Andrew Gouche Interview on
The TrevBeats Show 

Cold Open [0:00] When I got with Prince, the first thing I said to him, I said, hey man, look, whatever you want me to do, however you want me to do it, just let me know. [0:11] And his exact words to me were, I called you because I want you to do your thing. [0:21] But if there's something specific, I'll tell you. And that's what he did. I'll never forget, man. [0:29] We were playing “Cool.” Boom, boom, boom, boom. Yeah. Boom, boom, boom. [0:37] I found out that Prince hated ghost notes. He hated ghost notes. [0:45] And so your natural inclination as a bass player, so I'm going, I'm putting the little things in there. [0:56] And he actually stood right in front of me one day. [1:02] We played “Cool” literally for 30 minutes straight [1:08] to the point where I started looking down at my neck and started hallucinating. My notes started moving. [1:16] I started getting so out of focus because we'd play the same thing over and over again. [1:23] Because he was standing in front of me going, dun dun dun dun dun dun dun dun dun. [1:28] Like he was telling me, don't play, don't play anything in the spaces. But that was something that I'd never been exposed to. [1:37] So I learned how to do it once again. [1:39] I grew, you know, people ask me, well, you know, Prince is so phenomenal. Like, what did you learn from him? I learned how to play. [1:49] Real quick, if you're new here, welcome to The TrevBeats Show. Hit subscribe so we can keep building together. And to my regulars who show up every time, I see you. [1:58] And your viewership means everything. [2:00] If you ever wanna help fuel this channel so we can do even bigger things, you can grab some fresh gear from the merch store below or jump into the backstage membership next to the subscribe button. [2:08] Now back to the show. The TrevBeats Show, The TrevBeats Show. [2:29] Welcome back to the TrevBeats Show. I'm your host Trevor Lawrence Jr. And today we have somebody very special. [2:37] If you ever listened to gospel R&B, pretty much everything, funk, soul, whatever, you've heard this man's touch on the bass. [2:46] Now he's known worldwide as one of the godfathers of gospel bass. [2:50] And fundamentally he altered the low end on how that is just being used today. He's one of the people that changed the way it used to be. [3:00] From just doubling the organist's left foot, playing basic stuff, to really letting the bass be out front and being melodic, [3:08] and just becoming another backbone of the music in a completely different way. [3:12] So from the origins coming up in church with the legendary Reverend James Cleveland, [3:19] to decades holding down, you know, music directorship for people like Chaka Khan, winning Grammy Awards [3:26] with people like Mary Mary sharing the stage and the studio with Prince and the NPG, his pocket, his tone, his touch, all unmatched. Family,. [3:38] Please welcome the one and only Mr. Andrew Gouché. [3:43] Man, all that stuff you said, I was like, wow, who is that? [3:55] I want to meet him. Man, welcome, brother. How you doing, man? Hey, my friend. How you doing? I'm doing good, brother. A Perpetual State of Gratitude [4:03] Just, you know, I live in a perpetual state of gratitude, man. [4:07] just happy to be alive, happy to have, like they say in church, a reasonable portion of my health and strength. [4:17] At this point in my life, man, having been in this music thing for so long, just to still be able to function on a relatively decent level, I'm just grateful, bro. [4:28] So I'm flattered and humbled that you asked me to be a part of your platform, man. I've seen what you've been doing, man. [4:37] It's super dope, man. [4:38] And all of your, you know, kicking knowledge, man, that a lot of people know. [4:43] I was listening, I listened to your stuff, man, and what you were talking about, you were driving in your car, talking about this whole music thing [4:52] and getting your royalties and getting paid for stuff you do, man. And I just, you know, I appreciate it, bro. So I'm honored to be here. Thank you, thank you. [5:00] Thank you. Oh man, thank you for coming, man. [5:02] I've had so many guests that even reference you, helping them being an inspiration to them. [5:09] I mean, even Patitucci was like, man, when I came to LA, man, Gouché, man, he got me right on so many things. [5:15] It's like, you are such a trendsetter and somebody that's been pushing, not only just in gospel music, but just for the instrument, for the bass instrument. [5:26] I mean, there's so many people that have their sound now as a result of what you did. [5:32] We'll get into the technical part of that stuff later, but just the evolution of basically the evolution of church base, it's like you're, that's why they call you the Godfather. [5:43] So it's like going back a little bit, why don't you tell everybody where you're from and some of the early, early, what drew you to play the bass? [5:54] you know? Well, I'm from LA, man, born, grew up in Watts, in Compton, in LA. Watts, Compton & James Cleveland's Church [6:03] I went to Crenshaw at Dorsey High School. [6:05] And I used to live in the jungle in the height of the blood and Crips Wars. I was living in the jungle then. [6:13] But I started out in church. [6:15] I was singing in the choir at Reverend James Cleveland's church. That's actually where I learned how to play. [6:23] And when we were kids, my mother told us that we had to learn an instrument. [6:29] And so when I was eight years old, I remember my father had Miles Davis albums and Hugh Masekela albums. [6:40] And I remember seeing the trumpet. [6:43] And I was like, okay, trumpet, that looks easy because it only has three keys on it, valves on it, right? [6:51] Oh, what was I thinking? You know, yeah. [6:54] Turns out trumpet is one of the hardest instruments in the world to play. [6:58] But I started out on the trumpet and so I played trumpet for years. [7:01] And then when I was 14, I saw Larry Graham on Soul Train. Larry Graham on Soul Train Changed Everything [7:07] And, and I was like bass. [7:13] I begged my mother to get me a bass and she got me a bass for Christmas that year. [7:22] And I just want to preface that to say I played trumpet all those years. I never got better than second trumpet in the band. [7:30] So pretty much I sucked on the trumpet. I sucked. The $129 Sears Bass [7:34] But my mother got me the bass and I'll never forget it because I know you remember, you [7:40] probably remember Sears. She went to Sears and got me a [7:46] Teisco bass and a Sears Silvertone amp. And the bass [7:53] and the amp together was $129. I remember that. And so I got that. And I literally played both of those things till they [8:03] didn't work anymore. And I just, and the cool part for me was at James Cleveland's church, [8:12] his regular bass player. And I just want to give a shout out. I don't know if you ever [8:17] heard of a guy named Hanley Edwards, but Hanley used to play bass at the church, but then [8:23] he left to go play with Billy Preston. Hanley just passed last week. He was a serious, influence and inspiration for me. [8:32] There's a lick that he showed me years ago that I still play today. [8:37] And so when Hanley left to go play with Billy Preston, you see those albums, when they used to wear