It’s not every day that you find a two-time Grammy Award winning percussionist and Maryland native who went to Towson State. So, when Nestor found out about the incredible story of studio drummer and new age devotee M.B. Gordy, he found a different beat and a new world of information about The Academy and life in California making the modern sounds of success in film and more.
Nestor Aparicio interviews MB Gordy, a two-time Grammy Award-winning percussionist from Salisbury, Maryland. MB discusses his musical journey, including his early influences like Led Zeppelin and the Beatles, and his education at Towson State and Glassboro State. He details his career highlights, such as playing with the Doobie Brothers and winning Grammys with Opium Moon and Matt B. MB also shares insights into the music industry’s evolution, the importance of adaptability, and his passion for teaching and mentoring. He emphasizes the significance of authenticity and hard work in a career in music.
SUMMARY KEYWORDS
Maryland crab cake tour, Grammy Award winners, MB Gordy, Salisbury, Towson State, Led Zeppelin, Beatles, film scoring, world music, Opium Moon, Best Global Music, Grammy Museum, Frank Zappa, smooth jazz, educational workshops
SPEAKERS
M.B. Gordy, Nestor Aparicio
Nestor Aparicio 00:00
All right. Welcome home. We are W N, S T, am 1570 Towson, Baltimore. We are Baltimore, positive. We’re gonna get the Maryland crab cake tour back out on the road all this snow and craziness. We’re gonna get back at the faith leaves. All brought to you by our friends at the Maryland lottery. Have the magic eight balls to give away. We had a lucky batch last week we did a cup of soup or bowl. It’s been a busy time around here, and I have guests on here that I’ve been waiting to get on for a long time. And this is kind of fun, because it’s not every day that I have two time Grammy Award winners from the state of Maryland on the program, but I want to give a little bit of history to this, give a little bit of oxygen to this, because I can let my hair down, and I probably will feel like a rock and roll guy here. I wish I could. Yeah, you know, I know. You know all you you’re percussionist guys, have to worry about getting all sweated up up there. Um, MP Gordy is a Grammy Award winning artist from Salisbury, Maryland. Uh, strangely enough, his, um, they say, I only have 10 listeners. I’m glad your sister is one of them. His sister is a longtime friend of mine through my son’s mother, through the 1980s on the east side of town and golden ring and Dundalk and all of that, and she came back into my life, not just as a fan, but she’s been out to some of our live events drug city and some other places. And she said to me the whole time, you gotta get my brother on the show. He’s like a really big shot percussionist out in LA, and then six months ago, you’re up for a Grammy. Last week, you won a Grammy. I hope you’ve tout off a little bit through all this, but you won a Grammy like six years ago too. So welcome home to the state of Maryland. MB Gordon,
M.B. Gordy 01:36
this is an honor. I’m happy to be on your show and to know about you and the whole thing. So this is great.
Nestor Aparicio 01:42
Well, first things first. You’re from Salisbury, Maryland. First things first. MB, Gordie, what’s the MB for we got to know that. Let’s
M.B. Gordy 01:49
start with that. Well, officially, my name is and only I will tell certain people, but now the whole world will know it’s Marvin bounds, Gordie, the third, and I’ve always been called MB, because my my grandfather, just to delineate between my grandfather, my father, myself, so, so as it was just, just MB was the
Nestor Aparicio 02:08
last in line. I just gave you two initials, and that’s you. That’s it, right. Like
M.B. Gordy 02:12
Jr, right. You’re right, right. And then when I had a son, people were going, No, you should name him. The fourth they went, my son’s gonna have his own identity. Yeah. You know,
Nestor Aparicio 02:21
we have such a great musical heritage in our state in so many ways. And I have friends and bands and, you know, we can talk about the kicks and the guys from the ravens are playing this weekend over Coopers and these rock bands that have played here, not to mention the roots of, you know, A and M Records, and in all and songwriters that went to New York when they were kids and became stars and all of that. Give me your background and your beginning and all of this, because I think you’re a couple years older than me, but certainly in a jazz space, a rock space, a classic rock space, when you say percussionist, I’m thinking, you did you want to be like John Bonham or like Keith when you were a kid, pretty
M.B. Gordy 03:02
much, yeah. I mean, look, I grew up with all of that Led Zeppelin and the Beatles being two of my most favorite bands ever, and John Bonham and Ringo Starr. I mean, completely different worlds of drumming, but so when I got into it, I was just, you know, growing up playing, can we wanted to, we want to play Beatles tunes, and we’re faking it with baseball bats and funky, you know, little Hawaiian drum kits and so on. Anyway. So that grew and that grew and that grew all through high school. And then I went to Towson State after I got for three semesters, after I got out of, when I graduated
Nestor Aparicio 03:36
from, they know you want a Grammy. The guys at Towson would love to brag on you if they knew you want to grab me. Now I haven’t gotten that. I’m just saying now I’m learning stuff here. So let me, let me get a drink here. I get to sit back, Towson. Now you’re talking my language, alright. So what’s the Towson? What years were your town?
