Pino Palladino and Blake Mills are renowned session musicians who recently collaborated on their own album, Notes With Attachments. It’s an experimental, jazz-leaning project that blew Rick Rubin’s mind. Pino Palladino is a bass player who has played on records with everyone from D’Angelo to The Who to Adele. Guitarist Blake Mills co-founded the band Dawes in 2005, and he has gone on to release critically acclaimed solo albums and produce records for the Alabama Shakes, John Legend and Fiona Apple.
Three years ago, Pino and Blake started collaborating on what would become Notes With Attachments. The album features other incredible session musicians and pulls from influences as diverse as West African, Cuban, and English folk music.
Rick talks first with Pino Palladino on today’s episode about those wide array of influences, and how hearing Motown music as a young boy in Wales changed his life. Pino also walks us through his evolution to becoming one of the most in-demand session players. Later Blake Mills joins the conversation to talk about collaborating with Pino and why he feels bad for the touring musicians who have to play his bass parts on the road.
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Pushkin. Pino Palladino and Blake Mills are renowned session musicians who recently collaborated on their own album, Notes with Attachments. It's an experimental, jazz leaning project that blue Rick Rubin's mind. Pino Palladino is a bass player who has played on records with everyone from DeAngelo to The Who to Adele. Guitarist Blake Mills co founded the band DAWs in two thousand and five and has gone on to release critically acclaimed solo albums himself and has also produced records for the Alabama Shakes, John Legend and Fiona Apple. Three years ago, Pino and Blake started working on what would become Notes with Attachments. The album features other incredible session musicians like drummer Chris Daddy Dave and sax player Marcus Drickland, and it pulls from influences as diverse as West African Huban and even English folk music. Rick talks first with Pino Palladino on today's episode about those wide array of influences and how hearing motown music because a young boy in Wales changed his life. Pino also walks us through his evolution to becoming one of the most in demand session players. Later, Blake Mills joins the conversation to talk about collaborating with Pino and why he feels bad for the toy musicians who have to play his bass parts on the road. This is broken record liner notes for the digital age. I'm justin Richmond. Here's Rick Rubin with Pino Palladino and Blake Mills. I want to start by saying the album is magnificent. It made me feel like I was hearing something from another time. And when I say from another time, it didn't feel like it could have been made at any other time but now. But it had the gravitas of a classic album that I think of as like, you know, like a Miles Davis album. It really touched me and blew my mind that it's possible to make an album like this today. Wow. Right, that's amazing and wow, I'm so I'm just so pleased that that has had an impact on you like that that you would say something like that, that's incredible. Flip me out. Is this I don't know, is this your first quote unquote solo album or solo album with a friend? Yes, yeah, both of those things either and both yes. It is has the material been written over time or did it all come together specifically for this project. No, there are a lot of ideas that I've been carrying for quite a while with a view to doing something with them at some stage. I'm being a librun never getting round to it, you know, forty years later, and I think it's it's serendipiculous too, just the way things came together with me. I'm meeting Blake beautiful, Yeah, And the more we took about it, the more it seemed like this could be something really exciting too, you know, for me to bring out my first project on Yeah, fantastic. Tell me about I mean, we've hung out a bit and I've got to see you play in the studio, absolutely, But I know very little about your history other than certain things you know, certain bands you played with. But tell me from the beginning, what's your first experience of music in life? Wow? Yeah, that would have been in Catholic school, just learning hymns. And if I think back a long way, I remember one of the first things that really hit me musically was learning the song inch one, which is the kind of a desk cant that we did in my school. When I was about eight or lone years old when I just remember being really excited by the sound of that cadence where one thing sings, you know, the melody, and then the desk cant comes in later and adds a harmony too beautiful. What was your first instrument the Spanish guitar, Spanish guitar, nylon spring guitar exactly, yes, and that again comes from from school. We had a priest in school called Father Delaney, who was a real fantastic character, old Irish priest, actually not all young at the time, but yeah, he used to do these guitar lessons in school and it was an opportunity to get our classes early sometimes and we would learn the chords to hymns and sort of Ralph McTell songs that were popular back in those days. Fantastic, yeah, and then play them in folk masses, like Catholic folk masses. So in a way it started for me in church and was it that's always a fingerpicking style, is that correct? Yeah? Or mostly strumming like cowboy chords. And then I had a couple of Spanish guitar lessons, like maybe for a month or something. My mom paid for a few Spanish guitar lessons and I got some basic technique from that and learned a few pieces and really just went on from there. What was the first popular music that really spoke to I would have to say Motown Studio wonder my Sherryan Moore around about that year where I was really starting