Summary

Tee Cardaci shares his journey as a DJ, starting from his early love for music and his first gigs in Maryland. He then moves to San Francisco in the late 90s, where he becomes immersed in the vibrant music scene and forms connections with artists and DJs. Eventually, he decides to move to Brazil, initially for a wedding, but ends up staying for 15 years. Tee discusses the challenges of DJing in Brazil, including language barriers and the cliquey nature of the scene. He also talks about his experiences touring in Europe and the importance of DIY culture in his career. In this conversation, Tee Cardaci discusses his experience as a DIY touring DJ and curator of Brazilian music. He shares stories of his travels, the development of his curating career, and the impact of his compilation projects. Tee emphasizes the importance of organic discovery and the joy of bringing obscure Brazilian music to a wider audience. He also touches on the challenges of navigating the music industry and the cultural nuances of doing business in Brazil. Tee's passion for Brazilian music and his dedication to preserving and promoting its rich history shine through in this conversation.

Takeaways

  • Tee's love for music started at a young age and led him to become a DJ
  • He moved to San Francisco in the late 90s and became part of the vibrant music scene
  • He eventually moved to Brazil and faced challenges in the local DJ scene
  • He embraced DIY culture and built connections that allowed him to tour in Europe
  • Language barriers and cliques were obstacles he had to overcome in his DJ career DIY touring requires careful planning and organization, even if it may seem informal
  • Curating music is a natural extension of a passion for discovering and sharing new sounds
  • Compilation projects can open doors and lead to further opportunities in the music industry
  • Preserving and promoting obscure music can be a rewarding experience, even if financial compensation is limited
  • Brazilian music is beloved for its swing, variety, and cultural blending

00:00 Introduction and Background

01:38 Early Love for Music and First Gigs

22:14 Moving to Brazil: A Spontaneous Decision

29:22 Challenges and Triumphs of DJing in Brazil

33:47 Touring Europe and Embracing DIY Culture

35:17 The DIY Touring Experience

36:01 The Evolution of a Curator

37:41 Compilation Projects and Opportunities

44:37 The Irresistible Appeal of Brazilian Music

Transcript

00:00:00.000 I'm Adam Gow, the DJ formulae, and sometimes currently known as Wax on. Welcome to the

00:00:07.520 Wunsa DJ podcast. DJing and DJ culture have been a huge part of my life for better

00:00:12.960 all worse. They've given me a massive buzz at times and loads of stress at others, and

00:00:17.320 taught me a load of valuable lessons along the way. On this podcast, I speak to DJs from

00:00:22.200 around the world who've made the names when it was just about skills and selection,

00:00:26.000 social media followers. We've discussed their journey through ascendancy and what part

00:00:30.480 it plays in their life now, whether they're still on the scene, or said goodbye to the decks

00:00:34.240 forever or still get a sneak you're mixing when life gives them the chance. Whatever road they've

00:00:38.880 travelled, there were always once a DJ. So today we're chatting to T. Card AC, a well-traveled

00:00:51.600 lifelong digger. Teen Ariseites in Brazil where he does a lot of curation and work of that type,

00:00:56.720 so we're getting to it a fair bit around Brazilian music. So I just want to wish you a quick apology

00:01:01.760 in advance to the level to which I butcher some of the names of some incredible artists. It's

00:01:06.000 pretty embarrassing if I'm honest, but it is what it is. Anyway, it's a fun one, so I hope you enjoy

00:01:11.040 the episode. T. card AC, welcome to once a DJ, how you doing today? I'm fine Adam, thanks for having

00:01:17.680 me, but. That's becoming on. So I was really keen to get you on because I think because

00:01:24.960 of your social was really because of your Instagram stuff and just seeing how you've become

00:01:29.800 such a kind of curator in maybe a little bit of a different way to how I've had people

00:01:34.880 on that have curated before. But then when we got talking, you've kind of been to quite

00:01:40.000 a few different places. I thought it'd be really good to get into your story and start

00:01:45.760 from the start of where you grew up really and how music came into your life.

00:01:49.760 Yeah, you know, sharing the Brazilian music online is sort of, I guess,

00:01:54.800 representative of only the latest chapter. But my story is a DJ. I'd say it has to go back

00:02:00.560 even before I was a DJ. It was always into music, not an uncommon story, probably among DJs.

00:02:05.920 My dad collected records. My mom liked to reward me for doing well on something

00:02:10.640 in school by taking me to our local independent record store or a slash head shop to pick out a

00:02:14.880 45 back in the day. So it all started six, seven, eight, nine years old. I'm a little

00:02:21.120 Fisher Price turntable. And my taste in music grew quickly. It was always a bit

00:02:27.120 precautions when the rest of the kids in the class were listening to more pop stuff.

00:02:31.080 I was listening to stuff that would have been coming out of England, even the

00:02:35.320 industrial stuff coming out of Chicago. And that was how I got into DJing.

00:02:41.760 Nothing more than purely the desire to share music I love with other people and I'd say that's still my motivation today

00:02:47.660 And I don't think I would have lasted over 30 years doing this if I wasn't doing it purely for the love of it

00:02:52.200 So yeah, I was born I saw Washington DC in Maryland and

00:02:55.760 Went to university down the South of North Carolina. We've got to San Francisco the talent of the 90s

00:03:03.440 So it was a part of what was going on out there and then I end up in Brazil in 2008, so

00:03:09.520 So yes, there's a fair bit to go up there then there's a fair bit to go on. Yeah, see what we can squeeze in yeah, so

00:03:15.720 So you started where so in Maryland Maryland right so if you look at a map

00:03:20.700 Washington DC is a little diamond shape that's cut out of Princeton

00:03:23.840 Just County Maryland and that's why I grew up right on the right on the border

00:03:27.040 So so was that sort of mid 80s that you were starting to dig round there exactly well late 80s is when I started

00:03:33.800 When I bought my first turntables my first professional gig was 15 and 1991

00:03:39.400 So what we would have had going on musically there

00:03:43.000 You had groups like bad brains

00:03:46.480 I was really into punk from a young age like when I really started collecting records

00:03:51.840 It was punk rock 45s. We had discord records, which was obviously minor threat and then Fugazi

00:03:57.640 And then you had the go-go scene, you know, I think go-go

00:04:02.960 happened in England. I probably the only other place outside DC where Gogo managed to resonate for a brief period of time anyways.

00:04:11.600 So there was a lot going on musically. It was a big melting pot.

00:04:15.040 And then I found the electric or house music I guess when the rave scene kind of hit in the early 90s.

00:04:24.320 And that sort of changed the trajectory from just like playing house parties to really wanting to get into this underground rave culture.

00:04:32.920 because like I said, coming from a punk background,

00:04:36.160 this obviously 1991 is way after punk had had its moment,

00:04:41.480 but we still had a lot of local bands we're playing,

00:04:43.680 DIY shows, five bands for five bucks,

00:04:47.200 but when the rapes didn't happen,

00:04:48.720 to me it was like this moment of clarity,

00:04:50.800 like this is my generation's punk rock movement.

00:04:53.000 I mean, with more DIY than breaking into a fucking warehouse

00:04:56.600 and just making a party, not just doing the show yourself,

00:04:59.520 but literally breaking in and doing it.

00:05:02.520 So where was the music coming from that was influencing the raves at that time?

00:05:06.360 Was it more, um, US stuff, or was it more stuff from over here?

00:05:10.040 What really was resonating at the underground parties in the mid-Atlantic region back then,

00:05:16.680 uh, we called the funky breaks. So it was this interesting crossover,

00:05:21.000 kids that maybe had come up, um, in the, the, the earliest errors of hip hop. So that was resonating,

00:05:27.560 the use of the breakbeats. Some, a lot of stuff from New York as well was coming down.

00:05:33.640 But in the earliest stages, at least from my experience, going out to parties like Fever,

00:05:37.960 Baltimore, Buzz and DC, Ultra World parties, we'd hear what we call it at the time,

00:05:45.080 funky breaks, which were basically breakbeat tracks, acid lines over top, and stuff like that.

00:05:50.680 Yeah. So I guess that's probably not too dissimilar to the breakbeat hard cost stuff that we had

00:05:56.440 over here then. Yeah I mean we did have stuff from the UK that was coming over to Bad

00:06:00.520 Maist when jungle drum and bass came over around 94 that definitely had a moment as well.

00:06:08.360 There's a guy in Baltimore that did a party called bass rush. This guy called Raymond.

00:06:13.000 It was known primarily for selling mix tapes at parties but he started. I think he was from the UK

00:06:18.440 originally. He started bringing over DJs and MCs for drum and bass, brinigate parties. So there was

00:06:25.400 was a lot of crossover.

00:06:27.240 - Yeah.

00:06:28.080 So what was DJing like then in those early days?

00:06:30.840 It was the 91 wasn't it the first paid gig?

00:06:33.240 - Yeah, I mean, I was DJing like I said,

00:06:35.960 purely based on my desire to share music I love.

00:06:39.600 So we're talking about house parties,

00:06:42.520 neighborhood block parties.

00:06:44.400 I would have been playing a mix of late 80s, early 90s hip hop,

00:06:49.280 old disco records, funk and soul records.

00:06:53.280 probably a bit of dance hall reggae in the mix,

00:06:55.360 maybe some go-go in the mix.

00:06:57.240 European synth pop kind of stuff in the mix.

00:07:01.200 Some of the more industrial stuff, like Knights of Reb,

00:07:04.080 body music, I guess they call it.

00:07:07.760 So it was really eclectic and it wasn't until,

00:07:10.720 probably when I went to university,

00:07:13.640 started my first club night down there

00:07:15.440 that I started to focus more specifically

00:07:17.920 on just a more narrow range of genres.

00:07:22.920 that narrowing down progress when I moved to San Francisco and had a couple key

00:07:26.840 residencies out there, play mostly house. Then eventually I stepped back from it just to

00:07:31.880 reconnect with all the other styles of music I'd really love but kind of been neglecting

00:07:36.200 to buy all the current 12 inches. So what, so you Elvis's, um,

00:07:40.680 San Francisco then? So when I was in university in North Carolina, I did a underground

00:07:46.040 mix show called Future Listening. And that allowed me to have access and contact with a lot of

00:07:51.720 of different record labels. One of those labels was Harkis music, which at the time was kind

00:07:57.400 of like the on the leading edge of like the psychedelic San Francisco deep house sound and

00:08:03.080 given was like I was running the label and I talked to him every week to give him feedback

00:08:07.720 on new releases and I would just say like you know what's going on out there I'm reading about

00:08:11.480 this sounds amazing. He's like oh yeah you need to come out you need to check it out.