M.B. Gordy 03:53
I was at Towson from 1971 through that school year, 7172 and then the next semester of 70 the the end of the fall semester of 72 then I left, and I lived at home, and I traveled and went back, and got back into a band with friends of mine. And then my sister at the time was who was married at the time, she was stationed in Germany. So that following year in 73 I had a chance to go visit her in Germany. And it was like, I don’t know when I’ll travel again, I’m going. But before I left, I went, I applied to a school in New Jersey called Glassboro State, which is now Rowan University. It’s a huge I mean, the whole town’s just a university. It’s insane. So I ended up going there when I got back, and then I graduated from there, out of school year, came to California for my graduate work. And then when I, once I graduated, I just stayed in California. I mean, it was like I was either going to do New York or LA and one time I was driving, there was a winter break, and I was taking the bus back to the to to JFK. And I. Driving through. You know, it’s the typical East Coast dreary overcat. You know, whatever it looks
Nestor Aparicio 05:04
like, right out my window, right? Now, it’s February here. Yes, exactly,
M.B. Gordy 05:07
right. And, well, I can’t show you, but we got sun today, but it’s gonna rain tomorrow. But anyway,
Nestor Aparicio 05:13
never rains in Southern California. I was a song, yeah, I know,
M.B. Gordy 05:18
right. And so I’m like, looking at the window of this bus, they’ll go like, I can’t live here. There’s no trees, man. So that was kind of it. I stayed in California, and the rest is history. So, so you were out
Nestor Aparicio 05:28
there late, mid 70s, yes,
M.B. Gordy 05:30
yeah. Late, late 70s, yeah. So, you
Nestor Aparicio 05:34
know, whiskey, troubadour, rock and roll, coming on, sex, pistols, happening. Eagles are a thing. Hotel California is out like shot rock as we now know it, is in full. Doobie brother, steely Lake, Oh, where did you fit in to that? Because I often find musicians, and I mean Gina shocks, a dear friend of mine, right? Dundalks, Gina shock, great hall of rock, rock and roll, Hall of Famer, the whole deal, um, you know Her background was in this crazy punk rock eating the eggs with John Waters. And then she wound up in the greatest female pop band ever, rock band ever, right? And she fell into it. A kid from Dundalk packed her stuff, went out to LA to be in a punk rock band. And look how it turned out. Well,
M.B. Gordy 06:16
exactly. And it’s the it’s the weirdest thing. So when I grow so at that time, when I had mentioned that I had quit Taliesin, lived at home for a bit. I was playing in this band, and we were doing this gig. And I don’t remember the name of the club now, but it was in, it was on. It was in. Was in Del Mar Delaware. Thank you. Anyway, just north of Salisbury, right on the border of Delaware and Maryland. And forget this little supper club and the band. There was a band that played before us, and for the life me, I’m sorry, forgive me, I’m forgetting the name of the band, but they were big at the time, like a full kind of band, right? And our band was the warm up. So I was hanging with this, the bass player from the band, you know, and be, you know, before and after the shows. And met this guy, and he was just raving about Los Angeles, and I was 19 at the time, you know. And I was like, Wow, that sounds awesome. And he and he said to me, he said, he goes, dude, I would live in LA even if I was flipping burgers. And, like, I I had, couldn’t wrap my head around that, but whatever. But I was like, Okay, wow, that’s, that’s a, that’s a big statement about living someplace. So that was all in the back of my brain. So anyway, so I grew up back I’m kind of cross the stories here, but you were
Nestor Aparicio 07:27
never going to be anything but a drummer. Then you never thought that time, yeah, until
M.B. Gordy 07:31
I went to college, and then all of a sudden, it’s like, oh, whoa. There’s the whole world of like, you know. And when I was at Towson, Hank levy was the band director, and he was an ex Stan Kenton band member, you know, from the day and back way back in the day and and that’s where I got turned on to, like, you know, hardcore jazz, hardcore fusion jazz. I remember one of the life changing records for me was listening to once I heard chicory as light as the feather, record that changed my life. But I grew up playing rock and roll, Led Zeppelin, Beatles, you know, you name it. We did all that in my in these bands when I was in high school and early college. And then I got more and more into jazz. And then I got more and more into classical music. And, you know, the world of percussion as we know it, like, like all the, you know, timpani, mallet instruments, all that, all that world. And then so I go to Glassboro. Same thing was playing in the big band there, and but I got turned onto this band called The Paul winter consort. And there was a percussionist by the name of Colin Walcott, who at the he’s passed away now, but at the time. But I saw them live. We saw them in Philadelphia, somewhere, I forget where, and my mind was blown. He had like, this insane amount of array of percussion instruments from Brazil, these Brazilian timpa. They called them Brazilian timpani, but whatever, they were big toms and just all this stuff around any play tabla, which is a North Indian instrument, I was like, that is blowing my mind. I gotta learn that. Well, I found out real quick that that’s not an instrument that you could teach yourself. You have to study really hard, but somebody on that one. But anyway, so when fast forward, you know, I got so got more into world music. Eventually came to California, went to to California Institute the arts for my Masters, and I got heavily into world music there and avant garde, contemporary music, as well as continuing my drumming and all that, and so that just led to one thing after the other, eventually breaking into the scene in LA, mostly doing film, TV jingles at the time. There’s not much of that happening now, there are but, I mean, it’s not like it used to be in terms of companies doing it. It’s now individuals. But there’s
Nestor Aparicio 09:40
a lot of work in LA right, from scoring and orchestral stuff to soundtrack or just in a general sense, it’s, I don’t see the center of the music world, but it probably, it really is right at
M.B. Gordy 09:50
the time. Yes, it was, it was, it was the center in terms of film scoring and TV music, you know, because remember back in the day when we were growing up, you know, every. Show, I don’t care you name a show, it all had those were that was live music. It was in the 80s and later where things started becoming more programmed. Synthesizers are being introduced, all that, drum machines, all that kind of stuff, right? And then everything. So everything’s morphed. The music business changes, you know? And then also, synthesizers were being used constantly on records at that time and still to this day. So everything, you know, just morphed. Change grew and and it’s all changed again, because now the film scoring industry in Los Angeles, at least in this country, is on a downslope. Man, it’s not good, but that’s production in general, and that’s life in general. Everything changes. Man, you know, the world’s a big place, so we all have to adapt. And I, you know, have built a studio at my house that this record that I just wanted Grammy on. We I recorded all the drums and percussion here on that at my studio. And so anyway, but anyway, I got way heavily into the film scoring thing, and then eventually I played with, well, there’s a whole story about me auditioning for Frank Zappa’s band, but that was another
Nestor Aparicio 11:04
fall to morian. There you go. Another Marylander, all sticking together here. I want to reset. MP Gordy is my guest. He is a two time Grammy Award winning. Precautions. He just won a Grammy last week. His sister’s a listener. He’s a Marylander. He’s from Salisbury, but he’s been in LA longer. Gina shots, been in San Francisco, and we’re talking drums, I just wanted to put a little funny in here and say, AI putting people out of business. When I hear of a percussionist talking about the synthesizers and the drums, I’m thinking drum machine, probably drum loop, probably the worst thing any percussionist has ever heard of, right? Well, AI to a writer,
M.B. Gordy 11:39
yeah, exactly. But you’d be surprised. I mean, but, but see all that morphed so in the day, it was actual physical, you know, hardscape machines, right? And now it’s all software, every you know, like you’re not back. We’re not backtracking on this anymore, and it wasn’t ever going to happen anyway. Growth is gross. Technology is technology. You
Nestor Aparicio 11:58
play the drums on a computer? Do you play the drums on a drum. I need to. I have electronic
M.B. Gordy 12:03
setup. I don’t like it. I’d rather play real, you know, real acoustic. But listen, there’s sample libraries out there, for those of you, your listeners who might be composing or might have, you know, home studio, where they’re buying sample libraries and stuff. Cine samples their their cineperk library is me. That’s me. So there, if you’ve got cineperk, you are playing me. So did I put myself out of business? Maybe. But here’s the the other side of that whole coin. Look, not everybody has been as lucky and fortunate and blessed as me and a lot of and people that do what I do, to be able to come to a place like Los Angeles or Nashville, or, I’m talking about United States now, New York, or wherever the big studios are, be able to do this as a living, right? There’s a lot of people way, lifetime, for a lifetime, right? I mean, for you, yeah. And there’s a lot of people out in East, a bit, wherever, who want to be scoring. They want they love this music. Will they ever be able to come to and work and the Sony scoring stage here in Los Angeles or Warner Brothers or Fox or whatever? Probably not. But that doesn’t mean they shouldn’t have access to what we all have access to so hence the sample libraries. And I think I don’t see it’s, I’m, you know, a little bit of an anomaly, and a lot of my friends don’t agree with me on this. But it’s not going away. Samples are never going to go away. It’d be like saying we’re now really fast forward to the age of AI, is this going away? I don’t think so. Man. Well, I
Nestor Aparicio 13:41
remember when everybody in the industry thought Napster was going away and saying, you know, we were not gonna have digital music over anybody’s dead body. And here we are, right, right?
