't give people credit records That changed the game considerably. but again, it didn't Why is Sergeant Pepper so great? and why did so many people try to imitate it and fail? Because the songwriting is also great Yeah write a day in the life to make Sergeant Ppper. Good luck. We did an episode on that one. We did an episode specifically on D. We agree, like part of the irony of the show and this conversation is today, I just to frame it. It's like as much as we're deconstructing it down to the minutia, you can't take that deconstruction and reverse it as a recipe. It's not a recipe to like make the thing You know possibly define it and then redefine it. I worked a lot with Brian Wilson and we werere good friends over the years. And he was talking about the smile album, which he started and shelved. and one of the reasons that he shelved it was Beatles kind of scooped them with Sergeant Pepper And he said when he got we'd like to take you home with us, we'd love to take you home It was such a personal statement. When he heard that Damn it. That was the line that did him in. That did him in. Yeah. wow. He said, you know, like to be able to say something that beautiful and direct to the audience and surround it in such Sonic poetry He was great at Sonic poetry. That's so. And he was actually great at You know, you know, if you listen to Caroline know or God only knows, it's not like he didn't do that. but he wasn't doing it on smile. He was going for something different with Van Dyke Park. But I'm moved by what you're saying, he was moved by knowing his story and his journey and his music making. Yeah. It sounds like his feeling like an outsider in many ways or not belonging was he's feeling included by this line. Well, it touched him and And he just thought he got scooped. and he packed it up and went home. We'll be talking about the Beatles more on this episode. There's a connection But yeah, in the meantime, in nineteen eighty eight around the time that we are moving into for the production of the B fifty two song on the Dcket today, this is kind of your biggest year with W notot was. and I guess the beginning of your transition into the production chair being being your main role. You want to walk us through a little bit how that transformation came about Well, I was trying to produce records Actually, we had a group that was deemed to be unmarketable and was not was We were assigned to a record label and they said, we don't know you're a marketing nightmare is what they told us. because we had three black singers, but the two white guys I thought guys were a black group, for sure. sure. There was a black guy singingal about walk the dinosaur and just it's like, o, where are these guys from? Yeah, well, that's it, you know what I mean? But they said You if you're gonna have if you're going to be a black group, you got to do R and B In fact, we went to Warner Brothers Records, which put out our first album. And they were shocked when two white guys walked in and they pulled us into They said This is how white people do R and B at Warner Brothers, and they put on a Michael McDonald record. Michael who is much beloved. in the black community, let's be honest. Well I love Michael McDonald. He's a good friend of mine. I've produced him. I think he's one of the greatest singers ever. But that's just not what we were doing. You didn't grow up be that And so so we were but they ultimately The label we were on put us on suspension. And they said, either beccome a rock and roll band and get white singers or you guys get out of the picture and just write and produce and be an R and B band. And we said, Well, that's not what we're about. We're definitely not changing the singers. So they put us on suspension. I thought that meant like baseball, you do thirty days and then you come back and they put your b. It dragged on for years, man we couldn't make records. we couldn't make records, we couldn't to. and that's how I started becoming a producer because people figured out Well like, these guys, they really just write and produce but they're not the sense they be that solid by putting the band in terms of what happened with your blossoming new career, as much as you didn't want it to happen Yeah. And by being able to do that, it also helped the band later on too those things enable us to start making our own records again How did it help the band? Well Well let me produce our records And basically. So if I started having success with other Bandans with other artists Then they took us seriously again But actually it kind of went hand in handed Havenving a successfully blk the dinosaur enabled me a different level of artist who's willing to work with me. So shortly after that, I was able to work with Bonnie Wate. I was able to work with the B fifty two ss, and that changed the whole arc of my life. Well, let's talk about the B fifty two' s. Do you remember the first time that you met them? And what was your impression of this band in nineteen eighty eight? Well, I was a fan first of all Back in Detroit in the early eighties, there was a DJ named the Electrifying Mojo. Oh, I've heard about this guy Moo you so Musically He wants to take you wherever. He had he's so undervalued and overlooked because this man changed the face of music globally, I think. He was on the R andV station in Detroit, but he understood Back kids and white kids listen to a certain kind of music that had God bl. Abssolutely true. So he was responsible for break and prints First of all, he was the first radio person in the world to play prince records. And he started playing the B fifty two' s. and he started playing talking heads. and he started playing craft work. in addition to George Clinton and Salamar and whatever other And so he formed this amalgamation of bllack kids and white kids It was a market that no one had really tapped before And he understood the commonality human beings and in the different styles of music. Now one of the things that happened was because he started playing craft work started getting sampled Yes. And so planlanet Rock is just basically craft work with with Africa Mambad on top. And that was was Arthur Baker and John Roby produc that, but it was because Mojo started playing craft work and then DJ started playing in clubs. Because at the time, by contrast, most radio stations were rigidly formatted a certain target audience that they thought could only possibly like a kind of music that looked like them that looked like the audience. That's exactly right. Yeah. And what's funny is that I feel like so many hip hop artists have sample craft work all through the eighties. Like I was going back through my favorite, you know, Luther Campbell two live crew Like, you know, Atlanta, we called it booty shhake. It's gotaazing. But like these kind of this kind of music, you always find a craft workork sample in there. There's always a craft work Elect. Yeah. It's usually either Trans Europe Express or numbers the main two that everybody