WEBVTT

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This is a downbeat on ninety seven
to one The Freak. So if you

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well, let me do this first. Almo Draft House Cinema brings us this

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segment five locations in the Metroplex ninety
seven one The Freak dot Com your tickets

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for Demolition Man next Tuesday at the
Albumo Draft House Cinema in Irving. Something

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we've done in the past, like
a freaky Friday thing where we kind of

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switched things around. We did a
master's mix up. Yeah, I'd like

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to bring it back. I don't
know if we'll do it or not.

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I just checked no no kid turns
out No. But where we mixed it

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up and I did it for me
A word was me Skin and Danny both

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times, and a segment that we
did both of those times was anatomy of

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a song and they were really I
kind of almost like an hour long segment,

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kind of a big, powerful thing
and a lot of listeners like liked

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it, yeah a lot both times
and it was both we're you know,

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projects from the Bastards of Soul,
the band that Danny was in, and

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Skin was a producer of their second
and third record and helped get them going

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and released on his record label.
So joining us now live in studio is

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Jeff skin Wade, Wow front,
Jeff a star. I did ask earlier

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when he teased we're gonna have a
guest if it was gonna be a star.

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But it's Jeff skin Wade. Yeah, you're joining us now? Is

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it Jimmy the Cricket or Jimminy Cricket? Yes, Jimmy the Cricket Christopher okay,

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because he was always wishing upon a
star like you were. And then

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I walked in and you were disappointed. You've had some health scares and some

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stuff going on recent but the closest
you've come to dying in the last four

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years is your final call to Ron
Gilligan yesterday. There's that moment where you're

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like, so, at first I
thought it was Ron Gilligan's wife, and

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then when I realized it was Ron
Gilligan's sweet mom, I was like,

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we're probably crossing a boundary we should
not cross. But we're here and it's

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fun, so let's see how far
we can. Let's keep going. You're

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probably not listening, but I got
a text from Ron gill again. It

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was right about two o'clock. Did
you hear this I did. Hey,

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Mike, do me a favorite and
tell the guys at the radio station that's

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enough for today. What about my
response to you yesterday? Oh yeah,

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what was it? It was no
problem. We'll pick it up first thing

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in the morning, wait till tomorrow. Yeah, and I think you responded

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with twelve oh one looks good.
Yeah, twelve oh one is clear.

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Yeah, I've ripped you guys in
my text are on Gilliga. I'm like,

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they're stupid. Over kills a bit. Really sorry. We enjoyed having

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you this part. And he was
fine, He said, no problem,

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but my mom was on the radio. Yeah, so, which is always

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a sick cut down. Your mom's
on the radio hours after he'd said I'm

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off the grid anymore? Man that
run. He wasn't a star of the

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station yesterday. Huge and I know
you guys all saw he did dig up

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and find the actual pit past,
which I didn't know had my name written

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on it. Crazy more valuable.
In nineteen ninety three, we found out

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was the year ninety ninety three,
Dale Jarrett won and Dale Earnhardt didn't even

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crash. He got beat by two
one hundreds of a second. So I

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had some of the story wrong.
Let me ask you this real quick.

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Sorry, I don't think he's listening, and I don't I've never you idiots

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said I wanted the thing back,
which is I didn't want at all.

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But now that has my name on
it and it's just been sitting in a

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drawer for twenty five years. Don't
you think the right thing is for him

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to send that thing back to me? I thought? Emotionally drunk, Ben

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suggested that he would pay an excessive
amount of money to get that back in

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your hands. I was like,
Ben, I don't know, you're talking

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to an auctioneer. He's gonna take
us to thee. He's gonna win this.

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Ben's bidding against himself again. It's
so hypnotic. Then what's been nice?

