WEBVTT - QLS Classic: Bob Power 0:00:00.480 --> 0:00:04.240 Course Love Supreme is a production of iHeartRadio. This classic 0:00:04.280 --> 0:00:09.080 episode was produced by the team at Pandora. Yo Yo Yo, 0:00:09.200 --> 0:00:09.479 what's up? 0:00:09.520 --> 0:00:13.320 This is Fante Fantigolo tapping in with another QLs classic. 0:00:13.680 --> 0:00:15.400 This week, were gonna take it back. We're gonna take 0:00:15.400 --> 0:00:17.320 it all the way back. This is almost our first episode. 0:00:17.360 --> 0:00:20.760 This is episode number two from September fourteen, twenty sixteen, 0:00:21.160 --> 0:00:25.720 with none other than the legendary producer, engineer, and musician 0:00:26.200 --> 0:00:27.280 Bob Power. 0:00:27.640 --> 0:00:28.760 Bob talks about. 0:00:28.520 --> 0:00:32.240 Working with stats Sosonic, the Angelo, a tribe called quest 0:00:32.520 --> 0:00:36.200 and none other than our fearless cult leader and sweet 0:00:36.240 --> 0:00:39.640 tea drink Questlove along with the Roots travel back to 0:00:39.680 --> 0:00:41.720 one of the episodes that started it all on QLs. 0:00:41.840 --> 0:00:52.600 It's Fontigulo. Yeah. Here we are. 0:00:55.120 --> 0:01:02.080 Supremo, so supremo who call sopremo some some supremo role 0:01:02.280 --> 0:01:08.399 called suprema. So some supremo role called suprema. So some 0:01:08.840 --> 0:01:10.240 suprema role called. 0:01:10.360 --> 0:01:11.480 My name is Questo? 0:01:11.880 --> 0:01:15.360 Yeah, I am, yeah, this is my show. 0:01:15.920 --> 0:01:23.360 Yeah, Love Suprema Supremo something so supremo ro called suprema 0:01:23.760 --> 0:01:25.920 something son Supremo. 0:01:25.560 --> 0:01:29.960 Roll call I am Mantika. Yeah, can't you tell Yeah, 0:01:30.240 --> 0:01:33.200 go order some food, Yeah, something hungry. 0:01:33.040 --> 0:01:39.920 Hey call Supremo, some some Supremo, role called Supremo, Sun 0:01:40.160 --> 0:01:41.280 Son Supremo. 0:01:41.440 --> 0:01:47.720 Vol call Uh yeah, uh Steve, Yeah, chicken palm Yeah, 0:01:49.560 --> 0:01:50.360 roll call. 0:01:50.720 --> 0:01:57.240 Supremo, son something Supremo, roll call Suprema something something Supremo. 0:01:57.400 --> 0:01:57.960 Voe come. 0:01:58.160 --> 0:02:01.920 My name is Bill, Yeah, I was the first guest. Yeah, 0:02:02.200 --> 0:02:03.160 and now I'm on the show. 0:02:03.680 --> 0:02:11.200 Yeah with quest go Supremo, Son Son Supremo, ro called Supremo, 0:02:11.560 --> 0:02:14.079 some son Supremo, roll call. 0:02:14.080 --> 0:02:19.200 My name is Bill, Yeah yeah, some Alumnama, demon Lumma, 0:02:19.280 --> 0:02:20.440 some of them Yeah, some of. 0:02:21.440 --> 0:02:27.160 No call s Primo, son son Supremo, roll called Supremo, 0:02:27.560 --> 0:02:29.120 some some Supremo. 0:02:29.360 --> 0:02:33.200 Ro call my name is Bob, Yeah, I ain't no jokie. 0:02:33.600 --> 0:02:42.240 Yeah is Bob? Yeah? Hi sure my monkey, roll call. 0:02:42.560 --> 0:02:49.079 Suprema Son Son Supremo, ro called Supremo, son Son Supremo. 0:02:49.320 --> 0:02:55.640 Roll call Supremo, son Son Supremo, roll call Supremo, Son 0:02:55.880 --> 0:03:02.960 Son Supremo, roll call Supremo, Son Supremo, ro call Supremo, 0:03:03.360 --> 0:03:08.840 some Supremo, roll Supremo Supremo. 0:03:09.080 --> 0:03:14.839 Roll. Ladies and gentlemen, Ladies and gentlemen. This is questlove 0:03:15.240 --> 0:03:18.720 and this is quest Love Supreme. Welcome to our show. 0:03:18.960 --> 0:03:23.400 How did I get here? I do not know, but 0:03:23.560 --> 0:03:25.679 they asked me, and I'm here and I'm here for you. 0:03:26.360 --> 0:03:33.120 Bart a few friends with me to help me explore art, culture, music, food. 0:03:33.840 --> 0:03:37.160 So my my co host with the co most is 0:03:37.320 --> 0:03:38.680 Sir Fon Tigelow. 0:03:38.880 --> 0:03:39.480 What's going on? 0:03:40.800 --> 0:03:41.200 Of course? 0:03:41.520 --> 0:03:41.640 Uh? 0:03:41.960 --> 0:03:45.880 Formerly of Little Brother, currently of The Foreign Exchange. One 0:03:45.880 --> 0:03:50.120 of my favorite cats ever, Like more than any book, 0:03:50.640 --> 0:03:54.080 Your your your Instagram or your Instagram, and your your 0:03:54.200 --> 0:03:59.000 your Twitter, uh musings and and your wisdom is some 0:03:59.160 --> 0:04:03.160 of the best reading toilet seat reading. 0:04:03.160 --> 0:04:04.600 I've ever done. 0:04:04.600 --> 0:04:07.680 Hey, I got to keep Hey bro, Hey, look I 0:04:07.720 --> 0:04:08.200 gotta keep it. 0:04:08.280 --> 0:04:09.400 Really a good book. 0:04:10.120 --> 0:04:12.400 Maybe back up the nineties it was Blacktail, but now 0:04:12.920 --> 0:04:16.600 it's Frantic and my I g I would think about 0:04:16.600 --> 0:04:18.440 that when I'm crafting my next tweet, I'm like. 0:04:20.880 --> 0:04:29.120 This, should I maybe I write this next my tweets. 0:04:30.960 --> 0:04:32.000 I'm honor to be here, man. 0:04:32.279 --> 0:04:32.479 Yeah. 0:04:32.640 --> 0:04:36.640 Yeah. Frante is like one of my favorite thinking cats 0:04:36.760 --> 0:04:41.640 of of of all time. So I'm extremely honest that 0:04:41.760 --> 0:04:42.080 he's here. 0:04:42.560 --> 0:04:42.680 Uh. 0:04:42.920 --> 0:04:47.599 Next to Frante is uh Steve a k A sugar Steve. 0:04:49.080 --> 0:04:51.120 How you doing bruh, I'm not feeling well. 0:04:51.160 --> 0:04:54.880 But hello, Steve. 0:04:56.120 --> 0:04:59.640 I've known for about near twenty years. 0:05:00.080 --> 0:05:00.159 Uh. 0:05:00.960 --> 0:05:06.320 Steve was an assistant engineer at Electric Ladies Studios uh 0:05:07.040 --> 0:05:09.800 and has worked on practically every record that I did 0:05:09.920 --> 0:05:14.120 in that building. Voodoo by the Angelo, like Water for Chocolate, 0:05:14.279 --> 0:05:21.760 Common Mom's Gone with Eric abaddu uh oh part and 0:05:22.600 --> 0:05:28.280 the diabetes the mythology. So I stole the legends that 0:05:28.440 --> 0:05:31.480 I stole Steve from Electric Lady Studios to be my 0:05:31.640 --> 0:05:34.800 full time engineer. And so when he moved to Philadelphia, 0:05:34.920 --> 0:05:39.360 he kind of that my diet. And at the time, 0:05:40.720 --> 0:05:43.800 three times a day. There was a church that had 0:05:43.880 --> 0:05:46.719 Sunday dinners for sale all throughout the weekday. It's called 0:05:46.760 --> 0:05:49.760 the the House of Prayer. Come yeah, House of Prayer? 0:05:50.279 --> 0:05:51.560 Is there everyone in North Carolina? 0:05:52.040 --> 0:05:52.080 What? 0:05:53.040 --> 0:05:54.920 Because the House of Prayer like the House of Prayer 0:05:55.440 --> 0:05:56.840 that was the bread they grew up. 0:05:58.279 --> 0:05:59.960 The house. Yeah, the House of Bread. 0:06:00.800 --> 0:06:01.320 You know what I'm saying. 0:06:01.440 --> 0:06:01.760 You need? 0:06:02.120 --> 0:06:04.839 So the House of Prayer, it was on Market Street. 0:06:04.880 --> 0:06:07.760 It was on the corner Market in Dudley. And the 0:06:07.920 --> 0:06:09.920 leader of that House of Prayer was Daddy Grace. 0:06:10.240 --> 0:06:11.440 Yeah that daddy. 0:06:11.680 --> 0:06:13.840 Yeah, Daddy Grace, so you could go to the House 0:06:13.880 --> 0:06:16.279 of Prayer on the on the you know, they tell 0:06:16.360 --> 0:06:19.240 plates and you could get like some mother pork chop. 0:06:19.839 --> 0:06:23.280 Dams and macaron cheese for like five dollars or guess what. 0:06:24.080 --> 0:06:29.520 Guess So the legend, the legend is a legend. I 0:06:29.600 --> 0:06:31.960 said about I did about three weeks straight like this. 0:06:32.400 --> 0:06:34.120 This is when I was working. What's the first thing 0:06:34.160 --> 0:06:37.000 we did together in Philly the Farrell record. We work 0:06:37.040 --> 0:06:40.520 on Farrell and the Yes Sirs. So every break we'd 0:06:40.560 --> 0:06:44.599 head to the church, bust a grub, buy two grubs 0:06:44.640 --> 0:06:48.440 so we have a midnight snack too. So wow, we 0:06:48.640 --> 0:06:53.760 doubled down on those grubs here. And then like two 0:06:53.839 --> 0:07:04.080 months later Steve was like, yo, man, Bill Sermon a 0:07:04.200 --> 0:07:09.400 k A. Willie White, William White. Bill is my boss 0:07:09.840 --> 0:07:12.320 at Sesame Wait do I still work at Sesamet only 0:07:12.400 --> 0:07:13.200 wrote like one song. 0:07:13.400 --> 0:07:14.120 We can change that. 0:07:16.320 --> 0:07:21.040 Anyway, Bill, Bill is the new Joe Roposo. Who's Joe 0:07:21.120 --> 0:07:26.720 rop Joe Riposo is the god of children's songs. He 0:07:26.880 --> 0:07:31.280 wrote many a classic at Sesame Street. Bill's now at 0:07:31.360 --> 0:07:35.040 Sesame Street. But we met because he's one of the 0:07:35.240 --> 0:07:40.680 seven UH producers for the Hamilton cast out. You also 0:07:40.960 --> 0:07:44.440 are Grammy Ward Antony Ward winner for in the Heights. 0:07:45.720 --> 0:07:51.200 You're a producer of many uh acts. He's a real 0:07:51.240 --> 0:07:51.960 big shot. 0:07:54.440 --> 0:08:00.280 White for nothing deal. Do not have the white corner. 0:08:00.520 --> 0:08:02.440 You don't have the sugars, right, I don't have the 0:08:02.520 --> 0:08:05.640 sugar Yet we hang out working on it. 0:08:05.840 --> 0:08:09.000 Yeah, okay, I'm honored to be here. Last, but not. 0:08:09.160 --> 0:08:15.840 Least, are our boss man, our producer Bill DJ Brainchild? 0:08:16.280 --> 0:08:18.280 Am I allowed to call you by your government anymore? 0:08:18.840 --> 0:08:21.640 I guess okay, I'll call you DJ Brainchild? 0:08:21.840 --> 0:08:22.600 Or I. 0:08:25.520 --> 0:08:27.920 Are you gonna edit this part? I'm gonna leave it 0:08:28.040 --> 0:08:30.160 all right? Did you just call it a podcast? I'm 0:08:30.160 --> 0:08:32.840 gonna edit that out on this radio show? 0:08:32.920 --> 0:08:36.560 Is this on ladies and gentlemen? I'm not four, I'm 0:08:36.600 --> 0:08:37.600 not supposed to. 0:08:37.679 --> 0:08:40.800 Call this is not a podcast. This is a radio show. 0:08:40.920 --> 0:08:42.680 A Miro was me five dollars every time he calls 0:08:42.720 --> 0:08:46.240 the show a podcast? Should we just have a. 0:08:48.360 --> 0:08:48.800 Podcast? 0:08:48.920 --> 0:08:49.520 Jar right? 0:08:49.960 --> 0:08:52.480 Yeah, I'm gonna be rich by yo. 0:08:53.000 --> 0:08:53.160 Man. 0:08:53.240 --> 0:08:55.120 I thought about y'all the other day, man, I thought 0:08:55.160 --> 0:08:57.240 about Steve. I thought about y'all days we were talking about, 0:08:57.280 --> 0:09:02.120 like the diabetes and stuff. I heard probably the most sad, hilarious, 0:09:02.760 --> 0:09:05.720 most like tragic shit ever. And this is a real story. 0:09:05.760 --> 0:09:07.520 I won't name the guy's name. I can't, I don't, 0:09:07.840 --> 0:09:09.559 but it's a friend of a friend of mine. This 0:09:09.679 --> 0:09:13.480 really happened in real life. This is recent homeboy mind well, 0:09:13.480 --> 0:09:15.760 he's not my homeboy, but my friend of mine. It's 0:09:16.040 --> 0:09:16.800 her homeboy. 0:09:17.960 --> 0:09:18.400 Play cousin. 0:09:18.480 --> 0:09:18.680 Shit. 0:09:19.320 --> 0:09:23.679 Homie like needed a kidney, right, It's like he was 0:09:23.800 --> 0:09:25.680 fucked up and I guess he got like God betes 0:09:25.760 --> 0:09:28.600 or something like that. He needed a kidney. No, no, bullshit, 0:09:28.720 --> 0:09:29.320 need a kidney. 0:09:29.880 --> 0:09:33.319 And he was touring at one point with like a 0:09:33.440 --> 0:09:37.400 major artist, okay, and so this major artist got behind 0:09:37.480 --> 0:09:40.000 him and was like, Yo, we need to get my 0:09:40.080 --> 0:09:42.160 man a kidney, like started to go fund me and 0:09:42.240 --> 0:09:44.240 all this shit, you know what I'm saying, got him 0:09:44.240 --> 0:09:44.960 on the go fundme. 0:09:45.679 --> 0:09:49.120 People gave all this money. So Homie gets on the 0:09:49.200 --> 0:09:52.400 donor list for the kidney. Like, he gets on the list. 0:09:53.160 --> 0:09:56.680 So now all of a sudden, like you know, he's 0:09:56.800 --> 0:09:59.080 like praising God and everything. So then all of a sudden, 0:09:59.480 --> 0:10:03.280 we just his like Facebook post change and it's like, 0:10:03.880 --> 0:10:06.720 oh man, the devil trying to steal my joy Uh, 0:10:06.880 --> 0:10:09.480 they the devil is a liar like all this, you know, 0:10:09.600 --> 0:10:11.800 all like the ship that gospel nigga say when they're mad. 0:10:12.160 --> 0:10:14.560 So it's like, so we're like, what the fuck happened? 0:10:15.679 --> 0:10:18.440 They took him off the donor list. So then we're like, okay, 0:10:18.480 --> 0:10:20.080 well why so we go to his instagram. 0:10:21.040 --> 0:10:24.760 Ah, check what I had for dinner tonight, whitebread fried fish, 0:10:26.840 --> 0:10:31.719 and it's like days and days of funk shit and like, 0:10:31.920 --> 0:10:34.480 and so they determined like, look, we're not gonna you're 0:10:34.559 --> 0:10:36.400 not living a lifestyle that is whatever. 0:10:36.640 --> 0:10:38.440 So I just thought that was amazing. 0:10:39.320 --> 0:10:42.800 I've never heard I've heard I've never heard of a 0:10:42.920 --> 0:10:48.880 motherfucker ig and yourself off the donor list. How the 0:10:49.000 --> 0:10:52.920 fuck you tweeted yourself off the goddamn dost dude, and 0:10:53.080 --> 0:10:55.160 like and then if you look at his ig, all 0:10:55.240 --> 0:10:57.520 the meals like it's it's all bad, Like it's all 0:10:57.600 --> 0:10:59.640 like whitebread, refine, sugars, fried this. 0:11:00.040 --> 0:11:01.600 So the hospital was following him. 0:11:02.120 --> 0:11:03.520 Hey brother, it's a new game. 0:11:05.679 --> 0:11:06.720 That was a really great story. 0:11:07.080 --> 0:11:08.560 Oh man, Yeah, dude, he. 0:11:08.800 --> 0:11:11.360 Like his Instagram took him off the fucking Donald list. 0:11:11.440 --> 0:11:12.480 That is some of the most. 0:11:13.920 --> 0:11:14.120 Man. 0:11:14.320 --> 0:11:16.559 I like a quest of Instagram rands where like you 0:11:16.640 --> 0:11:18.679 think it's gonna be like a paragraph and then you 0:11:20.760 --> 0:11:24.760 like what like, whoa, I didn't know you? Whoa you 0:11:25.520 --> 0:11:28.760 had some time, which is rare to ship to say. 0:11:28.800 --> 0:11:31.040 Toilet the reason why he doesn't have time because he 0:11:31.120 --> 0:11:33.240 was writing something. I mean like like, that's a lot 0:11:33.280 --> 0:11:37.640 of little ship happening. Impressed by you, the tom sam 0:11:37.920 --> 0:11:39.480 like I try to keep my emails that I ride 0:11:39.480 --> 0:11:42.400 on my phone like five words, yeah, toilet. 0:11:42.200 --> 0:11:46.000 Stool music, so it's Fante's tweets and then like really 0:11:46.040 --> 0:11:49.440 long and right right then as soon as you stand up, 0:11:50.559 --> 0:11:51.960 Oh man, ain't that ship the worst? 0:11:52.400 --> 0:11:52.520 Yo? 0:11:52.800 --> 0:11:55.440 Like you stand up, ship be sleep you gotta shake 0:11:55.480 --> 0:11:57.520 it out, stank leg. 0:11:58.920 --> 0:12:01.560 But the part sleep is in the shape for whatever 0:12:01.600 --> 0:12:04.320 the yeah, right right right, and it ain't the worst 0:12:04.360 --> 0:12:04.839 ship ever. 0:12:05.080 --> 0:12:07.800 Like when you go to a like because I because 0:12:07.800 --> 0:12:09.120 I have a thing. It's like when you go to 0:12:09.280 --> 0:12:10.920 a real clean I went to my dealership. 0:12:10.960 --> 0:12:12.880 They just work on my car, and they had a 0:12:13.080 --> 0:12:15.520 it's a new dealership and they got built a new 0:12:15.640 --> 0:12:16.360 men's bathroom. 0:12:16.400 --> 0:12:17.440 And the ship is gorgeous. 0:12:17.800 --> 0:12:21.120 Oh, it has its own little like private joint, a 0:12:21.200 --> 0:12:24.400 pristine joint, or if you go the handicapped joining handicap to. 0:12:24.760 --> 0:12:26.280 And like not in the airport, but like in the 0:12:26.440 --> 0:12:28.200 dealership it was so nice. I was like, man, I'm 0:12:28.200 --> 0:12:28.880 gonna go wrong on this. 0:12:29.400 --> 0:12:31.600 So I was like, I need to put the seat down. 0:12:31.960 --> 0:12:33.679 I was like, man, I'm gonna you know what I mean, 0:12:33.880 --> 0:12:37.160 it's like you fear, It's like how you yeah whatever, you. 0:12:37.200 --> 0:12:41.400 Ever live your way in the handicap that little private room, 0:12:41.440 --> 0:12:44.559 the handicap in the airport, like just in case, like 0:12:45.320 --> 0:12:47.760 right right right, you limp and then you get down. 0:12:48.000 --> 0:12:50.800 But the worst feeling though, is like when you sit 0:12:50.920 --> 0:12:53.520 down and it's a warm toilet seet. Oh my god, 0:12:53.640 --> 0:12:59.320 that ship is like it's like a s is terrible. 0:12:59.360 --> 0:13:02.199 I like the cold the cold toilet seat on on 0:13:02.360 --> 0:13:03.200 the on the bottom. 0:13:03.440 --> 0:13:04.760 Have a heatd toilet seat in my house? 0:13:05.120 --> 0:13:05.160 What? 0:13:05.559 --> 0:13:07.679 Yeah? When I moved into this house, it was the 0:13:07.760 --> 0:13:10.800 one number one reason I moved in the house. Not 0:13:11.360 --> 0:13:13.400 only was is it heated? But has his panel over 0:13:13.480 --> 0:13:16.400 here all right? That like does all kinds of crazy 0:13:16.440 --> 0:13:21.199 ship like it'll yeah, it'll spoid water up that. I 0:13:21.240 --> 0:13:24.559 gotta get a drive. Have you been in Japan? I've 0:13:24.600 --> 0:13:25.679 been years ago. 0:13:27.040 --> 0:13:27.240 Yeah. 0:13:27.600 --> 0:13:30.719 Game Changer so I keep hearing about that. Dude, I'll 0:13:30.720 --> 0:13:32.280 tell you what, and I'm pistol. 0:13:34.800 --> 0:13:38.280 Can I say I thought outside of the thing, I 0:13:38.360 --> 0:13:40.079 was like, I'm gonna have to get I was like, 0:13:40.200 --> 0:13:42.920 oh no, I was taking the ship Amazon, and how 0:13:43.000 --> 0:13:44.880 much the toilet seat ship costs? 0:13:46.520 --> 0:13:48.880 When I moved, I could buy one. And all you 0:13:49.160 --> 0:13:53.680 know is that's it's like three grand for like the thing. Man. 0:13:53.760 --> 0:13:56.600 But I will tell you what it is. You can 0:13:56.679 --> 0:13:58.880 buy like you can, but that's not the same thing, 0:13:59.320 --> 0:14:00.480 producer Bill, I'll. 0:14:00.280 --> 0:14:04.679 Tell you that maybe sixty or seventy percent of all 0:14:04.800 --> 0:14:12.199 the exchanges between Rich and I or mometa toilet stool exchanges. 0:14:13.320 --> 0:14:15.920 Matter of fact, all my lists, all my thank yous, oh, 0:14:16.000 --> 0:14:21.360 all the roots, thank yous, toilet like I have a desk. Wait, 0:14:21.440 --> 0:14:27.600 that's too much, Yes, let's wait for that. So we 0:14:27.800 --> 0:14:34.200 are very honored to have uh the great Bob Power 0:14:34.800 --> 0:14:38.200 in the studio. Give it up. Thank you. 0:14:38.280 --> 0:14:41.520 They're my My mother has been chilling well for me, 0:14:41.560 --> 0:14:45.200 and she talked to you into this. I know, you know, 0:14:46.280 --> 0:14:48.080 just like she gave for all twenty bucks to say 0:14:48.120 --> 0:14:48.760 that thing about me. 0:14:48.960 --> 0:14:49.640 Right, so exactly. 0:14:50.960 --> 0:14:53.360 Okay, So she's running out her doll, though I might 0:14:53.840 --> 0:14:54.920 trouble she get. 0:14:55.040 --> 0:15:00.360 Yeah, I gave you the money, so I you know 0:15:01.840 --> 0:15:05.920 you are. For those that don't know Bob Power's role 0:15:06.200 --> 0:15:11.720 in music, especially in the realm of classic hip hop, 0:15:13.120 --> 0:15:17.680 I'll say that you are up there with all of 0:15:17.760 --> 0:15:22.040 the great creators beyond engineer. I mean, I consider you 0:15:22.200 --> 0:15:26.080 the fourth beatle. In a try call Quest and. 0:15:26.160 --> 0:15:28.480 In De La Soul and the Vinnia called me the 0:15:28.600 --> 0:15:30.200 den mother. I thought that was real cool. 0:15:30.240 --> 0:15:31.480 You were definitely the demon. 0:15:31.880 --> 0:15:33.680 Well, you know, I'd like to get stuff done and 0:15:33.720 --> 0:15:35.800 everybody's just hanging out. It's like, okay, what are we 0:15:35.920 --> 0:15:36.240 doing now? 0:15:36.360 --> 0:15:39.080 So you know, I'm not saying that I'm the most 0:15:39.240 --> 0:15:43.840 disciplined human beyond earth. Actually I'm the least disciplined human 0:15:43.880 --> 0:15:49.200 being on Earth, but I disagree. But probably the one 0:15:49.320 --> 0:15:54.600 thing that I learned in studio mixing with songs is 0:15:54.720 --> 0:16:00.960 the absolute concentration that the engineer needs UH to to 0:16:01.160 --> 0:16:04.280 complete such a task. And you never let me live 0:16:04.320 --> 0:16:04.960 that down either. 