Moe Train Eats: Drinking Wine and Feeling Fine at Galer Estate Vineyard and Winery

March 22, 2018
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In this episode, Moe Train Eats visits the beautiful and scenic Galer Estate Vineyard and Winery in Kennett Square, Pennsylvania.  Galer Estate is tucked just behind the world famous Longwood Gardens, but we're not here for flowers... We're here to enjoy their amazing property, and Galer's award winning wine.  

Moe Train tours the property, walks through the fantastic vineyard with wine in hand, interviews the owner, and then goes into the tasting room to make his way through wine after wine after glorious glass of wine.  

Check out MoeTrainEats.com and MoeTrainShow.com for more!

G. Love & Special Sauce Interview at Lollapalooza on The Moe Train Show/Moe Train’s Tracks

March 22, 2018
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Philly Meets Philly – Interview with G. Love

Garrett “G. Love” Dutton and Monty “Moe Train” Wiradilaga

Lollapalooza – Chicago, Illinois 

 Moe’s Intro: When you think about Philadelphia, you think about a few things… Philly Cheesesteaks, the Eagles, the Flyers, the Phillies… And when you think about music from Philly, you think about G. Love.

Moe Train’s Tracks Podcast had the chance to sit down with G. Love backstage at Lollapalooza in Chicago, Illinois, where we talked about his music… the advent of the “hip-hop blues,” the Summer Haze Tour with Slightly Stoopid, G. Love & Special Sauce, and Ozomatli, and even a bit about Philly.

Make sure you check out the Summer Haze Tour when they hit your area! So here’s the Moe Train’s Tracks interview with G. Love at Lollapalooza…

Moe: G… What’s up, man? How ya doing? I’m Moe. Nice to meet you.

G. Love: Hey, how you doin’ man? Yeah, how ya doing man?

Moe: Philly meets Philly!

G: Woo! You from Philly?

Moe: Yeah man. Well… From the ‘burbs.

G: Right on.

Moe: Definitely been listening to your music for a long time…

G: Thanks.

Moe: It’s finally good to meet you. Got your new DVD out right? What, it was released this week right?

G: Yup, it just came out. It’s called A Year and A Night with G. Love and Special Sauce. It’s really cool. It’s definitely like an in depth look at the band on the run, you know, like a band on the grind. ‘Cause we’ve been grinding it out for like fourteen years so…

Moe: You’re always touring right?

G: Yeah. We do like 150 to 250 shows a year. And so that’s a lot of time in the bus, and as we did eight years in a van to start out, so definitely…

Moe: A bus is nice!

G: Yeah. A bus is great! I’ve definitely seen this whole country, man.

Moe: Yeah. I’m really noticing a progression in your music, but than again, recently it seems like you’re going almost back to your roots. Tell me about the beginning of G. Love and the “hip-hop blues.”

G: Okay. You know, I grew up listening to hip-hop, just like any other kid. You know, like, the Beastie Boys, and L.L. Cool J, Run DMC and you know like a whole lot of other stuff too. And I was like, grew up in Philly, which had a pretty strong hip-hop culture so… You know, we were getting into trouble and like writing graffiti, and break dancing, and skateboarding, and doing all this kinda like city stuff and, playin’ basketball. So that was like one side of me. And the other side of me was I had played acoustic guitar since I was like eight years old. I got really into the blues, the Delta Blues, when I was in high school. I was always kinda searching for something original, and when I found the Delta Blues that was like, no other kid in my high school was playing the Delta Blues. I had something that, you know, was making me stand out from the crowd, which I think is like really important you know. Now basically one night, I was a street musician, and I was just shuckin’ on the guitar, and I started rappin’ Eric B. and Rakim… Paid In Full

Moe: Paid In Full!? (Laughs) There ya go!

G.: Yeah… (Laughs) And I was like, ‘Oh that was something.’ And then I wrote my first rhyme like that week and then I was like ‘Okay, you know, I can do this,’ and I felt like, you know, it was real. It was like a real expression for me. Also at the time, the early nineties, like that was kinda when hip-hop was like at it’s peak, you know, like the late eighties, early nineties, so that was what I was listening to.

Moe: Right. Well, you play a lot of improvised chords don’t you? Lots of blues chords, not the real standard chords…

G: I basically got a lot of my chords from… I would try to learn like a Lightning Hopkins record, or Muddy Waters, or Robert Johnson, or whoever blues, you know. There wasn’t like you could Google ‘Robert Johnson Tablature,’ when I was in high school, so you had to learn that shit off the record. (Laughs) Yo, you don’t know what tuning he’s in, so got to make up these weird chords to try to find the sound that he’s getting! So, I had all these weird chords so, I’d always make these chords and then I just be like ‘Oh that’s cool.’ Then I’d make a song with them ya know.

Moe: Well, you’re saying you’re always performing… Do you think the live performance is the way to hear your music?

G: Yeah, I mean, definitely. You know, we love playin’ live and that’s what it’s always been about for us, you know, and being in front of people and…

Moe: Your albums are recorded a lot live aren’t they?

G: Yeah, well, what we do, we record in the studio live, you know. You can get something different on a record than you can get live, it’s all about what you like to, you know like, certainly there’s nothing that beats… Oh, Slightly Stoopid’s just going on…

Moe: Yep.

G: Nothing beats, but you know like, but you know there’s also nothin’… To me, I’d rather listen to a record than a live recording.

Moe: Yeah.

G: Except my new live recording which comes with my DVD!

Moe: That’s right. (Laughs) Explain ‘Everything’s a hustle.’ I heard you say that one time, you said that ‘everything is a hustle.’ That’s definitely Philly-style, the streets… You used to play a lot on South Street didn’t you?

G: Yeah.

Moe: I remember that. I think I saw you actually a couple times, yeah.

G: Really!?

Moe: Yeah… Explain ‘Everything’s a hustle.’

G: You know, I mean, it might not be the most positive outlook on life, but I mean, you know, like I think people are in inheritably selfish you know. So, it’s like, you gotta hustle for everything you get. And you gotta realize that people most likely wanna get something outta you, so, you know, you gotta make sure you don’t get hustled. And everything’s a hustle, like whether it’s the music business, or your job, to get a job… It’s a hustle to practice your guitar and get good enough to play, but you gotta hustle to get that gig, man! You know, and then once you get on stage you gotta let it be about the music, but the music business is all about the hustle you know. And then everything’s a hustle but love. When it’s real love, you know, and neither party’s trying to get up on each other. It could be love for music, or love for a person, or whatever you know what I’m sayin’.

Moe: Right… Well that seems like the mentality of independent music these days.

G: Yep.

Moe: People… They’re taking back the power from the labels and doing their own thing… More so, I guess it’s a hustle to take back that power.

G: Yep.

Moe: The question is…Pat’s, Gino’s, Jim’s, or a big ol’ slice of Lorenzo’s pizza?

G: (Laughs)

Moe: (Laughs)

G: Jim’s and a slice of Lorenzo’s pizza.

Moe: Wiz or without? Or “witout?” (Side Note: There IS a proper way to order a Philly Cheesesteak.) Excuse me…

G: Well, no… I get provolone. Provolone, onions, hot peppers on the side, baby!

Moe: (Laughs) What the hell is going on with Philly sports these days?

G: (Whistles)

Moe: Are we ever gonna win something? Is McNabb gonna stay healthy?

G: I don’t know I just…

Moe: Ryan Howard gonna do something?

G: I don’t know. We’ll see what happens. But I just moved up to Boston ’cause my kids up there and they just got Kevin Garnett and I’m like… We just got rid of A.I.! (Allen Iverson) (Laughs)

Moe: My co-host said to say to you that he ‘loves your music but Charles Barkley doesn’t beat Larry Bird.’ (Laughs)

G: (Laughs) No, but we said that Charles Barkley dissed Larry Bird.

Moe: Oh, okay.

G: It’s basically like, well Dr. J and Charles Barkley are the, I mean Dr. J and Larry Bird had the fist fight. But I think at the time Charles Barkley dissed Larry Bird somehow on microphone… I don’t know… I don’t know what he did! (Laughs)

Moe: All right, one last thing. You always give love to Philly…

G: Yeah!

Moe: How’s Philly been treating you?

G: Well, you know, Philly’s like a hard-love. Philly has hard-love. They show kinda hard-love I think, but you know that’s where I was born and raised, and that’s where my studio is, and I still live there part-time, and Philly’s a great city. Philly shows its love, man! We sold-out two Electric Factory shows last year.

Moe: There ya go!

G: And this summer we’re doing the Festival Pier (In Philadelphia). So, I gotta say, it’s still one of our best cities to play, and you know, it always means a lot to come home.

Moe: We’ll be bringing a crew to the festival pier to see you guys.

G: Ok, cool!

Moe: And good luck on your tour.

G: Thanks!

Moe: We’ll see you then…

G: Cool… All right…

Moe: Thanks a lot… Appreciate it, man.

G: Cool, man, appreciate it.

O.A.R. Interview (Chris Culos) at Bonnaroo on The Moe Train Show/Moe Train’s Tracks

March 22, 2018
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O.A.R. Interview on The Moe Train Show/Moe Train’s Tracks

Chris Culos, Monty Wiradilaga and Brian Kracyla

Bonnaroo Music and Arts Festival

Manchester, TN

 

Moe: We’re back stage here with Chris of O.A.R. How’s it going man?

Chris: It’s going good man. We just got here, I’m really excited. We’ve got some gorgeous weather out here.

Moe: Oh, it’s beautiful out.

Chris: Yeah.

Moe: It’s the first day of your new tour, is today the first day?

Chris: We just started our new tour today. So excited about it… A big summer.

M: Supporting the new album that comes out next month.

C: It comes out July 15th, yes, and actually our single is called Shattered. And we’re actually getting some radio play already, which is exciting. It officially goes to radio tomorrow and fans can get it online. They can get it starting June 16th on iTunes and stuff like that, exciting.

