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Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

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Speaker 1: episode was produced by the team at Pandora.

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Speaker 2: Ladies and Gentlemen, Welcome.

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Speaker 1: To QLs classic George lighting Lys Johnson, formerly a legendary

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Speaker 1: of Brothers Johnson Funk Unit. We talked to him about

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Speaker 1: his days with Billy Preston, pairing up with Quincy Jones,

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Speaker 1: eyewitnessing Sly Stone make the legendary album There's a Riot

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Speaker 1: going On, and also his brother in the late Green

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Speaker 1: Lewis thunder Thumbs Johnson from October twenty fourth, twenty eighteen.

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Speaker 1: This is the George Johnson episode of Questlam.

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Speaker 3: Supreme Suprema Supremo, Roll Call Supremo, Roll Call, Suprema Supremo,

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Speaker 3: Roll Call, Suprema Sun Sun Supremo Roll Call.

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Speaker 2: This is the show. Yeah, my name's Questlove.

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Speaker 4: Yeah.

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Speaker 2: I want to welcome you, yeah to the club.

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Speaker 3: Supreme Supremo, Roll Call, Supremo Supremo.

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Speaker 2: Roll My name is Fante.

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Speaker 4: Yeah.

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Speaker 2: Check out my flow. Yeah. One of my favorite jams. Yeah, Tokyo.

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Speaker 3: Suprema Son Supremo, Roll Call, Supremo Supreme, Roll Call.

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Speaker 4: My name is Sugar. Yeah, I get my kicks.

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Speaker 2: Yeah.

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Speaker 4: From thunder Thumbs Yeah, and light lips.

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Speaker 3: Son Supremo, Roll Call Supreme So Supreme.

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Speaker 2: Roll still is riding. Yeah in the new Mercedes. Yeah,

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Speaker 2: down the highway. Yeah to the ladies.

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Speaker 3: Suprema Suck souprem Suprema Son Son Supremo.

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Speaker 2: Roll calls em.

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Speaker 5: Yeah, you know the deal.

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Speaker 2: Yeah, And I want to know, George, Yeah, is what

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Speaker 2: you feel really real?

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Speaker 3: Roll call Suprema Son Son Supremo, Roll car Suprema Son

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Speaker 3: Son Suprema roll Call.

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Speaker 5: My name is Troy, Yeah, pop Sisdom Man. Yeah, are

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Speaker 5: y'all already Yeah for a little bit of blame.

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Speaker 3: Roll Supremo Sun Sun Supremo, Roll Call Suprema Son Son Supremo,

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Speaker 3: Roll called.

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Speaker 2: This is GJ.

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Speaker 6: Yeah.

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Speaker 4: I'd like to say, yeah, get the funk out in

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Speaker 4: my face. Yeah, I'm doing my.

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Speaker 3: Roll Suprema So Supremo, Roll car Suprema So Soun Supremo,

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Speaker 3: Roll Call Suprema Son Son So Frema roll call SA.

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Speaker 2: Way better. That was it.

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Speaker 6: Is?

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Speaker 2: Uh. Many people have asked, but I gotta be honest

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Speaker 2: with you. We've had our first role call train wreck

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Speaker 2: and to never ever do a role call twice with

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Speaker 2: the guests, but we actually that was our second take.

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Speaker 2: Maybe at the fate of the of this episode, we

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Speaker 2: can play the wreck. This is hilarious because once again

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Speaker 2: Fonte has drink Steve's milk. Wow, man, that's crazy. Is

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Speaker 2: this our This is our first father son edition of

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Speaker 2: It is cost love supreme? This is compliment. We are

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Speaker 2: live at the illustrious Capitol Records building. Uh, the house

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Speaker 2: that Nat built in the Beatless, the Beach Boys and

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Speaker 2: Gillian Frank What what the studio we're in right now?

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Speaker 2: What studio is the studio A? Is the studio A?

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Speaker 2: And Neck and Cole is really the headliner in here?

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Speaker 2: And I guess Frank Sinatra as well. Okay, all right,

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Speaker 2: so we're in a room with history. I will say

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Speaker 2: that our special guest today, one of our two guests today,

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Speaker 2: is probably one of the most legendary guitarists in funk

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Speaker 2: soul history, having contributed to projects for Billy Preston, Liningless Smith,

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Speaker 2: Bill Withers, Quincy Jones, Steve Arrington. That I didn't know

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Speaker 2: George Duke, David Williams, the legendary guitarist David Williams. You

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Speaker 2: gotta tell me about that.

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Speaker 4: He used to come over my house. I will teach

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Speaker 4: him some things.

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Speaker 2: It's going to be so good. Renee and Joyce Kennedy,

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Speaker 2: formerly of a Mother's Finest The Silvers, but of course

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Speaker 2: he's better known by his his non de plume UH

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Speaker 2: Lightning Licks who along with his brother, the late Great

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Speaker 2: Lewis Johnson, UH, he's one half of the legendary monster

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Speaker 2: duo the Brothers Johnson. Also not not not not to

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Speaker 2: be outdone. His offspring is as an impressive uh resume

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Speaker 2: as well. You can name it from j Lo to solangdo.

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Speaker 7: Yes, yeah, a lot of a bunch of stuff. Work

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Speaker 7: with a few people, yes.

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Speaker 2: Shory Radio Johnson also, but please welcome the legendary George

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Speaker 2: Johnson and.

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Speaker 4: Right Quest of Supreme.

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Speaker 2: Thank you, thank you for coming man, thank you, thanks

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Speaker 2: for having us the stunt like my Daddy edition. So

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Speaker 2: how are you to do?

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Speaker 4: Oh? I'm doing good.

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Speaker 2: You know.

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Speaker 4: I don't come out to many interviews. I'm actually working

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Speaker 4: on a book and thinking about doing some new music

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Speaker 4: with my son. So when I heard that you came

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Speaker 4: through and want to interview, I had the Okay, I'm

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Speaker 4: going to do this.

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Speaker 2: Thank you so much. Yes, thank you. We're excited about this.

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Speaker 2: We're excited. Okay, So I want to get right into it. Okay,

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Speaker 2: where were you born?

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Speaker 4: I was born in Los Angeles, California, in nineteen fifty three.

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Speaker 4: I'm currently sixty five years old. Just turned May seventeenth graduation. Yeah,

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Speaker 4: still kicking up. Basically, have been enjoying the aftermath of

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Speaker 4: where God took me through the whole livelihood of learning music.

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Speaker 4: I started playing at five years old bb King, but

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Speaker 4: he wound up covering one of my songs that I

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Speaker 4: wrote for Billy Preston, a song called I Wonder Why,

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Speaker 4: and I had a chance to meet him. And it's

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Speaker 4: funny because every artist who I've met was seen abound

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Speaker 4: a meeting from the Beatles, James Brown, you know, through

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Speaker 4: my track in my career, really slid Stone, Larry Graham,

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Speaker 4: you know, these were people who personally hands on taught

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Speaker 4: me or everything about funk. But I knew as far

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Speaker 4: as guitar. That was probably about eleven. I had a

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Speaker 4: choice to whether I to play bass or if I

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Speaker 4: wanted to play guitar. But I was already playing guitar,

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Speaker 4: and I knew its playing guitar had the six strings

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Speaker 4: and you could play chords as opposed to notes. I

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Speaker 4: was actually teaching my brother Lewis, when I play a

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Speaker 4: C chord, you should play a C note. So actually

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Speaker 4: I knew I could get further in writing and watching

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Speaker 4: the Beatles performers three guitars and drums, which is the

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Speaker 4: same instrumentation we had as kids. The Johnson three plus one,

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Speaker 4: and you know, I just loved it. You know, the

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Speaker 4: motown thing that hit, what you do, the things you do,

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Speaker 4: all the Smokey Robinson and it was the Funk Brothers

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Speaker 4: who I really learned a lot because at one time

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Speaker 4: I thought it was different bands. I didn't think it.

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Speaker 2: Was one band.

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Speaker 4: Exactly, so you know, these were legends. Unfortunately they didn't

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Speaker 4: get stock in the company, but you know, these were

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Speaker 4: people who I most admired. You know, sixth seventh grade,

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Speaker 4: I'm going to school humming hits and you know I can't.

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Speaker 2: I would.

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Speaker 4: I was really creative, so I got good grades. I'm

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Speaker 4: sitting there writing lyrics and history and you know, or

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Speaker 4: or geography, and I pulled that into I wanted to

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Speaker 4: pull all that into my world through through history. I

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Speaker 4: wanted to know a lot of things, which is a

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Speaker 4: lot of things I know on a black issue that

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Speaker 4: you guys would never know from doctor Francis Creswell saying

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Speaker 4: to ny Mock Barr, you know, travel the world, and

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Speaker 4: you know, dove into being a Christian into Islam at

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Speaker 4: a very early age, and had chanced to meet Minnesulta's

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Speaker 4: fery Khan and Mustafa Muhammad who's a very close friend

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Speaker 4: of mine and kind of balanced the unbalanced for me.

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Speaker 4: What kept the focus going and in the right direction

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Speaker 4: was the music, because the music could teach me the most.

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Speaker 4: And we had prejudices and all that stuff back in

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Speaker 4: the early sixties and backing up into the fifties, so

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Speaker 4: as kids, we weren't really given the right to have

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Speaker 4: an opinion. It was up to the parents, you know,

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Speaker 4: and they came from old school, like my family came

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Speaker 4: from Mississippi, New Orleans, you know, down south. They were

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Speaker 4: never taught the right things, you know, even as far

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Speaker 4: as we were when we grew up, you know, nons

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Speaker 4: wouldn't teach us the truth. We'd gone to church and

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Speaker 4: see all these pictures of white folks, you know, which

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Speaker 4: there were black saints. Later on after find Saint Peter,

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Speaker 4: who's supposed to hold the keys to heaven. Okay, he's

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Speaker 4: in the mill. He's at the Vatican as a statue

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Speaker 4: which the Pope gets up, and you have the Quran,

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Speaker 4: I mean the Bible, the Quran and the Torah, and

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Speaker 4: in front of all that is a black statue of

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Speaker 4: Saint Peter, which he gets up at five o'clock in

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Speaker 4: the morning kiss his feet. Had we had known that

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Speaker 4: it would inspire us more as the as youth to

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Speaker 4: feel better about ourselves as far as being, you know,

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Speaker 4: sitting in the back of the classroom, which I always

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Speaker 4: wanted to be, first row, second rope. I need glasses.

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Speaker 4: I can't see the board. So in my travels it's

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Speaker 4: like I used all of that, you know, in geography.

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Speaker 4: I want to go everywhere I see on this map.

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Speaker 4: You know, they have the big old picture, you know.

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Speaker 4: And we never went out of la and I wound

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Speaker 4: up traveling the world probably about over a dozen times.

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Speaker 4: And I'd get on the plane read Okay Idaho with

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Speaker 4: their famous for potatoes. This, you know, it would really

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Speaker 4: prepare myself to know and ask questions. And went over

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Speaker 4: to Africa in eighty four, checked into the lobby, and

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Speaker 4: this African king and a prince which was his son,

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Speaker 4: were there. I had no idea, so he looked at

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Speaker 4: me and said, oh, my brother. He said, when you

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Speaker 4: get through, could you come over and have a drink

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Speaker 4: with it? And I'm like, who the hell is this?

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Speaker 2: You know?

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Speaker 4: So I went upstairs and came back down and he

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Speaker 4: told me he was a king and he had seventeen

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Speaker 4: wives and thirty five kids.

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Speaker 2: Busy king.

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Speaker 4: I said, how do you do that? Very slowly?

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Speaker 2: What a part of la were you born in?

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Speaker 4: Well, actually we went to Okay, I went to Catholic school.

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Speaker 4: It was called Transfiguration. It was right off of Vernon

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Speaker 4: and we lived on Samarron. That's where we grew up.

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Speaker 4: Street called Samarron and Transfiguration was off of which King

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Speaker 4: now it was on King and Fourth Avenue. Did eight

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Speaker 4: years there learn to speak Latin? I wasn't all to

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Speaker 4: boy sally, Yeah, I mean, I was like all over

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Speaker 4: the place, but I figured that it would be a

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Speaker 4: great opportunity to get out of school when I wanted. Okay,

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Speaker 4: So they always would leave the doors open in the front.

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Speaker 4: Would you come in through the church?

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Speaker 2: Okay?

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Speaker 4: If I'm like, would go over to where the priests

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Speaker 4: were or where they dressed and all that. Directory I

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Speaker 4: had reason to be in the area because I was

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Speaker 4: an ultim boy. So I'd go creep through the church,

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Speaker 4: go through the front doors, go down to Taketo place

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Speaker 4: you have lunch, and coming back through the doors. A

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Speaker 4: couple of times I got caught. So there was a

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Speaker 4: middle light and uh, the confession. So if I jumped

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Speaker 4: in that, like the priests are doing that, all the

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Speaker 4: moves down so if you step in it, they figured

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Speaker 4: the priest was in there. So I was hearing confessions

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Speaker 4: and all that. Your father helped me my daughters, this

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Speaker 4: is pregnant, and oh yeah. I was like, hey, you know,

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Speaker 4: say three our fathers three held marriages when our father

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Speaker 4: acting contrition and you good.

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Speaker 2: The original, so we're your were your parents into music?

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Speaker 4: My mom played uh keyboards. She wasn't really you know,

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Speaker 4: she'd learned little music and would play. I never saw

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Speaker 4: her play. Well it was having around the piano. She

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Speaker 4: can just get on it and play a little bit.

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Speaker 4: My dad was a hell of a whistler. He could

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Speaker 4: out whistle to tell me.

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Speaker 2: We get the car on.

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Speaker 4: Yeah, well you know right right. My dad could whistle

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Speaker 4: like that really yeah, So it was he would whistle

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Speaker 4: melodies if he couldn't sing. I know, all the lyrics.

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Speaker 4: He's showing that he could whistle it. He'd whistle out

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Speaker 4: a song. Well, he cutting a lawn whatever, cutting the hair,

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Speaker 4: you know, helping us with the stuff. But we got

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Speaker 4: music from both sides, you know, and we had some

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Speaker 4: aunts and uncles that could play, you know, damn anything.

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Speaker 4: They wanted to just go to the keyboard, from gospel

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Speaker 4: music to rock and roll. You know, they can just improvise.

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Speaker 4: How old were you when you got your first guitar? Well,

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Speaker 4: this is a very good story because this Okay, I

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Speaker 4: was watching at some of it, and I was watching

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Speaker 4: Elvis Presley Joe House Rock came out. I probably was

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Speaker 4: about five six, and we had a couch and us

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Speaker 4: sitting on the floor between my dad's legs, just watching.

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Speaker 4: They had about eight of the grand kids running around.

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Speaker 4: I'm trying to get to the move out the way.

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Speaker 4: He saw my interest in this man who was playing

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Speaker 4: this box guitar and shaking his legs, and all the

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Speaker 4: girls were fighting their nails and crying, which is the

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Speaker 4: only thing I could not interpretate why there were crying, okay,

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Speaker 4: but they were just excited. There was an emotion, you know.

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Speaker 4: So he gets up during the commercial goes into the

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Speaker 4: kitchen and it was like a half gallon of milk,

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Speaker 4: pours what was left out, washes it out, cuts a

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Speaker 4: hole in the middle, takes a stick, staple it to

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Speaker 4: it where the pouring part was. He takes four rubber

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Speaker 4: bands and put the pins at the bottom. So he

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Speaker 4: made a simulated guitar. By the time they say came

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Speaker 4: back on, he stepped back over me and he waited

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Speaker 4: to and he just handed me the milk cart. Yeah,

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Speaker 4: simulated guitar. That was like the most important thing in

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Speaker 4: my life. He saw me actually just focusing in on

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Speaker 4: this person, you know, more so than any of all

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Speaker 4: the other grandkids. So it's like he just knew, So

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Speaker 4: I'm gonna get put this in this boy's hand. She

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Speaker 4: gonna become that and from you know, he couldn't. Later on,

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Speaker 4: he and his brother because his brother Buster, my dad's

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Speaker 4: name was Joseph. He they're both so creative and two

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Speaker 4: black men from Mississippi who have the original blueprints for

264
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Speaker 4: the airplanean's landing. When first the parachute would come out,

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Speaker 4: they had reverse reverse whatever it is that reverse thrust.

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Speaker 4: That was their idea. But it was two Yeah, they

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Speaker 4: have the original blueprint we should have on the airline.

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Speaker 4: But because yeah, they had the original blueprints of turning

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Speaker 4: one engine on going this way because they only had

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Speaker 4: one engine going that way. So that's why when planes

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Speaker 4: landing kind of makes you know, and it helps planes

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Speaker 4: lands and next time y'all going back to New York.

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Speaker 4: Exactly two black men. So those two black men who

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Speaker 4: came up with that built our first guitar. Wow, that's

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Speaker 4: how my dad's brother came over. You got a busted

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Speaker 4: water heater. I can make that. He was a welder,

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Speaker 4: you know, and he got some sheep metal Bennett round.

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Speaker 4: He had all the two he made that and that

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Speaker 4: lasted until we moved. So we had we had great

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Speaker 4: black men in our family. Everywhere we would look outside

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Speaker 4: of music, somebody knew something about that. Also had an

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Speaker 4: uncle who used to come by and check. His name

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Speaker 4: was Arthur and he played a three thirty five guitar

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Speaker 4: and he used to play backup guitar for West Montgomery Man.

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Speaker 2: Okay, you know.

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Speaker 4: So and then we have an uncle who actually played

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Speaker 4: saxophone and he come over and check on us how

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00:18:36,840 --> 00:18:39,800
Speaker 4: the boys doing it. We had basically the same story

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Speaker 4: like the Jackson you know, my mom was, don't buy it.

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Speaker 4: Why are you buying all? They said, these boys are

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Speaker 4: gonna be bad. They let him. Let me just do

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Speaker 4: what I'm gonna do. And he brought us all instruments. Oh,

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Speaker 4: we should be paying bills and blood, which you know,

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Speaker 4: it worked out. I'm thankful he went that way. He

295
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Speaker 4: had more faith than my mom. She wanted us to

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Speaker 4: be scholars like she was and getting master's degrees and

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Speaker 4: all that kind of stuff, and that wasn't I got

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Speaker 4: my master master's degree through Quincy eight years. Takes four

299
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Speaker 4: years to get your degree and another four to get

300
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Speaker 4: your masters. I did eight years with Clincy Jones.

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Speaker 2: In your family, is it just as far as your

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Speaker 2: siblings are concerned.

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Speaker 4: Now, we have an older brother, Tommy, who played drums.

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Speaker 4: He was like Buddy Miles. He played drums and sang.

305
00:19:28,560 --> 00:19:31,760
Speaker 4: His path was too. Well say, we had our group.

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Speaker 4: We had two guitars, me and Alex Swear who wanted

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Speaker 4: to play with talking Heads.

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Speaker 2: Well, Alex, he also played with that's my cousin. Yes, okay, okay, okay, okay.

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Speaker 4: He was the plus one. It was a Johnson three

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Speaker 4: plus one and exactly. So you know, I was like

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00:19:54,520 --> 00:19:59,199
Speaker 4: the Quincy Jones then back then being the Arrangers. Since well,

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Speaker 4: I knew I had to be brilliant in the school

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Speaker 4: because my parents didn't want us to do anything until

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Speaker 4: after if we had good grades, and after you do

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00:20:07,840 --> 00:20:11,399
Speaker 4: your homework then you could chill. So I would do

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Speaker 4: my homework by the time school was out home the

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Speaker 4: right and leave to go to forgot the name of

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Speaker 4: the record store and that of Normandy and pick up

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Speaker 4: new singles. So you know, it could have been four

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Speaker 4: top songs standing in the Shadow, Loves or Temptations or Smoky.

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Speaker 4: The first thing I'd do is go home. I'd buy

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Speaker 4: five singles out of my pocket because we was doing gigs,

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Speaker 4: making about two hundred bucks for one, you know, set

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Speaker 4: of three hours and it was only four of us. So,

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Speaker 4: I mean, from sixth grade on, you know, I had money.

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Speaker 4: I didn't have a bank. I put my money under

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Speaker 4: the mattress. Anybody who needs money.

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Speaker 2: Go, you know, go under here and pick it up

329
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Speaker 2: the mattress of the crown.

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Speaker 4: Well, I never had a bank account, and I didn't

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Speaker 4: know if I wanted to trust banks.

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Speaker 2: Okay, you're giving you my money and then what so

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00:21:21,840 --> 00:21:23,520
Speaker 2: in all your years of playing. Did you ever take

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Speaker 2: formal lessons or was it all just kind of self?

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Speaker 4: Yeah. Once I got into high school and my guitarist

336
00:21:29,000 --> 00:21:32,200
Speaker 4: teacher got in touch with my parents and told them

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Speaker 4: that they're wasting their money because I'm teaching them motown ship.

338
00:21:36,600 --> 00:21:38,640
Speaker 4: You know, he's teaching us one that we're teaching them.

339
00:21:39,040 --> 00:21:41,199
Speaker 4: You know, because I would pick up really quick. They

340
00:21:41,280 --> 00:21:43,840
Speaker 4: showed me the basics of C chord and you know

341
00:21:44,560 --> 00:21:47,520
Speaker 4: minor chord, and you know one, three, five, and then

342
00:21:47,600 --> 00:21:49,320
Speaker 4: take out the third and you get a minor and

343
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Speaker 4: which a lot of stuff and people don't realize and

344
00:21:52,920 --> 00:21:55,280
Speaker 4: the sound and rappers later got it mixed up and

345
00:21:55,320 --> 00:21:59,280
Speaker 4: they added the third with a note that don't match

346
00:22:00,119 --> 00:22:04,120
Speaker 4: text your record, you know, things like that. But I would,

347
00:22:04,160 --> 00:22:08,000
Speaker 4: as a child pick up singles, and I was the

348
00:22:08,160 --> 00:22:11,240
Speaker 4: only one out of the group who would put on

349
00:22:11,359 --> 00:22:14,040
Speaker 4: the record. The first thing I would do is write

350
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Speaker 4: the lyrics.

351
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Speaker 2: Oh okay.

352
00:22:17,280 --> 00:22:19,520
Speaker 4: I was telling my son Troy this probably about a

353
00:22:19,560 --> 00:22:23,480
Speaker 4: couple of months ago. I would write the lyrics and

354
00:22:23,560 --> 00:22:26,240
Speaker 4: then I would pick out the part I wasn't gonna

355
00:22:26,280 --> 00:22:28,119
Speaker 4: play and sang first of all, to pick out the

356
00:22:28,240 --> 00:22:30,000
Speaker 4: hit I want so all we played is hits. We

357
00:22:30,040 --> 00:22:32,280
Speaker 4: had a catalog of about two hundred songs that we

358
00:22:32,320 --> 00:22:36,160
Speaker 4: could play and where jazz to R and B. Because

359
00:22:36,200 --> 00:22:44,920
Speaker 4: we also came from Led Zeppelin, Deep, Purple three Dollar Night, Chicago,

360
00:22:45,600 --> 00:22:47,680
Speaker 4: you know, a lot of those groups. We would play

361
00:22:48,200 --> 00:22:50,960
Speaker 4: their music. So we was all over the place musically.

362
00:22:51,600 --> 00:22:57,400
Speaker 4: That's why Quincy loved the style of where I came from.

363
00:22:58,200 --> 00:23:00,359
Speaker 4: I always want to turn my brother Lewis on the

364
00:23:00,440 --> 00:23:05,840
Speaker 4: funk with sliding the family stone. He later didn't got

365
00:23:05,960 --> 00:23:06,639
Speaker 4: me watch it.

366
00:23:06,720 --> 00:23:07,240
Speaker 2: I'm going to do.

367
00:23:13,280 --> 00:23:16,119
Speaker 4: Like watch what I'm gonna do later, you know. And

368
00:23:16,560 --> 00:23:18,680
Speaker 4: it was cool. And that's the only problem I would

369
00:23:18,760 --> 00:23:23,600
Speaker 4: have because sometimes he would kind of lie being honest, Well,

370
00:23:23,640 --> 00:23:25,160
Speaker 4: who taught you to do that? I didn't had nothing.

371
00:23:25,200 --> 00:23:26,600
Speaker 4: I was going to touch you how to put the

372
00:23:26,720 --> 00:23:29,440
Speaker 4: bass in your hand? Hey dad, we needed the bass.

373
00:23:30,200 --> 00:23:32,800
Speaker 4: And he did learn on his own and James Jamieson

374
00:23:32,800 --> 00:23:35,440
Speaker 4: and Automotile, he picked it up. He was as bad

375
00:23:35,520 --> 00:23:37,639
Speaker 4: as I was, but he just wouldn't do more than that.

376
00:23:38,560 --> 00:23:40,520
Speaker 4: Like Quincy said, he's a hell of a bass player,

377
00:23:40,720 --> 00:23:42,119
Speaker 4: you know, and he was that.

378
00:23:43,119 --> 00:23:44,920
Speaker 2: So he didn't have the ability to play guitar, but

379
00:23:44,960 --> 00:23:45,640
Speaker 2: you could play guitar.

380
00:23:45,800 --> 00:23:47,960
Speaker 4: No, he could play, but he couldn't play play guitar.

381
00:23:48,320 --> 00:23:51,920
Speaker 4: He'd played guitars on some of our records. Okay, his style.

382
00:23:52,000 --> 00:23:54,280
Speaker 4: He just played, as you know, and a lot of

383
00:23:54,359 --> 00:23:56,520
Speaker 4: things that I would play. George, you play bass. You

384
00:23:56,560 --> 00:23:59,160
Speaker 4: could play bass because I was using his bass upside

385
00:23:59,240 --> 00:24:02,960
Speaker 4: down and he'd get pissed from writing something too funky,

386
00:24:03,040 --> 00:24:05,239
Speaker 4: and we go to the studio and Larryot's I mean

387
00:24:08,840 --> 00:24:11,680
Speaker 4: and Quincy play it like George, I'm like, oh ship

388
00:24:12,240 --> 00:24:16,560
Speaker 4: say that. Because on the demo I would play the bass,

389
00:24:16,720 --> 00:24:19,640
Speaker 4: the guitars. I used to lay about seven eight guitars,

390
00:24:20,160 --> 00:24:21,639
Speaker 4: like when you first got I'd be good to you.

391
00:24:22,640 --> 00:24:26,480
Speaker 4: That was all guitars bassed, and the drum machine asked,

392
00:24:26,680 --> 00:24:30,520
Speaker 4: still have still have that? I'm gonna give the trouble

393
00:24:30,600 --> 00:24:36,800
Speaker 4: I heard those. I have all of it. Plus so

394
00:24:36,960 --> 00:24:40,520
Speaker 4: Quincy would listen to everything we had and he would pick,

395
00:24:41,440 --> 00:24:43,800
Speaker 4: so he's like picking all these songs could out more

396
00:24:43,920 --> 00:24:46,760
Speaker 4: or less complete mind more so my brother and he'd

397
00:24:46,800 --> 00:24:49,760
Speaker 4: have like grooves. So we're like on two different levels.

398
00:24:49,800 --> 00:24:52,520
Speaker 4: But it's like I was saying earlier, because I would

399
00:24:52,560 --> 00:24:55,720
Speaker 4: write and there's something to think about to go with

400
00:24:55,840 --> 00:24:59,840
Speaker 4: your history animals. Okay, when you have a person who

401
00:25:00,560 --> 00:25:04,600
Speaker 4: comes I'm young like I was, and I would write

402
00:25:05,119 --> 00:25:08,080
Speaker 4: lyrics to like BB King's Thrillers, you know, and then

403
00:25:08,280 --> 00:25:12,120
Speaker 4: noticed the difference just not a major chord, the third

404
00:25:12,280 --> 00:25:14,600
Speaker 4: is out as a minor, Okay, so that's that to

405
00:25:14,720 --> 00:25:18,040
Speaker 4: put that there for every song in lyric, I would write,

406
00:25:18,160 --> 00:25:21,720
Speaker 4: whether it was a Smokey Robinson song, you're actually going

407
00:25:21,800 --> 00:25:26,480
Speaker 4: through the emotions of that writer for you to write

408
00:25:26,520 --> 00:25:29,440
Speaker 4: the lyrics down, and you're reading it, it's like wow,

409
00:25:29,520 --> 00:25:31,680
Speaker 4: and he made it to perfection. So I'm writing some

410
00:25:31,880 --> 00:25:37,160
Speaker 4: finished perfection of how someone felt. And I'm writing over

411
00:25:37,359 --> 00:25:40,639
Speaker 4: two hundred some songs. So it's like I got bits

412
00:25:40,720 --> 00:25:45,720
Speaker 4: and pieces of everybody from Chicago, Zeppelin, the Motown, you know.

413
00:25:46,280 --> 00:25:49,440
Speaker 4: It all became the cake with the candles lit.

414
00:25:50,280 --> 00:25:52,320
Speaker 2: So it was part of your writing, DNA, and it

415
00:25:52,400 --> 00:25:52,760
Speaker 2: helped you.

416
00:25:53,119 --> 00:25:54,679
Speaker 4: Yes, I mean a lot of people wouldn't look at

417
00:25:54,680 --> 00:25:57,040
Speaker 4: it because they just stay in one area of one song.

418
00:25:57,960 --> 00:26:01,280
Speaker 4: But if you're writing all these different songs, including Supremes,

419
00:26:02,560 --> 00:26:06,720
Speaker 4: you know, all the other Motown acts, David Ruffin songs,

420
00:26:06,760 --> 00:26:08,760
Speaker 4: and even I had to find on later they weren't

421
00:26:08,760 --> 00:26:10,359
Speaker 4: writing in Smoker Robinson.

422
00:26:10,640 --> 00:26:11,000
Speaker 2: Robinson.

423
00:26:11,800 --> 00:26:14,879
Speaker 4: So I'm going through a lot of emotions and oh baby, baby,

424
00:26:14,920 --> 00:26:16,879
Speaker 4: and it's like some of this stuff down and make

425
00:26:17,000 --> 00:26:18,240
Speaker 4: me cry just reading it.

426
00:26:19,440 --> 00:26:21,320
Speaker 2: So that's a good that's a good exercise. I never

427
00:26:21,440 --> 00:26:23,400
Speaker 2: thought that you actually internalize.

428
00:26:23,960 --> 00:26:26,720
Speaker 4: Yeah, what if you write? If you write the lyrics

429
00:26:26,760 --> 00:26:29,159
Speaker 4: and get all the lyrics correct, then pick out the

430
00:26:29,240 --> 00:26:31,959
Speaker 4: guitar part. Who's gonna play this? Play the bass? Now

431
00:26:31,960 --> 00:26:35,680
Speaker 4: I'm getting into James Jamieson's head, you know what I'm saying.

432
00:26:35,760 --> 00:26:38,600
Speaker 4: Then you get the drummer's head and you and you're

433
00:26:38,680 --> 00:26:42,119
Speaker 4: listening and giving the parts out, you know what, And

434
00:26:42,280 --> 00:26:42,680
Speaker 4: you're young.

435
00:26:43,920 --> 00:26:46,240
Speaker 2: Here's something that's actually kind of sort of connected to you.

436
00:26:47,400 --> 00:26:52,520
Speaker 2: This explains that Prince poster, oh the Star is Born poster. Yeah,

437
00:26:52,640 --> 00:26:55,879
Speaker 2: well no, no, no, the dude so oh yeah. For

438
00:26:56,040 --> 00:27:02,480
Speaker 2: some reason, Okay, so in light of Princess passing, they

439
00:27:02,680 --> 00:27:10,560
Speaker 2: found a concert poster in which Prince wrote the lyrics

440
00:27:10,640 --> 00:27:15,879
Speaker 2: to to Quincy's The Dude the Rat And for some

441
00:27:16,040 --> 00:27:18,560
Speaker 2: reason I was trying to they gave some back history

442
00:27:18,640 --> 00:27:21,399
Speaker 2: to it, and I guess like that intrigued them, and

443
00:27:21,480 --> 00:27:26,639
Speaker 2: I guess writing it out physically helped. What you were explaining, well, you.

444
00:27:26,680 --> 00:27:29,000
Speaker 4: Can look up in the archives, because Prince was a

445
00:27:29,040 --> 00:27:33,960
Speaker 4: fan of ours. The first interview he's done ever did well,

446
00:27:34,040 --> 00:27:35,760
Speaker 4: you know where'd you get your music from? And he

447
00:27:35,880 --> 00:27:39,480
Speaker 4: mentioned brothers Johnson's Slide and family Stone, which I had

448
00:27:39,560 --> 00:27:41,960
Speaker 4: Me and Sly wound up getting very close. As far

449
00:27:42,000 --> 00:27:47,119
Speaker 4: as Larry Graham too. After that interview, he never mentioned anything.