to hear music and really loved it. And then I got opportunity at one point with the school trip, we went to a skating ring outside of Cardiff when I was born in Wales, and they were playing Motown music really loud through the PA and that's the first time I remember really thinking whatever was going on down but I didn't even know it was bass guitar, but I just love what was happening, So I remember that vividly. And then when when was the first time he picked up a bass? I actually started on guitar, as I said, and didn't play bass till I was about seventeen. I started I was playing out in my first band. I kept on playing bass players bass. I really enjoyed playing it. He had a seventies jazz bass. Over time just realized that that was probably why I should be playing. Tell me about the band, did you do covers. Yeah, absolutely, yeah, rock and roll, Huchiku Johnny went to led Zeppelin, Beatles, Wishbone ash amazing. What would you call your first professional job in music. I don't remember getting paid for any of the gigs we did in the cover bands. But we went to Germany with my first band, and long story short, when we got there, we found out we didn't have a gig, so we drove all the way to Munich and sort of survived there for a month or so. You know, we just won weeks with the work, so all that that was my first really official professional gig. I mean, we just certainly didn't make any money, and we all got repatriated by the by the console as well. We got chucked out of Germany. It wasn't that successful. What's the first time you played on the recording? I think back. It was actually a show band that my friend was playing with and they were recording at Rockfield in Wales, and I just went down down there to sort of hang with my friend who was the keyboard player, and before I knew playing bass on this track, and that's the first time I remember actually having headphones on in the studio and thinking, wow, I really liked this, this is fun. But did you build your life as a session player in the UK? First? I never thought of being a session player. I just wanted to be in a band. But as I played with I had more interaction with different musicians. I started to think about, you know, what it would be like to just play on different records, and it just seemed like such a cool thing to do. And then before you know it, did you become a session player? Did you ever find a band where it felt like this is my band and this is what we're going to do you No, but there did come a point where I thought, you know, my strength is being freelance and being able to go into different projects with different genres, and I really start to enjoy the interaction with different musicians and different forms of music. The first time I heard your name was as it related to the Who. What happened before the Who that allowed you to end up playing with the Who? Well, in the early eighties, this is going back quite a way. I had a call from a friend of mine, Chris Slade, who was playing drums with Gary Human, Great druma and proper Welshman. So he founded me up and said, look, I'm in the studio with Gary Numan and he's looking for a frantless bass player. Chris knew that I had a friendless, so I ended up going down to the studio and working with Gary and working on an album called by Assassin, which really featured him. You know, he just gave me an open, open card, really and just said, whatever you want to play on this stuff, just you know, bring something. So moving along, that led to Paul Young, Paul Youngs producer at the time in the eighties Laurie Latham you know here in the record and thinking it would be cool to bring me in on some of the Paul Young stuff. So Paul Young again Fretless Space. The next major calling up was from Dave Gilmour out of the blue one day as I was in the rehearse, so I couldn't believe it, you know, they's followed me up such a huge Floyd fram from backing the day, and that led to me working on a Dave Gilmore album. He had written a song with Pete Townsend for that album and then Pete decided to do that same song on his album White City. So Dave recommended me to go in and play on this song. Amazing. Pete just threw this other song of me. He said, look, I've got this idea. I've been working with the song of Phillips and Dave Gilmore and it's not really a song yet, but would you want to have a play on it? And it turned out to be the song called give Blood. You know, I heard it and I was just I was so happy. I thought, you're gonna let him plant this. This is incredible. So I did my thing on that and me and Pete sort of hit it off that day, and that's really what led to my connection with the who incredible and the Gilmore side of it I didn't know, and that's amazing. How did Dave Filmore hear about you from my playing on the Paul Young records? Wow? The friendless bass was sort of featured on one song in particular co Wherever Like My Hat, which is a cover of a mob and gay b side that we sort of worked up. The bass ended up being the sort of vocal point other than the voice obviously, so that brought up a lot of attention to play. It's funny when you hear something remarkable. I can remember a record producer friend playing a song for me and it was I think it was a cover song and it got to the guitar solo, and all I needed to know in that moment was who's playing a guitar solo? Now, for me, it's an odd question in a cover song, I wouldn't normally ask. I wouldn't normally even I would probably if it's a cover song, I would probably tune out for a guitar solo, right, do you know what I'm saying? But in this case, I tuned in. It's like who is that? And that's how I got to meet Blake. Amazing, there you go. It can just be a spark. Sometimes it's it's there's something there that's like, I want to know more about this, whatever this is, need to know more. Again, the