Shooter Jennings And Duff McKagan In Conversation At The Grammy Museum - Tenderness

Longtime friends Shooter Jennings and Duff McKagan have teamed up on the forthcoming (May 31st!) solo album from McKagan, Tenderness, and they spoke about their collaboration last Thursday night at The Grammy Museum's Clive Davis Theater. Grammy Director, Scott Goldman, introduced Jennings by saying that he's collaborated with everyone from George Jones to Marilyn Manson (and recently won his first Grammy for producing Brandi Carlile's By The Way, I Forgive You!), and that tells you the huge range that you're dealing with, and that makes sense of how a member of Outlaw Country royalty would come together to work with McKagan, one of the founding members of the monsters of hard rock, Guns N' Roses.

Jennings and McKagan took the stage to much applause, and settled in for a chat about the new album, and their process in making it. These partners met back in 2001, when Jennings was in his band Stargunn (which is also around when I became friends with Jennings!). Jennings was much more metal back then, and said that he came to L.A. because of GNR, and the first CD's he ever bought were GNR. "That 'Welcome To The Jungle' video with Axl getting off the bus in L.A. - that was me!" It was rumored around town back then that he might even take over for Axl Rose in GNR at one point - he had the good hair AND the pants. Though that never happened, a friendship was born between Jennings and McKagan, because as McKagan put it, "I saw in his eyes that he was a truth teller."

As both musicians struck out on their own, McKagan was particularly struck by Jennings' Black Ribbons album (my favorite too - a conceptual masterpiece in my opinion), and had him in mind to work with when coming up with the songs that would become Tenderness. McKagan is also a writer, with books and columns, and refers to himself as an "Armchair Historian". He likes to visit tourist spots, like Monticello, and World War I museums, and is constantly out there meeting and talking with people, and said that when you turn off the news and really talk to people, there just isn't that divide that all of the media talks about. Like after 9/11 - everyone came together to help, it didn't matter what "side" you were on. We were in it together - as we are now and always have been. "Like, I've seen women in full head coverings rocking the fuck out!" Rad.

Inspiration for the new album came to McKagan from artists like Mark Lanegan ("The River Rise") and Greg Dulli ("Deepest Shade" - "that romances the shit out of my musical mind!" - D.M.), and Jennings understood that vibe immediately, and cited Failure's "Stuck On You" as his own touchpoint. Goldman blew smoke at Jennings by asking McKagan, "Was it intimidating to be working with such a dauntingly talented multi-instrumentalist as Shooter?" to which Jennings said, "I'm gonna leave." People talk about humble musicians, but Jennings is the REAL deal - and an awesome dude to boot (which makes sense why these two get along. McKagan seems super thoughtful and aware and kind too). To answer the question, McKagan said he addresses it in the booklet he wrote included with the album ... saying, "Shooter was a few steps ahead always, but didn't make you feel that way." He echoed Brandi Carlile's sentiment, that working with Shooter is "like being two kids in the basement making a rocketship!" After juggling touring and kid schedules, these true partners got down to it. McKagan also used Jennings' band for the project, and told about seeing them play The Troubadour last fall, and hanging over the balcony going, "That's my band!" all excited, because they're THAT good.

Several of the songs from Tenderness touch on issues we're all dealing with these days: addiction, gun control, suicide ... though McKagan is reluctant to pontificate on these things, and doesn't want to be yet another political voice, saying, "Oh, you should think this way .. Fuck me." Using the track "Parkland" as an example, he said it came to him as a B flat/D funeral dirge sound, and he name-checks sites of these mass shooting tragedies ... "And if that's political, you can fuck off." That got rousing applause - because Duh.

