Category Archives: Pickin’ Players Interviews

Larry Keel is an award-winning innovative flatpicking guitarist & singer/songwriter hailing from Appalachia and currently residing in historic Lexington, VA. Raised in a musical family steeped in the mountain culture of the region, Larry began from an early age to forge a distinctive sound, taking bluegrass & classic country music and infusing those styles with a rock edge and elements of improvisational jazz. With the acoustic guitar he has brought the flatpicking form to its highest level of sophistication and sonic power with his muscular yet refined style of playing. As a songwriter with a catalog of nearly 100 original compositions, Keel integrates raw honesty and charming grit to create music filled with reality, imagination, imagery & vibe. He has appeared on over 20 albums, 12 of which he produced, and has written songs that have been recorded and performed by distinguished artists including Grammy-award winners Del McCoury and The Infamous Stringdusters. He has performed at iconic venues including Tokyo Disney, Carnegie Hall, Town Hall NYC, Red Rocks Amphitheater, Hardly Strictly Bluegrass, LOCKN, High Sierra Music, Bonnaroo, Del Fest, Hulaween, and countless more. He has inspired and merged creative forces with some of the greatest artists in modern roots music such as Tyler Childers, Billy Strings, Greensky Bluegrass, Keller Williams & Sam Bush, to name a few. Larry Keel is revered by critics at Relix, JamBase, Bluegrass Today, No Depression, AXS, & Rolling Stone, who dub him “one of the finest flatpickers around” and describe his unparalleled live performance “taking songs up a notch with psychedelic hillbilly shredding.” While C-ville Weekly claims, “Keel is doing for bluegrass what Hendrix did for rock, what Miles did for jazz- exploring the unchartered possibilities, defying the limitations of a deeply established musical form.” The energetic & interstellar project, “Electric Larry Land” presents Keel’s simultaneously gritty and suave original music applied to an electric format, creating what he calls a “sonic groove-and-vibe machine”. With this unit, Keel gives rein to his innate drive to expand his songs and playing style with this high-powered, highly creative and highly accomplished 4-piece band comprised of electric guitar, acoustic guitar, bass and drums. It’s dynamic Acoustic Rock at its finest.

I had the pleasure of catching up with my friend Mr. Larry Keel ahead of the April 16 event at the Stoughton Opera House. Larry and I spend some time going over just who is in this new project and what the sound and style will be like in a live setting. Each member of this group (now minus the mighty Jenny Keel), seems to fit riGht on in to what he hears and envisions to make this music come alive. Speaking of the music, there is new music coming out with this group so we talk about how it is getting released and how listeners will get to spend time with this new music as well as new tunes he is writing alongside friends of this proGram, Del McCoury and Sam Bush. We chat about recent Keller & The Keel shows and shows of the future for them as the album Grass celebrates its 20th ear with a tour. You can easily tell just why I dig on the person that Larry is almost as much as the artist he is as we get our hands dirty talking about the upcoming garden [plans and what’s already getting started in the greenhouse. Great people = great art.

Identical twins Daniel and Danny Chavis originally hail from Raleigh/ Chapel Hill, North Carolina programmer Hayato Nakao, originally from Japan, hooked up with the Chavis brothers while living in New York. Forming the main members of the Veldt. Lifting their band’s name from a Ray Bradbury science fiction story, their own life stories have also been quite fantastic. After signing to Capitol Records in 1989, The Veldt were soon in the studio with dream-gaze guru Robin Guthrie working on their initial recordings, playing American= concert halls with Cocteau Twins and The Jesus and Mary Chain, and recording ‘Marigolds’ with Lincoln Fong (Moose). Not long after, they would record their classic ‘Afrodisiac’ (1994), produced by Ray Shulman (The Sundays, Bjork, Sugarcubes) and released via Mercury Records. They have also collaborated with TV On The Radio, Mos Def and Lady Miss Kier (Deee-Lite), and shared the stage with The Pixies, Throwing Muses, Echo & The Bunnymen, Cocteau Twins, Manic Street Preachers, The Jesus and Mary Chain, Oasis, Chuck D, Living Colour, and Schooly D. Recent years continue to be been monumental, with highlights including sold-out tours with Phantogram and The Brian Jonestown Massacre, a European tour, two separate Canadian tours, appearance at some of North America’s and Europe’s hottest psych fests, a spotlight feature on Time Warner Cable TV and being named as east coast support for Modern English. They have been on tour with Chameleons as part of the Arctic Moon Tour for over a year now. Performing since they were children, the Chavis brothers’ musical roots lead back to the church and southern juke-joints, and listening to music that included gospel, Motown and Pink Floyd. The Veldt formed in the late 80’s in Raleigh amongst the royalty of the legendary North Carolina music scene, including bands such as Superchunk, Archers of Loaf, The Connells, Dillon Fence, The dBs, Squirrel Nut Zippers, and Ryan Adams. Pitchfork recently included their album ‘Afrodisiac’ in the top 50 shoegaze albums ever released and Stereogum included a single from that album, “Until You’re Forever” in their list of 31 essential shoegaze tracks. Their sound also inspired future generations of alternative artists, including TV On the Radio & Bloc Party.