M: How’s this album compare to your others?

C: It’s a little bit of everything. I think by calling it all-sides, it really is capturing the all encompassing thing of O.A.R. It’s got the rock, the lighter stuff, it’s got the reggae, it’s got a little bit of everything. I think the song writing is really strong. I’m really proud of all the guys in the band, our song writers… You can really see their growth. But also the musicianship side of stuff, we feel really comfortable in the studio. That was always the thing. I think our audience really gravitated to our live stuff, and they liked the studio stuff, but they didn’t think it compared to that energy. It’s was only natural. We’ve played a couple of hundred shows a year but only made a handful of CDs. It’s still a lot of time in the studio, but for us we’re still learning.

M: Is that why you guys have encouraged the taping of your live shows?

C: Absolutely. But not just that reason alone. We’re proud all our stuff that we do in studio but as far as our live shows, that’s our bread and butter. That really is what we do best, and where we feel the most comfortable. I think by encouraging taping of the shows it creates more of a community interaction, you know for people who wanna come out and see us multiple times. It keeps us on our toes to create new set lists, and change the arrangements, and jam-out, and have fun. It’s also fun for the audience because it gives them something to talk about. It’s not the same show every night, not the same version of the same song every night. It’s a lot of great things.

M: Talking about live shows, how’d it feel standing on the stage at Madison Square Garden, at a sold-out arena, at one of the most important influential venues in the whole world?

C: Yeah, it was pretty much the highlight of our career. I can’t lie. It’s just weird because when we started this band, god, we started it 12 years ago in my basement, you could never imagine, you could never think of playing Madison Square Garden. I mean, all the things you could dream about, that’s just ridiculous to think that. So, to be standing on stage, it was so surreal. To be honest, it’s the only time I’ve ever been nervous playing.

M: Really?

C: Yeah, we’re really comfortable with what we do. Every night we go on stage, we get really excited about before we go on, and walk on, and that’s just what we do best, we’re comfortable. Going on in Madison Square Garden man, it was a whole other thing. It was a whole other ballgame man, I can’t lie.

M: I saw that. You could see the vibe in the place, it was just awesome.

C: Yeah. But, as soon as we started, yeah, we felt comfortable again. But it was the only time I’ve been nervous.

M: So what was the most memorable part of that performance? Anything stand out in your mind?

C: You know… It flew by. Most of the shows, some nights take a little longer than others, but that night flew by. I remember it being a little more lit up inside, just because we were filming it for DVD. You could see people. We can always usually see the front row, a couple rows back, but now look at and actually get a gauge of just how many people were there, and it was freaky. No, it was cool, ‘cause you could look out, we had a lot of our family there. I could look out and see my parents, my grandparents, and aunts and uncles, and cousins, and friends, and all these people who traveled from all over the country to watch us in New York. That was the coolest part.

M: Yeah, it had to be amazing for sure. So, with the new album, I know that you’re with a major label now; you were with an independent label before. Are we go to be seeing the independent O.A.R.? Or are we going to see a new incarnation?

C: We’re always independent O.A.R., man! No, see, here’s our deal. We started as a basement band, you know, when we were in high school. We went to college to really try to make it. We went to the biggest school in the country at the time, Ohio State University, and we went for four years. Not everybody graduated, but a couple of us did.

M: You did right?

C: Yeah, I did. Woo-hoo!

M: Ha, there ya go.

C: Then we started the band and we’ve been touring full time for eight years. So we’ve been a band for 12 years and everything been a real slow growth, but it’s been growing upwards steadily since the beginning. It’s given us time to learn and make the best decisions and really pay attention to what’s going on around us. And I think we really us that to our advantage, because if something happened over night, I don’t know if we’d know exactly how to deal with it correctly, and not to say that most people don’t, but who knows. For us, we’re really happy that we got to surround ourselves with great people. Our manager Dave Roberge, our singer Mark’s older brother, he started an indy label for us when we were in college. It was really just something on paper so that we could get a distribution deal, so we could get our CDs in stores like Best Buy and stuff. It wasn’t even a real label. But he grew it into an actual full functioning label with a full staff, moved to New York City, opened up office space, pretty amazing. And from what this label, Everfine Records, was able to do, it raised us up enough profile to actually get major label attention. And we had sold enough CDs on our own that when we went in to talk to a major label; we did have a little bit of leverage. Not to say that it was all in our favor, but to be honest it was a business decision to go with a major label. We just wanted to get our music out to more people. And so when we signed with, it was Lava Records, which was under Atlantic Records, which has since folded, now we’re moved over to Atlantic Records, but it’s all the same thing. We did sort of a joint-deal Everfine Records and Atlantic, so that Everfine would always be a part of us. It’s synonymous with us, it was created by our manager for us, by us. Everything about it, the mentality, will stay there. And they’ll continue to oversee most of our live releases while the major label will put out our studio releases. Sorry for the long answer.

M: No, it’s cool. Because I know that the fans are always concerned when a band makes that leap. They’re not sure if they’re getting the same band that they grew up and loved, or something that’s manufactured.

C: Of course. I mean, we’ve seen it with our favorite bands too. If anything, it’s a stepping stone for us to be able to continue what we always done in the past. If we have to put out something that’s more geared towards pop-radio, somewhere where you see us on film or television soundtracks or stuff, it’s not to say we’re playing the game and selling out, it’s to say that we wanna do that stuff to be able to continue to do the rest of the O.A.R. stuff that we love.

M: Do you consider yourself frat-rock?

C: You know, the term kinda bothers me. I don’t exactly what it is. It gives you, it’s not that it bothers me…

M: Is frat-rock a stigma?

C: It’s just used in a negative connotation. It’s not like anyone says, ‘God, these are my favorite frat-rockers!’

M: (Laughs)

C: It’s always somebody writing an article about us who pawn it off as frat-rock, as if that’s a bad thing. I’m really proud of the fact that we are able to attract fans from diverse things, whether it’s a frat, whether it’s a sorority, whether it’s just regular college kids, whether it’s high school kids, you know, older adult, any walk of life I think it sort of reaches out. I guess it is a bit of a stigma. I don’t know, I mean at first it was jam-band, and that’s really cool because some of our favorite bands are jam-bands, but we don’t consider ourselves a jam-band at all. We just don’t do that. So, to get labeled a jam-band is just I think a little misleading. So, the frat-rock thing, I don’t know, it’s just used in a negative connotation. I don’t have a problem with it if someone was using it in a praising way. Whatever.

M: Does it bother you that your band’s music makes the beds rock in collegiate America all across the US?

C: Hell no, dude, that’s the point, c’mon.

M: We’ve got a lot of comments about that, ‘Dude, you’re interviewing those guys! We’ve had sex to that music all the time!’

C: Sweet!

M: Oh, congrats on being one of the top 100 most influential indie bands.

C: Oh, thanks, Performing Songwriter, what an honor, we are really excited.

M: There are a lot of big names on that list.

C: Honestly, I can’t put it into words, I was a little bit speechless. We’ve never really won any honors; we’ve never ally won any awards. I think, in the past, people who know about O.A.R. know about O.A.R., and everyone else outside this world has sort of ignored us. It’s given us, I don’t want to say a chip on the shoulder, but it’s made us feel like we’re a little bit of the underdog, wanting to always prove ourselves. It doesn’t bother us but it makes us want to work that much harder. So to get some recognition like this, it’s really satisfying.

M: Another congratulations in order, you just got married.

C: Thank you, I’m actually about to get married.

M: Oh, I’m sorry, you’re about to get married.

C: In three weeks, it’s the countdown.

M: So what’s your thoughts?

C: Man, I’m really excited. I’m most excited to be sitting on the beach on the honeymoon.

M: Where ya going?

C: We’re going to Hawaii. And neither of us have ever been. Have you been?

M: Not yet, but this year. I think we’re going to a wedding. Apparently it’s supposed to be amazing.

C: Yeah, I can’t wait.

M: You still gonna be the same guy or what?

C: I’m gonna be the same guy, yeah.

M: What’s your most revolutionary moment of O.A.R.?

C: You know, again, I would have to say Madison Square Garden. It was pretty amazing. When we were in college, we played at a place called the Newport Music Hall. It was when we got to college and we said, ‘God, one day we’re really gonna tour, we’re really gonna do this for a career.’ And the biggest venue on campus was called the Newport Music Hall and we said, ‘One day we’re gonna play there.’ And we ended up playing there many times throughout college, and we sold it out almost every time. It was really satisfying the first time we saw our name on the marquee.

M: You guys always seem to show up with Dave Matthews. And I guess your ending the tour with them…

C: They’ve treated us well throughout the years. Honestly, we haven’t had a chance to work with that many large bands. We feel like we’ve always sort of gone out and toured on our own. They’ve been good to us, a lot of opportunities.

M: Pick up any pointers from Dave?

C: Yeah. That’s the best part of it. When I was a kid, they were probably my favorite band. I would watch them in concert all the time. So to be able to be backstage and watch a show is amazing, but really the coolest thing is to be able to be backstage and watch how they operate as a business. Most people don’t think of those things, but to see how they operate with the personnel that they hire, their road crew, the way that they handle the trucking and setting up of the equipment, and what kind of gear they use, and all that stuff. For us, that’s really the best part, I mean, we can sit there and learn from the best, you know. That’s the business model we would strive to be, if there was one.

M: Absolutely.

C: It’s an empire they’ve created.

M: Yeah, absolutely. So tomorrow, I guess you guys have your first live interactive on-line show, or concert, what’s going on with that?

C: Yeah, so it’s called Deep Rock Drive and we’re actually filming it at a studio in Vegas. There actually will be somewhat of a studio audience in there. It’s a really cool thing that we have never done before where we post a bunch of songs and people can vote on what songs, and the set list and what order they want it to be in, and people can type real-time questions into us. It’s a completely interactive show. Totally new, I’m really excited. I know they’ve done a couple shows but other artists, but it totally new for us and it’s relatively new technology that they can do all this stuff. I’m just really looking forward to it.

