1 00:00:00,360 --> 00:00:18,280 Speaker 1: Quest Love Show is a production of iHeartRadio. What's going on? 2 00:00:18,320 --> 00:00:20,320 Speaker 2: This is cousin Jake, one of the producers of The 3 00:00:20,360 --> 00:00:23,560 Speaker 2: Questlove Show. We are back here for a mini episode 4 00:00:23,640 --> 00:00:25,720 Speaker 2: with the Man, the Myth, the Legend Questlove. 5 00:00:26,160 --> 00:00:26,440 Speaker 1: Yeah. 6 00:00:26,480 --> 00:00:29,720 Speaker 2: Man, we've been taping up a storm lately. You know, 7 00:00:29,800 --> 00:00:34,200 Speaker 2: our dedicated readers have been sending in questions. Encourage everyone 8 00:00:34,280 --> 00:00:36,440 Speaker 2: you know. Go to Questlove Supreme, the old name of 9 00:00:36,440 --> 00:00:39,640 Speaker 2: the podcast dot com. There's a great contact us. You 10 00:00:39,680 --> 00:00:42,519 Speaker 2: can also you can DM the QLs channel not a 11 00:00:42,560 --> 00:00:45,400 Speaker 2: mere direct or. You can leave us a thoughtful comment 12 00:00:45,440 --> 00:00:47,640 Speaker 2: on YouTube. We'll try to get the good ones answered. 13 00:00:48,400 --> 00:00:50,920 Speaker 2: But yeah, we got one actually today. So one of 14 00:00:50,920 --> 00:00:54,200 Speaker 2: our new episodes is with DJ Muggs of Cypress. 15 00:00:53,880 --> 00:00:55,600 Speaker 1: Hill the Black Sunday comment. 16 00:00:56,280 --> 00:00:59,640 Speaker 2: No, no oka, no, I like no hate, like people 17 00:00:59,680 --> 00:01:00,680 Speaker 2: have been I hate. 18 00:01:01,280 --> 00:01:03,760 Speaker 3: The clip makes it seem like Black Sunday blew my mind. 19 00:01:03,840 --> 00:01:05,560 Speaker 3: When I was telling the Han Soul story, I meant 20 00:01:05,600 --> 00:01:06,800 Speaker 3: to say the debut. 21 00:01:06,440 --> 00:01:08,280 Speaker 1: Album, oh, the self titled, but. 22 00:01:08,400 --> 00:01:11,320 Speaker 3: I was telling him that I got hired when Black 23 00:01:11,360 --> 00:01:13,000 Speaker 3: Sunday was finished. 24 00:01:13,319 --> 00:01:15,880 Speaker 1: Oh okay, however, and people were. 25 00:01:15,720 --> 00:01:17,720 Speaker 3: Like, I think you met the debut record and that 26 00:01:17,800 --> 00:01:19,520 Speaker 3: was that's the thing I wanted to make clear that 27 00:01:20,120 --> 00:01:22,880 Speaker 3: when I'm talking about how my mind was blown. Han 28 00:01:23,000 --> 00:01:27,320 Speaker 3: Soul played us Me and Tuik then ninety one the title. 29 00:01:27,360 --> 00:01:29,560 Speaker 2: Interesting what was funny too? And you know there's a 30 00:01:29,560 --> 00:01:32,040 Speaker 2: couple of things, and this happens when you're doing podcasts 31 00:01:32,080 --> 00:01:35,080 Speaker 2: like Mugs in the clip that by the time you 32 00:01:35,120 --> 00:01:37,759 Speaker 2: hear this, the animation's out. And thank you by the way, 33 00:01:37,800 --> 00:01:39,520 Speaker 2: you put up all our animations in your stories. The 34 00:01:39,600 --> 00:01:41,200 Speaker 2: other day you just went ham. 35 00:01:40,959 --> 00:01:41,800 Speaker 1: It's my favorite thing. 36 00:01:42,040 --> 00:01:44,600 Speaker 2: Yeah, shout out to Nick. But he had mentioned that 37 00:01:44,760 --> 00:01:47,040 Speaker 2: funk Master Flex when he was doing a and R 38 00:01:47,200 --> 00:01:49,800 Speaker 2: almost signed jump Around by House of Pain on a 39 00:01:49,840 --> 00:01:53,720 Speaker 2: single deal. Mugs had attributed Flex to being at priority records. 40 00:01:53,720 --> 00:01:56,200 Speaker 2: He was at profile like things happen, you know, that's 41 00:01:56,240 --> 00:01:58,360 Speaker 2: the great thing of oral histories. But so I hear 42 00:01:58,400 --> 00:02:00,280 Speaker 2: you on the clip, it's still getting a lot of love. 43 00:02:00,400 --> 00:02:04,120 Speaker 2: Mugs is absolutely getting his flowers. That was an amazing episode. 44 00:02:04,160 --> 00:02:07,680 Speaker 2: It touched on some of your overlapping history back to 45 00:02:08,440 --> 00:02:11,120 Speaker 2: rough House and Studio four. But here's the question, and 46 00:02:11,160 --> 00:02:16,720 Speaker 2: this is from sinestat Canal on YouTube. I butchered that. Apologies. 47 00:02:16,880 --> 00:02:19,960 Speaker 2: DJ Muggs is a legend. I would say he originated 48 00:02:20,000 --> 00:02:24,160 Speaker 2: the whole psychedelic, dark cinematic beats, possibly even before Rizza. 