0:16:05.040 --> 0:16:07.520 I know, all those little things on the credit I 0:16:07.640 --> 0:16:09.440 used to Bob, could you guys please go in the 0:16:09.520 --> 0:16:15.560 back Power I mean, yeah, so I mean. 0:16:15.480 --> 0:16:18.640 To run off your resume if you are a classic 0:16:18.720 --> 0:16:21.960 hip hop fan. This this this man as has pretty 0:16:22.000 --> 0:16:25.960 much engineered and steered uh A mighty ship of of 0:16:26.280 --> 0:16:30.280 classic records from uh three. Well you did on Fire 0:16:30.320 --> 0:16:32.640 by the stets of Sonic? Did you do him full gear? 0:16:34.040 --> 0:16:34.080 No? 0:16:34.720 --> 0:16:38.600 That was my first big thing. Yeah, on fire, on fire, Yeah, 0:16:38.640 --> 0:16:41.960 to hear it, to hear. Q Tip described when he 0:16:42.120 --> 0:16:47.280 first heard ghost Stetsa in a nightclub. He said, that 0:16:47.400 --> 0:16:49.080 was that was a that was a moment for him 0:16:49.240 --> 0:16:52.640 where he stopped in his tracks and it was amazed 0:16:52.680 --> 0:16:54.960 at how clear the drum sounded and said, this is 0:16:55.000 --> 0:16:57.240 what I want to sound like. So are you serious? 0:16:57.320 --> 0:16:59.400 I never heard that, man, Yeah, because I asked like, 0:16:59.440 --> 0:17:01.960 how did you How did Bob enter the sphere? And 0:17:02.000 --> 0:17:06.119 he's like, ilsy the club a night and and I 0:17:06.240 --> 0:17:09.280 heard ghosts and I was like shocked, and I was 0:17:09.320 --> 0:17:10.960 like he worked on that. But then I figured, like 0:17:11.080 --> 0:17:14.720 all the all the Calliope Foster people had to have 0:17:14.840 --> 0:17:15.920 been from Tommy Boyd. 0:17:15.960 --> 0:17:19.119 You know, yeah, there was I believe that Shane Favor 0:17:19.280 --> 0:17:22.240 went away for two weeks on vacation and I filled 0:17:22.280 --> 0:17:23.200 in and we got along. 0:17:23.320 --> 0:17:26.920 You know, Okay, Shane never should have left, man. So 0:17:27.200 --> 0:17:29.360 oh after that then you sort of eased. 0:17:29.160 --> 0:17:31.160 In and it wasn't my own doing. I had nothing 0:17:31.240 --> 0:17:33.280 to do with it. They said show up. I said, okay. 0:17:33.640 --> 0:17:36.160 So when Shane came back and everybody wanted to roll 0:17:36.200 --> 0:17:36.520 with you and. 0:17:36.560 --> 0:17:38.680 Shad, well not really. I mean Shane and I split 0:17:38.800 --> 0:17:41.480 that first record, and it's funny. I just remastered that 0:17:41.600 --> 0:17:45.320 for the twenty fifth anniversary release last year. Man, I 0:17:45.480 --> 0:17:47.720 had no idea what I was doing back then. It 0:17:47.880 --> 0:17:49.600 was scary to hear that stuff. 0:17:49.800 --> 0:17:51.639 But it was funny. So you cringe when you're in 0:17:51.680 --> 0:17:52.960 your mistress now or. 0:17:54.840 --> 0:17:57.240 Only stuff from that far back. I actually sometimes I 0:17:57.359 --> 0:17:59.359 catch myself. I'll hear a song and I say, you know. 0:17:59.400 --> 0:18:02.400 That sounds pretty good. Wow, that's cool, and it's like, wow, 0:18:02.600 --> 0:18:03.119 I mixed that. 0:18:03.520 --> 0:18:08.199 Oh Man, don't you forget tracks that you've done, Like. 0:18:08.320 --> 0:18:11.679 I have a I have a cardinal rule to not uh. 0:18:13.400 --> 0:18:17.720 I will obsessively listen to uh whatever record I'm working 0:18:17.800 --> 0:18:21.200 on for maybe three months after it comes out, and 0:18:21.280 --> 0:18:24.199 then I never ever go back. Right. 0:18:24.280 --> 0:18:26.760 But like I'm in a clothes store or something, I'm like, wow, 0:18:26.800 --> 0:18:29.000 I know that song. Oh yeah, I mixed that. 0:18:30.040 --> 0:18:33.840 That happens, that happens yesterday I heard a song that 0:18:33.920 --> 0:18:35.440 I was on. I just amed it and I was 0:18:35.520 --> 0:18:38.520 disappointed when I found out that I didn't know that 0:18:38.640 --> 0:18:40.879 you were on it. I was on that I was 0:18:41.040 --> 0:18:44.120 on that song anyway, So you did h on Fire 0:18:44.160 --> 0:18:45.040 by Statsu Sonic. 0:18:45.720 --> 0:18:47.520 That was the first that Sonic song I ever heard, 0:18:47.720 --> 0:18:50.720 honestly on Fire because I was I bought it. 0:18:51.359 --> 0:18:53.800 This was god. I was like, seven, did you buy it? 0:18:54.040 --> 0:18:56.520 I actually, yeah, I didn't steal. I didn't steal it. 0:18:57.600 --> 0:19:00.400 Last week we was talking about like a month ago, 0:19:00.760 --> 0:19:02.720 right on the last episode. 0:19:03.200 --> 0:19:06.160 I don't think I did that whole record, but if 0:19:06.200 --> 0:19:09.120 I remember on Fire, then I did that song. 0:19:09.280 --> 0:19:11.159 Noah, I had that one that was on I remember 0:19:11.200 --> 0:19:15.000 that one because that was on a K Tail Records compilation. 0:19:15.640 --> 0:19:16.920 Then I bought from k Mart. 0:19:17.400 --> 0:19:21.080 And like straight up and that was the last song 0:19:21.160 --> 0:19:22.880 on side one, so that that was a three cent 0:19:23.000 --> 0:19:24.720 royalty check I got a couple of months ago. 0:19:25.960 --> 0:19:28.639 It might be it was a K Tale because it 0:19:28.720 --> 0:19:31.639 also you said Tangerine Records. Then I really would have 0:19:31.840 --> 0:19:33.480 just walked down the wall. 0:19:35.160 --> 0:19:35.359 It was. 0:19:35.440 --> 0:19:37.240 It was k Tel and that was the last song 0:19:37.359 --> 0:19:40.000 on side one, and uh it also had I don't know. 0:19:39.960 --> 0:19:42.680 If you remember mister X and mister Z drink O Gold. Yeah, 0:19:43.200 --> 0:19:44.320 it was that was on there too. 0:19:44.480 --> 0:19:47.600 That it wasn't even the compilation though, like rap Hits 0:19:47.680 --> 0:19:50.840 or some ship. It was something like corny like and 0:19:50.960 --> 0:19:53.000 he was like, I gotta have this. It was that 0:19:53.080 --> 0:19:54.480 was all I could afford because it was in like 0:19:54.560 --> 0:19:55.160 the bargain box. 0:19:55.240 --> 0:19:56.240 So it might have been like three. 0:19:57.640 --> 0:19:58.440 Yeah, yeah, it was like three. 0:19:59.160 --> 0:19:59.960 I know those takes very. 0:20:00.119 --> 0:20:02.320 Cream colored tapes, like the cream you know what I mean, 0:20:02.440 --> 0:20:05.000 Like if it was like the white tape, the cream color, 0:20:05.280 --> 0:20:06.200 you knew it was some bullshit. 0:20:06.600 --> 0:20:15.000 Actually, you know something, my first Boy Power cassette I stole. Okay, 0:20:15.520 --> 0:20:20.520 that's appropriate. Appropriate. The reason why I was hesitating to 0:20:20.560 --> 0:20:22.400 say I was wanted to make sure that the grace 0:20:22.480 --> 0:20:25.480 period had passed before Sam Goodie presses charges. 0:20:26.640 --> 0:20:28.760 I have some good news for you. Sam Goody is 0:20:28.800 --> 0:20:30.920 no more So I beat the man. 0:20:31.359 --> 0:20:35.040 No. I used to work at Sam Goodie's after school, 0:20:35.280 --> 0:20:40.400 and when I had that that moment when I heard three, 0:20:40.840 --> 0:20:43.920 the same way that I felt when I heard Nation 0:20:44.040 --> 0:20:47.040 of Millions, I was like, Yo, these guys are talking 0:20:47.119 --> 0:20:53.119 directly to me. So I stole the the only copy 0:20:53.280 --> 0:20:57.840 in the store and I think, yeah, I got fired, 0:20:58.880 --> 0:21:01.520 but not a week after that, right, I think I 0:21:01.640 --> 0:21:02.879 think they knew I stole. 0:21:02.640 --> 0:21:04.959 It, so they were throwing your ass in jail, man, 0:21:05.040 --> 0:21:06.880 Come on, would just be fired? 0:21:07.440 --> 0:21:10.480 Well, no, I got fired. You know. I like to 0:21:10.560 --> 0:21:12.600 think it was you know, the Christmas rush was over 0:21:12.640 --> 0:21:15.640 and they didn't need me in January. But I think 0:21:15.720 --> 0:21:19.199 they I think they knew that I did that. So anyway, 0:21:19.320 --> 0:21:23.399 three ft and Rising days Souls dead low in theory. 0:21:23.800 --> 0:21:26.600 You did people's instinctive travels. You did the first try. 0:21:26.520 --> 0:21:29.320 Record half of it? Yeah, I did not do uh 0:21:30.520 --> 0:21:31.280 three feet high? 0:21:31.920 --> 0:21:32.040 Who? 0:21:32.280 --> 0:21:34.200 A couple other people there did that. I did a 0:21:34.280 --> 0:21:35.680 session or two, but I wasn't. 0:21:35.880 --> 0:21:39.800 I did not go. So you came dead Yeah, okay, 0:21:40.200 --> 0:21:42.360 and blue mind state stakes. 0:21:44.280 --> 0:21:45.159 I don't think so. 0:21:45.640 --> 0:21:46.280 I don't think so. 0:21:46.720 --> 0:21:48.920 You know, I got really busy as a producer. And 0:21:49.080 --> 0:21:53.120 then when I said people yeah, and people said, got 0:21:53.240 --> 0:21:53.800 really pissed. 0:21:53.800 --> 0:21:55.960 You know, of course tip they were territory hip. Got 0:21:56.200 --> 0:21:59.119 really pissed. But it's okay, we're over it now. He 0:21:59.280 --> 0:22:02.040 was territorial. Let's drop that one. 0:22:04.440 --> 0:22:05.600 You know, why are you giving up? 0:22:06.320 --> 0:22:09.080 I love the man and I really do as you do. 0:22:09.320 --> 0:22:12.480 You know, come on, man, Yeah no, because my first 0:22:12.520 --> 0:22:15.520 week in working with you, I think I maybe that's 0:22:15.560 --> 0:22:19.920 why you you had the quiet rule, because I think 0:22:19.960 --> 0:22:25.000 I asked you more about tried mixes than I was 0:22:25.040 --> 0:22:26.359 concerned about my own mixes. 0:22:27.240 --> 0:22:30.639 So I thank god that's part of the twenty year period. 0:22:30.760 --> 0:22:32.760 That's a big blur to me because I don't remember 0:22:32.800 --> 0:22:33.080 a thing. 0:22:33.320 --> 0:22:35.639 Well, I would that's what we were going to ask you, 0:22:38.119 --> 0:22:42.040 So I guess I should ask you. Did you Did 0:22:42.080 --> 0:22:44.200 you come into the saying I'm going to be a 0:22:44.320 --> 0:22:47.040 pioneering engineer or was it like no, no, no, no, 0:22:47.800 --> 0:22:50.439 your beginnings, Like what were you you know, in your. 0:22:50.680 --> 0:22:55.480 Totally backed into engineering? I uh, you really want to 0:22:55.480 --> 0:22:56.200 start at the beginning. 0:22:56.359 --> 0:22:57.040 Yeah, okay. 0:22:57.359 --> 0:22:59.720 I played trombone in fourth grade because it was cool 0:22:59.720 --> 0:23:01.240 because I could hit the kid in the back of 0:23:01.320 --> 0:23:03.600 the head in front of me with the slide. That's 0:23:03.680 --> 0:23:06.080 exactly why I picked it up. They also told me 0:23:06.160 --> 0:23:08.280 my lips were too big to play trumpet, and I 0:23:08.440 --> 0:23:11.120 was like, okay, thank you. That's really nice to tell 0:23:11.160 --> 0:23:16.840 a kid, you know. Anyway, played bad rock guitar by 0:23:16.960 --> 0:23:20.080 ear in high school, went away to college at a 0:23:20.119 --> 0:23:23.760 place Webster University. They had a conservatory, and I didn't 0:23:23.880 --> 0:23:26.960 know enough to be scared. It was a classical conservatory. 0:23:27.000 --> 0:23:31.440 I had no background in it became a classical theory 0:23:31.480 --> 0:23:32.600 and composition major. 0:23:32.800 --> 0:23:34.520 They never would have let me in. I don't know 0:23:34.600 --> 0:23:35.840 how they let me in, but they did. 0:23:36.080 --> 0:23:36.720 What year was this? 0:23:37.160 --> 0:23:40.399 Nineteen seventy So during the four years that I was 0:23:40.520 --> 0:23:44.159 there and studying classical theory and composition, I was playing 0:23:44.359 --> 0:23:46.480 a sort of chilllin circuit in Saint Louis. 0:23:46.240 --> 0:23:49.720 And I played an R and B bands and cover 0:23:50.240 --> 0:23:50.480 the day. 0:23:50.760 --> 0:23:54.120 Oh yeah, yeah, you're my favorite pussy, you know, Funkadelic, 0:23:54.720 --> 0:23:58.639 Yeah yeah, and temptation stuff. 0:24:00.200 --> 0:24:00.399 You know. 0:24:01.000 --> 0:24:03.399 I killed Papa was a rolling stone man, you know 0:24:03.480 --> 0:24:05.560 those little ridges on the rubber on the wah wah 0:24:05.600 --> 0:24:06.800 pedals and keep your foot there. 0:24:06.880 --> 0:24:10.640 My shit is worn out. Yeah yeah. 0:24:12.280 --> 0:24:17.000 And left Saint Louis in seventy five, did some recording 0:24:17.080 --> 0:24:18.280 there with different people. 0:24:19.320 --> 0:24:21.399 I mean, what were your aspirations in the seventies. I 0:24:21.440 --> 0:24:24.480 want to be a rock star, man, Come on, guess 0:24:24.520 --> 0:24:25.879 what you are? A rock star? Come on. 0:24:26.800 --> 0:24:30.399 Anyway, moved to San Francisco in seventy five, and this 0:24:30.600 --> 0:24:32.800 is weird. I ended up getting my masters in jazz. 0:24:32.880 --> 0:24:35.640 But it's a long story that I really can't tell 0:24:35.800 --> 0:24:39.080 on the air. It's a sort of checkered story the 0:24:39.200 --> 0:24:41.040 reason that I got into graduate school. 0:24:41.080 --> 0:24:41.960 But we'll leave it at that. 0:24:43.720 --> 0:24:46.720 I had let's just say, I had to be on 0:24:46.800 --> 0:24:51.040 my best behavior for a while and got into TV scoring. 0:24:51.119 --> 0:24:53.600 While I was there, my dad was a television producer 0:24:53.800 --> 0:24:56.280 and he hooked me up with some people. So I 0:24:56.440 --> 0:24:59.760 scored TV like three or four months out of the 0:24:59.840 --> 0:25:04.480 year for seven years and subsidize my jazz career. What 0:25:04.760 --> 0:25:07.920 shows did you There was a show on PBS called 0:25:08.000 --> 0:25:09.959 over Easy. I did a bunch of stuff for Disney, 0:25:10.920 --> 0:25:13.520 a couple other things, a couple of specials for PBS, 0:25:15.240 --> 0:25:15.800 and it was cool. 0:25:15.920 --> 0:25:16.040 You know. 0:25:16.320 --> 0:25:18.359 That was a day's premitty where you had to like 0:25:18.480 --> 0:25:21.919 score stuff out on score paper and go into the session, 0:25:22.040 --> 0:25:23.920 lay down the charts and it had to be right. 0:25:24.119 --> 0:25:24.320 You know. 0:25:24.480 --> 0:25:26.639 There was no you know, because payroll runs when you 0:25:26.680 --> 0:25:27.800 have a lot of people on the floor. 0:25:27.960 --> 0:25:31.639 There were union dates, so it was cool. It was 0:25:31.680 --> 0:25:34.520 a lot of fun. I wouldn't have made it in 0:25:34.640 --> 0:25:37.760 the seventies, man it you know, that. 0:25:37.880 --> 0:25:41.919 Was premitty, so things were way way different then. So anyway, 0:25:42.880 --> 0:25:46.600 I wanted to be Bobby Broom or somebody you know, 0:25:46.760 --> 0:25:47.960 great jazz guitar player. 0:25:48.440 --> 0:25:49.200 Was just okay. 0:25:50.640 --> 0:25:53.160 Now we're going to get calls people say he was terrible. 0:25:53.280 --> 0:25:59.000 He wasn't just okay, And like, did you come close 0:25:59.080 --> 0:26:04.920 to a a career in being like I was? I 0:26:05.119 --> 0:26:06.280 was a journeyman. 0:26:07.480 --> 0:26:08.800 No, no, no, no, no, no no no. 0:26:09.280 --> 0:26:16.760 I was playing weddings in Mezvas, wedding at Best. I 0:26:16.880 --> 0:26:21.920 haven't got guys, I haven't gotten to the part about 0:26:21.920 --> 0:26:25.040 the Mafia weddings in Flatbush for for seventy five dollars. 0:26:25.119 --> 0:26:25.800 But I'll get there. 0:26:27.240 --> 0:26:30.920 And in nineteen eighty two, you know, I had a 0:26:31.040 --> 0:26:34.399 nice life there. My cash flow is okay because of 0:26:34.440 --> 0:26:35.879 the scoring work. But I knew I had to have 0:26:35.960 --> 0:26:38.920 moved to LA or New York. So all my friends 0:26:38.960 --> 0:26:42.960 were here, had some people in some friends in advertising 0:26:43.200 --> 0:26:44.600 and corporate communications. 0:26:44.640 --> 0:26:46.920 So came back started you really want to hear this? 0:26:47.119 --> 0:26:51.000 Yes, yeah, okay, already, No, I'm not that's a problem. 0:26:53.160 --> 0:26:55.720 I came back to New York, took every gig playing 0:26:55.800 --> 0:26:59.080 I could. I got really good at sixteenth note octaves 0:26:59.160 --> 0:27:01.159 because I played on a lot of bad dance records. 0:27:01.280 --> 0:27:07.440 Check records. Oh man, I don't remember. I really don't. 0:27:07.520 --> 0:27:08.360 That's the twenty years stad. 0:27:08.400 --> 0:27:10.920 I don't remember. They weren't Union. I have no idea. 0:27:11.160 --> 0:27:13.240 You know, I got paid in cash. I left. 0:27:15.480 --> 0:27:18.720 And was doing every kind of weird club date gig 0:27:18.880 --> 0:27:22.040 I could, like I said, mafia weddings out in Flatbush, 0:27:22.359 --> 0:27:25.480 taking the subway home in a tuxedo with my guitar 0:27:25.560 --> 0:27:27.320 and my amp at two point thirty in the morning 0:27:27.359 --> 0:27:27.960 from the junction. 0:27:28.080 --> 0:27:28.680 You guys know what. 0:27:29.840 --> 0:27:34.760 This was late eighties. It got stolen what I was 0:27:34.760 --> 0:27:36.200 waiting for the no no, no, no no. 0:27:37.760 --> 0:27:42.320 But I was producing stuff overnight at Calliope because it 0:27:42.400 --> 0:27:47.320 was the cheapest hours, and I was doing industrials for 0:27:47.440 --> 0:27:50.200 my friends, you know, big corporate communications shows, and the 0:27:50.280 --> 0:27:52.680 money was great and you got to do really big productions, 0:27:52.720 --> 0:27:57.080 and stuff just started getting into jingles. And I was 0:27:57.160 --> 0:28:00.679 working overnight at Calliope, and Chris, you remember Chris Irwin, 0:28:00.840 --> 0:28:03.040 the guy who wanted to another name, fell asleep at 0:28:03.040 --> 0:28:05.399 the console. So I finished up and he woke up. 0:28:05.440 --> 0:28:08.200 He said, Oh, Bob Colter, the guy who engineered for 0:28:08.320 --> 0:28:10.080 me all the time, is going away for two weeks. 0:28:10.080 --> 0:28:12.919 Would you like to fill in and I was like. 0:28:15.119 --> 0:28:16.920 Yeah, yeah, I know how to do that. 0:28:19.160 --> 0:28:22.560 I knew how to press record on the tape ma sheet. 0:28:22.560 --> 0:28:24.359 You know, I'd always asked a lot of questions. I 0:28:24.440 --> 0:28:27.680 was fascinated by engineering. So this was about eighty five 0:28:27.800 --> 0:28:28.680 and it was Calliope. 0:28:28.880 --> 0:28:29.920 So you know what happened there. 0:28:31.720 --> 0:28:34.040 At the same time that I got a following as 0:28:34.040 --> 0:28:38.520 an engineer there, I got real successful doing jingles, so 0:28:38.560 --> 0:28:40.400 I was trying to do You remember, I was trying 0:28:40.440 --> 0:28:43.360 to do jingles during the day and records at night, 0:28:43.440 --> 0:28:45.040 and it was killing me. And I got a lot 0:28:45.080 --> 0:28:47.280 of good stuff I was doing, like the postal service, 0:28:47.760 --> 0:28:51.320 chef boarder d you know, a lot of BMW Mercedes. 0:28:52.720 --> 0:28:58.280 They didn't give me a car. And then so about 0:28:58.720 --> 0:29:01.040 I think it was ninety one ninety two, I said, 0:29:01.080 --> 0:29:04.440 you know, I was dying and I just realized that 0:29:04.720 --> 0:29:07.040 I had to give one up. So I said, okay, 0:29:07.120 --> 0:29:08.680 I got to make as much money in the record 0:29:08.720 --> 0:29:11.440 business as I was doing in jingles, which is great 0:29:11.480 --> 0:29:13.280 money when when you get finals. 0:29:13.960 --> 0:29:17.720 Really oh yeah, yeah, yeah. The writing fees are decent. 0:29:17.960 --> 0:29:20.440 Plus they're all Union days, so you know, you pa, 0:29:20.520 --> 0:29:22.640 you know, kids, stuff runs for years. I did a 0:29:22.720 --> 0:29:25.320 thing for chef boyd d sharks, you know, little pasta 0:29:25.480 --> 0:29:28.120 shaped like sharks. That ship ran for like three or 0:29:28.120 --> 0:29:30.240 four years, so I was getting checks that whole time. 0:29:30.320 --> 0:29:32.120 It was great. Can I ask my producer, are we 0:29:32.160 --> 0:29:33.120 allowed to play that song? 0:29:33.520 --> 0:29:33.560 No? 0:29:35.960 --> 0:29:39.000 No, no, we can sing it? 0:29:39.160 --> 0:29:39.200 No. 0:29:39.560 --> 0:29:44.440 In fact, I think you're going But it was, you know, 0:29:44.520 --> 0:29:46.160 it was cool. We had to do everything. I did 0:29:46.240 --> 0:29:48.120 the music, I did the engineering, I did a lot 0:29:48.200 --> 0:29:50.800 of the playing, and it was just about when they 0:29:50.880 --> 0:29:53.560 expected the music houses to do sound design as well, 0:29:53.800 --> 0:29:56.360 so I had to make the sound of the shark. 0:29:57.160 --> 0:29:59.480 It was animated of the shark fin cutting back and 0:29:59.560 --> 0:30:03.880 forth through the water. So this was the really early 0:30:03.960 --> 0:30:06.280 days of sampling, and samplers didn't have a lot of memory, 0:30:06.720 --> 0:30:08.840 so I think I did. I got a circular saw, 0:30:10.840 --> 0:30:14.640 ripped a piece of bellcrow and did a zipper like 0:30:14.720 --> 0:30:17.840 a zip, and then put them all together and I thought, 0:30:17.920 --> 0:30:20.960 you know, that was really cool, man. It really sounds 0:30:21.000 --> 0:30:23.200 like the shark is cutting up the water. And the 0:30:23.320 --> 0:30:25.320 agency says, that's much too scary. 