M.B. Gordy 13:49
Well, and look at Spotify. And the dude who owns Spotify is the, you know, multi billionaire, and all of his artists, you know, anybody who’s got stuff, which is every artist that makes music doesn’t make squat compared to what he makes. You know what I mean? But this is, it’s, it’s, I don’t know, man, it’s, it’s a crazy time in everything you know, once records companies started falling apart, what 20 years ago now, maybe more whatever, there’s the reinvention of, of of record companies. For example, Taylor Swift has her own record company. You know, Annie DeFranco was one of the first artists to ever own her own record company. Dave Grohl, I mean, not, not, I’m sorry. Dave Matthews has his own company. Um, so they’re companies again, but smaller, you know what I mean. But the thing about all this that changed after record companies started falling apart, and they were ripping their artists off, right and left and stuff, and they owned them 100% and listen 25 years ago, if you didn’t have a record deal with the company, you were not going to have a record put out. That’s different now, man, you know, so think about it. I mean, look at just go to Spotify. Look at how many bands art. Whatever there are that you’re like, wow, never heard of that. Who’s that? What do they do? You know? I mean, we have access to so much music now, and those bands now have the way to get their music out there that never would have happened 25 years ago, because a record company would go like, I’m not, we’re not sinking any money into that. But now you can, right? So it’s a plus in that sense, is it? There’s there’s down, there’s pluses and ups and downs to the whole thing. So it’s a so we all as artists, and not just music, but I’m talking about art, art, you know, physical art. You know, whether it’s painting or sculpture, whatever, everybody’s got to find a new way now, man and that, thank God, AI can’t replace I mean, yes, I AI can replace art. AI can replace music. But you’re gonna go hear a live band. You know, you’re hearing a live band.
Nestor Aparicio 15:50
You know, there’s no data. There’s nothing like live music, exactly. We haven’t replaced that yet, other than lip syncing at Super Bowls and other things I don’t know. MB, Gordie is here. He is a Marylander. He’s from Salisbury, Maryland, even though he’s been out in Los Angeles, California, he just won another Grammy lat so you have two now you have bookshelf Grammys drummer, percussionist, composer, producer, and more than that, his sister is a listener to Baltimore positive and a friend of ours who’s been trying to get you on forever. I didn’t look I’m not just calling because you want to Grammy, I did call before.
M.B. Gordy 16:24
My apologies all that.
Nestor Aparicio 16:25
Well, I just want to go through how a guy winds up in California figuring out how to do things, and how many bands you played in, people you play with. I remember I took a picture of me and seal a couple summers ago. I’m a big seal fan. Saw him. I know the guitarist in his band, and you just said, Oh, my, my brothers played. You know, all of these different artists that you have touched. You are looking for I need sound. I need a drummer. I’m doing a song, I’m doing a project, I’m scoring a film. I’m sure you have an agent. The phone rings up, but what do you like the most? Because you’re not a dude on the tour bus with the Doobie Brothers now, or really haven’t been so much that guy, right, right?
M.B. Gordy 17:03
I was, I played with the Doobie Brothers for four years. Well, let me pinpoint. I’ll backtrack it. We’re tougher
Nestor Aparicio 17:11
life if you can stay at home and do it in LA, I think a lot of musicians, unless you’re really vain or really feel like you got to get out there and do it once you get to be our age. It’s, it’s not nearly as sexy. Touring sounds sexier than it really is, I think. Well,
M.B. Gordy 17:26
that’s, yes, uh, listen, touring is great. And the younger you are, the better it is. So, so I’m gonna, we’re jumping around, but I’m gonna backtrack just a little bit. So like when I started, you know, getting into music, you know, and you’re watching The Beatles and all these bands that, you know, I grew up listening to, and I remember seeing Hendrix live in Baltimore, and cream and and, oh my God, it was just mind blown, you know. And, and I was like, that’s what I want. I want to do that right. And then as my education and career grew, it all morphed into something else. And, you know? And
Nestor Aparicio 18:14
I think part of the you’re watching Lawrence welcome 71 thinking, I want to do that, right,
M.B. Gordy 18:19
sir, about that. But no exactly
Nestor Aparicio 18:23
my parents, I mean, music in the 70s, you could get it all from Soul Train to, you know, midnight, all of that was there, but like we all gravitated towards something was rock and roll in my neighborhood,
M.B. Gordy 18:33
you know, here, man and and so anyway, as this all morphed, and I get to California, and I’m like, oh. And I remember growing up, and it was like I knew everybody who played on everybody’s record. That’s what I wanted to be in, like New York, playing on records. You know, that was the deal. So I got, I come to California, state, stay in California, all of a sudden, it’s like, whoa, film, music. Well, that’s a whole world. And from what my education and playing, all the different things that I do, it’s like it was perfect for my world, because I love if you were to ask me, Hey, so look, dude, are you gonna play drums? Yeah, you gotta pick one thing, drum set, or some aspect of percussion, other world of percussion, I would go like, I can’t do that. So I just can’t, because I love playing the drums. I grew up playing drum set, and I got into all this other stuff. And the irony is, all these years later, that my first Grammy was with a band called opium moon. Had I not been a percussionist, I wouldn’t have been in this band. So it’s a little you know what I mean? Because there’s no, we don’t, I don’t play drum set in that band. It’s all Middle Eastern percussion. It’s frame drum, Doom, back, you know all this world of
Nestor Aparicio 19:43
is that a lot. Does that take you back to Salisbury, when you were in band camp, in the not a rock band, but in the ensemble orchestra, that there were other things than being Keith Moon at that point your life, like you were, at least, because I always thought that, like in middle school. 870s I thought that wouldn’t be any fun to be in that kind of, you know, the symphony kind of band. I want to be in a rock band, right? And I think that there was a real it is a kid you might have not even thought about any of the other things other than you saw on TV, yeah.