goes. right. Well that's from Mj teelephone call, telephone call and sample. it's funny because you think of like, oh, why weren't they sampling can? because craft work was just too Simple and catchy. Y. And they never heard those sounds before. they had never soundosive Yeah the rhythms and sounds Well, how is that where you first heard the B? So Mojo was playing the B fifty two, so just as a fan of his show, it got me really into them. So I was a fan. Remember the first song he played that you liked by them? Well, probably Rock loobster, but. He also really banged Mesopotamia because he was in the Sopamia. It's such a great song. Yeah, it's great. Yeah. Mopotamia. I am no f What was the path to hearing the band and falling in love with them to hooking up with them to produce the records Well, it was a long rocky road. It seems like nothing now, but it was those couple of years when I couldn't put out any records of band could't we couldn't do anything. and I started prodroucce in local bands. was I was had a bit of a following in England from our first couple of records. So before we were on suspension, we actually had some people dug the band over there and we had club hits You have some great ones. I'm a huge fan of Willem M out. Oh, than you. That's great. mine is tell me that I'm dreaming. That'sam's great to all that Z record stuff. So good.. Yeah and eat breakfast stuff. Yeah. So so that was all before this thing. And so English artists started coming to Detroit and let me produce their records. and they came and sought you out particularly.. And they wanted to make kind of the sole pilgrimage to Detroit and work with our musicians take the tour of Motown studios and it was cool, you know And got to work with some really cool people. A band called Floy Joy was the first one to come. but Boy George and Marilyn and Helen Terry. What boy George did you do Bord George and I produced a record on PP Arnold for a movie soundtrack called Electric Dreams. So you're building the credits. and then at a cd point, is there an opening where the B fifty two intro gets made? Doewing those records led to getting a record deal out of the UK for was not was. And that's how we had to hit withlk the dinosaur, which then enabled me to produce Bonnie Wate in B fifty two's. Well, what's interesting about the B fifty two's album then Lve shhack isn't cosmic thing. It has Pretty much two producers, you and Nil Rogers, I have to ask, did they give you any insight into why they wanted Nil for some songs and you for others? No. I mean were that guy in the other stuff. You don't have to ask why you choose Nil Rogers We're born about four days apart. Really? N myself, Yeahah. But he was successful long before I was was To me, good times is one of the great That's one of the greatest records anyone's all time. and I was so thrilled. The first time was I was played at the Mud Club in New York, which is our first New York show in nineteen eighty. He came And I was just thrilled to meet him, you know So It was a perfectly logical choice to call Mile to produce the B fifty two. I was the long shot And it was probably audition on some songs. Well, before we go too deep into the song, let's take a step back and talk just about the B fifty two's luxury, what can you tell us about the B fifty two's? Well We're going to take a really quick deep dive. It'll be very shallow deep dive. There will be another B fifty two's episode in the future I promise you' such big fans of the band. But in brief, the B fifty two' s originally formed in Athens GA, roughly around Halloween nineteen seventy six when Fred Schneider Kate Pearson, Cindy and her brother, Ricky Wilson and Keith Strickland were jamming in a friend's living room at a party and it just sounded amazing. Wow. They just brought who they were into the mix with no pre plananned anything And then they took the show on the road to a local Chinese restaurant where they shared a flaming volcano drink, decided to form a band, and literally the rest is history They were sort of the ultimate new wave band. Again, we will do another episode where we do probably a deep dive into I want to say Rock Lobster, one of the most incredible. I mean, I have high school dance memories of this song. It's got retro, it's got camp, it's kitchy It's Surf Rock. It's got the sixties Herds And for about four records before this one, they just kind of rolled the New Wave idea. I would say them and Divo are like when you think of New Wave, you think of the B fifty two's Divo and I don't know L of Sagles. Lock of Seagles, Thereles,ate New Wave band We should also say that the B fifty two' s got their name from that distinct hairstyle. Yeah. That sort of tall hairstyle I wear, which itself is named after a B fifty two bomber from World War two. This is what Marge Simpson has technically, right?es abolutely. He' a member of the B fifty and her sisters Racing through the decade, we land around nineteen eighty nine's cosmic thing. At this point, unfortunately, co foundounding guitarist Ricky Wilson had recently passed away from AIDS during the making of their previous record After his passing, the band scattered, they didn't finish the tour for that record for bouncing off the satelights, which was their fourth record Around nineteen eighty eight, Kate and Keith relocate to Woodstock, New York. And the earliest incarnation of the band it should be said, they were switching instruments all the time. So Keith Strickland was the drummer and Ricky was the guitar player, but they all sort of played the instruments collectively. In fact, fun fact, Kate Pearson on the earliest records is playing bass live. She's the live bass with her left finger is playing all the one note bass lines. if you ever go back and watch old footage on the Farfiza or the Jupiter eight or something. So by the time this record Cosmic Th is being made, Keith is the primary songwriter on the music side of things. But they're working together as a collective. Yeah, that's right. And so with the new compositions coming from Keith, the band decided to record their next record and for the sessions with. You Don, they recorded a Dreamland recording studios in West Hurley, New York, just outside of Woodstock. shhout out to Woodstock What can you tell us about this place? What can you tell us about Dreamland? Oh's great stud. I just worked there again It's. though it's still there. It's an old church. Yeah. Oh wow. And it's just got a sound a sound The drum ceiling it's, you know Cathedral ceiling, I guess you call it? I don't know. It's just the wood, everything about it is just a great sound and room. and you can hear it in those drums on Love Shack, you know, That's powerful echo that comes back wasas it the Leed Zeppelin episode where we were talking about recording the sound of the room. It's a big difference. Big difference. Yeah. And before for pre production, were you part of the pre productroion at Berzville? Yeah.ight. Tell us a little bit about that because I