WEBVTT - Questlove Reaches Into The Mailbag & Answers - March 15

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<v Speaker 1>Quest Left Show is a production of iHeart Radio. All right, y'all,

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<v Speaker 1>this is Letters to the Quest Left Show again. If

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<v Speaker 1>you have any letters, slide into our dms. First of all,

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<v Speaker 1>follow QLs on all the socials please and also subscribe

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<v Speaker 1>and like on YouTube. That is the fuel to our fire.

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<v Speaker 1>If you like these episodes and whatnot. Look, it just

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<v Speaker 1>takes a second. Please like and subscribe. With trying to

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<v Speaker 1>build a nation of inform music heads here, Yeah, thank you,

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<v Speaker 1>I like doing this. Give me more questions.

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<v Speaker 2>All right, Steven asks. You've been getting into this James

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<v Speaker 2>Brown mustache period quite a bit, and I wanted to

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<v Speaker 2>ask you your opinion on the track Deep.

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<v Speaker 1>In It my favorite period by the way.

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<v Speaker 2>Yes, you and Christian McBride right, Yes, it sounds like

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<v Speaker 2>he was trying to get into his very white bag.

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<v Speaker 2>But to me, it also sounds just like one uncle

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<v Speaker 2>who's passed his prime and is trying to holler at

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<v Speaker 2>the young twenty something at the bar. Any thoughts about

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<v Speaker 2>that song in particular.

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<v Speaker 1>Look, I'm telling you again, I'm stand on ten toe's

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<v Speaker 1>with this. The genius of James Brown. I mean, it's

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<v Speaker 1>low hanging fruit. Just to talk about the actual genius

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<v Speaker 1>of James Brown. Like literally that yes, there's a period

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<v Speaker 1>between sixty seven and seventy four when at least sixty

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<v Speaker 1>percent of his output changes the world, and literally is

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<v Speaker 1>the blueprint that we file to this day as far

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<v Speaker 1>as music, dance, music, drum breaks, rap, all those things.

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<v Speaker 1>But for me, the period after his prime, which is

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<v Speaker 1>seventy five to really eighty nine ninety one, when he

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<v Speaker 1>stopped making records, that his hands down my favorite favorite

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<v Speaker 1>period of James Brown, simply because he's so intense and

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<v Speaker 1>so committed that his bad period is really like, if

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<v Speaker 1>it's bad, I like it. If it's mediocre, I hate it.

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<v Speaker 1>And that's the thing, Like James Brown has never been mediocre. So, yes,

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<v Speaker 1>the song is on an album. It's on Sex Machine Today,

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<v Speaker 1>which again this is his attempt to you know, delve

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<v Speaker 1>back into his past to try to update it for

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<v Speaker 1>disco periods or whatnot. Didn't work necessarily, but yes, matter

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<v Speaker 1>of fact, I believe at one point we were gonna

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<v Speaker 1>sample it. Wait just give me one second please. Yeah. Ah, yes,

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<v Speaker 1>I have a group chat with Harry Wagner of Universal

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<v Speaker 1>Eric Leads who played with Prince Shout out to Pittsburgh

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<v Speaker 1>Allan leads, Eric's brother and James Brown's former tour manager

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<v Speaker 1>and Prince's former tent tour manager Krista McBride, and myself

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<v Speaker 1>like our ongoing almost fifteen year group chat could be

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<v Speaker 1>a book, but literally the discussion of the Sex Machine

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<v Speaker 1>Today album needs to be studied. But yes, deep in

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<v Speaker 1>it is such a I don't know, it's like Showgirls,

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<v Speaker 1>Like it's so horrible that I love it. It's so

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<v Speaker 1>genuinely horrible that I love it and respect it as

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<v Speaker 1>actual art. And now I'm trapped in a place where

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<v Speaker 1>I'm listening, like I'll DJ Life Changing James Brown for

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<v Speaker 1>my DJ sets, but when I just want to listen

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<v Speaker 1>and have a good laugh, usually when the roots are

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<v Speaker 1>going to work, Like when we're you know, landing in

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<v Speaker 1>the airport in a new town, we got drive an

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<v Speaker 1>hour or two a festival whatever, we are listening to

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<v Speaker 1>horrible James Brown only, And I highly recommend that which

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<v Speaker 1>begs it.

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<v Speaker 2>His own question in those situations, because you've spoken a

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<v Speaker 2>lot on the podcast of Tarik listening to Rocky and

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<v Speaker 2>listening to you know, a different thing. Who controls the os?

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<v Speaker 2>Is it rotate?

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<v Speaker 1>We're still maintaining the Gryffindor Slytherin method. You know, Team

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<v Speaker 1>Gryffindor is geeky, nerdy, meditative, silent. Slytherin is weedy, smoky, drinky,

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<v Speaker 1>loud music gotta get amp like you know, like it's

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<v Speaker 1>a soccer game or a football game, that sort of thing.

