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Speaker 1: Story Time with Legendary Jerry. I am Jerry Clark. I

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Speaker 1: am Jerry Clark, a k a. The Legendary Jerry, and

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Speaker 1: you are here with story Time with Legendary Jerry. You

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Speaker 1: hit his brother in the background with all the extra

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Speaker 1: extra noises career highlight. Hey boy, let me tell you something.

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Speaker 1: Let me tell everybody out here. The reason it was

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Speaker 1: so important for me to have this gentleman, this brother,

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Speaker 1: this friend, colleague of mine on Storytime with Legendary Jerry

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Speaker 1: is the fact that his contributions and people always say this, Frank,

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Speaker 1: the contribution to the culture, the culture of the culture.

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Speaker 1: But I really knew it was important for you to

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Speaker 1: be on this show, be on our show because you

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Speaker 1: have had a different lens to what's been going on.

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Speaker 1: And I know I jumped around without officially introduce you,

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Speaker 1: but I want to introduce this week's guess. I'm gonna

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Speaker 1: say it again. He's my brother, he's my friend, and

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Speaker 1: he really has had his hands in the culture. He's

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Speaker 1: let me, let me stop it. And he's a Hall

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Speaker 1: of famer. So that means when when you're a hall

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Speaker 1: of Fame in any of your craft, Weather's football, baseball, radio,

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Speaker 1: that means you are the best at what you do. So,

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Speaker 1: ladies and gentlemen, I want you all for this week's episode,

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Speaker 1: give it up to my brother, my friend, mister Frank Ski,

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Speaker 1: my guy.

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Speaker 2: Finally get proud of you. Thank you, Thank you, Frank.

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Speaker 2: I've been, I've been.

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Speaker 1: I've been watching you for a long time, and I've

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Speaker 1: been looking up for looking up to you for a

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Speaker 1: long time. Because Frank, you've You've had a new unique

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Speaker 1: view of everything with the culture, with the music, and

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Speaker 1: seeing the you've seen it being a native New Yorker

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Speaker 1: or I should say Harlem ight right, and cutting your

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Speaker 1: teeth starting ready on Baltimore and then being down here

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Speaker 1: and making your your name is big, I mean, becoming

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Speaker 1: a Hall of Famer here in Atlanta. Just to watch

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Speaker 1: all that transpire and we're celebrating and we've celebrated fifty

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Speaker 1: years of hip hop. How have you been able to

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Speaker 1: stay relevant during all this time and still have your

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Speaker 1: hand on the post?

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Speaker 2: Brother?

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Speaker 3: I think because when you when you when you love

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Speaker 3: what you do, and then.

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Speaker 1: You do what you love. That's that's the biggest issue.

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Speaker 3: With so many people. So many people are not doing

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Speaker 3: what they love, and so many people don't love what

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Speaker 3: they do. They might like what they do, they might

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Speaker 3: enjoy what they do, but love is unconditional. You can't

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Speaker 3: say I love my job and not willing to do

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Speaker 3: it for nothing. See, I love you unconditionally, not because

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Speaker 3: you do something because you got this podcast, not because

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Speaker 3: we can do stuff for each other.

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Speaker 1: I just love you as a brother.

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Speaker 3: It's unconditional. And you have to love what you do unconditionally.

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Speaker 3: Not because you know you're successful or not successful, not

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Speaker 3: because it provides for your family or not, not because

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Speaker 3: it uplifts you in the community. But it's because you

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Speaker 3: love what you do. So every day I go to

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Speaker 3: that thing called work, it ain't it ain't really work.

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Speaker 2: Because you're passionate about it.

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Speaker 1: I love it. I love it. I do it for free.

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Speaker 1: I really would, And you can tell, man, I mean,

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Speaker 1: and I'm not going to do it for free if

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Speaker 1: I don't have to, but I do it for free.

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Speaker 1: You're too good and like you said, you're too passionate

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Speaker 1: of what you do. So right now, frank yep, with

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Speaker 1: all that being said, what is your view on a

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Speaker 1: state of urban music?

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Speaker 2: Man?

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Speaker 3: I think urban music is like everything else that happens

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Speaker 3: in the world. It changes, it moves, it molds, and

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Speaker 3: then it corrects. Hold on, say that again, changes, it moves,

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Speaker 3: it remolds itself, and then it corrects. Everything. Everything has

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Speaker 3: a correction. The stock market has a correction, the real

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Speaker 3: estate market has a correction. Radio has a correction, Television

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Speaker 3: has a correction. Entertainment has a correction. Your kids have corrections.

