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Speaker 1: Quest Love Supreme is a production of iHeartRadio, Ladies and Gentlemen.

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Speaker 1: As you know, we had an epic conversation with the

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Speaker 1: one and only former Tony Tony Tony and rape El Sadik.

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Speaker 1: This episode we continue that conversation with part two. He

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Speaker 1: talks about more of a solo career, making records, he

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Speaker 1: talks about score movies, He talks about all the other

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Speaker 1: artists that he's worked with. Really interesting tippets for your

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Speaker 1: music heads out there. This is part duo, partdiuh of

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Speaker 1: Raphael s One Quest Love Supreme. Hope you enjoy it.

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Speaker 2: You know how many other random stories do you have

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Speaker 2: like that?

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Speaker 3: Because you just drive me one too, But that's that's

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Speaker 3: my favorite one.

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Speaker 1: Oh my god, Wait a minute, I don't I don't

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Speaker 1: even want to skip. I gotta ask you something yes

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Speaker 1: or no. And this is without blowing up your spot.

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Speaker 4: I already know where you're going with no.

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Speaker 2: No, no, I don't think you know.

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Speaker 1: Is the four tops strung out for your love?

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Speaker 2: Does that mean anything to you?

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Speaker 3: You got me strong out?

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Speaker 1: No, it's it's it's it's on the Catfish record nineteen

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Speaker 1: seventy seven.

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Speaker 3: I mean every record means something to me, but not

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Speaker 3: like that. I don't know. Okay, I'm curious to what

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Speaker 3: do you think?

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Speaker 1: Let me let me let me then ask who who

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Speaker 1: was who was the creative head behind I couldn't keep

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Speaker 1: it to myself me all right, I'm just asking.

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Speaker 3: No, there there's uh similarities.

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Speaker 2: There's yeah, there's.

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Speaker 1: There's there's a song on that Catfish record from nineteen

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Speaker 1: seventy seven that is literally the twin of that and

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Speaker 1: I was like, oh damn, they made they made the

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Speaker 1: their version of that song.

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Speaker 2: But I mean I.

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Speaker 3: Felt like that's I felt like those two core progressions

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Speaker 3: back and forth was a lot of different.

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Speaker 2: Records exactly like anyone.

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Speaker 1: Because that's what I'm saying is like a Sam Smith's situation,

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Speaker 1: like anyone could have picked.

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Speaker 3: That song call not that close but right now?

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Speaker 1: Which now House of Music for for House of Music?

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Speaker 1: Was that just your derivative challenge album where it's just like,

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Speaker 1: I'm gonna do my of this song and that song.

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Speaker 3: Man, my whole career is that I know.

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Speaker 1: But this this album, did anyone from Navana's camp ever

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Speaker 1: get at you about Let's get down?

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Speaker 3: Because because because to me, I think they got that.

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Speaker 3: I thought that was from a derivive, a derivative of

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Speaker 3: alshow get down, get not getting not cool in the game.

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Speaker 3: But uh, I'm your boogey man. That's what. Yeah, like

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Speaker 3: they got a song. It sounds like that too. With that,

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Speaker 3: come on, let's get down. They got a joint like

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Speaker 3: that too. But the way the way I was singing

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Speaker 3: that song, I started singing it like it was an

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Speaker 3: effect on my voice, and then I put an effect

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Speaker 3: on my I was sunging come on, I start doing that.

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Speaker 3: But but Casey in the Sunshine Band got a joint.

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Speaker 3: It's just like that.

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Speaker 5: Really a second, I thought you were about to say no.

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Speaker 5: Their version goes.

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Speaker 4: Ding ding ding ding ding ding.

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Speaker 3: Right, McDonald's and McDonald's, So for.

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Speaker 2: Me, for me, I gotta bring up all right.

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Speaker 1: Yes, well, we'll enter some sort of talk of what

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Speaker 1: they do, but can you please talk about how you

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Speaker 1: discovered the great Spanky Chalmers Alfred Yeah, sure, man, the guitarist. God, oh,

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Speaker 1: my mom, it's funny.

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Speaker 3: My mom is eighty nine now, and she she had

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Speaker 3: she has uh, she's lost some of her short term memory.

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Speaker 3: But one thing she never forgets to say to me

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Speaker 3: every other day is I showed miss Spankey.

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Speaker 4: Wow.

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Speaker 3: All the time. Spanky lived with me for a long time,

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Speaker 3: and so what happened was Spanky growing up in Oakland

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Speaker 3: and listening to gospel quartet. Spanky was sort of the

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Speaker 3: king of that, and I didn't know him for years.

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Speaker 3: I just knew his music. I knew how he played.

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Speaker 3: And at one point, Uh, the last album was House

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Speaker 3: and Music, I think the Tony's last album was. And

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Speaker 3: we had these musicians that everybody thought I needed to

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Speaker 3: make music. This is when the Tony sort of split up.

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Speaker 2: Mm hmm.

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Speaker 3: It was like outcast, get my sided the album and

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Speaker 3: they did their sided album.

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Speaker 1: And was there a mutual coach in the middle that

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Speaker 1: sort of make that happen.

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Speaker 3: Yeah, For years, I couldn't really understand what I did,

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Speaker 3: you know, because there's always two sides to a story,

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Speaker 3: and sometime you like to point. If you're on one side,

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Speaker 3: you could point the finger. But I never knew what happened.

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Speaker 3: So we were getting together and we're going to record together.

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Speaker 3: We had this house Jerry Brown was gonna record. The

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Speaker 3: whole thing was we were going to bring the press

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Speaker 3: all to one house. They're gonna interview us before we

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Speaker 3: put this album. That was gonna be a part of

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Speaker 3: the press Humble marketing plan. Then I get a call

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Speaker 3: and they were like, you record your side by yourself

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Speaker 3: and we will record our side ourselves. So they took

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Speaker 3: the guitar player that we had at the time. It

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Speaker 3: took him. So they was like, well, if he doesn't

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Speaker 3: have the guitar player, he can't be do what he do.

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Speaker 3: I don't know whatever. So I get yeah exactly. So

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Speaker 3: I get home and my mother has a friend named Frankie,

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Speaker 3: and if somebody at my house said Frankie called you,

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Speaker 3: I called him back, my mother's friend. This guy was

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Speaker 3: kind of like my godfather. But he said this, I said,

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Speaker 3: Frankie said, no, this is Spanky. He says, Spanky. Who's

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Speaker 3: Spanky Charmers? I said the guitar player, Spanky. I was like,

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Speaker 3: put something on it. I said, where's your guitar play?

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Speaker 3: He played the guitar on the phone, And next day

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Speaker 3: I had him at my house in Sacramento and we

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Speaker 3: was in sear. I let him leave after a let

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Speaker 3: it guy. So I got him and we recorded that

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Speaker 3: album we recorded with you. We recorded with a lot

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Speaker 3: of different people, and he sort of wanted to teach

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Speaker 3: me to play, but I just thought it was impossible

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Speaker 3: to learn how to play that good. So some things

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Speaker 3: I did learn, I kicked it. I kicked myself every

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Speaker 3: day for not you know, sitting down with him more

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Speaker 3: as I should have. But I really want introduce him

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Speaker 3: to people like yourself and being different people. And he

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Speaker 3: got a chance to meet people like Pino because he

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Speaker 3: was so well respected in the gospel. Feel I felt

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Speaker 3: like his talent would lend himself to so many people.

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Speaker 3: And I was just, you know, happy to have him

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Speaker 3: in my life as much as I did. But that's

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Speaker 3: how I actually met Spanky.

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Speaker 4: How old was he? He was an older guy. About

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Speaker 4: how old was he?

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Speaker 3: Yeah, he was the older guy. But this guy could teach.

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Speaker 3: I mean, for many years, people would knock on my door,

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Speaker 3: my house, my studio, I'm here for Spanky, Spanky's I

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Speaker 3: got a guitar lesson with Spanky or even the album

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Speaker 3: that he played the Voodoo album on. He played his

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Speaker 3: guitar that my I bought from my uncle for like

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Speaker 3: three hundred and fifty dollars. Some guys sold him Gibson.

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Speaker 3: I let Spanky use the guitar. He played it all

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Speaker 3: over the album and it was my guitar, but when

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Speaker 3: it was time to give it back, Spanky didn't want

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Speaker 3: to give it back, so and Spanky kind of fell out.

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Speaker 3: I was like, Spanky, I just let you use it.

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Speaker 3: But it's my guitar. It is day. People still come

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Speaker 3: by my studio and they just want to look at

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Speaker 3: that guitar.

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Speaker 2: You still have that guitar?

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Speaker 3: Still got it? Wow, we play.

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Speaker 2: You've of course met Sharky, correct.

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Speaker 3: I met Sharky a million times. Amazing.

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Speaker 4: Yeah.

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Speaker 1: The story that tells me about Sharky was like he

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Speaker 1: met Sharky when Sharky was like maybe thirteen, twelve or thirteen,

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Speaker 1: and it's so weird. It's so weird meeting like and

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Speaker 1: this is the same for like DJ Harrison, Like there's there's.

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Speaker 2: A slew of.

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Speaker 1: Gen Z or millennial gen Z you know, born in

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Speaker 1: eighty eight, eighty nine to ninety that or it's like

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Speaker 1: seven or eight when the stuff is coming out and

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Speaker 1: how it affects them, Like there's at least five cats

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Speaker 1: I know now, four of them who've never met Spanky ever.

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Speaker 1: And it's it's as if it's like I know, you

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Speaker 1: know when people say, like, well the spirit of blah

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Speaker 1: blah blah and them, Like, I fully believe that because

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Speaker 1: I've never seen such a mythical figure like Spanky and

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Speaker 1: his story and the legend.

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Speaker 2: Of Spanky like now spread out through the industs.

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Speaker 1: Yeah, it's just something to believe and like in right now,

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Speaker 1: Like I don't know if you've been back to Oakland

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Speaker 1: interf you're still like heavy into it, Like do you

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Speaker 1: still meet musicians that are like just off kilter like that,

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Speaker 1: that are like killing that no one will ever know about.

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Speaker 2: But like just local cats.

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Speaker 3: There's there's a couple I haven't met anybody. I haven't

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Speaker 3: met anybody like that, but I know there's there's a

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Speaker 3: few people brewing. You know in every department, you know,

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Speaker 3: a beat makers, samplers, keyboard players. If you if you

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Speaker 3: keep your eyes open, this is it's gonna be another one.

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Speaker 3: But that was that one, right there was a special

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Speaker 3: one because he was so good. But he was always

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Speaker 3: keen on making records. You know, if he worked with somebody,

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Speaker 3: he wanted to give you a part that that can

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Speaker 3: make a record. Like every time I play you know

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Speaker 3: what they do when they go Laren playing, Darren Planning,

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Speaker 3: Blarn Laryn Clarinho, Blannard bla bl blonard. Now I still

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Speaker 3: on the guitar and I try to learn those parts

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Speaker 3: now and I pretty much got it. But I'm not

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Speaker 3: as nice as Spank. You know. Spank is like I

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Speaker 3: got hard bass fingers. I play really hard, but just

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Speaker 3: knowing like to put him in one of the greatest

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Speaker 3: hip hop bands ever. You know, to you guys that

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Speaker 3: Grace Philly put that on your record.

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Speaker 4: When I was.

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Speaker 3: Working with you guys in the record, I feel like

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Speaker 3: I have to do nothing. You got the best, you

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Speaker 3: gotta you gotta guy to rap in your group that

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Speaker 3: could rap for sixty ninety months, But I'll stop. You

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Speaker 3: got you Who's just gonna play a beat that everybody like?

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Speaker 3: I got Spanky playing guitar. I have to do nothing

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Speaker 3: but whisper something that was it? So that's him. Wow.

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Speaker 3: I mean I had. All I had to do was

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Speaker 3: matching me a drums boom boom boom boom. So people

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Speaker 3: say you produced that record, I was like, bruh, that's

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Speaker 3: like being Phil Jackson with Jordan on the team. I

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Speaker 3: don't know if that's producing. That's called a that's called

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Speaker 3: a perfect storm in a room with the best people.

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Speaker 5: Sometimes less is more and that trust me that helped,

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Speaker 5: that everything about that should helped. I also like to

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Speaker 5: know you were the person that also taught me the

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Speaker 5: one thing that my girlfriend hates, which is abusing my awards.

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Speaker 5: When I got to your house, your American Music Award

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Speaker 5: was your doorstop. That's when I was like, well, you know, stop,

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Speaker 5: so I've used every grammar I ever had, like bathroom,

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Speaker 5: all that stuff, And you know, is that is that

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Speaker 5: American Music a Wards still like somewhere in the draft somewhere.

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Speaker 3: Probably you know is probably I just said. I just

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Speaker 3: remember I did this interview and I forgot that that

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Speaker 3: thing was in the corner man and somewhere, and this

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Speaker 3: lady wrote, yeah, his American Music Awards was like in

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Speaker 3: the corner with like dust all over him, like I

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Speaker 3: just never.

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Speaker 1: When we went on that night, I was like, yo, man,

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Speaker 1: his award was a doorstopper. And I was like, yeah, man,

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Speaker 1: I want to be that famous one day where I

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Speaker 1: just don't give a fuck. We're my grad that's woman

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Speaker 1: do when I get my ship and.

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Speaker 2: You know what, a guy first went right on the toilet.

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Speaker 2: I was like, I'm gonna top of you.

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Speaker 3: Fel one of the guys from around your Way to

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Speaker 3: the famous Tom Bell. I met Tom Bell through his

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Speaker 3: daughter one time. I was walking down the street and

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Speaker 3: I'm like, hey, in San Francisco. I said, you look familiar,

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Speaker 3: he said, I'm not. Before she said, you know, it

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Speaker 3: sounded like a one liner. She was cute, and she goes, yeah,

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Speaker 3: I'm Tom Bell's daughter, and I go, Damn. She said,

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Speaker 3: that's that's what you said last time you met me.

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Speaker 3: So I said, come to the show. She comes to

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Speaker 3: the show. We're walking down the street. She put Tom

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Speaker 3: Bell on the phone. Tom Bell tells me don't worry

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Speaker 3: about awards, Grammys, any and that stuff. He said, because

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Speaker 3: when I the I R s come to your house,

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Speaker 3: they leave those on the mantelpiece.

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Speaker 6: Damn, that ain't even real goal.

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Speaker 3: And so then one of my then one of my

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Speaker 3: friends who got a drug case and one of my

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Speaker 3: good friends, and he wanted me to bail them out.

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Speaker 3: And so the Bell people came to my house and

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Speaker 3: they wanted me to sign my They wanted me to

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Speaker 3: uh sign my house's collateral. So guy I grew up

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Speaker 3: with and I was like, I'm not putting up my

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Speaker 3: house collateral. In my head like I'm doing that, even

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Speaker 3: though I knew he wasn't gonna run, but they was

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Speaker 3: offering him nine year, nine year deal. They wanted to

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Speaker 3: cut his locks off. He wasn't doing none of that.

255
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Speaker 3: So the lady and her daughter they look up at

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Speaker 3: my wall and they see all these gold albums. She goes,

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Speaker 3: what about four those? And I did like this, they

258
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Speaker 3: don't mean nothing.

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Speaker 4: They don't mean nothing.

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Speaker 3: Do I act like a billion dollars? I was like,

261
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Speaker 3: are you're acting?

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Speaker 6: I love it?

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Speaker 3: Okay, maybe I could part which is maybe four for

264
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Speaker 3: a little while too. They took those gold albums down

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Speaker 3: like they was worth a million dollars apiece?

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Speaker 6: Are gold albums gold?

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Speaker 3: No about? I mean?

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Speaker 4: Thank you for Yeah, they're not anyone get question honest question?

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Speaker 6: Sorry?

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Speaker 3: Wait yeah, Ray, that's hilarious.

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Speaker 1: I gotta say that your your your work with with

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Speaker 1: G one and and DJ Quick definitely felt like was

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Speaker 1: a marriage made in heaven. I always wanted to know

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Speaker 1: why you didn't do more with them, or at least

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Speaker 1: in that period.

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Speaker 3: You're good, you really good questions.

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Speaker 4: I'm a fan.

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Speaker 5: Yeah, I want to ask you about Jaking the fat

279
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Speaker 5: Man too. After this that's going.

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Speaker 2: Yeah, yeah, but I wanted to know, why do you

281
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Speaker 2: want to DJ?

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Speaker 1: Quick didn't work with you more, which led you and

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Speaker 1: I love your work with Jake and fat Man.

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Speaker 4: Two.

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Speaker 3: What happened was they Jake and the fat Man is just

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00:15:19,200 --> 00:15:27,760
Speaker 3: scratched them. They're just terrible people. Damn ok wow, I

287
00:15:27,800 --> 00:15:30,800
Speaker 3: worth talking about. Scept Bobby, the guy who programmed drums,

288
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Speaker 3: was like really good. He was more like he was

289
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Speaker 3: more like trying to be like a dealer. He I've

290
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Speaker 3: always needed drum programmers to to finish what I like

291
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Speaker 3: to do, and he was that. But the rest of

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Speaker 3: it was not even not worth anything talking about. But

293
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Speaker 3: back to Quick in g one. The reason why we

294
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Speaker 3: didn't do more songs because it was a budget thing

295
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Speaker 3: and I wanted to do three songs with him, but

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Speaker 3: the band kept saying it was too much money. So

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Speaker 3: every time I would say it was okay, Quick would

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Speaker 3: come back to me and said, lawyer said it wasn't okay.

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Speaker 3: So after three times I asked my brother, who's saying

300
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Speaker 3: no when I'm saying yes? So we were going to

301
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Speaker 3: get about three songs for probably forty five thousand dollars,

302
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Speaker 3: which was a deal. Quick Yeah, and Quick was being

303
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Speaker 3: really cool with us, and they wouldn't. They were never

304
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Speaker 3: okay to budget, So we end up only doing one

305
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Speaker 3: which we would have follow up songs, and it was

306
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Speaker 3: less get down and pretty much nobody showed up to

307
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Speaker 3: the sessions but me. So that was the band, wasn't it.

308
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Speaker 3: That was just me and Quick in G One Wow.

309
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Speaker 3: And that's why we didn't get more songs. I wanted

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Speaker 3: three songs, so if we have this record, we'd have

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Speaker 3: a follow up and a follow up. You know, you're young,

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Speaker 3: you know, you know knowledge is wasted on the young.

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Speaker 3: You know, we didn't didn't know, you.

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Speaker 1: Know, towards the end of House of Music, did you

315
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Speaker 1: know that this is the end of my tenure with

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Speaker 1: with Tony to.

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Speaker 3: Yeah, I was short of the dummy and that in

318
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Speaker 3: that one, because I think I went to like the

319
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Speaker 3: President was like, yeah, this is my last album, and

320
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Speaker 3: I had written more than half the songs. And so

321
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Speaker 3: that's a mistake you don't do when you because they

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00:17:22,240 --> 00:17:26,320
Speaker 3: would have promoted the song even more the albums if

323
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Speaker 3: I said I was doing the next album right. And

324
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Speaker 3: so instead of putting the money into us, they put

325
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Speaker 3: into the other little group. They had those little three kids. Uh,

326
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Speaker 3: I forget the name of them. Now three little white kids,

327
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Speaker 3: little pop group all for whime. They were Brothers now

328
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Speaker 3: Nicholas before them.

329
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Speaker 4: Was it was it all? It wasn't. It wasn't.

330
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Speaker 2: Like there's that type of group like t r L

331
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Speaker 2: group or.

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Speaker 3: Yeah, I saw with a t r S the something

333
00:17:57,280 --> 00:18:10,560
Speaker 3: brothers like a hands not a t Yeah, it was Handsen.

334
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Speaker 3: So once I came back like, you know, yeah, I

335
00:18:13,800 --> 00:18:16,760
Speaker 3: don't think I'm gonna do any more records and solo

336
00:18:16,920 --> 00:18:19,800
Speaker 3: record and so what they did, they just made the

337
00:18:19,840 --> 00:18:23,040
Speaker 3: money back that they put out on this and and

338
00:18:23,080 --> 00:18:29,560
Speaker 3: they can't be moving that move on my part. But

339
00:18:29,600 --> 00:18:32,159
Speaker 3: I was definitely, I definitely knew that I didn't know

340
00:18:32,200 --> 00:18:33,760
Speaker 3: if I was going to do a solo record. I

341
00:18:34,040 --> 00:18:36,240
Speaker 3: was really confused because I really loved being in bands

342
00:18:36,280 --> 00:18:37,480
Speaker 3: and so you know.

343
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Speaker 1: Yeah, which leads to the the original Lucy Pearl, which

344
00:18:40,920 --> 00:18:41,960
Speaker 1: was supposed to be.

345
00:18:43,560 --> 00:18:45,440
Speaker 2: Delroy Li Rose.

346
00:18:46,320 --> 00:18:52,920
Speaker 7: Yeah, talk about your Uma slash lim Wip Rose slash

347
00:18:53,680 --> 00:18:56,600
Speaker 7: like your side groups and the idea of the super

348
00:18:56,600 --> 00:18:57,399
Speaker 7: group that sort of.

349
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Speaker 2: I mean, yes, Lucy Pearl got off the ground, but

350
00:19:03,560 --> 00:19:04,160
Speaker 2: you know, well the.

351
00:19:04,119 --> 00:19:07,199
Speaker 3: First the first one was gonna be Lambert Rose, but

352
00:19:07,760 --> 00:19:12,200
Speaker 3: with Michael Archer and and and Uh and Q Tip.

353
00:19:12,040 --> 00:19:15,320
Speaker 2: Kamar and was in this as well.

354
00:19:16,160 --> 00:19:17,600
Speaker 3: Lamar was part of Lynwald Rose.

355
00:19:18,720 --> 00:19:20,200
Speaker 2: I did that. I did not know.

