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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: Hey, what's up, y'all?

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Speaker 1: This is Quest Love And as you noticed throughout June,

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Speaker 1: we are celebrating Black Music Month by releasing an episode

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Speaker 1: every day.

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Speaker 2: So every day you're either going to hear a.

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Speaker 1: Specially pick QLs classic and on Wednesdays we're dropping new

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Speaker 1: two part episodes with Green Brady and James Poyser, both

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Speaker 1: of which were filmed in the studio, So make sure

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Speaker 1: you also watch us on YouTube now for Part one,

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Speaker 1: Part tier. In Part three of my all time favorite

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Speaker 1: QLs episode, This is the legendary Jimmy Jam. Ladies and gentlemen,

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Speaker 1: This experience with Jimmy Jam, talking with him for almost

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Speaker 1: six hours was such a dream come true.

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Speaker 2: We've never wanted it to end.

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Speaker 1: This particular episode, we talked about working with Michael Jackson,

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Speaker 1: a lot of career advice in running a record label,

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Speaker 1: and a lot of it's so much too much information.

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Speaker 1: We really hope you enjoyed this Jimmy Jam episode as

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Speaker 1: much as we enjoyed doing it. All right here it

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Speaker 1: is part three, the QLs Classic interview with producer Jimmy

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Speaker 1: jam There's a question I have about rhythmination, which I

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Speaker 1: often debate with Reebe's son, Michael's nephew, Austin, about the effect,

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Speaker 1: the crippling effect that I feel the Knowledge add on

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Speaker 1: Michael Jackson, or just at least the first three.

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Speaker 2: Songs of that record. And you know, I've watched no, no, No,

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Speaker 2: but I love this, I love where this is going.

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Speaker 1: I've watched because I've watched a few interviews where he's

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Speaker 1: mentioned in a kind of monastery or a way like, oh,

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Speaker 1: you know, Jens. But knowing what I know about his

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Speaker 1: vocal style and what it became, I felt that I

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Speaker 1: felt that what control was for Prince Rhythm Nation was

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Speaker 1: for Michael into a crippling effect because soon after literally

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Speaker 1: every thing that he released post nineteen ninety was him

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Speaker 1: chasing those first three songs, Rhythm Nation, uh, State of

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Speaker 1: the World and the Knowledge. Well, no, no, I mean,

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Speaker 1: do you know the baby Face story about when he

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Speaker 1: first flew them to Neverland Wrench to work on the

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Speaker 1: Dangerous record? Did he ever tell you the oh his

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Speaker 1: first okay, so Babyface. So when they're working on Germaine,

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Speaker 1: as you said, record, suddenly they get a call saying I'm,

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Speaker 1: you know, helicopter to Havenhurst and uh. When they first

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Speaker 1: get there, they're like, well, so you know, what do

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Speaker 1: you what do you like from us? Like they're trying

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Speaker 1: to figure out what he knows of theirs, and he says, well,

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Speaker 1: I really really like Rhythm Nation. A part of me

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Speaker 1: actually feels like he was nagging them, Like I think

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Speaker 1: he's I think he's intelligent enough to read album credits

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Speaker 1: to know the difference between Ella and baby Face, Jimmy

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Speaker 1: Zanme and Terry Lewis, and you know, they corrected him,

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Speaker 1: was like, well, you know, we didn't do that right.

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Speaker 2: It's like, I know, but I still like it. That's great.

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Speaker 1: So yeah, it's and again it's like my favorite record

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Speaker 1: of hers is Janet. I feel like the most important

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Speaker 1: record was controlled, but I feel like the most impactful

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Speaker 1: was probably at least with stylistically and how it affected Michael.

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Speaker 1: I mean, when you make Michael Jackson's paradigm shift, then

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Speaker 1: that says something. And I always felt as though that

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Speaker 1: record crippled him in ways that he's never recovered.

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Speaker 2: Like every song.

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Speaker 1: Was like that sixteenth note, like off the Water, like

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Speaker 1: everything was that, Like what was was there any feedback

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Speaker 1: from him whatsoever?

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Speaker 2: Was it like in her head like it's really going

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Speaker 2: to fuck him up now? Like like there was Janet.

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Speaker 2: Janet never had any sort of competitive Oh she was competitive,

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Speaker 2: but not towards him in any way. She never had

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Speaker 2: anything that I've ever since, or that she ever said

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Speaker 2: that was in any way like I'm gonna show Michael

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Speaker 2: on this one or anything like that. There was never

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Speaker 2: anything like that.

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Speaker 3: Her.

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Speaker 2: Her respect for him was way beyond any sort of

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Speaker 2: competitiveness with him. He was competitive toward her. I will

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Speaker 2: say that because I can tell you. I can tell

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Speaker 2: you I can I can tell you the whole scream

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Speaker 2: story that was that. But but interestingly enough, yes, the knowledge.

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Speaker 2: I have a handwritten note from Michael that talks about

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Speaker 2: the bridge and the knowledge and the sound that's on

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Speaker 2: there and can I can we do something that sounds

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Speaker 2: like that on the bridge of our song. He had

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Speaker 2: taped it to my keyboard because I wasn't there, he

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Speaker 2: taped it to my keyboard and I still have that.

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Speaker 2: You still have that note? Brief?

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Speaker 3: Does he print or writing cursive?

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Speaker 1: I'm sorry to print.

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Speaker 2: No, this was print. I believe I think this was

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Speaker 2: a magulent cursive. I'll have to you know what. I

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Speaker 2: never actually, honestly, I didn't pay attention. Maybe it is cursive.

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Speaker 2: I don't know. I didn't pay attention. I just saw

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Speaker 2: the note that just said, Jimmy Jam can we use

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Speaker 2: the sound? That's whatever that sound is and the knowledge,

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Speaker 2: but I actually got it. Was funny because when I

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Speaker 2: we were working with with Michael uh on the on

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Speaker 2: that History album, and I remember him being obsessed with

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Speaker 2: IF and he really liked IF. And I remember saying no,

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Speaker 2: I said, yeah, if it's cool, Michael, I said, I

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Speaker 2: don't know. I said, you know, that's the way Love

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Speaker 2: Goes was a much bigger record it was, and I said, yeah,

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Speaker 2: so that's the way I Love go was like number

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Speaker 2: one for eight weeks or something. I said, you know,

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Speaker 2: it was like top five. I said, but it wasn't.

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Speaker 2: Said no, I like, I really like that IF, and

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Speaker 2: it's like no.

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Speaker 1: Like that brace yourself that that five second stadium Yes,

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Speaker 1: sizzle like and that's what like Rhythm Nason was probably

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Speaker 1: the first stadium black album because even with bad, just

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Speaker 1: that intro, yeah maybe the way you make me feel

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Speaker 1: like it didn't have the grandios mm hmm. Intro of

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Speaker 1: every like every song was stadium ready yeah for Rhythm Nation.

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Speaker 2: Yeah. No, he definitely liked I mean he was. He

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Speaker 2: told us how much he loved it, and and and

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Speaker 2: oneted and one of the and always why did he

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Speaker 2: never ask you guys to produce his records? What we did?

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Speaker 2: We did. We ended up doing songs on uh. Well,

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Speaker 2: but after the fact, well, I mean honestly we first

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Speaker 2: of all, the records he made with Quincy Jones, to

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Speaker 2: me were the greatest records ever. So I was like,

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Speaker 2: I didn't even really want to work with Michael quite honestly.

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Speaker 2: If he wouldn't have asked to do the Janet duet,

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Speaker 2: you know, we probably never would have worked with him.

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Speaker 2: That's the reason we worked with him. And it was

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Speaker 2: interesting because I remember Janet or Michael called I'm trying

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Speaker 2: to think where his folks called our folks or whatever, say,

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Speaker 2: Michael wants to do a song as a duet with Janet.

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Speaker 2: And my first thought was, no, I'm calling No, it

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Speaker 2: wasn't no. My first thought was I'm gonna call Janet

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Speaker 2: and see is she cool? Is she aware with it?

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Speaker 2: You know of this? And then my biggest thing was

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Speaker 2: I feel as a producer and also her friend and confidant,

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Speaker 2: I'm there to protect her and I want to make

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Speaker 2: sure that whatever the process is that is happening, that

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Speaker 2: she's protected at all times. And when I say that,

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Speaker 2: it was interesting what you just said about Michael and

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Speaker 2: kind of his you know, his story with La and Babyface.

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Speaker 2: When when he said I really liked Rhythm Nation. That's

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Speaker 2: hilarious to me because I remember when we were doing Scream,

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Speaker 2: and I remember I told Janet to come to Minneapolis

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Speaker 2: while we were doing the tracks because Michael said, just

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Speaker 2: put together some tracks and we'll figure it out what

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Speaker 2: it is. And I remember we put we put a

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Speaker 2: bunch of tracks together and then we just kind of said, okay,

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Speaker 2: I said, Janet, you need to just sit here. I

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Speaker 2: just need your inspiration, you know. And so I remember

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Speaker 2: when we did the track that ended up being Scream.

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Speaker 2: I remember Janet said, that's the one he's gonna like.

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Speaker 2: And I said, how do you know? And she said,

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Speaker 2: because I know my brother. And I said, okay, So,

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Speaker 2: but the song she really liked, and the song that

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Speaker 2: we liked was ended up becoming Runaway because yeah, because

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Speaker 2: he could have run away. Yeah, we thought that that

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Speaker 2: was yo. Yeah, we thought that was the record. Yo.

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Speaker 2: He could have killed sh right, That's what we thought. Yeah. Man,

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Speaker 2: So when we did so, when we did so, when

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Speaker 2: we did run away, Wow, when we did run Away,

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Speaker 2: it was funny and we didn't know it was gonna

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Speaker 2: be called runaway. I mean obviously that the song didn't exist,

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Speaker 2: it was just a track. But when we did the track,

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Speaker 2: we just were like, Wow, this feels so nice, this

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Speaker 2: is so cool. Right, And so she said, I remember,

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Speaker 2: she said, put it on the cassette, but I hope

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Speaker 2: he doesn't like it. I want it for me, And

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Speaker 2: I said, okay, cool, so sirted off. We played the songs,

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Speaker 2: We went to the hit factory, flew to New York,

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Speaker 2: went to hit factory. He blasted these songs super loud,

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Speaker 2: and then he would say, yeah, that sounds really good.

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Speaker 2: Can I hear number two again? Please? Okay. So they'd

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Speaker 2: played number two, and they played a couple other ones,

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Speaker 2: and then he goes, okay, I think I think we're

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Speaker 2: gonna go with number two. I really like number two,

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Speaker 2: And number two was ended up being screamed and it

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Speaker 2: looked at me like I told you so, but also

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Speaker 2: like I'm glad he didn't pa so anyway, So the

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Speaker 2: next day we went to ironically Trump Tower, where he

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Speaker 2: had uh, where Michael had his penthouse and stuff, and

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Speaker 2: we and Michael already had conceptually what he wanted. He

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Speaker 2: wanted a record that lashed out at the press and

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Speaker 2: everybody that doubted him or was critical of him. And

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Speaker 2: that's why that track worked so well, because for him,

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Speaker 2: it was the aggressiveness of doing that. Whose idea was

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Speaker 2: fucking I? You know what, I honestly don't remember. I

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Speaker 2: don't remember whether he said that as we were recording it,

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Speaker 2: or if. I don't think we suggested it, because I

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Speaker 2: don't think we would ever.

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Speaker 1: I was about to say, did you write the word

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Speaker 1: stop fucking with me?

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Speaker 2: No? It was it stopped pressuring me? But he wrote

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Speaker 2: he wrote the lyrics on that. We didn't write the

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Speaker 2: lyric son screen. Okay, that was totally his thing. And

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Speaker 2: even as he was writing the lyrics, we were like, okay, yeah,

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Speaker 2: we get that. Oh, but why would you want to

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Speaker 2: drudge up any animosity toward the press or anybody at

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Speaker 2: this point? Because right now he was at it and

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Speaker 2: he was at a really happy point of his life.

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Speaker 2: He had just I don't know whether I think him

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Speaker 2: and Lisa Marie had just gotten married, so he was

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Speaker 2: a happy guy. Lisa couldn't have been nicer. You know.

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Speaker 2: It was funny because I remember we asked Lisa, we said,

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Speaker 2: what did you what did you see in Michael? You know,

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Speaker 2: what did you how did you guys fall in love?

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Speaker 2: And she just said he was the kindest person I've

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Speaker 2: ever met in my life. And I totally got it.

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Speaker 2: I was like, I get it, totally get it. And

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Speaker 2: I thought, now's the opportunity to you know, if it

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Speaker 2: was the Runaway track or we had heard the the

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Speaker 2: r Kelly track you Are Not Alone, and we were like,

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Speaker 2: that should be the single. To me, it's like, that's

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Speaker 2: where you're at in your life right now. Why go

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Speaker 2: back and go pressure me. I got to get the

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Speaker 2: last word. He's got to get the last word. And

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Speaker 2: that was the thing. And we told we told Sony,

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Speaker 2: we told uh, well, it wasn't even Sony at the time.

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Speaker 2: I think it was still CBS Records at the time,

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Speaker 2: but we told him, we said, that's the wrongest, that's

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Speaker 2: the wrong record for the first single. To me. Also,

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Speaker 2: I said, just strategically wouldn't. If everybody wants that duet,

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Speaker 2: why give it to him at first? Give him something different.

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Speaker 2: I said, he's never given the whole big record as

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Speaker 2: the first one ever has throwaway song should have been first.

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Speaker 2: And then yes, well that's what I meant, like, yeah, yeah,

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Speaker 2: but I mean but that was my thing was you

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Speaker 2: are not alone. I said, you just gotten married to

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Speaker 2: Lisa Marie. You're in love. We had already done the

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Speaker 2: love thing with Janet, right. We knew that's the way

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Speaker 2: love goes was the song for that album that it was?

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Speaker 2: It introduced it said what the album was, the album

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Speaker 2: was not. We argued with the record company over that.

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Speaker 2: They wanted it for the single and we're like, no,

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Speaker 2: but if it's like the last of Rhythm Nation. But

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Speaker 2: remember the last impression you had of Janet was love

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Speaker 2: will never do without you. So going from that too,

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Speaker 2: that's the way love goes is the next logical step.

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Speaker 2: And they almost talked her out of it. Thank god

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Speaker 2: for Chuck d and Hang Shockley, who we played the

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Speaker 2: record for, and they told us, yeah, that if is cool,

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Speaker 2: but that that's the way love goes. Man, It's like

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Speaker 2: some sha shit. She wanted to no I'll tell you.

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Speaker 2: I'll tell you. I'll tell you what I can real

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Speaker 2: hopefully real quick. I can tell you what happened. We

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Speaker 2: had finished the whole album. We were the last song

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Speaker 2: we did with State, not State of the World, but

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Speaker 2: New Agenda with Chuck did right, So we're finishing up.

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Speaker 2: We finished it like three in the morning when Janet

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Speaker 2: had left. Janet had left for about two three days

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Speaker 2: to meet with Virgin about or whatever. And of course

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Speaker 2: now we're in a climate of biggest recording delever Ton

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Speaker 2: of pressure and whatever. When Jordan Harris and Jeff A.

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Speaker 2: Roff were the two guys that were running Virgin when

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Speaker 2: we were working on the album, they came to town

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Speaker 2: one day and they said, we just want to hear

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Speaker 2: whatever you're working on. That particular day we were working

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Speaker 2: on If. To crank that up. I turned it on.

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Speaker 2: They were blown away. They left. They said that we

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Speaker 2: don't need to hear anything else. We're good, right, So

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Speaker 2: in their minds from that day forward, IF was the single,

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Speaker 2: because that's what they heard, and it was so straight

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Speaker 2: down the middle of Janet from what Janet was on

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Speaker 2: Rhythm Nation. They hadn't heard any of the other songs,

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Speaker 2: didn't know any of the concepts. So that's the way

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Speaker 2: Love Goes had a long kind of you know life

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Speaker 2: because in creating the song. Because when I did the song,

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Speaker 2: I was like, my whole thing was First of all,

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Speaker 2: I'm the biggest James Brown fan ever, right, Papa Don't

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Speaker 2: Take No Mess was one of my favorite songs. I said,

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Speaker 2: if I could take Papa Don't Take No Mess, put

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Speaker 2: chords over it like a real song, and chake RD

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Speaker 2: changes and stuff, and make it all still work with

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Speaker 2: the with the thing, if I could put the impeached

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Speaker 2: the President's sample in it. I was trying to make

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Speaker 2: like the ultimate hip hop you know, like like a

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Speaker 2: record Mary J. Blige would make. It was what I

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Speaker 2: was trying to make on that record, right, but with

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Speaker 2: the texture the Janet would sing on right. And I

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Speaker 2: remember there was this guy named Mark Mazzetti used to

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Speaker 2: work at A and M Records, and Mark Mazzetti.

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Speaker 4: Okay, so so Mark came up.

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Speaker 2: You know, she she was on Virgin, but he just

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Speaker 2: he came up and he said, hey, I know she's

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Speaker 2: not on our label. Can I hear something you're working on?

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Speaker 2: And I said, oh, yeah, well I just finished this

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Speaker 2: track and I played him That's the Way Love Ghost

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Speaker 2: track and he went crazy. He said, oh my god,

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Speaker 2: this is the greatest. Oh my god, I'm so I

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Speaker 2: wish I was working this record. Whatever, whatever, anyway, play

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Speaker 2: it for Janet. Jane goes and it's okay and I

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Speaker 2: said wow. I said, oh really, she said yeah, it's okay.

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Speaker 2: So anyway, I said, okay, cool. So then about you know,

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Speaker 2: A couple of weeks later, we were taking a break

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Speaker 2: over Christmas and she said, just put everything on a

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Speaker 2: cassette for me to listen to. I said, okay, cool.

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Speaker 2: So I put the track on the cassette right when

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Speaker 2: she got back. A couple of weeks later, she landed.

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Speaker 2: I said, what song do you want to start with?

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Speaker 2: She said, oh my god, that track, that track, Oh

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Speaker 2: my god. And I said, what track are you talking about?

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Speaker 2: That track you gave me? Oh my god, the track

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Speaker 2: you gave me, I said, the one you don't like. Oh,

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Speaker 2: I was no, I love that track. Oh my god.

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Speaker 2: We listened to it over and over. So something about

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Speaker 2: she was in Anguila, so something about being in Guila

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Speaker 2: on the beach and whatever, and something about it connected

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Speaker 2: and I think what also happened. She was over there

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Speaker 2: with a bunch of her dancers and stuff, and I

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Speaker 2: think they all heard it and were like kind of

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Speaker 2: like what they did in the middle, and that was

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Speaker 2: kind of that that's what I think have happened over there.

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Speaker 2: So when that happened, she said to or the random, yeah,

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Speaker 2: not actually, but yeah, but that was that was sort

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Speaker 2: of the idea. So anyway, we actually did the song

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Speaker 2: and we all agreed that that was sort of the

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Speaker 2: direction of the album. Like that was the first you know,

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Speaker 2: kind of Entrea what the album was going to be.

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Speaker 2: When she went to l A, we warned her. We

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Speaker 2: said they're going to try to talk you and if

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Speaker 2: I already know it, and she said, no, it's cool,

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Speaker 2: but you know what, a second single maybe whatever, It's okay, cool.

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Speaker 2: She comes back, she goes, yeah, the single changed to if.

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Speaker 2: We were like, don't don't you know and they were

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Speaker 2: like and she told me all the reasons, Oh, we

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Speaker 2: can do a big dance video and it's Janet returns

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Speaker 2: and it's whatever, and we're like, no, but we know

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Speaker 2: that we.

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Speaker 1: Have changed my whole perspective of that record, right if

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Speaker 1: came out.

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Speaker 2: Yeah, So anyway, so now okay. So we fast forward.

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Speaker 2: We're finishing new Agenda. So three o'clock in the morning,

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Speaker 2: I said, Janet, I said, can we play them the

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Speaker 2: two records we're thinking of singles? And she said, oh yeah,

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Speaker 2: that'd be great. I said, okay, cool. So we went

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Speaker 2: in in the studio. I played That's the Way Love

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Speaker 2: Goes and they listened to it and they were like vibing.