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Speaker 3: Your kids grow up, they move, when they get independent,

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Speaker 3: they go around, they mold themselves something new, and then

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Speaker 3: something happens in their life and they're like, oh shit,

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Speaker 3: and there's a correction, and they're like, let me get

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Speaker 3: let me get back on the straight and narrow. There

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Speaker 3: always has to be a correction, and there always will

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Speaker 3: be a correction.

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Speaker 2: So is that where so you're saying, is that where

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Speaker 2: we are right now?

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Speaker 3: Right now, We're we're in the stage of becoming corrected

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Speaker 3: in urban music right now. You saw the Spotify report

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Speaker 3: that you know, R and B music is up twenty

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Speaker 3: five percent.

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Speaker 1: You know, people want real music again.

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Speaker 3: The issue that we have is, whenever there's a correction

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Speaker 3: in the urban culture, there's only going to be a

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Speaker 3: few people that will benefit from the correction. Right So,

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Speaker 3: the problem in our culture right now is that you

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Speaker 3: had the influx of technology which makes the game easier.

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Speaker 1: Let's be for real, it ain't hard to make a record.

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Speaker 2: Everybody, everybody got a studio.

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Speaker 1: All you need is allowed to it hard to make Yeah,

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Speaker 1: it ain't hard to make a hit. It ain't hard

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Speaker 1: to make a hit though, Frank, well.

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Speaker 3: Listen, listen to what I'm saying. In this time period

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Speaker 3: of what they consider a hit, of what people consider

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Speaker 3: a hit, it's not hard. Okay, it takes a skill,

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Speaker 3: but it's not hard. Quincy Jones making Michael Jackson's album

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Speaker 3: was hard.

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Speaker 2: That's hard.

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Speaker 1: Prince making Purple Rain was hard, But what you're saying

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Speaker 1: Sexy Red making her record the hit wasn't hard. Her

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Speaker 1: work is hard. Her space and time that it took

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Speaker 1: her to get there is hard. But the way records

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Speaker 1: are made today is different. Right. So if you look

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Speaker 1: at the essence of hip hop and the way hip

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Speaker 1: hop was made, you had to have you had to have.

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Speaker 3: In your crew certain elements. You had to have the

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Speaker 3: rapper who was good, you had to have the DJ

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Speaker 3: who was dope, and the producer and then evolved the

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Speaker 3: DJ into the producer. When the DJ became the producer

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Speaker 3: that was the heyday of hip hop, right, But now

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Speaker 3: you got people being producers that aren't even musicians. You

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Speaker 3: got producers that can't read a music seat. You got

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Speaker 3: producers that don't know the essence of putting a song together.

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Speaker 3: You got producers that don't know the history of music.

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Speaker 3: You got producers that don't even know anything about the

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Speaker 3: groups that they're sampling. You got producers that aren't students

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Speaker 3: of music. If you go to the essence of hip hop,

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Speaker 3: if you talk about Dre or Pete Rock or any

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Speaker 3: of them. People they love music. Their parents in some

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Speaker 3: kind of way influenced them.

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Speaker 1: They had every they had every old school R and B,

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Speaker 1: jazz blues album in their house and they were just

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Speaker 1: listening to them. They were record junkies. They would go

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Speaker 1: to the store and go through finding samples and finding

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Speaker 1: beats and whatever. This generation right here is not like that,

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Speaker 1: so when they go to making So listen to what

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Speaker 1: I'm saying. You have so many tools available if I

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Speaker 1: want a if I want a loop right now, a

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Speaker 1: trap loop?

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Speaker 2: Do you have? Many?

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Speaker 1: Thousands of trap books are out there?

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Speaker 3: True, I mean thousands of services out there that will

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Speaker 3: sell you a loop.

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Speaker 1: You know, AI can make you a hit trap loop

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Speaker 1: right now, right now.

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Speaker 3: So tell me it's hard. Hmm, So tell me it's hard.

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Speaker 3: The difference is. The difference is, and I'm just gonna

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Speaker 3: say this because this is very important. The difference is

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Speaker 3: the essence of making a hit song starts with the song.

