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Speaker 1: Questlove Supreme is a production of iHeartRadio. This classic episode

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Speaker 1: was produced by the team at Pandora.

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Speaker 2: Hey, what's up, y' all?

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Speaker 1: This is Quest Love And as you notice throughout June,

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Speaker 1: we are celebrating.

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Speaker 2: Black Dusic Month by releasing.

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Speaker 1: An episode every day. So every day if you want

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Speaker 1: to hear, especially pick QLs Classic and on Wednesdays dropping

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Speaker 1: a new two part episodes with Brady and James Poyser,

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Speaker 1: both of which were filmed in studio, so make sure.

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Speaker 2: You also watch this on your YouTube. Now for Part one,

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Speaker 2: Part two, and Part three of my all time favorite

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Speaker 2: ULS episode. This is the legendary.

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Speaker 1: Jimmy jam Ladies and gentlemen, Welcome to another episode of

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Speaker 1: QLs Classic.

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Speaker 2: I'm Questlove. This episode we consider it to be our

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Speaker 2: finest hour. We interview the is a God himself, Jimmy Jam. Uh.

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Speaker 1: This is without no doubt one of our best moments,

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Speaker 1: my personal favorite uh. In part one of the three

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Speaker 1: part series, we discussed this life in Minnesota, of in

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Speaker 1: Minneapolis coming up as a DJ, this friendship with Terry

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Speaker 1: Lewis's music partner, and getting mentored by the one and

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Speaker 1: only Clarence Avon. Not to mention, Uh, Princey starting a

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Speaker 1: little unknown band called The Time.

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Speaker 2: We Hope you enjoyed. Here we go.

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Speaker 3: So Primo Sun Up Supremo roll call Suprema Supremo, roll

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Speaker 3: call Supremo Supremo roll so breva so So.

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Speaker 1: I went to the mirror, Yeah, with Grayson Vaness. Yeah,

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Speaker 1: the mirror looked back at me. Yeah, that's where the

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Speaker 1: god said.

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Speaker 4: Supremo roll call Supremo so so roll.

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Speaker 2: What's love double dipping? Yeah, not trying to be facetious.

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Speaker 5: Yeah, that mirror really said Supremo row.

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Speaker 6: My name is Fante. Yeah, in the heels of a Gora. Yeah,

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Speaker 6: with my man Jimmy Jam. Now where is my fodora Supprivo.

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Speaker 4: Son Sun Supremo role Suprema Son Son Supremo role called.

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Speaker 2: My name is Sugar, Yeah, the engineer. Yeah, if you

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Speaker 2: need me, Yeah, I'm over here.

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Speaker 4: Supprivo Son Son Supremo role call Suprema Son Son.

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Speaker 2: Supremo role call. I'm unpaid bill, Yeah, chilling with my family.

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Speaker 1: Yeah, mister Jimmy Jam Yeah, I had to be my

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Speaker 1: first Grammy's.

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Speaker 4: Supremo role called Suprema so Supremo role.

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Speaker 2: This was my name. Yeah, and I still say yeah,

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Speaker 2: best record of the eighties. Yeah, Alex is here saying come.

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Speaker 4: Suprema Son Supremo role call Suprema Supremo.

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Speaker 2: Role calls like yeah, never out of touch. Yeah, Jimmy

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Speaker 2: Jam is here, Yeah, I miss you.

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Speaker 4: Suspreama supremo role call Suprema Son Son Supremo role came.

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Speaker 2: I don't know, yeah what I was supposed to say. Yeah,

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Speaker 2: I'll be fat Albert.

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Speaker 4: Yeah, so supremo role call Suprema Son Supremo role call

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Speaker 4: Suprema son Son Supremo role called Suprema.

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Speaker 2: Son Son prem.

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Speaker 1: Ladies and gentlemen. I do not want to waste a second.

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Speaker 1: Welcome to Jimmy Jam. Okay, let's go, Jimmy Jam Where

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Speaker 1: were you born?

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Speaker 2: No, I'm not wasting a second. No, how you doing,

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Speaker 2: I'm good, I'm good man. We're very overwhelmed for this

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Speaker 2: Pineapple goals man. This is goal Yeah.

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Speaker 1: Yeah, Like my life is whatever.

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Speaker 2: Door I thought she was gonna fall my.

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Speaker 1: Yeah, it was like, my life is Balty g Avenue

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Speaker 1: and Mediterranean, Like this is ward Walking Park Place.

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Speaker 2: Yeah, Monopoly references it is. It is sports. It's crazy.

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Speaker 1: Uh hello there, mister James Harris.

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Speaker 2: The third I'm wonderful man. It's great to be here

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Speaker 2: with you today finally and your crew, your whole crew. Man,

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Speaker 2: it's wonderful. Thank you. We've been looking forward to this

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Speaker 2: one for a minute. Yeah.

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Speaker 1: This is serious of life life goals here. Yeah, let's

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Speaker 1: just we're starting from.

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Speaker 2: Where were you born? Minneapolis, Minnesota?

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Speaker 1: Okay, what part of what part of Minneapolis?

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Speaker 2: I grew up South Minneapolis, So you know, I can

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Speaker 2: say like forty first in Portland Avenue, which doesn't mean

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Speaker 2: a lot to anybody, but you know, if you think

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Speaker 2: of downtown, it's like, you know First Street, second Street,

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Speaker 2: you know, First Avenue, so on and so forth. I

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Speaker 2: lived forty one blocks south of downtown.

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Speaker 1: I feel like when any black person is from the

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Speaker 1: south side of town, south side of east side, that

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Speaker 1: means something something like what part of what was the

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Speaker 1: town part of town to not go to? In Minneapolish.

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Speaker 2: Well, okay, if you were black, the northeast was where

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Speaker 2: to not go to. It was called the Actually the

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Speaker 2: northeast is what we called it. Where the white people lived.

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Speaker 1: Yeah, yeah, every town has a white people.

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Speaker 2: White the white people didn't didn't necessar therely want us

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Speaker 2: to be there. You know, because white people live every

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Speaker 2: I mean, let's face it. Back growing up, I think

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Speaker 2: the state population was something like three percent black, and

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Speaker 2: maybe it was eight percent black in Minneapolis or something

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Speaker 2: like that. So pretty much white people were everywhere. But certainly,

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Speaker 2: you know, everybody was very tolerant, I guess, I would say,

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Speaker 2: and it was very progressive town. But as you can

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Speaker 2: tell from the music, it came out of there. I

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Speaker 2: think that's had a lot to do with it. But no,

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Speaker 2: I mean, really, the north side probably is where the

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Speaker 2: folks were. You know, I was one of the only

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Speaker 2: South Side guy. I mean in Prince obviously because we

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Speaker 2: went to school together and stuff. But on the north

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Speaker 2: side of town you had you know, Morris Day, Jellybean,

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Speaker 2: Terry Lewis, you know, and you had the community center

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Speaker 2: called the Way, which everybody used to rehearse at and

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Speaker 2: that kind of thing. So it was a lot more

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Speaker 2: happening on the north side of town, I would say

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Speaker 2: that on the south side.

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Speaker 1: So in your formative years, how many of your contemporaries

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Speaker 1: and peers that you were professional with would you see

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Speaker 1: on a regular basis?

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Speaker 2: Everybody? Man, it was a it was a small community.

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Speaker 2: It was it was. It was a lot like I

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Speaker 2: always say that Purple Rain the movie was a kind

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Speaker 2: of a It was fiction, but it was it told

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Speaker 2: a lot of truth. And that was there was like

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Speaker 2: a couple of clubs you could play at, and there

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Speaker 2: was more bands than the clubs could hold. So it

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Speaker 2: made for a very competitive situation where if your band

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Speaker 2: wasn't firing, you just wouldn't be playing in the club.

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Speaker 2: And so that's the way we grew up. So there

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Speaker 2: was like the Elks Lounge. There was a club called

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Speaker 2: the Nakarima Nakaima was actually American spelled backwards. And you know,

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Speaker 2: the Cozy Bar was another place. There was a place

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Speaker 2: called the Flame. And you know, so between you know,

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Speaker 2: back in that day, you had you know, my band,

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Speaker 2: I had a band called Mind and Matter. Terry had

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Speaker 2: Flight Time. We were together and then we were apart.

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Speaker 2: We were you know, we were going back and forth

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Speaker 2: a lot. And then Prince had Grand Central. Morris had

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Speaker 2: a band called the Enterprise Band of Pleasure at one point,

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Speaker 2: you know, so on and so forth. So what happened was

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Speaker 2: there was all these bands, but there's only a couple

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Speaker 2: of places to play. But all of those guys and

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Speaker 2: particularly people like and that, and really the best, probably

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Speaker 2: the baddest dude up there was Sonny Thompson. Everyone speaks

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Speaker 2: of Sonny Thompson like he's God.

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Speaker 1: Yeah, Like what is it about? What is the legend

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Speaker 1: of Sonny Thompson.

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Speaker 2: Well, Sonny Thompson. I remember back when I first met

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Speaker 2: Terry and I remember we put our little band together

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Speaker 2: and stuff, and then they used to do these big

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Speaker 2: outdoor festivals at a place called the Phillisweetly which is

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Speaker 2: a big community center, and they used to do these

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Speaker 2: outdoor concerts and I remember seeing they had a band,

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Speaker 2: actually the original band that was called the Family. Sonny

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Speaker 2: Thompson was in that band. But I'd never seen a

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Speaker 2: brother play the guitar like that. I mean, he just

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Speaker 2: was like he was like legendary. He was like the dude.

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Speaker 2: And on top of it, he had the to like

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Speaker 2: if you didn't like him or you didn't like the

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Speaker 2: way he was playing, he was gonna come down to

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Speaker 2: kick your ass. Right, So he'd he'd played the gig

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Speaker 2: and stuff, and then afterwards if he'd like, look at

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Speaker 2: it you and you'd say to him, oh man, he

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Speaker 2: killed it, Sonny.

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Speaker 4: Man.

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Speaker 2: That was amazing because because you better say that. But

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Speaker 2: the good news was he always was. He was amazing,

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Speaker 2: and he was a dude that everybody just kind of

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Speaker 2: stopped and stared and went, damn. What was his style

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Speaker 2: of playing? He was a great rhythm player. He played

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Speaker 2: with a lot of aggression. You know. The thing I

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Speaker 2: always said about about Prince and the way he played

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Speaker 2: is I've never seen anybody attack instruments the way Prince did.

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Speaker 2: Like he literally attacked the instruments louder or just toned well,

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Speaker 2: you know he would. I mean I always say, like,

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Speaker 2: for instance, Terry, you know, Terry's a great bass player,

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Speaker 2: There's no doubt about it. But you know how we

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Speaker 2: always use the analogy like in basketball, people that make

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Speaker 2: you better. Prince was that person, right, So Terry would

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Speaker 2: be playing a bass part and Prince would take the

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Speaker 2: bass from Terry and go, no, play it like this,

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Speaker 2: and then he'd play it, and then he'd had Terry

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Speaker 2: the bass back, and Terry would look at the bass

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Speaker 2: like he'd never seen it before, you know, and it's

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Speaker 2: like damn. You know so that but that was the

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Speaker 2: way Sonny was, and I think Prince got a lot

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Speaker 2: of that from sonny like the attack of the instruments.

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Speaker 2: And it's the same with the keyboards. We used to

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Speaker 2: break keyboards all the time because it wasn't like you

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Speaker 2: would just hit the keyboard politely. It was like we

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Speaker 2: were doing all kind of swoops and wow wow and

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Speaker 2: all that kind of stuff, Like we would break keyboards.

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Speaker 2: I mean that kind of stuff. I mean that was

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Speaker 2: the way he wanted you to play. And so I

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Speaker 2: mean that that kind of attitude, to me was the

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Speaker 2: thing that you know, set him apart, along with a

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Speaker 2: whole lot of other things, but it really set Prince

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Speaker 2: apart for sure.

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Speaker 1: What were the what was a gold club to play

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Speaker 1: in Minneapolis at the time, Like, was First Avenue a

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Speaker 1: dream that was unattainable?

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Speaker 2: Worst? No, Actually, here's an interesting thing. Yeah, Now First

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Speaker 2: Avenue was actually the first place that actually allowed like

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Speaker 2: black bands to play.

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Speaker 1: So there was a quiet segregation. Oh it was not

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Speaker 1: in your fleece, Oh it was. I guess you could

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Speaker 1: say it was quiet.

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Speaker 2: I mean, if you were a band and you were

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Speaker 2: trying to play somewhere, you knew there were clubs that

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Speaker 2: were just unattainable. You just weren't going to play that club.

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Speaker 2: And I thank God to this day that that happened,

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Speaker 2: because what it did, as history has always shown with

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Speaker 2: black folks, is from adversity comes all good things. You know,

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Speaker 2: you look at what you don't have, and then you

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Speaker 2: figure out that you can't go the easy route that

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Speaker 2: everybody else is going, and then you figure out a

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Speaker 2: way to go get it done. So what we used

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Speaker 2: to do back in the day, we knew we couldn't

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Speaker 2: play I can't remember even the names of the clubs,

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Speaker 2: but there was all these very fancy white clubs and

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Speaker 2: they all had white bands, but they were all playing

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Speaker 2: R and B music, which was ironic. We couldn't play

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Speaker 2: those clubs. So what we would do is, for instance,

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Speaker 2: there was a hotel downtown called the Dykeman Hotel. It

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Speaker 2: was a hotel that was probably about a year away from,

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Speaker 2: you know, being torn down. I mean, it was just

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Speaker 2: nobody stayed there. Rooms were ratty, the whole thing. But

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Speaker 2: what they had was a big ballroom. So what we

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Speaker 2: would do is we would take, you know, we'd go

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Speaker 2: to the owner of the hotel and we'd say, hey,

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Speaker 2: can we rent the ballroom out. We'll give you the

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Speaker 2: liquor whatever. The liquor sales are you keep and we'll

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Speaker 2: take the door. We'll charge you know, three bucks at

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Speaker 2: the door or whatever. And so what it did is

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Speaker 2: it forced us to become entrepreneurs because it wasn't like

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Speaker 2: we just had the talent we could go play. It

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Speaker 2: was like, okay, we got the talent, Now we got

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Speaker 2: to figure out how we're going to go play. So

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Speaker 2: we would do that. Now we now, back in the day,

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Speaker 2: there's no Twitter and no social media, so it was

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Speaker 2: go to instant prints. That was the place you go.

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Speaker 2: You print up a bunch of flyers and then you

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Speaker 2: put them on people's cars and you'd say, you know,

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Speaker 2: ladies get in free too for one drink. So you'd

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Speaker 2: say whatever the heck you needed to say to get

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Speaker 2: them to get them down. And all of a sudden,

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Speaker 2: you get on Saturday night and all of a sudden,

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Speaker 2: you'd get fifteen hundred people in this ballroom. Meanwhile, the

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Speaker 2: white clubs are sitting empty. So now they're going, wait,

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Speaker 2: where's everybody at tonight? And they're like, well, they're all

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Speaker 2: going to see the band you wouldn't let play at

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Speaker 2: your club. And so what happened after that was there

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Speaker 2: began to be a little bit of a thing where

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Speaker 2: people begin to recognize that maybe there's a talent or

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Speaker 2: maybe we should let these folks in, you know, because

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Speaker 2: these guys are talent and they're obviously drawing, right. But

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Speaker 2: the first person to really act upon it was Steve

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Speaker 2: McClellan at First Avenue who said, we'll book you guys

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Speaker 2: in what was called Seventh Street Entry, which is like

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Speaker 2: the little club, right, so if you were cool there,

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Speaker 2: if you could get it going there, then we'll move

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Speaker 2: you to the main room. But he was the one

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Speaker 2: that really gave us THEO and he gave you know,

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Speaker 2: back then, it wasn't just by the way, It wasn't

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Speaker 2: just black bands, but it was like new wave bands

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Speaker 2: you think about, like the Replacements and the Suburbs and

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Speaker 2: all of those bands. Those bands all started, those white

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Speaker 2: bands all started in that Seventh Street Entry.

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Speaker 1: We even mixing with those guys at all, like would

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Speaker 1: you see replacements?

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Speaker 2: And we didn't mix it all, not I mean just

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Speaker 2: because we didn't. It wasn't that we didn't like them.

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Speaker 2: We were aware of them, and I think they were

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Speaker 2: aware of us. But we know we never mixed together

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Speaker 2: at all. It was just kind of the same dudes

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Speaker 2: from the neighborhood that we grew up with. It was

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Speaker 2: all of those same guys all together.

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Speaker 1: So kind of jumping ahead a little bit, did you

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Speaker 1: have goals to make it out of Minnesota or or

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Speaker 1: was it just like, Okay, we'll just be a local

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Speaker 1: band here and maybe.

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Speaker 2: Well no, I mean I'll get a job. Like are

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Speaker 2: your parents supportive of this? Or well? Okay, So two

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Speaker 2: really good questions. So my parents. First of all, my

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Speaker 2: dad played in a band and was always a professional musician.

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Speaker 2: Used to take me to rehearsals and stuff back when

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Speaker 2: I was, you know, six seven years old, and I

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Speaker 2: you know, at that point I had the music bug totally,

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Speaker 2: so I got to see it. I used to used

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Speaker 2: to get to go to the studio and the whole thing.

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Speaker 2: But he was always he never made it really where

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Speaker 2: he wanted to. He was always kind of that guy

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Speaker 2: on the cusp of making it. You know. He'd get

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Speaker 2: on a few back in the day, there were kind

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Speaker 2: of regional records that were hits, and my dad would

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Speaker 2: play on those records and then they'd ask him to

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Speaker 2: go tour. But because at that point of his life

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Speaker 2: he had me and he had gotten married, my mom

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Speaker 2: always used to kind of frown upon you know, like, well, no,

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Speaker 2: you can't. You got responsibilities, you got family, and you

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Speaker 2: got you know, you can't just run off and go

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Speaker 2: on tour and that kind of stuff. And that really

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Speaker 2: affected what happened with me because when I got to

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Speaker 2: the point where I really wanted to do music, my

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Speaker 2: mom was one hundred percent behind me because she realized

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Speaker 2: that my dad never had a chance to do what

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Speaker 2: the way he wanted to do it. So she really

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Speaker 2: kind of stepped out of my way and it was

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Speaker 2: very supportive of me. So that was huge for me.

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Speaker 2: By the way, and they because they separated and so

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Speaker 2: or they got divorced, and so I basically stayed with

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Speaker 2: my mom. So she said, you know whatever, as long

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Speaker 2: as I see you doing music, you can do whatever

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Speaker 2: the heck you want to do. But you know, as

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Speaker 2: long as you're serious about it, and that kind of thing.

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Speaker 2: So that was that was important. What was the industry

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Speaker 2: in Minnesota?

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Speaker 1: Like if cars were Detroit and black families were there

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Speaker 1: middle class and buying instruments and stuff, and the same

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Speaker 1: for factories in Indiana and the Midwest, what was the

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Speaker 1: industry in Minnesota that kept was that an industry town

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Speaker 1: at all?

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Speaker 2: Well, the things I remember growing up were first of all,

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Speaker 2: grain and flower. I remember gold metal Flower was a

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Speaker 2: big company back in the day. Pillsbury was up there,

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Speaker 2: big company general. Yeah, I forgot I now realized.

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Speaker 6: He said that the ghetto boys man thought he had came,

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Speaker 6: but it was gold metal Flower.

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Speaker 2: Now I get it.

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Speaker 6: It was Flower, right, Thank you for solving that mystery.

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Speaker 2: Whether I was gold made.

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Speaker 1: Life because his accent, you know, I I two thought,

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Speaker 1: thank you Flower solving the mystery of Willie d.

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Speaker 2: I didn't know there was a mystery. You know, we

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Speaker 2: had it, but I just didn't. You didn't put it together,

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Speaker 2: That's what he was saying. You. But all of those

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Speaker 2: were up there, and obviously three of them was up

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Speaker 2: there to Honeywell, there was some some pretty big companies

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Speaker 2: up there, for sure. But just to and just to

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Speaker 2: wrap the other thing we were saying. The whole idea, yes,

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Speaker 2: was to get out of town. That was our focus

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Speaker 2: because we knew we couldn't sit around and depend on

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Speaker 2: playing in the clubs that weren't gonna let us play,

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Speaker 2: and we knew that we couldn't make it playing in

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Speaker 2: a club circuit where there's two or three clubs and

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Speaker 2: there's eight bands or whatever. It is, like that was

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Speaker 2: not going to happen. So we set our sites always

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Speaker 2: on making it nationally. That was our whole thing. When

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Speaker 2: Prince made it out, that showed us that it can happen.

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Speaker 2: And it also because he was so unique in what

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Speaker 2: he did, that then brought everybody started looking at Minneapolis like, Okay,

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Speaker 2: what else is up there? Because that happens with all towns,

345
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Speaker 2: happened with Seattle, happens you know, that's just the thing

346
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Speaker 2: that happens. It's like something great comes out and it's like, oh,

347
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Speaker 2: what what else is there? What else is there? So

348
00:18:41,920 --> 00:18:44,560
Speaker 2: we were definitely the beneficiaries of that. And there's a

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Speaker 2: lot of great I will say, a lot of talented

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Speaker 2: white musicians playing R and B music that never made

351
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Speaker 2: it out of Minneapolis. Some of them made it out

352
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Speaker 2: because Jesse took a couple folks with him and when

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Speaker 2: he did his band Jesse Johnson Review, the Peterson the Peterson's.

354
00:19:03,080 --> 00:19:07,800
Speaker 2: How many Peterson's were there A lot? Yeah, that was

355
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Speaker 2: the that was the musical family up there. I mean,

356
00:19:10,240 --> 00:19:13,240
Speaker 2: just so much talent, you know, but there were but

357
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Speaker 2: there were other ones too, and I'm just kind of

358
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Speaker 2: I'm blanking on names and stuff. But there was a

359
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Speaker 2: lot of talent. But because they didn't they were very comfortable,

360
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Speaker 2: so they had no reason to try to think outside

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Speaker 2: of getting out of Minneapolis or anything like that. Like,

362
00:19:26,240 --> 00:19:28,800
Speaker 2: we were so a lot of great talent up there

363
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Speaker 2: that people didn't know about until, like I say, until

364
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Speaker 2: that time when you know, Jesse picked up a few people.

365
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Speaker 2: And I'm trying to think Margaret Cox, who was actually

366
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Speaker 2: Tomorrow Margie. But yeah, but Margaret Cox was insanely talented,

367
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Speaker 2: you know, so as a singer. So yeah, people like that.

368
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Speaker 1: So when can I assume that Funky Town was the

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Speaker 1: first at least indication that an escape could be made

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Speaker 1: or something could happen.

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Speaker 2: Was that just like a fluke went off in your eyes?

372
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Speaker 2: Well for us, you know, Prince was the example that

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Speaker 2: you could make it, because see Prince was like three

374
00:20:04,480 --> 00:20:08,760
Speaker 2: years before Funky I forgot that. Yeah, but no, but

375
00:20:08,760 --> 00:20:11,199
Speaker 2: but but but Funky Town was eighties and that was

376
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Speaker 2: you know, at the height of the disco craze and

377
00:20:14,160 --> 00:20:16,400
Speaker 2: when it was and actually when disco was being played

378
00:20:16,440 --> 00:20:18,200
Speaker 2: on the radio, not only in the clubs, but actually

379
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Speaker 2: the format, because I remember we had a radio station

380
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Speaker 2: up there that went from a rock format to a

381
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Speaker 2: disco format, which was very controversial, but disco was hot

382
00:20:27,680 --> 00:20:31,760
Speaker 2: at that point in time. But we thought, what did

383
00:20:31,800 --> 00:20:35,240
Speaker 2: you grow up listening on? Like, what were you listening to? Grow?

384
00:20:35,440 --> 00:20:38,480
Speaker 2: For me, yeah, well there was nothing but pop radio

385
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Speaker 2: up there. I mean, I grew up as a kid.

386
00:20:42,359 --> 00:20:46,760
Speaker 2: My earliest memories were always you know, I always loved

387
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Speaker 2: the harmony groups. I loved Seals and Cross America. Yeah,

388
00:20:51,720 --> 00:20:55,520
Speaker 2: you know that kind of stuff. Bred that was. I mean,

389
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Speaker 2: to this day, that's the way I stacked my harmonies

390
00:20:57,520 --> 00:21:00,119
Speaker 2: because of the way they sang those songs. Back in

391
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Speaker 2: a little bit later in life, I liked, like, around

392
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Speaker 2: the time I met Terry, I was really into Chicago

393
00:21:06,240 --> 00:21:09,119
Speaker 2: that was. That was my favorite band ever, you know,

394
00:21:09,520 --> 00:21:12,200
Speaker 2: and me and Terry both loved them. And then Terry

395
00:21:12,240 --> 00:21:14,000
Speaker 2: then turned me on to when I met him, he

396
00:21:14,040 --> 00:21:16,879
Speaker 2: turned me onto Earth Wind and Fired, Tower of Power,

397
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Speaker 2: New Birth. I met Terry in seventy two. Okay, yeah,

398
00:21:20,800 --> 00:21:22,800
Speaker 2: so we're just we're talking Last Days in Time, Earth

399
00:21:22,880 --> 00:21:26,280
Speaker 2: Winding Fire and Music in my mind Stevie Wonder. You know,

400
00:21:26,320 --> 00:21:28,160
Speaker 2: these were the albums, and Terry turned me on to.

401
00:21:28,160 --> 00:21:32,400
Speaker 1: Those black radio You didn't have no black radio experience

402
00:21:32,440 --> 00:21:34,280
Speaker 1: at the age of ten twelve.

403
00:21:34,440 --> 00:21:37,439
Speaker 2: There wasn't a black radio experience for me. When I

404
00:21:37,440 --> 00:21:40,440
Speaker 2: got into high school, I was really into or junior

405
00:21:40,520 --> 00:21:42,679
Speaker 2: high and into high school, I was really into Gambling,

406
00:21:42,720 --> 00:21:46,199
Speaker 2: Huff and everything coming out of Philadelphia. Blue Magic was

407
00:21:46,240 --> 00:21:49,240
Speaker 2: my favorite all time group. I know everybody was into stylistics,

408
00:21:49,240 --> 00:21:51,040
Speaker 2: but Blue Magic was my group. But how could you

409
00:21:51,080 --> 00:21:55,760
Speaker 2: hear it or see it was? Oh yeah, Soul Train

410
00:21:55,840 --> 00:21:58,119
Speaker 2: definitely was on and you definitely would hear it on

411
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Speaker 2: Soul Train. But I I remember I had a friend

412
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Speaker 2: of mine whose dad was an executive of music Land,

413
00:22:05,080 --> 00:22:07,080
Speaker 2: which is one of the big retail stores back in

414
00:22:07,080 --> 00:22:09,160
Speaker 2: the day. So he used to get every single record

415
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Speaker 2: that came out. And my thing was I was always

416
00:22:12,640 --> 00:22:14,800
Speaker 2: a big liner note reader and a big label reader.

417
00:22:15,119 --> 00:22:21,040
Speaker 2: So my thing was we all collect and bill yes.

