Bootsy Collins And Jim Vitti In Conversation At The Grammy Museum - Funky!

Oh, Bootsy Baby! My brother, Paul, and I got the chance to go listen to one of the greatest dudes on this (and any) planet the other night at The Grammy Museum when Bootsy Collins was there to talk about the funk with his recording engineer and friend, Jim Vitti, and Grammy Museum director, Scott Goldman. I have to be honest and admit that I really wasn't at all in the mood to go to this on this particular evening, because my dear Mom had just been admitted to the hospital and was awaiting surgery, and I was freaking out about it. But we figured it doesn't do any good to pace around worrying, so off we went to try to not freak out. It was the right choice, and one that has made me feel better about it all ever since.

Goldman introduced the legends by saying, "Our guests tonight have been bringing the funk for decades," and that's a fact. Collins has been on the front lines of funk (inducted into the Rock Hall of Fame in 1997!), leading the way since his time in James Brown's band, on to the Parliament Funkadelic, and on to his own solo career with Bootsy's Rubber Band until right now.

The night opened with a funky video about Collins, narrated by Iggy Pop, that showed just exactly how this inventor of "Space Bass" came into being. Producer Nile Rodgers was there getting the claps started for his friend Collins, who came out in a sparkly top hat and sparkly everything, really, with Jim Vitti, who bears a close resemblance to Mr. Whipple these days, the guy from the Charmin commercials. No one would know that he has engineered and produced some of the funkiest albums of all time. But he did.

Their story starts in Detroit, where Vitti snagged himself a gig at United Sound Systems after coming home from 'Nam. He always loved music and technology, so he began learning and training his ear from the back end, by listening to master tapes. He worked with Bob Seeger, which sent him on his way. Meanwhile, Collins got booted from James Brown's band, saying, "We got sent home for being a little crazy ... he fired us for getting HIM high!" to which everyone gathered there to listen cracked up at.

Collins came to Detroit to be in the band for The Spinners, but knew that wasn't ever going to happen - not a good fit. But THEN he heard about George Clinton and thought, "What is this Funkadelic? I need to meet this mug!" He went to Clinton's house, and knocked on the door of what he said was like The Addams Family house, thinking, "This is the kind of scary I like - 'cause I was tripping too!" There were black lights on and incense burning in the dark, and he saw Clinton in a white sheet in the corner of the room like a ghost, "With chicken feet on like Foghorn, Leghorn!" That meeting let Collins know he was in the right place, saying, "That's who I want to be working with, he's out of his mind!" Soon enough they did begin working together, and that's when he met Vitti.

The Funkadelic would "steal gigs", meaning they'd ask to sit in with some band, and then just totally take over the gig. The energy the band created was unparalleled, and Goldman asked Vitti how they managed to capture that energy on recordings. Vitti answered that he had drawn the shortest straw, as no one else wanted to work with Clinton because he was crazy, but "I just fell in love with the guys!"

He dedicated himself to it, working for hours and hours on just the drum sound. They gave an example of that, playing the P-Funk track, "Funkentelechy" that had the whole room bobbing their heads along, and sharing a soul brother handshake at its end, while Collins' wonderful wife, Patti, danced along in her chair. You couldn't help it.

"This does not sound dated at all," commented Goldman correctly. It's as fresh as the day they recorded it in 1977, and kids today would totally think they just discovered the latest thing upon first listen. Collins' brother, Catfish, was also in the bands, and Vitti's voice caught talking about all the fun they had had, and how much he misses Catfish Collins, who passed away in 2010.

Looking back on their times together, Vitti said, "We were working at the speed of light, it was non-stop. It was like herding cats to get them on the same page, and it was always chaotic." Collins had been giggling while listening, and to this commented, "ALWAYS chaotic." - and you could tell that's just how he liked it.

"Bootzilla" was played next, and the two old friends shook hands, nodded and mouthed along with it. "I love watching you listen to this!", said Goldman, adding, "That bass is SICK!" - and again, he was not wrong. A trust had grown between Vitti and the band, and this song showed that it could be done. "They knew I had their best interests at heart. I love people. I love musicians," explained Vitti to much applause. "We were the craziest," said Collins, and Vitti perhaps felt the need to add, "I was the only straight one in the room!" They shared the story of how on "Knee Deep" Vitti wanted Collins to play the drums, for the 15 minute rock opera that he was sure he'd have to go back and fix, but Collins performed perfectly, shouting, "The Funk will always prevail!"