49 00:02:24,680 --> 00:02:28,080 Speaker 2: Many great producers and hard beats came before, but I 50 00:02:28,080 --> 00:02:30,400 Speaker 2: feel like Muggs was the one who brought that special 51 00:02:30,440 --> 00:02:34,800 Speaker 2: feeling starting with Black Sunday and especially Temples of Boom. 52 00:02:35,200 --> 00:02:39,280 Speaker 2: I'm interested in Questlov who knows music history so much better, 53 00:02:39,440 --> 00:02:42,800 Speaker 2: would agree, So I just wanted, Yeah. 54 00:02:43,120 --> 00:02:48,320 Speaker 3: I will say that probably, you know, hip hop's first 55 00:02:48,400 --> 00:02:53,160 Speaker 3: introduction to just atonal music. You know, I think we 56 00:02:53,200 --> 00:02:57,040 Speaker 3: can all pretty much safely say like public enemies work 57 00:02:57,919 --> 00:03:04,280 Speaker 3: and just really introducing like really really dark musical backdrops 58 00:03:04,960 --> 00:03:09,080 Speaker 3: is you know, before public Darman, it was like the 59 00:03:09,120 --> 00:03:11,440 Speaker 3: goal was to rock the party, you know what I mean, 60 00:03:11,960 --> 00:03:14,760 Speaker 3: and you use like the jam of the moment. And 61 00:03:15,480 --> 00:03:20,000 Speaker 3: of course I would say that Mugs pretty much and 62 00:03:20,160 --> 00:03:23,560 Speaker 3: you know, my knowlogy, I always say that eighty seven 63 00:03:23,680 --> 00:03:27,800 Speaker 3: to ninety two was the crack period and then ninety 64 00:03:27,800 --> 00:03:30,640 Speaker 3: two to ninety seven was the Weed period, and so 65 00:03:31,480 --> 00:03:37,360 Speaker 3: Mugs basically just whittled it down to something very specific. 66 00:03:37,720 --> 00:03:41,480 Speaker 3: So I will indeed say I think that Mugs' is work. 67 00:03:41,640 --> 00:03:45,120 Speaker 3: And also my theory of like there's a person that's 68 00:03:45,160 --> 00:03:47,680 Speaker 3: the pioneer, and then the person comes right behind and 69 00:03:47,720 --> 00:03:52,160 Speaker 3: really nails it. So I agree one hundred percent that 70 00:03:52,480 --> 00:03:57,520 Speaker 3: I do believe that Mugs was the flag planner of 71 00:03:57,920 --> 00:04:05,200 Speaker 3: a certain type of dusty, dark musical backdrop that later 72 00:04:05,240 --> 00:04:08,080 Speaker 3: the Rizon came in and totally just you know, knocked 73 00:04:08,080 --> 00:04:10,640 Speaker 3: out the part and kind of made his you know. 74 00:04:10,840 --> 00:04:13,680 Speaker 2: Yeah, yeah, I mean I know those guys, especially through 75 00:04:13,680 --> 00:04:18,400 Speaker 2: like the Soul Assassin's compilations, there's a lot of overlapping 76 00:04:18,480 --> 00:04:21,320 Speaker 2: history and just like peer respect and. 77 00:04:20,640 --> 00:04:23,160 Speaker 1: And that's why we were taking members fit so well. 78 00:04:23,279 --> 00:04:27,120 Speaker 3: Grandmasters, Yeah, it fits so well on those particular albums. 79 00:04:27,120 --> 00:04:29,159 Speaker 1: And I think did he not do he did an 80 00:04:29,240 --> 00:04:32,719 Speaker 1: album with the Ji Yeah, Grandmasters? Yeh yeah, that's yeah. 81 00:04:32,839 --> 00:04:34,320 Speaker 2: All right, we'll keep it in the hip hop space. 82 00:04:34,360 --> 00:04:37,680 Speaker 2: Since we went there, we'll go to Steve. Can you 83 00:04:37,720 --> 00:04:42,640 Speaker 2: explain a little bit more about Justin Warfield and quote 84 00:04:42,800 --> 00:04:45,000 Speaker 2: my field trip to Planet nine that was name dropped 85 00:04:45,040 --> 00:04:47,880 Speaker 2: on Phrenology that came out of nowhere as well, Because 86 00:04:47,920 --> 00:04:51,760 Speaker 2: I will say this and you probably don't know this, Yeah, 87 00:04:51,880 --> 00:04:53,400 Speaker 2: Justin is always messing with Q less. 88 00:04:53,440 --> 00:04:57,560 Speaker 3: Shout out to Justin, you know, really it's just positioning 89 00:04:58,560 --> 00:04:59,920 Speaker 3: what I had Ursula rucket do. 90 00:05:00,160 --> 00:05:04,599 Speaker 1: Okay, so what's being referred to is ah Man. 91 00:05:04,640 --> 00:05:07,800 Speaker 3: I hate this to this day that I made a 92 00:05:07,839 --> 00:05:14,040 Speaker 3: banger song for Fantastic Volume two, like my four contributions 93 00:05:14,080 --> 00:05:18,560 Speaker 3: to Fantastic Volume two, well, namely the one that did 94 00:05:18,720 --> 00:05:23,000 Speaker 3: make it, which was tell Me with di'angelo, that's. 95 00:05:22,800 --> 00:05:26,440 Speaker 1: One of them, and there were. 96 00:05:27,040 --> 00:05:30,680 Speaker 3: Two that didn't make it that feature Tarik Ryman. And 97 00:05:30,720 --> 00:05:34,040 Speaker 3: then there was a fourth song that was based on 98 00:05:34,080 --> 00:05:35,279 Speaker 3: this breakbeat called. 