from mac to .paak: on music, legacy & creative growth
Intro
In this episode of deep talk radio, host A2 uncovers the behind-the-scenes stories of hip-hop and R&B masterclasses through an exclusive archive interview with LA-based music producer and keyboardist Kevin Theodore. Recorded during Kevin's transition from an instructor at Center Stage Music Center in Long Island to a sought-after major label session player, this conversation unpacks what it means to create under pressure. Kevin shares profound reflections on working with the late Mac Miller during the recording of Swimming, navigating high-stakes improvisation with Anderson .Paak, and the moment he realized that authentic artistic identity is far more valuable than raw technical facility.
Key Themes Discussed
Major Label Session Work and Instrument Mastery: Surviving technical failures and high-pressure performance environments during elite recording sessions.
Collaborative Album Production & Song Arrangement: Insights into the delicate, sensitive creative process behind the chord structures and tracking of historic hip-hop compositions.
The Prolific Nature of Modern Recording Culture: How top-tier artists utilize live rooms and non-stop tracking to capture lightning-in-a-bottle studio chemistry.
Artistic Identity vs. Technical Execution: Learning to step out from behind the notes to bring a distinct, irreplaceable personal identity to every track.
The Transcendent Travel of Musical Legacy: Navigating the surreal experience of hearing your own session tracking sound-tracking the everyday world via vinyl, street performers, and internet subcultures.
Listen to the full conversation:
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Prefer reading? The full edited transcript is below.
A2: What's going on everybody, this is A2. So, fun fact as of this recording date in case you didn't know: I am the voice of another podcast, namely that of the CS Podcast. The CS Podcast originated from a contemporary music school in Long Island, New York called Center Stage Music Center. Center Stage, or CS, is special to its immediate community, and as it grows, I have been extended the opportunity to narrate some of the stories that come out of it.
The following episode is an excerpt from a recent CS Podcast interview and contains some of these stories—arguably among the best I've collected this year. Of course, my association with music is strong if you know me at all, and I'm a big fan of the uniqueness of this conversation. I sat down with Kevin Theodore, an LA-based producer, back in the winter of this year to talk about his involvement with music production. Kevin is a former CS instructor and has a pretty incredible rap sheet already. And yes, speaking of rap, he's involved in a lot of it—from producing a good portion of Funhouse Mirror by Marlon Craft, to live sessions with Anderson .Paak, and performing on the final album to be released by Mac Miller in his lifetime. Here are the excerpts of these stories, all of which you will hear on Episode 2 of the CS Podcast.
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Kevin: I ended up playing Wurlitzer on this Mac Miller track called "Come Back to Earth." It was a pretty amazing experience getting to work with him. I feel like working with him really opened my mind. That's like one of the key moments that really opened my mind to just what you can do with a composition, even within something like hip-hop or rap. There was just a certain attention and sensitivity that he had to each individual part and all the instruments. It was pretty inspiring. He was incredible.
A2: Yeah, and he was just such a nice dude too, right?
Kevin: Yeah, and that's what I keep hearing.
A2: Talking specifically about the song arrangement when you were playing Wurlitzer on there—which is keys, basically—were you adding your own touch to it, or was he arranging it so detailed that he was telling you exactly where to go?
Kevin: There were certain moments where if I played something that he really liked, he'd be like, "Oh, you know, definitely yeah, play that again there," you know what I mean? But for the most part, no. They just told me the chord structure of it, and I probably listened through it twice, and then went into the room and just kind of played through it.
The one really fun fact about that evening was... the sustain pedal was broken.
A2: Wow.
Kevin: It did not work! And you know, you have to play all this lush stuff. So it's like, okay, how do I do this without a sustain pedal? I had to go Legato to the max. Everything was like Itsy Bitsy Spider all over the keys, man.
A2: Your fingers were literally stuck to the keyboard.
Kevin: Yeah, man! Yeah. So along with the nerves of doing what was, at that point, my first major record label session ever, I also had this broken pedal to deal with. It was just like... I had to really just do what I could to keep it together mentally.