450
00:27:47,160 --> 00:27:53,240
Speaker 4: Everything was Prince and I went. I went to Vegas

451
00:27:53,359 --> 00:27:56,200
Speaker 4: to see him perform, and he called my room. Had

452
00:27:56,240 --> 00:27:58,920
Speaker 4: this guy called it room and they did there like

453
00:27:59,240 --> 00:28:03,520
Speaker 4: two o'clock in the morning, sound check. Have George come down,

454
00:28:03,560 --> 00:28:05,320
Speaker 4: and I had a guest with me. I brought my guest.

455
00:28:05,440 --> 00:28:06,680
Speaker 4: I didn't tell her where we're going.

456
00:28:06,800 --> 00:28:07,680
Speaker 2: We just went in.

457
00:28:08,359 --> 00:28:11,960
Speaker 4: We had the whole MGN. We were sitting on the side.

458
00:28:12,760 --> 00:28:14,840
Speaker 4: Larry Graham was supposed to do a sound check. He

459
00:28:14,920 --> 00:28:17,280
Speaker 4: bumped Larry off and did his sound check because he

460
00:28:17,320 --> 00:28:22,480
Speaker 4: wanted to, you know, meet me and see me. He

461
00:28:22,600 --> 00:28:26,240
Speaker 4: played for us for about two hours straight. It was

462
00:28:26,320 --> 00:28:28,879
Speaker 4: better than the kind of you know check. You know,

463
00:28:28,960 --> 00:28:31,040
Speaker 4: he played songs that wasn't his repertoire.

464
00:28:31,400 --> 00:28:35,639
Speaker 2: Yeah, and he came yeah yeah, and you know he

465
00:28:36,119 --> 00:28:37,720
Speaker 2: used to do that with some of his fan club members,

466
00:28:37,760 --> 00:28:39,240
Speaker 2: like in the early two thousands, he would invite them

467
00:28:39,280 --> 00:28:41,080
Speaker 2: into the sound check right and would just play for

468
00:28:41,160 --> 00:28:41,600
Speaker 2: them and talk.

469
00:28:41,680 --> 00:28:43,840
Speaker 4: And then we played Club fifty four. He asked me

470
00:28:43,920 --> 00:28:45,680
Speaker 4: to come on stage, and I played with him and

471
00:28:45,760 --> 00:28:49,320
Speaker 4: Lry Graham, but I actually went played on the wrong songs.

472
00:28:50,120 --> 00:28:52,200
Speaker 4: They did a whole slide thing. I was still up

473
00:28:52,240 --> 00:28:54,719
Speaker 4: in the top with my girl was checking him out.

474
00:28:54,720 --> 00:28:56,240
Speaker 4: I said I should be down there for that, but

475
00:28:56,320 --> 00:28:58,640
Speaker 4: I guess he thought I'd come down when I heard

476
00:28:58,720 --> 00:29:01,440
Speaker 4: something I liked. So when he called me on stage,

477
00:29:01,480 --> 00:29:04,000
Speaker 4: they got to this Elvis little groove. But I mean

478
00:29:04,080 --> 00:29:06,040
Speaker 4: it was cool, but it wasn't what IU to prefer.

479
00:29:06,800 --> 00:29:08,479
Speaker 4: But you know, we walked in the club. They were

480
00:29:08,480 --> 00:29:11,280
Speaker 4: playing Get the Funk out of My Face, Strawberry Letter,

481
00:29:11,440 --> 00:29:16,000
Speaker 4: Get to You. I told, I said, man, they handed

482
00:29:16,040 --> 00:29:18,000
Speaker 4: me this guitar. They were so fucked up and out

483
00:29:18,040 --> 00:29:21,720
Speaker 4: of turn. Who did Let's go get on? Let's go

484
00:29:21,800 --> 00:29:24,320
Speaker 4: get on, Jordan, And I was like, don't ask me that,

485
00:29:24,360 --> 00:29:26,320
Speaker 4: because the fans are going getting people.

486
00:29:33,520 --> 00:29:36,600
Speaker 2: What is the age difference between you and your brother.

487
00:29:36,520 --> 00:29:39,720
Speaker 4: Lewis two years? Okay, we were all two years apart.

488
00:29:40,400 --> 00:29:43,360
Speaker 4: It was Lewis's two years apart from me was two

489
00:29:43,440 --> 00:29:44,400
Speaker 4: years and my older brother.

490
00:29:45,600 --> 00:29:50,120
Speaker 2: So your first professional gig outside of the Johnson Brothers

491
00:29:50,160 --> 00:29:52,640
Speaker 2: plus one or the Johnson three plus one.

492
00:29:52,760 --> 00:29:57,440
Speaker 4: Right, I got tired of that. We did win the

493
00:29:57,560 --> 00:30:00,240
Speaker 4: contest and all that in nineteen sixty eight k f

494
00:30:00,320 --> 00:30:05,120
Speaker 4: j's concert. We won everything. We won box instruments like

495
00:30:05,200 --> 00:30:08,840
Speaker 4: the Beatles, box guitars, and we got a record contract

496
00:30:08,960 --> 00:30:14,920
Speaker 4: with I just did a documentary portion with Gina Gena

497
00:30:15,040 --> 00:30:17,680
Speaker 4: Ray Mac Bobby Dog.

498
00:30:17,720 --> 00:30:18,040
Speaker 2: Oh yeah.

499
00:30:19,640 --> 00:30:22,880
Speaker 4: She he produced our first record as John's three plus.

500
00:30:22,920 --> 00:30:25,600
Speaker 4: I wanted to testify it will sounded just like tighten

501
00:30:25,760 --> 00:30:28,520
Speaker 4: up with the maked mellow part, but it's like make

502
00:30:28,560 --> 00:30:29,560
Speaker 4: it sweeter, make it.

503
00:30:29,560 --> 00:30:34,800
Speaker 2: Sweeter, right, another breakdown exactly.

504
00:30:35,480 --> 00:30:37,720
Speaker 4: So that was the first time we had, you know,

505
00:30:38,040 --> 00:30:42,600
Speaker 4: met Bobby wo Max Label Venture Records, this guy named

506
00:30:42,680 --> 00:30:43,680
Speaker 4: Mickey Stevenson.

507
00:30:43,760 --> 00:30:46,040
Speaker 2: I think, are you looking at it right now? Yeah?

508
00:30:46,080 --> 00:30:48,160
Speaker 2: Of course, I'm like, are you looking at it right now?

509
00:30:48,200 --> 00:30:50,000
Speaker 2: How much is it goes? Y?

510
00:30:50,080 --> 00:30:53,280
Speaker 4: Well, they only made a thousand records. They sold about

511
00:30:56,840 --> 00:30:59,600
Speaker 4: I don't think it's around. I'm googled and all that stuff,

512
00:31:00,040 --> 00:31:04,080
Speaker 4: but uh, they saw just a single. It was just

513
00:31:04,200 --> 00:31:07,200
Speaker 4: a single. Before that, we did our own demo. We

514
00:31:07,320 --> 00:31:10,480
Speaker 4: used to go up to Rachel's enterprise and we would

515
00:31:10,560 --> 00:31:13,280
Speaker 4: cut demos, which I met a lot of people. Actually,

516
00:31:13,360 --> 00:31:19,040
Speaker 4: my girl friend now she used to work for Rachel's enterprise. Okay,

517
00:31:19,080 --> 00:31:22,760
Speaker 4: and and uh her name is Joy Randall. She also

518
00:31:23,080 --> 00:31:24,520
Speaker 4: she works for Disney now.

519
00:31:25,760 --> 00:31:30,120
Speaker 2: And is this how you started interacting with Billy Preston,

520
00:31:30,200 --> 00:31:31,720
Speaker 2: because I know that no, no, no no.

521
00:31:32,240 --> 00:31:36,760
Speaker 4: With Billy Preston. We were looking for a keyboard player.

522
00:31:37,760 --> 00:31:43,720
Speaker 4: Oh okay, And you mentioned earlier Renee and Angela. Renee

523
00:31:44,760 --> 00:31:48,840
Speaker 4: was the same class with Lewis my younger brother. Oh okay,

524
00:31:49,600 --> 00:31:52,360
Speaker 4: age Renee used to come over quite a bit and

525
00:31:52,400 --> 00:31:54,520
Speaker 4: I met him, and you know, he's a he's a

526
00:31:54,600 --> 00:31:56,720
Speaker 4: hell of a keyboard player. And I thought if we

527
00:31:56,840 --> 00:31:59,280
Speaker 4: had a keyboard player to the group, he would be

528
00:31:59,560 --> 00:32:02,200
Speaker 4: the one because he was, you know, two years young.

529
00:32:02,280 --> 00:32:05,040
Speaker 4: He was bad and like he played me some of

530
00:32:05,040 --> 00:32:11,120
Speaker 4: the stuff he had written and he but only where

531
00:32:11,120 --> 00:32:14,840
Speaker 4: the keyboard was was at Billy Preston's duplex he had

532
00:32:16,320 --> 00:32:20,960
Speaker 4: up off of Olympic. So we took the group and

533
00:32:21,040 --> 00:32:23,479
Speaker 4: we went over to Billy's house where he had an

534
00:32:23,640 --> 00:32:27,040
Speaker 4: organ and a Fender Road downstairs at his mother's place.

535
00:32:28,720 --> 00:32:32,120
Speaker 4: He happened to just come off the road. I think

536
00:32:32,160 --> 00:32:35,360
Speaker 4: he did some work with the Beatles. He's always hanging

537
00:32:35,360 --> 00:32:38,600
Speaker 4: with the Beatles and make Jagger, you know. And he

538
00:32:38,720 --> 00:32:41,440
Speaker 4: came in and I had on this flag shirt like

539
00:32:41,600 --> 00:32:45,160
Speaker 4: I took with my high school picture at Prinshall High.

540
00:32:45,320 --> 00:32:49,000
Speaker 4: By the way, they putting me the fiftieth anniversary of

541
00:32:49,040 --> 00:32:50,560
Speaker 4: Princeville High. And they put me in the Hall of

542
00:32:50,680 --> 00:32:56,680
Speaker 4: Fame October fourteenth. Yeah, Jersey, So I walk in, he

543
00:32:56,840 --> 00:32:59,720
Speaker 4: walks in, See limo pulls up and his Billy he

544
00:32:59,760 --> 00:33:01,960
Speaker 4: gets that was this big wig looking like sly.

545
00:33:03,320 --> 00:33:03,480
Speaker 2: Well.

546
00:33:03,480 --> 00:33:06,240
Speaker 4: I met Slye through him too, because they used to

547
00:33:06,320 --> 00:33:09,920
Speaker 4: come over. Billy Preston was one of the baddest motherfucking

548
00:33:10,040 --> 00:33:13,200
Speaker 4: keyboard players on Earth period.

549
00:33:13,360 --> 00:33:16,280
Speaker 2: What is it about his technic is people always speak

550
00:33:16,280 --> 00:33:19,360
Speaker 2: of But since you played with them? What made him

551
00:33:19,560 --> 00:33:22,240
Speaker 2: such so in demand with all these groups?

552
00:33:22,280 --> 00:33:25,440
Speaker 4: And well number one groups would call him for him

553
00:33:25,560 --> 00:33:28,920
Speaker 4: to make them. Yeah, like the Beatles, you know. I

554
00:33:29,000 --> 00:33:32,080
Speaker 4: went over there well finishing that story, I mean I

555
00:33:32,160 --> 00:33:34,920
Speaker 4: met the Beatles through Billy. I met sly and family

556
00:33:35,000 --> 00:33:40,680
Speaker 4: Stone through Billy Preston. He was connected which one I

557
00:33:40,840 --> 00:33:44,000
Speaker 4: was when you when you met sly Oh, I was like,

558
00:33:44,200 --> 00:33:45,480
Speaker 4: so goddamn nervous.

559
00:33:47,800 --> 00:33:48,400
Speaker 2: What year was?

560
00:33:48,480 --> 00:33:52,360
Speaker 4: This just had to be in around seventy because he did.

561
00:33:54,720 --> 00:33:57,320
Speaker 4: I was there when Poet went down.

562
00:33:57,520 --> 00:34:03,640
Speaker 2: Wow, I was there.

563
00:34:04,520 --> 00:34:09,279
Speaker 4: But I'll tell this pre story real quick, okay. And

564
00:34:10,760 --> 00:34:14,120
Speaker 4: Billy had asked me to join the group. He walked

565
00:34:14,160 --> 00:34:16,120
Speaker 4: in and saw a big afro and I was in

566
00:34:16,280 --> 00:34:19,480
Speaker 4: my I was like, I was like Jimmy Hendrix and

567
00:34:19,640 --> 00:34:25,320
Speaker 4: Freddy Stone combined and having more time. Things back. So

568
00:34:25,360 --> 00:34:31,439
Speaker 4: I was playing some guitar you would have been probably, yeah,

569
00:34:31,960 --> 00:34:38,640
Speaker 4: I would prefer to be Barry Gordy's the original one.

570
00:34:39,520 --> 00:34:42,719
Speaker 4: So when Billy asked me, and it's like I was

571
00:34:42,800 --> 00:34:45,520
Speaker 4: kind of getting tired of just like we ran our

572
00:34:45,600 --> 00:34:48,440
Speaker 4: gambit as a johnst One and I kept telling my

573
00:34:48,560 --> 00:34:51,759
Speaker 4: brothers that, you know, it's like somebody got to leave.

574
00:34:51,840 --> 00:34:54,439
Speaker 4: We had to go do something else. They didn't want

575
00:34:54,480 --> 00:34:56,400
Speaker 4: me to go, but they wasn't telling me not to go.

576
00:34:57,640 --> 00:35:00,359
Speaker 4: So I went to audition a keyboard player. He comes

577
00:35:00,440 --> 00:35:02,719
Speaker 4: Billy and he's gonna pull me out of our group.

578
00:35:03,160 --> 00:35:06,640
Speaker 4: I want you to play with me. So that was

579
00:35:06,680 --> 00:35:09,759
Speaker 4: a decision I had to make sure we continue on

580
00:35:09,920 --> 00:35:11,680
Speaker 4: with this new keyboard pro, which he probably would have

581
00:35:11,719 --> 00:35:18,359
Speaker 4: been bad. It probably could have worked out. And as

582
00:35:18,480 --> 00:35:20,520
Speaker 4: he pulled me aside and he asked me, how long

583
00:35:20,600 --> 00:35:22,680
Speaker 4: have you been playing? He said, love the way you play?

584
00:35:23,120 --> 00:35:24,960
Speaker 4: Who were some people that you love? And I was

585
00:35:24,960 --> 00:35:27,680
Speaker 4: telling him sly and he just start smiling. He knew them.

586
00:35:27,920 --> 00:35:31,440
Speaker 4: That was his best friends. I like Freddie Stone, I

587
00:35:31,560 --> 00:35:35,239
Speaker 4: like Jimmy Hendrix. Is he needed that ingredient he did

588
00:35:35,360 --> 00:35:39,800
Speaker 4: not have me before? He asked me. He did have

589
00:35:39,920 --> 00:35:46,879
Speaker 4: some other great people, Tony Maid and Bobby Watson. Yes,

590
00:35:47,080 --> 00:35:53,520
Speaker 4: right right, yeah, I mean they were before us, and uh,

591
00:35:54,320 --> 00:35:56,440
Speaker 4: I was also listening to them because we are on

592
00:35:56,520 --> 00:36:00,480
Speaker 4: the same We had played clubs and we'd see Rufus

593
00:36:00,480 --> 00:36:03,600
Speaker 4: and Shack Account. That's how I new about them, and

594
00:36:04,160 --> 00:36:06,000
Speaker 4: as far as a lot of other groups too, but

595
00:36:06,120 --> 00:36:10,200
Speaker 4: they kind of stood out. We wound up having some history,

596
00:36:10,960 --> 00:36:18,920
Speaker 4: uh later in life, touring together. So I decided to myself,

597
00:36:19,320 --> 00:36:21,920
Speaker 4: I'm gonna go out with Billy. So Billy called. He said, man,

598
00:36:22,640 --> 00:36:25,399
Speaker 4: we're getting ready to do what like six months old

599
00:36:25,400 --> 00:36:30,239
Speaker 4: in Europe. So I said, well, I said I'll go.

600
00:36:31,840 --> 00:36:34,480
Speaker 4: So it's having dinner and to mention to my mom.

601
00:36:35,920 --> 00:36:40,120
Speaker 4: I said, well, by the way, by the way, I'm

602
00:36:40,239 --> 00:36:47,040
Speaker 4: leaving in the morning, just like that. I'm that's how it.

603
00:36:47,080 --> 00:36:49,960
Speaker 4: What said, I'm leaving in the morning to go to Europe.

604
00:36:51,080 --> 00:36:52,080
Speaker 4: I've been going to Germany.

605
00:36:52,239 --> 00:36:56,320
Speaker 2: You ain't going, No, damn Johnny you.

606
00:36:56,440 --> 00:36:58,200
Speaker 4: I asked to getting up and going to school because

607
00:36:58,239 --> 00:37:01,640
Speaker 4: I was in junior high school, junior college and West

608
00:37:01,800 --> 00:37:04,160
Speaker 4: l A's Junior College, and I had set up all

609
00:37:04,200 --> 00:37:06,560
Speaker 4: these musical courses. And I asked my teacher. He was

610
00:37:06,560 --> 00:37:08,960
Speaker 4: the only one I respected. So if you had the

611
00:37:09,080 --> 00:37:10,600
Speaker 4: chance to go out with Billy Preston and go to

612
00:37:10,719 --> 00:37:12,960
Speaker 4: Europe and you know, do music. But I had like

613
00:37:13,080 --> 00:37:16,560
Speaker 4: harmony theory. I had like a handful of different types

614
00:37:16,600 --> 00:37:18,839
Speaker 4: of music because I wanted to finish do to learn

615
00:37:18,920 --> 00:37:22,440
Speaker 4: the music. And he said, what yours. Let me tell

616
00:37:22,440 --> 00:37:24,760
Speaker 4: you this, you only have one chance to go to Europe.

617
00:37:25,239 --> 00:37:27,040
Speaker 4: You can always come back to school. So I would

618
00:37:27,120 --> 00:37:31,919
Speaker 4: clean out your lock her. So I just went took

619
00:37:31,920 --> 00:37:34,920
Speaker 4: all my shit out, cleaned it up, put it in

620
00:37:35,040 --> 00:37:39,759
Speaker 4: my bag, went home and decided to I was going

621
00:37:39,840 --> 00:37:42,120
Speaker 4: to Europe. So I called my girlfriend.

622
00:37:44,320 --> 00:37:46,400
Speaker 2: I served my mom right now, boy, you ain't decide not.

623
00:37:48,800 --> 00:37:52,919
Speaker 4: I'm your decision making. So I told her to come.

624
00:37:53,560 --> 00:37:56,840
Speaker 4: I was goa come get her and go to the airport.

625
00:37:56,960 --> 00:37:59,360
Speaker 4: I was leaving the cars to my low riding Malibu

626
00:38:00,640 --> 00:38:04,840
Speaker 4: about sixty five Malabou Orange with GJ on the side

627
00:38:04,840 --> 00:38:08,320
Speaker 4: of white in terrier. And it wasn't dropped. I just

628
00:38:08,400 --> 00:38:14,040
Speaker 4: cut the strings. So the hell it had a rock

629
00:38:14,160 --> 00:38:19,479
Speaker 4: to it, you know. So and I left. My mom

630
00:38:19,600 --> 00:38:21,359
Speaker 4: came down, but she had told me get up, it's

631
00:38:21,400 --> 00:38:24,120
Speaker 4: time to go to school. I said, all I said, well,

632
00:38:24,280 --> 00:38:29,200
Speaker 4: I told you I am going to Gymany. So she

633
00:38:29,320 --> 00:38:34,280
Speaker 4: didn't believe me. All right, So I leave and probably

634
00:38:34,400 --> 00:38:37,080
Speaker 4: was gone for about a good month because I was

635
00:38:37,200 --> 00:38:40,720
Speaker 4: known for getting up leaving because you know, the girlfriend

636
00:38:40,840 --> 00:38:44,399
Speaker 4: at least I had called checked. I didn't call because

637
00:38:44,440 --> 00:38:49,440
Speaker 4: I didn't want to hear right.

638
00:38:49,560 --> 00:38:50,080
Speaker 2: Oh man.

639
00:38:50,520 --> 00:38:54,319
Speaker 4: So we were in London and I decided to call.

640
00:38:55,480 --> 00:38:59,719
Speaker 4: And this is in seventy one. So I said, look,

641
00:39:00,840 --> 00:39:03,319
Speaker 4: I'm in London, England, and we're leaving here. We're going

642
00:39:03,360 --> 00:39:06,520
Speaker 4: to Paris. And you know, I'm fine, I'm good. I'm

643
00:39:06,560 --> 00:39:10,080
Speaker 4: making some good money making like probably about seven hundred

644
00:39:10,120 --> 00:39:16,600
Speaker 4: per gig, which wasn't bad. Yeah, And I told her

645
00:39:16,640 --> 00:39:19,319
Speaker 4: I will send money. So then she kind of chilled out.

646
00:39:21,680 --> 00:39:25,000
Speaker 4: Then I want I sent money, and even though I

647
00:39:25,120 --> 00:39:28,279
Speaker 4: had no bills, I just sent money and she didn't

648
00:39:28,280 --> 00:39:31,520
Speaker 4: said another you know, she's like knew. And I was

649
00:39:31,600 --> 00:39:37,640
Speaker 4: the only son who would do anything like that, including

650
00:39:37,760 --> 00:39:41,919
Speaker 4: when his bass player Grady quit and Billy he quit

651
00:39:42,040 --> 00:39:45,040
Speaker 4: at the airport. I used to go home and teach

652
00:39:45,320 --> 00:39:47,759
Speaker 4: Lewis the show. We'd sit on the side of the

653
00:39:47,840 --> 00:39:51,280
Speaker 4: bed he had. We had double beds, and my guitar

654
00:39:51,840 --> 00:39:56,760
Speaker 4: this way and his guitar that way. Easy to follow,

655
00:39:57,680 --> 00:40:00,759
Speaker 4: so I taught him every song he had done. So

656
00:40:01,080 --> 00:40:03,879
Speaker 4: my brother Lewis literally new Billy show after the first

657
00:40:03,960 --> 00:40:08,160
Speaker 4: tour after the year, goes by at the airport and

658
00:40:08,840 --> 00:40:12,800
Speaker 4: I think they had red Devils available, yellow jackets, Kwai ludes,

659
00:40:12,880 --> 00:40:24,560
Speaker 4: all that ship was out his bass players. These are pills.

660
00:40:24,920 --> 00:40:26,960
Speaker 4: I never really got into them. I had girls, they

661
00:40:27,040 --> 00:40:28,719
Speaker 4: come over and they bring it to the parties and

662
00:40:28,840 --> 00:40:30,960
Speaker 4: whole bag of yellow jackets, and what the hell are

663
00:40:30,960 --> 00:40:33,000
Speaker 4: you gonna do with this? You know, there was no

664
00:40:33,200 --> 00:40:36,520
Speaker 4: sealem you know, I don't know. People at the party

665
00:40:36,719 --> 00:40:39,439
Speaker 4: they'd take one, and you know, my dad would find

666
00:40:39,480 --> 00:40:48,240
Speaker 4: what was this ship. He always was taken. He flushed

667
00:40:48,320 --> 00:40:50,560
Speaker 4: down the toilet and it was funny. I'm gonna tell

668
00:40:50,560 --> 00:40:52,760
Speaker 4: you this story. This is kind of my personal business.

669
00:40:53,040 --> 00:40:56,680
Speaker 4: But you know, I had sampled, uh some lines of cocaine.

670
00:40:56,760 --> 00:40:59,120
Speaker 4: I had a friend of mine who always had it,

671
00:40:59,440 --> 00:41:02,719
Speaker 4: and he kind of I'd tell that other people I knew,

672
00:41:02,760 --> 00:41:05,160
Speaker 4: I'm not gonna mention they were doing it. So he

673
00:41:05,320 --> 00:41:07,719
Speaker 4: brought it and he had like a whole mountain of

674
00:41:07,760 --> 00:41:11,520
Speaker 4: cocaine out in the bedroom. My dad saw the weed

675
00:41:12,000 --> 00:41:15,759
Speaker 4: experiment with weed cocaine, but in that pills. He said,

676
00:41:15,760 --> 00:41:17,960
Speaker 4: I'll tell you one thing, you better flush that down

677
00:41:18,000 --> 00:41:20,280
Speaker 4: a toilet. About the weed.

678
00:41:23,120 --> 00:41:24,040
Speaker 2: Was the biggest concern.

679
00:41:24,360 --> 00:41:26,279
Speaker 4: Yeah, he he didn't know what blow was.

680
00:41:28,680 --> 00:41:29,120
Speaker 2: I don't know.

681
00:41:35,040 --> 00:41:40,200
Speaker 4: Right now, so you know, he he couldn't He didn't.

682
00:41:40,280 --> 00:41:43,279
Speaker 4: He couldn't say anything about that because he didn't know

683
00:41:43,360 --> 00:41:45,799
Speaker 4: what it was. So I'm looking at my boy who

684
00:41:45,840 --> 00:41:49,120
Speaker 4: brought it, and We're both like glad he said flush

685
00:41:49,160 --> 00:41:52,839
Speaker 4: the weed, and I was both. I mean, I had

686
00:41:52,960 --> 00:41:56,680
Speaker 4: just got into too cocaine and I didn't really know

687
00:41:56,800 --> 00:41:59,440
Speaker 4: how I was supposed to feel, you know. And UH

688
00:41:59,760 --> 00:42:02,399
Speaker 4: got around a few huge people that they were known

689
00:42:02,480 --> 00:42:03,320
Speaker 4: for that ship.

690
00:42:03,840 --> 00:42:12,040
Speaker 2: Speaking of which, can you tell that police went? All? Right?

691
00:42:12,040 --> 00:42:14,439
Speaker 4: So I get back home from the trip. I didn't

692
00:42:14,440 --> 00:42:21,959
Speaker 4: mean to go off. Please, like Troy would say, we talked.

693
00:42:23,480 --> 00:42:24,480
Speaker 2: That's what this show is for.

694
00:42:27,440 --> 00:42:30,000
Speaker 4: Just bring me back to Okay. So anyway, I go

695
00:42:30,120 --> 00:42:35,360
Speaker 4: back to Billy Preston and it's so ironic and I

696
00:42:36,000 --> 00:42:38,479
Speaker 4: don't know if I should mention this, but I probably will.

697
00:42:39,160 --> 00:42:39,520
Speaker 2: I will.

698
00:42:41,040 --> 00:42:44,400
Speaker 4: A friend of mine who was Billy's engineer, took me

699
00:42:44,719 --> 00:42:49,800
Speaker 4: over to this girl he was dating, and it was

700
00:42:50,160 --> 00:42:54,480
Speaker 4: April and her sister happened to be Kathy, who was

701
00:42:55,560 --> 00:43:06,080
Speaker 4: married Kathy Silver. Yeah, okay, So he goes into the

702
00:43:06,160 --> 00:43:11,560
Speaker 4: bedroom with with April and he leaves me with Kathy.

703
00:43:12,520 --> 00:43:14,200
Speaker 4: So we're down. So this first time I met her,

704
00:43:14,520 --> 00:43:17,080
Speaker 4: and you know, I wasn't married, and everything was cool,

705
00:43:17,200 --> 00:43:20,440
Speaker 4: and I thought she was so beautiful and nice and sweet.

706
00:43:21,360 --> 00:43:23,880
Speaker 4: But back then, I mean, I had so much experience

707
00:43:23,920 --> 00:43:25,960
Speaker 4: with a bunch of different gorgeous women. I had three

708
00:43:26,000 --> 00:43:28,960
Speaker 4: of them living with me at one time. Three they

709
00:43:29,000 --> 00:43:31,520
Speaker 4: were all girlfriends and they never left. So I had

710
00:43:31,560 --> 00:43:33,480
Speaker 4: to put him to work. All right, You comed up

711
00:43:33,520 --> 00:43:38,440
Speaker 4: the kitchen and you cut clean. All I know is

712
00:43:38,560 --> 00:43:39,680
Speaker 4: I'm writing good.

713
00:43:39,560 --> 00:43:44,400
Speaker 2: To you, legends.

714
00:43:46,760 --> 00:43:48,640
Speaker 4: Are you listening to this episode.

715
00:43:50,880 --> 00:43:51,280
Speaker 2: Special?

716
00:43:54,760 --> 00:43:56,560
Speaker 4: I'm me to tell the truth. Like I mentioned, it

717
00:43:56,640 --> 00:44:00,399
Speaker 4: was probably be the most truthful interview, and it's gonna

718
00:44:00,440 --> 00:44:03,320
Speaker 4: take you in a lot of different areas y'all have

719
00:44:03,440 --> 00:44:05,640
Speaker 4: done because I'm just being me. A lot of this

720
00:44:05,719 --> 00:44:07,759
Speaker 4: stuff I'm putting in my book, which is gonna be

721
00:44:07,920 --> 00:44:12,320
Speaker 4: off the change, incredible, and it'll be more informative that

722
00:44:12,440 --> 00:44:16,399
Speaker 4: I can dig into right now. But this year, well

723
00:44:16,520 --> 00:44:20,120
Speaker 4: I got it seventy percent done, so I left off

724
00:44:20,680 --> 00:44:23,399
Speaker 4: actually sixty percent. I left off twenty percent off the back,

725
00:44:23,560 --> 00:44:26,880
Speaker 4: twenty off the front, so and nobody could do it. Okay,

726
00:44:27,480 --> 00:44:29,440
Speaker 4: it goes back when I was like a baby.

727
00:44:30,360 --> 00:44:30,800
Speaker 2: That stuff.

728
00:44:30,840 --> 00:44:32,440
Speaker 4: I remember the first time it rained.

729
00:44:32,880 --> 00:44:33,120
Speaker 2: Wow.

730
00:44:36,440 --> 00:44:39,000
Speaker 4: But me hooking up with Kathy was like he put

731
00:44:39,080 --> 00:44:41,319
Speaker 4: me with Kathy because he was with April. And then

732
00:44:41,400 --> 00:44:43,800
Speaker 4: they disappeared and left us in the room. So we

733
00:44:43,960 --> 00:44:46,160
Speaker 4: laid by the fireplace, and you know, I had no

734
00:44:46,400 --> 00:44:52,400
Speaker 4: idea that was gonna be sliced on wife, So you know,

735
00:44:52,719 --> 00:44:54,880
Speaker 4: the most furthest I went with her. We kissed a

736
00:44:54,960 --> 00:44:57,560
Speaker 4: little bit, and you know it's like, shit, I'm not

737
00:44:57,640 --> 00:44:59,839
Speaker 4: gonna lay out here and let him walk into us.

738
00:45:00,120 --> 00:45:01,319
Speaker 2: We can't walk into him.

739
00:45:06,200 --> 00:45:08,520
Speaker 4: So and we were there for probably for a couple

740
00:45:08,560 --> 00:45:13,480
Speaker 4: of hours, and her older sister, April wanted us to

741
00:45:13,560 --> 00:45:15,440
Speaker 4: hook up because Michael and I kind of had a

742
00:45:15,600 --> 00:45:19,560
Speaker 4: look alike with big afros, light skin, very cool, you know,

743
00:45:19,719 --> 00:45:25,280
Speaker 4: on chill. You know, I never really wanted for anything

744
00:45:25,360 --> 00:45:28,640
Speaker 4: as far as out of a woman than that my

745
00:45:28,840 --> 00:45:33,239
Speaker 4: grandmother or mother aunts could give. So I've been used

746
00:45:33,320 --> 00:45:35,040
Speaker 4: to that, so I wasn't used to a lot of

747
00:45:35,120 --> 00:45:38,000
Speaker 4: the benefits of a woman. Just like we wing not

748
00:45:38,160 --> 00:45:40,080
Speaker 4: have my guitar. I said, this is the only thing

749
00:45:40,160 --> 00:45:43,480
Speaker 4: you can't come in between me and my guitar, or

750
00:45:43,600 --> 00:45:47,600
Speaker 4: my guitar or my music. And it kind of rolled

751
00:45:47,680 --> 00:45:49,800
Speaker 4: from that. That's why the woman who I picked was

752
00:45:49,920 --> 00:45:55,360
Speaker 4: Troy's mom. You know, she was my soulmate and nobody

753
00:45:55,560 --> 00:45:58,200
Speaker 4: comes close to that. She passed in two thousand, but

754
00:45:58,960 --> 00:46:00,600
Speaker 4: you know she was the only one I let into

755
00:46:00,680 --> 00:46:08,239
Speaker 4: my world and inspired me to continue writing. Okay, So anyway, afterwards,

756
00:46:08,440 --> 00:46:10,680
Speaker 4: you know, Sly played the Palladium and I took my

757
00:46:11,080 --> 00:46:15,400
Speaker 4: wife to be there and we went backstage and I

758
00:46:15,480 --> 00:46:19,160
Speaker 4: saw Kathy and Sly coming down the hallway. They're getting

759
00:46:19,160 --> 00:46:20,840
Speaker 4: ready to go on because I said I want to go.

