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

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

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Speaker 1: what's up?

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Speaker 2: This is Fante Fantigolo tapping in with another QLs classic.

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Speaker 1: This week, were gonna take it back. We're gonna take

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Speaker 1: it all the way back. This is almost our first episode.

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Speaker 2: This is episode number two from September fourteen, twenty sixteen,

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Speaker 2: with none other than the legendary producer, engineer, and musician

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Speaker 2: Bob Power.

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Speaker 1: Bob talks about.

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Speaker 2: Working with stats Sosonic, the Angelo, a tribe called quest

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Speaker 2: and none other than our fearless cult leader and sweet

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Speaker 2: tea drink Questlove along with the Roots travel back to

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Speaker 2: one of the episodes that started it all on QLs.

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Speaker 1: It's Fontigulo. Yeah. Here we are.

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Speaker 3: Supremo, so supremo who call sopremo some some supremo role

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Speaker 3: called suprema. So some supremo role called suprema. So some

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Speaker 3: suprema role called.

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Speaker 1: My name is Questo?

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Speaker 4: Yeah, I am, yeah, this is my show.

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Speaker 3: Yeah, Love Suprema Supremo something so supremo ro called suprema

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Speaker 3: something son Supremo.

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Speaker 5: Roll call I am Mantika. Yeah, can't you tell Yeah,

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Speaker 5: go order some food, Yeah, something hungry.

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Speaker 3: Hey call Supremo, some some Supremo, role called Supremo, Sun

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Speaker 3: Son Supremo.

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Speaker 6: Vol call Uh yeah, uh Steve, Yeah, chicken palm Yeah,

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Speaker 6: roll call.

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Speaker 3: Supremo, son something Supremo, roll call Suprema something something Supremo.

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Speaker 1: Voe come.

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Speaker 7: My name is Bill, Yeah, I was the first guest. Yeah,

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Speaker 7: and now I'm on the show.

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Speaker 3: Yeah with quest go Supremo, Son Son Supremo, ro called Supremo,

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Speaker 3: some son Supremo, roll call.

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Speaker 1: My name is Bill, Yeah yeah, some Alumnama, demon Lumma,

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Speaker 1: some of them Yeah, some of.

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Speaker 3: No call s Primo, son son Supremo, roll called Supremo,

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Speaker 3: some some Supremo.

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Speaker 8: Ro call my name is Bob, Yeah, I ain't no jokie.

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Speaker 1: Yeah is Bob? Yeah? Hi sure my monkey, roll call.

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Speaker 3: Suprema Son Son Supremo, ro called Supremo, son Son Supremo.

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Speaker 3: Roll call Supremo, son Son Supremo, roll call Supremo, Son

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Speaker 3: Son Supremo, roll call Supremo, Son Supremo, ro call Supremo,

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Speaker 3: some Supremo, roll Supremo Supremo.

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Speaker 1: Roll. Ladies and gentlemen, Ladies and gentlemen. This is questlove

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Speaker 1: and this is quest Love Supreme. Welcome to our show.

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Speaker 1: How did I get here? I do not know, but

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Speaker 1: they asked me, and I'm here and I'm here for you.

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Speaker 1: Bart a few friends with me to help me explore art, culture, music, food.

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Speaker 1: So my my co host with the co most is

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Speaker 1: Sir Fon Tigelow.

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Speaker 5: What's going on?

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Speaker 7: Of course?

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Speaker 3: Uh?

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Speaker 1: Formerly of Little Brother, currently of The Foreign Exchange. One

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Speaker 1: of my favorite cats ever, Like more than any book,

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Speaker 1: Your your your Instagram or your Instagram, and your your

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Speaker 1: your Twitter, uh musings and and your wisdom is some

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Speaker 1: of the best reading toilet seat reading.

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Speaker 7: I've ever done.

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Speaker 1: Hey, I got to keep Hey bro, Hey, look I

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Speaker 1: gotta keep it.

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Speaker 7: Really a good book.

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Speaker 2: Maybe back up the nineties it was Blacktail, but now

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Speaker 2: it's Frantic and my I g I would think about

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Speaker 2: that when I'm crafting my next tweet, I'm like.

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Speaker 5: This, should I maybe I write this next my tweets.

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Speaker 5: I'm honor to be here, man.

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Speaker 7: Yeah.

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Speaker 1: Yeah. Frante is like one of my favorite thinking cats

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Speaker 1: of of of all time. So I'm extremely honest that

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Speaker 1: he's here.

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Speaker 9: Uh.

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Speaker 1: Next to Frante is uh Steve a k A sugar Steve.

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Speaker 1: How you doing bruh, I'm not feeling well.

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Speaker 7: But hello, Steve.

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Speaker 1: I've known for about near twenty years.

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Speaker 7: Uh.

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Speaker 1: Steve was an assistant engineer at Electric Ladies Studios uh

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Speaker 1: and has worked on practically every record that I did

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Speaker 1: in that building. Voodoo by the Angelo, like Water for Chocolate,

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Speaker 1: Common Mom's Gone with Eric abaddu uh oh part and

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Speaker 1: the diabetes the mythology. So I stole the legends that

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Speaker 1: I stole Steve from Electric Lady Studios to be my

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Speaker 1: full time engineer. And so when he moved to Philadelphia,

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Speaker 1: he kind of that my diet. And at the time,

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Speaker 1: three times a day. There was a church that had

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Speaker 1: Sunday dinners for sale all throughout the weekday. It's called

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Speaker 1: the the House of Prayer. Come yeah, House of Prayer?

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Speaker 1: Is there everyone in North Carolina?

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Speaker 8: What?

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Speaker 5: Because the House of Prayer like the House of Prayer

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Speaker 5: that was the bread they grew up.

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Speaker 1: The house. Yeah, the House of Bread.

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Speaker 5: You know what I'm saying.

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Speaker 2: You need?

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Speaker 5: So the House of Prayer, it was on Market Street.

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Speaker 5: It was on the corner Market in Dudley. And the

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Speaker 5: leader of that House of Prayer was Daddy Grace.

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Speaker 1: Yeah that daddy.

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Speaker 2: Yeah, Daddy Grace, so you could go to the House

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Speaker 2: of Prayer on the on the you know, they tell

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Speaker 2: plates and you could get like some mother pork chop.

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Speaker 5: Dams and macaron cheese for like five dollars or guess what.

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Speaker 1: Guess So the legend, the legend is a legend. I

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Speaker 1: said about I did about three weeks straight like this.

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Speaker 1: This is when I was working. What's the first thing

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Speaker 1: we did together in Philly the Farrell record. We work

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Speaker 1: on Farrell and the Yes Sirs. So every break we'd

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Speaker 1: head to the church, bust a grub, buy two grubs

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Speaker 1: so we have a midnight snack too. So wow, we

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Speaker 1: doubled down on those grubs here. And then like two

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Speaker 1: months later Steve was like, yo, man, Bill Sermon a

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Speaker 1: k A. Willie White, William White. Bill is my boss

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Speaker 1: at Sesame Wait do I still work at Sesamet only

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Speaker 1: wrote like one song.

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Speaker 7: We can change that.

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Speaker 1: Anyway, Bill, Bill is the new Joe Roposo. Who's Joe

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Speaker 1: rop Joe Riposo is the god of children's songs. He

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Speaker 1: wrote many a classic at Sesame Street. Bill's now at

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Speaker 1: Sesame Street. But we met because he's one of the

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Speaker 1: seven UH producers for the Hamilton cast out. You also

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Speaker 1: are Grammy Ward Antony Ward winner for in the Heights.

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Speaker 1: You're a producer of many uh acts. He's a real

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Speaker 1: big shot.

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Speaker 10: White for nothing deal. Do not have the white corner.

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Speaker 10: You don't have the sugars, right, I don't have the

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Speaker 10: sugar Yet we hang out working on it.

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Speaker 7: Yeah, okay, I'm honored to be here. Last, but not.

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Speaker 1: Least, are our boss man, our producer Bill DJ Brainchild?

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Speaker 1: Am I allowed to call you by your government anymore?

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Speaker 1: I guess okay, I'll call you DJ Brainchild?

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Speaker 7: Or I.

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Speaker 9: Are you gonna edit this part? I'm gonna leave it

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Speaker 9: all right? Did you just call it a podcast? I'm

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Speaker 9: gonna edit that out on this radio show?

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Speaker 1: Is this on ladies and gentlemen? I'm not four, I'm

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Speaker 1: not supposed to.

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Speaker 7: Call this is not a podcast. This is a radio show.

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Speaker 1: A Miro was me five dollars every time he calls

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Speaker 1: the show a podcast? Should we just have a.

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Speaker 7: Podcast?

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Speaker 1: Jar right?

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Speaker 5: Yeah, I'm gonna be rich by yo.

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Speaker 7: Man.

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Speaker 2: I thought about y'all the other day, man, I thought

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Speaker 2: about Steve. I thought about y'all days we were talking about,

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Speaker 2: like the diabetes and stuff. I heard probably the most sad, hilarious,

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Speaker 2: most like tragic shit ever. And this is a real story.

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Speaker 2: I won't name the guy's name. I can't, I don't,

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Speaker 2: but it's a friend of a friend of mine. This

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Speaker 2: really happened in real life. This is recent homeboy mind well,

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Speaker 2: he's not my homeboy, but my friend of mine. It's

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Speaker 2: her homeboy.

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Speaker 5: Play cousin.

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Speaker 1: Shit.

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Speaker 5: Homie like needed a kidney, right, It's like he was

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Speaker 5: fucked up and I guess he got like God betes

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Speaker 5: or something like that. He needed a kidney. No, no, bullshit,

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Speaker 5: need a kidney.

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Speaker 2: And he was touring at one point with like a

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Speaker 2: major artist, okay, and so this major artist got behind

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Speaker 2: him and was like, Yo, we need to get my

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Speaker 2: man a kidney, like started to go fund me and

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Speaker 2: all this shit, you know what I'm saying, got him

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Speaker 2: on the go fundme.

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Speaker 5: People gave all this money. So Homie gets on the

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Speaker 5: donor list for the kidney. Like, he gets on the list.

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Speaker 2: So now all of a sudden, like you know, he's

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Speaker 2: like praising God and everything. So then all of a sudden,

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Speaker 2: we just his like Facebook post change and it's like,

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Speaker 2: oh man, the devil trying to steal my joy Uh,

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Speaker 2: they the devil is a liar like all this, you know,

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Speaker 2: all like the ship that gospel nigga say when they're mad.

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Speaker 2: So it's like, so we're like, what the fuck happened?

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Speaker 2: They took him off the donor list. So then we're like, okay,

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Speaker 2: well why so we go to his instagram.

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Speaker 11: Ah, check what I had for dinner tonight, whitebread fried fish,

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Speaker 11: and it's like days and days of funk shit and like,

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Speaker 11: and so they determined like, look, we're not gonna you're

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Speaker 11: not living a lifestyle that is whatever.

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Speaker 5: So I just thought that was amazing.

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Speaker 2: I've never heard I've heard I've never heard of a

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Speaker 2: motherfucker ig and yourself off the donor list. How the

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Speaker 2: fuck you tweeted yourself off the goddamn dost dude, and

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Speaker 2: like and then if you look at his ig, all

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Speaker 2: the meals like it's it's all bad, Like it's all

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Speaker 2: like whitebread, refine, sugars, fried this.

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Speaker 1: So the hospital was following him.

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Speaker 5: Hey brother, it's a new game.

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Speaker 7: That was a really great story.

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Speaker 1: Oh man, Yeah, dude, he.

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Speaker 5: Like his Instagram took him off the fucking Donald list.

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Speaker 5: That is some of the most.

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Speaker 1: Man.

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Speaker 7: I like a quest of Instagram rands where like you

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Speaker 7: think it's gonna be like a paragraph and then you

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Speaker 7: like what like, whoa, I didn't know you? Whoa you

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Speaker 7: had some time, which is rare to ship to say.

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Speaker 9: Toilet the reason why he doesn't have time because he

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Speaker 9: was writing something. I mean like like, that's a lot

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Speaker 9: of little ship happening. Impressed by you, the tom sam

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Speaker 9: like I try to keep my emails that I ride

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Speaker 9: on my phone like five words, yeah, toilet.

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Speaker 7: Stool music, so it's Fante's tweets and then like really

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Speaker 7: long and right right then as soon as you stand up,

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Speaker 7: Oh man, ain't that ship the worst?

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Speaker 1: Yo?

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Speaker 5: Like you stand up, ship be sleep you gotta shake

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Speaker 5: it out, stank leg.

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Speaker 1: But the part sleep is in the shape for whatever

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Speaker 1: the yeah, right right right, and it ain't the worst

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Speaker 1: ship ever.

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Speaker 5: Like when you go to a like because I because

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Speaker 5: I have a thing. It's like when you go to

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Speaker 5: a real clean I went to my dealership.

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Speaker 2: They just work on my car, and they had a

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Speaker 2: it's a new dealership and they got built a new

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Speaker 2: men's bathroom.

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Speaker 5: And the ship is gorgeous.

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Speaker 2: Oh, it has its own little like private joint, a

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Speaker 2: pristine joint, or if you go the handicapped joining handicap to.

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Speaker 5: And like not in the airport, but like in the

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Speaker 5: dealership it was so nice. I was like, man, I'm

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Speaker 5: gonna go wrong on this.

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Speaker 8: So I was like, I need to put the seat down.

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Speaker 5: I was like, man, I'm gonna you know what I mean,

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Speaker 5: it's like you fear, It's like how you yeah whatever, you.

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Speaker 4: Ever live your way in the handicap that little private room,

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Speaker 4: the handicap in the airport, like just in case, like

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Speaker 4: right right right, you limp and then you get down.

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Speaker 4: But the worst feeling though, is like when you sit

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Speaker 4: down and it's a warm toilet seet. Oh my god,

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Speaker 4: that ship is like it's like a s is terrible.

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Speaker 4: I like the cold the cold toilet seat on on

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Speaker 4: the on the bottom.

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Speaker 7: Have a heatd toilet seat in my house?

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Speaker 3: What?

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Speaker 7: Yeah? When I moved into this house, it was the

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Speaker 7: one number one reason I moved in the house. Not

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Speaker 7: only was is it heated? But has his panel over

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Speaker 7: here all right? That like does all kinds of crazy

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Speaker 7: ship like it'll yeah, it'll spoid water up that. I

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Speaker 7: gotta get a drive. Have you been in Japan? I've

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Speaker 7: been years ago.

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Speaker 1: Yeah.

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Speaker 7: Game Changer so I keep hearing about that. Dude, I'll

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Speaker 7: tell you what, and I'm pistol.

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Speaker 10: Can I say I thought outside of the thing, I

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Speaker 10: was like, I'm gonna have to get I was like,

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Speaker 10: oh no, I was taking the ship Amazon, and how

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Speaker 10: much the toilet seat ship costs?

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Speaker 7: When I moved, I could buy one. And all you

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Speaker 7: know is that's it's like three grand for like the thing. Man.

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Speaker 7: But I will tell you what it is. You can

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Speaker 7: buy like you can, but that's not the same thing,

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Speaker 7: producer Bill, I'll.

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Speaker 1: Tell you that maybe sixty or seventy percent of all

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Speaker 1: the exchanges between Rich and I or mometa toilet stool exchanges.

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Speaker 1: Matter of fact, all my lists, all my thank yous, oh,

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Speaker 1: all the roots, thank yous, toilet like I have a desk. Wait,

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Speaker 1: that's too much, Yes, let's wait for that. So we

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Speaker 1: are very honored to have uh the great Bob Power

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Speaker 1: in the studio. Give it up. Thank you.

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Speaker 8: They're my My mother has been chilling well for me,

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Speaker 8: and she talked to you into this. I know, you know,

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Speaker 8: just like she gave for all twenty bucks to say

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Speaker 8: that thing about me.

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Speaker 7: Right, so exactly.

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Speaker 8: Okay, So she's running out her doll, though I might

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Speaker 8: trouble she get.

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Speaker 1: Yeah, I gave you the money, so I you know

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Speaker 1: you are. For those that don't know Bob Power's role

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Speaker 1: in music, especially in the realm of classic hip hop,

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Speaker 1: I'll say that you are up there with all of

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Speaker 1: the great creators beyond engineer. I mean, I consider you

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Speaker 1: the fourth beatle. In a try call Quest and.

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Speaker 8: In De La Soul and the Vinnia called me the

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Speaker 8: den mother. I thought that was real cool.

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Speaker 1: You were definitely the demon.

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Speaker 8: Well, you know, I'd like to get stuff done and

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Speaker 8: everybody's just hanging out. It's like, okay, what are we

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Speaker 8: doing now?

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Speaker 1: So you know, I'm not saying that I'm the most

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Speaker 1: disciplined human beyond earth. Actually I'm the least disciplined human

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Speaker 1: being on Earth, but I disagree. But probably the one

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Speaker 1: thing that I learned in studio mixing with songs is

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Speaker 1: the absolute concentration that the engineer needs UH to to

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Speaker 1: complete such a task. And you never let me live

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Speaker 1: that down either.

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Speaker 8: I know, all those little things on the credit I

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Speaker 8: used to Bob, could you guys please go in the

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Speaker 8: back Power I mean, yeah, so I mean.

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Speaker 1: To run off your resume if you are a classic

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Speaker 1: hip hop fan. This this this man as has pretty

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Speaker 1: much engineered and steered uh A mighty ship of of

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Speaker 1: classic records from uh three. Well you did on Fire

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Speaker 1: by the stets of Sonic? Did you do him full gear?

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Speaker 3: No?

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Speaker 1: That was my first big thing. Yeah, on fire, on fire, Yeah,

301
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Speaker 1: to hear it, to hear. Q Tip described when he

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Speaker 1: first heard ghost Stetsa in a nightclub. He said, that

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Speaker 1: was that was a that was a moment for him

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Speaker 1: where he stopped in his tracks and it was amazed

305
00:16:52,680 --> 00:16:54,960
Speaker 1: at how clear the drum sounded and said, this is

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Speaker 1: what I want to sound like. So are you serious?

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Speaker 1: I never heard that, man, Yeah, because I asked like,

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Speaker 1: how did you How did Bob enter the sphere? And

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Speaker 1: he's like, ilsy the club a night and and I

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Speaker 1: heard ghosts and I was like shocked, and I was

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Speaker 1: like he worked on that. But then I figured, like

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Speaker 1: all the all the Calliope Foster people had to have

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Speaker 1: been from Tommy Boyd.

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Speaker 8: You know, yeah, there was I believe that Shane Favor

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Speaker 8: went away for two weeks on vacation and I filled

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Speaker 8: in and we got along.

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Speaker 1: You know, Okay, Shane never should have left, man. So

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Speaker 1: oh after that then you sort of eased.

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Speaker 8: In and it wasn't my own doing. I had nothing

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Speaker 8: to do with it. They said show up. I said, okay.

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Speaker 1: So when Shane came back and everybody wanted to roll

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Speaker 1: with you and.

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Speaker 8: Shad, well not really. I mean Shane and I split

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Speaker 8: that first record, and it's funny. I just remastered that

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Speaker 8: for the twenty fifth anniversary release last year. Man, I

326
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Speaker 8: had no idea what I was doing back then. It

327
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Speaker 8: was scary to hear that stuff.

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Speaker 1: But it was funny. So you cringe when you're in

329
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Speaker 1: your mistress now or.

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Speaker 8: Only stuff from that far back. I actually sometimes I

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Speaker 8: catch myself. I'll hear a song and I say, you know.

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Speaker 1: That sounds pretty good. Wow, that's cool, and it's like, wow,

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Speaker 1: I mixed that.

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Speaker 8: Oh Man, don't you forget tracks that you've done, Like.

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Speaker 1: I have a I have a cardinal rule to not uh.

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Speaker 1: I will obsessively listen to uh whatever record I'm working

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Speaker 1: on for maybe three months after it comes out, and

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Speaker 1: then I never ever go back. Right.

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Speaker 8: But like I'm in a clothes store or something, I'm like, wow,

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Speaker 8: I know that song. Oh yeah, I mixed that.

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Speaker 1: That happens, that happens yesterday I heard a song that

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Speaker 1: I was on. I just amed it and I was

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Speaker 1: disappointed when I found out that I didn't know that

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Speaker 1: you were on it. I was on that I was

345
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Speaker 1: on that song anyway, So you did h on Fire

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Speaker 1: by Statsu Sonic.

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Speaker 2: That was the first that Sonic song I ever heard,

348
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Speaker 2: honestly on Fire because I was I bought it.

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Speaker 1: This was god. I was like, seven, did you buy it?

350
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Speaker 1: I actually, yeah, I didn't steal. I didn't steal it.

351
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Speaker 1: Last week we was talking about like a month ago,

352
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Speaker 1: right on the last episode.

353
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Speaker 8: I don't think I did that whole record, but if

354
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Speaker 8: I remember on Fire, then I did that song.

355
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Speaker 2: Noah, I had that one that was on I remember

356
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Speaker 2: that one because that was on a K Tail Records compilation.

357
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Speaker 1: Then I bought from k Mart.

358
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Speaker 8: And like straight up and that was the last song

359
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Speaker 8: on side one, so that that was a three cent

360
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Speaker 8: royalty check I got a couple of months ago.

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Speaker 1: It might be it was a K Tale because it

362
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Speaker 1: also you said Tangerine Records. Then I really would have

363
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Speaker 1: just walked down the wall.

364
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Speaker 7: It was.

365
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Speaker 5: It was k Tel and that was the last song

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Speaker 5: on side one, and uh it also had I don't know.

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Speaker 1: If you remember mister X and mister Z drink O Gold. Yeah,

368
00:19:43,200 --> 00:19:44,320
Speaker 1: it was that was on there too.

369
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Speaker 2: That it wasn't even the compilation though, like rap Hits

370
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Speaker 2: or some ship. It was something like corny like and

371
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Speaker 2: he was like, I gotta have this. It was that

372
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Speaker 2: was all I could afford because it was in like

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Speaker 2: the bargain box.

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Speaker 1: So it might have been like three.

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Speaker 7: Yeah, yeah, it was like three.

376
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Speaker 1: I know those takes very.

377
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Speaker 2: Cream colored tapes, like the cream you know what I mean,

378
00:20:02,440 --> 00:20:05,000
Speaker 2: Like if it was like the white tape, the cream color,

379
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Speaker 2: you knew it was some bullshit.

380
00:20:06,600 --> 00:20:15,000
Speaker 1: Actually, you know something, my first Boy Power cassette I stole. Okay,

381
00:20:15,520 --> 00:20:20,520
Speaker 1: that's appropriate. Appropriate. The reason why I was hesitating to

382
00:20:20,560 --> 00:20:22,400
Speaker 1: say I was wanted to make sure that the grace

383
00:20:22,480 --> 00:20:25,480
Speaker 1: period had passed before Sam Goodie presses charges.

384
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Speaker 8: I have some good news for you. Sam Goody is

385
00:20:28,800 --> 00:20:30,920
Speaker 8: no more So I beat the man.

386
00:20:31,359 --> 00:20:35,040
Speaker 1: No. I used to work at Sam Goodie's after school,

387
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Speaker 1: and when I had that that moment when I heard three,

388
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Speaker 1: the same way that I felt when I heard Nation

389
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Speaker 1: of Millions, I was like, Yo, these guys are talking

390
00:20:47,119 --> 00:20:53,119
Speaker 1: directly to me. So I stole the the only copy

391
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Speaker 1: in the store and I think, yeah, I got fired,

392
00:20:58,880 --> 00:21:01,520
Speaker 1: but not a week after that, right, I think I

393
00:21:01,640 --> 00:21:02,879
Speaker 1: think they knew I stole.

394
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Speaker 8: It, so they were throwing your ass in jail, man,

395
00:21:05,040 --> 00:21:06,880
Speaker 8: Come on, would just be fired?

396
00:21:07,440 --> 00:21:10,480
Speaker 1: Well, no, I got fired. You know. I like to

397
00:21:10,560 --> 00:21:12,600
Speaker 1: think it was you know, the Christmas rush was over

398
00:21:12,640 --> 00:21:15,640
Speaker 1: and they didn't need me in January. But I think

399
00:21:15,720 --> 00:21:19,199
Speaker 1: they I think they knew that I did that. So anyway,

400
00:21:19,320 --> 00:21:23,399
Speaker 1: three ft and Rising days Souls dead low in theory.

401
00:21:23,800 --> 00:21:26,600
Speaker 1: You did people's instinctive travels. You did the first try.

402
00:21:26,520 --> 00:21:29,320
Speaker 8: Record half of it? Yeah, I did not do uh

403
00:21:30,520 --> 00:21:31,280
Speaker 8: three feet high?

404
00:21:31,920 --> 00:21:32,040
Speaker 7: Who?

405
00:21:32,280 --> 00:21:34,200
Speaker 8: A couple other people there did that. I did a

406
00:21:34,280 --> 00:21:35,680
Speaker 8: session or two, but I wasn't.

407
00:21:35,880 --> 00:21:39,800
Speaker 1: I did not go. So you came dead Yeah, okay,

408
00:21:40,200 --> 00:21:42,360
Speaker 1: and blue mind state stakes.

409
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Speaker 8: I don't think so.

410
00:21:45,640 --> 00:21:46,280
Speaker 1: I don't think so.

411
00:21:46,720 --> 00:21:48,920
Speaker 8: You know, I got really busy as a producer. And

412
00:21:49,080 --> 00:21:53,120
Speaker 8: then when I said people yeah, and people said, got

413
00:21:53,240 --> 00:21:53,800
Speaker 8: really pissed.

414
00:21:53,800 --> 00:21:55,960
Speaker 1: You know, of course tip they were territory hip. Got

415
00:21:56,200 --> 00:21:59,119
Speaker 1: really pissed. But it's okay, we're over it now. He

416
00:21:59,280 --> 00:22:02,040
Speaker 1: was territorial. Let's drop that one.

417
00:22:04,440 --> 00:22:05,600
Speaker 5: You know, why are you giving up?

418
00:22:06,320 --> 00:22:09,080
Speaker 1: I love the man and I really do as you do.

419
00:22:09,320 --> 00:22:12,480
Speaker 1: You know, come on, man, Yeah no, because my first

420
00:22:12,520 --> 00:22:15,520
Speaker 1: week in working with you, I think I maybe that's

421
00:22:15,560 --> 00:22:19,920
Speaker 1: why you you had the quiet rule, because I think

422
00:22:19,960 --> 00:22:25,000
Speaker 1: I asked you more about tried mixes than I was

423
00:22:25,040 --> 00:22:26,359
Speaker 1: concerned about my own mixes.

424
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Speaker 8: So I thank god that's part of the twenty year period.

425
00:22:30,760 --> 00:22:32,760
Speaker 8: That's a big blur to me because I don't remember

426
00:22:32,800 --> 00:22:33,080
Speaker 8: a thing.

427
00:22:33,320 --> 00:22:35,639
Speaker 1: Well, I would that's what we were going to ask you,

428
00:22:38,119 --> 00:22:42,040
Speaker 1: So I guess I should ask you. Did you Did

429
00:22:42,080 --> 00:22:44,200
Speaker 1: you come into the saying I'm going to be a

430
00:22:44,320 --> 00:22:47,040
Speaker 1: pioneering engineer or was it like no, no, no, no,

431
00:22:47,800 --> 00:22:50,439
Speaker 1: your beginnings, Like what were you you know, in your.

432
00:22:50,680 --> 00:22:55,480
Speaker 8: Totally backed into engineering? I uh, you really want to

433
00:22:55,480 --> 00:22:56,200
Speaker 8: start at the beginning.

434
00:22:56,359 --> 00:22:57,040
Speaker 1: Yeah, okay.

435
00:22:57,359 --> 00:22:59,720
Speaker 8: I played trombone in fourth grade because it was cool

436
00:22:59,720 --> 00:23:01,240
Speaker 8: because I could hit the kid in the back of

437
00:23:01,320 --> 00:23:03,600
Speaker 8: the head in front of me with the slide. That's

438
00:23:03,680 --> 00:23:06,080
Speaker 8: exactly why I picked it up. They also told me

439
00:23:06,160 --> 00:23:08,280
Speaker 8: my lips were too big to play trumpet, and I

440
00:23:08,440 --> 00:23:11,120
Speaker 8: was like, okay, thank you. That's really nice to tell

441
00:23:11,160 --> 00:23:16,840
Speaker 8: a kid, you know. Anyway, played bad rock guitar by

442
00:23:16,960 --> 00:23:20,080
Speaker 8: ear in high school, went away to college at a

443
00:23:20,119 --> 00:23:23,760
Speaker 8: place Webster University. They had a conservatory, and I didn't

444
00:23:23,880 --> 00:23:26,960
Speaker 8: know enough to be scared. It was a classical conservatory.

