1
00:00:00,120 --> 00:00:09,240
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This is

2
00:00:09,240 --> 00:00:11,160
Speaker 1: one of the moments where I don't even want to

3
00:00:11,160 --> 00:00:14,880
Speaker 1: waste time, but I think I should say, first of all,

4
00:00:15,320 --> 00:00:17,599
Speaker 1: if you don't know what you're listening to, this is

5
00:00:17,680 --> 00:00:21,680
Speaker 1: Quest Love Supreme, your host Quest Love. I'm here with

6
00:00:22,720 --> 00:00:24,920
Speaker 1: on pay Bill the Great.

7
00:00:25,200 --> 00:00:27,480
Speaker 2: How you don't Bill fantastic?

8
00:00:27,800 --> 00:00:33,200
Speaker 1: This is quite a day, Steve. How are you your home?

9
00:00:33,840 --> 00:00:36,600
Speaker 3: Yeah, I'm home. I am on the East Coast. I

10
00:00:36,640 --> 00:00:38,479
Speaker 3: don't have kids, so I just woke up.

11
00:00:39,440 --> 00:00:42,240
Speaker 1: There you go, let's here, let's here for the child. Listen,

12
00:00:43,200 --> 00:00:46,720
Speaker 1: cat dudes. All right. So one of the coolest things

13
00:00:47,200 --> 00:00:52,680
Speaker 1: that I enjoy about my charmed life being the passenger

14
00:00:52,720 --> 00:00:56,280
Speaker 1: seat of the first twenty years of recorded hip hop

15
00:00:57,200 --> 00:01:01,240
Speaker 1: is also being witnessed to a lot of pioneering first

16
00:01:02,200 --> 00:01:05,760
Speaker 1: and some thirty years ago on his fourth album, the

17
00:01:05,840 --> 00:01:10,760
Speaker 1: late Keith Allen aka Guru instructed us on It's Hard

18
00:01:10,800 --> 00:01:16,440
Speaker 1: to Earn album that it's mostly the voice. Mostly the voice.

19
00:01:17,080 --> 00:01:22,400
Speaker 1: Our guest today is absolutely no exception. I will go

20
00:01:22,520 --> 00:01:29,120
Speaker 1: on record and saying that our guest today probably possesses

21
00:01:29,760 --> 00:01:35,160
Speaker 1: one of the greatest voices intonations. He's in my top

22
00:01:35,200 --> 00:01:39,520
Speaker 1: ten favorite voices in all of hip hop, and kind

23
00:01:39,560 --> 00:01:42,840
Speaker 1: of the Domino effect shows it, you know, when hip

24
00:01:42,880 --> 00:01:47,400
Speaker 1: hop really came to an existence on Wax. At least,

25
00:01:47,720 --> 00:01:51,400
Speaker 1: I feel like most MC's were kind of derivative of

26
00:01:52,480 --> 00:01:55,440
Speaker 1: what we call the wonder Mike voice. Early Chucky was

27
00:01:55,480 --> 00:02:01,040
Speaker 1: also that Meli Mel of course, ushered in the old MC,

28
00:02:01,760 --> 00:02:06,000
Speaker 1: so they're you know your LL's, your your runs. Most

29
00:02:06,080 --> 00:02:12,799
Speaker 1: will credit Mellie mel Is being the first authoritative Rah

30
00:02:13,000 --> 00:02:16,600
Speaker 1: screaming MC. Of course, we can't forget Slick Rick's voice

31
00:02:16,600 --> 00:02:21,280
Speaker 1: and his storytelling intonation and who he's inspired. Snooping down

32
00:02:21,320 --> 00:02:25,160
Speaker 1: the line our Guest today is one of my favorite

33
00:02:25,200 --> 00:02:27,959
Speaker 1: textures in hip hop. I don't know a thing for

34
00:02:29,160 --> 00:02:37,400
Speaker 1: sort of animated nasal, whiny, high end above tenor below

35
00:02:37,480 --> 00:02:41,400
Speaker 1: soprano voices. Not to mention the amount of history that

36
00:02:41,440 --> 00:02:45,880
Speaker 1: Our Guest possesses today and these pioneering albums. As we speak,

37
00:02:46,840 --> 00:02:51,080
Speaker 1: we're two years late of the thirty seventh anniversary of

38
00:02:51,080 --> 00:02:53,920
Speaker 1: his debut album, Licensed to Ill. This is also the

39
00:02:53,919 --> 00:03:00,000
Speaker 1: thirty fifth anniversary of his mind blowing sophomore album, Paul's Boutique,

40
00:03:00,800 --> 00:03:04,639
Speaker 1: the thirty first anniversary of Check Your Head. I Can

41
00:03:04,680 --> 00:03:05,360
Speaker 1: Go on and on.

42
00:03:06,040 --> 00:03:08,240
Speaker 4: All right, it's been it's a lot of time. It's

43
00:03:08,240 --> 00:03:09,000
Speaker 4: a lot of decades.

44
00:03:09,040 --> 00:03:11,000
Speaker 1: Come on, dog, you listen to the show, you know

45
00:03:11,160 --> 00:03:13,040
Speaker 1: each intro seventeen.

46
00:03:15,320 --> 00:03:17,960
Speaker 4: Forty all right, all right again.

47
00:03:17,919 --> 00:03:22,160
Speaker 1: Adam Harwinz aka King of Rock formerly still of the

48
00:03:22,200 --> 00:03:25,960
Speaker 1: Beastie Boys, to cost Little of Supreme. When people talk

49
00:03:25,960 --> 00:03:27,600
Speaker 1: of you, I know, they speak in terms of like

50
00:03:27,680 --> 00:03:31,720
Speaker 1: lifetime achievement, awards, introductions. They just don't say. And our

51
00:03:31,760 --> 00:03:35,280
Speaker 1: guest today is Adam harwinz the Beastie Boys. Like, did

52
00:03:35,360 --> 00:03:37,200
Speaker 1: you imagine one day this would happen?

53
00:03:37,640 --> 00:03:40,680
Speaker 4: Short answer, no, No, there was no plan, no thought,

54
00:03:41,000 --> 00:03:44,360
Speaker 4: no nothing past. You know, what's the weekend?

55
00:03:45,080 --> 00:03:48,720
Speaker 1: I will say for our audience that, first of all,

56
00:03:48,920 --> 00:03:52,800
Speaker 1: one of my favorite all time audiobooks is is The

57
00:03:52,800 --> 00:03:58,760
Speaker 1: Beastie Boys memoir, which I can't recommend enough if our

58
00:03:58,800 --> 00:04:02,600
Speaker 1: audience isn't familiar with that book and how it's crafted

59
00:04:02,960 --> 00:04:04,880
Speaker 1: the way, you know, it's almost like a hip hop

60
00:04:04,960 --> 00:04:09,000
Speaker 1: version of Prairie Home Companion. So I'm actually going to

61
00:04:09,080 --> 00:04:13,760
Speaker 1: spare this particular show of the kind of soup the

62
00:04:13,880 --> 00:04:17,880
Speaker 1: nuts questions that I would normally ask on the show

63
00:04:18,560 --> 00:04:21,320
Speaker 1: that's been covered in other interviews and also been thoroughly

64
00:04:21,360 --> 00:04:24,240
Speaker 1: covered in the book. But there's a lot of in

65
00:04:24,320 --> 00:04:27,240
Speaker 1: between the cracks that I'm curious about. So where are

66
00:04:27,279 --> 00:04:28,880
Speaker 1: you speaking to us now from.

67
00:04:29,200 --> 00:04:34,160
Speaker 4: I'm in the mountains. I have a cabin a studio

68
00:04:34,640 --> 00:04:37,560
Speaker 4: smart in California.

69
00:04:37,279 --> 00:04:40,800
Speaker 1: Without giving you a way, is this the uh everyone's

70
00:04:41,120 --> 00:04:44,599
Speaker 1: recommending to me? Wherever Stevie Wonder took that photo in

71
00:04:44,680 --> 00:04:48,080
Speaker 1: talking book? It begins with the letter E. It's like

72
00:04:48,120 --> 00:04:50,880
Speaker 1: the mountains of It's like an hour north.

73
00:04:50,640 --> 00:04:53,120
Speaker 4: Of LA I don't know, but it's that.

74
00:04:54,000 --> 00:04:56,280
Speaker 1: I'm about to say air one, but that's the supermarket.

75
00:04:57,720 --> 00:04:59,760
Speaker 4: I'm up in the mountain. Here we get there's bears

76
00:04:59,760 --> 00:05:00,920
Speaker 4: andcats and stuff.

77
00:05:01,480 --> 00:05:03,160
Speaker 1: So what I was going to ask, is the mountains

78
00:05:03,200 --> 00:05:04,760
Speaker 1: more serene for you? Is that?

79
00:05:04,880 --> 00:05:04,960
Speaker 4: Like?

80
00:05:05,040 --> 00:05:06,080
Speaker 1: Why that location?

81
00:05:07,520 --> 00:05:10,520
Speaker 4: Just it's not at my house. It's a different place.

82
00:05:10,560 --> 00:05:11,760
Speaker 4: It's my own space.

83
00:05:12,560 --> 00:05:15,880
Speaker 1: Okay, So you don't like to shit where you eat

84
00:05:15,920 --> 00:05:17,760
Speaker 1: as far as creativity is concerned, you want to go

85
00:05:17,839 --> 00:05:19,120
Speaker 1: to a place to be creative or not.

86
00:05:19,240 --> 00:05:21,800
Speaker 4: I'll eat wherever and I'll ship wherever. That's not you know,

87
00:05:21,839 --> 00:05:23,080
Speaker 4: I'm fine shitting and eating.

88
00:05:23,560 --> 00:05:23,880
Speaker 1: Okay.

89
00:05:24,720 --> 00:05:27,800
Speaker 4: It was COVID, you know, like you know, we were

90
00:05:28,000 --> 00:05:31,400
Speaker 4: just all together so much that I want to get

91
00:05:31,440 --> 00:05:35,120
Speaker 4: my own little space smart. I was lucky enough to

92
00:05:35,120 --> 00:05:37,320
Speaker 4: get my own little space, A little smart.

93
00:05:37,640 --> 00:05:40,400
Speaker 1: There you go. Sometimes you need your own real man cave.

94
00:05:40,440 --> 00:05:43,239
Speaker 4: I get you, I get you, or nap zone, whatever

95
00:05:43,279 --> 00:05:43,960
Speaker 4: you want to call it.

96
00:05:44,440 --> 00:05:48,520
Speaker 1: Hey dog, I get it. And you know the fact

97
00:05:48,520 --> 00:05:52,240
Speaker 1: that you two are still a unit speaks volumes. That's

98
00:05:52,240 --> 00:05:56,200
Speaker 1: why sometimes space is important. I get that. What was

99
00:05:56,240 --> 00:05:58,320
Speaker 1: your first musical memory?

100
00:05:58,480 --> 00:06:04,360
Speaker 4: My first musical memory? My memory is very bad, but yeah,

101
00:06:04,440 --> 00:06:07,559
Speaker 4: you know, driving in the vw vand with my dad

102
00:06:07,640 --> 00:06:11,680
Speaker 4: and my brother and sister and my dad would just

103
00:06:11,800 --> 00:06:15,680
Speaker 4: blast music eight tracks always and sing along really loud.

104
00:06:16,680 --> 00:06:20,200
Speaker 1: And it were you allowed to curate the selections or

105
00:06:20,440 --> 00:06:21,760
Speaker 1: was it like don't touch my stereo?

106
00:06:22,040 --> 00:06:24,599
Speaker 4: No, no, no. He would drive, he'd you know, be driving

107
00:06:24,640 --> 00:06:27,080
Speaker 4: really fast and be reaching for the eight tracks and

108
00:06:27,320 --> 00:06:29,520
Speaker 4: trying to push you know, the one, two, three four thing.

109
00:06:29,600 --> 00:06:32,800
Speaker 4: And that's when I really got into music as a

110
00:06:32,839 --> 00:06:36,680
Speaker 4: little kid, especially from the radio. But I also knew.

111
00:06:36,760 --> 00:06:38,640
Speaker 4: I was like, what is it? What's the deal with

112
00:06:38,680 --> 00:06:43,760
Speaker 4: Neil Young? Like my dad would scream sing Neil Young songs?

113
00:06:44,160 --> 00:06:45,280
Speaker 1: Got it? Okay?

114
00:06:45,760 --> 00:06:47,440
Speaker 4: It's a tough thing. To listen to. It's like a

115
00:06:47,480 --> 00:06:48,120
Speaker 4: five year old.

116
00:06:49,400 --> 00:06:52,240
Speaker 1: Well, yeah, I was gonna say that. I two lived

117
00:06:52,279 --> 00:06:57,440
Speaker 1: in a don't touch my stereo household, so a lot

118
00:06:57,600 --> 00:07:01,360
Speaker 1: of the music that I went touch with a ten

119
00:07:01,400 --> 00:07:04,919
Speaker 1: foot pole suddenly you know, you know, I'll give you

120
00:07:04,920 --> 00:07:08,320
Speaker 1: a great example. So my dad was like pre pre

121
00:07:08,520 --> 00:07:13,720
Speaker 1: yacht rock, free am radio pop, like he liked vocals

122
00:07:13,840 --> 00:07:19,960
Speaker 1: like Johnny Mathis, Barbara Streisan, Nat King Cole, anyone that

123
00:07:20,120 --> 00:07:23,360
Speaker 1: flexed harmony as well. So we have pet sounds in

124
00:07:23,400 --> 00:07:28,000
Speaker 1: the house, but I'd never touch it right. And then

125
00:07:28,600 --> 00:07:32,400
Speaker 1: when I read a review that wasn't the Rolling Stone

126
00:07:32,440 --> 00:07:36,000
Speaker 1: Lever review Paul's Boutique, someone said, oh, this is Sergeant Pepper.

127
00:07:36,040 --> 00:07:37,680
Speaker 1: He's like, I disagree. This is the pet Sounds of

128
00:07:37,720 --> 00:07:40,840
Speaker 1: hip hop. There's more pioneering. And I was like, wait,

129
00:07:40,920 --> 00:07:44,840
Speaker 1: dad has that record. So actually, like Paul's Boutique opened

130
00:07:46,080 --> 00:07:50,400
Speaker 1: my mind to something I would otherwise resist before the

131
00:07:50,440 --> 00:07:54,080
Speaker 1: age of eighteen, I'm now open to. So I'll ask you, like,

132
00:07:55,240 --> 00:07:58,720
Speaker 1: because if you're listening to all of the music that

133
00:07:58,800 --> 00:08:01,240
Speaker 1: you guys and all your refer and if you're familiar

134
00:08:01,280 --> 00:08:06,200
Speaker 1: with the rapid fire way that you guys craft records.

135
00:08:06,240 --> 00:08:08,440
Speaker 1: I would have thought that coming out the wound, that

136
00:08:08,480 --> 00:08:12,640
Speaker 1: you guys were just like music savants that you know,

137
00:08:12,760 --> 00:08:14,560
Speaker 1: grew up with the pedigree at the age of one

138
00:08:15,160 --> 00:08:17,760
Speaker 1: of all this music. So I might have believed that

139
00:08:17,840 --> 00:08:19,560
Speaker 1: at least with the first ten years of your life

140
00:08:19,640 --> 00:08:22,200
Speaker 1: is more like force learning or Stockholm syndrome.

141
00:08:22,400 --> 00:08:26,760
Speaker 4: Like no, no, no, no. So so that's an ingrained memory,

142
00:08:26,920 --> 00:08:29,080
Speaker 4: you asked, like, my first memory, that's an ingrain. It's

143
00:08:29,080 --> 00:08:32,240
Speaker 4: not it's not a pleasant one, but it it's a memory.

144
00:08:32,640 --> 00:08:35,839
Speaker 4: But I have an older brother and sister, and this

145
00:08:36,000 --> 00:08:39,960
Speaker 4: is you know, early seventies, when forty fives, you know,

146
00:08:40,120 --> 00:08:44,480
Speaker 4: forty fives and I and the AM radio. It was

147
00:08:44,520 --> 00:08:46,360
Speaker 4: a certain time in the radio where it wasn't like

148
00:08:47,240 --> 00:08:49,240
Speaker 4: this type of music was played on this station. This

149
00:08:49,320 --> 00:08:50,960
Speaker 4: type was played on this station. That you know, the

150
00:08:51,040 --> 00:08:53,280
Speaker 4: music being made in the early seventies was a little

151
00:08:53,840 --> 00:08:57,200
Speaker 4: taste of all of this different stuff, right, And you know,

152
00:08:57,240 --> 00:08:59,719
Speaker 4: the radio kind of reflected that for a minute, and

153
00:09:00,679 --> 00:09:02,720
Speaker 4: we had a sort of lesson from the radio for

154
00:09:02,760 --> 00:09:05,880
Speaker 4: a very brief time. And also, growing up in New

155
00:09:05,960 --> 00:09:08,760
Speaker 4: York City, just walking down the street, you hear so

156
00:09:08,880 --> 00:09:12,920
Speaker 4: much different music that you're you're being taught every day.

157
00:09:14,440 --> 00:09:19,160
Speaker 1: Okay, I would say probably in my mind, you're one

158
00:09:19,160 --> 00:09:22,960
Speaker 1: of the figures I think of whenever someone's talking about

159
00:09:23,040 --> 00:09:27,640
Speaker 1: the folklore of what New York City used to be

160
00:09:28,400 --> 00:09:32,040
Speaker 1: or what New York City was. In your mind, what

161
00:09:32,200 --> 00:09:34,360
Speaker 1: is the best version of New York City that we'll

162
00:09:34,400 --> 00:09:35,160
Speaker 1: never get back.

163
00:09:35,840 --> 00:09:38,480
Speaker 4: You can't ask a fifty eight year old that question,

164
00:09:39,320 --> 00:09:42,560
Speaker 4: you know what I'm saying, because I don't go to clubs,

165
00:09:42,600 --> 00:09:44,240
Speaker 4: I don't go to parties, and shit, do you know

166
00:09:44,280 --> 00:09:47,120
Speaker 4: what I'm saying. Like when I was, you know, in

167
00:09:47,120 --> 00:09:50,240
Speaker 4: my teens and twenties, I was out all the time

168
00:09:50,400 --> 00:09:52,760
Speaker 4: having fun, doing this that and the other, running around

169
00:09:53,080 --> 00:09:54,920
Speaker 4: rooftop parties, this that and the other. You know what

170
00:09:54,960 --> 00:09:58,160
Speaker 4: I mean. And now you know I love my life,

171
00:09:58,679 --> 00:10:01,600
Speaker 4: but it's a different light. So if you put me

172
00:10:01,600 --> 00:10:03,600
Speaker 4: at a rooftop party with a bunch of twenty year

173
00:10:03,600 --> 00:10:06,360
Speaker 4: olds right now, it's not for me.

174
00:10:06,400 --> 00:10:08,120
Speaker 1: Right now, smart answer.

175
00:10:08,320 --> 00:10:11,360
Speaker 4: In my twenties, Yes, I'm at the rooftop party. I

176
00:10:11,400 --> 00:10:15,439
Speaker 4: got a forty. I'm having the best time right now, fifty.

177
00:10:15,640 --> 00:10:19,120
Speaker 4: I have fifty eight. I have a Knicks game on,

178
00:10:19,520 --> 00:10:25,719
Speaker 4: I got a chicken parmesan and I'm good. So those

179
00:10:25,720 --> 00:10:28,040
Speaker 4: are those are my two happy places?

180
00:10:28,679 --> 00:10:30,920
Speaker 2: Forty or Chicken parm one or the other done and

181
00:10:31,000 --> 00:10:32,000
Speaker 2: done buggae.

182
00:10:32,760 --> 00:10:36,280
Speaker 1: I think for me, though, the one thing that I

183
00:10:36,320 --> 00:10:43,760
Speaker 1: miss more than anything is just I mean, there was

184
00:10:43,840 --> 00:10:49,240
Speaker 1: a period in which, like whatever the equivalent of the

185
00:10:49,240 --> 00:10:53,040
Speaker 1: best orgasm you ever had, like music did that to me,

186
00:10:53,960 --> 00:10:57,320
Speaker 1: not daily, but weekly, like it was a guarantee that

187
00:10:57,480 --> 00:11:01,000
Speaker 1: four to five songs were going to be played. That

188
00:11:01,160 --> 00:11:04,360
Speaker 1: just made you like, holy shit, what the fuck is this?

189
00:11:05,960 --> 00:11:08,880
Speaker 1: Sometimes it's replaced with you know, someone does something really

190
00:11:08,880 --> 00:11:12,679
Speaker 1: cool on Instagram and I'm like, oh, that's dope. But

191
00:11:12,720 --> 00:11:15,240
Speaker 1: for me, it's I think I'm more or less asking

192
00:11:16,120 --> 00:11:18,880
Speaker 1: because music is so central to your life, and I

193
00:11:18,920 --> 00:11:22,360
Speaker 1: know you're a serious record collector. Do you miss the

194
00:11:22,400 --> 00:11:26,720
Speaker 1: time of which you were discovering music as opposed to

195
00:11:27,240 --> 00:11:29,040
Speaker 1: where you are now, which is like a know it

196
00:11:29,120 --> 00:11:31,920
Speaker 1: all expert of music?

197
00:11:33,360 --> 00:11:36,760
Speaker 4: Again asking if any grown up is really it's just

198
00:11:37,640 --> 00:11:40,480
Speaker 4: it's a different time of life, do you know what

199
00:11:40,520 --> 00:11:42,880
Speaker 4: I mean? I do I listen to my old records,

200
00:11:42,920 --> 00:11:45,440
Speaker 4: not that much. I have them, and I used to

201
00:11:45,440 --> 00:11:47,800
Speaker 4: listen to them. I don't really listen to him that much,

202
00:11:48,840 --> 00:11:52,800
Speaker 4: am I jaded in terms of music, and you know

203
00:11:52,880 --> 00:11:55,800
Speaker 4: all types of arts, Like you see a band or

204
00:11:55,800 --> 00:11:57,760
Speaker 4: a performer and you're like, yeah, I know what that is.

205
00:11:57,800 --> 00:11:59,800
Speaker 4: I don't really like it. And you don't really give

206
00:11:59,800 --> 00:12:03,040
Speaker 4: that a chance because you're you've heard it a thousand

207
00:12:03,040 --> 00:12:07,800
Speaker 4: times or so you think that makes sense. Yeah, And

208
00:12:07,880 --> 00:12:11,320
Speaker 4: so as you get older, the sad thing is that

209
00:12:11,400 --> 00:12:14,880
Speaker 4: you end up cutting yourself off to that type of experience.

210
00:12:15,920 --> 00:12:17,559
Speaker 4: That's just what happens.

211
00:12:18,160 --> 00:12:19,440
Speaker 1: So are you still open?

212
00:12:20,320 --> 00:12:20,560
Speaker 4: No?

213
00:12:21,400 --> 00:12:22,120
Speaker 1: Okay, I.

214
00:12:25,000 --> 00:12:26,000
Speaker 4: Couldn't care less.

215
00:12:27,920 --> 00:12:29,480
Speaker 3: It's open to chicken palms.

216
00:12:29,880 --> 00:12:31,800
Speaker 4: Yeah, you know what I mean, Like I had, you know,

217
00:12:32,040 --> 00:12:34,920
Speaker 4: like I could get the Interest Mohammed record right now,

218
00:12:35,720 --> 00:12:37,120
Speaker 4: and I'm telling you it would be just as good

219
00:12:37,120 --> 00:12:39,439
Speaker 4: as not better. I could get a meters record. It

220
00:12:39,480 --> 00:12:42,160
Speaker 4: would be just as good as not better than whatever. Whatever.

221
00:12:42,720 --> 00:12:45,400
Speaker 4: Maybe that's me, but maybe that's fifty eight year olds.

222
00:12:45,840 --> 00:12:50,440
Speaker 1: So what I do now, I'll pick like maybe there's

223
00:12:50,480 --> 00:12:55,080
Speaker 1: always three to five kids or maybe three to five

224
00:12:55,160 --> 00:12:59,760
Speaker 1: parents that will put me hip to their kids and

225
00:12:59,800 --> 00:13:03,560
Speaker 1: the kids like curiosity of record collecting. And you know,

226
00:13:03,840 --> 00:13:07,240
Speaker 1: I'll usually around this time, I'll do my Santa quest

227
00:13:07,679 --> 00:13:12,120
Speaker 1: stick and I'll just so that gonna, I can have

228
00:13:12,160 --> 00:13:15,520
Speaker 1: an excuse to go record shopping and go digging, like

229
00:13:15,600 --> 00:13:18,240
Speaker 1: I gotta do that. So I'm not doing it for me,

230
00:13:18,559 --> 00:13:23,840
Speaker 1: but I'll record shop for you know, a bunch of

231
00:13:24,480 --> 00:13:26,599
Speaker 1: eight to ten year olds. Now, you know, come to

232
00:13:26,679 --> 00:13:29,520
Speaker 1: Christmas Day, they're going to have like an amazing record

233
00:13:29,520 --> 00:13:33,640
Speaker 1: collection to start on. So I was shopping yesterday. My

234
00:13:33,720 --> 00:13:37,160
Speaker 1: main spot is a one Records in the village, and

235
00:13:38,320 --> 00:13:40,680
Speaker 1: you know, there's always someone on the turntables just playing

236
00:13:41,080 --> 00:13:44,800
Speaker 1: like something cool whatever. And this guy's playing side to

237
00:13:45,920 --> 00:13:50,679
Speaker 1: of the Ohio players, mister mean album, an album that

238
00:13:50,760 --> 00:13:57,040
Speaker 1: I otherwise would have passed up owned. But I realized

239
00:13:57,280 --> 00:14:00,520
Speaker 1: in going through all the alphabet and him letting it

240
00:14:00,559 --> 00:14:05,319
Speaker 1: play that Yo, I've been listening to records from the

241
00:14:05,400 --> 00:14:08,360
Speaker 1: hip hop standpoint, where you know, in the very beginning,

242
00:14:09,240 --> 00:14:12,480
Speaker 1: in such a rush for that, you know, dopamine of

243
00:14:12,679 --> 00:14:14,880
Speaker 1: where's the break or where's those four bars? I need

244
00:14:15,679 --> 00:14:19,240
Speaker 1: listening to it on forty five or just perusing through

245
00:14:19,280 --> 00:14:22,440
Speaker 1: it and that sort of thing. And I realized that

246
00:14:22,600 --> 00:14:28,280
Speaker 1: I stop listening to records just as records without a

247
00:14:28,280 --> 00:14:30,800
Speaker 1: purpose of this is going to inspire me to write

248
00:14:30,840 --> 00:14:34,600
Speaker 1: a song or go to DJ this next week, And

249
00:14:34,680 --> 00:14:37,200
Speaker 1: so now I realize I got to go through my

250
00:14:37,360 --> 00:14:41,520
Speaker 1: entire collection again just to go back to my childhood

251
00:14:41,560 --> 00:14:44,320
Speaker 1: before hip hop existed. Like when you listen to records

252
00:14:44,360 --> 00:14:50,280
Speaker 1: now is it? I'm certain in post eighty nine you

253
00:14:50,320 --> 00:14:54,040
Speaker 1: were listening to records for what's going to help build

254
00:14:54,120 --> 00:14:59,520
Speaker 1: the machine of my art, But for now, how do

255
00:14:59,560 --> 00:15:02,680
Speaker 1: you records? Like are you still in that place where.

256
00:15:03,600 --> 00:15:05,280
Speaker 4: There's a few things that I want to say that

257
00:15:05,360 --> 00:15:09,200
Speaker 4: happened real quick, because there's a lot we just discussed. Yes,

258
00:15:09,880 --> 00:15:13,280
Speaker 4: So I play softball with my friends right and to

259
00:15:13,400 --> 00:15:15,560
Speaker 4: old people, and we all bring our kids, and some

260
00:15:15,600 --> 00:15:18,880
Speaker 4: of the kids play. And my friend's kid Nat Show.

261
00:15:19,400 --> 00:15:22,960
Speaker 4: He's nine, and we have walk up everybody have to

262
00:15:22,960 --> 00:15:26,080
Speaker 4: pick a walk up song before you play softball. The

263
00:15:26,160 --> 00:15:30,880
Speaker 4: kid played Travis Scott Fiend Fiend or whatever, and me

264
00:15:31,000 --> 00:15:36,440
Speaker 4: and my friend and it's blasting, and I'm like, I

265
00:15:36,480 --> 00:15:39,200
Speaker 4: was like, this is what parents must have thought when

266
00:15:39,440 --> 00:15:42,160
Speaker 4: people were listening to Slayer, you know what I mean.

267
00:15:42,160 --> 00:15:44,160
Speaker 4: It's like just this thing that was like, I don't

268
00:15:44,440 --> 00:15:48,600
Speaker 4: you know, this is not for me. It's not for me.

269
00:15:49,360 --> 00:15:52,880
Speaker 4: And I think that's okay for me. At least I've

270
00:15:52,880 --> 00:15:56,960
Speaker 4: accepted that, you know, it's not for me, it's not

271
00:15:57,080 --> 00:16:00,480
Speaker 4: made for me. I can like it or not, like whatever,

272
00:16:00,720 --> 00:16:04,200
Speaker 4: it's I'm kind of irrelevant from that group of people

273
00:16:04,240 --> 00:16:08,000
Speaker 4: that are listening to that. To modern music, that makes sense.

