David Paich

29:12I started working at Motown when I was 18 with Motown out in the West Coast called Mo West. Wow. And so we did all these orchestral dates with rhythm section, two drummers, and everything. It was live music doing stuff. we did some stuff for Thelma Houston and Diana Ross and some of the Jacksons, you know, gosh, man. I mean, obviously you've got the talent and everything, but what luck too, because it feels like the seventies really like to your point of now there's Mo West. It's like the business really seemed to be coming out. It really did. I mean, it was thriving. The obsession industry and songwriters and doing all this kind of stuff.

29:48I hadn't hit as a songwriter yet, but that led up to Jeff introduced me to boss Skaggs. Yeah. who because jeff and i had boss had been producing a guitarist that was with the allman brothers named les dudek and they needed an organ player so i played hammond pretty good and uh uh we went out and we did that album with boss producing and boss liked how he played so he asked me if i wanted to maybe co-write an album he was looking for a co-writer he'd never co-written with anybody and uh so i said hell yeah and we sat down i think it was on this piano uh up at santa barbara My dad had a ranch up there.

30:26We stayed there for two weeks and wrote most of the stuff on Silk to Grease album on piano. Wow. And that album just took off. That album was like a pinnacle watershed album. Yeah, Lowdown. I mean. Yeah, Lido. Lido. You know? Unbelievable, man. How were the Steely Dan sessions? Steely Dan sessions were fun, okay? Donald and Walter characters. Me and Jeff idolized them. Jeff was in Steely Dan for a while. You know, he was a drummer. So they heard about us. They wanted to start using session players instead of their band. So somehow we got a call. Jeff knew their guitar player, Denny Diaz. And they called Jeff, and they were looking for a piano keyboard player that could play other keyboards.

31:13So they called me, and I was on Clavinet. It was on the Prezzo Logic album. It was a song called Night by Night that I played on. And I was playing. All I had to do was keep time on the Clavinet. because Billy Preston, Out of Space, had come out, and I was all over the clavinet. That was my axe. Give me a wah-wah pedal and a clavinet, and I'll kill it. You know what I mean? So I did that. Then they did an album after. That was Katie Lide, which Jeff played on the whole thing. I played on Black Friday. That was me and Michael Lamartian playing keyboards. And I played on Dr. Wu on that album, on Katie Lide.

31:46But they were fun because Donald was so neurotic and anxious. he'd be pacing back and forth singing the guide vocal but the lyrics were so interesting we were just like man i dig it's deep you know you had to concentrate like don't start listening to them singing because you'll fuck up you know what i mean yeah and now in hindsight people kind of regard steely dan and those sessions and the work that was done as like kind of like that's almost biblical if i can't touch it that is did they have that reputation at the time when you were They didn't. They didn't. They were kind of on the dark side and low key, and people didn't know about them.

32:21Steely Dan wasn't a big no-nip. They had Ricky Don't Lose That Number was the one song that they did. But other than that, they were kind of eclectic. You know what I mean? And they were doing different kinds of stuff, jazzy kind of stuff back then. And they weren't mainstream. The record companies didn't know what to do with them at all until Irving Azoff said, I know what to do with them. and he signed him, got Warner Brothers to sign him, you know what I mean? Out of, away from ABC Dunhill. Wow, man. You know? When did your interest in songwriting start to? I've always been in, I started in high school.

32:57When Elton John first came out with his first record, I just wanted to be Elton John. I mean, that was my hero. Yeah. Had glasses on, short hair, and performed rock and roll at the piano and stuff. So I just started writing songs, copying his kind of songs. and also I had known my dad did a lot of work with Jimmy Webb I learned that's the guy I started copying I mean first emulating his trying to trying to emulate him before you get into Elton it's Jimmy Webb yeah Jimmy Webb and I was doing trying to play like and play like him and write like him before I made the Elton John connection it was my apprenticeship you know what I mean what was it like going to school and you're like doing this kind of thing I was doing, here's the trip, okay?

33:43I was, me and Jeff and David Hunygate were Sonny and Cher's rhythm section on the road. When I got out of high school, the first gig I had was touring with them, okay? On the road. And they had the Sonny and Cher show at the time. They were the biggest thing in the United States. They were getting like 100 grand a night. So me and Jeff, I joined. Jeff had already been with them for six months. He left high school early. and so my dad said okay he's going to college next year now how are we going to deal with that and the and the sunny and share people said we will fly him in to go to his classes when we're not playing and shit like that and so they flew me in i was going to usc a couple days a week i was missing a bunch of classes but i go to usc i would do an ironsides date and i would fly back to las vegas to conduct for sunny and share wow that was true i imagine you probably didn't care about going to USC?

