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Speaker 1: Quest Love Supreme is a production of iHeartRadio. All Right, y'all,

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Speaker 1: this is gonna be a long one. You ready, And

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Speaker 1: I'm talking about the introduction. All right, here we go.

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Speaker 1: All right, let's see how good I am at winging this.

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Speaker 1: Here we go.

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Speaker 2: All right.

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Speaker 1: So, uh, ladies and gentlemen, this is Quest Love Supreme

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Speaker 1: and we're with Sugar Steve Laiyah and unpaid Bill fan Tickeelo.

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Speaker 1: I gotta pour out some wheat grass for the brothers

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Speaker 1: who ain't here picnic. Yeah, So I just want to

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Speaker 1: tell you guys alone, you know, my distinguished QLs CO stars,

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Speaker 1: that I'm offering in advance a full apology because you

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Speaker 1: know we already we already know that I'm cuckoo for

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Speaker 1: anything purple related. But unlike our distinguished guest today, I'm

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Speaker 1: throwing all of my cool out the window.

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Speaker 3: Yeah.

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Speaker 1: All my professionalism and whatever so called journalistic integrity I

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Speaker 1: had is gone. I'm going fool. Chris Farley, Paul McCartney,

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Speaker 1: SNL interview mode. Right now, you guys aren't encouraged, you're

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Speaker 1: encouraging me. Trust me. This is gonna be bad, and

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Speaker 1: I'm look. Let me also preface by asking my guests

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Speaker 1: to forgive me for all my levels of nerdom for

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Speaker 1: this particular episode. Our guest today is probably the last

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Speaker 1: plank of the original Purple squad or army, to whom

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Speaker 1: I have not revealed my true geekdom. I've exhausted my

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Speaker 1: I've exhausted my batteries on name Jimmy, Sheila Apples, Jill, Mark, Wendy, Lisa, Susannah, Allen, James, Shoot, Bobby, Jesse, Terry,

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Speaker 1: even Brenda, Susan and I, like Saint Paul, I've exhausted

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Speaker 1: my batteries asking dumb ass questions to every member of

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Speaker 1: that squad except for our guest today. And that's on purpose.

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Speaker 1: It's on purpose because I knew there was going to

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Speaker 1: be a day in which we would get him as

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Speaker 1: a guest on our esteemed webbee winning podcast. All right,

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Speaker 1: and so okay, that was the preface. So here's the

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Speaker 1: actual introduction. Yo, man, you only get this one moment once.

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Speaker 1: All right, So, ladies and gentlemen. I was as I

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Speaker 1: was prepping notes earlier, and notes it's like a small

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Speaker 1: post it. As I was prepping notes, I realized that

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Speaker 1: almost in every case of history, like once you reached

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Speaker 1: that twenty year mark revisionist license sort of kicks in.

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Speaker 1: So that said, I'll say it right here that our

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Speaker 1: guest is probably my gateway drug to the Purple Kingdom.

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Speaker 1: And I'm just saying that because I remember when Prince's

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Speaker 1: debut was on the radio back in seventy eight, when

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Speaker 1: Soft and White debuted on the radio. It was only

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Speaker 1: because I remembered it, because because it was literally two

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Speaker 1: minutes after my dad had to break the news to

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Speaker 1: my mother that my grandfather just died. So for the longest,

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Speaker 1: my Prince association was that song I was listening to

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Speaker 1: while my mom was sobbing on the kitchen floor, you know,

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Speaker 1: crying to death. And so for the next four to

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Speaker 1: five years, Prince was more of a fixture on like

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Speaker 1: my sister's girlfriend in his bedroom walls and all that

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Speaker 1: high school ride on magazine stuff. And don't get me wrong,

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Speaker 1: I mean I duck some joins as a kid, but

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Speaker 1: you know, I was kind of teen Jackson. And then

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Speaker 1: shout out to my friend in sixth grade, Reginald Chieves,

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Speaker 1: who told me that his older brother told him that

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Speaker 1: our guest today and Prince were down with each other.

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Speaker 1: And then he pulls out a radio, one of those

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Speaker 1: realistic radio shack cheap things, and he transforms my life

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Speaker 1: by playing me the entire ten minute version of cool

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Speaker 1: and instantly, as a sixth grader, I was upset. I mean,

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Speaker 1: records were five to ninety nine back then, so I

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Speaker 1: mean I broke the piggy bank purchased the album Dahn.

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Speaker 1: You know I turned that I'm down on the bad

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Speaker 1: parts whatever. My parents are like super Christian. But the

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Speaker 1: next thing I knew, me and my entire sixth grade squad,

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Speaker 1: for the first time in our lives, had brand new

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Speaker 1: heroes to look up to who were not born in Gary, Indiana.

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Speaker 1: So that entire summer, like all of our Jordash Sergey

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Speaker 1: o Valente begging, all that went out the window. And

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Speaker 1: thanks to my science teacher who thought that the Time

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Speaker 1: guys looked like the second coming of like Louis Jordan

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Speaker 1: and the Tempanty five. He told us, well, if you

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Speaker 1: guys want to dress like those guys, you gotta go

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Speaker 1: to the five and Time. So you know, I've been

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Speaker 1: avoiding going to the Goodwill all of my life. No

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Speaker 1: one wants to go to the Goodwill Salvation Army. But

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Speaker 1: now me and my whole crew are privy to a

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Speaker 1: secret the world doesn't know about, which is basically, you

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Speaker 1: can cop a pair of baggies for five bucks. Look

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Speaker 1: sharp as hell. Pull all the Jains in sixth grade.

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Speaker 1: Shout out to Monocha. Jordan looks, this is just as

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Speaker 1: awesome now as fifty as she did when she was ten.

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Speaker 1: But basically our parts are lated because now we're buying

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Speaker 1: all these cheap suits looking good and they don't have

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Speaker 1: to spend the money. So yes, only because of our guests.

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Speaker 1: Our guest gave Prince the green light, not the opposite

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Speaker 1: in my world that I gave Prince the green light

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Speaker 1: and eighty two and then caught up afterwards, so you know,

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Speaker 1: because Prince Vans want to swear that they were all

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Speaker 1: down since the beginning, and no, make no mistake. If

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Speaker 1: it wasn't for Mars e Day, my entire music direction

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Speaker 1: probably would have went to either I don't know, Luther

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Speaker 1: Manjos or Lelo Thomas. I don't know. God is here

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Speaker 1: with us, ladies and gentlemen, please give it up for

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Speaker 1: Mars e Day. This is probably the longest introduction I've

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Speaker 1: ever done. It's gonna say I was like it shows

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Speaker 1: over now.

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Speaker 4: The disclaimer this is the first.

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Speaker 1: Right now, but it's okay, yeah, you know. I mean,

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Speaker 1: when I really love a guess, I'll geek out. So

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Speaker 1: thank you. I can't even think you enough. I have

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Speaker 1: a gazillient questions. Actually, I want to jump ahead to

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Speaker 1: a question I've been dying, dying, dying to know. So

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Speaker 1: every interview that I've heard you recall your story. Of

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Speaker 1: course you get to the part where you realize that

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Speaker 1: Prince is about to choose Bobby Z as a drummer

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Speaker 1: and not you, clearly the more skilled drummer. And you know,

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Speaker 1: most Prince fans and most QLs listeners know kind of

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Speaker 1: know what time it is whatever, so we kind of

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Speaker 1: dig the reason why Prince did the ban outfit the

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Speaker 1: way he did, sort of after Slide the Family Stone.

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Speaker 1: But what I want to know is, in light of

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Speaker 1: everything that's happened for you, if you were able to

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Speaker 1: have a time machine and this is not even a

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Speaker 1: you know, to bring Prince back a live thing, but

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Speaker 1: if you were able to get back in the time

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Speaker 1: machine and go back to nineteen eighty and you knew

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Speaker 1: there was a chance for you to get in the

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Speaker 1: revolution as a drummer instead of the path you're on

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Speaker 1: right now? What what what? What path are you choosing?

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Speaker 1: Are you choosing to still be his drummer or your career?

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Speaker 3: Well, first of all, brother quest, I want to thank

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Speaker 3: you for that that that grand intro, My brother. You know,

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Speaker 3: I almost forgot that I was a guest.

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Speaker 5: I was just like.

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Speaker 1: The host.

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Speaker 5: How many pages, you know.

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Speaker 3: But but that's an interesting question. I liked that question

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Speaker 3: because in the moment back then, I definitely would have

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Speaker 3: chose to be the drummer because I was all about

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Speaker 3: drumming and that was my life, you know, my security blanket,

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Speaker 3: and that's what I did every day. That's what I

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Speaker 3: skipped school to do. That's what I aspired to do.

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Speaker 3: But looking back now, you know, hindsight, you know, I'm

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Speaker 3: glad that I was kind of pushed, if you will,

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Speaker 3: into the position that I'm in because you know, I

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Speaker 3: found another aspect of my abilities that that I.

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Speaker 5: Didn't really know about.

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Speaker 1: Mm okay, because I still feel like, and I try

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Speaker 1: to think of the logic, I'm like, wait a minute,

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Speaker 1: you were given you were either given a choice to

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Speaker 1: be like from my personal position, like my dad wanted

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Speaker 1: to be opposite for me, my dad wanted me to

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Speaker 1: be a session drummer because you know, in my mind,

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Speaker 1: I'm like, no, I want a career like I don't.

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Speaker 1: I don't want to drum for Anita Baker, like I

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Speaker 1: want to be the guy that owns the stadium that

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Speaker 1: she plays it like. I always thought that. So for me,

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Speaker 1: I was I would just read when you say, like

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Speaker 1: a man, he incused me as this drummer, and I'm like, yeah,

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Speaker 1: but you got something better. But then I thought about it,

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Speaker 1: Maybe playing with Prince as a musician is fun, and

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Speaker 1: perhaps in him you found someone that's like a level

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Speaker 1: of musicianship that you respected. And you know, it wasn't

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Speaker 1: about being lucrative or having more money or whatever. It

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Speaker 1: was about like, oh, this is where my joy really is.

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Speaker 1: And so I always wondered that, Well, the thing is,

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Speaker 1: it wasn't a choice like that.

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Speaker 3: And I never thought that drumming for Prince would be

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Speaker 3: fun because he was probably one of the.

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Speaker 1: Worst of tax masters.

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Speaker 3: Yeah, if you will, you know that you could work under.

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Speaker 3: So it wasn't about that. But at that point I

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Speaker 3: never really considered being a lead singer. I was a drummer,

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Speaker 3: and so that's all I knew, and I wanted to

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Speaker 3: play drums, and I'm thinking, you know, my man's got

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Speaker 3: this deal. Man, he's like Warner Brothers. He's about to

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Speaker 3: hit the big stage. I want to be a part

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Speaker 3: of that. And that was, you know, all that I

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Speaker 3: was thinking about.

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Speaker 5: At that moment.

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Speaker 1: Okay, okay, I see. So you didn't think like, oh,

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Speaker 1: this guy's going to be so prolific that he's going

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Speaker 1: to need other outlets and channels to express himself, and

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Speaker 1: so I could be that outlet or something.

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Speaker 3: Yeah, the time didn't exist in that moment, so I

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Speaker 3: get it. You know, that came about later, and you know,

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Speaker 3: like I said, I'm very glad that it did, because

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Speaker 3: you know, I found something that I can do even

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Speaker 3: better than drummings. So you know, it all worked out.

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Speaker 4: We asked when and where did he hear your voice

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Speaker 4: to think that you needed to make another decision.

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Speaker 3: You know, we were in a I was in Princes

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Speaker 3: Group Grand Central back in the day when we were

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Speaker 3: like teenagers, and you know, I would sing a couple

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Speaker 3: of songs from the drums and I would even come

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Speaker 3: out in front and are percussionists at the time, would

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Speaker 3: would go back play drums, I'd come out and sing.

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Speaker 3: So he knew that I could sing, but he didn't

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Speaker 3: know about the front man, you know, but he did.

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Speaker 3: He's the one responsible.

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Speaker 4: You know.

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Speaker 3: We tried when we were putting the time together. We

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Speaker 3: tried Alexander O'Neil. We tried a handful of other singers

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Speaker 3: and it just didn't work out. And so, you know,

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Speaker 3: Prince was like, well, why don't you do it? And

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Speaker 3: you know, I had to like stop and think about that.

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Speaker 3: I was like, because I'm going to be the drummer

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Speaker 3: in the band. He said, no, you need to be

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Speaker 3: the singer. I said, I don't know how to lead

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Speaker 3: a band. He said, put your hand in your pocket

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Speaker 3: and be cool. I said, I can do that.

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Speaker 1: Good advice, all right. So it's funny to say that

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Speaker 1: because I'm actually working on I'm working on a book

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Speaker 1: right now. There's a part, there's a chapter where I

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Speaker 1: actually kind of explore the idea of what black cool is.

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Speaker 1: Alice Walker's daughter, Rebecca Walker, she does this, she does

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Speaker 1: this essay about a woman on the New York subway

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Speaker 1: and this black woman gets on She's like gorgeous. She

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Speaker 1: sits down and Alice Walker immediately knew that her number

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Speaker 1: one weapon was the way that she ignored people. So

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Speaker 1: like this drop dead gorgeous walks on the tree, she

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Speaker 1: sits and immediately Alice Walker notices like five guys like

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Speaker 1: kind of oogling her. But the more that she ignores them,

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Speaker 1: the more that they want her. And it's almost like

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Speaker 1: she said that that's the story of black cool, where

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Speaker 1: you know, normally we're taught to please and play kate,

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Speaker 1: you know Motown's things like you know, go to charm school.

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Speaker 1: You know, we're the right thing. Da da da da da,

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Speaker 1: or you know minstrel se era entertainment where you gotta

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Speaker 1: sort of shuck and jive your way into people's hearts

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Speaker 1: and disarm them, whereas cool is where you're holding everything back,

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Speaker 1: which leaves mystery and it makes people want to know

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Speaker 1: you more, like that sort of thing. It's so weird

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Speaker 1: now seeing her her breakdown of what cool means and

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Speaker 1: now kind of revisiting what the time represented because you know,

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Speaker 1: I guess for people that weren't around at that period,

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Speaker 1: like you, you guys to me were kind of what

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Speaker 1: NWA thought they were and I don't mean and just

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Speaker 1: in terms of you know, NWA ride like the most

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Speaker 1: dangerous group of all type. But the thing is is

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Speaker 1: that they overdid it so it became cartoony and then entertainment,

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Speaker 1: whereas the time was like dead pan serious like de Niro,

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Speaker 1: like you don't know if they're serious or not. You don't.

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Speaker 1: It's like hid your daughters like that sort of thing. So,

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Speaker 1: I mean, there was I've never seen a black group

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Speaker 1: not so eager to please or sort of like unbothered,

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Speaker 1: like you know, we could take her to leave you

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Speaker 1: Like That's how it looked to me when I was

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Speaker 1: seeing you guys when as a kid, like, oh, these

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Speaker 1: guys don't care like which you've just never seen that

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Speaker 1: before in a black group, because most black groups like

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Speaker 1: were eager, you know, happy to do.

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Speaker 4: That was that the plan war is like, was that

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Speaker 4: the plan y'all already knew what you're cool was gonna be,

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Speaker 4: and it was no going back and forth as to

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Speaker 4: what we're doing and what we're gonna look like and

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Speaker 4: how we're gonna rep.

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Speaker 3: Well, you know, there was an evolution of cool, okay,

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Speaker 3: and quite like Quest was saying, and in the very beginning,

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Speaker 3: it was a very laid back cool where people had

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Speaker 3: to invite themselves into the room with us.

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Speaker 5: But you know, I think you.

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Speaker 3: Know, as it evolved, you know, it became more of

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Speaker 3: an extrovert type of cool, and you know, it was

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Speaker 3: just it was an evolution.

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Speaker 5: But yeah, we definitely, you know, back in the early

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Speaker 5: days had that mystique.

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Speaker 3: It's like, you know, when we did, when I did

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Speaker 3: do my laugh or whatever, you know, it's like, is

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Speaker 3: he laughing?

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Speaker 4: What?

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Speaker 3: You know, what's he laughing about? You know what does

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Speaker 3: what time?

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Speaker 5: Is it mean?

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Speaker 3: You know what is all this about? So you know,

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Speaker 3: we kind of had people guessing, you know.

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Speaker 1: Wanting wanting to be in on the joke. Yeah. Yeah,

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Speaker 1: I made you want to be down with them that way.

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Speaker 1: I think Maris, what was your what was your first

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Speaker 1: musical memory?

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Speaker 5: It went way back.

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Speaker 3: You know, because I kind of just came into the

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Speaker 3: world with the notion that I was going to be

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Speaker 3: involved with music, you know, born in fifty six, you know,

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Speaker 3: and I can remember listening to the Beatles on our

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Speaker 3: little am radio that we had, and you know, then

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Speaker 3: later I remember doing you know the James Brown running

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Speaker 3: around my you know, the house in the projects and

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Speaker 3: fruit of the looms on doing the splits trying to

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Speaker 3: do James Brown and all that, and then sixty four

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Speaker 3: comes around. We were one of the first, you know,

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Speaker 3: let you know how what priorities were back then, but

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Speaker 3: we had one of the first color TVs in the projects,

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Speaker 3: so all that. Back then, I was watching bandstand man

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Speaker 3: and I'm watching the Supremes at four tops, you know,

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Speaker 3: all these motown acts on bandstand and I was like,

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Speaker 3: that's what I want to do, you know. So those

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Speaker 3: were my early memories, you know, of music. But I

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Speaker 3: just it was just.

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Speaker 1: In my blood, okay. And what was it about the

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Speaker 1: drums that? How did you come to be a drummer?

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Speaker 1: And were there any other instruments that you played?

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Speaker 3: Yeah, I went through them all, you know, I went

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Speaker 3: through I wanted to play drums first and foremost, but

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Speaker 3: you know, you probably know in school, everybody takes drums first.

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Speaker 3: So the drums were never available, you know, and I

300
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Speaker 3: was always late to register for what I wanted to play. So,

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Speaker 3: you know, I played the saxophone. I got pretty good

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Speaker 3: at that. That was the first time I got invited

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Speaker 3: to be in a band, but I didn't want to

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Speaker 3: play saxophone in a band, so I passed on that

305
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Speaker 3: then I went to the bass. The only base they

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Speaker 3: had was the upright bass. I said, well, I'm not

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Speaker 3: lugging this home to practice. So you know, I played

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Speaker 3: a few different instruments, but the drums just stood out,

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Speaker 3: you know, And so I beat on my mom's couch

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Speaker 3: and pots and pans until she finally caved in and

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Speaker 3: bought me my first drum set. And you know it

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Speaker 3: was that was just really love at.

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Speaker 5: First sight or whatever you want to call it.

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Speaker 3: But that was it for me.

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Speaker 1: So I know that you're a left handed drummer along

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Speaker 1: with Jellybean is also a left handed drummer, or at

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Speaker 1: least am I assuming that you're also left handed? I am, okay,

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Speaker 1: that's weird. I'm left handed too, but still I play.

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Speaker 1: I play drums in traditional way. Yeah yeah, so or

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Speaker 1: yeah backhanded. The thing is is that you know, I

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Speaker 1: first saw my first backhanded drummer, like in the late seventies.

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Speaker 1: So like when you're setting up the drums and you

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Speaker 1: decide that this is the way I want to face

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Speaker 1: and this is my positioning, Like no one tried to

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Speaker 1: correct you and say, well you should be ambidexterrous or

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Speaker 1: drum on both sides. Or like, how did you wind

327
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Speaker 1: up drumming what we would call and reverse?

328
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Speaker 3: They say, Brother, you asking me questions that make me

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Speaker 3: question myself.

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Speaker 1: Right now, welcome to quest love, superior. Man, this ain't

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Speaker 1: gonna be the So tell us about junkle love. I

332
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Speaker 1: already told you you've heard that question. But I already

333
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Speaker 1: told you, man, I'm a nerd out.

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Speaker 5: No, for real, I appreciate that. I don't know.

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Speaker 3: I just think when I got my first drum set,

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Speaker 3: you know, I'm down in the basement, you know, pulling

337
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Speaker 3: out the box and setting it up, and I just

338
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Speaker 3: gravitated toward having my snare, you know, on on my

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Speaker 3: right side. And you know, I just that's just how

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Speaker 3: I set them up, and I just continue.

341
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Speaker 5: To play that way.

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Speaker 1: Okay, So doesn't that make it hard to quote casually

343
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Speaker 1: sit in like, do you have the ability to actually

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Speaker 1: play the opposite way?

345
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Speaker 5: No?

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Speaker 3: No, I always you know, I can't switch the whole

347
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Speaker 3: set around, but I can at.

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Speaker 5: Least switch there and the high hat.

349
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Speaker 3: Man, it makes the feeld sound interesting when you're going

350
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Speaker 3: back towards around.

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Speaker 1: Okay, Okay, I see that. I don't I know that

352
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Speaker 1: uh Garibaldi is holds dear to your heart, but like

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Speaker 1: was he was he your who's your first drumming hero?

354
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Speaker 5: Oh my, my drumming heroes were definitely all the James

355
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Speaker 5: Brown drummers, you know.

356
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Speaker 3: And and and and and listening you know, back to

357
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Speaker 3: can't stand it and I got the feeling and stuff.

358
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Speaker 3: I mean to me, the pockets and the meters brothers

359
00:19:32,760 --> 00:19:36,880
Speaker 3: came up with was nothing short of incredible. And I

360
00:19:37,000 --> 00:19:42,080
Speaker 3: definitely see where Garibaldi got his chops from listening to them.

361
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Speaker 3: And but I just there was a technical way that

362
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Speaker 3: he put it together that I I just thought was

363
00:19:47,520 --> 00:19:51,520
Speaker 3: very clever. But definitely all the JB's drummers in the

364
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Speaker 3: early days and still to this day for me.

365
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Speaker 1: Okay, well, I know that at some point you guys

366
00:19:57,160 --> 00:20:00,159
Speaker 1: were all under the same management. Have you ever got

367
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Speaker 1: into talk or get cool with Dave Garibaldi at all?

368
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Speaker 5: Or we've talked a couple of times.

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Speaker 3: You know, I go, you know, to a show when

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Speaker 3: I whenever I can catch him when I know he's drumming,

371
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Speaker 3: and you know, he he knows you know that.

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Speaker 5: That I did.

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Speaker 3: His style, but you know that's not the extent of it.

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Speaker 1: Okay, So just like nice, pleasant trees, but never like, yeah, yeah,

375
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Speaker 1: that's it, guys, call you ol yo man, check this

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Speaker 1: thing out. Okay, So you know, we asked, we asked

377
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Speaker 1: Jimmy jim his version of this. Can you break down

378
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Speaker 1: your version of growing up in Minneapolis as far as

379
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Speaker 1: you know, the side of town you grew up on,

380
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Speaker 1: where the cool side of town was, the side of

381
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Speaker 1: town you don't go to radio socially like, could you

382
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Speaker 1: just give us a kind of a run of what

383
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Speaker 1: your your preteen life was in Minnesota.

384
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Speaker 3: My preteen life, you know in Minnesota was I pretty

385
00:21:03,280 --> 00:21:05,720
Speaker 3: much lived in the don't go to areas.

386
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Speaker 1: Oh, you live on the other side of the tracks?

387
00:21:09,320 --> 00:21:13,359
Speaker 3: Yeah, okay, you know, both sides south side and north

388
00:21:13,400 --> 00:21:16,800
Speaker 3: side were the areas that if somebody said, hey, where

389
00:21:16,800 --> 00:21:21,520
Speaker 3: should I not go in Minneapolis, they would have said both.

390
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Speaker 5: Sides of the town that I lived on.

391
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Speaker 3: But what my experience and my takeaway from Minneapolis is,

392
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Speaker 3: I can't hate on it because that's obviously where I

393
00:21:29,920 --> 00:21:33,959
Speaker 3: really found myself and musically and in a great circle

394
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Speaker 3: of musicians. But at the end of the day, my

395
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Speaker 3: experience in Minneapolis, I'm not surprised with the whole George

396
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Speaker 3: Floyd situation because I saw Minneapolis as being a racist town.

397
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Speaker 5: And it just doesn't. It didn't surprise me.

398
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Speaker 3: First avenue, which Prince chose to glorify, didn't really even

399
00:22:02,600 --> 00:22:04,880
Speaker 3: cater to to black at all.

400
00:22:05,040 --> 00:22:06,840
Speaker 5: You know, it was all about rock.

401
00:22:06,720 --> 00:22:10,880
Speaker 3: Bands and husky. Yeah, we didn't hang out there at

402
00:22:10,880 --> 00:22:14,040
Speaker 3: all and never really felt welcome there. So you know,

403
00:22:14,119 --> 00:22:16,720
Speaker 3: that was just you know, it was interesting that he

404
00:22:16,880 --> 00:22:19,760
Speaker 3: chose that and it worked out, but that's not the

405
00:22:20,080 --> 00:22:23,639
Speaker 3: you know, the purple Ring Minneapolis is not the Minneapolis

406
00:22:23,640 --> 00:22:25,600
Speaker 3: that I.

407
00:22:24,720 --> 00:22:25,360
Speaker 5: Grew up in.