760
00:46:21,719 --> 00:46:24,880
Speaker 4: You know, see Sly. I didn't know him yet, so

761
00:46:25,040 --> 00:46:25,920
Speaker 4: I see him walking.

762
00:46:26,000 --> 00:46:26,760
Speaker 2: This is when.

763
00:46:28,800 --> 00:46:31,279
Speaker 4: He was they were doing if you want me to stay?

764
00:46:31,680 --> 00:46:35,239
Speaker 4: It came out. Yeah, but I had met him before.

765
00:46:35,280 --> 00:46:38,680
Speaker 4: We'll get back to that. But I saw her coming

766
00:46:38,719 --> 00:46:40,200
Speaker 4: and he turned his head and he end on his

767
00:46:40,280 --> 00:46:42,680
Speaker 4: big hat and a selver outfit, and she like looked

768
00:46:42,719 --> 00:46:49,960
Speaker 4: at me and her and she said, so I totally

769
00:46:50,200 --> 00:46:52,480
Speaker 4: got it. I understood it. There's like a lot of

770
00:46:52,640 --> 00:46:59,360
Speaker 4: Sly attitude personality. It just came into me just from watching, listening,

771
00:47:00,080 --> 00:47:02,920
Speaker 4: telling stories. Because Troy will tell you it's not to me.

772
00:47:03,000 --> 00:47:06,480
Speaker 4: People he'd trust to this day except for me. And

773
00:47:06,600 --> 00:47:09,239
Speaker 4: I can truly say that, Oh will sit down and

774
00:47:09,440 --> 00:47:12,359
Speaker 4: you know slides man, I mean Troy's mane.

775
00:47:12,480 --> 00:47:16,200
Speaker 5: Then email will be encrypted though they got a special

776
00:47:16,280 --> 00:47:19,000
Speaker 5: funk language that the emails Emil.

777
00:47:20,800 --> 00:47:25,960
Speaker 4: Yeah, this is probably about four years ago and we

778
00:47:26,080 --> 00:47:32,239
Speaker 4: still talk. He'd send me like eighty five emails.

779
00:47:33,760 --> 00:47:39,080
Speaker 2: In a day, Sylvester. No, he does.

780
00:47:39,120 --> 00:47:41,120
Speaker 4: He has a laptop and you know he'd learn and

781
00:47:41,160 --> 00:47:45,160
Speaker 4: when he'd get bored, he would text people that he trusts,

782
00:47:45,239 --> 00:47:48,480
Speaker 4: not everybody. So we would when I wasn't around him,

783
00:47:48,520 --> 00:47:50,840
Speaker 4: and I don't go around him a lot, he'd have

784
00:47:50,920 --> 00:47:53,239
Speaker 4: a questions, a g I got some songs. I got

785
00:47:53,320 --> 00:47:57,640
Speaker 4: some new songs because he would give me songs. He'd

786
00:47:57,640 --> 00:47:59,080
Speaker 4: come over to my house and I was out to

787
00:47:59,120 --> 00:48:02,120
Speaker 4: Dina when I was with Patrise. That's why Patrice come by.

788
00:48:05,120 --> 00:48:07,040
Speaker 4: They all would love to meet him, but he wouldn't

789
00:48:07,080 --> 00:48:08,880
Speaker 4: let a lot of people meet him period.

790
00:48:09,680 --> 00:48:12,120
Speaker 2: Why was he such a recluse because I know that

791
00:48:12,239 --> 00:48:15,000
Speaker 2: once he well, that's because people that he trusted and

792
00:48:15,120 --> 00:48:17,000
Speaker 2: he opens up and he's regular and that sort of thing.

793
00:48:17,560 --> 00:48:22,520
Speaker 4: Because he's a prophet, and a prophet is one who

794
00:48:22,880 --> 00:48:28,120
Speaker 4: only God is spoken to. Wow, you know, yeah, then

795
00:48:28,200 --> 00:48:32,480
Speaker 4: that's the true fact. Like Abraham was a prophet. Those

796
00:48:32,560 --> 00:48:35,800
Speaker 4: are who God speaks to somebody who's been on the

797
00:48:35,880 --> 00:48:38,480
Speaker 4: journey and who accepts themselves and who could still do

798
00:48:38,600 --> 00:48:41,760
Speaker 4: what they want to do regardless. And he has leadership,

799
00:48:41,840 --> 00:48:43,800
Speaker 4: and all of a sudden he doesn't have any leadership,

800
00:48:44,239 --> 00:48:46,279
Speaker 4: then he has someone he wants to trust. The two

801
00:48:46,480 --> 00:48:49,320
Speaker 4: it's like a God speaking to Jesus. And you know

802
00:48:49,560 --> 00:48:52,840
Speaker 4: it gets so deep as far he don't doesn't spread

803
00:48:52,880 --> 00:48:55,400
Speaker 4: himself out. If you want no slide. Just listen to

804
00:48:55,480 --> 00:49:00,279
Speaker 4: all of his songs. You caught me smiling all that

805
00:49:00,360 --> 00:49:04,000
Speaker 4: and listened stand because he politically in the sixties was

806
00:49:04,160 --> 00:49:08,800
Speaker 4: like the only Malcolm X that would bring truth and

807
00:49:08,880 --> 00:49:09,879
Speaker 4: put it in your face.

808
00:49:10,760 --> 00:49:12,560
Speaker 2: So with poet, like when you were there of him,

809
00:49:12,600 --> 00:49:12,960
Speaker 2: what was that?

810
00:49:13,600 --> 00:49:16,320
Speaker 4: Well when we after I met him, and this is

811
00:49:16,360 --> 00:49:18,640
Speaker 4: the scary part for me because I heard him before

812
00:49:18,680 --> 00:49:23,479
Speaker 4: I met him. He Kathy was in the house with Billy, okay,

813
00:49:23,480 --> 00:49:26,920
Speaker 4: because Billy's sisters knew her or something, and that's how

814
00:49:27,000 --> 00:49:29,680
Speaker 4: that hooked up. I'm trying to look at her. This

815
00:49:29,760 --> 00:49:32,719
Speaker 4: is before we hooked up, checking her out. Then he

816
00:49:32,800 --> 00:49:38,000
Speaker 4: said slides here. I'm like what I looked out the window.

817
00:49:38,000 --> 00:49:40,760
Speaker 4: I knew he had a mobile home that he record

818
00:49:40,880 --> 00:49:46,560
Speaker 4: with and he would he came to Billy had wooden stairs,

819
00:49:47,840 --> 00:49:54,360
Speaker 4: so I'm hearing Sly's voice her and just walk Sevesters here, Sevester.

820
00:49:55,280 --> 00:49:58,120
Speaker 4: So I'm like sitting by the on the seat of

821
00:49:58,200 --> 00:50:01,279
Speaker 4: the keyboard player right where the doorway, getting ready to

822
00:50:01,280 --> 00:50:03,719
Speaker 4: see this man for the first time in my life.

823
00:50:03,800 --> 00:50:06,279
Speaker 4: But I knew him, like you know, and they see

824
00:50:06,360 --> 00:50:09,680
Speaker 4: him he walks in. Then they had this thing with

825
00:50:09,760 --> 00:50:11,800
Speaker 4: that like stomp and laugh.

826
00:50:12,000 --> 00:50:12,880
Speaker 2: Which you know how to do.

827
00:50:13,320 --> 00:50:19,680
Speaker 4: They're talking right exactly, and I looked at him. It

828
00:50:19,719 --> 00:50:22,680
Speaker 4: was like my mouth dropped because it was like seeing

829
00:50:22,840 --> 00:50:26,400
Speaker 4: Jimmy Hendrix. But I was concerned, and you know, we

830
00:50:26,480 --> 00:50:28,520
Speaker 4: got a chance to talk about all that kind of

831
00:50:28,520 --> 00:50:31,200
Speaker 4: stuff because we became very close and Billy pointed at

832
00:50:31,280 --> 00:50:36,680
Speaker 4: me first said this is George Johnson, this is my

833
00:50:36,800 --> 00:50:40,160
Speaker 4: new guitarist. And Billy was so proud of me. Sly

834
00:50:40,400 --> 00:50:43,919
Speaker 4: knew what that meant. He knew exactly what that meant.

835
00:50:44,000 --> 00:50:46,640
Speaker 4: So Sly out of Billy's whole band, I was the

836
00:50:46,760 --> 00:50:50,239
Speaker 4: only one who opened up that He opened up too,

837
00:50:51,239 --> 00:50:54,560
Speaker 4: And that's how I got to get into bell Air

838
00:50:55,480 --> 00:50:58,759
Speaker 4: with Poet and uh. Well, after he visited, he went

839
00:50:58,880 --> 00:51:01,920
Speaker 4: to the room with Suet Billy, and I'm like sitting

840
00:51:02,000 --> 00:51:04,800
Speaker 4: in the in the living room kind of shaking thinking

841
00:51:04,880 --> 00:51:07,000
Speaker 4: what I wanted to ask him, or if I should

842
00:51:07,040 --> 00:51:09,200
Speaker 4: ask him anything at all, because he had that vibe

843
00:51:09,280 --> 00:51:11,239
Speaker 4: first of all, and held get out. He always want

844
00:51:11,280 --> 00:51:13,960
Speaker 4: a leather he had this way he was sliced out.

845
00:51:14,160 --> 00:51:15,080
Speaker 2: You have his dog with him?

846
00:51:15,880 --> 00:51:18,520
Speaker 4: Gun? Yeah, no he didn't, he told me shot gun

847
00:51:18,640 --> 00:51:19,040
Speaker 4: in the head.

848
00:51:19,160 --> 00:51:25,360
Speaker 2: Oh, Okay, I'm sorry.

849
00:51:26,280 --> 00:51:28,239
Speaker 4: No, he said, this is how that happened. He was

850
00:51:28,600 --> 00:51:32,960
Speaker 4: Kathy was at home. He was in the studio. This

851
00:51:33,080 --> 00:51:35,120
Speaker 4: is right before I started kind of following to the

852
00:51:35,160 --> 00:51:38,680
Speaker 4: studios and he'd let me come in and uh, same

853
00:51:38,760 --> 00:51:41,920
Speaker 4: thing like with Stevie Wonder and out there when he

854
00:51:42,000 --> 00:51:48,080
Speaker 4: did creeping on Oh wow wow. Uh Billy got a

855
00:51:48,160 --> 00:51:51,840
Speaker 4: call Kathy and she said, she said, Sylvester, you have

856
00:51:51,920 --> 00:51:54,759
Speaker 4: to come home. Gun just bit your son.

857
00:51:55,120 --> 00:51:57,920
Speaker 2: Yeah wait, Gun, just what bit the baby?

858
00:51:58,920 --> 00:52:01,759
Speaker 4: So, just like I told me this story, I said,

859
00:52:01,800 --> 00:52:03,960
Speaker 4: so what did you do and how did you do it?

860
00:52:04,600 --> 00:52:08,719
Speaker 4: He said, Man, he said, I went went home and

861
00:52:08,840 --> 00:52:11,080
Speaker 4: I went outside and sat down because he had a

862
00:52:11,200 --> 00:52:13,359
Speaker 4: baboon and a pit bull.

863
00:52:14,000 --> 00:52:15,480
Speaker 2: What I didn't know about the baboon.

864
00:52:19,520 --> 00:52:21,279
Speaker 4: He had a baboon. I can't tell you what the

865
00:52:21,320 --> 00:52:24,920
Speaker 4: pit did to the baboon, but he'd have him in

866
00:52:25,000 --> 00:52:27,879
Speaker 4: the cage and he'd always stick. It's all my trying

867
00:52:27,920 --> 00:52:30,680
Speaker 4: to get the pit. But he said, I went outside

868
00:52:30,719 --> 00:52:35,239
Speaker 4: and I looked at Gun and uh Sly was like,

869
00:52:35,360 --> 00:52:36,360
Speaker 4: this is the personality.

870
00:52:36,360 --> 00:52:36,600
Speaker 2: He said.

871
00:52:36,640 --> 00:52:39,799
Speaker 4: I just asked him one time, he said, Gun said,

872
00:52:39,840 --> 00:52:44,280
Speaker 4: did you bite little Sylvester? So the dog he didn't

873
00:52:44,320 --> 00:52:47,239
Speaker 4: put his head down, and he knew Sly Slide had

874
00:52:47,320 --> 00:52:51,120
Speaker 4: him train really well, and he had his gun for gun,

875
00:52:52,440 --> 00:52:55,000
Speaker 4: his tail didn't go down. I said, don't tell me.

876
00:52:55,160 --> 00:52:58,319
Speaker 4: He said no, he didn't submit when I asked him

877
00:52:58,360 --> 00:53:01,080
Speaker 4: that question. So he took the gun and me had

878
00:53:01,160 --> 00:53:04,840
Speaker 4: just shot him in the head. That told me a

879
00:53:04,920 --> 00:53:09,560
Speaker 4: whole lot about it. Jesus, Christ shot the damn dog

880
00:53:09,680 --> 00:53:12,479
Speaker 4: in the head because he didn't at least he didn't

881
00:53:12,480 --> 00:53:14,760
Speaker 4: submit to what he did. Is that what happened?

882
00:53:15,480 --> 00:53:15,680
Speaker 2: Yeah?

883
00:53:17,880 --> 00:53:20,440
Speaker 4: That was That was Sly hunt. These are things that

884
00:53:20,480 --> 00:53:22,719
Speaker 4: I never really told in public. This is one reason

885
00:53:22,760 --> 00:53:25,520
Speaker 4: why him and I are so. I can't tell you

886
00:53:25,680 --> 00:53:28,680
Speaker 4: too too much about him because but he wouldn't be

887
00:53:28,760 --> 00:53:35,000
Speaker 4: listening though, right, somebody, somebody could somebody, Man, you hit

888
00:53:35,040 --> 00:53:36,959
Speaker 4: that great story, George Johnson.

889
00:53:37,880 --> 00:53:41,680
Speaker 2: You're out there listening. We would love, would love to

890
00:53:41,719 --> 00:53:42,640
Speaker 2: have you on the show. Slide.

891
00:53:42,920 --> 00:53:44,600
Speaker 4: This is I can get him on the show.

892
00:53:45,280 --> 00:53:51,680
Speaker 2: Jesus, that was. Does he still I had running with

893
00:53:51,840 --> 00:53:55,200
Speaker 2: him maybe five six years ago? Does he still have this?

894
00:53:55,480 --> 00:54:00,359
Speaker 2: It looks like the speed racer kind of audio death bike.

895
00:54:01,120 --> 00:54:05,000
Speaker 2: Oh yeah, I heard it just like after.

896
00:54:05,080 --> 00:54:07,280
Speaker 4: It looks like it looks like the Adams family.

897
00:54:09,320 --> 00:54:12,080
Speaker 2: It was so hot, and it was like it was me.

898
00:54:12,880 --> 00:54:17,279
Speaker 2: Chappelle and I were headed to the Grammys in the

899
00:54:17,360 --> 00:54:23,120
Speaker 2: year that the Sliding family Stone reunited, and like just

900
00:54:23,280 --> 00:54:26,719
Speaker 2: at our feet, Slide stopped and Dave and I just

901
00:54:26,800 --> 00:54:28,799
Speaker 2: looked at each other and then he just went off,

902
00:54:28,880 --> 00:54:30,839
Speaker 2: and it was like it was one of the things,

903
00:54:30,920 --> 00:54:33,760
Speaker 2: like no one's ever going to believe what just happened.

904
00:54:34,800 --> 00:54:36,760
Speaker 4: Well, I had a lot of those kind of stories,

905
00:54:36,800 --> 00:54:39,040
Speaker 4: and I just kept to myself, and what is that

906
00:54:39,200 --> 00:54:43,239
Speaker 4: vehicle called? Well, it actually was a tricycle because they

907
00:54:43,280 --> 00:54:45,640
Speaker 4: had one wheel and the motorized and it was two

908
00:54:45,719 --> 00:54:47,799
Speaker 4: in the back. But it was built like if somebody

909
00:54:47,880 --> 00:54:50,040
Speaker 4: tried to build a Harley and extended it. And they

910
00:54:50,080 --> 00:54:51,640
Speaker 4: had the two wheels in the back, and they had

911
00:54:51,680 --> 00:54:55,279
Speaker 4: almost like a seat for two. One of them had

912
00:54:55,320 --> 00:54:56,800
Speaker 4: a seat for two, and one of them just just

913
00:54:56,880 --> 00:54:59,520
Speaker 4: a seat for one. And I would always touch a

914
00:54:59,640 --> 00:55:02,120
Speaker 4: man too scared because I'd call it the death trap.

915
00:55:03,800 --> 00:55:07,200
Speaker 2: Take it on the highway, right onto one on one freeway.

916
00:55:08,040 --> 00:55:10,080
Speaker 4: He had a friend of mine who lived up north

917
00:55:10,280 --> 00:55:12,920
Speaker 4: drive it down to him, and he had about two

918
00:55:13,000 --> 00:55:16,280
Speaker 4: or three of them, but he was you know, Slide

919
00:55:16,400 --> 00:55:18,759
Speaker 4: was so into everything right and left and was and

920
00:55:19,080 --> 00:55:21,879
Speaker 4: who was that group that had the motorcycles, the gang

921
00:55:21,960 --> 00:55:26,000
Speaker 4: group Angel, Well, yeah, he knew them, you know, And

922
00:55:26,200 --> 00:55:29,480
Speaker 4: I think that's when he started biking back back then.

923
00:55:29,719 --> 00:55:33,040
Speaker 4: But you know, he come over to the house. He

924
00:55:33,120 --> 00:55:35,800
Speaker 4: came over for two three years straight. Troy was little,

925
00:55:35,880 --> 00:55:36,279
Speaker 4: and you know.

926
00:55:36,360 --> 00:55:38,279
Speaker 5: He used to call the house before cell phones at

927
00:55:38,320 --> 00:55:39,919
Speaker 5: like three in the morning, and me and my sister

928
00:55:39,960 --> 00:55:43,000
Speaker 5: would be sleep ready to go to school. My mom

929
00:55:43,120 --> 00:55:45,040
Speaker 5: answered the phone and it was not.

930
00:55:45,920 --> 00:55:50,040
Speaker 2: It wasn't too pleasant. He was he was gangster.

931
00:55:50,120 --> 00:55:51,800
Speaker 5: He was gangster as all hell. But he was definitely

932
00:55:51,800 --> 00:55:54,960
Speaker 5: scared of my mom. You call it the damn house

933
00:55:55,000 --> 00:55:56,640
Speaker 5: at three in the morning. My kids got school in

934
00:55:56,719 --> 00:55:57,040
Speaker 5: the morning.

935
00:55:59,280 --> 00:55:59,799
Speaker 2: A song.

936
00:55:59,880 --> 00:56:06,000
Speaker 5: I don't give a fuck about sly Stone.

937
00:56:06,160 --> 00:56:07,480
Speaker 7: I don't about the song.

938
00:56:09,600 --> 00:56:14,160
Speaker 4: That I tell you to anything ideas he had just

939
00:56:14,239 --> 00:56:16,520
Speaker 4: when the answer phone would come on to just put it,

940
00:56:17,640 --> 00:56:20,239
Speaker 4: yeah and leave it and I'll listen to it, you know,

941
00:56:20,719 --> 00:56:25,200
Speaker 4: later on. But we're gonna get back the poet. But anyway, we.

942
00:56:25,280 --> 00:56:26,960
Speaker 2: Kind of jumping in front of it and back and

943
00:56:27,040 --> 00:56:27,399
Speaker 2: in front.

944
00:56:27,480 --> 00:56:30,160
Speaker 4: But like I was saying, a lot of his personality

945
00:56:30,520 --> 00:56:33,480
Speaker 4: and you know, that's how I wound up going out

946
00:56:33,520 --> 00:56:36,879
Speaker 4: to him. You know, because Sly was as brilliant as

947
00:56:36,920 --> 00:56:41,280
Speaker 4: a motherfucker period. He could deal with anybody on any level,

948
00:56:41,840 --> 00:56:44,320
Speaker 4: and if you weren't chosen to be spoken to, you

949
00:56:44,520 --> 00:56:48,320
Speaker 4: just won't never get it. That's the kind of person

950
00:56:48,440 --> 00:56:51,279
Speaker 4: he was, you know. So when he did call, he

951
00:56:51,280 --> 00:56:53,920
Speaker 4: would call it four or five in the morning, and

952
00:56:54,040 --> 00:56:55,960
Speaker 4: he thought it was okay, and then he told me,

953
00:56:56,560 --> 00:57:00,520
Speaker 4: he said, man, he said, I'm scared of DeBie, your wife.

954
00:57:01,680 --> 00:57:04,400
Speaker 4: I'll be laying right there. I just left the studio

955
00:57:04,520 --> 00:57:06,759
Speaker 4: with him, you know, because we worked for like two

956
00:57:06,880 --> 00:57:09,600
Speaker 4: years straight just cutting stuff and I seeing what he had.

957
00:57:10,239 --> 00:57:10,719
Speaker 2: He had me.

958
00:57:11,360 --> 00:57:14,680
Speaker 4: He gave me all of his quarter and a half

959
00:57:14,760 --> 00:57:19,040
Speaker 4: inch eight track reels, which was probably about a dozen

960
00:57:20,360 --> 00:57:22,560
Speaker 4: that he wanted me to go through and pick out

961
00:57:22,640 --> 00:57:28,880
Speaker 4: what was good and what was not good. That was

962
00:57:29,000 --> 00:57:35,200
Speaker 4: my job for probably about four years, because I mean,

963
00:57:35,280 --> 00:57:38,080
Speaker 4: that's what I'm saying, the trust he would never give nobody.

964
00:57:38,200 --> 00:57:41,400
Speaker 4: That last thing he did ask me to do, which

965
00:57:41,480 --> 00:57:43,120
Speaker 4: was a couple of years ago, was to go up

966
00:57:43,160 --> 00:57:45,120
Speaker 4: to the Frisco house and go up to the attic

967
00:57:45,240 --> 00:57:51,600
Speaker 4: and get all of his ship including the songs, you know, pictures, clothes,

968
00:57:52,360 --> 00:57:54,000
Speaker 4: and I said, that's kind of a too big of

969
00:57:54,080 --> 00:57:56,040
Speaker 4: a risk. And I had one guy who would do it.

970
00:57:56,160 --> 00:57:59,400
Speaker 4: But if you ask anybody, he probably know what was missing.

971
00:58:00,240 --> 00:58:00,880
Speaker 2: You want me to get.

972
00:58:02,600 --> 00:58:06,840
Speaker 4: Right exactly, So I wasn't trying to putting into that.

973
00:58:07,120 --> 00:58:08,600
Speaker 2: You know, that's crazy.

974
00:58:09,120 --> 00:58:11,800
Speaker 4: When we went to his house the first time is

975
00:58:11,880 --> 00:58:13,520
Speaker 4: after he came up the stairs and I met him,

976
00:58:13,760 --> 00:58:17,440
Speaker 4: Billy and man, we're gonna go with sales house incurse.

977
00:58:17,520 --> 00:58:20,920
Speaker 4: I knew all the name slides, sevest seals. I wouldn't

978
00:58:21,600 --> 00:58:24,280
Speaker 4: you know what I mean. I would adapt to nicknames

979
00:58:24,360 --> 00:58:29,840
Speaker 4: and stuff like that and would never say no because

980
00:58:29,840 --> 00:58:31,280
Speaker 4: I knew whatever it was gonna be, it was gonna

981
00:58:31,280 --> 00:58:34,440
Speaker 4: be crazy. Just how I met little Richard one night

982
00:58:34,480 --> 00:58:36,480
Speaker 4: he came into the studios for and I was scared

983
00:58:36,520 --> 00:58:39,840
Speaker 4: of death of him because it's like a pass gate.

984
00:58:40,000 --> 00:58:40,920
Speaker 2: But he was big.

985
00:58:43,840 --> 00:58:49,800
Speaker 4: Gate at Billy and he's looking, man, I said, what's

986
00:58:49,880 --> 00:58:52,160
Speaker 4: up with your boy or your Billy said you leave

987
00:58:52,240 --> 00:58:58,280
Speaker 4: on the law, you will get his ass kicked. I

988
00:58:58,400 --> 00:59:01,000
Speaker 4: had to. I had to jout Billy in the neck

989
00:59:01,120 --> 00:59:03,600
Speaker 4: a couple of times, you know, knocking him back and

990
00:59:03,760 --> 00:59:05,840
Speaker 4: don't mess with my brother when he gets on the set.

991
00:59:06,080 --> 00:59:11,040
Speaker 2: You know. But how how long was your duration with

992
00:59:11,120 --> 00:59:12,680
Speaker 2: Billy before? Three years?

993
00:59:13,280 --> 00:59:15,040
Speaker 4: Well those three years, Well I get to the poet

994
00:59:15,080 --> 00:59:15,760
Speaker 4: thing real quickly.

995
00:59:15,800 --> 00:59:16,320
Speaker 2: This is before.

996
00:59:20,080 --> 00:59:22,200
Speaker 4: So anyway we go. We get to the bel Air House.

997
00:59:22,320 --> 00:59:25,920
Speaker 4: It was like this cold blooded, sinking sunken stone house.

998
00:59:26,440 --> 00:59:28,560
Speaker 4: Which across the street from that was the Beverly Hill

999
00:59:28,600 --> 00:59:33,080
Speaker 4: Billy's mansion that they on TV. So I'm like looking

1000
00:59:33,160 --> 00:59:35,360
Speaker 4: at that, looking at Slides house. And then next door

1001
00:59:35,440 --> 00:59:40,040
Speaker 4: to him, Doris Date lived, which people thought he right.

1002
00:59:40,320 --> 00:59:44,560
Speaker 4: So we going to the crib and we're all sitting

1003
00:59:45,560 --> 00:59:48,320
Speaker 4: you know, and uh now this is another time. The

1004
00:59:48,400 --> 00:59:52,880
Speaker 4: first time he did the palladium out here, and and

1005
00:59:53,200 --> 00:59:56,760
Speaker 4: he got into the mobile home. We beat him there

1006
00:59:56,880 --> 00:59:57,960
Speaker 4: because bullying him new.

1007
00:59:58,720 --> 01:00:00,919
Speaker 2: You know, he traveled in a mobile home.

1008
01:00:01,160 --> 01:00:04,760
Speaker 4: No, he's like he always had a mobile home because

1009
01:00:04,760 --> 01:00:06,440
Speaker 4: he would have cats. Like I'm gonna get ready to

1010
01:00:06,440 --> 01:00:10,240
Speaker 4: get to move the studio from upstairs into the mobile

1011
01:00:10,280 --> 01:00:13,680
Speaker 4: home so he could drive and keep recording then or

1012
01:00:13,800 --> 01:00:16,560
Speaker 4: change his mind, He's like, okay, mobile all the stuff

1013
01:00:16,600 --> 01:00:19,480
Speaker 4: into the mobile. He did like three guys and they

1014
01:00:19,480 --> 01:00:23,120
Speaker 4: would take everything from up in the studio that's recordable

1015
01:00:23,400 --> 01:00:25,480
Speaker 4: down into the mobile home and he hook it all up,

1016
01:00:25,480 --> 01:00:28,480
Speaker 4: which could have it took three hours to do. Then

1017
01:00:28,560 --> 01:00:30,160
Speaker 4: the one time I was over there and I see

1018
01:00:30,200 --> 01:00:31,360
Speaker 4: he just told him to do it and then he

1019
01:00:31,440 --> 01:00:32,960
Speaker 4: didn't never mind put it all back.

1020
01:00:35,680 --> 01:00:36,400
Speaker 2: That's what I'm saying.

1021
01:00:36,440 --> 01:00:39,560
Speaker 4: It's worked exactly. But you know, he when we were

1022
01:00:39,640 --> 01:00:42,200
Speaker 4: there the second time, I saw him and he walked

1023
01:00:42,240 --> 01:00:44,800
Speaker 4: in and he had these little bells on and red leather,

1024
01:00:45,360 --> 01:00:47,080
Speaker 4: so you can hear him coming up to the door.

1025
01:00:47,680 --> 01:00:49,439
Speaker 4: So he came up to the door because he knew

1026
01:00:49,480 --> 01:00:51,280
Speaker 4: Billy was there. People could have been in the house,

1027
01:00:52,160 --> 01:00:54,920
Speaker 4: like if he just walked off stage. So he was

1028
01:00:55,000 --> 01:00:59,000
Speaker 4: like you just said percussion and ship and bloom, that's

1029
01:00:59,000 --> 01:01:01,560
Speaker 4: the kind of stuff he'd say, kicked the door, bloom,

1030
01:01:09,360 --> 01:01:11,600
Speaker 4: make his own sound effect like Batman.

1031
01:01:14,280 --> 01:01:14,720
Speaker 2: Bloom.

1032
01:01:15,480 --> 01:01:18,120
Speaker 4: And then he come and look, he had a certain thing.

1033
01:01:19,000 --> 01:01:20,880
Speaker 4: I guess when you got your wig on and your

1034
01:01:20,960 --> 01:01:24,520
Speaker 4: leather suit and you slide stone, you know, you the king.

1035
01:01:25,120 --> 01:01:28,120
Speaker 4: You know, ain't nobody as funky as you are. He

1036
01:01:28,280 --> 01:01:32,240
Speaker 4: had an aura, you know, and that's where Prince got

1037
01:01:32,360 --> 01:01:35,000
Speaker 4: his thing from, whichly made him tell me where did

1038
01:01:35,040 --> 01:01:38,080
Speaker 4: he get his vibe from a lot of people don't know.

1039
01:01:38,160 --> 01:01:42,160
Speaker 4: He got his walk from Bob Dylan. And that's a slide.

1040
01:01:42,600 --> 01:01:46,479
Speaker 4: Prince did that too. You walked your shoulders side to side,

1041
01:01:47,080 --> 01:01:50,080
Speaker 4: you know, as you walk in. Bob Dylan was the

1042
01:01:50,320 --> 01:01:52,040
Speaker 4: coolest white boy I was in. I used to look

1043
01:01:52,080 --> 01:01:54,840
Speaker 4: at videotapes. You go back and see videotapes of Bob Dylan,

1044
01:01:55,760 --> 01:01:58,080
Speaker 4: you know, slide and he told me, he tell me shit.

1045
01:01:58,120 --> 01:02:01,400
Speaker 4: He wouldn't tell people like that. Man you crack up

1046
01:02:01,400 --> 01:02:03,400
Speaker 4: with and you find out. So I got there from

1047
01:02:03,440 --> 01:02:06,080
Speaker 4: Bob Dylan, and that's of course you came up through

1048
01:02:06,120 --> 01:02:08,800
Speaker 4: the same era. And then I noticed, I say, well,

1049
01:02:08,840 --> 01:02:11,360
Speaker 4: Prince got that from you. He didn't like Prince at all.

1050
01:02:12,160 --> 01:02:14,040
Speaker 4: Prince ain't as funky as you. I was on to

1051
01:02:14,080 --> 01:02:16,560
Speaker 4: tell him to go to Prince. I said, man, I

1052
01:02:16,600 --> 01:02:19,360
Speaker 4: ain't got to. I had to leverage Prince had.

1053
01:02:19,720 --> 01:02:23,840
Speaker 2: George George Clinton once said that his favorite slid quote

1054
01:02:23,840 --> 01:02:27,440
Speaker 2: about Prince was its sly used to tell George that

1055
01:02:27,640 --> 01:02:33,640
Speaker 2: man he should he tastes like spinach when he needed

1056
01:02:33,640 --> 01:02:35,040
Speaker 2: to be tasting like Cola greens.

1057
01:02:39,200 --> 01:02:41,320
Speaker 4: I'm gonna tell you something. And George Clinton and I

1058
01:02:41,360 --> 01:02:45,160
Speaker 4: are very close George Clinton well with his band and

1059
01:02:45,280 --> 01:02:48,360
Speaker 4: everybody who was involved with including Born and Burning War,

1060
01:02:49,400 --> 01:02:52,120
Speaker 4: all the other cats. They was like the funkest cats

1061
01:02:52,160 --> 01:02:54,560
Speaker 4: on the planet because they had more funk than anybody

1062
01:02:54,680 --> 01:03:00,880
Speaker 4: had on stage, you know, Bob Gun and we was

1063
01:03:00,920 --> 01:03:02,600
Speaker 4: out there on touring them with him. So it's like

1064
01:03:02,720 --> 01:03:05,520
Speaker 4: a lot of them had the equal it was more

1065
01:03:05,680 --> 01:03:08,080
Speaker 4: more equal. When I was in the Slide in the

1066
01:03:08,120 --> 01:03:12,120
Speaker 4: family Stone, of course I loved the drummer and Greg Erica.