34:37Was it just like your parents? I just had to do it. I had to do it to fill out my grades and pass. What was it like hanging with Sonny and Cher? He was kind of her fall guy. You know what I mean? She would make jokes and he was the little short Italian guy. But they were selling out these huge arenas. We met all these promoters, all the big Elton John promoters, all the big agents and everything like that because they were big time. They had their own jet. We were traveling on Hugh Hefter's playboy jet was the jet that we traveled in you back and yes with like bunny stewardesses okay and i was just out of high school we were all just out of high school and we were just like you got to be friggin like it's off the scale we were in shock we were kind of in shock like what do we do of course jeff jeff was an old hand jeff was like drummers man drummers putting the moves on everybody you know what i mean six months more experience than you guys i was newbie i was new meet, man.

35:37I was just like, yes, ma 'am. When did you first meet the Piccaro brothers? When I was 14 and a half. 14 and a half. 15. And I met a Mike, and Steve was always playing different instruments. He was playing a French horn, he played a cello, and Mike was playing, started to play, Mike played some drums, and then Mike started playing studying bass. And Mike was a great bass player. He was our high school bass player, and he was great. When did you meet Steve Luke at there Andy lead Steve's little younger brother was hanging out with Steve Bricaro and Steve Luke at there and Mike Landau they were all friends so I was starting my band and I was looking at like Dean Parks and Louie Shelton and some Larry Carlton and Andy says you need to check out these guitar players that are with Steve Bricaro's band and so I went to Taft High School which is right down there in Winnetka and Ventura.

36:32And I walked in and I heard this, somebody playing like Jimi Hendrix. I thought the band was on a break and they put a record on and they were playing Hendrix. And I walked in there and Lukather was on stage and Landau. Landau was real short. He was a real short guy. And Lukather had on a monkey mask, okay, a rubber mask. And I couldn't see, I couldn't see him that well because it was kind of smoky, and I was in the back of the thing, but I'm looking, and this guy looks like he's been in prison or something like that. And I get closer, and I realize he was doing like leaping in the air like Pete Townsend, sliding on his knees, playing Johnny B.

37:12Goode, singing it with a monkey mask on. That was just Lucifer, crazy guy, you know what I mean? He was silly, silly crazy, okay? And he still is silly crazy. But that's how I met him. And I was looking at Mike Landau. And I thought Landau has Stratocaster. And I like Stratocaster. So I said, I think maybe the little guy that plays like Hendrix. And Lukather says, no, man. He says, the other guy's a star. We need a star in our band. And Jeff said, that's our guy right there. So Jeff picked him. And I said, I don't have a problem with that. But he was new. And he was just shredding the whole time.

37:50I said, yeah, but he's got to play on our records. and Lucas says he'll learn we'll put him next to Carlton and Louis Shelton he'll learn fast and he did okay very quick study you know and then you hear him play on uh on Georgie Porgy and you hear him play on our first album you know he was already seasoned you know what I mean by 78 you know in a way like uh real fortuitous you guys got him because he did it's so funny like by the time you guys are really starting to take off it's like you know the Van Halen's of the world are out there and the and like you know this really kind of heavy guitar sound yeah is popular yeah and you guys have steve to kind of bring that to your group steve was friends with all the heavy metal players it was him and eddie were best friends okay immediately and weren't when eddie passed you know wow so eddie van hale was always hanging at luke and her luke of their had all the hammering shit that eddie was doing down and uh and it was uh it was fun time because you had to have a gunslinger guitar player.

38:49We had the guy. It was Lukather, you know? He was just shredding. He would rip all these guys. He had more chops than any guitar player in town. I mean, Larry Carlton, all these guys. Lukather was like Maha Vishnu, John McLaughlin kind of chops. That's where these guys had chops in high school. Wow, man. Unbelievable. It's amazing all the talent that you guys have. You guys, to this day, are able to still remain friends. Oh, we are. some people but but i mean because there's a world where you or or steve or lucifer could have just been like you know i want to do my thing you know really well we weren't no one everybody was the bands were the thing at the time they say there's a saying now back in the day when i was growing up everybody was in bands yeah now they're singers yeah now it's all about singing and i think it's great that everybody's singing now i wish i wish i'd studied singing my dad didn't want me to be a singer because he thought i would end up in a piano lounge being a singer piano player entertainer and that was the worst word at the time my dad said you don't want to become an entertainer you want to be a musician really and so i i missed out on singing lessons and stuff but which i ended up taking later on and stuff like what i was gonna ask about the band like did you guys think of yourselves obviously you guys are like incredible musicians but did any of you guys think of yourselves as singers luke there could sing a little bit he could sing like georgie Porgy sang, I'll be over you, won't hold you back.