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Ben has a little paddle in both
hands and he's on a pristine landline,

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just sounding great on the air.
So we saw that, well,

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we have a chance to our listeners
have a chance to hang out with this

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this weekend. Skin. Can you
what do you guy has given away this

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weekend on your show? For this
weekend? Oh yeah, so we have

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been giving away tickets to the Friday
night concert at the Kessler Theater. If

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you don't win tickets, go to
Duck Kessler dot org. You've probably heard

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the spots running on the station.
But there's a project that Danny and I

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worked on. It's been over a
year now and we're finally letting the world

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hear it called Silver Skylarks, and
we had a bunch of different guests on

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the record, and one of the
guests on the record is a legendary hip

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hop figure, Large Professor. He's
the guy that introduced NAS to the world.

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He worked with a tribe call Quest, you know, did tons of

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remixes for huge R and B artists
in the nineties, and he is coming

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to town to help us celebrate the
release of our first single. He's going

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to perform Friday night at the Kessler, and then he's doing a DJ set

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Saturday night at Lady Love with Adrian
Quesada of the Black Pumas who was also

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on the record and Uh and then
Friday night on the bill opening for Large

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Professor. The house ban is brand
New Funk, which we had at our

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free anniversary party. They're incredible.
And then also there's a DFW hip hop

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group from mine and Ben's past called
Schabasthi. They have not performed in well

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over a decade. Uh. My
record label reissued their record for Record Store

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Day this year, did a small
run and sold out of it. I

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have a copy fing phenomenon. It's
you're a fan of old school, like

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nineties, eighties nineties hip hop.
Yeah, wow, Yeah, dude,

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it's great, it's trippy. It's
kind of tribe in a way a little

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bit. Would you say absolutely,
yeah, it's so good that it's so

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pro One of the guys in the
band, Ty Macklin, went to booker

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t Washington with Erica, and he
did some work on Erica's first I say

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Erica Erica Badhu's first record, Bad
is probably more like late nineties, right,

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yeah, late late nineties. Yeah, that record was I think released

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in two thousand and one. And
uh. And so anyways, they haven't

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performed in over a decade, and
they were never going to perform again because

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one of the members of Shabbaz three
passed away last year while we were getting

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ready to reissue the record, and
they're like, will never perform again,

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And I was like, but would
you do it? If you're celebrating the

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release of Silver Skylarks and we're doing
this because of the label and they were

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like, that's compelling. We're in
and we're actually bringing in a guy they

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used to work with from Houston that
doesn't live here anymore. And so Friday

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night's going to be a really special
night that ties everything all together. And

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the main reason we're doing it is
because on Friday, we're releasing the first

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single off of Danny and Mine's project, and it's called Power Moves. Okay,

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So people that are planning on or
thinking about coming out Friday, like

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even my kid, my oldest no
No, texted me last night and was

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like, Hey, should I come
in town for this? And I go,

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Man, you can come in town
whenever you want, Yeah, and

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I go. Just to be clear, I'm not performing now. This is

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it's not a band that is playing
live as of now. Maybe it would

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in the future, I don't know, but that there's no immediate plans for

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this to be an actual live performing
product. This is an album that you

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and I produced and recorded together over
the last year year and a half and

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we're releasing the first single of it
and we're pressing it to actual vinyl Little

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forty five and it'll be available.
The first cut from this record, which

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we'll have a remix on the other
side. We'll get to that in a

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moment. But it's kind of explain
to people what this is, what their

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expectations should be, how this came
together, Just give a little bit of

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backstory on what all this means and
how it kind of came to be.

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Yeah, so there's two parts that
work concurrently here. There's the project Danny

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and I did, the Silver Skylarks, and then there's the record label that

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we're releasing it on, which is
Mine and Luke's and Works label. And

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we actually changed what we were doing
after Bastards of Soul because you know,

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there's two really great articles you can
go out there and read. Zach Crane

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from d Magazine wrote one yesterday and
Samanth Over at Dallas Observer wrote one,

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and they both did a great job
and articulating what this project exceptional music journalism.