356
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Speaker 4: Okay, it was.

357
00:19:21,840 --> 00:19:25,600
Speaker 3: Us three, but you know those are my really good friends,

358
00:19:25,600 --> 00:19:30,119
Speaker 3: and we're we're very left brain people, right, and we're artists.

359
00:19:30,160 --> 00:19:33,919
Speaker 3: And at the time d was hottest, you know, he

360
00:19:33,960 --> 00:19:36,480
Speaker 3: was hotter than Fish Crease at this point. So you

361
00:19:36,520 --> 00:19:39,000
Speaker 3: know his defense, he couldn't really stop to do that,

362
00:19:40,080 --> 00:19:42,439
Speaker 3: you know what I mean, He couldn't stop to do that,

363
00:19:42,480 --> 00:19:43,960
Speaker 3: and he wasn't gonna stop to do that, but he

364
00:19:44,080 --> 00:19:46,720
Speaker 3: wanted to do it. Chip kind of wanted to do it,

365
00:19:46,760 --> 00:19:50,320
Speaker 3: but with all of us being so left brained, it

366
00:19:50,440 --> 00:19:52,560
Speaker 3: just it could have never worked, you know what I mean.

367
00:19:52,800 --> 00:19:54,199
Speaker 3: I mean, you know the story better than me.

368
00:19:54,760 --> 00:19:56,040
Speaker 4: So speaking the.

369
00:19:56,000 --> 00:19:59,800
Speaker 1: Way before, I forget what exactly did you do on midnight?

370
00:20:00,040 --> 00:20:03,120
Speaker 1: Because I asked Bob Power all the time, like Raphael

371
00:20:03,200 --> 00:20:08,520
Speaker 1: has credit on Midnight on Midnight on Midnight, Marauders, is

372
00:20:08,520 --> 00:20:10,800
Speaker 1: that you on BASSI is that your fuzz line?

373
00:20:11,520 --> 00:20:13,320
Speaker 3: No, that's me on the night is on my mind?

374
00:20:13,840 --> 00:20:15,440
Speaker 2: Yeah? Well the song is called.

375
00:20:15,440 --> 00:20:17,240
Speaker 3: Playing Bass Midnight.

376
00:20:17,320 --> 00:20:23,359
Speaker 5: Oh, that's in Playing Bass okay, okay, right, yeah, I'm

377
00:20:23,359 --> 00:20:25,200
Speaker 5: thinking it's the guitar organ.

378
00:20:26,680 --> 00:20:28,800
Speaker 3: My claim to fame is I'm the only R and

379
00:20:28,840 --> 00:20:31,520
Speaker 3: B cat on one of the biggest hip hop albums

380
00:20:31,520 --> 00:20:33,480
Speaker 3: in the world, like Shut It Down, Drop the Mic.

381
00:20:34,560 --> 00:20:36,639
Speaker 3: I don't want to hear it hip hop fans, I

382
00:20:36,680 --> 00:20:39,199
Speaker 3: don't want to hear it Living Dreams.

383
00:20:39,480 --> 00:20:43,159
Speaker 1: You came out to play with them, uh the first

384
00:20:43,320 --> 00:20:45,640
Speaker 1: Like me and Tarik went to a tried New Year

385
00:20:45,680 --> 00:20:48,200
Speaker 1: shill in New York and you came out and played

386
00:20:48,240 --> 00:20:48,760
Speaker 1: bass with him.

387
00:20:48,800 --> 00:20:51,280
Speaker 2: We was like, like losing our minds.

388
00:20:51,560 --> 00:20:56,080
Speaker 3: Yeah, I love hip hop is just so I mean,

389
00:20:56,240 --> 00:20:58,359
Speaker 3: so it's so bass heavy for me and I just

390
00:20:58,440 --> 00:21:01,640
Speaker 3: like when I first heard when I first heard rappers

391
00:21:01,640 --> 00:21:03,280
Speaker 3: the light when I was a kid came on the

392
00:21:03,359 --> 00:21:06,280
Speaker 3: radio or I was like and it wasn't good times.

393
00:21:06,320 --> 00:21:09,040
Speaker 3: I was like what is this. I was like, oh,

394
00:21:09,080 --> 00:21:13,159
Speaker 3: it's on, and from there it was all about it

395
00:21:13,240 --> 00:21:14,760
Speaker 3: was all about New York hip hop for me. I

396
00:21:14,840 --> 00:21:18,520
Speaker 3: just always, I mean, I just always like the Brownstones.

397
00:21:18,560 --> 00:21:20,240
Speaker 3: I was in love with Brownstones. I didn't even know

398
00:21:20,280 --> 00:21:23,960
Speaker 3: what they were called, you know. I actually like when

399
00:21:24,000 --> 00:21:26,640
Speaker 3: I saw roun DMC come to Oakland and they got

400
00:21:26,640 --> 00:21:29,520
Speaker 3: off the tour bus and Hurricane and all these jackets

401
00:21:29,520 --> 00:21:33,040
Speaker 3: came out with Death Jam. It just looks so New York,

402
00:21:33,080 --> 00:21:36,280
Speaker 3: looks so powerful and strong for hip hop. I just

403
00:21:36,359 --> 00:21:39,880
Speaker 3: always uh knew it it was. It was a base thing,

404
00:21:39,880 --> 00:21:43,879
Speaker 3: and I just always wanted to, you know, beat some bass.

405
00:21:43,920 --> 00:21:45,720
Speaker 3: I still want to do a project where I'm playing

406
00:21:45,760 --> 00:21:48,480
Speaker 3: bass and it's just basing drums. And I just got

407
00:21:48,520 --> 00:21:52,400
Speaker 3: like mcs just like rhyming on an album, just as

408
00:21:52,640 --> 00:21:59,439
Speaker 3: why yet, what's that organization, you know, organizing it?

409
00:22:00,840 --> 00:22:05,439
Speaker 1: I feel you How, how when you finally got to

410
00:22:05,480 --> 00:22:08,800
Speaker 1: do Instant Vintage, how is that for you? Like to

411
00:22:09,119 --> 00:22:11,960
Speaker 1: you know, like, now that you're officially on your own

412
00:22:12,040 --> 00:22:16,640
Speaker 1: as a solo artist, was it.

413
00:22:15,800 --> 00:22:17,199
Speaker 2: An easy pivot to do?

414
00:22:17,520 --> 00:22:20,719
Speaker 1: Or you know, because now you don't have I mean,

415
00:22:20,760 --> 00:22:24,240
Speaker 1: I'm assuming that there's some level of collaboration between you

416
00:22:24,760 --> 00:22:28,720
Speaker 1: and and yeah, the rest of your band that you know,

417
00:22:28,880 --> 00:22:31,320
Speaker 1: makes the process easy. But if you're there alone just

418
00:22:31,359 --> 00:22:34,359
Speaker 1: making the decisions that that has to be a harder

419
00:22:34,400 --> 00:22:36,600
Speaker 1: thing where you're responsible for everything.

420
00:22:37,520 --> 00:22:41,840
Speaker 3: Musically, it wasn't hard at all. What was hard was

421
00:22:41,880 --> 00:22:47,720
Speaker 3: the interviews the press because I was used to being

422
00:22:47,760 --> 00:22:49,720
Speaker 3: able to if I was tired to break up the

423
00:22:49,760 --> 00:22:52,959
Speaker 3: interviews into like two or three. I don't know how

424
00:22:53,000 --> 00:22:55,359
Speaker 3: people do the whole solo thing, whereas it's like people

425
00:22:55,400 --> 00:23:00,359
Speaker 3: talk to you all day. That that drove me crazylam music.

426
00:23:00,440 --> 00:23:02,600
Speaker 3: I could you could leave me in a room. I mean,

427
00:23:02,640 --> 00:23:04,320
Speaker 3: I got everything in my room right now, I got

428
00:23:04,320 --> 00:23:05,920
Speaker 3: able to hear. I could pull up right now and

429
00:23:05,960 --> 00:23:07,600
Speaker 3: write a song right now. I got my mic in here.

430
00:23:07,600 --> 00:23:11,200
Speaker 3: I could do that all day. But when you start

431
00:23:11,280 --> 00:23:15,720
Speaker 3: getting me like you gotta talk to twenty people, and

432
00:23:15,760 --> 00:23:19,439
Speaker 3: I can't go like Dwayne take just take forties, Tim

433
00:23:19,480 --> 00:23:22,639
Speaker 3: take three of these. I was confused about that. I

434
00:23:22,720 --> 00:23:26,720
Speaker 3: think I gave a call to UH to Mike Mike Archer,

435
00:23:26,720 --> 00:23:30,360
Speaker 3: and I said, hey, bro, I said, man, I gotta

436
00:23:30,400 --> 00:23:33,320
Speaker 3: give you a couple of props because this is like

437
00:23:33,400 --> 00:23:35,720
Speaker 3: a little different, you know, like and you know he

438
00:23:35,760 --> 00:23:39,720
Speaker 3: don't really do interviews, he don't do them, you know,

439
00:23:39,760 --> 00:23:41,960
Speaker 3: but you know you can't, you know, so I'm I

440
00:23:41,960 --> 00:23:44,040
Speaker 3: can't really be that person. It looks like I'm copying

441
00:23:44,040 --> 00:23:46,520
Speaker 3: printing somebody. I don't talk to people. I mean, I

442
00:23:46,560 --> 00:23:50,760
Speaker 3: really couldn't pull that. No, But yeah, I think that

443
00:23:50,960 --> 00:23:54,040
Speaker 3: was the hardest part. And I think performing live. Was

444
00:23:54,920 --> 00:23:56,880
Speaker 3: I thought I had it all together and I did

445
00:23:56,920 --> 00:23:59,840
Speaker 3: this show in Chicago. I think I was singing this

446
00:24:00,040 --> 00:24:03,639
Speaker 3: so called damn. I don't even know the name of

447
00:24:03,680 --> 00:24:09,480
Speaker 3: the song. Now go upstairs and change.

448
00:24:10,080 --> 00:24:12,680
Speaker 4: I was singing body the string arrangements on that song too, man,

449
00:24:12,800 --> 00:24:14,600
Speaker 4: I love thank you.

450
00:24:15,080 --> 00:24:19,359
Speaker 3: That was that Benjamin Wright, and I think I walked

451
00:24:19,480 --> 00:24:22,960
Speaker 3: out and I just uh, I sounded like the sheep

452
00:24:23,040 --> 00:24:25,400
Speaker 3: every for the whole song. I was like this, man,

453
00:24:25,840 --> 00:24:30,000
Speaker 3: long time, I'm talking about the whole entire song. I'm like,

454
00:24:30,320 --> 00:24:32,320
Speaker 3: shake out of it. Shake out. I couldn't do it

455
00:24:32,400 --> 00:24:35,760
Speaker 3: until like maybe second in the middle of the second song.

456
00:24:36,880 --> 00:24:38,480
Speaker 3: I popped out of it. I said, I didn't even

457
00:24:38,520 --> 00:24:41,439
Speaker 3: know I could be that scared. I was really nervous

458
00:24:41,440 --> 00:24:44,640
Speaker 3: because when I had my brother on this side, and

459
00:24:44,720 --> 00:24:46,439
Speaker 3: Tim and all the guys behind me, it's like you

460
00:24:46,480 --> 00:24:48,359
Speaker 3: got a wall of people. You know, it'd be like

461
00:24:48,400 --> 00:24:50,560
Speaker 3: you playing with the Roots, and I'm like, just leave

462
00:24:50,560 --> 00:24:53,359
Speaker 3: everybody off the stage and you just go play drums

463
00:24:53,359 --> 00:24:55,280
Speaker 3: and you go rap a song. It's it's it's gonna

464
00:24:55,320 --> 00:24:57,040
Speaker 3: be a little different, even though you know you're about

465
00:24:57,040 --> 00:25:01,320
Speaker 3: to get off. That was a little weird, a career.

466
00:25:03,000 --> 00:25:04,720
Speaker 5: I want to ask you about that record too, man,

467
00:25:05,440 --> 00:25:08,199
Speaker 5: the record with Calvin Richards and how did y'all hook up?

468
00:25:08,240 --> 00:25:11,200
Speaker 4: He's another excuse me, yeah, excuse.

469
00:25:10,840 --> 00:25:13,600
Speaker 3: Me, yeah, excuse me? Well that song. I wrote that

470
00:25:13,680 --> 00:25:17,720
Speaker 3: song for Angie Stone, okay, And so once we were

471
00:25:17,760 --> 00:25:19,879
Speaker 3: singing and it was happening, I was like, hey, Angie,

472
00:25:19,920 --> 00:25:22,159
Speaker 3: I think I need this for my album. And he

473
00:25:22,800 --> 00:25:24,640
Speaker 3: just happened to be hanging out with her that day

474
00:25:25,080 --> 00:25:26,680
Speaker 3: and I told both of them. I was like, yeah,

475
00:25:26,720 --> 00:25:28,679
Speaker 3: I think I'm taking this one from my album, and

476
00:25:28,680 --> 00:25:31,520
Speaker 3: that's how I got on the album, and they were

477
00:25:31,560 --> 00:25:32,080
Speaker 3: cool about it.

478
00:25:32,200 --> 00:25:38,879
Speaker 1: Speaking of excuse me, speaking of excuse me, dog, why

479
00:25:38,920 --> 00:25:42,199
Speaker 1: did you why did you take the live off the

480
00:25:42,200 --> 00:25:47,840
Speaker 1: House of Blues album out of rotation like in streaming.

481
00:25:49,280 --> 00:25:53,600
Speaker 1: I can't mind it nowhere only because that version of

482
00:25:53,680 --> 00:25:55,119
Speaker 1: excuse me on that record.

483
00:25:57,600 --> 00:26:00,760
Speaker 2: To me, will you guys do the false ending it's.

484
00:26:00,600 --> 00:26:03,520
Speaker 5: Gonna be y'all and then you go back into the song.

485
00:26:04,280 --> 00:26:05,400
Speaker 2: That's my favorite ship.

486
00:26:05,480 --> 00:26:09,120
Speaker 1: I abused, like after I heard that, almost every Root

487
00:26:09,200 --> 00:26:12,600
Speaker 1: song does a false ending. Yeah, it goes back to

488
00:26:12,680 --> 00:26:16,159
Speaker 1: the that is my favorite thing. I'm just begging you

489
00:26:16,200 --> 00:26:17,480
Speaker 1: please put that record.

490
00:26:18,800 --> 00:26:21,439
Speaker 3: Yeah, Yeah, I am. That was in the VARs. That

491
00:26:21,560 --> 00:26:23,879
Speaker 3: was that was the first when I That was the

492
00:26:23,920 --> 00:26:26,919
Speaker 3: first records that I like that I did independently. So

493
00:26:26,960 --> 00:26:30,120
Speaker 3: those two records Ray Ray and that record I'm re

494
00:26:30,119 --> 00:26:33,600
Speaker 3: releasing and I'm trying to get Lucy pro album back

495
00:26:33,680 --> 00:26:35,840
Speaker 3: right now to h to release them all of my

496
00:26:36,280 --> 00:26:38,440
Speaker 3: new my new venture wait.

497
00:26:39,880 --> 00:26:40,400
Speaker 2: For streaming.

498
00:26:41,040 --> 00:26:43,520
Speaker 3: No, it's still available, but it's not not the way

499
00:26:43,560 --> 00:26:44,520
Speaker 3: it should be available.

500
00:26:46,280 --> 00:26:48,120
Speaker 4: Trying to bring that thing back under new management.

501
00:26:51,880 --> 00:26:55,120
Speaker 5: About Lucy perl Man, So I've seen, yeah, I've seen,

502
00:26:55,320 --> 00:26:58,520
Speaker 5: Like I've heard stories from a lot of people that

503
00:26:58,560 --> 00:27:04,240
Speaker 5: were involved Don stuff from your perspective, what was that experience, like.

504
00:27:04,320 --> 00:27:06,879
Speaker 4: What what was the kind of rise fall whatever? How

505
00:27:06,960 --> 00:27:10,720
Speaker 4: was that part? Yeah, why did you only do one

506
00:27:10,760 --> 00:27:11,320
Speaker 4: one record?

507
00:27:13,160 --> 00:27:16,240
Speaker 3: Well, Don Robinson only she she wanted to do a

508
00:27:16,240 --> 00:27:19,359
Speaker 3: solo album before she actually worked with us, and I

509
00:27:19,359 --> 00:27:20,919
Speaker 3: think she wanted to do a solo record when she

510
00:27:21,000 --> 00:27:25,080
Speaker 3: worked with in Vogue. So I think Sylvia wrong gave

511
00:27:25,080 --> 00:27:28,240
Speaker 3: her a deal, Doctor Dre gave her a deal and

512
00:27:28,240 --> 00:27:31,159
Speaker 3: none of those worked out. And then she kind of

513
00:27:31,160 --> 00:27:33,400
Speaker 3: grew up in Oakland. I think she's from Connecticut, though

514
00:27:33,440 --> 00:27:37,399
Speaker 3: from some part of in some part of Connecticut, but

515
00:27:37,440 --> 00:27:39,520
Speaker 3: she grew up in Oakland a lot, so I just

516
00:27:39,560 --> 00:27:43,200
Speaker 3: thought first we were gonna get We were auditioning girls.

517
00:27:43,240 --> 00:27:48,320
Speaker 3: In the first girl we talked to Aamar Braxton, h okay.

518
00:27:48,760 --> 00:27:52,280
Speaker 3: So then we were like maybe not. And then we

519
00:27:52,400 --> 00:27:57,280
Speaker 3: said so somebody said I should call Don Robinson. It

520
00:27:57,440 --> 00:27:59,159
Speaker 3: kind of heard some stories, but I was like, you know,

521
00:27:59,240 --> 00:28:01,119
Speaker 3: let's see if she wanted to do it. And she did.

522
00:28:01,240 --> 00:28:02,879
Speaker 3: She agreed to do it. We worked with it. I

523
00:28:02,920 --> 00:28:06,600
Speaker 3: got my friend may to Uh. She's a female writer

524
00:28:06,680 --> 00:28:08,919
Speaker 3: who don knows, she's from Oakland. She sing with a

525
00:28:08,920 --> 00:28:11,520
Speaker 3: lot of country singers. She's a great writer, and so

526
00:28:11,600 --> 00:28:13,479
Speaker 3: she came on. She came on board and we just

527
00:28:14,240 --> 00:28:18,200
Speaker 3: got together. As soon as the record came out we

528
00:28:18,240 --> 00:28:22,000
Speaker 3: got to Amsterdam, Don was like, this is my last record,

529
00:28:22,359 --> 00:28:25,440
Speaker 3: my last tour. And we were only like three months

530
00:28:25,440 --> 00:28:29,639
Speaker 3: into the record, and so she pretty much quit. She

531
00:28:29,680 --> 00:28:32,879
Speaker 3: pretty much quit pretty fast. And I mean, if you

532
00:28:33,040 --> 00:28:35,600
Speaker 3: follow her thread on YouTube, you'll hear her dogging just

533
00:28:35,680 --> 00:28:37,399
Speaker 3: killing me, saying I help her lose her house.

534
00:28:37,600 --> 00:28:39,400
Speaker 6: And yeah, she's not happy.

535
00:28:39,520 --> 00:28:41,360
Speaker 3: I mean, but the grip was all together for three mins,

536
00:28:41,400 --> 00:28:43,280
Speaker 3: and your house would have been an escrow. I mean,

537
00:28:44,640 --> 00:28:46,280
Speaker 3: all of a sudden, we didn't stay longer. We didn't.

538
00:28:46,360 --> 00:28:48,400
Speaker 3: We didn't stay together long enough for somebody to buy

539
00:28:48,440 --> 00:28:49,640
Speaker 3: a house or lose a house.

540
00:28:49,960 --> 00:28:53,400
Speaker 6: Yeah, and then came Joy, right.

541
00:28:53,280 --> 00:28:56,120
Speaker 3: And then Joy helped me out and came to finish

542
00:28:56,120 --> 00:28:59,400
Speaker 3: the tour for us. We were just finishing the tour off.

543
00:28:59,480 --> 00:29:02,080
Speaker 3: Really that was it. But we had a We had

544
00:29:02,080 --> 00:29:05,120
Speaker 3: a blast making an album. But when we were doing

545
00:29:05,120 --> 00:29:08,000
Speaker 3: the vocals, I pretty much would go to Lemandria and

546
00:29:08,040 --> 00:29:11,360
Speaker 3: get drunk and then uh, the other guys will produced

547
00:29:11,440 --> 00:29:16,680
Speaker 3: vocals with with her, Doctor Dre said. Doctor d said,

548
00:29:16,720 --> 00:29:19,360
Speaker 3: so I want to know this, how did you get

549
00:29:19,360 --> 00:29:23,360
Speaker 3: an album done? Basically I went to Leandrea and got

550
00:29:23,440 --> 00:29:24,560
Speaker 3: drunk when she did vocals.

551
00:29:26,040 --> 00:29:29,120
Speaker 4: Man, appreciate that's that's hilarious.

552
00:29:29,680 --> 00:29:33,400
Speaker 5: So with Joy, because I love like of your of

553
00:29:33,440 --> 00:29:34,600
Speaker 5: your solo records.

554
00:29:34,280 --> 00:29:37,240
Speaker 4: I think maybe Ray Ray might be my favorite. You

555
00:29:37,280 --> 00:29:37,880
Speaker 4: know what I'm saying that.

556
00:29:39,720 --> 00:29:40,040
Speaker 3: Record?

557
00:29:40,680 --> 00:29:43,480
Speaker 4: Man, Listen, we was on we was on tour. That's uh.

558
00:29:43,520 --> 00:29:44,160
Speaker 4: We was torn.

559
00:29:44,520 --> 00:29:46,920
Speaker 5: I forgot little brother was torn some day where I

560
00:29:46,960 --> 00:29:48,800
Speaker 5: can't remember, but we used to run that ship on

561
00:29:48,840 --> 00:29:49,440
Speaker 5: the tour bus.