McKagan also addressed the issue of addiction, having lost many friends to it over the years. He credited his wife, Susan, several times with saving his own life, and it was refreshing to hear a dude gush over his longtime marriage, calling it "badass and cool". "Being strung out isn't a 'them', it's a "we", McKagan stated, and went on to talk about how losing so many inspired his song, "You're Still Here". Scott Weiland had died, whom McKagan tried to help many times. Then Prince. "My thing is Prince. 1999 saved my life, and got me out of heroin-infested Seattle to L.A." (I knew I liked him). He heard about that tragic death while on tour in Mexico City and was gutted. Then Chris Cornell (whose daughter Lily is two weeks apart from McKagan's daughter). The night Cornell died, Axl Rose had come to GNR and said, "Let's try 'Black Hole Sun' tonight" - which they had never played. McKagan got a text after the show that Cornell had died. Heavy. Then Chester Bennington. It's all so sad, but McKagan made it a little better, saying, "We're gonna remember you. You're still here." Having come out the other side himself, McKagan said, "The celebration is that I get to work with Shooter now, and do something also badass and cool."

Jennings and McKagan are readers, and talked about authors and their lyrical influence. McKagan is big on Cormac McCarthy and Hemingway, and their scarcity of words. "They can make me cry over a single sentence. I tried to write to standards of authors that I read. Like, do NOT rhyme 'fire' with 'desire'. Do not fucking do that!" Jennings added about making the album, "We were just chasing a sound. We had a center - which was us - and no boundaries." McKagan was about to add to that, then stopped himself, saying, "You realize this is the most we've ever talked about this. Now we're just making stuff up!"

Goldman publicly thanked McKagan for all of his work on behalf of MusiCares, helping other musicians because he's been there himself. "Being an alcoholic junkie is not part of the rock star dream, and now I have sobriety and a lust for life." He also talked about doing a book of "all the shit I don't remember, like interviewing friends saying, 'What did I do in Louisville?", which cracked people up. Listening to these guys talk together, you realize they're both just regular cool dudes, who also happen to be insanely talented legends that we were lucky to see in such an intimate setting ... and then it was time for them to play!

Joined by violinist, Aubrey Richmond, Jennings sat down at the piano, and McKagan strapped on a guitar. They opened with the title track "Tenderness" and its beautiful piano intro. It's really a song about empathy, and how badly needed that trait is today. Up next was "Chip Away" (which reminded me that McKagan was briefly in Jane's Addiction too!), an upbeat number that featured a fiddle solo and the notion of hanging in there until all of this mess in our country is through - or that's how I took it, anyway.

The short set ended with the one about all of the lost souls, "You're Still Here". It is slow, and there is a funeral air about it, but it's beautiful. The line, "You're still here ... when the lights go down, you are still here ... all you hold dear remains" proved that McKagan attained what he was aiming for. I cried over one sentence. The last notes rung out and McKagan shouted, "We'll see you on the road!" and they sure will. Because their show will be the one where you feel no division in this country, at least for a few hours.  Shooter and Duff ... Thank you for the Tenderness!

Tenderness is out May 31, 2019
Shooter Jennings & Duff McKagan play The Wiltern on June 13, 2019.
Tickets now available.

*Photos by Paul Gronner Photography

A Conversation With Lenny Kravitz At The Grammy Museum

I've been a fan of Lenny Kravitz since we used our fake i.d.'s to get in to see him at First Avenue in Minneapolis back in the day. It was freezing cold out, but about a zillion degrees inside that fabled club as everyone was squeezed in tight to see him play a 15 minute version of "Let Love Rule" to close out the night, making us feel like big peacenik hippies all together who could really make a difference. It was a special show, and I've never forgotten that feeling.

Last night at The Grammy Museum in Downtown L.A., I got that feeling all over again from simply listening to him speak. Kravitz is a real cool cat, and his conversation with Grammy Executive Director, Scott Goldman was intimate and inspiring, but also very touching. I got choked up more than once. Introduced by Goldman as an artist who transcends genre, style, race, and class, who has won 4 Grammys, had 11 studio albums selling in the millions, and is an actor too. Kravitz was there to discuss his most recent album, Raise Vibration - and that's exactly what he did in that room - without ever playing a note (which was kind of disappointing, if I'm honest, as usually they have a chat and then a little mini-set at the Grammy Museum, and this time only two chairs and mics were on the stage).