think what's really interesting as we were investigating the making of the song is the B fifty two's writing process Oh it's fantastic. I'd love to hear from your mouth. I was about to say the horse's mouth, but's you're tal to the guy't sayciate. It't notound the right thing to say. But I do have a quote from you, which I want to hear you elaborate on where you said they would just jam on a groove. They would sing stream of consonsciousness riffts. A lot of it would be unremarkable, but they put all this down on yellow paper And then they would put that on the wall. Tell us about that. They would just do stream the consciousness for half an hour against a groove then Each one of them, if they'd lik the line that they sang, they'd write it on a yellow. Fred so you're saying Fred, Cindy They had three yellow pads. R. Yeah. Okay. And then they if theyd take the page and tape it up to the wall. and then they'd start building this chain kind of when they got down to the floor There must be a song in there, right? They had previously sent me demos of songs. And I think there were four songs. and Thatot throughom Early That's what we rehearsed at Berarsville in the barn there. we moved over to Dreamland, cut them and we had an extra day We're set up You got anything else? Well, we got just one thing And they pulled out this scroll. And nothing repeated. I'd love to see that scroll. Is it lyrics and melody ideas?'s just's just lyrics. And it's just the best of what they improvised And the groove they played, it reminded me of a cool jerk by the Capitol We good Detroit oul record from the sixties so I could I could relate to the groove and I thought, this was a cool twist for the B fifty two' s in the soul music Yeah, that's I think that's what makes this song maybe different. you know, I don if I had heard of them before Love Shack, it might have been Rock loobster and this feels like a very different There's like when Bowie goes from what he was doing early on to like some of those late seventies records where his rhythm section solds it up. Yeah. Well, that that's exactly they were always a groove band. Yes, but the grooves were different This was soul music groove, so it kind of it spoke played a major role in organizing the chaos becausecause there's a lot of great ideas, but they need to help finding what where Pats, and how do we make it three and a half minutes? They gave me the scroll. Yeah. And I, give me ten minutes. I'm looking at all the great lines, you know my Chrysler, it's about to s We're going to get into then. But they didn't seem to be a common thread, but When I was reading through it I didn't know what it meant, but the thing about the love shhack It had different chords, first of all. it seemed, all, maybe that's the thing that holds it together. So it took about ten minutes to edit thirty minutes down to three and a half. What's what interesting to me is that you're only looking at lyrics. There's no melodic ideas necessarily. Well were I heard parts of the jam. did they play like a work tape or something? orere you heard of jam? Yeah. Yeah, they' just what they were jamming into. whereere they the thing that they transcribed the lyrics from just a cassette But in about ten minutes we had it down. You helped organize it and come up with something to repeat because there wasn't much. Yeah they sent me in the other room and I came back with. That's the other thing. I can't wait to get into the stems in the a capella when we listen to the vocals because that's what struck me the most in this song is there are still about a dozen different vocal ideas, maybe twenty There aren't a lot of things that repeat. No. There's only a handful of melodies with the same lyric that you hear two, if not three times throughout the whole song. And you never but that's part of why it's such an incredible composition All right, well we're gonna to take a quick break, but when we get back, we're going to hear some parts of Love Shack that like you said, we bet you didn't even know we're in there. We'll hear these incredible vocal harmonies that go throughout the song isolated. and we've got Don Wz here to tell us exactly what went down in the studio and what we get wrong. So stick around and we'll break it down One new message. Translating y and Pixararss Hoppers is now available on Disney plus. You could say that again. 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How about a creamy mocha fappuccino drink? or a sweet vanilla? smmooth caramel maybe, or white chocolate mocha. Whichever you choose, delicious coffee awaits. Find Starbucksappuccino drinks wherever you buy your groceries All right, welcome back to one song. Let's get into the stems L luxury. I bet you wantan to start with the drums. Well let's listen to Charlie Drayton. with that classic motown sounding pickup. just laying it down and you have an incredible sounding drum engineering situation.. What do you remember about this on the day? Well, the first thing I remember is Charlie knows how to tune his drums and he knows how to hit him And he's got a great feel. and a undulating swing because I knew everythingvery he plays And he's just a really gifted musician. He's as great on the bass as he is. I've used him on sessions both as a drummer and a bass player. He's just an incredibly gifted guy. so it starts with him and his touch and how good his drums sounded. I was going say, I love that fil at the beginning because it' veryick you hit dancing in the street totally daning It's dancing in the streets. I'm sure we could pick another dozen like Lowown alone just on that label And very much evokes from the From the get go the sixties feel that we're going to be hearing throughout the song As we go through the instruments. There's a little bit a little stacks over here, a little soul over there But Charlie got that intuitively. the song Mhm By the way, this is the first take Is the band playing together band is yeah and singing together. everybody's in one room. Everything we're about to hear is that same first take. Yeah, we might have punched some vocals. A little more shine for Charlie Drayon who you're saying. O obviously we hear what a great session. And also you can hear what a great room to have a dreamline because those echoes that are coming back into the room That's the room. Yeah. It was right there from the g. Sounded great Charlie Drayton has also played with the Rolling Stones, Keith Solo with Expensive Winnose, The Colt, Miles Davis Neil Young Shaka kind of like you with a crazy list of names. Yeah. Janet Mariah, Courtney Love. But in the iconic video, he's actually that's actually not him playing. It's actually Zach Alfred who was B fifty two's touring drummer at the time. So just to give them both their equal but different shine. what you're hearing is performance by Charlleie Drayon. And I called Charlie because I'd seen him play with Keith Richards band before I'd met Keith And I just thought man. he and Steve Jordan would switch off. they