M: Cool. So at the end of your career, what do you hope to have accomplished?

C: Oh man, I don’t think that way. That’s a good question. Honestly, we feel like we’re just starting. If that’s another answer, I don’t even know. We just wanna be the biggest band we can be.

M: So what’s that mean?

C: I wouldn’t say awards or anything like that. I think that when I was a kid I would have loved to be on Saturday Night Live. I would love to be nominated for a Grammy, I don’t wanna win a Grammy, just maybe just one time be nominated for a Grammy. What about cover of Rolling Stone, that’s a classic you gotta go with as a band.

M: So you have your checklist.

C: Checklist, yeah. You know, seeing that platinum record up on the wall, which we feel very fortunate that we’ve gotten a couple of gold records. If you’re asking, I guess that kinda stuff, but I don’t really know. We just want to fucking play.

M: I got it, man. Thanks a lot for being with us, we appreciate it.

C: No problem, man.

Ziggy Marley Interview at Bonnaroo on The Moe Train Show/Moe Train’s Tracks

March 21, 2018
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How could I possibly describe this interview, but to say that I was truly honored to be able to sit down with Ziggy Marley at the Bonnaroo Music and Arts Festival… It’s not often that one gets to sit down with one of their musical and life inspirations, but fortunately it happened in Manchester, Tennessee. I approached each interview with a different angle, but I think all preconceived angles were thrown out the window once we stepped onto Ziggy’s tour bus.

Earlier on in the day, King B and I were in the pit for Ziggy’s set, and the realization set in that we’d be face to face in less than two hours. I admit that I was a bit nervous before doing the interview, but the nerves went away once Ziggy and I started to connect. In this very exclusive interview, Ziggy and I discuss love, his music, and other topics which combine for an amazing interview. Make sure you’re subscribed so you don’t miss any coverage!  Check out MoeTrainShow.com and MoeTrainEats.com for more!

A very special interview with… Ziggy Marley
Ziggy Marley, Brian "King B" Kracyla, and Monty "Moe Train" Wiradilaga
Bonnaroo Music and Arts Festival
Manchester, Tennessee
 
 

Moe’s Intro – We have got one very special show for you today. As you can probably hear, I still don’t have my voice back yet from Bonnaroo, but you can blame that on two things… Number one: There was so much crazy amounts of dust at Bonnaroo, that you just couldn’t get away from it. And unfortunately, it took my voice away, but hey, that’s a small price you pay for a great weekend. Number two: I was singing my heart out to Ziggy Marley’s set!

If you were there at Ziggy’s set on Saturday at Bonnaroo, you know what I’m talkin’ about. It was one of the most amazing musical experiences of my life! I’ve been waiting over 15 years to see Ziggy Marley in person, and we were taking full advantage of it. So we went all the way up front… We went right into the pit and got as close as we could. I’ll tell ya… It was absolutely AMAZING! Ziggy was onstage playing all of his great tracks, he was playing some of his father’s tracks. You know, it felt almost like a religious experience.

This interview ended up so much better than I could ever expect it to. We sat down man to man and talked about his beliefs, about the power of love… I honestly think that my life changed from that moment on. It was an unbelievable feeling and I am so glad that I was able to get it on audio for you guys and I hope that you guys take as much from it as I did. Because as Ziggy told me… LOVE IS THE TRUTH. And you’ll be able to hear the power and belief behind what he sings in his music.

We were going backstage to Ziggy’s tour bus to do the interview, and King B looked at me… sort of laughed, he said, “Dude, you look nervous!” I didn’t even give him a response because I was so in the zone thinking about what I was I was going to say. But the thing is… Once we got in that tour bus, all of the nerves went out the door. I truly think that Ziggy and I really connected during the interview, and honestly, I couldn’t be happier with how this interview came out.

Guys, have a listen, feel the power of love, make sure you go out and get “Love Is My Religion,” ’cause it is definitely one of Ziggy’s best works yet.

Here it is! The interview with Ziggy Marley! One love…

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Moe – We’re sitting backstage in Ziggy Marley’s tour bus. Ziggy, thank you very much for being on the podcast.

Ziggy – Good brah.

Moe – So how are you feeling about Bonnaroo? Are you feeling the love?

Ziggy – Ya mon. Bonnaroo, you know, is good.. is good feh see so much people together and just enjoying music and love. You know.. It’s great. It’s a great environment.

Moe – Absolutely. I’ve been speaking to many people about who they’re most looking forward to seeing at Bonnaroo.. And I’ll tell ya, about every single person that I had spoken to was very, very excited about your set…

Ziggy – Yeah?

Moe – And they were all out there.

Ziggy – Yeah mon.

Moe – “Love Is My Religion”.. I keep hearing you say, “love is all we need.” How does that shape your life?

Ziggy – Well that, I mean, what it is, is a gradual realization of the true concept of spirituality or the true concept of God. You know, because from when I was a young child coming up, we were about God, you know, we went through Christianity. We were still lookin’ for the truth. How do I identify myself in terms of that aspect, in terms of this religious aspect, spiritual aspect… What is it really? What do I call it? Am I a Christian? Am I a Rasta? What am I? And what is the direction that I should be goin’? So after a while, it just gradually come to me that love is really… Love is the answer. Love is the answer to everything that I was questioning.

Moe – You were looking for the truth, and love is the truth.

Ziggy – Yeah. So the truth for me doesn’t lie within the rituals of religion or the traditions of religion. Love is the truth, ya know? So, that is what I came to realize a few years ago, and just to put it in a terms that people can understand is “Love Is My Religion,” ya know?

Moe – It feels to me that you’ve written an anthem for a generation with “Love Is My Religion.” It feels that in this day and age, there’s not enough love, and what you’re telling everyone is… everyone does need love. Do you feel that your message is being received well?

Ziggy – Yes, I think so. Everywhere I go, it’s been received well and I believe that.. the good thing about love is that love don’t have any enemies. So even if, I mean, even if people are there who are Christians, Muslims, or whatever… You still can say that, ’cause it’s love. You know… You really can’t fight love. Like, you can’t have anything against love.

Moe – It’s true.

Ziggy – You know what I mean? I think it’s been received well and it’s hard work still to get the message out there ’cause I have to be on the road. My music and what I do is not something where I can sit down and depend on upon a TV or the radio or the media generally, to promote what I’m doing. What I’m doing, I have to get out there and do the footwork… The soldierwork. And that’s what we’re doin’ right now. That’s the only way I can get that message out properly, ya know?

Moe – Some musicians deal more with political aspects. I feel as though you deal more with the person… The social aspects. The human condition, I would say.

Ziggy – Yeah, well I’ve done political stuff, ya know. There was a point where I kinda understood… ‘All right, well, ya know what? The solution is not in politics or even social things. The solution is within the individual…’ To find love, that is the solution to the world’s problems. It is not democracy, it is not communism, nor capitalism… It is not religion, it is not charity, it is for human beings to find love within themselves. This is the solution for everything. Everything else is secondary. If you have democracy without love, it ain’t gonna work. If you have communism wit… Nuttin’ gonna work without love! Nuttin! So let’s find love first, and then we’ll find everything else!

Moe – Speaking of love… We were in the pit area during your performance. I was just taking a look around and you could see a huge smile on everyone’s face.

Ziggy – (Smiles and laughs)

Moe – A huge smile! It was great. It was almost as if you were putting your hands in the air over your head to channel the power of everyone in the crowd.

Ziggy – Yeah.

Moe – Is that how you feel?

Ziggy – Yeah, well that I mean.

Moe – Are you just feeling the music?

Ziggy – Yeah, yeah weh… You know, we’re transmittin’ vibrations, ya know. We’re communicatin’ with more that words and more than music. We’re communicatin’ with vibrations. So that is a form… that is a way of communication from me. So, ya know, puttin’ up my hands is very symbolic of just trying to soak up and tryin’ to give back healing power, ya know?

Moe – The people in the crowd were definitely soaking up your power as well.

Ziggy – Ya mon.

Moe – When you went solo…when you recorded “Dragonfly.” How was it getting away from playing with your family for so long with The Melody Makers? How was that transition?

Ziggy – Well ya know, I mean, feh me it wasn’t.. it was not a difficult thing. I do what I have to do. I do wherever life is taking me… I go without any resistance. So I’m just going with the flow. So the flow took me there and I didn’t fight it. I didn’t think about it, I didn’t judge it, I didn’t do anything, I just went with it.

Moe – So it felt natural.

Ziggy – Yeah. So I just flow with it. But I think one of the main things why that flow is like that, is because we are a family anyway.

(Phone rings)

Ziggy – Sorry.

Moe – I’m surprised you get reception!

King B – His gets reception.

Ziggy – Sorry.

Moe – That’s fine… If you need to take it, go for it. No problem.

Ziggy – Yeah, so for me, it wasn’t like a breaking up of anything. You know because we are family.

Moe – Family’s family.

Ziggy – Yeah, that exists up to now, so we still have that togetherness, ya know?

Moe – In “Dragonfly,” you sort of changed your style a little bit. I felt.. It seems like you went a little jazzy, acoustic rock style, or bluesy?

Ziggy – Yeah well… Whatever it was, it was. I didn’t.. I never put any names, I didn’t try to do anything. I didn’t try to go jazzy bluesy, I just played what was coming out at the time. That’s what we do as artists. We just give what we have at the time. I don’t try to shape my music in any particular way. I try to just make it be natural. And so I think that “Dragonfly” was a very musically adventurous record, which is the way I am. I’m very adventurous. And so, you know, as I said, we’ll go with the flow and that’s what was happening with me at the time. For me, as an artist/musician, we try to lead the people. That means… What I do is not try to do what people want, because I’m an artist.

Moe – Exactly.

Ziggy – I have to do what my heart tells me. I have to lead them to me. I can’t follow them to where they are, I have to bring them to where I am.

Moe – You wanna be true to yourself like you say in your song!

