At KeyBank we know a small moment like, "Huh, what's it like to have a yard?" Can lead to an even bigger question like, "Am I ready to buy a home?" And that's the type of moment where we'll meet you. Prepare to talk about everything you need to know when applying for a mortgage, so you can try to turn those backyard dreams into reality. Paul? Yes? Question. Are you a hammock person? You know, I think I might be. For every financial need, we'll meet you in the moment. KeyBank opens doors, NMLS-399797, Equal Housing Lender. Hey there, I'm your host and channeler and medium, bringing you over 30 years of experience to Puerto Rico Podcast. I've dedicated my life to uncovering and treasure trove of tools and techniques, and I can't wait to share them with you. Join me on this incredible journey, where we'll dive deep into spirituality, astrology, channeling, fitness, the divine feminine, numerology, and various spiritual modalities. And each week, you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts. Deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Alita Mago. I'm Puerto Rico Podcast. Listen to Puerto Fel mystical on Pandora app, Apple podcast, Spotify, or your favorite platform. This is Sound Up with Mark Goodman and Alan White, the only music podcast that matters. Yeah! Welcome, welcome, it's Mark Goodman. And I'm Alan White. And on this episode of Sound Up, singer-songwriter, producer, and all around badass Linda Perry joins us for a lengthy conversation about the documentary Let It Die Here. Plus, we have music news on Eminem and Billy Joel. And as always, we have our new music picks of the week, but before we get to all of that, the country saw an incredible, horrible act of violence play out over the weekend, an assassination attempt was made on the former president, as we all know. Trump survived the attack, but one bystander was killed, as was the gunman. Several musicians took to social media in reaction, and if there is a bright side to this, it seems no matter what side people are on. Everyone agreed, violence has no place in democracy. First up, we saw Brett Michaels weighing in. In this act of terror and stupidity by this perpetrator that wounded former president, Donald Trump, and took an innocent life of another person, our condolences, prayers, and well wishes go out from all of us at Michael's entertainment group to their families, and all of those affected. Post from the Snyder who wrote unacceptable on so many levels. It is just effing awful what happened yesterday. Disagree with the other party as much as you want. Never raise a hand toward them. Respect their right to believe something different than you do. I love this. This is really great the way that people are coming forward. Paul Stanley also tweeted the shooting of former president Donald Trump is an awful example of the state of our country. Nobody has the right to use violence to further their beliefs. Democracy depends on elections to determine the will of the people, wishing him a speedy recovery and a prayer for the lives lost. Not surprisingly, Kid Rock weighed in. And in addition to a passionate video in support of Donald Trump, he shared a link on his Twitter account to a president Trump authorized to go fund me page dedicated to the victims of the Pennsylvania rally. That effort had raised nearly $900,000 as of Sunday morning. That is great that he made that move. I know the vibes. That's what 50 Cent said posting a clip of his track, "Many men wish death from get Richard Dye trying. We are all in trouble now," says 50 Cent. And Kid Cuddy noted that while the incident was upsetting, he said, "This ain't cool. I ain't voting for him and don't support him, but wishing death on someone ain't it." There you go to some of the responses. Yeah, lots still to unfold around this story. I'm sure more information, more reaction, more stuff that will happen. But certainly seeing everybody line up behind, you know, whatever turns out to be a motivation, whether we ever will know the motivation that this is not the way a democracy functions. Indeed, and happy to see so many come out and say exactly that, that there's no place for it. All right, moving on, we have a review from pod squad member Dina who saw the Beatles White album performed live in its entirety, Dina. Hello, sound up, people. It's been a long time. I wanted to call and tell you about the most amazing show that my husband, Jay, and I saw over the weekend in the Clive Davis Theater at the Grammy Museum. We saw an all-star band play all the songs from the White album. And it was so amazing and so fabulous. Now, the first part that's great is the Clive Davis Theater holds like 200 people. So it's this very intimate location where you really can get a personal, close and personal with all of the performers. We've seen some other folks there and we'll be seeing shine. But this band that played the White album was so amazing. I will attach a list to the email that this voicemail is attached to. It gives you a whole list of everybody. But a few highlights were Tal Bachman sat in for a number of the songs and Randy Bachman's son and played and sang so well. Lawrence Juber, who is a guitarist like I've never ever seen before, who obviously played with wings was phenomenal. I mean, just phenomenal. And the stories he told about this album and about working with Paul and things like that. But one of the most amazing things that we saw was and who played with, I don't know, everybody who's anybody and was just unbelievable. 80 years old, completely unassuming, lovely, lovely man. It was just unbelievable. It was so much fun to hear this band and to listen to these songs, they played them. It was, as you might imagine, because everybody in the room knew every single word to every single song. There was a young fan and I say young because he was 23. He was standing in front of us in line. And we were talking about how he came to the to find the Beatles and whatever. Anyway, I watched him periodically through the concert. And you could tell he was just having the. At the end, the Clive Davis theater is really, really small. So you can walk up and say hello to the musicians and everybody's very cool about that. So we got to do that. And I managed to find on the floor, because I was well trained by Sunita, I was able to find the setlist. And it was four pages because the white album. And we were walking out and we ran into this young man who was the, who was the young man I was telling you about. And I said, did you love it? And his whole face lit up. And he said, he loved it and he couldn't believe how amazing it was to hear these songs live. He of course had never gotten to hear them live. And he just loved it, loved it, loved it. And I am the setlist. And I said, well, here you go. And he, his whole face just blushed and smiles and big eyes. And so there you go. So sometimes you get the setlist for you. And sometimes you get it for a young fan and you make their day. She doesn't answer the big question to me, who did revolution nine? Because I've seen, I probably have talked about this, the Fab Faux, the Beatles tribute band that Will Lee and Jimmy Vivino, and some of those great session players do. I've seen them do the white album top to bottom, which is phenomenal and amazing thing to see. And they, including revolution nine. Yes. So that is my question act to Dina is, did they take a stab at that? And, and how did they pull it off? But hey, she says that kid never got to hear these songs played like, nobody got to hear these songs played live. True enough. She did send us the setlist. So I'll take a look at that and see if it says who did play revolution number nine. All right. Well, I wanted