They spoke about the hand claps on P-Funk albums, and said that they created a monster, because it was on everything after that - to the point that people would call United Sound wanting to rent the "Hand clap machine" because they were always so perfect - but they were real. They told of how Collins was always experimenting with pedals and guitar things, and things like plugging his bass in through a Mu-Tron for "Chocolate City" - giving it that Funkadelic sound. "I was evolving into a monster, and monsters turn on you. Look at that Frankenstein mug!" ... everything that comes out of Collins' mouth makes you smile - almost as much as his music.

"Atomic Dog" was played next and got the whole room rocking. We learned that this classic had the bass and drum tracks backward, as they simply flipped the tape over and played it backwards when they recorded. Whatever they did was awesome, because every single person in there was dancing in their seats. (Note: I played it for my six year old friend the next day and he thought it was THE coolest thing ever! Timeless.) Goldman next opened it up for questions, and one person asked how Collins came to work with Buckethead. Collins answered that Buckethead had sent him a tape of himself sitting on a bed and playing with a bucket on his head, back in the '90's. He freaked Collins out just enough to say, "I want to work with HIM!" - and so they did. There were a couple technical questions from the heads that go deep at these events, and then Goldman asked the two friends what they had learned from their experiences together. Vitti answered, "I always say I've never worked a day in my life. The studio is where I wanted to be. Find something that you really love, get passionate about it, and you'll never work!"

The friendship between these gentlemen is as touching as it is unlikely from the covers of their individual books, especially back in the day, but you can tell it is real and lasting. It was surprising to hear that they had actually NOT seen each other for all of these years since those recording days, until getting back in touch about 4 months ago. They seem so easy and comfortable with each other that you assumed they'd been hanging out all of these years, but nope. They're going to do more music together now, and Collins summarized it all by saying, "It's beautiful when you find that person that helped you long ago, and nobody's tripping. We love each other." It really was beautiful to behold.

There was an after-party held at The Prank a few blocks away, but no one thought Collins and Vitti would make it there, as the line to meet and greet after the event stretched all the way around the current Backstreet Boys exhibit, as everyone wanted to say hi and get a photo with the absolute hero that Collins is. Finally, we looked up to see Bootsy and Patti Collins making their way upstairs, along with Mr. Vitti and his wife. I got to talking with Patti and it came up that we almost didn't come because we were concerned about our Mom in the hospital, and this angel of a woman took me by the shoulders and looked me in the eyes, saying, "Your mother is surrounded by angels. She is going to be fine." It moved me so much that she would even care, and then we were joined by Bootsy and my brother, and I felt a calm come over me, powered by the faith and love exuded by these beautiful people.

I'll never forget Collins telling me the last time I saw him at an event that he always wore star shaped sunglasses, because he wanted the young kids he meets to see themselves reflected as stars. That touched my heart so much, and cemented this "Mug" as one of my most highly revered. Patti Collins even texted the next day to check in about Mom, and once again assure me that God is great, and things will be o.k. That is the kind of people that they are, and while they are certainly the funkiest - they are also the kindest.

Whatever I can ever do to assist in their Worldwide Funk efforts, and their Bootsy Collins Foundation, that seeks to get an instrument in every hand that wants one - I am IN. Thank you to the Grammy Museum for having us, to KC Mancebo for the invite and the party, and to Bootsy and Patti Collins for making us feel so much better about this world, knowing that people like them are in it.

Bootzilla! (also the name of the Collins' wine label! Get some!)

* Photos by Paul Gronner Photography

Brandi Carlile In Conversation At The Grammy Museum

I first heard Brandi Carlile about a decade ago on KCRW, and immediately looked her up after hearing her gorgeous, career-making song, "The Story". I was obsessed with that album in 2007, and then life got all busy and I lost track of what she was up to pretty much since. The Grammy Museum invited me to come to an evening of conversation with Carlile last night, and now I'm all back to being a super fan.