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It's very very well done and very
thoughtful and mindful. Yeah, and

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so what happened was with Bastard's Soul, you know, they released their first

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record and then the pandemic hit and
then we decided, well, we're not

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going to tour because we're going to
send these boys out on the road,

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we can't tour. So we're like, well, because the music we're doing

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is more vintage or timeless, we
can do a backlog of material. So

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we started this plan of working on
two records. And in that band there's

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several different songwriters. Chris Holt's a
great songwriter. He's a way different songwriter

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than Danny, who's an excellent songwriter, who's a different songwriter than Stockslager.

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And so as they were doing all
these demos and working independently of one other

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because of the pandemic, the stuff
Danny was sending me was super funky and

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kind of was going to be a
departure from the previous Bastards of Soul records,

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and so in my mind, I
was like, all right, the

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third Bastards of Soul record might lean
more in this direction of this great stuff

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Danny's doing. And then, before
we got a chance to really get to

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some of that stuff, we've talked
about this on the station, the lead

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singer, Chadwick died unexpectedly and tragically
right after his son, his first son,

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was born. It was really just
a horrible time for all of us.

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And so when that happened, we
didn't do anything musically for like another

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seven or eight months, and we
went in there and finished up some lingering

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songs. That third Bastards of Soul
record was not supposed to sound like that.

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That ended up being a compilation record
because we had to finish it after

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Chadwick died. But there was still
all these demos that Danny had been working

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on that I Efin loved and wanted
to do something with, and so I

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was sending him some feedback like,
hey, what do you think about this?

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And what do you think about this? And he was very receptive to

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it. And so a year after
Chadwick passed, we went into the studio,

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just me and Danny and a drummer
named Amber Amber Baker, she goes

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by Lunar Ray and she's in town
this week and is going to be at

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the event, and just started laying
down the rhythm tracks. And then Jordan

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ash Grant, who works with Abraham
Alexander and had done so with Bastards of

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Soul, he started laying down keyboard
parts and we started fleshing out Danny's demos

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and it was sounding way different than
Bastards of Soul and very funky, and

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it reminded me of the records I
used to go shop for and dig for

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records from the seventies when I was
looking for stuff as a hip hop producer

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to sample, Like, we wanted
to make a record that simultaneously sounded new

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and old, if that makes sense, And that's just what I was hearing

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with Danny's demos. And I can't
thank Danny enough for being like, dude,

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when someone writes a song, they
want to control their song. Like

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that's even like in Bastards of Soul
there's three guys writing songs and everyone's you

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know, kind of territorial. But
this is what I heard, and Danny

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was like, dude, go with
it. And I think the record that

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we came up with is a really
nice representation of where Danny's head was with

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the music he was writing. And
then whatever it is the hell that I

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do kind of coming together. We
have a lot of incredible guests. We

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have Adrian kse Ouda, the Black
Pumas, We have large Professor who's going

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to be in town. There's one
rap verse on the record. It's not

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even a rap song. In the
middle of the song, suddenly a rap

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verse drops out of nowhere and it's
truly like one of the most influential people

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in my life. Large Professor is
an extraordinary producer, has worked with so

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many legendary guys. And the irony
too is this first single we released,

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Friday, Power Moves. We did
a remix with another legendary rapper, Cool

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g Rap, who Large Professor used
to produce tracks for back in the early

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nineties. So it all comes full
circle. It's hip hop, it's funk,

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it's West African funk, it's R
and B. It's all those things

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mixed together in a jambalaya. You
can read the like Skin mentioned, there's

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a couple of articles that you just
dropped yesterday on D Magazine and the Dallas

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Observer and one in D Magazine.
It pretty much is its focuses on an

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interview that Zach Crane did with Skin, and it's very long form and it's

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great and he gives you wonderful insight
into Skin's mindset on this. The Observer

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article, I think has some quotes
from Jeff and myself which kind of gives

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maybe a little bit more palatable understanding
of it. What you talked about is

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is pretty nerdy. It's it's very
hip hop centric, and you're dropping names

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and references that if you're not from
that world or at least adjacent to that

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world, that might be might not
understand, much like myself when I got

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into this project, when Jeff and
I started working together on this project,

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because like he said, and that's
what I want to make sure doesn't happen.

