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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, So every day you're either going to hear

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Speaker 1: a specially pick QLs classic. Now for Part one, Part two.

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Speaker 1: In part three of my all time favorite QLs episode,

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Speaker 1: this is the legendary Jimmy Jam.

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Speaker 2: 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. We never

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Speaker 1: wanted it to end. This particular episode. We talked about

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Speaker 1: working with Michael Jackson, a lot of career advice in

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Speaker 1: running a record label, and a lot.

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Speaker 2: 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 enjoy doing it all right here it

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Speaker 1: is part three, the QLs Classic Interview with producer Jimmy Jam.

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

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Speaker 1: debate with 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 his first Okay,

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Speaker 1: so Babyface. So when they're working on Jermaine, as you

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

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Speaker 1: you know, helicopter to Havenhurst And when they first get there,

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

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

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Speaker 1: 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 Babyface and Jimmy Zeanme,

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Speaker 1: Terry Lewis.

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Speaker 2: And you know they correct him. Was like, well, you know,

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Speaker 2: we didn't do that right. It's like, I know, but

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Speaker 2: 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. Like

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Speaker 1: every song was like that sixteenth note, like off the Water,

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

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Speaker 1: feedback from him whatsoever? Or was it like in her

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Speaker 1: head like it's really going to fuck him up now?

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Speaker 2: Like there was Janet. Janet never had any sort of

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Speaker 2: he was never competitive. Oh she was competitive, but not

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Speaker 2: towards him in any way. She never had anything that

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Speaker 2: I've ever since her that she ever said that was

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Speaker 2: in any way like I'm gonna show Michael on this

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

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Speaker 2: that her. Her respect for him was way beyond any

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Speaker 2: sort of competitiveness with him. He was competitive toward her.

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

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

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Speaker 2: whole scream story. That was that. But but interestingly enough, yes,

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Speaker 2: the knowledge. I have a handwritten note from Michael that

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Speaker 2: talks about the bridge and the knowledge and the sound

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Speaker 2: that's on there, and can I can we do something

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Speaker 2: that sounds like that on the bridge of our song?

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Speaker 2: He had taped it to my keyboard. Because I wasn't there,

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

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Speaker 2: Say you still have that? I actually my brief.

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Speaker 3: Does he print or writing cursive? I'm sorry, I just

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Speaker 3: need to print.

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Speaker 2: No, this was print. I think this was a magulent cursive.

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Speaker 2: All have to you know what. I never actually, honestly,

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Speaker 2: I didn't pay attention. Maybe it is cursive. I don't know.

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Speaker 2: I didn't pay attention. I just saw the note that

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Speaker 2: just said, Jimmy jam can we use the sound that's

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Speaker 2: whatever that sound is and the knowledge, but I actually

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Speaker 2: got it. Was funny because when we were working with

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Speaker 2: with Michael uh on the on that History album, and

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Speaker 2: I remember him being obsessed with IF and he really

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Speaker 2: liked IF. And I remember saying, no, I said, yeah,

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Speaker 2: if it's cool, Michael, I said, I don't know. I said,

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Speaker 2: you know, that's the Way Love Goes was a much

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Speaker 2: bigger record it was, And I said, yeah, so that's

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Speaker 2: the Way Love Goes was like number one for eight

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Speaker 2: weeks or something. I said, you know, IF was like

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Speaker 2: top five, I said, but it wasn't. I said no,

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Speaker 2: I like, I really like that IF.

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Speaker 1: And it's like no, like that brace yourself, that that

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Speaker 1: five second stag yes, sizzle like and that's what like.

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Speaker 1: Rhythm Nason was probably the first stadium black album because

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Speaker 1: even with bad just that intro maybe the way you

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Speaker 1: make Me feel like, it didn't have the grandiose m

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Speaker 1: HM intro of every like every song was stadium ready

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Speaker 1: yeah for rhythm Na.

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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: wanted to and wanted to and always why would you

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

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Speaker 2: did 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

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Speaker 2: Janet and I my first thought was I'm calling it. No,

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

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Speaker 2: Janet 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's happening, that she's

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Speaker 2: protecting at all times. And when I say that, it

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

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

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

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

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Speaker 2: and Scream, and I remember I told Janet to come

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

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

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

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Speaker 2: a bunch of tracks together and then we just kind

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Speaker 2: of said, okay, I said, Janet, you need to just

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Speaker 2: sit here. I just need your inspiration, you know. And

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Speaker 2: so I remember when we did the track that ended

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Speaker 2: up being Scream. I remember Janet said, that's the one

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Speaker 2: he's gonna like. And I said, how do you know?

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Speaker 2: And she said, 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 run Away. Yeah, we thought that that was yo. Yeah,

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Speaker 2: we thought that was the record you know he could

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Speaker 2: have right, That's what we thought. Yeah, man, so when

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

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Speaker 2: run Away, Wow. When we did run Away, it was funny,

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Speaker 2: and we didn't know it was gonna be called runaway.

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Speaker 2: I mean obviously that the song didn't exist. It was

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

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Speaker 2: just were like, wow, this feels so nice, this is

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Speaker 2: so cool, right, And so she said, I remember, she said,

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Speaker 2: put it on the cassette, but I hope he doesn't

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Speaker 2: like it. I want it for me, And I said, okay, cool,

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Speaker 2: so sirted off. We played the songs, we went to

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Speaker 2: the Hit factory, flew to New York, went to Hit factory.

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Speaker 2: He blasted these songs super loud, and then he would say, yeah,

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Speaker 2: that sounds really good. Can I hear number two again? Please? Okay.

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Speaker 2: So they'd played number two, and they played a couple

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Speaker 2: other ones, and then he goes, Okay, I think I

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Speaker 2: think we're gonna go with number two. I really like

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Speaker 2: number two. And number two was ended up being screamed,

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Speaker 2: and Jenna looked at me like I told you so,

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Speaker 2: but also like I'm glad he didn't play so anyway,

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Speaker 2: so the next day we went to ironically Trump Tower

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

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

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

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

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Speaker 2: And 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 you know what? I honestly don't remember. I don't

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Speaker 2: 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. I was about to say,

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Speaker 2: did you write the word stop fucking with me? No,

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Speaker 2: it was it stopped pressuring me. But he wrote he

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

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Speaker 2: on screen. Okay, that was totally his thing. And even

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Speaker 2: 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 gotta get the last word.

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

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Speaker 2: the thing. And we told we told Sony, We told uh, well,

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Speaker 2: it wasn't even Sony at the time. I think it

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Speaker 2: was still CBS Records at the time, but we told him,

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Speaker 2: we said, that's the wrongest, that's the wrong record for

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Speaker 2: the first single. To me, also, I said, just strategically,

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Speaker 2: wouldn't if everybody wants that duet, why give it to

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Speaker 2: him at first? Give him something different? I said, he's

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Speaker 2: never given the whole big record as the first one

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Speaker 2: ever has throwaway song should have been and then yes,

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Speaker 2: well that's what I meant. Yeah, yeah, but I mean

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Speaker 2: but that was my thing was you are not alone.

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Speaker 2: I said, you just gotten married to Lisa Marie. You're

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Speaker 2: in love. We had already done the love thing with Janet, right.

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Speaker 2: We knew that's the way love goes was the song

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Speaker 2: for that album. That it was. It introduced, it said

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Speaker 2: what the album was, the album was not. We argued

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Speaker 2: with the record company over that. They wanted it for

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Speaker 2: the single and we're like, no, but if it's like

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Speaker 2: the last of rhythm names. But remember the last impression

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Speaker 2: you had of Janet was love will never do without you.

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Speaker 2: So going from that too, that's the way love goes

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Speaker 2: is the next logical step. And they almost talked her

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Speaker 2: out of it. Thank god for Chuck d and Hank

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Speaker 2: Shockley who we played the record for, and they told us, yeah,

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Speaker 2: that if is cool, but that that's the way love goes. Man,

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Speaker 2: it's like some shot ship. She wanted to know. I'll

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Speaker 2: tell you, I'll tell you. I'll tell you what I

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

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

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

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Speaker 2: but new Agenda with Chuck did right right, So we're

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Speaker 2: finishing up. We finished it like three in the morning

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Speaker 2: when Janet had left. Janet had left for about two

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Speaker 2: three days to meet with virgin about you know whatever.

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Speaker 2: And of course now we're the climate of biggest recording

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Speaker 2: delever Ton of pressure and whatever. When Jordan Harris and

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Speaker 2: Jeff A. Roff were the two guys who were running

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Speaker 2: Version when we were working on the album, they came

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

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

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Speaker 2: were working on IF. To crank that up. I turned

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Speaker 2: it on. They were blown away. They left. They said

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

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

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Speaker 2: the single because that's what they heard, and it was

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Speaker 2: so straight down the middle of Janet from what Janet

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Speaker 2: was on Rhythm Nation. They hadn't heard any of the

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Speaker 2: other songs, didn't know any of the concepts. So that's

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Speaker 2: the way Love Goes had a long kind of you

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Speaker 2: know life because in creating the song, because when I

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Speaker 2: did the song, I was like my whole thing was.

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Speaker 2: First of all, I'm the biggest James Brown fan ever. Right,

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Speaker 2: Papa Don't Take No Mess was one of my favorite songs.

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

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Speaker 2: put chords over it like a real song and chak

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Speaker 2: Hord changes 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: President's sample in it. I was trying to make like

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

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Speaker 2: Mary J. Blige would make, was what I was trying

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Speaker 2: to make on that record, right, but with the texture

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

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Speaker 2: was this guy named Mark Mazzetti used to work at

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Speaker 2: A and M Records, and Mark Mazzetti. Okay, so so

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Speaker 2: Mark came up. You know she she was on Virgin,

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Speaker 2: but he just he came up and he said, hey,

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Speaker 2: I know she's not on our label. Can I hear

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Speaker 2: something you're working on? And I said, oh, yeah, well

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Speaker 2: I just finished this track and I played him That's

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Speaker 2: the Way Love Goest track and he went crazy. He said,

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Speaker 2: oh my god, this is the greatest. Oh my god,

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Speaker 2: I'm so I wish I was working this record whatever whatever, anyway,

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Speaker 2: played it, played it for Janet. Janet goes, it's okay

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Speaker 2: and I said wow, I said, oh really, she said, yeah,

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Speaker 2: it's okay. So anyway, I said, okay, cool. So then

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Speaker 2: about you know, a couple of weeks later, we were

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Speaker 2: taking a break over Christmas and uh, she said, just

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Speaker 2: put everything on a cassette for me to listen to.

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Speaker 2: I said, okay, cool. So I put the track on

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Speaker 2: the cassette right when she got back. A couple of

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Speaker 2: weeks later, she landed. I said, what song do you

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Speaker 2: want to start with? She said, oh my god, that track?

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Speaker 2: That track, Oh my god. And I said, what track

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Speaker 2: are you talking about? That track you gave me? Oh

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Speaker 2: my god, the track you gave me, I said, the

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Speaker 2: one you don't like? Oh, I was no, I love

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Speaker 2: that track. Oh my god. We listened to it and over.

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Speaker 2: So something about she was in Anguila, so something about

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Speaker 2: being in Guila on the beach and whatever, and something

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Speaker 2: about it connected. And I think what also happened she

295
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Speaker 2: was over there with a bunch of her dancers and stuff,

296
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Speaker 2: and I think they all heard it and were like

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Speaker 2: kind of like what they did in the middle, and

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Speaker 2: that was kind of that. That's what I think kind

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Speaker 2: of happened over there.

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Speaker 1: So when that happened, she said tribe to or.

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

302
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Speaker 2: sort of the idea. So anyway, we actually did this

303
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Speaker 2: song and we all agreed that that was sort of

304
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Speaker 2: the direction of the album. Like that was the first

305
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Speaker 2: you know, kind of Entrea what the album was going

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Speaker 2: to be. When she went to La, we warned her,

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Speaker 2: We said, they're going to try to talk you in

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

309
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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's changed my whole perspective of that record, right if

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Speaker 2: came out. Yeah, So anyway, so now, okay, so we

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Speaker 2: fast forward. We're finishing New Agenda. So three o'clock in

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

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Speaker 2: them the two records? Thinking this 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 janis 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

333
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Speaker 2: That's the Way Love Goes? That other song? You know

334
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Speaker 2: what that song is like, that's like some shah Day shit.

335
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Speaker 2: That's like when shah Day puts a record out, you know,

336
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Speaker 2: and it is no fanfare to it. It's just like

337
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Speaker 2: she just got the CD and she just kind of

338
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Speaker 2: slips it down on the table and you go, oh,

339
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Speaker 2: what is that. Oh it's a shiny record. Let's check

340
00:20:13,680 --> 00:20:16,600
Speaker 2: that out. You know. He said, that's like that ship

341
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Speaker 2: and he said, that's something about that, and I looked

342
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Speaker 2: at her like and that was it, and that was

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

344
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Speaker 2: there and said that because then she said, she like

345
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Speaker 2: came back to her senses and she said, okay, yeah,

346
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Speaker 2: that's the way Love Goes is a single, and yeah,

347
00:20:37,760 --> 00:20:41,200
Speaker 2: it changed the whole direction of what the record would

348
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Speaker 2: have been. And so yeah, I mean, you know, there's

349
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Speaker 2: all kinds of things like that that happened. Man, it's

350
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Speaker 2: it's like it's like we can sit here and talk.

351
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Speaker 2: We ain't even got to damn two thousand have we. Which,

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

353
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Speaker 2: the of the Bull interview that we did. Whatever that was, Yeah,

354
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Speaker 2: whatever that is, And it was funny because I said, yeah,

355
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Speaker 2: but you know the problem is is that you can

356
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Speaker 2: really pick an era and spend a couple hours talking

357
00:21:14,680 --> 00:21:17,960
Speaker 2: about it if you want to go in depth with it,

358
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Speaker 2: it's tough to really do it because I said, we've

359
00:21:19,720 --> 00:21:22,600
Speaker 2: just been around too damn long. That's the that's the problem.

360
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Speaker 2: And there's a story that leads to another story that

361
00:21:25,080 --> 00:21:28,080
Speaker 2: leads to another story. But there's so many angles of

362
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Speaker 2: things of the way they turned out. At the end

363
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Speaker 2: of the day, I say about all of this, it's

364
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Speaker 2: God that does this flows through us. Luckily we've got

365
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Speaker 2: the blessing to actually do it. But I guarantee you

366
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Speaker 2: there's song, there's chord changes and songs we were talking about.

367
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Speaker 2: Somebody asked me the other day about come back to Me,

368
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Speaker 2: the bridging come back to Me.

369
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Speaker 4: It's the same as money came by love?

370
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Speaker 2: Is it? That's money can mean fine, Oh you're right, Yeah,

371
00:22:05,040 --> 00:22:15,679
Speaker 2: you're right, Yeah, you're sort of well, you're right. I mean,

372
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Speaker 2: you're right. There are there are the same There are

373
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Speaker 2: the same chords in there, absolutely the same chords. But

374
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Speaker 2: I don't know where those chords came from, right because

375
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Speaker 2: when I was doing come Back to Me, the track

376
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Speaker 2: for that, that is not where I would go for

377
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Speaker 2: a change. Like if somebody said, oh, we need a

378
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Speaker 2: B section, I wouldn't have gone to that, you know.

379
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Speaker 2: And even sometime today, you know, if somebody says, hey,

380
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Speaker 2: play such and such and such. I love the change

381
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Speaker 2: in that song, and I can't remember what it was.

382
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Speaker 2: We were Brunel Mars the other day, who, by the way,

383
00:22:49,560 --> 00:22:53,040
Speaker 2: can sing every damn song we've ever done and really well,

384
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Speaker 2: which is which is something? But we were doing I

385
00:22:56,920 --> 00:22:58,040
Speaker 2: don't know whether it was coming back to me or

386
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Speaker 2: one of the other that might have been abanded years something,

387
00:23:00,520 --> 00:23:04,320
Speaker 2: and we were he was singing, and he went to

388
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Speaker 2: the change, and I'm like going, oh wait, I don't wait.

389
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Speaker 2: What was what was I thinking that day? I don't

390
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Speaker 2: even know, but it was what whatever was planted in

391
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Speaker 2: me that day that made me come up with those changes.

392
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Speaker 2: So at the end of the day, man, it's just, uh,

393
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Speaker 2: you know, it's just a blessing. And I get to

394
00:23:22,000 --> 00:23:24,520
Speaker 2: do it with somebody who I love to see every

395
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Speaker 2: single day. And uh, but there's so many twists and

396
00:23:28,880 --> 00:23:32,960
Speaker 2: turns that you can't really get stuck on yourself about

397
00:23:33,000 --> 00:23:36,919
Speaker 2: it because there's so many other factors, man, like if

398
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Speaker 2: Chuck d wouldn't have been in our life or Hank

399
00:23:38,960 --> 00:23:41,159
Speaker 2: Shockley wouldn't have been in our life at that moment,

400
00:23:41,920 --> 00:23:44,000
Speaker 2: it would have taken a different turn, and and that

401
00:23:44,119 --> 00:23:47,440
Speaker 2: stuff we can't control, you know. So there's a lot

402
00:23:47,480 --> 00:23:49,200
Speaker 2: of good fortune that that happens.

403
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Speaker 4: What's your day to day like now?

404
00:23:50,720 --> 00:23:53,119
Speaker 5: Like in terms of you and Tary writing songs, like,

405
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Speaker 5: what's the typical day like?

406
00:23:54,880 --> 00:23:55,520
Speaker 4: In your life.

407
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Speaker 2: Wow, Well, a typical day in our life is a

408
00:23:58,280 --> 00:24:03,800
Speaker 2: lot of family kid raising. Quite honestly, we have our

409
00:24:03,880 --> 00:24:07,919
Speaker 2: kids go to the same school. Six Well, I have

410
00:24:07,960 --> 00:24:10,280
Speaker 2: a six I have sixteen year old twins and he

411
00:24:10,320 --> 00:24:13,919
Speaker 2: has a sixteen year old son. But he has a

412
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Speaker 2: thirty six year old son. You know, he's Terry has

413
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Speaker 2: been busy for a while.

414
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Speaker 1: Yeah, ain't nobody bad.

415
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Speaker 2: Sorry, but Terry. Terry taught me everything that I know

416
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Speaker 2: about parenting. And he's like the most unselfish, giving person

417
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Speaker 2: ever in life. And uh so I got a chance

418
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Speaker 2: to watch him raise his kids and then I had mine.