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Speaker 2: And we played IF and they were vibing and we

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Speaker 2: were like, okay, so what do you think and they said, well, yeah,

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Speaker 2: that that IF man, that you know, that just sounds

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Speaker 2: like Janet. Man, you know that's that you know, that's

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Speaker 2: that Jane's back, and you know, we get it. Man.

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Speaker 2: It's it's it's like, you know, it's like and as

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Speaker 2: he's saying that, I'm just going like no, right, and

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Speaker 2: she's looking at me, like Jane's looking at me like

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Speaker 2: see you know whatever, and I'm like damn. And then

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Speaker 2: they go, but but what was that other song called

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Speaker 2: That's the Way Love Goes? That other song? You know

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Speaker 2: what that song is like? That's like some shah day shit.

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Speaker 2: That's like when Shahde puts a record out, you know,

346
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Speaker 2: and it's no fanfare. To it. It's just like she

347
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Speaker 2: just got the CD and she just kind of slips

348
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Speaker 2: it down on the table and you go, oh, what

349
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Speaker 2: is that. Oh it's a shot a record. Let's check

350
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Speaker 2: that out. You know. He said, that's like that shit,

351
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Speaker 2: and he said that's something about that. And I looked

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Speaker 2: at her like and that was it. And that was

353
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Speaker 2: so the decision was made. And thank god they were

354
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Speaker 2: there and said that, because then she said she like

355
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Speaker 2: came back to her senses and she said, okay, yeah,

356
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Speaker 2: that's the way Love Goes is a single, and yeah,

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Speaker 2: it changed the whole direction of what the record would

358
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Speaker 2: have been. And so yeah, I mean, you know, there's

359
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Speaker 2: all kinds of things like that that happened. Man, It's

360
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Speaker 2: like it's like we can sit here and talk. We

361
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Speaker 2: ain't even got to damn two thousand, have we. Which,

362
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Speaker 2: by the way, everybody clowned us about the length of

363
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Speaker 2: the of the Red Bull interview that we did. Whatever

364
00:21:14,080 --> 00:21:19,479
Speaker 2: that was, Yeah, whatever that is, And it was funny

365
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Speaker 2: because I said, yeah, but you know the problem is

366
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Speaker 2: is that you can really pick an era and spend

367
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Speaker 2: a couple hours talking about it if you want to

368
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Speaker 2: go in depth with it, It's tough to really do it,

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Speaker 2: because I said, we've just been around to damn long.

370
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Speaker 2: That's the that's the problem. And there's a story that

371
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Speaker 2: leads to another story that leads to another story. But

372
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Speaker 2: there's so many angles of things of the way they

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Speaker 2: turned out. At the end of the day, I say

374
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Speaker 2: about all of this, it's God that does this flows

375
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Speaker 2: through us. Luckily we've got the blessing to to actually

376
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Speaker 2: do it. But I guarantee you there's song, there's chord

377
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Speaker 2: changes and songs we were talking about. Somebody asked me

378
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Speaker 2: the other day about come Back to Me, the bridging

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Speaker 2: come back to Me.

380
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Speaker 5: It's the same as money came by you love?

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Speaker 2: Is it that.

382
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Speaker 5: You're faint?

383
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Speaker 6: Oh you're right, Yeah, you're right, Yeah, you're so well,

384
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Speaker 6: you're right.

385
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Speaker 2: I mean, you're right. There are there are the same

386
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Speaker 2: There are the same chords in there, absolutely the same chords.

387
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Speaker 2: But I don't know where those chords came from, right

388
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Speaker 2: because when I was doing come Back to Me, the

389
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Speaker 2: track for that, that is not where I would go

390
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Speaker 2: for a change. Like if somebody said, oh we need

391
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Speaker 2: a B section, I wouldn't have gone to that. You know,

392
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Speaker 2: And even sometime today, you know when somebody says, hey,

393
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Speaker 2: play such and such and such. I love the change

394
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Speaker 2: in that song, and I can't remember what it was.

395
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Speaker 2: We were Brunell Mars the other day, who, by the way,

396
00:23:01,119 --> 00:23:04,680
Speaker 2: can sing every damn song we've ever done and really well,

397
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Speaker 2: which is something. But we were doing I don't know

398
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Speaker 2: whether it was coming back to me or one of

399
00:23:09,880 --> 00:23:11,919
Speaker 2: the others that might have been abanded knee or something,

400
00:23:12,080 --> 00:23:15,919
Speaker 2: and we were he was singing and he went to

401
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Speaker 2: the change, and I'm like going, oh wait, I don't wait.

402
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Speaker 2: What was What was I thinking that day? I don't

403
00:23:20,320 --> 00:23:23,600
Speaker 2: even know, but it was whatever was planted in me

404
00:23:23,680 --> 00:23:26,960
Speaker 2: that day that made me come up with those changes.

405
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Speaker 2: So at the end of the day, man, it's just, uh,

406
00:23:31,160 --> 00:23:33,560
Speaker 2: you know, it's just a blessing and I get to

407
00:23:33,600 --> 00:23:36,080
Speaker 2: do it with somebody who I love to see every

408
00:23:36,280 --> 00:23:40,840
Speaker 2: single day. And but there's so many twists and turns

409
00:23:40,880 --> 00:23:45,200
Speaker 2: that you can't really get stuck on yourself about it

410
00:23:45,280 --> 00:23:48,840
Speaker 2: because there's so many other factors. Man, Like if Chuck

411
00:23:48,920 --> 00:23:50,879
Speaker 2: d wouldn't have been in our life and Hank Shockley

412
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Speaker 2: wouldn't have been in our life at that moment, it

413
00:23:53,600 --> 00:23:56,119
Speaker 2: would have taken a different turn. And that stuff we

414
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Speaker 2: can't control, you know, so there's a lot of good

415
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Speaker 2: fortune that happens.

416
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Speaker 7: What's your day to day like now, like in terms

417
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Speaker 7: of you and Terry writing songs, like, what's the typical

418
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Speaker 7: day like in your life?

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Speaker 2: Wow? Well, a typical day in our life is a

420
00:24:09,840 --> 00:24:15,359
Speaker 2: lot of family kid raising. Quite honestly, we have our

421
00:24:15,440 --> 00:24:19,520
Speaker 2: kids go to the same school. Six Well, I have

422
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Speaker 2: a six I have sixteen year old twins and he

423
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Speaker 2: has a sixteen year old son. But he has a

424
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Speaker 2: thirty six year old son. You know, he's Terry's been

425
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Speaker 2: busy for a while.

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Speaker 1: Yeah, ain't nobody bad, sorry, but.

427
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Speaker 2: Terry. Terry taught me everything that I know about parenting

428
00:24:42,880 --> 00:24:47,879
Speaker 2: and he's like the most unselfish giving person ever in life.

429
00:24:48,040 --> 00:24:49,959
Speaker 2: And uh so I got a chance to watch him

430
00:24:50,040 --> 00:24:52,959
Speaker 2: raise his kids, and then I had mine. But then

431
00:24:53,000 --> 00:24:55,399
Speaker 2: he remarried and had more kids, you know, because he

432
00:24:55,600 --> 00:24:58,960
Speaker 2: just he's the kind of person that should should have kids.

433
00:24:59,000 --> 00:25:00,959
Speaker 2: And he'd always said that to me because I went

434
00:25:01,000 --> 00:25:02,959
Speaker 2: through most of my life I figured I was never

435
00:25:03,040 --> 00:25:05,600
Speaker 2: gonna have kids. I just I didn't want kids. And

436
00:25:05,640 --> 00:25:09,760
Speaker 2: he said, jam, you know, you have to have kids.

437
00:25:09,800 --> 00:25:11,919
Speaker 2: And I'm like why, and he said, because you have

438
00:25:12,160 --> 00:25:15,399
Speaker 2: so much to office, And he says, and somebody's got

439
00:25:15,440 --> 00:25:19,960
Speaker 2: an offset all the knucklehead kids, so you need to

440
00:25:20,080 --> 00:25:23,120
Speaker 2: raise some good kids so we kind of have some balance.

441
00:25:23,560 --> 00:25:26,480
Speaker 2: And I thought, okay, yeah, he's absolutely right. And I

442
00:25:26,880 --> 00:25:30,600
Speaker 2: always feel like with my kids, it's like, y'all better

443
00:25:30,880 --> 00:25:34,640
Speaker 2: do something with your life because there's no there's no excuse,

444
00:25:34,880 --> 00:25:39,080
Speaker 2: you know. So that's that's the thing. So anyway, a

445
00:25:39,080 --> 00:25:42,879
Speaker 2: lot of our life is being uber driving kids to

446
00:25:42,920 --> 00:25:45,000
Speaker 2: school and back. My daughter just got her license, so

447
00:25:45,040 --> 00:25:48,280
Speaker 2: that's scary as she's sixteen. I have an older son

448
00:25:48,320 --> 00:25:53,560
Speaker 2: at Arizona State University and he's I think gonna transfer

449
00:25:53,560 --> 00:25:54,960
Speaker 2: a d end of the year maybe, but we'll see

450
00:25:55,000 --> 00:25:57,680
Speaker 2: whatever he wants to do. But I mean a lot

451
00:25:57,680 --> 00:26:00,399
Speaker 2: of it is just spending kids time. The nice thing

452
00:26:00,520 --> 00:26:02,760
Speaker 2: is I wake up and now the way studios are

453
00:26:03,040 --> 00:26:05,720
Speaker 2: studios in your laptop now, So I have an office

454
00:26:05,720 --> 00:26:08,479
Speaker 2: at home, and anytime I come up with an idea,

455
00:26:08,560 --> 00:26:12,119
Speaker 2: and thank goodness, the idea is just keep coming for

456
00:26:12,160 --> 00:26:14,600
Speaker 2: some reason, and I can just walk over to my

457
00:26:14,720 --> 00:26:17,080
Speaker 2: laptop and I have my little keyboard and stuff, and

458
00:26:17,080 --> 00:26:19,679
Speaker 2: I can just bang an idea out. And sometimes I

459
00:26:19,720 --> 00:26:22,280
Speaker 2: don't even develop it. I just kind of I just

460
00:26:22,359 --> 00:26:23,840
Speaker 2: kind of put a little idea down and I just

461
00:26:23,880 --> 00:26:27,240
Speaker 2: kind of leave it. And then what happens most of

462
00:26:27,280 --> 00:26:32,240
Speaker 2: the time is Terry we'll take my hard drive and

463
00:26:32,359 --> 00:26:34,560
Speaker 2: he'll say, hey, Jim, let me get something off to

464
00:26:34,600 --> 00:26:37,640
Speaker 2: your hard drive. Okay, cool. He'll go through, listen to everything,

465
00:26:38,359 --> 00:26:39,960
Speaker 2: and the next thing, you know, we'll have We just

466
00:26:40,040 --> 00:26:43,280
Speaker 2: did a Peobo Bryson album, Wow, and he pulled some

467
00:26:43,400 --> 00:26:46,680
Speaker 2: songs off of my hard drive that I swear to god,

468
00:26:46,960 --> 00:26:49,960
Speaker 2: he because we were trying to well, we never talked

469
00:26:49,960 --> 00:26:51,680
Speaker 2: about how we work together, but this is this is

470
00:26:51,720 --> 00:26:55,959
Speaker 2: one example. So he said, man, you got I'm we

471
00:26:56,000 --> 00:26:58,040
Speaker 2: need some stuff for people. Man, but I want it

472
00:26:58,080 --> 00:27:00,199
Speaker 2: to be like R and B. But it's got to

473
00:27:00,240 --> 00:27:02,119
Speaker 2: be forward, you know, it's got to be whatever whatever.

474
00:27:02,160 --> 00:27:04,119
Speaker 2: And it's like, okay, cool. He said, you got anything

475
00:27:04,160 --> 00:27:05,959
Speaker 2: like that? And I said, nainet got anything like that.

476
00:27:06,000 --> 00:27:08,800
Speaker 2: I said, but I'll figure something out. So anyway, he

477
00:27:08,880 --> 00:27:12,000
Speaker 2: takes my hard drive, he goes down to Atlanta, he

478
00:27:12,080 --> 00:27:14,920
Speaker 2: records people, He comes back two songs that I had

479
00:27:14,960 --> 00:27:18,399
Speaker 2: done I don't know, five years ago or something, just

480
00:27:18,520 --> 00:27:20,040
Speaker 2: as kind of a thing. One of them I was

481
00:27:20,080 --> 00:27:25,080
Speaker 2: singing on, which was pretty bad. And and anyway, he's

482
00:27:25,080 --> 00:27:27,480
Speaker 2: got people on these songs. These are like I probably

483
00:27:27,480 --> 00:27:31,800
Speaker 2: are singles on the album. And but he hears it

484
00:27:31,880 --> 00:27:33,560
Speaker 2: and he goes, I mean one of them he played

485
00:27:33,560 --> 00:27:35,400
Speaker 2: for people, and people like lost his mind. He said,

486
00:27:35,440 --> 00:27:39,600
Speaker 2: oh my god, I love this. And so Terry's like, okay, yeah,

487
00:27:39,720 --> 00:27:43,040
Speaker 2: you know. So sometimes it just happens like that. But

488
00:27:43,080 --> 00:27:45,159
Speaker 2: that's the great thing about having a partner, you know.

489
00:27:45,720 --> 00:27:48,800
Speaker 2: That's even we talked about a little bit earlier, what

490
00:27:48,840 --> 00:27:52,359
Speaker 2: have you done for me lately? So Terry walked in

491
00:27:52,400 --> 00:27:56,480
Speaker 2: the studio when I was cutting the track, and the

492
00:27:56,520 --> 00:27:59,320
Speaker 2: part that ended up being used was actually the bridge

493
00:27:59,400 --> 00:28:02,920
Speaker 2: to the song. It was like a whole different song.

494
00:28:03,520 --> 00:28:08,760
Speaker 2: Wait what It was a whole different song, but the

495
00:28:08,800 --> 00:28:12,000
Speaker 2: bridge went dun ding ding ding ding ding ding ding.

496
00:28:12,640 --> 00:28:15,240
Speaker 2: So what is your main I don't even remember now.

497
00:28:15,640 --> 00:28:17,000
Speaker 2: I don't even remember what the main part of the

498
00:28:17,000 --> 00:28:20,920
Speaker 2: song is. I just know Terry walked in and he said, oh,

499
00:28:20,960 --> 00:28:22,760
Speaker 2: I like that. Dun dun d I like that. And

500
00:28:22,800 --> 00:28:24,800
Speaker 2: I said, oh, no, that's just the bridge of the song, Terry.

501
00:28:24,800 --> 00:28:28,320
Speaker 2: The real song goes like this, and he said, no, no, no, no,

502
00:28:28,600 --> 00:28:31,240
Speaker 2: just right to that bridge. You know what he told you,

503
00:28:31,320 --> 00:28:32,119
Speaker 2: right y.

504
00:28:38,520 --> 00:28:41,160
Speaker 4: So I have a question. Have you ever had to

505
00:28:41,160 --> 00:28:43,840
Speaker 4: deal with writer's block or does having a partner kind

506
00:28:43,880 --> 00:28:45,600
Speaker 4: of prevent that from it helps?

507
00:28:45,720 --> 00:28:48,120
Speaker 2: It helps a lot because normally we don't have it

508
00:28:48,400 --> 00:28:53,680
Speaker 2: at the same time. But yeah, you definitely go through

509
00:28:53,720 --> 00:28:56,000
Speaker 2: writer's block. You go through I mean, we've done it

510
00:28:56,040 --> 00:28:57,680
Speaker 2: so long now that we've gone through a ton of

511
00:28:57,720 --> 00:28:59,880
Speaker 2: periods where we just thought, oh, we're never ever gonna

512
00:28:59,880 --> 00:29:02,280
Speaker 2: writ another song again. It's just it just ain't there.

513
00:29:03,920 --> 00:29:06,960
Speaker 2: Terry went through it for a while, and I remember though,

514
00:29:07,080 --> 00:29:11,400
Speaker 2: it was because the stuff that was being offered us

515
00:29:11,680 --> 00:29:16,360
Speaker 2: to do was not inspiring. And who did you say

516
00:29:16,400 --> 00:29:23,960
Speaker 2: no to? Oh? Many people, many, many, many, many many people. Everyone?

517
00:29:25,400 --> 00:29:29,200
Speaker 1: Not everyone, huh Stevie Wonder.

518
00:29:30,120 --> 00:29:31,360
Speaker 2: No, we never said who did you say?

519
00:29:31,560 --> 00:29:34,520
Speaker 1: You say you felt didn't make sense to do? Like

520
00:29:34,560 --> 00:29:36,480
Speaker 1: the Prince come to you guys one day and like

521
00:29:36,640 --> 00:29:39,080
Speaker 1: you guys got something or I mean like no, we

522
00:29:39,160 --> 00:29:43,040
Speaker 1: actually were Michael Jackson's situation like well, I.

523
00:29:43,000 --> 00:29:49,200
Speaker 2: Mean early early on Madonna, Donald Ritchie at one point

524
00:29:49,240 --> 00:29:51,000
Speaker 2: in time, I mean in the level we didn't think

525
00:29:52,080 --> 00:29:54,280
Speaker 2: no because he wanted one song and we wanted to

526
00:29:54,320 --> 00:29:56,720
Speaker 2: do more than one song. We didn't feel like we

527
00:29:56,760 --> 00:30:01,280
Speaker 2: could do oh dance initially well initially right around that,

528
00:30:01,440 --> 00:30:03,680
Speaker 2: right after that, probably right after Dancing on the ceiling,

529
00:30:03,880 --> 00:30:06,200
Speaker 2: right around that time. Yeah, I mean he was, he

530
00:30:06,320 --> 00:30:08,800
Speaker 2: was huge, but we just didn't feel like we were

531
00:30:08,800 --> 00:30:10,880
Speaker 2: going to make an impact with one song that we didn't.

532
00:30:10,960 --> 00:30:12,920
Speaker 2: When we thought of him, we didn't think of him

533
00:30:12,920 --> 00:30:16,760
Speaker 2: as one song. We thought of him as the Commodore's

534
00:30:16,800 --> 00:30:19,520
Speaker 2: linel Ridge album. We thought of him as the you know,

535
00:30:19,560 --> 00:30:23,680
Speaker 2: the yeah, oh we did, you know, but we did, though,

536
00:30:23,760 --> 00:30:26,760
Speaker 2: we did an album with him that did absolutely nothing.

537
00:30:27,400 --> 00:30:41,240
Speaker 2: What wait, red headphone man about this loud louder than words? Right, Uh,

538
00:30:41,800 --> 00:30:43,600
Speaker 2: what's a lot of the world? Yeah, great cover, Yeah

539
00:30:43,640 --> 00:30:46,440
Speaker 2: that's right. You did the entire album, no no, but

540
00:30:46,520 --> 00:30:49,600
Speaker 2: we did the great the good songs on there, which

541
00:30:50,520 --> 00:30:53,480
Speaker 2: so don't so don't want to lose you, Okay, you

542
00:30:53,560 --> 00:30:57,280
Speaker 2: got that on your on your laptop of yeah, look,

543
00:30:57,360 --> 00:31:00,360
Speaker 2: so don't want to lose you now. And we did

544
00:31:00,400 --> 00:31:03,080
Speaker 2: a song called say I Do, which he actually got

545
00:31:03,200 --> 00:31:06,080
Speaker 2: married to when he got married, Say I Do. And

546
00:31:06,120 --> 00:31:09,480
Speaker 2: we did a song that one of my favorites called

547
00:31:10,760 --> 00:31:15,280
Speaker 2: take You Down that we actually sampled. Uh. I think

548
00:31:15,280 --> 00:31:19,000
Speaker 2: it was what's the same ecstasy by the Ohio? Wow?

549
00:31:19,080 --> 00:31:25,200
Speaker 2: What wait? Louder than words? Yeah, louder than words? What us?