0:30:25.440 --> 0:30:29.760 We can't use that. So anyway, so. 0:30:29.840 --> 0:30:32.000 By the early nineties I was just doing records. I 0:30:32.080 --> 0:30:35.080 was just engineering and then producing records. 0:30:35.120 --> 0:30:39.440 So that's about what So you're saying that your side hustle, 0:30:40.680 --> 0:30:46.800 you're you're you know, make some engineers engineer like that 0:30:47.080 --> 0:30:50.920 was just an afterthought to you, but you're like changing lives. Yeah, 0:30:51.600 --> 0:30:53.960 but you know, shit works funny, man, But I don't 0:30:54.000 --> 0:30:56.440 think you realized you were changing lives as you were 0:30:56.520 --> 0:30:56.800 doing it. 0:30:57.360 --> 0:30:59.680 You know what, man, I wasn't changing lives. The artist 0:31:00.160 --> 0:31:02.520 working with were changing lives. I was helping them do 0:31:02.600 --> 0:31:05.720 their thing. I really believe in that. But I read 0:31:05.840 --> 0:31:08.200 you know, that's important to me honestly, as a as 0:31:08.240 --> 0:31:11.680 an engineer or producer. It's really important because it is 0:31:11.840 --> 0:31:14.280 all about the artist, and people lose sight of that, 0:31:14.480 --> 0:31:17.040 especially engineers, you know, guys who get in and say, 0:31:17.080 --> 0:31:18.280 oh no, no, no, that wasn't right. 0:31:18.360 --> 0:31:19.440 We have to set that up again. 0:31:19.640 --> 0:31:20.360 I used to do that. 0:31:21.600 --> 0:31:26.040 Oh you you were that sort of stupid yeah yeah. 0:31:27.080 --> 0:31:30.760 And then I really, you know, it's really about the artists, 0:31:30.800 --> 0:31:34.200 the artist when you're making a record. You know this, man, 0:31:34.840 --> 0:31:36.960 you got to just go there with the artists because 0:31:37.000 --> 0:31:38.840 that's what makes them special. And if they don't have 0:31:38.880 --> 0:31:41.080 anything the special to say, you shouldn't be there. 0:31:41.240 --> 0:31:44.160 But it seems to me that a lot of us 0:31:44.720 --> 0:31:46.320 and a lot of people I meet, especially in the 0:31:46.400 --> 0:31:50.800 music industry, they they wind up in their glory period 0:31:51.400 --> 0:31:55.160 kind of by accident and it's never by design. Like 0:31:55.360 --> 0:31:58.080 I never like people people stop me all the time like, 0:31:58.120 --> 0:32:01.400 oh my god, like you're there, apparent to Doc Severson, 0:32:02.480 --> 0:32:06.040 I never like you've all people know that. I never 0:32:06.120 --> 0:32:07.880 was like, you know, Bob, I really want to be 0:32:08.040 --> 0:32:10.280 late night. He had good hot chops. Man. No, No, 0:32:10.400 --> 0:32:10.960 I love Doc. 0:32:11.000 --> 0:32:12.960 I played with him, funny ties. 0:32:15.200 --> 0:32:15.520 With him. 0:32:16.080 --> 0:32:19.160 Yeah, he sat in DOCA in Los Angeles. 0:32:19.680 --> 0:32:22.360 Yeah, he got down with this. But I'm just saying that, 0:32:23.200 --> 0:32:25.600 you know, I kind of this wasn't planned at all, 0:32:26.400 --> 0:32:29.880 and it was never by design. And to hear you 0:32:30.040 --> 0:32:35.320 say it like engineering was just like it was another gig. 0:32:36.800 --> 0:32:40.440 But in hindsight, you do recognize that it was historically 0:32:40.520 --> 0:32:42.000 important that you did this stuff right. 0:32:42.240 --> 0:32:44.680 You know, did you guys see Zella, the Woody Ellen 0:32:44.760 --> 0:32:47.600 movie where he kind of shows up in all these historical. 0:32:47.920 --> 0:32:54.720 Yes, yes, which jew are you asking because this quarter 0:32:54.800 --> 0:32:58.440 says yeah, yeah, so you know, I was just there. 0:32:58.560 --> 0:32:59.200 That's a weird car. 0:32:59.280 --> 0:32:59.760 That was a car. 0:33:00.880 --> 0:33:04.320 Yeah, that's you know, that's one of my favorite records. 0:33:05.400 --> 0:33:07.960 Oh my god, wa wah Watson, that's everything is him 0:33:08.000 --> 0:33:14.360 on that Okay, but you know, things happened in strange words. Man, 0:33:14.720 --> 0:33:17.800 I see well, and I am passionate about what I do. 0:33:18.080 --> 0:33:22.560 You know, I'm waving my head up and down. 0:33:22.680 --> 0:33:24.200 But I have a quo. 0:33:24.280 --> 0:33:25.960 I'm not sure if I missed. Why Why did you 0:33:26.080 --> 0:33:28.840 choose making records over advertising? Advertisements? 0:33:28.840 --> 0:33:29.960 Off? More much cooler. 0:33:30.000 --> 0:33:31.760 That's what I wanted to do since I was a kid. 0:33:31.800 --> 0:33:33.520 You know, I used to sit in my room and 0:33:33.840 --> 0:33:36.920 early on when headphones first came around, like in sixty 0:33:36.960 --> 0:33:39.560 four or I got a headphone in sixty four, I 0:33:39.720 --> 0:33:41.360 used to sit and listen to these records and I 0:33:41.480 --> 0:33:43.120 look on the back of the records and I said 0:33:43.200 --> 0:33:48.600 producer and they called mixers remixers at that point, and uh, 0:33:49.800 --> 0:33:52.160 you know, I said, I had no idea what it was, 0:33:52.280 --> 0:33:53.120 but I said, oh. 0:33:53.080 --> 0:33:55.880 That looks really cool because I really like this record. 0:33:56.600 --> 0:33:59.000 So that's that's where I got started. 0:33:59.080 --> 0:34:04.200 Really, I had almost this exact similar situation. I was interning. 0:34:04.240 --> 0:34:06.440 When I first started, I was interning at JSM. It 0:34:06.520 --> 0:34:10.080 was a jingle house, huge, yeah, like and it was 0:34:10.200 --> 0:34:12.920 beautiful and you've been in there, mm hmm, Like the 0:34:13.000 --> 0:34:16.600 facilities were great, everything. Everybody dressed nice and smelled good 0:34:16.640 --> 0:34:18.879 and made a lot of money. And I was also 0:34:18.960 --> 0:34:22.759 interning at Electricallyity at the same exact time to totally. 0:34:22.600 --> 0:34:24.319 You know, there must have been killing you man. 0:34:24.680 --> 0:34:26.440 Well not really, I mean it was. 0:34:26.520 --> 0:34:26.960 It was more. 0:34:27.320 --> 0:34:29.239 Eventually they both wanted to hire me. I had to 0:34:29.360 --> 0:34:33.880 literally decide the same decision like advertising or Jingles versus 0:34:34.440 --> 0:34:38.120 rock and roll essentially, and you know, the he chose. 0:34:38.760 --> 0:34:41.920 I was like, it's it's sort of a When I 0:34:42.040 --> 0:34:43.680 was doing the pros and cons of it, you know, 0:34:43.880 --> 0:34:46.759 everything said Jingles. You know, of course hours, the money. 0:34:46.520 --> 0:34:50.120 The money, the money, the money, yea, and all the 0:34:50.120 --> 0:34:51.680 opportunity to write as well. 0:34:51.800 --> 0:34:56.040 Yeah yeah, But then you know, I just chose Electrically 0:34:56.120 --> 0:34:57.240 because I wanted to make records. 0:34:57.400 --> 0:34:58.600 It's all the same stuff. 0:34:58.800 --> 0:35:01.960 The problem with doing after a while it is, i mean, 0:35:02.280 --> 0:35:04.640 everybody thinks, oh, must really rob your soul. And I 0:35:04.719 --> 0:35:06.480 used to say, fuck, you know, I'm a professional. I 0:35:06.600 --> 0:35:09.120 just do this shit, and I'm really crazy about it. 0:35:09.160 --> 0:35:10.920 When I'm doing it, I love it. I'd put two 0:35:11.000 --> 0:35:14.200 hundred percent into it. But after a while I realized 0:35:14.239 --> 0:35:16.320 it did start to rob My soul, because you just 0:35:16.360 --> 0:35:18.040 put all this stuff out there and people send it 0:35:18.120 --> 0:35:20.520 back and say, oh, no it's too green, you know, 0:35:20.760 --> 0:35:24.320 come on, or we really need it by Thursday afternoon. 0:35:24.440 --> 0:35:27.480 We got to have it by Thursday afternoon. It's really important. 0:35:27.520 --> 0:35:28.799 So you stay up all night. 0:35:28.920 --> 0:35:32.160 Man, you're really dying for it. So you wait till Monday, 0:35:32.320 --> 0:35:34.279 just to be cool, and you call them me and say, hey, Bill, 0:35:34.360 --> 0:35:37.359 did everything work on okay with the track? Oh, it's 0:35:37.440 --> 0:35:39.320 on my desk here somewhere. Let me get to it 0:35:39.360 --> 0:35:41.520 and I'll call you back. Oh all the time, man, 0:35:41.600 --> 0:35:41.960 you know that. 0:35:42.600 --> 0:35:50.319 Yeah, that happens to us right even now as we speak, Bob, 0:35:50.400 --> 0:35:52.719 I have to say that you're as you say. The 0:35:52.840 --> 0:35:56.239 token white Guy stick was always like one of my 0:35:56.320 --> 0:35:58.880 favorite moments whenever you would do these little skits with 0:35:59.200 --> 0:36:04.319 Dayla and Tribe and everything. First of all, I mean, 0:36:04.360 --> 0:36:08.320 would they would you volunteer these services? And they just 0:36:08.360 --> 0:36:09.680 say go in the studio, go in. 0:36:09.680 --> 0:36:13.000 The think the token white guy was me. I must 0:36:13.040 --> 0:36:16.040 have been out of my mind. You know, everybody was 0:36:16.160 --> 0:36:20.160 doing bad stuff back then. I think that they did 0:36:20.239 --> 0:36:22.960 a whole bunch of fake radio ideas or something like that. 0:36:23.160 --> 0:36:24.880 So I just said, oh, let me go in, let 0:36:24.960 --> 0:36:26.759 me go in and do it, never thinking that it 0:36:26.800 --> 0:36:28.120 would really see the light of day. 0:36:28.320 --> 0:36:31.160 When you were making that stuff, you know, I guess 0:36:31.280 --> 0:36:34.440 like a record like Balloon and just even the Tribe stuff. 0:36:34.840 --> 0:36:38.239 Did you have any idea of where it would go? 0:36:38.480 --> 0:36:41.000 I read an interview This was a couple of days 0:36:41.000 --> 0:36:44.560 ago on Waxweatics. They interviewed Cecil and Margleff. They were 0:36:45.000 --> 0:36:47.600 all the Stevie's stuff and everything, and they were talking 0:36:47.640 --> 0:36:49.440 about how after they did the Stevie stuff they got 0:36:49.520 --> 0:36:52.480 hired to do Osley Brothers and it was just you know, 0:36:52.600 --> 0:36:54.680 regular gig or whatever. And he said they were just 0:36:54.840 --> 0:36:58.480 doing just doing what they did, and they didn't think anything. 0:36:58.680 --> 0:37:00.680 They had no idea the songs we get plate forty 0:37:00.800 --> 0:37:02.920 years later. All right, did you have moments? 0:37:03.160 --> 0:37:03.200 No? 0:37:03.320 --> 0:37:04.000 No, no, no. 0:37:04.480 --> 0:37:08.720 I think most normal people when they're working on a record, 0:37:08.800 --> 0:37:11.160 you love what's in front of you. It's I don't 0:37:11.200 --> 0:37:13.239 take this the wrong way. That's why you get paid with. 0:37:13.400 --> 0:37:15.719 What I mean is that's why you're there, whether you're 0:37:15.760 --> 0:37:21.359 the artist or engineer or mixing. It's the coolest thing 0:37:21.400 --> 0:37:23.320 in the world for the time that you're working on it. 0:37:23.719 --> 0:37:25.960 It has to be you gotta love it to death. 0:37:26.520 --> 0:37:31.799 So number one, that's the prime directive. Like Star Trek 0:37:33.120 --> 0:37:36.080 and No. I get asked that a lot people say, 0:37:36.160 --> 0:37:38.400 did you know you were making a classic? It's like, no, 0:37:38.560 --> 0:37:40.240 we were having fun, trying to finish. 0:37:40.320 --> 0:37:42.600 Here's the thing, though, I think in order for you 0:37:42.840 --> 0:37:50.520 to produce the results that you did produce, I feel 0:37:50.560 --> 0:37:54.279 as though one has to submit to I guess the 0:37:55.280 --> 0:38:00.960 ongoing battle or conflict with a lot of people, especially 0:38:01.320 --> 0:38:02.040 that early. 0:38:01.880 --> 0:38:04.600 In the game between eighty eight, eighty nine, ninety ninety 0:38:04.680 --> 0:38:08.120 one was actually admitting that hip hop was an art 0:38:08.200 --> 0:38:12.080 form and not just a fat, an extra check in 0:38:12.320 --> 0:38:14.200 that sort of thing. You know, man, it took the 0:38:14.320 --> 0:38:18.520 record business. When the record business really got on board 0:38:18.719 --> 0:38:20.400 was when they said, holy shit, there's a lot of 0:38:20.480 --> 0:38:22.319 money in this. I mean, you know, come on, I'm 0:38:22.360 --> 0:38:25.160 not justing anybody. That's just the way, That's exactly. And 0:38:25.480 --> 0:38:27.960 my thing was, I like to make great music with 0:38:28.080 --> 0:38:30.840 great people. I don't care what form that takes. I 0:38:31.040 --> 0:38:33.080 like big band, you know, there's a lot of things 0:38:33.120 --> 0:38:36.799 I like. I make jazz records, and I really liked 0:38:36.800 --> 0:38:38.799 the people I was working with, so. 0:38:40.360 --> 0:38:40.759 There was. 0:38:42.239 --> 0:38:44.960 I don't know if you ran into this, but there 0:38:45.040 --> 0:38:47.640 was some pushback in the engineering in the studio community 0:38:47.680 --> 0:38:52.440 in New York because until hip hop came along, the 0:38:52.520 --> 0:38:55.319 studios were fairly integrated, but it was a jazz scene, 0:38:55.360 --> 0:38:58.120 and because hip hop was a completely new cultural thing 0:38:58.200 --> 0:39:01.160 coming up in the streets within a different way of talking, 0:39:01.280 --> 0:39:04.920 different way of dressing, different way of walking, different way 0:39:04.960 --> 0:39:08.680 of making music, that even people who were used to 0:39:08.800 --> 0:39:12.640 working in integrated situations in the studio. The studio establishment 0:39:12.800 --> 0:39:14.759 back then and still is to a certain degree of 0:39:14.800 --> 0:39:15.839 white male boys club. 0:39:15.880 --> 0:39:18.000 I mean, that's just the people that drift into it, 0:39:19.000 --> 0:39:20.080 not by design, but. 0:39:21.880 --> 0:39:26.359 So there were a lot of people who just sort 0:39:26.400 --> 0:39:28.719 of saw a bunch of eighteen year old kids coming 0:39:28.800 --> 0:39:31.520 in the door with dress like they'd never seen people 0:39:31.640 --> 0:39:34.480 dressed before, and having fun because they're eighteen year old kids, 0:39:34.920 --> 0:39:37.319 and they got freaked. I think, that's what I think. 0:39:37.400 --> 0:39:38.919 And I was like, hey, guys, what do you want 0:39:38.960 --> 0:39:41.080 to do? Because I was learning at the same time, 0:39:41.239 --> 0:39:43.560 so it was like, Wow, this is really fascinating. 0:39:43.600 --> 0:39:44.040 I like this. 0:39:44.960 --> 0:39:49.279 Yeah, Well, since you brought it up, is there a 0:39:49.360 --> 0:39:51.440 client that you had to say no to that you 0:39:51.560 --> 0:39:53.680 kind of regret? That. Damn. Maybe I should have did 0:39:53.719 --> 0:39:54.760 that for historical purpose. 0:39:54.880 --> 0:39:57.880 Oh man, you have no idea the stuff I've had 0:39:57.920 --> 0:40:02.000 to turn down. And because I'm I was like really busy. 0:40:02.080 --> 0:40:05.040 It wasn't because I like, I don't like what can 0:40:05.080 --> 0:40:07.200 I really talk? I usually don't like to talk about 0:40:07.200 --> 0:40:14.440 that kind of stuff. Yeah, oh yeah, Prince. Wait, okay, 0:40:14.719 --> 0:40:15.520 this is a good one. 0:40:15.600 --> 0:40:15.839 Guys. 0:40:16.000 --> 0:40:20.440 So, so I got married in ninety four, and you know, 0:40:20.600 --> 0:40:22.359 I was working all the time, and I was burned out. 0:40:22.400 --> 0:40:24.160 That's one of the reasons that Richard got mad at 0:40:24.160 --> 0:40:26.399 me at a certain point because I was so burned out. 0:40:26.480 --> 0:40:29.160 I'd had a vacation plan for like months and months, 0:40:29.200 --> 0:40:31.719 a lot of money into a European vacation and I said, no, 0:40:31.800 --> 0:40:32.640 I'm going on vacation. 0:40:32.800 --> 0:40:33.520 Richard flipped. 0:40:35.239 --> 0:40:41.520 But that's okay, that's Richard. And so I was really 0:40:41.600 --> 0:40:44.239 burned out. I was working like ninety hour weeks a lot. 0:40:44.280 --> 0:40:47.000 I had one Friday night home with my new wife 0:40:47.840 --> 0:40:51.560 and we cooked dinner. I love to cook. I cooked dinner. 0:40:51.600 --> 0:40:54.480 I had a bottle keyantie. I'm in my robe nine 0:40:54.960 --> 0:40:57.600 on a Friday night. I had to do it, I'm saying, And. 0:40:58.120 --> 0:41:06.520 Yeah, yeah, that was afterwards, Man, that's what we're here for, 0:41:06.760 --> 0:41:07.799 all right. Let it. 0:41:10.800 --> 0:41:13.640 No work. 0:41:15.200 --> 0:41:18.040 So I'm home. I'm down for the count after some wine, 0:41:18.120 --> 0:41:22.240 probably smoked, you know. So the phone rings and it's battery. 0:41:22.600 --> 0:41:24.880 And I worked a lot with and I still do 0:41:25.000 --> 0:41:27.239 work a lot with Michelle and Deochella, who's a lovely 0:41:27.320 --> 0:41:31.640 person and a dear friend. And the phone rings and Bob, 0:41:31.760 --> 0:41:35.280 this is battery. The studio, I said, yeah, they go listen. 0:41:35.400 --> 0:41:37.919 Prince is coming in with Michelle tonight and they want 0:41:37.960 --> 0:41:43.440 you to do the session. So I was like, I 0:41:43.640 --> 0:41:46.320 was so excited, and I kind of called myself and 0:41:46.520 --> 0:41:49.239 I said, let me call you back, and I hung up, 0:41:49.360 --> 0:41:51.520 and I was like, you know, I'm a little loaded. 0:41:51.600 --> 0:41:53.400 I'm really fucking tired. 0:41:54.120 --> 0:41:55.480 I just got out of the shower. 0:41:55.640 --> 0:41:57.440 Do I want to go in and work all night 0:41:57.520 --> 0:42:00.680 with some guy that won't talk directly to me? You know, 0:42:01.080 --> 0:42:03.680 it wasn't guys, It wasn't that literal. I was burned out. 0:42:03.719 --> 0:42:05.760 It could have been anybody. It could have been the Beatles, 0:42:05.800 --> 0:42:10.680 and I would have said the same thing. So I said, no, Wow, yeah, yeah, do. 0:42:10.719 --> 0:42:12.200 You know what day that I know what day that 0:42:12.360 --> 0:42:13.640 that that session took place? 0:42:13.920 --> 0:42:14.359 Are you sure? 0:42:14.560 --> 0:42:17.640 Yeah, Okay, here it comes come out? 0:42:17.680 --> 0:42:19.640 Said it up? Literally it was it was almost literally 0:42:19.680 --> 0:42:21.200 twenty years ago today today. 0:42:21.320 --> 0:42:21.680 How do you know? 0:42:21.800 --> 0:42:23.560 It was July third, nineteen ninety six. I looked at 0:42:23.600 --> 0:42:25.800 up on what song was it? What's email from the 0:42:25.840 --> 0:42:26.720 Emancipation album? 0:42:27.080 --> 0:42:27.239 Ah? 0:42:27.640 --> 0:42:29.840 Oh she was supposed to be on that. Yeah, they 0:42:29.920 --> 0:42:33.359 recorded an instrumental. They recorded an instrumental that night. Uh, 0:42:34.680 --> 0:42:36.720 like I think he went back and re re recorded. 0:42:36.800 --> 0:42:37.440 Of course he did. 0:42:37.640 --> 0:42:39.759 Yeah, they did that. 0:42:40.040 --> 0:42:40.640 So that's one. 0:42:41.000 --> 0:42:43.880 Uh, there's some others I can wait, can we at 0:42:43.920 --> 0:42:47.880 this moment? Prince Dork he no music door. 0:42:48.320 --> 0:42:50.719 This is why each the guy's calmed down. 0:42:50.800 --> 0:42:55.440 Each person in this room has has a weird super 0:42:55.760 --> 0:43:00.760 uh kind of ability to recall stuff like that. Anyway, 0:43:00.840 --> 0:43:02.640 So Prince Yeah. 0:43:02.960 --> 0:43:06.319 And there's another one. I'm not gonna I can't name 0:43:06.440 --> 0:43:09.640 names because it's bad. There's the people are still around. 0:43:10.200 --> 0:43:13.320 A really huge star of the last fifteen years, I 0:43:13.400 --> 0:43:19.040 mean really really huge and uh the A and R 0:43:19.120 --> 0:43:21.520 person who I'd known for a long time, who's real 0:43:21.600 --> 0:43:24.160 big geese now really big cheese, called me and said, 0:43:24.160 --> 0:43:26.279 you know, we have blah blah blah, we want you 0:43:26.400 --> 0:43:29.800 to mix the first record, and I listened to it 0:43:30.560 --> 0:43:35.680 and I called him back and I said blank, because 0:43:35.719 --> 0:43:38.160 I'm not gonna say his name was, No, I'm not. 0:43:38.160 --> 0:43:38.640 Going to say it. 0:43:40.200 --> 0:43:50.279 Yeah right, well this record me. So I said, you know, 0:43:51.560 --> 0:43:53.800 do you really think this record's ready? Because it didn't 0:43:53.800 --> 0:43:55.960 sound ready to me. It sounded like you know, demos 0:43:56.000 --> 0:44:01.200 with the drum machine and stuff, and it was like huge, huge, 0:44:01.400 --> 0:44:03.920 huge career that goes on to these days this day 0:44:04.440 --> 0:44:05.040 and you know that. 0:44:05.280 --> 0:44:10.360 I mean, can I talk about an active career? Oh, extremely, 0:44:10.560 --> 0:44:14.040 top of the heap, top of the heap, talking about 0:44:14.360 --> 0:44:17.920 what didn't sound what constitutes because I believe. 0:44:18.080 --> 0:44:20.399 Your feeling towards Brown Sugar as well. When you heard 0:44:20.440 --> 0:44:23.960 the demos, Oh no, no, these demos were killing. We 0:44:24.080 --> 0:44:26.200 chased the demos on that we chased. We chased the 0:44:26.280 --> 0:44:29.840 demos on that we chased the demos on Michelle's first record. 0:44:29.920 --> 0:44:30.919 They were ferocious. 