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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 Black Music Month by releasing an episode

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Speaker 1: every day, So every day and maybe want to hear

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Speaker 1: especially pick LS Classic.

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Speaker 2: Now for Part one, Part two, and Part three of

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Speaker 2: my all time favorite ULS episode.

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Speaker 1: This is the legendary Jimmy Jam. Ladies and gentlemen, Welcome

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Speaker 1: to another episode of QLs Classic.

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Speaker 2: I'm Questlove.

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Speaker 1: This episode we consider it to be our finest hour.

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Speaker 1: We interview the music god himself, Jimmy Jam. This is,

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Speaker 1: without no doubt one of our best moments, my personal favorite.

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Speaker 1: In Part one of this three part series, we discuss

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Speaker 1: this life in Minnesota, of Minneapolis, coming up as a DJ,

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Speaker 1: his friendship with Terry Lewis's music partner, and getting mentored

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Speaker 1: by the one and only Clarence Aphon, not to mention

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Speaker 1: Uh Princey starting a 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: Su Primo sun So Supremo, Roll Call Suprema So Supremo,

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Speaker 3: Roll Call Suprema son So Suprimo roll call So Bremo

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Speaker 3: So so so.

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Speaker 1: So 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, Supremo.

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Speaker 2: Roll call Supremo So so.

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Speaker 1: So roll What's love double dipping? Yeah, not trying to

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Speaker 1: be facetious. Yeah, that mirror really said.

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Speaker 2: Suprema So Supremo row My name is Fante. Yeah, in

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Speaker 2: the heels of a Gora.

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Speaker 3: Yeah.

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Speaker 2: Well, my man, Jimmy Jam Yeah. Now where is my food?

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Speaker 3: Supremo Sun Sun Supremo Role call, Suprema Son Son Supremo

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Speaker 3: 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 3: Supremo Son Son Supremo, Role call, Supremo Son Son Supremo

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Speaker 3: Role call.

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Speaker 2: 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.

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Speaker 3: Supprivo roll call, Suprema Son Supremo Role This.

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Speaker 2: Was my name. Yeah, and I still say yeah the

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

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Speaker 3: Ro come Suprema So Supremo, Role call, Supremo.

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Speaker 2: Supremo roll call. 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 1: My.

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Speaker 2: Suprema Supremo.

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Speaker 3: Roll call, Suprema son Son Supremo.

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Speaker 2: Role came. I don't know, Yeah what I was supposed

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Speaker 2: to say. Yeah, I'll be fat Albert. Yeah, so Supremo.

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Speaker 3: Roll call, Suprema So Supremo. Role call, Suprema son Son Supremo.

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Speaker 3: Roll call, Suprema son Son Supremo.

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Speaker 1: Roll call, Ladies and gentlemen. I do not want to

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Speaker 1: waste a second. Welcome Jimmy, jim Okay, let's go, Jimmy

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Speaker 1: Jam Where were you born? No, I'm not wasting a second.

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Speaker 2: No, how you doing, I'm good, I'm good man. We're

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Speaker 2: very overwhelmed for this 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 Yeah, it

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Speaker 2: was like, my life.

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Speaker 1: Is Baltic Avenue and Mediterranean, like this is ward Walking

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Speaker 1: Park place.

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

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Speaker 1: Hello there, mister James Harris, the third Man.

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Speaker 2: I'm wonderful man. It's great to be here with you

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Speaker 2: today finally and your crew, your whole crew. Man, it's wonderful.

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Speaker 2: Thank you.

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Speaker 1: We've been looking forward to this one for a minute. Yeah,

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Speaker 1: this is serious of life life goals here.

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Speaker 2: Yeah, let's just we're starting from the begin Where were

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Speaker 2: you born, sir? Minneapolis, Minnesota? Okay, uh, what part of

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Speaker 2: what part of Minneapolis? I grew up South Minneapolis, So

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Speaker 2: you know, I can say like forty first in Portland Avenue,

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Speaker 2: which doesn't mean a lot to anybody, but you know,

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

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

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Speaker 2: I 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 going on.

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Speaker 2: Like what part of what was the town part of

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Speaker 2: town to not go to? In Minneapolish, Well, okay, if

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Speaker 2: you were black, the northeast was where to not go to.

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Speaker 2: It was called actually the northeast is what we called it.

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Speaker 2: Where the white people lived. Yeah. Yeah, every town has

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Speaker 2: always white people. The white people didn't didn't necessarily want

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Speaker 2: us to be there, you know, because white people live

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

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

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

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Speaker 2: something like that. So pretty much white people were everywhere.

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Speaker 2: But certainly, you know, everybody was very tolerant, I guess,

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Speaker 2: I would say, and it was very progressive town. But

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Speaker 2: as you can tell from the music, it came out

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Speaker 2: of there. I think that's had a lot to do

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Speaker 2: with it. But no, I mean, really, the north side

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Speaker 2: probably is where the folks were. You know, I was

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Speaker 2: one of the only South Side guy. I mean in

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Speaker 2: Prince obviously because we went to school together and stuff.

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Speaker 2: But on the north side of town you had you know,

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Speaker 2: Morris Day, Jellybean, Terry Lewis, you know, and you had

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Speaker 2: the community center called the Way, which everybody used to

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Speaker 2: rehearse at and that kind of thing. So it was

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Speaker 2: a lot more happening on the north side of town,

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Speaker 2: I would say 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 small community, it was. It was.

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Speaker 2: It was a lot like I always say that Purple

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Speaker 2: Rain the movie was a kind of a it was fiction,

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Speaker 2: but it was it told a lot of truth and

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Speaker 2: that was there was like a couple of clubs you

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Speaker 2: could play at, and there was more bands than the

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Speaker 2: clubs could hold. So it made for a very competitive

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Speaker 2: situation where if your band wasn't firing, you just wouldn't

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Speaker 2: be playing in the club. And so that's the way

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Speaker 2: we grew up. So there was like the Elks Lounge.

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Speaker 2: There was a club called the Nakarima Nakaima was actually

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Speaker 2: American spelled backwards. And you know, the Cozy Bar was

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Speaker 2: another place. There was a place called the Flame. And

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Speaker 2: you know, so between, you know, back in that day,

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Speaker 2: you had you know, my band, I had a band

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Speaker 2: called Mind and Matter, Terry had Flight Time. We were

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Speaker 2: together and then we were apart. We were you know,

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Speaker 2: we were going back and forth a lot. And then

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Speaker 2: Prince had Grand Central. Morris had a band called the

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Speaker 2: Enterprise Band of Pleasure at one point, you know, so

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Speaker 2: on and so forth. So what happened was there was

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

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

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Speaker 2: like that, and really the best, probably the baddest dude

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Speaker 2: up there was Sonny Thompson.

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Speaker 1: Everyone speaks of Sonny Thompson like he's God, Yeah, Like,

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Speaker 1: what is it about? What is the legend of Sonny Thompson. Well,

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Speaker 1: Sonny Thompson.

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Speaker 2: I remember back when I first met Terry, and I

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Speaker 2: remember we put our little band together and stuff, and

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Speaker 2: then they used to do these big outdoor festivals at

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Speaker 2: a place called the Phylliswheetlely, which is a big community center,

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Speaker 2: and they used to do these outdoor concerts and I

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Speaker 2: remember seeing they had a band, actually the original band

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Speaker 2: that was called the Family. Sonny Thompson was in that band.

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Speaker 2: But I'd never seen a brother play the guitar like that.

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Speaker 2: I mean, he just was like he was like legendary.

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Speaker 2: He was like the dude. And on top of it,

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Speaker 2: he had the attitude like if you didn't like him

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Speaker 2: or you didn't like the way he was playing, he

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Speaker 2: was gonna come down to kick your ass. Right, So

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Speaker 2: he'd he'd played the gig and stuff, and then afterwards

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Speaker 2: if he'd like, look at it you and you'd say

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Speaker 2: to him, he killed it, Sonny, Man, that was amazing,

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Speaker 2: because you better say that. But the good news was

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Speaker 2: he always was. He was amazing, and he was a

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Speaker 2: dude that everybody just kind of stopped and stared and

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Speaker 2: went damn. What was his style of playing? He was

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Speaker 2: a great rhythm player. He played with a lot of aggression.

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Speaker 2: You know. The thing I always said about about Prince

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Speaker 2: and the way he played is I've never seen anybody

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Speaker 2: attack instruments the way Prince did, Like he literally attacked

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Speaker 2: the instruments louder or just toned well, you know he would.

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Speaker 2: I mean I always say, like, for instance, Terry. You know,

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Speaker 2: Terry's a great bass player, There's no doubt about it.

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Speaker 2: But you know how we always use the analogy like

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Speaker 2: in basketball, people that make you better. Prince was that person, right,

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Speaker 2: So Terry would be playing a bass part and Prince

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Speaker 2: would take the bass from Terry and go, no, play

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Speaker 2: it like this, and then he'd play it, and then

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Speaker 2: he'd had Terry the bass back, and Terry would look

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Speaker 2: at the bass like he'd never seen it before. You know,

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Speaker 2: it's like damn. You know so that but that was

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

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Speaker 2: lot 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 on

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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 unattainables?

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Speaker 3: No?

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Speaker 2: Actually, here's an interesting thing. Yeah, Now First Avenue was

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Speaker 2: actually the first place that actually allowed like black bands

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Speaker 2: to play. So there was a quiet segregation. Oh it

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Speaker 2: was not in your fleece, Oh it was. I guess

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Speaker 2: you could say it was quiet. I mean, if you

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Speaker 2: were a band and you were trying to play somewhere,

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Speaker 2: you knew there were clubs that were just unattainable. You

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Speaker 2: just weren't going to play that club. And I thank

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Speaker 2: God to this day that that happened because what it did,

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Speaker 2: as history has always shown with black folks, is from

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Speaker 2: adversity comes all good things. You know, you look at

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Speaker 2: what you don't have, and then you figure out that

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Speaker 2: you can't go the easy route that everybody else is going,

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Speaker 2: and then you figure out a way to go get

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Speaker 2: it done. So what we used to do back in

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Speaker 2: the day, we knew we couldn't play I can't remember

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Speaker 2: even the names of the clubs, but there was all

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Speaker 2: these very fancy white clubs and they all had white bands,

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Speaker 2: but they were all playing R and B music, which

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Speaker 2: was ironic. We knew we couldn't play those clubs. So

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Speaker 2: what we would do is, for instance, there was a

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

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

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Speaker 2: being torn down. I mean it was just nobody stayed there.

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Speaker 2: Rooms were rady, the whole thing. But what they had

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Speaker 2: was a big ballroom. So what we would do is

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Speaker 2: we would take, you know, we'd go to the owner

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Speaker 2: of the hotel and we'd say, hey, can we rent

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Speaker 2: the ballroom out. We'll give you the liquor, whatever the

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Speaker 2: liquor sales are, you keep and we'll take the door.

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

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Speaker 2: And so what it did is it forced us to

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Speaker 2: become entrepreneurs, because it wasn't like we just had the

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Speaker 2: talent we could go play. It was like, okay, we

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Speaker 2: got the talent, now we got to figure out how

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Speaker 2: we're going to go play. So we would do that.

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Speaker 2: Now we now back in the day, there's no Twitter

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Speaker 2: and no social media, so it was go to institut prints.

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Speaker 2: That was the place you go. You print up a

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Speaker 2: bunch of flyers and then you put them on people's

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Speaker 2: cars and you'd say, you know, ladies get in free too,

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Speaker 2: for one drink. So you'd say whatever the heck you

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Speaker 2: needed to say to get them to get them down.

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

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Speaker 2: and all of a sudden, you'd get fifteen hundred people

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Speaker 2: in this ballroom. Meanwhile, the white clubs are sitting empty.

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Speaker 2: So now they're going, wait, where's everybody at tonight, And

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Speaker 2: they're like, well, they're all going to see the band

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Speaker 2: you wouldn't let play at your club. And so what

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Speaker 2: happened after that was there began to be a little

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Speaker 2: bit of a thing where people begin to recognize that

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Speaker 2: maybe there's a talent or maybe we should let these

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Speaker 2: folks in, you know, because these guys are talent and

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Speaker 2: they're obviously drawing, right. But the first person to really

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Speaker 2: act upon it was Steve McClellan at First Avenue who said,

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Speaker 2: we'll book you guys in what was called Seventh Street Entry,

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Speaker 2: which is like the little club, right, so if you

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Speaker 2: were cool there, if you could get it going there,

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Speaker 2: then we'll move you to the main room. But he

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Speaker 2: was the one that really gave us the shot, and

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Speaker 2: he gave you know, back then it wasn't just by

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Speaker 2: the way, it wasn't just black bands, but it was

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Speaker 2: like new wave bands you think about, like the Replacements

256
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Speaker 2: in the suburbs and all of those bands, those bands

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Speaker 2: all started, those white bands all started in that Seventh

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Speaker 2: Street Entry. We even mixing with those guys at all,

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Speaker 2: like would you see replacements? And we didn't mix at all,

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Speaker 2: not I mean just because we didn't. It wasn't it

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Speaker 2: we didn't like them. We were aware of them, and

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Speaker 2: I think they were aware of us. But we know

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Speaker 2: we never mixed together at all. It was just kind

264
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Speaker 2: of the same dudes from the neighborhood that we grew

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Speaker 2: up with. It was 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.

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Speaker 2: Or was it just like, Okay, we'll just be a local.

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Speaker 1: Band here and maybe well no, I mean, or I'll

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Speaker 1: get a job, like are your parents supportive of this?

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Speaker 2: Or well, okay, so two really good questions. So my parents.

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Speaker 2: First of all, my dad played in a band and

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Speaker 2: was always a professional musician. Used to take me to

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Speaker 2: rehearsals and stuff back when I was, you know, six

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Speaker 2: seven years old, and and I you know, at that point,

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Speaker 2: I had the music bug totally, so I got to

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Speaker 2: see it. I used to used to get to go

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Speaker 2: to the studio and the whole thing. But he was

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Speaker 2: always he never made it really where he wanted to.

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Speaker 2: He was always kind of that guy on the cusp

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Speaker 2: of making it. You know. He'd get on a few

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Speaker 2: Back in the day, there were kind of regional records

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Speaker 2: that were hits, and my dad would play on those

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Speaker 2: records and then they'd ask him to go tour. But

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Speaker 2: because at that point of his life he had me

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Speaker 2: and he had gotten married, my mom always used to

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Speaker 2: kind of frown upon, you know, like, well, no, you can't.

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Speaker 2: You got responsibilities, you got family, and you got you know,

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Speaker 2: you can't just run off and go on tour and

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Speaker 2: that kind of stuff. And that really affected what happened

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Speaker 2: with me because when I got to the point where

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Speaker 2: I really wanted to do music, my mom was one

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Speaker 2: hundred percent behind me because she realized that my dad

294
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Speaker 2: never had a chance to do what the way he

295
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Speaker 2: wanted to do it. So she really kind of stepped

296
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Speaker 2: out of my way and was very supportive of me.

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Speaker 2: So that was huge for me. By the way, and

298
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Speaker 2: they because they separated and so or they got divorced,

299
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Speaker 2: and so I basically stayed with my mom. So she said,

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Speaker 2: you know whatever, as long as I see you doing music,

301
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Speaker 2: you can do whatever the heck you want to do.

302
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Speaker 2: But you know, as long as you was serious about

303
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Speaker 2: it and that kind of thing. So that was that

304
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Speaker 2: was important. What was the industry 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

307
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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 er, I now realized.

314
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Speaker 2: He said that the ghetto boys thought he had came,

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Speaker 2: but it was gold metal Flower. Now I get it.

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Speaker 2: It was flower. Thank you for solving it. Mystery whether

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Speaker 2: I was made.

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

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Speaker 1: flower solving the mystery of Willie.

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

321
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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.

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Speaker 1: You.

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Speaker 2: But all of those were up there, and obviously three

325
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Speaker 2: M was up there to Honeywell. There were some some

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Speaker 2: pretty big companies up there for sure, but just to

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Speaker 2: and just to wrap the other thing we were saying.

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Speaker 2: The whole idea, yes, was to get out of town.

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Speaker 2: That was our focus because we knew we couldn't sit

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Speaker 2: around and depend on playing in the clubs that weren't

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Speaker 2: gonna let us play, and we knew that we couldn't

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Speaker 2: make it playing in a club circuit where there's two

333
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Speaker 2: or three clubs and there's a bands or whatever it

334
00:18:01,080 --> 00:18:02,920
Speaker 2: is like that was not going to happen. So we

335
00:18:03,040 --> 00:18:06,760
Speaker 2: set our sites always on making it nationally that was

336
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Speaker 2: our whole thing. When Prince made it out, that showed

337
00:18:11,680 --> 00:18:15,399
Speaker 2: us that it can happen. And it also because he

338
00:18:15,560 --> 00:18:17,760
Speaker 2: was so unique in what he did, that then brought

339
00:18:18,520 --> 00:18:21,760
Speaker 2: everybody started looking at Minneapolis like, Okay, what else is

340
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Speaker 2: up there? Because that that happens with all towns, happened

341
00:18:24,200 --> 00:18:26,480
Speaker 2: with Seattle, happens. You know, that's just the thing that happens.

342
00:18:26,520 --> 00:18:28,560
Speaker 2: It's like something great comes out and it's like, oh,

343
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Speaker 2: what what else is there? What else is there? So

344
00:18:30,760 --> 00:18:33,320
Speaker 2: we were definitely the beneficiaries of that. And there's a

345
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Speaker 2: lot of great I will say, a lot of talented

346
00:18:36,640 --> 00:18:40,200
Speaker 2: white musicians playing R and B music that never made

347
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Speaker 2: it out of Minneapolis. Some of them made it out

348
00:18:42,520 --> 00:18:45,520
Speaker 2: because Jesse took a couple folks with him and when

349
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Speaker 2: he did his band Jesse Johnson reviews the Peterson's. How

350
00:18:52,040 --> 00:18:56,720
Speaker 2: many Peterson's were there? A lot? Yeah, that was the

351
00:18:56,920 --> 00:18:59,119
Speaker 2: That was the musical family up there. I mean, just

352
00:18:59,200 --> 00:19:02,239
Speaker 2: so much talent, you know, but there were but there

353
00:19:02,280 --> 00:19:05,399
Speaker 2: were other ones too, And I'm just kind of I'm

354
00:19:05,440 --> 00:19:07,280
Speaker 2: blanking on names and stuff, but there was a lot

355
00:19:07,320 --> 00:19:10,440
Speaker 2: of talent. But because they didn't they were very comfortable,

356
00:19:10,680 --> 00:19:12,760
Speaker 2: so they had no reason to try to think outside

357
00:19:12,800 --> 00:19:14,960
Speaker 2: of getting out of Minneapolis or anything like that. Like,

358
00:19:15,080 --> 00:19:17,560
Speaker 2: we were so a lot of great talent up there

359
00:19:17,640 --> 00:19:19,840
Speaker 2: that people didn't know about until, like I say, until

360
00:19:19,880 --> 00:19:21,920
Speaker 2: that time when you know, Jesse picked up a few people.

361
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Speaker 2: And I'm trying to think Margaret Cox, who was actually

362
00:19:24,680 --> 00:19:28,520
Speaker 2: Tomorrow Margie. But yeah, but Margaret Cox was insanely talented,

363
00:19:28,760 --> 00:19:31,879
Speaker 2: you know, so as a singer. So yeah, people like that.

364
00:19:32,600 --> 00:19:37,080
Speaker 1: So when can I assume that Funky Town was the

365
00:19:37,200 --> 00:19:42,200
Speaker 1: first at least indication that an escape could be made

366
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Speaker 1: or something could happen.

367
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Speaker 2: Was that just like a fluke went off in your eyes?

368
00:19:46,600 --> 00:19:51,080
Speaker 2: Well for us, you know, Prince was the example that

369
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Speaker 2: you could make it because see Prince was like three

370
00:19:53,320 --> 00:19:57,320
Speaker 2: years before Funky Town. I forgot, yeah, Towns seven but no,

371
00:19:57,440 --> 00:19:59,639
Speaker 2: but but but but Funky Town was eighties and that

372
00:19:59,840 --> 00:20:02,560
Speaker 2: was you know, at the height of the disco craze

373
00:20:02,760 --> 00:20:04,960
Speaker 2: and when it was and actually when disco was being

374
00:20:05,000 --> 00:20:06,600
Speaker 2: played on the radio, not only in the clubs, but

375
00:20:06,720 --> 00:20:09,320
Speaker 2: actually the format because I remember we had a radio

376
00:20:09,359 --> 00:20:11,480
Speaker 2: station up there that went from a rock format to

377
00:20:11,560 --> 00:20:16,240
Speaker 2: a disco format, which was very controversial, but disco was

378
00:20:16,320 --> 00:20:20,359
Speaker 2: hot at that point in time. But we thought, what

379
00:20:20,480 --> 00:20:22,520
Speaker 2: did you grow up listening on? Like, what were you

380
00:20:22,640 --> 00:20:26,240
Speaker 2: listening to? Grow? For me, yeah, well there was nothing

381
00:20:26,280 --> 00:20:29,800
Speaker 2: but pop radio up there. I mean, I grew up

382
00:20:29,800 --> 00:20:34,840
Speaker 2: as a kid. My earliest memories were always you know,

383
00:20:34,960 --> 00:20:37,600
Speaker 2: I always loved the harmony groups. I loved Seals and

384
00:20:37,640 --> 00:20:41,520
Speaker 2: Cross America America. Yeah, you know that kind of stuff.

385
00:20:41,640 --> 00:20:45,159
Speaker 2: Bred that was. I mean, to this day, that's the

386
00:20:45,200 --> 00:20:47,160
Speaker 2: way I stacked my harmonies because of the way they

387
00:20:47,760 --> 00:20:50,800
Speaker 2: sang those songs. Back then, a little bit later in life,

388
00:20:51,440 --> 00:20:53,960
Speaker 2: I liked, like, around the time I met Terry, I

389
00:20:54,040 --> 00:20:56,280
Speaker 2: was really into Chicago that was. That was my favorite

390
00:20:56,600 --> 00:20:59,840
Speaker 2: band ever, you know, and me and Terry both loved them.

391
00:21:00,400 --> 00:21:02,240
Speaker 2: And then Terry then turned me on to when I

392
00:21:02,320 --> 00:21:04,439
Speaker 2: met him, he turned me on to Earth Wind and Fired,

393
00:21:04,920 --> 00:21:09,560
Speaker 2: Tower of Power, New Birth. I met Terry in seventy two. Okay, yeah,

394
00:21:09,640 --> 00:21:11,920
Speaker 2: so we're we're talking Last Days in Time, Earth Winding

395
00:21:12,000 --> 00:21:15,080
Speaker 2: Fire and Music in my mind Stevie Wonder. You know,

396
00:21:15,160 --> 00:21:17,200
Speaker 2: these were the albums and Terry turned me on to those.

397
00:21:18,320 --> 00:21:21,359
Speaker 1: Black radio you didn't have no black radio experience at

398
00:21:21,359 --> 00:21:23,119
Speaker 1: the age of ten twelve.

399
00:21:23,240 --> 00:21:26,240
Speaker 2: There wasn't a black radio experience for me. When I

400
00:21:26,280 --> 00:21:29,280
Speaker 2: got into high school, I was really into or junior

401
00:21:29,359 --> 00:21:31,520
Speaker 2: high and into high school, I was really into Gambling,

402
00:21:31,560 --> 00:21:35,000
Speaker 2: Huff and everything coming out of Philadelphia. Blue Magic was

403
00:21:35,080 --> 00:21:38,040
Speaker 2: my favorite all time group. I know everybody was into stylistics,

404
00:21:38,080 --> 00:21:39,800
Speaker 2: but Blue Magic was my group. But how could you

405
00:21:39,920 --> 00:21:44,600
Speaker 2: hear it or see it was? Oh yeah, Soul Train

406
00:21:44,680 --> 00:21:46,879
Speaker 2: definitely was on, and you definitely would hear it on

407
00:21:46,960 --> 00:21:50,440
Speaker 2: Soul Train. But I remember I had a friend of

408
00:21:50,520 --> 00:21:54,120
Speaker 2: mine whose dad was an executive of music Land, which

409
00:21:54,119 --> 00:21:56,159
Speaker 2: is one of the big retail stores back in the day.

410
00:21:56,200 --> 00:21:58,640
Speaker 2: So he used to get every single record that came out.

411
00:21:59,680 --> 00:22:01,960
Speaker 2: And my thing was I was always a big liner

412
00:22:02,040 --> 00:22:05,360
Speaker 2: note reader and a big label reader. So my thing

413
00:22:05,600 --> 00:22:11,240
Speaker 2: was wit we All collect and Ville Yes. So my

414
00:22:11,359 --> 00:22:14,760
Speaker 2: whole thing was I remember there were records that would

415
00:22:14,800 --> 00:22:18,360
Speaker 2: come out and I would particularly during the Motown era

416
00:22:18,480 --> 00:22:21,720
Speaker 2: because I really I really loved the Motown records, all

417
00:22:21,760 --> 00:22:24,159
Speaker 2: of that stuff, the Holland Dozer, Holland, like I remember

418
00:22:24,760 --> 00:22:27,439
Speaker 2: I did. I remember looking at a Supremes album at

419
00:22:27,440 --> 00:22:29,920
Speaker 2: a like a family reunion or something back in sixty

420
00:22:30,280 --> 00:22:32,080
Speaker 2: two or something or sixty so I was like three

421
00:22:32,160 --> 00:22:34,359
Speaker 2: or four years old, and I remember that Holland Dozer Holland.

422
00:22:34,800 --> 00:22:37,000
Speaker 2: It was the album was called The Supreme sing Holland

423
00:22:37,040 --> 00:22:39,959
Speaker 2: Dozer Holland, that gold record, and I the gold record, right,

424
00:22:40,160 --> 00:22:43,440
Speaker 2: I had no idea what that meant. Well, I kept going,

425
00:22:43,560 --> 00:22:45,760
Speaker 2: what does this mean? What do you mean they singing

426
00:22:46,000 --> 00:22:48,840
Speaker 2: Holland Dozer Holland, And somebody explained to me, no, they

427
00:22:49,000 --> 00:22:51,399
Speaker 2: wrote the songs. The girls are the singers, but somebody

428
00:22:51,440 --> 00:22:53,960
Speaker 2: wrote the songs. And something went off in my head

429
00:22:54,000 --> 00:22:57,320
Speaker 2: at that point. That always made me look who wrote it?

430
00:22:57,680 --> 00:23:01,280
Speaker 2: Who produced it? And so I remember all the Motown

431
00:23:01,359 --> 00:23:03,359
Speaker 2: records would be the first ones I'd always go to.