550
00:31:28,480 --> 00:31:30,880
Speaker 2: So here's so. Here's the funny thing about Lionel is

551
00:31:30,880 --> 00:31:33,400
Speaker 2: that when he finally did come to us and we said, no,

552
00:31:33,480 --> 00:31:36,560
Speaker 2: we want to do more than one song, and he said, okay, cool,

553
00:31:36,560 --> 00:31:39,040
Speaker 2: he said, I get it. Whatever, I'll come to Minneappol.

554
00:31:39,040 --> 00:31:40,960
Speaker 2: It was a whole different Linel at that point. Right,

555
00:31:41,080 --> 00:31:43,080
Speaker 2: I will come to Minneapolis, I'll do I'll work with

556
00:31:43,120 --> 00:31:45,480
Speaker 2: you guys, whatever you guys want to do. We said, hey,

557
00:31:45,520 --> 00:31:49,360
Speaker 2: we miss the Linel, the Commodore's Lionel. Can we do

558
00:31:49,440 --> 00:31:53,400
Speaker 2: a Commodore's Lionel song? And he said yeah, yeah, he

559
00:31:53,440 --> 00:31:55,880
Speaker 2: said absolutely, we got it. We got it. And and

560
00:31:55,960 --> 00:31:58,200
Speaker 2: so I remember when we played it for him and

561
00:31:58,280 --> 00:32:00,760
Speaker 2: I think I had sung the demo, which not very good,

562
00:32:01,640 --> 00:32:04,840
Speaker 2: and he started cracking up. He just laughed and I said, yeah,

563
00:32:04,840 --> 00:32:07,560
Speaker 2: I know, I don't sing really good and he said, no, man,

564
00:32:07,600 --> 00:32:10,040
Speaker 2: it ain't that. He said, what's weird about it is

565
00:32:10,080 --> 00:32:15,920
Speaker 2: that that is so me. But I can't write that song.

566
00:32:16,800 --> 00:32:19,560
Speaker 2: You guys can write it. I can't write that song anymore,

567
00:32:20,160 --> 00:32:22,160
Speaker 2: but the fact that you all wrote that for me,

568
00:32:22,440 --> 00:32:26,320
Speaker 2: he said, I'm totally with it. So anyway, that album

569
00:32:26,360 --> 00:32:31,240
Speaker 2: got caught up with I remember a record company thing

570
00:32:31,360 --> 00:32:33,120
Speaker 2: with pol I think it was PolyGram at the time,

571
00:32:33,600 --> 00:32:35,160
Speaker 2: and it just kind of got caught up in a

572
00:32:35,160 --> 00:32:37,520
Speaker 2: bunch of in a bunch of craft and we actually

573
00:32:37,520 --> 00:32:40,880
Speaker 2: played with him at the PolyGram convention. Okay, so that

574
00:32:41,000 --> 00:32:44,080
Speaker 2: was cool. But you know, I mean, that's for me,

575
00:32:44,240 --> 00:32:47,719
Speaker 2: the greatest compliment that we get is when we got

576
00:32:47,800 --> 00:32:50,240
Speaker 2: a chance to work with the classic artists, the people

577
00:32:50,360 --> 00:32:52,080
Speaker 2: like we grew up with, and we got to work

578
00:32:52,120 --> 00:32:54,560
Speaker 2: with Barry White, and we got to work with Verry

579
00:32:54,600 --> 00:32:56,680
Speaker 2: White was the best. We played a song for Barry White.

580
00:32:56,680 --> 00:33:00,080
Speaker 2: We did the song called come On for Barry White,

581
00:33:00,240 --> 00:33:02,520
Speaker 2: and you know, we did the whole big long love

582
00:33:02,600 --> 00:33:08,000
Speaker 2: unlimited intro and the whole big thing right, and we

583
00:33:08,080 --> 00:33:11,640
Speaker 2: said when it got done, we said, hey, what do

584
00:33:11,680 --> 00:33:18,800
Speaker 2: you think, man? And he said, sounds like me. And

585
00:33:18,920 --> 00:33:20,760
Speaker 2: that's that's the best complim When we did a song

586
00:33:20,800 --> 00:33:23,160
Speaker 2: called You're All I Need for the Isisley Brothers, and

587
00:33:23,480 --> 00:33:26,040
Speaker 2: I remember Ernie was listening to it and he said, hey, man,

588
00:33:26,040 --> 00:33:28,880
Speaker 2: you got an acoustic guitar and we were like, yeah, yeah,

589
00:33:28,880 --> 00:33:31,040
Speaker 2: he said, man, man, hook me up. Hooked me up.

590
00:33:31,080 --> 00:33:32,400
Speaker 2: He said, I already know where this is going. I

591
00:33:32,400 --> 00:33:35,320
Speaker 2: already know where the chord changes are going. And when

592
00:33:35,360 --> 00:33:37,680
Speaker 2: you do that and you like somebody so much, but

593
00:33:37,720 --> 00:33:39,680
Speaker 2: you can kind of get into their heads and make

594
00:33:39,760 --> 00:33:43,920
Speaker 2: them feel like the song is for them. That's the

595
00:33:43,920 --> 00:33:45,960
Speaker 2: best man, particularly with you know, like I said, with

596
00:33:46,000 --> 00:33:48,160
Speaker 2: the classic artist, because you have a chance to actually

597
00:33:48,200 --> 00:33:51,040
Speaker 2: study and know and as a fan, you know, just

598
00:33:51,080 --> 00:33:54,080
Speaker 2: with anybody, you know where they went wrong, where they

599
00:33:54,080 --> 00:33:55,920
Speaker 2: made the left turn. You just talked about it. With

600
00:33:55,960 --> 00:33:58,560
Speaker 2: Michael he made a left turn at one point and

601
00:33:58,560 --> 00:34:01,800
Speaker 2: he got into rhythm and land and he never recovered

602
00:34:02,400 --> 00:34:04,640
Speaker 2: that was his left turn that he made. Or it

603
00:34:04,680 --> 00:34:06,800
Speaker 2: can be any of your favorite artists. It's like, Okay,

604
00:34:07,040 --> 00:34:08,360
Speaker 2: they get to a certain point, then they make a

605
00:34:08,400 --> 00:34:10,000
Speaker 2: left turn and it's like, if you can just bring

606
00:34:10,080 --> 00:34:12,040
Speaker 2: them back. Well, we worked with Earth Wind and Fire.

607
00:34:12,080 --> 00:34:16,040
Speaker 2: We did a song called pure im Okay and that's

608
00:34:16,040 --> 00:34:18,200
Speaker 2: the last record by the way, that Maurice White sang

609
00:34:18,239 --> 00:34:21,040
Speaker 2: on and we insisted did he sing.

610
00:34:20,800 --> 00:34:23,600
Speaker 5: And that sounded like a great That was a great song.

611
00:34:23,680 --> 00:34:25,719
Speaker 2: But the point was so earth Wind and Fire comes

612
00:34:25,719 --> 00:34:27,279
Speaker 2: to us and they go, man, we want to get

613
00:34:27,280 --> 00:34:29,080
Speaker 2: back on the radio. And we were like, you're on

614
00:34:29,120 --> 00:34:32,319
Speaker 2: the radio all the time. The reasons, that's the way

615
00:34:32,360 --> 00:34:35,799
Speaker 2: to work them. You're on the radio. No, no, no,

616
00:34:35,840 --> 00:34:37,439
Speaker 2: we want you know, we want to be on the radio.

617
00:34:37,480 --> 00:34:39,279
Speaker 2: I said, no, no, So what does it tell you

618
00:34:39,320 --> 00:34:41,480
Speaker 2: that those songs are being played on the radio. So

619
00:34:41,520 --> 00:34:43,719
Speaker 2: what does radio want to hear from Earth Wind and

620
00:34:43,760 --> 00:34:47,600
Speaker 2: Fire those type of songs? And so we did Pure

621
00:34:47,640 --> 00:34:50,120
Speaker 2: Gold and you know, it was a very popular record

622
00:34:50,200 --> 00:34:51,040
Speaker 2: in the whole thing.

623
00:34:57,400 --> 00:34:59,520
Speaker 7: Yeah, man, y'all, you guys have always kind of been

624
00:34:59,680 --> 00:35:01,200
Speaker 7: like I can compare y'all.

625
00:35:01,200 --> 00:35:05,600
Speaker 5: I call you like the Shang Song of music because.

626
00:35:05,280 --> 00:35:11,439
Speaker 7: Like y'all, motal Combat was a character who could morph

627
00:35:11,520 --> 00:35:14,680
Speaker 7: into like any of the other characters. Because the record

628
00:35:14,760 --> 00:35:18,400
Speaker 7: y'all did disrespectful for Mary Jay. I would have bet

629
00:35:18,840 --> 00:35:21,440
Speaker 7: my firstborn child at Rich Harrison did that record right

630
00:35:22,000 --> 00:35:25,120
Speaker 7: and love Rich Aerrison, And I was just so I

631
00:35:25,200 --> 00:35:28,160
Speaker 7: was just curious as to how you channeled that, Like

632
00:35:28,160 --> 00:35:29,080
Speaker 7: where does that come from?

633
00:35:29,239 --> 00:35:30,359
Speaker 5: Like in order to get it?

634
00:35:30,360 --> 00:35:33,879
Speaker 2: It comes from it comes from uh, it comes from

635
00:35:34,080 --> 00:35:40,280
Speaker 2: respect uh of of people like that of Rich Harrison.

636
00:35:40,360 --> 00:35:46,120
Speaker 2: I remember hearing what was the record Amrie one thing, No,

637
00:35:46,160 --> 00:35:49,560
Speaker 2: not talking about no, the very first fall in Love,

638
00:35:49,880 --> 00:35:57,040
Speaker 2: Oh my god. Okay, So of records that changed my

639
00:35:57,120 --> 00:36:04,000
Speaker 2: life as far as just appreciation of production and songs

640
00:36:04,040 --> 00:36:05,919
Speaker 2: and what that was one of them. I mean, there's

641
00:36:06,160 --> 00:36:07,880
Speaker 2: there's probably I mean, I don't know, I've never I

642
00:36:07,920 --> 00:36:09,520
Speaker 2: always think about it, but then I never do it.

643
00:36:09,560 --> 00:36:12,680
Speaker 2: But like there's certain songs on my life the way well,

644
00:36:12,719 --> 00:36:15,160
Speaker 2: there's certain songs that there's certain songs in my life

645
00:36:15,280 --> 00:36:18,080
Speaker 2: they'd really changed, and I go back, I can go back,

646
00:36:18,160 --> 00:36:21,440
Speaker 2: way way far. But I mean I remember happening on

647
00:36:21,480 --> 00:36:27,560
Speaker 2: to a Brenda Russell album, right, okay, and think it over,

648
00:36:27,760 --> 00:36:30,400
Speaker 2: and those songs on that, those major seventh chords on

649
00:36:30,440 --> 00:36:33,080
Speaker 2: that record and the way it's put together changed the

650
00:36:33,120 --> 00:36:36,839
Speaker 2: way I wrote music totally. Right. I can think of

651
00:36:36,920 --> 00:36:40,239
Speaker 2: hearing just trying to think it's something to come to mind.

652
00:36:40,320 --> 00:36:44,000
Speaker 2: Just a Touch of Love by Slave totally changed the

653
00:36:44,040 --> 00:36:49,560
Speaker 2: way that whole that drum, that Steve Arrington with that

654
00:36:49,640 --> 00:36:52,960
Speaker 2: little hiccup tie hat thing that you know ended up

655
00:36:53,120 --> 00:36:55,080
Speaker 2: watching you and all that other stuff. But just to

656
00:36:55,080 --> 00:36:58,200
Speaker 2: Touch of Lovers Man, that was such an amazing record

657
00:36:58,320 --> 00:37:00,840
Speaker 2: and her and start leading Young's voice and that whole

658
00:37:00,920 --> 00:37:04,880
Speaker 2: thing was just amazing. Right, So there's certain records like

659
00:37:05,000 --> 00:37:08,520
Speaker 2: that that just do that to me. And so yeah,

660
00:37:08,560 --> 00:37:11,200
Speaker 2: so the Amaree record did that to me. That record

661
00:37:11,320 --> 00:37:16,120
Speaker 2: was just like come on, so and My Life album

662
00:37:16,120 --> 00:37:19,120
Speaker 2: by Mary Jay was like that. Like I stopped everybody

663
00:37:19,239 --> 00:37:21,400
Speaker 2: in our in the studio and made them listen to

664
00:37:21,440 --> 00:37:24,600
Speaker 2: that album, like you gotta listen to this you. I

665
00:37:24,640 --> 00:37:26,720
Speaker 2: loved it. That's crazy.

666
00:37:27,360 --> 00:37:29,560
Speaker 1: That's the first day we met, by the way, or

667
00:37:29,560 --> 00:37:30,800
Speaker 1: at least that I remember.

668
00:37:30,960 --> 00:37:32,759
Speaker 2: I am. Yeah in DC.

669
00:37:33,680 --> 00:37:37,239
Speaker 7: Really I loved it, loved I didn't believe that again,

670
00:37:37,320 --> 00:37:38,000
Speaker 7: I can see.

671
00:37:37,840 --> 00:37:40,600
Speaker 2: It, wouldn't I like it?

672
00:37:40,840 --> 00:37:42,440
Speaker 1: Well because.

673
00:37:43,960 --> 00:37:44,680
Speaker 5: It was karaoke.

674
00:37:45,280 --> 00:37:49,160
Speaker 1: It broke so many rules, Like we were like just

675
00:37:49,360 --> 00:37:52,879
Speaker 1: that month of us being in a van and analyzing

676
00:37:52,920 --> 00:37:56,520
Speaker 1: every record as we're going from gig to gig, we

677
00:37:56,600 --> 00:37:59,880
Speaker 1: got My Life record. We were just dumbfound it because

678
00:38:00,200 --> 00:38:04,120
Speaker 1: all we kept asking was is this allowed his name?

679
00:38:06,040 --> 00:38:06,600
Speaker 2: She allowed it?

680
00:38:06,719 --> 00:38:09,080
Speaker 1: Now if it were rappers singing over Everybody Loves the

681
00:38:09,120 --> 00:38:12,600
Speaker 1: Sunshine and be like, okay, that's normal. But we never

682
00:38:12,760 --> 00:38:18,759
Speaker 1: heard a singer sing over break Theeat. And we didn't

683
00:38:18,840 --> 00:38:21,120
Speaker 1: know how to feel about that record.

684
00:38:21,200 --> 00:38:22,319
Speaker 2: Like we were just like.

685
00:38:23,760 --> 00:38:27,360
Speaker 1: We just kept asking. Well, soon thereafter I was like,

686
00:38:27,960 --> 00:38:32,480
Speaker 1: if you ask if this is allowed, then it must.

687
00:38:32,200 --> 00:38:36,160
Speaker 7: Be clown breaking, right because she started because she was

688
00:38:36,239 --> 00:38:39,359
Speaker 7: kind of on the the what's the four one one remixes?

689
00:38:39,800 --> 00:38:42,040
Speaker 7: That was kind of the dress rehearsal for my life

690
00:38:42,040 --> 00:38:43,440
Speaker 7: because that was when she started.

691
00:38:44,239 --> 00:38:47,600
Speaker 1: No, but we just I never thought like, Okay, I'm

692
00:38:47,640 --> 00:38:49,719
Speaker 1: listening to everybody loves the Sunshine.

693
00:38:49,760 --> 00:38:54,080
Speaker 2: She's just changing like it was. I was so conflicted happy.

694
00:38:54,320 --> 00:39:01,280
Speaker 1: Yeah, I was so conflicted that.

695
00:38:59,600 --> 00:39:02,200
Speaker 3: You listen to records and not listen to them clinically.

696
00:39:02,239 --> 00:39:04,160
Speaker 3: I always ask these guys that, like, can you just

697
00:39:04,239 --> 00:39:04,839
Speaker 3: listen to a.

698
00:39:04,840 --> 00:39:08,040
Speaker 2: Record and I analyze everything and.

699
00:39:08,920 --> 00:39:11,880
Speaker 3: Just hear the goodness, the emotion that it looks outside

700
00:39:11,880 --> 00:39:14,480
Speaker 3: of the technicalities of the break be how many.

701
00:39:14,520 --> 00:39:19,600
Speaker 2: Sort of that's a great question. I think I can.

702
00:39:19,960 --> 00:39:24,080
Speaker 2: I definitely get the emotion of records. I was listening. Ironically,

703
00:39:25,480 --> 00:39:28,600
Speaker 2: there's a record by there's a guy like an EDM,

704
00:39:28,640 --> 00:39:32,799
Speaker 2: guy like Porter Robinson, and I love his chord structures

705
00:39:32,800 --> 00:39:35,399
Speaker 2: and his textures that he does. And there's a song

706
00:39:35,480 --> 00:39:38,400
Speaker 2: he had out about four or five years ago. No,

707
00:39:38,600 --> 00:39:40,120
Speaker 2: it wasn't even four or five years ago. It's maybe

708
00:39:40,160 --> 00:39:42,800
Speaker 2: two or three years ago that I remember he played

709
00:39:42,840 --> 00:39:45,000
Speaker 2: at Coachella and it was the first time I taken

710
00:39:45,080 --> 00:39:47,719
Speaker 2: my kids to Coachella, and I remember we walked into

711
00:39:47,719 --> 00:39:51,560
Speaker 2: the tent and that song came on and my kids

712
00:39:51,600 --> 00:39:55,520
Speaker 2: put their hands in the air, and I just was like, wow,

713
00:39:56,200 --> 00:39:58,359
Speaker 2: this because everybody was like, well edm is just kind

714
00:39:58,360 --> 00:40:01,759
Speaker 2: of soul. Listen it's whatever. It hit my kids and

715
00:40:01,800 --> 00:40:04,200
Speaker 2: I actually put a little snippet of it. I sent

716
00:40:04,280 --> 00:40:06,400
Speaker 2: it to my kids today because we're going to Coachella tomorrow,

717
00:40:06,760 --> 00:40:08,759
Speaker 2: and I sent them that little snippet and they both

718
00:40:08,880 --> 00:40:11,320
Speaker 2: like sent me back a bunch of smiling faces because

719
00:40:11,320 --> 00:40:15,640
Speaker 2: there was this moment where And I never have analyzed

720
00:40:15,680 --> 00:40:18,000
Speaker 2: that song because it's I'm not an idiom. I don't

721
00:40:18,040 --> 00:40:21,440
Speaker 2: really do idiom, but that song, Yes, the emotion in

722
00:40:21,560 --> 00:40:25,280
Speaker 2: that song, there was no. I didn't have a desire

723
00:40:25,360 --> 00:40:28,040
Speaker 2: to try to dissect it. I just something about it all.

724
00:40:28,320 --> 00:40:30,440
Speaker 2: And it could have been the moment, or because I

725
00:40:30,480 --> 00:40:32,240
Speaker 2: was with my kids, or because there was a shared

726
00:40:32,239 --> 00:40:36,400
Speaker 2: experience or whatever, But yeah, I don't I think I

727
00:40:36,560 --> 00:40:40,680
Speaker 2: probably can listen to things without doing it. The thing

728
00:40:40,760 --> 00:40:44,360
Speaker 2: that is I don't like is when I can hear

729
00:40:44,760 --> 00:40:49,799
Speaker 2: the plan that somebody had for the song. That bugs me.

730
00:40:51,000 --> 00:40:54,000
Speaker 2: If a song is put together really well, it's like

731
00:40:54,040 --> 00:40:56,000
Speaker 2: a magic trick or something like if a magic trick

732
00:40:56,040 --> 00:40:58,040
Speaker 2: has done really well, you don't see the magic. You

733
00:40:58,040 --> 00:41:00,319
Speaker 2: don't see the magic. It's just like, oh shit, wow,

734
00:41:00,400 --> 00:41:03,359
Speaker 2: that was cool. But if you know what it is,

735
00:41:03,400 --> 00:41:06,040
Speaker 2: what they're trying to do, and and some songs are

736
00:41:06,080 --> 00:41:10,040
Speaker 2: so I'm going to push a button here, yeah, to

737
00:41:10,320 --> 00:41:12,640
Speaker 2: try to get this emotional and then I'm gonna do

738
00:41:12,760 --> 00:41:15,840
Speaker 2: this here because and I'm gonna use this sound here

739
00:41:16,280 --> 00:41:19,560
Speaker 2: because it reminds people of this here and it's almost

740
00:41:19,560 --> 00:41:20,840
Speaker 2: like a laboratory.

