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June 12, 2022

Interview with G.Love (G. Love Returns!)

We had the pleasure of interviewing G. Love over Zoom video.

South of Market Street, south of the Liberty Bell, south of the Walt Whitman Bridge and Pat’s and Geno’s lies an entirely different Philadelphia: Philadelphia, Mississippi. On the...


We had the pleasure of interviewing G. Love over Zoom video.

South of Market Street, south of the Liberty Bell, south of the Walt Whitman Bridge and Pat’s and Geno’s lies an entirely different Philadelphia: Philadelphia, Mississippi. On the surface, these two Phillies couldn’t be any less alike—one, a bustling East Coast metropolis, the other, a small town a thousand miles away in the Deep South—but for G. Love, the connections were undeniable.

Produced by North Mississippi All-Stars’ Luther Dickinson, Philadelphia Mississippi brings together both sides of G. Love’s eclectic career, mixing old school Hill Country and Delta Blues with new school hip-hop and funk to forge a sound that’s both wildly innovative and deeply reverent all at once. The songs are loose and spontaneous here, often penned on the fly in improvisatory fits of inspiration, and the performances are similarly freewheeling, bringing together a slew of special guests from blues torchbearers like Alvin Youngblood Hart and Christone “Kingfish” Ingram to rap icons like Schoolly D and Speech from Arrested Development. It would have been easy for G. Love to play it safe coming off his GRAMMY-nominated 2020 release, The Juice, but Philadelphia Mississippi is perhaps his most adventurous, ambitious collection to date, tossing all the rules out the window as it experiments with form and function in an ecstatic celebration of music’s power to connect across genres and generations.

G. Love’s upcoming album Philadelphia Mississippi will be available as a limited edition NFT. After purchasing the initial "Origin" NFT, token holders will be airdropped a second NFT which unlocks both a downloadable and streaming version of the new record, as well as a 180-gram vinyl. A limited number of token holders will be randomly selected to win special edition vinyl pressings, ticket bundles, and more.

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Transcript

Hello! It is Adam. Welcome back to bringing it backwards. A podcast where both legendary and rising artists tell their own personal stories of how they achieve stardom. On this episode, we had a chance to catch up with Garrett, AKA G love of G love and special sauce over zoom video. The last time we spoke with G love was actually in person. The very last in-person interview we did before the pandemic. I think it was on March 11th, 2020. So we talk a little bit about that. The, the last time we saw each other, and then they had like an off day and then they're supposed to play Santa Barbara. I believe they did play Santa Barbara, but the last show that, or last time we saw him in person obviously was at the belly of Tavern and salon beach in San Diego just days before the entire world shut down. 4 (2m 2s): So he catch up with, with G love on what he has going on. Now, we did recap a little bit on his journey in music, where he's born and raised how he got into music. We talk about what happened between COVID hitting and our current conversation. He put a record out right before COVID hit called the Jews, which was his first Grammy nominated album. We talk about that. We talk about how he supported that during COVID and all about his new record called Philadelphia, Mississippi, and the incredible process of putting this album together. It's also going to be released as an NFT, so he explains that to us as well. You can watch the interview at G love on our Facebook page and YouTube channel at bringing it backwards. 4 (2m 44s): It would be awesome if you subscribe to our channel like us on Facebook and follow us on Instagram, Twitter, and tick-tock at bringing back pod. And if you're listening to this on Spotify, apple music, Google podcasts, it would be amazing if you follow us there as well, and hook us up with a five review. 5 (3m 0s): We'd appreciate your support. If you follow and subscribe to our podcasts, wherever you listen to podcasts, 4 (3m 6s): We're bringing it backwards with G love. 6 (3m 9s): Hey, 4 (3m 10s): What's going on? 6 (3m 11s): What's good, bro. 4 (3m 13s): I'm so good to see you again. How are you? 6 (3m 16s): I'm doing good. Ha ha ha. Where are you? Where are you at Adam? 4 (3m 20s): I'm actually in Nashville now, but when we it's crazy. So one of the last interviews I ever, well, the last interview I did in person before COVID happened, I'm from San Diego was at the salon beach at belly of Tavern. It was probably like one of the last shows you played. 6 (3m 39s): No, it was, it was, we couldn't play. I remember we have San Diego and then like, we played that. And then we had the day off the slot of beach, right belly up and had a day off. I went to LA on a train and because I had to go to the Costa Rican consulate. So I went to LA on a train and things were starting to get pretty weird. And I ended up linking up with citizen cope and cause we liked to hang out. So we went for hap, we went for lunch, which turned into happy hour, which turned into me, kept, all right, I'll get the next train. I'll get the next train. Sure, sure. I got like the last train back this salon of beach to all banged up and then ended up being the last night I went out to socialize in like two years and then my gosh, the next day we played up in Santa Barbara. 6 (4m 24s): And then at that point we went home. 4 (4m 27s): Okay. So you actually did the Santa Barbara show. I remember that was like the next leg of the tour. And we, it was so weird because that was like, we were like elbow fiving and all that during that time. And I think we even made like a joke, like a co coronavirus joke and it was like, cause he was still in that weird time. Like he didn't really know us and then now it's like such in bad taste, but it was like so weird. Yeah. Students. So they're going to see, I'm so glad we were able to do this even though it's kind of, you know, via zoom, which is fine. And I'm, I'm stoked to hear what you've been up to for the last two years. It's been so crazy. 6 (5m 7s): Well, yeah, I mean, so gosh, I mean, right now the we're totally geared up for the new album, Philadelphia, Mississippi to drop and it's dropping as an NFT. It's shopping through the regular channels as well. Of course 30 tigers has been a tremendous partner for us and this is our second release with them as our, our, our distributor, you know, home base for Philadelphia Sonic records. And this record also has a secondary release, which is as an NFT through the yellow heart platforms. I actually just jumped off the Twitter spaces for that. 6 (5m 47s): And yeah, so my head's pretty buzzing about that, but there's a wonderful record for us kind of the work, the pilgrimage of the hip hop blues to Mississippi to kind of immerse ourselves with all this, these emerging blues men and women and established blues men and women and yeah, the records really cool. 4 (6m 13s): It's a fan. I had a chance to hear the record. It's so good. I mean, I, yeah, I really, really the whole way through, I mean the whole album is incredible and I want to talk to you about the record and the NFT thing is so cool. The video that you guys put out with the board apes, you know? Yeah. So good. So I figured that had some time to the NMT. So we'll talk about that as well, but I don't know if you mind kind of recapping just a little bit because this podcast is about you and your journey in music. And we heard your story quite a bit in the, on the first interview, but maybe we could just, you know, catch up a little bit on that. And then I want to talk to you about the new record. 6 (6m 49s): Yeah. I mean, you know, do you mean like the overall, 4 (6m 54s): So I'll just, I'll do, we'll say you're born obviously born and raised in Philadelphia. You told talk to us about that. I couldn't remember like you, what does the guitar, the first instrument you learned? 