the big Afro wigs, [8:44] Hanley was one of those guys wearing the Afro wigs, but then James got another bass player from New York, but he wasn't in LA, but he would travel with James. [8:54] So at the church, there was no bass player. [8:57] And James used to let me sit over on the side and try to figure out the songs. And that's how I learned how to play. [9:02] And I always give James credit because he just allowed me to learn there. [9:11] And that's where I started. And this was like 70, 74 and 73, 74. [9:17] 374. And literally within a year I was doing gigs. And it was like I found that thing that [9:30] I was meant to do. And then it just took off from there. So that bass is incredible, man. [9:39] Like, it's just that picture, it's unbelievable, man, that you have a picture with your first bass, bro. Yeah, man. It's crazy. [9:47] And you know, it's crazy too, because, and I'm sure you can understand this, like back in the day, you know where Guitar Center is on Sunset, right? [9:57] Yeah. It used to be across the street in this small building. smaller building in the 70s. [10:04] And I used to go in there, bro. [10:06] And I just used to look up on the wall and be like, man, one day I'm gonna get a fender. That was my dream to get a fender. [10:13] You know, and it's just a trip now. I look like you see it right. [10:17] You've seen my videos in my studio, all these basses I got, man. And I remember all I ever wanted was a fender, man. [10:25] But it's just crazy. [10:28] You get to that point where when you can finally afford to get stuff, then they start giving you stuff for free. [10:36] Which is crazy. You know, I'm literally, you listen bro. [10:42] It becomes a whole, and you know, at least you can have a lot of basses and amps and you know, you could still get it in a relatively cool space. [10:52] But once you start getting roll cases and drum sets, Man, listen, I got four storages. Right, right, right, right, right. [11:01] It becomes a thing of, you know what I'm saying? Yeah, I actually got a change. [11:06] I'm going, I'm gonna put this, my studio in a bigger room, man, actually, I'm gonna put it into my living room, because I live alone, and I don't never, I never go in my living room, and it's huge. [11:16] Oh yeah, man. [11:17] I'm getting ready to get some of those racks, where I can, things where I can put them up on the wall. Yeah. So. Yeah, that's dope. That's one of the things I'm working on right now. [11:25] Yeah, bro. [11:26] Yeah, well, I mean, you know, as far as, you know, so you came up in LA and then, you know, when you were playing with James Cleveland, it's like bass, it wasn't even standard in a lot of places. [11:38] It was mostly organ pedals, right? So. We Don't Need No Bass [11:40] Bro, back then, James was considered contemporary back then. [11:48] Wow. Everything he did was out of the norm. [11:52] He had lead guitar, bass, because nobody was doing that in church. Maybe Church of God in Christ had lead guitar. [11:58] But I tell the story, like even on my album, the name of my album is We Don't Need No Bass. [12:06] Because I literally, it's a monologue I do at the beginning of the record where I said, when I was coming up, they didn't even want bass in church. [12:14] And I used to go places and they would literally tell me, No, I'm sorry, we don't need no bass. The organ player can play bass on the pedals. [12:22] And so I watched the evolution, man. [12:26] And it was funny because I literally, and I'm not trying to say this in a bragging matter, [12:34] but I was one of the first ones, man, like myself and Joe Smith was in Oakland, you know? [12:42] And that's my brother. I love Joe, man. [12:46] But he was in Oakland and he was back back then he was only there but because of my [12:53] Exposure with James. I started being exposed to a lot of other stuff, too, you know and [12:59] Yeah, but I watched it like I look at gospel now and it blows me away man because I remember when it wasn't [13:08] wasn't even respected like it is now. [13:12] You know, for a long, long time, people looked at gospel as a lower form of music. And... But then, they started figuring it out. [13:22] When the gospel dudes start taking all the gigs, you know? Right, right. And, uh... So I'm just... I'm just happy to even... [13:29] to see where it's come from, man. A Lot of History Happened Before the Internet [13:31] Because most cats don't even realize, you know, because we live in an age of the internet where most people, the only information they get is what they see online. [13:42] But I just posted a video a couple of days ago of a Winans song that I recorded in 85. [13:51] And I said, on there, I said, there's a lot of history that happened before the internet. A lot of cats don't know. [14:00] There are people who really go back and study and research things and they know. But you know what I get more of anything? [14:09] It's like, man, I never heard of you before. [14:12] And once I saw your video, then I started researching your name and half of my record collection you're playing on. [14:19] And a lot of people don't realize like some of the stuff that I've done. [14:24] And then, you know, in this YouTube age, everybody gravitates to the acrobatics. That's what gets all the likes and clicks. [14:33] But I did a bunch of records that people know that they, first thing they go is like, I had no idea that was you. [14:41] Like that doesn't sound like you'd be, because they see all the crazy stuff, but they don't understand, man. [14:49] I grew up in the like session, the highest of the session periods back in the 80s, man. [14:56] You know, and we used to go in the studio and a session was three hours. [15:03] And in three hours, you got three songs done. And that's just how it was. It was the norm, you know? Yeah, higher level. [15:10] So I grew up in that, yeah bro. [15:13] Well, you know, one thing I'll say to that is that, you know, sometimes as a session musician, it's like to me, that's one of the biggest compliments. [15:20] Cause that means that all you did was serve the music and you didn't go with an ego or nothing, you just went and did what the song was. [15:28] Sometimes, you know what I'm saying? That becomes a homogenous thing, but guess what? [15:33] You serve the music, so that's the ultimate and the real job of a session player, not look at me, I'm gonna do something so you know it's me. [15:40] It's like, nah, it's what the song has for it. [15:42] So that's why you, you know, so you're considered the most recorded gospel bass player in any conversation I've ever had. [15:50] I think that's kind of an understanding. And there's a reason for that, man. [15:55] And so another thing about that, because now since you've done so much stuff and on your side, you've been on so many records [16:03] and so many live things, I wanna know also about how you're looking at the drum side of things, from your vantage point. [16:10] So like, from your side, what's the first thing you're listening to when you're gonna go lock with a drummer? You know what I'm saying? [16:18] What is your thing that you'd like to hear or see from drummers? What I Listen For in a Drummer [16:23] I love playing with, one of my favorite drummers to play with is Gorden Campbell. Absolutely. [16:31] And because Gorden, he plays bass and he plays