432
00:23:03,560 --> 00:23:05,600
Speaker 2: And I remember like staring at the first time I

433
00:23:05,640 --> 00:23:10,119
Speaker 2: heard I Want You Back Jackson five, and you know

434
00:23:10,240 --> 00:23:13,320
Speaker 2: Dinah Ross and Dinah Ross presents the Jackson five, and

435
00:23:13,400 --> 00:23:15,760
Speaker 2: I thought, oh wow, that's cool. And I looked down

436
00:23:15,800 --> 00:23:17,600
Speaker 2: the record. I'm like, well, I don't see Donna Ross's

437
00:23:17,680 --> 00:23:22,120
Speaker 2: name anywhere on here. Right, there's some dudes called the Corporation.

438
00:23:22,960 --> 00:23:24,840
Speaker 2: I got to find out who the corporation is, you know.

439
00:23:24,960 --> 00:23:29,440
Speaker 2: So that was always my my thing. And and I

440
00:23:29,520 --> 00:23:31,440
Speaker 2: knew that because what I learned was there were certain

441
00:23:31,880 --> 00:23:34,879
Speaker 2: there were groups I like, but it was all about

442
00:23:34,880 --> 00:23:37,399
Speaker 2: who produced them. Like it was. It was like, you know,

443
00:23:37,640 --> 00:23:39,639
Speaker 2: like Eddie Kendricks could come out with a song and

444
00:23:40,480 --> 00:23:43,760
Speaker 2: I would be like, Yeah, that's okay. And then you

445
00:23:43,840 --> 00:23:45,360
Speaker 2: come out with a song I go, oh, I love

446
00:23:45,440 --> 00:23:47,840
Speaker 2: that song. Okay, who did that song? Okay? Leonard Casting

447
00:23:48,040 --> 00:23:52,160
Speaker 2: and you know, Frank Wilson and okay. And then I'd

448
00:23:52,240 --> 00:23:55,080
Speaker 2: hear another song that had nothing to do with Eddie Kendricks,

449
00:23:55,080 --> 00:23:57,040
Speaker 2: but I'd go, oh, I like that track. Who did that?

450
00:23:57,640 --> 00:23:59,800
Speaker 2: And it'd be the same dudes, right, and and that's

451
00:23:59,840 --> 00:24:02,119
Speaker 2: what and I got. That's when I started going, Okay,

452
00:24:02,880 --> 00:24:06,320
Speaker 2: that's that's my thing. And so for me, that's what

453
00:24:06,400 --> 00:24:08,880
Speaker 2: always excited me, and that's what, you know, ultimately made

454
00:24:08,920 --> 00:24:11,240
Speaker 2: me want to become a songwriter and a producer.

455
00:24:12,320 --> 00:24:14,359
Speaker 1: What kind of equipment were you dealing with when you

456
00:24:15,280 --> 00:24:17,000
Speaker 1: first started, Like did you have a piano in the

457
00:24:17,040 --> 00:24:19,920
Speaker 1: house or Fender Roads or we had?

458
00:24:20,000 --> 00:24:23,040
Speaker 2: How did you get it around to gigs? Oh? Well, okay,

459
00:24:23,359 --> 00:24:25,960
Speaker 2: well I'll tell you. Our very first gig was the

460
00:24:26,000 --> 00:24:29,800
Speaker 2: summer that I met Terry, which was seventy two, and

461
00:24:30,000 --> 00:24:33,720
Speaker 2: I remember my dad. At the time, I thought of

462
00:24:33,840 --> 00:24:36,320
Speaker 2: myself as a drummer. I'd had drums in the house

463
00:24:36,359 --> 00:24:39,080
Speaker 2: since I was like five years old. They bought me

464
00:24:39,119 --> 00:24:40,800
Speaker 2: a drum set and I used to play and I

465
00:24:40,880 --> 00:24:44,800
Speaker 2: used to blast. I remember one of my favorite records

466
00:24:44,960 --> 00:24:50,120
Speaker 2: was this Jackson fire record called Looking through the Window right,

467
00:24:50,480 --> 00:24:54,480
Speaker 2: because I loved the way it had that and I

468
00:24:54,560 --> 00:24:56,600
Speaker 2: used to play the drum to that, and I love

469
00:24:56,680 --> 00:24:59,240
Speaker 2: that the way the and all that stuff, all the

470
00:24:59,320 --> 00:25:01,359
Speaker 2: dynamics of it. So I used to play like to

471
00:25:01,480 --> 00:25:04,240
Speaker 2: that kind of stuff, and so I thought of myself

472
00:25:04,240 --> 00:25:06,679
Speaker 2: as a drummer. So what happened was Terry was going

473
00:25:06,720 --> 00:25:08,600
Speaker 2: to put this band together to play at this kind

474
00:25:08,600 --> 00:25:13,880
Speaker 2: of year in summer year in thing, and he said,

475
00:25:14,200 --> 00:25:18,080
Speaker 2: but he heard me play piano, and so he said, man,

476
00:25:18,119 --> 00:25:20,160
Speaker 2: I need you to play keyboards for me for this thing.

477
00:25:20,200 --> 00:25:23,280
Speaker 2: And I said, I'm a drummer, Terry, and he said, no, nah,

478
00:25:23,280 --> 00:25:24,840
Speaker 2: I heard you play the keyboards. I said no, but

479
00:25:24,920 --> 00:25:27,240
Speaker 2: really I played the drums and he said, I already

480
00:25:27,240 --> 00:25:29,320
Speaker 2: got a drummer, and I said, no, I played it.

481
00:25:29,400 --> 00:25:31,240
Speaker 2: I played the keyboards. I mean I played the drums.

482
00:25:31,480 --> 00:25:35,159
Speaker 2: So Terry then brought over jelly Bean Johnson, who was

483
00:25:35,200 --> 00:25:38,880
Speaker 2: his drummer and jelly Bean played and I said, yeah,

484
00:25:38,920 --> 00:25:43,280
Speaker 2: I can mess with some keyboards. Yeah, So that that

485
00:25:43,480 --> 00:25:46,639
Speaker 2: ended my drumming career at that point. And it was

486
00:25:46,720 --> 00:25:49,480
Speaker 2: Jelli being playing guitar back then, he played, Yeah, he

487
00:25:49,520 --> 00:25:51,679
Speaker 2: did play guitar back then, but he was a drummer.

488
00:25:51,680 --> 00:25:53,560
Speaker 2: I mean he was, I mean a great drummer. So,

489
00:25:53,680 --> 00:25:55,600
Speaker 2: I mean you could tell it back then. He's super

490
00:25:55,680 --> 00:25:59,600
Speaker 2: talented dude. And he's probably the one person in Terry.

491
00:25:59,640 --> 00:26:02,240
Speaker 2: This probably in Terry's life longer than me. I mean,

492
00:26:02,280 --> 00:26:05,320
Speaker 2: I think him and jelly Bean go back. I met

493
00:26:05,400 --> 00:26:08,760
Speaker 2: Terry when I was probably thirteen or something, and jelly

494
00:26:08,800 --> 00:26:11,040
Speaker 2: Bean probably precedes me by three or four years because

495
00:26:11,040 --> 00:26:13,600
Speaker 2: they went to school together. So I didn't meet Terry

496
00:26:13,640 --> 00:26:16,680
Speaker 2: till the summertime, you know, think, but yeah, I mean, yeah,

497
00:26:16,800 --> 00:26:18,760
Speaker 2: he was amazing. So what we did is we went out.

498
00:26:19,560 --> 00:26:22,159
Speaker 2: I was playing drums with my dad, okay, and he

499
00:26:22,240 --> 00:26:24,000
Speaker 2: had a gig where he would play the weekends at

500
00:26:24,040 --> 00:26:27,640
Speaker 2: a couple of clubs and stuff and that. And real quick,

501
00:26:27,720 --> 00:26:30,920
Speaker 2: how that happened was he had a trio, right, and

502
00:26:31,080 --> 00:26:35,560
Speaker 2: was him this guitar player named Coffee and a drummer. Right,

503
00:26:35,680 --> 00:26:38,040
Speaker 2: But every they never could keep a drummer. So every

504
00:26:38,080 --> 00:26:42,479
Speaker 2: week there'd be like a different drummer and so yeah, right,

505
00:26:43,440 --> 00:26:48,800
Speaker 2: So eventually one there was a gig and the drummer

506
00:26:48,800 --> 00:26:52,720
Speaker 2: didn't show up, and my mom said, why don't you

507
00:26:52,760 --> 00:26:56,040
Speaker 2: let Jimmy play a set? He knows all your songs.

508
00:26:56,280 --> 00:26:58,440
Speaker 2: We've been watching you play for all this time. That's

509
00:26:58,480 --> 00:27:03,639
Speaker 2: a million So anyway, I so I did. I sat in.

510
00:27:04,480 --> 00:27:06,679
Speaker 2: I did one set with him and stuff, and everybody

511
00:27:06,840 --> 00:27:09,360
Speaker 2: liked it. Crowd liked it. Okay, right, So a couple

512
00:27:09,400 --> 00:27:12,879
Speaker 2: of weeks later and stuff, same thing, and so Coffee,

513
00:27:12,920 --> 00:27:15,760
Speaker 2: the guitar player said, you know, hey, well, my dad's

514
00:27:15,840 --> 00:27:17,720
Speaker 2: name was Jim. Also, he say, Jim, you know, why

515
00:27:17,720 --> 00:27:19,240
Speaker 2: don't you let your son go ahead and play? You know,

516
00:27:19,320 --> 00:27:22,000
Speaker 2: he knows the show show is let him play, So

517
00:27:22,200 --> 00:27:25,320
Speaker 2: I'm not sure about that whatever whatever, So anyway, I did.

518
00:27:25,400 --> 00:27:28,200
Speaker 2: I played the whole show. So after they get into

519
00:27:28,240 --> 00:27:31,359
Speaker 2: that gig, Coffee said to my dad, why don't you

520
00:27:31,440 --> 00:27:33,119
Speaker 2: just let your son play? Man? We don't have to

521
00:27:33,200 --> 00:27:36,920
Speaker 2: keep finding drummers, you know. So my dad said, okay, cool,

522
00:27:37,000 --> 00:27:39,720
Speaker 2: we'll let you play. Will you are a drummer? And

523
00:27:39,800 --> 00:27:41,960
Speaker 2: then my mom said, and he and my mom said

524
00:27:41,960 --> 00:27:46,000
Speaker 2: how much you're gonna pay him? And she became my

525
00:27:46,080 --> 00:27:48,439
Speaker 2: agent real quick. So and and then my dad said, well,

526
00:27:48,640 --> 00:27:50,640
Speaker 2: you know, i'll throw him out, you know a little something.

527
00:27:50,640 --> 00:27:52,200
Speaker 2: And she said, no, no, no, you're gonna pay him,

528
00:27:52,280 --> 00:27:55,280
Speaker 2: just like you pay any drummer. Yes, did you pay right?

529
00:27:57,359 --> 00:28:00,159
Speaker 2: And that was the start of my you know, and

530
00:28:00,240 --> 00:28:02,280
Speaker 2: that started my little I don't know college runner. I

531
00:28:02,280 --> 00:28:04,240
Speaker 2: don't know what happened to that money, but we started

532
00:28:04,240 --> 00:28:07,159
Speaker 2: putting that money away. So that was parents. Do you

533
00:28:07,280 --> 00:28:09,840
Speaker 2: ever see your college for money from all them beings? Yes?

534
00:28:10,359 --> 00:28:13,399
Speaker 1: Ever, I had a fifty dollars savings bund like my

535
00:28:13,440 --> 00:28:15,160
Speaker 1: grandmother bought me when I was like five.

536
00:28:15,359 --> 00:28:17,119
Speaker 2: Never seen. I don't know where it's at. Yeah, I

537
00:28:17,200 --> 00:28:19,680
Speaker 2: think my dad's been. Last time I saw it was

538
00:28:19,760 --> 00:28:21,399
Speaker 2: on top of the TV. That was on top of

539
00:28:21,440 --> 00:28:27,240
Speaker 2: the Big Team. It's been a long time ago. So

540
00:28:28,760 --> 00:28:33,240
Speaker 2: how does how do you guys melt all your bands?

541
00:28:33,240 --> 00:28:37,320
Speaker 1: Because I can assume that The Time is basically a

542
00:28:37,440 --> 00:28:45,560
Speaker 1: supergroup of Minneapolis based musicians and one Illinois musician. Yeah,

543
00:28:46,280 --> 00:28:50,719
Speaker 1: so what starts the process of you guys leaving your

544
00:28:50,760 --> 00:28:53,720
Speaker 1: respective bands to become the Time?

545
00:28:55,080 --> 00:28:58,040
Speaker 2: Okay, well that's uh I'll try to not make it

546
00:28:58,120 --> 00:29:01,160
Speaker 2: too complicated. So here's there's a lot of moving parts.

547
00:29:02,280 --> 00:29:06,280
Speaker 2: So for me, first of all, Terry at this point

548
00:29:06,360 --> 00:29:10,720
Speaker 2: had put together what was the nucleus of Flight Time,

549
00:29:11,200 --> 00:29:15,160
Speaker 2: which was Jellyban Johnson on the drums, Terry on the bass.

550
00:29:16,760 --> 00:29:20,800
Speaker 2: Interesting story how he had found Monty Moyer because Terry

551
00:29:20,880 --> 00:29:23,040
Speaker 2: had been trying to get me to join the band again.

552
00:29:23,120 --> 00:29:25,360
Speaker 2: I was. I was off doing my own band for

553
00:29:25,400 --> 00:29:27,640
Speaker 2: a while, and then I had actually quit doing that

554
00:29:28,560 --> 00:29:31,040
Speaker 2: and I had started DJing in your band at that

555
00:29:31,080 --> 00:29:33,840
Speaker 2: time when you drumming or were you playing keys, I

556
00:29:33,920 --> 00:29:35,880
Speaker 2: was playing keys, and I was writing all the songs

557
00:29:36,120 --> 00:29:38,640
Speaker 2: we did. We did all original songs, and it was

558
00:29:38,680 --> 00:29:41,960
Speaker 2: all and I was doing my best, you know Tom

559
00:29:42,080 --> 00:29:46,720
Speaker 2: Bell gambling of this is impression, mind and matter. Yeah,

560
00:29:46,880 --> 00:29:48,400
Speaker 2: I mean that's what I was trying to do with

561
00:29:48,520 --> 00:29:50,040
Speaker 2: a little bit of electronics in it. You know, I

562
00:29:50,040 --> 00:29:51,800
Speaker 2: had a little synthesizer and stuff in it. But it

563
00:29:51,920 --> 00:29:54,520
Speaker 2: was definitely trying to be that. That was that was

564
00:29:54,600 --> 00:29:59,320
Speaker 2: my inspiration, and so so I had you know, those

565
00:29:59,360 --> 00:30:01,560
Speaker 2: guys to me weren't serious. They were older guys. I

566
00:30:01,680 --> 00:30:03,480
Speaker 2: was just at I was sixteen at the time. And

567
00:30:03,560 --> 00:30:06,080
Speaker 2: those guys weren't really serious about it, like they're twenty

568
00:30:06,120 --> 00:30:07,840
Speaker 2: two twenty three, and I didn't get well. They had

569
00:30:07,960 --> 00:30:10,120
Speaker 2: jobs and families and kids and stuff. I'm like, twenty

570
00:30:10,160 --> 00:30:13,040
Speaker 2: four hours music and you know, I'm like, y'all are

571
00:30:13,080 --> 00:30:15,120
Speaker 2: messing up. You know, they get high and stuff, and

572
00:30:15,160 --> 00:30:16,920
Speaker 2: I'd be like, y'all getting high, we need to be

573
00:30:16,960 --> 00:30:18,800
Speaker 2: working on our music. And you know, they were like,

574
00:30:18,880 --> 00:30:21,000
Speaker 2: who the fuck this punk kid you know telling us?

575
00:30:21,080 --> 00:30:24,080
Speaker 2: You know. So anyway, eventually I just said forget it.

576
00:30:24,160 --> 00:30:27,320
Speaker 2: So I started DJing. I started working at a record pool,

577
00:30:27,680 --> 00:30:29,720
Speaker 2: you know, getting records. I started working at a record

578
00:30:29,920 --> 00:30:33,960
Speaker 2: store because I the clubs I played at were influentential

579
00:30:34,120 --> 00:30:36,880
Speaker 2: enough that I could know when I heard a record.

580
00:30:37,040 --> 00:30:38,880
Speaker 2: I could go to the record store guy and he

581
00:30:38,920 --> 00:30:42,400
Speaker 2: didn't trust me at first, but I could say to him, hey,

582
00:30:42,440 --> 00:30:45,040
Speaker 2: there's this record. Matter of fact, MFSB had a record

583
00:30:45,080 --> 00:30:48,160
Speaker 2: called Dance with Me Tonight, okay. And I had this

584
00:30:48,360 --> 00:30:51,120
Speaker 2: girl named Joyce whenever I played at the club. And

585
00:30:51,240 --> 00:30:52,720
Speaker 2: this is a teen club. Because I played at a

586
00:30:52,720 --> 00:30:54,680
Speaker 2: bunch of different clubs as a DJ, I had and

587
00:30:54,960 --> 00:30:56,600
Speaker 2: my crowd just kind of followed me around. But the

588
00:30:56,640 --> 00:30:59,560
Speaker 2: teen crowd was my best. We did about fifteen hundred

589
00:30:59,600 --> 00:31:02,480
Speaker 2: kids on a Friday and a Saturday night. It was huge,

590
00:31:02,480 --> 00:31:05,960
Speaker 2: a huge pace, Yeah, huge pressure. Oh, it was great.

591
00:31:06,000 --> 00:31:08,080
Speaker 2: It was it was awesome. It was awesome. It is

592
00:31:08,120 --> 00:31:10,160
Speaker 2: the most one of the most fun moments of my

593
00:31:10,240 --> 00:31:12,920
Speaker 2: life actually was doing that because just the whole idea

594
00:31:12,960 --> 00:31:15,720
Speaker 2: of introducing people to music, which is amazing, and you

595
00:31:15,800 --> 00:31:17,479
Speaker 2: know how that feels. I mean, you guys do that now.

596
00:31:17,600 --> 00:31:20,160
Speaker 2: Teens hold you hoses today. So if you don't play

597
00:31:20,200 --> 00:31:24,000
Speaker 2: what they know, well you know what, okay. So that

598
00:31:24,200 --> 00:31:26,400
Speaker 2: that's my point. So I had this girl named Joyce,

599
00:31:26,480 --> 00:31:29,240
Speaker 2: and Joyce I don't know where she was from, but

600
00:31:29,360 --> 00:31:32,640
Speaker 2: she'd always hand me some record every week and she'd say,

601
00:31:34,160 --> 00:31:36,360
Speaker 2: play this, this is gonna be whatever whatever, and i'

602
00:31:36,480 --> 00:31:38,280
Speaker 2: and I'd listen to a little bit in the headphones

603
00:31:38,280 --> 00:31:40,200
Speaker 2: and previewed and it would always sound a little weird

604
00:31:40,280 --> 00:31:42,440
Speaker 2: to me, and I'd be like, Joyce, are you sure,

605
00:31:42,920 --> 00:31:44,560
Speaker 2: and she'd go, yeah, yeah. And she had a crew

606
00:31:44,640 --> 00:31:46,600
Speaker 2: of about three or four other people and she would

607
00:31:46,640 --> 00:31:48,800
Speaker 2: get out and dance. She said, I know the dance

608
00:31:48,840 --> 00:31:51,160
Speaker 2: floor is gonna clear, but we're gonna I'm gonna dance

609
00:31:51,800 --> 00:31:55,440
Speaker 2: and we're gonna be cool. I mean, okay. So anyway,

610
00:31:55,600 --> 00:31:57,320
Speaker 2: she brought me a whole bunch of different records, but

611
00:31:57,360 --> 00:31:59,600
Speaker 2: the one I remember, the one of the first ones

612
00:31:59,680 --> 00:32:03,400
Speaker 2: was Dawn for Me Tonight MFSB right. So, and I

613
00:32:03,440 --> 00:32:05,200
Speaker 2: said to her, you know, Joyce, I got the album that.

614
00:32:05,240 --> 00:32:07,000
Speaker 2: I said, I've heard the song. It ain't really that No,

615
00:32:07,160 --> 00:32:08,760
Speaker 2: she said, no, but this is the twelve inches different.

616
00:32:08,760 --> 00:32:11,440
Speaker 2: It's a different mix. I said, okay, cool. I put

617
00:32:11,520 --> 00:32:15,120
Speaker 2: the record on and I go cause I talked to

618
00:32:15,240 --> 00:32:17,080
Speaker 2: I'd mixed and I talked. I did both things, and

619
00:32:17,120 --> 00:32:19,360
Speaker 2: I just said, here's a new one front zelm backzillm

620
00:32:19,480 --> 00:32:22,400
Speaker 2: all right, exactly right. And I said, okay, here's a

621
00:32:22,440 --> 00:32:25,800
Speaker 2: here's a brand new one, you know, exclusive, you know whatever,

622
00:32:25,920 --> 00:32:29,200
Speaker 2: whatever whatever. I put the record on the intro of

623
00:32:29,280 --> 00:32:31,600
Speaker 2: the records about I don't know. It's about sixteen bars

624
00:32:31,640 --> 00:32:34,480
Speaker 2: and stuff, and it sounds like I don't know, it's

625
00:32:34,920 --> 00:32:37,840
Speaker 2: it doesn't sound like nothing's gonna happen, right, And everybody's

626
00:32:37,920 --> 00:32:39,480
Speaker 2: kind of staring at me for a minute because they

627
00:32:39,520 --> 00:32:41,920
Speaker 2: pretty much trust me, so they're staring at me for

628
00:32:41,960 --> 00:32:44,120
Speaker 2: a minute. And then I see him start to inch

629
00:32:44,240 --> 00:32:48,080
Speaker 2: off the dance floor, and I'm like going, oh man,

630
00:32:48,280 --> 00:32:51,080
Speaker 2: I'm right, and then all of a sudden, it kicks

631
00:32:51,120 --> 00:32:57,840
Speaker 2: into this different group goes into this groove and I

632
00:32:57,880 --> 00:32:59,800
Speaker 2: see every and then I see Joyce in the middle

633
00:32:59,800 --> 00:33:02,360
Speaker 2: of the floor with her crew of people start dancing,

634
00:33:02,600 --> 00:33:04,520
Speaker 2: and all of a sudden, now the dance floor starts

635
00:33:04,560 --> 00:33:06,280
Speaker 2: coming back on the dance floor. By the end of

636
00:33:06,360 --> 00:33:09,560
Speaker 2: the night that record, I had to play it again.

637
00:33:10,600 --> 00:33:12,280
Speaker 2: They loved it that much, so I went to the

638
00:33:12,360 --> 00:33:14,520
Speaker 2: record There was a record store called Hot Licks, and

639
00:33:14,560 --> 00:33:16,600
Speaker 2: I remember this guy named Chico, I think his name

640
00:33:16,640 --> 00:33:19,080
Speaker 2: was Chico fat fingers right, and he played, he played,

641
00:33:19,280 --> 00:33:23,200
Speaker 2: he played, He played with a reggae band uh called

642
00:33:23,360 --> 00:33:25,600
Speaker 2: Oh man, I'm gonna I can't remember the name. It's

643
00:33:25,640 --> 00:33:29,560
Speaker 2: like Shagoy or Shambai or had some name like that. Anyway,

644
00:33:29,600 --> 00:33:31,400
Speaker 2: he ran the store. So I walked into the store

645
00:33:31,400 --> 00:33:33,680
Speaker 2: and I said, hey, man, this twelve inch dance with

646
00:33:33,760 --> 00:33:36,080
Speaker 2: me tonight. Can you get some of these? And he

647
00:33:36,120 --> 00:33:38,000
Speaker 2: said yeah. He says why and I said, because this

648
00:33:38,080 --> 00:33:39,760
Speaker 2: is my number one song at my club. I'm gonna

649
00:33:39,760 --> 00:33:42,320
Speaker 2: play it again next weekend. And I said, and I'm

650
00:33:42,320 --> 00:33:43,960
Speaker 2: gonna tell everybody to come down that you're the only

651
00:33:44,000 --> 00:33:46,440
Speaker 2: one that has the record downtown Minneapolis. You're the only

652
00:33:46,440 --> 00:33:49,320
Speaker 2: one that has record. So okay, So he says, well,

653
00:33:49,320 --> 00:33:52,200
Speaker 2: how many should I get? And I said, like a thousand?

654
00:33:52,720 --> 00:33:57,600
Speaker 2: He said, what You're nuts? I said, okay, cool. So anyway,

655
00:33:57,800 --> 00:34:01,400
Speaker 2: next weekend I played it pack the dance floor. I said,

656
00:34:01,720 --> 00:34:03,360
Speaker 2: hot Licks, go down to Hot Licks, are the only

657
00:34:03,400 --> 00:34:07,320
Speaker 2: ones in town with the record. He said, uh, Monday,

658
00:34:07,800 --> 00:34:10,319
Speaker 2: he said, he sold out. And he said and I said, well,

659
00:34:10,320 --> 00:34:11,600
Speaker 2: how many do you order? He said, well, I ordered

660
00:34:11,640 --> 00:34:13,759
Speaker 2: five hundred. I said, I told you to get a thousand, right,

661
00:34:14,360 --> 00:34:16,719
Speaker 2: And I remember I talked to him later on in life.

662
00:34:16,760 --> 00:34:19,480
Speaker 2: I talked to some PR person that worked for CBS

663
00:34:19,560 --> 00:34:22,399
Speaker 2: back in the day and they said, man, it was weird.

664
00:34:22,480 --> 00:34:26,560
Speaker 2: This one record just jumped off for it, you know.

665
00:34:27,040 --> 00:34:30,920
Speaker 2: So wait, we we always did this on Quest Love

666
00:34:31,000 --> 00:34:35,120
Speaker 2: Supreme for old DJs. Can you can you front sell

667
00:34:35,440 --> 00:34:39,319
Speaker 2: dance with me tonight? Right now? So yeah, I guess

668
00:34:39,440 --> 00:34:43,680
Speaker 2: here we go, right, all right, here's an exclusive. You're

669
00:34:43,680 --> 00:34:46,600
Speaker 2: gonna here first for the first time. You trust me

670
00:34:46,680 --> 00:34:50,560
Speaker 2: all this one now, trust me? This is him speed

671
00:34:51,520 --> 00:35:06,200
Speaker 2: dance with me tonight. Here we go. That was with me,

672
00:35:09,680 --> 00:35:12,360
Speaker 2: you know. And you know what's funny is is that

673
00:35:12,640 --> 00:35:16,919
Speaker 2: ended up being I kept charts from you know, dance

674
00:35:16,920 --> 00:35:18,720
Speaker 2: Floor Reaction and all that stuff, and then I started

675
00:35:18,719 --> 00:35:20,640
Speaker 2: printing the charts out and then I would take them

676
00:35:20,680 --> 00:35:23,359
Speaker 2: down to the record store and I'd leave them right

677
00:35:23,600 --> 00:35:26,080
Speaker 2: And that record was my number one record of all

678
00:35:26,280 --> 00:35:29,680
Speaker 2: time during the probably year and a half that I was.