00:08:14.360 So I kind of just one day said like if I were to come out maybe I could do an internship and

00:08:19.480 And you sort of said, yeah, if you come out here,

00:08:20.920 I'm sure we could find something for you to do.

00:08:23.080 And that was literally it.

00:08:24.280 And based on that, I planned a road trip with my brother.

00:08:28.120 One summer after my third year of uni,

00:08:30.540 went out there, spent two weeks driving this 1974 Ford pickup

00:08:35.640 truck with a camper shell on the back.

00:08:37.320 We had bought for 50 bucks and just drove boss country.

00:08:41.320 It's literally one of the craziest things I've ever done

00:08:43.280 besides moving to Brazil.

00:08:44.360 Those are the two things.

00:08:45.320 But ended up out there, no money.

00:08:48.160 My brother, who was like three years younger than me,

00:08:50.200 he'd spunked all his cash for the entire road trip

00:08:52.600 before we had gotten out of the state.

00:08:55.120 A, it's crazy we even made it.

00:08:57.840 In retrospect, it's absolutely mental,

00:08:59.440 but he was a street performer.

00:09:01.280 He was like a juggler.

00:09:02.160 He joined the circus when he had 15.

00:09:03.760 I saw a whole other story, whole other interview.

00:09:06.000 But I'd basically pimped him out in every city,

00:09:08.120 put him on the corner like street performance,

00:09:09.920 and juggling, passing the hats

00:09:10.920 so we could get gas money to get to the next city.

00:09:13.280 And then I got out to San Francisco

00:09:14.760 This was like 1996, 97 I guess.

00:09:18.360 Amazing time musically.

00:09:20.400 First night we got in a town, Mark Farino was playing

00:09:23.040 one of his mushroom jazz sets.

00:09:25.200 And it was just like, my God, this is like where I need to be.

00:09:28.320 And yeah, you could go out any night of the week back then,

00:09:31.120 you could hear drum and bass one night.

00:09:32.520 You could hear West Coast underground hip-hop another night.

00:09:36.080 You could hear D-Piles, you could hear disco.

00:09:39.320 Groups like the Brown Felinis were doing like,

00:09:41.720 you know, acid jazz kind of style stuff.

00:09:44.360 Live still, it was just so much going on.

00:09:47.440 So what brought me out there was just hearing about

00:09:49.400 what was going on, feeling like that's where I needed to go.

00:09:52.640 North Carolina, my time there at university was great,

00:09:54.960 but I was really ready to see something more.

00:09:57.560 So I took a chance and ended up out there with like,

00:10:01.000 no money, no contacts, nothing.

00:10:03.440 I even went to the address that I had for a heart kiss

00:10:05.520 and it turned out to be a PO box on Market Street.

00:10:07.840 And I'm looking around, I don't see anything.

00:10:09.720 not even knowing their actual office

00:10:11.720 was in the lower hate neighborhood,

00:10:13.340 but it all worked out and it all found in the guys

00:10:15.920 and have stood to this day have a great relationship

00:10:19.720 with Gavin and Robbie and those guys.

00:10:23.240 It was amazing time.

00:10:25.360 - It's nice to hear about something like that,

00:10:26.880 like San Francisco, because as someone who's never experienced

00:10:31.240 that you just think of it as this kind of cultural hotbed

00:10:35.720 in this place that's very transient.

00:10:39.440 People just kind of turning up there.

00:10:41.480 I guess maybe romanticizing it from the first summer

00:10:45.520 of love and all that sort of thing.

00:10:46.840 So, hearing that that kind of you went there

00:10:50.240 and weren't disappointed is really nice to know as well.

00:10:54.640 And then, so from there, what was DJing like in San

00:10:57.400 Front?

00:10:58.760 Well, I quickly made friends out there.

00:11:02.400 There was a neighborhood that I just mentioned

00:11:04.360 lower hate where the harvest was. And at the time, there was at least six record stores

00:11:10.360 in a two block radius. I mean, you get up in the morning and go have a cup of coffee

00:11:13.920 and you run into other guys who are making music, other guys who are DJ and you spend

00:11:19.520 afternoon in the record shop flipping through the new releases. So yeah, I mean, I got

00:11:25.440 my first residency and it was playing mostly deep house at the time, like the real kind

00:11:30.920 a jazzy, soulful deep San Francisco sound.

00:11:34.200 But like I said, the best thing for me was that there was

00:11:38.120 no divisions between the scenes.

00:11:40.280 Like you might have your gig on a Wednesday

00:11:43.320 and then Thursday you were going to hear,

00:11:46.120 to the eclectic party, which was like an all female

00:11:48.400 run drum and bass night, or you might be going out

00:11:51.520 to hear jazz and North Beach or hip hop at Justice League.

00:11:55.480 You know, it was just no shortage of venues,

00:11:58.520 no shortage of insane talent.

00:12:00.840 And San Francisco is still an incredible city.

00:12:03.280 I mean, obviously so many people were priced out.

00:12:05.760 It's a very small city geographically.

00:12:07.960 And even when I got there,

00:12:08.920 we thought it was crazy expensive,

00:12:10.600 but little did we know the risk had actually go.

00:12:15.480 - Yes, that's one of the most expensive places

00:12:17.480 to live in the world, maybe, now, isn't it?

00:12:20.240 - It wouldn't surprise me.

00:12:21.200 I mean, it's only seven by seven square miles.

00:12:22.960 And when you get all these young people going out there

00:12:24.640 to work at Google, Facebook, Instagram,

00:12:26.880 and they're making insane money.

00:12:29.200 I got no wife and kids to support.

00:12:31.160 Like if you're an artist, it's hard to compete with that.

00:12:33.840 You know, you go to looking at an apartment that's available

00:12:36.440 and there's 20 people that show up

00:12:38.120 and your bank account's got their least amount

00:12:40.200 into that whole and stuff.

00:12:42.320 - Yeah, was it interesting too?

00:12:43.920 'Cause I guess the years that you were there,

00:12:45.600 you were there during that bubble and the tech explosion.

00:12:49.120 So was it, did that have repercussions culturally?

00:12:53.120 So like did DJ become different?

00:12:55.400 was there, will people more bothered about looking like they're on the scene versus caring

00:13:02.000 about the music or any of that sort of thing going on?

00:13:04.760 Yeah, I mean, as you reference, San Francisco has long had this tradition of being a place

00:13:09.520 that people flock to and maybe they don't feel like they fit in anywhere else.

00:13:13.000 Go West, young man, this idea.

00:13:15.800 And I think the first dot com bubble was really the first time, maybe since the gold rush

00:13:20.280 that people would come to San Francisco for any motivation other than to just let their

00:13:25.080 freak flag fly and do what they want to do.

00:13:28.040 You have people coming out purely just

00:13:30.320 because that's where the money was at.

00:13:32.640 So that had massive repercussions.

00:13:34.840 The South of the market area,

00:13:36.480 the area that was more industrial and mixed use,

00:13:39.960 a lot of the nightclubs were there.

00:13:41.600 Next thing, you know, these places are getting torn down

00:13:43.880 and they're putting up these quote unquote lofts.

00:13:46.360 You know, we've all seen these like faux live work spaces

00:13:49.720 that are really just like, you know, high end apartments

00:13:53.120 and people move in because it's a cool neighborhood

00:13:55.380 and then what do they do?

00:13:56.220 They start making noise complaints.

00:13:57.480 The clubs get shut down.

00:13:59.200 So it had a massive ripple effect.

00:14:01.160 The underground still survived

00:14:03.680 'cause the underground's always gonna survive

00:14:05.240 no matter where it is.

00:14:06.160 And a lot of times when times get tougher

00:14:08.240 as when the arc gets better, people become more resilient,

00:14:11.240 but it absolutely had an effect on it for sure.

00:14:14.120 - And you did some production work as well,

00:14:15.680 didn't you ask you in some front?

00:14:17.120 - Yeah, I worked with a guy, a buddy of mine at the time

00:14:21.320 who was living with me, kid Dimitri,

00:14:24.280 we made some stuff together.

00:14:26.360 Most of the stuff I did that I'm most proud of from back then

00:14:28.960 was as part of a project called Two Block Radius.

00:14:32.240 My buddy Tom Cloudman and Nick Mason, Reston P. Snick,

00:14:37.240 but we did some stuff that was very inspired

00:14:40.600 by down tempo, dub, house, new jazz, broken beat,

00:14:45.080 also very inspired by the high grade skunk.

00:14:47.600 We were smoking probably more than anything,

00:14:49.400 But yes, we did three self-release CDs,

00:14:52.200 couple 12 inches, there was something on our own compilation.

00:14:55.720 And yeah, so that's kind of what I was doing production-wise.

00:15:00.160 I've always been still am primarily a DJ,

00:15:02.440 but throughout the years I've had some releases

00:15:04.520 under different aliases.

00:15:06.400 - Yeah, I think it's good though, isn't it?

00:15:08.520 Because you can, when you've worked in the production,

00:15:12.000 it can kind of give you a different lens

00:15:13.680 on how you listen to music sometimes.

00:15:16.880 - Absolutely. - And you might appreciate

00:15:17.880 different things about it. Yeah, absolutely. I think it goes vice versa as well, you know,

00:15:23.200 as a DJ, you have a different ear when you're in the studio and then when you're making

00:15:27.280 the music, it gives you different perspective on DJing. So yeah, even whether music's built

00:15:33.120 to mix or not, you know, if someone, if someone doesn't DJ, they might, they might do an

00:15:38.560 intro in a certain way that you're like, that's just going to make it really hard to

00:15:41.920 bring in. When the vocal comes in after one bar or something, you're like, what am I going

00:15:45.320 with that. Yeah. Yeah. And was it in San Francisco that you met with the DIY guys?

00:15:51.960 That's right. That's right. So those guys talking about the DIY crew from Nottingham,

00:15:57.720 obviously one of the the first free party sound systems that kind of united the traveling

00:16:03.720 crusty community with the sound system culture. So they had been coming out to San Francisco

00:16:08.760 much before I ever landed out there. It was one summer when about 30 of them came and stayed

00:16:15.000 like you know the the core crew and then all their mates they had a two-bedroom apartment under visit

00:16:18.840 arrow they made the mistake of inviting anyone that wanted to come over and they all came over

00:16:22.840 and a bunch of them never left you had like Darren Davis who opened tweaking records but um yeah

00:16:28.040 so I ended up living with Harry who was always kind of like their I don't know what you call Harry

00:16:33.400 cat Wrangler maybe but no he was like the kind of political conscience of the movement

00:16:39.560 label manager and then DK Simon DK rest in peace. He came out a lot. Stay with us

00:16:46.040 digs and woosh rest in peace digs or excuse me woosh digs is now gray sand. So yeah they were all

00:16:55.720 over there staying with us and trying to think of the name of their engineer who I love from a

00:17:03.160 deep house producer. I'm absolutely blanking on his name but he had come over there as well.