to give a quick review before we get to some music news. A very quick review of the live show that I went to just a couple of nights back, just before the weekend. Freddy, we've had on the show full disclosure. She is my daughter. Freddy played live at an event called W. F. Antnam. We found new music. She played at a place called Bar Lubich in West Hollywood. A great turnout. I was, was excited to see for somebody who was a brand new artist, who was just dropping new music like Freddy is. A great turnout, including our friend. So Cal Music Cal. She turned up with her husband and I'm not even sure how it happened. But before I knew it, April was introducing Freddy at the event. I don't know, she talked with my kid and I guess she okayed it. And that was it. So many thanks to April and her husband. M.C. So Cal Music Cal. Right. I don't know how it happened, but she did a great job and introduced Freddy with the proper fanfare. So thanks to April for showing up and everybody else who showed up. And I'll just mention that there is another gig with Freddy coming up at Hotel Ziggy on Wednesday night, the 31st of this month. That is 8462 West Sunset. Come on out and see Freddy. Lots of new music and a great band. Got to say. All right. Wanted to drop that one in. All right. So that wraps it for our concert reviews. We've got some music news for you. First up is a story about Billy Joel and a B side that is suddenly getting all kinds of Gen Z love. This is not that much of a surprise to me. I saw Billy at Madison Square Garden last month, his next to the last show in the residency. And he has been doing audience requests that he pulls off each month. He goes online and takes the requests. And he commented when I saw him last month that he said this song was kind of a throw away. I never really expected that much from it, but you seem to like it. So off he went and he played Vienna. It wasn't one of the four singles released in North America, just a B side of just the way you are, the B side of that. And it catapulted Billy to critical and commercial success. Vienna seemed destined to remain a deep cut from his discography, but over the years, this number has endeared itself to listeners and become a kind of cult favorite. If you can call, you know, the entire population of Madison Square Garden, 18,000 people, being really excited about it. Over the years, it has developed a following. And so Billy has been doing it live and in concert across social media. Young women wax poetic about the decades old track and their emotional attachment to it. No one understands a woman in her twenties the way Billy Joel did in 1977 when he wrote Vienna. One woman declared on TikTok. Another shared that the song inspired her to embark on a solo adventure to the Austrian capital. More than a few have gotten the song lyrics and other Vienna inspired imagery tattooed on their body. For one meme, girlhood is sobbing to Vienna. So despite the fact that it was written nearly 50 years ago, Vienna is resonant and relevant as ever for a generation of young women. Joel, who counts the track among his favorites, has theorized that the song appeal to young women stems from its appearance in a pivotal scene in the 2004 rom-com 13 going on 30. Oh, I had thought of that. I'm a Billy Joel fan. Mark, you're a Billy Joel fan. And yeah, for me, it's one of those songs. Any time I'd go see Billy Joel, it was, did you get Vienna? It's almost like it's true. Like when it's like, it's almost like Springsteen's Rosalita, like, were you going to get it that night? Are you going to play that song? I don't know why that song became that, but it is one of those songs. But it does say that that movie was the jumpstart on that. I had no idea. I've learned a little something here today. This was the Jennifer, if you don't remember, the Jennifer Garner film that tells the story of this disillusioned teenager who wants nothing more than to fast forward to adulthood. Of course, when she gets there, she realizes that it's not all, that it's cracked up to be. That is a movie that was popular with girls and girls are who most of the enthusiasm for the song comes from. Beyond that, I'm not sure, Billy said, in an interview with Vulture. It's a coming of age song, slow down you crazy child. So I guess it resonates with younger people, and it's a fun one to play, says Billy about it. Kind of nuts. As long as he's happy and the kids are happy. And now we know, I don't know, maybe you knew where it came from, but now we know. Hi, I know nothing. I don't know anything about any of this, but it's got to come from someplace. Meantime, the release over the weekend was Eminem's new album, The Death of Slim Shady, Koo DeGrasse, his 12th studio album, which predictably and intentionally is full of a bunch of things designed to offend and ups any people as possible, including a seemingly endless torrent of references to Caitlyn Jenner and Christopher Reeve, which I can't imagine anybody under the age of, I don't know, 40 even knows what he's talking about. But that's what he's doing. Can I ask? I haven't heard the track. How on earth do you discrysta for Reeve Superman, who was kind of a terrible 5 different songs. Unbelievable. It's, you know, and then it's all about how fucked up it is that he's doing that. And that's why Slim Shady needs to be done with because it's no longer, that's the whole construct of the thing. But the references are so ridiculously out of date. There's Ja Rule, take some hits, Kanye, Lizzo. But somebody who does come under some, catches some heat from Eminem, are multiple references to Sean Diddy Combs and the recent sexual assault and misconduct, lawsuits and allegations coming against him in the song. Antichrist, a M&M references the video of Combs abusing ex-girlfriend Cassie in a hotel hallway. There's another song called Fuel that talks about those lawsuits and the never-ending claim that Diddy attempted to have Tupac's killer murdered in a very complicated conspiracy theory. And also on Bad One, he talks about Combs allegedly having an explosive planted in rapper Kid Cudi's car while he was dating Cassie. So at least those are relatively timely insults as opposed to much of what's on this album. So I don't know, maybe we'll talk about the album a little later when we get to some new music. As the latter-day M&M albums tend to be wildly technically impressive, weirdly sort of static, and like the whole thing is about the PC police are coming after me and I'm going to be canceled. Like nobody's coming after him. Everybody knows exactly what M&M does. Kids are not trying to cancel M&M. I think to the extent they think about M&M, they're something that their dads like. I don't even know what he's talking about for most of this record, but there you go. Meantime, I should mention a story that came out over the weekend. In The New York Times, our friend Danielle Smith, who was my colleague at Vibe and then the editor who succeeded me there, wrote a long piece in The New York Times about her history with Sean Combs and different confrontations that they had and what it was like, what it meant as a woman in the hip-hop industry at the time in the '90s and 2000s, a very, very powerful piece. We're talking about goofy stuff that M&M says. I would also point people to some pretty serious and pretty powerful stuff that Danielle Smith wrote in The Times that came out in the last day or two. I guess as we sort of ease closer to, whatever might be, a #MeToo moment in the music biz, which has not happened. I mean, maybe that video of Diddy kind of inspired it. We'll see. I don't know. That is the music business has not had that reckoning yet. And it's very different when it's stuff