Ziggy – Yeah! That is where we are. We have to bring the people to where WE are… and that’s just how it is, ya know?

Moe – Staying true to yourself, like in your music… Is it hard when people are judging what you’re doing?

Ziggy – It’s not hard for me. I wish people would get the message of the music. Ya know, mainly it’s critics who have opinions, it’s not people. Ya know, people enjoy whatever! ‘Hey! I enjoy..’

Moe – Yeah! Exactly!

Ziggy – It’s those who think they have that authority of criticism. But it doesn’t bother me, because feh me… I kinda am strong and believe and believe in what I am doing. I’m not here halfway. I’m here full way.

Moe – That’s good.

Ziggy – I believe in what I’m doing. I know what I’m doing have a purpose. So, there’s no detractors or negative energy that could make me even double think what I’m doing or think twice about what I’m doing ’cause I know what I’m doing, ya know?

Moe – Speaking of critics, I saw on your website that you said about family members… About how people tend to say that ‘Oh, Ziggy’s better than the other brothers.’ How does the family deal with that?

Ziggy – We don’t deal with it. There’s nothing to deal with.

Moe – You just flow?

Ziggy – Yeah. There’s nothing to deal with. That doesn’t effect us in any way shape or form. My bruddahs know me, my sistahs know me, we know each other… That’s it!

Moe – How would you describe your brothers?

Ziggy – Steve, who is the next eldest to me in terms of the male in the family… We call him “Raggamuffin,”

Moe – (Laughs)

Ziggy – Ya know, ’cause he has a rougher side… a little more bit more rougher… Yeh.. Damian, he’s the youngest one of us now. Steve mentored him into comin’ up into what’s been happenin’ now. And so he’s a young one. Still growin’, you know, still growin’, still young, still growin’, still finding who he is and stuff like that, so we still have to give him some time feh become who he is, ya know? We have Julian, Ky-Mani… Everybody is humble, everyone is working what they feel… and everyone is supportive of everyone else, you know I mean?

Moe – Well, you have an actor in your family, right?

Ziggy – Hmm?

Moe – Ky-Mani is an actor, correct?

Ziggy – Ky-Mani, yeah, did some acting in…

Moe – Shottas…

Ziggy – Shottas…Right. Yeah, he’s into acting and he’s making a new record right now coming out. So we’re looking forward to that.

Moe – Well since he’s an actor… I heard that you write screenplays.

Ziggy – (Smiles) I’m trying to! I’m trying to divert energy, ya know? I’m trying to put energy into other places where I feel creative energy.

Moe – So what are you writing about? What are your subjects?

Ziggy – (Laughs)

Moe – (Laughs) I’m sorry to embarrass you! Oh, come on!

Ziggy – You’ll see! Everyone will see!

Moe – (Laughs)

Ziggy – No matter what we’re doing… in terms of that screenplay thing, I’m tryin’ to be entertaining but I’m tryin’ to always have a message in what we do.

Moe – So there’s nothing in particular that you’re…

Ziggy – (Smiles) I don’t wanna say right now, ya know? Yuh haffa wait… Yuh haffa wait!

Moe – (Laughs) That’s fair enough! Do you have any other hobbies or diversions that most people don’t know about… That you’d talk about at least.

Ziggy – I like watchin’ movies, I play video games… Sports…

Moe – Guitar Hero?

Ziggy – (Smiles) I wanna get that one!

Moe – (Laughs)

Ziggy – I haven’t gotten that one yet, but I saw somebody playin it. I haffa get that one!

Moe – It’s fun! They have a huge screen over here (at Bonnaroo). It’s about 50 feet square.

Ziggy – Oh yeah?? I haffa get it! It looked fun! But I heard they’re coming out with a whole band!?

Moe – They are!

Ziggy – Yeah? It’s gonna be interesting! (Laughs)

Moe – You see people playing it all the time!

Ziggy – (Laughs)

Moe – Just to have that diversion, does it help you deal with everyday touring? ‘Cause you’re on the road all the time, right?

Ziggy – Yeah, for a couple years we been touring, spreading “Love Is My Religion.” But yeah… I like taking my head somewhere else after a while.

Moe – You’re going home after today?

Ziggy – Yeah, we head home for a couple days, then we head out to Europe.

Moe – I bet you’re just gonna go home and just do nothing, aren’t ya? (Laughs.)

Ziggy – (Laughs) That’s exactly it. That’s my favorite thing to do!

Moe – Yeah, I bet! I’m sure you have friends that you go home and they want you to go out… What do you say, “No.. Leave me alone!” or what? (Laughs)

Ziggy – No..no.. Really, I don’t… I don’t have a lot of friends, ya know? I’m a family man. I have my kids and wife and ya know, my bruddahs, but I’m not…

Moe – How many kids do you have?

Ziggy – Me have five.

Moe – Five…

Ziggy – I’m not someone that goes out a lot. I’m not into that. I’m into just relaxing.

Moe – A family person… Right.

Ziggy – Yeah… I’m into that.

Moe – Well you’re on the road all the time, I can definitely see that. You had an exclusive deal with Walmart for a year, right?

Ziggy – It was Target.

Moe – Oh, I’m sorry… Target! And it wasn’t the best experience? How’d it go?

Ziggy – No, it was all right. I mean, again, I told you that I love adventure. I’m an adventurer in what we do. So how this came about was… Well, we wanted to do an independent record now. I wanted to own my music, ya know? So, I didn’t want to go into any contract with any record label. Target came up and they said they would put it out in Target exclusive for a year. Ya know, it was a good business decision. And it was an experiment..

Moe – You were the first in the industry to do that weren’t you?

Ziggy – Yeah, yeah… I think… Something like that!

Moe – That’s a benchmark!

Ziggy – Yeah! It was a revolutionary concept, which I think there is going to be more in the future because of how the record business is going now. Record companies are going a bit down, and artists are begining to be more independent. But anyway, I mean, it was allright. I wish that they had put more into it, in terms of promoting it.

Moe – They didn’t do too much about it?

Ziggy – (Smiles) No, it is a big corporation, so I know how it… I’m not big. I’m just like a little small, you know (Laughs) in the corporation..

Moe – Oh come on! (Laughs)

Ziggy – I wish they had done more to promote it. But because it was only for a year, I was OK with it, ’cause I know after that, I could get it out on a more mass market thing. So, we’re looking forward for it being available to everyone in all of the main stores, but you can get it online anywhere anyway, so that’s cool.

Moe – I contacted someone from TuffGong and they said that I could use “Love Is My Religion” on my podcast.

Ziggy – Yeah.

Moe – And I also saw that you put, ah… What’s that song was it… On the podcast network? You just put another…

Ziggy – Which one? I’m not sure which one it was…

Moe – Ahh…

Ziggy – (Sings) Make some music… Into the groove…

Moe – It might be that one… I can’t remember!

Ziggy – I don’t know. I can’t remember.

Moe – But anyway! I’m sorry… With that, you’re opening yourself up and giving yourself out to the people.

Ziggy – Yeah.

Moe – How do you feel the reception from that? Do you think that more people will start embracing that? More musicians will start doing that?

Ziggy – You mean like…

Moe – Promotion-wise… ‘Cause it’s good for promotion for you!

Ziggy – Yeah, I mean. You know, gradually as we get more into the future of the music industry, I think that… artists will be more open to the new technology to get the music across. For me, you know.. for me, it’s about getting the message across, so that is the greatest thing for me if I can get what I’m saying across to people. That is what I’m interested in doing, and because of that, I’m very open to ideas, because I know that what I’m sayin’ needs to be given to the people… So I’m very open to whichever avenue I can get that to the people, ya know? So, I’m really open to anything that’s happening that will get the message.

Moe – I read that you said that you think that music will be free in the future?

Ziggy – Yeah, I wanted something like that to happen… Yeah! Why not? I don’t see why not… (Smiles) I’ve been trying to do that for a few years, but the business people, ‘No! No! You don’t…’

Moe – Yeah, yeah! I know! Well hey… maybe some day!

Ziggy – Yeah… The music free or the concert free… Somethin’… Somethin’… Somethin’ haffe… somethin’ haffe give! (Laughs)

Moe – (Laughs) Something have to give!

King B – (Laughs)

Ziggy – Yeah! (Laughs)

Moe – One last question… If you have one message to give, I think your message would be love…

Ziggy – That’s it.

Moe – But what’s your message?

Ziggy – It’s love! It’s love!

Moe – Yeah, definitely.

Ziggy – It’s very simple…

Moe – Well thank you very much for the interview.

Ziggy – Ya mon, thanks…

Moe – It’s been an honor. And thank you for you and your family…

Ziggy – Ya mon!

Moe – So are YOU gonna fly home? I know your hobby is flying…

Ziggy – Yeah!! (Laughs)

Moe – Take a hold of the controls, huh?! (Laughs)

Ziggy – (Laughs) I wish! I wish! I wish! (Laughs)

Moe – Hey Ziggy… Thank you very, very much, I appreciate it.

Ziggy – All right… Ya mon! Respect! Thanks…

Aston “Family Man” Barrett (Bassist from Bob Marley and The Wailers) Interview at Lollapalooza on The Moe Train Show/Moe Train’s Tracks

March 21, 2018
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You know how the song goes… “One good thing about music, when it hits, you feel no pain.” And for the tens of thousands of people that were there during The Wailers’ set on Sunday afternoon at Lollapalooza, they certainly were feeling no pain at all. You know, it’s not too often that someone gets to sit down with one of the most influential and legendary bands of all time, but at Lollapalooza, Moe Train’s Tracks had the honor and privilege to sit down with Aston “Family Man” Barrett… The original bassist and “architect” of Bob Marley and the Wailers, and also, Elan, the new and amazing vocalist for The Wailers.
 