Kravitz, dressed in denim and shades on inside, spoke to how the recording of Raise Vibration in his home studio in the Bahamas was "an exercise in faith and patience ... I let the creative process be what it wanted to be." Three years had gone by since has last album, and there were a lot of outside opinions on what Kravitz should do next - most all of which he ignored. "I grew up West Indian and Russian Jewish ... it was all about respecting the elders. I've got people saying 'You've got to remain relevant' - what the hell does that mean? It's about respect. I produce my albums." He met with the hit songwriters of the moment, but "I didn't feel it in my gut. Authenticity is IMPORTANT to me." That much is clear. To that end, Kravitz went to the Bahamas and woke up with the dream of this record in his head ... and "The floodgates opened, and the whole album came out. I dreamed the whole record ... You just hear it, it's really hard to explain. I knew I was on MY path." The entire album was recorded, produced, and engineered by Kravitz and his dear friend and musical partner, Craig Ross ("His Mom is here so we have to talk about him!"), and they did it exactly their way.

Once living in his pea green, rented Ford Pinto and working at Leroy's Fish Market ("On Washington and Rimpau"), Kravitz said about those times, "I never said I wanted to be a Star. I said I wanted to be a Musician." That earned him both applause and respect in the room, as most people who attend things at the Clive Davis Theater care about the music, not the hype.

Often described as "Retro", Kravitz laughed at that, saying, "I like to play instruments. I like to hear the character of the players ... their hands ... it's not coming out of a box." The environment helps too, and about working in the Bahamas, Kravitz said, "That's where my roots are ... I FEEL the Bahamas. You can hear and feel yourself there." Both his first manager (Steve Smith) and the man who signed him to Virgin Records (Jeff Ayeroff) were there sitting in front of me, and once Kravitz got his first advance ("Remember when you used to get an advance?"), he bought his land in the Bahamas - and a Harley. The studio he built on that land is where Kravitz has recorded his last three albums, including Raise Vibration.

Digging into that album, Goldman asked Kravitz about some of the tracks and themes on it, starting with the song, "Johnny Cash". Kravitz said he woke up with the phrase, "Hold me like Johnny Cash" running through his head, and he couldn't shake it. He sat down to write about a breakup he'd been going through (I'm available for consoling, Lenny), and couldn't get that refrain out of his head. Then he shared the very moving story of his mother (Roxie Roker - Mrs. Willis on The Jeffersons - one half of televison's first interracial couple) dying from cancer. Kravitz had been sitting at her hospital bedside for days, and left only to go shower at producer Rick Rubin's house, where he had been staying. The mere 30 minutes that he was gone was when his mother passed away. He got the call on a house phone at Rubins' house, and as he received the terribly sad news, Johnny Cash and June Carter walked down the staircase to him. They were there to record Cash's American Recordings, and instantly saw something was wrong with Kravitz. He told them his mother had just died, and they both enveloped him on either side in a group hug of consolation and comfort and spoke to him almost in prayer, though they all barely knew each other. "God always provides what you need ... and that's where I got 'Hold me like Johnny Cash'." The hushed room broke into applause - and tears, if you're me.

"Do you consider yourself an activist?", asked Goldman, to which Kravitz simply replied,"Yeah." He elaborated, saying that 30 years later ("Good God!") in his career, he's still not even close to who he will become. "I've done nothing yet ... Activism, I know I'll be stepping deeply into." That brought up his friendship with Colin Kaepernick, who Kravitz said he admires for "Standing up - or kneeling down - for what he believes in." He talked about how if you look back at footage of Muhammad Ali, he said whatever he felt, and "That stuff was hardcore!" We all respect the flag, but "Let's focus on what's important. National Anthems are great, but it's ONE planet, and our survival depends on working together. We're ALL ONE." I was happy to see that those good old "Let Love Rule" vibes remain very much intact with this guy.