274
00:16:09,160 --> 00:16:14,000
Speaker 4: Also listening to when you hear Ohio Players, you're like,

275
00:16:14,240 --> 00:16:17,480
Speaker 4: bunt you worm players ball and you know all of

276
00:16:17,480 --> 00:16:19,520
Speaker 4: their songs. You're like, you know, mister Mean was like

277
00:16:19,520 --> 00:16:22,760
Speaker 4: a later record. It's okay, it's not I wouldn't put

278
00:16:22,760 --> 00:16:25,160
Speaker 4: that on. And so the time that you have in

279
00:16:25,200 --> 00:16:28,080
Speaker 4: a day to pick a record out from all the

280
00:16:28,080 --> 00:16:32,880
Speaker 4: records you have, you're not gonna pick mister mean. Makes sense.

281
00:16:33,480 --> 00:16:38,480
Speaker 4: But at the same time, in our early years we

282
00:16:38,600 --> 00:16:40,520
Speaker 4: listen to songs, We listen to music, That's what we did.

283
00:16:40,600 --> 00:16:43,240
Speaker 4: And then when we started record shopping in terms of

284
00:16:43,840 --> 00:16:47,120
Speaker 4: sampling and all of that, we didn't really listen to music,

285
00:16:47,880 --> 00:16:49,440
Speaker 4: do you know what I mean. It was like mathematical,

286
00:16:49,520 --> 00:16:51,160
Speaker 4: it was a hobby. It was a thing, and it

287
00:16:51,200 --> 00:16:53,040
Speaker 4: was all of that needle dropping and trying to find

288
00:16:53,040 --> 00:16:55,160
Speaker 4: the thing and cool and then you made something from that,

289
00:16:55,240 --> 00:16:59,200
Speaker 4: which is great. But now I don't do that anymore,

290
00:17:00,080 --> 00:17:01,760
Speaker 4: and so I just actually listened to my.

291
00:17:01,720 --> 00:17:05,080
Speaker 1: Records and do you let it go all the way through? Yeah,

292
00:17:05,200 --> 00:17:06,840
Speaker 1: I mean we now live in a time in which

293
00:17:07,640 --> 00:17:11,840
Speaker 1: the remote post remote control shuffle culture, you just skip

294
00:17:11,880 --> 00:17:15,240
Speaker 1: to the part you like, again, the dopamine rush of it.

295
00:17:15,640 --> 00:17:17,560
Speaker 4: There's also the thing of if you listen to something

296
00:17:18,000 --> 00:17:21,600
Speaker 4: on a platform, you know, Spotify, one of those things,

297
00:17:22,000 --> 00:17:23,600
Speaker 4: then it plays the song that you want to listen to,

298
00:17:23,640 --> 00:17:25,600
Speaker 4: and that starts playing all this algorithm shit and then

299
00:17:25,640 --> 00:17:28,440
Speaker 4: all the next thing you know, you're listening to fucking

300
00:17:28,440 --> 00:17:30,439
Speaker 4: Tom Petty or some shit. You're like, this is not

301
00:17:30,680 --> 00:17:32,760
Speaker 4: what I started out with. I don't want this.

302
00:17:33,720 --> 00:17:36,720
Speaker 1: Just saying so you're primarily a wax person, Like what's

303
00:17:36,760 --> 00:17:39,720
Speaker 1: your weapon or choice as far as how you consume music.

304
00:17:40,720 --> 00:17:46,119
Speaker 4: That's it. But but yes, the downside of it is

305
00:17:46,160 --> 00:17:48,560
Speaker 4: that you only listen to things you already know. So

306
00:17:48,640 --> 00:17:51,639
Speaker 4: I'm not listening trying to find new music very occasionally,

307
00:17:51,680 --> 00:17:55,240
Speaker 4: but not so much. Okay, all of the music, you know,

308
00:17:55,920 --> 00:17:59,720
Speaker 4: it's sort of stopped at a certain year or time.

309
00:18:00,920 --> 00:18:04,600
Speaker 4: Dub records are my favorite, right, So I'll put on

310
00:18:04,720 --> 00:18:08,800
Speaker 4: Prince Jasbo and then you know, how are forty five

311
00:18:08,800 --> 00:18:10,959
Speaker 4: minutes have gone by and I've listened to that record,

312
00:18:11,000 --> 00:18:13,119
Speaker 4: and then I listened to Lee Perry record, and then

313
00:18:13,119 --> 00:18:15,960
Speaker 4: so I'm not listening for the newer record. But the

314
00:18:16,040 --> 00:18:19,159
Speaker 4: drawback is that you kind of you're stuck in the

315
00:18:19,240 --> 00:18:22,159
Speaker 4: past of you only need things, you know.

316
00:18:27,960 --> 00:18:34,359
Speaker 1: I specifically want to hone in on your creativity in

317
00:18:34,440 --> 00:18:37,640
Speaker 1: the world of hip hop. I would think that some

318
00:18:37,720 --> 00:18:42,480
Speaker 1: of my peers that are hip hop experts know that

319
00:18:42,600 --> 00:18:48,400
Speaker 1: you have aded in creating the very first twelve inch

320
00:18:48,440 --> 00:18:53,480
Speaker 1: for def Jam, which is you programmed the eight to

321
00:18:53,520 --> 00:18:58,120
Speaker 1: weight and telarox. It's yours correct, No, the world things

322
00:18:58,119 --> 00:18:59,159
Speaker 1: that you helped do that.

323
00:19:00,240 --> 00:19:03,080
Speaker 4: No, Rick Rubin did that. I'm I was at the

324
00:19:03,119 --> 00:19:06,399
Speaker 4: recording and I'm in the party track in the background.

325
00:19:06,640 --> 00:19:11,159
Speaker 1: See you're the d like it. Yeah, yeah, you're the crowd. Okay.

326
00:19:11,720 --> 00:19:14,240
Speaker 4: The story is l LL's first single.

327
00:19:15,000 --> 00:19:17,240
Speaker 1: I made the beat for, So you made a beat

328
00:19:17,280 --> 00:19:18,160
Speaker 1: for I need a beat.

329
00:19:18,640 --> 00:19:20,200
Speaker 4: I made the beat that he needed.

330
00:19:20,720 --> 00:19:24,160
Speaker 1: Yeah. That's even more pioneering because I don't even think

331
00:19:25,200 --> 00:19:28,480
Speaker 1: LLL told me that story. Oh shit, Okay, I thought

332
00:19:28,480 --> 00:19:31,439
Speaker 1: it was it's yours, my bet. So what was the

333
00:19:31,520 --> 00:19:36,400
Speaker 1: day that you guys collectively said that, Okay, we need

334
00:19:36,440 --> 00:19:40,000
Speaker 1: to sort of morph or pivot more to hip hop,

335
00:19:40,119 --> 00:19:43,760
Speaker 1: Like what was the seed? That was Planet That was like, Okay,

336
00:19:43,840 --> 00:19:46,000
Speaker 1: we can either travel this punk way or we can

337
00:19:46,119 --> 00:19:49,560
Speaker 1: try another route. Like what how did that happen?

338
00:19:50,080 --> 00:19:52,600
Speaker 4: I don't know how it exactly happened, but we were

339
00:19:52,640 --> 00:19:56,760
Speaker 4: a hardcore band playing you know, hardcore shows, punk shows,

340
00:19:57,119 --> 00:20:02,720
Speaker 4: and the scene was changing, right the hardcore scene. It

341
00:20:02,720 --> 00:20:06,159
Speaker 4: was getting into like a real tough guy thing, and

342
00:20:06,200 --> 00:20:08,560
Speaker 4: we were feeling sort of we didn't want to be

343
00:20:08,600 --> 00:20:10,199
Speaker 4: part of it. We were kind of edging out of

344
00:20:10,240 --> 00:20:13,399
Speaker 4: that scene. But we were also listening to rap a

345
00:20:13,400 --> 00:20:14,960
Speaker 4: lot of rap music at the time.

346
00:20:15,640 --> 00:20:17,480
Speaker 1: Wait, you cannot stop you one second. So you're saying

347
00:20:17,480 --> 00:20:20,200
Speaker 1: that at one point the punk scene was a more

348
00:20:20,280 --> 00:20:22,200
Speaker 1: pure for us.

349
00:20:22,280 --> 00:20:24,399
Speaker 4: We were you know, as kids. It was like we

350
00:20:24,440 --> 00:20:26,280
Speaker 4: had a little we had our little group of friends

351
00:20:26,320 --> 00:20:30,159
Speaker 4: and you know, it was we were teenagers, boys and girls,

352
00:20:30,200 --> 00:20:32,440
Speaker 4: and it wasn't the thing. And then hardcore show started.

353
00:20:32,480 --> 00:20:35,680
Speaker 4: You would see like the guy from the football team

354
00:20:35,720 --> 00:20:37,560
Speaker 4: at school would be at the hardcore show and you'd

355
00:20:37,560 --> 00:20:39,720
Speaker 4: be like, what's you know, they were just making fun

356
00:20:39,760 --> 00:20:40,040
Speaker 4: of him.

357
00:20:40,160 --> 00:20:41,880
Speaker 1: So you're saying that you had a bridge and tunnel

358
00:20:42,040 --> 00:20:43,560
Speaker 1: kind of that sort of thing.

359
00:20:43,600 --> 00:20:47,440
Speaker 4: Started issue Okay, so we wanted to do something different

360
00:20:47,760 --> 00:20:51,560
Speaker 4: and our music started. The music. We stopped kind of

361
00:20:51,560 --> 00:20:54,840
Speaker 4: playing so much hardcore where were started experimenting with different

362
00:20:54,920 --> 00:20:57,480
Speaker 4: music and then we just I don't know, we had

363
00:20:57,480 --> 00:21:01,359
Speaker 4: a show oh jumping a little bit after we wanted

364
00:21:01,359 --> 00:21:03,840
Speaker 4: to try it. But we had met this guy Rick Rubin,

365
00:21:04,640 --> 00:21:06,600
Speaker 4: and because we were gonna do a show, we wanted

366
00:21:06,600 --> 00:21:09,800
Speaker 4: a bubble machine for the show. And my friend Nick

367
00:21:09,840 --> 00:21:11,720
Speaker 4: Cooper was like, oh, I know this guy Rick Rubin

368
00:21:11,800 --> 00:21:16,080
Speaker 4: has access to a bubble machine, and so we need

369
00:21:16,119 --> 00:21:18,680
Speaker 4: him to get the bubble machine. And we saw he

370
00:21:18,760 --> 00:21:20,399
Speaker 4: had turntables and he was a DJ, and we're like,

371
00:21:20,440 --> 00:21:22,959
Speaker 4: oh shit, let's we got the show. Do you want

372
00:21:23,000 --> 00:21:24,200
Speaker 4: to try to you know, to rap?

373
00:21:24,960 --> 00:21:25,200
Speaker 1: Right?

374
00:21:25,320 --> 00:21:28,480
Speaker 4: So we just kind of did that and he brought

375
00:21:28,480 --> 00:21:30,879
Speaker 4: his turntables and it was fun and we did We

376
00:21:30,920 --> 00:21:33,480
Speaker 4: did like, you know, twenty minutes of hardcore songs and

377
00:21:33,480 --> 00:21:35,080
Speaker 4: then like fifteen minutes of rap.

378
00:21:36,080 --> 00:21:37,200
Speaker 1: Was the audience throwing off.

379
00:21:37,960 --> 00:21:40,240
Speaker 4: I mean there was like maybe thirty people there.

380
00:21:41,480 --> 00:21:44,560
Speaker 1: Maybe the less people the more hard it is, like

381
00:21:46,520 --> 00:21:47,680
Speaker 1: is more intimate, So.

382
00:21:49,480 --> 00:21:51,479
Speaker 4: Yes, being booed by thousands is easy.

383
00:21:52,280 --> 00:21:54,760
Speaker 1: It kind of is. I was booed by thousands before.

384
00:21:54,880 --> 00:21:58,960
Speaker 1: But it's way harder than like the fear of me

385
00:21:59,080 --> 00:22:02,359
Speaker 1: comes if I'm playing under if it's under two hundred people,

386
00:22:02,400 --> 00:22:06,000
Speaker 1: like if it's Blue Note size or Village Vanguard size,

387
00:22:06,040 --> 00:22:08,080
Speaker 1: I'm scared out of my mind. But any other place

388
00:22:08,119 --> 00:22:12,760
Speaker 1: I can just channel them out. So well, obviously, I mean,

389
00:22:12,800 --> 00:22:14,800
Speaker 1: it went good enough for you guys to say, like,

390
00:22:15,240 --> 00:22:18,240
Speaker 1: let's do it again. But what's the point in which

391
00:22:19,080 --> 00:22:21,000
Speaker 1: it's like, Okay, this is what we're gonna do for real.

392
00:22:21,520 --> 00:22:24,600
Speaker 4: I don't know, you know, so long ago we then

393
00:22:24,640 --> 00:22:27,560
Speaker 4: we're playing shows and we were doing that, and then

394
00:22:27,720 --> 00:22:31,680
Speaker 4: Rick had his record label. He wanted to try to

395
00:22:31,800 --> 00:22:34,119
Speaker 4: make that, like he wanted to put out rap records

396
00:22:34,119 --> 00:22:36,119
Speaker 4: because he had already had Deaf Jam. He had a

397
00:22:36,359 --> 00:22:39,719
Speaker 4: he had like a noise art band called Hose, and

398
00:22:39,720 --> 00:22:43,760
Speaker 4: he put out his own record under deaf Jam. Got

399
00:22:43,920 --> 00:22:46,280
Speaker 4: he wanted to you know, partner with somebody and make

400
00:22:46,440 --> 00:22:49,240
Speaker 4: rap records, and so he met we We were all

401
00:22:49,240 --> 00:22:51,440
Speaker 4: at this club dan Seyria, and he had a meeting

402
00:22:51,520 --> 00:22:54,040
Speaker 4: with this guy, Russell Simmons. He was Run's brother and

403
00:22:54,119 --> 00:22:56,760
Speaker 4: Running the Thing's manager, and we were excited.

404
00:22:57,440 --> 00:22:59,800
Speaker 2: Was Rick Riggins pursuing always what we know it is

405
00:22:59,840 --> 00:23:00,400
Speaker 2: to now.

406
00:23:01,040 --> 00:23:03,080
Speaker 4: I don't know him now, so I wouldn't know. He

407
00:23:03,160 --> 00:23:05,760
Speaker 4: was really into wrestling, so he wanted He was very

408
00:23:05,800 --> 00:23:08,240
Speaker 4: loud and like that kind of like over the top

409
00:23:08,280 --> 00:23:09,800
Speaker 4: wrestling guy. Yeah.

410
00:23:09,800 --> 00:23:13,240
Speaker 1: I don't think he was going back then. He's been

411
00:23:13,280 --> 00:23:14,760
Speaker 1: on our show, so he's very's in.

412
00:23:15,760 --> 00:23:17,919
Speaker 4: That's very not at all what he was like when

413
00:23:17,960 --> 00:23:18,440
Speaker 4: I knew him.

414
00:23:18,640 --> 00:23:23,160
Speaker 1: Got It, Got It, Beastie Groove one. Can you were

415
00:23:23,160 --> 00:23:29,560
Speaker 1: you there at all when the Latin Rascals were doing

416
00:23:29,720 --> 00:23:30,320
Speaker 1: edits for you?

417
00:23:30,600 --> 00:23:30,760
Speaker 4: Oh?

418
00:23:30,840 --> 00:23:35,920
Speaker 1: Yeah, all right? Can you just explain that whole entire process, because.

419
00:23:36,720 --> 00:23:40,760
Speaker 4: Somehow we ended up at Shakedown Studios, which is Arthur

420
00:23:40,760 --> 00:23:43,640
Speaker 4: Baker's studio, and Arthur Baker made Planet Rock. He did

421
00:23:44,040 --> 00:23:46,760
Speaker 4: like he made a couple of really big records right

422
00:23:47,119 --> 00:23:51,160
Speaker 4: and remixed in the eighties, and he had these guys,

423
00:23:51,160 --> 00:23:54,760
Speaker 4: the Latin Rascals who would do his edits.

424
00:23:54,560 --> 00:23:56,760
Speaker 1: And the edit. They're under his tutelage.

425
00:23:57,119 --> 00:24:00,159
Speaker 4: They well, they worked at Shakedown Studios and he yeo yeah.

426
00:24:00,080 --> 00:24:02,919
Speaker 1: Yeah, oh god dog, we gotta get author on the

427
00:24:02,920 --> 00:24:03,440
Speaker 1: show Man.

428
00:24:03,800 --> 00:24:07,520
Speaker 4: And I know this because Adam Yao worked at Shakedown

429
00:24:07,560 --> 00:24:11,040
Speaker 4: Studios at that time he was a gopher. He would

430
00:24:11,040 --> 00:24:13,280
Speaker 4: go get the you know with the sodas or whatever,

431
00:24:13,400 --> 00:24:16,199
Speaker 4: you know, whatever sandwiches for the Latin rascals.

432
00:24:16,520 --> 00:24:17,520
Speaker 1: Ah.

433
00:24:17,560 --> 00:24:21,119
Speaker 4: And these guys they were in like a closet sized

434
00:24:21,160 --> 00:24:25,640
Speaker 4: little side studio at shakedown with just you know, two

435
00:24:25,720 --> 00:24:28,879
Speaker 4: reel turreels and they were taking you know, just the

436
00:24:29,320 --> 00:24:32,680
Speaker 4: razor blade and the tape and they would just cut

437
00:24:32,720 --> 00:24:36,000
Speaker 4: this little fraction of word and cut it and then

438
00:24:36,200 --> 00:24:38,080
Speaker 4: you know, splice it, tape it in and then re

439
00:24:38,080 --> 00:24:39,919
Speaker 4: record it and then tape another one, then splice that

440
00:24:40,000 --> 00:24:41,640
Speaker 4: and tape it on to the next one, and it'd

441
00:24:41,640 --> 00:24:44,160
Speaker 4: be like bla bla blah. They would literally do that

442
00:24:44,200 --> 00:24:47,080
Speaker 4: with tape. It was crazy.

443
00:24:47,240 --> 00:24:47,840
Speaker 2: That's crazy.

444
00:24:47,920 --> 00:24:52,359
Speaker 1: You're saying to me that on BC grus or parties

445
00:24:52,359 --> 00:24:56,199
Speaker 1: getting rough when you guys are like, ah, all that

446
00:24:56,280 --> 00:25:00,639
Speaker 1: stuff is handstopped. It's so they would have to make

447
00:25:00,680 --> 00:25:02,359
Speaker 1: like ten copies of a song.

448
00:25:02,960 --> 00:25:06,760
Speaker 4: Forever, for hours and hours and hours, and if you

449
00:25:06,760 --> 00:25:09,280
Speaker 4: splice the tape wrong, well, oh well I don't know

450
00:25:09,320 --> 00:25:12,840
Speaker 4: what you're gonna do. So they were so precise and

451
00:25:13,000 --> 00:25:17,200
Speaker 4: so talented at what they did. Nobody could fuck with them.

452
00:25:17,200 --> 00:25:21,040
Speaker 4: They were so good at Latin rascals. I mean, it's

453
00:25:21,040 --> 00:25:25,439
Speaker 4: a thing that you can't even understand. Now what the

454
00:25:25,480 --> 00:25:29,800
Speaker 4: thing of slicing tape was the idea of Slidestone taking

455
00:25:29,800 --> 00:25:33,760
Speaker 4: a two inch tape his song and just slicing it

456
00:25:33,800 --> 00:25:35,760
Speaker 4: is crazy. You would never do that.

457
00:25:37,600 --> 00:25:43,800
Speaker 1: Yeah, So just having finished his dock and getting privy

458
00:25:43,840 --> 00:25:47,320
Speaker 1: to his master reels and all that stuff. I was

459
00:25:47,640 --> 00:25:52,040
Speaker 1: rather shocked at how air quote hip hop sly really was,

460
00:25:52,160 --> 00:25:57,320
Speaker 1: especially with Loose Booty, which I mean a lot of

461
00:25:57,320 --> 00:26:02,679
Speaker 1: post Riot stuff was just him sampling himself and you know,

462
00:26:03,320 --> 00:26:06,280
Speaker 1: like to hear the original jam sessions those things came from,

463
00:26:07,240 --> 00:26:08,440
Speaker 1: and then.

464
00:26:08,440 --> 00:26:10,480
Speaker 4: Then those to me whenever you feel like it, I

465
00:26:10,560 --> 00:26:11,840
Speaker 4: would like to have those.

466
00:26:13,040 --> 00:26:16,400
Speaker 1: I got Yo. You'll you'll be You'll be shocked. Probably

467
00:26:16,480 --> 00:26:20,240
Speaker 1: the biggest revelation that so much in the movie that

468
00:26:20,280 --> 00:26:22,240
Speaker 1: we had to take a lot out, and a lot

469
00:26:22,280 --> 00:26:23,760
Speaker 1: that we had to take out was the just the

470
00:26:23,800 --> 00:26:29,160
Speaker 1: nerdy stuff. Uh. There's a period there's a moment during

471
00:26:29,280 --> 00:26:34,120
Speaker 1: Fresh there's at least four songs in which the only

472
00:26:34,160 --> 00:26:39,359
Speaker 1: way I can describe it is it's almost like he

473
00:26:39,560 --> 00:26:44,600
Speaker 1: had Fela's army assault, Like there's a baby's making babies.

474
00:26:44,600 --> 00:26:49,320
Speaker 1: There's a a bloated version of a skin I'm in Like,

475
00:26:50,119 --> 00:26:52,520
Speaker 1: at one point Fresh was going to be just like

476
00:26:52,560 --> 00:26:57,640
Speaker 1: a just a sonic assault of like at least with

477
00:26:57,840 --> 00:27:02,040
Speaker 1: Specter's Wall of Sound thing. It was side of a compressed.

478
00:27:03,080 --> 00:27:05,359
Speaker 4: To have like four drummers playing at the same time.

479
00:27:05,920 --> 00:27:12,680
Speaker 1: Yes, dude, I was like, okay, dude, it was her

480
00:27:13,040 --> 00:27:19,760
Speaker 1: pat rizzo, like all right, beyond forty eight, but go ahead, no,

481
00:27:19,840 --> 00:27:22,040
Speaker 1: it was over. I mean what we wound up with

482
00:27:22,240 --> 00:27:27,840
Speaker 1: was the better record stripped down. But the initial Fresh sessions,

483
00:27:27,880 --> 00:27:31,360
Speaker 1: like four of those songs were just like just an

484
00:27:31,600 --> 00:27:33,720
Speaker 1: army of the.

485
00:27:34,080 --> 00:27:36,359
Speaker 4: Brothers beat where there's two drummers playing.

486
00:27:37,520 --> 00:27:41,440
Speaker 1: Oh, get into it so good? Yeah, yeah, yeah, get

487
00:27:41,480 --> 00:27:46,240
Speaker 1: into it. Okay, just two getting into it. Yeah two. Now,

488
00:27:46,240 --> 00:27:46,720
Speaker 1: this this.

489
00:27:46,600 --> 00:27:48,080
Speaker 4: One is full the Niagara beat.

490
00:27:48,840 --> 00:27:49,760
Speaker 1: I'm familiar with it.

491
00:27:50,600 --> 00:27:58,360
Speaker 4: That's two drummers. That's a good one of each other. Okay, wow, okay. Oh.

492
00:27:58,440 --> 00:28:03,879
Speaker 4: Also in Dante Carfona No Hit Me to It, I

493
00:28:03,920 --> 00:28:06,520
Speaker 4: was on tour in we were on tour in ninety eight.

494
00:28:06,720 --> 00:28:08,800
Speaker 4: We had the day off. I want to find a

495
00:28:08,840 --> 00:28:12,720
Speaker 4: record store for record stores. Okay, I think this this

496
00:28:12,800 --> 00:28:15,440
Speaker 4: whole thing is in the book, is in bac Boys book.

497
00:28:15,960 --> 00:28:16,280
Speaker 3: Okay.

498
00:28:16,680 --> 00:28:18,000
Speaker 4: We had a day off and I went through the

499
00:28:18,119 --> 00:28:20,440
Speaker 4: Yellow Pages and I found like all the used record stores,

500
00:28:20,440 --> 00:28:22,919
Speaker 4: and I took a cab to the first one and

501
00:28:22,960 --> 00:28:25,520
Speaker 4: I go in the record store and there's some some

502
00:28:25,560 --> 00:28:27,640
Speaker 4: records playing whatever, and I'm flipping through. It's a huge

503
00:28:27,640 --> 00:28:29,879
Speaker 4: record store, and all of a sudden, I hear something

504
00:28:29,880 --> 00:28:32,719
Speaker 4: that I'd never heard before, some breakbead and some crazy

505
00:28:32,760 --> 00:28:35,920
Speaker 4: like some crazy shit. And there's nobody in the store

506
00:28:35,960 --> 00:28:37,800
Speaker 4: and it's like ten in the morning, and I'm trying

507
00:28:37,800 --> 00:28:39,560
Speaker 4: to look and I see this guy in the back

508
00:28:40,240 --> 00:28:43,800
Speaker 4: at the turntable behind the counter, and he's like pointing

509
00:28:43,840 --> 00:28:45,800
Speaker 4: at me and looking at me and laughing, and I

510
00:28:45,840 --> 00:28:48,080
Speaker 4: go right over to him. We start talking blah blah blahh.

511
00:28:48,720 --> 00:28:53,400
Speaker 4: He's like, my name's Dante. He's like, I work here,

512
00:28:53,400 --> 00:28:55,320
Speaker 4: but I'm the one who buys the records when people

513
00:28:55,400 --> 00:28:57,440
Speaker 4: sell a record, so I sift through them before anybody

514
00:28:57,440 --> 00:29:00,520
Speaker 4: else says. And he's like, I'm gonna go want break

515
00:29:00,680 --> 00:29:02,880
Speaker 4: in an hour, Let's hang out. And I went to

516
00:29:02,920 --> 00:29:04,800
Speaker 4: his house and he just played me these records that

517
00:29:05,520 --> 00:29:11,120
Speaker 4: I've never heard before. Since he is a record collector,

518
00:29:11,280 --> 00:29:15,480
Speaker 4: he's put out tons of compilations. I can't even begin

519
00:29:15,760 --> 00:29:20,720
Speaker 4: Dante Carfona. I'm I'm surprised you don't know him.

520
00:29:21,400 --> 00:29:23,640
Speaker 1: Hey man, I'm not to know at all. I'm the student.

521
00:29:23,760 --> 00:29:26,000
Speaker 4: I just wanted to give his little shout out because

522
00:29:26,000 --> 00:29:31,000
Speaker 4: he's amazing. Okay, a couple of records and having the

523
00:29:31,000 --> 00:29:35,520
Speaker 4: good stuff. There you go blaming. I agree. He's like

524
00:29:35,560 --> 00:29:37,840
Speaker 4: you ever heard this? I was like, no, never heard this?

525
00:29:38,640 --> 00:29:42,080
Speaker 4: Wow that I still get excited about hearing a break

526
00:29:42,080 --> 00:29:43,080
Speaker 4: that I've never heard before.

527
00:29:44,120 --> 00:29:45,600
Speaker 1: And do you still go in those missions?

528
00:29:46,480 --> 00:29:49,480
Speaker 4: I've got like twenty five hundred records I've never listened

529
00:29:49,520 --> 00:29:51,760
Speaker 4: to in crates that just say listen.

530
00:29:51,520 --> 00:29:56,560
Speaker 1: To right your record. So yeah, I mean that's kind

531
00:29:56,600 --> 00:29:59,720
Speaker 1: of where I am now, where I don't necessarily go.

532
00:30:00,000 --> 00:30:04,360
Speaker 1: I'm digging as much as I used to. Now it's

533
00:30:04,400 --> 00:30:08,560
Speaker 1: the first generation of record collectors dying. So I'll get

534
00:30:08,560 --> 00:30:10,640
Speaker 1: a lot of calls from daughters that are like, hey,

535
00:30:11,680 --> 00:30:15,880
Speaker 1: dad had a seven thousand records, do you want them? Or?

536
00:30:15,960 --> 00:30:20,440
Speaker 1: Sadly enough, a lot of colleges are ending their jazz

537
00:30:20,480 --> 00:30:26,400
Speaker 1: programs right, radio stations shutting down, so like, I know, oh,

538
00:30:26,440 --> 00:30:28,640
Speaker 1: two hundred thousand records, that's a lot of records quest

539
00:30:28,960 --> 00:30:30,520
Speaker 1: but I don't want people thinking like I'm going to

540
00:30:30,520 --> 00:30:32,600
Speaker 1: record store. First of all, I don't think there's two

541
00:30:32,680 --> 00:30:37,760
Speaker 1: hundred thousand individual good albums. I mean, you know, I

542
00:30:37,880 --> 00:30:42,800
Speaker 1: have at least three hundred Billy Jean forty fives. So

543
00:30:43,640 --> 00:30:47,720
Speaker 1: like kind of the new thing now is whoever would

544
00:30:47,760 --> 00:30:53,920
Speaker 1: service jukeboxes at diners and bars and whatnot, they would

545
00:30:53,960 --> 00:30:57,840
Speaker 1: have a warehouse or that sort of space where all

546
00:30:57,880 --> 00:31:00,960
Speaker 1: of their forty fives and that they were serviced to

547
00:31:00,960 --> 00:31:03,880
Speaker 1: mom and pop stores. Those people are dying and you know,

548
00:31:04,800 --> 00:31:06,959
Speaker 1: either the mom has passed and the kids are just like,

549
00:31:07,000 --> 00:31:09,280
Speaker 1: we don't know what to do with it. Whirred. Do

550
00:31:09,280 --> 00:31:12,920
Speaker 1: you like music? You know, it's fourteen forty fives if

551
00:31:12,920 --> 00:31:16,600
Speaker 1: you want them, So right now I'm kind of hoarding,

552
00:31:16,760 --> 00:31:18,160
Speaker 1: uh record collections.

