From Rick Rubin, Malcolm Gladwell, Bruce Headlam, and Justin Richmond. The musicians you love talk about their life, inspiration, and craft. Then play. iHeartMedia is the exclusive podcast partner of Pushkin Industries.
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More interesting that way. I think the collaborative process to me is, like, one of the most interesting things. Like, if you can really trust the other people in the band that you are collaborating with, it will usually come back way more interesting and have a different perspective that you can't have if you just have tunnel vision, you know, for your songs. So, you know, it's it's not it's not that different than how we made, you know, the last couple of records with Brendan, really. I mean, moving super fast and, you know, Fad's not sort of latching on to something, moving on to the next thing. Yeah. And so we're I think we're better in those environments. I think Andrew's enthusiasm, his unbridled enthusiasm was a an element of it. He never he never let us get down on ourselves at all individually for me, like, playing in there and sometimes being in there and going, you know, I I don't know what I'm doing. It's like, he would no matter what, he would just be like, oh, that's great. No. Wait. Go back. You know, like, he would just have this, like, you're gonna get you're gonna figure this out. You're my favorite guitar player. You know, it's like just you know what I mean? But not necessarily that, but it's just like he just just infused you with he wasn't gonna let it get you down. And he knew that that's not where you're gonna get a good performance. So Yeah. It's manipulative on on one hand, but it also works. Hand, but it also works, you know. And and so I think, you know, his knowing the songs and loving Pearl Jam so much and just being a fan, it was a major factor in sort of keeping the thing moving along. And him really actually, I know how to play all your songs. I can show you where, you know, you know, Yeah. That this should have been a minor chord, but you didn't, which is cool. I'm so glad that you did that. Like, you know so he he he had a lot of energy for that. So that was a that was a big factor, I think, in the record. Yeah. And and and and talking about those times when you're stuck, he could reference old songs. He would be like, yeah. Like, that thing that you do in hail hail, or he would he would reference things. You'd be like and sometimes that would unstick you because it would, like, pull you out of a pattern that you're stuck in, and it would make you think about it in a different pattern.
On it from the past because I really left. First check, you know, I got in the black crows. I moved to New York. Being in the band to me was like, you know, shooting an arrow over the mountain. Like, just I I wanted to get out in the world. Had you been to New York before you moved there? Yeah. Yeah. No. Actually, you know, our dad, Rich and I's dad was a singer. He had a top 40 rock and roll hit in the fifties called boom and dip dip. You check it out on Spotify. I've listened to some of that stuff. It's it's it's good, man. It's really good. Yeah. It's a good song inside really happening. With the New York, and he was like, you know, into the theater and music and acting and dance, you know, so he wanted that too at a certain time in his life, and he was in New York. And, and it's funny. My mom was a flight attendant for the old eastern air lines. And, you know, it's funny. She told me she goes, oh, I served Doctor Kig many times. I'm flights out of Atlanta. Wow. Oh. So I always, like, really blew my mind as a kid. You know? Of course, you did. I would make, I mean, how many flights out of Atlanta musty have taken. You know? You know, so I moved to New York first, and I still love New York. And some of my deepest connections and friendships are there. My wife and I just got back from there yesterday. But I came to Los Angeles And I don't know. It was farther away from Georgia. Yeah. From everything. I mean, California has an idea. California Later, I would get to know far more about this day that I lived up north for 6 years, and I was in this little hippie band. And we started we did 9 weeks just up and down, California in a van, playing all the little beach towns and hippie towns. And, you know, I got a real appreciation for do you remember Heul hauser? Oh, come on, man. California's goal, baby. I was like the psychedelic Heul hauser. You know what I mean?