They next spoke about how there are vocals by Micheal Jackson on the new Kravitz song, "Low". Kravitz had worked on Jackson's Invincible album, for which these vocals were recorded, and they were good friends. "It's cool to have his spirit and sound on "Low" - his screams are an exclamation point on it." He said he's heard dissses like, "Lenny thinks he's slick trying to sound like Michael" and that he was biting from him, "Like it was wack" - but it's really him. The Jackson Five were the first concert Kravitz ever went to, and it made him realize, "It was everything about life that I wanted. It changed my life." When he got to record a song with Michael, and they listened to the track together, Kravitz said, "His leg went out -  WHOOPASH! - and I knew it was good." Everyone laughed at that, but Kravitz obviously revered Jackson, saying, "It's so beautiful to remain humble, hungry, to hone your craft ... He did it all, but he was still hungry. That's the way to be, Man." GROWTH.

"All I'm interested in is being myself," said the guy who realized he didn't need to be "Romeo Blue" anymore (his original stage moniker) - he was Lenny Kravitz (who he said sounded more like a lawyer or a psychologist, but this one is definitely himself - and definitely a Rock Star). "You get influenced, and then you find who you are." Race didn't matter to Kravitz until first grade when he went to school and it mattered to other people. His mother told him, "You're black and white. 50/50. Celebrate BOTH sides - but society will only see you as Black." Kravitz thought, "Well, didn't Black people invent rock and roll?" and was just fine with that.

Prince was another big influence on Kravitz, starting in high school (at Beverly Hills High, where he brought the "Culture" from Baldwin Hills. "They had Rodéo Drive - We had ROdeo.") with the Dirty Mind album. "Here was another young, biracial guy I could relate to. He didn't act like anyone else. He didn't look like anyone else. I got DEEP into it." After Let Love Rule came out, Kravitz got a call from Prince. PRINCE! They struck up a friendship, even double-dating French girls when they both were living in Paris. They would play gigs and guest on each others' stages, and Prince would give him a bag of money after. "He's the only person that ever gave me a bag of money." They were friends until he passed away, and of the new song "Gold Dust", Kravitz said he wrote it the morning that Prince died. After he was gone, Kravitz was given Prince's guitar - a main one that he used all the time on stage. "His guitar is all over this album. His energy was in the room and brought something special to this album." And it's true. You can hear and feel it.

Kravitz credited his time with his love, Lisa Bonet, as what really got him started at being a good songwriter. They had a hippie lifestyle, very much in love, and very free. "No one could figure out what box to put you in," Goldman suggested, to which Kravitz offered his advice to new artists - "Do You". They next opened up the floor to questions, which ranged from if he considers his music gospel ("Absolutely. The first track is a prayer.") to not very subtly asking if he'd work with someone in a studio that he didn't know ("You never know.") to how he likes acting compared to music ("Let's be real, I've only made four movies. I like not having all the control, and I want to do more of it.").

Going back to Craig Ross, Kravitz said their friendship is a gift. He had just made Mama Said and was playing pool at HAC (Hollywood Athletic Club for those of you who remember that), and Charlotte from The Go Go's pointed to a guy with "A big Jewfro" and said, "There's your new guitar player" - which Kravitz needed. "We're always together, he moved to the Bahamas too ... we've never had an argument ... he's never asked for something and been said 'no' to, and I've never asked him something and been said 'no' to. We're like brothers." Then Ross's mother in the audience shouted, "Thank you!", and it choked me up again. So sweet.

Reflecting on the fact that Let Love Rule is coming up on 30 years old (!), Kravitz said it was a very special record to him ... "My dream came true." "I caught the tail end of the REAL thing. Real music executives who knew what was going on. It was me, but a very different me. That album set the tone of my music and my message, and from then until now, I've never left my message." The message that we'd all be so much better off if we all agreed to let LOVE rule. Thank goodness we still have artists like Kravitz to remind us of that, have always done so, and will continue to speak their truth to power.

Let. Love. Rule.

Raise Vibration is available now everywhere.


*Photos by Paul Gronner Photography.