Slicked up in a black and red suit, Carlile took the stage to have a sit down chat with The Grammy Museum's artistic director, Scott Goldman for what turned out to be an extra insightful conversation that they allowed us all to listen in on. The audience was stocked with absolutely dedicated fans, who responded ultra-enthusiastically for everything Carlile said and played. With good reason. When Goldman introduced the Grammy nominated Carlile as "One of our very favorite people in the world", an audience member yelled "Ours too!" The admiration in the room was palpable.

By The Way, I Forgive You was the latest album (and her 7th) being promoted by Carlile, and though I've not yet heard it in its entirety, after what I heard last night, it's a must-own. Produced by my old pal, Shooter Jennings, and his old friend, Dave Cobb, the songs I heard simply soar. Carlile and her identical twin partners, Tim and Phil Hanseroth, have created something very special yet again.

Goldman kicked things off by asking Carlile about the genesis of the new album, and she shared that it all started with a memory that had haunted her since she was a teenager. She had attended a Baptist church and really wanted to be baptized. She did all the studies, invited all her family, wore her bathing suit under her clothes, and on the Sunday she was to be dunked, with all her family waiting in the pews to observe, the Pastor told her he couldn't perform the rite due to the fact that she was out as gay. Her wife told her she should forgive him for that pain he had caused her so she could let it go. So she did, via this beautiful new piece of work. She spoke to how the concept of forgiveness should be more than just a White America hashtag like "#blessed" as it's really "An emotionally radical concept ... I think it cures cancer." I think she's right.

"I had a lump in my throat the whole time I was writing this album, but now that I'm a mom, everything makes me cry." I'm not a mom, and everything makes me cry too, so I get it. Life is especially emotional these days, every time you hear the news, so this talk and music is also very timely.

About working with Jennings and Cobb, Carlile said, "They were like two kids in the basement building a spaceship - with my stuff." She added, "There was a lot of drinking." They allowed her to expand her notions of what is possible when recording, and she very seriously said, "I'll never be the same ... and we'll do it again." (That garnered a whole bunch of happy shouts).

Goldman dug into some individual tracks on the album, and asked about "Fulton County Jane Doe", which is the true story of an unidentified body in Fulton County, Georgia that was found in a field and never i.d'.d in 30 years. She had a tattoo of Jesus on her hand, and it haunted Phil Hanseroth until he had to write her a song. And it's a beauty.

"Sugartooth" is about the opioid crisis, and another true story about a friend the band lost to addiction. As a mother, Carlile now looks at everyone as someone's baby, and this man that didn't make it also needed a song. It's lovely that people who probably thought they'd be forgotten are actually now remembered through song for always. And they were someone's child.

Carlile is also an activist - thank you - and is very involved in depoliticizing children, and wants to "Bring compassion to the free movement of displaced people. I want to humanize people ... I want to make a mark and have my kids be proud of me." Mission - accomplished. She cracked people up when she added, "And I know how to make things rhyme."

Joni Mitchell was on constant rotation while Carlile and the Hanseroths were making this album, and Carlile put all her songs to the "Joni Mitchell Test" that referred to a quote from Mitchell who had said that if you hear her songs and wonder about her life, she wasn't doing her job. If you heard them and thought about your own life, that's the goal (I paraphrase). Well, another mission accomplished.

"Mother" is about becoming a mother to her daughter, Evangeline, and the feelings that went along with not carrying her own child, and also not having any real "Gay Parent Template" from which to work from or glean advice. She didn't feel worthy of the word "Mother", then embraced those feelings and wrote about them ... resulting in a song that for sure passed her Joni Mitchell Test.

"The Joke" was inspired by Freddy Mercury, and "We Are The Champions". She said that Mercury was shameless in being a drama queen, and though every sports team has co-opted that Queen anthem for themselves, Carlile always saw it as a song of triumph for the LBGTQ community - and now I see that classic in a whole new light.