445
00:23:27,000 --> 00:23:31,440
Speaker 8: I had no background in it became a classical theory

446
00:23:31,480 --> 00:23:32,600
Speaker 8: and composition major.

447
00:23:32,800 --> 00:23:34,520
Speaker 1: They never would have let me in. I don't know

448
00:23:34,600 --> 00:23:35,840
Speaker 1: how they let me in, but they did.

449
00:23:36,080 --> 00:23:36,720
Speaker 7: What year was this?

450
00:23:37,160 --> 00:23:40,399
Speaker 8: Nineteen seventy So during the four years that I was

451
00:23:40,520 --> 00:23:44,159
Speaker 8: there and studying classical theory and composition, I was playing

452
00:23:44,359 --> 00:23:46,480
Speaker 8: a sort of chilllin circuit in Saint Louis.

453
00:23:46,240 --> 00:23:49,720
Speaker 1: And I played an R and B bands and cover

454
00:23:50,240 --> 00:23:50,480
Speaker 1: the day.

455
00:23:50,760 --> 00:23:54,120
Speaker 8: Oh yeah, yeah, you're my favorite pussy, you know, Funkadelic,

456
00:23:54,720 --> 00:23:58,639
Speaker 8: Yeah yeah, and temptation stuff.

457
00:24:00,200 --> 00:24:00,399
Speaker 1: You know.

458
00:24:01,000 --> 00:24:03,399
Speaker 8: I killed Papa was a rolling stone man, you know

459
00:24:03,480 --> 00:24:05,560
Speaker 8: those little ridges on the rubber on the wah wah

460
00:24:05,600 --> 00:24:06,800
Speaker 8: pedals and keep your foot there.

461
00:24:06,880 --> 00:24:10,640
Speaker 1: My shit is worn out. Yeah yeah.

462
00:24:12,280 --> 00:24:17,000
Speaker 8: And left Saint Louis in seventy five, did some recording

463
00:24:17,080 --> 00:24:18,280
Speaker 8: there with different people.

464
00:24:19,320 --> 00:24:21,399
Speaker 1: I mean, what were your aspirations in the seventies. I

465
00:24:21,440 --> 00:24:24,480
Speaker 1: want to be a rock star, man, Come on, guess

466
00:24:24,520 --> 00:24:25,879
Speaker 1: what you are? A rock star? Come on.

467
00:24:26,800 --> 00:24:30,399
Speaker 8: Anyway, moved to San Francisco in seventy five, and this

468
00:24:30,600 --> 00:24:32,800
Speaker 8: is weird. I ended up getting my masters in jazz.

469
00:24:32,880 --> 00:24:35,640
Speaker 8: But it's a long story that I really can't tell

470
00:24:35,800 --> 00:24:39,080
Speaker 8: on the air. It's a sort of checkered story the

471
00:24:39,200 --> 00:24:41,040
Speaker 8: reason that I got into graduate school.

472
00:24:41,080 --> 00:24:41,960
Speaker 1: But we'll leave it at that.

473
00:24:43,720 --> 00:24:46,720
Speaker 8: I had let's just say, I had to be on

474
00:24:46,800 --> 00:24:51,040
Speaker 8: my best behavior for a while and got into TV scoring.

475
00:24:51,119 --> 00:24:53,600
Speaker 8: While I was there, my dad was a television producer

476
00:24:53,800 --> 00:24:56,280
Speaker 8: and he hooked me up with some people. So I

477
00:24:56,440 --> 00:24:59,760
Speaker 8: scored TV like three or four months out of the

478
00:24:59,840 --> 00:25:04,480
Speaker 8: year for seven years and subsidize my jazz career. What

479
00:25:04,760 --> 00:25:07,920
Speaker 8: shows did you There was a show on PBS called

480
00:25:08,000 --> 00:25:09,959
Speaker 8: over Easy. I did a bunch of stuff for Disney,

481
00:25:10,920 --> 00:25:13,520
Speaker 8: a couple other things, a couple of specials for PBS,

482
00:25:15,240 --> 00:25:15,800
Speaker 8: and it was cool.

483
00:25:15,920 --> 00:25:16,040
Speaker 3: You know.

484
00:25:16,320 --> 00:25:18,359
Speaker 8: That was a day's premitty where you had to like

485
00:25:18,480 --> 00:25:21,919
Speaker 8: score stuff out on score paper and go into the session,

486
00:25:22,040 --> 00:25:23,920
Speaker 8: lay down the charts and it had to be right.

487
00:25:24,119 --> 00:25:24,320
Speaker 3: You know.

488
00:25:24,480 --> 00:25:26,639
Speaker 8: There was no you know, because payroll runs when you

489
00:25:26,680 --> 00:25:27,800
Speaker 8: have a lot of people on the floor.

490
00:25:27,960 --> 00:25:31,639
Speaker 1: There were union dates, so it was cool. It was

491
00:25:31,680 --> 00:25:34,520
Speaker 1: a lot of fun. I wouldn't have made it in

492
00:25:34,640 --> 00:25:37,760
Speaker 1: the seventies, man it you know, that.

493
00:25:37,880 --> 00:25:41,919
Speaker 8: Was premitty, so things were way way different then. So anyway,

494
00:25:42,880 --> 00:25:46,600
Speaker 8: I wanted to be Bobby Broom or somebody you know,

495
00:25:46,760 --> 00:25:47,960
Speaker 8: great jazz guitar player.

496
00:25:48,440 --> 00:25:49,200
Speaker 1: Was just okay.

497
00:25:50,640 --> 00:25:53,160
Speaker 8: Now we're going to get calls people say he was terrible.

498
00:25:53,280 --> 00:25:59,000
Speaker 1: He wasn't just okay, And like, did you come close

499
00:25:59,080 --> 00:26:04,920
Speaker 1: to a a career in being like I was? I

500
00:26:05,119 --> 00:26:06,280
Speaker 1: was a journeyman.

501
00:26:07,480 --> 00:26:08,800
Speaker 7: No, no, no, no, no, no no no.

502
00:26:09,280 --> 00:26:16,760
Speaker 8: I was playing weddings in Mezvas, wedding at Best. I

503
00:26:16,880 --> 00:26:21,920
Speaker 8: haven't got guys, I haven't gotten to the part about

504
00:26:21,920 --> 00:26:25,040
Speaker 8: the Mafia weddings in Flatbush for for seventy five dollars.

505
00:26:25,119 --> 00:26:25,800
Speaker 1: But I'll get there.

506
00:26:27,240 --> 00:26:30,920
Speaker 8: And in nineteen eighty two, you know, I had a

507
00:26:31,040 --> 00:26:34,399
Speaker 8: nice life there. My cash flow is okay because of

508
00:26:34,440 --> 00:26:35,879
Speaker 8: the scoring work. But I knew I had to have

509
00:26:35,960 --> 00:26:38,920
Speaker 8: moved to LA or New York. So all my friends

510
00:26:38,960 --> 00:26:42,960
Speaker 8: were here, had some people in some friends in advertising

511
00:26:43,200 --> 00:26:44,600
Speaker 8: and corporate communications.

512
00:26:44,640 --> 00:26:46,920
Speaker 1: So came back started you really want to hear this?

513
00:26:47,119 --> 00:26:51,000
Speaker 8: Yes, yeah, okay, already, No, I'm not that's a problem.

514
00:26:53,160 --> 00:26:55,720
Speaker 8: I came back to New York, took every gig playing

515
00:26:55,800 --> 00:26:59,080
Speaker 8: I could. I got really good at sixteenth note octaves

516
00:26:59,160 --> 00:27:01,159
Speaker 8: because I played on a lot of bad dance records.

517
00:27:01,280 --> 00:27:07,440
Speaker 1: Check records. Oh man, I don't remember. I really don't.

518
00:27:07,520 --> 00:27:08,360
Speaker 7: That's the twenty years stad.

519
00:27:08,400 --> 00:27:10,920
Speaker 1: I don't remember. They weren't Union. I have no idea.

520
00:27:11,160 --> 00:27:13,240
Speaker 1: You know, I got paid in cash. I left.

521
00:27:15,480 --> 00:27:18,720
Speaker 8: And was doing every kind of weird club date gig

522
00:27:18,880 --> 00:27:22,040
Speaker 8: I could, like I said, mafia weddings out in Flatbush,

523
00:27:22,359 --> 00:27:25,480
Speaker 8: taking the subway home in a tuxedo with my guitar

524
00:27:25,560 --> 00:27:27,320
Speaker 8: and my amp at two point thirty in the morning

525
00:27:27,359 --> 00:27:27,960
Speaker 8: from the junction.

526
00:27:28,080 --> 00:27:28,680
Speaker 7: You guys know what.

527
00:27:29,840 --> 00:27:34,760
Speaker 1: This was late eighties. It got stolen what I was

528
00:27:34,760 --> 00:27:36,200
Speaker 1: waiting for the no no, no, no no.

529
00:27:37,760 --> 00:27:42,320
Speaker 8: But I was producing stuff overnight at Calliope because it

530
00:27:42,400 --> 00:27:47,320
Speaker 8: was the cheapest hours, and I was doing industrials for

531
00:27:47,440 --> 00:27:50,200
Speaker 8: my friends, you know, big corporate communications shows, and the

532
00:27:50,280 --> 00:27:52,680
Speaker 8: money was great and you got to do really big productions,

533
00:27:52,720 --> 00:27:57,080
Speaker 8: and stuff just started getting into jingles. And I was

534
00:27:57,160 --> 00:28:00,679
Speaker 8: working overnight at Calliope, and Chris, you remember Chris Irwin,

535
00:28:00,840 --> 00:28:03,040
Speaker 8: the guy who wanted to another name, fell asleep at

536
00:28:03,040 --> 00:28:05,399
Speaker 8: the console. So I finished up and he woke up.

537
00:28:05,440 --> 00:28:08,200
Speaker 8: He said, Oh, Bob Colter, the guy who engineered for

538
00:28:08,320 --> 00:28:10,080
Speaker 8: me all the time, is going away for two weeks.

539
00:28:10,080 --> 00:28:12,919
Speaker 8: Would you like to fill in and I was like.

540
00:28:15,119 --> 00:28:16,920
Speaker 1: Yeah, yeah, I know how to do that.

541
00:28:19,160 --> 00:28:22,560
Speaker 8: I knew how to press record on the tape ma sheet.

542
00:28:22,560 --> 00:28:24,359
Speaker 8: You know, I'd always asked a lot of questions. I

543
00:28:24,440 --> 00:28:27,680
Speaker 8: was fascinated by engineering. So this was about eighty five

544
00:28:27,800 --> 00:28:28,680
Speaker 8: and it was Calliope.

545
00:28:28,880 --> 00:28:29,920
Speaker 1: So you know what happened there.

546
00:28:31,720 --> 00:28:34,040
Speaker 8: At the same time that I got a following as

547
00:28:34,040 --> 00:28:38,520
Speaker 8: an engineer there, I got real successful doing jingles, so

548
00:28:38,560 --> 00:28:40,400
Speaker 8: I was trying to do You remember, I was trying

549
00:28:40,440 --> 00:28:43,360
Speaker 8: to do jingles during the day and records at night,

550
00:28:43,440 --> 00:28:45,040
Speaker 8: and it was killing me. And I got a lot

551
00:28:45,080 --> 00:28:47,280
Speaker 8: of good stuff I was doing, like the postal service,

552
00:28:47,760 --> 00:28:51,320
Speaker 8: chef boarder d you know, a lot of BMW Mercedes.

553
00:28:52,720 --> 00:28:58,280
Speaker 8: They didn't give me a car. And then so about

554
00:28:58,720 --> 00:29:01,040
Speaker 8: I think it was ninety one ninety two, I said,

555
00:29:01,080 --> 00:29:04,440
Speaker 8: you know, I was dying and I just realized that

556
00:29:04,720 --> 00:29:07,040
Speaker 8: I had to give one up. So I said, okay,

557
00:29:07,120 --> 00:29:08,680
Speaker 8: I got to make as much money in the record

558
00:29:08,720 --> 00:29:11,440
Speaker 8: business as I was doing in jingles, which is great

559
00:29:11,480 --> 00:29:13,280
Speaker 8: money when when you get finals.

560
00:29:13,960 --> 00:29:17,720
Speaker 1: Really oh yeah, yeah, yeah. The writing fees are decent.

561
00:29:17,960 --> 00:29:20,440
Speaker 8: Plus they're all Union days, so you know, you pa,

562
00:29:20,520 --> 00:29:22,640
Speaker 8: you know, kids, stuff runs for years. I did a

563
00:29:22,720 --> 00:29:25,320
Speaker 8: thing for chef boyd d sharks, you know, little pasta

564
00:29:25,480 --> 00:29:28,120
Speaker 8: shaped like sharks. That ship ran for like three or

565
00:29:28,120 --> 00:29:30,240
Speaker 8: four years, so I was getting checks that whole time.

566
00:29:30,320 --> 00:29:32,120
Speaker 1: It was great. Can I ask my producer, are we

567
00:29:32,160 --> 00:29:33,120
Speaker 1: allowed to play that song?

568
00:29:33,520 --> 00:29:33,560
Speaker 8: No?

569
00:29:35,960 --> 00:29:39,000
Speaker 7: No, no, we can sing it?

570
00:29:39,160 --> 00:29:39,200
Speaker 1: No.

571
00:29:39,560 --> 00:29:44,440
Speaker 8: In fact, I think you're going But it was, you know,

572
00:29:44,520 --> 00:29:46,160
Speaker 8: it was cool. We had to do everything. I did

573
00:29:46,240 --> 00:29:48,120
Speaker 8: the music, I did the engineering, I did a lot

574
00:29:48,200 --> 00:29:50,800
Speaker 8: of the playing, and it was just about when they

575
00:29:50,880 --> 00:29:53,560
Speaker 8: expected the music houses to do sound design as well,

576
00:29:53,800 --> 00:29:56,360
Speaker 8: so I had to make the sound of the shark.

577
00:29:57,160 --> 00:29:59,480
Speaker 8: It was animated of the shark fin cutting back and

578
00:29:59,560 --> 00:30:03,880
Speaker 8: forth through the water. So this was the really early

579
00:30:03,960 --> 00:30:06,280
Speaker 8: days of sampling, and samplers didn't have a lot of memory,

580
00:30:06,720 --> 00:30:08,840
Speaker 8: so I think I did. I got a circular saw,

581
00:30:10,840 --> 00:30:14,640
Speaker 8: ripped a piece of bellcrow and did a zipper like

582
00:30:14,720 --> 00:30:17,840
Speaker 8: a zip, and then put them all together and I thought,

583
00:30:17,920 --> 00:30:20,960
Speaker 8: you know, that was really cool, man. It really sounds

584
00:30:21,000 --> 00:30:23,200
Speaker 8: like the shark is cutting up the water. And the

585
00:30:23,320 --> 00:30:25,320
Speaker 8: agency says, that's much too scary.

586
00:30:25,440 --> 00:30:29,760
Speaker 1: We can't use that. So anyway, so.

587
00:30:29,840 --> 00:30:32,000
Speaker 8: By the early nineties I was just doing records. I

588
00:30:32,080 --> 00:30:35,080
Speaker 8: was just engineering and then producing records.

589
00:30:35,120 --> 00:30:39,440
Speaker 1: So that's about what So you're saying that your side hustle,

590
00:30:40,680 --> 00:30:46,800
Speaker 1: you're you're you know, make some engineers engineer like that

591
00:30:47,080 --> 00:30:50,920
Speaker 1: was just an afterthought to you, but you're like changing lives. Yeah,

592
00:30:51,600 --> 00:30:53,960
Speaker 1: but you know, shit works funny, man, But I don't

593
00:30:54,000 --> 00:30:56,440
Speaker 1: think you realized you were changing lives as you were

594
00:30:56,520 --> 00:30:56,800
Speaker 1: doing it.

595
00:30:57,360 --> 00:30:59,680
Speaker 8: You know what, man, I wasn't changing lives. The artist

596
00:31:00,160 --> 00:31:02,520
Speaker 8: working with were changing lives. I was helping them do

597
00:31:02,600 --> 00:31:05,720
Speaker 8: their thing. I really believe in that. But I read

598
00:31:05,840 --> 00:31:08,200
Speaker 8: you know, that's important to me honestly, as a as

599
00:31:08,240 --> 00:31:11,680
Speaker 8: an engineer or producer. It's really important because it is

600
00:31:11,840 --> 00:31:14,280
Speaker 8: all about the artist, and people lose sight of that,

601
00:31:14,480 --> 00:31:17,040
Speaker 8: especially engineers, you know, guys who get in and say,

602
00:31:17,080 --> 00:31:18,280
Speaker 8: oh no, no, no, that wasn't right.

603
00:31:18,360 --> 00:31:19,440
Speaker 1: We have to set that up again.

604
00:31:19,640 --> 00:31:20,360
Speaker 7: I used to do that.

605
00:31:21,600 --> 00:31:26,040
Speaker 1: Oh you you were that sort of stupid yeah yeah.

606
00:31:27,080 --> 00:31:30,760
Speaker 8: And then I really, you know, it's really about the artists,

607
00:31:30,800 --> 00:31:34,200
Speaker 8: the artist when you're making a record. You know this, man,

608
00:31:34,840 --> 00:31:36,960
Speaker 8: you got to just go there with the artists because

609
00:31:37,000 --> 00:31:38,840
Speaker 8: that's what makes them special. And if they don't have

610
00:31:38,880 --> 00:31:41,080
Speaker 8: anything the special to say, you shouldn't be there.

611
00:31:41,240 --> 00:31:44,160
Speaker 1: But it seems to me that a lot of us

612
00:31:44,720 --> 00:31:46,320
Speaker 1: and a lot of people I meet, especially in the

613
00:31:46,400 --> 00:31:50,800
Speaker 1: music industry, they they wind up in their glory period

614
00:31:51,400 --> 00:31:55,160
Speaker 1: kind of by accident and it's never by design. Like

615
00:31:55,360 --> 00:31:58,080
Speaker 1: I never like people people stop me all the time like,

616
00:31:58,120 --> 00:32:01,400
Speaker 1: oh my god, like you're there, apparent to Doc Severson,

617
00:32:02,480 --> 00:32:06,040
Speaker 1: I never like you've all people know that. I never

618
00:32:06,120 --> 00:32:07,880
Speaker 1: was like, you know, Bob, I really want to be

619
00:32:08,040 --> 00:32:10,280
Speaker 1: late night. He had good hot chops. Man. No, No,

620
00:32:10,400 --> 00:32:10,960
Speaker 1: I love Doc.

621
00:32:11,000 --> 00:32:12,960
Speaker 8: I played with him, funny ties.

622
00:32:15,200 --> 00:32:15,520
Speaker 1: With him.

623
00:32:16,080 --> 00:32:19,160
Speaker 6: Yeah, he sat in DOCA in Los Angeles.

624
00:32:19,680 --> 00:32:22,360
Speaker 1: Yeah, he got down with this. But I'm just saying that,

625
00:32:23,200 --> 00:32:25,600
Speaker 1: you know, I kind of this wasn't planned at all,

626
00:32:26,400 --> 00:32:29,880
Speaker 1: and it was never by design. And to hear you

627
00:32:30,040 --> 00:32:35,320
Speaker 1: say it like engineering was just like it was another gig.

628
00:32:36,800 --> 00:32:40,440
Speaker 1: But in hindsight, you do recognize that it was historically

629
00:32:40,520 --> 00:32:42,000
Speaker 1: important that you did this stuff right.

630
00:32:42,240 --> 00:32:44,680
Speaker 8: You know, did you guys see Zella, the Woody Ellen

631
00:32:44,760 --> 00:32:47,600
Speaker 8: movie where he kind of shows up in all these historical.

632
00:32:47,920 --> 00:32:54,720
Speaker 12: Yes, yes, which jew are you asking because this quarter

633
00:32:54,800 --> 00:32:58,440
Speaker 12: says yeah, yeah, so you know, I was just there.

634
00:32:58,560 --> 00:32:59,200
Speaker 1: That's a weird car.

635
00:32:59,280 --> 00:32:59,760
Speaker 7: That was a car.

636
00:33:00,880 --> 00:33:04,320
Speaker 8: Yeah, that's you know, that's one of my favorite records.

637
00:33:05,400 --> 00:33:07,960
Speaker 8: Oh my god, wa wah Watson, that's everything is him

638
00:33:08,000 --> 00:33:14,360
Speaker 8: on that Okay, but you know, things happened in strange words. Man,

639
00:33:14,720 --> 00:33:17,800
Speaker 8: I see well, and I am passionate about what I do.

640
00:33:18,080 --> 00:33:22,560
Speaker 1: You know, I'm waving my head up and down.

641
00:33:22,680 --> 00:33:24,200
Speaker 7: But I have a quo.

642
00:33:24,280 --> 00:33:25,960
Speaker 6: I'm not sure if I missed. Why Why did you

643
00:33:26,080 --> 00:33:28,840
Speaker 6: choose making records over advertising? Advertisements?

644
00:33:28,840 --> 00:33:29,960
Speaker 1: Off? More much cooler.

645
00:33:30,000 --> 00:33:31,760
Speaker 8: That's what I wanted to do since I was a kid.

646
00:33:31,800 --> 00:33:33,520
Speaker 8: You know, I used to sit in my room and

647
00:33:33,840 --> 00:33:36,920
Speaker 8: early on when headphones first came around, like in sixty

648
00:33:36,960 --> 00:33:39,560
Speaker 8: four or I got a headphone in sixty four, I

649
00:33:39,720 --> 00:33:41,360
Speaker 8: used to sit and listen to these records and I

650
00:33:41,480 --> 00:33:43,120
Speaker 8: look on the back of the records and I said

651
00:33:43,200 --> 00:33:48,600
Speaker 8: producer and they called mixers remixers at that point, and uh,

652
00:33:49,800 --> 00:33:52,160
Speaker 8: you know, I said, I had no idea what it was,

653
00:33:52,280 --> 00:33:53,120
Speaker 8: but I said, oh.

654
00:33:53,080 --> 00:33:55,880
Speaker 1: That looks really cool because I really like this record.

655
00:33:56,600 --> 00:33:59,000
Speaker 1: So that's that's where I got started.

656
00:33:59,080 --> 00:34:04,200
Speaker 6: Really, I had almost this exact similar situation. I was interning.

657
00:34:04,240 --> 00:34:06,440
Speaker 6: When I first started, I was interning at JSM. It

658
00:34:06,520 --> 00:34:10,080
Speaker 6: was a jingle house, huge, yeah, like and it was

659
00:34:10,200 --> 00:34:12,920
Speaker 6: beautiful and you've been in there, mm hmm, Like the

660
00:34:13,000 --> 00:34:16,600
Speaker 6: facilities were great, everything. Everybody dressed nice and smelled good

661
00:34:16,640 --> 00:34:18,879
Speaker 6: and made a lot of money. And I was also

662
00:34:18,960 --> 00:34:22,759
Speaker 6: interning at Electricallyity at the same exact time to totally.

663
00:34:22,600 --> 00:34:24,319
Speaker 1: You know, there must have been killing you man.

664
00:34:24,680 --> 00:34:26,440
Speaker 6: Well not really, I mean it was.

665
00:34:26,520 --> 00:34:26,960
Speaker 1: It was more.

666
00:34:27,320 --> 00:34:29,239
Speaker 6: Eventually they both wanted to hire me. I had to

667
00:34:29,360 --> 00:34:33,880
Speaker 6: literally decide the same decision like advertising or Jingles versus

668
00:34:34,440 --> 00:34:38,120
Speaker 6: rock and roll essentially, and you know, the he chose.

669
00:34:38,760 --> 00:34:41,920
Speaker 6: I was like, it's it's sort of a When I

670
00:34:42,040 --> 00:34:43,680
Speaker 6: was doing the pros and cons of it, you know,

671
00:34:43,880 --> 00:34:46,759
Speaker 6: everything said Jingles. You know, of course hours, the money.

672
00:34:46,520 --> 00:34:50,120
Speaker 1: The money, the money, the money, yea, and all the

673
00:34:50,120 --> 00:34:51,680
Speaker 1: opportunity to write as well.

674
00:34:51,800 --> 00:34:56,040
Speaker 6: Yeah yeah, But then you know, I just chose Electrically

675
00:34:56,120 --> 00:34:57,240
Speaker 6: because I wanted to make records.

676
00:34:57,400 --> 00:34:58,600
Speaker 1: It's all the same stuff.

677
00:34:58,800 --> 00:35:01,960
Speaker 8: The problem with doing after a while it is, i mean,

678
00:35:02,280 --> 00:35:04,640
Speaker 8: everybody thinks, oh, must really rob your soul. And I

679
00:35:04,719 --> 00:35:06,480
Speaker 8: used to say, fuck, you know, I'm a professional. I

680
00:35:06,600 --> 00:35:09,120
Speaker 8: just do this shit, and I'm really crazy about it.

681
00:35:09,160 --> 00:35:10,920
Speaker 8: When I'm doing it, I love it. I'd put two

682
00:35:11,000 --> 00:35:14,200
Speaker 8: hundred percent into it. But after a while I realized

683
00:35:14,239 --> 00:35:16,320
Speaker 8: it did start to rob My soul, because you just

684
00:35:16,360 --> 00:35:18,040
Speaker 8: put all this stuff out there and people send it

685
00:35:18,120 --> 00:35:20,520
Speaker 8: back and say, oh, no it's too green, you know,

686
00:35:20,760 --> 00:35:24,320
Speaker 8: come on, or we really need it by Thursday afternoon.

687
00:35:24,440 --> 00:35:27,480
Speaker 8: We got to have it by Thursday afternoon. It's really important.

688
00:35:27,520 --> 00:35:28,799
Speaker 1: So you stay up all night.

689
00:35:28,920 --> 00:35:32,160
Speaker 8: Man, you're really dying for it. So you wait till Monday,

690
00:35:32,320 --> 00:35:34,279
Speaker 8: just to be cool, and you call them me and say, hey, Bill,

691
00:35:34,360 --> 00:35:37,359
Speaker 8: did everything work on okay with the track? Oh, it's

692
00:35:37,440 --> 00:35:39,320
Speaker 8: on my desk here somewhere. Let me get to it

693
00:35:39,360 --> 00:35:41,520
Speaker 8: and I'll call you back. Oh all the time, man,

694
00:35:41,600 --> 00:35:41,960
Speaker 8: you know that.

695
00:35:42,600 --> 00:35:50,319
Speaker 1: Yeah, that happens to us right even now as we speak, Bob,

696
00:35:50,400 --> 00:35:52,719
Speaker 1: I have to say that you're as you say. The

697
00:35:52,840 --> 00:35:56,239
Speaker 1: token white Guy stick was always like one of my

698
00:35:56,320 --> 00:35:58,880
Speaker 1: favorite moments whenever you would do these little skits with

699
00:35:59,200 --> 00:36:04,319
Speaker 1: Dayla and Tribe and everything. First of all, I mean,

700
00:36:04,360 --> 00:36:08,320
Speaker 1: would they would you volunteer these services? And they just

701
00:36:08,360 --> 00:36:09,680
Speaker 1: say go in the studio, go in.

702
00:36:09,680 --> 00:36:13,000
Speaker 8: The think the token white guy was me. I must

703
00:36:13,040 --> 00:36:16,040
Speaker 8: have been out of my mind. You know, everybody was

704
00:36:16,160 --> 00:36:20,160
Speaker 8: doing bad stuff back then. I think that they did

705
00:36:20,239 --> 00:36:22,960
Speaker 8: a whole bunch of fake radio ideas or something like that.

706
00:36:23,160 --> 00:36:24,880
Speaker 8: So I just said, oh, let me go in, let

707
00:36:24,960 --> 00:36:26,759
Speaker 8: me go in and do it, never thinking that it

708
00:36:26,800 --> 00:36:28,120
Speaker 8: would really see the light of day.

709
00:36:28,320 --> 00:36:31,160
Speaker 2: When you were making that stuff, you know, I guess

710
00:36:31,280 --> 00:36:34,440
Speaker 2: like a record like Balloon and just even the Tribe stuff.

711
00:36:34,840 --> 00:36:38,239
Speaker 2: Did you have any idea of where it would go?