562
00:29:49,520 --> 00:29:52,640
Speaker 4: And Joy's intro like I did a record with Joy

563
00:29:52,680 --> 00:29:54,080
Speaker 4: a couple of years ago, she came to the crib.

564
00:29:54,120 --> 00:30:01,080
Speaker 5: We recorded man, listen what you Love, because for me,

565
00:30:01,680 --> 00:30:05,520
Speaker 5: save Us is the greatest song of all time. I'm

566
00:30:05,640 --> 00:30:10,400
Speaker 5: jacking the ship out that song on the next Roots record, especially.

567
00:30:11,640 --> 00:30:12,800
Speaker 2: Especially now.

568
00:30:13,560 --> 00:30:18,120
Speaker 3: Well yeah, yeah, that's funny. Yeah that that was a

569
00:30:18,920 --> 00:30:20,880
Speaker 3: that was gonna be my record to the way I

570
00:30:20,960 --> 00:30:24,800
Speaker 3: kind of curated those records were like, when I did Instadvintage,

571
00:30:24,840 --> 00:30:28,120
Speaker 3: I was like, this is my introduction Ray Ray, I

572
00:30:28,200 --> 00:30:30,200
Speaker 3: was like, I'm just gonna have the most fun I

573
00:30:30,240 --> 00:30:32,800
Speaker 3: could ever have. And then when I did the Way

574
00:30:32,840 --> 00:30:34,680
Speaker 3: I See It, I did When I did the Way

575
00:30:34,720 --> 00:30:37,120
Speaker 3: I See It, I was like, this is gonna tell

576
00:30:37,120 --> 00:30:40,960
Speaker 3: everybody how much I was like love the motown in

577
00:30:41,000 --> 00:30:44,680
Speaker 3: the sixties. So I just really played dress up on

578
00:30:44,680 --> 00:30:47,040
Speaker 3: that record, and I dressed like that for a whole year,

579
00:30:47,120 --> 00:30:49,920
Speaker 3: and and I had because that record actually came out

580
00:30:49,920 --> 00:30:52,400
Speaker 3: before Amy Amy Winehows came out, and we used to

581
00:30:52,480 --> 00:30:54,479
Speaker 3: talk a lot about it, and she came out with

582
00:30:54,520 --> 00:30:56,640
Speaker 3: her record and really blew up, which gave me an

583
00:30:56,640 --> 00:31:01,360
Speaker 3: open gate to like really taking that record further. But yeah,

584
00:31:01,400 --> 00:31:04,600
Speaker 3: that was that was in my records, and yeah, your

585
00:31:04,600 --> 00:31:08,440
Speaker 3: little Brother records though, Bro, were just I was like, what,

586
00:31:09,640 --> 00:31:12,560
Speaker 3: thank you so much? What record? What records? What record

587
00:31:12,640 --> 00:31:15,000
Speaker 3: was it was? It? Was it Little Brother or was

588
00:31:15,040 --> 00:31:21,680
Speaker 3: it another group out of Detroit Extreme that did the

589
00:31:21,680 --> 00:31:27,920
Speaker 3: the slum that did the spoof of cheating Bob of

590
00:31:28,000 --> 00:31:34,120
Speaker 3: the jazz singer that was that was that was spoof too, though, right.

591
00:31:34,560 --> 00:31:37,000
Speaker 5: We did we did like the cheating, the Ron Eisley

592
00:31:37,080 --> 00:31:38,000
Speaker 5: or Kelly kind of spoof.

593
00:31:38,040 --> 00:31:39,920
Speaker 4: We did that cheating.

594
00:31:40,560 --> 00:31:47,600
Speaker 5: Yeah, that's all me, okay because rolling Thank you, Bro,

595
00:31:48,040 --> 00:31:50,840
Speaker 5: I didn't realize. I didn't realize that you were doing

596
00:31:50,840 --> 00:31:56,080
Speaker 5: both voices. I thought the straight was was was always

597
00:31:56,480 --> 00:31:59,520
Speaker 5: I thought you and I thought the straight boys guys.

598
00:31:59,680 --> 00:32:03,280
Speaker 5: Was I forget your partner this name right now?

599
00:32:03,520 --> 00:32:04,200
Speaker 2: Damn uh.

600
00:32:05,960 --> 00:32:06,200
Speaker 3: Yes?

601
00:32:06,680 --> 00:32:08,680
Speaker 4: Nah? No, hell no.

602
00:32:10,600 --> 00:32:14,880
Speaker 1: Genius because I thought, who's purposely singing like sharp?

603
00:32:15,200 --> 00:32:19,520
Speaker 5: Like there was a whole science behind that thing. No, nah,

604
00:32:19,680 --> 00:32:22,720
Speaker 5: that was me that really in the fact.

605
00:32:22,840 --> 00:32:27,360
Speaker 3: Okay, my little brother came on. I was like little Brother.

606
00:32:27,440 --> 00:32:29,560
Speaker 3: I was like, I was selling everybody.

607
00:32:29,640 --> 00:32:34,400
Speaker 4: I was like, thank you man, thank you man, And

608
00:32:34,520 --> 00:32:34,840
Speaker 4: you have to.

609
00:32:34,920 --> 00:32:36,480
Speaker 3: Sing, Bro, you could sing sing?

610
00:32:37,640 --> 00:32:39,840
Speaker 4: I tried. Yeah, when we did both speaking.

611
00:32:40,080 --> 00:32:42,600
Speaker 6: The last time we were together.

612
00:32:42,600 --> 00:32:43,960
Speaker 3: That's why we were together.

613
00:32:45,000 --> 00:32:45,320
Speaker 6: Was singing.

614
00:32:46,480 --> 00:32:48,480
Speaker 3: Almost feels that he was a little brother because he

615
00:32:48,600 --> 00:32:51,320
Speaker 3: was singing so good. I got, I got all, I

616
00:32:51,360 --> 00:32:55,280
Speaker 3: got all the way home and was like that was hell.

617
00:32:55,400 --> 00:32:57,280
Speaker 3: It was from a little brother that was singing the

618
00:32:57,320 --> 00:32:58,360
Speaker 3: hell out of that song.

619
00:32:59,080 --> 00:33:01,560
Speaker 5: Thank you, Bro, I hit you. Afterwards, I hit you.

620
00:33:01,720 --> 00:33:04,440
Speaker 5: I was like, Yo, appreciated, but yeah, no, I was.

621
00:33:04,800 --> 00:33:05,640
Speaker 5: I love that time man.

622
00:33:06,480 --> 00:33:09,760
Speaker 3: Picnic was like I was like in shock because you know,

623
00:33:09,840 --> 00:33:12,240
Speaker 3: I mean because questioning like the way they the way

624
00:33:12,280 --> 00:33:14,160
Speaker 3: they just kind of grew and everything. You just sit

625
00:33:14,240 --> 00:33:16,960
Speaker 3: back and look at how somebody grow. I'm looking at

626
00:33:17,000 --> 00:33:19,640
Speaker 3: these people and I'm looking all like the African artists

627
00:33:19,680 --> 00:33:22,240
Speaker 3: on the on the on the actually on the bill

628
00:33:22,880 --> 00:33:27,160
Speaker 3: that all the people, the kids in Philly knew. So

629
00:33:27,280 --> 00:33:29,959
Speaker 3: I would go to that stage, I would look at

630
00:33:29,960 --> 00:33:31,840
Speaker 3: the artists and look at the audience, and when I

631
00:33:31,920 --> 00:33:33,600
Speaker 3: was just sitting there like blown away.

632
00:33:33,400 --> 00:33:34,840
Speaker 6: Like wow, yo, you know.

633
00:33:34,880 --> 00:33:37,640
Speaker 8: The highlight of your show for the whole rooth Picnic

634
00:33:37,800 --> 00:33:40,200
Speaker 8: was that if you was grown, you was having a

635
00:33:40,240 --> 00:33:40,760
Speaker 8: real good time.

636
00:33:40,840 --> 00:33:42,360
Speaker 6: Ross and rothfael Man listen.

637
00:33:42,800 --> 00:33:44,800
Speaker 3: But speaking of that, speaking of that, who is that

638
00:33:44,920 --> 00:33:47,920
Speaker 3: dude that was playing the drum machine? Was with his

639
00:33:48,120 --> 00:33:54,520
Speaker 3: fingers elliotts Eliot, that's crazy, and then a mirroring them flip.

640
00:33:54,560 --> 00:33:57,160
Speaker 3: I like flipping songs. But ever since that day, I've

641
00:33:57,160 --> 00:33:59,720
Speaker 3: been trying to flip everything I do that show.

642
00:34:03,000 --> 00:34:05,800
Speaker 1: No, you know, we just wanted to do something different.

643
00:34:06,360 --> 00:34:09,520
Speaker 1: It's weird you say that, because like I was trying

644
00:34:09,560 --> 00:34:13,680
Speaker 1: to figure out, like, okay, now that we've turned into Earth, like,

645
00:34:13,719 --> 00:34:16,120
Speaker 1: you know, the Roots started out as a threesome, as

646
00:34:16,160 --> 00:34:20,600
Speaker 1: a foursome. You know, we just when we meet interesting characters,

647
00:34:20,640 --> 00:34:22,319
Speaker 1: it's just like, all right, join the band, join the band.

648
00:34:22,320 --> 00:34:24,160
Speaker 2: Oh you play two, but join the band. Joined the band.

649
00:34:25,120 --> 00:34:30,440
Speaker 1: I was actually having like a Graham Central Station moment,

650
00:34:31,520 --> 00:34:33,680
Speaker 1: and I was like, yo, be really dope if we

651
00:34:33,760 --> 00:34:36,239
Speaker 1: had somebody that played the role of Chocolate. You mentioned

652
00:34:36,320 --> 00:34:40,719
Speaker 1: Chocolate earlier, Larry Graham's former girlfriend that was playing the

653
00:34:40,800 --> 00:34:42,279
Speaker 1: drum machine back in the day, and I was like,

654
00:34:42,400 --> 00:34:44,839
Speaker 1: I want something. And we just happened to look on

655
00:34:44,880 --> 00:34:48,200
Speaker 1: YouTube one day at the time, we you know, Jeremy

656
00:34:48,200 --> 00:34:56,400
Speaker 1: Ellis and Strow were two dudes that just played you know, instruments.

657
00:34:56,440 --> 00:34:57,960
Speaker 1: It's like we still don't know what to call and

658
00:34:58,000 --> 00:35:00,640
Speaker 1: we just say Strow, Elliott on the beatbox. But it's

659
00:35:01,000 --> 00:35:04,960
Speaker 1: it's it's it's a new there's a whole new generation

660
00:35:05,040 --> 00:35:09,560
Speaker 1: of cats that like that are redefining what musicianship is.

661
00:35:09,719 --> 00:35:10,319
Speaker 4: You know what I'm saying.

662
00:35:10,320 --> 00:35:12,040
Speaker 6: The race been doing that for years.

663
00:35:12,040 --> 00:35:12,520
Speaker 2: We do that.

664
00:35:17,400 --> 00:35:19,560
Speaker 8: Wait, American, you're gonna go off a ray ray because

665
00:35:19,600 --> 00:35:21,640
Speaker 8: I just wanted to ask Rafael about an unsung singer

666
00:35:21,680 --> 00:35:24,000
Speaker 8: that needs to be sung, Tdra Moses.

667
00:35:23,719 --> 00:35:26,960
Speaker 6: Can you just talk about her for a second, Yes, please.

668
00:35:28,239 --> 00:35:32,120
Speaker 3: Tidra is my is a weapon man, people. She just

669
00:35:32,400 --> 00:35:35,120
Speaker 3: she started a little later in her career. You know,

670
00:35:35,160 --> 00:35:37,000
Speaker 3: she had twin boys when she was younger, and she

671
00:35:37,040 --> 00:35:41,800
Speaker 3: had to take care of boys. But like she so Tdra,

672
00:35:42,000 --> 00:35:44,560
Speaker 3: I wrote that I had had this on my label

673
00:35:44,560 --> 00:35:51,319
Speaker 3: and I signed Truth Hurts and I had Yeah, so

674
00:35:51,360 --> 00:35:54,440
Speaker 3: I put truth that record that Tdra singing take Me

675
00:35:55,280 --> 00:35:59,480
Speaker 3: was for Truth Hurts. Yeah me too, That's what I said.

676
00:35:59,520 --> 00:36:03,680
Speaker 3: After She's so she she so, teacher was singing a

677
00:36:03,760 --> 00:36:07,360
Speaker 3: song in the studio and I'm looking at teaser. You know,

678
00:36:07,400 --> 00:36:11,600
Speaker 3: teacher got these beautiful legs too, right, So the body

679
00:36:11,640 --> 00:36:14,319
Speaker 3: and her body is like yeah, So I'm sitting there

680
00:36:14,360 --> 00:36:17,840
Speaker 3: She's singing take Me, and I'm sitting there like yeah

681
00:36:17,880 --> 00:36:24,759
Speaker 3: in a way too. Her singing this song but is

682
00:36:24,840 --> 00:36:29,320
Speaker 3: like her pen is crazy. Her vocal rangers is crazy.

683
00:36:29,360 --> 00:36:32,719
Speaker 3: If anybody, I say, if anybody wants somebody. She even

684
00:36:32,760 --> 00:36:37,160
Speaker 3: wrote that song I Want You back on the Yeah yeah.

685
00:36:37,200 --> 00:36:40,280
Speaker 3: So I took the melodies from her for those records,

686
00:36:40,280 --> 00:36:42,040
Speaker 3: and she just always somebody that I really like to

687
00:36:42,080 --> 00:36:44,480
Speaker 3: work with. If I was ever in the doing a

688
00:36:44,560 --> 00:36:47,200
Speaker 3: duets album, which I don't think I really am, you know,

689
00:36:47,239 --> 00:36:48,279
Speaker 3: but she would be the person.

690
00:36:48,280 --> 00:36:52,480
Speaker 5: Wow, that's man, man. She was my crush back in

691
00:36:52,520 --> 00:37:00,040
Speaker 5: the day man and people. Man, could you could you

692
00:37:00,200 --> 00:37:03,480
Speaker 5: have ever had guessed like how big of a song

693
00:37:03,640 --> 00:37:04,799
Speaker 5: that Scott can you feel Me?

694
00:37:05,000 --> 00:37:08,280
Speaker 4: Was?

695
00:37:09,800 --> 00:37:13,280
Speaker 3: So there was the night that a Leah passed passed

696
00:37:13,280 --> 00:37:16,560
Speaker 3: away when I wrote it. I wrote this. I wrote

697
00:37:16,600 --> 00:37:21,360
Speaker 3: this song with Aliyah in mind. Everybody was calling me

698
00:37:21,360 --> 00:37:24,040
Speaker 3: and I thought my friend was in the plane too

699
00:37:24,080 --> 00:37:26,880
Speaker 3: for Tima Robinson. So I was in this kind of

700
00:37:27,600 --> 00:37:30,960
Speaker 3: different mood and and I and had Ray Murray with

701
00:37:31,000 --> 00:37:34,960
Speaker 3: me from Organized Noise, Organized Noise Yeah, so Ray programmed

702
00:37:35,200 --> 00:37:39,720
Speaker 3: programmed the drums on that and uh Ray also titled

703
00:37:39,719 --> 00:37:43,000
Speaker 3: my album Instant Vintage. I just remember him making the

704
00:37:43,080 --> 00:37:46,239
Speaker 3: beat and I just started playing those chords on the

705
00:37:46,239 --> 00:37:51,640
Speaker 3: piano HM and after that we started writing it. It

706
00:37:51,719 --> 00:37:55,960
Speaker 3: was just a song on the record. And this guy

707
00:37:53,760 --> 00:37:58,160
Speaker 3: UH from London and one of the biggest DJs ever,

708
00:38:00,120 --> 00:38:03,799
Speaker 3: JOHNS Peterson, he knew somebody. They took the record, they

709
00:38:03,880 --> 00:38:06,880
Speaker 3: remixed it, and I saw the record that amba and

710
00:38:06,920 --> 00:38:11,800
Speaker 3: it said Sky Can you Feel Me? Remixed? But it

711
00:38:11,880 --> 00:38:14,960
Speaker 3: was for sale and I'm like, what is this? And

712
00:38:15,080 --> 00:38:18,680
Speaker 3: it was extended and it was long, and I bought it.

713
00:38:18,760 --> 00:38:22,400
Speaker 3: I listened to it. It was a look yeah, you

714
00:38:22,440 --> 00:38:26,080
Speaker 3: know that happened. And I finally met the guys like

715
00:38:27,320 --> 00:38:30,040
Speaker 3: fifteen fifteen years later. I met him like on my

716
00:38:30,160 --> 00:38:33,600
Speaker 3: last tour and they were all talking about it. And

717
00:38:33,640 --> 00:38:35,640
Speaker 3: I would go places and I would play that song

718
00:38:35,719 --> 00:38:39,120
Speaker 3: and people would just like go. It was almost like

719
00:38:39,360 --> 00:38:41,680
Speaker 3: the guy of that that movie. He he was like

720
00:38:41,760 --> 00:38:43,600
Speaker 3: really big in Africa and he didn't he didn't know

721
00:38:43,640 --> 00:38:49,680
Speaker 3: it hin. That's how Sky was for me. I would

722
00:38:49,680 --> 00:38:52,880
Speaker 3: go somewhere and I'll be due and people start like

723
00:38:52,920 --> 00:38:57,120
Speaker 3: I was playing like what I had so I had

724
00:38:57,200 --> 00:38:59,239
Speaker 3: not I had not a clue and I usually I

725
00:38:59,320 --> 00:39:01,160
Speaker 3: usually can my show with that song.

726
00:39:02,200 --> 00:39:03,600
Speaker 4: Yes, nah, I love that song.

727
00:39:04,200 --> 00:39:07,920
Speaker 6: The version that here is the version that we know recognized.

728
00:39:07,920 --> 00:39:08,680
Speaker 6: Which version is it?

729
00:39:09,000 --> 00:39:10,680
Speaker 3: Well, the version on the album is the one that

730
00:39:10,719 --> 00:39:13,760
Speaker 3: you hear, but there's a version this so long.

731
00:39:14,120 --> 00:39:15,760
Speaker 2: Yeah, they just extended the strings.

732
00:39:15,760 --> 00:39:17,680
Speaker 3: And yeah, they just extended the strings.

733
00:39:18,000 --> 00:39:19,680
Speaker 5: I want to with jam who who did that? The

734
00:39:19,800 --> 00:39:22,879
Speaker 5: yam who edited I wanted edited when I was too Yeah,

735
00:39:22,920 --> 00:39:25,960
Speaker 5: I think he did editor. Make me hot, said brother.

736
00:39:26,760 --> 00:39:29,479
Speaker 2: Oh he did that nice?

737
00:39:29,520 --> 00:39:33,440
Speaker 1: Okay, Yeah, Ray Giles did the same thing for us,

738
00:39:33,480 --> 00:39:36,080
Speaker 1: like back when our first record was just like some

739
00:39:36,160 --> 00:39:40,600
Speaker 1: local thing. He took our record and pressed it up

740
00:39:40,600 --> 00:39:42,640
Speaker 1: and just started playing it like he he he was

741
00:39:42,680 --> 00:39:43,440
Speaker 1: the John Peel.

742
00:39:44,360 --> 00:39:46,359
Speaker 6: But they sell it because that's a whole nother thing,

743
00:39:46,480 --> 00:39:48,319
Speaker 6: Like what's with that? You can't just be.

744
00:39:49,040 --> 00:39:50,640
Speaker 1: Don't just make copies of it. I don't think he

745
00:39:50,680 --> 00:39:53,680
Speaker 1: personally sold it like he just made. He was just

746
00:39:53,719 --> 00:39:55,640
Speaker 1: making something for it, be like me making an edit

747
00:39:55,680 --> 00:39:57,759
Speaker 1: so I can DJ that night, that sort of thing.

748
00:39:58,040 --> 00:40:01,200
Speaker 1: I get that, you know, because he needed four hours

749
00:40:01,200 --> 00:40:03,920
Speaker 1: of content for his radio show. Yeah, man, you know

750
00:40:04,040 --> 00:40:08,160
Speaker 1: that feel was damn near almost like a hidden cutter

751
00:40:08,280 --> 00:40:10,840
Speaker 1: like bird on side to And I always wanted to know,

752
00:40:10,920 --> 00:40:17,440
Speaker 1: like why wasn't that ship a single like hmm this guy.

753
00:40:17,680 --> 00:40:18,840
Speaker 2: Yes, I mean.

754
00:40:18,760 --> 00:40:22,480
Speaker 3: People, I just feel like but after after after it

755
00:40:22,560 --> 00:40:27,040
Speaker 3: never ranged an anniversary. We were just floating. It's like whatever,

756
00:40:27,120 --> 00:40:30,520
Speaker 3: whatever fell, unless you were a music connoisseur. We were,

757
00:40:30,520 --> 00:40:33,319
Speaker 3: we were. We were just floating. So that I'm I'm

758
00:40:33,360 --> 00:40:37,000
Speaker 3: still floating. I mean, that's what I've been, just floating, floating, floating.

759
00:40:37,440 --> 00:40:40,640
Speaker 3: If I didn't love music, man, i'd have been done

760
00:40:40,719 --> 00:40:41,720
Speaker 3: after it never rained.

761
00:40:44,080 --> 00:40:47,600
Speaker 6: Those romantic words come from those ways of saying things

762
00:40:47,640 --> 00:40:49,080
Speaker 6: like where does that come from?

763
00:40:49,120 --> 00:40:51,840
Speaker 8: Is that like relationships? Or is that just this is

764
00:40:51,880 --> 00:40:53,719
Speaker 8: what I feel like? Where does that come from?