that you can see on film. Yeah, exactly. That makes for a very different conversation as well. So that's our quick look at some music news, but oh man, I am so excited to welcome our next guest singer, songwriter, producer, extraordinaire, Linda Perry joins us next on SoundUp. Stay there. At KeyBank, we know a small moment like, whoa, my kids got a serious backhand. Can lead to an even bigger question like, tennis campus, how much? And that's the type of moment where we'll meet you to help you build a savings plan for expenses big and small so your money can make money. Mike, how's that sound? Sounds like match point. Sounds like love. We could serve up tennis puns all day. For every financial need, we'll meet you in the moment. KeyBank opens doors. KeyBank member FDIC. Hey there, I'm your host and channeler and medium bringing you over 30 years of experience to Puerto Rico podcast. I've dedicated my life to uncovering and treasure trove of tools and techniques and I can't wait to share them with you. Join me on this incredible journey where we'll dive deep into spirituality, astrology, channeling, fitness, the divine feminine, numerology, and various spiritual modalities. And each week, you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts, deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Elena Mago. I report that mystical podcast. Listen to Puerto Fel musical on Pandora app Apple podcast Spotify or your favorite platform. All right, welcome back. Sound up with Mark had been an Alan Light and I'm happy to welcome our next guest. Linda Perry emerged from the San Francisco music scene as the main songwriter and lead vocalist for the band for non-blond's known best for the Linda Perry pen hit What's Up. Since then, she's founded two record labels as well as composing and producing songs for many other artists, including Beautiful by Christina Aguilera. What are you waiting for Gwen Stefani? Get the party started by Pink. She has contributed to albums by Adele, Alicia Keys, Courtney Love, and for her successes, Perry was inducted into the songwriters Hall of Fame in 2015. She is the subject of a new documentary called Let It Die Here, which is making the festival circuit and Linda joins us here on Sound Up Linda Perry. Welcome. Been a while. Good to see you again. Nice to see you. Thank you. When you you see this product, the finished product, how do you feel about the the portrait that has been painted of you? I my my assumption is Don got to do his thing and you, you know, you were the subject, you didn't craft what was happening or maybe you did. Yeah, no, it was like a very organic. I mean, I wasn't making a documentary or at least that's what I thought. I thought I was just getting some cool content for social media. So I'm a pretty private person and you know, I have a friend Emily when and she was like Linda, you need to post more. And so I had just did this documentary Citizen Penn about Sean Penn going to Haiti and Don directed it. And but one day he came out to me and he was like, you know, after with that project finished, he was like, Hey, I think you're super interesting. Do you mind if I just kind of come and record stuff at your studio? And I'm like, sure, whatever, can I use it for social media? And he was like, yeah. And so anyways, that's kind of where I as far as I was in, I was never like, Oh, let's make a documentary about how crazy I am. I, you know, and during the process, as you know, life does life started happening. And Don was there when things were starting to spiral out for me a bit, you know, and me questioning my ability to understand my own creative and how to move forward as an artist for myself. And some other shit happened and to say the least. Yeah, and then he came to me and he's like, So, you know that stuff I've been filming. I'm all yeah, and he's like, well, I kind of did an edit of 30 minutes and I showed it to some people and they think it's a documentary. And I literally, you know, I said to him right away, I said, I don't want to know about it. I don't want to hear it. I don't want to see it. Just do what you think you need to do. If I said it, I'll stand behind it. I'm not going to, you know, deny anything, but I don't want to talk about it. And so that's where we left it. And I said, show me it when you are close to being done. Was that a, I mean, you say you're a private person. This didn't go in with a target on the wall of what you were doing as you saw the stuff that was happening during this time. And as you saw that the cameras kept running. And as he came to you and said, let's do something with this. Was it hard for you to get up over those hurdles and say, yeah, let's go for it? What were the decisions along the way? I think it was exactly what I said. I just didn't want to know about it. You know, Alan, like, as somebody comes and says, I'm going to make a documentary about you, you can go two ways. You can either surrender to it and let life organically take place and see what unfolds, or you can try to control it, make it this, make it that, make yourself look great. It could be a vanity piece or and a really emotional, you know, raw, honest one. And obviously anybody who knows me, I'm always going to go for the raw emotional version of myself. So I think it's a, to me, I try to understand when things happen to me, they're happening to me for a reason. So if somebody all of a sudden had interest in a documentary based on things that they were witnessing and watching me, you know, do, then there must be something of importance there that they even want to do this. And so I just surrendered and just let it go. Let it go. Let it go where it was going to go. Have you watched the whole piece? Yeah, I've seen it twice. So Don came to me and, you know, was like, all right, you know, because he kept on trying to send me stuff. And I was like, I don't want to see it. I don't want to know about it. He's like, but Linda, at some point you have to see this. I'm like, I get it, but I don't want to, you know, and finally he was like, okay, I really need you to see it. And the only things I suggested was when, you know, earlier on when he was talking about like, you know, I might have to get some old footage, you know, whatever. I said, listen, whatever you do, don't do any reenactments. Those are bullshit. And, you know, if you need backstory or you need to cover something that happened in the past, use puppets, use animation, use claymation, do something else, but don't just go get stupid old footage, you know, from a long time ago, do something creative with that, you know, but no reenactments. So when I saw it and I saw the claymation, I was like, fuck yeah, you know. And then there was, you know, so that was the only thing I said. And then I said, please don't fill it with a bunch of fucking people talking about how great I am. I don't want to make that there are a few. There's a few people talking about how great you are. There's a few, some really big people. Well, they're not actually talking about how great I am. They're talking about my process, which is great. Now listen, do I want to lose Dolly Parton telling me I'm kind of like Elvis like that, you know, how charming and the swag that I have? No, I do not. But they, we did get rid of a lot of stuff that was in there that I just thought was pointless and, you know, didn't need to be there. There's one of the historical things in here. There's the sort of turning point, like the superhero origin story. When you're finishing the Fournon Blond's record, you know, everybody's telling you what's up is done and it's great, ready to go. And you say, no, it's not. I hate this. And you kind of sneak back in, rerecord it, and