first time I heard your name was in relation to the who. The time that I learned who you were actually was based on Voodoo, which was, you know, maybe my favorite album and wanting to know how did this happen? Who played on this? And that's what led to our getting to work together some time? Though. Absolutely, it's amazing. It's amazing how that thing just translates, how it connects. Yeah, beyond Motown, what would you say influences on your style. Where would they come from? Well, in Cardiff, where I come from, it's quite similar to Liverpool. It's a docks area, so there's a lot of different nationalities. I had some friends that live down on the Bay and there were clubs down there that played a lot of American funk, reggae from Jamaica, a lot of that stuff and some African musications, and so that was hugely influential to the time. A lot of king jazz, folk, soul, reggae, lottle reggae music in the mid to late seventies. And you know, I had some pretty pretty tough lessons working with some reggae musicians, some older guys down there, and also in London. You know, I was learning fusion to play all sorts of different things that tom and was playing way too many notes, and these guys would sometimes be in the studio and they would tap out the beat and sing the sort of bassline to me on the back of my shoulder, like hard, you know, like boom boom boom, boom boom, really drilling it into me. So that really helped me with the economy, you know, a sense of economy and bass play he learned restraint. Yes. Absolutely, We're gonna take a quick break and then we'll be right back with more. We're back with more from Rick Rubin and Pinot Palladino. Guitarist Blake Mills also joins a conversation. Right, let's see the album this morning. Talk to me about the arrangements. Who did the arrangements? And are all of the instruments that sound like instrum mens actual instruments? Yeah, yeah, I mean in terms of the arrangements, so I think again, Me and Blake pretty much flesh those out between us over a period of time and with the sounds of the instruments. Yeah, there's a lot of real instruments on the Great I'm definitely curious just because it all sounds magnificent. There are a couple of moments where it felt like it went from an organic what seemed like a clearly organic place to a non organic place, and it just sucks me in and makes me want to listen more. You know, it's just interesting, it's beautiful, felt really tastefully done. Well, that's beautiful and post. Me and Blake really wanted these songs to envelop you and just allow you to go into a journey if you allow it, and you know, I feel, I feel really happy with the way that the songs are turned out. So what would be an example of what you brought like if you if you'd had collected material for the project, in what form would it exist before you started with? How fleshed out was it in your mind? Quite a few of the ideas actually originated with myself and Chris Dave at my home in London. And that's an interesting story too, because the first time I actually physically met Chris was at Shangri La because you brought us together for a Dell's album. So this is a nice full circle, you know, talking to you now about the record. We hit it off from that day we met and continued to kind of hang and work on different things together, and whenever we were together, we would put down music in some way, whether it's at my house or at a studio in New York, if we were both in New York or LA. And so quite a few of those I would say three or four of those ideas started off as the stuff that me and Chris had worked on together, with me playing guitar and bass and Chris playing percussion. Occasionally adding the odd keyboard. Other things were like fully fleshed out tunes, as one tune in particular called Man from Molise, and that was a tune that I recorded in New York with some amazing Cuban musicians and it was like a nine minute arrangement with bridges and solos and all sorts of stuff, and so that was that was a different form that one. I played to Blake and he loved it. But he said, how about if we slowed it down? And I thought, okay, we'll slowed it down a couple of bits a minute, that would be great, but he meant half speed, so he really slowed it down. So you can imagine, you know, you have a song that's kind of grouping in a certain way, and then you take it down to half speed. It's like, that's that's a bit of a shot. But ultimately I was. I was open to it because of his daring, experimental kind of nature, and it tuned into something completely different and we just got right into it. And I mean, yeah, we're both pretty sick like that, and Blake those decals we need to go down a rabbit hole and fight our way out, you know, if we need to. I mean, you play with arguably the best drummers in the world on a regular basis. Tell me about what makes Chris Dave Chris Dave. I mean, he's just extravagantly gifted in terms of what he knows physically well. He can play at the same time, various rhythms and and just incredible chops. But it isn't even that. I mean, it's a creativity and the fact that you just what he's going to play. He has amazing instincts. He'll listen to a song. You know you will, right, He'll listen to a song and he might say, let me hear that again. By the time he's going into play, he's got it all worked out in his head in a way, or if he hasn't, whatever happens is usually correct and new and vibrant. It's just so fresh. One of the things that I find interesting with Chris is that regardless of what he plays, regardless of how simple and straightforward the thing he might choose to play, is you want to listen to it. Like it the feel he could play boom cha, boom cha, boom boom cha, and you want to listen to it. And anyone else plays the same beat and you tune out and it's just there's something there, there's