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There was something amazing going on in that crowd that day. No, it wasn’t that cloud of smoke that was hovering over the crowd… It was the togetherness, the unity, the love that was going on and being shared through the music. If music was a church, The Wailers were holding mass that day. You know, it’s an amazing feeling when tens of thousands of people were singing along with every word that Elan sung that day. When I saw “Family Man” turn to Drummie Zeb and say “One Love,” he turned down to us and smiled, the one drop drums set in, Elan looked down to us and pointed, and there it was… The first time that I had ever heard “One Love” live. An amazing, amazing time, and what better place than Lollapalooza 2007 with tens of thousands of new friends.You know, as we sat down backstage interviewing “Family Man” and Elan, it was like we had magnets on our bodies. From out of nowhere, people were drawn to the scene, drawn to a legend, and everyone wanted to hear what he had to say. Luckily, we were one of the few to be able to speak to them at Lollapalooza.

I have to admit that there were certain times during the interview when I felt a bit like a fanboy! When “Family Man” Barrett started to recite his favorite lyrics that he had written from Bob Marley and the Wailers, it hit me hard. I couldn’t believe that I was hearing these words…. Words that I had sung along to ever since I was a kid… Every single summer! That half hour that we spent with “Family Man” and Elan is a half hour that I will never forget for the rest of my life. Make sure you go check out The Wailers on tour, because it will be one show that you’ll never ever forget.

It is with my pleasure, and true honor… To bring you Aston “Family Man” Barrett, and Elan, two members of the legendary Wailers…. ONE LOVE.

An Interview of with Elan and Aston “Family Man” Barrett of The Legendary Wailers
Aston “Family Man” Barrett, Elan Attias, Monty “Moe Train” Wiradilaga
Lollapalooza – Chicago, Illinois 

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Moe – We are sitting backstage with Mr. “Family Man” Barrett of Bob Marley and the Wailers… Thank you very, very much for being here, it’s a true honor.

“Family Man” (FM) – Yeah man, it’s a great pleasure to be here again in Chicago, you know… Partake with the Chicago blues!

Moe – Do you feel a certain responsibility of being a member, in my personal opinion, of the most famous band… the most influential band of all time?

FM – Ya mon, we come together from the late 60’s ya know… as singers and players of instruments and our duty is to spread the message… four corner of the Earth. And thy will must be done by all means, no matter the crisis.

Moe – I’ve heard that you feel that you’re destined to be continuing on the legacy of Bob Marley and the Wailers.

FM – Well yes! My legacy is also to keep the music going because I am on the road officially from 1969 until 2007…

Moe – Wow.

FM – Nonstop…

Moe – Nonstop… How does it feel?

FM – It’s good! Ya know… to be doing it before Bob, with Bob and after Bob! Ya my man!

Moe – You were the band director during the time with Bob, and still now, correct?

FM – Yes. Before Bob, with Bob and after Bob! (Laughs)

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Moe – (Same Time) … with Bob and after… (Laughs) Right! What were your duties of being band director? Did you write a lot of the songs? Were you doing the lyrics?

FM – Well between Bob, my brother and I, we wrote like… eleven tracks. And we registered six out of that. And I put the band together, not only as the band leader, but the musical producer and arranger, bass player, and I play many other instruments too on all the catalogs. I play rhythm guitar, lead pluck guitar, keyboards and percussions.

Moe – You joined with the Upsetters, correct? Your brother and yourself were together, and you were recruited to play with Bob?

FM – Yeah… The first band was called… I mean, the first name was the Ippy Boys! And from the Ippy Boys, to the Upsetters… and also Youths Professionals, that’s what become Wailers International.

Moe – Well you were working with Lee Perry, correct?

FM – Yes.

Moe – His nickname was “The Upsetter,” correct?

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FM – Yes… He’s “The Upsetter,” and we are “The Upsetters!” (Laughs)

Moe – (Laughs) How was the team? Was it a great team working together?

FM – Yes! And that was the state where we started out with Bob, Bunny and Peter…

Moe – Right.

FM – And the first track we doing was “My Cup Is Runneth Over.”

Moe – One of my favorites…

FM – Yeah, my man…

Moe – When you joined Peter, Bunny and Bob… How was it getting acclimated to that new scene?

FM – I know it’s kind of “joining,” but what we really do, we come together as singers and players of instruments, ya know? And to carry on Jah Jah, the Almighty Message, and create the reggae music… and I am the Architect of Reggae, and they know that reggae music is the heartbeat of the people. It’s the universal language what carry that every message of roots, culture, and reality… (Laughs)

Moe – Well speaking of the message, you say that “Riddim is the Message,” correct? And the heartbeat…

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FM – The drum is the heartbeat, and the bass is the backbone… Yeah…

Moe – Your basslines are some of the most recognizable basslines in all of music. How do you take the spirit and passion of reggae, and put it into your basslines and into your music?

FM – It’s simple, because I love singin’, but I didn’t practice!

Moe – (Laughs)

FM – So when I play the bass, I sing baritone… So I give that melodic lines…

Moe – Yes you do… Yes you do!

FM – (Laughs)

Moe – I think it’s a culmination, you say, of everyone working together… and your basslines do hold it together and just really gives it a great overall feeling of the music…

FM – So true my man… So true!

Moe – When you were with Bob Marley and the Wailers… Reggae music was primarily in Jamaica, but you brought it together as a global consciousness of reggae music…

FM – Yeah… In Jamaica, the first music… you know… constructed was called ska. And it go from ska to rocksteady, and I and I bring it to be reggae! (Laughs)

Moe – (Laughs) How was the influence of ska in your music?

FM – Well the reggae music is consists of all different cultures of music. It got funk, it got soul, rhythm and blues… and of course some of the Chicago blues here…

Moe – Right.

FM – And it’s very jazzy…

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Moe – When Al Anderson joined the band, didn’t he bring a blues influence to The Wailers?

FM – Also… from 1974.

Moe – Yes… What are your thoughts of Bob Marley being a prophet?

FM – Yes, we all are prophets of lyrics and we are musicians of the… we call… the archangels. (Laughs) Yes….

Moe – (Laughs) There’s so many different messages with The Wailers… Love, unity… What do you feel the main message of Bob Marley and the Wailers… What do feel that it has been?

FM – It’s to keep all nations… especially the young people… in line, so they don’t walk on the wild side. (Laughs)

Moe – (Laughs) You don’t think they walk on the wild side? (Laughs)

FM – (Laughs) To keep it in a straight line… Positive!

Moe – When I spoke with Ziggy Marley… I spoke with him at Bonnaroo… We were talking about how he feels he was on a quest for the truth, and he felt that it wasn’t through religion, through politics, but he feels that “love is the truth.” What have you found to be the truth in your life and in your music?

FM – Well, we know there’s lots of errors globally, you know… near and far… over abroad… That’s why we choose to do the positive thing, and make songs like “Rastaman Vibration… is positive…” And we always talk about what is taking place on Earth… you know… a lifetime… and you know… politics, the global issues.. (Laughs) Things like that….

Moe – What’s your favorite song out of your whole Bob Marley and the Wailers catalog? What song means the most to you?

FM – I’ll tell ya man… there are so many! But I’ll give you the first one… “We will be… forever…”

FM and Moe – (In Unison) “Loving Jah.”

FM – (Laughs)

Moe – Beautiful! Your life is following… Preaching… The word of Jah.

FM – Yes, the gospel… Musically.

Moe – This year is the year 2000 of the Rastafarian calendar isn’t it? Didn’t they say that this year is supposed to be the return of The Almighty?

FM – Oh yeah… The year 2007 here… We officially just reached the year 2000, you know, the west side, the colonies are like 7 years ahead… Like daylight savings time, ya know?! (Laughs)

Moe – Right, but with reaching the year 2007, didn’t they say The Almighty was supposed to be returning in the year 2000 in the Rastafarian calendar?

FM – Yes, they all have got 7 years to prepare. God Rasta’s in the heart, you know, of the true Rastaman for sure. And we have a lot of other thing taking part, like the good, the band and the indifferences. (Laughs) Yeah…

Moe – (Laughs) Everyone knows the serious and social influences that your band has on the world.

FM – Yes.

Moe – But it couldn’t have been all serious. What are some funny moments that you remember from your days on the road with Bob Marley and the Wailers?

FM – Well it’s good to hear people talk all over the world! We changed their lives. They thank us for bringing the message. They even named their kids after us and things like that! (Laughs) Ya know?

Moe – (Laughs) Yeah.

FM – And young people who could not come to the show when Bob was alive, they were underage… They are comin’ today. And even young people who were born after the passing of Bob, take on to the message and the music just the same.

Moe – The message is still the same. From back in the 70’s, back in the 60’s, to 2007, the message is still the same.

FM – Just the same. The reggae music… It’s for all age and all times. It’s for past, present and future. And it’s like the moon… As we say, “The older the moon, the brighter it shines!”

Moe – (Laughs)

FM – Yeah my man!

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Moe – It’s still shining today. Out of any band, without a doubt, your band has heard by more than anyone in the whole festival here at Lollapalooza… Everyone knows your music. And I guarantee during your set that you’re going to hear tens of thousands of people singing along with your music.

FM – Yeah mon. Give thanks and praise to the most high… Ah God… Jah Rastafari!

Moe – Is there any particular moment that you remember of your personal time with Bob Marley that really stands out most in your mind out of any other moment?

FM – I’ll tell you one. When we were in Italy, playing for about 265 thousand people… and before we were interviewed by journalists, and I recall, they say to me, “What you guys think of the revolutionaries? Are you guys not-a-scared?”

Moe – (Laughs)

FM – I said, “No! We not-a-scared!” They say, “Why?” I say, “ALL the revolutionaries are our fans!” (Laughs)

Moe – (Laughs) That’s right! One of the moments that I remember the most out of Bob Marley and the Wailers, is the One Love Peace Concert in Jamaica.

FM – Yes!

Moe – When you brought together the two opposing leaders…

FM – Position and Oppositions… Yeah.

Moe – No matter if it was a very true sentiment between the two, they did come together with Bob standing in the middle, both hands almost with a triangle, with Bob in the middle.