An Evening With Leon Bridges At The Grammy Museum

I've been a fan of Leon Bridges and his music for a while now, but hadn't seen him play live, so when given the chance to check him out at The Grammy Museum last night - off I went. I was there just last week to catch Greta Van Fleet for the first time too, so I've been learning a lot thanks to this excellent venue.

The two acts - and the vibes in the room - could not be more different, but there were a lot of similarities too. Grammy Museum Executive Director, Scott Goldman, introduced Bridges to the sold out Clive Davis Theater audience, and we settled in to get to know him better. A native of Fort Worth, Texas, Bridges was there to discuss his new album Good Thing. Decked out in a sweater with stars in rasta colors, Bridges was soft-spoken and thoughtful with his answers, and the energy from both him and the crowd was MUCH mellower than for the Greta Van Fleet guys last week ... but they're both very young, they both have influences like Sam Cooke and Otis Redding, and both acts are doing things their own way.

Bridges' debut album, Coming Home, blew him up right out of the gate, with it landing at #6 on the Billboard Top 200. That retro-soul sound placed him on all the tastemaker's lists, but Good Thing is the album he always wanted to make. He said the theme during the recording of this sophomore effort was "Blood on the mics", meaning he was all in, and not at all settling for what was comfortable. He considers himself a crooner, but heard comments like, "Oh, that's for white people," admitting that black audiences were more of a challenge. For this record, Bridges teamed with producer, Ricky Reed, which was a big switch, coming from doing nearly everything himself his first time out. Arthur Alexander had a singing style that Bridges connected to, so Reed encouraged him to go for it with his falsetto, but his lead track on the new album, "Ain't Worth The Hand" has a more Curtis Mayfield "The Makings Of You" feel.  As Bridges said, "I've matured ... it's sexier." That got a laugh, and Goldman had to say, "I'd say there's a little more swagger, are you feeling yourself more?" Bridges answered, "Totally." (He said that a lot, actually).

Regarding the "sexier" part, Bridges' mom said, "I don't know about that 'Mrs.'", (a racier track) but now she's cool with it. Goldman mentioned that "Lions" was his favorite track, a spare, raw one that features Bridges alone with just a beat and claps. "Yeah, I wanted to get weird with the flow on that track." I respect an artist the most when they do exactly what THEY want to do musically, and Bridges seems to do just that. "Honesty and truth are very important, and what I want to chase as a songwriter."

Goldman said that "Georgia To Texas" was like his life story in 3 1/2 minutes, and Bridges agreed, saying that he'd started singing at 12 years old after his Mom brought him to Texas from Georgia. He cracked everyone up when he admitted that he had been obsessed with Sisqó at that age, singing all of that dude's songs, and then really started going for it at around 20. He went to church every Sunday, but never sang in the church, interestingly. Bridges went to school to pursue dance (also interesting), but picked up a friend's guitar, and "now I know three chords." That led to open mics around Fort Worth, where it was heavily country music oriented, and he'd be this "black kid with a guitar."  He was inspired by a band called the Texas Gentlemen and soon met co-writers Austin Jenkins and Josh Block at a bar, through a common love for Wrangler denim. Jenkins said, "I'd love to record your music in all analog." Bridges was like, "Great! But I didn't know what analog meant."

Bridges did a lot of Sam Cooke covers ("Because they were easy chords"), and found his own sound along the way. Before he knew it, he was opening for Harry Stiles in arenas, which was crazy, as he said, "His fans have a lot of energy." His understatement got a knowing laugh. Likewise, when Bridges said his hotel room info in Argentina got hacked and posted on Instagram ... "That was a great tour." I bet.