something. It's always groovy and it's always interesting, regardless of how fancied. It doesn't have to be fancy for it to be compelling when he's playing. Yeah, I agree with it. It's very engaging. Listen. Where in the project did you decide this is going to be a coproject with Blake? Pretty early on? Actually, I think probably like two songs in. I think it goned on us at the same time, because I remember we had a we decided to meet up my place here in La and said out side and had a chat, and yeah, we were both on the same page. It just it seemslutely the way to go and the way I see it is, although it's my music and most of the ideas originate from me, you know, presenting them to Blake and having his reaction to them just took it in such an interesting direction. If it just absolutely was perfect to be a collaboration, and the guitar work on it is spectacular and unexpected and spectacular beautiful. A lot of it's probably Pino. I mean, the thing is, like we were just talking about this recently. The My approach to playing guitar on the record was so informed by getting to learn more and more about Pino's musicianship, you know, as a bass player, as a ranger, a writer like I started to become aware of note length and how much character there is in that. With him, it really was kind of trying to be an extension of of his musical personality. Would the tracks typically start with the three of YouTube and Chris playing together? No? Actually, never, never? Well, yeah, some of the ideas, as I mentioned, really a stamp from ideas of me and Chris had the prerecorded I think survibes, and then we would sometimes break them down in the studio in terms of maybe not using all the stuff that we recorded or all the parts of the drum kit. But from there was there more material that didn't make the record. Yeah, I mean, there are a lot more ideas hanging about. I suppose we arrived at the eight songs on the album, and for a while we wondered if that was enough. It's perfect here to me it is too, yeah, I mean, you know, I can't really listen to too many songs on a record, Like the first time it dawned on me that we actually had a record was when I got the opportunity to sequence to songs and just imagine what it would be like as a vinyl record. And then I'd finally let go of it and thought, yeah, it's a record now. It really feels like you've got enough here. Let's talk about jeff Ron. It started off with myself and Chris David my home in London and just jamming on some stuff. Chris came up with a beat that you hear featured three chords of the way into the song on there and I played just a baseline idea with it, and I went in the next day and listened to this beat and thought, wow, what a cool beat, and then I tried to write something new to it. So I wrote a chord sequence to It's like a four bar chord sequence with a sort of bridge idea, and so that's how that song lived for quite a while. It was just that, and we actually played it live a couple of times with Chris Stephen friends, and there is gigs that we did. It was the title was there just wrong? But I presented that to Blake and then we started MUK with chords a little bit. Still the same sequence, but just looking at putting some of the chords in a different order in the bridge and making it a seven bar bridge or nine bar whatever it is. I haven't counted it, and it didn't have a melody or any really fleshed out arrangement at that point. And then the first person we brought in was Larry, actually Larry Goldings. He came in and I had an idea for melody. We got Larry to play it on melotron with some sounds that I hear him playing that were like sampled Ben Webster horns or something like that, and then Blake had an idea to harmonize some of that stuff. So we just really was a very organic process. And then eventually Sam came in Sam Gandel and played on top of the melody and added all his sort of polyphonic stuff through the tune, just him playing chords on the sacks and just warming up some of his voices. The reason why this song is special to me on the record is because it's also the first time where we opened up this project together in the studio at sound City, which which I and my partner Tony Berg had the first time we got to open a song in the studio and and really kind of build things outside of the box, not from previous recordings. I think it actually sort of grew simultaneously. You know, we were listening back to what we were doing and kind of catching a vibe from you know, this, this other collaborator, which is the studio, you know, the space and the listening environment. I think that might be what feels so modern about it, is the intervention of the studio. Yeah, yeah, for sure. We're gonna take a quick break here and then we'll be back with more from Rick's conversation with Pino Palladino and Blake Males. We're back with the rest of Rick Rubin's conversation with Pino Palladino and Blake Males. How different is it playing on a session first, playing for your own piece, It's overall the same approach, because I'm reacting to the piece of music, whether it's or somebody else's and trying to bring something to it and just bring some light into it somehow. But if it's my own thing, I mean, I get a lot more time for one thing, you know. I could I could do something one day and come back the next day and message which is not always the best thing, is it. Sometimes your first instinct isn't the thing you know, and you have to be saved from yourself. So absolutely putting more time into something doesn't necessarily make it better. Yeah you can, you can exhaust possibilities, but you'll probably come back to your first instance. Tell me a little bit more about session work in general, just because you've done a lot. Tell me about that experience. What's it like playing with different people. What's it like if you