take over and produce the session and set the mics and set through the levels and the mix and all the stuff. And now, you know, you're a producer, you don't get recognized for it on that, but say, okay, this is what I can do moving forward. Where did that come from? How did you know that you could go in and, you know, set the drum mics and like get handle that side of things when that hadn't been the slot you'd been in? That's the moment where like, bam, the fireworks go and everything changes. Yeah, I don't know how I know. I just know, you know, and luckily, we had a really great engineer there helping us. And he was so helpful. And he wasn't like the other, the producer that we were working with, where he didn't want to give me any information. I can't remember this guy's name. I wish I did because he was just a lovely person. And really, you know, he should get so much credit because he really talked to me through everything when I said I don't like the sound of the kick drum. Can I go move the mic? And he's like, of course you can. And I'm like, okay, great. Like it was opposite of what I just came from, you know, and then, you know, the Don snare was too high. And I was like, Don, can you tune it down? Like it just seems so high. And again, just being able to dial in guitar tones with the help of this dude and engineer. And he was just very helpful to help me and guide me to what I was hearing. And so, yeah, you know, and listen, was I doing my job as a leader of a band? Yes, I was doing my job as a leader of the band. Was I doing above and beyond the call of the duty? Yes, I was. But after that situation, and them saying that I can't have production credit, all I said to myself was that's just never going to happen again, you know, and it never did. And I made note, you know, and that was it. Brandi Carlisle, one of the the people who isn't really raving about you and saying nice things in the movie. Mark, are you? Just a little, just a little. Okay, I wouldn't call it raving. I feel like they're talking about things that we experienced together. But it's not like, oh, my God, Linda's one of the most genius is in, you know, whatever. A fluff piece, should I say? Oh, my God. If there is anything that this piece is not it's fluff, for God's sake. Okay, that's what I'm trying to say. It's not. Oh, my God, no, no, but what I was going to say about what Brandi, one of the comments that Brandi made about you in the studio and about more generally about women in the studio, is that there's no difference between having a male and a female producer. And that kind of struck me because I feel like they're not to say that one would be better than the other. But I think absolutely there would be a difference. I think that you're going to produce something in a much different way than somebody with male energy. If you're working with an all-female band, or if you're working with a female artist, there's things that you will tune into that a man just isn't able to. Yeah, I think what Brandi was trying to say, and she says it so amazing, and I know exactly what she meant, it's just that there should be no difference of how you choose a producer. You know, like, I think it says that a lot of women aren't put forward as producers. There's always the go to, hey, we're going to go to these five top dudes that are doing everything. I think I heard Don say, is there a difference between a female? You're absolutely right. There is in so many ways. I was actually in the car driving here, and I was wondering to myself, if it's ever going to be equal. And then what is equal? It's like, what exactly is equal? A woman will never experience the safety that a man has walking or jogging through the park by himself. But a man will never understand how there's predators all over, ready to rape him. 100%. You know what I mean? A man's never going to understand having a child and the bond of breastfeeding your child. You know, it's like, so I don't understand what equal could possibly be. And will women ever, you know, like equal pay? That's understandable. Like, there should be no reason why a man is making more than a woman in the movie world, music world, any world. There should be no reason. That makes total sense. But sometimes you have to wonder what equal actually is as a producer. Now, I agree with you in that sense where I've had many women come to me and say, Oh my God, like, I feel safe here. I feel heard. I don't feel your ego is running this project, you know, and and that feels good because I've been in the rooms, and I know those guys, and they're a lot of ego. It's a lot of male dominance. There's a different smell, you know, there is the different fucking smell when you're in a room with a bunch of dudes and then when you're in a room with a bunch of women wearing acts or something like that, probably. Yeah, but it's also men sweat different. You know, it's a stronger, more potent smell, you know, and it does alter the way you are in a room. I mean, you not known like if you went into a room with a bunch of women and then felt that and really understood that and then walked into a room with a bunch of men, you're going to feel differently. It's just that's the way it is, you know, we react on smell sound visual, right? And if you see a guy standing there scratching his balls before he starts talking to you about how you should deliver your vocal, that's going to fucking affect you over a woman just standing there going, okay, so maybe come out with a different approach, more emotional, you know, I'm a very emotional person in the studio. And I listen, I'm safe, I empower, I don't feel a threat whatsoever. There is no ego in the room with me. And the majority of the time, that's the way it is with most women. Now, when you have a woman coming into your studio saying, I feel safe, heard, and you know, it's way better in here. And I feel like my eye can be more vulnerable, then you have to admit it is different walking into a studio with a female producer to a male, male producer. But can I just clarify, that does not mean we're not equal, you know, that we can get the results. In terms of, you know, if a man and a woman have the same technical knowledge, then it is what it is. It doesn't that way. It doesn't matter. And exactly. There's no reason that a woman couldn't have that same technical knowledge as a man. Exactly. And every producer or engineer or whoever brings in whatever their own individual experience and style, like that's, you can't generalize anyway to that. Yeah. Exactly. We all have different ears and different perspective and different ways of how to get the song out. So it shouldn't be judged based on what your gender is or race or how old you are, you know, it's like, you know, you go in and everybody, that is equal. We all walk into that situation in a technical and process way equal. But yeah, I was going to be a little bit different. Yes, of course it is. So you said before that, you know, Don kept the cameras running as things are happening and you're just going along. And there feels like a real turning point in the film. You go down to Austin, you do this showcase event for this organization that you're working with, promoting some of these issues and promoting empowerment for women in the business and all of this, you know, these, these issues. And then you kind of break down after that and express your exhausted and overwhelmed. And you know, you said it starts spiraling and it feels like there's a moment there that sort of runs then through a chunk of this documentary where you're, you know, you're kind of flailing and figuring out where you're going and beat up and all of that. Did you feel that coming? Did