408
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Speaker 1: So you guys had to build that utopian because like, okay, yeah,

409
00:22:30,080 --> 00:22:32,280
Speaker 1: I was one of those people that like, you know

410
00:22:32,359 --> 00:22:35,520
Speaker 1: that the modern aray theme, the modern air scene where

411
00:22:35,760 --> 00:22:38,640
Speaker 1: you know, you and Apples are sitting in the audience

412
00:22:39,040 --> 00:22:41,640
Speaker 1: with your champagne and all these black and white and

413
00:22:41,880 --> 00:22:45,800
Speaker 1: mixed race people or just dance. Like in my mind,

414
00:22:45,840 --> 00:22:50,840
Speaker 1: I thought like, oh, Minnesota's this utopian sort of you know,

415
00:22:51,359 --> 00:22:54,320
Speaker 1: this mythical utopian place that we need to go to.

416
00:22:54,640 --> 00:23:00,359
Speaker 1: But that was basically something that you guys had to build.

417
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Speaker 3: Hey, you know what, you know, I just there's good

418
00:23:03,840 --> 00:23:06,480
Speaker 3: and bad people, you know, but you know, Minneapolis grew

419
00:23:06,520 --> 00:23:09,520
Speaker 3: to be that because so many people saw Purple Rain.

420
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Speaker 3: And I think Prince did a great job of making

421
00:23:12,800 --> 00:23:16,360
Speaker 3: Minneapolis really look like this music mecca and this melting

422
00:23:16,400 --> 00:23:20,040
Speaker 3: pot and you know it, I don't know, you know,

423
00:23:20,160 --> 00:23:25,040
Speaker 3: but it it wasn't like that, you know, And I

424
00:23:25,080 --> 00:23:29,160
Speaker 3: think he helped he helped the city a lot by

425
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Speaker 3: choosing to use First Avenue and glorify it like that.

426
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Speaker 5: You know, I'm not.

427
00:23:35,920 --> 00:23:38,399
Speaker 3: Trying to, you know, sound lean in one direction the other.

428
00:23:38,520 --> 00:23:40,440
Speaker 3: Had a lot of good white friends and all of that.

429
00:23:40,560 --> 00:23:46,000
Speaker 3: But I was, you know, stopped by the cops a lot,

430
00:23:46,160 --> 00:23:48,639
Speaker 3: you know, thrown on the hood of my car in

431
00:23:48,680 --> 00:23:50,600
Speaker 3: front of my five year old daughter at the time

432
00:23:50,680 --> 00:23:52,199
Speaker 3: over really trivial stuff.

433
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Speaker 5: So when you were it was on the way, it

434
00:23:56,600 --> 00:23:59,720
Speaker 5: was on the way, you know. But but still, you.

435
00:23:59,640 --> 00:24:02,840
Speaker 3: Know, I had one of the first uh you know,

436
00:24:03,000 --> 00:24:05,240
Speaker 3: I was one of the first brothers you know, bought

437
00:24:05,240 --> 00:24:10,680
Speaker 3: a porch back in nineteen eighty you know, two and Stopford,

438
00:24:11,040 --> 00:24:13,440
Speaker 3: you know, just having a high end car.

439
00:24:13,640 --> 00:24:14,600
Speaker 5: So you know, it was just.

440
00:24:14,600 --> 00:24:16,399
Speaker 3: It was it was crazy stuff, you know.

441
00:24:17,000 --> 00:24:19,600
Speaker 4: So wait, can I ask what that being said? Now?

442
00:24:19,640 --> 00:24:21,879
Speaker 4: I want to know about your people then, because like

443
00:24:21,920 --> 00:24:24,960
Speaker 4: where were your parents from and what was their background.

444
00:24:24,960 --> 00:24:27,000
Speaker 4: I know you said you grew up in the projects,

445
00:24:27,000 --> 00:24:29,040
Speaker 4: but who were who were your parents?

446
00:24:29,400 --> 00:24:32,800
Speaker 3: Well, my parents, we're all out of Illinois. So I

447
00:24:32,920 --> 00:24:35,760
Speaker 3: was born in Springfield, Illinois, and you know, all my

448
00:24:35,800 --> 00:24:40,400
Speaker 3: folks were like Springfield, Decatur, Illinois, Chicago, that circle down there.

449
00:24:40,480 --> 00:24:44,119
Speaker 3: And you know, a couple of my relatives moved up

450
00:24:44,119 --> 00:24:48,399
Speaker 3: to Minneapolis. And the story goes, and like I always

451
00:24:48,480 --> 00:24:50,000
Speaker 3: like to say, it's in.

452
00:24:49,880 --> 00:24:55,600
Speaker 5: The book, you know, but you know, my mom took.

453
00:24:55,480 --> 00:24:56,960
Speaker 3: Us up to Minneapolis.

454
00:24:57,000 --> 00:24:59,199
Speaker 6: We were supposed to be going to Cali, and I

455
00:24:59,359 --> 00:25:03,120
Speaker 6: was sold the looking forward to that, and we stopped

456
00:25:03,119 --> 00:25:07,359
Speaker 6: in Minneapolis to visit my sick aunt, so my mom said.

457
00:25:07,440 --> 00:25:09,360
Speaker 5: And we ended up there for the next twenty years.

458
00:25:09,400 --> 00:25:10,879
Speaker 5: And I was a little bitter about.

459
00:25:10,640 --> 00:25:14,719
Speaker 3: That, I understand, But it got good, you know, it

460
00:25:14,760 --> 00:25:15,560
Speaker 3: got really good.

461
00:25:15,600 --> 00:25:15,760
Speaker 1: You know.

462
00:25:15,840 --> 00:25:17,160
Speaker 5: I met some really good people.

463
00:25:17,160 --> 00:25:19,879
Speaker 3: I met Prince, I met Andre Simone and all of

464
00:25:19,920 --> 00:25:23,199
Speaker 3: my guys, you know, because I couldn't find myself. I

465
00:25:23,280 --> 00:25:27,080
Speaker 3: wasn't an athlete, and I wasn't popular in school for

466
00:25:27,920 --> 00:25:29,359
Speaker 3: no particular reason.

467
00:25:29,800 --> 00:25:31,080
Speaker 5: So once I got.

468
00:25:30,880 --> 00:25:33,240
Speaker 3: In the band, and once I found myself with the music,

469
00:25:33,280 --> 00:25:35,359
Speaker 3: then all of sudden, you know what I mean, life

470
00:25:35,480 --> 00:25:38,960
Speaker 3: changed for me. So Minneapolis for me was the place

471
00:25:39,040 --> 00:25:39,360
Speaker 3: to be.

472
00:25:40,359 --> 00:25:45,320
Speaker 1: Okay in the idea of well, first of all, I'm

473
00:25:45,359 --> 00:25:47,320
Speaker 1: still trying to wrap my head around the fact that

474
00:25:48,400 --> 00:25:52,200
Speaker 1: and I'm going on Jimmy Jam's account about how radio

475
00:25:52,359 --> 00:25:56,880
Speaker 1: was at the time. How are you guys getting culture?

476
00:25:57,000 --> 00:26:02,560
Speaker 1: Like it's baffling to me that for a group of people,

477
00:26:03,840 --> 00:26:07,800
Speaker 1: and meaning that all of you in Minnesota who basically

478
00:26:08,000 --> 00:26:14,359
Speaker 1: dictated what black culture would be in entertainment from the

479
00:26:14,400 --> 00:26:18,120
Speaker 1: eighties on, and that's you know, music, attitude, style, all

480
00:26:18,160 --> 00:26:20,960
Speaker 1: those things for you guys to not even have that

481
00:26:21,040 --> 00:26:24,600
Speaker 1: foundation to even know to build upon it. Like, how

482
00:26:24,600 --> 00:26:28,240
Speaker 1: are you learning about whatever was hipping black in the

483
00:26:28,320 --> 00:26:32,040
Speaker 1: day if it's not in Minnesota? Like how are you

484
00:26:32,080 --> 00:26:36,360
Speaker 1: getting what's your internet? How do you know about the Meters?

485
00:26:36,400 --> 00:26:38,879
Speaker 1: How do you know about a group called heat Wave?

486
00:26:39,000 --> 00:26:40,760
Speaker 1: Like how are you getting hip to this?

487
00:26:41,119 --> 00:26:41,479
Speaker 5: Okay?

488
00:26:41,960 --> 00:26:46,119
Speaker 3: So you know, first of all, you got diverse.

489
00:26:47,119 --> 00:26:50,600
Speaker 5: Parents from different parts of the country.

490
00:26:51,000 --> 00:26:58,160
Speaker 3: Moving from Chicago to Minneapolis, moving from California to Minneapolis,

491
00:26:58,160 --> 00:27:01,320
Speaker 3: and they're bringing their record elections. And then also we

492
00:27:01,440 --> 00:27:04,920
Speaker 3: had back in the day it was called KUXL am

493
00:27:05,080 --> 00:27:09,760
Speaker 3: radio station that played all the soul music and it

494
00:27:10,200 --> 00:27:14,560
Speaker 3: broadcasted from maybe eight in the morning til the sundown

495
00:27:15,040 --> 00:27:20,439
Speaker 3: and had like a five block radius. But listen to

496
00:27:20,880 --> 00:27:22,840
Speaker 3: you know, you could get you know, all of the

497
00:27:22,920 --> 00:27:25,080
Speaker 3: new music there. And then so then we would hear

498
00:27:25,080 --> 00:27:27,639
Speaker 3: the new Parliament Funkadelic, we would hear the new.

499
00:27:29,160 --> 00:27:30,840
Speaker 5: Commodores or whatever.

500
00:27:30,880 --> 00:27:32,600
Speaker 3: And then we would go to the mom and pop

501
00:27:32,680 --> 00:27:35,000
Speaker 3: and we say, hey, when do you get when this record?

502
00:27:35,000 --> 00:27:37,080
Speaker 3: When is this record coming in? And they would tell

503
00:27:37,119 --> 00:27:39,280
Speaker 3: us we'd be waiting on this record. And then on

504
00:27:39,320 --> 00:27:41,720
Speaker 3: the other hand, you know, we could listen to the

505
00:27:42,200 --> 00:27:47,480
Speaker 3: groups like the Commodores and Diana Ross and Lou Rawls

506
00:27:47,520 --> 00:27:50,040
Speaker 3: and that had surface to pop radio, and we hear

507
00:27:50,040 --> 00:27:52,000
Speaker 3: their music, and then we would hear the pop music.

508
00:27:52,320 --> 00:27:55,160
Speaker 3: And then so this is in our brains when we

509
00:27:55,240 --> 00:27:57,200
Speaker 3: sit down to say we're going to write a song,

510
00:27:57,240 --> 00:28:00,000
Speaker 3: and then we're thinking Parliament Funkadelic, We're thinking James Brown,

511
00:28:00,160 --> 00:28:02,600
Speaker 3: but then we're hearing you know, all of the pop

512
00:28:02,680 --> 00:28:06,119
Speaker 3: bands in our brains and so you know, these melodies,

513
00:28:06,119 --> 00:28:09,440
Speaker 3: you know, kind of meld together and and I think

514
00:28:09,440 --> 00:28:12,440
Speaker 3: that's how we really came up with what we ended up.

515
00:28:12,440 --> 00:28:17,960
Speaker 1: With oh okay, I see, I see, I'm familiar with

516
00:28:18,000 --> 00:28:24,360
Speaker 1: the kind of mixture of Enterprise slash Grand Central slash

517
00:28:25,040 --> 00:28:30,320
Speaker 1: Flight Time amalgamation. But were there any other bands in

518
00:28:30,359 --> 00:28:35,280
Speaker 1: the area that you were frightened of or just like, yo,

519
00:28:35,359 --> 00:28:38,720
Speaker 1: they're gonna make it, or or even other people who

520
00:28:39,120 --> 00:28:43,200
Speaker 1: were from the area, like the d trained guys, or

521
00:28:43,520 --> 00:28:47,720
Speaker 1: even the what's his name rock Rocky Robins like or

522
00:28:47,760 --> 00:28:54,360
Speaker 1: the Lips incorporated people like non Purple associated Minneapolis musicians

523
00:28:54,400 --> 00:28:57,840
Speaker 1: like the other guys. How fierce was the competition or

524
00:28:57,880 --> 00:29:01,200
Speaker 1: was it just like the four main groups that eventually

525
00:29:01,280 --> 00:29:02,520
Speaker 1: wound up working all together.

526
00:29:04,040 --> 00:29:07,240
Speaker 3: The competition was amazing. It felt like there was a

527
00:29:07,280 --> 00:29:13,040
Speaker 3: band on every block. But for some reason, I always

528
00:29:13,120 --> 00:29:15,960
Speaker 3: felt like, you know, and flight Time, you know.

529
00:29:16,080 --> 00:29:16,960
Speaker 5: Was amazing. You know.

530
00:29:17,000 --> 00:29:19,480
Speaker 3: There was a group called the Family that Sonny Thompson.

531
00:29:19,560 --> 00:29:22,680
Speaker 3: I think Sonny plays in one of the spinoff Prince

532
00:29:22,800 --> 00:29:25,480
Speaker 3: bands right now. And he's the guy that came by

533
00:29:25,880 --> 00:29:28,640
Speaker 3: and he plays everything like Prince did. I think he

534
00:29:28,760 --> 00:29:32,520
Speaker 3: taught Prince some things. And he's the guy that really

535
00:29:32,520 --> 00:29:36,440
Speaker 3: came by and taught me my first real drum beat

536
00:29:36,480 --> 00:29:38,720
Speaker 3: and how to really start mashing on the drums, and

537
00:29:38,760 --> 00:29:40,960
Speaker 3: he was that kind of guy. But you know, there

538
00:29:41,040 --> 00:29:44,480
Speaker 3: was the competition was fierce. But the reason why I

539
00:29:44,600 --> 00:29:47,600
Speaker 3: got in Grand Central was because I went to a

540
00:29:47,680 --> 00:29:50,200
Speaker 3: high school dance. I thought I was going there to

541
00:29:50,240 --> 00:29:52,800
Speaker 3: see a girl, to meet up with a girl. I

542
00:29:52,880 --> 00:29:57,120
Speaker 3: saw them plan and I forgot all about.

543
00:29:56,800 --> 00:29:58,400
Speaker 1: The girl that you were on the day.

544
00:30:00,040 --> 00:30:03,080
Speaker 3: I stood there right in front of the band and

545
00:30:03,120 --> 00:30:06,360
Speaker 3: I was a mesmerized. You know, you got Prince thirteen

546
00:30:06,440 --> 00:30:11,120
Speaker 3: years old on the guitar, Andre Simone, his Prince's cousin,

547
00:30:11,240 --> 00:30:14,320
Speaker 3: Charles Smith, they call him Chaz. These guys are playing

548
00:30:14,440 --> 00:30:21,200
Speaker 3: Santana Hendrix, They're playing everything like they're twenty one years old.

549
00:30:21,240 --> 00:30:25,280
Speaker 3: Prince is doing the amazing guitar solos at that age,

550
00:30:25,280 --> 00:30:27,920
Speaker 3: and I just said, man, you know, and I've been

551
00:30:27,960 --> 00:30:30,160
Speaker 3: wood shedding on the drums for years at that point,

552
00:30:30,960 --> 00:30:32,959
Speaker 3: and I said, I got to be a part of this.

553
00:30:33,160 --> 00:30:35,440
Speaker 3: And you know, my whole point is I got to

554
00:30:35,480 --> 00:30:39,320
Speaker 3: know Andre Simone. He came by my house one day.

555
00:30:39,320 --> 00:30:43,400
Speaker 3: It's in the book Ques, you know, you know, and

556
00:30:44,600 --> 00:30:47,520
Speaker 3: we were skipping school and he heard me play drums, man,

557
00:30:47,680 --> 00:30:51,200
Speaker 3: and you know, I played some Garabaldi's Soul Vaccination with

558
00:30:51,400 --> 00:30:54,800
Speaker 3: his hip, you know, and I'm firing up all my

559
00:30:54,880 --> 00:30:58,800
Speaker 3: grooves and I stopped playing and he's looking at me

560
00:30:58,960 --> 00:31:01,720
Speaker 3: like eyes all stretch. I was like, what, man, He's like,

561
00:31:02,560 --> 00:31:05,360
Speaker 3: I didn't know you could play like that. And he said,

562
00:31:05,360 --> 00:31:08,040
Speaker 3: you know, we're having trouble, you know, with a little

563
00:31:08,160 --> 00:31:10,400
Speaker 3: you know, our drummers chasing women. He's not showing up

564
00:31:10,400 --> 00:31:12,920
Speaker 3: a rehearsal and everything. We're looking, you know, to replace

565
00:31:13,000 --> 00:31:15,120
Speaker 3: him and looking for somebody serious. You should come by

566
00:31:15,160 --> 00:31:17,560
Speaker 3: and bring you drums, you know, let Prince hear you.

567
00:31:17,600 --> 00:31:20,480
Speaker 3: So I take my drums over there, I set them up,

568
00:31:20,800 --> 00:31:23,040
Speaker 3: I started firing up the grooves. We do some of

569
00:31:23,040 --> 00:31:26,239
Speaker 3: the songs. I'm I'm, you know, doing my thing, and

570
00:31:26,360 --> 00:31:28,560
Speaker 3: you know, so we stopped. Prince, you know, was a

571
00:31:28,600 --> 00:31:30,880
Speaker 3: man of very few words, even back then. He's looking

572
00:31:30,920 --> 00:31:36,040
Speaker 3: at me very mysteriously. You never really said shit to me.

573
00:31:36,400 --> 00:31:38,480
Speaker 3: But then Andre came to me and he's like, man,

574
00:31:38,640 --> 00:31:42,520
Speaker 3: you know, Prince loved it. You're in. So my point

575
00:31:42,960 --> 00:31:46,840
Speaker 3: is that I felt like I was getting into a

576
00:31:46,840 --> 00:31:48,680
Speaker 3: superior situation.

577
00:31:48,720 --> 00:31:51,440
Speaker 5: From the time that I got into Grand Central.

578
00:31:51,680 --> 00:31:53,880
Speaker 3: So I already felt like I was in a band

579
00:31:53,920 --> 00:31:57,160
Speaker 3: that was even as fierce as the competition was. I

580
00:31:57,160 --> 00:32:01,560
Speaker 3: felt like I was in the best band in Minneapolis

581
00:32:01,640 --> 00:32:02,760
Speaker 3: at that point in time.

582
00:32:03,720 --> 00:32:12,120
Speaker 1: Wow, Okay, often this name comes up anytimes we do

583
00:32:12,200 --> 00:32:14,880
Speaker 1: these types of episodes, and I never ask, and I

584
00:32:14,880 --> 00:32:19,920
Speaker 1: got to ask you. The common denominator between everyone associated

585
00:32:19,960 --> 00:32:25,640
Speaker 1: with Minneapolis that the name holds holdly is the name

586
00:32:25,680 --> 00:32:29,880
Speaker 1: of Sonny Thompson. But is there a reason why he

587
00:32:30,000 --> 00:32:34,040
Speaker 1: was never in the first draft of any of these

588
00:32:34,080 --> 00:32:37,360
Speaker 1: projects coming up like he did you guys ever figure like, oh,

589
00:32:37,400 --> 00:32:38,960
Speaker 1: how can we get Sonny down with us? Or was

590
00:32:38,960 --> 00:32:43,480
Speaker 1: he just so advanced that, you know, you guys never

591
00:32:43,560 --> 00:32:45,880
Speaker 1: even considered that he'd be down with y'all. Or because

592
00:32:46,000 --> 00:32:48,920
Speaker 1: everyone speaks of Sonny Thompson with this like religious like

593
00:32:49,800 --> 00:32:51,040
Speaker 1: the best thing I've ever seen.

594
00:32:52,080 --> 00:32:55,280
Speaker 3: He's an amazing musician and way ahead of his time,

595
00:32:55,480 --> 00:32:58,840
Speaker 3: and his name I do believe came up to be

596
00:32:59,560 --> 00:33:02,840
Speaker 3: in the time. But I had a different idea myself

597
00:33:02,880 --> 00:33:05,120
Speaker 3: of what the band should be. And I already have

598
00:33:05,320 --> 00:33:08,800
Speaker 3: my eyes focused on Jimmy jam and Terry Lewis because

599
00:33:08,800 --> 00:33:11,520
Speaker 3: I had heard them play. I knew Flight Time was

600
00:33:11,560 --> 00:33:15,600
Speaker 3: an amazing band, and I heard they had done some

601
00:33:16,440 --> 00:33:19,760
Speaker 3: songs produced some songs on Cynthia Johnson, who was the

602
00:33:19,760 --> 00:33:23,600
Speaker 3: one that ended up saying funky Town and yeah, yeah,

603
00:33:23,680 --> 00:33:27,080
Speaker 3: yeah yeah, And so I already had that in mind,

604
00:33:27,080 --> 00:33:28,800
Speaker 3: and you know he didn't argue with me on that,

605
00:33:28,880 --> 00:33:30,960
Speaker 3: but I believe he wanted Sonny in the band.

606
00:33:31,000 --> 00:33:32,640
Speaker 5: And you know, he had his idea what the.

607
00:33:32,680 --> 00:33:36,000
Speaker 3: Time should be, and I had mine and fortunately, you know,

608
00:33:36,280 --> 00:33:38,480
Speaker 3: he he went with my version of the time.

609
00:33:39,320 --> 00:33:44,200
Speaker 1: Okay, cool, So how do you wrestle? Like, what is

610
00:33:44,240 --> 00:33:49,000
Speaker 1: the story of how you got kind of your own

611
00:33:49,080 --> 00:33:53,959
Speaker 1: all star draft if you will, grabbing these people from

612
00:33:54,040 --> 00:33:56,960
Speaker 1: various groups and making your your your own band.

613
00:33:58,000 --> 00:34:02,520
Speaker 3: Oh, you know, it was pretty easy actually, because you know,

614
00:34:02,920 --> 00:34:05,400
Speaker 3: everybody knew that. You know, Prince had done this thing.

615
00:34:05,440 --> 00:34:08,239
Speaker 3: He had this big deal with Warner Brothers. He showed up,

616
00:34:08,239 --> 00:34:10,640
Speaker 3: he went and got the deal, and you know he

617
00:34:11,080 --> 00:34:13,839
Speaker 3: always used his pick for his afro, you know, cake cutter.

618
00:34:13,880 --> 00:34:15,440
Speaker 3: I don't know if you remember the cake cutters. You

619
00:34:15,480 --> 00:34:18,400
Speaker 3: know what I'm saying, that pick with the handle on it.

620
00:34:19,360 --> 00:34:24,520
Speaker 1: Yeah, with that cake cutter. Yes, I'm very familiar with that.

621
00:34:24,600 --> 00:34:29,120
Speaker 3: Yes, he always had his cake cutter. So he went

622
00:34:29,160 --> 00:34:31,440
Speaker 3: and got his deal with Warner Brothers. They cut him

623
00:34:31,440 --> 00:34:34,080
Speaker 3: a check for eighty g's. We had never seen nothing

624
00:34:34,200 --> 00:34:36,279
Speaker 3: like that. They had his name on it, and just

625
00:34:36,680 --> 00:34:39,200
Speaker 3: to you know, seal the deal, he said, it's cake

626
00:34:39,239 --> 00:34:41,000
Speaker 3: cutter right next to the check.

627
00:34:40,840 --> 00:34:41,799
Speaker 1: You know, so we go.

628
00:34:44,280 --> 00:34:45,759
Speaker 5: That it was for real.

629
00:34:46,320 --> 00:34:52,720
Speaker 3: But anyway, you know, I just wanted flight time, you know, Jimmy,

630
00:34:53,320 --> 00:34:57,560
Speaker 3: Terry and Monty and I really wanted Jellybean to be

631
00:34:57,640 --> 00:35:00,719
Speaker 3: the drummer, but I was the drummer. So at that

632
00:35:00,800 --> 00:35:04,080
Speaker 3: point we were looking at different singers. And that's when

633
00:35:04,080 --> 00:35:06,160
Speaker 3: Prince said, hey, why don't you sing? And you know,

634
00:35:06,160 --> 00:35:09,160
Speaker 3: at first I wasn't fond of that idea, but then

635
00:35:09,680 --> 00:35:11,680
Speaker 3: when I thought about it, I said, hey, that means

636
00:35:11,800 --> 00:35:15,640
Speaker 3: jelly Being could be in the band, and so everybody's in.

637
00:35:16,320 --> 00:35:18,760
Speaker 3: And meanwhile, you know, when I was playing in enterprise

638
00:35:19,320 --> 00:35:22,000
Speaker 3: band A Pleasure, you know, I had heard about this

639
00:35:22,120 --> 00:35:26,040
Speaker 3: guitar player down in Rock Island, Illinois who was doing

640
00:35:26,440 --> 00:35:29,480
Speaker 3: twenty minute solos where his band would leave the stage

641
00:35:29,520 --> 00:35:32,080
Speaker 3: and he'd just stand up there and solo over twenty minutes.

642
00:35:32,520 --> 00:35:34,560
Speaker 3: And I said, this has got to be our guy.

643
00:35:35,000 --> 00:35:39,759
Speaker 3: And so you know, I told Maridi Holmes, who told

644
00:35:39,800 --> 00:35:41,920
Speaker 3: me about Jesse. I said, can you have him come up,

645
00:35:42,360 --> 00:35:45,040
Speaker 3: had him come up? He started. He stayed in my

646
00:35:45,120 --> 00:35:47,880
Speaker 3: house and my little townhouse, in my living room, on

647
00:35:47,960 --> 00:35:50,800
Speaker 3: my couch, and you know, he started playing with Enterprise.

648
00:35:51,800 --> 00:35:55,840
Speaker 3: Amazing guitar player. You know, I played Prince a tape

649
00:35:55,840 --> 00:35:58,080
Speaker 3: of him playing and Prince said, oh, yeah, that's our

650
00:35:58,080 --> 00:36:01,240
Speaker 3: guitar player. So, I mean, you know history, that's pretty

651
00:36:01,280 --> 00:36:02,560
Speaker 3: much how it came together.