553
00:31:18,160 --> 00:31:21,480
Speaker 4: But all right, two things, Yeah, do you miss the

554
00:31:21,480 --> 00:31:23,840
Speaker 4: good old days when people sold their records for drugs?

555
00:31:23,880 --> 00:31:29,520
Speaker 4: I mean, come on, you know and two three hundred

556
00:31:29,520 --> 00:31:33,000
Speaker 4: copies of a Billy Jean forty five? Why what are

557
00:31:33,000 --> 00:31:33,360
Speaker 4: you doing?

558
00:31:33,840 --> 00:31:36,840
Speaker 1: Well? No, I buy collections again. Like there's a guy

559
00:31:36,880 --> 00:31:40,440
Speaker 1: in Atlanta three hundred is like what well, why I

560
00:31:40,560 --> 00:31:43,120
Speaker 1: realized after the fact, you know like it'll.

561
00:31:42,920 --> 00:31:45,680
Speaker 4: Oh my third thing, yes, which lids to a fourth thing.

562
00:31:46,040 --> 00:31:50,320
Speaker 4: You live in New York storage, Like you're bleeding money,

563
00:31:50,680 --> 00:31:52,480
Speaker 4: just bleeding money. Why are you going to a one

564
00:31:52,760 --> 00:31:55,200
Speaker 4: it's like the most expensive record store. What are you doing?

565
00:31:55,360 --> 00:31:57,479
Speaker 1: Because I need some to do?

566
00:31:57,560 --> 00:31:57,720
Speaker 4: Yo.

567
00:32:00,080 --> 00:32:01,800
Speaker 2: You always complained about how busy you are, you need

568
00:32:01,800 --> 00:32:03,840
Speaker 2: something to do. Now that seems like bullshit.

569
00:32:04,280 --> 00:32:07,160
Speaker 1: I almost feel like listening to the record is almost

570
00:32:07,240 --> 00:32:11,640
Speaker 1: like the last part. Like for me, the excitement of

571
00:32:12,400 --> 00:32:14,880
Speaker 1: all right, I'm gonna take three hours out and go

572
00:32:14,960 --> 00:32:17,520
Speaker 1: record shopping. I get the joy of going to a

573
00:32:17,520 --> 00:32:20,920
Speaker 1: record store and buying a shit little records and I'll

574
00:32:20,920 --> 00:32:23,000
Speaker 1: take this that this is. I could easily go in

575
00:32:23,040 --> 00:32:28,280
Speaker 1: my storage and do that. But you're right, so right

576
00:32:28,320 --> 00:32:33,239
Speaker 1: now I brought in the pandemic a farm and I

577
00:32:33,360 --> 00:32:38,240
Speaker 1: will on this acreage build something that will house and

578
00:32:38,280 --> 00:32:41,160
Speaker 1: store this. But right now, yeah, I got like somewhere

579
00:32:41,200 --> 00:32:45,640
Speaker 1: between eight to eleven storage units, and it's killing me inside.

580
00:32:45,920 --> 00:32:49,400
Speaker 3: Like in your defense question, though Billy Jean is a

581
00:32:49,520 --> 00:32:51,040
Speaker 3: very important record, I.

582
00:32:51,080 --> 00:32:55,720
Speaker 1: Was given a hypothetical example, but yeah, the forty five's

583
00:32:55,760 --> 00:33:00,160
Speaker 1: I buy are from people that were servicing jukeboxes, like

584
00:33:00,200 --> 00:33:03,600
Speaker 1: back in the day, you buy like seventy eight juke boxes,

585
00:33:03,640 --> 00:33:05,800
Speaker 1: go to each restaurant, Hey, you want a jukebox, and

586
00:33:05,800 --> 00:33:10,320
Speaker 1: then you strike a deal and you service. This particular

587
00:33:10,360 --> 00:33:14,880
Speaker 1: guy in Atlanta had ninety over ninety bars and diners

588
00:33:14,920 --> 00:33:18,560
Speaker 1: that his jukeboxes were utilized.

589
00:33:18,760 --> 00:33:21,400
Speaker 3: So that's the trick for when you get older and

590
00:33:21,440 --> 00:33:23,440
Speaker 3: you're a record collector is to switch over to forty

591
00:33:23,480 --> 00:33:27,120
Speaker 3: fives seven inches. They're smaller, lighter, and just as fun.

592
00:33:27,600 --> 00:33:31,440
Speaker 4: Well I consider that part of I much prefer forty

593
00:33:31,440 --> 00:33:32,240
Speaker 4: five too in LP.

594
00:33:33,640 --> 00:33:37,000
Speaker 1: So right now, I would say the first generation of

595
00:33:38,160 --> 00:33:43,840
Speaker 1: renaissance hip hop producers, your large professors, your Diamond D's,

596
00:33:44,240 --> 00:33:48,880
Speaker 1: your Lord Finess's, they're in their anti Serado phase and

597
00:33:49,960 --> 00:33:53,840
Speaker 1: like forty five's only I mean, it's a cool flex.

598
00:33:53,880 --> 00:33:55,920
Speaker 1: Like I've never been one of those, Like I don't

599
00:33:55,920 --> 00:33:56,920
Speaker 1: own a Macintosh.

600
00:33:57,040 --> 00:33:57,320
Speaker 2: I'm not.

601
00:33:57,560 --> 00:34:03,280
Speaker 1: Like, Yes, I acknowledge that the the vinyl is more superior,

602
00:34:03,400 --> 00:34:07,440
Speaker 1: but I've never been a vinyl head that like worships

603
00:34:07,480 --> 00:34:10,560
Speaker 1: at the altar of the most purest form of.

604
00:34:11,080 --> 00:34:14,120
Speaker 4: Well, the thing about it is nobody else cares.

605
00:34:13,880 --> 00:34:19,400
Speaker 1: Exactly exactly, So it's only a flex for the quest

606
00:34:19,440 --> 00:34:21,359
Speaker 1: loves of Uh.

607
00:34:21,719 --> 00:34:24,000
Speaker 4: There's three people in the room out of you know whatever,

608
00:34:24,040 --> 00:34:26,680
Speaker 4: two hundred and fifty that care about that. You're playing

609
00:34:26,680 --> 00:34:28,520
Speaker 4: a forty five time out?

610
00:34:28,719 --> 00:34:29,200
Speaker 1: Timeout.

611
00:34:29,400 --> 00:34:36,799
Speaker 4: Oh I have a timeout too, Go ahead. Yeah. I

612
00:34:36,800 --> 00:34:39,240
Speaker 4: wanted to go back to this though. Yeah, go to memories,

613
00:34:39,280 --> 00:34:42,279
Speaker 4: and I'm bummed because I didn't. I wanted to get

614
00:34:42,320 --> 00:34:45,200
Speaker 4: here earlier to go through my forty fives. I have

615
00:34:45,239 --> 00:34:48,200
Speaker 4: a stack of forty five's that were my mind when

616
00:34:48,200 --> 00:34:50,839
Speaker 4: I was a kid, and because me and my brother

617
00:34:50,920 --> 00:34:53,359
Speaker 4: had the room, I used to put every forty five

618
00:34:53,400 --> 00:34:55,279
Speaker 4: that I bought, I put a number on and my

619
00:34:55,480 --> 00:34:59,520
Speaker 4: initials when I was like seven years old. So I

620
00:34:59,600 --> 00:35:04,560
Speaker 4: have like one to fifty of my first fifty forty five's.

621
00:35:05,160 --> 00:35:07,600
Speaker 1: See you never got rhythm, no, no.

622
00:35:08,320 --> 00:35:11,080
Speaker 4: But I have not gone back, and I wanted to

623
00:35:11,080 --> 00:35:13,560
Speaker 4: do it for this to look to see which was

624
00:35:13,600 --> 00:35:16,000
Speaker 4: the first one to get. What was I don't know

625
00:35:16,040 --> 00:35:18,759
Speaker 4: the first album I ever bought, But I don't know

626
00:35:18,800 --> 00:35:20,600
Speaker 4: the first forty five, and I wish I could remember

627
00:35:20,640 --> 00:35:22,200
Speaker 4: because it literally has a number on it.

628
00:35:22,400 --> 00:35:23,960
Speaker 1: What's the first album you ever purchased?

629
00:35:24,600 --> 00:35:27,399
Speaker 4: Well, the first album I ever got. I was with

630
00:35:27,440 --> 00:35:29,720
Speaker 4: my dad in the VW van. He had to stop

631
00:35:29,840 --> 00:35:33,160
Speaker 4: and we're getting sandwiches, and he ran into like this

632
00:35:33,239 --> 00:35:34,920
Speaker 4: thrift store real quick and it's like I'll be right back,

633
00:35:34,960 --> 00:35:37,040
Speaker 4: and he came back out with Rolling Stones Out of

634
00:35:37,080 --> 00:35:39,960
Speaker 4: Our Head, Out of Our Head album, like here, you

635
00:35:40,000 --> 00:35:42,560
Speaker 4: should have this. And I didn't have a record player

636
00:35:42,600 --> 00:35:45,400
Speaker 4: or anything. I was like okay. And then when I

637
00:35:45,400 --> 00:35:47,400
Speaker 4: got a record player and was listening to records, the

638
00:35:47,440 --> 00:35:50,239
Speaker 4: first record I bought album with my own money was

639
00:35:50,239 --> 00:35:55,040
Speaker 4: the Rocky Horror Picture Show soundtrack. That's a stretch like.

640
00:35:57,440 --> 00:35:59,960
Speaker 1: There you go, all right, that's you need more?

641
00:36:00,239 --> 00:36:03,320
Speaker 2: That's well, just because you liked the show, just because

642
00:36:03,360 --> 00:36:03,879
Speaker 2: it was there.

643
00:36:05,000 --> 00:36:07,839
Speaker 4: It was just a phenomenon in New York at the time.

644
00:36:08,560 --> 00:36:09,920
Speaker 1: Yeah, okay.

645
00:36:10,239 --> 00:36:11,759
Speaker 4: I think I hadn't seen it yet because I was

646
00:36:11,760 --> 00:36:15,520
Speaker 4: too young, but it was right in my neighborhood where

647
00:36:15,520 --> 00:36:17,200
Speaker 4: they would it would, they'd line up on the street

648
00:36:17,200 --> 00:36:18,839
Speaker 4: to see it, and it's like a big deal.

649
00:36:19,840 --> 00:36:23,680
Speaker 1: Another thing I want to know is at the time

650
00:36:23,719 --> 00:36:27,640
Speaker 1: when you guys were first recording, was there an immediate

651
00:36:27,680 --> 00:36:31,279
Speaker 1: plan to make a full album? Like why did it

652
00:36:31,320 --> 00:36:35,040
Speaker 1: take three years for you guys to finally get license?

653
00:36:35,080 --> 00:36:35,799
Speaker 1: Still a little out of.

654
00:36:35,800 --> 00:36:38,720
Speaker 4: There, I don't know you know, like you'd asked if

655
00:36:39,200 --> 00:36:42,080
Speaker 4: I would have seen this coming, like where I'm at

656
00:36:42,120 --> 00:36:45,239
Speaker 4: now or all of the stuff that's happened. Like I

657
00:36:45,280 --> 00:36:47,640
Speaker 4: was a teenager, you know, I was still in school.

658
00:36:47,719 --> 00:36:51,239
Speaker 4: I was going to high school, and you know, we

659
00:36:51,320 --> 00:36:53,440
Speaker 4: made a couple of singles. I didn't I didn't know

660
00:36:53,520 --> 00:36:57,120
Speaker 4: that we were going to keep doing this. I didn't

661
00:36:57,120 --> 00:36:58,360
Speaker 4: know that we were going to stop doing it. But

662
00:36:58,400 --> 00:37:01,560
Speaker 4: I didn't know. I didn't know, like anybody who had

663
00:37:01,560 --> 00:37:03,440
Speaker 4: an album, but you know, the bad brains, But like

664
00:37:03,480 --> 00:37:07,320
Speaker 4: I didn't you know, it wasn't a just made some singles.

665
00:37:07,640 --> 00:37:09,759
Speaker 4: I didn't know that it was a bigger thing was

666
00:37:09,800 --> 00:37:12,200
Speaker 4: gonna happen, and I was cool with it. We were

667
00:37:12,239 --> 00:37:14,200
Speaker 4: playing shows. I had a little money. I'd never had

668
00:37:14,200 --> 00:37:17,120
Speaker 4: that before, so I was like I could buy tapes.

669
00:37:17,920 --> 00:37:18,600
Speaker 4: That was cool.

670
00:37:20,080 --> 00:37:24,279
Speaker 1: I know. The legend of the story is that that

671
00:37:24,360 --> 00:37:29,600
Speaker 1: Freddie Demand wanted run DMC to open up for Madonna.

672
00:37:29,719 --> 00:37:31,960
Speaker 1: But you know, the amount of money that they were

673
00:37:31,960 --> 00:37:35,280
Speaker 1: willing to pay for an opening act was way below

674
00:37:35,520 --> 00:37:40,319
Speaker 1: run DMC's market price, And then they would I guess

675
00:37:40,360 --> 00:37:42,759
Speaker 1: they asked Russell if he knew the Fat Boys or

676
00:37:42,800 --> 00:37:46,320
Speaker 1: could get them, and instead he pivoted them to you guys.

677
00:37:47,840 --> 00:37:51,360
Speaker 1: But what I always wanted to know was, Okay, So

678
00:37:51,520 --> 00:37:57,840
Speaker 1: in nineteen eighty five, yeah, with just won twelve inch,

679
00:37:58,680 --> 00:38:00,600
Speaker 1: I mean, if you two, if you count the Bazoodi

680
00:38:00,719 --> 00:38:03,880
Speaker 1: MCA thing, and there's season on it, so maybe with

681
00:38:04,280 --> 00:38:08,520
Speaker 1: just two and a half singles exactly.

682
00:38:08,400 --> 00:38:10,480
Speaker 4: Cookie Puss and Polly Watch do we had a few

683
00:38:10,520 --> 00:38:11,759
Speaker 4: little records out.

684
00:38:11,880 --> 00:38:15,319
Speaker 1: I was gonna ask what was the show like if

685
00:38:15,360 --> 00:38:19,920
Speaker 1: you had no album behind it? Like, how long was

686
00:38:19,960 --> 00:38:22,040
Speaker 1: the slot? Were you doing? Like a half hour? Forty

687
00:38:22,040 --> 00:38:23,879
Speaker 1: five minutes? Ten?

688
00:38:24,719 --> 00:38:24,959
Speaker 2: Yeah?

689
00:38:26,000 --> 00:38:27,960
Speaker 1: So all we had ten minutes.

690
00:38:28,320 --> 00:38:29,840
Speaker 4: I mean, it couldn't have been more than ten. I

691
00:38:29,840 --> 00:38:31,920
Speaker 4: don't know what we would have done for longer than

692
00:38:31,920 --> 00:38:36,480
Speaker 4: ten minutes. All of the hits, I don't know.

693
00:38:37,040 --> 00:38:39,040
Speaker 1: I would imagine for a lot of that audience that

694
00:38:39,120 --> 00:38:40,480
Speaker 1: was their first hip hop experience.

695
00:38:41,719 --> 00:38:47,400
Speaker 4: Yeah. Sure, And it goes back to the Rick Rubin

696
00:38:47,880 --> 00:38:51,040
Speaker 4: wrestler thing. And so when we were like getting ready

697
00:38:51,120 --> 00:38:52,520
Speaker 4: to go on the tour, We're like, what are we

698
00:38:52,520 --> 00:38:56,120
Speaker 4: gonna do? We've never really done a show at like

699
00:38:56,160 --> 00:38:58,879
Speaker 4: an amphitheater or anything like that, so we were trying

700
00:38:58,880 --> 00:39:00,600
Speaker 4: to figure out what to do whenever. So Rick was

701
00:39:00,680 --> 00:39:01,719
Speaker 4: very involved with that.

702
00:39:02,719 --> 00:39:03,000
Speaker 1: Okay.

703
00:39:03,160 --> 00:39:05,160
Speaker 4: He was like, you have to do like wrestler stuff

704
00:39:05,160 --> 00:39:07,000
Speaker 4: where you have to like fuck with the audience and

705
00:39:07,080 --> 00:39:10,600
Speaker 4: just be an asshole, and you know you're gonna.

706
00:39:10,200 --> 00:39:11,960
Speaker 1: You know, he wanted you to be a provocateur.

707
00:39:12,480 --> 00:39:15,600
Speaker 4: Oh absolutely, yeah, I didn't know you walk into the

708
00:39:15,640 --> 00:39:17,239
Speaker 4: Paramount Theater and be like, I'm the King of the

709
00:39:17,280 --> 00:39:19,759
Speaker 4: Paramount anybody. You know, they could burn this place down

710
00:39:20,120 --> 00:39:23,480
Speaker 4: after we leave, you know all that stuff. What's the

711
00:39:23,600 --> 00:39:26,359
Speaker 4: Eddie Harris record one of my favorite albums of all

712
00:39:26,440 --> 00:39:30,520
Speaker 4: time where he's talking in between the songs. Oh that's

713
00:39:30,520 --> 00:39:32,719
Speaker 4: why I'm talking shit, Eddie Harris.

714
00:39:33,200 --> 00:39:37,839
Speaker 1: Okay, fucking great, and that's that was your modus operandi four.

715
00:39:38,040 --> 00:39:39,879
Speaker 4: I hadn't heard that record yet, but it's that type

716
00:39:39,880 --> 00:39:44,200
Speaker 4: of thing where I got it. Just fuck it. And

717
00:39:44,239 --> 00:39:47,480
Speaker 4: they did not want that at all. It was little

718
00:39:47,560 --> 00:39:49,480
Speaker 4: kids and their parents to see Madonna.

719
00:39:49,560 --> 00:39:49,680
Speaker 2: This.

720
00:39:49,840 --> 00:39:53,719
Speaker 4: It was just be major thing was her.

721
00:39:53,880 --> 00:39:55,919
Speaker 1: Can't worried at all, like, oh, we might have chosen

722
00:39:55,960 --> 00:39:56,800
Speaker 1: them wrong. Actor.

723
00:39:57,360 --> 00:39:59,280
Speaker 4: Yeah, they wanted to kick us off the tour after

724
00:39:59,320 --> 00:40:00,360
Speaker 4: like the second.

725
00:40:00,080 --> 00:40:03,520
Speaker 1: Showy, but you did the entire show.

726
00:40:04,120 --> 00:40:08,160
Speaker 4: Madonna was like, no, keep them, they're great Madonna's I

727
00:40:08,160 --> 00:40:10,120
Speaker 4: Love Madonna's fantastic.

728
00:40:10,560 --> 00:40:14,200
Speaker 1: Great person. Yes, okay, so you guys were sort of

729
00:40:14,360 --> 00:40:18,760
Speaker 1: our first experience and I was wondering that as well. Like, okay,

730
00:40:19,160 --> 00:40:23,440
Speaker 1: we had basically been living in Europe for the longest

731
00:40:23,600 --> 00:40:28,160
Speaker 1: and us coming back to the States to start the

732
00:40:28,200 --> 00:40:34,520
Speaker 1: second half of Ill Communication tour, and you know, at

733
00:40:34,520 --> 00:40:38,880
Speaker 1: this point, I wasn't fully aware if you know, the

734
00:40:38,920 --> 00:40:41,799
Speaker 1: audience would be with it or not with it. And

735
00:40:41,840 --> 00:40:45,080
Speaker 1: you had us going on in between Atari Teenage Riot

736
00:40:45,520 --> 00:40:49,719
Speaker 1: and John Spencer's Oh Dog a Tari Teenage Riot and

737
00:40:49,800 --> 00:40:56,080
Speaker 1: John Spencer's Blues Explosion, then the Roots, then the Beast,

738
00:40:56,400 --> 00:41:01,600
Speaker 1: show your Money's worth at that show, No Dog. Everything

739
00:41:01,800 --> 00:41:06,200
Speaker 1: I've ever learned in my professional life I learned in

740
00:41:06,280 --> 00:41:10,440
Speaker 1: those six weeks touring with you guys literally everything a

741
00:41:10,560 --> 00:41:17,920
Speaker 1: writer to hotels to oh I can shop for records

742
00:41:17,960 --> 00:41:20,239
Speaker 1: like anything that I've ever learned that I still do

743
00:41:20,360 --> 00:41:23,120
Speaker 1: to this day. I learned on that tour.

744
00:41:23,760 --> 00:41:25,160
Speaker 4: You never read Krs's book.

745
00:41:25,719 --> 00:41:30,439
Speaker 1: I absolutely you want to know something hilarious. So mid

746
00:41:30,760 --> 00:41:32,920
Speaker 1: we were in I don't know what city we were

747
00:41:32,960 --> 00:41:35,560
Speaker 1: in California. We were at a truck stop and we

748
00:41:35,640 --> 00:41:39,799
Speaker 1: saw that Karris one book, and God we purchased it,

749
00:41:40,400 --> 00:41:43,080
Speaker 1: but kind of as a joke, like, wow, Carris One's

750
00:41:43,080 --> 00:41:47,520
Speaker 1: given instructional on how to be an MC. So I

751
00:41:47,560 --> 00:41:51,640
Speaker 1: will admit that we would mockingly read that book on

752
00:41:51,680 --> 00:41:55,440
Speaker 1: the tour bus in carras One's voice when you ride

753
00:41:55,560 --> 00:41:57,520
Speaker 1: to the fin You.

754
00:41:56,920 --> 00:41:59,279
Speaker 4: You're not the only one that did that. I think

755
00:41:59,320 --> 00:42:01,000
Speaker 4: most people that have that book did that.

756
00:42:01,440 --> 00:42:05,160
Speaker 1: Here's the thing, though, we would joke about everything he

757
00:42:05,360 --> 00:42:10,120
Speaker 1: said and then kind of like on stage, do what

758
00:42:10,200 --> 00:42:15,240
Speaker 1: he said, yeah, and then like, holy shit, that actually worked,

759
00:42:16,120 --> 00:42:18,720
Speaker 1: Like he did this thing called when you come on stage,

760
00:42:19,080 --> 00:42:24,040
Speaker 1: he said, always come layered, wear a T shirt, a shirt,

761
00:42:24,440 --> 00:42:30,479
Speaker 1: a vest, a jacket and a coat, and time out

762
00:42:30,920 --> 00:42:34,080
Speaker 1: when like every four minutes take off a jacket. That

763
00:42:34,160 --> 00:42:37,719
Speaker 1: tells the audience late, I'm rolling my sleeves up, I'm

764
00:42:37,760 --> 00:42:40,239
Speaker 1: ready to work. And so one.

765
00:42:40,600 --> 00:42:42,320
Speaker 4: There's so many gems in that book.

766
00:42:42,560 --> 00:42:46,080
Speaker 1: I always thought it was a jinx. If you give

767
00:42:46,120 --> 00:42:49,560
Speaker 1: an eating establishment an eight by ten and autograph eight by.

768
00:42:49,520 --> 00:42:54,920
Speaker 4: Ten always, your tour manager should always have three periodicals

769
00:42:54,960 --> 00:43:00,520
Speaker 4: on him at all time. Newspapers magazines should have a

770
00:43:00,560 --> 00:43:03,400
Speaker 4: pair of slacks, a pair of black jeans, and some

771
00:43:03,480 --> 00:43:08,320
Speaker 4: other specific thing about pants and have eight by tens

772
00:43:08,480 --> 00:43:11,560
Speaker 4: for when you go to a restaurant, specifically when you

773
00:43:11,600 --> 00:43:14,040
Speaker 4: go to Burger King and you need to cut the line,

774
00:43:14,160 --> 00:43:16,279
Speaker 4: tell him that you have a pregnant woman on tour

775
00:43:16,360 --> 00:43:20,960
Speaker 4: with you need to get through it immediately. It's so deep.

776
00:43:21,440 --> 00:43:24,400
Speaker 4: But he also tells bottles of water to have on stage,

777
00:43:24,719 --> 00:43:28,560
Speaker 4: how many what speakers, like everything, It's amazing.

778
00:43:29,160 --> 00:43:31,000
Speaker 1: Probably the best thing that we still do to this

779
00:43:31,120 --> 00:43:36,319
Speaker 1: day is dynamics. He's like, sometimes start the song at

780
00:43:36,360 --> 00:43:40,839
Speaker 1: a whisperer. Yeah, then you get loud, Like we went

781
00:43:40,880 --> 00:43:46,040
Speaker 1: from playfully mocking it so like wearing it by like

782
00:43:46,080 --> 00:43:49,880
Speaker 1: a tattoo. Yes, but no, everything I've learned touring was

783
00:43:50,160 --> 00:43:54,560
Speaker 1: was with you guys and so, but I always wanted

784
00:43:54,600 --> 00:43:58,040
Speaker 1: to know, like what was the repertoire at a time

785
00:43:58,080 --> 00:44:02,440
Speaker 1: when you didn't have music out?

786
00:44:02,680 --> 00:44:05,480
Speaker 4: So we did whatever songs we had. We had the

787
00:44:06,120 --> 00:44:08,200
Speaker 4: rock card, the rock.

788
00:44:08,120 --> 00:44:10,480
Speaker 1: Card, parties getting loud, Beastie groof.

789
00:44:10,600 --> 00:44:15,399
Speaker 4: We did, Uh, she's on it, probably right, Yaouk did

790
00:44:15,400 --> 00:44:21,120
Speaker 4: a verse of spoony ge freaking and spanking, and I did.

791
00:44:21,560 --> 00:44:25,840
Speaker 4: I did like a verse of Jimmy Speiser.

792
00:44:26,239 --> 00:44:29,440
Speaker 1: Hip hop covers. Okay, early to the game, got it.

793
00:44:29,800 --> 00:44:31,680
Speaker 4: And then I might have did the electric boogie for

794
00:44:31,719 --> 00:44:34,520
Speaker 4: like thirty seconds. I don't know, some sort of breaking

795
00:44:34,880 --> 00:44:37,080
Speaker 4: robin and lock in something really embarrassing.

796
00:44:38,360 --> 00:44:41,480
Speaker 1: Were they were they even? Like I'm certain then, especially

797
00:44:41,600 --> 00:44:45,960
Speaker 1: hip hop's shows, the usual car and response. Somebody say,

798
00:44:46,000 --> 00:44:50,840
Speaker 1: HEO thing was a staple. Was it at all responsive

799
00:44:50,920 --> 00:44:53,640
Speaker 1: or were they just ten thousand no, we don't want this.

800
00:44:53,760 --> 00:44:59,080
Speaker 4: No, no, no, no, tear crying, like literally crying, hatred,

801
00:44:59,640 --> 00:45:02,240
Speaker 4: just hated, hated.

802
00:45:01,960 --> 00:45:06,120
Speaker 1: Us, not knowing they worship at the altar three to

803
00:45:06,200 --> 00:45:10,160
Speaker 1: four years later, none of them did. I've met many people.

804
00:45:10,600 --> 00:45:12,880
Speaker 1: Oh what's her name? I think she told me that,

805
00:45:13,080 --> 00:45:17,840
Speaker 1: uh uh Portlandia, Harry Brown seen, yeah, Carrie. So like

806
00:45:18,200 --> 00:45:21,279
Speaker 1: everyone tells me, like, oh I first saw them open

807
00:45:21,320 --> 00:45:25,640
Speaker 1: before Madonna, and then later I became a fan. That's

808
00:45:25,680 --> 00:45:26,240
Speaker 1: what I'm saying.

809
00:45:26,280 --> 00:45:30,799
Speaker 4: Like they were like if your parents promised you a

810
00:45:30,840 --> 00:45:35,239
Speaker 4: big wheel for Christmas all year, every other night getting

811
00:45:35,239 --> 00:45:37,680
Speaker 4: the big wheel, You're getting the big wheel, and then

812
00:45:37,719 --> 00:45:40,120
Speaker 4: you'd get like a piece of shit.

813
00:45:43,880 --> 00:45:46,120
Speaker 1: At the time, did you mind it? Did you feel like, oh,

814
00:45:46,120 --> 00:45:48,440
Speaker 1: we're fucked, or like what do you think that.

815
00:45:48,520 --> 00:45:53,279
Speaker 4: Was our thought processes? So long as they remember us,

816
00:45:53,960 --> 00:45:55,759
Speaker 4: so long as they know who we are. If we

817
00:45:55,800 --> 00:45:57,080
Speaker 4: just went up there and did a couple of songs,

818
00:45:57,160 --> 00:45:59,799
Speaker 4: we'd be unmemorable and they'd forget who we are.

819
00:46:00,360 --> 00:46:03,200
Speaker 1: So at no point, no one's saying, hey, this is

820
00:46:03,200 --> 00:46:06,520
Speaker 1: one of the biggest artists of all time. You might

821
00:46:06,600 --> 00:46:09,840
Speaker 1: wanna I'm a gonna made her ecosystem.

822
00:46:09,200 --> 00:46:13,040
Speaker 4: To her manager was definitely like, you gotta go. We're

823
00:46:13,040 --> 00:46:15,160
Speaker 4: gonna get somebody else because you guys are terrible. She

824
00:46:16,040 --> 00:46:18,200
Speaker 4: I don't know this is fact, but I'm sure she knew,

825
00:46:18,280 --> 00:46:20,799
Speaker 4: like they hated us so much that by the time

826
00:46:20,880 --> 00:46:24,279
Speaker 4: she got on stage, it was like, sure it got

827
00:46:24,320 --> 00:46:26,759
Speaker 4: it was like, you know, a dozen big wheels.

828
00:46:27,000 --> 00:46:29,600
Speaker 1: I see it now, I see it. I see it

829
00:46:29,640 --> 00:46:34,200
Speaker 1: so strategic, strategic planning. I get that. When does the

830
00:46:34,280 --> 00:46:38,600
Speaker 1: official process of making license to ill start?