say they both have a similar really hard hitting snare sound too. Yeah, But Charlie just has a little different feel and I thought he would be was just perfect for this An much. Let's hear a little more of Charlie Drayton on the drums. This is from that free chorus. So just a really quick overview of the arrangement. It's pretty simple. This song is a groove And it has a couple of moments where there's a four bar build basically where it changes. but the rest of it is just literally jamming on a two board groove Here is that pre chorus essentially What he does is build the tension into the chorus L place where We get together Real subtle Yeah Yeah veryy Motown Yeah. Bery Motown. Absolutely. that Mot toown B basically that does snare on every beat. Yeah. Again, Drayton's not doing anything fancy, but it call it's what the song calls for and it's pocket. It's heart and the feel and swing It's got that real subtle swing. It's barely even noticeable, but it's there. What can you tell us about the base? All right, let's listen to Sarah Lee laid down a stone groove Sary was in the Bandang of four And she also she grew up I didn't know this. Yeah. Yeah. And Sarah Lee played bass on one of your favorite gang of four songs. Which one? I love a man in uniform I love to see you She went to high school with my wife in Leeds, England, ye. So she's British. Yeah. I was gonna say there ain't no way no American lady found her way a game of forth.. But she played pretty funky on that. by the way game of for is it absolute That is what Sarah Lee is playing in this song I forgot that the amp was so distorted it's loud. Yeah. What's crazy is the round is like it sounds like the Stooges now. Yeah I Yeah. I love that. Well. I always felt that there was a very fine line between the Stooges and James Brown. I thought that they listened to him law enforcement felt the same way U That's the best joke you've ever on the show. I told a lot of great joes. I than joke. I thought the Gary Glitter one was pretty good. I'll take comp. Now you're absolutely right, Iggy's music. we did an Iggy pop episode. Look, obviously we have shared taste in music. I notone all the people we've been talking about today But on Iggy, we really reinforced we did Lust for Life. and we talked a lot about how he's groove oriented, not just musically, but how he sings is percussive more than it is melodic Yeah It's more James Brown than it is. He's Detroit guy. He grew up listening all that. and it's just it's the feel of the groove. is a little different, but I know that they were listening to that and that it I love that. There's a hardness to it, I would say. mayaybe that's the Detroit G. I think so too.ike you think about the stoog, this fun house. Yeah, that doom do do do do do. And then you juxtapose it with like doing it to death? Yes by the JB's that d bench down d down d like there's both of them just have a groove that goes the whole thing And your front man just has a good time on the., but you're pointing out to me that there's literally a James Brown song where the drum Syncated drum pattern is the same as on Funhouse I give you another connection that Charlie Drayton played bass on Candy, the Iggy Pop. Oh song that I produced He produced. Yeah. We came from the fifty two's. Yes Y And I just said that was probably the first Iggy pop song that I ever heard in my life. I didn't really have exposure to that stuff. I heard Candy. I was like, This guy looks weird, but this is a really catchy song. That's what it was supposed to be. That was a mission statement Let's listen to a little more of what Sarah Lee did on this track So this is remember before during the drums, I mentioned there was that four bar breaking up of the groove build. Let's listen to that and then let's talk about what might have inspired it You' the Gang of F now we sh. now that you've said Sar L in gang of F, I totally hear it. This is insane Yeah And let's talk you mentioned before the cool jerk of it all. Let's listen to a little bit of the Citol's nineteen six. becausecause this is the moment where that connection might become a little more Explicit That f was a pickup right there. You gott to bring back fast daning, I feel Yeah. You do the Mlly Ringwallds on that one. be like this, you know? This is the back on the two and the four on the backbeat. Yeah. But that song you mentioned was as a reference point for this one, and you really hear it in the grove in the drums and bass. Yeah.. Luxury, let's get into some guitars. I can't wait to hear what you have say. Lets do. Let's listen to this is Keith Strickland On guitar, let's listen to the main riff. it's just a two bar cycle Bring in some other stuff Yeah, rememember he was a drummer. Yeah. He's playing rhythmically. Yeah. It comes naturally to him play rhythmically, doesn't it? Yeah. But can I also say this is like a period in I would say like for the lack of a better term, indie rock, which is, you know, just about to break It's called college rock. College rock sure, sure. Like those kind of like jangly guitars sort of pretend portend of what's to come next, which I think of like Tw the Wet sprocket and some of these other groups that period. But they also harkened back speaking of Gang of four. Yeah. I would be here in this anent guitar stuff in Gang of four.. Yeah sort of stabby. Yeah. Yeah. I could see that too.. I also think he He worked a lot Still does, I assume. and different tunings I don't think that's a. the standard e tuning. Oh, really. And when they toured He had like thirty different guitars each Well that makes sense And there were two in case he broke his string. So they had to have two for each tuning. We're going again, there will be its own B fifty two's early days episode because on Rock Lobster to your point. like that's got a crazy tuning. It's basically a Joonny Mitchell song. There's it's tuned to C, I think and then F And then I think one or two strings are missing. So incredible, I can't wait to do that separate episode, but you're right. It would make sense that he having to play that song. In addition to the rest of the repertoire would have a bunch of different guitars on. You should have him come in and talk about it because he knew exactly what Ricky was doing and he was emulating in the way he tuned for this. Yeah. Let's listen to what Keith does during that four bar prebuild. And it's an interesting moment. This is kind of a little foreshadowing for what happens in the vocals We're in C Mixolidian this whole time. but when we go into the pre chorus, we're hearing it's going from the one to the flat three to the four to the flat six. and that's important because it's really evoking A handful of those R and B kind of stacksy mid sixties Songs, soul songs. and well I'll play a couple of that kind of harkens too ree What It's so subtle but like it does so much. Yeah. 