712
00:36:38,480 --> 00:36:41,000
Speaker 2: I read an interview This was a couple of days

713
00:36:41,000 --> 00:36:44,560
Speaker 2: ago on Waxweatics. They interviewed Cecil and Margleff. They were

714
00:36:45,000 --> 00:36:47,600
Speaker 2: all the Stevie's stuff and everything, and they were talking

715
00:36:47,640 --> 00:36:49,440
Speaker 2: about how after they did the Stevie stuff they got

716
00:36:49,520 --> 00:36:52,480
Speaker 2: hired to do Osley Brothers and it was just you know,

717
00:36:52,600 --> 00:36:54,680
Speaker 2: regular gig or whatever. And he said they were just

718
00:36:54,840 --> 00:36:58,480
Speaker 2: doing just doing what they did, and they didn't think anything.

719
00:36:58,680 --> 00:37:00,680
Speaker 2: They had no idea the songs we get plate forty

720
00:37:00,800 --> 00:37:02,920
Speaker 2: years later. All right, did you have moments?

721
00:37:03,160 --> 00:37:03,200
Speaker 1: No?

722
00:37:03,320 --> 00:37:04,000
Speaker 7: No, no, no.

723
00:37:04,480 --> 00:37:08,720
Speaker 8: I think most normal people when they're working on a record,

724
00:37:08,800 --> 00:37:11,160
Speaker 8: you love what's in front of you. It's I don't

725
00:37:11,200 --> 00:37:13,239
Speaker 8: take this the wrong way. That's why you get paid with.

726
00:37:13,400 --> 00:37:15,719
Speaker 8: What I mean is that's why you're there, whether you're

727
00:37:15,760 --> 00:37:21,359
Speaker 8: the artist or engineer or mixing. It's the coolest thing

728
00:37:21,400 --> 00:37:23,320
Speaker 8: in the world for the time that you're working on it.

729
00:37:23,719 --> 00:37:25,960
Speaker 8: It has to be you gotta love it to death.

730
00:37:26,520 --> 00:37:31,799
Speaker 8: So number one, that's the prime directive. Like Star Trek

731
00:37:33,120 --> 00:37:36,080
Speaker 8: and No. I get asked that a lot people say,

732
00:37:36,160 --> 00:37:38,400
Speaker 8: did you know you were making a classic? It's like, no,

733
00:37:38,560 --> 00:37:40,240
Speaker 8: we were having fun, trying to finish.

734
00:37:40,320 --> 00:37:42,600
Speaker 1: Here's the thing, though, I think in order for you

735
00:37:42,840 --> 00:37:50,520
Speaker 1: to produce the results that you did produce, I feel

736
00:37:50,560 --> 00:37:54,279
Speaker 1: as though one has to submit to I guess the

737
00:37:55,280 --> 00:38:00,960
Speaker 1: ongoing battle or conflict with a lot of people, especially

738
00:38:01,320 --> 00:38:02,040
Speaker 1: that early.

739
00:38:01,880 --> 00:38:04,600
Speaker 8: In the game between eighty eight, eighty nine, ninety ninety

740
00:38:04,680 --> 00:38:08,120
Speaker 8: one was actually admitting that hip hop was an art

741
00:38:08,200 --> 00:38:12,080
Speaker 8: form and not just a fat, an extra check in

742
00:38:12,320 --> 00:38:14,200
Speaker 8: that sort of thing. You know, man, it took the

743
00:38:14,320 --> 00:38:18,520
Speaker 8: record business. When the record business really got on board

744
00:38:18,719 --> 00:38:20,400
Speaker 8: was when they said, holy shit, there's a lot of

745
00:38:20,480 --> 00:38:22,319
Speaker 8: money in this. I mean, you know, come on, I'm

746
00:38:22,360 --> 00:38:25,160
Speaker 8: not justing anybody. That's just the way, That's exactly. And

747
00:38:25,480 --> 00:38:27,960
Speaker 8: my thing was, I like to make great music with

748
00:38:28,080 --> 00:38:30,840
Speaker 8: great people. I don't care what form that takes. I

749
00:38:31,040 --> 00:38:33,080
Speaker 8: like big band, you know, there's a lot of things

750
00:38:33,120 --> 00:38:36,799
Speaker 8: I like. I make jazz records, and I really liked

751
00:38:36,800 --> 00:38:38,799
Speaker 8: the people I was working with, so.

752
00:38:40,360 --> 00:38:40,759
Speaker 7: There was.

753
00:38:42,239 --> 00:38:44,960
Speaker 8: I don't know if you ran into this, but there

754
00:38:45,040 --> 00:38:47,640
Speaker 8: was some pushback in the engineering in the studio community

755
00:38:47,680 --> 00:38:52,440
Speaker 8: in New York because until hip hop came along, the

756
00:38:52,520 --> 00:38:55,319
Speaker 8: studios were fairly integrated, but it was a jazz scene,

757
00:38:55,360 --> 00:38:58,120
Speaker 8: and because hip hop was a completely new cultural thing

758
00:38:58,200 --> 00:39:01,160
Speaker 8: coming up in the streets within a different way of talking,

759
00:39:01,280 --> 00:39:04,920
Speaker 8: different way of dressing, different way of walking, different way

760
00:39:04,960 --> 00:39:08,680
Speaker 8: of making music, that even people who were used to

761
00:39:08,800 --> 00:39:12,640
Speaker 8: working in integrated situations in the studio. The studio establishment

762
00:39:12,800 --> 00:39:14,759
Speaker 8: back then and still is to a certain degree of

763
00:39:14,800 --> 00:39:15,839
Speaker 8: white male boys club.

764
00:39:15,880 --> 00:39:18,000
Speaker 1: I mean, that's just the people that drift into it,

765
00:39:19,000 --> 00:39:20,080
Speaker 1: not by design, but.

766
00:39:21,880 --> 00:39:26,359
Speaker 8: So there were a lot of people who just sort

767
00:39:26,400 --> 00:39:28,719
Speaker 8: of saw a bunch of eighteen year old kids coming

768
00:39:28,800 --> 00:39:31,520
Speaker 8: in the door with dress like they'd never seen people

769
00:39:31,640 --> 00:39:34,480
Speaker 8: dressed before, and having fun because they're eighteen year old kids,

770
00:39:34,920 --> 00:39:37,319
Speaker 8: and they got freaked. I think, that's what I think.

771
00:39:37,400 --> 00:39:38,919
Speaker 8: And I was like, hey, guys, what do you want

772
00:39:38,960 --> 00:39:41,080
Speaker 8: to do? Because I was learning at the same time,

773
00:39:41,239 --> 00:39:43,560
Speaker 8: so it was like, Wow, this is really fascinating.

774
00:39:43,600 --> 00:39:44,040
Speaker 7: I like this.

775
00:39:44,960 --> 00:39:49,279
Speaker 1: Yeah, Well, since you brought it up, is there a

776
00:39:49,360 --> 00:39:51,440
Speaker 1: client that you had to say no to that you

777
00:39:51,560 --> 00:39:53,680
Speaker 1: kind of regret? That. Damn. Maybe I should have did

778
00:39:53,719 --> 00:39:54,760
Speaker 1: that for historical purpose.

779
00:39:54,880 --> 00:39:57,880
Speaker 8: Oh man, you have no idea the stuff I've had

780
00:39:57,920 --> 00:40:02,000
Speaker 8: to turn down. And because I'm I was like really busy.

781
00:40:02,080 --> 00:40:05,040
Speaker 8: It wasn't because I like, I don't like what can

782
00:40:05,080 --> 00:40:07,200
Speaker 8: I really talk? I usually don't like to talk about

783
00:40:07,200 --> 00:40:14,440
Speaker 8: that kind of stuff. Yeah, oh yeah, Prince. Wait, okay,

784
00:40:14,719 --> 00:40:15,520
Speaker 8: this is a good one.

785
00:40:15,600 --> 00:40:15,839
Speaker 1: Guys.

786
00:40:16,000 --> 00:40:20,440
Speaker 8: So, so I got married in ninety four, and you know,

787
00:40:20,600 --> 00:40:22,359
Speaker 8: I was working all the time, and I was burned out.

788
00:40:22,400 --> 00:40:24,160
Speaker 8: That's one of the reasons that Richard got mad at

789
00:40:24,160 --> 00:40:26,399
Speaker 8: me at a certain point because I was so burned out.

790
00:40:26,480 --> 00:40:29,160
Speaker 8: I'd had a vacation plan for like months and months,

791
00:40:29,200 --> 00:40:31,719
Speaker 8: a lot of money into a European vacation and I said, no,

792
00:40:31,800 --> 00:40:32,640
Speaker 8: I'm going on vacation.

793
00:40:32,800 --> 00:40:33,520
Speaker 1: Richard flipped.

794
00:40:35,239 --> 00:40:41,520
Speaker 8: But that's okay, that's Richard. And so I was really

795
00:40:41,600 --> 00:40:44,239
Speaker 8: burned out. I was working like ninety hour weeks a lot.

796
00:40:44,280 --> 00:40:47,000
Speaker 8: I had one Friday night home with my new wife

797
00:40:47,840 --> 00:40:51,560
Speaker 8: and we cooked dinner. I love to cook. I cooked dinner.

798
00:40:51,600 --> 00:40:54,480
Speaker 8: I had a bottle keyantie. I'm in my robe nine

799
00:40:54,960 --> 00:40:57,600
Speaker 8: on a Friday night. I had to do it, I'm saying, And.

800
00:40:58,120 --> 00:41:06,520
Speaker 1: Yeah, yeah, that was afterwards, Man, that's what we're here for,

801
00:41:06,760 --> 00:41:07,799
Speaker 1: all right. Let it.

802
00:41:10,800 --> 00:41:13,640
Speaker 7: No work.

803
00:41:15,200 --> 00:41:18,040
Speaker 8: So I'm home. I'm down for the count after some wine,

804
00:41:18,120 --> 00:41:22,240
Speaker 8: probably smoked, you know. So the phone rings and it's battery.

805
00:41:22,600 --> 00:41:24,880
Speaker 8: And I worked a lot with and I still do

806
00:41:25,000 --> 00:41:27,239
Speaker 8: work a lot with Michelle and Deochella, who's a lovely

807
00:41:27,320 --> 00:41:31,640
Speaker 8: person and a dear friend. And the phone rings and Bob,

808
00:41:31,760 --> 00:41:35,280
Speaker 8: this is battery. The studio, I said, yeah, they go listen.

809
00:41:35,400 --> 00:41:37,919
Speaker 8: Prince is coming in with Michelle tonight and they want

810
00:41:37,960 --> 00:41:43,440
Speaker 8: you to do the session. So I was like, I

811
00:41:43,640 --> 00:41:46,320
Speaker 8: was so excited, and I kind of called myself and

812
00:41:46,520 --> 00:41:49,239
Speaker 8: I said, let me call you back, and I hung up,

813
00:41:49,360 --> 00:41:51,520
Speaker 8: and I was like, you know, I'm a little loaded.

814
00:41:51,600 --> 00:41:53,400
Speaker 1: I'm really fucking tired.

815
00:41:54,120 --> 00:41:55,480
Speaker 7: I just got out of the shower.

816
00:41:55,640 --> 00:41:57,440
Speaker 8: Do I want to go in and work all night

817
00:41:57,520 --> 00:42:00,680
Speaker 8: with some guy that won't talk directly to me? You know,

818
00:42:01,080 --> 00:42:03,680
Speaker 8: it wasn't guys, It wasn't that literal. I was burned out.

819
00:42:03,719 --> 00:42:05,760
Speaker 8: It could have been anybody. It could have been the Beatles,

820
00:42:05,800 --> 00:42:10,680
Speaker 8: and I would have said the same thing. So I said, no, Wow, yeah, yeah, do.

821
00:42:10,719 --> 00:42:12,200
Speaker 7: You know what day that I know what day that

822
00:42:12,360 --> 00:42:13,640
Speaker 7: that that session took place?

823
00:42:13,920 --> 00:42:14,359
Speaker 1: Are you sure?

824
00:42:14,560 --> 00:42:17,640
Speaker 8: Yeah, Okay, here it comes come out?

825
00:42:17,680 --> 00:42:19,640
Speaker 1: Said it up? Literally it was it was almost literally

826
00:42:19,680 --> 00:42:21,200
Speaker 1: twenty years ago today today.

827
00:42:21,320 --> 00:42:21,680
Speaker 7: How do you know?

828
00:42:21,800 --> 00:42:23,560
Speaker 1: It was July third, nineteen ninety six. I looked at

829
00:42:23,600 --> 00:42:25,800
Speaker 1: up on what song was it? What's email from the

830
00:42:25,840 --> 00:42:26,720
Speaker 1: Emancipation album?

831
00:42:27,080 --> 00:42:27,239
Speaker 7: Ah?

832
00:42:27,640 --> 00:42:29,840
Speaker 1: Oh she was supposed to be on that. Yeah, they

833
00:42:29,920 --> 00:42:33,359
Speaker 1: recorded an instrumental. They recorded an instrumental that night. Uh,

834
00:42:34,680 --> 00:42:36,720
Speaker 1: like I think he went back and re re recorded.

835
00:42:36,800 --> 00:42:37,440
Speaker 1: Of course he did.

836
00:42:37,640 --> 00:42:39,759
Speaker 7: Yeah, they did that.

837
00:42:40,040 --> 00:42:40,640
Speaker 8: So that's one.

838
00:42:41,000 --> 00:42:43,880
Speaker 1: Uh, there's some others I can wait, can we at

839
00:42:43,920 --> 00:42:47,880
Speaker 1: this moment? Prince Dork he no music door.

840
00:42:48,320 --> 00:42:50,719
Speaker 7: This is why each the guy's calmed down.

841
00:42:50,800 --> 00:42:55,440
Speaker 1: Each person in this room has has a weird super

842
00:42:55,760 --> 00:43:00,760
Speaker 1: uh kind of ability to recall stuff like that. Anyway,

843
00:43:00,840 --> 00:43:02,640
Speaker 1: So Prince Yeah.

844
00:43:02,960 --> 00:43:06,319
Speaker 8: And there's another one. I'm not gonna I can't name

845
00:43:06,440 --> 00:43:09,640
Speaker 8: names because it's bad. There's the people are still around.

846
00:43:10,200 --> 00:43:13,320
Speaker 8: A really huge star of the last fifteen years, I

847
00:43:13,400 --> 00:43:19,040
Speaker 8: mean really really huge and uh the A and R

848
00:43:19,120 --> 00:43:21,520
Speaker 8: person who I'd known for a long time, who's real

849
00:43:21,600 --> 00:43:24,160
Speaker 8: big geese now really big cheese, called me and said,

850
00:43:24,160 --> 00:43:26,279
Speaker 8: you know, we have blah blah blah, we want you

851
00:43:26,400 --> 00:43:29,800
Speaker 8: to mix the first record, and I listened to it

852
00:43:30,560 --> 00:43:35,680
Speaker 8: and I called him back and I said blank, because

853
00:43:35,719 --> 00:43:38,160
Speaker 8: I'm not gonna say his name was, No, I'm not.

854
00:43:38,160 --> 00:43:38,640
Speaker 1: Going to say it.

855
00:43:40,200 --> 00:43:50,279
Speaker 8: Yeah right, well this record me. So I said, you know,

856
00:43:51,560 --> 00:43:53,800
Speaker 8: do you really think this record's ready? Because it didn't

857
00:43:53,800 --> 00:43:55,960
Speaker 8: sound ready to me. It sounded like you know, demos

858
00:43:56,000 --> 00:44:01,200
Speaker 8: with the drum machine and stuff, and it was like huge, huge,

859
00:44:01,400 --> 00:44:03,920
Speaker 8: huge career that goes on to these days this day

860
00:44:04,440 --> 00:44:05,040
Speaker 8: and you know that.

861
00:44:05,280 --> 00:44:10,360
Speaker 1: I mean, can I talk about an active career? Oh, extremely,

862
00:44:10,560 --> 00:44:14,040
Speaker 1: top of the heap, top of the heap, talking about

863
00:44:14,360 --> 00:44:17,920
Speaker 1: what didn't sound what constitutes because I believe.

864
00:44:18,080 --> 00:44:20,399
Speaker 8: Your feeling towards Brown Sugar as well. When you heard

865
00:44:20,440 --> 00:44:23,960
Speaker 8: the demos, Oh no, no, these demos were killing. We

866
00:44:24,080 --> 00:44:26,200
Speaker 8: chased the demos on that we chased. We chased the

867
00:44:26,280 --> 00:44:29,840
Speaker 8: demos on that we chased the demos on Michelle's first record.

868
00:44:29,920 --> 00:44:30,919
Speaker 1: They were ferocious.

869
00:44:31,800 --> 00:44:35,479
Speaker 8: Chased the demos on Erica's record, but it didn't quite

870
00:44:35,520 --> 00:44:38,360
Speaker 8: sound like a record, you know, And I think that

871
00:44:38,520 --> 00:44:43,520
Speaker 8: at that point. You know now, because there's certain big

872
00:44:43,560 --> 00:44:45,520
Speaker 8: figures I'm not going to name names. You know, kind

873
00:44:45,560 --> 00:44:48,279
Speaker 8: of scratchy and thin and small sounding is kind of

874
00:44:48,320 --> 00:44:51,680
Speaker 8: okay again, but at that point people I didn't think

875
00:44:51,760 --> 00:44:57,319
Speaker 8: people wanted that, you know, so so yeah, anyway, there's a.

876
00:44:57,320 --> 00:44:57,920
Speaker 1: Bunch of stuff.

877
00:44:57,920 --> 00:45:00,560
Speaker 8: You know. I had to turn down that thing recently

878
00:45:00,560 --> 00:45:03,880
Speaker 8: because of school, and it really the H word. It

879
00:45:04,040 --> 00:45:06,759
Speaker 8: hurt me more than anything I've actually had to say

880
00:45:06,840 --> 00:45:07,040
Speaker 8: no to.

881
00:45:07,200 --> 00:45:08,400
Speaker 1: But I teach it. I want you now.

882
00:45:08,520 --> 00:45:11,320
Speaker 8: So it turns out that your crunch week was the

883
00:45:11,360 --> 00:45:15,640
Speaker 8: first week of school, and uh, the children they signed

884
00:45:15,719 --> 00:45:16,400
Speaker 8: me first.

885
00:45:17,160 --> 00:45:19,960
Speaker 7: You know, I mean, we could talk about it.

886
00:45:20,040 --> 00:45:22,400
Speaker 1: I so wanted to do that. I begged Bob to

887
00:45:23,560 --> 00:45:25,560
Speaker 1: kind of take the load off Tim Latham because Tim

888
00:45:25,800 --> 00:45:31,080
Speaker 1: was also uh engineered the Hamilton record, and Bob and

889
00:45:31,160 --> 00:45:34,640
Speaker 1: Tim worked on I mean, they were in my mind,

890
00:45:34,680 --> 00:45:37,879
Speaker 1: you guys were like great tag team partners. Fricking crack. Yeah,

891
00:45:38,200 --> 00:45:40,520
Speaker 1: you guys did try together in the roots together.

892
00:45:40,400 --> 00:45:43,040
Speaker 8: It was a Jewish Irish comedy to him. Yeah, and

893
00:45:43,200 --> 00:45:44,320
Speaker 8: Tim is a funny guy.

894
00:45:44,440 --> 00:45:44,719
Speaker 1: He is.

895
00:45:45,640 --> 00:45:47,719
Speaker 7: Yes, I took over the jew part of that, I think, Bob.

896
00:45:47,800 --> 00:45:50,920
Speaker 7: All right, man, thank you for represent.

897
00:45:52,400 --> 00:45:55,080
Speaker 1: All right, So let's slide Let's slide it back to

898
00:45:55,120 --> 00:45:59,680
Speaker 1: the beginning because I know that Q Tip in his

899
00:46:00,000 --> 00:46:04,400
Speaker 1: excitement over the ghostets of record. That was a moment

900
00:46:04,480 --> 00:46:07,960
Speaker 1: for him, and I have to admit, like, those are

901
00:46:08,880 --> 00:46:12,640
Speaker 1: four nineteen eighty six. Those were some loud ass drums,

902
00:46:13,480 --> 00:46:19,279
Speaker 1: which I have a problem. What's that problem is that? Man?

903
00:46:19,520 --> 00:46:22,120
Speaker 8: You know, I mixed stuff and then I listened to

904
00:46:22,239 --> 00:46:24,279
Speaker 8: it two weeks later when it's too late to change,

905
00:46:24,320 --> 00:46:24,680
Speaker 8: and I'm.

906
00:46:24,600 --> 00:46:26,400
Speaker 1: Like, oh my god, what did I do?

907
00:46:27,680 --> 00:46:31,000
Speaker 8: And I just somehow I hear the drums being real

908
00:46:31,120 --> 00:46:33,120
Speaker 8: loud your first record. Man, When I listened to it

909
00:46:33,200 --> 00:46:34,440
Speaker 8: after it came out, I said, oh my.

910
00:46:34,480 --> 00:46:36,640
Speaker 1: God, I really fucked this up. I can't believe I

911
00:46:36,760 --> 00:46:37,000
Speaker 1: did that.

912
00:46:37,880 --> 00:46:39,360
Speaker 7: No, I don't know.

913
00:46:39,480 --> 00:46:44,000
Speaker 1: I mean, no, drum I listen.

914
00:46:44,840 --> 00:46:47,360
Speaker 8: If I listened like, if I listened like a listener,

915
00:46:47,440 --> 00:46:49,480
Speaker 8: it's like, wow, that's really rocking. But if I listened

916
00:46:49,520 --> 00:46:51,279
Speaker 8: like a mixer, I'm like, what did you do?

917
00:46:51,560 --> 00:46:51,759
Speaker 7: See?

918
00:46:52,000 --> 00:46:52,360
Speaker 1: But that's what?

919
00:46:53,760 --> 00:46:56,719
Speaker 2: Yeah, that was the best I remember hearing thistatic and

920
00:46:56,880 --> 00:47:00,120
Speaker 2: like und like nothing else that will.

921
00:47:00,400 --> 00:47:03,360
Speaker 8: Guys and still do exactly the same thing as you should,

922
00:47:03,520 --> 00:47:05,520
Speaker 8: And two weeks after I still say, oh my god,

923
00:47:05,600 --> 00:47:08,440
Speaker 8: what did I do? But yeah, Jewish exactly.

924
00:47:08,600 --> 00:47:12,719
Speaker 1: But the thing is is that, especially with before we

925
00:47:13,080 --> 00:47:15,960
Speaker 1: started working with you on the organics records like whenever

926
00:47:16,120 --> 00:47:18,680
Speaker 1: I would do these rough mixes and I would have

927
00:47:18,719 --> 00:47:21,600
Speaker 1: the drums up ungodly loud, you know, band members and

928
00:47:21,600 --> 00:47:23,680
Speaker 1: everybody just think like, oh, you're ego Mania. You just

929
00:47:23,719 --> 00:47:26,279
Speaker 1: want to hear drums loud and turn everything else down.

930
00:47:26,640 --> 00:47:30,160
Speaker 1: And so I kind of felt relieved that you were

931
00:47:30,320 --> 00:47:34,480
Speaker 1: enforcing and saw a world in which the music could

932
00:47:34,520 --> 00:47:39,040
Speaker 1: be just as loud as you know, the vocals. There

933
00:47:39,120 --> 00:47:42,120
Speaker 1: was one time when Prince actually came to a session

934
00:47:42,840 --> 00:47:47,200
Speaker 1: that was working on with Common and he said, Yo,

935
00:47:47,440 --> 00:47:49,400
Speaker 1: turn all the music down and just turn the vocals up,

936
00:47:49,440 --> 00:47:52,560
Speaker 1: like in his world. And I guess modern pop, the

937
00:47:52,680 --> 00:47:55,400
Speaker 1: voice has to be the loudest thing in the forefront,

938
00:47:55,560 --> 00:47:58,000
Speaker 1: and the music's the kind of the afterthought.

939
00:47:58,200 --> 00:48:00,640
Speaker 8: The voice is the center of the record. Everything you

940
00:48:00,760 --> 00:48:02,760
Speaker 8: do on a record should be there to support the vocal.

941
00:48:02,920 --> 00:48:04,719
Speaker 8: But still you can have the drums loud and if

942
00:48:04,760 --> 00:48:06,839
Speaker 8: you know no, I'm serious, if you know what you're doing,

943
00:48:07,360 --> 00:48:09,399
Speaker 8: you can make room for everything at the same time.

944
00:48:09,760 --> 00:48:13,000
Speaker 8: So yeah, I mean it just it's one of those things.

945
00:48:13,120 --> 00:48:15,839
Speaker 8: David Gampson, who's a producer and writer out in la

946
00:48:15,960 --> 00:48:18,080
Speaker 8: is a real good friend of mine and we have

947
00:48:18,280 --> 00:48:20,240
Speaker 8: this thing because we've done a bunch of records together

948
00:48:20,320 --> 00:48:22,520
Speaker 8: that once you put the drums up to a certain level,

949
00:48:22,600 --> 00:48:25,120
Speaker 8: even if they're too loud, if you pull them down,

950
00:48:25,800 --> 00:48:27,920
Speaker 8: everything kind of falls apart and it gets really limbed,

951
00:48:27,920 --> 00:48:28,520
Speaker 8: so you got to put.

952
00:48:28,440 --> 00:48:31,040
Speaker 1: Them back up again. You're right about that, Yeah, you're

953
00:48:31,040 --> 00:48:34,080
Speaker 1: still right. So I mean, not like it was a

954
00:48:34,160 --> 00:48:37,680
Speaker 1: scientific thing, but he said it changed his life. And

955
00:48:38,200 --> 00:48:41,719
Speaker 1: basically like this guy has to engineer our stuff. So

956
00:48:42,960 --> 00:48:44,840
Speaker 1: I mean, what were the can you go into the

957
00:48:45,080 --> 00:48:47,680
Speaker 1: early days of working with tribe and.

958
00:48:50,120 --> 00:48:53,120
Speaker 8: You know, you have to remember that technology was really

959
00:48:53,239 --> 00:48:54,640
Speaker 8: primitive then, and.

960
00:48:55,120 --> 00:48:59,120
Speaker 1: Wait before you start, and did you track these records

961
00:48:59,280 --> 00:49:01,440
Speaker 1: or did you try Did you track an engineer or

962
00:49:01,520 --> 00:49:03,680
Speaker 1: did you just engineer? No? Both both.

963
00:49:03,960 --> 00:49:05,720
Speaker 8: I tracked him, mixed a lot of stuff.

964
00:49:05,800 --> 00:49:08,200
Speaker 1: Now, the stories I hear from most engineers that I

965
00:49:08,520 --> 00:49:12,960
Speaker 1: that I ask these questions, they often say, like, you know,

966
00:49:13,760 --> 00:49:17,439
Speaker 1: maybe like Eric Sadler, Public Enemy. They would always praise

967
00:49:17,520 --> 00:49:21,520
Speaker 1: him for going past page six in the Sampler's Manual,

968
00:49:21,880 --> 00:49:23,640
Speaker 1: whereas everyone just be like, how do you turn it on?

969
00:49:23,760 --> 00:49:25,200
Speaker 1: How you sample it? Or just give it to the

970
00:49:25,880 --> 00:49:29,040
Speaker 1: side engineer and he'll loop everything up for you, Like.

971
00:49:29,160 --> 00:49:31,879
Speaker 8: Well that was that was Actually that's really interesting because

972
00:49:31,920 --> 00:49:33,400
Speaker 8: back in those days, the quickest.

973
00:49:33,120 --> 00:49:34,840
Speaker 1: Way to move ahead was if you really had you

974
00:49:34,920 --> 00:49:36,120
Speaker 1: been MIDI shit together.

975
00:49:36,440 --> 00:49:39,520
Speaker 8: For those people who don't know, MIDI is the computer

976
00:49:39,680 --> 00:49:43,400
Speaker 8: languages that computers and synthesizers you used to speak to

977
00:49:43,480 --> 00:49:45,680
Speaker 8: each other, and no one it was a wild West.

978
00:49:45,880 --> 00:49:47,960
Speaker 8: Number one, shit didn't work the way it was supposed to.

979
00:49:48,440 --> 00:49:50,480
Speaker 8: Number two, nobody knew how to use the stuff. So

980
00:49:50,520 --> 00:49:52,920
Speaker 8: if you knew how to use the stuff, especially assistance,

981
00:49:53,280 --> 00:49:54,720
Speaker 8: you could move up really quickly.

982
00:49:54,840 --> 00:49:57,920
Speaker 1: The SBX eighty yeah, I mean, oh my god, what

983
00:49:58,080 --> 00:49:59,919
Speaker 1: a nightmare a sink box.