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Speaker 3: The song, somebody sitting there writing the song. Okay, so

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Speaker 3: the song, the lyrics are written. When you when you

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Speaker 3: watch films about R and B artists, whether it's whoever

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Speaker 3: it is, Ray Charles or Elton John, look at their

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Speaker 3: movies and watch them sitting at a piano, watch the

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Speaker 3: Queen movie. Watch them sitting in the room, coming up

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Speaker 3: with ideas, humming songs, getting an idea, making that song,

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Speaker 3: and then making the beat. See we're in reverse now.

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Speaker 3: So you have artists now that are sitting there and

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Speaker 3: have nothing written. Nothing is written. You have producers. They

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Speaker 3: got a stack of beats. You have A and R

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Speaker 3: people that put a producer in the studio with a

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Speaker 3: bunch of beats, and artist goes in, here's the beat,

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Speaker 3: and if it's hip hop, they make the song up

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Speaker 3: right there.

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Speaker 1: And they rap over the beat.

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Speaker 3: Am My lie, Jerry, No, you go in the studio

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Speaker 3: right now, you got rappers that walk into the studio

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Speaker 3: and make it up off the top of their head.

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Speaker 3: You have R and B artists that are getting songs

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Speaker 3: that there's a writer that walks into the studio, comes

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Speaker 3: up with these hooks and write. And what happens is

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Speaker 3: these songs are made surrounding hooks. They're not made surrounding

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Speaker 3: the heart a great song.

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Speaker 1: The hook has been a driver for especially in the

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Speaker 1: hip hop gang. I mean, been hit records is hook driven,

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Speaker 1: beating hooks not necessarily say hooks, not necessarily so historically

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Speaker 1: in hip hop. Historically in hip hop it was it

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Speaker 1: was thirty two sixty four bars, right, But those thirty

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Speaker 1: two and sixty four bars were all related. They all

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Speaker 1: Eric B and rock him them thirty two bars, right,

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Speaker 1: they all matched. They all were part of the same

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Speaker 1: thought and the same train of thought. You go in

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Speaker 1: the studio now every four bars to train the thought changes.

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Speaker 1: The bar before has nothing to do with the bar

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Speaker 1: that was ahead of it. Listen, go listen to Outcast album.

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Speaker 2: Those albums are some of the most well put together

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Speaker 2: albums ever.

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Speaker 1: Sorry, Miss Jackson, was the whole song about one thing? Yes,

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Speaker 1: the whole sorry, miss Jackson, was about one thing. Pick

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Speaker 1: me a hit R and B hip Pick me a

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Speaker 1: hit hip hop song today, and tell me the whole

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Speaker 1: song was about one thing.

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Speaker 2: Now, it's a perfect segue for going into what me

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Speaker 2: and you a talking to me.

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Speaker 1: I'm not saying, I'm not saying it's not dope. I

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Speaker 1: love it, Yeah, I love it. But so who you you?

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Speaker 1: You're me and you are considered the O G s

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Speaker 1: in the game. So who are the young?

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Speaker 2: The young? The young artists? I hit that you fucking

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Speaker 2: with right now?

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Speaker 1: Because you know, any anytime we you know, even my kids, dad,

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Speaker 1: you hate And I'm like, nah, And I don't like

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Speaker 1: to compare everything to you know what we came up

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Speaker 1: listening to our trying to do that because by these

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Speaker 1: young cats, I really like, like I really, I really

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Speaker 1: fuck with them. I fucked with forty two Doug and

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Speaker 1: I fucked with young Nudie and I like these cats.

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Speaker 2: Man.

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Speaker 1: I like what Sexy read.

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Speaker 3: She she stands in her ship, she stands on what

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Speaker 3: she does, and she created my theme song.

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Speaker 2: Ski.

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Speaker 1: I think that was about it. That that's your that's

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Speaker 1: your theme song. Come on, just like Dudoo Brown was,

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Speaker 1: That's that's your motherfucker things. So so she wrote it

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Speaker 1: for me. Let's let's let's talk a while we on

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Speaker 1: Sexy Red and I'm not just singling out just you know, yeah,

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Speaker 1: but let's talk about that for a minute. What's your

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Speaker 1: thoughts on just the whole female rap game in general

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Speaker 1: right now?

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Speaker 3: I think it's not the female rappers fault about where

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Speaker 3: they are right now, and and it's only one segment

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Speaker 3: because that's just because.

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Speaker 1: The pussy rap everything. My pussy, my pussies. Is that

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Speaker 1: what you're talking about?