You'll find Bridges these days listening to Young Thug, Kendrick Lamar, and Chance The Rapper, and he's also made his first foray into acting, with the tall order of portraying Gil Scott-Heron reciting his "Whitey On The Moon" in the upcoming Neil Armstrong movie, First Man. Wow. After that revelation, Goldman opened up the floor for a Q and A from the audience. The first guy asked if Bridges' faith had been affected by fame. "I still hold to spiritual values. It's shifted, but I stand firm in my beliefs. Someone asked about dancing, and Bridges responded that he emulates Michael Jackson, Gene Kelly, and Fred Astaire - the high bars. Asked about past and future collaborations, Bridges said, without hesitation, "Past - Bobby Womack. Present - Drake." I bet we'll see that happen. Some wise guy asked what was his favorite Sisqó song. "'Thong Song', man, c'mon!" Awesome.

Someone asked Bridges to recite "Whitey On The Moon", and he did it perfectly - as much as he could remember on the spot like that.  Asked what else Bridges would like to achieve, "I'd like to win a Grammy" - I see that happening too, and it couldn't hurt that he was in the Grammy's house.  More impressively, he concluded, "I'd like to use what I've been blessed with to help other people." Again, kind of like Greta Van Fleet! The musical future is bright, everyone!

Goldman wrapped up the conversation part of the evening by asking about Bridges' collaboration with the eyeglass company, Ahlem. I was delighted to find out that the proceeds from the sales of these glasses go to our very own Westminster Elementary in Venice! How wonderful! I also learned that Goldman lives in Venice too - Huh. Bridges himself bought a house in Fort Worth - "Being with family and friends is a nice way to stay grounded." With that, it was time for the much anticipated performance part of the night, and a full band (sans drummer) and backup singers joined Bridges on the stage. "Here we go!"

"If It Feels Good (Then It Must Be)" was up first, and as funky as the bass was, it felt a bit low energy (especially when the latest show I saw in this room was the all-out rock explosion from Greta Van Fleet). When they finished, Bridges said, "Our drummer just quit on us today, sorry about that," explaining what I had been wondering. Whoa ... I wonder what they're gonna do for their show at The Greek Theater tonight? "Bad Bad News" was next - and also real funky, finger snaps and all. The room was very quiet, which I read as respectful, but it was also a little awkward. It felt more like we were listening in on a rehearsal ... really good, just a little low-key.

The groovy "Shy" was next, and had all that good old R & B soul that makes a record timeless. That also goes for "Coming Home", that featured both crooning and smooth moves. I can see Prince getting behind "Mrs." with its kind of horny licks, that afterwards had us all answering "Great!" to the "How you feeling?" question posed. Excellent, really. "Beyond" was really pretty, showing both shades of Bridges country-adjacent past, and his super romantic side. It's the one currently getting a lot of play on KCRW, for good reason. It's great.

Bridges strapped on a guitar and stood alone save for a female backup singer to deliver my favorite number of the night, "River". I choked up, in fact, it was so gorgeous. I hadn't been feeling very well, just off and strange, and I swear, after this song I felt a little better. The power of  music to heal! I believe! That earned Bridges a standing ovation ... and earned us another song! This was the longest set I've seen at the Grammy Museum, and the room was more than grateful. "Thank y'all! We're gonna do a rock and roll one." That meant "Flowers" and its chorus, "I wanna tell you about the good news (good news)!" At a time when we all need good news perhaps more than ever, this night of music and learning together was just what was needed. There was another standing ovation, and then Bridges was off ... probably to go find a drummer for tonight's show at The Greek.

I'm so glad I got to chance to see this super talented artist in such an intimate venue for the first time. What a privilege ... and a healing! Thank you to the Grammy Museum, and to Leon Bridges and his band, for a night that truly moved the soul - with soul.

*Photos courtesy of The Recording Academy/Rebecca Sapp for WireImage.

Damian "Junior Gong" Marley In Conversation At The Grammy Museum

Music has really been stepping up to save me lately, and last night was no different. Damian Marley was at the Grammy Museum for a conversation about his new album Stony Hill (to be released July 21). "Junior Gong" Marley has been one of my very favorites ever since his Welcome To Jamrock album came out back in 2005. Because it's the best. As it's been so long since then, I was thrilled to get to hear the new music in a listening space fit for maybe 200 people ... and so was the superfan sitting next to me (Hi Shannon!). She could barely contain herself, and I totally understood.