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<v Speaker 1>So yeah, there's two vehicles, and I well, you know,

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<v Speaker 1>Tarika's impeccable taste as well. But yeah, if Tarika has

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<v Speaker 1>a smoke, then the guys roll with him. But I

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<v Speaker 1>have the tunes, so half the cats roll with me.

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<v Speaker 2>Three more questions. Hey questo, this is Nico from Spain.

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<v Speaker 2>Question for your weekly mail Bag episode. I love the

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<v Speaker 2>show and your work all around. You're my hero.

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<v Speaker 1>Wow.

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<v Speaker 2>Than do you have any advice for finding instrumentalists, singers,

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<v Speaker 2>rappers to collaborate with online? It feels very hard to

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<v Speaker 2>find people unless I'm living in New York, for example,

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<v Speaker 2>And it seems impossible to ever make something work online,

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<v Speaker 2>either because of mistrust on reliability or lack of response.

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<v Speaker 2>It's hard to get out there in person if you're

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<v Speaker 2>not geographically situated.

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<v Speaker 1>Any tips. You know, every movement starts with the seed,

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<v Speaker 1>and you know my answer to that, My answer to

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<v Speaker 1>that situation was busking. Yeah, I mean we busked because

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<v Speaker 1>you know, a cute girl had approached us mistakenly thinking

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<v Speaker 1>that we were someone else, and we were like, hey,

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<v Speaker 1>we can get more girls phone numbers if you know,

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<v Speaker 1>if we become the person that they thought we were.

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<v Speaker 1>And you know, a girl thought I was a busker.

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<v Speaker 1>I know that I pulled a community together by playing

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<v Speaker 1>on the streets. And I'm you know, I'm not a

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<v Speaker 1>goose gander person. I'm not saying that, Well, what works

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<v Speaker 1>for me works for you. And definitely had tok and

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<v Speaker 1>I grown up in an era twenty five years later

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<v Speaker 1>where the internet could actually help us get our point across,

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<v Speaker 1>we would have definitely taken advantage of it. But I

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<v Speaker 1>will say, I mean, one is just depending on your

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<v Speaker 1>will to really really make this happen. Busking is how

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<v Speaker 1>I drew people in when that ran out free food

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<v Speaker 1>like the you know, as glorious as we make the

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<v Speaker 1>Black Lily story sound. And you know, oh man, there

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<v Speaker 1>was a time when you know where Jill Scott and

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<v Speaker 1>Ndre and most Deaf and Beanie Siegell and you know,

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<v Speaker 1>the ten year old Jasmine Sullivan or like in a

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<v Speaker 1>mirror's living room and like, yes, of course in retrospect,

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<v Speaker 1>I could make it sound like really really amazing, But

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<v Speaker 1>on the real motherfuckers heard there was free food at

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<v Speaker 1>quest Love's house, and it was like grab a plate

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<v Speaker 1>and let's go, oh, what are these instruments doing here?

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<v Speaker 1>Oh we got oh, okay, put the bag down, put

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<v Speaker 1>take the code off, put the plate down. Free food

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<v Speaker 1>is how I got people. But you know, I would

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<v Speaker 1>say that start one at a time. There has to

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<v Speaker 1>be like minded person that you know, either local record stores.

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<v Speaker 1>I know record stores are still a thing. You know,

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<v Speaker 1>there's there's ways to find out where music, Where music is,

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<v Speaker 1>you will find musicians.

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<v Speaker 2>And Nico listened to the Foreign Exchange episode of Questlove Supreme,

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<v Speaker 2>Fonte and Nicolay breakdown their oceans across a journey on

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<v Speaker 2>meeting online exactly. Amri says, you mentioned record stores. A

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<v Speaker 2>Mario says, what's good, Emir Love the new edition and

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<v Speaker 2>the show opening up Q and A, the rise of

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<v Speaker 2>listening bars, hi fi systems and all of that is

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<v Speaker 2>becoming the new aesthetic for spaces. How do you feel

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<v Speaker 2>about it? And he also says, shout out to Rich

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<v Speaker 2>Mendinas Dante's Hi Fi in Miami.

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<v Speaker 1>Yes, I recently fell into that rabbit hole. Kind of

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<v Speaker 1>a pleasant shocker. The go to promoter in Tokyo, Japan

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<v Speaker 1>if you were an artist in the late eighties, all

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<v Speaker 1>the way up, I mean even until now, He'll still

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<v Speaker 1>take us there Yuji son. I didn't realize that Yugi

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<v Speaker 1>had permanently moved back to New York City and just

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<v Speaker 1>opened up a spot in New York City called All Blues,

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<v Speaker 1>and it's one of the most unique things I've seen.