6 (7m 4s): Yeah, I started playing guitar when I was around eight. Well, when I was eight years old, mom, the family legendary family story, I was beating on the back of the, the, the station wagon, you know, behind my mom or my mom would always rock out to the radio and sing alone. And so I was, you know, back then, you know, no car seats run, run the back seat and mom's like, oh kid, you got the beat issue. He maybe should take an instrument. What do you want that? Of course I want to take guitar. So I started playing, taking folk guitar lessons and I hated it and it was terrible and it was the worst thing ever. And my mom was, was trying to help me by learning with me. 6 (7m 47s): And that would really piss me off because she was better than me. She's 4 (7m 50s): Picking it up. 6 (7m 52s): So then like, you know, like I hated it, but I don't know why. Like for some reason I, I stuck with it during the school years, the lessons and the bass, I was learning to every, I had three kind of three formative guitar teachers. And they all were teaching me to, you know, not, you know, coordinate with one hour, but over the years they all taught me how to play and sings. That was the thing. I have a lesson and they mostly teach me Beatles songs. Right. So fucking like every Beatles song. That's 4 (8m 23s): Awesome 6 (8m 24s): Though. I can still play a bunch of them, but, but yeah, so that was kind of looking back, you know, like that's pretty cool because I learned these to play and sing. Right, right. 4 (8m 37s): Which is something you usually don't learn a guitar. I mean, the fact that they wanted to implement that into your lesson, that's a rad, like where you sing, did they know you could sing? Or like, how did they even find that out? They just said, Hey, you should try to sing and play at the same time. 6 (8m 51s): Yeah. No, it was just the, the one teacher, the one was, how do you Wolf? And she was, had this eighties band in Philly called Heidi in the wolves. Okay. I remember I used to have just like, you know, I was like, you know, like, so in love with her and like get her through the show, but anyhow, yeah. Heidi. Yeah. I don't know what it was, but yeah, she, she, they they'd write the lyrics out and then write the chord. When does, you know, play this chord over this word and yeah. So Janet so slowly, but surely I got better and better as the years went on very slowly, but then I kind of was competent and yeah, my first performance was in third grade playing Norwegian wood for now the class. 6 (9m 47s): And I said, this song does not have any words, which of course it does, but I just 4 (9m 52s): Play the instrumental 6 (9m 53s): And cause saying it was really embarrassing, you know, it's, it's, it takes a lot of guts to like sing in front of people, you know? So I started writing songs when I was about, by the time I was 13, I could tune it. It sounded pretty good. I started writing songs when I was 15. And then that was the catalyst for like everything, songwriting, finding that expression, having a voice as a young man, a young kid, you know, starting to be a young man and really that was an outlet and that just became everything. And then I, once I started making songs and I wanted to record them, so I record them on my boom box and then I want to perform them. And I don't know why, but that's just what, what I wanted to do. 6 (10m 36s): And that's what led me to be in here today. 4 (10m 39s): Well, quick question on that, just those early songs you're writing. Do you know the moment when you said, or the first time you sang in front of people, like you, was it your own song or was it a cover song and like what gave you the courage at that point to do that? 6 (10m 52s): Well, yeah. I mean, that was, I guess that was that well, yeah. I mean, you know, like your parents would say, oh, come in and play for our friends when they're party or you're at, or you playing Christmas carols. But yeah, there was always like that. Oh no, I'm not, you know, it was embarrassing. It's embarrassing like that as a young kid. So it was embarrassing for me. And, but yeah, but then it was kind of interesting because then I play the 10th grade talent show and man that crowd like was so insane and we just kind of connected with the school and it was just like, everyone would like just, they were like clap their hands and stop their feet in this big old fashioned auditorium. 6 (11m 35s): And it sounded like a thunder storm. And I was like, holy shit. And I got interviewed by the school paper when I was in 10th grade. And I was like, man, this is great. I told my little girlfriend that week. I was like, oh, you know what? I had my mom's bag lunch. And I was like, awning, is this bag lunch? And my guitar. And that's all I need. Cause I didn't want to it about money or like anything. I think the thing, the interesting thing too, like when I was a kid in the eighties, like there was no internet. Right. So there was no access to the music business. So it was never like a thing that like, oh, I'm going to be a rockstar, like, or I'm going to be on MTV. Like that show was like the star wars galaxy, you know what I'm saying? Like right. There was no thing like kids today are like, wow. 6 (12m 16s): You know, like they all know that Taylor swift like writes her own songs and she, you know, and she can make all this money. And I think there's this thing like with kids just because they, and they could put records out when they're, you know, 13 years old or 10 years old, it's like, you know, there's an instant thing like of like monetizing this young skill or making it right. But for me it was like, it was, I felt like I'm thankful because I, it seems to me it was really pure the song writing aspect. Right. I was writing songs as like a knee jerk reaction to being a kid and trying to figure out how I felt about this and that. 6 (12m 56s): And, and so that was, that was powerful. And I could go back. And a lot of those songs that I wrote as a teenager have made it onto G love records, you know, until, you know, major album releases. So that's another way to, I think, I think that like when, on the flip side, when they're, when, if you're a parent and you've got a kid that's writing songs, like what, don't just blow it off because they, they have this young mind that's opening up and wanting to express it seven. They could come with some powerful stuff. 4 (13m 29s): Well, that's interesting that you said some of those early songs that ended up making you get on to liturgy love records. Like, what's that like? So when you, that this 10th grade talent show you were talking about, what is the style and sound that you were playing similar to what you're doing now? 6 (13m 45s): Kind 4 (13m 45s): Of the hip hop over like a blues guitar. Okay. 6 (13m 48s): Yeah. Not that yet, but it was, well, no, I mean, yes and no, because of the fact that I still performed with tunes and they made on the records. Yes. As far as what people do stylistically, like the blues hip hop, hip hop blues thing. No, because by then I was like, this really? I should say I was only really influenced by like Bob Dylan, the Beatles velvet, underground folk rock, like Donovan, Crosby, stills, Nash, and young Neil young stuff like that. You know what I'm saying? Some more like folk rock, 4 (14m 27s): Right. 6 (14m 28s): It was. And then the reason I can't, it kind of came away from that style was because again, like in 1986 or whatever, or 88, you know, no one was really messing with that style in my high school. Right. 4 (14m 47s): Well, no one is really messing with that style at all. I mean, to really, I mean, to be honest, 6 (14m 53s): I'd go to SAR. I go to like open mic nights, like not school-related and then I'd see a lot of people knew who Bob Dylan. 4 (14m 60s): Oh, you meant Bob, Dylan. Sorry. I thought you were talking about like the style that you ended up falling into more now, so, 6 (15m 5s): Oh yeah, no, no, no. So then, because people were like in a folk music and now Rez, oh. Other people heard of Bob Dylan, right? Sure, 4 (15m 12s): Sure, sure. Okay. 6 (15m 13s): You know what I'm saying? But, and then I was like, I gotta flip the switch. So then I, that led me on my search. I went to the record store. It was like, is there anybody that plays, you know, I, him started playing harmonica on Iraq because I wanted to play a solo, acoustic guitar harmonica on Iraq and sayings. So solo, acoustic, no band, other than Neil young and Bob dumb, they gave me this. They're like, yes, they gave me this John Hammond record called John Hammond country blues. And that was John's rendition of 10. It was like a roadmap. Because, because, because there was there weren't any originals I can look who wrote it and go back and find these records of all of these blues artists. 6 (15m 58s): And then I went down the wormhole or the rabbit hole to discover the blues. And then that set me apart from all the folk singers. Right. And then I started writing songs about the city of Philadelphia and I call it a street side, blues. It's kind of like urban poetry. So it was writing songs about the basketball courts and the water. I stand riding the city bus and homeless people and graffiti writing and skateboarding and all this culture of hip hop. And then as soon as our wrapping up that that's when I came into the G love style. 