I had the chance to catch up with Danny Chavis ahead of the April 8 event at The Majestic in Madison, part of the ongoing tour for the Veldt with Chameleons. We get into what a new person to the shoegaze scene might expect at a show featuring these two acts. The history in the room alone is a testament to working around the industry. We also learn about new music that will be able to take home if in attendance to one of these upcoming shows as well as new music coming out soon in an album form. I could not help but help guide listeners new to this band to the ‘Afrodisiac’ album from 1994 as a starting point – this is an epic album for me as I remember navigating around this particular sound. I was so thrilled to just sit back and listen to the types of bands from back in the day to the new music being made today that Danny was aware of. It was a study session for me and hopefully for you as well. The Veldt are an important fixture in my ear – not only as musicians but as people who stand for similar things as I do.

Seattle-based Polyrhythmics are celebrating 15 years of sonic exploration with the release of their highly anticipated new album, Life from Below. Since forming in 2010, this seven-piece powerhouse has redefined instrumental music with a sound that blends funk, soul, psychedelic rock, R&B, & Afrobeat into a kaleidoscope of rhythm & groove. Known for their dynamic live performances & innovative compositions, the band has earned a reputation as one of the most captivating acts on the contemporary music scene. Polyrhythmics emerged from the rich creative soil of Seattle’s eclectic music community, releasing their self-titled debut album in 2011. Since then, their discography has grown to include fan-favorite albums such as Octagon (2015), Caldera (2017), & Man from the Future (2020). Each release showcases their fearless exploration of genre boundaries and their commitment to crafting vibrant, deeply textured soundscapes. This year’s Life from Below marks an exciting new chapter for Polyrhythmics, delivering a fresh collection of grooves infused with the bold creativity and signature tight-knit musicianship that fans have come to expect. As they celebrate their 15th anniversary, the band reflects on a decade and a half of musical evolution, countless miles on the road, and a loyal community of listeners that continues to grow. Over the years, Polyrhythmics have graced stages at major festivals and renowned venues across the United States and internationally, sharing bills with legendary artists while carving out a distinct space in the global funk and soul scene. Their music—equal parts danceable, thoughtful, and immersive—offers a rich listening experience that draws from the roots of American funk and soul while incorporating global influences. With Life from Below, Polyrhythmics look forward to the next chapter of their journey—pushing boundaries, creating new grooves, and bringing their celebrated live energy to audiences around the world.

I had the chance to catch up with guitarist of Polyrhythmics, Ben Bloom. We got into the upcoming live event in Madison at Atwood Music Hall on October 23rd. Ben gives us a low down ahead of the get don of the dynamic live scene they are known for. We go head first into the new album, and discet one song in particular that makes all parts of my self groove. It would not have felt right to let Ben go without having him let us know just which song (s) off the new album he’d spin if replacing me in the studio, and just what he may add to it to fill up a set.