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Speaker 3: Yeah, because because it's about it's it's an independence movement,

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Speaker 3: you know what I mean. It's women saying you're always

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Speaker 3: talking about your dicks.

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Speaker 1: Okay, that's why I don't hate on the women man,

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Speaker 1: Luke and was doing it for a long time, right,

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Speaker 1: I mean, even let's just real little Kim Foxy, every

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Speaker 1: everybody was doing it, was talking. So there's so they they.

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Speaker 3: Just they're living in the fact that women are finally

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Speaker 3: getting into respect they deserve and hip hop Okay, if

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Speaker 3: guys can do that music, we can do that music,

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Speaker 3: and they're selling.

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Speaker 1: I ain't got nothing bad to say about that.

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Speaker 3: But I had this debate earlier several months back during

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Speaker 3: vacation with my boys, I was like, yo, you heard

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Speaker 3: you heard that Dojah Cat Paint the Town Red? And

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Speaker 3: they was like, em, you know, Dad, it's all right.

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Speaker 1: I said, it's all right. I said that song get

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Speaker 1: ready to be a monster? No, no, and turn around?

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Speaker 1: What what?

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Speaker 2: What? Huge?

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Speaker 1: Huge? Because that's a song, that's a song. She's she's

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Speaker 1: she's popping her collar talking about it.

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Speaker 2: And that's it.

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Speaker 1: And that's a song.

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Speaker 2: That's a fucking smash.

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Speaker 1: It's a smash. While you were sitting here, I had

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Speaker 1: to I had to hop on my phone because I'm

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Speaker 1: in my conversation and it just ran through my mind.

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Speaker 1: A conversation we had some months ago and you you

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Speaker 1: had some interesting takes on it and this is the

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Speaker 1: fifty greatest rap groups all the time. And I remember

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Speaker 1: you called me and we talked about it and it

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Speaker 1: was a couple and you just mentioned Eric being Roy

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Speaker 1: Kim in a minute of going You said, Jerry, that's

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Speaker 1: not a group. I remember you told me, was like,

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Speaker 1: Eric being Roy Kim is not You was like, you

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Speaker 1: got rock Kim. He's the lyricist and Eric B is

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Speaker 1: the DJ.

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Speaker 3: I I thought when they said groups it was like

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Speaker 3: two or more people that were rapping. I didn't really

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Speaker 3: look at it as because let me let me give

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Speaker 3: you this, let me give you an example. Well, I

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Speaker 3: didn't really look at it like a group as a

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Speaker 3: DJ and rapper.

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Speaker 2: Yeah, you know what I mean.

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Speaker 3: As a as a rapper, definitely, you know I can

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Speaker 3: one of my tops, but I didn't.

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Speaker 1: I didn't really think that that fifty Greatest Hip Hop list.

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Speaker 3: Right here, you honestly truth. I understand why they put

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Speaker 3: Outcasts number one. That wouldn't have been my choice.

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Speaker 2: Come on, Frank, don't do it.

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Speaker 1: You want me in here for a reason for you're

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Speaker 1: talking about new Face, you hit is man, what are

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Speaker 1: you talking about? Outcast is not your number one greatest

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Speaker 1: group of all time, rap group of all time. They're

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Speaker 1: the greatest selling rap Let me let me tell you,

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Speaker 1: bron and we we we count in the same age racket. Okay,

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Speaker 1: So who who's your number one? There's there's no way

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Speaker 1: who's your number one? Run DMC.

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Speaker 3: There's not another group that changed the world for hip hop.

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Speaker 3: There's not another group in the world that changed the

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Speaker 3: culture for hip hop. Let me tell you one reason

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Speaker 3: why I said it.

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Speaker 1: When when I was going to law school and I

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Speaker 1: had to get out of school and do after my

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Speaker 1: first year and do my turn paper.

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Speaker 3: I never finished, by the fact, but my turn paper

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Speaker 3: I wrote a about how powerful hip hop was going

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Speaker 3: to be and because they were the first rap group

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Speaker 3: that had a CD. Yeah, and not just whether understand So,

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Speaker 3: so they were so big that nobody respected hip hop.

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Speaker 3: And then when we went from vinyl to CD, nobody

295
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Speaker 3: had a CD. Their their album was the first that

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Speaker 3: was put on a CD. But here's here's the reason

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Speaker 3: why I say run DMC. I stepped on stage at

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Speaker 3: Live Aid.

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Speaker 2: Oh Shit nineteen eighty six.

