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Speaker 1: The Quest Love Show is a production of iHeartRadio, Ladies

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Speaker 1: and gentlemen. My name is Questlove. This is the Quest

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Speaker 1: Love Show. It's not often that one gets a career

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Speaker 1: that enables him to write his own ticket and fulfill

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Speaker 1: a bunch of bucketless dreams, of which creating this very

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Speaker 1: platform to nerd out on some of my favorite people

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Speaker 1: in creativity. Our guest today is absolutely no exception. His

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Speaker 1: creativity is so strong, so stringent, so powerful that it

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Speaker 1: actually inspired my best friend and not in high school,

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Speaker 1: to start our own group. Not many people can claim that, Look, man,

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Speaker 1: I canna say? Is that Kelvin Passus Mercer has agreed

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Speaker 1: to let me ask him eighty six questions? Number one,

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Speaker 1: how you doing today?

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Speaker 2: Sir? What's good? Man? I mean, thank you for the intro,

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Speaker 2: because you know, Bro, I mean sometimes I when I'm

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Speaker 2: blessed to hear you say things like that, I already

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Speaker 2: view our relationship as brothers and friends, so you know,

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Speaker 2: I sometimes have to look through you like okay, yeah,

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Speaker 2: maybe this is how when I talk to Jeff, but

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Speaker 2: when I go to the phone, like damn, that's Jessey Jeff.

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Speaker 1: But I'm his friends, so I won't make it weird.

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Speaker 2: At all. It's a blessing. But you know, wait a minute,

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Speaker 2: is he talking about me because I'm his homeboy?

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Speaker 1: But anyway, I got to start. Could you please tell

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Speaker 1: me how you met true Roy the Dove day Jallaker

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Speaker 1: from day La Saul.

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Speaker 2: Well, when I moved to Long Island from the Bronx

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Speaker 2: and started going to school, the first two people I met.

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Speaker 2: The first person I met was a girl named Regina Peters,

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Speaker 2: and the very second person I met in school who

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Speaker 2: was so cool to me was a brother by the

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Speaker 2: name of Michael Jollichor, which is Dave's brother. So that's

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Speaker 2: how I got to know Dave. I was actually friends

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Speaker 2: with his brother Mike, and I would see Dave from afar,

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Speaker 2: you know, like, oh that's you know, that's that's Mike's

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Speaker 2: brother Dave. So I mean, this is me and Mike

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Speaker 2: in fourth grade. I didn't really get cool with Dave

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Speaker 2: where I knew him as like Dave, maybe more towards

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Speaker 2: like eighth grade.

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Speaker 1: I'm about to say, when you're younger, when someone's like

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Speaker 1: two or three years younger than you, that's a whole

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Speaker 1: nother generation pretty much. So he was like a little

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Speaker 1: kid to you and then selling like he just grew up.

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Speaker 1: And then.

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Speaker 2: Him and Mike were very close, even though like he's

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Speaker 2: the older brother, he was very close. I mean older

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Speaker 2: by what, I don't know, two years maybe, but they

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Speaker 2: were very close. But like I said, it was just

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Speaker 2: that Dave had his set of friends, and you know,

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Speaker 2: like if I was coming around, it was because of Mike.

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Speaker 2: It really wasn't because of Dave at all. So I

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Speaker 2: would see Dave day would just see me basically because

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Speaker 2: Mike had brought me around.

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Speaker 1: So we should also know that Mike was also like

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Speaker 1: a legendary tour manager. I first met Mike because he

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Speaker 1: was tour managing a common Like was he you guys

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Speaker 1: just tour manager when you first started.

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Speaker 2: Or he was our road manager starting from about eighty

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Speaker 2: nine when ll so, yeah, he started out as our

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Speaker 2: road manager, yeah, and just worked his way into like

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Speaker 2: doing it and touring tour managing for other artists.

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Speaker 1: So how did you meet Vincent Mason mas.

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Speaker 2: Mace in school? I mean he moved from Brooklyn. I

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Speaker 2: just saw him in the school or see around because

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Speaker 2: he was just he's just stood out. You know a

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Speaker 2: lot of times when someone new come to the school

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Speaker 2: that it is standout immediately.

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Speaker 1: And what school was this?

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Speaker 2: Amityville Junior High. So this was junior high school. And

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Speaker 2: you know, Mace was a fairly big guy, so I

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Speaker 2: was like, you do it. I'm just assuming he was

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Speaker 2: going to be in migrat and he was actually like

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Speaker 2: a grade below. So yeah, I mean we but we

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Speaker 2: didn't talk for the first time until we met through

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Speaker 2: a mutual friend of ours who he was actually the

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Speaker 2: first DJ that me and Dave was dealing with, named

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Speaker 2: Charlie Rock, and that's how we met Mace to actually

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Speaker 2: have conversations with him.

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Speaker 1: So what was the difference between Long Island life versus

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Speaker 1: life in the Bronx.

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Speaker 2: Well, I mean, for me, the immediate difference was the

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Speaker 2: difference between a project building and in houses and in

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Speaker 2: green grass. But even when I was living in Nelson

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Speaker 2: Avenue in the Bronx, I mean, it was a lot

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Speaker 2: of community. You were kind of really close around each other.

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Speaker 2: So luckily enough the kids we all commune together, and

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Speaker 2: the parents was really nice to us. But I had

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Speaker 2: got an understanding of what say open air living was

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Speaker 2: when my mother would send me and my brothers to Waynesboro,

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Speaker 2: Georgia every summer. We never spent the summer in the Bronx,

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Speaker 2: so by the time they was moving us to Long Island,

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Speaker 2: it was like a similar feel of like, oh houses space,

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Speaker 2: you know you have a backyard, you got a front yard,

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Speaker 2: So that was the major difference immediately, and then being

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Speaker 2: able to just I guess my mother feel like it

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Speaker 2: was safe for us to not being her eyes view.

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Speaker 2: So when we was in the Bronx, we would play

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Speaker 2: like downstairs and main area where every parent can see

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Speaker 2: their kids. Like my mother was felt cool enough for

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Speaker 2: me to ride my bike off of the block right.

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Speaker 2: He was also something that was just afforded with him

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Speaker 2: Long Island.

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Speaker 1: Any recollection or memories of any of the folk lore

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Speaker 1: that the Bronx speaks on in their early years, like

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Speaker 1: any block parties or have you heard a yes, yes

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Speaker 1: y'all from you know?

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Speaker 2: Honestly, no, I didn't see that. I didn't see hip

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Speaker 2: hop block parties. I mean the Jamaican brothers in our building,

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Speaker 2: like they could turn around and have speakers out, or

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Speaker 2: you can hear music playing loud like that, But I

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Speaker 2: personally didn't see any like Bronx block party. Nah.

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Speaker 1: So at any point in the day I sold timeline.

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Speaker 1: Were you and Dave ever at any point just regular

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Speaker 1: ass yes, yes, y'all. MC's like and I'm here to say,

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Speaker 1: has that ever been like your second line in any

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Speaker 1: rhyme you've ever said?

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Speaker 2: Just like all of us getting bit by the hip

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Speaker 2: hop bug. From the earlier days of it, it was

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Speaker 2: just more being a listener. But by the time I

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Speaker 2: really wanted to pick up a pen and do it,

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Speaker 2: I was already bitten by Treacherous Three and how their

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Speaker 2: cadences were. So No, I really wasn't like, yes, yes,

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Speaker 2: y'all into the beat, not like sires of the phone, creative,

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Speaker 2: a new tone. It's so much you put your trust

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Speaker 2: in a sound and style. That's how I started rhyming.

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Speaker 1: I was like, all right, see you're a cool with

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Speaker 1: the disciphle. Yeah, how social word you guys before the

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Speaker 1: concept of hey, let's start a group, social and like

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Speaker 1: just being friends and hanging. You know, when I met Tarik,

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Speaker 1: I'll pretty much say that we were a group maybe

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Speaker 1: three months later, I mean, or at least my job

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Speaker 1: was to hit the lunch table. Yeah, And that's how

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Speaker 1: gained access with it. So like was music the immediate

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Speaker 1: social adhesions that brought you guys together.

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Speaker 2: Or before Dayla. It was more like we were just

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Speaker 2: doing it. Like like I said, everyone was bitten by

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Speaker 2: this bug and I was like breaking popping, and you know,

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Speaker 2: it was almost at one point, me, Dave and a

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Speaker 2: couple other friends. One of our friends, Anthony Bryant his

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Speaker 2: pops was trying to put us together to possibly going

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Speaker 2: to Apollo and he was gonna dance and pops. Yeah,

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Speaker 2: it was stuff like that going on. We didn't really

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Speaker 2: say we wanted to be a group or try some

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Speaker 2: hip hop group thing until Dave, who was just into

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Speaker 2: be boxing, he be boxed against a really well known

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Speaker 2: be box called Paul Paul Carry. He was really dope

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Speaker 2: at beat boxing and Dave just kind of back him

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Speaker 2: and it was like right from there, like Dave was

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Speaker 2: really nervous, but he did his thing, and then we

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Speaker 2: all went outside and we was like, yo, that was

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Speaker 2: so dope, and we was like, we should form a group.

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Speaker 2: And that's when the first time we even pictured anything

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Speaker 2: about let's be a group outside of us being a

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Speaker 2: fan of just the music.

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Speaker 1: Was Dale I sold the name of that group or

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Speaker 1: did you go through other iterations before it was.

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Speaker 2: Called easy Street. I wanted to get to be called

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Speaker 2: Sop Sounds because I was already writing and just thinking

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Speaker 2: of different different names because it was just something I

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Speaker 2: would do. And so when we were just thinking of

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Speaker 2: like a name for the group, and this is us

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Speaker 2: outside of the high school, just thinking like what could

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Speaker 2: we do, we was like, Yo, let's what kind of name.

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Speaker 2: I was like, Yo, we should call ourselves Sop Sounds.

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Speaker 2: And then I explained to them like yeah, you know,

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Speaker 2: my mother always be like, yo, you better sop up

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Speaker 2: that syrup and that plate. So I was like, yo,

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Speaker 2: we are all these different sounds would sop together. And

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Speaker 2: everyone was like, nah, merce that that doesn't sound not

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Speaker 2: like Yo, let's call ourselves easy Street. I thought that

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Speaker 2: was the wackest shit ever, but everyone loved it. Everyone's like, yeah,

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Speaker 2: easy Street. And that was Dave being a B box,

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Speaker 2: me being a DJ, my people's Anthony, my people's Rob,

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Speaker 2: and my people's KD. His name was Kelvin two. They

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Speaker 2: were the MC's. So that's how that was the first group.

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Speaker 2: Me and Dave was in Easy Street. And even Dave

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Speaker 2: be boxing and me cutting, we was even still putting

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Speaker 2: together rhymes to give to them to say as they

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Speaker 2: even wrote their own rhymes.

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Speaker 1: Okay, can you tell me the story of how you

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Speaker 1: met Paul Houston Prince Paul.

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Speaker 2: Paul was the cousin of the first girl I told

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Speaker 2: you I met the first person I met in high school,

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Speaker 2: which was Regina Peters. Soon you just moved Paul from Afarm.

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Speaker 2: Paul was just very cool, very intelligent guy who could

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Speaker 2: just DJ is asshole. He was just a great DJ

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Speaker 2: in the neighborhood. So just knew him from Afar. I

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Speaker 2: think he was a He was probably in the same

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Speaker 2: grade or maybe A no, the same grade as my

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Speaker 2: brother Tyrone. So yeah, I mean just knew him from Afar.

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Speaker 2: And so me and Regina being really good friends, I

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Speaker 2: found out, oh that's her cousin, and even he he

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Speaker 2: DJ like one of her birthday parties that we would

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Speaker 2: be at. So we just knew Paul like as like, Yo,

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Speaker 2: that's Paul, you know, that's he was really cool. But

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Speaker 2: that was DJ Prince Paul from Afar. You know. I

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Speaker 2: must say I probably didn't even meet him where we

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Speaker 2: exchanged anything between each other until Mace got with Paul

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Speaker 2: to work with him on something that a gentleman on

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Speaker 2: my block. His name was mister Evertt Collins, and he

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Speaker 2: was the tour drummer for Eisley Brothers as well as

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Speaker 2: a music teacher. So once Mace was working with Paul

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Speaker 2: on that, he was the one who then introduced me

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Speaker 2: and Dave de Paul. And I think Dave actually knew Paul,

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Speaker 2: but I didn't know him, like Paul knew my brother Tyrone,

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Speaker 2: and he knew me as like, oh, that's Tyrone's little

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Speaker 2: brother Kelvin, and I knew now.

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Speaker 1: On the the thirty fifth anniversary of three FID and Rising,

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Speaker 1: you guys included the original plug tuning and also the

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Speaker 1: original freedom of speak what equipment? And that was done

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Speaker 1: without Prince Paul, Like that was just you guys on

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Speaker 1: your own. Yeah, how did you guys make that? Like

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Speaker 1: what what equipment did you use?

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Speaker 2: I think it was an RZ one Mace had. He

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Speaker 2: had the drum, the RZ one drum machine. We also

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Speaker 2: had this, uh oh man, what's the name of it.

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Speaker 2: I know it was I want to say, We had

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Speaker 2: like this tac I think that's the way you say it,

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Speaker 2: a track recorder. And then we also had the little

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Speaker 2: cassio with the sample where you could sample into it.

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Speaker 2: I think me and you we spoke about this before.

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Speaker 2: But the little cassio with the keyboards and had to like.

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Speaker 1: The s K one yeah you go, oh no, no, no,

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Speaker 1: the one with the four drum pads on it, the

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Speaker 1: four drugs. That's a more advanced version. Okay. Was this

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Speaker 1: eighty six or eighty seven you're speaking of? Yeah, eighty

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Speaker 1: six okay.

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Speaker 2: I don't know. Maybe I think it was the pad

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Speaker 2: one we had so yeah, because we were putting noises

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Speaker 2: in that, because that's where I first even did the

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Speaker 2: three is the magic number for the demo. I would

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Speaker 2: just just keep hitting it and in mace we would

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Speaker 2: loop the the beat from what was that? No, well, no,

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Speaker 2: we took it from the hip hop history lesson three

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Speaker 2: double Dan Steinsky.

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Speaker 1: Oh okay, I got it, okay.

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Speaker 2: Which was, like you said, the led Zeppelin drums. But yeah,

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Speaker 2: I mean it was just those things we was working

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Speaker 2: with for in the house. It was very limited equipment.

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Speaker 2: We thought it was the most amazing equipment at that time.

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Speaker 2: And you know, you know, we would just redub. We

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Speaker 2: would do one take of something and dub over the

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Speaker 2: next take, and yeah, it is that simple.

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Speaker 1: What was it about Paul. That showed you guys that

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Speaker 1: you guys spoke the same language, and you know what

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Speaker 1: was the basic process and just pushing the train along

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Speaker 1: to let's be a group, to let's make a demo,

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Speaker 1: to let's try to get a record deal.

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Speaker 2: Well, once Paul heard the demos, you know, it was

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Speaker 2: great to have him hear it, because, mind you, at

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Speaker 2: this point, this is DJ. This is now Prince Paul.

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Speaker 2: It's not DJ Paul. This is Principle now with stet

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Speaker 2: and you know, and they already got like a single out,

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Speaker 2: you know, rockdale O'steto already went into their first album.

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Speaker 2: So at that point, you figure all wanted to meet

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Speaker 2: with me, Dave, along with Mace and so from that

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Speaker 2: point I was just very in awe of it all.

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Speaker 2: But I was still very skeptic when he was just

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Speaker 2: talking about wanting to now add stuff and to whatever

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Speaker 2: these things that we had started to create on our own.

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Speaker 2: You know, these are just forty fives out of our

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Speaker 2: own home that went from a pause tape to now

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Speaker 2: what's working on in mace basement. Were very proud of it,

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Speaker 2: and we was very happy to now that Paul wanted

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Speaker 2: to be a part of it. I remember him having

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Speaker 2: that conversation like, you know, I would love to try

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Speaker 2: to add some stuff to it, and da da dah,

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Speaker 2: and I in my heart I was like, I don't

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Speaker 2: know if I'm with all that, but let's see where

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Speaker 2: it goes. And when he added what he added, when

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Speaker 2: he updated everything, it was absolutely mind blowing. And then

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Speaker 2: even then it wasn't until like us like really just

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Speaker 2: hanging around each other amongst this time he heard some

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Speaker 2: of the other stuff he was doing, which were the skits.

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Speaker 2: This us just having fun. It wasn't even skits does

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Speaker 2: It was just when we were just lacking off supposed

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Speaker 2: to be doing what we was doing and were just

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Speaker 2: having fun being idiots. And Paul was just like, yo,

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Speaker 2: you know, look what I do with my friends. And

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Speaker 2: he put in THEO VH tape of him over dubbing

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Speaker 2: him and his friend's voice over like cares. That is

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Speaker 2: where I was like, Yo, this dude is like us,

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Speaker 2: Like he's exactly like us.

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Speaker 1: Wait, he would do that just to do it.

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Speaker 2: Yeah, they were like literally put both clubs of the

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Speaker 2: karate tapes like ooh, you stole my doodle, and it

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Speaker 2: was time to fight. And he would do stuff like that.

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Speaker 1: So he would have been amazing on Instagram and YouTube

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Speaker 1: had that been indeed in twenty five years early. Okay,

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Speaker 1: and you know, mind you, I know that I'm rehashing

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Speaker 1: stuff that we've talked about personally, but we've never been

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Speaker 1: on this platform to speak of it. All Right, this

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Speaker 1: is the most mind blowing thing. Could you give me

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Speaker 1: what the budget was to record the entire Three Feet

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Speaker 1: High and Rising album?

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Speaker 2: It was like thirteen thousand dollars. It's like eleven thirteen

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Speaker 2: thousand dollars.

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Speaker 1: Okay, Like I think maybe the distortion is static, like

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Speaker 1: Bob Power's budget for mixing might have been like half that.

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Speaker 1: So I was just mind blown that you guys were

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Speaker 1: able to make an entire revolution in such a limited

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Speaker 1: financial capacity. Did you think that was fairly typical backven

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Speaker 1: or did you know, like a camo on an independent label?

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Speaker 1: And because in our mind we're like, yeah, yeah, the

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Speaker 1: Tommy Boy umbrella. So I'm thinking you guys are lighting

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Speaker 1: up cigars one hundred dollar bills, and.

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Speaker 2: I mean, in mind, you humbly, we had no idea,

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Speaker 2: you know, right, Tommy Boy was one of those labels

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Speaker 2: that just the logo alone, meant something to you the

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Speaker 2: way the deaf Jam logo meant something to you, you

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Speaker 2: know what I'm saying. So, and we were blessed to

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Speaker 2: have all these different labels wrought to sign us. But

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Speaker 2: we felt comfortable being with Tommy Boy because they were

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Speaker 2: like in I'm on a premium label of hip hop,

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Speaker 2: and Prince Paul, our big brother, was there. So, I mean,

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Speaker 2: when we got the budget we had, we didn't know

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Speaker 2: any better. We didn't know, I mean, you know, and

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Speaker 2: and being very honest, we're like, we're kids from a

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Speaker 2: you know, fairly middle class, working, middle class family. You know,

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Speaker 2: we had good living, but we thought thirteen thousand dollars

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Speaker 2: a lot of money, so, you know, and whatever we

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Speaker 2: had to do, what we had to do. Paul was

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Speaker 2: very aware of, I'm assuming of whatever budget he had

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Speaker 2: with stets of Sonic, and he was very aware of,

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Speaker 2: like when we were going to Calliope as creative and

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Speaker 2: as beautiful, Paul made the environment. Paul was very much

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Speaker 2: to the clock. He was like, you know, he would

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Speaker 2: look like, all right, we need to wrap things up

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Speaker 2: or so he was. He was very aware and very

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Speaker 2: frugal of what we do to spend. But yeah, you know,

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Speaker 2: I had no idea that thirteen thousand dollars is nothing,

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Speaker 2: whereas of course, like these days, I mean you asking

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Speaker 2: an MC to run for thirteen thousand dollars, that's probably

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Speaker 2: like four lines.

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Speaker 1: The thing is is that, especially with the first two records,

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Speaker 1: you guys really make it sound like you lived in

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Speaker 1: that environment. So I can't even fathom like everything has

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Speaker 1: to be made and created in one specific space simply

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Speaker 1: because like even the way that you guys make the

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Speaker 1: skits sound, you guys make the skit sound very off

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Speaker 1: the cuff, although when you listen to those skits, they're

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Speaker 1: also like well craft and well produced, Like when it's

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Speaker 1: the Roots, we will be at sound check and then

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Speaker 1: Tubo wear something real ugly or whatever, and then we'll

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Speaker 1: break out in the song and make fun of him

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Speaker 1: for five minutes. But you know, it's like us making

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Speaker 1: it off the cuff, and you guys make it feel

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Speaker 1: like it's off the cuff. Although I know a lot

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Speaker 1: of planning goes into those skits, and I just always wondered,

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Speaker 1: like how much time it's been a calliope is calliope

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Speaker 1: just for vocals? And then you guys have a sort

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Speaker 1: of a home based center in which the tape or

353
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Speaker 1: the mic is always running in case something funny happens,

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Speaker 1: it goes or we knew.

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Speaker 2: Like we had a plan for what we need to do.

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Speaker 2: We had, you know, Paul will give homework assignments like

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Speaker 2: so yo, okay, got this song that looks like y'all

358
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Speaker 2: want to call ghetto things or merse and Dave, you

359
00:20:04,520 --> 00:20:07,280
Speaker 2: need to make sure you got this ready for that. Honestly,

360
00:20:07,320 --> 00:20:09,520
Speaker 2: that first album, a lot of that was just off

361
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Speaker 2: the cuff with the skits. By the time we got

362
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Speaker 2: to day La Soul, it was more like, Okay, we're

363
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Speaker 2: going to plan you know, I got this funny idea

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Speaker 2: for a site, you know, so I mean like a

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Speaker 2: lot of things like say day La Soul orgy. It

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Speaker 2: was just Paul already had to beat looped. We were

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Speaker 2: just trying to figure out what we could do with it.

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Speaker 2: I make a joke and be like we should moan

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Speaker 2: and groan over it. He's like, that's a great idea.

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Speaker 2: I was only joking. We all now have to go

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Speaker 2: into the booth moaning, groan, Wait a minute hour. One

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Speaker 2: of our dancers and Dave's cousins there y'all coming as

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Speaker 2: the girls and do this your tip coming with us.

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Speaker 2: Then out of nowhere we get Daylight Orgie. So a

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Speaker 2: lot of that was just it was not planned for

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Speaker 2: the three feet high joint by the time we got

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Speaker 2: to Daylight. So it's dead. Yeah, like you said, like

378
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Speaker 2: we knew we want to make this song called Kicked

379
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Speaker 2: out the House, and that comes up with to be

380
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Speaker 2: at Home. We come in, they comes with the chorus

381
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Speaker 2: and then we're like, yo, we should get Bobby the

382
00:21:10,359 --> 00:21:13,159
Speaker 2: drummer from stet to act like he's Colonel Abrams and

383
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Speaker 2: everyone's laughing, and he does it like that's where you

384
00:21:16,040 --> 00:21:17,760
Speaker 2: do it a little bit more of the magic of

385
00:21:18,240 --> 00:21:19,919
Speaker 2: on the puff. You're still playing.

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Speaker 1: To me, it's like you might lose the funny if

387
00:21:22,600 --> 00:21:25,199
Speaker 1: you plan it. Okay, press play and then it's like,

388
00:21:25,920 --> 00:21:27,800
Speaker 1: all right, well the joke's over now. But it just

389
00:21:27,920 --> 00:21:31,240
Speaker 1: always felt like the tape is running now.

390
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Speaker 2: It could be because, like I said, with day Laso

391
00:21:33,680 --> 00:21:37,560
Speaker 2: is dead, Dave just happened to be bugging out on

392
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Speaker 2: the piano. I'm sitting down like on a far couch

393
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Speaker 2: and calliope and he's just on the piano, just doing

394
00:21:43,280 --> 00:21:46,959
Speaker 2: stupid shit. And out of nowhere, Paul is just like

395
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Speaker 2: he's signaling the engineer, like what the mike on, and

396
00:21:51,440 --> 00:21:53,159
Speaker 2: then he's just kind of sitting next to him, and

397
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Speaker 2: that becomes.

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Speaker 1: Mike's always set up in the live studio.

399
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Speaker 2: Like it just set up, so he just told him

400
00:21:59,160 --> 00:22:02,560
Speaker 2: to turn the mic on and they didn't realize that

401
00:22:02,560 --> 00:22:05,000
Speaker 2: what was happening. And next thing, I know, that becomes

402
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Speaker 2: the skit that goes in front of the biddies.

403
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Speaker 1: And okay, I got it. Okay, what was the very

404
00:22:09,880 --> 00:22:12,080
Speaker 1: first song worked on for three f HI and rising

405
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Speaker 1: aside from pluck tuning, like a lot of.

406
00:22:16,320 --> 00:22:19,960
Speaker 2: That was just stuff at home, so blug tuning, Freedom

407
00:22:20,000 --> 00:22:21,960
Speaker 2: Must Speak. All that was done at the same time

408
00:22:22,000 --> 00:22:24,560
Speaker 2: at the crib, and then of course we came into

409
00:22:24,560 --> 00:22:27,760
Speaker 2: Calliope to do it. I would say the next song

410
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Speaker 2: once we like got an album deal, because yeah, the

411
00:22:31,680 --> 00:22:33,919
Speaker 2: next album was, I mean the next single deal was

412
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Speaker 2: Potholes and Jennifer. I don't know, I want to say

413
00:22:38,880 --> 00:22:40,320
Speaker 2: for some reason, I want to say say no go,

414
00:22:41,280 --> 00:22:43,280
Speaker 2: we just kind of start all falling out of it.

415
00:22:43,400 --> 00:22:45,760
Speaker 2: If it was already ideas at that point we had,

416
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Speaker 2: like I knew, I want to do something with the

417
00:22:47,920 --> 00:22:50,159
Speaker 2: Hall of Notes record. I knew I wanted to do

418
00:22:50,240 --> 00:22:53,640
Speaker 2: something with the Steely Dan record, you know, and then

419
00:22:53,720 --> 00:22:55,399
Speaker 2: we just started putting these things together.