741
00:41:21,040 --> 00:41:23,719
Speaker 7: That's like I said, I've never been inspired by inspirational

742
00:41:23,800 --> 00:41:28,799
Speaker 7: music ever, like anyone that says like the well not

743
00:41:29,080 --> 00:41:30,720
Speaker 7: I mean optimixic now that's that.

744
00:41:30,719 --> 00:41:33,279
Speaker 5: That wasn't That was a song that was inspirational, but

745
00:41:33,560 --> 00:41:34,360
Speaker 5: it wasn't.

746
00:41:34,120 --> 00:41:36,560
Speaker 7: Like I'm going to try to inspire you like a

747
00:41:36,600 --> 00:41:38,600
Speaker 7: lot of like I don't want to say Christian music,

748
00:41:38,600 --> 00:41:42,799
Speaker 7: but music that seeks to like be like self help

749
00:41:42,920 --> 00:41:44,320
Speaker 7: books in music form.

750
00:41:44,760 --> 00:41:45,239
Speaker 5: I hate that.

751
00:41:45,320 --> 00:41:56,160
Speaker 2: Shit. Wow, I'm telling them as so how well rounded

752
00:41:56,239 --> 00:41:56,720
Speaker 2: are you?

753
00:41:56,800 --> 00:42:01,200
Speaker 1: How well rounded are your kids with music? Or do

754
00:42:01,239 --> 00:42:02,680
Speaker 1: you leave them to their devices?

755
00:42:03,239 --> 00:42:07,040
Speaker 2: They school you all of that, all all of the above,

756
00:42:07,080 --> 00:42:10,560
Speaker 2: and all in and all in different ways. I mean,

757
00:42:10,600 --> 00:42:12,920
Speaker 2: I'm around my sixteen year olds all the time, my

758
00:42:12,960 --> 00:42:19,879
Speaker 2: older my older one. I remember his probably his most

759
00:42:19,920 --> 00:42:24,000
Speaker 2: influential phase of music before he kind of I won't

760
00:42:24,040 --> 00:42:26,640
Speaker 2: say matured, but I guess matured is the right word.

761
00:42:27,280 --> 00:42:30,560
Speaker 2: Anything that little John did where it was where it

762
00:42:30,600 --> 00:42:35,560
Speaker 2: was a loop of a synthesizer low and then high.

763
00:42:35,680 --> 00:42:43,160
Speaker 2: So if it was snap your fingers, it was every

764
00:42:43,200 --> 00:42:46,319
Speaker 2: song had that same pattern. He loved all those songs right,

765
00:42:47,600 --> 00:42:50,440
Speaker 2: and he eventually got he's more, he's interesting now, he's

766
00:42:50,520 --> 00:42:53,840
Speaker 2: much more of an EDM guy. Now he's into the

767
00:42:53,920 --> 00:42:54,960
Speaker 2: all the DM stuff.

768
00:42:55,320 --> 00:42:57,960
Speaker 1: So I mean, what do they think of what your

769
00:42:58,040 --> 00:43:00,879
Speaker 1: life was like? Do they understand that?

770
00:43:01,040 --> 00:43:02,520
Speaker 2: Yo? I know you'll see me as.

771
00:43:02,520 --> 00:43:04,960
Speaker 5: Dad, but I'm just shit kind of.

772
00:43:04,880 --> 00:43:11,719
Speaker 1: That motherfuckers, Like what do they think of when they see?

773
00:43:12,040 --> 00:43:14,439
Speaker 2: No, they don't, they don't. They have no, they don't

774
00:43:14,480 --> 00:43:17,520
Speaker 2: get it, no, not at all. So the time means

775
00:43:17,520 --> 00:43:20,120
Speaker 2: none of them, Well, no, they enjoyed the time. Now,

776
00:43:20,480 --> 00:43:25,080
Speaker 2: it was interesting when we did for after the Rihanna performance. No,

777
00:43:25,680 --> 00:43:29,120
Speaker 2: after the Rihanna performance we did because the time didn't

778
00:43:29,120 --> 00:43:33,040
Speaker 2: exist because we didn't really my kids weren't born until

779
00:43:33,160 --> 00:43:36,120
Speaker 2: ninety six. We did. My first one was ninety six.

780
00:43:36,840 --> 00:43:39,279
Speaker 2: The twins were two thousand, so we didn't do the

781
00:43:40,320 --> 00:43:43,680
Speaker 2: We had done the Pannemonia malment what ninety but we

782
00:43:43,719 --> 00:43:47,239
Speaker 2: hadn't done another album since then, so they didn't really

783
00:43:47,280 --> 00:43:48,759
Speaker 2: know the time. So it was just yeah, a band

784
00:43:48,800 --> 00:43:50,840
Speaker 2: I used to play with, but they had no you know,

785
00:43:51,600 --> 00:43:56,160
Speaker 2: thought about what it was. Yeah, no reference. I remember

786
00:43:56,200 --> 00:43:58,799
Speaker 2: the first time I took we did a song with

787
00:43:58,920 --> 00:44:01,840
Speaker 2: Sting called My Funny Friend in Me from a It

788
00:44:01,880 --> 00:44:03,480
Speaker 2: was from a Disney movie. I can't remember what it's

789
00:44:03,480 --> 00:44:07,360
Speaker 2: called now, And at the end of the premiere of

790
00:44:07,400 --> 00:44:09,600
Speaker 2: the movie they raised the curtain and we actually performed

791
00:44:09,640 --> 00:44:12,000
Speaker 2: with Sting, and I remember my son, who was probably

792
00:44:12,000 --> 00:44:16,120
Speaker 2: four at the time. He loved it, like he thought

793
00:44:16,160 --> 00:44:17,959
Speaker 2: that was so cool that I was But he didn't

794
00:44:17,960 --> 00:44:20,000
Speaker 2: know who Sting was. He just thought that it was

795
00:44:20,040 --> 00:44:22,960
Speaker 2: cool that after this movie there was a band on stage. Right.

796
00:44:24,080 --> 00:44:26,200
Speaker 2: Eventually he got it and he went with us like

797
00:44:26,239 --> 00:44:28,319
Speaker 2: to Janet like because he was old enough. I mean

798
00:44:28,360 --> 00:44:31,560
Speaker 2: he was what five, I think when Janet did or

799
00:44:31,640 --> 00:44:34,719
Speaker 2: six when Janet did the Velvet Rope not velvet rope

800
00:44:34,760 --> 00:44:37,239
Speaker 2: but All for You tour. So when we took him

801
00:44:37,239 --> 00:44:40,000
Speaker 2: to Hawaii with us, when we did the HBO thing

802
00:44:40,000 --> 00:44:41,600
Speaker 2: and the whole thing, take him to that chair? Did

803
00:44:41,680 --> 00:44:46,359
Speaker 2: she No, she had Kevin Garnett in the chair though,

804
00:44:46,520 --> 00:44:51,160
Speaker 2: was Yeah, she did it. She did it so anyway,

805
00:44:51,239 --> 00:44:55,440
Speaker 2: So yeah, but my younger, my younger boy is he's everything.

806
00:44:55,640 --> 00:44:58,799
Speaker 2: He's the Coachella sponge like I took him and he

807
00:44:58,960 --> 00:45:01,360
Speaker 2: was everything at that year. Was a a c d C.

808
00:45:02,080 --> 00:45:05,160
Speaker 2: He loved a c d C. He loved uh Tyler

809
00:45:05,239 --> 00:45:07,200
Speaker 2: the creator, he loved Uh.

810
00:45:07,920 --> 00:45:10,080
Speaker 1: I was gonna say, z a c DC. It was

811
00:45:10,200 --> 00:45:15,279
Speaker 1: because of rocketitar rock band or no guitar. I was

812
00:45:15,360 --> 00:45:18,279
Speaker 1: wondering if it because yeah, right, because his kids are

813
00:45:18,320 --> 00:45:19,719
Speaker 1: into yea, why do.

814
00:45:19,640 --> 00:45:21,680
Speaker 2: You know this? Yeah? Why do you know the songs?

815
00:45:22,160 --> 00:45:25,840
Speaker 2: That's interesting? No, he always for some reason, he always

816
00:45:25,880 --> 00:45:29,799
Speaker 2: had a very big palette of He was always an

817
00:45:29,800 --> 00:45:33,200
Speaker 2: old soul, Like he would listen to led Zeppelin, but

818
00:45:33,320 --> 00:45:35,200
Speaker 2: I mean he'd hear me play it, but then he'd

819
00:45:35,239 --> 00:45:38,399
Speaker 2: go seek and find more stuff that was always his thing,

820
00:45:38,520 --> 00:45:41,160
Speaker 2: like he'd like he ended up liking the Black Keys

821
00:45:42,000 --> 00:45:45,000
Speaker 2: because he liked led Zeppelin, and then he you know,

822
00:45:45,040 --> 00:45:47,520
Speaker 2: and he would make the connections on stuff. He was

823
00:45:47,760 --> 00:45:50,280
Speaker 2: very very much at an early age. Now he's sixteen.

824
00:45:52,239 --> 00:45:59,319
Speaker 2: His he's literally discovered now the Michael Jackson Off the

825
00:45:59,320 --> 00:46:01,759
Speaker 2: Wall album now was his probably his favorite album of

826
00:46:01,800 --> 00:46:05,400
Speaker 2: all time. He thinks sonically, it's the best record ever made.

827
00:46:06,200 --> 00:46:09,279
Speaker 2: And you let him discover it? Yes? Are you forced it?

828
00:46:09,400 --> 00:46:09,440
Speaker 6: Know?

829
00:46:09,640 --> 00:46:12,160
Speaker 2: I know? No, I let him discover it. I got

830
00:46:12,160 --> 00:46:13,880
Speaker 2: in the I got in the car. It's funny. I

831
00:46:13,880 --> 00:46:15,200
Speaker 2: got in the car the other day. So after the

832
00:46:15,239 --> 00:46:18,440
Speaker 2: Grammys we went to this one after party of aeg.

833
00:46:18,600 --> 00:46:20,520
Speaker 2: There are people that own the Staples and all that.

834
00:46:20,560 --> 00:46:22,759
Speaker 2: We went to their party. They were playing all this

835
00:46:22,880 --> 00:46:26,640
Speaker 2: kind of old school music and they played bad Mamma, Jamma.

836
00:46:27,120 --> 00:46:30,080
Speaker 2: They played knee deep funkadelic. Right, he had never heard

837
00:46:30,120 --> 00:46:33,120
Speaker 2: these songs in his life. Right, He's asking me, Dad,

838
00:46:33,160 --> 00:46:36,320
Speaker 2: who is this? And I said, oh, bad mamajamma Carl Carlton.

839
00:46:36,360 --> 00:46:41,200
Speaker 2: Ok okay, Dad, who's this? Not just needy funkadelic? Okay? Cool.

840
00:46:42,560 --> 00:46:45,359
Speaker 2: About two weeks later, I'm taking him to school. He's

841
00:46:45,400 --> 00:46:48,000
Speaker 2: playing Funkadelic, but not knee deep. He's playing like this

842
00:46:48,160 --> 00:46:53,000
Speaker 2: album cuts. That album cuts right bad. Mammajamma is like

843
00:46:53,040 --> 00:46:56,879
Speaker 2: his favorite song ever. He's telling me, how lyrically, what's

844
00:46:56,920 --> 00:47:02,160
Speaker 2: the lyric? There's a lyric in the song that he loves.

845
00:47:04,000 --> 00:47:09,680
Speaker 2: What is it? What is the line? Yes, the look

846
00:47:09,719 --> 00:47:14,640
Speaker 2: at her anatomy line, whatever that line is poetry most.

847
00:47:16,200 --> 00:47:19,840
Speaker 1: Excited excited feeling her anatomy.

848
00:47:20,840 --> 00:47:25,000
Speaker 2: He's yeah, he loved that. He said, man, those are

849
00:47:25,000 --> 00:47:28,880
Speaker 2: great lyrics. I'm like, okay, cool. So he loves so

850
00:47:28,960 --> 00:47:32,000
Speaker 2: he loves that. He loves the like I say, he's

851
00:47:32,000 --> 00:47:35,239
Speaker 2: into the Michael Jackson thing. He the other day he

852
00:47:35,320 --> 00:47:39,719
Speaker 2: found heat Wave. He said, Dad, doesn't this sound just

853
00:47:39,800 --> 00:47:42,960
Speaker 2: like Michael Jackson song? I said, that's because Rod Temperton

854
00:47:43,000 --> 00:47:47,560
Speaker 2: wrote it. So then he went on a Rod Temperton binge. Right,

855
00:47:47,640 --> 00:47:50,560
Speaker 2: So he's that kid that Yes, he got me and

856
00:47:50,840 --> 00:47:54,400
Speaker 2: I love that right, and me too. I mean I

857
00:47:54,440 --> 00:47:57,040
Speaker 2: was the same way. So I see myself and him.

858
00:47:57,320 --> 00:48:01,239
Speaker 2: So anyway, he's totally into that stuff. But after he

859
00:48:01,280 --> 00:48:07,960
Speaker 2: gets through with that stuff, Travis Scott Big who's evert

860
00:48:08,080 --> 00:48:11,360
Speaker 2: is okay to him. He's really he's really Travis Scott

861
00:48:11,400 --> 00:48:14,680
Speaker 2: is his that's his all time favorite. He likes Kanye

862
00:48:14,719 --> 00:48:18,839
Speaker 2: a lot, he likes Drake a lot. He liked the

863
00:48:18,920 --> 00:48:26,160
Speaker 2: early weekend stuff, the mixtapes, weekend stuff. But he's but

864
00:48:26,280 --> 00:48:31,960
Speaker 2: he likes Samfa, he likes a little Dragon. No, he

865
00:48:32,000 --> 00:48:35,680
Speaker 2: loves Oh loves No. He's he's got a very like

866
00:48:35,719 --> 00:48:37,000
Speaker 2: I said, he's got a very wide music.

867
00:48:37,400 --> 00:48:40,880
Speaker 5: My son, my son, who is also sixteen.

868
00:48:40,520 --> 00:48:43,320
Speaker 2: So Coachella is like perfect for him, Like he's gonna

869
00:48:43,320 --> 00:48:45,680
Speaker 2: be he's gonna love it. Like he's already got his

870
00:48:45,760 --> 00:48:49,120
Speaker 2: list of of folks he wants to see Schoolboy Q

871
00:48:49,320 --> 00:48:56,360
Speaker 2: Kendrick Lamar. You know he's got his, He's got his folks. Yeah, exactly.

872
00:48:57,160 --> 00:48:59,040
Speaker 7: One question I have for you was in regards to

873
00:48:59,160 --> 00:49:02,720
Speaker 7: just like your we talk about all your hits, uh

874
00:49:03,520 --> 00:49:07,080
Speaker 7: some of your misses. I guess, like you know records

875
00:49:07,080 --> 00:49:10,080
Speaker 7: that you've done that you know maybe didn't do what

876
00:49:10,120 --> 00:49:13,000
Speaker 7: you want them to do and what you learned from

877
00:49:13,040 --> 00:49:16,399
Speaker 7: and like when you and Terry might sit back and say,

878
00:49:16,400 --> 00:49:19,359
Speaker 7: you know what, that didn't really hit the mark and

879
00:49:19,400 --> 00:49:21,000
Speaker 7: this is why it didn't hit the mark.

880
00:49:23,080 --> 00:49:25,680
Speaker 2: That's a good question. I'm sure there's a lot of them.

881
00:49:25,719 --> 00:49:27,920
Speaker 2: I don't think a lot about.

882
00:49:29,480 --> 00:49:32,000
Speaker 1: I mean, that was expected to.

883
00:49:33,640 --> 00:49:35,399
Speaker 5: Project or something like whatever, like.

884
00:49:36,880 --> 00:49:41,560
Speaker 4: You sold that I did, like it was the little

885
00:49:41,560 --> 00:49:42,200
Speaker 4: down there to shape.

886
00:49:42,840 --> 00:49:47,840
Speaker 2: But that's right, it was. It was so no Raja,

887
00:49:47,960 --> 00:49:50,359
Speaker 2: no listen Ragen was good. It wasn't. I don't think

888
00:49:50,360 --> 00:49:52,160
Speaker 2: it was great, Like listening to it now, Like some

889
00:49:52,239 --> 00:49:55,600
Speaker 2: things I go back and listen to and I go, man,

890
00:49:55,640 --> 00:49:58,080
Speaker 2: that was really some great ship we did, or you know,

891
00:49:58,080 --> 00:50:00,400
Speaker 2: at least I think that. And sometimes I go back

892
00:50:00,440 --> 00:50:02,560
Speaker 2: and I listen to and I go, that's okay. But

893
00:50:02,560 --> 00:50:04,160
Speaker 2: I would have done that different, and I would have

894
00:50:04,160 --> 00:50:05,879
Speaker 2: done that. Rogen is one of those records I probably

895
00:50:05,920 --> 00:50:08,960
Speaker 2: would have done, you know, a little different than we

896
00:50:09,000 --> 00:50:12,040
Speaker 2: did it. But also we didn't have at that point

897
00:50:12,040 --> 00:50:14,920
Speaker 2: in time. We just didn't have the backup with the label,

898
00:50:15,040 --> 00:50:17,920
Speaker 2: So maybe the record could have been better. I don't

899
00:50:17,920 --> 00:50:20,160
Speaker 2: think it probably reached its potential. But I don't think

900
00:50:20,200 --> 00:50:23,000
Speaker 2: we probably made the best record. And that's that's in

901
00:50:23,040 --> 00:50:28,239
Speaker 2: all honesty. But yeah, I mean, it happens a lot

902
00:50:28,520 --> 00:50:30,480
Speaker 2: when records don't do it. I'll tell you one of

903
00:50:30,480 --> 00:50:33,040
Speaker 2: the ones that was really surprising to me, but it

904
00:50:33,080 --> 00:50:35,040
Speaker 2: had nothing to do with us because I think it's

905
00:50:35,040 --> 00:50:38,120
Speaker 2: a great record, is God till It's gone by Janet?

906
00:50:38,200 --> 00:50:40,880
Speaker 2: And and what happened with that record was, wait, it

907
00:50:40,920 --> 00:50:43,160
Speaker 2: went straight to number one. Something happened that we don't

908
00:50:43,200 --> 00:50:44,920
Speaker 2: know about it. Well, it went straight to number one.

909
00:50:45,080 --> 00:50:50,040
Speaker 2: Urban pop radio didn't touch it. Yeah, wait, what didn't

910
00:50:50,320 --> 00:50:56,560
Speaker 2: touch it? Like like it didn't exist. Didn't touch it.

