Chillin’ with Soulive
[Editor's note: another take on the band, this month from the esteemed Andy Tennille…]
You might find Soulive in the jazz section of your local music shop, tucked in there somewhere between Mark Solis and Pien Stades, but the label doesn't do em justice. These cats don't limit themselves to just playing Grant Green or Jimmy Smith riffs. They pay homage to their influences with a mix of jazz, r&b, funk, soul, hip-hop, and straight-up rock n roll. And even some Men at Work, according to Alan. But I'll let him tell you.
The Evans Brothers are tight. Neal plays a funky Hammond B3 organ that floats along over his bouncing bass notes. Brother Alan is a monster drummer, oozing Zigaboo Modeliste-like style. These dudes can groove like The Meters, going deep into that funk pocket that makes you stick your butt out when you're dancing to songs like "Cissy Strut" or "So Live!"
Eric Krasno can just flat out play the guitar. The guy takes these spidery solos, jumps off into a jam and finds a new groove to drop into, like he knew it was going to be there all along. That's what sets these guys apart: when they're improvising, it sounds like they're playing something they've known all their lives. Like some freak Cosmic Alignment. They're that tight.
Do me a favor: check them out when they come to a planet near you. Or better yet, go to Hawaii and catch them playing a five-show tour of the islands in January. You look like you could use some sun.
AT: Let’s start out with that first jam session in Woodstock in March ’99. How did you guys find out about each other?
Eric Krasno: I think we all met one another back in '95. 1994 or 1995, I'm not really sure. Alan and Neal were both playing in Moon Boot Lover with Peter Prince, and I was playing with a group called Lettuce from up in Boston. I think we opened up for Moon Boot over at the Ironhorse…
Alan Evans: Well, the first time really was…
EK: Oh yeah, the first time was in the back of my house, actually.
Neal Evans: Right, right.
EK: I was living in this big house, and we had a music festival, literally, in our backyard behind this place. We first met there, and then we opened up for them at the Ironhorse. And we just kept in touch. We'd run into each other a few times here and there. Alan started playing with Karl, and I knew Karl, so I'd see him at those gigs. I ran into Neal in the City (NYC) at a gig a few times. We just exchanged numbers and kept in touch, and Alan and I exchanged emails pretty often. I knew they were talking about starting a new group. At the time, I was doing stuff with Lettuce, but our drummer was about to go out on tour with Average White Band. I went out to Woodstock to just jam with these guys, and it ended up that we recorded it.
AT: Was recording the session the intention from the beginning, or did you guys play some and then decided to roll some tape?
EK: Alan and Neal had stuff set up to record, so we were going to record us rehearsing and just jamming out. But it just ended up gelling really fast. They had a couple ideas for tunes, and I had a couple of ideas and some stuff was written on the spot.
AT: "So Live!" was written on the spot?
AE: "So Live!" was written that day, and Neal had some ideas for "Turn It Out."
EK: "So Live!" was kind of written in different parts. You had the bass line…
AE: Right. And then you had that other riff for it. Everyone brought something to that song.
EK: "Cash's Dream" was a tune that my friend, Nick, wrote, and I brought that in with me. We each had some different ideas and recorded all of it. It really was the first time we'd ever played together. (The band released the recording as an album, "Get Down!", in August 2002.)
AT: What were some of your reactions to the session?
EK: I called a bunch of my boys the next day and was playing them the shit over the phone. I was like, "Yo, check this shit out." (Laughter) I knew at that moment that there was more to it, and there was more to come. I knew that Alan and Neal had some gigs booked…
AE: We had our first gig as a trio playing with this vibes cat. We knew that it was going to be his only gig.
NE: Well, at the gig we knew. (Laughter) We didn't know before that.
AE: Right, right. It was cool, but Eric happened to be at that show.
EK: I wasn't even supposed to be at that gig…
NE: You were supposed to be at that NBA game, the Celtics' game.
EK: That's right. I was supposed to go to the Celtics' game, but I gave my tickets away. I can't remember how I found out about the gig. I think Alan emailed me, maybe.
AE: That's right, because we were ready to put this thing together.
EK: I ended up going to the gig and checking it out. I had my guitar with me, so I sat in with them.
AE: Afterwards, Eric was like, "Yo, man. That was so dope. Next time…" And I was like, "Yeah, it would be. But that was the first and last gig with that guy." Neal and I already knew we wanted to go and get a guitarist. So I told Eric, "We've got all these gigs booked, so could you come down and continue to fill in while we find a guitarist?" That's the other cool part about it- it never even crossed our mind that Eric would join up with us.