652
00:36:03,120 --> 00:36:05,760
Speaker 4: Dang, was anybody hard to get? Was it a struggle

653
00:36:05,800 --> 00:36:06,960
Speaker 4: with anybody took Evince?

654
00:36:07,320 --> 00:36:09,520
Speaker 5: No, because we were all struggling already.

655
00:36:09,640 --> 00:36:12,400
Speaker 3: So just to be you know, in a group that

656
00:36:12,520 --> 00:36:15,719
Speaker 3: you know, under Prince's production company with some promise to

657
00:36:15,760 --> 00:36:18,000
Speaker 3: do something big, you know, everybody was in.

658
00:36:18,200 --> 00:36:18,440
Speaker 5: You know.

659
00:36:18,840 --> 00:36:22,839
Speaker 1: Okay, So when you guys are in this period of

660
00:36:22,880 --> 00:36:26,640
Speaker 1: your lives, am I assuming that you guys had like

661
00:36:27,080 --> 00:36:29,920
Speaker 1: day jobs to go to as well? And how do

662
00:36:29,960 --> 00:36:34,560
Speaker 1: you balance like rehearsal versus pocket change? Yeah?

663
00:36:34,560 --> 00:36:38,160
Speaker 3: Well I pretty much failed at every day job I attempted.

664
00:36:38,280 --> 00:36:41,640
Speaker 3: You know, I think the longest I last was maybe

665
00:36:41,719 --> 00:36:46,000
Speaker 3: six months. And you know, pretty much every job I

666
00:36:46,080 --> 00:36:48,879
Speaker 3: ever had, the manager would end up. You know, I'm

667
00:36:48,920 --> 00:36:51,319
Speaker 3: that guy singled out that he'd be looking at you know,

668
00:36:51,920 --> 00:36:55,440
Speaker 3: two hours into every shift, He's like, call me to

669
00:36:55,480 --> 00:36:57,080
Speaker 3: his office. She's like, you don't want to be here,

670
00:36:57,120 --> 00:36:58,719
Speaker 3: do you? Like?

671
00:36:58,800 --> 00:37:00,400
Speaker 5: I don't know how to answer that question.

672
00:37:01,040 --> 00:37:03,320
Speaker 3: So anyway, by the time we got to put in

673
00:37:03,360 --> 00:37:07,319
Speaker 3: a band together, I was pretty much living with a

674
00:37:07,360 --> 00:37:08,200
Speaker 3: girlfriend of mine.

675
00:37:08,719 --> 00:37:10,439
Speaker 5: She was working and.

676
00:37:10,360 --> 00:37:13,640
Speaker 3: Paying the big bills, and I was doing the musician thing,

677
00:37:14,320 --> 00:37:18,360
Speaker 3: you know, and making fifty dollars of a show or whatever,

678
00:37:18,440 --> 00:37:21,040
Speaker 3: thirty five dollars a show or whatever I made, and

679
00:37:21,080 --> 00:37:23,359
Speaker 3: that was pretty much what I did. It was just

680
00:37:23,440 --> 00:37:25,719
Speaker 3: all about music at that point in time in my life.

681
00:37:26,400 --> 00:37:29,879
Speaker 1: Okay, I see, I do want to know, is at

682
00:37:29,920 --> 00:37:35,920
Speaker 1: any point was Alexander O'Neil at all, like at any

683
00:37:36,000 --> 00:37:39,520
Speaker 1: of these rehearsals. I mean, before you know, the eventual

684
00:37:39,760 --> 00:37:42,680
Speaker 1: fallout or his exit or whatever. But is there any

685
00:37:42,719 --> 00:37:45,719
Speaker 1: point in which it was the Seven of You or

686
00:37:45,840 --> 00:37:47,279
Speaker 1: Honor of Jellybean? Was there? Like?

687
00:37:48,080 --> 00:37:51,640
Speaker 3: No, At that point it was it was pretty much

688
00:37:52,440 --> 00:37:56,480
Speaker 3: songs that either Prince had cut or Prince and I

689
00:37:56,560 --> 00:38:00,480
Speaker 3: had cut, and we were just trying singers out in

690
00:38:00,520 --> 00:38:06,000
Speaker 3: the studio. Never as a band, but you know, Alexander

691
00:38:06,719 --> 00:38:09,000
Speaker 3: was was was the lead singer of Flight Time, so

692
00:38:09,080 --> 00:38:11,680
Speaker 3: they were actively working together at that time.

693
00:38:12,600 --> 00:38:19,480
Speaker 1: Okay, I see, I know that you also, like I assume,

694
00:38:19,560 --> 00:38:22,920
Speaker 1: traveled with Prince when he was touring. Well, I assume

695
00:38:23,040 --> 00:38:25,640
Speaker 1: that the first major toy did was Rick James, So

696
00:38:26,000 --> 00:38:29,120
Speaker 1: I guess you were on that tour with him. Am

697
00:38:29,160 --> 00:38:32,480
Speaker 1: I correct? Were you at all like president during the

698
00:38:32,600 --> 00:38:35,000
Speaker 1: Rick James Prince shows?

699
00:38:35,520 --> 00:38:37,360
Speaker 5: I think that was over.

700
00:38:38,040 --> 00:38:40,439
Speaker 3: I caught the next round when I came to town

701
00:38:40,560 --> 00:38:44,759
Speaker 3: he was doing the Dirty Mind. I think that that's

702
00:38:44,760 --> 00:38:45,480
Speaker 3: what I went out with.

703
00:38:45,680 --> 00:38:51,839
Speaker 1: So okay, were you eyewitness to the Rolling Stones incident? Yes,

704
00:38:51,920 --> 00:39:00,800
Speaker 1: I was, boy the book. Uh okay, so I've heard

705
00:39:00,800 --> 00:39:03,719
Speaker 1: that you know, well, first of all, I know that

706
00:39:03,760 --> 00:39:06,720
Speaker 1: you were like recording these shows and being a collector

707
00:39:06,719 --> 00:39:09,239
Speaker 1: of these shows. I'm assuming that maybe one of these

708
00:39:09,960 --> 00:39:14,839
Speaker 1: shows that I have is your camera work. First of all, yeah,

709
00:39:14,880 --> 00:39:21,000
Speaker 1: it's it's who even has the the vision to know

710
00:39:21,160 --> 00:39:24,719
Speaker 1: to record themselves every night? To judge, I mean, that's

711
00:39:24,760 --> 00:39:30,600
Speaker 1: that's an amazing technology to have, because oh, okay, well,

712
00:39:31,040 --> 00:39:34,480
Speaker 1: I believe that the legend is that you know, Mars

713
00:39:34,520 --> 00:39:39,760
Speaker 1: would set up the tripod camera and record print shows

714
00:39:39,840 --> 00:39:43,759
Speaker 1: on VHS or Beta Max whatever so that Prince could

715
00:39:43,800 --> 00:39:47,680
Speaker 1: watch himself, and of course like suckers like me who

716
00:39:49,200 --> 00:39:51,680
Speaker 1: indulge a lot in the bootleate market in the last

717
00:39:51,719 --> 00:39:54,840
Speaker 1: twenty five years whatever, like all these tapes of surface

718
00:39:54,880 --> 00:39:57,560
Speaker 1: and whatnot, and I'm not saying them maybe or maybe not.

719
00:39:57,680 --> 00:40:01,359
Speaker 1: I paid a mid five figure for stuff. I don't know.

720
00:40:02,440 --> 00:40:07,399
Speaker 1: You gotta do history history, but I'm playing anyway. But

721
00:40:07,440 --> 00:40:12,880
Speaker 1: my my question is, yeah, like, who's for me in

722
00:40:13,040 --> 00:40:17,680
Speaker 1: eighty eighty one, who's thinking of like purchasing a video

723
00:40:17,680 --> 00:40:23,320
Speaker 1: camera recorder and recording these shows night after night like

724
00:40:23,360 --> 00:40:26,759
Speaker 1: because it's a rare technology that wasn't a household name

725
00:40:26,840 --> 00:40:29,759
Speaker 1: yet until at least eighty three, eighty forty five.

726
00:40:29,920 --> 00:40:32,440
Speaker 5: So yeah, yeah, absolutely.

727
00:40:32,040 --> 00:40:35,320
Speaker 3: And it wasn't it wasn't compact technology either. Were talking

728
00:40:35,400 --> 00:40:40,799
Speaker 3: big VCR and some pretty nice sized cameras that, yeah,

729
00:40:40,840 --> 00:40:42,719
Speaker 3: how do you get the tapes night to night after

730
00:40:42,800 --> 00:40:45,879
Speaker 3: night like those big like the big ones like this right? Yeah, yeah,

731
00:40:47,520 --> 00:40:50,799
Speaker 3: you know tripod and I had a I had my

732
00:40:50,840 --> 00:40:53,560
Speaker 3: own road case case that I was in and so

733
00:40:53,800 --> 00:40:57,359
Speaker 3: you know, anyway, that was me after Prince said, hey,

734
00:40:57,840 --> 00:41:00,759
Speaker 3: Bobby's he's my drama and He's said, but I'll offer

735
00:41:00,800 --> 00:41:02,360
Speaker 3: you a gig to tape the shows.

736
00:41:02,520 --> 00:41:05,319
Speaker 5: So you know, you know, I pay you one hundred

737
00:41:05,320 --> 00:41:07,240
Speaker 5: and fifty dollars a week that I'm.

738
00:41:07,000 --> 00:41:10,960
Speaker 3: Like, I can travel and you know, go to shows

739
00:41:11,000 --> 00:41:13,440
Speaker 3: and at least, you know, somehow be a part of

740
00:41:13,480 --> 00:41:16,080
Speaker 3: this for you know, I said, I'll take it, and

741
00:41:16,120 --> 00:41:18,680
Speaker 3: so you know, I was a video on the shows.

742
00:41:18,760 --> 00:41:22,320
Speaker 3: And that's something that's stuck with Prince throughout his career.

743
00:41:22,719 --> 00:41:25,239
Speaker 3: And I don't care. You know, even when we did

744
00:41:25,280 --> 00:41:28,279
Speaker 3: the Musicology tour with him, or the dates that we

745
00:41:28,320 --> 00:41:34,239
Speaker 3: did do, he would make everybody his band and everybody

746
00:41:34,360 --> 00:41:38,080
Speaker 3: had to go to whatever club he rented out afterwards

747
00:41:38,280 --> 00:41:43,200
Speaker 3: and he would have that show on the projection and

748
00:41:43,560 --> 00:41:46,440
Speaker 3: everybody had to watch it. Everybody had to.

749
00:41:46,400 --> 00:41:47,280
Speaker 5: Watch it every.

750
00:41:49,920 --> 00:41:51,560
Speaker 1: Yes, that's the next level.

751
00:41:52,600 --> 00:41:54,520
Speaker 4: Like a coach, like he was coach.

752
00:41:56,640 --> 00:41:59,560
Speaker 3: Getting on the musicians. Hey, you were behind on that song,

753
00:41:59,680 --> 00:42:04,120
Speaker 3: the whole thing, the whole show, every show he did

754
00:42:04,560 --> 00:42:07,560
Speaker 3: in the nightclub though in the nightclub, but.

755
00:42:07,480 --> 00:42:09,279
Speaker 4: It was in the club, but them, you know that.

756
00:42:11,120 --> 00:42:13,600
Speaker 1: Okay, I feel like you should start some shit with

757
00:42:13,640 --> 00:42:15,680
Speaker 1: the roots where you don't start play it back like

758
00:42:15,920 --> 00:42:18,400
Speaker 1: you for it. But here's the thing though, here's the

759
00:42:18,440 --> 00:42:22,719
Speaker 1: thing though, now now, don't feel so bad because you

760
00:42:22,800 --> 00:42:27,480
Speaker 1: know they're My nightclub story is the fact that he

761
00:42:27,560 --> 00:42:30,320
Speaker 1: took me off turntables and wanted to watch Finding Nemo

762
00:42:31,120 --> 00:42:31,800
Speaker 1: in the nightclub.

763
00:42:31,920 --> 00:42:33,600
Speaker 4: You were there, like you yeah, I know, I said,

764
00:42:33,600 --> 00:42:34,080
Speaker 4: I remember that.

765
00:42:34,520 --> 00:42:37,279
Speaker 1: Yeah, And it's such like you don't have an embarrassment.

766
00:42:37,600 --> 00:42:39,200
Speaker 1: You don't know what the embarrassment it is being a

767
00:42:39,200 --> 00:42:42,320
Speaker 1: world class DJ for those of them, what's the story?

768
00:42:43,000 --> 00:42:47,080
Speaker 1: So the story is basically, Princess in Philly for the

769
00:42:47,160 --> 00:42:52,560
Speaker 1: Musicology tour and I get ten tickets, and in true

770
00:42:52,640 --> 00:42:56,200
Speaker 1: a mere fashion, I forgot to count myself as part

771
00:42:56,200 --> 00:43:00,319
Speaker 1: of the tens. So I got ten friends. And so

772
00:43:00,360 --> 00:43:02,960
Speaker 1: we're walking in one, two, three, four, five, six, seventy nine, ten,

773
00:43:03,000 --> 00:43:06,719
Speaker 1: and I realized, shit, I'm eleven. Fuck so who he

774
00:43:06,760 --> 00:43:09,719
Speaker 1: said home. It was well, it was like more than

775
00:43:09,719 --> 00:43:11,759
Speaker 1: sold out. And it just so happens that Ruth and

776
00:43:11,840 --> 00:43:15,960
Speaker 1: him happened to be in a golf cart whizen by,

777
00:43:16,800 --> 00:43:18,680
Speaker 1: and I was just like, man, shoot your shot, and

778
00:43:18,719 --> 00:43:21,560
Speaker 1: I said, look, I know I got ten tickets from

779
00:43:21,600 --> 00:43:24,160
Speaker 1: you guys, but I forgot to conclude myself in the ten.

780
00:43:24,680 --> 00:43:26,120
Speaker 1: He thought was silly. He thought it was funny.

781
00:43:26,160 --> 00:43:28,480
Speaker 4: He laughed, and was like, all right, in that moment,

782
00:43:28,600 --> 00:43:30,239
Speaker 4: that was the girl that was with you, just so

783
00:43:30,320 --> 00:43:35,319
Speaker 4: you know, well there was ten of your moment. Yeah,

784
00:43:35,640 --> 00:43:36,160
Speaker 4: way go ahead.

785
00:43:36,400 --> 00:43:40,279
Speaker 1: Oh anyway, My point was that I sat under the

786
00:43:40,320 --> 00:43:44,080
Speaker 1: stage and watched the show. But then towards the end

787
00:43:44,120 --> 00:43:47,640
Speaker 1: of the show, Ruth rushes to me and says, Prince

788
00:43:47,680 --> 00:43:50,960
Speaker 1: does this thing with me. Like my relationship with him

789
00:43:51,200 --> 00:43:54,439
Speaker 1: is like I Prince has this thing where he tells

790
00:43:54,480 --> 00:43:57,640
Speaker 1: you to do something and automatically you're like, oh, I

791
00:43:57,680 --> 00:44:00,759
Speaker 1: work for you, yes, sir, So I'll go to the club. Hey,

792
00:44:00,800 --> 00:44:03,719
Speaker 1: run the soundboard, okay. And I'm like at the soundboard, like,

793
00:44:03,760 --> 00:44:05,320
Speaker 1: I don't know what I'm doing, but Prince sold me

794
00:44:05,400 --> 00:44:07,040
Speaker 1: run the sound play.

795
00:44:06,840 --> 00:44:11,120
Speaker 4: Bass a mirror. It was an error, right.

796
00:44:11,040 --> 00:44:13,440
Speaker 1: So Princeville, have me just do ship. I never did

797
00:44:13,440 --> 00:44:16,480
Speaker 1: a month, Like, I've gone to the supermarket to get milk.

798
00:44:16,760 --> 00:44:20,800
Speaker 1: I've played bass. I'm like, wait, I don't play bass.

799
00:44:21,239 --> 00:44:26,440
Speaker 1: So this one night, this one night, he asked me,

800
00:44:27,160 --> 00:44:30,239
Speaker 1: well he he They command me to find him a

801
00:44:30,360 --> 00:44:34,960
Speaker 1: nightclub to have uh an after party. And so then

802
00:44:35,000 --> 00:44:37,400
Speaker 1: of course I hit up our good friend Stacey Wilson

803
00:44:37,440 --> 00:44:41,080
Speaker 1: from Philly cease find me a nightclub. She finds me

804
00:44:41,120 --> 00:44:43,279
Speaker 1: a nightclub, but it's a five story walk up and

805
00:44:43,320 --> 00:44:45,120
Speaker 1: then at the last minute, Prince is like, and I

806
00:44:45,120 --> 00:44:48,480
Speaker 1: want to play pool And so now they got an

807
00:44:48,480 --> 00:44:52,160
Speaker 1: hour to find a pool table and and dismantle it

808
00:44:52,239 --> 00:44:55,279
Speaker 1: and lug it up five stories to the to the

809
00:44:55,360 --> 00:44:58,560
Speaker 1: rooftop of this nightclub. Uh, and I want you to DJ.

810
00:44:58,920 --> 00:45:00,840
Speaker 1: So now I got it this Rados, and now I

811
00:45:00,880 --> 00:45:04,240
Speaker 1: got to run to my dungeon grab all these records,

812
00:45:04,760 --> 00:45:09,880
Speaker 1: so you know, I I do it, and three records in.

813
00:45:10,520 --> 00:45:13,719
Speaker 1: Prince obviously didn't take a liking to FAILI I was

814
00:45:13,719 --> 00:45:17,600
Speaker 1: playing afrobeat and they're like, put this on instead, and

815
00:45:17,640 --> 00:45:20,480
Speaker 1: I'm looking as a DVD and it's Finding Nemo and

816
00:45:20,520 --> 00:45:23,120
Speaker 1: I'm like, uh wait, what am I? What am I

817
00:45:23,160 --> 00:45:24,000
Speaker 1: supposed to do with this?

818
00:45:25,080 --> 00:45:27,759
Speaker 4: So so Kemp Flores, can you translate that? What was

819
00:45:27,760 --> 00:45:29,440
Speaker 4: he trying to say to a mirror in that moment?

820
00:45:29,560 --> 00:45:30,600
Speaker 4: I still don't understand.

821
00:45:30,719 --> 00:45:33,560
Speaker 1: Oh really, you don't understand where a person tell you

822
00:45:33,640 --> 00:45:35,120
Speaker 1: he's getting fired right now?

823
00:45:35,200 --> 00:45:37,040
Speaker 4: Well, I was hoping that wasn't it. Maybe it was

824
00:45:37,080 --> 00:45:37,760
Speaker 4: something else.

825
00:45:38,239 --> 00:45:41,359
Speaker 1: No, Well, he just I've just never seen someone put

826
00:45:41,400 --> 00:45:44,319
Speaker 1: a videotape on in the nightclub, like we're in and

827
00:45:44,400 --> 00:45:46,279
Speaker 1: the thing is, it's like it's two thousand and four.

828
00:45:46,600 --> 00:45:49,399
Speaker 1: So our version of the nightclub is more like Diddy era,

829
00:45:49,560 --> 00:45:53,880
Speaker 1: where it's sexy and you know, smoky and lasers and stuff.

830
00:45:54,080 --> 00:45:57,600
Speaker 1: And then all of a sudden, like you're here Ellen

831
00:45:57,680 --> 00:46:02,280
Speaker 1: DeGeneres and you know, Albert what's his name in Finding Nemo.

832
00:46:03,040 --> 00:46:06,200
Speaker 1: We're watching a Pixar film in the club like it

833
00:46:06,280 --> 00:46:09,960
Speaker 1: was normal. And now that I know that mars Is

834
00:46:10,000 --> 00:46:14,680
Speaker 1: told us that okay, that he just puts tapes on it.

835
00:46:14,920 --> 00:46:17,319
Speaker 1: Anything but music on the club just seems weird to me.

836
00:46:17,600 --> 00:46:20,600
Speaker 3: So yeah, well, I'm surprised he don't make it everybody

837
00:46:20,680 --> 00:46:24,359
Speaker 3: watch the show because that that's usually what he did.

838
00:46:24,480 --> 00:46:27,600
Speaker 3: It was a man, It's like he had to see himself.

839
00:46:28,719 --> 00:46:29,000
Speaker 1: Wow.

840
00:46:29,440 --> 00:46:31,200
Speaker 4: I loved that he was a coach. I think that's dope.

841
00:46:31,719 --> 00:46:33,440
Speaker 4: That means he's an athlete, Like he's a real athlete.

842
00:46:33,440 --> 00:46:35,279
Speaker 1: When it comes to this, I get it now that

843
00:46:35,600 --> 00:46:40,560
Speaker 1: the approach. So I gotta ask, so can you give

844
00:46:40,640 --> 00:46:42,439
Speaker 1: us your version of the Rolling Stone show?

845
00:46:43,480 --> 00:46:44,040
Speaker 5: Oh man?

846
00:46:45,120 --> 00:46:49,560
Speaker 3: That was traumatic because you know, you know, I I

847
00:46:49,640 --> 00:46:52,560
Speaker 3: know I knew this brother, you know, to his level

848
00:46:52,560 --> 00:46:58,680
Speaker 3: of professionalism and his need to be accepted as an artist.

849
00:46:58,760 --> 00:47:02,920
Speaker 3: And so I think he's going up there thinking, you know,

850
00:47:03,040 --> 00:47:09,319
Speaker 3: he's straight up in billy idol mode, you know, half yeah,

851
00:47:09,360 --> 00:47:11,880
Speaker 3: you know, half neckd you know, I'm gonna show him

852
00:47:11,920 --> 00:47:13,880
Speaker 3: how I can rock and roll, you know, with the

853
00:47:13,920 --> 00:47:17,840
Speaker 3: bikinis and the lake warmers and all that on. And

854
00:47:17,920 --> 00:47:22,680
Speaker 3: you know, you're straight up in front of a hardcore rock.

855
00:47:22,520 --> 00:47:23,480
Speaker 5: And roll crowd.

856
00:47:23,840 --> 00:47:26,640
Speaker 3: A lot of these guys were bikers, and you know,

857
00:47:26,760 --> 00:47:29,919
Speaker 3: and and and they just wasn't hearing it, man.

858
00:47:30,040 --> 00:47:31,840
Speaker 5: So you know, he comes out.

859
00:47:31,719 --> 00:47:35,359
Speaker 3: And he's doing his thing and uptown and all that,

860
00:47:35,440 --> 00:47:37,000
Speaker 3: and all of a sudden, you know, you start hearing

861
00:47:37,040 --> 00:47:40,239
Speaker 3: the booze and the beer bottles start flying up on stage.

862
00:47:40,640 --> 00:47:43,400
Speaker 3: And I knew, you know, right at that moment that

863
00:47:43,480 --> 00:47:46,759
Speaker 3: it was time to start making my way with my

864
00:47:47,280 --> 00:47:51,799
Speaker 3: you know, little cameras, camera equipment backstage because it wasn't

865
00:47:51,800 --> 00:47:52,520
Speaker 3: gonna be nice.

866
00:47:52,920 --> 00:47:54,760
Speaker 1: So that shows on tape.

867
00:47:55,520 --> 00:47:57,799
Speaker 3: I never saw it on tape, but I taped it,

868
00:47:58,080 --> 00:48:01,000
Speaker 3: you know, happened to it.

869
00:48:01,400 --> 00:48:02,760
Speaker 1: Somewhere in this earth.

870
00:48:02,880 --> 00:48:05,600
Speaker 3: Is that show somewhere on this planet?

871
00:48:05,719 --> 00:48:08,520
Speaker 5: That show is on DVR.

872
00:48:08,800 --> 00:48:12,480
Speaker 3: You find it VHS.

873
00:48:12,520 --> 00:48:14,680
Speaker 1: It's labeled it's labeled finding Nemo.

874
00:48:17,520 --> 00:48:18,480
Speaker 5: That's right.

875
00:48:18,520 --> 00:48:19,200
Speaker 1: Oh my god.

876
00:48:19,440 --> 00:48:22,480
Speaker 4: Wow, Okay, Morris, how long did you keep this job,

877
00:48:22,640 --> 00:48:23,919
Speaker 4: the cam cordy, this gig.

878
00:48:24,280 --> 00:48:26,000
Speaker 5: Well, see, that's the whole thing.

879
00:48:26,120 --> 00:48:26,319
Speaker 1: You know.

880
00:48:26,440 --> 00:48:29,800
Speaker 3: I was just staying close, you know, because when I

881
00:48:29,800 --> 00:48:31,960
Speaker 3: I had moved away, you know, when he got his

882
00:48:32,040 --> 00:48:35,839
Speaker 3: record deal, I was living down in Gaithersburg, Maryland side

883
00:48:35,840 --> 00:48:39,040
Speaker 3: of d C, you know, and so you know, things

884
00:48:39,040 --> 00:48:40,759
Speaker 3: didn't work out well for me. So I moved back

885
00:48:40,760 --> 00:48:44,759
Speaker 3: to Mini and once he found out that I got back,

886
00:48:44,760 --> 00:48:46,759
Speaker 3: he was real happy that I was there. So I

887
00:48:46,760 --> 00:48:49,640
Speaker 3: started hanging out, going to rehearsals, and that's when I

888
00:48:49,719 --> 00:48:51,880
Speaker 3: kind of said, you know, hey, man, I really like

889
00:48:51,960 --> 00:48:53,920
Speaker 3: to be the drummer, and he's like, I have a drummer.