FM – Yes.

Moe – Which was a very symbolic… Very, very symbolic moment.

FM – Yeah my man. I were there standing on the stage, playin’, and …

Elan – For today, it would be like if you took Michael Moore and George Bush, but even worse, with Michael Manley and Edward Seaga was like two “Dons of Jamaica” at that time.

FM – Yes.

Elan – There were shootings and killings. But if you took George Bush, our president, and you took Michael Moore… Someone who, you know, two that hate one another, and put them together like that.

Moe – You have to know the true power in your music, but when you bring it together in front of a nation that was divided at the time… So much political unrest at that time… How did that personally feel to you, standing on the stage?

FM – It was a good feeling of knowing that we are trying to get the people to come together… Bring them all together to know that “how good and and how pleasant it would be to see the unification of everyone. Ya know? (Laughs)

Moe – Ah… These lyrics you’re bringing to me are hitting right here.

(FM and Moe both put fists over their hearts)

FM – Yes!

Moe – It’s a beautiful feeling. What was your favorite song that you had written?

FM – Different from “We Will Be Forever Loving Jah?”

Moe – Right. But different from that.

FM – We love songs like “Exodus…”

Moe – “Movement of Jah people…”

FM – “Movement of Jah people!” And “Get up and stand up… and fight for your right.” And “Who the Cap Fit…”

Moe – “Let them wear it.”

FM – Which is “man to man.. you know, sure that your best friend could be your worst enemy or your worst enemy could be…”

FM and Moe – (In unison) “Your best friend.”

FM – You know? So you have to keep praying to The Almighty for health and strength, wisdom, knowledge and overstanding… Not understanding… OVERstanding! When you understand, you end up as a believer, and belief kills and it cures, but the greatest thing is to know. So when you know, then you overstand! (Laughs)

Moe – (Laughs)

FM – You have a lot of saying that sort of twist words around that bring words to your message, right?

Elan – Mind tricks!

FM – Yeah! I give you parables, and then I interpret it! (Laughs)

Moe – (Laughs) Are there any common misconceptions about Bob Marley and the Wailers that you hear all the time, and… “Oh, that’s not right!”

FM – Well what we do is bring in the prophet from the old age, and what is to be fulfilled in fulfillments in this time! (Laughs)

Elan – We’re actually working on a new album right now, that is like the Santana “Supernatural” album, that concept. We’re working on a new album that will bring in all these new contemporary artists… All these different names, like all across the board, from all different genres.

FM – Yes!

Elan – To do new songs, new material, with the whole original band, even with his brother Carlie. We have him on drums… Old two inch tapes we transferred to WAV files… Pro Tools files.

Moe – Wow!

Elan – And all these artists are going to give their own vibe and play their own music. Not play their own music, but their own instruments and sing and add to it. And we’ve had every artist that we’ve approached, they all have been super inspired by The Wailers, and obviously their music… And “Family Man,” “The Architect” of all of it. Really. The musical director and the architect of all of Bob Marley and the Wailers stuff, and reggae music. It even goes further than reggae music, it goes into hip-hop and everything that we hear today, ’cause that sound of the bass, that thickness that you hear in the clubs today, is from this man right here. So, look out for it next year, hopefully, God willing, next year this summer. It’s in the infant stages right now. I’ve approached a lot of friends of mine, who are musicians, so every single one of them has said, “Yes! Whatever you want to do!”

Moe – “Family Man,” if you could pick anyone for this album… Anyone! Who would it be?

FM – Well of course, I’d pick some of the name brands, the popular people, what everyone is listening to. Especially the young people, for sure.

Elan – The foundation is going to be a reggae album. The roots will be the foundation, but they’re gonna bring their own elements to it. A lot of them are playing here. It’s gonna be across the board… A world thing.

Moe – That’s some incredible news. How are you feeling about doing this sort of concept of album?

FM – Yeah man! It feels good! As the man could tell you, it was our hope for many years, and the time has come for it.

Elan – Since “Supernatural” came out, I always had this idea, ya know?

Moe – Basically, you got it from “Supernatural.”

Elan – Yeah, when Carlos did that album, I was like, ‘Man, this is what we need to do… The Wailers need to do… Comin’ out with a album with new material, but collaborating with all these other artists.

FM – Collaborate first and then after that one… Then we give you a full Wailers album after that.

Moe – When you do this album, you have to have a huge concert about this…

Elan – Oh yeah… Yeah!

Moe – You know that it would absolutely fill this whole park.

Elan – Maybe a TV special or something.

FM – Yes, we’re gonna make sure we set it up just like when Michael was in his swing. I heard that there there’s a 45 released in Jamaica with Michael Jackson. But we were workin on a song… Reggae! It’s called… “My World!”

Elan – Really? Wow. I didn’t even know that.

Moe – So, we have one minute left. I just want to say… My favorite song of all time is “One Love,” because “One Love” means more to me than any other song on so many different levels.

FM – Yeah mon! “One Love” is tellin’ ya about Jah Love… You know? The Almighty Love. Universal love! Not like I love you and you love me… Global love!

Moe – But I’ve never heard it played live! Why?

Elan – You’re gonna hear it tonight!

FM – I was just gonna say, if you played “One Love” tonight, I would be forever indebted to you, because I have never heard it…

Elan – (Laughs)

Moe – Honestly, I have never heard it, and I’m gonna be right up front singing along every single word. “Family Man,” thank you very, very much for your time. Much honor and much love to you and the rest of the family.

FM – Yeah, The Wailers! Yeah man… And The Wailers say, “Greetings to all the people of Chicago… and America… and the globe!”

 

Bob Weir (The Grateful Dead) Interview at Bonnaroo on The Moe Train Show/Moe Train’s Tracks

March 21, 2018
00:0000:00
A Legendary Interview with The Grateful Dead/Ratdog’s Bob Weir
(With A Surprise Guest Appearance By Jack Casady of Hot Tuna and Jefferson Airplane)
Bob Weir and Monty “Moe” Wiradilaga
Bonnaroo Music and Arts Festival – Manchester, Tennessee
 
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We have got a podcast of truly legendary proportions here on The Moe Train Show/Moe Train’s Tracks. I got an opportunity at Bonnaroo to sit down with the legendary Bobby Weir of The Grateful Dead and Ratdog fame. I’m tellin’ ya, when Bobby Weir stepped onto the scene in the media tent, it was mass hysteria. Everyone wanted a piece of him, everyone wants to talk to a legend… Fortunately, we at The Moe Train Show/Moe Train’s Tracks got to sit down with him backstage, and we got to pick his brain about music… about his philosophies…

I know Bobby always speaks about the music scene, but I decided to take it a different route. When I told Bobby that I really wanted to talk about music, more than the music scene, Bobby’s eyes lit up. That’s a sign of a TRUE musician.

Also, you know you have an interview of truly legendary proportions when two legends are in the same room, interviewing each other on the mic! That’s right… We had a little surprise on Moe Train’s Tracks when Jack Casady, a founding member of Hot Tuna, walked in during the middle of the interview, and Bobby Weir stood up and started to interview Jack Casady with our mics! I’m telling ya… I was absolutely shocked! I think Bobby’s manager was shocked too! As soon as Jack and Bobby were on the mic, it was like the paparazzi was let in… There were so many cameras going off… It was insanity! And we got it all on the mic at Moe Train’s Tracks podcast.

So it is with our honor… That we bring you… Bobby Weir!

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Moe – I know you always talk about music “scenes…” Let’s talk about music itself..

Bobby – Music what?

Moe – Music itself as a subject.

Bobby – Uh huh!

Moe – More importantly than a band… Of course you were in The Grateful Dead… You helped to form music itself.

Bobby – (Smiles) Yeah, so I’m told!

Moe – (Laughs)

Bobby – You know, I’m told that The Grateful Dead were the “Godfathers of the Jam Band Scene,” though I don’t see it that way. You know, I think what we do goes back at least to Buddy Boland, the legendary New Orleans trumpet player back around the turn of the last century. I think that basically jam music in Western culture comes from at least that far back. We… The Grateful Dead managed to bring rock and roll, or what they call rock and roll sort of in that direction. That may have been our crowning achievement, perhaps. And in that regard, I guess we have contributed a bit. I think that people have found inspiration in what we did and I think you can hear at Bonnaroo a lot of bands who, like I said, found inspiration in what we did and are sort of carrying that torch.

Moe – Absolutely.

Bobby – So… you know, I think that’s good ’cause the more adventure there is in music, the more I think the rewards are.

Moe – So it started back in the late 20’s and 30’s with Jazz… With Louis Armstrong or earlier than that…

Bobby – Yeah… Louis Armstrong… Those guys. You know, particularly Louis Armstrong.

Moe – Right… So you think it really progressed when The Beatles brought electric to the scene… They made it mainstream, do you think?

Bobby – The Beatles were more mainstream. Their arrangements were tight, but there wasn’t a lot of room for improvisation in what they did. They were awfully good at what they did, but I wouldn’t have called them a “jam band” by any means or a jazz band or anything like that.

Moe – Duke Ellington mentioned about jazz having no rules… no form… it can be held down to no laws. How do you feel that it applies to your music?

Bobby – Well, you know, it’s 100 percent applicable to what we do, though that’s an awfully high standard to set.

Moe – Of course.

Bobby – No rules… no form… It’s almost impossible to live up to that on a “good night,” and we have “good nights” pretty regularly in my band these days! We go to places where we’re really starting from go. We don’t even know what tempo we’re going to start with. Tempo is a rule. A key is a rule. A tonality is a rule. Then a melody is another rule. Rhythm is another rule… And all that kind of stuff… And to make music that people can actually enjoy listening to, you have to conform to a lot of those rules.

Moe – Right.

Bobby – Though like I say, on some evenings, we can throw all that stuff out the window and be really free, and still make music that people can get into. We’re trying to do that nightly.