418
00:22:22,119 --> 00:22:25,639
Speaker 2: So my whole thing was, I remember there were records

419
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Speaker 2: that would come out and I would particularly during the

420
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Speaker 2: Motown era because I really I really loved the Motown records,

421
00:22:32,760 --> 00:22:35,400
Speaker 2: all of that stuff, the Holland, Dozer, Holland, like I remember,

422
00:22:35,920 --> 00:22:38,600
Speaker 2: I did I remember looking at a Supremes album at

423
00:22:38,640 --> 00:22:41,120
Speaker 2: a like a family reunion or something back in sixty

424
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Speaker 2: two or something or sixty So I was like three

425
00:22:43,320 --> 00:22:45,159
Speaker 2: or four years old, and I remember that Holland Dozer

426
00:22:45,160 --> 00:22:47,880
Speaker 2: Holland it was. The album was called The Supreme sing

427
00:22:47,880 --> 00:22:51,160
Speaker 2: Holland Dozer Holland, that gold record and the gold record, right,

428
00:22:51,320 --> 00:22:54,639
Speaker 2: I had no idea what that meant. I kept going,

429
00:22:54,720 --> 00:22:57,040
Speaker 2: what does this mean? What do you mean they singing

430
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Speaker 2: Holland Dozer Holland. And then somebody explained to me, no,

431
00:22:59,800 --> 00:23:02,240
Speaker 2: they wrote the songs. The girls are the singers, but

432
00:23:02,280 --> 00:23:04,879
Speaker 2: somebody wrote the songs. And something went off in my

433
00:23:04,960 --> 00:23:08,120
Speaker 2: head at that point. That always made me look who

434
00:23:08,160 --> 00:23:11,280
Speaker 2: wrote it, who produced it? And so I remember like

435
00:23:11,680 --> 00:23:13,960
Speaker 2: all the Motown records would be the first ones I'd

436
00:23:14,000 --> 00:23:16,280
Speaker 2: always go to. And I remember like staring at the

437
00:23:16,320 --> 00:23:19,639
Speaker 2: first time I heard I Want You Back Jackson five

438
00:23:20,480 --> 00:23:23,800
Speaker 2: and you know Dinah Ross and Dinah Ross presents the

439
00:23:23,840 --> 00:23:26,439
Speaker 2: Jackson five, and I thought, oh, wow, that's cool, and

440
00:23:26,480 --> 00:23:27,960
Speaker 2: I looked down the record. I'm like, well, I don't

441
00:23:27,960 --> 00:23:31,560
Speaker 2: see Donna Ross's name anywhere on here. There's some dudes

442
00:23:31,600 --> 00:23:35,040
Speaker 2: called the somebody I got to find out who the

443
00:23:35,080 --> 00:23:38,239
Speaker 2: corporation is, you know. So that was always my my

444
00:23:38,440 --> 00:23:41,960
Speaker 2: thing and and I knew that because what I learned

445
00:23:42,040 --> 00:23:45,239
Speaker 2: was there were certain there were groups I like, but

446
00:23:45,359 --> 00:23:47,679
Speaker 2: it was all about who produced them. Like it was.

447
00:23:47,760 --> 00:23:50,000
Speaker 2: It was like, you know, like Eddie Kendricks could come

448
00:23:50,000 --> 00:23:53,600
Speaker 2: out with a song and I would be like, Yeah,

449
00:23:53,600 --> 00:23:55,640
Speaker 2: that's okay. And then you come out with a song,

450
00:23:55,680 --> 00:23:57,560
Speaker 2: I go, oh, I love that song. Okay, who did

451
00:23:57,560 --> 00:24:01,240
Speaker 2: that song? Okay, Leonard Casting and you know, Frank Wilson

452
00:24:01,320 --> 00:24:04,920
Speaker 2: and okay. And then I'd hear another song that had

453
00:24:04,960 --> 00:24:06,880
Speaker 2: nothing to do with Eddie Kendricks, but I'd go, oh,

454
00:24:06,880 --> 00:24:09,240
Speaker 2: I like that track. Who did that? And it'd be

455
00:24:09,240 --> 00:24:11,880
Speaker 2: the same dudes, right, And that's when I got That's

456
00:24:11,880 --> 00:24:15,440
Speaker 2: when I started going, Okay, that's that's my thing. And

457
00:24:15,760 --> 00:24:18,800
Speaker 2: so for me, that's what always excited me, and that's what,

458
00:24:19,040 --> 00:24:21,800
Speaker 2: you know, ultimately made me want to become a songwriter

459
00:24:21,840 --> 00:24:22,440
Speaker 2: and a producer.

460
00:24:23,480 --> 00:24:26,160
Speaker 1: What kind of equipment were you dealing with when you

461
00:24:26,480 --> 00:24:28,199
Speaker 1: first started, Like did you have a piano in the

462
00:24:28,200 --> 00:24:29,640
Speaker 1: house or Fender.

463
00:24:29,440 --> 00:24:32,280
Speaker 2: Rhodes or we had how did you get it around

464
00:24:32,280 --> 00:24:35,280
Speaker 2: to gigs? Oh? Well, okay, well I'll tell you Our

465
00:24:35,359 --> 00:24:38,280
Speaker 2: very first gig was the summer that I met Terry,

466
00:24:38,560 --> 00:24:44,160
Speaker 2: which was seventy two, and I remember my dad at

467
00:24:44,160 --> 00:24:46,440
Speaker 2: the time, I thought of myself as a drummer. I'd

468
00:24:46,440 --> 00:24:48,760
Speaker 2: had drums in the house since I was like five

469
00:24:48,840 --> 00:24:51,080
Speaker 2: years old. They bought me a drum set and I

470
00:24:51,240 --> 00:24:54,560
Speaker 2: used to play and I used to blast. I remember

471
00:24:54,920 --> 00:24:59,120
Speaker 2: one of my favorite records was this Jackson Fire record

472
00:24:59,160 --> 00:25:02,399
Speaker 2: called Looking through the Window right, because I loved the

473
00:25:02,440 --> 00:25:06,240
Speaker 2: way it had that and I used to play the

474
00:25:06,320 --> 00:25:08,560
Speaker 2: drum to that, and I love that the way the

475
00:25:09,520 --> 00:25:11,720
Speaker 2: and all that stuff, all the dynamics of it. So

476
00:25:11,760 --> 00:25:13,399
Speaker 2: I used to play like to that kind of stuff,

477
00:25:13,440 --> 00:25:16,159
Speaker 2: and so I thought of myself as a drummer. So

478
00:25:16,560 --> 00:25:18,560
Speaker 2: what happened was Terry was going to put this band

479
00:25:18,560 --> 00:25:21,119
Speaker 2: together to play at this kind of year in summer

480
00:25:21,359 --> 00:25:25,880
Speaker 2: year in thing, and uh, he said, but he heard

481
00:25:25,920 --> 00:25:29,600
Speaker 2: me play piano, and so he said, man, I need

482
00:25:29,600 --> 00:25:31,439
Speaker 2: you to play keyboards for me for this thing. And

483
00:25:31,480 --> 00:25:34,440
Speaker 2: I said, I'm a drummer, Terry, and he said, no, Nah,

484
00:25:34,440 --> 00:25:36,040
Speaker 2: I heard you play the keyboards. I said no, but

485
00:25:36,080 --> 00:25:38,439
Speaker 2: really I played the drums. And he said, I already

486
00:25:38,440 --> 00:25:40,560
Speaker 2: got a drummer, And I said, no, I played it.

487
00:25:40,600 --> 00:25:42,479
Speaker 2: I played the keyboards. I mean I played the drums.

488
00:25:42,680 --> 00:25:46,359
Speaker 2: So Terry then brought over jelly Bean Johnson, who was

489
00:25:46,359 --> 00:25:50,080
Speaker 2: his drummer, and jelly Bean played and I said, yeah,

490
00:25:50,080 --> 00:25:54,880
Speaker 2: I can mess with some keyboards. So that that ended

491
00:25:54,880 --> 00:25:57,800
Speaker 2: my drumming career at that point. And uh, it was

492
00:25:57,880 --> 00:26:00,800
Speaker 2: jelly Being playing guitar back then. He yeah, he did

493
00:26:00,840 --> 00:26:02,840
Speaker 2: play guitar back then, okay, but he was a drummer.

494
00:26:02,840 --> 00:26:04,760
Speaker 2: I mean he was, I mean a great drummer. So

495
00:26:04,880 --> 00:26:06,840
Speaker 2: I mean you could tell it back then. He's super

496
00:26:06,880 --> 00:26:10,800
Speaker 2: talented dude. And he's probably the one person in Terry

497
00:26:10,840 --> 00:26:13,440
Speaker 2: there's probably been in Terry's life longer than me. I mean,

498
00:26:13,480 --> 00:26:16,479
Speaker 2: I think him and jelly Bean go back. I met

499
00:26:16,560 --> 00:26:19,960
Speaker 2: Terry when I was probably thirteen or something, and jelly

500
00:26:19,960 --> 00:26:22,240
Speaker 2: Being probably precedes me by three or four years because

501
00:26:22,240 --> 00:26:24,760
Speaker 2: they went to school together. So I didn't meet Terry

502
00:26:24,840 --> 00:26:27,880
Speaker 2: till the summertime, you know, think but yeah, I mean, yeah,

503
00:26:27,960 --> 00:26:30,040
Speaker 2: he was amazing. So what we did is we went out.

504
00:26:30,760 --> 00:26:33,359
Speaker 2: I was playing drums with my dad, okay, and he

505
00:26:33,400 --> 00:26:35,200
Speaker 2: had a gig where he would play the weekends at

506
00:26:35,240 --> 00:26:38,840
Speaker 2: a couple of clubs and stuff, and that and real quick.

507
00:26:38,880 --> 00:26:42,080
Speaker 2: How that happened was he had a trio, right, and

508
00:26:42,240 --> 00:26:46,760
Speaker 2: was him this guitar player named Coffee, and a drummer right,

509
00:26:46,880 --> 00:26:49,240
Speaker 2: but every they never could keep a drummer, so every

510
00:26:49,240 --> 00:26:53,720
Speaker 2: week there'd be like a different drummer and so yeah, right,

511
00:26:54,600 --> 00:26:59,520
Speaker 2: So eventually the one there was a gig and the

512
00:26:59,560 --> 00:27:03,840
Speaker 2: drummer and show up, and my mom said, why don't

513
00:27:03,840 --> 00:27:07,240
Speaker 2: you let Jimmy play a set? He knows all your songs.

514
00:27:07,440 --> 00:27:09,520
Speaker 2: We've been watching you play for all this time. It's

515
00:27:09,640 --> 00:27:14,879
Speaker 2: a million So anyway, I so I did. I sat in,

516
00:27:15,640 --> 00:27:17,920
Speaker 2: I did one set with him and stuff, and everybody

517
00:27:18,000 --> 00:27:20,560
Speaker 2: liked it. Crowd liked it. Okay, right, So a couple

518
00:27:20,560 --> 00:27:24,080
Speaker 2: of weeks later and stuff, same thing, and so Coffee

519
00:27:24,080 --> 00:27:27,160
Speaker 2: the guitar player said, you know, hey, my dad's name

520
00:27:27,160 --> 00:27:29,040
Speaker 2: was Jim. Also, he say, Jim, you know, why don't

521
00:27:29,080 --> 00:27:30,439
Speaker 2: you let your son go ahead and play? You know

522
00:27:30,520 --> 00:27:33,560
Speaker 2: he knows the show show, just let him play. I'm

523
00:27:33,560 --> 00:27:36,520
Speaker 2: not sure about that whatever whatever, So anyway, I did.

524
00:27:36,560 --> 00:27:39,360
Speaker 2: I played the whole show. So after they get into

525
00:27:39,400 --> 00:27:42,520
Speaker 2: that gig, Coffee said to my dad, why don't you

526
00:27:42,600 --> 00:27:44,280
Speaker 2: just let your son play? Man? We don't have to

527
00:27:44,359 --> 00:27:48,120
Speaker 2: keep finding drummers, you know. So my dad said, okay, cool,

528
00:27:48,320 --> 00:27:50,919
Speaker 2: we'll let you play. Well, you are a drummer. And

529
00:27:50,960 --> 00:27:53,240
Speaker 2: then my mom said he and my mom said how

530
00:27:53,320 --> 00:27:57,560
Speaker 2: much you're gonna pay him? And she became my agent

531
00:27:57,600 --> 00:27:59,720
Speaker 2: real quick. So and and then my dad said, well,

532
00:27:59,760 --> 00:28:01,320
Speaker 2: you know, i'll throw him out, you know, a little

533
00:28:01,359 --> 00:28:03,400
Speaker 2: something something. She said, no, no, no, You're gonna pay him

534
00:28:03,440 --> 00:28:09,919
Speaker 2: just like you pay you pay right. And that was

535
00:28:09,960 --> 00:28:11,919
Speaker 2: the start of my you know, gig, and that started

536
00:28:11,960 --> 00:28:13,639
Speaker 2: my little I don't know college runner. I don't know

537
00:28:13,680 --> 00:28:15,760
Speaker 2: what happened to that money, but we started putting that

538
00:28:15,800 --> 00:28:18,399
Speaker 2: money away. So that that was the parents. Do you

539
00:28:18,480 --> 00:28:21,040
Speaker 2: ever see your college for money from all them? Yes?

540
00:28:21,520 --> 00:28:24,600
Speaker 6: Ever, I had a fifty dollars savings bun like my

541
00:28:24,640 --> 00:28:26,520
Speaker 6: grandmother bought me when I was like five.

542
00:28:26,520 --> 00:28:28,639
Speaker 2: Never seen. I don't know where it's at. Yeah, my

543
00:28:28,720 --> 00:28:31,359
Speaker 2: dad's last time I saw it was on top of

544
00:28:31,400 --> 00:28:33,120
Speaker 2: the TV. That was on top of the Big Team.

545
00:28:36,160 --> 00:28:37,280
Speaker 2: It's been a long time ago.

546
00:28:38,360 --> 00:28:44,440
Speaker 1: So how does how do you guys melt all your bands?

547
00:28:44,400 --> 00:28:48,520
Speaker 1: Because I can assume that the Time is basically a

548
00:28:48,640 --> 00:28:56,720
Speaker 1: supergroup of Minneapolis based musicians and one Illinois musician yeah,

549
00:28:57,440 --> 00:29:01,760
Speaker 1: So what starts the process of of you guys leaving

550
00:29:01,760 --> 00:29:04,920
Speaker 1: your respective bands to become the Time.

551
00:29:06,280 --> 00:29:10,160
Speaker 2: Okay, well that's I'll try to not make it too complicated.

552
00:29:10,440 --> 00:29:14,400
Speaker 2: So here's goods a lot of moving parts. So for me,

553
00:29:15,480 --> 00:29:18,320
Speaker 2: first of all, Terry at this point had put together

554
00:29:19,080 --> 00:29:23,720
Speaker 2: what was the nucleus of Flight Time, which was Jellybean

555
00:29:23,800 --> 00:29:28,800
Speaker 2: Johnson on the drums, Terry on the bass. Interesting story

556
00:29:28,840 --> 00:29:32,360
Speaker 2: how he had found Monty Moyer because Terry had been

557
00:29:32,360 --> 00:29:34,600
Speaker 2: trying to get me to join the band again. I was.

558
00:29:34,680 --> 00:29:37,000
Speaker 2: I was off doing my own band for a while,

559
00:29:37,240 --> 00:29:39,960
Speaker 2: and then I had actually quit doing that and I

560
00:29:40,000 --> 00:29:42,640
Speaker 2: had started DJing in your band at that time when

561
00:29:42,680 --> 00:29:45,800
Speaker 2: you drumming or were you playing keys, I was playing keys,

562
00:29:45,800 --> 00:29:47,840
Speaker 2: and I was writing all the songs we did. We

563
00:29:47,880 --> 00:29:50,280
Speaker 2: did all original songs, and it was all and I

564
00:29:50,400 --> 00:29:54,960
Speaker 2: was doing my best, you know Tom Bell gambling of

565
00:29:55,480 --> 00:29:58,520
Speaker 2: this is fression, mind and matter. Yeah, I mean that's

566
00:29:58,520 --> 00:30:00,160
Speaker 2: what I was trying to do with a little bit

567
00:30:00,160 --> 00:30:01,640
Speaker 2: of electronics in it. You know, I had a little

568
00:30:01,640 --> 00:30:04,320
Speaker 2: synthesizer and stuff in it. But it was Jeff definitely

569
00:30:04,320 --> 00:30:07,520
Speaker 2: trying to be that was that was my inspiration, and

570
00:30:07,600 --> 00:30:11,040
Speaker 2: so so I had. You know, those guys to me,

571
00:30:11,120 --> 00:30:13,240
Speaker 2: weren't serious. They were older guys. I was just at

572
00:30:13,400 --> 00:30:15,520
Speaker 2: I was sixteen at the time, and those guys weren't

573
00:30:15,520 --> 00:30:17,880
Speaker 2: really serious about it, Like they're twenty two twenty three,

574
00:30:17,880 --> 00:30:20,000
Speaker 2: and I didn't get well. They had jobs and families

575
00:30:20,000 --> 00:30:22,240
Speaker 2: and kids and stuff. I'm like, twenty four hours music

576
00:30:23,040 --> 00:30:24,920
Speaker 2: and you know, I'm like, y'all are messing up. You know,

577
00:30:25,160 --> 00:30:27,000
Speaker 2: they get high and stuff, and I'd be like, y'all

578
00:30:27,040 --> 00:30:29,040
Speaker 2: getting high, we need to be working on our music.

579
00:30:29,080 --> 00:30:30,720
Speaker 2: And you know, they were like, who the fuck this

580
00:30:30,840 --> 00:30:33,320
Speaker 2: punk kid you know telling us? You know, So anyway,

581
00:30:33,880 --> 00:30:36,400
Speaker 2: eventually I just said forget it. So I started DJing.

582
00:30:36,440 --> 00:30:39,800
Speaker 2: I started working at a record pool, you know, getting records.

583
00:30:39,800 --> 00:30:43,360
Speaker 2: I started working at a record store because I the

584
00:30:43,400 --> 00:30:46,320
Speaker 2: clubs I played at were influentential enough that I could

585
00:30:46,920 --> 00:30:48,720
Speaker 2: know when I heard a record. I could go to

586
00:30:48,760 --> 00:30:51,080
Speaker 2: the record store guy and he didn't trust me at first,

587
00:30:51,120 --> 00:30:54,320
Speaker 2: but I could say to him, hey, there's this record.

588
00:30:54,320 --> 00:30:56,760
Speaker 2: Matter of fact, MFSB had a record called Dance with

589
00:30:56,800 --> 00:31:00,560
Speaker 2: Me Tonight, okay, and I had this girl named Joyce.

590
00:31:00,640 --> 00:31:02,720
Speaker 2: Whenever I played at the club. And this is a

591
00:31:02,800 --> 00:31:04,440
Speaker 2: teen club. Because I played at a bunch of different

592
00:31:04,440 --> 00:31:06,680
Speaker 2: clubs as a DJ I had, and my crowd just

593
00:31:06,720 --> 00:31:08,520
Speaker 2: kind of followed me around, but the teen crowd was

594
00:31:08,560 --> 00:31:11,960
Speaker 2: my best. We did about fifteen hundred kids on a

595
00:31:12,040 --> 00:31:15,120
Speaker 2: Friday and a Saturday night. It was huge, a huge pace, Yeah,

596
00:31:15,400 --> 00:31:18,240
Speaker 2: huge pressure. Oh, it was great. It was it was awesome.

597
00:31:18,320 --> 00:31:20,120
Speaker 2: It was awesome. It is the most one of the

598
00:31:20,120 --> 00:31:22,560
Speaker 2: most fun moments of my life actually was doing that

599
00:31:22,720 --> 00:31:25,240
Speaker 2: because just the whole idea of introducing people to music,

600
00:31:25,360 --> 00:31:27,760
Speaker 2: which is amazing, and you know how that feels. I mean,

601
00:31:27,880 --> 00:31:30,160
Speaker 2: you guys do that now. Teens hold you hoses today.

602
00:31:30,240 --> 00:31:34,560
Speaker 1: So if you don't play what they knows.

603
00:31:33,840 --> 00:31:36,040
Speaker 2: Well, you know what, okay. So that that's my point.

604
00:31:36,120 --> 00:31:38,280
Speaker 2: So I had this girl named Joyce, and Joyce I

605
00:31:38,320 --> 00:31:41,360
Speaker 2: don't know where she was from, but she'd always hand

606
00:31:41,400 --> 00:31:45,840
Speaker 2: me some record every week and she'd say play this,

607
00:31:45,840 --> 00:31:48,000
Speaker 2: this is gonna be whatever whatever, and i' and I'd

608
00:31:48,000 --> 00:31:50,000
Speaker 2: listened to a little bit in the headphones and previewed

609
00:31:50,000 --> 00:31:51,640
Speaker 2: and it would always sound a little weird to me,

610
00:31:51,800 --> 00:31:55,040
Speaker 2: and I'd be like, Joyce, are you sure, and she'd go, yeah, yeah.

611
00:31:55,080 --> 00:31:56,720
Speaker 2: And she had a crew of about three or four

612
00:31:56,760 --> 00:31:59,080
Speaker 2: other people and she would get out and dance. She said,

613
00:31:59,320 --> 00:32:01,160
Speaker 2: I know the dance floor is gonna clear, but we're

614
00:32:01,160 --> 00:32:04,800
Speaker 2: gonna I'm gonna dance and we're gonna be cool. I mean, okay.

615
00:32:05,560 --> 00:32:08,400
Speaker 2: So anyway, she brought me a whole bunch of different records,

616
00:32:08,440 --> 00:32:10,600
Speaker 2: but the one I remember, the one of the first

617
00:32:10,600 --> 00:32:14,480
Speaker 2: ones was Dance with Me Tonight MFSB. Right. So, and

618
00:32:14,560 --> 00:32:15,960
Speaker 2: I said to her, you know, Joyce, I got the

619
00:32:16,000 --> 00:32:17,680
Speaker 2: album that. I said, I've heard the song. It ain't

620
00:32:17,720 --> 00:32:19,080
Speaker 2: really that no, she said, no, but this is the

621
00:32:19,080 --> 00:32:21,520
Speaker 2: twelve inches different. It's a different mix. I said, okay, cool.

622
00:32:22,320 --> 00:32:25,920
Speaker 2: I put the record on and I go cause I

623
00:32:25,960 --> 00:32:28,200
Speaker 2: talked to I'd mixed and I talked, I did both things,

624
00:32:28,200 --> 00:32:30,000
Speaker 2: and I just said, here's a new one. Front zelm

625
00:32:30,040 --> 00:32:33,520
Speaker 2: backzill all right, exactly right. And I said, okay, here's

626
00:32:33,600 --> 00:32:36,640
Speaker 2: here's a brand new one, you know, exclusive, you know

627
00:32:36,720 --> 00:32:40,280
Speaker 2: whatever whatever whatever. I put the record on the intro

628
00:32:40,320 --> 00:32:42,440
Speaker 2: of the records about I didn't know. It's about sixteen

629
00:32:42,480 --> 00:32:45,640
Speaker 2: bars and stuff, and it sounds like I don't know's

630
00:32:46,080 --> 00:32:49,000
Speaker 2: it doesn't sound like nothing's gonna happen, right, And everybody's

631
00:32:49,080 --> 00:32:50,680
Speaker 2: kind of staring at me for a minute. Because they

632
00:32:50,680 --> 00:32:53,120
Speaker 2: pretty much trust me. So they're staring at me for

633
00:32:53,160 --> 00:32:55,280
Speaker 2: a minute, and then I see them start to inch

634
00:32:55,400 --> 00:32:59,280
Speaker 2: off the dance floor, and I'm like going, oh man,

635
00:32:59,480 --> 00:33:01,920
Speaker 2: I'm buying right, And then all of a sudden, it

636
00:33:02,000 --> 00:33:08,880
Speaker 2: kicks into this different groove, goes into this groove, and

637
00:33:08,960 --> 00:33:10,760
Speaker 2: I see every and then I see Joyce in the

638
00:33:10,760 --> 00:33:13,560
Speaker 2: middle of the floor with her crew of people start dancing,

639
00:33:13,760 --> 00:33:15,719
Speaker 2: and all of a sudden, now the dance floor starts

640
00:33:15,720 --> 00:33:17,480
Speaker 2: coming back on the dance floor. By the end of

641
00:33:17,520 --> 00:33:20,760
Speaker 2: the night that record, I had to play it again.

642
00:33:21,760 --> 00:33:23,520
Speaker 2: They loved it that much, so I went to the

643
00:33:23,520 --> 00:33:25,720
Speaker 2: record There was a record store called Hot Licks, and

644
00:33:25,760 --> 00:33:27,800
Speaker 2: I remember this guy named Chico I think his name

645
00:33:27,840 --> 00:33:30,280
Speaker 2: was Chico fat fingers right, And he played, he played,

646
00:33:30,440 --> 00:33:34,400
Speaker 2: he played, He played with a reggae band uh called

647
00:33:34,520 --> 00:33:36,800
Speaker 2: Oh Man, I'm gonna I can't remember the name. It's

648
00:33:36,840 --> 00:33:40,760
Speaker 2: like Shagoy or Shambay or had some name like that. Anyway,

649
00:33:40,760 --> 00:33:42,560
Speaker 2: he ran the store. So I walked into the store

650
00:33:42,560 --> 00:33:44,880
Speaker 2: and I said, hey, man, this twelve inch dance with

651
00:33:44,920 --> 00:33:47,280
Speaker 2: me tonight. Can you get some of these? And he

652
00:33:47,280 --> 00:33:49,160
Speaker 2: said yeah. He says why and I said, because this

653
00:33:49,240 --> 00:33:50,920
Speaker 2: is my number one song at my club. I'm gonna

654
00:33:50,920 --> 00:33:53,480
Speaker 2: play it again next weekend. And I said, and I'm

655
00:33:53,480 --> 00:33:55,160
Speaker 2: gonna tell everybody to come down that you're the only

656
00:33:55,160 --> 00:33:57,600
Speaker 2: one that has the record downtown Minneapolis. You're the only

657
00:33:57,640 --> 00:34:00,480
Speaker 2: one that has record. So okay, So he says, well,

658
00:34:00,480 --> 00:34:03,440
Speaker 2: how many should I get? And I said, like a thousand?

659
00:34:03,920 --> 00:34:08,840
Speaker 2: He said, what You're nuts? I said, okay, cool. So anyway,

660
00:34:08,960 --> 00:34:12,600
Speaker 2: next weekend I played it packed the dance floor. I said,

661
00:34:12,880 --> 00:34:14,560
Speaker 2: hot Licks, go down to Hot Licks are the only

662
00:34:14,600 --> 00:34:18,520
Speaker 2: ones in town with the record. He said, uh, Monday,

663
00:34:18,960 --> 00:34:21,480
Speaker 2: he said, he sold out. And he said and I said, well,

664
00:34:21,480 --> 00:34:22,759
Speaker 2: how many do you order? He said, well I ordered

665
00:34:22,800 --> 00:34:25,000
Speaker 2: five hundred. I said, I told you to get a thousand, right,

666
00:34:25,520 --> 00:34:27,879
Speaker 2: And I remember I talked to what later on in life.