EK: At first, I was just trying to hook them up with different people that I knew to come down and do the gig. I was playing with Lettuce at the time, and we were trying to get things off the ground. We had just recorded a live album that we were trying to get put together. We were doing it all ourselves, basement-style. (Laughter)
AT: Were the two live cuts on "Get Down!", "Brother Soul" and "Right On", from that first summer of jamming together?
NE: Yeah, yeah. Those were just two tunes we covered at most of the shows Kraz played with us.
AT: Eric talked a little bit about his reaction to playing with you guys. What was your reaction to his playing?
AE: That's the funniest thing about it. I never even knew Kraz played anything but rhythm. Because in Lettuce, they have another guitarist…
NE: Remember when we did the show at the Middle East? Didn't Soulive open up for Lettuce? At the CD release party?
EK: That's right. One of the first Soulive gigs was opening up for Lettuce. That's funny.
NE: I remember it because when Kraz stepped up and played, people started bugging out. No one had heard him play much lead, and he just blew them out.
EK: I wasn't playing a lot of lead with Lettuce. One time a night I'd take a solo, at the most. We had two or three horn players soloing, a keyboardist soloing, another guitarist soloing, so it was crowded. I didn't play nearly as much lead. It's funny, because after these guys stopped playing with Peter Prince in Moon Boot, I played a few shows with him. I ended up playing a lot more lead with him then I normally do, and he had the same kind of reaction that everyone else did.
AT: Aside from jazz, talk to me a little about your influences.
NE: That's hard, because we all listen to so much music, from hip-hop to soul to r&b stuff. You can tell by some of the random CDs lying around here. We've got Hendrix "Band of Gypsies" in the back right now, and we've been bugging out to some Zeppelin recently. Whatever we can get our hands on, man. We'll listen to just about anything.
EK: I'm big on Bob Marley and Peter Tosh right now. When I was younger, I listened to a lot of Jimi Hendrix, Stevie Ray Vaughn and Led Zeppelin. Then I got into Miles Davis, Coltrane and all that stuff. "In a Silent Way" was a big record for me.
AE: I've got "On the Corner" with me, man.
EK: No shit? That album is great. We're open to listening to pretty much anything. Neal has gotten me into electronic music through some of the stuff he writes. He turned me onto Biork- I didn't know about a lot of that stuff when I first met these guys.
AE: It's funny, because when I was younger, I went through these periods of listening to just one thing. I mean (looking at Neal), how long did I listen to Hendrix when I first started listening to him? Two years, I think it was. All I listened to was Hendrix.
NE: I was sick of both him and Jimi, man. (Laughter)
AE: I'm serious, dude. All I listened to was Hendrix. That was it. I had all his albums. I went through phases like that throughout my whole life. But now, my ears are just open to anything.
EK: I went through some phases where it was just Zeppelin or just Stevie Ray. I listened to all this stuff, and then there was a period where I didn't listen to it at all. So, just in the last few years, I've begun to come back to that stuff, and remember how good it is. Like Zeppelin- I just bought a bunch of Zeppelin discs, because it'd been so long since I was listening to that shit. But after being in the studio and recording an album, you listen to things differently. It's like, "Wow, listen to the production on that."
AT: You start to focus more on the little details that make up a great album.
EK: Exactly. The details: the things that make the song, or the album, just a little better. A little brighter. It's been cool to check out a lot stuff that was some of my first impressions on music, but being able to look at it now with what I've learned over the last few years.
AT: How do you guys feel like your sound fits into the progression of jazz music? I know that’s a broad question….
NE: I don't consider myself a jazz player by any means. The fact that we play chord changes and stuff kind of puts it in that category, but if you listen to something like "Have You Ever Been (To Electric Ladyland)" (from Hendrix's Electric Ladyland). The changes in that tune are just crazy. There's that one version that just plays the rhythm track, just the chord changes.
AE: It's weird, because when you listen to the song, you can't even really hear it. But after you listen to just the rhythm track and then go back to the original song, it's right there.