911
00:50:55,840 --> 00:50:59,319
Speaker 2: And and here's the thing that's interesting about it. We

912
00:51:00,719 --> 00:51:04,279
Speaker 2: that when we made it, because Janet had always straddled

913
00:51:04,280 --> 00:51:08,160
Speaker 2: that line very carefully. I remember when we were we

914
00:51:08,200 --> 00:51:12,120
Speaker 2: went to a marketing meeting at the end of the job. Yeah,

915
00:51:12,200 --> 00:51:16,839
Speaker 2: toward the end of the Janet album, right, and we

916
00:51:16,880 --> 00:51:20,879
Speaker 2: had already had you know, uh, that's the way love

917
00:51:20,920 --> 00:51:25,640
Speaker 2: goes if again because of Love were the four singles

918
00:51:25,680 --> 00:51:28,040
Speaker 2: I think. And then so it was now what is

919
00:51:28,080 --> 00:51:31,000
Speaker 2: the fifth single gonna be? And there was a cut

920
00:51:31,000 --> 00:51:32,680
Speaker 2: on the album called where Are You Now, which we

921
00:51:32,760 --> 00:51:35,840
Speaker 2: thought would be a great single on the radio all

922
00:51:35,880 --> 00:51:37,840
Speaker 2: the time before the album. That was the problem. It

923
00:51:37,840 --> 00:51:39,799
Speaker 2: had already been played so much on the radio that

924
00:51:39,880 --> 00:51:42,120
Speaker 2: they were scared that they couldn't get you know, the

925
00:51:42,200 --> 00:51:45,200
Speaker 2: judges it charted. Yeah, it was it was like it

926
00:51:45,239 --> 00:51:47,759
Speaker 2: was like a top literally a top ten record just

927
00:51:47,840 --> 00:51:51,760
Speaker 2: on airplay. And so anyway, we went to this meeting

928
00:51:52,120 --> 00:51:54,600
Speaker 2: and uh, you know, we're sitting in there and there

929
00:51:54,719 --> 00:51:57,520
Speaker 2: they have all their charts and their graphs and you know, summertime,

930
00:51:57,560 --> 00:51:59,640
Speaker 2: we should go up tempo. Maybe we go with Throb,

931
00:51:59,680 --> 00:52:01,960
Speaker 2: that would be a great one and whatever, and they

932
00:52:01,960 --> 00:52:05,919
Speaker 2: had all their graphs and all their their stuff. And

933
00:52:06,200 --> 00:52:08,160
Speaker 2: Janet had told us before we went in the meeting,

934
00:52:08,160 --> 00:52:10,440
Speaker 2: and us at that time was it was myself and

935
00:52:10,560 --> 00:52:13,760
Speaker 2: actually Renee her first name, her second husband, I guess.

936
00:52:14,040 --> 00:52:16,840
Speaker 2: So anyway, we had gone in there, and so she

937
00:52:17,000 --> 00:52:19,200
Speaker 2: was waiting for us. She said, when you guys are done,

938
00:52:19,239 --> 00:52:21,879
Speaker 2: we'll go eat. I'm like, okay, cool. So we called

939
00:52:21,880 --> 00:52:23,480
Speaker 2: her and we said are you close and she said yeah,

940
00:52:23,520 --> 00:52:24,880
Speaker 2: And I said, why don't you come in and listen

941
00:52:24,920 --> 00:52:27,040
Speaker 2: to these what these guys are saying, because I know

942
00:52:27,160 --> 00:52:29,880
Speaker 2: what you're thinking for the single, but they're not anywhere

943
00:52:29,880 --> 00:52:33,200
Speaker 2: near it, right, And she said, okay, cool. So she

944
00:52:33,320 --> 00:52:36,840
Speaker 2: comes in and everybody gives her whole spiel and everything

945
00:52:36,880 --> 00:52:39,400
Speaker 2: and you know, whatever, whatever, whatever, whatever, and this is

946
00:52:39,400 --> 00:52:41,000
Speaker 2: why this and it's up tempo and it's summer and

947
00:52:41,000 --> 00:52:44,680
Speaker 2: here's what we do and blah blah blah, and Janet goes, well,

948
00:52:45,000 --> 00:52:48,040
Speaker 2: I want to thank everybody very much for obviously everybody's

949
00:52:48,040 --> 00:52:49,640
Speaker 2: put a lot of work into this, and I really

950
00:52:49,719 --> 00:52:53,040
Speaker 2: appreciate that. And I think the next single should be

951
00:52:54,120 --> 00:53:07,000
Speaker 2: anytime anyplace room is silent and somebody goes, yeah, great, sure, okay, yeah,

952
00:53:07,560 --> 00:53:11,560
Speaker 2: So what do you think should we get a remix going?

953
00:53:11,719 --> 00:53:13,759
Speaker 2: Or who do you think we could do a mix?

954
00:53:14,960 --> 00:53:17,439
Speaker 2: That's what I said. I said, I think R Kelly

955
00:53:17,440 --> 00:53:19,120
Speaker 2: could probably do a really good remix, And then they

956
00:53:19,120 --> 00:53:24,320
Speaker 2: were like, oh cool, okay remix. Okay, yeah, that's good. Yeah, okay.

957
00:53:24,400 --> 00:53:25,600
Speaker 2: So where the side came in?

958
00:53:26,160 --> 00:53:29,919
Speaker 4: Is this also where the B side came in, which

959
00:53:30,040 --> 00:53:31,080
Speaker 4: is one of my favorite gens.

960
00:53:31,280 --> 00:53:33,920
Speaker 2: Not because we said, because their whole thing was all

961
00:53:34,000 --> 00:53:37,000
Speaker 2: concerned we don't have a tempo record in the summertime.

962
00:53:37,040 --> 00:53:39,080
Speaker 2: We said, we'll just do a B side on a

963
00:53:39,200 --> 00:53:43,120
Speaker 2: temple B side. So this is a song about summertime,

964
00:53:43,320 --> 00:53:44,400
Speaker 2: right exactly.

965
00:53:45,040 --> 00:53:48,080
Speaker 5: Let me just spell it out for you.

966
00:53:49,280 --> 00:53:49,480
Speaker 2: Yeah.

967
00:53:49,520 --> 00:53:51,520
Speaker 7: One of your records that I was surprised that like

968
00:53:51,640 --> 00:53:57,839
Speaker 7: didn't go was ah, man, when I need somebody, I

969
00:53:57,880 --> 00:53:59,919
Speaker 7: thought that I was like, man, this ship has since

970
00:54:00,040 --> 00:54:01,000
Speaker 7: tivity the Royds.

971
00:54:01,000 --> 00:54:05,719
Speaker 2: I love thank you, I did too. I I loved

972
00:54:05,760 --> 00:54:08,360
Speaker 2: who'sa Mac and didn't it didn't, It didn't connect. I

973
00:54:08,440 --> 00:54:09,640
Speaker 2: used to about the.

974
00:54:09,760 --> 00:54:11,759
Speaker 4: Single and used to rock the instrumental more than the vocal,

975
00:54:12,000 --> 00:54:12,839
Speaker 4: to be honest.

976
00:54:12,520 --> 00:54:16,440
Speaker 2: But well, we always saw Ralph as sort of a

977
00:54:16,560 --> 00:54:19,000
Speaker 2: you know, sort of a Marvin Gaye ish type thing.

978
00:54:19,080 --> 00:54:21,040
Speaker 2: So that was our attempt to kind of do that

979
00:54:21,120 --> 00:54:24,880
Speaker 2: kind of Marvin gay you know, kind of trouble man type,

980
00:54:25,200 --> 00:54:28,560
Speaker 2: you know, cinematic thing. And you know, at the end

981
00:54:28,560 --> 00:54:31,279
Speaker 2: of the day, it didn't work. When when I need somebody, Yeah,

982
00:54:31,320 --> 00:54:33,719
Speaker 2: that kind of surprised me. But honestly, the label at

983
00:54:33,719 --> 00:54:37,319
Speaker 2: that point in time wasn't in to Ralph at that point,

984
00:54:38,320 --> 00:54:40,440
Speaker 2: just for a lot of reasons, and so we just

985
00:54:40,480 --> 00:54:42,680
Speaker 2: kind of knew it was gonna kind of fall flat

986
00:54:42,719 --> 00:54:43,240
Speaker 2: at that point.

987
00:54:43,600 --> 00:54:46,440
Speaker 5: How do you still love how do you feel about.

988
00:54:46,200 --> 00:54:52,040
Speaker 1: The the well you executive produced the new edition playing

989
00:54:52,120 --> 00:54:57,640
Speaker 1: You and amazingly yes, I agree, Yes, I mean, how

990
00:54:57,680 --> 00:54:59,960
Speaker 1: do you feel that now that a whole new generation

991
00:55:00,080 --> 00:55:04,400
Speaker 1: and has latch doing and you know, like my friends'

992
00:55:04,480 --> 00:55:12,280
Speaker 1: kids are you know, discovering this group, and how do you.

993
00:55:12,520 --> 00:55:15,440
Speaker 2: I love it? I love it because to me, that's

994
00:55:15,480 --> 00:55:20,120
Speaker 2: what music really should be. It should connect us, it

995
00:55:20,160 --> 00:55:27,040
Speaker 2: should connect generations. It's told connect races, that should connect ethnicities, religions,

996
00:55:27,040 --> 00:55:30,280
Speaker 2: and should do That's what music is. It's the ultimate connector.

997
00:55:30,320 --> 00:55:33,520
Speaker 2: And to me, it's the most divine art of all

998
00:55:33,560 --> 00:55:37,080
Speaker 2: the arts. And the reason I say that is Maine

999
00:55:37,200 --> 00:55:42,200
Speaker 2: something else. That's if I say to you questlove, where

1000
00:55:42,239 --> 00:55:46,080
Speaker 2: were you on this date in nineteen ninety do you

1001
00:55:46,080 --> 00:55:47,359
Speaker 2: know what you were doing?

1002
00:55:48,400 --> 00:55:52,040
Speaker 1: I'm that Mary Lou Henter person that can you can

1003
00:55:52,120 --> 00:55:54,120
Speaker 1: name a date and I can tell you I realized, Okay,

1004
00:55:54,719 --> 00:55:57,640
Speaker 1: because music and soul Train episodes like connect.

1005
00:55:58,080 --> 00:56:01,879
Speaker 2: Yes, but what's the right because of the music? Oh yeah, yeah,

1006
00:56:01,960 --> 00:56:04,319
Speaker 2: that's that's my point. I say it's to my mom

1007
00:56:04,360 --> 00:56:06,640
Speaker 2: all the time that it's it's my time machine. It's

1008
00:56:06,640 --> 00:56:09,120
Speaker 2: how it's how I remember things. It's how I transport

1009
00:56:09,200 --> 00:56:11,359
Speaker 2: you transport you. If I play you a song from

1010
00:56:11,400 --> 00:56:15,080
Speaker 2: the date, it transports you, you remember everything about it

1011
00:56:15,120 --> 00:56:19,680
Speaker 2: and everything. Yeah. Absolutely, Like I can go back to

1012
00:56:19,920 --> 00:56:22,360
Speaker 2: like even because we talked about earlier what what I

1013
00:56:22,400 --> 00:56:23,839
Speaker 2: grew up listening to and it was like a bunch

1014
00:56:23,840 --> 00:56:26,000
Speaker 2: of pop music. But I can go back to like

1015
00:56:26,040 --> 00:56:30,040
Speaker 2: stuff like a strawberry alarm clock or the Turtles or

1016
00:56:30,080 --> 00:56:32,640
Speaker 2: you know all these, right, And I remember they will

1017
00:56:32,680 --> 00:56:34,799
Speaker 2: play me the Turtles Happy Together or whatever. And I

1018
00:56:34,800 --> 00:56:38,240
Speaker 2: remember the school bus they're taking me to a field trip,

1019
00:56:38,320 --> 00:56:39,919
Speaker 2: and you know that kind of stuff. I mean, it's

1020
00:56:39,960 --> 00:56:44,319
Speaker 2: like it's all exists in your head, but you can

1021
00:56:44,480 --> 00:56:49,719
Speaker 2: access it. What's the key that accesses it? Music? That's divine?

1022
00:56:50,600 --> 00:56:52,520
Speaker 2: There's no other explanation for that.

1023
00:57:02,239 --> 00:57:04,439
Speaker 3: So question because you said earlier when we first started

1024
00:57:04,440 --> 00:57:06,359
Speaker 3: this interview, there's gonna be a movie at some time,

1025
00:57:06,719 --> 00:57:09,440
Speaker 3: at some point, if we can't get through this story

1026
00:57:09,640 --> 00:57:14,560
Speaker 3: in full hours.

1027
00:57:16,080 --> 00:57:18,040
Speaker 2: It's gonna be the new route. Now that.

1028
00:57:19,720 --> 00:57:25,320
Speaker 1: Certain unfortunate situations have occurred in the past year, where

1029
00:57:25,320 --> 00:57:31,560
Speaker 1: does that leave the original seven in terms of being

1030
00:57:31,640 --> 00:57:35,280
Speaker 1: the time in terms of doing the movie or you

1031
00:57:37,600 --> 00:57:40,800
Speaker 1: gonna have to see when the smoke clears with the States?

1032
00:57:40,800 --> 00:57:43,080
Speaker 2: And yeah, I don't, honestly, I don't think we've even

1033
00:57:43,080 --> 00:57:45,000
Speaker 2: thought about it. I don't even I don't think it's

1034
00:57:45,000 --> 00:57:47,680
Speaker 2: been a thought mine as well.

1035
00:57:47,960 --> 00:57:53,000
Speaker 1: Be I mean, you saw, well, okay, if Stephen were

1036
00:57:53,280 --> 00:57:56,400
Speaker 1: still at BT, I think it could be a possibility

1037
00:57:56,520 --> 00:57:58,520
Speaker 1: or could have been a possibility.

1038
00:57:57,920 --> 00:57:58,080
Speaker 2: But.

1039
00:58:00,480 --> 00:58:04,120
Speaker 7: No, we were joking, like on the New Edition story.

1040
00:58:04,480 --> 00:58:06,440
Speaker 7: We were on Twitter joking like, yo, if they did

1041
00:58:06,440 --> 00:58:08,960
Speaker 7: a Jimmy jam and Terry Lewis story, that shit could

1042
00:58:09,000 --> 00:58:10,320
Speaker 7: be a Netflix original.

1043
00:58:10,440 --> 00:58:13,480
Speaker 1: It could be like thirt episodes.

1044
00:58:14,000 --> 00:58:15,280
Speaker 2: Like Dad Ass that she could be.

1045
00:58:17,560 --> 00:58:20,720
Speaker 1: I don't even consider it, Like wedn't even have to

1046
00:58:20,720 --> 00:58:25,880
Speaker 1: be chronological. I think if you just picked thirteen experiences

1047
00:58:26,480 --> 00:58:29,080
Speaker 1: that are somewhere between ninety to two hours, I mean,

1048
00:58:29,240 --> 00:58:32,080
Speaker 1: people can handle it right for an hour?

1049
00:58:32,600 --> 00:58:33,000
Speaker 5: An hour?

1050
00:58:33,080 --> 00:58:33,320
Speaker 2: Yeah?

1051
00:58:33,680 --> 00:58:37,480
Speaker 1: Fuck it, I mean we're here for nine hours.

1052
00:58:38,400 --> 00:58:38,600
Speaker 2: Yeah.

1053
00:58:38,880 --> 00:58:45,200
Speaker 1: It's just I feel like, yes, a thirteen episode arc,

1054
00:58:45,520 --> 00:58:50,240
Speaker 1: that would be cool. Jam and Lewis, like, just that

1055
00:58:50,280 --> 00:58:56,640
Speaker 1: would be awesome. Okay, listen, we have to stop. Wait

1056
00:58:56,600 --> 00:58:58,560
Speaker 1: wait wait, wait, wait wait, just grant us because I

1057
00:58:58,600 --> 00:59:00,600
Speaker 1: know that. Look, I know you're being super like. I

1058
00:59:00,640 --> 00:59:04,680
Speaker 1: appreciate you for grating. This is a five hour interview,

1059
00:59:06,040 --> 00:59:06,600
Speaker 1: so look.

1060
00:59:06,440 --> 00:59:08,120
Speaker 2: I just want to make sure we broke the record.

1061
00:59:08,360 --> 00:59:12,400
Speaker 2: I want to. I just want to make sure.

1062
00:59:13,200 --> 00:59:18,479
Speaker 1: So look, can we all just get one question each?

1063
00:59:19,080 --> 00:59:19,760
Speaker 2: Oh man?

1064
00:59:19,920 --> 00:59:25,560
Speaker 1: Okay, one question each. Mine is rather short, and this

1065
00:59:25,640 --> 00:59:30,200
Speaker 1: goes back to nineteen eighty two. Okay, did you ever

1066
00:59:30,440 --> 00:59:36,280
Speaker 1: question the abrupt ending of I don't want to leave you.

1067
00:59:37,280 --> 00:59:38,720
Speaker 1: Did you ever question that?

1068
00:59:39,080 --> 00:59:43,600
Speaker 2: No? Even now you don't question it. No, I remember it,

1069
00:59:43,640 --> 00:59:44,680
Speaker 2: but I don't question it.

1070
00:59:47,240 --> 00:59:50,840
Speaker 1: Was that supposed to be something else or just not

1071
00:59:50,880 --> 00:59:51,800
Speaker 1: that I know of this.

1072
00:59:51,960 --> 00:59:54,000
Speaker 2: I wasn't involved, like I say, I wasn't involved in

1073
00:59:54,040 --> 00:59:56,280
Speaker 2: making the record though, so I don't know it's whatever

1074
00:59:56,320 --> 00:59:59,880
Speaker 2: it was, but never like, hey, well why did you.

1075
01:00:02,040 --> 01:00:02,200
Speaker 5: Man?

1076
01:00:02,760 --> 01:00:04,600
Speaker 2: I think the leader on the tape came up and

1077
01:00:04,640 --> 01:00:10,400
Speaker 2: that was wasted my question, who's next? Boss? Bill?

1078
01:00:11,120 --> 01:00:12,960
Speaker 4: A few years ago, there was a project you guys

1079
01:00:12,960 --> 01:00:14,920
Speaker 4: announced called the Jam and Lewis Project. I guess it

1080
01:00:14,960 --> 01:00:16,840
Speaker 4: was going to be the solo record. Is that still happening?

1081
01:00:16,960 --> 01:00:19,680
Speaker 2: Yes? And what's what's this the latest from that? Okay?

1082
01:00:19,720 --> 01:00:22,600
Speaker 2: So the latest is the project is?

1083
01:00:23,120 --> 01:00:23,200
Speaker 6: Uh?

1084
01:00:24,480 --> 01:00:28,120
Speaker 2: Pretty? You know we've been we've been working on this project,

1085
01:00:28,120 --> 01:00:32,680
Speaker 2: you could say, since the Secret album, so so we

1086
01:00:32,760 --> 01:00:35,240
Speaker 2: never we always thought it would be great to do

1087
01:00:35,280 --> 01:00:39,520
Speaker 2: our own album, but we never put aside the time

1088
01:00:39,560 --> 01:00:41,360
Speaker 2: to do it, like we would always try to kind

1089
01:00:41,360 --> 01:00:43,400
Speaker 2: of do it in between other things, and we felt

1090
01:00:43,440 --> 01:00:46,160
Speaker 2: like we were kind of selling ourselves short because you'd

1091
01:00:46,160 --> 01:00:49,040
Speaker 2: always clear the decks for a project and do it.

1092
01:00:49,040 --> 01:00:51,320
Speaker 2: And as a matter of fact, when we did Unbreakable,

1093
01:00:51,920 --> 01:00:54,080
Speaker 2: that time period was when we were going to really

1094
01:00:54,120 --> 01:00:56,760
Speaker 2: finish the Jam and Lewis record, but we put it

1095
01:00:56,800 --> 01:00:59,600
Speaker 2: aside to do Unbreakable because that was the right thing

1096
01:00:59,600 --> 01:01:06,640
Speaker 2: to do. So we are pretty much recorded and actually

1097
01:01:06,720 --> 01:01:10,919
Speaker 2: had already mixed the record, but the technology we used

1098
01:01:10,920 --> 01:01:15,320
Speaker 2: to mix, we're using the surround technology to mix the

1099
01:01:15,360 --> 01:01:19,880
Speaker 2: record and we are going to go with a different

1100
01:01:21,400 --> 01:01:24,400
Speaker 2: technology now to do it because it's been developed now

1101
01:01:24,400 --> 01:01:28,000
Speaker 2: that we've waited another couple of years. The songs won't

1102
01:01:28,040 --> 01:01:32,880
Speaker 2: be dated because the songs are all Sam Lowis. Well yeah,

1103
01:01:32,920 --> 01:01:34,320
Speaker 2: I mean they're just they don't they don't have an

1104
01:01:34,320 --> 01:01:37,480
Speaker 2: expiration date. They're not trendy. There's nothing trendy about any

1105
01:01:37,560 --> 01:01:38,160
Speaker 2: of the songs.