keys too. So he's musical and that's the thing. [16:41] I love, I love chops. I love them. But sometimes you just want the groove, man. [16:48] And if you really listen to a lot of the things I play, because I had no gauge, [16:57] I had nobody to pattern myself after, I played what I felt. [17:02] And so people gravitated to what I do, but I kind of formed my own niche, you know? [17:09] And even playing with, I've just always been exposed to very musical people, man. [17:15] Like with James, his drummer's guy named Butch Galloway, people have never heard of him. [17:20] But I don't know if you've ever seen that clip of James Cleveland. And we're playing, it's from 1980. [17:29] Oh wow. We're playing, Can't Nobody Do Me Like Jesus. [17:33] And it's the one where the drummer's playing and James comes up and takes his sticks. I don't know if you've ever seen that. Maybe in the past, okay. But I know a lot of my viewers have. [17:42] Yeah, that's a guy named Butch Galloway. He was an amazing singer. [17:47] Like he was very musical and I've just been around musical people. And I gravitate to melodies. [17:56] And there's another great drummer that most people, like people have heard of Gerald Heyward, right? [18:03] But Gerald Heywood grew up listening to a guy named Derek Scofield. I don't know if you ever heard that name. I gotta look at it. [18:12] He's the only guy that ever made me cry watching him play drums. That's the feel that he had his feel was so amazing. [18:21] And he was playing with the Hawkins family before I got the gig with the Hawkins family. Joel was on bass and Scofield was on drums. [18:29] And I'm telling you, man, I just wish there was documentation somewhere of what they did. [18:34] Because a lot of the stuff that cats play today, it's a direct derivative of what they did. [18:40] And so I look at guys, when you play it and you understand this, when you play it in a band situation, you have to be aware of what everybody else is doing. [18:51] And one thing that I did, I always did in band situations, I was always listening to everybody else. [18:58] And then I was trying to figure out how what I did fit with what everybody else was doing, you know? [19:06] And that was always my thing. And there weren't all the rules that there are now, you know? Five Licks... But Where's the Why? [19:16] And like, I see videos of East Cats are like, here are the five go-to licks you must know for gospel. [19:24] And I'm like, okay, that's how, but where's the why? [19:35] Only experience teaches you how to put it in context. [19:40] And now, I make it a point to not talk about a lot of stuff I see. [19:47] Because first of all, I know, I realize, don't nobody care what I think. And we're living in an age now. [19:54] And I'm gonna say this, like I watch these guys calling off numbers all the time. [20:01] It's like one guy calling off numbers to the rest of the band in church. [20:06] And there was such a thing as just flowing in the spirit [20:13] and collectively allowing, And I ain't trying to be too deep, but allowing the spirit to move and direct how the song grows and flourishes. [20:26] And I get the whole number thing in terms of cats coming in and maybe not knowing the song too well. [20:38] And so somebody is calling numbers, but that's not the way I learned how to play, you know? [20:45] And so, and it's funny too, you look at, [20:55] I used to play at Faithful Central, which is one of the biggest churches in LA. [20:58] I played there for 30 years and we would play all the new happening stuff. [21:05] But every first Sunday, we play that song by Andraé Crouch, “The Blood Will Never Lose Its Power”. [21:12] And every Sunday that we play, every first Sunday we played that song, the spirit will be so high in church. [21:21] And I say that to say there was an effect that gospel music had on you. You felt it in here. [21:27] And it had nothing to do with musical prowess. And, but it had to do with the spirit of what you were playing. [21:35] And I see a lot of people speak on it. And I am one of the biggest proponents of technology there is. Tape, Click Tracks & Learning Pro Tools [21:45] Like if something new comes out, I want to get it. I want to learn it, you know. [21:51] I'm old enough to remember the organic way that things used to be done. [21:56] Like I remember, like when I first started recording back in the 70s, it was all tape. [22:02] And I watched the digital evolution happen when people started switching to, you know, hard disk recorders and all of that stuff, man. [22:13] And I remember the first time I had to play with a click. And, cause we just didn't do it. [22:22] But what I did was, and I'll never forget, producer said to me, he said, if you're playing with the click And it starts sounding off. [22:34] It's not the click, it's you. [22:36] So that's why I learned, I learned and really practiced playing with a click [22:43] and then practice playing with a click but still making it feel good and not sound stiff and regimented. [22:51] And that was something, that's the way I am with everything, man. Like they, like, I just got this thing. [22:58] So this thing, you know, I had the MPC 60 back in the day and then I got the 3000 when [23:10] it came and I did all that stuff, man, even though I never fashioned myself as a beat maker or producer, but I was like, if something new comes out, I want to at least learn it. [23:23] If I don't get it, I wanna understand it. When Pro Tools happened, I learned Pro Tools. Like I know Pro Tools like the back of my head. [23:31] I have Logic, but I don't know it as good as Pro Tools because I do everything on Pro Tools. [23:37] So I know you asked me about what I look for in the Drummer Man. No, no, it's all good. But I just, I gravitate to musical people. [23:48] That's, you know, people who understand, Like I don't know if you saw the latest video that we did for Scott’s Bass Lessons. Yeah, I saw that. [23:57] And you know, Gorden had a lot of input. [24:00] And that's why Gorden is my first call guy for everything I wanna, when I record, I got, so I send it to him [24:07] and I never suggest to him what to play because I know whatever he does is gonna be the perfect thing, you know? [24:17] And so I'm blessed to be able to have access to people like him, you know? [24:24] And so I love chops. Go ahead, no, no, what did you say? I love chops, man. People Want the Song, Not Your Chops [24:30] But if you can, just sit there and play like this and make me feel good, you know? [24:36] Because the people that are listening to music, they don't know, they don't understand your chops. Like they hear a song. [24:45] If you go to a concert, those people want to hear that song, like some big artists, they want to hear it how they recognize it. [24:52] They don't want to hear a whole bunch of reharmonizations and all that stuff on the song. I learned that a long time ago. [24:59] People think that all I do is do stuff where I'm playing a whole bunch of stuff. [25:05] There are records that I have done that, but they don't know that that's me playing bass on “This Is How We Do It”. I'll tell George. [25:16] That's me playing bass on “Gangsta’s Paradise”. That's me. [25:22] So like I've done a lot of different things, man, but that's not the stuff that gets glorified. Yeah, but you know