890
00:48:53,960 --> 00:48:56,360
Speaker 3: And that's when I got offered the job to video

891
00:48:56,440 --> 00:49:00,360
Speaker 3: the shows. And so you know, he told me, you know,

892
00:49:00,400 --> 00:49:03,520
Speaker 3: he said, you know, you can use the studio anytime

893
00:49:03,560 --> 00:49:07,000
Speaker 3: you want, and of course I took advantage of that.

894
00:49:07,120 --> 00:49:09,840
Speaker 3: And so one of the first songs I cut was

895
00:49:09,880 --> 00:49:14,880
Speaker 3: this slow funk track and you know, I put the

896
00:49:15,160 --> 00:49:18,200
Speaker 3: drums down, then I put the bass down and it

897
00:49:18,320 --> 00:49:19,600
Speaker 3: was the party up baseline.

898
00:49:19,640 --> 00:49:21,040
Speaker 5: But I played it way funk here.

899
00:49:21,080 --> 00:49:21,239
Speaker 1: You know.

900
00:49:21,239 --> 00:49:24,120
Speaker 3: I was in a funk mode with it, and he's like,

901
00:49:24,320 --> 00:49:26,520
Speaker 3: you know, And so I go home and I come

902
00:49:26,560 --> 00:49:28,520
Speaker 3: back the next day to cut some more stuff and

903
00:49:28,520 --> 00:49:31,080
Speaker 3: he's like, you know, I like that track that you cut.

904
00:49:31,560 --> 00:49:34,040
Speaker 3: He's like, if you give me that track, he said,

905
00:49:34,080 --> 00:49:36,800
Speaker 3: I'll give you. I don't know ten k I forget

906
00:49:36,800 --> 00:49:39,200
Speaker 3: what he said. He said. Or I'll help you put

907
00:49:39,239 --> 00:49:42,640
Speaker 3: a band together. You pick it, I said, And he said,

908
00:49:42,640 --> 00:49:45,160
Speaker 3: I'll get your record deal. I said, of course, I'll

909
00:49:45,160 --> 00:49:48,960
Speaker 3: take the band and the record deal. Yeah, so that

910
00:49:49,120 --> 00:49:53,480
Speaker 3: was pretty much the end of my video career, videoographer career,

911
00:49:53,920 --> 00:49:55,719
Speaker 3: and you know, from that point on.

912
00:49:55,760 --> 00:49:57,720
Speaker 5: It really really happened fast.

913
00:49:57,800 --> 00:50:02,400
Speaker 3: You know, he sent he had me sing a couple songs,

914
00:50:03,360 --> 00:50:07,240
Speaker 3: he said them the Warner Brothers. They signed the band

915
00:50:07,400 --> 00:50:10,880
Speaker 3: and the concept of the time sight Unseen. And so

916
00:50:11,000 --> 00:50:13,720
Speaker 3: then we had like two weeks to complete the record

917
00:50:13,800 --> 00:50:15,759
Speaker 3: and it was just a whirlwind from there.

918
00:50:16,200 --> 00:50:18,880
Speaker 1: Okay, so it's ten thousand. In my mind, I thought

919
00:50:19,000 --> 00:50:23,840
Speaker 1: it was substantial, like twenty twenty five thirty, and I

920
00:50:23,920 --> 00:50:26,760
Speaker 1: was doing the math and I was like, wait a minute,

921
00:50:26,960 --> 00:50:30,320
Speaker 1: well twenty back in nineteen eighty, that was like seventy

922
00:50:30,360 --> 00:50:36,399
Speaker 1: thousand dollars today, Like, I don't know. It's like, of course, yes,

923
00:50:36,600 --> 00:50:39,160
Speaker 1: you made the right choice by choosing the band situation,

924
00:50:39,600 --> 00:50:42,640
Speaker 1: but I'm also thinking, you know, you could have had

925
00:50:42,680 --> 00:50:45,920
Speaker 1: your cake and eat it too, because I don't know

926
00:50:45,960 --> 00:50:48,880
Speaker 1: if he's is he even expressing again the need to

927
00:50:48,960 --> 00:50:51,640
Speaker 1: have other outlets to express him Like are you seeing

928
00:50:51,640 --> 00:50:58,080
Speaker 1: this this ocd obsessiveness to channel more music through other

929
00:50:58,160 --> 00:51:01,920
Speaker 1: acts yet, because I'm like, wait, why couldn't you get both?

930
00:51:02,280 --> 00:51:04,040
Speaker 5: Yeah, well, you're right, but you know that.

931
00:51:04,160 --> 00:51:09,040
Speaker 3: Was probably his inside his brain, right, But my brain is,

932
00:51:09,239 --> 00:51:12,200
Speaker 3: you know, I can you know, I know that we

933
00:51:12,239 --> 00:51:15,279
Speaker 3: can put something nice together. And he'd already played me

934
00:51:15,320 --> 00:51:18,400
Speaker 3: as he had played me Get It Up, which he

935
00:51:18,440 --> 00:51:22,680
Speaker 3: had cut believe it or not, for the group Brick

936
00:51:23,680 --> 00:51:28,360
Speaker 3: and why absolutely, And he had cut it for Brick Brick.

937
00:51:28,840 --> 00:51:31,560
Speaker 5: He sent the song to them. They didn't want it.

938
00:51:32,000 --> 00:51:35,359
Speaker 3: Oh my god, they didn't want it, and I was like, man,

939
00:51:35,760 --> 00:51:36,560
Speaker 3: I will take it.

940
00:51:37,040 --> 00:51:40,399
Speaker 5: So it's so yeah, yeah, so.

941
00:51:42,440 --> 00:51:45,239
Speaker 3: Yeah, it's crazy, I know, because they were hot at

942
00:51:45,239 --> 00:51:47,440
Speaker 3: the time, you know, and he was just thinking, you know,

943
00:51:47,480 --> 00:51:50,080
Speaker 3: he had cut a song that they might like. But

944
00:51:50,160 --> 00:51:52,600
Speaker 3: that's real, that's that's a true story, though a lot

945
00:51:52,600 --> 00:51:53,360
Speaker 3: of people don't know that.

946
00:51:53,400 --> 00:51:56,520
Speaker 5: I don't even know if that's in the book though it's.

947
00:51:56,360 --> 00:52:00,359
Speaker 1: Definitely not in the book by the way, Uh yeah,

948
00:52:01,000 --> 00:52:07,439
Speaker 1: Brick Brick's you guys, that's Sleepy Brown's Uh yes, yeah,

949
00:52:07,560 --> 00:52:13,000
Speaker 1: Sleepy Brown's father. Okay, So this is what I want

950
00:52:13,040 --> 00:52:17,960
Speaker 1: to know. The hearing you speak right now, and I'm

951
00:52:17,960 --> 00:52:22,480
Speaker 1: assuming that this is your natural speaking voice. When you're

952
00:52:22,560 --> 00:52:28,560
Speaker 1: in the character of Mars Day or when Prince is

953
00:52:28,560 --> 00:52:31,879
Speaker 1: in the character of Jamie Starr. Who who is the

954
00:52:32,040 --> 00:52:36,560
Speaker 1: figurehead that you guys are. Who's the figurehead to whom

955
00:52:36,600 --> 00:52:41,400
Speaker 1: you guys are mocking or or imitating or like where

956
00:52:41,440 --> 00:52:51,080
Speaker 1: did this this character? You know, the that that pre Yes,

957
00:52:51,120 --> 00:52:53,759
Speaker 1: I've talked to Kat Williams himself and he even said that, yes,

958
00:52:53,840 --> 00:52:57,319
Speaker 1: you guys were kind of his impetus for that voice, like,

959
00:52:58,040 --> 00:53:03,360
Speaker 1: ain't like me exact who is who is that voice

960
00:53:03,640 --> 00:53:07,879
Speaker 1: to what you guys took and perfected? Is that how

961
00:53:08,000 --> 00:53:09,359
Speaker 1: brothers talked to Minnesota?

962
00:53:09,480 --> 00:53:09,600
Speaker 4: Now?

963
00:53:09,719 --> 00:53:12,719
Speaker 3: You know what you know? It's it's really everything that

964
00:53:12,800 --> 00:53:16,680
Speaker 3: you hear from from my laugh to when I get

965
00:53:16,719 --> 00:53:20,080
Speaker 3: into that zone. You know, there's a way that you

966
00:53:20,239 --> 00:53:23,560
Speaker 3: talk you know, when you're just seeing chill, more regular mold.

967
00:53:23,640 --> 00:53:25,360
Speaker 3: Then there's a way that you talk when you have

968
00:53:25,560 --> 00:53:29,040
Speaker 3: hyped up talking to your partners, talking shit, you know

969
00:53:29,080 --> 00:53:29,520
Speaker 3: what I mean.

970
00:53:29,640 --> 00:53:31,600
Speaker 5: So it's just it's just a it's just.

971
00:53:31,560 --> 00:53:36,520
Speaker 3: An elevated level if you will, of you know, of

972
00:53:36,760 --> 00:53:39,160
Speaker 3: of of my normal self. You know.

973
00:53:39,320 --> 00:53:42,680
Speaker 5: So when I go into that mold, that's pretty much how.

974
00:53:42,560 --> 00:53:44,879
Speaker 3: We were when we were just talking shit to each other,

975
00:53:45,280 --> 00:53:47,600
Speaker 3: you know, laughing, and you know, and and and you

976
00:53:47,640 --> 00:53:50,360
Speaker 3: know when I when I got in that mold, I

977
00:53:50,360 --> 00:53:52,960
Speaker 3: would laugh loud, like I laugh and Prince was like, man,

978
00:53:53,000 --> 00:53:54,480
Speaker 3: we got to put that on the record, you know.

979
00:53:54,560 --> 00:53:56,640
Speaker 3: So it was just, you know, it was it was

980
00:53:56,760 --> 00:53:59,200
Speaker 3: kind of our inner circle, the way we talk to

981
00:53:59,239 --> 00:54:00,040
Speaker 3: one another.

982
00:53:59,800 --> 00:53:59,960
Speaker 6: You know.

983
00:54:00,640 --> 00:54:03,839
Speaker 1: Okay, all right, this this this is my favorite part

984
00:54:03,880 --> 00:54:06,200
Speaker 1: of the interview. Okay, so now I finally get to

985
00:54:06,280 --> 00:54:11,040
Speaker 1: figure or ask you, grill you on the work mode

986
00:54:11,120 --> 00:54:15,360
Speaker 1: operation of the tview. So are you the are you

987
00:54:15,440 --> 00:54:21,520
Speaker 1: the complete drummer on most of the Times albums.

988
00:54:22,440 --> 00:54:25,960
Speaker 3: I played drums on all most of the early albums,

989
00:54:26,000 --> 00:54:31,239
Speaker 3: and I played drums on a few Prince's songs as well, you.

990
00:54:31,160 --> 00:54:33,520
Speaker 1: Know, So that's what I wanted to know what what

991
00:54:33,680 --> 00:54:38,680
Speaker 1: Prince songs or other non Time records have you drummed

992
00:54:38,760 --> 00:54:39,959
Speaker 1: on that I might not know about.

993
00:54:40,840 --> 00:54:43,640
Speaker 5: I did part of Let's Work. I played all Let's Work,

994
00:54:44,880 --> 00:54:45,879
Speaker 5: and Prince, you.

995
00:54:45,840 --> 00:54:48,000
Speaker 3: Know, he kind of he played on it as well,

996
00:54:48,040 --> 00:54:50,640
Speaker 3: so he kind of took parts of his his track

997
00:54:50,800 --> 00:54:57,560
Speaker 3: and mind. Yeah, I played drums on Controversy. I've yeah

998
00:54:57,600 --> 00:54:59,360
Speaker 3: a new power generation.

999
00:55:00,360 --> 00:55:01,200
Speaker 1: Yo.

1000
00:55:01,360 --> 00:55:02,640
Speaker 5: Yeah.

1001
00:55:02,680 --> 00:55:04,880
Speaker 3: Man, I played on a lot of his stuff, but

1002
00:55:04,920 --> 00:55:07,520
Speaker 3: I never, you know, got credit, just like he didn't

1003
00:55:07,560 --> 00:55:10,200
Speaker 3: necessarily in those days take credit for playing on the

1004
00:55:10,239 --> 00:55:12,080
Speaker 3: Time stuff. But I played on a lot of Prince's

1005
00:55:12,200 --> 00:55:12,879
Speaker 3: songs as well.

1006
00:55:13,680 --> 00:55:17,239
Speaker 1: Okay, So I'm trying. I've been trying to explain to

1007
00:55:17,280 --> 00:55:22,759
Speaker 1: people what what the process is because we all, you know,

1008
00:55:22,840 --> 00:55:26,840
Speaker 1: most most purple heads or whatever, they're very familiar with,

1009
00:55:27,120 --> 00:55:33,239
Speaker 1: uh chlorine bacon skin, which was initially, I guess the

1010
00:55:33,239 --> 00:55:36,920
Speaker 1: impetus of it was supposed to be a workout that

1011
00:55:36,960 --> 00:55:41,000
Speaker 1: would eventually morph into an actual song. But then I

1012
00:55:41,000 --> 00:55:42,920
Speaker 1: guess it was so good, y'all just let the workout

1013
00:55:43,000 --> 00:55:46,160
Speaker 1: be the song. So if you guys aren't familiar with

1014
00:55:46,200 --> 00:55:50,760
Speaker 1: chlorine bacon skin.

1015
00:55:53,400 --> 00:55:58,759
Speaker 7: You don't, that's not don't that's nailed symbol. You just

1016
00:55:59,360 --> 00:55:59,879
Speaker 7: get knowing.

1017
00:56:00,080 --> 00:56:03,799
Speaker 1: So Steve is my engineer. So Steve, you know, like

1018
00:56:03,800 --> 00:56:05,880
Speaker 1: when you set up a click track for me, So

1019
00:56:06,360 --> 00:56:10,440
Speaker 1: basically Prince would play that the role of the click track,

1020
00:56:10,680 --> 00:56:15,400
Speaker 1: so Mars would just drummer beat, and to keep Mars

1021
00:56:15,440 --> 00:56:18,959
Speaker 1: sort of you know, in the zone or whatever, Prince

1022
00:56:18,960 --> 00:56:21,680
Speaker 1: would set up his bass, set up a microphone the

1023
00:56:21,680 --> 00:56:23,880
Speaker 1: way that I talked to the guys on the show whatever,

1024
00:56:24,000 --> 00:56:27,319
Speaker 1: talk shit, whatever, and then you record the drum thing,

1025
00:56:27,320 --> 00:56:30,400
Speaker 1: and then of course that morphs into something else. In

1026
00:56:30,400 --> 00:56:34,160
Speaker 1: this one particular case, Chlorine BigGAN Skin actually wound up

1027
00:56:34,160 --> 00:56:36,000
Speaker 1: being so good it stayed on its own.

1028
00:56:36,360 --> 00:56:37,759
Speaker 4: That's what I want to a song.

1029
00:56:38,840 --> 00:56:42,320
Speaker 1: Yeah, it's it's just a fifteen minute song where Prince

1030
00:56:42,400 --> 00:56:45,920
Speaker 1: is just talking shit and it's mad hilarious, but it's

1031
00:56:45,920 --> 00:56:50,480
Speaker 1: also mad funky. So for that song alone, I know

1032
00:56:50,560 --> 00:56:53,200
Speaker 1: that it was intended to be a work song that

1033
00:56:53,239 --> 00:56:56,879
Speaker 1: turns into something else. But when it was over, why

1034
00:56:56,920 --> 00:56:59,240
Speaker 1: didn't you guys turn that song into something else?

1035
00:57:00,800 --> 00:57:04,560
Speaker 3: Because I think we were both you know, you know,

1036
00:57:04,800 --> 00:57:07,040
Speaker 3: just kind of really cool with the way it turned out.

1037
00:57:07,080 --> 00:57:09,560
Speaker 3: You know, he was talking ship, you know, uh, you know,

1038
00:57:09,600 --> 00:57:11,960
Speaker 3: at the beginning of the song. We started the song

1039
00:57:12,400 --> 00:57:16,000
Speaker 3: and he's talking and you know, he's getting on me.

1040
00:57:16,080 --> 00:57:20,880
Speaker 3: He's like the headphones, headphones on, and then my headphones

1041
00:57:20,920 --> 00:57:23,680
Speaker 3: were on the floor, so I'm laughing and put my

1042
00:57:23,720 --> 00:57:26,440
Speaker 3: headphones on. Here. At the end of the song, we

1043
00:57:26,520 --> 00:57:28,800
Speaker 3: got done, and you know, it was like it was

1044
00:57:28,880 --> 00:57:31,320
Speaker 3: just so hilarious. We said we got to leave this alone.

1045
00:57:31,320 --> 00:57:32,480
Speaker 3: We got to just let it be.

1046
00:57:32,560 --> 00:57:33,120
Speaker 5: What it is.

1047
00:57:33,200 --> 00:57:35,760
Speaker 1: You know. Yeah, I was gonna say, one of the

1048
00:57:36,400 --> 00:57:39,160
Speaker 1: one of the rarest highest things I've paid for. I

1049
00:57:39,160 --> 00:57:43,720
Speaker 1: didn't realize that you guys were actually intending to release this, So,

1050
00:57:44,920 --> 00:57:49,920
Speaker 1: you know, I one one of the up there. There's

1051
00:57:50,040 --> 00:57:54,600
Speaker 1: there's like a mastered her Her Powers mastered twelve inch

1052
00:57:55,600 --> 00:57:59,160
Speaker 1: of chlorine that was supposed to see the light of day,

1053
00:57:59,160 --> 00:58:00,800
Speaker 1: and I guess at the last it was six Nate

1054
00:58:00,920 --> 00:58:02,720
Speaker 1: or maybe he just had one printed up, one of

1055
00:58:02,800 --> 00:58:06,120
Speaker 1: one or whatever. But is that how all the songs

1056
00:58:06,120 --> 00:58:08,760
Speaker 1: were created? So like when you're doing like Wild and Loose,

1057
00:58:09,640 --> 00:58:12,960
Speaker 1: you know, when you're drumming, are you drumming to something

1058
00:58:13,040 --> 00:58:16,960
Speaker 1: totally different? And then it eventually morps into Wild and Loose? Yeah?

1059
00:58:17,000 --> 00:58:18,480
Speaker 5: Absolutely absolutely.

1060
00:58:18,520 --> 00:58:21,880
Speaker 3: It started out as a you know prints on the bass,

1061
00:58:21,880 --> 00:58:24,120
Speaker 3: which you know, probably one of the funkest bass players.

1062
00:58:24,160 --> 00:58:26,000
Speaker 1: I mean, you know exact listen to.

1063
00:58:26,760 --> 00:58:30,560
Speaker 5: Seven seven h seven ninety three eleven. Nobody can play

1064
00:58:30,560 --> 00:58:32,480
Speaker 5: that song. Nobody can play that.

1065
00:58:32,480 --> 00:58:34,120
Speaker 1: Song the way he did so exactly.

1066
00:58:34,200 --> 00:58:37,240
Speaker 3: So a lot of the songs we just we started

1067
00:58:37,320 --> 00:58:40,360
Speaker 3: like that, him on bass, neon drums, and then we

1068
00:58:40,400 --> 00:58:43,000
Speaker 3: would find a pocket or if he had idea of pocket,

1069
00:58:43,040 --> 00:58:45,160
Speaker 3: he tells me to go there, I'd hold the pocket

1070
00:58:45,560 --> 00:58:48,800
Speaker 3: and you know, we would just kind of go from there.

1071
00:58:48,840 --> 00:58:52,840
Speaker 5: But most of all, most all of our songs.

1072
00:58:52,440 --> 00:58:55,440
Speaker 3: That I played on were you know, they start out

1073
00:58:55,440 --> 00:58:57,120
Speaker 3: as jam sessions.

1074
00:58:57,200 --> 00:59:00,600
Speaker 1: So jam sessions and totally different keys and totally other things,

1075
00:59:00,640 --> 00:59:03,440
Speaker 1: and then you go home, and then you come back

1076
00:59:03,480 --> 00:59:05,840
Speaker 1: the next day and then that drum performs you gave

1077
00:59:06,240 --> 00:59:07,320
Speaker 1: turns into something else.

1078
00:59:07,960 --> 00:59:12,760
Speaker 3: Yep, possibly that or possibly the actual the actual session itself,

1079
00:59:12,800 --> 00:59:16,439
Speaker 3: you know. And he was a master at cutting two

1080
00:59:16,440 --> 00:59:18,400
Speaker 3: inch tape because you know how it was pack in

1081
00:59:18,440 --> 00:59:21,800
Speaker 3: the day, so you know, he would cut out the

1082
00:59:21,880 --> 00:59:25,680
Speaker 3: sections that we didn't need and spice them together and

1083
00:59:25,760 --> 00:59:29,640
Speaker 3: then start overdubling overdubbling from that point.

1084
00:59:29,400 --> 00:59:31,400
Speaker 1: You know, so he could raise or splice his own tapes.

1085
00:59:31,680 --> 00:59:34,560
Speaker 1: Oh yeah, were you guys working on was it a

1086
00:59:34,600 --> 00:59:37,160
Speaker 1: sixteen track or a twenty four? Like? What board do

1087
00:59:37,200 --> 00:59:40,200
Speaker 1: you know? Like? The Yeah, the boards that we.

1088
00:59:40,200 --> 00:59:45,120
Speaker 3: Started out on sixteen and that's what we get it

1089
00:59:45,200 --> 00:59:48,160
Speaker 3: up and all cool Girl. All those songs that first

1090
00:59:48,200 --> 00:59:51,240
Speaker 3: album were cut on sixteen track, and then after that

1091
00:59:51,480 --> 00:59:54,720
Speaker 3: graduated to twenty four track, and then after that graduated

1092
00:59:54,760 --> 00:59:57,520
Speaker 3: to two twenty four tracks where we had forty eight tracks.

1093
00:59:57,600 --> 01:00:01,040
Speaker 1: You know. Oh okay, I see, okay, So let me

1094
01:00:01,040 --> 01:00:05,240
Speaker 1: ask about the twin of bacon skin, which is tricky.

1095
01:00:06,320 --> 01:00:07,360
Speaker 3: Why you big.

1096
01:00:09,160 --> 01:00:16,760
Speaker 8: Hair, dum heavy, long toll snagly going to funk inhabit

1097
01:00:16,880 --> 01:00:20,360
Speaker 8: form leather wear bean pole.

1098
01:00:21,920 --> 01:00:35,400
Speaker 2: Black was tricky.

1099
01:00:35,600 --> 01:00:39,720
Speaker 1: Initially intended as one of these sessions that should turn

1100
01:00:39,760 --> 01:00:42,880
Speaker 1: into another song, and then again, you guys were just

1101
01:00:42,920 --> 01:00:45,680
Speaker 1: clowning around and decided, okay, let's just leave this as

1102
01:00:45,720 --> 01:00:46,240
Speaker 1: as it is.

1103
01:00:46,720 --> 01:00:49,200
Speaker 5: Well, tricky happened when.

1104
01:00:50,880 --> 01:00:55,680
Speaker 3: We heard that, I believe it was was it Bootsy?

1105
01:00:56,520 --> 01:01:00,600
Speaker 5: But anyway, it's either it was either Bootsy or George

1106
01:01:01,520 --> 01:01:05,200
Speaker 5: George Clinton when I had a song that said Morris

1107
01:01:05,240 --> 01:01:16,360
Speaker 5: to copy cat.

1108
01:01:21,800 --> 01:01:24,280
Speaker 3: Immediately after we heard that, we went into the studio

1109
01:01:24,960 --> 01:01:26,680
Speaker 3: and that was our rebuttal that.

1110
01:01:26,760 --> 01:01:30,200
Speaker 1: Was, it's like why you be wait you.

1111
01:01:33,800 --> 01:01:41,240
Speaker 3: So toss solid hairdoo have And that was Bootsy.

1112
01:01:40,560 --> 01:01:42,560
Speaker 5: The Michelan man. That was George Clinton.

1113
01:01:42,560 --> 01:01:45,400
Speaker 3: So we went in and you know, had a field day,

1114
01:01:45,720 --> 01:01:49,040
Speaker 3: you know, as a rebuttal to them talking ship about us.

1115
01:01:50,160 --> 01:01:51,920
Speaker 1: Dude, this okay, this.

1116
01:01:51,960 --> 01:01:52,600
Speaker 4: Is a cute yo.