00:17:08.840 So there was a strong link.

00:17:10.120 Then you also, you had like Tonka Sound System,

00:17:12.880 the birthed, the wicket crew, you know,

00:17:15.200 Yano, Garth, and Marke, they all had come over from the UK as well.

00:17:19.120 So it was always this strong link between UK underground and San Francisco.

00:17:25.320 And it was such a small, tight knit community that, you know,

00:17:28.880 we all kind of live right around each other.

00:17:30.920 We see each other at all the different nights.

00:17:33.760 We'd be going out to say, Yes, when I met the DIY guys.

00:17:37.200 Interesting time.

00:17:40.840 I wasn't banks here with him at one point.

00:17:43.580 Yeah, he was.

00:17:44.580 He lived in the lower head as well.

00:17:46.840 Data to friend of mine.

00:17:48.680 Till things went weird and he took off but there was a mural on the side of the building.

00:17:53.760 We used to call Walgreens Towers because it was like a Walgreens pharmacy underneath

00:17:57.440 and a block of flats up above it where so many people lived.

00:18:01.600 In fact, the doors to the apartments would be open all day.

00:18:04.000 You just hop from one apartment to another, have a cup of tea here, split.

00:18:06.760 - I'm a fear of placing records there.

00:18:08.900 - Yeah, he was out there.

00:18:10.000 - What was he doing album at that time yet?

00:18:13.360 - Not that I'm aware of.

00:18:16.280 I mean, his connection goes back to DIY as well.

00:18:19.160 - Yeah, 'cause I mean, some of the records now

00:18:22.560 with his artwork on Goofy's silly money.

00:18:24.720 - They do.

00:18:25.560 - Like the black twang, the black meaning goods.

00:18:27.440 - There was a lot of guys that came to the neighborhood

00:18:29.240 that if I still had some of their art,

00:18:30.840 I could rest comfortably, financially speaking,

00:18:35.400 Shepherd fairy. I mean, so we had a store. I didn't tell you this part, but when we first got there in the

00:18:41.000 Di the comm way was boom and everything was crazy expensive. I ended up getting a store front in the

00:18:47.800 lower hate between Webster and Fillmore with my buddy Grainser, Shout out Grainser, my homie. And

00:18:53.240 it was like a crack block back then. It's the easiest way to describe it. I mean, the guys were

00:18:58.120 trapping all up and down the street. My lot of people were scared to go there and businesses hadn't

00:19:02.440 and really been able to survive in this space.

00:19:04.880 So we were able to get this spot.

00:19:06.880 We built our own walls in the back of it.

00:19:08.760 Like, I got this corner, I got this corner,

00:19:10.560 put up some walls, like that was our bedroom.

00:19:12.960 And then the front was just our party space.

00:19:14.760 We had the deck set up.

00:19:15.960 And then one day we realized like we should

00:19:18.400 actually make this a store.

00:19:19.600 You know, we know enough artists

00:19:21.120 that are silk screen and t-shirts,

00:19:23.520 kids putting out records, mix tapes.

00:19:25.840 We sold spray paint caps, you know, to the writers.

00:19:29.080 And we had this very DIY store there for a while.

00:19:32.640 And you know, Shepard Ferry walked by one day,

00:19:35.200 putting up his obey posters and his giant posters.

00:19:38.280 Again, this is 97, 98 now.

00:19:40.600 So he was known in the scene,

00:19:41.840 but he wasn't like a worldwide phenomenon that he is now.

00:19:45.720 We called him over and said,

00:19:46.720 Hey, watch some posters up in the shop.

00:19:49.240 And he's like, Yeah, man, cool.

00:19:50.360 So he did this whole wall,

00:19:51.440 these beautiful hands-soaked screen posters,

00:19:53.960 and gave us a few and signed them.

00:19:55.840 I lost mine.

00:19:56.680 Granger still has his.

00:19:57.880 She found out, yeah, praise the other day, made me cry,

00:20:01.440 thinking about what happened to mine.

00:20:02.960 But yeah, so Banksy was around,

00:20:06.000 Shepherd Ferry was around,

00:20:07.600 and then all like the homegrown talent,

00:20:09.480 it was NSF at the time, guys like Mars,

00:20:12.720 who's doing incredible visual art these days,

00:20:14.920 like cast, bronze, super psychedelic,

00:20:17.040 oil paintings, like crazy stuff.

00:20:19.240 And these are the guys that like pieced on the front

00:20:21.680 of our store.

00:20:22.880 So it was an amazing time culturally to be up there.

00:20:26.240 - It was future primitive San Francisco.

00:20:27.800 - Absolutely, yeah, it was Mark Hurley.

00:20:30.440 So future primates.

00:20:31.280 - Was it Doe's Green that would do all the sort of live out there?

00:20:34.160 - Yeah, Doe's is part of it, absolutely.

00:20:36.480 He was doing his like, alchemist series.

00:20:38.320 I got a Doe's Green downstairs.

00:20:40.280 It was a wedding present.

00:20:41.280 But yeah, future primitive parties were amazing.

00:20:43.600 You know, like when Cut Kimist and Shadow played,

00:20:48.440 I remember the end of the Sats when they did the

00:20:50.480 one of the 45 sets and Shadow threw a broken 45 record,

00:20:55.160 cut me right above the eye.

00:20:56.520 So ask them if you'd signed it after slicing my eye open.

00:21:01.200 So yeah, but those parties were amazing, man.

00:21:03.240 Just again, another example of just how rich

00:21:07.200 the musical culture was and just how at the forefront

00:21:11.720 of pushing things forward, another party we used to go to

00:21:14.520 was in the basement of a place called Dalva in the tenderloin.

00:21:17.480 If you ever heard Dave Chappelle talk about the tenderloin,

00:21:20.080 you know a little bit about his neighborhood

00:21:21.640 and nothing tender about it.

00:21:23.400 but in the basement, you went down there.

00:21:25.160 It was almost like a dirt floor.

00:21:26.460 It's best I remember with like one blue light ball

00:21:28.680 and it'd be a couch in the corner.

00:21:30.160 And then we went to black books out,

00:21:31.480 peace in each other's books.

00:21:33.000 You need to have like the invisible scratch pick

00:21:34.520 was set up on six decks for like eight heads.

00:21:37.360 And this is just like a Monday night.

00:21:39.040 It was just absolutely brilliant.

00:21:41.760 - Yeah, I forgot that they're all kind of that way,

00:21:43.780 aren't they, daily city.

00:21:45.320 - Yeah, daily city, South San Francisco.

00:21:47.440 - Yeah, amazing.

00:21:49.280 So what was the kind of,

00:21:51.160 what was it that made you think kind of enough

00:21:52.760 was enough with San Fran?

00:21:55.960 - It had to do with getting out of a long relationship.

00:21:58.720 The end of very badly and kind of like shattered

00:22:01.080 my heart and a million pieces.

00:22:02.280 And I didn't really know what the way forward was.

00:22:05.160 And then I had a friend who was getting married in Brazil.

00:22:08.120 My friends kind of rallied around me and said,

00:22:09.720 look, we're all going to this wedding.

00:22:11.960 You're coming with us.

00:22:12.880 We'll help you get some gigs.

00:22:14.200 Blacks some gigs on the back of this.

00:22:16.240 And man, long story short, a two week trip

00:22:19.640 turned into two months, turned into 15 years.

00:22:22.160 And now I cannot imagine my life had that not happen.

00:22:26.840 So you know, like moving to San Francisco,

00:22:29.160 one insane thing I did that I had no business trying

00:22:32.920 to think I could actually do,

00:22:34.040 but managed to make it work.

00:22:36.800 And then coming out to Brazil,

00:22:38.400 not speaking the language, not knowing anything,

00:22:40.520 not having any connections and making it happen.

00:22:44.480 So that's what maybe leaves San Francisco finally.

00:22:47.880 I still have so much love for that city.

00:22:49.360 I love to go back, but I can't imagine my life

00:22:51.720 I'd not come out to Brazil.

00:22:53.720 Yeah, so what was that experience?

00:22:57.480 How do you end up settling in that situation when, like you say, you come out, you know,

00:23:04.520 you've not come out with any real plan, you don't know the language.

00:23:08.840 Get into where you are now within Brazilian culture especially.

00:23:13.080 Like, how does that work?

00:23:15.200 I honestly don't know, but I mean, I met some people when I came out for the wedding,

00:23:19.800 a place to stay short term. And I should say at the time I only had a tourist visa that

00:23:25.400 allowed me to stay six months out of the year and then I have to leave for six months.

00:23:28.680 So my life for about five years was living Brazil six months, do a DIY tour around Europe

00:23:34.200 playing a mix of festivals and small gigs for three months back to the US for three months.

00:23:39.160 So I did that for five years. And I had a place I was living with the girl that I was dating

00:23:46.120 and I was desperate to get out of it because it was just not a healthy situation.

00:23:49.960 I remember going on Craigslist because like San Francisco, that's all I knew.

00:23:53.800 I didn't know what the Brazilian sites were to find an apartment.

00:23:56.280 And for short-term apartment, because it obviously wasn't very popular in Rio,

00:24:00.520 there was literally one listing for the day.

00:24:02.800 And it said, Fernish Department in Copacabana, in exchange for web designer and search engine optimization.

00:24:10.640 I was like, Yo, I'm your man.

00:24:13.880 like I just came from San Francisco. I had that job. I hated that job, but hey, for

00:24:18.680 a furnished apartment, I will do that for you. So I ended up with the furnished flat in Copicabana,

00:24:23.320 and that was kind of like my first step on the ladder. And then when I met my wife,

00:24:28.360 2012, after we had been dating for a while, moved in with her, and yeah, but I mean, how I got into

00:24:38.360 the music culture, but it was like a whole other story, but that's sort of how I landed on my

00:24:42.520 feet here I guess. Yeah. So did you start DJing when you were over there then? I did. When I came out for

00:24:48.840 the wedding I played a club called Dommage Eferho, the Iron Maiden. I was legendary spot long since closed.