679
00:35:30,440 --> 00:35:32,200
Speaker 2: I was at that club and she brought me some

680
00:35:32,320 --> 00:35:38,239
Speaker 2: other ones, a Firecracker mass production, and then she brought

681
00:35:38,320 --> 00:35:42,560
Speaker 2: me Firecracker was easy. The follow up was Forever, and

682
00:35:42,600 --> 00:35:46,480
Speaker 2: I don't remember Forever. Forever started off with just a

683
00:35:46,600 --> 00:35:54,400
Speaker 2: high hat, so it just started off with which was

684
00:35:54,440 --> 00:35:59,480
Speaker 2: a guaranteed dance floor you know clearer really yeah, But

685
00:35:59,600 --> 00:36:02,440
Speaker 2: she said, but wait till the beat kicks in, it's

686
00:36:02,480 --> 00:36:04,799
Speaker 2: gonna be real cool. So I said, okay, here's new

687
00:36:04,840 --> 00:36:07,319
Speaker 2: mass production. And people were like, well that they knew

688
00:36:07,360 --> 00:36:10,320
Speaker 2: that Firecracker was the jam, so they stood with me

689
00:36:10,440 --> 00:36:12,239
Speaker 2: for this one. And they stood and when they kicked in,

690
00:36:12,360 --> 00:36:20,480
Speaker 2: they uh huh, it sounds like put the word yeah,

691
00:36:20,520 --> 00:36:36,160
Speaker 2: watch when this kicks in. Though I never even knew

692
00:36:36,200 --> 00:36:39,160
Speaker 2: they had a follow up record. This was a follow up.

693
00:36:39,320 --> 00:36:53,279
Speaker 2: This was a follow up and Masterpieces in A S S.

694
00:36:57,160 --> 00:37:00,960
Speaker 2: They're in storage. Wow, yeah you are. Joyce should have

695
00:37:01,000 --> 00:37:03,279
Speaker 2: got an A and a job, right, Joyce was. Joyce

696
00:37:03,400 --> 00:37:06,680
Speaker 2: was incredible. Man, my DJ game already. I'm gonna play

697
00:37:06,719 --> 00:37:08,360
Speaker 2: these two in my next sets. I got, I got.

698
00:37:08,480 --> 00:37:10,719
Speaker 2: I'll give you one more from that from that day.

699
00:37:11,000 --> 00:37:13,880
Speaker 2: What about are you familiar with breakwater? Do it till

700
00:37:13,880 --> 00:37:17,320
Speaker 2: the fluid gets hot? I don't know that. Do it

701
00:37:17,400 --> 00:37:20,160
Speaker 2: to the fluid gets hot? Let me go and uh

702
00:37:20,520 --> 00:37:23,359
Speaker 2: release the beast, but do it to the fluid gets

703
00:37:23,400 --> 00:37:25,000
Speaker 2: Do it to the fluid gets hot. That was another

704
00:37:25,000 --> 00:37:26,680
Speaker 2: one that was really hot for me. And these records

705
00:37:26,680 --> 00:37:29,000
Speaker 2: were only big at my club, right and at this

706
00:37:29,160 --> 00:37:35,359
Speaker 2: record store. That was the weird thing about it. Oh yeah, okay,

707
00:37:35,400 --> 00:37:36,840
Speaker 2: I know this got that one? Yeah, I know that.

708
00:37:38,360 --> 00:37:40,560
Speaker 2: At the time, just DJ Jimmy James.

709
00:37:42,560 --> 00:37:43,279
Speaker 3: Where was your DJ?

710
00:37:43,680 --> 00:37:49,719
Speaker 2: It was Jimmy jam That came from DJing really yeah? Okay, yeah,

711
00:37:49,800 --> 00:37:52,400
Speaker 2: that came from Jay So what happened? So? Okay? So

712
00:37:53,280 --> 00:37:57,080
Speaker 2: that club was called the Disco Track right now. Also,

713
00:37:57,200 --> 00:37:59,680
Speaker 2: Downtown was a club that went through a series of

714
00:37:59,680 --> 00:38:02,040
Speaker 2: different names, but when I worked there, it was called

715
00:38:02,120 --> 00:38:06,440
Speaker 2: the Fox Trap. Okay, Now, the Fox Trap had three levels.

716
00:38:06,680 --> 00:38:10,560
Speaker 2: Downstairs live music, second floor was DJ, which was me,

717
00:38:10,960 --> 00:38:12,759
Speaker 2: and then third floor was a DJ, but it was

718
00:38:12,880 --> 00:38:15,560
Speaker 2: more chill or you know, laid back right, more of

719
00:38:15,640 --> 00:38:20,319
Speaker 2: a lounge type situation. So when I started working, there

720
00:38:20,400 --> 00:38:23,279
Speaker 2: was a DJ named Kyle Ray, and Kyle Ray was,

721
00:38:25,000 --> 00:38:27,080
Speaker 2: as you call it, the front selling DJ. Like he

722
00:38:27,160 --> 00:38:30,080
Speaker 2: did no mixing at all. It was all just personality

723
00:38:30,320 --> 00:38:35,279
Speaker 2: and playing records, right, So I took an example from him.

724
00:38:35,320 --> 00:38:40,320
Speaker 2: He was actually tragically killed, which was like nuts and

725
00:38:41,080 --> 00:38:44,480
Speaker 2: he tragically died, and so I kind of had borrowed

726
00:38:44,480 --> 00:38:46,960
Speaker 2: a little of his style as far as front loading

727
00:38:47,000 --> 00:38:50,200
Speaker 2: the records. But I could also mix because I had,

728
00:38:50,320 --> 00:38:52,160
Speaker 2: you know, kind of the musical thing, so I always

729
00:38:52,160 --> 00:38:54,040
Speaker 2: did a combination of it. And then I had a

730
00:38:54,080 --> 00:38:57,040
Speaker 2: little keyboard which I actually have downstairs, which was my

731
00:38:57,120 --> 00:38:59,400
Speaker 2: first synthesizer, and I used to play along with the

732
00:38:59,480 --> 00:39:03,279
Speaker 2: records and ate my own little stuff. So I was

733
00:39:03,360 --> 00:39:06,840
Speaker 2: doing that and that, and there was a at the

734
00:39:07,000 --> 00:39:09,200
Speaker 2: I was just going by Jimmy Harris, which was my name,

735
00:39:09,840 --> 00:39:14,000
Speaker 2: and there was a bartender from Philly who called himself

736
00:39:14,080 --> 00:39:18,400
Speaker 2: Delphonix right right, and I went over to get you know,

737
00:39:18,480 --> 00:39:20,960
Speaker 2: a drink from him or whatever, a cold because I

738
00:39:21,360 --> 00:39:23,239
Speaker 2: don't think I was. I don't think that I was eighteen.

739
00:39:23,280 --> 00:39:24,960
Speaker 2: I was probably still seventeen eight I don't I don't

740
00:39:24,960 --> 00:39:26,520
Speaker 2: even think. But I didn't drink anyway, so it didn't

741
00:39:26,520 --> 00:39:31,919
Speaker 2: really matter. And he said yo. He said man. He said,

742
00:39:32,000 --> 00:39:34,600
Speaker 2: I what kind of name you got? Man? And I said,

743
00:39:34,640 --> 00:39:36,719
Speaker 2: what do you mean? I said, what's your DJ name?

744
00:39:36,800 --> 00:39:38,440
Speaker 2: And I said I don't know. He said, man, you

745
00:39:38,480 --> 00:39:40,760
Speaker 2: gotta be you gotta be something. Man. I'm telling everybody

746
00:39:40,800 --> 00:39:44,120
Speaker 2: your name's Jimmy Jam. And I said, okay. He said,

747
00:39:44,200 --> 00:39:47,080
Speaker 2: Jimmy Jams, pot pots and pans, shake my hand. He

748
00:39:47,120 --> 00:39:49,040
Speaker 2: went into this whole rap, right, and I was like,

749
00:39:49,800 --> 00:39:54,320
Speaker 2: that's okay, cool. Right, So anyway, he started telling everybody

750
00:39:54,400 --> 00:39:58,360
Speaker 2: my name was Jimmy Jam and it just stuck, and

751
00:39:58,440 --> 00:40:00,319
Speaker 2: even to the point when we did the first time

752
00:40:00,440 --> 00:40:04,000
Speaker 2: record and I said to Prince when Prince was doing

753
00:40:04,080 --> 00:40:07,920
Speaker 2: like the credits on the record, and I said, Prince,

754
00:40:08,080 --> 00:40:10,239
Speaker 2: what name should I be under? And he said you

755
00:40:10,280 --> 00:40:13,680
Speaker 2: should be Jimmy Cham. I said, okay, cool. So that

756
00:40:13,840 --> 00:40:15,719
Speaker 2: was it. So then it was historic because it was

757
00:40:15,760 --> 00:40:19,799
Speaker 2: in printed. Brother gave me my name Delphonix. Yes, sir,

758
00:40:19,880 --> 00:40:35,759
Speaker 2: the bartender at the Fox Trap. Okay, so I'm sorry

759
00:40:35,760 --> 00:40:41,680
Speaker 2: because we're totally off track here. Yeah, okay, So okay,

760
00:40:41,840 --> 00:40:44,120
Speaker 2: So I tell this story about playing in all the

761
00:40:44,120 --> 00:40:49,600
Speaker 2: different clubs and stuff. So at the Fox Trap, Terry

762
00:40:49,960 --> 00:40:53,040
Speaker 2: was playing downstairs in the in the live music room.

763
00:40:53,360 --> 00:40:56,080
Speaker 2: I was playing upstairs right and the DJ room, and

764
00:40:56,200 --> 00:40:58,640
Speaker 2: Terry used to come up. And Terry is really good

765
00:40:58,760 --> 00:41:01,480
Speaker 2: at bugging the ship out of peace and twisting their arm,

766
00:41:01,640 --> 00:41:04,640
Speaker 2: and he's really good at that. He's stubborn, right. So

767
00:41:04,840 --> 00:41:07,480
Speaker 2: his whole thing was, man, you ain't a DJ man,

768
00:41:07,640 --> 00:41:09,440
Speaker 2: you're a musician man. You need to join the band,

769
00:41:09,480 --> 00:41:11,359
Speaker 2: and we need a keyboard player and such and such

770
00:41:11,400 --> 00:41:13,680
Speaker 2: and and I'm like, Terry, I just I'm not feeling it, man,

771
00:41:13,840 --> 00:41:17,400
Speaker 2: you know whatever. So one day he comes up to

772
00:41:17,520 --> 00:41:19,799
Speaker 2: the booth and he says, jam, he said, we got

773
00:41:19,800 --> 00:41:23,000
Speaker 2: a keyboard player. And I thought, oh great, he's gonna

774
00:41:23,080 --> 00:41:25,840
Speaker 2: quit bugging me now. And he says right. So I'm like,

775
00:41:26,239 --> 00:41:27,560
Speaker 2: he said come down, and you should come down and

776
00:41:27,640 --> 00:41:31,000
Speaker 2: check him out. And I said, okay, cool. So I

777
00:41:31,040 --> 00:41:32,960
Speaker 2: grabbed knee deep by funk a delic, which was I

778
00:41:33,040 --> 00:41:36,560
Speaker 2: think seventeen minutes or whatever it was. I put that

779
00:41:36,760 --> 00:41:39,040
Speaker 2: on and I jumped out the booth. It was pretty

780
00:41:39,040 --> 00:41:40,560
Speaker 2: early in the night, so it wasn't you know, nobody

781
00:41:40,600 --> 00:41:42,480
Speaker 2: would have cared if if it went ran out. But

782
00:41:42,880 --> 00:41:47,560
Speaker 2: I ran downstairs. I walk into the room. I hear

783
00:41:47,640 --> 00:41:51,000
Speaker 2: they're playing what you Won't Do For Love Bobby Calwell, right,

784
00:41:51,719 --> 00:41:54,240
Speaker 2: and so they're saying, and I'm hearing this somebody singing

785
00:41:54,880 --> 00:42:01,479
Speaker 2: and dun dudu. I'm like looking around singing, somebody singing

786
00:42:01,520 --> 00:42:04,640
Speaker 2: their asshole? Who's singing? And I looked behind this stack

787
00:42:04,680 --> 00:42:09,520
Speaker 2: of keyboards and this little white guy right and I'm

788
00:42:09,600 --> 00:42:12,759
Speaker 2: like looking and I'm like, oh wait, his mouth is moving,

789
00:42:12,800 --> 00:42:15,320
Speaker 2: but it doesn't sound like a white boy singing. And

790
00:42:15,560 --> 00:42:18,160
Speaker 2: who is that? You know? So I went back upstairs.

791
00:42:18,200 --> 00:42:19,600
Speaker 2: I looked at Terry and I went, you know, gave

792
00:42:19,680 --> 00:42:21,400
Speaker 2: the thumbs up. I went back upstairs. So after the

793
00:42:21,440 --> 00:42:24,160
Speaker 2: gig was over, I came back down. I said, hey, man,

794
00:42:24,200 --> 00:42:26,239
Speaker 2: who was singing to Bobby Callwell? He said, that's our

795
00:42:26,280 --> 00:42:29,319
Speaker 2: keyboard player, Monty Moyer. And I said, oh, I said

796
00:42:29,400 --> 00:42:31,839
Speaker 2: nice to meet you, Monty. I said cool. Terry, I said,

797
00:42:31,840 --> 00:42:33,640
Speaker 2: well good, you got your keyboard player. Now we you know,

798
00:42:33,880 --> 00:42:37,319
Speaker 2: good luck, you know, he said, no, man, he said,

799
00:42:37,320 --> 00:42:39,880
Speaker 2: we got to have two keyboard players. Man, that's the

800
00:42:40,320 --> 00:42:43,200
Speaker 2: that's the vibe, two keyboard players. So fast forward a

801
00:42:43,239 --> 00:42:46,320
Speaker 2: little while. I was going out with this older lady,

802
00:42:46,840 --> 00:42:49,680
Speaker 2: right and h she was beautiful too, Puerto Rican. Oh

803
00:42:49,760 --> 00:42:53,640
Speaker 2: my god. Anyway, so anyway she broke my heart. I

804
00:42:53,719 --> 00:42:55,799
Speaker 2: was I think I was eighteen. She was thirty proudly right,

805
00:42:55,960 --> 00:43:03,480
Speaker 2: oh wow, so damn. Her name her name was Carmen,

806
00:43:03,520 --> 00:43:06,680
Speaker 2: and she worked at the Horse of course, she worked

807
00:43:06,719 --> 00:43:09,160
Speaker 2: at the at the cosmetic counter, one of the stories

808
00:43:09,239 --> 00:43:11,720
Speaker 2: up there, man, and she just was amazing. So anyway,

809
00:43:11,920 --> 00:43:14,360
Speaker 2: she broke over me. So I'm a little broken hearder

810
00:43:14,360 --> 00:43:16,759
Speaker 2: than I'm walking home, right, I'm walking from her apartment home,

811
00:43:16,800 --> 00:43:18,600
Speaker 2: which is, you know, maybe ten blocks not that far.

812
00:43:19,160 --> 00:43:20,800
Speaker 2: So I'm walking up Lake Street, which was one of

813
00:43:20,840 --> 00:43:24,080
Speaker 2: the main things. And I walked by this club. I

814
00:43:24,120 --> 00:43:25,239
Speaker 2: didn't even know it was a club. It was like

815
00:43:25,280 --> 00:43:27,520
Speaker 2: a community center. And I'm walking by and I hear,

816
00:43:27,680 --> 00:43:29,160
Speaker 2: you know, music coming out of it and stuff, and

817
00:43:29,200 --> 00:43:31,719
Speaker 2: I was like something going on in here, right, So

818
00:43:31,760 --> 00:43:34,239
Speaker 2: I opened the door, I look in, I walk in.

819
00:43:34,360 --> 00:43:38,319
Speaker 2: There's a band rehearsing. Whose band is it Terry's band? Right?

820
00:43:39,640 --> 00:43:41,440
Speaker 2: I said, Terry, what's up? Man? He said, oh, this

821
00:43:41,520 --> 00:43:43,640
Speaker 2: is our rehearsal space. Man. Where you know this? They

822
00:43:43,719 --> 00:43:45,680
Speaker 2: opened up this club. They're letting us rehearse here and

823
00:43:45,680 --> 00:43:47,640
Speaker 2: then they're going to actually open it up night times.

824
00:43:47,680 --> 00:43:51,680
Speaker 2: And it was called the YASM y a a s M,

825
00:43:52,200 --> 00:43:56,840
Speaker 2: which was the Young African American Society of Men or

826
00:43:56,880 --> 00:44:06,160
Speaker 2: something like that or something. Yeah, it turned out it's upstanding. Yeah. Yeah,

827
00:44:06,640 --> 00:44:09,560
Speaker 2: so they yeah them. So anyway, I was like, okay, cool.

828
00:44:09,760 --> 00:44:12,000
Speaker 2: So anyway, they're in their rehearsing and stuff. I said, yeah,

829
00:44:12,080 --> 00:44:14,120
Speaker 2: cool cool. So Terry said yeah, man, so come on, man,

830
00:44:14,120 --> 00:44:15,880
Speaker 2: you're ready to join the band. And I said no, man,

831
00:44:15,920 --> 00:44:18,080
Speaker 2: I said, I you know, I'm this girl. Just broke

832
00:44:18,160 --> 00:44:20,440
Speaker 2: my heart, man, you know. And Terry's like, man, you

833
00:44:20,520 --> 00:44:22,080
Speaker 2: get your mind off it, man, you know, you just

834
00:44:22,160 --> 00:44:23,839
Speaker 2: need to jump back in. Just I said, nah, man,

835
00:44:24,160 --> 00:44:26,200
Speaker 2: I don't have any keyboards. Man. You know, I sold

836
00:44:26,200 --> 00:44:28,880
Speaker 2: all my keyboards and stuff. You know, we'll get you keyboards, man,

837
00:44:28,920 --> 00:44:29,799
Speaker 2: what kind of keyboards you want?

838
00:44:29,840 --> 00:44:29,920
Speaker 1: Man?

839
00:44:29,960 --> 00:44:31,799
Speaker 2: I said no, no, I don't, Terry, I'm good right.

840
00:44:32,120 --> 00:44:35,160
Speaker 2: So this is before cell phones right, I go home.

841
00:44:35,400 --> 00:44:38,719
Speaker 2: Next day, my phone rings Terry Lewis, Come on jan

842
00:44:38,760 --> 00:44:40,560
Speaker 2: what you're gonna do? Man? Come on man, we got

843
00:44:40,719 --> 00:44:42,560
Speaker 2: we got keyboards for you. Man, come on down, come

844
00:44:42,640 --> 00:44:44,480
Speaker 2: on down, you know. And at that point they had

845
00:44:44,480 --> 00:44:47,239
Speaker 2: started getting some gigs and stuff. They were gonna be

846
00:44:47,280 --> 00:44:50,319
Speaker 2: opening for the Barkas and Switch at this concert, right whoa,

847
00:44:50,760 --> 00:44:52,799
Speaker 2: So it was like, man, you got to join the band. Man,

848
00:44:52,840 --> 00:44:55,440
Speaker 2: we're gonna be opening for Barkas and Switch. Now, at

849
00:44:55,480 --> 00:45:01,160
Speaker 2: this point in time, the Alexander O'Neill was our lead singer. Okay, okay,

850
00:45:01,360 --> 00:45:04,200
Speaker 2: so this is when alex was the lead singer. So anyway,

851
00:45:04,239 --> 00:45:06,560
Speaker 2: we had a nice little band. We had basically the band.

852
00:45:06,600 --> 00:45:08,239
Speaker 2: We didn't have a guitar player. We it was kind

853
00:45:08,280 --> 00:45:10,399
Speaker 2: of we would rent a guitar player, but we didn't

854
00:45:10,400 --> 00:45:14,759
Speaker 2: really have anybody serious on guitar. Right, So anyway, we

855
00:45:14,880 --> 00:45:18,800
Speaker 2: go and do the gig. The gig was cool. Somebody

856
00:45:18,880 --> 00:45:22,080
Speaker 2: from Switch stole some some of our shoes. Really yeah,

857
00:45:22,560 --> 00:45:28,400
Speaker 2: yeah exactly, so anyway, but it was cool. So at

858
00:45:28,440 --> 00:45:30,440
Speaker 2: that point I pretty much was in that. So anyway,

859
00:45:30,480 --> 00:45:32,360
Speaker 2: so the band was set, except we didn't have a

860
00:45:32,440 --> 00:45:36,279
Speaker 2: guitar player. So we started gig and started doing our thing.

861
00:45:36,400 --> 00:45:39,040
Speaker 2: Our reputation was basically that we were the we were

862
00:45:39,080 --> 00:45:42,640
Speaker 2: the best band in Minnesota. So we you know, would

863
00:45:42,680 --> 00:45:47,080
Speaker 2: other bands agree with you, Well, yes they would actually,

864
00:45:47,680 --> 00:45:51,360
Speaker 2: interestingly enough, because what happened was so this is the

865
00:45:51,440 --> 00:45:54,919
Speaker 2: Jesse Johnson piece. Okay, so Jesse had Jesse had moved

866
00:45:54,920 --> 00:45:58,120
Speaker 2: to Minneapolis, or actually had come to Minneapolis because he

867
00:45:58,200 --> 00:46:01,960
Speaker 2: heard Prince was looking for a guitar player. But he

868
00:46:02,120 --> 00:46:04,520
Speaker 2: was mistaken because he was actually looking for a bass player.

869
00:46:04,600 --> 00:46:07,600
Speaker 2: He was looking for somebody and he ended up getting

870
00:46:07,640 --> 00:46:12,279
Speaker 2: brown Mark. But he but Prince met him, and Prince,

871
00:46:12,480 --> 00:46:15,120
Speaker 2: you know, like Jesse, and he said, he told Jesse,

872
00:46:15,280 --> 00:46:17,080
Speaker 2: he said, you should, you should stay in town and

873
00:46:17,400 --> 00:46:19,120
Speaker 2: and you know, get in one of the bands up

874
00:46:19,160 --> 00:46:23,440
Speaker 2: here and just you know, stick around. So Jesse went

875
00:46:23,480 --> 00:46:26,560
Speaker 2: to Morris's band, which was called Enterprise Band and Pleasure.

876
00:46:27,520 --> 00:46:31,279
Speaker 2: So Morris, interestingly enough, was the drummer in that band,

877
00:46:31,880 --> 00:46:34,520
Speaker 2: not the lead singer, and a girl named Sue Anne

878
00:46:34,560 --> 00:46:40,560
Speaker 2: Carwell was the lead singer. Yeah, Sue Anne Carwell was amazing,

879
00:46:41,280 --> 00:46:44,600
Speaker 2: amazing singer. Prince Di's a lot of stuff with her

880
00:46:44,880 --> 00:46:46,520
Speaker 2: back in the day too. Yeah, I mean she was

881
00:46:46,560 --> 00:46:50,839
Speaker 2: she was an amazing singer. Interestingly enough, little side note,

882
00:46:52,400 --> 00:46:55,480
Speaker 2: Morris did come up and sing one song every night.

883
00:46:55,560 --> 00:46:57,480
Speaker 2: He got off the drums and sue An actually went

884
00:46:57,520 --> 00:47:01,239
Speaker 2: back and played the drums. Oh, they traded switch and

885
00:47:02,000 --> 00:47:06,800
Speaker 2: the song was ironically too Hot, like cool in the

886
00:47:06,840 --> 00:47:10,160
Speaker 2: game Cool the game. Oh okay, okay, okay. So mister

887
00:47:10,239 --> 00:47:15,440
Speaker 2: Coole sang too Hot, so so and he sang it

888
00:47:15,520 --> 00:47:17,239
Speaker 2: really good. That was the funny thing. And if you

889
00:47:17,239 --> 00:47:18,839
Speaker 2: think about it, that's a really tough song to sing.

890
00:47:18,880 --> 00:47:20,719
Speaker 2: There's a lot of different intervals and it's crazy. If

891
00:47:20,719 --> 00:47:22,919
Speaker 2: you ever watch people try to sing that song, it's tough.

892
00:47:24,040 --> 00:47:30,279
Speaker 2: The bridge is tough. No, it's think about it. You

893
00:47:30,320 --> 00:47:34,000
Speaker 2: gotta hit all the Yeah, it's a lot of and

894
00:47:34,040 --> 00:47:36,759
Speaker 2: then it goes to the chain and then you know

895
00:47:36,920 --> 00:47:39,120
Speaker 2: it's a lot. Anyway, he used to hit it flawlessly

896
00:47:39,160 --> 00:47:42,799
Speaker 2: every night. Right, So, anyway, everybody kept telling us about

897
00:47:42,840 --> 00:47:45,480
Speaker 2: this guitar player. You know, they come to our gigs

898
00:47:45,480 --> 00:47:48,560
Speaker 2: and they'd be like, man, you checked out Morrison Nim's

899
00:47:48,560 --> 00:47:50,799
Speaker 2: guitar player, and we were like no, I said, man,

900
00:47:50,840 --> 00:47:53,000
Speaker 2: they got this guitar player. Man, he wears pink suits.

901
00:47:53,800 --> 00:47:55,799
Speaker 2: It does like ten minute guitar solos man, you got

902
00:47:55,920 --> 00:47:57,680
Speaker 2: to check him out. And we were like, okay, cool.

903
00:47:57,760 --> 00:48:00,600
Speaker 2: So we had a night off, we went over and

904
00:48:00,680 --> 00:48:04,800
Speaker 2: checked him out. He was exactly as advertised, right. So

905
00:48:05,040 --> 00:48:09,279
Speaker 2: afterwards we went up to two women. We said, hey, man,

906
00:48:09,320 --> 00:48:11,040
Speaker 2: you need to come join our band. You need to

907
00:48:11,080 --> 00:48:14,040
Speaker 2: come watch us. You know, nothing against Morris, but you

908
00:48:14,120 --> 00:48:16,879
Speaker 2: need to come to our band. So he said, okay, cool.