4 (16m 35s): Okay. Interesting. When did you start playing the harmonica? And was that just because you love Dylan and Neil young and you're like, okay, this there's, the other people are trying to do that, but nobody's playing the harmonica and doing it the same time. 6 (16m 47s): Yeah. Again like our teachers, this, this, this is just a quick side of it. This guy was so classic. He passed many recipes, Waco, Smith. He was like a lead. If you live in Philadelphia, downtown in the seventies and eighties, you would have known who this guy was because he was always out of the corner of third and south. And every day he wore the same thing, like a, a flannel shirt like this kind of red or white checks, you know, jeans, cutoff at the bottom because he couldn't get jeans. Touche that short because he was like five, three. He was like 5, 3, 250 pounds, gray, you know, salt and pepper beard, big 10 gallon cowboy hat you're talking about in the city of Philadelphia, he would wear his cowboy boots and his, the brown work gloves with the red felt and everyone thought he was like homeless or whatever. 6 (17m 36s): He ended up like answering like the, the flyer. My mom left at the supermarket for give my kid kid guitar lessons. Dude, I'd go, I'd go into his one, his little studio, apartment Adam. And it would be like one bare light bulb, a fan. He would turn on a matter what day of the year, a half empty bottle of Jack Daniels, a single bed, two chairs. And you would say, all right, you know, through the lesson I started doing less than I, he would fall asleep. I was like, I was like 13, you know? And so he falls asleep and then I just finished playing and I would just, I didn't want to wake him up. 6 (18m 18s): So I just sit there until he woke up, eventually go, okay, I'm going to teach you this. But anyhow, he had a, he had, he was, he was actually trained at Julliard. So he was like a classical guitar player, but also like had a honky-tonk band. So anyway, long story short, you had a harmonica player and a honky-tonk man. And this guy, Dave, I think his name was, he gave myself and my manager, who was my best friend since second grade, Jason Brown. He gave us one harmonica lesson. So we learned how to like, you know, make a train and down. Well, make it sound like a cry. And then that was it. Then I got the rack and boom. 4 (18m 59s): Whoa. Okay. That's correct. And with harmonicas though, aren't they, you, each one has a different key. Is that, is that how it works? I know there's you can get different ones. I'm not really, I don't know a whole lot about harmonica, but do you have to have multiple ones per song you're playing or do you just stay in one? 6 (19m 15s): Yeah, no. Generally like, yeah, you're right. Each time on the regular kind of harmonicas that I play, not the chromatic harmonica, but kind of the regular harmonica. Your basic harmonica can play and depending on how good you are. 4 (19m 32s): Okay. You can play multiple 6 (19m 34s): Keys or keys depending on a position. But I, I generally use two positions first position and second position. 4 (19m 44s): Okay. I was just curious. I just see, I remember seeing somebody that had like a, like a thing and that rolled out and it had like five different harmonics. 6 (19m 52s): So you got it. So when the band switches keys, you got to switch harmonica to match whatever 4 (19m 56s): Cuba. Interesting. Yeah. I didn't know. 6 (19m 58s): Once you have the right key, why don't you have the right key? You can basically knock, go wrong. You just have to breathe in and out of the thing and it's going to sound pretty much. 4 (20m 6s): Well, all right. So then you go to college for one year, right? And then you drop out to just pursue music and then ends up working pretty quickly. Right. You guys got signed or you had a song that did really well, like right away. Is that what I remember? 6 (20m 21s): Yeah. Like basically I was going, I went to Skidmore college for a year, which had, there was men, there was so many great musicians up there and everyone was really into fish and like kind of this bruv rock thing, like think Stevie wonder Innervisions record and really kind of technical groove, funk, rock, and roll. And I way sophisticated over my head. And I couldn't, I was trying to attract players, but I was really frustrated because not no disrespect to the couple of guys that ended up playing with me, but like, I couldn't get like, you know, real heavyweight musicians to so long story short, right. 6 (21m 9s): Boston to be a street musician. I, I figured I can't really do anything here. And so I made the jump and told my parents I'm going to drop. I'm going to take a year off. And I did. I went to Boston, got my street performers license. And I spent a year busking that summer of 1992. And then by that, that December, I started getting a couple of gigs and some bars. And I ended up meeting my drummer, Jeff Clemons, the house man, and one of those, and he was 10 years older than me and well-established in the local scene. So then we were able to start making our way into the clubs pretty much right away. And yeah, we had our first gee Levin's. 6 (21m 51s): He brought Jimmy jazz in the band. We had our first G love and special sauce gig. And like, you know, out of maybe January of, of 1993, and that October we signed a fucking major label record deal with epic records. 4 (22m 10s): Crazy. 6 (22m 11s): Most of the record done, which were originally demos, which became, became the album and yeah. And then we hit the road and that was, I was at, 4 (22m 20s): Wow. I remember you saying last time that you, your, your mom wanted you to go to back to school and she kept kind of asking about that for, for a bit. Maybe even you made a joke about it. Like still now she's waiting or something like that, but you said something like you, you wrote an essay, right. To get into BU 6 (22m 38s): Oh yeah. Yeah. 4 (22m 40s): I was curious, you said that those lyrics that they, they, they became what blues music was, parts of it. Right. I want to know if you ever got, did you get into the school? You said you wrote it as an acceptance letter. 6 (22m 52s): I did. I did 4 (22m 52s): Get in. Okay. 6 (22m 53s): Yeah, it was my, it was my college essay. It was called. It must be somewhere, but it's called a child of the eighties and, well, that was a deal. I told my parents, I will apply to go to college, you know, I'll take a year off and applied to college and what would have been, you know, fall of 93. So I did, so I did apply. I was accepted to be you, but by that time, the, by that spring, it was like, shit was, 4 (23m 23s): Yeah, you already had the deal, right? 6 (23m 25s): Yeah, no, I didn't, I didn't have a deal yet, but like we were playing, you know, we were, we were on the rise as like a local band and it was just like, I mean, the, the energy was, it was, I, that's why I always remember this, that year in 1993, it was like being one of the golden years of my life. It's just like, the energy was crazy. Like, you know, because we're playing all these little Irish bars and like, everyone was every gig we're playing, we're getting multiple gig offers. And you know, we've, we've played this place to plow and stars and Cambridge. And the first night we went in to play the, the regulars at the bar, you know, it kind of gave us the side glance and were like, we don't like your music. 6 (24m 9s): I was like, well, let us play. Maybe you wouldn't. And man, by the, that residency every Monday night, like there would be a huge line down the block. And like, it was the sh it was the thing. And like, to this day still meet all these fans I'm so, you know, we used to go to plow and stars every Monday night. 4 (24m 26s): That's so cool. 6 (24m 28s): It was magic, man. It was, it was Papa. So yeah. I was like, yeah, I'm not going to be. 4 (24m 36s): Yeah. That's cool that you got in though. At least you had that. Right. The, I mean, the song obviously hit big too, but the fact is that you, you know, you wrote that you ended up getting any Indian. Tell me if you got in or not, when you signed to epic, like signing to epic. Was that just like, oh my God. Like obviously it had to be life-changing in that, in that way. Like probably something that you were striving for. 6 (24m 59s): Yeah, man. It was such like, it was men. It was like, it was like a, this whole whirlwind of emotions and everything that you could expect. Cause it was like, cause we were really happy, you know what I mean? Like we were popping off in Boston. Like I had fallen madly in love with a girlfriend and you know, the shows we were playing once or twice a week where like you fork and it was just exciting. And we were doing, writing all these tunes and now I had a band. So I was like writing specifically like songs to be played with a band. Right. 