99 00:05:35,120 --> 00:05:38,039 Speaker 1: Disco Tech Soul and Disco Tech's Soul. 100 00:05:38,520 --> 00:05:41,680 Speaker 3: Hip hop fans would know this as the drums of 101 00:05:43,000 --> 00:05:45,839 Speaker 3: Big Daddy Kane's The Wrath of Kane. 102 00:05:46,600 --> 00:05:49,520 Speaker 1: They're very fast drum break and it was a little 103 00:05:49,560 --> 00:05:51,640 Speaker 1: too fast I was trying to by Ricky Williams. 104 00:05:51,720 --> 00:05:55,279 Speaker 3: Yeah, And so the deal is, like, because Tarik is 105 00:05:55,279 --> 00:05:58,120 Speaker 3: always the MC in my head when I'm creating stuff. 106 00:05:58,800 --> 00:06:01,719 Speaker 3: You know, Tarika is kind of prime for a speed 107 00:06:01,800 --> 00:06:05,359 Speaker 3: rap and you know he comes from the the Iambic 108 00:06:05,400 --> 00:06:11,159 Speaker 3: contemporary Yeah, Coolgie Wrap and the Cane Dudu like that, 109 00:06:11,760 --> 00:06:14,160 Speaker 3: Like that's his zone. And so when I made it, 110 00:06:14,720 --> 00:06:17,560 Speaker 3: Dylan wanted it. If you look up in one of 111 00:06:17,600 --> 00:06:22,200 Speaker 3: those like slum Village Lost Scrolls thing. They put up 112 00:06:22,240 --> 00:06:25,640 Speaker 3: a snippet of it, so that music that. 113 00:06:25,680 --> 00:06:27,599 Speaker 1: Is used on the roll. 114 00:06:27,560 --> 00:06:31,080 Speaker 3: Call portion of Phrenology in which all those rappers are 115 00:06:31,120 --> 00:06:35,599 Speaker 3: being named started off as a slum village song. I 116 00:06:35,640 --> 00:06:38,480 Speaker 3: believe if you look up the Lost Scrolls album or whatever, 117 00:06:38,640 --> 00:06:40,760 Speaker 3: it's Buster Rhymes and slum Village, and it's like if 118 00:06:40,760 --> 00:06:42,440 Speaker 3: you're making the money and they're making a swing and 119 00:06:43,400 --> 00:06:45,440 Speaker 3: we're doing our thing, I mean, living it up. That's 120 00:06:45,480 --> 00:06:47,560 Speaker 3: what it's called. It's called living it up. It did 121 00:06:47,720 --> 00:06:50,600 Speaker 3: make fantastic Volume two. So then I hit up Dylan 122 00:06:50,640 --> 00:06:52,159 Speaker 3: and I was like, can I take that track back? 123 00:06:52,960 --> 00:06:56,080 Speaker 3: And I took it back. Tari didn't have nothing for it, 124 00:06:56,120 --> 00:06:58,960 Speaker 3: and we had to turn in Phrenology like in a week, 125 00:06:59,839 --> 00:07:04,080 Speaker 3: and and we're already holding out for a Mary Baraka 126 00:07:04,120 --> 00:07:07,599 Speaker 3: to write something in the way of things. Water of 127 00:07:07,680 --> 00:07:10,840 Speaker 3: course being the thirteen minute piece that it was took 128 00:07:10,960 --> 00:07:14,800 Speaker 3: like at least three days to do. Fun fact like 129 00:07:14,920 --> 00:07:19,920 Speaker 3: Water at the time when Russell Elevado just got finished 130 00:07:19,960 --> 00:07:24,880 Speaker 3: with Black Delicious Blazing Arrow album and the Breathe song, 131 00:07:25,000 --> 00:07:26,400 Speaker 3: the song at the end with like. 132 00:07:26,640 --> 00:07:29,960 Speaker 2: Zach and saw woof three songs in one right. 133 00:07:30,080 --> 00:07:32,920 Speaker 3: So I was there for that and there for watching 134 00:07:34,040 --> 00:07:36,600 Speaker 3: Russ put his magic on it. And it's all that 135 00:07:36,600 --> 00:07:39,720 Speaker 3: stuff is analog, it's not you know, that was electric Lady. 136 00:07:39,800 --> 00:07:40,760 Speaker 1: That was electric Lady. 137 00:07:41,200 --> 00:07:43,880 Speaker 3: So you know, Russ has all his tools out and everything, 138 00:07:44,000 --> 00:07:47,560 Speaker 3: and like though just one echo could take him like 139 00:07:47,880 --> 00:07:50,680 Speaker 3: forty minutes to get perfectly, and we have to the 140 00:07:50,680 --> 00:07:51,480 Speaker 3: way it was crafted. 