831
00:46:38,840 --> 00:46:41,920
Speaker 4: Is this forty years ago? That's yes, And like, I

832
00:46:41,960 --> 00:46:43,680
Speaker 4: don't know the day. I'm not like you, I don't know.

833
00:46:46,360 --> 00:46:48,839
Speaker 1: I would assume sometime in eighty five, holding out hit

834
00:46:48,920 --> 00:46:50,920
Speaker 1: his early eighty six I would assume.

835
00:46:50,800 --> 00:46:55,799
Speaker 4: Yeah, around after the Madonnas were I guess we came

836
00:46:55,800 --> 00:47:01,120
Speaker 4: home and started recording. We found you know, we Rick

837
00:47:01,200 --> 00:47:05,520
Speaker 4: I guess found a studio Chunk King Studio, and we

838
00:47:05,520 --> 00:47:05,840
Speaker 4: would just.

839
00:47:05,960 --> 00:47:08,759
Speaker 1: We found out that LL named that studio when he

840
00:47:08,800 --> 00:47:11,799
Speaker 1: was making a radio it was John King Studios.

841
00:47:11,280 --> 00:47:15,560
Speaker 4: But someone named John King owned the place. Duty was

842
00:47:15,560 --> 00:47:20,520
Speaker 4: the engineer Okay Day Burnett, who was also the engineer.

843
00:47:20,080 --> 00:47:22,920
Speaker 1: For Planet Rock, also worked at Chun King.

844
00:47:23,160 --> 00:47:26,319
Speaker 4: He was the engineer who also found an apartment for

845
00:47:26,400 --> 00:47:29,640
Speaker 4: Adam and Mike in Chinatown, which is a whole other.

846
00:47:29,640 --> 00:47:32,000
Speaker 1: Situation, the rat apartment.

847
00:47:32,360 --> 00:47:33,840
Speaker 4: Yes, I.

848
00:47:35,520 --> 00:47:38,359
Speaker 1: Live about three blocks away from I can see it

849
00:47:38,360 --> 00:47:41,440
Speaker 1: from here. I don't know the exact apartment, but my

850
00:47:41,560 --> 00:47:42,319
Speaker 1: eyes are on it.

851
00:47:42,680 --> 00:47:42,759
Speaker 4: No.

852
00:47:43,120 --> 00:47:46,120
Speaker 1: LL says that there was a Chinese spot with food

853
00:47:46,200 --> 00:47:49,640
Speaker 1: so good that he liked the He's like, yo, man,

854
00:47:49,640 --> 00:47:53,640
Speaker 1: you should name this Chunk King Studios. History made. That's

855
00:47:53,680 --> 00:47:56,680
Speaker 1: the focalore of LL saying that he named it went

856
00:47:56,680 --> 00:48:04,359
Speaker 1: from John King to Chunk King. Whose idea was it

857
00:48:04,480 --> 00:48:08,680
Speaker 1: to put the a cappella version of hold It Now?

858
00:48:08,719 --> 00:48:09,839
Speaker 1: Hit it on the twelve inch.

859
00:48:10,680 --> 00:48:13,200
Speaker 4: I think that was Rick. I don't I don't believe

860
00:48:13,880 --> 00:48:17,160
Speaker 4: it wasn't me. Okay, So you know, it could have

861
00:48:17,160 --> 00:48:20,359
Speaker 4: been youks, it could have been could have been any

862
00:48:20,520 --> 00:48:23,359
Speaker 4: could have been anyone other than myself, because I don't

863
00:48:23,360 --> 00:48:26,000
Speaker 4: think it was mine. It was prob it could have

864
00:48:26,000 --> 00:48:28,640
Speaker 4: been Rustles. I don't know. Rick was part of the

865
00:48:29,120 --> 00:48:30,520
Speaker 4: like the djool think.

866
00:48:30,480 --> 00:48:34,440
Speaker 1: Back then, but it never occurred to anyone. Hey, why

867
00:48:34,440 --> 00:48:37,799
Speaker 1: don't we put the actual instrumental on the B side

868
00:48:37,840 --> 00:48:40,880
Speaker 1: so we could perform this shit in concert because people

869
00:48:40,880 --> 00:48:45,080
Speaker 1: were still like rhyming over their vocals.

870
00:48:45,440 --> 00:48:48,680
Speaker 4: You know, the details weren't as important to me at

871
00:48:48,680 --> 00:48:53,600
Speaker 4: the time. It was more like trying to get free drinks,

872
00:48:53,719 --> 00:48:55,840
Speaker 4: you know, like going to clubs, meeting people. It was

873
00:48:55,920 --> 00:49:00,760
Speaker 4: kind of more my head's face, right, you know, getting

874
00:49:00,760 --> 00:49:04,319
Speaker 4: phone numbers, that kind of thing. Really more where my

875
00:49:04,360 --> 00:49:05,040
Speaker 4: focus was.

876
00:49:05,640 --> 00:49:10,800
Speaker 1: Okay, I think I told you previously that the initial

877
00:49:10,840 --> 00:49:14,680
Speaker 1: pressings of that twelve inch actually had the a cappella

878
00:49:14,760 --> 00:49:17,680
Speaker 1: on the A side and the drum version on the

879
00:49:17,719 --> 00:49:21,200
Speaker 1: B side, of which when Lady B started playing it.

880
00:49:22,680 --> 00:49:25,000
Speaker 1: The first time I ever heard the drum machine version

881
00:49:25,120 --> 00:49:27,240
Speaker 1: of Hold It Now hit it was when I got

882
00:49:27,280 --> 00:49:30,239
Speaker 1: licensed to ill, but for a year and a half

883
00:49:30,280 --> 00:49:35,160
Speaker 1: before Power ninety nine only played the a cappella version,

884
00:49:36,200 --> 00:49:40,600
Speaker 1: and in my mind, it was the most mensa genius

885
00:49:40,600 --> 00:49:43,080
Speaker 1: shit ever. I was like, yo, they're so dope. They

886
00:49:43,080 --> 00:49:44,799
Speaker 1: don't need no music, Like.

887
00:49:45,680 --> 00:49:47,200
Speaker 4: We don't need no music.

888
00:49:51,520 --> 00:49:53,400
Speaker 1: Yeah, So when I got the album version, I was

889
00:49:53,400 --> 00:49:56,239
Speaker 1: like disappointed, Like, wait, where are these drum machines coming from?

890
00:49:56,280 --> 00:49:58,600
Speaker 1: Like what the fuck? I mean? At the time, though,

891
00:49:58,880 --> 00:50:03,680
Speaker 1: like what was it like to get finally like latt

892
00:50:03,760 --> 00:50:07,440
Speaker 1: Storm in terms of like getting respect from because the

893
00:50:07,480 --> 00:50:09,240
Speaker 1: single caught on in New York and elsewhere?

894
00:50:09,280 --> 00:50:13,160
Speaker 4: Correct, Yes, yeah, yeah, yeah. There's a lot of stories

895
00:50:13,160 --> 00:50:15,680
Speaker 4: about all of this. But the Lady Be thing, I'm

896
00:50:15,719 --> 00:50:18,040
Speaker 4: just going to say, I can't remember what's in the

897
00:50:18,040 --> 00:50:20,560
Speaker 4: book or not because it's it's a lot of pages

898
00:50:20,560 --> 00:50:23,560
Speaker 4: in that book. But Lady B. I love Lady B.

899
00:50:24,360 --> 00:50:28,359
Speaker 4: She booked a show for us at that time at

900
00:50:28,400 --> 00:50:29,520
Speaker 4: this is not going to make her.

901
00:50:29,400 --> 00:50:31,560
Speaker 1: Look great at day, right, but at the after midnight?

902
00:50:32,480 --> 00:50:35,080
Speaker 4: No, this was this was at a hotel. This was

903
00:50:35,120 --> 00:50:38,279
Speaker 4: at like the you know, like the brunch center of

904
00:50:38,320 --> 00:50:42,080
Speaker 4: a hotel, you know, like the meeting area. Okay, And

905
00:50:42,120 --> 00:50:44,520
Speaker 4: it was on a whatever night and we drove down

906
00:50:44,520 --> 00:50:47,800
Speaker 4: to Philly to play. Here it's like somewhere near Philly

907
00:50:47,840 --> 00:50:50,000
Speaker 4: but not in Philly and not Jersey. I don't know

908
00:50:50,120 --> 00:50:53,520
Speaker 4: where it was, right, No, but only Lady B showed up.

909
00:50:56,080 --> 00:50:56,480
Speaker 1: That's it.

910
00:50:56,760 --> 00:50:59,080
Speaker 4: That's it, and the you know, the couple of people

911
00:50:59,120 --> 00:51:01,440
Speaker 4: that work there, and so we just did it. It

912
00:51:01,480 --> 00:51:03,120
Speaker 4: was basically like we did a show, but it was,

913
00:51:03,200 --> 00:51:06,760
Speaker 4: you know, a practice and that was when DJ jazzy

914
00:51:06,880 --> 00:51:09,840
Speaker 4: J was our DJ jazzy J was our DJ for

915
00:51:09,880 --> 00:51:10,840
Speaker 4: a minute.

916
00:51:11,160 --> 00:51:15,160
Speaker 1: Really, Oh yeah, nice, Okay. I didn't know that any

917
00:51:15,520 --> 00:51:17,839
Speaker 1: other tippets from this era that I should know, at

918
00:51:17,880 --> 00:51:19,560
Speaker 1: least in the pre licensed ill.

919
00:51:20,080 --> 00:51:22,000
Speaker 4: Oh, you mean that we played with the Rap and Duke,

920
00:51:22,280 --> 00:51:22,680
Speaker 4: Now we do?

921
00:51:23,719 --> 00:51:26,520
Speaker 1: You did a show with the Rap and Duke? Yeah,

922
00:51:27,520 --> 00:51:28,560
Speaker 1: Cali based.

923
00:51:28,360 --> 00:51:32,279
Speaker 4: Or it was somewhere, and it was one of those

924
00:51:32,280 --> 00:51:34,680
Speaker 4: shows where it was like, you know, ten different rap

925
00:51:34,680 --> 00:51:37,320
Speaker 4: groups and we would just do you know, two songs,

926
00:51:37,680 --> 00:51:40,480
Speaker 4: and obviously I don't remember who else was on the

927
00:51:40,480 --> 00:51:44,440
Speaker 4: bill because Rapp and Duke was, you know, the main event.

928
00:51:45,280 --> 00:51:49,279
Speaker 4: We did it. We go somewhere in Jersey maybe, and

929
00:51:49,360 --> 00:51:51,760
Speaker 4: a limo picked us up to go to the show,

930
00:51:52,360 --> 00:51:55,239
Speaker 4: and then it stopped to pick up just Ice and

931
00:51:55,280 --> 00:51:57,160
Speaker 4: we drove in a limo out to Jersey and we

932
00:51:57,160 --> 00:52:00,719
Speaker 4: were blasting like le Zeppelin and he hated and he

933
00:52:00,800 --> 00:52:08,399
Speaker 4: got a ride with someone else. Back home a lot

934
00:52:08,400 --> 00:52:09,040
Speaker 4: of stuff like that.

935
00:52:10,000 --> 00:52:13,480
Speaker 1: Ah, No, I live. I live for stories like that. Now.

936
00:52:13,600 --> 00:52:17,040
Speaker 1: I mean kind of the elephant in the room is

937
00:52:18,280 --> 00:52:23,480
Speaker 1: based on just assuming I thought groups of average white

938
00:52:23,560 --> 00:52:26,800
Speaker 1: bands Tina Maurice caliber was a once in a fifty

939
00:52:26,840 --> 00:52:31,200
Speaker 1: year occurrence. I just assume that you guys wrapped that

940
00:52:31,320 --> 00:52:36,239
Speaker 1: you had to have been Puerto Rican. Okay, that's all right.

941
00:52:36,280 --> 00:52:40,560
Speaker 1: So the story is that you guys, you guys made

942
00:52:40,600 --> 00:52:45,439
Speaker 1: a you guys made a stop in Philly during your tour,

943
00:52:46,960 --> 00:52:50,359
Speaker 1: and I had the cassette of licensed Ill so there

944
00:52:50,440 --> 00:52:53,680
Speaker 1: was no like inside sleep or anything, and there's no

945
00:52:53,719 --> 00:52:59,280
Speaker 1: pictures of you guys and shout out to uh Don Robinson,

946
00:52:59,280 --> 00:53:03,719
Speaker 1: this is ninth grade. Great, we meet you guys. You

947
00:53:03,760 --> 00:53:08,200
Speaker 1: guys are staying at a hotel on like sixteenth and

948
00:53:08,239 --> 00:53:12,799
Speaker 1: Locusts in downtown Philly. So like school's let in now,

949
00:53:12,960 --> 00:53:16,560
Speaker 1: obviously like are letout. Time. Might have been your lobby

950
00:53:16,560 --> 00:53:20,600
Speaker 1: call to get to the spectrum. And as we're walking

951
00:53:20,719 --> 00:53:27,359
Speaker 1: home from school, you it was you and uh yea,

952
00:53:27,800 --> 00:53:32,960
Speaker 1: we didn't see Mike sugar ANNs Quick and Don was like, yo,

953
00:53:33,040 --> 00:53:35,160
Speaker 1: I didn't know they were white. I was like, now,

954
00:53:35,200 --> 00:53:37,800
Speaker 1: they're not white. They're Puerto Rican. It's like, nah, I

955
00:53:37,800 --> 00:53:40,480
Speaker 1: think they're white. And there was a listening booth like

956
00:53:40,520 --> 00:53:42,839
Speaker 1: a block away and we had like a you know,

957
00:53:43,320 --> 00:53:45,040
Speaker 1: you know the one smart guy that works at the

958
00:53:45,040 --> 00:53:45,680
Speaker 1: record store.

959
00:53:46,480 --> 00:53:48,200
Speaker 4: I don't you would.

960
00:53:47,960 --> 00:53:52,400
Speaker 1: Have been that guy. It's but we go there and

961
00:53:52,480 --> 00:53:55,960
Speaker 1: his name is Mark and we're like Mark, Hannah's the

962
00:53:56,080 --> 00:54:02,759
Speaker 1: licensed ill album and it's the inside gatefold, and Don's like,

963
00:54:02,840 --> 00:54:04,920
Speaker 1: look at the inside, look at them. They're clearly white.

964
00:54:05,680 --> 00:54:07,359
Speaker 1: I was like, I don't know, man, I think they're

965
00:54:07,360 --> 00:54:10,279
Speaker 1: Puerto Rican. And he's like, dude, and he pulls out

966
00:54:10,320 --> 00:54:16,279
Speaker 1: the things like Horowitz, that's a Jewish name, and the

967
00:54:16,280 --> 00:54:19,799
Speaker 1: whole time I was just like, yo, I didn't know

968
00:54:19,800 --> 00:54:21,360
Speaker 1: they were white. I mean, at the time, were you

969
00:54:21,400 --> 00:54:25,960
Speaker 1: guys aware that you were in even though yes, I

970
00:54:26,040 --> 00:54:30,040
Speaker 1: know that there were a pioneer and hip hop artists

971
00:54:30,080 --> 00:54:33,200
Speaker 1: of all ilk and all cartures and backgrounds in the

972
00:54:33,239 --> 00:54:35,360
Speaker 1: game of hip hop, but as far as being marketed

973
00:54:36,040 --> 00:54:38,680
Speaker 1: to us, we thought that hip hop was a black

974
00:54:38,719 --> 00:54:43,359
Speaker 1: guy's game, a brown guy's game sometimes. But at the time,

975
00:54:43,400 --> 00:54:45,000
Speaker 1: were you guys aware of it? Do you think that

976
00:54:45,120 --> 00:54:47,480
Speaker 1: Russell was aware of it in terms of like you

977
00:54:47,640 --> 00:54:49,799
Speaker 1: not being on the album cover of those things.

978
00:54:50,320 --> 00:54:53,480
Speaker 4: Certainly wasn't thinking about marketing, and I was, you know,

979
00:54:53,680 --> 00:54:57,120
Speaker 4: I was a dumb teenager, so I wasn't really sort

980
00:54:57,160 --> 00:55:00,200
Speaker 4: of wise to the to the ways of the world

981
00:55:00,239 --> 00:55:02,239
Speaker 4: and how you know, white people have been doing this

982
00:55:02,280 --> 00:55:06,840
Speaker 4: for a very long time, and so I wasn't aware

983
00:55:06,880 --> 00:55:10,520
Speaker 4: of like Russell being like, clearly in his mind he's like,

984
00:55:10,760 --> 00:55:15,120
Speaker 4: this is what's gonna catapult all of my other artists.

985
00:55:15,320 --> 00:55:16,960
Speaker 4: Do you know what I mean? This is unfortunately the

986
00:55:17,000 --> 00:55:19,359
Speaker 4: game that has to be played to get the white

987
00:55:19,360 --> 00:55:22,080
Speaker 4: people out there so then I can get run dam

988
00:55:22,120 --> 00:55:24,960
Speaker 4: seeing Houdini and all my other groups out there. I

989
00:55:25,000 --> 00:55:29,080
Speaker 4: don't know that Russell ever saw us artistically as the

990
00:55:29,120 --> 00:55:31,840
Speaker 4: thing that's you know, going to propel him. You know,

991
00:55:32,840 --> 00:55:36,120
Speaker 4: as I grew up, I clearly understood that. But we

992
00:55:36,200 --> 00:55:40,040
Speaker 4: came from a background of all types of music and

993
00:55:40,080 --> 00:55:42,640
Speaker 4: all types of people. Growing up in you know, Greenwich

994
00:55:42,719 --> 00:55:45,239
Speaker 4: Village in New York. There's kind of everything for you.

995
00:55:45,600 --> 00:55:49,640
Speaker 4: There's everybody and everything. And the interesting, you know, thing

996
00:55:49,760 --> 00:55:52,759
Speaker 4: I was going to say is very inspired by the Clash,

997
00:55:53,320 --> 00:55:56,600
Speaker 4: and the Clash kind of did what we did right

998
00:55:57,000 --> 00:55:59,160
Speaker 4: they and we did it because they did it, and

999
00:55:59,200 --> 00:56:01,760
Speaker 4: so they took reg and they played reggae music.

1000
00:56:02,480 --> 00:56:06,719
Speaker 1: The thing that was just amazed at, and I don't

1001
00:56:06,760 --> 00:56:11,360
Speaker 1: think a lot of people noted, is that, you know,

1002
00:56:11,800 --> 00:56:20,160
Speaker 1: you guys could have easily played the caricature card, but

1003
00:56:20,320 --> 00:56:25,319
Speaker 1: you didn't, you know what he like, what you could have,

1004
00:56:25,480 --> 00:56:28,360
Speaker 1: I mean, you could have do you mean like for me,

1005
00:56:29,040 --> 00:56:35,040
Speaker 1: you guys never came out trying to sound black, you

1006
00:56:35,080 --> 00:56:37,120
Speaker 1: know what I mean? Like you sounded like your voice

1007
00:56:37,200 --> 00:56:41,919
Speaker 1: is clearly your voice. I just my thirteen year old

1008
00:56:41,960 --> 00:56:46,600
Speaker 1: self would not think instantly but that white people can

1009
00:56:46,680 --> 00:56:50,640
Speaker 1: rap as good as black people do. But I will

1010
00:56:50,680 --> 00:56:54,280
Speaker 1: say that, you know, you guys could have easily cashed

1011
00:56:54,320 --> 00:56:56,960
Speaker 1: in on the because there were groups after you, the

1012
00:56:57,000 --> 00:57:03,399
Speaker 1: white boys, like people kind of cashing in on the

1013
00:57:03,440 --> 00:57:08,439
Speaker 1: novelty of being an outcast in hip hop. But y'all

1014
00:57:08,600 --> 00:57:11,320
Speaker 1: never played that card at all, Like you were naturally

1015
00:57:11,360 --> 00:57:15,560
Speaker 1: yourselves and you just made dope music that you know

1016
00:57:15,960 --> 00:57:19,120
Speaker 1: was pioneering a death. So y'all could have did that,

1017
00:57:19,160 --> 00:57:22,520
Speaker 1: but y'all didn't. And I think that's kind of why,

1018
00:57:22,880 --> 00:57:26,160
Speaker 1: like the respect was always there, you know what I mean,

1019
00:57:27,240 --> 00:57:28,120
Speaker 1: I just didn't.

1020
00:57:27,880 --> 00:57:32,200
Speaker 4: Know, but we you know, we just really loved the music,

1021
00:57:32,320 --> 00:57:34,120
Speaker 4: so we weren't trying to make fun of the music.

1022
00:57:34,120 --> 00:57:36,760
Speaker 1: And I clearly knew that, Yeah, I clearly knew that.

1023
00:57:36,920 --> 00:57:39,480
Speaker 4: We don't. We never thought that rapp was a novelty,

1024
00:57:39,640 --> 00:57:41,200
Speaker 4: do you know what I'm saying. It wasn't like, oh,

1025
00:57:41,320 --> 00:57:44,760
Speaker 4: it's funny, let's do that. We it's we we love it,

1026
00:57:44,840 --> 00:57:47,120
Speaker 4: Let's try to see if we can do it. And

1027
00:57:47,600 --> 00:57:49,480
Speaker 4: when we first started doing it, I just wanted to

1028
00:57:49,480 --> 00:57:52,560
Speaker 4: sound like Jimmy Spicer, and so I was doing that

1029
00:57:52,600 --> 00:57:55,040
Speaker 4: thing where I wanted to sound like a specific somebody

1030
00:57:55,400 --> 00:57:58,800
Speaker 4: and that changed very quickly because I don't sound like that.

1031
00:57:59,440 --> 00:58:00,000
Speaker 1: What's your voice?

1032
00:58:00,120 --> 00:58:02,320
Speaker 2: Something developed over time or was that the first Like

1033
00:58:02,640 --> 00:58:04,040
Speaker 2: how did you get to the voice that is the

1034
00:58:04,560 --> 00:58:07,120
Speaker 2: iconic voice that you rap with? Was it something you

1035
00:58:07,160 --> 00:58:09,360
Speaker 2: worked on or was it just what came out?

1036
00:58:09,440 --> 00:58:11,040
Speaker 4: I think it just worke came out, Yeah, because at

1037
00:58:11,040 --> 00:58:13,720
Speaker 4: first I tried to sound like a baritone.

1038
00:58:14,240 --> 00:58:16,560
Speaker 2: Your speaking voice is lower, clearly.

1039
00:58:16,280 --> 00:58:18,800
Speaker 4: Yeah, I just something happens when I start yelling.

1040
00:58:20,680 --> 00:58:21,280
Speaker 2: October too.

1041
00:58:21,400 --> 00:58:28,240
Speaker 1: Yeah, you nailing air quote the voice? You nailing that.

1042
00:58:28,240 --> 00:58:32,040
Speaker 1: That's some rare shit, because like again, it took Chuck

1043
00:58:32,080 --> 00:58:36,320
Speaker 1: d an album to really get into Chuck d space, like,

1044
00:58:36,360 --> 00:58:39,720
Speaker 1: there's very few people you you nailed it. Q Tip

1045
00:58:39,800 --> 00:58:41,080
Speaker 1: nailed it all.

1046
00:58:41,040 --> 00:58:42,640
Speaker 4: Right, So I was going to start. I was trying

1047
00:58:42,680 --> 00:58:46,920
Speaker 4: to start a band in the nineties called the Nasal Tongues,

1048
00:58:48,960 --> 00:58:53,479
Speaker 4: me and Q Tip and mc milk and be Real,

1049
00:58:53,600 --> 00:58:56,720
Speaker 4: be Real Yeah, And it was one of those things

1050
00:58:56,720 --> 00:58:58,560
Speaker 4: like yeah, yeah, yeah, we'll do it, we should do it,

1051
00:58:58,600 --> 00:58:59,600
Speaker 4: and then it never happened.

1052
00:59:00,600 --> 00:59:04,600
Speaker 1: Ah, okay, well, I mean you did a song with Milk, Yes,

1053
00:59:04,640 --> 00:59:07,000
Speaker 1: I did. So. I have a theory, especially when it

1054
00:59:07,040 --> 00:59:10,640
Speaker 1: comes to hip hop music and soul music, which is

1055
00:59:12,200 --> 00:59:14,920
Speaker 1: I feel like most of the time acts are not

1056
00:59:15,400 --> 00:59:19,440
Speaker 1: living in the studio to really know what their sound is.

1057
00:59:19,640 --> 00:59:22,360
Speaker 1: It's like, we got an hour, let's get in, let's

1058
00:59:22,360 --> 00:59:27,160
Speaker 1: get out, one take, We're done. Whereas you can tell

1059
00:59:27,280 --> 00:59:31,800
Speaker 1: who had time to Like Prince obviously had all the

1060
00:59:31,800 --> 00:59:33,880
Speaker 1: time in the world to figure out what his sound

1061
00:59:34,000 --> 00:59:36,760
Speaker 1: is and all that stuff, which is why he's so developed.

1062
00:59:37,440 --> 00:59:41,040
Speaker 1: I'm certain Michael Jackson's budget same thing allows that. But

1063
00:59:41,200 --> 00:59:43,840
Speaker 1: there's a lot of groups who had to be in,

1064
00:59:43,920 --> 00:59:46,280
Speaker 1: had to be out. So in general, like, were you

1065
00:59:46,280 --> 00:59:49,880
Speaker 1: guys like living in the studio, were you always like

1066
00:59:49,920 --> 00:59:54,000
Speaker 1: demoing stuff, or because even when it comes to the

1067
00:59:54,080 --> 00:59:56,720
Speaker 1: chemistry of the delivery, like the whole tug of war

1068
00:59:57,840 --> 01:00:00,800
Speaker 1: were played between you three, Like how you guys developing that.

1069
01:00:01,600 --> 01:00:03,480
Speaker 4: Well, there's a few things. One the thing that can't

1070
01:00:03,640 --> 01:00:06,120
Speaker 4: just comes to mind now about our voices is that

1071
01:00:06,160 --> 01:00:09,320
Speaker 4: the three of us, it's kind of like siblings and

1072
01:00:09,360 --> 01:00:11,040
Speaker 4: you have to fight for your space, you know what

1073
01:00:11,120 --> 01:00:14,320
Speaker 4: I mean, right, And so we're trying to each try

1074
01:00:14,400 --> 01:00:16,080
Speaker 4: to fit in and be louder than the other one,

1075
01:00:16,120 --> 01:00:19,880
Speaker 4: or try to make ourselves fit, fit in and stand out,

1076
01:00:20,160 --> 01:00:22,520
Speaker 4: if that makes sense. That could be bullshit, I don't.

1077
01:00:22,320 --> 01:00:24,600
Speaker 1: Know, but no, that's what I think. I think you

1078
01:00:24,680 --> 01:00:27,120
Speaker 1: found the high register that obviously YUT can't do.

1079
01:00:27,920 --> 01:00:30,600
Speaker 4: What we used to do is we would go to

1080
01:00:30,720 --> 01:00:38,840
Speaker 4: Mike's apartment and we would just write rhymes over an

1081
01:00:38,920 --> 01:00:41,640
Speaker 4: instrumental of whatever, and we would just listen to whatever

1082
01:00:41,680 --> 01:00:43,800
Speaker 4: it was over and over, whether it was our song,

1083
01:00:44,240 --> 01:00:46,080
Speaker 4: a demo of a beat that we had, or a

1084
01:00:46,080 --> 01:00:49,640
Speaker 4: beat that I made, or some other record that we

1085
01:00:49,800 --> 01:00:51,400
Speaker 4: just listened over and over again, and we would write

1086
01:00:51,440 --> 01:00:53,800
Speaker 4: rhymes and write them and then sift through them and

1087
01:00:53,840 --> 01:00:56,120
Speaker 4: pick what we liked, and then we would put three

1088
01:00:56,120 --> 01:00:58,680
Speaker 4: copies all together and underline who was going to say what?

1089
01:00:58,840 --> 01:01:01,000
Speaker 4: So we knew and we were this at Mike's apartment.

1090
01:01:01,480 --> 01:01:04,440
Speaker 1: Ah, okay that I mean.

1091
01:01:04,440 --> 01:01:07,160
Speaker 4: We also just tried to copy run DMC, you know,

1092
01:01:07,280 --> 01:01:09,600
Speaker 4: Fearless four and all the you know, all the greats.

1093
01:01:09,920 --> 01:01:10,120
Speaker 4: You know.

1094
01:01:10,800 --> 01:01:14,160
Speaker 1: Well, I've heard a demo of a I think I

1095
01:01:14,200 --> 01:01:16,320
Speaker 1: heard a demo of looking down the barrel of a gun,

1096
01:01:16,800 --> 01:01:20,600
Speaker 1: in which all three of you are saying the same things.

1097
01:01:21,160 --> 01:01:23,160
Speaker 1: So I always wonder, like, was it the thing of

1098
01:01:23,240 --> 01:01:26,720
Speaker 1: also punching in, Like would you all just say the

1099
01:01:26,760 --> 01:01:28,760
Speaker 1: same verse in the way that you would say it

1100
01:01:28,800 --> 01:01:29,640
Speaker 1: and then decide?

1101
01:01:30,120 --> 01:01:32,040
Speaker 4: Not that I remember that might have happened. But the

1102
01:01:32,080 --> 01:01:34,400
Speaker 4: only time I remember was there's a specific song of

1103
01:01:34,480 --> 01:01:36,160
Speaker 4: polls would take re out because like we got to

1104
01:01:36,200 --> 01:01:39,120
Speaker 4: do it all three at the same time, and me

1105
01:01:39,200 --> 01:01:43,120
Speaker 4: and Mike were like, that's a terrible idea.