909
00:48:16,960 --> 00:48:21,840
Speaker 2: So the next weekend he came, well, I mean, you know,

910
00:48:21,960 --> 00:48:23,440
Speaker 2: because I mean there's no I mean, it is all

911
00:48:23,520 --> 00:48:26,600
Speaker 2: word of mouth and it was fighting words then taking

912
00:48:26,680 --> 00:48:28,880
Speaker 2: money out of my mouth. Well there's no social I

913
00:48:28,960 --> 00:48:30,520
Speaker 2: mean there's no social media, so I mean it's all

914
00:48:30,600 --> 00:48:32,200
Speaker 2: just kind of word of mouth. Somebody hears something, they

915
00:48:32,200 --> 00:48:33,600
Speaker 2: tell the next person, they tell the next person, so

916
00:48:33,680 --> 00:48:36,640
Speaker 2: on and so forth. That's what it was. And so anyway, yeah,

917
00:48:36,719 --> 00:48:39,799
Speaker 2: so you know, he came over, checked our band out

918
00:48:41,120 --> 00:48:44,719
Speaker 2: and we were good, right. So he went back to

919
00:48:44,840 --> 00:48:49,320
Speaker 2: Morris and he said, yo, Morris, he said, you know,

920
00:48:49,440 --> 00:48:51,520
Speaker 2: no offense man, but you know I'm going to join

921
00:48:51,600 --> 00:48:55,919
Speaker 2: Flight Time. Man. They're like really good. And what Moris

922
00:48:55,960 --> 00:48:58,960
Speaker 2: said actually kind of surprised. Well, it surprised us when

923
00:48:59,000 --> 00:49:03,040
Speaker 2: we he told us he said, he said, and Morris said, yeah,

924
00:49:03,080 --> 00:49:04,759
Speaker 2: that's cool, Jesse, because pretty soon we're all going to

925
00:49:04,800 --> 00:49:08,840
Speaker 2: be one band anyway. Wow. And we didn't know what

926
00:49:08,960 --> 00:49:11,239
Speaker 2: that meant. We were like, what's the time I was

927
00:49:11,440 --> 00:49:13,800
Speaker 2: gonna be one band? That doesn't make any sense. Okay. So,

928
00:49:15,080 --> 00:49:18,320
Speaker 2: as the story goes, Prince when he was doing the

929
00:49:18,520 --> 00:49:21,680
Speaker 2: Dirty Mind album, right, and of course the first couple

930
00:49:21,719 --> 00:49:24,160
Speaker 2: of albums he did were more R and B records

931
00:49:24,560 --> 00:49:26,600
Speaker 2: with some rock stuff on it, but Dirty Mind was

932
00:49:26,640 --> 00:49:30,440
Speaker 2: a whole different departure. Warner Brothers was scared of Dirty

933
00:49:30,520 --> 00:49:34,239
Speaker 2: Mind because they didn't hear any like funky hits on there.

934
00:49:34,960 --> 00:49:39,799
Speaker 2: Uptown sort of in that, but they wanted another song.

935
00:49:39,840 --> 00:49:42,719
Speaker 2: They said, we need another funky song on the record. Right.

936
00:49:44,160 --> 00:49:49,759
Speaker 2: So Morris actually wrote Party Up, but Prince took the

937
00:49:49,800 --> 00:49:53,360
Speaker 2: credit for it. But he owed Morris a favor and

938
00:49:53,680 --> 00:49:56,799
Speaker 2: he told Morris, if you put a band together, I'll

939
00:49:56,840 --> 00:50:00,719
Speaker 2: get your record deal. So Morris came over to our

940
00:50:00,840 --> 00:50:03,880
Speaker 2: band and said, Prince said, if I put a band together,

941
00:50:03,880 --> 00:50:05,920
Speaker 2: he'll give it, get it, get us a record deal.

942
00:50:06,480 --> 00:50:09,000
Speaker 2: So y'all just be the band and now we'll go

943
00:50:09,040 --> 00:50:11,799
Speaker 2: get a record deal. And that's how Mores ended up

944
00:50:12,640 --> 00:50:14,960
Speaker 2: in the band. But that's not the end of the store.

945
00:50:15,080 --> 00:50:18,160
Speaker 2: I was gonna say so because he didn't want to

946
00:50:18,160 --> 00:50:22,359
Speaker 2: sing initially, right, alex. So we had two dilemmas. One

947
00:50:22,600 --> 00:50:25,600
Speaker 2: was well, actually it wasn't the We actually had one

948
00:50:25,640 --> 00:50:29,000
Speaker 2: dilemma because Alexander O'Neil was the lead singer of the group.

949
00:50:30,160 --> 00:50:32,399
Speaker 2: Was he a good lead singer? Singer at that time?

950
00:50:32,480 --> 00:50:41,600
Speaker 2: Alexandro amazing. Never would sing the same lyrics. Twice we

951
00:50:41,719 --> 00:50:43,319
Speaker 2: had a song called I remember, we had a song

952
00:50:43,400 --> 00:50:47,239
Speaker 2: called march Wright that was an original song, and every

953
00:50:47,320 --> 00:50:49,719
Speaker 2: gig he'd sing different lyrics. He just would just make

954
00:50:49,800 --> 00:50:52,520
Speaker 2: up lyrics as he went along. The chorus would always

955
00:50:52,520 --> 00:50:54,279
Speaker 2: be the same, but the actual lyrics he would sing

956
00:50:54,360 --> 00:50:57,160
Speaker 2: were always different. And he did that a lot because

957
00:50:57,160 --> 00:50:58,920
Speaker 2: he never showed up the rehearsals and he never you know,

958
00:51:00,080 --> 00:51:02,160
Speaker 2: he didn't really care, but he no, he could pull

959
00:51:02,200 --> 00:51:07,440
Speaker 2: it off. He was alex was amazing. So anyway, our

960
00:51:07,520 --> 00:51:10,840
Speaker 2: big dilemma was, well, if Morris is the drummer, what

961
00:51:10,960 --> 00:51:16,319
Speaker 2: happens to Jellybee? Do we have two drummers? Jelly Bean

962
00:51:16,440 --> 00:51:18,359
Speaker 2: was good on guitar, but not at the point where

963
00:51:18,400 --> 00:51:20,480
Speaker 2: we could make him into a guitar player, so he

964
00:51:20,600 --> 00:51:22,279
Speaker 2: was kind of like gonna be the odd man out

965
00:51:22,320 --> 00:51:24,960
Speaker 2: and it was almost like, Wow, who's going to break

966
00:51:25,000 --> 00:51:28,279
Speaker 2: the news to Bean? And oh really? Oh yeah, so

967
00:51:28,400 --> 00:51:32,279
Speaker 2: we were at that point. Well, so Prince called a

968
00:51:32,719 --> 00:51:37,239
Speaker 2: dinner at Perkins Cake and Steakhouse, which is sort of

969
00:51:37,360 --> 00:51:44,200
Speaker 2: like the equivalent of Denny's but better. No, it's still there. Still.

970
00:51:44,320 --> 00:51:47,360
Speaker 2: I went to that Perkins Yep, my first night at

971
00:51:47,400 --> 00:51:51,240
Speaker 2: Paisley Park. Yep, it's still there. Right, that's crazy. So anyway,

972
00:51:51,719 --> 00:51:54,600
Speaker 2: we sit down and we're all going to have dinner basically,

973
00:51:54,719 --> 00:51:56,600
Speaker 2: and Prince is gonna kind of lay out the game

974
00:51:56,680 --> 00:52:01,600
Speaker 2: plan and what we're gonna do. Right, So Alexander O'Neil's there. Now.

975
00:52:01,680 --> 00:52:04,080
Speaker 2: The first thing to say about Alex is Alex always

976
00:52:04,120 --> 00:52:08,399
Speaker 2: speaks in the third person, like a football player. Yeah.

977
00:52:13,200 --> 00:52:16,040
Speaker 2: So so Alex, now, you know, he goes into his

978
00:52:16,360 --> 00:52:19,319
Speaker 2: before now we've we've ordered food, right, and of course

979
00:52:20,360 --> 00:52:22,920
Speaker 2: Princess buying, so Alex orders a big steak and he

980
00:52:23,200 --> 00:52:29,560
Speaker 2: orders all this food. Right, So Alex goes okay, Prince

981
00:52:29,600 --> 00:52:32,120
Speaker 2: before we get started, because he had a little lisp, right,

982
00:52:32,200 --> 00:52:34,000
Speaker 2: so he would have go okay, Prince, before we get

983
00:52:34,000 --> 00:52:35,360
Speaker 2: started and things like that that you know, I had

984
00:52:35,360 --> 00:52:36,839
Speaker 2: a few things I just want to get off my chest.

985
00:52:37,440 --> 00:52:41,520
Speaker 2: Here we go and and we're all like looking at

986
00:52:41,560 --> 00:52:43,920
Speaker 2: Alex like what what are you doing? Man? And He's like, so,

987
00:52:44,560 --> 00:52:46,359
Speaker 2: you know, here's the thing, you know, Alex, thatwn On Neil.

988
00:52:46,480 --> 00:52:48,279
Speaker 2: You know, first of all, Adaxon On Neil need you know,

989
00:52:48,320 --> 00:52:51,400
Speaker 2: I need a new house. I needed. I need a

990
00:52:51,440 --> 00:52:53,640
Speaker 2: new call, you know, I need. I need a pooling things,

991
00:52:53,680 --> 00:52:55,920
Speaker 2: you know, a down on Neil. You know, yeah, I

992
00:52:55,960 --> 00:52:58,080
Speaker 2: need a pooling things, you know, down need you know,

993
00:52:58,239 --> 00:52:59,600
Speaker 2: I just need some things. You know. I know this

994
00:52:59,800 --> 00:53:01,719
Speaker 2: this whole record thing is real cute and all that

995
00:53:01,800 --> 00:53:03,520
Speaker 2: stuff that, but this, you know, out of that o

996
00:53:03,600 --> 00:53:05,719
Speaker 2: Neil needs some things. You know what I'm saying, Prince.

997
00:53:05,760 --> 00:53:07,600
Speaker 2: You know, so this is all cute and everything, you know,

998
00:53:07,680 --> 00:53:09,120
Speaker 2: but I'm just letting you know that, you know, before

999
00:53:09,120 --> 00:53:11,480
Speaker 2: we get started. You know, this is and and as

1000
00:53:11,560 --> 00:53:15,400
Speaker 2: he's talking, everybody's kicking each other under the table and

1001
00:53:15,520 --> 00:53:18,200
Speaker 2: nudging everybody like what the heck is this dude doing.

1002
00:53:18,280 --> 00:53:20,719
Speaker 2: We ain't even got the deals, ain't so Louien sign

1003
00:53:20,800 --> 00:53:25,640
Speaker 2: condoeen nothing. It's like, you know, so as he's talking,

1004
00:53:26,760 --> 00:53:28,960
Speaker 2: and I see this and if we ever do our

1005
00:53:29,120 --> 00:53:33,800
Speaker 2: movie we want to do, it's like a movie. Alex.

1006
00:53:34,000 --> 00:53:39,680
Speaker 2: The waiter comes and as Alex is finishing his tirade,

1007
00:53:40,840 --> 00:53:43,960
Speaker 2: puts this big steak down in front of him, and

1008
00:53:44,160 --> 00:53:47,400
Speaker 2: Alex goes right on, Cue Prince, that's just the way

1009
00:53:47,440 --> 00:53:48,640
Speaker 2: I see it. So I'm gonna go ahead and throw

1010
00:53:48,640 --> 00:54:01,400
Speaker 2: down and see a steak right here. So Prince and

1011
00:54:01,719 --> 00:54:06,640
Speaker 2: Morris look at each other and get up and leave

1012
00:54:06,719 --> 00:54:13,000
Speaker 2: the restaurant. Yeah, they're gone. So now we're like, going,

1013
00:54:13,760 --> 00:54:18,560
Speaker 2: he's gonna pay for this stake. This is not right. Yeah. Yeah.

1014
00:54:19,000 --> 00:54:22,520
Speaker 2: So we're like, okay, this is not good. So anyway,

1015
00:54:22,640 --> 00:54:24,120
Speaker 2: I don't even know. We were like, dude, what are

1016
00:54:24,120 --> 00:54:27,440
Speaker 2: you What are you doing here? Man? What are you doing? Alex? Well, man,

1017
00:54:27,440 --> 00:54:29,120
Speaker 2: I'm you know, I'm just you know, trying to point

1018
00:54:29,120 --> 00:54:30,680
Speaker 2: out a few things. You know, people think, you know,

1019
00:54:30,920 --> 00:54:32,839
Speaker 2: because I'm telling you man, you know, he's the way

1020
00:54:32,880 --> 00:54:34,480
Speaker 2: it is without that O'Neill. You know, if there's a

1021
00:54:34,520 --> 00:54:36,279
Speaker 2: bear in the woods in Alexander, Neil, you better help

1022
00:54:36,320 --> 00:54:46,040
Speaker 2: the beard because you don't got to help Alexander. And

1023
00:54:46,160 --> 00:54:48,080
Speaker 2: by the way, we have a publishing company called Help

1024
00:54:48,120 --> 00:54:52,160
Speaker 2: the Bear. And that's why because that was Alexis. That

1025
00:54:52,280 --> 00:54:56,279
Speaker 2: was Alexis line. So, needless to say, we just thought

1026
00:54:56,320 --> 00:54:59,399
Speaker 2: everything was done. And I can't remember whether So Terry

1027
00:54:59,440 --> 00:55:01,200
Speaker 2: got a phone call and I can't remember whether it

1028
00:55:01,320 --> 00:55:04,120
Speaker 2: was from Morris or from Prince. I think it might

1029
00:55:04,160 --> 00:55:09,040
Speaker 2: have been from Prince, and he just said because it

1030
00:55:09,120 --> 00:55:10,960
Speaker 2: was just it was a very short thing. It was.

1031
00:55:11,200 --> 00:55:13,719
Speaker 2: It was basically lose the Bear. Yeah, it was like

1032
00:55:15,440 --> 00:55:22,040
Speaker 2: Alexander or Neil is out, Morris Day is the lead singer,

1033
00:55:22,800 --> 00:55:26,359
Speaker 2: Jelly Breen Johnson is the drummer. Meet tomorrow at nine

1034
00:55:26,400 --> 00:55:29,440
Speaker 2: o'clock at such and such and such at the Yasm

1035
00:55:30,680 --> 00:55:34,480
Speaker 2: to rehearse. And that was it, and Alex was done.

1036
00:55:35,040 --> 00:55:40,120
Speaker 2: Bean was the drummer, Morris was somebody told him. I

1037
00:55:40,160 --> 00:55:42,319
Speaker 2: don't know who told him, but yeah, he got the word.

1038
00:55:42,760 --> 00:55:44,520
Speaker 2: But I need to know the story of the next

1039
00:55:44,560 --> 00:55:47,719
Speaker 2: time you saw Alex. So was Alex cool with this?

1040
00:55:48,880 --> 00:55:50,920
Speaker 2: Of course? Not? Well? Yeah, because yeah, because you know,

1041
00:55:51,000 --> 00:55:56,360
Speaker 2: help the Bean. You don't even know, no, But I

1042
00:55:56,400 --> 00:55:59,319
Speaker 2: remember what our conversation with the conversation I remember having

1043
00:55:59,360 --> 00:56:01,520
Speaker 2: with Alex after that was just one where we said

1044
00:56:01,520 --> 00:56:05,120
Speaker 2: to him, hey, man, if we make it, meaning me

1045
00:56:05,200 --> 00:56:07,200
Speaker 2: and me and Terry had this conversation with him. We

1046
00:56:07,280 --> 00:56:09,279
Speaker 2: just said, man, when we make it, we're coming back

1047
00:56:09,320 --> 00:56:13,359
Speaker 2: and getting you. And that was it. And see, Bill,

1048
00:56:13,560 --> 00:56:19,080
Speaker 2: it works out, no, because we we you know, it

1049
00:56:19,280 --> 00:56:21,719
Speaker 2: just you know, we felt bad and we felt like,

1050
00:56:21,840 --> 00:56:23,440
Speaker 2: you know, we didn't know the way things were going

1051
00:56:23,520 --> 00:56:25,200
Speaker 2: to work out, that we'd actually have an opportunity to

1052
00:56:25,400 --> 00:56:27,719
Speaker 2: do that and come back and grab him. But we

1053
00:56:27,840 --> 00:56:30,400
Speaker 2: did the way things worked out. But now we just

1054
00:56:30,520 --> 00:56:32,040
Speaker 2: kind of felt like that, and you know, and then

1055
00:56:32,480 --> 00:56:34,480
Speaker 2: at that point we were we were off and running

1056
00:56:34,560 --> 00:56:37,840
Speaker 2: and Alex was just you know, still gigging locally and everything,

1057
00:56:38,239 --> 00:56:40,680
Speaker 2: you know. But yeah, he talked himself right out of

1058
00:56:40,760 --> 00:56:43,960
Speaker 2: that and we did one song with Alex, actually recorded

1059
00:56:44,000 --> 00:56:46,840
Speaker 2: one song called you. It was called you, Yeah, he

1060
00:56:47,000 --> 00:56:52,600
Speaker 2: was called you would be Mine. Wow it sounded vague, yes, yeah, exactly,

1061
00:56:53,160 --> 00:56:54,720
Speaker 2: Yeah it was. It was ironic.

1062
00:56:54,800 --> 00:57:01,160
Speaker 1: But so once you guys started rehearsing, uh well yeah,

1063
00:57:01,280 --> 00:57:04,320
Speaker 1: talk about that process, like how often would you guys rehearse?

1064
00:57:05,040 --> 00:57:08,759
Speaker 2: And every single day? Every single day. Now here's the thing. Now,

1065
00:57:08,800 --> 00:57:11,080
Speaker 2: the album was already done. I mean, Morrison Prince had

1066
00:57:11,080 --> 00:57:13,160
Speaker 2: already done the Time album. We didn't play on the

1067
00:57:13,200 --> 00:57:16,640
Speaker 2: time album a lick. So you were given we were

1068
00:57:16,880 --> 00:57:19,000
Speaker 2: record or the cassette we were given, Yep, given the

1069
00:57:19,040 --> 00:57:23,400
Speaker 2: cassette and six songs could learn learn these songs? Six songs.

1070
00:57:24,160 --> 00:57:26,360
Speaker 2: You also did the what's the to the beat song?

1071
00:57:26,600 --> 00:57:31,120
Speaker 2: The oh no no, no, no oh oh, dance to

1072
00:57:31,160 --> 00:57:33,120
Speaker 2: the beat, Dance to beat dance, So there were extra

1073
00:57:33,240 --> 00:57:36,720
Speaker 2: songs too. Correct. Yeah, but we never recorded dance to

1074
00:57:36,840 --> 00:57:38,880
Speaker 2: the Beat. I don't think. I think we just played

1075
00:57:38,880 --> 00:57:40,600
Speaker 2: it live. I don't think we ever recorded it. If

1076
00:57:40,640 --> 00:57:42,720
Speaker 2: it was recorded, it was live for records. So it

1077
00:57:42,840 --> 00:57:45,080
Speaker 2: was it only expected of you guys to just do

1078
00:57:45,320 --> 00:57:46,560
Speaker 2: a half hour no matter what.

1079
00:57:46,920 --> 00:57:50,400
Speaker 1: Or because I'm thinking, like, if you're doing having a

1080
00:57:50,760 --> 00:57:54,919
Speaker 1: show's material, usually people do cover songs, have a forty

1081
00:57:54,960 --> 00:57:57,560
Speaker 1: five minute show ready or hour show ready.

1082
00:57:58,080 --> 00:58:00,520
Speaker 2: Well, when we went okay, so when we went up initially,

1083
00:58:00,840 --> 00:58:03,240
Speaker 2: so when we were rehearsed and actually there's one piece

1084
00:58:03,240 --> 00:58:05,480
Speaker 2: of the rehearsal I got it, I got it, or

1085
00:58:05,520 --> 00:58:08,000
Speaker 2: two actually rehearsal stories I'll relate to you while we're

1086
00:58:08,040 --> 00:58:11,000
Speaker 2: on the rehearsals because we're rehearsing at the YASM and

1087
00:58:11,320 --> 00:58:13,600
Speaker 2: the ASTHM as it turns out was owned by this

1088
00:58:13,720 --> 00:58:18,280
Speaker 2: guy named Leonard Weaver was his name, right, Old cat,

1089
00:58:18,400 --> 00:58:22,440
Speaker 2: Old black cat. And he had this bar, and in

1090
00:58:22,560 --> 00:58:25,120
Speaker 2: the bar were these juice machines. One was lemonade and

1091
00:58:25,160 --> 00:58:29,240
Speaker 2: one was fruit punch. And he also had these lamps.

1092
00:58:29,280 --> 00:58:31,280
Speaker 2: It was like a lounge and he had these lamps

1093
00:58:31,880 --> 00:58:34,720
Speaker 2: and they were naked women basically with a lamp shade

1094
00:58:34,760 --> 00:58:35,360
Speaker 2: on top of it.

1095
00:58:35,520 --> 00:58:35,640
Speaker 3: Right.

1096
00:58:37,160 --> 00:58:41,920
Speaker 2: So when we started rehearsing, Leonard said he had two rules.

1097
00:58:42,960 --> 00:58:46,560
Speaker 2: He said, y'all stay out of my juice machine, and

1098
00:58:46,680 --> 00:59:02,680
Speaker 2: y'all don't touch my titty lamps. It's Italian, so timmy lamb.

1099
00:59:02,800 --> 00:59:04,840
Speaker 2: So we said, okay, cool, we got you man. We're

1100
00:59:04,840 --> 00:59:07,480
Speaker 2: not gonna mess when we got it. So we started rehearsing.

1101
00:59:07,520 --> 00:59:10,080
Speaker 2: We rehearsing every day at this point. So I remember,

1102
00:59:11,520 --> 00:59:15,280
Speaker 2: you know the whole thing. Now, Jerome at this point

1103
00:59:15,880 --> 00:59:19,440
Speaker 2: was not in the group. Jerome was a roadie, right,

1104
00:59:20,480 --> 00:59:22,560
Speaker 2: and I remember we had gone and done a couple

1105
00:59:22,640 --> 00:59:27,360
Speaker 2: of gigs and Jerome had to like ride in the

1106
00:59:27,480 --> 00:59:31,320
Speaker 2: truck with the equipment with this gap tooth British guy,

1107
00:59:31,600 --> 00:59:36,320
Speaker 2: you know, with the British teeth. Jerome helped me, you know,

1108
00:59:36,520 --> 00:59:38,160
Speaker 2: unload the amps, and you know, it was like all

1109
00:59:38,240 --> 00:59:40,640
Speaker 2: this and Jerome was just like so pissed off, like

1110
00:59:40,960 --> 00:59:42,840
Speaker 2: you know whatever, but he's you know, he's going along

1111
00:59:42,920 --> 00:59:45,400
Speaker 2: with it, right, So he's trying to figure out, man,

1112
00:59:45,480 --> 00:59:47,680
Speaker 2: how can I get a gig in this thing? You know,

1113
00:59:48,040 --> 00:59:50,240
Speaker 2: you know something? And Terry's trying to figure it out too,

1114
00:59:50,240 --> 00:59:52,480
Speaker 2: because that's just you know, Jerome's Terry's brothers, right, So

1115
00:59:52,920 --> 00:59:55,120
Speaker 2: we're trying to figure this out. So anyway, we're rehearsing

1116
00:59:56,800 --> 01:00:01,560
Speaker 2: and in the stick, Morrison, somebody bring me a mirror. Right,

1117
01:00:02,400 --> 01:00:06,360
Speaker 2: So on the walls of the yasm are these big mirrors, right,

1118
01:00:06,560 --> 01:00:09,800
Speaker 2: but not like little merrors, but I'm talking about big

1119
01:00:11,320 --> 01:00:15,040
Speaker 2: full body mirrors, right. So Prince is at the rehearsal

1120
01:00:15,080 --> 01:00:19,480
Speaker 2: and he's watching us rehearse, and Morris says, somebody bring

1121
01:00:19,560 --> 01:00:22,080
Speaker 2: me a mirror, and out of the blue, Jerome goes

1122
01:00:22,120 --> 01:00:24,440
Speaker 2: and grabs a mirror off the wall, puts it in

1123
01:00:24,560 --> 01:00:28,160
Speaker 2: front of Morris. Morris turns around, looks at it kind

1124
01:00:28,200 --> 01:00:32,320
Speaker 2: of like starter like oh, and pulls out his comb

1125
01:00:32,360 --> 01:00:35,400
Speaker 2: and starts combing his hair. Prince falls on the floor

1126
01:00:38,080 --> 01:00:41,920
Speaker 2: like he's like, ah, we gotta do that. We gotta

1127
01:00:41,920 --> 01:00:45,240
Speaker 2: do that. We gotta do that. And Jerome was no

1128
01:00:45,320 --> 01:00:48,080
Speaker 2: longer a roadie. So that's how that's how he went

1129
01:00:48,120 --> 01:00:50,640
Speaker 2: from being the roady to be in the valet. It

1130
01:00:50,760 --> 01:00:54,120
Speaker 2: was simple as that, and that happened. And every night

1131
01:00:54,760 --> 01:01:00,720
Speaker 2: we go into the bar and drink the juice out

1132
01:01:00,720 --> 01:01:03,640
Speaker 2: of the juice machine, but then we'd pour water into it,

1133
01:01:03,720 --> 01:01:06,400
Speaker 2: so it would look like nothing happened because every time.

1134
01:01:06,640 --> 01:01:08,720
Speaker 2: So so Leonard would walk in every day and he'd

1135
01:01:08,760 --> 01:01:10,800
Speaker 2: come in and he'd look and make sure everything was cool.

1136
01:01:10,840 --> 01:01:12,760
Speaker 2: And then one day we were playing around and we

1137
01:01:12,880 --> 01:01:16,120
Speaker 2: broke one of the titty lamps. Oh, and so we

1138
01:01:16,320 --> 01:01:18,439
Speaker 2: like turned it around and tried to kind of glue

1139
01:01:18,520 --> 01:01:20,840
Speaker 2: it and try to whatever. And I swear to God,

1140
01:01:20,880 --> 01:01:26,200
Speaker 2: he walked in and he looked and he said, who's

1141
01:01:26,240 --> 01:01:28,600
Speaker 2: been in my juice machine? Because it's because it's because

1142
01:01:28,600 --> 01:01:33,160
Speaker 2: it's all like light colored now like brothers trying to

1143
01:01:33,200 --> 01:01:35,120
Speaker 2: be slick, but it ain't working right, so it's all

1144
01:01:35,240 --> 01:01:37,360
Speaker 2: like that. And then he looks and he's like looking

1145
01:01:37,360 --> 01:01:38,560
Speaker 2: at it all of us. He said, who was in

1146
01:01:38,760 --> 01:01:41,320
Speaker 2: my juice machine? And we're like going on, we don't know, God,

1147
01:01:41,440 --> 01:01:43,120
Speaker 2: but it was Jesse was who it was. So anyway,

1148
01:01:43,520 --> 01:01:45,640
Speaker 2: we were like, no, we don't know, We don't really know.