40:15And I could sing barely to just get some of my songs out. But it was cool that you guys would trade off singing. It would be Lucreter into you. Well, that was the whole idea. I used it as a model, the Beatles. I like the Beatles because you never got tired. It wasn't one guy singing a solo album. I don't care who the artist is, a whole album of them, I get a little bored. I like Fleetwood Mac, and I like the Beatles, because they had various diversity in their singing. Yeah. You know? And so that's what I wanted to do with our band. We did it on the first album. Those guys had never sung. I'd never sung, I mean, really on an album before.

40:55And we all sang on the first album. And then you guys have a singer, Bobby Kimball. And then we had to get a singer, because they kept going, well, who's your singer? They really, before they signed the paper, they want to know, do you have a singer? and a band that I had been co-produced called S's Fools had a singer named Bobby Kimball and they broke up and I said, let's try this guy out. And he came in and I played Hold the Line and he just grabbed the lyrics and we started ripping Hold the Line. The first time we played it, it sounded like the record. Really? With him singing and us playing.

41:29So everybody's looking around the room. We're looking at each other like, we're a band. Yeah. We're a band. We knew we were a band, you know. We have to take another quick break, and then we'll be back with more from our conversation with David Paish.

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44:38I'm Noah. This is Devin. And on our new show, No Such Thing, we get to the bottom of questions like these. Join us as we talk to the leading expert on overconfidence. Those who lack expertise lack the expertise they need to recognize that they lack expertise. And then as we try the whole thing out for real. Wait, what? Oh, that's the runway. I'm looking at this thing. Listen to No Such Thing on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Here's the rest of my conversation with David Pache. Let's jump ahead to you reconnect with Quincy to do Thriller. Do you know, was it Michael?

45:20Was it Quincy? Was it the both? How did you guys end up getting involved? I ended up getting in because I had, Steve Peccaro had been doing programming synthesizers for David Foster and Greg Phelan Gaines and all Quincy's people. I wasn't in that club yet. So Steve, what are you doing? He goes, I'm doing a Quincy Jones date. I said, you know what? I want to go do a Quincy Jones date. So I'm going to be your assistant, and I want to carry a piece of gear in to get in to the door. So I got in the door. I think they were doing Donna Summers. I think it was State of Independence. That was Steve. All Steve Bercaro did that, and I was kind of playing for him because he would be the major programmer, but I could play pretty well.

46:05So set up the stuff, set up the sounds, and Swineen would say, Steve, play something. and Steve would say, well, David's here. Dave, play something. And I started playing and Quincy would walk in the room and go, wow, that's nice. What are you doing? Can you stay? Can you hang out a little bit? And I'm like, sure. And ever since then, I did Donna Summers, James Ingram. And then I got called on Thriller, you know what I mean? Because I was part of Quincy's club. And so Quincy later said, and you can demure if you want, but Quincy later said that the Billie Jean bass line was a rip of that State of Independence programming, that thing that you and Ficaro.

46:44Really? I didn't know you said that. Yeah. That could have been. That could have been. Slow down. Bum, bum, bum, bum, bum, bum, bum, bum. Now that I think about it, I'm going to tell Steve that today. Yeah, be careful. Let me know what he says. I'm going to tell him. I mean, that's you. We brought all of our synthesizers down there. I mean, there was a room full of synthesizers. And Steve was doing that live. It had the drum machine. It had all the synths pumping. and basically the whole record was done with Steve Bricaro doing synthesizers on his microcomposer. So you guys basically play on Human Nature.

47:19A number of you play on a number of different things on Thriller, but Human Nature really is like, it's Toto essentially. Are you mad at a Steve when he takes a song like Human Nature to Michael instead? No, hell no. What a fucking song. No, no, because Toto would have never done that. Really? No, they may have. But Steve, we were off the road, and Quincy was looking for songs. And so I sent a, I don't know what I sent in, but I sent in a cassette, and I had on the back of my cassette, they had those super scope tape machines that when they'd get to the end, it would start playing the other side of the cassette automatically.