765
00:40:53,760 --> 00:40:55,360
Speaker 3: It's just what I feel. It's just it's just I

766
00:40:55,480 --> 00:40:57,600
Speaker 3: just I just say the things that the guys want

767
00:40:57,640 --> 00:40:59,960
Speaker 3: to say that they can't say. But that's why I

768
00:41:00,719 --> 00:41:03,240
Speaker 3: see people just. I remember I went to a show

769
00:41:03,280 --> 00:41:05,719
Speaker 3: like the West Coast Hip Hop Show, Old school hip

770
00:41:05,719 --> 00:41:08,920
Speaker 3: Hop show, and it was at Universal before they tore

771
00:41:09,239 --> 00:41:12,120
Speaker 3: tore down the Gibson Theater. And in the back it

772
00:41:12,120 --> 00:41:15,279
Speaker 3: looked like it looked like the yard. It looked just

773
00:41:15,360 --> 00:41:18,920
Speaker 3: like Chris Blood just and when I walked through the yard,

774
00:41:19,239 --> 00:41:25,480
Speaker 3: every every gangster was like, no Ah, this song and

775
00:41:25,520 --> 00:41:27,320
Speaker 3: this song means this to me at the end of

776
00:41:27,400 --> 00:41:29,839
Speaker 3: the day, at the end of the night, when you're

777
00:41:29,920 --> 00:41:31,560
Speaker 3: trying to be hard at bricks, at the end of

778
00:41:31,600 --> 00:41:35,200
Speaker 3: the night, you probably trying to lay down with something.

779
00:41:35,960 --> 00:41:38,000
Speaker 3: You know. We grew up with the Isley Brothers and

780
00:41:38,120 --> 00:41:40,560
Speaker 3: we grew up with Ron and you know, like in

781
00:41:40,680 --> 00:41:45,000
Speaker 3: my biggest you know, del Phonic, Christ's and Philly group, right, yes,

782
00:41:45,760 --> 00:41:48,480
Speaker 3: and those are some of my favorite groups. And Delphinance

783
00:41:48,600 --> 00:41:51,160
Speaker 3: was the coldest group because they was talking about leaving

784
00:41:51,200 --> 00:41:55,120
Speaker 3: girls and girls was in love with him. They was like,

785
00:41:55,239 --> 00:41:58,200
Speaker 3: did not blow your mind this time? Did not? My

786
00:41:58,280 --> 00:42:00,759
Speaker 3: older brother said, you didn't want to take your girl

787
00:42:00,760 --> 00:42:02,719
Speaker 3: to a del Phonic show because even though they was

788
00:42:02,719 --> 00:42:07,200
Speaker 3: like you I thought this, I thought this, this harder

789
00:42:07,440 --> 00:42:10,040
Speaker 3: was true. Girl, now did not think it? Baby, but

790
00:42:10,120 --> 00:42:13,439
Speaker 3: this time I'm really leaving you. But every girl wanted

791
00:42:13,440 --> 00:42:16,200
Speaker 3: to see him. So I think for me it was

792
00:42:16,239 --> 00:42:19,920
Speaker 3: always if you could like make them passionate songs. But honestly,

793
00:42:19,920 --> 00:42:23,520
Speaker 3: I want to blow it for girls. But I was

794
00:42:23,560 --> 00:42:26,200
Speaker 3: really in love with the music. The words that I

795
00:42:26,239 --> 00:42:29,360
Speaker 3: put on top I just felt like the words that

796
00:42:29,480 --> 00:42:31,640
Speaker 3: go on top of the song, I think this some ship.

797
00:42:32,000 --> 00:42:35,160
Speaker 6: This is all the songwriters. You this is what are

798
00:42:35,160 --> 00:42:37,240
Speaker 6: we learning? It's okay, all right, let's.

799
00:42:37,000 --> 00:42:39,800
Speaker 1: Just rap it fire because let's rap it fire because

800
00:42:39,840 --> 00:42:43,800
Speaker 1: you work with too many people between D'Angelo and Total

801
00:42:43,920 --> 00:42:49,960
Speaker 1: and Solange and yes, uh, Erica, you want to gram

802
00:42:49,960 --> 00:42:52,440
Speaker 1: me with Loving My Life Mary J.

803
00:42:52,520 --> 00:42:59,520
Speaker 5: Blige, Yeah, yeah, yeah, I want to yo Peace of Mind,

804
00:42:59,560 --> 00:43:01,720
Speaker 5: the little Backing and Faith record. Man, how'd that come about?

805
00:43:01,800 --> 00:43:04,520
Speaker 3: I love that science, But I've been a little dragon

806
00:43:04,560 --> 00:43:07,719
Speaker 3: before they really got hot in the States. So when

807
00:43:07,760 --> 00:43:11,040
Speaker 3: they started over, when they started coming over, because they

808
00:43:11,080 --> 00:43:13,920
Speaker 3: were on my record, one of my records, I just you.

809
00:43:13,880 --> 00:43:17,759
Speaker 4: Know, yeah she was on Stone Rolling. She was on

810
00:43:17,840 --> 00:43:18,680
Speaker 4: Stone Rolling, right.

811
00:43:18,719 --> 00:43:20,840
Speaker 3: He was on that album. Yeah, she was on that record.

812
00:43:21,440 --> 00:43:23,480
Speaker 3: Yeah she was on that record with the name of

813
00:43:23,480 --> 00:43:25,200
Speaker 3: the record. But you know, I mean, I just I'm

814
00:43:25,239 --> 00:43:28,080
Speaker 3: a utility guy. Quest It's like, I just feel like,

815
00:43:28,160 --> 00:43:30,960
Speaker 3: if if there's somebody who wants me to, you know,

816
00:43:31,040 --> 00:43:32,640
Speaker 3: to work with him, and they feel like I could

817
00:43:32,640 --> 00:43:35,839
Speaker 3: bring something to the project, and then that's that's kind

818
00:43:35,840 --> 00:43:37,279
Speaker 3: of what I what I do. I just worked with

819
00:43:37,400 --> 00:43:41,480
Speaker 3: Kanye on Donda and and I'm on the record, but

820
00:43:41,520 --> 00:43:43,319
Speaker 3: nobody knows I'm on the record. It's almost like one

821
00:43:43,360 --> 00:43:45,640
Speaker 3: of those tribe things ever record, Just.

822
00:43:45,600 --> 00:43:47,080
Speaker 8: Tell me the track so I can skip to it,

823
00:43:47,120 --> 00:43:48,799
Speaker 8: because I just I couldn't do what it's going to it.

824
00:43:48,840 --> 00:43:50,760
Speaker 3: I'm not I'm not really on it. I'm just singing

825
00:43:50,840 --> 00:43:53,239
Speaker 3: like something at the very end of I think it's

826
00:43:53,239 --> 00:43:57,360
Speaker 3: called pure soul and funny out. Everybody was like talking

827
00:43:57,400 --> 00:43:59,560
Speaker 3: about like he took me off the record. I just

828
00:43:59,760 --> 00:44:01,799
Speaker 3: I ever seen people get mad because it wasn't on

829
00:44:01,840 --> 00:44:05,760
Speaker 3: somebody's record, right, but the check Still, it's a new generation,

830
00:44:05,960 --> 00:44:08,920
Speaker 3: like our general. We come from a generation that following

831
00:44:08,960 --> 00:44:13,320
Speaker 3: what's a big word, right, you know, now following the

832
00:44:13,560 --> 00:44:16,560
Speaker 3: leading word. But but I just think I work with

833
00:44:16,600 --> 00:44:18,959
Speaker 3: a lot of people. But I tell my nephew, who's

834
00:44:18,960 --> 00:44:24,200
Speaker 3: an amazing producer, piano play, guitar player, like just be

835
00:44:24,239 --> 00:44:26,520
Speaker 3: a utility guy, a person that don't mind showing up

836
00:44:26,560 --> 00:44:29,520
Speaker 3: to work with somebody that's really good man, you know,

837
00:44:29,960 --> 00:44:32,080
Speaker 3: you know for me, and that's what it is for me.

838
00:44:32,120 --> 00:44:34,600
Speaker 3: I just like, if if you, if you, if I

839
00:44:34,640 --> 00:44:36,279
Speaker 3: see you and you're like, yo, I'm in the studio tonight,

840
00:44:36,320 --> 00:44:39,359
Speaker 3: bring your base. I'm coming. I'm showing up. I don't

841
00:44:39,400 --> 00:44:41,880
Speaker 3: know what you're doing. And I don't care. I know

842
00:44:42,000 --> 00:44:44,239
Speaker 3: it's you and when I leave, if it come out,

843
00:44:44,800 --> 00:44:48,040
Speaker 3: who if you don't. I had an experience and I learned,

844
00:44:48,040 --> 00:44:50,600
Speaker 3: like I learned from working with different people. So I'm

845
00:44:50,600 --> 00:44:54,160
Speaker 3: working with Snoop a lot too, And and it's like

846
00:44:55,160 --> 00:44:57,319
Speaker 3: but it's so many different people that come through. There's

847
00:44:57,360 --> 00:45:01,040
Speaker 3: like great producers, new musicians, new people. You see people

848
00:45:01,320 --> 00:45:03,720
Speaker 3: running different programs. Like when I came to your show,

849
00:45:04,320 --> 00:45:06,680
Speaker 3: I spend more time looking at that kid. That dude

850
00:45:06,800 --> 00:45:10,600
Speaker 3: was making the beats. I was like glued on this dude.

851
00:45:10,600 --> 00:45:12,440
Speaker 3: When I left, I was like, I've just seen all

852
00:45:12,440 --> 00:45:15,160
Speaker 3: these lights on these drum machines. I'm like, to me,

853
00:45:15,840 --> 00:45:17,840
Speaker 3: that's what the music is about. Like who can I

854
00:45:17,960 --> 00:45:22,120
Speaker 3: learn from? Like you? I played drums on records. I

855
00:45:22,239 --> 00:45:25,080
Speaker 3: mimic you on drums. It never sound like you because

856
00:45:25,160 --> 00:45:28,399
Speaker 3: I'm not you, But people like the beats like I don't.

857
00:45:28,440 --> 00:45:31,400
Speaker 3: I don't program good drums, but I play if my

858
00:45:31,520 --> 00:45:33,600
Speaker 3: drum set could sound, I got a drum set that

859
00:45:33,680 --> 00:45:38,560
Speaker 3: finally sounds like SP twelve. It's it's your drum set.

860
00:45:38,680 --> 00:45:41,440
Speaker 3: That one of the drum sets that you one of

861
00:45:41,480 --> 00:45:43,759
Speaker 3: your drum sets that one of my friends who was

862
00:45:43,800 --> 00:45:46,600
Speaker 3: an artist. He took your drum set and he painted

863
00:45:46,640 --> 00:45:49,040
Speaker 3: it to look like my guitar. So it was in

864
00:45:49,080 --> 00:45:52,600
Speaker 3: my room for like a year. My engineer took it

865
00:45:52,640 --> 00:45:57,440
Speaker 3: out and he man, he set it up. That drum

866
00:45:57,760 --> 00:46:00,480
Speaker 3: is the best drum set sound had.

867
00:46:00,640 --> 00:46:03,280
Speaker 2: You want to know why? I told them.

868
00:46:03,600 --> 00:46:06,120
Speaker 1: See, they wanted to like, you know, we got these

869
00:46:06,239 --> 00:46:09,200
Speaker 1: uh we got to connect in Japan and we're gonna

870
00:46:09,239 --> 00:46:13,040
Speaker 1: use the hollowwood of this particular forest and blah blah blah.

871
00:46:13,160 --> 00:46:15,560
Speaker 1: And I was like, nah, I said, what what do

872
00:46:15,680 --> 00:46:19,000
Speaker 1: y'all use for? Like them cheap high school sets? And

873
00:46:19,040 --> 00:46:21,000
Speaker 1: they're like, oh, you don't want that, quess you want

874
00:46:21,000 --> 00:46:23,640
Speaker 1: these uh hollow trees and da da da da da.

875
00:46:23,680 --> 00:46:26,920
Speaker 1: And I was like, no, I want I want the throwaway,

876
00:46:27,000 --> 00:46:29,160
Speaker 1: trashy shit that y'all hate. And I was trying to

877
00:46:29,200 --> 00:46:32,319
Speaker 1: tell them that like the breakbeats we grew up on

878
00:46:32,520 --> 00:46:36,240
Speaker 1: was done on the cheapest Yeah, yeah, like a serious

879
00:46:36,280 --> 00:46:38,600
Speaker 1: drum set, that sort of thing, and they they were

880
00:46:39,080 --> 00:46:40,919
Speaker 1: they try to talk me out of it, and I said,

881
00:46:40,960 --> 00:46:42,760
Speaker 1: and I want you to sell it cheap too, because

882
00:46:42,760 --> 00:46:44,960
Speaker 1: you know, they're like, our bottom line is if we

883
00:46:45,000 --> 00:46:46,600
Speaker 1: sell a drum set for two hundred bucks.

884
00:46:46,880 --> 00:46:48,880
Speaker 2: Then we can't sell this one for four thousand.

885
00:46:48,960 --> 00:46:50,960
Speaker 1: I was like, no, it's going to be like a

886
00:46:51,040 --> 00:46:53,200
Speaker 1: drug deal, Like you're gonna give them a taste and

887
00:46:53,239 --> 00:46:56,160
Speaker 1: get them at hooked. Like you get a kid, a five,

888
00:46:56,200 --> 00:46:58,080
Speaker 1: a six year old a drum set for two hundred

889
00:46:58,120 --> 00:46:59,400
Speaker 1: bucks and it sounds dope.

890
00:47:00,320 --> 00:47:02,719
Speaker 2: Then when they turned thirteen fourty, they're gonna be drummers.

891
00:47:02,840 --> 00:47:04,799
Speaker 2: And I need, I need, I need.

892
00:47:05,000 --> 00:47:07,160
Speaker 3: I needed a couple of those in my life. I got.

893
00:47:07,600 --> 00:47:08,359
Speaker 2: I'll give it to you.

894
00:47:08,480 --> 00:47:10,560
Speaker 1: I mean, because I'm trying to get rid of these boxes,

895
00:47:10,600 --> 00:47:14,560
Speaker 1: and my girlfriend will gladly welcome that request to make

896
00:47:14,640 --> 00:47:17,080
Speaker 1: less space in the house I have I can't give.

897
00:47:17,440 --> 00:47:20,359
Speaker 3: We played, I played those drums, and I went back

898
00:47:20,360 --> 00:47:21,520
Speaker 3: into the control booth.

899
00:47:22,560 --> 00:47:25,280
Speaker 2: I was like, what sound like break beats?

900
00:47:25,440 --> 00:47:28,440
Speaker 3: Yes, like break beats when I've been chasing my whole life.

901
00:47:28,600 --> 00:47:30,400
Speaker 2: All right, working with Total?

902
00:47:31,080 --> 00:47:39,120
Speaker 4: Yes, you gave them some jams the whole days. M Yes,

903
00:47:39,480 --> 00:47:41,000
Speaker 4: they go one.

904
00:47:41,120 --> 00:47:43,359
Speaker 1: I want to know how taxing was the process to

905
00:47:43,920 --> 00:47:48,200
Speaker 1: produce total, But more than that, like how easy was

906
00:47:48,239 --> 00:47:51,520
Speaker 1: it as far as puff breathing down your neck for.

907
00:47:53,160 --> 00:47:56,000
Speaker 2: Magic? And you gave them really.

908
00:47:56,040 --> 00:47:59,279
Speaker 3: Kind of two hits. This is funny. So I didn't

909
00:47:59,320 --> 00:48:04,640
Speaker 3: really want to do it, ye think, because I didn't

910
00:48:04,640 --> 00:48:06,640
Speaker 3: know what I could I didn't know what I could do,

911
00:48:06,760 --> 00:48:08,040
Speaker 3: you know what I mean, Like you got to know

912
00:48:09,239 --> 00:48:12,359
Speaker 3: if you could pull it off. So Joscelyn Cooper at

913
00:48:12,400 --> 00:48:16,160
Speaker 3: the time wasn't published for a midnight music and so

914
00:48:17,360 --> 00:48:19,839
Speaker 3: she was telling me Puff was looking for me. So

915
00:48:20,239 --> 00:48:24,200
Speaker 3: I was basically running from Puff. I was like, I

916
00:48:26,239 --> 00:48:30,680
Speaker 3: was not answering the phone and nothing. So Joscelyn called

917
00:48:30,680 --> 00:48:34,040
Speaker 3: me like, hey, Ray, I got Puff on the phone.

918
00:48:34,719 --> 00:48:36,240
Speaker 2: Put you on the spot, right.

919
00:48:37,239 --> 00:48:39,840
Speaker 3: And so so this is even a funny part. This

920
00:48:40,000 --> 00:48:43,279
Speaker 3: what Puff says. You gotta love Puff of this Buff say, man,

921
00:48:43,880 --> 00:48:46,040
Speaker 3: I really think you could do something with this group man,

922
00:48:46,200 --> 00:48:49,000
Speaker 3: like right down your alley, Like they not really singers,

923
00:48:49,000 --> 00:48:53,839
Speaker 3: they something like you.

924
00:48:57,239 --> 00:49:00,200
Speaker 4: That's sick.

925
00:49:00,280 --> 00:49:02,359
Speaker 3: I was like, I was like this, okay, I mean

926
00:49:02,400 --> 00:49:06,400
Speaker 3: I never said I was Luther. Definitely, you know, I

927
00:49:08,560 --> 00:49:10,319
Speaker 3: seen to make it work. But what do you mean

928
00:49:10,480 --> 00:49:13,040
Speaker 3: is like I make things work? And so when he

929
00:49:13,080 --> 00:49:15,640
Speaker 3: said that once he got me on the phone. When

930
00:49:15,640 --> 00:49:20,480
Speaker 3: they came out, that girl Pam right, she has so

931
00:49:20,680 --> 00:49:25,680
Speaker 3: much swagging attitude, and I think they thought they were

932
00:49:25,719 --> 00:49:27,879
Speaker 3: so much under the gun. They sung with so much

933
00:49:27,920 --> 00:49:31,960
Speaker 3: personality that it was just flying off the tape, you

934
00:49:32,000 --> 00:49:34,000
Speaker 3: know what I mean? They sung the tape that.

935
00:49:34,120 --> 00:49:36,240
Speaker 6: Pamc were her sunglasses one like.

936
00:49:36,680 --> 00:49:40,800
Speaker 3: Oh yeah, Pam is like she's like you know she

937
00:49:40,960 --> 00:49:43,279
Speaker 3: just like I wouldn't know Pam if she walked in

938
00:49:43,360 --> 00:49:49,959
Speaker 3: my house right now? You actually being up being really

939
00:49:50,640 --> 00:49:53,040
Speaker 3: a fun project and like I said, I have Bonnie

940
00:49:53,080 --> 00:49:55,680
Speaker 3: Boy Yeah actually vocal coaching them too.

941
00:49:56,520 --> 00:49:59,919
Speaker 4: Oh kissing you Jam? I love that song?

942
00:50:01,440 --> 00:50:02,239
Speaker 6: What's the other one?

943
00:50:02,719 --> 00:50:03,719
Speaker 4: Do they think about us?

944
00:50:03,760 --> 00:50:06,200
Speaker 3: What do you think about us? Now?

945
00:50:06,280 --> 00:50:10,160
Speaker 8: I was going to ask a music supervision scoring composing situation.

946
00:50:10,719 --> 00:50:13,520
Speaker 8: It seems like whenever you jumped into the game that

947
00:50:13,600 --> 00:50:17,160
Speaker 8: you were really selective. I thought that like Insecure was

948
00:50:17,200 --> 00:50:20,560
Speaker 8: your first, but like you even did Underground, which is

949
00:50:21,280 --> 00:50:22,359
Speaker 8: impressive because you.

950
00:50:22,320 --> 00:50:24,400
Speaker 6: Talk about like why you went that way and do

951
00:50:24,560 --> 00:50:26,759
Speaker 6: are you selective? And how you because I mean love

952
00:50:26,800 --> 00:50:27,400
Speaker 6: Craft like.

953
00:50:29,560 --> 00:50:33,359
Speaker 1: It's Laura your your official partner when you do TV scoring.

954
00:50:33,560 --> 00:50:36,839
Speaker 3: Sometimes yeah, sometimes we do a lot of projects together.

955
00:50:36,920 --> 00:50:38,600
Speaker 3: She do a lot on her own. I know she

956
00:50:38,640 --> 00:50:40,120
Speaker 3: did some stuff with you guys too. She had a

957
00:50:40,120 --> 00:50:43,440
Speaker 3: bigger picture of the in studio you work with.

958
00:50:43,840 --> 00:50:45,800
Speaker 5: You actually worked with a good friend of mine before,

959
00:50:46,080 --> 00:50:52,040
Speaker 5: my buddy man Deshaun Daniel Crawford, and that's my man.

960
00:50:52,120 --> 00:50:53,200
Speaker 4: Yeah, that's that's yeah.

961
00:50:53,719 --> 00:50:57,440
Speaker 3: Yeah, damn, you're playing in my band. Yeah, that's one

962
00:50:57,480 --> 00:51:00,080
Speaker 3: of my piano teachers. All my friends were my that

963
00:51:00,160 --> 00:51:02,640
Speaker 3: played keyboards on my piano teachers. I'm playing piano like

964
00:51:03,360 --> 00:51:05,759
Speaker 3: as good as I can a lot.

965
00:51:06,040 --> 00:51:09,120
Speaker 2: But indeed, Daniel Crawford that makes the remixes and all

966
00:51:09,160 --> 00:51:09,600
Speaker 2: that stuff.

967
00:51:09,800 --> 00:51:11,759
Speaker 4: Yeah yeah, yeah, wait, you do.