like the material, what's it like if you don't like the material? I think fundamentally, the thing that I always come back to, you know, it's it's it's really you're being asked to plan on something as people they want you there. Obviously they've hear something that I've done and they want me to be a part of the music. So you know you're winning straight away there. If somebody's actually ask you to come because they want yet so so really, I think then it becomes really important how you turn out, how you present yourself. And I'm not talking about clothes or any of that. I'm just talking about what you bring to the studio in terms of like your confidence and your ability to communicate with people, it's really important straight away that you you try and set up some sort of you know, a way of dialogue. That's a that's a really important thing for me. And then the music is more than often, more often than not, the easy part of it. Once you've established that, you know you're there to do a great job, and you're over to communication and ideas. I think that's really important as a session player. If that thing even exists anymore, Like you, Houston, I'm not even sure it does. And then in terms of like when you hear the song sometimes views songs and I'm just so well, I'm so lucky to get to play on this thing. It's already sounds amazing and as long as I don't fucking spoil it, it's going to be great. How different are the different um playing on different genres of music in terms of what the feeling of the session is like, Yeah, fitting into into the genre, that's the thing. I mean. I've always felt like I wanted to just play the best possible thing I could think of winning that genre. I guess you need to be hit to a lot of music to be able to do that and have an appreciation for the different sort of skills involved in different genres of music. Yeah, I think there's a there's a similar role in producing as there is in being a session player, in that you you have to quickly infer what's what's not going to be spelled out for you, what's not going to be sort of explained, or what's not figured out by the artist, so that the artist can come in and has the freedom to focus on what is important to them. You know, whether you're you've got an instrument in your hand or not. You're everybody's on the same team, servicing the same goals and allowing each other to be themselves and do what they're they're they're special at doing pino. When you were early in your career, it would typically be playing on the floor with a band of musicians. Would that be correct? No, because I came through in the eighties, so it was more often than not sitting in the control room with a producer on an artist. Wow, because I think that was your experience as well. Yes, Yeah, I mean after being in a band and making a record with an ensemble, starting to do sessions with producers who layered things and solo artists, that was definitely the way that we would build records. Everything I ever did with you was always an ensemble recording. Yeah, so there were certain certain times where, for whatever reason, that's what you were doing. I remember the very first time that we worked together on an ensemble recording, and it was definitely, definitely it was wild. It was a fast learning curve because I remember the expectation was different than what was happening in the moment completely. I mean in so many ways too. There was like the question you had earlier about genre, you know, and how important that is or how much that can affect, you know, your approach. There was a bait and switch in terms of the genre that I was expecting we were going to be working in that day, you know, not not by anybody in particular or intentionally, but just we went in with a preconceived notion of an artist's background and their repertoire and what we were probably going to be working on. And then it did a complete one eighty and it was great because we all sort of responded to only what was happening in the moment, and we were creating new music that was not informed by you know, what we knew and come out prior or whatever. Yeah, I try not to even listen to an artist's past work before I work with them because I don't want to have any preconceived idea of what it's supposed to be. Just what can we do to make the best thing we can make? You know? Yeah? Same here? Have you two played on many things together prior to this? Good question? No? Interesting, I don't think so. No. I don't think I've ever played on anything that you would I would have known, I would have taken note of that same. Yeah, Yeah, it's interesting in it because it's different worlds in a way coming together. I never thought it like, yeah, interesting, I would. I would have guessed that you guys had done a lot of work together, would have been my guests. But fascinating that it wasn't the case. Yeah, that's what music industry is though, right, there's so many different parts of the music industry and different parts. Shown was a music that sometimes you just missed people you never connected. Blake, you're both a solo artist and play on everybody's records as well as producing records. On your solo works, do you have other people playing typically? Is it typically a bad? Not? Typically? The first record was mostly myself, layering with certainly some exceptions. And then the second record was much more of a celebration of some of my favorite studio musicians and and just musicians in general at the time, and getting to work with them with the support of a label behind me and being able to afford to do that at a big studio and try all that. And then the third record or I guess sort of subsequent projects after that were some form in between. I'm a little less moved by the idea of ultimately making something where all of those are extensions of my own