1067
01:03:12,240 --> 01:03:14,880
Speaker 4: Of course I loved Larry Graham and Larry Graham and

1068
01:03:14,920 --> 01:03:17,160
Speaker 4: I got very close and then there was a competition

1069
01:03:17,440 --> 01:03:19,840
Speaker 4: or Slide knew I was hanging with Larry. Larry know

1070
01:03:19,920 --> 01:03:22,640
Speaker 4: I was hanging with Slide. You know, they wanted to

1071
01:03:23,800 --> 01:03:26,200
Speaker 4: They wanted to deceive me to make a decision.

1072
01:03:29,520 --> 01:03:30,160
Speaker 2: Bring together.

1073
01:03:32,800 --> 01:03:35,280
Speaker 4: We just wouldn't hang out. We just you know, from touring.

1074
01:03:36,000 --> 01:03:39,200
Speaker 4: Larry Graham was like my older brother and he taught

1075
01:03:39,240 --> 01:03:41,520
Speaker 4: me a lot about He taught me more about funk

1076
01:03:41,680 --> 01:03:46,160
Speaker 4: than Slide could on base. Larry didn't because Larry could

1077
01:03:46,320 --> 01:03:49,840
Speaker 4: execute that stuff. Slide we could execute it. But he

1078
01:03:49,920 --> 01:03:55,120
Speaker 4: played with a pick a pick and there was more

1079
01:03:55,240 --> 01:03:58,200
Speaker 4: melody until rus Day Allen came on the scene and

1080
01:03:58,320 --> 01:04:01,760
Speaker 4: turned it out within time. I'm yeah, and Rusty and

1081
01:04:01,840 --> 01:04:03,840
Speaker 4: I met, and well, you know, we're clos It's like

1082
01:04:04,720 --> 01:04:07,560
Speaker 4: I had to know everybody who was in the House

1083
01:04:07,600 --> 01:04:10,400
Speaker 4: of Funk, you know, and we all kind of knew

1084
01:04:11,240 --> 01:04:15,520
Speaker 4: and you know a lot of people. That's why even

1085
01:04:15,640 --> 01:04:19,360
Speaker 4: nowadays you hear rappers and singers, it's like not enough, Okay,

1086
01:04:19,480 --> 01:04:22,920
Speaker 4: somebody produced you, somebody wrote the record, so it's not

1087
01:04:23,840 --> 01:04:27,480
Speaker 4: it's not coming out of you. Somebody helped develop, you know,

1088
01:04:27,840 --> 01:04:32,120
Speaker 4: that kind of thing. But when I was there and

1089
01:04:32,200 --> 01:04:34,320
Speaker 4: I went up, he went, let nobody come up. And

1090
01:04:34,440 --> 01:04:37,440
Speaker 4: I went upstairs, and they had eight monitors on the

1091
01:04:37,520 --> 01:04:40,919
Speaker 4: bed for all the rooms in certain areas of the house.

1092
01:04:41,560 --> 01:04:43,640
Speaker 4: So I'm like, what are y'all doing? They were having fun,

1093
01:04:43,840 --> 01:04:54,440
Speaker 4: having their little milk and cookies. Yeah, and I'm like,

1094
01:04:54,520 --> 01:04:57,040
Speaker 4: what are y'all doing? He said, all were looking at everybody,

1095
01:04:57,200 --> 01:05:02,520
Speaker 4: but Sly was looking at Billy's girlfriend's breast and she

1096
01:05:02,640 --> 01:05:04,840
Speaker 4: had this little cut thus looking at her Cleaveland, and

1097
01:05:05,000 --> 01:05:07,400
Speaker 4: he just said that I'm looking at what's the names?

1098
01:05:07,480 --> 01:05:07,600
Speaker 2: You know?

1099
01:05:09,480 --> 01:05:11,040
Speaker 4: He said, you could tell her to come up because

1100
01:05:11,040 --> 01:05:13,840
Speaker 4: the waistly is if you don't make your way there.

1101
01:05:14,480 --> 01:05:17,760
Speaker 4: You ain't coming up. Well, the whole band was a

1102
01:05:17,800 --> 01:05:21,080
Speaker 4: Billy was sitting downstairs. I got tired of waiting. He

1103
01:05:21,160 --> 01:05:24,280
Speaker 4: had this bodyguard named Jay R who had a cut

1104
01:05:24,360 --> 01:05:28,480
Speaker 4: across his knife cut and he was like looking at

1105
01:05:28,560 --> 01:05:30,360
Speaker 4: all of this, like beating on his chair and just

1106
01:05:30,440 --> 01:05:31,040
Speaker 4: waiting for him.

1107
01:05:31,320 --> 01:05:35,920
Speaker 2: Damn you motherfucker to get up. Sit there now, you

1108
01:05:36,120 --> 01:05:36,640
Speaker 2: can't leave.

1109
01:05:37,360 --> 01:05:40,480
Speaker 4: Yeah, So I mean, people were stuck. So I decided

1110
01:05:40,520 --> 01:05:42,960
Speaker 4: I said, look, Billy's upstairs, it's my friend. I'm gonna

1111
01:05:42,960 --> 01:05:45,440
Speaker 4: go see what's up. He didn't say a word. He'd

1112
01:05:45,520 --> 01:05:48,680
Speaker 4: let me go up when I opened the door, and

1113
01:05:48,760 --> 01:05:50,840
Speaker 4: he had this egg chairs you could sit in. They

1114
01:05:50,920 --> 01:05:54,120
Speaker 4: had the music come through. You could sit down and

1115
01:05:54,240 --> 01:05:57,720
Speaker 4: listen to music. Sly looked over at me and he

1116
01:05:57,840 --> 01:06:00,919
Speaker 4: remembered Billy said, Man, this is George. They don't fuck

1117
01:06:01,000 --> 01:06:03,880
Speaker 4: with him, this motherfucker. Because we had in our family,

1118
01:06:04,080 --> 01:06:09,480
Speaker 4: to be honest, some inside on some brutal kind of

1119
01:06:09,520 --> 01:06:12,360
Speaker 4: shit with motherfuckers been in prison. So we had our

1120
01:06:12,440 --> 01:06:17,680
Speaker 4: own mafia thing that runs in the family, and including

1121
01:06:17,840 --> 01:06:22,760
Speaker 4: certain people that came to assistance of FOI who who

1122
01:06:22,880 --> 01:06:26,520
Speaker 4: they worked and went and got some of them in

1123
01:06:26,600 --> 01:06:32,320
Speaker 4: an organization, So I never really talked about that. And

1124
01:06:32,600 --> 01:06:36,080
Speaker 4: you know, we grew up with gangsters living in our block.

1125
01:06:36,440 --> 01:06:39,200
Speaker 4: The leader of the Slossons, leader the Gladiators back then

1126
01:06:39,640 --> 01:06:42,120
Speaker 4: the next door to us and down the street, so

1127
01:06:42,920 --> 01:06:45,360
Speaker 4: and we had all to find his babysitters. So they came,

1128
01:06:48,920 --> 01:06:50,520
Speaker 4: so they were trying to get with them, and then

1129
01:06:50,560 --> 01:06:53,160
Speaker 4: they protected us. And since we had just three puzzling

1130
01:06:53,240 --> 01:06:55,600
Speaker 4: and played music and went around to all the high

1131
01:06:55,640 --> 01:07:00,320
Speaker 4: schools and colleges, we brought people together. And if it

1132
01:07:00,360 --> 01:07:02,320
Speaker 4: wasn't for you and your group, me and my wife

1133
01:07:02,360 --> 01:07:04,720
Speaker 4: wouldn't have got you know, it was it was.

1134
01:07:04,920 --> 01:07:05,480
Speaker 2: It was like that.

1135
01:07:05,800 --> 01:07:09,200
Speaker 4: So I kind of felt every move of emotions that

1136
01:07:09,360 --> 01:07:14,360
Speaker 4: people would describe, and you know, I didn't take anything

1137
01:07:14,440 --> 01:07:16,720
Speaker 4: for granted. That just kept my ears open wide, knowing

1138
01:07:16,760 --> 01:07:19,960
Speaker 4: that'd be a great opportunity to jump or go to

1139
01:07:20,080 --> 01:07:23,600
Speaker 4: different places that no one else could take me. Everywhere

1140
01:07:23,600 --> 01:07:26,240
Speaker 4: I have been, no one else but the next great

1141
01:07:26,280 --> 01:07:30,680
Speaker 4: person took me to, like Billy Preston, you know, And

1142
01:07:30,920 --> 01:07:33,440
Speaker 4: when after after I was up in the bedroom and

1143
01:07:33,600 --> 01:07:36,800
Speaker 4: there were Billy was on the cloud and that and

1144
01:07:36,880 --> 01:07:39,919
Speaker 4: Sli was on the Fender Roads playing on Billy payed

1145
01:07:39,920 --> 01:07:41,720
Speaker 4: a lot of backwards stuff, just.

1146
01:07:41,880 --> 01:07:45,600
Speaker 2: Like in so do.

1147
01:07:48,040 --> 01:07:56,439
Speaker 4: Wow, you know, I think, but I can't yeh. Billy

1148
01:07:56,440 --> 01:07:58,560
Speaker 4: would here would slively playing and he'd just do a

1149
01:07:59,040 --> 01:08:02,680
Speaker 4: he he knew where his place would be. And I

1150
01:08:02,800 --> 01:08:07,880
Speaker 4: heard poet and I'm like, it gets no funky, you know?

1151
01:08:11,080 --> 01:08:15,160
Speaker 2: Can I ask you something? So because normally I talk

1152
01:08:15,200 --> 01:08:18,360
Speaker 2: to people about their reaction to there's a ride going

1153
01:08:18,400 --> 01:08:22,400
Speaker 2: on once it's the finished product, but what they're creating

1154
01:08:23,760 --> 01:08:28,880
Speaker 2: it's nothing like the raw ra cheer leader vibe of

1155
01:08:29,040 --> 01:08:33,720
Speaker 2: what Stand represented or the dance of the music album.

1156
01:08:33,640 --> 01:08:36,200
Speaker 4: Every day people, You're totally right, like.

1157
01:08:36,400 --> 01:08:38,880
Speaker 2: Was this not a foreign thing to you? For you

1158
01:08:39,000 --> 01:08:42,840
Speaker 2: to be hearing like this is literally the first funk I.

1159
01:08:43,000 --> 01:08:47,840
Speaker 4: Was in to the original stuff that you're talking about.

1160
01:08:48,320 --> 01:08:50,760
Speaker 4: And I was all in a political movement, so for

1161
01:08:50,920 --> 01:08:53,240
Speaker 4: us to see a black man just how we had

1162
01:08:53,320 --> 01:08:56,200
Speaker 4: other people knocking, like Muhammad Ali. But he has his

1163
01:08:56,320 --> 01:08:59,320
Speaker 4: wig on a long collar looking like a clown. But

1164
01:08:59,400 --> 01:09:00,479
Speaker 4: that was just his look.

1165
01:09:01,640 --> 01:09:01,920
Speaker 2: Okay.

1166
01:09:02,040 --> 01:09:05,520
Speaker 4: At the same time, he's like, you know, how black.

1167
01:09:05,360 --> 01:09:05,840
Speaker 2: Can you be?

1168
01:09:06,080 --> 01:09:10,080
Speaker 4: And you're gonna go there and disgrace Islam wearing a wig?

1169
01:09:10,600 --> 01:09:12,600
Speaker 4: He was on one David caviage show or something like.

1170
01:09:12,920 --> 01:09:16,559
Speaker 4: You know, he talked about it, and I could see

1171
01:09:16,720 --> 01:09:19,160
Speaker 4: Muhammad at Lee's point and I could see Sly's point.

1172
01:09:20,120 --> 01:09:23,240
Speaker 4: He told me how he made the band. You know,

1173
01:09:23,360 --> 01:09:27,679
Speaker 4: we have different colors, different textures, a whole bunch of colors,

1174
01:09:27,680 --> 01:09:30,519
Speaker 4: and that's where George Clinton got his whole idea from,

1175
01:09:31,560 --> 01:09:35,559
Speaker 4: and you know, different sounds, and he even was different,

1176
01:09:35,600 --> 01:09:40,240
Speaker 4: but he was the leader of the group. So he said,

1177
01:09:40,280 --> 01:09:43,360
Speaker 4: you have all that, all those colors, all that creativity

1178
01:09:43,479 --> 01:09:46,360
Speaker 4: of all that sound. So he didn't admit to so

1179
01:09:49,439 --> 01:09:52,439
Speaker 4: after hearing Dance to the Music was the first one

1180
01:09:52,960 --> 01:09:55,320
Speaker 4: that I heard, even though we heard I was down

1181
01:09:55,400 --> 01:09:58,479
Speaker 4: with them when they were in contests with the Chambers

1182
01:09:58,560 --> 01:10:01,519
Speaker 4: brothers who time was up other than Chaga's brothers too.

1183
01:10:01,560 --> 01:10:07,360
Speaker 4: But the line that we're gonna win, and all his

1184
01:10:07,520 --> 01:10:12,080
Speaker 4: greatest hits, like you had mentioned, even from Don't Call

1185
01:10:12,200 --> 01:10:15,639
Speaker 4: Me Nigger Whitey, you know, he made statements that were

1186
01:10:16,880 --> 01:10:20,960
Speaker 4: vital for those times, and he spoke his mind. I

1187
01:10:21,040 --> 01:10:24,639
Speaker 4: think he was probably one of ten groups that were

1188
01:10:24,720 --> 01:10:27,920
Speaker 4: just you know, he wasn't afraid of it, putting it

1189
01:10:28,040 --> 01:10:31,400
Speaker 4: on the record that the record states that boom. This

1190
01:10:31,560 --> 01:10:34,120
Speaker 4: is how I feel this is where we're coming from.

1191
01:10:34,600 --> 01:10:38,759
Speaker 4: So he was like the warrior gangster on record.

1192
01:10:39,479 --> 01:10:43,519
Speaker 2: But did it not feel or foreign to you? Like

1193
01:10:43,800 --> 01:10:44,240
Speaker 2: very un.

1194
01:10:45,840 --> 01:10:48,320
Speaker 4: It was because he was in his world with the

1195
01:10:48,439 --> 01:10:51,080
Speaker 4: Riot album. He didn't have a lot of input with

1196
01:10:51,200 --> 01:10:54,720
Speaker 4: the group okay, and or the Fresh album. He might

1197
01:10:54,760 --> 01:10:58,160
Speaker 4: would pull Freddie in, Larry in, you know, he might

1198
01:10:58,200 --> 01:11:02,840
Speaker 4: would call in uh, Cynthia or Rose you know. Rolls

1199
01:11:02,880 --> 01:11:05,840
Speaker 4: and I became very close because she was like, I

1200
01:11:05,960 --> 01:11:08,559
Speaker 4: told her, letting me know anytime there was a problem.

1201
01:11:08,720 --> 01:11:12,080
Speaker 4: So she was watching My Watchman and I was telling

1202
01:11:12,120 --> 01:11:14,880
Speaker 4: him everything from what he ate, well, he likes a

1203
01:11:14,920 --> 01:11:16,960
Speaker 4: couple of newdles, said that all. Doesn't y'all give him some.

1204
01:11:19,640 --> 01:11:20,120
Speaker 2: Vegetables.

1205
01:11:21,320 --> 01:11:24,040
Speaker 4: He liked cheese, which is you know, he told me

1206
01:11:24,160 --> 01:11:31,200
Speaker 4: that weird day. If you got a packet of cheese

1207
01:11:31,320 --> 01:11:34,360
Speaker 4: in the back of your pocket, then you got something

1208
01:11:34,400 --> 01:11:36,880
Speaker 4: else you don't need that goes with it, that it

1209
01:11:37,040 --> 01:11:39,920
Speaker 4: clogs you up. Yeah, because of lactose.

1210
01:11:42,840 --> 01:11:43,440
Speaker 2: Yeah.

1211
01:11:43,520 --> 01:11:46,600
Speaker 4: Yeah, so a lot of stuff like that. He I

1212
01:11:46,680 --> 01:11:49,720
Speaker 4: didn't know. He just tell me in the studio you

1213
01:11:49,840 --> 01:11:50,439
Speaker 4: got it now that.

1214
01:11:52,640 --> 01:11:52,840
Speaker 2: You know.

1215
01:11:53,479 --> 01:11:57,800
Speaker 4: Yeah, you told me stories about Hendrix, which he knew

1216
01:11:58,320 --> 01:12:01,599
Speaker 4: Hendrix was my know, which I did have a chance

1217
01:12:01,680 --> 01:12:03,479
Speaker 4: to meet Hendrik Sai or his dad.

1218
01:12:04,200 --> 01:12:08,600
Speaker 2: Can I ask a question? Was Betty Davis around at

1219
01:12:08,760 --> 01:12:09,640
Speaker 2: any part of this?

1220
01:12:10,240 --> 01:12:13,360
Speaker 4: I never saw her? Damn, I never saw her. But

1221
01:12:13,600 --> 01:12:16,519
Speaker 4: I liked this the baseline Larry did with with a

1222
01:12:16,560 --> 01:12:22,640
Speaker 4: lot of her stuff. Oh for yeah, oh yeah, that

1223
01:12:22,840 --> 01:12:25,439
Speaker 4: was that was the ship. But it was you know,

1224
01:12:25,800 --> 01:12:29,960
Speaker 4: when you talk about funk, there was really no other

1225
01:12:30,080 --> 01:12:34,160
Speaker 4: person that you can go to outside of when George

1226
01:12:34,200 --> 01:12:38,280
Speaker 4: Clinton came up. His funk was different. So everybody had

1227
01:12:38,320 --> 01:12:41,000
Speaker 4: that little different type of funk. And that's why him

1228
01:12:41,000 --> 01:12:42,920
Speaker 4: and George won. I knew they were gonna hook up.

1229
01:12:43,360 --> 01:12:46,080
Speaker 4: First the egos came in, and once that settled down

1230
01:12:46,160 --> 01:12:49,400
Speaker 4: and they're both together, then George would call me up

1231
01:12:49,880 --> 01:12:53,240
Speaker 4: versus about ten years ago and man, you his slie

1232
01:12:53,320 --> 01:12:55,120
Speaker 4: new stuff. He's done so and now I really hadn't

1233
01:12:55,120 --> 01:12:58,000
Speaker 4: heard it because you know, I would be the one

1234
01:12:58,080 --> 01:13:03,840
Speaker 4: who would talk about him from his face, right, I said, Man,

1235
01:13:04,520 --> 01:13:07,280
Speaker 4: you know, first of all, you ain't gonna be doing

1236
01:13:07,360 --> 01:13:10,880
Speaker 4: that ship in my house. Second of all, maybe I

1237
01:13:10,920 --> 01:13:14,479
Speaker 4: think I'm gonna wait to after you die to little

1238
01:13:14,560 --> 01:13:17,960
Speaker 4: sell more records. His eyes got this, man ain't nobody

1239
01:13:18,120 --> 01:13:24,679
Speaker 4: told me no ship like that. I said, Jimmy Hendrix

1240
01:13:24,800 --> 01:13:28,439
Speaker 4: died and his record sales boost. You know, if you

1241
01:13:28,520 --> 01:13:31,400
Speaker 4: want to start acting ignorant, you know, I'm even going

1242
01:13:31,479 --> 01:13:33,519
Speaker 4: through all this music you letting me go through, and

1243
01:13:33,560 --> 01:13:36,120
Speaker 4: if you're gonna put something together, I just might wait

1244
01:13:36,200 --> 01:13:40,160
Speaker 4: till you're gone and it'll be worth more money. So

1245
01:13:40,280 --> 01:13:44,160
Speaker 4: he knew I would like talking to him like himself

1246
01:13:44,240 --> 01:13:47,800
Speaker 4: talking to himself. I said, you taught me everything about

1247
01:13:47,880 --> 01:13:50,400
Speaker 4: you that I know. When he first care said man

1248
01:13:50,600 --> 01:13:54,200
Speaker 4: gj Used called me, gedg. You got more on my

1249
01:13:54,360 --> 01:13:59,639
Speaker 4: records than I have thought existed. And I would cut

1250
01:13:59,760 --> 01:14:02,000
Speaker 4: some stuff, recut it, like singing a simple song and

1251
01:14:02,040 --> 01:14:05,280
Speaker 4: playing my version and like totally tweak it out.

1252
01:14:05,400 --> 01:14:06,280
Speaker 2: That'd be STEPHF.

1253
01:14:06,360 --> 01:14:10,439
Speaker 4: Troy would get, you know, add some stuff, and you know,

1254
01:14:11,240 --> 01:14:13,840
Speaker 4: he could tell things I was into and have it.

1255
01:14:13,880 --> 01:14:16,479
Speaker 4: Could I play and learned to play a lot like

1256
01:14:16,640 --> 01:14:20,920
Speaker 4: Larry Graham, But I also learned a lot and playing

1257
01:14:21,040 --> 01:14:25,240
Speaker 4: bass like Sly. Both of them knew that. And I

1258
01:14:25,360 --> 01:14:27,760
Speaker 4: played the guitars like he was unsynthesized, said, man, you

1259
01:14:27,840 --> 01:14:30,800
Speaker 4: got to get back to these telecaster guitars. Tankling. You

1260
01:14:30,920 --> 01:14:33,800
Speaker 4: know what I'm saying, like on the slow version of

1261
01:14:33,880 --> 01:14:37,840
Speaker 4: Thank You, you know that was a sound you're not

1262
01:14:38,080 --> 01:14:41,519
Speaker 4: doing that you're trying to incorporate, and you're putting three

1263
01:14:41,640 --> 01:14:45,120
Speaker 4: things on one track, which shouldn't be doing anyway, because

1264
01:14:45,200 --> 01:14:49,280
Speaker 4: you know that's how he would record play a certain

1265
01:14:49,320 --> 01:14:51,479
Speaker 4: amount of you know, guitar or something on there I was,

1266
01:14:51,520 --> 01:14:53,840
Speaker 4: and it switched to a loud mood bass to make

1267
01:14:53,920 --> 01:14:54,880
Speaker 4: the meters go up.

1268
01:14:54,960 --> 01:14:57,400
Speaker 2: And I said, was he his own engineer?

1269
01:14:58,000 --> 01:15:03,640
Speaker 4: Yep? Right, So you know when I hooked up with him,

1270
01:15:03,680 --> 01:15:06,320
Speaker 4: I was trying to teach him a couple of things

1271
01:15:06,360 --> 01:15:10,040
Speaker 4: that I learned from Bruce Woodine. So you know, certain

1272
01:15:10,120 --> 01:15:14,160
Speaker 4: things that you know, minus three dB for like a

1273
01:15:14,280 --> 01:15:16,560
Speaker 4: high hat or anything that bright comes back at you

1274
01:15:16,640 --> 01:15:19,000
Speaker 4: how has laid down. You know, I never would have

1275
01:15:19,120 --> 01:15:22,400
Speaker 4: known that I learned a lot from Bruce.

1276
01:15:22,960 --> 01:15:25,880
Speaker 2: Say, I forgot that Bruce Woodine actually engineered your records.

1277
01:15:26,200 --> 01:15:29,200
Speaker 4: Yes, we were the reasons why this is gonna trip

1278
01:15:29,280 --> 01:15:33,920
Speaker 4: you up off the wall happened thriller blooprint and bad

1279
01:15:35,800 --> 01:15:39,160
Speaker 4: Michael introduced I could show you a picture us at

1280
01:15:39,240 --> 01:15:42,920
Speaker 4: Carnegie Hall, and he was following seventy nine and he

1281
01:15:43,080 --> 01:15:46,519
Speaker 4: was following the brothers Johnson down to my little bow

1282
01:15:46,640 --> 01:15:49,800
Speaker 4: tie I had on when he did the covers for

1283
01:15:50,160 --> 01:15:52,559
Speaker 4: because yeah, I used to work, you know, I used

1284
01:15:52,600 --> 01:15:56,280
Speaker 4: to He was studying, studying me and my brother, and

1285
01:15:56,400 --> 01:15:59,600
Speaker 4: he loved the sound. He was complaining about whether you

1286
01:15:59,600 --> 01:16:02,880
Speaker 4: should go the qu at that time they had just

1287
01:16:03,000 --> 01:16:06,280
Speaker 4: started working on but had eight months into Off the Wall,

1288
01:16:07,520 --> 01:16:11,000
Speaker 4: and I knew then, you know, it was my job

1289
01:16:11,120 --> 01:16:13,320
Speaker 4: and it was nothing I could do to step back

1290
01:16:14,400 --> 01:16:17,120
Speaker 4: and just let them float as long as.

1291
01:16:17,000 --> 01:16:24,439
Speaker 2: They could go. How did you guys end up getting

1292
01:16:24,479 --> 01:16:24,920
Speaker 2: with Quincy?

1293
01:16:26,120 --> 01:16:30,240
Speaker 4: Well, with Quincy, I had hooked up actually with Stevie

1294
01:16:30,320 --> 01:16:34,320
Speaker 4: Wonder because I was going to join Wonderlove auditioning for

1295
01:16:34,479 --> 01:16:36,240
Speaker 4: me and my brother before that.

1296
01:16:36,479 --> 01:16:42,479
Speaker 2: Really, yeah, and I was on or like after like

1297
01:16:42,560 --> 01:16:43,120
Speaker 2: what period?

1298
01:16:43,439 --> 01:16:49,759
Speaker 4: This was around right before he recorded the song Creeping,

1299
01:16:49,800 --> 01:16:56,960
Speaker 4: because I was in the studio with them all night. Yeah,

1300
01:16:57,240 --> 01:16:59,000
Speaker 4: I had been kind of because we were at the

1301
01:16:59,040 --> 01:17:02,840
Speaker 4: record plant and he was a studio B okay okay,

1302
01:17:03,680 --> 01:17:05,960
Speaker 4: and we were in the Studio A or Studio C,

1303
01:17:06,360 --> 01:17:09,640
Speaker 4: which is the biggest studio where Quincy was. Yeah, and

1304
01:17:09,760 --> 01:17:11,880
Speaker 4: I think I was in the Chacuzie hanging out a

1305
01:17:11,920 --> 01:17:12,759
Speaker 4: couple of times.

1306
01:17:12,680 --> 01:17:14,360
Speaker 2: It was in the studio.

1307
01:17:16,120 --> 01:17:18,920
Speaker 5: Plan right when you walk in that door to the left,

1308
01:17:19,240 --> 01:17:23,000
Speaker 5: the left, they turned into a gym. It's a gym now.

1309
01:17:23,040 --> 01:17:24,519
Speaker 5: I think they got some exercise equipment.

1310
01:17:25,600 --> 01:17:27,880
Speaker 4: Initially it was a jacuzie, which is cool because if

1311
01:17:27,880 --> 01:17:29,800
Speaker 4: you work in one, just chill out and go on

1312
01:17:30,000 --> 01:17:31,240
Speaker 4: jaczie and get you.

1313
01:17:31,320 --> 01:17:33,320
Speaker 7: Some food and hang out, amongst other reasons.

1314
01:17:36,640 --> 01:17:41,200
Speaker 2: Yeah, I might want to man.

1315
01:17:41,400 --> 01:17:44,960
Speaker 4: Well, they was keeping it pretty clean. It was all

1316
01:17:45,080 --> 01:17:46,439
Speaker 4: It always has been pretty clean.

1317
01:17:47,280 --> 01:17:47,800
Speaker 2: But we.

1318
01:17:49,720 --> 01:17:51,640
Speaker 4: Was in there, and Quincy will tell you this, and

1319
01:17:51,720 --> 01:17:54,640
Speaker 4: he mentioned in his interviews too, that took me and

1320
01:17:54,760 --> 01:17:58,759
Speaker 4: Lewis and we were in the studio with with Stevie.

1321
01:17:59,120 --> 01:18:01,719
Speaker 4: It's like, okay, this now, this is my brother because

1322
01:18:01,720 --> 01:18:04,559
Speaker 4: I always initiate the initial hook up. Say I hung

1323
01:18:04,680 --> 01:18:09,200
Speaker 4: there without Lewis when I was caring creeping. Now, I

1324
01:18:09,280 --> 01:18:11,040
Speaker 4: don't know if it had a lot, because Stevie used

1325
01:18:11,080 --> 01:18:13,960
Speaker 4: to always call me Turan brother. This my Turian brother.

1326
01:18:14,840 --> 01:18:17,919
Speaker 4: I knew when he would record his birth My birthday

1327
01:18:18,000 --> 01:18:20,560
Speaker 4: is like seventeenth, think his was the fourteenth.

1328
01:18:20,160 --> 01:18:22,040
Speaker 2: Or fifteen, thirteenth, thirteenth.

1329
01:18:22,360 --> 01:18:27,200
Speaker 4: Yeah, So I would creep into the studio two three

1330
01:18:27,200 --> 01:18:32,880
Speaker 4: o'clock in the morning, and he knew my footsteps, he.

1331
01:18:32,920 --> 01:18:34,200
Speaker 2: Knew the rhythm in the pattern of it.

1332
01:18:34,280 --> 01:18:37,559
Speaker 4: He knew how he knew my walk. Just George Johnson,

1333
01:18:37,840 --> 01:18:40,840
Speaker 4: just George Johnson's it okay, was rocking his head, say

1334
01:18:40,880 --> 01:18:44,040
Speaker 4: what you doing man? He pressed the button. I'm gonna

1335
01:18:44,040 --> 01:18:47,400
Speaker 4: start this new track, finishing one thing, which was I

1336
01:18:47,520 --> 01:18:49,599
Speaker 4: forgot the last song. He did his song that too.

1337
01:18:50,000 --> 01:18:51,680
Speaker 4: It was so fun of him, Like, man, he had

1338
01:18:51,840 --> 01:18:56,400
Speaker 4: too much funky things in the can. Now this is

1339
01:18:56,439 --> 01:18:59,760
Speaker 4: after I met Sly, So it's like now all was

1340
01:19:00,040 --> 01:19:02,639
Speaker 4: and I'm gravitating. I had Billy pressed in his slice.

1341
01:19:02,720 --> 01:19:04,920
Speaker 4: I'm gravitating just two keyboard players.

1342
01:19:05,680 --> 01:19:06,040
Speaker 2: M hm.

1343
01:19:07,080 --> 01:19:09,840
Speaker 4: So I spent all night with his mom and first

1344
01:19:09,880 --> 01:19:13,880
Speaker 4: time she met Stevie and creeping unfolded from the tambourine

1345
01:19:14,080 --> 01:19:15,240
Speaker 4: the first thing he later.

1346
01:19:16,920 --> 01:19:17,640
Speaker 2: That was the first thing.

1347
01:19:17,920 --> 01:19:24,080
Speaker 4: The first thing on the track was the tambourine, right right,

1348
01:19:24,320 --> 01:19:27,040
Speaker 4: and then that's all you heard. Then he added everything

1349
01:19:27,080 --> 01:19:28,880
Speaker 4: else and we were there till about eight in the morning,

1350
01:19:29,520 --> 01:19:32,479
Speaker 4: and the whole damn song was done. And I'm like,

1351
01:19:32,600 --> 01:19:39,080
Speaker 4: you see how bad this matterfuck is without a that's crazy, yeah,

1352
01:19:39,120 --> 01:19:39,800
Speaker 4: without the click.

1353
01:19:40,200 --> 01:19:43,000
Speaker 2: He just be the last night.

1354
01:19:45,040 --> 01:19:48,080
Speaker 4: And he did that, you know, probably maybe as a

1355
01:19:48,200 --> 01:19:51,320
Speaker 4: test store because we're sitting up there, I wonder what

1356
01:19:51,400 --> 01:19:54,000
Speaker 4: he's gonna do next, you know, And he did everything

1357
01:19:54,120 --> 01:19:57,920
Speaker 4: to the drums, synthesizes all the parts and you put

1358
01:19:57,960 --> 01:20:00,800
Speaker 4: a basic vocal and that that's why we were there

1359
01:20:01,200 --> 01:20:04,840
Speaker 4: from like two in the morning, probably about ten thirty

1360
01:20:04,880 --> 01:20:08,200
Speaker 4: in the morning. But a couple of my close friends

1361
01:20:08,320 --> 01:20:10,040
Speaker 4: knew because I'd be up at a and them in

1362
01:20:10,080 --> 01:20:13,759
Speaker 4: the studio late at night between him and Line of Richie,

1363
01:20:13,760 --> 01:20:15,880
Speaker 4: and we passed it. Hey, Line was up. He was

1364
01:20:15,960 --> 01:20:18,560
Speaker 4: a night out too. Some of them don't make a

1365
01:20:18,680 --> 01:20:21,840
Speaker 4: move until after twelve, and you can't call them before

1366
01:20:21,880 --> 01:20:25,479
Speaker 4: three in the afternoon because they're sleep right, so you know,

1367
01:20:25,600 --> 01:20:27,920
Speaker 4: then they'd call me. Steve would give me a heads up.