EK: That's why I love the way Hendrix changed chords. He didn't go by any rules. Neither did Stevie Ray Vaughn. They played the same all over the neck, where a lot of cats would say that it doesn't make sense in music theory. But that's why those guys were so bad. Most of those songs were based on one chord that they moved around the neck, and they filled in a lot of different intricacies. It's cool. It's really intelligent, but not necessarily fitting the mold. Those guys broke the mold.
That's why I feel like a lot of jazz music or jazz players don't really agree with breaking traditions. I like cats that like to push it to the limit.
NE: If you listen to traditional jazz music, and then you listen to us, it's pretty obvious that it's not the same stuff. It's not the same at all. We're like a power trio, you know?
I know of few bands that are louder than us onstage. I've never seen a jazz group try to do what we're trying to do. Some of those jazz cats convey a similar type of message, but in a completely different kind of music.
AE: A lot of it has to do with the organ. If Neal just played a bass guitar, jazz would never ever come up. It'd be rare if the comparison was made. But with the organ and everything…it doesn't sound like the Doors, you know? So jazz is the next thing people mention.
AT: You touched on my next question. Talk to me a little about the choice to not have a bass player.
NE: I've been doing it for years without it, so it wasn't even weird to me. I think in the beginning we thought about it, but it never happened. It's hard, because I like having a bass player sometimes. And we know a lot of killer bass players. But it's different for me- it's hard for me to not be able to do that and give it up to someone else. I've been involved with other projects that had bass players, and they all worked out fine.
AE: I've always looked at it as the bass as a tone. If you look at it as just being tone, a bass guitar can produce that kind of tone, and the organ can definitely produce that kind of tone. A lot of instruments can produce that tone. Neal is just as much as a bass player as any bass guitarist. It's all the same. There's never a lack of bass.
AT: How does it change your approach as a guitarist, Eric?
EK: Well, I don't know. It's cool, because I like the way Neal plays bass. He leaves more space a lot of the time, but at other times, he fills it out. There's no lack of bass. When he wants to fill space, he fills it. Because he plays both the organ and the bass, it does leave some space for me to move.
It changes our communications as a band as well. Our communication is really easy, because the only other person playing the chord and the bass is Neal. We can communicate so easily in terms of where we want to go in the jam. If we want to go into the next section, I just have to look at him. In Lettuce, there were ten guys onstage. You literally needed a flag to make a change. (Laughter)
NE: That's the difference between us and some of the other groups. We have all that stuff worked out. When you have bass players, keyboards and two guitarists all onstage, it's a lot to work with. Even some of the dopest cats around can turn it into a noodle jam and shit. It can take those guys minutes to figure out where someone's going. With Kraz and me, we hear it and it's just a look and BAM- we've changed directions. He can play something, and I'll jump on it or I'll hit some riff, and he's right on me.
EK: My favorite thing about the way we improvise is that it's not necessarily improvisation like, "Ok, we're going to space out here for a little while." We jump off and find new grooves to fit in. It's not like we're playing all over it either. My favorite moments onstage are when each of us find our own roles in new grooves. I think it comes from listening to a lot of reggae and hip-hop music- where it's all about placement and where things should go. Rather than throwing it all in at once. That's what I see in a lot of the "jambands" and that's why I didn't like that label early on- now, it's ok and I'm trying to deal with it. I guess it's the only way for people to describe the shit recently. When I hear a lot of these bands, it seems like they throw a bunch of shit out there to see what sticks. I can dig that too sometimes, and I love those cats that can really play. But I'd rather hear a nice balance.
NE: That's why I love hip-hop so much- so much of it is straight up orchestrated. It's the same thing that any great composer or orchestra leader does. Or folks like Stevie Wonder or Prince. All the different sounds you hear in their music are there for a reason.
AT: Talk to me about a cat that can play. Talk to me about the addition of (saxophonist) Sam Kinniger in the last few tours and the absence of Sam on this tour.
NE: A friend of mine recorded some footage of the last time we were in San Francisco at the Elbo Room. I was watching it a little earlier, and it was great to see the band with Sam. To just think about that whole tour. It's almost been a year and a half since then, which is really crazy. What was wild was that Kraz and I played less for the past year and a half. It wasn't until the second or third gig that I finally felt good about it. The first gig was like, "Oh shit, I haven't played." I seriously hadn't played. Playing with Sam was so killer.