667
00:34:27,920 --> 00:34:30,719
Speaker 2: I talked to some PR person that worked for CBS

668
00:34:30,719 --> 00:34:33,320
Speaker 2: back in the day and they said, man, it was

669
00:34:33,360 --> 00:34:37,799
Speaker 2: weird this one record just jumped off for it, you know.

670
00:34:38,200 --> 00:34:42,080
Speaker 1: So wait, we we always did this on Quest Love

671
00:34:42,200 --> 00:34:44,280
Speaker 1: Supreme for old DJs.

672
00:34:45,200 --> 00:34:47,200
Speaker 2: Can you can you front sell dance with me to

673
00:34:47,320 --> 00:34:54,400
Speaker 2: night right now? Front? So yeah, I guess here we go, right.

674
00:34:53,040 --> 00:34:55,600
Speaker 7: All right, here's an exclusive. You're gonna here first for

675
00:34:55,719 --> 00:34:58,520
Speaker 7: the first time. You trust me on this one. Now

676
00:34:58,560 --> 00:35:03,800
Speaker 7: trust me. This is speed dance with me tonight.

677
00:35:04,280 --> 00:35:22,040
Speaker 2: There we go. That was with me. And you know

678
00:35:22,080 --> 00:35:24,880
Speaker 2: what's funny is is is that ended up being I

679
00:35:25,000 --> 00:35:28,880
Speaker 2: kept charts from you know, Dance for Reaction and all

680
00:35:28,960 --> 00:35:30,839
Speaker 2: that stuff, and then I started printing the charts out

681
00:35:31,000 --> 00:35:32,520
Speaker 2: and then I would take them down to the record

682
00:35:32,520 --> 00:35:35,799
Speaker 2: store and I'd leave them right and that record was

683
00:35:35,840 --> 00:35:39,520
Speaker 2: my number one record of all time during the probably

684
00:35:39,600 --> 00:35:42,080
Speaker 2: year and a half that I was. I was at

685
00:35:42,080 --> 00:35:43,920
Speaker 2: that club and she brought me some other ones a

686
00:35:44,040 --> 00:35:51,080
Speaker 2: Firecracker mass production, and then she brought me Firecracker was easy.

687
00:35:51,400 --> 00:35:54,920
Speaker 2: The follow up was Forever, and I don't remember Forever.

688
00:35:55,000 --> 00:35:59,000
Speaker 2: Forever started off with just uh, a high hat. So

689
00:35:59,040 --> 00:36:07,120
Speaker 2: it just started off with which was a guaranteed dance floor,

690
00:36:07,760 --> 00:36:12,600
Speaker 2: you know clearer really yeah, But she said, but wait

691
00:36:12,640 --> 00:36:14,560
Speaker 2: till the beat kicks in, It's gonna be real cool.

692
00:36:14,719 --> 00:36:17,280
Speaker 2: So I said, Okay, here's new mass production. And people

693
00:36:17,280 --> 00:36:20,440
Speaker 2: were like, well that they knew that Firecracker was the jam,

694
00:36:20,600 --> 00:36:22,359
Speaker 2: so they stood with me for this one. And they

695
00:36:22,360 --> 00:36:27,279
Speaker 2: stood and when they kicked in, they uh huh. It

696
00:36:27,320 --> 00:36:32,200
Speaker 2: sounds like put the word on. Yeah, watch when this

697
00:36:32,360 --> 00:36:47,799
Speaker 2: kicks in. Though I never even knew they had a

698
00:36:47,960 --> 00:36:50,759
Speaker 2: follow up record. This was a follow up. This was

699
00:36:50,800 --> 00:37:10,040
Speaker 2: a follow up and Masterpieces M A. S. S In storage. Wow,

700
00:37:11,560 --> 00:37:14,120
Speaker 2: Joyce should have got an all job right. Joyce was.

701
00:37:14,200 --> 00:37:17,440
Speaker 2: Joyce was incredible. Man, give my DJ game already. I'm

702
00:37:17,440 --> 00:37:19,359
Speaker 2: gonna play these two in my next sets. I got,

703
00:37:19,360 --> 00:37:21,480
Speaker 2: I got. I'll give you one more from that from

704
00:37:21,480 --> 00:37:24,399
Speaker 2: that day. What about are you familiar with breakwater? Yeah?

705
00:37:24,680 --> 00:37:27,200
Speaker 2: Do it till the fluid gets hot. I don't know that.

706
00:37:28,280 --> 00:37:30,680
Speaker 2: Do it to the fluid gets hot. Let me go

707
00:37:30,960 --> 00:37:34,320
Speaker 2: and uh release the beast, but do it to the fluid,

708
00:37:34,320 --> 00:37:36,160
Speaker 2: gets it to the fluid gets hot. That was another

709
00:37:36,200 --> 00:37:37,840
Speaker 2: one that was really hot for me. And these records

710
00:37:37,880 --> 00:37:40,200
Speaker 2: were only big at my club, right and at this

711
00:37:40,320 --> 00:37:46,560
Speaker 2: record store. That was the weird thing about it. Oh yeah, okay,

712
00:37:46,560 --> 00:37:48,080
Speaker 2: I know this got that one. Yeah, I know that.

713
00:37:49,520 --> 00:37:54,439
Speaker 2: At the time, just DJ, Jimmy James. What was your DJ?

714
00:37:54,880 --> 00:38:00,919
Speaker 2: It was Jimmy Jam That came from DJ really yeah, okay, yeah,

715
00:38:00,960 --> 00:38:03,600
Speaker 2: that came from DJ. So what happened? So? Okay? So

716
00:38:04,480 --> 00:38:08,280
Speaker 2: that club was called the Disco Trek right now. Also

717
00:38:08,360 --> 00:38:10,920
Speaker 2: downtown was a club that went through a series of

718
00:38:10,960 --> 00:38:13,240
Speaker 2: different names, but when I worked there, it was called

719
00:38:13,280 --> 00:38:17,760
Speaker 2: the fox Trap. Okay, Now, the fox Trap had three levels.

720
00:38:17,840 --> 00:38:21,759
Speaker 2: Downstairs live music, second floor was DJ which was me,

721
00:38:22,120 --> 00:38:23,960
Speaker 2: and then third floor was a DJ. But it was

722
00:38:24,040 --> 00:38:26,759
Speaker 2: more chill, more, you know, laid back right, more of

723
00:38:26,800 --> 00:38:31,520
Speaker 2: a lounge type situation. So when I started working, there

724
00:38:31,600 --> 00:38:34,480
Speaker 2: was a DJ named Kyle Ray, and Kyle Ray was,

725
00:38:36,200 --> 00:38:38,279
Speaker 2: as you call it, the front selling DJ, Like he

726
00:38:38,320 --> 00:38:41,319
Speaker 2: did no mixing at all. It was all just personality

727
00:38:41,480 --> 00:38:46,480
Speaker 2: and playing records, right, So I took an example from him.

728
00:38:46,480 --> 00:38:51,600
Speaker 2: He was actually tragically killed, which was like nuts and

729
00:38:52,239 --> 00:38:55,640
Speaker 2: he tragically died, and so I kind of had borrowed

730
00:38:55,640 --> 00:38:58,160
Speaker 2: a little of his style as far as front loading

731
00:38:58,200 --> 00:39:01,399
Speaker 2: the records. But I could also a mix because I had,

732
00:39:01,480 --> 00:39:03,319
Speaker 2: you know, kind of the musical thing, so I always

733
00:39:03,360 --> 00:39:05,279
Speaker 2: did a combination of it. And then I had a

734
00:39:05,280 --> 00:39:08,279
Speaker 2: little keyboard which I actually have downstairs, which was my

735
00:39:08,280 --> 00:39:10,640
Speaker 2: first synthesizer, and I used to play along with the

736
00:39:10,680 --> 00:39:14,480
Speaker 2: records and create my own little stuff. So I was

737
00:39:14,520 --> 00:39:18,000
Speaker 2: doing that and that, and there was a at the

738
00:39:18,160 --> 00:39:20,399
Speaker 2: I was just going by Jimmy Harris, which was my name,

739
00:39:21,040 --> 00:39:25,919
Speaker 2: and there was a bartender from Philly who called himself Delphonix,

740
00:39:26,360 --> 00:39:29,640
Speaker 2: Right right, okay? And I went over to get, you know,

741
00:39:29,640 --> 00:39:32,520
Speaker 2: a drink from him or whatever, a cold because I

742
00:39:32,520 --> 00:39:34,440
Speaker 2: don't think I was I don't think that I was eighteen.

743
00:39:34,440 --> 00:39:36,120
Speaker 2: I was probably still seventeen eight I don't I don't

744
00:39:36,120 --> 00:39:37,719
Speaker 2: even think. But I didn't drink anyway, so it didn't

745
00:39:37,719 --> 00:39:43,319
Speaker 2: really matter. And he said, yo. He said man. He said, uh,

746
00:39:43,560 --> 00:39:45,799
Speaker 2: what kind of name you got? Man? And I said,

747
00:39:45,800 --> 00:39:47,920
Speaker 2: what do you mean? I said, what's your DJ name?

748
00:39:47,960 --> 00:39:49,640
Speaker 2: And I said I don't know. He said, man, you

749
00:39:49,640 --> 00:39:50,919
Speaker 2: gotta be you gotta be something.

750
00:39:50,960 --> 00:39:51,080
Speaker 3: Man.

751
00:39:51,080 --> 00:39:54,720
Speaker 2: I'm telling everybody your name's Jimmy jam And I said, okay.

752
00:39:55,000 --> 00:39:58,160
Speaker 2: He said, Jimmy Jams, pot pots and pans, shake my hand.

753
00:39:58,200 --> 00:40:02,480
Speaker 2: He went into this whole rap, right, and I okay, cool. Right,

754
00:40:02,640 --> 00:40:06,360
Speaker 2: So anyway, he started telling everybody my name was Jimmy

755
00:40:06,440 --> 00:40:10,080
Speaker 2: jam And and it just stuck, and even to the

756
00:40:10,080 --> 00:40:13,520
Speaker 2: point when we did the first time record and I

757
00:40:13,560 --> 00:40:15,840
Speaker 2: said to Prince when Prince was doing like the credits

758
00:40:15,880 --> 00:40:20,160
Speaker 2: on the record, and I said, Prince, what name should

759
00:40:20,160 --> 00:40:22,759
Speaker 2: I be under? And he said, you should be Jimmy Cham.

760
00:40:23,160 --> 00:40:25,560
Speaker 2: I said, okay, cool, so that was it. So then

761
00:40:25,600 --> 00:40:29,640
Speaker 2: it was historic because it was in printed. Brother gave

762
00:40:29,680 --> 00:40:31,799
Speaker 2: me my name, Delphonix. Yes, sir, the bartender at the

763
00:40:31,800 --> 00:40:47,879
Speaker 2: Fox Trap. Okay, so I'm sorry because we're totally off

764
00:40:47,920 --> 00:40:54,000
Speaker 2: track here. Yeah, okay, So okay, So I tell this

765
00:40:54,080 --> 00:40:56,360
Speaker 2: story about playing in all the different clubs and stuff.

766
00:40:57,320 --> 00:41:02,840
Speaker 2: So at the Fox Trap, Terry was playing downstairs in

767
00:41:02,920 --> 00:41:05,759
Speaker 2: the live music room, right. I was playing upstairs right

768
00:41:05,880 --> 00:41:08,319
Speaker 2: and the DJ room, and Terry used to come up.

769
00:41:08,440 --> 00:41:11,040
Speaker 2: And Terry is really good at bugging the shit out

770
00:41:11,040 --> 00:41:13,919
Speaker 2: of people and twisting their arm, and he's really good

771
00:41:13,920 --> 00:41:17,640
Speaker 2: at that. He's stubborn, right, So his whole thing was, man,

772
00:41:17,680 --> 00:41:19,799
Speaker 2: you ain't a DJ, man, you're a musician. Man. You

773
00:41:19,840 --> 00:41:21,800
Speaker 2: need to join the band. We need a keyboard player

774
00:41:21,840 --> 00:41:23,719
Speaker 2: and such and such, and and I'm like, Terry, I

775
00:41:23,800 --> 00:41:26,600
Speaker 2: just I'm not feeling it, man, you know whatever. So

776
00:41:27,520 --> 00:41:30,320
Speaker 2: one day he comes up to the booth and he says, jam,

777
00:41:30,480 --> 00:41:32,880
Speaker 2: he said, we got a keyboard player. And I thought,

778
00:41:32,960 --> 00:41:35,759
Speaker 2: oh great, he's gonna quit bugging me now. And he

779
00:41:35,800 --> 00:41:38,040
Speaker 2: says right. So I'm like, he said come down, and

780
00:41:38,080 --> 00:41:41,200
Speaker 2: you should come down and check him out. And I said, okay, cool,

781
00:41:41,920 --> 00:41:43,920
Speaker 2: so I grabbed knee deep by funk a Delic, which

782
00:41:44,000 --> 00:41:47,239
Speaker 2: was I think seventeen minutes or whatever it was. I

783
00:41:47,400 --> 00:41:49,800
Speaker 2: put that on and I jumped out the booth. It

784
00:41:49,880 --> 00:41:51,440
Speaker 2: was pretty early in the night, so it wasn't you know,

785
00:41:51,480 --> 00:41:53,560
Speaker 2: nobody would have cared if if it went ran out.

786
00:41:53,600 --> 00:41:58,480
Speaker 2: But I ran downstairs. I walk into the room. I

787
00:41:58,560 --> 00:42:02,200
Speaker 2: hear they're playing what you Won't Do For Love Bobby Callwell, right,

788
00:42:02,880 --> 00:42:05,600
Speaker 2: and so they're saying, and I'm hearing this somebody singing

789
00:42:06,040 --> 00:42:12,720
Speaker 2: and dun du. I'm like looking around, who's singing? Somebody singing?

790
00:42:12,719 --> 00:42:15,840
Speaker 2: The asshole? Who's singing? And I look behind this stack

791
00:42:15,880 --> 00:42:20,719
Speaker 2: of keyboards and this little white guy right and I'm

792
00:42:20,760 --> 00:42:23,959
Speaker 2: like looking and I'm like, oh wait, his mouth is moving,

793
00:42:23,960 --> 00:42:26,680
Speaker 2: but it doesn't sound like a white boy singing. And

794
00:42:26,719 --> 00:42:29,320
Speaker 2: who is that? You know? So I went back upstairs.

795
00:42:29,400 --> 00:42:30,759
Speaker 2: I looked at Terry and I went, you know, gave

796
00:42:30,840 --> 00:42:32,600
Speaker 2: ing thumbs up. I went back upstairs. So after the

797
00:42:32,600 --> 00:42:35,359
Speaker 2: gig was over, I came back down. I said, hey, man,

798
00:42:35,360 --> 00:42:37,400
Speaker 2: who was singing to Bobby Callwell? He said, that's our

799
00:42:37,480 --> 00:42:40,480
Speaker 2: keyboard player, Monty Moyer, And I said, oh, I said,

800
00:42:40,560 --> 00:42:43,279
Speaker 2: nice to meet you. Monty. I said, cool, Terry. I said, well, good,

801
00:42:43,280 --> 00:42:45,560
Speaker 2: you got your keyboard player now we you know, good luck,

802
00:42:45,640 --> 00:42:48,759
Speaker 2: you know. He said, no, man, he said, we got

803
00:42:48,760 --> 00:42:52,200
Speaker 2: to have two keyboard players. Man, that's that's the vibe,

804
00:42:52,200 --> 00:42:55,880
Speaker 2: two keyboard players. So fast forward a little while. I

805
00:42:56,000 --> 00:42:59,200
Speaker 2: was going out with this older lady, right, and she

806
00:42:59,280 --> 00:43:01,920
Speaker 2: was beautiful too perto rican. Oh my god. Anyway, so

807
00:43:03,640 --> 00:43:05,360
Speaker 2: anyway she broke my heart. I was I think I

808
00:43:05,400 --> 00:43:08,480
Speaker 2: was eighteen, she was thirty, proudly right, Oh wow, so damn.

809
00:43:13,280 --> 00:43:15,319
Speaker 2: Her name her name was Carmen, and she worked at

810
00:43:15,320 --> 00:43:18,600
Speaker 2: the Horse of course. She worked at the at the

811
00:43:18,640 --> 00:43:21,000
Speaker 2: cosmetic counter, one of the stores up there, man, and

812
00:43:21,040 --> 00:43:23,920
Speaker 2: she just was amazing. So anyway, she broke over me.

813
00:43:23,960 --> 00:43:26,560
Speaker 2: So I'm a little broken hearted, and I'm walking home, right,

814
00:43:26,600 --> 00:43:28,560
Speaker 2: I'm walking from her apartment home, which is, you know,

815
00:43:28,600 --> 00:43:30,960
Speaker 2: maybe ten blocks not that far. So I'm walking up

816
00:43:31,000 --> 00:43:33,080
Speaker 2: Lake Street, which was one of the main things. And

817
00:43:33,120 --> 00:43:35,840
Speaker 2: I walked by this club. I didn't even know it

818
00:43:35,880 --> 00:43:37,600
Speaker 2: was a club. It was like a community center. And

819
00:43:37,600 --> 00:43:39,600
Speaker 2: I'm walking by and I hear, you know, music coming

820
00:43:39,600 --> 00:43:41,919
Speaker 2: out of it and stuff, and I was like something

821
00:43:42,040 --> 00:43:43,680
Speaker 2: going on in here, right, So I opened the door.

822
00:43:43,800 --> 00:43:46,560
Speaker 2: I look in, I walk in. There's a band rehearsing.

823
00:43:47,120 --> 00:43:51,399
Speaker 2: Whose band is it? Terry's band? Right? I said, Terry,

824
00:43:51,400 --> 00:43:53,600
Speaker 2: what's up? Man? He said, oh, this is our rehearsal space.

825
00:43:53,640 --> 00:43:53,799
Speaker 4: Man.

826
00:43:53,800 --> 00:43:55,960
Speaker 2: Where you know this? They opened up this club. They're

827
00:43:56,000 --> 00:43:57,600
Speaker 2: letting us rehearse here and then they're going to actually

828
00:43:57,640 --> 00:43:59,480
Speaker 2: open it up night times. And it was called the

829
00:43:59,560 --> 00:44:04,319
Speaker 2: YASM y a a s M, which was the Young

830
00:44:04,440 --> 00:44:12,719
Speaker 2: African American Society of Men or something like that or something.

831
00:44:13,640 --> 00:44:16,799
Speaker 1: Yeah, it turned out it's upstanding.

832
00:44:16,880 --> 00:44:20,759
Speaker 2: Yeah yeah, so they yeah them. So anyway, I was like, okay, cool.

833
00:44:20,920 --> 00:44:23,200
Speaker 2: So anyway, they're in their rehearsing and stuff. I said, yeah,

834
00:44:23,239 --> 00:44:25,279
Speaker 2: cool cool. So Terry said yeah, man, so come on, man,

835
00:44:25,320 --> 00:44:27,080
Speaker 2: you ready to join the band? And I said no, man,

836
00:44:27,080 --> 00:44:29,279
Speaker 2: I said, I you know, I'm this girl. Just broke

837
00:44:29,320 --> 00:44:31,600
Speaker 2: my heart, man, you know. And Terry's like, man, you

838
00:44:31,719 --> 00:44:33,279
Speaker 2: get your mind off of man, you know, you just

839
00:44:33,320 --> 00:44:35,000
Speaker 2: need to jump back in. Just I said, nah, man,

840
00:44:35,080 --> 00:44:37,359
Speaker 2: I don't have any keyboards. Man. You know, I sold

841
00:44:37,400 --> 00:44:40,080
Speaker 2: all my keyboards and stuff. You know, we'll get you keyboards. Man,

842
00:44:40,080 --> 00:44:41,719
Speaker 2: what kind of keyboards you want? Man? I said, no, no,

843
00:44:41,760 --> 00:44:44,000
Speaker 2: I don't Terry, I'm good. Right, So this is before

844
00:44:44,080 --> 00:44:47,520
Speaker 2: cell phones, right, I go home. Next day, my phone

845
00:44:47,600 --> 00:44:50,719
Speaker 2: rings Terry Lewis, Come on jan what you're gonna do? Man?

846
00:44:50,920 --> 00:44:53,000
Speaker 2: Come on man, we got we got keyboards for you. Man,

847
00:44:53,040 --> 00:44:54,920
Speaker 2: come on down, come on down, you know. And at

848
00:44:54,960 --> 00:44:57,120
Speaker 2: that point they had started getting some gigs and stuff.

849
00:44:57,880 --> 00:44:59,920
Speaker 2: They were gonna be opening for the Barcades and Switch

850
00:45:00,160 --> 00:45:02,920
Speaker 2: at this concert. Right whoa, So it was like, man,

851
00:45:02,960 --> 00:45:04,320
Speaker 2: you got to join the band. Man, we're going to

852
00:45:04,440 --> 00:45:07,080
Speaker 2: be opening for Barcades and Switch. Now at this point

853
00:45:07,120 --> 00:45:12,400
Speaker 2: in time, the Alexander O'Neill was our lead singer. Okay, okay,

854
00:45:12,520 --> 00:45:15,400
Speaker 2: so this is when Alex was the lead singer. So anyway,

855
00:45:15,400 --> 00:45:17,759
Speaker 2: we had a nice little band. We had basically the band.

856
00:45:17,800 --> 00:45:19,440
Speaker 2: We didn't have a guitar player. We it was kind

857
00:45:19,440 --> 00:45:21,600
Speaker 2: of we would rent a guitar player, but we didn't

858
00:45:21,600 --> 00:45:25,960
Speaker 2: really have anybody serious on guitar. Right, So anyway, we

859
00:45:26,040 --> 00:45:30,040
Speaker 2: go and do the gig. The gig was cool. Somebody

860
00:45:30,040 --> 00:45:33,239
Speaker 2: from Switch stole some some of our shoes. Really yeah,

861
00:45:33,719 --> 00:45:39,600
Speaker 2: yeah exactly, So anyway, but it was cool. So at

862
00:45:39,600 --> 00:45:41,600
Speaker 2: that point I pretty much was in that. So anyway,

863
00:45:41,640 --> 00:45:43,600
Speaker 2: so the band was set except we didn't have a

864
00:45:43,600 --> 00:45:47,480
Speaker 2: guitar player. So we started gig and started doing our thing.

865
00:45:47,560 --> 00:45:50,239
Speaker 2: Our reputation was basically that we were the we were

866
00:45:50,239 --> 00:45:53,480
Speaker 2: the best band in Minnesota. So we you know, we

867
00:45:53,600 --> 00:45:57,720
Speaker 2: would other bands agree with you, well, yes, they would,

868
00:45:57,840 --> 00:46:02,480
Speaker 2: obtually interestingly enough, because what happened was so this is

869
00:46:02,480 --> 00:46:06,080
Speaker 2: the Jesse Johnson piece. So Jesse had Jesse had moved

870
00:46:06,120 --> 00:46:09,360
Speaker 2: to Minneapolis, or actually had come to Minneapolis because he

871
00:46:09,360 --> 00:46:13,239
Speaker 2: heard Prince was looking for a guitar player. But he

872
00:46:13,320 --> 00:46:15,760
Speaker 2: was mistaken because he was actually looking for a bass player.

873
00:46:15,760 --> 00:46:18,759
Speaker 2: He was looking for somebody and he ended up getting

874
00:46:18,800 --> 00:46:23,520
Speaker 2: brown Mark. But he but Prince met him, and Prince,

875
00:46:23,640 --> 00:46:26,360
Speaker 2: you know, like Jesse, and he said, he told Jesse,

876
00:46:26,440 --> 00:46:28,239
Speaker 2: he said, you should, you should stay in town and

877
00:46:28,560 --> 00:46:30,279
Speaker 2: and you know, get in one of the bands up

878
00:46:30,320 --> 00:46:34,640
Speaker 2: here and just you know, stick around. So Jesse went

879
00:46:34,680 --> 00:46:37,720
Speaker 2: to Morris's band, which was called Enterprise Band and Pleasure.

880
00:46:38,680 --> 00:46:42,520
Speaker 2: So Morris, interestingly enough, was the drummer in that band,

881
00:46:43,040 --> 00:46:45,680
Speaker 2: not the lead singer, and a girl named Sue Anne

882
00:46:45,719 --> 00:46:51,759
Speaker 2: Carwell was the lead singer. Sue Anne Carwell was amazing,

883
00:46:52,480 --> 00:46:55,640
Speaker 2: amazing singer. Prince di It's a lot of stuff with

884
00:46:55,680 --> 00:46:57,719
Speaker 2: her back in the day too. Yeah, I mean she was.

885
00:46:57,719 --> 00:47:02,840
Speaker 2: She was an amazing singer. Interesting enough, little side note,

886
00:47:03,600 --> 00:47:06,680
Speaker 2: Morris did come up and sing one song every night.

887
00:47:06,719 --> 00:47:08,839
Speaker 2: He got off the drums and Suana actually went back

888
00:47:08,840 --> 00:47:12,240
Speaker 2: and played the drums. Oh, they traded, they traded switch

889
00:47:12,360 --> 00:47:17,879
Speaker 2: and and the song was ironically too Hot, like cool

890
00:47:17,920 --> 00:47:21,040
Speaker 2: the game, cool the game. Oh, okay, okay, okay. So

891
00:47:21,080 --> 00:47:26,160
Speaker 2: mister Coole sang too Hot, so and so and he

892
00:47:26,280 --> 00:47:28,040
Speaker 2: sang it really good. That was the funny thing. And

893
00:47:28,040 --> 00:47:29,719
Speaker 2: if you think about it, that's a really tough song

894
00:47:29,760 --> 00:47:31,560
Speaker 2: to sing. There's a lot of different intervals and it's

895
00:47:31,560 --> 00:47:33,479
Speaker 2: crazy if you ever watch people try to sing that song.

896
00:47:33,600 --> 00:47:37,640
Speaker 2: It's tough. A bridge is tough. No, it's think about it.

897
00:47:41,400 --> 00:47:44,839
Speaker 2: You gotta hit all the not Yeah, it's a lot

898
00:47:44,880 --> 00:47:47,080
Speaker 2: of and then it goes to the change and then

899
00:47:47,760 --> 00:47:49,600
Speaker 2: you know it's a lot. Anyway, he used to hit

900
00:47:49,640 --> 00:47:53,560
Speaker 2: it flawlessly every night. Right. So, anyway, everybody kept telling

901
00:47:53,640 --> 00:47:56,160
Speaker 2: us about this guitar player. You know, they come to

902
00:47:56,200 --> 00:47:58,799
Speaker 2: our gigs and they'd be like, man, you checked out

903
00:47:59,080 --> 00:48:01,120
Speaker 2: Morris and Nim's guitar player, And we were like no,

904
00:48:01,480 --> 00:48:03,319
Speaker 2: he said, man, they got this guitar player. Man, he

905
00:48:03,360 --> 00:48:06,799
Speaker 2: wears pink suits. It does like ten minute guitar solos. Man.