984
00:50:00,280 --> 00:50:02,960
Speaker 8: So yeah, and I you know, I've always been sort

985
00:50:03,000 --> 00:50:05,600
Speaker 8: of a tech geek. I really am fascinated looking under

986
00:50:05,640 --> 00:50:08,240
Speaker 8: the hood on stuff. So it helped, you know, problems.

987
00:50:08,400 --> 00:50:10,160
Speaker 1: Would they walk in like these records, like all right,

988
00:50:10,200 --> 00:50:11,120
Speaker 1: Bob loop this up?

989
00:50:11,480 --> 00:50:14,040
Speaker 8: Yeah yeah, And but you know, both Tip and Ali

990
00:50:14,200 --> 00:50:17,320
Speaker 8: early on sort of started figuring it out, and the

991
00:50:17,400 --> 00:50:20,359
Speaker 8: large professor hip Tip to the SP twelve I'll leave

992
00:50:20,480 --> 00:50:22,239
Speaker 8: was one of the first person people I know to

993
00:50:22,320 --> 00:50:25,200
Speaker 8: carry around a little uh mac, you know, the all

994
00:50:25,239 --> 00:50:26,960
Speaker 8: in one things with the little tiny screen.

995
00:50:27,239 --> 00:50:27,439
Speaker 1: Wow.

996
00:50:28,040 --> 00:50:31,359
Speaker 8: And he used op code and so they would come

997
00:50:31,400 --> 00:50:33,480
Speaker 8: in after a while, they would come in pretty prepared.

998
00:50:34,080 --> 00:50:37,279
Speaker 8: Sometimes I would take this stuff in the other room

999
00:50:38,239 --> 00:50:41,279
Speaker 8: in logic, the room in the back, yeah, and kind

1000
00:50:41,320 --> 00:50:45,160
Speaker 8: of just slip it around a little bit and hopefully

1001
00:50:45,239 --> 00:50:47,279
Speaker 8: not take the funk out of it. But in the

1002
00:50:47,320 --> 00:50:49,960
Speaker 8: beginning it was so primitive. I mean, samplers didn't have

1003
00:50:50,000 --> 00:50:52,160
Speaker 8: a lot of sampling time. So if you had twenty

1004
00:50:52,239 --> 00:50:55,239
Speaker 8: four track on tape, and you had one track two

1005
00:50:55,320 --> 00:50:57,320
Speaker 8: tracks taken up by the sink tone and the guide

1006
00:50:57,360 --> 00:51:01,239
Speaker 8: band guard band, if you wanted to lay down like

1007
00:51:01,640 --> 00:51:04,480
Speaker 8: a complete sort of two bar phrase, you had to

1008
00:51:04,560 --> 00:51:08,600
Speaker 8: do it in really tiny little pieces deck. Okay, let's

1009
00:51:08,640 --> 00:51:12,120
Speaker 8: take the next pass. So you listen to and you

1010
00:51:12,520 --> 00:51:17,480
Speaker 8: record deck and you put them together. What Yeah, I'm serious, man,

1011
00:51:17,840 --> 00:51:19,800
Speaker 8: you'd had to You had to do the beat, little

1012
00:51:19,880 --> 00:51:23,040
Speaker 8: tiny pieces at a time, you know, technology a recent

1013
00:51:23,160 --> 00:51:26,600
Speaker 8: track record. You had to no, no early on okay early?

1014
00:51:27,560 --> 00:51:31,920
Speaker 1: Yeah. Did you do any hip hop before Stetsosnic.

1015
00:51:33,239 --> 00:51:37,399
Speaker 8: Maybe at Calliope, I don't know, I don't know, maybe okay, Yeah.

1016
00:51:39,160 --> 00:51:44,960
Speaker 1: So I would hear of these primitive sampling techniques, especially

1017
00:51:45,080 --> 00:51:47,120
Speaker 1: like with the deaf sand people at Chunk King, where

1018
00:51:47,160 --> 00:51:50,319
Speaker 1: they would what's the process where you take the tape

1019
00:51:50,320 --> 00:51:53,080
Speaker 1: and get a pencil and you loop? Yeah, you make

1020
00:51:53,120 --> 00:51:56,000
Speaker 1: a tape loop. Can you describe that process?

1021
00:51:56,040 --> 00:51:58,600
Speaker 8: Because what you do is record your two bars that

1022
00:51:58,680 --> 00:52:02,560
Speaker 8: you like, don't boom, don't go, and you cut it

1023
00:52:02,640 --> 00:52:05,200
Speaker 8: and you you splice it together and make a tape loop. Now,

1024
00:52:05,239 --> 00:52:07,799
Speaker 8: obviously that loop's going to be at about twelve feet long,

1025
00:52:07,960 --> 00:52:10,279
Speaker 8: much too big to fit on the tape machine. So

1026
00:52:10,400 --> 00:52:14,520
Speaker 8: you stand back with pencils emulating tape guides and you

1027
00:52:14,640 --> 00:52:16,880
Speaker 8: hold them so you have the proper tension on it.

1028
00:52:17,320 --> 00:52:19,719
Speaker 8: And you're standing like twelve or fifteen feet away from

1029
00:52:19,760 --> 00:52:22,520
Speaker 8: the machine with like two pencils that are acting like

1030
00:52:23,000 --> 00:52:26,960
Speaker 8: rollers or tape guides. And yeah, yeah, it was primitive, man,

1031
00:52:27,200 --> 00:52:30,440
Speaker 8: But you know that was sort of You had people

1032
00:52:30,719 --> 00:52:33,520
Speaker 8: before that. You had eight a Way drum machines like Stets.

1033
00:52:33,560 --> 00:52:35,239
Speaker 8: So Sonic was the end. And I'm not a hip

1034
00:52:35,280 --> 00:52:37,400
Speaker 8: hop historian, but I just know the stuff I've worked on,

1035
00:52:37,520 --> 00:52:42,800
Speaker 8: But Stet's was the end of the eight away. You

1036
00:52:42,880 --> 00:52:46,080
Speaker 8: either had that or you had amazing DJs cutting back

1037
00:52:46,120 --> 00:52:49,120
Speaker 8: and forth between two records and going for four minutes

1038
00:52:49,200 --> 00:52:52,280
Speaker 8: in perfect tempo the first time I saw that man completely.

1039
00:52:52,400 --> 00:52:55,040
Speaker 8: I said, you want to do what? I said, okay,

1040
00:52:55,120 --> 00:52:57,280
Speaker 8: well I'll set it up, and I'm like, they're never gonna.

1041
00:52:57,120 --> 00:52:59,880
Speaker 1: Be able to do this, and they did it perfectly.

1042
00:53:00,160 --> 00:53:01,279
Speaker 8: God, yeah, let's kill it.

1043
00:53:01,400 --> 00:53:01,920
Speaker 1: Let's kill her.

1044
00:53:03,360 --> 00:53:08,600
Speaker 8: So yeah, at first, when sampling happened right after that

1045
00:53:08,719 --> 00:53:10,680
Speaker 8: first wave of hip hop, when we first started hearing

1046
00:53:10,760 --> 00:53:13,040
Speaker 8: samples on records, the sampling time was like a second

1047
00:53:13,040 --> 00:53:17,320
Speaker 8: and a half maybe on the sp one or the twelve. No,

1048
00:53:17,560 --> 00:53:20,680
Speaker 8: the Achai six twelve was actually the first one we used,

1049
00:53:20,719 --> 00:53:23,960
Speaker 8: and it had these little quick discs of proprietary sort

1050
00:53:23,960 --> 00:53:26,080
Speaker 8: of mini floppy format that you saved the stuff on.

1051
00:53:26,520 --> 00:53:29,719
Speaker 8: I think it had seven to nine tenths of a

1052
00:53:29,800 --> 00:53:33,120
Speaker 8: second of sampling, so you basically you'd lay down the

1053
00:53:33,200 --> 00:53:35,560
Speaker 8: kick drum by itself, then you'd lay down the snare.

1054
00:53:35,400 --> 00:53:36,160
Speaker 1: Drum by itself.

1055
00:53:36,920 --> 00:53:40,000
Speaker 8: Chris at Calliope used to use an electro Harmonics one

1056
00:53:40,080 --> 00:53:42,840
Speaker 8: shot and when you unplugged it, that was gone. Forever

1057
00:53:42,880 --> 00:53:45,040
Speaker 8: you would sample something, you got it on the tape.

1058
00:53:45,200 --> 00:53:47,560
Speaker 8: There was no way of saying saving it. You unplugged

1059
00:53:47,600 --> 00:53:49,239
Speaker 8: it and you just did something else.

1060
00:53:49,960 --> 00:53:52,839
Speaker 1: Yeah, so you're sick. Okay, so you're saying, now, when

1061
00:53:52,920 --> 00:53:55,319
Speaker 1: we did Melon, my man, the first time we worked

1062
00:53:55,360 --> 00:54:00,480
Speaker 1: together and we engineered at Mello, my man says, Took,

1063
00:54:00,719 --> 00:54:02,640
Speaker 1: I know that we started at twelve in the afternoon,

1064
00:54:03,280 --> 00:54:05,279
Speaker 1: and you were very disciplined. You were out of there

1065
00:54:05,400 --> 00:54:11,120
Speaker 1: like seven seven pm. So no, maybe you start at

1066
00:54:11,160 --> 00:54:11,719
Speaker 1: ten in the morning.

1067
00:54:11,800 --> 00:54:13,520
Speaker 8: I probably had another session, man, I don't know.

1068
00:54:13,640 --> 00:54:15,920
Speaker 1: No, no, it was Christmas. It was Christmas Eve, but

1069
00:54:16,160 --> 00:54:17,200
Speaker 1: like home getting his robe.

1070
00:54:17,640 --> 00:54:22,560
Speaker 7: But I do, but.

1071
00:54:25,440 --> 00:54:30,000
Speaker 1: I do remember that. Okay. So I was told by

1072
00:54:30,120 --> 00:54:31,960
Speaker 1: other people that yeah, you know, you can mix two

1073
00:54:32,000 --> 00:54:34,000
Speaker 1: songs in a day. So it's like, wow, we're mixing

1074
00:54:34,080 --> 00:54:34,799
Speaker 1: one song a day.

1075
00:54:35,400 --> 00:54:39,880
Speaker 8: And he's very meticulous on you know, each track, Like

1076
00:54:39,960 --> 00:54:44,520
Speaker 8: each track he spends a good twenty to maybe forty

1077
00:54:44,560 --> 00:54:47,479
Speaker 8: five minutes. Like yeah, and that's so wrong.

1078
00:54:47,560 --> 00:54:48,440
Speaker 7: I don't do that anymore.

1079
00:54:48,480 --> 00:54:50,760
Speaker 1: But go ahead, well, because you know, we have technology

1080
00:54:50,840 --> 00:54:53,480
Speaker 1: now that speeds up the process, like we did phrenology.

1081
00:54:53,320 --> 00:54:57,480
Speaker 8: Record time, I know what I'm doing. Was Oh yeah, no,

1082
00:54:57,640 --> 00:54:58,520
Speaker 8: I'm serious, man.

1083
00:54:58,640 --> 00:55:01,080
Speaker 1: I was like, okay, really got to get this right.

1084
00:55:01,280 --> 00:55:02,560
Speaker 1: So you're Jedi mind trigging me.

1085
00:55:02,840 --> 00:55:05,640
Speaker 8: Yeah, okay, now see I thought you're just a mad

1086
00:55:05,719 --> 00:55:08,759
Speaker 8: genius that no I'm believe a microwave mixing, and you

1087
00:55:08,840 --> 00:55:11,719
Speaker 8: wanted to slate it was I was really into it.

1088
00:55:11,800 --> 00:55:14,680
Speaker 8: I work in concentric circles now. I don't like to

1089
00:55:14,680 --> 00:55:16,440
Speaker 8: get bogged down on any one thing. I'll go through

1090
00:55:16,560 --> 00:55:18,920
Speaker 8: everything on a real cursory level and then go back

1091
00:55:18,960 --> 00:55:21,040
Speaker 8: and spend a little more time. But I don't work

1092
00:55:21,080 --> 00:55:23,120
Speaker 8: in a linear fashion. Ward, the kick drums got to

1093
00:55:23,120 --> 00:55:25,239
Speaker 8: be perfect, the snare drums got to be perfect because

1094
00:55:25,239 --> 00:55:26,000
Speaker 8: you lose the context.

1095
00:55:26,080 --> 00:55:30,400
Speaker 1: You know that. What yeah, okay, well it sound a

1096
00:55:30,400 --> 00:55:32,040
Speaker 1: little revisionous to me because.

1097
00:55:31,840 --> 00:55:33,000
Speaker 8: No concentric circles.

1098
00:55:33,040 --> 00:55:35,759
Speaker 1: Man, you were the most disciplined engineer I've ever known.

1099
00:55:35,880 --> 00:55:38,440
Speaker 1: I was out of my mind. Man, what can I say? Okay, well,

1100
00:55:38,920 --> 00:55:40,600
Speaker 1: I think you're doing false honesty. I don't think the

1101
00:55:41,280 --> 00:55:46,600
Speaker 1: CD baby. My whole point was that if you were

1102
00:55:46,640 --> 00:55:49,360
Speaker 1: tracking on primitive stuff and it had to sound perfect,

1103
00:55:50,480 --> 00:55:51,879
Speaker 1: then that took a lot of time.

1104
00:55:52,000 --> 00:55:54,000
Speaker 8: So you say, nah, now you can't do that.

1105
00:55:54,120 --> 00:55:54,279
Speaker 1: Man.

1106
00:55:54,360 --> 00:55:56,239
Speaker 8: You know, when you set up a session, my thing

1107
00:55:56,280 --> 00:55:58,680
Speaker 8: I tell my students you get it sounding pretty good

1108
00:55:59,200 --> 00:56:03,160
Speaker 8: really fast, you know, because the energy of the people

1109
00:56:03,200 --> 00:56:04,960
Speaker 8: sitting on the floor is the most important thing.

1110
00:56:09,920 --> 00:56:11,959
Speaker 1: This is what I want to know the special things

1111
00:56:11,960 --> 00:56:18,400
Speaker 1: about the Native Tongue Records, the Tribe, the Daylight, Jungle Brothers.

1112
00:56:18,480 --> 00:56:19,760
Speaker 1: Did you do okay?

1113
00:56:20,520 --> 00:56:23,480
Speaker 8: You did this straight up the jungle before some of

1114
00:56:23,520 --> 00:56:26,319
Speaker 8: the early stuff, and then one really bad one.

1115
00:56:26,400 --> 00:56:26,560
Speaker 1: Yeah.

1116
00:56:26,600 --> 00:56:29,360
Speaker 8: I just want to say he took Alan smithe or

1117
00:56:29,360 --> 00:56:32,720
Speaker 8: one of the last you were Robert Powers, Yeah.

1118
00:56:32,840 --> 00:56:37,600
Speaker 1: Oh wow, he took he took Alan Smithy. Uh. JB's

1119
00:56:37,640 --> 00:56:42,759
Speaker 1: with them. You know something, though, I went back to

1120
00:56:42,880 --> 00:56:46,719
Speaker 1: that record, it wasn't as bad as it maybe seventeen

1121
00:56:46,800 --> 00:56:53,719
Speaker 1: eighteen years later and it was. It was kind of

1122
00:56:53,800 --> 00:56:57,800
Speaker 1: rezid ish like it was. It could have worked in

1123
00:56:57,920 --> 00:56:58,520
Speaker 1: the right year.

1124
00:56:58,640 --> 00:57:01,040
Speaker 8: I just don't it could have been an okay record

1125
00:57:01,120 --> 00:57:03,400
Speaker 8: in the right year, because apparently.

1126
00:57:03,080 --> 00:57:05,120
Speaker 2: That was the one that that wasn't even the record

1127
00:57:05,160 --> 00:57:08,759
Speaker 2: they wanted to put out. Apparently it was crazy. But

1128
00:57:08,880 --> 00:57:10,480
Speaker 2: I feel like you put the record out that you

1129
00:57:10,600 --> 00:57:11,279
Speaker 2: want to put out.

1130
00:57:11,719 --> 00:57:16,680
Speaker 8: It's like, uh yeah, if you're if you're big cheese,

1131
00:57:16,920 --> 00:57:19,440
Speaker 8: you know the other than that, the record company says, no,

1132
00:57:19,560 --> 00:57:20,280
Speaker 8: that's not good enough.

1133
00:57:20,320 --> 00:57:22,000
Speaker 1: We don't hear any So the record company just took

1134
00:57:22,040 --> 00:57:23,480
Speaker 1: the record and said this is what it is. I

1135
00:57:23,520 --> 00:57:25,880
Speaker 1: don't know exactly what happened on that. Yeah, I mean

1136
00:57:25,920 --> 00:57:28,160
Speaker 1: they did remixes to what they did videos, so I

1137
00:57:28,200 --> 00:57:31,520
Speaker 1: didn't see any committed to her. Yeah, and you made

1138
00:57:31,600 --> 00:57:34,880
Speaker 1: the record, yeah that she ain't make it. So yeah,

1139
00:57:34,920 --> 00:57:36,920
Speaker 1: that's that's going to be an interesting I have a

1140
00:57:37,040 --> 00:57:40,160
Speaker 1: lot of questions about Mike. He actually lived not too

1141
00:57:40,200 --> 00:57:40,760
Speaker 1: far from me though.

1142
00:57:42,360 --> 00:57:43,040
Speaker 8: Mike's a good guy.

1143
00:57:43,200 --> 00:57:44,080
Speaker 1: Both good guys. Yeah.

1144
00:57:44,200 --> 00:57:47,840
Speaker 8: I talked to Africa once every ten or twelve years.

1145
00:57:47,920 --> 00:57:49,640
Speaker 8: It seems like somehow, I don't know.

1146
00:57:51,440 --> 00:57:55,960
Speaker 1: Well, the one thing that people rarely mentioned about these

1147
00:57:56,040 --> 00:58:03,120
Speaker 1: records is how I mean they're really three dimensional. And

1148
00:58:04,080 --> 00:58:07,320
Speaker 1: you know, because hip hop is so full of caricatures,

1149
00:58:08,760 --> 00:58:11,920
Speaker 1: you rarely get to see the flesh and blood of people.

1150
00:58:12,160 --> 00:58:15,000
Speaker 1: And I felt with the skits that were on these records,

1151
00:58:16,160 --> 00:58:18,160
Speaker 1: it kind of just armed the listener because they really

1152
00:58:18,200 --> 00:58:21,480
Speaker 1: showed that these guys had goofy sense of humor. But

1153
00:58:24,880 --> 00:58:27,560
Speaker 1: I always wanted to know because it always sounded so

1154
00:58:27,800 --> 00:58:32,400
Speaker 1: spontaneous and so fun and so of the moment. I mean,

1155
00:58:32,480 --> 00:58:36,400
Speaker 1: where they're just live mics everywhere and were tapes and

1156
00:58:36,480 --> 00:58:39,400
Speaker 1: cassettes constantly running in case an idea came.

1157
00:58:39,280 --> 00:58:41,840
Speaker 8: Up and no, but there were mics open because we

1158
00:58:41,880 --> 00:58:44,240
Speaker 8: were doing rhymes and stuff, and you know, somebody says,

1159
00:58:44,240 --> 00:58:46,000
Speaker 8: I want to get on the mic your press record.

1160
00:58:48,000 --> 00:58:51,320
Speaker 1: You know, it just always felt like a reality show,

1161
00:58:51,320 --> 00:58:56,600
Speaker 1: where like, you know, that's good artists at work. Serious seriously,

1162
00:58:57,040 --> 00:58:59,960
Speaker 1: So how do you, I guess as a well, two questions.

1163
00:59:00,160 --> 00:59:03,360
Speaker 2: One, where does the line? Where's the line for you

1164
00:59:03,520 --> 00:59:04,880
Speaker 2: between producer and engineer.

1165
00:59:07,280 --> 00:59:09,600
Speaker 8: If I'm engineering, I'm just there to make it sound

1166
00:59:09,680 --> 00:59:12,680
Speaker 8: really good and help the momentum of the session move forward.

1167
00:59:13,560 --> 00:59:14,320
Speaker 1: That's the line.

1168
00:59:14,480 --> 00:59:21,200
Speaker 8: I don't offer artistic ideas, That's not why I'm there.

1169
00:59:23,120 --> 00:59:27,440
Speaker 8: And then when you're producing, it's you know, man, it's producing.

1170
00:59:27,560 --> 00:59:31,240
Speaker 8: Every artist is different. You know, some artists, some artists

1171
00:59:31,280 --> 00:59:33,800
Speaker 8: who you guys know me for working with you try

1172
00:59:33,880 --> 00:59:36,240
Speaker 8: to set the table right and get the fuck out

1173
00:59:36,240 --> 00:59:37,959
Speaker 8: of the way and let them do their thing because

1174
00:59:38,000 --> 00:59:41,240
Speaker 8: they're so incredibly dope, and you try to corral it

1175
00:59:41,360 --> 00:59:43,960
Speaker 8: a little bit so it sounds like a record. And

1176
00:59:44,080 --> 00:59:48,080
Speaker 8: then other people, you know, you gotta build the car

1177
00:59:48,320 --> 00:59:50,880
Speaker 8: from the wheels up. You know, it's just always different.

1178
00:59:51,080 --> 00:59:53,240
Speaker 2: So with the corraling, because that was my that was

1179
00:59:53,280 --> 00:59:55,880
Speaker 2: as my next question. I mean, a regular Dayla Sola

1180
00:59:55,960 --> 00:59:59,480
Speaker 2: did that I mean, I love, I mean a lot

1181
00:59:59,520 --> 00:59:59,960
Speaker 2: of people love.

1182
01:00:00,000 --> 01:00:02,200
Speaker 1: It's my favorite record. That's my favorite Daylight record too.

1183
01:00:02,600 --> 01:00:05,720
Speaker 2: But like something like Johnny's Dead, which is fucking hilarious,

1184
01:00:05,800 --> 01:00:08,200
Speaker 2: you know what I mean, But something like that could

1185
01:00:08,240 --> 01:00:10,840
Speaker 2: never happened on a hip hop LP, now you know

1186
01:00:10,840 --> 01:00:11,120
Speaker 2: what I mean?

1187
01:00:11,400 --> 01:00:13,720
Speaker 1: So like, how do you needs to come back?

1188
01:00:14,000 --> 01:00:17,840
Speaker 8: But you know that was Paul and Pass okay and

1189
01:00:18,840 --> 01:00:21,600
Speaker 8: Dave also, that was them.

1190
01:00:22,440 --> 01:00:24,240
Speaker 1: But I'm saying, like how the moments like that get

1191
01:00:24,360 --> 01:00:28,120
Speaker 1: captured where it's not like, okay, guys recording and roll

1192
01:00:28,440 --> 01:00:29,400
Speaker 1: in the same way that.

1193
01:00:29,520 --> 01:00:31,520
Speaker 8: When you do a take, it doesn't sound like you're

1194
01:00:31,560 --> 01:00:34,600
Speaker 8: playing to a clip. You know, it's just what they do, man,

1195
01:00:35,840 --> 01:00:38,680
Speaker 8: So just happened to be Yeah. Also, that was a

1196
01:00:38,760 --> 01:00:41,160
Speaker 8: much more innocent time, which is why people got away

1197
01:00:41,200 --> 01:00:45,920
Speaker 8: with those skits, is because the whole gun thing, the

1198
01:00:46,000 --> 01:00:49,000
Speaker 8: whole violence thing, hadn't really gotten big yet. It was

1199
01:00:49,040 --> 01:00:50,960
Speaker 8: a much more innocent time. People were just out of

1200
01:00:51,040 --> 01:00:51,480
Speaker 8: high school.

1201
01:00:51,520 --> 01:00:51,680
Speaker 7: Man.

1202
01:00:52,600 --> 01:00:57,480
Speaker 1: You also worked. The unique thing about your work is

1203
01:00:57,560 --> 01:01:01,120
Speaker 1: that you work with groups. I mean, now we're in

1204
01:01:01,200 --> 01:01:03,680
Speaker 1: a system in which, you know, the solo artist is

1205
01:01:03,760 --> 01:01:05,240
Speaker 1: celebrated can only be one.

1206
01:01:05,920 --> 01:01:06,760
Speaker 7: Yeah, and.

1207
01:01:09,000 --> 01:01:13,640
Speaker 1: And I thought about that, man, that's right? So I

1208
01:01:13,800 --> 01:01:19,720
Speaker 1: know hip hop groups anymore barely, So how did you right?

1209
01:01:20,320 --> 01:01:21,320
Speaker 7: Right? Singers?

1210
01:01:21,440 --> 01:01:24,080
Speaker 1: I mean there's hardly any his personalities, but.

1211
01:01:24,720 --> 01:01:27,520
Speaker 6: How Klezmer music has no groups now either.

1212
01:01:28,640 --> 01:01:33,960
Speaker 8: But all that said, Earth Winding, Fire Lips, that's all

1213
01:01:34,000 --> 01:01:34,480
Speaker 8: I can say.

1214
01:01:36,280 --> 01:01:39,439
Speaker 7: No, how how uh? How these?

1215
01:01:40,240 --> 01:01:42,800
Speaker 1: I mean who would know where their place was and

1216
01:01:43,400 --> 01:01:48,160
Speaker 1: who would be the alpha and who would well you

1217
01:01:48,320 --> 01:01:50,920
Speaker 1: know that, and I'm certain that you've had conflicts of

1218
01:01:52,080 --> 01:01:54,160
Speaker 1: especially when you're a group and there's multiple.

1219
01:01:53,920 --> 01:02:00,480
Speaker 8: Producers, and well that's when I say, you know, does

1220
01:02:00,520 --> 01:02:02,800
Speaker 8: someone sneak up to you and say, yo, turn that?

1221
01:02:03,160 --> 01:02:03,360
Speaker 7: Yeah?

1222
01:02:04,600 --> 01:02:07,280
Speaker 1: I can't do that, man. I gotta be honest with everybody,

1223
01:02:07,360 --> 01:02:09,560
Speaker 1: So I don't do that. So have you had situations

1224
01:02:09,640 --> 01:02:11,080
Speaker 1: where someone comes up to you and is like, yo.

1225
01:02:11,160 --> 01:02:14,840
Speaker 8: Man, I'd say, we need to talk about this with

1226
01:02:14,960 --> 01:02:17,200
Speaker 8: everybody and I haven't?

1227
01:02:17,680 --> 01:02:19,360
Speaker 1: Or does it come with you from you first? And

1228
01:02:19,560 --> 01:02:23,240
Speaker 1: sort of an anonymous like no, Well, if it needs

1229
01:02:23,920 --> 01:02:24,919
Speaker 1: you have to play doctor Phil.

1230
01:02:25,040 --> 01:02:27,320
Speaker 8: You've seen me in the sessions, you know, sometimes stop

1231
01:02:27,360 --> 01:02:29,680
Speaker 8: and say, guys, listen, you know we were talking about

1232
01:02:29,760 --> 01:02:31,000
Speaker 8: maybe turning the high hat.

1233
01:02:31,000 --> 01:02:33,240
Speaker 1: Up on this part or whatever or losing it ride

1234
01:02:33,240 --> 01:02:34,200
Speaker 1: in there. What do you guys think?

1235
01:02:34,520 --> 01:02:37,000
Speaker 8: And then I stand back and get out of the way.

1236
01:02:38,080 --> 01:02:41,080
Speaker 8: You know, that's not That's not what I'm there for.

1237
01:02:41,800 --> 01:02:43,600
Speaker 8: I just try to keep things moving forward.

1238
01:02:44,640 --> 01:02:44,800
Speaker 1: You know.

1239
01:02:45,000 --> 01:02:48,120
Speaker 8: It comes from paying for studio time myself and not

1240
01:02:48,240 --> 01:02:50,760
Speaker 8: having enough money. You know, you learn to keep things

1241
01:02:50,840 --> 01:02:51,640
Speaker 8: moving forward.

1242
01:02:51,400 --> 01:02:51,920
Speaker 1: In the studio.

1243
01:02:52,280 --> 01:02:57,240
Speaker 8: In retrospect, the forward motion of a session is like everything,

1244
01:02:57,280 --> 01:02:59,800
Speaker 8: It's ninety percent of whether stuff comes out of good

1245
01:02:59,880 --> 01:03:02,800
Speaker 8: or not is the momentum of the session.