47:56And so it jumped to the other side and played Steve Recaro's demo for him. And he was like, why, why, tell him that it's human nature. and Quincy dug it and she played it for Michael. And they were just like, they cut it, you know? Wow. That was like the last song that went on the record, you know? How did you, because I want to talk about this. I'm curious how you and Steve found how to coexist in terms of as keyboard players, synth players. He would come up with something and say, Dave, I need some magic on this. I need an intro, like he said on Human Nature. I've got the chords, but I need an intro.

48:32So.

48:37I think those are the chords he played me for the intro. And I, from Jimmy Seals, I had been used to doing finger picking guitar parts and translating them to piano so I could do, you know. I would cross hands and do, so I did a little Jimmy Seals kind of thing for Human Nature.

49:12and that's the intro to human nature that i came up with that is one of the coolest that is one of the coolest intros song and every time that comes up it goes into that part you know what i mean it's so beautiful yeah what was it like being in the studio with michael with michael michael was great in the studio he was a perfectionist and he just believed in you painting, he came up to me, here's a typical Michael Jackson thing. He'd say, I want you to think of Michelangelo painting the Sistine Chapel. You have a total blank canvas, and if you need a choir, or you need an orchestra, you need whatever you need, just do it.

49:53Just come up and think with it. Now, this wasn't during Thriller, though. This was after Thriller. Michael continued working with Michael. But working with Michael, I got in there one day, and I was working on Billie Jean, which I did, ended up using my parts. None of my parts, but I did it with Michael, and he would listen to what you're playing, and he kind of let a couple of little mistakes go by, and I stopped him, and I said, Michael, listen, I'm a perfectionist, and I want to make sure that all this stuff is perfect when we put it on there. So in the interim, he liked the fact that I wanted perfection on his record, and he'd call me in and say, I want you to come in and listen to my vocal that I'm doing and tell me if it's good.

50:35And it kind of got me in trouble with Quincy a little bit because Quincy was there and he goes, Quincy goes, Michael, what do you think? And he goes, ask David Page what he thinks on the human nature vocal. And I'm like, uh-uh. And Quincy just gave me the look, gave me the look, like, oh, really? You know what I mean? And I was like, oh, man, you know. So we got that straightened out. And then Michael was great to work with. Anybody that worked with him, he was just like, Jeff did beat Jeff they came to Jeff and all they had was these drum cases that went

51:14and they were singing the line I think in there and then Steve and Jeff played all the instruments on it Steve Lukather played bass, played rhythm guitar Eddie did the solo and Jeff played the drums on it did Lukather want to do the solo? he was lucky to play on it he was happy to play on it Yeah, and then they said they were trying to get Ed Van Halen, which was Luke's friend. Luke's like, right on, you know? Ed didn't want to do it at first, because Van Halen had a no-session band role. You can't play in other people's records. So Ed, he called up and said, this is Quincy Jones. He goes, yeah, sure, and he hung up on him, okay?

51:50Ed did, you know what I mean? And I said, no, really, seriously. You know, so he sent a tape in, and they flew it in. I don't know where. He just soloed, and they just took a piece of it dropped it in on there you know wow total four you guys spent a lot of time in the studio yeah we spent a lot of time all the time so that's another year man where it's like if 78 your first record's coming out all these big hits and you got cheryl lynn's record out at the same time this is like you got total four yeah you got thriller all the all the burners are on you know unbelievable yeah you got four records behind you yeah bunch of hits yeah i mean we're doing sessions and touring and doing our total records at the time you know so it was just kind of a revolving door at the recording studio sunset sound we'd see guys that are working on it thriller what are you doing oh i'm working with quincy today well we'll be there in a little bit and you know how did sunset sound become your home which is one of the great studios it was one of the great studios and uh you know we could basically work everywhere i mean we did thriller at westlake yeah the whole thing you know we did toto's rec first record at studio 55 which was ended up becoming Richard Perry's studio.

53:01But we just liked Sunset Sound as a record recording place, and that was during the Hydra record. We started working at Sunset Sound again. Such a cool record. And we loved playing there. We loved that. That was a real progressive music. We were trying to push ahead. Now that we had a hit album, we kind of wanted to play some serious concert stuff here. You don't get into the way we would sound if we went out live and not just playing Georgie Porgy. God, so the first record was like, let's craft a record. Let's craft a record. Let's find an audience. Yeah. So we did a whole lot of different kinds of things to find out.