6 (25m 40s): And it was cool. So like when we ended up getting, you know, through playing like these music conferences that they have back in the day when people were getting record deals, right? So we, we got accepted to play, you know, Philadelphia music conference. And from there we got our producer and that show, we were all, we played a showcase with an up-and-coming Philadelphia band. You might've heard of called the square roots now. 4 (26m 7s): Wow. Okay. 6 (26m 8s): Like Austin and the roots and, and we got signed first, you know what I mean? And that back also got signed then. So like, but anyhow, the thing is that when we don't, we put a new music seminar, New York got a manager, you started shopping us, you know? And then there was like a bidding. We didn't want to get in a bidding war. I don't know why, but we got a sweet record deal with epic records. And I remember getting a call cause I was at Jeff's. So Jeff, my drummer look, this is how we're living. He had a studio apartment too with a shared bathroom down the hall and a hot plate and a little mini fridge. It always smell like salami and is fucking a farmer because he was living off of like a pound of salami every week. 6 (26m 53s): And so like, you know, we had all kinds of great menus, like pound, a dry pasta can of chickpeas, clove of garlic, that's dinner, you know, Mac and cheese with a can of tuna and one-on-one dinner. But you know, we got the call like you're getting, you know, we got the deal on it. Like I started crying cause I was like, you know, it was like a dream come true. But also like I had this feeling and nothing was ever going to be the same and it wasn't. And then all of a sudden, you know, it was like, it just, you were on the fringe of society and now you're all of a sudden being funded by like one of the biggest corporations in corporate America. 6 (27m 36s): You know what I'm saying? Corporate world, it was daunting. It was a lot of pressure. I was 20. I was just trying to like figure out, you know, who I was. And then on top of that, like I was doing like hip hop. I was basically appropriating these two forms of African American art. Right, right. And blues 4 (27m 57s): Blues. 6 (27m 57s): Right. That's like, boom started doing press. And like, it was just immediate. It was like, they call me Garrett Dutton, the third, which, which I'm not I'm Garrett, drew Dutton. My father's newest character Jr. Right. So, and at the time I was completely horrified to be white and to be called Garrett Dutton. The third was basically like, you know, like just trying to call me out as like, you know, a rich white kid And hip hop. And that's exactly like how it was like Matt of course, years later, M and M dropped as Marshall Mathers, the third. And that was cool. Then for me it was part of music was also, you know, that rebellious aspect of wanting to do something different than my mother and father who I loved dealing with my biggest fans. 6 (28m 47s): Well, you know, my, my father is like an attorney. I'm a mom, you know, she, she was a housewife and a chef and she supported us in this, but I wanted to do something different. That was very like traditional and American. And I, and I had the opportunity to go that kind of route, but I, I didn't. And it was specifically to kind of get away from, you know, like the benefits of growing up. So, so again, like to me, music was never about making money. Right. It was about like following my artistic path and if anything, like running from money and then of course over the years, like you realize, oh, that makes them fucking money. 4 (29m 26s): Right, right. Right. Yeah. And those days that was when major labels just had such deep pockets. I mean, now they still do, but not in, they're not handing out what they were before, but then you could also get yourself in a bind where it's like, they're fronting you this money. And then you're like, ah, now I owe you all this money. Like how did that happen? You know what I mean? Like yeah. Just 6 (29m 47s): Tell them 4 (29m 48s): You do is how you say, 6 (29m 50s): Well, yeah, no, like basically like we're, unrecouped at whatever record labels we've ever been able to work with. I mean, we sold a lot of right. I mean, you got 4 (30m 1s): A bunch of albums, 6 (30m 3s): But it doesn't matter because the more you'd sell, like the more that they would spend. So like then, you know, then you have a record that did like our first record price sold over 800,000 copies. But if that happened over like 20 years, you know, and so, and yeah, the other records sold hundreds of thousands copies each in the nineties. And then of course, once Napster hit every record. So the, my latest record, the juice, which was my first Grammy nomination, 10,000 copies. So it's like, you know, whatever, like, 4 (30m 40s): Which is now like unheard of though. I mean 10,000 copies of a record. I mean, now it's just like a streams. Right. And maybe singles people, but, but the I'm curious. Okay. So after you did, after coronavirus hit, w we can skip ahead forward quite a bit here, just cause I'm curious about this new record and what you have going on. So with the juice, the, you didn't have the juice out. Did you, when we saw, you had just came out 6 (31m 5s): Yeah. Just came out like tour. 4 (31m 9s): Yeah. The supportive right. Supporting the record. Yeah. Okay. 6 (31m 13s): Yeah, yeah, yeah. No, I think it had just dropped. Yeah. 4 (31m 16s): Cause it was March 11th. 6 (31m 18s): I think it dropped it February. 4 (31m 19s): Okay. So I knew, I remember hearing it, so I didn't know if it was out yet or not, but yeah. So you were supporting that record and then now it gets nominated for a Grammy and well, tell me like how, okay. The world shuts down. Are you like, okay, I have this new record. We kind of had a chance to support it now. Like where were you at at that point then? Is it like, what, what do we do? We're watching the world shut down. When can I guess, tell me where your head space was at? 6 (31m 44s): Yeah, like certainly like panic mode, like, you know, chicken, little, the sky, the sky is falling right away. Like I had this feeling like when, you know, two days after we spoke in person being in Santa Barbara and getting the call, this is the last show you're going home. And just being like, oh my God, like, I feel like the sky is about to fall. Like this is crazy. Everyone's blogging out. And then, you know, I got, I flew home. The bus dropped us at lax the next morning and I flew home to Boston. The airports were fucking like empty. And then I live in Cape Cod, which is empty in February. I left leaving Boston and the city lights are going away. 6 (32m 27s): And then there's like, you know, no cars on the road. And I come down to, you know, our little slice of heaven down here and at the end of the road. And that's where we stayed. So I remember my wife calcium be like, goat. Yeah, go get beans, get, get rice. Right. The supermarket. Now you gotta go now go, go, go. And then we came home and we're just like, fuck how we, how are we going to, like, we have to, you know, we have to keep making money. So I started doing live streams and then the live streams would fund, you know, I w I would take half of the tips from Venmo and PayPal and we'd keep half. 6 (33m 11s): And then the other half will go to like a music venue. Like the, the employees from, oh, that's so cool. Well, he's from the first app in Minneapolis or whatever. And so we were able to raise not do we, you know, I think the Mo we were pulling out some minor we'd make, you know, maybe make a thousand dollars or $2,000 on the live streams at first. That's awesome. Yeah. And then, so we able to like, send some money out to the people that worked at these clubs that weren't getting anything, and we would keep a little money. And that, that, that felt good. And then we got chickens and goats and fucking farms, so that's cool. And all that shit going. And, and then it was just kinda like an awesome time. 6 (33m 53s): Then we figured out like, okay, this is great to be home. And like, know that I love my wife and get to spend time with my little kids. And then I knocked my wife up again. We had just had little Garrett and I get to like, be with him every day of his life, which I could be away. So there was all this like, kind of silver lining. And then we, you can cut me off anytime, but this is amazing. Thank you. Well, then we started doing, we got a call to play a graduation party for just the family here in Orleans, Massachusetts, where we live. Hmm. Okay. We're going to go to the people's house. Play for the mother, the father, the son, his brother, and the three friends from college. 