00:24:55.480 That was a crazy gig. I could tell stories for days just about that night. But I had some other

00:25:02.200 gigs and then I brought all my records or I bought a bunch of records. I would say two big flight cases

00:25:06.840 at 12 inches and shortly after I met a couple other guys from UK and another guy from San

00:25:14.480 Francisco who I should have known when I was out there but we had never met until we got

00:25:18.000 here and we started a party together called Bota Fogo Social Club and played everything

00:25:24.840 from Funk Soul Disco Rare Group House, loads of Brazilian stuff as well obviously and

00:25:32.400 Yeah, slowly would start getting invited to other nights that other people were doing

00:25:36.800 Start slowly traveling outside of Rio to play

00:25:40.240 Other cities within Brazil

00:25:43.440 But that was a humbling thing is to have to literally kind of start over from zero in a new place

00:25:49.120 You know, we don't know anyone. We don't have any nothing ever had any status in San Francisco

00:25:54.080 But like I knew the I knew people I knew what was going on

00:25:56.320 I was I was in that world. Yeah, but out here it was like very humbling to have to just start from zero

00:26:01.680 Were people open to it or were they quite guarded?

00:26:04.400 Because some places that you can have these kind of quite clicky cultures and some places

00:26:08.960 it's a bit more anyone can get involved.

00:26:12.480 I suppose with DJ and it's kind of like it depends on how hard it is to get gigs,

00:26:16.800 doesn't it, as to whether people are embraced outside us?

00:26:21.520 Yeah, no that's true. I'd say it's a mix. There was certainly a large group that I'm grateful for.

00:26:28.400 where they kind of took me in.

00:26:30.540 But then there was also, it became apparent quite quickly

00:26:34.380 that they have what they call the panellinho,

00:26:36.580 which means like a kind of click you're seeing,

00:26:38.220 like you only book your friends.

00:26:40.420 So that's something particularly in Rio that goes on,

00:26:43.420 I'm sure in other cities, I mean really,

00:26:44.860 let's be honest, it's a worldwide thing.

00:26:46.660 A lot of cities have their little clicks

00:26:48.100 and they only, and also when you know a lot of great DJs,

00:26:50.900 you're gonna book the people you know first.

00:26:52.380 That's sort of obvious if you're doing a smaller party

00:26:54.900 and operating in an international talent.

00:26:57.060 But yeah, I mean, I would say it was a mix.

00:26:59.620 There were some people like Marceline de Lua

00:27:02.220 who was, he worked as an engineer on a George Bann album.

00:27:06.060 He put out a brilliant drum and bass record

00:27:07.980 when that was first kicking off here.

00:27:10.420 And he does an all vinyl party called Yaya High Fies.

00:27:13.740 So he was booking me to play that with him,

00:27:16.180 which I was thankful for.

00:27:17.980 And, but yeah, and we started doing our own

00:27:20.020 Bot of Fugal Social Club party

00:27:22.100 that helped open some doors.

00:27:23.820 You know, they always say, you know,

00:27:25.180 You're not invited to the stage, build your own.

00:27:28.500 And I firmly believe in that.

00:27:30.180 Going back to the DIY point, you know,

00:27:32.700 the punk rock roots.

00:27:34.100 So making your own party gets attention.

00:27:36.220 Now I got a party here I do with Old Friend

00:27:38.620 from San Francisco,

00:27:39.660 happening to move out here as well.

00:27:40.780 Sammy D from Pillow Talk,

00:27:43.140 anyone knows Pillow Talk, he's living in Kudachiba.

00:27:45.700 And guy called Half-I-O, Conteritus,

00:27:47.780 we do a party called Funk-Dimure,

00:27:49.340 where we just play back to back to back.

00:27:51.380 And super eclectic, super fun,

00:27:53.580 kind of pushing each other outside of our normal comfort zones.

00:27:56.780 And it's always inspiring when that happens.

00:27:58.820 So, but yeah, I mean, when I first came here,

00:28:01.060 I had some gigs lined up,

00:28:02.580 but I would say it wasn't as easy as I'd hoped it would be

00:28:04.900 to get more gigs.

00:28:05.900 It's been a process.

00:28:07.660 - So something else I was talking to a friend recently

00:28:12.220 'cause we both got that DJ Coco box set

00:28:14.780 in the record star day one.

00:28:16.700 And it was the first sort of Brazilian music he'd got.

00:28:20.620 And all of the sudden, he messaged me and was like,

00:28:22.660 Do you think you'd ever want to just go traveling around Brazil

00:28:26.340 buying records for a bit of a holiday? Which to me I think like it sounds like a great idea

00:28:32.180 but I think there's a lot of problems potentially in that like how was digging when you got out there?

00:28:40.100 particularly being North American, were people

00:28:45.700 kind of charging you more like did you get to know the sellers and like how does all that work?

00:28:52.180 Yeah, first of all, the idea of coming to Brazil, traveling around the dig for records is kind of

00:28:56.940 parallel to someone that goes to India and decides to come back and become an importer like you're not the first to have that idea and it's not as easy as you might think

00:29:06.180 You have to know Portuguese. It's not essential, but like if you really want to have a conversation with someone and say look you know

00:29:13.480 I love this record here. What do you have this like this?

00:29:15.820 You're not going to get very far if you don't speak Portuguese

00:29:18.180 So that was like the biggest hurdle I faced after moving here was learning the language

00:29:21.720 Yeah, I mean like anywhere you have your network of guys itself guys that you trade with other diggers you trade with

00:29:30.160 If you're coming out here looking for the stuff that diggers have been collecting going on

00:29:37.540 30 plus years now at least 20 25 years

00:29:41.460 It might be hard to find or if you find it you're gonna be paying like disc hogs or higher prices for it

00:29:47.460 You know, these are like well-established classic records and they're amazing, but they're top-defying.

00:29:52.740 There's guys that have been coming from Japan and from London and from all over for a long time

00:29:58.260 in search of these records. So yeah, and the Japanese guys don't look about either, do they?

00:30:03.300 Just a quick story about that. I told you my dad was a collector. When I was a kid, he had a garage.

00:30:07.460 It was filled with records and he would advertise on the Washington Post every weekend records for a sale.

00:30:12.260 The majority of people that would show up were guys from Japan that could barely even speak English.

00:30:16.420 and they were looking for all his jazz stuff.

00:30:18.660 So before I was hip to any of that,

00:30:20.300 like they cleared out all his jazz records.

00:30:23.260 That wasn't really his thing.

00:30:24.300 He was happy enough to sell it,

00:30:25.340 but I still think to this day about what was in there.

00:30:29.140 But so how that affected my digging,

00:30:32.780 was it really pushed me into exploring stuff

00:30:35.980 that maybe other people weren't paying attention to?

00:30:38.860 Let me take that back.

00:30:39.700 There's a lot of top diggers,

00:30:41.300 top researchers in Brazil that deserve full research

00:30:44.180 that have been doing it way before I showed up

00:30:46.700 and probably be doing it long after I'm gone.

00:30:48.500 But for me, this was stuff that I wasn't seeing

00:30:53.100 being pushed by like DJs outside.

00:30:56.500 Maybe the Ache stuff from the Northeast of Brazil,

00:31:00.540 maybe a lot of the independent productions,

00:31:04.140 which has become really my passion

00:31:06.060 is trying to track down and discover things

00:31:08.460 that came out only on seven inch and limited copies

00:31:10.940 that were private press stuff.

00:31:12.580 Like the compilation idea that came out last year

00:31:14.780 was focused on that.

00:31:16.380 So yeah, I mean, if you come out here,

00:31:18.740 you're gonna find great records,

00:31:20.020 but don't expect to get them for a bucket piece.

00:31:22.900 Like maybe you would have back in the game.

00:31:24.820 And without speaking Portuguese,

00:31:26.820 you might find yourself at a disadvantage to say the least.

00:31:30.260 Yeah.

00:31:31.260 And yeah, you can, you will pay more for Ben and Gringo.

00:31:34.060 (laughs)

00:31:35.140 Whether you're getting a chair on the beach

00:31:37.100 or trying to buy records,

00:31:38.780 down at Pulasthak Kiense on the weekend market.

00:31:41.020 - Yeah, yeah, you don't pay the green go text.

00:31:43.700 - So was it the curate in R, was it the DJ

00:31:49.340 and that got you kind of open that door for you

00:31:52.300 to do the tour in in Europe?

00:31:54.820 - That was just based on a lifetime of connections.

00:31:57.780 You know, everyone's cool,

00:31:58.620 I've never met in my career, if you want to call it that.

00:32:01.980 I stayed in touch with.

00:32:03.420 So when my first opportunity to really open the door

00:32:07.420 to tour in Europe was through a guy called Gideon,

00:32:10.700 old buddy of mine from San Francisco that again was connected to DIY in the free party

00:32:15.540 traveler scene. He was living in San Francisco and he went back to the UK and he started a

00:32:20.700 set design company that would do like sets for traveling artists like Cesar Sisters,

00:32:25.140 one of the first big clients. And he approached Michael Davis at Glastonbury about doing

00:32:29.540 an app in the late night field, a party that represented gay culture was something he

00:32:34.620 was saying pointing out the obvious it was really underrepresented at the time at Glastonbury.

00:32:39.260 So they did the NYC download and Gideon had already started download radio.

00:32:44.840 I was doing a show regularly for that.

00:32:46.780 You put the offer out.

00:32:47.780 You say you want to come play Glasto.

00:32:49.380 I'll give you two sets.

00:32:50.940 I was like, yes, I would like to play Glasto here to be as festival in the world.

00:32:56.180 That's something I never thought was going to happen.

00:32:58.660 That wasn't on my bingo card, as they say.

00:33:00.540 So I went out there and played that.

00:33:01.860 And when you're playing Glasto, it's easy to kind of black some other gigs.

00:33:04.540 Hey, I'm coming out.

00:33:06.660 Reach out to all my friends, get in touch with friends of friends.

00:33:08.940 I was able to just, again, very DIY style,

00:33:11.500 sleeping on couches, no fancy hotels or anything,

00:33:14.780 just like do-it-yourself.

00:33:17.140 I had that first gig.

00:33:18.340 And every year I'd come back with more connections.

00:33:20.380 So next year be a little bit bigger, more gigs, more countries.

00:33:24.260 So that's just how that happened.

00:33:26.700 - I guess when you organize in, if you wanna call it a tall,

00:33:30.180 like that, I don't know if that's the word, you'd use,

00:33:33.020 I suppose like being someone who's used to this kind of

00:33:35.940 traveling and go, yeah.

00:33:37.740 you know, let's just give it a go see what happens.

00:33:39.820 I guess that had helped with traveling

00:33:42.500 and doing that and like,

00:33:43.500 staying on the sofa is a nice sort of thing.

00:33:45.540 - Yeah, I'd say my lifestyle up until then

00:33:48.180 was very conducive to life on the roads.

00:33:50.380 I mean, certainly when I was in San Francisco,

00:33:52.300 you might leave your house on a Thursday

00:33:53.900 and come back the only the next Tuesday,

00:33:56.180 you know, going from couch to couch,

00:33:57.660 partying to party. - Yeah.