1117
01:01:54,520 --> 01:01:59,880
Speaker 1: Heads are exploded, do you literally? I didn't expect this

1118
01:02:00,280 --> 01:02:05,680
Speaker 1: because in our mythical made up land, we had decided

1119
01:02:06,080 --> 01:02:10,600
Speaker 1: that that was directed after the James Brown incident, you know,

1120
01:02:10,760 --> 01:02:13,720
Speaker 1: the James Brown Michael Jackson, because we thought like, okay,

1121
01:02:13,760 --> 01:02:15,720
Speaker 1: well he has to be talking about somebody. At first,

1122
01:02:15,720 --> 01:02:18,120
Speaker 1: I just thought that you two were just ranking on

1123
01:02:18,160 --> 01:02:22,800
Speaker 1: each other because you know, I didn't realize again, like

1124
01:02:22,840 --> 01:02:27,360
Speaker 1: Prince never made his voice known to us during that

1125
01:02:27,440 --> 01:02:29,640
Speaker 1: period in real time, so I had no idea that

1126
01:02:29,800 --> 01:02:34,720
Speaker 1: like the waiter on the skits and the Italian guy

1127
01:02:34,800 --> 01:02:37,480
Speaker 1: on the walk, I didn't realize that was Prince, right,

1128
01:02:38,280 --> 01:02:40,520
Speaker 1: I'm just thinking that's you and some of the guys,

1129
01:02:40,560 --> 01:02:43,240
Speaker 1: and so once I became aware of that, then I

1130
01:02:43,280 --> 01:02:44,800
Speaker 1: was like, well, wait a minute, that's Prince of Mars,

1131
01:02:44,920 --> 01:02:47,520
Speaker 1: Like who are they talking about? So in my mind,

1132
01:02:47,560 --> 01:02:49,800
Speaker 1: I was like, okay, nineteen eighty three, I know, the

1133
01:02:49,880 --> 01:02:52,920
Speaker 1: James Brown incident happened and he was real embarrassed, and

1134
01:02:53,040 --> 01:02:55,760
Speaker 1: oh maybe that's who he's talking. That is crazy. So

1135
01:02:56,040 --> 01:03:00,280
Speaker 1: did you ever get actual verification that was actually out

1136
01:03:00,280 --> 01:03:02,840
Speaker 1: you or you know, were they like, no, we were

1137
01:03:02,840 --> 01:03:05,720
Speaker 1: talking about the actual Mars the cat from the Friskies commercial.

1138
01:03:05,800 --> 01:03:07,080
Speaker 5: Yeah, now we knew.

1139
01:03:06,920 --> 01:03:09,760
Speaker 3: Exactly, you know, and I'm not sure, you know, maybe

1140
01:03:09,800 --> 01:03:13,760
Speaker 3: they thought maybe they thought get it Up was you know,

1141
01:03:14,120 --> 01:03:17,520
Speaker 3: sort of a parliament funkin deelic groove. And I could

1142
01:03:17,520 --> 01:03:19,919
Speaker 3: see that, you know, and you know, I could see

1143
01:03:19,960 --> 01:03:24,640
Speaker 3: the influence of that. But I by no means feel

1144
01:03:24,680 --> 01:03:26,920
Speaker 3: like we were biting their sound at all.

1145
01:03:27,720 --> 01:03:31,000
Speaker 1: But now, I mean they were no strangers to bucking shots,

1146
01:03:31,040 --> 01:03:32,880
Speaker 1: you know, because like, let's take it to the stage.

1147
01:03:34,080 --> 01:03:36,760
Speaker 1: They playfully call out you know, Earthwin and Fire and

1148
01:03:36,840 --> 01:03:39,880
Speaker 1: Rufus and Sly and even you know, the people that

1149
01:03:39,880 --> 01:03:43,320
Speaker 1: they're down with, but still like playfully doing Wow, man,

1150
01:03:43,720 --> 01:03:48,280
Speaker 1: I had no clue what so, So was he actually

1151
01:03:48,280 --> 01:03:49,640
Speaker 1: eating chicken while he did that?

1152
01:03:50,640 --> 01:03:51,920
Speaker 5: No? No?

1153
01:03:52,200 --> 01:03:56,240
Speaker 3: Oh, okay, no, you know what, maybe you mentioned that

1154
01:03:56,320 --> 01:03:58,000
Speaker 3: I think we might have bought a bucket of chin.

1155
01:03:58,280 --> 01:04:01,800
Speaker 1: Yeah, I was like, I think he was chewing chicken.

1156
01:04:01,880 --> 01:04:03,640
Speaker 3: I think we might have had a bucket the chicken

1157
01:04:03,680 --> 01:04:06,920
Speaker 3: on hand now that you mentioned it, So that's okay.

1158
01:04:07,000 --> 01:04:12,439
Speaker 1: I want to know what was the awareness of your

1159
01:04:12,520 --> 01:04:16,520
Speaker 1: contemporaries at least Again, the myth of my head was

1160
01:04:16,520 --> 01:04:19,160
Speaker 1: that you guys were too cool for school. You didn't

1161
01:04:19,160 --> 01:04:21,960
Speaker 1: listen to nobody else, like nobody like Zap, fuck Them

1162
01:04:21,960 --> 01:04:25,920
Speaker 1: and whatever. But now that I'm older, I'm like, it's

1163
01:04:25,960 --> 01:04:29,520
Speaker 1: almost impossible for you guys to not know about the

1164
01:04:29,640 --> 01:04:33,120
Speaker 1: Dazz Band or Zap or even like these new groups

1165
01:04:33,200 --> 01:04:35,880
Speaker 1: groups coming up like z Look and Real to Real

1166
01:04:36,080 --> 01:04:39,520
Speaker 1: and Click and you know, all these all these groups

1167
01:04:40,560 --> 01:04:42,640
Speaker 1: post ady two that were trying to fit into that

1168
01:04:42,720 --> 01:04:46,440
Speaker 1: mood that you guys were. So, I mean, how aware

1169
01:04:47,200 --> 01:04:53,440
Speaker 1: were you guys of other groups and their music? Like

1170
01:04:54,040 --> 01:04:55,880
Speaker 1: did you ever come in and say, like, yo, man,

1171
01:04:56,200 --> 01:04:58,000
Speaker 1: this group called the System from New York listen to

1172
01:04:58,040 --> 01:04:58,320
Speaker 1: this shit?

1173
01:04:58,920 --> 01:05:02,040
Speaker 3: Yeah, like you know what, But you're you're absolutely right.

1174
01:05:02,120 --> 01:05:05,880
Speaker 3: We were on we were on that page. But on

1175
01:05:05,920 --> 01:05:09,680
Speaker 3: a larger scale for us, we were listening to new

1176
01:05:09,720 --> 01:05:13,960
Speaker 3: wave groups like The Cure and you know, we were

1177
01:05:14,000 --> 01:05:17,840
Speaker 3: listening to a lot of the cross over the pop

1178
01:05:17,920 --> 01:05:21,600
Speaker 3: groups and trying to because we'd already you know, we

1179
01:05:21,600 --> 01:05:24,480
Speaker 3: we had the funk thing down. So what we were

1180
01:05:24,520 --> 01:05:26,280
Speaker 3: trying to do, and if you think about it, you

1181
01:05:26,400 --> 01:05:30,760
Speaker 3: listen to ice Cream Castles and you know, listen to

1182
01:05:30,800 --> 01:05:33,320
Speaker 3: the verses on that and the whole vibe of that song.

1183
01:05:33,920 --> 01:05:37,760
Speaker 3: We were trying to get that that the cure, you know,

1184
01:05:38,120 --> 01:05:41,280
Speaker 3: we were trying to get that slightly new waves sound

1185
01:05:41,520 --> 01:05:45,920
Speaker 3: integrated and and and and that's that's really where we

1186
01:05:45,920 --> 01:05:48,800
Speaker 3: were thinking. We were We were already past the funk

1187
01:05:48,840 --> 01:05:49,640
Speaker 3: thing because.

1188
01:05:49,360 --> 01:05:50,000
Speaker 5: We had that.

1189
01:05:51,000 --> 01:05:54,280
Speaker 1: Wow, I never thought of that, So you guys were

1190
01:05:54,320 --> 01:05:58,520
Speaker 1: aware of Okay, I see, I see it. So humor.

1191
01:05:58,640 --> 01:06:05,920
Speaker 1: Humor is also another important weapon in the arsenal of

1192
01:06:06,000 --> 01:06:09,720
Speaker 1: the time, which you know, humanized you guys. And that

1193
01:06:09,840 --> 01:06:13,720
Speaker 1: was sort of the difference between you know, your presentation

1194
01:06:13,800 --> 01:06:17,480
Speaker 1: and Prince's presentation because your humor, even though it was

1195
01:06:17,520 --> 01:06:19,840
Speaker 1: inside baseball jokes, it still made us want to be

1196
01:06:19,880 --> 01:06:23,400
Speaker 1: down with you, and it endeared us to you more

1197
01:06:23,480 --> 01:06:25,720
Speaker 1: because it showed a side of you, Like Prince didn't

1198
01:06:25,720 --> 01:06:29,800
Speaker 1: show a sense of humor until way later in his career.

1199
01:06:29,960 --> 01:06:34,520
Speaker 1: So like, but what I want to know is the

1200
01:06:34,560 --> 01:06:41,120
Speaker 1: fact that you guys would actually stage vis kind of vignettes,

1201
01:06:41,120 --> 01:06:45,360
Speaker 1: and you know, it's really the precursor to skits that

1202
01:06:46,160 --> 01:06:48,480
Speaker 1: De La Soul and Wa and them started doing, except

1203
01:06:48,480 --> 01:06:50,680
Speaker 1: they would actually make skits where you guys would just

1204
01:06:50,720 --> 01:06:54,800
Speaker 1: do the skits on the record. So like when you're

1205
01:06:54,840 --> 01:06:59,320
Speaker 1: doing songs like the Walk or even Wild and Loose,

1206
01:06:59,360 --> 01:07:02,640
Speaker 1: Wild and Loose is probably a better example because you know,

1207
01:07:04,440 --> 01:07:07,680
Speaker 1: I'm assuming that's that's Lisa. Is that Lisa and Jill

1208
01:07:07,800 --> 01:07:11,040
Speaker 1: Jones talking to each other, them talking to each other

1209
01:07:11,080 --> 01:07:13,120
Speaker 1: on Wild and Loose when you guys are there.

1210
01:07:13,320 --> 01:07:16,160
Speaker 3: I actually think it's just some some random girls that.

1211
01:07:18,720 --> 01:07:23,120
Speaker 5: Come in, you know. But however, on the Walk, that

1212
01:07:22,840 --> 01:07:23,880
Speaker 5: was that was vanity.

1213
01:07:23,960 --> 01:07:24,920
Speaker 1: That was vanity. I know that.

1214
01:07:25,240 --> 01:07:25,439
Speaker 5: Yeah.

1215
01:07:25,480 --> 01:07:27,680
Speaker 1: But the reason why I'm asking about Wild and Loose

1216
01:07:27,760 --> 01:07:31,880
Speaker 1: is because, you know, in my mind, over analyzing this song,

1217
01:07:32,480 --> 01:07:36,240
Speaker 1: I'm like, Okay, there's a thirty two bar break, and

1218
01:07:36,280 --> 01:07:39,560
Speaker 1: in that thirty two bar break on the left side,

1219
01:07:39,640 --> 01:07:42,160
Speaker 1: the two girls have to set up the narrative perfectly

1220
01:07:42,960 --> 01:07:46,000
Speaker 1: where they're explaining how they got your phone number when

1221
01:07:46,000 --> 01:07:48,040
Speaker 1: they talk to you and da da da da. But

1222
01:07:48,080 --> 01:07:51,440
Speaker 1: then on the right hand you hear you know, you

1223
01:07:51,680 --> 01:07:56,160
Speaker 1: Jesse or whoever talking shit about the same thing that

1224
01:07:56,200 --> 01:08:00,640
Speaker 1: they're talking about, and and it's it's coordinated perfectly, and

1225
01:08:01,720 --> 01:08:04,040
Speaker 1: it doesn't sound casual, like it doesn't sound like it

1226
01:08:04,080 --> 01:08:06,800
Speaker 1: was just a happy accident, like yes, we're just going

1227
01:08:06,840 --> 01:08:09,320
Speaker 1: to take this thirty two bar break and talk shit,

1228
01:08:09,840 --> 01:08:12,480
Speaker 1: like there's an actual narrative that goes on. And like

1229
01:08:13,000 --> 01:08:16,960
Speaker 1: so when it comes to those those those moments in

1230
01:08:17,000 --> 01:08:19,720
Speaker 1: the time songs when it's time to talk shit or

1231
01:08:19,760 --> 01:08:22,320
Speaker 1: do humor and I'm talking about the kit KM Make

1232
01:08:22,360 --> 01:08:26,000
Speaker 1: You Come, or even Chili Sauce or those songs, Like

1233
01:08:26,120 --> 01:08:30,080
Speaker 1: how important is that or was it just Prince? Like, Okay,

1234
01:08:30,280 --> 01:08:31,960
Speaker 1: I don't have another I don't have a third verse,

1235
01:08:31,960 --> 01:08:34,439
Speaker 1: so let's just do a skit real quick, Like how

1236
01:08:34,520 --> 01:08:35,440
Speaker 1: is that organized?

1237
01:08:35,840 --> 01:08:37,680
Speaker 5: Well, you know, I think it was.

1238
01:08:37,880 --> 01:08:40,160
Speaker 3: I think it was more once we got the body

1239
01:08:40,200 --> 01:08:44,080
Speaker 3: of the song, you know, versus hooks, and you know,

1240
01:08:44,200 --> 01:08:47,679
Speaker 3: then you know, it was always Prince's plan to make

1241
01:08:47,800 --> 01:08:51,960
Speaker 3: these to bring our personality to these songs, and you know,

1242
01:08:52,120 --> 01:08:55,160
Speaker 3: to make them you know, you know accessible, you know

1243
01:08:55,400 --> 01:08:58,120
Speaker 3: and not I mean, we have the great musicianship.

1244
01:08:58,160 --> 01:09:00,519
Speaker 5: And then on the other hand, you know, make.

1245
01:09:00,400 --> 01:09:03,000
Speaker 3: It accessible through you know, like these vignettes and a

1246
01:09:03,040 --> 01:09:05,519
Speaker 3: little comedy in there, and just have fun with it

1247
01:09:05,520 --> 01:09:08,200
Speaker 3: to you know, just kind of you know, help people

1248
01:09:08,280 --> 01:09:10,120
Speaker 3: enjoy it. And I don't think that that was the plan

1249
01:09:10,479 --> 01:09:13,360
Speaker 3: outright at that moment, but you know, that's what it

1250
01:09:13,479 --> 01:09:17,080
Speaker 3: ended up being. He just wanted to bring personality to

1251
01:09:17,160 --> 01:09:20,400
Speaker 3: the records. And you know, we always laughed and talked shit.

1252
01:09:20,479 --> 01:09:22,640
Speaker 3: We would go to the club, we would have a

1253
01:09:22,640 --> 01:09:25,439
Speaker 3: good time, then straight to the studio and you know,

1254
01:09:25,800 --> 01:09:29,439
Speaker 3: listen to what was on and get that fresh in

1255
01:09:29,479 --> 01:09:32,360
Speaker 3: our brains and then straight to the studio and start cutting,

1256
01:09:32,400 --> 01:09:35,120
Speaker 3: you know with with what was hot in mind, and

1257
01:09:35,680 --> 01:09:37,160
Speaker 3: you know, doing our own thing with it.

1258
01:09:37,960 --> 01:09:40,680
Speaker 1: Okay, I knew you guys had to present to us

1259
01:09:40,720 --> 01:09:46,320
Speaker 1: that you were above funk and above you know, like

1260
01:09:47,240 --> 01:09:53,160
Speaker 1: what what you what you mortals do? Like we're above that. However,

1261
01:09:53,960 --> 01:09:57,519
Speaker 1: can you just name one or two songs or groups

1262
01:09:57,520 --> 01:10:00,360
Speaker 1: that like all right? I respect that? Like, I know

1263
01:10:00,400 --> 01:10:03,599
Speaker 1: you guys toured with Zap like yeah to them, were

1264
01:10:03,640 --> 01:10:07,040
Speaker 1: they like they all right? Or was it like wo

1265
01:10:07,600 --> 01:10:11,160
Speaker 1: okay this like yeah, yeah, No, Zapp.

1266
01:10:11,040 --> 01:10:12,639
Speaker 3: Was a hell of a band. I mean more bounced

1267
01:10:12,640 --> 01:10:14,080
Speaker 3: to the ounce. Who can deny that?

1268
01:10:14,160 --> 01:10:14,320
Speaker 5: Man?

1269
01:10:14,400 --> 01:10:17,960
Speaker 3: That's you know, that's that's one of the funkiest songs,

1270
01:10:18,400 --> 01:10:20,599
Speaker 3: you know, and and you know that's the way Roger

1271
01:10:20,680 --> 01:10:24,000
Speaker 3: always presented it. He would make his band like stay

1272
01:10:24,000 --> 01:10:26,479
Speaker 3: in that pocket, you know how you know, sometimes you

1273
01:10:26,520 --> 01:10:31,920
Speaker 3: get excited and we we do that and and our temples, yes,

1274
01:10:32,520 --> 01:10:35,599
Speaker 3: and they're higher than the record is. And you know

1275
01:10:35,760 --> 01:10:38,439
Speaker 3: that was okay because you know, you were in concert,

1276
01:10:38,560 --> 01:10:41,640
Speaker 3: you know, the energy and and and then the excitement

1277
01:10:41,720 --> 01:10:44,559
Speaker 3: is there. But Roger always had his band, you know.

1278
01:10:44,600 --> 01:10:47,200
Speaker 3: It was almost like he would click it out and say,

1279
01:10:47,240 --> 01:10:49,200
Speaker 3: you know, keep it right there. And it was always

1280
01:10:49,280 --> 01:10:52,160
Speaker 3: just slow and funky and know and they they always

1281
01:10:52,240 --> 01:10:53,320
Speaker 3: you know, had a great show.

1282
01:10:53,439 --> 01:10:58,640
Speaker 5: So you know, I mean, you know, there's thousands of

1283
01:10:59,040 --> 01:11:01,080
Speaker 5: funk songs that I love.

1284
01:11:00,960 --> 01:11:03,880
Speaker 3: And could get down with, you know, but you know,

1285
01:11:04,040 --> 01:11:07,719
Speaker 3: we just we just wanted to present ourselves a little differently,

1286
01:11:07,760 --> 01:11:07,960
Speaker 3: you know.

1287
01:11:08,800 --> 01:11:13,200
Speaker 1: Okay, I see what's what's the reasoning behind? You didn't

1288
01:11:13,200 --> 01:11:15,760
Speaker 1: find it a little unusual that, like all of your

1289
01:11:15,800 --> 01:11:19,880
Speaker 1: records were just six songs. You know.

1290
01:11:21,479 --> 01:11:24,600
Speaker 3: It's you know, it's just like would you like a

1291
01:11:24,640 --> 01:11:29,880
Speaker 3: bucket of twenty four pieces of fried chicken taste all right,

1292
01:11:31,000 --> 01:11:33,160
Speaker 3: like a sixth piece, that's real good.

1293
01:11:33,200 --> 01:11:36,599
Speaker 1: That's the quality, not quantity.

1294
01:11:37,240 --> 01:11:39,519
Speaker 4: I'm like, no, But as a person who's made a

1295
01:11:39,600 --> 01:11:42,280
Speaker 4: multi track album in retrospect, is that kind of genius

1296
01:11:42,280 --> 01:11:43,679
Speaker 4: than a way those did you always get paid?

1297
01:11:44,280 --> 01:11:47,639
Speaker 1: Is way harder to make a classic with less songs?

1298
01:11:47,680 --> 01:11:51,360
Speaker 4: Like yeah, to me, it's just contacts, right.

1299
01:11:51,280 --> 01:11:53,360
Speaker 1: Because all the records that we look at that are

1300
01:11:53,439 --> 01:11:58,920
Speaker 1: classic are really under forty five minutes innervisions off the wall,

1301
01:11:59,720 --> 01:12:03,439
Speaker 1: dirty mind? What time is it? Like shorter? You know.

1302
01:12:03,600 --> 01:12:06,040
Speaker 1: But it's also the thing. The risk of six songs

1303
01:12:06,120 --> 01:12:09,639
Speaker 1: is like when you shoot your shot, you better hit

1304
01:12:09,640 --> 01:12:12,360
Speaker 1: that ship right right on target.

1305
01:12:12,479 --> 01:12:14,200
Speaker 4: That's gotta be confidence.

1306
01:12:14,640 --> 01:12:18,120
Speaker 1: So I meant were you were you at all like

1307
01:12:18,360 --> 01:12:22,960
Speaker 1: uh word? Like okay, Well, after you heard cool and

1308
01:12:23,040 --> 01:12:26,559
Speaker 1: these songs done, did you know instantly like, oh man,

1309
01:12:27,520 --> 01:12:30,000
Speaker 1: we're gonna blow up so big? Like did you feel

1310
01:12:30,000 --> 01:12:30,960
Speaker 1: that at all? Oh?

1311
01:12:31,040 --> 01:12:33,599
Speaker 3: Yeah, it was It was crazy like that. I felt,

1312
01:12:33,640 --> 01:12:37,559
Speaker 3: you know that we were really onto something. You know,

1313
01:12:37,680 --> 01:12:41,479
Speaker 3: when when we finished seven seven seven ninety three eleven,

1314
01:12:41,520 --> 01:12:43,760
Speaker 3: I'm like thinking, hell, they ain't hurt nothing like.

1315
01:12:43,680 --> 01:12:45,240
Speaker 1: This, you know? So right?

1316
01:12:45,320 --> 01:12:47,439
Speaker 3: You know, it's like you know, we just you know,

1317
01:12:47,479 --> 01:12:50,320
Speaker 3: we always just felt like we were on point with it.

1318
01:12:50,439 --> 01:12:53,200
Speaker 5: You know, we were in the moment and.

1319
01:12:52,960 --> 01:12:56,320
Speaker 3: We knew we were doing something innovative, and you just

1320
01:12:56,360 --> 01:12:58,880
Speaker 3: felt like we had something different, you know. So you

1321
01:12:58,880 --> 01:13:02,559
Speaker 3: know I felt real good about you know, uh, each

1322
01:13:02,720 --> 01:13:05,760
Speaker 3: each song on those six song albums.

1323
01:13:06,160 --> 01:13:09,920
Speaker 1: What was your life for like two months after the

1324
01:13:10,680 --> 01:13:14,720
Speaker 1: first Time album at least in Minnesota, Like was like

1325
01:13:14,840 --> 01:13:18,639
Speaker 1: when did your life transform to whoa?

1326
01:13:19,160 --> 01:13:20,000
Speaker 5: Well, you know.

1327
01:13:19,960 --> 01:13:23,759
Speaker 1: Now now I'm this level well, you know, with Reggie

1328
01:13:23,800 --> 01:13:27,720
Speaker 1: Hammond and in forty eight hours like buy it out.

1329
01:13:28,040 --> 01:13:31,840
Speaker 3: I'm sure you know, brother, but you know if I

1330
01:13:31,880 --> 01:13:34,400
Speaker 3: went from you know, trying to stretch my little five

1331
01:13:34,479 --> 01:13:37,200
Speaker 3: dollars to do the cover charge, to get a drink

1332
01:13:37,240 --> 01:13:40,160
Speaker 3: to hold onto until the ice cubess milk, you know

1333
01:13:40,320 --> 01:13:44,320
Speaker 3: by the end of the night, you know, to you know,

1334
01:13:44,680 --> 01:13:49,000
Speaker 3: to get it offered. You know, bottles of champagne get

1335
01:13:49,000 --> 01:13:49,960
Speaker 3: in for free.

1336
01:13:50,280 --> 01:13:50,479
Speaker 1: You know.

1337
01:13:51,520 --> 01:13:54,639
Speaker 3: It's like when brothers need something for free, you can't

1338
01:13:54,640 --> 01:13:56,479
Speaker 3: get it when you don't need it for free.

1339
01:13:56,479 --> 01:14:00,439
Speaker 5: When I'm actual throwing everything at me for you know,

1340
01:14:01,320 --> 01:14:02,120
Speaker 5: change like that.

1341
01:14:02,200 --> 01:14:04,720
Speaker 4: You know, well, I just want to know I want

1342
01:14:04,720 --> 01:14:06,519
Speaker 4: to circle back to this band leader thing now because

1343
01:14:06,520 --> 01:14:09,800
Speaker 4: now you are the band leader, and I'm curious about

1344
01:14:09,840 --> 01:14:12,920
Speaker 4: your evolution as a band leader. And if you thought, Okay,

1345
01:14:12,920 --> 01:14:14,360
Speaker 4: this is in the beginning, this is who I'm going

1346
01:14:14,400 --> 01:14:16,880
Speaker 4: to be, but then everything kind of changed for you

1347
01:14:17,320 --> 01:14:18,840
Speaker 4: because it's a lot of responsibility.

1348
01:14:19,520 --> 01:14:23,200
Speaker 3: You know, I've never you know, been like you know,

1349
01:14:23,280 --> 01:14:26,800
Speaker 3: like Prince was a he was a band leader. You

1350
01:14:26,840 --> 01:14:29,960
Speaker 3: know what I'm saying. You don't play one note, you

1351
01:14:30,000 --> 01:14:33,880
Speaker 3: don't wear one sock that he doesn't approve of, you know,

1352
01:14:34,160 --> 01:14:38,080
Speaker 3: and you know everything is controlled and he's in control.

1353
01:14:38,240 --> 01:14:40,280
Speaker 3: You know, I've never been like that, you know, I've

1354
01:14:40,320 --> 01:14:42,200
Speaker 3: always give him my guys, you know, a little room

1355
01:14:42,320 --> 01:14:45,960
Speaker 3: to express themselves. Just never been a hands on, like

1356
01:14:46,120 --> 01:14:49,040
Speaker 3: dictator type of guys. So you know, I you know,

1357
01:14:49,040 --> 01:14:51,400
Speaker 3: I always took a light handed approach, and I always

1358
01:14:51,400 --> 01:14:53,479
Speaker 3: found that, you know, kind of like when you let

1359
01:14:53,479 --> 01:14:55,840
Speaker 3: people express themselves a little more, you get a little

1360
01:14:55,880 --> 01:14:57,400
Speaker 3: more out of them. And I think that's kind of

1361
01:14:57,439 --> 01:15:00,760
Speaker 3: what happened with the time. You' The only time that

1362
01:15:00,800 --> 01:15:04,320
Speaker 3: it really we really got clamped down on is when

1363
01:15:04,400 --> 01:15:05,599
Speaker 3: Prince showed up to rehearsal.