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And that's for Jeff to undervalue his
influence, his ideas, and his

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vision for what this project ended up
being. Because what I had was a

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collection of probably about twenty three songs
that I'd written basically from the when the

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when the lockdown happened, through my
time away from not working at all,

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when I when I left the ticket
and turning my resignation there and just kind

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of sitting around the house doing nothing
for a good while until this opportunity came

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up. I had a lot of
time, and I was spending it in

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a home recording studio, just kind
of churning out these ideas, some of

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them completely realized, fleshed out with
horn arrangements, with string arrangements, with

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guitar parts in mind, grooves,
drum beats, keys, all of that

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stuff that I was doing myself.
Some of it were just bits and pieces,

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and I would always Jeff was kind
of my I don't know, if

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not my muse, but kind of
my my springboard or or sound sounding board.

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Yeah yeah, thank you sounding board
to like, dude, is this

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any good? You know? And
and the stuff that I knew that he

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liked it would be immediate. It's
like, dude, this is dope.

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So I'd kind of like doggier those
things, like okay, all right,

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put that one aside, and we
ended up narrowing it down and when we

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had this kind of a collective idea, why don't we do something with this

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stuff with some people that we choose
that are, you know, kind of

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independent of what we've been doing before. And getting into the studio with him

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from it took me about one or
two sessions because, like he said,

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you get a little proprietary about what
your material and I'm like, these are

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He's got some ideas that I never
even thought of. And once I heard

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the results of just a couple of
those ideas, I was like, Okay,

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I'm done. I am no longer
the major producer of these songs.

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This is a collective, and probably
more than a collective, its skin running

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holding the reins on driving this bus. And it's not just I mean,

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it's ideas. It's more than it's
more than just what if we did this.

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It's like specific things. I want
to bring in a French horn,

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I want to bring in a clarinet
and a flute, and I want those

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instruments playing together because I know what
that's going to sound like. The Son

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of a Bitch is right every time. We never disagreed on one choice that

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was made for this record, and
more often than not, if I had

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an idea, he was like,
it was either I was thinking the exact

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same thing, or I love that, let's try it, which is very

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different from working in a band,
very different because there's a lot of egos

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in a band. Even if you
think the idea is good and you're in

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a band, you're still gonna say, but what if I did this?

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Because you want to put your stamp
on it too. Otherwise you're just backing

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up a solo artist. And I
get that dynamic. But I really really

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enjoyed this, and dude as good
as Skin is on the air as a

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talk show host and as great as
he is at court side reporting and interviewing

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dudes after MAVs games. He's a
better music producer than both of those things.

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And I'm not kidding, because I've
worked with him and seen those things

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as close as any human being can. I would say he is at his

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best and excels the most as a
music producer. And I don't say that

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lightly, and I don't say that
just because he's in the room. I

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say it because it is my truth. I absolutely believe that he's incredible.

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This is incredibly uncomfortable. I'll never
live up to that reaction, but but

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I do. I do believe this. If the material is already there,

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producing it is easy. And the
material was already there. One of the

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things it's cool. One of the
things it's super cool about, Like even

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the first single when Danny sent it
to me, it was just a bassline

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and a drum loop and this one
little guitar part, and what I heard

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out of it that I don't think
because we have different backgrounds, I immediately

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go, dude, this is a
breakdance track. Oh, this is this

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is this is the this is the
foundation for the kind of record that in

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the seventies dudes would break dance on
cardboard in the streets too. And so

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let's take your idea and make it
a breakdance track, and it ended up

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not only being the first single,
but it now has a remix with f

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and Cool g rap on it,
one of my favorite rappers, Let's do

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it. Yeah. Yeah, So
this is the debut of the album cut,

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the album edit of of a song
called power Moves. Yep, Jeff

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and I produced this music together and
it's coming out on a record called the

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Number One Set and Sound, which
will drop in early May, I believe.