53:38I know there's got to be a single in there somewhere. Yeah. And surely enough, the record company grabbed hold of the line. Yeah, yeah. Little did I know. Yeah. But then Hydra was like, let's. Hydra was more, we were listening to Genesis at the time. You know what I mean? And Peter Gabriel and these progressive English groups that we're doing, just blowing our minds, you know. So we wanted to get more progressive and more musical, you know, because we were all just making music basically for ourselves and our friend musicians so we could get together and smoke a little bit and listen to music, you know.

54:14Yeah. And we wanted to have something interesting to play them, you know, because everybody else was bringing in all this stuff that they're doing, and it was like, you know, real musical stuff, you know. Yeah, yeah. Did you guys run into Prince at all? Because I know he was hunkered down at Sunset Sound, too. Jeff ran into Prince one time, and he was down there before we were down there, during we were down there. Yeah, around the time. I didn't run into him. I think Jeff ran into him one time. But he was down there with James Newton Howard working on his first album. Ray Parker, who's my neighbor here.

54:46Ray Parker's your neighbor? Yeah, down the hill. That's a bad man. And he's like my best friend. We grew up together. He came out from Detroit when he was 19, and I started working when I was 18 and 19. So we've been friends since we've been really young. So Prince saw Ray Parker's studio at his house, and Prince said, I want that. So Ray built Prince's first studio. Really? Yeah. So Ray set Prince up, and then I heard later on that Prince really liked Luca. There was a guitar player. and I've gained so much respect for him lately. Hearing how he plays guitar and the shows, the acoustic work, and he's just a real talent, you know?

55:28Man, you guys were around some of the coolest, greatest, I mean, the era of music you guys existed in. Yeah, it was a real era. To your point, again, what remained of the jazz greats. You said Oscar Peterson came to your house to work on, to check out synthesizers. Synthesizers, he did. Because the guy who invented a bunch of Roland stuff was living at my house, okay? Foster called me up and said, I got a guy from Canada named Ralph Bike. He works for Roland. Do you guys interested in this? We said, send him over. And he would just build stuff for us. And so he became friends with Oscar because Oscar's Canadian too.

56:01Yeah. So he brought Oscar Peterson over. I called James Newton Howard. I said, you got to get over here right now, man. This is going to get serious here. Of course, I didn't take any pictures during the time. And I don't have any pictures from it. Did you play on this piano? No. I have a piano downstairs Oscar played on. It's a nine-foot Baldwin SD10. He looks at my piano and goes, nice box. You know? Unbelievable. Yeah, man. How did you guys change as people before having those hits and having the hits? I mean, at any point, did it get competitive? Not amongst you guys, but with other groups.

56:35Did you feel like, ah, we want hits? Or did you feel like we want to compete on the live? I mean, what was... Well, it's so funny because after, like years later, I talked to some people, the recession guys. Danny Korchmeier, Danny Cooch, Waddy Wachtell. And they told me, we were so pissed off at you guys when you came out with Hold the Line. They go, that's a goddamn doo-wop song. And we should have played the solo on that record. Not Lukather and everything like that. Because Lukather played like a Brian May kind of queen solo. He did, yeah. He shredded it. And they were going to play like...

57:11They wanted to treat it like a doo-wop song. That's what's cool about you guys, is that you could do that, but then have Luke with there do like a Brian May. We were mixing genres. We were mashing up genres, you know, at the time. It's the coolest thing about you guys, man. And later on, me and Luke, we kind of were competitive with the songwriting. Okay. He'd bring in this, and I'd be like, I still today can't write. He writes, every time he breaks up with somebody, he would write a great ballad, a love ballad. And he kills it. And he sings it. And he sings them too, you know? How did you guys work that out?

57:40I mean, there's so many people in the group who could sing the song. Some of you could write the song. We would listen to the best song. Anybody has a song, bring it in, and we'll listen to it. Now, let's listen to whose voice fits that. And so each of us would try. Everybody tried to sing Africa. They just couldn't spit all the words out. And I ended up singing the song that I wrote. You'd written it, so probably the words came a little easier to you. So as usual, the band says to me, next time you're going to write a number one single, make sure that you're not the singer on it. Make sure a lead singer sings the whole thing.

58:14I'm like, guys, I didn't know. Did you guys really not know Africa would be as big as it was? No, I had no idea. Really? No idea. Really? That was the last song. That was the 11th hour song that we had the whole album done. And we just started experimenting with it. Well, here's maybe a song that, and they used to say, it was a joke. Dave, save this for your solo record, which there was none. You know what I mean? Or maybe for the next album, this is a good song. Did it bum you out? No, no, no. No, this is our sense of humor, just fucking with me. So we started experimenting with it around making a loop.