906
00:48:06,800 --> 00:48:08,879
Speaker 2: You got to check him out. And we were like, okay, cool.

907
00:48:08,920 --> 00:48:11,800
Speaker 2: So we had a night off, we went over and

908
00:48:11,840 --> 00:48:16,000
Speaker 2: checked him out. He was exactly as advertised, right. So

909
00:48:16,200 --> 00:48:20,440
Speaker 2: afterwards we went up two women. We said, hey, man,

910
00:48:20,480 --> 00:48:22,239
Speaker 2: you need to come join our band. You need to

911
00:48:22,239 --> 00:48:25,239
Speaker 2: come watch us. You know, nothing against Morris, but you

912
00:48:25,320 --> 00:48:28,080
Speaker 2: need to come to our band. So he said, okay, cool.

913
00:48:28,120 --> 00:48:32,839
Speaker 2: So the next weekend he came here. Well, I mean,

914
00:48:32,880 --> 00:48:34,279
Speaker 2: you know, because I mean there's no I mean it

915
00:48:34,400 --> 00:48:36,520
Speaker 2: is all word of mouth and the fighting words then

916
00:48:37,560 --> 00:48:39,920
Speaker 2: taking money out of my mouth. Well there's no social

917
00:48:40,040 --> 00:48:41,560
Speaker 2: I mean there's no social media. So I mean it's

918
00:48:41,600 --> 00:48:43,239
Speaker 2: all just kind of word of mouth. Somebody hears something,

919
00:48:43,239 --> 00:48:44,719
Speaker 2: they tell the next person, they tell the next person,

920
00:48:44,760 --> 00:48:46,359
Speaker 2: so on and so far. That's what it was. And

921
00:48:46,440 --> 00:48:50,319
Speaker 2: so anyway, yeah, so you know, he came over, checked

922
00:48:50,320 --> 00:48:55,319
Speaker 2: our band out and we were good. Right. So he

923
00:48:55,400 --> 00:48:59,200
Speaker 2: went back to Morris and he said, yo, Morris, he said,

924
00:49:00,360 --> 00:49:02,319
Speaker 2: you know, no offense man, but you know I'm going

925
00:49:02,400 --> 00:49:04,640
Speaker 2: to join a flight time. Man. They're like really good.

926
00:49:06,480 --> 00:49:09,160
Speaker 2: And when MORI said actually kind of surprised, well, it

927
00:49:09,239 --> 00:49:12,479
Speaker 2: surprised us when he told us he said, he said,

928
00:49:12,480 --> 00:49:15,480
Speaker 2: and Morris said, yeah, that's cool, Jesse, because pretty soon

929
00:49:15,480 --> 00:49:16,880
Speaker 2: we're all gonna be one band anyway.

930
00:49:17,120 --> 00:49:17,600
Speaker 3: Wow.

931
00:49:19,320 --> 00:49:21,160
Speaker 2: And we didn't know what that meant. We were like,

932
00:49:21,760 --> 00:49:23,200
Speaker 2: what's the time I wrong going to be one band?

933
00:49:23,440 --> 00:49:27,280
Speaker 2: That doesn't make any sense. Okay. So, as the story goes,

934
00:49:28,320 --> 00:49:31,200
Speaker 2: Prince when he was doing the Dirty Mind album, right,

935
00:49:31,680 --> 00:49:33,600
Speaker 2: and of course the first couple of albums he did

936
00:49:33,640 --> 00:49:36,600
Speaker 2: were more R and B records with some rock stuff

937
00:49:36,640 --> 00:49:38,960
Speaker 2: on it, but Dirty Mind was a whole different departure.

938
00:49:39,480 --> 00:49:42,960
Speaker 2: Warner Brothers was scared of Dirty Mind because they didn't

939
00:49:43,000 --> 00:49:48,200
Speaker 2: hear any like funky hits on there. Uptown sort of

940
00:49:49,000 --> 00:49:51,400
Speaker 2: in that, but they wanted another song. They said, we

941
00:49:51,440 --> 00:49:56,840
Speaker 2: need another funky song on the record. Right, So Morris

942
00:49:56,920 --> 00:50:02,320
Speaker 2: actually wrote Party Up, but Prince took the credit for it.

943
00:50:02,400 --> 00:50:05,680
Speaker 2: But he owed Morris a favor and he told Morris,

944
00:50:06,360 --> 00:50:08,799
Speaker 2: if you put a band together, I'll get your record deal.

945
00:50:09,760 --> 00:50:14,080
Speaker 2: So Morris came over to our band and said, Prince said,

946
00:50:14,120 --> 00:50:15,960
Speaker 2: if I put a band together, he'll give it, get it,

947
00:50:16,200 --> 00:50:19,000
Speaker 2: get us a record deal. So y'all just be the

948
00:50:19,040 --> 00:50:21,799
Speaker 2: band and now we'll go get a record deal. And

949
00:50:21,840 --> 00:50:24,959
Speaker 2: that's how Morse ended up in the band. But that's

950
00:50:25,000 --> 00:50:26,160
Speaker 2: not the end of the store.

951
00:50:26,239 --> 00:50:29,320
Speaker 6: I was gonna say so because he didn't want to

952
00:50:29,320 --> 00:50:31,680
Speaker 6: sing initially, right, Alex.

953
00:50:31,840 --> 00:50:35,080
Speaker 2: So we had two dilemmas. One was well, actually it

954
00:50:35,120 --> 00:50:38,240
Speaker 2: wasn't the We actually had one dilemma because Alexander O'Neil

955
00:50:38,400 --> 00:50:41,640
Speaker 2: was the lead singer of the group. Was he a

956
00:50:41,640 --> 00:50:47,239
Speaker 2: good lead singer? Singer at that time? Alexandro amazing. Never

957
00:50:47,360 --> 00:50:53,359
Speaker 2: would sing the same lyrics. Twice we had a song

958
00:50:53,400 --> 00:50:55,359
Speaker 2: called I remember, we had a song called march Wright.

959
00:50:55,520 --> 00:50:59,200
Speaker 2: There was an original song and every gig he'd sing

960
00:50:59,239 --> 00:51:01,600
Speaker 2: different lyrics. He just would just make up lyrics as

961
00:51:01,600 --> 00:51:04,080
Speaker 2: he went along. The course would always be the same,

962
00:51:04,120 --> 00:51:06,480
Speaker 2: but the actual lyrics he would sing were always different.

963
00:51:06,800 --> 00:51:08,759
Speaker 2: And he did that a lot because he never showed

964
00:51:08,800 --> 00:51:11,840
Speaker 2: up the rehearsals and he never you know, he didn't

965
00:51:12,000 --> 00:51:13,600
Speaker 2: really care, but he no, he could pull it off.

966
00:51:13,600 --> 00:51:20,600
Speaker 2: He was alex was amazing. So anyway, our big dilemma was, well,

967
00:51:20,640 --> 00:51:23,920
Speaker 2: if Morris is the drummer, what happens to Jellybee? Do

968
00:51:24,000 --> 00:51:28,360
Speaker 2: we have two drummers? Jelly Bean was good on guitar,

969
00:51:28,480 --> 00:51:30,200
Speaker 2: but not at the point where we could make him

970
00:51:30,200 --> 00:51:32,279
Speaker 2: into a guitar player. So he was kind of like

971
00:51:32,360 --> 00:51:35,399
Speaker 2: gonna be the odd man out and it was almost like, Wow,

972
00:51:35,440 --> 00:51:38,640
Speaker 2: who's going to break the news to Bean? And oh really?

973
00:51:38,800 --> 00:51:42,520
Speaker 2: Oh yeah, so we were at that point. Well, so

974
00:51:42,719 --> 00:51:47,160
Speaker 2: Prince called a dinner at Perkins Cake and Steakhouse, which

975
00:51:47,200 --> 00:51:54,040
Speaker 2: is sort of like the equivalent of Denny's but better No,

976
00:51:54,080 --> 00:51:57,319
Speaker 2: it's still there. I would still I went to that Perkins. Yep,

977
00:51:57,840 --> 00:52:00,440
Speaker 2: my first night at Paisley. Yep, it's still there. Right,

978
00:52:00,520 --> 00:52:04,160
Speaker 2: that's crazy. So anyway, we sit down and we're all

979
00:52:04,200 --> 00:52:06,960
Speaker 2: going to have dinner basically, and Prince is gonna kind

980
00:52:06,960 --> 00:52:09,600
Speaker 2: of lay out the game plan and what we're gonna do. Right,

981
00:52:10,440 --> 00:52:13,680
Speaker 2: So Alexander O'Neil's there. Now. The first thing to say

982
00:52:13,680 --> 00:52:16,840
Speaker 2: about Alex is Alex always speaks in the third person,

983
00:52:18,440 --> 00:52:26,400
Speaker 2: like a football player. Yeah. So so Alex, now he know,

984
00:52:26,480 --> 00:52:29,759
Speaker 2: he goes into his before now we've we've ordered food, right,

985
00:52:30,000 --> 00:52:33,400
Speaker 2: and of course Prince is buying. So Alex orders a

986
00:52:33,400 --> 00:52:37,239
Speaker 2: big steak and he orders all this food, right, So

987
00:52:37,719 --> 00:52:42,520
Speaker 2: Alex goes, Okay, Prince before we get started, because he

988
00:52:42,560 --> 00:52:44,440
Speaker 2: had a little lisp, right, so he would have go, okay,

989
00:52:44,440 --> 00:52:46,120
Speaker 2: Prince before we get started and things like that that

990
00:52:46,239 --> 00:52:47,319
Speaker 2: you know, I had a few things I just want

991
00:52:47,320 --> 00:52:51,600
Speaker 2: to get off my chest. There we go, and and

992
00:52:51,680 --> 00:52:54,399
Speaker 2: we're all like looking at Alex like what are you doing? Man?

993
00:52:54,440 --> 00:52:56,680
Speaker 2: And He's like, so, you know, here's the thing. So now,

994
00:52:56,719 --> 00:52:59,040
Speaker 2: alexand O'Neil, you know, first of all, adaxon on Neil

995
00:52:59,080 --> 00:53:02,160
Speaker 2: need you know, I need to new house. I needed.

996
00:53:02,239 --> 00:53:03,880
Speaker 2: I need a new call. You know, I need I

997
00:53:03,880 --> 00:53:06,120
Speaker 2: need a pulling things. You know, Alis down on Neil,

998
00:53:06,160 --> 00:53:08,000
Speaker 2: you know, yeah, I need a pulling things. You know,

999
00:53:08,000 --> 00:53:09,680
Speaker 2: God is down on Neil needs you know, I just

1000
00:53:09,719 --> 00:53:11,399
Speaker 2: need some things. You know. I know this this whole

1001
00:53:11,440 --> 00:53:13,320
Speaker 2: record thing is real cute and and all that stuff that,

1002
00:53:13,480 --> 00:53:15,600
Speaker 2: but this, you know, Alex Thatann o' neil needs some things.

1003
00:53:15,600 --> 00:53:17,680
Speaker 2: You know what I'm saying, Prince. You know, so this

1004
00:53:17,760 --> 00:53:19,200
Speaker 2: is all cute and everything, you know, but I'm just

1005
00:53:19,239 --> 00:53:20,880
Speaker 2: letting you know that, you know, before we get started.

1006
00:53:20,920 --> 00:53:25,040
Speaker 2: You know, this is and and as he's talking, everybody's

1007
00:53:25,120 --> 00:53:27,799
Speaker 2: kicking each other under the table and nudging everybody like

1008
00:53:27,840 --> 00:53:29,920
Speaker 2: what the heck is this dude doing. We ain't even

1009
00:53:29,960 --> 00:53:32,799
Speaker 2: got the deals. Ain't sot louen sign condoe, ain't nothing.

1010
00:53:32,960 --> 00:53:38,160
Speaker 2: It's like, you know, so as he's talking and I

1011
00:53:38,200 --> 00:53:40,880
Speaker 2: see this and if we ever do our movie we

1012
00:53:40,920 --> 00:53:45,840
Speaker 2: want to do, it's like a movie. Alex, the waiter

1013
00:53:45,960 --> 00:53:52,480
Speaker 2: comes and as Alex is finishing his tirade, puts this

1014
00:53:52,600 --> 00:53:56,120
Speaker 2: big steak down in front of him, and Alex goes

1015
00:53:56,200 --> 00:53:58,920
Speaker 2: right on, cue Princess. So just the way I see it.

1016
00:53:58,920 --> 00:54:00,239
Speaker 2: So I'm gonna go ahead and throw down a see

1017
00:54:00,239 --> 00:54:14,560
Speaker 2: a steak right here. So Prince and Morris look at

1018
00:54:14,600 --> 00:54:20,600
Speaker 2: each other and get up and leave the restaurant. Yeah,

1019
00:54:20,680 --> 00:54:25,520
Speaker 2: they're gone. So now we're like, going, he's gonna pay

1020
00:54:25,520 --> 00:54:31,480
Speaker 2: for this. This is not right. Yeah yeah, so we're like, okay,

1021
00:54:31,600 --> 00:54:34,400
Speaker 2: this is not good. So anyway, I don't even know.

1022
00:54:34,480 --> 00:54:35,880
Speaker 2: We were like, dude, what are you What are you

1023
00:54:35,920 --> 00:54:37,120
Speaker 2: doing here? Man? What are you doing?

1024
00:54:37,120 --> 00:54:37,279
Speaker 4: Now?

1025
00:54:37,360 --> 00:54:39,560
Speaker 2: Like, well, man, I'm you know, I'm just you know,

1026
00:54:39,640 --> 00:54:41,600
Speaker 2: trying to point out a few things. You know, people

1027
00:54:41,600 --> 00:54:43,880
Speaker 2: think because I'm telling you, man, you know, he's the

1028
00:54:43,880 --> 00:54:45,600
Speaker 2: way it is without that O'Neill. You know, if there's

1029
00:54:45,600 --> 00:54:47,319
Speaker 2: a bear in the woods in Alexander, Neil, you better

1030
00:54:47,320 --> 00:54:48,840
Speaker 2: help the Beard because you don't got to help Alexand

1031
00:54:57,160 --> 00:54:59,040
Speaker 2: and by the way, we have a publishing company called

1032
00:54:59,080 --> 00:55:02,640
Speaker 2: Help the Bear. Wow. And that's why because that was

1033
00:55:02,680 --> 00:55:06,560
Speaker 2: Alex's that was alexix line. So, needless to say, we

1034
00:55:07,080 --> 00:55:09,560
Speaker 2: just thought everything was done. And I can't remember whether

1035
00:55:10,120 --> 00:55:12,120
Speaker 2: So Terry got a phone call and I can't remember

1036
00:55:12,120 --> 00:55:15,000
Speaker 2: whether it was from Morris or from Prince. I think

1037
00:55:15,000 --> 00:55:18,560
Speaker 2: it might have been from Prince and he just said

1038
00:55:19,840 --> 00:55:21,879
Speaker 2: because it was just it was a very short thing.

1039
00:55:21,920 --> 00:55:24,640
Speaker 2: It was. It was basically lose the Bear. Yeah, it

1040
00:55:24,719 --> 00:55:32,520
Speaker 2: was like Alexander or Neil is out, Morris Day is

1041
00:55:32,560 --> 00:55:36,839
Speaker 2: the lead singer, Jelly Bren Johnson is the drummer. Meet

1042
00:55:36,880 --> 00:55:39,200
Speaker 2: tomorrow at nine o'clock at such and such and such

1043
00:55:39,200 --> 00:55:44,840
Speaker 2: at the Yasm to rehearse. And that was it, and

1044
00:55:44,920 --> 00:55:49,840
Speaker 2: Alex was done. Bean was the drummer, Morris was somebody

1045
00:55:49,880 --> 00:55:52,480
Speaker 2: told him. I don't know who told him, but yeah,

1046
00:55:52,640 --> 00:55:53,520
Speaker 2: he got the word.

1047
00:55:54,120 --> 00:55:55,959
Speaker 6: I need to know the story of the next time

1048
00:55:55,960 --> 00:55:57,000
Speaker 6: you saw Alex.

1049
00:55:57,200 --> 00:56:00,439
Speaker 2: So was Alex cool with this? Of course?

1050
00:56:00,480 --> 00:56:00,520
Speaker 4: Not?

1051
00:56:00,719 --> 00:56:02,759
Speaker 2: Well, yeah, because yeah, because you know, help the band,

1052
00:56:04,120 --> 00:56:08,200
Speaker 2: we don't help you. No, But I remember what our

1053
00:56:08,239 --> 00:56:11,239
Speaker 2: conversation with the conversation I remember having with Alex after

1054
00:56:11,239 --> 00:56:13,439
Speaker 2: that was just one where we said to him, hey, man,

1055
00:56:14,920 --> 00:56:17,200
Speaker 2: if we make it, meaning me and me and Terry

1056
00:56:17,239 --> 00:56:19,120
Speaker 2: had this conversation with him. We just said, man, when

1057
00:56:19,160 --> 00:56:22,000
Speaker 2: we make it, we're coming back and getting you. And

1058
00:56:22,000 --> 00:56:22,480
Speaker 2: that was it.

1059
00:56:23,440 --> 00:56:29,480
Speaker 8: And see, Bill, it works out, no, because we we

1060
00:56:29,640 --> 00:56:32,000
Speaker 8: you know, it just you know, we felt bad and

1061
00:56:32,360 --> 00:56:34,200
Speaker 8: we felt like, you know, we didn't know the way

1062
00:56:34,200 --> 00:56:35,120
Speaker 8: things were going to work out, that.

1063
00:56:35,080 --> 00:56:37,919
Speaker 2: We'd actually have an opportunity to do that and come

1064
00:56:37,960 --> 00:56:39,759
Speaker 2: back and grab him. But we did the way things

1065
00:56:39,760 --> 00:56:42,200
Speaker 2: worked out. But but now we just kind of felt

1066
00:56:42,200 --> 00:56:44,120
Speaker 2: like that, and you know, and then at that point

1067
00:56:44,200 --> 00:56:46,400
Speaker 2: we were we were off and running and Alex was

1068
00:56:46,440 --> 00:56:49,640
Speaker 2: just you know, still gigging locally and everything, you know.

1069
00:56:49,760 --> 00:56:52,640
Speaker 2: But yeah, he talked himself right out of that and

1070
00:56:52,680 --> 00:56:55,640
Speaker 2: we did one song with Alex, actually recorded one song

1071
00:56:56,360 --> 00:56:58,439
Speaker 2: called you. It was called you. Yeah, he was called

1072
00:56:58,480 --> 00:57:04,600
Speaker 2: you would be Mine. Wow it sounded vague, yeah, exactly, yeah,

1073
00:57:04,840 --> 00:57:05,920
Speaker 2: it was. It was ironic.

1074
00:57:05,960 --> 00:57:12,359
Speaker 1: But so once you guys started rehearsing, uh, well, yeah,

1075
00:57:12,440 --> 00:57:15,040
Speaker 1: talk about that process, like how often would you guys

1076
00:57:15,080 --> 00:57:16,360
Speaker 1: rehearse and.

1077
00:57:16,560 --> 00:57:19,920
Speaker 2: Every single day? Every single day? Now here's the thing. Now,

1078
00:57:19,960 --> 00:57:22,240
Speaker 2: the album was already done. I mean Morrison Prince had

1079
00:57:22,280 --> 00:57:24,360
Speaker 2: already done the Time album. We didn't play on the

1080
00:57:24,360 --> 00:57:27,800
Speaker 2: Time album a lick. So you were given, we were

1081
00:57:28,040 --> 00:57:31,960
Speaker 2: record the cassette, were given, given the cassette and six

1082
00:57:32,000 --> 00:57:35,920
Speaker 2: songs could learn learn these songs? Six songs. You also

1083
00:57:36,000 --> 00:57:37,560
Speaker 2: did the what's the to the beat song?

1084
00:57:37,760 --> 00:57:42,600
Speaker 1: The oh no no, no, no oh oh, dance to the beat,

1085
00:57:42,640 --> 00:57:45,320
Speaker 1: Dance to beat dance, So there were extra songs too, correct.

1086
00:57:45,520 --> 00:57:48,520
Speaker 2: Yeah, but we never recorded dance to the Beat. I

1087
00:57:48,520 --> 00:57:50,560
Speaker 2: don't think. I think we just played it live. I

1088
00:57:50,600 --> 00:57:52,640
Speaker 2: don't think we ever recorded it. If it was recorded,

1089
00:57:52,640 --> 00:57:53,560
Speaker 2: it was live for records.

1090
00:57:53,840 --> 00:57:56,080
Speaker 1: It was it only expected of you guys to just

1091
00:57:56,200 --> 00:58:00,360
Speaker 1: do a half hour no matter what, or because I'm like,

1092
00:58:00,400 --> 00:58:03,840
Speaker 1: if you're doing having a show's material usually if people

1093
00:58:03,840 --> 00:58:07,080
Speaker 1: do cover songs, have a forty five minute show already

1094
00:58:07,200 --> 00:58:08,800
Speaker 1: or hour show ready.

1095
00:58:09,240 --> 00:58:11,760
Speaker 2: Well, when we went okay, so when we went out initially,

1096
00:58:12,000 --> 00:58:14,400
Speaker 2: so when we were rehearsed and actually there's one piece

1097
00:58:14,440 --> 00:58:16,680
Speaker 2: of the rehearsal, I got it, I got it, or

1098
00:58:16,720 --> 00:58:19,200
Speaker 2: two actually rehearsal stories I'll relate to you while we're

1099
00:58:19,200 --> 00:58:22,400
Speaker 2: on the rehearsals because we're rehearsing at the YASM and

1100
00:58:22,480 --> 00:58:24,840
Speaker 2: the ASTHM, as it turns out, was owned by this

1101
00:58:24,880 --> 00:58:29,480
Speaker 2: guy named Leonard Weaver was his name, right, Old cat,

1102
00:58:29,560 --> 00:58:33,680
Speaker 2: Old black cat. And he had this bar, and in

1103
00:58:33,720 --> 00:58:36,320
Speaker 2: the bar were these juice machines. One was lemonade and

1104
00:58:36,360 --> 00:58:40,440
Speaker 2: one was fruit punch. And he also had these lamps.

1105
00:58:40,440 --> 00:58:42,520
Speaker 2: It was like a lounge and he had these lamps

1106
00:58:43,040 --> 00:58:45,880
Speaker 2: and they were naked women basically with a lamp shade

1107
00:58:45,920 --> 00:58:49,680
Speaker 2: on top of it. Right. So when we started rehearsing,

1108
00:58:50,640 --> 00:58:55,760
Speaker 2: Leonard said he had two rules. He said, y'all stay

1109
00:58:55,760 --> 00:58:58,640
Speaker 2: out of my juice machine and y'all don't touch my

1110
00:58:58,680 --> 00:59:14,919
Speaker 2: titty LAMPSA it's Italian, so tidy lamb. So we said, okay, cool,

1111
00:59:14,920 --> 00:59:17,200
Speaker 2: we got you man. We're not gonna mess when we

1112
00:59:17,240 --> 00:59:19,600
Speaker 2: got it. So we started rehearsing. We rehearsing every day

1113
00:59:19,600 --> 00:59:25,000
Speaker 2: at this point. So I remember, you know the whole thing. Now,

1114
00:59:25,120 --> 00:59:29,160
Speaker 2: Jerome at this point was not in the group. Jerome

1115
00:59:29,240 --> 00:59:33,120
Speaker 2: was a roadie, right, and I remember we had gone

1116
00:59:33,160 --> 00:59:36,720
Speaker 2: and done a couple of gigs and Jerome had to

1117
00:59:36,800 --> 00:59:40,400
Speaker 2: like ride in the truck with the equipment with this

1118
00:59:40,600 --> 00:59:44,320
Speaker 2: gap tooth British guy, you know, with the British teeth.

1119
00:59:45,640 --> 00:59:48,880
Speaker 2: Jerome helped me, you know, load the abs, and you know,

1120
00:59:48,920 --> 00:59:50,880
Speaker 2: it was like all this and Jerome was just like

1121
00:59:50,920 --> 00:59:53,320
Speaker 2: so pissed off, like you know whatever, but he's you know,

1122
00:59:53,360 --> 00:59:55,760
Speaker 2: he's going along with it, right, So he's trying to

1123
00:59:55,760 --> 00:59:58,160
Speaker 2: figure out, man, how can I get a gig in

1124
00:59:58,240 --> 01:00:00,800
Speaker 2: this thing, you know, you know something? And Terry's trying

1125
01:00:00,800 --> 01:00:02,200
Speaker 2: to figure it out too, because that's his you know,

1126
01:00:02,280 --> 01:00:05,120
Speaker 2: Jerome's Terry's brothers, right, So we're trying to figure this out.

1127
01:00:05,160 --> 01:00:11,160
Speaker 2: So anyway, we're rehearsing and in the stick Morris sings,

1128
01:00:11,160 --> 01:00:14,600
Speaker 2: somebody bring me a mirror. Right. So on the walls

1129
01:00:14,880 --> 01:00:18,280
Speaker 2: of the yasm are these big mirrors, right, but not

1130
01:00:18,680 --> 01:00:22,720
Speaker 2: like little mirrors, but I'm talking about big body, full

1131
01:00:22,840 --> 01:00:26,360
Speaker 2: body mirrors. Right. So Prince is at the rehearsal and

1132
01:00:26,360 --> 01:00:30,800
Speaker 2: he's watching us rehearse, and Morris says, somebody bring me

1133
01:00:30,840 --> 01:00:33,400
Speaker 2: a mirror, and out of the blue, Jerome goes and

1134
01:00:33,440 --> 01:00:36,000
Speaker 2: grabs a mirror off the wall, puts it in front

1135
01:00:36,040 --> 01:00:39,480
Speaker 2: of Morris. Morris turns around, looks at it kind of

1136
01:00:39,520 --> 01:00:43,560
Speaker 2: like started like oh, and pulls out his comb and

1137
01:00:43,640 --> 01:00:47,040
Speaker 2: starts combing his hair. Prince falls on the floor.

1138
01:00:49,280 --> 01:00:53,080
Speaker 8: Like he's like, ah, we gotta do that, we gotta

1139
01:00:53,120 --> 01:00:54,600
Speaker 8: do that, we gotta do that.

1140
01:00:55,680 --> 01:00:58,480
Speaker 2: And Jerome was no longer a Roady. So that's how

1141
01:00:58,600 --> 01:01:00,280
Speaker 2: that's how he went from being the roady to be

1142
01:01:00,360 --> 01:01:03,760
Speaker 2: in the valet. It was simple as that, and that happened.