The three members of Tarbaby – pianist & friend of the proGram, Orrin Evans, bassist Eric Revis, & drummer Nasheet Waits – share a long history together, dating back to well before the formation of the trio. They share core beliefs about acknowledging the over-arching tradition of the music while being true to one’s own story; they’re an ensemble of serious intentions and riotous humor, fervid spirit and fierce intellect, passion and purpose. All of that melds and collides in their provocative and risk-welcoming sound. The New York Times has hailed the trio as, “a strong postbop collective with plenty of moves at its command: advanced rhythmic calculus, sly harmonic implication, [and] cohesive elasticity.” Lucid Culture described Tarbaby as, “Intense, enigmatic, often very funny… Darkly melodic, fearlessly spontaneous and bristling with combustible energy.” 2024 saw a bold new release from the eclectic power trio. For the first time in a career marked by collaborations, You Think This Is America marks the first time that Tarbaby has recorded an entire album strictly in piano trio format. Recorded live at New York’s Hunter College for photographer/engineer Jimmy Katz’s Giant Step Arts imprint, the confrontational date mixes originals with wide-ranging covers by Ornette Coleman, David Murray, Andrew Hill, Sunny Murray, & The Stylistics. Tarbaby didn’t set out to become a band. It arose from a conversation, one that in many ways had been going on for decades and continues to this day. That dialogue centers on the respect, or lack thereof, with which “jazz” (in these discussions, that word is often voiced tenuously if at all) is regarded by those who claim to uphold its traditions. The music’s origins are a key factor, especially as they are so intimately tied to uncomfortable facts that many, even those who reap its benefits, would prefer to ignore.

I had a chance to catch up with legendary bassist, Eric Revis ahead of the September 10th TARBABY event at Arts + Literature Laboratory. Mr. Branford Marsalis states, “Eric’s sound is the sound of doom; big, thick, percussive.” Scores of musicians across various disciplines agree. Revis has performed and recorded with Betty Carter, Peter Brötzmann, Jeff “Tain” Watts, Jason Moran, Kurt Rosenwinkel, Steve Coleman, Ralph Peterson, Lionel Hampton, McCoy Tyner, Andrew Cyrille, & Tarbaby, the experimental trio he tri-leads with Orrin Evans & Nasheet Waits, as well as with Options, also with Waits, and the legendary Bennie Maupin. In addition to manning the bass chair in Branford Marsalis’ revered quartet since 1997 (scoring a Grammy in the process), Revis has also recorded eight brilliant and wildly diverse albums as a leader, teaming him with visionary artists like Jason Moran, Ken Vandermark, Kris Davis & Andrew Cyrille, and appeared on the soundtracks to the Netflix features Ma Rainey’s Black Bottom & Rustin. Mr. Revis and I talk about what one could likely plan for at a TARBABY live event, we dive deep into the name of the band and how the conversations around that sound in 2025 and we dissect some of the music on the latest record. We find out when the album featuring Ursula Rucker might be dropping and if in fact, Mr. Marsalis does noodle. This is a conversation about friends making music with a purpose of what has been missing, keying in on those feelings and continuing to write the history books with a new language based of the old ways. This is music that makes me stand taller and try harder and is sure to provide many expressions and how to find yourself best suited in the places you’re in.

Whenever Oliver Wood isn’t touring with The Wood Brothers, the Grammy-nominated roots trio that he co-founded in 2006, he typically begins his mornings the same way: in Nashville, at home, with a coffee cup in his hand and a notebook in his lap, sitting in a chair in front of the window. Many of the songs from his latest solo effort ‘Fat Cat Silhouette’ began taking shape in that chair. Produced by his Wood Brothers’ bandmate Jano Rix, it’s an album of unexpected twists & turns. Longtime fans will recognize the earnest, elastic voice that has always anchored the Wood Brothers’ mix of forward-looking folk and southern country-funk, but Fat Cat Silhouette doesn’t spend much time looking backward. Instead, it abandons convention, breaks a few rules, and positions Oliver Wood as a roots-music innovator who’s every bit as interested in the process as the product. Oliver wanted to step out of the norm on this one. On the album’s opener, “Light and Sweet,” he matches an imaginative storyline with a melody that leaps from ground level into the stratosphere. Eight songs later, he brings things to a close with “Fortune Drives the Bus,” which he recorded on an iPhone in his own backyard. While tracking the rest of the album to analog tape, Wood pushed himself to keep things weird. Wood’s years of experience have left him with a wide circle of collaborators, and ‘Fat Cat Silhouette’ features performances from guests like Los Lobos’ Steve Berlin (whose saxophone can be heard on the groove-heavy numbers “Whom I Adore” and “Yo I Surrender”), Ted Pecchio who handles bass duties throughout the collection and Marcus Henderson (who contributes flute & fife to “Whom I Adore”). Co-writers like Sean McConnell, Seth Walker, & Ric Robertson lend their help, too, while Katie Pruitt tackles a verse on the heartbroken soul ballad “Have You No Shame,” which was written by one of Wood’s mentors, the legendary Atlanta musician and songwriter Donnie McCormick. Jano even pulls double-duty as producer & musician, anchoring the album’s mix of mystery & melody with his percussion & keyboards. Despite the stacked guest list, some of Fat Cat Silhouette‘s best moments find Wood and Rix working together as a duo. On “Little Worries,” Wood sketches a picture of a reflective morning in his armchair, a cat in the window, pancakes in the skillet, anxieties crossing and leaving his mind — over Rix’s inventive pulse. Later, when time constraints prevented them from adding horns to “Star in the Corner,” they chose to sing the horn parts instead. A little less typical, indeed. That might as well be Fat Cat Silhouette’s mission statement. This is an album that finds the art in the unexpected, and Oliver Wood, whose songwriting & vocal chops remain as sharp as ever, at his most adventurous.