419
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Speaker 2: But then he remarried and had more kids, you know,

420
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Speaker 2: because he just he's the kind of person that should

421
00:24:46,680 --> 00:24:48,840
Speaker 2: should have kids. And he always said that to me

422
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Speaker 2: because I went through most of my life I figured

423
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Speaker 2: I was never going to have kids. I just I

424
00:24:52,520 --> 00:24:57,080
Speaker 2: didn't want kids. And he said, jam, you know, you

425
00:24:57,320 --> 00:24:59,720
Speaker 2: have to have kids. And I'm like why and he said,

426
00:24:59,720 --> 00:25:03,000
Speaker 2: because you have so much to office. And he says,

427
00:25:03,040 --> 00:25:07,600
Speaker 2: and somebody's got an offset all the knucklehead kids, so

428
00:25:07,800 --> 00:25:10,600
Speaker 2: you need to raise some good kids so we kind

429
00:25:10,600 --> 00:25:13,880
Speaker 2: of have some balance. And I thought, okay, Yeah, he's

430
00:25:13,880 --> 00:25:16,840
Speaker 2: absolutely right. And I always feel like with my kids,

431
00:25:17,440 --> 00:25:21,040
Speaker 2: it's like, y'all better do something with your life because

432
00:25:21,040 --> 00:25:22,040
Speaker 2: there's no there's no.

433
00:25:21,920 --> 00:25:23,520
Speaker 4: Excuse, you know.

434
00:25:24,600 --> 00:25:27,760
Speaker 2: So that's that's the thing. So anyway, a lot of

435
00:25:27,800 --> 00:25:31,960
Speaker 2: our life is being uber driving kids to school in back.

436
00:25:32,000 --> 00:25:34,080
Speaker 2: My daughter just got her license, so that's scary as

437
00:25:34,080 --> 00:25:37,800
Speaker 2: she's sixteen. I have an older son at Arizona State

438
00:25:38,359 --> 00:25:42,280
Speaker 2: University and he's I think going to transfer ad end

439
00:25:42,280 --> 00:25:44,040
Speaker 2: of the year maybe, but we'll see whatever he wants

440
00:25:44,080 --> 00:25:46,439
Speaker 2: to do. But I mean a lot of it is

441
00:25:46,520 --> 00:25:49,360
Speaker 2: just spending kids time. The nice thing is I wake

442
00:25:49,440 --> 00:25:52,040
Speaker 2: up and now the way studios are studios in your

443
00:25:52,119 --> 00:25:55,199
Speaker 2: laptop now. So I have an office at home, and

444
00:25:55,280 --> 00:25:58,000
Speaker 2: anytime I come up with an idea, and thank goodness,

445
00:25:58,000 --> 00:26:01,919
Speaker 2: the idea is just keep coming for some reason, and

446
00:26:01,960 --> 00:26:04,119
Speaker 2: I can just walk over to my laptop and I

447
00:26:04,160 --> 00:26:05,879
Speaker 2: have my little keyboard and stuff, and I can just

448
00:26:05,920 --> 00:26:09,040
Speaker 2: bang an idea out. And sometimes I don't even develop it.

449
00:26:09,080 --> 00:26:11,200
Speaker 2: I just kind of I just kind of put a

450
00:26:11,200 --> 00:26:12,919
Speaker 2: little idea down and I just kind of leave it.

451
00:26:13,280 --> 00:26:16,880
Speaker 2: And then what happens most of the time is Terry

452
00:26:17,400 --> 00:26:22,000
Speaker 2: will take my hard drive and he'll say, hey, jam

453
00:26:22,080 --> 00:26:24,280
Speaker 2: let me get something off to your hard drive. Okay, cool.

454
00:26:24,480 --> 00:26:27,440
Speaker 2: He'll go through, listen to everything, and the next thing,

455
00:26:27,480 --> 00:26:30,520
Speaker 2: you know, we'll have We just did a People Bryson album, Wow,

456
00:26:30,920 --> 00:26:33,399
Speaker 2: And he pulled some songs off of my hard drive

457
00:26:33,960 --> 00:26:37,440
Speaker 2: that I swear to god he because we were trying

458
00:26:37,440 --> 00:26:39,359
Speaker 2: to well, we never talked about how we work together,

459
00:26:39,400 --> 00:26:43,000
Speaker 2: but this is this is one example. So he said, man,

460
00:26:43,200 --> 00:26:45,680
Speaker 2: you got I'm we need some stuff for people. Man,

461
00:26:45,680 --> 00:26:47,800
Speaker 2: but I want it to be like R and B.

462
00:26:47,920 --> 00:26:49,680
Speaker 2: But it's got to be forward, you know, it's got

463
00:26:49,680 --> 00:26:51,960
Speaker 2: to be whatever whatever. And it's like, okay, cool. He said,

464
00:26:52,000 --> 00:26:53,720
Speaker 2: you got anything like that? And I said, nine got

465
00:26:53,720 --> 00:26:56,400
Speaker 2: anything like that? I said, but I'll figure something out.

466
00:26:56,600 --> 00:26:59,639
Speaker 2: So anyway, he takes my hard drive, he goes down

467
00:26:59,720 --> 00:27:02,800
Speaker 2: to it, he records people. He comes back two songs

468
00:27:02,800 --> 00:27:05,760
Speaker 2: that I had done I don't know, five years ago

469
00:27:05,880 --> 00:27:08,040
Speaker 2: or something, just as kind of a thing. One of

470
00:27:08,080 --> 00:27:12,520
Speaker 2: them I was singing on, which was pretty bad. And

471
00:27:12,520 --> 00:27:14,960
Speaker 2: and anyway, he's got people on these songs. These are

472
00:27:15,000 --> 00:27:19,040
Speaker 2: like I probably are singles on the album. And but

473
00:27:19,320 --> 00:27:21,480
Speaker 2: he hears it and he goes, I mean one of

474
00:27:21,520 --> 00:27:23,520
Speaker 2: them he played for people and people like lost his mind.

475
00:27:23,560 --> 00:27:26,639
Speaker 2: He said, oh my god, I love this, and so

476
00:27:27,040 --> 00:27:30,520
Speaker 2: Terry's like, okay, yeah, you know, so sometimes it just

477
00:27:30,560 --> 00:27:32,680
Speaker 2: happens like that. But that's the great thing about having

478
00:27:32,720 --> 00:27:35,960
Speaker 2: a partner, you know. Even that's even we talked about

479
00:27:35,960 --> 00:27:38,240
Speaker 2: a little bit earlier. What have you done for me lately?

480
00:27:38,960 --> 00:27:42,119
Speaker 2: So Terry walked in the studio when I was cutting

481
00:27:42,119 --> 00:27:46,560
Speaker 2: the track, and the part that ended up being used

482
00:27:46,640 --> 00:27:50,159
Speaker 2: was actually the bridge to the song. It was like

483
00:27:50,200 --> 00:27:54,840
Speaker 2: a whole different song. Wait what what It was a

484
00:27:54,840 --> 00:27:59,000
Speaker 2: whole different song, but the bridge went ding ding ding

485
00:27:59,080 --> 00:28:01,920
Speaker 2: ding ding ding thin thing. So what is your name?

486
00:28:02,600 --> 00:28:04,920
Speaker 2: I don't even remember now, I don't remember what the

487
00:28:04,960 --> 00:28:06,560
Speaker 2: main part of the song is. I just know Terry

488
00:28:06,600 --> 00:28:10,640
Speaker 2: walked in and he said, oh I like that, dun

489
00:28:10,680 --> 00:28:12,080
Speaker 2: I like that. And I said, oh, no, that's just

490
00:28:12,119 --> 00:28:14,160
Speaker 2: the bridge of the song, Terry. The real song goes

491
00:28:14,240 --> 00:28:18,000
Speaker 2: like this. And he said, no, no, no, no, just

492
00:28:18,160 --> 00:28:19,920
Speaker 2: right to that bridge. You know what he told you? Right?

493
00:28:27,119 --> 00:28:29,760
Speaker 6: I have a question, have you ever had to deal

494
00:28:29,800 --> 00:28:32,399
Speaker 6: with writer's block or does having a partner kind of

495
00:28:32,560 --> 00:28:33,320
Speaker 6: prevent that from him?

496
00:28:33,560 --> 00:28:36,200
Speaker 2: It helps, It helps a lot because normally we don't

497
00:28:36,240 --> 00:28:41,880
Speaker 2: have it at the same time. But yeah, you definitely

498
00:28:41,880 --> 00:28:44,040
Speaker 2: go through writer's block. You go through I mean, we've

499
00:28:44,120 --> 00:28:45,800
Speaker 2: done it so long now that we've gone through a

500
00:28:45,800 --> 00:28:47,920
Speaker 2: ton of periods where we just thought, oh, we're never

501
00:28:47,960 --> 00:28:49,960
Speaker 2: ever going to write another song again. It's just it

502
00:28:50,120 --> 00:28:53,880
Speaker 2: just ain't there. Terry went through it for a while,

503
00:28:54,160 --> 00:28:57,000
Speaker 2: and I remember though, it was because the stuff that

504
00:28:57,200 --> 00:29:03,800
Speaker 2: was being offered us to do was not inspiring. And

505
00:29:04,000 --> 00:29:10,120
Speaker 2: who did you say no to? Oh? Many people, many, many, many,

506
00:29:10,160 --> 00:29:18,680
Speaker 2: many many people. Everyone, not everyone, huh Stevie Wonder. No,

507
00:29:18,720 --> 00:29:21,280
Speaker 2: we never said who did you say you felt didn't

508
00:29:21,360 --> 00:29:22,280
Speaker 2: make sense to do?

509
00:29:22,800 --> 00:29:24,680
Speaker 1: Like the Prince come to you guys one day and

510
00:29:24,800 --> 00:29:27,320
Speaker 1: like you guys got something or I mean like no,

511
00:29:27,400 --> 00:29:29,920
Speaker 1: we actually were Michael Jackson's situation.

512
00:29:30,000 --> 00:29:36,480
Speaker 2: Like well, I mean early early on Madonna, Donald Ritchie

513
00:29:37,080 --> 00:29:40,600
Speaker 2: at one point in time, I mean in the no

514
00:29:40,680 --> 00:29:42,800
Speaker 2: because he wanted one song and we wanted to do

515
00:29:43,440 --> 00:29:45,400
Speaker 2: more than one song. We didn't feel like we could

516
00:29:45,400 --> 00:29:50,000
Speaker 2: do oh dance initially well initially right around that, right

517
00:29:50,080 --> 00:29:52,280
Speaker 2: after that, probably right after Dancing on the ceiling or

518
00:29:52,320 --> 00:29:54,600
Speaker 2: right around that time. Yeah, I mean he was, he

519
00:29:54,720 --> 00:29:57,200
Speaker 2: was huge, but we just didn't feel like we were

520
00:29:57,200 --> 00:29:59,320
Speaker 2: going to make an impact with one song that we didn't.

521
00:29:59,360 --> 00:30:01,120
Speaker 2: When we thought lot of him, we didn't think of

522
00:30:01,200 --> 00:30:04,560
Speaker 2: him as one song. We thought of him as the

523
00:30:04,600 --> 00:30:07,600
Speaker 2: Commodore's linel Rich album. We thought of him as the

524
00:30:07,680 --> 00:30:11,440
Speaker 2: you know, the yeah, oh we did, you know, but

525
00:30:11,520 --> 00:30:13,600
Speaker 2: we did, though, we did an album with him that

526
00:30:13,720 --> 00:30:25,000
Speaker 2: did absolutely nothing. What wait we stop red headphone? Man?

527
00:30:25,760 --> 00:30:29,640
Speaker 2: I know about this? Louder Louder than words? Right? Uh?

528
00:30:30,240 --> 00:30:32,040
Speaker 2: What's a lot of the world? Yeah, great cover? Yeah,

529
00:30:32,040 --> 00:30:35,040
Speaker 2: that's right. You did the entire album, no, no, but we

530
00:30:35,080 --> 00:30:39,080
Speaker 2: did the great the good songs on there, which so

531
00:30:39,120 --> 00:30:42,160
Speaker 2: don't so don't want to lose you? Okay, you got

532
00:30:42,200 --> 00:30:45,720
Speaker 2: that on your on your laptop of yeah songs, look,

533
00:30:45,760 --> 00:30:48,760
Speaker 2: so don't want to lose you now. And we did

534
00:30:48,800 --> 00:30:51,560
Speaker 2: a song called say I Do, which he actually got

535
00:30:51,600 --> 00:30:54,480
Speaker 2: married to when he got married, say I Do. And

536
00:30:54,520 --> 00:30:57,960
Speaker 2: we did a song that one of my favorites called

537
00:30:59,200 --> 00:31:03,680
Speaker 2: take You Down that we actually sampled. Uh. I think

538
00:31:03,680 --> 00:31:07,400
Speaker 2: it was What's the Name of Ecstasy by the Ohio? Wow?

539
00:31:07,520 --> 00:31:13,320
Speaker 2: What wait? Louder than words? Yeah, louder than words? What

540
00:31:13,480 --> 00:31:18,720
Speaker 2: us this? So here's so, Here's the funny thing about

541
00:31:18,760 --> 00:31:21,280
Speaker 2: Lionel is that when he finally did come to us,

542
00:31:21,320 --> 00:31:22,720
Speaker 2: and we said, no, we want to do more than

543
00:31:22,720 --> 00:31:25,440
Speaker 2: one song, and he said, okay, cool, He said, I

544
00:31:25,520 --> 00:31:27,680
Speaker 2: get it. Whatever, I'll come to Minneappol. It was a

545
00:31:27,720 --> 00:31:29,920
Speaker 2: whole different Linel at that point, right, I will come

546
00:31:29,960 --> 00:31:32,120
Speaker 2: to Minneapolis, I'll do I'll work with you guys, whatever

547
00:31:32,120 --> 00:31:34,440
Speaker 2: you guys want to do. We said, hey, we miss

548
00:31:34,640 --> 00:31:38,600
Speaker 2: the linel the Commodore's Lionel. Can we do a Commodore's

549
00:31:38,640 --> 00:31:42,560
Speaker 2: Lionel song? And he said yeah, yeah, he said absolutely,

550
00:31:42,640 --> 00:31:45,280
Speaker 2: we got it. We got it, and so I remember

551
00:31:45,320 --> 00:31:47,080
Speaker 2: when we played it for him, and I think I

552
00:31:47,120 --> 00:31:50,400
Speaker 2: had sung the demo, which not very good, and he

553
00:31:50,720 --> 00:31:53,240
Speaker 2: started cracking up. He just laughed and I said, yeah,

554
00:31:53,280 --> 00:31:55,960
Speaker 2: I know, I don't sing really good and he said, no, man,

555
00:31:56,000 --> 00:31:58,440
Speaker 2: it ain't that. He said, what's weird about it is

556
00:31:58,480 --> 00:32:04,360
Speaker 2: that that is so me. But I can't write that song.

557
00:32:05,200 --> 00:32:07,960
Speaker 2: You guys can write it. I can't write that song anymore.

558
00:32:08,560 --> 00:32:10,600
Speaker 2: But the fact that you all wrote that for me,

559
00:32:10,840 --> 00:32:14,720
Speaker 2: he said, I'm totally with it. So anyway, that album

560
00:32:14,760 --> 00:32:19,640
Speaker 2: got caught up with I remember a record company thing

561
00:32:19,760 --> 00:32:21,520
Speaker 2: with pol I think it was PolyGram at the time,

562
00:32:22,000 --> 00:32:23,560
Speaker 2: and it just kind of got caught up in a

563
00:32:23,600 --> 00:32:25,920
Speaker 2: bunch of in a bunch of crap and we actually

564
00:32:25,920 --> 00:32:29,280
Speaker 2: played with him at the PolyGram convention. Okay, so that

565
00:32:29,440 --> 00:32:32,480
Speaker 2: was cool, but you know, I mean, that's for me,

566
00:32:32,640 --> 00:32:36,200
Speaker 2: the greatest compliment that we get is when we got

567
00:32:36,200 --> 00:32:38,680
Speaker 2: a chance to work with the classic artists, the people

568
00:32:38,760 --> 00:32:40,520
Speaker 2: like we grew up with, and we got to work

569
00:32:40,520 --> 00:32:42,960
Speaker 2: with Barry White, and we got to work with Barry

570
00:32:43,000 --> 00:32:45,080
Speaker 2: White was the best. We played a song for Barry White.

571
00:32:45,120 --> 00:32:47,720
Speaker 2: We did the song called come On for Barry White,

572
00:32:48,640 --> 00:32:50,960
Speaker 2: and you know, we did the whole big long love

573
00:32:51,040 --> 00:32:56,440
Speaker 2: unlimited intro and the whole big thing right, and we

574
00:32:56,480 --> 00:32:59,920
Speaker 2: said when it got done, we say, hey, what do

575
00:32:59,960 --> 00:33:07,240
Speaker 2: you think man? And he said, sounds like me. And

576
00:33:07,360 --> 00:33:09,200
Speaker 2: that's that's the best complim. When we did a song

577
00:33:09,240 --> 00:33:11,600
Speaker 2: called You're All I Need for the Isisley Brothers, and

578
00:33:11,880 --> 00:33:14,440
Speaker 2: I remember Ernie was listening to it and he said, hey, man,

579
00:33:14,480 --> 00:33:17,280
Speaker 2: you got an acoustic guitar and we were like, yeah, yeah.

580
00:33:17,320 --> 00:33:19,440
Speaker 2: He said, man, man, hook me up. Hooked me up.

581
00:33:19,520 --> 00:33:20,840
Speaker 2: He said, I already know where this is going. I

582
00:33:20,840 --> 00:33:23,720
Speaker 2: already know where the chord changes are going. And when

583
00:33:23,800 --> 00:33:26,080
Speaker 2: you do that and you like somebody so much, but

584
00:33:26,120 --> 00:33:28,080
Speaker 2: you can kind of get into their heads and make

585
00:33:28,160 --> 00:33:32,320
Speaker 2: them feel like the song is for them. That's the

586
00:33:32,360 --> 00:33:34,400
Speaker 2: best man, particularly with you know, like I say, with

587
00:33:34,400 --> 00:33:36,560
Speaker 2: the classic artists, because you have a chance to actually

588
00:33:36,600 --> 00:33:39,440
Speaker 2: study and know and as a fan, you know, just

589
00:33:39,480 --> 00:33:42,479
Speaker 2: with anybody, you know where they went wrong, where they

590
00:33:42,520 --> 00:33:44,360
Speaker 2: made the left turn. You just talked about it. With

591
00:33:44,400 --> 00:33:46,960
Speaker 2: Michael he made a left turn at one point and

592
00:33:47,000 --> 00:33:50,920
Speaker 2: he got into Rhythm Nationland and he never recovered that

593
00:33:51,120 --> 00:33:53,240
Speaker 2: was his left turn that he made. Or it can

594
00:33:53,280 --> 00:33:55,600
Speaker 2: be any of your favorite artists. It's like, ok, they

595
00:33:55,600 --> 00:33:57,000
Speaker 2: get to a certain point, then they make a left

596
00:33:57,000 --> 00:33:58,920
Speaker 2: turn and it's like, if you can just bring them back.

597
00:33:59,200 --> 00:34:01,000
Speaker 2: We worked with When It Fire. We did a song

598
00:34:01,080 --> 00:34:05,400
Speaker 2: called Pure Elimination. Okay, and that's the last record by

599
00:34:05,440 --> 00:34:08,160
Speaker 2: the way that Maurice White sang on and we insisted

600
00:34:08,520 --> 00:34:09,160
Speaker 2: did he sing?