It's generate content, you have to trust it. Introducing WatsonX Governance, helping you govern any AI as data, models, and policies change so you can scale it responsibly. Let's create AI that begins with trust with Watson x governance. Learnmore@ibm.com/governance. IBM. Let's create. Drummer and composer, Stewart Copeland has one of the more fascinating bios in modern music. His father was a founding member of the CIA and his mom worked in British intelligence. He grew up the youngest of 4 kids living for a time in the hills outside of Beirut before attending boarding schools in England. After playing in the successful UK, Prague Rock Band, Curved Air in the mid seventies, Stewart started a new band called The Police with bassist and lead singer, Sting, and eventually guitarist, Andy Summers. Over the next decade, The Police would go on to become one of the top selling rock bands of all time, selling over 75,000,000 records. Last year, Stewart released the book, Stewart Copeland's Police Diaries, which includes personal notes dating back to the band's formation in 1976 through 78, when they started to take off. On today's episode, Bruce Hedlund talks to Stewart Copeland about the first time he saw Sting play and how he was able to successfully lure him into his then non existent band. Stewart also explains why he and Sting eventually had a musical falling out and how the Arabic rhythms he heard growing up in Lebanon influenced his highly lauded drumming style. This is broken record liner notes for the digital age. I'm Justin Richmond. Here's Bruce Hedland's conversation with Stewart Copeland. Well, thank you so much for doing this. You're always doing something. One of the latest things you've done is Stewart Copeland's police diaries, and I'd like to start by talking about that. It's this incredible chronic
One of his solo albums and talks about why he felt now was the right time to reunite with his boy band brothers and NSYNC. This is broken record liner notes for the digital age. I'm Justin Richmond. Here's my conversation with Justin Timberlake recorded at Amazon Studios 120 6. We kick things off by talking about the last song on his new album, Conditions. I love that that's the first song you picked. It's gorgeous. Thanks, man. And you know what? It it was a pleasant surprise. One of the things I always loved too about the first two albums is you ended with, like, these really just really in your R and B bag. You know, never again, another song. Yeah. Shout out to Rick Rubin. Shout out to Rick who under Bigger Better Things. And now conditions. When did you realize you wanted to start making an album or put out an album? I had another kid and, needed to pay the bills. No. I'm kidding. I'm joking. I'm joking. So making this album was different for me than any other album. You know, to kind of go back, to give you references, you know, Justified was, you know, me stepping outside of a massive machine of pop music because I really felt inspired to make music that I felt was more true to me. Yeah. Right? And I was also, I think it's important and and we can get to it because that's been part of making this album is realizing that I really grew up in the industry. Justified, it was this overwhelming feeling, you know, I'll never forget being inside a stadium at soundcheck and it just
Not unlike you, Tish, very steady about Joan nowadays. Yeah. Thank you, Brandy, for bringing her back into public life. Oh my god. I'm just got I'm like, I'm Robin, man. She's Batman. I'm following her around. Just going, this is the coolest shit I've ever seen. It's so cool how this developed. I've heard you tell the whole story about how at first, you weren't, like, the biggest fan when you were first getting together with Katherine. Right? And Katherine was like, red flag. Like, how can you not be into Joni Mitchell? Yeah. Well, it speaks to this exact thing that Tish is so good at and so aware of that I wasn't aware of, which is that Joni Mitchell smacked a vulnerability to me, and that made me very a opening herself up for the whole world to see made me feel like I would have to do that too if I listened for too long. And I wanted to be a different kind of artist at that time, and so I was a late bloomer. And I'm so envious of the fact that there's this whole wave of songwriters now that are not late bloomers and that have accepted the gift of their feelings being destigmatized by this person, whereas I was rejecting it. And when I stopped rejecting it, it made me ready for a lot of what happened to me then in my life, you know, from getting married to being a mother. I'm not saying Joni Mitchell made all those things possible. I'm just saying she was one of the steps along the way that made it so that I could actually accept that I was a feeling person. It's incredible you have one thing to sort of point to that started the domino effect. Yeah. And then it ended this way, that it ended with me, actually, being able to be by her side in times that she's vulnerable, you know. Yeah. Pretty cool. Super cool. So when you were starting to record Tish's EP, did you, Brandy, bring any sounds or any music that you wanted Tish to hear? And