0:44:31.800 --> 0:44:35.479 Chased the demos on Erica's record, but it didn't quite 0:44:35.520 --> 0:44:38.360 sound like a record, you know, And I think that 0:44:38.520 --> 0:44:43.520 at that point. You know now, because there's certain big 0:44:43.560 --> 0:44:45.520 figures I'm not going to name names. You know, kind 0:44:45.560 --> 0:44:48.279 of scratchy and thin and small sounding is kind of 0:44:48.320 --> 0:44:51.680 okay again, but at that point people I didn't think 0:44:51.760 --> 0:44:57.319 people wanted that, you know, so so yeah, anyway, there's a. 0:44:57.320 --> 0:44:57.920 Bunch of stuff. 0:44:57.920 --> 0:45:00.560 You know. I had to turn down that thing recently 0:45:00.560 --> 0:45:03.880 because of school, and it really the H word. It 0:45:04.040 --> 0:45:06.759 hurt me more than anything I've actually had to say 0:45:06.840 --> 0:45:07.040 no to. 0:45:07.200 --> 0:45:08.400 But I teach it. I want you now. 0:45:08.520 --> 0:45:11.320 So it turns out that your crunch week was the 0:45:11.360 --> 0:45:15.640 first week of school, and uh, the children they signed 0:45:15.719 --> 0:45:16.400 me first. 0:45:17.160 --> 0:45:19.960 You know, I mean, we could talk about it. 0:45:20.040 --> 0:45:22.400 I so wanted to do that. I begged Bob to 0:45:23.560 --> 0:45:25.560 kind of take the load off Tim Latham because Tim 0:45:25.800 --> 0:45:31.080 was also uh engineered the Hamilton record, and Bob and 0:45:31.160 --> 0:45:34.640 Tim worked on I mean, they were in my mind, 0:45:34.680 --> 0:45:37.879 you guys were like great tag team partners. Fricking crack. Yeah, 0:45:38.200 --> 0:45:40.520 you guys did try together in the roots together. 0:45:40.400 --> 0:45:43.040 It was a Jewish Irish comedy to him. Yeah, and 0:45:43.200 --> 0:45:44.320 Tim is a funny guy. 0:45:44.440 --> 0:45:44.719 He is. 0:45:45.640 --> 0:45:47.719 Yes, I took over the jew part of that, I think, Bob. 0:45:47.800 --> 0:45:50.920 All right, man, thank you for represent. 0:45:52.400 --> 0:45:55.080 All right, So let's slide Let's slide it back to 0:45:55.120 --> 0:45:59.680 the beginning because I know that Q Tip in his 0:46:00.000 --> 0:46:04.400 excitement over the ghostets of record. That was a moment 0:46:04.480 --> 0:46:07.960 for him, and I have to admit, like, those are 0:46:08.880 --> 0:46:12.640 four nineteen eighty six. Those were some loud ass drums, 0:46:13.480 --> 0:46:19.279 which I have a problem. What's that problem is that? Man? 0:46:19.520 --> 0:46:22.120 You know, I mixed stuff and then I listened to 0:46:22.239 --> 0:46:24.279 it two weeks later when it's too late to change, 0:46:24.320 --> 0:46:24.680 and I'm. 0:46:24.600 --> 0:46:26.400 Like, oh my god, what did I do? 0:46:27.680 --> 0:46:31.000 And I just somehow I hear the drums being real 0:46:31.120 --> 0:46:33.120 loud your first record. Man, When I listened to it 0:46:33.200 --> 0:46:34.440 after it came out, I said, oh my. 0:46:34.480 --> 0:46:36.640 God, I really fucked this up. I can't believe I 0:46:36.760 --> 0:46:37.000 did that. 0:46:37.880 --> 0:46:39.360 No, I don't know. 0:46:39.480 --> 0:46:44.000 I mean, no, drum I listen. 0:46:44.840 --> 0:46:47.360 If I listened like, if I listened like a listener, 0:46:47.440 --> 0:46:49.480 it's like, wow, that's really rocking. But if I listened 0:46:49.520 --> 0:46:51.279 like a mixer, I'm like, what did you do? 0:46:51.560 --> 0:46:51.759 See? 0:46:52.000 --> 0:46:52.360 But that's what? 0:46:53.760 --> 0:46:56.719 Yeah, that was the best I remember hearing thistatic and 0:46:56.880 --> 0:47:00.120 like und like nothing else that will. 0:47:00.400 --> 0:47:03.360 Guys and still do exactly the same thing as you should, 0:47:03.520 --> 0:47:05.520 And two weeks after I still say, oh my god, 0:47:05.600 --> 0:47:08.440 what did I do? But yeah, Jewish exactly. 0:47:08.600 --> 0:47:12.719 But the thing is is that, especially with before we 0:47:13.080 --> 0:47:15.960 started working with you on the organics records like whenever 0:47:16.120 --> 0:47:18.680 I would do these rough mixes and I would have 0:47:18.719 --> 0:47:21.600 the drums up ungodly loud, you know, band members and 0:47:21.600 --> 0:47:23.680 everybody just think like, oh, you're ego Mania. You just 0:47:23.719 --> 0:47:26.279 want to hear drums loud and turn everything else down. 0:47:26.640 --> 0:47:30.160 And so I kind of felt relieved that you were 0:47:30.320 --> 0:47:34.480 enforcing and saw a world in which the music could 0:47:34.520 --> 0:47:39.040 be just as loud as you know, the vocals. There 0:47:39.120 --> 0:47:42.120 was one time when Prince actually came to a session 0:47:42.840 --> 0:47:47.200 that was working on with Common and he said, Yo, 0:47:47.440 --> 0:47:49.400 turn all the music down and just turn the vocals up, 0:47:49.440 --> 0:47:52.560 like in his world. And I guess modern pop, the 0:47:52.680 --> 0:47:55.400 voice has to be the loudest thing in the forefront, 0:47:55.560 --> 0:47:58.000 and the music's the kind of the afterthought. 0:47:58.200 --> 0:48:00.640 The voice is the center of the record. Everything you 0:48:00.760 --> 0:48:02.760 do on a record should be there to support the vocal. 0:48:02.920 --> 0:48:04.719 But still you can have the drums loud and if 0:48:04.760 --> 0:48:06.839 you know no, I'm serious, if you know what you're doing, 0:48:07.360 --> 0:48:09.399 you can make room for everything at the same time. 0:48:09.760 --> 0:48:13.000 So yeah, I mean it just it's one of those things. 0:48:13.120 --> 0:48:15.839 David Gampson, who's a producer and writer out in la 0:48:15.960 --> 0:48:18.080 is a real good friend of mine and we have 0:48:18.280 --> 0:48:20.240 this thing because we've done a bunch of records together 0:48:20.320 --> 0:48:22.520 that once you put the drums up to a certain level, 0:48:22.600 --> 0:48:25.120 even if they're too loud, if you pull them down, 0:48:25.800 --> 0:48:27.920 everything kind of falls apart and it gets really limbed, 0:48:27.920 --> 0:48:28.520 so you got to put. 0:48:28.440 --> 0:48:31.040 Them back up again. You're right about that, Yeah, you're 0:48:31.040 --> 0:48:34.080 still right. So I mean, not like it was a 0:48:34.160 --> 0:48:37.680 scientific thing, but he said it changed his life. And 0:48:38.200 --> 0:48:41.719 basically like this guy has to engineer our stuff. So 0:48:42.960 --> 0:48:44.840 I mean, what were the can you go into the 0:48:45.080 --> 0:48:47.680 early days of working with tribe and. 0:48:50.120 --> 0:48:53.120 You know, you have to remember that technology was really 0:48:53.239 --> 0:48:54.640 primitive then, and. 0:48:55.120 --> 0:48:59.120 Wait before you start, and did you track these records 0:48:59.280 --> 0:49:01.440 or did you try Did you track an engineer or 0:49:01.520 --> 0:49:03.680 did you just engineer? No? Both both. 0:49:03.960 --> 0:49:05.720 I tracked him, mixed a lot of stuff. 0:49:05.800 --> 0:49:08.200 Now, the stories I hear from most engineers that I 0:49:08.520 --> 0:49:12.960 that I ask these questions, they often say, like, you know, 0:49:13.760 --> 0:49:17.439 maybe like Eric Sadler, Public Enemy. They would always praise 0:49:17.520 --> 0:49:21.520 him for going past page six in the Sampler's Manual, 0:49:21.880 --> 0:49:23.640 whereas everyone just be like, how do you turn it on? 0:49:23.760 --> 0:49:25.200 How you sample it? Or just give it to the 0:49:25.880 --> 0:49:29.040 side engineer and he'll loop everything up for you, Like. 0:49:29.160 --> 0:49:31.879 Well that was that was Actually that's really interesting because 0:49:31.920 --> 0:49:33.400 back in those days, the quickest. 0:49:33.120 --> 0:49:34.840 Way to move ahead was if you really had you 0:49:34.920 --> 0:49:36.120 been MIDI shit together. 0:49:36.440 --> 0:49:39.520 For those people who don't know, MIDI is the computer 0:49:39.680 --> 0:49:43.400 languages that computers and synthesizers you used to speak to 0:49:43.480 --> 0:49:45.680 each other, and no one it was a wild West. 0:49:45.880 --> 0:49:47.960 Number one, shit didn't work the way it was supposed to. 0:49:48.440 --> 0:49:50.480 Number two, nobody knew how to use the stuff. So 0:49:50.520 --> 0:49:52.920 if you knew how to use the stuff, especially assistance, 0:49:53.280 --> 0:49:54.720 you could move up really quickly. 0:49:54.840 --> 0:49:57.920 The SBX eighty yeah, I mean, oh my god, what 0:49:58.080 --> 0:49:59.919 a nightmare a sink box. 0:50:00.280 --> 0:50:02.960 So yeah, and I you know, I've always been sort 0:50:03.000 --> 0:50:05.600 of a tech geek. I really am fascinated looking under 0:50:05.640 --> 0:50:08.240 the hood on stuff. So it helped, you know, problems. 0:50:08.400 --> 0:50:10.160 Would they walk in like these records, like all right, 0:50:10.200 --> 0:50:11.120 Bob loop this up? 0:50:11.480 --> 0:50:14.040 Yeah yeah, And but you know, both Tip and Ali 0:50:14.200 --> 0:50:17.320 early on sort of started figuring it out, and the 0:50:17.400 --> 0:50:20.359 large professor hip Tip to the SP twelve I'll leave 0:50:20.480 --> 0:50:22.239 was one of the first person people I know to 0:50:22.320 --> 0:50:25.200 carry around a little uh mac, you know, the all 0:50:25.239 --> 0:50:26.960 in one things with the little tiny screen. 0:50:27.239 --> 0:50:27.439 Wow. 0:50:28.040 --> 0:50:31.359 And he used op code and so they would come 0:50:31.400 --> 0:50:33.480 in after a while, they would come in pretty prepared. 0:50:34.080 --> 0:50:37.279 Sometimes I would take this stuff in the other room 0:50:38.239 --> 0:50:41.279 in logic, the room in the back, yeah, and kind 0:50:41.320 --> 0:50:45.160 of just slip it around a little bit and hopefully 0:50:45.239 --> 0:50:47.279 not take the funk out of it. But in the 0:50:47.320 --> 0:50:49.960 beginning it was so primitive. I mean, samplers didn't have 0:50:50.000 --> 0:50:52.160 a lot of sampling time. So if you had twenty 0:50:52.239 --> 0:50:55.239 four track on tape, and you had one track two 0:50:55.320 --> 0:50:57.320 tracks taken up by the sink tone and the guide 0:50:57.360 --> 0:51:01.239 band guard band, if you wanted to lay down like 0:51:01.640 --> 0:51:04.480 a complete sort of two bar phrase, you had to 0:51:04.560 --> 0:51:08.600 do it in really tiny little pieces deck. Okay, let's 0:51:08.640 --> 0:51:12.120 take the next pass. So you listen to and you 0:51:12.520 --> 0:51:17.480 record deck and you put them together. What Yeah, I'm serious, man, 0:51:17.840 --> 0:51:19.800 you'd had to You had to do the beat, little 0:51:19.880 --> 0:51:23.040 tiny pieces at a time, you know, technology a recent 0:51:23.160 --> 0:51:26.600 track record. You had to no, no early on okay early? 0:51:27.560 --> 0:51:31.920 Yeah. Did you do any hip hop before Stetsosnic. 0:51:33.239 --> 0:51:37.399 Maybe at Calliope, I don't know, I don't know, maybe okay, Yeah. 0:51:39.160 --> 0:51:44.960 So I would hear of these primitive sampling techniques, especially 0:51:45.080 --> 0:51:47.120 like with the deaf sand people at Chunk King, where 0:51:47.160 --> 0:51:50.319 they would what's the process where you take the tape 0:51:50.320 --> 0:51:53.080 and get a pencil and you loop? Yeah, you make 0:51:53.120 --> 0:51:56.000 a tape loop. Can you describe that process? 0:51:56.040 --> 0:51:58.600 Because what you do is record your two bars that 0:51:58.680 --> 0:52:02.560 you like, don't boom, don't go, and you cut it 0:52:02.640 --> 0:52:05.200 and you you splice it together and make a tape loop. Now, 0:52:05.239 --> 0:52:07.799 obviously that loop's going to be at about twelve feet long, 0:52:07.960 --> 0:52:10.279 much too big to fit on the tape machine. So 0:52:10.400 --> 0:52:14.520 you stand back with pencils emulating tape guides and you 0:52:14.640 --> 0:52:16.880 hold them so you have the proper tension on it. 0:52:17.320 --> 0:52:19.719 And you're standing like twelve or fifteen feet away from 0:52:19.760 --> 0:52:22.520 the machine with like two pencils that are acting like 0:52:23.000 --> 0:52:26.960 rollers or tape guides. And yeah, yeah, it was primitive, man, 0:52:27.200 --> 0:52:30.440 But you know that was sort of You had people 0:52:30.719 --> 0:52:33.520 before that. You had eight a Way drum machines like Stets. 0:52:33.560 --> 0:52:35.239 So Sonic was the end. And I'm not a hip 0:52:35.280 --> 0:52:37.400 hop historian, but I just know the stuff I've worked on, 0:52:37.520 --> 0:52:42.800 But Stet's was the end of the eight away. You 0:52:42.880 --> 0:52:46.080 either had that or you had amazing DJs cutting back 0:52:46.120 --> 0:52:49.120 and forth between two records and going for four minutes 0:52:49.200 --> 0:52:52.280 in perfect tempo the first time I saw that man completely. 0:52:52.400 --> 0:52:55.040 I said, you want to do what? I said, okay, 0:52:55.120 --> 0:52:57.280 well I'll set it up, and I'm like, they're never gonna. 0:52:57.120 --> 0:52:59.880 Be able to do this, and they did it perfectly. 0:53:00.160 --> 0:53:01.279 God, yeah, let's kill it. 0:53:01.400 --> 0:53:01.920 Let's kill her. 0:53:03.360 --> 0:53:08.600 So yeah, at first, when sampling happened right after that 0:53:08.719 --> 0:53:10.680 first wave of hip hop, when we first started hearing 0:53:10.760 --> 0:53:13.040 samples on records, the sampling time was like a second 0:53:13.040 --> 0:53:17.320 and a half maybe on the sp one or the twelve. No, 0:53:17.560 --> 0:53:20.680 the Achai six twelve was actually the first one we used, 0:53:20.719 --> 0:53:23.960 and it had these little quick discs of proprietary sort 0:53:23.960 --> 0:53:26.080 of mini floppy format that you saved the stuff on. 0:53:26.520 --> 0:53:29.719 I think it had seven to nine tenths of a 0:53:29.800 --> 0:53:33.120 second of sampling, so you basically you'd lay down the 0:53:33.200 --> 0:53:35.560 kick drum by itself, then you'd lay down the snare. 0:53:35.400 --> 0:53:36.160 Drum by itself. 0:53:36.920 --> 0:53:40.000 Chris at Calliope used to use an electro Harmonics one 0:53:40.080 --> 0:53:42.840 shot and when you unplugged it, that was gone. Forever 0:53:42.880 --> 0:53:45.040 you would sample something, you got it on the tape. 0:53:45.200 --> 0:53:47.560 There was no way of saying saving it. You unplugged 0:53:47.600 --> 0:53:49.239 it and you just did something else. 0:53:49.960 --> 0:53:52.839 Yeah, so you're sick. Okay, so you're saying, now, when 0:53:52.920 --> 0:53:55.319 we did Melon, my man, the first time we worked 0:53:55.360 --> 0:54:00.480 together and we engineered at Mello, my man says, Took, 0:54:00.719 --> 0:54:02.640 I know that we started at twelve in the afternoon, 0:54:03.280 --> 0:54:05.279 and you were very disciplined. You were out of there 0:54:05.400 --> 0:54:11.120 like seven seven pm. So no, maybe you start at 0:54:11.160 --> 0:54:11.719 ten in the morning. 0:54:11.800 --> 0:54:13.520 I probably had another session, man, I don't know. 0:54:13.640 --> 0:54:15.920 No, no, it was Christmas. It was Christmas Eve, but 0:54:16.160 --> 0:54:17.200 like home getting his robe. 0:54:17.640 --> 0:54:22.560 But I do, but. 0:54:25.440 --> 0:54:30.000 I do remember that. Okay. So I was told by 0:54:30.120 --> 0:54:31.960 other people that yeah, you know, you can mix two 0:54:32.000 --> 0:54:34.000 songs in a day. So it's like, wow, we're mixing 0:54:34.080 --> 0:54:34.799 one song a day. 0:54:35.400 --> 0:54:39.880 And he's very meticulous on you know, each track, Like 0:54:39.960 --> 0:54:44.520 each track he spends a good twenty to maybe forty 0:54:44.560 --> 0:54:47.479 five minutes. Like yeah, and that's so wrong. 0:54:47.560 --> 0:54:48.440 I don't do that anymore. 0:54:48.480 --> 0:54:50.760 But go ahead, well, because you know, we have technology 0:54:50.840 --> 0:54:53.480 now that speeds up the process, like we did phrenology. 0:54:53.320 --> 0:54:57.480 Record time, I know what I'm doing. Was Oh yeah, no, 0:54:57.640 --> 0:54:58.520 I'm serious, man. 0:54:58.640 --> 0:55:01.080 I was like, okay, really got to get this right. 0:55:01.280 --> 0:55:02.560 So you're Jedi mind trigging me. 0:55:02.840 --> 0:55:05.640 Yeah, okay, now see I thought you're just a mad 0:55:05.719 --> 0:55:08.759 genius that no I'm believe a microwave mixing, and you 0:55:08.840 --> 0:55:11.719 wanted to slate it was I was really into it. 0:55:11.800 --> 0:55:14.680 I work in concentric circles now. I don't like to 0:55:14.680 --> 0:55:16.440 get bogged down on any one thing. I'll go through 0:55:16.560 --> 0:55:18.920 everything on a real cursory level and then go back 0:55:18.960 --> 0:55:21.040 and spend a little more time. But I don't work 0:55:21.080 --> 0:55:23.120 in a linear fashion. Ward, the kick drums got to 0:55:23.120 --> 0:55:25.239 be perfect, the snare drums got to be perfect because 0:55:25.239 --> 0:55:26.000 you lose the context. 0:55:26.080 --> 0:55:30.400 You know that. What yeah, okay, well it sound a 0:55:30.400 --> 0:55:32.040 little revisionous to me because. 0:55:31.840 --> 0:55:33.000 No concentric circles. 0:55:33.040 --> 0:55:35.759 Man, you were the most disciplined engineer I've ever known. 0:55:35.880 --> 0:55:38.440 I was out of my mind. Man, what can I say? Okay, well, 0:55:38.920 --> 0:55:40.600 I think you're doing false honesty. I don't think the 0:55:41.280 --> 0:55:46.600 CD baby. My whole point was that if you were 0:55:46.640 --> 0:55:49.360 tracking on primitive stuff and it had to sound perfect, 0:55:50.480 --> 0:55:51.879 then that took a lot of time. 0:55:52.000 --> 0:55:54.000 So you say, nah, now you can't do that. 0:55:54.120 --> 0:55:54.279 Man. 0:55:54.360 --> 0:55:56.239 You know, when you set up a session, my thing 0:55:56.280 --> 0:55:58.680 I tell my students you get it sounding pretty good 0:55:59.200 --> 0:56:03.160 really fast, you know, because the energy of the people 0:56:03.200 --> 0:56:04.960 sitting on the floor is the most important thing. 0:56:09.920 --> 0:56:11.959 This is what I want to know the special things 0:56:11.960 --> 0:56:18.400 about the Native Tongue Records, the Tribe, the Daylight, Jungle Brothers. 0:56:18.480 --> 0:56:19.760 Did you do okay? 0:56:20.520 --> 0:56:23.480 You did this straight up the jungle before some of 0:56:23.520 --> 0:56:26.319 the early stuff, and then one really bad one. 0:56:26.400 --> 0:56:26.560 Yeah. 0:56:26.600 --> 0:56:29.360 I just want to say he took Alan smithe or 0:56:29.360 --> 0:56:32.720 one of the last you were Robert Powers, Yeah. 0:56:32.840 --> 0:56:37.600 Oh wow, he took he took Alan Smithy. Uh. JB's 0:56:37.640 --> 0:56:42.759 with them. You know something, though, I went back to 0:56:42.880 --> 0:56:46.719 that record, it wasn't as bad as it maybe seventeen 0:56:46.800 --> 0:56:53.719 eighteen years later and it was. It was kind of 0:56:53.800 --> 0:56:57.800 rezid ish like it was. It could have worked in 0:56:57.920 --> 0:56:58.520 the right year. 0:56:58.640 --> 0:57:01.040 I just don't it could have been an okay record 0:57:01.120 --> 0:57:03.400 in the right year, because apparently. 0:57:03.080 --> 0:57:05.120 That was the one that that wasn't even the record 0:57:05.160 --> 0:57:08.759 they wanted to put out. Apparently it was crazy. But 0:57:08.880 --> 0:57:10.480 I feel like you put the record out that you 0:57:10.600 --> 0:57:11.279 want to put out. 0:57:11.719 --> 0:57:16.680 It's like, uh yeah, if you're if you're big cheese, 0:57:16.920 --> 0:57:19.440 you know the other than that, the record company says, no, 0:57:19.560 --> 0:57:20.280 that's not good enough. 0:57:20.320 --> 0:57:22.000 We don't hear any So the record company just took 0:57:22.040 --> 0:57:23.480 the record and said this is what it is. I 0:57:23.520 --> 0:57:25.880 don't know exactly what happened on that. Yeah, I mean 0:57:25.920 --> 0:57:28.160 they did remixes to what they did videos, so I 0:57:28.200 --> 0:57:31.520 didn't see any committed to her. Yeah, and you made 0:57:31.600 --> 0:57:34.880 the record, yeah that she ain't make it. So yeah, 0:57:34.920 --> 0:57:36.920 that's that's going to be an interesting I have a 0:57:37.040 --> 0:57:40.160 lot of questions about Mike. He actually lived not too 0:57:40.200 --> 0:57:40.760 far from me though. 0:57:42.360 --> 0:57:43.040 Mike's a good guy. 0:57:43.200 --> 0:57:44.080 Both good guys. Yeah. 0:57:44.200 --> 0:57:47.840 I talked to Africa once every ten or twelve years. 0:57:47.920 --> 0:57:49.640 It seems like somehow, I don't know. 0:57:51.440 --> 0:57:55.960 Well, the one thing that people rarely mentioned about these 0:57:56.040 --> 0:58:03.120 records is how I mean they're really three dimensional. And 0:58:04.080 --> 0:58:07.320 you know, because hip hop is so full of caricatures, 0:58:08.760 --> 0:58:11.920 you rarely get to see the flesh and blood of people. 