1364
01:15:05,640 --> 01:15:07,000
Speaker 4: I was going to ask was he thinking he was

1365
01:15:07,040 --> 01:15:08,960
Speaker 4: a punk, like, come on, man, get him together.

1366
01:15:09,400 --> 01:15:12,439
Speaker 3: Yeah, No, it wasn't like that because he felt like

1367
01:15:12,520 --> 01:15:14,719
Speaker 3: it was all his ship anyway, because we were signed

1368
01:15:14,760 --> 01:15:18,240
Speaker 3: to his production company, so you know, when he comes in,

1369
01:15:18,360 --> 01:15:20,519
Speaker 3: then the hammer comes down. But you know, I think

1370
01:15:20,640 --> 01:15:22,640
Speaker 3: some of our greatest moments when we came up with

1371
01:15:22,680 --> 01:15:24,880
Speaker 3: the dance move the bird, and a lot of the

1372
01:15:24,920 --> 01:15:27,920
Speaker 3: grooves we came up with were when he wasn't there

1373
01:15:28,360 --> 01:15:30,680
Speaker 3: what they did show up and you know, a lot

1374
01:15:30,680 --> 01:15:32,760
Speaker 3: of times he liked what we came up with, but

1375
01:15:32,960 --> 01:15:35,120
Speaker 3: you know, if he didn't, he would say he was

1376
01:15:35,200 --> 01:15:36,280
Speaker 3: quick to say he didn't.

1377
01:15:36,439 --> 01:15:37,559
Speaker 5: And sometimes he say.

1378
01:15:37,439 --> 01:15:39,559
Speaker 3: I don't like that ship, and they turn around and

1379
01:15:39,600 --> 01:15:42,479
Speaker 3: come back, and he wrote a song with the same

1380
01:15:42,560 --> 01:15:43,479
Speaker 3: groove that he heard.

1381
01:15:44,320 --> 01:15:46,799
Speaker 5: So he was just one of them kind of people.

1382
01:15:46,840 --> 01:15:47,040
Speaker 6: You know.

1383
01:15:47,400 --> 01:15:51,800
Speaker 1: He was good, so with with his with his with

1384
01:15:51,880 --> 01:15:57,000
Speaker 1: his attention to detail. You know, how hard was it

1385
01:15:57,920 --> 01:16:02,679
Speaker 1: in trying to bring seven seven, seven ninety three eleven

1386
01:16:02,720 --> 01:16:07,920
Speaker 1: alive and jelly Bean not really nailing the snare part?

1387
01:16:08,200 --> 01:16:10,360
Speaker 5: Yeah, well, yeah, you're you're right.

1388
01:16:11,000 --> 01:16:14,599
Speaker 1: You know, I'm trying to be diplomatic, as.

1389
01:16:16,920 --> 01:16:21,240
Speaker 3: You know, never really able to grasp that drum beat

1390
01:16:21,280 --> 01:16:23,200
Speaker 3: but he found a version of it.

1391
01:16:23,360 --> 01:16:24,080
Speaker 5: I guess that.

1392
01:16:24,439 --> 01:16:27,559
Speaker 1: No, it works for him. Yeah, that straight on the snare. Yeah,

1393
01:16:27,600 --> 01:16:30,040
Speaker 1: But okay, how come you guys didn't opt to do

1394
01:16:30,200 --> 01:16:34,680
Speaker 1: the drum machine thing that the Revolution was doing, because.

1395
01:16:34,360 --> 01:16:38,080
Speaker 3: You know, we always prided ourselves on being the live band.

1396
01:16:38,200 --> 01:16:41,000
Speaker 3: No samples, no click tracks, you know, none of that.

1397
01:16:41,240 --> 01:16:44,799
Speaker 3: So you know, we always opted to you know, whatever

1398
01:16:44,840 --> 01:16:47,360
Speaker 3: it is, you know, keep it real. You know, I'm

1399
01:16:47,400 --> 01:16:50,000
Speaker 3: not the greatest thing on the planet. You hear bad Nope,

1400
01:16:50,080 --> 01:16:52,439
Speaker 3: guess what You're gonna hear a few bad notes if

1401
01:16:52,439 --> 01:16:54,519
Speaker 3: you come to my concert. But guess what You're going

1402
01:16:54,560 --> 01:16:59,519
Speaker 3: to know that it's me singing, not a perfect track

1403
01:16:59,560 --> 01:17:01,840
Speaker 3: that I put together that we hit and play just

1404
01:17:02,240 --> 01:17:04,280
Speaker 3: to get by. You know, it's me doing what I do.

1405
01:17:09,720 --> 01:17:14,639
Speaker 1: Speaking of seven seven, seven ninety three eleven. Yeah, when

1406
01:17:14,640 --> 01:17:18,040
Speaker 1: we when we when a lot of us, Jesse was

1407
01:17:18,080 --> 01:17:20,960
Speaker 1: all too gleeful to let us know that, you know,

1408
01:17:21,760 --> 01:17:28,519
Speaker 1: Dave Garibaldi's beat number fourteen on the Linn drum, Yeah,

1409
01:17:29,280 --> 01:17:33,240
Speaker 1: was actually that like that program Like in our minds,

1410
01:17:33,280 --> 01:17:36,440
Speaker 1: we're thinking, like, yo, it's the most genius drum programming

1411
01:17:36,840 --> 01:17:41,000
Speaker 1: of all time. And Jesse's just all too happy, like

1412
01:17:41,120 --> 01:17:46,000
Speaker 1: mmm that it was pressed. So at the time, did

1413
01:17:46,000 --> 01:17:51,320
Speaker 1: you know that Garibaldi had pre programmed the lind drum machine.

1414
01:17:51,680 --> 01:17:54,920
Speaker 5: Yeah, I absolutely knew that. Oh yeah, that's why I

1415
01:17:55,080 --> 01:17:55,760
Speaker 5: was cool.

1416
01:17:55,479 --> 01:17:57,760
Speaker 3: With the you know, using that, you know, because I

1417
01:17:57,800 --> 01:17:59,840
Speaker 3: was like, hey, this is one of my my drum

1418
01:18:00,200 --> 01:18:03,760
Speaker 3: rolls beats, you know, so right, so you know, yeah,

1419
01:18:03,840 --> 01:18:04,120
Speaker 3: you know, so.

1420
01:18:04,160 --> 01:18:05,120
Speaker 5: I was good with that.

1421
01:18:05,479 --> 01:18:07,800
Speaker 1: Was he ever made aware that, oh, you guys use

1422
01:18:07,880 --> 01:18:09,760
Speaker 1: beat number fourteen from what I programmed.

1423
01:18:10,240 --> 01:18:12,439
Speaker 3: I told him that, you know, I told him when

1424
01:18:12,479 --> 01:18:15,040
Speaker 3: when when I finally met him, you know, I met

1425
01:18:15,120 --> 01:18:18,160
Speaker 3: Dave some years later, man, I when I was living

1426
01:18:18,200 --> 01:18:21,040
Speaker 3: in Vegas. You know, they were doing a show at

1427
01:18:21,280 --> 01:18:25,000
Speaker 3: one of those small showrooms, and you know, I had

1428
01:18:25,000 --> 01:18:27,400
Speaker 3: a hot second to go back there and rap with

1429
01:18:27,479 --> 01:18:30,200
Speaker 3: him and the other guys. And I definitely told him.

1430
01:18:30,640 --> 01:18:31,800
Speaker 1: Was he familiar with the song?

1431
01:18:31,920 --> 01:18:35,000
Speaker 3: Like, oh, I'm sure, I'm sure he knew, you know,

1432
01:18:35,120 --> 01:18:37,200
Speaker 3: probably when he heard the song, he's probably.

1433
01:18:36,960 --> 01:18:40,040
Speaker 1: Yeah, you know, that's my beat, Okay, I see.

1434
01:18:40,200 --> 01:18:43,120
Speaker 3: You know, at that point, it's public domain once you

1435
01:18:43,160 --> 01:18:46,000
Speaker 3: put it on. The drummers come after somebody to say, hey,

1436
01:18:46,080 --> 01:18:48,800
Speaker 3: that's my beat, you know, because at that point, he's

1437
01:18:48,840 --> 01:18:50,040
Speaker 3: already been paid for it.

1438
01:18:50,360 --> 01:18:52,960
Speaker 1: Yeah, yeah, no, No, I didn't even mean for relatitious reasons.

1439
01:18:53,000 --> 01:18:53,679
Speaker 1: I was meant.

1440
01:18:53,680 --> 01:18:55,799
Speaker 4: Somebody's thinking that, though I was kidding myself.

1441
01:18:55,920 --> 01:18:57,840
Speaker 5: It's just me had my little two cents.

1442
01:19:00,000 --> 01:19:00,800
Speaker 4: In case he's good.

1443
01:19:01,240 --> 01:19:06,400
Speaker 1: So the thing is with you know, we're rehearsals as

1444
01:19:06,439 --> 01:19:10,759
Speaker 1: super rigorous as the Prince rehearsals, because again, you guys

1445
01:19:10,800 --> 01:19:14,479
Speaker 1: only have like I can see you know Brown Mark's

1446
01:19:14,520 --> 01:19:16,719
Speaker 1: point of like, oh man, we're playing the same group

1447
01:19:16,760 --> 01:19:19,559
Speaker 1: for four hours, but you know, Brown Mark is also

1448
01:19:19,600 --> 01:19:22,719
Speaker 1: dealing with the artist that not only has four five

1449
01:19:22,760 --> 01:19:25,640
Speaker 1: albums under his belt at that time, but you know,

1450
01:19:26,000 --> 01:19:28,920
Speaker 1: other music pouring out of him. But you guys are

1451
01:19:28,960 --> 01:19:33,080
Speaker 1: basically like in those first two years when you're only

1452
01:19:33,120 --> 01:19:37,040
Speaker 1: dealing with the six songs. Yeah, it's like, how many

1453
01:19:37,960 --> 01:19:43,040
Speaker 1: ways did you guys have to perfect something that I'm

1454
01:19:43,080 --> 01:19:45,639
Speaker 1: certain that you had downpacked by a week?

1455
01:19:45,960 --> 01:19:49,879
Speaker 3: No, well, you know we did. The rehearsals were super rigorous.

1456
01:19:49,880 --> 01:19:52,559
Speaker 3: That's like that's almost brother, that's almost like saying, how

1457
01:19:52,600 --> 01:19:56,040
Speaker 3: many ways can you cook eggs? Because you know, we

1458
01:19:56,280 --> 01:20:00,120
Speaker 3: went in there and we rehearsed the song a certain way,

1459
01:20:00,360 --> 01:20:03,719
Speaker 3: and then we would flip the arrangements and he would

1460
01:20:03,720 --> 01:20:07,559
Speaker 3: be there, and I mean, he taught us a work ethic,

1461
01:20:07,960 --> 01:20:11,400
Speaker 3: you know, that was unbelievable. We would rehearse every day,

1462
01:20:11,760 --> 01:20:14,080
Speaker 3: day in, day out, then go in. Then when the

1463
01:20:14,120 --> 01:20:16,360
Speaker 3: next single come out, then we would we would flip

1464
01:20:16,720 --> 01:20:20,040
Speaker 3: the arrangement of the songs, change the arrangements of the song,

1465
01:20:20,520 --> 01:20:22,120
Speaker 3: and of all the songs.

1466
01:20:22,200 --> 01:20:26,439
Speaker 5: And then it was just always we rehearsed all the time.

1467
01:20:26,640 --> 01:20:29,440
Speaker 5: When we weren't on the road, we were rehearsing.

1468
01:20:30,320 --> 01:20:32,320
Speaker 1: I know, rehears it makes a better band, but the

1469
01:20:32,400 --> 01:20:34,479
Speaker 1: part of me also felt like maybe just had you

1470
01:20:34,560 --> 01:20:38,960
Speaker 1: there just to keep you from off the streets or

1471
01:20:39,160 --> 01:20:41,719
Speaker 1: just you know where my eye was on you.

1472
01:20:41,800 --> 01:20:44,799
Speaker 5: But possibly, but we rehearsed to the point.

1473
01:20:45,120 --> 01:20:47,920
Speaker 3: And you know, I mean because if you uh, and

1474
01:20:48,400 --> 01:20:53,720
Speaker 3: you may have brother question, but if you look at

1475
01:20:53,920 --> 01:20:57,320
Speaker 3: you know, our shows and all of the things that

1476
01:20:57,360 --> 01:21:01,080
Speaker 3: we did, you know, with those six songs and once

1477
01:21:01,120 --> 01:21:04,200
Speaker 3: it turned into twelve songs, and and from there on

1478
01:21:05,520 --> 01:21:08,479
Speaker 3: we had, you know, a lot of choreography, a lot

1479
01:21:08,600 --> 01:21:14,400
Speaker 3: of of of arrangements, different arrangements from the record, and

1480
01:21:14,960 --> 01:21:18,000
Speaker 3: it was second nature. We rehearsed so much that you know,

1481
01:21:18,160 --> 01:21:21,400
Speaker 3: it was second nature. And at one point, you know,

1482
01:21:21,479 --> 01:21:23,400
Speaker 3: I look at the shows and we were so tight,

1483
01:21:23,520 --> 01:21:25,759
Speaker 3: you know that it was you know, it was amazing

1484
01:21:25,840 --> 01:21:28,160
Speaker 3: to watch. You know, I'm not I don't even feel

1485
01:21:28,160 --> 01:21:30,400
Speaker 3: like I can put myself in that mindset to be

1486
01:21:30,439 --> 01:21:33,920
Speaker 3: as tight as we were. The moves me and Jerome

1487
01:21:33,960 --> 01:21:37,480
Speaker 3: did together, and the band did together, and the arrangements

1488
01:21:38,760 --> 01:21:41,720
Speaker 3: they were super tight. And that's like I said, we

1489
01:21:41,760 --> 01:21:45,000
Speaker 3: had gotten to the point where, you know, people will.

1490
01:21:44,880 --> 01:21:46,880
Speaker 5: Walk away from the show when we did shows.

1491
01:21:46,560 --> 01:21:49,600
Speaker 3: With principally man time kicked that ass tonight, you know.

1492
01:21:49,920 --> 01:21:54,880
Speaker 3: So it was it was intense, and you know, you

1493
01:21:55,000 --> 01:21:57,320
Speaker 3: might be right about what his motives were. I weren't.

1494
01:21:57,640 --> 01:22:00,200
Speaker 3: I'm not sure, but I just felt like he just

1495
01:22:00,240 --> 01:22:03,559
Speaker 3: wanted us to be as tight as we possibly could,

1496
01:22:03,920 --> 01:22:06,440
Speaker 3: and you know that we definitely achieved.

1497
01:22:06,880 --> 01:22:11,360
Speaker 1: Okay, So all right now I'm gonna vicariously become a

1498
01:22:11,360 --> 01:22:15,320
Speaker 1: member of the Time for a second. So, okay, Jellybeans,

1499
01:22:15,320 --> 01:22:19,559
Speaker 1: no longer your drummer, I'm your drummer. And it's nineteen

1500
01:22:19,600 --> 01:22:25,280
Speaker 1: eighty two. How much money am I making a week?

1501
01:22:26,040 --> 01:22:28,880
Speaker 1: When if I'm in the time, by the time that

1502
01:22:29,000 --> 01:22:29,920
Speaker 1: what time is it comes.

1503
01:22:29,800 --> 01:22:35,760
Speaker 5: Out you make it about one hundred and fifty dollars

1504
01:22:35,800 --> 01:22:37,599
Speaker 5: a week plus per diem?

1505
01:22:38,479 --> 01:22:39,679
Speaker 1: Was that quasi normal?

1506
01:22:40,080 --> 01:22:40,120
Speaker 4: Was?

1507
01:22:40,320 --> 01:22:42,440
Speaker 1: Well, I got my inflation calculator.

1508
01:22:43,040 --> 01:22:44,520
Speaker 4: Do you have inflation calculator?

1509
01:22:44,800 --> 01:22:48,000
Speaker 1: Yes? I do, because I always I'm so derivative of

1510
01:22:48,000 --> 01:22:49,880
Speaker 1: the past. I even want to know what prices were

1511
01:22:49,960 --> 01:22:53,479
Speaker 1: back in the day. Yeah, so if all right, so

1512
01:22:53,560 --> 01:22:56,160
Speaker 1: one hundred and all right, let's be nice and say

1513
01:22:56,200 --> 01:22:57,800
Speaker 1: that I'm a good drummer that you guys gave me

1514
01:22:57,800 --> 01:23:00,760
Speaker 1: two hundred dollars. What is that formula?

1515
01:23:00,920 --> 01:23:02,200
Speaker 4: Yeah, I'm so curious.

1516
01:23:02,520 --> 01:23:04,960
Speaker 1: Well, you got to get there's literally there's there's an

1517
01:23:04,960 --> 01:23:09,080
Speaker 1: app called inflation calculator. Well, there you go. So I

1518
01:23:09,080 --> 01:23:10,160
Speaker 1: thought you were doing math.

1519
01:23:11,040 --> 01:23:12,519
Speaker 4: Dece' that smart?

1520
01:23:13,080 --> 01:23:17,439
Speaker 1: I'm quasi smart. So two hundred dollars in nineteen eighty two,

1521
01:23:18,720 --> 01:23:25,280
Speaker 1: when you get to nineteen eighty one, it is hang on, Yes,

1522
01:23:25,360 --> 01:23:26,920
Speaker 1: I'm actually solving a math problem.

1523
01:23:27,360 --> 01:23:30,080
Speaker 4: You just got everybody down loaded down calculated.

1524
01:23:30,360 --> 01:23:34,080
Speaker 1: Okay, so that would be six hundred and forty dollars today.

1525
01:23:34,560 --> 01:23:42,800
Speaker 1: That's something kind of paid someone to carry my records. Okay,

1526
01:23:44,520 --> 01:23:48,439
Speaker 1: I guess I get it. But you get your own room, right, Yeah,

1527
01:23:48,520 --> 01:23:48,880
Speaker 1: but you know.

1528
01:23:48,960 --> 01:23:52,240
Speaker 3: Back then, you know, none of us were really used

1529
01:23:52,320 --> 01:23:54,120
Speaker 3: to a steady paycheck.

1530
01:23:53,680 --> 01:23:55,880
Speaker 5: You know what I mean, And you know, plus a

1531
01:23:55,920 --> 01:23:57,080
Speaker 5: per diem. You know, the per diem.

1532
01:23:57,160 --> 01:23:57,519
Speaker 2: I don't know.

1533
01:23:57,560 --> 01:23:59,680
Speaker 5: It was another ten to fifteen dollars a day, so

1534
01:23:59,880 --> 01:24:01,400
Speaker 5: you know, it was okay.

1535
01:24:01,600 --> 01:24:02,840
Speaker 3: You know, I might have got it up to eight

1536
01:24:02,920 --> 01:24:05,720
Speaker 3: hundred dollars today by today's standards.

1537
01:24:05,880 --> 01:24:08,519
Speaker 1: All right, But I'm only well, I'm trying to figure

1538
01:24:08,520 --> 01:24:11,439
Speaker 1: out the thing is is that in our situation, we

1539
01:24:11,560 --> 01:24:15,320
Speaker 1: were definitely not making money. So our whole thing was

1540
01:24:15,560 --> 01:24:19,519
Speaker 1: we're going to stay on the road forever, because once

1541
01:24:19,560 --> 01:24:22,559
Speaker 1: we come home, that's when we become broke. At least

1542
01:24:22,600 --> 01:24:25,120
Speaker 1: on the road forever. There's okay, So I ask you

1543
01:24:25,320 --> 01:24:28,800
Speaker 1: in eighty two, is there such thing as a rider

1544
01:24:29,960 --> 01:24:33,800
Speaker 1: like in my day? I knew early Okay, I want

1545
01:24:33,880 --> 01:24:37,880
Speaker 1: Golden Grams and Captain Crunch on every show. We want, no,

1546
01:24:38,080 --> 01:24:40,960
Speaker 1: I mean, but that's how we realized that, Okay, we

1547
01:24:41,040 --> 01:24:43,120
Speaker 1: get a rider, So we'll make the promoter go to

1548
01:24:43,160 --> 01:24:52,439
Speaker 1: the supermarket and stock up one. Yeah, brilliant beats right.

1549
01:24:52,640 --> 01:24:55,040
Speaker 1: So I at the end of the tour, I'd mailed home,

1550
01:24:55,960 --> 01:24:59,040
Speaker 1: you know, fifty boxes of cereal. Now of course. Unfortunately

1551
01:24:59,160 --> 01:25:04,639
Speaker 1: I became morbal Leo beasts. I've lost the weight, stopped playing.

1552
01:25:08,560 --> 01:25:10,760
Speaker 1: But I'm saying there's a downside to that too. But

1553
01:25:11,880 --> 01:25:16,719
Speaker 1: you know, like, are you able to take care of home?

1554
01:25:16,840 --> 01:25:18,759
Speaker 1: I don't know what home is, like get your own apartment,

1555
01:25:20,360 --> 01:25:22,639
Speaker 1: that sort of thing. Or is it just like hand

1556
01:25:22,720 --> 01:25:25,160
Speaker 1: of mouth, hand to mouth, hand of mouth. I got

1557
01:25:25,200 --> 01:25:28,320
Speaker 1: a VCR. Now I'm going back to my aunt's couch.

1558
01:25:28,840 --> 01:25:29,040
Speaker 6: Yeah.

1559
01:25:29,160 --> 01:25:33,120
Speaker 3: No, I I was making more money as as you know,

1560
01:25:33,320 --> 01:25:36,360
Speaker 3: the band leader. I think, I be honest, I think

1561
01:25:36,400 --> 01:25:38,680
Speaker 3: I had gotten up to maybe you know, when we

1562
01:25:38,760 --> 01:25:42,080
Speaker 3: were out there with Prince and toured regularly. I gotten

1563
01:25:42,160 --> 01:25:43,479
Speaker 3: up to maybe five grand a week.

1564
01:25:43,880 --> 01:25:46,880
Speaker 1: Nice, that's awesome, that's all, okay, But I was asking

1565
01:25:46,880 --> 01:25:49,519
Speaker 1: if I was the jone at the time, you were

1566
01:25:49,560 --> 01:25:52,960
Speaker 1: still getting to you know, six Okay, I get it,

1567
01:25:53,479 --> 01:25:53,880
Speaker 1: I get it.

1568
01:25:54,400 --> 01:25:58,600
Speaker 5: So but the rider was was cold cut Sandwiches. That

1569
01:25:58,760 --> 01:25:59,320
Speaker 5: was our rider.

1570
01:26:00,360 --> 01:26:07,519
Speaker 1: Okay. May Now traveling wise, like is it fifteen passenger van?

1571
01:26:08,760 --> 01:26:12,439
Speaker 1: Is it station wagon? Who's driving?

1572
01:26:13,680 --> 01:26:16,960
Speaker 3: Well, you know, we started out in station wagons and

1573
01:26:17,080 --> 01:26:19,560
Speaker 3: by the time, you know, we graduated to doing the

1574
01:26:19,640 --> 01:26:22,960
Speaker 3: tours that we were on the nineteen ninety nine tour,

1575
01:26:23,120 --> 01:26:24,080
Speaker 3: whatever tours.

1576
01:26:23,840 --> 01:26:26,320
Speaker 5: Were on, we had our own tour bus.

1577
01:26:26,960 --> 01:26:30,040
Speaker 1: Okay, I see, all right, Now, the dumbest question I'm

1578
01:26:30,040 --> 01:26:34,040
Speaker 1: gonna ask, and I've never asked to anyone from Purple.

1579
01:26:34,360 --> 01:26:36,400
Speaker 1: I don't know. I don't I'm not I'm not a

1580
01:26:36,520 --> 01:26:39,840
Speaker 1: gotcha journalism person, so I'd never liked like gossipy questions

1581
01:26:39,920 --> 01:26:43,360
Speaker 1: or whatever, like technical questions. But i just gotta know. Okay,

1582
01:26:43,920 --> 01:26:47,560
Speaker 1: So you guys are also in the midst of some

1583
01:26:47,720 --> 01:26:51,439
Speaker 1: of the finest women on earth. At least that's how

1584
01:26:51,479 --> 01:26:55,320
Speaker 1: they were presented to us. Oh yeah again, Ivanity and

1585
01:26:56,240 --> 01:27:00,479
Speaker 1: now you guys seen Susan, Brendan all them like morning,

1586
01:27:00,600 --> 01:27:03,719
Speaker 1: So I understand that there's the magic of the makeup

1587
01:27:03,840 --> 01:27:06,080
Speaker 1: artists and the hair and all stuff. No, no, no,

1588
01:27:06,280 --> 01:27:08,559
Speaker 1: I'm just saying that I don't expect them to wake

1589
01:27:08,680 --> 01:27:11,000
Speaker 1: up in camou salls and ship. But I'm just saying

1590
01:27:11,920 --> 01:27:12,360
Speaker 1: you don't.

1591
01:27:14,640 --> 01:27:17,040
Speaker 4: But Maloney and Vanity was hot in the morning. I

1592
01:27:17,080 --> 01:27:19,439
Speaker 4: don't care what you say. They woke up like that time.