141 00:07:51,520 --> 00:07:53,200 Speaker 1: And so I sat there. 142 00:07:53,000 --> 00:07:55,680 Speaker 3: Doing that session, like yo, this is what I want 143 00:07:55,720 --> 00:07:59,000 Speaker 3: for water, and so we put water together. But as 144 00:07:59,000 --> 00:08:02,600 Speaker 3: far as the roll call thing is, I wanted Ursula 145 00:08:02,840 --> 00:08:07,600 Speaker 3: to just name drop all rappers' names, kind of the 146 00:08:07,600 --> 00:08:09,960 Speaker 3: way that Samuel Jackson. 147 00:08:09,600 --> 00:08:11,680 Speaker 1: Did in the Do the Right Thing roll Call. 148 00:08:12,200 --> 00:08:15,040 Speaker 3: We Yet we love radio love ro call, you know 149 00:08:15,120 --> 00:08:17,600 Speaker 3: Gladays Knight and the Pips, the Jackson's Prince and Da 150 00:08:17,680 --> 00:08:18,360 Speaker 3: Da Da dah. 151 00:08:18,400 --> 00:08:19,760 Speaker 1: So that's what I wanted her to do. 152 00:08:20,000 --> 00:08:24,800 Speaker 3: Weird enough, I tried that idea again two years later 153 00:08:25,320 --> 00:08:28,440 Speaker 3: when Tarika and I flew down to Miami to work 154 00:08:28,480 --> 00:08:32,120 Speaker 3: with Scott Storch, and I was. 155 00:08:32,120 --> 00:08:32,760 Speaker 1: Like, well, damn. 156 00:08:32,920 --> 00:08:37,200 Speaker 3: I gave the Slum Village trackaway as an interlude on 157 00:08:37,280 --> 00:08:40,360 Speaker 3: the Phrenology record, and then I thought, well, since I 158 00:08:40,440 --> 00:08:42,840 Speaker 3: was thinking of Do the Right Thing, why not just 159 00:08:42,960 --> 00:08:47,959 Speaker 3: literally recreate the drum break from the Do the Right 160 00:08:48,000 --> 00:08:53,240 Speaker 3: Thing roll call thing, which we did, and that should 161 00:08:53,240 --> 00:08:56,760 Speaker 3: have been our song. Someone decided to give it to 162 00:08:56,800 --> 00:08:59,240 Speaker 3: his girlfriend and that song is called Lighters Up by 163 00:08:59,280 --> 00:09:01,560 Speaker 3: Little Kim, So the Lighter is Up thing with the 164 00:09:01,600 --> 00:09:08,440 Speaker 3: little deep, the little simple thing that was kind of 165 00:09:08,440 --> 00:09:11,319 Speaker 3: the music backdrop of what Samuel Jackson was talking about 166 00:09:11,320 --> 00:09:12,320 Speaker 3: on his roll call thing. 167 00:09:12,440 --> 00:09:14,559 Speaker 1: So once again I tried to do it again. 168 00:09:14,640 --> 00:09:18,319 Speaker 3: But to answer your question, why was and Justin Warfield 169 00:09:18,600 --> 00:09:22,040 Speaker 3: the last thing you heard, simply because he's the letter 170 00:09:22,200 --> 00:09:23,880 Speaker 3: W and he was the last name on the list. 171 00:09:23,920 --> 00:09:28,560 Speaker 3: So I had Ego Trip's book of rap lists, and 172 00:09:28,720 --> 00:09:31,680 Speaker 3: it took me like an hour to like write down 173 00:09:31,960 --> 00:09:36,080 Speaker 3: every name that was inside of both of those Ego 174 00:09:36,200 --> 00:09:38,839 Speaker 3: Trip books. And I just gave it to Ursula Rucker 175 00:09:38,880 --> 00:09:41,360 Speaker 3: and she just read one track of like A through 176 00:09:42,840 --> 00:09:48,040 Speaker 3: f the next one F through and Warfield just happened to. 177 00:09:47,960 --> 00:09:51,560 Speaker 1: Be the last name on track number five. 178 00:09:51,960 --> 00:09:55,520 Speaker 3: And when it stood out, I tried to because we 179 00:09:55,520 --> 00:09:58,400 Speaker 3: weren't doing pro tools, it would have been easier for 180 00:09:58,440 --> 00:10:01,520 Speaker 3: me to just shift it inside the song, so it 181 00:10:01,559 --> 00:10:04,240 Speaker 3: didn't have an ending, but we did it on analog 182 00:10:04,400 --> 00:10:06,520 Speaker 3: and it would have taken like fifteen minutes for me 183 00:10:06,600 --> 00:10:09,800 Speaker 3: to figure out a proper delay to slide it back. 184 00:10:10,240 --> 00:10:12,480 Speaker 3: Because even though I thought, like, I wonder if he 185 00:10:12,559 --> 00:10:14,760 Speaker 3: thinks like that's a dig or a diss like and 186 00:10:15,040 --> 00:10:17,080 Speaker 3: Justin Warfield, but no. 187 00:10:17,320 --> 00:10:20,480 Speaker 1: He DMed me was like, hey, why