0:58:12.160 --> 0:58:15.000 And I felt with the skits that were on these records, 0:58:16.160 --> 0:58:18.160 it kind of just armed the listener because they really 0:58:18.200 --> 0:58:21.480 showed that these guys had goofy sense of humor. But 0:58:24.880 --> 0:58:27.560 I always wanted to know because it always sounded so 0:58:27.800 --> 0:58:32.400 spontaneous and so fun and so of the moment. I mean, 0:58:32.480 --> 0:58:36.400 where they're just live mics everywhere and were tapes and 0:58:36.480 --> 0:58:39.400 cassettes constantly running in case an idea came. 0:58:39.280 --> 0:58:41.840 Up and no, but there were mics open because we 0:58:41.880 --> 0:58:44.240 were doing rhymes and stuff, and you know, somebody says, 0:58:44.240 --> 0:58:46.000 I want to get on the mic your press record. 0:58:48.000 --> 0:58:51.320 You know, it just always felt like a reality show, 0:58:51.320 --> 0:58:56.600 where like, you know, that's good artists at work. Serious seriously, 0:58:57.040 --> 0:58:59.960 So how do you, I guess as a well, two questions. 0:59:00.160 --> 0:59:03.360 One, where does the line? Where's the line for you 0:59:03.520 --> 0:59:04.880 between producer and engineer. 0:59:07.280 --> 0:59:09.600 If I'm engineering, I'm just there to make it sound 0:59:09.680 --> 0:59:12.680 really good and help the momentum of the session move forward. 0:59:13.560 --> 0:59:14.320 That's the line. 0:59:14.480 --> 0:59:21.200 I don't offer artistic ideas, That's not why I'm there. 0:59:23.120 --> 0:59:27.440 And then when you're producing, it's you know, man, it's producing. 0:59:27.560 --> 0:59:31.240 Every artist is different. You know, some artists, some artists 0:59:31.280 --> 0:59:33.800 who you guys know me for working with you try 0:59:33.880 --> 0:59:36.240 to set the table right and get the fuck out 0:59:36.240 --> 0:59:37.959 of the way and let them do their thing because 0:59:38.000 --> 0:59:41.240 they're so incredibly dope, and you try to corral it 0:59:41.360 --> 0:59:43.960 a little bit so it sounds like a record. And 0:59:44.080 --> 0:59:48.080 then other people, you know, you gotta build the car 0:59:48.320 --> 0:59:50.880 from the wheels up. You know, it's just always different. 0:59:51.080 --> 0:59:53.240 So with the corraling, because that was my that was 0:59:53.280 --> 0:59:55.880 as my next question. I mean, a regular Dayla Sola 0:59:55.960 --> 0:59:59.480 did that I mean, I love, I mean a lot 0:59:59.520 --> 0:59:59.960 of people love. 1:00:00.000 --> 1:00:02.200 It's my favorite record. That's my favorite Daylight record too. 1:00:02.600 --> 1:00:05.720 But like something like Johnny's Dead, which is fucking hilarious, 1:00:05.800 --> 1:00:08.200 you know what I mean, But something like that could 1:00:08.240 --> 1:00:10.840 never happened on a hip hop LP, now you know 1:00:10.840 --> 1:00:11.120 what I mean? 1:00:11.400 --> 1:00:13.720 So like, how do you needs to come back? 1:00:14.000 --> 1:00:17.840 But you know that was Paul and Pass okay and 1:00:18.840 --> 1:00:21.600 Dave also, that was them. 1:00:22.440 --> 1:00:24.240 But I'm saying, like how the moments like that get 1:00:24.360 --> 1:00:28.120 captured where it's not like, okay, guys recording and roll 1:00:28.440 --> 1:00:29.400 in the same way that. 1:00:29.520 --> 1:00:31.520 When you do a take, it doesn't sound like you're 1:00:31.560 --> 1:00:34.600 playing to a clip. You know, it's just what they do, man, 1:00:35.840 --> 1:00:38.680 So just happened to be Yeah. Also, that was a 1:00:38.760 --> 1:00:41.160 much more innocent time, which is why people got away 1:00:41.200 --> 1:00:45.920 with those skits, is because the whole gun thing, the 1:00:46.000 --> 1:00:49.000 whole violence thing, hadn't really gotten big yet. It was 1:00:49.040 --> 1:00:50.960 a much more innocent time. People were just out of 1:00:51.040 --> 1:00:51.480 high school. 1:00:51.520 --> 1:00:51.680 Man. 1:00:52.600 --> 1:00:57.480 You also worked. The unique thing about your work is 1:00:57.560 --> 1:01:01.120 that you work with groups. I mean, now we're in 1:01:01.200 --> 1:01:03.680 a system in which, you know, the solo artist is 1:01:03.760 --> 1:01:05.240 celebrated can only be one. 1:01:05.920 --> 1:01:06.760 Yeah, and. 1:01:09.000 --> 1:01:13.640 And I thought about that, man, that's right? So I 1:01:13.800 --> 1:01:19.720 know hip hop groups anymore barely, So how did you right? 1:01:20.320 --> 1:01:21.320 Right? Singers? 1:01:21.440 --> 1:01:24.080 I mean there's hardly any his personalities, but. 1:01:24.720 --> 1:01:27.520 How Klezmer music has no groups now either. 1:01:28.640 --> 1:01:33.960 But all that said, Earth Winding, Fire Lips, that's all 1:01:34.000 --> 1:01:34.480 I can say. 1:01:36.280 --> 1:01:39.439 No, how how uh? How these? 1:01:40.240 --> 1:01:42.800 I mean who would know where their place was and 1:01:43.400 --> 1:01:48.160 who would be the alpha and who would well you 1:01:48.320 --> 1:01:50.920 know that, and I'm certain that you've had conflicts of 1:01:52.080 --> 1:01:54.160 especially when you're a group and there's multiple. 1:01:53.920 --> 1:02:00.480 Producers, and well that's when I say, you know, does 1:02:00.520 --> 1:02:02.800 someone sneak up to you and say, yo, turn that? 1:02:03.160 --> 1:02:03.360 Yeah? 1:02:04.600 --> 1:02:07.280 I can't do that, man. I gotta be honest with everybody, 1:02:07.360 --> 1:02:09.560 So I don't do that. So have you had situations 1:02:09.640 --> 1:02:11.080 where someone comes up to you and is like, yo. 1:02:11.160 --> 1:02:14.840 Man, I'd say, we need to talk about this with 1:02:14.960 --> 1:02:17.200 everybody and I haven't? 1:02:17.680 --> 1:02:19.360 Or does it come with you from you first? And 1:02:19.560 --> 1:02:23.240 sort of an anonymous like no, Well, if it needs 1:02:23.920 --> 1:02:24.919 you have to play doctor Phil. 1:02:25.040 --> 1:02:27.320 You've seen me in the sessions, you know, sometimes stop 1:02:27.360 --> 1:02:29.680 and say, guys, listen, you know we were talking about 1:02:29.760 --> 1:02:31.000 maybe turning the high hat. 1:02:31.000 --> 1:02:33.240 Up on this part or whatever or losing it ride 1:02:33.240 --> 1:02:34.200 in there. What do you guys think? 1:02:34.520 --> 1:02:37.000 And then I stand back and get out of the way. 1:02:38.080 --> 1:02:41.080 You know, that's not That's not what I'm there for. 1:02:41.800 --> 1:02:43.600 I just try to keep things moving forward. 1:02:44.640 --> 1:02:44.800 You know. 1:02:45.000 --> 1:02:48.120 It comes from paying for studio time myself and not 1:02:48.240 --> 1:02:50.760 having enough money. You know, you learn to keep things 1:02:50.840 --> 1:02:51.640 moving forward. 1:02:51.400 --> 1:02:51.920 In the studio. 1:02:52.280 --> 1:02:57.240 In retrospect, the forward motion of a session is like everything, 1:02:57.280 --> 1:02:59.800 It's ninety percent of whether stuff comes out of good 1:02:59.880 --> 1:03:02.800 or not is the momentum of the session. 1:03:02.880 --> 1:03:10.600 I think, okay, so the low end theory which I'm 1:03:10.640 --> 1:03:12.960 gonna get something out of this. I'm gonna get some 1:03:13.080 --> 1:03:15.960 blood out of the stone, dammit. I mean what was 1:03:16.000 --> 1:03:18.440 the typical session, like like when songs take a day 1:03:18.640 --> 1:03:21.880 or like for me, it's like, okay, we jam on something, 1:03:22.040 --> 1:03:24.400 jam something, Oh, here's an idea, and then we track 1:03:24.480 --> 1:03:28.240 it Like I mean, how are records made back then? 1:03:28.320 --> 1:03:30.760 Like would they come in pre production and say this 1:03:30.880 --> 1:03:31.480 is what I want to do? 1:03:31.720 --> 1:03:35.560 By then, Tip and Only we're doing programming on their own. 1:03:35.600 --> 1:03:37.600 So Tip Pat and SP twelve and Ali had his 1:03:37.720 --> 1:03:40.640 computer and S nine hundred, so they would come in 1:03:40.760 --> 1:03:45.120 with stuff. The technology still wasn't that great that we 1:03:45.240 --> 1:03:46.960 didn't have to mess with it just a little bit. 1:03:47.920 --> 1:03:49.480 You couldn't slip tracks. 1:03:49.160 --> 1:03:51.360 At that point, you know, move tracks back and forth 1:03:51.400 --> 1:03:54.280 in time. So if you sampled something and it wasn't 1:03:54.360 --> 1:03:56.120 quite the feel you wanted, you had to do a 1:03:56.160 --> 1:03:56.960 few tricks. 1:03:56.720 --> 1:04:01.240 To get that to happen. You taught me that sometimes 1:04:01.280 --> 1:04:04.320 you put it through a delay. Well at the time thing. 1:04:04.720 --> 1:04:06.840 You know, now in a computer you can say to 1:04:06.920 --> 1:04:08.360 the snare, I want the snare to be you know, 1:04:08.480 --> 1:04:10.000 thirty milliseconds back or whatever. 1:04:11.040 --> 1:04:13.720 Back then we used to fake it. 1:04:13.800 --> 1:04:17.600 And again this was Chris Irwin who was brilliant. You 1:04:17.640 --> 1:04:20.360 would synchronize to Simpty on the tape to a timecode. 1:04:20.480 --> 1:04:21.600 Can I guess the lynxes? 1:04:22.800 --> 1:04:22.840 No? 1:04:23.200 --> 1:04:25.720 Almost, but you'd you'd synchronize. 1:04:25.800 --> 1:04:29.320 No, you'd synchronize the SP twelve to simptly because the 1:04:29.400 --> 1:04:31.520 SP twelve was one of the first things to read 1:04:31.600 --> 1:04:35.640 it and spit out many clock and you'd feed the 1:04:35.720 --> 1:04:39.080 Simpty through a fifty millisecond delay, so everything that got 1:04:39.120 --> 1:04:41.160 printed on the record, if it was printed at zero, 1:04:41.720 --> 1:04:45.320 was actually fifty milliseconds behind the Simpty. And then if 1:04:45.360 --> 1:04:47.560 you were printing, say a snare, and you say I want. 1:04:47.440 --> 1:04:48.600 To pull this up in the field. 1:04:49.080 --> 1:04:51.680 You just lower the delay time on the delay and 1:04:52.120 --> 1:04:53.360 the snare would move a little. 1:04:53.200 --> 1:04:55.960 Bit forward in the field. But yeah, there me a 1:04:56.000 --> 1:04:56.400 few times. 1:04:56.480 --> 1:05:00.760 Yeah, very soon thereafter you could slip could slip traps 1:05:00.760 --> 1:05:03.600 in a computer. You know. That's everything now, that's that's yeah, 1:05:04.400 --> 1:05:06.960 I see move you know for people who don't know, 1:05:07.080 --> 1:05:10.320 move traps backward and forward in time. So it's funkier. 1:05:10.680 --> 1:05:11.520 When did when did it? 1:05:11.640 --> 1:05:14.720 When did it turn? Like? When did the technology? Early nineties? 1:05:14.760 --> 1:05:17.200 I think, Yeah, do you remember the first record that 1:05:17.280 --> 1:05:18.920 you did completely in the box? 1:05:19.760 --> 1:05:19.920 Oh? 1:05:20.200 --> 1:05:20.360 Man? 1:05:23.120 --> 1:05:27.040 See, because I use microphones, I can't you know, get 1:05:27.080 --> 1:05:29.320 with that in the box. And I still mix even 1:05:29.360 --> 1:05:32.240 though I mostly in the box. I still have a 1:05:32.360 --> 1:05:35.000 two bus chain. The stereo mix comes out through some 1:05:35.120 --> 1:05:38.160 really nice stuff. But the technology is there. I can 1:05:38.240 --> 1:05:40.560 mix in all in the box and it'll be fine. 1:05:41.240 --> 1:05:43.480 The technology is absolutely there now, and. 1:05:45.120 --> 1:05:50.520 Yeah, you just got to use it. So uh, would 1:05:50.560 --> 1:05:53.640 you say that brown Sugar was your first foray into 1:05:54.640 --> 1:05:59.440 First of all, when you were a prochanity welcome to 1:06:05.040 --> 1:06:09.160 was when you were approached. I was assuming that Kadar 1:06:09.280 --> 1:06:11.760 came to you to do Brown Sugar Did he just 1:06:11.800 --> 1:06:14.520 want you to engineer it first? No? No, did you 1:06:14.600 --> 1:06:16.840 say I want to produce this? You know, I went 1:06:16.920 --> 1:06:17.360 to the truth. 1:06:17.520 --> 1:06:22.360 I don't remember. I don't remember, but uh yeah, I 1:06:22.480 --> 1:06:26.160 really don't remember. But as you know, with D you 1:06:26.240 --> 1:06:29.240 played you the music firston Yeah, of course, moving stuff 1:06:29.280 --> 1:06:31.560 along is half the battle. I still have the four 1:06:31.680 --> 1:06:33.480 track assats his demos. 1:06:33.760 --> 1:06:36.240 That's what I was gonna ask. Do you don't Do 1:06:36.320 --> 1:06:38.480 you have those the demos from Brown Sugar? 1:06:38.600 --> 1:06:39.360 I think Bill does. 1:06:39.600 --> 1:06:42.440 I had a fire and most of the stuff got destroyed, 1:06:42.480 --> 1:06:43.760 but I may still have those. 1:06:43.880 --> 1:06:46.600 I'm not sure you had a fire. Yeah, my home, 1:06:46.800 --> 1:06:48.760 my home in New York was destroyed by a fire 1:06:48.800 --> 1:06:49.680 about six years ago. 1:06:49.760 --> 1:06:52.480 Oh yeah, listen, No, it's good. If it had been 1:06:52.520 --> 1:06:54.439 my studio with all my gear, I would have jumped 1:06:54.440 --> 1:06:57.880 off the roof. But the worst thing that happened, I mean, 1:06:57.960 --> 1:06:59.680 it was bad. It was a couple of years fighting 1:06:59.720 --> 1:07:02.840 with the insurance company, but no one was hurt. And 1:07:03.200 --> 1:07:06.680 I lost a sixty five Telly Sunburst with white binding, one. 1:07:06.640 --> 1:07:07.560 Of the original ones. 1:07:08.560 --> 1:07:11.200 But then you use that on IM I don't know. 1:07:11.280 --> 1:07:13.560 I used to use it a lot. Yeah, that's your 1:07:13.640 --> 1:07:14.760 IMIB guitar. 1:07:14.960 --> 1:07:19.520 Yeah, so you know, Dia is one of those artists, 1:07:19.520 --> 1:07:21.480 and I was learning as I went along. But as 1:07:21.560 --> 1:07:23.760 you know, Dia is an artist where you got to 1:07:23.880 --> 1:07:25.440 let him do his thing because that's where the good 1:07:25.480 --> 1:07:26.160 stuff happens. 1:07:27.600 --> 1:07:32.440 It's getting him to do his thing. You said it, 1:07:32.520 --> 1:07:35.640 I didn't. Well, I mean compared to the other two records. 1:07:35.680 --> 1:07:38.360 I mean, you made Brown Sugar record time you started 1:07:38.480 --> 1:07:39.160 what ninety three? 1:07:39.320 --> 1:07:43.560 Yeah, but I also made half that record, and I just, oh, 1:07:43.680 --> 1:07:46.640 you know how to say this? I mean, the world 1:07:46.760 --> 1:07:49.680 knows it's not You're in a unique situation. I do 1:07:49.920 --> 1:07:52.720 love d the same way you do, but I just 1:07:52.800 --> 1:07:54.120 couldn't wait around anymore. 1:07:54.120 --> 1:07:56.520 And I also know that he wanted to do it himself. 1:07:56.520 --> 1:08:00.560 You know, so, so explain chasing the demo for those 1:08:01.200 --> 1:08:04.920 chasing the demo is when someone makes demonstration recording of 1:08:04.960 --> 1:08:07.120 the song, which is not a full on version of 1:08:07.160 --> 1:08:09.040 the song because they don't have the resources. 1:08:09.480 --> 1:08:11.240 But it's just an outline for the song. 1:08:11.400 --> 1:08:15.160 But when the demo is like really incredibly cool, you 1:08:15.400 --> 1:08:18.000 end up making the real thing. But then it's too 1:08:18.200 --> 1:08:21.080 good and it doesn't sounds cool for a demo, but 1:08:21.240 --> 1:08:23.479 the demo itself and then people say, well, why don't 1:08:23.520 --> 1:08:25.439 you just use the demo for a record, because it's 1:08:25.520 --> 1:08:26.120 too messed up. 1:08:26.320 --> 1:08:27.800 It's just you can't quite do it. 1:08:28.920 --> 1:08:32.679 But actually, with him and with Michelle on her first record, 1:08:32.760 --> 1:08:34.200 I would pull stuff off the demos. 1:08:34.240 --> 1:08:36.000 If there were multi tracks and there were parts that 1:08:36.080 --> 1:08:38.000 were really, really cool, I pulled them off the demos. 1:08:38.040 --> 1:08:40.240 How would you line them up? It was hard, It 1:08:40.360 --> 1:08:42.080 was really hard. Wait, by this point you had pro 1:08:42.200 --> 1:08:42.800 tools though, right. 1:08:43.920 --> 1:08:49.679 I had a rolling DMAD and the protols sounded horrible 1:08:49.720 --> 1:08:51.280 at the beginning, and it really didn't work. I had 1:08:51.320 --> 1:08:54.080 a rollin hard disrecorder. There was also enough sampling time. 1:08:54.200 --> 1:08:56.040 I could fly shit in, you know, from one tape 1:08:56.080 --> 1:08:58.560 machine to another and kind of keep punching in and 1:08:58.800 --> 1:08:59.320 get it right. 1:08:59.600 --> 1:09:02.400 You know, just got to work. Yeah, I'll say that 1:09:03.560 --> 1:09:09.400 Dreaming Eyes of Mine definitely. I remember calling you when 1:09:09.439 --> 1:09:13.000 it came out and asking, like I thought there was 1:09:13.120 --> 1:09:16.680 just a discrepancy glitch in the drum programming. 1:09:16.880 --> 1:09:19.639 That's so funny, you say that, man, because because everything 1:09:19.720 --> 1:09:25.680 you know, listen, musicians talk about people's feel and you know, 1:09:25.840 --> 1:09:28.479 to get things to sit comfortably, you always want to 1:09:28.560 --> 1:09:30.560 keep the back beat sort of behind the beat, and 1:09:30.640 --> 1:09:32.400 you want your rhymes to be behind the beat, and 1:09:32.520 --> 1:09:34.040 jazz playing is behind the beat. 1:09:34.720 --> 1:09:36.280 D is in last week. 1:09:36.800 --> 1:09:41.000 You know, he's so behind the beat's two weeks ago. 1:09:41.680 --> 1:09:44.040 So it's funny. When I was flying the vocals with 1:09:44.200 --> 1:09:47.160 my rolling hard disc recorder, you do it by a 1:09:47.240 --> 1:09:49.200 temple map, so it's you know, it's going to be 1:09:49.280 --> 1:09:51.160 correct when you put it in the second verse, it's 1:09:51.200 --> 1:09:52.920 going to be in exactly the same place it was 1:09:53.000 --> 1:09:55.479 in the first verse. And it was his background vocals 1:09:55.520 --> 1:09:58.560 were so back in that I was sure that the 1:09:58.640 --> 1:10:01.760 gear was fucking up because they were so behind the 1:10:01.840 --> 1:10:05.120 beating and stuff. You know, that's me on guitar in 1:10:05.160 --> 1:10:05.680 that song too. 1:10:06.320 --> 1:10:12.960 When you're approached. Let's say, like for Michelle's record, which 1:10:13.120 --> 1:10:17.439 wasn't a out of the box platinum album, but in 1:10:17.439 --> 1:10:22.639 an artistic achievement, that's my favorite Michelle album. Yeah, well 1:10:22.680 --> 1:10:25.080 I know, well yeah, both of them. Yeah like that 1:10:25.200 --> 1:10:27.040 one and then I like Bitter too, bit it was 1:10:27.040 --> 1:10:29.000 really dope. But do you take when you take these 1:10:29.040 --> 1:10:31.240 projects on how many of her albums you did? 1:10:31.400 --> 1:10:34.960 The first three, I've mixed almost everything. I produced two 1:10:35.080 --> 1:10:37.400 or three cuts on the first one, and then mixed 1:10:37.400 --> 1:10:38.200 a lot of other stuff. 1:10:38.280 --> 1:10:39.240 David Gampson did. 1:10:39.200 --> 1:10:41.760 Most of that stuff, and Michelle did it. You know, 1:10:43.840 --> 1:10:45.559 there's not a lot of people I know a lot 1:10:45.600 --> 1:10:46.400 of great musicians. 1:10:46.479 --> 1:10:47.599 I know know a lot of artists. 1:10:47.680 --> 1:10:50.080 Michelle is one of the deepest artists I know in 1:10:50.200 --> 1:10:54.120 what way? Come on, man, do I have to explain that? Yes, 1:10:55.920 --> 1:10:59.639 she is one of those people that just does things 1:11:00.120 --> 1:11:03.000 really differently from other people and it always comes out 1:11:03.120 --> 1:11:06.400 really pretty dope. Provision is is way different than other 1:11:06.479 --> 1:11:11.200 people's way way different. I mean plantation, lullabies, like the 1:11:11.280 --> 1:11:13.799 way that record is constructed, the way that record sounds, 1:11:13.840 --> 1:11:17.880 and the parts. It was sort of like hip hop 1:11:18.160 --> 1:11:21.759 from Mars meets R and B meets Anger. 1:11:22.280 --> 1:11:25.840 You know, it was cool. It was cool. You did 1:11:25.920 --> 1:11:35.680 Bitter as well? Correct, No, that was damn yeah, pretty much. 1:11:37.200 --> 1:11:37.320 You know. 1:11:37.439 --> 1:11:41.679 I mixed a comfort Woman too, guys. Comfort Woman's great record. 1:11:41.880 --> 1:11:44.519 It's a great sounding record too. We did that down at. 1:11:46.000 --> 1:11:46.439 Chrun King. 1:11:47.360 --> 1:11:49.720 It's a really good sounding record too, and I've done 1:11:49.760 --> 1:11:50.920 a couple with her since then. 1:11:51.880 --> 1:11:52.719 Is probably my favorite. 1:11:52.840 --> 1:11:57.320 Yeah, yeah, it's crazy. Yeah, Okay, I got all of them, 1:11:58.600 --> 1:12:00.439 the credits. Sometimes that's dope. 1:12:01.479 --> 1:12:03.360 So when you make when you make these records, what's 1:12:03.439 --> 1:12:07.680 your grand achievement, especially when you're not dealing with an 1:12:07.840 --> 1:12:12.160 artist that I'm certain that Maverick would love her to 1:12:12.320 --> 1:12:16.880 have had one foot in platinum status and the other 1:12:16.920 --> 1:12:21.599 foot and artistic achievement. So I'm pretty sure you've had 1:12:21.600 --> 1:12:25.040 a earful from the A and R people, not back then, 1:12:25.560 --> 1:12:26.160 not back then. 1:12:26.439 --> 1:12:28.080 You know, I only did a couple of cuts on 1:12:28.160 --> 1:12:30.240 the first record, so not back then they had two 1:12:30.320 --> 1:12:34.559 lonely hearts or no, what was the sexy one? 1:12:37.680 --> 1:12:38.240 Dreadlocks? 