6 (34m 36s): Cause they're doing the like virtual graduations and all that stuff at that time, obviously. Yeah. So we went to their house and I performed for them and we said, oh shit, okay. We walked out of there, like, you know, whatever. A couple thousand dollars said, okay, this is the new shit. So then we started backyard parties and I got linked up with Bose. Artists does count on, on a PA and then later kind of bumped me up to Bose ambassador and gave me like the newest, latest PA. And we started playing backyard parties. And then, then it was like game on. I reconnected with my drummer, Chuck Treece, who I 7 (35m 18s): Offered deadline on Oak street. 8 (35m 19s): Welcome to the housing market. I'm with Redfin and I'm here to help, 9 (35m 22s): But I need to sell my house. 8 (35m 24s): Great Redfin charges, a 1% listing fee. When you buy and sell with us, what does more than half off the usual fee and saves you an average of $8,400. 9 (35m 31s): Oh wow. Is that all? 8 (35m 33s): Yup. 9 (35m 34s): I'm kidding. You had me at 1%. 8 (35m 36s): Want to win? So that with Redfin it's real estate done right? 10 (35m 39s): Fitting warranty offers counter in five minutes. Average savings is Redfin refund. Plus 1% listing fee, subject to minimums, not available in all areas, learn more redfin.com. 11 (35m 48s): You know, they say it's where the heart is. They also say it's wherever you make it. They don't say it's where you unload your stuff. Get tired. Halfway through unpacking, use some boxes as furniture, realize your elements in a box that doubles as a nightstand, don't want to buy a new nightstand and use a tall as an oven mitten status. But no matter where you call home, Geico makes it easy to bundle and save on renters and car insurance easier than grabbing a piping hot pan with a tall that's a bit too thin and trying to quickly get it to the counter 6 (36m 19s): Who I've been playing with kind of on the fringe of special sauce since the very beginning. And he and I did our duo show. It was Chuck and his son, Karen and my wife, Kelsey and I pregnant with two little kids, Louis and Garrett and the dog, whatever dog, one of the three dogs we take with us into Suburbans, fucking clocking miles. We drove to Florida and back we drove to Mississippi and made the record and back, yeah, Michigan. We did the whole west coast plant book parties and that funded the record and kept the lights on and really made an awesome connection with a different kind of connection with the fans. 4 (37m 5s): You know, what a cool way to tour. I mean, especially playing super intimate shows and people's backyards and like, how would people contact you to do that? They would just say, Hey man, like I got 20 people that are going to shove in my house. Can you come play? 6 (37m 19s): Yeah, that was a G love shows@gmail.com. My wife texts every day. But actually we're like, now we're back to work kind of regularly, but we're still bullying. Like I just did two repeats from last year. They did their second annual G love party in their backyard last weekend. And like this weekend, we get an R one up here in Wellfleet at the Cape. And so, yeah, we're still doing them. G love shows@gmail.com. You have to bring a PA. And then like, I got this hodgepodge light rig because I didn't have a light rig. I had like a painting light, you know? And if, if people would get off for his parties and some people bought his little light rig and I was like, damn, that's a nice light. 6 (38m 4s): And it's oh, you, you keep that? No, I couldn't. I couldn't hear it. No, really? You should take it. No, no, I don't do it. Are you sure? 4 (38m 13s): It's you it's 6 (38m 16s): Like this awesome light rig of all these little, these cool stage lights that I use. It's it's it's fun, man. And again, like, it's like, yeah, we, we would, we would kind of do it by whatever the state guidelines were. You know what I'm saying? Like they were like, you could have people gathering that's we tell the host, you can have 10 people and you know, we never got in trouble with the cops. I've come a number of times to the parties. Cause we're in people's neighborhoods. 4 (38m 45s): Right? Right. Well, they probably like stoke like, oh my gosh, 6 (38m 49s): It was like the most humbling thing. And also the most kind of something that I needed, like so bad just to kind of get my hands dirty, you know, loading my own gear setting. I hadn't owned a PA since that, since the plough and stars days, right. Like I had a need, why do I need to PA I'm playing fucking Woodstock 99. They got a PA. 4 (39m 15s): Right, exactly. 6 (39m 17s): Those humbling, but also like really rewarding to know that you could go show up at people's house, get sweaty load in, you know, not take a nap like usual, you know, go play rock, whatever people were there. Like one time we showed up, there was just two people. They just wanted to take mushrooms and just have us vibe out. 4 (39m 36s): That is so awesome. What a, what a way, right? You're like, okay, I'm going to get G love to come play. It's just gonna be you. And I, 6 (39m 46s): We don't want to, you sure you don't want to invite people, you know, you could have up to 15 people. No, no, no. We're working on your shirt. What the fuck is going on? 4 (39m 54s): Hey, 6 (39m 55s): What the shrooms let you know, but I have one of those cookies. 4 (39m 60s): Right? Wow. That's so that's so cool with, in that you said that funded this record, which, how did you, did you obviously knew there, did you know about Philadelphia, Mississippi before the concept of the record? Or like, how did this whole concept start? And then I want to talk to you about the NFTs, because from what I was reading about, you you've been into it for, you know, a handful of years already. 6 (40m 23s): Yeah. So yeah. So yeah, this is crazy. Cause I just had this thought in my head to make this record called Philadelphia, Mississippi, after doing the juice has been in my mind, like I want to do the Philadelphia Mississippi project just because there's a city in Mississippi called Philadelphia and Philadelphia and played the blues of Mississippi. Right? 4 (40m 44s): Sure. Yeah. That's when I first thought I was like, oh, this is actually really a real place. And you're just kind of combining it in the thing. And then I like Wikipedia at it and I'm like, oh, okay, this is spot. 6 (40m 55s): So we actually recorded in cold water, Mississippi, but Luther Dickinson. So there's, this record has a bunch of cool stories. Like the one story is the pilgrimage of the hip hop blues. So Chuck Treece and I, who is jammer, but also plays bass guitar, vocals, percussion, everything. He's like one of those guys it's like the best musician you've ever heard on every instrument. But like, yeah. So it was our pilgrimage, you know, going down to like, you know, to where the shit is from, you know what I'm saying? And immersing ourselves down there for a week and getting to connect with all these emerging blues, men and women that and old timers too. 6 (41m 46s): And so the next part of the story is Luther Dickinson. So his father, Jim Dickinson who passed rest in peace, Jim, he produced my second record and I, yeah. So, and actually in 1994, we visited with him in Memphis and he took us to that studio, zebra ranch studio, not record there. However, he did produce a record in new Orleans. So, so now third, like almost 30 years later, you know, so Luther and I have known each other since then and, and his brother Cody. So Luther Dickinson, I called Luther, said, I wanted to just record Philadelphia, Mississippi, and you know, the pilgrimage, the hip hop blues and look, everything, you become 4 (42m 35s): A producer too. Is he a producer as 6 (42m 37s): Well? Yeah, he, he he's an artist, but Dave, yeah, he is, he grew up, you know, kind of cut his teeth as a studio guy. So yeah. He's excellent producer. And so yeah, I said, look, man, will you produce this record? Can we, can we do it, the studio? And then it was, that was it. Cause Luther, you know, he knows he's a real figure head leadership of the blues community around Memphis, Mississippi. And so he was able to call a bunch of people in for the G love record. And then I was able to get a bunch of guys in like John Tevez Willis thing, fish, and then the hip hop guys, like schooly D speech and Chuck trees got Freddie Fox who I can't leave it on my record. 6 (43m 21s): Like, cause he's like the most fucking hardcore MC ever is on a G love record. And he's like stoked about it. It's so cool. Speech of course is like my, probably my most biggest influence as a, as an MC just because he's when I heard the song Tennessee, he's singing rapping, you know? So yeah. So that was those, the stories. And, and then basically we would like, we, you know, cause because it was a collaborative record, right. So how do you approach that? And because we're on a five day time crunch, right. Between our last house party and this festival, 4 (44m 3s): Oh see you did in between. 