what, man? [25:28] It's funny that you say that because I think you're actually absolutely spot on with the audience wants to hear the song as they recognize it. [25:38] And it's like, we in the musicians community are the only ones that know what a reharm is. I mean, listen, we could call it what we want. [25:46] That's a technical school term. [25:49] But if the song is this, and then you're doing all this, it's not the same song. [25:53] So it's like, we can quantify it and say, oh, it's just a reharm and it's so hip. Bro, that's not what the writers intended. That's not what was released. [26:02] That's not the same song. So it's like, that's only for us. [26:06] It's only for us to be like, oh, oh my goodness, oh my goodness. [26:10] And it's, you know, a lot of times if you go back and start asking why, why, why, why, why, eventually it's gonna just end up at someone's ego. [26:19] That's why. The song didn't call for it. The audience didn't call for it. [26:23] So I think that that, you know, a few of my guests have said the same thing because that is the truth. It's like people wanna hear the song as they hear it. [26:31] was actually my last guest, Mike Moore, who was talking about drum sounds. [26:36] It's like, man, people wanna hear the sounds that's on the record, you know what I mean? So, there's something to be said about that. MDing Chaka Khan: "Rearrange Everything" [26:44] But now that we're on this subject, that also makes a lot of sense because you've MDed a lot of stuff. So one in particular was Chaka. [26:52] I mean, you spend a lot of time with Chaka. [26:54] And she's one, I mean, her weekend work, or What Cha’ Gonna Do for Me album is one of my top albums of all time. [27:03] I mean, Arif is a brilliant genius on that album with the personnel, the arrangements, man. [27:09] It's just, it's like a perfect album, man. [27:12] And so being able to have, you know, be privy to that, you know, discography, that catalog, and there's so much vocal stuff that she does, you know, [27:21] how did you deal with the band leaving her space to be the vocal genius that she is live, you know? [27:30] Well, the first thing I said to her, and I said this to Prince when I got with Prince too, well, the first thing I said to her, I said, so do you want the songs like the records? [27:44] And you know, Chaka's been singing those songs for decades, man, and a lot of times these artists, they want it to feel fresh to themselves, you know? [27:53] So she said to me, she said, I want you to rearrange everything. [27:57] That's why, that's the reason those arrangements sound like they sound. [28:02] Because she did not, she didn't want me to do it like exactly like the record. [28:08] Now the spirit of the record is still there, but there's some other things going on that I added that she loved, you know. [28:18] And so there were certain songs that I didn't do a lot on because it didn't call for it, you know, [28:28] but when I did and I basically rearranged like I feel for you, Ain’t Nobody, [28:36] it's still the spirit of the song when I just put some different things in there and she loved it, you know, but it was only because I asked her first, How do you want me to do a song? [28:47] And I did what she asked me to do. Prince Hated Ghost Notes [28:48] When I got with Prince, the first thing I said to him, I said, hey man, look, whatever you want me to do, however you want me to do it, just let me know. [29:00] And his exact words to me were, I called you because I want you to do your thing. [29:09] But if there's something specific, I'll tell you. And that's what he did. I'll never forget, man. [29:17] We were playing “Cool.” Boom, boom, boom, boom. Yeah. Boom, boom, boom. [29:24] I found out that Prince hated ghost notes. He hated ghost notes. [29:31] And so your natural inclination as a bass player, so I'm going, I'm putting the little things in there. [29:42] And he actually stood right in front of me one day. [29:47] We played “Cool” literally for 30 minutes straight [29:54] to the point where I started looking down at my neck and started hallucinating. My notes started moving. [30:01] I started getting so out of focus because we'd play the same thing over and over again. [30:08] Because he was standing in front of me going, dun dun dun dun dun dun dun dun dun. [30:12] Like he was telling me, don't play, don't play anything in the spaces. But that was something that I'd never been exposed to. [30:21] So I learned how to do it once again. [30:23] I grew, you know, people ask me, well, you know, Prince is so phenomenal. Like, what did you learn from him? I learned how to play. [30:32] Like somebody I knew, we played it in Chicago one time. [30:36] We did three nights at the United Center and somebody came to the show. [30:40] They were like, dude, you didn't play a fill the whole show. And I didn't. [30:47] Like I had to learn how to not play fills because that Prince gig was the first time [30:53] I'd ever been in a situation where play that and nothing else. [30:59] But the beautiful thing about Prince, he always allowed people to shine. [31:05] But it's like, I'll give you your moment to shine, but until then play the songs. Like I wrote them, you know? [31:13] And we did a lot of different things, man. [31:16] But when it came to those staple hit songs, like the record, I played them exactly like the record. [31:23] And I learned how to do that. [31:25] And I was very out, you know, it was, it was a challenge for me at first, cause I had never been in such a structured environment before, but I learned, I learned how to do it, you know? [31:35] And people would be, people were like, man, how is, how is that going to work? The way he plays, him playing with Prince. [31:42] Well, how it's going to work is, if I want to keep the gig, then I do what he says. Right, exactly. That's all it was? [31:50] It's a lesson in discipline and restraint. That's all. That's all. You know? So, I mean, and that's what the pros do, man. [31:58] You do what the gig calls for, man. You know what I'm saying? So. The Three-Note Gigs Pay 10 Gs a Week [32:03] You remember when Ricky Lawson was doing all that fusion stuff, man? Sure. Yeah. [32:08] And then, when he started locking in on the R&B gigs and pop gigs. Yep. And he didn't do none of that fusion stuff. [32:16] It wasn't that he couldn't do it. Yep. [32:18] But I found, and I'm sure you can attest to this, the gigs that you have to play the most stuff on are the gigs that paid the least. [32:28] Man, come on. Yeah. Yeah. Yeah. Yeah. Come on, man. Ha ha ha ha. [32:37] Man, it's funny, man. Ha ha ha ha. [32:42] The gigs that you play three notes on are the ones that'll be paying you 10 Gs a week. Come on, bro. Come on, man. [32:51] And you know, it's about being able to function in whatever the environment is, man. And that's, everybody can do that, man. [33:00] I've seen some people like killing in one instance and totally crash and burn in another situation, man. [33:08] So. Yeah. Yeah. [33:10] Well, man, it's amazing you say that because, you know, the [33:16] That is a phrase is for it for it's not the fills that pay the bills, you know, it's like [33:22] Right. It's like sometimes, you know and but that correlation a billion percent [33:27] I mean we all see it the gigs like Clapton and you know John Mayer and all these other gigs [33:33] It's like bro. Where where the where the solos and playing over the vocals. It doesn't exist its pocket It's to and for like the Stones with Steve Jordan. [33:43] It's like, bro, come on man. It's the feel, the emotion, the placement, the tone. [33:49] It's not about a whole bunch of notes because it's a show where people are going to listen to vocals and hear songs that they 1000% know every note of. [33:58] So how can you ruin their experience? You know what I'm saying? I want to see Clapton, man. Cause Tim Carmen is my best friend. 