1106
01:01:38,440 --> 01:01:40,000
Speaker 4: They they said actually said that you guys had a

1107
01:01:40,040 --> 01:01:42,000
Speaker 4: couple of songs that you've produced on him we did.

1108
01:01:42,440 --> 01:01:45,000
Speaker 2: Are some of those going to be included? Yes, yes, sir.

1109
01:01:45,400 --> 01:01:49,640
Speaker 2: And the thing is about it is that I think

1110
01:01:50,840 --> 01:01:54,960
Speaker 2: conceptually the album is simply artists that we really like

1111
01:01:55,440 --> 01:01:59,320
Speaker 2: doing the songs, we want to hear them do. Okay.

1112
01:02:00,600 --> 01:02:06,240
Speaker 2: So Babyface is a great example of I will say

1113
01:02:06,600 --> 01:02:12,400
Speaker 2: without spoiler well not without a not even a spoiler alert.

1114
01:02:12,440 --> 01:02:14,400
Speaker 2: I just I don't like to I'm not a brag

1115
01:02:14,480 --> 01:02:16,360
Speaker 2: guy or boast guy or anything like that. But I

1116
01:02:16,400 --> 01:02:20,920
Speaker 2: will say I will say the Babyface records, the baby

1117
01:02:20,960 --> 01:02:23,000
Speaker 2: Face record, because it's just gonna be one you'll hear.

1118
01:02:23,680 --> 01:02:26,080
Speaker 2: The Babyface record you hear will be the best baby

1119
01:02:26,080 --> 01:02:34,240
Speaker 2: Face record you've heard since whatever, your favorite baby Face record, whatever, whatever,

1120
01:02:34,280 --> 01:02:36,560
Speaker 2: it was, your favorite baby Face record. And I will

1121
01:02:36,560 --> 01:02:39,000
Speaker 2: say that about all the artists on there. Tony Braxton,

1122
01:02:39,080 --> 01:02:41,200
Speaker 2: it will be the best Tony Braxton record you've heard,

1123
01:02:41,640 --> 01:02:45,040
Speaker 2: your favorite one. Mary J. Blige will be your favorite

1124
01:02:45,040 --> 01:02:48,320
Speaker 2: Mary J. Blige record you've heard. Usher record will be

1125
01:02:48,400 --> 01:02:51,480
Speaker 2: the favorite Usher record you've heard. Mariah record will be

1126
01:02:51,520 --> 01:02:54,520
Speaker 2: the best Mariah record you heard. Janet record will be

1127
01:02:54,560 --> 01:02:58,080
Speaker 2: the best Janet record you heard. And we even go

1128
01:02:58,200 --> 01:03:05,800
Speaker 2: back to Alexander on Nell, Wow s O S Band.

1129
01:03:04,760 --> 01:03:11,360
Speaker 4: The newly recorded songs they are all uh nameless songs. Okay,

1130
01:03:11,440 --> 01:03:15,880
Speaker 4: we will say, got you, got you whose whose origins

1131
01:03:16,200 --> 01:03:20,120
Speaker 4: have uh you know started at some point but are

1132
01:03:20,160 --> 01:03:23,480
Speaker 4: finishing now you know some some of them been you know.

1133
01:03:23,920 --> 01:03:25,560
Speaker 4: I'll give I give you one example, though, I'll give

1134
01:03:25,560 --> 01:03:29,080
Speaker 4: you one example, so the Alexander O'Neil song. We did

1135
01:03:29,160 --> 01:03:31,760
Speaker 4: this song as the idea of the song was a

1136
01:03:31,800 --> 01:03:35,560
Speaker 4: follow up to Saturday Love. Alex sang his.

1137
01:03:35,600 --> 01:03:42,320
Speaker 2: Part, Charlle never sang hers until Lord until six months ago.

1138
01:03:42,680 --> 01:03:48,920
Speaker 4: Wow, So eighty seven Alexander O'Neil is dueting with twenty seventeen.

1139
01:03:48,960 --> 01:03:51,080
Speaker 2: Sir. That's there you go, and that and there and

1140
01:03:51,120 --> 01:03:53,840
Speaker 2: therein lies the beauty of what the record is because

1141
01:03:54,120 --> 01:03:58,120
Speaker 2: the months. Yeah, so sometimes so sometimes that's that's just

1142
01:03:58,160 --> 01:04:01,320
Speaker 2: the way the things that things happen, and you know,

1143
01:04:01,360 --> 01:04:04,240
Speaker 2: and the technology allows us obviously to take you know,

1144
01:04:04,320 --> 01:04:06,760
Speaker 2: we have stuff all on tape, and we have analog

1145
01:04:06,840 --> 01:04:09,560
Speaker 2: tape and all that stuff, and of course we we

1146
01:04:09,640 --> 01:04:11,800
Speaker 2: digitize it and make it sound a little better, so

1147
01:04:11,840 --> 01:04:14,800
Speaker 2: that sounds good. But then the other piece of it

1148
01:04:14,840 --> 01:04:18,439
Speaker 2: is a technological piece, which is just as you could

1149
01:04:18,440 --> 01:04:20,880
Speaker 2: do with a Blu ray movie right where you listening

1150
01:04:21,360 --> 01:04:23,800
Speaker 2: to like the director's commentary, if you want to listen

1151
01:04:23,840 --> 01:04:26,200
Speaker 2: to it in that way, the way the record is made.

1152
01:04:26,560 --> 01:04:28,439
Speaker 2: We're doing that on this right the way I'll listen

1153
01:04:28,520 --> 01:04:31,120
Speaker 2: to it. Yeah, So we're doing that on this record.

1154
01:04:31,320 --> 01:04:36,200
Speaker 2: So the commentary of the artists ourselves, the engineer whatever,

1155
01:04:36,680 --> 01:04:38,400
Speaker 2: and we talk about the choices we make and so

1156
01:04:38,440 --> 01:04:39,919
Speaker 2: on and so forth. So if you want to listen

1157
01:04:39,920 --> 01:04:41,840
Speaker 2: to it like that, you can. Otherwise you can just

1158
01:04:41,920 --> 01:04:44,120
Speaker 2: listen to it as a regular album. I can't wave

1159
01:04:44,160 --> 01:04:46,320
Speaker 2: for that. Yeah, it's gonna be pretty, and we think that,

1160
01:04:46,960 --> 01:04:48,840
Speaker 2: and we think it does a few things. We think that,

1161
01:04:49,960 --> 01:04:52,040
Speaker 2: and we're going to do it in volumes because we

1162
01:04:52,080 --> 01:04:54,840
Speaker 2: actually now when people got win, we were doing it,

1163
01:04:55,080 --> 01:04:57,240
Speaker 2: then people started coming to us and going, oh wait,

1164
01:04:57,360 --> 01:04:59,600
Speaker 2: why aren't I have part of it? You know that

1165
01:04:59,680 --> 01:05:01,480
Speaker 2: kind of thing. So now we have a Now we

1166
01:05:01,520 --> 01:05:12,080
Speaker 2: have a stokely record. I feel like DJ Khaled. Yeah yeah,

1167
01:05:12,240 --> 01:05:13,960
Speaker 2: So I mean it's it's like that kind of thing.

1168
01:05:13,960 --> 01:05:16,160
Speaker 2: But and you're gonna call it the Jimmy Jamme, it's

1169
01:05:16,200 --> 01:05:17,880
Speaker 2: just gonna be. It's just gonna be. Yeah. Right now,

1170
01:05:17,880 --> 01:05:20,040
Speaker 2: it's just called Jamm and Lewis Volume one. I think

1171
01:05:20,080 --> 01:05:22,120
Speaker 2: it's what no Jam Lewis Project volume you know.

1172
01:05:22,760 --> 01:05:31,120
Speaker 1: Should be Lewis and Jam all right, Who's quickly more

1173
01:05:31,120 --> 01:05:31,920
Speaker 1: money soundtrack?

1174
01:05:32,120 --> 01:05:35,760
Speaker 7: The New Style? Was that something that you guys? Well,

1175
01:05:35,800 --> 01:05:37,520
Speaker 7: first off, is that you saying the new style?

1176
01:05:37,800 --> 01:05:38,560
Speaker 2: Is that you yes?

1177
01:05:38,920 --> 01:05:43,720
Speaker 5: Okay? And also, is that you saying, uh the blackness?

1178
01:05:46,080 --> 01:05:47,120
Speaker 2: I thought it was.

1179
01:05:47,400 --> 01:05:49,200
Speaker 1: Did you guys ever do any more kind of club

1180
01:05:49,240 --> 01:05:49,840
Speaker 1: stuff like that?

1181
01:05:50,040 --> 01:05:52,200
Speaker 7: Or was that like gonna be a side project or something?

1182
01:05:52,240 --> 01:05:53,720
Speaker 7: Was that was or was that just something I did

1183
01:05:53,760 --> 01:05:54,280
Speaker 7: for the movie?

1184
01:05:54,400 --> 01:05:58,440
Speaker 2: Okay, so that was. We did a song with Janet

1185
01:05:58,640 --> 01:06:04,200
Speaker 2: that never came out called beat Crazy, and one of

1186
01:06:04,200 --> 01:06:07,000
Speaker 2: the lines in the songs she said, control my mind

1187
01:06:08,200 --> 01:06:12,560
Speaker 2: and we just took We just took that piece and

1188
01:06:12,600 --> 01:06:14,640
Speaker 2: then we just looped it and you hear it right

1189
01:06:14,680 --> 01:06:17,600
Speaker 2: at the beginning, but it slowed down, I think, and

1190
01:06:17,640 --> 01:06:23,720
Speaker 2: then the's just saying mine Mine, and then we just

1191
01:06:23,720 --> 01:06:25,680
Speaker 2: built a track around it because they needed it for

1192
01:06:25,720 --> 01:06:26,479
Speaker 2: a scene in the movie.

1193
01:06:26,880 --> 01:06:33,240
Speaker 7: They needed uh, they.

1194
01:06:31,440 --> 01:06:32,840
Speaker 2: Just need us. They just needed and so we just

1195
01:06:32,880 --> 01:06:34,760
Speaker 2: whipped it up. It was like, literally, I don't know,

1196
01:06:34,800 --> 01:06:37,560
Speaker 2: two hours whipped this up and that was it.

1197
01:06:37,680 --> 01:06:42,720
Speaker 8: Oh wow, yeah, next I gotta go, we'll talk about

1198
01:06:42,920 --> 01:06:46,160
Speaker 8: all the hits that you know are hits straight up?

1199
01:06:46,360 --> 01:06:48,200
Speaker 8: Have you ever gotten tunes that like you kind of

1200
01:06:48,680 --> 01:06:49,919
Speaker 8: and they wind up being hits too?

1201
01:06:50,360 --> 01:06:52,680
Speaker 2: Well? Saturday Love is definitely one of them that we

1202
01:06:52,720 --> 01:06:55,360
Speaker 2: talked about that one earlier, trying to redhead step Child,

1203
01:06:55,440 --> 01:06:59,440
Speaker 2: Saturday Love Man. No, I mean, I just I just never.

1204
01:06:59,680 --> 01:07:01,960
Speaker 5: Is what those things that's so simple, you just think like, no,

1205
01:07:02,120 --> 01:07:02,840
Speaker 5: this can't be it.

1206
01:07:02,920 --> 01:07:06,800
Speaker 2: But that's totally funny, right right, we're suckers. Yeah, I'll

1207
01:07:06,840 --> 01:07:08,600
Speaker 2: take it. I love it. I get it now, I

1208
01:07:08,640 --> 01:07:10,840
Speaker 2: get it. I get it. I get white people. White

1209
01:07:10,880 --> 01:07:15,800
Speaker 2: people liked it. But no, we definitely have had some

1210
01:07:15,840 --> 01:07:17,720
Speaker 2: other ones like that. I'm just not I'm just not

1211
01:07:17,880 --> 01:07:21,200
Speaker 2: recalling them, but we've definitely had somewhere. I hadn't really

1212
01:07:21,200 --> 01:07:23,360
Speaker 2: thought that much of them, but somebody said, oh man,

1213
01:07:23,400 --> 01:07:25,000
Speaker 2: that should be the single and whatever, and we're kind

1214
01:07:25,000 --> 01:07:29,439
Speaker 2: of like, okay, and then it actually did well. Yeah,

1215
01:07:29,480 --> 01:07:35,000
Speaker 2: here's what I'm We felt pretty good about it. If

1216
01:07:35,000 --> 01:07:37,080
Speaker 2: it is in love, there's I mean, most of the

1217
01:07:37,160 --> 01:07:39,600
Speaker 2: songs we feel good about. The funny thing is when

1218
01:07:39,600 --> 01:07:42,400
Speaker 2: people come up to me sometimes and they'll say, oh man,

1219
01:07:42,440 --> 01:07:44,160
Speaker 2: I love everything you did, and I go, I don't

1220
01:07:44,160 --> 01:07:49,280
Speaker 2: even love everything I did. Everything is that everything is good.

1221
01:07:49,360 --> 01:07:52,080
Speaker 2: It's just not. I mean, that's just that's life. But

1222
01:07:52,760 --> 01:07:54,960
Speaker 2: I mean, you always have good intentions for stuff, but

1223
01:07:55,920 --> 01:07:57,800
Speaker 2: it doesn't always. It doesn't always happen. I'll tell you

1224
01:07:57,840 --> 01:08:01,240
Speaker 2: the most excruciating record to make. Was there was a hit?

1225
01:08:01,840 --> 01:08:06,240
Speaker 2: Was Karen White Romantic? Because that was the number one hit?

1226
01:08:06,400 --> 01:08:10,840
Speaker 2: Number one? Yeah. But my question the whole time we

1227
01:08:10,840 --> 01:08:12,840
Speaker 2: were making the record is why aren't alien baby Face

1228
01:08:12,880 --> 01:08:15,200
Speaker 2: making this record? It does kind of sound like a

1229
01:08:15,960 --> 01:08:19,240
Speaker 2: totally totally does I tried to make the record they

1230
01:08:19,280 --> 01:08:22,880
Speaker 2: would have made. That was the idea that was excruciating,

1231
01:08:23,200 --> 01:08:28,360
Speaker 2: and Terry was married to her that that was tough

1232
01:08:28,400 --> 01:08:31,160
Speaker 2: and nothing and nothing against Karen, but man, that was

1233
01:08:31,280 --> 01:08:34,880
Speaker 2: just an excruciating record. A project. It just was because

1234
01:08:34,880 --> 01:08:36,920
Speaker 2: it because it was a record that was an example

1235
01:08:36,960 --> 01:08:39,760
Speaker 2: of a project that I didn't feel we should be doing.

1236
01:08:40,400 --> 01:08:43,000
Speaker 2: You know. I kind of felt like, why why aren't

1237
01:08:43,479 --> 01:08:46,240
Speaker 2: alien Babyface doing the project? You know? And for whatever reason,

1238
01:08:46,280 --> 01:08:48,360
Speaker 2: they weren't doing it. But it was funny because I

1239
01:08:48,400 --> 01:08:50,479
Speaker 2: felt that way about another project, and that was when

1240
01:08:50,520 --> 01:08:53,120
Speaker 2: we did with Mary Jay. We did Loves All We

1241
01:08:53,160 --> 01:08:57,080
Speaker 2: Need and uh and everything and uh and I remember

1242
01:08:57,640 --> 01:09:00,080
Speaker 2: did do everything That's right, Yeah, and I and I

1243
01:09:00,080 --> 01:09:04,280
Speaker 2: remember when Mary came came to Minneapolis and she and

1244
01:09:04,320 --> 01:09:07,160
Speaker 2: we played her stuff, and it was the stuff we

1245
01:09:07,160 --> 01:09:10,479
Speaker 2: were playing her I thought, was like really good, but

1246
01:09:10,800 --> 01:09:14,559
Speaker 2: it was assuming that she was working with Puffy, so

1247
01:09:15,439 --> 01:09:17,800
Speaker 2: we weren't playing her any sample stuff. It was just

1248
01:09:17,840 --> 01:09:20,240
Speaker 2: like this different kind of stuff and she was like, yeah,

1249
01:09:20,240 --> 01:09:22,840
Speaker 2: that's okay, that's okay, that's okay, that's okay. And we said, well,

1250
01:09:22,840 --> 01:09:24,720
Speaker 2: what are you looking for? And she said, you know,

1251
01:09:24,800 --> 01:09:29,799
Speaker 2: something that sounds like me. And we're like, okay, well, okay,

1252
01:09:29,800 --> 01:09:33,080
Speaker 2: well here listen to this. And you know, I said,

1253
01:09:33,560 --> 01:09:35,719
Speaker 2: she said something that sounds like me, and I said

1254
01:09:35,760 --> 01:09:38,320
Speaker 2: like what and she said, you know, like you know,

1255
01:09:38,439 --> 01:09:41,040
Speaker 2: like my life, like you know, like that kind of vibe.

1256
01:09:41,080 --> 01:09:44,200
Speaker 2: And we were like, oh, but isn't Puffy doing those

1257
01:09:44,280 --> 01:09:45,880
Speaker 2: kinds of records on you? And she said, I'm not

1258
01:09:45,920 --> 01:09:50,160
Speaker 2: working with Puffy and we said oh okay in that case,

1259
01:09:50,280 --> 01:09:54,519
Speaker 2: and we put out all we need and then instantly

1260
01:09:54,560 --> 01:09:55,360
Speaker 2: that track came on.

1261
01:09:58,160 --> 01:10:01,400
Speaker 9: And she got up and started dancing and she said, oh, yeah,

1262
01:10:01,479 --> 01:10:03,600
Speaker 9: this is it. This is it right here, this is it.

1263
01:10:03,640 --> 01:10:05,599
Speaker 9: And I was like, oh you like that, okay when

1264
01:10:05,640 --> 01:10:10,679
Speaker 9: we got this other one, and she was like, oh yeah,

1265
01:10:10,760 --> 01:10:12,400
Speaker 9: this is it and we work and we've been good

1266
01:10:12,439 --> 01:10:12,840
Speaker 9: ever since.

1267
01:10:12,840 --> 01:10:15,280
Speaker 2: So y'all be beautiful for her too, though, right, yeah,

1268
01:10:15,320 --> 01:10:17,400
Speaker 2: the beautiful, Yeah, thank you.

1269
01:10:18,040 --> 01:10:20,040
Speaker 5: I'm shocked that it was on the Stella Sounds track.

1270
01:10:20,439 --> 01:10:25,719
Speaker 1: Yeah, I'm shock beautiful, I'm shocked that you guys play

1271
01:10:25,880 --> 01:10:29,599
Speaker 1: pre made work and the artist do with it because

1272
01:10:29,680 --> 01:10:33,679
Speaker 1: a lot of the time I get resistance from people,

1273
01:10:34,800 --> 01:10:38,240
Speaker 1: uh because they want it made in real time or

1274
01:10:38,280 --> 01:10:42,320
Speaker 1: to feel part of this immersive process. Sure and not

1275
01:10:42,560 --> 01:10:45,120
Speaker 1: like oh okay, let's just pull something out the you know,

1276
01:10:45,200 --> 01:10:45,880
Speaker 1: the work and.