Scott Goldman, the newly named Executive Director of the Grammy Foundation (which merged two days ago with the Grammy Museum), introduced Marley, who took the stage to a roar of applause, saying "Greetings, Everyone!" Dressed in a military style shirt and jeans, with his long dreads tied up in a cap, he settled into a chair on stage to chat with Goldman about the new album. Of course, Marley hasn't just been chilling the last twelve years, he's been involved in all sorts of projects, like Superheavy (his super group with Mick Jagger, Dave Stewart, Joss Stone, and A.R. Rahman), Distant Relatives (his album with Nas), recording projects with other members of the Marley family ... in short, real busy. Or in his words, "Just life."

When Goldman noted that the new album had been delayed with its release since last fall, he asked Marley how he knew when a track/album was ready. Marley replied, "You just let go. See how it feels. We're perfectionists, so when the music feels right, it feels right." Marley mentioned how he has also never released a song without his brother, Stephen Marley's thumbs up. "We have that trust from growing up together, from him tying my shoelaces until now." When asked how his songs start, Marley said that they were mostly an idea or a thought, and that he mostly begins with the music. He's now into experimenting with "Jamming in the moment" - which I would love to be there for.

We started the listening party with the track called "Caution", which is Marley's homage to Black Uhuru, whose music he grew up on. His main inspiration after his own family's music was the 80's Dancehall music coming out of Jamaica with musicians like Shabba Ranks, etal. The song definitely had that feel, and I was/we were immediately transported to a mellower time. A FUN time.

Goldman and Marley next talked about his video for his the first song released off the new album, "Nail Pon Cross", and the religious imagery it contains, which Marley has received some heat for. His main idea about it is "Judge not before you judge yourself. Check yourself." Right on. Marley also noted that crucifixion was the way of capital punishment back in the day, so Jesus Christ was just one of many that was nailed to a cross. Also, he's more interested in how people interpret the music for themselves vs. him telling them what to think about it, as all the best songwriters are.

With the worldwide acceptance and love of reggae, Goldman suggested that Marley might be in a unique position to make social commentary, and maybe speak out more than others. Marley explained that for him it's just organic to address important topics, and he feels he has a responsibility to stand up to oppression. Goldman asked why that was important to him, and Marley replied, "Because I don't like it." It was so charming and honest and kind of "Duh", that everyone laughed, and loved him even more (I know because it was stated several times).

We next heard a track called "Here We Go", that featured a Dennis Brown sample. This one sounded like Jamrock Gong, and it was both fun and kind of weird to listen to it with him sitting right there, nodding along with us.  One line goes, "I'll finish what Bob Marley started", and he's doing just that. It was RAD. He explained that with samples, it's mostly just vibes he gets, what catches his ear, but with this one, it was what Brown was saying ... "Here we go". And we will gladly go along with him, as when Goldman asked Marley if he ever worried that his audience would have moved on in the last decade, one woman correctly yelled, "Never!"

"Everybody Wants To Be Somebody" was a Wailers-esque track that Marley intended to help connect generations. "It's important to know your roots, not just in music, but in life." So very true, and those Wailers roots are clearly strong. "Medication" was next, and an obvious love letter from Marley to marijuana. He sings about its fingers running down his spine and croons, "I love you, Maryjane". At the song's end, Goldman said, "This is a topic you know a bit about", which got laughs because we could all smell it lingering in the room, but also because Marley is in the actual business of cannibas. He has a dispensary in Colorado, where it's already legal, and has turned a former prison in California into a grow house. "I got a prison to grow weed in where people used to be locked up for weed. A new frontier is happening in real time now. I'm looking forward to Jamaica legalizing it." - which I cannot believe it is not, having spent time in Jamaica with abundant ganja. It's time, Jamaica.