420
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Speaker 1: Got it okay? So this album is also being made

421
00:22:59,440 --> 00:23:05,320
Speaker 1: pre pro tools access. So when you guys are doing

422
00:23:05,400 --> 00:23:09,960
Speaker 1: things like the Chopsticks bit on Jennifer, is this the

423
00:23:10,000 --> 00:23:14,879
Speaker 1: era of having to splice tape or are you guys

424
00:23:14,880 --> 00:23:17,160
Speaker 1: like the Bomb Squad in which you know by bar

425
00:23:17,440 --> 00:23:21,480
Speaker 1: sixty four you gotta go down to twenty two bpms

426
00:23:21,640 --> 00:23:24,440
Speaker 1: or is it like, what is the editing process?

427
00:23:24,880 --> 00:23:29,440
Speaker 2: The editing for that particular song. It wasn't edit of

428
00:23:29,560 --> 00:23:34,400
Speaker 2: us putting in the Chopsticks but versus biddies into BK Lounge.

429
00:23:35,440 --> 00:23:38,640
Speaker 2: It was just all chaos, like things was lined up

430
00:23:38,760 --> 00:23:42,359
Speaker 2: and you know by the time Dave finished his because

431
00:23:42,400 --> 00:23:44,240
Speaker 2: it was like, Okay, I want to do this song.

432
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Speaker 2: I told I. Remember I'm with Tip, we were shopping

433
00:23:47,280 --> 00:23:48,920
Speaker 2: for records. I'm like, yo, I want to do like

434
00:23:48,960 --> 00:23:51,479
Speaker 2: a roxhand rock sand like UTFO have to three beats.

435
00:23:51,680 --> 00:23:54,240
Speaker 2: I won't do that for us. It became what I

436
00:23:54,280 --> 00:23:56,960
Speaker 2: wanted to attach to, this idea of us making something

437
00:23:57,040 --> 00:24:00,520
Speaker 2: about going into Burger King. So once we start putting

438
00:24:00,560 --> 00:24:06,960
Speaker 2: it together. Everything was just laid together. So Dave's music,

439
00:24:07,000 --> 00:24:10,560
Speaker 2: which was the Tanya Gardner No Frieze record, my music

440
00:24:11,720 --> 00:24:14,360
Speaker 2: which is what is that It's your thing, It's your thing,

441
00:24:14,560 --> 00:24:17,439
Speaker 2: and Mace's music, so like it was all lined up together.

442
00:24:17,760 --> 00:24:20,000
Speaker 2: And so we just kind of like had to realize,

443
00:24:20,000 --> 00:24:23,000
Speaker 2: all right, Dave, you ended it right there. We click

444
00:24:23,119 --> 00:24:25,600
Speaker 2: in the it's your thing. It don't sound right. So

445
00:24:25,640 --> 00:24:28,000
Speaker 2: we was like, okay, we got extended a little bit longer.

446
00:24:28,200 --> 00:24:30,159
Speaker 2: Say something. He says, stupid bitches, and then all of

447
00:24:30,200 --> 00:24:30,960
Speaker 2: a sudden.

448
00:24:32,119 --> 00:24:34,639
Speaker 1: I thought you were saying it spinding burg all right,

449
00:24:34,680 --> 00:24:36,920
Speaker 1: all right, I still thought he was saying spinding Broker

450
00:24:36,960 --> 00:24:39,879
Speaker 1: speaking a Burger from the beginning, but stupa bitches.

451
00:24:41,800 --> 00:24:44,919
Speaker 2: All a sudden, it works all right, cool, Like it

452
00:24:45,040 --> 00:24:48,760
Speaker 2: was just like just chaos, sweet chaos, like nothing like it.

453
00:24:49,440 --> 00:24:54,080
Speaker 1: Okay. So now that time has passed, the flow and

454
00:24:54,280 --> 00:24:58,600
Speaker 1: Eddie's situation with the Turtles. Of course, you guys are

455
00:24:58,640 --> 00:25:02,480
Speaker 1: part of the this Land Marenk situation in which a

456
00:25:02,560 --> 00:25:05,199
Speaker 1: sample wasn't cleared. And I guess the kids of the

457
00:25:05,240 --> 00:25:07,760
Speaker 1: Turtles were fans of you guys. Heard it, Mom and Dad, listen,

458
00:25:07,800 --> 00:25:11,359
Speaker 1: they're playing your music and suddenly they get litigious. The

459
00:25:11,440 --> 00:25:13,439
Speaker 1: lure of it, I was like to believe, like between

460
00:25:13,480 --> 00:25:16,879
Speaker 1: you guys in bismarcky, like those were the darkest days

461
00:25:16,880 --> 00:25:19,240
Speaker 1: in history and da da da da da. Was it

462
00:25:19,359 --> 00:25:21,520
Speaker 1: just basically we cleared the sample and that was it?

463
00:25:21,640 --> 00:25:24,720
Speaker 1: Or like I mean, at its worst, were you guys

464
00:25:24,800 --> 00:25:28,480
Speaker 1: suit for trillions or like I never knew what happened

465
00:25:28,480 --> 00:25:30,240
Speaker 1: at the end of that situation.

466
00:25:30,280 --> 00:25:35,520
Speaker 2: It got settled. I was actually with our legal team

467
00:25:35,560 --> 00:25:39,800
Speaker 2: meeting with their legal team, their legal team, the Lee lawyer.

468
00:25:39,840 --> 00:25:41,840
Speaker 2: He was a big Day Off fan. He wanted to

469
00:25:41,880 --> 00:25:46,040
Speaker 2: autograph and everything. Oh yeah, it wasn't anything I mean

470
00:25:46,040 --> 00:25:49,880
Speaker 2: outside of realizing, okay, we're getting sued for something we

471
00:25:49,960 --> 00:25:52,240
Speaker 2: thought we handed not even that we thought we knew

472
00:25:52,240 --> 00:25:55,000
Speaker 2: we handed in the Tomic Boy. That in itself was

473
00:25:55,119 --> 00:25:59,440
Speaker 2: very upsetting to us. But yeah, the actual dealing with it,

474
00:25:59,440 --> 00:26:03,400
Speaker 2: it wasn't anything I would say crazy outside and realizing

475
00:26:03,520 --> 00:26:05,840
Speaker 2: that the meet up with these people, come to an

476
00:26:05,920 --> 00:26:09,240
Speaker 2: understanding of what it should be, which we wound up doing.

477
00:26:09,400 --> 00:26:12,120
Speaker 2: Tommy Boy want up paying them some money. I didn't

478
00:26:12,200 --> 00:26:14,679
Speaker 2: learn the fact that here it is the money that

479
00:26:14,720 --> 00:26:17,000
Speaker 2: Tommy Boy was going to pay them to settle. This

480
00:26:17,200 --> 00:26:19,160
Speaker 2: was going to come out of our shit. And then

481
00:26:19,200 --> 00:26:21,399
Speaker 2: that was another thing that kind of like made us

482
00:26:21,480 --> 00:26:24,000
Speaker 2: learn about Wow, like we're being punished with something we

483
00:26:24,040 --> 00:26:27,359
Speaker 2: actually handed in, you know, watch falls on us. But

484
00:26:28,320 --> 00:26:32,160
Speaker 2: the dude was cool about it. The lawyer, their lawyer,

485
00:26:32,240 --> 00:26:34,360
Speaker 2: and it didn't seem like he was being mean or anything.

486
00:26:34,400 --> 00:26:37,400
Speaker 2: He actually, in speaking to our lawyer, was like, if

487
00:26:37,400 --> 00:26:40,440
Speaker 2: the guys wanted to actually work with the turtles, maybe

488
00:26:40,480 --> 00:26:42,760
Speaker 2: that could be a solve, and we were just kind

489
00:26:42,760 --> 00:26:44,800
Speaker 2: of like creatively like, nah, we want to do that,

490
00:26:44,880 --> 00:26:47,520
Speaker 2: because if it was about that, maybe y'all should have

491
00:26:47,560 --> 00:26:50,360
Speaker 2: just led that. I just think like, nah, like now,

492
00:26:50,359 --> 00:26:52,960
Speaker 2: in hindsight, maybe that's what we should have did. We

493
00:26:53,200 --> 00:26:55,399
Speaker 2: just felt like, nah, man, like y'all just came and

494
00:26:55,440 --> 00:26:57,439
Speaker 2: try to sue us, and now you're getting this money,

495
00:26:57,640 --> 00:27:00,440
Speaker 2: but now you're trying to work with us. Sense.

496
00:27:00,720 --> 00:27:02,400
Speaker 1: The way that I was shot for Records back then

497
00:27:02,480 --> 00:27:04,840
Speaker 1: was literally look at all the sample credits and then

498
00:27:04,920 --> 00:27:08,280
Speaker 1: no to get that artist, and then anything that they've

499
00:27:08,320 --> 00:27:10,280
Speaker 1: been on and anything they've been you know, so on

500
00:27:10,320 --> 00:27:14,000
Speaker 1: and so forth. So like on their side of the fence,

501
00:27:14,680 --> 00:27:17,119
Speaker 1: none of them saw this as like a good look.

502
00:27:17,480 --> 00:27:20,399
Speaker 1: I mean, look for George Clinton, he admitted, Dude, if

503
00:27:20,440 --> 00:27:24,280
Speaker 1: it weren't for y'all, the third Renaissance of Parliament Funkadelic

504
00:27:24,920 --> 00:27:27,560
Speaker 1: would have never happened. So he was glad to play ball.

505
00:27:27,680 --> 00:27:28,920
Speaker 1: But they didn't see it that way.

506
00:27:29,480 --> 00:27:34,600
Speaker 2: And I'm being very honest and very understanding of them.

507
00:27:34,840 --> 00:27:38,200
Speaker 2: I don't know what the members of Turtles want. I

508
00:27:38,240 --> 00:27:41,480
Speaker 2: can only do what the lawyer was saying.

509
00:27:41,840 --> 00:27:44,680
Speaker 1: So you guys never spoke to them personally, or never.

510
00:27:44,640 --> 00:27:47,840
Speaker 2: Spoke to them personally at them, This is just what

511
00:27:48,000 --> 00:27:51,760
Speaker 2: lawyer was saying. Maybe they weren't even involved. Even in

512
00:27:51,840 --> 00:27:55,760
Speaker 2: hindsight looking at it, I'm sure like they weren't heavily

513
00:27:55,800 --> 00:27:58,000
Speaker 2: involved in this is like it could have been the

514
00:27:58,080 --> 00:28:00,000
Speaker 2: record company making sure that the lawyers did with they

515
00:28:00,080 --> 00:28:00,639
Speaker 2: was supposed to do.

516
00:28:02,119 --> 00:28:06,919
Speaker 1: Dude, Why why was I know, never ever released in

517
00:28:06,960 --> 00:28:10,920
Speaker 1: the United States as a single. Because when the smoke clears,

518
00:28:11,480 --> 00:28:13,520
Speaker 1: when people talk about three ft hind and rising, the

519
00:28:13,760 --> 00:28:16,800
Speaker 1: first thing they mentioned, even before Haulling notes, but even

520
00:28:16,840 --> 00:28:20,800
Speaker 1: before the sketches and all that stuff is oh my god,

521
00:28:20,960 --> 00:28:23,760
Speaker 1: the rymen over Steely Dan. I fucking loved, Like, how

522
00:28:23,800 --> 00:28:27,880
Speaker 1: come you guys never released that here, only in Europe.

523
00:28:28,160 --> 00:28:30,280
Speaker 2: It was a Tommy Boy that was the label's decision.

524
00:28:32,160 --> 00:28:33,600
Speaker 2: I don't know, Like I don't know if they felt

525
00:28:33,600 --> 00:28:36,280
Speaker 2: like the album was run out of steam. I mean

526
00:28:36,320 --> 00:28:39,800
Speaker 2: even by the time we did Buddy, you know, and

527
00:28:39,880 --> 00:28:42,480
Speaker 2: we did this remix to Buddy that just ignited a

528
00:28:42,480 --> 00:28:45,560
Speaker 2: whole other level of what it could be. But I

529
00:28:45,600 --> 00:28:48,200
Speaker 2: loved that, I know. I mean, I'm being honest. I produced,

530
00:28:48,240 --> 00:28:51,000
Speaker 2: I know, so I would have loved to be what

531
00:28:51,040 --> 00:28:54,040
Speaker 2: it needed to be in the States, but we definitely

532
00:28:54,160 --> 00:28:58,280
Speaker 2: saw when we would performing what it would be there,

533
00:28:58,360 --> 00:29:02,280
Speaker 2: and I think Tommy Boy led with that understanding as well,

534
00:29:02,320 --> 00:29:05,200
Speaker 2: and that's why they only did it there. But I agree,

535
00:29:05,280 --> 00:29:07,000
Speaker 2: I would have loved to see that a release. But

536
00:29:07,080 --> 00:29:12,040
Speaker 2: if I am to be very honest, after having say

537
00:29:12,080 --> 00:29:15,480
Speaker 2: No go and didn't come with, I know, I think

538
00:29:15,520 --> 00:29:17,640
Speaker 2: that even we was at a point where it was like, Yo,

539
00:29:18,040 --> 00:29:21,680
Speaker 2: we're losing anyone who looks like this, you know, we

540
00:29:21,720 --> 00:29:24,960
Speaker 2: need we need Buddy like we That's I think that's

541
00:29:25,080 --> 00:29:26,560
Speaker 2: where it was even for us.

542
00:29:26,960 --> 00:29:33,000
Speaker 1: Okay, has jj fad ever responded to Daycratic, No.

543
00:29:34,480 --> 00:29:36,240
Speaker 2: Not at all. I mean, we did a lot of

544
00:29:36,240 --> 00:29:38,360
Speaker 2: shows with them, and it was the nicest girls and

545
00:29:38,520 --> 00:29:41,920
Speaker 2: funny enough. Even at the hip hop joint that you

546
00:29:42,000 --> 00:29:45,480
Speaker 2: were involved in. You know, we spoke with them and yeah, man,

547
00:29:45,480 --> 00:29:47,440
Speaker 2: we used to see them a lot back in the day,

548
00:29:47,640 --> 00:29:50,200
Speaker 2: even just being around n w A and them. Nah,

549
00:29:50,320 --> 00:29:52,560
Speaker 2: I mean they was really cool with us. We was

550
00:29:52,600 --> 00:29:56,000
Speaker 2: really cool with them. I don never think they saw

551
00:29:56,000 --> 00:29:57,880
Speaker 2: it as a disc and we we didn't. We did

552
00:29:58,040 --> 00:29:59,440
Speaker 2: definitely even meet it as a disc.

553
00:30:00,000 --> 00:30:02,840
Speaker 1: You know, I didn't see it as a disc, but

554
00:30:02,960 --> 00:30:04,920
Speaker 1: I mean it's definitely referential.

555
00:30:04,320 --> 00:30:07,160
Speaker 2: To Supersonic, definitely right.

556
00:30:08,360 --> 00:30:13,080
Speaker 1: So Tommy Boy would often go heavy on the like

557
00:30:13,200 --> 00:30:17,480
Speaker 1: quirky contest things like guess that sample for whatever? Did

558
00:30:17,480 --> 00:30:19,960
Speaker 1: anyone ever win that ship? And what was the prize?

559
00:30:21,000 --> 00:30:25,720
Speaker 2: I don't know that, I'm being honest. I don't think

560
00:30:25,720 --> 00:30:29,560
Speaker 2: they It's almost like and I remember being in meetings

561
00:30:29,560 --> 00:30:32,720
Speaker 2: and in that particular meeting in Tom and Tom's like,

562
00:30:32,720 --> 00:30:34,880
Speaker 2: no one's gonna guess this pass, no one's gonna guess it.

563
00:30:35,960 --> 00:30:36,440
Speaker 2: I don't think.

564
00:30:37,520 --> 00:30:39,640
Speaker 1: I don't think they were off for like a thousand bucks,

565
00:30:39,720 --> 00:30:41,400
Speaker 1: like I guess no.

566
00:30:41,840 --> 00:30:41,880
Speaker 2: No.

567
00:30:44,040 --> 00:30:46,040
Speaker 1: I went like for a good two hours, I went

568
00:30:46,120 --> 00:30:49,600
Speaker 1: through my dad's entire record collection, like I'm gonna find

569
00:30:49,640 --> 00:30:51,280
Speaker 1: this ship and I didn't.

570
00:30:51,720 --> 00:30:53,360
Speaker 2: Like you know, and it's funny because, like you said

571
00:30:53,400 --> 00:30:55,880
Speaker 2: in today's time or you even if you scroll back,

572
00:30:56,560 --> 00:30:59,120
Speaker 2: I don't know, fifteen years like you got everyone who

573
00:30:59,120 --> 00:31:01,239
Speaker 2: will be like, yo, it's this is that nah? Like

574
00:31:01,400 --> 00:31:03,400
Speaker 2: back then, no one knew that?

575
00:31:03,680 --> 00:31:07,920
Speaker 1: Okay, so can you please tell us? I mean, I

576
00:31:07,960 --> 00:31:09,920
Speaker 1: know it's probably just to be silly, and I know

577
00:31:10,200 --> 00:31:17,560
Speaker 1: it wasn't any logic behind it, but the overkill of

578
00:31:17,680 --> 00:31:22,720
Speaker 1: Slick Rick's voice as sort of the connecting factor of

579
00:31:22,840 --> 00:31:27,680
Speaker 1: day La Souls Dead with his entire like lotty dotty

580
00:31:27,840 --> 00:31:31,680
Speaker 1: ending thing, like what was the genesis of the obsession?

581
00:31:31,720 --> 00:31:34,520
Speaker 1: And was that sample just always on standby when you

582
00:31:34,560 --> 00:31:37,280
Speaker 1: wanted to Was it like on the sk one, just

583
00:31:37,360 --> 00:31:39,960
Speaker 1: like in case someone wanted to use it?

584
00:31:39,960 --> 00:31:43,120
Speaker 2: It was pretty much I mean, like I'm being honest,

585
00:31:43,120 --> 00:31:46,640
Speaker 2: pretty much. It was just like we knew, like after

586
00:31:46,760 --> 00:31:49,320
Speaker 2: maybe the second time, it was just like, Yo, this

587
00:31:49,360 --> 00:31:51,520
Speaker 2: should be out. This would be funny if it just

588
00:31:51,960 --> 00:31:54,680
Speaker 2: be out the album and and you just Paul has

589
00:31:54,680 --> 00:31:56,520
Speaker 2: that Sentius to laugh like, Yo, this is this is

590
00:31:56,520 --> 00:31:58,280
Speaker 2: so stupid. This is be stupid. We gotta figure out

591
00:31:58,320 --> 00:32:00,320
Speaker 2: another place to put it, and so where it would

592
00:32:00,480 --> 00:32:03,200
Speaker 2: naturally feel right, we would do it. And so I

593
00:32:03,280 --> 00:32:06,760
Speaker 2: remember when Dave did it at the end of Oh

594
00:32:06,800 --> 00:32:08,680
Speaker 2: I Went, He was like, yo, merch, do it at

595
00:32:08,680 --> 00:32:10,560
Speaker 2: the end of your ride. Do it at the end

596
00:32:10,560 --> 00:32:15,280
Speaker 2: your run to the biddy to lashon, Like I feel

597
00:32:15,320 --> 00:32:17,320
Speaker 2: like this is yo, man. We were just.

598
00:32:19,240 --> 00:32:21,680
Speaker 1: So that that wasn't added in mastering or whatever like

599
00:32:21,720 --> 00:32:23,840
Speaker 1: that was oh oh go.

600
00:32:24,680 --> 00:32:25,600
Speaker 2: Right there in the studio.

601
00:32:25,640 --> 00:32:29,960
Speaker 1: Although yeah, okay, just for those who don't know, what

602
00:32:30,360 --> 00:32:35,440
Speaker 1: is the significance behind the title of you guys being plugs, Well.

603
00:32:35,320 --> 00:32:40,280
Speaker 2: Plugs started only from a fans We had to single

604
00:32:40,400 --> 00:32:44,400
Speaker 2: called plug tuning, and so with me being the one

605
00:32:44,440 --> 00:32:48,240
Speaker 2: saying plug one, Dave saying plug two, it wasn't that

606
00:32:48,320 --> 00:32:50,800
Speaker 2: wasn't anything by design. It was just like this we

607
00:32:50,840 --> 00:32:53,400
Speaker 2: wanted to start the record off on something, and that

608
00:32:53,520 --> 00:32:55,600
Speaker 2: was just even when Mace used to cut the record

609
00:32:55,640 --> 00:32:58,440
Speaker 2: as a routine, because you gotta remember plug tuning, it

610
00:32:58,480 --> 00:33:01,640
Speaker 2: was just a routine. We was also like the children

611
00:33:01,720 --> 00:33:04,360
Speaker 2: of like you know, the cold Crush, the Dougie Fresh

612
00:33:04,360 --> 00:33:07,840
Speaker 2: to slick Ricks. So we would up tuning routine in

613
00:33:07,880 --> 00:33:10,120
Speaker 2: the house and like instead of being like one two

614
00:33:10,360 --> 00:33:13,280
Speaker 2: one two. We'd be like plugged one, plug two, like

615
00:33:13,360 --> 00:33:17,480
Speaker 2: to just routine plug tuning, got it. So I just

616
00:33:17,480 --> 00:33:19,720
Speaker 2: happened to be the one saying plug one. Dave was

617
00:33:19,720 --> 00:33:22,440
Speaker 2: the one saying plug two got it. By the time

618
00:33:22,480 --> 00:33:25,320
Speaker 2: we made a record out of it performed it live.

619
00:33:25,560 --> 00:33:28,040
Speaker 2: We performed it live for the first time at Stetso

620
00:33:28,120 --> 00:33:35,120
Speaker 2: Sonic's release party, and from that that night, people was

621
00:33:35,440 --> 00:33:38,760
Speaker 2: saying to me, yo, plug one, I saw you the

622
00:33:38,800 --> 00:33:42,080
Speaker 2: other day and Dave was Plugged two. So the people

623
00:33:42,080 --> 00:33:44,040
Speaker 2: who saw us named us those names.

624
00:33:44,600 --> 00:33:49,040
Speaker 1: Was, by the way, who came up with the name Dale.

625
00:33:49,040 --> 00:33:53,160
Speaker 2: I sold it was me and Dave because I wanted,

626
00:33:53,840 --> 00:33:55,520
Speaker 2: you know, when we're just trying to think of names.

627
00:33:56,360 --> 00:33:58,680
Speaker 2: I came to Dave was like, yo, I think we

628
00:33:58,720 --> 00:34:01,560
Speaker 2: should call ourselves from the soul, and I gave him

629
00:34:01,560 --> 00:34:04,880
Speaker 2: the whole reason behind it. I was like, I think

630
00:34:04,920 --> 00:34:07,120
Speaker 2: everything we do is from our heart and soul, and

631
00:34:07,520 --> 00:34:09,919
Speaker 2: I think it could be really dope, like from the soul,

632
00:34:10,000 --> 00:34:13,240
Speaker 2: and Dave was like very understanding. I could see Knye

633
00:34:13,280 --> 00:34:13,719
Speaker 2: in his face.

634
00:34:13,760 --> 00:34:15,560
Speaker 1: He was like, nah, mersc is he the king of

635
00:34:15,960 --> 00:34:17,799
Speaker 1: He's the king of no like he.

636
00:34:17,920 --> 00:34:20,160
Speaker 2: Was like but when he listened to what I was saying.

637
00:34:20,160 --> 00:34:23,120
Speaker 2: He was like, look, the meaning behind it is dope.

638
00:34:23,360 --> 00:34:26,080
Speaker 2: He was like, but he was like, from the soul

639
00:34:26,360 --> 00:34:29,879
Speaker 2: it doesn't sound catchy enough, like why don't you stay

640
00:34:29,960 --> 00:34:33,080
Speaker 2: instead of from the say Deyla. And I was like,

641
00:34:33,480 --> 00:34:35,200
Speaker 2: I'm with it. And it was that simple, and that's

642
00:34:35,200 --> 00:34:37,960
Speaker 2: how it became instead of from the soul, day Lah Soul.

643
00:34:49,640 --> 00:34:54,600
Speaker 1: Usually, the last songs worked on albums wind up being

644
00:34:54,719 --> 00:34:57,800
Speaker 1: singles or like a pivotal song. What was the last

645
00:34:57,800 --> 00:34:59,800
Speaker 1: song worked on for three f im Rising?

646
00:35:00,520 --> 00:35:05,359
Speaker 2: The last song was living in a Full Time era

647
00:35:05,920 --> 00:35:09,040
Speaker 2: because we were already And it's crazy that I can't

648
00:35:09,080 --> 00:35:11,680
Speaker 2: even tell you what the last song before that, because

649
00:35:11,719 --> 00:35:14,640
Speaker 2: the only reason why that became the last song is

650
00:35:14,680 --> 00:35:18,320
Speaker 2: that we heard We were very confident in the album.

651
00:35:18,360 --> 00:35:21,319
Speaker 2: We loved the album, We love what we had did

652
00:35:21,320 --> 00:35:23,520
Speaker 2: with this, we love this the work we had produced

653
00:35:24,440 --> 00:35:30,120
Speaker 2: with Paul. But when we heard the Adventures of Slick Rick,

654
00:35:31,000 --> 00:35:34,440
Speaker 2: we were shook. We was like, Yo, how is our

655
00:35:34,520 --> 00:35:36,520
Speaker 2: album going to beat this album? Like it not even

656
00:35:36,560 --> 00:35:39,520
Speaker 2: beat it. We just thought like live up to this.

657
00:35:40,480 --> 00:35:42,520
Speaker 2: So I was like, yo, I think we need something else.

658
00:35:43,360 --> 00:35:46,560
Speaker 2: I just and we love the song Licked the Balls

659
00:35:46,680 --> 00:35:49,200
Speaker 2: by by him on that album. We was like, yo,

660
00:35:49,239 --> 00:35:51,799
Speaker 2: we need something else, and I remember this, kept telling

661
00:35:51,880 --> 00:35:54,960
Speaker 2: Dave like yo, I think I got something. And then

662
00:35:55,520 --> 00:35:58,239
Speaker 2: I went in and put together the samples for Living

663
00:35:58,280 --> 00:36:01,840
Speaker 2: in the Full Time Era. This is a recorder got.