Moe – You have a setlist of almost 200 songs, correct? Or is it more than that?

Bobby – Something like that.

Moe – How decide how to go from song to song? Are moving more to setlists now, or are you still doing improvisation? What is your approach these days?

Bobby – I usually do a setlist for this band. It’s real hard… We like to keep playing. We like to keep a meter going. See, if we start a show at 100 beats per minute. We like to keep that meter going for a while and change up the rhythms… Change up the keys… Change up the songs. Given that, it’s real helpful to, you know, to consult a list of the songs that we do that are in that meter, and pick from there. I’m working on making a software program that will allow me to do that on the fly.

Moe – Oh, very nice!

Bobby – But for the time being, I still write a setlist. And when I do that… I have a database of all the setlists that we’ve done for the past decade or so, and I’ll go back and look at… If we’re playing in Memphis, I’ll go back and look at the last two or three times that we’ve played Memphis, and all those songs that we did are automatically out. And then I’ll look at the last week or two that we’ve been playing on this tour, and all those songs are automatically out. And then I start from there.

Moe – Even when you were with The Grateful Dead or Ratdog, you still have a different show every night, don’t you? Do you keep switching? People follow you around from city to city..

Bobby – Yep.

Moe – And they’re getting a unique experience almost every single time, unless… I mean, of course, you can duplicate it every once in a while, it happens, but…

Bobby – You know, we’ll play a given tune two or three times on a tour, and that’s about as often as we’ll play it. We have enough tunes so that we can keep the rotation going, and that way… You know, when a tune comes up in a show, you know that it’s gonna be your last crack at it for a while, so you’re gonna put a little more of yourself into it. Besides that, you haven’t played it for a while, so maybe you’ll have some new insights into how to interpret it.

Moe – It keeps changing? Does it keep evolving?

Bobby – Yeah. So you know, every show’s going to be different. I really doubt that there’s ever been a show that’s even been coincidentally the same as one that we did two or three or eight years ago.

Moe – You always have different projects. You always seem to keep yourself very, very busy, no matter when you were with The Grateful Dead, you’d always have a side project, or you were doing your solo album.

Bobby – Right.

Moe – How did you go putting together Ratdog?

Bobby – Ratdog just happened. I, you know, started playing with Rob Wasserman… We did a benefit together and had a lot of fun, and decided to go out as a duo for a while, and that lasted for a few years… and then we decided to add a drummer, because we’d done a session with this guy and we both enjoyed working with him. And so we added Jay Lane, and we were a trio for a while. I think I’m actually gonna start playing that trio again.

Moe – Oh very nice! Where are you going to start that?

Bobby – Because, you know, I did a benefit a couple weeks ago with those guys… a school benefit in San Francisco. And it was you know… I remembered how much fun that was…

Moe – Excellent!

Bobby – And so I’m gonna start doing that again I think.

(Tent opens, and in walks the legendary Jack Casady… Founding member of Hot Tuna)

Bobby – (Surprised… stands and smiles) Look at this guy!

(Many photographers come into the tent and start to rapidly snap pictures…)

Moe – (Stands wide eyed and laughs in disbelief)

Bobby – (Turns his mic to Jack Casady) We’re doing a podcast here, so you’re on!

Jack Casady – Oh hi, this is Jack Casady, I’m coming in to see my old buddy, Bob.

Moe – (Laughs in further disbelief at the events which are unfolding in front of his eyes)

Jack Casady – How it goin’ Bob?

Bobby – Well, pretty good! Where are you playing?

Jack Casady – We have played… We played at 2:30 today, but we’re (Hot Tuna) gonna sit in with our buddies, Gov’t Mule at 12 midnight to 3 in the morning.

Bobby – I’ll be there too.

Jack Casady – You’ll be there too…

Bobby – You bet!

Jack Casady – And we’re gonna do a little thing over here… Jorma’s around the corner, Barry’s around the corner, Eric’s around the corner… What are ya gonna do?

Bobby – All right!

Dennis (Bobby’s manager) – Say hi to Jorms…

Bobby (To Jack Casady) – We’re gonna finish up here…

Moe – When my friends and my listeners learned that I was going to be speaking with you… They wanted to know one thing. They wanted to know what are some of your craziest memories of your whole music experience… not just Grateful Dead, but your whole music experience. Anything stand out particularly?

Bobby – Uhhh… Let’s see. The musical experience. The one that stands out the most is the time that we uh… the first night that we played… I guess it was actually the third night that we played… well it was a blend of all three nights that we played in Egypt back in ‘78, I think it was. It was with The Grateful Dead, and we had done our sound check… It had taken us a week to rig the Son Et Lumiere over there which is you know, thousands and thousands of year old ampitheatre built back in ancient times at the foot of the Sphinx which is at the foot of the Great Pyramid, and it’s all lit up real pretty these days. Word had sort of filtered out that there was going to be a rock and roll band playing there… It was a first time happening. Like I said, we spent a week setting it up and getting electricity out there, getting it reasonably reliable. We went on stage to play and it was just at dusk, and we started playing, and the lights came on and we were the brightest and warmest thing around…

Moe – (Laughs)

Bobby – This was down by the river… The Nile. So the mosquitoes came right for us. This is something we hadn’t planned for!

Moe – Oh jeez… (Laughs)

Bobby – I look at this cloud of mosquitoes around us and I saw them landing on me right and left, and I figured, ‘Welcome to hell, this is going to be throughly un-enjoyable!’ (Smiles) And then something flashed before my eyes… Some dark form… And then another… And then another… And then I looked around and I saw that these great big bats were flying around the stage and they were gulping down the mosquitoes…

Moe – (Laughs)

Bobby – You know… (Laughs) They knew a good thing when they saw it! You know… It was a good thing for them! And then I realized that there were like hundreds, if not thousands of them… there were of course thousands of mosquitoes, but these bats were just… They were saving the day!

Moe – (Laughs)

Bobby – And so, you know… In my mind’s eye, I sort of backed off from this… So here’s this rock and roll band, just hitting the groove, just starting to hit the groove… And they’re on this ancient stage… at the foot of the Sphinx… at the foot of The Great Pyramids… And the dunes on either side were lined with Bedouins on their camels, with guns over their shoulders… They’d heard about this, and they’d come in to check it out… Full moon was rising… and all this surrounded by a cloud of bats… BIG cloud of bats! And I was thinking to myself, ‘Take me now Lord, I want to remember it just like this!’

Moe – (Laughs) That’s amazing! That’s amazing… Mr. Weir, thank you very, very much for your time.

Bobby – You bet!

Moe – I appreciate it. Thank you for all the music for all the years!

Bobby – The pleasure’s mine!

Chuck D (Public Enemy) Interview on The Moe Train Show/Moe Train’s Tracks

March 20, 2018
00:0000:00

Moe Train's Tracks/The Moe Train Show has interviewed over 60 of the world's most renowned musicians, and in this podcast, The Moe Train Show/Moe Train's Tracks brings to you one of the most legendary MCs to ever hold a mic... CHUCK D FROM PUBLIC ENEMY!

 

Train and King B interviewed Chuck D while backstage at the Bonnaroo Music and Arts Festival. Listen to this amazing interview and get an earful as Chuck D drops gem after gem.  Look for more mindblowing interviews on The Moe Train Show and Moe Train Eats!

 

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Interview with Chuck D from Public Enemy

Chuck D, Moe Train and King B

Manchester, TN – Bonnaroo

“Knowledge, wisdom, and understanding don’t come in the microwave.”

B: Here with Chuck D, the legendary MC of Public Enemy. In the 80’s, you pioneered politically and socially conscious rap music, do you feel that that is something that’s lacking in the genre today?

C: I think people when they ask me that question need to ask me, “Do you think that it’s something that’s lacking in the United States?” And I would say, well, yes. The maintenance of it is lacking, but it’s all over the world. I think one of the problems most Americans have is that they don’t understand that what has evolved in hip-hop is that it’s super-global. The United States is one of the places that it does it. Does it do it better than all the other places? I don’t know. You got guys that can spit three languages, how do you weigh that? I mean how do you weigh it, do you weigh it because you live in the United States, like this is it? It’s like covering the Phillies, you live in Philly, so I’m covering the Phillies, you know, so outside of Ryan Howard I don’t know what’s going on. But that’s my answer there, it’s like, political rap, you cannot be around and in the rest of the world and not say something that resonates with the people. You cannot, it doesn’t exist. There’s hundreds of thousands of rappers out there. Whether it’s Dam, them Arabic MCs, that’s in Palestine talking about that friction over there. Whether it’s like my man MV Bill and Eli Efi from Brazil, you know we’re talking about thirty years of recorded musical science. So, this is the thing that I hope and think that the hip-hop nation here understands, that you gotta comprehend that it’s over your head. What’s the exposure? BET, MTV, any of your local radio stations. Obviously, you’re limited to the two or three places that you can name when you say that that’s the epiddimy of exposure and if whatever’s being said out there, can’t get on there, there must be some kind of ulterior motive. We’re in the days of MySpace pages, Twitter, and YouTube accounts. I mean, what do you want to include and what do you not what to include. I think that the major labels dominance of saying, “This is official”, that’s been over. I don’t know why people keep holding it up. Let me tell you why it’s no excuse, you cover hip-hop right? Sports fan?

B: Absolutely.

C: Do you ever hear a sports journalist talk about activities in high school, JV, college being lost? They cover everything. Everything is covered, even damn-near the playground gets covered! And 1 gets covered! Hip-hop, it’s just like, it’s the level of laziness of going past what’s thrown at you. I mean, what’s the level of coverage is only going to depend on how legitimate the coverage wants to consider itself. They’ll say, “Oh, we only wanna cover if Def Jam releases something, we’ll follow that.” If it don’t come through this one imprint than, you know, “If we don’t know about it, we ain’t gonna cover it.” Now you in the day of MySpace pages, man. I think diligence have to go to it. It’s gotta be like, “Well, I’m not getting paid, but I does this, I follow, ‘cause I love it.” Like I said, I’m a sports fan, and they don’t let a pitch go by without figuring out was that 94 or was that 83 mph coming from this college kid that’s playing a college game that might be meaningless between two teams, but it’s still be documented.