601
00:34:09,200 --> 00:34:11,360
Speaker 4: And that sounded like that was a great that was

602
00:34:11,400 --> 00:34:12,000
Speaker 4: a great song.

603
00:34:12,120 --> 00:34:14,080
Speaker 2: But the point was so earth Wind and Fire comes

604
00:34:14,120 --> 00:34:15,680
Speaker 2: to us and they go, man, we want to get

605
00:34:15,719 --> 00:34:17,520
Speaker 2: back on the radio, and we were like, you're on

606
00:34:17,560 --> 00:34:20,719
Speaker 2: the radio all the time. The reasons that's the way

607
00:34:20,800 --> 00:34:24,239
Speaker 2: to worcept them. You're on the radio. No no, no,

608
00:34:24,280 --> 00:34:25,839
Speaker 2: we want you know, we want to be on the radio.

609
00:34:25,880 --> 00:34:27,719
Speaker 2: I said, no, no, So what does it tell you

610
00:34:27,760 --> 00:34:29,880
Speaker 2: that those songs are being played on the radio? So

611
00:34:29,920 --> 00:34:32,160
Speaker 2: what does radio want to hear from Earth, Wind and

612
00:34:32,200 --> 00:34:36,040
Speaker 2: Fire those type of songs. And so we did Pure

613
00:34:36,040 --> 00:34:38,560
Speaker 2: Gold and you know it was a very popular record

614
00:34:38,600 --> 00:34:39,439
Speaker 2: in the whole thing.

615
00:34:45,800 --> 00:34:47,960
Speaker 5: Yeah, man, y'all, you guys have always kind of been

616
00:34:48,080 --> 00:34:50,720
Speaker 5: like I can compare You'll call you like the Shang

617
00:34:50,840 --> 00:34:51,520
Speaker 5: Song of.

618
00:34:51,840 --> 00:34:53,879
Speaker 4: Music because like.

619
00:34:56,200 --> 00:35:00,759
Speaker 5: Mott was the character who could morphine to like any

620
00:35:00,800 --> 00:35:04,960
Speaker 5: of the other characters. Because the record y'all did disrespectful

621
00:35:04,960 --> 00:35:08,000
Speaker 5: for Mary Jay. Yes, I would have bet my firstborn

622
00:35:08,080 --> 00:35:09,600
Speaker 5: child at Rich Harrison did that record?

623
00:35:09,680 --> 00:35:11,640
Speaker 2: Right? And love Rich Harison?

624
00:35:11,800 --> 00:35:13,799
Speaker 5: I mean, and I was just so I was just

625
00:35:13,840 --> 00:35:16,960
Speaker 5: curious as to how you channeled that, Like where does

626
00:35:17,000 --> 00:35:17,560
Speaker 5: that come from?

627
00:35:17,640 --> 00:35:18,799
Speaker 4: Like in order to get it?

628
00:35:18,800 --> 00:35:22,279
Speaker 2: It comes from it comes from Uh, it comes from

629
00:35:22,520 --> 00:35:28,840
Speaker 2: respect of of people like that of Rich Harrison. I

630
00:35:28,840 --> 00:35:35,719
Speaker 2: remember hearing what was the record Amrie one thing, No, No, No,

631
00:35:35,760 --> 00:35:40,440
Speaker 2: the very first Fall in Love? Oh my god. Okay,

632
00:35:40,719 --> 00:35:48,560
Speaker 2: so of records that changed my life as far as

633
00:35:48,640 --> 00:35:53,080
Speaker 2: just appreciation of production and the songs and what that

634
00:35:53,239 --> 00:35:55,279
Speaker 2: was one of them. I mean there's there's probably I mean,

635
00:35:55,320 --> 00:35:57,120
Speaker 2: I don't know, I've never I always think about it,

636
00:35:57,120 --> 00:35:58,640
Speaker 2: but then I never do it. But like there's certain

637
00:35:58,680 --> 00:36:01,960
Speaker 2: songs on You by the way, well, there's certain songs

638
00:36:02,000 --> 00:36:05,120
Speaker 2: that there's certain songs in my life they'd really changed

639
00:36:05,120 --> 00:36:07,279
Speaker 2: and I go back, I can go back, way way far.

640
00:36:07,400 --> 00:36:11,120
Speaker 2: But I mean I remember happening on to a Brenda Russell.

641
00:36:10,880 --> 00:36:16,279
Speaker 7: Album, right, so good okay, and think it over, and

642
00:36:16,320 --> 00:36:19,279
Speaker 7: those songs on that, those major seventh chords on that record,

643
00:36:19,320 --> 00:36:21,799
Speaker 7: in the way it's put together changed the way I

644
00:36:21,840 --> 00:36:23,720
Speaker 7: wrote music totally.

645
00:36:23,840 --> 00:36:27,480
Speaker 2: Right, I can think of hearing just trying to think

646
00:36:27,480 --> 00:36:29,239
Speaker 2: it's something to come to mind. Just a Touch of

647
00:36:29,280 --> 00:36:34,240
Speaker 2: Love by Slave totally changed the way that whole that drum,

648
00:36:34,320 --> 00:36:39,839
Speaker 2: that Steve Arrington with that little hiccup tie hat thing

649
00:36:40,360 --> 00:36:42,360
Speaker 2: that you know ended up watching You and all that

650
00:36:42,440 --> 00:36:45,120
Speaker 2: other stuff. But just to Touch of Lovers Man, that

651
00:36:45,320 --> 00:36:47,719
Speaker 2: was such an amazing record and her and star Leading

652
00:36:47,800 --> 00:36:51,000
Speaker 2: Young's voice and that whole thing was just amazing. Right,

653
00:36:51,040 --> 00:36:54,960
Speaker 2: So there's certain records like that that just do that

654
00:36:55,000 --> 00:36:58,400
Speaker 2: to me. And so yeah, so the Amaree record did

655
00:36:58,480 --> 00:37:01,359
Speaker 2: that to me. That record was just like come on

656
00:37:01,600 --> 00:37:05,400
Speaker 2: so and the My Life album by mary Ja was

657
00:37:05,440 --> 00:37:08,239
Speaker 2: like that, Like I stopped everybody in our in the

658
00:37:08,280 --> 00:37:10,799
Speaker 2: studio and made them listen to that album, like you

659
00:37:10,920 --> 00:37:13,560
Speaker 2: gotta listen to this. You liked it. I loved it.

660
00:37:14,440 --> 00:37:15,160
Speaker 2: That's crazy.

661
00:37:15,760 --> 00:37:18,000
Speaker 1: That's the first day we met, by the way, or

662
00:37:18,000 --> 00:37:21,160
Speaker 1: at least that I remember, I am, yeah in DC.

663
00:37:22,080 --> 00:37:25,640
Speaker 4: Really I loved it, loved I didn't believe that again,

664
00:37:25,760 --> 00:37:26,279
Speaker 4: I can see it.

665
00:37:28,040 --> 00:37:31,080
Speaker 2: Why wouldn't I like it? Well because.

666
00:37:32,360 --> 00:37:33,120
Speaker 4: It was karaoke.

667
00:37:33,719 --> 00:37:37,560
Speaker 1: It broke so many rules, Like we were like just

668
00:37:37,760 --> 00:37:41,279
Speaker 1: that month of us being in a van and analyzing

669
00:37:41,320 --> 00:37:44,759
Speaker 1: every record as we're going from gig to gig, we

670
00:37:45,000 --> 00:37:48,400
Speaker 1: got My Life record. We were just dumbfound it because

671
00:37:48,600 --> 00:37:52,560
Speaker 1: all we kept asking was is this allowed?

672
00:37:54,440 --> 00:37:55,120
Speaker 2: She allowed it?

673
00:37:55,160 --> 00:37:57,520
Speaker 1: Now if it were rappers singing over Everybody Loves the

674
00:37:57,520 --> 00:37:58,319
Speaker 1: Sunshine and be.

675
00:37:58,280 --> 00:37:59,720
Speaker 2: Like, okay, that's normal.

676
00:38:00,239 --> 00:38:04,120
Speaker 1: But we never heard a singer sing over break theeas

677
00:38:05,040 --> 00:38:09,480
Speaker 1: And we didn't know how to feel about that record,

678
00:38:09,600 --> 00:38:13,759
Speaker 1: like we were just like we just kept asking. Well,

679
00:38:14,520 --> 00:38:18,200
Speaker 1: soon thereafter I was like, if you ask if this

680
00:38:18,360 --> 00:38:23,000
Speaker 1: is allowed, then it must be right.

681
00:38:23,280 --> 00:38:25,320
Speaker 5: Because she started because she was kind of on the

682
00:38:25,760 --> 00:38:28,960
Speaker 5: what's the four one one remixes. That was kind of

683
00:38:29,000 --> 00:38:31,239
Speaker 5: the dress rehearsal for My life because that was when

684
00:38:31,280 --> 00:38:31,840
Speaker 5: she started.

685
00:38:32,640 --> 00:38:32,799
Speaker 2: No.

686
00:38:32,880 --> 00:38:36,480
Speaker 1: But we just I never thought like, Okay, I'm listening

687
00:38:36,520 --> 00:38:39,920
Speaker 1: to everybody loves the Sunshine. She's just changing like it was.

688
00:38:40,080 --> 00:38:43,120
Speaker 1: I was so conflicted to be happy. Yeah, I was

689
00:38:43,120 --> 00:38:44,319
Speaker 1: so conflicted that.

690
00:38:47,560 --> 00:38:47,759
Speaker 2: Jam.

691
00:38:47,880 --> 00:38:49,960
Speaker 8: Can you still listen to records and not listen to

692
00:38:49,960 --> 00:38:52,239
Speaker 8: them clinically? I always ask these guys that, like, can

693
00:38:52,280 --> 00:38:53,120
Speaker 8: you just listen to.

694
00:38:53,080 --> 00:38:56,600
Speaker 2: A record I analyze everything and.

695
00:38:57,360 --> 00:39:00,319
Speaker 8: Just hear the goodness, the emotion that it looks side

696
00:39:00,320 --> 00:39:02,880
Speaker 8: of the technicalities of the break b how many.

697
00:39:02,960 --> 00:39:08,080
Speaker 2: Sort of That's a great question. I think I can.

698
00:39:08,400 --> 00:39:12,480
Speaker 2: I definitely get the emotion of records. I was listening. Ironically,

699
00:39:13,880 --> 00:39:17,000
Speaker 2: there's a record by there's a guy like an EDM,

700
00:39:17,040 --> 00:39:21,200
Speaker 2: guy like Porter Robinson, and I love his chord structures

701
00:39:21,239 --> 00:39:23,839
Speaker 2: and his textures that he does. And there's a song

702
00:39:23,880 --> 00:39:26,800
Speaker 2: he had out about four or five years ago. No,

703
00:39:27,040 --> 00:39:28,719
Speaker 2: it wasn't even four five years ago. It's maybe two

704
00:39:28,760 --> 00:39:31,359
Speaker 2: or three years ago that I remember he played at

705
00:39:31,360 --> 00:39:33,560
Speaker 2: Coachella and it was the first time I taken my

706
00:39:33,640 --> 00:39:36,239
Speaker 2: kids to Coachella, and I remember we walked into the

707
00:39:36,280 --> 00:39:40,160
Speaker 2: tent and that song came on, and my kids put

708
00:39:40,200 --> 00:39:42,279
Speaker 2: their hands in the air, and I just was like,

709
00:39:43,400 --> 00:39:46,560
Speaker 2: wow this because everybody was like, well EDM is just

710
00:39:46,640 --> 00:39:48,839
Speaker 2: kind of soul list and it's whatever. But it hit

711
00:39:48,960 --> 00:39:52,279
Speaker 2: my kids and I actually put a little snippet of it.

712
00:39:52,320 --> 00:39:53,880
Speaker 2: I sent it to my kids today because we're going

713
00:39:53,920 --> 00:39:56,640
Speaker 2: to Coachella tomorrow, and I sent them that little snippet

714
00:39:56,680 --> 00:39:58,440
Speaker 2: and they both like sent me back a bunch of

715
00:39:58,440 --> 00:40:02,920
Speaker 2: smiling faces because there was this moment where And I

716
00:40:02,960 --> 00:40:06,040
Speaker 2: never have analyzed that song because it's I'm not an idiom.

717
00:40:06,120 --> 00:40:09,360
Speaker 2: I don't really do idiom, but that song, Yes, the

718
00:40:09,400 --> 00:40:13,200
Speaker 2: emotion in that song, there was no I didn't have

719
00:40:13,239 --> 00:40:15,760
Speaker 2: a desire to try to dissect it. I just something

720
00:40:15,800 --> 00:40:18,320
Speaker 2: about it all. And it could have been the moment,

721
00:40:18,400 --> 00:40:20,120
Speaker 2: or because I was with my kids, or because there

722
00:40:20,239 --> 00:40:23,680
Speaker 2: was a shared experience or whatever. But yeah, I don't

723
00:40:24,400 --> 00:40:27,440
Speaker 2: I think I probably can listen to things without doing it.

724
00:40:27,719 --> 00:40:32,200
Speaker 2: The thing that is I don't like is when I

725
00:40:32,239 --> 00:40:36,880
Speaker 2: can hear the plan that somebody had for the song.

726
00:40:37,440 --> 00:40:41,520
Speaker 2: That bugs me. If a song is put together really well,

727
00:40:41,960 --> 00:40:43,920
Speaker 2: it's like a magic trick or something like if a

728
00:40:43,920 --> 00:40:46,360
Speaker 2: magic trick has done really well. You don't see the magic.

729
00:40:46,400 --> 00:40:48,719
Speaker 2: You don't see the magic. It's just like, oh shit, wow,

730
00:40:48,800 --> 00:40:51,799
Speaker 2: that was cool. But if you know what it is,

731
00:40:51,800 --> 00:40:54,560
Speaker 2: what they're trying to do, and some songs are so

732
00:40:55,560 --> 00:40:59,319
Speaker 2: I'm gonna push a button here to try to get

733
00:40:59,360 --> 00:41:02,240
Speaker 2: this emotion and then I'm gonna do this here because

734
00:41:02,280 --> 00:41:05,840
Speaker 2: and I'm gonna use this sound here because it's reminds

735
00:41:05,840 --> 00:41:09,240
Speaker 2: people of this here and it's almost like a laboratory.

736
00:41:09,480 --> 00:41:12,120
Speaker 5: That's like I said, I've never been inspired by inspirational

737
00:41:12,200 --> 00:41:17,200
Speaker 5: music ever, like anyone that says like the well not

738
00:41:17,480 --> 00:41:18,360
Speaker 5: I mean optimixic.

739
00:41:18,440 --> 00:41:20,640
Speaker 4: No, that's that. That wasn't That was a song that

740
00:41:20,719 --> 00:41:22,759
Speaker 4: was inspirational, but it wasn't.

741
00:41:22,560 --> 00:41:25,000
Speaker 5: Like I'm going to try to inspire you like a

742
00:41:25,000 --> 00:41:27,000
Speaker 5: lot of like I don't want to say Christian music,

743
00:41:27,040 --> 00:41:31,239
Speaker 5: but music that seeks to like be like self help

744
00:41:31,320 --> 00:41:32,719
Speaker 5: books in music form.

745
00:41:33,200 --> 00:41:33,959
Speaker 4: I hate that shit.

746
00:41:38,840 --> 00:41:39,160
Speaker 2: Wow.

747
00:41:42,480 --> 00:41:46,239
Speaker 1: So how well rounded are you? How well rounded are

748
00:41:46,280 --> 00:41:50,239
Speaker 1: your kids with music? Or do you leave them to

749
00:41:50,280 --> 00:41:51,120
Speaker 1: their devices?

750
00:41:51,640 --> 00:41:55,080
Speaker 2: They school you all of that, all all of the

751
00:41:55,120 --> 00:41:58,960
Speaker 2: above and all in and all in different ways. I mean,

752
00:41:59,000 --> 00:42:01,720
Speaker 2: I'm around my sixteen year olds all the time. My older,

753
00:42:02,120 --> 00:42:08,960
Speaker 2: my older one. I remember his probably his most influential

754
00:42:09,000 --> 00:42:13,120
Speaker 2: phase of music before he kind of I won't say matured,

755
00:42:13,160 --> 00:42:16,239
Speaker 2: but I guess matured is the right word. Anything that

756
00:42:16,239 --> 00:42:19,200
Speaker 2: little John did where it was where it was a

757
00:42:19,239 --> 00:42:24,440
Speaker 2: loop of a synthesizer low and then high. So if

758
00:42:24,440 --> 00:42:32,120
Speaker 2: it was snap your fingers, it was every song had

759
00:42:32,120 --> 00:42:36,120
Speaker 2: that same pattern. He loved all those songs, right, and

760
00:42:36,160 --> 00:42:39,120
Speaker 2: he eventually got he's more. He's interesting now. He's much

761
00:42:39,120 --> 00:42:42,279
Speaker 2: more of an ed M guy. Now he's into the

762
00:42:42,320 --> 00:42:43,360
Speaker 2: all the DM stuff.

763
00:42:43,719 --> 00:42:46,359
Speaker 1: So I mean, what did they think of what your

764
00:42:46,480 --> 00:42:49,319
Speaker 1: life was like? Do they understand that?

765
00:42:49,440 --> 00:42:49,640
Speaker 2: Yo?

766
00:42:49,800 --> 00:42:52,600
Speaker 1: I know you'll see me his dad, but I'm the

767
00:42:52,719 --> 00:42:53,719
Speaker 1: ship kind of that new.

768
00:42:57,480 --> 00:43:01,080
Speaker 2: Like, what do they think of when they No, they don't,

769
00:43:01,160 --> 00:43:03,800
Speaker 2: they don't. They have no, they don't get it. No,

770
00:43:03,880 --> 00:43:07,319
Speaker 2: not at all. So the time means none of them. Well, no,

771
00:43:07,360 --> 00:43:11,080
Speaker 2: they enjoyed the time. Now. It was interesting when.

772
00:43:10,920 --> 00:43:13,800
Speaker 6: We before after the Rihanna performance.