1106
01:01:43,400 --> 01:01:45,040
Speaker 1: Well, I definitely heard looking down the barrel of a

1107
01:01:45,080 --> 01:01:47,880
Speaker 1: gun that way, where all three of you could have

1108
01:01:47,880 --> 01:01:51,000
Speaker 1: been oh no, no, no, no, no, no, over working underpage,

1109
01:01:51,040 --> 01:01:53,760
Speaker 1: staring at the floor. Oh stop that train.

1110
01:01:54,040 --> 01:01:55,880
Speaker 4: Yeah, that's the song. It's got all three of us.

1111
01:01:55,880 --> 01:01:57,840
Speaker 1: It's on stop yes, stop that train.

1112
01:01:58,200 --> 01:02:01,600
Speaker 4: Yeah, all right, I thought was a terrible idea. And

1113
01:02:01,760 --> 01:02:04,400
Speaker 4: it doesn't matter. It's fine. It's like one minute on

1114
01:02:04,440 --> 01:02:05,600
Speaker 4: the whole album.

1115
01:02:05,840 --> 01:02:08,320
Speaker 1: So when you guys are doing your vocals, are you

1116
01:02:08,400 --> 01:02:10,480
Speaker 1: doing it all at the same time in the studio

1117
01:02:10,600 --> 01:02:12,920
Speaker 1: together or not? Going on?

1118
01:02:13,240 --> 01:02:15,120
Speaker 4: Not always but often.

1119
01:02:15,680 --> 01:02:17,720
Speaker 1: But doesn't that make it harder to get a perfect take?

1120
01:02:18,840 --> 01:02:20,160
Speaker 1: Or you just do a take and then you punch

1121
01:02:20,160 --> 01:02:21,880
Speaker 1: in whatever you have to take?

1122
01:02:24,240 --> 01:02:25,800
Speaker 2: What's a perfect precision?

1123
01:02:27,040 --> 01:02:30,520
Speaker 4: That's not something We always got a perfect take. What

1124
01:02:30,520 --> 01:02:34,760
Speaker 4: are you talking about? That's not that's the perfect take?

1125
01:02:34,840 --> 01:02:37,440
Speaker 4: Wasn't a concern? Making each other laugh was more important?

1126
01:02:38,440 --> 01:02:41,600
Speaker 4: And so our studio in when we got our studio

1127
01:02:41,600 --> 01:02:46,080
Speaker 4: in La there was like the live room here and

1128
01:02:46,120 --> 01:02:49,000
Speaker 4: the control room here, and the pass through was like

1129
01:02:49,080 --> 01:02:53,120
Speaker 4: a phone booth thing, and be like one of us

1130
01:02:53,120 --> 01:02:54,920
Speaker 4: in the studio, one in the phone booth and one

1131
01:02:54,920 --> 01:02:57,600
Speaker 4: in the live room with a window. It always just

1132
01:02:57,920 --> 01:03:01,160
Speaker 4: you know, I know, yeah, fun to do it all together.

1133
01:03:01,840 --> 01:03:05,120
Speaker 1: How many Licensed to Ill songs wound up on the

1134
01:03:05,160 --> 01:03:09,800
Speaker 1: cutting room floor? Besides I'm down and there's a song

1135
01:03:09,880 --> 01:03:16,000
Speaker 1: that sounded like a reverse PSK. I think it's all scenario.

1136
01:03:16,240 --> 01:03:18,200
Speaker 4: Yes, scenario which is in a movie.

1137
01:03:18,720 --> 01:03:21,760
Speaker 1: But who's controlling the drum machine on that? Might have

1138
01:03:21,840 --> 01:03:26,360
Speaker 1: been youk Okay, you gotta understand there's BC boys fans

1139
01:03:26,520 --> 01:03:31,360
Speaker 1: that like listening see the music annually, whereas I get

1140
01:03:31,400 --> 01:03:34,120
Speaker 1: that you recorded and you probably haven't heard it since

1141
01:03:35,480 --> 01:03:36,560
Speaker 1: it was made forty years ago.

1142
01:03:36,680 --> 01:03:41,600
Speaker 4: So it's you know, in life, you remember what you did,

1143
01:03:42,000 --> 01:03:44,240
Speaker 4: or more important, you remember what you didn't do.

1144
01:03:45,720 --> 01:03:46,040
Speaker 1: Got it?

1145
01:03:46,320 --> 01:03:48,280
Speaker 4: You know what I'm saying. So I remember if I

1146
01:03:48,360 --> 01:03:52,640
Speaker 4: didn't do something like I didn't program that that beat,

1147
01:03:52,800 --> 01:03:55,000
Speaker 4: So I know that I didn't Who did? I don't know?

1148
01:03:55,640 --> 01:03:55,920
Speaker 1: Yao?

1149
01:03:56,640 --> 01:03:58,760
Speaker 4: Probably yeah?

1150
01:03:58,840 --> 01:04:01,280
Speaker 1: Musically, were you loud in the input on licensed?

1151
01:04:01,320 --> 01:04:01,480
Speaker 4: Ill?

1152
01:04:02,080 --> 01:04:04,120
Speaker 1: As far as like what you want to diff.

1153
01:04:04,240 --> 01:04:06,240
Speaker 4: Like when Rick wasn't there, we got to have fun

1154
01:04:06,280 --> 01:04:06,880
Speaker 4: and do stuff.

1155
01:04:07,800 --> 01:04:09,640
Speaker 1: So what songs were those where mister.

1156
01:04:09,640 --> 01:04:12,440
Speaker 4: Ed you know, like all of the weird little bits

1157
01:04:12,440 --> 01:04:15,840
Speaker 4: and pieces that's us having fun.

1158
01:04:15,880 --> 01:04:17,800
Speaker 1: On the title track, got It? Got It?

1159
01:04:18,240 --> 01:04:20,240
Speaker 4: Oh wait, there's one other song that's not on that

1160
01:04:20,280 --> 01:04:24,160
Speaker 4: record that was a public Enemy song that wasn't going

1161
01:04:24,240 --> 01:04:30,160
Speaker 4: to get used that we recorded at Electric Ladyland. That

1162
01:04:30,320 --> 01:04:32,880
Speaker 4: was terrible and I think it might have been cold

1163
01:04:32,960 --> 01:04:35,320
Speaker 4: lamping and it was like Flavor gave it to us

1164
01:04:35,760 --> 01:04:38,320
Speaker 4: and then oh we also Oh I was going to

1165
01:04:38,360 --> 01:04:39,800
Speaker 4: say we also did Slow and Low, but we ended

1166
01:04:39,880 --> 01:04:43,160
Speaker 4: up using that. But yeah, we did cold Lamping. We're

1167
01:04:43,200 --> 01:04:47,520
Speaker 4: one of those Flavor songs that they ended up they used.

1168
01:04:48,200 --> 01:04:49,920
Speaker 1: So initially that was going to you guys.

1169
01:04:50,840 --> 01:04:52,800
Speaker 4: They I guess they recorded and didn't like it, and

1170
01:04:52,800 --> 01:04:55,080
Speaker 4: then they were like, you guys have it, and we

1171
01:04:55,120 --> 01:04:56,720
Speaker 4: recorded and it was so bad that they must have

1172
01:04:56,720 --> 01:05:01,000
Speaker 4: been a yad, well really bad. WHOA.

1173
01:05:01,720 --> 01:05:03,120
Speaker 1: I gotta find that, motherfucker.

1174
01:05:03,760 --> 01:05:06,000
Speaker 4: I have all these things on cassette somewhere there.

1175
01:05:06,520 --> 01:05:14,120
Speaker 1: I cannot wait for that. Okay. As far as the

1176
01:05:14,160 --> 01:05:19,040
Speaker 1: infamous White House album follow up, was that ever completed

1177
01:05:19,280 --> 01:05:23,440
Speaker 1: or was Desperado the only thing recorded before you guys left?

1178
01:05:24,280 --> 01:05:26,480
Speaker 4: So yeah, it's a long I don't even know what

1179
01:05:26,480 --> 01:05:29,280
Speaker 4: I'm like legally allowed because there was so much weird

1180
01:05:29,280 --> 01:05:32,640
Speaker 4: shit that happened at the end of our relationship with

1181
01:05:32,720 --> 01:05:36,880
Speaker 4: Rick and Russell. But the threat was that if we

1182
01:05:36,920 --> 01:05:41,320
Speaker 4: didn't record an album that Russell was going to get

1183
01:05:41,320 --> 01:05:44,600
Speaker 4: some producers to put our vocals, which I don't know

1184
01:05:44,640 --> 01:05:47,840
Speaker 4: what vocals he was going to use to this new

1185
01:05:47,960 --> 01:05:50,840
Speaker 4: music called house music that people were into, and he

1186
01:05:50,960 --> 01:05:52,760
Speaker 4: was going to put out a record called White House

1187
01:05:53,280 --> 01:05:55,520
Speaker 4: and it was going to be huge because people really

1188
01:05:55,800 --> 01:06:04,200
Speaker 4: like this new house music thing. Really, I don't know, Yeah,

1189
01:06:06,000 --> 01:06:08,040
Speaker 4: sounds great.

1190
01:06:09,400 --> 01:06:15,280
Speaker 1: I see, Okay, that's interesting. Well yeah I heard Desperado.

1191
01:06:14,760 --> 01:06:17,120
Speaker 4: But that's that's not house music.

1192
01:06:18,200 --> 01:06:18,840
Speaker 1: Far from it.

1193
01:06:19,360 --> 01:06:23,640
Speaker 4: Yeah, just than that. Jungle Brothers had a song called

1194
01:06:23,640 --> 01:06:26,200
Speaker 4: house Music All Night Long, so good.

1195
01:06:26,640 --> 01:06:28,400
Speaker 1: He wanted you to cast you on that. All right,

1196
01:06:28,440 --> 01:06:34,640
Speaker 1: that's crazy. So your time in Los Angeles because you

1197
01:06:34,680 --> 01:06:38,680
Speaker 1: guys were the first to really experience hip hop success.

1198
01:06:39,520 --> 01:06:43,400
Speaker 1: How jarring was it to be not only hip hop successful,

1199
01:06:43,400 --> 01:06:49,439
Speaker 1: but like worldwide level of success? In hindsight, was it

1200
01:06:49,480 --> 01:06:55,040
Speaker 1: more of a burden or was it just like something

1201
01:06:55,040 --> 01:06:55,840
Speaker 1: you didn't care for?

1202
01:06:56,080 --> 01:06:59,200
Speaker 4: Or no, it's fucking crazy. I mean, this shit just

1203
01:06:59,280 --> 01:07:02,560
Speaker 4: it really happened quickly. I don't know how to sort

1204
01:07:02,600 --> 01:07:05,640
Speaker 4: of explain it. It's like, uh, you go to a

1205
01:07:05,680 --> 01:07:10,880
Speaker 4: party and you wear like ear muffs, and everybody in

1206
01:07:10,920 --> 01:07:13,480
Speaker 4: the party is like, whoa, those ear muffs are cool,

1207
01:07:14,240 --> 01:07:15,680
Speaker 4: And then you're like, Okay, I guess I'm gonna wear

1208
01:07:15,680 --> 01:07:17,280
Speaker 4: ear muffs every day now for the rest of my

1209
01:07:17,320 --> 01:07:21,720
Speaker 4: life because fucking everybody loves my ear muffs. I'm getting

1210
01:07:21,720 --> 01:07:26,560
Speaker 4: paid to wear these ear muffs. It's awesome. It wasn't

1211
01:07:26,560 --> 01:07:28,760
Speaker 4: the plan. It was like, we had no plan. We

1212
01:07:28,760 --> 01:07:31,000
Speaker 4: are also a hardcore but we're a punk band. We're punks,

1213
01:07:31,640 --> 01:07:36,160
Speaker 4: and so we approached rap music as such, you know

1214
01:07:36,160 --> 01:07:37,800
Speaker 4: what I mean, Like we just we're just doing what

1215
01:07:37,840 --> 01:07:42,880
Speaker 4: we're doing and other people responding to it was weird

1216
01:07:43,000 --> 01:07:45,960
Speaker 4: enough that all of our shows were like, you know,

1217
01:07:46,040 --> 01:07:49,440
Speaker 4: our twenty five friends or people that we sort of knew,

1218
01:07:49,480 --> 01:07:51,600
Speaker 4: friends of friends. Then it got a little bigger, and

1219
01:07:51,600 --> 01:07:54,880
Speaker 4: then all of a sudden, like we're on tour with Madonna.

1220
01:07:56,000 --> 01:07:57,440
Speaker 4: We're like, whoa shit, that's crazy. As we come home,

1221
01:07:57,480 --> 01:07:58,800
Speaker 4: and then all of a sudden, we're on tour opening

1222
01:07:58,840 --> 01:08:03,200
Speaker 4: for we run DMC and Time Ex Social Club. It's

1223
01:08:03,240 --> 01:08:05,200
Speaker 4: like this massive thing. And then so we're like, okay,

1224
01:08:05,240 --> 01:08:08,880
Speaker 4: I guess we're this massive thing now. And so when

1225
01:08:08,880 --> 01:08:10,960
Speaker 4: the record came out, it was fucking huge. We're on

1226
01:08:10,960 --> 01:08:13,800
Speaker 4: the cover and the newspaper in England every day was

1227
01:08:13,920 --> 01:08:17,400
Speaker 4: like crazy. I don't know how. I don't know how

1228
01:08:17,439 --> 01:08:20,000
Speaker 4: people do it. I don't know how solo artists do

1229
01:08:20,080 --> 01:08:23,320
Speaker 4: stuff like that, because it seems so crazy, and you

1230
01:08:23,479 --> 01:08:25,840
Speaker 4: have people that like, all these people love you, but

1231
01:08:26,040 --> 01:08:28,320
Speaker 4: just as many people are like fuck you, you suck. Who

1232
01:08:28,320 --> 01:08:29,040
Speaker 4: do you think you are?

1233
01:08:29,640 --> 01:08:34,320
Speaker 1: At the time, was the just the constant worship and

1234
01:08:34,640 --> 01:08:39,240
Speaker 1: being a goldfisher in a goldfish tank? Was that tiring

1235
01:08:39,280 --> 01:08:39,800
Speaker 1: at the time?

1236
01:08:41,200 --> 01:08:44,160
Speaker 4: Yeah, I mean it got weird. It's a hard call

1237
01:08:44,240 --> 01:08:47,840
Speaker 4: because a lot of people are saying they love you

1238
01:08:48,800 --> 01:08:53,840
Speaker 4: and you're great. That's not bad, that's right, that's good

1239
01:08:54,280 --> 01:08:58,840
Speaker 4: in theory, right, So you you have that with you

1240
01:08:59,479 --> 01:09:03,719
Speaker 4: and so it's nice people like what you do. That's great.

1241
01:09:04,920 --> 01:09:08,640
Speaker 4: But the other stuff that comes with it, and interviews

1242
01:09:09,080 --> 01:09:11,679
Speaker 4: and you know, busy, busy schedule and all of that stuff,

1243
01:09:11,720 --> 01:09:14,360
Speaker 4: that's not something that anybody's used to. But we didn't

1244
01:09:14,400 --> 01:09:16,759
Speaker 4: sign up for all of that sort of stuff.

1245
01:09:17,439 --> 01:09:21,040
Speaker 1: I wasn't aware of how you guys were perceived in

1246
01:09:21,080 --> 01:09:23,920
Speaker 1: the press. I wasn't deep on the press until like

1247
01:09:24,640 --> 01:09:27,960
Speaker 1: check your head, you know what I mean. So you know,

1248
01:09:28,200 --> 01:09:31,360
Speaker 1: if you weren't in right on magazine, I wouldn't know

1249
01:09:31,479 --> 01:09:35,280
Speaker 1: too much. I think once you guys.

1250
01:09:35,040 --> 01:09:36,840
Speaker 4: Made it, we weren't right on a magazine.

1251
01:09:37,240 --> 01:09:38,920
Speaker 1: No, I know, that's I mean, that's how I'm aware.

1252
01:09:39,040 --> 01:09:43,960
Speaker 1: But it was the press contentious of you guys doing the.

1253
01:09:43,680 --> 01:09:47,960
Speaker 4: All right, so nineteen eighty seven Licensed to Ill. It's

1254
01:09:48,000 --> 01:09:52,160
Speaker 4: growing really fast, right right, We're gonna go on tour

1255
01:09:52,280 --> 01:09:55,559
Speaker 4: in the UK. This is in our book, available now

1256
01:09:55,680 --> 01:09:56,320
Speaker 4: at your local.

1257
01:09:56,640 --> 01:09:57,439
Speaker 1: I've read the book.

1258
01:09:57,800 --> 01:10:02,200
Speaker 4: So we're coming and writing articles about us in the newspaper,

1259
01:10:02,240 --> 01:10:05,240
Speaker 4: not magazines. I'm talking like the cover of the Sun

1260
01:10:05,360 --> 01:10:09,599
Speaker 4: and the Sun. And they had a parliament meeting should

1261
01:10:09,600 --> 01:10:12,360
Speaker 4: they allow us to come because we're these awful people,

1262
01:10:12,479 --> 01:10:15,560
Speaker 4: Like word has gotten out now that we're like the

1263
01:10:15,680 --> 01:10:18,639
Speaker 4: sex pistols that were like fucking up the youth of America.

1264
01:10:18,880 --> 01:10:21,759
Speaker 4: You know, we're like death metal music that's gonna do whatever.

1265
01:10:22,800 --> 01:10:25,759
Speaker 1: Isn't that the rockers dream to be parents worst nightmare?

1266
01:10:26,560 --> 01:10:30,840
Speaker 4: That's the record company's dream. So oh, it's all building

1267
01:10:30,880 --> 01:10:34,200
Speaker 4: and building, and we're on the cover of newspaper and

1268
01:10:34,240 --> 01:10:36,720
Speaker 4: everything we're doing, and we're feeding into it because that's

1269
01:10:36,720 --> 01:10:39,040
Speaker 4: what we're getting attention. We're you know, you're like a kid.

1270
01:10:40,000 --> 01:10:41,760
Speaker 4: Pay People are paying attention how you pick your nose,

1271
01:10:41,760 --> 01:10:43,439
Speaker 4: So you keep picking your nose that way because people

1272
01:10:43,479 --> 01:10:46,160
Speaker 4: love it. So we're doing it and doing it not

1273
01:10:46,320 --> 01:10:48,719
Speaker 4: to not to let us off the hook. I'm saying,

1274
01:10:49,200 --> 01:10:51,479
Speaker 4: we are responsible, we all are for what we do,

1275
01:10:51,800 --> 01:10:55,680
Speaker 4: but it's building and building and building. And so when

1276
01:10:55,720 --> 01:10:59,360
Speaker 4: we finally get to England and we're playing our shows,

1277
01:10:59,400 --> 01:11:04,640
Speaker 4: they start getting fucking weird and tense and different. And

1278
01:11:04,680 --> 01:11:07,720
Speaker 4: then we play a show in Liverpool and basically everybody there,

1279
01:11:07,840 --> 01:11:10,360
Speaker 4: not everybody there, a lot of people there are like

1280
01:11:10,960 --> 01:11:14,200
Speaker 4: singing football songs. It's like hooligan shit. They're throwing beer

1281
01:11:14,240 --> 01:11:17,280
Speaker 4: bottles at us. They're like, fuck you. You say you're

1282
01:11:17,680 --> 01:11:19,439
Speaker 4: you know, you're the shit. You say you're tough, but

1283
01:11:19,520 --> 01:11:22,559
Speaker 4: you're nothing, and beer bottles are raining down on us,

1284
01:11:22,600 --> 01:11:25,519
Speaker 4: and we're like, okay, now it's gotten to be too much.

1285
01:11:25,880 --> 01:11:29,920
Speaker 1: So you're saying the audience was going there just to

1286
01:11:30,000 --> 01:11:30,439
Speaker 1: heckle you.

1287
01:11:31,280 --> 01:11:35,840
Speaker 4: More than heckle. Yeah, because we've already told everybody and

1288
01:11:35,920 --> 01:11:40,439
Speaker 4: we've become this thing, and like we're definitely responsible for

1289
01:11:40,560 --> 01:11:42,160
Speaker 4: saying the things that we said and doing the things

1290
01:11:42,200 --> 01:11:44,599
Speaker 4: that we do. But like it caught fire in terms

1291
01:11:44,680 --> 01:11:47,880
Speaker 4: of press and newspapers and all this shit, and it

1292
01:11:48,040 --> 01:11:49,240
Speaker 4: was like, wait.

1293
01:11:49,320 --> 01:11:51,360
Speaker 1: Okay, I didn't know that was with the fan. I

1294
01:11:51,439 --> 01:11:52,280
Speaker 1: thought it was depressed.

1295
01:11:52,360 --> 01:11:53,920
Speaker 4: I didn't know it was like I went to jail

1296
01:11:54,000 --> 01:11:57,320
Speaker 4: for a few nights. It was like fucking crazy, sucked.

1297
01:11:58,400 --> 01:12:01,479
Speaker 4: But at the time, for the first time ever, I

1298
01:12:01,520 --> 01:12:02,080
Speaker 4: had some money.

1299
01:12:02,240 --> 01:12:07,280
Speaker 1: It was nice, got it? Okay? So was there an

1300
01:12:07,360 --> 01:12:12,280
Speaker 1: official meeting of the creative direction of what Paul's boutique

1301
01:12:13,080 --> 01:12:13,519
Speaker 1: should be?

1302
01:12:14,720 --> 01:12:17,400
Speaker 4: I'm the official meeting was me out of a mic,

1303
01:12:17,439 --> 01:12:18,920
Speaker 4: meaning like we got to get the fuck away from Rick,

1304
01:12:18,920 --> 01:12:22,600
Speaker 4: from Russell. I was like getting an end of it.

1305
01:12:23,240 --> 01:12:25,280
Speaker 1: So you don't think had you been on DEFTM, you

1306
01:12:25,320 --> 01:12:27,600
Speaker 1: guys wouldn't made an album as adventurous.

1307
01:12:28,200 --> 01:12:30,840
Speaker 4: There's no way, absolutely no way.

1308
01:12:31,600 --> 01:12:35,960
Speaker 1: Well, I mean even they imploded in what eighty eight?

1309
01:12:36,200 --> 01:12:38,200
Speaker 4: So rick Ball fell apart at the same time, the

1310
01:12:38,280 --> 01:12:42,000
Speaker 4: whole thing fell apart at the same time, between and

1311
01:12:42,160 --> 01:12:45,280
Speaker 4: Rick and us, and Russell, Russell and Rick, all of us.

1312
01:12:45,320 --> 01:12:49,280
Speaker 1: It just okay. So I'd take it that you guys

1313
01:12:49,439 --> 01:12:52,639
Speaker 1: met with the dust Brothers and whatnot. Well, the legend

1314
01:12:52,720 --> 01:12:55,400
Speaker 1: is that one of you heard some tracks at a party.

1315
01:12:55,960 --> 01:12:57,840
Speaker 4: Was it you? That was me?

1316
01:12:58,080 --> 01:12:58,880
Speaker 1: Yes, okay.

1317
01:12:59,040 --> 01:13:01,200
Speaker 4: I went to some weird Hollywood party with a friend

1318
01:13:02,040 --> 01:13:03,840
Speaker 4: and these guys are there just like kind of in

1319
01:13:03,920 --> 01:13:08,519
Speaker 4: the back out outside listening to cassette A cassette tape

1320
01:13:08,560 --> 01:13:11,559
Speaker 4: with demos that they made, and so we have crazy

1321
01:13:11,600 --> 01:13:14,040
Speaker 4: beats and instrumentals and all samples and stuff, and I

1322
01:13:14,160 --> 01:13:16,920
Speaker 4: was just like, what the hell is this? And one

1323
01:13:17,000 --> 01:13:19,800
Speaker 4: of them was this guy Matt Dyke, who eventually started

1324
01:13:19,880 --> 01:13:24,240
Speaker 4: Delicious Vinyl. We met a couple of years earlier because

1325
01:13:24,280 --> 01:13:26,920
Speaker 4: he flew us to La to put on a show

1326
01:13:26,960 --> 01:13:29,720
Speaker 4: at his club. He promoted a show which was a

1327
01:13:29,960 --> 01:13:31,360
Speaker 4: very pivotal moment for us.

1328
01:13:32,800 --> 01:13:33,639
Speaker 1: Why was that pivot?

1329
01:13:34,160 --> 01:13:36,160
Speaker 4: So he flew us down to this club, power Tools,

1330
01:13:36,160 --> 01:13:39,000
Speaker 4: which was like a club, like a well known club

1331
01:13:39,080 --> 01:13:44,400
Speaker 4: here in history books of La. And we played the

1332
01:13:44,479 --> 01:13:46,840
Speaker 4: show like all the like hipsters are there and we

1333
01:13:47,040 --> 01:13:50,519
Speaker 4: come on to do the show and the first eight

1334
01:13:50,560 --> 01:13:53,760
Speaker 4: o eight that kicks in boom, and it's like and

1335
01:13:53,880 --> 01:13:56,080
Speaker 4: the speakers are dead, and that's the beginning and end

1336
01:13:56,080 --> 01:13:58,479
Speaker 4: of the show. Eight oh eight was just too much

1337
01:13:58,560 --> 01:14:03,639
Speaker 4: for the speaker system at all. Mario Caldado goes over

1338
01:14:03,720 --> 01:14:05,800
Speaker 4: to Matt Dik and he's like, this is a fucking joke.

1339
01:14:06,160 --> 01:14:09,000
Speaker 4: I got my own PA system. I'm bringing it next week.

1340
01:14:09,040 --> 01:14:11,760
Speaker 4: You're hiring me to do sound. He does it.

1341
01:14:12,160 --> 01:14:14,320
Speaker 1: That's how Mario c comes into the fold.

1342
01:14:14,760 --> 01:14:17,400
Speaker 4: He does it, and he ends up being the engineer

1343
01:14:17,520 --> 01:14:21,639
Speaker 4: for Delicious Vinyl, for Tonelow Young MC all those records,

1344
01:14:21,920 --> 01:14:24,040
Speaker 4: and then we work together forever.

1345
01:14:24,760 --> 01:14:28,000
Speaker 1: Side note, Steve, you know the Roots reputation for being

1346
01:14:28,040 --> 01:14:31,600
Speaker 1: the loudest band in music at one hundred and and

1347
01:14:31,680 --> 01:14:35,160
Speaker 1: I'm talking Richard Nichols era, like one hundred and thirty

1348
01:14:35,160 --> 01:14:40,479
Speaker 1: eight dbs, like way above the legal limit. Like our

1349
01:14:40,560 --> 01:14:43,880
Speaker 1: face is plastered on every sound systems company, like the

1350
01:14:44,000 --> 01:14:46,479
Speaker 1: post office, like do not rint systems to this guy.

1351
01:14:47,720 --> 01:14:50,519
Speaker 1: As I said, everything we've ever learned in life we

1352
01:14:50,640 --> 01:14:53,559
Speaker 1: learn on toward the Beastie Boys. But probably the most

1353
01:14:53,640 --> 01:14:59,200
Speaker 1: important thing we learned was the importance of sound mixing

1354
01:15:00,280 --> 01:15:04,960
Speaker 1: and how important basis to a concert. So I will

1355
01:15:05,000 --> 01:15:09,479
Speaker 1: say the first two years of the Roots and the

1356
01:15:09,560 --> 01:15:12,280
Speaker 1: whole folklore of oh my god, you guys are so

1357
01:15:12,360 --> 01:15:17,400
Speaker 1: incredible a concert. What we learned on that tour was

1358
01:15:18,640 --> 01:15:21,320
Speaker 1: if you guys are loud and the sound is pristine,

1359
01:15:22,280 --> 01:15:24,960
Speaker 1: like for us, the sound, most people would say, an

1360
01:15:25,000 --> 01:15:27,160
Speaker 1: audience waving their hands in the air is the sign

1361
01:15:27,240 --> 01:15:30,519
Speaker 1: of like you made it. For us, the sound was

1362
01:15:31,360 --> 01:15:35,240
Speaker 1: the sign was if their hands were covering their stomachs

1363
01:15:36,640 --> 01:15:39,160
Speaker 1: like I can't take this too much base then that

1364
01:15:39,520 --> 01:15:42,639
Speaker 1: was like pretty much we learned. So I will say

1365
01:15:42,680 --> 01:15:45,720
Speaker 1: that for the most part, Mario would let me on

1366
01:15:45,880 --> 01:15:48,920
Speaker 1: the soundboard to help code mix with them and learn

1367
01:15:50,280 --> 01:15:54,200
Speaker 1: like so learning live engineering was that was my crash

1368
01:15:54,800 --> 01:15:57,720
Speaker 1: course and end that. So it's kind of weird that

1369
01:15:58,120 --> 01:16:00,439
Speaker 1: so you guys break into speaker is what brings Mario

1370
01:16:00,640 --> 01:16:05,120
Speaker 1: to the full. Oh yeah, that is some crazy shit man. Wow.

1371
01:16:06,080 --> 01:16:09,599
Speaker 1: After that tour, then that's when we became like serious

1372
01:16:09,640 --> 01:16:14,200
Speaker 1: about everything we ever done. So I believe that you

1373
01:16:14,400 --> 01:16:21,120
Speaker 1: guys revealed to me that the Paul's Boutique album was

1374
01:16:21,280 --> 01:16:26,320
Speaker 1: not sequenced in a way that traditionally you would sequence

1375
01:16:27,479 --> 01:16:29,599
Speaker 1: hip hop albums at the time, but that you guys

1376
01:16:29,680 --> 01:16:35,240
Speaker 1: basically looped everything on individual tracks and that's how the

1377
01:16:35,280 --> 01:16:38,360
Speaker 1: album was made. Did I ask that correctly in way

1378
01:16:38,560 --> 01:16:41,160
Speaker 1: that you understood how I asked the three things? One,

1379
01:16:41,240 --> 01:16:43,880
Speaker 1: I don't know that I understood the question the question right,

1380
01:16:44,280 --> 01:16:46,439
Speaker 1: But the second I.