It has been a long time that Oliver Wood and I have been catching up about what is going on. I have had his brother Chris on a few times as well to talk Wood Brothers, but t s typically Oliver who plays catch-up. He is going to be at the Stoughton Opera House on April 30th with Dave & Dave of Trampled By Turtles, and Seth Walker. We north marveled over the possibilities of what his night could be bringing and then got into what a solo set of his could shape up into. He reminded us a little about how his most recent release, ‘Fat Cat Silhouette’ went down and we even got into a little bit about his work on Seth Walker’s new album which dropped on April 4th. It’s always nice to hear his voice on the other end of the phone, not quite as great as hearing it singing songs, but I am thinking this treat we will be getting at the Opera House is going to be one of those that is hard to forGet.

Photo-by: Alysse Gafkjen

In the midst of recording his 12th album, wavering in his resolve to finish what he’d started, Seth Walker came to a realization. No album is trapped in amber, no song is set in stone. Distance colors compositions over the years and each album is left as a reflection of its own period in time. This idea played a big part in shaping ‘Why The Worry’. Now, the other half of knowing is letting go; letting go of the worry about perception, the worry of over-preparation, and the worry that seeps in constantly from the news and noise of everyday life. The new album finds Walker reunited with old friends and familiar names. Once again Jano Rix steps behind the boards, co-producing the album with Seth & engineer Brook Sutton. In the producer’s 5th outing he’s become an invaluable sounding board, the kind who knows what’s missing and, just as importantly, what needs to be taken away. Oliver Wood (The Wood Brothers) lends a pen to the title track, and Seth’s classically trained father Scott adds strings to “I’m Getting Ready,” a song penned by Walker’s contemporary Michael Kiwanuka. Mostly, though, the record was shepherded into shape by Walker’s trio, rounded out by longtime confidants Rhees Williams (Guitar, Piano) & Mark Raudabaugh (Drums). The 3 let the studio guide them, entering without agenda, set straight by the title’s mantra to stop worrying where they’d end up. But worry always tries to creep in. It’s inevitable, isn’t it? The album was just about finished when Hurricane Helene hit Walker’s region in the mountains around Asheville, and as a result, the record almost didn’t see light. As catastrophe took shape and literal bridges were broken, the album’s importance wavered in Seth’s mind until the central theme came back into view. The worry wouldn’t undo any damage, and there was still service in song. There’s a telling nod in the album closing with Bobby Charles’ seminal ode “I Must Be In a Good Place Now.” Why The Worry is a spiritual reset, watching the sunrise over the mountains. It soaks in like warmth on the skin after a night of shivering in the dark. Charles isn’t the only notable scribe among the track list, an even mix of Walker’s originals and a carefully curated crop of covers that rifle through the past and present. Setting the course are two gems from JJ Cale, whose sanguine saunter leans well into the album’s themes of amble and ease. Walker opens the album with the smoke ring sway of Bill Withers, turning the lights low for a gently funked rendition of “The Same Love That Made Me Laugh.” The groove grows deeper on Al Green’s “Take Me To The River,” putting a distinctly reclined feel on the soul classic. The breezy feeling extends to the originals as well, injecting a bit of Cale’s country funk into “Up On The Mountain,” soaking spring air and hope into “Supernatural Thing,” and melting nostalgia into meditation on “Midway Girl.” Why The Worry follows a string of critically acclaimed albums from Walker, garnering praise from NPR to The Washington Post. He’s been found on the road with The Mavericks, The Wood Brothers, Raul Malo, Paul Thorn and Ruthie Foster among others. He recently penned “Moon and Stars” – the title track to The Mavericks new album, sung as a duet with Sierra Ferrell. Walker’s latest album Why The Worry is out on tomorrow, on Royal Potato Family.