1149
01:01:45,800 --> 01:01:51,200
Speaker 2: So he was like looking around my titty lamp. Who

1150
01:01:51,360 --> 01:01:53,640
Speaker 2: broke my titty lamb? And it's like, heck, can he

1151
01:01:53,720 --> 01:01:55,360
Speaker 2: see that? He's like one hundred feet away from the

1152
01:01:55,400 --> 01:01:57,760
Speaker 2: teddy lamb? How does he know that lamp was broke?

1153
01:01:58,960 --> 01:02:01,320
Speaker 2: It was crazy, It was times, man, but it was

1154
01:02:01,520 --> 01:02:05,840
Speaker 2: like the whole formation of us as a unit. That

1155
01:02:06,120 --> 01:02:09,320
Speaker 2: was the back drop of it, And it was a

1156
01:02:09,360 --> 01:02:12,120
Speaker 2: reason we were so tight, not only as musicians but

1157
01:02:12,440 --> 01:02:15,160
Speaker 2: just as people because we already grew up as friends anyway,

1158
01:02:16,320 --> 01:02:20,280
Speaker 2: but that those experiences just totally solidified everything that we

1159
01:02:20,360 --> 01:02:22,200
Speaker 2: were doing. And then we would play at night, like

1160
01:02:22,440 --> 01:02:24,040
Speaker 2: like we would rehearse it during the day and then

1161
01:02:24,080 --> 01:02:26,720
Speaker 2: at night Weaver would open the place up, charge people

1162
01:02:27,480 --> 01:02:29,440
Speaker 2: and we play songs, not you know, when we do

1163
01:02:29,520 --> 01:02:31,840
Speaker 2: a couple covers, but mostly it just be our stuff.

1164
01:02:31,880 --> 01:02:34,400
Speaker 2: People didn't know what the heck we were singing, but

1165
01:02:34,520 --> 01:02:35,880
Speaker 2: they just liked it. You know. It was just like

1166
01:02:35,960 --> 01:02:37,080
Speaker 2: a place to go and hang out.

1167
01:02:37,360 --> 01:02:43,080
Speaker 1: Okay, this is what I gotta know now. More than anything,

1168
01:02:43,160 --> 01:02:50,920
Speaker 1: you guys had this image that was just as important

1169
01:02:50,960 --> 01:02:58,040
Speaker 1: and prevalent as the music was. And how did you

1170
01:02:58,160 --> 01:03:06,480
Speaker 1: guys actually care for like, did Mars have ten versions

1171
01:03:06,600 --> 01:03:07,800
Speaker 1: of that gold jacket?

1172
01:03:08,400 --> 01:03:12,240
Speaker 2: Did you have, Doris? Yeah?

1173
01:03:12,280 --> 01:03:15,120
Speaker 1: Exactly, because the thing is that what I know about

1174
01:03:15,160 --> 01:03:19,520
Speaker 1: touring is every show I do, it's drenched.

1175
01:03:21,600 --> 01:03:24,640
Speaker 2: Are you? But I know that it's required that you

1176
01:03:24,760 --> 01:03:28,760
Speaker 2: guys you know it. Do you guys have a.

1177
01:03:28,760 --> 01:03:31,800
Speaker 1: Wardrobe person that runs shit to the cleaners and stuff?

1178
01:03:31,800 --> 01:03:34,400
Speaker 1: Because I feel like, and did you have to look

1179
01:03:34,440 --> 01:03:35,520
Speaker 1: that way? Twenty four to seven?

1180
01:03:36,880 --> 01:03:40,840
Speaker 2: Okay, well, yeah, so the wardrobe really was based on

1181
01:03:41,000 --> 01:03:45,120
Speaker 2: the way we dressed anyway, because guys always as a

1182
01:03:45,200 --> 01:03:46,840
Speaker 2: matter of fact, as a matter of fact, you're looking

1183
01:03:46,880 --> 01:03:48,400
Speaker 2: at it. You're looking at it right now. But I'm

1184
01:03:48,400 --> 01:03:49,960
Speaker 2: going to show you a picture of Terry. You can't

1185
01:03:49,960 --> 01:03:53,000
Speaker 2: see this on the air, but this is Terry Lewis

1186
01:03:53,040 --> 01:03:59,200
Speaker 2: at like fourteen fifteen years old. Wow, that's it's not

1187
01:03:59,240 --> 01:04:01,600
Speaker 2: as a guitar strap. Yeah. And he's got and he's

1188
01:04:01,640 --> 01:04:03,680
Speaker 2: gotten and he painted this base red, black and green.

1189
01:04:03,720 --> 01:04:05,960
Speaker 2: This is the base. When I met Terry, he painted

1190
01:04:06,000 --> 01:04:08,320
Speaker 2: his you know, so he was afrocentric and the whole thing.

1191
01:04:09,080 --> 01:04:14,439
Speaker 2: That's right. So when people talk about the way we looked.

1192
01:04:14,480 --> 01:04:17,000
Speaker 2: I mean that that goes from you know, back in

1193
01:04:17,080 --> 01:04:19,040
Speaker 2: that day. I mean we we we used to take

1194
01:04:19,480 --> 01:04:21,920
Speaker 2: because the thrift stores. We couldn't afford to dress. We

1195
01:04:21,960 --> 01:04:23,960
Speaker 2: wanted to dress nice, but we couldn't afford it. But

1196
01:04:24,040 --> 01:04:25,240
Speaker 2: you could go to a thrift store and get a

1197
01:04:25,280 --> 01:04:28,200
Speaker 2: suit for ten bucks, right, and get a hat and

1198
01:04:28,240 --> 01:04:30,600
Speaker 2: a whole thing. So we were always rocking that style,

1199
01:04:30,760 --> 01:04:34,320
Speaker 2: and Prince just enhanced it. Now Morris is stuff the

1200
01:04:34,440 --> 01:04:37,280
Speaker 2: press we called it the pressley, the jacket that he

1201
01:04:37,320 --> 01:04:40,240
Speaker 2: had on the first two album covers. There was only one. Yeah,

1202
01:04:40,480 --> 01:04:43,040
Speaker 2: there was only one that was it the pressley, And yeah,

1203
01:04:43,360 --> 01:04:45,040
Speaker 2: we kept it dry. You know. That was part of

1204
01:04:45,160 --> 01:04:47,400
Speaker 2: Jerome's job. By the way, he was the real valet

1205
01:04:47,800 --> 01:04:50,520
Speaker 2: for the group, so he'd call everybody and say, you know,

1206
01:04:50,600 --> 01:04:52,440
Speaker 2: have your dry cleaning ready to go, you know, if

1207
01:04:52,480 --> 01:04:54,000
Speaker 2: we'd be at a hotel or that kind of thing.

1208
01:04:54,520 --> 01:04:56,520
Speaker 2: But yeah, all of our stuff was thrift shop stuff.

1209
01:04:56,520 --> 01:04:58,600
Speaker 2: And it was interesting because the first tour we did,

1210
01:04:58,720 --> 01:05:01,080
Speaker 2: I remember, we would go to thrift and we would

1211
01:05:01,120 --> 01:05:04,400
Speaker 2: clean up. Second tour we did, they were all out

1212
01:05:04,480 --> 01:05:07,520
Speaker 2: of stuff. Because people caught on and doing it. Yeah,

1213
01:05:07,560 --> 01:05:10,800
Speaker 2: it totally caught on. So it was interesting. But yeah, no,

1214
01:05:10,880 --> 01:05:12,640
Speaker 2: that that was the thing, man. We just that was

1215
01:05:12,680 --> 01:05:16,000
Speaker 2: always kind of our our style anyway, you guys weren't

1216
01:05:16,080 --> 01:05:23,560
Speaker 2: quite of age, but like that that look when they

1217
01:05:23,640 --> 01:05:24,920
Speaker 2: came out in nineteen eighty one.

1218
01:05:25,920 --> 01:05:28,120
Speaker 1: I mean that's the first time I think, like we

1219
01:05:28,240 --> 01:05:30,320
Speaker 1: were all big in our moms, like, yo, take us

1220
01:05:30,320 --> 01:05:31,080
Speaker 1: to the thrift store.

1221
01:05:31,360 --> 01:05:33,560
Speaker 2: Word you would never hear darn. I was wondering if

1222
01:05:33,600 --> 01:05:34,760
Speaker 2: that was cool to y'all because.

1223
01:05:34,520 --> 01:05:37,200
Speaker 1: That's like the dog I mean, they they talked about

1224
01:05:37,240 --> 01:05:43,280
Speaker 1: baggies and then like and you know, my mom be like, baggies,

1225
01:05:43,440 --> 01:05:44,280
Speaker 1: I can get you some bags.

1226
01:05:44,520 --> 01:05:46,640
Speaker 2: It's like two dollars at the thrift store. And it

1227
01:05:46,760 --> 01:05:49,480
Speaker 2: was like the thrift store. Yeah, well f as I

1228
01:05:49,560 --> 01:05:50,160
Speaker 2: frowned on it.

1229
01:05:50,320 --> 01:05:52,479
Speaker 1: But like because my cousins were more like in the street,

1230
01:05:52,560 --> 01:05:54,120
Speaker 1: you know, like b boy and just came out and

1231
01:05:54,160 --> 01:05:59,000
Speaker 1: sergery of valent a drug dealer shit, right, But when

1232
01:05:59,560 --> 01:06:01,720
Speaker 1: oh my goodess, like all of sixth grade, all I

1233
01:06:01,840 --> 01:06:05,720
Speaker 1: wore were just baggies and my parents couldn't be more pleased.

1234
01:06:10,560 --> 01:06:15,440
Speaker 2: On like twenty bears of pint, you know what I mean. Yeah, So,

1235
01:06:16,480 --> 01:06:20,640
Speaker 2: so you guys just naturally look like gangster. We just naturally, Yeah,

1236
01:06:20,680 --> 01:06:22,680
Speaker 2: we just naturally did it, and and we just kind

1237
01:06:22,680 --> 01:06:24,600
Speaker 2: of fell into it. And we also liked the whole idea,

1238
01:06:24,680 --> 01:06:27,360
Speaker 2: the whole cool aspect. We liked anyway, because it was

1239
01:06:27,400 --> 01:06:30,480
Speaker 2: about respecting yourself and it was about you know, dressing

1240
01:06:30,560 --> 01:06:34,200
Speaker 2: well and having class and that. And we liked the

1241
01:06:34,320 --> 01:06:36,360
Speaker 2: idea of that. I mean we enhanced it, and Prince

1242
01:06:36,480 --> 01:06:38,640
Speaker 2: enhanced it. I mean he he took it to a

1243
01:06:38,720 --> 01:06:41,840
Speaker 2: whole other level. And yes, he wanted us to always

1244
01:06:41,960 --> 01:06:45,880
Speaker 2: look the part he hated the idea of because we

1245
01:06:45,960 --> 01:06:48,080
Speaker 2: used to talk about it back in the day when

1246
01:06:48,160 --> 01:06:51,120
Speaker 2: we first started touring and stuff. We would go out

1247
01:06:51,200 --> 01:06:53,440
Speaker 2: like with Cameo, you know, and Cameo would have, you know,

1248
01:06:53,720 --> 01:06:57,160
Speaker 2: the glitter suits on and the whole thing, and and

1249
01:06:57,280 --> 01:06:59,160
Speaker 2: Prince always kind of frowned on it. He just said, no,

1250
01:06:59,280 --> 01:07:01,160
Speaker 2: he said, you should look the way you look, you know,

1251
01:07:01,360 --> 01:07:05,200
Speaker 2: and nobody should see you looking unlike yourself what they

1252
01:07:05,280 --> 01:07:08,080
Speaker 2: expect to see you. Even to the point where I

1253
01:07:08,160 --> 01:07:12,840
Speaker 2: remember with Morris, I mean, by the second tour, we

1254
01:07:13,000 --> 01:07:17,120
Speaker 2: were holding that pressley together with tape literally, I mean

1255
01:07:17,160 --> 01:07:18,920
Speaker 2: it was just like that thing was about ready to

1256
01:07:19,000 --> 01:07:22,360
Speaker 2: fall apart, and I remember Morris kept saying, Prince, can

1257
01:07:22,400 --> 01:07:24,400
Speaker 2: I get a new jacket? I need a new Presley

1258
01:07:25,040 --> 01:07:27,040
Speaker 2: And Prince was like, no, that's what people expect to

1259
01:07:27,040 --> 01:07:28,520
Speaker 2: see you in, and that's the way you need to look.

1260
01:07:28,720 --> 01:07:32,440
Speaker 2: He was very much into that, right. And I remember

1261
01:07:32,480 --> 01:07:36,640
Speaker 2: about halfway through that tour and we were kicking his

1262
01:07:36,720 --> 01:07:40,400
Speaker 2: ass pretty good every night at that point. Oh we know, yeah,

1263
01:07:41,320 --> 01:07:44,160
Speaker 2: And I remember they at one point in time, I

1264
01:07:44,160 --> 01:07:46,680
Speaker 2: remember the management came to us and said, we're gonna

1265
01:07:46,720 --> 01:07:48,480
Speaker 2: put you guys out on your own, on your own

1266
01:07:48,560 --> 01:07:53,160
Speaker 2: tour because Prince didn't let us play. You have to

1267
01:07:53,240 --> 01:07:56,160
Speaker 2: now think about once again, no media, no social media. Right.

1268
01:07:56,880 --> 01:07:59,720
Speaker 2: So everything that you got you read right. It was

1269
01:07:59,720 --> 01:08:03,560
Speaker 2: a new paper thing. Right. The two biggest markets obviously

1270
01:08:03,640 --> 01:08:08,120
Speaker 2: were La and New York. Right, those two markets. We

1271
01:08:08,240 --> 01:08:11,000
Speaker 2: didn't play with Prince. We didn't open with him, right,

1272
01:08:11,160 --> 01:08:13,160
Speaker 2: So he did Madison Square Garden or whatever it was.

1273
01:08:13,400 --> 01:08:16,519
Speaker 2: We didn't play, but we played for Vanity six. So

1274
01:08:16,600 --> 01:08:19,760
Speaker 2: we were in the building, right, which to this day

1275
01:08:19,880 --> 01:08:21,960
Speaker 2: is the thing you're probably pisss jelly Bean off the

1276
01:08:22,040 --> 01:08:24,920
Speaker 2: most of anything. Man. All our friends are out there, man,

1277
01:08:24,960 --> 01:08:26,680
Speaker 2: we're in the building and stuff, and we can't even play.

1278
01:08:26,720 --> 01:08:28,360
Speaker 2: I was like, he used to get so mad. Same

1279
01:08:28,439 --> 01:08:31,040
Speaker 2: with the Forum in LA. Never played the Forum in LA.

1280
01:08:31,280 --> 01:08:35,240
Speaker 2: We played Long Beach Arena, and we played I think

1281
01:08:35,320 --> 01:08:38,360
Speaker 2: Nasau Coliseum or something in New York. But we never

1282
01:08:38,439 --> 01:08:42,800
Speaker 2: got to play those shows because the reviews were all like, yeah,

1283
01:08:42,880 --> 01:08:44,760
Speaker 2: Prince was great, that was great, but you got to

1284
01:08:44,800 --> 01:08:47,280
Speaker 2: see the time, you know, and he didn't want that,

1285
01:08:47,760 --> 01:08:49,839
Speaker 2: so that was the thing. So we never played those markets.

1286
01:08:50,240 --> 01:08:52,880
Speaker 2: So after we saw that happen and we were kind

1287
01:08:52,880 --> 01:08:56,080
Speaker 2: of like, okay, So the management's like, you know, we're

1288
01:08:56,080 --> 01:08:57,439
Speaker 2: gonna put you on your own tour, and I think

1289
01:08:57,479 --> 01:09:01,439
Speaker 2: it was gonna be Evelyn Champagne King and Shallamar or

1290
01:09:01,479 --> 01:09:04,360
Speaker 2: somebody like that, right, So we were like, okay, cool, great,

1291
01:09:04,479 --> 01:09:07,040
Speaker 2: we'll do our own tour. That's cool. So then they

1292
01:09:07,160 --> 01:09:08,920
Speaker 2: changed their mind and they said so by this point

1293
01:09:08,960 --> 01:09:10,600
Speaker 2: in time, so Morris said, well, if we're doing our

1294
01:09:10,600 --> 01:09:14,080
Speaker 2: own tour, I'm getting me a new Presley. So Morris

1295
01:09:14,280 --> 01:09:19,439
Speaker 2: orders this new Presley, right, And I remember Prince used

1296
01:09:19,479 --> 01:09:21,400
Speaker 2: to sometimes come in our dresser room because after we

1297
01:09:21,520 --> 01:09:25,200
Speaker 2: do the Vanity six set, we would they in the

1298
01:09:25,320 --> 01:09:27,439
Speaker 2: old at the beginning, they would give us like fifteen

1299
01:09:27,479 --> 01:09:30,439
Speaker 2: minutes to change, right, So we would come out and

1300
01:09:30,479 --> 01:09:32,000
Speaker 2: do the Vanity six set, and then we go back

1301
01:09:32,040 --> 01:09:33,320
Speaker 2: in the dress room, hang out for a little bit,

1302
01:09:33,320 --> 01:09:36,719
Speaker 2: and then we come back out. Sometimes we'd actually be dressed,

1303
01:09:37,280 --> 01:09:40,280
Speaker 2: but we put on like capes or we put on

1304
01:09:40,439 --> 01:09:43,160
Speaker 2: something stupid. So people said, the people on the side, yeah,

1305
01:09:43,320 --> 01:09:45,920
Speaker 2: so they couldn't see who we were, right. So, but

1306
01:09:46,040 --> 01:09:48,080
Speaker 2: it was great because we were so warmed up. It

1307
01:09:48,200 --> 01:09:50,599
Speaker 2: was like our sound check, right, play it for Vanity six.

1308
01:09:50,720 --> 01:09:54,040
Speaker 2: So it even made us better, right, And and then

1309
01:09:54,080 --> 01:09:55,479
Speaker 2: it got to the point where he wouldn't even give

1310
01:09:55,560 --> 01:09:58,479
Speaker 2: us enough time to change or anything. We really started

1311
01:09:58,560 --> 01:10:00,080
Speaker 2: killing him then because we were all warmed up, and

1312
01:10:00,360 --> 01:10:02,320
Speaker 2: it was like Jellybean, like the longer he played, the

1313
01:10:02,360 --> 01:10:04,439
Speaker 2: better he got. He was one of those kind of drummers,

1314
01:10:04,520 --> 01:10:07,160
Speaker 2: so it was all working against him. So I remember

1315
01:10:07,240 --> 01:10:09,720
Speaker 2: we had kind of lattashed him in about three or

1316
01:10:09,760 --> 01:10:12,680
Speaker 2: four gigs in a row. So anyway, he comes into

1317
01:10:12,680 --> 01:10:14,880
Speaker 2: the dressing room and we were really kind of feeling

1318
01:10:14,920 --> 01:10:17,679
Speaker 2: ourselves at that point in time, and he comes into

1319
01:10:17,720 --> 01:10:21,280
Speaker 2: the dressing room and he goes and nobody's really reacting

1320
01:10:21,320 --> 01:10:24,519
Speaker 2: to him, and he just kind of goes, what are

1321
01:10:24,520 --> 01:10:29,800
Speaker 2: you guys doing? And Morris says, got something to show you, Prince,

1322
01:10:33,200 --> 01:10:37,000
Speaker 2: And so Jerome goes and brings out this wardrobe thing

1323
01:10:38,040 --> 01:10:43,000
Speaker 2: and unzips it and Morris like flips it and the

1324
01:10:43,200 --> 01:10:46,080
Speaker 2: thing comes off and he goes, I got a new Presley.

1325
01:10:53,120 --> 01:10:58,559
Speaker 2: Prince literally goes, ah, I created a monster and ran

1326
01:10:58,680 --> 01:11:03,880
Speaker 2: out of the room. Swear to God, Swear to God.

1327
01:11:04,320 --> 01:11:07,240
Speaker 2: He did. He created him last year. He did. It's like, yeah,

1328
01:11:19,600 --> 01:11:20,599
Speaker 2: what were those Okay?

1329
01:11:20,920 --> 01:11:22,680
Speaker 1: So I know by the time that what times it

1330
01:11:22,800 --> 01:11:29,559
Speaker 1: came out, you guys were and maybe assuming a better place.

1331
01:11:29,640 --> 01:11:32,479
Speaker 1: But in the very beginning the first album, were you

1332
01:11:32,600 --> 01:11:35,880
Speaker 1: guys like I just want to know what a working

1333
01:11:36,120 --> 01:11:41,479
Speaker 1: class musician was into and doing between eighty one and

1334
01:11:41,600 --> 01:11:45,759
Speaker 1: eighty two, Like, were you guys driving yourself to the gigs?

1335
01:11:45,880 --> 01:11:49,680
Speaker 1: Like I don't know if you read Maurice White's autobiography,

1336
01:11:49,760 --> 01:11:54,240
Speaker 1: but I'm shocked at even up until Spirit they were

1337
01:11:54,320 --> 01:11:55,920
Speaker 1: like driving themselves to the gigs.

1338
01:11:56,000 --> 01:12:00,360
Speaker 2: They were, you know, station wagons to the gigs and

1339
01:12:00,400 --> 01:12:02,599
Speaker 2: that stuff. Well, we did. We definitely did the station

1340
01:12:02,720 --> 01:12:05,200
Speaker 2: wagon thing. There's no doubt about that. We did, but

1341
01:12:05,400 --> 01:12:07,360
Speaker 2: not by the time, by the time we were actually

1342
01:12:07,400 --> 01:12:09,800
Speaker 2: touring with Prince. No, we had a tour bus, and

1343
01:12:10,040 --> 01:12:12,840
Speaker 2: you know, we were making our little one hundred and

1344
01:12:13,200 --> 01:12:16,400
Speaker 2: fifty dollars a week after they a week Yeah what

1345
01:12:16,640 --> 01:12:17,479
Speaker 2: is Yeah?

1346
01:12:17,560 --> 01:12:21,240
Speaker 1: What is a working class musician make in eighty one

1347
01:12:22,320 --> 01:12:24,519
Speaker 1: on that tour? Like, were you guys at the top

1348
01:12:24,640 --> 01:12:26,160
Speaker 1: level or no?

1349
01:12:26,400 --> 01:12:28,800
Speaker 2: We were, No, we were well below the top level

1350
01:12:28,840 --> 01:12:31,280
Speaker 2: because we we were like I say, we would get

1351
01:12:31,280 --> 01:12:33,400
Speaker 2: one hundred and fifty dollars a week in a in

1352
01:12:33,520 --> 01:12:36,599
Speaker 2: a check and for that it was in mine per

1353
01:12:36,720 --> 01:12:39,240
Speaker 2: dim Yeah. Well and we get per diem too, so

1354
01:12:39,520 --> 01:12:41,160
Speaker 2: I guess it would add up to two fifty a week.

1355
01:12:41,479 --> 01:12:43,680
Speaker 2: So that if that changes anything. I mean, my my

1356
01:12:43,880 --> 01:12:46,120
Speaker 2: check after taxes was one hundred and seventeen dollars. I

1357
01:12:46,240 --> 01:12:48,600
Speaker 2: still have, I think my check stub, you know, my

1358
01:12:48,640 --> 01:12:51,720
Speaker 2: original check stub. But no, we were going broke and

1359
01:12:51,800 --> 01:12:54,400
Speaker 2: it probably you know, for me at the time, I

1360
01:12:54,560 --> 01:12:57,599
Speaker 2: was living at home anyway, so I hadn't moved out,

1361
01:12:57,640 --> 01:12:59,960
Speaker 2: and I didn't have any kids. I didn't have any responsibility.

1362
01:13:00,080 --> 01:13:03,519
Speaker 2: It was really tough on Terry because Terry, not only

1363
01:13:03,720 --> 01:13:07,000
Speaker 2: Terry drove a school bus, you know, and and was

1364
01:13:07,080 --> 01:13:11,599
Speaker 2: making really good money doing that. But also because when

1365
01:13:11,640 --> 01:13:13,519
Speaker 2: we were gigging his flight time and we're like I say,

1366
01:13:13,560 --> 01:13:15,920
Speaker 2: we were like doing our own gigs and do outing,

1367
01:13:16,280 --> 01:13:18,920
Speaker 2: and yeah, we were doing really well. I mean as

1368
01:13:18,960 --> 01:13:21,280
Speaker 2: a bad I mean, Terry took a huge pay cut,

1369
01:13:21,600 --> 01:13:24,679
Speaker 2: probably the biggest out of anybody had a young son

1370
01:13:25,040 --> 01:13:28,240
Speaker 2: at that point in a house. I mean, Terry was

1371
01:13:28,240 --> 01:13:31,640
Speaker 2: always very like responsible from like an early age, like

1372
01:13:31,680 --> 01:13:33,559
Speaker 2: he was already living his he was like an adult

1373
01:13:33,640 --> 01:13:36,960
Speaker 2: at an early age. So for him, yeah, it hit

1374
01:13:37,080 --> 01:13:39,840
Speaker 2: him really bad, like it messed his credit up, you know,

1375
01:13:40,200 --> 01:13:43,240
Speaker 2: it messed him out rat Oh, yeah, it totally messed it,

1376
01:13:43,439 --> 01:13:46,080
Speaker 2: totally messed him up. And and even I remember the

1377
01:13:46,160 --> 01:13:49,040
Speaker 2: second year we had an ultimatum, like it was in

1378
01:13:49,800 --> 01:13:51,080
Speaker 2: I think it was San Dieg. I think we were

1379
01:13:51,120 --> 01:13:56,040
Speaker 2: in San Diego and we had we were all sharing

1380
01:13:56,160 --> 01:13:58,559
Speaker 2: rooms at that point in time, except for except for Morris,

1381
01:13:59,479 --> 01:14:03,320
Speaker 2: and I remember Terry said, man, we got two gold albums.

1382
01:14:04,360 --> 01:14:06,479
Speaker 2: They had bumped us up to two fifty a week,

1383
01:14:07,280 --> 01:14:10,800
Speaker 2: and then Vanity, Yeah, Vanity six was giving us another

1384
01:14:10,800 --> 01:14:13,559
Speaker 2: one hundred a week or something like that at plus

1385
01:14:13,640 --> 01:14:16,240
Speaker 2: per diem. So everybody was saving the per diem to

1386
01:14:16,240 --> 01:14:17,920
Speaker 2: buy a VCR or whatever. I mean, you know that

1387
01:14:18,080 --> 01:14:19,680
Speaker 2: was the hot thing back in that day, was save

1388
01:14:19,800 --> 01:14:22,920
Speaker 2: up for a VCR, right. But we but everybody was

1389
01:14:22,960 --> 01:14:24,519
Speaker 2: getting you know, at that point in time, he getting

1390
01:14:24,560 --> 01:14:26,800
Speaker 2: on everybody's getting on everybody's nerves. So it was like,

1391
01:14:26,960 --> 01:14:28,679
Speaker 2: you know, Terry said, man, we need our own room.