968
00:51:11,840 --> 00:51:14,360
Speaker 2: Know that Daniel also can do what Stroe does, right.

969
00:51:15,000 --> 00:51:17,880
Speaker 3: You know what? I have seen it. I've seen it,

970
00:51:17,880 --> 00:51:20,239
Speaker 3: but he he kind of sneaks and does it around me.

971
00:51:20,840 --> 00:51:22,799
Speaker 3: He don't do it like I've seen him. I've seen

972
00:51:22,880 --> 00:51:25,120
Speaker 3: him do it before, and I was like, no, this

973
00:51:25,200 --> 00:51:26,680
Speaker 3: is what he does. He goes like, I'm like, who's

974
00:51:26,719 --> 00:51:28,319
Speaker 3: the drummer. He's like, oh, that's me. I was just

975
00:51:28,360 --> 00:51:30,480
Speaker 3: like this and then and then it goes away. But

976
00:51:30,600 --> 00:51:32,520
Speaker 3: when I saw your guy do it, it was like

977
00:51:32,560 --> 00:51:33,560
Speaker 3: a whole.

978
00:51:36,000 --> 00:51:38,600
Speaker 2: Daniels in that first generation. I couldn't get him.

979
00:51:38,680 --> 00:51:41,960
Speaker 1: So then there's like who else, ohtro and but Daniel

980
00:51:42,040 --> 00:51:43,880
Speaker 1: was like one of the first guys I saw like

981
00:51:44,800 --> 00:51:46,640
Speaker 1: play drums and keys at the same time.

982
00:51:50,920 --> 00:51:52,640
Speaker 3: Laura's my partner on a lot of stuff. We did

983
00:51:52,800 --> 00:51:56,000
Speaker 3: love Craft, we did Underground, we did a couple other

984
00:51:56,040 --> 00:51:59,360
Speaker 3: little little flicks, and I was really just getting you know,

985
00:51:59,440 --> 00:52:01,520
Speaker 3: just getting my feet you get my feet in and

986
00:52:01,560 --> 00:52:04,600
Speaker 3: Laura went to She's a great she's like a professor

987
00:52:04,600 --> 00:52:06,240
Speaker 3: at the school. So it was kind of good, great

988
00:52:06,280 --> 00:52:09,000
Speaker 3: going up being with her because I was learning from

989
00:52:09,000 --> 00:52:11,040
Speaker 3: her all at the same time. You know, like like

990
00:52:11,080 --> 00:52:12,640
Speaker 3: I said, I like, I'm like a sponge. I like

991
00:52:12,680 --> 00:52:14,760
Speaker 3: to be around people I could learn from.

992
00:52:14,640 --> 00:52:16,560
Speaker 6: With Laura's role just for us law apartment.

993
00:52:16,600 --> 00:52:19,239
Speaker 3: She's a stream composer, okay, because.

994
00:52:19,000 --> 00:52:22,320
Speaker 1: She like she just you know, she pulled she pulled

995
00:52:22,320 --> 00:52:25,760
Speaker 1: me into the academy. Okay, yeah, like she she got power,

996
00:52:26,320 --> 00:52:26,520
Speaker 1: you know.

997
00:52:26,680 --> 00:52:32,319
Speaker 3: Yeah, and yeah, she's really good. And I'm I'm I mean,

998
00:52:32,560 --> 00:52:34,799
Speaker 3: you can't really be selective in that business, you know,

999
00:52:34,800 --> 00:52:36,719
Speaker 3: if you want to get in real but at a

1000
00:52:36,760 --> 00:52:39,239
Speaker 3: certain point you can. I just happen to be able

1001
00:52:39,280 --> 00:52:41,800
Speaker 3: to I just happen to get some great phone calls.

1002
00:52:42,320 --> 00:52:44,800
Speaker 6: So tell me about the Lovecraft phone call and the

1003
00:52:44,920 --> 00:52:45,960
Speaker 6: Underground phone call.

1004
00:52:46,000 --> 00:52:49,719
Speaker 3: Just because well, Misha Green is she did, Sha Green

1005
00:52:49,800 --> 00:52:51,640
Speaker 3: did Underground.

1006
00:52:51,239 --> 00:52:52,359
Speaker 6: And love Craft right.

1007
00:52:52,719 --> 00:52:54,560
Speaker 3: So it's like when you're on the team, if they

1008
00:52:54,560 --> 00:52:56,440
Speaker 3: think you could handle it, they call you. And they

1009
00:52:56,440 --> 00:52:59,440
Speaker 3: called us as a team and he jumped right on

1010
00:52:59,480 --> 00:53:03,320
Speaker 3: it and Cure I was working with salone and.

1011
00:53:03,600 --> 00:53:05,840
Speaker 6: She said, you did all the work. I think us

1012
00:53:05,880 --> 00:53:06,520
Speaker 6: that she was.

1013
00:53:09,520 --> 00:53:11,680
Speaker 3: So long just funny because when I was doing Insecure,

1014
00:53:11,680 --> 00:53:13,960
Speaker 3: I would be working on the song and Solans be like, oh,

1015
00:53:14,000 --> 00:53:18,160
Speaker 3: that's for my album and she was just taking and

1016
00:53:18,200 --> 00:53:19,920
Speaker 3: I'm be like, yo, but I think it's in the

1017
00:53:19,920 --> 00:53:24,319
Speaker 3: show now, be kind of gone. So I just been

1018
00:53:24,360 --> 00:53:26,080
Speaker 3: you know, just you know, I just felt like with music,

1019
00:53:26,480 --> 00:53:28,799
Speaker 3: you just have to be able to you know. I'm

1020
00:53:28,840 --> 00:53:31,520
Speaker 3: sure you guys all experienced that with radio, being in radio,

1021
00:53:31,640 --> 00:53:33,960
Speaker 3: whatever we're in, we all have to diversify and do

1022
00:53:34,040 --> 00:53:38,239
Speaker 3: different things. Honey. I just felt like in music, we

1023
00:53:38,280 --> 00:53:40,719
Speaker 3: all have the knucklehead status of he's a musician, he

1024
00:53:40,800 --> 00:53:43,360
Speaker 3: can't be on time, he can't do this, and I

1025
00:53:43,440 --> 00:53:45,360
Speaker 3: kind of want to get rid of that before somebody

1026
00:53:45,360 --> 00:53:47,880
Speaker 3: started believing that I was that person. And then film

1027
00:53:47,880 --> 00:53:50,680
Speaker 3: and television, if they need a pink elephant on Sunday,

1028
00:53:51,040 --> 00:53:51,960
Speaker 3: you have to deliver it.

1029
00:53:52,000 --> 00:53:52,680
Speaker 4: You deliver it.

1030
00:53:53,320 --> 00:53:56,040
Speaker 3: That's why I have my setup right here in this room.

1031
00:53:57,840 --> 00:53:59,880
Speaker 3: I just pull it out, bloom bloom and just start working.

1032
00:54:00,400 --> 00:54:02,920
Speaker 3: So and I start to really enjoy it now. Actually

1033
00:54:03,000 --> 00:54:04,760
Speaker 3: I didn't enjoy it at first. I was just trying

1034
00:54:04,800 --> 00:54:06,920
Speaker 3: to be a part of it because you know, I

1035
00:54:07,000 --> 00:54:10,360
Speaker 3: liked watching like Donnie Hathaway used to score. He scored

1036
00:54:10,360 --> 00:54:13,880
Speaker 3: this film Blues.

1037
00:54:18,760 --> 00:54:22,200
Speaker 1: Okay, so you've worked with a lot of your heroes

1038
00:54:22,320 --> 00:54:24,680
Speaker 1: like earth Wind and Fire. I know you worked with

1039
00:54:24,719 --> 00:54:28,960
Speaker 1: the Beg's. I think, uh ship it was earth Winding

1040
00:54:29,040 --> 00:54:34,200
Speaker 1: Fire the Beg's. I forget uh Whitney Well when, yeah,

1041
00:54:34,200 --> 00:54:37,320
Speaker 1: you worked with Whitney Houston. Is there a classic artist

1042
00:54:37,560 --> 00:54:41,400
Speaker 1: that you almost to work with that that it didn't

1043
00:54:41,440 --> 00:54:41,839
Speaker 1: go down?

1044
00:54:42,680 --> 00:54:44,000
Speaker 3: Yeah? Man, Eddie Kendricks.

1045
00:54:45,680 --> 00:54:47,040
Speaker 4: Wow are you serious?

1046
00:54:47,520 --> 00:54:47,800
Speaker 2: Wow?

1047
00:54:48,360 --> 00:54:51,759
Speaker 3: Yeah yeah, we we was. But I did this song

1048
00:54:51,840 --> 00:54:53,080
Speaker 3: called that song called Leavin.

1049
00:54:54,239 --> 00:54:57,560
Speaker 4: Yeah, yeah, he was going to sing that song with me.

1050
00:54:58,640 --> 00:55:02,080
Speaker 3: Oh wow, don't hear that part going? No no no, no,

1051
00:55:02,120 --> 00:55:06,919
Speaker 3: no no no no so going. So when I sing

1052
00:55:07,040 --> 00:55:09,640
Speaker 3: that one part, it sounded like the ghost of Eddie

1053
00:55:09,680 --> 00:55:11,320
Speaker 3: Kendrick because it don't sound like me when I do

1054
00:55:11,440 --> 00:55:15,480
Speaker 3: that one part, I'm like when I heard it back,

1055
00:55:15,520 --> 00:55:18,320
Speaker 3: I'm like, that's not me. That feels like just like

1056
00:55:18,400 --> 00:55:22,160
Speaker 3: it's him on that one part. Yeah, Eddie Kendrick is uh,

1057
00:55:23,239 --> 00:55:27,720
Speaker 3: because my older brother Randy, he he's like Eddie Kendricks

1058
00:55:27,760 --> 00:55:30,960
Speaker 3: and that's that's his favorite, and that's one of my favorite.

1059
00:55:31,920 --> 00:55:33,480
Speaker 2: I know you did someone on one of those Linel

1060
00:55:33,560 --> 00:55:34,120
Speaker 2: Richie records.

1061
00:55:34,160 --> 00:55:34,759
Speaker 5: What was it like?

1062
00:55:35,239 --> 00:55:40,200
Speaker 3: I did? See? I first toured with Sheila after the

1063
00:55:40,360 --> 00:55:44,200
Speaker 3: Under the Trade Moon tour. She opened the line on

1064
00:55:44,280 --> 00:55:47,000
Speaker 3: that was it wasn't outrage it was dancing on the

1065
00:55:47,080 --> 00:55:49,759
Speaker 3: cylind tour after Outrageous.

1066
00:55:50,520 --> 00:55:50,719
Speaker 4: Yeah.

1067
00:55:52,880 --> 00:55:57,319
Speaker 3: Yeah, So I toured with Lionel, so we call him

1068
00:55:57,360 --> 00:56:01,400
Speaker 3: Lionel B. So we were always pretty much closer. I

1069
00:56:01,520 --> 00:56:05,680
Speaker 3: did this one song on Lionel, but Linel was it.

1070
00:56:06,000 --> 00:56:08,600
Speaker 3: Linos like us. Lionel is a great storyteller. He'll tell you.

1071
00:56:09,440 --> 00:56:11,640
Speaker 3: He's like, if you don't have any stories, then you

1072
00:56:11,760 --> 00:56:15,560
Speaker 3: can't talk to me. You need you need stories, he said,

1073
00:56:15,600 --> 00:56:16,960
Speaker 3: who wants to work with an a n R guy

1074
00:56:17,080 --> 00:56:19,440
Speaker 3: or an artist a person that doesn't have any stories?

1075
00:56:20,840 --> 00:56:22,920
Speaker 3: But you know we have stories because we tour with

1076
00:56:23,000 --> 00:56:25,920
Speaker 3: different people and you know, me touring with n W

1077
00:56:26,080 --> 00:56:29,320
Speaker 3: A and hanging out with ice Cube every day, you know,

1078
00:56:29,440 --> 00:56:32,279
Speaker 3: and ice cream telling me stuff like you know, I

1079
00:56:32,400 --> 00:56:34,400
Speaker 3: want to make movies. I'm don't make movies. And then

1080
00:56:34,440 --> 00:56:37,320
Speaker 3: to watch him make next you know, next Friday. I'm like,

1081
00:56:37,440 --> 00:56:40,520
Speaker 3: I heard him say that early in his career. Then

1082
00:56:40,640 --> 00:56:41,279
Speaker 3: watch him do it.

1083
00:56:41,520 --> 00:56:43,480
Speaker 2: Did you go to those n w A pool parties?

1084
00:56:45,880 --> 00:56:48,319
Speaker 3: Damn? I went? I went. I went to I went

1085
00:56:48,360 --> 00:56:53,160
Speaker 3: to the UH to the uh the water gun parties

1086
00:56:53,200 --> 00:56:55,439
Speaker 3: when everybody just run around the hotels, like the cheap

1087
00:56:55,480 --> 00:56:59,120
Speaker 3: Motel six is like firing off water guns and and

1088
00:56:59,200 --> 00:57:01,600
Speaker 3: all that stuff. Million ah.

1089
00:57:01,960 --> 00:57:03,680
Speaker 4: Man, it wasn't a movie, Okay.

1090
00:57:04,239 --> 00:57:06,200
Speaker 5: I wanted to ask you man you had a record

1091
00:57:06,400 --> 00:57:08,319
Speaker 5: because I was thinking about your you were talking about

1092
00:57:08,320 --> 00:57:11,200
Speaker 5: your scoring career and like stuff with Insecure and everything.

1093
00:57:11,520 --> 00:57:13,279
Speaker 4: It's a record you just dropped. I think it was

1094
00:57:13,640 --> 00:57:16,040
Speaker 4: last year, maybe your full last uh. But is it good?

1095
00:57:16,560 --> 00:57:19,840
Speaker 4: It's good to you, It's good to me? Bro, Like

1096
00:57:20,160 --> 00:57:21,960
Speaker 4: what's the word on it? I love that song?

1097
00:57:22,080 --> 00:57:24,920
Speaker 3: Man, Like, yeah, well that's like that's that was a

1098
00:57:26,560 --> 00:57:28,280
Speaker 3: one of the songs I put in Insecure, and I

1099
00:57:28,440 --> 00:57:30,840
Speaker 3: was it was like, you know, it's very you know

1100
00:57:30,920 --> 00:57:32,880
Speaker 3: those songs when you put them on the score they're

1101
00:57:33,040 --> 00:57:36,320
Speaker 3: very low. So he heard it and she said, can

1102
00:57:36,400 --> 00:57:39,640
Speaker 3: you go back and make a song to that? So

1103
00:57:39,760 --> 00:57:41,400
Speaker 3: then I just went back in and I just put

1104
00:57:41,400 --> 00:57:42,720
Speaker 3: a verse on it because at first it was just

1105
00:57:42,760 --> 00:57:45,840
Speaker 3: saying is it good to you? Good to me? And

1106
00:57:45,920 --> 00:57:48,040
Speaker 3: I did that, and like because during the pandemic, I

1107
00:57:48,120 --> 00:57:51,280
Speaker 3: moved to Portland, Orgon. Oh wow, why Portland because I

1108
00:57:51,840 --> 00:57:54,360
Speaker 3: caught COVID and I was like, I'm not going to

1109
00:57:54,400 --> 00:57:55,520
Speaker 3: be in dusty ass l A.

1110
00:57:57,840 --> 00:58:02,360
Speaker 2: We all right over here, but in Portland, Oregon. Yeah,

1111
00:58:02,680 --> 00:58:04,360
Speaker 2: I'm ruined my old time favorite city.

1112
00:58:04,560 --> 00:58:07,880
Speaker 3: So you know, yeah, yeah, yeah, I know people tell

1113
00:58:07,960 --> 00:58:09,800
Speaker 3: me that. You know, I see all the venues you play.

1114
00:58:09,920 --> 00:58:12,000
Speaker 3: My best friend is Brian Grant. He just played for

1115
00:58:12,080 --> 00:58:14,479
Speaker 3: the Trouble. So I've been going out there for years.

1116
00:58:14,520 --> 00:58:16,400
Speaker 3: So I got a place out there so I can

1117
00:58:16,480 --> 00:58:19,080
Speaker 3: hike and it's just nothing but trees. So you're just

1118
00:58:19,240 --> 00:58:22,600
Speaker 3: walking through this trees getting all this oxygen. And and

1119
00:58:22,760 --> 00:58:25,000
Speaker 3: like in a month, I got my spell on my

1120
00:58:25,080 --> 00:58:28,640
Speaker 3: taste back and I just got back to LA. I

1121
00:58:28,800 --> 00:58:30,680
Speaker 3: just got a place there besides my studio. I was

1122
00:58:30,680 --> 00:58:33,520
Speaker 3: staying in my studio like stity there like for like

1123
00:58:33,960 --> 00:58:36,280
Speaker 3: three months, three months ago. I've been in Portland the

1124
00:58:36,320 --> 00:58:36,760
Speaker 3: whole time.

1125
00:58:37,600 --> 00:58:37,880
Speaker 4: Wow.

1126
00:58:38,720 --> 00:58:41,400
Speaker 3: And I found a nice studio to record that. Bro,

1127
00:58:42,000 --> 00:58:45,560
Speaker 3: I found studios. It's inexpensive to record that. It's a

1128
00:58:45,640 --> 00:58:48,400
Speaker 3: lot of musicians out there that's untapped and nobody know

1129
00:58:48,520 --> 00:58:50,160
Speaker 3: about I don't.

1130
00:58:50,640 --> 00:58:53,720
Speaker 2: Yeah, I'm trying to tell the world Portland is where

1131
00:58:53,720 --> 00:58:54,080
Speaker 2: it's at.

1132
00:58:54,320 --> 00:58:57,960
Speaker 3: They don't you Every morning, Bro, I got I got

1133
00:58:58,000 --> 00:59:00,400
Speaker 3: a nineteen eighty five Vovo wagon. Bro, y'all do.

1134
00:59:03,000 --> 00:59:03,440
Speaker 4: You see it.

1135
00:59:04,160 --> 00:59:06,600
Speaker 1: I'm not far behind you when I get my money, right, yo,

1136
00:59:06,720 --> 00:59:08,440
Speaker 1: I'm getting me a spot important.

1137
00:59:09,440 --> 00:59:10,760
Speaker 3: Oh telling me everyone?

1138
00:59:10,920 --> 00:59:13,480
Speaker 6: Hey, Raphael on the side, note, what made you lock

1139
00:59:13,560 --> 00:59:13,880
Speaker 6: your hair?

1140
00:59:14,080 --> 00:59:17,360
Speaker 3: I was already curious, uh Donald Trump?

1141
00:59:18,280 --> 00:59:18,560
Speaker 4: Word?

1142
00:59:20,160 --> 00:59:23,760
Speaker 3: Yeah. What happened was I was watching the news earlier

1143
00:59:23,840 --> 00:59:26,000
Speaker 3: on he was talking to him. I was like, this

1144
00:59:26,120 --> 00:59:29,800
Speaker 3: ship sounds crazy, and I was just like I was

1145
00:59:29,880 --> 00:59:32,560
Speaker 3: watching the news, and before I knew it, my whole

1146
00:59:32,680 --> 00:59:34,000
Speaker 3: head was twisted.

1147
00:59:36,960 --> 00:59:39,960
Speaker 5: Anxiety about You took the word about anxiety.

1148
00:59:40,040 --> 00:59:41,040
Speaker 2: Twist anxiety.

1149
00:59:42,080 --> 00:59:48,840
Speaker 5: Yeah, wait a minute, ship, you twisted watching the news

1150
00:59:48,880 --> 00:59:50,680
Speaker 5: going like, wait a minute.

1151
00:59:50,800 --> 00:59:53,320
Speaker 2: I got turned the white light to him. You're right,

1152
00:59:53,760 --> 00:59:54,520
Speaker 2: you're absent.

1153
00:59:54,760 --> 00:59:57,400
Speaker 6: That's when you started to a mirror in the pandemic.

1154
00:59:57,640 --> 00:59:58,120
Speaker 3: I was.

1155
00:59:58,440 --> 00:59:59,080
Speaker 2: I don't know why.

1156
00:59:59,240 --> 01:00:03,800
Speaker 3: I just when you look at my album, my last

1157
01:00:03,880 --> 01:00:08,480
Speaker 3: album cover of Jimmy Lee, yes it looks like my

1158
01:00:08,560 --> 01:00:12,520
Speaker 3: hair is short, but there's little, tiny, tiny balls on

1159
01:00:12,640 --> 01:00:14,680
Speaker 3: my hair. That's that's how short it was when I

1160
01:00:14,800 --> 01:00:19,600
Speaker 3: was twisting my scalp watching them then or you knew

1161
01:00:19,640 --> 01:00:21,240
Speaker 3: what I was growing up, That's what happened.

1162
01:00:21,800 --> 01:00:22,360
Speaker 2: Anxiety.

1163
01:00:22,600 --> 01:00:25,920
Speaker 6: That is what is the thing that Donald Trump did?

1164
01:00:25,960 --> 01:00:26,200
Speaker 5: Thank you?

1165
01:00:27,160 --> 01:00:28,720
Speaker 3: Yeah, that's great. Yeah.

1166
01:00:29,320 --> 01:00:33,400
Speaker 2: Is there anything that you've not done that you wish

1167
01:00:34,040 --> 01:00:34,280
Speaker 2: to do?

1168
01:00:36,320 --> 01:00:38,320
Speaker 3: I want to, I want I want to. I really

1169
01:00:38,400 --> 01:00:41,520
Speaker 3: want to live in Europe for a minute. I've been.

1170
01:00:43,400 --> 01:00:45,040
Speaker 3: I just I just I don't know really where I

1171
01:00:45,120 --> 01:00:46,720
Speaker 3: want to live. I kind of want to go somewhere.