6 (44m 4s): Okay. I had like an anchor date, which was this festival with the almond Betts band. And so we had like this five day window to make the record, which we felt good about, but y'all cannot in a writing session the way down. I had some songs kind of in various stages, we kind of honed in on some of those. And then basically it was like, we would have shipped prepared for the guests. So everyone who came through was tasked with like bring a groove or a hook or a melody or just show up and be ready to do things. So then everybody came in various stages of preparation, but there's a really like interesting thing, like when you get creative people together and kind of people rise to the occasion it's it's like, it's intimidating. 6 (44m 57s): Right? Like anybody be scared like, oh, you know, you want me to write something right now? Or right, 4 (45m 4s): Right. 6 (45m 4s): And people kind of 4 (45m 5s): Stuff on the spot, right? 6 (45m 7s): Yeah. Like there was this Mo there was moment with this on my ball. 4 (45m 13s): Oh, that's one of my favorite ones on the record. I made a note of that. That's such a red song. 6 (45m 17s): Yeah. Yeah. That thing is so coolest. So I had this idea that I want to have like, like we had this breakdown in internet and then a groove was just going to be like a hip hop group. I had a group that I was, could play, but Bay's got, I want to see what John Tavia and king fish could do. So I said, yo, what's going to happen is that Chuck's going to play a hip hop beat. And then you guys are going to count to four and you're going to come in and the Kia II and just play some kind of looping, you know, blues riff. Do they just like, okay. They, all I really want to do is just jam blues. 6 (45m 59s): Like they didn't even want to like do this shit that I was trying to do, like super trepidatious if that's a word about it. And so like, there's, I'll never forget. Cause I'm sitting here, John Tamia sitting here and it king fish across the room from him and he's like, I bet he goes, alright bet. And he looked at king fish, alright. 1, 2, 3, 4. And then they came in and playing the groove. That's on the record. These really cool syncopated blues riffs that just came out of nowhere and they just played in perfect. And it was like, oh my God. 4 (46m 31s): Wow, wow. With, with, with the amount of, you know, features and people that you have collaborating on this record and only five days to do it, how did you ma like manage that? You just had a certain amount of people come on one day and then day 2, 3, 4 or five. Like 6 (46m 47s): Yeah. Like it was so stressful to think about planning it and then the way it went down was just like so natural and seeing cool, like, yeah, basically we'd say like, all right, we're going to get the session started at, you know, whatever 11, so 11 to one, we're going to kind of prep a track, the next artist to come in or at least get an idea down. Then they come down or then we started with them and like Alvin Youngblood Hart was a real, he was awesome. Cause he he's like a studio guy, but he's also a blues man. So like he, he just had just great rhythms to play. So yeah. Someone will start a rhythm and then yeah. And that was it. 6 (47m 27s): And but yeah, it was like, and then it would be, it was cool. Cause it was like a reunion, right. Because one person will be wrapping up the session while the next person showed up and all these people were either friends or had heard about each other. 4 (47m 41s): So they're running into each other as their list. 6 (47m 44s): There's this great picture of like king fish and John Davis and their buddy Jay hop, watching Alvin young blood just Seren. Cause they kept saying, oh Mr. Alvin, play another song, you know, playing at this form. So Alvin's like sitting on it just the way the studio is. He was using the toilet as a chair because the boys were out back cause the door opens to the outside and there's a picture of him sitting on the can, you know, it was closed. Then the boys watching them, watching him play, play the blues. But so there was a lot of, a lot of that kind of like instant comradery and it, it somehow worked out and everybody kind of rose to the occasion, including Austin. 6 (48m 30s): I had this feeling like also kind of like being again, just being kind of like nervous going into it, being like, oh man, I hope I don't get, you know, just feeling not, you know, am I going to have the confidence to like lead the session with all these like super authentic human, you know what I'm saying? And just like coming into their world. And again, kind of back to the appropriation of this art form, it's something that's been how it's been. That's a real situation that I've kind of dealt with in different ways over the years. And so anyway, I, I didn't feel nervous. 6 (49m 11s): I felt confident. I felt like I was leading the session and, but also following the greatness of our guests and I, it just was such an awesome feeling. And then the last thing I would say was the one night, this timer RL, Boyce came through and he kind of been having a moment like before COVID, but he's, he's like, he's an old guy, old man. And he came in and bro, it was like, this is kind of thing. It was like a blues man. Some kind of always kind of had a, you know, a dream, a musical fantasy about like getting to love. We've just basically got, you know, we we'd basically drank a whole bottle of whiskey at jam till like, till like Chuck left his session. 6 (49m 57s): He's like moons all night long and we traded hats and we just laughed and that's so cool. He was so funny. Could like, oh yeah, I liked that. I liked, I liked that if you played well, let him here, let me show you this One liners, 4 (50m 17s): You can tell that you guys have just had so much fun putting the record together. It's like, it's very like optimistic feeling when I listened to it, which is really cool. Like it's uplifting the album, just like the way it, it flows. Like from the first track to the, you know, the shout out to the end, which I think is so cool. It's just the riff you guys are going on and thanking all these people that helped on the record and just the, the, the concept behind it all. And even with the song right before that, with the Philly sound, you taught just talking about the, where you guys had came from and the other artists had came out of the same city and it's just such a cool, cool record. And like I said, you can just, you can hear that you guys are having such a great time putting it together. 6 (51m 0s): Yeah. And back to like, and also just also got to give shots to Luther Dickinson because like the, just because of Luther, he's a very interesting guy and I mean, he's such a talented guy. He's such a humble guy, but he also has, he's also a front man of abandoned and one of the great league guitar players, guitar players of our time. So he, he has an ego, he has confidence, but he's, he's one of these guys it's very kind of like open and very gentle. Right. And as a leader, he's very, he's kind of very, you can be farmed, but he's also very gentle. So it had this openness to the session. 6 (51m 41s): He just kind of made it all happen. I, you know, like when I think back, like, I mean he made it happen on every level probably because like, he, he, he made it happen, you know, financially cheap, you know, and that was kind of everything at that time because, you know, no one knew where it was happened. So, you know, we were able to pay everybody. Like literally we, we took the backyard cash from people's parties. Like I paid for a studio on cash. I paid a lot of musicians cash and you know, everybody came down and it was cool because we got to give everybody a day's work and, and get to hopefully do something that, again, like part of the mission for his record is, is not just to make a great G love record, but also kind of to throw some light on some of these. 6 (52m 33s): I, like I said, emerging talent, these young men and women that like, you know, that are keeping their, their cultural art form alive in this very like present and potent and original way and not just, you know, cause you, you froze for a minute. If you were thinking about the blues, you think, well, that's, Blue's gonna die. Right. Cause there's no younger generation of African American women authentic li carrying on this tradition because of whatever, because whereas hip hop is in no fear of dying because that is also this authentic and 4 (53m 17s): It's just getting bigger and bigger. 