1392
01:14:28,760 --> 01:14:30,960
Speaker 2: So he went to management at the time, and there

1393
01:14:31,040 --> 01:14:33,200
Speaker 2: was this lady named Jamie Shoop, and Jamie shop was like,

1394
01:14:34,479 --> 01:14:38,040
Speaker 2: she was our tour manager. Not Alan, No, okay, Ali

1395
01:14:38,120 --> 01:14:43,439
Speaker 2: came along after us after yeah. Yeah, So Jamie was amazing,

1396
01:14:44,760 --> 01:14:47,439
Speaker 2: took great care of us. She I mean as best

1397
01:14:47,479 --> 01:14:49,559
Speaker 2: she could. I mean, because it was it was Prince's thing.

1398
01:14:49,720 --> 01:14:51,760
Speaker 2: I mean, there was no doubt about Prince ran it.

1399
01:14:53,040 --> 01:14:55,080
Speaker 2: But she looked out for us the best she can.

1400
01:14:55,160 --> 01:14:56,880
Speaker 2: And she said, listen, she said, if you guys, you

1401
01:14:56,920 --> 01:15:00,240
Speaker 2: guys should have your own rooms, I'll advocate for that.

1402
01:15:00,439 --> 01:15:04,439
Speaker 2: Let's have a meeting whatever. So we told everybody, here's

1403
01:15:04,479 --> 01:15:05,760
Speaker 2: what we're gonna do. We're gonna have a meeting in

1404
01:15:05,840 --> 01:15:10,120
Speaker 2: San Diego, and we're basically going to say if we

1405
01:15:10,200 --> 01:15:13,479
Speaker 2: don't get rooms, we're quitting the tour. That's the thing

1406
01:15:13,760 --> 01:15:20,200
Speaker 2: right now, Jesse. For some reason, we said don't tell anybody,

1407
01:15:20,280 --> 01:15:22,600
Speaker 2: but Jesse for some reason went behind our backs and

1408
01:15:22,720 --> 01:15:27,160
Speaker 2: told management or told Prince or told somebody. So when

1409
01:15:27,200 --> 01:15:30,760
Speaker 2: we got everybody in this room, we thought, you know,

1410
01:15:30,840 --> 01:15:32,800
Speaker 2: we had the upper hand. We're gonna spring this on them.

1411
01:15:33,320 --> 01:15:35,479
Speaker 2: We walked into the room and Prince was like, so

1412
01:15:35,600 --> 01:15:38,479
Speaker 2: you guys are going to boycott. Huh, We're like going.

1413
01:15:38,880 --> 01:15:40,840
Speaker 2: We like all looked at each other. Then we all

1414
01:15:40,920 --> 01:15:44,920
Speaker 2: looked at Jesse, and Jesse's like, what, you know whatever,

1415
01:15:45,000 --> 01:15:47,840
Speaker 2: We're like, okay. So Terry at that point was just like,

1416
01:15:48,120 --> 01:15:50,400
Speaker 2: you know, listen, dude. He said, I can't. You know,

1417
01:15:50,800 --> 01:15:54,479
Speaker 2: I can't. I got a kid, I got you know whatever, whatever.

1418
01:15:54,880 --> 01:15:58,920
Speaker 2: I can't. You know, I can't do this. And I

1419
01:15:59,000 --> 01:16:03,840
Speaker 2: remember Prince he said to Terry rock stars shouldn't have kids. Wow,

1420
01:16:06,760 --> 01:16:08,960
Speaker 2: never forget that. I'll never forget that to this day.

1421
01:16:09,600 --> 01:16:15,200
Speaker 2: And uh anyway, so Terry, so Terry walked up. Terry said,

1422
01:16:15,320 --> 01:16:19,400
Speaker 2: Terry said quit. Terry said, Terry said, I remember going

1423
01:16:19,439 --> 01:16:21,960
Speaker 2: into it. He said, I'm always gonna have enough money

1424
01:16:23,400 --> 01:16:26,280
Speaker 2: to get a bus ticket. If i can do nothing else,

1425
01:16:26,479 --> 01:16:28,160
Speaker 2: I'm gonna have enough money to get a bus ticket

1426
01:16:28,240 --> 01:16:30,439
Speaker 2: to go home. And so he had his you know,

1427
01:16:30,520 --> 01:16:32,400
Speaker 2: fifty dollars or whatever the heck a bus ticket was.

1428
01:16:32,479 --> 01:16:34,559
Speaker 2: He had it, and he said, that's it. I'm out

1429
01:16:34,600 --> 01:16:39,040
Speaker 2: of here. Well, of course, Jamie came to the rescue

1430
01:16:39,520 --> 01:16:42,800
Speaker 2: and talked to Prince and said, Prince, come on, these guys,

1431
01:16:43,160 --> 01:16:44,840
Speaker 2: you know, they can have their own rooms. It's what's

1432
01:16:44,920 --> 01:16:46,639
Speaker 2: not what's the big deal. It's you know, it's three

1433
01:16:46,680 --> 01:16:49,280
Speaker 2: more rooms a night. What's the big deal? And anyway,

1434
01:16:49,360 --> 01:16:51,680
Speaker 2: Prince was so Prince was said, okay, fine, they got it.

1435
01:16:52,120 --> 01:16:55,200
Speaker 2: But if it wouldn't have been for Terry doing that, right,

1436
01:16:55,320 --> 01:16:57,720
Speaker 2: because because for Terry it was serious. It wasn't like

1437
01:16:57,800 --> 01:17:01,000
Speaker 2: a you know, a grand standing type thing or anything.

1438
01:17:01,160 --> 01:17:04,240
Speaker 2: It was like serious, like Terry, Terry had real life

1439
01:17:04,280 --> 01:17:11,200
Speaker 2: and real responsibilities. And for nineteen eighty two, what would

1440
01:17:11,200 --> 01:17:12,160
Speaker 2: have been fair.

1441
01:17:13,840 --> 01:17:16,720
Speaker 1: Market share for what, you know, what tickets were back then,

1442
01:17:16,960 --> 01:17:21,320
Speaker 1: what the gross was for these shows? And I know

1443
01:17:21,400 --> 01:17:23,680
Speaker 1: everyone's on this tour, so I know it's vanity and

1444
01:17:24,040 --> 01:17:26,200
Speaker 1: yeah there are people and you guys and your people

1445
01:17:26,240 --> 01:17:28,600
Speaker 1: and the revolution and printing his people, I'm sure the

1446
01:17:28,680 --> 01:17:30,400
Speaker 1: staff and all that stuff.

1447
01:17:31,200 --> 01:17:35,920
Speaker 2: What is fair for that time period? Honestly, quest So

1448
01:17:36,000 --> 01:17:37,640
Speaker 2: I don't know I don't really know.

1449
01:17:38,040 --> 01:17:42,800
Speaker 1: It wasn't that because you know, we were and tour

1450
01:17:42,880 --> 01:17:45,519
Speaker 1: support wasn't a thing like Mo Austin and those guys weren't.

1451
01:17:45,600 --> 01:17:48,360
Speaker 2: Like I think Warner Brothers. Yeah, I think Warner Brothers

1452
01:17:48,400 --> 01:17:50,840
Speaker 2: definitely supported the tour. I mean because all three records

1453
01:17:50,920 --> 01:17:53,160
Speaker 2: were all Warner Brothers records. I mean, you couldn't actually

1454
01:17:53,280 --> 01:17:56,600
Speaker 2: have a better situation. Yeah, right, you know, they were

1455
01:17:56,640 --> 01:17:59,120
Speaker 2: all records. But the other thing was we weren't making

1456
01:17:59,280 --> 01:18:02,640
Speaker 2: any We made any royalties on the time records. All

1457
01:18:02,720 --> 01:18:04,680
Speaker 2: we made was the salary, So it wasn't like it

1458
01:18:04,840 --> 01:18:09,519
Speaker 2: was an advance against royalties. And remember back in those days,

1459
01:18:10,320 --> 01:18:12,479
Speaker 2: if you had a gold record, you were doing pretty

1460
01:18:12,520 --> 01:18:15,040
Speaker 2: well because you know, the money flowed. I mean, the

1461
01:18:15,280 --> 01:18:17,160
Speaker 2: royalties were pretty good.

1462
01:18:17,320 --> 01:18:20,080
Speaker 1: So when they would open a budget, that wasn't split

1463
01:18:20,160 --> 01:18:21,960
Speaker 1: with you guys, like it was just like we just

1464
01:18:22,000 --> 01:18:23,440
Speaker 1: paid regular salary.

1465
01:18:23,280 --> 01:18:25,800
Speaker 2: Just played a regular salary. We never we never were

1466
01:18:26,479 --> 01:18:30,800
Speaker 2: royalty artists individually. Morris was, but the rest of us weren't.

1467
01:18:30,920 --> 01:18:32,800
Speaker 2: Was there a big difference between you guys and the

1468
01:18:32,880 --> 01:18:36,640
Speaker 2: Revolution when it came to that, Like financially, I never

1469
01:18:36,720 --> 01:18:39,200
Speaker 2: knew what the Revolution made quite Honestly, I never did.

1470
01:18:39,320 --> 01:18:42,000
Speaker 2: We never, we never really dealt with it. I'm sure

1471
01:18:42,040 --> 01:18:46,120
Speaker 2: they were making more than us, you know, but so

1472
01:18:46,360 --> 01:18:47,320
Speaker 2: what point does.

1473
01:18:49,120 --> 01:18:55,600
Speaker 1: The idea of moonlighting even come into your you know,

1474
01:18:56,000 --> 01:18:59,680
Speaker 1: your brain light and its moonlighting and thing like we

1475
01:18:59,800 --> 01:19:02,920
Speaker 1: need to make our own money and get our own publishing.

1476
01:19:03,000 --> 01:19:06,360
Speaker 2: Or just like, no, hey, we want to express ourselves. Yes, yeah, no,

1477
01:19:06,640 --> 01:19:09,560
Speaker 2: it wasn't. It wasn't a money thing ever. It was

1478
01:19:10,760 --> 01:19:15,400
Speaker 2: so so the way that went down was Terry. Once again, Terry,

1479
01:19:17,680 --> 01:19:19,519
Speaker 2: And if I don't say it enough during this interview,

1480
01:19:20,360 --> 01:19:23,840
Speaker 2: thank God for Terry Lewis. I mean, I swear to

1481
01:19:23,920 --> 01:19:26,960
Speaker 2: God that brother in my life has just been a

1482
01:19:27,040 --> 01:19:33,720
Speaker 2: godsend in every possible way. And but Terry said, I

1483
01:19:33,800 --> 01:19:36,240
Speaker 2: can't remember where we were at. I want to. First

1484
01:19:36,280 --> 01:19:38,080
Speaker 2: I was thinking it was Houston, but it wasn't Houston,

1485
01:19:38,120 --> 01:19:40,800
Speaker 2: but it was somewhere and we were kind of ending up.

1486
01:19:40,920 --> 01:19:43,160
Speaker 2: The tour was kind of beginning to end up, and

1487
01:19:43,600 --> 01:19:47,640
Speaker 2: we were and Terry said, I'm going to go to

1488
01:19:47,880 --> 01:19:52,240
Speaker 2: la after the tour, and everybody was like, what are

1489
01:19:52,240 --> 01:19:53,599
Speaker 2: you gonna do in l A t And he said,

1490
01:19:53,920 --> 01:19:57,200
Speaker 2: he said, man, he said, I'm just gonna make some

1491
01:19:57,280 --> 01:20:00,640
Speaker 2: demos and try to get some songs placed and just

1492
01:20:00,760 --> 01:20:05,200
Speaker 2: do some stuff. And everybody was like why, and he said,

1493
01:20:05,360 --> 01:20:10,200
Speaker 2: because they need us out there, and everybody said, man,

1494
01:20:10,240 --> 01:20:14,120
Speaker 2: you're crazy. And so Terry said, well, who wants to go?

1495
01:20:14,240 --> 01:20:17,559
Speaker 2: Somebody wanted to come with me, and everybody's like, man, no, man,

1496
01:20:17,560 --> 01:20:22,280
Speaker 2: I'm saving up from my VCR man. And literally that's

1497
01:20:22,320 --> 01:20:24,360
Speaker 2: what everybody said. And I looked at Terry and I said,

1498
01:20:24,760 --> 01:20:28,800
Speaker 2: well I'll go. Terry said okay, and I said, but

1499
01:20:28,960 --> 01:20:30,560
Speaker 2: where are we going to stay? He said, I don't know,

1500
01:20:30,600 --> 01:20:32,439
Speaker 2: We'll figure it out. Said where are we going to

1501
01:20:32,439 --> 01:20:34,200
Speaker 2: get equipment from? I don't know, We're gonna figure it out.

1502
01:20:34,200 --> 01:20:35,960
Speaker 2: I said, where we gonna get a car from? I

1503
01:20:36,000 --> 01:20:39,160
Speaker 2: don't know. We'll figure it out. And I trusted that

1504
01:20:39,240 --> 01:20:42,120
Speaker 2: brother because that was the brother that when the girl

1505
01:20:42,160 --> 01:20:45,840
Speaker 2: broke up with me and when I was a drummer

1506
01:20:45,840 --> 01:20:47,519
Speaker 2: and he told me I needed to be a keyboard player,

1507
01:20:49,000 --> 01:20:53,479
Speaker 2: got me into the band. And I just trusted because

1508
01:20:53,479 --> 01:20:56,160
Speaker 2: he because he had made decisions before and twisted my

1509
01:20:56,320 --> 01:20:58,360
Speaker 2: arm to do things. And I'm like, I'm not gonna

1510
01:20:58,360 --> 01:20:59,680
Speaker 2: he doesn't need to twist my arm on this one.

1511
01:20:59,680 --> 01:21:02,519
Speaker 2: I'm going to go on faith on this one. And

1512
01:21:03,560 --> 01:21:06,840
Speaker 2: so when the tour ended, we went to La Uh.

1513
01:21:07,280 --> 01:21:12,559
Speaker 2: Terry sold his car, I think, if I'm not mistaken,

1514
01:21:12,760 --> 01:21:22,160
Speaker 2: we bought uh some Viking ship. We bought uh. We

1515
01:21:22,280 --> 01:21:24,240
Speaker 2: bought uh you know in the classifieds. We bought a

1516
01:21:24,800 --> 01:21:29,440
Speaker 2: task cam, a little four track tape, a little microphone.

1517
01:21:29,960 --> 01:21:32,160
Speaker 2: I had this little Cassio keyboard with a little drum

1518
01:21:32,280 --> 01:21:35,720
Speaker 2: machine built into it. He had his base. And there

1519
01:21:35,760 --> 01:21:37,960
Speaker 2: were some people we knew from Minneapolis that had a

1520
01:21:38,040 --> 01:21:40,360
Speaker 2: house that they were renting a house out there, and

1521
01:21:40,400 --> 01:21:42,360
Speaker 2: they had one bedroom in the house and it was

1522
01:21:42,600 --> 01:21:44,760
Speaker 2: smaller probably in this little area we're sitting there. We

1523
01:21:44,800 --> 01:21:47,120
Speaker 2: had enough room to put two cots in there, and

1524
01:21:47,240 --> 01:21:50,040
Speaker 2: that's where me and Terry bunked. We didn't have a car,

1525
01:21:50,280 --> 01:21:53,240
Speaker 2: so we would walk to there was a California, yeah,

1526
01:21:53,280 --> 01:21:57,080
Speaker 2: but but but the eighties, in the eighties, well, here's

1527
01:21:57,120 --> 01:21:59,559
Speaker 2: the funny thing, though, we the only places we went

1528
01:21:59,600 --> 01:22:01,360
Speaker 2: because we we do our demos at home, right, So

1529
01:22:01,439 --> 01:22:02,960
Speaker 2: we'd do our demos at the crib. So we'd sit

1530
01:22:03,000 --> 01:22:05,280
Speaker 2: at the crib all day. They'd go to work, the

1531
01:22:05,320 --> 01:22:08,360
Speaker 2: people who we were staying with, and we'd all day

1532
01:22:08,520 --> 01:22:10,400
Speaker 2: be in like the bathroom and stuff to get reverb

1533
01:22:10,479 --> 01:22:12,559
Speaker 2: and stuff and be making our little demos and stuff.

1534
01:22:13,080 --> 01:22:14,800
Speaker 2: And then we would walk. There was a place called

1535
01:22:14,840 --> 01:22:19,160
Speaker 2: Golden Bird Chicken that was on Losienega Avenue. Best chicken

1536
01:22:19,280 --> 01:22:21,679
Speaker 2: ever to me, and you could get a four piece

1537
01:22:21,720 --> 01:22:23,880
Speaker 2: for two ninety nine. Because we didn't have any money,

1538
01:22:23,920 --> 01:22:25,679
Speaker 2: so we'd go get the two piece the four piece

1539
01:22:25,760 --> 01:22:28,200
Speaker 2: rather for two ninety nine. That was our one meal

1540
01:22:28,280 --> 01:22:31,800
Speaker 2: of the day. And then when the people got home

1541
01:22:31,840 --> 01:22:33,960
Speaker 2: at night, they'd all make milkshakes or whatever, so we'd

1542
01:22:33,960 --> 01:22:35,560
Speaker 2: have a milkshake at night. And that was That was

1543
01:22:35,640 --> 01:22:38,639
Speaker 2: basically the way we lived. And it was funny because

1544
01:22:38,720 --> 01:22:40,840
Speaker 2: oh and we didn't have any clothes. We had our

1545
01:22:40,920 --> 01:22:43,240
Speaker 2: time clothes, so like we're in ninety degree weather, but

1546
01:22:43,280 --> 01:22:47,280
Speaker 2: we got these suits. And the police used to the

1547
01:22:47,360 --> 01:22:49,320
Speaker 2: police used to stop us, right, We'd just be walking

1548
01:22:50,080 --> 01:22:53,599
Speaker 2: and the police would stop us and they go, everything okay, gentlemen,

1549
01:22:53,600 --> 01:22:56,280
Speaker 2: and we'd go like, yeah, everything's good. And they'd look

1550
01:22:56,280 --> 01:22:57,720
Speaker 2: at us and they go, you're not from here, are you?

1551
01:22:57,840 --> 01:23:00,200
Speaker 2: And we'd be like, no, how could you tell you know?

1552
01:23:00,920 --> 01:23:03,600
Speaker 2: And uh, But they never messed with us, really, and

1553
01:23:03,720 --> 01:23:06,040
Speaker 2: it was cool, and that was kind of our thing.

1554
01:23:06,120 --> 01:23:08,000
Speaker 2: And then eventually, you know, we hooked up with some

1555
01:23:08,080 --> 01:23:10,280
Speaker 2: girls that had cars, you know, right, I found a

1556
01:23:10,320 --> 01:23:12,760
Speaker 2: girl that had a Porsche. It was cool, you know,

1557
01:23:13,120 --> 01:23:15,040
Speaker 2: so we figured it out. But but that was what

1558
01:23:15,160 --> 01:23:16,560
Speaker 2: we were doing. And of course the word back in

1559
01:23:16,600 --> 01:23:18,840
Speaker 2: Minneapolis is that we were out there starving to death,

1560
01:23:18,960 --> 01:23:21,120
Speaker 2: and you know, we're starving to death and they're nuts

1561
01:23:21,160 --> 01:23:23,120
Speaker 2: and they're crazy, and you know, that was kind of

1562
01:23:23,160 --> 01:23:24,040
Speaker 2: the thought process.

1563
01:23:24,200 --> 01:23:27,840
Speaker 1: How much downtime did you have because I figured, at

1564
01:23:27,920 --> 01:23:31,439
Speaker 1: least until the time that you guys were dismissed, that

1565
01:23:32,960 --> 01:23:35,879
Speaker 1: there was no downtime, like you're always rehearsing.

1566
01:23:36,080 --> 01:23:38,680
Speaker 2: We had, we had, Okay, so that was between so

1567
01:23:38,760 --> 01:23:40,680
Speaker 2: the first tour was eighty one into eighty two. We

1568
01:23:40,840 --> 01:23:43,200
Speaker 2: think we were done in April of eighty two, so

1569
01:23:43,280 --> 01:23:46,519
Speaker 2: we had between April and probably June or July before

1570
01:23:46,560 --> 01:23:51,439
Speaker 2: we started rehearsing for the next tour and stuff. So

1571
01:23:52,200 --> 01:23:55,320
Speaker 2: it was never where he's like, where are you guys,

1572
01:23:56,080 --> 01:23:59,200
Speaker 2: I'm doing? Oh yeah, no, that was good. That was

1573
01:23:59,240 --> 01:24:02,599
Speaker 2: a good Onefinitely. Definitely, it definitely turned into that were

1574
01:24:02,680 --> 01:24:05,400
Speaker 2: you guys given a general rule that you weren't allowed

1575
01:24:05,479 --> 01:24:09,920
Speaker 2: to like, yes, it wasn't a general rule, it was

1576
01:24:10,040 --> 01:24:14,840
Speaker 2: a mandate. Basically, did mars enforce these rules or was

1577
01:24:14,880 --> 01:24:17,920
Speaker 2: it just like Prince said, Zoe, this was Prince No,

1578
01:24:18,040 --> 01:24:20,160
Speaker 2: this was princes had This was not Morris. As a

1579
01:24:20,200 --> 01:24:25,919
Speaker 2: matter of fact, I really Moore said something that rehearsal

1580
01:24:26,000 --> 01:24:32,280
Speaker 2: one day that was so for us, very empowering and

1581
01:24:32,400 --> 01:24:34,360
Speaker 2: very enlightening. I don't know how everybody else took it,

1582
01:24:34,479 --> 01:24:39,160
Speaker 2: but he said that this thing ain't gonna last forever.

1583
01:24:40,200 --> 01:24:46,120
Speaker 2: Whoa And he said that I suggest everybody figure out

1584
01:24:46,160 --> 01:24:47,920
Speaker 2: what it is that they want to do out of

1585
01:24:48,000 --> 01:24:51,639
Speaker 2: this and start working towards it. He said, I don't

1586
01:24:51,640 --> 01:24:53,880
Speaker 2: know what everybody else is doing. He said. Now, he said,

1587
01:24:53,920 --> 01:24:56,240
Speaker 2: I'm taking acting lessons because he said, I want to

1588
01:24:56,320 --> 01:24:59,560
Speaker 2: learn to actually, you know, do I want to be

1589
01:24:59,640 --> 01:25:00,960
Speaker 2: a to be able to act? I want to be

1590
01:25:00,960 --> 01:25:01,679
Speaker 2: able to do stuff?

1591
01:25:01,760 --> 01:25:01,920
Speaker 3: You know?

1592
01:25:03,040 --> 01:25:05,840
Speaker 2: Was this before this, before Purple rain? This is yeah,

1593
01:25:05,920 --> 01:25:08,840
Speaker 2: this is this is going into the into the nineteen

1594
01:25:08,880 --> 01:25:13,720
Speaker 2: ninety nine tour. Okay, so and he so he said that,

1595
01:25:13,880 --> 01:25:15,960
Speaker 2: and then he said, uh, he said, you know, he

1596
01:25:16,160 --> 01:25:18,360
Speaker 2: pointed in me and Terry and he said, Jimmy and

1597
01:25:18,439 --> 01:25:22,120
Speaker 2: Terry producing records. He said, I don't know what the

1598
01:25:22,200 --> 01:25:24,000
Speaker 2: rest of y'all are doing, but y'all need to figure

1599
01:25:24,000 --> 01:25:28,360
Speaker 2: it out. So he knew, he knew, you know, he

1600
01:25:28,439 --> 01:25:30,600
Speaker 2: knew what it was going to be. So that was

1601
01:25:30,720 --> 01:25:33,479
Speaker 2: very encouraging to us. And well, Terry and I used

1602
01:25:33,520 --> 01:25:35,400
Speaker 2: to do. I mean, we spent a lot of money

1603
01:25:35,520 --> 01:25:38,280
Speaker 2: doing it, but and I have no idea where we

1604
01:25:38,320 --> 01:25:40,400
Speaker 2: got the money from quite honestly now that I think

1605
01:25:40,400 --> 01:25:43,160
Speaker 2: about it. But Prince used to we would rehearse during

1606
01:25:43,200 --> 01:25:48,040
Speaker 2: the week, and we would we rehearse, you know, Monday

1607
01:25:48,120 --> 01:25:50,839
Speaker 2: through Friday or whatever. When we would get done Friday,

1608
01:25:52,720 --> 01:25:54,600
Speaker 2: Terry and I would hop like the last flight to

1609
01:25:54,800 --> 01:25:58,080
Speaker 2: LA and you know, we had booked a couple of

1610
01:25:58,880 --> 01:26:00,840
Speaker 2: you know acts at that point time. We were doing

1611
01:26:01,040 --> 01:26:05,040
Speaker 2: a group called Reel to Reel for Leon Silvers. We

1612
01:26:05,120 --> 01:26:10,720
Speaker 2: were doing Climax for Dick Griffy at Solar, so we

1613
01:26:10,800 --> 01:26:13,280
Speaker 2: had a couple of things going right. So we would

1614
01:26:13,320 --> 01:26:15,559
Speaker 2: fly and we do, you know, twenty four hour lockout

1615
01:26:15,880 --> 01:26:19,439
Speaker 2: at the studio, right, which we didn't know. So we

1616
01:26:19,560 --> 01:26:21,519
Speaker 2: do twenty four hour lockout, but then we would work

1617
01:26:21,560 --> 01:26:23,559
Speaker 2: twenty four hours. We didn't know that. It just meant

1618
01:26:23,600 --> 01:26:26,280
Speaker 2: that nobody could come into studio after you, right, So

1619
01:26:26,439 --> 01:26:30,760
Speaker 2: we drive the engineers. He'd be like, what time do

1620
01:26:30,800 --> 01:26:32,760
Speaker 2: you think we're going to end tonight? We said, we

1621
01:26:32,840 --> 01:26:34,760
Speaker 2: got twenty four hour lockout. What are you talking about?

1622
01:26:35,600 --> 01:26:37,640
Speaker 2: He was like, no, but that doesn't mean you were.

1623
01:26:37,680 --> 01:26:39,080
Speaker 2: I said, no, we got it for twenty four hours.

1624
01:26:39,080 --> 01:26:41,240
Speaker 2: We're working twenty four hours. Terry'd be asleep on the couch.