that happen as sort of overnight as it feels like it does there? I mean, that must have been building. No, I mean, you know, it's life is just funny, man. You know, it's like, it's interesting that so much happened while a camera was rolling and I find it really interesting, you know, it's like, how did all that happen while I, you know, I mean, a lot of shit happened, you know, big things happened during that point. And again, I trust the universe. I do. I trust the universe. I trust the process of what happens and the journey it puts you on, you know, and obviously all that needed to happen and it all happened organically. So no, I'm always flailing in some way. I'm like that. I'm dark, you know, I'm bright and dark, you know, and, you know, I don't know how to be gray. I only know how to be black or white, you know, I wish I knew how to be gray, but it's like I don't, you know, so it's like, so in that aspect, what the movie showed me was, I, you know, when I watched it, I was like this, you know, like for the first time, but I disassociated, jumped out right away of that's me on the camera or the screen. And then I was able to start watching her in her journey and spotting out, like, Oh, the turmoil, the what she's going through. And someone hugged this girl and she's tortured, you know, and, and that was kind of a wonderful moment for me to where I think I was able to just exhale, you know, and somewhere in the movie near the end, you see it actually happen. And all of that was in real time, like that was not edited to make it look like that. It all happened exactly. That's what's amazing about this film. Like, it all happened exactly the way it shows up. And, and you see me spiraling. And then, of course, this, you know, like, this sickness shows up, this thing shows up. And then, you know, this whole other situation with my mother. And then it's like, it's getting bigger and bigger. The problem is obvious. The problem is obvious. It's like, I don't know who the fuck I am. I've put on so much clothes of other people. I don't know how to take it off now. And now I'm getting lost and stuck and I'm drowning. And then there's a light, a small one at first. And then it turns into this big exhale, you know, and that's how the movie ends. You know, so like me just, and, you know, since then I wrote a whole album, you know, that will support this film and it will drop wherever this film lands. So I kind of want to go back almost to the beginning here. When you look at this film through your fingers, what? And you said you disassociated. So what do you think about that portrait? You've mentioned, and it's clear you're a private person. And yet, man, I mean, literally and figuratively, you got naked in this movie. And where does that come from? That strength. Is it the relationship maybe with the director? Or was it something else? And what is your take looking at that woman? What do you see? What do you learn? Yeah, what do you you see looking at that woman on the screen? You know, there's a few things that come to mind. But I think that, you know, one of the things that's the most embarrassing is, you know, that closet scene. With the super tram song? Yeah. I wanted to ask you about that sequence. Yeah. So what happened was, Don had told me, I'm never around, you know, and you're feeling like you want to say anything, just put your camera, you know, or your phone down and, you know, lay it down and just record it and just send it to me and I'll figure it out. And I never did that. I always thought that that was cheesy. Then that was the first time I did that. So I think that I was woke up. I thought I was in a pretty decent mood, you know, like I wasn't feeling too down. And I wanted to talk about equalizer because it was on my mind about how we could improve or bring awareness. And so I want, I was going to talk about that. I was like, you know, you know, I was thinking, Oh, I'll send Don this thing about equalizer, what's on my mind and things that we could do, whatever. So I put my phone down and I was going to go in the room and you know, the bathroom and, you know, get ready, put my hat on and, you know, whatever. And I had my iPad in my closet for some reason, I think Rhodes put it in there. And I just was like, Oh, I'll just put on, you know, here, I'll just push play on whatever this, you know, whatever's on. I mean, I don't even know how there was even music on there. First of all, because I never used that iPad. So then I went into the bathroom and then I came out and I pushed record and I'm like, okay, I was going to put my hair back and put a hat on, you know, and then super tramp came on. And I don't know, I don't know what happened. Like something happened. That song, that song take the long way home is about, you know, like in another language, Warren's Eve on language, enjoy every sandwich. It's about living each moment. Exactly. But something about that song came on. And then I started spiraling out. I started thinking about my childhood. I started thinking about like how fearless I used to be. You know, I lived in San Diego. I lived on the streets. I I've squatted in cars and abandoned apartments and, you know, I've panhandled for money and drugs, you know, and but I was always happy, you know, or at least I thought, but I was just reckless. I was, I was fearless, you know, and then I was starting for some reason, it was provoking like this thing that I'm now like I I'm always afraid. I'm, you know, I have too much to lose now. And I used to, you know, I used to, I went to this place called studio nine and they would let me in because they just loved the way I looked. But I never had any money, you know, and I had a big mohawk and I was a punk rocker and I would go in there and I would just dance and dance to the cure, to massage, to the rhythmic, to Thompson twins, to Christian death, to the specimen, to, you know what I mean? I was just in there dancing, human league, all that, you know, and it was so amazing. And I felt free and I'd always be on drugs of some sort, right? So I don't know, this is what is coming to mind. So it all happens. And then I stopped it. And then I immediately sent it to Don because I knew, I didn't want, I didn't look at it. I didn't even know if it caught anything. Had no idea, I just took it and I sent it to him right away. And I said, I don't know what this is. I don't know what's happening here. But it's Linda. And it's probably crazy. And use it if you want, if you think it's important, but I don't want to see it. Don't ask me about it. Because I'm erasing it right now off of my phone. So I just needed to give it to you before I erased it. So I didn't even know if it was captured properly. I was just in this moment. And then when I saw that on the fucking big screen, you know, watching this film, I was like going, Oh, my fucking God, I was so embarrassed and shocked that I even allowed something like that out of my hands. But in the same breath, I was like, how brave of that girl, you know, and I was able to see her bravery and her honesty and her vulnerability. And it actually that closet scene opened up a lot from me. And I was like, you are fearless, dude, you still are reckless. And you are so brave. And that's what I got from that. You said that you cut a bunch of stuff. And obviously, so much of the focus here is process and present and what's happening as the cameras are rolling. But it is interesting that there's a whole chunk of your history. That's what people a lot of people think of first, right? The work with Pink and Gwen and Adele and Alicia and the stuff that puts you in the songwriters Hall of Fame, all of that work. And that's not really here. We get the talk