M.B. Gordy 20:15
I mean, and you never, you know, wasn’t part of my world. It was like, like I said, I wanted to be in a band, so all of a sudden, all these years later on, the I will, fortunately, are on for you. Whatever reality is, it’s the back end of my career. I’m in a band that wins a Grammy. It was like mind blowing. And the funny thing is, I 100% now, no, you know, you’ve heard all the stories of like the inner band interaction, right? You’re like people, the fights and the everything that goes behind the music, exactly. Well, I found out what that’s like my man. Okay,
Nestor Aparicio 20:48
great. So being being in a band wasn’t necessarily good business or but for UMB out, you get work out there, and you start getting work, and you say, I like this band, this ensemble, this sound, or does it become more like your own creative vibe to say, Hey, you’re hiring me. Do they tell you what they want, percussion, way or, or is it more artistic in your own way? It’s, it’s
M.B. Gordy 21:15
both. That’s a great question. It’s both a lot of time well, and now that since I’ve, I mean, people know me in LA, you know, I mean, I’m known in the composer world that people that do film, TV, video games, for example, I’ve played on all the black ops video games, you know, that’s one of the my friend, Jack wall as a composer on that. So these people get to know me and know what I do? Know I have a studio. No, I have all this insane amount of gear, you know, from tight Japanese taiko drums to, you know, you It’s insane how much gear it’s not this is not a cheap endeavor, my friend. So not a hobby, right? And so, you know, they get to know me in that respect, and they go, okay, hey, I got, in fact, I’ve got two projects next week. They’re coming over specifically. I’ve worked with these people before. They know what I own. They’re going like, Okay, here’s what I need. Now they may come in with a chart, for example, like a very specific piece of music written like that, and I play that. Or they might go, Now look, what do you hear here? Man, I need something a little bit more. Can you what can you do there, and What instrument do you think would work great? So, like, I’m hearing this track, and I go, Oh, well, let’s try this or that or the other thing. And it’s really true when you think about it as as studio musicians, think of all the cats you know, all those stories you know. Like you’ve seen the Wrecking Crew movie, right? You know, that movie about all the studio guys from the, you know, back in the day that all worked with Brian Wilson, and you name it, they were doing all the records at all that time, right? That’s that group of people, studio musicians. They come in, they’re putting their stamp on it. Jeff per Caro, you know, all the guys in the, you know, in the yacht rock video, right? Exactly. Yeah, all those guys, I mean, Steve per Caro, oh, my God, that guy’s played on like, 5000 records, man, that’s insane, you know? I mean, that’s, that’s crazy, you know? I mean, and that’s, I mean, what an incredible career those people, you know. So
Nestor Aparicio 23:16
a lot of those fellas didn’t get off a tour bus and sign autographs and do all of that, and that’s maybe where your head is in the beginning. But then you get into the industry and what your heart is, and you at the end of it, you look younger, feel better, probably, you know, have had a different road, and especially drumming, like Gina’s going back out in a couple weeks with the Go Go’s, and she’s every day playing full set because she hasn’t touched the drums when she’s not playing and touring, right? There is a physical part of being your age and being a drummer in a general sense, whether it’s plantar fasciitis or whatever it would be, that makes the Neil pearts of the world just incredible for the body of work to be that kind of an athlete, right? Well, that another
M.B. Gordy 24:02
good point and another good issue there, because I really look at it like as as being a musician, being anything. I don’t care what you do. Man, if we approach it as that, we’re no, look, I’m not in the most incredible shape, but I think I’m in pretty good shape, particularly for my age, but, but, but you have to be in general, in our lives anymore, man, you know, if you abuse yourself, look, I played with three dog night, and I can tell you many stories about that, probably some of might not. Should repeat
Nestor Aparicio 24:32
one of my, one of my wife’s favorite bands of all time. So mind, give me the good and the bad. You know, mine too, growing up and the joy to the world might have been one of the first songs I ever heard as a little boy, 7273 Absolutely. Yeah,
M.B. Gordy 24:43
exactly. And I grew up listening that stuff. So I hit not when I in 86 when I had a chance to play with him. I think it was just it was short lived. It was like six months. But their original keyboard player, Jimmy greenspoon, who’s no longer with us, he passed away a few years ago. Was. Writing a book called One is the loneliest number. And I don’t think he actually ever finished it, because I bumped into him years later, when we were in we were in Omaha, Nebraska. We’re on the same concert festival thing with the Duke. I was there with the doobies, and he was there with three dog night. And we had lunch and the and said, Now, did you ever finish that book? Jim? And he goes, No, but he goes, Yeah, I’m still working on it. But, boy, I gotta tell you, man, if I ever, ever do get this released, there’s gonna be a lot of unhappy people in Los Angeles, because he had stories from, I mean, just, you know, and I don’t think he ever released it, but he did have stories you would not believe. I mean,
Nestor Aparicio 25:40
it’s if it would feel to me like in your career, by the way. MP Gordie, two time Grammy Award winner from Salisbury, joining us here, I’m going to have him talk about his recent Grammy and all that. But we’re talking old rock and roll. I, you know, trying to find the lane as to how you wound up in the space you’re in. Um, it isn’t all that glorious to some degree, once you start finding work and good work and work that you like. And going out for a couple of years with the Doobie Brothers, they’re still doing it. I saw Mike McDonald. They’re doing it now. And I see older musicians doing it, they probably have a little bit of jealousy of you, right to look at you and say, they have to go out to earn and you have found the lane where you get to work in your best environment, right in your home environment, making things perfect, because the road’s not perfect. Well,
M.B. Gordy 26:26
I don’t make as much money as they do, but they do really well. But there was a joke. So a sax for a player friend of mine recently who he and I played a jazz fusion band together, and he did a short sit with the doobies when he, when he I told him last week that, yeah, I’m winning another Grammy. And he goes, Well, dude, now you have more Grammys than the Doobie Brothers. Whatever. I love those guys. Listen, man, it was a great experience. And I look like I said, every situation has its its ups and downs, and when you know it’s the music business, man, and the music business is a lot different than making music. They’re two different things, you know, and, and you’ve got to learn how to navigate as somebody and your listeners who are going like, but how do you, man, dude, how do you do that? How do you get into that scene? And, blah, blah, blah, look, I don’t know that. I personally have the the the one answer. No one does but, but I just know what it was for me, because I like doing a lot of different styles of music, and I know that when I was playing with the doobies, you know, I gotta say, at the end of my four years, I was ready to be done with it, as well as them. For many reasons, they wanted to change, and Keith Knutson had died, and it was, it was, it was a whole lot of turmoil going on, and so it was just time for change. But I’m like, I was, my kids were young man, and I was, I didn’t want to be on the road. I’m not a road dog in that sense. I don’t I hate busses, dude. I hate being on busses. It’s just not my jam. I just don’t dig it. Well,
Nestor Aparicio 27:56
then, yeah, that’s why people would say, hey, maybe I’ve never heard of MB, and he’s from here, and he’s But dude, pull out the liner notes on your career. It’s, you know, you’re not going to sit here and brag on yourself, and I can page through it all, but it’s led to this point now where let me talking about the 80s and 90s and rock and roll in the road and all that. We’re a quarter century gone. You’ve been doing this a long, long time, and define yourself at this point in life, being up and nominated for Grammys and then actually winning them. I you know, I don’t know if you will be as shocked as Beyonce was, you know, at the awards and you were there in the shock on your face and all that, but run me through your Grammy experience, because your sister has bragged on you for several years now. It’s a pleasure to have you on. And being a real Marylander, and I knew I’d learned something from having you on but the Grammy experience in finding that you know that your family, you you get to hold it up and say all that five, six years ago, you weren’t that, but you’re still a hell of a drummer and made a life and had all of these experiences. How does something like that change you at the end here? Wait,
M.B. Gordy 29:00
it’s funny. Um, well, my joke, okay, so that when we, when I won my first Grammy, like we were that my band, opium moon, by the way, 19,
Nestor Aparicio 29:08
correct, 2000 19,019. Yeah,
M.B. Gordy 29:10
so we had released that. We had actually made that record in my studio over four actual rehearsals. We were all in the same room. There’s no isolation. It just turned out very magical. And we go like, Hey, man, this is sounding great. Let’s, let’s submit this thing. So, like, two years later, we actually submitted it. We had already made the record two years before we submitted it in 2018 so then you go through the whole Grammy process, and believe me, man, this what’s the category?