1381
01:16:46,520 --> 01:16:48,760
Speaker 4: Was really high at that time. I was smoking. It's

1382
01:16:48,840 --> 01:16:52,280
Speaker 4: just so much pot that I don't I wasn't dealing

1383
01:16:52,360 --> 01:16:56,000
Speaker 4: with the you know, fine tuning of that type of stuff, right,

1384
01:16:56,160 --> 01:16:58,760
Speaker 4: the dust brothers, that's all they did. They went to

1385
01:16:58,800 --> 01:17:04,200
Speaker 4: school for computer stuff, so they were they were very involved.

1386
01:17:04,280 --> 01:17:07,280
Speaker 4: That was like their thing was like we control the board,

1387
01:17:08,439 --> 01:17:10,599
Speaker 4: not like how it gets mixed, but like in terms

1388
01:17:10,640 --> 01:17:14,160
Speaker 4: of how the samples are getting you know, right stop, physically,

1389
01:17:14,240 --> 01:17:17,000
Speaker 4: how they're getting put on new tape. They were doing that.

1390
01:17:17,520 --> 01:17:19,360
Speaker 4: So I was really involved with that. I would make

1391
01:17:19,479 --> 01:17:21,120
Speaker 4: beats here and there, I would you know, write the

1392
01:17:21,240 --> 01:17:24,280
Speaker 4: lyrics and have my input or whatever. But they were

1393
01:17:24,360 --> 01:17:25,439
Speaker 4: really the ones that did that.

1394
01:17:26,479 --> 01:17:32,120
Speaker 1: Okay. I was told that every sample on Paul's boutique,

1395
01:17:32,160 --> 01:17:36,320
Speaker 1: like for instance, Sounds of Science, that everything would just

1396
01:17:36,400 --> 01:17:38,640
Speaker 1: get like you would start with the drums and then

1397
01:17:38,920 --> 01:17:43,040
Speaker 1: try to match each sample to the drums. But basically

1398
01:17:43,640 --> 01:17:47,400
Speaker 1: instead of okay, the opposite of that is when when

1399
01:17:47,479 --> 01:17:51,960
Speaker 1: talking to public Enemy's engineer whose name I'm forgetting right now,

1400
01:17:52,200 --> 01:17:57,439
Speaker 1: that made Nation of Millions. Basically in making Nation of Millions,

1401
01:17:57,920 --> 01:17:59,920
Speaker 1: the best example, of course is not to Living Base.

1402
01:18:00,120 --> 01:18:04,640
Speaker 1: It's like literally there's a tracking sheet that accounts for

1403
01:18:04,840 --> 01:18:09,000
Speaker 1: every bar that happens in that thing. So literally, like

1404
01:18:09,080 --> 01:18:12,840
Speaker 1: they write it out as a science experiment, like all right,

1405
01:18:12,920 --> 01:18:18,120
Speaker 1: third verse planet rock sample comes in this you know,

1406
01:18:18,360 --> 01:18:21,400
Speaker 1: this salt and pepper snippet comes in at exactly bar

1407
01:18:22,320 --> 01:18:30,240
Speaker 1: seventy eight. We tuned down eighty five eatpm for Bowie's whatever. Yeah,

1408
01:18:30,400 --> 01:18:37,479
Speaker 1: like it's completely detailed, soup the nuts and execute it

1409
01:18:37,520 --> 01:18:41,599
Speaker 1: as such and pre eqed, so they barely did any

1410
01:18:41,680 --> 01:18:44,559
Speaker 1: equing on them. They did all the pre work, whereas

1411
01:18:45,880 --> 01:18:50,200
Speaker 1: I was told that for this album, you guys weren't like, okay,

1412
01:18:50,400 --> 01:18:53,160
Speaker 1: only on this when this baseline comes in on verse two,

1413
01:18:53,960 --> 01:18:56,400
Speaker 1: we'll program it. No, it's just like we will loop

1414
01:18:56,560 --> 01:19:02,760
Speaker 1: everything as is and then we'll automate it that way,

1415
01:19:03,040 --> 01:19:05,519
Speaker 1: which is a harder way to make a record. In

1416
01:19:05,600 --> 01:19:09,760
Speaker 1: other words, if there's sixteen tracks, Am I saying it?

1417
01:19:09,880 --> 01:19:10,000
Speaker 2: Right?

1418
01:19:10,680 --> 01:19:13,679
Speaker 4: I knew drum machine. I can use a drum machine, right, okay,

1419
01:19:14,280 --> 01:19:17,840
Speaker 4: And I can program drum machine dx DMX whatever eight

1420
01:19:17,880 --> 01:19:19,439
Speaker 4: await whatever the thing is. I've been doing that for

1421
01:19:19,479 --> 01:19:23,680
Speaker 4: a long time for a while, a few years. The

1422
01:19:23,760 --> 01:19:26,639
Speaker 4: licensed ill o. I know, there's a lot of tape loops, right.

1423
01:19:26,560 --> 01:19:28,599
Speaker 1: And that was Cincento, see what I was talking about.

1424
01:19:28,680 --> 01:19:32,640
Speaker 4: Sorry, Nick, shout out to Nick Sansano, And so that

1425
01:19:32,800 --> 01:19:35,280
Speaker 4: was tricky to get those things lined up. And I

1426
01:19:35,360 --> 01:19:37,360
Speaker 4: remember the dust for this had all this shit lined up,

1427
01:19:37,479 --> 01:19:39,880
Speaker 4: was like, it seemed very magical. And then they had

1428
01:19:39,920 --> 01:19:42,200
Speaker 4: a computer, so I was like, I don't know what

1429
01:19:43,439 --> 01:19:47,479
Speaker 4: I did. I didn't understand what computers did, so like

1430
01:19:48,000 --> 01:19:49,640
Speaker 4: that it was the music was coming out of a

1431
01:19:49,640 --> 01:19:52,000
Speaker 4: computer was fascinating to me. I was like, is that

1432
01:19:52,120 --> 01:19:55,280
Speaker 4: like craft work? I don't understand what that means. I

1433
01:19:55,640 --> 01:19:58,160
Speaker 4: didn't have much to do with it, and you know,

1434
01:19:59,120 --> 01:20:01,680
Speaker 4: so I couldn't. I can't answer the questions of the

1435
01:20:01,800 --> 01:20:04,960
Speaker 4: specifics of how those tracks were made because I kind

1436
01:20:05,000 --> 01:20:06,680
Speaker 4: of sort of dipped out when it came to that.

1437
01:20:07,760 --> 01:20:12,200
Speaker 4: What a reaction to that was For the next record,

1438
01:20:12,240 --> 01:20:14,840
Speaker 4: I was very, very involved in terms of I got

1439
01:20:14,920 --> 01:20:17,960
Speaker 4: a you know, SB twelve hundred, and I got I

1440
01:20:18,040 --> 01:20:21,000
Speaker 4: didn't like that. I wasn't able to touch everything.

1441
01:20:21,720 --> 01:20:24,479
Speaker 1: So you were in a studio in which engineers would

1442
01:20:24,479 --> 01:20:27,160
Speaker 1: not let you. No, no, no.

1443
01:20:27,320 --> 01:20:30,120
Speaker 4: I didn't understand it. I didn't understand computers, so I

1444
01:20:30,200 --> 01:20:33,000
Speaker 4: didn't know how to to do it, do you know

1445
01:20:33,040 --> 01:20:36,320
Speaker 4: what I mean? And Yak understood tape loops and me

1446
01:20:36,400 --> 01:20:39,599
Speaker 4: and him knew drum machines. He knew tape loops from

1447
01:20:39,640 --> 01:20:42,080
Speaker 4: working with the Latin rascals, all right.

1448
01:20:42,120 --> 01:20:45,680
Speaker 1: So can you explain. I'm still trying to understand when

1449
01:20:45,720 --> 01:20:49,519
Speaker 1: you guys talk about looping when the levy breaks for

1450
01:20:50,160 --> 01:20:52,680
Speaker 1: riman and still and how you had to have a

1451
01:20:52,760 --> 01:20:56,960
Speaker 1: pencil over here and tape around the room, Like exactly

1452
01:20:58,640 --> 01:21:00,880
Speaker 1: what is that process? Like, I've never seen that done.

1453
01:21:01,680 --> 01:21:01,840
Speaker 4: Is that?

1454
01:21:02,520 --> 01:21:04,400
Speaker 1: Are you saying to me that's the only way that

1455
01:21:04,479 --> 01:21:05,400
Speaker 1: you could loop something?

1456
01:21:06,200 --> 01:21:08,639
Speaker 4: Okay, So if music is on a on a tape,

1457
01:21:09,160 --> 01:21:13,080
Speaker 4: not like like on the tape and say the tape

1458
01:21:13,200 --> 01:21:15,240
Speaker 4: space where it goes around the loop that it goes

1459
01:21:15,280 --> 01:21:18,960
Speaker 4: around in the actual machine, say that's like whatever, like

1460
01:21:19,240 --> 01:21:21,680
Speaker 4: four inches of a loop from start to finish, right,

1461
01:21:22,439 --> 01:21:24,280
Speaker 4: and you take the piece of music. But that piece

1462
01:21:24,360 --> 01:21:27,519
Speaker 4: of music is actually like a bar of music that's

1463
01:21:27,680 --> 01:21:31,120
Speaker 4: like six point seven inches, So you can't just play

1464
01:21:31,160 --> 01:21:32,760
Speaker 4: it in the tape loop. You can't play it in

1465
01:21:32,840 --> 01:21:35,200
Speaker 4: the tape machine. So some of it has to come

1466
01:21:35,479 --> 01:21:38,680
Speaker 4: out of the tape machine to go back into the

1467
01:21:38,760 --> 01:21:43,639
Speaker 4: tape machine. It needs that extra space you're creating a loop,

1468
01:21:44,280 --> 01:21:46,240
Speaker 4: So you just make a bigger loop than it is

1469
01:21:46,320 --> 01:21:47,799
Speaker 4: on the actual machine.

1470
01:21:48,439 --> 01:21:51,240
Speaker 1: And this requires like the entire room of the studio.

1471
01:21:52,000 --> 01:21:54,799
Speaker 4: No, just some space, some good space, good amount.

1472
01:21:55,800 --> 01:21:58,760
Speaker 1: Are you there for when rhyming and still in is

1473
01:21:59,560 --> 01:22:01,280
Speaker 1: being a yeah.

1474
01:22:01,760 --> 01:22:04,040
Speaker 4: And I feel like, if my memory is right, we

1475
01:22:04,200 --> 01:22:07,120
Speaker 4: just hand played the kicks and snares. Could be wrong,

1476
01:22:07,200 --> 01:22:10,800
Speaker 4: but I definitely remember hand playing kicks and snares on

1477
01:22:10,840 --> 01:22:11,599
Speaker 4: a bunch of songs.

1478
01:22:12,560 --> 01:22:16,639
Speaker 1: Oh okay, I see, I'm sorry. I have to also

1479
01:22:16,840 --> 01:22:21,760
Speaker 1: just visualize it, so I get very over analytical with

1480
01:22:21,920 --> 01:22:25,519
Speaker 1: this stuff. What were your feelings after the mastering session

1481
01:22:25,560 --> 01:22:26,320
Speaker 1: of Paul's boutique?

1482
01:22:27,080 --> 01:22:29,880
Speaker 4: You know, I didn't actually say that I was a

1483
01:22:30,040 --> 01:22:35,479
Speaker 4: musician until into the nineties, right, Like I didn't know

1484
01:22:35,520 --> 01:22:39,040
Speaker 4: that was my job. I was still whatever, like early twenties, right,

1485
01:22:40,200 --> 01:22:42,800
Speaker 4: I was eighty nine, I was with twenty two, twenty three,

1486
01:22:42,920 --> 01:22:47,080
Speaker 4: twenty three, right. So I'm just still winging it. I'm

1487
01:22:47,160 --> 01:22:50,720
Speaker 4: just going like we live in La now, I can

1488
01:22:50,800 --> 01:22:53,920
Speaker 4: drive a car, I've got cash, I can get pot

1489
01:22:54,280 --> 01:22:57,080
Speaker 4: and sandwiches, you know what I mean. Like, I'm not

1490
01:22:57,200 --> 01:23:00,880
Speaker 4: really thinking like this is my career path. And I

1491
01:23:01,080 --> 01:23:02,840
Speaker 4: just assumed, like, oh, we put a record out and

1492
01:23:02,880 --> 01:23:04,880
Speaker 4: then we'd go on tour. I guess because that's what

1493
01:23:05,000 --> 01:23:08,000
Speaker 4: people do, That's what we did last time. We got

1494
01:23:08,120 --> 01:23:11,519
Speaker 4: to make sure. I don't know, I didn't. It didn't

1495
01:23:11,600 --> 01:23:15,400
Speaker 4: really give it a thought of, like I've never particularly

1496
01:23:15,520 --> 01:23:18,960
Speaker 4: given a thought of like demographics to sell to or

1497
01:23:19,000 --> 01:23:21,439
Speaker 4: to cater to, or how record sales are going to

1498
01:23:21,479 --> 01:23:22,599
Speaker 4: go or any of that stuff.

1499
01:23:23,080 --> 01:23:24,840
Speaker 1: Yeah, but I mean part of you had to get

1500
01:23:24,920 --> 01:23:29,120
Speaker 1: some sort of goosebump shit like, yeah, this is some shit,

1501
01:23:29,280 --> 01:23:30,800
Speaker 1: Like no one's making shit like this.

1502
01:23:31,200 --> 01:23:33,639
Speaker 4: I'll tell you this. So for our book, I wrote

1503
01:23:33,680 --> 01:23:37,120
Speaker 4: this short chapter called a short chapter called I Hate

1504
01:23:37,160 --> 01:23:37,760
Speaker 4: Dayla Soul.

1505
01:23:39,479 --> 01:23:41,679
Speaker 1: Okay, right, And so when.

1506
01:23:41,560 --> 01:23:43,200
Speaker 4: The record was all sat and downe and we're ready

1507
01:23:43,240 --> 01:23:47,280
Speaker 4: to go fucking three feet high and Rising came out, did.

1508
01:23:47,160 --> 01:23:48,720
Speaker 1: You know that was coming down the pike at all?

1509
01:23:49,160 --> 01:23:51,200
Speaker 4: No, I don't know. I mean I knew who they were.

1510
01:23:51,360 --> 01:23:53,840
Speaker 4: I listened to their twelve inch a lot, right, or

1511
01:23:53,880 --> 01:23:56,200
Speaker 4: the two ones they had out, and I was I

1512
01:23:56,320 --> 01:23:59,040
Speaker 4: was like, this is way better. So I was, you know,

1513
01:23:59,240 --> 01:24:01,519
Speaker 4: that didn't like, didn't ruin my day. I'm just saying

1514
01:24:01,560 --> 01:24:04,360
Speaker 4: it was a sort of in a way, I thought

1515
01:24:04,400 --> 01:24:06,200
Speaker 4: that we had done this weird thing that no other

1516
01:24:06,280 --> 01:24:10,600
Speaker 4: rappers that did. We made like this huge medley at

1517
01:24:10,640 --> 01:24:13,080
Speaker 4: the end of the second side. That's you know, it's

1518
01:24:13,160 --> 01:24:16,479
Speaker 4: like a beautiful yeah, right, and like, no one's done

1519
01:24:16,520 --> 01:24:17,960
Speaker 4: that on a rap record, and so we did all

1520
01:24:18,000 --> 01:24:21,840
Speaker 4: these things that we thought that were different, and so

1521
01:24:21,960 --> 01:24:25,000
Speaker 4: we thought it was cool. And right when the record

1522
01:24:25,080 --> 01:24:26,920
Speaker 4: came out, I went to Tower Records and they didn't

1523
01:24:26,960 --> 01:24:31,000
Speaker 4: have any okay, And I was like, oh, this is

1524
01:24:31,040 --> 01:24:33,920
Speaker 4: weird because also because the Tower Records was like ten

1525
01:24:34,000 --> 01:24:37,840
Speaker 4: blocks from the record label, right, like did someone just

1526
01:24:37,920 --> 01:24:40,840
Speaker 4: walk over with a box to sell so that nobody

1527
01:24:41,680 --> 01:24:43,400
Speaker 4: it just sort of died early.

1528
01:24:48,840 --> 01:24:53,000
Speaker 1: Were you at all impressed with the lead review from

1529
01:24:53,200 --> 01:24:54,519
Speaker 1: Rolling Stone at the time.

1530
01:24:55,000 --> 01:24:56,280
Speaker 4: I don't read reviews, so I don't know.

1531
01:24:57,479 --> 01:25:00,439
Speaker 1: So you did not read the lead review of Paul's

1532
01:25:00,439 --> 01:25:01,320
Speaker 1: boutique when it came.

1533
01:25:01,240 --> 01:25:07,120
Speaker 4: Out hair Less? Seriously, you know I'm paying rent off

1534
01:25:07,280 --> 01:25:10,840
Speaker 4: this stuff. I get it about my music. I don't care.

1535
01:25:11,320 --> 01:25:13,240
Speaker 4: You're not the person who's buying the records. You get

1536
01:25:13,240 --> 01:25:16,120
Speaker 4: it for free, no offense to anybody.

1537
01:25:16,280 --> 01:25:20,640
Speaker 1: I'm just saying, are you aware that it existed? And

1538
01:25:20,800 --> 01:25:24,679
Speaker 1: are you at least aware that nothing was aware that existed?

1539
01:25:24,680 --> 01:25:26,960
Speaker 4: Because we probably did a photo session for it, and

1540
01:25:27,000 --> 01:25:29,280
Speaker 4: that's the extent of any way.

1541
01:25:29,280 --> 01:25:32,439
Speaker 1: Well, I'm just saying that you know it was really

1542
01:25:32,479 --> 01:25:36,439
Speaker 1: hard for mainstream hip hop to get any sort of

1543
01:25:36,600 --> 01:25:46,320
Speaker 1: like real critical attention, like deserved critical attention. And normally,

1544
01:25:47,200 --> 01:25:49,880
Speaker 1: you know, at least that particular era of Rolling Stone,

1545
01:25:50,520 --> 01:25:53,160
Speaker 1: most guys born in the early forties or whatever, it

1546
01:25:53,280 --> 01:25:56,320
Speaker 1: was hard to impress them. Like they got Nation of Millions,

1547
01:25:59,280 --> 01:26:01,840
Speaker 1: and they were kind I really iffy on anything else

1548
01:26:01,880 --> 01:26:07,040
Speaker 1: that came down the pike. So you know, for Paul's

1549
01:26:07,080 --> 01:26:11,000
Speaker 1: boutique to get a lead review was like a major

1550
01:26:11,720 --> 01:26:16,080
Speaker 1: big deal and like I didn't even look at the stars,

1551
01:26:16,120 --> 01:26:18,360
Speaker 1: Like I held the hand over the review as I

1552
01:26:18,479 --> 01:26:21,760
Speaker 1: was reading, and I was like, yo, this, I've never

1553
01:26:21,840 --> 01:26:24,880
Speaker 1: seen a glowing I mean, besides the Village Voice, which

1554
01:26:25,800 --> 01:26:29,640
Speaker 1: you know, if you're kind of under the mentorship of

1555
01:26:29,800 --> 01:26:33,920
Speaker 1: the leader passing job, Robert Christigal, then you know that's

1556
01:26:33,960 --> 01:26:37,080
Speaker 1: a certain level of writing that's just you know, some

1557
01:26:37,200 --> 01:26:39,960
Speaker 1: of the greatest writers under the Village Voice. But that

1558
01:26:40,160 --> 01:26:44,360
Speaker 1: review was like poetic and for me, like that was

1559
01:26:44,439 --> 01:26:47,760
Speaker 1: the first time in which I felt like, yo, I

1560
01:26:47,880 --> 01:26:50,320
Speaker 1: want to create and you know, the roots didn't exist yet,

1561
01:26:50,840 --> 01:26:53,840
Speaker 1: but it was almost like yo, I could create something

1562
01:26:54,040 --> 01:26:56,840
Speaker 1: and get a glowing review like like this. I mean,

1563
01:26:56,880 --> 01:27:00,680
Speaker 1: I wasn't in the jaded, like fuck critics. And but

1564
01:27:01,360 --> 01:27:04,240
Speaker 1: for me, that was like a big fucking deal for

1565
01:27:04,320 --> 01:27:08,200
Speaker 1: you guys to get a glowing review that's usually reserved

1566
01:27:08,320 --> 01:27:12,519
Speaker 1: for like a certain act, but it wasn't because of

1567
01:27:13,080 --> 01:27:15,760
Speaker 1: the act. Like I think they had knives out ready

1568
01:27:15,840 --> 01:27:21,880
Speaker 1: to crucify you guys, and it was like, holy shit,

1569
01:27:22,000 --> 01:27:25,960
Speaker 1: they're artists and like knives down and it wound up

1570
01:27:26,000 --> 01:27:29,080
Speaker 1: being the opposite of that. So that's amazing that you

1571
01:27:29,400 --> 01:27:30,280
Speaker 1: weren't even aware of that.

1572
01:27:30,960 --> 01:27:33,080
Speaker 4: I'm sure I was aware of it, and probably our managers,

1573
01:27:33,240 --> 01:27:34,719
Speaker 4: you know what I'm saying. I just mean in terms

1574
01:27:34,760 --> 01:27:37,960
Speaker 4: of they were happy, but even us in general, I don't.

1575
01:27:38,160 --> 01:27:40,000
Speaker 4: I've always looked at it like coming from a punt,

1576
01:27:40,400 --> 01:27:46,439
Speaker 4: you know, upbringing right, They're not rolling Stone's not giving

1577
01:27:46,479 --> 01:27:49,000
Speaker 4: a huge review to the Germs or to the Slits

1578
01:27:49,360 --> 01:27:52,080
Speaker 4: or Eddie Bow or any you know, anybody that, like

1579
01:27:52,200 --> 01:27:55,880
Speaker 4: I I'm trying to think of anybody's names that like

1580
01:27:55,920 --> 01:27:59,800
Speaker 4: they're not giving Yeah, Prince Jasbo isn't getting a lead

1581
01:28:00,040 --> 01:28:02,920
Speaker 4: view or whatever. A lead review is like a big

1582
01:28:03,000 --> 01:28:04,599
Speaker 4: review and then there's other reviews.

1583
01:28:05,479 --> 01:28:08,280
Speaker 1: Is that what that means? Meaning like hear you, hear you?

1584
01:28:08,400 --> 01:28:10,519
Speaker 1: This is some life changes the shit right here is which.

1585
01:28:11,320 --> 01:28:15,800
Speaker 4: And because I guess we we gotta. You're saying that

1586
01:28:15,880 --> 01:28:18,760
Speaker 4: we got a good review Nobody Records, So what does

1587
01:28:18,800 --> 01:28:19,120
Speaker 4: it matter.

1588
01:28:20,920 --> 01:28:22,120
Speaker 1: I brought that record, damn it.

1589
01:28:22,479 --> 01:28:22,760
Speaker 4: Thank you?

1590
01:28:23,400 --> 01:28:26,760
Speaker 1: Have you guys at least changed your feelings towards it.

1591
01:28:26,920 --> 01:28:30,400
Speaker 1: I know that oftentimes if something doesn't work, you tend

1592
01:28:30,439 --> 01:28:33,879
Speaker 1: to cast it to the side, like in your canon,

1593
01:28:34,840 --> 01:28:38,280
Speaker 1: if there's one album that has to represent your life's work, like,

1594
01:28:38,400 --> 01:28:40,360
Speaker 1: what is that album that's.

1595
01:28:40,240 --> 01:28:43,479
Speaker 4: The last record we made, Well, it's too it's Hello

1596
01:28:43,600 --> 01:28:46,600
Speaker 4: Nasty and the last record we ever made, so for

1597
01:28:46,720 --> 01:28:49,439
Speaker 4: you hot, So the last record we ever made isn't.

1598
01:28:49,479 --> 01:28:52,400
Speaker 1: Like our best record, but I gotta understand for centimental

1599
01:28:52,439 --> 01:28:55,680
Speaker 1: reasons with y'all, can it well.

1600
01:28:55,760 --> 01:28:58,840
Speaker 4: It's also like full circle because as a band, we

1601
01:28:58,960 --> 01:29:01,080
Speaker 4: played all the music on record, all the samples. It

1602
01:29:01,200 --> 01:29:03,680
Speaker 4: was like sampling and all of the stuff, and we

1603
01:29:03,800 --> 01:29:05,800
Speaker 4: did all of it. We weren't sampling other records, so

1604
01:29:05,840 --> 01:29:08,760
Speaker 4: it was like full circle for a lot of different things.

1605
01:29:09,560 --> 01:29:14,760
Speaker 1: But basically, Paul's not even close to your that's just

1606
01:29:15,560 --> 01:29:19,479
Speaker 1: under the inside the storage unit, like it's not important

1607
01:29:19,479 --> 01:29:20,320
Speaker 1: to you. I think it's great.

1608
01:29:20,600 --> 01:29:23,080
Speaker 4: There's some there's definitely some lyrics on there that I'm like,

1609
01:29:23,400 --> 01:29:25,479
Speaker 4: I would, you know they're fucked up that I would

1610
01:29:25,560 --> 01:29:28,640
Speaker 4: you know, still in a sort of eighties mentality, do

1611
01:29:28,640 --> 01:29:29,200
Speaker 4: you know what I mean?

1612
01:29:29,800 --> 01:29:32,240
Speaker 1: I get it, I get it. Well, just as a

1613
01:29:32,240 --> 01:29:34,040
Speaker 1: piece of work, man, just accept the flowers.

1614
01:29:34,120 --> 01:29:35,280
Speaker 4: Yo. That well, thank you?

1615
01:29:35,520 --> 01:29:37,040
Speaker 1: That almost goddamn like that.

1616
01:29:37,160 --> 01:29:39,240
Speaker 4: You can't go back and change things, but you can

1617
01:29:39,320 --> 01:29:40,719
Speaker 4: go forward and change things.

1618
01:29:41,320 --> 01:29:45,960
Speaker 1: So I fully understand that. How was it introduced to

1619
01:29:46,920 --> 01:29:51,240
Speaker 1: incorporate live musicianship for the Check your Head record? And

1620
01:29:51,760 --> 01:29:56,639
Speaker 1: just how much different than that was besides the actual

1621
01:29:56,720 --> 01:29:59,840
Speaker 1: outcome of Paul's boutique versus Check your Head?

1622
01:30:00,360 --> 01:30:01,040
Speaker 2: What was the goal?

1623
01:30:01,760 --> 01:30:04,639
Speaker 4: And I have fun? You know, it's similar I guess

1624
01:30:04,720 --> 01:30:09,200
Speaker 4: from starting to rap, from you know, playing hardcore, playing

1625
01:30:09,280 --> 01:30:13,680
Speaker 4: punk music to rap music. We were We didn't go

1626
01:30:13,760 --> 01:30:17,000
Speaker 4: on a big tour for that record. We went, we

1627
01:30:17,120 --> 01:30:20,680
Speaker 4: played like we did a tour of maybe six discos.

1628
01:30:20,880 --> 01:30:23,759
Speaker 4: I don't know. It was such a bad idea literal disco.

1629
01:30:24,760 --> 01:30:26,880
Speaker 4: And it was when Business second album came out, and

1630
01:30:27,000 --> 01:30:29,200
Speaker 4: that's all we listened to is Business second album was

1631
01:30:29,240 --> 01:30:29,639
Speaker 4: so good?

1632
01:30:29,880 --> 01:30:32,920
Speaker 1: The Diabolical mart Yeah, it's.

1633
01:30:32,840 --> 01:30:35,519
Speaker 4: So good, and we we did a promotional thing where

1634
01:30:35,560 --> 01:30:38,479
Speaker 4: we took a train from New York to Philly or

1635
01:30:38,520 --> 01:30:41,080
Speaker 4: Philly to d C with Will Smith. It was just like,

1636
01:30:41,160 --> 01:30:45,200
Speaker 4: what are we doing? What are we doing? What's happening?

1637
01:30:45,960 --> 01:30:46,280
Speaker 1: All right?

1638
01:30:46,840 --> 01:30:49,000
Speaker 4: And so we just we had these apartments in LA

1639
01:30:49,120 --> 01:30:53,519
Speaker 4: We were having fun there, making friends, and uh Yauk

1640
01:30:53,840 --> 01:30:57,519
Speaker 4: was just like, oh, I bought a drum kit at

1641
01:30:57,560 --> 01:30:58,719
Speaker 4: a yard sale.

1642
01:30:59,360 --> 01:30:59,680
Speaker 1: Mm hm.

1643
01:31:00,000 --> 01:31:02,760
Speaker 4: So I set up this this shitty drum kit in

1644
01:31:02,840 --> 01:31:06,240
Speaker 4: my bedroom and I had a guitar and an amp,

1645
01:31:06,400 --> 01:31:09,960
Speaker 4: and Yaouk was just like, I'm gonna do you have

1646
01:31:10,040 --> 01:31:12,479
Speaker 4: a wah wah pedal? And I was like, I actually

1647
01:31:12,520 --> 01:31:14,760
Speaker 4: do have a wawa pedal. He's like, all right, I'm

1648
01:31:14,800 --> 01:31:17,639
Speaker 4: gonna come over tomorrow with my bass and Mike's gonna

1649
01:31:17,640 --> 01:31:21,040
Speaker 4: come over and we're just gonna play music. And because

1650
01:31:21,080 --> 01:31:25,000
Speaker 4: Mike plays drums, right, I was like okay. And then

1651
01:31:25,080 --> 01:31:26,759
Speaker 4: that just that's how it started.