6 (53m 20s): But to see these guys like Tang fish and John TAVI is like coming out, like, yeah, that's your song. 4 (53m 27s): Yeah, no. And then with this whole like NFT thing is that like, it's, I want to hear how you guys, how you're doing it because I interviewed rain from our lady peace and they're doing their last record was, is an NFT format to like similar. But I want to hear how you guys are doing and like when did you get involved in NFTs and yeah, I guess we'll go from, 6 (53m 53s): Yeah, man. Like it started kind of like dabbling and like Bitcoin and crypto in December of 2017 and kind of just Kept a little finger in the pot, but not enough that, you know, really actually slapped me free or anything like that. But my, my road manager he's, he's quit the road and he's wow. But, and he has, yeah, like citizen cope. We talk a lot about the music industry often and he left me this really cryptic message one night. It was like, yo G man, I found a thing, man, we're going to be all right. Like we're going to have this going to work. 6 (54m 35s): And I was like, what does he fucking talking about then the next week, the next week everyone's talking about NFTs. Cause you know, like whatever, like a crypto punk. So for like that, Sotheby's for like, you know, eight, 20 million bucks or whatever. 4 (54m 50s): Right. 6 (54m 51s): So yeah. So then I was like, oh shit. So I made NFC that day on referable and I think it's still living there. And then I happened to be, this is while we were on the west coast, solve acute or with the family we're staying at, you know, friends of high places. But I mean, whatever, like one of the guys who started GoPro, we're surfing buddies and 4 (55m 15s): Yeah. San Diego company, I don't know, maybe you're around that area or there they were in San Diego. 6 (55m 21s): Well, he knows Aquinas has got Neil Dana, but his, we stay at his house. He wasn't there at half moon bay. And, and so actually the, his buddy was housed at, in who was like crypto and NFTs and stuff like that, blah, blah, blah. And so, you know, whatever long story short is that he kind of was coaching me on the NFT thing. And so now fast forward, then he started hearing about Kings of Leon dropped on his yellow heart platform. In the meantime, I had put out two separate NFTs that were not necessarily music related were what were related to the artwork on our videos, but what's called a generative series of 10,000. 6 (56m 3s): And I didn't really do so well, but it did enough to be like, wow, we can actually make like real Luta and this and that. So now, so now, so then it was like the dream, like to put the album out as an NFT. So linked up with yellow heart, which is a really interesting platform. And yeah, like we're just right in the middle of our right now, which looks like this. So basically like people sign up now. So if you don't know about the space or whatever, like it's all about like building community. I know you can think of it as far as it relates to music as like a fan club. Okay. Why would you want to buy a album as an NFT while you might want to support your favorite artists? 6 (56m 46s): Because Spotify does not pay anything. Apple music does not pay anything. The record companies don't pay anything, although they're helping to put your music out. And it's very hard for artists, you know, unless the very top 1% people like Taylor swift, or like, you know, M and M or guys like that to make money on their recordings. It's just a fact, right? No one buys records, streaming doesn't pay, 4 (57m 19s): Right? They'd rather, you could pay Spotify whatever per month and then stream your album endless times. But you're not seeing any of that. Maybe percentage of a penny per thousand streams or something. 6 (57m 33s): I think I can get a million streams and you own a hundred percent of the songs, like $4,000 or something. That's crazy. If you sold a million singles, well, that would, would put some money in your pocket, you know? 4 (57m 46s): Right. But who's buying. Yeah, it's totally different now. 6 (57m 49s): So that's, that's the one that's. So anyhow, if you buy my NFT, the money is going 90% of the money's going to me. Whereas if you buy any record that I have out, you know, maybe like 4% is going to me. So that's one thing. And then the art aspect of it, maybe this my NFC will sell out and there'll be a secondary market. So you could actually trade my record and sell it and make money off it. Well, that's pretty cool for the fans and there's community building stuff where like, you know, the active community on discord, which is like a chat space kind of anyways. So yeah. So our drop looks like desert. 6 (58m 30s): It's really cool actually. So the first thing is like, people sign up now for this G left community token, which actually is a free NFT. It is as NFT you get, when you make a wallet on yellow heart, right. Which is the platform. And then, and that also gives you a pre-med. So we're making a thousand NFTs and each one comes with a vinyl, either black or gold. Right. So then the next thing that happens is if you buy it, which comes out June 6th, that's the origin NMT. And that gives you the full record. Right. And you can stream it on yellow hearts platform and you can also download the MP3s on your computer. 6 (59m 11s): Right. And then after that, they did, there's the next NFT tells you. So this is your third NFC. You get this one indicates whether you got a black record or a gold record, or one of five test pressings and a meet and greet, blah, blah, blah. Oh, wow. And then there's even one more. And then there's one I feel like, and you get for all this. 4 (59m 35s): Okay. Yeah. And if you order now, 6 (59m 40s): But then the last thing you get is the generative thing, which is 1000 unique variations of the album artwork. So you actually get like four digital pieces of artwork. You get the album to stream and you get a vinyl and, and then chances to like win, you know, tickets and shit. So a lot of value, it's $175. But again, you know, this is something that, you know, most NFTs go for, you know, a 100 bucks. So even in that world, it's kind of, it's kind of cheaper, but, 4 (1h 0m 15s): And you're getting like physical things and like, you're getting a physical record, you're getting the record of stream. You're also getting the, the digital artwork. You're getting an opportunity to win tickets or this or that. And the other thing, I mean, like you said, it's such a cool thing. Like with like, I feel like more artists are going to have to go this route or they should be going this route with NFTs. Because like you said, it's essentially a CLA a fan club that you are buying into. Right. That's giving you perks that you're not going to get any other way. And then you own, you own it in the sense that you, you said you could trade it later. 6 (1h 0m 49s): Yeah. 4 (1h 0m 50s): Which is so crazy to think. Cause like I w the PR the other person I was talking to about it, like, I didn't quite get it. And like, they're the way that our lead piece, that it was a little bit differently where you would fund into the album. So like, I could spend X amount of, you know, cryptocurrency on love from Philly. And then if it makes, if it hits the radio and does all this money, then you could buy into a percentage of the royalties, so to speak. 6 (1h 1m 14s): That's cool. 4 (1h 1m 15s): So like, that's, so you were 6 (1h 1m 17s): Like, 4 (1h 1m 18s): That's how our lady piece did it on their right here. Like it's it's yeah. We're basically like a stock you're owning this fragged fraction of this one song. And then if it makes money, then you get whatever percentage back. 6 (1h 1m 33s): That's so cool. That's like a community Dow. That's pretty cool. That's that's interesting. One thing about that to me is like, wow, that's kind of, it's so hard to quantify. Right. But I guess not because you get your royalty statements and then you could say like, well, this was, this is what the record has done Realty wise. And they're going to put that in a community wallet and disperse that. 4 (1h 1m 53s): Right. Yeah. So it's kind of interesting how, and I don't know how much of the percentage of the song that he, you know, is available. Cause he's not going to say a hundred percent of the song is going to go up for grabs because then what, you know, so I don't know how that it was all broken down, but 6 (1h 2m 6s): I mean, he already got enough on the front end, sorry. Like, cause that's sorry, you, you made this other point, which is like the GoFund me. Cause that's kind of another way to look at it as like, this is kind of like the next step of like, if you wanted to support your favorite artists making a record and like do a Kickstarter campaign or a go-fund me and like buy into that thing. This is kind of what that is as well. 4 (1h 2m 31s): Right. Right. It totally is because then it's okay. I made this record. You can help support it directly to support me. And in return, I'm going to give you not only because some people are weary about like, you know, it's digital space, like just digital, like now you actually have a physical record and the digital assets to kind of go along with it, which is so cool. And like, like you said, it could be, it's worth something to another, if you said how many, 10,000 there you're going to do, or obviously limited in our thousand 6 (1h 3m 2s): 1000. 