In talking about her partnership/friendship with the Hanseroths, Carlile said that "We even live on the same property now, so it's gotten weirder and weirder." Though they all three take a different approach to song writing, she said the relationship is a very fulfilling one ... and the results are clearly awesome. Goldman asked about Carlile working with the legendary string composer/arranger, Paul Buckmaster, and found out that a young Carlile even had a poster of the dude on her teenage bedroom wall! She got obsessed with him while doing a book report at 11 on Ryan White, the young AIDS activist who was close friends with Elton John ... whose music turned her on to Buckmaster. When they finally met when she was 16, she played him a song and he cried (and he also cried about Bach ... about olive oil ... he was apparently a very emotional cat. I get it.). He told her he'd arrange her songs when she grew up, and he held true to that promise ... and By The Way, I Forgive You was the last album he live-conducted before he passed away last year. "The song 'Party Of One' is all him." Chills. And a lump in the throat for good measure.

When asked about the album's cover art, Carlile admitted to having a massive crush on its artist, Scott Avett (of the Avett Brothers, who is also an excellent painter, judging by this cover). "Have you seen his face?! He's BEAUTIFUL!" swooned Carlile, adding that "He paints earnestness." She also admitted that flying to North Carolina to be painted found her renting a car for the first time in her 37 years, as the Twins have always taken care of hauling her around the country. But she did it!

The conversation then veered from her admiration for Joan Baez, Emmylou Harris, Lucinda Williams and Patti Smith on to her Cover Stories project where artists as diverse as Kris Kristofferson (!) to Pearl Jam, Jim James, and Dolly Parton covered songs from The Story in a career-affirming achievement. That album alone shows the respect that Carlile has earned since bursting on to the scene in the Aughts.

Goldman opened things up for questions, which ranged from how does she find the time to write ("Songwriting just happens to me, usually at really inconvenient times.") to when she knows a song is done ("I get my affirmation from an audience ... they tell me when it's done. The songs don't come alive until I perform them.") to how drummers change the meter of things - from a drummer in the audience who hinted that she was available. Questions asked and answered, Goldman invited Carlile and The Twins to play some songs for us, and the room hooted and hollered its excitement.

"By The Way, I Forgive You", the title track from the album was first up, and truly beautiful with its harmonies and acoustic guitar picking - as well as its sentiment. "I'm doing just fine, except any time I hear that song" ... instantly relatable (passing that Ms. Mitchell test again).

"Cool, Man.", was Carlile's response to the thunderous applause they got for that one, then intoduced the next one by saying, "Here's a Freddy Mercury song", as they launched into "The Joke". Carlile just BELTED this one out, and I found myself with the lump in my throat that Carlile alluded to when writing it. SO good ... especially when the last lyric rewards the whole song, with the line, "The joke's on them." Awesome.

"Mother" was preceded by an anecdote about Carlile's young daughter, Evangeline, having a current obsession with death. After a dog and some chickens died, and being explained about death to, the little girl said to her baby brother, "Elijah, I love you, but you'll die too." Out of the mouths of babes! The song was tender and touching, and full of throat lumps, and great lines like, "When we chose your name, we knew you'd Fight The Power too." C'mon. That's great stuff.

The band closed the evening with "Whatever You Do" ... and its hard truth about life and love, singing, "I love you, whatever you do, but I've got a life to live too." We've all been there, and as Carlile's voice soared to the Heavens to finish it, the room collectively rose to our feet, almost involuntarily. It was just that good.

They took their bows, waved, and were off to catch a plane. I've slept on Carlile's career for a while, but I'm back, and grateful to know that there are still really good musicians that are also really good people. A rare combination, which Carlile embodies in thought, song, and deed. Treat yourself to her new album (and listen to it as an album, how it was meant to be listened to), and do go see this super talent any chance you get. Prepare for lumps in your throat.

By The Way, I Forgive You is available everywhere.


*Photos Courtesy of Rebecca Sapp/Wireimage.com for The Grammy Museum

An Evening With Ben Harper & Charlie Musselwhite At The Grammy Museum

The second collaboration between Ben Harper and Charlie Musselwhite (after their Grammy winning debut, Get Up!), is out today, and there was a performance and conversation Wednesday evening with the two bluesmen at The Grammy Museum to celebrate their brand new album,  No Mercy In This Land.