was I singled 188 00:10:20,480 --> 00:10:20,839 Speaker 1: out like that? 189 00:10:20,960 --> 00:10:29,320 Speaker 3: I was just like, your name is last on this, bro, So. 190 00:10:34,360 --> 00:10:36,600 Speaker 2: I feel like there's some good Justin Warfield talk. At 191 00:10:36,600 --> 00:10:39,640 Speaker 2: the end of the Prince Paul Classic episode of QLs two. 192 00:10:40,040 --> 00:10:41,440 Speaker 1: Season other Victor, You're steal my shit. 193 00:10:41,520 --> 00:10:44,360 Speaker 2: Man, It's funny you mentioned slum Village. We got a 194 00:10:44,440 --> 00:10:47,199 Speaker 2: question too, and I'm very curious myself, Like, I know 195 00:10:47,360 --> 00:10:50,520 Speaker 2: you had a working relationship with BB obviously Dila did 196 00:10:50,600 --> 00:10:55,839 Speaker 2: as well. What is your relationship to the creation of 197 00:10:55,880 --> 00:10:57,160 Speaker 2: the Welcome to Detroit album? 198 00:10:57,559 --> 00:10:58,600 Speaker 1: Anny Ah? 199 00:10:59,480 --> 00:11:01,920 Speaker 3: And this is from Rod by the way, I consider 200 00:11:02,200 --> 00:11:05,000 Speaker 3: you know, you know it's weird. You know, it's better 201 00:11:05,120 --> 00:11:11,520 Speaker 3: than being on anything that Dyla created or even around. 202 00:11:13,080 --> 00:11:20,840 Speaker 1: I happen to know that I was first to hear 203 00:11:21,080 --> 00:11:22,520 Speaker 1: like seven of the songs. 204 00:11:22,840 --> 00:11:25,680 Speaker 3: It's almost more of a bragging right, instead of saying like, yeah, 205 00:11:25,679 --> 00:11:28,720 Speaker 3: I'm on this shit to say I was the first 206 00:11:28,760 --> 00:11:31,559 Speaker 3: to hear it. I'm not on the record, but you 207 00:11:31,679 --> 00:11:34,840 Speaker 3: know what I remember. The most legendary Slum Village show 208 00:11:34,880 --> 00:11:37,280 Speaker 3: of all time is a show that happens in Los 209 00:11:37,320 --> 00:11:40,400 Speaker 3: Angeles when dyl at the last minute decides, you know what, 210 00:11:41,320 --> 00:11:47,199 Speaker 3: We're gonna go rogue and do less songs on the 211 00:11:48,280 --> 00:11:53,000 Speaker 3: playback machine than dat and I'm gonna bring up to 212 00:11:54,600 --> 00:11:59,960 Speaker 3: NBC three thousands, and so someone has the complete show 213 00:12:00,200 --> 00:12:05,719 Speaker 3: on tape. I've seen maybe five minutes of it, but 214 00:12:06,040 --> 00:12:09,240 Speaker 3: I've seen a lot of the sound check. And so 215 00:12:09,400 --> 00:12:11,720 Speaker 3: this is also the time period in which the day before, 216 00:12:11,960 --> 00:12:15,400 Speaker 3: maybe two days before the Okay Player two thousand tour 217 00:12:16,600 --> 00:12:19,280 Speaker 3: is at the House of Blues, and so all three 218 00:12:19,400 --> 00:12:23,120 Speaker 3: Slum Village members are performing together with the roots backing 219 00:12:23,160 --> 00:12:30,800 Speaker 3: them up, and during sound check, Dyla starts rocking what 220 00:12:31,000 --> 00:12:36,120 Speaker 3: I would call the Ohio Players interlude, which is like, 221 00:12:36,960 --> 00:12:40,480 Speaker 3: I mean, really, it's it's Juni Morrison on Ecstasies again. 222 00:12:42,000 --> 00:12:44,720 Speaker 1: No no boom, boom boom. 223 00:12:46,920 --> 00:12:49,559 Speaker 3: It's one of those interludes on Welcome to Detroit, like 224 00:12:49,640 --> 00:12:51,520 Speaker 3: he would play your beat and that shit would sit 225 00:12:51,600 --> 00:12:54,240 Speaker 3: in your head for like months at a time. I 226 00:12:54,440 --> 00:12:56,719 Speaker 3: begged and begged and begged and beg like, Yo, like 227 00:12:57,040 --> 00:12:58,400 Speaker 3: that beat, I gotta hear that beat again. 228 00:12:58,480 --> 00:12:59,599 Speaker 1: He's like, all right, I'm gonna put it on the 229 00:12:59,640 --> 00:13:03,560 Speaker 1: news one. And so when he finally came to the studio, 230 00:13:03,960 --> 00:13:04,559 Speaker 1: I will. 231 00:13:04,520 --> 00:13:10,760 Speaker 3: Say that this is at the very beginning, the very 232 00:13:10,880 --> 00:13:13,680 Speaker 3: beginning of what will eventually be Electric Circus. 