664
00:36:01,800 --> 00:36:05,920
Speaker 1: That last right in light of you guys getting your

665
00:36:06,640 --> 00:36:10,880
Speaker 1: masters back and re releasing all the records again. We

666
00:36:10,920 --> 00:36:15,239
Speaker 1: can hear the adjustments having to be made on three

667
00:36:15,280 --> 00:36:18,080
Speaker 1: feet high and rising for a lot of those songs,

668
00:36:18,160 --> 00:36:21,800
Speaker 1: did you have to use the original reels to mix

669
00:36:21,920 --> 00:36:25,760
Speaker 1: all over again from scratch? Or I'm only asking because

670
00:36:25,800 --> 00:36:30,759
Speaker 1: I think on Oh Freedom of Speak, it sounded way

671
00:36:30,840 --> 00:36:35,280
Speaker 1: clearer and like brighter. So for some of those songs

672
00:36:35,360 --> 00:36:38,600
Speaker 1: you had to get the reels and remix them from scratch.

673
00:36:39,160 --> 00:36:44,040
Speaker 2: We definitely got the reels and we did our best,

674
00:36:44,160 --> 00:36:47,719
Speaker 2: because at first we did have a conversation with ourselves

675
00:36:47,800 --> 00:36:53,200
Speaker 2: as saying like should we like mix them, mix them

676
00:36:53,840 --> 00:36:59,160
Speaker 2: or should we preserve some level of it feeling like

677
00:36:59,280 --> 00:37:02,640
Speaker 2: it did, so we had to talk with ourselves. But yeah,

678
00:37:02,840 --> 00:37:07,759
Speaker 2: basically we definitely tried to clean it up a bit,

679
00:37:08,360 --> 00:37:08,920
Speaker 2: but not.

680
00:37:08,840 --> 00:37:11,320
Speaker 1: Like I think the sample should be louder, and I

681
00:37:11,400 --> 00:37:14,040
Speaker 1: always wanted to fix my last verse in.

682
00:37:15,760 --> 00:37:19,440
Speaker 2: He was like, Yo, we can't start doing that. We

683
00:37:19,480 --> 00:37:23,400
Speaker 2: can't think with our twenty at that time, twenty twenty

684
00:37:23,480 --> 00:37:28,560
Speaker 2: four or twenty twenty three. Mind, we preserve what was

685
00:37:28,600 --> 00:37:30,080
Speaker 2: made in nineteen eighty nine.

686
00:37:30,520 --> 00:37:34,879
Speaker 1: It was really okay. So I want to ask the

687
00:37:35,400 --> 00:37:41,080
Speaker 1: we hate the song question? Now in retrospect, do you

688
00:37:41,280 --> 00:37:44,319
Speaker 1: feel as though you guys, and I say this in

689
00:37:44,360 --> 00:37:53,040
Speaker 1: heavy air quotes, overreacted in rejecting what was clearly working

690
00:37:53,600 --> 00:37:58,640
Speaker 1: for you guys in the late eighties and early nineties, Like, look,

691
00:37:58,920 --> 00:38:02,600
Speaker 1: thirty years for me, the industry since ninety four, you know,

692
00:38:03,000 --> 00:38:08,480
Speaker 1: I wonder if the resistance to mainstream and look, I

693
00:38:08,520 --> 00:38:12,680
Speaker 1: went through twice with music and movies, like the second

694
00:38:12,680 --> 00:38:15,440
Speaker 1: it starts and you're like, ah, it's too much. I

695
00:38:15,480 --> 00:38:19,359
Speaker 1: wonder if the resistance to mainstream success and the kind

696
00:38:19,400 --> 00:38:24,880
Speaker 1: of intense confrontations that arose from it was justified considering

697
00:38:24,960 --> 00:38:31,239
Speaker 1: that you're pretty much entertaining the same demographics to this day,

698
00:38:31,280 --> 00:38:35,720
Speaker 1: are you not? Okay? So how jarring was it? Because

699
00:38:35,840 --> 00:38:38,520
Speaker 1: I do remember a period up and right up until

700
00:38:38,600 --> 00:38:41,960
Speaker 1: nineteen ninety four you guys spoke about it a lot

701
00:38:42,040 --> 00:38:44,880
Speaker 1: on like de la Soula is dead and especially on

702
00:38:44,920 --> 00:38:49,240
Speaker 1: Blue Mind State. I know that Cypress Hill probably felt

703
00:38:49,239 --> 00:38:52,440
Speaker 1: it the worst with like suddenly like the mainstream hip hops,

704
00:38:52,440 --> 00:38:54,719
Speaker 1: like ah man they ca it went pop down, all

705
00:38:54,760 --> 00:38:58,200
Speaker 1: those things. But how jarring did it feel to have

706
00:38:58,400 --> 00:39:01,600
Speaker 1: that massive level of seeing success like at the height

707
00:39:01,640 --> 00:39:04,040
Speaker 1: of daylight madness? What did it feel like?

708
00:39:05,160 --> 00:39:09,279
Speaker 2: The success itself was a blessing because I think you

709
00:39:10,640 --> 00:39:15,760
Speaker 2: your group understands the level of making your bones traveling

710
00:39:15,800 --> 00:39:20,279
Speaker 2: throughout the world. So just even in traveling you saw it.

711
00:39:20,400 --> 00:39:24,920
Speaker 2: You saw people in these different countries who didn't have

712
00:39:24,960 --> 00:39:27,400
Speaker 2: English as the first language, and you had these people

713
00:39:27,400 --> 00:39:30,919
Speaker 2: who actually learn English and learning your music and being

714
00:39:30,920 --> 00:39:34,440
Speaker 2: in love with your music. So we saw how many

715
00:39:34,480 --> 00:39:39,000
Speaker 2: people it did touch. We weren't just stuck, I guess

716
00:39:39,040 --> 00:39:41,240
Speaker 2: for a lack of better way of saying it stuck

717
00:39:41,400 --> 00:39:44,360
Speaker 2: and just living in the States and only understanding what

718
00:39:44,400 --> 00:39:46,640
Speaker 2: happened in the States. So we saw that as a

719
00:39:46,640 --> 00:39:49,720
Speaker 2: blessing of what our music and how we could touch people,

720
00:39:49,719 --> 00:39:54,680
Speaker 2: what our music can do. But still, I guess the

721
00:39:54,800 --> 00:39:58,319
Speaker 2: success of Yo you could be on Yo, you could

722
00:39:58,320 --> 00:40:01,600
Speaker 2: be on top of the pops. You Hey Yo, Bennie Hey,

723
00:40:01,600 --> 00:40:03,759
Speaker 2: Bennie bedeena Hey, it wasn't because we knew Bennie and

724
00:40:03,760 --> 00:40:06,160
Speaker 2: Benny would hang out with Russell, like, Yo, you know,

725
00:40:06,320 --> 00:40:07,960
Speaker 2: maybe you should try out for this TV show that

726
00:40:07,960 --> 00:40:09,600
Speaker 2: I'm trying to put together. Why don't you shoot your

727
00:40:09,600 --> 00:40:12,120
Speaker 2: shot for this thing we got called Fresh Prince of Bellet.

728
00:40:12,160 --> 00:40:13,800
Speaker 2: It was just too much. It was like, yo, we

729
00:40:13,840 --> 00:40:16,240
Speaker 2: don't want to do all that. We want to make music.

730
00:40:16,280 --> 00:40:19,520
Speaker 2: So I think us in our young minds was thinking

731
00:40:19,600 --> 00:40:22,799
Speaker 2: like all that extra stuff was too much as long

732
00:40:22,840 --> 00:40:25,880
Speaker 2: as the success was there with us doing our artistry,

733
00:40:26,520 --> 00:40:28,359
Speaker 2: That's what it was. Even by the time we got

734
00:40:28,360 --> 00:40:30,960
Speaker 2: to like you said, but low mind state and you

735
00:40:31,000 --> 00:40:34,200
Speaker 2: know now it's normal business. But at that time, you know,

736
00:40:34,320 --> 00:40:36,799
Speaker 2: like ahause, so niggas got hold up a sprit can

737
00:40:37,120 --> 00:40:39,600
Speaker 2: and rhyme like it was just like, oh man, you

738
00:40:39,680 --> 00:40:41,560
Speaker 2: selling out, you know what I'm saying, Like that's just

739
00:40:41,600 --> 00:40:45,160
Speaker 2: what it was. Then you didn't understand this branding thing.

740
00:40:45,680 --> 00:40:48,960
Speaker 1: See, I feel like I said yes to everything that

741
00:40:49,000 --> 00:40:53,600
Speaker 1: you guys would have said no to. And even now

742
00:40:53,600 --> 00:40:56,960
Speaker 1: I'm wondering, like did I make the right choice or

743
00:40:57,000 --> 00:40:59,000
Speaker 1: did I not make the right choice? Like you know

744
00:40:59,800 --> 00:41:00,919
Speaker 1: that to be seen.

745
00:41:01,040 --> 00:41:04,000
Speaker 2: But I may say as well because I can be

746
00:41:04,080 --> 00:41:07,759
Speaker 2: honest and looking back in hindsight, we bitch and moan

747
00:41:07,840 --> 00:41:13,319
Speaker 2: about a few things because in the blessings you were receiving, yo, man,

748
00:41:13,440 --> 00:41:16,960
Speaker 2: I mean were just burnt out. We were like everywhere

749
00:41:16,600 --> 00:41:20,440
Speaker 2: we were doing things like this three Fi and Rising

750
00:41:20,480 --> 00:41:24,080
Speaker 2: album has set us on this path where we couldn't

751
00:41:24,160 --> 00:41:27,960
Speaker 2: land at an airport. You do interviews at the airport,

752
00:41:28,040 --> 00:41:30,200
Speaker 2: but then you didn't get into the car, and then

753
00:41:30,360 --> 00:41:33,120
Speaker 2: you're being interviewed by this big magazine that you're gonna

754
00:41:33,120 --> 00:41:36,000
Speaker 2: be on the front cover of from the airport to

755
00:41:36,040 --> 00:41:37,920
Speaker 2: the hotel, and then when you get out at the hotel,

756
00:41:38,200 --> 00:41:40,160
Speaker 2: then you go into this banquet room and you have

757
00:41:40,239 --> 00:41:42,560
Speaker 2: this press conference, then you got to go to soundcheck,

758
00:41:42,600 --> 00:41:44,759
Speaker 2: but do an interview. It was all that we were

759
00:41:44,840 --> 00:41:49,239
Speaker 2: just tired of that shit got very honest. That's just

760
00:41:49,440 --> 00:41:52,000
Speaker 2: really that had a lot to do with it was

761
00:41:52,040 --> 00:41:53,880
Speaker 2: like this, Okay, so this is what you got to

762
00:41:53,920 --> 00:41:56,799
Speaker 2: be to do to be mainstream, Like you know, we

763
00:41:56,920 --> 00:41:59,000
Speaker 2: just want to go into the studio and make records,

764
00:41:59,600 --> 00:42:03,359
Speaker 2: toll whatever else come with that. I think that's really

765
00:42:03,400 --> 00:42:04,960
Speaker 2: where we got burnt out from.

766
00:42:05,960 --> 00:42:11,279
Speaker 1: Okay, where is Jeff And why wasn't Mac Daddy on

767
00:42:11,320 --> 00:42:17,279
Speaker 1: the left or Brainwash follower included on the three feet reissues.

768
00:42:17,960 --> 00:42:22,240
Speaker 2: I think it's just I think us alone a reservoir.

769
00:42:22,239 --> 00:42:23,920
Speaker 2: We just needed to tag out a bit because of

770
00:42:24,000 --> 00:42:26,480
Speaker 2: the fact that there's a lot of samples that weren't

771
00:42:26,520 --> 00:42:29,239
Speaker 2: taken care of and that we took care of. And

772
00:42:29,280 --> 00:42:30,880
Speaker 2: then it's kind of like, okay, and then we're up

773
00:42:30,880 --> 00:42:33,240
Speaker 2: for another round. Okay, so let's look to another round

774
00:42:33,280 --> 00:42:36,279
Speaker 2: of Okay, these songs that were these great songs that

775
00:42:36,320 --> 00:42:39,040
Speaker 2: y'all put together on these twelve inches, let's get to it.

776
00:42:39,080 --> 00:42:41,160
Speaker 2: And I mean we're going to get to it.

777
00:42:41,360 --> 00:42:43,520
Speaker 1: So you guys are fully aware that we're like waiting

778
00:42:43,520 --> 00:42:45,600
Speaker 1: for the rest of the three feet high Okay, Okay,

779
00:42:45,800 --> 00:42:47,800
Speaker 1: just wanted to make sure you knew we were waiting

780
00:42:47,840 --> 00:42:49,600
Speaker 1: for that, not just like they don't care.

781
00:42:50,000 --> 00:42:52,839
Speaker 2: Okay. Jeff is a family guy. He just lives at

782
00:42:52,880 --> 00:42:53,960
Speaker 2: home with his family.

783
00:42:54,800 --> 00:42:57,279
Speaker 1: I mean, what it is Jeff, now, like he's got

784
00:42:57,320 --> 00:42:58,319
Speaker 1: to be in his forties now.

785
00:42:58,280 --> 00:43:02,719
Speaker 2: Right easily, I mean maybe still late thirties. I want

786
00:43:02,719 --> 00:43:03,440
Speaker 2: to say.

787
00:43:03,719 --> 00:43:07,399
Speaker 1: Maybe besides mac Daddy, were there any other songs with him?

788
00:43:07,440 --> 00:43:08,000
Speaker 1: Rhyman on it?

789
00:43:08,120 --> 00:43:13,880
Speaker 2: Yeah, was a part of this crew. Dave was going

790
00:43:13,960 --> 00:43:16,680
Speaker 2: to do Wow and I can't remember the name, which

791
00:43:16,760 --> 00:43:20,520
Speaker 2: is absolutely horrible. They put together a dope ass demo

792
00:43:20,880 --> 00:43:23,440
Speaker 2: and Jeff had changed his name to Philly Black. He

793
00:43:23,600 --> 00:43:26,919
Speaker 2: was in Philly one night drunk too much and blacked out,

794
00:43:27,000 --> 00:43:34,360
Speaker 2: and then his name became Philly. Jeff is Philly Black

795
00:43:34,520 --> 00:43:37,799
Speaker 2: on our Bionics album. We have a song called the

796
00:43:37,920 --> 00:43:41,560
Speaker 2: Sauce and that's what Jeff so, Jeff is Philly Black

797
00:43:41,560 --> 00:43:45,000
Speaker 2: on that album. But I think that, yeah, Jeff Romin's

798
00:43:45,040 --> 00:43:45,960
Speaker 2: ass off on that album.

799
00:43:46,080 --> 00:43:49,319
Speaker 1: I didn't know that was him, Okay, all right, I

800
00:43:49,320 --> 00:43:49,719
Speaker 1: didn't know.

801
00:43:50,320 --> 00:43:53,279
Speaker 2: It's this demo that Dave put together, and I'm gonna

802
00:43:53,320 --> 00:43:55,759
Speaker 2: remember after an interview, which is horrible, like they put

803
00:43:55,760 --> 00:44:00,680
Speaker 2: together this collective. It was Jeff Philly Black, it was Dave,

804
00:44:01,320 --> 00:44:05,279
Speaker 2: and it was Divine who rhymes on pawn Star on

805
00:44:05,360 --> 00:44:09,319
Speaker 2: a Biones album, someone else, and it was just a

806
00:44:09,320 --> 00:44:12,080
Speaker 2: bunch of really really amazing music. But it never and

807
00:44:12,160 --> 00:44:13,560
Speaker 2: then it was supposed to come out funny enough on

808
00:44:13,600 --> 00:44:15,279
Speaker 2: Tommy Boy and it just I don't know what.

809
00:44:15,840 --> 00:44:19,800
Speaker 1: Okay, you guys are the king of the side group stories.

810
00:44:20,080 --> 00:44:23,000
Speaker 1: Literally every time I talk to you, you talk about

811
00:44:23,920 --> 00:44:25,480
Speaker 1: well we had a group with this group and that

812
00:44:25,520 --> 00:44:27,560
Speaker 1: group and that group. Like how many side groups were

813
00:44:27,600 --> 00:44:29,640
Speaker 1: there in the native tongue speare.

814
00:44:31,040 --> 00:44:35,160
Speaker 2: You're talking about the Fabulous Fleas which was me tip

815
00:44:35,680 --> 00:44:43,400
Speaker 2: Juju Africa Kids on ZENI Fave which was Dave Uh,

816
00:44:43,600 --> 00:44:48,440
Speaker 2: Sammy B and Mike G. I think someone else was

817
00:44:48,480 --> 00:44:50,719
Speaker 2: in that with them. We had something that we was

818
00:44:50,760 --> 00:44:52,960
Speaker 2: going to call the Hoods, which was just all of

819
00:44:53,120 --> 00:44:55,040
Speaker 2: everyone in Native but it was going to call it

820
00:44:55,080 --> 00:44:58,239
Speaker 2: the Hoods. Yeah, we were just I mean, we was

821
00:44:58,320 --> 00:45:03,840
Speaker 2: just very very much taken out of the Parliament funker delic.

822
00:45:04,040 --> 00:45:06,560
Speaker 1: Where the Violators ever supposed to be an actual group

823
00:45:06,800 --> 00:45:09,040
Speaker 1: or you just they were just the crew.

824
00:45:09,600 --> 00:45:11,960
Speaker 2: No, that was just the crew. There was just the crew.

825
00:45:12,000 --> 00:45:13,719
Speaker 2: It wasn't really supposed to be not that I know,

826
00:45:14,280 --> 00:45:16,120
Speaker 2: they weren't really supposed to be rhyming.

827
00:45:16,280 --> 00:45:18,000
Speaker 1: I got it, okay, Well, I mean they were just

828
00:45:18,040 --> 00:45:22,480
Speaker 1: always given equal billings. I just never knew. So obviously

829
00:45:22,640 --> 00:45:26,759
Speaker 1: the sound of Daylight changed on the Day Lost Soul's

830
00:45:26,920 --> 00:45:32,200
Speaker 1: Dead album and most notably the musical backdrop. So what

831
00:45:32,239 --> 00:45:36,280
Speaker 1: was what was the difference between the access the access

832
00:45:36,320 --> 00:45:39,560
Speaker 1: to records that you used on three ft hind and Rising,

833
00:45:39,640 --> 00:45:44,480
Speaker 1: compared to the access to records that you got with

834
00:45:44,760 --> 00:45:46,799
Speaker 1: day Lot soul was dead. Like in other words, how

835
00:45:46,800 --> 00:45:49,200
Speaker 1: would the records acquired for three feet High and Rising?

836
00:45:49,200 --> 00:45:51,279
Speaker 1: Whereas I'm certain now that you're touring the world and

837
00:45:51,320 --> 00:45:53,239
Speaker 1: you get to shop, you.

838
00:45:53,200 --> 00:45:58,440
Speaker 2: Know, every record used on three feet was just records

839
00:45:58,480 --> 00:46:02,160
Speaker 2: that were from our parents' collection. So plug tuning, that

840
00:46:02,280 --> 00:46:05,720
Speaker 2: was my fatherst record, Jennifer, that was my fatherst record,

841
00:46:05,840 --> 00:46:10,000
Speaker 2: you know, like whatever I mean. Paul was probably the

842
00:46:10,000 --> 00:46:13,000
Speaker 2: only one at that time already being in stead, but

843
00:46:13,280 --> 00:46:17,160
Speaker 2: he was still using like his own record collection. But

844
00:46:17,200 --> 00:46:19,040
Speaker 2: I think it was still records that he acquired on

845
00:46:19,080 --> 00:46:21,120
Speaker 2: his own, or he may have gotten from his bigger brother,

846
00:46:21,880 --> 00:46:25,000
Speaker 2: his older brother, and maybe some records he may have

847
00:46:26,600 --> 00:46:29,840
Speaker 2: gotten being on the road any But the majority of

848
00:46:29,840 --> 00:46:33,279
Speaker 2: records were just from our home, from myself, Dave and Mays.

849
00:46:33,960 --> 00:46:39,200
Speaker 1: So for the first generation of like cret digging in

850
00:46:39,239 --> 00:46:43,960
Speaker 1: a non bitbot of flashway, how heavy was the environment

851
00:46:44,960 --> 00:46:48,719
Speaker 1: back in the dawn of the nineties, Like for our

852
00:46:48,760 --> 00:46:52,800
Speaker 1: listeners that listening, you know, there was a probably the

853
00:46:53,239 --> 00:46:57,200
Speaker 1: Bible of Breakbeats, which was a compilation called Ultimate Beats

854
00:46:57,200 --> 00:47:00,320
Speaker 1: and Breaks, which every rapper worth their grain of salt.

855
00:47:00,520 --> 00:47:04,000
Speaker 1: Between that classic era of like eighty five to ninety,

856
00:47:04,920 --> 00:47:07,640
Speaker 1: we're pretty much using this. It was like Wikipedia or

857
00:47:07,680 --> 00:47:12,000
Speaker 1: AI for break beats, but it was always the same,

858
00:47:12,360 --> 00:47:16,880
Speaker 1: like sixty songs. And what made Daylight notable was that

859
00:47:16,920 --> 00:47:19,440
Speaker 1: they colored outside the lines, and you know, it was

860
00:47:19,440 --> 00:47:22,520
Speaker 1: a period of like discovery, like oh the parts of

861
00:47:22,520 --> 00:47:25,439
Speaker 1: the record collection that you ignore in your parents' house, Like, oh,

862
00:47:25,560 --> 00:47:28,799
Speaker 1: there's some stuff on there too. But for me, I

863
00:47:28,840 --> 00:47:32,600
Speaker 1: feel like day La Soul Is Dead was the first

864
00:47:32,840 --> 00:47:34,959
Speaker 1: what we call like the digging in the crates era.

865
00:47:35,440 --> 00:47:39,319
Speaker 1: I'll say ninety nine percent of that record was the

866
00:47:39,560 --> 00:47:42,880
Speaker 1: you know, like we didn't know about evil Vibrations sample

867
00:47:43,000 --> 00:47:46,600
Speaker 1: or you know, or even it's Lou Donaldson's version of

868
00:47:46,640 --> 00:47:49,080
Speaker 1: It's Your Thing or any of those things. But then

869
00:47:50,400 --> 00:47:54,200
Speaker 1: there would be some moments where I was wondering, were

870
00:47:54,239 --> 00:47:56,399
Speaker 1: you trying to even back then, I was wondering where

871
00:47:56,400 --> 00:48:00,319
Speaker 1: you're trolling this, like using funky drummer on Uzable on

872
00:48:00,360 --> 00:48:04,000
Speaker 1: the fade out like it worked for me, But then

873
00:48:04,040 --> 00:48:07,400
Speaker 1: I always wonder like, were you guys being sarcastic or

874
00:48:07,560 --> 00:48:10,880
Speaker 1: like by that point everyone played it to the ground

875
00:48:10,920 --> 00:48:12,640
Speaker 1: and yet you used it on the fade out, So

876
00:48:12,640 --> 00:48:16,560
Speaker 1: I always wondered was that by design? And also Afro

877
00:48:16,640 --> 00:48:20,640
Speaker 1: connections at a high five. Nobody in their right mind

878
00:48:21,680 --> 00:48:27,600
Speaker 1: would use mustache era James Brown for anything. And it's

879
00:48:27,640 --> 00:48:32,840
Speaker 1: almost like you guys chose the worst James Brown song ever,

880
00:48:32,920 --> 00:48:36,600
Speaker 1: which is for goodness sakes, take a look at those cakes,

881
00:48:37,120 --> 00:48:42,160
Speaker 1: which no self respecting rapper whatever rhyme over, and yet

882
00:48:42,239 --> 00:48:45,560
Speaker 1: y'all did it. Can you explain the lostic like in

883
00:48:45,600 --> 00:48:48,600
Speaker 1: the way you're smiling, I feel like I just uncover

884
00:48:48,760 --> 00:48:53,760
Speaker 1: some shits correctness, Like why did y'all put funky drummer

885
00:48:53,760 --> 00:48:55,600
Speaker 1: on udles of os when it didn't need it? I

886
00:48:55,640 --> 00:48:57,759
Speaker 1: love the way you used it, but it didn't need it,

887
00:48:58,000 --> 00:48:58,920
Speaker 1: but yet you did it.

888
00:48:59,040 --> 00:49:03,399
Speaker 2: Why? Well, just like how you said that was the

889
00:49:03,440 --> 00:49:07,400
Speaker 2: mantra that Prince Paul made sure we you know, learned

890
00:49:07,400 --> 00:49:10,239
Speaker 2: by which was it really worked? He said, yo, just

891
00:49:10,320 --> 00:49:12,839
Speaker 2: try everything because if it doesn't work, it doesn't work.

892
00:49:13,000 --> 00:49:18,200
Speaker 2: Don't cancel out any idea. So at some point Dave

893
00:49:18,280 --> 00:49:21,320
Speaker 2: has already nailed I mean, that was the first record

894
00:49:21,320 --> 00:49:25,759
Speaker 2: that Dave led in production, was Oodles of Olds, and

895
00:49:25,880 --> 00:49:32,120
Speaker 2: it was just absolutely amazing. But then he was like yo,

896
00:49:32,239 --> 00:49:34,120
Speaker 2: I have these other ideas, like he tried to add

897
00:49:34,160 --> 00:49:36,279
Speaker 2: on and it's not in there. One day I can

898
00:49:36,360 --> 00:49:39,400
Speaker 2: let you hear it, like the beginning of Oodles of Olds.