EK: There's no one else that we'd really want in the band besides Sam. And we're going to do a lot more playing with him. That's not over with by any means. It was just a cool change. We've just been trying to change it up a little bit. When we brought Sam on, we knew it would change us. I felt like I grew a lot by playing with him, and I feel like I'm growing now playing as a trio. I think one of the things that changed was that we started writing some different material. When we were playing with Sam, we had some material that really fit that situation with him. Now that we're back in the trio, we're back to writing some new stuff and trying some different things. Taking it out on the edge a bit more. The last tour we did was more situated and organized, because we had a horn section and a singer. Now, we're just trying to go out and do it. We're writing set lists sometimes, and other times we just stray from them and just play. We're really trying to go out and have fun. We want it to be fresh.
AT: You guys opened for the Stones recently, as well as opening for Dave Matthews and Neil Young. Everyone who plays with the Stones has a favorite Stones story. What’s yours?
All: Keith Richards! (Laughter)
NE: Keith Richards came back and met with us backstage. He was just the man. They were just so sick. There was just so much energy in that room when we walked in. It was amazing.
EK: You know how sometimes you play with someone who's really famous or that you admire, and you lose a little bit of love or respect for them? My experience with the Stones made my respect and love for them grow, like twenty-fold. First off, I saw how cool they were and just how ripping they are onstage; how cool all the people that work for them are and how cool they were with their fans and us. It was great to see. I mean these guys invented rock stars. (Laughter) To see how they rolled- those guys are loving life to a degree more than anyone I've ever seen. I never saw a moment when they weren't just laughing, just huge smiles across their faces. (Laughter)
Keith Richards came back and spoke with us backstage. This will be funny because you can relate to it, coming from Connecticut. I had been talking with their sound guy earlier, because he was from Connecticut and so am I. But we say the band is from New York, because we all basically live in New York City now. Anyway, Keith comes back to talk with us, and we can barely understand the guy. And he goes (Krasno does a pretty decent Keith Richards' imitation), "So, where you guys from?" And we go, "We're from New York." And he takes one look at us and starts laughing. And then he goes, "New York? Bullshit! You're from Connecticut. Ha, ha, ha!" (Laughter)
AT: Keith Richards called you guys out. (Laughter)
EK: Yeah, he called us out. He totally called us out. Actually, I'm the one who got called out, because Alan and Neal are from Buffalo. Their drummer, Charlie Watts, is into a lot of different kinds of music. During our set, I looked back and saw him behind Al, just jamming. He was all into it.
AT: Did you guys get to meet Chuck Leavell, he’s an amazing keys player.
NE: I was talking with him after our set and before the Stones went onstage. We're just sitting there talking, and the Stones go on. He just keeps on talking and then looks up and was like, "Oh, shit."
EK: Chuck was really cool. The funny thing was that I didn't know that he was Chuck Leavell. He was checking Neal during our whole set. He was really cool to all of us.
The other cool thing about opening for the Stones was getting a chance to see them in a smaller theater. I'd seen them in Giants Stadium like ten years ago, but they were so much better in the smaller venue. They just rocked it. You could see all of them up close. I mean, at this point, it's really not a money issue with them anymore. They could be playing all arena shows and just packing them out. But they want to play theaters, and that's cool.
AT: I read something in Relix Magazine the other day about you guys. Dave Matthews gave you guys a real nice compliment. What was the situation surrounding you coming out to play with them without knowing what song you were sitting in on?
EK: He didn't tell me what we were playing. That's how it usually is, actually. Sometimes, I'd ask those guys what key is this song in, and they'd be like, "Just come out there and play." I just try and follow whatever they're doing. They were really cool to play with. Their dynamic and their volume level was so crazy- when I stepped out to take a solo, it was so quiet you could hear a pin drop. Really. They'd be jamming out and then, pop- it was like, "Oh, shit. Is it me now?" (Laughter) The spotlight would be on me and I'd look up and see me on the arena's big ass screen. It was like, "Now, it's my turn. Shit."
AT: How did the sound translate for you guys opening up in some of those bigger venues?
EK: It was cool, man. No problems. I'm actually psyched to do it again now that I have two amps. And we have Wally working with us now, which has helped our sound a lot. But it was really cool- Shoreline was really fun, just because of how big it really is.
AE: That whole second year we did with them was dope, because everyone at the shows knew about us. We had opened the year before, so people starting coming in to hear our set.
EK: Plus, Dave sang on our new album, so that drew some more people in. He came out to sing with us a couple of times, so that got people excited. Whenever he came out, all the people in the place just rushed to the stage, so the place filled up. He's a really cool guy and a good friend of this band.