20 Years on Tour: Why I Didn't Know Clapton [34:06] And Tim was playing at the Staples Center, man. [34:10] And I like Eric Clapton, but I'm not familiar with his music like that. I grew up playing in church. [34:16] And then I try to explain to people too, like all through the 80s and 90s, I was on tour. [34:26] So I wasn't sitting around listening to music. [34:30] Like I didn't, like people trip off of me sometimes when they, you know, are you familiar with that song? Like, no, not really, you know. [34:37] Right, right. [34:39] Like, even with Prince, you know, when I got the gig, there was a lot of that stuff I didn't know. Right. [34:46] And I knew 1999, Raspberry Beret, I Wanna Be Your Lover, because I used to sing, [34:54] I Wanna Be Your Lover in this R&B Top 40 band I used to be in. [34:57] And, but all those other songs, And I liked Prince, but I didn't become an absolute fan of his until I started working [35:08] with him because I, then I started being exposed to all this music that I wasn't aware of. I was like, this dude is phenomenal, man. [35:16] And so, you know, when I went to see Clapton, I was sitting there going, this is the most boring crap. [35:27] I'm gonna come around. [35:30] And I started to leave, but I was gonna talk to Tim after the show, so I didn't leave. [35:36] But everywhere around me, people were like with tears in their eyes, man. [35:41] You know, his fans, you know, because they loved him since the sixties, you know? [35:47] And so for me, it's like, just cause I don't know it. That doesn't mean anything. [35:53] Cause I just, I wasn't saying you were sitting around listening to records, I was on tour. I toured for 20 years straight. [36:00] I was on the road an average of 40 weeks out of the year. [36:03] So I wasn't listening to music, but that doesn't mean I didn't like or respect the artists. [36:11] I just wasn't familiar. Yeah, of course, of course. [36:14] But the people that are coming to those shows, man, they know, just like Frankie Beverly and Maze. Oh yeah. [36:20] Frankie Beverly and Maze been doing the same show They never changed the show. The whole audience knows what song is next. [36:29] But those are his loyal, rabid fans that every time he, anytime he come to town when he was alive, the show sold out. [36:39] It sold out because just like the Grateful Dead, just like the Rolling Stones. [36:44] And that's really the kind of legacy and fan base you wanna have, man. [36:50] You know, that's why they 900 years old still on tour, still selling out arenas, you know? Yeah, and the people still showing up in all white. [37:00] Yeah, right, right, right. [37:02] I live in Vegas, man, you know, with the Backstreet Boys, or at the Sphere. Yeah. [37:08] And you see all these people with all white on, all the time, they're going to see Backstreet Boys paying $1,000 a ticket just to see them, you know? The Gouche Tone: 6K, 100 Hz & the Hands [37:17] Yeah. Yeah. [37:18] interesting. Well, you know, I would be remiss for all my bass player fans if we didn't talk a little bit about tone and the Gouché tone. So it's like, you know, obviously your signature sound is on your MTD basses. And of course, it's recognizable immediately, you know, because it's a warm, kind of, it's just a, it's a punchy warm. And obviously, it's how you play, too. But the question is, you know, I want to know, because I'm not, I'm kind of, you know, [37:46] not as in depth with bass stuff, but how much of the tone that we hear, how much of that is coming from just the hands [37:54] versus the pickup placement, you know, and all that kind of stuff in the preamps and all that. [38:00] It's like, cause I know with drums, you can have, you know, one drum set and it can be 20 different people playing, it's going to sound completely different. [38:07] So is bass the same thing? It's the exact same thing. [38:13] In terms of my sound, I did a lot of records over the years, man. [38:21] I remember being in the studio and not knowing anything about frequencies, and then hearing something. [38:30] I remember the day I heard a treble frequency on my bass that just sounded incredible to me. [38:37] And I asked engineer, like, what frequency is that? Because I wanted to remember it. [38:44] And he said, well, that is 6 kHz. [38:46] And that's when I learned that my favorite treble frequency is 6 kHz because it sits right, like any higher than that [38:57] then it's just like not even brittle, but so what's the word I'm looking for? where you almost can't hear it. [39:06] But lower, when you start going back towards the mid, then high mid, then it can become more abrasive. [39:16] And so when I started with my mid range, for years I was known for scooping my mid range [39:23] and turning up 6 kHz and then I found out, once again, being in the studio, that my favorite bass frequency is 100 Hz. [39:31] And so for years I would boost 6 kHz, boost 100 and scoop like 1 to 3 kHz in there. [39:41] And, but it's funny over the years, my, what I want to hear is change. [39:47] So where I used to scoop the mid, I don't, I leave it totally flat now. [39:52] And because doing a lot of records, I remember doing records where I had no control over the EQ and like hearing my bass get washed out. [40:05] Like when I hear the record, I'm like, that's not how it sounded when I did it, you know, cause I did a lot of live albums too. [40:12] And I remember I set my amp how I wanted it to be, but then when I hear the record, it wasn't how I set it. [40:20] And there was one record I did in particular where I guess the engineer, he just was averse to treble. [40:25] He was probably one of them old school 60s engineers or whatever. And he literally turned all the treble off of my bass. [40:34] And it sounded like Jamerson, dude. He never changed his strings. [40:43] I became conscious of how my bass sat in the mix with everything else. [40:50] And then when I started doing records and mixing records, I learned how to make it sound to it. [40:56] Because when I listen to a record, I wanna hear everything. Like I wanna hear my Tom's pan. You know what I'm saying? [41:04] I wanna close my eyes. I'm going to the drummer's right there. The guitar player's right there. The organist is here. [41:11] Piano player's here, bass player's here. That's how I wanna hear. And so it's a lot of trial and error. [41:19] over the years, I've been playing, bro, I started playing in 74. So I don't know how many years that [41:24] is. It's 53. Yeah. So that's how long I've been playing. So over the years, you know, and I feel [41:33] like anything that you do, you're supposed to continue to grow, right? You know, and, and [41:41] that's why, like I said, I got that. I got, do I need this MPC thing? No. I thought it was dope. See, I have my