1593
01:27:20,439 --> 01:27:24,519
Speaker 1: My whole, my whole point is that in you know,

1594
01:27:25,320 --> 01:27:29,439
Speaker 1: I know, or at least my perception of how you

1595
01:27:29,600 --> 01:27:36,080
Speaker 1: guys were were there unspoken ground rules on the cock

1596
01:27:36,200 --> 01:27:43,280
Speaker 1: blockage tip. Those words, No, I've never heard those words

1597
01:27:43,360 --> 01:27:45,679
Speaker 1: put together. Like, I can't believe I said those words.

1598
01:27:46,960 --> 01:27:47,720
Speaker 4: I'm very proud of.

1599
01:27:47,760 --> 01:27:50,320
Speaker 1: You, Yo dog. I've been in situations where, you know,

1600
01:27:50,600 --> 01:27:53,840
Speaker 1: motherfucking drum text trying to holler at my joint or whatever,

1601
01:27:53,920 --> 01:27:57,920
Speaker 1: and like, yo, b that's called fired. Well you know

1602
01:27:58,320 --> 01:28:00,439
Speaker 1: I'm not that petty, because then I went the beginning.

1603
01:28:00,479 --> 01:28:02,040
Speaker 1: Oh man, he fired me because I was trying to

1604
01:28:02,080 --> 01:28:02,280
Speaker 1: talk to.

1605
01:28:04,160 --> 01:28:05,640
Speaker 5: The unspoken rule was.

1606
01:28:06,040 --> 01:28:10,960
Speaker 3: They all belong to Prince, so leftovers are good and

1607
01:28:12,720 --> 01:28:16,960
Speaker 3: if that's if that's what you was down for. The

1608
01:28:17,640 --> 01:28:21,639
Speaker 3: unspoken rule was, hey, you know, print all mine.

1609
01:28:21,960 --> 01:28:25,040
Speaker 4: So some nerve can't handle all of them.

1610
01:28:25,920 --> 01:28:28,280
Speaker 1: That's that's rather amazing. And I don't mean that in

1611
01:28:28,400 --> 01:28:30,960
Speaker 1: the sort of the PIMPI ish. Wow. I want to

1612
01:28:31,000 --> 01:28:34,160
Speaker 1: be that when I grow up. But I can't even imagine.

1613
01:28:34,520 --> 01:28:35,800
Speaker 4: I feel like Jed.

1614
01:28:35,800 --> 01:28:38,000
Speaker 1: I don't know, I just can't. I can't even I

1615
01:28:38,080 --> 01:28:41,439
Speaker 1: can't even juggle the Tonight Show, a roots album, a movie,

1616
01:28:41,560 --> 01:28:47,200
Speaker 1: and a book, and man, my girlfriend, like, imagine three

1617
01:28:47,200 --> 01:28:53,479
Speaker 1: of them. Isn't that what you're doing? Maybe I'm asking

1618
01:28:53,560 --> 01:28:58,280
Speaker 1: for tips? How did he do it? Dude, multiple women

1619
01:28:58,439 --> 01:29:01,400
Speaker 1: is the whole thing. I can't. That's like I can't. Yeah, yeah,

1620
01:29:02,120 --> 01:29:07,200
Speaker 1: So I meant in being around in that atmosphere where

1621
01:29:07,280 --> 01:29:11,519
Speaker 1: they actually I know that the power of beautiful women around.

1622
01:29:11,760 --> 01:29:16,559
Speaker 1: Actually they make the best wingmen. You know, they make

1623
01:29:16,640 --> 01:29:20,360
Speaker 1: the best wingmen almost, So in terms of that, like,

1624
01:29:20,720 --> 01:29:23,960
Speaker 1: what was it like just in general? Oh wait a minute,

1625
01:29:23,960 --> 01:29:27,720
Speaker 1: I'm sorry, I got to stop this question, Stop this question. No,

1626
01:29:28,040 --> 01:29:30,720
Speaker 1: I got some more important to ask. Something that just

1627
01:29:30,800 --> 01:29:34,680
Speaker 1: hit me right now. Jimmy, jim just recently revealed to

1628
01:29:34,760 --> 01:29:39,640
Speaker 1: me that quote ah cock cock cock co and the

1629
01:29:39,760 --> 01:30:01,519
Speaker 1: kid can't make you come was your version Vanity's ad

1630
01:30:01,600 --> 01:30:19,000
Speaker 1: lib and Nasty Girl. Yeah, yeah, I know you got Look,

1631
01:30:19,040 --> 01:30:21,599
Speaker 1: I know I'm talking inside baseball right now. I will

1632
01:30:21,640 --> 01:30:24,759
Speaker 1: explain to you guys way later. Okay, I'm hosting a podcast,

1633
01:30:24,800 --> 01:30:27,680
Speaker 1: so I gotta explained, ladies and gentlemen, listen. Okay, So,

1634
01:30:29,040 --> 01:30:32,320
Speaker 1: at the end of Nasty Girl, when Vanity has to

1635
01:30:32,400 --> 01:30:35,640
Speaker 1: add lips somewhat before the breakdown of the song, she

1636
01:30:35,840 --> 01:30:38,640
Speaker 1: reaches for a few notes, which one of them is

1637
01:30:39,280 --> 01:30:51,599
Speaker 1: a high note. Whatever. So I'm assuming that she tried

1638
01:30:51,640 --> 01:30:54,800
Speaker 1: to reach this high note in concert and I'm imagining

1639
01:30:56,960 --> 01:31:00,200
Speaker 1: that there is some mocking going on of her, maybe

1640
01:31:00,280 --> 01:31:02,880
Speaker 1: not hitting the notes or whatever, whatever the case was.

1641
01:31:03,360 --> 01:31:05,960
Speaker 1: There's a skit, and I was talking about these skits earlier.

1642
01:31:06,800 --> 01:31:11,280
Speaker 1: There's there's a skit. There's a skit where I'm assuming

1643
01:31:11,400 --> 01:31:17,639
Speaker 1: that that's Mark Mars's orgasm voice, and when he hits

1644
01:31:17,680 --> 01:31:20,920
Speaker 1: his orgasm on this song on the skit, he does

1645
01:31:21,040 --> 01:31:23,120
Speaker 1: the I don't know it at the time, but he's

1646
01:31:23,200 --> 01:31:28,080
Speaker 1: doing the vanity adlab whatever, And at first I just

1647
01:31:28,120 --> 01:31:32,360
Speaker 1: thought he was imitating a chicken. And then Jimmy Zam

1648
01:31:32,479 --> 01:31:35,960
Speaker 1: reveals to me, No, that was him. That used to

1649
01:31:36,000 --> 01:31:38,320
Speaker 1: be our inside jokes. So can you can you explain

1650
01:31:38,400 --> 01:31:40,280
Speaker 1: to me the genesis of how.

1651
01:31:41,720 --> 01:31:41,760
Speaker 2: That.

1652
01:31:42,560 --> 01:31:44,000
Speaker 1: I don't even think you need to explain it to

1653
01:31:44,080 --> 01:31:47,200
Speaker 1: me because I can almost imagine that there had to

1654
01:31:47,240 --> 01:31:49,040
Speaker 1: be some ribbing or teasing going on.

1655
01:31:49,360 --> 01:31:51,200
Speaker 5: Oh man, Yeah, we used to do that a lot.

1656
01:31:51,360 --> 01:31:53,120
Speaker 5: You know when we were I couldn't.

1657
01:31:52,880 --> 01:31:54,200
Speaker 1: Hit on them, so you had to treat him like

1658
01:31:54,280 --> 01:31:56,320
Speaker 1: second grade sandbox teasing.

1659
01:31:56,520 --> 01:32:01,160
Speaker 3: I get it, you know, we could, you know, hit

1660
01:32:01,240 --> 01:32:02,479
Speaker 3: on them, take our best shot.

1661
01:32:02,560 --> 01:32:03,240
Speaker 5: See how I went.

1662
01:32:03,360 --> 01:32:09,880
Speaker 1: But you know, situation I just found him about and

1663
01:32:12,160 --> 01:32:14,040
Speaker 1: mir you don't know about Tony.

1664
01:32:14,320 --> 01:32:17,479
Speaker 2: And Karmen Electric Oh yes, electric, Yes.

1665
01:32:17,439 --> 01:32:21,800
Speaker 1: Yeah, I just I never knew how Tony Okay, I'm sorry.

1666
01:32:21,880 --> 01:32:25,640
Speaker 1: I found out that he allegedly got dismissed because he

1667
01:32:25,800 --> 01:32:29,320
Speaker 1: crossed that line. Anyway, so finish what you were saying

1668
01:32:29,960 --> 01:32:31,040
Speaker 1: that was that was.

1669
01:32:31,400 --> 01:32:36,280
Speaker 3: A line that if you cross was a dismissable lines.

1670
01:32:37,400 --> 01:32:40,760
Speaker 3: But you know anyway, no, we we just used to

1671
01:32:40,880 --> 01:32:42,599
Speaker 3: kind of make fun of her and she really would

1672
01:32:42,640 --> 01:32:43,200
Speaker 3: get pissed.

1673
01:32:43,200 --> 01:32:44,680
Speaker 5: You know, we walked by the dressing room.

1674
01:32:48,760 --> 01:32:52,639
Speaker 3: You know, it was just yeah, that was our version

1675
01:32:52,640 --> 01:32:54,519
Speaker 3: of nasty girls.

1676
01:33:01,600 --> 01:33:03,280
Speaker 4: Since you ask him dumb questions, gonna ask.

1677
01:33:03,160 --> 01:33:06,120
Speaker 1: A dumb question, yes, please ask dumb question. But Maris,

1678
01:33:06,160 --> 01:33:08,680
Speaker 1: I really I really appreciate you. I know you're doing

1679
01:33:08,720 --> 01:33:11,519
Speaker 1: this just to be polite, Like I thank you for

1680
01:33:11,640 --> 01:33:13,479
Speaker 1: letting us nerd out on you. I just have to

1681
01:33:13,520 --> 01:33:14,080
Speaker 1: say that be good.

1682
01:33:14,360 --> 01:33:17,000
Speaker 4: No do I do too, But this is not my question,

1683
01:33:17,080 --> 01:33:18,800
Speaker 4: just for everybody else who may have still thought this.

1684
01:33:18,960 --> 01:33:24,240
Speaker 4: So just officially, Laura's Day and Prince not related, right, wrong,

1685
01:33:26,600 --> 01:33:28,080
Speaker 4: They are your cousins.

1686
01:33:28,920 --> 01:33:30,000
Speaker 5: That's that's the story.

1687
01:33:30,080 --> 01:33:33,559
Speaker 3: But we just we're just brothers and the brother from

1688
01:33:33,600 --> 01:33:37,320
Speaker 3: another mother. Sense you know, but not blood related at all.

1689
01:33:37,640 --> 01:33:39,320
Speaker 4: And one more because I know you talk about this

1690
01:33:39,439 --> 01:33:40,920
Speaker 4: in the book, but I just need to know now

1691
01:33:42,640 --> 01:33:46,439
Speaker 4: bringing Jerome in, at what point did you was it

1692
01:33:46,520 --> 01:33:48,200
Speaker 4: thought that he needed to be there? I know Jimmy

1693
01:33:48,240 --> 01:33:51,439
Speaker 4: told his version of the story and the evolution of

1694
01:33:51,520 --> 01:33:54,479
Speaker 4: your relationship. Can you just talk about that a little bit.

1695
01:33:54,600 --> 01:33:57,559
Speaker 3: Well, you know, Jerome, he's just one of those guys

1696
01:33:57,640 --> 01:34:00,120
Speaker 3: you know to this day, you know you you you

1697
01:34:00,240 --> 01:34:03,640
Speaker 3: know Jerome. You know, he's a lovable guy, you know,

1698
01:34:03,800 --> 01:34:07,960
Speaker 3: and you know he was just there at first. He

1699
01:34:08,160 --> 01:34:12,679
Speaker 3: was a real valet where and he would collect our luggage.

1700
01:34:13,200 --> 01:34:15,720
Speaker 3: You know, we're out on the tour bus, you know,

1701
01:34:15,920 --> 01:34:18,519
Speaker 3: twelve o'clock they say, having your luggage outside the door.

1702
01:34:19,000 --> 01:34:21,240
Speaker 3: Jerome's getting the luggage, he's putting it on the tour bus.

1703
01:34:21,680 --> 01:34:25,320
Speaker 3: He's getting us pizzas and whatever we want and doing

1704
01:34:25,400 --> 01:34:25,640
Speaker 3: all that.

1705
01:34:25,920 --> 01:34:30,679
Speaker 5: And so we go back into rehearsal after the first

1706
01:34:30,760 --> 01:34:31,920
Speaker 5: tour and.

1707
01:34:33,520 --> 01:34:38,439
Speaker 3: We're rehearsing cool because that's going to be our second single,

1708
01:34:39,080 --> 01:34:42,200
Speaker 3: and so you know, we rehearsing. We get to the

1709
01:34:42,280 --> 01:34:44,920
Speaker 3: part where I say, somebody bring me a mirror, and

1710
01:34:45,200 --> 01:34:49,280
Speaker 3: you know, Jerome takes off grabs a mirror off the wall,

1711
01:34:50,400 --> 01:34:52,599
Speaker 3: runs back up, shows up in front of me holding

1712
01:34:52,680 --> 01:34:56,280
Speaker 3: up a mirror, and everybody just kind of stopped playing.

1713
01:34:56,360 --> 01:34:59,200
Speaker 3: We all looking at each other like that's going to

1714
01:34:59,280 --> 01:35:02,280
Speaker 3: be in the show. So that was it, you know,

1715
01:35:02,439 --> 01:35:04,760
Speaker 3: from that moment on, Jerome was part of the band,

1716
01:35:04,800 --> 01:35:06,240
Speaker 3: and it just evolved from there.

1717
01:35:07,320 --> 01:35:09,200
Speaker 4: In the pants minds, we just thinkure y'all are just

1718
01:35:09,280 --> 01:35:10,880
Speaker 4: so close at this point. I don't know, it just

1719
01:35:11,040 --> 01:35:11,880
Speaker 4: it always felt like that.

1720
01:35:12,760 --> 01:35:15,400
Speaker 1: No, you know, it got to be that way speak

1721
01:35:15,479 --> 01:35:19,360
Speaker 1: speaking of Jerome and his duties. Okay, I've asked this

1722
01:35:19,479 --> 01:35:23,760
Speaker 1: question a lot, practically to every artist that has an

1723
01:35:23,840 --> 01:35:28,639
Speaker 1: on stage reputation, and the answer never satisfies me. Now,

1724
01:35:29,560 --> 01:35:34,799
Speaker 1: you're in a very specific situation because in your initial

1725
01:35:36,160 --> 01:35:39,000
Speaker 1: five year iteration, at least of the of the of

1726
01:35:39,080 --> 01:35:41,840
Speaker 1: the first draft of your your period with the time,

1727
01:35:43,120 --> 01:35:46,000
Speaker 1: you guys have basically worn the same outfit every time

1728
01:35:46,040 --> 01:35:49,160
Speaker 1: I've seen you. And the thing that that is that

1729
01:35:49,400 --> 01:35:52,960
Speaker 1: is baffling to me. And I've seen your I've seen

1730
01:35:53,000 --> 01:35:57,479
Speaker 1: these concerts and you guys are dancing, moving, sweating and whatnot.

1731
01:35:58,360 --> 01:36:02,719
Speaker 1: When the show is over, are you getting into street clothes?

1732
01:36:03,080 --> 01:36:08,400
Speaker 1: And how is your your your Presley jacket and your outfit.

1733
01:36:09,400 --> 01:36:12,639
Speaker 1: How is it clean and ready for the next night show,

1734
01:36:13,800 --> 01:36:16,880
Speaker 1: especially when you have to do six hours on the

1735
01:36:16,920 --> 01:36:20,519
Speaker 1: tour bus to the next city. And like, I just

1736
01:36:20,680 --> 01:36:27,080
Speaker 1: never understood how one outfit could sustain, like that's your

1737
01:36:27,160 --> 01:36:28,000
Speaker 1: everyday outfit.

1738
01:36:28,520 --> 01:36:31,880
Speaker 3: Well that yeah, that that that pressley uh as I

1739
01:36:31,960 --> 01:36:34,880
Speaker 3: called it, uh it kind of it was, you know,

1740
01:36:34,920 --> 01:36:37,600
Speaker 3: it was like a uh is a Linus you know

1741
01:36:37,720 --> 01:36:40,840
Speaker 3: the security blanket. Man. You know, I don't even know

1742
01:36:40,960 --> 01:36:43,960
Speaker 3: if the dry cleaner back then because show show. And

1743
01:36:44,080 --> 01:36:47,600
Speaker 3: then my Stacy's my black and white Stacy's. When I

1744
01:36:47,640 --> 01:36:49,799
Speaker 3: say about to walk a hole in my Stacy Adams,

1745
01:36:49,840 --> 01:36:51,840
Speaker 3: I looked up and you know, Stacy Adams have some

1746
01:36:52,040 --> 01:36:55,519
Speaker 3: thick souls on them, right, I had actually walked a hole.

1747
01:36:57,600 --> 01:37:00,240
Speaker 3: There was a hole in one of them. And so

1748
01:37:00,560 --> 01:37:04,040
Speaker 3: you know, that's just that's just what it was, man,

1749
01:37:04,120 --> 01:37:07,840
Speaker 3: And and and the pressley. I wore a thing until

1750
01:37:07,880 --> 01:37:11,559
Speaker 3: it fell. It basically fell off of me. And after

1751
01:37:11,640 --> 01:37:14,040
Speaker 3: it did, you know, we looked up and I said, Okay,

1752
01:37:14,040 --> 01:37:16,840
Speaker 3: we're doing well now. So then I start I started

1753
01:37:16,880 --> 01:37:19,920
Speaker 3: getting custom clothes made from that point on. But you know,

1754
01:37:20,160 --> 01:37:24,360
Speaker 3: that got me through my first at least tour and

1755
01:37:24,479 --> 01:37:28,479
Speaker 3: maybe first two tours. And you're right it probably I

1756
01:37:28,640 --> 01:37:31,280
Speaker 3: was scared to dry clean it because it would have

1757
01:37:31,320 --> 01:37:32,519
Speaker 3: fell apart a lot sooner.

1758
01:37:33,800 --> 01:37:36,040
Speaker 1: Where is that original Presley jacket? Now?

1759
01:37:36,560 --> 01:37:41,040
Speaker 3: I don't know it's it's in uh, it's in stage

1760
01:37:41,120 --> 01:37:44,639
Speaker 3: clothes heaven, right now, you know, yeah, and I don't.

1761
01:37:44,760 --> 01:37:45,400
Speaker 5: I have no idea.

1762
01:37:45,760 --> 01:37:48,680
Speaker 3: It literally fell apart. I looked up one day after

1763
01:37:48,720 --> 01:37:50,519
Speaker 3: I came off stage and it was hanging off of me,

1764
01:37:51,120 --> 01:37:53,040
Speaker 3: and that was a sad day for me.

1765
01:37:56,160 --> 01:37:56,720
Speaker 1: Jacket man.

1766
01:37:56,920 --> 01:38:00,200
Speaker 4: Yeah, listen, I'm literally in Nashville. The Black is a

1767
01:38:00,280 --> 01:38:03,040
Speaker 4: museum that should be in there, right, Yeah.

1768
01:38:03,520 --> 01:38:04,160
Speaker 1: That's right. That is.

1769
01:38:06,520 --> 01:38:06,760
Speaker 3: Damn.

1770
01:38:07,400 --> 01:38:12,120
Speaker 1: I'm sorry, I can't make it. Wow, that's that's crazy.

1771
01:38:12,760 --> 01:38:18,559
Speaker 1: He was invited. So no, the the movie premieres. So okay,

1772
01:38:19,400 --> 01:38:23,719
Speaker 1: at what point are you taking Prince seriously when he's saying,

1773
01:38:24,840 --> 01:38:28,120
Speaker 1: all right, we're going to do a movie. And before

1774
01:38:28,160 --> 01:38:31,920
Speaker 1: I even answer that question, do you have any information

1775
01:38:32,040 --> 01:38:36,479
Speaker 1: whatsoever about the quote unquote the second Coming movie or

1776
01:38:36,479 --> 01:38:39,479
Speaker 1: at least you know some some clips have finally wound

1777
01:38:39,600 --> 01:38:45,160
Speaker 1: up one line of you know, whatever idea he was

1778
01:38:45,200 --> 01:38:48,920
Speaker 1: flirting with with doing before that morphed into purple Rain, Like,

1779
01:38:49,439 --> 01:38:50,880
Speaker 1: were you guys going to be a part of that

1780
01:38:51,000 --> 01:38:53,479
Speaker 1: presentation as well? Or was that just him at the time?

1781
01:38:53,840 --> 01:38:56,000
Speaker 3: Yeah, it must have been just him, because you know,

1782
01:38:56,040 --> 01:38:58,600
Speaker 3: all I know is, you know, it came to me.

1783
01:38:58,720 --> 01:39:00,840
Speaker 3: You know, one day it's like, you know, Marris, we're

1784
01:39:00,840 --> 01:39:03,000
Speaker 3: going to do a movie. I was like, okay, you

1785
01:39:03,080 --> 01:39:05,200
Speaker 3: know whatever, And then you know, next thing, I know,

1786
01:39:05,320 --> 01:39:09,400
Speaker 3: we're doing dance classes, we're doing acting classes, and all

1787
01:39:09,479 --> 01:39:12,920
Speaker 3: of this going on. And I'm still not really taking

1788
01:39:12,960 --> 01:39:15,880
Speaker 3: it serious because I'd never been involved in anything like that, right,

1789
01:39:15,920 --> 01:39:17,880
Speaker 3: you know, I'm taking it all with a grain of salt.

1790
01:39:17,960 --> 01:39:20,439
Speaker 3: But the next thing, I know that these directors and

1791
01:39:20,880 --> 01:39:24,720
Speaker 3: cinematographers and producers are starting to come to town. I

1792
01:39:24,840 --> 01:39:28,800
Speaker 3: was like, Okay, we're serious now. And next time I know,

1793
01:39:28,920 --> 01:39:31,160
Speaker 3: we're in production. So I think at that point I

1794
01:39:31,280 --> 01:39:32,920
Speaker 3: started to take it serious.

1795
01:39:34,280 --> 01:39:36,519
Speaker 1: Okay. So then by that point it's like, okay, we're

1796
01:39:36,600 --> 01:39:37,200
Speaker 1: really doing this.

1797
01:39:37,400 --> 01:39:38,240
Speaker 5: Yeah it's real now.

1798
01:39:38,360 --> 01:39:43,160
Speaker 1: Yeah, okay, So I okay, I just got to ask,

1799
01:39:43,680 --> 01:39:47,040
Speaker 1: at what point I assume that you always knew that

1800
01:39:47,640 --> 01:39:53,000
Speaker 1: Jimmy and Terry got snowed in Atlanta? Correct? Absolutely, Okay,

1801
01:39:53,400 --> 01:39:56,160
Speaker 1: and at this point, it's it's Jamie. Shoot, that's sort

1802
01:39:56,200 --> 01:39:59,880
Speaker 1: of you guys's tour manager or your wrangler, if you will,

1803
01:40:00,880 --> 01:40:04,120
Speaker 1: pretty much Okay, So at the point where they're like,

1804
01:40:04,240 --> 01:40:08,160
Speaker 1: we can't get a flight out, what's happening on your

1805
01:40:08,320 --> 01:40:12,000
Speaker 1: side of the fence. It's just the four of you,

1806
01:40:12,320 --> 01:40:15,360
Speaker 1: no base no keyboard player. So at what point do

1807
01:40:15,400 --> 01:40:19,080
Speaker 1: you realize that you're about to do a timeless show? Like,

1808
01:40:19,120 --> 01:40:21,200
Speaker 1: are you guys trying to keep this from Prince's camp

1809
01:40:21,920 --> 01:40:23,880
Speaker 1: until the very last minute? Like, at what point do

1810
01:40:23,920 --> 01:40:26,800
Speaker 1: you have to break down to him and say they

1811
01:40:27,120 --> 01:40:28,120
Speaker 1: aren't going to make the show?

1812
01:40:30,080 --> 01:40:31,200
Speaker 5: I think that Prince was.

1813
01:40:31,320 --> 01:40:32,160
Speaker 1: He was in on it.

1814
01:40:32,400 --> 01:40:36,400
Speaker 3: You know, he knew more details than I did about it, because,

1815
01:40:36,439 --> 01:40:38,680
Speaker 3: like I said, you know, we were on tour, you know,

1816
01:40:38,880 --> 01:40:42,280
Speaker 3: and he was there with us, and he knew that

1817
01:40:42,680 --> 01:40:44,720
Speaker 3: they weren't going to make the show, and he was

1818
01:40:44,800 --> 01:40:47,479
Speaker 3: pissed about it because he didn't want any of us

1819
01:40:47,640 --> 01:40:51,160
Speaker 3: producing or writing for anybody else, or doing anything that wasn't.

1820
01:40:51,040 --> 01:40:51,880
Speaker 5: Related to the time.

1821
01:40:52,360 --> 01:40:54,760
Speaker 1: He suspected that they were producing. He knew that for

1822
01:40:54,880 --> 01:40:56,639
Speaker 1: a fact, or did he just think, like, oh, y'all

1823
01:40:56,680 --> 01:40:57,960
Speaker 1: fucking around with girls or something?