00:33:58.700 - So like, doing a tour DIY style,

00:34:01.220 it wasn't that much of an ink and beans for me.

00:34:03.460 In fact, I loved it.

00:34:04.420 I loved meeting with people.

00:34:05.660 I would never want to be in a hotel

00:34:07.540 myself. I want to be where the action is. I want to meet other heads. I want to look at their

00:34:11.620 record collection. I want to hang out, just talking shit all night like about like records we love,

00:34:17.380 like just seeing what's going on in their city. You know, so to me that was amazing. I really

00:34:21.860 cherish those times. Like now that I have a kid, I don't do it as much. Last year I went back and

00:34:26.420 played a festival in Ireland. It was amazing. But like I don't do the all-out tour. I just don't have

00:34:31.380 of the time to like, leave the family.

00:34:33.360 But it was an amazing five year run of summers in Europe.

00:34:37.920 - Yeah, I think I kind of want to have a full,

00:34:40.500 like, tinerary sorted and know what every hour

00:34:42.880 is gonna look like.

00:34:44.240 - All the gigs were sorted.

00:34:46.280 All the gigs were sorted.

00:34:47.360 It was like a proper tour.

00:34:48.560 It sounds pretentious to call it a tour,

00:34:50.080 but it was, that's what I was doing, you know.

00:34:52.720 I was going from city to city and I knew I had to take

00:34:55.560 a bus from here to here.

00:34:56.560 Then I'd have to fly into this country.

00:34:58.320 And from there I'd hitch a ride with someone

00:35:00.320 who's gonna meet me there.

00:35:01.160 all worked out. You know, just because of his DIY, it doesn't mean it wasn't planned.

00:35:04.840 You know, might be an ad on gig here and there for sure. But the only difference was,

00:35:10.240 like I said, it was just very informal as far as where I was staying and how I might get

00:35:14.800 to a party. You know, no first, first class ticket, anything like that. Bolt bus.

00:35:21.600 So how did the key rate in kind of developed then? Well, I mean, like I said, my digging

00:35:28.800 sort of went down this path of looking for the more unknown stuff.

00:35:33.800 'Cause I thought that's just what I was finding.

00:35:36.720 You know, it was a very organic process.

00:35:38.400 I might have started off looking for certain things,

00:35:41.160 but I learned long ago when you're digging,

00:35:42.840 you don't dig for what you're looking for.

00:35:45.160 You dig for what's there, if you know what I mean.

00:35:47.320 - Yeah, let me rephrase the question then.

00:35:50.280 What pointed it become more of like,

00:35:55.000 This is what I am now.

00:35:56.800 I'm doing this curation kind of as a job.

00:36:00.920 Like did it take a certain thing

00:36:04.160 that made certain people take seriously

00:36:07.080 or bring projects to you?

00:36:08.320 - Sure, sure.

00:36:09.760 The compilation I did, Sonia secretos,

00:36:12.040 which didn't start off again,

00:36:14.760 so much of my life is unfolded in a very organic,

00:36:17.880 weird way, you know,

00:36:19.680 if I were more mystical hippie,

00:36:20.880 I'd say the universe was providing,

00:36:22.600 but whatever it is, it started with the mix tape,

00:36:25.960 I mean, I frequently make mixes of, you know,

00:36:28.640 recent discoveries or recent things I found in my digs

00:36:31.720 just to share with friends.

00:36:33.200 And I did this mix of independently released Brazilian

00:36:35.960 seven inches from the early 80s,

00:36:37.680 which is a unique time, historically and culturally in Brazil.

00:36:41.400 And that got picked up by Aquarium Drunkard,

00:36:44.600 which is a magazine or online music journal,

00:36:47.120 really good online music journal from LA.

00:36:49.680 They asked if they could run it.

00:36:50.960 if I'd write a few words to provide some context.

00:36:53.720 From there I got contacted by a label called org music

00:36:57.840 at a LA, it does some really great reissue work.

00:37:00.640 And they said, would you want to work with us

00:37:02.440 to do this as a legit licensed reissue?

00:37:05.960 And that turned into a three year process

00:37:07.800 because I foolishly, when they ask me

00:37:10.280 how much work I'd want to do,

00:37:11.840 and I said, well, I want to do everything.

00:37:14.080 I want to track these artists down.

00:37:15.480 I want to be the one to find them.

00:37:16.760 I want to negotiate the deal, make sure they're getting paid.

00:37:19.440 So that project really opened the door for the work I've done

00:37:24.300 after, which is a capacity of executive producer

00:37:29.780 for--

00:37:30.600 Here.

00:37:31.100 I'll show you a couple things.

00:37:32.060 I don't know if you're even going to see it.

00:37:33.420 Yeah, sure.

00:37:34.380 If you just talk them through for the latest--

00:37:35.940 Just for anyone that doesn't know, this was the compilation.

00:37:38.100 I'm talking about Soyos de Cratos.

00:37:40.100 It's all independent, MPB, Musco Popola,

00:37:42.880 but as he later, that came out between 1980 and '85,

00:37:45.940 which was the tail end of the dictatorship.

00:37:48.100 So like the censorship is lightening up,

00:37:51.260 people were taking to the streets and protest,

00:37:53.020 calling for a return to free and open elections.

00:37:55.580 And let's see, this is a record I executive produced

00:37:59.740 from a brother Pedro Guinu called Palligo,

00:38:02.220 came out on razor and tape,

00:38:03.620 a label mostly known for house and disco,

00:38:06.940 but they love this record.

00:38:09.420 And the owner of the label

00:38:12.020 have been coming to Brazil a lot

00:38:13.140 and wanted to kind of branch out.

00:38:15.060 So we did that.

00:38:16.780 And then there's a new project I'm working on with my buddy Fabio Santana who's a Brazilian

00:38:22.140 Brazilian, it's made up a word, a brilliant Brazilian producer, keyboard wizard.

00:38:27.980 He does that kind of link in Olivelli style Brazilian boogie.

00:38:31.940 Very well.

00:38:32.940 So we started off with the single call You Can Do It and Swingy Malindrajian on dip

00:38:40.300 and records shout out to saucy lady and the whole album is going to be out

00:38:44.940 uh... the 17th this month so i don't know when this interview will air but

00:38:48.700 may 17th his whole album aza will be out on a double record

00:38:53.660 so yeah i guess really every project that i've done has opened up the door to two

00:38:57.500 more things and it's just been

00:39:00.300 slow bill it's not again uh... a route that i chose consciously like now i'm a

00:39:04.620 curator now i'm a producer it's just natural extensions of what i've been doing

00:39:09.580 my whole life that I'm sort of now kind of using the knowledge, I guess I have in connections

00:39:15.300 I have to, especially with Brazil, you know, building bridges between UK or US and artists

00:39:21.980 here, they may not have the, you know, the privilege of having all these connections.

00:39:26.740 So that's been really cool to kind of share that with the artists I meet down here.

00:39:30.940 Yeah.

00:39:31.780 Do you find it difficult to know how much to say yes to?

00:39:36.780 Because with this sort of thing,

00:39:41.100 when you work project by project,

00:39:42.620 it can be really hard to know what's comfortable

00:39:47.460 to commit to or sometimes you say yes

00:39:49.300 and you're like, oh my God.

00:39:50.580 - I'm learning.

00:39:51.420 I'll put it like that.

00:39:52.260 I'm learning to say no.

00:39:53.780 I'm learning to say no.

00:39:54.820 I have to be more choosing.

00:39:57.380 And it's hard because like some things

00:39:59.220 presented to me sound amazing but I might start to get a weird feeling or vibe

00:40:05.660 about something I'm like do I really want to commit six months to a year to

00:40:09.540 working on this if it could potentially just end up in some you know weird

00:40:14.540 scenario where I'm not happy if I'm not loving it like I just don't have the

00:40:18.240 time for it you know what I mean like I have to be a hundred percent passionate

00:40:21.580 about it into it and everyone that I'm working with I have to love or else it's

00:40:24.980 It's just like, there's not enough money in this game to do anything for any other reason

00:40:30.460 than loving it.

00:40:32.460 Yeah, that was something I was going to mention.

00:40:35.020 Sometimes it can be a great project, but if the fit with the style of people isn't quite

00:40:40.620 right or everyone's got a slightly different set of values, then that can kind of make

00:40:47.020 it difficult with that sort of thing.

00:40:48.300 I suppose it's whether you can sniff people out or kind of gauge them sort of early enough

00:40:53.900 to work out if that relationship's right or not.

00:40:56.300 - Right, right.

00:40:57.500 Yeah, everyone involved can be cool,

00:40:58.980 but maybe like they have different ideas of,

00:41:02.340 respecting your time, or maybe like just,

00:41:06.660 yeah, I could go into it,

00:41:08.380 but I'm just gonna leave that one alone.

00:41:09.620 But yeah, I'm learning to say no to different things,

00:41:12.980 and it can be hard.

00:41:14.220 - I mean, respecting people's time in this day and age

00:41:18.260 with how much remote work we do is a super difficult one anyway,

00:41:23.140 'Cause flexible works amazing,

00:41:25.380 but it means some people might be sitting there

00:41:27.140 at 6.630 in the morning and just firing off emails,

00:41:30.100 not thinking about that if this person's got it set up

00:41:33.020 on the phone and there's the argument about,

00:41:34.740 should you have it set up on your phone in the first place?

00:41:37.540 But if they've got that, that they wake up

00:41:39.100 and the first thing they see is a work email,

00:41:41.740 it's really tricky to navigate.

00:41:43.660 - Yeah, I say I'm fortunate that I don't have to deal

00:41:46.180 with a lot of that in my life,

00:41:47.420 but I'm very sympathetic to those that do.

00:41:49.740 There's no division or very little division

00:41:52.780 between personal life and work.

00:41:55.060 - Is it quite satisfying with the artists

00:41:57.620 that you're speaking to giving the type of music

00:41:59.820 and the short run, sevens and things?

00:42:03.020 Is it really satisfying to get their reactions

00:42:06.260 where it's like, yeah, we're gonna breathe

00:42:07.460 some new life into your music.

00:42:09.260 - Massively, massively.

00:42:11.140 And if I told you what I earned

00:42:12.260 on the Sonya Secretados project, you'd laugh.

00:42:14.380 I mean, at the end of the day,

00:42:16.380 no amount of money could ever compensate me

00:42:18.420 for the hours I put into it,

00:42:19.700 but my payment for doing that project

00:42:21.820 when I finally track down these artists,

00:42:23.740 get them on the other end of the phone.

00:42:25.380 I tell them like, who I try to explain who I am

00:42:28.340 and they're like, who are you, how's your fun, my record?

00:42:31.140 And I tell them what it means to me.