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Yeah. And let's just say on
this is aduring case out of the

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Black Pumas Jordan ash Grant who works
with Abraham Alexander. The singing duo is

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us that works with Sir Woman and
Abraham Alexander, and it's it's a hell

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of a lot of fun. It's
go get your cardboard out and break dance

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during this Comama called that's as taking
a mus taking not Now, we should

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probably tell people that a power move
is a specific move in break dancing.

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That's a real aggressive move. That's
just that's like a finishing move and wrestling,

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yeah and so, and it's also
power move is when someone puts their

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flag down like the Mavericks did in
twenty eleven. So yeah, that's kind

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of what that's about. That we
want that to speak to people that want

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to hit the dance floor. Dude, that's how funky as hell. That's

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badass is cool. I thought was
like Jurassic Five when started, I felt

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that, but then it's just kind
of like a driving beat, and then

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the scene felt like I don't know, like you said, African beats or

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something, I don't know, it's
here. It's yeah, it's polyrhythmic.

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Yeah, yeah, and uh and
then along those same lines, like that's

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the kind of thing that hip hoppers
would sample in the eighties and one of

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the guys who used to murder fast
beats like that is cool g rap,

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and so to have cool g rap
on the flip side. Uh, you

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got to hear the remix too,
because you guys, are you guys gonna

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play the remix later today on your
show? Yeah, and we're giving away

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tickets. Yeah, we want everybody
to go to both Friday and Saturday night,

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especially Friday at the Kessler. Go
to the Kessler dot org to get

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tickets. But we are giving away
tickets on the Bend and Skin show.

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So uh, listening some point today
and we'll give away tickets to that.

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And what's going on Saturday night.
Saturday Night at Lady Love is Adrian Quesada,

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Grammy winning, Grammy nominated producer and
guitarist for The Black Pumas is DJing

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with large producer at Lady Love.
You've been to Lady Love, I mean

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Lady Love on any night is If
you haven't been, just go because it's

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just the vibe is amazing and it's
just as cool as it can be in

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Dallas, and it's in Bishop Art's
ray Bomb. I'm I'm be at both

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nights. I'll be at Yes and
we are gonna get wasted. And that's

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what we want to invite. We
want to invite everybody to do because it's

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gonna be a fun night. There's
gonna be killer music all night long,

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and we're gonna be drinking and hanging
with you. Like Danny said, we're

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not a touring band, but we
want everybody to know about the record,

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and so we wanted to throw parties
to celebrate the release of it. And

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of course we always want to kick
it with freaks and gleans. Hell yeah,

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I said I could see that score
do an episode of The Bear.

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Oh hell, and I'm like,
right when I read that, I kind

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of pictured like a Chicago I don't
know whatever. Keep in mind that sick

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ass drumming that's done by like a
twenty eight year old lady. Really she's

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incredible. Yeah. Yeah, And
by the way, Amber was you know,

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she's moved to La but she was
a big listener of the Freak.

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That's how we got looped in in
the first place. I knew people that

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knew her, and she's like,
oh, I listened to They'll show.

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We're like, well, you're a
badass drummer. Meet Danny. Let's go.

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That's easy. Fifty year old wife. Man, he wrote some songs

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that's easy to like on one listen
and the complexity of it, like I

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don't even hear it all. But
man, just dance baby, Just dance

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baby. We will dance Friday night
at Kessler and please join us. We

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got Cash and Mary coming. I'll
be There's gonna be there forget little crew.

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But yeah, man, anyone wants
to just have a good ass time

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do it with with these boys at
the Kessler on Friday. Come drink with

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us. You know. One dere
Lively on the Benskin shoes as well,

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and more, and