musical personality. Typically, when you produce an artist, do you play on the on the record or not? Necessarily seems to be more the case when it's a solo artist. There's there's a little more room for performance from me. But in the case of the band like Alabama Shakes, for example, I barely picked up an instrument for the three months you know we worked on that album, say for maybe a tambourine or something like that. Her voice is so beautiful. Course, early experience of music, Tell me what was what first got you excited about music in your life? It was really MTV for me, and maybe it similarly Tupino, like an escape from schoolwork, you know, and other expectations from me. I just kind of fell in love with the stuff that was playing on MTV inbah One at the time, so it would have been Nirvana and Sound Garden, itallica. The commonality with all these bands and the music videos was always some iconic shot of somebody with a guitar. How old were you when you got your first guitar? I was ten and h and I bought it from a guitar store where if you got a guitar, you got you know, a certain amount of free lessons, and and I wanted to learn those songs, so it was kind of a it was just a direct access to sort of that fantasy world. And it was beautiful how how quickly a beginner could pick up some of those riffs and and all of a sudden be in the teen Spirit video, you know what I mean, Like, once you learn the part, you're you're transported. And I think even even before I took listening to music as something that could be really serious and transported it, I think the seeds were sort of planted that that this could be an escape. Were you hopeful to be a band? Was that the dream at that point. It definitely was once I was in high school and started to figure out that, like, you know, what kinds of songs girls liked, the girls that I was interested in, like who they were listening to. I was born a little too late for like the age of of guitar being you know, some kind of a symbol of mystery. And but but like songs, you know, like Ben Folds and Elliott Smith and Jeff Tweedy, you know, these were these were the heroes of not only my musical heroes, but like also you know, the the opposite sex. And in those formative years, you know, nothing is more important. So I started writing songs with a schoolmate of mine and we ended up forming a band called Simon Dawes and and they're still a band called Dogs today. And I think we went through the process of falling in love with records and the fantasy of of co authorship of songs together, you know, listening to Nick and Keith and Lennon McCartney and just having those teenage years, those formative years being formed by that music. I think, you know, it really imparted something on me in terms of an appreciation for the songs. Tell me about that journey as a player influences styles. I think the most like succinct way that I could talk about my playing as it pertains over like a long period of time, because you know, there's so many phases that you go through in life. But the thing that's always sort of remained steadfast is that I feel like my personality is prone to trying to find the exceptions to the rule, you know, like the sort of like I know that this is how it's supposed to be done, but what if, what if there's another approach, another way, another answer, and so on the instrument, I'm always thinking about that without thinking about it and searching for that, without you know, really spending a lot of time. I think I might just instinctively bypass something that feels obvious and try to come upon something a little less so, you know, a little more unique. What's the first thing you played on with Pino? The first time I got a chance to work with Pino was on the John Legend record, and we pretty quickly decided that we wanted to have a live rhythm section for that album, and so I reached out to Pino and Christa to sort of be the engine for this record with John. I kind of looked for any opportunity that I could find to do some playing on that record, to just get a chance to play with that rhythm section. But there wasn't a whole lot of guitar on the record. And after being amazed for three weeks straight, you know, hearing the ideas and the composition and the parts and seeing how it will come about, there's this other layer of the physicality of the tone, you know, and and and your hands, Pino, that that I don't think a lot of people even understand is a part of what they're hearing, you know, until they have an opportunity to try to fill your shoes. And those poor souls know it, like the guys who have to go out and play your your parts live, you know, and can't figure out how it is you're getting that tone, you know, or that that much weight, that profundity that was That was the thing that really kind of knocked me out. It is a lot more to the sound than the equipment turns out. Yeah, real depth. Thank you so much. Great seeing you both too. Likewise, once again, thank you for the album. It's awesome. Thank you. I'm gonna listen to it again today, thanks the Pino Palladino and Blake Mills for talking about their new album Notes with Adenagments. You can check it out on a playlist of all of our favorite Pieno Palladino feature songs and Blake Mills songs at broken Record podcast dot com. Be sure to subscribe to our YouTube channel at YouTube dot com slash broken Record Podcast we can find all of our new episodes. Broken Record is produced with help from Leah Rose, Jason Gambrell, Martin Gonzalez, Eric Sandler, and Jennifer Sanchez, with engineering help from Nick Chafey. Our executive producer is mio a Bell. Broken Record is a production of Pushkin Industries. You can follow us on Twitter at broken Record and please remember to share, rate, and review us on your podcast. Our theme musics by Kenny Beats. I'm justin Richmond.