Nestor Aparicio 29:36
Just so folks know, opium Moon was New Age, Best New Age. New Age is a name, Okay, fair enough. Got it
M.B. Gordy 29:43
and so, and it’s work, man. I mean, because you’ve gotta, you’ve gotta get you’ve gotta direct message people, you’ve gotta do the social media thing, and I’m terrible at that, but you’ve got a direct message, email, text, and it’s a lot of time. It’s a lot of work doing a FYC, which is before. Your consideration campaign, and it’s just a lot of work.
Nestor Aparicio 30:03
And you don’t get Taylor Swift’s tour when you win, when you win, you wave, you get you get, you know, and people like new age music, or maybe hear this, maybe want to come to you and find the work a little bit. But it’s not the Rolling Stones. It just isn’t. It doesn’t pay like that either, right?
M.B. Gordy 30:17
No, and that’s the whole joke of, well, I’ll tell you a couple stories, but anyway, so one one was so, anyway, so we you win this Grammy. And it’s like, immediately, like, that day, like, all of a sudden, it’s like, who are you? I just want a Grammy man. And it’s like, yeah, but there was, like, you know, the Staples Center at the time. Now it’s crypto arena, but, I mean, that holds 20,000 people, and everybody’s in line to go to the after party. You know, at the at the it was just crazy, man, it was, it was a whole exciting thing, and it was all new. So the difference was, this year, having had that experience, I kind of knew what to expect, or if you could be safe to expect anything. And so anyway, so we’re sitting there. We were sitting close. We got seats for because I didn’t get to walk the red carpet. Because the weird thing about this record I won this year on was I was technically not nominated the artist, and the record was for Best Global music album. But if he wins, since I’m co producer, we get to go up. I get, I get a Grammy. And the whole thing. You know, they’ll, I’ll get my Grammy sent to me. So anyway, so we were all waiting for them to come down after the red carpet. We’re sitting in show started, and we’re like, three hours into the show, man, before they even announced, this is the afternoon Grammys, when they announce all the lion’s share of Grammys. So here comes our category and and Matt B is his name, and the album is alcabilon Two, and it’s for Best Global music album. So they get to the best global music, you know, album, and so they named Matt B’s the first thing mentioned, that’s he’s the first guy mentioned when they’re going to announce the five people in the category. And the place went nuts, because he’s pushed really hard. People know him. Now. He’s known in all the chapters around the country, New York, Miami, the Texas chapter in in Austin, Nashville, Chicago. I mean, in these made appearances there. I mean, so he had a really good following. And as soon as the crowd erupted, I was I got goosebumps, and I was like, I think we’re going to have this man. And at that point, I didn’t even hear the other people mentioned named up for the Grammy. And then then they go, and the winner is Matt B and we just lost our, I mean, it was like, we just lost it, man, because it he’s worked so hard. If you guys go online, look him up. Man, tell
Nestor Aparicio 32:35
it. Man, tell me about him. And tell us about your how you got involved in a Grammy winning project, right? Well,
M.B. Gordy 32:42
okay, so that you, because you would ask that. So the So, what happened was with the whole Grammy thing before 2019 and before we had submitted with opium Moon for a record, dude, I knew nothing about the Grammy world. I wasn’t a member of Naris that were the Recording Academy. I mean, I was, I think, and then I dropped my membership, and, you know, you’d vote, but do
Nestor Aparicio 33:03
you watch it every year? Or were you a music enough fan that, yeah, oh yeah, I’d always watch. The industry just takes over the town, right? Yeah, you probably always know somebody that’s up for something with their work there,
M.B. Gordy 33:14
right? Yeah. You either know them or, you know somebody played with them. Or, look, you look like all my friends, practically everybody in the band, at the at the in the in the live band in the afternoon show that you know, like when my cat or those categories get announced, because they hand out 95 Grammys total, right? The whole day. 85 of them get presented in the afternoon at the Nokia theater, or it’s now called the peacock center, only 10 or at at the live show that everybody sees on broadcast show at night, the only 10 awards are given out the all the other ones are given out in the afternoon. So that’s how that works, right? So, um, appreciate
Nestor Aparicio 33:53
the clarity on that, because a lot of people don’t know that. Yes, yeah. And you,
M.B. Gordy 33:57
anybody can watch it. It’s live streamed. You would just go to the Recording academy.com,
Nestor Aparicio 34:02
or whatever, more than 10 kinds of music being made.