I had the chance to catch back up with Seth Walker (it has been a few years since last we spoke and I’ve been paying attention) and he will be back this way on April 30th at the Stoughton Opera House with Dave & Dave of Trampled By Turtles and his longtime pal (doing a short run with) Oliver Wood. What a incredible line-up for all of us who get to be a part of it. He sounded as blown away as I feel about it. We got into the joy of this upcoming show, but we started with getting into his brand new (just dropped April 4th) album ‘Why The Worry’ on Royal Potato Family Records. We kinda go seed to flower, dissect a few tunes off the release, and discuss how he and Oliver worked on their offering on the record and more. When I said I have been paying attention, it all comes back to this moment and this album, it’s really got that truth to it that I search for. Seth also gives some thought to a setlist and he gives love and props to our pal Kevin over at Royal Potato Family. Finally, we will have to check in and find out who wins the tennis matches on this short run. Deuce.

Photo by: Parker Pfister

mssv, made of guitarist Mike Baggetta, Stephen Hodges on drums & mike watt on bass, creates music that is an unimagined hybrid of a punk power-trio, noir-tinged adventure music & a dreamy experimental rock band, though they prefer the term “post-genre.” Their latest full-length album On And On is the 3rd studio album featuring brand new songs that were written by Mike Baggetta before their 58-show 2023 US tour and performed every night, then recorded & produced by Chris Schlarb at BIG EGO Studio in Long Beach, CA immediately after, and features artwork by the great John Herndon (Tortoise, A Grape Dope, Isotope 217). The digital version of the album features these 8 separate, boundary-pushing tracks, while the limited edition vinyl features these pieces joined into 2 continuous side-long movements by 6 additional band-improvised interludes. The subject matter here, while being universally relatable, is filled with personal references, stories of his and the band’s friends & relationships, and one song Despair & Hilarity includes lyrics written by one of Baggetta’s most important musical collaborators, Steve Gigante (currently of OMFU + The Scrapers, (VIP) Ditchfork, formerly of W-S Burn, 7 Year Rabbit Cycle). Continuing to explore the seemingly endless depths of Hodges’ & watt’s musicianship & skill over the many tours & albums in mssv has grown an instantly identifiable sound from Baggetta’s songwriting for this band. But the trust that has formed between them, that comes from long-running musical partnerships, has also made it possible for mssv to explore more interesting ways to incorporate improvised music into the lives of their songs. On And On skillfully combines all of these elements into a newly evolved lens for the music of mssv, deftly displayed in this album as a high concept love letter to everyday life. There’s no telling which way the band will turn at any given moment, a proposition that becomes a promise when they break down and reassemble these songs live, with an instinct for restraint and an openness to anarchy.

I had the pleasure of catching up aGain with Mike Baggetta as mms embarks on a new tour (52 shows in a row) with a stop here in Madison on April 17th at the Gamma Ray Bar. We get into talk about the live experience. I was ready to share my thoughts after seeing them the last time they were here. There is not a lot of ways to describe the journey the trio takes you on when we all are aboard in the same room. We go head long into the new album, ‘On & On’, getting a taste of what it was like working through the songs while they were out on the last long run of live shows. We talk a 7 inch new single called ‘Even So’, on the flip side of Thousand Dollar Movies’ ‘Block Out The Sun’ on Four Fingers Records as well as working in more lyrical content. So many people would like to get a chance to go see this trio live, I say take a trip to the closest space they are going to be at – it’ll be worth the ride(s).