1368
01:20:28,000 --> 01:20:30,400
Speaker 4: I bet studio, George, okay, I'll be at the studio.

1369
01:20:30,400 --> 01:20:33,519
Speaker 4: I said, all right, I might come down. Well, you know,

1370
01:20:33,640 --> 01:20:35,880
Speaker 4: to look up in line. On one time, I called

1371
01:20:35,920 --> 01:20:42,240
Speaker 4: it two thirty s it's not three o'clock yet, I said,

1372
01:20:42,240 --> 01:20:44,439
Speaker 4: all right, all right now, but Tommy back coming back,

1373
01:20:44,479 --> 01:20:50,680
Speaker 4: Man coming back. And you know, just they knew who

1374
01:20:50,800 --> 01:20:52,640
Speaker 4: I had hung over and who I've been hanging out with,

1375
01:20:52,680 --> 01:20:58,600
Speaker 4: because after that I went to George Duke, so it

1376
01:20:58,680 --> 01:21:03,080
Speaker 4: was Billy Preston, Stevie Wonder, George Duke's the Education.

1377
01:21:02,960 --> 01:21:03,559
Speaker 2: Yeah for real.

1378
01:21:03,840 --> 01:21:09,920
Speaker 4: And then I went to uh, George Duke, Bill Withers.

1379
01:21:12,120 --> 01:21:13,960
Speaker 4: This was before Billy Preston.

1380
01:21:14,080 --> 01:21:17,200
Speaker 2: I forgot because you're on the back cover.

1381
01:21:17,280 --> 01:21:19,639
Speaker 4: Of Bill right. Yeah.

1382
01:21:19,760 --> 01:21:22,879
Speaker 2: Yeah, me and my wife and my dad who was sitting.

1383
01:21:22,720 --> 01:21:23,240
Speaker 4: On the ground.

1384
01:21:24,240 --> 01:21:25,000
Speaker 2: So was that a real?

1385
01:21:25,120 --> 01:21:27,360
Speaker 4: Like what was the concept behind Ray Parker Jr.

1386
01:21:28,720 --> 01:21:31,680
Speaker 2: Was that a real because he on Sultan.

1387
01:21:34,600 --> 01:21:36,760
Speaker 4: He was to the left with his wife. Yeah, it

1388
01:21:36,880 --> 01:21:39,000
Speaker 4: was like it was a whole. It was on Bill's property,

1389
01:21:39,080 --> 01:21:41,160
Speaker 4: in his backyard. We just took like we was over

1390
01:21:41,200 --> 01:21:45,719
Speaker 4: there for barbecue and hanging out. Just took a musician

1391
01:21:46,320 --> 01:21:50,960
Speaker 4: family picture. And you know it's like heavy hitters are there.

1392
01:21:51,080 --> 01:21:53,800
Speaker 4: They were, they were on set. And even back then,

1393
01:21:55,400 --> 01:21:58,000
Speaker 4: somebody like maybe Ray Parker is like he just recently

1394
01:21:58,080 --> 01:22:00,320
Speaker 4: hooked up with Sly. A lot of people wanted they

1395
01:22:00,400 --> 01:22:02,680
Speaker 4: knew I was there. I could easily invite him to

1396
01:22:02,800 --> 01:22:05,760
Speaker 4: but I never take anybody. Oh this The only person

1397
01:22:05,840 --> 01:22:09,240
Speaker 4: that took over his place was Irene care because she

1398
01:22:09,880 --> 01:22:13,519
Speaker 4: was my neighbor and Patrise Russian and to be honest

1399
01:22:13,560 --> 01:22:15,280
Speaker 4: with you, I think she was a little bit envious.

1400
01:22:15,320 --> 01:22:17,519
Speaker 4: So I know she was a Michael Jackson because she

1401
01:22:17,920 --> 01:22:22,559
Speaker 4: she wanted me to be just the only one. She didn't,

1402
01:22:22,560 --> 01:22:25,040
Speaker 4: you know, want too particular about said to Garrett would

1403
01:22:25,040 --> 01:22:28,360
Speaker 4: come over right, you know, and you remember side, so

1404
01:22:28,439 --> 01:22:31,160
Speaker 4: you two were next door neighbors. That next door she

1405
01:22:31,280 --> 01:22:35,760
Speaker 4: lived the street that explains to the curve, right. That's how, yeah,

1406
01:22:35,800 --> 01:22:36,360
Speaker 4: we hooked up.

1407
01:22:36,400 --> 01:22:39,800
Speaker 2: And that was the weirdest. Whenever I saw the credits

1408
01:22:39,840 --> 01:22:41,599
Speaker 2: on the album, I'm like, I didn't care.

1409
01:22:42,320 --> 01:22:44,479
Speaker 4: And she was a great right and she wor lyrics.

1410
01:22:44,520 --> 01:22:47,760
Speaker 4: She really had nothing to do with the music. Uh.

1411
01:22:48,360 --> 01:22:53,080
Speaker 4: Back then, I was experimenting with basslines on keyboards and

1412
01:22:53,120 --> 01:22:57,280
Speaker 4: it's like a Bobby Brown thing. Don't don't down, don't

1413
01:22:58,120 --> 01:23:01,080
Speaker 4: don't don't you know.

1414
01:23:01,760 --> 01:23:04,599
Speaker 2: And that was way before then. We are the ticket

1415
01:23:04,680 --> 01:23:04,840
Speaker 2: to the.

1416
01:23:07,680 --> 01:23:12,280
Speaker 4: Irene lived probably like three blocks away Patrise. Russian lived

1417
01:23:12,320 --> 01:23:14,400
Speaker 4: about four blocks away and around the corner.

1418
01:23:15,400 --> 01:23:15,960
Speaker 2: So I used to.

1419
01:23:16,120 --> 01:23:19,479
Speaker 4: I used to always before Irene moved out to where

1420
01:23:19,520 --> 01:23:24,320
Speaker 4: I am, and she moved twice near me. You know,

1421
01:23:24,840 --> 01:23:26,400
Speaker 4: I guess a lot of people's like if you hang

1422
01:23:26,439 --> 01:23:29,160
Speaker 4: out with somebody, because I always wanted to meet her.

1423
01:23:29,320 --> 01:23:33,479
Speaker 4: That's how Fame tour manager said, so I want to

1424
01:23:33,479 --> 01:23:35,200
Speaker 4: meet her, said you're gonna work with her one day,

1425
01:23:35,800 --> 01:23:40,879
Speaker 4: and that happened without his help. We just gravitated. Actually

1426
01:23:41,800 --> 01:23:44,240
Speaker 4: the fifth member of Toto who did a lot of

1427
01:23:44,400 --> 01:23:45,160
Speaker 4: movie scores.

1428
01:23:45,280 --> 01:23:48,439
Speaker 2: DA. No, it's never total.

1429
01:23:51,320 --> 01:23:55,320
Speaker 4: No, they're all members of the group, James Newton, Howard

1430
01:23:57,720 --> 01:24:00,000
Speaker 4: Howard and I because we was working in the studio

1431
01:24:00,400 --> 01:24:02,879
Speaker 4: and he's the one to introduce me to Irene.

1432
01:24:03,600 --> 01:24:04,920
Speaker 2: Do you still speak to her? I was just I

1433
01:24:05,040 --> 01:24:06,240
Speaker 2: was like, I haven't heard from her in a while.

1434
01:24:06,439 --> 01:24:09,960
Speaker 4: Yeah, we talked, but it's you know, it's we're still cool.

1435
01:24:10,320 --> 01:24:12,720
Speaker 4: It's like I kind of let things lie where they lie.

1436
01:24:13,040 --> 01:24:14,960
Speaker 4: If you get pissed off about something I hurt. She

1437
01:24:15,080 --> 01:24:16,880
Speaker 4: was very hard to get along with the time. I

1438
01:24:17,080 --> 01:24:20,479
Speaker 4: wasn't like forcing anything, and it's like, if you are

1439
01:24:20,520 --> 01:24:23,680
Speaker 4: a true person who you are, you kind of let

1440
01:24:23,840 --> 01:24:26,200
Speaker 4: things go. But I think it boiled down too all

1441
01:24:26,200 --> 01:24:29,080
Speaker 4: of a sudden, we're together working and you saying, oh,

1442
01:24:29,120 --> 01:24:31,479
Speaker 4: I can't work with you today, Casid Garrett's coming over

1443
01:24:32,160 --> 01:24:36,840
Speaker 4: attitude or you know, I can't work digging Irene. I

1444
01:24:36,920 --> 01:24:41,400
Speaker 4: mean Patrese's coming over. Patrice came over and she heard

1445
01:24:41,439 --> 01:24:44,320
Speaker 4: this one song I did call I Fresh and sly

1446
01:24:44,439 --> 01:24:46,960
Speaker 4: I wanted to play on it too, and I didn't

1447
01:24:47,000 --> 01:24:52,800
Speaker 4: let him. But so if you pass some time to

1448
01:24:52,880 --> 01:24:55,080
Speaker 4: pull up, you pull up I Fresh, and you're gonna

1449
01:24:55,080 --> 01:24:58,519
Speaker 4: hear some similarity or sly Stone, which he was the

1450
01:24:58,560 --> 01:25:03,400
Speaker 4: one that got me playing keyboard. Okay, So Patrese came over.

1451
01:25:03,520 --> 01:25:04,960
Speaker 4: That was her favorite gen. She used to come over

1452
01:25:05,120 --> 01:25:07,960
Speaker 4: just to hear that. So when Irene Carrer would see

1453
01:25:08,000 --> 01:25:11,320
Speaker 4: her coming up, all ship's gonna get you know, it's

1454
01:25:11,360 --> 01:25:13,720
Speaker 4: over because he might be working with Irene. You know,

1455
01:25:13,840 --> 01:25:15,880
Speaker 4: he might be where it wasn't might be I was

1456
01:25:16,040 --> 01:25:19,040
Speaker 4: working with you know, side Garrett. We cut a lot

1457
01:25:19,080 --> 01:25:20,000
Speaker 4: of demos together.

1458
01:25:20,880 --> 01:25:25,519
Speaker 2: And how did you guys end up signing with? Like

1459
01:25:26,040 --> 01:25:28,240
Speaker 2: and M and story?

1460
01:25:29,960 --> 01:25:33,640
Speaker 4: Okay, okay. At when we're at the record plant and

1461
01:25:33,800 --> 01:25:38,000
Speaker 4: I was working with Q, I had told him the

1462
01:25:38,160 --> 01:25:40,680
Speaker 4: story because before and then I would go up to

1463
01:25:40,760 --> 01:25:43,719
Speaker 4: A and M because I was working with Billy Preston.

1464
01:25:43,800 --> 01:25:46,400
Speaker 4: He was on A and this would be the first

1465
01:25:46,439 --> 01:25:49,559
Speaker 4: good place to go on. I took and them basically

1466
01:25:49,720 --> 01:25:52,479
Speaker 4: the same kind of song that I took Quincy.

1467
01:25:53,000 --> 01:25:54,640
Speaker 2: Okay, you know, and.

1468
01:25:57,240 --> 01:26:00,680
Speaker 4: They basically, you know, didn't pay attention because you had

1469
01:26:00,720 --> 01:26:04,920
Speaker 4: a black door to go through a white door. And

1470
01:26:05,080 --> 01:26:08,360
Speaker 4: that was funny because we were the only group in

1471
01:26:08,400 --> 01:26:11,639
Speaker 4: the history of May and Them who covered all genres

1472
01:26:11,680 --> 01:26:16,240
Speaker 4: of music, not just funk, jazz, blues pop.

1473
01:26:16,920 --> 01:26:17,080
Speaker 2: You know.

1474
01:26:17,240 --> 01:26:20,920
Speaker 4: So Michael was paying attention to back then, and we

1475
01:26:21,080 --> 01:26:25,120
Speaker 4: started paying most of the bills, you know, from Styx.

1476
01:26:25,520 --> 01:26:29,040
Speaker 4: I was the one who had picked Human that was

1477
01:26:29,120 --> 01:26:34,120
Speaker 4: on the charts for twenty seven weeks, the song Human

1478
01:26:34,400 --> 01:26:39,479
Speaker 4: by Human Nature, Human League. Yeah. I did a lot

1479
01:26:39,520 --> 01:26:42,160
Speaker 4: of stuff, ghost stuff that a lot of people don't

1480
01:26:42,280 --> 01:26:51,360
Speaker 4: realize and wait, yeah, and it brought Jimmy jam and

1481
01:26:51,439 --> 01:26:52,760
Speaker 4: Terry Lewis on the scene.

1482
01:26:53,560 --> 01:26:54,160
Speaker 2: So how did.

1483
01:26:55,800 --> 01:26:58,120
Speaker 4: Well, John McLean and I are very close and I

1484
01:26:58,320 --> 01:27:06,240
Speaker 4: was like helping him out. Yes, everybody else, Yeah, well

1485
01:27:06,280 --> 01:27:08,759
Speaker 4: this is probably before a lot of other things that happened.

1486
01:27:08,800 --> 01:27:11,120
Speaker 4: But you know, we were just about ready to leave

1487
01:27:11,360 --> 01:27:14,200
Speaker 4: a and m and I was doing my job. I

1488
01:27:14,320 --> 01:27:16,479
Speaker 4: just kind of got bored and didn't have my parking

1489
01:27:16,560 --> 01:27:18,720
Speaker 4: space there, and I told him, I said, I help

1490
01:27:18,760 --> 01:27:21,559
Speaker 4: you out there. The guards and everybody knew what George

1491
01:27:21,600 --> 01:27:24,760
Speaker 4: Johnson's here, He's probably back there helping another motherfucker out.

1492
01:27:28,080 --> 01:27:33,160
Speaker 4: John McLean had given me first this cassette and told

1493
01:27:33,200 --> 01:27:35,439
Speaker 4: me to listen to it. Tell me what I thought.

1494
01:27:36,000 --> 01:27:39,040
Speaker 4: He was originally working in the mailroom, think making about

1495
01:27:39,080 --> 01:27:42,439
Speaker 4: five hundred bucks a week or something like that at

1496
01:27:42,479 --> 01:27:45,160
Speaker 4: a and him became before he came, so he went

1497
01:27:45,240 --> 01:27:47,559
Speaker 4: to the Power Moves. It's just how I got Sly

1498
01:27:47,840 --> 01:27:50,519
Speaker 4: on Jesse Johnson's record video.

1499
01:27:50,680 --> 01:27:53,120
Speaker 2: You did that? Yeah, wow, I was the only one

1500
01:27:53,160 --> 01:27:56,519
Speaker 2: that makes sense, the only one but never had sense.

1501
01:27:56,640 --> 01:28:00,360
Speaker 4: Yeah, never got credit for a lot of stuff. That's

1502
01:28:00,360 --> 01:28:03,920
Speaker 4: what I'm saying, a lot of truth. Crazy crazy, And

1503
01:28:04,080 --> 01:28:06,840
Speaker 4: Sly wasn't interested. You told me, man, I don't want

1504
01:28:06,840 --> 01:28:08,479
Speaker 4: to do this, and they give you some money, you

1505
01:28:08,520 --> 01:28:10,000
Speaker 4: could do what you like to do, all.

1506
01:28:09,960 --> 01:28:15,200
Speaker 2: Right, you can do what you like. Jesse. Jesse did

1507
01:28:15,320 --> 01:28:18,200
Speaker 2: our episode and he explained to us that, yeah, he

1508
01:28:18,320 --> 01:28:20,240
Speaker 2: just sent the two inches too. Yeah. They never met

1509
01:28:20,400 --> 01:28:21,400
Speaker 2: before the video.

1510
01:28:21,439 --> 01:28:24,439
Speaker 4: It's like he wasn't interested in meeting him. He said,

1511
01:28:24,479 --> 01:28:28,799
Speaker 4: you're the funcust why he want interested in meeting Prince?

1512
01:28:29,200 --> 01:28:32,080
Speaker 4: I said, man, you got to go hang with Prince,

1513
01:28:32,400 --> 01:28:34,439
Speaker 4: and he did. Prince came out to his place and

1514
01:28:34,520 --> 01:28:37,439
Speaker 4: he was in the Palisades, and Slide told me he

1515
01:28:37,800 --> 01:28:39,720
Speaker 4: knocked on the door, came out. I said, what did

1516
01:28:39,720 --> 01:28:42,880
Speaker 4: you do? Just looked at him on the monitor. I

1517
01:28:42,920 --> 01:28:43,600
Speaker 4: didn't let him in.

1518
01:28:47,720 --> 01:28:49,840
Speaker 2: Now why Prince gravitated to Larry.

1519
01:28:49,960 --> 01:28:54,280
Speaker 4: But Prince Prince had Larry and focus. He was trying

1520
01:28:54,320 --> 01:28:58,400
Speaker 4: to bring back Sly to him, and Slid and Sly

1521
01:28:58,800 --> 01:29:01,799
Speaker 4: and Freddy who at it not to go with Prince.

1522
01:29:02,320 --> 01:29:05,120
Speaker 4: They're the only two that held out. Slide told me,

1523
01:29:05,200 --> 01:29:07,400
Speaker 4: a prince just trying to be like me. I said, well,

1524
01:29:07,479 --> 01:29:10,840
Speaker 4: let him be like you and he the new you,

1525
01:29:11,640 --> 01:29:13,640
Speaker 4: you know, let him. You know, if he got all

1526
01:29:13,680 --> 01:29:16,400
Speaker 4: this money could help you. Prince Sly one out there

1527
01:29:16,400 --> 01:29:19,200
Speaker 4: and saw his complex and I think very you know,

1528
01:29:20,320 --> 01:29:22,800
Speaker 4: could be jealous or at least about it. And you

1529
01:29:22,880 --> 01:29:24,400
Speaker 4: know what I mean. But he's been to the right

1530
01:29:24,439 --> 01:29:26,200
Speaker 4: and he's been to the left, being up and down

1531
01:29:26,280 --> 01:29:30,519
Speaker 4: with his financial status. And you know, when you see

1532
01:29:30,520 --> 01:29:32,839
Speaker 4: another person coming and want to be you, they wouldn't

1533
01:29:32,840 --> 01:29:36,040
Speaker 4: even let him. Send At the Hard Rock, Rock and

1534
01:29:36,160 --> 01:29:39,120
Speaker 4: Roll Hall of Fame, Prince asked to sit at the table.

1535
01:29:39,520 --> 01:29:41,599
Speaker 4: They wouldn't want. They didn't let him come sit at

1536
01:29:41,640 --> 01:29:44,519
Speaker 4: the table. Would Sly in the family Stone, So, I

1537
01:29:44,600 --> 01:29:47,760
Speaker 4: mean he was trying to be you know. That's why

1538
01:29:47,800 --> 01:29:50,880
Speaker 4: he was very cordial to me, you know, and do

1539
01:29:50,960 --> 01:29:53,200
Speaker 4: you give me a private show. I could have probably

1540
01:29:53,280 --> 01:29:57,200
Speaker 4: went with them, but I wasn't too into their you know,

1541
01:29:57,439 --> 01:30:01,680
Speaker 4: I knew he was gonna be prince after that. You know,

1542
01:30:01,760 --> 01:30:04,200
Speaker 4: I wasn't gonna be too much more of you know,

1543
01:30:04,840 --> 01:30:07,720
Speaker 4: the time happened, like I said, when Jimmy, jam and

1544
01:30:07,800 --> 01:30:10,439
Speaker 4: Lewis because they did the drum tracks and all that

1545
01:30:10,600 --> 01:30:14,200
Speaker 4: on Human and that was bringing them in. But John

1546
01:30:14,320 --> 01:30:16,720
Speaker 4: McClean asked me to listen to this cassette and tell

1547
01:30:16,760 --> 01:30:19,240
Speaker 4: me what you think. So I probably would wait till

1548
01:30:19,240 --> 01:30:21,040
Speaker 4: along the way good to lunch for the next day,

1549
01:30:21,040 --> 01:30:23,439
Speaker 4: and I would listen to it when I leave my house.

1550
01:30:24,320 --> 01:30:27,640
Speaker 4: So I listened to it, turned it out, got the

1551
01:30:27,760 --> 01:30:30,559
Speaker 4: side too, and Human came up.

1552
01:30:33,520 --> 01:30:33,680
Speaker 3: You know.

1553
01:30:34,680 --> 01:30:37,280
Speaker 4: It's like I had to keep rewinding. I didn't even

1554
01:30:37,280 --> 01:30:38,400
Speaker 4: know it was Jimmy and Terry.

1555
01:30:38,760 --> 01:30:39,240
Speaker 2: Oh wow.

1556
01:30:40,120 --> 01:30:42,519
Speaker 4: So I said, okay, got to the I was gonna

1557
01:30:42,600 --> 01:30:44,360
Speaker 4: kept listening to us. I couldn't go no further than that.

1558
01:30:44,439 --> 01:30:47,160
Speaker 4: I said, you know what A and them, It just

1559
01:30:47,280 --> 01:30:49,400
Speaker 4: goes to show you show you about these companies, a

1560
01:30:49,439 --> 01:30:51,320
Speaker 4: lot of people that ain't got the right ears. I said,

1561
01:30:52,040 --> 01:30:54,639
Speaker 4: this is totally fucked up because they got this hit

1562
01:30:54,760 --> 01:30:57,880
Speaker 4: out of see Quince's side to second song on side too.

1563
01:30:57,920 --> 01:31:01,400
Speaker 4: It should be on side one the first record. Oh.

1564
01:31:01,520 --> 01:31:04,320
Speaker 4: Man said, that's cool. I'm bringing in my boys Jimmy

1565
01:31:04,320 --> 01:31:07,639
Speaker 4: and Terry. I said, who Jimmy, Jammy Taylor. I said,

1566
01:31:08,640 --> 01:31:11,200
Speaker 4: whoever did it needs to be I didn't even know

1567
01:31:11,280 --> 01:31:14,720
Speaker 4: that they were from the time, right, okay, okay? And

1568
01:31:16,439 --> 01:31:18,760
Speaker 4: I said, you need the next board, meaning because I

1569
01:31:18,920 --> 01:31:21,200
Speaker 4: was actually on the Board of Governors with the Grammys

1570
01:31:21,479 --> 01:31:25,479
Speaker 4: from the seventh ninety two ninety four. They wanted me

1571
01:31:25,560 --> 01:31:30,040
Speaker 4: to become the president of NARS and at that time

1572
01:31:30,280 --> 01:31:32,320
Speaker 4: I chose not to us. I said, I got an

1573
01:31:32,439 --> 01:31:36,280
Speaker 4: mc hammer came up. Oh wow, I got bored on

1574
01:31:37,080 --> 01:31:37,960
Speaker 4: board of the board.

1575
01:31:44,360 --> 01:31:47,040
Speaker 7: So it was a lot of things that sometimes I like, damn,

1576
01:31:47,040 --> 01:31:47,800
Speaker 7: I wish you would have did it.

1577
01:31:49,320 --> 01:31:51,360
Speaker 4: Well, you know, it was cool. I mean I was in.

1578
01:31:51,560 --> 01:31:55,599
Speaker 4: I was on the head of the producer committee because

1579
01:31:55,680 --> 01:31:58,439
Speaker 4: Irene Carry's husbands will encourage me to get on the board.

1580
01:31:59,040 --> 01:32:00,920
Speaker 4: He said, man, yeah, well all the stuff you know

1581
01:32:01,080 --> 01:32:02,640
Speaker 4: and have been through. He said, you need to be

1582
01:32:03,320 --> 01:32:05,920
Speaker 4: signing off on some stuff. And you know, I was

1583
01:32:06,000 --> 01:32:09,200
Speaker 4: on the producer committee for two years and picking up is.

1584
01:32:09,200 --> 01:32:12,720
Speaker 2: It like to be at that level because like right now,

1585
01:32:12,840 --> 01:32:18,240
Speaker 2: Jimmy jim is also Yeah, really I was on the he's.

1586
01:32:18,120 --> 01:32:19,519
Speaker 7: Like one of the heads of the producer committee.

1587
01:32:20,640 --> 01:32:26,600
Speaker 2: How important is it? Like what's the end games being at?

1588
01:32:26,800 --> 01:32:29,400
Speaker 4: Well, say number one was they all thought I was

1589
01:32:29,479 --> 01:32:33,800
Speaker 4: the plant of Quincy's. Ah Okay, they were scared, so

1590
01:32:34,080 --> 01:32:37,439
Speaker 4: they and this is after Thriller, Okay, I was there.

1591
01:32:37,520 --> 01:32:40,439
Speaker 4: That was in eighty four, I mean at eighty four. Yeah,

1592
01:32:40,840 --> 01:32:42,600
Speaker 4: so after that, I was there from ninety two to

1593
01:32:42,800 --> 01:32:45,800
Speaker 4: ninety four. So they thought I came with the master

1594
01:32:46,000 --> 01:32:51,200
Speaker 4: map of the plant, okay, and it was cool, and

1595
01:32:51,280 --> 01:32:53,120
Speaker 4: I just didn't want to be on the border ground

1596
01:32:53,160 --> 01:32:53,680
Speaker 4: and I wanted to go.

1597
01:32:53,680 --> 01:32:54,400
Speaker 2: To find out.

1598
01:32:54,400 --> 01:32:57,360
Speaker 4: Okay, what's the highest position, you said, producer committee. So

1599
01:32:57,479 --> 01:33:01,240
Speaker 4: I got on that like instantly. I was getting all

1600
01:33:01,320 --> 01:33:04,799
Speaker 4: free music. They'd send me the box and I wouldn't

1601
01:33:04,800 --> 01:33:06,960
Speaker 4: have to pass it on to nobody else that kept

1602
01:33:07,080 --> 01:33:07,839
Speaker 4: all the CDs.

1603
01:33:08,240 --> 01:33:09,800
Speaker 7: That was the first time I heard the chronic.

1604
01:33:13,120 --> 01:33:13,960
Speaker 2: For those committees.

1605
01:33:14,080 --> 01:33:17,040
Speaker 4: You just get everything, okay, Yeah, I mean, well, the

1606
01:33:17,160 --> 01:33:21,200
Speaker 4: other ones you share except for the producer committee, because

1607
01:33:21,200 --> 01:33:24,680
Speaker 4: you got these different categories of music. So you may

1608
01:33:24,760 --> 01:33:27,240
Speaker 4: have two and three people. Oafter you get through the box,

1609
01:33:27,320 --> 01:33:29,640
Speaker 4: send it to sell it. You know, sometime they may

1610
01:33:29,720 --> 01:33:31,400
Speaker 4: take out a few things, but you have to deliver

1611
01:33:31,479 --> 01:33:32,040
Speaker 4: the whole box.

1612
01:33:32,160 --> 01:33:36,400
Speaker 2: And what's the whole purpose of that committee to well?

1613
01:33:36,479 --> 01:33:38,880
Speaker 4: With that committee? You eventually before that, if you're just

1614
01:33:38,920 --> 01:33:40,800
Speaker 4: going to be a member of the board, they're going

1615
01:33:40,880 --> 01:33:43,640
Speaker 4: to get your briefcase and have a lot of applications

1616
01:33:43,760 --> 01:33:47,920
Speaker 4: that you sign people on to the Grammys from September.

1617
01:33:48,400 --> 01:33:52,200
Speaker 4: After September it is too late, okay, so you actually

1618
01:33:52,240 --> 01:33:54,200
Speaker 4: will see a group. There's a lot of people now

1619
01:33:54,400 --> 01:33:58,120
Speaker 4: say oh, would you like to get go for a nomination?

1620
01:33:58,520 --> 01:34:02,160
Speaker 4: I make sure for the Grammy their application. Right, you're

1621
01:34:02,200 --> 01:34:05,599
Speaker 4: not gonna say no. You know, you fill out the application.

1622
01:34:05,800 --> 01:34:11,519
Speaker 4: You have the right to submit to fruit. Yeah right, okay,

1623
01:34:11,720 --> 01:34:13,200
Speaker 4: so you know what I mean. I didn't get paid.

1624
01:34:15,200 --> 01:34:20,320
Speaker 4: I brought intellect and experience and what I know about music.

1625
01:34:20,720 --> 01:34:22,759
Speaker 4: Since I hooked up and had all these other people

1626
01:34:22,840 --> 01:34:24,120
Speaker 4: from Billy Preston.

1627
01:34:24,000 --> 01:34:26,120
Speaker 7: You brough an opportunity basically, right.

1628
01:34:26,040 --> 01:34:28,240
Speaker 4: I could hear something Now when it's a hit. Just

1629
01:34:28,280 --> 01:34:32,479
Speaker 4: how I picked the song Human When I told John McClean,

1630
01:34:32,560 --> 01:34:34,639
Speaker 4: I said, you go up to the board meeting next week.

1631
01:34:34,800 --> 01:34:37,760
Speaker 4: I know it was the second week of every month,

1632
01:34:38,360 --> 01:34:42,160
Speaker 4: and you tell her Bible and Jerry Moss because they

1633
01:34:42,200 --> 01:34:44,720
Speaker 4: had sticks out thing in Human League. I said, this

1634
01:34:44,840 --> 01:34:47,920
Speaker 4: is the hit that's on side too, and I don't

1635
01:34:47,920 --> 01:34:50,280
Speaker 4: think they ever changed it, but then they did try

1636
01:34:50,360 --> 01:34:53,080
Speaker 4: it and it wound up on charts number one for

1637
01:34:53,280 --> 01:34:57,000
Speaker 4: twenty seven weeks. That was the first time people at

1638
01:34:57,040 --> 01:34:59,840
Speaker 4: A and M news. I think John mintioned George told you.

1639
01:35:00,160 --> 01:35:02,600
Speaker 4: He said that that was the one. So I was

1640
01:35:02,720 --> 01:35:08,639
Speaker 4: like the ghost of music there picking hits.

1641
01:35:09,320 --> 01:35:11,719
Speaker 8: When did you guys first start recording your first album?

1642
01:35:11,760 --> 01:35:15,280
Speaker 8: Form with Quincy producing seventy five And that was on

1643
01:35:15,520 --> 01:35:20,280
Speaker 8: his album is It Love that We're Missing? Wrote four

1644
01:35:20,400 --> 01:35:24,040
Speaker 8: songs trying to find out about you just listening listen.

1645
01:35:24,560 --> 01:35:27,080
Speaker 5: And he has those writing sessions. He would like a

1646
01:35:27,080 --> 01:35:30,360
Speaker 5: little dictaphone, he would like record when he like play

1647
01:35:30,400 --> 01:35:33,439
Speaker 5: the songs, yeah with Quincy, like in the in his apartment.

1648
01:35:33,520 --> 01:35:34,960
Speaker 5: He like has all of that stuff. He used to

1649
01:35:34,960 --> 01:35:36,400
Speaker 5: play that stuff for me when I was on the

1650
01:35:36,439 --> 01:35:39,479
Speaker 5: way to school. I was like five years old listening

1651
01:35:39,560 --> 01:35:42,720
Speaker 5: to these like session tapes of them writing these growing.

1652
01:35:42,560 --> 01:35:47,240
Speaker 2: Up, Like, at what point do you realize, Okay, he's

1653
01:35:47,400 --> 01:35:51,240
Speaker 2: not just dad, but he's sort of might kind of

1654
01:35:51,280 --> 01:35:52,479
Speaker 2: be a big deal, A big deal.

1655
01:35:52,680 --> 01:35:56,080
Speaker 7: Well, I always knew he was like a superhero.

1656
01:35:57,360 --> 01:35:59,559
Speaker 4: And I was at two years old.

1657
01:35:59,640 --> 01:36:00,879
Speaker 7: My first word was tape.

1658
01:36:02,760 --> 01:36:04,400
Speaker 5: And it's funny he passed down the same so it

1659
01:36:04,479 --> 01:36:07,200
Speaker 5: was kind of like how how my grandfather gave hold on.

1660
01:36:07,240 --> 01:36:09,760
Speaker 4: He would also say, ready, cassette go.

1661
01:36:15,880 --> 01:36:17,840
Speaker 5: So yeah, he he did the same thing with me

1662
01:36:17,920 --> 01:36:20,479
Speaker 5: where he because I was like, I didn't know what

1663
01:36:20,640 --> 01:36:23,080
Speaker 5: capacity I was going to do, uh music, I just

1664
01:36:23,200 --> 01:36:25,160
Speaker 5: was into it and I was into the technology side

1665
01:36:25,160 --> 01:36:26,840
Speaker 5: of it, and so like I love the tape machine.