899
00:49:39,440 --> 00:49:42,680
Speaker 2: He started it all he doing like Frankie Beverly, going,

900
00:49:42,840 --> 00:49:47,319
Speaker 2: I gotta make sure I'm wrong. We was like, why

901
00:49:47,320 --> 00:49:49,160
Speaker 2: would you do that? And he said, yo, I gotta

902
00:49:49,200 --> 00:49:50,640
Speaker 2: try it, and then he tried it, but we was

903
00:49:50,680 --> 00:49:53,160
Speaker 2: like nah. And then I think, I want to say,

904
00:49:53,280 --> 00:49:56,000
Speaker 2: Mace wanted to add in the funky drummers, so maybe

905
00:49:56,000 --> 00:49:58,479
Speaker 2: it could be like if we dropped out the beat

906
00:49:58,480 --> 00:50:01,680
Speaker 2: we already had and that could be in there and

907
00:50:01,719 --> 00:50:04,239
Speaker 2: that mind you. I'm like, that's not gonna work. But

908
00:50:04,280 --> 00:50:06,160
Speaker 2: then we tried it was like, all right, maybe you

909
00:50:06,200 --> 00:50:09,520
Speaker 2: could use it at some point. But then, luckily enough,

910
00:50:09,520 --> 00:50:13,040
Speaker 2: it wounded just being something used at the end, like

911
00:50:13,080 --> 00:50:16,280
Speaker 2: because it was almost more for the because we almost

912
00:50:16,280 --> 00:50:20,600
Speaker 2: wanted to throw on the like that, and so yeah,

913
00:50:20,640 --> 00:50:22,560
Speaker 2: it wound up being something like we had fun, like yo,

914
00:50:22,680 --> 00:50:24,120
Speaker 2: let's just let it ride at the end.

915
00:50:24,920 --> 00:50:26,680
Speaker 1: But I mean, may I thought you were trying to

916
00:50:26,680 --> 00:50:29,920
Speaker 1: make a grand statement, like every time I hear that song,

917
00:50:30,120 --> 00:50:32,360
Speaker 1: the way that my brain was thinking was like, oh, Okay,

918
00:50:32,360 --> 00:50:34,719
Speaker 1: I see what they're doing. They're like sweeping the old

919
00:50:34,760 --> 00:50:38,520
Speaker 1: guys out, like all you old rappers that used funky drummer,

920
00:50:39,280 --> 00:50:42,080
Speaker 1: We're flushing you down the toilet, you know, on the

921
00:50:42,080 --> 00:50:45,319
Speaker 1: fade out. It just made no sense, but I was

922
00:50:45,400 --> 00:50:48,040
Speaker 1: always obsessed with that shit, okay nah.

923
00:50:48,160 --> 00:50:50,839
Speaker 2: And then even when Mace Mace Mace did he put

924
00:50:50,840 --> 00:50:54,280
Speaker 2: together Apple Connections and like I just remember him playing

925
00:50:54,320 --> 00:50:55,879
Speaker 2: that for us, and we was like.

926
00:50:55,840 --> 00:51:00,319
Speaker 3: This is again amazing, Like we was like this is

927
00:51:00,320 --> 00:51:03,440
Speaker 3: the hardest shit ever, and like it almost sounded some

928
00:51:03,440 --> 00:51:05,520
Speaker 3: shit people think Dale I shouldn't be rhyming on it,

929
00:51:05,600 --> 00:51:07,160
Speaker 3: and I was like, that's why we got a rome

930
00:51:07,239 --> 00:51:09,440
Speaker 3: on this, and like Dave amediately was like.

931
00:51:09,440 --> 00:51:12,040
Speaker 2: Yeah, we should do it like on some exploitation ship,

932
00:51:12,200 --> 00:51:15,120
Speaker 2: like I don't know, some like yeah like afrol Connections,

933
00:51:15,160 --> 00:51:17,279
Speaker 2: and I was like yo whatever like anything they would

934
00:51:17,320 --> 00:51:19,919
Speaker 2: say like all right, cool, let's try it. And so yeah, man,

935
00:51:20,080 --> 00:51:21,200
Speaker 2: that was just wow.

936
00:51:21,400 --> 00:51:26,920
Speaker 1: So like Afro Connections was a if we were like

937
00:51:27,120 --> 00:51:29,920
Speaker 1: Heart Street niggas, like this is what we were sounding.

938
00:51:29,640 --> 00:51:32,560
Speaker 2: Like yeah, it almost like y'all, y'all like look.

939
00:51:32,480 --> 00:51:34,600
Speaker 1: In your mind, you thought like n wa wou rhand that.

940
00:51:35,520 --> 00:51:41,560
Speaker 2: Yeah, so it was kind of like definitely like it

941
00:51:41,680 --> 00:51:44,560
Speaker 2: was almost like through this idea that Dave came up with,

942
00:51:45,000 --> 00:51:47,279
Speaker 2: it allowed us to be hard, like, Okay, we can

943
00:51:47,360 --> 00:51:50,000
Speaker 2: like exercise this is what we're doing, you know what

944
00:51:50,040 --> 00:51:53,520
Speaker 2: I'm saying, Like it allowed you to like play this out. Yeah. Man,

945
00:51:53,520 --> 00:51:54,560
Speaker 2: we had a lot of fun making up.

946
00:51:54,600 --> 00:52:01,040
Speaker 1: Okay, So I'm gonna start with yes or no? Will

947
00:52:01,080 --> 00:52:05,600
Speaker 1: you ever tell air quote? That story in the air quote?

948
00:52:06,719 --> 00:52:07,120
Speaker 2: Yeah?

949
00:52:08,320 --> 00:52:15,080
Speaker 1: What a top you know about the the Oodle's Afro story. Yeah,

950
00:52:15,120 --> 00:52:16,960
Speaker 1: I'm telling for the first time ever.

951
00:52:17,520 --> 00:52:19,400
Speaker 2: Yeah, if you talking about what I think you're talking about,

952
00:52:19,719 --> 00:52:23,160
Speaker 2: who's doing that for me? Yeah? I mean should we

953
00:52:23,280 --> 00:52:23,960
Speaker 2: grown now?

954
00:52:24,000 --> 00:52:29,359
Speaker 1: And Kevin Mercer, can you please tell me about the

955
00:52:29,400 --> 00:52:34,239
Speaker 1: story of Afro Connections at a high five? Oh my god,

956
00:52:34,280 --> 00:52:35,840
Speaker 1: I can't believe you're about to tell the story.

957
00:52:36,840 --> 00:52:41,080
Speaker 2: So the beginning of Afro Connections where we say like

958
00:52:41,160 --> 00:52:43,400
Speaker 2: this is dedicated to all those horror core acts you know,

959
00:52:43,440 --> 00:52:46,400
Speaker 2: the dudes is fill the fuck off, right. That was

960
00:52:47,120 --> 00:52:53,360
Speaker 2: us being upset and mad at run DMCs of O's

961
00:52:54,360 --> 00:52:57,720
Speaker 2: at the time when we was doing, you know, working

962
00:52:57,760 --> 00:53:00,680
Speaker 2: on our album Oodles of O's. Actually he was something

963
00:53:00,680 --> 00:53:04,239
Speaker 2: that Dave put together for Run DMC, because we were

964
00:53:04,239 --> 00:53:07,120
Speaker 2: told by you know, we had the same management, and

965
00:53:07,160 --> 00:53:09,799
Speaker 2: we was told about like yo, like Russ, you know,

966
00:53:09,880 --> 00:53:13,439
Speaker 2: we want these guys, they need some music. And Dave

967
00:53:13,560 --> 00:53:16,000
Speaker 2: was honored to try to put something together. And then

968
00:53:16,120 --> 00:53:20,960
Speaker 2: from what we understood, d actually like what Dave had did.

969
00:53:22,320 --> 00:53:25,160
Speaker 2: But I think Run wasn't with it, Like it was

970
00:53:25,200 --> 00:53:27,839
Speaker 2: just kind of like, who is these little niggas trying

971
00:53:27,840 --> 00:53:28,880
Speaker 2: to do something for Run DMC.

972
00:53:29,800 --> 00:53:31,600
Speaker 1: D is going on d is going on the record

973
00:53:31,920 --> 00:53:33,440
Speaker 1: saying how much of a fan.

974
00:53:33,360 --> 00:53:36,080
Speaker 2: He was of you guys, Like, oh, I mean the

975
00:53:36,440 --> 00:53:38,640
Speaker 2: trust me And I'm not even trying to say that

976
00:53:39,080 --> 00:53:40,960
Speaker 2: Run wasn't but Run was just.

977
00:53:41,880 --> 00:53:45,759
Speaker 1: Run back in the nineties. I got this by Run

978
00:53:46,120 --> 00:53:46,839
Speaker 1: go Ahead.

979
00:53:47,000 --> 00:53:49,799
Speaker 2: One would Run and the monument and and now, like

980
00:53:49,840 --> 00:53:52,520
Speaker 2: I'll say, like our first show ever, as I said,

981
00:53:52,520 --> 00:53:55,160
Speaker 2: when we did plug Tune in at the Stetso Sonic Party,

982
00:53:55,719 --> 00:53:59,399
Speaker 2: DMC was in the front row, yes and all we

983
00:53:59,400 --> 00:54:02,040
Speaker 2: was there to do that one song we got off.

984
00:54:02,400 --> 00:54:04,480
Speaker 2: We was like so nervous. After getting off, we went

985
00:54:04,480 --> 00:54:07,000
Speaker 2: in the bathroom to get our composure and we did

986
00:54:07,000 --> 00:54:09,920
Speaker 2: a great job. DMC followed us into the bathrooms, like, Yo,

987
00:54:10,040 --> 00:54:12,120
Speaker 2: get the fuck back on and do it again. That's

988
00:54:12,160 --> 00:54:14,719
Speaker 2: so amazing. It's like he was just always such a

989
00:54:14,800 --> 00:54:17,879
Speaker 2: cheerleader to us, and Jay wants to and like I said,

990
00:54:17,920 --> 00:54:21,440
Speaker 2: anytime we met Ron, he was really dope to us

991
00:54:21,440 --> 00:54:24,000
Speaker 2: as well. But we knew Run was run you know

992
00:54:24,040 --> 00:54:27,319
Speaker 2: what I'm saying at that attitude, like no one is dope.

993
00:54:27,360 --> 00:54:29,799
Speaker 2: It in me in and shit, we looked up to it.

994
00:54:29,880 --> 00:54:32,760
Speaker 2: We wanted to be like running them in our mirrors

995
00:54:32,800 --> 00:54:35,640
Speaker 2: as well. So anyway, I guess when Dave tried to

996
00:54:35,680 --> 00:54:37,600
Speaker 2: give the beat to them, so that was the whole

997
00:54:37,719 --> 00:54:39,440
Speaker 2: focus of us of oo was the way they did

998
00:54:39,440 --> 00:54:41,960
Speaker 2: the udles of oza No. He saw it as like

999
00:54:42,320 --> 00:54:44,920
Speaker 2: how DMC would have to echoed ozia no No da

1000
00:54:45,000 --> 00:54:46,440
Speaker 2: da da da da da da da da da da

1001
00:54:46,520 --> 00:54:48,279
Speaker 2: da da. He was trying to do it on some

1002
00:54:48,360 --> 00:54:51,560
Speaker 2: run DMC shit. They didn't take it because run distant,

1003
00:54:51,760 --> 00:54:54,960
Speaker 2: but like super distant. We wound up putting it on

1004
00:54:55,040 --> 00:54:57,040
Speaker 2: our which I was cool with. I was like, Yo,

1005
00:54:57,080 --> 00:54:58,640
Speaker 2: this shit is dope. Anyway, we can do it for

1006
00:54:58,680 --> 00:55:03,719
Speaker 2: our short but and being mad and cryptic, we did

1007
00:55:03,760 --> 00:55:06,719
Speaker 2: the whole ship connections.

1008
00:55:07,200 --> 00:55:09,240
Speaker 1: Got it okay, they got us.

1009
00:55:09,120 --> 00:55:13,600
Speaker 2: Back because I think they realized it and through Afros

1010
00:55:13,960 --> 00:55:18,680
Speaker 2: they can't. Yeah, because on one of the Afro albums,

1011
00:55:19,280 --> 00:55:22,080
Speaker 2: Jay and them they did it. They did like some

1012
00:55:22,280 --> 00:55:25,680
Speaker 2: skit where I think they use us saying something like

1013
00:55:26,560 --> 00:55:35,400
Speaker 2: something and then they and it's like some guns going off. Yeah. Yeah,

1014
00:55:35,719 --> 00:55:39,279
Speaker 2: we were just young. We loved Run DMC. We were

1015
00:55:39,280 --> 00:55:41,160
Speaker 2: just hurt that they You know, it's one thing to

1016
00:55:41,200 --> 00:55:43,120
Speaker 2: be like you just don't want to use it, right

1017
00:55:44,120 --> 00:55:46,840
Speaker 2: how Run just kind of dissed us about it, And

1018
00:55:46,880 --> 00:55:49,280
Speaker 2: I'm sure you run about it today and Run wouldn't

1019
00:55:49,280 --> 00:55:49,840
Speaker 2: even remember.

1020
00:56:01,600 --> 00:56:03,680
Speaker 1: I don't know how to ask this next question, but

1021
00:56:04,560 --> 00:56:06,480
Speaker 1: one of the recurring themes that I always have on

1022
00:56:06,520 --> 00:56:11,920
Speaker 1: this podcast is that pioneers really just get the glory

1023
00:56:11,920 --> 00:56:14,560
Speaker 1: of saying that they did it first, but it's always

1024
00:56:14,600 --> 00:56:17,719
Speaker 1: the person that comes second that gets the glory from it,

1025
00:56:18,320 --> 00:56:22,239
Speaker 1: and the pioneer never gets the credit. So, I mean,

1026
00:56:22,280 --> 00:56:23,840
Speaker 1: at one point to me, it just felt like a

1027
00:56:23,920 --> 00:56:29,040
Speaker 1: running joke. But when you hear songs like when you

1028
00:56:29,040 --> 00:56:34,560
Speaker 1: hear Dear Mama or Ghetto Red Hot or Mary Jay's

1029
00:56:34,800 --> 00:56:37,080
Speaker 1: Be Happy remix or how I Could Just Kill a

1030
00:56:37,080 --> 00:56:40,640
Speaker 1: Man or a Funky Child or float on what Up

1031
00:56:40,680 --> 00:56:44,200
Speaker 1: Pete or crucial conflicts, Hey in the middle of the

1032
00:56:44,239 --> 00:56:50,359
Speaker 1: barn or Warren G's this DJ or portraits Here we go. Shit, yo,

1033
00:56:50,760 --> 00:56:56,480
Speaker 1: I'll be distortion in a stag by the roots, the youngsters,

1034
00:56:56,520 --> 00:57:01,240
Speaker 1: you know, doing your little ego trip paper ripping verse

1035
00:57:02,120 --> 00:57:05,919
Speaker 1: or even aero codes for Ludacris. I joke, but I'm

1036
00:57:05,920 --> 00:57:09,759
Speaker 1: not joking. I think set a Drift Memory Bliss is

1037
00:57:09,840 --> 00:57:14,520
Speaker 1: the greatest daylight soul song that y'all never made, you

1038
00:57:14,560 --> 00:57:18,080
Speaker 1: know what it wasn't even until maybe two weeks into

1039
00:57:18,080 --> 00:57:20,640
Speaker 1: what they do that someone was like, oh, you guys

1040
00:57:20,680 --> 00:57:23,320
Speaker 1: just in the daylight video and I was like, no,

1041
00:57:23,640 --> 00:57:27,080
Speaker 1: oh god, we did. Like I'm dealing with the biggie

1042
00:57:27,120 --> 00:57:28,640
Speaker 1: part of it, but I didn't even get to the

1043
00:57:29,960 --> 00:57:34,720
Speaker 1: daylight part of it. You guys literally have done things first.

1044
00:57:34,880 --> 00:57:38,080
Speaker 1: It's almost like I listen to y'all to see what's

1045
00:57:38,120 --> 00:57:40,680
Speaker 1: going to be the next big hit. But at one

1046
00:57:40,720 --> 00:57:44,560
Speaker 1: point did it just become like yeah, of course, like

1047
00:57:44,800 --> 00:57:49,840
Speaker 1: to hear all of your ideas and musicality and samples

1048
00:57:50,080 --> 00:57:55,160
Speaker 1: get reused and they become like actual, big, gigantic hits

1049
00:57:55,160 --> 00:57:56,800
Speaker 1: for these artists that do it.

1050
00:57:57,520 --> 00:58:00,880
Speaker 2: I mean basically from Ludacris doing the Era Your Coach record.

1051
00:58:01,200 --> 00:58:04,560
Speaker 2: We never felt like, oh man, he's trying to repurpose

1052
00:58:04,600 --> 00:58:06,840
Speaker 2: our idea and he got to hear from it. We

1053
00:58:07,000 --> 00:58:09,000
Speaker 2: never would look at things like that. We never would

1054
00:58:09,040 --> 00:58:14,680
Speaker 2: look at Mary doing her record and using say the

1055
00:58:14,760 --> 00:58:16,880
Speaker 2: Dollar bill Yard record the way we use it with

1056
00:58:16,920 --> 00:58:21,640
Speaker 2: the backwards eight away going. We we were like homefe

1057
00:58:21,720 --> 00:58:24,880
Speaker 2: because it's no different than how we took different things

1058
00:58:25,320 --> 00:58:28,800
Speaker 2: and used it from people we loved and we respected,

1059
00:58:29,320 --> 00:58:31,800
Speaker 2: and we just felt like, yo, it's a homage to them.

1060
00:58:31,880 --> 00:58:34,680
Speaker 2: So nah man, we never really thought of things like

1061
00:58:34,720 --> 00:58:36,480
Speaker 2: that at all, you know.

1062
00:58:36,600 --> 00:58:40,520
Speaker 1: So one of the the unsung stars or heroes of

1063
00:58:42,120 --> 00:58:45,520
Speaker 1: well we already talked about it was Sean aka I'm

1064
00:58:45,560 --> 00:58:50,960
Speaker 1: and Joy on Biddy's not many. Every time someone's in

1065
00:58:50,960 --> 00:58:53,120
Speaker 1: my car and Biddies comes on, I had to tell

1066
00:58:53,160 --> 00:58:59,240
Speaker 1: them that, uh, Shashawana Marisol like Shashana is is is

1067
00:58:59,280 --> 00:59:02,320
Speaker 1: the girl from l else doing it and she had

1068
00:59:02,360 --> 00:59:04,440
Speaker 1: singles on and all and stuff like how did you

1069
00:59:04,480 --> 00:59:06,560
Speaker 1: guys back when her name was am and Joy, how

1070
00:59:06,560 --> 00:59:09,240
Speaker 1: did you coming across her?

1071
00:59:10,160 --> 00:59:14,640
Speaker 2: I mean, Sean was just around us. She was hanging

1072
00:59:14,680 --> 00:59:17,280
Speaker 2: around us at that point her and Sammy Bee was

1073
00:59:17,320 --> 00:59:21,920
Speaker 2: messing around. I mean, oh okay, So I mean she

1074
00:59:22,080 --> 00:59:24,800
Speaker 2: was just around. She would just be in the studio.

1075
00:59:25,000 --> 00:59:25,440
Speaker 2: So like.

1076
00:59:26,920 --> 00:59:30,320
Speaker 1: Her being an MC EMC or she just had a

1077
00:59:30,360 --> 00:59:31,840
Speaker 1: really good voice in delivery.

1078
00:59:32,400 --> 00:59:36,080
Speaker 2: Nah she was an MC. Okay, she was really.

1079
00:59:35,880 --> 00:59:38,960
Speaker 1: Cause that's also Hermoni's that's her voice where that at

1080
00:59:39,040 --> 00:59:40,960
Speaker 1: that's her right, Okay, okay.

1081
00:59:41,360 --> 00:59:44,960
Speaker 2: She had a great voice. She could ram my ass off.

1082
00:59:45,520 --> 00:59:47,520
Speaker 2: We were already hearing stuff she was doing because she

1083
00:59:47,560 --> 00:59:49,720
Speaker 2: would just being around the studio and letting us hear

1084
00:59:49,800 --> 00:59:52,720
Speaker 2: rhyme's and whatever. So Sean was just in the studio,

1085
00:59:52,840 --> 00:59:55,080
Speaker 2: like just in the studio in Calliope. So once I

1086
00:59:55,120 --> 00:59:57,439
Speaker 2: came up with the idea and being like yo, all right,

1087
00:59:57,800 --> 01:00:01,360
Speaker 2: Dave did his idea of Biddy's his he acted out

1088
01:00:01,400 --> 01:00:04,360
Speaker 2: where him and our friend Wade comes in deal with

1089
01:00:04,400 --> 01:00:06,680
Speaker 2: the people who work behind the counter. I want to

1090
01:00:06,720 --> 01:00:10,280
Speaker 2: have him on an exchange between the girl, but the

1091
01:00:10,360 --> 01:00:13,120
Speaker 2: girl run and I work. You know what I'm saying,

1092
01:00:13,480 --> 01:00:15,760
Speaker 2: I'll be the one working at Berkeley King And so

1093
01:00:15,840 --> 01:00:18,280
Speaker 2: I was like yo. Immediately, I was like yo, Lashawn

1094
01:00:18,320 --> 01:00:21,960
Speaker 2: would kill this. She has the right voice. She can

1095
01:00:22,040 --> 01:00:25,240
Speaker 2: write some shit to roast me. And then when I

1096
01:00:25,280 --> 01:00:28,080
Speaker 2: told her the idea, she was like, I'm in. And

1097
01:00:28,080 --> 01:00:30,400
Speaker 2: when I start hearing a rhymes, I start getting scared.

1098
01:00:30,400 --> 01:00:34,760
Speaker 2: I was like, oh shit, she's gonna kill me. I said, Yo,

1099
01:00:34,760 --> 01:00:36,080
Speaker 2: you all right with this? She's like, yeah, I'm cool

1100
01:00:36,080 --> 01:00:36,280
Speaker 2: with that.

1101
01:00:36,840 --> 01:00:40,760
Speaker 1: How does that work? I never interviewed a rapper MC

1102
01:00:41,080 --> 01:00:44,360
Speaker 1: as far as like, I never understood how group structure work.

1103
01:00:44,440 --> 01:00:48,600
Speaker 1: I've only known solo EMC's here's my sixteen. So how

1104
01:00:48,600 --> 01:00:50,360
Speaker 1: did that back and forth get constructed?

1105
01:00:51,240 --> 01:00:54,600
Speaker 2: That exchange? It had to really be kind of like

1106
01:00:56,000 --> 01:00:59,560
Speaker 2: it couldn't be just me saying, look, lashawan, I rhymed, here,

1107
01:01:00,000 --> 01:01:01,720
Speaker 2: this is space for you. I rhyme here, this is

1108
01:01:01,760 --> 01:01:04,480
Speaker 2: space for you. Listen to everything I said and answer back.

1109
01:01:04,880 --> 01:01:08,440
Speaker 2: It was more like, nah, let me do this first.

1110
01:01:08,840 --> 01:01:11,600
Speaker 2: You started off, you say something, and we talked.

1111
01:01:11,440 --> 01:01:13,480
Speaker 1: About it, and you respond to it right, right.

1112
01:01:13,760 --> 01:01:16,280
Speaker 2: So we talked about how it should go, and then

1113
01:01:16,320 --> 01:01:19,120
Speaker 2: so then she she had her parts and I was like, jo,

1114
01:01:19,240 --> 01:01:21,840
Speaker 2: that's dope, okay, so let me respond to it this way,

1115
01:01:22,120 --> 01:01:24,200
Speaker 2: and then she will now respond to what I say,

1116
01:01:24,280 --> 01:01:26,920
Speaker 2: like or even if she had something she thought was cool,

1117
01:01:27,200 --> 01:01:29,720
Speaker 2: she would change a bar there to make it fit

1118
01:01:29,840 --> 01:01:33,280
Speaker 2: better with how I ended, how I responded. So we

1119
01:01:33,320 --> 01:01:34,360
Speaker 2: was like on the spot.

1120
01:01:34,160 --> 01:01:37,120
Speaker 1: Doing a lot of Yeah, that's that's amazing, man. That

1121
01:01:37,240 --> 01:01:39,840
Speaker 1: was That was such a dope moment. How did Black

1122
01:01:39,880 --> 01:01:43,000
Speaker 1: Sheep get into the native tongue spirit?

1123
01:01:43,680 --> 01:01:46,480
Speaker 2: It was through Mike G whether it was and it

1124
01:01:46,520 --> 01:01:49,080
Speaker 2: was the same with Money and everyone else. There was

1125
01:01:49,200 --> 01:01:54,120
Speaker 2: never no audition, you know, to have someone in someone

1126
01:01:54,280 --> 01:01:57,440
Speaker 2: saying yo, or the court like okay, I'm gonna It

1127
01:01:57,480 --> 01:02:01,360
Speaker 2: was just really like, yo, I think this person could

1128
01:02:01,400 --> 01:02:06,320
Speaker 2: be dope. And it was never really no pushback. So

1129
01:02:06,680 --> 01:02:08,760
Speaker 2: I remember, I remember Mike G coming to the studio.

1130
01:02:08,960 --> 01:02:12,200
Speaker 2: He always called me Noose Yo, Noose Yo. It's these

1131
01:02:12,240 --> 01:02:14,280
Speaker 2: two dudes, man, we've been we've been messing with they

1132
01:02:14,320 --> 01:02:18,520
Speaker 2: called Black Sheep, and he explained who they are and

1133
01:02:18,120 --> 01:02:21,960
Speaker 2: and and I had already saw long before rolled them

1134
01:02:21,960 --> 01:02:24,600
Speaker 2: in red. He's like, yeah, you know, Yo, I'm telling

1135
01:02:24,600 --> 01:02:27,080
Speaker 2: you they're going to be really dope. We're thinking about

1136
01:02:27,120 --> 01:02:29,760
Speaker 2: they could be a really dope fit for natives, like

1137
01:02:29,760 --> 01:02:34,200
Speaker 2: they're they're different. But I was like cool, it was

1138
01:02:34,280 --> 01:02:36,880
Speaker 2: like got it, you know what I'm saying. And I

1139
01:02:36,880 --> 01:02:38,760
Speaker 2: think it was everyone else the same way.

1140
01:02:38,960 --> 01:02:43,480
Speaker 1: Wait, you just said something that just so wait a minute, on, Jenny,

1141
01:02:44,320 --> 01:02:48,920
Speaker 1: you're not talking about rope. Noos is self referential. You

1142
01:02:48,960 --> 01:02:51,920
Speaker 1: mean she said let's try it in the bathroom. But

1143
01:02:52,040 --> 01:02:54,000
Speaker 1: the news was way above the sick you were talking

1144
01:02:54,040 --> 01:03:02,400
Speaker 1: about you as impossible. Oh god, okay, I'm sorry, bro.

1145
01:03:02,480 --> 01:03:05,720
Speaker 1: I thought you was going to the real dark.

1146
01:03:05,840 --> 01:03:12,360
Speaker 2: Yeah, yeah, let's talking about I got news hanging. No.