about beautiful with Christina, almost not because of the success of that song, but because of what that song represents, you know, as a breakthrough song. But all of that other stuff just isn't even addressed. Was that intentional? Is that where you said it starts to feel too much like to self serving or whatever? Or did it not even was that just like, I'm not even thinking about that. That was the only thing I said to Don. I just said, I don't want to make a fluff piece. If we're going to do this, then just go for it, man. Don't go digging around. That's why I said, don't go digging around for old footage that highlights how great I am or for nonblons. Just let's just be in the moment. And if you need something from the past, do it with animation of some sort of animation, whatever. I think I even suggested puppets at one point, you know. But that was, you know, for me, a mandatory thing. I don't want to focus on a documentary on how great I am. In fact, go the opposite. You know, if you need to, I'd rather you go the other direction, you know, it's got to be raw. And Don knew that already. I don't think he ever intended to make a fluff piece. You know, I just needed to say it because I didn't want him to, yeah, I go dig up, you know, those guys and like start asking them anything. So I think we were on the same page. And Don saw what the film was about. I didn't, he saw it right away. He knew I was struggling with who I was, who I became, how lost I got. And I was trying to figure out a way back. I just didn't know how to get there. Do you feel like the movie helped you achieve that? Oh, yeah. I think, well, not the movie, but the stuff that happened in it, you know, but the stuff that happened, you were saying it's almost sort of by happenstance that it happened in front of the camera. What happened would have happened anyway. The fact that there was a camera there. Did that change its impact on you? Oh, no, you know, I don't know. I'm pretty like, there could be a million people watching me through this window right here. This is a window and here's my studio. There could be like a million people out there and it's not going to change how I'm moving or talking or doing anything. Like I never am influenced by presence. Like when I would perform, it's great. I feel that energy. But whether there's one person, and that's always been, you know, something that I really liked about me. Like there could be one person in the audience, and I would perform to them exactly the same way as I would if there was a hundred thousand, you know, I'm just an artist. And if I'm not bleeding, I don't think I'm working hard enough. There's two things that were not addressed at all in the movie that I got to wrap with, but I know Alan has one more thing you wanted to ask. No, I was just going to say you let me die here. Just showed it to Tribeca festival. And I assume we're now waiting to see how the world will get to see it. Yeah, so it did Tribeca. Really great response. The reviews have been so kind, you know, like really, really above and beyond kind and generous and emotional. And it played at Frameline in San Francisco. It was at Bentonville in Arkansas. That's Gina Davis Film Festival, really cool festival, by the way. And it's going to look like Woodstock and Canada. It's making its rounds Nashville. And so yeah, but we are, you know, you try to find a home for it. I stay out of that. It's not not my business. So there's a couple of things in the film. There's plenty of things that we could talk for hours about, but I'm going to go with a couple of things. One, let's talk about hats. Can we talk about hats, please? What is, what is the deal with you and hats? I'll do my Seinfeld. I mean, you, there's times when you're wearing two hats at once. And so I'm following that like, and then they're cool. And they're so you. I mean, the times that I've met you in person, always different hats. And that was a big thing that came out of the movie. And the other thing, and this is just my weirdness, I'm fascinated with your tattoos. There's stories that are, that are all over you. And I, that's just a weird thing of mine. Maybe that's another show. But if you could just tell me one, the one that's here on your right cheek, the teardrop. Now in gangland, that means you murdered somebody. True. If it, no, if it's filled in, Mark, I, I hired someone, but yeah, apparently that's the hat rolls. So my best friend that's in the movie, Aubin, him and I have been best friends for, forever. And we always lived next door to each other. And he was moving to New York. And I was moving to Los Angeles. And we were both so sad. And while I was gone on tour, he had put a tattoo for missing me. You know, he just kind of tattooed it himself. And so when we were partying and moving away from each other, I said, well, you tattoo my face, you know, put a tear on mine. So he, he did a tear with the, you know, the needle, the, you know, Indian ink and just a needle. And so then like, it was like three weeks later, he didn't like New York. It wasn't going the way and he was back. And so it was just funny. I'm like, wait a minute, I got this tear. But I love it, you know, and then just, you know, maybe five years ago, I got these birds. I don't know. I like the face tattoos. I don't, obviously, it's not too aggressive. But listen, man, I'm not going to go and apply to be a school teacher tomorrow. I'm not going to be a political advisor. I'm not going to be anything but who I am. So I'm okay with my tattoos. But I don't, yeah, I didn't, I think the last time we saw each other, I didn't have those. But the birds know. But yeah, I mean, and the hats. It's not like you're bald or anything. No, no, I have hair. Look, I totally have hair. I don't know. Honestly, I think it's some kind of weird protection. I used to wear them when I was a kid too. I, you, I'd wear sombreros, you know, like I would have these big sombreros on my hat, my head. And I would just think it was the coolest thing and cowboy hats and, you know, all anything, anything I could put on my head, I would put on my head when I was a kid. And if I were really going to think about it, and if I wanted to give it some kind of spiritual meaning because it is bizarre, how I just always have to have a hat, I think it's some kind of protection for me because I'm so open and honest and giving of my energy, I think in some weird way, it shields me from getting too much energy into my, you know, because up here, apparently they say like when up here is when you have like you let go of energy and energy, you know, will come into your peripheral, whatever. And then I was talking to the psychic girl and oh, hi, one time, and not even as a psychic. She was just, she said to me, you know, why you wear hats. And I said, why? And she's like, because you give out too much energy and it's a way for you to protect yourself. And I'm like, I thought I wore hats for protection, but I didn't understand what it was. But you know, I think it's a security blanket. I think it's Linus's blanket for me as well. You know, it's a pacifier. It's something obviously, but I haven't really dived into the mental and emotional reason for it. But you know, maybe I will. But yeah, you're right. And sometimes and weirdly, when I'm feeling really like this, I do. I put a beanie on and then I put that on. Next, if you see me, I might be wearing foil on my head. Who's fucking Christ might be one of those old ladies that have a foil hat on to protect me from alien satellites and whatever. That's great. Linda Perry, it's always great to talk to you. I encourage people to once we figure out where it's going to be, to go and catch, let it die here. Yes. Thank