machine, right? [41:49] I used the machine. But I was like, that's dope. [41:52] And like, I can put it in my bag when I go somewhere, you know, am I gonna be trying to sample some of record? I don't know. [41:59] But James Cleveland used to say, it's better to have it and not need it than it is to need it and not have it. [42:07] Exactly. That's the way I look at stuff, man. [42:10] And so I learned, I just learned how to, from doing many records, [42:18] how to make my bass sound good in relation to everything else that's going on. [42:24] That's why when you hear it on records, you can hear me, you know? [42:30] Because I'll be in the studio in a minute, I'll tell an engineer, hey bro, put this on there. Recording with Prince at Paisley Park [42:36] And I'll never forget the first time I recorded with Prince Man. [42:40] And I still feel bad for this engineer because I go like, I have my amp. [42:49] I take my amp, we actually have my own signature amp with Markbass now. [42:53] And when I go to the studio, I take my amp because it's my EQ, I designed the EQ on it. [43:00] And when I was recording with Prince the first time, we in the big room, studio A at Paisley Park, man, you know, and he's got two Studer machines in there [43:09] the gigantic SSL board. And this engineer, when I get ready to play, he starts plugging [43:15] me into all this outboard stuff. Like compression and a button. And I was like, what are you [43:22] doing? And I said, and I wasn't trying to front him off, but I was like, what are you doing? He was like, well, this is our record bass. I said, but you haven't heard my bass [43:32] yet. You don't even know how it sounds. Right. And then Prince was sitting there. He was He was like, well, it's so funny too. [43:40] He saw his go, gushay. He would always say, before he say my name, he go, gushay. Oh, how do you do? How do you record? [43:48] I said, just put XLR in the back of this amp. [43:53] And so the guy did, and I played and Prince was like, sounds amazing. [44:00] Then he started being real mean to the engineer, I felt bad for the guy, man. [44:10] And I wasn't, because I wasn't trying to front him off, but it was like, I got to a place where, to me, my sound is very important. [44:20] And if you don't know me, then how are you going to decide how I'm going to sound? [44:28] And at the very least, let's collaborate. [44:31] give me the respect of let's at least talk about how we wanna do it, you know? [44:37] And allow me to explain what I'm thinking in terms of how I want the bass to sound on the song. [44:44] And every song is different, you know? I don't always use my signature bass on records. I got 35 basses, man. [44:53] And I do tracks for people all the time. [44:57] And when they send me a track, They send them and I play on them. [45:01] I cycle through my guitar is to see which one is gonna fit that song the best, you know? So that's what I do. [45:09] Now man, well, I mean, I hear you and that's again, just showing that your whole mission is to serve the music and not your own self gratification and ego. [45:20] And regarding the MP, it's like, hey, listen, it might be one thing that it sparks that turns into something and it's worth the whole thing. [45:29] It's like, you never know. [45:30] I mean, and staying up with what's going on kinda folds into the next question, which is I ask all my guys in all my interviews, AI, Sampling & Clyde Stubblefield [45:38] it's like, what do you think about this AI conversation that's happening now regarding music, but also just in general? [45:45] Cause we don't, it's not only generative music. [45:48] Like that's one little part of AI, but there's so many ways you can use it other than that. So what is your take on AI? [46:00] I believe that the benefits, what it can do is amazing. [46:08] But it's like, to me, it's like if you put a weapon in the wrong hands, you know, [46:17] just like when all the streaming started, you know, And for me, creativity is important, [46:30] but then you have somebody that never created anything in their life come in with some technology and it's taken the creativity away, you know? [46:43] And then it's just like, I remember when sampling started happening. [46:48] And initially these hip hop guys were sampling stuff and making buku money off of it, but they weren't paying the people that they sampled. [47:00] Sure. [47:00] And then of course James Brown sued and you know, cause that funky drummer beat was like the most sample beat of all time, you know? [47:10] And I think about, it's a- Clyde, Clyde Stubblefield. Clyde Stubblefield. [47:16] He never made a dime off all those records. And that's my problem. [47:22] Because what happens is even the so-called producers, and I don't wanna talk to that guy about that. [47:33] We keep it 100 years, go ahead, say what you want on your mind. [47:38] I trip off of how they'll pay a DJ $250,000 to come do a show. [47:45] But he didn't create anything. [47:49] And then I listen, like I see, you know, cause I see everything on, I'm online all the time. I see everything. [47:56] I just don't comment on anything. [47:58] But you'll see a dude, like now they got these people that are like resampling gospel songs. That's a thing now. [48:06] And, and, and, and they hit a button, hit a button. [48:11] Hit a button, they're like, what you didn't, I ain't trying to touch you. You didn't do s***. [48:19] You took something else. But then you watch people be all on these guys, jocks. [48:27] Oh man, you're killing that. [48:29] And I'm gonna tell you something, it happened to me. And I'm gonna say his name, cause I don't care. DJ Pooh, Ice Cube & the Color Me Badd Loop [48:38] But years ago, you know Marlon. Yeah. Marlon guitar player. Oh, sure. Me, Marlon and D-Loque. [48:46] We were doing loops in the early 90s, DJ Pooh. [48:54] And it was supposed to be, what we were told was we were doing loops for St. Ides commercials, right? [49:04] Remember that St. Ides beer? [49:05] So we were doing loops and he was paying us $1,000 a day, which to us was like, n****, $1,000 a day coming up. [49:16] And then I watched one day Ice Cube comes in and while we're sitting there, DJ Pooh sells one of the loops to Ice Cube for 50 grand. [49:29] Wow. And I'm like, wait, huh? [49:33] And I have firsthand experience of something that I created blowing up and I never got compensated for it. [49:48] There's a Color Me Badd song on Time and Chance [song title unclear]. I remember the words to it. [49:55] But it's bone bone bone bone. Marlon, duh duh duh duh duh, it's me, Marlon and D-Lo. [50:03] And we would be in the studio and DJ Pooh was like, for yeah, true, so yeah man, yeah, so I need some real hectic s*** right here. [50:13] So I was like, what about this? Bong, bong, bong. It's like, yeah, yeah, yeah. [50:20] And you know, you know how a D-Lo play, you put the hump on everything he play, man. One of the greatest feels. [50:26] And that song is the Color Me Badd song. They did it. That's me, D-Lok and Marlon on that track. [50:34] And I think that day we might've recorded like 26 loops, like just four bar loops. [50:42] So the next time he called me, I said, hey bro, look, if I come back and work, [50:51] I need to get compensated as a writer because I'm writing, that's what we're doing. He hung up the phone and never called