1625
01:26:41,280 --> 01:26:43,559
Speaker 2: I'd be working that I fall asleep and Terry would

1626
01:26:43,560 --> 01:26:47,240
Speaker 2: be working. Oh man, no, we were. I mean it's like,

1627
01:26:47,280 --> 01:26:48,760
Speaker 2: come on, man, we're trying to get this done. So

1628
01:26:49,400 --> 01:26:50,560
Speaker 2: that was the way we would work, and then we

1629
01:26:50,600 --> 01:26:52,559
Speaker 2: would catch a plane back to be back in time

1630
01:26:52,640 --> 01:26:59,320
Speaker 2: for Monday rehearsal. So Prince got wind of what we

1631
01:26:59,400 --> 01:27:08,680
Speaker 2: were doing. Who's nitch Jesse? And so all of a

1632
01:27:08,760 --> 01:27:13,160
Speaker 2: sudden the rehearsals would start going longer and longer. Then

1633
01:27:13,160 --> 01:27:16,280
Speaker 2: all of a sudden, there'd be a Saturday rehearsal, or

1634
01:27:16,439 --> 01:27:19,680
Speaker 2: there would be are we are we rehearsal tonight? No,

1635
01:27:19,760 --> 01:27:22,200
Speaker 2: and there's no rehearsal tonight. Okay, cool, We're gonna hop

1636
01:27:22,240 --> 01:27:24,040
Speaker 2: a plane and then we're literally on our way to

1637
01:27:24,080 --> 01:27:27,280
Speaker 2: the airport. Oh yeah, there's a rehearsal that kind of

1638
01:27:27,360 --> 01:27:30,680
Speaker 2: thing would start happening. So it was a lot of roadblocks,

1639
01:27:30,960 --> 01:27:32,760
Speaker 2: you know, kind of thrown in front of us at

1640
01:27:32,800 --> 01:27:37,000
Speaker 2: that point. And yeah, out of that. So it was

1641
01:27:37,160 --> 01:27:39,200
Speaker 2: it was an interesting time. But no, we were doing it.

1642
01:27:39,240 --> 01:27:40,720
Speaker 2: We certainly weren't doing it for the money because we

1643
01:27:40,760 --> 01:27:43,320
Speaker 2: weren't making any money. But we were doing it just

1644
01:27:43,360 --> 01:27:46,360
Speaker 2: because we had a love of music and we didn't

1645
01:27:46,400 --> 01:27:49,960
Speaker 2: feel what we were doing sounded like the time, because

1646
01:27:49,960 --> 01:27:52,880
Speaker 2: one of Prince's concerns was that, you know, don't give

1647
01:27:52,880 --> 01:27:55,080
Speaker 2: away the time sound. And it's like, well, but you

1648
01:27:55,240 --> 01:27:57,840
Speaker 2: are all the time sign So what we're doing isn't

1649
01:27:58,000 --> 01:28:01,200
Speaker 2: the time, I mean, you know, And so there was

1650
01:28:01,240 --> 01:28:02,879
Speaker 2: a lot of that. I remember. We we got blamed

1651
01:28:02,960 --> 01:28:06,800
Speaker 2: for Leon did just keep on loving me. Prince swore

1652
01:28:06,880 --> 01:28:08,639
Speaker 2: we did that record. We said, Prince, we weren't even

1653
01:28:08,720 --> 01:28:10,880
Speaker 2: in the studio when that record was done. We still

1654
01:28:10,920 --> 01:28:13,200
Speaker 2: swear that we did that record, right.

1655
01:28:13,400 --> 01:28:17,559
Speaker 1: He told me a story like you know, they're hid

1656
01:28:17,680 --> 01:28:20,320
Speaker 1: behind Leon Silvers, but I know it was them, Like

1657
01:28:20,479 --> 01:28:22,439
Speaker 1: he still believes that that's them.

1658
01:28:23,000 --> 01:28:24,880
Speaker 2: We didn't. Actually a matter of fact, it's funny we

1659
01:28:25,000 --> 01:28:26,519
Speaker 2: heard that record. I think the first time we heard

1660
01:28:26,560 --> 01:28:29,080
Speaker 2: that record was on the radio and we loved it.

1661
01:28:29,160 --> 01:28:31,799
Speaker 2: I mean we were because we were Leon Leon Silver's

1662
01:28:31,800 --> 01:28:35,280
Speaker 2: disciples man. We love Leon Silvers man, and we heard

1663
01:28:35,320 --> 01:28:37,560
Speaker 2: that record and we were like, oh, hell yeah, we

1664
01:28:37,800 --> 01:28:40,240
Speaker 2: love this, this is great. And were we never heard

1665
01:28:40,280 --> 01:28:42,479
Speaker 2: it before? We weren't in the studio. I mean, he

1666
01:28:42,600 --> 01:28:47,640
Speaker 2: took how approach you like, listen to this? Well, you know,

1667
01:28:47,680 --> 01:28:49,360
Speaker 2: it's funny because we did. When we did we did

1668
01:28:49,400 --> 01:28:51,000
Speaker 2: a record called can You Treat Me Like She Does?

1669
01:28:51,600 --> 01:28:54,640
Speaker 2: For Real to Real and a very obscure record. But

1670
01:28:55,840 --> 01:28:59,160
Speaker 2: the demo of that song, Terry's playing the bass very

1671
01:28:59,280 --> 01:29:02,680
Speaker 2: much like the time, and uh, Leon always called it

1672
01:29:02,760 --> 01:29:06,080
Speaker 2: the patent bass, like when you're patting something, because it's

1673
01:29:06,160 --> 01:29:08,960
Speaker 2: really it's more of a percussive thing than actually playing notes,

1674
01:29:09,479 --> 01:29:14,760
Speaker 2: so it's just boom, you know. Terry calls it boogaloo bass, right.

1675
01:29:16,040 --> 01:29:20,640
Speaker 2: So Leon always called it the patent patent bass, like

1676
01:29:20,680 --> 01:29:24,040
Speaker 2: you're patting the bass. Right. So when we did the

1677
01:29:24,120 --> 01:29:26,840
Speaker 2: demo of the record and Leon heard it, he says, oh,

1678
01:29:27,280 --> 01:29:29,760
Speaker 2: he said, because he always scratched his beard and he

1679
01:29:29,760 --> 01:29:32,920
Speaker 2: always talked like this, and he'd say, yeah, he said,

1680
01:29:32,960 --> 01:29:34,599
Speaker 2: I like that. I like that record. He said, we're

1681
01:29:34,600 --> 01:29:36,479
Speaker 2: going to do that record. I'm like real to real,

1682
01:29:36,920 --> 01:29:39,080
Speaker 2: and we're like, okay, great, Leon, cool. You know, So

1683
01:29:39,200 --> 01:29:41,840
Speaker 2: we went in and did the track. So as we're

1684
01:29:41,880 --> 01:29:46,160
Speaker 2: doing the track, Princess in our mind talking about don't

1685
01:29:46,160 --> 01:29:49,080
Speaker 2: give away the time sounds so now so Terry like

1686
01:29:49,320 --> 01:29:51,960
Speaker 2: is watering down the bass part now right, So now Terry,

1687
01:29:52,680 --> 01:29:57,280
Speaker 2: Terry's just going boom, you know, he's just kind of

1688
01:29:57,320 --> 01:30:00,160
Speaker 2: doing like that. So we turned, you know, we did

1689
01:30:00,200 --> 01:30:01,679
Speaker 2: the track and we said, okay, here you go, Leon,

1690
01:30:01,760 --> 01:30:06,439
Speaker 2: and he goes what happened to the patent bass? And

1691
01:30:06,520 --> 01:30:07,920
Speaker 2: we were like, no, that's the way we do it,

1692
01:30:08,080 --> 01:30:11,160
Speaker 2: just like that. No, I heard the shits on the

1693
01:30:11,240 --> 01:30:13,800
Speaker 2: demo and he was patting the base different than he's

1694
01:30:13,880 --> 01:30:17,479
Speaker 2: doing it. So either you guys can do the pattern

1695
01:30:17,520 --> 01:30:19,679
Speaker 2: on the bass or I'll go in and do it myself.

1696
01:30:21,560 --> 01:30:24,040
Speaker 2: And so we were like, oh shit, okay. So we

1697
01:30:24,120 --> 01:30:27,040
Speaker 2: went in and I think I think Leon Terry did

1698
01:30:27,200 --> 01:30:29,240
Speaker 2: kind of add a little bit to it, but never

1699
01:30:29,360 --> 01:30:32,200
Speaker 2: wanted to give the whole thing away. But I think

1700
01:30:32,280 --> 01:30:34,040
Speaker 2: Leon did go in and you know, put a few

1701
01:30:34,080 --> 01:30:36,880
Speaker 2: little pats of his own there. But nah, I mean

1702
01:30:36,920 --> 01:30:40,240
Speaker 2: we really were conscious of that of not. We didn't

1703
01:30:40,280 --> 01:30:42,280
Speaker 2: want to give away the time sound and I think

1704
01:30:42,400 --> 01:30:44,880
Speaker 2: and and by the way, when we were producers, that

1705
01:30:45,040 --> 01:30:46,799
Speaker 2: was the same thing we did when we started producing.

1706
01:30:46,920 --> 01:30:48,960
Speaker 2: We we would do one act and then the next

1707
01:30:49,040 --> 01:30:50,799
Speaker 2: act we'd be like, no, we're going a whole different

1708
01:30:51,280 --> 01:30:53,680
Speaker 2: groove or drum machines or keyboards or whatever to try

1709
01:30:53,720 --> 01:30:56,200
Speaker 2: to keep everybody. You know, how did you.

1710
01:30:56,200 --> 01:31:00,840
Speaker 1: Avoid the Dick Griffy pitfall? Because you guys could have

1711
01:31:01,080 --> 01:31:04,759
Speaker 1: easily been just still our house producers?

1712
01:31:05,200 --> 01:31:08,439
Speaker 2: Yep? Did he pursue you guys at all? Sort of

1713
01:31:09,680 --> 01:31:14,360
Speaker 2: the Well, the reason is one man, Clarence Savon. Clarence

1714
01:31:14,400 --> 01:31:17,840
Speaker 2: Savon didn't allow that to happen. Now, when we went

1715
01:31:17,880 --> 01:31:21,679
Speaker 2: to see Clarence, there was a lady named Dina Andrews

1716
01:31:22,040 --> 01:31:24,719
Speaker 2: who was an A and R person that sold our records,

1717
01:31:25,120 --> 01:31:27,439
Speaker 2: and she, pardon me, she was the one that actually

1718
01:31:27,920 --> 01:31:31,920
Speaker 2: introduced us to Griffy and she also knew and and

1719
01:31:32,160 --> 01:31:34,479
Speaker 2: by the way, all of these songs we were doing

1720
01:31:34,520 --> 01:31:36,519
Speaker 2: back then were all based on one demo tape that

1721
01:31:36,600 --> 01:31:39,960
Speaker 2: we did at the house and high Hopes was on

1722
01:31:40,080 --> 01:31:43,200
Speaker 2: their SOS band I saw called when You're Far Away

1723
01:31:43,200 --> 01:31:44,600
Speaker 2: that we ended up doing on Gladys Nyne and the

1724
01:31:44,640 --> 01:31:46,479
Speaker 2: Pips a song called the only one that we did

1725
01:31:46,560 --> 01:31:51,400
Speaker 2: on Dynasty, which was Leon's. Yeah, I didn't know that.

1726
01:31:51,400 --> 01:31:53,320
Speaker 2: As matter of fact, the keyboard on there is that

1727
01:31:53,400 --> 01:31:57,280
Speaker 2: original little Cassio keyboard because because Leon said, man, keep

1728
01:31:57,320 --> 01:31:59,240
Speaker 2: that keyboard sound just like you had it, I said, okay,

1729
01:32:00,160 --> 01:32:03,720
Speaker 2: So like literally climax we did for Dick graphy real

1730
01:32:03,760 --> 01:32:05,640
Speaker 2: to real we did Dick, not for I mean for

1731
01:32:05,920 --> 01:32:08,840
Speaker 2: Leon Silver's Yeah exactly, and and so on and so forth.

1732
01:32:08,880 --> 01:32:10,600
Speaker 2: So anyway, but all of these songs were all on

1733
01:32:10,720 --> 01:32:13,160
Speaker 2: that same demo tape, and everybody just heard different songs

1734
01:32:13,200 --> 01:32:18,519
Speaker 2: they liked. Dick heard, you know, wild Girls. Yeah, he said,

1735
01:32:18,520 --> 01:32:20,160
Speaker 2: heard wild Girls and said, oh yeah, wold Girls. That

1736
01:32:20,240 --> 01:32:22,000
Speaker 2: wild Girls. We like that. You know, he still a

1737
01:32:22,080 --> 01:32:27,320
Speaker 2: copy of you know, Terry probably does. He probably does.

1738
01:32:27,920 --> 01:32:29,280
Speaker 2: I don't. I don't have it, but I bet you

1739
01:32:29,360 --> 01:32:31,040
Speaker 2: he does because he still got the four track you

1740
01:32:31,080 --> 01:32:33,280
Speaker 2: know that we did all that stuff probably in his

1741
01:32:33,360 --> 01:32:35,840
Speaker 2: room somewhere. Yeah, he's got no, it's not here. It's

1742
01:32:35,840 --> 01:32:37,559
Speaker 2: not he's got it at his house, but it's not here,

1743
01:32:38,040 --> 01:32:40,280
Speaker 2: but he's got it definitely. But anyway, so that was

1744
01:32:40,320 --> 01:32:42,200
Speaker 2: that was the whole thing. So everybody had their own

1745
01:32:42,240 --> 01:32:44,679
Speaker 2: different kind of things that they liked. But what happened

1746
01:32:44,680 --> 01:32:48,600
Speaker 2: with Clarence was Dennis said, I'm gonna introduce you to

1747
01:32:49,000 --> 01:32:51,680
Speaker 2: Clarence Avon because Clarence had wanted us to do he

1748
01:32:51,840 --> 01:32:53,720
Speaker 2: We had done High Hopes, but we didn't produce it.

1749
01:32:53,800 --> 01:32:56,840
Speaker 2: We just wrote it right, So Clarence wanted to hear

1750
01:32:57,120 --> 01:32:59,200
Speaker 2: what it would have sounded like if we produced it.

1751
01:32:59,720 --> 01:33:02,280
Speaker 2: So he had the demo. So we, you know, Dinah

1752
01:33:02,280 --> 01:33:04,799
Speaker 2: set up a meeting. We went to meet him. Clarence

1753
01:33:04,880 --> 01:33:06,600
Speaker 2: called us the two thugs because we walked in with,

1754
01:33:06,760 --> 01:33:08,720
Speaker 2: you know, our hats and our suits and stuff, and

1755
01:33:08,760 --> 01:33:12,240
Speaker 2: he said, who are you two thugs? You know? So anyway,

1756
01:33:12,520 --> 01:33:15,479
Speaker 2: he listens to the he said, he said that High Hopes.

1757
01:33:15,640 --> 01:33:17,080
Speaker 2: He said, I like that record, he says, you know,

1758
01:33:17,640 --> 01:33:20,439
Speaker 2: and we said, well, Clarence, he said, it's cool, but

1759
01:33:20,479 --> 01:33:22,360
Speaker 2: the way it came out, but you know, he said,

1760
01:33:22,360 --> 01:33:23,880
Speaker 2: what's the difference in the demo? I said, we put

1761
01:33:23,880 --> 01:33:25,439
Speaker 2: the chili sauce on the demo. He said, oh, you

1762
01:33:25,560 --> 01:33:28,240
Speaker 2: did chili sauce. I like that. Okay, let's hear that

1763
01:33:28,600 --> 01:33:30,360
Speaker 2: we put it in and he said, yeah, yeah, I

1764
01:33:30,400 --> 01:33:32,120
Speaker 2: like that. I like that. He said, okay, so I

1765
01:33:32,200 --> 01:33:34,400
Speaker 2: want you to do two songs on the next SOS

1766
01:33:34,520 --> 01:33:38,519
Speaker 2: band record and we said okay, cool, Yeah, we're down,

1767
01:33:38,560 --> 01:33:40,800
Speaker 2: you know whatever. So he said okay, he said but

1768
01:33:40,880 --> 01:33:44,640
Speaker 2: here's the thing. He said, now, y'all's manager is negotiating

1769
01:33:44,680 --> 01:33:48,080
Speaker 2: your fee. And when he said that, our first thought

1770
01:33:48,200 --> 01:33:51,160
Speaker 2: was oh man, So we were like, okay, Clarence, well

1771
01:33:51,200 --> 01:33:53,120
Speaker 2: we can you know, we can get the budget down, man,

1772
01:33:53,200 --> 01:33:55,720
Speaker 2: you know, whatever you you know want to do. And

1773
01:33:55,840 --> 01:33:59,519
Speaker 2: he said, get the budget down. She ain't asking enough money, y'all.

1774
01:33:59,640 --> 01:34:02,599
Speaker 2: Y'all are worth more than that. And we were like, oh,

1775
01:34:02,680 --> 01:34:06,080
Speaker 2: we was representing you at the time. Dina andrews, Okay, okay, yeah,

1776
01:34:06,120 --> 01:34:08,640
Speaker 2: she was like our kind of de facto but she

1777
01:34:09,840 --> 01:34:11,519
Speaker 2: but she worked for Solar but yeah, but she was

1778
01:34:11,680 --> 01:34:14,360
Speaker 2: moonlight and I guess you could say, you know, representing

1779
01:34:14,400 --> 01:34:20,280
Speaker 2: our affairs and uh. She had also got introduced us

1780
01:34:20,320 --> 01:34:23,920
Speaker 2: to a guy at Warner Brothers Publishing and I'm trying

1781
01:34:23,960 --> 01:34:26,160
Speaker 2: to think of who it was or Warner Chapel, I

1782
01:34:26,200 --> 01:34:27,960
Speaker 2: can't remember his name, who was going to give us

1783
01:34:27,960 --> 01:34:31,599
Speaker 2: a publishing deal. Right, So Clarence had seen the publishing

1784
01:34:31,680 --> 01:34:37,200
Speaker 2: deal and Clarence said, if y'all signed this publishing deal,

1785
01:34:37,320 --> 01:34:40,920
Speaker 2: I'm never speaking to YouTube again day. And we were like, wow,

1786
01:34:41,280 --> 01:34:43,599
Speaker 2: what's what's the problem with the with the deal? Clarence

1787
01:34:44,000 --> 01:34:45,560
Speaker 2: and the deal was something like it was like I

1788
01:34:45,600 --> 01:34:47,360
Speaker 2: don't know one hundred and I don't know it one

1789
01:34:47,439 --> 01:34:49,639
Speaker 2: hundred and seventy thousand dollars for three years or something

1790
01:34:49,680 --> 01:34:52,160
Speaker 2: like that, right, which at the time he thought, Oh

1791
01:34:52,240 --> 01:34:54,640
Speaker 2: my god, I'm like, are you kidding me? Taking us

1792
01:34:54,640 --> 01:34:57,599
Speaker 2: one hundred fifty dollars a week? Yeah? Right, We're like, oh,

1793
01:34:57,640 --> 01:35:00,320
Speaker 2: come on, man, that's great, he says. He said, well,

1794
01:35:00,360 --> 01:35:02,320
Speaker 2: let me just break it down for you, gentlemen. So

1795
01:35:03,800 --> 01:35:06,599
Speaker 2: he said, so you got one hundred and seventy thousand dollars.

1796
01:35:06,680 --> 01:35:08,160
Speaker 2: So first of all, you know you're gonna split that

1797
01:35:08,280 --> 01:35:09,920
Speaker 2: in half because there's two of y'all, in case you

1798
01:35:09,960 --> 01:35:12,880
Speaker 2: didn't understand that there's two of you. Okay, So now

1799
01:35:12,960 --> 01:35:16,360
Speaker 2: maybe you have you know, eighty five thousand dollars. Now

1800
01:35:16,600 --> 01:35:20,880
Speaker 2: Uncle Sam's gonna take his fifty percent. And now you

1801
01:35:21,080 --> 01:35:26,519
Speaker 2: got forty thousand dollars and three years for forty thousand.

1802
01:35:26,560 --> 01:35:28,479
Speaker 2: That's fifteen thousand dollars a year. What are you gonna

1803
01:35:28,479 --> 01:35:34,679
Speaker 2: do with that? We were like, uh, well, he said, gentlemen,

1804
01:35:35,400 --> 01:35:38,479
Speaker 2: he said, I guarantee you your first runty check will

1805
01:35:38,520 --> 01:35:42,599
Speaker 2: be more than that total three year check, mark my words.

1806
01:35:43,040 --> 01:35:45,400
Speaker 2: And we said, okay, Clarence, we're cold, we're with it.

1807
01:35:45,479 --> 01:35:49,000
Speaker 2: So we never never signed a deal. Clarence gave us

1808
01:35:49,000 --> 01:35:52,120
Speaker 2: a SOOS band deal, and of course that led to

1809
01:35:52,240 --> 01:35:56,920
Speaker 2: the ill fated recording session of Atlanta that we all

1810
01:35:57,000 --> 01:35:59,599
Speaker 2: know about. So but that was the thing. And by

1811
01:35:59,640 --> 01:36:03,080
Speaker 2: the way, Clarence was absolutely right. Our first royalty check

1812
01:36:03,280 --> 01:36:08,000
Speaker 2: was uh, probably right around that number, just for I

1813
01:36:08,040 --> 01:36:10,880
Speaker 2: think just for the first like sos name, so for

1814
01:36:11,000 --> 01:36:13,040
Speaker 2: one song. Yeah, what was was?

1815
01:36:13,080 --> 01:36:13,120
Speaker 1: It?

1816
01:36:13,280 --> 01:36:18,120
Speaker 2: Just be good? Yeah? So he was right. So that's

1817
01:36:18,160 --> 01:36:20,080
Speaker 2: how we didn't get into the Dick Griffy thing, because

1818
01:36:20,080 --> 01:36:22,760
Speaker 2: he didn't allow that to happen, he said. And the

1819
01:36:22,880 --> 01:36:25,840
Speaker 2: other last little thing he told us when we met

1820
01:36:25,920 --> 01:36:28,160
Speaker 2: with him, he said, think about this, gentlemen, what are

1821
01:36:28,160 --> 01:36:29,880
Speaker 2: you going to be doing seven years from now? And

1822
01:36:30,000 --> 01:36:32,640
Speaker 2: we said we're gonna be making hits and he said no, no, no, no,

1823
01:36:32,840 --> 01:36:35,479
Speaker 2: he said, I don't mean that. He said, right now,

1824
01:36:35,560 --> 01:36:39,240
Speaker 2: you got me, you got Barry Gordy, got Lonnie Simmons.

1825
01:36:39,920 --> 01:36:43,240
Speaker 2: You got Dick Griffy, right, you know where the guys

1826
01:36:43,280 --> 01:36:46,240
Speaker 2: are in the industry. Who's going to be the next us?

1827
01:36:46,960 --> 01:36:48,439
Speaker 2: He said, that's who you need to That's what you

1828
01:36:48,520 --> 01:36:51,760
Speaker 2: need to start looking at. You need to start identifying

1829
01:36:51,880 --> 01:36:54,760
Speaker 2: talent and then helping them out. And he says, if

1830
01:36:54,800 --> 01:36:57,240
Speaker 2: you ever come across somebody who you think is talented,

1831
01:36:57,800 --> 01:36:59,640
Speaker 2: they're in a screwed up deal or whatever it is,

1832
01:37:00,479 --> 01:37:03,280
Speaker 2: you would introduce him to me. And we said, okay,

1833
01:37:03,640 --> 01:37:05,519
Speaker 2: And you know who we met l A l A

1834
01:37:05,640 --> 01:37:10,760
Speaker 2: Read He was in the deal yep, because he was

1835
01:37:10,800 --> 01:37:12,400
Speaker 2: in the deal and he was and they had that

1836
01:37:13,320 --> 01:37:15,760
Speaker 2: in the contract as nobody else did. They had that,

1837
01:37:16,200 --> 01:37:19,639
Speaker 2: They had that contract. And we met him and knew

1838
01:37:19,760 --> 01:37:22,360
Speaker 2: him and face were doing stuff together and he said,

1839
01:37:22,439 --> 01:37:24,600
Speaker 2: can you introduce me to Clarence And we said absolutely.

1840
01:37:24,680 --> 01:37:26,640
Speaker 2: We called Clarence. We said, Clarence, we got somebody for you,

1841
01:37:26,840 --> 01:37:29,559
Speaker 2: just like you said, and the rest is history there.

1842
01:37:29,680 --> 01:37:33,600
Speaker 2: So Clarence Clarence is the funk whisper. Yeah he is,

1843
01:37:34,840 --> 01:37:37,040
Speaker 2: he absolutely is, He absolutely is.

1844
01:37:38,760 --> 01:37:42,040
Speaker 1: Well yeah, the first time, I I mean, I love

1845
01:37:42,200 --> 01:37:44,360
Speaker 1: Sussex Records, but I didn't know that he was.

1846
01:37:44,439 --> 01:37:47,719
Speaker 2: They ahead of it or even taboo.

1847
01:37:49,560 --> 01:37:51,800
Speaker 1: But yeah, I remember he was one of the first

1848
01:37:51,840 --> 01:37:56,519
Speaker 1: people you thinked when you got your Grammy, your producer

1849
01:37:56,640 --> 01:38:02,639
Speaker 1: the year, Yes for your Grammy. So how okay, I'm

1850
01:38:02,680 --> 01:38:07,120
Speaker 1: playing wilfully ignorant here. The day that you got fired,

1851
01:38:08,080 --> 01:38:10,920
Speaker 1: I mean, was that mid tour or did you that

1852
01:38:11,040 --> 01:38:14,640
Speaker 1: was between tours? So so what had happened was of

1853
01:38:14,680 --> 01:38:17,439
Speaker 1: course obviously the whole snowstorm happened. We missed the gig

1854
01:38:17,520 --> 01:38:18,200
Speaker 1: in San Antonio.

1855
01:38:18,479 --> 01:38:21,439
Speaker 2: We went to say, you're sitting on the plane as no,

1856
01:38:21,560 --> 01:38:23,640
Speaker 2: the planes, they weren't letting people on the plane. There

1857
01:38:23,760 --> 01:38:26,360
Speaker 2: was literally no I'm from Minnesota. What time was the flight?

1858
01:38:27,240 --> 01:38:29,200
Speaker 2: Flight was like first thing in the morning, like seven

1859
01:38:29,240 --> 01:38:31,160
Speaker 2: o'clock in the morning, like just when even then, and

1860
01:38:31,240 --> 01:38:33,479
Speaker 2: think like maybe we rent a car. We did think

1861
01:38:33,520 --> 01:38:37,439
Speaker 2: of that. We thought of every possible scenario. We booked

1862
01:38:37,479 --> 01:38:41,439
Speaker 2: ourselves on any flight leaving. We booked ourselves on it.