M.B. Gordy 34:06
God, man. So that’s my whole point, trying to listen as a voter to all these record it would be a, it would be more than a full time gig. You can’t possibly listen to everything. So you got, so we’re we get limited to three, sorry, three main categories that have subdivisions inside with a total of, I forgot. Now, whether it’s 10 or 16 categories inside that, or 16, whatever it is, that’s all you get the vote on. And everybody gets the vote on the main records, the Record of the Year, Producer of the Year, Song of the Year. You know, there’s five of those six, of those categories, everybody votes on and by the way, I It’s a small number of people. Man, there’s only, like eight or 10,000 voting members. It’s not, this is not a public thing. You got to be a member of the Academy to vote. So when Beyonce, anybody who wins, you’re winning with your. Peers, basically, sure. So it’s, it’s, it’s
Nestor Aparicio 35:03
not industry sheets or money from the outside, you know, yeah, it’s getting voted into the Rock and Roll Hall of Fame, where there’s politics, there’s politics, but it’s hard to politic over eight to 10,000 people with popularity. And what’s good, though,
M.B. Gordy 35:15
right? Yeah, yeah. But, but listen, man, as you well, know, we won’t talk politics, but with politics of any kind, with voting of any kind. I mean, there’s always politics involved in
Nestor Aparicio 35:27
there’s money in labels and sure and all that. MP Gordy is our guest. If you just joined us, he just won a second Grammys, telling us about this from a couple of weeks ago. And so, so you win, what? Then does it come in the mail? Really? You don’t have it yet. You can’t even hold it up right now. Right now.
M.B. Gordy 35:43
Oh, give me a second. I’ll grab my other Grammy. Okay,
Nestor Aparicio 35:47
sure, absolutely. What? Alright, so. MB, hold up the Grammy. This is the 2019 Grammy for opium moon, correct?
M.B. Gordy 35:57
Opium moon, right? That’s that Grammy.
Nestor Aparicio 36:00
It says 18 on Talk me through that. How many members are in opium moon. Give me the beginning of that project. Okay.
M.B. Gordy 36:06
So, opium moon, yeah. So the so the record was released in 2018 you gotta remember. Your listeners need to remember. So when you when we see the Grammy show in February, or whenever they do it of that year, it’s for the record from the year before, but
Nestor Aparicio 36:23
Beyonce has won the 20 hers will say 24 years will say 24 right. Okay,
M.B. Gordy 36:27
correct. Yes, this new one will say 24 correct. And so there in opium moon, there’s four members. He tied Israeli as the bass player, fretless bass. I’m playing drums of percussion. Lily Hayden is our violinist, and a gentleman by the name of Hamid Saeed is the is the santor, which is like a hammered dulcimer, basically some. It’s an Persian, Middle Eastern instrument called called the santor. So that’s what he plays. And then, and I read
Nestor Aparicio 36:54
from the website, because it’s, it sounds great, like I like it sounds like a menu for, like, desserts, but a menu for music you ready sensuous and hypnotic, elegant yet deeply emotional. The music of opium Moon evokes the mysteries of ancient worlds while remaining thoroughly contemporary. The Grammy winning Los Angeles based ensemble cinematic soundscapes draw upon the virtuosic skills and diverse ethnic backgrounds of its members who you just went through. This is a unique sound. You would say yes, so that only people from these weird parts of the world, including Salisbury, Maryland, near Ocean City, can buy a Towson can be a part of right?
M.B. Gordy 37:33
That’s right, exactly. And boy, did I spend a lot of time in Ocean City, Maryland when I was a kid in college too, but, but No, exactly, you can’t. It’s just, it’s a well, if you get it, I don’t know if you listen to anything yet, but if you do, and your listeners get a chance to listen, check it out. Because it’s it. It’s really set, I think sensuous, really kind of describes it, but, but it’s cinematic too. It’s really, there’s and we have three records out now. So our first record in 2018 for the record in 2019 2019 Grammys won, and then we were nominated again for the 2022 Grammys for the record prior to that year. So 2021 we didn’t win that year, but we got nominated. So that’s cool. And so you were asking me about this, this trajectory of this Grammy thing. So I knew nothing really prior to that of this whole Grammy experience. Man, you know, like and like going to the because I not being a member at that point. Until then, I wasn’t really going to know about these Grammy, you know, Chapter parties. And because they have events, they have stuff going on, Granny museum right here in Los Angeles, dude has something every week going on, you know. And there’s shows there.
Nestor Aparicio 38:47
Thought of visiting it. I mean, I I’ve never the Hollywood Bowl is on my bucket list. I’ve done a million things in my life. I’ve just never been to the Hollywood Bowl, and it’s on my list of things to do. And, like, I never consider museums in LA somehow, you know, well,
M.B. Gordy 39:02
if you come now, I’m gonna say if, when you come to Los Angeles, we must get together and I’ll take you to the Grammy Museum, and we’ll go to the Hollywood Bowl. And it’s very possible, depending on the show, when you’re here, I might even be playing there with somebody. I played there many times. I played there last summer with Joe Bonamassa. I played there. We done a but, you know, with the Hollywood Bowl orchestra and all that stuff, but then I played there twice. Well, no, it was four shows, but two different times with the who? So is
Nestor Aparicio 39:30
it as magic? I mean, it’s gonna be a cool it’s gonna be, like, worth it. I mean, I’ve done a million things, but I get that’s on my list, the Celebrity Theater in Phoenix, the circle theater that was like, painters mill. That’s also, like, weirdly, on my list, just a couple of places left for Royal Albert Hall. You know, a few places, absolutely,
M.B. Gordy 39:48
absolutely Royal Albert Hall. And you’ve gotta go, you and your listeners need to go to when, whenever you’re in Phoenix, it’s in, it’s actually in Scottsdale. It’s called the muse. Museum. Wait, it’s called the Museum of musical instruments. Mm Okay, MMI or whatever am, I am some some anagram like that. Anyway, I’ve played there a couple times too, but you gotta go to this museum. It will blow your mind. This guy, super wealthy guy had just collected all these instruments, and it was like, I don’t know what I’m gonna do with these things. And some other rich dude, a friend of his, said dude, build your own museum. And he did, and it’s insane. Well, see, this
Nestor Aparicio 40:34
is the things you learn when you have two time Grammy Award winning a percussionist on uh MP Gordon. Wait a long time to have MB on. He’s from Salisbury. His sister is a listener through the program. She lives here in Baltimore. She’s told me about you for a long, long time. So look, I’m gonna let you go back to beating on whatever things you got in the other room there that make the sounds that you make. But I was going to ask you, you mentioned like smooth jazz in the beginning. You’re in a band, dude, how many outfits are you in? I mean, like, how many working Do you play out in LA eight times a year in some jazz ensemble at the coach house, or, you know, up at the camera. I’m just wondering, because I don’t even know, I know of you as Grammy Award winning guy, but all of these different people who call upon you to put you on a stage.