00:42:32.260 I was like, the world needs to hear this.

00:42:33.540 It's fucking brilliant.

00:42:34.500 Like, I understand back in the day,

00:42:36.460 you had no distribution, you had no marketing budget.

00:42:39.500 But like, I believe it in.

00:42:40.980 They're like, you know what?

00:42:41.820 I believed in it too.

00:42:42.780 It just wasn't in the cards back then.

00:42:44.780 So it's kind of mind blowing for a lot of these guys.

00:42:47.380 There's some random gringo's calling them up 40 years later

00:42:50.420 saying I found your record in a warehouse and I want to reassure it. So that's, it's

00:42:55.720 amazing for them, but like to me, that is, that's my payment for this project. Like as a

00:43:00.120 fan of the music, like, that's the best, you know, being able to find these guys and

00:43:04.920 help bring their music to a bigger audience.

00:43:07.120 And what do you think it is about Brazilian music? Like I'd say, and maybe it's in quote

00:43:13.460 quote our world that Brazilian music is probably the most appreciated non-native English

00:43:21.060 speaking music. What is it about it? I think the swing is irresistible. I mean it makes

00:43:29.060 you want to get moving. It's so varied as well. I mean you have the stuff that has the

00:43:35.540 deep African influence. You have the stuff that borrowed from West Coast Cool Jazz, Boston

00:43:41.780 know obviously, but there's just so many different styles. You get the Ache music that combines synthesizers

00:43:48.260 and reggae and pop dance and regional rhythms. So I think it's just such a vast well of music that

00:43:57.700 I mean I'll be honest when I first came here I probably knew more than the average Gringo about

00:44:01.620 Brazilian music, but I quickly learned. I'm relatively speaking I knew nothing and every day I'm learning more

00:44:07.540 And so like I think people respond to

00:44:10.680 Just when you listen to it it just brings joy, you know makes you want to move

00:44:15.980 You mean you don't have to understand the language, but you can feel the lyrics, you know what I'm saying

00:44:20.160 So that's yeah, yeah, and obviously a lot of it was inspired by what was happening elsewhere

00:44:26.200 So when you listen to like Lincoln, Oliverian, Hobbs and Georgie those guys were listening to West Coast AOR

00:44:31.400 Those guys were listening to like boogie producers, you know what I mean?

00:44:34.840 means to like it has that influence.

00:44:36.560 So that resonates with us.

00:44:38.240 When you listen to Bonda Black Hill,

00:44:40.080 like you hear, you know, cool in the gang,

00:44:42.800 you hear Earth, Wind and Fire.

00:44:44.080 So you hear James Brown.

00:44:46.040 When you listen to Gerason King,

00:44:47.280 you're definitely gonna hear some James Brown, you know?

00:44:48.960 So there was a lot of this stuff

00:44:50.920 that really resonates outside Brazil

00:44:53.680 because it was directly influenced by styles

00:44:56.200 that were created outside.

00:44:58.040 Brought back into Brazil,

00:44:59.520 put through like the local blender

00:45:01.040 and you know, something news created.

00:45:02.760 Which is something Brazil has always been known for.

00:45:04.800 and cultural blender. You know, whether it's Bile Funk, which took like electro-free style and

00:45:11.280 Miami bass and then turned it into their own funk, kitty-oca or Bile Funk, whatever you want to

00:45:17.200 call it. So Brazil's always been great for that. So like my level of knowledge of Brazilian music,

00:45:23.360 I would say is pretty start-up-ack. Like it's very much the basics. If you've got any advice for

00:45:30.880 for anyone listening who kind of wants to dig a little deeper in and start to step into

00:45:35.840 that world of Brazilian.

00:45:36.840 By my compilation available on Oregon Music.

00:45:40.720 No.

00:45:41.720 We'll put a link in the show.

00:45:43.240 There's guys that I would recommend following.

00:45:46.280 If you can find them on Instagram, like DJ Bill from Belo Horizonte.

00:45:50.480 He's in Germany right now, DJing.

00:45:52.720 Young Cat who does amazing research, particularly on music from his state of miniature ice.

00:45:59.520 If you can find these guys online and follow 'em,

00:46:01.760 see the records they're sharing,

00:46:03.320 I mean, you can follow me on Instagram,

00:46:05.880 I'm always posting obscure records that I find,

00:46:09.680 I'm getting excited about.

00:46:11.440 I say that's the best way.

00:46:12.800 I mean, there's obviously no shortage

00:46:14.200 of amazing compilations out there,

00:46:16.640 but I wouldn't say there's too many

00:46:18.280 that are really pushing the boundaries

00:46:19.880 of what's been established as classic Brazilian records

00:46:23.560 for like, I say, going on 25 plus years now.

00:46:26.640 But if you can find some of these younger DJs,

00:46:28.440 like Gustavo. Gustavo has a records shop out of his house called Ilé music. He is from

00:46:36.680 Sao Paulo, the periphery of Sao Paulo. I hate to use the word slum but it's definitely

00:46:43.760 an economically challenged area. And he came to Rio to work as a researcher at a photography

00:46:48.960 museum and now he's one of the best researchers of contemporary Afro-influence Brazilian music

00:46:56.240 like a lot of stuff that wasn't really getting the recognition until recently Gustavo

00:47:00.560 Kino's his name.

00:47:02.560 Yeah, you know, find someone you like on Instagram and kind of look at who's commenting, like

00:47:07.120 who their little nerd circle of people's seren records.

00:47:10.080 And you'll be turned on to an immense world that you didn't know existed on Brazilian

00:47:14.520 music.

00:47:15.520 Yeah, that's amazing.

00:47:17.760 So if you've got any more projects coming up that you want to share?

00:47:21.360 Yeah, I just did a bunch of writing over the last year for Elon Paz's book, Dustin Groove's volume two of all like record people in their collections.

00:47:30.360 So he obviously shot all the photography and I did a handful of interviews like a lot of guys and girls got the women represented in this book.

00:47:40.360 So I did some interviews with people like Cassine, Amazing Producer.

00:47:45.360 So that's coming out quite shortly, I believe.

00:47:49.840 So that's not my music stuff,

00:47:51.560 but music adjacent writing work.

00:47:53.680 We'll do a lot of writing stuff also.

00:47:55.640 Fabio Santana's LP's coming out.

00:47:58.760 There's actually gonna be a second part to the LP.

00:48:01.440 It's kind of crazy,

00:48:02.240 'cause like you don't get a lot of boogie albums these days,

00:48:05.600 and he's done like this two part,

00:48:09.000 each one being a double LP concept album.

00:48:11.680 It's called Aza, which means wings and Portuguese.

00:48:14.280 You have Azezia, which is Wings by day.

00:48:17.600 Aze Noichi, night version.

00:48:20.120 First one's more sunshiney,

00:48:21.760 Balaric, Boogie vibes.

00:48:23.080 The second one is more like late night dance for a boogie.

00:48:26.240 And that will be coming out next along with the single,

00:48:29.520 on 45.

00:48:30.640 Doing some work on a compilation.

00:48:34.680 It's not my compilation,

00:48:35.840 but I was brought in as a consultant

00:48:37.440 to some just some lesser known kind of disco

00:48:41.040 and boogie tracks in Brazil for a pretty well-known

00:48:44.080 loved label from UK. I don't think I can say too much more about that but that'll probably

00:48:48.800 still be a year out before all that comes and I'm still working a lot of licensing stuff.

00:48:52.800 I'm dealing with some headaches. Brazil specific headaches which is I mean doing business

00:49:00.640 down here like artist or labels. Let's just say like some this is this is actually unique.

00:49:06.720 Like I've had problems doing business down here because it's just culturally different.

00:49:10.320 language barrier, what have you. But it's the first time in a licensing capacity that

00:49:15.680 I've had the issues I'm having now and it has to do with three children from a deceased

00:49:21.360 artist. Two of them are on board. One of them has some kind of out there ideas and he's

00:49:28.360 brought in an attorney and the attorney has to be even more out there ideas of what the

00:49:33.940 value of this work is for. And I'm trying to explain like I was brought in on this project

00:49:37.280 to suggest stuff that's just off the radar.

00:49:40.320 So maybe this catalog that I think is incredible

00:49:44.280 and should be valuable, doesn't have the value

00:49:46.520 you think it does right now.

00:49:48.360 It's it anyways.

00:49:50.320 You know, I always want my people to be compensated

00:49:53.160 fairly like 100%, but there's also like,

00:49:56.320 economic realities to releasing records.

00:49:58.840 - Definitely and I've had kind of slightly parallel experiences

00:50:04.560 myself when when kind of licensing music where it's like you want to kind of get

00:50:10.720 someone to buy out figure and in their mind it's this but it's like that's

00:50:16.320 just not going to happen and unfortunately you know it's so subjective but

00:50:21.840 it's kind of unfortunately that that then stops their music going out to

00:50:27.600 people and that's the biggest shame with something like that. Right I'm trying to

00:50:31.520 explain to this attorney to explain to the one holdout client that if you want to create value for his deceased mother's catalog

00:50:38.880 Getting it on his compilation is a damn good start to like creating

00:50:42.820 A group of fans around the world that will be waiting to find the next discovery from her

00:50:48.860 But anyway, I still have confidence and in hope

00:50:51.320 That we'll walk through this and like I said this experience has been a bit of an outlier my general experience and

00:50:57.640 Working with artists here has been great

00:50:59.920 Yeah, and I guess with that if they can if that lawyer can be aware of the there must be a fairly

00:51:05.960 sizeable amount of money in the reissue market these days

00:51:09.720 Yeah, I mean not to go into too much detail, but this one situation is getting hung up on an absurdly high advance that they're asking for

00:51:17.600 Which could jeopardize the deal but like I believe in the song and just on digital downloads if DJs are buying this track

00:51:25.760 That's like 50% split to the family straight away

00:51:29.160 You know, so it's you know one thing I don't want to talk bad at all about Brazil because I love this place

00:51:34.820 I chose to live here, but doing business my experience is sometimes people people can be a little short-sighted

00:51:39.160 They're not thinking about building a relationship. They're thinking about

00:51:42.760 You know getting with the can in the moment anyways. I don't I don't want to do all on that at all because like I said

00:51:48.640 I chose to live here. I love this place and

00:51:51.140 It's absolutely crazy and some days I'm just left scratching my head like what the fuck is going on

00:51:56.600 but like at the end of the day is brilliant.

00:51:59.280 - So being in Brazil for so long,

00:52:01.360 you must have some crazy stories, right?

00:52:03.720 I believe I heard one about a women's prison.

00:52:05.760 - I'll give you a couple quick stories.

00:52:07.400 I'll give you a couple quick stories.