's great Yeah. that buildup, I'm trying to think it's a House of the Rising suns. house in the Rise. I think this were all rock and roll garage band. House of the Rising suun? Yeah 's also this one. Oh there you go, yeah, ye Ver good. That's Samon and Dave, hold on, I'm coming. But another song that uses all four chords. this is from nineteen sixty six. Spencer Davis group g give me some loveven Yeah, there is That's the source right there, right? That's sure a cononic source, right Yeah. crazy that CeB Win was like seventeen by them when he did Do we think that not to be a Steve Winwood spoil sport? Do we think that him and the Spencer Davis group were copying something they'd heard from a Motown song Oh let's be As we do on every episode of this show where we're like, it might have come from, it might have come from. This is a game that we can wonderfully chase eternally and never around And it never goes to the. Nobody can own those four chords, noody can own that sequence, but you can use it and evoke it, which is what has been successfully done in the song Love Shack.. we're all thinking of it subtly. And when you isolated it, it's like, oh yeah, that's where that And to your point, it's also there's Orleans and Horizon on Consistently on this show, I fall in love with what the Kys are doing so often. And I hear an organ on this song and I can't wait to hear it isolated I'm anxious to hear too. Okay, let's listen little disncipated stabs And we believe this is Kate playing keys as. I believe it is, yeah. When I closed my eyes and pictured a session, everyone was singing live. everyveryone was in like a circle But I can picture her stand in front of the organ. by the way, unsung hero, perhaps of this band is Kate Pearson, who in addition to being The vocalist, co writer, co creator of everything. She's up there, watch any footage of her from the eighties, especially. She's up there doing all that, doing all that crazy singing and sound making. But she's also got one, if not two hands on one, if not two different keyboards playing sometimes parts like that in the right hand and also a bassline in the left hand.. inccredible on some hero It kind of has to be said. I was a big fan of cartoons because I was the right age for that in this time And this group more than any other, felt like the Archies or Josie of the Pussycats come to life because of the prominence of the female musicians in the manand. That's a great comparison too, because they're also very from the sixties. Bunny. Oh yes, there's a humor there. There's We're talk to We're gonna talk about Fred. Oh yeah and the importance of Fred in this group But the organ, I actually thought I heard more organ in the song. There's more let There's more when you thing here. Here's our Break from the groove, the build that we keep referring to, and I'll play that for you and then put it in the mix for context Oh no. Listen to it yah. here Let's listen some more instruments just for fun You hear those stabs that are going in between little syncopations. Since the drums are just a straight up groove, you get to have little syncopated moments in other instruments I saw all the peanuts characters dancing to It was perect. wrote down, I don't remember what I wrote down surprising melody moments. it'll surprise all of us. Let's listen to what I I don't what meant by that kind of a mistake a little bit. It sounds very Kate Parson though. Ls kind of think she plays in like Planet Clire or something like that. Play it again?ll I'll play it again, then I'll give you contacts. He' like, what is that Yes, it's like uptight, like satisfaction O hungry freak's daddy 's sci fi It's like if Uptight was played on a spaceship. It's very katch onn an episode of Doror Who. It's kind of like a sixties, like a Farfza. It is. Is it literally the Farfza? Yeah. Okay. This is an old sixties keyboard. And by using that keyboard in the late eighties, you're evoking Morris, That's another way to evoke sixtiesness. Yeah. Just like pickups and Or was it a vox continontinental? could be ax Itould be a Vox contininental. Yeah. I can't remember what it was there She plays Farf as I know famously in earlier work, but maybe maybe she's awesome. I can't remember what we had to patter when it's probably lip syncing to that keyboard. whatever he's playing in the video is pres what she played. ye It should be said in the video. you're right. So in the video we've got I wasn't I was gonna ask you, is that you in the video or Pat Irwin? People asked me that and I was Pat. Okay. because it could also be like nineteen eighty eight looking Don was. Yeah. P dread Don W. Yeah. We wna talk about the horns. and there was something you wanted to tell us about the horns. Well they're called the uptown horns Cin Cope P IOE. ye. Yeah, the Updown Horns, among other things, their New York based section. they played with the Jay Giles band on Freeze Frame, you know, Centerifold and all that. Oh yeah. And played with Tom Ritates on his rain doogs out Guys know what they're doing when they They're great. Yeah. All right, let's listen to the horns. That gliss at the end is really iconic for this song. listen to that again. That's a really noticeable like hook almost in the song Yeah. Oh yeah. Absolutely brilliant That reminds me a little bit of this. Does anybody else herear I think the hors are about to come in here. Let's listen.. Oh, sure. Yeahah, absolutely. It's just it's just an octave and a stat. James Gadson playing drums on that. That who that is. Yeah. That is the expxpress yourself, Charles Wright and the Watts one hundred third street band. Right on. Rress yourself. Yeah. great by NWA in a fucking equal Don't be another sequel. Thatck listter, hereere's another version of the clist that's a little bit longer I'll play the end of the riff Yeah, Wh is very funny. Yeah It's like a It's like a cartoon noise like you were saying. This is a band with a sense of humor. I think that's why I love Mesopotamia. Like it taught so much history and some fake history that was like perfect. I love Mesopotamia Well one thing that this song has that I always love is party noise. I love it when people bring in multiple people, even if it's just the band members, you know, like Chic has a song like that. We recently talked about Marvin Gaye got to giveive it up, which famously recorded at Don Corordnelius's party, I want to say. This is how we do it. Another recent episode had Montteel Jordan, he brought in all his friends And they set up a keg on one side, It's a glickor on the other, and you hear the party noise, this song has party noise. So luxury. what can you tell us about the party noise and the percussion on this? Listen to all the songwriters producers out there. If you want your song to be a party song. Yeah, record a party and put it in the song. It's like a lve track for music, right. Exactly. Thats true The screaming. I love the screaming. Well, I think this is good part isy to talk about that we believe that this song was, you know, inspired by a place that they would go in Athens a place called Hawaiian Hai. And the building is still there. Re