1863
01:38:41,520 --> 01:38:43,960
Speaker 2: You could do that in those days. And literally we

1864
01:38:44,080 --> 01:38:47,200
Speaker 2: were booked on like ten different flights and they all canceled,

1865
01:38:47,200 --> 01:38:51,000
Speaker 2: and they all canceled. Literally. Then we thought, well, can

1866
01:38:51,080 --> 01:38:53,240
Speaker 2: we get the rent a car back drive to an

1867
01:38:53,280 --> 01:38:56,599
Speaker 2: airport that's open. But once again, now you're not dealing

1868
01:38:56,680 --> 01:38:59,720
Speaker 2: with it's not ways and you know and and and

1869
01:39:00,200 --> 01:39:03,160
Speaker 2: Siri and what's the closest airports that's opened, Siri? And

1870
01:39:03,240 --> 01:39:05,040
Speaker 2: it's none of that. You know, you had none of those,

1871
01:39:05,439 --> 01:39:08,320
Speaker 2: you know, the ability to do that. So but no,

1872
01:39:08,560 --> 01:39:11,000
Speaker 2: all of those possibilities. We were like, take a flight

1873
01:39:11,040 --> 01:39:13,040
Speaker 2: to anywhere we can connect and get to San Antonio.

1874
01:39:13,120 --> 01:39:15,479
Speaker 2: So we had the whole day to figure it out.

1875
01:39:15,600 --> 01:39:17,720
Speaker 2: And so literally for eight hours. And of course we're

1876
01:39:17,760 --> 01:39:20,160
Speaker 2: in the Atlanta airport. Everybody been in the Atlanta airport.

1877
01:39:20,479 --> 01:39:23,000
Speaker 2: It was one of the first airports with totally separate

1878
01:39:23,160 --> 01:39:25,519
Speaker 2: terminals for everything, where you had to take the train

1879
01:39:25,600 --> 01:39:28,080
Speaker 2: to get to each terminal. We were up and down

1880
01:39:28,840 --> 01:39:31,280
Speaker 2: on the train, up and down like what's taken off?

1881
01:39:31,320 --> 01:39:35,080
Speaker 2: Anybody taken off? Anybody? It was It was probably the

1882
01:39:35,160 --> 01:39:37,560
Speaker 2: worst day of my life, I would say, because we

1883
01:39:37,680 --> 01:39:39,360
Speaker 2: had never missed a gig. I mean you just as

1884
01:39:39,400 --> 01:39:41,720
Speaker 2: a musician, the show must go on. I mean I

1885
01:39:41,720 --> 01:39:44,000
Speaker 2: remember Terry, there was a gig we had. Terry had

1886
01:39:44,479 --> 01:39:46,479
Speaker 2: stitches and stuff and was bleeding and gotten in a

1887
01:39:46,560 --> 01:39:49,600
Speaker 2: car accident, still showed up and did the gig. You know,

1888
01:39:49,680 --> 01:39:53,560
Speaker 2: we actually we were opening for uh maybe it was

1889
01:39:53,640 --> 01:39:55,080
Speaker 2: a cam it might have been a cameo we were

1890
01:39:55,120 --> 01:39:58,200
Speaker 2: opening for or something. But he showed up. I mean

1891
01:39:58,240 --> 01:39:59,920
Speaker 2: he was like, where's Terry? Always at the hospital, but

1892
01:40:00,000 --> 01:40:01,519
Speaker 2: he's on his way. It's like, okay, cool, you know,

1893
01:40:01,640 --> 01:40:03,600
Speaker 2: it's like you just don't miss a gig man. So

1894
01:40:04,439 --> 01:40:06,200
Speaker 2: that was crazy. But we figured out we were going

1895
01:40:06,240 --> 01:40:08,400
Speaker 2: to miss it when we got into town. It was

1896
01:40:08,439 --> 01:40:10,400
Speaker 2: really funny because I actually went to the club afterwards

1897
01:40:10,439 --> 01:40:12,280
Speaker 2: and everybody was saying, oh many, y'all were great, y'all

1898
01:40:12,320 --> 01:40:15,599
Speaker 2: were great. I felt so weird. I was like, I'm

1899
01:40:15,640 --> 01:40:18,040
Speaker 2: going home, man, this is this is too weird. So

1900
01:40:18,479 --> 01:40:21,200
Speaker 2: when we got back to La we just figured, you know,

1901
01:40:21,240 --> 01:40:23,519
Speaker 2: because we were still making our little check, a little paycheck, right,

1902
01:40:24,280 --> 01:40:25,920
Speaker 2: so we got you know, we would go by the

1903
01:40:25,960 --> 01:40:27,760
Speaker 2: accountant's office, and I figured we're going to go get

1904
01:40:27,800 --> 01:40:30,559
Speaker 2: our last check, right. So we walked into the account's

1905
01:40:30,600 --> 01:40:32,800
Speaker 2: office and everybody was like, hey, how you guys doing. Oh,

1906
01:40:32,840 --> 01:40:35,479
Speaker 2: here's your checks. Okay, we'll see you next week. We

1907
01:40:35,600 --> 01:40:38,280
Speaker 2: were like you will, okay, cool, all right, So we

1908
01:40:38,360 --> 01:40:40,479
Speaker 2: took our check right. So we did that for the

1909
01:40:40,600 --> 01:40:42,519
Speaker 2: next couple of weeks, three weeks you know, just went

1910
01:40:42,600 --> 01:40:44,320
Speaker 2: in and got our check and whatever. And I'm like going,

1911
01:40:44,800 --> 01:40:47,200
Speaker 2: I don't think they know we're fired. That's weird, you know.

1912
01:40:48,320 --> 01:40:50,960
Speaker 2: So then we were at this Whispers concert. Did you

1913
01:40:51,080 --> 01:40:55,080
Speaker 2: know you were fired? Though we were told we were fired. Okay, yeah,

1914
01:40:55,120 --> 01:40:56,680
Speaker 2: we were told we were fired. Matter of fact, who

1915
01:40:56,800 --> 01:40:57,760
Speaker 2: told you you? Rent?

1916
01:40:58,000 --> 01:41:00,479
Speaker 1: Prince told us, So he is confrontational. It wasn't like

1917
01:41:01,520 --> 01:41:02,800
Speaker 1: get my management to tell you.

1918
01:41:05,040 --> 01:41:06,920
Speaker 2: That over at a dinner too or something where like

1919
01:41:07,040 --> 01:41:09,280
Speaker 2: Prince and Morris were sitting together. It wasn't. It wasn't

1920
01:41:09,320 --> 01:41:12,720
Speaker 2: a dinner. It was what happened was and this is

1921
01:41:12,840 --> 01:41:18,600
Speaker 2: so damn movie storybook time. Okay, we had, you know,

1922
01:41:18,920 --> 01:41:21,800
Speaker 2: we're ready to mix the SOS band songs and we

1923
01:41:21,880 --> 01:41:23,560
Speaker 2: had ended up doing just be good to me, but

1924
01:41:23,600 --> 01:41:26,600
Speaker 2: also did tell me if you still care also in

1925
01:41:26,680 --> 01:41:29,800
Speaker 2: a subsequent session. So we're like ready to go. We're

1926
01:41:29,920 --> 01:41:33,519
Speaker 2: like got the time booked at Larabie Studios, right, and

1927
01:41:33,560 --> 01:41:36,639
Speaker 2: we're gonna mix with Steve Hodge. Way, we know Steve

1928
01:41:36,720 --> 01:41:39,320
Speaker 2: Hodges from looking at the liner notes, and it's like, okay,

1929
01:41:39,360 --> 01:41:42,040
Speaker 2: we need Steve Hodge at Larabie. That's the combination that

1930
01:41:42,120 --> 01:41:43,840
Speaker 2: we need right to mix the record. That's all we

1931
01:41:43,920 --> 01:41:46,920
Speaker 2: didn't know, but that's what we figured. So we got

1932
01:41:46,960 --> 01:41:50,120
Speaker 2: the time booked. That day, we get a call from

1933
01:41:50,160 --> 01:41:53,280
Speaker 2: Prince meet me at Sunset Sound at six thirty and

1934
01:41:53,360 --> 01:41:55,240
Speaker 2: we were like damn. So we kind of looked at

1935
01:41:55,240 --> 01:41:56,920
Speaker 2: each other and we said, well, we're supposed to be

1936
01:41:56,960 --> 01:41:59,680
Speaker 2: mixing the SOS bad record. Well we got to go.

1937
01:41:59,800 --> 01:42:02,040
Speaker 2: We have to go to Sunset Sound. I mean, it's

1938
01:42:02,120 --> 01:42:04,479
Speaker 2: like it was obvious to it was no choice. It

1939
01:42:04,600 --> 01:42:07,320
Speaker 2: was like, no, the time is our priority, you know,

1940
01:42:07,400 --> 01:42:09,680
Speaker 2: the SOS thing. We can wait and we'll figure it out.

1941
01:42:10,479 --> 01:42:14,120
Speaker 2: So we went. When we pulled up the accountant was there,

1942
01:42:14,400 --> 01:42:17,880
Speaker 2: a guy named Fred Moultrie. He was there, and we said,

1943
01:42:18,680 --> 01:42:20,880
Speaker 2: we're getting our We're getting fired. Like we knew the

1944
01:42:20,920 --> 01:42:23,559
Speaker 2: jig was up, right, You instantly knew. We just knew.

1945
01:42:23,600 --> 01:42:25,720
Speaker 2: We just knew that what So we said, hey, what's

1946
01:42:25,760 --> 01:42:28,439
Speaker 2: up Fred? And Fred had this high voice and he said, hey, guys,

1947
01:42:28,560 --> 01:42:30,200
Speaker 2: how you doing. Have a good session? Y'all have a

1948
01:42:30,240 --> 01:42:33,840
Speaker 2: good session. We were like, okay, cool, all right, well

1949
01:42:34,200 --> 01:42:37,280
Speaker 2: maybe not, you know. So we go into this little room,

1950
01:42:37,400 --> 01:42:39,719
Speaker 2: kind of this little sitting room right adjacent to the studio,

1951
01:42:40,800 --> 01:42:45,200
Speaker 2: myself Terry, Jesse Morris, and Prince, just the five of us, right,

1952
01:42:46,840 --> 01:42:52,200
Speaker 2: And Prince goes, I told you guys not to produce

1953
01:42:52,720 --> 01:43:03,080
Speaker 2: other records, and you did, so you're fired. And room

1954
01:43:03,120 --> 01:43:05,240
Speaker 2: went silent for a minute. And then I got up

1955
01:43:05,240 --> 01:43:06,960
Speaker 2: and I said, okay, cool, and I got up and

1956
01:43:07,040 --> 01:43:10,080
Speaker 2: walked out the door. So Terry stayed in there for

1957
01:43:10,760 --> 01:43:13,960
Speaker 2: a little while, trying to reason with him, like yeah,

1958
01:43:14,200 --> 01:43:16,320
Speaker 2: Terry was like, come on, mane, well Terry, you know,

1959
01:43:16,439 --> 01:43:19,720
Speaker 2: Terry was great because here's the one thing. First of all,

1960
01:43:21,800 --> 01:43:25,400
Speaker 2: Prince couldn't bullshit Terry ever. You just he's just usually

1961
01:43:25,439 --> 01:43:27,240
Speaker 2: he's just not the cat you do it with. And

1962
01:43:27,320 --> 01:43:30,400
Speaker 2: that's what Prince liked about Terry so much. He knew

1963
01:43:30,439 --> 01:43:33,000
Speaker 2: he couldn't do you know, oki dok on him, like

1964
01:43:33,280 --> 01:43:36,640
Speaker 2: like he would just tell him straight, like Prince, you

1965
01:43:36,720 --> 01:43:39,160
Speaker 2: suck right now or you He would just always say

1966
01:43:39,240 --> 01:43:42,400
Speaker 2: that yeah he could. Yeah, oh absolutely, Oh yeah. They

1967
01:43:42,520 --> 01:43:44,040
Speaker 2: used to get in, They used to get in these

1968
01:43:45,240 --> 01:43:50,760
Speaker 2: five six hour conversations about stuff about about life and

1969
01:43:50,880 --> 01:43:55,559
Speaker 2: religion and you name it. And and because Prince would

1970
01:43:55,560 --> 01:43:57,519
Speaker 2: have all these philosophies and he'd do all this stuff

1971
01:43:57,560 --> 01:43:59,880
Speaker 2: and it would be like and he talked, and you

1972
01:44:00,080 --> 01:44:02,280
Speaker 2: when he talked, man, he had this way of kind

1973
01:44:02,320 --> 01:44:03,880
Speaker 2: of like it was like drinking the kool aid. Man.

1974
01:44:03,920 --> 01:44:06,040
Speaker 2: It was like, right, no one ever challenged the morning.

1975
01:44:06,200 --> 01:44:10,080
Speaker 2: Nobody challenged him. And Terry would always go like, yeah, okay,

1976
01:44:10,200 --> 01:44:12,519
Speaker 2: well that's what you think, but here's what I think,

1977
01:44:12,600 --> 01:44:14,599
Speaker 2: and would come right back at him. And I think

1978
01:44:14,680 --> 01:44:17,760
Speaker 2: Prince always appreciated that with Terry, and Terry was really

1979
01:44:17,840 --> 01:44:20,200
Speaker 2: the leader of the time. I mean, Morris was the

1980
01:44:20,280 --> 01:44:23,280
Speaker 2: lead singer, but whenever there was a decision to be made,

1981
01:44:23,640 --> 01:44:26,360
Speaker 2: Morris would always go, Terry, what do you think? Okay, right,

1982
01:44:26,560 --> 01:44:29,040
Speaker 2: So Terry was that dude. So Terry, Yeah. So Terry

1983
01:44:29,080 --> 01:44:30,439
Speaker 2: tried to reason with him a little bit and just

1984
01:44:30,520 --> 01:44:32,760
Speaker 2: kind of go like, come on, man, would you why

1985
01:44:32,800 --> 01:44:35,639
Speaker 2: would you do that? We're not giving away the sound

1986
01:44:35,760 --> 01:44:38,560
Speaker 2: like you say, we're doing you know so and so,

1987
01:44:38,680 --> 01:44:41,599
Speaker 2: you know whatever. Anyway, about ten minutes later, Terry comes

1988
01:44:41,640 --> 01:44:44,800
Speaker 2: out and he says, Okay, well, what do you want

1989
01:44:44,840 --> 01:44:46,680
Speaker 2: to do now? And we looked at our watch and

1990
01:44:46,720 --> 01:44:49,080
Speaker 2: I said, well we got time. Yeah, we got time

1991
01:44:49,120 --> 01:44:52,040
Speaker 2: at Larabie. Let's go to Larby and missus right, So

1992
01:44:52,160 --> 01:44:55,960
Speaker 2: we walk into Larabie and we had never even met

1993
01:44:56,040 --> 01:44:59,479
Speaker 2: Steve Hodge before, and so we walk in and he goes,

1994
01:44:59,560 --> 01:45:01,640
Speaker 2: you guys, me Tarry, Yeah, he says, I'm Steve and

1995
01:45:01,680 --> 01:45:03,040
Speaker 2: I said, hey, Steve, nice to meet you. How you

1996
01:45:03,120 --> 01:45:07,320
Speaker 2: doing no good? And Steve goes, what's wrong with you guys?

1997
01:45:08,040 --> 01:45:10,600
Speaker 2: And he said something wrong and we said, we just

1998
01:45:10,640 --> 01:45:15,320
Speaker 2: got fired from the time and he said. Steve said hmm.

1999
01:45:15,800 --> 01:45:18,360
Speaker 2: He said, well, I'm gonna tell you something. He said,

2000
01:45:18,400 --> 01:45:20,280
Speaker 2: you don't have much story about because this record you

2001
01:45:20,320 --> 01:45:23,160
Speaker 2: guys got here. He said, this is a hit. And

2002
01:45:23,320 --> 01:45:30,479
Speaker 2: he knew, he knew, he knew, and it was that

2003
01:45:30,560 --> 01:45:32,360
Speaker 2: should be the end of the story, but it wasn't.

2004
01:45:32,640 --> 01:45:36,760
Speaker 2: Oh okay, so because that was how that happened, of

2005
01:45:36,800 --> 01:45:38,760
Speaker 2: course not. I'm telling you. We're still picking up our

2006
01:45:38,760 --> 01:45:41,320
Speaker 2: little paychecks right every week, right right. So now we're

2007
01:45:41,360 --> 01:45:44,320
Speaker 2: backstage at a Whispers concert. We run into Lee Bailey.

2008
01:45:44,360 --> 01:45:48,519
Speaker 2: He's got this show called Radio Radio. So so Lee

2009
01:45:48,600 --> 01:45:50,680
Speaker 2: Bailey's backstage and he walks up to me with a

2010
01:45:50,720 --> 01:45:54,719
Speaker 2: microphone and he says, Lee Bailey, radioscope here, you're fired

2011
01:45:54,760 --> 01:45:57,080
Speaker 2: from the time. What's the bottom line? And he puts

2012
01:45:57,160 --> 01:46:00,840
Speaker 2: the mic in my face and yeah, right right, and

2013
01:46:01,200 --> 01:46:05,760
Speaker 2: I'm going, who are you Lee Bailey? Radioscope, I said,

2014
01:46:06,040 --> 01:46:07,479
Speaker 2: I said, I know. I said, we're just here watching

2015
01:46:07,520 --> 01:46:09,640
Speaker 2: the concert, man, but I heard you got fired. From

2016
01:46:09,680 --> 01:46:12,400
Speaker 2: the time, I'm like, I don't know what you're talking about. Man,

2017
01:46:12,400 --> 01:46:14,400
Speaker 2: We're just here watching the concert, right, So I just

2018
01:46:14,479 --> 01:46:18,000
Speaker 2: kept saying that. Right. A couple of days later, we

2019
01:46:18,080 --> 01:46:21,639
Speaker 2: go to the accountant's office and we go, hey, guys,

2020
01:46:21,720 --> 01:46:24,559
Speaker 2: and they go, we can't give you your checks. Guys.

2021
01:46:25,000 --> 01:46:27,719
Speaker 2: We said, why not? I said, because you guys got fired.

2022
01:46:28,080 --> 01:46:29,880
Speaker 2: And we laughed and we said, we got fired like

2023
01:46:29,960 --> 01:46:33,439
Speaker 2: four or five weeks ago. Who told you we got fired?

2024
01:46:33,920 --> 01:46:42,240
Speaker 2: It was just on the radio. He's still doing it.

2025
01:46:45,320 --> 01:46:48,760
Speaker 2: He's still doing so. So then the epilogue, as we

2026
01:46:48,920 --> 01:46:51,680
Speaker 2: call it, back from the Dan August Days. Anybody Dan

2027
01:46:51,720 --> 01:46:55,920
Speaker 2: August fan over, everybody, budd he said, a Quinn Martin production.

2028
01:46:56,000 --> 01:46:58,840
Speaker 2: Anybody ever watched Quinn Martin production shows? Okay, well I

2029
01:46:58,880 --> 01:47:02,519
Speaker 2: got some. Yeah, I stopped it. Oh, I can't believe it.

2030
01:47:02,640 --> 01:47:04,800
Speaker 2: I can't believe nobody in the room. Okay, So Quinn

2031
01:47:04,840 --> 01:47:09,800
Speaker 2: Martin was a production team did TV shows back in

2032
01:47:09,880 --> 01:47:12,120
Speaker 2: the day. But Burt Reynolds was on a show called

2033
01:47:12,200 --> 01:47:15,519
Speaker 2: Dan August. He was a detective. It was really good,

2034
01:47:16,000 --> 01:47:19,840
Speaker 2: great show. Anyway, they would always say. It would always

2035
01:47:19,840 --> 01:47:21,640
Speaker 2: say act one, act two, Act three, and then at

2036
01:47:21,640 --> 01:47:23,960
Speaker 2: the end it would always say epilogue, and it was

2037
01:47:24,000 --> 01:47:27,280
Speaker 2: always the wrap up of the show. So the epilogue

2038
01:47:27,280 --> 01:47:37,400
Speaker 2: of the story is Prince had jelly Bean called Terry,

2039
01:47:38,560 --> 01:47:40,479
Speaker 2: and as it turned out, the reason that the accountant

2040
01:47:40,479 --> 01:47:42,320
Speaker 2: didn't know we were fired just because we never were

2041
01:47:42,360 --> 01:47:46,640
Speaker 2: really fired. It was a bluff. And the idea was

2042
01:47:46,720 --> 01:47:49,560
Speaker 2: we were supposed to fall flat on our faces and

2043
01:47:49,680 --> 01:47:55,360
Speaker 2: then beg for our jobs about right. Well, unfortunately that

2044
01:47:55,520 --> 01:47:57,840
Speaker 2: didn't happen because just be good to me came out

2045
01:47:58,160 --> 01:48:02,920
Speaker 2: unfortunately for who and not for us. So anyway, it

2046
01:48:03,120 --> 01:48:05,519
Speaker 2: just be good to me. Everybody basically was felt like, okay,

2047
01:48:05,560 --> 01:48:07,439
Speaker 2: well this is a this is a smash. Whoever did this?

2048
01:48:07,600 --> 01:48:12,720
Speaker 2: We're good, you know, so jelly Bean. So Prince decided

2049
01:48:12,840 --> 01:48:15,800
Speaker 2: divide and conquer. So he called Jellybe and he said

2050
01:48:15,840 --> 01:48:20,080
Speaker 2: to jelly Bean, get get Terry lewis back and Terry said,

2051
01:48:20,160 --> 01:48:23,200
Speaker 2: and uh, Bean said, what about what about Jimmy? And

2052
01:48:23,280 --> 01:48:27,599
Speaker 2: he said no, he said, just just Terry. So jelly Bean,

2053
01:48:28,120 --> 01:48:31,320
Speaker 2: Jelly Bean called Terry and I never forget this. We're

2054
01:48:31,320 --> 01:48:34,160
Speaker 2: in this, We're in this little little room and we

2055
01:48:34,240 --> 01:48:37,519
Speaker 2: had a little three bedroom apartment, uh, with Dina, with

2056
01:48:37,640 --> 01:48:39,080
Speaker 2: Dina Andrews, I think, as a matter of fact, at

2057
01:48:39,120 --> 01:48:43,920
Speaker 2: that point, and I remember Terry getting a phone and going, hey, Bean,

2058
01:48:43,960 --> 01:48:48,280
Speaker 2: what's up. What are y'all doing? And so Bean's telling them, oh, yeah,

2059
01:48:48,280 --> 01:48:50,280
Speaker 2: we're gonna do this movie, Purple Rain, and we're gonna

2060
01:48:50,280 --> 01:48:51,760
Speaker 2: do this whole thing, and you know, blah blah blah

2061
01:48:51,760 --> 01:48:56,519
Speaker 2: blah blah blah blah, and uh, Terry says yeah. He says, well,

2062
01:48:57,120 --> 01:48:59,880
Speaker 2: he said, what about Jimmy And he said, you know,

2063
01:49:00,000 --> 01:49:05,639
Speaker 2: I want Jimmy back. Terry said, you every cuss word,

2064
01:49:05,800 --> 01:49:09,280
Speaker 2: every like if he could climb through the phone and run.

2065
01:49:09,400 --> 01:49:13,960
Speaker 2: Bean's knocking, and I was like, Terry, what's going on?

2066
01:49:14,120 --> 01:49:16,240
Speaker 2: He says, no, no, you can't. I mean, he was

2067
01:49:16,320 --> 01:49:19,880
Speaker 2: so pissed off. Anyway, I said to Terry, I said, man,

2068
01:49:19,920 --> 01:49:21,519
Speaker 2: go do the movie. It's no big deal. I said,

2069
01:49:21,560 --> 01:49:23,280
Speaker 2: I'm not going anywhere. I said, you know, make the

2070
01:49:23,360 --> 01:49:25,200
Speaker 2: movie sounds fun, go ahead and do it and whatever.

2071
01:49:25,320 --> 01:49:26,960
Speaker 2: He said, No, he'll no, he said, no, we in

2072
01:49:27,040 --> 01:49:29,400
Speaker 2: this together. He said, if they're not going to do

2073
01:49:29,479 --> 01:49:32,320
Speaker 2: that to us, you know, we're a team and you

2074
01:49:32,400 --> 01:49:36,000
Speaker 2: know whatever. Yeah, so that was it. So that was it.

2075
01:49:36,080 --> 01:49:37,599
Speaker 2: So then and that's so, that's why we were out.

2076
01:49:37,640 --> 01:49:40,120
Speaker 2: And then wait, wait, why are you looking at me?

2077
01:49:40,280 --> 01:49:40,320
Speaker 1: Like?

2078
01:49:40,640 --> 01:49:43,000
Speaker 2: Why did you look at me? Mayor? Because I felt

2079
01:49:43,040 --> 01:49:45,800
Speaker 2: you looking at me like you can learn from this

2080
01:49:45,960 --> 01:49:48,600
Speaker 2: and there are some words of wisdom coming from this

2081
01:49:48,680 --> 01:49:53,800
Speaker 2: story about Lord, you're here with you for twenty years.

2082
01:49:53,880 --> 01:49:57,120
Speaker 2: You're here with me now flashback. It took a long time,

2083
01:50:00,080 --> 01:50:09,680
Speaker 2: like another episode of tune in. Look did you give

2084
01:50:09,720 --> 01:50:14,120
Speaker 2: me that? You listen? You're with me?

2085
01:50:14,360 --> 01:50:15,720
Speaker 3: Okay, it's what I'm taped now.

2086
01:50:15,800 --> 01:50:18,600
Speaker 2: I just needed it. Thank you, I love it. I

2087
01:50:18,840 --> 01:50:24,240
Speaker 2: love it. I'm sorry. That's what we do here. That's

2088
01:50:24,280 --> 01:50:29,040
Speaker 2: what we do here. It's a public service. Oh man.

2089
01:50:29,160 --> 01:50:31,439
Speaker 1: That's it for part one of our conversations with Jimmy

2090
01:50:31,520 --> 01:50:34,200
Speaker 1: jim Thank you guys for tuning in. And next week

2091
01:50:34,360 --> 01:50:38,439
Speaker 1: we have part two and that's when Alexander returns, Jimmy

2092
01:50:38,439 --> 01:50:41,000
Speaker 1: and Terry helped Janet take control and much more. Don't

2093
01:50:41,040 --> 01:50:44,920
Speaker 1: miss it quest Love Supreme. It is a production of iHeartRadio.

2094
01:50:45,400 --> 01:50:48,760
Speaker 1: This classic episode was produced by the team at Pandora.

2095
01:50:51,000 --> 01:50:54,240
Speaker 1: For more podcasts from iHeart Radio, visit the iHeart Radio app,

2096
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Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.