1652
01:31:27,600 --> 01:31:31,559
Speaker 1: And then was Yauk always the lighthouse or the sort

1653
01:31:31,600 --> 01:31:34,439
Speaker 1: of anchor that starts whatever ideas next.

1654
01:31:35,439 --> 01:31:38,080
Speaker 4: No, he was the like task master, like he could

1655
01:31:38,240 --> 01:31:41,280
Speaker 4: get it done. Like everybody has like ideas, like oh shit,

1656
01:31:41,320 --> 01:31:43,280
Speaker 4: we should do this, but Yea was like yeah, we'll

1657
01:31:43,320 --> 01:31:46,599
Speaker 4: figure out how to do that in two hours. Yeah.

1658
01:31:47,240 --> 01:31:50,400
Speaker 1: So I went from we should be a band to yeah.

1659
01:31:50,320 --> 01:31:52,599
Speaker 4: No, tomorrow we're a band, you know what I mean.

1660
01:31:52,640 --> 01:31:54,240
Speaker 4: It was like, tomorrow, this is what we're doing. Tomorrow

1661
01:31:54,280 --> 01:31:56,160
Speaker 4: we're not. This isn't just an idea, this is what

1662
01:31:56,240 --> 01:31:59,519
Speaker 4: we're doing. We're gonna go back to a year before.

1663
01:31:59,640 --> 01:32:02,519
Speaker 4: We're all living together at this house off of mulhalland Drive,

1664
01:32:03,080 --> 01:32:05,800
Speaker 4: and Mike drove his car through the front gate, this

1665
01:32:05,920 --> 01:32:09,800
Speaker 4: wooden gate, and so Mario, Mario Caldado had a friend,

1666
01:32:10,240 --> 01:32:13,000
Speaker 4: this guy Mark Nasheeda, who is a carpenter who also

1667
01:32:13,040 --> 01:32:16,120
Speaker 4: played keyboards. He came and he fixed the gate. And

1668
01:32:16,200 --> 01:32:19,200
Speaker 4: then the year when we started playing, Mario was like,

1669
01:32:19,760 --> 01:32:24,320
Speaker 4: you should get my friend Mark to come and play keyboards.

1670
01:32:24,840 --> 01:32:26,800
Speaker 4: And it just literally that's like the next day, and

1671
01:32:26,840 --> 01:32:27,759
Speaker 4: then it just started.

1672
01:32:28,360 --> 01:32:34,519
Speaker 1: So whenever a disaster happens so uncrucial in the development

1673
01:32:34,640 --> 01:32:40,320
Speaker 1: of your sound enters the fold nice. So eventually you

1674
01:32:40,439 --> 01:32:46,879
Speaker 1: guys wind up platinum status, newfound fan base back in Arenas.

1675
01:32:47,760 --> 01:32:50,840
Speaker 1: Can you explain basically how that journey starts. There's just

1676
01:32:51,000 --> 01:32:56,120
Speaker 1: like every day it's just oh, this is happening, Like

1677
01:32:56,920 --> 01:33:00,320
Speaker 1: I don't think you can plan a comeback or I

1678
01:33:00,400 --> 01:33:03,320
Speaker 1: didn't necessarily call it comeback because you guys were consistent

1679
01:33:03,400 --> 01:33:06,040
Speaker 1: part of my listening. So I never once felt like

1680
01:33:07,320 --> 01:33:09,120
Speaker 1: a lack of Beastie boys, even though I know there's

1681
01:33:09,120 --> 01:33:14,200
Speaker 1: a difference between nine million units and five hundred thousand units.

1682
01:33:14,479 --> 01:33:16,439
Speaker 4: But well, I guess we learned the thing of like

1683
01:33:18,120 --> 01:33:21,240
Speaker 4: we severed ties with our manager who was the one

1684
01:33:21,320 --> 01:33:23,080
Speaker 4: during the Paul's Wutique thinger had his play at the

1685
01:33:23,240 --> 01:33:26,920
Speaker 4: discos in the train with Will Smith, right, and we

1686
01:33:27,000 --> 01:33:29,559
Speaker 4: got a new manager who's still our manager, John Silva.

1687
01:33:30,520 --> 01:33:33,439
Speaker 1: John yep Silva is still wrong with y'all. Oh yeah,

1688
01:33:34,520 --> 01:33:35,200
Speaker 1: damn son.

1689
01:33:35,560 --> 01:33:40,240
Speaker 4: We mat him because he was Sonic Youth manager and

1690
01:33:40,520 --> 01:33:44,360
Speaker 4: Vona's manager. And this is before Nevermind came out and

1691
01:33:45,360 --> 01:33:49,040
Speaker 4: we went and had like brunch, like a Hollywood brunch

1692
01:33:49,080 --> 01:33:52,080
Speaker 4: with him, and he was like, I'm not sure that

1693
01:33:52,120 --> 01:33:53,840
Speaker 4: I want to do this anymore. I'm thinking about moving

1694
01:33:53,880 --> 01:33:57,679
Speaker 4: to San Francisco and working with my brother. We're like, okay,

1695
01:33:57,880 --> 01:34:00,479
Speaker 4: that seems very on Hollywood, and so that's what we

1696
01:34:00,600 --> 01:34:02,280
Speaker 4: liked about him, and then we ended up pursuing him,

1697
01:34:02,320 --> 01:34:06,479
Speaker 4: and then he became our manager and he approached it

1698
01:34:06,680 --> 01:34:09,000
Speaker 4: more like something that we understood in terms of his

1699
01:34:09,120 --> 01:34:12,600
Speaker 4: background as a punk rock background, and he was just like,

1700
01:34:12,680 --> 01:34:16,600
Speaker 4: you gotta play shows, just play shows. And so we

1701
01:34:16,680 --> 01:34:19,080
Speaker 4: got back into that and the thing of like actually

1702
01:34:19,200 --> 01:34:22,080
Speaker 4: enjoying being on tour as opposed to license to ill,

1703
01:34:22,120 --> 01:34:25,240
Speaker 4: where it sucked after a while, it sucked pretty quick,

1704
01:34:26,040 --> 01:34:29,720
Speaker 4: and then on tour, you know, in ninety two was

1705
01:34:29,840 --> 01:34:32,680
Speaker 4: really fun and different. It was different. It was a

1706
01:34:32,720 --> 01:34:33,559
Speaker 4: whole different scene.

1707
01:34:34,320 --> 01:34:34,479
Speaker 2: You know.

1708
01:34:34,640 --> 01:34:36,880
Speaker 4: We were playing clubs, punk clubs and wherever.

1709
01:34:37,040 --> 01:34:37,280
Speaker 2: It was.

1710
01:34:37,439 --> 01:34:41,360
Speaker 4: Just it made sense, got it got it was going

1711
01:34:41,400 --> 01:34:43,080
Speaker 4: to get bigger and bigger, but it did.

1712
01:34:43,680 --> 01:34:45,479
Speaker 1: So second time around it felt better for you.

1713
01:34:46,240 --> 01:34:46,839
Speaker 4: Oh definitely.

1714
01:34:47,320 --> 01:34:50,880
Speaker 1: This is December when we're talking, and my birthdays in January.

1715
01:34:50,920 --> 01:34:53,080
Speaker 1: You know what a really cool gift would be. What

1716
01:34:54,200 --> 01:34:57,559
Speaker 1: are you able to locate every last issue of Grand

1717
01:34:57,640 --> 01:34:58,439
Speaker 1: Royal magazine?

1718
01:34:59,120 --> 01:35:00,439
Speaker 4: You're gonna have to talk to him about that.

1719
01:35:00,640 --> 01:35:03,280
Speaker 1: I hate you right now, Come on, dog your history.

1720
01:35:03,479 --> 01:35:04,200
Speaker 4: It wasn't my thing.

1721
01:35:05,200 --> 01:35:07,080
Speaker 1: You have articles in Grand Royal.

1722
01:35:07,160 --> 01:35:09,560
Speaker 4: Well, I was involved in like the first, first or

1723
01:35:09,640 --> 01:35:16,960
Speaker 4: second one, but then I lost interest. Man. I don't

1724
01:35:16,960 --> 01:35:18,519
Speaker 4: have any Latin quarter stories either. Man.

1725
01:35:19,200 --> 01:35:20,800
Speaker 2: I know I was gonna ask you, there's no Latin

1726
01:35:20,840 --> 01:35:21,400
Speaker 2: Quarter stories.

1727
01:35:22,400 --> 01:35:24,759
Speaker 1: Look, man, oh, I got plenty of everyonce.

1728
01:35:25,439 --> 01:35:27,360
Speaker 2: Everybody we talked to is like the Beastie Boys were

1729
01:35:27,400 --> 01:35:29,080
Speaker 2: at the fucking Latin Quarter.

1730
01:35:29,200 --> 01:35:32,040
Speaker 4: But apparently the stories in the Roxy though, but not

1731
01:35:32,240 --> 01:35:32,920
Speaker 4: Latin Quarters.

1732
01:35:33,479 --> 01:35:37,840
Speaker 1: The fuck all right, Look, man, no one enjoys the

1733
01:35:38,080 --> 01:35:45,439
Speaker 1: slow pin to a balloon deflation of any fantasies I

1734
01:35:45,560 --> 01:35:48,680
Speaker 1: have about what life was like back in the day

1735
01:35:48,920 --> 01:35:50,000
Speaker 1: than this guy right here.

1736
01:35:51,439 --> 01:35:55,439
Speaker 4: Green Roy was great though, because our studio we had

1737
01:35:55,520 --> 01:35:58,439
Speaker 4: in La, because we we also on pullsic. We spent

1738
01:35:58,520 --> 01:36:01,519
Speaker 4: all our money. We thought it was like we were

1739
01:36:01,640 --> 01:36:04,120
Speaker 4: rock stars and we would record these really expensive we

1740
01:36:04,479 --> 01:36:08,439
Speaker 4: record at these really expensive studios, and we were used

1741
01:36:08,439 --> 01:36:12,400
Speaker 4: to recording at Chunk King, which was nothing. When we

1742
01:36:12,560 --> 01:36:15,880
Speaker 4: recorded there, right literally, there was like a it was

1743
01:36:15,960 --> 01:36:18,559
Speaker 4: there were no lights on, there was a fish tank

1744
01:36:18,640 --> 01:36:21,719
Speaker 4: with dead fish in it. It was like it wasn't nice.

1745
01:36:21,840 --> 01:36:25,920
Speaker 4: There was no leather couches, right, And so we wanted

1746
01:36:26,000 --> 01:36:28,640
Speaker 4: to find a spot that we could record at and

1747
01:36:28,760 --> 01:36:31,200
Speaker 4: not have to pay an hourly fee or a lockout

1748
01:36:31,280 --> 01:36:34,679
Speaker 4: or anything. So Mike and Mario found a place out

1749
01:36:34,760 --> 01:36:38,040
Speaker 4: in at Water outside of La in La but outside

1750
01:36:38,040 --> 01:36:41,439
Speaker 4: of LA that was like this little mini ballroom and

1751
01:36:41,960 --> 01:36:44,920
Speaker 4: we just took over the whole thing and one room

1752
01:36:45,120 --> 01:36:48,320
Speaker 4: was Grand Royal Records, one room was the magazine or

1753
01:36:48,320 --> 01:36:50,640
Speaker 4: all these little closets that like people were working in

1754
01:36:50,880 --> 01:36:53,759
Speaker 4: and it was a good scene. A lot of creatives

1755
01:36:54,000 --> 01:36:54,559
Speaker 4: happened to them.

1756
01:36:55,200 --> 01:36:58,799
Speaker 1: Wait, I have signed questions to ask about certain songs

1757
01:36:59,360 --> 01:37:02,400
Speaker 1: get it together. Were you guys just in a circle

1758
01:37:02,600 --> 01:37:06,400
Speaker 1: just freestyling every four bars or like? Was that was

1759
01:37:06,439 --> 01:37:09,120
Speaker 1: that a written song? Because at some point it just

1760
01:37:09,160 --> 01:37:10,320
Speaker 1: sounds like y'all freestyling.

1761
01:37:11,280 --> 01:37:15,800
Speaker 4: Yes. So Mike and Mario made that track and Q

1762
01:37:16,000 --> 01:37:18,160
Speaker 4: Tip was visiting the studio and he was hanging out.

1763
01:37:18,200 --> 01:37:20,439
Speaker 4: We're like, do you want to get you know, do

1764
01:37:20,520 --> 01:37:23,200
Speaker 4: you want to do a song with us? And he

1765
01:37:23,320 --> 01:37:25,000
Speaker 4: was like yeah, and he was like, give me a mic.

1766
01:37:25,120 --> 01:37:26,240
Speaker 4: I think it was I don't know if he was

1767
01:37:26,280 --> 01:37:27,920
Speaker 4: serious and I was something of that, and we're like, oh,

1768
01:37:27,960 --> 01:37:29,240
Speaker 4: we on a track, you know, blah blah blah. So

1769
01:37:29,320 --> 01:37:32,320
Speaker 4: he just freestyled for like a bunch and so we

1770
01:37:32,720 --> 01:37:36,320
Speaker 4: somehow edited just the parts that of his and we

1771
01:37:36,439 --> 01:37:40,080
Speaker 4: weaved our way in through him. So somewhere there's a

1772
01:37:40,120 --> 01:37:41,920
Speaker 4: bunch of stuff that he said that we didn't use.

1773
01:37:42,080 --> 01:37:47,040
Speaker 1: Oh just random stuff and then yeah, ah so smart, Okay,

1774
01:37:47,360 --> 01:37:50,599
Speaker 1: that makes sense now. And the biz at that time

1775
01:37:50,800 --> 01:37:52,880
Speaker 1: was give me a good bit story man.

1776
01:37:53,320 --> 01:37:56,720
Speaker 4: First time it he came this the studio, he came in,

1777
01:37:56,840 --> 01:37:58,880
Speaker 4: it was nighttime. The area where our studio was at

1778
01:37:58,960 --> 01:38:02,280
Speaker 4: was nothing. It was like there were there were houses

1779
01:38:02,360 --> 01:38:03,960
Speaker 4: in this one area, but the rest was this big

1780
01:38:04,040 --> 01:38:08,800
Speaker 4: street and everything was closed. It was deserted except for

1781
01:38:08,880 --> 01:38:12,120
Speaker 4: a liquor store like kind of over there. And his

1782
01:38:12,240 --> 01:38:15,640
Speaker 4: first thing he said, was there a candy store. We're like,

1783
01:38:15,680 --> 01:38:18,120
Speaker 4: what's that? And he's like a candy store? Is there

1784
01:38:18,120 --> 01:38:20,960
Speaker 4: a candy store? And we're like, is this guy on

1785
01:38:21,280 --> 01:38:21,960
Speaker 4: fucking Heroin?

1786
01:38:22,080 --> 01:38:22,479
Speaker 1: Like why is he?

1787
01:38:22,840 --> 01:38:26,280
Speaker 4: Like why does he need an indy? It's like eleven

1788
01:38:26,360 --> 01:38:28,840
Speaker 4: at night or whatever it was. And so we went

1789
01:38:28,840 --> 01:38:30,400
Speaker 4: to the liquor store and he bought like a bag

1790
01:38:30,560 --> 01:38:34,519
Speaker 4: of fucking candy and then just was like every time

1791
01:38:34,600 --> 01:38:38,479
Speaker 4: we hung out with him was amazing, every every time,

1792
01:38:38,960 --> 01:38:41,479
Speaker 4: And all he wanted to do was sing weird songs

1793
01:38:41,560 --> 01:38:44,880
Speaker 4: from the seventies, and we'd have our instruments and he'd

1794
01:38:44,920 --> 01:38:47,559
Speaker 4: be like, do you know how to play Yesterday by

1795
01:38:47,560 --> 01:38:50,560
Speaker 4: the Beatles. He's like, you know Yesterday and we're like what,

1796
01:38:51,000 --> 01:38:52,920
Speaker 4: and he's like Yesterday by the Beatles. We're like, yeah,

1797
01:38:52,920 --> 01:38:54,439
Speaker 4: we know that song, and he's like, do you know

1798
01:38:54,439 --> 01:38:56,400
Speaker 4: how to play it? I'm like, I don't know how

1799
01:38:56,400 --> 01:39:00,560
Speaker 4: to just play Yesterday or top of my head and

1800
01:39:00,640 --> 01:39:04,479
Speaker 4: he would just start singing it. It just We've got

1801
01:39:04,600 --> 01:39:07,559
Speaker 4: a lot of tape of Biz just being.

1802
01:39:07,439 --> 01:39:12,120
Speaker 1: Biz bugging out. Yeah yeah. Biz is probably the second

1803
01:39:12,160 --> 01:39:20,639
Speaker 1: person to whom my pop culture boarding addiction. He started

1804
01:39:20,680 --> 01:39:21,200
Speaker 1: that shit like.

1805
01:39:21,680 --> 01:39:23,640
Speaker 4: Yeah, an old friend of mine. God, I'm a rock

1806
01:39:23,680 --> 01:39:26,280
Speaker 4: and socking robots, like still in a box and he's

1807
01:39:26,320 --> 01:39:33,599
Speaker 4: still mad that Biz never paid him for it. Biz

1808
01:39:33,640 --> 01:39:38,720
Speaker 4: also stole my Funkadelic Rennium my album really well. He

1809
01:39:38,880 --> 01:39:39,599
Speaker 4: never gave it back.

1810
01:39:39,760 --> 01:39:40,519
Speaker 1: Never gave it back.

1811
01:39:40,720 --> 01:39:43,360
Speaker 4: Okay, didn't steal it, he just kept it.

1812
01:39:44,040 --> 01:39:47,080
Speaker 1: This is something I gotta know the long term, and

1813
01:39:47,280 --> 01:39:49,759
Speaker 1: I won't give it away again. I insist that you guys,

1814
01:39:49,880 --> 01:39:53,160
Speaker 1: like it's hard doing this interview because the questions I

1815
01:39:53,200 --> 01:39:55,519
Speaker 1: want to ask I think are better told in the

1816
01:39:55,600 --> 01:40:02,519
Speaker 1: Beastie Boys book. But the long, long term prank that

1817
01:40:03,439 --> 01:40:07,560
Speaker 1: Yaouk played on you, oh yeah, with the ring do

1818
01:40:07,680 --> 01:40:11,640
Speaker 1: you still have that ring. No, no, no Ah, you

1819
01:40:11,680 --> 01:40:12,360
Speaker 1: don't have that ring.

1820
01:40:13,479 --> 01:40:15,839
Speaker 4: I mean it might be in a storage locker of yox.

1821
01:40:15,960 --> 01:40:19,040
Speaker 4: I threw it in a fountain in a hot outside

1822
01:40:19,040 --> 01:40:23,000
Speaker 4: of a hotel in South Paolo or somewhere in South America.

1823
01:40:26,560 --> 01:40:31,000
Speaker 1: All right, short version, guys is basically some random stranger

1824
01:40:31,120 --> 01:40:34,679
Speaker 1: gives Adam a ring, and I guess.

1825
01:40:35,120 --> 01:40:37,840
Speaker 4: It's the early nineties, where in San Francisco doing a

1826
01:40:37,920 --> 01:40:41,240
Speaker 4: record signing for Check your Head right out at a

1827
01:40:41,479 --> 01:40:44,439
Speaker 4: tower records, and so there's you know, kids are lined up,

1828
01:40:44,479 --> 01:40:46,680
Speaker 4: we signed the records. Say hi, you know, nice to

1829
01:40:46,720 --> 01:40:49,000
Speaker 4: meet you, nice to meet you know, everybody's interesting. It's

1830
01:40:49,040 --> 01:40:50,960
Speaker 4: fun to say hi. And then this one kid comes

1831
01:40:51,040 --> 01:40:56,680
Speaker 4: up very very very long arms, like oddly aren't long arms? Right,

1832
01:40:58,040 --> 01:41:00,280
Speaker 4: There's something about him that's weird. Maybe the it's like

1833
01:41:00,560 --> 01:41:04,680
Speaker 4: a like extra amount of piercings or something. And he's like,

1834
01:41:04,840 --> 01:41:06,880
Speaker 4: can I give you my ring? No? No, no no.

1835
01:41:07,280 --> 01:41:10,000
Speaker 4: So I meet this kid that night after the show

1836
01:41:10,400 --> 01:41:13,240
Speaker 4: in San Francisco. That guy who I was like, whoa,

1837
01:41:13,360 --> 01:41:18,640
Speaker 4: that guy was weird is backstage talking to him. He's like,

1838
01:41:19,080 --> 01:41:21,920
Speaker 4: can I give you my ring? I'm like no, it's cool.

1839
01:41:21,960 --> 01:41:23,479
Speaker 4: I don't wear jewelry. And he's like, no, it's really

1840
01:41:23,479 --> 01:41:25,880
Speaker 4: important to me. And he was like cornering me and

1841
01:41:25,920 --> 01:41:28,080
Speaker 4: it was getting weird. Gives me this weird ring that

1842
01:41:28,240 --> 01:41:30,599
Speaker 4: was like like a hot topp of ring. It wasn't

1843
01:41:30,720 --> 01:41:34,439
Speaker 4: like a family crester. This is like some random thing, right,

1844
01:41:35,560 --> 01:41:37,000
Speaker 4: And so I took it and I put it in

1845
01:41:37,040 --> 01:41:38,800
Speaker 4: my bag. And then when I got home New York,

1846
01:41:38,920 --> 01:41:41,560
Speaker 4: like weeks later, I put it on my shelf in

1847
01:41:41,640 --> 01:41:46,240
Speaker 4: my apartment. And then we were on the train going

1848
01:41:46,280 --> 01:41:48,960
Speaker 4: to play show in Philly and I found the ring

1849
01:41:49,040 --> 01:41:51,960
Speaker 4: in my bag. So I was really scared. Didn't know

1850
01:41:51,960 --> 01:41:53,400
Speaker 4: what happened. I don't know how the ring got in

1851
01:41:53,640 --> 01:41:55,280
Speaker 4: from the thing to the thing. It's just some fucking

1852
01:41:55,320 --> 01:41:57,879
Speaker 4: weird thing about this fucking ring. Throw on an Amtrak

1853
01:41:57,920 --> 01:42:01,320
Speaker 4: and I tell everybody, like, this thing, this ring that

1854
01:42:01,400 --> 01:42:04,559
Speaker 4: I'm holding is is doing something weird to my life.

1855
01:42:05,000 --> 01:42:06,760
Speaker 4: I throw it down the end of the train. Then

1856
01:42:06,800 --> 01:42:09,639
Speaker 4: I go to the bar the you know, the food

1857
01:42:09,800 --> 01:42:13,400
Speaker 4: cart truck area, and I get a metro Liner sandwich

1858
01:42:13,920 --> 01:42:17,719
Speaker 4: and I come back blah blah blah blah blah. Fourteen

1859
01:42:17,840 --> 01:42:22,280
Speaker 4: years later, twelve years later, we're in South America, and

1860
01:42:22,400 --> 01:42:24,800
Speaker 4: I opened my backpack and the fucking ring is in

1861
01:42:24,960 --> 01:42:30,360
Speaker 4: my backpack. Yes, And I'm telling you, I was shaking,

1862
01:42:30,600 --> 01:42:35,120
Speaker 4: almost crying. I don't know. And I told everybody like

1863
01:42:35,200 --> 01:42:38,280
Speaker 4: the shit telling me about the ring. And the next

1864
01:42:38,360 --> 01:42:40,880
Speaker 4: day adam ucause like, look I put I held onto

1865
01:42:40,920 --> 01:42:41,800
Speaker 4: the ring this whole time.

1866
01:42:41,880 --> 01:42:43,600
Speaker 1: I went, Ah, I wish he would have told you

1867
01:42:43,720 --> 01:42:46,000
Speaker 1: that to a long gig shit.

1868
01:42:47,520 --> 01:42:49,360
Speaker 4: He went to the end of the train and got

1869
01:42:49,400 --> 01:42:53,080
Speaker 4: the ring and held onto it for years. And so

1870
01:42:53,320 --> 01:42:57,120
Speaker 4: that is the luck of my life. Is one of

1871
01:42:57,240 --> 01:42:59,080
Speaker 4: the two lucks of my life. Well you know, I

1872
01:42:59,120 --> 01:43:01,880
Speaker 4: guess we all have several, but one of the main

1873
01:43:01,960 --> 01:43:03,639
Speaker 4: lucks of my life so to have my best friends

1874
01:43:03,680 --> 01:43:06,960
Speaker 4: in my band so I got to do all of

1875
01:43:07,040 --> 01:43:10,679
Speaker 4: this stuff with out of the mike. How what would

1876
01:43:10,720 --> 01:43:14,240
Speaker 4: have happened if it wasn't for them? You know, literally

1877
01:43:14,320 --> 01:43:16,519
Speaker 4: my bandmate played a preak on me for twelve years.

1878
01:43:17,880 --> 01:43:19,120
Speaker 1: I love that story so much.

1879
01:43:19,200 --> 01:43:21,840
Speaker 4: Man, the best year. And I did want to say something.

1880
01:43:21,920 --> 01:43:26,200
Speaker 4: My best best friend since kindergarten, not into Johnny. You

1881
01:43:26,600 --> 01:43:28,360
Speaker 4: DJ her party every year, and I want to say

1882
01:43:28,400 --> 01:43:30,200
Speaker 4: thank you. If I haven't thanked you, say thank you.

1883
01:43:30,280 --> 01:43:31,120
Speaker 4: It means a lot to her.

1884
01:43:31,920 --> 01:43:35,000
Speaker 1: Not he's my heart man. That's wait. So that party's

1885
01:43:35,000 --> 01:43:37,920
Speaker 1: been going on since like eighty four, for a long time,

1886
01:43:39,439 --> 01:43:44,679
Speaker 1: long time. All right, so quick backstories. Basically, I found

1887
01:43:44,720 --> 01:43:49,640
Speaker 1: out through this party that the night before Thanksgiving is

1888
01:43:49,840 --> 01:43:53,320
Speaker 1: the biggest bar night in America. I thought it was

1889
01:43:53,360 --> 01:43:56,160
Speaker 1: New Year's Eve. It's not. That's the second biggest bar night,

1890
01:43:56,960 --> 01:44:01,120
Speaker 1: but the night before Thanksgiving is the biggest bar night

1891
01:44:01,120 --> 01:44:05,479
Speaker 1: in America. And when I moved to New York, I

1892
01:44:05,479 --> 01:44:07,400
Speaker 1: don't know invited me. I think at the time is

1893
01:44:07,479 --> 01:44:10,680
Speaker 1: like Rassida Jones. Somebody invited me to this party and

1894
01:44:11,439 --> 01:44:13,200
Speaker 1: it was a private party in a bar and it

1895
01:44:13,280 --> 01:44:17,200
Speaker 1: was just actors, and you know, it felt like a

1896
01:44:17,280 --> 01:44:19,160
Speaker 1: hole in the wall thing, but it just happened to

1897
01:44:19,240 --> 01:44:22,360
Speaker 1: be like, oh, the cast of The Good Wife and

1898
01:44:22,560 --> 01:44:26,920
Speaker 1: the cast of Long Orders for you people from Saturday

1899
01:44:26,960 --> 01:44:29,200
Speaker 1: Night Live. And you know, like if you were a

1900
01:44:29,320 --> 01:44:33,080
Speaker 1: New York actor, a New York kind of legend, then

1901
01:44:33,400 --> 01:44:35,800
Speaker 1: you're at this party. And I think at the time

1902
01:44:36,880 --> 01:44:40,679
Speaker 1: Mark Ronson had started dejaying it. So you started first,

1903
01:44:41,360 --> 01:44:46,919
Speaker 1: and then Ronston was next, and then I started spending

1904
01:44:47,920 --> 01:44:51,160
Speaker 1: I think like twenty ten and what's really weird is that.

1905
01:44:52,439 --> 01:44:55,800
Speaker 1: I mean, we used to go hard, like I would

1906
01:44:55,960 --> 01:44:58,600
Speaker 1: end and it's like six seven in the morning, like

1907
01:44:58,840 --> 01:45:05,800
Speaker 1: that hard. And man, Thanksgiving was last week and I

1908
01:45:05,880 --> 01:45:08,920
Speaker 1: did the party and I'm going all in, and you know,

1909
01:45:09,080 --> 01:45:12,519
Speaker 1: it's just like you got topped last year and everyone's dancing,

1910
01:45:13,040 --> 01:45:15,840
Speaker 1: and I'm thinking, like, yeah, man, I'm all right. I

1911
01:45:15,960 --> 01:45:19,040
Speaker 1: made my mark. And I look at my I look

1912
01:45:19,040 --> 01:45:21,800
Speaker 1: at the clock and I'm like, it's got to be

1913
01:45:22,120 --> 01:45:25,439
Speaker 1: two thirty in the morning. And I look and it's

1914
01:45:25,560 --> 01:45:26,760
Speaker 1: like eleven nine.

1915
01:45:27,920 --> 01:45:28,519
Speaker 4: Perfect time.

1916
01:45:28,960 --> 01:45:34,960
Speaker 1: I blew my I blew my shot, and party wound

1917
01:45:35,080 --> 01:45:38,600
Speaker 1: up ending at like one fifteen, which I consider a

1918
01:45:38,760 --> 01:45:41,639
Speaker 1: major defeat, being as though we used to go till

1919
01:45:41,800 --> 01:45:45,519
Speaker 1: six in the morning. But now that's where we are

1920
01:45:45,560 --> 01:45:48,519
Speaker 1: in life. Napping early. You're not even a parent.