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<v Speaker 1>They kind of have a scheduled thing where it's like

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<v Speaker 1>Thursday nights they're going to play you know, this live

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<v Speaker 1>jazz album from the New four Jazz Festival nineteen sixty

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<v Speaker 1>six or whatever. I do like the idea of us

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<v Speaker 1>getting acclimated with the record again. However, on the other

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<v Speaker 1>side of that coin, I am not a part of

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<v Speaker 1>this new renaissance of you know, it's and it remains

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<v Speaker 1>to be seen. I'm not saying it's it's performative. I

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<v Speaker 1>don't collect records to brag about what I have, and

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<v Speaker 1>I believe that you know, there's this this this movement

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<v Speaker 1>to vinyl. It's kind of a let me. I'm taking

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<v Speaker 1>my ball and going home, which I guess is sort

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<v Speaker 1>of like, well, you know, I'm a real DJ. I

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<v Speaker 1>use vinyl, I now to do this, and we now

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<v Speaker 1>live in a time where yeah, like people are button

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<v Speaker 1>pressing and you know, making millions of dollars this button

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<v Speaker 1>pressing and whatnot. But sound quality wise, I'm sorry, I

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<v Speaker 1>like I like well eqed loud, louder sounding. I've been

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<v Speaker 1>to these forty five parties where the fidelity is not

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<v Speaker 1>that good, Like if it if it's a spot like

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<v Speaker 1>the uh New York's like Paradise Garage, Like the people

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<v Speaker 1>that built Paradise Garage built up their spots around New

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<v Speaker 1>York that I've I've DJ'ed in, and they know how

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<v Speaker 1>to tune, like tone the room, they know what's right

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<v Speaker 1>speakers to use. Yes, if it's the case where I'm

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<v Speaker 1>spending vinyl in a place that was built by engineers

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<v Speaker 1>that know what they're doing, I'd be with it. But

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<v Speaker 1>just spending forty five for the sake of like I

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<v Speaker 1>got this and you don't. I mean, it's it's cute,

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<v Speaker 1>but to me, that's that's novelty. Like there's so much

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<v Speaker 1>creativity that we've yet to explore. Kind of in this

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<v Speaker 1>in this serato age that we're in, that is up

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<v Speaker 1>my game. So I don't I don't want to go back,

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<v Speaker 1>but yes I do like the idea, like my my

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<v Speaker 1>date nights are way better now, you know. That's I'm

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<v Speaker 1>a I'm a vinyl bar person now, so who knows,

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<v Speaker 1>maybe I'll open my own one day.

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<v Speaker 2>So last question, and it's right on subject with this,

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<v Speaker 2>Jitny Music asks, what's your favorite snare drum and why?

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<v Speaker 2>And what's your favorite recorded snare drum sound? Ever, if

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<v Speaker 2>you know such a thing.

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<v Speaker 1>What's my favorite snare drum and why? You know? I

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<v Speaker 1>will say that every time I hit the Steve Gretch.

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<v Speaker 1>I've told this story a trillion times before. Steve Farona,

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<v Speaker 1>the Average White Band is my idol. When Average White

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<v Speaker 1>Band was on Soul Train, I was absolutely transfixed on

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<v Speaker 1>what I was seeing and I just kept staring at

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<v Speaker 1>the drummer and was like, That's what I want to

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<v Speaker 1>do when I grow up. And somehow, through a friendship

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<v Speaker 1>with fern Once, I eventually met him via Pete and

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<v Speaker 1>Palladino when we were on the Voodoo tour. Yeah, Steve

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<v Speaker 1>was really beautiful and giving me something that I don't

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<v Speaker 1>feel like I truly deserve and the fact that you

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<v Speaker 1>know that one snare drum from those average white band

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<v Speaker 1>albums like between nineteen seventy five and nineteen eighty one,

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<v Speaker 1>like he only used one drum, and he that's a

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<v Speaker 1>historic drum, like when you're listening to Microphone Theme by

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<v Speaker 1>Eric ban rock Kim, like I have the schoolboy crush drum,

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<v Speaker 1>so literally to just sit with that drum, and I

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<v Speaker 1>used that a lot on this Roots album. It's also

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<v Speaker 1>I played it on the Elvis Costello Wise Up Ghost album.