Larry & Joe is the duo of Joropo maestro Larry Bellorín (Monagas, Venezuela) & Grammy-nominated bluegrass & oldtime star Joe Troop (Winston-Salem, North Carolina). These two virtuosic multi-instrumentalists fuse their respective Venezuelan and Appalachian folk traditions on the harp, banjo, cuatro, fiddle, upright bass, guitar, and maracas to prove that music has no borders. Their engaging bilingual (esp / eng) program includes storytelling, humor, singalongs & dancing. Larry hails from Monagas, Venezuela and is a legend of Llanera music. Joe is from North Carolina and is a GRAMMY-nominated bluegrass and oldtime musician. Larry was forced into exile and is an asylum seeker in North Carolina. Joe, after a decade in South America, got stranded back in his stomping grounds in the pandemic. Larry worked construction to make ends meet. Joe’s acclaimed “latingrass” band Che Apalache was forced into hiatus, and he shifted into action working with asylum seeking migrants. Then Larry met Joe. Currently based in the Triangle of North Carolina, both men are versatile multi-instrumentalists and singer-songwriters on a mission to show that music has no borders. As a duo they perform a fusion of Venezuelan and Appalachian folk music on harp, banjo, cuatro, fiddle, maracas, guitar, upright bass, and whatever else they decide to throw in the van. The program they offer features a distinct blend of their musical inheritances and traditions as well as storytelling about the ways that music and social movements coalesce.

I had the chance to catch up with Joe Troop ahead of Larry & Joe heading into Madison on February 5th at Arts & Literature Laboratory. Joe and I spend some time defining what a Larry & Joe event will be like, from the history of the music to the even futuristic sounds of this unique duo. Joe and I discuss the creation of their brand new album ‘Manos Panamericanos‘ and how it went from idea to final product, but moreover, we talk about what goes into it and how it will translate into their live events. The very interesting part of this duo besides the sounds they create toGether, is how the two met and began their relationship, as artists but more importantly, as people. Finally, Joe gets a chance to build a setlist around one (or two) of their tunes and we do learn about some of the Wisconsin type experiences, including walleye, Supper clubs and of course, cheese they look forward to partaking in.

G. Love & Special Sauce is an American Hip-Hop Blues band known for its unique fusion of hip-hop, blues, funk, & soul musics. Formed in 1993 in Philadelphia, Pennsylvania, the band originally featured Garrett Dutton, aka G. Love, as the lead vocalist & guitarist, Jeffrey Clemens on drums, & Jim Prescott on bass. The trio quickly gained attention for their laid-back, groovy style and G. Love’s unique vocal delivery, blending rap-like spoken word with bluesy ‘sanging’. Their debut self-titled album, ‘G. Love & Special Sauce’, was released in 1994 on Epic Records and included the hit single “Cold Beverage,” which became popular on alternative radio stations & MTV, solidifying their presence in the music scene. The band’s style has been described as a mix of “slacker blues” & “alternative hip-hop,” as they frequently incorporate elements of 90s hip-hop beats with classic blues rhythms. Over the years, G. Love & Special Sauce has released numerous albums, including Coast to Coast Motel (1995), Yeah, It’s That Easy (1997), The Electric Mile (2001) and the GRAMMY nominated The Juice (2020). Their sound evolved to include more soul, R&B, and rock influences, though they retained their laid-back vibe and clever lyrical play. Their 2014 album Sugar saw a reunion of the original lineup after several years, and they continued to tour and produce music with a loyal fan base. Known for their energetic live performances, G. Love & Special Sauce has played at festivals like Bonnaroo & Lollapalooza. Garrett Dutton also frequently collaborates with other artists, including Jack Johnson, with whom he shares a similar vibe, and has released solo projects that dive deeper into his blues influences. G. Love & Special Sauce remains a beloved name in the music scene, blending genres in a way that feels fresh & authentic.

It is always a good time when I get a chance to catch up with family to the program, G Love. This time he is heading on back to Madison with The Special Sauce to get busy at the High Noon Saloon on January 8th. We get into what someone who doesn’t know might find out if they attend this show. We spend a good amount of time discussing an album that both of us think didn’t hit in the ‘rankings’ as much as it should have, the 2022 release ‘Philadelphia Mississippi‘. This outstanding collection really made me go back in time to my first taste of the special sauce, that combination of both raw blues AND hip hop really sat well with me and this album has that feeling. We specifically call out the working with Mr. R.L. Boyce in particular, and G spills the beans on an upcoming release (due around April 2025) from the overflow of tunes worked on with Mr. Boyce (he since has passed) during this original session. Since it is right around the holidays, we get into his new Christmas music, especially ‘Fishing For Christmas’ and how much he loves to create the holiday tunes, and how a little different this one went down. Which brings me to a couple of times we get into the business of it all, we both find the art more important than the money, but it is amazing who gets to have it all. We talk L.L. Cool J & Taylor Swift as well as what would we be spinning on his console if we got toGether to spin some tunes. Just two G’s once again keepin’ it real for the people who feel.