1147
01:03:12,480 --> 01:03:14,080
Speaker 1: I thought you was some like I was saying, Yo,

1148
01:03:14,080 --> 01:03:17,920
Speaker 1: there's some dark sexual feticism ship going on with Nooses,

1149
01:03:18,000 --> 01:03:21,120
Speaker 1: And I was like, for real, I was like, yo,

1150
01:03:21,240 --> 01:03:22,800
Speaker 1: is he talking about asphyxiation?

1151
01:03:23,240 --> 01:03:23,400
Speaker 2: Oh?

1152
01:03:23,520 --> 01:03:27,840
Speaker 1: Pasta news not me. She was saying, Yo, let's try

1153
01:03:27,880 --> 01:03:30,959
Speaker 1: to the bathroom and hear some rope and let me.

1154
01:03:32,720 --> 01:03:34,160
Speaker 2: In the bathroom of a st No.

1155
01:03:36,040 --> 01:03:42,640
Speaker 1: Oh god, but I'm sorry, man, Okay, why haven't the

1156
01:03:42,760 --> 01:03:48,400
Speaker 1: JB's appeared on three feet or the soul is dead? Besides, like,

1157
01:03:49,280 --> 01:03:52,280
Speaker 1: oh wait a minute, they're on, buddy? What am I saying?

1158
01:03:53,480 --> 01:03:57,600
Speaker 1: Besides the fanatic of the baseball like, yeah, the Jungle

1159
01:03:57,600 --> 01:04:00,360
Speaker 1: Brothers just fade into the background.

1160
01:04:01,280 --> 01:04:04,920
Speaker 2: I mean it was just always about we. I mean,

1161
01:04:05,000 --> 01:04:09,760
Speaker 2: especially by the time we got to Balloon. It was really,

1162
01:04:10,440 --> 01:04:14,640
Speaker 2: really about yo, who is the right instrument vocally for

1163
01:04:14,720 --> 01:04:18,280
Speaker 2: a record? You know, like gotcha? They felt like, Yo, man,

1164
01:04:18,360 --> 01:04:23,040
Speaker 2: I feel like Surety should be on a record, so

1165
01:04:23,160 --> 01:04:25,600
Speaker 2: on the record, say no, like the entire record, like

1166
01:04:25,640 --> 01:04:28,800
Speaker 2: her voice, like if it's just an a like Yo,

1167
01:04:28,880 --> 01:04:31,320
Speaker 2: that's dope cool. So yeah, I mean like it was

1168
01:04:31,360 --> 01:04:34,040
Speaker 2: the same with Jungle if it was just nothing that

1169
01:04:34,080 --> 01:04:38,160
Speaker 2: we were working on that presented itself where yo, let's

1170
01:04:38,320 --> 01:04:41,320
Speaker 2: get them on this. We just didn't do it. The

1171
01:04:41,360 --> 01:04:43,560
Speaker 2: same with Trump, you know, like cause I don't really

1172
01:04:43,560 --> 01:04:47,160
Speaker 2: what tribe ain't on that record. Maybe they're on a remix.

1173
01:04:47,200 --> 01:04:50,160
Speaker 2: While I had when I had q to saying dig

1174
01:04:50,200 --> 01:04:52,720
Speaker 2: the sounds coming fuck plug one on the Break of

1175
01:04:52,800 --> 01:04:57,320
Speaker 2: Dawn remake, it just seemed like Black Sheep just worked out.

1176
01:04:57,360 --> 01:04:59,920
Speaker 2: They was just always around. But mind you the crazy thing,

1177
01:05:00,040 --> 01:05:02,880
Speaker 2: it's like Africa that was in the studio. They would

1178
01:05:02,920 --> 01:05:07,600
Speaker 2: be around every now and then and I'm playing for them,

1179
01:05:07,600 --> 01:05:09,720
Speaker 2: but it just wasn't the right record that.

1180
01:05:09,880 --> 01:05:13,560
Speaker 1: Does the producer of the song for who the sessions

1181
01:05:13,600 --> 01:05:17,320
Speaker 1: for is the person that initiates you should get on this,

1182
01:05:17,640 --> 01:05:22,840
Speaker 1: you should get on this or people have been like, yo,

1183
01:05:22,920 --> 01:05:24,320
Speaker 1: I want to be on this and.

1184
01:05:26,440 --> 01:05:31,160
Speaker 2: That kind of came a little bit later, but definitely

1185
01:05:31,320 --> 01:05:34,440
Speaker 2: was about us saying who should get on something or

1186
01:05:35,320 --> 01:05:38,400
Speaker 2: you know, even Tip like, yo, Merse, I want you

1187
01:05:38,440 --> 01:05:42,880
Speaker 2: to try something on this this scenario record. And I'm like,

1188
01:05:43,640 --> 01:05:46,600
Speaker 2: after I hadn't heard it already put together, and I'm like, wow,

1189
01:05:46,720 --> 01:05:50,560
Speaker 2: really like this shit is done. It's like it is

1190
01:05:50,600 --> 01:05:52,360
Speaker 2: what it is. And then he wanted me. He tried

1191
01:05:52,400 --> 01:05:55,720
Speaker 2: me on something else that he wanted me and Lord

1192
01:05:55,800 --> 01:06:00,680
Speaker 2: Finess on called bus how you buss? How you bus? How?

1193
01:06:00,720 --> 01:06:02,600
Speaker 2: I ain't trying to hear that? So I think it's

1194
01:06:02,640 --> 01:06:04,919
Speaker 2: called I ain't trying to hear that, and I was like, cool,

1195
01:06:05,000 --> 01:06:06,800
Speaker 2: let me let me try something to that. So it

1196
01:06:06,880 --> 01:06:09,880
Speaker 2: was just really that. But yeah, we would get to

1197
01:06:09,920 --> 01:06:12,280
Speaker 2: a point where like in each other sessions and hearing

1198
01:06:12,320 --> 01:06:16,640
Speaker 2: stuff like because when Tip did mister Mohammed Africa was

1199
01:06:16,680 --> 01:06:19,360
Speaker 2: really making him uncomfortable because He's like, Yo, this should

1200
01:06:19,360 --> 01:06:22,000
Speaker 2: be the this should be like the native record, this

1201
01:06:22,000 --> 01:06:23,840
Speaker 2: should be like we and this is this idea we

1202
01:06:23,880 --> 01:06:27,640
Speaker 2: had called the Hoods should this record? And Tip was like, nah,

1203
01:06:27,760 --> 01:06:30,760
Speaker 2: like I want this to be for Ali, I want

1204
01:06:30,760 --> 01:06:33,120
Speaker 2: this to be called mister Muhammad, gotcha?

1205
01:06:33,720 --> 01:06:37,240
Speaker 1: Yeah, like you know, I see all right. So look

1206
01:06:37,520 --> 01:06:43,080
Speaker 1: how challenging was it to craft the final verse of

1207
01:06:43,160 --> 01:06:46,120
Speaker 1: Millie Pulled a Pistol on Santa, because the way that

1208
01:06:46,160 --> 01:06:51,720
Speaker 1: you navigate such a heavy fiend song, which you know,

1209
01:06:52,240 --> 01:06:55,360
Speaker 1: is about a daughter defending herself against an abusive father,

1210
01:06:57,280 --> 01:07:00,520
Speaker 1: and you still have to maintain suspense. You have to

1211
01:07:00,960 --> 01:07:05,600
Speaker 1: bring empathy to the situation. And for me, that versus

1212
01:07:06,040 --> 01:07:10,080
Speaker 1: remarkable because this was done in a time in which

1213
01:07:10,200 --> 01:07:15,760
Speaker 1: rappers really weren't granting like women agency, like each line,

1214
01:07:16,000 --> 01:07:18,640
Speaker 1: the way each line was crafted, and the thing is

1215
01:07:18,720 --> 01:07:20,640
Speaker 1: one you're saying it in a rhythmic way in which

1216
01:07:20,640 --> 01:07:21,600
Speaker 1: the words have to fit.

1217
01:07:22,480 --> 01:07:22,840
Speaker 2: Yeah.

1218
01:07:23,200 --> 01:07:25,680
Speaker 1: To me, the most crucial line of that is your

1219
01:07:25,720 --> 01:07:29,440
Speaker 1: last three lines, which is, you know, Dylan pleaded versity.

1220
01:07:29,440 --> 01:07:31,000
Speaker 1: He said it to me to do all the things

1221
01:07:31,000 --> 01:07:33,160
Speaker 1: that her mind to couldn't do nothing but cling to,

1222
01:07:33,640 --> 01:07:39,160
Speaker 1: which is such a word salad. But that also that

1223
01:07:39,280 --> 01:07:41,480
Speaker 1: line gives you empathy for her in a way where

1224
01:07:41,480 --> 01:07:44,080
Speaker 1: it's just not like it could have easily been like yo,

1225
01:07:44,120 --> 01:07:45,720
Speaker 1: I know this girl around the way and then she

1226
01:07:45,760 --> 01:07:48,000
Speaker 1: shot him dead. You know, it could have been like

1227
01:07:48,280 --> 01:07:50,840
Speaker 1: fast pegged by Llo cool J. You know what I

1228
01:07:50,840 --> 01:07:55,480
Speaker 1: mean she shot him at the head. That's the breaks light.

1229
01:07:55,600 --> 01:08:03,040
Speaker 1: Next song, dude, I'm saying fast Pegged by Elo cool

1230
01:08:03,080 --> 01:08:06,840
Speaker 1: J was like a minute nineteen seconds pretty much could

1231
01:08:06,840 --> 01:08:10,120
Speaker 1: have been the same narrative, but it wound up just

1232
01:08:10,160 --> 01:08:13,959
Speaker 1: being more like an intense sketch. But to me, that's

1233
01:08:14,000 --> 01:08:15,920
Speaker 1: what I think about when I think about the beauty

1234
01:08:15,920 --> 01:08:19,240
Speaker 1: of hip hop storytelling. You have a very short period

1235
01:08:19,520 --> 01:08:21,599
Speaker 1: to paint this picture of the song to make it work.

1236
01:08:21,920 --> 01:08:23,360
Speaker 1: What was the genesis of that song?

1237
01:08:24,120 --> 01:08:28,000
Speaker 2: Well, it's like you said, the title was gained from

1238
01:08:28,160 --> 01:08:32,439
Speaker 2: us going into the city. Saw this homeless guy. He

1239
01:08:32,520 --> 01:08:37,080
Speaker 2: had a dirty Santa Claus outfit on him in the

1240
01:08:37,080 --> 01:08:40,280
Speaker 2: subway station. First words that came to my mind was

1241
01:08:40,400 --> 01:08:43,000
Speaker 2: merely pulled a pistol on Sanda. I don't know why,

1242
01:08:43,120 --> 01:08:45,840
Speaker 2: but it did, and he was walking next to me.

1243
01:08:45,920 --> 01:08:48,320
Speaker 2: I was like, yo, man, that'd be a dope title.

1244
01:08:48,320 --> 01:08:50,479
Speaker 2: Because at that point we were just into this writing

1245
01:08:50,560 --> 01:08:55,160
Speaker 2: even down titles and then matching the right lyrics or

1246
01:08:55,360 --> 01:08:58,400
Speaker 2: story to the title. So I immediately pulled out the

1247
01:08:58,400 --> 01:09:02,559
Speaker 2: little padda head in my pocket wrote title down. Paul

1248
01:09:03,040 --> 01:09:07,120
Speaker 2: several weeks later, gave us this tape Casette tape up

1249
01:09:07,120 --> 01:09:11,120
Speaker 2: this different beats he's working on for us. I heard

1250
01:09:11,439 --> 01:09:14,120
Speaker 2: the music I'll stay by. What was that funkadelic?

1251
01:09:14,960 --> 01:09:15,439
Speaker 1: Yeah?

1252
01:09:15,600 --> 01:09:19,360
Speaker 2: I was like, Dave, this is merely pulled the pistol

1253
01:09:19,360 --> 01:09:24,679
Speaker 2: on Sanda. Just how weeping this this sounds? This is it?

1254
01:09:25,000 --> 01:09:28,960
Speaker 2: He was like, got you? Then I married it to

1255
01:09:29,560 --> 01:09:32,160
Speaker 2: someone I was very close to was being blested by

1256
01:09:32,160 --> 01:09:36,080
Speaker 2: our father and real time got everything and then start

1257
01:09:36,160 --> 01:09:39,760
Speaker 2: crafting everything from there. So I mean the story was

1258
01:09:39,840 --> 01:09:42,600
Speaker 2: literally happening to someone that was very close to me

1259
01:09:43,439 --> 01:09:46,080
Speaker 2: in real time. This is how I felt about how

1260
01:09:46,120 --> 01:09:50,960
Speaker 2: fucked up father and I was writing on this. So yeah,

1261
01:09:51,000 --> 01:09:53,960
Speaker 2: it was like and I you know, and as you

1262
01:09:54,520 --> 01:09:58,799
Speaker 2: eloquently explain in terms of how a writer is supposed

1263
01:09:58,800 --> 01:10:00,760
Speaker 2: to put the suspense and lay, I didn't have any

1264
01:10:00,800 --> 01:10:03,360
Speaker 2: idea about that outside of loving to read and whatever.

1265
01:10:03,439 --> 01:10:05,160
Speaker 2: I just thought like, Okay, this is how I got

1266
01:10:05,200 --> 01:10:09,920
Speaker 2: to write this story. And Dave loved what I was

1267
01:10:09,960 --> 01:10:13,360
Speaker 2: doing so much. He was like, Mrce, write the whole thing.

1268
01:10:13,800 --> 01:10:15,960
Speaker 2: He was like, because what you showed me that for

1269
01:10:16,040 --> 01:10:19,040
Speaker 2: your first verse. He was just being honest. He's like,

1270
01:10:19,080 --> 01:10:22,080
Speaker 2: I don't know how I would pick it up just

1271
01:10:22,200 --> 01:10:26,280
Speaker 2: for it to be just solid. You write the entire

1272
01:10:26,320 --> 01:10:29,719
Speaker 2: thing and assigned to me what you want me to say. Cool,

1273
01:10:30,520 --> 01:10:32,719
Speaker 2: And so that's what I did. I just kept going,

1274
01:10:32,800 --> 01:10:36,680
Speaker 2: kept going. But I knew I wanted it to end abruptly,

1275
01:10:37,000 --> 01:10:41,040
Speaker 2: like how a shot will abruptly in your life. But

1276
01:10:41,200 --> 01:10:44,080
Speaker 2: I had to fill in from the beginning to end.

1277
01:10:44,080 --> 01:10:46,320
Speaker 2: And like you said, it was a challenge to make

1278
01:10:46,360 --> 01:10:48,719
Speaker 2: sure that once I was staying in this rhyme style,

1279
01:10:48,920 --> 01:10:52,200
Speaker 2: this cadence, my thoughts of how I wanted it to go,

1280
01:10:53,080 --> 01:10:56,280
Speaker 2: I had to find the right words for the cadence.

1281
01:10:56,400 --> 01:10:59,040
Speaker 1: Dude, I have so many great ideas for shit, but

1282
01:10:59,160 --> 01:11:01,720
Speaker 1: I just because my word salad brain, I don't know

1283
01:11:01,760 --> 01:11:05,360
Speaker 1: how to sustinctly Treak's the original AI like he knows

1284
01:11:05,360 --> 01:11:08,440
Speaker 1: how to widdle words down to make it fit rhythmically,

1285
01:11:08,439 --> 01:11:10,120
Speaker 1: you know, And I just never know too.

1286
01:11:10,200 --> 01:11:13,080
Speaker 2: Like it's funny, I know, I want to say, y'all

1287
01:11:13,080 --> 01:11:15,360
Speaker 2: did it like y'all did the song over and I

1288
01:11:15,439 --> 01:11:17,679
Speaker 2: got I remember when it got to this one part

1289
01:11:17,720 --> 01:11:21,320
Speaker 2: where I I never fixed it because when I say

1290
01:11:21,400 --> 01:11:26,799
Speaker 2: like complete, it was probably like complete when with an accent,

1291
01:11:27,800 --> 01:11:30,360
Speaker 2: but I say it so weird complete with ad accent.

1292
01:11:30,960 --> 01:11:33,800
Speaker 2: It almost like it sounds like I'm saying complete with

1293
01:11:34,080 --> 01:11:40,280
Speaker 2: ad accent, and I'm really saying and an accent. But

1294
01:11:40,400 --> 01:11:44,360
Speaker 2: I had to do it in the style okay, you know,

1295
01:11:44,520 --> 01:11:46,280
Speaker 2: I know, like people was like, what the hell is

1296
01:11:46,320 --> 01:11:46,759
Speaker 2: he saying?

1297
01:11:48,240 --> 01:11:49,719
Speaker 1: What is the Renee King story?

1298
01:11:50,600 --> 01:11:56,600
Speaker 2: Renee King? She and I mean, bless her heart. I

1299
01:11:56,600 --> 01:11:59,799
Speaker 2: couldn't tell you exactly what she did in the music industry,

1300
01:11:59,840 --> 01:12:02,400
Speaker 2: but we knew her from like if we were at

1301
01:12:02,479 --> 01:12:06,680
Speaker 2: like a seminar, she would be there doing whatever. She

1302
01:12:06,720 --> 01:12:09,320
Speaker 2: would you know, a music seminar, she was there, or

1303
01:12:09,360 --> 01:12:12,599
Speaker 2: we would come to Philly at whatever show she was there.

1304
01:12:12,640 --> 01:12:15,960
Speaker 2: So we knew she was a part of the industry, right.

1305
01:12:16,000 --> 01:12:21,120
Speaker 2: But you know she, I mean this point blank, seemed

1306
01:12:21,120 --> 01:12:27,400
Speaker 2: like a really nice but little eccentric woman. Yeah, she

1307
01:12:27,600 --> 01:12:31,960
Speaker 2: was trying to holler word. So I was just trying

1308
01:12:32,000 --> 01:12:37,160
Speaker 2: to like, yeah, you know, I'm young, like eighteen nineteen,

1309
01:12:37,240 --> 01:12:39,519
Speaker 2: and she seemed like she was probably like in her thirties.

1310
01:12:39,600 --> 01:12:43,839
Speaker 2: I was like, nah, I think so sound sock.

1311
01:12:45,479 --> 01:12:45,720
Speaker 1: She was.

1312
01:12:45,920 --> 01:12:48,000
Speaker 2: She was definitely an older woman, you know what I

1313
01:12:48,680 --> 01:12:51,360
Speaker 2: can hear. So I was just like, nah, I don't

1314
01:12:51,479 --> 01:12:54,240
Speaker 2: necessarily want to do that. Some other things in Philly

1315
01:12:54,240 --> 01:13:00,000
Speaker 2: I'm looking at right right, well my, but she was

1316
01:13:00,000 --> 01:13:02,479
Speaker 2: it's really cool, really nice. But yeah, I mean I

1317
01:13:02,560 --> 01:13:06,719
Speaker 2: just thought like in her saying what she said on

1318
01:13:07,240 --> 01:13:09,040
Speaker 2: her thing to me, like if she's trying to get

1319
01:13:09,040 --> 01:13:11,479
Speaker 2: at me and it's for the music business, because it's

1320
01:13:11,520 --> 01:13:13,280
Speaker 2: kind of like I think she got to feel like,

1321
01:13:13,360 --> 01:13:15,639
Speaker 2: I think she's trying to holla and I'm gonna use

1322
01:13:15,640 --> 01:13:17,160
Speaker 2: this for ringing ring I'm gonna get you with this,

1323
01:13:17,240 --> 01:13:18,519
Speaker 2: And that's why I put it in front.

1324
01:13:18,560 --> 01:13:20,360
Speaker 1: And she was swine with you guys putting her phone

1325
01:13:20,400 --> 01:13:21,479
Speaker 1: number and loved it.

1326
01:13:21,520 --> 01:13:25,240
Speaker 2: She kept the same phone number everything. I remember, she

1327
01:13:25,280 --> 01:13:39,120
Speaker 2: did an interview and she loved it. She loved it.

1328
01:13:39,280 --> 01:13:43,240
Speaker 1: By ninety one, were you guys already over the the

1329
01:13:43,360 --> 01:13:46,759
Speaker 1: idea of day La soul, the idea of native tongues

1330
01:13:46,840 --> 01:13:49,240
Speaker 1: like whereas like you guys are apposed to be like

1331
01:13:49,439 --> 01:13:53,320
Speaker 1: sixteen kids hanging out in boho clothing and head wraps

1332
01:13:53,360 --> 01:13:57,839
Speaker 1: and incense and whatever. Were you tired of the idea

1333
01:13:57,840 --> 01:14:00,920
Speaker 1: of the boholdness of what we thought as your fan

1334
01:14:01,000 --> 01:14:02,560
Speaker 1: base thought native tongues.

1335
01:14:02,320 --> 01:14:08,160
Speaker 2: Was well, we as Dayla could have felt that a bit,

1336
01:14:08,320 --> 01:14:12,320
Speaker 2: because if you realize that's why we ditched everything from

1337
01:14:12,400 --> 01:14:15,240
Speaker 2: three feet That's what Dayla So Dead was all about,

1338
01:14:15,320 --> 01:14:18,600
Speaker 2: Like ditching this outer shell that everyone's paying attention to,

1339
01:14:19,040 --> 01:14:22,360
Speaker 2: so let alone with the outer shell of natives the

1340
01:14:22,360 --> 01:14:26,320
Speaker 2: same way. And Q Tip Ali and all them, they

1341
01:14:26,360 --> 01:14:28,559
Speaker 2: was especially five. They was all doing the same thing,

1342
01:14:28,640 --> 01:14:31,720
Speaker 2: like all right, okay, I had enough of looking like

1343
01:14:31,760 --> 01:14:34,519
Speaker 2: this on this cover, Like I'm putting on this baseball

1344
01:14:34,520 --> 01:14:36,240
Speaker 2: hat because this is what I really wear when I'm

1345
01:14:36,240 --> 01:14:41,240
Speaker 2: in sint obits or you know what I'm saying. So yeah,

1346
01:14:41,360 --> 01:14:44,680
Speaker 2: I mean, I'm sure like it was. It just kind

1347
01:14:44,720 --> 01:14:47,760
Speaker 2: of like became more of like, yo, we got these

1348
01:14:47,760 --> 01:14:51,240
Speaker 2: dope ass rhymes, we got these banging ass beats, and

1349
01:14:51,320 --> 01:14:54,320
Speaker 2: they're super creative. It was almost like that was more

1350
01:14:54,320 --> 01:14:57,360
Speaker 2: of a mantra like gotchak with us when it really

1351
01:14:57,400 --> 01:15:00,720
Speaker 2: comes to that, you know, being super creat and we

1352
01:15:00,800 --> 01:15:03,240
Speaker 2: can rhyme. We didn't want people to just focus on

1353
01:15:03,600 --> 01:15:04,840
Speaker 2: the imagery.

1354
01:15:05,000 --> 01:15:09,479
Speaker 1: Normally, you know when you guys rhyme, I still feel

1355
01:15:09,479 --> 01:15:11,280
Speaker 1: like I know what you're saying because I can pick

1356
01:15:11,360 --> 01:15:16,920
Speaker 1: up like every seventh word. But within focus, I understood

1357
01:15:17,200 --> 01:15:22,800
Speaker 1: absolutely everything you spoke of, even to the Funkadelic knee

1358
01:15:22,840 --> 01:15:26,519
Speaker 1: deep reference of you know, of me myself and I

1359
01:15:26,680 --> 01:15:30,479
Speaker 1: sort of being in the sunset and now this is

1360
01:15:30,479 --> 01:15:34,320
Speaker 1: where my life is. So can you explain just the

1361
01:15:34,360 --> 01:15:37,640
Speaker 1: whole idea of in Focus, Like, was there really a

1362
01:15:37,680 --> 01:15:40,400
Speaker 1: period where it just felt like the plane was landing

1363
01:15:40,439 --> 01:15:44,360
Speaker 1: and now the dream was over and now And I'm

1364
01:15:44,400 --> 01:15:48,240
Speaker 1: not saying that it's a cynical album, because the thing

1365
01:15:48,360 --> 01:15:51,639
Speaker 1: is is that I think maybe this year and listening

1366
01:15:51,680 --> 01:15:56,040
Speaker 1: to like the reissue, the woman I never said was like, oh,

1367
01:15:56,720 --> 01:15:59,040
Speaker 1: you know, as much as I talk about three feet

1368
01:15:59,040 --> 01:16:01,960
Speaker 1: and Da La Soul's like, really the album that gave

1369
01:16:02,000 --> 01:16:05,759
Speaker 1: birth to the roots was Blue Mind State, simply because

1370
01:16:05,760 --> 01:16:08,639
Speaker 1: of the musical directions that you guys took. But how

1371
01:16:08,760 --> 01:16:12,240
Speaker 1: jarring did that feeling like when I heard him focus?

1372
01:16:12,320 --> 01:16:16,599
Speaker 1: That that actually made me depressed, Which it's an upbeat song, well,

1373
01:16:16,640 --> 01:16:18,720
Speaker 1: not an upbeat song. It still sounds like a hip

1374
01:16:18,760 --> 01:16:22,280
Speaker 1: hop John, But that was the first time where I

1375
01:16:22,360 --> 01:16:26,000
Speaker 1: was like, oh, all might not be well in you know,

1376
01:16:26,080 --> 01:16:29,439
Speaker 1: Amityville Land or wherever I thought the idea of day

1377
01:16:29,479 --> 01:16:33,000
Speaker 1: La Soul being like, talk about just the creation of

1378
01:16:33,080 --> 01:16:35,880
Speaker 1: in Focus and the cynicism behind it.

1379
01:16:36,560 --> 01:16:40,559
Speaker 2: With my brain at this point, I don't recall who

1380
01:16:41,120 --> 01:16:44,960
Speaker 2: came up within focus, It sounds like something Dave would do.