Apparently. Yeah. And if you look at a picture of it, like if you just look up Hawaiian Ha and do an image search, you can see this beat down old place. They said it looked like a shack with a tin roof that had gone way rusty a long time ago. Yeah, you can find those pictures of it and you can even do a Yelp search and I don't know if C current Hawaiian Hale is a rebuild Or if it's the original physical building, but it wouldn't be too, I mean, like it's not like the song was recorded in the sixties. the late eighties. Yeah. But they used to go there and they used to love how the people would just get down. It wass a black bar. fresh Nighter says it's a black bar and him and Cidity were like, Yeahah, you know, we used to go there and people just used to really get loose on the dance floor. They were trying to do a song that they thought would hit really hard at Hawaiian in Ha And they end up with this song. Yeah I don't remember that part. That's really cool. That's good to know. That's kind of It's a fun fact. That's why we do the show. You might be at a party where there are lots of people go, what's up man. And then you could be like, hey, I've got a fun fact for you. because that's what nerds do. We don't hit on anybody and we barely dance, but we come with the facts. We've come to the part of the show. theseese vocals, they're so classic a little bit. and by the way, male and female vocals, who's singing on the song? Wow We've got Kate Pearson, we've got Cindy Wilson, and we've got Fredch Schneidder. Two of whom are singers and one of whom I would say might be a Spreck singer Well, I think Fred would take issue with that. He was very conscientious about sing tune and is to be fair a singer. To be fair, the way he sings is very difficult to emulate. He's got a very distinct style.. And as I was trying I was sort of going through like on a keyboard with the melodies, if you try to play on any instrument what he's singing, It's incredibly challenging, if not darn near impossible because he is hitting notes, but in a way that an instrument can't possibly do. Only a human can do. On the record we did afterwards, which is called goodood stuff g. really wanted to be part of like the singing harmonies and being part of the stack and he can do it. you know, he's in there very clearly There's some of that on this one. Well I just want to say, I'm a huge Fresh Snider fan and I feel like a lot of my a lot of my writer friends were all just like Fredch Sneider is like, he almost sings I think he sings beautifully, but there's there's a level of humor there. Oh he's fantast. And you can't talk about the B fifty two sus without sort of, you know, saying like and mesopotamia, you know, like you you just have to say like He would say it. And I think Fred starts off the song. Let's start off with the Fred vocals. If you see a faded sign at the side of the road that says fifteen miles to the he ag contontrast. so it's incredible that How genius to start the song with both of those ' you're hooked. I mean, the real club they base this s on is apparently in the middle of nowhere. And I always like the storytelling nature of if you see a faded sign at the side of the road, it's just fifteen miles to the loveve shhack. Like it's a very unorthodox way to intro a song. But can I talk about the very next very next lyric that just stuck out my mind because I'm in Alanta and you never hear anybody work the word Atlanta into a song F. Can you play us the next part of the v? Is there an Atlanta highway? Is that a thing? You know what's funny? I think the highway they're talking about is seventy eight. because if you're in Athens and you're heading south, you know, it'll say highighway seventy eight and it'll say Atlanta So I think they just shorted that, you know, it's the same way we'll say that the t is the Santa Monica. if you're driving from downtown says the Tin and Santa Monica. I think the Atlanta highighway is just the is route seventy eight, which is a small am on highway. It's not an interingakes you from one to the other.. Interesting. I think we're about to hear Kate. and then she's gonna be joined very quickly by Cindy on these like the most distinctive harmony duo outside of the Everly brrothers I. Yeah, I'll go with that H way Look and Bather love Yeah I hate to cut it off there. We have Like I said, there're twenty ideas linearly. from one to the next across the song. One idea, next idea, and they're all great. So when you pause anywhere, you're like, I w want to hear the next idea. You know in the pantheon of guys who weren't rapping, but it felt like they did at the time, I think about the Pethot boys on Weston Girls This isn't that group for me because I just, you know, like they're singing clearly And even though he's kind of sicky, it felt like rap a little bit, you know, just It's got a cadence. It got a c got aadence. It's got notes notes.ot a melody? Yeah. Got melody Okay, now we're going to get to our first hook, which is one of the first This is the first idea we hear more than once in the song. This next one This is the pre chorus. This is the four chordord build we keep listening to in other instruments Jan G on place where we can get together y Such a crazy good Crazy good hook. Was that so you were talking about how when you were looking at the scroll, That was that's what jumped out to you. This the love. That was in there And that turned into the hook of the song. Yeah. But once upon a time, that was just one of fifty item. happened one time during a half hour jam. Yeah Yeah. It just came out once Oh b That's where. That baby. I love the slide on that. Do we have any antecedent for that? Well, I was gonna say, so here's just a really quick illustration of an interesting musical thing that's happening in this song. Because in the verse, We're very clearly In Mixoidian, so we have a major third. Som heading down. So that's like your cl that's how you know it's Mixydian because it's a major third and a flat seventh. And another place you hear that, because I always think, when I'm thinking, what is Mixyian, I always think of Gary Newman Cars, which is the same melody. E highway here in my car. So it's just a scale. It's just a mode. Nobody owns that. But when we move to this part We actually major third becomes a minor third, which happens all the time in blues and rock music. You're sharing there's major on top of minor and minor on top of major. characteristic of the genre. But to your question, Another place to you might have heard that is Now we've heard that before on this show No, no, no, no. So it's that tr tone again. We have a minor third and a minor third on top. So very good. Really cool how all this stuff is happening during this this pop song. Can I hear bang bang because I feel like This also evokes very much the sixties for me, just this little section here You what Well, here's the story Okay It was so spontaneous, man, they gave me these lyrics. I went in the other room, came back in, Yeah, great, we'll