1246
01:03:02,880 --> 01:03:10,600
Speaker 1: I think, okay, so the low end theory which I'm

1247
01:03:10,640 --> 01:03:12,960
Speaker 1: gonna get something out of this. I'm gonna get some

1248
01:03:13,080 --> 01:03:15,960
Speaker 1: blood out of the stone, dammit. I mean what was

1249
01:03:16,000 --> 01:03:18,440
Speaker 1: the typical session, like like when songs take a day

1250
01:03:18,640 --> 01:03:21,880
Speaker 1: or like for me, it's like, okay, we jam on something,

1251
01:03:22,040 --> 01:03:24,400
Speaker 1: jam something, Oh, here's an idea, and then we track

1252
01:03:24,480 --> 01:03:28,240
Speaker 1: it Like I mean, how are records made back then?

1253
01:03:28,320 --> 01:03:30,760
Speaker 1: Like would they come in pre production and say this

1254
01:03:30,880 --> 01:03:31,480
Speaker 1: is what I want to do?

1255
01:03:31,720 --> 01:03:35,560
Speaker 8: By then, Tip and Only we're doing programming on their own.

1256
01:03:35,600 --> 01:03:37,600
Speaker 8: So Tip Pat and SP twelve and Ali had his

1257
01:03:37,720 --> 01:03:40,640
Speaker 8: computer and S nine hundred, so they would come in

1258
01:03:40,760 --> 01:03:45,120
Speaker 8: with stuff. The technology still wasn't that great that we

1259
01:03:45,240 --> 01:03:46,960
Speaker 8: didn't have to mess with it just a little bit.

1260
01:03:47,920 --> 01:03:49,480
Speaker 1: You couldn't slip tracks.

1261
01:03:49,160 --> 01:03:51,360
Speaker 8: At that point, you know, move tracks back and forth

1262
01:03:51,400 --> 01:03:54,280
Speaker 8: in time. So if you sampled something and it wasn't

1263
01:03:54,360 --> 01:03:56,120
Speaker 8: quite the feel you wanted, you had to do a

1264
01:03:56,160 --> 01:03:56,960
Speaker 8: few tricks.

1265
01:03:56,720 --> 01:04:01,240
Speaker 1: To get that to happen. You taught me that sometimes

1266
01:04:01,280 --> 01:04:04,320
Speaker 1: you put it through a delay. Well at the time thing.

1267
01:04:04,720 --> 01:04:06,840
Speaker 8: You know, now in a computer you can say to

1268
01:04:06,920 --> 01:04:08,360
Speaker 8: the snare, I want the snare to be you know,

1269
01:04:08,480 --> 01:04:10,000
Speaker 8: thirty milliseconds back or whatever.

1270
01:04:11,040 --> 01:04:13,720
Speaker 1: Back then we used to fake it.

1271
01:04:13,800 --> 01:04:17,600
Speaker 8: And again this was Chris Irwin who was brilliant. You

1272
01:04:17,640 --> 01:04:20,360
Speaker 8: would synchronize to Simpty on the tape to a timecode.

1273
01:04:20,480 --> 01:04:21,600
Speaker 6: Can I guess the lynxes?

1274
01:04:22,800 --> 01:04:22,840
Speaker 11: No?

1275
01:04:23,200 --> 01:04:25,720
Speaker 1: Almost, but you'd you'd synchronize.

1276
01:04:25,800 --> 01:04:29,320
Speaker 8: No, you'd synchronize the SP twelve to simptly because the

1277
01:04:29,400 --> 01:04:31,520
Speaker 8: SP twelve was one of the first things to read

1278
01:04:31,600 --> 01:04:35,640
Speaker 8: it and spit out many clock and you'd feed the

1279
01:04:35,720 --> 01:04:39,080
Speaker 8: Simpty through a fifty millisecond delay, so everything that got

1280
01:04:39,120 --> 01:04:41,160
Speaker 8: printed on the record, if it was printed at zero,

1281
01:04:41,720 --> 01:04:45,320
Speaker 8: was actually fifty milliseconds behind the Simpty. And then if

1282
01:04:45,360 --> 01:04:47,560
Speaker 8: you were printing, say a snare, and you say I want.

1283
01:04:47,440 --> 01:04:48,600
Speaker 1: To pull this up in the field.

1284
01:04:49,080 --> 01:04:51,680
Speaker 8: You just lower the delay time on the delay and

1285
01:04:52,120 --> 01:04:53,360
Speaker 8: the snare would move a little.

1286
01:04:53,200 --> 01:04:55,960
Speaker 1: Bit forward in the field. But yeah, there me a

1287
01:04:56,000 --> 01:04:56,400
Speaker 1: few times.

1288
01:04:56,480 --> 01:05:00,760
Speaker 8: Yeah, very soon thereafter you could slip could slip traps

1289
01:05:00,760 --> 01:05:03,600
Speaker 8: in a computer. You know. That's everything now, that's that's yeah,

1290
01:05:04,400 --> 01:05:06,960
Speaker 8: I see move you know for people who don't know,

1291
01:05:07,080 --> 01:05:10,320
Speaker 8: move traps backward and forward in time. So it's funkier.

1292
01:05:10,680 --> 01:05:11,520
Speaker 7: When did when did it?

1293
01:05:11,640 --> 01:05:14,720
Speaker 1: When did it turn? Like? When did the technology? Early nineties?

1294
01:05:14,760 --> 01:05:17,200
Speaker 2: I think, Yeah, do you remember the first record that

1295
01:05:17,280 --> 01:05:18,920
Speaker 2: you did completely in the box?

1296
01:05:19,760 --> 01:05:19,920
Speaker 3: Oh?

1297
01:05:20,200 --> 01:05:20,360
Speaker 1: Man?

1298
01:05:23,120 --> 01:05:27,040
Speaker 8: See, because I use microphones, I can't you know, get

1299
01:05:27,080 --> 01:05:29,320
Speaker 8: with that in the box. And I still mix even

1300
01:05:29,360 --> 01:05:32,240
Speaker 8: though I mostly in the box. I still have a

1301
01:05:32,360 --> 01:05:35,000
Speaker 8: two bus chain. The stereo mix comes out through some

1302
01:05:35,120 --> 01:05:38,160
Speaker 8: really nice stuff. But the technology is there. I can

1303
01:05:38,240 --> 01:05:40,560
Speaker 8: mix in all in the box and it'll be fine.

1304
01:05:41,240 --> 01:05:43,480
Speaker 8: The technology is absolutely there now, and.

1305
01:05:45,120 --> 01:05:50,520
Speaker 1: Yeah, you just got to use it. So uh, would

1306
01:05:50,560 --> 01:05:53,640
Speaker 1: you say that brown Sugar was your first foray into

1307
01:05:54,640 --> 01:05:59,440
Speaker 1: First of all, when you were a prochanity welcome to

1308
01:06:05,040 --> 01:06:09,160
Speaker 1: was when you were approached. I was assuming that Kadar

1309
01:06:09,280 --> 01:06:11,760
Speaker 1: came to you to do Brown Sugar Did he just

1310
01:06:11,800 --> 01:06:14,520
Speaker 1: want you to engineer it first? No? No, did you

1311
01:06:14,600 --> 01:06:16,840
Speaker 1: say I want to produce this? You know, I went

1312
01:06:16,920 --> 01:06:17,360
Speaker 1: to the truth.

1313
01:06:17,520 --> 01:06:22,360
Speaker 8: I don't remember. I don't remember, but uh yeah, I

1314
01:06:22,480 --> 01:06:26,160
Speaker 8: really don't remember. But as you know, with D you

1315
01:06:26,240 --> 01:06:29,240
Speaker 8: played you the music firston Yeah, of course, moving stuff

1316
01:06:29,280 --> 01:06:31,560
Speaker 8: along is half the battle. I still have the four

1317
01:06:31,680 --> 01:06:33,480
Speaker 8: track assats his demos.

1318
01:06:33,760 --> 01:06:36,240
Speaker 6: That's what I was gonna ask. Do you don't Do

1319
01:06:36,320 --> 01:06:38,480
Speaker 6: you have those the demos from Brown Sugar?

1320
01:06:38,600 --> 01:06:39,360
Speaker 1: I think Bill does.

1321
01:06:39,600 --> 01:06:42,440
Speaker 8: I had a fire and most of the stuff got destroyed,

1322
01:06:42,480 --> 01:06:43,760
Speaker 8: but I may still have those.

1323
01:06:43,880 --> 01:06:46,600
Speaker 1: I'm not sure you had a fire. Yeah, my home,

1324
01:06:46,800 --> 01:06:48,760
Speaker 1: my home in New York was destroyed by a fire

1325
01:06:48,800 --> 01:06:49,680
Speaker 1: about six years ago.

1326
01:06:49,760 --> 01:06:52,480
Speaker 8: Oh yeah, listen, No, it's good. If it had been

1327
01:06:52,520 --> 01:06:54,439
Speaker 8: my studio with all my gear, I would have jumped

1328
01:06:54,440 --> 01:06:57,880
Speaker 8: off the roof. But the worst thing that happened, I mean,

1329
01:06:57,960 --> 01:06:59,680
Speaker 8: it was bad. It was a couple of years fighting

1330
01:06:59,720 --> 01:07:02,840
Speaker 8: with the insurance company, but no one was hurt. And

1331
01:07:03,200 --> 01:07:06,680
Speaker 8: I lost a sixty five Telly Sunburst with white binding, one.

1332
01:07:06,640 --> 01:07:07,560
Speaker 1: Of the original ones.

1333
01:07:08,560 --> 01:07:11,200
Speaker 7: But then you use that on IM I don't know.

1334
01:07:11,280 --> 01:07:13,560
Speaker 1: I used to use it a lot. Yeah, that's your

1335
01:07:13,640 --> 01:07:14,760
Speaker 1: IMIB guitar.

1336
01:07:14,960 --> 01:07:19,520
Speaker 8: Yeah, so you know, Dia is one of those artists,

1337
01:07:19,520 --> 01:07:21,480
Speaker 8: and I was learning as I went along. But as

1338
01:07:21,560 --> 01:07:23,760
Speaker 8: you know, Dia is an artist where you got to

1339
01:07:23,880 --> 01:07:25,440
Speaker 8: let him do his thing because that's where the good

1340
01:07:25,480 --> 01:07:26,160
Speaker 8: stuff happens.

1341
01:07:27,600 --> 01:07:32,440
Speaker 1: It's getting him to do his thing. You said it,

1342
01:07:32,520 --> 01:07:35,640
Speaker 1: I didn't. Well, I mean compared to the other two records.

1343
01:07:35,680 --> 01:07:38,360
Speaker 1: I mean, you made Brown Sugar record time you started

1344
01:07:38,480 --> 01:07:39,160
Speaker 1: what ninety three?

1345
01:07:39,320 --> 01:07:43,560
Speaker 8: Yeah, but I also made half that record, and I just, oh,

1346
01:07:43,680 --> 01:07:46,640
Speaker 8: you know how to say this? I mean, the world

1347
01:07:46,760 --> 01:07:49,680
Speaker 8: knows it's not You're in a unique situation. I do

1348
01:07:49,920 --> 01:07:52,720
Speaker 8: love d the same way you do, but I just

1349
01:07:52,800 --> 01:07:54,120
Speaker 8: couldn't wait around anymore.

1350
01:07:54,120 --> 01:07:56,520
Speaker 1: And I also know that he wanted to do it himself.

1351
01:07:56,520 --> 01:08:00,560
Speaker 8: You know, so, so explain chasing the demo for those

1352
01:08:01,200 --> 01:08:04,920
Speaker 8: chasing the demo is when someone makes demonstration recording of

1353
01:08:04,960 --> 01:08:07,120
Speaker 8: the song, which is not a full on version of

1354
01:08:07,160 --> 01:08:09,040
Speaker 8: the song because they don't have the resources.

1355
01:08:09,480 --> 01:08:11,240
Speaker 1: But it's just an outline for the song.

1356
01:08:11,400 --> 01:08:15,160
Speaker 8: But when the demo is like really incredibly cool, you

1357
01:08:15,400 --> 01:08:18,000
Speaker 8: end up making the real thing. But then it's too

1358
01:08:18,200 --> 01:08:21,080
Speaker 8: good and it doesn't sounds cool for a demo, but

1359
01:08:21,240 --> 01:08:23,479
Speaker 8: the demo itself and then people say, well, why don't

1360
01:08:23,520 --> 01:08:25,439
Speaker 8: you just use the demo for a record, because it's

1361
01:08:25,520 --> 01:08:26,120
Speaker 8: too messed up.

1362
01:08:26,320 --> 01:08:27,800
Speaker 1: It's just you can't quite do it.

1363
01:08:28,920 --> 01:08:32,679
Speaker 8: But actually, with him and with Michelle on her first record,

1364
01:08:32,760 --> 01:08:34,200
Speaker 8: I would pull stuff off the demos.

1365
01:08:34,240 --> 01:08:36,000
Speaker 1: If there were multi tracks and there were parts that

1366
01:08:36,080 --> 01:08:38,000
Speaker 1: were really, really cool, I pulled them off the demos.

1367
01:08:38,040 --> 01:08:40,240
Speaker 1: How would you line them up? It was hard, It

1368
01:08:40,360 --> 01:08:42,080
Speaker 1: was really hard. Wait, by this point you had pro

1369
01:08:42,200 --> 01:08:42,800
Speaker 1: tools though, right.

1370
01:08:43,920 --> 01:08:49,679
Speaker 8: I had a rolling DMAD and the protols sounded horrible

1371
01:08:49,720 --> 01:08:51,280
Speaker 8: at the beginning, and it really didn't work. I had

1372
01:08:51,320 --> 01:08:54,080
Speaker 8: a rollin hard disrecorder. There was also enough sampling time.

1373
01:08:54,200 --> 01:08:56,040
Speaker 8: I could fly shit in, you know, from one tape

1374
01:08:56,080 --> 01:08:58,560
Speaker 8: machine to another and kind of keep punching in and

1375
01:08:58,800 --> 01:08:59,320
Speaker 8: get it right.

1376
01:08:59,600 --> 01:09:02,400
Speaker 1: You know, just got to work. Yeah, I'll say that

1377
01:09:03,560 --> 01:09:09,400
Speaker 1: Dreaming Eyes of Mine definitely. I remember calling you when

1378
01:09:09,439 --> 01:09:13,000
Speaker 1: it came out and asking, like I thought there was

1379
01:09:13,120 --> 01:09:16,680
Speaker 1: just a discrepancy glitch in the drum programming.

1380
01:09:16,880 --> 01:09:19,639
Speaker 8: That's so funny, you say that, man, because because everything

1381
01:09:19,720 --> 01:09:25,680
Speaker 8: you know, listen, musicians talk about people's feel and you know,

1382
01:09:25,840 --> 01:09:28,479
Speaker 8: to get things to sit comfortably, you always want to

1383
01:09:28,560 --> 01:09:30,560
Speaker 8: keep the back beat sort of behind the beat, and

1384
01:09:30,640 --> 01:09:32,400
Speaker 8: you want your rhymes to be behind the beat, and

1385
01:09:32,520 --> 01:09:34,040
Speaker 8: jazz playing is behind the beat.

1386
01:09:34,720 --> 01:09:36,280
Speaker 1: D is in last week.

1387
01:09:36,800 --> 01:09:41,000
Speaker 8: You know, he's so behind the beat's two weeks ago.

1388
01:09:41,680 --> 01:09:44,040
Speaker 8: So it's funny. When I was flying the vocals with

1389
01:09:44,200 --> 01:09:47,160
Speaker 8: my rolling hard disc recorder, you do it by a

1390
01:09:47,240 --> 01:09:49,200
Speaker 8: temple map, so it's you know, it's going to be

1391
01:09:49,280 --> 01:09:51,160
Speaker 8: correct when you put it in the second verse, it's

1392
01:09:51,200 --> 01:09:52,920
Speaker 8: going to be in exactly the same place it was

1393
01:09:53,000 --> 01:09:55,479
Speaker 8: in the first verse. And it was his background vocals

1394
01:09:55,520 --> 01:09:58,560
Speaker 8: were so back in that I was sure that the

1395
01:09:58,640 --> 01:10:01,760
Speaker 8: gear was fucking up because they were so behind the

1396
01:10:01,840 --> 01:10:05,120
Speaker 8: beating and stuff. You know, that's me on guitar in

1397
01:10:05,160 --> 01:10:05,680
Speaker 8: that song too.

1398
01:10:06,320 --> 01:10:12,960
Speaker 1: When you're approached. Let's say, like for Michelle's record, which

1399
01:10:13,120 --> 01:10:17,439
Speaker 1: wasn't a out of the box platinum album, but in

1400
01:10:17,439 --> 01:10:22,639
Speaker 1: an artistic achievement, that's my favorite Michelle album. Yeah, well

1401
01:10:22,680 --> 01:10:25,080
Speaker 1: I know, well yeah, both of them. Yeah like that

1402
01:10:25,200 --> 01:10:27,040
Speaker 1: one and then I like Bitter too, bit it was

1403
01:10:27,040 --> 01:10:29,000
Speaker 1: really dope. But do you take when you take these

1404
01:10:29,040 --> 01:10:31,240
Speaker 1: projects on how many of her albums you did?

1405
01:10:31,400 --> 01:10:34,960
Speaker 8: The first three, I've mixed almost everything. I produced two

1406
01:10:35,080 --> 01:10:37,400
Speaker 8: or three cuts on the first one, and then mixed

1407
01:10:37,400 --> 01:10:38,200
Speaker 8: a lot of other stuff.

1408
01:10:38,280 --> 01:10:39,240
Speaker 1: David Gampson did.

1409
01:10:39,200 --> 01:10:41,760
Speaker 8: Most of that stuff, and Michelle did it. You know,

1410
01:10:43,840 --> 01:10:45,559
Speaker 8: there's not a lot of people I know a lot

1411
01:10:45,600 --> 01:10:46,400
Speaker 8: of great musicians.

1412
01:10:46,479 --> 01:10:47,599
Speaker 1: I know know a lot of artists.

1413
01:10:47,680 --> 01:10:50,080
Speaker 8: Michelle is one of the deepest artists I know in

1414
01:10:50,200 --> 01:10:54,120
Speaker 8: what way? Come on, man, do I have to explain that? Yes,

1415
01:10:55,920 --> 01:10:59,639
Speaker 8: she is one of those people that just does things

1416
01:11:00,120 --> 01:11:03,000
Speaker 8: really differently from other people and it always comes out

1417
01:11:03,120 --> 01:11:06,400
Speaker 8: really pretty dope. Provision is is way different than other

1418
01:11:06,479 --> 01:11:11,200
Speaker 8: people's way way different. I mean plantation, lullabies, like the

1419
01:11:11,280 --> 01:11:13,799
Speaker 8: way that record is constructed, the way that record sounds,

1420
01:11:13,840 --> 01:11:17,880
Speaker 8: and the parts. It was sort of like hip hop

1421
01:11:18,160 --> 01:11:21,759
Speaker 8: from Mars meets R and B meets Anger.

1422
01:11:22,280 --> 01:11:25,840
Speaker 1: You know, it was cool. It was cool. You did

1423
01:11:25,920 --> 01:11:35,680
Speaker 1: Bitter as well? Correct, No, that was damn yeah, pretty much.

1424
01:11:37,200 --> 01:11:37,320
Speaker 9: You know.

1425
01:11:37,439 --> 01:11:41,679
Speaker 8: I mixed a comfort Woman too, guys. Comfort Woman's great record.

1426
01:11:41,880 --> 01:11:44,519
Speaker 8: It's a great sounding record too. We did that down at.

1427
01:11:46,000 --> 01:11:46,439
Speaker 1: Chrun King.

1428
01:11:47,360 --> 01:11:49,720
Speaker 8: It's a really good sounding record too, and I've done

1429
01:11:49,760 --> 01:11:50,920
Speaker 8: a couple with her since then.

1430
01:11:51,880 --> 01:11:52,719
Speaker 1: Is probably my favorite.

1431
01:11:52,840 --> 01:11:57,320
Speaker 2: Yeah, yeah, it's crazy. Yeah, Okay, I got all of them,

1432
01:11:58,600 --> 01:12:00,439
Speaker 2: the credits. Sometimes that's dope.

1433
01:12:01,479 --> 01:12:03,360
Speaker 1: So when you make when you make these records, what's

1434
01:12:03,439 --> 01:12:07,680
Speaker 1: your grand achievement, especially when you're not dealing with an

1435
01:12:07,840 --> 01:12:12,160
Speaker 1: artist that I'm certain that Maverick would love her to

1436
01:12:12,320 --> 01:12:16,880
Speaker 1: have had one foot in platinum status and the other

1437
01:12:16,920 --> 01:12:21,599
Speaker 1: foot and artistic achievement. So I'm pretty sure you've had

1438
01:12:21,600 --> 01:12:25,040
Speaker 1: a earful from the A and R people, not back then,

1439
01:12:25,560 --> 01:12:26,160
Speaker 1: not back then.

1440
01:12:26,439 --> 01:12:28,080
Speaker 8: You know, I only did a couple of cuts on

1441
01:12:28,160 --> 01:12:30,240
Speaker 8: the first record, so not back then they had two

1442
01:12:30,320 --> 01:12:34,559
Speaker 8: lonely hearts or no, what was the sexy one?

1443
01:12:37,680 --> 01:12:38,240
Speaker 1: Dreadlocks?

1444
01:12:38,280 --> 01:12:41,680
Speaker 8: You know, but that was also I mean, did you.

1445
01:12:41,720 --> 01:12:42,360
Speaker 1: Do all Night?

1446
01:12:43,280 --> 01:12:43,320
Speaker 10: No?

1447
01:12:46,960 --> 01:12:50,280
Speaker 1: Wait, why y'all have like that song Don't Exist? That

1448
01:12:50,439 --> 01:12:53,360
Speaker 1: was a top ten hit. There's a connect that was

1449
01:12:53,400 --> 01:12:54,000
Speaker 1: a melon camp.

1450
01:12:54,400 --> 01:12:58,360
Speaker 8: There's a disconnect between Michelle and the pop music juggernaut.

1451
01:12:58,560 --> 01:13:01,240
Speaker 8: You know, she's definitely in our that deserves to be

1452
01:13:01,360 --> 01:13:04,000
Speaker 8: out there and everybody needs to hear her and resources

1453
01:13:04,040 --> 01:13:07,320
Speaker 8: have to be put behind her. She is not necessarily

1454
01:13:07,400 --> 01:13:11,320
Speaker 8: the artists that you expect to play, you know on

1455
01:13:11,800 --> 01:13:14,559
Speaker 8: Hot ninety five, you know I'm.

1456
01:13:14,400 --> 01:13:19,880
Speaker 1: Gonna keep it that way too. No, no, make it

1457
01:13:19,960 --> 01:13:20,679
Speaker 1: hot ninety five.

1458
01:13:22,000 --> 01:13:23,400
Speaker 7: That's just three.

1459
01:13:23,760 --> 01:13:31,880
Speaker 8: That's a great middle finger. Okay, christ loves Supremeka Hot

1460
01:13:32,000 --> 01:13:32,799
Speaker 8: ninety five.

1461
01:13:34,920 --> 01:13:35,320
Speaker 7: Keeping it.

1462
01:13:38,800 --> 01:13:41,880
Speaker 8: But no, you know that it's like record companies. If

1463
01:13:41,920 --> 01:13:44,519
Speaker 8: there was an economy of scale, which there is now,

1464
01:13:45,160 --> 01:13:48,759
Speaker 8: that allowed artists to make records, and that the company

1465
01:13:48,840 --> 01:13:51,920
Speaker 8: didn't need to sell millions of records to recoup or

1466
01:13:52,400 --> 01:13:55,439
Speaker 8: keep their doors open, it'd be cool. But there's not

1467
01:13:55,520 --> 01:13:58,320
Speaker 8: a lot of places like that. They need to keep

1468
01:13:58,560 --> 01:14:00,800
Speaker 8: the scale that they run. Those he's on they need

1469
01:14:00,840 --> 01:14:02,640
Speaker 8: mega hits. You know, I'm not telling you anything you

1470
01:14:02,680 --> 01:14:02,920
Speaker 8: don't know.

1471
01:14:03,120 --> 01:14:04,840
Speaker 1: So, did you ever have a client in which, like,

1472
01:14:04,960 --> 01:14:09,560
Speaker 1: you know, once the mixers went home, then suddenly.

1473
01:14:10,120 --> 01:14:12,679
Speaker 8: Yes, And I've heard and our people say to artists

1474
01:14:13,280 --> 01:14:15,680
Speaker 8: after you know, kissing their ass up and down for

1475
01:14:15,800 --> 01:14:19,400
Speaker 8: two years, sending the limos for them, Champagne, go into

1476
01:14:19,439 --> 01:14:21,960
Speaker 8: the office, I don't hear any hits, go back and

1477
01:14:22,040 --> 01:14:25,120
Speaker 8: write me some hits, which is like the most crippling

1478
01:14:25,200 --> 01:14:28,000
Speaker 8: thing you could ever say to anybody. You're not good enough.

1479
01:14:28,120 --> 01:14:30,759
Speaker 8: Go back and make yourself good enough. Oh that's helpful,

1480
01:14:30,920 --> 01:14:31,120
Speaker 8: you know.

1481
01:14:32,600 --> 01:14:34,560
Speaker 1: Jesus. Yeah, you've heard that, man, Come on.

1482
01:14:35,560 --> 01:14:37,360
Speaker 2: So, but I think the same thing could be said.

1483
01:14:37,360 --> 01:14:40,559
Speaker 2: I remember you saying one time the zach obviously can

1484
01:14:40,640 --> 01:14:43,280
Speaker 2: be true. Like when y'all signed with their Jam and

1485
01:14:43,880 --> 01:14:44,400
Speaker 2: Jay was like.

1486
01:14:44,560 --> 01:14:48,759
Speaker 1: Yes, don't make it, don't That was even bigger problem.

1487
01:14:49,640 --> 01:14:52,479
Speaker 1: I was like, oh god, now we gotta get eight

1488
01:14:52,520 --> 01:14:54,519
Speaker 1: and Pitchfork. No.

1489
01:14:54,680 --> 01:14:56,600
Speaker 8: But that's a good situation when they know who you

1490
01:14:56,720 --> 01:14:58,400
Speaker 8: are and sign you because of who you are.

1491
01:15:00,400 --> 01:15:02,040
Speaker 1: But I don't want them to use that as an

1492
01:15:02,040 --> 01:15:04,599
Speaker 1: excuse to not to want to promote us.

1493
01:15:04,560 --> 01:15:05,120
Speaker 7: You know what I mean.

1494
01:15:05,240 --> 01:15:07,720
Speaker 8: So it's like this is that that's a kind of

1495
01:15:07,760 --> 01:15:13,400
Speaker 8: reverse bizarre paradigm work. Yeah, don't make any hits whither

1496
01:15:13,520 --> 01:15:14,640
Speaker 8: or away in obscurity.

1497
01:15:15,080 --> 01:15:20,360
Speaker 1: I'm the champion. You're so successful, all right. So yeah,

1498
01:15:20,400 --> 01:15:24,880
Speaker 1: well your your production and chasing demos and seeing the

1499
01:15:25,600 --> 01:15:31,240
Speaker 1: product through and Erica as well. We're doing bad duism.

1500
01:15:31,760 --> 01:15:33,960
Speaker 1: I mean, did you the way the way you sold

1501
01:15:34,000 --> 01:15:36,479
Speaker 1: me to d I have to mit and I always

1502
01:15:36,479 --> 01:15:40,960
Speaker 1: tell the story, well you wanted me to play on ship,

1503
01:15:41,080 --> 01:15:46,080
Speaker 1: damn motherfucker. And this before Ron Carter had a change

1504
01:15:46,080 --> 01:15:46,599
Speaker 1: your heart.

1505
01:15:47,080 --> 01:15:50,960
Speaker 8: And he had no change your heart. He closed the

1506
01:15:51,040 --> 01:15:52,599
Speaker 8: door really fast on that one.

1507
01:15:52,880 --> 01:15:55,080
Speaker 1: It's like, what's the song called No, I'm not doing it? Yeah?

1508
01:15:55,560 --> 01:15:57,920
Speaker 8: I called him. And Ron's actually a good guy. He's

1509
01:15:58,120 --> 01:15:59,880
Speaker 8: you know, he's prickly, but he's a good guy and

1510
01:16:00,000 --> 01:16:02,680
Speaker 8: he's a musician. And I called him and I told

1511
01:16:02,760 --> 01:16:04,720
Speaker 8: him all about this stuff, and I said, blah blah

1512
01:16:04,720 --> 01:16:07,120
Speaker 8: blah blah blah, he's a really great artist, really unusual

1513
01:16:07,160 --> 01:16:13,160
Speaker 8: blah blah blah around By the way, you have to

1514
01:16:13,240 --> 01:16:16,320
Speaker 8: let me explain, and I will explain after I tell you.