AT: What did you think of Carter Beauford’s drumming?
AE: Carter is sick. He's just like one of the cats who has super monster chops, but he's just so tasty with it. He's like Michael Jordan, know what I mean? He doesn't bust it out all night, but when he does, it's just like, "Woah!"
EK: One time when we all sat in with them, we planned a little sabotage to make him take a drum solo. Neal, Sam and I started playing this line where we were giving him all this space. We just kept egging him on, trying to see what he's got. Finally, he looked over at us and just busted this drum solo- man, it was killer. He showed us what's up. It was great. He's got such great chops- he sounds like Dennis Chambers.
AE: The funny thing is that people think he's Dennis Chambers all the time.
EK: He used to look like him, didn't he?
AE: Yeah, back when he had the long hair and the hat. He's one of my favorite drummers, man. He comes up with these grooves that you'd never think of playing. They're so musical, so crazy- it's like speed jazz.
EK: Exactly, man. It's funky, speed jazz. And his snare playing is so fluid. He makes the guitar grooves Dave plays so funky. He adds so much.
NE: He makes Dave's stuff just so dope. It's so distinct. Anytime you hear them come out, you hear Carter's drumming and Dave's voice. You know it's them. Carter is a big part of that group.
AT: Talk to me a little bit about your experience at Bonnaroo. Give me one favorite moment and one favorite musical moment.
EK: I don't know about my favorite moment, but I can give you my most memorable moment. (Laughter) My guitar got run over by a truck at Bonnaroo, actually. It didn't get ruined, so that was cool. It still works.
NE: My most memorable moment at Bonnaroo was waking up the morning of our gig and realizing that I left my bass rig in the fucking airport at the Thrifty Car Rental. So, I had my organ, but I didn't have my bass keyboard. But there was that clav there…
EK: That's the gig that inspired us getting a clavinet, actually. There was a clavinet there, so Neal used that. After the gig, we were like, "We need to get one of those."
NE: The other neat thing about Bonnaroo was getting to meet Danny Clinch. He was taking all of the photos backstage, and it was really cool to meet him. He's the bomb.
AE: I just remember hanging out backstage, just chilling out and watching all of this shit go down. There were camera crews running around filming to make a DVD. We were the second act of the whole festival. We walked out onstage, and I was just like, "Wow."
EK: I've never seen that many people. When I heard about the gig, I saw that we were one of the first acts and I was bummed. I was like, "Aw, man. We're really not going to get that many people." (Laughter) There was like 60,000 people there for our set. Literally. And the place went off.
AE: That's the thing, man. That place went off when we started playing. We'd done big gigs before, you know. It wasn't even about being nervous or anything. When you've opened up for Dave Matthews in a 70,000-seat arena, everyone isn't there. I remember checking Dave out when there were 70,000 people in there, and that was crazy. I had to leave it was so crazy. I couldn't deal.
EK: As far as Bonnaroo goes, I feel like there were some new fans there, but there was a lot of people who'd heard about us before. It was like the largest gathering of our fans- people who were familiar with our work and some of the other bands too.
AT: Neal mentioned Danny Clinch as a person he got to meet. Who were some of the other folks you guys ran into who left impressions?
EK: I hung out with a lot of people there. A lot of friends were there. Karl Denson was there, and I sat in with them. Robert Randolph was there, so we saw him. The Dirty Dozen….
NE: Sam from the Dirty Dozen is the shit, man. Wooooo…
EK: The Dirty Dozen is the absolute shit, man. They are one of my favorite bands around these days. I love their stuff.
AT: Their new guitarist is an old friend of yours, I think.
EK: Yeah, Jamie McLean. I grew up with Jamie in Connecticut. He and I went to guitar camp together in New Milford as kids. He was one of my buddies growing up. I'm glad to see him doing so well with the Dozen.
NE: Matter of fact, hanging with them was probably the coolest part of Bonnaroo, for me. Just hearing them talk about their careers, and all the stories. Those guys are great, man.
AE: Weren't you kicking it with Steve Winwood at some point?
NE: That was funny, man. This cat named Mike came up to me and told me he wanted to introduce me to someone. I walk up to this guy and Mike goes, "Steve Winwood, this is Neal Evans." I thought I'd recognized him before I met him, but then I shook his hand and was just like, "Wow." He was really cool. Warren and the Mule went on right after us, so that was cool too.