It was the eve of the new John Lee Hooker Centennial exhibit opening at The Grammy Museum, which was fitting, as Hooker was the one who introduced Harper to Musselwhite, and a good portion of the interview was spent discussing the legendary Mr. Hooker. I was fortunate enough to be seated next to Hooker's daughter, Zakiya ("Z"), who told me that she would be performing herself the following night at the opening. Grammy Museum Executive Director, Scott Goldman, hosted and moderated the event, and introduced Harper and Musselwhite, who came out to a warm reception, and in turn introduced their backing band - Jason Mozersky on guitar, Jesse Ingalls on bass, and Jimmy Paxson on drums. Harper explained that "The way we made this album was the same as in a circle like this, just in a different room," and they dug right into the opening and title track, "No Mercy In This Land." It's a swampy, traditional blues number that finds Harper and Musselwhite sharing vocal verses and trading licks on their guitar and harmonica respectively. The intimate audience loved it, and Musselwhite cracked, "Don't forget that we have a million dollar dance floor down here!", indicating the tiny space in front of the stage, but found no takers.

"I Found The One" was more fun, an upbeat one with old school rock and roll riffs (derived straight from the blues) and rim shot drums, on which Musselwhite's harp really shone. He is THE master of harmonica, and after its tight ending, the room erupted in applause. The next one found Harper sitting down with his trademark Weissenborn, which garnered its own applause just for being taken out (Grammy Museum events in the Clive Davis Theater tend to bring out the real music aficionados). "I know better than to not check in with my Captain before lift-off," cracked Harper to explain the tune discussion that happened before they got down with "The Bottle Wins Again". This one is a real toe-tapper, for real. I looked around at my immediate area, and every single foot I could see was tapping away - mine included. "Broken hearts and broken dreams, turns out they weigh the same" is an example of the blues Harper must have had while writing this one, and his lap steel wailed away right into another tight ending. It's great stuff. They're not really breaking any new blues ground, but they are certainly shoring up the blues foundation, making sure it lasts beyond their generations.

"Nothing At All" found Harper at the piano, and it was my favorite tune of the evening. A slow, dramatic number full of the minor notes that are a weakness of mine. It featured a subtle and sensuous harmonica solo from Musselwhite, and this one was the standout for me. Sure, because it's beautiful, but mainly because it sounds different than the typical 1/4/5 chord changes that traditional blues is known for.

When the clapping died down, it was time for the interview portion of the evening. Goldman brought up the fact that the Hooker exhibition was opening the next night, and that Musselwhite heard Harper opening up for Hooker in 1993, and said of that night, "I heard the blues in Ben's guitar playing, and that got my attention. We met good." Harper said of Hooker, "What comes to mind about his music was the deepest ease. And his grace - he gave me an opening gig before my first album had even come out." Musselwhite added, "I learned from John Lee that you get your money up front!" - to much laughter. Musselwhite is a pretty funny cat, cracking up the audience the whole time.

The obvious good friends talked of how their music deepened by being on the road together to promote Get Up!, and how their shared collective musical information made this new album even more possible - and necessary. "Charlie makes me exceed myself. He pushes me to go places I could not go myself," explained Harper, with tangible admiration for his friend and mentor. He added, "Charlie's harmonica steeps the music deep into the ground AND gives it flight. We're not re-inventing the blues, we're re-invigorating the blues. The blues has to shape-shift to stay vital."

Musselwhite returned the admiration, saying, "This relationship works because we're kindred souls, searchers, and lifelong learners seeking the heart of things." - and the music shows this off, absolutely. Harper's mother, Ellen Chase-Verdries, was in the audience, and Harper shared stories about the making of their own collaboration, Childhood Home, and about how he used to trash her records by playing them to death. He finally got his own turntable and records "The little white Radio Shack one, remember, Mom?", and soon was listening to Hendrix ("Probably because we had matching afros, I had no business liking Jimi at 8 years old!) and The Who. He shared an anecdote about his mother coming home from work one day to find that a very young Ben had decorated his white bedroom walls - in Sharpie - with an entire The Who concert drawing covering three walls. She just shook her head and walked out. Kids.