1172
01:00:46,800 --> 01:00:50,120
Speaker 3: And I kind of want to make a record with

1173
01:00:50,240 --> 01:00:53,000
Speaker 3: a symphony, but not a not a large symphony with

1174
01:00:53,160 --> 01:00:55,520
Speaker 3: like So when I listened to the Dell Finals, always

1175
01:00:55,560 --> 01:00:59,040
Speaker 3: felt like they had a drummer like you, they had

1176
01:00:59,080 --> 01:01:03,040
Speaker 3: a bass player that was like good as hell, but

1177
01:01:03,200 --> 01:01:07,120
Speaker 3: they had an orchestra that was right by the book.

1178
01:01:07,720 --> 01:01:09,840
Speaker 3: So I've always wanted to make that record, but not

1179
01:01:09,960 --> 01:01:12,800
Speaker 3: the big, big giant, just like you know, something that

1180
01:01:12,920 --> 01:01:16,560
Speaker 3: you can't ever imagine having on the tour, but just

1181
01:01:17,680 --> 01:01:20,640
Speaker 3: something like that would have. But just I always wanted

1182
01:01:20,640 --> 01:01:22,280
Speaker 3: to make that record when I can. I sort of

1183
01:01:22,320 --> 01:01:24,680
Speaker 3: did it with when I had Spanky and people where

1184
01:01:24,720 --> 01:01:27,240
Speaker 3: I could just I could write on the spot, I

1185
01:01:27,280 --> 01:01:30,240
Speaker 3: could just sing parts to people and we make the

1186
01:01:30,320 --> 01:01:34,840
Speaker 3: record that way. I mean, like without just sitting back

1187
01:01:34,920 --> 01:01:37,000
Speaker 3: and writing, kind of sit back and play and then

1188
01:01:37,080 --> 01:01:39,640
Speaker 3: go okay, you do this, you do this, you do this,

1189
01:01:39,840 --> 01:01:42,640
Speaker 3: and then go write the words and have people kind

1190
01:01:42,680 --> 01:01:44,160
Speaker 3: of want to do that because I think we're living

1191
01:01:44,200 --> 01:01:47,840
Speaker 3: in this experimental phase where nobody really understands streaming or

1192
01:01:47,840 --> 01:01:50,880
Speaker 3: how are we making money or any of that, and

1193
01:01:51,960 --> 01:01:54,880
Speaker 3: you know, we're so happy about making pennies and people

1194
01:01:54,960 --> 01:01:57,480
Speaker 3: were all about, like you know, people holding up gold

1195
01:01:57,520 --> 01:02:01,880
Speaker 3: albums talking about they streamed a million, goes a million plaque.

1196
01:02:01,960 --> 01:02:04,240
Speaker 3: Is this It's really confusing right now to me. So

1197
01:02:05,040 --> 01:02:06,960
Speaker 3: I just think the only thing we have left is, uh,

1198
01:02:07,880 --> 01:02:09,800
Speaker 3: it's it's creativity. I think we should be at the

1199
01:02:09,880 --> 01:02:12,640
Speaker 3: top of creativity and and not don't worry about what

1200
01:02:12,720 --> 01:02:15,280
Speaker 3: everybody else is doing and don't knock any younger kids

1201
01:02:15,360 --> 01:02:18,000
Speaker 3: or anything like that, but you know, like yourself just

1202
01:02:18,040 --> 01:02:21,800
Speaker 3: bringing light with that. You know, I don't know feel

1203
01:02:22,240 --> 01:02:28,120
Speaker 3: if you notice, but like that documentary of that that

1204
01:02:28,280 --> 01:02:33,840
Speaker 3: guy that hosted so that guy and listen to him

1205
01:02:33,920 --> 01:02:36,240
Speaker 3: and his struggle to get that thing to fly and

1206
01:02:36,320 --> 01:02:39,000
Speaker 3: it still didn't come out. But all of those people

1207
01:02:39,080 --> 01:02:42,720
Speaker 3: until now we might as well just kind of just create.

1208
01:02:42,800 --> 01:02:45,240
Speaker 3: And so I think for me, I just want to

1209
01:02:45,360 --> 01:02:47,400
Speaker 3: just you know, create. I kind of want to take

1210
01:02:47,440 --> 01:02:49,920
Speaker 3: out a tour where I'm like, it's just me. I'm

1211
01:02:49,960 --> 01:02:54,120
Speaker 3: working on a tour call to recital, whereas it's me

1212
01:02:54,360 --> 01:02:58,520
Speaker 3: just playing piano and and base and telling my stories

1213
01:02:58,560 --> 01:03:00,280
Speaker 3: now because the reason why it's cart recite it was

1214
01:03:00,320 --> 01:03:02,640
Speaker 3: because I can't play the piano that good. I just

1215
01:03:02,640 --> 01:03:05,080
Speaker 3: can't play good enough to like for my songs and

1216
01:03:05,640 --> 01:03:08,600
Speaker 3: and make mistakes. So I'll be making mistakes, but most

1217
01:03:08,640 --> 01:03:10,760
Speaker 3: of them be me talking about my career, like this

1218
01:03:10,880 --> 01:03:14,680
Speaker 3: interview that we're doing like a woman, Yeah you know

1219
01:03:14,720 --> 01:03:18,200
Speaker 3: what I mean. Always wanted to tour like a comedian

1220
01:03:18,280 --> 01:03:20,680
Speaker 3: with it, like with a chair in the glass and

1221
01:03:20,760 --> 01:03:22,120
Speaker 3: so Warden bring all the money home.

1222
01:03:23,240 --> 01:03:25,800
Speaker 6: There you go going on versus.

1223
01:03:26,640 --> 01:03:30,280
Speaker 3: I'm just a versus who would you?

1224
01:03:30,680 --> 01:03:32,320
Speaker 4: Who would you go against? The verses.

1225
01:03:33,720 --> 01:03:35,960
Speaker 3: They had me going against D'Angelo, right, I was supposed

1226
01:03:35,960 --> 01:03:36,160
Speaker 3: to do that.

1227
01:03:36,520 --> 01:03:39,560
Speaker 6: The only one that did the show that wasn't even

1228
01:03:39,560 --> 01:03:41,400
Speaker 6: a versus loved him, but that wasn't no versus.

1229
01:03:41,840 --> 01:03:43,040
Speaker 3: But I didn't. I didn't do it because it was

1230
01:03:43,040 --> 01:03:48,720
Speaker 3: supposed to be. They wanted to be Maxwell Maxwell. It

1231
01:03:48,720 --> 01:03:49,960
Speaker 3: was supposed to be basketballing him.

1232
01:03:50,120 --> 01:03:50,240
Speaker 4: Right.

1233
01:03:50,920 --> 01:03:52,440
Speaker 3: He didn't want to do it, But I don't. I

1234
01:03:52,480 --> 01:03:55,000
Speaker 3: don't know. I don't know. I like Versus for it's

1235
01:03:55,040 --> 01:03:57,160
Speaker 3: a fund as entertain but who could I love it?

1236
01:03:57,440 --> 01:03:58,040
Speaker 6: Who could sell?

1237
01:03:59,440 --> 01:04:02,680
Speaker 1: If you're if your legacy were more tighter with the Tonys.

1238
01:04:03,720 --> 01:04:09,400
Speaker 1: I would have loved to see a live Tony condition MA.

1239
01:04:09,480 --> 01:04:14,480
Speaker 3: Condition, would Chris? Every time Chris Webber sees me, he

1240
01:04:14,800 --> 01:04:17,520
Speaker 3: loves MA condition. He's like, yeah, buddy, I'm get you

1241
01:04:17,560 --> 01:04:20,440
Speaker 3: on the stage of condition and see what you do.

1242
01:04:21,200 --> 01:04:24,840
Speaker 3: Chris Webber loves MA conditions, so he's always trying to

1243
01:04:24,920 --> 01:04:29,800
Speaker 3: put stokely against me my boy though Chris is my boy,

1244
01:04:30,320 --> 01:04:33,760
Speaker 3: but no, honestly, but stokely by.

1245
01:04:35,520 --> 01:04:37,520
Speaker 6: So you can say condition in the Stokely records and

1246
01:04:38,760 --> 01:04:39,440
Speaker 6: Tony records.

1247
01:04:40,360 --> 01:04:43,280
Speaker 3: Stokely is like I tell people, Stokely sing circles around

1248
01:04:44,160 --> 01:04:48,320
Speaker 3: any and then Stokely, the kind of person you'll be

1249
01:04:48,400 --> 01:04:51,320
Speaker 3: like in France and somebody be like, hey, Stokely's down

1250
01:04:51,360 --> 01:04:52,920
Speaker 3: the street doing a fusion gig.

1251
01:04:53,200 --> 01:04:56,640
Speaker 2: On drums, right, exactly right, And then he's.

1252
01:04:56,560 --> 01:04:59,000
Speaker 3: Like stokely Carl Michael So his dad was a black

1253
01:04:59,040 --> 01:05:02,360
Speaker 3: college professor. He like this intellect and everything. I'll be

1254
01:05:02,440 --> 01:05:05,160
Speaker 3: like every time I talk to Mit, Hey, secret smart guy.

1255
01:05:08,120 --> 01:05:08,240
Speaker 4: Oh.

1256
01:05:08,320 --> 01:05:10,920
Speaker 5: I was gonna ask just about the with you know,

1257
01:05:11,080 --> 01:05:13,480
Speaker 5: with the Tony's, you know, with you guys breaking up,

1258
01:05:13,840 --> 01:05:15,400
Speaker 5: but you know y'all actually family.

1259
01:05:15,960 --> 01:05:18,480
Speaker 4: How does that play in your family dynamic?

1260
01:05:19,720 --> 01:05:19,760
Speaker 3: Like?

1261
01:05:20,000 --> 01:05:21,840
Speaker 4: Is it Thanksgiving? Is it cool? Is it smoke?

1262
01:05:21,920 --> 01:05:21,960
Speaker 3: Like?

1263
01:05:22,000 --> 01:05:23,840
Speaker 4: How do y'all handle each other in real life?

1264
01:05:25,480 --> 01:05:28,280
Speaker 3: Man? Our traditional Thanksgiving has been over for so long.

1265
01:05:29,400 --> 01:05:35,400
Speaker 3: I don't even think families have traditional Thanksgiving anymore. Indigenous people, Yeah,

1266
01:05:35,440 --> 01:05:38,640
Speaker 3: I think for us, my father always come on to

1267
01:05:38,640 --> 01:05:40,600
Speaker 3: see us get together and do something. And I think

1268
01:05:40,680 --> 01:05:43,200
Speaker 3: what we're gonna do is we're gonna get together be

1269
01:05:43,360 --> 01:05:45,640
Speaker 3: Dowayne and Tim because you know, we're pretty much a

1270
01:05:45,680 --> 01:05:47,720
Speaker 3: group in the beginning that wasn't really R and B

1271
01:05:47,840 --> 01:05:52,560
Speaker 3: were more like the Black police. And we're gonna get

1272
01:05:52,560 --> 01:05:56,520
Speaker 3: together and do like a kind of like a farewell,

1273
01:05:56,680 --> 01:06:02,120
Speaker 3: like thank you to be We're gonna do that. I

1274
01:06:02,200 --> 01:06:04,200
Speaker 3: was at Dwayne last night. If you if you look

1275
01:06:04,280 --> 01:06:09,160
Speaker 3: on his Facebook, Dwayne can't go anywhere and let's get down.

1276
01:06:11,360 --> 01:06:13,200
Speaker 3: If you see Dwayne, he's gonna be singing whatever you

1277
01:06:13,280 --> 01:06:17,760
Speaker 3: want or let's get down, are singing, Hey, Hey, the

1278
01:06:17,840 --> 01:06:20,000
Speaker 3: blues is all right. Dwayne is like an old man

1279
01:06:20,080 --> 01:06:22,040
Speaker 3: just running around singing like the same song.

1280
01:06:23,240 --> 01:06:25,200
Speaker 6: He had a dope single they haven't remember he had.

1281
01:06:26,240 --> 01:06:29,160
Speaker 3: Yeah, I'm just saying, Dwayne, he's not gonna miss the performance.

1282
01:06:29,200 --> 01:06:31,040
Speaker 3: So last night I was in San Francisco before I

1283
01:06:31,080 --> 01:06:33,280
Speaker 3: got to New York. We're sitting in this club called

1284
01:06:33,400 --> 01:06:36,680
Speaker 3: Black Black Cat. These guys up there killing it. I mean,

1285
01:06:37,920 --> 01:06:40,280
Speaker 3: I mean killing everything. We're sitting in the audience with

1286
01:06:40,400 --> 01:06:43,400
Speaker 3: the mayor of San Francisco, and this is this young

1287
01:06:43,520 --> 01:06:46,520
Speaker 3: lady and it's her friends. And at the end of

1288
01:06:46,600 --> 01:06:49,640
Speaker 3: the night, Dwayne grabs the guitar to from this guy

1289
01:06:49,960 --> 01:06:55,440
Speaker 3: from uh the Nationals and the piano player and start

1290
01:06:55,480 --> 01:06:57,600
Speaker 3: playing let's get down and get on the mic? Is

1291
01:06:57,640 --> 01:06:59,400
Speaker 3: it not like to call my brother? So then we're

1292
01:06:59,440 --> 01:07:02,160
Speaker 3: doing two. I'm embarrassed because we're doing two verses of

1293
01:07:02,280 --> 01:07:04,840
Speaker 3: Let's get down after these dudes was up Player playing

1294
01:07:04,920 --> 01:07:09,360
Speaker 3: Cold Train and I'm like, come on, Wayne, But I

1295
01:07:09,440 --> 01:07:12,920
Speaker 3: guess that's my introduction of like of telling people that

1296
01:07:13,040 --> 01:07:16,760
Speaker 3: we are about to get together and and do our

1297
01:07:16,840 --> 01:07:20,040
Speaker 3: farewell and like, you know, thank for people, thank people

1298
01:07:20,160 --> 01:07:23,240
Speaker 3: for it's support, and we and we're actually gonna do

1299
01:07:23,320 --> 01:07:26,720
Speaker 3: like we're gonna do instruments. We're gonna put out four

1300
01:07:27,160 --> 01:07:30,240
Speaker 3: four songs, and it's it's gonna be instrumental record, just

1301
01:07:30,520 --> 01:07:35,360
Speaker 3: instrumentals almost like you know, Summer Madness and break stuff

1302
01:07:35,400 --> 01:07:38,320
Speaker 3: like that. And then because we never performed the last

1303
01:07:38,400 --> 01:07:42,320
Speaker 3: album House Music anyway, we're gonna get together and learn

1304
01:07:42,440 --> 01:07:46,040
Speaker 3: that album and then give people like three new instrumentals,

1305
01:07:46,120 --> 01:07:50,080
Speaker 3: three four instrumental songs. That's the plan. And this is

1306
01:07:50,120 --> 01:07:51,560
Speaker 3: the first place I said it, but this is.

1307
01:07:55,320 --> 01:07:59,360
Speaker 4: Yeah, man, I would love to see y'all do Wild

1308
01:07:59,440 --> 01:07:59,920
Speaker 4: Child live.

1309
01:08:00,120 --> 01:08:04,440
Speaker 3: Man was yeah, Yeah, that's that's that was our thing.

1310
01:08:05,040 --> 01:08:07,600
Speaker 3: Even when we did that record, that's the record, when

1311
01:08:07,640 --> 01:08:09,720
Speaker 3: they said let's you do your side of the record

1312
01:08:10,040 --> 01:08:12,560
Speaker 3: and I do mine. Even though I did that record,

1313
01:08:12,760 --> 01:08:14,240
Speaker 3: I went back and god doing He said, hey, bro,

1314
01:08:14,760 --> 01:08:16,719
Speaker 3: you got to sing them on this part of the record.

1315
01:08:17,280 --> 01:08:19,280
Speaker 3: He was like, of course, But I found out the

1316
01:08:19,400 --> 01:08:22,280
Speaker 3: reason why he didn't reacuse, this is the funny thing.

1317
01:08:22,320 --> 01:08:25,679
Speaker 3: You're gonna You're gonna dig this because I was always

1318
01:08:25,680 --> 01:08:27,560
Speaker 3: trying to figure out, like what did I do with

1319
01:08:27,640 --> 01:08:30,880
Speaker 3: these guys. You know that they didn't want to record

1320
01:08:30,920 --> 01:08:32,800
Speaker 3: a record with me because my dad came over. He

1321
01:08:32,960 --> 01:08:35,120
Speaker 3: was like where everybody else? I said, I didn't want

1322
01:08:35,120 --> 01:08:37,040
Speaker 3: to break his heart. And my dad passed away about

1323
01:08:37,040 --> 01:08:41,280
Speaker 3: five years ago, and I said, uh, I don't know, Dad.

1324
01:08:41,320 --> 01:08:43,320
Speaker 3: They just decided they wanted to record their side of

1325
01:08:43,360 --> 01:08:46,280
Speaker 3: the record on their own. So he was he said,

1326
01:08:46,320 --> 01:08:48,200
Speaker 3: are you gonna be all right? So I just have

1327
01:08:48,320 --> 01:08:49,880
Speaker 3: to make my dad feel good, I said, you know,

1328
01:08:49,960 --> 01:08:51,439
Speaker 3: because he thought I was on my own. And I

1329
01:08:51,880 --> 01:08:54,160
Speaker 3: used to say, like Muhammad Ali refords too. I'm like Dad,

1330
01:08:54,200 --> 01:08:56,599
Speaker 3: I'm like, I'm like Ali. I felt like a butterfly thing,

1331
01:08:56,680 --> 01:08:59,680
Speaker 3: like a beam. And my dad he starts smiling when

1332
01:08:59,720 --> 01:09:01,080
Speaker 3: I say that, because I just want to make him

1333
01:09:01,080 --> 01:09:02,920
Speaker 3: feel But honestly, I didn't know what the hell I

1334
01:09:03,040 --> 01:09:08,240
Speaker 3: was gonna do, but I figured it out, and so

1335
01:09:08,439 --> 01:09:11,280
Speaker 3: I asked Tim, I said, so, man, what did I

1336
01:09:11,400 --> 01:09:12,880
Speaker 3: do to you? Man? Like what did I do? Like,

1337
01:09:12,960 --> 01:09:16,760
Speaker 3: I don't I don't really understand, like I understand what

1338
01:09:16,960 --> 01:09:19,760
Speaker 3: I what y'all did to me. I understill did it

1339
01:09:19,840 --> 01:09:21,240
Speaker 3: to me. It was just like, you know, we just

1340
01:09:21,320 --> 01:09:24,240
Speaker 3: had regular band issues when you don't have enough money.

1341
01:09:24,280 --> 01:09:27,000
Speaker 3: Every black band don't have enough money. The problem is

1342
01:09:27,080 --> 01:09:28,679
Speaker 3: money most.

1343
01:09:28,520 --> 01:09:28,960
Speaker 4: Of the time.

1344
01:09:29,479 --> 01:09:32,800
Speaker 3: So what happened was I figured it out because they

1345
01:09:32,880 --> 01:09:36,360
Speaker 3: never told me. Every time we did an album, when

1346
01:09:36,360 --> 01:09:39,280
Speaker 3: you heard strings on the album, they cost forty thousand

1347
01:09:39,320 --> 01:09:44,519
Speaker 3: dollars twenty five thirty thousand dollars a song. Okay, so

1348
01:09:45,280 --> 01:09:50,200
Speaker 3: that's me. I would spend all the money in the

1349
01:09:50,320 --> 01:09:54,160
Speaker 3: production I took. I put the money on in the film,

1350
01:09:55,240 --> 01:09:58,080
Speaker 3: you know. And so they didn't want to record me

1351
01:09:58,120 --> 01:10:00,639
Speaker 3: because they was like, he gonna spend all all the money.

1352
01:10:02,640 --> 01:10:07,120
Speaker 3: I got it, but they never told me. I just

1353
01:10:07,200 --> 01:10:07,800
Speaker 3: figured it out.

1354
01:10:08,560 --> 01:10:12,920
Speaker 1: You need to watch Metallica some kind of Monster, and

1355
01:10:13,160 --> 01:10:16,040
Speaker 1: I want y'all that for y'all because you'll be you'll

1356
01:10:16,080 --> 01:10:21,639
Speaker 1: be really shocked on how the smallest issue can cause

1357
01:10:21,720 --> 01:10:25,639
Speaker 1: the biggest problems in a group. And then when the hindsight,

1358
01:10:25,720 --> 01:10:29,280
Speaker 1: when you talk about it, it'll be like you remember

1359
01:10:29,360 --> 01:10:32,760
Speaker 1: that time you stole my rich Crackers and said that

1360
01:10:32,920 --> 01:10:34,720
Speaker 1: you didn't, and I saw it in your bag.

1361
01:10:35,040 --> 01:10:35,920
Speaker 2: That's why I talked to you.

1362
01:10:36,160 --> 01:10:41,559
Speaker 3: You know, I'm I want to get you talk about

1363
01:10:41,600 --> 01:10:44,800
Speaker 3: Metallica because I told Dwayne I said, I said, bro

1364
01:10:45,439 --> 01:10:48,479
Speaker 3: like Metallica. I said, when we come on stage, I said,

1365
01:10:49,439 --> 01:10:51,880
Speaker 3: my mic is gonna be far right, your mic is

1366
01:10:51,920 --> 01:10:54,080
Speaker 3: gonna be far left, or you're gonna be right. I'm

1367
01:10:54,160 --> 01:10:56,840
Speaker 3: gonna left, and Tim is gonna be right in the middle.

1368
01:10:57,360 --> 01:11:00,200
Speaker 3: I said, We're gonna make this ship like Metallica. We're

1369
01:11:00,200 --> 01:11:03,360
Speaker 3: gonna have a choir like a sixteen people and a

1370
01:11:03,439 --> 01:11:06,400
Speaker 3: keyboard player to the side, and they gonna be singing backgrounds.