EK: Warren is one of the nicest people in music, man. And they killed it that day. They rocked.
AT: How about some favorite guests who've sat in with you guys?
NE: Ivan Neville, Josh Redman…
EK: Dave Matthews…Oteil [Burbridge] has sat in and been really great. It's been a while since he's been with us. Derek Trucks is always great. He's one of my favorite guitarists out there.
AE: Casey Benjamin (saxophonist, DJ Logic) is always good.
EK: He's one of those cats that not too many people know about. He's awesome. Reggie from Maktub is really cool. Robert Randolph has been really cool to play with, both with us and with his band. John Scofield (guitarist, Miles Davis), Fred Wesley (trombonist, James Brown Band)...and the whole Lettuce crew. They're always fun.
NE: In Japan, we got to play with Jeremy Pelt. He was the shit too. Everybody was giving it up for that guy.
AE: The other great trumpet player is Irving Mayfield (Los Hombres Calientes). That guy's bad. We had a late-night jam session with those guys….
EK: That jam session was an epic moment. A few of us were there, and there were five trumpet players in this trumpet battle. The group dropped down until only Irving and Jeremy were left, with an upright piano and a bass player. It could have been the 1940s, just straight old school. These guys were just battling. And then Irving took it to the next level….
NE: I don't know, man. Jeremy was right there with him….
EK: Yeah, but Irving's got the showmanship. He's got the circular breathing, and all that…
AE: The circular breathing is always a crowd pleaser.
NE: They both wrecked it though. You couldn't have chosen between the two.
EK: You're right. They both wrecked it- Jeremy had a little more taste to what he was playing, and Irving had the showmanship and flair. It was tight, man.
AT: If you had to choose three people who you could play with tomorrow, who would it be?
EK: Prince, definitely. DiAngelo, Stevie Wonder…Man that's tough.
AE: The thing I love is not knowing. You know, just having a cat sit in and not knowing what's going to happen. There are just too many cats out there. And there's too many cats that you'd never think to play with, but when you do, the shit just goes off.
NE: Like this gig we did in L.A. one time, and Norwood Fisher (Fishbone) shows up. A friend of his called him up and told him to come down and check us out. He was so cool, just kicked it with us the whole night. I had to check myself a few times. It was like, "Dude, I'm chillin' with Norwood Fisher." I wanted to be like, "Dude, I can sing every one of your bass lines."
Playing with Prince would be like playing with Norwood. I mean, that fucking cat could sit down at any of our instruments and just kill it. (Laughter) That'd be so much fun.
AT: You guys are working on a live album?
EK: It'll be out this spring. We're working on it right now.
AT: With your return of the trio, it also means a return of the suits. Talk to me about how the suits first started.
AE: I'll tell you exactly where it started. It started at the High Sierra Music Festival out here in California. I was gigging with Karl (Denson) at the time, but Neal and I had already started talking about doing something. It was real muddy that day at High Sierra, and Maceo Parker was the headliner. All this mud was everywhere, so the organizers put down all this plywood to make it easier to walk. The dudes in Maceo's band stepped out onstage in these suits. I'll tell you, looking at these cats onstage almost hurt your eyes. (Laughter) They were so white. The whole band was wearing the suits with black shoes. The whole festival had these musicians wearing t-shirts and tye-dyes, and then those cats walked in, the lights went on and BAM! Whew, that shit was tight! They didn't even have to play a note. (Laughter) Seriously, dude, people just bugged out. Everyone knew some serious shit was about to go down when those white suits walked onstage, man. I was like, "That's it."
AT: Where did you get the first suits?
AE: Don't ask man, don't ask. (Laughter)
NE: You can ask where I get my shit from now. (Laughter)
AE: We got it hooked up now, but back in the day…put it this way: we didn't have much money. (Laughter) But now we're all right.
EK: We had to do what we had to do.
AT: What’s in your CD player now?
AE: I'll tell you what I'm listening to: Maktub, Band of Gypsies, Men at Work…(Laughter) I'm serious, dude. You guys don't even know. Just like you were saying, you need to go back and listen to that stuff. Got to go back.
EK: I just remember, "I come from the land down under…."
AE: No, no, man. The one joint you got to listen to is Overkill (Men at Work, Cargo, 1983). Overkill is a sick tune. Anyway, I just picked up In the Jungle Groove [James Brown] again, because I lost mine. That's like the funk Bible, man.