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Speaker 1: Understand they were doing concerts that big before anybody could

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Speaker 1: even fathom that hip hop would even be that big.

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Speaker 1: They crossed over before anybody else.

303
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Speaker 2: Took this way, really changed the whole scope.

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Speaker 1: Of But look who they did the song with. Yeah, no,

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Speaker 1: that's what I'm saying.

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Speaker 3: They had the respect to be able to do that.

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Speaker 3: They had the respect to go on tour with a

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Speaker 3: Michael Jackson or whatever they were. They were the biggest

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Speaker 3: thing around the world. They spread hip hop.

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Speaker 1: Around the world, right, you know, I.

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Speaker 3: Love they were the first one that had that had

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Speaker 3: the tours the big tours.

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Speaker 1: But you get what I'm saying, so, so all I'm

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Speaker 1: saying is to you, so can we So so when

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Speaker 1: you say one B or you or what you're saying

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Speaker 1: is run DMC is number one Outcast.

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Speaker 3: Only because only because let me just say this, only because.

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Speaker 1: Run DMC changed the world and changed the culture for

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Speaker 1: hip hop. Right.

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Speaker 3: They were the first ones that people looked at it

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Speaker 3: and was like, this is major. They had the first

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Speaker 3: biggest concerts, first biggest tours, first, to do this first,

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Speaker 3: to do all of the all of the big first, right,

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Speaker 3: I get it right out cast, huge, huge, huge, right.

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Speaker 1: Out cast. Basically, you know, said it best. The South's

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Speaker 1: got something to say, okay, and and the album was

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Speaker 1: freaking amazing, all them albums. So you want to talk

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Speaker 1: about them if you want to talk about that, that's

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Speaker 1: my only argument with the list. If you want to

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Speaker 1: talk about the affect and influence ship n w A,

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Speaker 1: can they can say the same thing, the same stuff

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Speaker 1: that you just said, the same Come on, Frank, they

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Speaker 1: can n w A hit the impact on rap music.

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Speaker 1: And you want to say positive or negative, but the

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Speaker 1: impact that nw A has had on the culture and

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Speaker 1: on rap music isn't just as big as run DMC.

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Speaker 1: You don't think, no, no, you don't think NWA's impacts

338
00:18:29,200 --> 00:18:29,840
Speaker 1: has been as big.

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Speaker 2: What are you talking about, frank in w A. That

340
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Speaker 2: spawned a whole, a whole movement.

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Speaker 3: Listen, it spawned a movement of a particular rap style.

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00:18:44,880 --> 00:18:49,040
Speaker 3: It did not respond the movement of rap in general.

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Speaker 2: It did not.

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Speaker 1: So give me so which we forget the billboard list.

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Speaker 1: Let's let's go over it. Let's let's talk about your

346
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Speaker 1: your because like I said the beginning.

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Speaker 3: I would have I would have had to have it.

348
00:19:02,320 --> 00:19:05,479
Speaker 3: I would have had to have outcast n w A.

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Speaker 3: I would have had if you could, if you can

350
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Speaker 3: put here here's my problem with the list. If you

351
00:19:10,680 --> 00:19:14,000
Speaker 3: can put n w A on the list, because of

352
00:19:14,080 --> 00:19:16,760
Speaker 3: what they moved and the fact that they moved a

353
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Speaker 3: culture right, they moved, they moved the West coast right,

354
00:19:20,880 --> 00:19:24,080
Speaker 3: they moved a style right. But you would not have

355
00:19:24,200 --> 00:19:27,400
Speaker 3: had n w A if not for who to line crew,

356
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Speaker 3: I see you later, I see you later.

357
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Speaker 2: You can.

358
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Speaker 1: Uncle Luke told me, why why couldn't you have it

359
00:19:41,119 --> 00:19:41,640
Speaker 1: without Luke?

360
00:19:41,880 --> 00:19:44,680
Speaker 2: Because Luke hold on.

361
00:19:45,119 --> 00:19:50,040
Speaker 1: Luke said that Rihan and dre and easing them used

362
00:19:50,040 --> 00:19:53,200
Speaker 1: to tell him that they're the reason they were able

363
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Speaker 1: to do what they did.

364
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Speaker 2: As far as talking on records like that.