1371
01:11:06,439 --> 01:11:08,840
Speaker 3: We're gonna just be playing these instrumentals. I said, it's

1372
01:11:08,840 --> 01:11:11,880
Speaker 3: gonna have to feel like Metallica. You know, when we

1373
01:11:11,960 --> 01:11:15,320
Speaker 3: recorded some of our albums, like by Sons and Soul,

1374
01:11:15,680 --> 01:11:20,240
Speaker 3: Metallica was in it was there too. They were Salclito,

1375
01:11:22,000 --> 01:11:26,120
Speaker 3: uh Rika Plan Plan Yeah. So and so I was

1376
01:11:26,160 --> 01:11:28,599
Speaker 3: hanging out with Metallica, like you know, all day times,

1377
01:11:28,640 --> 01:11:30,080
Speaker 3: and they would play shows in New York. I would

1378
01:11:30,080 --> 01:11:32,599
Speaker 3: go hang out with him. So we have a lot

1379
01:11:32,640 --> 01:11:35,080
Speaker 3: of a lot of you know, Connoe of Metallica and

1380
01:11:35,360 --> 01:11:38,560
Speaker 3: those little patty things like you said, it's definitely we

1381
01:11:38,680 --> 01:11:40,919
Speaker 3: probably have some of the most silliest reasons.

1382
01:11:41,360 --> 01:11:41,559
Speaker 4: Yep.

1383
01:11:42,160 --> 01:11:46,960
Speaker 1: And you'll be shocked at, yeah, at what little communication

1384
01:11:47,080 --> 01:11:50,880
Speaker 1: could do. And you know, I will admit that, you know,

1385
01:11:51,240 --> 01:11:54,240
Speaker 1: me and a certain member probably as close now as

1386
01:11:54,280 --> 01:11:54,639
Speaker 1: we were.

1387
01:11:55,400 --> 01:11:57,000
Speaker 2: You know, it's weird that we.

1388
01:11:58,479 --> 01:12:02,439
Speaker 1: Did this operation for nineteen years almost without communicating with

1389
01:12:02,520 --> 01:12:02,840
Speaker 1: each other.

1390
01:12:03,320 --> 01:12:05,479
Speaker 4: But you know, me and people the same way, we

1391
01:12:05,520 --> 01:12:07,280
Speaker 4: didn't really become friends to make a little watch.

1392
01:12:07,320 --> 01:12:10,080
Speaker 2: You gotta communicate, You gotta communicate.

1393
01:12:10,120 --> 01:12:11,600
Speaker 3: I mean also with my brother last night and I

1394
01:12:11,720 --> 01:12:14,880
Speaker 3: just I just said, bro, look, it wasn't for you

1395
01:12:15,040 --> 01:12:18,879
Speaker 3: bringing all them records and playing all those Ernie solos

1396
01:12:18,920 --> 01:12:21,600
Speaker 3: and playing all those Larry Graham records and put me

1397
01:12:21,680 --> 01:12:24,000
Speaker 3: on the Larry, I wouldn't be the person who I

1398
01:12:24,160 --> 01:12:29,400
Speaker 3: was today. Some of the ball getting that record deal

1399
01:12:29,520 --> 01:12:33,559
Speaker 3: and shit changed, and start going backstage, and then you'll

1400
01:12:33,600 --> 01:12:35,880
Speaker 3: be like, hello, hold on, be back. You start everybody

1401
01:12:35,880 --> 01:12:37,680
Speaker 3: start getting new friends, and all of a sudden you

1402
01:12:37,840 --> 01:12:40,000
Speaker 3: like then all of a sudden you like the five

1403
01:12:40,080 --> 01:12:42,240
Speaker 3: heart beat. You like five RT beats front.

1404
01:12:42,080 --> 01:12:52,920
Speaker 1: Center right flash it's normally at the top. Wait, I

1405
01:12:52,960 --> 01:12:56,479
Speaker 1: got two more questions and then I gotta go. But well,

1406
01:12:56,560 --> 01:12:58,920
Speaker 1: you we kind of brought up one thing. You brought

1407
01:12:58,960 --> 01:13:01,880
Speaker 1: up one thing, which was is did you when you

1408
01:13:02,200 --> 01:13:05,280
Speaker 1: when when Claire Fisher did the strings for anniversary?

1409
01:13:05,360 --> 01:13:07,599
Speaker 2: Did you get to meet him or you just send

1410
01:13:07,680 --> 01:13:08,600
Speaker 2: in the tapes.

1411
01:13:08,840 --> 01:13:09,760
Speaker 4: And he sent it back.

1412
01:13:10,600 --> 01:13:12,120
Speaker 3: I was with him every time he worked with me.

1413
01:13:13,600 --> 01:13:15,920
Speaker 2: What else did he do besides the anniversary?

1414
01:13:16,560 --> 01:13:18,320
Speaker 3: He did a song that we call that we have

1415
01:13:18,520 --> 01:13:20,960
Speaker 3: called on the on the revival album that we never

1416
01:13:21,040 --> 01:13:24,440
Speaker 3: put out. It's called Cherry Love with Me. And it's ridiculous.

1417
01:13:24,560 --> 01:13:27,360
Speaker 2: Wait, you have a you have an unused Claire Fisher song?

1418
01:13:28,640 --> 01:13:29,360
Speaker 4: What the fuck?

1419
01:13:29,600 --> 01:13:32,679
Speaker 3: What this song? Cassette? Bro, I don't think we even

1420
01:13:32,760 --> 01:13:35,720
Speaker 3: find the multi tapes. And if I can find it,

1421
01:13:36,000 --> 01:13:36,720
Speaker 3: I'll send it to you.

1422
01:13:37,000 --> 01:13:42,400
Speaker 2: You can just freaking let a clear Fisher song go unscathed.

1423
01:13:43,800 --> 01:13:47,200
Speaker 3: And bro he he like I met Claire even in

1424
01:13:47,280 --> 01:13:50,400
Speaker 3: the last So then I did Claire this song? Uh?

1425
01:13:51,080 --> 01:13:53,360
Speaker 3: We were talking about with TJ Moses take me. Yes,

1426
01:13:54,120 --> 01:13:54,800
Speaker 3: that's Claire too.

1427
01:13:55,720 --> 01:13:56,000
Speaker 4: Wow.

1428
01:13:56,600 --> 01:14:01,640
Speaker 1: To our listeners, Claire Fisher is a string arranger. All

1429
01:14:01,720 --> 01:14:05,439
Speaker 1: the Prince stuff that we love as Chaka Khan ask Rufus. Yeah,

1430
01:14:05,600 --> 01:14:12,000
Speaker 1: like switch look up, Reaching for Tomorrow that that's probably

1431
01:14:12,120 --> 01:14:14,120
Speaker 1: like one of my favorite Claire Fisher moments. And and

1432
01:14:14,479 --> 01:14:15,840
Speaker 1: but you know, he had to push me away with

1433
01:14:15,920 --> 01:14:19,000
Speaker 1: the Jackson's and he really turned like a lot of

1434
01:14:19,320 --> 01:14:23,640
Speaker 1: like black music and to really like lush, lush arrangements.

1435
01:14:24,160 --> 01:14:27,240
Speaker 1: Steve and I got to work with Claire Son Brent

1436
01:14:28,080 --> 01:14:29,759
Speaker 1: on the Elvis Costello record.

1437
01:14:30,360 --> 01:14:30,679
Speaker 2: Claire.

1438
01:14:31,000 --> 01:14:33,400
Speaker 5: Actually the last thing that Claire did before he passed

1439
01:14:33,400 --> 01:14:36,920
Speaker 5: away was really love Like I know that he wrote

1440
01:14:37,080 --> 01:14:41,600
Speaker 5: the string arrangements for DiAngelo, but his son finished and

1441
01:14:41,760 --> 01:14:43,920
Speaker 5: executed it like at the time he was doing it,

1442
01:14:44,280 --> 01:14:46,680
Speaker 5: he passed away, But that was the one of the

1443
01:14:46,840 --> 01:14:49,559
Speaker 5: last things he worked on. The last thing I wanted

1444
01:14:49,600 --> 01:14:53,800
Speaker 5: to ask you just in general, like in your in

1445
01:14:53,880 --> 01:14:57,840
Speaker 5: your canon and you're songwriting canon, what's the what's the

1446
01:14:58,160 --> 01:15:02,599
Speaker 5: fastest song that he wrote that was like popular with us, Like, oh,

1447
01:15:02,640 --> 01:15:03,880
Speaker 5: I wrote that song in three minutes?

1448
01:15:04,560 --> 01:15:09,880
Speaker 3: Mm hmm. Pler with you probably probably probably was the

1449
01:15:09,960 --> 01:15:14,160
Speaker 3: Blues as far as that was, it just wrote itself,

1450
01:15:15,520 --> 01:15:16,559
Speaker 3: just kind of wrote itself.

1451
01:15:16,680 --> 01:15:19,600
Speaker 1: Yeah, okay, okay. And what was the struggle song? What

1452
01:15:19,760 --> 01:15:24,120
Speaker 1: was the song that, like all of them, you really

1453
01:15:24,280 --> 01:15:26,240
Speaker 1: just like to fight to the finish.

1454
01:15:27,439 --> 01:15:30,080
Speaker 3: I think the struggle song. It wasn't it wasn't a single,

1455
01:15:30,200 --> 01:15:33,639
Speaker 3: but we just have this thing where our album would

1456
01:15:33,640 --> 01:15:39,280
Speaker 3: be done and then label would say, now we need

1457
01:15:39,360 --> 01:15:43,360
Speaker 3: a single, right, okay, So that single was if I

1458
01:15:43,439 --> 01:15:46,840
Speaker 3: had no lute blues? Was that? But the song that

1459
01:15:47,680 --> 01:15:51,200
Speaker 3: I have a problem with was coming into the man

1460
01:15:51,320 --> 01:16:01,599
Speaker 3: of who I was. It was probably blind Man. What yeah, yeah, yeah,

1461
01:16:01,680 --> 01:16:05,360
Speaker 3: because blind Man was a song that I felt like

1462
01:16:06,520 --> 01:16:10,040
Speaker 3: it would have been a voice like Bobby Blue Bland, right,

1463
01:16:10,479 --> 01:16:12,720
Speaker 3: And I was singing all those kiddies songs, you know,

1464
01:16:12,880 --> 01:16:14,840
Speaker 3: like no, no, no no, and all of a sudden

1465
01:16:14,880 --> 01:16:17,479
Speaker 3: I had to say the first lyric and that song

1466
01:16:17,640 --> 01:16:21,120
Speaker 3: was like look at here, I'm still standing dingn Yeah,

1467
01:16:21,800 --> 01:16:24,800
Speaker 3: that's the Teddy Pendergrass line, you know, like you can't

1468
01:16:24,920 --> 01:16:26,920
Speaker 3: say looking here with the voice I've been singing with

1469
01:16:27,040 --> 01:16:28,000
Speaker 3: with the albums before that.

1470
01:16:28,600 --> 01:16:29,719
Speaker 4: So I wrote.

1471
01:16:29,920 --> 01:16:32,360
Speaker 3: I wrote it, and when I got to the mic,

1472
01:16:32,360 --> 01:16:34,200
Speaker 3: I walked to the mic and I was like, look

1473
01:16:34,240 --> 01:16:36,280
Speaker 3: at I was like, hold on, I thought you. I

1474
01:16:36,360 --> 01:16:38,559
Speaker 3: was like, hold on, shit, that's that's just not gonna work.

1475
01:16:39,000 --> 01:16:40,920
Speaker 3: So I still I stood back and I saw I

1476
01:16:41,000 --> 01:16:43,640
Speaker 3: looked at my shadow on the floor, and I had

1477
01:16:43,680 --> 01:16:47,240
Speaker 3: a conversation and I was like, you gotta you gotta

1478
01:16:47,320 --> 01:16:49,880
Speaker 3: pull from within, you gotta pull all these other different

1479
01:16:50,040 --> 01:16:54,000
Speaker 3: energies and spirits from these people. And I that song

1480
01:16:54,800 --> 01:16:57,640
Speaker 3: I struggled with but one after I did leaving. In

1481
01:16:57,760 --> 01:17:00,519
Speaker 3: that song, I sort of like my sister I passed

1482
01:17:00,520 --> 01:17:03,160
Speaker 3: away and my sister got hit by this car. My

1483
01:17:03,320 --> 01:17:07,160
Speaker 3: sister was a great blues singer, and she had a

1484
01:17:07,240 --> 01:17:10,360
Speaker 3: strong voice like Millie Jackson and Aretha and just I'm

1485
01:17:10,360 --> 01:17:13,559
Speaker 3: talking about. My sister could sing any type of soul song.

1486
01:17:13,640 --> 01:17:16,839
Speaker 3: And she was a parole office. She graduated from, you know, college,

1487
01:17:16,920 --> 01:17:21,400
Speaker 3: had degrees, owned a lot of property and until my

1488
01:17:21,479 --> 01:17:23,920
Speaker 3: sister's a singer the Al Green's version of I Can't

1489
01:17:23,920 --> 01:17:26,680
Speaker 3: Get next to You like below it. And when my

1490
01:17:26,800 --> 01:17:31,400
Speaker 3: sister passed away, I felt like her spirit just kind

1491
01:17:31,439 --> 01:17:36,679
Speaker 3: of got into me. After that, I started singing better.

1492
01:17:37,160 --> 01:17:39,479
Speaker 3: I started singing better after that. And that was after

1493
01:17:39,680 --> 01:17:42,759
Speaker 3: my sister died, when I was in the hospital singing

1494
01:17:42,800 --> 01:17:48,479
Speaker 3: it never rains, damn what Yeah, And then we I

1495
01:17:48,520 --> 01:17:51,200
Speaker 3: went to the hospital and they pulled her off the

1496
01:17:51,680 --> 01:17:53,840
Speaker 3: well and pulled off the machine. At that point, they

1497
01:17:53,920 --> 01:17:56,240
Speaker 3: pulled her off the machine, and I went back to

1498
01:17:56,320 --> 01:18:00,640
Speaker 3: the studio and I started recording that those songs. But

1499
01:18:00,720 --> 01:18:03,880
Speaker 3: then my life for singing it just after that sorted changed.

1500
01:18:03,920 --> 01:18:07,760
Speaker 3: But I never really got comfortable singing vocally until really

1501
01:18:07,840 --> 01:18:11,000
Speaker 3: the way I see it, wow, until the sixties album

1502
01:18:11,120 --> 01:18:12,320
Speaker 3: Okay pretty much.

1503
01:18:13,040 --> 01:18:16,000
Speaker 5: Man, I was gonna ask before we go on Instant

1504
01:18:16,040 --> 01:18:18,639
Speaker 5: Vintage the high Tech in the lose, how did.

1505
01:18:18,560 --> 01:18:20,320
Speaker 4: Y'all hook up? I thought it was so dope that

1506
01:18:20,400 --> 01:18:21,200
Speaker 4: you reach out there.

1507
01:18:21,160 --> 01:18:24,639
Speaker 3: Man, yeah, because i mean, like I said, my hip

1508
01:18:24,640 --> 01:18:26,280
Speaker 3: hop thread goes deep, you know what I mean, Like,

1509
01:18:26,800 --> 01:18:28,320
Speaker 3: and I just hit a high tech. I was like, bro,

1510
01:18:28,439 --> 01:18:31,320
Speaker 3: I'm doing these interlus and it'd be so sick if

1511
01:18:31,360 --> 01:18:34,800
Speaker 3: I could drop three or few high tech doings right

1512
01:18:34,880 --> 01:18:36,800
Speaker 3: in the middle of everything, you know, because he was

1513
01:18:36,880 --> 01:18:40,080
Speaker 3: just ye'a. I just always loved, you know, high tech

1514
01:18:40,200 --> 01:18:43,000
Speaker 3: because I could play bass to a you know. I mean,

1515
01:18:43,680 --> 01:18:48,240
Speaker 3: all I ever need is is beats man beats, beats,

1516
01:18:48,360 --> 01:18:50,479
Speaker 3: and and I can I can go all day if

1517
01:18:50,520 --> 01:18:52,280
Speaker 3: somebody give me a beat, and I'm like, I'm like

1518
01:18:52,479 --> 01:18:54,800
Speaker 3: more of like a MC on the bass, Like I

1519
01:18:54,840 --> 01:18:57,160
Speaker 3: could just play bass lines all day, and I could

1520
01:18:57,200 --> 01:18:59,639
Speaker 3: come up with a metal day because it's and even

1521
01:18:59,720 --> 01:19:03,040
Speaker 3: in I was in Trinidad when we did the flow

1522
01:19:03,080 --> 01:19:05,559
Speaker 3: Wind album. The Tony's was over there and this guy

1523
01:19:05,680 --> 01:19:08,040
Speaker 3: told me, he said, man, you know in Africa, it's

1524
01:19:08,120 --> 01:19:10,920
Speaker 3: we all speak through drums, right, rhythm, we all speak

1525
01:19:10,960 --> 01:19:14,240
Speaker 3: through drums. Drums is ours our thing. So drums and

1526
01:19:14,320 --> 01:19:17,000
Speaker 3: bass just singing to people. And that's why with all

1527
01:19:17,040 --> 01:19:19,840
Speaker 3: these different music, it's really you know, drums and bass.

1528
01:19:19,880 --> 01:19:22,000
Speaker 3: And I feel like even when I did Still Ray,

1529
01:19:22,560 --> 01:19:27,080
Speaker 3: it's just really drums and bass, the keys, right, But

1530
01:19:28,479 --> 01:19:31,000
Speaker 3: it's the way those drums sounds with. People always want

1531
01:19:31,000 --> 01:19:34,400
Speaker 3: to rhyme over room. I can't find the multi tracks

1532
01:19:34,439 --> 01:19:35,280
Speaker 3: to give them to nobody.

1533
01:19:35,400 --> 01:19:39,960
Speaker 2: So y Wiggins, I will send you some tracks. Great,

1534
01:19:40,880 --> 01:19:44,600
Speaker 2: please it is please, No dog, it ain't nothing for that.

1535
01:19:45,120 --> 01:19:47,439
Speaker 3: Put them drum sets in them, bro.

1536
01:19:48,320 --> 01:19:48,840
Speaker 4: I got you.

1537
01:19:49,479 --> 01:19:50,519
Speaker 2: I'll text you. I got you.

1538
01:19:50,800 --> 01:19:51,720
Speaker 4: Wait, it just hit me.

1539
01:19:51,880 --> 01:19:52,200
Speaker 3: You know what.

1540
01:19:54,160 --> 01:19:56,920
Speaker 1: Fontage just hit me to something like a couple of

1541
01:19:57,000 --> 01:20:01,719
Speaker 1: years back, and I just got trapped inside of this whole.

1542
01:20:01,880 --> 01:20:03,479
Speaker 2: I don't know if you saw that playlist I gave

1543
01:20:03,520 --> 01:20:09,000
Speaker 2: you a liquor house music. Come on, yes, sir, I

1544
01:20:09,240 --> 01:20:13,880
Speaker 2: feel I feel like I feel like that's I feel

1545
01:20:13,920 --> 01:20:15,720
Speaker 2: like even more than Go Go.

1546
01:20:16,200 --> 01:20:22,400
Speaker 1: Liquor house music is the under undiscovered gem of R

1547
01:20:22,439 --> 01:20:24,800
Speaker 1: and B music, like Sir Charles Jones and.

1548
01:20:24,840 --> 01:20:25,200
Speaker 3: All like.

1549
01:20:28,720 --> 01:20:30,880
Speaker 4: Down here like way, it's the last place. It's the

1550
01:20:30,960 --> 01:20:32,160
Speaker 4: last place white people ain't took.

1551
01:20:33,280 --> 01:20:37,080
Speaker 1: Yeah, I feel like you need you need to do

1552
01:20:37,880 --> 01:20:42,000
Speaker 1: the thin line between liquor house music and gospel courts.

1553
01:20:42,240 --> 01:20:43,040
Speaker 4: Yeah, yeah.

1554
01:20:44,479 --> 01:20:46,720
Speaker 5: To me, let me, let me send me the Yes,

1555
01:20:47,080 --> 01:20:50,639
Speaker 5: I will, Oh God, Marvin's Candy liquor like it's all

1556
01:20:50,800 --> 01:20:52,799
Speaker 5: just some people call it blues.

1557
01:20:53,520 --> 01:20:55,760
Speaker 4: Yes, come on, come on like.

1558
01:20:55,840 --> 01:20:59,720
Speaker 1: That Malaco Records, real cheap sounding karaoke R and B.

1559
01:20:59,840 --> 01:21:02,040
Speaker 1: But it's my favorite ship of ault.

1560
01:21:03,200 --> 01:21:05,320
Speaker 3: Is Jesus, are you talking? Are you talking about like

1561
01:21:05,400 --> 01:21:07,000
Speaker 3: songs like the Big Get It All and all them

1562
01:21:07,040 --> 01:21:09,920
Speaker 3: songs the Bitch Get It Off?

1563
01:21:10,000 --> 01:21:13,400
Speaker 4: Yes, yes, yes, indeed yes Yo.

1564
01:21:14,920 --> 01:21:19,160
Speaker 3: Yo, the Biscuit Yo, my ex girlfriend parents. I've been

1565
01:21:19,200 --> 01:21:21,880
Speaker 3: listening to that ship for like fifteen Yo. I got

1566
01:21:22,000 --> 01:21:23,120
Speaker 3: a whole list of it.

1567
01:21:23,479 --> 01:21:25,400
Speaker 2: Yes, Yo, I'll be in the yo.

1568
01:21:25,439 --> 01:21:27,679
Speaker 3: They're gonna take that off he too pretty soon. These

1569
01:21:27,760 --> 01:21:31,960
Speaker 3: dudes be like forty five old school hats. Yes. So

1570
01:21:32,080 --> 01:21:35,240
Speaker 3: are you talking about so you ever heard of theotis.