773
00:43:13,400 --> 00:43:17,239
Speaker 2: No, after the Rihanna performance we did because the time

774
00:43:17,280 --> 00:43:21,040
Speaker 2: didn't exist, because we didn't really my kids weren't born

775
00:43:21,160 --> 00:43:24,520
Speaker 2: until ninety six. We did. My first one was ninety six,

776
00:43:25,280 --> 00:43:27,680
Speaker 2: the twins were two thousand, so we didn't do the

777
00:43:28,760 --> 00:43:32,080
Speaker 2: We had done the Panemonia Molment what ninety but we

778
00:43:32,160 --> 00:43:35,640
Speaker 2: hadn't done another album since then, so they didn't really

779
00:43:35,680 --> 00:43:37,200
Speaker 2: know the time. So it was just yeah, a band

780
00:43:37,200 --> 00:43:39,279
Speaker 2: I used to play with, but they had no you know,

781
00:43:40,040 --> 00:43:44,600
Speaker 2: thought about what it was. Yeah, no reference. I remember

782
00:43:44,600 --> 00:43:47,239
Speaker 2: the first time I took we did a song with

783
00:43:47,320 --> 00:43:50,239
Speaker 2: Sting called my Funny Friend in Me from a it

784
00:43:50,280 --> 00:43:51,879
Speaker 2: was from a Disney movie. I can't remember what it's

785
00:43:51,880 --> 00:43:55,640
Speaker 2: called now, and we at the end of the premiere

786
00:43:55,680 --> 00:43:57,600
Speaker 2: of the movie, they raised the curtain and we actually

787
00:43:57,600 --> 00:44:00,440
Speaker 2: performed with Sting, and I remember my son, who probably

788
00:44:00,440 --> 00:44:04,560
Speaker 2: four at the time, he loved it, like he thought

789
00:44:04,560 --> 00:44:06,359
Speaker 2: that was so cool that I was, but he didn't

790
00:44:06,360 --> 00:44:08,400
Speaker 2: know who Sting was. He just thought that it was

791
00:44:08,440 --> 00:44:11,359
Speaker 2: cool that after this movie there was a band on stage. Right.

792
00:44:12,480 --> 00:44:14,600
Speaker 2: Eventually he got it and he went with us, like

793
00:44:14,680 --> 00:44:16,840
Speaker 2: to Janet, because he was old enough. I mean he

794
00:44:16,960 --> 00:44:20,000
Speaker 2: was what five, I think when when Janet did or

795
00:44:20,040 --> 00:44:23,120
Speaker 2: six when Janet did the Velvet Rope not Velvet Rope

796
00:44:23,160 --> 00:44:25,640
Speaker 2: but All for You tour. So when we took him

797
00:44:25,640 --> 00:44:28,399
Speaker 2: to Hawaii with us when we did the HBO thing

798
00:44:28,440 --> 00:44:33,319
Speaker 2: and the whole thing, take me to that chair. No,

799
00:44:33,400 --> 00:44:38,120
Speaker 2: she had Kevin Garnett in the chair though, Yeah, she

800
00:44:38,200 --> 00:44:40,680
Speaker 2: did it. She did it so anyway. So yeah, but

801
00:44:41,000 --> 00:44:44,480
Speaker 2: my younger, my younger boy is he's everything. He's the

802
00:44:44,480 --> 00:44:47,920
Speaker 2: Coachella Sponge Like I took him and he was everything.

803
00:44:47,960 --> 00:44:51,120
Speaker 2: At that year was a c d C. He loved

804
00:44:51,120 --> 00:44:55,760
Speaker 2: a c d C. He loved Tyler the Creator, he loved.

805
00:44:56,320 --> 00:44:58,480
Speaker 1: I was gonna say, viz a c DC. It was

806
00:44:58,600 --> 00:45:03,320
Speaker 1: because of rocket tar rock band or no, no guitar.

807
00:45:03,440 --> 00:45:06,560
Speaker 2: I was wondering if it. Yeah, right, because his kids

808
00:45:06,560 --> 00:45:08,839
Speaker 2: are into Yeah, why do you know this? Yeah? Why

809
00:45:08,840 --> 00:45:12,200
Speaker 2: do you know the songs? That's interesting? No, he always

810
00:45:12,640 --> 00:45:17,000
Speaker 2: for some reason, he always had a very big palette

811
00:45:17,120 --> 00:45:20,400
Speaker 2: of he was always an old soul. Like he would

812
00:45:20,400 --> 00:45:22,520
Speaker 2: listen to led Zeppelin, but I mean he'd hear me

813
00:45:22,640 --> 00:45:25,360
Speaker 2: play it. But then he'd go seek and find more stuff.

814
00:45:25,840 --> 00:45:27,799
Speaker 2: That was always his thing. Like he'd like he ended

815
00:45:27,880 --> 00:45:31,719
Speaker 2: up liking the Black Keys because he liked led Zeppelin,

816
00:45:31,800 --> 00:45:34,200
Speaker 2: and then he you know, and he would make the

817
00:45:34,239 --> 00:45:37,359
Speaker 2: connections on stuff. He was very very much at an

818
00:45:37,360 --> 00:45:44,640
Speaker 2: early age. Now he's sixteen. His he's literally discovered now

819
00:45:45,080 --> 00:45:48,799
Speaker 2: the Michael Jackson off the Wall album now is his

820
00:45:48,920 --> 00:45:51,680
Speaker 2: probably his favorite album of all time. He thinks sonically

821
00:45:51,680 --> 00:45:55,839
Speaker 2: it's the best record ever made. And you let him

822
00:45:55,840 --> 00:45:58,560
Speaker 2: discover it. Yeah, you forced it, know I no, No,

823
00:45:58,640 --> 00:46:00,960
Speaker 2: I let him discover it. I got in the I

824
00:46:00,960 --> 00:46:02,640
Speaker 2: got in the car. It's funny. I got in the

825
00:46:02,680 --> 00:46:04,279
Speaker 2: car the other day. So after the Grammys, we went

826
00:46:04,320 --> 00:46:07,560
Speaker 2: to this one after party aeg. There are people that

827
00:46:07,800 --> 00:46:09,279
Speaker 2: own the stables and and all that. We went to

828
00:46:09,320 --> 00:46:11,719
Speaker 2: their party. They were playing all this kind of old

829
00:46:11,719 --> 00:46:16,120
Speaker 2: school music and they played bad Mamma Jamma. They played

830
00:46:16,640 --> 00:46:19,000
Speaker 2: knee deep funkadelic. Right. He had never heard these songs

831
00:46:19,000 --> 00:46:22,000
Speaker 2: in his life. Right. He's asking me, Dad, who is this?

832
00:46:22,239 --> 00:46:26,080
Speaker 2: And I said, oh, bad Mamajama Carl Carlton. Ok okay, Dad,

833
00:46:26,080 --> 00:46:31,480
Speaker 2: who's this? Not just needy funkadelic? Okay cool. About two

834
00:46:31,560 --> 00:46:34,759
Speaker 2: weeks later, I'm taking him to school. He's playing Funkadelic,

835
00:46:34,800 --> 00:46:37,440
Speaker 2: but not knee deep. He's playing like this album cuts,

836
00:46:37,440 --> 00:46:42,160
Speaker 2: That album cuts, right. Bad Mammajamma is like his favorite

837
00:46:42,200 --> 00:46:45,800
Speaker 2: song ever. He's telling me, how lyrically, what's the lyric?

838
00:46:46,600 --> 00:46:52,560
Speaker 2: There's a lyric in the song that he loves. What

839
00:46:52,680 --> 00:46:58,239
Speaker 2: is it? What is the line, yes, the look at

840
00:46:58,239 --> 00:47:05,000
Speaker 2: her anatomy line whatever that line is poetry most excited

841
00:47:05,080 --> 00:47:13,120
Speaker 2: excited feeling an anatomy. Yeah, he loved that, he said, man,

842
00:47:13,160 --> 00:47:16,880
Speaker 2: those are great lyrics. I'm like, okay, cool. So he

843
00:47:16,960 --> 00:47:20,200
Speaker 2: loves so, he loves that. He loves the like I say,

844
00:47:20,239 --> 00:47:23,399
Speaker 2: he's into the Michael Jackson thing. He the other day

845
00:47:23,480 --> 00:47:27,880
Speaker 2: he found heat Wave. He said, Dad, doesn't this sound

846
00:47:28,000 --> 00:47:30,879
Speaker 2: just like Michael Jackson song? I said, that's because Rod

847
00:47:30,920 --> 00:47:33,520
Speaker 2: Temperton wrote it. So then he went on a Rod

848
00:47:33,560 --> 00:47:38,440
Speaker 2: Temperton binge. Right, So he's that kid that Yes, he

849
00:47:38,520 --> 00:47:42,440
Speaker 2: got me and I love that right, and me too.

850
00:47:42,480 --> 00:47:44,439
Speaker 2: I mean I was the same way, So I see

851
00:47:44,480 --> 00:47:47,840
Speaker 2: myself in him. So anyway, he's totally into that stuff.

852
00:47:48,800 --> 00:47:54,200
Speaker 2: But after he gets through that stuff, Travis Scott, big

853
00:47:54,280 --> 00:47:58,480
Speaker 2: tar whosy vert is okay to him, He's really, He's

854
00:47:58,600 --> 00:48:01,640
Speaker 2: really Travis Scott is his that's his all time favorite.

855
00:48:02,080 --> 00:48:04,799
Speaker 2: He likes Kanye a lot, he likes Drake a lot.

856
00:48:06,400 --> 00:48:10,240
Speaker 2: He liked the early weekend stuff, the mixtapes, weekend stuff.

857
00:48:12,840 --> 00:48:17,400
Speaker 2: But he's but he likes Sam Fa. He likes a

858
00:48:17,440 --> 00:48:23,200
Speaker 2: little dragon. No. He loves oh love, Oh No. He's

859
00:48:23,239 --> 00:48:24,719
Speaker 2: he's got a very like I said, he's got a

860
00:48:24,760 --> 00:48:25,400
Speaker 2: very wide music.

861
00:48:25,800 --> 00:48:28,680
Speaker 4: My son, my son, who is also.

862
00:48:28,440 --> 00:48:31,320
Speaker 2: Sixteen, So Coachella is like perfect for him, Like he's

863
00:48:31,440 --> 00:48:33,960
Speaker 2: gonna be he's gonna love it. Like he's already got

864
00:48:34,000 --> 00:48:37,400
Speaker 2: his list of of folks he wants to see Schoolboy

865
00:48:37,480 --> 00:48:41,319
Speaker 2: Q Kendrick Lamar. You know he's got his He's got

866
00:48:41,320 --> 00:48:43,560
Speaker 2: his folks.

867
00:48:45,600 --> 00:48:47,520
Speaker 5: One question I have for you was in regards to

868
00:48:47,600 --> 00:48:50,960
Speaker 5: just like your we talk about all your hits, uh

869
00:48:51,960 --> 00:48:55,480
Speaker 5: some of your misses. I guess, like you know records

870
00:48:55,480 --> 00:48:58,480
Speaker 5: that you've done that you know maybe didn't do what

871
00:48:58,520 --> 00:49:01,440
Speaker 5: you want him to do and what you learned from

872
00:49:01,480 --> 00:49:04,799
Speaker 5: and like when you and Terry might sit back and say,

873
00:49:04,840 --> 00:49:07,759
Speaker 5: you know what, that didn't really hit the mark and

874
00:49:07,800 --> 00:49:09,399
Speaker 5: this is why it didn't hit the mark.

875
00:49:11,480 --> 00:49:14,080
Speaker 2: That's a good question. I'm sure there's a lot of them.

876
00:49:14,120 --> 00:49:15,399
Speaker 2: I don't think a lot about them.

877
00:49:17,800 --> 00:49:22,719
Speaker 5: Well, I mean, like was expected to if I'm project

878
00:49:23,040 --> 00:49:23,799
Speaker 5: like whatever like.

879
00:49:25,480 --> 00:49:30,120
Speaker 1: So that I did, Like it was the little down

880
00:49:30,160 --> 00:49:30,960
Speaker 1: there to shape.

881
00:49:31,280 --> 00:49:35,880
Speaker 2: But that's right, it was it was so u no

882
00:49:36,000 --> 00:49:38,600
Speaker 2: raj no listen Rajene was good. It wasn't. I don't

883
00:49:38,600 --> 00:49:40,440
Speaker 2: think it was great, like listening to it now, like

884
00:49:40,480 --> 00:49:44,000
Speaker 2: some things I go back and listen to and I go, man,

885
00:49:44,040 --> 00:49:46,480
Speaker 2: that was really some great ship we did, or you know,

886
00:49:46,520 --> 00:49:48,600
Speaker 2: at least I think that, and some things I go

887
00:49:48,640 --> 00:49:50,960
Speaker 2: back and listen to and I go, that's okay. But

888
00:49:51,000 --> 00:49:52,560
Speaker 2: I would have done that different, and I would have

889
00:49:52,560 --> 00:49:54,320
Speaker 2: done that. Rogen is one of those records I probably

890
00:49:54,320 --> 00:49:57,360
Speaker 2: would have done, you know, a little different than we

891
00:49:57,440 --> 00:50:00,439
Speaker 2: did it. But also we didn't have at that point

892
00:50:00,480 --> 00:50:03,320
Speaker 2: in time. We just didn't have the backup with the label,

893
00:50:03,440 --> 00:50:06,359
Speaker 2: so maybe the record could have been better. I don't

894
00:50:06,360 --> 00:50:08,600
Speaker 2: think it probably reached its potential, but I don't think

895
00:50:08,640 --> 00:50:11,400
Speaker 2: we probably made the best record. And that's that's in

896
00:50:11,440 --> 00:50:16,640
Speaker 2: all honesty. But yeah, I mean it happens a lot

897
00:50:16,920 --> 00:50:18,880
Speaker 2: when records don't do it. I'll tell you one of

898
00:50:18,880 --> 00:50:21,440
Speaker 2: the ones that was really surprising to me, But it

899
00:50:21,480 --> 00:50:23,440
Speaker 2: had nothing to do with us, because I think it's

900
00:50:23,480 --> 00:50:26,560
Speaker 2: a great record is God till It's gone by Janet

901
00:50:26,600 --> 00:50:29,279
Speaker 2: And And what happened with that record was, wait, it

902
00:50:29,320 --> 00:50:31,600
Speaker 2: went straight to number one. Something happened that we don't

903
00:50:31,640 --> 00:50:33,359
Speaker 2: know about it. Well, it went straight to number one.

904
00:50:33,520 --> 00:50:38,480
Speaker 2: Urban pop radio didn't touch it. Yeah, wait, what didn't

905
00:50:38,760 --> 00:50:43,920
Speaker 2: touch it like it didn't exist, didn't touch it. And

906
00:50:45,160 --> 00:50:48,600
Speaker 2: and here's the thing that's interesting about it, We since

907
00:50:49,120 --> 00:50:52,680
Speaker 2: that when we made it, because Janet had always straddled

908
00:50:52,719 --> 00:50:56,600
Speaker 2: that line very carefully. I remember when we were we

909
00:50:56,640 --> 00:51:00,560
Speaker 2: went to a marketing meeting at the end of the well, yeah,

910
00:51:00,600 --> 00:51:05,239
Speaker 2: toward the end of the Janet album, right, and we

911
00:51:05,280 --> 00:51:09,279
Speaker 2: had already had you know, uh, that's the way love

912
00:51:09,360 --> 00:51:14,080
Speaker 2: goes if again because of Love were the four singles

913
00:51:14,080 --> 00:51:16,440
Speaker 2: I think. And then so it was now what is

914
00:51:16,480 --> 00:51:19,200
Speaker 2: the fifth single going to be? And there was a

915
00:51:19,239 --> 00:51:21,000
Speaker 2: cut on the album called where Are You Now, which

916
00:51:21,040 --> 00:51:24,160
Speaker 2: we thought would be a great single on the radio

917
00:51:24,160 --> 00:51:26,040
Speaker 2: all the time before the album. That was the problem.

918
00:51:26,160 --> 00:51:28,080
Speaker 2: It had already been played so much on the radio

919
00:51:28,120 --> 00:51:30,400
Speaker 2: that they were scared that they couldn't get you know,

920
00:51:30,440 --> 00:51:33,239
Speaker 2: the Judges arts. It charted, Yeah, it was. It was

921
00:51:33,239 --> 00:51:35,120
Speaker 2: like it was like a top literally a top ten

922
00:51:35,160 --> 00:51:39,600
Speaker 2: record just on airplay. And so anyway, we went to

923
00:51:39,640 --> 00:51:42,759
Speaker 2: this meeting and uh, you know, we're sitting in there

924
00:51:42,800 --> 00:51:44,760
Speaker 2: and there they have all their charts and their graphs,

925
00:51:44,800 --> 00:51:47,239
Speaker 2: and you know, summertime we should go up tempo. Maybe

926
00:51:47,280 --> 00:51:49,280
Speaker 2: we go with Throb. That would be a great one.

927
00:51:49,600 --> 00:51:51,440
Speaker 2: And whatever, and they had all their graphs and all

928
00:51:51,440 --> 00:51:55,840
Speaker 2: their their stuff. And Janet had told us before we

929
00:51:55,880 --> 00:51:57,640
Speaker 2: went in the meeting, and us at that time was

930
00:51:57,640 --> 00:52:01,720
Speaker 2: my It was myself and actually Renee or second husband,

931
00:52:01,760 --> 00:52:04,680
Speaker 2: I guess. So anyway, we had gone in there, and

932
00:52:04,920 --> 00:52:07,120
Speaker 2: so she was waiting for us. She said, when you

933
00:52:07,120 --> 00:52:09,240
Speaker 2: guys are done, we'll go eat. I'm like, okay, cool.

934
00:52:09,760 --> 00:52:11,239
Speaker 2: So we called her and we said are you close

935
00:52:11,280 --> 00:52:12,600
Speaker 2: and she said yeah. And I said, why don't you

936
00:52:12,640 --> 00:52:14,719
Speaker 2: come in and listen to these what these guys are saying,

937
00:52:14,800 --> 00:52:17,160
Speaker 2: because I know what you're thinking for the single, but

938
00:52:17,239 --> 00:52:21,000
Speaker 2: they're not anywhere near it, right, And she said, okay, cool.

939
00:52:21,360 --> 00:52:24,520
Speaker 2: So she comes in and everybody gives her whole spiel

940
00:52:24,600 --> 00:52:27,520
Speaker 2: and everything and you know, whatever, whatever, whatever, whatever, and

941
00:52:27,560 --> 00:52:29,080
Speaker 2: this is why this and it's up tempo and it's

942
00:52:29,080 --> 00:52:31,440
Speaker 2: summer and here's what we do and blah blah blah,

943
00:52:31,480 --> 00:52:34,640
Speaker 2: and Janet goes, well, I want to thank everybody very

944
00:52:34,719 --> 00:52:37,480
Speaker 2: much for obviously everybody's put a lot of work into this,

945
00:52:37,600 --> 00:52:40,640
Speaker 2: and I really appreciate that. And I think the next

946
00:52:40,719 --> 00:52:55,399
Speaker 2: single should be anytime anyplace room is silent. And somebody goes, yeah, great, sure, okay, yeah,

947
00:52:56,000 --> 00:52:59,600
Speaker 2: so what do you think should we get a remix

948
00:52:59,680 --> 00:53:03,560
Speaker 2: going Nerd? Who do you think we could do? That's

949
00:53:03,600 --> 00:53:06,040
Speaker 2: what I said. I said, I think R Kelly could

950
00:53:06,040 --> 00:53:07,759
Speaker 2: probably do a really good remix. And then they were like,

951
00:53:07,760 --> 00:53:13,080
Speaker 2: oh cool, okay remix, Okay, yeah, that's good. Yeah. Where

952
00:53:13,120 --> 00:53:14,040
Speaker 2: the B side came in?