1143
01:01:03,840 --> 01:01:10,640
Speaker 2: And every night we'd go into the bar and drink

1144
01:01:10,760 --> 01:01:13,600
Speaker 2: the juice out of the juice machine, but then we'd

1145
01:01:13,600 --> 01:01:16,160
Speaker 2: pour water into it so it would look like nothing

1146
01:01:16,200 --> 01:01:19,360
Speaker 2: happened because every time. So Leonard would walk in every

1147
01:01:19,400 --> 01:01:21,040
Speaker 2: day and he'd come in and he'd look and make

1148
01:01:21,040 --> 01:01:23,040
Speaker 2: sure everything was cool. And then one day we were

1149
01:01:23,080 --> 01:01:26,840
Speaker 2: playing around and we broke one of the titty lamps. Oh,

1150
01:01:26,880 --> 01:01:28,960
Speaker 2: and so we like turned it around and tried to

1151
01:01:29,080 --> 01:01:31,440
Speaker 2: kind of glue it and try to whatever. And I

1152
01:01:31,480 --> 01:01:35,680
Speaker 2: swear to god, he walked in and he looked and

1153
01:01:35,760 --> 01:01:39,200
Speaker 2: he said, who's been in my juice machine? Because it's

1154
01:01:39,200 --> 01:01:41,280
Speaker 2: because it's because it's all like light colored now like

1155
01:01:43,760 --> 01:01:45,600
Speaker 2: brothers trying to be slick, but it ain't working right,

1156
01:01:45,800 --> 01:01:47,920
Speaker 2: So it's all like that. And then he looks and

1157
01:01:48,000 --> 01:01:49,439
Speaker 2: he's like looking at it all of us. He said

1158
01:01:49,440 --> 01:01:51,680
Speaker 2: who was in my juice machine? And we're like going, oh,

1159
01:01:51,720 --> 01:01:53,800
Speaker 2: we don't know, but it was Jesse was who it was.

1160
01:01:53,880 --> 01:01:56,200
Speaker 2: So anyway, we were like, no, we don't know, we

1161
01:01:56,280 --> 01:02:03,560
Speaker 2: don't really know. So he was like looking around who lamp?

1162
01:02:03,600 --> 01:02:05,400
Speaker 2: And it's like he can he see that? He's like

1163
01:02:05,440 --> 01:02:07,160
Speaker 2: a one hundred feet away from the Teddy lamb? How

1164
01:02:07,200 --> 01:02:10,720
Speaker 2: does he know they lamp was broke? It was crazy.

1165
01:02:10,760 --> 01:02:13,120
Speaker 2: It was crazy times, man, But it was like the

1166
01:02:13,280 --> 01:02:17,480
Speaker 2: whole formation of us as a unit. That was the

1167
01:02:17,560 --> 01:02:20,960
Speaker 2: back drop of it. And it was the reason we

1168
01:02:21,040 --> 01:02:24,120
Speaker 2: were so tight, not only as musicians but just as

1169
01:02:24,280 --> 01:02:27,520
Speaker 2: people because we already grew up as friends anyway, but

1170
01:02:27,680 --> 01:02:31,840
Speaker 2: that those experiences just totally solidified everything that we were doing.

1171
01:02:31,920 --> 01:02:33,760
Speaker 2: And then we would play at night, like like we

1172
01:02:33,800 --> 01:02:36,080
Speaker 2: would rehearse during the day and then at night Weaver

1173
01:02:36,120 --> 01:02:39,680
Speaker 2: would open the place up, charge people and we play songs,

1174
01:02:39,760 --> 01:02:41,400
Speaker 2: not you know, when we do a couple of covers,

1175
01:02:41,440 --> 01:02:43,800
Speaker 2: but mostly it just be our stuff. People didn't know

1176
01:02:43,840 --> 01:02:46,280
Speaker 2: what the heck we were singing, but they just liked it.

1177
01:02:46,400 --> 01:02:47,640
Speaker 2: You know. It was just like a place to go

1178
01:02:47,760 --> 01:02:51,320
Speaker 2: and hang out. Okay, this is what I gotta know now.

1179
01:02:53,440 --> 01:02:55,120
Speaker 2: More than anything. You guys.

1180
01:02:57,800 --> 01:03:02,680
Speaker 1: Had this image that was just as important and prevalent

1181
01:03:02,880 --> 01:03:10,720
Speaker 1: as the music was. And how did you guys actually

1182
01:03:12,800 --> 01:03:18,000
Speaker 1: care for like, did Mars have ten versions of that

1183
01:03:18,240 --> 01:03:24,800
Speaker 1: gold jacket? Did you haves? Yeah? Exactly because the thing

1184
01:03:25,000 --> 01:03:28,680
Speaker 1: is that what I knew about touring is every show

1185
01:03:28,840 --> 01:03:30,680
Speaker 1: I do, it's drenched?

1186
01:03:32,760 --> 01:03:35,800
Speaker 2: Are you? But I know that it's required that you

1187
01:03:35,920 --> 01:03:39,920
Speaker 2: guys you know it. Do you guys have a.

1188
01:03:39,920 --> 01:03:43,000
Speaker 1: Wardrobe person that runs shit to the cleaners and stuff?

1189
01:03:43,000 --> 01:03:45,560
Speaker 1: Because I feel like, and did you have to look

1190
01:03:45,600 --> 01:03:46,680
Speaker 1: that way? Twenty four to seven?

1191
01:03:48,040 --> 01:03:52,000
Speaker 2: Okay, well, yeah, so the wardrobe really was based on

1192
01:03:52,200 --> 01:03:56,280
Speaker 2: the way we dressed anyway, you guys always as a

1193
01:03:56,360 --> 01:03:58,000
Speaker 2: matter of fact, as a matter of fact, you're looking

1194
01:03:58,040 --> 01:03:59,560
Speaker 2: at it. You're looking at it right now. But I'm

1195
01:03:59,560 --> 01:04:01,320
Speaker 2: going to show you picture of Terry. You can't see

1196
01:04:01,360 --> 01:04:04,360
Speaker 2: this on the air, but this is Terry Lewis at

1197
01:04:04,480 --> 01:04:06,320
Speaker 2: like fourteen fifteen years old?

1198
01:04:06,680 --> 01:04:13,080
Speaker 1: Wowar draft Yeah, and he's got and he's got and

1199
01:04:13,200 --> 01:04:14,840
Speaker 1: he painted this base red, black and green.

1200
01:04:14,920 --> 01:04:17,120
Speaker 2: This is the base when I met Terry, he painted

1201
01:04:17,480 --> 01:04:19,480
Speaker 2: his you know, so he was afrocentric in the whole thing,

1202
01:04:20,240 --> 01:04:25,600
Speaker 2: that's right. So when people talk about the way we looked.

1203
01:04:25,640 --> 01:04:28,200
Speaker 2: I mean that that goes from you know back in

1204
01:04:28,240 --> 01:04:30,200
Speaker 2: that day. I mean we we we used to take

1205
01:04:30,640 --> 01:04:33,080
Speaker 2: because the three stores, we couldn't afford to dress. We

1206
01:04:33,160 --> 01:04:35,160
Speaker 2: wanted to dress nice, but we couldn't afford it. But

1207
01:04:35,200 --> 01:04:36,400
Speaker 2: you could go to a thirst store and get a

1208
01:04:36,440 --> 01:04:39,360
Speaker 2: suit for ten bucks, right, and get a hat and

1209
01:04:39,480 --> 01:04:42,000
Speaker 2: whole thing. So we were always rocking that style and

1210
01:04:42,320 --> 01:04:45,840
Speaker 2: Prince just enhanced it. Now Morris is stuff the press

1211
01:04:46,040 --> 01:04:48,600
Speaker 2: we called it the pressley, the jacket that he had

1212
01:04:48,640 --> 01:04:51,400
Speaker 2: on the first two album covers. There was only one. Yeah,

1213
01:04:51,640 --> 01:04:54,200
Speaker 2: there was only one that was it the pressley, And yeah,

1214
01:04:54,520 --> 01:04:56,240
Speaker 2: we kept it dry. You know. That was part of

1215
01:04:56,320 --> 01:04:58,560
Speaker 2: Jerome's job. By the way, he was the real valet

1216
01:04:59,000 --> 01:05:01,680
Speaker 2: for the group. He'd call everybody and say, you know,

1217
01:05:01,760 --> 01:05:03,640
Speaker 2: have your dry cleaning ready to go, you know, if

1218
01:05:03,640 --> 01:05:05,200
Speaker 2: we'd be at a hotel or that kind of thing.

1219
01:05:05,680 --> 01:05:07,680
Speaker 2: But yeah, all of our stuff was thrift shop stuff.

1220
01:05:07,680 --> 01:05:09,800
Speaker 2: And it was interesting because the first tour we did,

1221
01:05:09,880 --> 01:05:11,800
Speaker 2: I remember, we would go to thrift shops and we

1222
01:05:12,000 --> 01:05:15,360
Speaker 2: would clean up. Second tour we did, they were all

1223
01:05:15,440 --> 01:05:18,680
Speaker 2: out of stuff because people caught on and doing it. Yeah,

1224
01:05:18,720 --> 01:05:21,960
Speaker 2: it could totally caught on, so it was interesting. But yeah, no,

1225
01:05:22,040 --> 01:05:24,120
Speaker 2: that was the thing, man, We just that was always

1226
01:05:24,200 --> 01:05:28,400
Speaker 2: kind of our style anyway. You guys weren't quite of age, but.

1227
01:05:30,040 --> 01:05:35,640
Speaker 1: Like that that look when they came out in nineteen

1228
01:05:35,720 --> 01:05:38,880
Speaker 1: eighty one. I mean that's the first time I think,

1229
01:05:39,080 --> 01:05:41,040
Speaker 1: like we were all big in our moms like, yo,

1230
01:05:41,200 --> 01:05:42,240
Speaker 1: take us to the thrift store.

1231
01:05:42,520 --> 01:05:44,720
Speaker 2: Word you would never hear duran. I was wondering if

1232
01:05:44,760 --> 01:05:46,920
Speaker 2: that was cool to y'all because that's like the dog.

1233
01:05:47,160 --> 01:05:50,960
Speaker 1: I mean, they talked about baggies and then like and

1234
01:05:51,440 --> 01:05:54,440
Speaker 1: you know, my mom be like I can baggies.

1235
01:05:54,600 --> 01:05:56,440
Speaker 2: I can get you some bags. It's like two dollars

1236
01:05:56,480 --> 01:05:58,920
Speaker 2: at the thrift store. And it was like the thrift store.

1237
01:05:59,800 --> 01:06:01,720
Speaker 1: Yeah, well for as I frowned on it, but like

1238
01:06:01,800 --> 01:06:03,880
Speaker 1: because my cousins were more like in the street, you know,

1239
01:06:04,000 --> 01:06:06,040
Speaker 1: like b boy and just came out and sergery.

1240
01:06:05,680 --> 01:06:08,080
Speaker 2: Of valent All the drug dealer shit.

1241
01:06:08,280 --> 01:06:12,479
Speaker 1: Right, But when oh my goodness, like all of sixth grade,

1242
01:06:12,640 --> 01:06:15,720
Speaker 1: all I wore were just baggies and my parents couldn't

1243
01:06:15,720 --> 01:06:16,880
Speaker 1: be more pleased.

1244
01:06:21,720 --> 01:06:25,880
Speaker 2: On like twenty pairs of pants, you know what I mean. Yeah,

1245
01:06:26,560 --> 01:06:30,880
Speaker 2: So so you guys just naturally look like gangster. We

1246
01:06:31,000 --> 01:06:33,040
Speaker 2: just naturally, Yeah, we just naturally did it, and and

1247
01:06:33,360 --> 01:06:35,000
Speaker 2: we just kind of fell into it. And we also

1248
01:06:35,120 --> 01:06:38,040
Speaker 2: liked the whole idea, the whole cool aspect. We liked anyway,

1249
01:06:38,080 --> 01:06:40,840
Speaker 2: because it was about respecting yourself and it was about

1250
01:06:41,040 --> 01:06:44,320
Speaker 2: you know, dressing well and having class and that. And

1251
01:06:44,920 --> 01:06:47,080
Speaker 2: we liked the idea of that. I mean we enhanced it,

1252
01:06:47,160 --> 01:06:49,600
Speaker 2: and Prince enhanced it. I mean he he took it

1253
01:06:49,680 --> 01:06:52,360
Speaker 2: to a whole other level. And yes, he wanted us

1254
01:06:52,400 --> 01:06:56,280
Speaker 2: to always look the part he hated the idea of

1255
01:06:56,760 --> 01:06:58,240
Speaker 2: because we used to talk about it back in the

1256
01:06:58,320 --> 01:07:01,600
Speaker 2: day when we first started to touring and stuff. We

1257
01:07:01,680 --> 01:07:03,800
Speaker 2: would go out like with Cameo, you know, and Cameo

1258
01:07:03,880 --> 01:07:06,760
Speaker 2: would have, you know, the glitter suits on and the

1259
01:07:06,840 --> 01:07:09,680
Speaker 2: whole thing, and and Prince always kind of frowned on it.

1260
01:07:09,760 --> 01:07:11,320
Speaker 2: He just said, no, he said, you should look the

1261
01:07:11,360 --> 01:07:13,840
Speaker 2: way you look, you know, and nobody should see you

1262
01:07:13,960 --> 01:07:18,000
Speaker 2: looking unlike yourself what they expect to see you, even

1263
01:07:18,040 --> 01:07:21,520
Speaker 2: to the point where I remember with Morris, I mean,

1264
01:07:22,000 --> 01:07:26,120
Speaker 2: by the second tour we were holding that pressley together

1265
01:07:26,480 --> 01:07:28,960
Speaker 2: with Tate literally, I mean it was just like that

1266
01:07:29,160 --> 01:07:31,800
Speaker 2: thing was about ready to fall apart, and I remember

1267
01:07:32,200 --> 01:07:34,560
Speaker 2: Morris kept saying, Prince, can I get a new jacket?

1268
01:07:34,600 --> 01:07:37,040
Speaker 2: I need a new Presley And Prince was like, no,

1269
01:07:37,280 --> 01:07:38,880
Speaker 2: that's what people expect to see you in, and that's

1270
01:07:38,880 --> 01:07:40,880
Speaker 2: the way you need to look. He was very much

1271
01:07:40,960 --> 01:07:44,680
Speaker 2: into that, right, And I remember about halfway through that

1272
01:07:44,840 --> 01:07:49,280
Speaker 2: tour and we were kicking his ass pretty good every

1273
01:07:49,360 --> 01:07:53,800
Speaker 2: night at that point. We know, yeah, and I remember

1274
01:07:54,000 --> 01:07:56,120
Speaker 2: they at one point in time, I remember the management

1275
01:07:56,160 --> 01:07:58,320
Speaker 2: came to us and said, we're gonna put you guys

1276
01:07:58,360 --> 01:08:02,040
Speaker 2: out on your own, on your own tour because Prince

1277
01:08:02,160 --> 01:08:04,959
Speaker 2: didn't let us play. You have to now think about

1278
01:08:05,040 --> 01:08:08,720
Speaker 2: once again, no media, no social media. Right, So everything

1279
01:08:08,800 --> 01:08:12,080
Speaker 2: that you got you read right. It was a newspaper thing. Right.

1280
01:08:13,280 --> 01:08:16,240
Speaker 2: The two biggest markets obviously were La and New York. Right,

1281
01:08:17,520 --> 01:08:20,840
Speaker 2: those two markets. We didn't play with Prince. We didn't

1282
01:08:20,880 --> 01:08:23,720
Speaker 2: open with him, right, So he did Madison Square Garden

1283
01:08:23,800 --> 01:08:26,800
Speaker 2: or whatever it was. We didn't play, but we played

1284
01:08:26,800 --> 01:08:29,320
Speaker 2: for Vanity six. So we were in the building, right,

1285
01:08:29,439 --> 01:08:32,360
Speaker 2: which to this day is the thing you're probably pisss

1286
01:08:32,439 --> 01:08:35,439
Speaker 2: Jellybean off the most of anything. Man. All our friends

1287
01:08:35,479 --> 01:08:37,080
Speaker 2: are out there, man, we're in the building and stuff

1288
01:08:37,080 --> 01:08:38,479
Speaker 2: and we can't even play. I was like, he used

1289
01:08:38,479 --> 01:08:40,479
Speaker 2: to get so mad. Same with the Forum in LA.

1290
01:08:41,120 --> 01:08:44,559
Speaker 2: Never played the Forum in LA. We played Long Beach Arena,

1291
01:08:45,520 --> 01:08:47,960
Speaker 2: and we played I think Nasau Coliseum or something in

1292
01:08:48,600 --> 01:08:50,639
Speaker 2: New York. But we never got to play those shows

1293
01:08:50,800 --> 01:08:54,719
Speaker 2: because the reviews were all like, yeah, Prince was great,

1294
01:08:54,760 --> 01:08:56,519
Speaker 2: that was great, but you got to see the time,

1295
01:08:56,960 --> 01:08:59,360
Speaker 2: you know, and he didn't want that. So that was

1296
01:08:59,400 --> 01:09:03,040
Speaker 2: the thing. Replayed those markets. So after we saw that

1297
01:09:03,200 --> 01:09:06,000
Speaker 2: happen and we were kind of like, okay, So the

1298
01:09:06,200 --> 01:09:07,960
Speaker 2: management's like, you know, we're gonna put you on your

1299
01:09:07,960 --> 01:09:09,719
Speaker 2: own tour, and I think it was gonna be Evelyn

1300
01:09:09,840 --> 01:09:14,080
Speaker 2: Champagne King and Shallamar or somebody like that, right, So

1301
01:09:14,200 --> 01:09:16,400
Speaker 2: we were like, okay, cool, great, we'll do our own tour.

1302
01:09:16,520 --> 01:09:19,240
Speaker 2: That's cool. So then they changed their mind and they

1303
01:09:19,240 --> 01:09:21,160
Speaker 2: said so by this point in time, so Morris said, well,

1304
01:09:21,200 --> 01:09:22,840
Speaker 2: if we're doing our own tour, I'm getting me a

1305
01:09:22,960 --> 01:09:28,160
Speaker 2: new Presley. So Morris orders this new Presley, right, And

1306
01:09:28,560 --> 01:09:31,840
Speaker 2: I remember Prince used to sometimes come in our dressing

1307
01:09:31,920 --> 01:09:35,120
Speaker 2: room because after we do the Vanity six set, we

1308
01:09:35,200 --> 01:09:37,920
Speaker 2: would they in the old at the beginning, they would

1309
01:09:37,920 --> 01:09:40,760
Speaker 2: give us like fifteen minutes to change, right, So we

1310
01:09:40,840 --> 01:09:42,680
Speaker 2: would come out and do the Vanity six set, and

1311
01:09:42,720 --> 01:09:44,120
Speaker 2: then we go back in the dress room, hang out

1312
01:09:44,120 --> 01:09:45,320
Speaker 2: for a little bit, and then we come back out.

1313
01:09:45,720 --> 01:09:49,800
Speaker 2: Sometimes we'd actually be dressed, but we put on like

1314
01:09:50,360 --> 01:09:52,880
Speaker 2: capes or we put on something stupid, so people set

1315
01:09:52,920 --> 01:09:55,160
Speaker 2: the people on the side, Yeah, so they couldn't see

1316
01:09:55,160 --> 01:09:58,080
Speaker 2: who we were, right, So, but it was great because

1317
01:09:58,120 --> 01:09:59,920
Speaker 2: we were so warmed up. It was like our sounds

1318
01:10:00,800 --> 01:10:03,639
Speaker 2: play it for Vanity six. So it even made us better, right,

1319
01:10:04,520 --> 01:10:06,360
Speaker 2: And then it got to the point where he wouldn't

1320
01:10:06,360 --> 01:10:08,960
Speaker 2: even give us enough time to change or anything. We

1321
01:10:09,160 --> 01:10:11,200
Speaker 2: really started killing him then because we were all warmed up,

1322
01:10:11,240 --> 01:10:13,400
Speaker 2: and it was like Jellybean, like the longer he played,

1323
01:10:13,439 --> 01:10:15,160
Speaker 2: the better he got. He was one of those kind

1324
01:10:15,160 --> 01:10:17,600
Speaker 2: of drummers, so it was all working against him. So

1325
01:10:17,920 --> 01:10:20,559
Speaker 2: I remember we had kind of lattashed him in about

1326
01:10:20,600 --> 01:10:23,400
Speaker 2: three or four gigs in a row. So anyway, he

1327
01:10:23,479 --> 01:10:25,599
Speaker 2: comes into the dressing room and we were really kind

1328
01:10:25,640 --> 01:10:28,360
Speaker 2: of feeling ourselves at that point in time, and he

1329
01:10:28,439 --> 01:10:31,799
Speaker 2: comes into the dressing room and he goes and nobody's

1330
01:10:31,840 --> 01:10:33,920
Speaker 2: really reacting to him, and he just kind of goes

1331
01:10:35,479 --> 01:10:40,240
Speaker 2: what are you guys doing? And Morris says, got something

1332
01:10:40,280 --> 01:10:46,800
Speaker 2: to show you, Prince, And so Jerome goes and brings

1333
01:10:46,840 --> 01:10:53,280
Speaker 2: out this wardrobe thing and unzips it and Morris like

1334
01:10:53,479 --> 01:10:55,880
Speaker 2: flips it and the thing comes off and he goes,

1335
01:10:56,240 --> 01:11:07,560
Speaker 2: I got a new Presley. Prince literally goes, ah, I

1336
01:11:07,720 --> 01:11:13,200
Speaker 2: created a monster and ran out of the room. Swear

1337
01:11:13,240 --> 01:11:16,840
Speaker 2: to God, Swear to God. He did, he created a monster.

1338
01:11:16,960 --> 01:11:17,280
Speaker 2: He did.

1339
01:11:17,720 --> 01:11:32,479
Speaker 1: It's like, yeah, what were those Okay? So I know

1340
01:11:32,600 --> 01:11:34,320
Speaker 1: by the time that what time is it came out,

1341
01:11:36,120 --> 01:11:40,840
Speaker 1: you guys were and maybe assuming a better place. But

1342
01:11:40,960 --> 01:11:44,000
Speaker 1: in the very beginning the first album, were you guys

1343
01:11:44,200 --> 01:11:47,559
Speaker 1: like I just want to know what a working class

1344
01:11:47,720 --> 01:11:54,519
Speaker 1: musician was into and doing between eighty one and eighty two, Like,

1345
01:11:54,640 --> 01:11:57,720
Speaker 1: were you guys driving yourself to the gigs? Like I

1346
01:11:57,760 --> 01:12:02,200
Speaker 1: don't know if you read Maurice whites autobiography, but I'm

1347
01:12:02,280 --> 01:12:06,000
Speaker 1: shocked that even up until Spirit they were like driving

1348
01:12:06,080 --> 01:12:07,080
Speaker 1: themselves to the gigs.

1349
01:12:07,160 --> 01:12:11,479
Speaker 2: They would, you know, station wagons to the gigs and

1350
01:12:11,560 --> 01:12:13,760
Speaker 2: that stuff. Well, we did. We definitely did the station

1351
01:12:13,880 --> 01:12:16,360
Speaker 2: wagon thing, There's no doubt about that. We did, but

1352
01:12:16,560 --> 01:12:18,519
Speaker 2: not by the time, by the time we were actually

1353
01:12:18,560 --> 01:12:20,960
Speaker 2: touring with Prince. No, we had a tour bus, and

1354
01:12:21,200 --> 01:12:24,000
Speaker 2: you know we were making our little one hundred and

1355
01:12:24,360 --> 01:12:27,200
Speaker 2: fifty dollars a week after they a week.

1356
01:12:27,320 --> 01:12:30,559
Speaker 1: Yeah, what is what is the working class musician make

1357
01:12:31,600 --> 01:12:34,880
Speaker 1: in eighty one on that tour? Like, were you guys

1358
01:12:35,040 --> 01:12:37,360
Speaker 1: at the top level or no?

1359
01:12:37,560 --> 01:12:39,960
Speaker 2: We were, No, we were well below the top level

1360
01:12:40,040 --> 01:12:42,439
Speaker 2: because we we were like I say, we would get

1361
01:12:42,479 --> 01:12:44,560
Speaker 2: one hundred and fifty dollars a week in a in

1362
01:12:44,680 --> 01:12:47,760
Speaker 2: a check and for that it was in mind per

1363
01:12:47,880 --> 01:12:50,400
Speaker 2: dim Yeah. Well and we get per diem too, so

1364
01:12:50,720 --> 01:12:52,320
Speaker 2: I guess it would add up to two fifty a week.

1365
01:12:52,640 --> 01:12:54,880
Speaker 2: So that if that changes anything. I mean, my my

1366
01:12:55,040 --> 01:12:57,320
Speaker 2: check after taxes was one hundred and seventeen dollars. I

1367
01:12:57,400 --> 01:12:59,720
Speaker 2: still have, I think my check stub, you know, my

1368
01:13:00,280 --> 01:13:03,000
Speaker 2: check stub. But no, we were going broke and it

1369
01:13:03,120 --> 01:13:05,760
Speaker 2: probably you know, for me at the time, I was

1370
01:13:05,880 --> 01:13:08,840
Speaker 2: living at home anyway, so I hadn't moved out, and

1371
01:13:08,920 --> 01:13:11,200
Speaker 2: I didn't have any kids. I didn't have any responsibility.