1666
01:36:26,840 --> 01:36:29,200
Speaker 5: Because I would see him in his studio and you know,

1667
01:36:29,240 --> 01:36:31,240
Speaker 5: he'd be laying down the guitar part. So he teached

1668
01:36:31,280 --> 01:36:33,240
Speaker 5: me how to punch him in because he didn't he

1669
01:36:33,280 --> 01:36:36,240
Speaker 5: couldn't punched men, and like you know certain things, and

1670
01:36:36,360 --> 01:36:38,519
Speaker 5: so I was all, you know, he'd bring me to

1671
01:36:38,560 --> 01:36:41,000
Speaker 5: the studio and I meet all these amazing great people.

1672
01:36:41,280 --> 01:36:48,639
Speaker 4: Wasn't paying attention to nobody Like this is Quincy Jones, uh.

1673
01:36:49,400 --> 01:36:53,000
Speaker 2: Who is on the cover or the inside of Blam.

1674
01:36:53,560 --> 01:36:56,520
Speaker 7: That's uh that Cody my cousin.

1675
01:36:58,280 --> 01:36:58,479
Speaker 2: Son.

1676
01:36:58,680 --> 01:37:01,880
Speaker 4: Yeah, yeah, they still hang out. He's trying to do music.

1677
01:37:01,960 --> 01:37:03,240
Speaker 7: But yeah, that's none of them.

1678
01:37:03,320 --> 01:37:06,160
Speaker 2: I like Troy Okay, Well.

1679
01:37:09,760 --> 01:37:10,639
Speaker 7: Sound pretty okay.

1680
01:37:10,760 --> 01:37:15,040
Speaker 2: So I have I have questions about the production techniques

1681
01:37:15,360 --> 01:37:19,840
Speaker 2: of the brother Johnson the Brothers Johnson sound, but I

1682
01:37:20,120 --> 01:37:24,360
Speaker 2: have to get this question out the way. Well, first

1683
01:37:24,400 --> 01:37:28,080
Speaker 2: of all, we look out for number one, right, uh,

1684
01:37:28,360 --> 01:37:33,000
Speaker 2: like many other uh songs done by black artists. Of course,

1685
01:37:33,560 --> 01:37:38,040
Speaker 2: that was always my exposure to the Beatles before. Yeah,

1686
01:37:38,320 --> 01:37:40,080
Speaker 2: I thought that I didn't know. Yeah, I didn't. That

1687
01:37:40,160 --> 01:37:42,000
Speaker 2: was my first time hearing that, right, And you know,

1688
01:37:42,160 --> 01:37:44,599
Speaker 2: my art teacher trying to tell me, like, no, that's

1689
01:37:44,640 --> 01:37:47,680
Speaker 2: not the Beatles did this verse. We did, but I'm

1690
01:37:47,720 --> 01:37:49,720
Speaker 2: in first grade, so I didn't know the.

1691
01:37:49,760 --> 01:37:53,320
Speaker 4: First Well, yeah, I got that was the crimination of

1692
01:37:53,920 --> 01:37:56,360
Speaker 4: the Funkadelic and Brothers Johnson and Beatles.

1693
01:37:57,160 --> 01:38:06,240
Speaker 9: I see, Well it worked because I always thought that

1694
01:38:06,880 --> 01:38:07,559
Speaker 9: that was your song.

1695
01:38:07,760 --> 01:38:11,160
Speaker 4: Yeah no, there wasn't. You know, everything I would approach

1696
01:38:11,200 --> 01:38:14,000
Speaker 4: it would have to have a signature on it. A

1697
01:38:14,120 --> 01:38:16,280
Speaker 4: lot of the first album that you were talking about

1698
01:38:16,920 --> 01:38:21,320
Speaker 4: mostly was one bass a drum machine and probably about

1699
01:38:21,320 --> 01:38:26,080
Speaker 4: eight guitars. That's how I learned about arrangement. Quincy would

1700
01:38:26,120 --> 01:38:29,679
Speaker 4: take all the guitar parts and put different and it's yeah,

1701
01:38:29,680 --> 01:38:32,439
Speaker 4: I mean we our keyboard players be like George Duke

1702
01:38:32,520 --> 01:38:37,599
Speaker 4: and Herbie Hancock, Harvey Mason on drums, so our band

1703
01:38:38,280 --> 01:38:40,759
Speaker 4: were people that he could get and come into the studio.

1704
01:38:41,160 --> 01:38:45,000
Speaker 4: Harvey Mason was playing with headphones on pull out the

1705
01:38:45,080 --> 01:38:48,000
Speaker 4: drum track on songs like trying to find out about

1706
01:38:48,040 --> 01:38:50,920
Speaker 4: you if you you know it would just go for

1707
01:38:51,040 --> 01:38:54,000
Speaker 4: it and we you know, so that was like the

1708
01:38:54,479 --> 01:38:57,680
Speaker 4: only the first band outside the little band we had

1709
01:38:58,280 --> 01:39:01,880
Speaker 4: and these are like you walking in you saying Herbie

1710
01:39:01,920 --> 01:39:04,840
Speaker 4: Hancock walking the floor, like playing notes on and tell

1711
01:39:04,920 --> 01:39:09,080
Speaker 4: me bedtime story now, uh you know all that kind

1712
01:39:09,120 --> 01:39:11,639
Speaker 4: of stuck in my head that Herbie wrote that they had.

1713
01:39:12,160 --> 01:39:14,719
Speaker 2: You guys with the rhythm section on sounds and stuff

1714
01:39:14,760 --> 01:39:17,800
Speaker 2: like that. I played on a few things.

1715
01:39:17,840 --> 01:39:23,759
Speaker 4: They took me out the mix purposely when Michael Jackson

1716
01:39:24,000 --> 01:39:27,240
Speaker 4: hit and Lewis had a lot to do with that.

1717
01:39:27,400 --> 01:39:29,400
Speaker 4: That's when we started. I was about to chew his

1718
01:39:29,479 --> 01:39:29,840
Speaker 4: head up.

1719
01:39:30,080 --> 01:39:36,559
Speaker 2: I was going to sort of come, I was going

1720
01:39:36,600 --> 01:39:38,960
Speaker 2: to get there wait wait, I have one specific question.

1721
01:39:40,400 --> 01:39:44,800
Speaker 2: The Devil that was my jam. It's okay, but I

1722
01:39:45,080 --> 01:39:49,160
Speaker 2: just want to know. Did y'all everythink like a seven

1723
01:39:49,280 --> 01:39:51,599
Speaker 2: year old with hear the songs?

1724
01:39:53,439 --> 01:39:57,880
Speaker 4: J well actually didn't work because I wrote that song

1725
01:39:58,040 --> 01:39:59,439
Speaker 4: after The Exorcist came up.

1726
01:40:00,760 --> 01:40:05,240
Speaker 2: Come on, man, it's like, okay with song, I would always.

1727
01:40:05,000 --> 01:40:10,439
Speaker 4: Skip it with Billy Preston and by him being Christian

1728
01:40:10,520 --> 01:40:12,760
Speaker 4: and all that, and they had the gospel music. It's

1729
01:40:12,800 --> 01:40:14,600
Speaker 4: certainly I would step out of the zone. And it

1730
01:40:14,680 --> 01:40:18,560
Speaker 4: makes songs like make the Devil man, you know, so

1731
01:40:19,000 --> 01:40:20,519
Speaker 4: I gotta make me a devil song?

1732
01:40:21,439 --> 01:40:21,639
Speaker 3: Yeah?

1733
01:40:21,680 --> 01:40:22,639
Speaker 2: You did? You did?

1734
01:40:24,479 --> 01:40:28,360
Speaker 4: And I used the stand and I took a pencil.

1735
01:40:28,439 --> 01:40:36,000
Speaker 4: That's when it starts. You got yeah yeah, And I

1736
01:40:36,120 --> 01:40:42,479
Speaker 4: used Hendricks. I got my watch Hendrix here.

1737
01:40:47,960 --> 01:40:51,320
Speaker 2: Okay, so this is what I'm telling you. Yeah, as

1738
01:40:51,320 --> 01:40:53,719
Speaker 2: an adult, let's see the technique. I see the technique.

1739
01:40:53,760 --> 01:40:55,120
Speaker 4: Let it get to the fun really quick.

1740
01:40:56,960 --> 01:40:57,919
Speaker 2: This ain't the fall.

1741
01:41:00,600 --> 01:41:08,120
Speaker 4: Slid No, no, no, no song o cakes. Wow, that's

1742
01:41:08,200 --> 01:41:16,400
Speaker 4: the suit. I said the stuff huddle, don't make hair

1743
01:41:19,360 --> 01:41:20,920
Speaker 4: like that's my bass line?

1744
01:41:21,520 --> 01:41:23,519
Speaker 2: And was that you singing on singing?

1745
01:41:25,360 --> 01:41:31,960
Speaker 4: They gonna be born guitars coming, all of the counterpoints like.

1746
01:41:41,520 --> 01:41:43,599
Speaker 2: All right, we're about to hitting the ass, burning party,

1747
01:41:45,000 --> 01:41:46,960
Speaker 2: run under the covers and from.

1748
01:41:51,040 --> 01:41:55,320
Speaker 4: You will take your down. You're going to be a snoop.

1749
01:41:57,240 --> 01:42:04,200
Speaker 2: He will have your ass. I think in nineteen seventy seven,

1750
01:42:05,080 --> 01:42:07,080
Speaker 2: I accept what Jesus questions.

1751
01:42:09,439 --> 01:42:16,800
Speaker 4: Like, and you know what, I probably wrote it because

1752
01:42:16,840 --> 01:42:18,599
Speaker 4: I was raised and wasn't ultimboy.

1753
01:42:19,320 --> 01:42:24,599
Speaker 2: They were like a mirror again, like that song, that song,

1754
01:42:26,000 --> 01:42:29,320
Speaker 2: It did it literally like I never saw you to

1755
01:42:29,520 --> 01:42:33,640
Speaker 2: the same ever again. And even with y'all, even the

1756
01:42:34,080 --> 01:42:39,920
Speaker 2: shutter open uh for the back cover of Right on Time,

1757
01:42:40,800 --> 01:42:45,360
Speaker 2: I was still thinking like, oh man, I would bury

1758
01:42:45,479 --> 01:42:48,800
Speaker 2: your albums like and then like bottom last of my

1759
01:42:48,920 --> 01:42:50,880
Speaker 2: dad's pole, I had to do that with my dad

1760
01:42:51,560 --> 01:42:55,400
Speaker 2: was just giving. Some covers were scarier, should you bury

1761
01:42:55,520 --> 01:42:55,920
Speaker 2: them under?

1762
01:42:56,280 --> 01:42:59,200
Speaker 4: I'd give. I would give acknowledgment to certain things that

1763
01:42:59,640 --> 01:43:03,560
Speaker 4: kids should know, an adult should know. The devil was

1764
01:43:03,640 --> 01:43:05,479
Speaker 4: like I wasn't scared of him. I even ran my

1765
01:43:05,680 --> 01:43:07,600
Speaker 4: vocal thing backwards.

1766
01:43:09,040 --> 01:43:10,320
Speaker 2: That's how I got that sound.

1767
01:43:10,680 --> 01:43:11,960
Speaker 4: And I used your.

1768
01:43:11,920 --> 01:43:15,639
Speaker 2: Mother sucks cocks and how yeah I did.

1769
01:43:18,280 --> 01:43:19,080
Speaker 4: Play and you hear it.

1770
01:43:26,200 --> 01:43:37,680
Speaker 2: That'd be a whole nother fung. I'm sorry, man, I

1771
01:43:38,400 --> 01:43:38,960
Speaker 2: wasn't listening to.

1772
01:43:42,720 --> 01:43:43,160
Speaker 4: And the thing.

1773
01:43:43,840 --> 01:43:48,560
Speaker 2: But but aside from that, Blake, Aside from that, I

1774
01:43:48,720 --> 01:43:54,320
Speaker 2: always wanted to know you guys had a very weird

1775
01:43:56,040 --> 01:44:01,320
Speaker 2: Greek course technique that I can only described as like

1776
01:44:01,439 --> 01:44:05,919
Speaker 2: this animated muppet sound like for yourself, be yourself right exactly,

1777
01:44:06,400 --> 01:44:10,559
Speaker 2: or even right on time, or even like very speeding

1778
01:44:11,000 --> 01:44:13,680
Speaker 2: Serena's voice on get the funk out of my face? Like,

1779
01:44:13,920 --> 01:44:15,759
Speaker 2: how come you guys never.

1780
01:44:15,760 --> 01:44:17,599
Speaker 4: Just did me get the funk out of my face?

1781
01:44:19,800 --> 01:44:23,160
Speaker 2: I've always thought that that was me. But how come

1782
01:44:24,120 --> 01:44:28,400
Speaker 2: none of the vocal techniques, besides your lead vocal, how

1783
01:44:28,439 --> 01:44:31,080
Speaker 2: come they were never just dry and natural like you

1784
01:44:31,200 --> 01:44:39,400
Speaker 2: guys were either, like even with Stump, It's like the

1785
01:44:39,520 --> 01:44:42,040
Speaker 2: muppets were singing. No.

1786
01:44:42,280 --> 01:44:48,280
Speaker 4: It basically came from things that were going on TV shows,

1787
01:44:49,000 --> 01:44:50,760
Speaker 4: you know. I mean you're walking in with Q. You

1788
01:44:50,840 --> 01:44:54,360
Speaker 4: got to have like various types of you know, uh,

1789
01:44:55,600 --> 01:44:57,759
Speaker 4: like characters. Yeah, they were like characters.

1790
01:44:57,800 --> 01:44:58,320
Speaker 2: It's just like.

1791
01:45:00,240 --> 01:45:02,680
Speaker 4: The brother who sang the parts you sounded like. I

1792
01:45:03,280 --> 01:45:05,720
Speaker 4: can't think of his name right now, but he got

1793
01:45:05,800 --> 01:45:07,599
Speaker 4: that stuff because he knew in the sly.

1794
01:45:11,160 --> 01:45:14,479
Speaker 2: Right, right, I get it.

1795
01:45:14,560 --> 01:45:16,840
Speaker 4: So he was a wonderful person coming in to do that.

1796
01:45:17,000 --> 01:45:19,920
Speaker 4: It's like I wanted to take No, I wasn't Richard,

1797
01:45:19,960 --> 01:45:22,599
Speaker 4: he was one. He did a high vocal too. Why

1798
01:45:22,760 --> 01:45:24,240
Speaker 4: in the hell can he came out and see that's

1799
01:45:24,280 --> 01:45:28,280
Speaker 4: when you get old Alex Bob.

1800
01:45:29,920 --> 01:45:32,560
Speaker 2: No, uh, I didn't know that Ricky was playing with

1801
01:45:32,600 --> 01:45:33,479
Speaker 2: you guys. Ricky Lawson.

1802
01:45:33,840 --> 01:45:39,360
Speaker 4: Yeah, I found him in Detroit in a basement. Really yep,

1803
01:45:41,040 --> 01:45:44,080
Speaker 4: just in Detroit in a basement that one of my

1804
01:45:44,240 --> 01:45:49,519
Speaker 4: musicians mentioned him and said he needed to be looked at.

1805
01:45:49,760 --> 01:45:52,519
Speaker 4: So I went and looked at him. You know, he

1806
01:45:52,640 --> 01:45:57,720
Speaker 4: went from there to heights, you know, and you know,

1807
01:45:57,920 --> 01:46:00,400
Speaker 4: that's what it's about. And that's what I love about

1808
01:46:00,439 --> 01:46:04,840
Speaker 4: Prince because he a lot of moneies he gave away

1809
01:46:04,880 --> 01:46:07,240
Speaker 4: and went to kids who you know, had to do

1810
01:46:07,360 --> 01:46:10,439
Speaker 4: with music or needed help. You know. He drop off

1811
01:46:10,600 --> 01:46:14,840
Speaker 4: monies to different schools and different communities. He only would

1812
01:46:14,880 --> 01:46:16,920
Speaker 4: take a certain amount and he'd leave the whole rest

1813
01:46:16,960 --> 01:46:19,400
Speaker 4: of it and wind them given to the mayor, which

1814
01:46:19,439 --> 01:46:23,400
Speaker 4: is something you know, It's kind of the attitude, the

1815
01:46:23,520 --> 01:46:27,439
Speaker 4: ultimate attitude Slide would have wanted. You know, I don't

1816
01:46:27,479 --> 01:46:29,800
Speaker 4: need any monthy monthy.

1817
01:46:36,479 --> 01:46:41,120
Speaker 2: People. Got in the Sugary Otis way later, yes, in life,

1818
01:46:41,200 --> 01:46:43,720
Speaker 2: but you were there for round one. Yeah.

1819
01:46:43,920 --> 01:46:46,760
Speaker 4: He was actually a neighbor to his parents lived around

1820
01:46:46,800 --> 01:46:49,000
Speaker 4: the corner. I used to go visit. I used to

1821
01:46:49,120 --> 01:46:54,080
Speaker 4: visit them before I met him because I remember seeing

1822
01:46:54,120 --> 01:46:56,559
Speaker 4: the Johnny Oda Show and Three Tons of Joy when

1823
01:46:56,600 --> 01:46:59,200
Speaker 4: I was a kid, and I mentioned to my mom

1824
01:46:59,640 --> 01:47:04,040
Speaker 4: and one of my cousins had me meet one of

1825
01:47:04,160 --> 01:47:07,280
Speaker 4: Sugary's cousins who I almost started to date. I did

1826
01:47:07,439 --> 01:47:10,840
Speaker 4: go over to her house. I think she passed away,

1827
01:47:11,920 --> 01:47:14,680
Speaker 4: but I saw this album and it looked like this

1828
01:47:14,840 --> 01:47:19,160
Speaker 4: Mexican dude on it, and I said, who's that. Oh,

1829
01:47:19,240 --> 01:47:21,760
Speaker 4: this is my cousin. This is Sugar Yoldison. Before I

1830
01:47:21,840 --> 01:47:24,600
Speaker 4: played that record run Across the Ice Cold Daydream and

1831
01:47:25,880 --> 01:47:29,160
Speaker 4: all that stuff on there and Strawberry Letter Letter, I

1832
01:47:29,479 --> 01:47:32,320
Speaker 4: went straight to Q and told him this is we

1833
01:47:32,479 --> 01:47:35,519
Speaker 4: need to cut this song. And it was never a single.

1834
01:47:36,200 --> 01:47:40,160
Speaker 4: Lewis used it at his wedding. Quin's the original one,

1835
01:47:40,240 --> 01:47:42,960
Speaker 4: Sugar Yoldis is and when we got to the vampa

1836
01:47:43,040 --> 01:47:47,120
Speaker 4: the guitar and yeah, it's it's all over and we.

1837
01:47:47,280 --> 01:47:49,360
Speaker 2: Have to do this this song. So it was your

1838
01:47:49,400 --> 01:47:50,720
Speaker 2: idea to cover Strawberry Letter.

1839
01:47:50,840 --> 01:47:53,920
Speaker 4: Yeah, I brought some ship to the picture.

1840
01:47:54,120 --> 01:47:57,360
Speaker 2: No, your version to me is all we did.

1841
01:47:57,360 --> 01:48:00,559
Speaker 4: Was added, Yeah, because you don't do nothing, he created.

1842
01:48:00,640 --> 01:48:03,640
Speaker 4: You do something and beef it up. Otherwise it's not

1843
01:48:03,840 --> 01:48:06,360
Speaker 4: worth doing all the time. You know, what do you

1844
01:48:06,479 --> 01:48:10,200
Speaker 4: think that song is about? I know what it's about.

1845
01:48:10,360 --> 01:48:14,639
Speaker 4: And that song basically is as shugy. He was almost

1846
01:48:14,680 --> 01:48:17,480
Speaker 4: had that slide like attitude, and he'd have a girlfriend

1847
01:48:17,680 --> 01:48:23,360
Speaker 4: who he never really respond to because he was a musician.

1848
01:48:23,720 --> 01:48:26,120
Speaker 4: He kind of reminded me of me too. Don't come

1849
01:48:26,160 --> 01:48:30,880
Speaker 4: between me right exactly. So she had written these Strawberry

1850
01:48:30,960 --> 01:48:34,960
Speaker 4: letter sent it letters to him, oh wow, and he

1851
01:48:35,080 --> 01:48:37,960
Speaker 4: never opened one, and he told me he went back

1852
01:48:38,080 --> 01:48:39,320
Speaker 4: he had a break, and all of a sudden he

1853
01:48:39,400 --> 01:48:41,680
Speaker 4: opened them and still had the scent. You know, I

1854
01:48:41,800 --> 01:48:42,559
Speaker 4: missed you, baby.

1855
01:48:42,640 --> 01:48:43,640
Speaker 2: When you're coming home, it.

1856
01:48:43,720 --> 01:48:46,720
Speaker 4: Be Strawberry Letter one, Strawberry two, all the way to

1857
01:48:46,800 --> 01:48:52,120
Speaker 4: twenty two. That's why a present from you, Strawberry Letter

1858
01:48:52,160 --> 01:48:56,760
Speaker 4: twenty three two twenty two. The music plays I said

1859
01:48:56,920 --> 01:49:01,200
Speaker 4: that a few so the song is actually twenty three,

1860
01:49:02,360 --> 01:49:04,240
Speaker 4: But the people say why is it twenty three? And

1861
01:49:04,280 --> 01:49:07,599
Speaker 4: you always say twenty two. All those letters A president

1862
01:49:07,920 --> 01:49:12,439
Speaker 4: from you Strawberry letter twenty two. Right, that's where it ends,

1863
01:49:12,600 --> 01:49:20,160
Speaker 4: and the song begins as twenty three The Mystery unlocked. Yeah, difficult.

1864
01:49:20,240 --> 01:49:22,400
Speaker 2: Did you ever get his initial reaction to it when

1865
01:49:22,560 --> 01:49:23,160
Speaker 2: when he heard it?

1866
01:49:23,320 --> 01:49:26,120
Speaker 4: Or Sugar and I was tight as me and fly

1867
01:49:27,320 --> 01:49:30,639
Speaker 4: because Sugar could sometimes be very hard to get along

1868
01:49:30,720 --> 01:49:34,920
Speaker 4: with and deal with. I knew his parents two years

1869
01:49:34,960 --> 01:49:38,320
Speaker 4: before I even met him. When I met him and

1870
01:49:38,400 --> 01:49:40,960
Speaker 4: then he heard, you know, because Quincy had got him

1871
01:49:41,560 --> 01:49:43,559
Speaker 4: to come into the studio. We were out of town

1872
01:49:44,280 --> 01:49:47,400
Speaker 4: to do the guitar solo, and he couldn't play it

1873
01:49:47,479 --> 01:49:50,599
Speaker 4: because it was in a different key. It's like I played,

1874
01:49:51,120 --> 01:49:54,040
Speaker 4: It's a whole different stretch. I didn't actually play on it.

1875
01:49:54,080 --> 01:49:56,760
Speaker 2: He got to leave Ris why and.

1876
01:49:56,960 --> 01:50:00,400
Speaker 4: That's the reason he plays because I wasn't available. I

1877
01:50:00,520 --> 01:50:02,479
Speaker 4: left the road to come home, did a little mix

1878
01:50:02,600 --> 01:50:04,679
Speaker 4: on it, and then pulled up the two guitar parts

1879
01:50:04,720 --> 01:50:07,400
Speaker 4: and showed my cousin the other part and went back

1880
01:50:07,439 --> 01:50:09,280
Speaker 4: out on the road till Quincy finished it.

1881
01:50:09,360 --> 01:50:10,439
Speaker 2: So and then could put it up.

1882
01:50:12,439 --> 01:50:14,120
Speaker 4: So a lot of things. I mean, they had my

1883
01:50:14,200 --> 01:50:18,240
Speaker 4: ass so busy that I should have got credit for

1884
01:50:19,479 --> 01:50:22,679
Speaker 4: even the way it went down with Michael Jackson, because

1885
01:50:22,720 --> 01:50:26,640
Speaker 4: he wanted both of us, and they told Quincy, you know,

1886
01:50:26,800 --> 01:50:29,439
Speaker 4: I want George and Lewis. Michael was filing the shit

1887
01:50:29,840 --> 01:50:34,799
Speaker 4: and he was very disappointed. My brother Lewis said, George

1888
01:50:34,800 --> 01:50:37,280
Speaker 4: doesn't write for anybody. He's working on Brothers Johnson's stuff.

1889
01:50:37,320 --> 01:50:40,839
Speaker 4: He doesn't do sessions. So you told him. My guitar

1890
01:50:41,040 --> 01:50:43,920
Speaker 4: person was in the room. He's the one that told

1891
01:50:43,960 --> 01:50:46,720
Speaker 4: me that. Lewis said that. I said, what did Quincy do?

1892
01:50:46,840 --> 01:50:49,240
Speaker 4: He said, he kind of looked up. He didn't have

1893
01:50:49,320 --> 01:50:51,840
Speaker 4: too much to say because and I said, Okay, I

1894
01:50:51,960 --> 01:50:55,760
Speaker 4: see the whole scenario. Because Quincy thow ahead A and

1895
01:50:55,840 --> 01:50:57,800
Speaker 4: them didn't want us to do shit. They was trying

1896
01:50:57,800 --> 01:51:02,360
Speaker 4: to keep me like locked because back then and even

1897
01:51:02,439 --> 01:51:03,679
Speaker 4: Quincy had done interviews.

1898
01:51:04,880 --> 01:51:05,280
Speaker 2: What is it?

1899
01:51:05,479 --> 01:51:06,439
Speaker 4: Is it Quincy Jones?

1900
01:51:06,520 --> 01:51:07,439
Speaker 2: Is it Michael Jackson?

1901
01:51:08,000 --> 01:51:09,920
Speaker 4: To me, it was all but at that time when

1902
01:51:09,960 --> 01:51:13,000
Speaker 4: he when Michael came out with Off the Wall, Stump

1903
01:51:13,200 --> 01:51:16,800
Speaker 4: was number one. So people would have gradued what we

1904
01:51:16,840 --> 01:51:19,719
Speaker 4: would have automatically went to, Okay, it's the Brothers Johnson

1905
01:51:19,800 --> 01:51:23,000
Speaker 4: who's making that shit happen. It ain't Quincy and you know,

1906
01:51:23,200 --> 01:51:26,040
Speaker 4: the music is the vibe is you know, so if

1907
01:51:26,080 --> 01:51:29,040
Speaker 4: they left me off, they what they didn't have to

1908
01:51:29,120 --> 01:51:35,720
Speaker 4: put brother john sony okay, and then they just took

1909
01:51:35,880 --> 01:51:37,400
Speaker 4: Lewis and he became, Uh.

1910
01:51:37,760 --> 01:51:41,040
Speaker 2: That's crazy though, So is that just him on Get

1911
01:51:41,120 --> 01:51:41,559
Speaker 2: on the Floor.

1912
01:51:42,360 --> 01:51:44,639
Speaker 4: Lewis played bass on Billy Jeans Everything.

1913
01:51:45,160 --> 01:51:47,280
Speaker 2: A lot of what Get on the Floor is initially

1914
01:51:47,720 --> 01:51:48,639
Speaker 2: the song he wrote.

1915
01:51:49,280 --> 01:51:52,960
Speaker 4: Yeah, no, no, no, I mean it could have been

1916
01:51:53,080 --> 01:51:55,479
Speaker 4: one that was developed that I didn't even put the

1917
01:51:55,479 --> 01:51:59,599
Speaker 4: guitar on yet because it wasn't approved by me, okay

1918
01:52:00,840 --> 01:52:04,360
Speaker 4: to be totally honest, So you know, I got left

1919
01:52:04,400 --> 01:52:06,600
Speaker 4: out the mix. And you know, Michael did call me.

1920
01:52:06,840 --> 01:52:09,040
Speaker 4: He took the kids out to Disneyland one day and

1921
01:52:09,120 --> 01:52:12,360
Speaker 4: I had three messages sound like he was crying or

1922
01:52:12,439 --> 01:52:14,439
Speaker 4: he was That's why him and Quincy was on the

1923
01:52:14,479 --> 01:52:18,040
Speaker 4: way out to divide. But he knew between me and

1924
01:52:18,200 --> 01:52:21,439
Speaker 4: James Ingram, we were the only two people that ever

1925
01:52:21,720 --> 01:52:24,880
Speaker 4: you know, went back on Q's face. And because I

1926
01:52:24,880 --> 01:52:28,080
Speaker 4: would look at him like a teacher and I also

1927
01:52:28,320 --> 01:52:30,599
Speaker 4: look at him as a dad, that I also look

1928
01:52:30,600 --> 01:52:33,960
Speaker 4: at him as a kid because I had to teach him.

1929
01:52:33,960 --> 01:52:36,439
Speaker 4: He said, okay, Jordan I had to hold Louis's hand.

1930
01:52:36,479 --> 01:52:38,519
Speaker 4: But you're going to be all right. I said, well,

1931
01:52:38,600 --> 01:52:41,439
Speaker 4: don't get too much any knowledge, and that Lewis boys

1932
01:52:41,479 --> 01:52:44,800
Speaker 4: shit because he's young, he's on the Divideuse to be

1933
01:52:44,920 --> 01:52:49,040
Speaker 4: totally honest. He you know, there's a lot of good

1934
01:52:49,080 --> 01:52:50,880
Speaker 4: things about him. There's a lot of things that he

1935
01:52:51,640 --> 01:52:56,200
Speaker 4: didn't play into correctly. He never really looked at himself

1936
01:52:56,360 --> 01:52:59,759
Speaker 4: as being a part of Brothers Johnson because the Brothers

1937
01:53:00,040 --> 01:53:04,720
Speaker 4: Incent was me and he'd picked nine or eight of

1938
01:53:04,840 --> 01:53:07,280
Speaker 4: my songs out of the eleven they got on the

1939
01:53:07,360 --> 01:53:10,280
Speaker 4: first album, Get the Funk Out in My Face. Lewis

1940
01:53:10,320 --> 01:53:12,559
Speaker 4: wrote the track, I laid the guitar, I wrote the lyrics.

1941
01:53:13,680 --> 01:53:16,120
Speaker 4: He did Land the Ladies and as all the rest

1942
01:53:16,160 --> 01:53:19,040
Speaker 4: of those songs were mine. Quincy just said in a

1943
01:53:19,160 --> 01:53:21,439
Speaker 4: meeting with George, you're gonna make all the money. I

1944
01:53:21,600 --> 01:53:25,600
Speaker 4: just said, we'll give Louis give my brother half without thinking.

1945
01:53:25,560 --> 01:53:28,000
Speaker 2: So for songs like love Is and Running for You

1946
01:53:28,360 --> 01:53:31,240
Speaker 2: and all that, well, the songs that he said.

1947
01:53:31,080 --> 01:53:34,880
Speaker 4: My signature running for eleven, I did that a lot

1948
01:53:34,920 --> 01:53:36,639
Speaker 4: of songs I would do, and I knew he would

1949
01:53:36,640 --> 01:53:39,920
Speaker 4: get pissed off because Quincy at first didn't know he

1950
01:53:40,000 --> 01:53:43,600
Speaker 4: had learned Lewis. It's like, play the accidental Who's that

1951
01:53:43,720 --> 01:53:46,600
Speaker 4: on bass? He says, George, play it like George. I'm like,

1952
01:53:46,720 --> 01:53:47,800
Speaker 4: why the fuck he said that?

1953
01:53:49,760 --> 01:53:49,920
Speaker 2: You know?

1954
01:53:50,040 --> 01:53:52,840
Speaker 4: I mean? And I could put myself in Lewis's shoes too.

1955
01:53:53,560 --> 01:53:56,120
Speaker 4: So a lot of my songs got favored and picked

1956
01:53:56,920 --> 01:53:59,839
Speaker 4: and had my signature guitar. That's why when I stepped

1957
01:53:59,880 --> 01:54:03,120
Speaker 4: up off on purpose on Blam, didn't write nothing in

1958
01:54:03,280 --> 01:54:05,280
Speaker 4: Quincy's Call, and I said, man, give me a song,

1959
01:54:05,400 --> 01:54:09,320
Speaker 4: Just give me one song, and I wrote Blam and uh,

1960
01:54:09,880 --> 01:54:11,920
Speaker 4: that was a tie of the album, never a single

1961
01:54:12,560 --> 01:54:13,479
Speaker 4: with all the other stuff.

1962
01:54:13,520 --> 01:54:19,160
Speaker 2: That's and they brought in Simpson, who wrote and ain't

1963
01:54:19,200 --> 01:54:19,800
Speaker 2: We Funking? Now?

1964
01:54:20,320 --> 01:54:25,800
Speaker 4: That was between me, probably Alex Lewis. You know a

1965
01:54:25,880 --> 01:54:27,879
Speaker 4: few people in the band, Ricky Heath.