1515
01:16:16,560 --> 01:16:19,640
Speaker 1: But the title of the song is shit damn motherfucker. No,

1516
01:16:20,760 --> 01:16:22,160
Speaker 1: you just had to do that, didn't you.

1517
01:16:23,280 --> 01:16:25,560
Speaker 8: And no, I didn't want to mess with him, you know,

1518
01:16:25,760 --> 01:16:27,679
Speaker 8: and have him come in for that. And I tried

1519
01:16:27,720 --> 01:16:29,840
Speaker 8: to explain, I don't know what he is, but he

1520
01:16:29,880 --> 01:16:33,240
Speaker 8: said in nobody's book? Is that a good phrase to me? Motherfucker?

1521
01:16:33,360 --> 01:16:36,479
Speaker 8: So no, and I tried to explain to him. I mean,

1522
01:16:36,560 --> 01:16:38,479
Speaker 8: it's it's sort of a woe is Me thing. It's

1523
01:16:38,479 --> 01:16:40,639
Speaker 8: somebody with their head in their hands saying, oh.

1524
01:16:40,800 --> 01:16:42,200
Speaker 1: No, how did this happen to me?

1525
01:16:42,520 --> 01:16:45,160
Speaker 8: He's not calling anybody else that, But it didn't matter.

1526
01:16:45,520 --> 01:16:49,880
Speaker 8: He's on smooth though, right, No, Larry Grenadier, He's fantastic,

1527
01:16:50,040 --> 01:16:50,639
Speaker 8: is unsmooth?

1528
01:16:51,520 --> 01:16:55,200
Speaker 1: Hmm? Yeah, okay, yeah, okay, I love that song.

1529
01:16:55,400 --> 01:16:55,719
Speaker 7: Nobody.

1530
01:16:56,040 --> 01:16:58,000
Speaker 1: You know, people sleep on that song I love smooth.

1531
01:16:58,560 --> 01:17:01,040
Speaker 1: Oh yeah, that song on that record. No it's not,

1532
01:17:01,280 --> 01:17:02,880
Speaker 1: it's not it's great.

1533
01:17:03,360 --> 01:17:05,599
Speaker 7: I uh, I shouldn't tell.

1534
01:17:05,720 --> 01:17:08,519
Speaker 1: I'll wait till Dee gets here to tell the when

1535
01:17:08,560 --> 01:17:12,080
Speaker 1: we get by story? Did I reveal that on the board?

1536
01:17:12,600 --> 01:17:14,519
Speaker 1: Hold on hold, if we're gonna get d in here,

1537
01:17:14,760 --> 01:17:19,360
Speaker 1: it's gonna be like twenty already booked him, all already

1538
01:17:19,960 --> 01:17:20,720
Speaker 1: already booked him.

1539
01:17:20,720 --> 01:17:23,840
Speaker 8: He booked him three years ago. Show up next month?

1540
01:17:25,800 --> 01:17:28,559
Speaker 7: No, sorry, we love you, D. What were you saying?

1541
01:17:28,640 --> 01:17:28,760
Speaker 3: Uh?

1542
01:17:29,560 --> 01:17:30,560
Speaker 7: Steve oh So?

1543
01:17:30,680 --> 01:17:32,240
Speaker 6: Who ended up playing bass on ship?

1544
01:17:32,360 --> 01:17:32,519
Speaker 7: Damn?

1545
01:17:36,240 --> 01:17:36,880
Speaker 1: I just thought of that.

1546
01:17:37,040 --> 01:17:38,200
Speaker 6: I didn't actually have a question.

1547
01:17:40,360 --> 01:17:42,439
Speaker 8: It might have been Larry Grenadier. It might have been

1548
01:17:42,520 --> 01:17:44,840
Speaker 8: D's sample bass, because he was really good at that.

1549
01:17:44,960 --> 01:17:46,519
Speaker 8: I mean the stuff he got out of the EPs

1550
01:17:46,600 --> 01:17:47,840
Speaker 8: sixteen was really good.

1551
01:17:47,920 --> 01:17:52,400
Speaker 1: It sounded great. You know something, what still has the

1552
01:17:52,640 --> 01:17:56,120
Speaker 1: same He still fixes it? Who fixes it? Ben? You

1553
01:17:56,200 --> 01:18:00,519
Speaker 1: know we did a show? Still has the same floppy discs?

1554
01:18:00,600 --> 01:18:01,840
Speaker 8: He has such a technophone?

1555
01:18:01,920 --> 01:18:04,599
Speaker 1: Man, Wow, not really, I mean he has new stuff,

1556
01:18:05,200 --> 01:18:09,839
Speaker 1: especially like flip phone. He has an iPhone.

1557
01:18:11,320 --> 01:18:13,920
Speaker 6: Wait, you're talking about as R ten? What did what

1558
01:18:14,000 --> 01:18:15,040
Speaker 6: did you say? E?

1559
01:18:15,200 --> 01:18:19,960
Speaker 8: P E P S sixteen it was precursor. But but

1560
01:18:20,120 --> 01:18:21,760
Speaker 8: the architecture is the same.

1561
01:18:22,360 --> 01:18:23,839
Speaker 6: Yeah, so that was before the ASR.

1562
01:18:24,280 --> 01:18:26,320
Speaker 1: He has a he has the same brown sugar stuff

1563
01:18:26,360 --> 01:18:29,439
Speaker 1: in his apartment right now. Yeah, like the same flop.

1564
01:18:29,640 --> 01:18:29,920
Speaker 7: Guys.

1565
01:18:30,280 --> 01:18:31,679
Speaker 1: That's the mark of a great artist.

1566
01:18:31,800 --> 01:18:31,960
Speaker 4: You know.

1567
01:18:32,280 --> 01:18:34,479
Speaker 8: They can sing Mary had a little lamb and you go,

1568
01:18:34,640 --> 01:18:37,600
Speaker 8: oh my god. You know, it doesn't matter what they have.

1569
01:18:37,920 --> 01:18:40,240
Speaker 8: There's such they have such a strong stamp as an

1570
01:18:40,360 --> 01:18:42,760
Speaker 8: artist that they could use the most primitive thing in

1571
01:18:42,840 --> 01:18:44,639
Speaker 8: the world and you go, my god, that's so cool.

1572
01:18:45,040 --> 01:18:46,560
Speaker 9: It's like all those times I used to say, you know,

1573
01:18:46,880 --> 01:18:49,839
Speaker 9: listen to Luther Vandel sing the Telephone Book, you know, yeah, yeah.

1574
01:18:50,200 --> 01:18:51,360
Speaker 7: What did the road sound come from?

1575
01:18:51,400 --> 01:18:51,439
Speaker 8: It?

1576
01:18:51,560 --> 01:18:51,600
Speaker 3: On?

1577
01:18:51,680 --> 01:18:52,919
Speaker 7: That sounds like it's underwater.

1578
01:18:53,080 --> 01:18:56,439
Speaker 2: It was mostly out of his EPs we called we

1579
01:18:56,600 --> 01:18:58,320
Speaker 2: called the flying jet patch.

1580
01:18:58,600 --> 01:19:01,640
Speaker 7: We uh, we we use some we.

1581
01:19:01,760 --> 01:19:03,720
Speaker 8: Use some live roads. And also if you put the

1582
01:19:03,840 --> 01:19:05,679
Speaker 8: roads in they used to be called.

1583
01:19:05,520 --> 01:19:06,120
Speaker 1: A pant scan.

1584
01:19:06,240 --> 01:19:08,559
Speaker 8: It was actually an analog piece of gear that pants

1585
01:19:08,600 --> 01:19:10,960
Speaker 8: something back and forth really fast. You can do it

1586
01:19:11,080 --> 01:19:13,080
Speaker 8: in the box now too, and it gives a road

1587
01:19:13,240 --> 01:19:15,519
Speaker 8: kind of like a watery kind of sound.

1588
01:19:15,640 --> 01:19:20,479
Speaker 1: Yeah, still has it. Yeah, it's like a dripping water sound. Yeah, yeah, wow.

1589
01:19:21,439 --> 01:19:26,439
Speaker 1: He calls it flying V. Okay, he calls it his

1590
01:19:26,560 --> 01:19:32,080
Speaker 1: flying V. Why be like guitar flying V? I don't know,

1591
01:19:32,520 --> 01:19:36,840
Speaker 1: but it's it's always and he's flying put up a

1592
01:19:36,920 --> 01:19:38,240
Speaker 1: fly patch, you know?

1593
01:19:38,479 --> 01:19:40,800
Speaker 6: So did he create that patch himself or is that

1594
01:19:40,880 --> 01:19:41,519
Speaker 6: a sound.

1595
01:19:41,320 --> 01:19:42,080
Speaker 1: In the boat.

1596
01:19:42,400 --> 01:19:44,639
Speaker 8: He did a lot of editing the stock sounds. Yeah,

1597
01:19:45,439 --> 01:19:48,080
Speaker 8: but again, I mean he could take anything. He could

1598
01:19:48,080 --> 01:19:50,679
Speaker 8: take the most primitive, silly sounding thing and do something

1599
01:19:50,760 --> 01:19:51,800
Speaker 8: incredibly cool makes it.

1600
01:19:51,960 --> 01:19:52,280
Speaker 7: You know that.

1601
01:19:52,400 --> 01:19:59,519
Speaker 1: Yeah, I'm my witness to that. Wait, wait, while we're

1602
01:19:59,560 --> 01:20:02,920
Speaker 1: on this subjec I got I got a phone call

1603
01:20:03,200 --> 01:20:08,599
Speaker 1: last week that was painful to get, which was yet

1604
01:20:08,720 --> 01:20:16,080
Speaker 1: another illustrious New York City studio is shutting down and

1605
01:20:18,320 --> 01:20:24,160
Speaker 1: MS yeah, I keep moving my equipment from studio to studios,

1606
01:20:24,240 --> 01:20:27,559
Speaker 1: studio to studio, and.

1607
01:20:27,760 --> 01:20:30,240
Speaker 7: Even where do we do at Hamilton Avatar? I was

1608
01:20:30,280 --> 01:20:31,519
Speaker 7: at Avatar and heard about I'm.

1609
01:20:31,400 --> 01:20:33,880
Speaker 1: Sorry, and Avatar is shutting down to.

1610
01:20:34,360 --> 01:20:35,200
Speaker 7: Avatar is selling.

1611
01:20:35,360 --> 01:20:38,160
Speaker 8: They're waiting to They're waiting to find a person who

1612
01:20:38,360 --> 01:20:41,280
Speaker 8: has enough money to keep it a studio. You know,

1613
01:20:41,400 --> 01:20:44,639
Speaker 8: the footprint of the building is worth you know, fifty

1614
01:20:44,680 --> 01:20:46,640
Speaker 8: times as much as it is as a building now

1615
01:20:46,720 --> 01:20:47,280
Speaker 8: in the studio.

1616
01:20:47,439 --> 01:20:47,559
Speaker 7: Yes.

1617
01:20:48,240 --> 01:20:53,560
Speaker 1: Wow. Well my question is you know now that studios

1618
01:20:53,600 --> 01:20:59,920
Speaker 1: are becoming a relic of yesteryear. I mean, to work

1619
01:21:00,120 --> 01:21:04,280
Speaker 1: with you is to you know, to see you send

1620
01:21:04,400 --> 01:21:08,639
Speaker 1: these massive cases to the studio, like working on commons,

1621
01:21:09,760 --> 01:21:12,759
Speaker 1: like order for chocolate record, like you'd send these giant

1622
01:21:13,680 --> 01:21:15,919
Speaker 1: property property of Bob.

1623
01:21:16,439 --> 01:21:19,760
Speaker 8: Power, like like my cartage was five hundred bucks just

1624
01:21:19,840 --> 01:21:21,400
Speaker 8: to get the stuff there. You know.

1625
01:21:22,240 --> 01:21:24,800
Speaker 1: Yeah, I mean you you were carrying a lot of

1626
01:21:24,880 --> 01:21:25,800
Speaker 1: outboard gear. Yep.

1627
01:21:26,040 --> 01:21:27,080
Speaker 7: But I guess.

1628
01:21:28,520 --> 01:21:33,400
Speaker 1: In the middle of the decade, did you eventually just

1629
01:21:33,520 --> 01:21:36,439
Speaker 1: start doing pro tools and pro tools only or No.

1630
01:21:36,720 --> 01:21:39,439
Speaker 8: I made a commitment to becoming a veteran in the

1631
01:21:39,520 --> 01:21:42,200
Speaker 8: box mixer about eight or nine years ago, and not

1632
01:21:42,320 --> 01:21:44,960
Speaker 8: because of commerce, because that actually that's why I should

1633
01:21:45,000 --> 01:21:46,840
Speaker 8: have done it, because I saw what was going on.

1634
01:21:48,760 --> 01:21:52,680
Speaker 8: I just saw what technology was becoming and realized that

1635
01:21:54,240 --> 01:21:56,320
Speaker 8: did I want to be in step with technology or not?

1636
01:21:56,439 --> 01:21:57,480
Speaker 8: And I love technology?

1637
01:21:58,120 --> 01:21:59,880
Speaker 1: So you had to learn all over?

1638
01:22:00,479 --> 01:22:03,439
Speaker 8: No, No, no, I just said you can be I've

1639
01:22:03,520 --> 01:22:06,120
Speaker 8: been mixing on consoles for years. I did that, okay,

1640
01:22:06,800 --> 01:22:09,040
Speaker 8: I said I could be a better in the box mixer.

1641
01:22:09,160 --> 01:22:12,280
Speaker 8: So I just started, and I love it. I wouldn't

1642
01:22:12,280 --> 01:22:14,160
Speaker 8: look back. I'm in my own room all the time.

1643
01:22:14,600 --> 01:22:17,680
Speaker 8: I almost never see my clients like a mirror. It's fantastic.

1644
01:22:18,680 --> 01:22:21,280
Speaker 1: Where's your room? You have a room? Oh yeah yeah?

1645
01:22:21,520 --> 01:22:24,880
Speaker 8: Steve a Dabo Shelter Island Sound has a medium sized

1646
01:22:24,920 --> 01:22:26,240
Speaker 8: room on twenty seventh Street.

1647
01:22:26,280 --> 01:22:27,880
Speaker 1: I have the other side of the floor. We found

1648
01:22:27,920 --> 01:22:28,559
Speaker 1: the floor together.

1649
01:22:29,080 --> 01:22:32,120
Speaker 8: He did a lot of early Suzanne began shown Colvin

1650
01:22:32,160 --> 01:22:37,839
Speaker 8: and stuff. So I have my own room and anything

1651
01:22:37,920 --> 01:22:41,120
Speaker 8: I record with one microphone. I got a great microphone collection,

1652
01:22:41,240 --> 01:22:43,200
Speaker 8: I got great microres. We put up the microphone in

1653
01:22:43,240 --> 01:22:48,600
Speaker 8: the room going headphones, and I'm really really happy or

1654
01:22:48,640 --> 01:22:51,360
Speaker 8: as a practitioner now than I've ever been.

1655
01:22:51,520 --> 01:22:53,639
Speaker 1: If I never set foot in a big studio again,

1656
01:22:53,720 --> 01:22:56,360
Speaker 1: it's fine. I know it sounds weird. You don't miss

1657
01:22:56,360 --> 01:22:56,760
Speaker 1: it at all?

1658
01:22:56,880 --> 01:22:59,599
Speaker 8: No, not the fruit plates in the you know what's funny.

1659
01:22:59,920 --> 01:23:02,120
Speaker 8: I always made jokes about that. When I first got

1660
01:23:02,200 --> 01:23:04,880
Speaker 8: really comfortable my own place. The first thing I would

1661
01:23:04,880 --> 01:23:06,439
Speaker 8: say to people, I said, you know what I thought

1662
01:23:06,479 --> 01:23:08,080
Speaker 8: I'd missed the fruit fruit basket?

1663
01:23:08,800 --> 01:23:11,160
Speaker 1: Yeah, but do you know what it means that?

1664
01:23:11,400 --> 01:23:11,680
Speaker 7: I mean?

1665
01:23:11,880 --> 01:23:13,960
Speaker 6: The fruit basket is yeah, but he can bring in

1666
01:23:14,040 --> 01:23:16,439
Speaker 6: his own fruit, you know, to his to his room.

1667
01:23:16,960 --> 01:23:19,200
Speaker 1: But it's almost like it's it's like a minute from

1668
01:23:19,200 --> 01:23:19,639
Speaker 1: a hotel.

1669
01:23:19,880 --> 01:23:23,639
Speaker 8: Yeah, exactly, it's like somebody else's clean towels. It's really nice.

1670
01:23:24,720 --> 01:23:28,479
Speaker 8: But my mixing situation, my speakers and I sit in

1671
01:23:28,640 --> 01:23:30,479
Speaker 8: exactly the same position every day.

1672
01:23:31,520 --> 01:23:33,439
Speaker 1: You know, I don't have to move from studio to studio.

1673
01:23:33,479 --> 01:23:33,800
Speaker 7: I love it.

1674
01:23:33,920 --> 01:23:35,840
Speaker 1: My results, my work is better than ever man.

1675
01:23:36,760 --> 01:23:40,879
Speaker 8: And I still use an analogue chain on my stereo

1676
01:23:41,040 --> 01:23:44,200
Speaker 8: mix but all the individual things, no inserts, just pro tools.

1677
01:23:45,200 --> 01:23:48,920
Speaker 1: Okay, So how did you decide to, you know, bring

1678
01:23:49,080 --> 01:23:49,879
Speaker 1: teaching into.

1679
01:23:51,720 --> 01:23:52,479
Speaker 7: The fora like?

1680
01:23:52,920 --> 01:23:53,040
Speaker 1: Uh?

1681
01:23:53,560 --> 01:23:57,800
Speaker 8: NYU approached me about eight or nine years ago, and

1682
01:23:58,000 --> 01:24:01,040
Speaker 8: I started out as an adjunct teaching class here and there,

1683
01:24:01,320 --> 01:24:03,759
Speaker 8: and again my mother gets around.

1684
01:24:03,840 --> 01:24:05,000
Speaker 1: They must have talked to my mother.

1685
01:24:05,400 --> 01:24:08,080
Speaker 8: No, not like that, man, No, not like that.

1686
01:24:08,280 --> 01:24:10,240
Speaker 1: I knew, I knew you were going to go there.

1687
01:24:10,640 --> 01:24:12,599
Speaker 7: I just feel like your mom should be the next guest.

1688
01:24:13,880 --> 01:24:14,559
Speaker 7: She's a shill.

1689
01:24:14,760 --> 01:24:17,040
Speaker 8: She's a shill for me. But they made me a

1690
01:24:17,080 --> 01:24:19,680
Speaker 8: professor a couple of years ago, and you know, I'm

1691
01:24:19,680 --> 01:24:22,679
Speaker 8: still working on the outside of about thirty forty percent

1692
01:24:22,720 --> 01:24:23,840
Speaker 8: of my work is still mixing.

1693
01:24:24,080 --> 01:24:26,920
Speaker 1: Now what are you teaching that? Everything? Production?

1694
01:24:27,600 --> 01:24:30,559
Speaker 8: I consider myself a utility infielder, Like if they need

1695
01:24:30,600 --> 01:24:32,559
Speaker 8: me a third base, I can do it. I teach

1696
01:24:32,680 --> 01:24:36,480
Speaker 8: the sophomore production class with my associate and boss, Nick Sensano,

1697
01:24:36,880 --> 01:24:38,679
Speaker 8: who's great he's been doing he worked with Public.

1698
01:24:39,080 --> 01:24:41,880
Speaker 1: Yeah, yeah, he's my next guy that and.

1699
01:24:44,160 --> 01:24:46,880
Speaker 8: It's really great. I mean, imagine, after a lifetime in

1700
01:24:46,920 --> 01:24:49,080
Speaker 8: the record business to be in a position where the

1701
01:24:49,160 --> 01:24:51,479
Speaker 8: only reason you're there is to help people, that's all.

1702
01:24:52,520 --> 01:24:55,120
Speaker 1: You know. Uh, you don't get paid more if you

1703
01:24:55,240 --> 01:24:58,639
Speaker 1: do better, you know, it's or if you have a hit.

1704
01:24:59,640 --> 01:25:03,200
Speaker 1: So it's great, but are they interested in the level

1705
01:25:03,320 --> 01:25:08,800
Speaker 1: of production that you are? Is your forte the the

1706
01:25:09,680 --> 01:25:11,240
Speaker 1: non microwave production.

1707
01:25:11,040 --> 01:25:13,680
Speaker 8: The yeah, well because now kids are just using like

1708
01:25:13,800 --> 01:25:19,320
Speaker 8: fruity loops and right and able to But yeah, that's right, guys,

1709
01:25:19,479 --> 01:25:22,120
Speaker 8: the same principles whole true. It doesn't matter how you get,

1710
01:25:22,400 --> 01:25:23,080
Speaker 8: you know.

1711
01:25:23,360 --> 01:25:26,160
Speaker 1: I teach. They have me in positions teaching.

1712
01:25:25,960 --> 01:25:28,320
Speaker 8: The things that I know how to do, analog recording,

1713
01:25:28,680 --> 01:25:32,680
Speaker 8: all things recording, mixing. I teach an arranging class that

1714
01:25:32,760 --> 01:25:35,360
Speaker 8: I develop, which is fantastic because as you know, The

1715
01:25:35,400 --> 01:25:39,479
Speaker 8: biggest problem in most people's records is bad arranging chops.

1716
01:25:40,080 --> 01:25:41,879
Speaker 1: So it's great, it's great.

1717
01:25:42,320 --> 01:25:45,560
Speaker 8: Range, man, I need to enter this class. Well, you know,

1718
01:25:45,800 --> 01:25:49,160
Speaker 8: guys as a grooves are great, but no as a mixer.

1719
01:25:49,320 --> 01:25:51,920
Speaker 8: You know, if the records well arranged, it's great to mix.

1720
01:25:52,080 --> 01:25:54,479
Speaker 8: If it's badly arranged, you're just fighting that the whole time.

1721
01:25:54,800 --> 01:25:57,400
Speaker 8: And in the modern world, the arrangement is as much

1722
01:25:57,680 --> 01:26:00,439
Speaker 8: your choice of instrument and the timber that instrument as

1723
01:26:00,479 --> 01:26:03,200
Speaker 8: it is departure plane. I mean, it's not nineteen sixty

1724
01:26:03,240 --> 01:26:06,880
Speaker 8: two anymore. We do things really differently. There was a

1725
01:26:07,000 --> 01:26:10,840
Speaker 8: girl I was watching the thing you did. We bought

1726
01:26:10,880 --> 01:26:13,719
Speaker 8: Forarelli and had them right into Maggie Rogers.

1727
01:26:15,840 --> 01:26:20,439
Speaker 1: Okay, oh yeah, Maggie is also one of my star students. Yeah,

1728
01:26:20,520 --> 01:26:21,960
Speaker 1: she's great. She's fucking dope.

1729
01:26:22,600 --> 01:26:26,200
Speaker 8: You know, the world has completely flipped for Maggie. I mean,

1730
01:26:26,320 --> 01:26:28,879
Speaker 8: the hits are off the charts. There's a feeding frenzy

1731
01:26:29,800 --> 01:26:31,080
Speaker 8: going on right now trying to.

1732
01:26:31,120 --> 01:26:36,280
Speaker 1: Get her signed. And Maggie's has a real good head.

1733
01:26:36,200 --> 01:26:38,920
Speaker 8: On her shoulders, and she won't be swayed by all

1734
01:26:39,000 --> 01:26:42,200
Speaker 8: that stupid shit that comes her way. She's and you

1735
01:26:42,280 --> 01:26:45,000
Speaker 8: know what, I have to say that there's any number

1736
01:26:45,040 --> 01:26:47,160
Speaker 8: of students that are just as cool as that. We

1737
01:26:47,280 --> 01:26:50,479
Speaker 8: have people doing just the coolest thing. There's something that

1738
01:26:50,640 --> 01:26:55,080
Speaker 8: people heard in Maggie's voice. You know, she almost sounds

1739
01:26:55,120 --> 01:26:57,240
Speaker 8: like Joni Mitchell singing over electronica.

1740
01:26:58,400 --> 01:26:59,800
Speaker 1: But yeah, and it just sounded like her.

1741
01:27:00,280 --> 01:27:02,240
Speaker 2: I really liked what for Real said and since that

1742
01:27:02,840 --> 01:27:05,080
Speaker 2: it was singular, like he couldn't even give notes on

1743
01:27:05,160 --> 01:27:05,920
Speaker 2: it because.

1744
01:27:06,160 --> 01:27:08,120
Speaker 8: It didn't sound like anything else, nothing else.

1745
01:27:08,360 --> 01:27:09,519
Speaker 1: It was really her own world.

1746
01:27:09,720 --> 01:27:11,680
Speaker 8: But I have to say a lot of students there

1747
01:27:11,760 --> 01:27:13,759
Speaker 8: are doing incredibly cool stuff.

1748
01:27:14,120 --> 01:27:19,160
Speaker 1: Yeah. Yeah, this is the first year in which I

1749
01:27:19,640 --> 01:27:24,560
Speaker 1: felt intimidated by some of my students, Like, Okay, I

1750
01:27:24,760 --> 01:27:27,320
Speaker 1: need to learn from you, Like I'm taking this job

1751
01:27:27,400 --> 01:27:29,160
Speaker 1: so you can teach me stuff that I don't know.

1752
01:27:29,520 --> 01:27:30,240
Speaker 8: Listen, that's part.

1753
01:27:31,040 --> 01:27:32,280
Speaker 7: Do they do that you sometimes?

1754
01:27:33,400 --> 01:27:35,160
Speaker 1: No, they don't test me. I mean like do they

1755
01:27:35,240 --> 01:27:36,479
Speaker 1: know about your history and that stuff?

1756
01:27:36,800 --> 01:27:37,000
Speaker 7: Yeah?

1757
01:27:37,080 --> 01:27:39,799
Speaker 8: Yeah, And the classroom to me, and I'm really serious

1758
01:27:39,800 --> 01:27:42,559
Speaker 8: about this is a three hundred and sixty degree thing.

1759
01:27:45,400 --> 01:27:48,360
Speaker 8: The information flows both ways, and if both parties aren't

1760
01:27:48,400 --> 01:27:51,240
Speaker 8: super engaged while we're in there, what a fucking waste

1761
01:27:51,280 --> 01:27:53,240
Speaker 8: of time, you know, not just a waste of my time,

1762
01:27:53,320 --> 01:27:54,080
Speaker 8: wasted their time.

1763
01:27:55,280 --> 01:27:55,840
Speaker 1: So it's great.

1764
01:27:55,920 --> 01:27:58,480
Speaker 8: The students are great, the people I work with are fantastic.

1765
01:27:59,320 --> 01:28:01,880
Speaker 8: First real job I've ever had, first time I've ever

1766
01:28:01,920 --> 01:28:04,680
Speaker 8: gotten a paid regular paycheck from any company other than

1767
01:28:04,720 --> 01:28:09,400
Speaker 8: my own. And uh yeah, I still get to work,

1768
01:28:09,760 --> 01:28:14,080
Speaker 8: and they actually tisch the arts division at n YU

1769
01:28:14,320 --> 01:28:16,920
Speaker 8: wants you to stay active in the field, so I

1770
01:28:18,400 --> 01:28:21,120
Speaker 8: I need to work and I still enjoy working. But uh,

1771
01:28:21,680 --> 01:28:25,439
Speaker 8: just because it's school and in theory, I'm full time there.

1772
01:28:25,479 --> 01:28:28,640
Speaker 1: That's my first responsibility. Do they make you turn in

1773
01:28:28,720 --> 01:28:30,840
Speaker 1: a massive syllabus at the top of the year. Oh yeah,

1774
01:28:30,960 --> 01:28:33,719
Speaker 1: I've had to red and the player.

1775
01:28:35,640 --> 01:28:37,920
Speaker 8: And it's the weirdest word in the world to say,

1776
01:28:38,000 --> 01:28:42,360
Speaker 8: you feel like you're silibi. Yeah, okay, I thought that

1777
01:28:42,479 --> 01:28:44,559
Speaker 8: was just like me to make sure that I knew

1778
01:28:44,560 --> 01:28:45,800
Speaker 8: I knew what I was doing.

1779
01:28:46,040 --> 01:28:50,160
Speaker 2: No, my health teacher in uh In college used it.