58:47We knew we had time because we'd already done our album. So we got in the studio and made a loop, a drum loop, with Lenny Castro and Jeff Procaro. And then I put on a CS80 thing, and we started building it little by little, and everybody was making their own parts up. And it just came to being. And we were like, well, okay, this is the last cut. It's kind of different, kind of world music-y. And then they called from New York. Sony called and says they're playing it in a disco, a big disco. It's a big hit in New York, Africa is. And it started going around the United States. People started picking it up.

59:19And it just gained momentum. So cool. You guys have these incredible pop songs. I mean, we're talking about Africa, Rosanna, songs like that. And then the solos that you're playing. Yeah. How did you pull back? Because, I mean, I would love to hear like an eight-minute solo of you. I mean, how did you guys contain yourself in the studio? The times we played Rosanna, we jammed on the end there. Did you? You just hear the little short one. I hear the short one. Yeah, because we said, we're going to keep it short this time, guys. You know what I mean? Keep the ending there. You know what I mean? Get it all in.

59:49But that went longer. That fade out probably went another two minutes. You know what I mean? We just faded it out. I would love to hear that. Yeah. I would love to hear that. Me too. I don't know how you guys did it. There's not many groups who could be as musically inclined as you guys, but also we kind of know, okay, we got to do the short version. Yeah, shorter version. That's amazing, but that's not it. That's the reason we decided instead of forming a group, we got offers to form out of our high school band to sign a deal, and we turned it down because we said, we want to go in and learn how to make records so that we don't come out, we don't learn on our first record.

1:00:27We're just barely learning how to make records here. So we each went off our different directions and we did a lot of sessions and gained all this knowledge so we were ready to we were like co-producing ourselves by the band members by their just their experience did you learn about a lot about songwriting playing on other people's songs oh yeah charts oh yeah it's like i learned a lot about what i didn't want to do because i kept i would try and make them a little more my songs i'd try and rearrange them and using my changes but everybody else wanted to use these jazzy chords oh it's like and i was going for the

1:01:03you know and everybody else that's what foster and graden and those guys were always at the earth wind and fire yeah they were everybody was trying to be earth wind and fire at the time okay and so was i so we all were yeah yeah you know

1:01:21yeah that's kind of earth windy right there you know what i mean diamonds and rust joan bias It's the last thing I'll ask you about. Oh, yeah, you can know about that record. How did you end up on that? I knew the producer. I'd worked with him, the guy named David Kirschenbaum. And he hired me. And a great thing was that I got to play with Joe Sample. Joe Sample and me played together on that. I played piano, and he played Roxy Chord, I think, or electric piano, Roxy Chord. And they had Larry Carlton, Dean Parks, Jim Gordon on drums. And I just got to play on that record. and it was fun. Joan Baez was great.

1:01:57I had done a Midnight Special with her, with our band. She ended up using our band for backup band on Midnight Special. But a funny story about Steely Dan, Walter Becker heard the Diamonds and Rust album and saw that Larry Carlton had arranged it. And that's why he called Carlton to arrange the Royal Scam album because he said if they can make Joan Baez sound this good they're going to be able to arrange our stuff and that was the that was the deal they that was the album that they got turned on to larry carlton dude i mean that's the song joan bias says that's her her best song yeah it was great and bob dylan even was moved she was like the dylan's counterpart yeah at the time yeah and he was moved to call her and tell her this is incredible you know i mean what a what a treat god we could talk for another two hours i just wanted yeah i wanted to go through the room and just ask about everything you got here I'm going to show you downstairs real quick.

1:02:52That'll be awesome. And maybe we'll do it again, man. Yeah, I think we should do it again. Yeah, cool. Thanks so much to David Page for inviting us into his home and playing for us. You can hear all of our favorite Toto songs and other stuff David's played on on a playlist at BrokenRecordPodcast.com. Subscribe to our YouTube channel at YouTube.com slash BrokenRecordPodcast where you can find all of our new episodes. You can follow us on Twitter at BrokenRecord. Broken Record is produced and edited by Leah Rose with marketing help from Eric Sandler and Jordan McMillan. Our engineer is Ben Tollery.

1:03:28Broken Record is a production of Pushkin Industries. If you love this show and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription that offers bonus content and ad-free listening for$4.99 a month. Look for Pushkin Plus on Apple Podcast subscriptions. And if you like this show, please remember to share, rate, and review us on your podcast app. Our theme music's by Kenny Beats. I'm Justin Richman.

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