1966
01:54:28,240 --> 01:54:33,200
Speaker 2: Okay, you know. I always wanted to know why on Treasure, Ricky,

1967
01:54:33,840 --> 01:54:35,160
Speaker 2: why did Ricky sing Treasure or not?

1968
01:54:35,360 --> 01:54:37,560
Speaker 4: Because I needed a break. I was singing too much,

1969
01:54:40,160 --> 01:54:42,960
Speaker 4: and I like and I liked all about the Heaven,

1970
01:54:43,080 --> 01:54:46,480
Speaker 4: which is typically that's my little He wrote both. But

1971
01:54:46,600 --> 01:54:48,400
Speaker 4: it's like, damn, you know, I'm up here, And I

1972
01:54:48,520 --> 01:54:51,120
Speaker 4: was like I'm the only one working, working, working. Lewis

1973
01:54:51,520 --> 01:54:52,680
Speaker 4: back played the bass chill.

1974
01:54:53,080 --> 01:54:53,200
Speaker 2: You know.

1975
01:54:53,280 --> 01:54:55,720
Speaker 4: I had to like make him sing because somebody please

1976
01:54:55,920 --> 01:54:59,280
Speaker 4: sing a song where I could just chill and this

1977
01:54:59,440 --> 01:55:02,640
Speaker 4: is funn come treasure, right, And I loved that because

1978
01:55:02,640 --> 01:55:04,280
Speaker 4: when he'd sing it, all that had to do the

1979
01:55:04,320 --> 01:55:05,360
Speaker 4: same background part.

1980
01:55:05,480 --> 01:55:08,879
Speaker 2: So I was like, so, I like, you're singing background

1981
01:55:08,920 --> 01:55:11,560
Speaker 2: in your own right, right.

1982
01:55:11,800 --> 01:55:14,200
Speaker 4: I mean I didn't sing lead. And I'm back there saying,

1983
01:55:14,320 --> 01:55:16,000
Speaker 4: you know, I felt like I'm hanging out with Aggie

1984
01:55:16,080 --> 01:55:20,320
Speaker 4: Johnson side effecting, you know, and the cleaners, yeah, and

1985
01:55:20,480 --> 01:55:23,640
Speaker 4: the cleaners on Crimp. We grew up together. Aggie knew

1986
01:55:23,800 --> 01:55:26,440
Speaker 4: so much about me than that anybody knew because he

1987
01:55:26,560 --> 01:55:28,720
Speaker 4: was coming to the house and he watched it firsthand.

1988
01:55:29,080 --> 01:55:30,640
Speaker 2: Is that cleaner still on Prinshaw?

1989
01:55:31,200 --> 01:55:33,760
Speaker 4: I think it is okay, okay, but he's like, this

1990
01:55:33,920 --> 01:55:36,880
Speaker 4: is Georgia's ship. And he would tell the band and

1991
01:55:37,000 --> 01:55:41,000
Speaker 4: he said from from Lewis he was there. He come

1992
01:55:41,040 --> 01:55:43,400
Speaker 4: over to the house. He said, you think that's something

1993
01:55:43,440 --> 01:55:47,080
Speaker 4: you ought to hit the original rass ship. Quincy polished

1994
01:55:47,120 --> 01:55:50,640
Speaker 4: it and taught me how to do it. But you know,

1995
01:55:50,760 --> 01:55:53,360
Speaker 4: you go with the white noise on four track and

1996
01:55:53,600 --> 01:55:56,280
Speaker 4: triple it to the eight track, and you know you

1997
01:55:56,360 --> 01:56:00,440
Speaker 4: get all these different type sounds and textures. Yeah, that's right.

1998
01:56:00,640 --> 01:56:03,120
Speaker 4: Then you record the bass again to keep that fatter.

1999
01:56:03,880 --> 01:56:06,920
Speaker 4: And I'm playing upside down bass left handed with a

2000
01:56:07,000 --> 01:56:10,000
Speaker 4: pick and with my thumbs. And you know, Lewis was

2001
01:56:10,080 --> 01:56:13,400
Speaker 4: good at he could take cany of my stuff. The

2002
01:56:13,480 --> 01:56:17,520
Speaker 4: difference was it would sound like Graham Central Station in

2003
01:56:17,680 --> 01:56:22,920
Speaker 4: me okay, because Larry Graham taught me how to play bass.

2004
01:56:24,280 --> 01:56:26,800
Speaker 2: Did Lewis actually have the ability to play like James

2005
01:56:26,880 --> 01:56:28,920
Speaker 2: Jafferson use his two fingers or would.

2006
01:56:28,800 --> 01:56:31,720
Speaker 4: Yeah, he would play and he got his come up

2007
01:56:31,840 --> 01:56:33,880
Speaker 4: and as they would say when he was in the

2008
01:56:33,920 --> 01:56:39,280
Speaker 4: studio with Stanley Clark and the engineer hit record and

2009
01:56:39,440 --> 01:56:41,360
Speaker 4: Louis was always like a warrior that saw he was

2010
01:56:41,400 --> 01:56:44,120
Speaker 4: in Japanese and all this stuff, and you know he

2011
01:56:44,160 --> 01:56:47,160
Speaker 4: would challenge and you know, everything was about a challenge.

2012
01:56:47,200 --> 01:56:50,080
Speaker 4: And don't let him get on stage and Larry call

2013
01:56:50,200 --> 01:56:52,400
Speaker 4: you up. He gonna come out there and fuck you up.

2014
01:56:55,640 --> 01:56:59,280
Speaker 4: But that's what he ultimately went to and stayed there

2015
01:57:00,000 --> 01:57:02,240
Speaker 4: because he really didn't have a lot of friends. Bass

2016
01:57:02,360 --> 01:57:04,760
Speaker 4: players like Stanley Clark, they got stuff on tape with

2017
01:57:04,840 --> 01:57:07,640
Speaker 4: him at George Duke when Stanley would get ready to

2018
01:57:07,680 --> 01:57:09,600
Speaker 4: come out and he turned back on Now I ain't

2019
01:57:09,640 --> 01:57:12,160
Speaker 4: gonna start that ship, and he'd go back in this spot.

2020
01:57:12,880 --> 01:57:14,960
Speaker 4: But he was when I first saw them. It's like

2021
01:57:15,680 --> 01:57:19,600
Speaker 4: I actually liked it because I saw Louis got his

2022
01:57:19,720 --> 01:57:24,880
Speaker 4: ass whooped so bad. I'm gonna tell you how and why,

2023
01:57:25,280 --> 01:57:27,040
Speaker 4: because they were in the studio one't a lot of

2024
01:57:27,080 --> 01:57:29,400
Speaker 4: people around. But then you know, after he kind of

2025
01:57:29,480 --> 01:57:32,720
Speaker 4: got established and you know, Quincy had called both of

2026
01:57:32,800 --> 01:57:38,720
Speaker 4: them in. Louis couldn't read as fluent as Stanley Lewis,

2027
01:57:38,760 --> 01:57:42,360
Speaker 4: couldn't two fingers fluent as Stanley Lewis is doing that

2028
01:57:43,320 --> 01:57:46,160
Speaker 4: that stuff with thumping and all that, and then all Stanley,

2029
01:57:49,200 --> 01:57:53,440
Speaker 4: you know, I'm like, second, here, good, somebody showed his ass,

2030
01:57:53,720 --> 01:57:57,600
Speaker 4: you know, without saying nothing. He needed to be to

2031
01:57:58,240 --> 01:57:59,919
Speaker 4: be put down, knockdown.

2032
01:58:00,160 --> 01:58:01,080
Speaker 3: You know.

2033
01:58:01,320 --> 01:58:05,360
Speaker 2: So how did you guys work together on the Winners album,

2034
01:58:06,320 --> 01:58:09,800
Speaker 2: which was the first album without Quincy? Like what was?

2035
01:58:10,080 --> 01:58:12,160
Speaker 4: It was very hard? I mean I worked more. It's

2036
01:58:12,280 --> 01:58:14,880
Speaker 4: like you from the very first album. I picked the

2037
01:58:14,920 --> 01:58:17,120
Speaker 4: album covered see quence the songs, mixed it.

2038
01:58:19,760 --> 01:58:20,720
Speaker 2: And the commercial.

2039
01:58:22,480 --> 01:58:24,880
Speaker 4: And use it took a lot to you know, Quincy

2040
01:58:25,080 --> 01:58:28,840
Speaker 4: was just our producer. We were signed to the label.

2041
01:58:29,720 --> 01:58:31,880
Speaker 4: Lewis didn't want to do anything a lot of stuff

2042
01:58:31,920 --> 01:58:34,320
Speaker 4: asked George, asked George, That's what I'm saying. He never

2043
01:58:34,440 --> 01:58:37,880
Speaker 4: felt it was our group. M hm, you know, and

2044
01:58:38,040 --> 01:58:40,680
Speaker 4: even into the Winners album, he didn't feel cool until

2045
01:58:40,720 --> 01:58:44,360
Speaker 4: he did Passage album, which was the Christian album. I

2046
01:58:44,520 --> 01:58:46,800
Speaker 4: had nothing to do with it. And leading up to

2047
01:58:46,840 --> 01:58:50,120
Speaker 4: all that was even with the story with Michael, because

2048
01:58:50,120 --> 01:58:51,440
Speaker 4: he didn't want me to be a part of that

2049
01:58:51,600 --> 01:58:55,880
Speaker 4: because he'd feel like right, so he could take me

2050
01:58:56,320 --> 01:59:01,040
Speaker 4: out the mix. And since I'm not on it saved

2051
01:59:01,040 --> 01:59:04,280
Speaker 4: a lot of questions about was he Quincy Brothers Johnson?

2052
01:59:05,440 --> 01:59:08,800
Speaker 2: You know, why do you think it was important for

2053
01:59:08,920 --> 01:59:12,840
Speaker 2: him to establish his or for him to have agency

2054
01:59:13,000 --> 01:59:14,240
Speaker 2: as in this is mine and.

2055
01:59:15,360 --> 01:59:18,840
Speaker 4: Because this is ours? Well it wasn't. It wasn't. But

2056
01:59:19,120 --> 01:59:21,480
Speaker 4: you know, unfortunately that's the way he grew up. He

2057
01:59:21,560 --> 01:59:24,360
Speaker 4: grew up at home under my mother's apron Well, if

2058
01:59:24,400 --> 01:59:26,480
Speaker 4: you picture stuff like me and my older brother and

2059
01:59:26,560 --> 01:59:29,720
Speaker 4: I had to split my time. Louis would stay home.

2060
01:59:29,800 --> 01:59:31,680
Speaker 4: He would never go out and run and hang and

2061
01:59:31,760 --> 01:59:34,600
Speaker 4: you almost like get shot at sometime a jumper fence

2062
01:59:34,680 --> 01:59:38,040
Speaker 4: and ride your bikes. And you know, he never experienced that.

2063
01:59:38,200 --> 01:59:41,760
Speaker 4: He was always a homeboy. He was afraid he was

2064
01:59:41,800 --> 01:59:44,360
Speaker 4: hanging out with gangs and you know, not in them,

2065
01:59:44,400 --> 01:59:48,919
Speaker 4: but around him knew him. So he was very shielded.

2066
01:59:49,080 --> 01:59:51,680
Speaker 4: And that's another reason why him and his first wife

2067
01:59:52,680 --> 01:59:56,440
Speaker 4: split up. I'm more in short, because she would tell me, George,

2068
01:59:56,440 --> 01:59:58,360
Speaker 4: I don't have three kids. I get four, which is

2069
01:59:59,520 --> 02:00:03,000
Speaker 4: you know, and when you're protected like that. She would

2070
02:00:03,160 --> 02:00:05,000
Speaker 4: talk to him and we'd be in the airport and

2071
02:00:05,040 --> 02:00:09,000
Speaker 4: I had to tell her chill on her responses to

2072
02:00:10,080 --> 02:00:12,040
Speaker 4: him when he'd make a comment, and in front of

2073
02:00:12,040 --> 02:00:14,680
Speaker 4: the whole band, it's like she wouldn't you know, Oh,

2074
02:00:14,800 --> 02:00:18,280
Speaker 4: Louis could acting like a child, saying please, don't talk

2075
02:00:18,320 --> 02:00:20,200
Speaker 4: to him like that. You know, he has the same

2076
02:00:20,240 --> 02:00:22,840
Speaker 4: amount of respect the band has for me. When you

2077
02:00:22,960 --> 02:00:25,720
Speaker 4: talk to him like that, you know, it doesn't work

2078
02:00:26,760 --> 02:00:30,000
Speaker 4: for me. So he was a different you know, That's

2079
02:00:30,000 --> 02:00:31,840
Speaker 4: why he was so bad. A lot of people who

2080
02:00:31,840 --> 02:00:35,960
Speaker 4: are on the borderline of being a genius, there's something

2081
02:00:36,920 --> 02:00:39,280
Speaker 4: a lot of things they can do and a lot

2082
02:00:39,280 --> 02:00:43,880
Speaker 4: of things they can't relate to. Right but they have

2083
02:00:44,000 --> 02:00:45,320
Speaker 4: fucking genius, you know.

2084
02:00:46,400 --> 02:00:46,600
Speaker 7: Yeah.

2085
02:00:46,640 --> 02:00:50,080
Speaker 5: He was very like to himself kind of person in general,

2086
02:00:50,280 --> 02:00:53,360
Speaker 5: like you didn't really like he wasn't like very outgoing

2087
02:00:53,520 --> 02:00:57,360
Speaker 5: only to certain people. One of the last things I

2088
02:00:57,440 --> 02:00:59,240
Speaker 5: talked to him about on the email I was working

2089
02:00:59,320 --> 02:01:00,760
Speaker 5: on the project. I was like, y'all, I'll do some

2090
02:01:01,400 --> 02:01:03,720
Speaker 5: play a little bit too, a little bit bass, guitar, keys,

2091
02:01:03,760 --> 02:01:06,720
Speaker 5: every little bit of everything. And I was like, Yo,

2092
02:01:06,960 --> 02:01:08,760
Speaker 5: you know uncle, I want to, like, you know, do

2093
02:01:08,880 --> 02:01:10,720
Speaker 5: some throwback sound. I want to kind of like get

2094
02:01:10,760 --> 02:01:13,400
Speaker 5: your your tone. You're like, what you know, what did

2095
02:01:13,440 --> 02:01:16,160
Speaker 5: you you know what how'd you get that sound? How

2096
02:01:16,200 --> 02:01:18,120
Speaker 5: did you like in your bass and all that? He

2097
02:01:18,240 --> 02:01:21,640
Speaker 5: was like, oh yeah, like I'll tell you. He was

2098
02:01:21,680 --> 02:01:23,440
Speaker 5: like let me Uh. I was like, so, you know,

2099
02:01:23,480 --> 02:01:24,920
Speaker 5: do I need to go buy a vintage music?

2100
02:01:25,000 --> 02:01:25,160
Speaker 2: Man?

2101
02:01:25,840 --> 02:01:26,040
Speaker 4: I was.

2102
02:01:26,240 --> 02:01:27,840
Speaker 7: I was trying to plan to see, like let me

2103
02:01:27,920 --> 02:01:32,680
Speaker 7: have one of your basses, but he know, I was like, man,

2104
02:01:32,680 --> 02:01:34,240
Speaker 7: I'm trying to get this sound.

2105
02:01:34,360 --> 02:01:36,720
Speaker 5: How can I do I need to buy a vintage

2106
02:01:36,720 --> 02:01:39,680
Speaker 5: He's like, Nope, don't buy advantage, you just get you know,

2107
02:01:39,840 --> 02:01:42,520
Speaker 5: just buy you a Mexican Uh.

2108
02:01:43,120 --> 02:01:43,840
Speaker 7: What the p bass?

2109
02:01:43,920 --> 02:01:44,600
Speaker 2: What would he use?

2110
02:01:45,240 --> 02:01:50,640
Speaker 7: He used the music man uh uh sting Ray and

2111
02:01:51,240 --> 02:01:52,920
Speaker 7: what he what what he told.

2112
02:01:53,080 --> 02:01:57,280
Speaker 5: So the whole secret was is when Fender Leo Fender

2113
02:01:58,000 --> 02:02:01,480
Speaker 5: stopped working for Fender and started music Man, he uh

2114
02:02:02,520 --> 02:02:06,160
Speaker 5: kind of uncle uncle Lewis was a part in developing

2115
02:02:06,240 --> 02:02:08,600
Speaker 5: the Stingray bass and so the one that he had

2116
02:02:09,280 --> 02:02:12,640
Speaker 5: was like specifically created for his style of playing, and

2117
02:02:12,760 --> 02:02:15,960
Speaker 5: so they moded the it was too expensive to mass

2118
02:02:16,000 --> 02:02:18,480
Speaker 5: produce and that was a part of his sound. So

2119
02:02:18,560 --> 02:02:20,320
Speaker 5: it was like in the it was in the design

2120
02:02:20,480 --> 02:02:22,920
Speaker 5: of the bass to kind of fit his style, and

2121
02:02:23,000 --> 02:02:25,560
Speaker 5: that's why his tone was so specific and at that

2122
02:02:25,760 --> 02:02:28,560
Speaker 5: time nobody could get it because it was all it

2123
02:02:28,760 --> 02:02:30,480
Speaker 5: not only didn't have to do with his playing, but

2124
02:02:30,560 --> 02:02:32,680
Speaker 5: it was in the actual pickups, in the way that

2125
02:02:32,800 --> 02:02:33,920
Speaker 5: the bass was designed.

2126
02:02:34,160 --> 02:02:35,080
Speaker 7: And that's what he told me.

2127
02:02:35,160 --> 02:02:38,680
Speaker 5: He was like, you know, you know, just get a

2128
02:02:38,880 --> 02:02:41,520
Speaker 5: just get a Mexican p bass, you know, cheap and

2129
02:02:41,920 --> 02:02:43,320
Speaker 5: hot rot it, and this is how you do it.

2130
02:02:44,000 --> 02:02:45,800
Speaker 7: And then told me the whole thing, and it was like,

2131
02:02:46,360 --> 02:02:47,000
Speaker 7: don't tell you that.

2132
02:02:51,880 --> 02:02:54,480
Speaker 5: I was like why, Like it's like eight hundred years later,

2133
02:02:54,600 --> 02:02:57,600
Speaker 5: like but you know, people asked me that question a lot,

2134
02:02:57,800 --> 02:03:01,120
Speaker 5: like about them and the dynamic, and you know, when

2135
02:03:01,160 --> 02:03:04,200
Speaker 5: I think about it, it's like, yes, it's you know,

2136
02:03:04,280 --> 02:03:07,160
Speaker 5: everything my pop said. But also you just got to

2137
02:03:07,160 --> 02:03:09,640
Speaker 5: think about it like they're just brothers, like if you

2138
02:03:09,720 --> 02:03:12,200
Speaker 5: could just like from there from the beginning, like they

2139
02:03:12,400 --> 02:03:17,040
Speaker 5: literally had an entire career together as brothers, like you know,

2140
02:03:17,080 --> 02:03:19,080
Speaker 5: if I don't know if any of you guys have siblings, like.

2141
02:03:20,760 --> 02:03:21,480
Speaker 7: A whole career.

2142
02:03:21,680 --> 02:03:23,280
Speaker 5: Not only that, but it's like the whole world is

2143
02:03:23,320 --> 02:03:25,920
Speaker 5: looking at you and y'all like y'all supposed to just.

2144
02:03:26,040 --> 02:03:26,720
Speaker 7: Like but that's the thing.

2145
02:03:26,880 --> 02:03:31,520
Speaker 2: I never saw it as like George's group and the

2146
02:03:31,640 --> 02:03:34,160
Speaker 2: other guy in the background, right. The thing is to

2147
02:03:34,280 --> 02:03:38,200
Speaker 2: me the brothers Johnson is, which is weird because I

2148
02:03:38,320 --> 02:03:40,800
Speaker 2: know that, you know, for for them, and his guitar

2149
02:03:40,880 --> 02:03:44,520
Speaker 2: playing is well documented on those records, but for me,

2150
02:03:44,640 --> 02:03:48,680
Speaker 2: it's like his voice and Lewis's thumb, and to me,

2151
02:03:48,960 --> 02:03:53,280
Speaker 2: like that thumb and your father's voice are equal.

2152
02:03:53,440 --> 02:03:56,560
Speaker 5: Right, and also like part of like some of the

2153
02:03:56,640 --> 02:03:59,320
Speaker 5: even though my dad was like you know, on some

2154
02:03:59,520 --> 02:04:02,240
Speaker 5: a lot of the records, like writing the parts guitar

2155
02:04:02,360 --> 02:04:04,800
Speaker 5: parts and and some of the bass parts. Even like

2156
02:04:05,720 --> 02:04:09,880
Speaker 5: we talked about this recently, the reason why it worked

2157
02:04:09,920 --> 02:04:12,880
Speaker 5: it was and it was such a specific and exclusive

2158
02:04:12,960 --> 02:04:16,560
Speaker 5: sound was because of the two elements coming together. And

2159
02:04:16,640 --> 02:04:19,040
Speaker 5: so even though my dad had an approach and perspective

2160
02:04:19,080 --> 02:04:20,520
Speaker 5: and like he said, like he would he would bring

2161
02:04:20,560 --> 02:04:23,760
Speaker 5: the Larry Graham element on if he would demo a bass,

2162
02:04:23,960 --> 02:04:25,520
Speaker 5: And even though everybody, yeah, I play more like that,

2163
02:04:25,880 --> 02:04:27,360
Speaker 5: you know, my uncle would still take it and do

2164
02:04:27,480 --> 02:04:29,240
Speaker 5: his own thing and make it his own, you know,

2165
02:04:29,440 --> 02:04:31,880
Speaker 5: and and use that as a blueprint. But eventually it

2166
02:04:31,920 --> 02:04:34,280
Speaker 5: would just turn into his thing. And it was the

2167
02:04:34,400 --> 02:04:37,360
Speaker 5: combination of all of that that made it do this.

2168
02:04:37,760 --> 02:04:38,520
Speaker 7: It was a balance.

2169
02:04:38,600 --> 02:04:39,320
Speaker 2: It was like this thing.

2170
02:04:39,480 --> 02:04:41,920
Speaker 7: It was like, yeah, it was. It was crazy.

2171
02:04:41,920 --> 02:04:44,520
Speaker 5: And I and I looked at it the same way too.

2172
02:04:44,640 --> 02:04:47,160
Speaker 5: Like growing I always thought it was just like, yeah,

2173
02:04:47,840 --> 02:04:49,880
Speaker 5: it's the two of them that they are part of it.

2174
02:04:49,960 --> 02:04:52,320
Speaker 5: But when I when I look back, like growing up

2175
02:04:52,360 --> 02:04:56,000
Speaker 5: in it, you know, they were. They were my superheroes,

2176
02:04:56,040 --> 02:04:58,640
Speaker 5: you know. Growing up I looked up to them obviously.

2177
02:04:58,360 --> 02:05:01,440
Speaker 2: And asking how are you.

2178
02:05:02,000 --> 02:05:06,200
Speaker 5: I'm thirty five, yeah, so uh, you know, I kind

2179
02:05:06,240 --> 02:05:08,360
Speaker 5: of I was born in eighty three, So it's like

2180
02:05:08,440 --> 02:05:10,360
Speaker 5: towards the end, I remember never doing the kicking album.

2181
02:05:11,240 --> 02:05:13,840
Speaker 5: I was there for a lot of the sessions, and

2182
02:05:13,920 --> 02:05:15,680
Speaker 5: like he started a lot of those demos at the

2183
02:05:15,720 --> 02:05:17,200
Speaker 5: house and stuff, and that's when he like taught me

2184
02:05:17,240 --> 02:05:18,520
Speaker 5: how to punch in and all that stuff.

2185
02:05:20,320 --> 02:05:22,760
Speaker 7: But yeah, like I it was, it was.

2186
02:05:22,920 --> 02:05:26,160
Speaker 5: It was crazy to watch it all like unfold. And

2187
02:05:26,280 --> 02:05:29,680
Speaker 5: I knew my dad would kind of like take the

2188
02:05:29,800 --> 02:05:32,560
Speaker 5: lead on certain things, but I don't think it was

2189
02:05:32,680 --> 02:05:35,360
Speaker 5: ever like he said. It wasn't like he just was

2190
02:05:35,480 --> 02:05:37,240
Speaker 5: just so hungry to take the lead. He just was

2191
02:05:37,320 --> 02:05:40,520
Speaker 5: just like ever since the Johnson's three plus one, he

2192
02:05:40,600 --> 02:05:42,000
Speaker 5: just do it because nobody else would want to sit

2193
02:05:42,080 --> 02:05:43,960
Speaker 5: there and write the lyrics out. But they was out

2194
02:05:44,120 --> 02:05:48,200
Speaker 5: playing and ship like it had to get done somehow,

2195
02:05:48,360 --> 02:05:50,720
Speaker 5: you know. And and with my uncle, you know, he

2196
02:05:50,880 --> 02:05:53,640
Speaker 5: was the he was the youngest sibling. So like he said,

2197
02:05:53,720 --> 02:05:55,840
Speaker 5: like he he wasn't able to go out and run

2198
02:05:55,920 --> 02:05:57,040
Speaker 5: the streets because he was too young.

2199
02:05:57,240 --> 02:05:58,040
Speaker 7: He just couldn't do it.

2200
02:05:58,440 --> 02:06:01,040
Speaker 5: And you know, my dad was like a little bit older,

2201
02:06:01,120 --> 02:06:02,800
Speaker 5: so it was okay for him to be out with

2202
02:06:03,160 --> 02:06:05,520
Speaker 5: the older brother. They're getting into trouble and ship and

2203
02:06:06,320 --> 02:06:08,960
Speaker 5: so you know, I think it was just that you know,

2204
02:06:09,120 --> 02:06:12,680
Speaker 5: them being yeah, that whole thing, you know, that that

2205
02:06:12,760 --> 02:06:15,200
Speaker 5: whole thing. And it's interesting because my dad is like

2206
02:06:15,880 --> 02:06:18,480
Speaker 5: the middle sibling, and so there's that, and then my

2207
02:06:18,840 --> 02:06:22,240
Speaker 5: other uncle, the oldest, he's definitely the big brother, and

2208
02:06:22,320 --> 02:06:24,640
Speaker 5: so they clashed a lot of times and bump heads.

2209
02:06:25,720 --> 02:06:27,640
Speaker 5: But I think at the end of the day they

2210
02:06:27,720 --> 02:06:31,560
Speaker 5: all still had a mutual respect for each other and

2211
02:06:31,880 --> 02:06:34,560
Speaker 5: they were bump heads. And even like till right before

2212
02:06:34,600 --> 02:06:36,520
Speaker 5: my uncle passed away, you know, they got together and

2213
02:06:36,600 --> 02:06:38,800
Speaker 5: did the thing with Quincy at the Hollywood Bowl, and

2214
02:06:39,200 --> 02:06:41,720
Speaker 5: you know, whenever it was, that magic never left. That's

2215
02:06:41,760 --> 02:06:44,520
Speaker 5: the crazy thing about music, is like when once you

2216
02:06:44,680 --> 02:06:46,720
Speaker 5: have that chemistry and that connection, no matter what you

2217
02:06:46,840 --> 02:06:49,680
Speaker 5: go through and how you know, crazy it gets like

2218
02:06:50,280 --> 02:06:52,680
Speaker 5: every time they would get in the room, when when

2219
02:06:52,720 --> 02:06:55,800
Speaker 5: they would start, it was just like nothing ever wouldn't happen.

2220
02:06:56,080 --> 02:07:01,000
Speaker 2: Can I ask a question, No, Mari, I gotta ask

2221
02:07:01,040 --> 02:07:08,360
Speaker 2: a question on street wave? How the one is? Really?

2222
02:07:08,520 --> 02:07:15,000
Speaker 2: I always this feels like a weird course. Stop laughing

2223
02:07:15,000 --> 02:07:18,480
Speaker 2: at secause, don't doom doom, doom doom. I feel like

2224
02:07:18,800 --> 02:07:22,720
Speaker 2: your brother. Your brother emphasizes the two as the one,

2225
02:07:22,880 --> 02:07:26,120
Speaker 2: but you guys are as the rhythm section or following

2226
02:07:26,160 --> 02:07:30,640
Speaker 2: the traditional one two, three four, but his the way

2227
02:07:30,680 --> 02:07:36,120
Speaker 2: he starts at dude, I always feel like his pick

2228
02:07:36,200 --> 02:07:40,280
Speaker 2: up in his mind was the one. It's just because

2229
02:07:40,320 --> 02:07:43,640
Speaker 2: the symbol is emphasizing. It's just like I feel like

2230
02:07:43,720 --> 02:07:45,640
Speaker 2: it's a it's a dog chasing his taille. Who is

2231
02:07:45,680 --> 02:07:47,080
Speaker 2: the architect of street wave.

2232
02:07:47,680 --> 02:07:51,240
Speaker 4: Well, it's basically you're basically right because this on people

2233
02:07:51,320 --> 02:07:53,800
Speaker 4: like Harvey Mason be on the set of John Robinson

2234
02:07:53,880 --> 02:07:56,720
Speaker 4: and they would use their influence and they'll beat. They

2235
02:07:56,880 --> 02:08:01,400
Speaker 4: know exactly what to do with Lewis drum wise, Okay,

2236
02:08:01,680 --> 02:08:04,120
Speaker 4: you know, I mean, we've had lots of drummers and

2237
02:08:04,400 --> 02:08:08,760
Speaker 4: and a lot of ones that stuck well, like Harvey

2238
02:08:08,840 --> 02:08:15,200
Speaker 4: Mason and uh Jr. Who I really loved. Harvey Mason Jr.

2239
02:08:15,400 --> 02:08:19,320
Speaker 4: Was cool, He did the trick. Harvey Mason was like

2240
02:08:19,600 --> 02:08:24,360
Speaker 4: one of the cats who was like a drum god

2241
02:08:25,360 --> 02:08:28,240
Speaker 4: to me because he could pick up. He would play

2242
02:08:28,320 --> 02:08:29,840
Speaker 4: to something of our tracks and we had the drum

2243
02:08:29,960 --> 02:08:32,920
Speaker 4: machine already in it. We wouldn't be playing with him

2244
02:08:33,760 --> 02:08:37,000
Speaker 4: except for in the headphones, okay, because we would cut

2245
02:08:37,040 --> 02:08:38,480
Speaker 4: it with a drum machine. Then all of a sudden

2246
02:08:38,480 --> 02:08:43,280
Speaker 4: he'd come in set and would play it and I

2247
02:08:43,520 --> 02:08:45,720
Speaker 4: just watch him just how we'd be in a room.

2248
02:08:45,800 --> 02:08:48,440
Speaker 4: And this studio reminds me of Studio A and A

2249
02:08:48,600 --> 02:08:51,120
Speaker 4: and M. They have all the big stuff where they

2250
02:08:51,240 --> 02:08:53,600
Speaker 4: do strings and the whole illustrated stuff, but.

2251
02:08:56,240 --> 02:08:57,080
Speaker 2: We're the world room.

2252
02:08:57,560 --> 02:09:00,960
Speaker 4: Yeah yeah, and uh it's something funny speaking of that,

2253
02:09:01,120 --> 02:09:02,920
Speaker 4: how we get left out of that when we were

2254
02:09:02,960 --> 02:09:04,000
Speaker 4: part of the world.

2255
02:09:13,800 --> 02:09:14,520
Speaker 2: That was good.

2256
02:09:17,440 --> 02:09:20,800
Speaker 4: Even had James Browton, I mean Ray Charles in Sight

2257
02:09:21,000 --> 02:09:24,000
Speaker 4: and Shaka Khan saying I'll be good to you yes,

2258
02:09:24,960 --> 02:09:28,360
Speaker 4: and then me and it was like four people that

2259
02:09:28,440 --> 02:09:33,160
Speaker 4: should be in the world with Guinness Records, Quincy Jones, myself,

2260
02:09:33,320 --> 02:09:36,600
Speaker 4: Chakakan and rachels On one song I'll be good to

2261
02:09:36,680 --> 02:09:37,000
Speaker 4: You that.

2262
02:09:37,120 --> 02:09:41,160
Speaker 2: I wrote, Oh that's right for back on the Block.

2263
02:09:41,720 --> 02:09:44,080
Speaker 4: Yeah, I came right, and so I was like, I

2264
02:09:44,080 --> 02:09:51,040
Speaker 4: would look how you look just well, you know, yeah,

2265
02:09:51,040 --> 02:09:56,000
Speaker 4: I hope you did half of half of it. I hope, yeah,

2266
02:09:56,160 --> 02:10:01,280
Speaker 4: but you know a certain things. Wasn't surprised because I

2267
02:10:01,480 --> 02:10:04,240
Speaker 4: knew how the music industry was and you can't come out.