A2: And you did.
Kevin: Yeah, you just do. So, you know, I'm glad it came out of there and it went well.
The Afterlife of a Record
A2: It's fantastic. I appreciate it, man. I even listen to it on YouTube—there's this guy named Slater who does mixes of songs slowed and reverbed.
When you see your first major session work traveling around the internet like that, what's your reaction to it?
Kevin: It was crazy. I mean, the thing that messed me up the most was when I was getting ready to hop on a train to do a session at Universal. On my way there, I hear a guy in the subway playing the song on guitar.
A2: Wow. That is insane.
Kevin: Yeah, that was insane to me. It became so much of a soundtrack that people were just doing covers of it out in the world like that. That was really nuts to me.
A2: Yeah, man. For me, especially... I remember the day that I found out about his passing, and I remember I messaged you about this a couple of weeks ago. There's a shop in Farmingdale that has that album on vinyl. Just thinking about the stories that are tied to it, not only now but even before, personally, it's just like, man, this thing travels very, very far. But that's super dope.
Live Tracking with Anderson .Paak
Kevin: So, the next day, I'm going back to my Airbnb and I'm like, okay, you know what? Last night was a pretty late night. I'm just going to chill today. Then I get another phone call from the studio people like, "Yo, come to the studio." I'm like, "I'm there." So I go there, and Anderson .Paak is there.
A2: What year was this, by the way?
Kevin: That's a really good question, actually. I can't remember exactly when it happened. It wasn't long after I started producing full-time, though, so somewhere between 2015 and 2017. I would say even sooner—probably 2015, honestly.
A2: So what happened next?
Kevin: Yeah, so I was there and I'm like, holy crap, this is about to happen right now. This is crazy. And then, you know, I get introduced like, "Oh hey, this is Om'Mas Keith, you know, he worked on Channel Orange." I'm like, "Oh, hey."
Then Anderson .Paak comes into the room, and I'm doing everything I can to just keep my cool. I'm like, "Hey bro, I'm Kevin." He looked like he knew that I knew who he was, but he was just like, "Oh, what's up man, AP." So I'm like, cool. We hung out for a bit, watched some funny videos on YouTube, and then we just got to playing.
They were setting up all these instruments—setting up a Rhodes, a bass, and everything. I think it was me, my buddy Jeff, and Om'Mas in the live room just playing stuff, trying a bunch of different grooves. We all had headphones on, and everything was being recorded. All of a sudden, in my headphones, I hear Anderson .Paak's voice. He's like, "Yo, that's hard. That's hard."
A2: So he just starts rapping over it as you're playing that groove?
Kevin: As we're playing, yeah! It's all being recorded. So as I'm playing the groove, he's rapping over what I'm playing. It was like I was listening to the record while making the record.
A2: Wow. They wanted to capture absolutely everything.
Kevin: Yeah, yeah. And you know, those guys record all kinds of music all the time, so it's not the kind of thing where I would know when something like that would come out, or if it would ever come out. But that was definitely a moment.
> Kevin: "You never know. You look back on your files years later and be like, 'I remember this joint I did, let me put this out.'"
>
A2: It's just wild to think about the sheer amount of music captured in those rooms.
Kevin: Well, I just remember afterwards, we're putting our stuff away and Anderson comes into the room. He comes up to me, shakes my hand, gives me a hug, and he's like, "Yo man, that was dope." I was like, "Word."
A2: That's wild.
Kevin: Yeah, that was crazy. That was a day later, so it was like one of the craziest weeks ever, man.
Embracing Artistic Identity
A2: When you look back at that week, how did those back-to-back experiences shape your perspective on the industry?
Kevin: At that point, you know, that among a couple of other experiences were the things that made me realize something important. It's not necessarily just about having a certain facilitation or technical mastery over your instrument of choice, or whatever your craft is.
It's also about making sure that you not only bring who you are into that room, but that you fully embrace who you are while you're in it. Whatever that distinct perspective is, that's going to be the exact thing that makes what you do unique. And I mean, that's what has worked for me so far.
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