233 00:13:14,200 --> 00:13:15,640 Speaker 1: Electric Circus was kind of like. 234 00:13:15,679 --> 00:13:18,160 Speaker 3: A year and not a year and a half, like 235 00:13:18,200 --> 00:13:21,800 Speaker 3: a year and seven months in the making, So I 236 00:13:21,920 --> 00:13:25,040 Speaker 3: think the I don't know, the very first session was 237 00:13:25,080 --> 00:13:27,120 Speaker 3: for Electric Circus. Like we had a lot of like 238 00:13:27,440 --> 00:13:30,920 Speaker 3: amazing songs that like Common and Dyla. 239 00:13:30,960 --> 00:13:31,840 Speaker 1: Just through to the floor. 240 00:13:32,640 --> 00:13:34,920 Speaker 3: Like it had to be super weird for it to 241 00:13:34,960 --> 00:13:36,880 Speaker 3: make it to the finish line. So the first twenty 242 00:13:36,960 --> 00:13:39,840 Speaker 3: songs like really good, normal, normal shit. 243 00:13:39,800 --> 00:13:41,520 Speaker 2: Right, and there's a vision board in place, right, like 244 00:13:41,800 --> 00:13:43,880 Speaker 2: you know what you're trying to do well. 245 00:13:44,040 --> 00:13:44,679 Speaker 1: I didn't know that. 246 00:13:45,200 --> 00:13:48,040 Speaker 3: I'm not saying like, Okay, I'm gonna take a back seat, 247 00:13:48,440 --> 00:13:53,319 Speaker 3: but I know if I'm really gonna be honest. Stan 248 00:13:53,400 --> 00:13:57,080 Speaker 3: Conia had us a little worried because all we knew 249 00:13:57,200 --> 00:14:01,360 Speaker 3: was like whatever comes next after stainkne you ever, like 250 00:14:01,600 --> 00:14:04,599 Speaker 3: miss a train as it leaves the station and you 251 00:14:04,679 --> 00:14:06,559 Speaker 3: wait at the platform, you got to wait like eight 252 00:14:06,600 --> 00:14:09,960 Speaker 3: minutes for the next train to come. So it's almost 253 00:14:10,120 --> 00:14:12,599 Speaker 3: like if we're on those tracks and we know that 254 00:14:12,679 --> 00:14:14,559 Speaker 3: a new train is coming to eight minutes and we 255 00:14:14,679 --> 00:14:16,959 Speaker 3: better run our asses off to the next station to 256 00:14:17,120 --> 00:14:17,719 Speaker 3: not get hit. 257 00:14:19,360 --> 00:14:24,680 Speaker 1: After Stanconia, and we and this includes D'Angelo, like we 258 00:14:24,840 --> 00:14:27,000 Speaker 1: were so jarred. 259 00:14:27,000 --> 00:14:32,680 Speaker 3: Over the radical rock star change that Stanconia was from 260 00:14:33,960 --> 00:14:39,120 Speaker 3: a Quimini that we were basically like, dude, we're almost 261 00:14:39,240 --> 00:14:42,560 Speaker 3: certain that whatever is going to come after Stanconia is 262 00:14:42,600 --> 00:14:46,120 Speaker 3: going to be even weirder than that shit. It's almost 263 00:14:46,200 --> 00:14:48,280 Speaker 3: like we all knew we better come with our most 264 00:14:48,400 --> 00:14:51,560 Speaker 3: radical shit because and this is what starts. I know 265 00:14:52,040 --> 00:14:58,080 Speaker 3: for fact that a thousand deaths for di'angelo was the 266 00:14:58,160 --> 00:15:01,360 Speaker 3: immediate reaction of, oh, I better come with it. And 267 00:15:01,480 --> 00:15:05,880 Speaker 3: I still maintain that listening to the Roots Come Alive, 268 00:15:07,000 --> 00:15:10,640 Speaker 3: which is such a slow live record, like when you 269 00:15:10,800 --> 00:15:15,720 Speaker 3: listen to the next movement, it's so slow, you know, 270 00:15:16,000 --> 00:15:18,760 Speaker 3: And granted I was also like two hundred pounds heavier 271 00:15:18,840 --> 00:15:22,240 Speaker 3: than so it's almost like the sluggish and the slowest 272 00:15:22,480 --> 00:15:24,160 Speaker 3: by that point, you know, I lost like one hundred 273 00:15:24,160 --> 00:15:26,680 Speaker 3: pounds and so three years of doing that, I was 274 00:15:26,720 --> 00:15:28,120 Speaker 3: just like, I want to do a faster record. 