Musselwhite was also an avid record collector of every genre imaginable ("Flamenco is some bluesy stuff!"). He joked that "'My baby left me' is a worldwide phenomenon - or 'She came back and it was worse'." Everyone laughed at that one. Haha. Harper added that he will say to Musselwhite something like "Have you heard the Furry Lewis song 'Turn My Money Green'?" and Musselwhite would answer, "Oh, I KNEW Furry Lewis." As a nod to his own wide appeal, Harper humble-boasted, "I promise you, I'm the only human being that has opened for Pearl Jam AND John Lee Hooker." He's probably right.

The majority of No Mercy In This Land was recorded live, and Harper explained that after being asked "When are you going to work with Charlie again?" in every language around the world, this record had to happen, and "I want to work with Charlie as much as I can from here forward." Watching them play together - and crack each other up constantly - you can see why. Goldman asked, "Is there more to come?" to which Musselwhite drolly replied, "Well, this one isn't even out yet ...", earning more laughter (but it IS out now!). Harper spoke to how he comes up with songs, mocking himself by saying "I'm just channeling - shut the fuck up - don't act like you know songwriting ... but silence doesn't make a good interview." After a decades-long and successful career, I think it could be time for him to hang up the faux-humility, as you probably DO know songwriting if, as he said, he's opened for both Pearl Jam and Hooker. Just saying.

When Goldman asked Musselwhite why he chose the harmonica, he answered, "It's the only instrument that you can't see what you're doing. It has a voice-like quality, and I feel like I'm singing without words, breathing the music." He talked about hanging out in Chicago ("Coming from Memphis, I already knew how to drink!") and watching Muddy Waters. A waitress (whom he may or may not have had a thing with) told Waters to check him out, and from then on he would be asked to sit in with "Mud" whenever he was in the audience, "And that was my ticket out of the factory!" Goldman followed up by asking, "What makes a deep player?" to which Musselwhite retorted, "That's a question that if you have to ask it, you probably won't get it." Burn. He quickly added, "Deep blues has the most feeling. It comforts you." After being kind of dissed, Goldman turned to the audience to see if anyone had better questions. One lady asked Musselwhite if he was familiar with Turkish blues - and of course, he was. Zakiya Hooker stood up and greeted her Dad's old friend, Charlie, and invited them to the Hoooker exhibition, and the respect given her from both was clear. As I was next to her, I raised my hand and asked that since they both have talked a lot about who inspired them and gave them their shots, was there an up and coming musician that they would like to inspire or give a shot to? Harper replied, "I paid mine forward permanently with Jack Johnson.", revealing uncharacteristic maybe jealousy and for sure selfishness (alluding to the fact that he initially gave Johnson a boost, and has been surpassed by Johnson in both sales and fame). I was rather taken aback, as Harper is usually known for his activism and helpfulness, but maybe that was a younger Harper's unjaded idealism. Regardless, he is where he is in a great place today, affirming that and concluding by saying that "My Grammys are cherished like nothing else."

The duo returned to their instruments for an unaccompanied version of "Trust You To Dig My Grave", where just when you think it's about the trust that these two clearly have for each other, Harper sings about "Don't want to be your first lover, I want to be your last", implying a different kind of relationship being sung about. Whoever it's about, it's good, and the friends and musical partners gave each other a big thumbs up at its conclusion. I give No Mercy In This Land a big thumbs up, and this insightful evening of music and conversation at The Grammy Museum gets BOTH thumbs way up. Any chance you get to attend ANY program at The Grammy Museum should be taken, as you always come away from it feeling more knowledgeable, and grateful that music programs such as theirs continue to exist in this crazy world. Perhaps there maybe IS a little mercy in this land after all.

Thank you to the wonderful Grammy Museum for all that they do, and to Ben Harper and Charlie Musselwhite for giving us the blues - in a good way.

*Photos courtesy of Alison Buck/Wireimage.com for The Grammy Museum

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.

The Concert For Social Justice - Live From Hollywood!

Man, when I hear "Concert for Social Justice", I am, of course, there. The event was held last night at The Fonda in Hollywood by the Grammy Museum and Robert F. Kennedy Human Rights to fund the organizations' "Speak Up, Sing Out: Songs Of Conscience" program that gets kids from K-12 to write songs about social justice issues. It was a show all the way up my alley.