953
00:53:14,600 --> 00:53:18,359
Speaker 6: Is this also where the B side came in, which

954
00:53:18,360 --> 00:53:19,480
Speaker 6: it is one of my favorite.

955
00:53:19,200 --> 00:53:22,720
Speaker 2: Jane because we said, because their whole thing was a concern,

956
00:53:22,880 --> 00:53:25,759
Speaker 2: we don't have a tempo record in the summertime, we said,

957
00:53:25,760 --> 00:53:29,000
Speaker 2: we'll just do a B side, temple B side, So

958
00:53:29,239 --> 00:53:32,800
Speaker 2: start this is a song about summertime, right exactly.

959
00:53:33,440 --> 00:53:36,480
Speaker 4: Let me just spell it out for you.

960
00:53:37,719 --> 00:53:37,919
Speaker 2: Yeah.

961
00:53:37,960 --> 00:53:39,920
Speaker 5: One of the records that I was surprised that, like

962
00:53:40,080 --> 00:53:44,440
Speaker 5: didn't go wash Man when I need somebody.

963
00:53:46,160 --> 00:53:48,120
Speaker 4: I thought that. I was like, man, this ship is

964
00:53:48,160 --> 00:53:49,360
Speaker 4: sensitivity on steroids.

965
00:53:49,400 --> 00:53:53,920
Speaker 2: I love this. Thank you. I did too. I I

966
00:53:53,960 --> 00:53:56,720
Speaker 2: loved Whosa Mac and didn't it didn't. It didn't connect.

967
00:53:56,760 --> 00:53:58,960
Speaker 6: I used to about the single and used to rock

968
00:53:59,000 --> 00:54:01,200
Speaker 6: the instrumental more than the to be honest.

969
00:54:02,360 --> 00:54:05,239
Speaker 2: Well, we always saw Ralph as sort of a you know,

970
00:54:05,680 --> 00:54:07,719
Speaker 2: sort of a Marvin Gaye ish type thing, so that

971
00:54:07,840 --> 00:54:09,840
Speaker 2: was our attempt to kind of do that kind of

972
00:54:09,840 --> 00:54:13,880
Speaker 2: Marvin Gay, you know, kind of trouble man type, you know,

973
00:54:14,239 --> 00:54:17,080
Speaker 2: cinematic thing, and you know, at the end of the

974
00:54:17,160 --> 00:54:19,680
Speaker 2: day it didn't work. When when I need somebody, Yeah,

975
00:54:19,719 --> 00:54:22,080
Speaker 2: that kind of surprised me. But honestly, the label at

976
00:54:22,120 --> 00:54:25,600
Speaker 2: that point in time wasn't in to Ralph at that point,

977
00:54:26,719 --> 00:54:28,840
Speaker 2: just for a lot of reasons, and so we just

978
00:54:28,920 --> 00:54:30,799
Speaker 2: kind of knew it was going to kind of fall

979
00:54:30,840 --> 00:54:31,640
Speaker 2: flat at that point.

980
00:54:32,000 --> 00:54:33,760
Speaker 4: How do you feel about this?

981
00:54:33,840 --> 00:54:34,920
Speaker 2: How do you feel about.

982
00:54:34,640 --> 00:54:40,480
Speaker 1: The the well you executive produced the new edition playing

983
00:54:40,560 --> 00:54:46,080
Speaker 1: you and amazingly yes, I agree, Yes, I mean, how

984
00:54:46,080 --> 00:54:48,440
Speaker 1: do you feel that now that a whole new generation

985
00:54:48,640 --> 00:54:53,760
Speaker 1: has latched dooring and you know, like my friend's kids are.

986
00:54:55,719 --> 00:55:00,560
Speaker 2: You know, discovering this group, and how how do you?

987
00:55:00,920 --> 00:55:03,840
Speaker 2: I love it? I love it because to me, that's

988
00:55:03,920 --> 00:55:08,560
Speaker 2: what music really should be. It should connect us, it

989
00:55:08,560 --> 00:55:15,440
Speaker 2: should connect generations, it should connect races, that should connect ethnicities, religions,

990
00:55:15,480 --> 00:55:18,680
Speaker 2: and you do. That's what music is. It's the ultimate connector.

991
00:55:18,719 --> 00:55:21,920
Speaker 2: And to me, it's the most divine art of all

992
00:55:21,960 --> 00:55:25,480
Speaker 2: the arts. And the reason I say that is Maine

993
00:55:25,600 --> 00:55:30,640
Speaker 2: something else. That's if I say to you questlove, where

994
00:55:30,640 --> 00:55:34,480
Speaker 2: were you on this date in nineteen ninety Do you

995
00:55:34,520 --> 00:55:35,759
Speaker 2: know what you were doing?

996
00:55:36,800 --> 00:55:40,480
Speaker 1: I'm that Mary Lou Henner person that can you can

997
00:55:40,520 --> 00:55:41,600
Speaker 1: name it date and I can tell you.

998
00:55:41,640 --> 00:55:42,120
Speaker 2: What I realize.

999
00:55:42,320 --> 00:55:46,080
Speaker 1: Okay, because music and soul train episodes like connect.

1000
00:55:46,480 --> 00:55:50,279
Speaker 2: Yes, but what's right because of the music? Yes, yeah,

1001
00:55:50,360 --> 00:55:51,600
Speaker 2: that's that's my point.

1002
00:55:51,920 --> 00:55:53,319
Speaker 6: I say it's to my mom all the time that

1003
00:55:53,360 --> 00:55:54,800
Speaker 6: it's it's my time machine.

1004
00:55:54,880 --> 00:55:57,680
Speaker 2: It's how I remember things. It's how I transport you,

1005
00:55:58,080 --> 00:55:59,800
Speaker 2: transport you. If I play you a song from the

1006
00:55:59,840 --> 00:56:03,160
Speaker 2: day eight, it transports you. You remember everything about.

1007
00:56:02,960 --> 00:56:04,400
Speaker 4: It and it smells.

1008
00:56:05,840 --> 00:56:08,799
Speaker 2: Yeah, absolutely, Like I can go back to, like even

1009
00:56:09,120 --> 00:56:11,480
Speaker 2: because we talked about earlier what I grew up listening

1010
00:56:11,480 --> 00:56:12,920
Speaker 2: to and it was like a bunch of pop music.

1011
00:56:13,480 --> 00:56:15,040
Speaker 2: But I can go back to like stuff like a

1012
00:56:15,080 --> 00:56:18,879
Speaker 2: strawberry alarm clock or the Turtles or you know all

1013
00:56:18,920 --> 00:56:21,400
Speaker 2: these right, And I remember that they will play me

1014
00:56:21,440 --> 00:56:23,680
Speaker 2: the Turtles Happy Together or whatever, and I remember the

1015
00:56:23,680 --> 00:56:26,879
Speaker 2: school bus they're taking me to a field trip, and

1016
00:56:26,920 --> 00:56:28,520
Speaker 2: you know that kind of stuff. I mean, it's like

1017
00:56:29,400 --> 00:56:33,520
Speaker 2: it's all exists in your head, but you can access it.

1018
00:56:33,800 --> 00:56:39,400
Speaker 2: What's the key that accesses it music that's divine. There's

1019
00:56:39,400 --> 00:56:40,920
Speaker 2: no other explanation for that.

1020
00:56:50,680 --> 00:56:52,839
Speaker 8: So question because you said earlier when we first started

1021
00:56:52,840 --> 00:56:54,799
Speaker 8: this interview, there's gonna be a movie at some time,

1022
00:56:55,120 --> 00:56:57,920
Speaker 8: at some point, if we can't get through this story

1023
00:56:58,040 --> 00:57:09,800
Speaker 8: in full hours.

1024
00:57:04,520 --> 00:57:06,760
Speaker 2: It's gonna be the new route. Now that.

1025
00:57:08,160 --> 00:57:12,040
Speaker 1: Certain unfortunate situations have occurred in the past year, Yes,

1026
00:57:13,480 --> 00:57:19,680
Speaker 1: where does that leave the original seven in terms of

1027
00:57:19,720 --> 00:57:23,280
Speaker 1: being the time, in terms of doing the movie or

1028
00:57:23,600 --> 00:57:27,000
Speaker 1: you I'm going to have to see one of the

1029
00:57:27,000 --> 00:57:29,600
Speaker 1: smoke clears with the States.

1030
00:57:29,240 --> 00:57:31,480
Speaker 2: And yeah, I don't. Honestly, I don't think we've even

1031
00:57:31,480 --> 00:57:33,400
Speaker 2: thought about it. I don't even I don't think it's

1032
00:57:33,440 --> 00:57:37,680
Speaker 2: been a thought mine as well, be I mean you saw.

1033
00:57:39,520 --> 00:57:43,280
Speaker 1: Well, okay, if Steven were still at BT, I think

1034
00:57:43,480 --> 00:57:46,280
Speaker 1: it could be a possibility or could have been a possibility.

1035
00:57:46,360 --> 00:57:52,520
Speaker 5: But no, we were joking, like on the New Edition's story.

1036
00:57:52,880 --> 00:57:54,840
Speaker 5: We were on Twitter joking like, yo, if they did

1037
00:57:54,880 --> 00:57:57,400
Speaker 5: a Jimmy jam and Terry Lewis story, that shit could

1038
00:57:57,400 --> 00:58:01,880
Speaker 5: be a Netflix original thirteen episodes.

1039
00:58:02,400 --> 00:58:03,720
Speaker 4: Like dad Ass that you could be.

1040
00:58:05,960 --> 00:58:09,120
Speaker 1: I don't even consider it, Like we don't have to

1041
00:58:09,160 --> 00:58:14,280
Speaker 1: be chronological. I think if you just picked thirteen experiences

1042
00:58:14,880 --> 00:58:17,200
Speaker 1: that are somewhere between ninety to two hours.

1043
00:58:17,280 --> 00:58:20,480
Speaker 2: I mean people can handle it, right, or an hour?

1044
00:58:21,000 --> 00:58:21,720
Speaker 4: An hour? Yeah?

1045
00:58:22,080 --> 00:58:27,000
Speaker 1: Fuck it, I mean we're here for nine hours. Yeah,

1046
00:58:27,320 --> 00:58:33,600
Speaker 1: it's just I feel like, yes, a thirteen episode arc.

1047
00:58:33,920 --> 00:58:36,920
Speaker 2: That would be cool of Jam and Lewis, Like, just.

1048
00:58:38,520 --> 00:58:43,480
Speaker 1: That would be awesome. Okay, listen, we have to stop.

1049
00:58:44,920 --> 00:58:46,880
Speaker 1: Oh wait, wait, wait, wait, wait, just grant us because

1050
00:58:46,920 --> 00:58:48,760
Speaker 1: I know that. Look, I know you're being super polite.

1051
00:58:48,840 --> 00:58:51,080
Speaker 1: I appreciate you for granted.

1052
00:58:51,200 --> 00:58:55,080
Speaker 2: This is a five hour interview, so look, I just

1053
00:58:55,120 --> 00:58:57,080
Speaker 2: want to make sure we broke the record. I want

1054
00:58:57,080 --> 00:59:06,040
Speaker 2: to guess. So look, can we all just get one

1055
00:59:06,160 --> 00:59:08,200
Speaker 2: question each? Oh? Man?

1056
00:59:08,320 --> 00:59:13,960
Speaker 1: Okay, one question each? Mine is rather short, and this

1057
00:59:14,040 --> 00:59:18,600
Speaker 1: goes back to nineteen eighty two? Okay, did you ever

1058
00:59:18,840 --> 00:59:24,680
Speaker 1: question the abrupt ending of I Don't want to leave you?

1059
00:59:24,920 --> 00:59:27,120
Speaker 1: H Did you ever question that?

1060
00:59:27,520 --> 00:59:32,000
Speaker 2: No? Even now you don't question it. No, I remember it,

1061
00:59:32,040 --> 00:59:36,640
Speaker 2: but I don't question it. Was that supposed to be

1062
00:59:36,680 --> 00:59:40,440
Speaker 2: something else or just not that I know of. I

1063
00:59:40,520 --> 00:59:42,680
Speaker 2: wasn't involved, like I say, I wasn't involved in making

1064
00:59:42,720 --> 00:59:45,080
Speaker 2: the record though, so I don't know it's whatever it was.

1065
00:59:45,840 --> 00:59:48,760
Speaker 2: But never like, hey, well, why did you never know?

1066
00:59:51,160 --> 00:59:53,040
Speaker 2: I think the leader on the tape came up and

1067
00:59:53,080 --> 00:59:58,840
Speaker 2: that was wasted. My question, who's next? Boss Bill?

1068
00:59:59,520 --> 01:00:01,360
Speaker 6: A few years ago, there was a project you guys

1069
01:00:01,400 --> 01:00:03,320
Speaker 6: announced called the Jam and Lewis Project. I guess it

1070
01:00:03,360 --> 01:00:05,240
Speaker 6: was going to be the solo record. Is that still happening?

1071
01:00:05,360 --> 01:00:08,080
Speaker 2: Yes? And what's what's this the latest from that? Okay?

1072
01:00:08,120 --> 01:00:14,280
Speaker 2: So the latest is the project is pretty you know

1073
01:00:14,400 --> 01:00:17,040
Speaker 2: we've been we've been working on this project you could say,

1074
01:00:17,040 --> 01:00:22,400
Speaker 2: since the Secret album. So so we never we always

1075
01:00:22,440 --> 01:00:24,400
Speaker 2: thought it would be great to do our own album,

1076
01:00:25,000 --> 01:00:28,400
Speaker 2: but we never put aside the time to do it,

1077
01:00:28,520 --> 01:00:30,160
Speaker 2: like we would always try to kind of do it

1078
01:00:30,200 --> 01:00:32,360
Speaker 2: in between other things, and we felt like we were

1079
01:00:32,600 --> 01:00:35,600
Speaker 2: kind of selling ourselves short because you'd always clear the

1080
01:00:35,640 --> 01:00:37,720
Speaker 2: decks for a project and do it. And as a

1081
01:00:37,720 --> 01:00:41,320
Speaker 2: matter of fact, when we did Unbreakable, that time period

1082
01:00:41,360 --> 01:00:43,919
Speaker 2: was when we were going to really finish the Jam

1083
01:00:43,920 --> 01:00:45,760
Speaker 2: and Lewis record, but we put it aside to do

1084
01:00:45,840 --> 01:00:48,920
Speaker 2: Unbreakable because that was the right thing to do. So

1085
01:00:51,480 --> 01:00:56,320
Speaker 2: we are pretty much recorded and actually had already mixed

1086
01:00:56,800 --> 01:00:59,840
Speaker 2: the record. But the technology we used to mix, where

1087
01:00:59,880 --> 01:01:06,240
Speaker 2: you the surround technology to mix the record, and we

1088
01:01:06,640 --> 01:01:10,640
Speaker 2: are going to go with a different uh technology now

1089
01:01:10,680 --> 01:01:13,120
Speaker 2: to do it because it's been developed now that we've

1090
01:01:13,120 --> 01:01:16,960
Speaker 2: waited another couple of years. The songs won't be dated

1091
01:01:17,000 --> 01:01:21,520
Speaker 2: because the songs are all sam loose. Well yeah, I mean,

1092
01:01:21,520 --> 01:01:23,320
Speaker 2: they're just they don't they don't have an expiration date.

1093
01:01:23,320 --> 01:01:26,560
Speaker 2: They're not trendy. There's nothing trendy about any of the songs.

1094
01:01:26,880 --> 01:01:27,360
Speaker 2: Baby Face.

1095
01:01:27,360 --> 01:01:28,840
Speaker 6: It actually said that you guys had a couple of

1096
01:01:28,840 --> 01:01:31,240
Speaker 6: songs that you produced on him. We are some of

1097
01:01:31,280 --> 01:01:33,439
Speaker 6: those going to be included, Yes, okay, yes, sir.

1098
01:01:33,840 --> 01:01:37,760
Speaker 2: And and the thing is about it is that I

1099
01:01:37,800 --> 01:01:43,160
Speaker 2: think conceptually the album is simply artists that we really

1100
01:01:43,280 --> 01:01:47,640
Speaker 2: like doing the songs. We want to hear them do. Okay.

1101
01:01:49,000 --> 01:01:54,320
Speaker 2: So baby Face is a great example of I will

1102
01:01:54,360 --> 01:02:00,880
Speaker 2: say without spoiler well, now without a spoiler alert, I

1103
01:02:01,120 --> 01:02:03,120
Speaker 2: just I don't like to I'm not a brag guy

1104
01:02:03,200 --> 01:02:05,000
Speaker 2: or boast guy or anything like that. But I will

1105
01:02:05,000 --> 01:02:09,320
Speaker 2: say I will say the baby Face records the baby

1106
01:02:09,360 --> 01:02:11,960
Speaker 2: Face record, because it's just gonna be one that you'll hear. Uh,

1107
01:02:12,080 --> 01:02:14,200
Speaker 2: the baby Face record you hear will be the best

1108
01:02:14,200 --> 01:02:17,400
Speaker 2: baby Face record you've heard since whatever your favorite baby

1109
01:02:17,400 --> 01:02:24,400
Speaker 2: Face record, whatever, whatever, it was, your favorite baby Face record.

1110
01:02:24,600 --> 01:02:26,640
Speaker 2: And I will say that about all the artists on there.

1111
01:02:26,680 --> 01:02:29,120
Speaker 2: Tony Braxton, it will be the best Tony Braxton record

1112
01:02:29,200 --> 01:02:32,960
Speaker 2: you've heard. Your favorite one. Mary J. Blige will be

1113
01:02:32,960 --> 01:02:36,520
Speaker 2: your favorite Mary J. Blige record you've heard. Usher record

1114
01:02:36,560 --> 01:02:39,640
Speaker 2: will be the favorite Usher record you've heard. Mariah record

1115
01:02:39,640 --> 01:02:42,680
Speaker 2: will be the best Mariah record you heard. Janet record

1116
01:02:42,680 --> 01:02:46,000
Speaker 2: will be the best Janet record you heard. And we

1117
01:02:46,120 --> 01:02:50,840
Speaker 2: even go back to Alexander Neon cherrell S o s

1118
01:02:50,920 --> 01:02:59,720
Speaker 2: band newly recorded songs. They are all himeless songs. Okay,

1119
01:02:59,840 --> 01:03:04,720
Speaker 2: we will say got you got you? Whose whose origins have?

1120
01:03:05,720 --> 01:03:09,320
Speaker 2: You know? Started at some point but are finishing now

1121
01:03:10,240 --> 01:03:12,440
Speaker 2: you know some some of them been you know. I'll

1122
01:03:12,480 --> 01:03:14,520
Speaker 2: give I give you one example. I'll give you one example.