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<v Speaker 1>To me, that's that's the amazing drum. So recently I

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<v Speaker 1>just inherited drummer Buddy Williams, who has played on Grover

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<v Speaker 1>Washington Junior's stuff like mostly a jazz cat ROBERTA Flack,

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<v Speaker 1>which is kind of how I think he, you know,

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<v Speaker 1>got in tuned into Vandros's world because they both played

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<v Speaker 1>with ROBERTA Flack, but he was also part of the

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<v Speaker 1>Saturn Out Live band. So the drum that Buddy Williams

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<v Speaker 1>used on vandross Never Too Much album just got that

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<v Speaker 1>and wow, it's amazing. Also shout out to the elusive

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<v Speaker 1>John McClain, who you know, the offer still stands to

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<v Speaker 1>this day that I want you to come on QLs.

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<v Speaker 1>John McClain is pretty much you know, he ruled the

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<v Speaker 1>eighties with an iron fist of I mean he's responsible

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<v Speaker 1>for Janet and Jam and Lewis getting together and you

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<v Speaker 1>know Atlantic Star's successful period for as the band turns

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<v Speaker 1>and on. But yeah, John McClain, out of nowhere, he

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<v Speaker 1>does this to people. He sent me John Robinson's snare

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<v Speaker 1>drum from nineteen seventy eight. I am led to believe

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<v Speaker 1>that this is the same John Robinson snare drum that

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<v Speaker 1>he used on his time with Rufus. I think John

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<v Speaker 1>Robinson joined Rufus during the master Jam period. So you

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<v Speaker 1>love what you feel? And are you househeads that know

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<v Speaker 1>any love or disco heads? And of course John Robinson

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<v Speaker 1>was the drummer on Michael Jackson's Off the Wall album.

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<v Speaker 1>So yeah, maybe like twice a year, I'll just do

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<v Speaker 1>the rock with you role just for the hell of it.

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<v Speaker 1>But those are You have three notable snare drums that

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<v Speaker 1>I own that pretty much I use on all my

0:14:26.280 --> 0:14:32.600
<v Speaker 1>recorded material. I am currently trying to negotiate and I

0:14:32.680 --> 0:14:36.920
<v Speaker 1>say that it's so weird now every drum I've played

0:14:36.960 --> 0:14:40.200
<v Speaker 1>on in my career is now being sold back to

0:14:40.280 --> 0:14:46.080
<v Speaker 1>me for astronomical I'll go on these auctions and it'll

0:14:46.120 --> 0:14:50.040
<v Speaker 1>be like, this is what Quest Love played on Things

0:14:50.080 --> 0:14:53.320
<v Speaker 1>Fall Apart? Like literally, I had to buy the studio

0:14:53.400 --> 0:14:56.920
<v Speaker 1>drum set that I drummed on between Do You Want

0:14:56.960 --> 0:15:01.920
<v Speaker 1>More and Things Fall Apart? I recent only got that set. Also,

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<v Speaker 1>Jerome Bigfoot Brailey of a Parliament Funkadelic the drums that

0:15:07.680 --> 0:15:13.840
<v Speaker 1>he used on the Pfunk Earth tour, just got those

0:15:14.400 --> 0:15:20.520
<v Speaker 1>and currently trying to get my Voodoo drum kit, which

0:15:20.560 --> 0:15:23.480
<v Speaker 1>I'm certain now if I don't get it now then

0:15:23.600 --> 0:15:25.800
<v Speaker 1>they'll just charge me one hundred thousand dollars for it

0:15:25.840 --> 0:15:29.040
<v Speaker 1>because it is what it is. So yep, those are

0:15:29.040 --> 0:15:32.280
<v Speaker 1>my drums, all right, y'all. This is you know, letters

0:15:32.320 --> 0:15:35.320
<v Speaker 1>to the Quest Loft Show again, if you have any letters,

0:15:35.800 --> 0:15:39.400
<v Speaker 1>slide into our dms, not my dms, but the QLs.

0:15:39.600 --> 0:15:43.160
<v Speaker 1>First of all, follow QLs on all the socials please

0:15:43.600 --> 0:15:48.240
<v Speaker 1>and also subscribe and like on YouTube. That is the

0:15:48.480 --> 0:15:53.240
<v Speaker 1>fuel to r fire. If you like these episodes and whatnot.

0:15:53.680 --> 0:15:56.400
<v Speaker 1>Look it just takes a second. Please like and subscribe.

0:15:56.440 --> 0:16:03.000
<v Speaker 1>With trying to build a nation of informed music heads here. Yeah,

0:16:03.200 --> 0:16:06.080
<v Speaker 1>shout out to Britton cousin Jake for holding down the

0:16:06.120 --> 0:16:10.680
<v Speaker 1>fort and our our fan at iHeart and the q

0:16:10.920 --> 0:16:15.440
<v Speaker 1>LS squad still love there and yeah, thank you. I

0:16:16.040 --> 0:16:33.280
<v Speaker 1>like doing this. Give me more questions, all right, question

0:16:33.360 --> 0:16:35.560
<v Speaker 1>them show. It's a production of iHeart Radio