1372
01:13:11,240 --> 01:13:14,679
Speaker 2: It was really tough on Terry because Terry not only

1373
01:13:14,920 --> 01:13:18,160
Speaker 2: Terry drove a school bus, you know, and and was

1374
01:13:18,240 --> 01:13:22,760
Speaker 2: making really good money doing that, but also because when

1375
01:13:22,800 --> 01:13:24,680
Speaker 2: we were gigging his flight time and we're like I say,

1376
01:13:24,720 --> 01:13:27,080
Speaker 2: we were like doing our own gigs and do outing,

1377
01:13:27,160 --> 01:13:30,080
Speaker 2: and yeah, we were doing really well. I mean as

1378
01:13:30,120 --> 01:13:32,439
Speaker 2: a bad I mean Terry took a huge pay cut,

1379
01:13:32,760 --> 01:13:35,840
Speaker 2: probably the biggest out of anybody had a young son

1380
01:13:36,240 --> 01:13:39,400
Speaker 2: at that point in a house. I mean, Terry was

1381
01:13:39,439 --> 01:13:42,800
Speaker 2: always very like responsible from like an early age, like

1382
01:13:42,840 --> 01:13:44,719
Speaker 2: he was already living his he was like an adult

1383
01:13:44,800 --> 01:13:48,120
Speaker 2: at an early age. So for him, yeah, it hit

1384
01:13:48,240 --> 01:13:51,000
Speaker 2: him really bad, Like it messed his credit up. You know,

1385
01:13:51,320 --> 01:13:54,439
Speaker 2: it messed him out. Krap Oh, Yeah, it totally messed it,

1386
01:13:54,600 --> 01:13:57,240
Speaker 2: totally messed him up. And and even I remember the

1387
01:13:57,320 --> 01:14:00,240
Speaker 2: second year we had an ultimatum, like it was in

1388
01:14:00,960 --> 01:14:02,240
Speaker 2: I think it was San die I think we were

1389
01:14:02,280 --> 01:14:06,280
Speaker 2: in San Diego and h we had we were all

1390
01:14:06,880 --> 01:14:09,200
Speaker 2: sharing rooms at that point in time except for except

1391
01:14:09,240 --> 01:14:13,479
Speaker 2: for Morris, and I remember Terry said, man, we got

1392
01:14:13,560 --> 01:14:16,840
Speaker 2: two gold albums. They had bumped us up to two

1393
01:14:17,000 --> 01:14:21,120
Speaker 2: fifty a week and then Vanity and yeah, Vanity six

1394
01:14:21,240 --> 01:14:23,080
Speaker 2: was giving us another one hundred a week or something

1395
01:14:23,160 --> 01:14:26,840
Speaker 2: like that at plus per diem. So everybody was saving

1396
01:14:26,840 --> 01:14:28,840
Speaker 2: their for deem to buy a VCR or whatever I mean,

1397
01:14:28,840 --> 01:14:30,479
Speaker 2: you know, that was the hot thing back in that day,

1398
01:14:30,600 --> 01:14:33,439
Speaker 2: was save up for a VCR, right, But we but

1399
01:14:33,560 --> 01:14:35,280
Speaker 2: everybody was getting you know, at that point in time,

1400
01:14:35,360 --> 01:14:37,640
Speaker 2: he getting on everybody's getting on everybody's nerves. So it

1401
01:14:37,760 --> 01:14:39,400
Speaker 2: was like, you know, Terry said, man, we need our

1402
01:14:39,439 --> 01:14:41,880
Speaker 2: own rooms. So he went to management at the time,

1403
01:14:41,960 --> 01:14:43,840
Speaker 2: and there was this lady named Jamie Shoop, and Jamie

1404
01:14:43,840 --> 01:14:48,599
Speaker 2: shop was like, she was our tour manager, not Allen. No, okay,

1405
01:14:48,960 --> 01:14:53,599
Speaker 2: Ali came along after us after Yeah. Yeah, So Jamie

1406
01:14:53,760 --> 01:14:57,479
Speaker 2: was amazing. H took great care of us. She I

1407
01:14:57,560 --> 01:14:59,720
Speaker 2: mean as best she could. I mean, because it was

1408
01:15:00,000 --> 01:15:01,920
Speaker 2: it was Prince's thing. I mean, there was no doubt

1409
01:15:01,920 --> 01:15:05,640
Speaker 2: about Prince ran it. But she looked out for us

1410
01:15:05,720 --> 01:15:07,400
Speaker 2: the best you can. And she said, listen, she said,

1411
01:15:07,400 --> 01:15:11,160
Speaker 2: if you guys should have your own rooms, I'll advocate

1412
01:15:11,240 --> 01:15:13,880
Speaker 2: for that. Let's have a meeting whatever. So we told

1413
01:15:14,760 --> 01:15:16,600
Speaker 2: everybody here's what we're gonna do. We're gonna have a

1414
01:15:16,680 --> 01:15:20,479
Speaker 2: meeting in San Diego, and we're basically going to say

1415
01:15:21,080 --> 01:15:24,040
Speaker 2: if we don't get rooms, we're quitting the tour. That's

1416
01:15:24,280 --> 01:15:30,599
Speaker 2: the thing right now. Jesse, for some reason, we said,

1417
01:15:30,640 --> 01:15:33,160
Speaker 2: don't tell anybody, but Jesse for some reason went behind

1418
01:15:33,240 --> 01:15:37,360
Speaker 2: our backs and told management or told Prince or told somebody.

1419
01:15:38,000 --> 01:15:41,000
Speaker 2: So when we got everybody in this room, we thought,

1420
01:15:41,760 --> 01:15:43,439
Speaker 2: you know, we had the upper hand. We're gonna spring

1421
01:15:43,520 --> 01:15:45,840
Speaker 2: this on them. We walked into the room and Prince

1422
01:15:45,960 --> 01:15:48,000
Speaker 2: was like, so you guys are going to boycott. Huh,

1423
01:15:49,080 --> 01:15:51,439
Speaker 2: We're like going. We like all looked at each other.

1424
01:15:51,560 --> 01:15:55,040
Speaker 2: Then we all looked at Jesse, and Jesse's like, what,

1425
01:15:55,520 --> 01:15:58,200
Speaker 2: you know whatever, We're like, okay. So Terry at that

1426
01:15:58,280 --> 01:16:00,719
Speaker 2: point was just like, you know, listen, dude, He said,

1427
01:16:00,800 --> 01:16:02,880
Speaker 2: I can't. You know, I can't. I got a I

1428
01:16:02,960 --> 01:16:06,439
Speaker 2: got a kid, I got you know whatever, whatever. I can't.

1429
01:16:06,520 --> 01:16:11,120
Speaker 2: You know, I can't do this. And I remember Prince said,

1430
01:16:11,840 --> 01:16:15,000
Speaker 2: he said to Terry, rock stars shouldn't have kids. Wow,

1431
01:16:17,920 --> 01:16:20,120
Speaker 2: never forget that. I'll never forget that to this day.

1432
01:16:20,760 --> 01:16:26,360
Speaker 2: And uh, anyway, so Terry, so Terry walked up. Terry said,

1433
01:16:26,479 --> 01:16:30,559
Speaker 2: Terry said quit. Terry said, Terry said, I remember going

1434
01:16:30,600 --> 01:16:33,120
Speaker 2: into it. He said, I'm always gonna have enough money

1435
01:16:34,560 --> 01:16:37,439
Speaker 2: to get a bus ticket. If i can do nothing else,

1436
01:16:37,640 --> 01:16:39,360
Speaker 2: I'm gonna have enough money to get a bus ticket

1437
01:16:39,400 --> 01:16:41,600
Speaker 2: to go home. And so he had his you know,

1438
01:16:41,680 --> 01:16:43,560
Speaker 2: fifty dollars or whatever the heck a bus ticket was.

1439
01:16:43,680 --> 01:16:45,720
Speaker 2: He had it, and he said, that's it. I'm out

1440
01:16:45,760 --> 01:16:50,200
Speaker 2: of here. Well, of course, Jamie came to the rescue

1441
01:16:50,680 --> 01:16:53,960
Speaker 2: and talked to Prince and said, Prince, come on, these guys,

1442
01:16:54,320 --> 01:16:56,000
Speaker 2: you know, they can have their own rooms. It's what's

1443
01:16:56,080 --> 01:16:57,800
Speaker 2: not what's the big deal. It's you know, it's three

1444
01:16:57,840 --> 01:17:00,439
Speaker 2: more rooms a night. What's the big deal? And anyway,

1445
01:17:00,520 --> 01:17:02,840
Speaker 2: Prince was so Princell said, okay, fine, they got it.

1446
01:17:03,320 --> 01:17:06,360
Speaker 2: But if it wouldn't have been for Terry doing that, right,

1447
01:17:06,479 --> 01:17:08,880
Speaker 2: because because for Terry it was serious. It wasn't like

1448
01:17:09,000 --> 01:17:12,400
Speaker 2: a you know, a grandstanding type thing or anything. It

1449
01:17:12,520 --> 01:17:15,479
Speaker 2: was like serious, like Terry, Terry had real life and

1450
01:17:15,600 --> 01:17:17,080
Speaker 2: real responsibilities.

1451
01:17:17,120 --> 01:17:23,080
Speaker 1: And for nineteen eighty two, what would have been fair

1452
01:17:25,000 --> 01:17:27,880
Speaker 1: market share for what, you know, what tickets were back then,

1453
01:17:28,120 --> 01:17:32,479
Speaker 1: what the gross was for these shows? And I know

1454
01:17:32,560 --> 01:17:34,840
Speaker 1: everyone's on this tour, so I know it's vanity, and

1455
01:17:35,240 --> 01:17:37,360
Speaker 1: yeah there are people and you guys and your people

1456
01:17:37,439 --> 01:17:39,760
Speaker 1: and the revolution and printing his people, I'm sure the

1457
01:17:39,840 --> 01:17:41,559
Speaker 1: staff and all that stuff.

1458
01:17:42,360 --> 01:17:47,120
Speaker 2: What is fair for that time period? Honestly? Quest So

1459
01:17:47,200 --> 01:17:49,800
Speaker 2: I don't know, I don't really know. It wasn't that

1460
01:17:50,760 --> 01:17:54,800
Speaker 2: because you know, we were and tour support wasn't a

1461
01:17:54,880 --> 01:17:57,840
Speaker 2: thing like Mo Austin and those guys weren't like I

1462
01:17:57,920 --> 01:18:00,360
Speaker 2: think Warner Brothers. Yeah, I think Warner Brothers definitely at

1463
01:18:00,400 --> 01:18:02,320
Speaker 2: the tour. I mean because all three records were all

1464
01:18:02,400 --> 01:18:04,720
Speaker 2: Warner Brothers records. I mean, you couldn't actually have a

1465
01:18:04,840 --> 01:18:08,519
Speaker 2: better situation, right, you know, they were all records. But

1466
01:18:08,560 --> 01:18:11,200
Speaker 2: the other thing was we weren't making any We never

1467
01:18:11,280 --> 01:18:14,200
Speaker 2: made any royalties on the time records. All we made

1468
01:18:14,360 --> 01:18:16,240
Speaker 2: was the salary, so it wasn't like it was an

1469
01:18:16,280 --> 01:18:21,639
Speaker 2: advance against royalties. And remember back in those days, if

1470
01:18:21,680 --> 01:18:23,880
Speaker 2: you had a gold record, you were doing pretty well

1471
01:18:24,120 --> 01:18:26,959
Speaker 2: because you know, the money flowed. I mean, the royalties

1472
01:18:27,000 --> 01:18:28,320
Speaker 2: were pretty good.

1473
01:18:28,479 --> 01:18:31,240
Speaker 1: So when they were open a budget that wasn't split

1474
01:18:31,320 --> 01:18:33,120
Speaker 1: with you guys, like it was just like we just

1475
01:18:33,200 --> 01:18:34,680
Speaker 1: paid regular salary.

1476
01:18:34,479 --> 01:18:37,520
Speaker 2: Just played a regular salary. We never we never were

1477
01:18:37,640 --> 01:18:41,960
Speaker 2: royalty artists individually. Morris was, but the rest of us weren't.

1478
01:18:42,080 --> 01:18:43,960
Speaker 2: Was there a big difference between you guys and the

1479
01:18:44,040 --> 01:18:47,800
Speaker 2: Revolution when it came to that, Like financially, I never

1480
01:18:47,880 --> 01:18:50,360
Speaker 2: knew what the Revolution made quite honestly, I never did.

1481
01:18:50,479 --> 01:18:53,160
Speaker 2: We never, we never really dealt with it. I'm sure

1482
01:18:53,200 --> 01:18:56,840
Speaker 2: they were making more than us, you know, but so

1483
01:18:57,520 --> 01:18:58,479
Speaker 2: what point does.

1484
01:19:00,280 --> 01:19:06,760
Speaker 1: The idea of moonlighting even coming to your you know,

1485
01:19:07,160 --> 01:19:10,920
Speaker 1: your brain, like and it's moonlighting and thing like we

1486
01:19:11,040 --> 01:19:13,160
Speaker 1: need to make our own money and get our own

1487
01:19:13,200 --> 01:19:16,519
Speaker 1: publishing or just like no, hey, we want to express ourselves.

1488
01:19:16,800 --> 01:19:20,080
Speaker 2: Yes, yeah, No, it wasn't. It wasn't a money thing ever.

1489
01:19:20,400 --> 01:19:25,000
Speaker 2: It was so so the way that went down was Terry.

1490
01:19:25,760 --> 01:19:29,880
Speaker 2: Once again, Terry, And if I don't say it enough

1491
01:19:29,960 --> 01:19:34,519
Speaker 2: during this interview, thank God for Terry Lewis. I mean,

1492
01:19:34,560 --> 01:19:37,120
Speaker 2: I swear to God that brother in my life has

1493
01:19:37,240 --> 01:19:43,519
Speaker 2: just been a godsend in every possible way. And but

1494
01:19:43,720 --> 01:19:46,240
Speaker 2: Terry said, I can't remember where we were at. I

1495
01:19:46,280 --> 01:19:48,519
Speaker 2: want to. First I was thinking it was Houston, but

1496
01:19:48,600 --> 01:19:51,160
Speaker 2: it wasn't Houston, but it was somewhere and we were

1497
01:19:51,240 --> 01:19:53,439
Speaker 2: kind of ending up. The tour was kind of beginning

1498
01:19:53,479 --> 01:19:58,360
Speaker 2: to end up, and we were and Terry said, I'm

1499
01:19:58,400 --> 01:20:03,160
Speaker 2: going to go to La the tour and everybody was like,

1500
01:20:03,200 --> 01:20:04,760
Speaker 2: what you going to do in La t and he said,

1501
01:20:05,080 --> 01:20:08,360
Speaker 2: he said, man, he said, I'm just gonna make some

1502
01:20:08,479 --> 01:20:11,840
Speaker 2: demos and try to get some songs placed and just

1503
01:20:11,920 --> 01:20:16,360
Speaker 2: do some stuff. And everybody was like why, and he said,

1504
01:20:16,520 --> 01:20:21,360
Speaker 2: because they need us out there, and everybody said, man,

1505
01:20:21,400 --> 01:20:25,280
Speaker 2: you're crazy, and so Terry said, well, who wants to go?

1506
01:20:25,439 --> 01:20:28,720
Speaker 2: Somebody want to come with me? And everybody's like, man, no, man,

1507
01:20:28,760 --> 01:20:33,439
Speaker 2: I'm saving up from my VCR man. And literally that's

1508
01:20:33,479 --> 01:20:35,519
Speaker 2: what everybody said. And I looked at Terry and I said,

1509
01:20:35,920 --> 01:20:39,960
Speaker 2: well I'll go. Terry said okay, and I said, but

1510
01:20:40,120 --> 01:20:41,720
Speaker 2: where are we going to stay? He said, I don't know,

1511
01:20:41,760 --> 01:20:43,600
Speaker 2: We'll figure it out. Said where are we going to

1512
01:20:43,600 --> 01:20:45,160
Speaker 2: get equipment from? I don't know, We're going to figure

1513
01:20:45,200 --> 01:20:46,280
Speaker 2: it out. I said, where were we going to get

1514
01:20:46,280 --> 01:20:48,280
Speaker 2: a car from? I don't know. We'll figure it out.

1515
01:20:49,560 --> 01:20:51,960
Speaker 2: And I trusted that brother because that was the brother

1516
01:20:52,120 --> 01:20:56,280
Speaker 2: that when the girl broke up with me and when

1517
01:20:56,360 --> 01:20:57,760
Speaker 2: I was a drummer and he told me I needed

1518
01:20:57,760 --> 01:21:01,400
Speaker 2: to be a keyboard player, got me into the band.

1519
01:21:02,640 --> 01:21:05,760
Speaker 2: And I just trusted because he because he had made

1520
01:21:05,800 --> 01:21:08,479
Speaker 2: decisions before and twisted my arm to do things. And

1521
01:21:08,560 --> 01:21:10,280
Speaker 2: I'm like, I'm not gonna he doesn't need to twist

1522
01:21:10,320 --> 01:21:11,960
Speaker 2: my arm on this one. I'm gonna go on faith

1523
01:21:12,040 --> 01:21:15,800
Speaker 2: on this one. And so when the tour ended, we

1524
01:21:15,880 --> 01:21:22,760
Speaker 2: went to La Uh. Terry sold his car, I think,

1525
01:21:22,800 --> 01:21:32,280
Speaker 2: if I'm not mistaken, we bought some Viking ship. We

1526
01:21:32,439 --> 01:21:35,040
Speaker 2: bought uh. We bought you know, in the classifieds. We

1527
01:21:35,120 --> 01:21:39,600
Speaker 2: bought a task cam, a little four track tape, a

1528
01:21:39,680 --> 01:21:42,840
Speaker 2: little microphone. I had this little Cassio keyboard with a

1529
01:21:42,880 --> 01:21:45,400
Speaker 2: little drum machine built into it. He had his base,

1530
01:21:46,400 --> 01:21:48,880
Speaker 2: and there were some people we knew from Minneapolis that

1531
01:21:48,960 --> 01:21:51,479
Speaker 2: had a house that they were renting a house out there,

1532
01:21:51,479 --> 01:21:53,360
Speaker 2: and they had one bedroom in the house and it

1533
01:21:53,479 --> 01:21:55,840
Speaker 2: was smaller probably in this little area we're sitting there.

1534
01:21:55,880 --> 01:21:57,639
Speaker 2: We had enough room to put two cots in there,

1535
01:21:58,240 --> 01:22:00,840
Speaker 2: and that's where me and Terry bunked. We didn't have

1536
01:22:00,920 --> 01:22:04,400
Speaker 2: a car, so we would walk to there was a California. Yeah,

1537
01:22:04,479 --> 01:22:08,240
Speaker 2: but we're in the eighties. In the eighties. Well, here's

1538
01:22:08,280 --> 01:22:11,040
Speaker 2: the funny thing, though. The only places we went because

1539
01:22:11,040 --> 01:22:12,880
Speaker 2: we'd do our demos at home, right, So we'd do

1540
01:22:12,920 --> 01:22:14,760
Speaker 2: our demos at the crib. So we'd sit at the

1541
01:22:14,920 --> 01:22:17,000
Speaker 2: crib all day. They'd go to work, the people who

1542
01:22:17,000 --> 01:22:19,880
Speaker 2: we were staying with, and we'd all day be in

1543
01:22:20,040 --> 01:22:21,960
Speaker 2: like the bathroom and stuff to get reverb and stuff

1544
01:22:22,000 --> 01:22:24,479
Speaker 2: and be making our little demos and stuff. And then

1545
01:22:24,520 --> 01:22:26,479
Speaker 2: we would walk. There was a place called Golden Bird

1546
01:22:26,600 --> 01:22:30,599
Speaker 2: Chicken that was on los Enega Avenue. Best chicken ever

1547
01:22:30,800 --> 01:22:32,960
Speaker 2: to me, and you could get a four piece for

1548
01:22:33,000 --> 01:22:35,160
Speaker 2: two ninety nine. Because we didn't have any money, so

1549
01:22:35,200 --> 01:22:37,120
Speaker 2: we'd go get the two piece, the four piece rather

1550
01:22:37,400 --> 01:22:39,479
Speaker 2: for two ninety nine. That was our one meal of

1551
01:22:39,560 --> 01:22:43,280
Speaker 2: the day. And then when the people got home at night,

1552
01:22:43,320 --> 01:22:45,240
Speaker 2: they'd all make milkshakes or whatever, so we'd have a

1553
01:22:45,280 --> 01:22:47,360
Speaker 2: milkshake at night. And that was That was basically the

1554
01:22:47,439 --> 01:22:50,120
Speaker 2: way we lived. And it was funny because oh and

1555
01:22:50,200 --> 01:22:52,679
Speaker 2: we didn't have any clothes. We had our time clothes,

1556
01:22:52,880 --> 01:22:54,680
Speaker 2: so like we're in ninety degree weather, but we got

1557
01:22:54,720 --> 01:22:59,040
Speaker 2: these suits. And the police used to the police used

1558
01:22:59,080 --> 01:23:01,400
Speaker 2: to stop us. Right, we just be walking and the

1559
01:23:01,479 --> 01:23:04,759
Speaker 2: police would stop us and they go, uh, everything okay, gentlemen,

1560
01:23:04,760 --> 01:23:07,439
Speaker 2: and we go like, yeah, everything's good, and they'd look

1561
01:23:07,439 --> 01:23:08,880
Speaker 2: at us and they go, you're not from here, are you.

1562
01:23:09,120 --> 01:23:11,320
Speaker 2: We'd be like no, how could you tell, you know?

1563
01:23:12,680 --> 01:23:15,080
Speaker 2: But they never messed with us really, and it was

1564
01:23:15,160 --> 01:23:17,879
Speaker 2: cool and that was kind of our thing. And then eventually,

1565
01:23:18,120 --> 01:23:20,280
Speaker 2: you know, we hooked up with some girls that had cars,

1566
01:23:20,439 --> 01:23:22,280
Speaker 2: you know, right, I found a girl that had a Porsche.

1567
01:23:22,439 --> 01:23:25,400
Speaker 2: It was cool, you know, So we figured it out.

1568
01:23:25,520 --> 01:23:27,160
Speaker 2: But that was what we were doing. And of course

1569
01:23:27,200 --> 01:23:28,920
Speaker 2: the word back in Minneapolis is that we were out

1570
01:23:28,960 --> 01:23:31,280
Speaker 2: there starving to death, and you know, we're starving to

1571
01:23:31,360 --> 01:23:33,439
Speaker 2: death and they're nuts and they're crazy, and you know,

1572
01:23:33,560 --> 01:23:35,200
Speaker 2: that was kind of the thought process.

1573
01:23:35,360 --> 01:23:39,000
Speaker 1: How much downtime did you have because I figured, at

1574
01:23:39,120 --> 01:23:42,600
Speaker 1: least until the time that you guys were dismissed, that

1575
01:23:44,160 --> 01:23:47,040
Speaker 1: there was no downtime, like you're always rehearsing.

1576
01:23:47,240 --> 01:23:49,840
Speaker 2: We had, we had, okay, so that was between so

1577
01:23:49,920 --> 01:23:51,840
Speaker 2: the first tour was eighty one into eighty two. We

1578
01:23:52,000 --> 01:23:54,280
Speaker 2: think we were done in April of eighty two, okay,

1579
01:23:54,320 --> 01:23:57,240
Speaker 2: so we had between April and probably June or July

1580
01:23:57,439 --> 01:24:01,360
Speaker 2: before we started rehearsing for the next tour and stuff.

1581
01:24:02,560 --> 01:24:05,880
Speaker 2: So there was this never smuation where he's like, where

1582
01:24:05,920 --> 01:24:10,200
Speaker 2: are you guys? Oh yeah, no, that was good. That

1583
01:24:10,320 --> 01:24:12,200
Speaker 2: was a good one. No, it definitely it definitely. It

1584
01:24:12,280 --> 01:24:14,960
Speaker 2: definitely turned into that were you guys given a general

1585
01:24:15,080 --> 01:24:19,880
Speaker 2: rule that you weren't allowed to like, yes, it wasn't

1586
01:24:19,880 --> 01:24:22,879
Speaker 2: a general rule, it was a mandate.

1587
01:24:22,960 --> 01:24:26,320
Speaker 1: Basically, did mars enforce these rules or was it just

1588
01:24:26,520 --> 01:24:29,439
Speaker 1: like Prince said, Zoe, this was Prince No, this was

1589
01:24:29,479 --> 01:24:31,080
Speaker 1: princes had This was not Morris.

1590
01:24:31,120 --> 01:24:36,360
Speaker 2: As a matter of fact, I really Moore said something

1591
01:24:36,439 --> 01:24:42,760
Speaker 2: that rehearsal one day that was so for us, very

1592
01:24:42,800 --> 01:24:45,240
Speaker 2: empowering and very enlightening. I don't know how everybody else

1593
01:24:45,280 --> 01:24:49,840
Speaker 2: took it, but he said that this thing ain't gonna

1594
01:24:49,880 --> 01:24:56,799
Speaker 2: last forever. Whoa And he said that I suggest everybody

1595
01:24:56,880 --> 01:24:58,360
Speaker 2: figure out what it is that they want to do

1596
01:24:58,800 --> 01:25:02,519
Speaker 2: out of this and start working towards it. He said,

1597
01:25:02,520 --> 01:25:04,519
Speaker 2: I don't know what everybody else is doing. He said. Now,

1598
01:25:04,720 --> 01:25:07,120
Speaker 2: he said, I'm taking acting lessons because he said, I

1599
01:25:07,200 --> 01:25:10,599
Speaker 2: want to learn to actually, you know, do I want

1600
01:25:10,640 --> 01:25:11,800
Speaker 2: to be I want to be able to act. I

1601
01:25:11,840 --> 01:25:12,840
Speaker 2: want to be able to do stuff.

1602
01:25:12,960 --> 01:25:13,120
Speaker 4: You know?

1603
01:25:14,200 --> 01:25:17,040
Speaker 2: Was this before, this is before Purple Rain? This is yeah,

1604
01:25:17,080 --> 01:25:20,000
Speaker 2: this is this is going into the into the nineteen

1605
01:25:20,080 --> 01:25:24,880
Speaker 2: ninety nine tour. Okay, so and he so he said that,

1606
01:25:25,040 --> 01:25:27,120
Speaker 2: and then he said, uh, he said, you know, he

1607
01:25:27,320 --> 01:25:29,519
Speaker 2: pointed in me and Terry and he said, Jimmy and

1608
01:25:29,600 --> 01:25:33,280
Speaker 2: Terry producing records. He said, I don't know what the

1609
01:25:33,360 --> 01:25:35,160
Speaker 2: rest of y'all are doing, but y'all need to figure

1610
01:25:35,160 --> 01:25:39,519
Speaker 2: it out. So he knew, he knew, you know, he

1611
01:25:39,640 --> 01:25:41,760
Speaker 2: knew what it was going to be. So that was

1612
01:25:41,880 --> 01:25:44,640
Speaker 2: very encouraging to us. And well, Terry and I used

1613
01:25:44,680 --> 01:25:46,559
Speaker 2: to do I mean, we spent a lot of money

1614
01:25:46,680 --> 01:25:49,439
Speaker 2: doing it, but and I have no idea where we

1615
01:25:49,520 --> 01:25:51,559
Speaker 2: got the money from quite honestly now that I think

1616
01:25:51,560 --> 01:25:54,320
Speaker 2: about it. But Prince used to we would rehearse during

1617
01:25:54,360 --> 01:25:57,040
Speaker 2: the week, and we would we would rehearse, you know,

1618
01:25:58,880 --> 01:26:02,000
Speaker 2: Monday through Friday or whatever. When we would get done Friday,

1619
01:26:03,920 --> 01:26:05,760
Speaker 2: Terry and I would hop like the last flight to

1620
01:26:05,960 --> 01:26:09,240
Speaker 2: LA and you know, we had booked a couple of

1621
01:26:10,040 --> 01:26:11,760
Speaker 2: you know acts at that point in time. We were

1622
01:26:11,800 --> 01:26:14,919
Speaker 2: doing a group called Reel to Reel for Leon Silvers.

1623
01:26:16,160 --> 01:26:21,760
Speaker 2: We were doing Climax for Dick Griffy at Solar, so

1624
01:26:21,840 --> 01:26:24,160
Speaker 2: we had a couple of things going right. So we

1625
01:26:24,240 --> 01:26:26,240
Speaker 2: would fly and we do, you know, twenty four hour

1626
01:26:26,320 --> 01:26:30,280
Speaker 2: lockout at the studio, right, which we didn't know. So

1627
01:26:30,560 --> 01:26:32,519
Speaker 2: we do twenty four hour lockout, but then we would

1628
01:26:32,560 --> 01:26:34,400
Speaker 2: work twenty four hours. We didn't know that. It just

1629
01:26:34,520 --> 01:26:36,920
Speaker 2: meant that nobody could come into studio after you, right,

1630
01:26:37,400 --> 01:26:41,880
Speaker 2: So we drive the engineers. He'd be like, what time

1631
01:26:41,880 --> 01:26:43,920
Speaker 2: do you think we're gonna end tonight? We said, we

1632
01:26:44,000 --> 01:26:45,920
Speaker 2: got twenty four hour lockout. What are you talking about?