1381
01:16:45,800 --> 01:16:50,640
Speaker 2: I came up with the music, okay, but yeah, I

1382
01:16:50,640 --> 01:16:57,360
Speaker 2: mean in focus as a theme. Definitely Dave, and definitely

1383
01:16:57,520 --> 01:17:01,240
Speaker 2: Dave was at that point because even we had the

1384
01:17:01,320 --> 01:17:03,840
Speaker 2: running joke even at that point, like the Way's Dave,

1385
01:17:04,000 --> 01:17:06,640
Speaker 2: He's somewhere in Haiti in a tree, Like Dave was

1386
01:17:06,680 --> 01:17:12,240
Speaker 2: already this ruined with the fame, the fame aspect of

1387
01:17:12,320 --> 01:17:15,040
Speaker 2: it and just what it took to keep it going,

1388
01:17:15,400 --> 01:17:16,240
Speaker 2: like you know.

1389
01:17:16,280 --> 01:17:18,120
Speaker 1: Let's this, is this why he cut his hair? Is

1390
01:17:18,120 --> 01:17:19,559
Speaker 1: this why he like.

1391
01:17:19,600 --> 01:17:24,400
Speaker 2: Just trying different things and and crazy enough? Before Dave

1392
01:17:24,479 --> 01:17:28,639
Speaker 2: passed several interviews we were doing leading up to the catalog,

1393
01:17:29,080 --> 01:17:31,400
Speaker 2: he really talked in depth about it, which was this

1394
01:17:31,600 --> 01:17:33,920
Speaker 2: very eye opening for me because I didn't know he

1395
01:17:34,000 --> 01:17:37,519
Speaker 2: was feeling like that for that album. Like Dave was

1396
01:17:37,560 --> 01:17:40,200
Speaker 2: just revealing that he was just really not in a

1397
01:17:40,240 --> 01:17:45,760
Speaker 2: great place with himself and understanding himself and where he

1398
01:17:45,920 --> 01:17:48,519
Speaker 2: was going and how he should be evolving as a

1399
01:17:48,640 --> 01:17:52,920
Speaker 2: father as all these things during Balloon Mind State, So

1400
01:17:53,120 --> 01:17:56,559
Speaker 2: Dave really was. It's almost like he made it sound

1401
01:17:56,640 --> 01:17:58,960
Speaker 2: like and in hindsight, looking back, I can get I

1402
01:17:59,040 --> 01:18:01,519
Speaker 2: get it. Like he was almost like an airplane mode,

1403
01:18:01,880 --> 01:18:04,640
Speaker 2: like he was just like, Okay, you know, I'm going

1404
01:18:04,720 --> 01:18:07,720
Speaker 2: to listen to the mantra of Paul that if this

1405
01:18:07,760 --> 01:18:10,840
Speaker 2: is what pas thinks is dope to try or pass

1406
01:18:10,920 --> 01:18:14,280
Speaker 2: want to do this thing called Patty Duke pasta yo

1407
01:18:14,360 --> 01:18:16,320
Speaker 2: merse you right rhyme because I don't think I can

1408
01:18:16,360 --> 01:18:18,080
Speaker 2: really nail it. But that was his way just saying

1409
01:18:18,120 --> 01:18:21,680
Speaker 2: he didn't really like it, and and that's why I'm

1410
01:18:21,680 --> 01:18:23,280
Speaker 2: not to skip out of your question. But then that's

1411
01:18:23,360 --> 01:18:26,320
Speaker 2: why when he checked back in for Stakes is High,

1412
01:18:26,400 --> 01:18:29,559
Speaker 2: he came back with a vengeance. So yeah, during that

1413
01:18:29,680 --> 01:18:33,200
Speaker 2: period and focus is definitely Dave like he's tired of

1414
01:18:33,280 --> 01:18:35,800
Speaker 2: this shit, like he's tired of this light being on him.

1415
01:18:36,000 --> 01:18:37,840
Speaker 2: If I want to do some dirt, niggas looking, if

1416
01:18:37,840 --> 01:18:39,840
Speaker 2: I want to chill, niggas looking I just want to

1417
01:18:39,880 --> 01:18:42,800
Speaker 2: rest with my daughter, niggas looking like That's that really

1418
01:18:42,880 --> 01:18:44,600
Speaker 2: I felt like that's what they felt.

1419
01:18:44,880 --> 01:18:50,520
Speaker 1: How did you guys discover shot Dara Shadara part and

1420
01:18:50,800 --> 01:18:57,000
Speaker 1: uh Tagaji Khan, the two Japanese MC's on Long Island wilding.

1421
01:18:57,640 --> 01:19:05,160
Speaker 2: Well, it started from Khan was down with already down

1422
01:19:05,200 --> 01:19:08,800
Speaker 2: with Red Alert, like so the prop Master stuff. We

1423
01:19:08,840 --> 01:19:11,840
Speaker 2: almost found out about Khan through Red Alert before we

1424
01:19:11,880 --> 01:19:13,960
Speaker 2: even went to Japan. And so by the time we

1425
01:19:14,040 --> 01:19:16,519
Speaker 2: lived in Japan and this meet con, he introduced us

1426
01:19:16,560 --> 01:19:20,000
Speaker 2: to his home boys SDP, and then we were actually

1427
01:19:20,320 --> 01:19:23,200
Speaker 2: on shows together and so we were just really cool.

1428
01:19:23,240 --> 01:19:25,639
Speaker 2: They really pretty much in all what we was doing

1429
01:19:25,680 --> 01:19:27,800
Speaker 2: and loved what we were doing, and we actually was

1430
01:19:27,920 --> 01:19:29,599
Speaker 2: felt the same about them, Like we was like, yo,

1431
01:19:29,640 --> 01:19:32,439
Speaker 2: these these three dudes is like to us, they they

1432
01:19:32,479 --> 01:19:35,559
Speaker 2: felt like the Japanese beastie boys, like they were just

1433
01:19:35,680 --> 01:19:41,160
Speaker 2: really creative, and we just saw a similar kinship musically,

1434
01:19:41,520 --> 01:19:44,720
Speaker 2: where like the barrier of not understanding them and them

1435
01:19:44,720 --> 01:19:48,280
Speaker 2: not understanding us probably every word, but we felt a

1436
01:19:48,320 --> 01:19:51,160
Speaker 2: connection to the music. So we was like when we

1437
01:19:51,240 --> 01:19:54,240
Speaker 2: came up with that skit Long Island Wildin and it

1438
01:19:54,280 --> 01:19:58,120
Speaker 2: only came from I had this The beat was just

1439
01:19:58,200 --> 01:20:03,320
Speaker 2: the beat, but I had this take of Mantronics performing

1440
01:20:03,360 --> 01:20:08,000
Speaker 2: at the Red Patron m and Tricky T who rhymed

1441
01:20:08,000 --> 01:20:10,240
Speaker 2: of course in Mantronics. He was just like, you know, yeah,

1442
01:20:10,240 --> 01:20:11,920
Speaker 2: you know what I'm and I'm out in Long Island

1443
01:20:11,960 --> 01:20:13,880
Speaker 2: right now, Locus Long Island be wilding like that's but

1444
01:20:13,880 --> 01:20:15,880
Speaker 2: that's where I'm staying at Long And I was like, Yo,

1445
01:20:15,920 --> 01:20:18,840
Speaker 2: it would be dope to put this in this beat,

1446
01:20:19,120 --> 01:20:22,640
Speaker 2: and then of course us just take it just elsewhere.

1447
01:20:22,680 --> 01:20:24,920
Speaker 2: It was like, and we don't even rhyme on Let's

1448
01:20:24,960 --> 01:20:27,080
Speaker 2: let SDP and con rhyme on this shit because they

1449
01:20:27,080 --> 01:20:30,679
Speaker 2: ain't from Long Island. They're from Japan, right right, Since

1450
01:20:32,400 --> 01:20:34,280
Speaker 2: we thought that would be like, wow, all right, let's

1451
01:20:34,320 --> 01:20:35,360
Speaker 2: do that, and then that's what we did.

1452
01:20:36,439 --> 01:20:40,240
Speaker 1: I see on I Am I Be? How many side

1453
01:20:40,360 --> 01:20:43,160
Speaker 1: characters did you guys get to loop? And did they

1454
01:20:43,160 --> 01:20:46,160
Speaker 1: have to loop the entire five minute duration of that

1455
01:20:46,240 --> 01:20:49,840
Speaker 1: song of whatever they were the I Am da da

1456
01:20:49,920 --> 01:20:51,880
Speaker 1: da I'd be four eleven I Am da da da?

1457
01:20:52,000 --> 01:20:54,160
Speaker 1: I bet did they do that in the entire.

1458
01:20:55,160 --> 01:21:00,200
Speaker 2: All those vocals mainly consisted of stuff I will walk

1459
01:21:00,200 --> 01:21:01,920
Speaker 2: around my dad and just get people to say it.

1460
01:21:02,040 --> 01:21:04,960
Speaker 2: So at that point, I was we were hanging out

1461
01:21:04,960 --> 01:21:07,960
Speaker 2: a lot at Delaware State. Our friend Wade, who's boss

1462
01:21:08,000 --> 01:21:14,360
Speaker 2: all who Dave is he's on the ad libs And David, Yeah,

1463
01:21:14,400 --> 01:21:16,960
Speaker 2: he went to Dell State, so we also hang out there,

1464
01:21:17,000 --> 01:21:19,320
Speaker 2: and so all the friends we made there, I had

1465
01:21:19,400 --> 01:21:20,840
Speaker 2: him like, Yo, I'm making a song call and my

1466
01:21:20,920 --> 01:21:22,479
Speaker 2: be and need to just say I am your name,

1467
01:21:23,000 --> 01:21:26,120
Speaker 2: I be whatever, and then I will get them. But then,

1468
01:21:26,160 --> 01:21:28,640
Speaker 2: of course Shorty, who was already at this point going

1469
01:21:28,720 --> 01:21:31,960
Speaker 2: to be on the entire album we wanted. We wanted Shorty.

1470
01:21:32,520 --> 01:21:35,040
Speaker 2: I was like, this as long as you can possibly

1471
01:21:35,040 --> 01:21:37,679
Speaker 2: say it. And then of course, like people like Buster

1472
01:21:37,880 --> 01:21:41,599
Speaker 2: and Q Tip and we recorded them right in battery

1473
01:21:42,080 --> 01:21:45,400
Speaker 2: and God blessed the dead. Crazy enough Bob of course

1474
01:21:45,439 --> 01:21:48,639
Speaker 2: helped us put all that together. And this is before

1475
01:21:48,680 --> 01:21:51,040
Speaker 2: the simple age of what we have now, like you

1476
01:21:51,120 --> 01:21:54,800
Speaker 2: make a voice note, you slip place. It wasn't just

1477
01:21:54,840 --> 01:21:58,880
Speaker 2: as simple. It was like really kind of already figuring out, Okay, Bob,

1478
01:21:58,880 --> 01:22:01,080
Speaker 2: I want this to go first. I want to hear

1479
01:22:01,120 --> 01:22:03,920
Speaker 2: this say this person, but I wanted to kind of

1480
01:22:03,960 --> 01:22:06,920
Speaker 2: start building up and he's like and so he technically

1481
01:22:06,960 --> 01:22:09,400
Speaker 2: is trying to figure out how to do that. And

1482
01:22:09,439 --> 01:22:11,400
Speaker 2: then also I could change I can be like because

1483
01:22:11,439 --> 01:22:14,320
Speaker 2: when Tip says I am cute to I'd be friction.

1484
01:22:14,479 --> 01:22:17,479
Speaker 2: I was like, Yo, that's amazing, let's put Tip this move.

1485
01:22:17,520 --> 01:22:21,760
Speaker 2: Whoever was in the way put Tip saying that. So

1486
01:22:22,000 --> 01:22:26,080
Speaker 2: it was tedious, like probably doing the rhymes to that

1487
01:22:26,280 --> 01:22:31,240
Speaker 2: was easier than putting all those vocals, and that took.

1488
01:22:31,680 --> 01:22:34,360
Speaker 1: I almost wondered if well, I was wondering, did you

1489
01:22:34,600 --> 01:22:38,599
Speaker 1: leave gaps in the rhyme just to have the ad

1490
01:22:38,640 --> 01:22:40,280
Speaker 1: libs coming now?

1491
01:22:40,400 --> 01:22:42,200
Speaker 2: No, we just figured out, like, you know what this

1492
01:22:42,240 --> 01:22:45,160
Speaker 2: feels good? I knew okay, like right where I in

1493
01:22:45,280 --> 01:22:48,280
Speaker 2: my rhyme. I wanted someone to say something. I figured, okay,

1494
01:22:48,320 --> 01:22:50,920
Speaker 2: I got one left over from Chris Lighty Baby, Chris

1495
01:22:50,960 --> 01:22:54,559
Speaker 2: you say this like, yeah, man, it was just trying

1496
01:22:54,600 --> 01:22:56,280
Speaker 2: to fill it up as much as possible.

1497
01:22:56,920 --> 01:22:57,280
Speaker 1: Got it.

1498
01:22:57,800 --> 01:22:58,120
Speaker 2: Uh?

1499
01:22:58,439 --> 01:23:00,960
Speaker 1: Did JVS ever respond to your verse? And I M

1500
01:23:01,000 --> 01:23:01,840
Speaker 1: I B no.

1501
01:23:02,000 --> 01:23:04,040
Speaker 2: I played it for them before the song, before the

1502
01:23:04,080 --> 01:23:06,400
Speaker 2: album came out. I went to them and played it.

1503
01:23:07,320 --> 01:23:09,680
Speaker 2: I sat. I remember, I was in a car with

1504
01:23:09,800 --> 01:23:11,720
Speaker 2: Long and them. I was like, yo, I'm putting a

1505
01:23:12,479 --> 01:23:15,400
Speaker 2: I played it for them. I played it for Q Tip,

1506
01:23:15,439 --> 01:23:17,599
Speaker 2: I played it for I played it for them. It

1507
01:23:17,640 --> 01:23:19,479
Speaker 2: wasn't like they heard it for the first time when

1508
01:23:19,520 --> 01:23:23,519
Speaker 2: it was you know, and it was me because our

1509
01:23:23,600 --> 01:23:29,320
Speaker 2: relationship wasn't a weird space. We were always refining fame

1510
01:23:30,640 --> 01:23:37,080
Speaker 2: and I kind of really took it to heart because

1511
01:23:37,560 --> 01:23:40,160
Speaker 2: I looked at them as my two brothers, you know,

1512
01:23:40,280 --> 01:23:43,679
Speaker 2: like I was hanging with those two dudes q Tip

1513
01:23:43,720 --> 01:23:46,640
Speaker 2: in Africa at one point more than I was hanging with,

1514
01:23:47,760 --> 01:23:52,040
Speaker 2: you know, Dave and Mace, so I own, and we

1515
01:23:52,040 --> 01:23:56,000
Speaker 2: weren't doing daylight stuff. I was at Africa's house, in

1516
01:23:56,000 --> 01:23:58,439
Speaker 2: his house, staying at his house, his mother's cooking for

1517
01:23:58,640 --> 01:24:00,760
Speaker 2: so I would be at Tips house and we were

1518
01:24:00,920 --> 01:24:04,240
Speaker 2: like together. So it seemed like we was falling apart

1519
01:24:04,360 --> 01:24:08,640
Speaker 2: from each other. And that was just me being in

1520
01:24:08,760 --> 01:24:12,519
Speaker 2: my feelings and wrote that where in hindsight it was

1521
01:24:12,600 --> 01:24:14,320
Speaker 2: just really should have been more of a talk with

1522
01:24:14,400 --> 01:24:16,559
Speaker 2: each other about what was going on with each other.

1523
01:24:17,080 --> 01:24:19,840
Speaker 2: But I went to them in hopes of showing them

1524
01:24:19,880 --> 01:24:23,880
Speaker 2: this in my way of just trying to fix our

1525
01:24:24,000 --> 01:24:27,040
Speaker 2: relationship where it seemed like we weren't all hanging with

1526
01:24:27,080 --> 01:24:29,599
Speaker 2: each other, got it, you know, and Tipp and spoke

1527
01:24:29,640 --> 01:24:31,960
Speaker 2: about it like he understood it then. But it just

1528
01:24:32,000 --> 01:24:34,320
Speaker 2: that once that it came out, it was just kind

1529
01:24:34,320 --> 01:24:36,719
Speaker 2: of like a bandit that's kept getting ripped and ripped

1530
01:24:36,760 --> 01:24:40,320
Speaker 2: and ripped. And I think like it caused some animosity

1531
01:24:40,400 --> 01:24:43,879
Speaker 2: maybe at some point, and whoever else.

1532
01:24:44,400 --> 01:24:49,040
Speaker 1: All right, Stakes's eye the intro who just happened to

1533
01:24:49,080 --> 01:24:53,439
Speaker 1: be battling another MC when they hear criminal Minded for

1534
01:24:53,439 --> 01:24:56,639
Speaker 1: the first time, I'd never ever believe that line as

1535
01:24:56,680 --> 01:25:01,080
Speaker 1: long as I like Most battling another see that had

1536
01:25:01,120 --> 01:25:01,639
Speaker 1: to be Moose.

1537
01:25:05,600 --> 01:25:11,160
Speaker 2: Oh I love that boy man. Most y'all seen Bay Wow. Yeah,

1538
01:25:11,840 --> 01:25:15,000
Speaker 2: I will say it forever and ever. He was the

1539
01:25:15,040 --> 01:25:18,799
Speaker 2: battery of all those sessions. Most once he came around.

1540
01:25:18,800 --> 01:25:22,720
Speaker 2: He was there every day and he was like the cheerleader,

1541
01:25:22,960 --> 01:25:25,440
Speaker 2: the battery, the inspiration.

1542
01:25:26,040 --> 01:25:28,000
Speaker 1: How did you guys meet him? Because I met him

1543
01:25:28,040 --> 01:25:31,120
Speaker 1: through I think I've met him for the first time

1544
01:25:31,200 --> 01:25:35,840
Speaker 1: that whatever the Daylight live at tramps. Yeah, how did

1545
01:25:35,840 --> 01:25:38,040
Speaker 1: you guys meet most Room Mace?

1546
01:25:39,200 --> 01:25:44,960
Speaker 2: Mace was DJing at some spot and most actually was

1547
01:25:45,200 --> 01:25:48,479
Speaker 2: the particular spot it was. Most was like doing some

1548
01:25:48,520 --> 01:25:51,599
Speaker 2: type of poetry hosting there, and I think from there

1549
01:25:51,600 --> 01:25:55,559
Speaker 2: it's how they linked. And Mace every now and then

1550
01:25:55,600 --> 01:25:59,599
Speaker 2: would be like, Yo, this kid, you know, he's dope,

1551
01:25:59,640 --> 01:26:02,960
Speaker 2: and I was like, you know, cool, you know, come

1552
01:26:03,000 --> 01:26:05,400
Speaker 2: by the studio one day, mind you, I'm already seeing

1553
01:26:05,439 --> 01:26:10,360
Speaker 2: this Dante Smith Guy Cosby's mysteries. I didn't know that,

1554
01:26:11,000 --> 01:26:13,719
Speaker 2: but yeah, I mean once Mace brought most through, told

1555
01:26:13,720 --> 01:26:17,160
Speaker 2: have most come through? He was like there every day.

1556
01:26:17,960 --> 01:26:22,200
Speaker 1: Okay, when you get to Stakes reissues, can you please

1557
01:26:22,240 --> 01:26:29,519
Speaker 1: include the original Dave intro where he's we're jumpling and

1558
01:26:29,520 --> 01:26:32,800
Speaker 1: and oh the very the intro song, the intro.

1559
01:26:33,280 --> 01:26:35,639
Speaker 2: Yeah, because it's the anniversary coming up in a few

1560
01:26:35,680 --> 01:26:37,680
Speaker 2: months and we're dealing with right now what we're going

1561
01:26:37,720 --> 01:26:38,280
Speaker 2: to put on it.

1562
01:26:38,840 --> 01:26:43,439
Speaker 1: Oh please, Like, I don't know why y'all edited that,

1563
01:26:43,640 --> 01:26:45,639
Speaker 1: but for me, just too long.

1564
01:26:45,720 --> 01:26:46,360
Speaker 2: It's just too long.

1565
01:26:46,479 --> 01:26:50,040
Speaker 1: That's no, it was. It was genius because you you're

1566
01:26:50,080 --> 01:26:52,280
Speaker 1: literally inside the head of Davids. He's trying to figure

1567
01:26:52,280 --> 01:26:55,320
Speaker 1: out the right cadence. But I don't know. I always

1568
01:26:55,320 --> 01:26:58,559
Speaker 1: thought that was that was brilliant. By that point, ninety

1569
01:26:58,600 --> 01:27:01,679
Speaker 1: six was upon us. We were getting the two. Critics

1570
01:27:01,720 --> 01:27:07,400
Speaker 1: started sort of labeled the perspective as somewhat elitist or

1571
01:27:08,120 --> 01:27:10,439
Speaker 1: they invented a new term called player hating or whatever.

1572
01:27:11,080 --> 01:27:15,280
Speaker 1: But when you compare it to what we're dealing with

1573
01:27:15,360 --> 01:27:19,720
Speaker 1: now looking back, do you find it surprising how hip

1574
01:27:19,760 --> 01:27:25,719
Speaker 1: hop has evolved or devolved? And is it shocking? What's

1575
01:27:25,720 --> 01:27:29,479
Speaker 1: your feelings on the whole Stakes as ye kind of.

1576
01:27:31,680 --> 01:27:34,880
Speaker 2: For the most part of me. I'm a positive dude,

1577
01:27:35,640 --> 01:27:37,720
Speaker 2: believe it or not, because I know a lot of

1578
01:27:37,760 --> 01:27:39,559
Speaker 2: times when I look at sometimes I'll say to this

1579
01:27:39,600 --> 01:27:41,920
Speaker 2: to myself. When I write, I can write things out

1580
01:27:41,920 --> 01:27:44,240
Speaker 2: of like a warning, lady light be careful, y'all, this

1581
01:27:44,320 --> 01:27:48,920
Speaker 2: is about to happen. But I do feel that even now,

1582
01:27:50,320 --> 01:27:53,880
Speaker 2: there's amazing music out It's just the problem is you

1583
01:27:53,960 --> 01:27:56,439
Speaker 2: just gotta find it. It's not easy to find. And

1584
01:27:56,479 --> 01:28:01,400
Speaker 2: I think with our minds, you know, someone to be like,

1585
01:28:01,479 --> 01:28:03,040
Speaker 2: you know what, I only know how to look on

1586
01:28:03,040 --> 01:28:05,040
Speaker 2: this particular site of post to go to that site,

1587
01:28:05,080 --> 01:28:07,600
Speaker 2: and that site is its own world. And so I

1588
01:28:07,600 --> 01:28:10,439
Speaker 2: think it's harder to find stuff. And so when you

1589
01:28:10,479 --> 01:28:13,840
Speaker 2: talk about at one point when mainstream music could have

1590
01:28:13,880 --> 01:28:17,240
Speaker 2: more positivity, you know, like the carrist One with the

1591
01:28:17,360 --> 01:28:21,120
Speaker 2: super great hit, but he's carrist One or Tribe got

1592
01:28:21,160 --> 01:28:24,320
Speaker 2: this beautiful, amazing record in their pott Yeah, I mean

1593
01:28:24,439 --> 01:28:27,760
Speaker 2: that's a little hard to come by these days. And

1594
01:28:28,200 --> 01:28:32,280
Speaker 2: you know, stakes is high. Originally for me was about life.

1595
01:28:33,120 --> 01:28:37,640
Speaker 2: So even Dave was like always really a little bit

1596
01:28:37,640 --> 01:28:41,440
Speaker 2: more about the industry, Like, yo, this industry is some bullshitting.

1597
01:28:42,280 --> 01:28:44,280
Speaker 2: I don't know where we stand in the industry, and

1598
01:28:45,120 --> 01:28:47,559
Speaker 2: I was like, you know, I was reading a lot

1599
01:28:47,600 --> 01:28:51,559
Speaker 2: of quite honestly, like you know, like a heap arigin

1600
01:28:51,600 --> 01:28:54,400
Speaker 2: wite books and different types of I don't know where

1601
01:28:54,439 --> 01:28:56,160
Speaker 2: life is at, Like life is a little crazy.

1602
01:28:56,200 --> 01:28:58,519
Speaker 1: So I think you about to go to Penn station

1603
01:28:58,640 --> 01:28:59,080
Speaker 1: with the crate.

1604
01:28:59,760 --> 01:29:03,879
Speaker 2: Yeah, at y'all, I was. I used to get my books.

1605
01:29:04,000 --> 01:29:06,120
Speaker 2: I used to get I was, you know, I was

1606
01:29:06,160 --> 01:29:08,559
Speaker 2: really deep. I was really deep, you know, honestly I was.

1607
01:29:08,640 --> 01:29:11,400
Speaker 2: I was a part of the new Wappian nation. My

1608
01:29:11,479 --> 01:29:14,880
Speaker 2: name was Fox Korder, I knew Doctor York. I would

1609
01:29:14,960 --> 01:29:17,280
Speaker 2: go down to the land. Yeah, if you look at

1610
01:29:17,280 --> 01:29:20,519
Speaker 2: Break of Dawn on Balloon Mind stay times, like even

1611
01:29:20,520 --> 01:29:22,320
Speaker 2: the video Breaker Down, I got the patches on on

1612
01:29:22,360 --> 01:29:24,720
Speaker 2: my shirt, so I was. I was heavily and.

1613
01:29:25,000 --> 01:29:32,639
Speaker 1: I missed that he the next Lifetime video with Erica too.

1614
01:29:32,760 --> 01:29:33,599
Speaker 1: Then I know it.

1615
01:29:36,320 --> 01:29:39,640
Speaker 2: So I mean like, yeah, I mean I was just

1616
01:29:39,680 --> 01:29:43,160
Speaker 2: really on some like yeah, life is life, and as

1617
01:29:43,200 --> 01:29:45,760
Speaker 2: they would stay these days, and we really need to

1618
01:29:45,800 --> 01:29:48,920
Speaker 2: look at what we're doing, and we meant it in

1619
01:29:48,960 --> 01:29:51,439
Speaker 2: a really good way. We didn't we know, we didn't

1620
01:29:51,479 --> 01:29:54,840
Speaker 2: want it to turn around and say anything mean And

1621
01:29:54,880 --> 01:29:57,280
Speaker 2: then get into some issue with someone, but we was

1622
01:29:57,320 --> 01:29:59,120
Speaker 2: willing to if it had to be, because we just

1623
01:29:59,200 --> 01:30:01,760
Speaker 2: really was saying it love. And as you said, when

1624
01:30:01,760 --> 01:30:03,800
Speaker 2: you look at where a lot of music is today,

1625
01:30:03,840 --> 01:30:06,599
Speaker 2: and funny enough, a lot of MC's back then who

1626
01:30:06,680 --> 01:30:10,320
Speaker 2: felt differently, they feel the same now and they'll come

1627
01:30:10,360 --> 01:30:11,880
Speaker 2: to us and be like yo, like kind of like

1628
01:30:11,960 --> 01:30:12,599
Speaker 2: you was right.