The lovely L.A. traffic caused us to miss all but about the last chord of the marvelous Rocky Dawuni's tune, "Shine A Light" from his brand new album, Branches Of The Same Tree. His happy music with a message set the tone for what would be a wonderful night of voices singing out together in the name of social justice.

Up next was the Grammy winning group, La Santa Cecilia, and their Latin jams.

Led by La Marisoul in full yellow skirt, getting everyone up and dancing, as she said, "Social justice music can also be good to dance to!" I don't know what the words being sung were (in Spanish) but the universal beat was impossible to resist. You'll want to check them out for sure.

Actresses next took the stage to read letters from around the globe from people speaking out and making a difference for the world. Alfre Woodard led the way, telling stories from Malala in Pakistan, from a Kenyan woman leading a movement to plant trees, and from a woman rising up for the Mayan people ... all ending with the urge to "Speak truth to power". It was moving stuff, and solidified in the minds in all gathered there really what the evening was about - and how very important it is for us ALL to do that truth speaking.

Tom Morello had people yelling for him before he even took the stage - and proceeded to incinerate it. The Nightwatchman and his Freedom Fighter Orchestra had some technical difficulties (like, no sound from the guitar - "The rock can't happen with no guitar."), and took that time to ask "Are we all in this together, People?!" We assured him that we were, and the floor was rewarded with Morello telling them all to move up and get rid of the velvet rope that separated them. 'Cause that's how he is.

With the crowd now smashed together up front, they lit into "One Man Revolution", with its fresh verse change to say, "On the streets of South Carolina, they're ready to blow" - referring to the murder this week of the unarmed Walter Scott, that this time was fully caught on tape. This cannot stand, and we'll sing about it and talk about it and protest about it and cry about it until it stops. When Morello yelled, "Fuck, yeah!" at its end, he was merely echoing the thoughts of everyone there.

"Black Spartacus Heart Attack Machine"rocked the house silly, and then Morello did his now iconic take on "The Ghost Of Tom Joad", dedicated to RFK and our late friend, Tomas Young. People now anticipate his ridiculous guitar solo on this one, cameras out and toes on tip. I've heard it a ton of times now, and I still get chills every time - especially now on the again changed line "Wherever there's a cop shooting a guy ... Look for me, Ma, I'll be there!" We ALL need to be there now. When Morello lifted his "Arm The Homeless" guitar to do his teeth solo, it revealed the sign on its underside, "I Can't Breathe!" And really, none of us really can until this complete madness stops.

Everyone was on their feet after that one, screaming for more, and they got it. "The Road I Must Travel" sealed the deal for Morello with this crowd, as the place was all in, singing heartily along with the "Na na na na na!" chorus, and then losing it when it merged into the guitar riff from Rage's "Sleep Now In The Fire".

Another standing ovation, and the room was still trembling when a group of actors took the stage. Martin Sheen, David Arquette, Billy Ray Cyrus, and Chad Lowe took the stage to read letters from the men around the world who are speaking their truth to power. I had trouble hearing them because people were speaking loudly to each other up in the balcony, but did catch Lowe saying, "Tom Morello stood right HERE!" It was that kind of a performance.

"They said Social Justice, and I said 'Yeah'", said Melissa Etheridge when she came on to sing the great and aptly titled for the night, "Testify". Her voice is so unique, raspy and strong all at once, and just she and her acoustic guitar held the room rapt. Even more so when she talked about her coming out in 1993.  "Social justice starts with the individual. Someone steps up, someone else steps up, and then it's a whole crowd ... and now it's all 'Oh, gay marriage' ... We're all really different, and that's the thing we have in common." Truth! Then she sang her "Silent Legacy", with its beautiful line, "Pray in the darkness for wings to set you free ..." Arms were held in the air to applaud after that one.

Etheridge next talked about coming out about being a cannibas user. "Plant medicine is good medicine. The freedom to explore our consciousness is a very important freedom." More truth, hit home with her cover of Brandy Clark's "Get High". The lighting turned green, and the air grew thick, as we all smiled along, knowingly - or wistfully.