365
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Speaker 1: Too, absolutely absolutely, because of absolutely so how they're not

366
00:19:59,560 --> 00:20:03,399
Speaker 1: gonna have up there? Who was on the list the

367
00:20:03,440 --> 00:20:07,080
Speaker 1: lower down? If you if you gonna, if you're gonna

368
00:20:07,119 --> 00:20:10,480
Speaker 1: talk about n w A in California, who moved the

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Speaker 1: whole South.

370
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Speaker 2: South was Luke Luke Skywalker.

371
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Speaker 1: Records the South, the South, YEA Independent, the South, Frank Independent.

372
00:20:20,119 --> 00:20:21,680
Speaker 2: He showed all these labels.

373
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Speaker 1: That's what I'm saying. Before j Prince, before Tony Draper,

374
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Speaker 1: before everybody, it was Luke. It was Luke.

375
00:20:27,280 --> 00:20:30,960
Speaker 3: It was yes, Yeah, that's what I'm saying. And that's

376
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Speaker 3: what run DMC represented.

377
00:20:32,720 --> 00:20:33,680
Speaker 2: And you and Luke y'all.

378
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Speaker 1: I mean, let's let's let's let's it has been well documented.

379
00:20:38,200 --> 00:20:41,160
Speaker 1: I mean, for those who don't know, Frank ski Uh

380
00:20:41,560 --> 00:20:43,719
Speaker 1: was a producer. And I'm gonna say what was still is.

381
00:20:44,320 --> 00:20:46,960
Speaker 1: But you had you had some big records man back in,

382
00:20:47,280 --> 00:20:51,280
Speaker 1: you know, and Dudu Brown was one of them. And

383
00:20:51,320 --> 00:20:54,439
Speaker 1: I've heard over the years and it's been highly you know,

384
00:20:54,560 --> 00:20:58,760
Speaker 1: talked about Uh as far as uh you're publishing with

385
00:20:58,800 --> 00:21:02,920
Speaker 1: that record, whether or not you still had it. Well,

386
00:21:02,960 --> 00:21:05,080
Speaker 1: what happened with that whole situation? Because you and Luke

387
00:21:05,280 --> 00:21:09,040
Speaker 1: that record was on the Luke Now, well, how was

388
00:21:09,080 --> 00:21:10,000
Speaker 1: Luke involved with that?

389
00:21:10,240 --> 00:21:13,600
Speaker 2: He wasn't, So how was it with your publisher?

390
00:21:13,960 --> 00:21:14,560
Speaker 1: It is mine?

391
00:21:15,400 --> 00:21:16,800
Speaker 2: Oh so he didn't have nothing to do with it.

392
00:21:16,920 --> 00:21:24,240
Speaker 1: Then now, okay, so you and him we're perfect. So yeah,

393
00:21:24,280 --> 00:21:26,760
Speaker 1: I was going to say, here's what happened when I

394
00:21:26,840 --> 00:21:31,480
Speaker 1: did Doodoo Brown, right. I called Luke and I said, yo,

395
00:21:31,800 --> 00:21:34,159
Speaker 1: I got a record, and he said I want to

396
00:21:34,200 --> 00:21:34,439
Speaker 1: hear it.

397
00:21:34,760 --> 00:21:36,679
Speaker 3: I said, I'm gonna bring it to you. I was

398
00:21:36,680 --> 00:21:40,800
Speaker 3: in Baltimore on the radio. I get off the radio,

399
00:21:41,640 --> 00:21:44,879
Speaker 3: I get on the radio. Six pm. The next morning,

400
00:21:45,200 --> 00:21:48,560
Speaker 3: I jumped on a flight from Baltimore to Miami. I

401
00:21:48,600 --> 00:21:51,960
Speaker 3: get to Miami, I go to Luke Records, took a cab.

402
00:21:52,000 --> 00:21:54,920
Speaker 3: Remember we ain't have cell phones back then. Took a cab,

403
00:21:55,240 --> 00:21:59,600
Speaker 3: went to Luke Records, sat in his office and waited

404
00:22:00,600 --> 00:22:04,240
Speaker 3: from when they opened in the morning, and I waited

405
00:22:04,880 --> 00:22:11,560
Speaker 3: until like two o'clock. He never showed up. I got

406
00:22:11,600 --> 00:22:13,520
Speaker 3: back in the car and the cab went back to

407
00:22:13,560 --> 00:22:16,600
Speaker 3: the airport, flew back to the radio station, got on

408
00:22:16,720 --> 00:22:23,880
Speaker 3: the air. He called me, Yeah, I heard it. It's

409
00:22:23,880 --> 00:22:27,120
Speaker 3: all right, it's all right, go ahead and do your thing.