1:12:38.280 --> 1:12:41.680 You know, but that was also I mean, did you. 1:12:41.720 --> 1:12:42.360 Do all Night? 1:12:43.280 --> 1:12:43.320 No? 1:12:46.960 --> 1:12:50.280 Wait, why y'all have like that song Don't Exist? That 1:12:50.439 --> 1:12:53.360 was a top ten hit. There's a connect that was 1:12:53.400 --> 1:12:54.000 a melon camp. 1:12:54.400 --> 1:12:58.360 There's a disconnect between Michelle and the pop music juggernaut. 1:12:58.560 --> 1:13:01.240 You know, she's definitely in our that deserves to be 1:13:01.360 --> 1:13:04.000 out there and everybody needs to hear her and resources 1:13:04.040 --> 1:13:07.320 have to be put behind her. She is not necessarily 1:13:07.400 --> 1:13:11.320 the artists that you expect to play, you know on 1:13:11.800 --> 1:13:14.559 Hot ninety five, you know I'm. 1:13:14.400 --> 1:13:19.880 Gonna keep it that way too. No, no, make it 1:13:19.960 --> 1:13:20.679 hot ninety five. 1:13:22.000 --> 1:13:23.400 That's just three. 1:13:23.760 --> 1:13:31.880 That's a great middle finger. Okay, christ loves Supremeka Hot 1:13:32.000 --> 1:13:32.799 ninety five. 1:13:34.920 --> 1:13:35.320 Keeping it. 1:13:38.800 --> 1:13:41.880 But no, you know that it's like record companies. If 1:13:41.920 --> 1:13:44.519 there was an economy of scale, which there is now, 1:13:45.160 --> 1:13:48.759 that allowed artists to make records, and that the company 1:13:48.840 --> 1:13:51.920 didn't need to sell millions of records to recoup or 1:13:52.400 --> 1:13:55.439 keep their doors open, it'd be cool. But there's not 1:13:55.520 --> 1:13:58.320 a lot of places like that. They need to keep 1:13:58.560 --> 1:14:00.800 the scale that they run. Those he's on they need 1:14:00.840 --> 1:14:02.640 mega hits. You know, I'm not telling you anything you 1:14:02.680 --> 1:14:02.920 don't know. 1:14:03.120 --> 1:14:04.840 So, did you ever have a client in which, like, 1:14:04.960 --> 1:14:09.560 you know, once the mixers went home, then suddenly. 1:14:10.120 --> 1:14:12.679 Yes, And I've heard and our people say to artists 1:14:13.280 --> 1:14:15.680 after you know, kissing their ass up and down for 1:14:15.800 --> 1:14:19.400 two years, sending the limos for them, Champagne, go into 1:14:19.439 --> 1:14:21.960 the office, I don't hear any hits, go back and 1:14:22.040 --> 1:14:25.120 write me some hits, which is like the most crippling 1:14:25.200 --> 1:14:28.000 thing you could ever say to anybody. You're not good enough. 1:14:28.120 --> 1:14:30.759 Go back and make yourself good enough. Oh that's helpful, 1:14:30.920 --> 1:14:31.120 you know. 1:14:32.600 --> 1:14:34.560 Jesus. Yeah, you've heard that, man, Come on. 1:14:35.560 --> 1:14:37.360 So, but I think the same thing could be said. 1:14:37.360 --> 1:14:40.559 I remember you saying one time the zach obviously can 1:14:40.640 --> 1:14:43.280 be true. Like when y'all signed with their Jam and 1:14:43.880 --> 1:14:44.400 Jay was like. 1:14:44.560 --> 1:14:48.759 Yes, don't make it, don't That was even bigger problem. 1:14:49.640 --> 1:14:52.479 I was like, oh god, now we gotta get eight 1:14:52.520 --> 1:14:54.519 and Pitchfork. No. 1:14:54.680 --> 1:14:56.600 But that's a good situation when they know who you 1:14:56.720 --> 1:14:58.400 are and sign you because of who you are. 1:15:00.400 --> 1:15:02.040 But I don't want them to use that as an 1:15:02.040 --> 1:15:04.599 excuse to not to want to promote us. 1:15:04.560 --> 1:15:05.120 You know what I mean. 1:15:05.240 --> 1:15:07.720 So it's like this is that that's a kind of 1:15:07.760 --> 1:15:13.400 reverse bizarre paradigm work. Yeah, don't make any hits whither 1:15:13.520 --> 1:15:14.640 or away in obscurity. 1:15:15.080 --> 1:15:20.360 I'm the champion. You're so successful, all right. So yeah, 1:15:20.400 --> 1:15:24.880 well your your production and chasing demos and seeing the 1:15:25.600 --> 1:15:31.240 product through and Erica as well. We're doing bad duism. 1:15:31.760 --> 1:15:33.960 I mean, did you the way the way you sold 1:15:34.000 --> 1:15:36.479 me to d I have to mit and I always 1:15:36.479 --> 1:15:40.960 tell the story, well you wanted me to play on ship, 1:15:41.080 --> 1:15:46.080 damn motherfucker. And this before Ron Carter had a change 1:15:46.080 --> 1:15:46.599 your heart. 1:15:47.080 --> 1:15:50.960 And he had no change your heart. He closed the 1:15:51.040 --> 1:15:52.599 door really fast on that one. 1:15:52.880 --> 1:15:55.080 It's like, what's the song called No, I'm not doing it? Yeah? 1:15:55.560 --> 1:15:57.920 I called him. And Ron's actually a good guy. He's 1:15:58.120 --> 1:15:59.880 you know, he's prickly, but he's a good guy and 1:16:00.000 --> 1:16:02.680 he's a musician. And I called him and I told 1:16:02.760 --> 1:16:04.720 him all about this stuff, and I said, blah blah 1:16:04.720 --> 1:16:07.120 blah blah blah, he's a really great artist, really unusual 1:16:07.160 --> 1:16:13.160 blah blah blah around By the way, you have to 1:16:13.240 --> 1:16:16.320 let me explain, and I will explain after I tell you. 1:16:16.560 --> 1:16:19.640 But the title of the song is shit damn motherfucker. No, 1:16:20.760 --> 1:16:22.160 you just had to do that, didn't you. 1:16:23.280 --> 1:16:25.560 And no, I didn't want to mess with him, you know, 1:16:25.760 --> 1:16:27.679 and have him come in for that. And I tried 1:16:27.720 --> 1:16:29.840 to explain, I don't know what he is, but he 1:16:29.880 --> 1:16:33.240 said in nobody's book? Is that a good phrase to me? Motherfucker? 1:16:33.360 --> 1:16:36.479 So no, and I tried to explain to him. I mean, 1:16:36.560 --> 1:16:38.479 it's it's sort of a woe is Me thing. It's 1:16:38.479 --> 1:16:40.639 somebody with their head in their hands saying, oh. 1:16:40.800 --> 1:16:42.200 No, how did this happen to me? 1:16:42.520 --> 1:16:45.160 He's not calling anybody else that, But it didn't matter. 1:16:45.520 --> 1:16:49.880 He's on smooth though, right, No, Larry Grenadier, He's fantastic, 1:16:50.040 --> 1:16:50.639 is unsmooth? 1:16:51.520 --> 1:16:55.200 Hmm? Yeah, okay, yeah, okay, I love that song. 1:16:55.400 --> 1:16:55.719 Nobody. 1:16:56.040 --> 1:16:58.000 You know, people sleep on that song I love smooth. 1:16:58.560 --> 1:17:01.040 Oh yeah, that song on that record. No it's not, 1:17:01.280 --> 1:17:02.880 it's not it's great. 1:17:03.360 --> 1:17:05.599 I uh, I shouldn't tell. 1:17:05.720 --> 1:17:08.519 I'll wait till Dee gets here to tell the when 1:17:08.560 --> 1:17:12.080 we get by story? Did I reveal that on the board? 1:17:12.600 --> 1:17:14.519 Hold on hold, if we're gonna get d in here, 1:17:14.760 --> 1:17:19.360 it's gonna be like twenty already booked him, all already 1:17:19.960 --> 1:17:20.720 already booked him. 1:17:20.720 --> 1:17:23.840 He booked him three years ago. Show up next month? 1:17:25.800 --> 1:17:28.559 No, sorry, we love you, D. What were you saying? 1:17:28.640 --> 1:17:28.760 Uh? 1:17:29.560 --> 1:17:30.560 Steve oh So? 1:17:30.680 --> 1:17:32.240 Who ended up playing bass on ship? 1:17:32.360 --> 1:17:32.519 Damn? 1:17:36.240 --> 1:17:36.880 I just thought of that. 1:17:37.040 --> 1:17:38.200 I didn't actually have a question. 1:17:40.360 --> 1:17:42.439 It might have been Larry Grenadier. It might have been 1:17:42.520 --> 1:17:44.840 D's sample bass, because he was really good at that. 1:17:44.960 --> 1:17:46.519 I mean the stuff he got out of the EPs 1:17:46.600 --> 1:17:47.840 sixteen was really good. 1:17:47.920 --> 1:17:52.400 It sounded great. You know something, what still has the 1:17:52.640 --> 1:17:56.120 same He still fixes it? Who fixes it? Ben? You 1:17:56.200 --> 1:18:00.519 know we did a show? Still has the same floppy discs? 1:18:00.600 --> 1:18:01.840 He has such a technophone? 1:18:01.920 --> 1:18:04.599 Man, Wow, not really, I mean he has new stuff, 1:18:05.200 --> 1:18:09.839 especially like flip phone. He has an iPhone. 1:18:11.320 --> 1:18:13.920 Wait, you're talking about as R ten? What did what 1:18:14.000 --> 1:18:15.040 did you say? E? 1:18:15.200 --> 1:18:19.960 P E P S sixteen it was precursor. But but 1:18:20.120 --> 1:18:21.760 the architecture is the same. 1:18:22.360 --> 1:18:23.839 Yeah, so that was before the ASR. 1:18:24.280 --> 1:18:26.320 He has a he has the same brown sugar stuff 1:18:26.360 --> 1:18:29.439 in his apartment right now. Yeah, like the same flop. 1:18:29.640 --> 1:18:29.920 Guys. 1:18:30.280 --> 1:18:31.679 That's the mark of a great artist. 1:18:31.800 --> 1:18:31.960 You know. 1:18:32.280 --> 1:18:34.479 They can sing Mary had a little lamb and you go, 1:18:34.640 --> 1:18:37.600 oh my god. You know, it doesn't matter what they have. 1:18:37.920 --> 1:18:40.240 There's such they have such a strong stamp as an 1:18:40.360 --> 1:18:42.760 artist that they could use the most primitive thing in 1:18:42.840 --> 1:18:44.639 the world and you go, my god, that's so cool. 1:18:45.040 --> 1:18:46.560 It's like all those times I used to say, you know, 1:18:46.880 --> 1:18:49.839 listen to Luther Vandel sing the Telephone Book, you know, yeah, yeah. 1:18:50.200 --> 1:18:51.360 What did the road sound come from? 1:18:51.400 --> 1:18:51.439 It? 1:18:51.560 --> 1:18:51.600 On? 1:18:51.680 --> 1:18:52.919 That sounds like it's underwater. 1:18:53.080 --> 1:18:56.439 It was mostly out of his EPs we called we 1:18:56.600 --> 1:18:58.320 called the flying jet patch. 1:18:58.600 --> 1:19:01.640 We uh, we we use some we. 1:19:01.760 --> 1:19:03.720 Use some live roads. And also if you put the 1:19:03.840 --> 1:19:05.679 roads in they used to be called. 1:19:05.520 --> 1:19:06.120 A pant scan. 1:19:06.240 --> 1:19:08.559 It was actually an analog piece of gear that pants 1:19:08.600 --> 1:19:10.960 something back and forth really fast. You can do it 1:19:11.080 --> 1:19:13.080 in the box now too, and it gives a road 1:19:13.240 --> 1:19:15.519 kind of like a watery kind of sound. 1:19:15.640 --> 1:19:20.479 Yeah, still has it. Yeah, it's like a dripping water sound. Yeah, yeah, wow. 1:19:21.439 --> 1:19:26.439 He calls it flying V. Okay, he calls it his 1:19:26.560 --> 1:19:32.080 flying V. Why be like guitar flying V? I don't know, 1:19:32.520 --> 1:19:36.840 but it's it's always and he's flying put up a 1:19:36.920 --> 1:19:38.240 fly patch, you know? 1:19:38.479 --> 1:19:40.800 So did he create that patch himself or is that 1:19:40.880 --> 1:19:41.519 a sound. 1:19:41.320 --> 1:19:42.080 In the boat. 1:19:42.400 --> 1:19:44.639 He did a lot of editing the stock sounds. Yeah, 1:19:45.439 --> 1:19:48.080 but again, I mean he could take anything. He could 1:19:48.080 --> 1:19:50.679 take the most primitive, silly sounding thing and do something 1:19:50.760 --> 1:19:51.800 incredibly cool makes it. 1:19:51.960 --> 1:19:52.280 You know that. 1:19:52.400 --> 1:19:59.519 Yeah, I'm my witness to that. Wait, wait, while we're 1:19:59.560 --> 1:20:02.920 on this subjec I got I got a phone call 1:20:03.200 --> 1:20:08.599 last week that was painful to get, which was yet 1:20:08.720 --> 1:20:16.080 another illustrious New York City studio is shutting down and 1:20:18.320 --> 1:20:24.160 MS yeah, I keep moving my equipment from studio to studios, 1:20:24.240 --> 1:20:27.559 studio to studio, and. 1:20:27.760 --> 1:20:30.240 Even where do we do at Hamilton Avatar? I was 1:20:30.280 --> 1:20:31.519 at Avatar and heard about I'm. 1:20:31.400 --> 1:20:33.880 Sorry, and Avatar is shutting down to. 1:20:34.360 --> 1:20:35.200 Avatar is selling. 1:20:35.360 --> 1:20:38.160 They're waiting to They're waiting to find a person who 1:20:38.360 --> 1:20:41.280 has enough money to keep it a studio. You know, 1:20:41.400 --> 1:20:44.639 the footprint of the building is worth you know, fifty 1:20:44.680 --> 1:20:46.640 times as much as it is as a building now 1:20:46.720 --> 1:20:47.280 in the studio. 1:20:47.439 --> 1:20:47.559 Yes. 1:20:48.240 --> 1:20:53.560 Wow. Well my question is you know now that studios 1:20:53.600 --> 1:20:59.920 are becoming a relic of yesteryear. I mean, to work 1:21:00.120 --> 1:21:04.280 with you is to you know, to see you send 1:21:04.400 --> 1:21:08.639 these massive cases to the studio, like working on commons, 1:21:09.760 --> 1:21:12.759 like order for chocolate record, like you'd send these giant 1:21:13.680 --> 1:21:15.919 property property of Bob. 1:21:16.439 --> 1:21:19.760 Power, like like my cartage was five hundred bucks just 1:21:19.840 --> 1:21:21.400 to get the stuff there. You know. 1:21:22.240 --> 1:21:24.800 Yeah, I mean you you were carrying a lot of 1:21:24.880 --> 1:21:25.800 outboard gear. Yep. 1:21:26.040 --> 1:21:27.080 But I guess. 1:21:28.520 --> 1:21:33.400 In the middle of the decade, did you eventually just 1:21:33.520 --> 1:21:36.439 start doing pro tools and pro tools only or No. 1:21:36.720 --> 1:21:39.439 I made a commitment to becoming a veteran in the 1:21:39.520 --> 1:21:42.200 box mixer about eight or nine years ago, and not 1:21:42.320 --> 1:21:44.960 because of commerce, because that actually that's why I should 1:21:45.000 --> 1:21:46.840 have done it, because I saw what was going on. 1:21:48.760 --> 1:21:52.680 I just saw what technology was becoming and realized that 1:21:54.240 --> 1:21:56.320 did I want to be in step with technology or not? 1:21:56.439 --> 1:21:57.480 And I love technology? 1:21:58.120 --> 1:21:59.880 So you had to learn all over? 1:22:00.479 --> 1:22:03.439 No, No, no, I just said you can be I've 1:22:03.520 --> 1:22:06.120 been mixing on consoles for years. I did that, okay, 1:22:06.800 --> 1:22:09.040 I said I could be a better in the box mixer. 1:22:09.160 --> 1:22:12.280 So I just started, and I love it. I wouldn't 1:22:12.280 --> 1:22:14.160 look back. I'm in my own room all the time. 1:22:14.600 --> 1:22:17.680 I almost never see my clients like a mirror. It's fantastic. 1:22:18.680 --> 1:22:21.280 Where's your room? You have a room? Oh yeah yeah? 1:22:21.520 --> 1:22:24.880 Steve a Dabo Shelter Island Sound has a medium sized 1:22:24.920 --> 1:22:26.240 room on twenty seventh Street. 1:22:26.280 --> 1:22:27.880 I have the other side of the floor. We found 1:22:27.920 --> 1:22:28.559 the floor together. 1:22:29.080 --> 1:22:32.120 He did a lot of early Suzanne began shown Colvin 1:22:32.160 --> 1:22:37.839 and stuff. So I have my own room and anything 1:22:37.920 --> 1:22:41.120 I record with one microphone. I got a great microphone collection, 1:22:41.240 --> 1:22:43.200 I got great microres. We put up the microphone in 1:22:43.240 --> 1:22:48.600 the room going headphones, and I'm really really happy or 1:22:48.640 --> 1:22:51.360 as a practitioner now than I've ever been. 1:22:51.520 --> 1:22:53.639 If I never set foot in a big studio again, 1:22:53.720 --> 1:22:56.360 it's fine. I know it sounds weird. You don't miss 1:22:56.360 --> 1:22:56.760 it at all? 1:22:56.880 --> 1:22:59.599 No, not the fruit plates in the you know what's funny. 1:22:59.920 --> 1:23:02.120 I always made jokes about that. When I first got 1:23:02.200 --> 1:23:04.880 really comfortable my own place. The first thing I would 1:23:04.880 --> 1:23:06.439 say to people, I said, you know what I thought 1:23:06.479 --> 1:23:08.080 I'd missed the fruit fruit basket? 1:23:08.800 --> 1:23:11.160 Yeah, but do you know what it means that? 1:23:11.400 --> 1:23:11.680 I mean? 1:23:11.880 --> 1:23:13.960 The fruit basket is yeah, but he can bring in 1:23:14.040 --> 1:23:16.439 his own fruit, you know, to his to his room. 1:23:16.960 --> 1:23:19.200 But it's almost like it's it's like a minute from 1:23:19.200 --> 1:23:19.639 a hotel. 1:23:19.880 --> 1:23:23.639 Yeah, exactly, it's like somebody else's clean towels. It's really nice. 1:23:24.720 --> 1:23:28.479 But my mixing situation, my speakers and I sit in 1:23:28.640 --> 1:23:30.479 exactly the same position every day. 1:23:31.520 --> 1:23:33.439 You know, I don't have to move from studio to studio. 1:23:33.479 --> 1:23:33.800 I love it. 1:23:33.920 --> 1:23:35.840 My results, my work is better than ever man. 1:23:36.760 --> 1:23:40.879 And I still use an analogue chain on my stereo 1:23:41.040 --> 1:23:44.200 mix but all the individual things, no inserts, just pro tools. 1:23:45.200 --> 1:23:48.920 Okay, So how did you decide to, you know, bring 1:23:49.080 --> 1:23:49.879 teaching into. 1:23:51.720 --> 1:23:52.479 The fora like? 1:23:52.920 --> 1:23:53.040 Uh? 1:23:53.560 --> 1:23:57.800 NYU approached me about eight or nine years ago, and 1:23:58.000 --> 1:24:01.040 I started out as an adjunct teaching class here and there, 1:24:01.320 --> 1:24:03.759 and again my mother gets around. 1:24:03.840 --> 1:24:05.000 They must have talked to my mother. 1:24:05.400 --> 1:24:08.080 No, not like that, man, No, not like that. 1:24:08.280 --> 1:24:10.240 I knew, I knew you were going to go there. 1:24:10.640 --> 1:24:12.599 I just feel like your mom should be the next guest. 1:24:13.880 --> 1:24:14.559 She's a shill. 1:24:14.760 --> 1:24:17.040 She's a shill for me. But they made me a 1:24:17.080 --> 1:24:19.680 professor a couple of years ago, and you know, I'm 1:24:19.680 --> 1:24:22.679 still working on the outside of about thirty forty percent 1:24:22.720 --> 1:24:23.840 of my work is still mixing. 1:24:24.080 --> 1:24:26.920 Now what are you teaching that? Everything? Production? 1:24:27.600 --> 1:24:30.559 I consider myself a utility infielder, Like if they need 1:24:30.600 --> 1:24:32.559 me a third base, I can do it. I teach 1:24:32.680 --> 1:24:36.480 the sophomore production class with my associate and boss, Nick Sensano, 1:24:36.880 --> 1:24:38.679 who's great he's been doing he worked with Public. 1:24:39.080 --> 1:24:41.880 Yeah, yeah, he's my next guy that and. 1:24:44.160 --> 1:24:46.880 It's really great. I mean, imagine, after a lifetime in 1:24:46.920 --> 1:24:49.080 the record business to be in a position where the 1:24:49.160 --> 1:24:51.479 only reason you're there is to help people, that's all. 1:24:52.520 --> 1:24:55.120 You know. Uh, you don't get paid more if you 1:24:55.240 --> 1:24:58.639 do better, you know, it's or if you have a hit. 1:24:59.640 --> 1:25:03.200 So it's great, but are they interested in the level 1:25:03.320 --> 1:25:08.800 of production that you are? Is your forte the the 1:25:09.680 --> 1:25:11.240 non microwave production. 1:25:11.040 --> 1:25:13.680 The yeah, well because now kids are just using like 1:25:13.800 --> 1:25:19.320 fruity loops and right and able to But yeah, that's right, guys, 1:25:19.479 --> 1:25:22.120 the same principles whole true. It doesn't matter how you get, 1:25:22.400 --> 1:25:23.080 you know. 1:25:23.360 --> 1:25:26.160 I teach. They have me in positions teaching. 1:25:25.960 --> 1:25:28.320 The things that I know how to do, analog recording, 1:25:28.680 --> 1:25:32.680 all things recording, mixing. I teach an arranging class that 1:25:32.760 --> 1:25:35.360 I develop, which is fantastic because as you know, The 1:25:35.400 --> 1:25:39.479 biggest problem in most people's records is bad arranging chops. 1:25:40.080 --> 1:25:41.879 So it's great, it's great. 1:25:42.320 --> 1:25:45.560 Range, man, I need to enter this class. Well, you know, 1:25:45.800 --> 1:25:49.160 guys as a grooves are great, but no as a mixer. 1:25:49.320 --> 1:25:51.920 You know, if the records well arranged, it's great to mix. 1:25:52.080 --> 1:25:54.479 If it's badly arranged, you're just fighting that the whole time. 1:25:54.800 --> 1:25:57.400 And in the modern world, the arrangement is as much 1:25:57.680 --> 1:26:00.439 your choice of instrument and the timber that instrument as 1:26:00.479 --> 1:26:03.200 it is departure plane. I mean, it's not nineteen sixty 1:26:03.240 --> 1:26:06.880 two anymore. We do things really differently. There was a 1:26:07.000 --> 1:26:10.840 girl I was watching the thing you did. We bought 1:26:10.880 --> 1:26:13.719 Forarelli and had them right into Maggie Rogers. 