you. It is a hell of an experience that it will take you. Thank you. I appreciate it. All right. Linda Perry, thank you so much. We're going to take a fast break here. And when we come back, new music on SoundUp. At KeyBank, we know a small moment like, "Huh. What's it like to have a yard?" Can lead to an even bigger question like, "Am I ready to buy a home?" And that's the type of moment where we'll meet you. Prepare to talk about everything you need to know when applying for a mortgage. So you can try to turn those backyard dreams into reality. Paul? Yes. Question. Are you a hammock person? You know, I think I might be. For every financial need, we'll meet you in the moment. KeyBank, opens doors. NMLS-399797, Equal Housing Lender. Hey there. I'm your host and channeler and medium, bringing you over 30 years of experience to put aside mystical podcasts. I've dedicated my life to uncovering treasure trover tools and techniques. And I can't wait to share them with you. Join me on this incredible journey. Where will dive deep into spirituality, astrology, channeling, fitness, the divine feminine, numerology, and various spiritual modalities. And each week, you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts. Deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Elita Mago. I put a fabulous to go podcast. Listen to what a fabulous to go on Pandora app, Apple podcast, Spotify, or your favorite platform. All right. Welcome back to sound up just a little bit more to go here. We got to squeeze in some new music for this show as we always do on our first show of the week. Who's got what? Roger, you want to go first? What are you picking out for our new music this week? Two quick ones. One is Ray has dropped yet another song. This one is from the movie, Fly Me to the Moon. I think that's the name of the movie. But she does. Yeah. She does the song. She covers Fly Me to the Moon and does a very traditional version with her flair on it, which is really, really cool. I like the song. I don't love it. I love her delivery. I find, and I guess maybe because it's a movie, it's a little Disney-esque the way the arrangement is done. But she does do one of those scat breaks in the middle where she follows notes vocally, much like George Benson did all over Breezen. And I love when she does that. She just kills it when she does that. And it's become like a kind of trademark of hers that she does in songs. And it's really, really cool. You are all in for Ray. I am all in. I'm with you, Roger. She's stunning. Everything she does is just amazing. Yeah. And then the second, I couldn't pick a song from the Eminem album, because as he will tell you, it's meant to be heard starts finished, which is I did a long drive this weekend and listened to the record and outdated comments and outdated references aside. The concept of him battling himself, Marshall Mathers battling Slim Shady, these two characters going at it is, on one hand, very creative. On one hand, it gives him a license to say whatever the hell he wants and blame it on the other character. But the sheer amount of lyrics throughout this album is astounding. And the way it's produced, where he's, you know, rapping to himself, basically back and forth, back and forth is really, really impressive. I think the production and the style of the album a little bit outweighs the lyrical content, but there are some really bright spots on it. And it's kind of a throwback record, but it also highlights just how great he is as an MC. I mean, that whole Marshall versus Slim, versus like that guilty conscience, he did however many years ago, he does guilty conscience too. On this record, he resurrects that. And the technical facility, there are just moments that are unbelievable when he just turns on what he can do with words and what his facility is. It's weird that it's this really tightly elaborate concept album for like two thirds of it. And then it stops. And he talks about what the concept was. And then there's like four or five more songs, which are very different and very much in the sort of confessional singing about his kids and his daughters and how he fucked up and what he's. And it's sort of like the weird whiplash that we were in this whole tightly constructed thing for most of the record. And now we're going to go do this other thing that Eminem does. And I feel the little, I got to say a little said, the last track that he does is sort of a duet with my man jelly roll, who's kind of taken the seat of I'm the guy, you know, I'm the was the white rapper, who was locked up, who, you know, came back from my addictions and who's had this triumphant thing. And basically, he doesn't even sample him. He uses jelly roll song Save Me, which was kind of his breakthrough hit. Jelly Roll sings it and then Em does a thing around that. And then it ends with jelly roll singing it. And it almost feels like he's trying to get some of Jelly Roll's shine right now to end on that to end on here's this guy who's almost doing my thing better than I am now felt a little awkward to me. Like, you know, he's when he's done that, it's been with dream on and it's been with, you know, and sometimes kind of corny, but these big choruses from these classic, this isn't a classic song. It's a hit that just came out, you know, people are still listening to and felt a little bit like he knows that he's kind of, you know, catching up to the times. And it's the first time it felt like he was jumping on somebody else's cape for a minute. So it's it blows very hot and cold. I've seen people just hate this album. And right, this is a total waste of an hour of your life. I don't think it's there yet. I think that the stuff that's strong is still stuff that nobody else can do. But I don't know, man. And just to say, Marshall, it's Christopher Reeve, not Christopher Reeves. And if you're going to use it 100 times on the album and you don't get the guy's name, right? Like, I don't even know what to do with that. And there's one part in one of the songs where it's the whole load. It was at the new hard ending. It's the dream within a dream where he just wakes up. Oh my God. What I mean, you guys both are big fans of Eminem. So explain to me, or is this like one of these sort of cathartic career change moments? Is he emerging out of this album as you know, Slim Shady's dead and I'm moving on and that's the question. It's left as a very open question because that seems to happen. And then there's this Oh, it was I had this crazy dream where I was fighting with myself and I killed off slim and like you're not it leaves open the door of that didn't happen. And now a slim is going to come back from the grave. Like that's, you know, you have not seen the last of this. This is like bad out of hell albums now. They're just out of 10 years. All right. That's awesome. All right. All right. So is that what else you got? Yeah. All right. Alan, so I'll jump off of that speaking speaking of alter egos and characters and everything else. We got a new album on Friday from Sturgill Simpson, who had retired himself previously. He announced his retirement. Then he did these two sort of bluegrass records. But was like, well, those don't really count because those are me doing my old material just in a different style. And then he did this kind of little song cycle thing, the ballot of dude and Juanita. And he said, okay, that's it. I did five records. This was the arc of what I want to do. And I'm done. And he's back with a new album, but it's under this name, Johnny blue skies. It's very unclear if that's the name of the band or that's some sort of other character for him or just the work around for him to make new music. So technically, this is a