1277
01:10:46,080 --> 01:10:48,000
Speaker 2: No, no, no, But we had done them for her

1278
01:10:49,280 --> 01:10:51,400
Speaker 2: with her in mind. We just didn't think that's what

1279
01:10:51,439 --> 01:10:54,599
Speaker 2: she wanted. We thought we just assumed. When they said

1280
01:10:54,640 --> 01:10:56,559
Speaker 2: you're gonna do you guys want to work with Mary

1281
01:10:56,640 --> 01:11:02,040
Speaker 2: j Blige, I was like yes and no because yes

1282
01:11:03,400 --> 01:11:06,280
Speaker 2: because I'm her biggest fan, and no because I'm her

1283
01:11:06,320 --> 01:11:08,960
Speaker 2: biggest fan. Like I don't want to screw it up

1284
01:11:09,400 --> 01:11:10,840
Speaker 2: with her. I don't want to be the person that

1285
01:11:10,960 --> 01:11:13,880
Speaker 2: kills Mary Jabeleish's career because she's coming off of My Life,

1286
01:11:13,880 --> 01:11:17,080
Speaker 2: which is one of my favorite records. So the way

1287
01:11:17,120 --> 01:11:19,599
Speaker 2: we approached it was like, well, if we were making

1288
01:11:19,640 --> 01:11:22,719
Speaker 2: a record with her, this Rick James sample would be dope,

1289
01:11:23,360 --> 01:11:26,840
Speaker 2: and this stylistic sample would be dope. But we know

1290
01:11:26,880 --> 01:11:29,479
Speaker 2: Puffy's already going to take care of that, so we're

1291
01:11:29,479 --> 01:11:32,000
Speaker 2: not gonna do that. But we just worked him up anyway,

1292
01:11:32,720 --> 01:11:34,519
Speaker 2: so they were ready, but they weren't off the shelf.

1293
01:11:34,560 --> 01:11:38,080
Speaker 2: We've never been off the shelf, guys, whatsoever. Never never,

1294
01:11:38,160 --> 01:11:42,160
Speaker 2: never never. We tailored, always tailored everything to the artist.

1295
01:11:42,280 --> 01:11:49,160
Speaker 2: That was always very important to us to do with Bryson. Yeah,

1296
01:11:49,200 --> 01:11:51,840
Speaker 2: except for Peobo, yeah no, but even that stuff is

1297
01:11:51,880 --> 01:11:53,960
Speaker 2: obviously Taylor because that's see, that's one of those things

1298
01:11:53,960 --> 01:11:57,200
Speaker 2: where Terry just knows what he's looking for because Terry

1299
01:11:57,360 --> 01:12:00,840
Speaker 2: was working intimately with people. I never did vocals with people.

1300
01:12:00,960 --> 01:12:02,920
Speaker 2: Terry did that, and so Terry knew what he was

1301
01:12:02,960 --> 01:12:05,600
Speaker 2: looking for and he heard it in the track, and

1302
01:12:05,640 --> 01:12:07,720
Speaker 2: the way he flipped the track was totally not what

1303
01:12:08,080 --> 01:12:11,160
Speaker 2: I was thinking for it. But it turned out real cool.

1304
01:12:11,200 --> 01:12:13,200
Speaker 2: You know. It's like it's like, Okay, damn, that wasn't

1305
01:12:13,200 --> 01:12:15,120
Speaker 2: what I was hearing. And he actually took like my

1306
01:12:15,200 --> 01:12:17,280
Speaker 2: melodies and stuff and some and some stuff, but he

1307
01:12:17,439 --> 01:12:20,600
Speaker 2: just made it just fit, you know, the end of

1308
01:12:20,640 --> 01:12:23,080
Speaker 2: the day. As long as it fits, that's the that's

1309
01:12:23,080 --> 01:12:24,920
Speaker 2: the big thing. But you're right, some people want to

1310
01:12:24,960 --> 01:12:27,640
Speaker 2: be involved. Some people just want you to hand them

1311
01:12:27,640 --> 01:12:31,280
Speaker 2: the record. There's there's I remember we worked with a

1312
01:12:31,400 --> 01:12:34,400
Speaker 2: Kisha Cole and remember she came to the studio and

1313
01:12:34,439 --> 01:12:38,519
Speaker 2: she said, yeah, she says, what am I play me something?

1314
01:12:38,520 --> 01:12:40,840
Speaker 2: And I was like, no, We're gonna make up something

1315
01:12:40,960 --> 01:12:43,360
Speaker 2: right now. Huh what do you mean? And I said, no,

1316
01:12:43,360 --> 01:12:45,160
Speaker 2: we're gonna make up something right now. Like I'm gonna

1317
01:12:45,160 --> 01:12:46,880
Speaker 2: play some stuff. See whether you like this key? You

1318
01:12:46,960 --> 01:12:49,479
Speaker 2: like this key? Yeah? Yeah, but what do we but

1319
01:12:49,520 --> 01:12:51,120
Speaker 2: where's the track? It's like, no, we're gonna make the

1320
01:12:51,160 --> 01:12:57,280
Speaker 2: track right now, like you like, please, please you. No.

1321
01:12:57,360 --> 01:12:58,960
Speaker 2: It was great and we ended up doing a song.

1322
01:12:59,320 --> 01:13:00,880
Speaker 2: Oh my god, it's slipping my mind the name of

1323
01:13:00,920 --> 01:13:03,240
Speaker 2: the record, but it was. It came out real cool,

1324
01:13:03,560 --> 01:13:05,680
Speaker 2: and at the end of it, she said, that's the

1325
01:13:05,680 --> 01:13:09,240
Speaker 2: first time ever anybody's made a record like that with me,

1326
01:13:09,840 --> 01:13:12,800
Speaker 2: like just with me, just putting input into it and actually,

1327
01:13:13,400 --> 01:13:15,040
Speaker 2: you know, doing it. Usually I just walk in and

1328
01:13:15,080 --> 01:13:16,680
Speaker 2: people play me a bunch of tracks and that's what

1329
01:13:16,720 --> 01:13:19,280
Speaker 2: I do. And I'm like, we try not to do that.

1330
01:13:19,840 --> 01:13:21,479
Speaker 2: We try to try to create it. We might have

1331
01:13:21,560 --> 01:13:25,000
Speaker 2: something on standby that we think might work, just to

1332
01:13:25,080 --> 01:13:27,479
Speaker 2: kind of jump start something if we ain't got something going.

1333
01:13:27,560 --> 01:13:31,680
Speaker 2: But nah, we liked that, you know, Taylor make it.

1334
01:13:31,720 --> 01:13:34,960
Speaker 3: You know, you know I was going to do it

1335
01:13:34,960 --> 01:13:37,559
Speaker 3: really because I didn't want to keep us here longer. Okay, fine,

1336
01:13:37,680 --> 01:13:42,559
Speaker 3: I did want to know today, like, are there any singer,

1337
01:13:42,680 --> 01:13:46,360
Speaker 3: what songwriters producers in this R and B field that

1338
01:13:46,520 --> 01:13:49,400
Speaker 3: you feel like, you know what? I feel like they

1339
01:13:49,600 --> 01:13:52,040
Speaker 3: they're taking the baton like.

1340
01:13:53,520 --> 01:13:58,080
Speaker 2: They hmm, that's a that's a great question. I don't

1341
01:13:58,439 --> 01:14:00,479
Speaker 2: feel like. I think there's a bunch of but tons,

1342
01:14:02,200 --> 01:14:07,640
Speaker 2: So I'm gonna keep mine. Uh, but other people with

1343
01:14:07,720 --> 01:14:09,240
Speaker 2: a baton, well, I mean you know.

1344
01:14:09,320 --> 01:14:11,120
Speaker 3: That are ready to that are ready to receive when

1345
01:14:11,160 --> 01:14:12,040
Speaker 3: you're ready to hand.

1346
01:14:13,360 --> 01:14:15,240
Speaker 2: I don't think I'm ever gonna hand it. I think

1347
01:14:15,280 --> 01:14:18,120
Speaker 2: I'm gonna go down with my with my baton. I

1348
01:14:18,120 --> 01:14:21,040
Speaker 2: don't you know what. I think it's I know what

1349
01:14:21,080 --> 01:14:23,479
Speaker 2: the word would be. I think in a way it's

1350
01:14:23,520 --> 01:14:25,720
Speaker 2: a little bit arrogant to think that we have a

1351
01:14:25,720 --> 01:14:28,360
Speaker 2: baton that we would hand to somebody anyway, Like I

1352
01:14:28,400 --> 01:14:29,560
Speaker 2: don't even think of it.

1353
01:14:29,720 --> 01:14:31,200
Speaker 5: So then let me rearraise this question.

1354
01:14:31,280 --> 01:14:33,840
Speaker 3: Then are there anybody Is there anybody that moves you

1355
01:14:33,880 --> 01:14:36,360
Speaker 3: in a way they that make them move you?

1356
01:14:36,479 --> 01:14:40,120
Speaker 2: Today? Makes tons of people, tons and tons of.

1357
01:14:40,120 --> 01:14:41,240
Speaker 5: People that's making the music.

1358
01:14:41,760 --> 01:14:43,559
Speaker 2: Yeah. No, there's a lot. There's a lot of people

1359
01:14:43,560 --> 01:14:46,000
Speaker 2: that I really that I really really like, but all

1360
01:14:46,040 --> 01:14:49,320
Speaker 2: for different reasons in different ways. I mean, Bruno's top

1361
01:14:49,360 --> 01:14:55,439
Speaker 2: of my list. I think Bruno is uh, Bruno is

1362
01:14:55,439 --> 01:14:59,880
Speaker 2: interesting because Bruno we actually helped Bruno with with some

1363
01:15:00,080 --> 01:15:06,040
Speaker 2: of his grooves. Yeah, and we uh free, yeah, for free. No,

1364
01:15:06,160 --> 01:15:07,720
Speaker 2: I don't mean he borrowed him from us. I mean

1365
01:15:07,760 --> 01:15:09,920
Speaker 2: we actually went into the studio with him and helped

1366
01:15:09,960 --> 01:15:11,000
Speaker 2: him with some stuff. Yeah.

1367
01:15:11,040 --> 01:15:11,439
Speaker 5: So on.

1368
01:15:13,280 --> 01:15:16,200
Speaker 2: This one, yeah, yeah, well, in fact that that song,

1369
01:15:16,680 --> 01:15:18,840
Speaker 2: oh wow, well we got. What we did for him

1370
01:15:18,920 --> 01:15:21,680
Speaker 2: is we got him out of a rut. Okay, he

1371
01:15:21,920 --> 01:15:24,280
Speaker 2: tends to. I remember the first time we ever went

1372
01:15:24,320 --> 01:15:26,640
Speaker 2: to the studio, he played us this song and I

1373
01:15:26,640 --> 01:15:28,040
Speaker 2: can't remember what it was, and he said he had

1374
01:15:28,080 --> 01:15:31,120
Speaker 2: been working on the bass part for six months and

1375
01:15:31,960 --> 01:15:34,679
Speaker 2: he played it and we were like, okay, I said, yeah, yeah,

1376
01:15:34,680 --> 01:15:36,240
Speaker 2: but something about that bass part, man, I've been trying

1377
01:15:36,240 --> 01:15:37,800
Speaker 2: to I've been dealing with this for about six months

1378
01:15:37,800 --> 01:15:40,760
Speaker 2: man and whatever, whatever, whatever. And Terry looked at me

1379
01:15:41,080 --> 01:15:43,360
Speaker 2: and I just said, plug in the bass. I plugged

1380
01:15:43,360 --> 01:15:44,920
Speaker 2: in the bass, and thirty minutes later we had the

1381
01:15:44,920 --> 01:15:47,280
Speaker 2: bass line and he said, oh my god. He said,

1382
01:15:47,280 --> 01:15:48,920
Speaker 2: that's why I need y'all and I said no. I

1383
01:15:48,920 --> 01:15:50,639
Speaker 2: said no, I said that's easy. But I said, you're

1384
01:15:50,720 --> 01:15:53,160
Speaker 2: trying to recreate what we've already done. I said, so

1385
01:15:53,160 --> 01:15:58,439
Speaker 2: that's easy. Yeah, No, I mean, I think the attention

1386
01:15:58,600 --> 01:16:02,080
Speaker 2: was that we would actually do something. The thing that happened, though, honestly,

1387
01:16:02,920 --> 01:16:07,280
Speaker 2: was he is very meticulous, like he's somewhere between Prince

1388
01:16:07,320 --> 01:16:12,639
Speaker 2: and Michael. Right, so Prince is one day like, okay,

1389
01:16:13,800 --> 01:16:15,600
Speaker 2: if a girl answers, don't hang up. For instance, on

1390
01:16:15,680 --> 01:16:19,400
Speaker 2: Vanity six, that song was started and finished the same day,

1391
01:16:19,960 --> 01:16:21,519
Speaker 2: like right, you go on, you play the bad you know,

1392
01:16:21,600 --> 01:16:23,600
Speaker 2: Terry played the bass, Prince. I think Prince played the

1393
01:16:23,960 --> 01:16:25,240
Speaker 2: no more to play the drums on that, or Prince

1394
01:16:25,240 --> 01:16:27,000
Speaker 2: played the drums, I can't remember. I think Prince might

1395
01:16:27,040 --> 01:16:29,519
Speaker 2: have played drums on that. Anyway, I put a little

1396
01:16:29,560 --> 01:16:31,719
Speaker 2: keyboard part on and he took my keyboard part off. Okay, fine,

1397
01:16:32,439 --> 01:16:35,040
Speaker 2: so they go through the you go through the whole day,

1398
01:16:35,400 --> 01:16:37,880
Speaker 2: you do the thing. He wrote it, he had the girls.

1399
01:16:37,880 --> 01:16:39,160
Speaker 2: I think the girls might have sang it on a

1400
01:16:39,160 --> 01:16:42,760
Speaker 2: different day. But the track's done and there's no rethinking

1401
01:16:42,840 --> 01:16:44,840
Speaker 2: it or whatever. You just move right on to the

1402
01:16:44,840 --> 01:16:48,800
Speaker 2: next thing. The Michael Jackson way of working is you

1403
01:16:49,800 --> 01:16:52,439
Speaker 2: do the song and at the end of the day,

1404
01:16:52,520 --> 01:16:56,960
Speaker 2: he would say, make me a dad. Okay, next day

1405
01:16:57,000 --> 01:16:59,280
Speaker 2: we come back. What do you think, Michael, can we

1406
01:16:59,320 --> 01:17:02,160
Speaker 2: turn a hand clap up a little bit? Sure? Okay,

1407
01:17:02,160 --> 01:17:04,679
Speaker 2: handclaps are up. We're good. Oh yes, make me a Dad.

1408
01:17:05,160 --> 01:17:08,400
Speaker 2: And that could go on for a week. And it's like, Michael,

1409
01:17:09,080 --> 01:17:11,680
Speaker 2: in the same place we've been, We're just turning the

1410
01:17:11,720 --> 01:17:13,840
Speaker 2: hand claps up. Are we good to go? Because we

1411
01:17:13,880 --> 01:17:16,679
Speaker 2: have other songs that we want to do right. Bruno

1412
01:17:16,800 --> 01:17:21,760
Speaker 2: is somewhere between there. Right, He's very spontaneous, but then

1413
01:17:21,840 --> 01:17:25,880
Speaker 2: he thinks it through to death. Now at the end

1414
01:17:25,880 --> 01:17:28,680
Speaker 2: of the day, the end result is great, and the

1415
01:17:28,760 --> 01:17:31,400
Speaker 2: end result comes off very spontaneous. But all of Bruno

1416
01:17:31,479 --> 01:17:34,040
Speaker 2: stuff is a series of loops. But it's just done

1417
01:17:34,200 --> 01:17:38,439
Speaker 2: very well, very subtly, and very well. Twenty four Carrot

1418
01:17:38,800 --> 01:17:41,400
Speaker 2: he played it for us. He said, I don't know.

1419
01:17:41,479 --> 01:17:43,840
Speaker 2: He said it's this, he said he knew it. He said,

1420
01:17:43,840 --> 01:17:46,160
Speaker 2: this is my single. Twenty four kid. I got the

1421
01:17:46,280 --> 01:17:49,120
Speaker 2: video concept. I got therey this is my single. We said, okay,

1422
01:17:49,960 --> 01:17:52,000
Speaker 2: he said, but I ain't. He said, the problem is

1423
01:17:52,040 --> 01:17:54,519
Speaker 2: that doesn't make me want to dance. He said, okay,

1424
01:17:55,720 --> 01:17:59,280
Speaker 2: what song makes you want to dance? And he said, well,

1425
01:17:59,280 --> 01:18:01,280
Speaker 2: I really like I can't remember even want the songs,

1426
01:18:01,320 --> 01:18:04,479
Speaker 2: he said. And I said, I said, okay, cool, I said,

1427
01:18:05,400 --> 01:18:08,160
Speaker 2: plug me in, right. So what we I just took

1428
01:18:08,240 --> 01:18:11,479
Speaker 2: the track and made it into a sound alike of

1429
01:18:11,520 --> 01:18:15,120
Speaker 2: a song he liked to dance to. And then we

1430
01:18:15,160 --> 01:18:18,120
Speaker 2: played it and he said, oh, hell yeah, and he

1431
01:18:18,160 --> 01:18:21,040
Speaker 2: loved it, right, and he said, okay, I get it.

1432
01:18:21,200 --> 01:18:23,639
Speaker 2: Then he tried to put like the chords and stuff

1433
01:18:23,680 --> 01:18:25,800
Speaker 2: that he had before back in it. And I said, well,

1434
01:18:25,840 --> 01:18:27,840
Speaker 2: now you're just going back to what you already had,

1435
01:18:28,560 --> 01:18:30,719
Speaker 2: and he says, yay, yeah, you're right, You're right, You're right, okay,

1436
01:18:30,720 --> 01:18:36,400
Speaker 2: cool right. Three four months later, twenty four Carrot is done.

1437
01:18:37,360 --> 01:18:42,000
Speaker 2: He doesn't use what we did, but he went he

1438
01:18:42,080 --> 01:18:44,280
Speaker 2: took not so much what we did, but he took

1439
01:18:44,320 --> 01:18:48,240
Speaker 2: up the kind of the inspiration or the idea of it,

1440
01:18:48,280 --> 01:18:51,160
Speaker 2: but figured out how to then incorporate what he wanted

1441
01:18:51,200 --> 01:18:53,320
Speaker 2: in the song, which were the little stabs and the

1442
01:18:53,360 --> 01:18:55,280
Speaker 2: little you know, those kinds of little things like that,

1443
01:18:56,200 --> 01:18:59,880
Speaker 2: and you know, so we didn't. So what we did.

1444
01:19:00,160 --> 01:19:02,360
Speaker 2: I think we got him unstuck from the rut and

1445
01:19:02,400 --> 01:19:04,040
Speaker 2: got him to look at it in a different way.

1446
01:19:04,120 --> 01:19:07,080
Speaker 2: But we didn't technically, we didn't produce anything. So I

1447
01:19:07,120 --> 01:19:09,120
Speaker 2: think we were just more I think, as it turned out,

1448
01:19:09,200 --> 01:19:11,240
Speaker 2: it's kind of a sounding board or whatever. And we

1449
01:19:11,280 --> 01:19:14,080
Speaker 2: did that for a few things for him, and that's fine.

1450
01:19:14,240 --> 01:19:19,479
Speaker 2: I enjoyed the process. He's amazing. I think he's probably

1451
01:19:19,520 --> 01:19:24,320
Speaker 2: my overall, my favorite dude, and he's you know, he's

1452
01:19:24,360 --> 01:19:26,240
Speaker 2: obviously an artist, but I think he's one of the

1453
01:19:26,320 --> 01:19:30,400
Speaker 2: artists that in any era would be he'd be good,

1454
01:19:30,479 --> 01:19:31,479
Speaker 2: he'd be a great artist in.

1455
01:19:31,479 --> 01:19:35,160
Speaker 1: Any Do we have everything out of our assistance?

1456
01:19:35,800 --> 01:19:37,080
Speaker 2: I mean, I still wanted to ask about that.

1457
01:19:37,200 --> 01:19:38,840
Speaker 1: I'm sorry, Steve, I forgot about you.

1458
01:19:39,120 --> 01:19:42,640
Speaker 2: Oh yes, shocker.

1459
01:19:42,360 --> 01:19:44,599
Speaker 10: You didn't forget about me. The two times I spoke tonight,

1460
01:19:44,600 --> 01:19:47,240
Speaker 10: you said, shut up. All right, that's not forgetting about

1461
01:19:47,280 --> 01:19:50,800
Speaker 10: that already. No, I have one question. Me and Bill

1462
01:19:50,840 --> 01:19:54,639
Speaker 10: Sherman over here, we recently started a singing group called

1463
01:19:54,640 --> 01:19:57,960
Speaker 10: the Sounds of Jewiness, and we could use.