2268
02:10:04,560 --> 02:10:06,320
Speaker 4: See we were signed to a contract. That's why I

2269
02:10:06,440 --> 02:10:09,000
Speaker 4: want to believe in A and M that you initially

2270
02:10:09,080 --> 02:10:11,600
Speaker 4: signed They had no idea who you are, what you're

2271
02:10:11,640 --> 02:10:14,280
Speaker 4: going to be. They were so jealous of Quincy because

2272
02:10:14,360 --> 02:10:18,080
Speaker 4: he until we came, brought him out of jazz and

2273
02:10:18,120 --> 02:10:19,440
Speaker 4: all of a sudden you hear his the love that

2274
02:10:19,480 --> 02:10:26,440
Speaker 4: were missing that was GJ sound, and brought him.

2275
02:10:26,480 --> 02:10:29,880
Speaker 2: You guys, definitely brought him into the modern era, modern

2276
02:10:29,960 --> 02:10:30,520
Speaker 2: music era.

2277
02:10:30,560 --> 02:10:33,880
Speaker 4: And then and his closure would be and work for

2278
02:10:34,000 --> 02:10:36,000
Speaker 4: him as a hit on Michael Jackson and do it

2279
02:10:36,040 --> 02:10:38,680
Speaker 4: because Sony didn't want him to do it. They figured

2280
02:10:38,720 --> 02:10:41,280
Speaker 4: he was just a jazz artist, even though he produced us,

2281
02:10:42,600 --> 02:10:45,400
Speaker 4: and he couldn't do the job. Quincy was like the

2282
02:10:45,480 --> 02:10:50,280
Speaker 4: perfect camp in music. Have you have you because if

2283
02:10:50,320 --> 02:10:53,839
Speaker 4: you think about it, you get, you know, Ry Templeton

2284
02:10:54,680 --> 02:10:57,680
Speaker 4: to write some songs, great songs. You got Greg Felling Games,

2285
02:10:57,720 --> 02:11:00,880
Speaker 4: You get all these great musicians. And I didn't notice that.

2286
02:11:02,040 --> 02:11:04,040
Speaker 4: You know, I'm not talking about the brother or anything.

2287
02:11:04,120 --> 02:11:06,600
Speaker 4: But every time he would get used, just more they

2288
02:11:06,640 --> 02:11:10,680
Speaker 4: would get used. If anybody's getting used, they wouldn't really

2289
02:11:10,760 --> 02:11:15,000
Speaker 4: never get the credit they deserved. I'd say, great filling

2290
02:11:15,040 --> 02:11:18,560
Speaker 4: Games put in about the certain the same amount of

2291
02:11:18,640 --> 02:11:21,560
Speaker 4: work that I have done on projects, which then they

2292
02:11:21,640 --> 02:11:24,320
Speaker 4: going to eventually give him an oscar for something, But

2293
02:11:24,480 --> 02:11:27,360
Speaker 4: what about all the other shit that you did that

2294
02:11:27,680 --> 02:11:32,360
Speaker 4: was you know, even more crucial. Michael Jackson, you know Michael.

2295
02:11:32,520 --> 02:11:35,920
Speaker 2: And then if you notice when we discussed that, yeah,

2296
02:11:35,920 --> 02:11:38,480
Speaker 2: we had film games on the show last year, earlier this.

2297
02:11:38,560 --> 02:11:40,280
Speaker 4: Year when he went on his own, a lot of

2298
02:11:40,360 --> 02:11:44,360
Speaker 4: his stuff wasn't that impressive. You know when he didn't

2299
02:11:44,360 --> 02:11:47,280
Speaker 4: sell to men records he was trying to get. He

2300
02:11:47,360 --> 02:11:51,280
Speaker 4: couldn't do that back when he first started without being

2301
02:11:51,440 --> 02:11:54,800
Speaker 4: validated by someone who had ears like Mike Quinty and

2302
02:11:54,920 --> 02:12:00,200
Speaker 4: his crew. I was doing that alone with me and

2303
02:12:00,320 --> 02:12:03,320
Speaker 4: Quincy Seor Lewis played the bass and eat the sishy

2304
02:12:03,360 --> 02:12:05,920
Speaker 4: and go to sleep on the couch. But I was

2305
02:12:06,000 --> 02:12:09,840
Speaker 4: the one who had to finish above Quincy. And he knew.

2306
02:12:09,920 --> 02:12:13,680
Speaker 4: I knew, Okay, you hired you're you are the producer.

2307
02:12:15,080 --> 02:12:17,879
Speaker 4: You are my brother, you are my father. I respect

2308
02:12:17,960 --> 02:12:20,160
Speaker 4: you the highest because you could teach me more than

2309
02:12:20,280 --> 02:12:24,720
Speaker 4: anybody has taught me, from sly Stone to Billy Preston.

2310
02:12:24,800 --> 02:12:27,960
Speaker 4: And you know, we were just grooving with our friends.

2311
02:12:28,000 --> 02:12:29,640
Speaker 4: With them, they just played me ship and look at

2312
02:12:29,680 --> 02:12:38,040
Speaker 4: me and smile. I'm like, damn, you don't play some

2313
02:12:38,160 --> 02:12:41,040
Speaker 4: moret you know this. I was like, man, if this

2314
02:12:41,160 --> 02:12:42,880
Speaker 4: ain't funky, I eat concrete.

2315
02:12:46,000 --> 02:12:48,360
Speaker 2: Wait a minute. Speaking of which, ah damn. I forgot

2316
02:12:48,400 --> 02:12:52,080
Speaker 2: to ask what was the situation behind this? Had to

2317
02:12:52,160 --> 02:12:57,120
Speaker 2: be like how you technically did get to work with

2318
02:12:57,200 --> 02:13:00,960
Speaker 2: Michael Jackson on one? So yeah, was a track, which

2319
02:13:01,000 --> 02:13:04,120
Speaker 2: is weird because Black Radio used to pip like this

2320
02:13:04,200 --> 02:13:07,040
Speaker 2: is the duet with Michael Jackson and brothers Johnson, and

2321
02:13:07,240 --> 02:13:09,880
Speaker 2: they would debut it and play it and then I

2322
02:13:10,000 --> 02:13:11,680
Speaker 2: just hear, like one mouseie.

2323
02:13:14,840 --> 02:13:19,120
Speaker 4: What he's doing like that, which my daughter would love

2324
02:13:19,200 --> 02:13:22,040
Speaker 4: because she knew his voice and took her around and

2325
02:13:22,120 --> 02:13:26,880
Speaker 4: he was doing thriller Billy Jean to the studio. But

2326
02:13:29,520 --> 02:13:32,560
Speaker 4: that song happened. That was a B track that wasn't

2327
02:13:32,560 --> 02:13:35,920
Speaker 4: even supposed to be included in any of our stuff.

2328
02:13:37,560 --> 02:13:43,080
Speaker 4: We were out on tour. Michael s to write get Quincy,

2329
02:13:43,800 --> 02:13:45,480
Speaker 4: you know, one of our songs. He wanted to write

2330
02:13:45,480 --> 02:13:47,240
Speaker 4: with us, but the way he chose to write, he said,

2331
02:13:48,000 --> 02:13:50,920
Speaker 4: go in and see what he did. What they recorded

2332
02:13:50,960 --> 02:13:54,080
Speaker 4: that they weren't using. I never did like this had

2333
02:13:54,120 --> 02:14:01,480
Speaker 4: to be because it was a base. It was it's

2334
02:14:01,560 --> 02:14:05,760
Speaker 4: like that don't even sound like you I dug it,

2335
02:14:06,200 --> 02:14:08,520
Speaker 4: you know, And it wasn't Lewis because the one time

2336
02:14:08,600 --> 02:14:11,920
Speaker 4: he went on a scent based in the tangent you know,

2337
02:14:12,080 --> 02:14:14,520
Speaker 4: play it on stage. Was just saying, man, how could

2338
02:14:14,560 --> 02:14:17,080
Speaker 4: you not play your bass?

2339
02:14:18,200 --> 02:14:19,040
Speaker 2: You know? Did you not?

2340
02:14:19,200 --> 02:14:20,800
Speaker 4: You weren't known for keyboard.

2341
02:14:21,720 --> 02:14:21,880
Speaker 3: You know.

2342
02:14:22,200 --> 02:14:24,880
Speaker 2: What was the decision to not have him played that

2343
02:14:25,000 --> 02:14:25,760
Speaker 2: bass line?

2344
02:14:26,240 --> 02:14:29,320
Speaker 4: Well, it was no decision. What happened was It's like

2345
02:14:29,400 --> 02:14:31,240
Speaker 4: when it got to that point, I didn't give a

2346
02:14:31,320 --> 02:14:34,960
Speaker 4: ship or a fuck about nothing, to be honest, It's

2347
02:14:35,000 --> 02:14:37,000
Speaker 4: like you couldn't hurt me no more and you already

2348
02:14:37,080 --> 02:14:40,080
Speaker 4: hurt me and I still had knocked you up the

2349
02:14:40,200 --> 02:14:44,920
Speaker 4: bottom line. Now, if Michael got the track, he wrote

2350
02:14:44,960 --> 02:14:48,720
Speaker 4: the lyrics, it was all about Michael Jackson's I don't.

2351
02:14:48,800 --> 02:14:51,320
Speaker 4: I didn't even play guitar on it. That's how pissed

2352
02:14:51,400 --> 02:14:55,600
Speaker 4: I was. I didn't. There's no guitar on the damn okay.

2353
02:14:56,520 --> 02:15:00,240
Speaker 4: So it's like Michael got the leftovers. Only thing I

2354
02:15:00,320 --> 02:15:04,440
Speaker 4: did was sing lead okay. And you know I didn't

2355
02:15:04,480 --> 02:15:07,320
Speaker 4: plan for it to be a single nothing, because it's

2356
02:15:07,400 --> 02:15:10,520
Speaker 4: like I wouldn't. Well at that point, we hadn't used

2357
02:15:10,560 --> 02:15:14,320
Speaker 4: that for an album to be put on an album.

2358
02:15:14,480 --> 02:15:16,640
Speaker 4: So I was like, all right, Michael came up with

2359
02:15:16,680 --> 02:15:18,960
Speaker 4: this stupid ass. If he wasn't checked, it would have

2360
02:15:19,040 --> 02:15:21,680
Speaker 4: checked with me on you know, which tune? Could I

2361
02:15:21,840 --> 02:15:24,760
Speaker 4: have gave him one of mine or written one? Right,

2362
02:15:25,280 --> 02:15:27,800
Speaker 4: So he like took a B tune wrote on it

2363
02:15:28,560 --> 02:15:33,320
Speaker 4: just because of his name. It went forward and A

2364
02:15:33,480 --> 02:15:35,880
Speaker 4: and M already did they quota or only going to

2365
02:15:35,920 --> 02:15:38,840
Speaker 4: release one? We never gotten more than two songs a

2366
02:15:38,960 --> 02:15:45,560
Speaker 4: hit off of a record. That's it. That's why Quincy

2367
02:15:45,640 --> 02:15:48,360
Speaker 4: and enrolled with Thriller and they got eight off of that.

2368
02:15:48,760 --> 02:15:51,880
Speaker 4: That's kind of one of the teachings. But A and

2369
02:15:52,040 --> 02:15:57,400
Speaker 4: M did not want to recognize truth even though they

2370
02:15:57,440 --> 02:16:00,920
Speaker 4: were Herbalt and Jerry Moss, and we got sold off

2371
02:16:00,960 --> 02:16:05,280
Speaker 4: to PolyGram for two hundred and fifty million, along with

2372
02:16:05,400 --> 02:16:09,080
Speaker 4: the rest of all the other groups, you know, real

2373
02:16:09,240 --> 02:16:11,080
Speaker 4: like that. I just went into the office with her

2374
02:16:11,080 --> 02:16:15,160
Speaker 4: Abell and Jeremi. I said, look, we are men, I'm done.

2375
02:16:15,280 --> 02:16:17,560
Speaker 4: I walked away from at least two point through million

2376
02:16:17,800 --> 02:16:20,080
Speaker 4: on my next album that I could have done as

2377
02:16:20,120 --> 02:16:23,880
Speaker 4: a single, but I said, okay, that'll just be sounding

2378
02:16:24,000 --> 02:16:26,680
Speaker 4: like another Brothers Chohnson record. So I didn't want to

2379
02:16:27,160 --> 02:16:30,640
Speaker 4: even acknowledge. It wasn't that I needed the money, but

2380
02:16:30,760 --> 02:16:32,800
Speaker 4: that was in my contract. My lawyer said, they could

2381
02:16:32,840 --> 02:16:35,240
Speaker 4: have paid you your two point three million you just

2382
02:16:35,360 --> 02:16:36,199
Speaker 4: walked away from.

2383
02:16:37,959 --> 02:16:38,400
Speaker 2: Back in.

2384
02:16:40,680 --> 02:16:45,520
Speaker 4: Or the eighties. So, I mean it was a lot,

2385
02:16:47,000 --> 02:16:50,920
Speaker 4: you know, I had to deal with politics that I

2386
02:16:52,200 --> 02:16:54,600
Speaker 4: was very frustrated. I kind of knew that we were

2387
02:16:54,720 --> 02:16:58,240
Speaker 4: locked in. That's why I was kind of teaching them

2388
02:16:58,560 --> 02:17:01,200
Speaker 4: and showing them back in what I had, picking singles

2389
02:17:02,240 --> 02:17:06,720
Speaker 4: Janet Jackson, whatever you've done lately, nasty. You know, the

2390
02:17:06,840 --> 02:17:12,440
Speaker 4: Human League thing. I got Slide for John McClean, and

2391
02:17:12,600 --> 02:17:14,640
Speaker 4: Slide didn't want to do it. I twisted his arm

2392
02:17:14,720 --> 02:17:17,640
Speaker 4: to do it. So it was a lot of things

2393
02:17:17,720 --> 02:17:22,240
Speaker 4: where I was the person that could get the job

2394
02:17:22,360 --> 02:17:27,680
Speaker 4: done even without Quincy. But Quincy, uh what's his name

2395
02:17:29,280 --> 02:17:32,680
Speaker 4: over at Warner Brothers had bought Quincy's contract from A

2396
02:17:32,840 --> 02:17:34,880
Speaker 4: and M because he ain't even have a million dollars

2397
02:17:37,280 --> 02:17:41,440
Speaker 4: in Boston, and he gave Quincy put up two million

2398
02:17:41,520 --> 02:17:46,120
Speaker 4: dollars to get out of the deal with A and M. Okay, okay,

2399
02:17:46,680 --> 02:17:49,760
Speaker 4: when he left A and M. Then they told us

2400
02:17:49,879 --> 02:17:51,959
Speaker 4: that we were going to get sued if we talked

2401
02:17:52,000 --> 02:17:56,280
Speaker 4: to Quincy, you know, any of that go down, I

2402
02:17:56,440 --> 02:18:00,120
Speaker 4: called Quincy said, what the hell is you know? A

2403
02:18:00,240 --> 02:18:02,880
Speaker 4: and M fuck A and M records, you know, and

2404
02:18:04,240 --> 02:18:08,160
Speaker 4: the damn attorney who I couldn't stand, you know, melt

2405
02:18:08,280 --> 02:18:12,440
Speaker 4: Old melt Old Olton Olin something like that, and you

2406
02:18:12,520 --> 02:18:14,560
Speaker 4: can tell him, I said that still it can kiss

2407
02:18:14,680 --> 02:18:15,080
Speaker 4: my ass.

2408
02:18:19,640 --> 02:18:27,080
Speaker 2: That is a quote for you, melt melt Olin. So

2409
02:18:27,840 --> 02:18:32,119
Speaker 2: at the end of the day, with all of these

2410
02:18:33,760 --> 02:18:37,240
Speaker 2: demos and ideas lying around, like what this phase of

2411
02:18:37,320 --> 02:18:41,080
Speaker 2: your life, like, what do you want your.

2412
02:18:42,959 --> 02:18:47,480
Speaker 4: Legacy? Well, it is what it is. And when I

2413
02:18:47,560 --> 02:18:50,880
Speaker 4: put out my book, which maybe we'll talk because I

2414
02:18:52,080 --> 02:18:54,640
Speaker 4: might go through you through make it an audible thing,

2415
02:18:56,320 --> 02:18:59,040
Speaker 4: see what I'm saying, And would be would love for

2416
02:18:59,200 --> 02:19:02,360
Speaker 4: you to do to do that as basically a starter

2417
02:19:02,760 --> 02:19:04,240
Speaker 4: for this interview, and you know.

2418
02:19:06,440 --> 02:19:06,720
Speaker 2: I could.

2419
02:19:06,840 --> 02:19:18,920
Speaker 4: I could split it with you, yes, because you're you're

2420
02:19:18,959 --> 02:19:22,880
Speaker 4: getting stuff that people really want to hear from us

2421
02:19:22,920 --> 02:19:25,520
Speaker 4: because they haven't and you are getting it. So that

2422
02:19:25,640 --> 02:19:28,840
Speaker 4: actually would cut the chase through me writing, which I

2423
02:19:28,959 --> 02:19:31,840
Speaker 4: was gonna do anyway. And since it is audible, you

2424
02:19:32,000 --> 02:19:37,360
Speaker 4: already have it, Mike, So I would definitely give you

2425
02:19:37,480 --> 02:19:41,640
Speaker 4: the pronounce. So I mean to make it. We can

2426
02:19:41,720 --> 02:19:43,360
Speaker 4: deal with it, and you know, I give you my

2427
02:19:43,520 --> 02:19:46,720
Speaker 4: numbers and stuff and well, yeah we're family now. Yeah,

2428
02:19:46,800 --> 02:19:48,000
Speaker 4: to make it an audible book.

2429
02:19:48,440 --> 02:19:51,560
Speaker 2: So try what what what's next for the down the

2430
02:19:51,600 --> 02:19:52,039
Speaker 2: pike for you.

2431
02:19:53,879 --> 02:19:54,039
Speaker 4: Man?

2432
02:19:54,280 --> 02:19:58,640
Speaker 7: Just uh continuing to create. I've been doing a lot

2433
02:19:58,720 --> 02:20:00,000
Speaker 7: of artists develop.

2434
02:20:00,520 --> 02:20:03,160
Speaker 5: One of the recent things I did was this boy

2435
02:20:03,280 --> 02:20:05,320
Speaker 5: band called why Don't We who just signed the Atlantic

2436
02:20:05,360 --> 02:20:09,560
Speaker 5: Records last summer, developed them all last year and just

2437
02:20:09,680 --> 02:20:12,440
Speaker 5: kind of you know, I think it's just one of

2438
02:20:12,520 --> 02:20:14,320
Speaker 5: the things I picked up from being around it because

2439
02:20:14,320 --> 02:20:17,080
Speaker 5: it was real like as you you know, just heard

2440
02:20:17,120 --> 02:20:19,760
Speaker 5: a lot of development going on and to to kind

2441
02:20:19,800 --> 02:20:24,240
Speaker 5: of create this uh legacy. It wasn't just like you know,

2442
02:20:24,360 --> 02:20:26,520
Speaker 5: throwing stuff against the wall, see was stick. It was

2443
02:20:26,600 --> 02:20:28,920
Speaker 5: like work, real work, real work.

2444
02:20:29,040 --> 02:20:31,920
Speaker 4: Yeah. I've seen what he could do and heard his

2445
02:20:32,120 --> 02:20:35,120
Speaker 4: shows and share things with me, and I give him

2446
02:20:35,160 --> 02:20:38,920
Speaker 4: the best advice of you know that I can. And

2447
02:20:39,640 --> 02:20:43,360
Speaker 4: we haven't even begun because I still have some teachings.

2448
02:20:43,400 --> 02:20:47,160
Speaker 4: I told him, you know, I want to just layer

2449
02:20:47,200 --> 02:20:49,520
Speaker 4: it on him that I've learned from Quincy and Bruce,

2450
02:20:50,920 --> 02:20:53,080
Speaker 4: and we haven't begun that we're going to start that

2451
02:20:53,280 --> 02:20:57,240
Speaker 4: today or tomorrow. Wow, Like I just let him grow

2452
02:20:57,280 --> 02:20:59,920
Speaker 4: and I tell him, you know, we'd work on projects together.

2453
02:21:00,400 --> 02:21:01,920
Speaker 7: Yeah, actually did a I did a record.

2454
02:21:02,080 --> 02:21:02,200
Speaker 10: Uh.

2455
02:21:02,760 --> 02:21:05,520
Speaker 5: This is one of the early records I wrote with

2456
02:21:05,600 --> 02:21:09,440
Speaker 5: Solange for Kelly Rowland's first album, simply Deepest Joint called Obsession,

2457
02:21:09,640 --> 02:21:12,000
Speaker 5: and uh my dad came and play guitar on it.

2458
02:21:13,680 --> 02:21:15,640
Speaker 4: It's fun Yeah, but I'll do that and I do

2459
02:21:15,760 --> 02:21:16,920
Speaker 4: nothing else for somebody else.

2460
02:21:16,920 --> 02:21:17,680
Speaker 2: It could be bigger.

2461
02:21:23,879 --> 02:21:26,199
Speaker 5: It's funny because he like it's crazy, like he actually

2462
02:21:26,560 --> 02:21:29,200
Speaker 5: like it's true, like they got this especially like with

2463
02:21:29,200 --> 02:21:30,240
Speaker 5: a lot of the old school cats.

2464
02:21:30,280 --> 02:21:32,879
Speaker 7: It's just this camaraderie that's just like unrivaled.

2465
02:21:33,040 --> 02:21:36,000
Speaker 5: Like I remember when you know, even though I've known

2466
02:21:36,280 --> 02:21:38,240
Speaker 5: you know, the Knowles and you know all them like

2467
02:21:38,320 --> 02:21:41,119
Speaker 5: for some time now, and work quite a bit with Solange,

2468
02:21:41,200 --> 02:21:43,080
Speaker 5: like I never really you know.

2469
02:21:43,120 --> 02:21:44,880
Speaker 7: Obviously, Beyonce is like a huge star.

2470
02:21:45,000 --> 02:21:47,400
Speaker 5: I remember one time one morning, like met her in

2471
02:21:47,480 --> 02:21:49,760
Speaker 5: passing one morning, Like I get this call from the

2472
02:21:49,800 --> 02:21:52,600
Speaker 5: eight three to two number, and I'm like, what you

2473
02:21:52,680 --> 02:21:59,680
Speaker 5: know whatever before three o'clock in the afternoon, the hell

2474
02:22:00,040 --> 02:22:02,240
Speaker 5: must speak to Troy, Like who is this this is B.

2475
02:22:02,560 --> 02:22:09,800
Speaker 5: Who the hell is B Beyoncey? What's what's going on?

2476
02:22:10,480 --> 02:22:10,640
Speaker 2: Well?

2477
02:22:10,680 --> 02:22:12,720
Speaker 4: You know, and she it was crazy, she was that

2478
02:22:12,800 --> 02:22:16,320
Speaker 4: just before you knew we were almost possibly related.

2479
02:22:17,720 --> 02:22:18,800
Speaker 2: On my mom's side.

2480
02:22:18,959 --> 02:22:21,600
Speaker 5: Yeah, so she she wanted to uh, this was for

2481
02:22:21,680 --> 02:22:26,400
Speaker 5: her first solo album. She needed to do to clear sugar. Yeah, yeah, yeah,

2482
02:22:26,560 --> 02:22:28,160
Speaker 5: no one could get in touch with like, no one

2483
02:22:28,240 --> 02:22:30,560
Speaker 5: knew where the hell he was, but they.

2484
02:22:30,560 --> 02:22:33,600
Speaker 7: Knew that that you know, got yeah, you know, and

2485
02:22:33,680 --> 02:22:36,600
Speaker 7: I was like, okay, cool, Like, well is this your number?

2486
02:22:36,640 --> 02:22:37,080
Speaker 7: Can I call you?

2487
02:22:37,160 --> 02:22:37,640
Speaker 2: Could we work?

2488
02:22:46,640 --> 02:22:47,880
Speaker 7: Mission was already accomplished.

2489
02:22:47,959 --> 02:22:50,040
Speaker 2: Done. You talked to her on the phone. You did

2490
02:22:50,080 --> 02:22:54,000
Speaker 2: more than most. Well, we would like to think y'all

2491
02:22:54,440 --> 02:22:55,360
Speaker 2: coming on the show man.

2492
02:22:55,560 --> 02:23:01,039
Speaker 7: Thanks education given us the time, Thank you for having.

2493
02:23:01,680 --> 02:23:03,920
Speaker 2: Thank you for coming so much. No, thank you both,

2494
02:23:04,000 --> 02:23:06,800
Speaker 2: Thank you both. So on behalf. Oh wait, I think

2495
02:23:06,840 --> 02:23:11,280
Speaker 2: we should also play the initial Dibaco come so far. Yes, yes, yeah,

2496
02:23:11,680 --> 02:23:13,240
Speaker 2: we might as well. Go ahead. We're going to fade

2497
02:23:13,240 --> 02:23:17,039
Speaker 2: out on the original Dibacco Roll call for you, roll

2498
02:23:17,120 --> 02:23:20,680
Speaker 2: call stands out there anyway on Behalf of the team,

2499
02:23:20,760 --> 02:23:24,280
Speaker 2: Supreme Fan take a little unpaid Bill Boss, Bill Sugar,

2500
02:23:24,320 --> 02:23:28,080
Speaker 2: Steve or the Sugar Steve Network CEO and his own

2501
02:23:28,120 --> 02:23:32,960
Speaker 2: brother Sugar Steve appears courtesy of the Sugar and like, yeah,

2502
02:23:33,040 --> 02:23:35,480
Speaker 2: oh wait, you know what I didn't tell Wait? Can

2503
02:23:35,520 --> 02:23:38,199
Speaker 2: you hold up the cover real quick? Yeah? I always

2504
02:23:38,240 --> 02:23:43,040
Speaker 2: share a quest love childhood punishment. So usually as a kid,

2505
02:23:43,520 --> 02:23:49,040
Speaker 2: each year I picked a designated album cover. Right, but

2506
02:23:49,160 --> 02:23:52,160
Speaker 2: I'm just wanted to show. I want to just show you.

2507
02:23:52,320 --> 02:23:55,520
Speaker 2: All right, ladies, gentlemen, go google right on time for

2508
02:23:55,600 --> 02:23:59,520
Speaker 2: the Brothers of Johnson album covering. So each year I

2509
02:23:59,560 --> 02:24:03,280
Speaker 2: would nat an album covered that I would emulate for

2510
02:24:03,400 --> 02:24:07,200
Speaker 2: every picture taken of me, you know, like I was

2511
02:24:07,560 --> 02:24:09,960
Speaker 2: in seventy four it was all the Chris Jasper poses

2512
02:24:10,040 --> 02:24:13,200
Speaker 2: from Living Up that was my thing. Or seventy eight

2513
02:24:13,480 --> 02:24:17,320
Speaker 2: was me making a Tommy DeBarge face from the Switch album.

2514
02:24:17,600 --> 02:24:22,960
Speaker 2: So seventy seven I decided, okay, all airborne jumping shots

2515
02:24:24,200 --> 02:24:26,880
Speaker 2: holding various pieces of furniture because I didn't have a

2516
02:24:26,920 --> 02:24:34,160
Speaker 2: base in seventy seven and somehow at my father's rehearsal,

2517
02:24:35,040 --> 02:24:39,160
Speaker 2: I saw my father's bass players base there and I thought,

2518
02:24:39,800 --> 02:24:42,840
Speaker 2: I'm gonna do what Louis Johnson does. So I grabbed

2519
02:24:42,879 --> 02:24:48,560
Speaker 2: the bass, I jumped and I dropped the bass nice

2520
02:24:48,840 --> 02:24:52,520
Speaker 2: and it was Tito Jackson time wait Joe Jackson. Anyway,

2521
02:24:52,640 --> 02:24:55,119
Speaker 2: ladies and gentlemen, I'll see you later. Thank you very much.

2522
02:24:55,400 --> 02:24:57,760
Speaker 2: This has been quest up Supreme only on Pandora. We'll

2523
02:24:57,800 --> 02:24:59,160
Speaker 2: see you. Let me add this too.

2524
02:25:00,040 --> 02:25:03,480
Speaker 4: The album cover was shot out in the desert and

2525
02:25:03,600 --> 02:25:06,480
Speaker 4: it was around the time where the UFO start. Oh

2526
02:25:06,800 --> 02:25:10,520
Speaker 4: you know, the UFO era for us in the seventies

2527
02:25:10,720 --> 02:25:15,520
Speaker 4: was highlighted a lot. And that guitar right now is

2528
02:25:15,600 --> 02:25:19,800
Speaker 4: currently hanging a glass case in Troy's studio in nineteen

2529
02:25:20,040 --> 02:25:24,800
Speaker 4: seventy one, one Stelly Fender stratocast.

2530
02:25:25,840 --> 02:25:30,200
Speaker 2: Wow. Great, now we know who to rob. Thank you.

2531
02:25:32,200 --> 02:25:36,360
Speaker 7: If it comes up, it is locked though.

2532
02:25:37,560 --> 02:25:39,680
Speaker 2: Well, see you, ladies and gentlemen. We'll see you on

2533
02:25:39,760 --> 02:25:40,480
Speaker 2: the next go round.

2534
02:25:44,160 --> 02:25:54,480
Speaker 10: Suprema Supremo, Roll Call, Suprema Supremo, roll Call, Suprema Sun Supremo,

2535
02:25:54,720 --> 02:25:58,920
Speaker 10: Roll Call, Suprema Sound Supremo.

2536
02:25:58,600 --> 02:26:03,080
Speaker 6: Roll Call, Get on the ball, Yeah, get on the case, Yeah,

2537
02:26:03,600 --> 02:26:14,240
Speaker 6: get the funk, Yeah, Supreme Supremo.

2538
02:26:14,480 --> 02:26:16,279
Speaker 2: Rose my name is Prante.

2539
02:26:16,720 --> 02:26:21,280
Speaker 8: Yeah, I'm in the mix with thunder Thumbs Yeah and

2540
02:26:21,480 --> 02:26:22,320
Speaker 8: Lightning Licks.

2541
02:26:22,959 --> 02:26:32,200
Speaker 2: Are you? Are you? Roll car Suprema Supreme roll best

2542
02:26:33,240 --> 02:26:35,920
Speaker 2: arrest my case. Yeah, if you don't agree with the

2543
02:26:35,959 --> 02:26:38,200
Speaker 2: boss Bill, Yeah, get the funk out of my face.

2544
02:26:39,680 --> 02:26:48,800
Speaker 3: Spre Supreme Supreme Road. Yeah.

2545
02:26:49,080 --> 02:26:50,119
Speaker 7: Oh yeah it's true.

2546
02:26:50,640 --> 02:26:50,879
Speaker 3: Yeah.

2547
02:26:51,160 --> 02:26:53,920
Speaker 2: George Johnson is here. Yeah, I'll be good to you.

2548
02:26:54,480 --> 02:27:02,120
Speaker 3: Roll Suprema shut Supreme, roll call Supreme SUPREMEO.

2549
02:27:02,360 --> 02:27:03,920
Speaker 2: Roll call this sugar.

2550
02:27:04,520 --> 02:27:06,440
Speaker 3: Yeah. The reason I write the ship ahead of time

2551
02:27:07,000 --> 02:27:15,040
Speaker 3: because I can't improvise. Fuck you again, Supreme roll Call

2552
02:27:15,560 --> 02:27:18,480
Speaker 3: Supremo Role.

2553
02:27:19,080 --> 02:27:21,280
Speaker 4: My name is Yea Troy.

2554
02:27:22,040 --> 02:27:26,199
Speaker 7: Yeah, we both like to talk, So hit us up tomorrow.

2555
02:27:27,600 --> 02:27:36,080
Speaker 3: Supreme Supreme roll Yeah, Supreme so Supreme roll call sup.

2556
02:27:36,480 --> 02:27:44,400
Speaker 2: Wait a minute, I know this is a b we

2557
02:27:44,440 --> 02:27:44,960
Speaker 2: gott to redo it.

2558
02:27:45,000 --> 02:27:45,360
Speaker 3: We got to.

2559
02:27:51,320 --> 02:27:51,720
Speaker 2: What's Love?

2560
02:27:51,800 --> 02:27:56,080
Speaker 1: Supreme is a production iHeartRadio. This classic episode was produced

2561
02:27:56,120 --> 02:28:02,640
Speaker 1: by the team at Pandora. For more podcasts from iHeartRadio,

2562
02:28:02,800 --> 02:28:06,520
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

2563
02:28:06,560 --> 02:28:07,480
Speaker 1: to your favorite shows.