00:52:08.640 I talked about our Butterfogal Social Club party,

00:52:11.400 which moved around,

00:52:12.840 starting the Butterfogal neighborhood,

00:52:14.320 and we ended up doing it on top of the favela,

00:52:16.640 or Komunodaji, it's like a more appropriate term,

00:52:19.640 community of Vigigal,

00:52:21.400 which has an incredible view of all the Southern zone of Rio

00:52:24.440 the ocean and we had a friend from Germany who had a guest house very adventurous German

00:52:29.720 guy. I hope in a guest house on top of this favela when it was still very much controlled

00:52:33.600 by the local drug gang. But it was all cool. Our people came up taking motor taxis up the

00:52:38.880 winding roads and we were cool with the locals. Locals could come in free, but we had a

00:52:43.580 little sort of an incident one once with a local drug gang sensing a opportunity decided

00:52:50.160 just set up a point of sale right outside the door to our party. So they had their

00:52:54.280 table out there with their various products on offer and their various chrome

00:52:59.920 plated pieces of machinery. It's not really the vibe you want as you come into a

00:53:04.360 party, but we had a chat with them very respectfully obviously being on their

00:53:08.920 turf and just said like, You guys are gonna do what you do. If you come into the party

00:53:14.440 cool, just please leave the hardware outside. And I won't go down fine. They would

00:53:18.920 take turns coming in, have a little dance, they were respectful. It was very surreal, but

00:53:23.360 the party went to like nine the next morning, sun coming up over the ocean. I was brilliant.

00:53:27.800 But the story about the women's prison, I was asked to help out on a documentary by

00:53:33.580 a crew from New York about a beauty pageant that takes place in a women's prison in Brazil.

00:53:39.240 So I started off kind of in the capacity of a fixer, helping them out on the ground here,

00:53:44.080 and then that sort of morphed into like, Hey, would you want a DJ the after party?

00:53:48.120 like in the prison, like yeah, yeah.

00:53:51.160 So was it Talaveda women's, Talaveda Bruse, women's prison

00:53:54.760 in the Bangu prison complex in the Western zone of Rio

00:53:58.680 and it was completely surreal coming in through security

00:54:02.040 and then soon as we were led into this corridor

00:54:05.240 of the women's prison, this big fight broke out

00:54:07.400 of us like the guards are trying to cover us

00:54:09.560 and break up this fight and we're like, okay,

00:54:11.200 this is this is real here.

00:54:12.760 And they brought us into this courtyard

00:54:14.440 where they had set up this beautiful white marquee,

00:54:16.800 you know, Pasadela, like a catwalk, right?

00:54:19.600 And they had this beauty pageant.

00:54:22.160 And it was for the girls who had good behavior.

00:54:24.240 And then there was all, the only thing that gave you an indication

00:54:26.720 at this point you were inside of a prison

00:54:28.160 is the four walls around us in this courtyard

00:54:31.320 had very small windows with bars.

00:54:33.360 So all the naughty ones who were allowed to participate

00:54:35.880 were all up in the window like shouting various things

00:54:38.840 and, you know, making their presence known.

00:54:41.720 But these girls, you know, when you see them coming down

00:54:45.000 the cow walking their ball gown, they were stunning and you'd talk to them

00:54:48.280 afterward and they were as sweet as can be and you would have no indication of

00:54:52.840 their previous criminal activities unless you talk to them.

00:54:58.640 I asked one girl how she got in there and she said her kid had no father and

00:55:04.920 she had no food. One day she got a whole pistol and got on a bus at Rush Hour

00:55:09.240 Rob the bus and got caught. Another one got roped into being a mule. Got caught with the suitcase full of

00:55:16.920 Coke and the airport. You realize these are all like poverty related things. These aren't things

00:55:22.360 people did because they thought it was clever. It's like they're hungry. And so like one of the biggest

00:55:27.320 problems I see in Brazil is the gap between those that have a lot and those that have nothing.

00:55:34.600 So that's a hard thing about living here.

00:55:37.000 But yeah, that was an eye-opening experience and got to DJ at the after party and it was wild.

00:55:44.360 They had a good time. The girls were digging it.

00:55:47.000 There's a video online somewhere.

00:55:49.960 So is there any other bits of advice that you'd give people that come into Brazil?

00:55:55.960 Because I think from what I understand, you've got to be quite careful about where you go, for example.

00:56:00.280 Yeah, I mean, safety is an issue, but I don't know of many big cities where

00:56:04.120 If you're not self-aware, safety isn't an issue.

00:56:08.040 I think if you don't tempt, a lot of crimes are opportunistic.

00:56:11.480 If you're walking around flashing your wealth, someone's going to snatch it off you.

00:56:16.440 Come here with the respect for the people.

00:56:18.040 Don't come here with stereotypes.

00:56:20.040 You know, particularly a horrible one is, you know, Brazilian women can be extraordinarily

00:56:24.720 beautiful and people have different ideas of what their morals may be like and that's

00:56:29.160 just very much found upon when you show up with that mentality.

00:56:32.920 So be respectful of the culture, be respectful.

00:56:36.120 If you're from the United States, realize that the military dictatorship here was put in

00:56:40.060 place through a lot of support from the US.

00:56:42.800 So this is a former colonial country and they're sensitive to that kind of mentality.

00:56:49.920 There's a story when Diplo came over here and he went to a ballet funk in Contagalo and

00:56:57.280 a sunny pitchy bull, big fun DJ from Rio was playing,

00:57:01.040 Diplo was like, Yo, do his trans.

00:57:02.940 He was like, Yo, I want that, tell him I want that,

00:57:04.240 I want that, tell him I need that record.

00:57:05.240 I need that track, I need that track.

00:57:06.480 And then, sunny turned around and said, Look, man,

00:57:08.880 the 1500, the Portuguese came here

00:57:10.520 and traded my people, broken glass for all our gold.

00:57:12.720 Mil do that shit anymore.

00:57:13.960 So, if you come over here, just be respectful.

00:57:16.360 It's the main thing, be self-aware, be smart.

00:57:19.640 Don't flaunt your wealth, your brand new iPhone,

00:57:22.600 maybe leave it at home by a burner, things like that.

00:57:25.040 But you'd be fine.

00:57:25.880 beautiful place, people are amazing and welcoming.

00:57:28.720 - Just on that point then, just one more thing.

00:57:31.800 So when you did the compilation then,

00:57:33.800 did you already have the understanding

00:57:35.960 of the political history or was that all kind of

00:57:39.680 learning on the job with that project?

00:57:41.640 - I had an understanding, but it definitely led

00:57:44.680 to a lot more research.

00:57:46.440 And this idea of these songs that I accumulated

00:57:49.520 for this mix that I had shared,

00:57:52.040 sort of didn't realize until an afterthought

00:57:56.240 that they all were recorded in between this very specific time period.

00:57:59.280 I picked it because of their sonic connectivity, I guess you could say.

00:58:03.800 They had a sound that worked together thematically and they were all independent releases.

00:58:07.920 But when I look back on it, I saw they all came out between 80 and 85.

00:58:11.160 To me, that sort of represented the second generation of artists in Brazil

00:58:15.840 willing to put out their own records.

00:58:17.760 After Tim Maya had released his Hasionale One and Two records followed by Antonio Adolpho's

00:58:23.360 Faito and Casa record that kind of demonstrated to a lot of young artists that was possible

00:58:27.320 to release your own music.

00:58:29.520 And these years between 80 and 85 were crucial because they represent the tail end of this

00:58:36.240 dictatorship, which had been an pressing artist, a resting artist, torturing artists, leading

00:58:42.000 artists like Kaitano and Jabethu's Yield of Self exile.

00:58:46.800 It was coming to an end.

00:58:47.800 There was a movement that was taking place called Jerez de Já,

00:58:50.280 it means like rights now.

00:58:52.160 And it was led by the leading artist

00:58:53.680 of Brazilian popular music.

00:58:54.880 They were holding concerts in the city

00:58:56.880 that were attracting upwards of 100,000 people

00:58:59.760 that was like huge.

00:59:00.960 And they were calling for the return of free and open elections.

00:59:03.760 And this was all directly tied into what

00:59:06.720 was happening in Brazilian popular music.

00:59:09.280 So while the songs that I picked on the compilation,

00:59:12.480 I wouldn't call overtly political,

00:59:15.600 just by their existence was kind of a political statement.

00:59:18.160 It was all definitely tied into the culture of the time,

00:59:21.000 yeah, leading to the downfall of the dictatorship.

00:59:23.880 - Yeah, and shout out to Tim Meyer as well

00:59:25.920 on the slightest side, 'cause his album with,

00:59:28.680 the thing I think we hear is that he's got four albums

00:59:32.120 that are all just called Tim Meyer.

00:59:33.880 - All called Tim Meyer.

00:59:34.720 - And I get excited every time I see one

00:59:36.280 and it's never the one that I want.

00:59:38.080 - You could do a branding class by studying

00:59:41.080 what has been done in Brazil and doing the opposite.

00:59:43.560 Like doing research from my compilation,

00:59:46.360 people put first names only.

00:59:48.360 And like, Jewan.

00:59:49.280 I mean, that's like John.

00:59:50.520 Right?

00:59:51.360 How you gonna Google a guitar player named Jewan?

00:59:54.000 Or they use nicknames like Beethoven.

00:59:56.080 Like, put piano player called Beethoven in Google.

00:59:59.600 Tell me what you're gonna get, right?

01:00:00.840 Like, yeah, such a Maya.

01:00:03.760 (laughing)

01:00:05.120 Yeah, I don't know why that is.

01:00:07.520 - Yeah, it's the one with the Rue Confess, you know?

01:00:11.520 Is it?

01:00:12.360 - Hell Confess, though.

01:00:13.200 Hey, I'll come back. I think it's the 1973 or '97 awesome album. Okay another question then

01:00:19.120 Are there other people that are as cool as Marcus Val? No

01:00:24.640 Now he's the coolest man. He's like the like Rufus Thomas

01:00:31.440 You used to call him the world's oldest teenager, you know from stacks like Marcus Val is now the world's oldest

01:00:37.680 Brazilian teenager

01:00:38.960 He's still got his youthful looks and like, you know, like love of life.

01:00:44.480 And you know, I've been fortunate to meet him a couple times and he's just as cool as you'd hope to be.

01:00:48.960 He's got that kind of mellow surfer vibe.

01:00:51.360 And he's still like so down to like create new stuff and push the sound forward and collaborate with young artists.

01:00:58.640 Like he's been doing a lot with Tom Mish.

01:01:00.720 No one's cooler than Marcus, man.

01:01:03.920 Yeah.

01:01:04.880 He's the whole package.