4 (1h 3m 2s): So there's a thousand and if a huge gala fan missed the boat, and then now you own this piece, it could be worth, you know, 500 bucks if somebody else. 6 (1h 3m 12s): Yeah. 4 (1h 3m 13s): Which is crazy. And it's like, somebody put it to me in the sense that like, what if you bought into something like a Taylor swift song that she never released and then she blows up even more. And then it's like NY own this unreleased song. Like that one guy that bought that Wu Tang record. That was like the only, only CA he bought it for like 2 million bucks, I guess. So it could be lucrative, but it's also, you're supporting an artist directly and you're not supporting, you're not, I'm not buying some rare, you know, album that you released, like a first pressing or your first album that some other person owns and you're not receiving any of the, you know, 6 (1h 3m 48s): Right. So that's another part of it is like the secondary is that you take that Wu Tang. Cause because the blue tank thing is an interesting thing because that's not an NFT, although too bad. It's not because that thing, whoever bought at first, they just flipped it again because I saw that it sold at auction and like a crypto guy. Got it. Oh really? Yeah. I think he paid for four mil for it, but here's the thing that's going up in value, but because it's not an NFT, maybe I'm wrong, but like they don't get a, a royalty on a secondary sales. Whereas the NFT, you have a built-in royalty like two to 10%. So if you bought the NFT and then it does go up in value and you sell it for 500 while I would get a small percentage, like maybe 5% of that will come back to me as the artist in perpetuity. 4 (1h 4m 37s): Right. Right. And they're not seeing that like, like Wu Tang put the record out and it's sold to someone who had it or they had it. Somebody had it like, you know, they're not getting any money from that. And then it goes for 2 million and to that guy, that pharmaceutical dude who sells it for 4 million, so he makes 2 million on it and then they're still not making anything on it. Right. Yeah. Right. I guess. Yeah. As far as we know, but yeah, because I love the concept of, with the video you did too, with love from Philly and the, the board apes, that, that was like the first that was when the NFT for me, I was the cyber punk thing was yeah. 4 (1h 5m 19s): Obviously that kind of got my attention, but then went to the apes. I'm like, okay, this is like turning really into something where people are making a lot of money and you utilize that. And I love the one that you made of yourself and like, it just, it was so cool. Like it's such a cool concept. 6 (1h 5m 35s): Yeah. I mean, so that's, so actually that kind of gives you an idea, like the strength of like this community, just because it's like a new thing. So every way that you engage with is like, it's like as if, you know, we both know that there's a secret ice cream store that opened down the block and so far, so we're like bodies now over this ice cream, it's kind of like that. But yeah, there was this, the guy hit me on Twitter is, does a guy who it's actually called the blazed ape smoker's club, which is a takeoff of the characters of the board ape, Which is famously worth, you know, tons and tons and tons of money. Sure. 6 (1h 6m 15s): But anyhow, he had hit me up cause he had done one, a character for Amir Questlove from the roots like, yo G can you help me get this to a mirror? Well, I'm here. And I, I know I charged since we were kids. We're like, we're not, we don't, I don't, I don't have his number. I went on to stay in touch, I think. Right. So I was like, I was like, well, fuck that. What about the G love one? You know, He made a G love one and I was like, holy shit. It's, it's, I'll pull it up. I can just show it on the camera. But so basically then I was like, yo man, would you, you know, would you consider doing a video? 6 (1h 6m 55s): Cause then you would pump your blazer smoker's smokers club. And we have this song love from Philly and he's a Philly guy. So he said, yeah, sure. So he made the video, he made a character, a school ID and okay. And so that was, that was what it was. But then let me just find this real quick, whereas this guy open C Jones. So here does yet. So there's my guy. That's so good character. So then yeah, he did a whole video, like of all these iconic it's really cool. Like animation style. So you haven't checked it out, like check it out. 4 (1h 7m 37s): Yeah. It's so rad. And even in the, from the Jews, the, the videos you were doing from them, that was to have that similar. And if the look 6 (1h 7m 46s): Yeah, well that was so yes, that was done by this artist, Andre solar. And we did four, I think, four animated videos for the Jews. And, and then, then we did an NFT with his characters from those videos. So that was that's called juice gang. And that's kinda like the OJI project of all my forthcoming, like do you know stuff into the web three is juice gang. That's our discourse juice gang. And, 4 (1h 8m 22s): And that's where you can go in to do the, to opt into what you're doing now. Right? 6 (1h 8m 27s): No, I can just separate project, but yeah, no, the new ones on yellow heart. So yeah, just like, and, and at G love on Twitter at Philly, G love on Instagram. G love is also on Facebook and Philadelphia, sonic.com and like on our lake trees there, you can find like the links to get the community token or the minute juice gang and see all this. 4 (1h 8m 51s): Okay. Yeah. That's where I'm at right now. I'm on a Philadelphia Sonic right now. That's what I 6 (1h 8m 57s): Did a community choking yet for 4 (1h 8m 59s): The habit. I haven't got 6 (1h 9m 1s): To get your free NFT, 4 (1h 9m 2s): Man. I know, I know I'm going to do that. I wanted to talk to you about at first and see how I, how I went about it, but that's so cool. I'm so excited. This is so rad. And I love it. I really want to get into it. I want to get into it with the content I've done. Like I haven't seen a whole lot of video on FTEs yet, so that's one. I want to try to get some of my content in on and see what, you know, this is such a cool world that's happening. 6 (1h 9m 23s): Literally. Like you could do this interview, you know? I mean you could put out like, and no one's maybe done like putting out interviews yet. Like you could do this full length recording of our zoom interview as like a NFT and just do one-on-one. So someone could like own 4 (1h 9m 41s): The conversation because 6 (1h 9m 42s): That's basically what people are doing. They're just buying this content and then, you know, they own it and then it can, so if it was interesting to them or they want it to support what you're doing. 4 (1h 9m 55s): Right. 6 (1h 9m 56s): But that's actually a good idea because you could do it like you could do one-on-one in it. I'm sure you interview a lot of interesting people and you could do one-on-one interviews with whatever artists you're doing and then you could split the royalties with 4 (1h 10m 9s): That person 6 (1h 10m 10s): Artists. 4 (1h 10m 11s): I know that's that? That's what we should do. We'd start with yours. Oh, that'd be killer. Well, thank you so much for doing this. This has been so much fun. I love chatting with you. Are you playing I'm in Nashville now? So I don't know if you're coming down here anytime soon. 6 (1h 10m 26s): Yeah. We're we're we're I'm on tour this summer with oar and dispatch. Oh, 4 (1h 10m 32s): You are on that tour. But I 6 (1h 10m 34s): Bought it through Memphis. It's not going through Nashville. 4 (1h 10m 36s): Oh, it's not. I thought I saw an email about OER coming through here. Maybe not. 6 (1h 10m 41s): When I looked on my schedule, it's not, 4 (1h 10m 44s): Maybe it's not. Maybe I got confused. Cause I know that they have, I signed some emails about, they have a new record out coming out. 6 (1h 10m 50s): Yeah. She lives in Nashville, Jeffrey Clemons. And he, he does at underscore the house, man. He plays some local shows around there. 4 (1h 11m 1s): Really? I'm going to look them up. Yes. Sick. Awesome. Well, any, if you ever in town, man would be cool to pull the catch up with you again. 6 (1h 11m 10s): Well, let's, let's definitely do it. 4 (1h 11m 12s): Awesome. Awesome. Thanks so much. Great chatting with you again, Garrett. Thank you so much. This has been awesome. I appreciate you. Alright, bye.

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