M.B. Gordy 41:21
Yeah, well, well, let me, I just wanted to finish this one thing. So because of that Grammy thing that all led to me meeting these other people, right? Matt B, for example, and other people who now want me to play on their records, listen in the this leads to this question you just asked me. So back in well, all through last year, you know, prior to when everybody’s doing records and they’re going to submit them for a Grammy, I got, I played on 11 different records that were being submitted for to for the first round of voting, six of which made it to the final round. So and one got nominated. No six got nominated, six got nominated, but only one that I CO produced that I was up for Grammy for, right? Okay, but all those other records, should any of them win? I get it. We get things called their Grammy certificates. So it’s a certificate that says, hey you congratulations for playing on well, two of those records also won. So I’ll get two other certificate, but one of which was for Best New Age in my band, same category, we won in our friend voter Kellerman won this this year, and opium Moon played a tune with him. We did a tune with him on his record, and then, and then I was on another artist, Raquel. She was up against him in New Age I played on her record, and the 100th anniversary Henry Mancini record, I’m on this year as well. And the tune that I played on I’m really proud of. This is called, called the Lujan song that Henry wrote for. It’s a particular instrument called the Lujan. And so I got, I’m sort of featured on that, but, but I didn’t know this at the time, until after the fact Pat Metheny is the soloist on it, so I’m actually on a record with Pat Metheny, which like blew my mind when that happened. So Well, you probably
Nestor Aparicio 43:10
get real, Kevin bacony after a while, right? Like with, you know, the tentacles of who you’ve played with, he’s played with, who that you play with, right? Well,
M.B. Gordy 43:18
yeah, and you mentioned Zappa before. And I, you know, I auditioned for Zappa right out of graduate school. I didn’t get the gig. Chad Wackerman got the gigs after he let Vinnie calita Go. And I know all these guys, and we all know each other, even remote, if it’s not like, not real. Well, we know who each you know, obviously, everybody who’s Vinnie Cali is and Chad Wackerman is, but, but, but I did get to work with Frank in another setting and more of an avant garde class, because, you know, he wrote classical music too, and, or I say classical, his music orchestrated. Let’s just leave it at that. And so we put together a an ensemble, a six piece, three percussion, and two five piece, actually, and two piano percussion to do his orchestral music, which he couldn’t get performed by an orchestra. He wasn’t happy with what he was getting. So a friend, one of my buddies, who was a percussionist in this trio I had, we had, was doing music copying for him, and he said, Look, Frank, I’m going to put something together. I want you to check it out. So we did. We played it for him, we presented it to him, and he goes, I love this. We’re going to record it. So we’re, here’s what we’re going to do. We’re going to record every other week for eight weeks, and then we’re going to go in the studio and record these pieces. So we’re like, Oh, great. We did seven rehearsals. The week after the seventh rehearsal, we get a phone call back from our friend art, and he says, Frank, just, Frank just got a commitment from the buffalo Phil to do these with real orchestra. So we’re out. I was that I was one rehearsal away from playing on a Frank Zappa record. I was so bummed. But anyway, it was great to be able to work with Frank. And he was, he, was he? That was, we’re talking legend here, man, you gained his approval early on, though, right? Yeah, yeah. I. I actually did. I didn’t like I said, get the gig. But one thing that happened was when he said, I mean, this blew my mind. So when art was we all showed up to do this thing for Frank present. This these pieces to him and and he was there with Chad, his new drummer, who I know. And he was there with his main copyist, this guy, David Aker, so my friend arts going around, introducing everybody. Said, so this is, you know, and he goes, and this is MB Gordian, and I said, and I stuck my hand out, I said, Frank, I don’t know if you remember me, but I auditioned for you a couple years ago when you were and then I looked over at Chad, and I said, but he got the gig, but, and I was at the audition for three hours. So I’m thinking I held my own if I was there for three because Frank was known. He took no prisoners, dude. If it was no bullshit with this guy, if you were there a half an hour and it wasn’t happening, you’re out. It would be just, he’s not gonna He’s not gonna placate you. It’s not gonna happen with Frank Zappa so, so anyway he goes. He goes, Oh yeah, I remember you, man. You were one of the better ones. And I was like,
8Nestor Aparicio 46:02
take this. You know, it’s just, dude, I’d be so proud of your two Grammys. Happy Gordy is here. My party shot for you is this, I’m a rock and roll guy. I can let my hair out. It’s like so long that my wife couldn’t read the name on the back of my jersey. So I got a lot of hair here, so ponytail until I lost, you know, I’m gonna let it out for the end, just because it’s rock and roll, and you’re a rock and roll guy, you know. So I got, yeah, so let you know, as the cars would say, let them brush my rock and roll hair. But I’ll say this, and I’ve written a couple of books in my adulthood, and I would save sense do that while football and baseball like I’m a sports guy, right? But every time I get serious about writing, and I mean writing as a I’m an old newspaper writer, and I’m a writer, I like to write, and it’s I never do fiction. I just write about things and how I feel and where I am. I’m a smooth jazz listener, and so anytime I want to clear my mind that I put it on the television, on the smooth jazz channel, I don’t know the artist, although I did interview David Sanborn. And, you know, I met Dave cause once, and some other sax players and stuff like that. But I’ve
M.B. Gordy 47:20
known Dave cos for a long time. We’ve done we’ve written some stuff together this long time ago, and I played with him. Why do
Nestor Aparicio 47:26
I love smooth jazz music so much like, Wait, what is it about the subtle saxophone and the flow of it that invigorates me and clears my mind? There’s never lyrics, sometimes there’s stops, sometimes there’s smooth jazz versions of other songs that become a little covery or familiar, but in a general sense, it is music that I spend my day with. Well,
M.B. Gordy 47:50
I think it’s a lot of reasons. I mean, you know, like, like, you could ask a similar question. It’s like, maybe it’s not everybody’s cup of tea. But why would people, you know, gravitate towards, like, new age music,
Nestor Aparicio 48:01
and I could see me finding that to be the next step after talking, yeah. I mean,
M.B. Gordy 48:05
that’s a wide category. Now listen, generally speaking, in New Age, historically, yeah, talk to a lot of musicians about new age. They hate it. I mean, they this. It’s not interesting to them, right? And I will say the same thing about certain types of music, because I want to hear like, Steely Dan. I want to hear some music going on, man. I want to hear chord changes. I want to hear something deeper than just one chord and just do stats. Do I mean, I’m a drummer, dude, I can, I can listen to a groove all day, but it’s like, do I want to hear that same groove all day. No, I want yourself
Nestor Aparicio 48:42
that way about the Super Bowl with Kendrick Lamar. It’s not, it’s not my music, but it had no hooks, no melody, no nothing to sing along to, no chorus, none traditional things. And I know it’s its own art, and the world loved it and all that. It’s just not my art. It’s not anymore the country music’s not my art either, honestly. Yeah,
M.B. Gordy 49:02
and I, I played, you know, a fair amount of country. I practiced this way. I just did a session on Sunday that was kind of a country thing. Well, listen to the thing about my take on the Super Bowl. I agree. I I love Kendrick. I do love Kendrick Lamar of that genre. I mean, he’s one of my favorite cats that does that, the hip hop, whatever that world. But I have to say, I agree. Man, that show did not do it for me. It wasn’t musically happening. It wasn’t interesting to me, and I was bumped because, you know, like Beyonce Christmas show at the for the Houston game was way more intense was me, way. I don’t know how much money they spend, but it was, had to have been as much as what they spent on the Super Bowl. Is insane. I don’t know if you saw that.