B: But they can tell you every pitch count, yeah. You were a consultant on the Let Freedom Sing project. You wrote the liner notes. Describe that compilation’s significance.

C: The compilation’s significance is because especially black people use a portal of music and expressed ourselves through other ways when we couldn’t express ourselves to the masses just by speaking alone. There’s often times when the poets and the artists would have to say something that would penetrate the veil of racism and do it in such a way that, you know, speaking for what is right is colorless. It doesn’t matter what color you are, you speak for what it right versus what’s wrong. That’s why on that box set it’s everybody from blues artists to Pete Seger. And using music, being that we were a people and are a people that follow music a little bit more closely, because of that history of it being this expression when you couldn’t really express yourself, it meant that much more. A lot of people said, this is how I feel, so I’m gonna hum it and sing it so I won’t get beat-down maybe, or killed. Spread your wings dog!

M: When you guys were coming up, you came up with the roots of hip-hop, as artists…

C: Oh yeah, ‘cause I was getting ready to say that when I was coming up there was no such thing as rap records or hip-hop. Even when I graduated outta 12th grade, if someone would have said that I would have been making records, I would have said you out of your mind, doing what kind of records?! You know, you had Earth, Wind, & Fire, the Commodores, that kinda thing going on.

M: With your music, with how politically fueled it was, when you say about your color didn’t see color, you appealed to the masses. You appealed to me as a kid. I was a kid in the suburbs. You spoke to me, you spoke to the kids in the ghetto. What did it mean to you to get your message out there, so strong, and have the sort of influence that Malcolm X influenced you? You have a voice, in a different way, but you have a voice to the masses, where you can speak to millions of people and get your message across.

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C: Number one, your thankful, but it does not start with, it doesn’t end with you. You’ve got to be humble to all those things that were able to give you the platform and it’s not about you. One of the greatest things I’ve heard President Barack Obama say, last year when he was actually at the democratic nomination, he said, “Hey, it ain’t about me, it’s about us as a people, and if this out there I see it and if you see something say something.” And I just think that that goes across the board. One of the worst things that ever came and attached itself to the culture of hip-hop in a very wrong and misconstrued way is when they come across and say, “Stop snitching.”, and not even know the true idea or essence of where it comes from. That’s why you got to know your history or have an old-head not afraid to tell a young-head that this where it comes from. Yeah you can do your thing but just know where it comes from and do the right way. This whole thing of older heads mixing with younger heads to try to appeal to them and be fly with them, I think, is a discouragement and it is discrediting young people from living their life. I think the responsibility from an older person to a younger person is to say, “Yo, man, you know you can do your thing but just look out…”, boom-boom-boom, you know, and just keep it moving or whatever. No ulterior motive like, “I hope you love me, I hope you dig me, I hope you buy me. I’m thirty-five years old, your twenty-one, yo, support me.” There’s not a reason to support you! Young people wanna support their circle of things, they just want older people to give them guidance because knowledge, wisdom, and understanding don’t come in the microwave. I mean, that’s our role, that’s our objective. When you don’t do that and your like, “I ain’t nobody, I can’t say nothing, I don’t want to be preachy.” When you say that, was your saying is that, “I don’t want to be older, I don’t wanna grow older. I might have well as died when I was young.” I think that that has hurt hip-hop. The other day I got a list of rappers right and the list was like thirty deep. And everybody was like thirty and over. And the latter half, like twenty of them, were like thirty-six and over. How can you be thirty-seven years old and not say something to somebody young that somebody young can grow off of, like we say, “drop jewels”, and you keep it moving?! There’s no excuse not to be men, and women. And not saying there’s one type of man or woman that somebody should be but being a man and being a woman that means that your mind, you know, you gotta drop somebody young down. Yeah, you know, do your thing, you know be at the club or whatever. Wup, wup, wup! If you see somebody trying to act like their… Well, you know, I got the world’s biggest teenager with me! (Laughter) But there can be exceptions! Everybody can’t be like that.

M: So, you’re a little bit older, has your message been received well by the people?

C: Always. Well, number one, ain’t nobody else my child or my children. But, I’m gonna be like that older brother figure. Yeah, cool, do your thing. If your gonna ask me a question, I’m gonna give you the answer. If you’re gonna ask me, “Yo, what’s up old-head. Can you give me your wisdom on this?” Then I’m gonna be like boom-boom-boom, I give you what I can give you. If I don’t know, then I’m gonna try to say, hey, this might be an answer you can use. That’s our responsibility, that’s our accountability. It’s been received all over the world, and I’m thankful for that. If it had to come through the portal of rap music and hip-hop, I’m doubley-thankful for that! I’m very honored and I’m blessed and there’s no excuse not to hold my head up high.

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M: So, what do you think about Bonnaroo?

C: Bonnaroo is a wonderful thing. Whenever you can get groups to come together and play, and play in front of the masses… Festivals are an opportunity for people, who would not check you out of your own, to check you out by default. And Public Enemy was one of the first rap groups to play festivals. Festivals were a common thing in different continents because economically it was the thing that would work for maybe countries that just didn’t have this plethora of a financial situation. But, now that the US economy has dipped down and shifted gears, it’s like okay, festivals work and instead of promoters taking like two or three acts across arenas and stadiums is not looked upon as being feasible. Although, the arenas and stadiums are brand new and in many cases need and have a big interest in not to pay, they’ve got to fill them. But, other than major league sports, which is another pressing matter, they’re trying to get it filled. I think Bonnaroo, the Warped Tour which fifteen years ago was able to take parking lots and make that feasible… At the end of the day somebody’s got to say, “Okay, I paid the price. It didn’t kick my ass, but if it did kick my ass, I want the show to kick my ass and make me say that’s the best thing I’ve ever paid for and it was worth while.” You’ve got to give people more for what they spend. You’ve got to give them an experience, and that’s the gift of music. Now, what I try to tell many artists, and hip-hop artists really included, is don’t let your art overtake your responsibility as a performance artist. The whole key is to bust your videos and your songs, bust them in the ass when you’re live. That’s the best way that you share your experience with that audience. And that makes them go back to the music, not the music first makes you come, yeah, in a way. Really records came from the fact that I went to see Duke Ellington, blew me away, what can I take home other than just the ringing in my head? And that’s what that evolved out of. Once that became a business, it flipped back the other way. We can’t lose sight of that. But it’s easy to lose sight of it because people are distant from the history of even the things that they like. Sportscenter, when it comes on ESPN, it behooves that they show it six times so that their followers will not be stupid in the afternoon, so by the afternoon, you’re up to speed, you know. We like to see the same in rap music and hip-hop.

M: So what do you have to say to people that haven’t made the trip to Bonnaroo?

C: It’s a wonderful festival. It’s in the southeast, there’s a lot of people in the southeast that probably can’t make it out west or up north to the other festivals that are in those other different parts. If you don’t catch it, you know, we’re in a highly technological age, there’s no excuse not to hop on YouTube and catch somebody’s filming of it.

B: You’ve been one of the most vocal activists for peer to peer file sharing on the internet. Where would you like to see the music industry be in the future?

C: The music industry is healthy. I’d like to see the record industry become more supportive and the music industry become even more supportive of providing platforms for artists to be able to come at a grassroots performing level and really try to help a great minor leaguing, maybe Single A, level of artist doing their thing and let that cream maybe rise to the next level. One thing you have in sports, not to go back into the sports analogy, somebody always has a chance to try out for JV or varsity. Not to say that they’re gonna make the team, but they have the chance to try out. Well, a person should have the chance to try out as an artist, somewhere. Not to say, this whole thing, “Well, I gotta blow up!” If you can’t do your thing and be supported and blow up local, you know, down the block, then why should you even be bigger?! So, I always asked for radio, urban radio, how come it doesn’t support it’s local? If an Indianapolis radio station calls itself the home of R&B, then how come everything you play is groups that get signed to major labels from L.A. and New York, and even the Atlanta artists! They’ll play the Atlanta artists but only if they’re legitimized by the New York and L.A. companies. You can’t have no legitimacy that way. So, I would like to see the structures be more giving to, my wife says it best, territory bands. Territory bands were a big thing in the early parts of last century, territory bands. You really succeeded by maxing out your territory before moving into other territories. We need to see that in rap music and hip-hop. If not, it’s gonna be this thing of “Oh, we signed this person and nobody knows who this person is. We’re gonna put this put galvanizing, steroid of a marketing plan behind them. I hope everybody gets it and it blows up!” I mean, that’s ass-backwards, and because it worked at one time in our past doesn’t mean it’s the right way.

B: What’s the future hold for Chuck D?

C: Getting on stage, and trying to defy time! (Laughter)

B: Alright, Chuck, thanks for your time.

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MGMT (Andrew VanWyngarden and Ben Goldwasser) Interview on Moe Train’s Tracks and The Moe Train Show

March 20, 2018
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The World-Famous Moe Train's Tracks/The Moe Train Show interviews are back, and we're bringing out a CLASSIC interview with Andrew VanWyngarden and Ben Goldwasser from the band, MGMT.  This interview by Monty "Moe Train" Wiradilaga, is from when their massively popular and Grammy nominated album Oracular Spectacular was released in 2007.  With worldwide hits like "Kids," "Electric Feel," and "Time to Pretend," MGMT left a major mark on the music industry with their first major album release. 

MGMT Interview

Moe Train caught up with MGMT on their Philadelphia stop during their whirlwind World Tour supporting Oracular Spectacular.  Andrew and Ben have had to be one of the most off-the-wall interviews which the show has come across in the 11 years of Moe Train's Tracks.

Be sure to check out the new MoeTrainShow.com, and check out everything Moe Train at MoeTrainEats.com!

MGMT INTERVIEW

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