275 00:15:28,240 --> 00:15:29,200 Speaker 1: So my mind for. 276 00:15:29,320 --> 00:15:33,520 Speaker 3: Knowlogy was the hey, let's do a more energetic record 277 00:15:33,640 --> 00:15:35,920 Speaker 3: so that when we go on stage, like we could 278 00:15:35,960 --> 00:15:39,320 Speaker 3: really rock out. And you know, and I think common also, 279 00:15:40,320 --> 00:15:42,680 Speaker 3: and this is kind of when him and Erica were 280 00:15:42,800 --> 00:15:46,200 Speaker 3: making an official so he's probably privy to some stuff 281 00:15:46,240 --> 00:15:47,640 Speaker 3: that we weren't. 282 00:15:48,480 --> 00:15:51,600 Speaker 1: All I know is that and Dila was the last one. 283 00:15:51,720 --> 00:15:55,560 Speaker 3: Dila was like, you know cause by two thousand, I 284 00:15:55,680 --> 00:16:00,120 Speaker 3: will probably say I think when he here butterflies or 285 00:16:00,320 --> 00:16:03,680 Speaker 3: like something like not in the camp. Yeah, you know, 286 00:16:03,800 --> 00:16:07,680 Speaker 3: first it was like music, Sonny, and it was almost like, oh, 287 00:16:08,400 --> 00:16:10,560 Speaker 3: like wait, this sound is catching on to the world, 288 00:16:10,680 --> 00:16:12,800 Speaker 3: like you know, messed up drums and all that stuff. 289 00:16:13,000 --> 00:16:16,000 Speaker 3: So even then I think his reaction was like, Okay, 290 00:16:16,120 --> 00:16:18,520 Speaker 3: I'm gonna do the opposite of that shit. And literally 291 00:16:18,560 --> 00:16:21,400 Speaker 3: he's like no more, two thousand, no more. Like he 292 00:16:21,600 --> 00:16:24,120 Speaker 3: was getting like the straight Detroit like eight o eight 293 00:16:24,560 --> 00:16:28,120 Speaker 3: nine oh nine, and we're starting from scratch. And so 294 00:16:28,520 --> 00:16:32,120 Speaker 3: it took about twenty songs before like some weird shit 295 00:16:32,200 --> 00:16:33,840 Speaker 3: started to happen, and then they were like, this is 296 00:16:33,840 --> 00:16:36,560 Speaker 3: where we're going. I was kind of protesting a little 297 00:16:36,600 --> 00:16:38,760 Speaker 3: bit because I figure that at the end of the 298 00:16:38,840 --> 00:16:40,960 Speaker 3: day the people just be like, ah, I'm mere, this 299 00:16:41,040 --> 00:16:41,680 Speaker 3: is you know, a. 300 00:16:43,160 --> 00:16:43,400 Speaker 1: Yeah. 301 00:16:43,520 --> 00:16:49,640 Speaker 3: But to answer that question, yeah, Day one of Electric Circus, 302 00:16:50,200 --> 00:16:55,800 Speaker 3: he plays six or seven of the Welcome to Detroit 303 00:16:55,920 --> 00:17:00,440 Speaker 3: songs and I don't know, I just consider it myself like, oh, 304 00:17:00,960 --> 00:17:02,000 Speaker 3: I was the first to hear that. 305 00:17:02,120 --> 00:17:03,320 Speaker 2: So ye had the earliest accent. 306 00:17:03,360 --> 00:17:05,280 Speaker 1: That to me is better than Hey, I'm on that. 307 00:17:05,560 --> 00:17:07,840 Speaker 2: So we're gonna end on a funny note or a 308 00:17:07,960 --> 00:17:10,280 Speaker 2: different non musical note. This is from Allen, who I 309 00:17:10,320 --> 00:17:12,960 Speaker 2: feel like, keep submitting questions, but Alan, they are all great. 310 00:17:13,160 --> 00:17:15,480 Speaker 2: I want to ask this, he says, like quest love 311 00:17:15,680 --> 00:17:18,240 Speaker 2: no Philly accent, others have it? Did you ever have 312 00:17:18,359 --> 00:17:18,920 Speaker 2: to work on it? 313 00:17:20,080 --> 00:17:21,200 Speaker 1: The cochutin is real. 314 00:17:22,240 --> 00:17:27,080 Speaker 3: I was aware that I didn't talk like Philadelphians, probably 315 00:17:27,320 --> 00:17:31,320 Speaker 3: by age five, when like I remember the first time, 316 00:17:31,480 --> 00:17:34,439 Speaker 3: like I went outside to play min got go outside 317 00:17:34,480 --> 00:17:38,720 Speaker 3: to play okay steal you know, and it resulted in 318 00:17:39,000 --> 00:17:42,880 Speaker 3: like my first fist fight, and my first fist fight 319 00:17:43,160 --> 00:17:47,840 Speaker 3: was a tie between like like my hair was unusually 320 00:17:47,920 --> 00:17:51,399 Speaker 3: like there were afros, and then like my hair was 321 00:17:51,520 --> 00:17:54,840 Speaker 3: like a lion's man. Like there's some afros that are 322 00:17:54,960 --> 00:17:57,879 Speaker 3: just like hard froze, and then there's some afros that 323 00:17:57,960 --> 00:18:01,679 Speaker 3: are so heavy that it makes me look like whatever 324 00:18:01,760 --> 00:18:07,399 Speaker 3: that monster figure is and mooney Tunes like up but 325 00:18:07,560 --> 00:18:11,359 Speaker 3: you know, like it's like the orange figure in uh 326 00:18:12,240 --> 00:18:17,160 Speaker 3: Looney Tunes like that person. So just the whole like mom, 327 00:18:17,280 --> 00:18:19,160 Speaker 3: cut my hair, cut my hair, the kids are making 328 00:18:19,240 --> 00:18:23,440 Speaker 3: fun of me, and then you know, like me just 329 00:18:23,640 --> 00:18:27,080 Speaker 3: not because I was only the only non music show 330 00:18:27,160 --> 00:18:30,119 Speaker 3: I was allowed to watch was PBS, which at the 331 00:18:30,200 --> 00:18:36,400 Speaker 3: time was working backwards Zoom Electric Company, Mister Rogers Neighborhood, 332 00:18:36,440 --> 00:18:37,280 Speaker 3: and Sesame Street. 