me back. [51:00] Yeah, cause he figured it out. [51:01] That's my issue, even starting with sampling [51:10] and then streaming, you got one guy, that's what I Spotify guy or one of those services, he's one of the most hated guys in the world [51:18] because he's made billions while paying people what, one tenth of one penny per stream. [51:25] And the AI thing, like that thing we did on Scott’s Bass Lessons? Yeah. [51:33] Well, you saw it in real time, we rearranged the song. It took us 15 minutes to do it. Right. [51:38] And the day that video came out, the next day, some dude in Brazil had taken it and put it in Suno or something. [51:48] And it was like, I really like this. I hear it's my take on it. No, bro, it's not your take. You put it in AI. [51:54] And the AI bass player is playing what I play. [52:00] And what happened was, because I'm making a point not to comment on stuff, because I'm not trying to get into any exchanges [52:07] with anybody, but everybody started immediately killing that dude. [52:11] Talking about, so basically you just stole what Gouché and them did, and put it on there and trying to take credit for it. He took it down. [52:19] But that's where we're going, man. [52:22] And because there's so many unethical people in the world [52:28] that they take something good and then they use it like use it for evil, like using your powers for evil. [52:36] Yeah, definitely. I just, yep. [52:39] And I feel like as creatives, The last way you're gonna be able to make money is to play live. [52:52] It's like, I feel like record sales, that's going out the window bro. It's like, I mean, it already is. It already is. [52:59] And so I just- Interesting. That's interesting you say that, man. [53:05] Because that's such a great take, not to cut you off. I don't wanna cut you off if you have some else to say. Not only at all. [53:11] Oh yeah, but that's such a great take because from that side, it's absolutely right. [53:17] I mean now, one thing I will say is just like sampling, eventually there was a protocol in place and we're starting to see that with AI now. [53:26] There was a gigantic thing that just happened at Suno where their old models now are kinda, they're still there but they're not really being pushed and they're not the same way. [53:35] They have a new model which is supposedly off of non, things that were trained illegally. So there's a there's a push because all the [53:45] labels have you know done lawsuits and now they're starting to make deals. Now the flip side is just like you said earlier it's probably never gonna filter [53:53] down to the musician you know I'm saying it's gonna be probably stuck at the label thing and maybe some of the songwriters or publishers would get [53:59] something but musicians you know always you know and when you start talking talking about Funky Drummer, it reminded me about just how that law even is. [54:10] It's like when I understand that James Brown and him sued because they're the master owners, [54:16] but literally, you know, yeah, there's a little portion of that where his voice is, but most people use the point that was just drums, you know, from that song. [54:25] And it's like the fact that even in that situation, the money still just goes to the label, you know, that's just, it's not right. [54:33] And we've seen the evolution of all these things because now we have, you know, things that are purposely made, you know, with like splice. [54:41] And listen, there's a lot of huge records, huge pop records, huge record, where people are just pulling from splice only and not adding anything extra, [54:49] but that somehow is accepted differently than the AI creation or sampling. So, you know, and it's legal and it is what it is. [54:58] I mean, I have several products on Splice, so we make them intentionally, and we know that is what they're gonna be used for, but it's still the same thing. [55:06] You're using something else to create something else. [55:09] So it's like, Splice is okay, sampling is okay, but when it gets to AI, we look at that a little differently. [55:15] And so I think that what we're gonna see is a little bit more normalcy is gonna come to that, and there's gonna be a little bit more of a pipeline [55:23] for people to make money, and now the labeling is coming where it's gonna have to show if it's AI or not. So I think that's gonna start balancing out. [55:32] But I always like to ask all my guests this question because everybody kind of has a different take on it. And I appreciate you for sharing yours. [55:40] So, you know. Well look at it like this though. Once It Goes, It Never Goes Back [55:45] Remember when there was a time when it was just a horseless, I mean a horse and buggy. You know what I'm saying? [55:53] I imagine the people around the Turner the last century when they first saw a horseless buggy go by and they were like, [56:02] you never get me on one of those dagg blasted contraptions. Right. [56:09] Or think about when they first started having commercial flights, all the people that said they would never get on an airplane, it's not safe. [56:17] Once it goes, bro, it never goes back. Exactly. There's an evolution. [56:23] That's why the ethical piece is important because it's not gonna go backwards. [56:31] And then the bottom line is record companies set that precedent decades ago. [56:38] When, think about all the black artists, they didn't know what publishing was. [56:45] So they would just, we'll give you $5,000 to do a record. You're gonna be famous. [56:50] But then you look on the credits, there's some ***** guy's name on there. [56:54] And if they did give you credit, they didn't give you public. [56:58] Little Richard never got published in for none of his stuff, you know what I'm saying? [57:02] That's why he went on that tirade, he went on on the Grammys that time, man. [57:06] I'm the architect of rock and roll, y'all ain't never gave me enough. And that big mama Thornton, and all of these people, man. [57:12] And what happened was when, what was it, Napster came, [57:21] then it was like the record industry's chickens coming home to roost, man. [57:25] It's like, y'all think about what Motown did to the Funk Brothers. They never even put their names on the album. [57:32] I paid them $100 a session to do some of the most incredible music ever. And nobody knows who they are. [57:40] They only know Jamerson. They don't know anybody else, man, you know? [57:44] So that's the part that makes me sad and it's not gonna get better. [57:52] They just figured, and see what the record companies did. [57:54] They were like, okay, we gotta get a handle on this whole AI thing to where we make money on it. That's all they care about. [58:03] It was s*** about the people that actually created what, And see, by the time we started being aware [58:10] of what AI is doing, they've already compiled all of the stuff. They have it in their databases already. [58:17] So for them to say, okay, we won't do that anymore. They don't have to, they got it all already. Yeah. [58:26] It's gonna be interesting. We're gonna see how that evolution goes. I'm curious. [58:32] I got friends that are super, you know, just in general about AI, like the world's gonna be over. [58:38] When we had this whole last week news people saying, you know, civilization is