1629
01:30:13,200 --> 01:30:16,520
Speaker 1: Why did you guys waste that NonStop beat?

1630
01:30:16,760 --> 01:30:17,080
Speaker 2: Hey?

1631
01:30:17,320 --> 01:30:20,600
Speaker 1: That shit could have went far for y'all. And I

1632
01:30:20,600 --> 01:30:24,840
Speaker 1: get angry every time it comes up, and I'm always like,

1633
01:30:25,080 --> 01:30:29,080
Speaker 1: I know there's a corresponding song that goes with that thing,

1634
01:30:29,240 --> 01:30:31,400
Speaker 1: because it was just.

1635
01:30:31,360 --> 01:30:34,519
Speaker 2: A banging ass beat Dave made and he wanted to

1636
01:30:34,640 --> 01:30:38,240
Speaker 2: use it to talk over ain't crazy enough, no man,

1637
01:30:38,320 --> 01:30:40,800
Speaker 2: which is the beauty of it all. Like I didn't

1638
01:30:40,800 --> 01:30:43,439
Speaker 2: give him any I didn't really beat him in ahead

1639
01:30:43,439 --> 01:30:49,320
Speaker 2: about it. I didn't even be like yo, like, uh, yeah,

1640
01:30:49,320 --> 01:30:51,479
Speaker 2: I didn't. I didn't look at it like yo, we

1641
01:30:51,520 --> 01:30:54,080
Speaker 2: should rhyme on this. Nah. It was just like, oh,

1642
01:30:54,240 --> 01:30:56,120
Speaker 2: this is dope, and now you want to do this

1643
01:30:56,160 --> 01:31:00,519
Speaker 2: over and fade up and fade down. You know. Really

1644
01:31:00,640 --> 01:31:02,479
Speaker 2: it really was like that. I mean, there's a lot

1645
01:31:02,479 --> 01:31:04,280
Speaker 2: of songs like that. I mean, you know, it's so easy.

1646
01:31:04,280 --> 01:31:07,160
Speaker 2: It was like that. I didn't That's why Dave, that's

1647
01:31:07,200 --> 01:31:08,880
Speaker 2: why I became his soule thing. I didn't see it.

1648
01:31:08,880 --> 01:31:09,840
Speaker 2: That's something to rhyme over.

1649
01:31:11,720 --> 01:31:14,240
Speaker 1: Were you supposed to have a verse on it's so easy?

1650
01:31:14,479 --> 01:31:17,559
Speaker 2: No, because originally it's so easy. I made that for

1651
01:31:17,640 --> 01:31:22,960
Speaker 2: Naughty by Nature. That was for them. Oh shit, yeah there,

1652
01:31:23,080 --> 01:31:26,080
Speaker 2: because when we were finishing up stakes as high, that

1653
01:31:26,160 --> 01:31:29,559
Speaker 2: could have worked well, we were finishing up stakes as high.

1654
01:31:30,240 --> 01:31:33,160
Speaker 2: Audie Lacatus, who was working on Tommy Boy, was like, look, man,

1655
01:31:33,240 --> 01:31:36,840
Speaker 2: we're working you know, Naughty just got started on their album,

1656
01:31:36,880 --> 01:31:41,040
Speaker 2: but we've already identified a few songs that could be singles,

1657
01:31:41,040 --> 01:31:42,800
Speaker 2: and we want to get ahead of the game and

1658
01:31:42,840 --> 01:31:45,479
Speaker 2: get remixes going. I was like, Yo, that's so smart

1659
01:31:45,479 --> 01:31:48,599
Speaker 2: of y'all. That's wow. That's a great idea. And when

1660
01:31:48,640 --> 01:31:52,040
Speaker 2: they played for me, feel Me Flawed, Feel Me Flaw

1661
01:31:53,000 --> 01:32:00,519
Speaker 2: B So that was for that. Yeah. I put that together.

1662
01:32:00,680 --> 01:32:04,840
Speaker 2: But when in doing it, I was like, after hearing it,

1663
01:32:04,920 --> 01:32:10,160
Speaker 2: I matched trench vocals and to it, I was like, Nah,

1664
01:32:10,240 --> 01:32:13,920
Speaker 2: this ain't gonna work because their version was so already

1665
01:32:14,160 --> 01:32:18,400
Speaker 2: clean and crispy, and just like so dope. I just

1666
01:32:18,400 --> 01:32:21,559
Speaker 2: felt like as a remix it was a step below

1667
01:32:21,600 --> 01:32:23,920
Speaker 2: it and how the music felt, it almost felt like

1668
01:32:24,640 --> 01:32:27,760
Speaker 2: what I made could have been the original. And then

1669
01:32:28,120 --> 01:32:32,320
Speaker 2: you go at that time, you know what I'm saying,

1670
01:32:32,920 --> 01:32:36,040
Speaker 2: I felt like this ain't a good remix, and I

1671
01:32:36,040 --> 01:32:38,439
Speaker 2: got to maybe try to find something else, and then

1672
01:32:38,479 --> 01:32:41,120
Speaker 2: from there it would have just went in a pile

1673
01:32:41,120 --> 01:32:43,960
Speaker 2: of jump. I just from that point I liked what

1674
01:32:44,120 --> 01:32:46,840
Speaker 2: I did, and then I was like yo, yo, Me

1675
01:32:46,880 --> 01:32:49,479
Speaker 2: and Renee from Jeanne. We were hanging around each other

1676
01:32:49,560 --> 01:32:53,760
Speaker 2: a lot at that point because album, we just kind

1677
01:32:53,760 --> 01:32:55,559
Speaker 2: of would just be around each other all the time.

1678
01:32:55,600 --> 01:32:57,519
Speaker 2: I was like, you know what, maybe I'm gonna see

1679
01:32:57,520 --> 01:32:59,519
Speaker 2: if Rene want to use it for something for Jehane.

1680
01:33:00,160 --> 01:33:03,200
Speaker 2: Dave just happened to call me checking in and I

1681
01:33:03,240 --> 01:33:06,000
Speaker 2: was like, yeah, man, I just tried something for this,

1682
01:33:06,120 --> 01:33:09,040
Speaker 2: not anything. It ain't h it didn't work. He said, yo,

1683
01:33:09,120 --> 01:33:10,559
Speaker 2: let me hear it, and I let him hear it,

1684
01:33:10,600 --> 01:33:12,680
Speaker 2: and he just pretty much hit me, but like you

1685
01:33:12,760 --> 01:33:15,519
Speaker 2: big dum, he are you crazy? This is fucking amazing

1686
01:33:16,120 --> 01:33:19,200
Speaker 2: what you we should do this? And I was like, really,

1687
01:33:20,320 --> 01:33:23,000
Speaker 2: I didn't hear it. I didn't hear at all. I mean,

1688
01:33:23,080 --> 01:33:25,759
Speaker 2: mind you, even even at that point, I was already

1689
01:33:25,760 --> 01:33:30,719
Speaker 2: doing something with Most and his crew Madina green Ild

1690
01:33:31,160 --> 01:33:32,400
Speaker 2: even could have been like I could have gave it

1691
01:33:32,439 --> 01:33:36,519
Speaker 2: to them, and Dave was like fuck that. He's a

1692
01:33:36,560 --> 01:33:38,840
Speaker 2: matter of fact, merse, I don't even have a solo

1693
01:33:38,920 --> 01:33:43,680
Speaker 2: joint for this. That's my solo joint, all right. I

1694
01:33:43,680 --> 01:33:46,080
Speaker 2: couldn't hear myself on it. I didn't hear myself. When

1695
01:33:46,080 --> 01:33:48,000
Speaker 2: he was like, we should do it, I was like, really,

1696
01:33:48,800 --> 01:33:49,599
Speaker 2: I didn't even hear it.

1697
01:33:50,600 --> 01:33:53,639
Speaker 1: Okay, So Commons code sign was very crucial for his

1698
01:33:53,680 --> 01:33:58,120
Speaker 1: career development. What was about him that told you guys like,

1699
01:33:59,560 --> 01:34:02,880
Speaker 1: let's him raise him? Because him being on that made

1700
01:34:02,880 --> 01:34:06,439
Speaker 1: me go back to RESI like, make me go to Resurrection, Like, okay,

1701
01:34:06,520 --> 01:34:08,479
Speaker 1: let me if day all I take some serious, let

1702
01:34:08,479 --> 01:34:12,840
Speaker 1: me take but seriously, the line that racknophobia line on

1703
01:34:12,920 --> 01:34:16,400
Speaker 1: take it easy. I put him in time out for

1704
01:34:16,439 --> 01:34:20,559
Speaker 1: like three years. So no, dude, Common, help me buy

1705
01:34:20,560 --> 01:34:23,040
Speaker 1: my mom's first GRIBs. So you guys co signing that

1706
01:34:23,760 --> 01:34:26,400
Speaker 1: affects my life. So what was it about Common that

1707
01:34:27,080 --> 01:34:27,360
Speaker 1: you know.

1708
01:34:27,920 --> 01:34:31,280
Speaker 2: We had met? Okay? Obviously, as you said, you know

1709
01:34:31,320 --> 01:34:35,240
Speaker 2: from the first album. His first album saw him cool.

1710
01:34:36,400 --> 01:34:38,960
Speaker 2: We meet him even from that point. A few times

1711
01:34:39,000 --> 01:34:40,760
Speaker 2: we would run into him, Like I say, at that

1712
01:34:41,040 --> 01:34:44,080
Speaker 2: Howard University they would have like a rap conference, so

1713
01:34:44,120 --> 01:34:47,200
Speaker 2: we were running to comment there whatever. Mace was the

1714
01:34:47,240 --> 01:34:50,800
Speaker 2: one who kept saying, y'all, we need to put comment

1715
01:34:50,840 --> 01:34:53,960
Speaker 2: on this album. And we would be like, all right,

1716
01:34:54,600 --> 01:34:57,280
Speaker 2: you know, if we find something, but it wasn't really

1717
01:34:57,320 --> 01:35:01,479
Speaker 2: anything that was sparking me about it. Mace just kept saying, like, Yo,

1718
01:35:01,640 --> 01:35:06,439
Speaker 2: man Common should be on his album. I at some

1719
01:35:06,600 --> 01:35:11,120
Speaker 2: point got an early copy of Resurrection the album, and

1720
01:35:11,240 --> 01:35:16,720
Speaker 2: when I got to Communism, I was like, I called

1721
01:35:16,800 --> 01:35:19,160
Speaker 2: Mace's like, Yo, yeah, this nigga need to be on

1722
01:35:19,160 --> 01:35:22,320
Speaker 2: an album. And he had that kind of he had

1723
01:35:22,320 --> 01:35:24,680
Speaker 2: that tone like all right, nigga, what convinced you? I

1724
01:35:24,720 --> 01:35:28,679
Speaker 2: was like, Yo, I'm listening to this nigga's new album. Yeah, yeah,

1725
01:35:28,680 --> 01:35:30,800
Speaker 2: all right, he needs to be on an album. Dave

1726
01:35:31,280 --> 01:35:34,000
Speaker 2: at the same time, was trying to give Bizz. David

1727
01:35:34,040 --> 01:35:35,719
Speaker 2: was trying to do a bunch of shit for Biz.

1728
01:35:36,600 --> 01:35:38,000
Speaker 2: He was trying to like, Yo, I'm telling you, I

1729
01:35:38,040 --> 01:35:39,960
Speaker 2: think I got a bunch of shit that could be

1730
01:35:40,040 --> 01:35:42,320
Speaker 2: dope for Biz. And his business. Let me write the rhyme.

1731
01:35:43,080 --> 01:35:46,120
Speaker 2: So Dave had this one joint that was really dope,

1732
01:35:46,520 --> 01:35:48,920
Speaker 2: and then he had what was going to become the business.

1733
01:35:49,000 --> 01:35:50,519
Speaker 2: He was like, Yo, this is what this will be

1734
01:35:50,600 --> 01:35:54,960
Speaker 2: for Bizz, and he's like ow, Bizz kept fucking around

1735
01:35:55,000 --> 01:35:58,080
Speaker 2: and not coming to the studio. Like Dave was doing

1736
01:35:58,080 --> 01:35:59,599
Speaker 2: a lot of stuff in his own house. He had

1737
01:35:59,600 --> 01:36:01,719
Speaker 2: a bunch of a dads and we will record stuff.

1738
01:36:01,880 --> 01:36:04,320
Speaker 2: They built a vocal boove and so we would do

1739
01:36:04,360 --> 01:36:06,360
Speaker 2: a lot of stuff at his crib and Bigs would

1740
01:36:06,360 --> 01:36:07,720
Speaker 2: be like, yeah, David, I'll be there. I'll be there,

1741
01:36:07,720 --> 01:36:10,960
Speaker 2: and he would never come. So he was like, yo, man,

1742
01:36:11,760 --> 01:36:15,240
Speaker 2: fuck it this beat, let's do it. Let us do it,

1743
01:36:15,479 --> 01:36:17,280
Speaker 2: and we're gonna just fuck with biz and call it

1744
01:36:17,320 --> 01:36:21,320
Speaker 2: the business. So I was like, Yo, maybe this is

1745
01:36:21,400 --> 01:36:23,040
Speaker 2: this could be the joke we put comment on. This

1746
01:36:23,080 --> 01:36:25,800
Speaker 2: is some ron friendly shit, and that's exactly what we did.

1747
01:36:26,080 --> 01:36:30,160
Speaker 1: You know, I see, all right? Also four More should

1748
01:36:30,160 --> 01:36:31,320
Speaker 1: have been a single man.

1749
01:36:31,600 --> 01:36:34,960
Speaker 2: I agree, But what we were told is that it

1750
01:36:35,120 --> 01:36:40,080
Speaker 2: felt to adult. It felt too like Von Harper. Adult

1751
01:36:40,160 --> 01:36:41,479
Speaker 2: is from Tommy.

1752
01:36:41,560 --> 01:36:57,400
Speaker 1: Yes, So you're one of the rare artists that has

1753
01:36:57,640 --> 01:37:03,080
Speaker 1: an arsenal of Dilla tracks that you've rhymed over that

1754
01:37:03,160 --> 01:37:06,760
Speaker 1: were given to you specifically, and I think just because

1755
01:37:06,800 --> 01:37:09,000
Speaker 1: of the introest you can see of it, most people

1756
01:37:09,000 --> 01:37:14,040
Speaker 1: would assume, oh, stakes Aside must be everyone's favorite Dilla track.

1757
01:37:14,600 --> 01:37:17,960
Speaker 1: But that's not the case with me. What is your favorite?

1758
01:37:17,960 --> 01:37:20,479
Speaker 1: Deala track that you've rhymed over?

1759
01:37:20,680 --> 01:37:23,479
Speaker 2: Space is up there. Now it got to be a

1760
01:37:23,560 --> 01:37:24,599
Speaker 2: Daylight record or anyway.

1761
01:37:24,760 --> 01:37:26,400
Speaker 1: I just want to make me no, no, no, just for

1762
01:37:26,680 --> 01:37:31,080
Speaker 1: yes Daylight like that you've rhymed over, Like there's see

1763
01:37:31,120 --> 01:37:34,679
Speaker 1: verbal clap to me. Just like one time I almost

1764
01:37:34,680 --> 01:37:38,120
Speaker 1: got in a car accident. Literally I couldn't drive straight

1765
01:37:38,120 --> 01:37:40,800
Speaker 1: because I was just so jealous of that goddamn intro.

1766
01:37:41,200 --> 01:37:43,320
Speaker 2: Yeah, that's that's exactly I was about to say, verbal clap,

1767
01:37:43,400 --> 01:37:48,920
Speaker 2: verbal clap, yo. I mean, I just remember him letting

1768
01:37:49,000 --> 01:37:52,240
Speaker 2: us hear it. When I heard that record, I was like,

1769
01:37:52,400 --> 01:37:58,200
Speaker 2: this shit is absolutely insane. And it was right where

1770
01:37:59,160 --> 01:38:01,600
Speaker 2: we were at that point making that album, Like you know,

1771
01:38:01,640 --> 01:38:03,200
Speaker 2: we were just like, Yo, this gotta be more of

1772
01:38:03,280 --> 01:38:05,160
Speaker 2: like a beats and rhymes. We felt like that's what

1773
01:38:05,240 --> 01:38:08,479
Speaker 2: he needed to be, and that's what that particular song

1774
01:38:09,360 --> 01:38:12,160
Speaker 2: showed it. I mean, it just made you want to

1775
01:38:12,200 --> 01:38:15,840
Speaker 2: this right to it right, yeah, I mean even down

1776
01:38:15,880 --> 01:38:19,200
Speaker 2: to the fact of the version that he did. When

1777
01:38:19,280 --> 01:38:24,799
Speaker 2: we asked at this point Jay to send us, Okay,

1778
01:38:24,920 --> 01:38:27,120
Speaker 2: send us you know the tracks so we you know,

1779
01:38:27,240 --> 01:38:29,120
Speaker 2: so we can now track a track it.

1780
01:38:29,320 --> 01:38:30,040
Speaker 1: Yeah.

1781
01:38:30,160 --> 01:38:32,479
Speaker 2: He it was something that he had already left on

1782
01:38:33,080 --> 01:38:36,960
Speaker 2: whatever system he had in Detroit. He didn't know where

1783
01:38:37,000 --> 01:38:37,479
Speaker 2: it was.

1784
01:38:37,920 --> 01:38:39,719
Speaker 1: That's y'all just rhyming over the B tape.

1785
01:38:40,240 --> 01:38:43,920
Speaker 2: Yeah, because in mind you, I went to La to

1786
01:38:43,920 --> 01:38:47,840
Speaker 2: get up with him. He remade it. So even to

1787
01:38:47,880 --> 01:38:50,680
Speaker 2: see him do that was crazy. He remade it to

1788
01:38:50,800 --> 01:38:57,880
Speaker 2: even see where the was actually like some beautiful lovely

1789
01:38:57,920 --> 01:39:00,840
Speaker 2: get talk about bling bling bling ling ling and he

1790
01:39:01,320 --> 01:39:03,320
Speaker 2: garage band of sound.

1791
01:39:03,080 --> 01:39:05,720
Speaker 1: And and I was like, so he did some like

1792
01:39:05,800 --> 01:39:08,439
Speaker 1: a guy vers shit where it was just yeah, because

1793
01:39:08,439 --> 01:39:10,840
Speaker 1: I see him that set up in his kitchen, yo.

1794
01:39:11,640 --> 01:39:15,360
Speaker 2: I mean like I was just flawed. I was just like,

1795
01:39:15,840 --> 01:39:20,280
Speaker 2: I was floored by how he reput this this ship together.

1796
01:39:20,320 --> 01:39:24,800
Speaker 2: He just remade it. And then but even in remaking it,

1797
01:39:24,800 --> 01:39:29,080
Speaker 2: it was just missing something that the original did had.

1798
01:39:29,360 --> 01:39:31,640
Speaker 2: I took it back from La back to the to

1799
01:39:31,720 --> 01:39:34,519
Speaker 2: New York. We put the rhymes to it. We synked

1800
01:39:34,560 --> 01:39:38,479
Speaker 2: everything up and we were distilled, like and it just

1801
01:39:38,479 --> 01:39:41,479
Speaker 2: wound up being like, nah, man the two track, it's better?

1802
01:39:41,680 --> 01:39:43,880
Speaker 2: Does this? Do it to the two track? And he

1803
01:39:43,920 --> 01:39:44,960
Speaker 2: was winning. He was like, nah, I.

1804
01:39:45,840 --> 01:39:51,720
Speaker 1: Hear you for peer pressure? Whose idea was it to

1805
01:39:51,760 --> 01:39:57,240
Speaker 1: slow the song down? Like even more than what it

1806
01:39:57,439 --> 01:40:00,599
Speaker 1: was to give you the impression that you're on weed?

1807
01:40:01,640 --> 01:40:04,800
Speaker 2: That was JD Jay didn't and he didn't even know

1808
01:40:04,840 --> 01:40:06,599
Speaker 2: the idea. It was already like.

1809
01:40:06,600 --> 01:40:12,439
Speaker 1: That, oh really yep, which is because so blatant though,

1810
01:40:12,479 --> 01:40:15,559
Speaker 1: because it just gets slower, like the first time I

1811
01:40:15,600 --> 01:40:18,439
Speaker 1: heard it. During that period, I will say that eighty

1812
01:40:18,479 --> 01:40:22,400
Speaker 1: percent of my listening was always like driving in my car.

1813
01:40:22,520 --> 01:40:24,519
Speaker 1: I just got my license in two thousand and four,

1814
01:40:24,640 --> 01:40:28,479
Speaker 1: so like I would just drive forever. And even I

1815
01:40:28,560 --> 01:40:31,080
Speaker 1: was like, yo, like is it me or is this

1816
01:40:31,080 --> 01:40:34,240
Speaker 1: shit slowing down? And he didn't know that that's what

1817
01:40:34,280 --> 01:40:34,920
Speaker 1: you were doing it for.

1818
01:40:35,439 --> 01:40:39,080
Speaker 2: Nope, he had already given me the beat. I thought

1819
01:40:39,160 --> 01:40:42,680
Speaker 2: the beat was dope, but then it worked with the

1820
01:40:42,800 --> 01:40:48,559
Speaker 2: idea that me mace and be real that came up with,

1821
01:40:48,800 --> 01:40:53,640
Speaker 2: like he wrote, we was at some radio function, you know,

1822
01:40:53,800 --> 01:40:58,519
Speaker 2: some show function that a radio station put on and Mace.

1823
01:40:58,560 --> 01:41:00,840
Speaker 2: I could see Mace out the side of his I

1824
01:41:00,960 --> 01:41:02,759
Speaker 2: saying something to be real because they had just rolled

1825
01:41:02,880 --> 01:41:05,360
Speaker 2: up and and he was like, Mercy want something. I

1826
01:41:05,400 --> 01:41:08,559
Speaker 2: was like, and they laugh and he was like, come on,

1827
01:41:08,960 --> 01:41:12,599
Speaker 2: the pressure man, the pressure right. And I immediately came

1828
01:41:12,680 --> 01:41:14,200
Speaker 2: up with the idea right there. I was like, Yo,

1829
01:41:14,479 --> 01:41:16,680
Speaker 2: that'd be a dope song. Y'all trying to make me

1830
01:41:16,720 --> 01:41:22,960
Speaker 2: smoke weed Jay sent us that beat. I was like,

1831
01:41:23,280 --> 01:41:25,880
Speaker 2: it's this record because on its own it was doing

1832
01:41:25,880 --> 01:41:28,759
Speaker 2: that slow and then kind of sped up things.

1833
01:41:28,720 --> 01:41:34,240
Speaker 1: Right right, No, Merse, do you remember when Prince kicked

1834
01:41:34,280 --> 01:41:36,439
Speaker 1: you out your own session? Yes?

1835
01:41:36,479 --> 01:41:40,160
Speaker 2: I remember, Oh boy, I remember that.

1836
01:41:40,360 --> 01:41:43,920
Speaker 1: And I don't remember and I don't mean Prince Paul either.

1837
01:41:44,280 --> 01:41:47,400
Speaker 2: Because I walked into it. You were already thick in it.

1838
01:41:47,560 --> 01:41:52,479
Speaker 2: I walked into her lady. Yeah, I'm saying, but the

1839
01:41:52,520 --> 01:41:55,160
Speaker 2: young lady who ran Mary Mary.

1840
01:41:55,439 --> 01:41:55,759
Speaker 1: Yes.

1841
01:41:56,439 --> 01:42:00,000
Speaker 2: When I walked in, she was apologizing, I'm so sorry, Pa.

1842
01:42:00,080 --> 01:42:02,240
Speaker 2: So I'm like sorry for what I just walked in.

1843
01:42:02,320 --> 01:42:06,280
Speaker 2: What happened? And she's like, it's your session. I said,

1844
01:42:06,280 --> 01:42:07,880
Speaker 2: oh something, you know, I'm just thinking, like, you know,

1845
01:42:08,000 --> 01:42:10,280
Speaker 2: maybe someone ran over and She's like, no, it's just

1846
01:42:10,400 --> 01:42:13,200
Speaker 2: because he's here, and then I you, I see you,

1847
01:42:13,240 --> 01:42:15,240
Speaker 2: and then you're saying the same thing, and you're like,

1848
01:42:15,600 --> 01:42:18,120
Speaker 2: because the Royalty, dude, this guy is see I'm like

1849
01:42:19,479 --> 01:42:22,679
Speaker 2: about it. Yeah, and then it becomes it's because Prince

1850
01:42:22,880 --> 01:42:26,479
Speaker 2: took over all the rooms and playing music for Warner Brothers.

1851
01:42:26,520 --> 01:42:28,720
Speaker 2: He's about to get his I'll guess work out a

1852
01:42:28,760 --> 01:42:30,280
Speaker 2: deal with them again and whatever.

1853
01:42:30,520 --> 01:42:35,080
Speaker 1: Right, Yeah, well I only saw the back of Clive Davis. No,

1854
01:42:35,200 --> 01:42:37,880
Speaker 1: it was actually for it, Sony. He he walked in

1855
01:42:37,920 --> 01:42:40,760
Speaker 1: with Clive Davis. Both times I saw them walk in

1856
01:42:40,840 --> 01:42:42,599
Speaker 1: and walked out, but it was always to their back

1857
01:42:42,640 --> 01:42:46,000
Speaker 1: to us, and they knew they were taking our room

1858
01:42:46,080 --> 01:42:48,679
Speaker 1: over and they didn't say anything.

1859
01:42:49,600 --> 01:42:53,959
Speaker 2: Yeah, it was crazy. And so when he finally seized

1860
01:42:53,960 --> 01:42:57,559
Speaker 2: me at one point, he very apologetic, but I gave

1861
01:42:57,640 --> 01:43:04,760
Speaker 2: him the hardest squeezed hand Eric b squeezed. I was like, yo, like.