1123
01:03:14,720 --> 01:03:18,880
Speaker 2: So the Alexander O'Neil song. We did this song as

1124
01:03:19,120 --> 01:03:20,760
Speaker 2: the idea of the song was a follow up to

1125
01:03:20,760 --> 01:03:27,440
Speaker 2: Saturday Love. Alex sang his part Cherrelle never sang hers

1126
01:03:28,360 --> 01:03:31,800
Speaker 2: until Lord until six months ago. Wow.

1127
01:03:33,280 --> 01:03:37,520
Speaker 6: So eighty seven Alexander O'Neil is dueting with twenty seventeen sir.

1128
01:03:37,680 --> 01:03:39,480
Speaker 2: That's there you go, and that and there is and

1129
01:03:39,520 --> 01:03:42,240
Speaker 2: therein lies the beauty of what the record is because

1130
01:03:42,520 --> 01:03:46,520
Speaker 2: the months. Yeah so sometimes so sometimes that's that's just

1131
01:03:46,560 --> 01:03:49,720
Speaker 2: the way the things that things happen, and you know,

1132
01:03:49,760 --> 01:03:52,640
Speaker 2: and the technology allows us obviously to take you know,

1133
01:03:52,720 --> 01:03:55,200
Speaker 2: we have stuff all on tape and we have analog

1134
01:03:55,240 --> 01:03:57,960
Speaker 2: tape and all that stuff, and of course we we

1135
01:03:58,080 --> 01:04:00,240
Speaker 2: digitize it and make it sound a little better, so

1136
01:04:00,400 --> 01:04:03,080
Speaker 2: that sounds good. But then the the other piece of

1137
01:04:03,120 --> 01:04:06,360
Speaker 2: it is a techno technological piece, which is just as

1138
01:04:06,360 --> 01:04:08,680
Speaker 2: you could do with a Blu Ray movie right where

1139
01:04:08,680 --> 01:04:11,880
Speaker 2: you're listening to like the director's commentary, if you want

1140
01:04:11,880 --> 01:04:13,880
Speaker 2: to listen to it in that way, the way the

1141
01:04:13,920 --> 01:04:16,160
Speaker 2: record is made. We're doing that on this right the

1142
01:04:16,160 --> 01:04:18,760
Speaker 2: way I'll listen to it. Yeah, So we're doing that

1143
01:04:18,840 --> 01:04:23,280
Speaker 2: on this record. So the commentary of the artists, ourselves,

1144
01:04:23,640 --> 01:04:26,400
Speaker 2: the engineer, whatever, and we talk about the choices we

1145
01:04:26,440 --> 01:04:27,640
Speaker 2: make and so on and so forth. So if you

1146
01:04:27,640 --> 01:04:29,840
Speaker 2: want to listen to it like that, you can. Otherwise

1147
01:04:29,880 --> 01:04:31,920
Speaker 2: you can just listen to it as a regular album.

1148
01:04:31,960 --> 01:04:34,200
Speaker 2: I can't wave for that. Yeah, it's gonna be and

1149
01:04:34,240 --> 01:04:36,800
Speaker 2: we think that and we think it does a few things.

1150
01:04:36,800 --> 01:04:39,320
Speaker 2: We think that and we're going to do it in

1151
01:04:39,480 --> 01:04:42,560
Speaker 2: volumes because we actually now when people got win we

1152
01:04:42,600 --> 01:04:45,680
Speaker 2: were doing it, then people started coming to us and going, wait,

1153
01:04:45,760 --> 01:04:47,600
Speaker 2: why why aren't I have part of it? You know

1154
01:04:47,960 --> 01:04:49,840
Speaker 2: that kind of thing. So now we have a Now

1155
01:04:49,840 --> 01:05:00,600
Speaker 2: we have a stokely record. I feel like DJ Khaled. Yeah,

1156
01:05:00,640 --> 01:05:02,360
Speaker 2: So I mean it's it's like that kind of thing.

1157
01:05:02,400 --> 01:05:04,600
Speaker 2: But and you're gonna call it the Jimmy Jame. It's

1158
01:05:04,600 --> 01:05:06,320
Speaker 2: just gonna be. It's just gonna be. Yeah. Right now,

1159
01:05:06,320 --> 01:05:08,480
Speaker 2: it's just called Jam and Lewis Volume one. I think

1160
01:05:08,480 --> 01:05:11,439
Speaker 2: it's what No, Jam Lewis Project Volume you know, should

1161
01:05:11,480 --> 01:05:15,840
Speaker 2: be Lewis and Jam.

1162
01:05:15,920 --> 01:05:17,440
Speaker 4: All right, Who's I go?

1163
01:05:18,080 --> 01:05:18,440
Speaker 2: Quickly?

1164
01:05:19,360 --> 01:05:22,880
Speaker 5: More Money soundtrack? The New Style? Was that something that

1165
01:05:23,040 --> 01:05:25,400
Speaker 5: you guys? Well, first off, is that you saying the

1166
01:05:25,440 --> 01:05:25,920
Speaker 5: new Style?

1167
01:05:26,240 --> 01:05:27,040
Speaker 2: Is that you? Yes?

1168
01:05:27,320 --> 01:05:34,560
Speaker 4: Okay? And also is that you saying the blackness? I

1169
01:05:34,600 --> 01:05:35,560
Speaker 4: thought it was.

1170
01:05:35,840 --> 01:05:37,600
Speaker 5: Did you guys ever do any more kind of club

1171
01:05:37,640 --> 01:05:39,680
Speaker 5: stuff like that? Or was that like gonna be a

1172
01:05:39,720 --> 01:05:41,520
Speaker 5: side project or something? Was that was or was that

1173
01:05:41,520 --> 01:05:42,720
Speaker 5: just something I did for the movie?

1174
01:05:42,800 --> 01:05:46,880
Speaker 2: Okay? So that was We did a song with Janet

1175
01:05:47,040 --> 01:05:52,600
Speaker 2: that never came out called beat Crazy, and one of

1176
01:05:52,640 --> 01:05:55,400
Speaker 2: the lines in the songs. She said, control my mind,

1177
01:05:56,600 --> 01:06:01,000
Speaker 2: and we just took We just took that piece and

1178
01:06:01,040 --> 01:06:03,040
Speaker 2: then we just looped it and you hear it right

1179
01:06:03,080 --> 01:06:06,040
Speaker 2: at the beginning, but it slowed down, I think, and

1180
01:06:06,080 --> 01:06:11,880
Speaker 2: then the mine, just the saying mind mine, and then

1181
01:06:11,880 --> 01:06:13,920
Speaker 2: we just built a track around it because they needed

1182
01:06:13,920 --> 01:06:15,000
Speaker 2: it for a scene in the movie.

1183
01:06:15,320 --> 01:06:19,400
Speaker 4: They needed uh why.

1184
01:06:19,680 --> 01:06:21,200
Speaker 2: They just need us. They just needed and so we

1185
01:06:21,240 --> 01:06:23,160
Speaker 2: just whipped it up. It was like, literally, I don't know,

1186
01:06:23,200 --> 01:06:26,000
Speaker 2: two hours whipped us up and that was it.

1187
01:06:26,080 --> 01:06:31,160
Speaker 9: Oh wow, Yeah, next, I gotta go, we'll talk about

1188
01:06:31,360 --> 01:06:34,560
Speaker 9: all the hits that you know are hits straight up?

1189
01:06:34,760 --> 01:06:36,600
Speaker 9: Have you ever gotten tunes that like you kind of

1190
01:06:37,080 --> 01:06:38,360
Speaker 9: and they wind up being hits too?

1191
01:06:38,760 --> 01:06:41,120
Speaker 2: Well? Saturday Love is definitely one of them that we

1192
01:06:41,160 --> 01:06:43,760
Speaker 2: talked about that one earlier, trying to Redhead step Child

1193
01:06:43,880 --> 01:06:44,560
Speaker 2: Saturday Love.

1194
01:06:44,600 --> 01:06:48,160
Speaker 5: Man, No, I mean, I just I just never It's

1195
01:06:48,200 --> 01:06:50,440
Speaker 5: one of those things that's so simple you just think like, no,

1196
01:06:50,560 --> 01:06:51,280
Speaker 5: this can't be it.

1197
01:06:51,320 --> 01:06:52,240
Speaker 4: But that's totally.

1198
01:06:52,040 --> 01:06:55,640
Speaker 2: Funny, right right, we're suckers. Yeah, I'll take it. I

1199
01:06:55,640 --> 01:06:57,400
Speaker 2: love it. I get it now, I get it. I

1200
01:06:57,720 --> 01:06:59,960
Speaker 2: get it. I get white people. White people liked it.

1201
01:07:01,200 --> 01:07:04,920
Speaker 2: But no, we definitely have had some other ones like that.

1202
01:07:04,960 --> 01:07:07,160
Speaker 2: I'm just not I'm just not recalling them, but we've

1203
01:07:07,160 --> 01:07:10,600
Speaker 2: definitely had somewhere. I hadn't really thought that much of them,

1204
01:07:10,600 --> 01:07:12,520
Speaker 2: but somebody said, oh man, that should be the single

1205
01:07:12,560 --> 01:07:15,560
Speaker 2: and whatever, and we're kind of like, okay, and then

1206
01:07:15,600 --> 01:07:23,240
Speaker 2: it actually did well. Yeah, here's we felt pretty good about.

1207
01:07:23,280 --> 01:07:25,400
Speaker 2: If it is in love, there's I mean, most of

1208
01:07:25,440 --> 01:07:27,840
Speaker 2: the songs we feel good about. The Funny thing is

1209
01:07:27,840 --> 01:07:29,960
Speaker 2: when people come up to me sometimes and they'll say,

1210
01:07:30,400 --> 01:07:32,280
Speaker 2: oh man, I love everything you did, and I go.

1211
01:07:32,280 --> 01:07:33,640
Speaker 4: I don't even love everything I did.

1212
01:07:35,840 --> 01:07:38,840
Speaker 2: Everything is that everything's good, It's just not. I mean,

1213
01:07:38,880 --> 01:07:42,000
Speaker 2: that's just that's life. But I mean, you always have

1214
01:07:42,080 --> 01:07:45,400
Speaker 2: good intentions for stuff, but it doesn't always. It doesn't

1215
01:07:45,400 --> 01:07:47,720
Speaker 2: always happen. I'll tell you. The most excruciating record to

1216
01:07:47,760 --> 01:07:51,880
Speaker 2: make was there was a hit was Karen White Romantic?

1217
01:07:52,640 --> 01:07:55,280
Speaker 4: Because that was the number one hit, number one?

1218
01:07:55,360 --> 01:07:59,640
Speaker 2: Yeah. But my question the whole time we were making

1219
01:07:59,640 --> 01:08:02,040
Speaker 2: the record, why aren't Ala and Babyface making this record?

1220
01:08:02,520 --> 01:08:05,480
Speaker 2: It does kinda sound like a totally totally does I

1221
01:08:06,200 --> 01:08:08,920
Speaker 2: tried to make the record they would have made. That

1222
01:08:09,080 --> 01:08:12,800
Speaker 2: was the idea that was excruciating and Terry was married

1223
01:08:12,800 --> 01:08:17,600
Speaker 2: to her that that was tough. And then nothing and

1224
01:08:17,640 --> 01:08:21,320
Speaker 2: nothing against Karen, but man, that was just an excruciating record.

1225
01:08:21,680 --> 01:08:23,800
Speaker 2: A project it just was because it because it was

1226
01:08:23,840 --> 01:08:26,160
Speaker 2: a record that was an example of a project that

1227
01:08:26,720 --> 01:08:29,280
Speaker 2: I didn't feel we should be doing, you know. I

1228
01:08:29,560 --> 01:08:32,840
Speaker 2: kind of felt like, why why aren't Alien Babyface doing

1229
01:08:32,840 --> 01:08:35,120
Speaker 2: the project? You know, and for whatever reason, they weren't

1230
01:08:35,120 --> 01:08:37,120
Speaker 2: doing it. But it was funny because I felt that

1231
01:08:37,160 --> 01:08:39,200
Speaker 2: way about another project, and that was when we did

1232
01:08:40,120 --> 01:08:41,800
Speaker 2: with Mary Jay. We did Love Is All We Need

1233
01:08:41,840 --> 01:08:45,960
Speaker 2: and uh and everything and uh and I remember I

1234
01:08:46,080 --> 01:08:48,400
Speaker 2: did do everything that's right, yeah, and I and I

1235
01:08:48,479 --> 01:08:52,680
Speaker 2: remember when Mary came came to Minneapolis and she and

1236
01:08:52,720 --> 01:08:55,559
Speaker 2: we played her stuff and it was the stuff we

1237
01:08:55,560 --> 01:08:58,880
Speaker 2: were playing her I thought, was like really good, but

1238
01:08:59,240 --> 01:09:02,960
Speaker 2: it was assuming that she was working with Puffy, so

1239
01:09:03,880 --> 01:09:06,200
Speaker 2: we weren't playing her any sample stuff. It was just

1240
01:09:06,240 --> 01:09:08,639
Speaker 2: like this different kind of stuff. And she was like, yeah,

1241
01:09:08,640 --> 01:09:11,280
Speaker 2: that's okay, that's okay, that's okay, that's okay. And we said, well,

1242
01:09:11,280 --> 01:09:13,120
Speaker 2: what are you looking for? And she said, you know

1243
01:09:13,240 --> 01:09:18,200
Speaker 2: something that sounds like me And we're like okay, well okay,

1244
01:09:18,240 --> 01:09:22,320
Speaker 2: Well here listen to this, and I said, she said

1245
01:09:22,320 --> 01:09:24,559
Speaker 2: something that sounds like me, and I said, like what

1246
01:09:24,720 --> 01:09:27,639
Speaker 2: and she said, you know, like you know, like my life,

1247
01:09:27,720 --> 01:09:29,720
Speaker 2: like you know, like that kind of vibe. And we

1248
01:09:29,720 --> 01:09:32,880
Speaker 2: were like, oh, but isn't Puffy doing those kind of

1249
01:09:32,920 --> 01:09:34,720
Speaker 2: records on you? And she said, I'm not working with

1250
01:09:34,720 --> 01:09:38,760
Speaker 2: Puffy and we said, oh okay in that case, and

1251
01:09:38,840 --> 01:09:43,360
Speaker 2: we put out we need and then instantly that track

1252
01:09:43,439 --> 01:09:48,559
Speaker 2: came on and she got up and started dancing and

1253
01:09:48,600 --> 01:09:50,720
Speaker 2: she said, oh, yeah, this is it. This is it

1254
01:09:50,800 --> 01:09:53,120
Speaker 2: right here, this is it. And I was like, oh

1255
01:09:53,160 --> 01:09:56,800
Speaker 2: you like that? Okay? When we got this other one

1256
01:09:57,600 --> 01:09:59,720
Speaker 2: and she was like, oh yeah, this is it, and

1257
01:09:59,760 --> 01:10:01,240
Speaker 2: we were We've been good ever since.

1258
01:10:01,280 --> 01:10:03,439
Speaker 5: So y'all be beautiful for her too, though, right you

1259
01:10:03,600 --> 01:10:07,360
Speaker 5: know the beautiful Yeah, thank you. I'm shocked that it

1260
01:10:07,400 --> 01:10:08,439
Speaker 5: was on the Stella Sounds track.

1261
01:10:08,880 --> 01:10:09,800
Speaker 2: Yeah, I'm shockautiful.

1262
01:10:10,280 --> 01:10:16,800
Speaker 1: I'm shocked that you guys play pre made work and

1263
01:10:16,840 --> 01:10:18,680
Speaker 1: the artist are with it, because a lot of the

1264
01:10:18,800 --> 01:10:25,439
Speaker 1: time I get resistance from people, uh, because they want

1265
01:10:25,439 --> 01:10:27,479
Speaker 1: it made in real time or to feel part of

1266
01:10:27,479 --> 01:10:31,920
Speaker 1: this immersive process sure and not like oh okay, let's

1267
01:10:31,960 --> 01:10:32,880
Speaker 1: just pull something out.

1268
01:10:32,720 --> 01:10:35,040
Speaker 2: The you know the work and no, no, no, but

1269
01:10:35,120 --> 01:10:38,559
Speaker 2: we had done them for her with her in mind.

1270
01:10:38,600 --> 01:10:41,040
Speaker 2: We just didn't think that's what she wanted. We thought

1271
01:10:41,160 --> 01:10:44,040
Speaker 2: we just assumed. When they said you're gonna do you

1272
01:10:44,040 --> 01:10:47,040
Speaker 2: guys want to work with Mary J. Blige, I was

1273
01:10:47,120 --> 01:10:53,120
Speaker 2: like yes and no because yes because I'm her biggest

1274
01:10:53,120 --> 01:10:56,000
Speaker 2: fan and no because I'm her biggest fan, Like, I

1275
01:10:56,040 --> 01:10:58,519
Speaker 2: don't want to screw it up with her. I don't

1276
01:10:58,520 --> 01:11:00,519
Speaker 2: want to be the person that kills MARYA j his

1277
01:11:00,600 --> 01:11:02,600
Speaker 2: career because she's coming off of My Life, which is

1278
01:11:02,600 --> 01:11:06,160
Speaker 2: one of my favorite records. So the way we approached

1279
01:11:06,160 --> 01:11:08,479
Speaker 2: it was like, well, if we were making a record

1280
01:11:08,479 --> 01:11:11,880
Speaker 2: with her, this Rick James sample would be dope, and

1281
01:11:11,920 --> 01:11:15,719
Speaker 2: this stylistic sample would be dope. But we know Puffy's

1282
01:11:15,720 --> 01:11:18,000
Speaker 2: already going to take care of that, so we're not

1283
01:11:18,040 --> 01:11:20,400
Speaker 2: going to do that. But we just worked him up anyway.

1284
01:11:21,120 --> 01:11:22,960
Speaker 2: So they were ready, but they weren't off the shelf.

1285
01:11:23,000 --> 01:11:27,080
Speaker 2: We've never been off the shelf, guys, whatsoever, never, never, never, never.

1286
01:11:27,240 --> 01:11:30,960
Speaker 2: We tailored, always tailored everything to the artist. That was

1287
01:11:31,000 --> 01:11:38,360
Speaker 2: always very important to us to Dopton. Yeah, except for people,

1288
01:11:38,520 --> 01:11:41,160
Speaker 2: yeah no, but even that stuff is obviously Taylor because

1289
01:11:41,160 --> 01:11:44,040
Speaker 2: that's see, that's one of those things where Terry just

1290
01:11:44,120 --> 01:11:47,520
Speaker 2: knows what he's looking for because Terry was working intimately

1291
01:11:47,560 --> 01:11:49,639
Speaker 2: with people. I never did any vocals with people. Terry

1292
01:11:49,680 --> 01:11:51,639
Speaker 2: did that, and so Terry knew what he was looking

1293
01:11:51,680 --> 01:11:54,120
Speaker 2: for and he heard it in the track and the

1294
01:11:54,120 --> 01:11:56,599
Speaker 2: way he flipped the track was totally not what I

1295
01:11:56,880 --> 01:11:59,559
Speaker 2: was thinking for it. But it turned out real cool.

