Chords for KC and Sunshine Band Interview

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[G] _ _ _ _ _ _ Green Room, we have Casey of Casey and the Sunshine Band.
Welcome.
Thank you.
How are you?
I'm excited.
Good, good.
[Gb] I'm stoked.
So, [N] who are your musical idols?
Wow.
I don't know, I like the Motown sound.
I love Stevie Wonder and Dinah Ross and the Supremes and the Four Tops and Tim [Bb] Chaitain,
Joe Cocker, Stevie Wonder, James [N] Brown, Ruth Franklin.
I love, [F] I love, I love, I didn't really have like [Gb] a particular idol.
[Eb] Like everybody.
[C] Like everybody.
Yeah.
[Eb] What do you think of Dancing with the Stars?
Are you [E] next?
No, no, I won't be.
I was actually one of the first people they asked and I declined it.
_ _ _ [Bb] It's a great, it's a great show and you know, I don't [N] watch that often because I'm busy
but it looks like a lot of fun.
It'll be a lot of fun to do.
_ [E] If you, _ you've done [D] over two, your music scores have been over 200 [N] movies.
Yeah.
Right?
Don't ask me to name them. _
[Bb] If you win, _ [Gm] what [G] would you be doing for a [Bb] living if you weren't doing music?
[B] Oh, I know, I would be in the music business somehow or another.
I would [Gb] have been, I don't know.
You know, I managed artists, [F] I've done a little bit of all of it so I don't know where I would
have ended up but [N] somewhere in the music business.
So what are your hobbies?
What are your passions?
This is my hobby. _ _ _ _ _
Where were [E] you when you heard your song played on the radio for the first time?
What was your feeling?
Well, [N] I was probably in the car because I knew it was coming on and I was listening
to the radio for not just to hear myself on the radio but to hear what the record sounded
on the radio to see if we need to make any changes technically.
That was the only reason I was really listening to the radio that [Bb] day.
[E] Huh.
After, like post production?
Yeah, pretty much.
[Em] Was it a final master or was it a rough?
No, I mean it was a final master but you know, you always [Gb] listen to see if you've done it right.
Because radio is a whole different thing than listening to it on _ [Eb] your stereo because
they [Db] take it and they add EQ and limiters and stuff to it and that changes the sound
even from what you gave them on the record.
[Ab] They add reverb, they add all kinds of stuff on the overall mix.
When they master it.
Yeah.
No, when we master it we do that but the radio station [D] also does it again.
Oh, on top of it?
[E] On top of it.
Oh, I [D] didn't know that.
_ [Ab] _ Oh, that's interesting.
So, are you an artist that's like [D] when you're done with it you're happy with it [G] or you go,
you know, there's still one thing I want to tweak on that.
[Ab] No, you can never be finished with it completely, really.
At [Eb] some [D] point you have to say I'm done.
[F] You know, on that set.
[E] _ _
Sure, that's good if you can do that.
Right.
Well, no, you have to.
You don't have a choice.
You [N] can always keep finding something to change on it.
You know, it's like it's a piece of art.
You can always find another place to put a little bit more red or green in your [Em] painting.
Sure.
You know, music is a painting so at some [D] point you have to step back and say [Eb] it's done.
And [G] you have the freedom on stage.
Huh?
Then you have the freedom on [Ab] stage to do whatever you want to it.
Right, then you can make those little changes, take [E] away, add and tweak.
Right.
We interviewed a couple of weeks ago [N] Peter Max.
Oh, yeah.
The artist.
He's a great [Ab] guy.
He's like a father figure.
Yeah.
He's sweet.
[E] He's doing the Grammys again.
[Eb] _ _ [G] He [E] did a painting for me of the Grammy.
[F] Oh, did he?
Yeah.
Wow, [E] what an honor.
Yeah.
What an honor.
Is it like a view up on stage?
[G] No, no, he just did of the Grammy for me, the actual Grammy, [Bb] his version of it.
[E] Wow.
Yeah.
[Eb] And he's still in Florida?
Correct, he's still [Ebm] in Miami, [G] yeah.
I wanted [Bb] to ask you about sampling.
What [D] do you think about these rap artists that [N] are using their tools?
It's great, you know, kaching, kaching.
Yeah.
You know, if they tell you.
_ There's a lot of sampling that goes on and nobody gets permission for it.
And people that should get paid don't get paid for it.
So that's not good.
But, you know, it's a great thing.
It's the highest form of flattery when somebody samples your [Gm] record.
I have another question.
How do you [Bb] feel, I mean, you know that at weddings and bar [Gm] mitzvahs and clubs,
people are playing music today, [G] it's a standard.
Right.
And so it's not just a [Bb] song that's done, it's a standard.
I mean, _
[F] it's got to make [Gm] you just sit there and go, [G] wow, this is.
Well, I don't think of it, but I mean, [N] I made the music for people to play and to enjoy
and, you know, whichever way they feel, you know, whichever way they enjoy it,
whether it's at [Gb] a wedding or a party or whatever, you know,
or [Abm] in the privacy [G] of their own home or bedroom or bathroom or whatever it is.
I mean, the music was made [Dm] to be enjoyed, [Gb] you know, in all forms.
And it still is today [G] just as much as always.
Because the song comes on and I'm [E] with a group of people and everybody knows the words.
Everybody knows it.
It's good, yeah.
I wanted to make sure of that.
[Eb] Did you thought about that when you were writing?
No, [N] that's why I wrote commercial records.
You know, there's different kinds of writers and I chose to be more of a commercial style writer.
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[Bb] Ladies and gentlemen, the founder of the dance [G] revolution right here.
[Gb] Awesome.
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