333 00:18:38,119 --> 00:18:40,480 Speaker 1: And I'll probably say that maybe. 334 00:18:41,760 --> 00:18:45,560 Speaker 3: Taking in that much Jim Henson, it starts to wear 335 00:18:45,680 --> 00:18:48,639 Speaker 3: off on you were suddenly you're avore something like this. 336 00:18:49,520 --> 00:18:51,639 Speaker 3: And so I would come up the street and I 337 00:18:51,760 --> 00:18:54,080 Speaker 3: got made fun of because I would say, hey, guys, 338 00:18:54,760 --> 00:18:57,439 Speaker 3: you know, and then every time I go on, people be. 339 00:18:57,480 --> 00:18:59,440 Speaker 1: Like, hey, guys, how are you doing straight frame. 340 00:19:01,000 --> 00:19:06,280 Speaker 3: Like whatever Grover or Kermit talks like yeah. So I 341 00:19:06,359 --> 00:19:12,600 Speaker 3: got relentlessly teased for just my happy Hey, guy's how 342 00:19:12,640 --> 00:19:16,080 Speaker 3: you doing? And it was kind of the seeds of 343 00:19:16,200 --> 00:19:19,120 Speaker 3: rock yim nobody smiling level of the hood. 344 00:19:19,760 --> 00:19:21,200 Speaker 1: So that ended quickly. 345 00:19:21,359 --> 00:19:23,720 Speaker 3: So my mom was wise enough to be like, you're 346 00:19:23,760 --> 00:19:26,280 Speaker 3: not going outside, just listening to those records, and so 347 00:19:27,080 --> 00:19:29,240 Speaker 3: me taking on all those records as a result of 348 00:19:30,280 --> 00:19:31,400 Speaker 3: me not going outside. 349 00:19:31,560 --> 00:19:35,960 Speaker 1: So I think hanging with Tarik. Tarik is the first 350 00:19:36,040 --> 00:19:36,480 Speaker 1: person in. 351 00:19:36,520 --> 00:19:40,879 Speaker 3: My life that like one, he never judged me, so 352 00:19:41,400 --> 00:19:45,040 Speaker 3: to get past the whole making fun of the holes 353 00:19:45,040 --> 00:19:47,480 Speaker 3: in his jeans or like not knowing like guys, I'm 354 00:19:47,520 --> 00:19:49,480 Speaker 3: doing this on purpose, like you could show your knees 355 00:19:49,560 --> 00:19:53,200 Speaker 3: like they didn't know like that level of fashion and whatever. 356 00:19:53,320 --> 00:19:55,920 Speaker 3: And so Treik was the dude that was take me 357 00:19:56,000 --> 00:19:59,639 Speaker 3: around the way, and I don't know I'm catching on to. 358 00:20:00,359 --> 00:20:02,760 Speaker 3: I think that's when like I really just went heavy 359 00:20:02,800 --> 00:20:03,240 Speaker 3: on join. 360 00:20:03,359 --> 00:20:08,640 Speaker 2: It's almost it just wore off of me. So Tarika 361 00:20:08,760 --> 00:20:10,960 Speaker 2: is my favorite Philly accent. I'm gonna end with a 362 00:20:11,000 --> 00:20:15,520 Speaker 2: little aside, and what is the origin story of two fifteen? 363 00:20:16,240 --> 00:20:18,560 Speaker 2: I mean, I know it's a play on two one. 364 00:20:18,600 --> 00:20:23,240 Speaker 1: Five fine, or he'll say pound or twenty one pound. 365 00:20:23,359 --> 00:20:26,879 Speaker 2: Also, please, if you have a mailbag question, send it 366 00:20:26,960 --> 00:20:30,159 Speaker 2: to Like I said, questlov Supreme dot Com dm us 367 00:20:30,400 --> 00:20:33,440 Speaker 2: on ig at the week Answer. We engage all, we 368 00:20:33,520 --> 00:20:35,840 Speaker 2: read it all and the questions are great and honestly 369 00:20:36,000 --> 00:20:38,520 Speaker 2: they these episodes do really well and shout out to 370 00:20:38,560 --> 00:20:40,879 Speaker 2: open Mike Eagle. He obviously is part of this dude. 371 00:20:41,040 --> 00:20:45,600 Speaker 3: They I will actually say I can get more feedback 372 00:20:45,800 --> 00:20:49,320 Speaker 3: from the miniature episodes than from the real joints, which 373 00:20:49,520 --> 00:20:50,600 Speaker 3: I was like, okay, who knew? 374 00:20:50,800 --> 00:20:53,520 Speaker 2: So so all right everyone until the next time Peace 375 00:21:14,240 --> 00:21:16,760 Speaker 1: Questlum shows a production of iHeart Radio.