1296
01:11:59,600 --> 01:12:01,840
Speaker 2: You know, It's like, Okay, damn, that wasn't what I

1297
01:12:01,880 --> 01:12:04,160
Speaker 2: was hearing. And he actually took like my melodies and

1298
01:12:04,200 --> 01:12:06,280
Speaker 2: stuff and some and some stuff, but he just made

1299
01:12:06,280 --> 01:12:09,320
Speaker 2: it just fit. You know, at the end of the day,

1300
01:12:09,320 --> 01:12:12,040
Speaker 2: as long as it fits, that's the that's the big thing.

1301
01:12:12,200 --> 01:12:14,000
Speaker 2: But you're right, some people want to be involved. Some

1302
01:12:14,040 --> 01:12:17,960
Speaker 2: people just want you to hand them a record. There's

1303
01:12:18,040 --> 01:12:21,200
Speaker 2: there's I remember we worked with a Kisha Cole and

1304
01:12:21,439 --> 01:12:24,759
Speaker 2: remember she came to the studio and she said, yeah,

1305
01:12:25,200 --> 01:12:27,120
Speaker 2: she says, what am I play me something? And I

1306
01:12:27,200 --> 01:12:29,800
Speaker 2: was like, no, We're gonna make up something right now.

1307
01:12:30,439 --> 01:12:31,920
Speaker 2: Huh what do you mean? And I said, no, we're

1308
01:12:31,920 --> 01:12:33,760
Speaker 2: gonna make up something right now. Like I'm gonna play

1309
01:12:33,800 --> 01:12:35,439
Speaker 2: some stuff. See whether you like this key, you like

1310
01:12:35,479 --> 01:12:38,200
Speaker 2: this key. Yeah, yeah, but what do we But where's

1311
01:12:38,240 --> 01:12:39,800
Speaker 2: the track? It's like, no, We're gonna make the track

1312
01:12:39,920 --> 01:12:46,000
Speaker 2: right now, like you like, please please? No. It was

1313
01:12:46,040 --> 01:12:48,200
Speaker 2: great and we ended up doing a song. Oh my god,

1314
01:12:48,200 --> 01:12:49,960
Speaker 2: it's slipping my mind the name of the record, but

1315
01:12:50,000 --> 01:12:52,360
Speaker 2: it was. It came out real cool, and at the

1316
01:12:52,439 --> 01:12:54,840
Speaker 2: end of it, she said, that's the first time ever

1317
01:12:55,120 --> 01:12:58,559
Speaker 2: anybody's made a record like that with me, like just

1318
01:12:58,640 --> 01:13:01,880
Speaker 2: with me just putting input into it and actually you

1319
01:13:01,920 --> 01:13:03,719
Speaker 2: know doing it. Usually I just walk in and people

1320
01:13:03,720 --> 01:13:05,400
Speaker 2: play me a bunch of tracks and that's what I do.

1321
01:13:05,439 --> 01:13:08,320
Speaker 2: And I'm like, we try not to do that. We

1322
01:13:08,439 --> 01:13:10,320
Speaker 2: try to try to create it. We might have something

1323
01:13:11,280 --> 01:13:13,639
Speaker 2: on standby that we think might work just to kind

1324
01:13:13,680 --> 01:13:15,880
Speaker 2: of jump start something if we ain't got something going.

1325
01:13:15,960 --> 01:13:20,080
Speaker 2: But nah, we like that, you know, Taylor make it.

1326
01:13:20,120 --> 01:13:23,400
Speaker 8: You know, you know I was going to do it

1327
01:13:23,400 --> 01:13:25,960
Speaker 8: really because I didn't want to keep us here longer. Okay, fine,

1328
01:13:26,080 --> 01:13:31,000
Speaker 8: I did want to know today, like, are there any singer,

1329
01:13:31,120 --> 01:13:34,800
Speaker 8: what songwriters producers in this R and B field that

1330
01:13:34,920 --> 01:13:36,679
Speaker 8: you feel like, you know what?

1331
01:13:37,240 --> 01:13:40,400
Speaker 3: I feel like they they're taking the baton like.

1332
01:13:41,920 --> 01:13:46,479
Speaker 2: They hmm, that's a that's a great question. I don't.

1333
01:13:46,600 --> 01:13:48,920
Speaker 2: I feel like I think there's a bunch of batons,

1334
01:13:50,600 --> 01:13:51,639
Speaker 2: so I'm gonna keep.

1335
01:13:51,479 --> 01:13:55,840
Speaker 3: Mine right, keep yours h But other.

1336
01:13:55,720 --> 01:13:57,639
Speaker 2: People with a baton, well, I mean you know.

1337
01:13:57,720 --> 01:13:59,519
Speaker 3: That are ready to that are ready to receive, when

1338
01:13:59,520 --> 01:14:00,479
Speaker 3: you're ready to hand.

1339
01:14:01,760 --> 01:14:03,679
Speaker 2: I don't think I'm ever gonna hand it. I think

1340
01:14:03,680 --> 01:14:06,519
Speaker 2: I'm gonna go down with my with my baton. I

1341
01:14:06,520 --> 01:14:09,439
Speaker 2: don't you know what I think it's I know what

1342
01:14:09,479 --> 01:14:11,920
Speaker 2: the word would be. I think in a way it's

1343
01:14:11,920 --> 01:14:14,120
Speaker 2: a little bit arrogant to think that we have a

1344
01:14:14,160 --> 01:14:16,800
Speaker 2: baton that we would hand to somebody anyway, Like I

1345
01:14:16,800 --> 01:14:17,960
Speaker 2: don't even think of it.

1346
01:14:18,160 --> 01:14:20,680
Speaker 3: So then let me re raise this question. Then, are

1347
01:14:20,680 --> 01:14:21,120
Speaker 3: there anybody?

1348
01:14:21,200 --> 01:14:24,080
Speaker 8: Is there anybody that moves you in a way they

1349
01:14:24,160 --> 01:14:24,840
Speaker 8: make them move you?

1350
01:14:24,880 --> 01:14:28,800
Speaker 2: Today makes tons of people, tons and tons of people

1351
01:14:28,800 --> 01:14:31,720
Speaker 2: that Yeah, No, there's a lot. There's a lot of

1352
01:14:31,720 --> 01:14:34,200
Speaker 2: people that I really that I really really like, but

1353
01:14:34,240 --> 01:14:37,559
Speaker 2: all for different reasons in different ways. I mean, Bruno's

1354
01:14:37,560 --> 01:14:43,759
Speaker 2: top of my list. I think Bruno is uh, Bruno

1355
01:14:43,800 --> 01:14:48,080
Speaker 2: is interesting because Bruno we actually helped Bruno with with

1356
01:14:48,240 --> 01:14:54,479
Speaker 2: some of his grooves, and we are yeah for free. No,

1357
01:14:54,600 --> 01:14:56,120
Speaker 2: I don't mean he borrowed them from us. I mean

1358
01:14:56,160 --> 01:14:58,600
Speaker 2: we actually went in the studio where helped him with

1359
01:14:58,640 --> 01:15:03,200
Speaker 2: some stuff on the last record, on this one. Yeah. Yeah, well,

1360
01:15:03,240 --> 01:15:06,240
Speaker 2: in fact that that song, oh wow, well we got.

1361
01:15:06,280 --> 01:15:08,360
Speaker 2: What we did for him is we got him out

1362
01:15:08,400 --> 01:15:11,600
Speaker 2: of a rut. Okay, he tends to. I remember the

1363
01:15:11,600 --> 01:15:14,360
Speaker 2: first time we ever went to the studio, he played

1364
01:15:14,400 --> 01:15:15,840
Speaker 2: us this song and I can't remember what it was,

1365
01:15:15,880 --> 01:15:17,439
Speaker 2: and he said he had been working on the bass

1366
01:15:17,439 --> 01:15:21,280
Speaker 2: part for six months, and he played it and we

1367
01:15:21,280 --> 01:15:23,639
Speaker 2: were like, okay. I said, yeah, yeah, but something about

1368
01:15:23,640 --> 01:15:24,960
Speaker 2: that bass part. Man, I've been trying to I've been

1369
01:15:24,960 --> 01:15:27,559
Speaker 2: dealing with this for about six months man, and whatever, whatever, whatever,

1370
01:15:28,320 --> 01:15:30,599
Speaker 2: And Terry looked at me and I just said, plug

1371
01:15:30,640 --> 01:15:32,519
Speaker 2: in the bass. I plugged in the bass, and thirty

1372
01:15:32,520 --> 01:15:35,120
Speaker 2: minutes later we had the bassline. And he said, oh

1373
01:15:35,160 --> 01:15:36,640
Speaker 2: my god. He said, that's why I need y'all. And

1374
01:15:36,720 --> 01:15:38,479
Speaker 2: I said no. I said no, I said, that's easy.

1375
01:15:38,520 --> 01:15:40,800
Speaker 2: But I said, you're trying to recreate what we've already done.

1376
01:15:41,160 --> 01:15:46,200
Speaker 2: I said, so that's easy. So no. I mean, I

1377
01:15:46,200 --> 01:15:48,320
Speaker 2: think the attention was that we would actually do something

1378
01:15:48,360 --> 01:15:52,680
Speaker 2: that The thing that happened, though, honestly, was he is

1379
01:15:52,920 --> 01:15:56,479
Speaker 2: very meticulous, like he's somewhere between Prince and Michael. Right,

1380
01:15:56,840 --> 01:16:03,040
Speaker 2: so Prince is one day like, okay, if a girl answers,

1381
01:16:03,040 --> 01:16:06,080
Speaker 2: don't hang up. For instance, on Vanity six, that song

1382
01:16:06,240 --> 01:16:08,920
Speaker 2: was started and finished the same day, like right, you

1383
01:16:08,960 --> 01:16:10,439
Speaker 2: go on, you play the bad You know, Terry played

1384
01:16:10,479 --> 01:16:12,639
Speaker 2: the bass, Prince I think Prince played the no More

1385
01:16:12,680 --> 01:16:14,200
Speaker 2: played the drums on that, or Princes played the drums,

1386
01:16:14,200 --> 01:16:15,760
Speaker 2: I can't remember. I think Prince might have played the

1387
01:16:15,800 --> 01:16:18,439
Speaker 2: drums on that. Anyway, I put a little keyboard part

1388
01:16:18,439 --> 01:16:20,160
Speaker 2: on and he took my keyboard part off. Okay, fine,

1389
01:16:20,880 --> 01:16:23,479
Speaker 2: so they go through the you go through the whole day.

1390
01:16:23,800 --> 01:16:26,280
Speaker 2: You do the thing. He wrote it, he had the girls.

1391
01:16:26,320 --> 01:16:27,560
Speaker 2: I think the girls might have sang it on a

1392
01:16:27,560 --> 01:16:30,719
Speaker 2: different day. But the track's done and there's no three

1393
01:16:30,840 --> 01:16:33,080
Speaker 2: thinking it or whatever. You just move right on to

1394
01:16:33,160 --> 01:16:36,720
Speaker 2: the next thing. The Michael Jackson way of working is

1395
01:16:37,160 --> 01:16:40,600
Speaker 2: you do the song and at the end of the

1396
01:16:40,680 --> 01:16:45,160
Speaker 2: day he would say, make me a dad. Okay, next

1397
01:16:45,240 --> 01:16:47,599
Speaker 2: day we come back. What do you think, Michael, can

1398
01:16:47,640 --> 01:16:50,519
Speaker 2: we turn the hand claps up a little bit? Sure? Okay,

1399
01:16:50,600 --> 01:16:52,720
Speaker 2: hand claps are up. We're good. Oh yes, make me

1400
01:16:52,760 --> 01:16:54,880
Speaker 2: a dad, and that could go on for a week.

1401
01:16:55,800 --> 01:16:58,720
Speaker 2: And it's like Michael in the same place we've been.

1402
01:16:59,400 --> 01:17:01,840
Speaker 2: We just turn the handclaps up. Are we good to go?

1403
01:17:01,920 --> 01:17:03,960
Speaker 2: Because we have other songs that we want to do right.

1404
01:17:04,720 --> 01:17:09,920
Speaker 2: Bruno is somewhere between there. Right, he's very spontaneous, but

1405
01:17:09,960 --> 01:17:14,080
Speaker 2: then he thinks it through to death. Now at the

1406
01:17:14,200 --> 01:17:17,000
Speaker 2: end of the day, the end result is great, and

1407
01:17:17,040 --> 01:17:19,479
Speaker 2: the end result comes off very spontaneous. But all of

1408
01:17:19,520 --> 01:17:22,160
Speaker 2: Bruno's stuff is a series of loops. But it's just

1409
01:17:22,240 --> 01:17:26,880
Speaker 2: done very well, very subtly, and very well. Twenty four Carrot,

1410
01:17:27,200 --> 01:17:29,800
Speaker 2: he played it for us. He said, I don't know.

1411
01:17:29,880 --> 01:17:32,240
Speaker 2: He said, it's this. He said, he knew it. He said,

1412
01:17:32,280 --> 01:17:34,599
Speaker 2: this is my single, twenty four kid. I got the

1413
01:17:34,680 --> 01:17:36,519
Speaker 2: video concept, I got the every this is my single.

1414
01:17:36,920 --> 01:17:39,639
Speaker 2: We said, okay, he said, but I ain't. He said,

1415
01:17:39,680 --> 01:17:41,840
Speaker 2: the problem is that doesn't make me want to dance.

1416
01:17:42,360 --> 01:17:45,559
Speaker 2: He said, okay, what song makes you want to dance?

1417
01:17:47,120 --> 01:17:49,040
Speaker 2: And he said, well, I really like I can't remember

1418
01:17:49,040 --> 01:17:52,200
Speaker 2: even what the songs he said, and I said, I said, okay, cool,

1419
01:17:52,320 --> 01:17:56,200
Speaker 2: I said, plug me in right, So what we I

1420
01:17:56,280 --> 01:17:59,360
Speaker 2: just took the track and made it into a sound

1421
01:17:59,400 --> 01:18:03,240
Speaker 2: alike of a song he liked to dance to. And

1422
01:18:03,280 --> 01:18:06,000
Speaker 2: then we played it and he said, oh, hell yeah,

1423
01:18:06,240 --> 01:18:09,080
Speaker 2: and he loved it right, and he said, okay, I

1424
01:18:09,120 --> 01:18:11,719
Speaker 2: get it. Then he tried to put like the chords

1425
01:18:11,720 --> 01:18:13,760
Speaker 2: and stuff that he had before back in it. And

1426
01:18:13,800 --> 01:18:15,280
Speaker 2: I said, well, now you're just going back to what

1427
01:18:15,360 --> 01:18:18,040
Speaker 2: you already had, and he said, y yeah, you're right,

1428
01:18:18,040 --> 01:18:21,880
Speaker 2: You're right, You're right. Okay, cool, right. Three four months later,

1429
01:18:23,080 --> 01:18:27,400
Speaker 2: twenty four, Carrot is done. He doesn't use what we did,

1430
01:18:28,640 --> 01:18:32,120
Speaker 2: but he went He took not so much what we did,

1431
01:18:32,200 --> 01:18:34,880
Speaker 2: but he took up the kind of the inspiration or

1432
01:18:34,880 --> 01:18:38,000
Speaker 2: the idea of it, but figured out how to then

1433
01:18:38,080 --> 01:18:40,559
Speaker 2: incorporate what he wanted in the song, which were the

1434
01:18:40,560 --> 01:18:42,920
Speaker 2: little stabs and the little you know, those kinds of

1435
01:18:42,920 --> 01:18:47,519
Speaker 2: little things like that. And you know, so we didn't.

1436
01:18:47,600 --> 01:18:49,559
Speaker 2: So what we did is I think we got him

1437
01:18:49,640 --> 01:18:51,639
Speaker 2: unstuck from the rut and got him to look at

1438
01:18:51,640 --> 01:18:53,840
Speaker 2: it in a different way. But we didn't technically, we

1439
01:18:53,840 --> 01:18:56,519
Speaker 2: didn't produce anything. So I think we were just more

1440
01:18:56,720 --> 01:18:58,519
Speaker 2: I think, as it turned out, kind of a sounding

1441
01:18:58,520 --> 01:19:00,400
Speaker 2: board or whatever. And we did that for a few

1442
01:19:00,439 --> 01:19:03,920
Speaker 2: things for him, and that's fine. I enjoyed the process.

1443
01:19:04,680 --> 01:19:09,880
Speaker 2: He's amazing. I think he's probably my overall, my favorite dude.

1444
01:19:10,439 --> 01:19:13,920
Speaker 2: And he's you know, he's obviously an artist, but I

1445
01:19:14,000 --> 01:19:16,320
Speaker 2: think he's one of the artists that in any era

1446
01:19:16,880 --> 01:19:19,800
Speaker 2: would be he'd be good, he'd be a great artist

1447
01:19:19,800 --> 01:19:23,559
Speaker 2: in any Uh. Do we have everything out of our asistance?

1448
01:19:24,200 --> 01:19:26,280
Speaker 2: I mean, I still wanted to ask about that. I'm sorry, Steve,

1449
01:19:26,320 --> 01:19:31,000
Speaker 2: I forgot about you. Oh yes, shocker.

1450
01:19:30,760 --> 01:19:33,000
Speaker 10: You didn't forget about me. The two times I spoke tonight,

1451
01:19:33,040 --> 01:19:37,200
Speaker 10: you said, shut up all that's not forgetting about some ready. No,

1452
01:19:37,360 --> 01:19:39,920
Speaker 10: I have one question. Me and Bill Sherman over here.

1453
01:19:39,960 --> 01:19:44,000
Speaker 10: We recently started a singing group called the Sounds of Jewess,

1454
01:19:45,560 --> 01:19:46,360
Speaker 10: and we could use.

1455
01:19:46,280 --> 01:19:50,640
Speaker 2: A track or two, Just a track or two. Just

1456
01:19:50,680 --> 01:19:55,080
Speaker 2: whip it up, Jesus Christ.

1457
01:19:55,360 --> 01:19:59,320
Speaker 6: Okay, So is it true there's a rumor going around

1458
01:19:59,360 --> 01:20:03,240
Speaker 6: that Control Album and Rhythm Nation and them wanted Janet

1459
01:20:03,280 --> 01:20:06,160
Speaker 6: to do an album with outside, with producers other than

1460
01:20:06,160 --> 01:20:06,519
Speaker 6: you guys.

1461
01:20:06,600 --> 01:20:07,080
Speaker 2: Is that true?

1462
01:20:08,680 --> 01:20:09,520
Speaker 4: Uh?

1463
01:20:09,600 --> 01:20:11,960
Speaker 2: Well, there's some truth in it. She did. She did.

1464
01:20:12,080 --> 01:20:14,559
Speaker 2: She did go in the studio and and and make

1465
01:20:14,600 --> 01:20:17,640
Speaker 2: some records with some other folks that I know.

1466
01:20:17,720 --> 01:20:18,479
Speaker 4: She did something with.