1464
01:19:57,840 --> 01:20:02,240
Speaker 2: A track or two just the track or two. Just

1465
01:20:02,280 --> 01:20:06,719
Speaker 2: whip it up, Jesus Christ.

1466
01:20:06,960 --> 01:20:10,920
Speaker 4: Okay, So is it true there's a rumor going around

1467
01:20:10,960 --> 01:20:14,400
Speaker 4: that between Control album and Rhythm Nation and them wanted

1468
01:20:14,479 --> 01:20:17,559
Speaker 4: Janet to do an album with outside, with producers other

1469
01:20:17,640 --> 01:20:18,120
Speaker 4: than you guys.

1470
01:20:18,160 --> 01:20:22,519
Speaker 2: Is that true? Uh, well, there's some truth in it.

1471
01:20:22,600 --> 01:20:24,839
Speaker 2: She did. She did. She did go in the studio

1472
01:20:25,000 --> 01:20:27,800
Speaker 2: and and and make some records with some other folks

1473
01:20:28,200 --> 01:20:31,920
Speaker 2: that I know she did something with. I was just

1474
01:20:31,960 --> 01:20:37,720
Speaker 2: guessing out. Yeah, yeah, but yeah, there was a little, uh,

1475
01:20:38,400 --> 01:20:39,840
Speaker 2: I don't know what I call it. There was a

1476
01:20:39,880 --> 01:20:42,639
Speaker 2: few bumps in the road between Control and Rhythm Nation

1477
01:20:42,720 --> 01:20:47,439
Speaker 2: for sure. And uh, but Clarence Avon solved that problem.

1478
01:20:47,800 --> 01:20:50,519
Speaker 2: Mentioned his name earlier about five hours ago in the

1479
01:20:50,640 --> 01:20:55,320
Speaker 2: in the broadcast yesterday. But but no, we had we

1480
01:20:55,320 --> 01:20:58,559
Speaker 2: we you know, it was one of those interesting things where,

1481
01:20:58,680 --> 01:21:01,280
Speaker 2: you know, Janet heard we were saying something about her

1482
01:21:01,320 --> 01:21:03,240
Speaker 2: and whatever, and we heard she was saying something about

1483
01:21:03,280 --> 01:21:07,320
Speaker 2: us and whatever. And she finally called me and she said, Jimmy,

1484
01:21:07,360 --> 01:21:09,120
Speaker 2: do you want to do the record? And I say, yeah,

1485
01:21:09,240 --> 01:21:10,880
Speaker 2: you want us to do the record? She said yeah,

1486
01:21:10,880 --> 01:21:13,800
Speaker 2: And I said, okay, fine, and I called Clarence and

1487
01:21:13,840 --> 01:21:16,479
Speaker 2: I just said Clarence. I said, we want to do

1488
01:21:16,520 --> 01:21:19,320
Speaker 2: the record, so let's can we get this done? And

1489
01:21:19,400 --> 01:21:23,880
Speaker 2: Clarence called up Jerry Moss and said, Jerry, give them

1490
01:21:23,880 --> 01:21:26,720
Speaker 2: a million dollars and let's go. And that was it.

1491
01:21:27,200 --> 01:21:29,160
Speaker 2: And so we were and we were literally in the

1492
01:21:29,200 --> 01:21:31,479
Speaker 2: studio making Miss You Much, which was the first song

1493
01:21:31,520 --> 01:21:35,479
Speaker 2: we recorded on the Rhythmnation album, like in the next week.

1494
01:21:35,800 --> 01:21:40,000
Speaker 4: So the stories of songs like You Need Me, was

1495
01:21:40,000 --> 01:21:42,920
Speaker 4: that a leftover from the Rhythmnation sessions or the period

1496
01:21:42,960 --> 01:21:43,880
Speaker 4: in between.

1497
01:21:44,520 --> 01:21:47,599
Speaker 2: You Need Me? Okay, now refresh my memory. You Need

1498
01:21:47,600 --> 01:21:50,479
Speaker 2: Me ended up being a B side to Miss You Much.

1499
01:21:51,160 --> 01:21:56,360
Speaker 2: You Need Me was during the Wow that's a great question.

1500
01:21:56,400 --> 01:21:57,760
Speaker 2: When did we record that?

1501
01:21:58,640 --> 01:22:01,920
Speaker 1: Well, sounds like it's from the era, So yeah, no, no,

1502
01:22:02,000 --> 01:22:04,320
Speaker 1: it definitely it's I don't know, I don't know.

1503
01:22:04,520 --> 01:22:08,240
Speaker 2: It's probably between control it definitely. No, it definitely wasn't

1504
01:22:08,280 --> 01:22:10,840
Speaker 2: one of the Control songs, did I think so? I

1505
01:22:10,880 --> 01:22:13,320
Speaker 2: think it was. It was probably part of the Rhythm Nation.

1506
01:22:13,880 --> 01:22:15,920
Speaker 4: So I was asking if it was like a before

1507
01:22:16,040 --> 01:22:18,879
Speaker 4: Rhythm Nation actually officially started or.

1508
01:22:20,880 --> 01:22:22,760
Speaker 2: That's a really good question. I'm gonna have to I'm

1509
01:22:22,760 --> 01:22:26,080
Speaker 2: gonna have to find that out myself. I truly don't remember.

1510
01:22:25,760 --> 01:22:28,559
Speaker 4: Then, like the other BC has, like skin Game, where

1511
01:22:28,600 --> 01:22:31,360
Speaker 4: those after the album was already done, Yes, and then

1512
01:22:31,800 --> 01:22:34,599
Speaker 4: after the album was done, and these Love Groove and

1513
01:22:36,520 --> 01:22:41,120
Speaker 4: well that was the decade. Ye, those were all done

1514
01:22:41,200 --> 01:22:42,880
Speaker 4: after the album was albums were completed.

1515
01:22:42,960 --> 01:22:46,080
Speaker 2: Yeah, seventies love Groove, I remember, I remember we did that.

1516
01:22:46,080 --> 01:22:47,599
Speaker 2: That was a day. We did that in a day,

1517
01:22:48,240 --> 01:22:50,120
Speaker 2: and we just did a groove. We just did a groove.

1518
01:22:50,200 --> 01:22:54,960
Speaker 2: And I said, just talk and she said, okay, And how.

1519
01:22:54,840 --> 01:22:58,160
Speaker 1: Does that work? Especially with the interludes, and especially what

1520
01:22:59,640 --> 01:23:02,440
Speaker 1: the more? I mean we always joke about the orgasms

1521
01:23:02,520 --> 01:23:08,439
Speaker 1: every album, yeah, right, except no but well yeah, yeah, but.

1522
01:23:10,200 --> 01:23:13,160
Speaker 2: How like how hard or.

1523
01:23:14,880 --> 01:23:19,479
Speaker 1: To go from the shyness of funny how time flies,

1524
01:23:20,360 --> 01:23:24,840
Speaker 1: which I'm sure was hard to do? Was the room

1525
01:23:24,880 --> 01:23:27,439
Speaker 1: completely empty? Like how did you get that out of her?

1526
01:23:27,479 --> 01:23:30,080
Speaker 2: Yeah? The room was completely empty, like all those the

1527
01:23:30,160 --> 01:23:31,439
Speaker 2: vocals on all the I mean I did all the

1528
01:23:31,520 --> 01:23:33,719
Speaker 2: vocals on those records, and the room was always dark,

1529
01:23:33,800 --> 01:23:36,320
Speaker 2: and we always just we just I don't know, trusted

1530
01:23:36,360 --> 01:23:37,600
Speaker 2: each other. I guess I would put it like that,

1531
01:23:37,720 --> 01:23:41,240
Speaker 2: But Janna would say just the way she was, She

1532
01:23:41,320 --> 01:23:44,080
Speaker 2: would say things, and they would come out wrong, you know,

1533
01:23:44,120 --> 01:23:46,120
Speaker 2: how you say something and it comes out in a

1534
01:23:46,120 --> 01:23:48,439
Speaker 2: sexual way, or you can be you know, it can

1535
01:23:48,479 --> 01:23:53,720
Speaker 2: be misconstrued as that. Janna would always do that. And

1536
01:23:53,760 --> 01:23:58,280
Speaker 2: even on the end of Oh the end, well yeah,

1537
01:23:58,360 --> 01:24:01,920
Speaker 2: funny hout, time flies at the end of it, she's

1538
01:24:02,000 --> 01:24:07,719
Speaker 2: talking in French, right, and then she says one more

1539
01:24:07,760 --> 01:24:11,400
Speaker 2: time in American, I don't know you are any you

1540
01:24:11,400 --> 01:24:15,599
Speaker 2: hear that? So one more time was her asking did

1541
01:24:15,720 --> 01:24:16,840
Speaker 2: I want another take?

1542
01:24:17,560 --> 01:24:22,439
Speaker 5: But it sounded like Leo, I just left it.

1543
01:24:24,080 --> 01:24:32,479
Speaker 2: Mar gay ass day. Yeah it is. So there's a

1544
01:24:32,560 --> 01:24:34,479
Speaker 2: there's a lot of that kind of thing that that

1545
01:24:34,640 --> 01:24:37,240
Speaker 2: goes on. But she, you know, she's an actress. She

1546
01:24:37,240 --> 01:24:40,160
Speaker 2: can put herself in the mood for sure, and if

1547
01:24:40,200 --> 01:24:42,759
Speaker 2: the track is right, it's always but it's about the vibe.

1548
01:24:44,000 --> 01:24:47,080
Speaker 2: My favorite one of those was, because I remember I

1549
01:24:47,160 --> 01:24:51,200
Speaker 2: totally shocked people, was would you mind? Yes, would you mind?

1550
01:24:51,360 --> 01:24:54,720
Speaker 2: That's it? Yeah, yeah, would you mind? Would you mind? Was?

1551
01:24:54,760 --> 01:24:56,599
Speaker 2: Would you mind? And I'll tell you the other great

1552
01:24:56,600 --> 01:24:59,599
Speaker 2: thing about would you mind was that Rock Wilder did

1553
01:24:59,600 --> 01:25:04,080
Speaker 2: that track, and I remember when we did, I gave

1554
01:25:04,600 --> 01:25:06,639
Speaker 2: like all the producers we worked with a whole bunch

1555
01:25:06,680 --> 01:25:08,600
Speaker 2: of different producers on that record, but rock Wilder was

1556
01:25:08,640 --> 01:25:12,639
Speaker 2: the only one that actually ended up making a twenty

1557
01:25:12,760 --> 01:25:18,840
Speaker 2: year old Joe. Okay, no, no, no, no, wrote you. No,

1558
01:25:18,880 --> 01:25:21,120
Speaker 2: it wasn't all for you, it was all for you.

1559
01:25:21,439 --> 01:25:25,360
Speaker 2: It was it was all for that moment, well for you, yeah, yes, yes, yes,

1560
01:25:25,439 --> 01:25:29,040
Speaker 2: okay yeah yeah, all for you. And we did. We did.

1561
01:25:29,080 --> 01:25:30,519
Speaker 2: What we did is we did like account of a

1562
01:25:30,520 --> 01:25:32,840
Speaker 2: camp we called a flight Time summer camp. We had

1563
01:25:32,840 --> 01:25:35,000
Speaker 2: a bunch of different producers come up. We put them

1564
01:25:35,000 --> 01:25:37,719
Speaker 2: in different rooms, which kind of happens nowadays. It's funny

1565
01:25:37,760 --> 01:25:40,320
Speaker 2: everybody doses does a writing camp thing. So we did that.

1566
01:25:40,360 --> 01:25:42,120
Speaker 2: So we we put everybody in the rooms. We said,

1567
01:25:42,200 --> 01:25:44,679
Speaker 2: let's see what you come up with. And I remember

1568
01:25:45,479 --> 01:25:50,400
Speaker 2: we liked what rock Wilder had done with uh Missy

1569
01:25:50,720 --> 01:25:53,000
Speaker 2: and a couple other folks, and we were like, okay,

1570
01:25:53,240 --> 01:25:55,280
Speaker 2: we'll put you in a room. So then you say

1571
01:25:55,280 --> 01:25:58,680
Speaker 2: to him, Okay, here's what we want. We love what

1572
01:25:58,720 --> 01:26:02,479
Speaker 2: you do. Don't do that. We want you to come

1573
01:26:02,560 --> 01:26:08,320
Speaker 2: up with something different, specifically for Janet. And it's a

1574
01:26:08,360 --> 01:26:12,360
Speaker 2: what a weird thing to ask somebody, right, And so

1575
01:26:12,880 --> 01:26:14,760
Speaker 2: I remember and I said Okay, what do you need man?

1576
01:26:14,760 --> 01:26:18,519
Speaker 2: And he says, I just need an NPC and a

1577
01:26:18,920 --> 01:26:21,800
Speaker 2: XP sixty. And I can't remember the other keyboard he had,

1578
01:26:21,800 --> 01:26:23,479
Speaker 2: but that was it. I think it was XP sixty.

1579
01:26:23,520 --> 01:26:26,320
Speaker 2: So I just needed XP sixty with the with the

1580
01:26:26,360 --> 01:26:30,920
Speaker 2: Asian card and the the something card the jung. I

1581
01:26:30,960 --> 01:26:32,719
Speaker 2: didn't remember what he called it. There was two different

1582
01:26:32,800 --> 01:26:34,599
Speaker 2: kind of sound cards you could get, and he says,

1583
01:26:34,640 --> 01:26:39,519
Speaker 2: I just need these, right, And so I'm like, okay, cool.

1584
01:26:39,560 --> 01:26:41,800
Speaker 2: So these other produced I'm not even gonna mention names.

1585
01:26:41,840 --> 01:26:44,360
Speaker 2: These other producers are like bringing in orchestras, doing all

1586
01:26:44,439 --> 01:26:47,080
Speaker 2: kinds of crazy stuff in one studio, bringing in black

1587
01:26:47,880 --> 01:26:51,880
Speaker 2: at Rodney. No it ain't Rodney, black lights and fog

1588
01:26:52,040 --> 01:26:57,080
Speaker 2: machines and all kinds of craziness. No, no, not Rodney,

1589
01:26:57,439 --> 01:27:02,240
Speaker 2: and then another producer or actually set up. Producers were

1590
01:27:02,479 --> 01:27:06,160
Speaker 2: very prolific and came up with probably twenty different ideas,

1591
01:27:06,800 --> 01:27:09,680
Speaker 2: but none of them were quite They never really caught right,

1592
01:27:11,280 --> 01:27:15,600
Speaker 2: Rock Wilder, I walked next door and I hear do

1593
01:27:15,800 --> 01:27:17,400
Speaker 2: do Do Do Do Do Do Do Do doom do

1594
01:27:17,479 --> 01:27:20,280
Speaker 2: dooom boo boo boo boo boo booooo do do do

1595
01:27:20,400 --> 01:27:23,519
Speaker 2: Do Do do doo and I go, what the fuck?

1596
01:27:24,400 --> 01:27:27,320
Speaker 2: I said, dude, what is this? He said, oh, this

1597
01:27:27,400 --> 01:27:31,000
Speaker 2: is concept uh whatever? And I said okay, And I

1598
01:27:31,160 --> 01:27:33,639
Speaker 2: just called Janet right away and I said okay. I said,

1599
01:27:33,720 --> 01:27:38,400
Speaker 2: rock's the dude, listen to this right, and he had

1600
01:27:38,520 --> 01:27:40,600
Speaker 2: the kind of the thing, and we pu, you know,

1601
01:27:40,680 --> 01:27:42,200
Speaker 2: we put a couple little things on it to make

1602
01:27:42,240 --> 01:27:45,800
Speaker 2: it a little more her. But and then I gave

1603
01:27:45,920 --> 01:27:48,960
Speaker 2: her I said, I hear this melody and I said,

1604
01:27:48,960 --> 01:27:50,600
Speaker 2: but I don't. You can write it whatever it is,

1605
01:27:51,280 --> 01:27:52,880
Speaker 2: I said, but when you get to the course, it

1606
01:27:52,920 --> 01:27:55,599
Speaker 2: should just be whatever you want to do to somebody, right,

1607
01:27:56,000 --> 01:28:01,800
Speaker 2: So if you say, I just want to and I

1608
01:28:01,880 --> 01:28:05,080
Speaker 2: give her the metal, the rhythm of it. She came

1609
01:28:05,160 --> 01:28:08,800
Speaker 2: back the next day and I was like, oh, and

1610
01:28:08,880 --> 01:28:10,400
Speaker 2: we were at record plan I think in l A

1611
01:28:10,520 --> 01:28:13,760
Speaker 2: recording this and she just nailed this thing. And I

1612
01:28:13,840 --> 01:28:15,640
Speaker 2: can't remember who. It might have been Robin Thick or

1613
01:28:15,720 --> 01:28:18,960
Speaker 2: somebody was in the studio next door or something and

1614
01:28:19,120 --> 01:28:21,439
Speaker 2: came in and was like, what are you all working on?

1615
01:28:21,560 --> 01:28:23,160
Speaker 2: And it's like, oh, we got this new Janet song,

1616
01:28:23,360 --> 01:28:26,240
Speaker 2: let me check it out, and never listened. It was him,

1617
01:28:26,280 --> 01:28:28,160
Speaker 2: and I can't remember who all else was with him.

1618
01:28:28,400 --> 01:28:29,920
Speaker 2: It might have been Jordan Knight. We might have been

1619
01:28:29,920 --> 01:28:34,000
Speaker 2: working with Jordan Night. Give it to you, yes, yeah,

1620
01:28:34,400 --> 01:28:38,840
Speaker 2: cut that joint. Yeah. So anyway, they were like, oh

1621
01:28:38,880 --> 01:28:43,280
Speaker 2: my god, yeah, yeah, I'm sorry good yeah, no, no,

1622
01:28:43,360 --> 01:28:44,920
Speaker 2: but that said it was just it was just of

1623
01:28:45,400 --> 01:28:48,519
Speaker 2: all those songs that was that one is really my

1624
01:28:48,920 --> 01:28:51,880
Speaker 2: probably my favorite one of those types of records. That

1625
01:28:52,000 --> 01:28:54,920
Speaker 2: one was just so good. But man, hats off the

1626
01:28:55,040 --> 01:28:56,920
Speaker 2: rock for that one man, because he really brought some

1627
01:28:57,120 --> 01:29:00,280
Speaker 2: He did exactly what we said, we like, you do

1628
01:29:00,479 --> 01:29:03,960
Speaker 2: something that's not you, that's her that you know whatever,

1629
01:29:04,120 --> 01:29:06,400
Speaker 2: and he totally up.

1630
01:29:06,439 --> 01:29:15,360
Speaker 1: Yeah, Well, thank you very much, Jimmy jam Man, right,

1631
01:29:15,840 --> 01:29:22,080
Speaker 1: but yeah, thank you on behalf of Boss Bill Sugar,

1632
01:29:22,200 --> 01:29:25,599
Speaker 1: Steve Unpaid, Bill By.

1633
01:29:27,040 --> 01:29:33,240
Speaker 2: And Fan Tiicula. This is a special Meredith Baxter Bernie

1634
01:29:33,400 --> 01:29:37,080
Speaker 2: edition of Quest Love Supreme. We'll see you on the

1635
01:29:37,120 --> 01:29:38,080
Speaker 2: next go round. Thank you.

1636
01:29:44,640 --> 01:29:48,360
Speaker 1: West Love Supreme is a production of iHeartRadio. This classic

1637
01:29:48,439 --> 01:29:49,679
Speaker 1: episode was produced by.

1638
01:29:49,720 --> 01:29:51,160
Speaker 2: The team at Pandora.

1639
01:29:53,680 --> 01:29:56,920
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1640
01:29:57,160 --> 01:30:00,000
Speaker 1: Apple Podcasts, or wherever you listen to your favorite chip.

1641
01:30:00,040 --> 01:30:00,240
Speaker 2: It was