1633
01:26:46,760 --> 01:26:48,800
Speaker 2: He was like, no, but that doesn't mean you were

1634
01:26:48,840 --> 01:26:50,240
Speaker 2: I said, no, we got it for twenty four hours.

1635
01:26:50,240 --> 01:26:52,400
Speaker 2: We're working twenty four hours. Terry'd be asleep on the couch.

1636
01:26:52,439 --> 01:26:54,719
Speaker 2: I'd be working that I fall asleep, and Terry would

1637
01:26:54,720 --> 01:26:58,400
Speaker 2: be working. Oh man, no, we were. I mean, it's like,

1638
01:26:58,439 --> 01:26:59,880
Speaker 2: come on, man, we're trying to get this done. So

1639
01:27:00,560 --> 01:27:01,720
Speaker 2: that was the way we would work, and then we

1640
01:27:01,760 --> 01:27:03,720
Speaker 2: would catch a plane back to be back in time

1641
01:27:03,800 --> 01:27:10,479
Speaker 2: for Monday rehearsal. So Prince got wind of what we

1642
01:27:10,560 --> 01:27:19,840
Speaker 2: were doing. Who snitched Jesse and so all of a

1643
01:27:19,920 --> 01:27:24,320
Speaker 2: sudden the rehearsals would start going longer and longer. Then

1644
01:27:24,320 --> 01:27:27,479
Speaker 2: all of a sudden, there'd be a Saturday rehearsal, or

1645
01:27:27,600 --> 01:27:30,840
Speaker 2: there would be are we are we rehearsal tonight? No,

1646
01:27:30,960 --> 01:27:33,360
Speaker 2: and there's no rehearsal tonight. Okay, cool, We're gonna hop

1647
01:27:33,400 --> 01:27:35,200
Speaker 2: a plane and then we're literally on our way to

1648
01:27:35,240 --> 01:27:38,479
Speaker 2: the airport. Oh yeah, there's a rehearsal, that kind of

1649
01:27:38,520 --> 01:27:41,840
Speaker 2: thing would start happening. So it was a lot of roadblocks,

1650
01:27:42,120 --> 01:27:43,920
Speaker 2: you know, kind of thrown in front of us at

1651
01:27:43,960 --> 01:27:48,160
Speaker 2: that point. And yeah, out of that. So it was

1652
01:27:48,320 --> 01:27:50,360
Speaker 2: it was an interesting time. But no, we were doing it.

1653
01:27:50,400 --> 01:27:51,880
Speaker 2: We certainly weren't doing it for the money because we

1654
01:27:51,920 --> 01:27:54,479
Speaker 2: weren't making any money. But we were doing it just

1655
01:27:54,560 --> 01:27:56,880
Speaker 2: because we had a love of music and and we

1656
01:27:57,200 --> 01:28:00,599
Speaker 2: didn't feel what we were doing sounded like the time,

1657
01:28:00,840 --> 01:28:03,880
Speaker 2: because one of Prince's concerns was that, you know, don't

1658
01:28:03,880 --> 01:28:05,960
Speaker 2: give away the time sound. And it's like, well, but

1659
01:28:06,200 --> 01:28:09,000
Speaker 2: you all the time side, So what we're doing isn't

1660
01:28:09,160 --> 01:28:12,400
Speaker 2: the time, I mean, you know, And so there was

1661
01:28:12,400 --> 01:28:14,040
Speaker 2: a lot of that. I remember. We we got blamed

1662
01:28:14,120 --> 01:28:17,960
Speaker 2: for Leon did just keep on loving me. Prince swore

1663
01:28:18,040 --> 01:28:19,840
Speaker 2: we did that record. We said, Prince, we weren't even

1664
01:28:19,880 --> 01:28:22,040
Speaker 2: in the studio when that record was done. We still

1665
01:28:22,080 --> 01:28:25,920
Speaker 2: swear that we did that record, right. He told me

1666
01:28:26,000 --> 01:28:29,919
Speaker 2: a story like you know, they're hid behind Leon Silvers,

1667
01:28:29,960 --> 01:28:32,679
Speaker 2: but I know it was them, Like he still believes

1668
01:28:32,720 --> 01:28:35,639
Speaker 2: that that's them. We didn't actually, matter of fact, it's

1669
01:28:35,640 --> 01:28:37,400
Speaker 2: funny we heard that record. I think the first time

1670
01:28:37,439 --> 01:28:39,800
Speaker 2: we heard that record was on the radio and we

1671
01:28:39,960 --> 01:28:41,599
Speaker 2: loved it. I mean we were because we were Leon

1672
01:28:42,320 --> 01:28:45,320
Speaker 2: Leon Silver's disciples man. We love Leon Silver's man, and

1673
01:28:46,120 --> 01:28:48,439
Speaker 2: we heard that record and we were like, oh, hell yeah,

1674
01:28:48,720 --> 01:28:51,160
Speaker 2: we love this, this is great and we're we never

1675
01:28:51,240 --> 01:28:53,519
Speaker 2: heard it before. We weren't in the studio. I mean

1676
01:28:53,600 --> 01:28:58,680
Speaker 2: he took how he approached you, like, listen to this. Well,

1677
01:28:58,680 --> 01:29:00,240
Speaker 2: you know, it's funny because we did. When we did

1678
01:29:00,320 --> 01:29:01,760
Speaker 2: we did a record called can You Treat Me Like

1679
01:29:01,840 --> 01:29:05,360
Speaker 2: She Does? For Real to Real and a very obscure record.

1680
01:29:05,760 --> 01:29:09,559
Speaker 2: But the demo of that song, Terry's playing the bass

1681
01:29:10,200 --> 01:29:13,840
Speaker 2: very much like the time, and Leon always called it

1682
01:29:13,920 --> 01:29:17,240
Speaker 2: the patent bass, like when you're patting something, because it's

1683
01:29:17,320 --> 01:29:20,120
Speaker 2: really it's more of a percussive thing than actually playing notes,

1684
01:29:20,640 --> 01:29:25,920
Speaker 2: so it's just boom. Terry calls it boogaloo bass, okay, right,

1685
01:29:27,240 --> 01:29:31,800
Speaker 2: So Leon always called it the patent patent bass, like

1686
01:29:31,840 --> 01:29:35,200
Speaker 2: you're patting the bass. Right. So when we did the

1687
01:29:35,320 --> 01:29:38,000
Speaker 2: demo of the record and Leon heard it, he says, oh,

1688
01:29:38,439 --> 01:29:40,920
Speaker 2: he said, because he always scratched his beard and he

1689
01:29:40,920 --> 01:29:44,080
Speaker 2: always talked like this, and he'd say, yeah, he said,

1690
01:29:44,120 --> 01:29:45,760
Speaker 2: I like that I like that record. He said, we're

1691
01:29:45,800 --> 01:29:47,360
Speaker 2: going to do that record on my group real to

1692
01:29:47,439 --> 01:29:49,760
Speaker 2: reel and we're like, okay, great, Leon cool, you know,

1693
01:29:50,200 --> 01:29:52,840
Speaker 2: So we went in and did the track. So as

1694
01:29:52,880 --> 01:29:57,080
Speaker 2: we're doing the track, Princess in our mind talking about

1695
01:29:57,120 --> 01:29:59,840
Speaker 2: don't give away the time sounds so now so Terry

1696
01:30:00,160 --> 01:30:02,439
Speaker 2: La is watering down the bass part now right, So

1697
01:30:02,600 --> 01:30:08,160
Speaker 2: now Terry Terry's just gonna boom, you know, He's just

1698
01:30:08,240 --> 01:30:10,760
Speaker 2: kind of doing like that. So we turned, you know,

1699
01:30:10,880 --> 01:30:12,840
Speaker 2: we did the track and we said, okay, here you go, Leon,

1700
01:30:12,920 --> 01:30:17,600
Speaker 2: and he goes what happened to the patent bass? And

1701
01:30:17,680 --> 01:30:19,080
Speaker 2: we were like, no, that's the way we do it,

1702
01:30:19,280 --> 01:30:22,160
Speaker 2: just just like that. No, I heard the shits on

1703
01:30:22,280 --> 01:30:24,800
Speaker 2: the demo and he was patting the base different than

1704
01:30:24,840 --> 01:30:28,320
Speaker 2: he's doing it. So either you guys can do the

1705
01:30:28,360 --> 01:30:30,240
Speaker 2: pattern on the bass or I'll go in and do

1706
01:30:30,320 --> 01:30:34,880
Speaker 2: it myself. And so we were like, oh, shaid, okay.

1707
01:30:35,000 --> 01:30:37,280
Speaker 2: So we went in and I think I think Leon

1708
01:30:37,720 --> 01:30:39,880
Speaker 2: Terry did kind of add a little bit to it,

1709
01:30:40,040 --> 01:30:43,040
Speaker 2: but never wanted to give the whole thing away. But

1710
01:30:43,120 --> 01:30:44,960
Speaker 2: I think Leon did go in and you know, put

1711
01:30:45,000 --> 01:30:47,760
Speaker 2: a few little pats of his own there. But nah.

1712
01:30:47,840 --> 01:30:50,320
Speaker 2: I mean we really were conscious of that, of not

1713
01:30:50,920 --> 01:30:53,000
Speaker 2: We didn't want to give away the time sound and

1714
01:30:53,080 --> 01:30:55,400
Speaker 2: I think and and by the way, when we were producers,

1715
01:30:56,000 --> 01:30:57,960
Speaker 2: that was the same thing we did when we started producing.

1716
01:30:58,080 --> 01:31:00,559
Speaker 2: We we would do one act and then the we'd

1717
01:31:00,600 --> 01:31:02,880
Speaker 2: be like, no, we're going a whole different groove or

1718
01:31:02,960 --> 01:31:05,599
Speaker 2: drum machines or keyboards or whatever. To try to keep everybody,

1719
01:31:06,200 --> 01:31:06,800
Speaker 2: you know, their own.

1720
01:31:06,960 --> 01:31:11,400
Speaker 1: How did you avoid the Dick Griffy pitfall? Because you

1721
01:31:11,479 --> 01:31:15,919
Speaker 1: guys could easily been just still our house producers?

1722
01:31:16,400 --> 01:31:19,600
Speaker 2: Yep? Did he pursue you guys at all? Sort of

1723
01:31:20,840 --> 01:31:25,519
Speaker 2: the Well, the reason is one man, Clarence Savon. Clarence

1724
01:31:25,560 --> 01:31:29,000
Speaker 2: Savon didn't allow that to happen. Now, when we went

1725
01:31:29,080 --> 01:31:32,839
Speaker 2: to see Clarence, there was a lady named Dina Andrews

1726
01:31:33,200 --> 01:31:35,920
Speaker 2: who was an A and R person that sold our records.

1727
01:31:36,280 --> 01:31:38,599
Speaker 2: And she, pardon me, she was the one that actually

1728
01:31:39,080 --> 01:31:42,880
Speaker 2: introduced us to Dick Griffy and she also knew and

1729
01:31:43,040 --> 01:31:45,439
Speaker 2: and by the way, all of these songs we were

1730
01:31:45,479 --> 01:31:47,639
Speaker 2: doing back then were all based on one demo tape

1731
01:31:47,640 --> 01:31:50,920
Speaker 2: that we did at the house, and and high Hopes

1732
01:31:51,000 --> 01:31:53,960
Speaker 2: was on their SOS band. I saw called when You're

1733
01:31:53,960 --> 01:31:55,680
Speaker 2: Far Away that we ended up doing on gladys Nye

1734
01:31:55,680 --> 01:31:57,360
Speaker 2: and the Pips, a song called the only one that

1735
01:31:57,439 --> 01:32:02,439
Speaker 2: we did on Dynasty, which was Leon's. Yeah, I didn't know.

1736
01:32:02,560 --> 01:32:04,479
Speaker 2: A matter of fact, the keyboard on there is that

1737
01:32:04,560 --> 01:32:08,439
Speaker 2: original little cassio keyboard because because Leon said, man, keep

1738
01:32:08,479 --> 01:32:11,200
Speaker 2: that keyboard sound just like you had it, I said, okay, damn.

1739
01:32:11,280 --> 01:32:14,880
Speaker 2: So like literally climax we did for Dick graphy real

1740
01:32:14,920 --> 01:32:17,320
Speaker 2: to real we did not for I mean for Leon

1741
01:32:17,400 --> 01:32:20,439
Speaker 2: Silver's yeah exactly, and so on and so forth. So anyway,

1742
01:32:20,479 --> 01:32:22,200
Speaker 2: but all of these songs were all on that same

1743
01:32:22,280 --> 01:32:24,720
Speaker 2: demo tape, and everybody just heard different songs they liked.

1744
01:32:25,520 --> 01:32:30,080
Speaker 2: Dick heard, you know, wild Girls. Yeah he's heard wild

1745
01:32:30,120 --> 01:32:31,840
Speaker 2: Girls and said, oh yeah, wolwd Girls that wild Girls.

1746
01:32:31,880 --> 01:32:32,240
Speaker 4: We like that.

1747
01:32:32,400 --> 01:32:36,360
Speaker 2: You know he still a copy of you know, Terry

1748
01:32:36,479 --> 01:32:39,960
Speaker 2: probably does. He probably does. I don't. I don't have it,

1749
01:32:40,040 --> 01:32:41,479
Speaker 2: but I bet you he does because he still got

1750
01:32:41,520 --> 01:32:43,840
Speaker 2: the four track you know that we did all that stuff,

1751
01:32:43,960 --> 01:32:46,519
Speaker 2: probably in his room somewhere. Yeah, he's got No, it's

1752
01:32:46,560 --> 01:32:48,040
Speaker 2: not here, it's not he's got it at his house,

1753
01:32:48,080 --> 01:32:51,040
Speaker 2: but it's not here, but he's got it. Definitely. But anyway,

1754
01:32:51,080 --> 01:32:52,839
Speaker 2: so that was that was the whole thing. So everybody

1755
01:32:52,920 --> 01:32:54,840
Speaker 2: had their own different kind of things that they liked.

1756
01:32:55,280 --> 01:32:59,280
Speaker 2: But what happened with Clarence was Denia said, I'm gonna

1757
01:32:59,280 --> 01:33:02,000
Speaker 2: introduce you to to Clarence Avan because Clarence said wanted

1758
01:33:02,080 --> 01:33:04,200
Speaker 2: us to do. We had done High Hopes, but we

1759
01:33:04,240 --> 01:33:07,479
Speaker 2: didn't produce it. We just wrote it right, So Clarence

1760
01:33:07,520 --> 01:33:09,599
Speaker 2: wanted to hear what it would have sounded like if

1761
01:33:09,680 --> 01:33:12,120
Speaker 2: we produced it. So we had the demo. So we,

1762
01:33:12,760 --> 01:33:15,160
Speaker 2: you know, Dina set up a meeting. We went to

1763
01:33:15,200 --> 01:33:17,280
Speaker 2: meet him. Clarence called us the two thugs because we

1764
01:33:17,320 --> 01:33:19,400
Speaker 2: walked in with, you know, our hats and our suits

1765
01:33:19,439 --> 01:33:21,719
Speaker 2: and stuff, and he said, who are you two thugs?

1766
01:33:21,760 --> 01:33:25,160
Speaker 2: You know? So anyway, he listens to the he said,

1767
01:33:25,400 --> 01:33:27,719
Speaker 2: he said that High Hopes. He said, I like that record.

1768
01:33:27,760 --> 01:33:30,479
Speaker 2: He says, you know, and we said, well, Clarence, he said,

1769
01:33:31,080 --> 01:33:32,760
Speaker 2: it's cool, but the way it came out, but you know,

1770
01:33:33,280 --> 01:33:34,920
Speaker 2: he said, what's the difference in the demo? I said, well,

1771
01:33:34,920 --> 01:33:36,559
Speaker 2: put the chili sauce on the demo. He said, oh,

1772
01:33:36,600 --> 01:33:39,360
Speaker 2: you did chili sauce. I like that. Okay, let's hear

1773
01:33:39,360 --> 01:33:41,479
Speaker 2: that we put it in and he said, yeah, yeah,

1774
01:33:41,479 --> 01:33:43,160
Speaker 2: I like that. I like that. He said, okay, so

1775
01:33:43,280 --> 01:33:45,120
Speaker 2: I want you to do two songs on the next

1776
01:33:45,240 --> 01:33:49,679
Speaker 2: SOS band record and we said okay, cool, Yeah, we're down,

1777
01:33:49,720 --> 01:33:52,000
Speaker 2: you know whatever. So he said okay, he said but

1778
01:33:52,040 --> 01:33:55,800
Speaker 2: here's the thing. He said, now, y'all's manager is negotiating

1779
01:33:55,840 --> 01:33:59,240
Speaker 2: your fee. And when he said that, our first thought

1780
01:33:59,360 --> 01:34:02,360
Speaker 2: was oh man. So we were like, okay, Clarence, well

1781
01:34:02,360 --> 01:34:04,320
Speaker 2: we can you know, we can get the budget down, man,

1782
01:34:04,360 --> 01:34:06,880
Speaker 2: you know, whatever you you know want to do. And

1783
01:34:07,000 --> 01:34:10,719
Speaker 2: he said, get the budget down. She ain't asking enough money, y'all.

1784
01:34:10,840 --> 01:34:13,760
Speaker 2: Y'all are worth more than that. And we were like, oh,

1785
01:34:13,840 --> 01:34:17,240
Speaker 2: we was representing you at the time. Dina andrews, Okay, okay, yeah,

1786
01:34:17,280 --> 01:34:19,800
Speaker 2: she was like our kind of de facto but she

1787
01:34:21,000 --> 01:34:22,720
Speaker 2: but she worked for Solar but yeah, but she was

1788
01:34:22,880 --> 01:34:25,519
Speaker 2: Moonlight and I guess you could say, you know, representing

1789
01:34:25,560 --> 01:34:31,439
Speaker 2: our affairs and uh. She had also got introduced us

1790
01:34:31,520 --> 01:34:35,080
Speaker 2: to a guy at Warner Brothers Publishing and I'm trying

1791
01:34:35,120 --> 01:34:37,320
Speaker 2: to think of who it was or Warner Chapel, I

1792
01:34:37,400 --> 01:34:39,160
Speaker 2: can't remember his name, who was going to give us

1793
01:34:39,160 --> 01:34:43,040
Speaker 2: a publishing deal, right, So Clarence had seen the publishing deal,

1794
01:34:44,280 --> 01:34:48,639
Speaker 2: and Clarence said, if y'all signed this publishing deal, I'm

1795
01:34:48,680 --> 01:34:52,080
Speaker 2: never speaking to YouTube again day. And we were like, wow,

1796
01:34:52,439 --> 01:34:54,759
Speaker 2: what's what's the problem with the with the deal Clarence,

1797
01:34:55,160 --> 01:34:56,720
Speaker 2: And the deal was something like it was like I

1798
01:34:56,760 --> 01:34:58,519
Speaker 2: don't know one hundred and I don't know it one

1799
01:34:58,600 --> 01:35:00,800
Speaker 2: hundred and seventy thousand dollars for three years or something

1800
01:35:00,840 --> 01:35:03,320
Speaker 2: like that, right, which at the time you thought, oh

1801
01:35:03,400 --> 01:35:05,479
Speaker 2: my god, I'm like, are you kidding me? We'll take

1802
01:35:05,680 --> 01:35:07,680
Speaker 2: us one hundred and fifty dollars a week. Yeah, right,

1803
01:35:08,160 --> 01:35:10,200
Speaker 2: We're like, oh, come on man, that's great, he says.

1804
01:35:11,040 --> 01:35:13,160
Speaker 2: He said, Well, let me just break it down for you, gentlemen.

1805
01:35:13,439 --> 01:35:16,679
Speaker 2: So he said, so you got one hundred and seventy

1806
01:35:17,120 --> 01:35:19,000
Speaker 2: thousand dollars. So first of all, you know, you're gonna

1807
01:35:19,000 --> 01:35:20,720
Speaker 2: split that in half because there's two of y'all in

1808
01:35:20,840 --> 01:35:23,080
Speaker 2: case you didn't understand that there's two of you. Okay,

1809
01:35:23,720 --> 01:35:26,719
Speaker 2: So now maybe you have you know, eighty five thousand dollars.

1810
01:35:27,360 --> 01:35:31,519
Speaker 2: Now Uncle Sam's gonna take his fifty percent. And now

1811
01:35:32,040 --> 01:35:37,360
Speaker 2: you got forty thousand dollars and three years for forty

1812
01:35:37,400 --> 01:35:39,400
Speaker 2: thousand that's fifteen thousand dollars a year. What are you

1813
01:35:39,400 --> 01:35:45,839
Speaker 2: gonna do with that? We're like, uh, well, he said, gentlemen,

1814
01:35:46,560 --> 01:35:49,639
Speaker 2: he said, I guarantee you you first runty check will

1815
01:35:49,680 --> 01:35:53,759
Speaker 2: be more than that total three year check. Mark my words.

1816
01:35:54,200 --> 01:35:56,560
Speaker 2: And we said, okay, Clarence, we're cold, we're with it,

1817
01:35:56,640 --> 01:35:59,960
Speaker 2: so we never will never signed a deal. Clarence gave

1818
01:36:00,120 --> 01:36:03,200
Speaker 2: us the SOS band deal, and of course that led

1819
01:36:03,240 --> 01:36:05,960
Speaker 2: to the ill fated recording session at Atlanta and Atlanta

1820
01:36:07,680 --> 01:36:10,040
Speaker 2: that we all know about. So but that was the thing.

1821
01:36:10,280 --> 01:36:13,400
Speaker 2: And and by the way, Clarence was absolutely right. Our

1822
01:36:13,439 --> 01:36:17,439
Speaker 2: first royalty check was uh, probably right around that number,

1823
01:36:17,840 --> 01:36:20,960
Speaker 2: just for I think just for the first like soos

1824
01:36:21,080 --> 01:36:24,280
Speaker 2: name so for one song. Yeah, what was that? Was it?

1825
01:36:24,439 --> 01:36:29,439
Speaker 2: Just good? Yeah? So he was right. So that's how

1826
01:36:29,479 --> 01:36:31,280
Speaker 2: we didn't get into the Dick Griffy thing because he

1827
01:36:31,400 --> 01:36:34,160
Speaker 2: didn't allow that to happen, he said. And the other

1828
01:36:34,439 --> 01:36:37,360
Speaker 2: last little thing he told us when we met with him,

1829
01:36:37,400 --> 01:36:39,479
Speaker 2: he said, think about this, gentleman, what are you going

1830
01:36:39,560 --> 01:36:41,479
Speaker 2: to be doing seven years from now? And we said,

1831
01:36:41,520 --> 01:36:43,800
Speaker 2: We're I be making hits and he said, no, no, no, no,

1832
01:36:44,040 --> 01:36:46,640
Speaker 2: he said, I don't mean that he said, right now,

1833
01:36:46,720 --> 01:36:50,400
Speaker 2: you got me, You got Barry Gordy, got Lonnie Simmons,

1834
01:36:51,080 --> 01:36:54,080
Speaker 2: you got Dick Griffy. Right, you know where where the

1835
01:36:54,120 --> 01:36:56,840
Speaker 2: guys are in the industry, who's going to be the

1836
01:36:56,920 --> 01:36:59,439
Speaker 2: next us said, that's who you need to That's what

1837
01:36:59,520 --> 01:37:02,120
Speaker 2: you need to stay looking at. You need to start

1838
01:37:02,280 --> 01:37:05,760
Speaker 2: identifying talent and then helping them out. And he says,

1839
01:37:05,800 --> 01:37:08,400
Speaker 2: if you ever come across somebody who you think is talented,

1840
01:37:09,000 --> 01:37:10,800
Speaker 2: they're in a screwed up deal or whatever it is,

1841
01:37:11,640 --> 01:37:14,880
Speaker 2: you introduce him to me. And we said, okay. And

1842
01:37:14,960 --> 01:37:17,000
Speaker 2: you know who we met l A l A Read

1843
01:37:20,680 --> 01:37:22,360
Speaker 2: in the deal yep, because he was in the deal

1844
01:37:22,439 --> 01:37:25,160
Speaker 2: and he was and they had that in the contract

1845
01:37:25,560 --> 01:37:28,360
Speaker 2: as nobody else did. They had that, they had that contract.

1846
01:37:28,479 --> 01:37:31,640
Speaker 2: And we met him and knew him and face were

1847
01:37:31,680 --> 01:37:34,360
Speaker 2: doing stuff together and he said, can you introduce me

1848
01:37:34,400 --> 01:37:37,040
Speaker 2: to Clarence? And we said absolutely. We called Clarence. We said, Clarence,

1849
01:37:37,040 --> 01:37:39,519
Speaker 2: we got somebody for you, just like you said, and

1850
01:37:39,680 --> 01:37:43,280
Speaker 2: the rest is history there. So Clarence Clarence is the

1851
01:37:43,360 --> 01:37:48,200
Speaker 2: funk whisper. Yeah he is, he absolutely is, He absolutely is.

1852
01:37:49,960 --> 01:37:53,240
Speaker 2: Well yeah, the first time, I I mean, I love

1853
01:37:53,400 --> 01:37:55,760
Speaker 2: Sussex records. But I didn't know that he was then

1854
01:37:57,360 --> 01:37:58,879
Speaker 2: ahead of it or even taboo.

1855
01:38:00,720 --> 01:38:03,000
Speaker 1: But yeah, I remember he was one of the first

1856
01:38:03,040 --> 01:38:07,679
Speaker 1: people you thinked when you got your Grammy, your Producer

1857
01:38:07,720 --> 01:38:09,960
Speaker 1: of the Year, Yes for your Grammy.

1858
01:38:10,160 --> 01:38:10,280
Speaker 2: Yea.

1859
01:38:10,560 --> 01:38:16,479
Speaker 1: So how okay, I'm playing willfully ignorant here. The day

1860
01:38:16,600 --> 01:38:20,760
Speaker 1: that you got fired, I mean, was that mid tour or.

1861
01:38:20,920 --> 01:38:25,120
Speaker 2: Did you that was between tours? So so what had

1862
01:38:25,160 --> 01:38:28,080
Speaker 2: happened was of course obviously the whole snowstorm happened. We

1863
01:38:28,120 --> 01:38:30,800
Speaker 2: missed the gig in San Antonio went to You're sitting

1864
01:38:31,080 --> 01:38:33,719
Speaker 2: on the plane as no, the planes, they weren't letting

1865
01:38:33,720 --> 01:38:36,679
Speaker 2: people on the plane. There was literally no I'm from Minnesota.

1866
01:38:36,760 --> 01:38:39,600
Speaker 2: What time was the flight? Flight was like first thing

1867
01:38:39,640 --> 01:38:41,200
Speaker 2: in the morning, like seven o'clock in the morning, like

1868
01:38:41,280 --> 01:38:43,559
Speaker 2: just when even then, and think like maybe we rent

1869
01:38:43,600 --> 01:38:45,320
Speaker 2: a car. We did think of that. We thought of

1870
01:38:45,479 --> 01:38:50,599
Speaker 2: every possible scenario. We booked ourselves on any flight leaving.