do this. We talked through the arrangement. We were already set up, we went out in the room, we cut it mom We got to the tenin roof rusted line There was something about the line and the way she delivered it It went from being super exuberant too exuberant to cry She actually started she teared up over the course of whatever it takes three seconds, whatever it takes. And no one came in right energy dropped across It just freaked everyone out. It was so power you know what does it mean? You're tino frousted. It shouldn't it didn't seem to be invested with that much import at the time. But her older brother had just passed a few years earlier. Well the the whole week was emotional for all of them because this is the first time they'd gone back to record without them And I think it just all came to a head. And this is the last song you guys recording. This was the last song last day. And whatever it was, it threw everybody. So this is before Pro toools or any of this kind of stuff, right? Well that was great. Okay, except it fell apart. Let's cut it again. Let's cut it again. We did it thirty more times and each time we got further from the the looseness and the carefree thing, the vibe of it. And we went to dinner I one was came back And we listen and said, I don't think anything's beat the first take. And then I guess I should have known that you could do this, but I was pretty green myself We just punched everybody in. Y tin roof rusted punch. Love sex and took it out. I love that. I love that story. Well obviously horrible that there there was pain there, but just the fact that like that epic historic, if you will, the thing that truly makes it takes it from being a great song to just a historic song, a legendary song is that brereak in there Yeah And then as she says, Tin roof rested and you hear a little bit more py sound, then it comes back in. Like I mean, it's just a classic example if you couldn't have planned it. You couldn't plan that and but she didn't plan it. That's Let me tell you something, at the core, the thing that makes recording magical and also terrifying is that when lightning truly strikes the room and something incredible happens You don't know where it came from. If you don't know where it comes from, how do you make it happen? A producer can make the room conducive to having lightning strike And you can tell the engineer when it strikes, make sure you're in record.f all over your place and Right Yeah. You can do that, but you can't make it strike And that was an example of something incredible happening that you couldn't plan that no one foresaw It's not even necessarily in the writing of the song that that line should have that much impact But it was the way she delivered it that one time that was like, took over her body and made that happen. There's something so mysterioust say there's magic in this st. Something in it might have meant something to her that was very personal. It clearly did. Maybe she doesn't even know what it meant. I don't think she The meaning translates even through the mystery of what the literal words mean. We feel the feelings, we feel the emotions. Well, the key thing is this is why Making records is so important because you're trying to bottle lightning. And if you don't have that, anybody can make a good record You know, it's not hard to make a good record, but good is the enemy You want to be great. and what makes it great is like That's a great moment that no one could have planned that they couldn't have taught you about in music school, that you have previous records, what's like that in the nineteen fifties record that she could have quoted. Nothing, man. That's magic.s And when that happens, you feel the surge of adrenaline. And it's like going surfing and catching an incredible wave. That's why And this is why I'm seventy three and I still love making records. because when that happens, it's the coolest thing. And this is why you're the unsung hero, One of them, if not, the unsung hero this episode of this song is because your presence now we know at the beginning making it First of all, finding that fifth song after you did the before and helping shape Clearly this is a collaboration between the band and you, ensuring that you found what was the song in their ideas. You helped crafted into something that would be a completed production. And then with moments like this where it needed somebody to say, here's how we're going to finish. Here's how we're going to get to the end because there's something special here. And the flagging energy you know solving that problem. That's what a producer does, a good producer, great producer And Don was Stumbled into it.' another's lightning, man. Happy. Well it's very validating, I would say.'ve I've heard you talk about this recently. I heard your Rick Rubin interview. and it was very validating to hear that even this far along into your career You were mentioning how you still go into a room to start a new project, not knowing and maybe fearing a little bit, will there be that lightning? you can't plan for it. I can't plan for. I get a stomach ache before every every session. And it doesn't matter if it's a nineteen year old making their first record or Bob Dylan where the stakes are high, you know? really doesn't matter. it's just You don't know I appreciate that vulnerability though, because we assume from afar, like, well, you know, you've got the secret sauce, you go in with the playbook Yeah, but you don't know. Anyone who tells you that is full of shit l. That's great. We'll keep our guard up. Okay, keepep our guard for. Don't believe it, man. Now that you've told your story of that moment, I will never hear that the same way again tin roof to rusted. she went from energy and enthusiasm to something very different. The part of it might have been just that she was amped up singing the bang bangs, right? Yeah, yeah. And then Like it was too it was too quick to you only had a second to readjust T this thing But from your storytelling, it's like she lived twelve lives in three seconds. There was something else that happened, man. And she absolutely had tears in her eyes By the time she got to rusted which is crazy to me because I always heard the rested is sort of like a happy like rested. like, you know, with like a Like you hear the sigh in there, but I thought it was like a relief. R. You know what I mean? I've always heard it that way. There's also something like how Fred Schneyder's question To me always implied the sort of like pregnant pregnan Joan're You're what? Only being pregnant. That could only mean being pregnant. It's not like you're late to late to work No,'s But then as icitly pregnant. You're like, how is Tin Roof rusted the answer to the pregnancy question? It's like, what? Oh, I thought that they totally left us hanging. I was just like, we'll never find out she's pregnant or not. Can I just say also Thank God for the internet for years, I had no idea what she was saying. What you' saying? I