1571
01:21:35,400 --> 01:21:38,240
Speaker 4: The yeah.

1572
01:21:40,840 --> 01:21:41,240
Speaker 3: Just singing.

1573
01:21:41,760 --> 01:21:42,960
Speaker 4: Uh stand up?

1574
01:21:45,240 --> 01:21:50,479
Speaker 3: Stand up dude played in my sister's band, my sister

1575
01:21:50,640 --> 01:21:52,639
Speaker 3: blues band, Theotis was her guitar player.

1576
01:21:52,920 --> 01:21:53,160
Speaker 4: Wow.

1577
01:21:54,479 --> 01:21:56,840
Speaker 3: I know that's right because theoda has been on me

1578
01:21:56,920 --> 01:21:58,519
Speaker 3: since I was like eight years old. Bro.

1579
01:21:58,960 --> 01:22:01,840
Speaker 2: Wait, there's a house moving in Oakland as well.

1580
01:22:03,040 --> 01:22:06,960
Speaker 4: Man, that's the issue universe now he lives. Yeah, yeah,

1581
01:22:08,160 --> 01:22:08,920
Speaker 4: stand up in it.

1582
01:22:09,200 --> 01:22:11,360
Speaker 3: Yeah, stand up. The stand up man is my is

1583
01:22:11,439 --> 01:22:13,080
Speaker 3: my my friend. He's the older guy.

1584
01:22:13,200 --> 01:22:16,160
Speaker 5: His stepdaughter is like real longtime fan of ours, like

1585
01:22:16,320 --> 01:22:18,599
Speaker 5: good friend mine like she He came out, he came

1586
01:22:18,640 --> 01:22:19,519
Speaker 5: out to a little Brother show.

1587
01:22:19,520 --> 01:22:20,800
Speaker 4: He came back, and we was going to get back.

1588
01:22:21,120 --> 01:22:23,840
Speaker 4: He came out and kicked it with us straight up. Yeah.

1589
01:22:23,920 --> 01:22:27,160
Speaker 3: Man, Yo, but them horns, those cheap horns, I cannot take. Well,

1590
01:22:27,200 --> 01:22:28,640
Speaker 3: I'll be definitely.

1591
01:22:29,160 --> 01:22:32,080
Speaker 1: There's a way, there's a way to adjuctwist to it.

1592
01:22:32,600 --> 01:22:36,320
Speaker 1: But it's just like for me, it's the most Yeah,

1593
01:22:36,439 --> 01:22:39,280
Speaker 1: but I mean Fante is right, it's the last sort

1594
01:22:39,280 --> 01:22:45,040
Speaker 1: of ungentrified, the last ungentified movement of black music.

1595
01:22:44,920 --> 01:22:45,439
Speaker 3: That we have.

1596
01:22:45,920 --> 01:22:47,800
Speaker 6: And but then Raphael do it, and it's gonna get

1597
01:22:47,800 --> 01:22:48,560
Speaker 6: gentrified right after that.

1598
01:22:49,200 --> 01:22:52,599
Speaker 3: No, I'll tell you. I'm gonna tell you who going

1599
01:22:52,640 --> 01:22:54,120
Speaker 3: Who's gonna end up doing it? First?

1600
01:22:56,840 --> 01:22:58,880
Speaker 2: You said a white artist. I said, I know, Michael

1601
01:22:59,080 --> 01:23:00,360
Speaker 2: Arthur is next to be on Malco.

1602
01:23:01,320 --> 01:23:03,760
Speaker 3: No, it's gonna be Mally Cyrus. Dad.

1603
01:23:05,720 --> 01:23:08,160
Speaker 4: You think you think you think he's gonna do this?

1604
01:23:09,160 --> 01:23:20,160
Speaker 5: Oh damn Billy gonna start singing about Jody Big Plaizer energy.

1605
01:23:21,479 --> 01:23:24,759
Speaker 2: I thank you, thank you for doing We've been begging

1606
01:23:24,800 --> 01:23:27,240
Speaker 2: for this episode for so long. Man, thank you so much.

1607
01:23:27,240 --> 01:23:29,560
Speaker 6: I'm all in person. He can I just ask you

1608
01:23:29,960 --> 01:23:31,639
Speaker 6: as a fan you, I feel like you've just done

1609
01:23:31,680 --> 01:23:33,280
Speaker 6: so much for us. Is there anything we could do

1610
01:23:33,400 --> 01:23:36,479
Speaker 6: for you? I'm never asked anybody.

1611
01:23:39,160 --> 01:23:43,519
Speaker 3: Everybody's everybody's I'll be around when this when this Tony's

1612
01:23:43,560 --> 01:23:47,040
Speaker 3: project project comes out, Like I'm gonna start bringing out

1613
01:23:47,040 --> 01:23:49,519
Speaker 3: a couple of artists, but you assume myself and the

1614
01:23:49,720 --> 01:23:51,840
Speaker 3: artists are, they're gonna be pretty much underground artists. But

1615
01:23:51,880 --> 01:23:55,160
Speaker 3: I just feel like when that happens with the platforms

1616
01:23:55,200 --> 01:23:56,960
Speaker 3: that you guys have, you guys are already doing so

1617
01:23:57,080 --> 01:23:59,240
Speaker 3: much with the platforms, and all we need is the

1618
01:23:59,240 --> 01:24:03,879
Speaker 3: platforms for people to be I feel like we're going back. Absolutely,

1619
01:24:03,920 --> 01:24:06,200
Speaker 3: that's it and when we come to town, just buy tickets.

1620
01:24:06,439 --> 01:24:08,680
Speaker 6: Okay, we got them, right, y'all? Okay, they say, yes, yes,

1621
01:24:08,760 --> 01:24:09,080
Speaker 6: we got.

1622
01:24:10,160 --> 01:24:12,720
Speaker 3: There's a t shirt off that says that niggas don't

1623
01:24:12,760 --> 01:24:16,479
Speaker 3: buy tickets. I didn't make it, but we do. We did.

1624
01:24:21,000 --> 01:24:22,680
Speaker 4: That's the nick.

1625
01:24:22,880 --> 01:24:26,400
Speaker 2: Listen right, well, I keep on doing what you.

1626
01:24:26,439 --> 01:24:28,160
Speaker 6: Say right right now.

1627
01:24:28,200 --> 01:24:29,479
Speaker 3: It's you're right, it is.

1628
01:24:29,760 --> 01:24:30,880
Speaker 2: Yes, yeah, we.

1629
01:24:33,640 --> 01:24:37,280
Speaker 6: Broccoli still eighty twenty eighty twenty were killing it twenty.

1630
01:24:37,160 --> 01:24:39,479
Speaker 2: Hey man, that's because we keep the price under one

1631
01:24:39,520 --> 01:24:40,040
Speaker 2: hundred bucks.

1632
01:24:40,600 --> 01:24:41,400
Speaker 3: Sorry, we asked.

1633
01:24:42,360 --> 01:24:44,360
Speaker 6: You know you got generational wealth.

1634
01:24:44,200 --> 01:24:44,920
Speaker 3: So help us.

1635
01:24:45,040 --> 01:24:49,080
Speaker 1: Yes, this is not coach telling. I'm not charging a

1636
01:24:49,160 --> 01:24:51,439
Speaker 1: thousand bucks to get in some ship.

1637
01:24:51,760 --> 01:24:52,200
Speaker 4: Yo. Man.

1638
01:24:52,520 --> 01:24:54,400
Speaker 1: I want to thank you and this this has been

1639
01:24:54,439 --> 01:24:56,799
Speaker 1: amazing episode. This is definitely two part episodes.

1640
01:24:57,360 --> 01:24:57,920
Speaker 4: I know it is.

1641
01:24:58,360 --> 01:25:01,519
Speaker 1: Yeah, A big fan of yours and you know this

1642
01:25:01,640 --> 01:25:03,439
Speaker 1: is everything I could ask for it. And I'm really

1643
01:25:04,160 --> 01:25:06,160
Speaker 1: mind blowing how many things we have in common. Like

1644
01:25:07,320 --> 01:25:09,519
Speaker 1: now now I'm gonna listen to Larry Graham a whole

1645
01:25:09,600 --> 01:25:11,360
Speaker 1: nother way, man, But no, thank you for doing the.

1646
01:25:11,360 --> 01:25:14,680
Speaker 3: Show, bro Like Larry, Larry is the bible for us.

1647
01:25:15,080 --> 01:25:17,320
Speaker 3: And we come out we're thinking about playing today as

1648
01:25:17,320 --> 01:25:18,080
Speaker 3: our opening song.

1649
01:25:19,200 --> 01:25:23,040
Speaker 2: Dog there you go, there you go. Rap fiels, ladies

1650
01:25:23,080 --> 01:25:23,479
Speaker 2: and gentlemen.

1651
01:25:23,520 --> 01:25:26,120
Speaker 3: Thank you, guys, thank you, question thank you, thanks.

1652
01:25:25,960 --> 01:25:28,240
Speaker 4: All the music much appreciate itble.

1653
01:25:28,160 --> 01:25:30,120
Speaker 3: Thank you, thank you too, man, thank you just seeing

1654
01:25:30,160 --> 01:25:30,519
Speaker 3: you again.

1655
01:25:30,600 --> 01:25:33,479
Speaker 2: Oh for sure, for sure, I'm sorry y'all got you fired.

1656
01:25:33,479 --> 01:25:36,719
Speaker 6: It's all right today talking to you for three hours.

1657
01:25:36,760 --> 01:25:38,519
Speaker 3: I couldn't do that on the black You with the best,

1658
01:25:38,640 --> 01:25:40,320
Speaker 3: you with the best right here, you in the best

1659
01:25:40,360 --> 01:25:42,120
Speaker 3: hands right right, and my man, how do you.

1660
01:25:44,400 --> 01:25:47,360
Speaker 5: She holds us together? Steve seems like a long time

1661
01:25:47,479 --> 01:25:48,240
Speaker 5: electric lady.

1662
01:25:48,520 --> 01:25:48,600
Speaker 3: Uh.

1663
01:25:48,840 --> 01:25:51,560
Speaker 2: Steve probably worked on on titled like I was.

1664
01:25:51,840 --> 01:25:54,680
Speaker 9: I was in the room when that was when when

1665
01:25:54,840 --> 01:25:58,320
Speaker 9: Dee and and Ray were recording that song up in

1666
01:25:58,400 --> 01:26:00,000
Speaker 9: See up in studio Sea.

1667
01:26:01,600 --> 01:26:04,400
Speaker 3: And now I'm looking at you like yeah, of course,

1668
01:26:04,479 --> 01:26:06,120
Speaker 3: and so you were you in the room and d

1669
01:26:06,360 --> 01:26:08,920
Speaker 3: was like, uh went talking about he was like when

1670
01:26:08,960 --> 01:26:10,960
Speaker 3: the cat was making this moaning noise, you was in

1671
01:26:11,040 --> 01:26:17,040
Speaker 3: the room and Dee Go was like hey Jimmy, and

1672
01:26:17,160 --> 01:26:20,600
Speaker 3: everybody was like yeah, Jimmy, and I was like, ain't no,

1673
01:26:20,760 --> 01:26:22,400
Speaker 3: goddamn Jimmy. That cat hungry.

1674
01:26:26,400 --> 01:26:29,400
Speaker 6: He'll always keep it real man, we didn't we had.

1675
01:26:29,360 --> 01:26:33,120
Speaker 3: We didn't have three grilled cheese sandwiches, all those extra

1676
01:26:33,240 --> 01:26:35,960
Speaker 3: bacon that they put in it. The cat was watching

1677
01:26:36,080 --> 01:26:36,519
Speaker 3: us eat.

1678
01:26:40,640 --> 01:26:43,760
Speaker 2: Wait, Ray, you don't even get it. You don't even

1679
01:26:43,880 --> 01:26:44,160
Speaker 2: get it.

1680
01:26:44,800 --> 01:26:48,920
Speaker 1: The amount of bacon references I got for Steve, the

1681
01:26:49,040 --> 01:26:51,920
Speaker 1: fact that you brought that up. Even on my audiobook

1682
01:26:51,960 --> 01:26:55,920
Speaker 1: which I just finished, like fucking half hour ago, I

1683
01:26:56,160 --> 01:26:58,040
Speaker 1: credited Steve for bacon.

1684
01:26:58,800 --> 01:27:01,160
Speaker 3: Dude. We used to be in the studio and we

1685
01:27:01,240 --> 01:27:05,240
Speaker 3: would eat, we would smoke, eat, smoke and smoked, and

1686
01:27:05,400 --> 01:27:08,200
Speaker 3: d was like Sod was like yeah uh. Dean would

1687
01:27:08,240 --> 01:27:11,280
Speaker 3: be like, way, uh, I'm gonna eat something on the

1688
01:27:11,360 --> 01:27:14,200
Speaker 3: healthy side from this other restaurant. So we just not Waverley.

1689
01:27:14,439 --> 01:27:17,080
Speaker 3: So I'm like, what you order? He like, yeah, I'm

1690
01:27:17,280 --> 01:27:17,880
Speaker 3: ordered burger.

1691
01:27:18,040 --> 01:27:18,839
Speaker 4: I'm like a burger.

1692
01:27:20,960 --> 01:27:24,880
Speaker 3: But at the Waverley we would go get like a

1693
01:27:25,000 --> 01:27:28,400
Speaker 3: grilled cheese and the bacon come in it, right. De

1694
01:27:28,560 --> 01:27:32,599
Speaker 3: would say, then I get extra bacon. I'm like, extra bacon.

1695
01:27:37,960 --> 01:27:41,080
Speaker 3: The bacon is already filled in that chin thing with bacon.

1696
01:27:41,640 --> 01:27:44,439
Speaker 4: Steal. I know bacon.

1697
01:27:44,680 --> 01:27:50,839
Speaker 2: The podcast Yeah, but but but Ray, but getting untitled.

1698
01:27:50,880 --> 01:27:52,360
Speaker 3: All I remember is the bacon.

1699
01:27:53,680 --> 01:27:56,920
Speaker 5: Voodoo was nothing but bacon Fest. That's how he got it.

1700
01:27:57,360 --> 01:27:59,840
Speaker 5: In summer body eating bacon and nothing else.

1701
01:28:00,479 --> 01:28:02,280
Speaker 10: That was the original title of the record.

1702
01:28:02,360 --> 01:28:07,280
Speaker 1: Actually, I've credited Steve on most albums with bacon because.

1703
01:28:09,360 --> 01:28:12,080
Speaker 2: You know, like what spinaches, the Popeye old boys just

1704
01:28:12,160 --> 01:28:14,360
Speaker 2: like yo, I need a break.

1705
01:28:14,800 --> 01:28:17,320
Speaker 6: It's so crazy about to say most of the early

1706
01:28:17,360 --> 01:28:19,360
Speaker 6: people do. Just think y'all didn't even eat pork. I'm

1707
01:28:19,400 --> 01:28:20,439
Speaker 6: in shock over here, like.

1708
01:28:20,840 --> 01:28:23,680
Speaker 2: FROMA and you.

1709
01:28:27,640 --> 01:28:32,519
Speaker 9: Up, Raphael, Raphael, you remember recording on titled though. You

1710
01:28:32,600 --> 01:28:35,400
Speaker 9: guys were standing in front of the console, you know

1711
01:28:35,439 --> 01:28:38,640
Speaker 9: what I'm talking about. Yeah, and not not on this

1712
01:28:38,880 --> 01:28:40,760
Speaker 9: not on the engineer side, on the other side, like

1713
01:28:40,880 --> 01:28:43,360
Speaker 9: in between the console and the and the window to

1714
01:28:43,400 --> 01:28:45,360
Speaker 9: the live room, and you guys were playing.

1715
01:28:45,479 --> 01:28:49,240
Speaker 10: You were on bass and was on guitar or or

1716
01:28:49,439 --> 01:28:52,040
Speaker 10: no vice versa. I don't remember now, but.

1717
01:28:52,680 --> 01:28:54,920
Speaker 3: Yeah, well I was a guitar, he was playing, he

1718
01:28:55,120 --> 01:28:56,559
Speaker 3: was he was playing piano.

1719
01:28:57,840 --> 01:29:02,000
Speaker 9: Thin So you played bass hanging on that yeah, okay, yeah,

1720
01:29:02,040 --> 01:29:04,080
Speaker 9: but you were standing in front of the in front

1721
01:29:04,080 --> 01:29:04,679
Speaker 9: of the console.

1722
01:29:04,880 --> 01:29:08,040
Speaker 10: It was like one of my first first gigs. I

1723
01:29:08,160 --> 01:29:10,960
Speaker 10: was like, whoa, but and then we ate.

1724
01:29:11,840 --> 01:29:15,599
Speaker 3: I remember the tape ran out. Indeed, was like, y'all

1725
01:29:15,640 --> 01:29:17,280
Speaker 3: was going to change the real so we could finish.

1726
01:29:17,360 --> 01:29:20,479
Speaker 3: And I was like, now it's finish, don't don't just

1727
01:29:20,600 --> 01:29:22,880
Speaker 3: leave it like that and just call it. And then

1728
01:29:22,960 --> 01:29:25,360
Speaker 3: the dad said untitled, and I was like, just call

1729
01:29:25,400 --> 01:29:29,400
Speaker 3: it untitled. Oh, I was like finished. Then I was like,

1730
01:29:30,120 --> 01:29:32,080
Speaker 3: and I was like, when you leave, I said, when

1731
01:29:32,120 --> 01:29:34,200
Speaker 3: I left, I said, you just gotta scream at the

1732
01:29:34,280 --> 01:29:37,599
Speaker 3: end of the record. You gotta scream. He's like, he said, yeah,

1733
01:29:37,600 --> 01:29:39,000
Speaker 3: were gonna do the video. We're gonna do the video.

1734
01:29:39,120 --> 01:29:40,680
Speaker 3: So I told my boys, like, we did this song.

1735
01:29:40,760 --> 01:29:43,120
Speaker 3: I said, it's good, but I like to Spanish joint

1736
01:29:43,160 --> 01:29:46,280
Speaker 3: the best. That was my favorite album. So I didn't

1737
01:29:46,320 --> 01:29:49,479
Speaker 3: think untitled was a single. So they put it out

1738
01:29:49,520 --> 01:29:52,320
Speaker 3: and the video came out. My boy was like, hey,

1739
01:29:52,360 --> 01:29:53,720
Speaker 3: it's a good thing. You ain't in the video. You

1740
01:29:53,800 --> 01:29:55,120
Speaker 3: only had one part you could have did.

1741
01:29:59,080 --> 01:30:00,920
Speaker 6: But if I recall it the time, y'all both had

1742
01:30:00,960 --> 01:30:02,000
Speaker 6: body around that time.

1743
01:30:02,160 --> 01:30:06,280
Speaker 3: So and everybody's just everybody just say, yo, only you

1744
01:30:06,360 --> 01:30:10,000
Speaker 3: think that song was popular because because he was naked,

1745
01:30:10,640 --> 01:30:14,680
Speaker 3: and I was like, he couldn't. I said, if it

1746
01:30:14,800 --> 01:30:17,960
Speaker 3: was wacky couldn't have been naked, right, exactly. That's true

1747
01:30:18,040 --> 01:30:20,360
Speaker 3: that when Maxwell was naked with that rubber ducky in

1748
01:30:20,400 --> 01:30:25,080
Speaker 3: the in the in the bathtub, the cops knocking. That

1749
01:30:25,120 --> 01:30:25,519
Speaker 3: doesn't work.

1750
01:30:25,600 --> 01:30:27,759
Speaker 4: No, that was the It was the luxury.

1751
01:30:29,200 --> 01:30:31,479
Speaker 3: Yeah, you can't. You got to ask some weapons to

1752
01:30:31,520 --> 01:30:36,160
Speaker 3: do that one naked. You are so right? Yeah, he said, anyway, man,

1753
01:30:36,240 --> 01:30:40,120
Speaker 3: thank you. I appreciate it. Long overdue man. Congratulations to

1754
01:30:40,160 --> 01:30:42,960
Speaker 3: everybody man on your success. And wow, man, it's good

1755
01:30:43,160 --> 01:30:45,599
Speaker 3: doing ask you. Look now I'm looking on when as

1756
01:30:45,600 --> 01:30:48,120
Speaker 3: soon as he said it, I was like, wow, y'all

1757
01:30:48,160 --> 01:30:49,200
Speaker 3: have bacon in coming?

1758
01:30:49,680 --> 01:30:52,760
Speaker 1: Yes, bacon, all right, so when you have a light, yeah,

1759
01:30:53,280 --> 01:30:58,160
Speaker 1: ficolo paid Bill is not here, and doctor bacon this question.

1760
01:30:58,240 --> 01:31:01,280
Speaker 2: Love Supreme will see you on texts. Go around, Thank

1761
01:31:01,320 --> 01:31:02,679
Speaker 2: you rich all right, see y'all.

1762
01:31:05,880 --> 01:31:07,120
Speaker 3: Hey, this is Sugar Steve.

1763
01:31:07,640 --> 01:31:10,720
Speaker 11: Make sure you keep up with us on Instagram at QLs.

1764
01:31:11,640 --> 01:31:14,120
Speaker 11: Let us know what you think you should be next

1765
01:31:14,200 --> 01:31:17,720
Speaker 11: to sit down with us. Don't forget to subscribe to

1766
01:31:17,880 --> 01:31:18,880
Speaker 11: our podcast.

1767
01:31:23,800 --> 01:31:29,840
Speaker 1: What's Up Supreme is a production of iHeartRadio. For more

1768
01:31:29,880 --> 01:31:34,360
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts or

1769
01:31:34,400 --> 01:31:36,000
Speaker 1: wherever you listen to your favorite shows,