01:01:06.480 Yes, I saw him with Azimuth a few years ago in London and I was like, What just just

01:01:12.520 the energy that he's got?

01:01:14.320 Yeah, that's say, meeting Marcos and then Mamau, Ivan Conti, Rest in Peace, the drummer

01:01:23.560 from Azimuchi.

01:01:25.600 I was very blessed to be able to like strike up a friendship with him, visit him his

01:01:30.160 home and share meals with him, bring people in to record with him.

01:01:34.360 another guy that's just like it's cool as they come. But Marcus, Marcus is like the epitome

01:01:38.520 of cool. Like, Yvonne was just like like the cool uncle, you know, the big teddy bear

01:01:43.880 dude that was just down to hang out and tell stories and it was just like sweetest could

01:01:47.520 be. So amazing sounding drum kit as well on that video that you share.

01:01:51.640 Oh man, his fills. You can always tell a track he played on to me anyways by like his drum

01:01:56.760 fills on the tom's. But yeah, I tell you a funny story. He played on so many records

01:02:03.160 man and not the asthma okay but in his other group the youngsters but as a

01:02:08.560 session guy all those guys were working non-stop going to the studio 8 9 a.m.

01:02:12.800 stopping for lunch back in leaving the studio like one in the morning going

01:02:16.840 out playing gigs coming back in a lot of times I wouldn't even know who was

01:02:20.620 gonna sing on the tracks he just had the arrangement put in front of ready to

01:02:24.080 three boom let's go and a kid I brought not a kid my buddy DJ flag set up flag

01:02:30.200 like great producer, Bboy DJ.

01:02:32.600 We had gone over to Mammal's place to record some drums.

01:02:36.300 And the day before,

01:02:38.440 Flag had been to Tropicala Records in Rio

01:02:40.500 and he found this really cool,

01:02:41.700 Umbanda record.

01:02:42.720 Umbanda is one of the African spiritual traditions

01:02:45.860 in Brazil with its own unique rhythms.

01:02:48.440 So he recorded on his phone,

01:02:49.640 he played it for Mammal.

01:02:50.840 Like you think you could play something like this.

01:02:52.560 Mammal starts laughing and he's like,

01:02:53.880 yeah, I think so because that's me playing on that.

01:02:56.200 Uncredited.

01:02:57.440 But we were all laughing, you know, like that's crazy.

01:02:59.560 He's like, no, you don't even know.

01:03:00.900 Until two weeks ago, I wouldn't have known that that was me.

01:03:03.940 But DJ Nuts, like, talk about one of the top researchers,

01:03:07.760 did not some self-follow, had gotten touched and said,

01:03:10.440 Hey, I found another record.

01:03:11.920 I'm pretty sure this is you playing on.

01:03:14.080 So, yeah.

01:03:16.160 Anyways, but that guy was amazing.

01:03:18.240 - Yeah, Nuts. - No, no, it's serious, isn't he?

01:03:22.240 - Another level.

01:03:23.080 - Yeah. - Another level.

01:03:24.120 Total respect to that guy.

01:03:26.960 And you mentioned earlier to ask you about me in Willie Mitchell?

01:03:31.760 Yeah, I was driving cross country at the time.

01:03:34.040 I just come back from that year.

01:03:35.760 I'd spent traveling, gone back and saw my folks.

01:03:37.800 And when I got to Memphis, I had to go by to see

01:03:40.400 where the old stack studio was.

01:03:42.120 It's now the Museum of American Soul Music.

01:03:44.240 It's incredible.

01:03:45.080 Since I've been back like three times,

01:03:46.480 brought my wife, kid, parents.

01:03:48.000 It's like going to Mecca for me.

01:03:49.840 But after the first time, I was like,

01:03:51.320 I want to go see the old Royal Studios

01:03:53.600 and the home of high records.

01:03:55.840 Like we're Willie Mitchell recorded out green

01:03:58.140 and people's all these records I love.

01:04:00.580 And get to this spot and it's definitely off the

01:04:04.040 beaten track for tourists and Memphis,

01:04:06.020 just to put it lightly.

01:04:07.020 And then I get out the car and I go knock on the door

01:04:10.060 and it opens a little bit.

01:04:11.260 It's a very beautiful young woman kind of looking like,

01:04:13.260 Can I help you?

01:04:14.580 I was like, Yeah, I'm sorry to bother you.

01:04:16.500 I went into like this whole,

01:04:18.580 probably is just rambling.

01:04:19.580 Like I'm such a fan.

01:04:21.140 I wanna see where I'll green and and people's recorded

01:04:23.980 and Willie Mitchell, da da da da.

01:04:25.620 And when after I say Willie Mitchell, I hear this voice like,

01:04:27.760 Well, don't just stand there boy, come on in here.

01:04:29.800 Like she opens up the door and he's at the secretary's desk,

01:04:33.240 dressed immaculately in this cream colored suit,

01:04:35.640 stocking feet up on the desk.

01:04:38.080 And I was just like, Pop a Mitchell!

01:04:40.320 Like just freaking out full fanboy.

01:04:42.400 He's like, Yeah, you and Lockboy, got Memphis royalty here.

01:04:45.400 It was like Wayne Jackson was there from the Memphis horns.

01:04:47.960 He was been living in LA, but he was in town to record a session.

01:04:51.480 And he's like, You hungry?

01:04:52.320 We just have some chicken delivered.

01:04:53.720 and they had to share their lunch with me.

01:04:55.520 I was like, this is crazy, man.

01:04:56.800 This is like, didn't really expect this.

01:04:58.560 I just thought, maybe I'd stick my head in

01:04:59.880 and kind of say I was here.

01:05:01.120 And he's like, nah, come here, I'll give you the whole tour.

01:05:03.200 So he gets up, he's got this like really elegant cane.

01:05:05.640 He kind of limps down the hallway,

01:05:07.400 turns to phase one door, and he's like, this is my office.

01:05:10.240 And then he's like, karate kicks the door open, like bang!

01:05:13.280 He's like, I don't go in here too much anymore.

01:05:14.920 It's too much shit in here, but make yourself at home,

01:05:16.600 take a look.

01:05:17.440 And it turns on the lights, like,

01:05:18.520 shag carpeting like classic straight out the '70s,

01:05:21.200 gold records all over the walls.

01:05:23.240 And it was amazing.

01:05:25.120 It was amazing.

01:05:25.960 I went back out to the car, I had a Willie Mitchell

01:05:27.840 seven inch that he saw.

01:05:29.040 And I think I had a Memphis horns thing too,

01:05:30.840 just randomly in a couple boxes.

01:05:32.840 So that was a special day.

01:05:34.280 I mean, I always loved the soul music,

01:05:36.840 the funk music I had a Memphis.

01:05:38.320 So that's my little Willie Mitchell story there

01:05:41.520 after seeing you poster, the record of his the other day.

01:05:45.280 - Yeah, what an incredible tune.

01:05:46.920 I'm an incredible sample as well.

01:05:48.720 - Yeah, as a producer, he was at the top

01:05:51.800 for that Memphis sound in my opinion, for sure.

01:05:53.640 I mean, legend.

01:05:55.280 Still had Al Green's microphone, mic number nine.

01:05:58.320 The only Al Green could use, he kept it covered

01:06:00.400 in the corner of the studio, and I was just reserved for Al.

01:06:03.720 And I got to see Al too, that was a whole other trip.

01:06:05.800 I was passing through, and my parents were with me.

01:06:08.520 It was a Sunday.

01:06:09.360 I was like, Yo, let's go to Al Green's church.

01:06:10.640 He's probably not there, let's take a chance.

01:06:12.640 Al Green, Reverend Al was in the house, man.

01:06:14.720 He welcomed all the guests.

01:06:15.760 He said, You want to take your shoes off,

01:06:16.920 dance around, take your shoes off, dance around.

01:06:18.840 I was like, Hell, yes, my kind of church.

01:06:20.680 I took off the shoes, dance and rallying,

01:06:22.560 it's so much planned percussion.

01:06:24.120 It was amazing.

01:06:25.120 Memphis is a special city for sure.

01:06:27.560 - I feel like we'll just kind of scratch the surface

01:06:29.680 on a lot of different things today.

01:06:31.400 I think you've done so much.

01:06:33.040 - Yeah.

01:06:33.880 - I think you need to start writing it all down,

01:06:35.840 maybe look at doing a book.

01:06:37.960 - That would be interesting.

01:06:39.400 I feel like I've still, still, still

01:06:41.600 gain acquiring more stories.

01:06:43.760 I'm not ready to start documenting,

01:06:45.360 but it wouldn't be bad to make some notes

01:06:47.000 before I forget everything.

01:06:48.160 - Yeah, amazing.

01:06:49.760 Right, well, yeah, it's been great to speak

01:06:51.920 and we'll hopefully get you on again in the future.

01:06:54.260 Talk about some more of the bits of work that you're doing.

01:06:57.000 - I've enjoyed the chat, Adam.

01:06:58.440 I appreciate you inviting me on despite my initial hesitations

01:07:02.400 that I wasn't worthy of being a guest on the show.

01:07:04.960 - No, no.

01:07:05.800 - Thanks for being persistent.

01:07:06.600 Thanks for being persistent.

01:07:07.920 - That's, that's, you know, being persistent kind of my job

01:07:11.240 really, so yeah, happy to do.

01:07:12.680 So can you just share your socials

01:07:15.160 and where the best places are for people

01:07:16.960 to keep up with you and keep up with your work.

01:07:20.120 - Yeah, the best place to keep track

01:07:22.520 of what I'm up to these days is on Instagram.

01:07:25.120 And it's just my name is spelled T-E-E-C-A-R-D-A-C-I.

01:07:30.120 You'll link in the bio, it's got an infinite number of things,

01:07:35.160 different mixes I've done, different projects I've worked on,

01:07:38.040 and for sure I'm always sharing

01:07:39.880 obscure Brazilian records there.

01:07:41.960 All kinds of records from all over.

01:07:43.240 I'm not just limited to Brazilian stuff,

01:07:44.880 but definitely a lot of Brazilian stuff.

01:07:46.760 and it's definitely where I'm announcing any new projects that I have coming up.

01:07:50.440 So thank you very much for that and we'll put you Instagram in the show notes and yeah,

01:07:55.480 I'll speak to you soon.

01:07:56.360 Nice and fun, cheers.

01:07:57.240 Thanks for listening to the WANTED EJ Podcast.

01:08:04.280 If you've got any questions or feedback or any suggestions for guests,

01:08:08.840 please just get in touch with us at WANTED EJ Podcast at gmail.com or on Instagram

01:08:15.720 at once a DJ podcast. Take care or speak to you soon.

01:08:19.720 [Music]

01:08:21.720 Oh, that was nice.