Marley lives in the dichotomy between two worlds, his Uptown comfortable upbringing and his family's ghetto roots, which he addresses in his track, "Living It Up". This one has a kind of 70's disco vibe, verrrry groovy. It features shout-outs to the townships in Jamaica that made up Marley's childhood, and is an answer to those who think Marley doesn't have any business talking about the ghetto. "In Jamaica, there is nowhere far. You might be living in the ghetto, but you can see it." Marley sees both sides, and indeed, has family and friends make him remain a part of both. His album Halfway Tree was named for the spot halfway between both, and Marley's hope is that he can get other people to that level too. "The greatest thing you can do as a person is to help other people", Marley stated sincerely, to appreciative applause. It's the best when the artists you love are also good people.

"The Struggle Discontinues" is Marley's attempt to get people to see themselves not as strugglers, but as conquerors. The song asks, "If the struggle continues, then when will we overcome?" A perfect question for now. JA Mon. "I don't want to sing a song that says the struggle lives on ... Right here and now the struggle ends, prosperity from now on." I am fully on board with that, and with this song with its classic reggae beats. The album was recorded in Miami at the family studio, and at Henson Studios here in Los Angeles. Aston Barret, Jr. plays bass on it, and that helps with that classic Wailer sound. Marley has always been more modern, so with this one, he was trying something new by trying something old. It works great.

Marley is known for the massive energy of his live shows, and said he definitely thinks about how they'll be performed live when the songs are being recorded, but often when played live they almost become remixes, because they jam and change them all the time. No one in this room could wait to hear these songs live after hearing them being discussed with him, believe me.

The youth are important to Marley, and "So A Child May Follow" is a song that talks about the influence that musicians have on children, but also giving "Big Ups" to the young musicians playing themselves. It featured a heavy keyboard intro, and acoustic guitar that make it the most bare and raw track, standing out from the rest, as Marley urges the listener to enjoy the moments you have NOW.

In talking about Superheavy, Marley said that Mick Jagger has not lost his love for recording music, and is "still fit", earning some laughs. He said that Dave Stewart finally taught him why guitar players have so many guitars. The many different SOUNDS. Stewart taught him a lot about the sonics of guitars, Marley said, making us all want to be flies on that wall.

Goldman opened it up for a Q and A, that was mostly just everyone begging him to play somewhere - one guy even asked if he could do a little something a cappella right then, to which Marley simply said, "No." When asked what he was listening to, he said Third World, who he's working with in the studio, which was great news. He'll be playing Africa in May, Sir. He listens to West Coast Hip Hop, and his favorites are Snoop, Tupac, and Dre. There are no plans for a Distant Relatives 2 at this time, but they'd both love to. He WILL be at The Dub Club tonight. His family is so vast, he's not sure if someone is planning an Eco-Resort in Jamaica. He didn't put this album out independently because he's still on his Welcome To Jamrock label and owes them one. Contracts and all that. He keeps his faith by being himself, and family, friends, and Jamaica itself keep him down to Earth. He considers himself a Spiritual Revolutionary, and thinks it's important to have spiritual discussions evolve to be about now, not scripture from thousands of years ago. Amen. Awomen.

"Speak Life" was the final track we heard, and the final track on the album. Marley explained that "Word sound has power that goes out into the world and affects the energy around you. It's a very cinematic track, and you could see it as a montage soundtrack for a great movie about keeping your head up and focusing. It was great, and we all nodded along together in agreement until it came to it's end with a flourish. We all clapped for Marley and Goldman, and as we ushered out of the Clive Davis Theater, I was again reminded of the power of music. I hadn't thought about my own problems or the great problems of the world (outside the context of his songs) the entire time. I really needed that last night, and I don't think I was alone in that, as everyone expressed deep gratitude upon leaving.

I remember in Jamaica while staying at Jakes's in Treasure Beach, and one of the DJs asked if I liked "Traditional or Contemporary Reggae". At the time, my answer was probably traditional, but Damian Marley is the one who bridged them both together for me. Get Stony Hill, you will love it. And do not miss a chance to see Damian Marley live ever. It's something else.

Thank you to the Grammy Foundation for another wonderful night of music!

*All photos by Paul Gronner Photography.