Etheridge brought on her old bandmates, Kevin and Felix (I think she said) to help her cover "Get Up, Stand Up", and believe me when I tell you, EVERYONE got up. Stood up. It was awesome, and then they played their jam from 1988, "Bring Me Some Water", which was equally well-received, with thunderous applause and whistling.

To introduce the next act, Etheridge confided that she'd originally thought of Jackson Browne as her sperm donor, but they went with David Crosby to be her childrens' "Bio Dad".

People went nuts when David Crosby and Graham Nash came out, and that's when I saw the exact same guy up and dancing on Monday at Arlo Guthrie, up and dancing on this night too. It was a big week for all the good old hippies - and those of us that want to be them - in Los Angeles, to be sure. They have long been outspoken on issues of social justice, and they opened with their perfect for the occasion, "Long Time Gone", and its verse that goes "Speak out you got to speak out against the madness, You got to speak your mind if you dare ..." Truth to power. Their gorgeous harmonies are still intact, and there were a whole bunch of stoked Baby Boomers in the house at that moment, trust me.

They followed that one with "Military Madness", again timely and classic. Nash took over the piano then for his truth speaking, "Chicago (We Can Change The World)", and the people loved it. Like arms in the air, swaying the whole time loved it. "We've been singing this one since the Civil War," cracked Crosby, "About something that just keeps getting worse." He was speaking about the people that run this country, and the wealth disparity, and they were singing a cappella, "What Are Their Names?" It was heavy, and again, extra true.

"It all starts with teaching the kids the right way," said Nash to introduce their classic hit, "Teach Your Children." Everyone with a voice sang along, and basically yelled the "And know they love you!" part. Hearts swelled.

As they did again when Kerry Kennedy and Bob Santelli of The Grammy Museum introduced the winner of their "Speak Up, Sing Out" contest, a girl named Jade Rhodes from The Brentwood School. She wrote and performed a song called "Invisible", about what a refugee from Darfur might be feeling and thinking. She held the entire room's attention, the entire time, and a star just might have been born. People loved her and shouted their encouragement, as she shyly left the stage. It was great, and showed how important and special the work for social justice is.

Kennedy said that when they were talking about the musicians they wanted for the concert, musicians who have dedicated their lives to singing - and acting - for social justice. "The first person I called was Jackson Browne, and he not only said yes immediately, he called his friends to join him."

 Out came Browne, saying just that, that he'd always just wanted to sing songs about social justice, and so he did. "Lives In The Balance" is just such a song. Listen to the lyrics and receive an education about unjust wars. Truth to power. "Far From The Arms Of Hunger" was no different, slow and lovely, but hitting as heavy as anything fast and hard. "Looking East" kept the wisdom and the beautiful music coming, and then he covered "I Am A Patriot" by Little Steven, and got the place dancing again with its slightly reggae beat. The faithful did not want it to end.

As always at a good social justice jamboree, you have to have an All Star Jam! As Morello is about the best ringleader in the world for these kind of things, he took the mic and said, "No Social Justice concert would be complete without a Woody Guthrie song to anchor that shit (Sorry, kids - the fight for social justice is not always PG13)! ... Whether you're of the Occupy Wall Street generation or the Aquarius generation ... This land is your land!"

All the evening's artists returned to the stage (except I didn't see Crosby and Nash?) to belt out that "Alternative National Anthem" together as one. La Santa Cecilia's accordion player added a lovely touch to this version, and folks took turns singing the ALL the verses, including the previously censored ones. It was especially great when young Jade Rhodes got her turn to take a verse, happily sandwiched between Morello and Browne. I mean, C'mon! It was a night to remember for everyone, but probably the most for her.

Morello called for the house lights to be turned up, so he could see that everyone in the place was standing up, singing "as loudly as it's ever been sung on Hollywood Boulevard to date" and jumping wildly up and down, "From the sound man to my 91 year old mom sitting right up there!" We stood, we sang, and we jumped for freedom, for justice and for rock and roll.

There was a long, mutual standing ovation from artists to fans and back, and Morello yelled, "The future is unwritten!" It's important to remember that. Nothing can't be changed. Nothing can't be improved. Nothing can stop us, when we stand up, and speak out - together.

Speak truth to power.

*Beautiful photos by Paul Gronner Photography.