1467
01:20:20,000 --> 01:20:24,599
Speaker 2: I was just guessing that yeah, yeah, but yeah, there

1468
01:20:24,640 --> 01:20:27,920
Speaker 2: was a little, uh, I don't know what I call it.

1469
01:20:27,960 --> 01:20:30,120
Speaker 2: There was a few bumps in the road between Control

1470
01:20:30,160 --> 01:20:34,559
Speaker 2: and Rhythm Nation for sure, and uh. But Clarence Avon

1471
01:20:34,840 --> 01:20:38,360
Speaker 2: solved that problem. Mentioned his name earlier about five hours

1472
01:20:38,400 --> 01:20:42,400
Speaker 2: ago in the in the broadcast yesterday. But but no,

1473
01:20:42,800 --> 01:20:45,720
Speaker 2: we had we we you know, it was one of

1474
01:20:45,720 --> 01:20:48,639
Speaker 2: those interesting things where you know, Janet heard we were

1475
01:20:48,680 --> 01:20:50,720
Speaker 2: saying something about her and whatever, and we heard she

1476
01:20:50,840 --> 01:20:54,240
Speaker 2: was saying something about us and whatever. And she finally

1477
01:20:54,400 --> 01:20:56,240
Speaker 2: called me and she said, Jimmy, do you want to

1478
01:20:56,280 --> 01:20:58,080
Speaker 2: do the record? And I say, yeah, you want us

1479
01:20:58,120 --> 01:21:00,320
Speaker 2: to do the record? She said yeah, And I said, okay, fine,

1480
01:21:00,920 --> 01:21:04,160
Speaker 2: and I called Clarence and I just said Clarence, I said,

1481
01:21:04,360 --> 01:21:06,439
Speaker 2: we want to do the record, so let's can we

1482
01:21:06,479 --> 01:21:11,920
Speaker 2: get this done? And Clarence called up Jerry Moss and said, Jerry,

1483
01:21:11,920 --> 01:21:14,720
Speaker 2: give them a million dollars and let's go. And that

1484
01:21:14,840 --> 01:21:17,559
Speaker 2: was it. We were and we were literally in the

1485
01:21:17,600 --> 01:21:19,880
Speaker 2: studio making Miss You Much, which was the first song

1486
01:21:19,920 --> 01:21:22,360
Speaker 2: we recorded on the on the Rhythm Nation album, like

1487
01:21:22,439 --> 01:21:23,880
Speaker 2: in the next week.

1488
01:21:24,200 --> 01:21:28,400
Speaker 6: So the stories of songs like You Need Me was

1489
01:21:28,439 --> 01:21:30,920
Speaker 6: that a leftover from the Rhythm Nation sessions or the

1490
01:21:31,000 --> 01:21:31,880
Speaker 6: period in between.

1491
01:21:32,360 --> 01:21:35,760
Speaker 2: Uh you need Me? Okay, now refresh my memory. You

1492
01:21:35,840 --> 01:21:38,200
Speaker 2: need Me ended up being a B side miss to

1493
01:21:38,240 --> 01:21:43,800
Speaker 2: miss you much. You Need Me was during the Wow,

1494
01:21:43,880 --> 01:21:46,160
Speaker 2: that's a great question. When did we record that?

1495
01:21:47,080 --> 01:21:50,320
Speaker 1: Well, sounds like it's from the era, so yeah, no, no,

1496
01:21:50,400 --> 01:21:53,120
Speaker 1: it definitely it's I don't know, I don't know. It's

1497
01:21:53,120 --> 01:21:56,840
Speaker 1: probably between Control it definitely. No, it definitely wasn't one

1498
01:21:56,840 --> 01:21:59,120
Speaker 1: of the Control songs, did I think so?

1499
01:21:59,200 --> 01:22:01,120
Speaker 2: I think it was. It was probably part of the

1500
01:22:01,200 --> 01:22:01,760
Speaker 2: Rhythm Nation.

1501
01:22:02,280 --> 01:22:04,320
Speaker 6: So I was asking if it was like a before

1502
01:22:04,439 --> 01:22:07,280
Speaker 6: Rhythm Nation actually officially started or.

1503
01:22:09,280 --> 01:22:11,200
Speaker 2: That's a really good question. I'm gonna have to I'm

1504
01:22:11,200 --> 01:22:13,760
Speaker 2: gonna have to find that out myself. I truly don't

1505
01:22:13,800 --> 01:22:14,320
Speaker 2: remember then.

1506
01:22:14,360 --> 01:22:17,240
Speaker 6: Like the other BC has, like Skin Game, where those

1507
01:22:17,360 --> 01:22:18,880
Speaker 6: after the album was already.

1508
01:22:18,560 --> 01:22:22,320
Speaker 2: Done, yes, and after the album was done, and these.

1509
01:22:22,120 --> 01:22:27,599
Speaker 5: Love Groove and Play, well that was the decade.

1510
01:22:27,880 --> 01:22:30,799
Speaker 6: Yeah, those were all done after the album was albums

1511
01:22:30,800 --> 01:22:31,320
Speaker 6: were completed.

1512
01:22:31,360 --> 01:22:34,479
Speaker 2: Yees, seventies Love Groove, I remember, I remember we did that.

1513
01:22:34,479 --> 01:22:36,000
Speaker 2: That was a day. We did that in a day,

1514
01:22:36,680 --> 01:22:38,200
Speaker 2: and we just did a groove. We just did a

1515
01:22:38,240 --> 01:22:40,519
Speaker 2: groove and I said, just talk and she said okay.

1516
01:22:41,680 --> 01:22:45,880
Speaker 1: And how does that work? Especially with the interludes and

1517
01:22:46,040 --> 01:22:49,920
Speaker 1: especially with the morphing. I mean we always joke about

1518
01:22:49,960 --> 01:22:52,719
Speaker 1: the orgasms every album, yeah, right.

1519
01:22:53,160 --> 01:23:00,240
Speaker 2: Except no but well yeah, yeah, but how like how

1520
01:23:00,280 --> 01:23:04,240
Speaker 2: hard or to go from.

1521
01:23:05,640 --> 01:23:09,679
Speaker 1: The shinness of funny how time Flies, which I'm sure

1522
01:23:09,920 --> 01:23:14,400
Speaker 1: was hard to do. Was the room completely empty? Like

1523
01:23:14,479 --> 01:23:15,360
Speaker 1: how did you get.

1524
01:23:15,160 --> 01:23:17,360
Speaker 2: That out of her? Yeah? The room was completely empty,

1525
01:23:17,800 --> 01:23:19,479
Speaker 2: like all those the vocals on all the I mean

1526
01:23:19,479 --> 01:23:20,960
Speaker 2: I did all the vocals on those records, and the

1527
01:23:21,240 --> 01:23:23,800
Speaker 2: room was always dark, and we always just we just,

1528
01:23:24,040 --> 01:23:25,559
Speaker 2: I don't know, trusted each other. I guess I would

1529
01:23:25,560 --> 01:23:28,479
Speaker 2: put it like that. But Janna would say just the

1530
01:23:28,520 --> 01:23:31,559
Speaker 2: way she was. She would say things and they would

1531
01:23:31,600 --> 01:23:33,840
Speaker 2: come out wrong. You know, how you say something and

1532
01:23:33,880 --> 01:23:35,599
Speaker 2: it comes out in a sexual way, or you can

1533
01:23:35,640 --> 01:23:39,400
Speaker 2: be you know, it can be misconstrued as that. Jana

1534
01:23:39,400 --> 01:23:43,200
Speaker 2: would always do that, And even on the end of

1535
01:23:45,439 --> 01:23:49,040
Speaker 2: oh the end, well, yeah, funny how time Flies? At

1536
01:23:49,080 --> 01:23:53,240
Speaker 2: the end of it, she's talking in French, right, and

1537
01:23:53,280 --> 01:23:58,240
Speaker 2: then she says one more time, an American, I don't

1538
01:23:58,240 --> 01:24:01,760
Speaker 2: know that you are an English You hear yep. So

1539
01:24:01,880 --> 01:24:05,240
Speaker 2: one more time was her asking did I want another take?

1540
01:24:06,000 --> 01:24:07,120
Speaker 4: But it sounded like le.

1541
01:24:08,760 --> 01:24:18,160
Speaker 2: So I just left it gay as another day. Yeah

1542
01:24:18,200 --> 01:24:21,960
Speaker 2: it is. So there's a there's a lot of that

1543
01:24:22,040 --> 01:24:24,640
Speaker 2: kind of thing that that goes on. But she, you know,

1544
01:24:24,800 --> 01:24:27,320
Speaker 2: she's an actress. She can put herself in the mood

1545
01:24:27,360 --> 01:24:29,880
Speaker 2: for sure, and if the track is right, it's always

1546
01:24:29,880 --> 01:24:34,559
Speaker 2: but it's about the vibe. My favorite one of those was,

1547
01:24:34,640 --> 01:24:38,880
Speaker 2: because I remember I totally shocked people, was would you mind? Yes?

1548
01:24:38,920 --> 01:24:42,599
Speaker 2: Would you mind? That's yeah, yeah, would you mind? Would

1549
01:24:42,640 --> 01:24:44,280
Speaker 2: you mind? Was? Would you mind? And I'll tell you

1550
01:24:44,439 --> 01:24:47,000
Speaker 2: the other great thing about would you mind was that

1551
01:24:47,240 --> 01:24:50,960
Speaker 2: Rock Wilder did that track? And I remember when we did,

1552
01:24:51,760 --> 01:24:54,680
Speaker 2: I gave like all the producers. We worked with a

1553
01:24:54,720 --> 01:24:56,559
Speaker 2: whole bunch of different producers on that record, but Rock

1554
01:24:56,600 --> 01:24:59,759
Speaker 2: Wilder was the only one that actually ended up making

1555
01:24:59,760 --> 01:25:00,280
Speaker 2: that was.

1556
01:25:00,240 --> 01:25:01,679
Speaker 4: A twenty year old.

1557
01:25:03,120 --> 01:25:08,120
Speaker 2: Joe. Okay, no, no, no, no, you no, it wasn't all

1558
01:25:08,160 --> 01:25:10,280
Speaker 2: for you. It was all for you. It was it

1559
01:25:10,280 --> 01:25:15,120
Speaker 2: was all for that moment. Yeah, yes, yes, yes, okay, yeah, yeah,

1560
01:25:15,200 --> 01:25:17,680
Speaker 2: all for you. And we did. We did what we

1561
01:25:17,720 --> 01:25:19,320
Speaker 2: did is we did like account of a camp we

1562
01:25:19,360 --> 01:25:21,519
Speaker 2: called a flight Time summer camp. We had a bunch

1563
01:25:21,520 --> 01:25:24,280
Speaker 2: of different producers come up. We put them in different rooms,

1564
01:25:24,640 --> 01:25:27,280
Speaker 2: which kind of happens nowadays. It's funny everybody does writing

1565
01:25:27,280 --> 01:25:29,479
Speaker 2: camp things. So we did that. So we we put

1566
01:25:29,479 --> 01:25:31,160
Speaker 2: everybody in the rooms. We said, let's see what you

1567
01:25:31,200 --> 01:25:34,800
Speaker 2: come up with. And I remember we liked what rock

1568
01:25:34,840 --> 01:25:40,559
Speaker 2: Wilder had done with uh Missy and a couple other folks,

1569
01:25:40,560 --> 01:25:42,439
Speaker 2: and we were like, okay, we'll put you in a room.

1570
01:25:42,640 --> 01:25:46,240
Speaker 2: So then you say to him, Okay, here's what we want.

1571
01:25:46,439 --> 01:25:50,320
Speaker 2: We love what you do. Don't do that. We wanted

1572
01:25:50,439 --> 01:25:54,720
Speaker 2: you to come up with something different, specifically for Janet.

1573
01:25:54,880 --> 01:25:59,559
Speaker 2: And it's a what a weird thing to ask somebody, right,

1574
01:26:00,439 --> 01:26:02,720
Speaker 2: And so I remember and I said, okay, what do

1575
01:26:02,720 --> 01:26:04,120
Speaker 2: you need man? And he says, I just need an

1576
01:26:04,200 --> 01:26:09,400
Speaker 2: MPC and a XP sixty and I can't remember the

1577
01:26:09,400 --> 01:26:11,040
Speaker 2: other keyboard he had, but that was it. I think

1578
01:26:11,040 --> 01:26:13,160
Speaker 2: it was XP sixty. So I just needed XP sixty

1579
01:26:13,640 --> 01:26:18,280
Speaker 2: with the with the Asian card and the the something

1580
01:26:18,360 --> 01:26:20,439
Speaker 2: card the jung I didn't remember what he called it.

1581
01:26:20,439 --> 01:26:22,400
Speaker 2: There was two different kind of sound cards you could

1582
01:26:22,439 --> 01:26:25,400
Speaker 2: get and he says, I just need these, right, And

1583
01:26:25,479 --> 01:26:29,040
Speaker 2: so I'm like, okay, cool. So these other producer I'm

1584
01:26:29,040 --> 01:26:31,479
Speaker 2: not even gonna mention names. These other producers are like

1585
01:26:31,520 --> 01:26:33,720
Speaker 2: bringing in orchestras, doing all kinds of crazy stuff in

1586
01:26:33,760 --> 01:26:37,759
Speaker 2: one studio, bringing in black at Rodney. No it ain't Rodney,

1587
01:26:38,200 --> 01:26:44,840
Speaker 2: black lights and fog machines and all kinds of craziness. No, no,

1588
01:26:44,880 --> 01:26:49,600
Speaker 2: not Rodney. And then another producer, or actually set of

1589
01:26:49,640 --> 01:26:53,759
Speaker 2: producers were very prolific and came up with probably twenty

1590
01:26:53,800 --> 01:26:57,000
Speaker 2: different ideas, but none of them were quite and they

1591
01:26:57,160 --> 01:27:02,960
Speaker 2: never really caught right Rock Wilder, I walked next door

1592
01:27:03,400 --> 01:27:05,400
Speaker 2: and I hear do do Do Do Do Doom Do

1593
01:27:05,520 --> 01:27:08,840
Speaker 2: Doom Do Do Doom Boo boo boo do do Do

1594
01:27:08,840 --> 01:27:11,920
Speaker 2: Do Do do doo, And I go, what the fuck?

1595
01:27:12,800 --> 01:27:16,200
Speaker 2: I said, dude, what is this? He said, oh, this

1596
01:27:16,200 --> 01:27:19,360
Speaker 2: this is concept uh whatever? And I said okay. And

1597
01:27:19,400 --> 01:27:21,240
Speaker 2: I just called Janet right away and I said okay.

1598
01:27:21,800 --> 01:27:26,280
Speaker 2: I said, Rock's the dude. Listen to this right And

1599
01:27:26,360 --> 01:27:28,519
Speaker 2: he had the kind of the thing and we put

1600
01:27:28,880 --> 01:27:30,200
Speaker 2: you know, we put a couple of little things on

1601
01:27:30,240 --> 01:27:33,599
Speaker 2: it to make it a little more her. But and

1602
01:27:33,640 --> 01:27:36,960
Speaker 2: then I gave her I said, I hear this melody,

1603
01:27:37,000 --> 01:27:38,439
Speaker 2: and I said, but I don't. You can write it

1604
01:27:38,479 --> 01:27:40,680
Speaker 2: whatever it is. I said, but when you get to

1605
01:27:40,720 --> 01:27:42,920
Speaker 2: the course, it should just be whatever you want to

1606
01:27:43,000 --> 01:27:45,640
Speaker 2: do to somebody, right, So if you say I just

1607
01:27:45,680 --> 01:27:52,040
Speaker 2: want to and I give her the melody the rhythm

1608
01:27:52,080 --> 01:27:55,840
Speaker 2: of it. She came back the next day and I

1609
01:27:56,040 --> 01:27:58,280
Speaker 2: was like, oh, and we were at record plan I

1610
01:27:58,280 --> 01:28:01,559
Speaker 2: think in La, recording this and she he just nailed

1611
01:28:01,560 --> 01:28:03,400
Speaker 2: this thing. And I can't remember who. It might have been,

1612
01:28:03,479 --> 01:28:05,920
Speaker 2: Robin think Er, somebody was in the studio next door

1613
01:28:06,000 --> 01:28:09,320
Speaker 2: or something and came in and was like, what are

1614
01:28:09,360 --> 01:28:10,880
Speaker 2: y'all working on? And it's like, oh, we got this

1615
01:28:10,960 --> 01:28:14,120
Speaker 2: new Janet song, let me check it out, and never listened.

1616
01:28:14,200 --> 01:28:16,080
Speaker 2: It was him, and I can't remember who all else

1617
01:28:16,200 --> 01:28:18,000
Speaker 2: was with him. It might have been Jordan Knight. We

1618
01:28:18,040 --> 01:28:22,439
Speaker 2: might have been working with Jordan Knight. Give it to you, yes, yeah,

1619
01:28:23,360 --> 01:28:29,439
Speaker 2: joint Yeah. So anyway, they were oh my god, yeah, yeah,

1620
01:28:29,520 --> 01:28:32,640
Speaker 2: I'm sorry, good yeah. But that said, it was just

1621
01:28:32,720 --> 01:28:36,200
Speaker 2: it was just of all those songs that was that

1622
01:28:36,240 --> 01:28:39,400
Speaker 2: one is really my probably my favorite one of those

1623
01:28:39,479 --> 01:28:42,080
Speaker 2: types of records. That one was just so good. But man,

1624
01:28:42,840 --> 01:28:44,640
Speaker 2: hats off the rock for that one. Man, because he

1625
01:28:44,720 --> 01:28:47,760
Speaker 2: really brought some. He did exactly what we said, we

1626
01:28:47,920 --> 01:28:51,720
Speaker 2: like you do something that's not you, that's her that

1627
01:28:51,880 --> 01:28:55,800
Speaker 2: you know whatever, and he totally total brought Yeah. Thank

1628
01:28:55,840 --> 01:28:58,879
Speaker 2: you very much. Jimmy jam Man.

1629
01:29:01,720 --> 01:29:07,320
Speaker 4: Giveth but yeah, thank you.

1630
01:29:08,320 --> 01:29:12,679
Speaker 1: On behalf of Boss Bill, Sugar Steve, Unpaid, Bill.

1631
01:29:13,720 --> 01:29:18,880
Speaker 2: By and Fontiicula. This is a special.

1632
01:29:20,439 --> 01:29:24,879
Speaker 1: Meredith Baxter Bernie editions of Course Love Supreme.

1633
01:29:24,920 --> 01:29:26,519
Speaker 2: We'll see you on the next go round. Thank you.

1634
01:29:33,040 --> 01:29:36,839
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

1635
01:29:36,840 --> 01:29:42,479
Speaker 1: episode was produced by the team at Pandora. For more

1636
01:29:42,479 --> 01:29:46,560
Speaker 1: podcasts from iHeart Radio, visit the iHeart Radio app, Apple Podcasts,

1637
01:29:46,960 --> 01:29:48,639
Speaker 1: or wherever you listen to your favorite shows.