Nestor Aparicio 49:48
Oh, yeah. Just a car alone that she got off of in the beginning looked to me like an investment, the
M.B. Gordy 49:53
the massive amount of people all dressed in white. And now we’ll say this one thing, okay, so I’ll say this, and I’m you’re. Listeners might not like me for this. I do love Beyonce as well. I’m not a fan of that Chris of Christmas of the country record so much. I really feel like other people in the country world and should have had a better shot at a Grammy, but she’s very popular, and so hats off to her. And plus, she’s crossing genres, and so that’s all great, hell
Nestor Aparicio 50:19
of risk, like, just in a general she didn’t have to do this album, right, right? Yeah. But what,
M.B. Gordy 50:25
one thing is for sure, which was brought to my attention with, I didn’t know, you know, that whole, you know, that cover, that record where she’s dressed in white and the white horse and all that. And, you know, look, a lot of people look at stuff that goes on in Hollywood, because it’s very Hollywood, right? Look at, like, Oh, God, enough of that. You know the pretentiousness and blah, blah, blah, blah, blah, well, that’s a real thing. That is the way. Apparently, this guy that I just did a show with this past Saturday, who’s from Houston and is, he’s country guy, he, he said, No, no, that is a real thing. That’s the, there’s a big rodeo that happens in Houston. That’s the they have a big parade. That’s how it starts, dressed in white, white horses.
Nestor Aparicio 51:07
Well, it’s not, I mean, I never felt like it’s a put on at all. And I think you can’t get over at this point. But it is. You know, when artists change genre at that level. I mean, even who knows what Taylor Swift’s going to do next, right? Like, you know, she’s mixed things up. You’ve mixed things up, and you spend a little bit of time with me. MP, Gordy is here. I’ve let my rock and roll hair out for a new age Grammy Award winning artist now a second Grammy Award winning artist for recent work. And I hope everybody goes out and checks out your music. Googles you up a little bit. It’s. MB, um, Gordy, G, O, R, D, y, he’s been out in LA for four and a half, five decades. I don’t want to give your age away too much here. He’s lost his hair out there, but not his mind. Yeah, I’m in the music business. Man. I don’t have any hair anymore. So what I would ask you this, I guess, the part what, what is next for you? You win a couple Grammys. You, you get more immersed in all this. Your Phone rings off the hook to be a part of different things. What decides other than them writing a check for your time being involved in selected projects. When you say, I want to do this, or I don’t want to do that, or I don’t have time for that,
M.B. Gordy 52:12
yeah, well, all of that. I mean, obviously the paycheck helps, but, but, and listen, I mean, I do plenty of projects. I do a lot of educational stuff. And so that’s not for the money, man, you know you’re not. I do film scoring workshops. Fact, I have big sessions here coming up later this month for USC film scoring program. I’ve been involved with them for over 30 years, and I love it. I love sharing what I do with the generations behind me. You know what I mean, whether it’s whether they’re film composers, which is that world, you know, or other percussionist and drummers, or whoever I just, I love it, man. I mean, I’ve taught at universities, I’ve done that thing. I don’t, I’m not doing it currently, and I don’t, you know, it’s just many reasons why, but, but, um, I love sharing what I do, and particularly with students. When you have students who want to learn, not like, think like, oh, I don’t need to, you know, I want to study with you, but like, I don’t need to, I don’t really need to know this, it was like, what then? What are you doing this for if you’re going to have an attitude? Because I’ve had some students in the past which shocking, and we won’t go into any great details, but I’m like, I don’t understand where you’re coming from. I’m the instructor. I’m telling you. This is what you need to do, and your competition, my friend, is me, so not the lay an ego thing or something. So if you You better be willing listen. I’ll just tell anybody you your listeners, anybody wants to go into music or any of the arts, it’s not for the light hearted, my friend, and it’s in you got to have thick skin, but you cannot become a jerk. You gotta, you gotta, but you gotta be real. You gotta be authentic and and within that, you know, you’re gonna have to bust your butt. It’s no skating, no skating allowed, not in this business now. Well,
Nestor Aparicio 53:59
you gotta, you gotta instruments. You gotta get back to in the other room some point, put the pictures up I’ve seen on your website, just all of this stuff you can beat on. And, you know, I live in Baltimore, right behind us, the kids take the tubs out on the street and be, you know, just, it’s the beat of life, right? So, I mean, keep doing what you’re doing, and I appreciate you taking some time. And when I do get out to LA, I’m, I’m going to find you for, you know, a proper taco, if nothing else.
M.B. Gordy 54:26
We got all that we got. We could I got, we got a lot of great places we could hang, man.
Nestor Aparicio 54:30
We’ll get up the hill to the Hollywood Bowl and do it upright for something there. MP Gordy, two time Grammy Award winning percussionist and composer producer. You can find his work out on the internet, find him out about his Grammy travels, but more than that, most importantly, from Salisbury, Maryland, of Towson University. I don’t even think the Tigers know. I’m gonna have to call Sean over there, let him know. Y’all know you had a Grammy Award woman at Towson University.
M.B. Gordy 54:56
I don’t even know who’s teaching over the music school now, but you know it was here. Years ago. We’re gonna
Nestor Aparicio 55:00
be on the cover to Towson magazine. Dude, hold that. Grammy up again. Let me see that off again. Say something for that. This
M.B. Gordy 55:08
is, this is the opium Moon Grammy from the 2019 Grammys for a 2018 record, which is our self titled album, opium moon. All right. Well, this is
Nestor Aparicio 55:17
shiny, isn’t she, beautifully. There you go. Look at MP Gordy is out. I gotta go rock and roll. We got the Maryland crab cake tour. We’re trying to get through winter. Luke’s waiting for baseball to get going, and Lord knows we’re gonna have free agency. And I’m about tuckered out on the Justin Tucker story, but I’m sure we’ll have more hand. I am Nestor. We are wnsta in 1570 Towson, Baltimore, and we never stop talking Baltimore positive you.