1824
01:40:58,240 --> 01:41:01,640
Speaker 3: Now he just knew that they were snowed in, uh

1825
01:41:01,760 --> 01:41:05,800
Speaker 3: in Atlanta, right, and so guess what he ended up

1826
01:41:05,920 --> 01:41:09,800
Speaker 3: with on off to the side of stage, playing bass

1827
01:41:10,360 --> 01:41:12,839
Speaker 3: with the keyboard in front of him. So he actually

1828
01:41:12,920 --> 01:41:17,280
Speaker 3: played those instruments that night, and we put Jerome over

1829
01:41:17,360 --> 01:41:19,120
Speaker 3: where Terry would have been.

1830
01:41:19,800 --> 01:41:19,920
Speaker 2: Uh.

1831
01:41:20,000 --> 01:41:23,880
Speaker 3: So we had three people in front, Jesse, Me and

1832
01:41:24,040 --> 01:41:26,600
Speaker 3: Jerome and we just did the show like that with

1833
01:41:26,720 --> 01:41:28,519
Speaker 3: Prince playing bass off to the side of the show.

1834
01:41:29,040 --> 01:41:30,839
Speaker 1: And you put a hat on Jerome and the audience

1835
01:41:30,920 --> 01:41:31,880
Speaker 1: wasn't any other wiser.

1836
01:41:32,320 --> 01:41:33,720
Speaker 3: No, we didn't put a hat on him. We just

1837
01:41:34,240 --> 01:41:37,160
Speaker 3: let him be Jerome, you know, standing in that spot.

1838
01:41:37,320 --> 01:41:40,400
Speaker 3: But you know they heard the base going just like normal,

1839
01:41:40,520 --> 01:41:41,400
Speaker 3: so it was all good.

1840
01:41:42,400 --> 01:41:47,439
Speaker 1: Now, you know, these stadiums aren't totally one. Like, you know,

1841
01:41:48,160 --> 01:41:52,040
Speaker 1: I'm assuming that somebody from some angle had to see

1842
01:41:52,080 --> 01:41:54,200
Speaker 1: prints on the side plane, like is he hiding behind

1843
01:41:54,280 --> 01:41:57,880
Speaker 1: a curtain? Or yeah, how's he seeing? Yeah, how's he

1844
01:41:57,920 --> 01:42:00,120
Speaker 1: seeing the cues? Or like where's he standing as this

1845
01:42:00,280 --> 01:42:00,719
Speaker 1: is happening.

1846
01:42:01,280 --> 01:42:02,960
Speaker 5: He didn't need to see the cues. He knew to

1847
01:42:03,000 --> 01:42:08,080
Speaker 5: show he needed to show back than we did.

1848
01:42:09,439 --> 01:42:10,920
Speaker 1: Did it feel just a little bit better when he

1849
01:42:11,040 --> 01:42:11,559
Speaker 1: was playing bass.

1850
01:42:11,880 --> 01:42:13,960
Speaker 5: Oh yeah, well it felt good. You know, we didn't

1851
01:42:14,000 --> 01:42:15,479
Speaker 5: miss sleep man, it was you.

1852
01:42:15,479 --> 01:42:18,280
Speaker 1: Know, it was it was awesome. Who played keyboards? He

1853
01:42:18,439 --> 01:42:20,800
Speaker 1: did tandem at the same time.

1854
01:42:21,120 --> 01:42:23,439
Speaker 3: We had bass and keyboards, so you know, when the

1855
01:42:23,520 --> 01:42:26,880
Speaker 3: bass was more necessary, he played that, and when the

1856
01:42:26,960 --> 01:42:29,600
Speaker 3: keyboard was necessary he played that.

1857
01:42:30,120 --> 01:42:36,519
Speaker 1: Oh wow, okay, I see. So when the acts is

1858
01:42:36,560 --> 01:42:40,560
Speaker 1: supposed to come down, are you two talking first or

1859
01:42:40,680 --> 01:42:43,719
Speaker 1: is he just going into executive order action without even

1860
01:42:44,400 --> 01:42:48,320
Speaker 1: consulting with his senate in his house first? Like, what

1861
01:42:48,400 --> 01:42:48,800
Speaker 1: should we do?

1862
01:42:49,479 --> 01:42:54,400
Speaker 3: Executive order? Brother, We're in the studio, I want to

1863
01:42:54,400 --> 01:42:58,800
Speaker 3: say sunset sound, you know. And he had them come

1864
01:42:58,880 --> 01:43:00,559
Speaker 3: in and I didn't know we were in. They're cutting

1865
01:43:01,080 --> 01:43:03,840
Speaker 3: We had cut ice cream castles that day. You know,

1866
01:43:03,880 --> 01:43:07,400
Speaker 3: I did my vocals and we were just putting some

1867
01:43:07,520 --> 01:43:12,519
Speaker 3: fishing touches on and you know, Terry and Jimmy come

1868
01:43:12,600 --> 01:43:15,320
Speaker 3: in and I didn't know. I was glad to see him,

1869
01:43:15,360 --> 01:43:19,240
Speaker 3: you know, And right at that moment he told them,

1870
01:43:19,320 --> 01:43:21,479
Speaker 3: he said, you know, you guys have fired from the band.

1871
01:43:21,560 --> 01:43:24,400
Speaker 3: You know you you went to Atlanta, you missed the show,

1872
01:43:25,080 --> 01:43:28,000
Speaker 3: and you know you're fired. And that, you know, that

1873
01:43:28,479 --> 01:43:30,559
Speaker 3: hit me like a ton of bricks because my band

1874
01:43:30,720 --> 01:43:33,280
Speaker 3: was my band. You know, we were all brothers, you know,

1875
01:43:33,720 --> 01:43:37,120
Speaker 3: we had love for each other, and I was always

1876
01:43:37,160 --> 01:43:39,120
Speaker 3: one of them, you know, I was always one of

1877
01:43:39,160 --> 01:43:42,880
Speaker 3: those kind of guys that, you know, if Dave Garibaldi

1878
01:43:42,960 --> 01:43:47,120
Speaker 3: left Tower Power or you know whoever, you know, they

1879
01:43:47,320 --> 01:43:50,000
Speaker 3: lost an original member, then the band didn't feel the

1880
01:43:50,080 --> 01:43:53,439
Speaker 3: same to me, right, And I never wanted to be

1881
01:43:53,640 --> 01:43:54,639
Speaker 3: one of those bands.

1882
01:43:54,680 --> 01:43:57,439
Speaker 5: And it just hit me like a ton of bricks

1883
01:43:57,479 --> 01:44:00,560
Speaker 5: that all of a sudden, we're one of those you

1884
01:44:00,640 --> 01:44:02,479
Speaker 5: know where where what.

1885
01:44:02,720 --> 01:44:03,120
Speaker 4: Was his name?

1886
01:44:03,200 --> 01:44:06,840
Speaker 5: He used to saying lead and Sammy Hager.

1887
01:44:06,600 --> 01:44:09,559
Speaker 1: Came into Yeah, yeah, exactly, Van Healing.

1888
01:44:11,000 --> 01:44:13,639
Speaker 3: You know, it's just you can't change members, like it's

1889
01:44:13,760 --> 01:44:15,960
Speaker 3: just not the same. So you know that that that

1890
01:44:16,160 --> 01:44:17,720
Speaker 3: just hit me like a ton of bricks.

1891
01:44:17,520 --> 01:44:23,080
Speaker 1: Man, and just no, you were I think you just

1892
01:44:23,200 --> 01:44:23,920
Speaker 1: had to roll with it.

1893
01:44:24,080 --> 01:44:25,640
Speaker 5: And yeah, yeah, and I had to roll with it.

1894
01:44:25,720 --> 01:44:27,519
Speaker 3: And all of a sudden, here comes these new members

1895
01:44:27,560 --> 01:44:30,800
Speaker 3: and I'm looking back and and that's the moment really

1896
01:44:30,920 --> 01:44:32,639
Speaker 3: where it really hit me, where it's you know, it's

1897
01:44:32,720 --> 01:44:35,360
Speaker 3: really time for me to start to think about, uh

1898
01:44:35,479 --> 01:44:36,640
Speaker 3: going and doing my own thing.

1899
01:44:37,400 --> 01:44:42,120
Speaker 1: So was he it's so weird because I would imagine that.

1900
01:44:43,280 --> 01:44:46,479
Speaker 1: I don't know. I never pegged him as being super

1901
01:44:46,640 --> 01:44:51,440
Speaker 1: confrontational because he's so his image wise was so elusive

1902
01:44:51,800 --> 01:44:55,400
Speaker 1: or mysterious that I can't you know, I have I've

1903
01:44:55,520 --> 01:44:58,840
Speaker 1: probably had to fire you know, maybe five people with

1904
01:44:58,960 --> 01:45:02,000
Speaker 1: my entire career, and man, i'd be losing sleep over

1905
01:45:02,080 --> 01:45:04,400
Speaker 1: that ship at night, called therapist, like, man, how I

1906
01:45:04,479 --> 01:45:06,800
Speaker 1: do right? Letting people slip?

1907
01:45:06,840 --> 01:45:07,040
Speaker 3: All right?

1908
01:45:07,200 --> 01:45:07,280
Speaker 4: Right?

1909
01:45:07,360 --> 01:45:10,400
Speaker 1: Man, just don't let it happen again, please, But like

1910
01:45:11,640 --> 01:45:13,960
Speaker 1: he was confrontational.

1911
01:45:13,400 --> 01:45:18,439
Speaker 3: Like that, like just yeah, yeah, cut, just point blank,

1912
01:45:18,640 --> 01:45:21,840
Speaker 3: just saying whatever's on his mind, just and and and

1913
01:45:21,840 --> 01:45:24,479
Speaker 3: a lot of times, not really much emotion behind it,

1914
01:45:24,680 --> 01:45:26,880
Speaker 3: just how you would think of him to talk, you know,

1915
01:45:26,960 --> 01:45:27,360
Speaker 3: you're fight.

1916
01:45:28,160 --> 01:45:29,960
Speaker 5: You know, you guys missed to show it's.

1917
01:45:29,800 --> 01:45:32,800
Speaker 3: Not your priority, you know, and that and that's it.

1918
01:45:33,000 --> 01:45:33,160
Speaker 4: You know.

1919
01:45:34,160 --> 01:45:35,479
Speaker 5: I wouldn't say necessarily he.

1920
01:45:35,520 --> 01:45:38,800
Speaker 1: Wasn't afraid of of of confrontational act, you know, because

1921
01:45:38,800 --> 01:45:40,960
Speaker 1: again it's like I want to make sure I'm covering

1922
01:45:41,000 --> 01:45:43,760
Speaker 1: my ass because like I mean, not for nothing, but

1923
01:45:43,800 --> 01:45:46,200
Speaker 1: you also dealing with brothers and ship, right, you know,

1924
01:45:46,560 --> 01:45:49,160
Speaker 1: So it could have went another way like motherfucker.

1925
01:45:48,760 --> 01:45:52,400
Speaker 3: You had zon in and then yeah, well you know

1926
01:45:52,560 --> 01:45:55,320
Speaker 3: he always kept you know, uh, you know, a big

1927
01:45:55,400 --> 01:45:56,280
Speaker 3: three hundred pounds.

1928
01:45:56,320 --> 01:45:56,479
Speaker 4: You know.

1929
01:45:56,840 --> 01:45:59,519
Speaker 1: Oh, I forgot about tors off to the side.

1930
01:45:59,600 --> 01:46:01,200
Speaker 5: You know, he gotten to the point where he just

1931
01:46:01,360 --> 01:46:02,479
Speaker 5: kept security with him.

1932
01:46:02,520 --> 01:46:05,160
Speaker 1: So you know, well, are you allowed, are you allowed

1933
01:46:05,200 --> 01:46:08,880
Speaker 1: to answer back? Are you allowed to say that song

1934
01:46:09,040 --> 01:46:12,880
Speaker 1: was whack? Or you know, like, are you allowed to

1935
01:46:13,120 --> 01:46:13,840
Speaker 1: make fun of him?

1936
01:46:14,640 --> 01:46:17,040
Speaker 3: I always spoke my mind, you know, with him, you know,

1937
01:46:17,160 --> 01:46:19,880
Speaker 3: and that was that was both good and bad for us.

1938
01:46:20,000 --> 01:46:21,639
Speaker 3: But you know, I always told him if he played

1939
01:46:21,640 --> 01:46:24,640
Speaker 3: something for me that I liked, you know, you know,

1940
01:46:24,680 --> 01:46:26,800
Speaker 3: I would say it, but I wouldn't lie to him,

1941
01:46:26,840 --> 01:46:28,960
Speaker 3: you know, just like when he played, uh and this

1942
01:46:29,200 --> 01:46:33,439
Speaker 3: is in the book, you know, but when he played

1943
01:46:33,479 --> 01:46:36,320
Speaker 3: when Dubs Crying for me. You know, I'm listening to

1944
01:46:36,439 --> 01:46:40,040
Speaker 3: the song and you know, we're we're three three quarters

1945
01:46:40,080 --> 01:46:41,479
Speaker 3: of the way through the song, and I ain't heard

1946
01:46:41,520 --> 01:46:46,360
Speaker 3: a bass yet. You know, I'm like, I'm like, I said,

1947
01:46:46,400 --> 01:46:48,920
Speaker 3: there ain't no bass in the song, man, And and

1948
01:46:49,160 --> 01:46:51,040
Speaker 3: uh it's like, yeah, that's what I want.

1949
01:46:51,200 --> 01:46:52,320
Speaker 5: I said, Man, I got out the car.

1950
01:46:52,400 --> 01:46:54,040
Speaker 3: I said, Man, next time you play something for me,

1951
01:46:54,160 --> 01:46:56,400
Speaker 3: make sure it's funky and make sure it has some

1952
01:46:56,479 --> 01:46:56,920
Speaker 3: bass in it.

1953
01:46:56,960 --> 01:46:59,360
Speaker 5: And I kind of slammed the door, you know what.

1954
01:47:04,240 --> 01:47:06,400
Speaker 3: And that one, that one kind of came back to

1955
01:47:06,479 --> 01:47:08,519
Speaker 3: bite me on the ass because it ended up being

1956
01:47:08,560 --> 01:47:12,360
Speaker 3: a number one smash for me. Right, But when I

1957
01:47:12,479 --> 01:47:15,160
Speaker 3: first heard it, I wasn't chilling it and I expressed

1958
01:47:15,200 --> 01:47:15,600
Speaker 3: that to it.

1959
01:47:16,479 --> 01:47:22,120
Speaker 1: Yeah, I was gonna say, it's so weird because all

1960
01:47:22,160 --> 01:47:25,680
Speaker 1: of you guys are are characters, and the thing is

1961
01:47:25,840 --> 01:47:29,479
Speaker 1: is that you know, there's there's a side of himself

1962
01:47:29,520 --> 01:47:37,759
Speaker 1: that he expresses, especially with sexuality that yes, it works

1963
01:47:37,800 --> 01:47:42,439
Speaker 1: spot on and it's bullseye, but it's also like, you know,

1964
01:47:43,600 --> 01:47:45,679
Speaker 1: is he going to you guys to be like, look,

1965
01:47:45,720 --> 01:47:47,800
Speaker 1: I created a new song called do Me Baby. It's

1966
01:47:47,840 --> 01:47:49,679
Speaker 1: eight minutes long and it's going to be a little awkward,

1967
01:47:49,720 --> 01:47:53,080
Speaker 1: but listen to it, Like, is it weird where he's

1968
01:47:53,160 --> 01:47:57,720
Speaker 1: playing you guys like some of his weirder shit where

1969
01:47:57,720 --> 01:47:59,720
Speaker 1: it's sort of like, Okay, where are you going with this?

1970
01:48:00,640 --> 01:48:03,360
Speaker 1: Or does he just like only give you the funk

1971
01:48:03,439 --> 01:48:07,800
Speaker 1: shit like okay, this is called nineteen ninety nine or

1972
01:48:07,880 --> 01:48:11,720
Speaker 1: this is you know, like I'm did he ever get

1973
01:48:12,120 --> 01:48:15,640
Speaker 1: was it ever an awkward thing when he's showcasing a

1974
01:48:15,760 --> 01:48:23,160
Speaker 1: song that uh kind of crosses the lines or boundaries,

1975
01:48:23,920 --> 01:48:26,240
Speaker 1: like today there's no line that can't be crossed, like I,

1976
01:48:26,760 --> 01:48:29,040
Speaker 1: you know, make the Stallion can release some shit and

1977
01:48:29,160 --> 01:48:30,760
Speaker 1: it's be like, okay, yeah, she's talking about her web

1978
01:48:30,800 --> 01:48:33,680
Speaker 1: ass pussy. But you know, back in the day, like

1979
01:48:34,000 --> 01:48:36,360
Speaker 1: someone says, I sincerely want to fuck the taste out

1980
01:48:36,400 --> 01:48:39,320
Speaker 1: of your mouth. Like yeah, it's like you never heard

1981
01:48:39,360 --> 01:48:42,720
Speaker 1: that shit before unless it's a Blowfly record. So like

1982
01:48:42,880 --> 01:48:44,960
Speaker 1: is it awkward in front of you guys where like

1983
01:48:45,280 --> 01:48:48,800
Speaker 1: you're hearing your boss have your five for three boss

1984
01:48:48,880 --> 01:48:52,519
Speaker 1: have like orgasms on records and shit, yeah, talking talking

1985
01:48:52,560 --> 01:48:55,559
Speaker 1: in an English accent right right now.

1986
01:48:56,400 --> 01:48:57,560
Speaker 5: He's especially me.

1987
01:48:57,760 --> 01:48:59,920
Speaker 3: You know, he would corner me with a lot of stuff,

1988
01:49:00,040 --> 01:49:02,479
Speaker 3: you know, because that's just how we were back in

1989
01:49:02,520 --> 01:49:02,800
Speaker 3: the day.

1990
01:49:02,840 --> 01:49:07,040
Speaker 5: We hung out, you know, we cut you know all

1991
01:49:07,080 --> 01:49:07,439
Speaker 5: the time.

1992
01:49:07,560 --> 01:49:09,120
Speaker 3: Like I said, I played a lot on a lot

1993
01:49:09,160 --> 01:49:11,880
Speaker 3: of his songs, and you know, obviously he played on

1994
01:49:12,000 --> 01:49:16,960
Speaker 3: just about every time song until maybe after Ice Cream

1995
01:49:17,000 --> 01:49:19,519
Speaker 3: Castles when we did Pandemonium. Then you know, he started

1996
01:49:19,560 --> 01:49:22,880
Speaker 3: to kind of slack off, but he would always play

1997
01:49:22,960 --> 01:49:24,599
Speaker 3: me stuff because I would always be there.

1998
01:49:24,520 --> 01:49:25,080
Speaker 5: In the studio.

1999
01:49:25,200 --> 01:49:27,600
Speaker 3: So he's always played and you know I understood his

2000
01:49:27,840 --> 01:49:33,000
Speaker 3: avant gardener's, his his weirdness and and and he just wanted.

2001
01:49:33,320 --> 01:49:36,240
Speaker 5: To be different, and you know that was his thing.

2002
01:49:36,320 --> 01:49:38,920
Speaker 3: And that's that's really what got him, you know, in

2003
01:49:39,040 --> 01:49:44,040
Speaker 3: trouble at the Rolling Stones concert, because he wanted to

2004
01:49:44,160 --> 01:49:47,240
Speaker 3: switch from I Want to be Your Lover, you know,

2005
01:49:47,640 --> 01:49:50,880
Speaker 3: and and all of a sudden he's you know, running

2006
01:49:50,880 --> 01:49:53,680
Speaker 3: around half naked, you know, playing new wave songs. And

2007
01:49:54,240 --> 01:49:56,200
Speaker 3: you know, he could have I think, you know, he

2008
01:49:56,240 --> 01:49:58,760
Speaker 3: could have rose a lot quicker. And he took a

2009
01:49:58,880 --> 01:50:03,800
Speaker 3: dive you know in his popularity and sales for that

2010
01:50:04,439 --> 01:50:05,479
Speaker 3: Dirty Mind record.

2011
01:50:05,840 --> 01:50:06,760
Speaker 5: But it took him in a.

2012
01:50:06,800 --> 01:50:10,240
Speaker 3: Direction that you know, actually led to where he ended

2013
01:50:10,360 --> 01:50:13,640
Speaker 3: up being. So he was definitely a risk taker. And

2014
01:50:13,840 --> 01:50:15,880
Speaker 3: he played me a lot of stuff and I just

2015
01:50:16,040 --> 01:50:18,920
Speaker 3: kind of understood, you know, his thought process, you know,

2016
01:50:19,040 --> 01:50:20,519
Speaker 3: and some of the stuff I liked, some of.

2017
01:50:20,600 --> 01:50:21,120
Speaker 5: It I didn't.

2018
01:50:22,200 --> 01:50:25,120
Speaker 1: Is there a song of his that you wish you

2019
01:50:25,320 --> 01:50:31,640
Speaker 1: guys had for yourselves? Well, okay, I know that International

2020
01:50:31,720 --> 01:50:36,000
Speaker 1: Lover was supposed to be for you. Oh yeah, yeah.

2021
01:50:36,479 --> 01:50:38,599
Speaker 1: At any point, did you actually cut your own version

2022
01:50:38,640 --> 01:50:43,719
Speaker 1: of it. Oh, where can we You can't.

2023
01:50:45,040 --> 01:50:47,920
Speaker 5: Unless you can get in the vault, you know you can.

2024
01:50:48,080 --> 01:50:50,080
Speaker 5: But I sang that song.

2025
01:50:50,720 --> 01:50:53,600
Speaker 1: I sang. I sang it first, okay.

2026
01:50:53,800 --> 01:50:57,439
Speaker 3: And then I just think he's decided that he liked it,

2027
01:50:57,720 --> 01:51:00,160
Speaker 3: you know, more than he thought. And and and then

2028
01:51:00,360 --> 01:51:03,080
Speaker 3: you know, next thing, I know, I uh, he came

2029
01:51:03,200 --> 01:51:04,720
Speaker 3: back to me. He's like, I don't like I don't

2030
01:51:04,760 --> 01:51:06,840
Speaker 3: like your vocals. I don't like what you did, he said,

2031
01:51:07,040 --> 01:51:09,280
Speaker 3: you know, I said, okay. So then the next thing is,

2032
01:51:09,640 --> 01:51:11,280
Speaker 3: you know, he's like, well I did it for myself,

2033
01:51:11,360 --> 01:51:12,920
Speaker 3: you know. So I listened to it, and I was like, well,

2034
01:51:13,080 --> 01:51:15,640
Speaker 3: that's great, you know, you wrote it. So but he

2035
01:51:15,760 --> 01:51:18,240
Speaker 3: did the same thing with seven seven seven nine three eleven.

2036
01:51:18,280 --> 01:51:20,680
Speaker 3: You know, I'm up, you know, he said, you know,

2037
01:51:20,720 --> 01:51:22,360
Speaker 3: I got some stuff to do. I'll leave you sing

2038
01:51:22,479 --> 01:51:25,360
Speaker 3: the song. I'll come back. I did the vocals. He

2039
01:51:25,520 --> 01:51:29,240
Speaker 3: came back from wherever he was, and he's like, I

2040
01:51:29,439 --> 01:51:31,400
Speaker 3: don't like it. You know, you know, he said, I

2041
01:51:31,479 --> 01:51:32,519
Speaker 3: hate how you sound on it.

2042
01:51:32,560 --> 01:51:33,240
Speaker 5: Blah blah blah.

2043
01:51:33,800 --> 01:51:37,400
Speaker 3: I said, uh, okay, cool. So I go back to

2044
01:51:37,520 --> 01:51:40,960
Speaker 3: the hotel. About nine ten o'clock the next morning, he's

2045
01:51:41,000 --> 01:51:43,240
Speaker 3: calling me, you know, meet me downstairs in the car.

2046
01:51:43,320 --> 01:51:46,280
Speaker 3: We're getting a limbo. He's like, I love this man,

2047
01:51:46,400 --> 01:51:47,479
Speaker 3: I love the way your voice.

2048
01:51:50,240 --> 01:51:54,679
Speaker 1: So he wasn't he wasn't cutting your vocals half the time?

2049
01:51:56,040 --> 01:51:57,880
Speaker 5: No I, I you know, I had gotten to the

2050
01:51:57,920 --> 01:52:00,280
Speaker 5: point where I would do you know, I cut the

2051
01:52:00,360 --> 01:52:01,040
Speaker 5: vocals myself.

2052
01:52:01,320 --> 01:52:01,439
Speaker 4: Was it?

2053
01:52:01,760 --> 01:52:04,160
Speaker 1: Yeah? I was gonna say, is it cutting vocals is

2054
01:52:04,160 --> 01:52:06,400
Speaker 1: such an intimate experience? Uh?

2055
01:52:08,160 --> 01:52:08,200
Speaker 4: Like?

2056
01:52:08,360 --> 01:52:12,000
Speaker 1: Were you like, were you uncomfortable if he's sitting there

2057
01:52:12,080 --> 01:52:14,880
Speaker 1: like micromanaging your vocals or it's just like all right,

2058
01:52:14,920 --> 01:52:15,960
Speaker 1: I'll leave and come back.

2059
01:52:16,040 --> 01:52:20,320
Speaker 3: And No, I was very comfortable with him because you know,

2060
01:52:20,520 --> 01:52:23,880
Speaker 3: he's he's such, you know, such a great producer, you know,

2061
01:52:24,040 --> 01:52:26,000
Speaker 3: and he knew how to get the best out of me,

2062
01:52:26,080 --> 01:52:27,040
Speaker 3: and that's why he taught me.

2063
01:52:27,120 --> 01:52:27,960
Speaker 4: And so you know,