Johnny blue skies album, though, if you search Sturgill Simpson on the streamers, it does come up. It does come up. And the album's called Pasage de Desir. He's there's been living in Paris in recent years. And there's a lot of Paris references and a lot of sort of that mood that suffuses this album. And I got to say this record is beautiful. It's in some ways the most kind of accessible thing. It's got a sort of country rock thing. It's more sort of band driven than a lot of his stuff. It's only eight songs, but some of them are like six, seven minutes long. There's a lot of sort of instrumental wandering on this record. Very soul searching, self searching, you know, I went to Paris to try to find myself is a lot of what's on this record. I'm going to say a song called who am I is the one that I'm going to pull out for the for my pick to go on our Spotify sound up soundtrack playlist. That's the one that you'll find there. But look, you don't get to wear a lot of you know, you don't get to Zach Brian without going through Sergio Simpson. You know, you don't really get to what Chris Stapleton has become without going through Sergio Simpson. What this guy laid down in those records, you know, now 10, 12 years back or whatever it was, really carved out some some great territory. But this record's really, really good. And I don't want to get overexcited on the course of a weekend. And again, he is going to tour it having said he's not touring, you know, so is it again, he's found a way out of this, or he's just changed his mind that he wants to go to work again. But I urge you to check it out, Pasage de Dezir, who am I is the song I'm pulling out in a not the same sort of vein. But singer Mark, I would think that you would be a fan of Laura Marling, I announced a new album and put out a new song. The song Patterns came out on Friday. And she was part of that first, she was part of the sort of Mumford and Sons, that kind of folk revival movement. She actually went out with Marcus Mumford before he ended up with Carrie Mulligan. But I guess it's been a few years since Laura's made new music. She's a new mum. And from interviews, I've seen a lot of the album is about that, about her new motherhood and adjusting to that. This song is, you know, very folky, very acoustic, very sort of circular, but just a lovely, lovely song called Patterns. I've always been a fan, I'm happy to have her back in the game. And I just want to mention, I hate repeating on our playlist, you know, when we play a song from one of the early singles from somebody, I don't want to just keep piling on then when the album comes out. But a young country singer named Megan Maroney, who I am a big fan of, put out a new album on Friday called Am I Okay? She's out touring with Kenny Chesney through the summer. And she's just a great writer, really interesting, she's sort of a catch in her voice, like a very distinctive vocal sound. And these are just such good, solid songs from a perspective. It's very much a young woman in the 2020s. And it's the kind of thing that could feel really dated, where it's a lot about, you know, there's a lot about like texting, there's a lot about, you know, things that could easily later feel like, Oh yeah, that was a, that was a moment, wasn't it? You know, email my heart. The Britney song, We Love So Much. But, but it really feels like it captures a, you know, a sensibility and a time and a place in a very unique way. I think she's really good. This album is really strong. Am I Okay? Is the album the title track is sort of the new focus track that I would send you off to Megan Maroney to and those are mine. Thanks for that. Roger, I saw you getting excited about her as well. I had not heard anything about Megan. So thanks. That's that's why we do new music here. These are rock solid songs. That's great. All right, we'll wrap up with mine. I picked just two. I'm a big fan of deer tick. They have some new music out. That's actually an EP called contractual obligations, which reminds me of an old, I think it was Monty Python. Who did an album called the contractual obligations record because they had a contractual obligation to do a record before they get off the label. That's not exactly what's going on here. This is eight songs that were recorded during the sessions for their last album, Emotional Contracts. This EP is coming out on Friday and they say sometimes when you make a record, you have to make a few cuts with 2023's emotional contracts. We were quite happy with all the material that ended up on the cutting room floor. So we swept it all up and compiled it into the CP title contractual obligations. And as I say, out on Friday, the tune, big black hearse. It's a laugh riot. This one. It's actually a great song. And I'm looking forward to the rest of these. I haven't heard these other tracks that were left off this last record. Really cool. Also, I want to shout out Remy Wolf with something new. Big Ideas is her new one. And she says it is her mid 20s coming of age album. It documents, she says, "All my wild nights, situationships, jet lagged, high highs, low lows, and evolving thoughts on my identity and purpose in this world. All the big ideas." That's what she says about this. Also, it sounds sick AF and was very fun to make. Please enjoy my children. So Remy Wolf, a big ideas is the new one. Soup is the song that you're going to find on our Spotify playlist. Please do head over there and check out our playlist. You can go to sounduppod.com and find out how you can be a part of our live sound off podcast taping. You can email us at connect@sounduppod.com. Email us with whatever thoughts, questions, reviews. You heard the review we played from Dina earlier in the show. Send us your audio messages with questions, reports, whatever you would want in the world to know or to hear about. Definitely tell us about any shows that you go to and we'll share those with the world. And don't forget to give us a five star rating over there on whatever platform you listen to sound up on. We will catch you next time on Sound Up! Sound Up is hosted by Mark Goodman and Alan Light, produced by Roger Colletti, distributed by the Revolver Podcasts. Get Sound Up on Pandora Podcasts, Spotify, Apple Podcasts, or wherever you get your podcasts. To be a part of the show, email us at connect@sounduppod.com. Sound Up! The music, advice, smile from Tokyo. We'll see you next time right here on Sound Up! With Mark Goodman and Alan Light. Hey there, I'm your host and channeler and medium, bringing you over 30 years of experience to put a style mystical podcast. I've dedicated my life to uncovering a treasure trove of tools and techniques and I can't wait to share them with you. Join me on this incredible journey where we'll dive deep into spirituality, astrology, channeling, fitness, the divine feminine, numerology, and various spiritual modalities. And each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve. Expect captivating interviews with experts. Deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth. I'm your host, Alita Mago. I'm Portofag Mystico Podcasts. Listen to Portofag Mystico on Pandora app, Apple Podcasts, Spotify, or your favorite platform. [BLANK_AUDIO]
On episode #50 of “Sound Up!,” Mark and Alan talk to legendary producer and Songwriters Hall of Famer Linda Perry about her brutally honest new documentary “Let It Die Here.” In Music News, we discuss an old Billy Joel b-side becoming a Gen Z favorite and Eminem calling out Diddy on his new album. We have a listener review of an all-star recreation of the Beatles’ “White Album,” plus our New Music Picks of The Week including tracks from Raye, Sturgill Simpson, Deer Tick, and Remi Wolf.