1:26:15.840 --> 1:26:20.439 Okay, oh yeah, Maggie is also one of my star students. Yeah, 1:26:20.520 --> 1:26:21.960 she's great. She's fucking dope. 1:26:22.600 --> 1:26:26.200 You know, the world has completely flipped for Maggie. I mean, 1:26:26.320 --> 1:26:28.879 the hits are off the charts. There's a feeding frenzy 1:26:29.800 --> 1:26:31.080 going on right now trying to. 1:26:31.120 --> 1:26:36.280 Get her signed. And Maggie's has a real good head. 1:26:36.200 --> 1:26:38.920 On her shoulders, and she won't be swayed by all 1:26:39.000 --> 1:26:42.200 that stupid shit that comes her way. She's and you 1:26:42.280 --> 1:26:45.000 know what, I have to say that there's any number 1:26:45.040 --> 1:26:47.160 of students that are just as cool as that. We 1:26:47.280 --> 1:26:50.479 have people doing just the coolest thing. There's something that 1:26:50.640 --> 1:26:55.080 people heard in Maggie's voice. You know, she almost sounds 1:26:55.120 --> 1:26:57.240 like Joni Mitchell singing over electronica. 1:26:58.400 --> 1:26:59.800 But yeah, and it just sounded like her. 1:27:00.280 --> 1:27:02.240 I really liked what for Real said and since that 1:27:02.840 --> 1:27:05.080 it was singular, like he couldn't even give notes on 1:27:05.160 --> 1:27:05.920 it because. 1:27:06.160 --> 1:27:08.120 It didn't sound like anything else, nothing else. 1:27:08.360 --> 1:27:09.519 It was really her own world. 1:27:09.720 --> 1:27:11.680 But I have to say a lot of students there 1:27:11.760 --> 1:27:13.759 are doing incredibly cool stuff. 1:27:14.120 --> 1:27:19.160 Yeah. Yeah, this is the first year in which I 1:27:19.640 --> 1:27:24.560 felt intimidated by some of my students, Like, Okay, I 1:27:24.760 --> 1:27:27.320 need to learn from you, Like I'm taking this job 1:27:27.400 --> 1:27:29.160 so you can teach me stuff that I don't know. 1:27:29.520 --> 1:27:30.240 Listen, that's part. 1:27:31.040 --> 1:27:32.280 Do they do that you sometimes? 1:27:33.400 --> 1:27:35.160 No, they don't test me. I mean like do they 1:27:35.240 --> 1:27:36.479 know about your history and that stuff? 1:27:36.800 --> 1:27:37.000 Yeah? 1:27:37.080 --> 1:27:39.799 Yeah, And the classroom to me, and I'm really serious 1:27:39.800 --> 1:27:42.559 about this is a three hundred and sixty degree thing. 1:27:45.400 --> 1:27:48.360 The information flows both ways, and if both parties aren't 1:27:48.400 --> 1:27:51.240 super engaged while we're in there, what a fucking waste 1:27:51.280 --> 1:27:53.240 of time, you know, not just a waste of my time, 1:27:53.320 --> 1:27:54.080 wasted their time. 1:27:55.280 --> 1:27:55.840 So it's great. 1:27:55.920 --> 1:27:58.480 The students are great, the people I work with are fantastic. 1:27:59.320 --> 1:28:01.880 First real job I've ever had, first time I've ever 1:28:01.920 --> 1:28:04.680 gotten a paid regular paycheck from any company other than 1:28:04.720 --> 1:28:09.400 my own. And uh yeah, I still get to work, 1:28:09.760 --> 1:28:14.080 and they actually tisch the arts division at n YU 1:28:14.320 --> 1:28:16.920 wants you to stay active in the field, so I 1:28:18.400 --> 1:28:21.120 I need to work and I still enjoy working. But uh, 1:28:21.680 --> 1:28:25.439 just because it's school and in theory, I'm full time there. 1:28:25.479 --> 1:28:28.640 That's my first responsibility. Do they make you turn in 1:28:28.720 --> 1:28:30.840 a massive syllabus at the top of the year. Oh yeah, 1:28:30.960 --> 1:28:33.719 I've had to red and the player. 1:28:35.640 --> 1:28:37.920 And it's the weirdest word in the world to say, 1:28:38.000 --> 1:28:42.360 you feel like you're silibi. Yeah, okay, I thought that 1:28:42.479 --> 1:28:44.559 was just like me to make sure that I knew 1:28:44.560 --> 1:28:45.800 I knew what I was doing. 1:28:46.040 --> 1:28:50.160 No, my health teacher in uh In college used it. 1:28:50.240 --> 1:28:51.920 That was first place I heard it. It was right 1:28:52.000 --> 1:28:53.280 after he was discussing gon aha. 1:28:56.520 --> 1:28:59.120 It was in my human health And wait a minute, man, 1:28:59.200 --> 1:29:00.080 my ship is it's. 1:29:01.479 --> 1:29:07.479 I think syphilis cyphilized letter totally. 1:29:07.960 --> 1:29:11.880 So what is your goal when you what is your 1:29:12.000 --> 1:29:16.439 mission to when you do teach this class, because the 1:29:16.520 --> 1:29:21.240 thing I I enjoyed about teaching is. 1:29:21.560 --> 1:29:24.960 The enlightening part of things, and it's the small things 1:29:25.000 --> 1:29:27.040 that enlighten them the most and really engage them. 1:29:27.640 --> 1:29:29.760 But you know, I hate the whole idea of like 1:29:29.880 --> 1:29:30.840 I have to quiz. 1:29:30.640 --> 1:29:33.920 Them on this and know the finals and that's bullshit. 1:29:34.000 --> 1:29:35.800 And I said the first day, Look, you know, I 1:29:35.840 --> 1:29:38.640 don't believe in grades, but this is ny U. So 1:29:39.240 --> 1:29:41.760 we got to do things a certain way. If you're 1:29:41.800 --> 1:29:44.679 not here because you really want to engage with this material, 1:29:45.200 --> 1:29:47.880 you're spending a lot of money. And you know, I mean, 1:29:47.920 --> 1:29:49.840 I don't dis people or anything or blow them up, 1:29:49.960 --> 1:29:55.760 but that's I I believe really in that we're all discovering. 1:29:55.240 --> 1:29:57.439 This stuff together. It sounds, I know, it sounds like 1:29:57.520 --> 1:29:59.120 I was from the sixties, and I am. 1:30:00.439 --> 1:30:00.600 You know. 1:30:00.880 --> 1:30:04.840 I love the process of you know, discovering things with them, 1:30:05.520 --> 1:30:10.160 you know, I yeah, I believe the same thing. But 1:30:10.240 --> 1:30:15.240 you still have to give grades. Yeah, and that's I'm 1:30:15.280 --> 1:30:18.200 not even going to get into that. I try to 1:30:18.240 --> 1:30:21.720 be really objective about it. I try to take what 1:30:21.840 --> 1:30:24.360 I like and don't like out of the equation. So 1:30:24.400 --> 1:30:27.240 I have this big spreadsheet. It's just based really on 1:30:27.439 --> 1:30:30.200 you know, whether they show up, whether they participate, whether 1:30:30.240 --> 1:30:32.439 they finish the assignments, whether they did this, did that, 1:30:32.920 --> 1:30:34.280 And it's totally by the numbers. 1:30:34.720 --> 1:30:36.680 I was going to ask you, what, so, what is 1:30:36.720 --> 1:30:39.960 the difference between you know, someone like a Maggie that 1:30:40.200 --> 1:30:42.519 like shines and then just those kids that kind of 1:30:42.560 --> 1:30:43.040 flame out? 1:30:43.120 --> 1:30:45.759 Like what what do you see? There is no difference. 1:30:46.040 --> 1:30:49.760 You know, some people the most almost all of the 1:30:49.840 --> 1:30:53.000 students that are there do something that's really really cool, 1:30:53.600 --> 1:30:57.080 as you know, having the perseverance to stick it out 1:30:57.160 --> 1:30:58.040 for the long run. 1:31:00.000 --> 1:31:01.240 I get sidetracked, you know. 1:31:03.240 --> 1:31:04.600 Are you aware of the effect that you have on 1:31:04.720 --> 1:31:08.360 them as like a mentor, because I find that I have. 1:31:08.680 --> 1:31:09.800 I don't know how you feel about this, but like 1:31:09.880 --> 1:31:11.640 I had teachers, two of them, particularly when I was 1:31:11.680 --> 1:31:14.360 in high school, that were totally instrumental in my life. 1:31:14.400 --> 1:31:16.240 I feel like teaching, once it gets down to it, 1:31:16.360 --> 1:31:17.920 is one of the most important things people like us 1:31:18.040 --> 1:31:18.280 can do. 1:31:19.600 --> 1:31:19.840 Yeah. 1:31:20.200 --> 1:31:24.880 I tend to sort of not think too much of myself, 1:31:25.120 --> 1:31:26.960 so I try to keep that thing out of it. 1:31:27.080 --> 1:31:29.760 But no, listen, if there's one thing, If there's one thing. 1:31:29.880 --> 1:31:31.040 If there's two things. 1:31:30.840 --> 1:31:32.800 I can teach them is be a decent human being 1:31:33.640 --> 1:31:36.720 and engage engaged with what you do. 1:31:37.080 --> 1:31:39.400 I won't say be serious. I say, if you're here 1:31:39.520 --> 1:31:42.439 and you're doing it, engage. It's like playing music. You know, 1:31:42.600 --> 1:31:44.519 you're not sitting there playing the chart like this. You 1:31:44.600 --> 1:31:47.760 got to engage with the music. So that those are 1:31:47.840 --> 1:31:50.360 the things that What about the decent human being part? 1:31:50.479 --> 1:31:51.360 Can that be optional? 1:31:54.120 --> 1:31:56.080 Listen? Do you really want to be in this class? 1:31:58.439 --> 1:32:03.960 Do you tell them and encourage them to mix very quietly? 1:32:05.320 --> 1:32:08.840 Because I believe it or not, I do that now. 1:32:09.160 --> 1:32:12.000 I tell them to mix at reasonable volumes. You know, 1:32:12.160 --> 1:32:14.479 your ears do really funky things when you listen to 1:32:14.479 --> 1:32:15.879 a loud music for a long time. 1:32:15.760 --> 1:32:16.680 And they lie to you. 1:32:17.360 --> 1:32:19.920 So if you can mix at volumes, I turn it 1:32:20.000 --> 1:32:21.600 up every once in a while to check ship. I 1:32:21.680 --> 1:32:22.120 gotta sell. 1:32:22.280 --> 1:32:24.559 I checked the bottom. I'm mastering now, so I got to. 1:32:26.160 --> 1:32:29.560 If you can you master your own stuff. Isn't that 1:32:29.680 --> 1:32:30.240 dangerous though? 1:32:30.520 --> 1:32:32.360 Sometimes, but most of the time it's good. I've gotten 1:32:32.400 --> 1:32:35.120 really good. You don't think you need fresh airs to 1:32:35.400 --> 1:32:38.439 Sometimes I do, but but you know, people want to deal. 1:32:38.600 --> 1:32:39.160 Can get her name? 1:32:39.320 --> 1:32:40.479 I cut it all in. 1:32:42.080 --> 1:32:43.120 Wait, did you think of Joe. 1:32:47.640 --> 1:32:51.760 Bill also is the Joe Raposo of Sesame Street. So 1:32:51.920 --> 1:32:55.519 and I always put you up Joe Reposo's name, So 1:32:55.760 --> 1:32:59.040 film a school micer was who I was. Refra was 1:32:59.120 --> 1:32:59.680 brilliant guy. 1:33:00.360 --> 1:33:06.040 Yeah, yeah, but I encourage them to mix that volumes 1:33:06.120 --> 1:33:08.519 sort of like you're talking to somebody from two feet away. 1:33:09.240 --> 1:33:11.599 That's where your speakers are gonna be the most accurate. 1:33:11.760 --> 1:33:13.800 And the biggest part of it is you obviate the 1:33:13.920 --> 1:33:16.840 negative effects of the room. If the speakers aren't very loud, 1:33:16.920 --> 1:33:18.040 the back of the room is not going to be 1:33:18.080 --> 1:33:19.000 bouncing around at you. 1:33:19.240 --> 1:33:21.280 So that's a big deal. So what Bob and are 1:33:21.360 --> 1:33:23.280 explaining to you, of course, a love of supremers that 1:33:23.360 --> 1:33:27.280 are like scratching your head right now is uh. 1:33:28.200 --> 1:33:31.800 If you look on discogs dot com and you turn 1:33:31.920 --> 1:33:36.599 up look up Bob Power's name, you'll see a lot 1:33:36.680 --> 1:33:40.839 of variations of nicknames that I've given them on various 1:33:41.120 --> 1:33:44.280 roots albums, such as Mixed by Bob. 1:33:44.439 --> 1:33:44.719 Guys. 1:33:44.760 --> 1:33:47.960 I really can't hear the mix, guys, Bob guys, I 1:33:48.160 --> 1:33:49.639 really really need to hear this, guys. 1:33:50.120 --> 1:33:53.200 And Bob it's bad enough that it's now five forty 1:33:53.240 --> 1:33:55.000 six am. I do do I have to put off 1:33:55.000 --> 1:33:58.479 with the talking guys power anyway, My point is he 1:33:58.640 --> 1:34:04.640 left out to shut the fuck up. Bob taught me 1:34:04.800 --> 1:34:11.160 that the best mixes if if your mix sounds awesome 1:34:12.200 --> 1:34:17.840 on shitty speakers. I mean, that's why studios speakers like 1:34:17.920 --> 1:34:23.120 Jenolis or Yamaha NS tens they were there to give you. 1:34:24.000 --> 1:34:27.719 Even Thriller was last minute mixed on like a clock 1:34:27.840 --> 1:34:30.599 radio speakers. Billy Jean was done like on the cheapest 1:34:31.439 --> 1:34:34.960 speaker that Bruce Foro Dean could could get, because if 1:34:35.000 --> 1:34:38.160 it sounds great on bad speakers, that don't sound awesome 1:34:38.240 --> 1:34:40.799 once you have it on speaks. 1:34:40.880 --> 1:34:42.880 One of the early engineers I worked with when I 1:34:42.960 --> 1:34:45.400 was scoring TV, we always talk about what's a good mix? 1:34:45.479 --> 1:34:46.200 What's a good mix? 1:34:46.320 --> 1:34:48.720 And he's now a nuclear physicist by the way, he 1:34:48.840 --> 1:34:51.760 got smart, but he said he said the best thing 1:34:51.800 --> 1:34:53.960 I've ever heard anybody say. It said, a good mix 1:34:54.080 --> 1:34:56.320 is something that doesn't sound too terrible anywhere. 1:34:58.400 --> 1:35:03.400 Right, You're right, Well, there's a generation now. I mean, 1:35:03.439 --> 1:35:07.000 I won't throw him under the bus, but I've had 1:35:08.200 --> 1:35:13.559 a few conversations with Kanye's people about their engineering tactics, 1:35:13.600 --> 1:35:17.320 which you know, I feel like his music. I feel 1:35:17.360 --> 1:35:21.200 like his music is made for no. This is my point. 1:35:22.280 --> 1:35:25.600 When I saw the Yeaser show at MSG and I 1:35:25.800 --> 1:35:32.000 happened to be within twenty feet of the speakers, then 1:35:32.040 --> 1:35:36.960 I realized, Oh, all these songs were created with this 1:35:37.200 --> 1:35:43.400 being the end game the concert. The near colonic level 1:35:44.320 --> 1:35:47.439 of how the low end was rumbling my stomach, and 1:35:47.520 --> 1:35:49.479 I got it. And I also imagine, so you know, 1:35:49.479 --> 1:35:51.240 I would ask him like, when you guys mix this stuff, 1:35:51.280 --> 1:35:51.560 do you ma? 1:35:52.080 --> 1:35:52.240 You know? 1:35:52.360 --> 1:35:55.000 The guys would shake their heads like you won't imagine 1:35:55.040 --> 1:35:57.720 the level of loudness that he makes the speakers when 1:35:57.760 --> 1:35:59.680 he's engineering in the studios. And I was like, well, 1:35:59.720 --> 1:36:02.040 always thought you were supposed to make it quiet. And 1:36:02.160 --> 1:36:05.080 especially because most of us consume our music now on 1:36:06.080 --> 1:36:09.720 MacBook pros and these, you know, tiny computer speakers, you 1:36:09.760 --> 1:36:12.680 would think that whenever I listen to you know, his 1:36:12.760 --> 1:36:17.519 stuff on the iPods or my computer, I'm indifferent to 1:36:17.680 --> 1:36:20.080 the music and it affects how I perceive that record. 1:36:20.640 --> 1:36:22.759 But then when I hear it on big as speakers, 1:36:22.760 --> 1:36:25.400 then I'm like, oh damn, I might like this. 1:36:25.640 --> 1:36:28.240 Listen just about anything sounds good when you crack it. 1:36:30.160 --> 1:36:32.360 Didn't you just say that loved musical? Your ears will 1:36:32.360 --> 1:36:32.720 lie to you. 1:36:33.200 --> 1:36:34.200 Your ears lied to you. 1:36:34.560 --> 1:36:40.920 And also, you know, a really good mix should hold 1:36:41.040 --> 1:36:44.960 up at a bunch of different volume. The musical balances, 1:36:45.120 --> 1:36:50.000 internal balances should stay somewhat the same. Looking at it 1:36:50.200 --> 1:36:55.040 like they want to shoot, They all like you, sucker, 1:36:55.400 --> 1:36:57.439 And I'm just saying. 1:36:57.520 --> 1:36:59.679 You know, if if, if, when you play music loud 1:36:59.720 --> 1:37:02.439 and you start playing tricks on, you kind of explains 1:37:02.439 --> 1:37:03.959 the last fifteen years of clippings. 1:37:05.640 --> 1:37:09.599 Nah, that's real. Well, yeah, I assume that nowadays people 1:37:09.760 --> 1:37:12.080 just mix it loud and don't give a regard to 1:37:12.680 --> 1:37:15.040 it's just gonna get played in the club inferior, which 1:37:15.080 --> 1:37:19.520 you would think that most people would mix for their iPhones, 1:37:20.240 --> 1:37:21.400 their cheap car systems. 1:37:21.520 --> 1:37:23.679 Yeah, but also if somebody says to me, I really 1:37:23.760 --> 1:37:26.080 want this to pop on the radio, I'll go a 1:37:26.120 --> 1:37:28.920 certain direction with it. You know, it's just but again, 1:37:29.640 --> 1:37:32.040 in a perfect world, you want something that sounds pretty 1:37:32.080 --> 1:37:33.240 good everywhere. 1:37:33.840 --> 1:37:37.880 And yeah, yeah, do you still not hardpan your base? 1:37:38.479 --> 1:37:40.960 That's another lesson you taught me. You said that the 1:37:41.040 --> 1:37:42.400 groove and the record will skip. 1:37:42.560 --> 1:37:46.160 Yeah, that's an old record thing. You'd never put anything 1:37:46.240 --> 1:37:48.439 with a lot of bottom on one side because when 1:37:48.439 --> 1:37:51.120 the needle has to make the big excursion, it'll pop 1:37:51.240 --> 1:37:52.400 over into the next groove. 1:37:52.520 --> 1:37:56.240 That's an old school thing. Same thing with sibilants. You know. 1:37:56.280 --> 1:37:58.200 The biggest issue, one of the biggest issue in modern 1:37:58.200 --> 1:38:01.280 records to me mixing is people don't DS enough. The 1:38:01.400 --> 1:38:04.040 fucking essays on the vocals will take the enamel off 1:38:04.120 --> 1:38:04.519 your teeth. 1:38:06.000 --> 1:38:08.840 Yeah, stuff like that. You know whatever, any one thing 1:38:08.880 --> 1:38:09.840 in the tom inks right now? 1:38:10.240 --> 1:38:10.600 Is there a. 1:38:13.120 --> 1:38:14.519 Did they have a DS plug in? 1:38:14.880 --> 1:38:19.280 Pretty serious? Yeah, there's a gazillion of them. And the 1:38:19.360 --> 1:38:21.320 cool thing is you can make them do anything you want. 1:38:21.600 --> 1:38:22.960 I love the digital world, man. 1:38:23.040 --> 1:38:24.840 I you know, people say you missed the way things 1:38:24.920 --> 1:38:26.799 used to be. I said, yeah, I missed the budgets, 1:38:27.280 --> 1:38:30.400 that's all. I miss everything. You can get so much 1:38:30.479 --> 1:38:31.840 closer to what you want to hear? 1:38:32.000 --> 1:38:32.160 Now? 1:38:33.200 --> 1:38:36.439 Am I allowed to ask you what was your moment? 1:38:36.680 --> 1:38:36.720 Like? 1:38:37.160 --> 1:38:37.800 What was your. 1:38:39.400 --> 1:38:43.400 Oh, how much my biggest payday? Yeah? Like I don't 1:38:43.439 --> 1:38:46.679 mean the exact amount, but like, what was your We really. 1:38:46.560 --> 1:38:47.519 Want you to do this record? 1:38:47.560 --> 1:38:48.000 Bop out? 1:38:49.120 --> 1:38:51.240 You know, I have management for all that time and 1:38:51.360 --> 1:38:54.720 he was just making my deals. So but you know, 1:38:55.240 --> 1:38:57.800 as a producer, you know, and this is one of 1:38:57.800 --> 1:38:59.960 the things I teach my students is that you don't 1:39:00.080 --> 1:39:02.160 get paid a cent. I mean, you get paid advances, 1:39:02.240 --> 1:39:04.960 but until the record company makes their money back, you 1:39:05.040 --> 1:39:08.519 don't get paid your royalties. But say they make their 1:39:08.560 --> 1:39:12.200 money back after they sell one hundred and fifty thousand records. Well, 1:39:12.280 --> 1:39:14.040 one of the things you want your contract is that 1:39:14.120 --> 1:39:17.160 you get paid from record one. You know, you don't 1:39:17.200 --> 1:39:19.080 want to get paid from record one hundred and fifteen 1:39:19.120 --> 1:39:23.400 thousand one. So the first check is always big. Oh 1:39:23.479 --> 1:39:27.280 come on, man, you know what Bob the reason why 1:39:27.400 --> 1:39:30.160 I have said, I know he never touches his own money. 1:39:30.840 --> 1:39:32.479 He says, I never look at my own money. I 1:39:32.520 --> 1:39:33.680 have people around me to do. 1:39:33.760 --> 1:39:34.160 That for me. 1:39:34.520 --> 1:39:42.120 No, no, no, well yes, and I know, seriously, I 1:39:42.280 --> 1:39:46.960 never touched my record money because non, it's like paper money. 1:39:47.120 --> 1:39:49.000 I mean, we sell respectively. 1:39:49.360 --> 1:39:53.720 But I don't know if it's a good thing that 1:39:54.880 --> 1:40:01.960 DJ Questlove is monetarily more valuable then Quest Love has ever. 1:40:01.880 --> 1:40:04.719 Been as a studio musician or a producer or drummer. 1:40:04.960 --> 1:40:06.360 You know, but I don't. 1:40:06.360 --> 1:40:09.519 I don't mean Carlturally speaking, I'm just saying that I 1:40:09.680 --> 1:40:13.680 kind of live in life now where like my value is, 1:40:14.560 --> 1:40:18.960 my monetary value is in places other than where you thought, 1:40:19.080 --> 1:40:21.120 which is kind of a mind fucker, which is made 1:40:21.160 --> 1:40:25.840 me the the equivalent of Bob Power Engineers. I was 1:40:25.880 --> 1:40:27.639 about to say, that's like the story for everybody. 1:40:27.720 --> 1:40:30.880 Man, Yeah, that's that's my thing. Hits is not a 1:40:30.960 --> 1:40:32.639 lot of times. It's not the thing that you think 1:40:33.040 --> 1:40:34.519 or that you may even thought it was going to be. 1:40:34.680 --> 1:40:36.760 But do you resistant or do you embrace it? 1:40:36.880 --> 1:40:38.640 No, wanting to make a lot of money is not 1:40:39.040 --> 1:40:43.640 a reasonable objective, I think. No. Honestly, being able to 1:40:43.720 --> 1:40:45.800 live decently and decently and do. 1:40:45.880 --> 1:40:48.400 What you love with people you really like, that's payoff. 