1780
01:28:50,240 --> 01:28:51,920
Speaker 2: That was first place I heard it. It was right

1781
01:28:52,000 --> 01:28:53,280
Speaker 2: after he was discussing gon aha.

1782
01:28:56,520 --> 01:28:59,120
Speaker 8: It was in my human health And wait a minute, man,

1783
01:28:59,200 --> 01:29:00,080
Speaker 8: my ship is it's.

1784
01:29:01,479 --> 01:29:07,479
Speaker 7: I think syphilis cyphilized letter totally.

1785
01:29:07,960 --> 01:29:11,880
Speaker 1: So what is your goal when you what is your

1786
01:29:12,000 --> 01:29:16,439
Speaker 1: mission to when you do teach this class, because the

1787
01:29:16,520 --> 01:29:21,240
Speaker 1: thing I I enjoyed about teaching is.

1788
01:29:21,560 --> 01:29:24,960
Speaker 8: The enlightening part of things, and it's the small things

1789
01:29:25,000 --> 01:29:27,040
Speaker 8: that enlighten them the most and really engage them.

1790
01:29:27,640 --> 01:29:29,760
Speaker 1: But you know, I hate the whole idea of like

1791
01:29:29,880 --> 01:29:30,840
Speaker 1: I have to quiz.

1792
01:29:30,640 --> 01:29:33,920
Speaker 8: Them on this and know the finals and that's bullshit.

1793
01:29:34,000 --> 01:29:35,800
Speaker 8: And I said the first day, Look, you know, I

1794
01:29:35,840 --> 01:29:38,640
Speaker 8: don't believe in grades, but this is ny U. So

1795
01:29:39,240 --> 01:29:41,760
Speaker 8: we got to do things a certain way. If you're

1796
01:29:41,800 --> 01:29:44,679
Speaker 8: not here because you really want to engage with this material,

1797
01:29:45,200 --> 01:29:47,880
Speaker 8: you're spending a lot of money. And you know, I mean,

1798
01:29:47,920 --> 01:29:49,840
Speaker 8: I don't dis people or anything or blow them up,

1799
01:29:49,960 --> 01:29:55,760
Speaker 8: but that's I I believe really in that we're all discovering.

1800
01:29:55,240 --> 01:29:57,439
Speaker 1: This stuff together. It sounds, I know, it sounds like

1801
01:29:57,520 --> 01:29:59,120
Speaker 1: I was from the sixties, and I am.

1802
01:30:00,439 --> 01:30:00,600
Speaker 3: You know.

1803
01:30:00,880 --> 01:30:04,840
Speaker 8: I love the process of you know, discovering things with them,

1804
01:30:05,520 --> 01:30:10,160
Speaker 8: you know, I yeah, I believe the same thing. But

1805
01:30:10,240 --> 01:30:15,240
Speaker 8: you still have to give grades. Yeah, and that's I'm

1806
01:30:15,280 --> 01:30:18,200
Speaker 8: not even going to get into that. I try to

1807
01:30:18,240 --> 01:30:21,720
Speaker 8: be really objective about it. I try to take what

1808
01:30:21,840 --> 01:30:24,360
Speaker 8: I like and don't like out of the equation. So

1809
01:30:24,400 --> 01:30:27,240
Speaker 8: I have this big spreadsheet. It's just based really on

1810
01:30:27,439 --> 01:30:30,200
Speaker 8: you know, whether they show up, whether they participate, whether

1811
01:30:30,240 --> 01:30:32,439
Speaker 8: they finish the assignments, whether they did this, did that,

1812
01:30:32,920 --> 01:30:34,280
Speaker 8: And it's totally by the numbers.

1813
01:30:34,720 --> 01:30:36,680
Speaker 2: I was going to ask you, what, so, what is

1814
01:30:36,720 --> 01:30:39,960
Speaker 2: the difference between you know, someone like a Maggie that

1815
01:30:40,200 --> 01:30:42,519
Speaker 2: like shines and then just those kids that kind of

1816
01:30:42,560 --> 01:30:43,040
Speaker 2: flame out?

1817
01:30:43,120 --> 01:30:45,759
Speaker 1: Like what what do you see? There is no difference.

1818
01:30:46,040 --> 01:30:49,760
Speaker 8: You know, some people the most almost all of the

1819
01:30:49,840 --> 01:30:53,000
Speaker 8: students that are there do something that's really really cool,

1820
01:30:53,600 --> 01:30:57,080
Speaker 8: as you know, having the perseverance to stick it out

1821
01:30:57,160 --> 01:30:58,040
Speaker 8: for the long run.

1822
01:31:00,000 --> 01:31:01,240
Speaker 1: I get sidetracked, you know.

1823
01:31:03,240 --> 01:31:04,600
Speaker 7: Are you aware of the effect that you have on

1824
01:31:04,720 --> 01:31:08,360
Speaker 7: them as like a mentor, because I find that I have.

1825
01:31:08,680 --> 01:31:09,800
Speaker 7: I don't know how you feel about this, but like

1826
01:31:09,880 --> 01:31:11,640
Speaker 7: I had teachers, two of them, particularly when I was

1827
01:31:11,680 --> 01:31:14,360
Speaker 7: in high school, that were totally instrumental in my life.

1828
01:31:14,400 --> 01:31:16,240
Speaker 7: I feel like teaching, once it gets down to it,

1829
01:31:16,360 --> 01:31:17,920
Speaker 7: is one of the most important things people like us

1830
01:31:18,040 --> 01:31:18,280
Speaker 7: can do.

1831
01:31:19,600 --> 01:31:19,840
Speaker 3: Yeah.

1832
01:31:20,200 --> 01:31:24,880
Speaker 8: I tend to sort of not think too much of myself,

1833
01:31:25,120 --> 01:31:26,960
Speaker 8: so I try to keep that thing out of it.

1834
01:31:27,080 --> 01:31:29,760
Speaker 8: But no, listen, if there's one thing, If there's one thing.

1835
01:31:29,880 --> 01:31:31,040
Speaker 8: If there's two things.

1836
01:31:30,840 --> 01:31:32,800
Speaker 1: I can teach them is be a decent human being

1837
01:31:33,640 --> 01:31:36,720
Speaker 1: and engage engaged with what you do.

1838
01:31:37,080 --> 01:31:39,400
Speaker 8: I won't say be serious. I say, if you're here

1839
01:31:39,520 --> 01:31:42,439
Speaker 8: and you're doing it, engage. It's like playing music. You know,

1840
01:31:42,600 --> 01:31:44,519
Speaker 8: you're not sitting there playing the chart like this. You

1841
01:31:44,600 --> 01:31:47,760
Speaker 8: got to engage with the music. So that those are

1842
01:31:47,840 --> 01:31:50,360
Speaker 8: the things that What about the decent human being part?

1843
01:31:50,479 --> 01:31:51,360
Speaker 8: Can that be optional?

1844
01:31:54,120 --> 01:31:56,080
Speaker 1: Listen? Do you really want to be in this class?

1845
01:31:58,439 --> 01:32:03,960
Speaker 8: Do you tell them and encourage them to mix very quietly?

1846
01:32:05,320 --> 01:32:08,840
Speaker 8: Because I believe it or not, I do that now.

1847
01:32:09,160 --> 01:32:12,000
Speaker 8: I tell them to mix at reasonable volumes. You know,

1848
01:32:12,160 --> 01:32:14,479
Speaker 8: your ears do really funky things when you listen to

1849
01:32:14,479 --> 01:32:15,879
Speaker 8: a loud music for a long time.

1850
01:32:15,760 --> 01:32:16,680
Speaker 7: And they lie to you.

1851
01:32:17,360 --> 01:32:19,920
Speaker 1: So if you can mix at volumes, I turn it

1852
01:32:20,000 --> 01:32:21,600
Speaker 1: up every once in a while to check ship. I

1853
01:32:21,680 --> 01:32:22,120
Speaker 1: gotta sell.

1854
01:32:22,280 --> 01:32:24,559
Speaker 8: I checked the bottom. I'm mastering now, so I got to.

1855
01:32:26,160 --> 01:32:29,560
Speaker 1: If you can you master your own stuff. Isn't that

1856
01:32:29,680 --> 01:32:30,240
Speaker 1: dangerous though?

1857
01:32:30,520 --> 01:32:32,360
Speaker 8: Sometimes, but most of the time it's good. I've gotten

1858
01:32:32,400 --> 01:32:35,120
Speaker 8: really good. You don't think you need fresh airs to

1859
01:32:35,400 --> 01:32:38,439
Speaker 8: Sometimes I do, but but you know, people want to deal.

1860
01:32:38,600 --> 01:32:39,160
Speaker 7: Can get her name?

1861
01:32:39,320 --> 01:32:40,479
Speaker 1: I cut it all in.

1862
01:32:42,080 --> 01:32:43,120
Speaker 7: Wait, did you think of Joe.

1863
01:32:47,640 --> 01:32:51,760
Speaker 1: Bill also is the Joe Raposo of Sesame Street. So

1864
01:32:51,920 --> 01:32:55,519
Speaker 1: and I always put you up Joe Reposo's name, So

1865
01:32:55,760 --> 01:32:59,040
Speaker 1: film a school micer was who I was. Refra was

1866
01:32:59,120 --> 01:32:59,680
Speaker 1: brilliant guy.

1867
01:33:00,360 --> 01:33:06,040
Speaker 8: Yeah, yeah, but I encourage them to mix that volumes

1868
01:33:06,120 --> 01:33:08,519
Speaker 8: sort of like you're talking to somebody from two feet away.

1869
01:33:09,240 --> 01:33:11,599
Speaker 8: That's where your speakers are gonna be the most accurate.

1870
01:33:11,760 --> 01:33:13,800
Speaker 8: And the biggest part of it is you obviate the

1871
01:33:13,920 --> 01:33:16,840
Speaker 8: negative effects of the room. If the speakers aren't very loud,

1872
01:33:16,920 --> 01:33:18,040
Speaker 8: the back of the room is not going to be

1873
01:33:18,080 --> 01:33:19,000
Speaker 8: bouncing around at you.

1874
01:33:19,240 --> 01:33:21,280
Speaker 1: So that's a big deal. So what Bob and are

1875
01:33:21,360 --> 01:33:23,280
Speaker 1: explaining to you, of course, a love of supremers that

1876
01:33:23,360 --> 01:33:27,280
Speaker 1: are like scratching your head right now is uh.

1877
01:33:28,200 --> 01:33:31,800
Speaker 8: If you look on discogs dot com and you turn

1878
01:33:31,920 --> 01:33:36,599
Speaker 8: up look up Bob Power's name, you'll see a lot

1879
01:33:36,680 --> 01:33:40,839
Speaker 8: of variations of nicknames that I've given them on various

1880
01:33:41,120 --> 01:33:44,280
Speaker 8: roots albums, such as Mixed by Bob.

1881
01:33:44,439 --> 01:33:44,719
Speaker 1: Guys.

1882
01:33:44,760 --> 01:33:47,960
Speaker 8: I really can't hear the mix, guys, Bob guys, I

1883
01:33:48,160 --> 01:33:49,639
Speaker 8: really really need to hear this, guys.

1884
01:33:50,120 --> 01:33:53,200
Speaker 1: And Bob it's bad enough that it's now five forty

1885
01:33:53,240 --> 01:33:55,000
Speaker 1: six am. I do do I have to put off

1886
01:33:55,000 --> 01:33:58,479
Speaker 1: with the talking guys power anyway, My point is he

1887
01:33:58,640 --> 01:34:04,640
Speaker 1: left out to shut the fuck up. Bob taught me

1888
01:34:04,800 --> 01:34:11,160
Speaker 1: that the best mixes if if your mix sounds awesome

1889
01:34:12,200 --> 01:34:17,840
Speaker 1: on shitty speakers. I mean, that's why studios speakers like

1890
01:34:17,920 --> 01:34:23,120
Speaker 1: Jenolis or Yamaha NS tens they were there to give you.

1891
01:34:24,000 --> 01:34:27,719
Speaker 1: Even Thriller was last minute mixed on like a clock

1892
01:34:27,840 --> 01:34:30,599
Speaker 1: radio speakers. Billy Jean was done like on the cheapest

1893
01:34:31,439 --> 01:34:34,960
Speaker 1: speaker that Bruce Foro Dean could could get, because if

1894
01:34:35,000 --> 01:34:38,160
Speaker 1: it sounds great on bad speakers, that don't sound awesome

1895
01:34:38,240 --> 01:34:40,799
Speaker 1: once you have it on speaks.

1896
01:34:40,880 --> 01:34:42,880
Speaker 8: One of the early engineers I worked with when I

1897
01:34:42,960 --> 01:34:45,400
Speaker 8: was scoring TV, we always talk about what's a good mix?

1898
01:34:45,479 --> 01:34:46,200
Speaker 1: What's a good mix?

1899
01:34:46,320 --> 01:34:48,720
Speaker 8: And he's now a nuclear physicist by the way, he

1900
01:34:48,840 --> 01:34:51,760
Speaker 8: got smart, but he said he said the best thing

1901
01:34:51,800 --> 01:34:53,960
Speaker 8: I've ever heard anybody say. It said, a good mix

1902
01:34:54,080 --> 01:34:56,320
Speaker 8: is something that doesn't sound too terrible anywhere.

1903
01:34:58,400 --> 01:35:03,400
Speaker 1: Right, You're right, Well, there's a generation now. I mean,

1904
01:35:03,439 --> 01:35:07,000
Speaker 1: I won't throw him under the bus, but I've had

1905
01:35:08,200 --> 01:35:13,559
Speaker 1: a few conversations with Kanye's people about their engineering tactics,

1906
01:35:13,600 --> 01:35:17,320
Speaker 1: which you know, I feel like his music. I feel

1907
01:35:17,360 --> 01:35:21,200
Speaker 1: like his music is made for no. This is my point.

1908
01:35:22,280 --> 01:35:25,600
Speaker 1: When I saw the Yeaser show at MSG and I

1909
01:35:25,800 --> 01:35:32,000
Speaker 1: happened to be within twenty feet of the speakers, then

1910
01:35:32,040 --> 01:35:36,960
Speaker 1: I realized, Oh, all these songs were created with this

1911
01:35:37,200 --> 01:35:43,400
Speaker 1: being the end game the concert. The near colonic level

1912
01:35:44,320 --> 01:35:47,439
Speaker 1: of how the low end was rumbling my stomach, and

1913
01:35:47,520 --> 01:35:49,479
Speaker 1: I got it. And I also imagine, so you know,

1914
01:35:49,479 --> 01:35:51,240
Speaker 1: I would ask him like, when you guys mix this stuff,

1915
01:35:51,280 --> 01:35:51,560
Speaker 1: do you ma?

1916
01:35:52,080 --> 01:35:52,240
Speaker 7: You know?

1917
01:35:52,360 --> 01:35:55,000
Speaker 1: The guys would shake their heads like you won't imagine

1918
01:35:55,040 --> 01:35:57,720
Speaker 1: the level of loudness that he makes the speakers when

1919
01:35:57,760 --> 01:35:59,680
Speaker 1: he's engineering in the studios. And I was like, well,

1920
01:35:59,720 --> 01:36:02,040
Speaker 1: always thought you were supposed to make it quiet. And

1921
01:36:02,160 --> 01:36:05,080
Speaker 1: especially because most of us consume our music now on

1922
01:36:06,080 --> 01:36:09,720
Speaker 1: MacBook pros and these, you know, tiny computer speakers, you

1923
01:36:09,760 --> 01:36:12,680
Speaker 1: would think that whenever I listen to you know, his

1924
01:36:12,760 --> 01:36:17,519
Speaker 1: stuff on the iPods or my computer, I'm indifferent to

1925
01:36:17,680 --> 01:36:20,080
Speaker 1: the music and it affects how I perceive that record.

1926
01:36:20,640 --> 01:36:22,759
Speaker 1: But then when I hear it on big as speakers,

1927
01:36:22,760 --> 01:36:25,400
Speaker 1: then I'm like, oh damn, I might like this.

1928
01:36:25,640 --> 01:36:28,240
Speaker 8: Listen just about anything sounds good when you crack it.

1929
01:36:30,160 --> 01:36:32,360
Speaker 7: Didn't you just say that loved musical? Your ears will

1930
01:36:32,360 --> 01:36:32,720
Speaker 7: lie to you.

1931
01:36:33,200 --> 01:36:34,200
Speaker 1: Your ears lied to you.

1932
01:36:34,560 --> 01:36:40,920
Speaker 8: And also, you know, a really good mix should hold

1933
01:36:41,040 --> 01:36:44,960
Speaker 8: up at a bunch of different volume. The musical balances,

1934
01:36:45,120 --> 01:36:50,000
Speaker 8: internal balances should stay somewhat the same. Looking at it

1935
01:36:50,200 --> 01:36:55,040
Speaker 8: like they want to shoot, They all like you, sucker,

1936
01:36:55,400 --> 01:36:57,439
Speaker 8: And I'm just saying.

1937
01:36:57,520 --> 01:36:59,679
Speaker 9: You know, if if, if, when you play music loud

1938
01:36:59,720 --> 01:37:02,439
Speaker 9: and you start playing tricks on, you kind of explains

1939
01:37:02,439 --> 01:37:03,959
Speaker 9: the last fifteen years of clippings.

1940
01:37:05,640 --> 01:37:09,599
Speaker 1: Nah, that's real. Well, yeah, I assume that nowadays people

1941
01:37:09,760 --> 01:37:12,080
Speaker 1: just mix it loud and don't give a regard to

1942
01:37:12,680 --> 01:37:15,040
Speaker 1: it's just gonna get played in the club inferior, which

1943
01:37:15,080 --> 01:37:19,520
Speaker 1: you would think that most people would mix for their iPhones,

1944
01:37:20,240 --> 01:37:21,400
Speaker 1: their cheap car systems.

1945
01:37:21,520 --> 01:37:23,679
Speaker 8: Yeah, but also if somebody says to me, I really

1946
01:37:23,760 --> 01:37:26,080
Speaker 8: want this to pop on the radio, I'll go a

1947
01:37:26,120 --> 01:37:28,920
Speaker 8: certain direction with it. You know, it's just but again,

1948
01:37:29,640 --> 01:37:32,040
Speaker 8: in a perfect world, you want something that sounds pretty

1949
01:37:32,080 --> 01:37:33,240
Speaker 8: good everywhere.

1950
01:37:33,840 --> 01:37:37,880
Speaker 1: And yeah, yeah, do you still not hardpan your base?

1951
01:37:38,479 --> 01:37:40,960
Speaker 1: That's another lesson you taught me. You said that the

1952
01:37:41,040 --> 01:37:42,400
Speaker 1: groove and the record will skip.

1953
01:37:42,560 --> 01:37:46,160
Speaker 8: Yeah, that's an old record thing. You'd never put anything

1954
01:37:46,240 --> 01:37:48,439
Speaker 8: with a lot of bottom on one side because when

1955
01:37:48,439 --> 01:37:51,120
Speaker 8: the needle has to make the big excursion, it'll pop

1956
01:37:51,240 --> 01:37:52,400
Speaker 8: over into the next groove.

1957
01:37:52,520 --> 01:37:56,240
Speaker 1: That's an old school thing. Same thing with sibilants. You know.

1958
01:37:56,280 --> 01:37:58,200
Speaker 8: The biggest issue, one of the biggest issue in modern

1959
01:37:58,200 --> 01:38:01,280
Speaker 8: records to me mixing is people don't DS enough. The

1960
01:38:01,400 --> 01:38:04,040
Speaker 8: fucking essays on the vocals will take the enamel off

1961
01:38:04,120 --> 01:38:04,519
Speaker 8: your teeth.

1962
01:38:06,000 --> 01:38:08,840
Speaker 1: Yeah, stuff like that. You know whatever, any one thing

1963
01:38:08,880 --> 01:38:09,840
Speaker 1: in the tom inks right now?

1964
01:38:10,240 --> 01:38:10,600
Speaker 7: Is there a.

1965
01:38:13,120 --> 01:38:14,519
Speaker 6: Did they have a DS plug in?

1966
01:38:14,880 --> 01:38:19,280
Speaker 8: Pretty serious? Yeah, there's a gazillion of them. And the

1967
01:38:19,360 --> 01:38:21,320
Speaker 8: cool thing is you can make them do anything you want.

1968
01:38:21,600 --> 01:38:22,960
Speaker 1: I love the digital world, man.

1969
01:38:23,040 --> 01:38:24,840
Speaker 8: I you know, people say you missed the way things

1970
01:38:24,920 --> 01:38:26,799
Speaker 8: used to be. I said, yeah, I missed the budgets,

1971
01:38:27,280 --> 01:38:30,400
Speaker 8: that's all. I miss everything. You can get so much

1972
01:38:30,479 --> 01:38:31,840
Speaker 8: closer to what you want to hear?

1973
01:38:32,000 --> 01:38:32,160
Speaker 7: Now?

1974
01:38:33,200 --> 01:38:36,439
Speaker 1: Am I allowed to ask you what was your moment?

1975
01:38:36,680 --> 01:38:36,720
Speaker 8: Like?

1976
01:38:37,160 --> 01:38:37,800
Speaker 7: What was your.

1977
01:38:39,400 --> 01:38:43,400
Speaker 1: Oh, how much my biggest payday? Yeah? Like I don't

1978
01:38:43,439 --> 01:38:46,679
Speaker 1: mean the exact amount, but like, what was your We really.

1979
01:38:46,560 --> 01:38:47,519
Speaker 7: Want you to do this record?

1980
01:38:47,560 --> 01:38:48,000
Speaker 1: Bop out?

1981
01:38:49,120 --> 01:38:51,240
Speaker 8: You know, I have management for all that time and

1982
01:38:51,360 --> 01:38:54,720
Speaker 8: he was just making my deals. So but you know,

1983
01:38:55,240 --> 01:38:57,800
Speaker 8: as a producer, you know, and this is one of

1984
01:38:57,800 --> 01:38:59,960
Speaker 8: the things I teach my students is that you don't

1985
01:39:00,080 --> 01:39:02,160
Speaker 8: get paid a cent. I mean, you get paid advances,

1986
01:39:02,240 --> 01:39:04,960
Speaker 8: but until the record company makes their money back, you

1987
01:39:05,040 --> 01:39:08,519
Speaker 8: don't get paid your royalties. But say they make their

1988
01:39:08,560 --> 01:39:12,200
Speaker 8: money back after they sell one hundred and fifty thousand records. Well,

1989
01:39:12,280 --> 01:39:14,040
Speaker 8: one of the things you want your contract is that

1990
01:39:14,120 --> 01:39:17,160
Speaker 8: you get paid from record one. You know, you don't

1991
01:39:17,200 --> 01:39:19,080
Speaker 8: want to get paid from record one hundred and fifteen

1992
01:39:19,120 --> 01:39:23,400
Speaker 8: thousand one. So the first check is always big. Oh

1993
01:39:23,479 --> 01:39:27,280
Speaker 8: come on, man, you know what Bob the reason why

1994
01:39:27,400 --> 01:39:30,160
Speaker 8: I have said, I know he never touches his own money.

1995
01:39:30,840 --> 01:39:32,479
Speaker 8: He says, I never look at my own money. I

1996
01:39:32,520 --> 01:39:33,680
Speaker 8: have people around me to do.

1997
01:39:33,760 --> 01:39:34,160
Speaker 7: That for me.

1998
01:39:34,520 --> 01:39:42,120
Speaker 1: No, no, no, well yes, and I know, seriously, I

1999
01:39:42,280 --> 01:39:46,960
Speaker 1: never touched my record money because non, it's like paper money.

2000
01:39:47,120 --> 01:39:49,000
Speaker 1: I mean, we sell respectively.

2001
01:39:49,360 --> 01:39:53,720
Speaker 8: But I don't know if it's a good thing that

2002
01:39:54,880 --> 01:40:01,960
Speaker 8: DJ Questlove is monetarily more valuable then Quest Love has ever.

2003
01:40:01,880 --> 01:40:04,719
Speaker 1: Been as a studio musician or a producer or drummer.

2004
01:40:04,960 --> 01:40:06,360
Speaker 7: You know, but I don't.

2005
01:40:06,360 --> 01:40:09,519
Speaker 1: I don't mean Carlturally speaking, I'm just saying that I

2006
01:40:09,680 --> 01:40:13,680
Speaker 1: kind of live in life now where like my value is,

2007
01:40:14,560 --> 01:40:18,960
Speaker 1: my monetary value is in places other than where you thought,

2008
01:40:19,080 --> 01:40:21,120
Speaker 1: which is kind of a mind fucker, which is made

2009
01:40:21,160 --> 01:40:25,840
Speaker 1: me the the equivalent of Bob Power Engineers. I was

2010
01:40:25,880 --> 01:40:27,639
Speaker 1: about to say, that's like the story for everybody.

2011
01:40:27,720 --> 01:40:30,880
Speaker 2: Man, Yeah, that's that's my thing. Hits is not a

2012
01:40:30,960 --> 01:40:32,639
Speaker 2: lot of times. It's not the thing that you think

2013
01:40:33,040 --> 01:40:34,519
Speaker 2: or that you may even thought it was going to be.

2014
01:40:34,680 --> 01:40:36,760
Speaker 1: But do you resistant or do you embrace it?

2015
01:40:36,880 --> 01:40:38,640
Speaker 8: No, wanting to make a lot of money is not

2016
01:40:39,040 --> 01:40:43,640
Speaker 8: a reasonable objective, I think. No. Honestly, being able to

2017
01:40:43,720 --> 01:40:45,800
Speaker 8: live decently and decently and do.

2018
01:40:45,880 --> 01:40:48,400
Speaker 1: What you love with people you really like, that's payoff.

2019
01:40:49,000 --> 01:40:52,360
Speaker 1: That's real. You just turn it back to Kumba moment.

2020
01:40:56,080 --> 01:40:59,000
Speaker 8: What is what is your favorite funk out of man?

2021
01:40:59,080 --> 01:41:01,360
Speaker 8: I played that kombay A?

2022
01:41:01,560 --> 01:41:08,320
Speaker 7: You have ever what's your thing?

2023
01:41:08,560 --> 01:41:10,760
Speaker 8: Which you've seen that Jacket Wilson thing when he's live

2024
01:41:10,840 --> 01:41:13,679
Speaker 8: on television? You guys ever seen live clips at Jackie Wilson.

2025
01:41:14,240 --> 01:41:16,840
Speaker 8: Oh my god, because he's saying stuff that's kind of

2026
01:41:16,880 --> 01:41:20,880
Speaker 8: like Kumbaya. But he is so incredible, not like kombay a.

2027
01:41:21,080 --> 01:41:22,720
Speaker 1: But I will now look at it.

2028
01:41:22,800 --> 01:41:25,559
Speaker 8: Your love keeps lifting me. You gotta see this clip.

2029
01:41:25,840 --> 01:41:28,040
Speaker 8: He's doing it live on television. You could have made

2030
01:41:28,040 --> 01:41:28,760
Speaker 8: a record out of it.

2031
01:41:28,800 --> 01:41:32,720
Speaker 1: It would have been great. I'm on it. I will look.

2032
01:41:33,400 --> 01:41:38,040
Speaker 1: I gotta know what is your your own personal desert

2033
01:41:38,160 --> 01:41:43,040
Speaker 1: island disc Like, if when all's said and done, what

2034
01:41:43,240 --> 01:41:49,040
Speaker 1: is your artistic crowning achievement? I'm by power and I did.

2035
01:41:49,960 --> 01:41:51,719
Speaker 1: It would be one of my own records.

2036
01:41:51,760 --> 01:41:55,840
Speaker 8: Man, it wouldn't be one of my own records, it

2037
01:41:55,880 --> 01:41:59,439
Speaker 8: would It would be Lewis Armstrong and the Elephantzgerald Duet's no.

2038
01:41:59,479 --> 01:42:01,320
Speaker 1: No, no, no no. I mean as far as your achievement,

2039
01:42:01,600 --> 01:42:03,960
Speaker 1: your achievement is concerned, like what are you most proud

2040
01:42:04,040 --> 01:42:07,639
Speaker 1: of having done the last day of whatever session?

2041
01:42:07,720 --> 01:42:09,880
Speaker 8: It was proud of being a decent human being and

2042
01:42:10,000 --> 01:42:10,920
Speaker 8: doing decent work.

2043
01:42:13,080 --> 01:42:14,760
Speaker 1: I always just got there positively.

2044
01:42:16,760 --> 01:42:20,160
Speaker 8: Know what's really going on? You know he's really did,

2045
01:42:20,320 --> 01:42:22,400
Speaker 8: but he's trying to save it now he's trying.