1871
01:38:51,439 --> 01:38:53,280
Speaker 2: We booked ourselves on it. You could do that in

1872
01:38:53,320 --> 01:38:56,479
Speaker 2: those days. And literally we were booked on like ten

1873
01:38:56,560 --> 01:39:00,599
Speaker 2: different flights and they all canceled, and they all canceled. Literally,

1874
01:39:00,960 --> 01:39:03,000
Speaker 2: Then we thought, well, can we get the rent a

1875
01:39:03,040 --> 01:39:06,800
Speaker 2: car back drive to an airport that's open. But once again,

1876
01:39:06,920 --> 01:39:10,160
Speaker 2: now you're not dealing with it's not ways and you

1877
01:39:10,240 --> 01:39:13,360
Speaker 2: know and and and siri and what's the closest airports

1878
01:39:13,439 --> 01:39:15,320
Speaker 2: that's opened, Sirie And it's none of that. You know,

1879
01:39:15,400 --> 01:39:17,519
Speaker 2: you had none of those, you know, the ability to

1880
01:39:17,560 --> 01:39:21,120
Speaker 2: do that. So but no, all of those possibilities. We

1881
01:39:21,200 --> 01:39:23,240
Speaker 2: were like, take a flight to anywhere we can connect

1882
01:39:23,280 --> 01:39:25,000
Speaker 2: and get to San Antonio. So we had the whole

1883
01:39:25,080 --> 01:39:28,360
Speaker 2: day to figure it out. And so literally for eight hours.

1884
01:39:28,360 --> 01:39:30,360
Speaker 2: And of course we're in the Atlanta airport. Everybody been

1885
01:39:30,400 --> 01:39:32,400
Speaker 2: in the Atlanta airport. It was one of the first

1886
01:39:32,439 --> 01:39:36,080
Speaker 2: airports with totally separate terminals for everything, where you had

1887
01:39:36,120 --> 01:39:38,360
Speaker 2: to take the train to get to each terminal. We

1888
01:39:38,439 --> 01:39:41,439
Speaker 2: were up and down on the train, up and down

1889
01:39:41,640 --> 01:39:44,200
Speaker 2: like what's taken off? Anybody taken off? Anybody was It

1890
01:39:44,360 --> 01:39:47,800
Speaker 2: was probably the worst day of my life, I would say,

1891
01:39:47,920 --> 01:39:50,080
Speaker 2: because we had never missed a gig. I mean you

1892
01:39:50,280 --> 01:39:52,800
Speaker 2: just as a musician, the show must go on. I mean,

1893
01:39:52,840 --> 01:39:54,920
Speaker 2: I remember Terry, there was a gig we had. Terry

1894
01:39:55,000 --> 01:39:57,600
Speaker 2: had stitches and stuff and was bleeding and gotten in

1895
01:39:57,600 --> 01:40:00,400
Speaker 2: a car accident. Still showed up and do the gig.

1896
01:40:00,640 --> 01:40:04,240
Speaker 2: You know. We actually we were opening for uh maybe

1897
01:40:04,439 --> 01:40:05,920
Speaker 2: it was a cam it might have been a cameo

1898
01:40:06,000 --> 01:40:09,120
Speaker 2: we were opening for or something. But he showed up.

1899
01:40:09,160 --> 01:40:11,040
Speaker 2: I mean he was like, where's Terry always at the hospital,

1900
01:40:11,080 --> 01:40:12,720
Speaker 2: but he's on his way. It's like, okay, cool. You know,

1901
01:40:12,800 --> 01:40:14,760
Speaker 2: it's like you just don't miss a gig, man. So

1902
01:40:15,600 --> 01:40:17,360
Speaker 2: that was crazy, but we figured out we were going

1903
01:40:17,439 --> 01:40:19,560
Speaker 2: to miss it when we got into town. It was

1904
01:40:19,600 --> 01:40:21,559
Speaker 2: really funny because I actually went to the club afterwards

1905
01:40:21,600 --> 01:40:23,439
Speaker 2: and everybody was saying, oh, may y'all were great. Y'all

1906
01:40:23,479 --> 01:40:26,800
Speaker 2: were great. I felt so weird. I was like, I'm

1907
01:40:26,840 --> 01:40:29,200
Speaker 2: going home, man, this is this is too weird. So

1908
01:40:29,640 --> 01:40:32,400
Speaker 2: when we got back to LA we just figured, you know,

1909
01:40:32,400 --> 01:40:34,720
Speaker 2: because we were still making our little check, a little paycheck, right,

1910
01:40:35,439 --> 01:40:37,120
Speaker 2: so we got you know, we would go by the

1911
01:40:37,120 --> 01:40:38,920
Speaker 2: accountant's office, and I figured we're going to go get

1912
01:40:38,960 --> 01:40:41,719
Speaker 2: our last check, right. So we walked into the account's

1913
01:40:41,760 --> 01:40:43,960
Speaker 2: office and everybody was like, hey, how you guys doing. Oh,

1914
01:40:44,000 --> 01:40:46,640
Speaker 2: here's your checks. Okay, we'll see you next week. We

1915
01:40:46,760 --> 01:40:49,479
Speaker 2: were like you will, okay, cool, all right, So we

1916
01:40:49,560 --> 01:40:51,640
Speaker 2: took our check right. So We did that for the

1917
01:40:51,760 --> 01:40:53,680
Speaker 2: next couple of weeks, three weeks, you know, just went

1918
01:40:53,760 --> 01:40:55,519
Speaker 2: in and got our check and whatever. And I'm like going,

1919
01:40:55,960 --> 01:40:58,360
Speaker 2: I don't think they know we're fired. It's weird, you know.

1920
01:40:59,479 --> 01:41:02,120
Speaker 2: So then we were at this Whispers concert. Did you

1921
01:41:02,240 --> 01:41:06,280
Speaker 2: know you were fired? Though we were told we were fired. Okay, yeah,

1922
01:41:06,280 --> 01:41:07,840
Speaker 2: we were told we were fired. Matter of fact, who

1923
01:41:08,000 --> 01:41:11,040
Speaker 2: told you you? Rent? Prince told us, So he is confrontational.

1924
01:41:11,120 --> 01:41:16,479
Speaker 2: It wasn't like, give my management to tell you over

1925
01:41:16,520 --> 01:41:18,560
Speaker 2: at a dinner too or something where like Prince and

1926
01:41:18,600 --> 01:41:20,800
Speaker 2: Morris were sitting together. It wasn't It wasn't a dinner.

1927
01:41:20,840 --> 01:41:24,960
Speaker 2: It was what happened was and this is so damn

1928
01:41:25,200 --> 01:41:30,559
Speaker 2: movie storybook time. Okay, we had, you know, we're ready

1929
01:41:30,600 --> 01:41:33,320
Speaker 2: to mix the SOS band songs and we had ended

1930
01:41:33,439 --> 01:41:35,120
Speaker 2: up doing just be good to me, but also did

1931
01:41:35,240 --> 01:41:38,840
Speaker 2: tell me if you still care also in a subsequent session,

1932
01:41:38,880 --> 01:41:42,360
Speaker 2: so we're like ready to go. We're like, got the

1933
01:41:42,560 --> 01:41:45,240
Speaker 2: time booked at Larabie Studios, right, and we're gonna mix

1934
01:41:45,320 --> 01:41:48,360
Speaker 2: with Steve Hodge. The way we know Steve Hodges from

1935
01:41:48,400 --> 01:41:50,560
Speaker 2: looking at the liner notes, and it's like, okay, we

1936
01:41:50,640 --> 01:41:53,320
Speaker 2: need Steve Hodge. At Larabie. That's the combination that we

1937
01:41:53,439 --> 01:41:55,400
Speaker 2: need right to mix the record. That's all we didn't know,

1938
01:41:55,800 --> 01:41:58,800
Speaker 2: but that's what we figured. So we got the time booked.

1939
01:41:59,479 --> 01:42:02,240
Speaker 2: That day, we get a call from Prince meet me

1940
01:42:02,320 --> 01:42:05,320
Speaker 2: at Sunset Sound at six thirty and we were like damn.

1941
01:42:05,720 --> 01:42:07,280
Speaker 2: So we kind of looked at each other and we said, well,

1942
01:42:07,479 --> 01:42:10,400
Speaker 2: we're supposed to be mixing the SOS bad record. Well

1943
01:42:10,439 --> 01:42:12,599
Speaker 2: we got to go. We got to go to Sunset Sound.

1944
01:42:12,640 --> 01:42:14,920
Speaker 2: I mean, it's like it was obvious to it was

1945
01:42:15,000 --> 01:42:17,640
Speaker 2: no choice. It was like, no, the time is our priority,

1946
01:42:18,360 --> 01:42:20,320
Speaker 2: you know, the SOS thing. We can wait and we'll

1947
01:42:20,360 --> 01:42:23,439
Speaker 2: figure it out. So we went. When we pulled up,

1948
01:42:23,760 --> 01:42:27,200
Speaker 2: the accountant was there, a guy named Fred Moultrie. He

1949
01:42:27,400 --> 01:42:31,559
Speaker 2: was there, and we said, we're getting our we're getting fired.

1950
01:42:31,600 --> 01:42:34,040
Speaker 2: Like we knew the jig was up right, You instantly knew.

1951
01:42:34,120 --> 01:42:36,680
Speaker 2: We just knew. We just knew that what So we said, hey,

1952
01:42:36,720 --> 01:42:38,840
Speaker 2: what's up Fred? And Fred had this high voice and

1953
01:42:38,920 --> 01:42:40,880
Speaker 2: he said, hey, guys, how you doing. Have a good session.

1954
01:42:40,960 --> 01:42:44,360
Speaker 2: Y'all have a good session. We were like, okay, cool,

1955
01:42:44,400 --> 01:42:47,120
Speaker 2: all right, well maybe not, you know. So we go

1956
01:42:47,240 --> 01:42:49,599
Speaker 2: into this little room kind of this little sitting room

1957
01:42:49,640 --> 01:42:53,719
Speaker 2: right adjacent to the studio, and myself, Terry, Jesse Morris,

1958
01:42:53,880 --> 01:42:59,400
Speaker 2: and Prince, just the five of us, right, and Prince goes,

1959
01:43:01,080 --> 01:43:06,160
Speaker 2: I told you guys not to produce other records, and

1960
01:43:07,400 --> 01:43:14,840
Speaker 2: you did, so you're fired. And room went silent for

1961
01:43:14,840 --> 01:43:17,320
Speaker 2: a minute. And then I got up and I said, okay, cool,

1962
01:43:17,439 --> 01:43:20,160
Speaker 2: and I got up and walked out the door. So

1963
01:43:20,320 --> 01:43:22,840
Speaker 2: Terry stayed in there for a little while, trying to

1964
01:43:22,880 --> 01:43:26,679
Speaker 2: reason with him, like yeah, Terry was like, come on, mane,

1965
01:43:26,720 --> 01:43:29,080
Speaker 2: well Terry. You know, Terry was great because here's the

1966
01:43:29,160 --> 01:43:35,080
Speaker 2: one thing. First of all, Prince couldn't bullshit Terry ever.

1967
01:43:35,200 --> 01:43:37,360
Speaker 2: You just he's just usually he's just not the cat

1968
01:43:37,439 --> 01:43:39,880
Speaker 2: you do it with. And that's what Prince liked about

1969
01:43:39,920 --> 01:43:43,559
Speaker 2: Terry so much. He knew he couldn't do you no, Oakie,

1970
01:43:43,560 --> 01:43:46,960
Speaker 2: donk on him like like he would just tell him straight,

1971
01:43:47,280 --> 01:43:49,479
Speaker 2: like Prince, you suck right now or you He would

1972
01:43:49,560 --> 01:43:52,919
Speaker 2: just always say that yeah he could, yeah, oh absolutely,

1973
01:43:53,120 --> 01:43:54,720
Speaker 2: Oh yeah. They used to get in. They used to

1974
01:43:54,800 --> 01:44:00,639
Speaker 2: get in these five six hour conversations about stuff about

1975
01:44:00,960 --> 01:44:05,720
Speaker 2: about life and religion and you name it. And and

1976
01:44:05,960 --> 01:44:08,040
Speaker 2: because Prince would have all these philosophies, and he'd do

1977
01:44:08,080 --> 01:44:10,519
Speaker 2: all this stuff and it would be like and he talked,

1978
01:44:10,600 --> 01:44:13,160
Speaker 2: and when he talked, man, he had this way of

1979
01:44:13,280 --> 01:44:15,040
Speaker 2: kind of like it was like drinking the kool aid. Man.

1980
01:44:15,080 --> 01:44:17,200
Speaker 2: It was like, right, no one ever challenged him morning,

1981
01:44:17,360 --> 01:44:21,240
Speaker 2: nobody challenged him. And Terry would always go like, yeah, okay,

1982
01:44:21,360 --> 01:44:23,680
Speaker 2: well that's what you think, but here's what I think,

1983
01:44:23,760 --> 01:44:25,600
Speaker 2: and and would come right back at him. And I

1984
01:44:25,640 --> 01:44:28,680
Speaker 2: think Prince always appreciated that with Terry, and Terry was

1985
01:44:28,760 --> 01:44:31,280
Speaker 2: really the leader of the time. I mean, Morris was

1986
01:44:31,320 --> 01:44:33,960
Speaker 2: the lead singer, but whenever there was a decision to

1987
01:44:34,080 --> 01:44:37,519
Speaker 2: be made, Morris would always go, Terry, what do you think? Okay, right,

1988
01:44:37,720 --> 01:44:40,200
Speaker 2: So Terry was that dude. So Terry. Yeah, So Terry

1989
01:44:40,240 --> 01:44:41,600
Speaker 2: tried to reason with him a little bit and just

1990
01:44:41,680 --> 01:44:43,560
Speaker 2: kind of go like, come on, man, why would you

1991
01:44:43,800 --> 01:44:46,479
Speaker 2: why would you do that? We're not giving away the

1992
01:44:46,560 --> 01:44:49,519
Speaker 2: sound like you say, we're doing you know, so, and

1993
01:44:49,680 --> 01:44:52,519
Speaker 2: so you know whatever. Anyway, about ten minutes later, Terry

1994
01:44:52,560 --> 01:44:55,760
Speaker 2: comes out and he says, okay, well, what do you

1995
01:44:55,800 --> 01:44:57,800
Speaker 2: want to do now? And we looked at our watch.

1996
01:44:57,880 --> 01:44:59,800
Speaker 2: I said with him, we got time, and yeah, we

1997
01:44:59,840 --> 01:45:01,920
Speaker 2: got time. At Larabie. Let's go to Larby and mixes.

1998
01:45:02,439 --> 01:45:02,559
Speaker 4: Right.

1999
01:45:03,160 --> 01:45:06,920
Speaker 2: So we walk into Larabie and we had never even

2000
01:45:07,000 --> 01:45:10,240
Speaker 2: met Steve Hodge before, and so we walk in and

2001
01:45:10,360 --> 01:45:12,320
Speaker 2: he goes, you guys, Jimmy and Tarry, Yeah, he says,

2002
01:45:12,360 --> 01:45:13,960
Speaker 2: I'm Steve. And I said, hey, Steve, nice to meet you.

2003
01:45:14,040 --> 01:45:17,920
Speaker 2: How you doing no good? And Steve goes, what's wrong

2004
01:45:17,960 --> 01:45:20,720
Speaker 2: with you guys? And he said something wrong and we said,

2005
01:45:21,520 --> 01:45:24,080
Speaker 2: we just got fired from the time and he said.

2006
01:45:24,120 --> 01:45:29,080
Speaker 2: Steve said hmm. He said, well, I'm gonna tell you something.

2007
01:45:29,240 --> 01:45:31,000
Speaker 2: He said, you don't have much story about because this

2008
01:45:31,080 --> 01:45:33,320
Speaker 2: record you guys got here. He said, this is a hit,

2009
01:45:34,280 --> 01:45:40,160
Speaker 2: and he knew, he knew, he knew, and it was

2010
01:45:41,600 --> 01:45:43,519
Speaker 2: that should be the end of the story, but it wasn't.

2011
01:45:43,800 --> 01:45:47,920
Speaker 2: Oh okay, so because that was how that happened, of

2012
01:45:47,960 --> 01:45:49,920
Speaker 2: course not. I'm telling you. We're still picking up our

2013
01:45:49,920 --> 01:45:52,519
Speaker 2: little paychecks right every week, right right. So now we're

2014
01:45:52,520 --> 01:45:55,479
Speaker 2: backstage at a Whispers concert. We run into Lee Bailey.

2015
01:45:55,520 --> 01:45:59,680
Speaker 2: He's got this show called Radio Radio. So so Lee

2016
01:45:59,720 --> 01:46:01,720
Speaker 2: Bailey he's backstage and he walks up to me with

2017
01:46:01,800 --> 01:46:05,559
Speaker 2: a microphone and he says, Lee Bailey radioscope here, you're

2018
01:46:05,600 --> 01:46:08,040
Speaker 2: fired from the time. What's the bottom line? And he

2019
01:46:08,080 --> 01:46:11,880
Speaker 2: puts the mic in my face and yeah, right and right,

2020
01:46:11,960 --> 01:46:16,920
Speaker 2: and I'm going, who are you Lee Bailey radioscope? I said,

2021
01:46:17,200 --> 01:46:18,639
Speaker 2: I said, I know. I said, we're just here watching

2022
01:46:18,720 --> 01:46:20,800
Speaker 2: the concert, man, but I heard you got fired from

2023
01:46:20,840 --> 01:46:23,559
Speaker 2: the time. I'm like, I don't know what you're talking about. Man,

2024
01:46:23,560 --> 01:46:25,560
Speaker 2: We're just here watching the concert, right, So I just

2025
01:46:25,640 --> 01:46:29,160
Speaker 2: kept saying that. Right. A couple of days later, we

2026
01:46:29,240 --> 01:46:32,800
Speaker 2: go to the accountant's office and we go, hey, guys,

2027
01:46:32,880 --> 01:46:35,719
Speaker 2: and they go, we can't give you your checks. Guys.

2028
01:46:36,160 --> 01:46:38,880
Speaker 2: We said, why not? I said, because you guys got fired.

2029
01:46:39,240 --> 01:46:41,040
Speaker 2: And we left and we said, we got fired like

2030
01:46:41,120 --> 01:46:44,599
Speaker 2: four or five weeks ago. Who told you we got fired?

2031
01:46:45,120 --> 01:46:53,400
Speaker 2: It was just on the radio. He's still doing it.

2032
01:46:56,479 --> 01:46:59,880
Speaker 2: He's still doing so. So then the epilogue, as we

2033
01:47:00,120 --> 01:47:02,840
Speaker 2: call it, back from the Dan August Days. Anybody Dan

2034
01:47:02,880 --> 01:47:07,519
Speaker 2: August fan? But he said, a Quinn Martin production anybody

2035
01:47:07,560 --> 01:47:11,679
Speaker 2: ever watched Quinn Martin production shows? Okay, well I got some. Yeah,

2036
01:47:11,800 --> 01:47:14,120
Speaker 2: I stopped it. Oh, I can't believe it. I can't

2037
01:47:14,160 --> 01:47:16,840
Speaker 2: believe nobody in the room. Okay, So Quinn Martin was

2038
01:47:16,880 --> 01:47:21,760
Speaker 2: a production team TV shows back in the day. But

2039
01:47:21,880 --> 01:47:24,040
Speaker 2: Burt Reynolds was on a show called Dan August. He

2040
01:47:24,200 --> 01:47:28,559
Speaker 2: was a detective. It was really good, great show. Anyway,

2041
01:47:29,040 --> 01:47:31,639
Speaker 2: they would always say it would always say act one,

2042
01:47:31,720 --> 01:47:33,080
Speaker 2: Act two, Act three, and then at the end it

2043
01:47:33,120 --> 01:47:35,760
Speaker 2: would always say epilogue, and it was always the wrap

2044
01:47:35,880 --> 01:47:39,000
Speaker 2: up of the show. So the epilogue of the story

2045
01:47:39,200 --> 01:47:50,080
Speaker 2: is Prince had jelly Bean called Terry, and as it

2046
01:47:50,160 --> 01:47:52,000
Speaker 2: turned out, the reason that the accountant didn't know we

2047
01:47:52,080 --> 01:47:54,880
Speaker 2: were fired is because we never were really fired. It

2048
01:47:55,040 --> 01:47:58,519
Speaker 2: was a bluff and the idea was we were supposed

2049
01:47:58,560 --> 01:48:01,600
Speaker 2: to fall flat on our faces and then beg for

2050
01:48:01,680 --> 01:48:07,719
Speaker 2: our jobs about right. Well, unfortunately that didn't happen because

2051
01:48:07,880 --> 01:48:10,240
Speaker 2: just be good to me came out unfortunately for who

2052
01:48:10,400 --> 01:48:14,840
Speaker 2: and not for us. So anyway, just be good to me.

2053
01:48:14,920 --> 01:48:17,200
Speaker 2: Everybody basically was felt like, Okay, well this is a

2054
01:48:17,360 --> 01:48:19,439
Speaker 2: this is a smash. Whoever did this? We're good, you know,

2055
01:48:20,920 --> 01:48:25,000
Speaker 2: So Jellyban, So Prince decided divide and conquer. So he

2056
01:48:25,160 --> 01:48:28,400
Speaker 2: called Jellyban and he said to Jellybean, get get Terry

2057
01:48:28,479 --> 01:48:33,000
Speaker 2: lewis back and Terry said, and uh, Bean said, what

2058
01:48:33,040 --> 01:48:36,240
Speaker 2: about what about Jimmy And he said, no, just just Terry.

2059
01:48:36,840 --> 01:48:41,599
Speaker 2: So jelly Bean, jelly Bean called Terry and I'll never

2060
01:48:41,680 --> 01:48:44,360
Speaker 2: forget this. We're in this, We're in this little little

2061
01:48:44,439 --> 01:48:47,880
Speaker 2: room and we had a little three bedroom apartment, uh,

2062
01:48:48,080 --> 01:48:49,880
Speaker 2: with Dina, with Dina Andrews, I think, as a matter

2063
01:48:49,920 --> 01:48:54,160
Speaker 2: of fact at that point, and I remember Terry getting

2064
01:48:54,200 --> 01:48:57,280
Speaker 2: a phone and going, hey, Bean, what's up. What are

2065
01:48:57,320 --> 01:48:59,599
Speaker 2: y'all doing? And so Bean's telling them, oh, yeah, we're

2066
01:48:59,600 --> 01:49:01,479
Speaker 2: gonna do this movie, Purple Rain, and we're gonna do

2067
01:49:01,560 --> 01:49:03,120
Speaker 2: this whole thing, and you know, blah blah blah blah

2068
01:49:03,120 --> 01:49:07,680
Speaker 2: blah blah blah, and uh, Terry says yeah. He says, well,

2069
01:49:08,280 --> 01:49:11,200
Speaker 2: he said what about Jimmy And he said you don't

2070
01:49:11,200 --> 01:49:16,800
Speaker 2: want Jimmy back? And Terry said, you every cuss word,

2071
01:49:16,960 --> 01:49:20,439
Speaker 2: every like if he could climb through the phone and run,

2072
01:49:20,600 --> 01:49:25,160
Speaker 2: Bean's knocking. And I was like, Terry, what's going on?

2073
01:49:25,280 --> 01:49:27,439
Speaker 2: He says, no, no, you can't. I mean, he was

2074
01:49:27,479 --> 01:49:31,040
Speaker 2: so pissed off. Anyway, I said to Terry, I said, man,

2075
01:49:31,080 --> 01:49:32,679
Speaker 2: go do the movie. It's no big deal. I said,

2076
01:49:32,720 --> 01:49:34,439
Speaker 2: I'm not going anywhere. I said, you know, make the

2077
01:49:34,520 --> 01:49:36,360
Speaker 2: movie sounds fun. Go ahead and do it and whatever.

2078
01:49:36,479 --> 01:49:38,120
Speaker 2: He said, no, he'll no, he said, no, we in

2079
01:49:38,200 --> 01:49:40,560
Speaker 2: this together. He said, if they're not going to do

2080
01:49:40,640 --> 01:49:43,519
Speaker 2: that to us, you know, we're a team and you

2081
01:49:43,560 --> 01:49:46,600
Speaker 2: know whatever. Yeah, So that was it.

2082
01:49:46,720 --> 01:49:47,160
Speaker 4: So that was it.

2083
01:49:47,280 --> 01:49:48,760
Speaker 2: So then and that's so, that's why we were out.

2084
01:49:48,800 --> 01:49:51,479
Speaker 2: And then wait, why are you looking at me? Like?

2085
01:49:51,800 --> 01:49:52,720
Speaker 2: Why did you look at me?

2086
01:49:53,080 --> 01:49:53,280
Speaker 4: Mere?

2087
01:49:53,400 --> 01:49:58,080
Speaker 2: Because I felt you looking at me like you and

2088
01:49:58,160 --> 01:50:00,160
Speaker 2: there are some words of wisdom coming from this. Worry

2089
01:50:00,160 --> 01:50:05,240
Speaker 2: about Lord, you're here with you for twenty years. You're

2090
01:50:05,439 --> 01:50:08,280
Speaker 2: here with me now flashback. It took a long time,

2091
01:50:11,200 --> 01:50:20,160
Speaker 2: like this was like another episode of tune in. She

2092
01:50:20,280 --> 01:50:21,800
Speaker 2: looks you give me that. You listen to this.

2093
01:50:24,640 --> 01:50:26,920
Speaker 4: You're with me? Okay, it's what I'm taped now.

2094
01:50:26,960 --> 01:50:29,760
Speaker 2: I just needed it. Thank you, I love it. I

2095
01:50:30,000 --> 01:50:34,920
Speaker 2: love it. I'm sorry. Bringing That's what we do here.

2096
01:50:35,240 --> 01:50:37,400
Speaker 2: That's what we do here. It's a public service. Yes,

2097
01:50:39,720 --> 01:50:40,200
Speaker 2: oh man.

2098
01:50:40,320 --> 01:50:42,599
Speaker 1: That's it for part one of our conversations with Jimmy

2099
01:50:42,680 --> 01:50:44,640
Speaker 1: jim Thank you guys for tuning in.

2100
01:50:44,760 --> 01:50:47,400
Speaker 2: And next week we have part two and that's when

2101
01:50:47,600 --> 01:50:50,120
Speaker 2: Alexander returns. Jimmy and Terry.

2102
01:50:49,960 --> 01:50:52,479
Speaker 1: Helped Janet take control and much more don't miss it.

2103
01:50:53,400 --> 01:50:57,160
Speaker 1: Quest Love Supreme is a production of iHeartRadio. This classic

2104
01:50:57,200 --> 01:51:02,519
Speaker 1: episode was produced by the team at Pandora. For more

2105
01:51:02,560 --> 01:51:07,080
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

2106
01:51:07,080 --> 01:51:08,719
Speaker 1: wherever you listen to your favorite shows.