1862
01:43:08,240 --> 01:43:11,840
Speaker 1: Yeah, I think to give everyone context, there was half

1863
01:43:11,840 --> 01:43:14,679
Speaker 1: a second where you guys couldn't clear ode to Billy

1864
01:43:14,760 --> 01:43:19,000
Speaker 1: Joe's drum break from Lou Donaldson. You picked the day

1865
01:43:19,280 --> 01:43:24,240
Speaker 1: in which we had just mastered in sequenced Voodoo, like

1866
01:43:24,360 --> 01:43:26,880
Speaker 1: four years of work was done, but yet we had

1867
01:43:26,880 --> 01:43:29,400
Speaker 1: the room locked out, and you know, during the daytime,

1868
01:43:29,479 --> 01:43:31,360
Speaker 1: d would always let me use the room while he

1869
01:43:31,439 --> 01:43:34,280
Speaker 1: was like working out or whatever. So I know, in

1870
01:43:34,320 --> 01:43:37,360
Speaker 1: one room we were sequencing the record for Voodoo and

1871
01:43:37,400 --> 01:43:40,400
Speaker 1: in the other room trying to do the session, and

1872
01:43:40,479 --> 01:43:43,519
Speaker 1: we got kicked out. So I guess you were the

1873
01:43:43,560 --> 01:43:47,240
Speaker 1: first person to hear Voodoo not in the circle. I

1874
01:43:47,280 --> 01:43:49,800
Speaker 1: remember you were the very first person to hear it, sir,

1875
01:43:50,360 --> 01:43:54,040
Speaker 1: And I was nervous listening that record, like from start

1876
01:43:54,120 --> 01:43:58,040
Speaker 1: to finish at the end of it. All right, So inclosing,

1877
01:43:58,760 --> 01:44:02,240
Speaker 1: what three non hip hop albums do you listen to

1878
01:44:02,320 --> 01:44:03,080
Speaker 1: from front to back?

1879
01:44:05,000 --> 01:44:05,920
Speaker 2: Non hip hop?

1880
01:44:07,000 --> 01:44:10,920
Speaker 1: I mean three most perfect records that you put on

1881
01:44:11,160 --> 01:44:18,040
Speaker 1: there's no skips, Wow, key of Liar, okay, Stevie Wonder.

1882
01:44:18,320 --> 01:44:20,400
Speaker 2: Yeah, non hip hop.

1883
01:44:20,720 --> 01:44:23,799
Speaker 1: For the guy that invented the twenty four track single album,

1884
01:44:23,880 --> 01:44:26,320
Speaker 1: I figured, yeah, I.

1885
01:44:26,280 --> 01:44:32,879
Speaker 2: Mean, it's just it's crazy that it's all well, wow, Voodoo,

1886
01:44:33,920 --> 01:44:39,639
Speaker 2: oh cool, Wooo, Front the Back, al Greens, Let's stay

1887
01:44:39,640 --> 01:44:43,720
Speaker 2: together Front the Back, Okay. Remind me of my I

1888
01:44:43,760 --> 01:44:46,639
Speaker 2: mean amazing records, of course, But like when I was young,

1889
01:44:46,720 --> 01:44:48,400
Speaker 2: I thought my father was our Green because when I

1890
01:44:48,439 --> 01:44:51,000
Speaker 2: was young, he would sing it as his plan. So

1891
01:44:51,040 --> 01:44:52,679
Speaker 2: I was like he sounded like him and.

1892
01:44:52,600 --> 01:44:56,839
Speaker 1: He looks like must be Okay, what are the three

1893
01:44:56,960 --> 01:44:58,639
Speaker 1: hip hop records that you live for?

1894
01:44:59,320 --> 01:45:02,920
Speaker 2: Three hip hop records that I live for? Wow, Raising,

1895
01:45:02,960 --> 01:45:10,400
Speaker 2: hell By Run, DMC, Criminal Minded, and what else. It's definitely,

1896
01:45:10,439 --> 01:45:13,559
Speaker 2: I mean it's those two at the top and a

1897
01:45:13,640 --> 01:45:14,680
Speaker 2: nation of millions.

1898
01:45:15,080 --> 01:45:20,120
Speaker 1: Okay, what three hip hop songs have you committed to memory?

1899
01:45:20,960 --> 01:45:23,679
Speaker 2: Three hip hop songs I've committed to memory your three

1900
01:45:23,720 --> 01:45:26,880
Speaker 2: favorite I'm just trying to tell you that that's hard

1901
01:45:26,880 --> 01:45:29,080
Speaker 2: for me. How funny enough, I had this talk with

1902
01:45:29,400 --> 01:45:33,120
Speaker 2: with thought Freak about this, Like I was never a

1903
01:45:33,200 --> 01:45:35,720
Speaker 2: dude who could commit. It's really hard for me to

1904
01:45:35,800 --> 01:45:38,479
Speaker 2: do that music. I can tell you where the drops is,

1905
01:45:38,520 --> 01:45:40,680
Speaker 2: where the high hat is. It's hard for me to

1906
01:45:40,760 --> 01:45:46,000
Speaker 2: commit lyrics, really very hard, and like I have to

1907
01:45:46,080 --> 01:45:46,919
Speaker 2: force myself.

1908
01:45:47,000 --> 01:45:48,120
Speaker 1: You're the king of lyrics.

1909
01:45:48,800 --> 01:45:52,920
Speaker 2: It's very hard for me to commit lyrics to memory

1910
01:45:53,040 --> 01:45:56,559
Speaker 2: of other artists of songs. So like it gotta be

1911
01:45:56,600 --> 01:45:59,599
Speaker 2: something super easy. So like it's like Arabi for President.

1912
01:46:00,280 --> 01:46:04,200
Speaker 2: It's like top billing, right, like those songs, It's like

1913
01:46:05,280 --> 01:46:08,280
Speaker 2: I can remember it easy because like Coolie Rap, as

1914
01:46:08,360 --> 01:46:10,479
Speaker 2: much as I love him, I'll die if you put

1915
01:46:10,479 --> 01:46:11,719
Speaker 2: a gun to my head and tell me this.

1916
01:46:14,040 --> 01:46:17,000
Speaker 1: Right now, I get it. What are your three favorite

1917
01:46:17,040 --> 01:46:17,839
Speaker 1: Daylight records?

1918
01:46:18,800 --> 01:46:22,760
Speaker 2: Millie? Immediately Millie pulled the pistol on Santa I am

1919
01:46:22,800 --> 01:46:25,400
Speaker 2: I be trying people.

1920
01:46:26,160 --> 01:46:34,040
Speaker 1: To trying people to me, man. That's when I heard it.

1921
01:46:34,160 --> 01:46:37,640
Speaker 1: I was like, Yo, Daila has a lighter song. I

1922
01:46:37,720 --> 01:46:39,840
Speaker 1: was like, when they do this in concert, they have to.

1923
01:46:41,680 --> 01:46:45,080
Speaker 1: I was so jealous that you found that song, man,

1924
01:46:45,400 --> 01:46:49,040
Speaker 1: Like I just I listened to that ship like ten times.

1925
01:46:49,240 --> 01:46:51,799
Speaker 2: My younger brother he made that. He made that record

1926
01:46:51,800 --> 01:46:54,960
Speaker 2: with his Lucky Luck made that with his Holy Perp.

1927
01:46:55,680 --> 01:46:55,920
Speaker 1: Yeah.

1928
01:46:55,960 --> 01:46:57,439
Speaker 2: Man, when I heard it, I was like, you know,

1929
01:46:57,800 --> 01:47:00,559
Speaker 2: I lived for records like that. It just like something

1930
01:47:00,600 --> 01:47:01,760
Speaker 2: I had to pour my heart out.

1931
01:47:02,080 --> 01:47:04,360
Speaker 1: Who sparked it first, You or Dave?

1932
01:47:05,160 --> 01:47:07,120
Speaker 2: We were doing it pretty much at the same time,

1933
01:47:07,160 --> 01:47:09,320
Speaker 2: but he got on first. He wanted to go first.

1934
01:47:09,360 --> 01:47:12,040
Speaker 2: And even when I heard his verse, it has made

1935
01:47:12,120 --> 01:47:15,479
Speaker 2: me like, oh my god, this is amazing. And my

1936
01:47:15,640 --> 01:47:18,439
Speaker 2: verse was a lot longer. Where I where I end

1937
01:47:18,720 --> 01:47:24,640
Speaker 2: on record, it's actually all probably like another fourteen bars.

1938
01:47:25,040 --> 01:47:28,160
Speaker 2: I didn't have to shorten it because I was like, yo,

1939
01:47:28,200 --> 01:47:30,040
Speaker 2: this is this is gonna have people crying. So I

1940
01:47:31,080 --> 01:47:38,320
Speaker 2: shortened it and then where I ended it, Yeah.

1941
01:47:36,240 --> 01:47:40,799
Speaker 1: Okay, what's the last nice thing that you've done for yourself?

1942
01:47:42,160 --> 01:47:47,240
Speaker 2: Last nice thing that I have done for myself? I

1943
01:47:47,280 --> 01:47:47,600
Speaker 2: don't know.

1944
01:47:48,439 --> 01:47:51,800
Speaker 1: Are you a car person? Do you collect artwork? Are you?

1945
01:47:52,720 --> 01:47:55,080
Speaker 2: I don't know. I don't know about cars, so I

1946
01:47:55,080 --> 01:47:55,920
Speaker 2: don't care about cars.

1947
01:47:55,960 --> 01:47:56,439
Speaker 1: Do you drive?

1948
01:47:57,200 --> 01:47:59,839
Speaker 2: Yeah? I can drive? I drive right?

1949
01:48:01,600 --> 01:48:04,000
Speaker 1: Do you have a self care routine? Like, especially now

1950
01:48:04,040 --> 01:48:05,520
Speaker 1: that we're of this age where.

1951
01:48:05,960 --> 01:48:09,719
Speaker 2: Just truly in tune to take care of myself things

1952
01:48:09,720 --> 01:48:13,120
Speaker 2: that I've already knew I've through the years, started to

1953
01:48:13,120 --> 01:48:16,360
Speaker 2: put them on into practice. You know, a lot of

1954
01:48:15,920 --> 01:48:19,080
Speaker 2: the young living that we did on tour, like the

1955
01:48:19,160 --> 01:48:23,240
Speaker 2: super staying up late, eating after a show, you know,

1956
01:48:23,320 --> 01:48:26,000
Speaker 2: and going right to bed, stuff like that Ben stopped

1957
01:48:26,000 --> 01:48:29,719
Speaker 2: for me, but just putting more of it into practice,

1958
01:48:29,840 --> 01:48:33,120
Speaker 2: you know, losing Dave even before even when this Dave

1959
01:48:33,240 --> 01:48:35,080
Speaker 2: was still here and had his health issues and basically

1960
01:48:35,160 --> 01:48:38,439
Speaker 2: have his self issues, and Yo, I was just realizing, like, yo, man,

1961
01:48:38,520 --> 01:48:41,240
Speaker 2: I just need to be here for my younger kids.

1962
01:48:41,280 --> 01:48:44,760
Speaker 2: And I just start putting just a lot of that

1963
01:48:44,840 --> 01:48:49,160
Speaker 2: into practice, Like I cut off processed foods. I you know,

1964
01:48:49,240 --> 01:48:52,960
Speaker 2: I just eat tons of fruits. I eat no type

1965
01:48:52,960 --> 01:48:57,280
Speaker 2: of candy, no breads unless it's like sour dough like.

1966
01:48:57,360 --> 01:49:00,080
Speaker 2: So I've just really been in the gym stuff like that.

1967
01:49:00,160 --> 01:49:02,720
Speaker 2: So I've just really been on my it's taking care

1968
01:49:02,760 --> 01:49:03,280
Speaker 2: of myself.

1969
01:49:03,640 --> 01:49:07,960
Speaker 1: Yeah, Like, how hard was it picking up the pieces

1970
01:49:08,000 --> 01:49:11,240
Speaker 1: for you and Mace to sort of carry this vision through,

1971
01:49:11,840 --> 01:49:15,000
Speaker 1: especially in this phase of your life, making the Cabin

1972
01:49:15,080 --> 01:49:17,960
Speaker 1: to the Sky and seeing it through. Just talk about

1973
01:49:18,000 --> 01:49:20,720
Speaker 1: the process of how did you get through it?

1974
01:49:21,520 --> 01:49:24,640
Speaker 2: I mean, and I'm not really trying to sound like

1975
01:49:25,920 --> 01:49:30,200
Speaker 2: I don't know Ornie and uplifting, but Dave really was

1976
01:49:30,240 --> 01:49:35,280
Speaker 2: there through it, like I felt I've felt signs from him.

1977
01:49:35,520 --> 01:49:37,800
Speaker 2: I mean, I may have spoken to you about this life,

1978
01:49:37,800 --> 01:49:42,599
Speaker 2: even down to the album title when once I saw

1979
01:49:42,680 --> 01:49:45,719
Speaker 2: the title and I'm like, this should be the title,

1980
01:49:45,800 --> 01:49:49,519
Speaker 2: and it's it's speaking to me, and I'm trying to

1981
01:49:49,560 --> 01:49:53,960
Speaker 2: load it into my phone like all the newer Deyla

1982
01:49:54,120 --> 01:49:56,439
Speaker 2: untitled songs, and it would no longer go into my

1983
01:49:56,560 --> 01:49:58,960
Speaker 2: phone by the time I changed it to Cabin the

1984
01:49:59,000 --> 01:50:02,200
Speaker 2: Sky goes into my Like I just felt like Dave

1985
01:50:02,320 --> 01:50:06,439
Speaker 2: was there with me through it, and just how we've

1986
01:50:06,479 --> 01:50:09,520
Speaker 2: just normally done with Daylight albums, like just the sequencing,

1987
01:50:09,600 --> 01:50:12,759
Speaker 2: and it just felt right. We had some other great songs,

1988
01:50:12,800 --> 01:50:15,439
Speaker 2: but I was like, you know what, this song I

1989
01:50:15,479 --> 01:50:19,559
Speaker 2: got from soundtrack, it's amazing, but it's not fitting in

1990
01:50:19,960 --> 01:50:23,200
Speaker 2: with everything else. So got to put that to the side.

1991
01:50:23,280 --> 01:50:25,160
Speaker 2: Or this other song that had Dave on it that

1992
01:50:25,240 --> 01:50:29,040
Speaker 2: we have called Take one for the Team could be

1993
01:50:29,080 --> 01:50:32,120
Speaker 2: another great moment to have Dave on the album, but nah,

1994
01:50:32,360 --> 01:50:34,720
Speaker 2: this doesn't work with where it was going. So I

1995
01:50:34,840 --> 01:50:37,760
Speaker 2: just kind of let the compass of natural things lead

1996
01:50:37,840 --> 01:50:39,880
Speaker 2: me to where I need to go, and just my

1997
01:50:40,000 --> 01:50:43,280
Speaker 2: experience of just putting together records, and it came together,

1998
01:50:43,439 --> 01:50:45,840
Speaker 2: especially once I got the title, once I knew it

1999
01:50:45,880 --> 01:50:48,960
Speaker 2: was gonna be called Cabin in the Sky, everything just

2000
01:50:49,080 --> 01:50:52,280
Speaker 2: kind of just fell into place and it didn't feel hard.

2001
01:50:52,360 --> 01:50:55,360
Speaker 2: It really didn't. It felt light man, and it felt therapeutic,

2002
01:50:55,439 --> 01:50:57,080
Speaker 2: So it didn't really feel hard to do.

2003
01:50:57,800 --> 01:51:01,120
Speaker 1: All right. My last two questions, Bob, how can you

2004
01:51:01,160 --> 01:51:03,920
Speaker 1: just talk about like what his contributions were to the

2005
01:51:03,960 --> 01:51:06,800
Speaker 1: group and how what was it like working with him?

2006
01:51:07,080 --> 01:51:12,960
Speaker 2: Bob Power was one of the most amazing human beings

2007
01:51:13,640 --> 01:51:17,559
Speaker 2: I've ever met in this industry ever, So I mean

2008
01:51:17,720 --> 01:51:22,240
Speaker 2: like to have him being the one who has all

2009
01:51:22,360 --> 01:51:27,200
Speaker 2: this knowledge on sound and helping you to reach this

2010
01:51:27,320 --> 01:51:31,040
Speaker 2: goal or even see something that and hear something that

2011
01:51:31,080 --> 01:51:35,040
Speaker 2: you didn't even realize your music would sound like. I mean,

2012
01:51:36,160 --> 01:51:38,600
Speaker 2: what I loved about him from the very beginning is

2013
01:51:38,640 --> 01:51:41,880
Speaker 2: that he was a person that he didn't treat us

2014
01:51:41,960 --> 01:51:44,519
Speaker 2: like we weren't supposed to be there because like a

2015
01:51:44,520 --> 01:51:47,240
Speaker 2: lot of these early sessions, you had these engineers who

2016
01:51:47,280 --> 01:51:50,360
Speaker 2: were like, you know, they were rock dudes and punk

2017
01:51:50,439 --> 01:51:53,080
Speaker 2: rock guys, and you know they have these young black

2018
01:51:53,160 --> 01:51:56,439
Speaker 2: kids coming in here who got these deals now and

2019
01:51:56,800 --> 01:52:00,559
Speaker 2: trying to tell them what to do. Yeah, you know,

2020
01:52:00,600 --> 01:52:05,400
Speaker 2: and Bobby from Calliope, Dave was very open like wow,

2021
01:52:05,479 --> 01:52:08,519
Speaker 2: what is that? And how so what was your thinking

2022
01:52:08,560 --> 01:52:10,719
Speaker 2: on that? But then he could show you his thinking

2023
01:52:10,760 --> 01:52:13,479
Speaker 2: on something else. So that's why he just became one

2024
01:52:13,479 --> 01:52:17,360
Speaker 2: of those engineers where you wanted him around you for

2025
01:52:17,479 --> 01:52:18,400
Speaker 2: that reason alone.

2026
01:52:18,600 --> 01:52:21,240
Speaker 1: Is there a particular song or mix that he transformed

2027
01:52:21,280 --> 01:52:23,760
Speaker 1: for you that you yourself didn't see when it was in

2028
01:52:23,800 --> 01:52:26,680
Speaker 1: the rough stages? In my mind, do you want more

2029
01:52:26,720 --> 01:52:30,400
Speaker 1: of would have been was nowhere near Like once I

2030
01:52:30,439 --> 01:52:32,160
Speaker 1: heard him mix, I was like, holy shit, like this

2031
01:52:32,200 --> 01:52:33,040
Speaker 1: is a whole new.

2032
01:52:33,360 --> 01:52:36,320
Speaker 2: But breaka Dawn is definitely one of them, just how

2033
01:52:36,360 --> 01:52:39,400
Speaker 2: I thought it would sonically sound and what and how

2034
01:52:39,520 --> 01:52:42,439
Speaker 2: he made because he was like, you know, tracking it

2035
01:52:42,479 --> 01:52:46,120
Speaker 2: with us. Crazy enough. Bob is the one who pretty

2036
01:52:46,200 --> 01:52:49,880
Speaker 2: much named me plug wonder why Wonder why. It comes

2037
01:52:49,920 --> 01:52:52,080
Speaker 2: from him because when we was doing break of Dawn,

2038
01:52:52,520 --> 01:52:55,839
Speaker 2: I'm just saying, plug wonder, wonder why you're lonely tonight?

2039
01:52:56,280 --> 01:52:59,640
Speaker 2: So once he heard me say it, he just what

2040
01:52:59,800 --> 01:53:02,000
Speaker 2: all always just keep saying, plug wonder, wonder why you're

2041
01:53:02,040 --> 01:53:04,599
Speaker 2: loning tonight? And so I would come in plug wonder

2042
01:53:04,600 --> 01:53:07,400
Speaker 2: why What's up? And I was like and it would

2043
01:53:07,439 --> 01:53:09,559
Speaker 2: just become something we would laugh at and I was like, Yo,

2044
01:53:09,600 --> 01:53:11,800
Speaker 2: I'm gonna add that to my mini monikers like I

2045
01:53:11,840 --> 01:53:13,639
Speaker 2: am plugged wonder why because of Bob.

2046
01:53:14,720 --> 01:53:15,120
Speaker 1: Wow.

2047
01:53:15,479 --> 01:53:18,040
Speaker 2: This is an amazing, amazing and beautiful person as you know.

2048
01:53:18,680 --> 01:53:22,439
Speaker 1: All right, My last question, do you have three favorite

2049
01:53:22,520 --> 01:53:25,160
Speaker 1: Dave moments on day live recordings?

2050
01:53:25,720 --> 01:53:32,160
Speaker 2: Dave doing the Johnny's Dead was absolutely hurlarious in real time.

2051
01:53:32,280 --> 01:53:35,960
Speaker 2: Just I can still see him doing it. We're trying

2052
01:53:36,080 --> 01:53:38,479
Speaker 2: so bad not to laugh because we don't want the

2053
01:53:38,560 --> 01:53:40,880
Speaker 2: mic to pick it up because he wasn't in the booth.

2054
01:53:40,920 --> 01:53:44,800
Speaker 2: This is the mic in the room of Calliope and

2055
01:53:44,960 --> 01:53:47,200
Speaker 2: I and I'm and even threw a piece of paper

2056
01:53:47,560 --> 01:53:49,400
Speaker 2: and I hit him my mistakes. So that's when you said,

2057
01:53:49,560 --> 01:53:53,200
Speaker 2: you're sucking us up. Man, you're laughing like so that

2058
01:53:53,320 --> 01:53:57,439
Speaker 2: was just one of the most funniest things Dave doing that. Wow.

2059
01:53:57,520 --> 01:54:03,519
Speaker 2: What else is? It's holy shit, there's so many him

2060
01:54:03,560 --> 01:54:06,280
Speaker 2: doing the stupid well. He was on my answering machine

2061
01:54:06,280 --> 01:54:07,559
Speaker 2: and that's when I had to call him back and

2062
01:54:07,640 --> 01:54:08,840
Speaker 2: was like, Yo, you know this is gonna go on

2063
01:54:08,880 --> 01:54:09,519
Speaker 2: the album, right.

2064
01:54:09,840 --> 01:54:11,519
Speaker 1: Oh, Dave has a problem. Seriously.

2065
01:54:15,080 --> 01:54:17,200
Speaker 2: Yeah. I was like, when I came home and hurt

2066
01:54:17,200 --> 01:54:20,040
Speaker 2: that message, I laughed so hard. And when I called him,

2067
01:54:20,160 --> 01:54:22,280
Speaker 2: he already knew what I was calling him for. He's

2068
01:54:22,280 --> 01:54:25,439
Speaker 2: already laughing. I was like, Yo, you're an asshole. And

2069
01:54:25,479 --> 01:54:27,800
Speaker 2: I was like, and you know that's going on album?

2070
01:54:27,840 --> 01:54:29,360
Speaker 2: He said, get out of here. I was like, Yo, man,

2071
01:54:29,439 --> 01:54:30,599
Speaker 2: that shit got to go on an album.

2072
01:54:31,200 --> 01:54:31,360
Speaker 1: Yeah.

2073
01:54:31,439 --> 01:54:33,600
Speaker 2: That was another one. Oh my god, what else? It

2074
01:54:33,800 --> 01:54:38,280
Speaker 2: just he was amazing at just off the cuff. Funny

2075
01:54:38,320 --> 01:54:41,720
Speaker 2: shit like just he was just so off the cuff

2076
01:54:41,760 --> 01:54:44,680
Speaker 2: with it. I feel like I'm missing one from bionics

2077
01:54:44,720 --> 01:54:48,240
Speaker 2: that he did something silly on I don't know, it's

2078
01:54:48,240 --> 01:54:48,760
Speaker 2: just too many.

2079
01:54:49,320 --> 01:54:53,760
Speaker 1: Wow. Look man, it is taken forever for this to happen.

2080
01:54:54,080 --> 01:54:56,000
Speaker 2: Oh no, I know, man, It's cool.

2081
01:54:56,040 --> 01:54:58,560
Speaker 1: And I really appreciate you taking the time out to

2082
01:54:58,920 --> 01:55:01,280
Speaker 1: let me finally get this interview out after all these

2083
01:55:01,400 --> 01:55:04,000
Speaker 1: years I've been begging you. I mean, I've said it before, man,

2084
01:55:04,240 --> 01:55:08,640
Speaker 1: like you guys literally are the inspiration for and the standard,

2085
01:55:08,720 --> 01:55:10,840
Speaker 1: the gold standard for which you know, Tarika and I

2086
01:55:10,960 --> 01:55:16,280
Speaker 1: judge just greatness man, And the fact that you're still

2087
01:55:16,280 --> 01:55:21,560
Speaker 1: constantly doing it and pushing through is commendable. And yeah, man,

2088
01:55:21,920 --> 01:55:23,720
Speaker 1: I can't wait to hear what you guys have next. Man,

2089
01:55:23,760 --> 01:55:24,960
Speaker 1: So thank you for doing this for me.

2090
01:55:25,560 --> 01:55:27,400
Speaker 2: Appreciate it. I love you, man, Thank you so much.

2091
01:55:27,480 --> 01:55:36,800
Speaker 1: Love you to bro, all right, thank you. Quest Love

2092
01:55:36,840 --> 01:55:41,360
Speaker 1: Shows hosted by me Amir quest Love Thompson. The executive

2093
01:55:41,360 --> 01:55:47,160
Speaker 1: producers are Sean g Brian Calhoun and Me. Produced by

2094
01:55:47,280 --> 01:55:52,880
Speaker 1: Britney Benjamin and Jacob Pin. Produced for iHeart by Noel Brown,

2095
01:55:54,080 --> 01:55:59,000
Speaker 1: Edited by Alex Khnan. iHeart Video support by Mark Canton,

2096
01:56:00,360 --> 01:56:05,800
Speaker 1: Logos graphics and animation by Nick Paloe. Additional support by

2097
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Speaker 1: Lance Colman, Special thanks to Kathy Brown, and special thanks

2098
01:56:11,640 --> 01:56:16,440
Speaker 1: to Sugar Steve Mandel. Please subscribe, rate, review, and share

2099
01:56:16,520 --> 01:56:20,120
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01:56:20,160 --> 01:56:26,600
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2101
01:56:26,600 --> 01:56:29,880
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2102
01:56:29,920 --> 01:56:38,120
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2103
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