2046
01:42:22,200 --> 01:42:22,560
Speaker 1: To save it.

2047
01:42:22,640 --> 01:42:23,320
Speaker 7: But what a dick.

2048
01:42:23,800 --> 01:42:26,519
Speaker 1: I don't want the bad stories, but I'm just saying, like,

2049
01:42:27,760 --> 01:42:30,080
Speaker 1: you know, a crowning achievement, like Okay, I.

2050
01:42:30,160 --> 01:42:32,840
Speaker 8: Did that there's a lot of Man, every record I've

2051
01:42:32,840 --> 01:42:34,720
Speaker 8: ever worked with I love worked on I love.

2052
01:42:34,840 --> 01:42:39,519
Speaker 1: I'm serious. It's like your favorite bread the Roots, every

2053
01:42:39,600 --> 01:42:43,560
Speaker 1: roots record. Dude, I wasn't even hinting. I forgot you

2054
01:42:43,720 --> 01:42:44,519
Speaker 1: worked on the Roots.

2055
01:42:45,200 --> 01:42:45,800
Speaker 8: Sure you did.

2056
01:42:45,920 --> 01:42:47,880
Speaker 7: Man, No, I'm thinking like what.

2057
01:42:50,280 --> 01:42:50,320
Speaker 3: No?

2058
01:42:50,560 --> 01:42:53,160
Speaker 1: No, I honest to god, I love every record I've.

2059
01:42:53,040 --> 01:42:55,479
Speaker 2: Ever Well, what's the record? Okay, maybe what's the record?

2060
01:42:55,520 --> 01:42:56,880
Speaker 2: I'm curious to know what's the record?

2061
01:42:57,000 --> 01:42:57,040
Speaker 1: That?

2062
01:42:57,960 --> 01:42:59,879
Speaker 2: And hell, maybe all of them go follow this category

2063
01:43:00,320 --> 01:43:03,760
Speaker 2: like something that you finished that maybe you didn't think

2064
01:43:04,000 --> 01:43:06,080
Speaker 2: you're gonna fish like something that the process.

2065
01:43:06,000 --> 01:43:10,720
Speaker 1: Was really say that, Sugar, Can we move on now?

2066
01:43:13,080 --> 01:43:13,360
Speaker 7: Okay?

2067
01:43:13,360 --> 01:43:15,360
Speaker 9: Maybe maybe maybe this might clear up of me this

2068
01:43:15,439 --> 01:43:19,720
Speaker 9: question better. If you had to listen to one song

2069
01:43:19,800 --> 01:43:21,800
Speaker 9: that you worked on right now, which one would you choose?

2070
01:43:22,600 --> 01:43:25,080
Speaker 9: Like a gun to your head, Bob, you have to

2071
01:43:25,640 --> 01:43:26,760
Speaker 9: play one of your songs right.

2072
01:43:26,720 --> 01:43:29,640
Speaker 8: The song from Comfort Woman that Chris Dave plays on

2073
01:43:30,760 --> 01:43:34,719
Speaker 8: Love song number is that it where the drums start

2074
01:43:34,800 --> 01:43:37,120
Speaker 8: out really far away and then they come towards you.

2075
01:43:37,680 --> 01:43:39,360
Speaker 8: It's like an up tempo reggae thing.

2076
01:43:39,680 --> 01:43:40,960
Speaker 7: Okay, opening so.

2077
01:43:43,160 --> 01:43:43,920
Speaker 1: Really reggae flavor.

2078
01:43:45,040 --> 01:43:47,280
Speaker 8: Yeah, I know, I can't think of the name because

2079
01:43:47,280 --> 01:43:50,360
Speaker 8: the names on the love song Umber one, that's the

2080
01:43:50,439 --> 01:43:55,559
Speaker 8: one I'm trying to get. So you're your Michelle work

2081
01:43:55,840 --> 01:43:59,479
Speaker 8: is your No, I'm serious, man, I like the friends

2082
01:43:59,479 --> 01:44:00,880
Speaker 8: that do with everybody, all right.

2083
01:44:00,960 --> 01:44:01,200
Speaker 7: You know.

2084
01:44:07,200 --> 01:44:09,400
Speaker 1: You work on that that got deep six and should

2085
01:44:09,400 --> 01:44:14,519
Speaker 1: have came out. I can't name names, Prince.

2086
01:44:14,960 --> 01:44:18,000
Speaker 8: I've had records that people have redone, which is no.

2087
01:44:18,160 --> 01:44:20,479
Speaker 8: You know, anybody as a producer knows that sometimes you

2088
01:44:20,560 --> 01:44:22,800
Speaker 8: make a record, sometimes people don't like it and they

2089
01:44:22,880 --> 01:44:23,200
Speaker 8: redo it.

2090
01:44:23,280 --> 01:44:25,559
Speaker 1: You gotta live with it. It's like being a musician.

2091
01:44:25,880 --> 01:44:27,960
Speaker 8: But I've had records that have been redone where the

2092
01:44:28,080 --> 01:44:29,719
Speaker 8: redone one was really bad.

2093
01:44:30,720 --> 01:44:33,160
Speaker 1: Not a remix, but no, no, just you mean one

2094
01:44:33,160 --> 01:44:34,320
Speaker 1: of those iTunes.

2095
01:44:33,880 --> 01:44:34,639
Speaker 5: And gag records.

2096
01:44:35,800 --> 01:44:35,840
Speaker 3: No.

2097
01:44:36,400 --> 01:44:42,639
Speaker 1: I tuned like a like a playover, like oh my god, yo, yeah,

2098
01:44:42,720 --> 01:44:45,880
Speaker 1: like you'll go to heat Wave and then like, oh,

2099
01:44:45,920 --> 01:44:48,160
Speaker 1: it's like they re recorded this. I felt for Black

2100
01:44:48,439 --> 01:44:54,080
Speaker 1: like Black Ivory redid they did and it's fucking horrible.

2101
01:44:54,080 --> 01:44:56,320
Speaker 1: But I bought the album. Yeah, I brought the bad

2102
01:44:56,439 --> 01:44:59,120
Speaker 1: version was spinning in concerts like how come tips version

2103
01:44:59,120 --> 01:45:01,519
Speaker 1: don't sound like this? But it seems like yo, that

2104
01:45:01,760 --> 01:45:03,560
Speaker 1: that's not the verse that he redid it like I

2105
01:45:03,680 --> 01:45:04,439
Speaker 1: fell for that ship.

2106
01:45:04,600 --> 01:45:07,280
Speaker 8: Let's talk about real Desert Island any records I wanted

2107
01:45:07,320 --> 01:45:10,839
Speaker 8: to earth Winding Fire's greatest hits in the super Fly soundtrack.

2108
01:45:11,240 --> 01:45:15,640
Speaker 8: It does not get any better than Freddy's Dad is

2109
01:45:15,880 --> 01:45:20,040
Speaker 8: like possibly one of the pinnacles of music.

2110
01:45:20,840 --> 01:45:26,840
Speaker 1: That scares me, having heard Freddy's Dead when I was two.

2111
01:45:27,280 --> 01:45:31,679
Speaker 1: When the modulation goes to the horn thing, well, yeah,

2112
01:45:32,080 --> 01:45:36,160
Speaker 1: scares of I can't detect say nothing.

2113
01:45:36,920 --> 01:45:37,280
Speaker 7: I want.

2114
01:45:37,360 --> 01:45:39,120
Speaker 1: I want to see the mission statement that says I'm

2115
01:45:39,160 --> 01:45:43,280
Speaker 1: now I'll just sing on my own goddamn radio shows,

2116
01:45:45,600 --> 01:45:48,880
Speaker 1: as opposed to it's not a contract, Bill be coming

2117
01:45:48,960 --> 01:45:51,919
Speaker 1: off like the principal and back to the future Alphae

2118
01:45:52,080 --> 01:45:56,800
Speaker 1: is a slacker. When I was a kid, that that

2119
01:45:57,120 --> 01:46:05,840
Speaker 1: modulation used to always scariest modulations, always kid, right, what

2120
01:46:06,000 --> 01:46:08,479
Speaker 1: about the what's going on?

2121
01:46:08,960 --> 01:46:12,639
Speaker 8: They go like to a tritone away if.

2122
01:46:12,560 --> 01:46:16,760
Speaker 1: It modulated and not Golden Lady by Stevie, but like,

2123
01:46:18,120 --> 01:46:20,640
Speaker 1: and that's the one thing they cut out of my

2124
01:46:20,920 --> 01:46:23,000
Speaker 1: Rock and Roll Hall of Fame speech when I inducted

2125
01:46:23,120 --> 01:46:26,200
Speaker 1: Hall of Notes, was you know the end of Sea's

2126
01:46:26,240 --> 01:46:29,320
Speaker 1: going We're just stays in there's now and then it

2127
01:46:29,400 --> 01:46:33,799
Speaker 1: goes here point under the blankets.

2128
01:46:34,000 --> 01:46:36,600
Speaker 8: That's some Hollywood ship right there. You know, that's the

2129
01:46:36,720 --> 01:46:38,599
Speaker 8: cheap shot. You know, go up a half staff each

2130
01:46:38,680 --> 01:46:39,599
Speaker 8: time in the out course.

2131
01:46:39,800 --> 01:46:41,280
Speaker 1: That's like a harp glist.

2132
01:46:41,080 --> 01:46:44,040
Speaker 8: Going into a new section. Well what I call the

2133
01:46:44,120 --> 01:46:45,400
Speaker 8: sucker punch of orchestration.

2134
01:46:45,680 --> 01:46:49,400
Speaker 1: I would turneth whenever Sea's Going came on. When I

2135
01:46:49,479 --> 01:46:51,320
Speaker 1: was a kid, I turned on all the lights.

2136
01:46:52,720 --> 01:46:53,519
Speaker 7: I never thought that.

2137
01:46:54,479 --> 01:46:58,439
Speaker 1: I wasn't allowed to touch my dad's radio, so you know,

2138
01:46:59,160 --> 01:47:01,240
Speaker 1: I never knew that modulations.

2139
01:47:03,479 --> 01:47:03,880
Speaker 7: All the time.

2140
01:47:04,000 --> 01:47:06,120
Speaker 8: You know what else scares me? And I know Bill

2141
01:47:06,479 --> 01:47:08,800
Speaker 8: Steve wants me and tell the story. You ever watched

2142
01:47:08,840 --> 01:47:11,800
Speaker 8: Tiktac dough tick tech dough now a long time.

2143
01:47:11,880 --> 01:47:14,560
Speaker 1: I remember there's a game show. There's a call television.

2144
01:47:17,040 --> 01:47:21,960
Speaker 1: There's a game show called tik Tac though, I remember that, okay,

2145
01:47:22,120 --> 01:47:24,639
Speaker 1: speaking well, whenever you pick the center square, they give

2146
01:47:24,680 --> 01:47:27,880
Speaker 1: you a two part question and then sort of scary

2147
01:47:28,160 --> 01:47:36,760
Speaker 1: Jeopardy music to give you thirty seconds to think it over. Okay, yeah, yeah, yeah, yeah,

2148
01:47:37,320 --> 01:47:40,240
Speaker 1: scared Jesus, I remember that. I remember that, guys.

2149
01:47:40,280 --> 01:47:42,120
Speaker 8: I got to tell you about this building my dad

2150
01:47:42,280 --> 01:47:44,960
Speaker 8: was a television producer in the fifties and sixties, and

2151
01:47:45,280 --> 01:47:48,920
Speaker 8: we moved from Chicago when I was four, in like

2152
01:47:49,120 --> 01:47:52,439
Speaker 8: fifty three or four and fifty five, and I was

2153
01:47:52,560 --> 01:47:55,559
Speaker 8: in one of the studios here because he did Mister Wizard.

2154
01:47:55,600 --> 01:47:57,799
Speaker 8: You guys don't remember, Yeah.

2155
01:47:58,760 --> 01:48:00,439
Speaker 1: You know mister Wizard, but don't know.

2156
01:48:01,479 --> 01:48:02,320
Speaker 7: I don't.

2157
01:48:02,439 --> 01:48:04,440
Speaker 1: I remember mister Martindale.

2158
01:48:08,920 --> 01:48:11,280
Speaker 5: I remember now what it was, this the mister Wizard that.

2159
01:48:11,360 --> 01:48:12,439
Speaker 7: Was on what you call it?

2160
01:48:12,520 --> 01:48:12,600
Speaker 11: Right?

2161
01:48:12,800 --> 01:48:13,479
Speaker 7: How we were there?

2162
01:48:13,880 --> 01:48:16,479
Speaker 1: Well, you know the villains from What's Happening, But you

2163
01:48:16,479 --> 01:48:16,720
Speaker 1: don't know.

2164
01:48:18,200 --> 01:48:19,320
Speaker 5: I probably know if I see it.

2165
01:48:19,600 --> 01:48:21,680
Speaker 1: I just remember mister Wizard because like mister Wizz, I

2166
01:48:21,680 --> 01:48:22,280
Speaker 1: will watch.

2167
01:48:22,120 --> 01:48:24,080
Speaker 2: It and he would do experiments and stuff and it

2168
01:48:24,200 --> 01:48:26,560
Speaker 2: was just like well, and I would try to do it,

2169
01:48:26,720 --> 01:48:28,240
Speaker 2: but I never had none of the ship.

2170
01:48:28,080 --> 01:48:28,519
Speaker 5: Did you need it?

2171
01:48:28,560 --> 01:48:28,920
Speaker 7: Anyway?

2172
01:48:29,040 --> 01:48:31,760
Speaker 8: I was in this building in the studio when I

2173
01:48:31,920 --> 01:48:34,080
Speaker 8: was five years old and I got kicked out because

2174
01:48:34,080 --> 01:48:36,160
Speaker 8: I had a cold and I kept kept coughing. My

2175
01:48:36,280 --> 01:48:38,040
Speaker 8: mother had to take me out of the studio. So

2176
01:48:38,200 --> 01:48:42,080
Speaker 8: this is my triumphant return the studio.

2177
01:48:43,600 --> 01:48:43,760
Speaker 7: Mom.

2178
01:48:48,439 --> 01:48:50,920
Speaker 6: In reading your wiki page, Bob, just the things like

2179
01:48:52,720 --> 01:48:57,479
Speaker 6: studied classical composition and uh, a master's degree in jazz.

2180
01:48:58,560 --> 01:49:05,360
Speaker 6: Now when when you started working that was awesome? Eat

2181
01:49:05,400 --> 01:49:06,680
Speaker 6: a Chinese peanut.

2182
01:49:06,479 --> 01:49:12,240
Speaker 1: Or something, discussion seaweed.

2183
01:49:13,800 --> 01:49:16,960
Speaker 6: Yeah, So like this this knowledge of classical music and

2184
01:49:17,080 --> 01:49:19,559
Speaker 6: jazz and then and then suddenly you're in the world

2185
01:49:19,600 --> 01:49:22,240
Speaker 6: of samplers and tribe cald Quests and day La soul

2186
01:49:22,320 --> 01:49:26,040
Speaker 6: and and so now I watched I watched Quest sampling

2187
01:49:26,080 --> 01:49:30,080
Speaker 6: a lot, and he's tuning his samples. So now did

2188
01:49:30,120 --> 01:49:33,000
Speaker 6: you bring a lot of that stuff to hip hop?

2189
01:49:33,560 --> 01:49:33,760
Speaker 7: Yes?

2190
01:49:33,880 --> 01:49:36,960
Speaker 6: And no, making sampling more musical, yes.

2191
01:49:36,920 --> 01:49:39,599
Speaker 8: When we had to, But no, because I also realized

2192
01:49:39,600 --> 01:49:42,240
Speaker 8: that the ethic was often contrary to that, and I

2193
01:49:42,280 --> 01:49:44,080
Speaker 8: didn't want to suck it up. But the low end theory,

2194
01:49:44,120 --> 01:49:46,240
Speaker 8: I mean, we spent a lot, a lot of time

2195
01:49:46,960 --> 01:49:49,599
Speaker 8: on stuff like that, like tuning and timing and things

2196
01:49:49,640 --> 01:49:49,840
Speaker 8: like that.

2197
01:49:50,439 --> 01:49:52,599
Speaker 6: My my more general question though, is like how did

2198
01:49:52,640 --> 01:49:57,080
Speaker 6: you apply your real world classical and jazz experience to

2199
01:49:57,800 --> 01:49:58,599
Speaker 6: those projects.

2200
01:50:00,160 --> 01:50:02,680
Speaker 8: There's different gigs, man. If you're on a jazz gig,

2201
01:50:02,720 --> 01:50:06,320
Speaker 8: you play jazz. If you're on a poka gig, you

2202
01:50:06,400 --> 01:50:07,040
Speaker 8: play the poka.

2203
01:50:07,439 --> 01:50:09,360
Speaker 1: So you didn't so you No.

2204
01:50:09,680 --> 01:50:12,519
Speaker 8: I wanted to help the people realize their vision it

2205
01:50:12,640 --> 01:50:13,240
Speaker 8: was not about me.

2206
01:50:14,680 --> 01:50:16,800
Speaker 6: I guess I'm asking if you applied that stuff to

2207
01:50:17,439 --> 01:50:18,439
Speaker 6: the world of sam you.

2208
01:50:18,600 --> 01:50:21,519
Speaker 8: I think everybody, every practitioner in the world, applies everything

2209
01:50:21,560 --> 01:50:23,320
Speaker 8: they've ever ever seen to everything they do.

2210
01:50:23,880 --> 01:50:24,040
Speaker 1: You know.

2211
01:50:24,240 --> 01:50:26,880
Speaker 8: There was no direct line, There wasn't any straight lines.

2212
01:50:26,920 --> 01:50:28,799
Speaker 8: But of course, yeah, yeah, I think.

2213
01:50:28,720 --> 01:50:31,280
Speaker 6: So, because they were using a lot of jazz samples.

2214
01:50:31,360 --> 01:50:34,960
Speaker 8: Yeah, I mean, it's musical sensibilities, that's all, which is

2215
01:50:35,000 --> 01:50:36,320
Speaker 8: why the drums are always so loud.

2216
01:50:36,920 --> 01:50:38,880
Speaker 6: But they were then the stuff they were bringing to

2217
01:50:38,960 --> 01:50:41,640
Speaker 6: you that they were bringing to the sessions that they

2218
01:50:41,680 --> 01:50:44,760
Speaker 6: had done prior. Did you find that that stuff was

2219
01:50:44,920 --> 01:50:46,600
Speaker 6: already the way they wanted it?

2220
01:50:46,920 --> 01:50:49,760
Speaker 8: Sometimes, so we had to work, you know, early on,

2221
01:50:50,000 --> 01:50:53,280
Speaker 8: especially before technology caught up, we had to tweak things

2222
01:50:53,320 --> 01:50:53,599
Speaker 8: a lot.

2223
01:50:54,800 --> 01:50:56,640
Speaker 1: Yeah, so, emir, like the.

2224
01:50:58,520 --> 01:51:02,800
Speaker 6: In a lot of hip hop'tensional clashing going on, right

2225
01:51:03,240 --> 01:51:06,000
Speaker 6: and then and then there's this whole idea of tuning

2226
01:51:06,040 --> 01:51:08,160
Speaker 6: the samples so that they make more musical sense.

2227
01:51:08,240 --> 01:51:09,560
Speaker 7: So where is that that was?

2228
01:51:09,840 --> 01:51:15,520
Speaker 1: I believe that's Bob's entry now with uh Nix Susanna

2229
01:51:15,680 --> 01:51:17,360
Speaker 1: who works with Bob at n Yu.

2230
01:51:19,160 --> 01:51:19,640
Speaker 7: Being the.

2231
01:51:21,120 --> 01:51:25,320
Speaker 1: Works, he's my boss. Okay, what a preck.

2232
01:51:27,800 --> 01:51:29,120
Speaker 8: Nick love your guy.

2233
01:51:30,120 --> 01:51:31,000
Speaker 7: I was like, clean that up.

2234
01:51:31,439 --> 01:51:37,360
Speaker 1: No. Yeah, So Nick the Santo's uh you know, his

2235
01:51:37,680 --> 01:51:41,840
Speaker 1: his his the beauty and in his work was it

2236
01:51:41,960 --> 01:51:44,880
Speaker 1: was like throw everything on the wall and see what happens.

2237
01:51:45,880 --> 01:51:50,320
Speaker 1: And you know, Nick did practically every Bomb Squad associated

2238
01:51:51,000 --> 01:51:53,479
Speaker 1: album from Nation to Millions to Fear of a Black

2239
01:51:53,520 --> 01:51:58,280
Speaker 1: Planet to America Yes he dies, Unberser and Black Teenagers.

2240
01:51:58,560 --> 01:52:03,560
Speaker 1: And a side note, Nick said that they would.

2241
01:52:04,920 --> 01:52:08,439
Speaker 8: Pre sequence all their things like they did no fading

2242
01:52:09,040 --> 01:52:14,040
Speaker 8: and no cuts, nothing was automated, so everything was pre programmed.

2243
01:52:14,080 --> 01:52:14,280
Speaker 7: Wow.

2244
01:52:15,280 --> 01:52:20,360
Speaker 1: And I got to see the note production note sheets

2245
01:52:20,360 --> 01:52:23,400
Speaker 1: from Nation to Millions and like, I mean they were

2246
01:52:23,479 --> 01:52:27,759
Speaker 1: literally like at four minutes and thirty two point five seconds,

2247
01:52:28,479 --> 01:52:30,639
Speaker 1: here comes the one, two, three, four, five six kick

2248
01:52:30,720 --> 01:52:36,240
Speaker 1: it from base Heads to Like they pre programmed everything

2249
01:52:36,280 --> 01:52:38,120
Speaker 1: so as you heard it, that's how it was. Like.

2250
01:52:38,840 --> 01:52:41,439
Speaker 1: So that's why Eric Sadler gets a lot of a

2251
01:52:41,479 --> 01:52:44,200
Speaker 1: lot of praise there. But yeah, I mean your entry

2252
01:52:44,320 --> 01:52:49,120
Speaker 1: was basically to strip it down and to bring it forth,

2253
01:52:49,160 --> 01:52:49,880
Speaker 1: and it made it louder.

2254
01:52:49,920 --> 01:52:53,799
Speaker 8: I guess the less elements you have now, Knicks mixes

2255
01:52:53,960 --> 01:52:58,640
Speaker 8: are crowded and noisier, but everything's compressed and small. But

2256
01:52:58,760 --> 01:53:03,000
Speaker 8: that's also pe you know. Like, guys, what I do

2257
01:53:03,160 --> 01:53:05,840
Speaker 8: is exactly like being a musician. And you play the gig.

2258
01:53:05,960 --> 01:53:08,000
Speaker 8: You don't play your chops. You play the gig, you

2259
01:53:08,160 --> 01:53:10,639
Speaker 8: get there what the music is playing, and you play

2260
01:53:10,680 --> 01:53:12,439
Speaker 8: the music. You don't play your own shit.

2261
01:53:12,479 --> 01:53:15,280
Speaker 1: You know. So you never had scratched once, like when

2262
01:53:15,320 --> 01:53:18,280
Speaker 1: you first a lot. I'll let you relaxations like where's

2263
01:53:18,320 --> 01:53:20,560
Speaker 1: the fourth bar? A lot A lot. But you know

2264
01:53:20,760 --> 01:53:21,760
Speaker 1: that's part of learning, man.

2265
01:53:23,360 --> 01:53:26,640
Speaker 8: It's incumbent upon one as a practitioner to kind of

2266
01:53:26,760 --> 01:53:27,720
Speaker 8: understand the ethic of.

2267
01:53:27,680 --> 01:53:30,400
Speaker 1: The music that's going on. You don't make it come

2268
01:53:30,479 --> 01:53:33,280
Speaker 1: to you. You have to go to it. Such a

2269
01:53:33,360 --> 01:53:41,040
Speaker 1: wise man. Okay, another thing, Bob, Bob, do you have

2270
01:53:41,120 --> 01:53:42,320
Speaker 1: the cane out there? Did I live?

2271
01:53:43,840 --> 01:53:49,439
Speaker 7: It's next to your walker? That no, Bob?

2272
01:53:49,600 --> 01:53:56,320
Speaker 1: When you worked on loew In theory, that was awesome. Okay, Bob,

2273
01:53:56,720 --> 01:53:59,679
Speaker 1: you could. I could keep you for another twelve hours,

2274
01:53:59,760 --> 01:54:02,760
Speaker 1: but let's come back and do it again. Yeah, let's

2275
01:54:02,760 --> 01:54:04,400
Speaker 1: save something for three years from now.

2276
01:54:04,840 --> 01:54:05,120
Speaker 7: Bob.

2277
01:54:05,560 --> 01:54:09,599
Speaker 1: I want to thank you very much. I appreciate everything

2278
01:54:09,680 --> 01:54:13,160
Speaker 1: that you've done for music, for me, and for the culture.

2279
01:54:13,720 --> 01:54:14,799
Speaker 1: Hashtag for the culture.

2280
01:54:14,920 --> 01:54:17,320
Speaker 8: I can say exactly the same about you. Thank you man,

2281
01:54:18,240 --> 01:54:20,320
Speaker 8: I appreciate it all right.

2282
01:54:20,840 --> 01:54:20,960
Speaker 3: Uh.

2283
01:54:22,640 --> 01:54:25,400
Speaker 1: I always feel the need to end these shows with lessons.

2284
01:54:25,439 --> 01:54:28,040
Speaker 1: What do we learn from Bob Power? We learned that

2285
01:54:28,120 --> 01:54:30,720
Speaker 1: we will never hear any conflict stories of none of

2286
01:54:30,800 --> 01:54:31,519
Speaker 1: his artist ever.

2287
01:54:32,000 --> 01:54:32,200
Speaker 7: Never.

2288
01:54:32,400 --> 01:54:34,919
Speaker 1: If you work with Bob Power, I think your reputation

2289
01:54:35,120 --> 01:54:39,320
Speaker 1: is safe. Well, he won't allow you to do anything

2290
01:54:40,280 --> 01:54:44,760
Speaker 1: salacious in his studio sessions anyway. So you know, I

2291
01:54:44,880 --> 01:54:48,920
Speaker 1: was hoping to get like one, you know, leaders of

2292
01:54:48,960 --> 01:54:52,080
Speaker 1: the New School tribe fight story or something, but that

2293
01:54:52,280 --> 01:54:57,240
Speaker 1: that wasn't happening. Classic class act is protect class and

2294
01:54:57,720 --> 01:55:02,000
Speaker 1: is my mom as well. Uh yeah, so shout out

2295
01:55:02,000 --> 01:55:05,720
Speaker 1: to uh. I've learned that Bob Power uh protects all

2296
01:55:05,760 --> 01:55:11,320
Speaker 1: of his clients and loves them very very much. What

2297
01:55:11,440 --> 01:55:12,080
Speaker 1: else did we learn?

2298
01:55:12,280 --> 01:55:15,040
Speaker 6: He also gives them most of all the credit for

2299
01:55:15,360 --> 01:55:19,839
Speaker 6: all the work. You know, really kept emphasizing that, Yeah.

2300
01:55:19,720 --> 01:55:22,120
Speaker 1: He kind of made me feel important when I knew

2301
01:55:22,240 --> 01:55:24,560
Speaker 1: good and well that you know Bob was making on

2302
01:55:24,760 --> 01:55:27,640
Speaker 1: Like Bob would never let you touch a button, like

2303
01:55:27,760 --> 01:55:29,840
Speaker 1: you would have to present a case, get a lawyer.

2304
01:55:31,640 --> 01:55:35,360
Speaker 1: Just to add a little, just to add a little.

2305
01:55:35,120 --> 01:55:36,120
Speaker 7: Reverb to a song.

2306
01:55:36,240 --> 01:55:38,680
Speaker 1: It was like, I don't know if it calls for

2307
01:55:38,760 --> 01:55:42,320
Speaker 1: that dam here anyway. This is a Questlove of Quest

2308
01:55:42,320 --> 01:55:45,680
Speaker 1: Love Supreme. Be safe, ladies and gentlemen. I hope to

2309
01:55:45,720 --> 01:55:58,560
Speaker 1: see you now. Quest Love Supreme is a production of iHeartRadio.

2310
01:55:59,080 --> 01:56:02,400
Speaker 1: This classic episode. It was produced by the team at Pandora.

2311
01:56:05,960 --> 01:56:10,320
Speaker 1: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

2312
01:56:10,800 --> 01:56:12,480
Speaker 1: or wherever you listen to your favorite shows.