getting ready to be over. [58:43] It's just like, AI is gonna kill everybody. Yeah, it's a different time, man. I mean, you know, listen, we're gonna see what happens, man. But for now, you know, I think you're right in saying [58:54] that one thing that's really never gonna change and that's really ramping up is going to see people who play live. [59:00] So there's a blessing there that, you know, that we're able to do that. [59:04] I mean, I'm working on some stuff now so I can just be a little bit more out front, you know, because that is getting more popular now. You know what I'm saying? So. [59:13] That's what you have to do, man. Yeah. Yeah. We Don't Need No Bass, 11 Years Later [59:16] And you know, it's funny, like people like us that have been supporting people our whole lives, you know, to even think of ourselves, like, [59:25] Dude, I did my album, it's actually been 11 years now since I put it out. We don't need no bass. [59:31] But I started working on that album in 2001. Wow. [59:38] And, you know, cause I spent my whole life being a side man and I had this deathly fear, excuse me, that people wouldn't like my music. [59:48] So I didn't put it out. Right. [59:51] But my sister, my sister passed a couple of years ago, but she said something to me one day. [59:55] She said, bro, as many people as you worked with, as much as you've done in this industry, you know what's good and what's not good. [1:00:08] But I had to get to a place where I understand that no matter what you do, somebody's not gonna like you. [1:00:16] So the people that are supposed to like you are gonna like you and that's it. [1:00:21] So as long as you do what you do from your heart, you're always gonna win. [1:00:25] The people that are gonna gravitate to it will, and the people that won't won't. [1:00:29] There are people, and I say this all the time, there are people that hate the way I play. Oh, he plays too much, he plays too busy. Okay, fine. [1:00:36] So some people like steak, some people like chicken. [1:00:40] And at the end of the day, if you sit around worrying about everybody liking you, you're gonna pull your hair out, because everybody's not gonna like you. [1:00:47] There's gonna be some, there's some people that hate my guts. [1:00:50] And the funny thing about this world is stuff that people say about you, it always gets back to you. [1:00:58] James Cleveland used to say, a secret is either too good to keep or it ain't good enough to keep. [1:01:03] So when you say something about somebody, somebody is gonna filter his way back to you. So that can be your focus, man. [1:01:11] You gotta do what's in here and don't worry about the rest of it, man. and that's where I am. [1:01:16] I'm working on another, actually I have three records that I'm getting ready to do. [1:01:20] Man, I got, I don't know if you ever remember when I was doing the Praise Connection. And I have a Praise Connection live album that we did. [1:01:29] I have an instrumental gospel record and another instrumental jazz. [1:01:34] I don't wanna call it jazz, cause I ain't really jazz, you know. But another record that fits into that in face too. [1:01:42] Yeah, man, well, that's beautiful, man, pushing forward. [1:01:45] Well, you know, listen, man, it's like this has been, you know, an absolute masterclass, you know, [1:01:53] in so many things, man, I mean, in groove and talking about discipline, musicianship. [1:01:58] And, you know, I thank you so much for giving us your wisdom and, you know, your time today, man, and it's like, you know, [1:02:06] for all my listeners out there, make sure you go and follow Andrew Gouché. What's your Instagram, man? so everybody can follow you. Andrew Gouché. There it is. [1:02:13] It's Andrew Gouché. Yeah. I don't have a super jazzed up name. You know? [1:02:21] It's just Andrew Gouché. That's all I can be. Yep. [1:02:25] And you know, go check out his music, you know, dig into the catalog, because now you can go back and listen to some of your favorite records, and you're gonna realize, oh, that was Andrew Gouché playing. [1:02:33] I didn't even know all these years. You know what I'm saying? [1:02:36] And you know, whenever you see him playing live, go support, you know, and this is how we keep this thing going [1:02:42] because Andrew, you come from kind of one of the last generations of, you know, a certain pedigree of musician, you know, that had that reference before internet. [1:02:54] I mean, we're seeing people now that literally learn how to play just from Instagram and now they're doing tours and stuff. So different experience, you know what I mean? [1:03:03] And I think that's great. Right. [1:03:05] I think it's incredible that musicians, up and coming people, all of that have this available to them. [1:03:13] Like if the horse and buggy people had gas powered engines available to them, and that when they were plowing the fills and all that kind of stuff, they would have used it. [1:03:23] So I like to say, I'm glad I came along when I did, [1:03:30] because I'm old enough to remember the organic nature of how things were done, but I'm also young enough [1:03:37] to still comprehend and utilize all these advent and technology. [1:03:42] So I think there's a place for it, but I think there's a responsibility, like with this AI of how you use it, you know? [1:03:50] And that's what I worry about. [1:03:52] But dude, I'm just, at some point, cause I'm actually, I'm writing a book too, And I'm gonna use AI to help me write my book. [1:04:02] Of course, of course. Because I'm not a writer, but you know. But dude, I appreciate you even thinking about me, man. Oh man, listen, man. [1:04:10] Ladies and gentlemen, Andrew Gouché. Thank you, man. Thank you, man. [1:04:17] One of the greatest to ever do it. One of the greatest to ever do it. One of the greatest to ever do it. [1:04:26] and I appreciate you for coming on the show, man. [1:04:29] And we're gonna have to have another conversation at some point, man. And you know what? I will tell you this, I've lived in, I'm from LA too. [1:04:38] So I was here and I got to witness your whole period with Praise Connection and all that. [1:04:44] And you're locked with Gorden, who everybody knows is my old roommate, but you guys locked goes into my book of connections. [1:04:52] connections, because you know, through history, we see the connection. [1:04:55] So you got Weckl and John Patitucci, you know what I'm saying? You got, you know, at one, you know what I mean? [1:05:00] You see all these connections, you and Gorden definitely have a special connection. So any music you all are working on, I know it's amazing. [1:05:09] And once again, my bro, I appreciate you, man. And thank you for coming to The TrevBeats Show. All right, man. I appreciate you, bro. Yes, sir. Yes, sir. [1:05:16] All right ladies and gentlemen, well to everybody watching and listening to The TrevBeats Show, hit that subscribe button, leave a comment with your [1:05:24] favorite Andrew Gouché bass line and check out our backstage community for bonus footage. Also keep the pocket tight, stay inspired and we'll catch you on the [1:05:32] next one. Peace. I'm TrevBeats, this is The TrevBeats Show and we out. [1:05:40] We out, we out, we out It's The TrevBeats Show and we out [1:05:51] It's The TrevBeats It's The TrevBeats Show and we out