don't think anybody did. I told our producer. I was like, it reminds me of that scene a never ending story. When the trail goes to the window and he says, S And he's like R It was just like we never knew what he said there. The Simpsons it was so famously like inscrutable what he had said that the Simpsons did a whole parody scene of just that moment. But Tin Roof rested, which Again, like you said, and you said, it does not answer the question of your what? I don't know why that precededed It should have been the other way around. But did that happen in the take? It was Fred did say that And this he doesn't say that it was recorded that way. And with the band stopping You know that That was mapped out. Yeah. It had worked out in advance that you would get to this point. You can see it's like four bars, four bars, four bars O four times on each thing. and the bill, I'm sure we talk through it, right? Be you have this. What I like to do is not play it all the way through. So you don't blow the first take because the first take is so often, something special happens. Absolutely. that never happens again. talk eachach section, maybe you run it a section at a time, but you don't do the complete thing. It's symmetrical. You can see that it was planned. There are so many people who claim to know what tin roof rusted means. And yeah, I love that the band has been like, no, we actually don't really even know what it means. L we noticed that place had a rusty tin roof, so we wanted to mention that. But I also like the fact that as we said on the show, once you put art out there, people sort of come up with their own meanings and they're very comfortable with everybody coming up with their own theory on what tin roof was Well hearing I would liken it to listen John Coltre,. You don't need the lyric to feel the emotion behind it. And it's the emotion behind it and the abrupt change that is startling and soulful. Whatever she was going through that day, you really feel it. The actual words aren't I have a feeling from your storytelling and the fact that there hasn't been anything more clarifying. I think they clearly like the mystery. But I feel a deep connection to the idea that it means something to Cindy about Ricky And I just like I want to leave it there. Like I don't need to know more than that. It sounds like it was emotional. She thought of something on the spur of the moment and it made her feel something about her brother who had passed recently. Well, like I said, I think he was a presence the whole that we were recording. And just being the last day, I think released in that moment You are like as the producer and an unsung hero, you're like the director. And to me, what's interesting about it, like I'll never forget this episode in terms of what it meant for her performing it. I will say as a director, you made a choice and I love the choice that you made, which is after Rusted. I think the reason why I always thought it it was a happy Rested is because you immediately come back in with party sounds. Yeah. You know what I mean? So as you know, like if you believe in the French newew wave form of cutting a film together, you told us the listener that It was happy because everybody's partying again. and then the music comes back again. And so we play it out. So you know, thank you for giving us a party And now that you've revealed that other side of it, you know, like Luxury said, it can give us an added layer of what's actually going on with the song Thank you, sir. All right, luxury now that we heard the song. tellell us how the splits break down. Well, this is a classic example of a collaboration amongst equals. I love that. We have twenty five times four, twenty five percent for Cynthia L. Wilson, Frederick William, Schneider, IId. Yeah, Katherine E. Pearson And J Keith Strickland, they've split it equally the four Even Stephven We always say the groups that really get along and manage to love one another, the people who keep it even even at the breakup of tasks is not even. I've seen a few other bands do that. Bare naked ladies comes to mind you just eliminate the battle over And you take the economic inequity out of it. everyone everyveryone gets a taste, everyone participates not just the It's not like the two people in the band who wrote the songs are living way better than everybody else. If you're interested in longevity, do that You spend the money anyway There go. Can I take it with you So Daon Love Shack was a massive hit At this point, it's basically become the B fifty two's signature song. Why do you think that is? and what do you think the legacy of Lovehack is? Well, it's fun Dws. And it's got some heart and soul underneath the funny stuff. It's an irresistible combination of things. which kind of is the essence of the band, which is why I think it the association with the B fifty two with that song more than any other song is so prevalent. It's like French cooking. It's got all the different tastes that the band has in one Scoop He really made me want to get some French onions. Let's do it. Don, thank you for bringing this song into our lives. Yes sincerely. an honor and a privilege, man. thank you so much for coming on one song. Where can people see what you're up to next? Do you want to plug anything coming up? Yeah, well a new band is called Dimas in the Pan Detroit Ensemble. and we're on tour all summer long If you go to the Don W' Instagram page, you can find the gigs. We're going to be opening for Willie Nelson big chunk of the summer on an outdoor country tour. but we got our own gigs too, some festivals What's your name on Instagram? Don was I don't know why I made this so difficult. DON WS. DON WAS. Awesome. All right, well, thanks so much for coming on our show. Thanks for having me, man. It's a pleasure to be here. It's good to hear the song too always, you can find us on Instagram and TikTok, You can find me on Instagram at Diialo DIA LLO and on TikTok at Diialo Riddle. And you can find me on Instagram at LU XX URY and on TikTok at Luxury XX. And you can follow our podcast on Instagram and TikTok at One song podcast, One song podcast for exclusive content you can watch full episodes of O song on YouTube and Spotify just search for onene song podcasts. We'd love it if you like and subscribe Also be sure to check out the One Song Spotify playlist for all the songs we discuss in our episodes. You can find the link in our episode description. And if you' made it this far, you're officially part of the One Song Nation, show us some love, giveive us five stars, keepep that four star review to yourself. Leave a review and send this episode to a fellow music nerd. It helps keep the show thriving. Luxury helped me in this thing I'm producer, DJ songwriter, musicologist and KCRW DJ everyvery Friday night from ten PM till midnight luxury And I'm actor Writer, director and sometimes DJ Diola Riddle And this is one song We'll see you next time. 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