1:40:49.000 --> 1:40:52.360 That's real. You just turn it back to Kumba moment. 1:40:56.080 --> 1:40:59.000 What is what is your favorite funk out of man? 1:40:59.080 --> 1:41:01.360 I played that kombay A? 1:41:01.560 --> 1:41:08.320 You have ever what's your thing? 1:41:08.560 --> 1:41:10.760 Which you've seen that Jacket Wilson thing when he's live 1:41:10.840 --> 1:41:13.679 on television? You guys ever seen live clips at Jackie Wilson. 1:41:14.240 --> 1:41:16.840 Oh my god, because he's saying stuff that's kind of 1:41:16.880 --> 1:41:20.880 like Kumbaya. But he is so incredible, not like kombay a. 1:41:21.080 --> 1:41:22.720 But I will now look at it. 1:41:22.800 --> 1:41:25.559 Your love keeps lifting me. You gotta see this clip. 1:41:25.840 --> 1:41:28.040 He's doing it live on television. You could have made 1:41:28.040 --> 1:41:28.760 a record out of it. 1:41:28.800 --> 1:41:32.720 It would have been great. I'm on it. I will look. 1:41:33.400 --> 1:41:38.040 I gotta know what is your your own personal desert 1:41:38.160 --> 1:41:43.040 island disc Like, if when all's said and done, what 1:41:43.240 --> 1:41:49.040 is your artistic crowning achievement? I'm by power and I did. 1:41:49.960 --> 1:41:51.719 It would be one of my own records. 1:41:51.760 --> 1:41:55.840 Man, it wouldn't be one of my own records, it 1:41:55.880 --> 1:41:59.439 would It would be Lewis Armstrong and the Elephantzgerald Duet's no. 1:41:59.479 --> 1:42:01.320 No, no, no no. I mean as far as your achievement, 1:42:01.600 --> 1:42:03.960 your achievement is concerned, like what are you most proud 1:42:04.040 --> 1:42:07.639 of having done the last day of whatever session? 1:42:07.720 --> 1:42:09.880 It was proud of being a decent human being and 1:42:10.000 --> 1:42:10.920 doing decent work. 1:42:13.080 --> 1:42:14.760 I always just got there positively. 1:42:16.760 --> 1:42:20.160 Know what's really going on? You know he's really did, 1:42:20.320 --> 1:42:22.400 but he's trying to save it now he's trying. 1:42:22.200 --> 1:42:22.560 To save it. 1:42:22.640 --> 1:42:23.320 But what a dick. 1:42:23.800 --> 1:42:26.519 I don't want the bad stories, but I'm just saying, like, 1:42:27.760 --> 1:42:30.080 you know, a crowning achievement, like Okay, I. 1:42:30.160 --> 1:42:32.840 Did that there's a lot of Man, every record I've 1:42:32.840 --> 1:42:34.720 ever worked with I love worked on I love. 1:42:34.840 --> 1:42:39.519 I'm serious. It's like your favorite bread the Roots, every 1:42:39.600 --> 1:42:43.560 roots record. Dude, I wasn't even hinting. I forgot you 1:42:43.720 --> 1:42:44.519 worked on the Roots. 1:42:45.200 --> 1:42:45.800 Sure you did. 1:42:45.920 --> 1:42:47.880 Man, No, I'm thinking like what. 1:42:50.280 --> 1:42:50.320 No? 1:42:50.560 --> 1:42:53.160 No, I honest to god, I love every record I've. 1:42:53.040 --> 1:42:55.479 Ever Well, what's the record? Okay, maybe what's the record? 1:42:55.520 --> 1:42:56.880 I'm curious to know what's the record? 1:42:57.000 --> 1:42:57.040 That? 1:42:57.960 --> 1:42:59.879 And hell, maybe all of them go follow this category 1:43:00.320 --> 1:43:03.760 like something that you finished that maybe you didn't think 1:43:04.000 --> 1:43:06.080 you're gonna fish like something that the process. 1:43:06.000 --> 1:43:10.720 Was really say that, Sugar, Can we move on now? 1:43:13.080 --> 1:43:13.360 Okay? 1:43:13.360 --> 1:43:15.360 Maybe maybe maybe this might clear up of me this 1:43:15.439 --> 1:43:19.720 question better. If you had to listen to one song 1:43:19.800 --> 1:43:21.800 that you worked on right now, which one would you choose? 1:43:22.600 --> 1:43:25.080 Like a gun to your head, Bob, you have to 1:43:25.640 --> 1:43:26.760 play one of your songs right. 1:43:26.720 --> 1:43:29.640 The song from Comfort Woman that Chris Dave plays on 1:43:30.760 --> 1:43:34.719 Love song number is that it where the drums start 1:43:34.800 --> 1:43:37.120 out really far away and then they come towards you. 1:43:37.680 --> 1:43:39.360 It's like an up tempo reggae thing. 1:43:39.680 --> 1:43:40.960 Okay, opening so. 1:43:43.160 --> 1:43:43.920 Really reggae flavor. 1:43:45.040 --> 1:43:47.280 Yeah, I know, I can't think of the name because 1:43:47.280 --> 1:43:50.360 the names on the love song Umber one, that's the 1:43:50.439 --> 1:43:55.559 one I'm trying to get. So you're your Michelle work 1:43:55.840 --> 1:43:59.479 is your No, I'm serious, man, I like the friends 1:43:59.479 --> 1:44:00.880 that do with everybody, all right. 1:44:00.960 --> 1:44:01.200 You know. 1:44:07.200 --> 1:44:09.400 You work on that that got deep six and should 1:44:09.400 --> 1:44:14.519 have came out. I can't name names, Prince. 1:44:14.960 --> 1:44:18.000 I've had records that people have redone, which is no. 1:44:18.160 --> 1:44:20.479 You know, anybody as a producer knows that sometimes you 1:44:20.560 --> 1:44:22.800 make a record, sometimes people don't like it and they 1:44:22.880 --> 1:44:23.200 redo it. 1:44:23.280 --> 1:44:25.559 You gotta live with it. It's like being a musician. 1:44:25.880 --> 1:44:27.960 But I've had records that have been redone where the 1:44:28.080 --> 1:44:29.719 redone one was really bad. 1:44:30.720 --> 1:44:33.160 Not a remix, but no, no, just you mean one 1:44:33.160 --> 1:44:34.320 of those iTunes. 1:44:33.880 --> 1:44:34.639 And gag records. 1:44:35.800 --> 1:44:35.840 No. 1:44:36.400 --> 1:44:42.639 I tuned like a like a playover, like oh my god, yo, yeah, 1:44:42.720 --> 1:44:45.880 like you'll go to heat Wave and then like, oh, 1:44:45.920 --> 1:44:48.160 it's like they re recorded this. I felt for Black 1:44:48.439 --> 1:44:54.080 like Black Ivory redid they did and it's fucking horrible. 1:44:54.080 --> 1:44:56.320 But I bought the album. Yeah, I brought the bad 1:44:56.439 --> 1:44:59.120 version was spinning in concerts like how come tips version 1:44:59.120 --> 1:45:01.519 don't sound like this? But it seems like yo, that 1:45:01.760 --> 1:45:03.560 that's not the verse that he redid it like I 1:45:03.680 --> 1:45:04.439 fell for that ship. 1:45:04.600 --> 1:45:07.280 Let's talk about real Desert Island any records I wanted 1:45:07.320 --> 1:45:10.839 to earth Winding Fire's greatest hits in the super Fly soundtrack. 1:45:11.240 --> 1:45:15.640 It does not get any better than Freddy's Dad is 1:45:15.880 --> 1:45:20.040 like possibly one of the pinnacles of music. 1:45:20.840 --> 1:45:26.840 That scares me, having heard Freddy's Dead when I was two. 1:45:27.280 --> 1:45:31.679 When the modulation goes to the horn thing, well, yeah, 1:45:32.080 --> 1:45:36.160 scares of I can't detect say nothing. 1:45:36.920 --> 1:45:37.280 I want. 1:45:37.360 --> 1:45:39.120 I want to see the mission statement that says I'm 1:45:39.160 --> 1:45:43.280 now I'll just sing on my own goddamn radio shows, 1:45:45.600 --> 1:45:48.880 as opposed to it's not a contract, Bill be coming 1:45:48.960 --> 1:45:51.919 off like the principal and back to the future Alphae 1:45:52.080 --> 1:45:56.800 is a slacker. When I was a kid, that that 1:45:57.120 --> 1:46:05.840 modulation used to always scariest modulations, always kid, right, what 1:46:06.000 --> 1:46:08.479 about the what's going on? 1:46:08.960 --> 1:46:12.639 They go like to a tritone away if. 1:46:12.560 --> 1:46:16.760 It modulated and not Golden Lady by Stevie, but like, 1:46:18.120 --> 1:46:20.640 and that's the one thing they cut out of my 1:46:20.920 --> 1:46:23.000 Rock and Roll Hall of Fame speech when I inducted 1:46:23.120 --> 1:46:26.200 Hall of Notes, was you know the end of Sea's 1:46:26.240 --> 1:46:29.320 going We're just stays in there's now and then it 1:46:29.400 --> 1:46:33.799 goes here point under the blankets. 1:46:34.000 --> 1:46:36.600 That's some Hollywood ship right there. You know, that's the 1:46:36.720 --> 1:46:38.599 cheap shot. You know, go up a half staff each 1:46:38.680 --> 1:46:39.599 time in the out course. 1:46:39.800 --> 1:46:41.280 That's like a harp glist. 1:46:41.080 --> 1:46:44.040 Going into a new section. Well what I call the 1:46:44.120 --> 1:46:45.400 sucker punch of orchestration. 1:46:45.680 --> 1:46:49.400 I would turneth whenever Sea's Going came on. When I 1:46:49.479 --> 1:46:51.320 was a kid, I turned on all the lights. 1:46:52.720 --> 1:46:53.519 I never thought that. 1:46:54.479 --> 1:46:58.439 I wasn't allowed to touch my dad's radio, so you know, 1:46:59.160 --> 1:47:01.240 I never knew that modulations. 1:47:03.479 --> 1:47:03.880 All the time. 1:47:04.000 --> 1:47:06.120 You know what else scares me? And I know Bill 1:47:06.479 --> 1:47:08.800 Steve wants me and tell the story. You ever watched 1:47:08.840 --> 1:47:11.800 Tiktac dough tick tech dough now a long time. 1:47:11.880 --> 1:47:14.560 I remember there's a game show. There's a call television. 1:47:17.040 --> 1:47:21.960 There's a game show called tik Tac though, I remember that, okay, 1:47:22.120 --> 1:47:24.639 speaking well, whenever you pick the center square, they give 1:47:24.680 --> 1:47:27.880 you a two part question and then sort of scary 1:47:28.160 --> 1:47:36.760 Jeopardy music to give you thirty seconds to think it over. Okay, yeah, yeah, yeah, yeah, 1:47:37.320 --> 1:47:40.240 scared Jesus, I remember that. I remember that, guys. 1:47:40.280 --> 1:47:42.120 I got to tell you about this building my dad 1:47:42.280 --> 1:47:44.960 was a television producer in the fifties and sixties, and 1:47:45.280 --> 1:47:48.920 we moved from Chicago when I was four, in like 1:47:49.120 --> 1:47:52.439 fifty three or four and fifty five, and I was 1:47:52.560 --> 1:47:55.559 in one of the studios here because he did Mister Wizard. 1:47:55.600 --> 1:47:57.799 You guys don't remember, Yeah. 1:47:58.760 --> 1:48:00.439 You know mister Wizard, but don't know. 1:48:01.479 --> 1:48:02.320 I don't. 1:48:02.439 --> 1:48:04.440 I remember mister Martindale. 1:48:08.920 --> 1:48:11.280 I remember now what it was, this the mister Wizard that. 1:48:11.360 --> 1:48:12.439 Was on what you call it? 1:48:12.520 --> 1:48:12.600 Right? 1:48:12.800 --> 1:48:13.479 How we were there? 1:48:13.880 --> 1:48:16.479 Well, you know the villains from What's Happening, But you 1:48:16.479 --> 1:48:16.720 don't know. 1:48:18.200 --> 1:48:19.320 I probably know if I see it. 1:48:19.600 --> 1:48:21.680 I just remember mister Wizard because like mister Wizz, I 1:48:21.680 --> 1:48:22.280 will watch. 1:48:22.120 --> 1:48:24.080 It and he would do experiments and stuff and it 1:48:24.200 --> 1:48:26.560 was just like well, and I would try to do it, 1:48:26.720 --> 1:48:28.240 but I never had none of the ship. 1:48:28.080 --> 1:48:28.519 Did you need it? 1:48:28.560 --> 1:48:28.920 Anyway? 1:48:29.040 --> 1:48:31.760 I was in this building in the studio when I 1:48:31.920 --> 1:48:34.080 was five years old and I got kicked out because 1:48:34.080 --> 1:48:36.160 I had a cold and I kept kept coughing. My 1:48:36.280 --> 1:48:38.040 mother had to take me out of the studio. So 1:48:38.200 --> 1:48:42.080 this is my triumphant return the studio. 1:48:43.600 --> 1:48:43.760 Mom. 1:48:48.439 --> 1:48:50.920 In reading your wiki page, Bob, just the things like 1:48:52.720 --> 1:48:57.479 studied classical composition and uh, a master's degree in jazz. 1:48:58.560 --> 1:49:05.360 Now when when you started working that was awesome? Eat 1:49:05.400 --> 1:49:06.680 a Chinese peanut. 1:49:06.479 --> 1:49:12.240 Or something, discussion seaweed. 1:49:13.800 --> 1:49:16.960 Yeah, So like this this knowledge of classical music and 1:49:17.080 --> 1:49:19.559 jazz and then and then suddenly you're in the world 1:49:19.600 --> 1:49:22.240 of samplers and tribe cald Quests and day La soul 1:49:22.320 --> 1:49:26.040 and and so now I watched I watched Quest sampling 1:49:26.080 --> 1:49:30.080 a lot, and he's tuning his samples. So now did 1:49:30.120 --> 1:49:33.000 you bring a lot of that stuff to hip hop? 1:49:33.560 --> 1:49:33.760 Yes? 1:49:33.880 --> 1:49:36.960 And no, making sampling more musical, yes. 1:49:36.920 --> 1:49:39.599 When we had to, But no, because I also realized 1:49:39.600 --> 1:49:42.240 that the ethic was often contrary to that, and I 1:49:42.280 --> 1:49:44.080 didn't want to suck it up. But the low end theory, 1:49:44.120 --> 1:49:46.240 I mean, we spent a lot, a lot of time 1:49:46.960 --> 1:49:49.599 on stuff like that, like tuning and timing and things 1:49:49.640 --> 1:49:49.840 like that. 1:49:50.439 --> 1:49:52.599 My my more general question though, is like how did 1:49:52.640 --> 1:49:57.080 you apply your real world classical and jazz experience to 1:49:57.800 --> 1:49:58.599 those projects. 1:50:00.160 --> 1:50:02.680 There's different gigs, man. If you're on a jazz gig, 1:50:02.720 --> 1:50:06.320 you play jazz. If you're on a poka gig, you 1:50:06.400 --> 1:50:07.040 play the poka. 1:50:07.439 --> 1:50:09.360 So you didn't so you No. 1:50:09.680 --> 1:50:12.519 I wanted to help the people realize their vision it 1:50:12.640 --> 1:50:13.240 was not about me. 1:50:14.680 --> 1:50:16.800 I guess I'm asking if you applied that stuff to 1:50:17.439 --> 1:50:18.439 the world of sam you. 1:50:18.600 --> 1:50:21.519 I think everybody, every practitioner in the world, applies everything 1:50:21.560 --> 1:50:23.320 they've ever ever seen to everything they do. 1:50:23.880 --> 1:50:24.040 You know. 1:50:24.240 --> 1:50:26.880 There was no direct line, There wasn't any straight lines. 1:50:26.920 --> 1:50:28.799 But of course, yeah, yeah, I think. 1:50:28.720 --> 1:50:31.280 So, because they were using a lot of jazz samples. 1:50:31.360 --> 1:50:34.960 Yeah, I mean, it's musical sensibilities, that's all, which is 1:50:35.000 --> 1:50:36.320 why the drums are always so loud. 1:50:36.920 --> 1:50:38.880 But they were then the stuff they were bringing to 1:50:38.960 --> 1:50:41.640 you that they were bringing to the sessions that they 1:50:41.680 --> 1:50:44.760 had done prior. Did you find that that stuff was 1:50:44.920 --> 1:50:46.600 already the way they wanted it? 1:50:46.920 --> 1:50:49.760 Sometimes, so we had to work, you know, early on, 1:50:50.000 --> 1:50:53.280 especially before technology caught up, we had to tweak things 1:50:53.320 --> 1:50:53.599 a lot. 1:50:54.800 --> 1:50:56.640 Yeah, so, emir, like the. 1:50:58.520 --> 1:51:02.800 In a lot of hip hop'tensional clashing going on, right 1:51:03.240 --> 1:51:06.000 and then and then there's this whole idea of tuning 1:51:06.040 --> 1:51:08.160 the samples so that they make more musical sense. 1:51:08.240 --> 1:51:09.560 So where is that that was? 1:51:09.840 --> 1:51:15.520 I believe that's Bob's entry now with uh Nix Susanna 1:51:15.680 --> 1:51:17.360 who works with Bob at n Yu. 1:51:19.160 --> 1:51:19.640 Being the. 1:51:21.120 --> 1:51:25.320 Works, he's my boss. Okay, what a preck. 1:51:27.800 --> 1:51:29.120 Nick love your guy. 1:51:30.120 --> 1:51:31.000 I was like, clean that up. 1:51:31.439 --> 1:51:37.360 No. Yeah, So Nick the Santo's uh you know, his 1:51:37.680 --> 1:51:41.840 his his the beauty and in his work was it 1:51:41.960 --> 1:51:44.880 was like throw everything on the wall and see what happens. 1:51:45.880 --> 1:51:50.320 And you know, Nick did practically every Bomb Squad associated 1:51:51.000 --> 1:51:53.479 album from Nation to Millions to Fear of a Black 1:51:53.520 --> 1:51:58.280 Planet to America Yes he dies, Unberser and Black Teenagers. 1:51:58.560 --> 1:52:03.560 And a side note, Nick said that they would. 1:52:04.920 --> 1:52:08.439 Pre sequence all their things like they did no fading 1:52:09.040 --> 1:52:14.040 and no cuts, nothing was automated, so everything was pre programmed. 1:52:14.080 --> 1:52:14.280 Wow. 1:52:15.280 --> 1:52:20.360 And I got to see the note production note sheets 1:52:20.360 --> 1:52:23.400 from Nation to Millions and like, I mean they were 1:52:23.479 --> 1:52:27.759 literally like at four minutes and thirty two point five seconds, 1:52:28.479 --> 1:52:30.639 here comes the one, two, three, four, five six kick 1:52:30.720 --> 1:52:36.240 it from base Heads to Like they pre programmed everything 1:52:36.280 --> 1:52:38.120 so as you heard it, that's how it was. Like. 1:52:38.840 --> 1:52:41.439 So that's why Eric Sadler gets a lot of a 1:52:41.479 --> 1:52:44.200 lot of praise there. But yeah, I mean your entry 1:52:44.320 --> 1:52:49.120 was basically to strip it down and to bring it forth, 1:52:49.160 --> 1:52:49.880 and it made it louder. 1:52:49.920 --> 1:52:53.799 I guess the less elements you have now, Knicks mixes 1:52:53.960 --> 1:52:58.640 are crowded and noisier, but everything's compressed and small. But 1:52:58.760 --> 1:53:03.000 that's also pe you know. Like, guys, what I do 1:53:03.160 --> 1:53:05.840 is exactly like being a musician. And you play the gig. 1:53:05.960 --> 1:53:08.000 You don't play your chops. You play the gig, you 1:53:08.160 --> 1:53:10.639 get there what the music is playing, and you play 1:53:10.680 --> 1:53:12.439 the music. You don't play your own shit. 1:53:12.479 --> 1:53:15.280 You know. So you never had scratched once, like when 1:53:15.320 --> 1:53:18.280 you first a lot. I'll let you relaxations like where's 1:53:18.320 --> 1:53:20.560 the fourth bar? A lot A lot. But you know 1:53:20.760 --> 1:53:21.760 that's part of learning, man. 1:53:23.360 --> 1:53:26.640 It's incumbent upon one as a practitioner to kind of 1:53:26.760 --> 1:53:27.720 understand the ethic of. 1:53:27.680 --> 1:53:30.400 The music that's going on. You don't make it come 1:53:30.479 --> 1:53:33.280 to you. You have to go to it. Such a 1:53:33.360 --> 1:53:41.040 wise man. Okay, another thing, Bob, Bob, do you have 1:53:41.120 --> 1:53:42.320 the cane out there? Did I live? 1:53:43.840 --> 1:53:49.439 It's next to your walker? That no, Bob? 1:53:49.600 --> 1:53:56.320 When you worked on loew In theory, that was awesome. Okay, Bob, 1:53:56.720 --> 1:53:59.679 you could. I could keep you for another twelve hours, 1:53:59.760 --> 1:54:02.760 but let's come back and do it again. Yeah, let's 1:54:02.760 --> 1:54:04.400 save something for three years from now. 1:54:04.840 --> 1:54:05.120 Bob. 1:54:05.560 --> 1:54:09.599 I want to thank you very much. I appreciate everything 1:54:09.680 --> 1:54:13.160 that you've done for music, for me, and for the culture. 1:54:13.720 --> 1:54:14.799 Hashtag for the culture. 1:54:14.920 --> 1:54:17.320 I can say exactly the same about you. Thank you man, 1:54:18.240 --> 1:54:20.320 I appreciate it all right. 1:54:20.840 --> 1:54:20.960 Uh. 1:54:22.640 --> 1:54:25.400 I always feel the need to end these shows with lessons. 1:54:25.439 --> 1:54:28.040 What do we learn from Bob Power? We learned that 1:54:28.120 --> 1:54:30.720 we will never hear any conflict stories of none of 1:54:30.800 --> 1:54:31.519 his artist ever. 1:54:32.000 --> 1:54:32.200 Never. 1:54:32.400 --> 1:54:34.919 If you work with Bob Power, I think your reputation 1:54:35.120 --> 1:54:39.320 is safe. Well, he won't allow you to do anything 1:54:40.280 --> 1:54:44.760 salacious in his studio sessions anyway. So you know, I 1:54:44.880 --> 1:54:48.920 was hoping to get like one, you know, leaders of 1:54:48.960 --> 1:54:52.080 the New School tribe fight story or something, but that 1:54:52.280 --> 1:54:57.240 that wasn't happening. Classic class act is protect class and 1:54:57.720 --> 1:55:02.000 is my mom as well. Uh yeah, so shout out 1:55:02.000 --> 1:55:05.720 to uh. I've learned that Bob Power uh protects all 1:55:05.760 --> 1:55:11.320 of his clients and loves them very very much. What 1:55:11.440 --> 1:55:12.080 else did we learn? 1:55:12.280 --> 1:55:15.040 He also gives them most of all the credit for 1:55:15.360 --> 1:55:19.839 all the work. You know, really kept emphasizing that, Yeah. 1:55:19.720 --> 1:55:22.120 He kind of made me feel important when I knew 1:55:22.240 --> 1:55:24.560 good and well that you know Bob was making on 1:55:24.760 --> 1:55:27.640 Like Bob would never let you touch a button, like 1:55:27.760 --> 1:55:29.840 you would have to present a case, get a lawyer. 1:55:31.640 --> 1:55:35.360 Just to add a little, just to add a little. 1:55:35.120 --> 1:55:36.120 Reverb to a song. 1:55:36.240 --> 1:55:38.680 It was like, I don't know if it calls for 1:55:38.760 --> 1:55:42.320 that dam here anyway. This is a Questlove of Quest 1:55:42.320 --> 1:55:45.680 Love Supreme. Be safe, ladies and gentlemen. I hope to 1:55:45.720 --> 1:55:58.560 see you now. Quest Love Supreme is a production of iHeartRadio. 1:55:59.080 --> 1:56:02.400 This classic episode. It was produced by the team at Pandora. 1:56:05.960 --> 1:56:10.320 For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 1:56:10.800 --> 1:56:12.480 or wherever you listen to your favorite shows.