1921
01:45:48,760 --> 01:45:49,720
Speaker 2: It's a whole other shit show.

1922
01:45:49,800 --> 01:45:49,880
Speaker 4: Man.

1923
01:45:49,920 --> 01:45:51,080
Speaker 2: You don't even have to be up at six in

1924
01:45:51,080 --> 01:45:51,479
Speaker 2: the morning.

1925
01:45:52,080 --> 01:45:53,799
Speaker 1: I do, dude. I had to do the parade.

1926
01:45:54,320 --> 01:45:59,920
Speaker 2: That's well, that's once one day. What you're gonna ask

1927
01:46:00,160 --> 01:46:01,600
Speaker 2: I was gonna ask, Adam, you have a kid, what

1928
01:46:01,720 --> 01:46:04,880
Speaker 2: is parenthood like when you're the you know, when you're

1929
01:46:04,920 --> 01:46:07,479
Speaker 2: in a beastie boy, But what is that relationship like

1930
01:46:07,520 --> 01:46:08,639
Speaker 2: with your kid and I don't you relate.

1931
01:46:09,080 --> 01:46:12,120
Speaker 4: Well, it's different because he never saw his play, right

1932
01:46:13,080 --> 01:46:16,519
Speaker 4: because he's eleven, it's been a while. He doesn't care,

1933
01:46:17,000 --> 01:46:20,320
Speaker 4: you know, natural could really doesn't care. He likes kathleic

1934
01:46:20,400 --> 01:46:23,960
Speaker 4: he likes my wife's music way better. He's seen her play.

1935
01:46:24,560 --> 01:46:29,160
Speaker 4: I get it. It's okay. I'm not hurt. I'm not hurt.

1936
01:46:29,200 --> 01:46:29,920
Speaker 4: I'm just angry.

1937
01:46:30,600 --> 01:46:34,639
Speaker 1: Yeah, but does he at least understand that you have history? Yeah?

1938
01:46:34,720 --> 01:46:37,360
Speaker 4: Yeah, because the weird dad's at school, you.

1939
01:46:37,400 --> 01:46:39,840
Speaker 1: Know, or like at the let your dad's Okay, I

1940
01:46:39,920 --> 01:46:40,360
Speaker 1: get it now.

1941
01:46:40,800 --> 01:46:43,400
Speaker 4: Yeah, So that's it's awkward and he doesn't like it.

1942
01:46:44,120 --> 01:46:46,760
Speaker 4: He doesn't like it, but whatever, maybe when he gets

1943
01:46:46,800 --> 01:46:50,519
Speaker 4: to high school or when he understands it, like, you know,

1944
01:46:51,479 --> 01:46:54,519
Speaker 4: because he doesn't like that his parents are famous. And

1945
01:46:55,439 --> 01:46:57,240
Speaker 4: when he gets a little older and understands it like

1946
01:46:57,280 --> 01:46:59,479
Speaker 4: he has a swimming pool, like maybe being it's not.

1947
01:46:59,560 --> 01:47:11,080
Speaker 1: That bad, then they get it. Leading to Kathleen. First

1948
01:47:11,120 --> 01:47:13,640
Speaker 1: of all, I loved their book immensely, and especially with

1949
01:47:14,360 --> 01:47:17,800
Speaker 1: the story of how you two met and the pull

1950
01:47:17,880 --> 01:47:20,840
Speaker 1: out poster and all those things. But yeah, I was

1951
01:47:20,880 --> 01:47:25,000
Speaker 1: about to say, coming from two people that are sort

1952
01:47:25,000 --> 01:47:30,360
Speaker 1: of call figures in their respective areas like that, how

1953
01:47:30,439 --> 01:47:33,960
Speaker 1: do you make it work? I know that's a general question,

1954
01:47:34,080 --> 01:47:37,519
Speaker 1: but I think I'm more or less asking for advice because,

1955
01:47:44,000 --> 01:47:46,880
Speaker 1: you know, as a person with a career and a

1956
01:47:46,960 --> 01:47:49,240
Speaker 1: personal struggling to keep a girlfriend.

1957
01:47:49,760 --> 01:47:53,840
Speaker 4: Like I mean, I don't know, I don't know. I

1958
01:47:53,960 --> 01:47:57,040
Speaker 4: think things worked out differently because you know, we have this,

1959
01:47:57,320 --> 01:48:01,360
Speaker 4: We have our son, Julius. You know, my my band

1960
01:48:01,439 --> 01:48:04,160
Speaker 4: stopped being a band, you know, right before he was born.

1961
01:48:05,000 --> 01:48:08,040
Speaker 4: And so I just I love I don't need to,

1962
01:48:08,080 --> 01:48:10,280
Speaker 4: you know, And Cathleen tours a lot, so we're used

1963
01:48:10,320 --> 01:48:12,360
Speaker 4: to that because we used to tour. First whole part

1964
01:48:12,400 --> 01:48:15,080
Speaker 4: of our you know, relationship with us touring. You know,

1965
01:48:15,240 --> 01:48:17,800
Speaker 4: she'd be on here, I'd be there all over the

1966
01:48:17,960 --> 01:48:20,840
Speaker 4: you know whatever. But I really like being home.

1967
01:48:22,200 --> 01:48:25,439
Speaker 1: So are you still in the tender moments when Bridget

1968
01:48:25,520 --> 01:48:26,280
Speaker 1: goes out in the road.

1969
01:48:27,000 --> 01:48:29,600
Speaker 4: Oh, I left the tender moments. Bridget evert in the

1970
01:48:29,640 --> 01:48:34,080
Speaker 4: tender moments. I left when we moved left, I left.

1971
01:48:34,120 --> 01:48:36,320
Speaker 4: I was a bass player for my friend Bridget's band,

1972
01:48:37,360 --> 01:48:40,200
Speaker 4: and and the first gig of the new bass player,

1973
01:48:40,280 --> 01:48:42,679
Speaker 4: my friend Andre was like, oh man, that new bass player.

1974
01:48:43,880 --> 01:48:47,080
Speaker 4: He's doing all these walks and runs and he's so good.

1975
01:48:47,560 --> 01:48:56,599
Speaker 1: I just finished the SNL fifty documentary, and a big

1976
01:48:56,680 --> 01:49:00,280
Speaker 1: part of that is the Elvis Past Boys hookups. Wait,

1977
01:49:00,479 --> 01:49:02,679
Speaker 1: what's the infatus of the idea of you guys doing

1978
01:49:03,439 --> 01:49:04,439
Speaker 1: radio radio together?

1979
01:49:05,439 --> 01:49:08,559
Speaker 4: You know, I don't know. I feel like Kathleen said

1980
01:49:08,560 --> 01:49:12,040
Speaker 4: that it was her idea, so I want to say

1981
01:49:12,080 --> 01:49:13,759
Speaker 4: that it was my idea, but I'm not one hundred

1982
01:49:13,760 --> 01:49:15,120
Speaker 4: percent sure I know that.

1983
01:49:15,400 --> 01:49:17,320
Speaker 1: How long did it take you to learn those keyboard parts?

1984
01:49:17,960 --> 01:49:20,000
Speaker 4: My friend Michael Rohattan taught me how to play is

1985
01:49:20,040 --> 01:49:23,000
Speaker 4: my far fisa. I played keyboards and everything, but I

1986
01:49:23,040 --> 01:49:25,360
Speaker 4: don't actually know how. I never I never learned, so

1987
01:49:25,640 --> 01:49:27,880
Speaker 4: I don't really know what I'm doing. So he showed

1988
01:49:27,880 --> 01:49:28,679
Speaker 4: me a couple of chords.

1989
01:49:29,400 --> 01:49:31,040
Speaker 1: I was really impressed when you ran back there. I

1990
01:49:31,080 --> 01:49:33,960
Speaker 1: was just like, yo, I don't really knows this shit.

1991
01:49:34,360 --> 01:49:37,439
Speaker 4: I recorded records with that far fisa back in bec Boys.

1992
01:49:37,439 --> 01:49:40,760
Speaker 4: But anyway, I grew up listening to Elvis Costello. It

1993
01:49:40,880 --> 01:49:43,200
Speaker 4: was like one of my He's in my top ten,

1994
01:49:43,280 --> 01:49:46,920
Speaker 4: if not top five, okay, as his with my my

1995
01:49:47,160 --> 01:49:51,200
Speaker 4: older brother and sister, and so you know, Elvis is

1996
01:49:51,200 --> 01:49:53,240
Speaker 4: a big deal and that performance that he did was

1997
01:49:53,280 --> 01:49:55,840
Speaker 4: a big deal to us. Sound Live was a big

1998
01:49:55,920 --> 01:49:59,920
Speaker 4: deal to us. And so I don't know. I feel

1999
01:50:00,280 --> 01:50:03,240
Speaker 4: Kathleen is claiming that it was her idea, but it

2000
01:50:03,240 --> 01:50:05,280
Speaker 4: could have been my sister Rachel. I don't I don't remember,

2001
01:50:05,960 --> 01:50:08,920
Speaker 4: but got it fantastic. It was one of those things

2002
01:50:08,920 --> 01:50:12,080
Speaker 4: where like I didn't want to meet Elvis because you know,

2003
01:50:12,360 --> 01:50:14,840
Speaker 4: you don't want to meet people that are here of

2004
01:50:15,000 --> 01:50:19,439
Speaker 4: that statue to you, and uh, but we did.

2005
01:50:19,479 --> 01:50:22,439
Speaker 1: It was really Elvis lives up to it. So Steve

2006
01:50:23,600 --> 01:50:26,599
Speaker 1: one of his lifelong dreams was to produce an Elvis record.

2007
01:50:26,720 --> 01:50:29,640
Speaker 4: And so I really you're saying, Steve naive, okay, Steve.

2008
01:50:30,000 --> 01:50:35,839
Speaker 1: No, No, Steve. Steve has been a long time Electric

2009
01:50:35,960 --> 01:50:40,559
Speaker 1: Lady engineer. So back when I was starting my tenure there,

2010
01:50:40,800 --> 01:50:43,320
Speaker 1: like in the late nineties with you know, the D'Angelo

2011
01:50:43,760 --> 01:50:46,439
Speaker 1: record and the Common all the albums I worked on

2012
01:50:46,680 --> 01:50:47,839
Speaker 1: for that period of time.

2013
01:50:49,360 --> 01:50:50,679
Speaker 4: Was recorded an Electric Lady Land.

2014
01:50:51,280 --> 01:50:55,479
Speaker 1: Yeah, d'angelo's Voodoo comments like Water for Chocolate and Electric Circus.

2015
01:50:55,640 --> 01:50:59,360
Speaker 4: And it was at a real low point in the

2016
01:50:59,560 --> 01:51:03,360
Speaker 4: in the eighties when we were there, Nah, man.

2017
01:51:03,320 --> 01:51:06,479
Speaker 1: I mean anything that's going through has been legendary and so.

2018
01:51:07,720 --> 01:51:10,040
Speaker 1: But Steve's dream was to produce an Elvis record, and

2019
01:51:10,240 --> 01:51:13,680
Speaker 1: you know, not only that, but you really started in

2020
01:51:13,680 --> 01:51:15,240
Speaker 1: authentic friendship with him.

2021
01:51:15,400 --> 01:51:18,920
Speaker 3: So yeah, that's not even true though I couldn't dream

2022
01:51:19,000 --> 01:51:22,000
Speaker 3: that big to produce it was. My dream was to

2023
01:51:22,040 --> 01:51:26,120
Speaker 3: meet him, have a monograph, a record. That was my dream.

2024
01:51:26,200 --> 01:51:28,960
Speaker 3: But yeah, thanks to quest to turn into something much larger.

2025
01:51:29,160 --> 01:51:32,519
Speaker 1: Well yeah, I mean you know, like obviously you wanted

2026
01:51:32,600 --> 01:51:36,599
Speaker 1: to do something with him creatively, so so yeah, basically

2027
01:51:36,640 --> 01:51:38,760
Speaker 1: saying Elvis is one of the rare cases in which

2028
01:51:38,880 --> 01:51:43,280
Speaker 1: meeting your heroes can actually result into to something.

2029
01:51:43,360 --> 01:51:45,800
Speaker 4: Dope, you actually did it and it's done, it's been out.

2030
01:51:46,720 --> 01:51:48,400
Speaker 1: Yeah, it's called Wise Up Ghosts. He came out what

2031
01:51:48,960 --> 01:51:53,559
Speaker 1: twenty thirteen, Yeah, twenty thirteen. Yeah, yeah, yeah, it's really

2032
01:51:53,680 --> 01:51:59,280
Speaker 1: it's a quality album and I enjoyed immensely making it.

2033
01:52:00,080 --> 01:52:01,719
Speaker 1: The one thing I didn't get to ask you before

2034
01:52:01,800 --> 01:52:06,160
Speaker 1: we pull is, at one point you had a budding

2035
01:52:06,320 --> 01:52:07,040
Speaker 1: acting career.

2036
01:52:07,880 --> 01:52:11,599
Speaker 4: Why didn't you pursue Let you talk about myself because

2037
01:52:11,640 --> 01:52:14,600
Speaker 4: I want a Best Actor award at the Turks and

2038
01:52:14,680 --> 01:52:19,880
Speaker 4: Kekos Film Festival. It was and KOs, but it was somewhere.

2039
01:52:21,600 --> 01:52:21,960
Speaker 1: What was this?

2040
01:52:22,680 --> 01:52:24,720
Speaker 4: And I have a statue. They send it to me.

2041
01:52:24,840 --> 01:52:26,479
Speaker 4: They said, if you're here, we would love to have

2042
01:52:26,600 --> 01:52:30,600
Speaker 4: you at the film festival if you have it to

2043
01:52:30,640 --> 01:52:36,720
Speaker 4: be and cake, I didn't have the plans, but you know, so, yeah,

2044
01:52:36,800 --> 01:52:39,240
Speaker 4: Illustrious is a word that's been thrown out a lot

2045
01:52:39,520 --> 01:52:40,519
Speaker 4: about my acting career.

2046
01:52:41,479 --> 01:52:45,000
Speaker 1: What does creativity mean to you now in terms of

2047
01:52:46,520 --> 01:52:49,960
Speaker 1: all I mean, you know you've achieved a lot. Are

2048
01:52:50,000 --> 01:52:51,600
Speaker 1: you insatiable? Are you fine with it?

2049
01:52:52,040 --> 01:52:52,080
Speaker 4: Is?

2050
01:52:52,680 --> 01:52:56,880
Speaker 1: Just day at a time, your thing? Do you make? Beats? Sometimes?

2051
01:52:56,960 --> 01:52:57,720
Speaker 2: Like what do you do?

2052
01:52:58,600 --> 01:53:01,320
Speaker 4: I have in the past little while. But this is

2053
01:53:01,360 --> 01:53:03,559
Speaker 4: why I got this cabin, my little studio. I came

2054
01:53:03,640 --> 01:53:05,080
Speaker 4: here every day and I made a piece of music

2055
01:53:05,160 --> 01:53:06,720
Speaker 4: every day, a different piece of music. So I got

2056
01:53:06,720 --> 01:53:09,960
Speaker 4: a lot of music. I don't just to have I

2057
01:53:10,000 --> 01:53:15,560
Speaker 4: don't know, but just to be is different from what

2058
01:53:15,680 --> 01:53:17,920
Speaker 4: it used to be. What it is to other people,

2059
01:53:18,479 --> 01:53:21,240
Speaker 4: what it means to me is different. I'm in a

2060
01:53:21,320 --> 01:53:24,960
Speaker 4: fortunate situation that people really like fight your right to party,

2061
01:53:25,120 --> 01:53:28,840
Speaker 4: and so I can afford to just be creative and

2062
01:53:28,960 --> 01:53:32,360
Speaker 4: not put things out, you know what I mean? And

2063
01:53:33,080 --> 01:53:35,759
Speaker 4: my house is paid for like I bought a house,

2064
01:53:36,720 --> 01:53:39,120
Speaker 4: you know, you know what I mean? And so creativity

2065
01:53:39,200 --> 01:53:42,160
Speaker 4: is different. If I had to hustle, I couldn't just

2066
01:53:42,760 --> 01:53:45,439
Speaker 4: come here and make just weird little music every day.

2067
01:53:45,439 --> 01:53:47,760
Speaker 4: I'd have to fucking work at it and really take

2068
01:53:47,840 --> 01:53:50,720
Speaker 4: seriously what creativity means, what it means to me, what

2069
01:53:50,840 --> 01:53:53,760
Speaker 4: it means to who I'm putting it out to. Will

2070
01:53:53,800 --> 01:53:55,679
Speaker 4: I be able to pay my rent with this fucking music?

2071
01:53:56,120 --> 01:53:58,720
Speaker 4: Do you know what I mean? And if not, I

2072
01:53:58,800 --> 01:54:00,600
Speaker 4: can just be creative whatever where I want, But I

2073
01:54:00,720 --> 01:54:05,639
Speaker 4: have to work a job. So creativity is is it's tricky.

2074
01:54:06,280 --> 01:54:08,280
Speaker 3: What's your music like these days? What kind of things

2075
01:54:08,320 --> 01:54:09,320
Speaker 3: are you creating?

2076
01:54:10,160 --> 01:54:14,160
Speaker 4: Depends on you know, the drive over whatever. If I

2077
01:54:14,240 --> 01:54:16,200
Speaker 4: hear something that'd be like, oh, should make classical music today,

2078
01:54:16,600 --> 01:54:17,760
Speaker 4: and then I don't know how to do that, so

2079
01:54:17,840 --> 01:54:19,080
Speaker 4: it comes out with something and I'd be like, oh,

2080
01:54:19,080 --> 01:54:20,439
Speaker 4: I should just put a eight a weight on it,

2081
01:54:20,520 --> 01:54:24,439
Speaker 4: So don't be way better, you know, like guitar music

2082
01:54:24,560 --> 01:54:27,120
Speaker 4: or whatever. I just you know, I have the modern era.

2083
01:54:27,280 --> 01:54:32,440
Speaker 4: You can have any instrument you want, so you know, timpanies.

2084
01:54:32,400 --> 01:54:34,240
Speaker 1: What have you got it?

2085
01:54:34,720 --> 01:54:39,080
Speaker 4: Experimenting, which is another thing about creativity if you can

2086
01:54:39,120 --> 01:54:40,800
Speaker 4: afford it, you can be experimental.

2087
01:54:41,360 --> 01:54:44,200
Speaker 1: That's that's what I aim to be. All Right, Before

2088
01:54:44,320 --> 01:54:46,280
Speaker 1: I close, can you give.

2089
01:54:46,200 --> 01:54:50,960
Speaker 4: Me a relationship advice? I really don't you know.

2090
01:54:51,040 --> 01:54:52,560
Speaker 1: I'm going I'm going another oute.

2091
01:54:52,720 --> 01:54:55,200
Speaker 4: I'm going another I love Kathleen. That's the only thing

2092
01:54:55,240 --> 01:54:57,080
Speaker 4: that I can Kathleen's amazing, so.

2093
01:54:57,800 --> 01:55:00,320
Speaker 1: I can accept that and I absolutely just stand why

2094
01:55:00,400 --> 01:55:05,920
Speaker 1: you love Kathleen. All right. So in closing, what three

2095
01:55:06,040 --> 01:55:08,760
Speaker 1: hip hop factoids of your life? Do do you think

2096
01:55:08,840 --> 01:55:13,000
Speaker 1: I not know of me personally? You had to have

2097
01:55:13,080 --> 01:55:15,919
Speaker 1: been there for an important recording of someone's song.

2098
01:55:16,160 --> 01:55:17,720
Speaker 4: Or like I already told you that I was in

2099
01:55:17,800 --> 01:55:22,440
Speaker 4: the background of it's Yes, I was there is a

2100
01:55:22,520 --> 01:55:24,640
Speaker 4: little thing I was there for, like a bunch of

2101
01:55:24,720 --> 01:55:27,360
Speaker 4: the stuff. Oh. Also, do you know this fact to it?

2102
01:55:28,440 --> 01:55:30,520
Speaker 4: My best friend Nadia the Johnny who your DJ. Do

2103
01:55:30,560 --> 01:55:32,520
Speaker 4: you know her brother was yes? Uh?

2104
01:55:32,720 --> 01:55:36,760
Speaker 1: Nadia is her? Her brother was part of the st

2105
01:55:36,920 --> 01:55:41,000
Speaker 1: fifties the Stimulated Dummies, Yes, with John Gamble. Uh.

2106
01:55:41,600 --> 01:55:46,920
Speaker 4: Dante Ross Dante, he's been a guest on your show. Yes. First,

2107
01:55:48,000 --> 01:55:51,440
Speaker 4: first you called Dante? You didn't you didn't call me?

2108
01:55:51,640 --> 01:55:52,320
Speaker 4: That's that's okay.

2109
01:55:53,680 --> 01:55:54,720
Speaker 3: I've been the best for last.

2110
01:55:54,920 --> 01:55:56,600
Speaker 1: You know how long it took to make this happen.

2111
01:55:57,800 --> 01:56:00,000
Speaker 4: You have my phone number? What are you talking about?

2112
01:56:00,480 --> 01:56:02,600
Speaker 1: I know, by the way. Yeah, I was about to

2113
01:56:02,640 --> 01:56:07,640
Speaker 1: say Adam is probably responsible. None of you two are

2114
01:56:07,680 --> 01:56:12,080
Speaker 1: in it. But you know I'm currently in various New

2115
01:56:12,200 --> 01:56:17,360
Speaker 1: York Times games groups. Oh, I'm in wordle groups various

2116
01:56:17,400 --> 01:56:21,480
Speaker 1: word but Adam's the og. We play one online scrabble

2117
01:56:21,520 --> 01:56:24,720
Speaker 1: game together. I'm not lying, though. I'm in eight word

2118
01:56:24,840 --> 01:56:26,680
Speaker 1: groups right now and I can't take it anymore.

2119
01:56:27,360 --> 01:56:31,880
Speaker 4: I'm for these things. Is it like group therapy? It is?

2120
01:56:32,600 --> 01:56:34,920
Speaker 1: Especially now, are you kidding?

2121
01:56:35,240 --> 01:56:35,280
Speaker 4: Like?

2122
01:56:36,640 --> 01:56:40,560
Speaker 1: This is what I can say. One of my wordle

2123
01:56:40,600 --> 01:56:45,600
Speaker 1: groups who also has a secret spelling bee unit that

2124
01:56:45,680 --> 01:56:50,800
Speaker 1: I'm not a part of. Okay, So, as of late,

2125
01:56:50,960 --> 01:56:54,920
Speaker 1: the Lonely Island guys have kind of been talking about

2126
01:56:55,000 --> 01:56:58,880
Speaker 1: their prowess at getting Queen Bee, which is the highest

2127
01:56:58,960 --> 01:57:02,160
Speaker 1: rating that you can get, and so there's almost like

2128
01:57:02,280 --> 01:57:06,600
Speaker 1: a Jets and Sharks, Bloods and Crips level of shit

2129
01:57:06,720 --> 01:57:10,120
Speaker 1: talking going on. Really, so I'm gonna have to do

2130
01:57:10,240 --> 01:57:13,120
Speaker 1: some Michael Jacksons and just dance between them and get

2131
01:57:13,160 --> 01:57:13,760
Speaker 1: them to stop.

2132
01:57:14,240 --> 01:57:14,280
Speaker 2: No.

2133
01:57:14,480 --> 01:57:18,920
Speaker 1: Seriously, like game groups are now that's the new game night,

2134
01:57:19,000 --> 01:57:21,360
Speaker 1: even though I do have regular ass game nights, like

2135
01:57:22,320 --> 01:57:23,880
Speaker 1: where are you currently playing right now?

2136
01:57:24,840 --> 01:57:27,960
Speaker 4: Oh, I'm in a cross for puzzle I do every day.

2137
01:57:28,000 --> 01:57:31,560
Speaker 4: I do the month Archive times Monday, New York Times

2138
01:57:31,600 --> 01:57:32,440
Speaker 4: cross for a puzzle?

2139
01:57:33,000 --> 01:57:36,320
Speaker 1: Why Monday as opposed to the Sunday?

2140
01:57:36,440 --> 01:57:38,520
Speaker 4: Or I got sick and spelling Bee?

2141
01:57:39,520 --> 01:57:40,360
Speaker 2: Do you do connections?

2142
01:57:43,120 --> 01:57:45,280
Speaker 4: I get a lot of way too much spelling be.

2143
01:57:45,440 --> 01:57:47,280
Speaker 2: It's a lot of study. By the way, is Queen

2144
01:57:47,360 --> 01:57:48,920
Speaker 2: Bee like you get all the words?

2145
01:57:49,160 --> 01:57:51,120
Speaker 1: Yes, you have to get every last word right.

2146
01:57:51,480 --> 01:57:53,240
Speaker 2: That's that's insanity level.

2147
01:57:53,360 --> 01:57:54,360
Speaker 1: I can't do that. Ship.

2148
01:57:54,720 --> 01:57:59,080
Speaker 4: I've written to the person that does the thing because

2149
01:58:00,080 --> 01:58:04,640
Speaker 4: Tom tom is there's a lot of words that are

2150
01:58:04,800 --> 01:58:06,920
Speaker 4: like that, and there's other food things that are like that.

2151
01:58:07,480 --> 01:58:12,400
Speaker 4: We're like soake, the wine counts, but like some other

2152
01:58:12,520 --> 01:58:13,360
Speaker 4: thing doesn't count.

2153
01:58:14,040 --> 01:58:18,200
Speaker 1: Yeah. Whenever I complained to my plug at the times,

2154
01:58:18,280 --> 01:58:22,120
Speaker 1: they tell me that it's the machine generator and is

2155
01:58:22,200 --> 01:58:23,000
Speaker 1: not what we could do about that.

2156
01:58:23,280 --> 01:58:25,040
Speaker 2: But I love that you write to them.

2157
01:58:25,200 --> 01:58:30,160
Speaker 4: That's fantastic. Yeah, I know, not all I'm not. Like.

2158
01:58:30,280 --> 01:58:33,200
Speaker 1: One of the biggest hours of my life was during

2159
01:58:33,280 --> 01:58:36,720
Speaker 1: the time one hundred I got to write the word

2160
01:58:37,120 --> 01:58:40,240
Speaker 1: creator's entry for the time one hundred and I used

2161
01:58:41,120 --> 01:58:44,160
Speaker 1: only five letter words highlight of my life. You got

2162
01:58:44,280 --> 01:58:46,880
Speaker 1: to google it. I don't know by memory, but I

2163
01:58:46,960 --> 01:58:50,320
Speaker 1: wrote his entry in all five letter words and one

2164
01:58:50,360 --> 01:58:53,520
Speaker 1: of them no plural plurals.

2165
01:58:53,640 --> 01:58:58,920
Speaker 2: Oh okay, party, yeah no, No.

2166
01:58:59,080 --> 01:59:03,400
Speaker 1: For Adam, you're our a legend. That's all I can

2167
01:59:03,440 --> 01:59:08,520
Speaker 1: statement without making you feel uncomfortable. Your generosity and your

2168
01:59:08,560 --> 01:59:12,960
Speaker 1: creativity and your band literally did a lot for me

2169
01:59:13,760 --> 01:59:17,160
Speaker 1: just as a creative and also helped me a lot

2170
01:59:17,280 --> 01:59:22,320
Speaker 1: in my career. I mean, I'm not even exaggerating how

2171
01:59:22,400 --> 01:59:24,960
Speaker 1: much that has helped me and still has me here

2172
01:59:25,760 --> 01:59:28,400
Speaker 1: to this day with a career and my own house.

2173
01:59:28,640 --> 01:59:32,040
Speaker 1: So I thank you for that, and I appreciate it

2174
01:59:32,080 --> 01:59:35,440
Speaker 1: because you guys didn't have to bring us under the

2175
01:59:35,480 --> 01:59:38,280
Speaker 1: wing and all that stuff, but I appreciate that, man,

2176
01:59:38,360 --> 01:59:40,520
Speaker 1: and thank you for doing this episode.

2177
01:59:40,600 --> 01:59:42,480
Speaker 4: Finally, welcome, thanks for having me.

2178
01:59:43,040 --> 01:59:46,040
Speaker 1: Thank you all right on behalf of Adam Horwitz and

2179
01:59:46,200 --> 01:59:49,680
Speaker 1: Sugar Steve and Unpaid Bill. This is Quest Love Supreme.

2180
01:59:49,720 --> 01:59:53,240
Speaker 1: Y'all see you next go around. Thank you, Thank you

2181
01:59:53,360 --> 01:59:56,960
Speaker 1: for listening to Quest Love Supreme hosted by I'm here,

2182
01:59:56,960 --> 02:00:01,720
Speaker 1: a Quest, Love, Thompson, Are You Saying? Claire Sugar, Steve Mandel,

2183
02:00:02,360 --> 02:00:07,880
Speaker 1: and unpaid Bill Sherman. The executive producers are Amir Quest, Love, Thompson,

2184
02:00:08,840 --> 02:00:15,840
Speaker 1: Sean Che and Brian Calhoun. Produced by Britney, Benjamin Cousin,

2185
02:00:15,960 --> 02:00:22,640
Speaker 1: Jake Payne, Eliah Saint Clair, edited by Alex Convoy. Produced

2186
02:00:22,720 --> 02:00:26,840
Speaker 1: by iHeart by Noel Brown West. Love Supreme is a

2187
02:00:26,880 --> 02:00:34,360
Speaker 1: production of iHeart Radio. For more podcasts from iHeart Radio,

2188
02:00:34,520 --> 02:00:38,240
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

2189
02:00:38,280 --> 02:00:39,160
Speaker 1: to your favorite shows.