410
00:22:27,480 --> 00:22:30,800
Speaker 3: I'm not interested. I said, okay, I'm gonna put it out.

411
00:22:30,840 --> 00:22:35,800
Speaker 3: He said, okay, I put it out. About about about

412
00:22:35,840 --> 00:22:39,040
Speaker 3: a month later, three weeks later, my brother and Miami

413
00:22:39,080 --> 00:22:42,520
Speaker 3: calls me. He said, Bro, you're not gonna believe this.

414
00:22:44,000 --> 00:22:47,040
Speaker 3: Power ninety six is getting ready to play the Battle

415
00:22:47,040 --> 00:22:50,040
Speaker 3: of the Songs and your song is up against Luke.

416
00:22:50,880 --> 00:22:54,280
Speaker 3: I was like, oh really, I'm nervous whatever. And I'm

417
00:22:54,320 --> 00:22:58,880
Speaker 3: listening over the phone and it's like, yeah, oh yeah,

418
00:22:59,240 --> 00:23:02,160
Speaker 3: go for the Brown. You vote for the Brown, Vote

419
00:23:02,160 --> 00:23:06,600
Speaker 3: for the Brown, Vote for the Brown, and then the

420
00:23:06,640 --> 00:23:09,160
Speaker 3: rest history. Then Luke called my people. It was like yo,

421
00:23:09,520 --> 00:23:11,680
Speaker 3: blah blah blah.

422
00:23:10,880 --> 00:23:11,960
Speaker 1: And we made a deal.

423
00:23:12,520 --> 00:23:15,639
Speaker 3: And the deal was that I went to work for him,

424
00:23:16,119 --> 00:23:18,280
Speaker 3: and I was the guy that did all the.

425
00:23:18,200 --> 00:23:21,440
Speaker 1: Mixes for his records.

426
00:23:21,520 --> 00:23:24,800
Speaker 3: So I did the mix on It's Your Birthday, I

427
00:23:24,800 --> 00:23:27,640
Speaker 3: did the mix on Scar, I did the mix on

428
00:23:28,200 --> 00:23:31,320
Speaker 3: Don't You Want on Wanna Don't One on One? All

429
00:23:31,359 --> 00:23:35,399
Speaker 3: that I did Disco Rick, I did Poison Claim, I

430
00:23:36,320 --> 00:23:38,960
Speaker 3: did all that ship this history right now now now

431
00:23:39,200 --> 00:23:42,080
Speaker 3: now fair to say that Luke would send me the

432
00:23:42,119 --> 00:23:44,840
Speaker 3: original mix and then I put my Frank Ski spin

433
00:23:44,960 --> 00:23:50,600
Speaker 3: on it, and and Luke and I have been friends forever, forever.

434
00:23:50,720 --> 00:23:51,480
Speaker 1: So when I toured.

435
00:23:51,480 --> 00:23:54,840
Speaker 3: When I toured, I toward Miami, and I went to

436
00:23:55,720 --> 00:23:58,280
Speaker 3: Luke's club, and then I went to luke skating ring,

437
00:23:58,760 --> 00:24:01,400
Speaker 3: and then I did all the Luke parties and everything.

438
00:24:01,480 --> 00:24:03,120
Speaker 2: Yeah, And it's always it's been love.

439
00:24:03,160 --> 00:24:06,320
Speaker 1: And it's always been love, all right, It's always been

440
00:24:06,080 --> 00:24:09,199
Speaker 1: When when when Luke was trying to be on the

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Speaker 1: school board and do all that shit in Miami, he

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Speaker 1: called me and I wrote him.

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Speaker 2: A letter, and man, that's some solid shit.

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Speaker 1: Frank, He's always gonna be my boy. Story Time with

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Speaker 1: the Legendary Jerry's hosted by me, the one and only

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Speaker 1: Jerry Clark. Music has been provided by July, the producer.

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Speaker 1: If you haven't already, please please make sure you subscribe

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Speaker 1: to story Time with the Legendary Jerry on YouTube and

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Speaker 1: wherever you listen to podcasts, and make sure you follow

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Speaker 1: us on all social media platforms at the Legendary Jerry podcast.

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Speaker 1: For more podcasts from my Heart Media, visit the iHeartRadio app,

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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows