WEBVTT - Black Music Month QLS Classic: Jimmy Jam Part 1 0:00:00.480 --> 0:00:04.760 Questlove Supreme is a production of iHeartRadio. This classic episode 0:00:04.800 --> 0:00:10.440 was produced by the team at Pandora. 0:00:10.840 --> 0:00:11.680 Hey, what's up, y'all? 0:00:11.680 --> 0:00:15.480 This is quest Love And as you notice throughout June, 0:00:15.640 --> 0:00:20.280 we are celebrating Black Music Month by releasing an episode 0:00:20.600 --> 0:00:23.920 every day, So every day and maybe want to hear 0:00:24.400 --> 0:00:26.160 especially pick LS Classic. 0:00:26.960 --> 0:00:31.000 Now for Part one, Part two, and Part three of 0:00:31.160 --> 0:00:33.600 my all time favorite ULS episode. 0:00:35.360 --> 0:00:40.520 This is the legendary Jimmy Jam. Ladies and gentlemen, Welcome 0:00:40.560 --> 0:00:42.559 to another episode of QLs Classic. 0:00:42.840 --> 0:00:43.560 I'm Questlove. 0:00:44.200 --> 0:00:47.120 This episode we consider it to be our finest hour. 0:00:47.280 --> 0:00:52.199 We interview the music god himself, Jimmy Jam. This is, 0:00:52.240 --> 0:00:55.680 without no doubt one of our best moments, my personal favorite. 0:00:56.240 --> 0:00:59.040 In Part one of this three part series, we discuss 0:00:59.120 --> 0:01:02.600 this life in Minnesota, of Minneapolis, coming up as a DJ, 0:01:03.040 --> 0:01:06.760 his friendship with Terry Lewis's music partner, and getting mentored 0:01:06.760 --> 0:01:09.080 by the one and only Clarence Aphon, not to mention 0:01:09.720 --> 0:01:13.199 Uh Princey starting a little unknown band called The Time. 0:01:13.440 --> 0:01:17.559 We Hope you enjoyed. Here we go. 0:01:19.520 --> 0:01:26.040 Su Primo sun So Supremo, Roll Call Suprema So Supremo, 0:01:26.240 --> 0:01:32.000 Roll Call Suprema son So Suprimo roll call So Bremo 0:01:32.240 --> 0:01:36.400 So so so. 0:01:34.800 --> 0:01:38.559 So I went to the mirror, yeah, with Grayson Vaness. Yeah, 0:01:38.760 --> 0:01:40.959 the mirror looked back at me. Yeah, that's where the 0:01:41.000 --> 0:01:46.440 god said, Supremo. 0:01:46.040 --> 0:01:49.520 Roll call Supremo So so. 0:01:49.080 --> 0:01:53.120 So roll What's love double dipping? Yeah, not trying to 0:01:53.160 --> 0:01:56.520 be facetious. Yeah, that mirror really said. 0:02:03.120 --> 0:02:08.600 Suprema So Supremo row My name is Fante. Yeah, in 0:02:08.639 --> 0:02:09.639 the heels of a Gora. 0:02:10.120 --> 0:02:10.360 Yeah. 0:02:10.480 --> 0:02:13.480 Well, my man, Jimmy Jam Yeah. Now where is my food? 0:02:15.160 --> 0:02:21.639 Supremo Sun Sun Supremo Role call, Suprema Son Son Supremo 0:02:21.840 --> 0:02:22.560 role called. 0:02:22.600 --> 0:02:27.120 My name is Sugar, yeah, the engineer. Yeah, if you 0:02:27.280 --> 0:02:29.359 need me, Yeah, I'm over here. 0:02:31.040 --> 0:02:37.560 Supremo Son Son Supremo, Role call, Supremo Son Son Supremo 0:02:37.760 --> 0:02:38.359 Role call. 0:02:38.520 --> 0:02:41.600 I'm unpaid bill, Yeah, chilling with my family. 0:02:42.000 --> 0:02:44.960 Yeah, mister Jimmy Jam Yeah, I had to be my 0:02:45.000 --> 0:02:46.080 first Grammy. 0:02:49.040 --> 0:02:54.720 Supprivo roll call, Suprema Son Supremo Role This. 0:02:54.919 --> 0:02:58.359 Was my name. Yeah, and I still say yeah the 0:02:58.440 --> 0:03:01.760 best record of the eighties. Yeah, Alex is here saying. 0:03:01.880 --> 0:03:08.240 Ro come Suprema So Supremo, Role call, Supremo. 0:03:08.960 --> 0:03:14.760 Supremo roll call. Yeah. Never out of touch. Yeah, Jimmy 0:03:14.840 --> 0:03:17.160 jam is here. Yeah, I miss you. 0:03:17.320 --> 0:03:17.400 My. 0:03:19.040 --> 0:03:21.640 Suprema Supremo. 0:03:21.880 --> 0:03:25.560 Roll call, Suprema son Son Supremo. 0:03:25.760 --> 0:03:29.040 Role came. I don't know, Yeah what I was supposed 0:03:29.040 --> 0:03:37.600 to say. Yeah, I'll be fat Albert. Yeah, so Supremo. 0:03:37.840 --> 0:03:45.480 Roll call, Suprema So Supremo. Role call, Suprema son Son Supremo. 0:03:45.720 --> 0:03:49.440 Roll call, Suprema son Son Supremo. 0:03:49.680 --> 0:03:53.360 Roll call, Ladies and gentlemen. I do not want to 0:03:53.400 --> 0:03:57.240 waste a second. Welcome Jimmy, jim Okay, let's go, Jimmy 0:03:57.280 --> 0:04:01.600 Jam Where were you born? No, I'm not wasting a second. 0:04:02.640 --> 0:04:05.880 No, how you doing, I'm good, I'm good man. We're 0:04:06.120 --> 0:04:10.760 very overwhelmed for this Pineapple goals man. This is goal yeah. 0:04:11.080 --> 0:04:16.080 Yeah, like my life is whatever. 0:04:17.640 --> 0:04:19.800 Door I thought she was gonna fall my Yeah, it 0:04:19.880 --> 0:04:21.040 was like, my life. 0:04:20.880 --> 0:04:25.000 Is Baltic Avenue and Mediterranean, like this is ward Walking 0:04:25.120 --> 0:04:25.640 Park place. 0:04:26.160 --> 0:04:29.080 Yeah, Monopoly references, it is. It is sports. 0:04:31.200 --> 0:04:35.120 Hello there, mister James Harris, the third Man. 0:04:35.560 --> 0:04:37.160 I'm wonderful man. It's great to be here with you 0:04:37.240 --> 0:04:40.159 today finally and your crew, your whole crew. Man, it's wonderful. 0:04:40.279 --> 0:04:40.600 Thank you. 0:04:41.040 --> 0:04:42.719 We've been looking forward to this one for a minute. Yeah, 0:04:42.880 --> 0:04:45.600 this is serious of life life goals here. 0:04:48.680 --> 0:04:54.200 Yeah, let's just we're starting from the begin Where were 0:04:54.240 --> 0:04:59.320 you born, sir? Minneapolis, Minnesota? Okay, uh, what part of 0:05:00.440 --> 0:05:03.800 what part of Minneapolis? I grew up South Minneapolis, So 0:05:04.600 --> 0:05:06.880 you know, I can say like forty first in Portland Avenue, 0:05:06.880 --> 0:05:09.160 which doesn't mean a lot to anybody, but you know, 0:05:09.240 --> 0:05:11.760 if you think of downtown, it's like, you know, First Street, 0:05:11.839 --> 0:05:15.400 second Street, you know, First Avenue, so on and so forth. 0:05:16.000 --> 0:05:18.400 I lived forty one blocks south of downtown. 0:05:18.480 --> 0:05:20.520 I feel like when any black person is from the 0:05:20.640 --> 0:05:24.200 south side of town, south side of east side, that 0:05:24.320 --> 0:05:26.280 means something something going on. 0:05:26.720 --> 0:05:30.000 Like what part of what was the town part of 0:05:30.040 --> 0:05:34.320 town to not go to? In Minneapolish, Well, okay, if 0:05:34.360 --> 0:05:37.720 you were black, the northeast was where to not go to. 0:05:37.839 --> 0:05:40.600 It was called actually the northeast is what we called it. 0:05:41.839 --> 0:05:45.000 Where the white people lived. Yeah. Yeah, every town has 0:05:45.880 --> 0:05:49.360 always white people. The white people didn't didn't necessarily want 0:05:49.680 --> 0:05:52.160 us to be there, you know, because white people live 0:05:52.200 --> 0:05:56.600 every I mean, let's face it. Back, growing up, I 0:05:56.680 --> 0:05:59.799 think the state population was something like three percent black, 0:06:00.480 --> 0:06:03.560 and maybe it was eight percent black in Minneapolis or 0:06:03.600 --> 0:06:06.040 something like that. So pretty much white people were everywhere. 0:06:06.680 --> 0:06:12.039 But certainly, you know, everybody was very tolerant, I guess, 0:06:12.080 --> 0:06:15.080 I would say, and it was very progressive town. But 0:06:16.240 --> 0:06:17.640 as you can tell from the music, it came out 0:06:17.680 --> 0:06:18.840 of there. I think that's had a lot to do 0:06:18.920 --> 0:06:21.400 with it. But no, I mean, really, the north side 0:06:21.480 --> 0:06:24.840 probably is where the folks were. You know, I was 0:06:25.120 --> 0:06:27.240 one of the only South Side guy. I mean in 0:06:27.360 --> 0:06:30.400 Prince obviously because we went to school together and stuff. 0:06:30.440 --> 0:06:32.720 But on the north side of town you had you know, 0:06:33.240 --> 0:06:37.599 Morris Day, Jellybean, Terry Lewis, you know, and you had 0:06:37.640 --> 0:06:39.840 the community center called the Way, which everybody used to 0:06:39.880 --> 0:06:42.440 rehearse at and that kind of thing. So it was 0:06:42.480 --> 0:06:44.560 a lot more happening on the north side of town, 0:06:44.960 --> 0:06:46.360 I would say that on the south side. 0:06:46.720 --> 0:06:51.400 So in your formative years, how many of your contemporaries 0:06:51.440 --> 0:06:54.040 and peers that you were professional with would you see 0:06:54.080 --> 0:06:55.040 on a regular basis? 0:06:56.480 --> 0:06:59.200 Everybody? Man, it was a small community, it was. It was. 0:07:00.520 --> 0:07:02.520 It was a lot like I always say that Purple 0:07:02.600 --> 0:07:05.880 Rain the movie was a kind of a it was fiction, 0:07:06.080 --> 0:07:07.800 but it was it told a lot of truth and 0:07:07.880 --> 0:07:10.440 that was there was like a couple of clubs you 0:07:10.440 --> 0:07:13.840 could play at, and there was more bands than the 0:07:13.920 --> 0:07:16.840 clubs could hold. So it made for a very competitive 0:07:16.880 --> 0:07:20.920 situation where if your band wasn't firing, you just wouldn't 0:07:20.920 --> 0:07:23.120 be playing in the club. And so that's the way 0:07:23.200 --> 0:07:25.200 we grew up. So there was like the Elks Lounge. 0:07:25.280 --> 0:07:27.559 There was a club called the Nakarima Nakaima was actually 0:07:27.560 --> 0:07:32.600 American spelled backwards. And you know, the Cozy Bar was 0:07:32.600 --> 0:07:35.360 another place. There was a place called the Flame. And 0:07:35.600 --> 0:07:37.880 you know, so between, you know, back in that day, 0:07:37.960 --> 0:07:39.320 you had you know, my band, I had a band 0:07:39.360 --> 0:07:42.200 called Mind and Matter, Terry had Flight Time. We were 0:07:42.240 --> 0:07:43.840 together and then we were apart. We were you know, 0:07:44.040 --> 0:07:45.840 we were going back and forth a lot. And then 0:07:46.920 --> 0:07:51.000 Prince had Grand Central. Morris had a band called the 0:07:51.280 --> 0:07:54.320 Enterprise Band of Pleasure at one point, you know, so 0:07:54.440 --> 0:07:56.360 on and so forth. So what happened was there was 0:07:56.520 --> 0:07:58.520 all these bands, but there's only a couple of places 0:07:58.560 --> 0:08:01.800 to play. But all of those guys and particularly people 0:08:01.960 --> 0:08:05.400 like that, and really the best, probably the baddest dude 0:08:05.480 --> 0:08:07.880 up there was Sonny Thompson. 0:08:09.960 --> 0:08:13.200 Everyone speaks of Sonny Thompson like he's God, Yeah, Like, 0:08:13.360 --> 0:08:17.840 what is it about? What is the legend of Sonny Thompson. Well, 0:08:17.920 --> 0:08:18.600 Sonny Thompson. 0:08:18.640 --> 0:08:21.720 I remember back when I first met Terry, and I 0:08:21.760 --> 0:08:23.680 remember we put our little band together and stuff, and 0:08:23.720 --> 0:08:25.840 then they used to do these big outdoor festivals at 0:08:26.120 --> 0:08:28.520 a place called the Phylliswheetlely, which is a big community center, 0:08:29.160 --> 0:08:31.800 and they used to do these outdoor concerts and I 0:08:31.840 --> 0:08:34.600 remember seeing they had a band, actually the original band 0:08:34.640 --> 0:08:37.520 that was called the Family. Sonny Thompson was in that band. 0:08:38.280 --> 0:08:40.520 But I'd never seen a brother play the guitar like that. 0:08:40.679 --> 0:08:45.079 I mean, he just was like he was like legendary. 0:08:45.160 --> 0:08:47.959 He was like the dude. And on top of it, 0:08:48.080 --> 0:08:50.839 he had the attitude like if you didn't like him 0:08:51.000 --> 0:08:52.280 or you didn't like the way he was playing, he 0:08:52.360 --> 0:08:53.880 was gonna come down to kick your ass. Right, So 0:08:54.000 --> 0:08:56.439 he'd he'd played the gig and stuff, and then afterwards 0:08:56.480 --> 0:08:58.600 if he'd like, look at it you and you'd say 0:08:58.640 --> 0:09:02.080 to him, he killed it, Sonny, Man, that was amazing, 0:09:02.280 --> 0:09:05.559 because you better say that. But the good news was 0:09:05.640 --> 0:09:07.719 he always was. He was amazing, and he was a 0:09:07.800 --> 0:09:10.160 dude that everybody just kind of stopped and stared and 0:09:10.280 --> 0:09:14.360 went damn. What was his style of playing? He was 0:09:14.440 --> 0:09:17.600 a great rhythm player. He played with a lot of aggression. 0:09:17.640 --> 0:09:20.480 You know. The thing I always said about about Prince 0:09:20.520 --> 0:09:22.720 and the way he played is I've never seen anybody 0:09:22.800 --> 0:09:26.520 attack instruments the way Prince did, Like he literally attacked 0:09:26.800 --> 0:09:31.560 the instruments louder or just toned well, you know he would. 0:09:31.600 --> 0:09:34.959 I mean I always say, like, for instance, Terry. You know, 0:09:35.160 --> 0:09:37.839 Terry's a great bass player, There's no doubt about it. 0:09:38.080 --> 0:09:41.240 But you know how we always use the analogy like 0:09:41.320 --> 0:09:45.000 in basketball, people that make you better. Prince was that person, right, 0:09:45.120 --> 0:09:49.600 So Terry would be playing a bass part and Prince 0:09:49.640 --> 0:09:52.480 would take the bass from Terry and go, no, play 0:09:52.520 --> 0:09:54.800 it like this, and then he'd play it, and then 0:09:54.840 --> 0:09:57.000 he'd had Terry the bass back, and Terry would look 0:09:57.040 --> 0:09:59.079 at the bass like he'd never seen it before. You know, 0:09:59.360 --> 0:10:02.800 it's like damn. You know so that but that was 0:10:02.840 --> 0:10:05.360 the way Sonny was, and I think Prince got a 0:10:05.480 --> 0:10:09.520 lot of that from Sonny, like the attack of the instruments. 0:10:09.559 --> 0:10:10.920 And it's the same with the keyboards. We used to 0:10:11.000 --> 0:10:13.719 break keyboards all the time because it wasn't like you 0:10:13.760 --> 0:10:17.079 would just hit the keyboard politely. It was like we 0:10:17.160 --> 0:10:19.800 were doing all kind of swoops and wow wow on 0:10:19.920 --> 0:10:22.439 all that kind of stuff, like we would break keyboards. 0:10:22.559 --> 0:10:23.839 I mean that kind of stuff. I mean that was 0:10:23.880 --> 0:10:27.360 the way he wanted you to play. And so I 0:10:27.440 --> 0:10:29.439 mean that that kind of attitude to me was the 0:10:29.520 --> 0:10:32.559 thing that you know, set him apart, along with a 0:10:32.559 --> 0:10:34.480 whole lot of other things, but it really set Prince 0:10:34.520 --> 0:10:35.320 apart for sure. 0:10:35.880 --> 0:10:38.920 What were the what was a gold club to play 0:10:39.040 --> 0:10:43.599 in Minneapolis at the time, Like, was First Avenue a 0:10:43.800 --> 0:10:45.559 dream that was unattainables? 0:10:45.960 --> 0:10:46.000 No? 0:10:46.240 --> 0:10:49.679 Actually, here's an interesting thing. Yeah, Now First Avenue was 0:10:49.840 --> 0:10:53.079 actually the first place that actually allowed like black bands 0:10:53.400 --> 0:10:57.319 to play. So there was a quiet segregation. Oh it 0:10:57.480 --> 0:11:01.120 was not in your fleece, Oh it was. I guess 0:11:01.160 --> 0:11:02.640 you could say it was quiet. I mean, if you 0:11:02.720 --> 0:11:04.760 were a band and you were trying to play somewhere, 0:11:07.200 --> 0:11:09.120 you knew there were clubs that were just unattainable. You 0:11:09.280 --> 0:11:12.560 just weren't going to play that club. And I thank 0:11:12.640 --> 0:11:15.640 God to this day that that happened because what it did, 0:11:16.520 --> 0:11:20.800 as history has always shown with black folks, is from 0:11:20.880 --> 0:11:25.840 adversity comes all good things. You know, you look at 0:11:25.880 --> 0:11:27.880 what you don't have, and then you figure out that 0:11:27.960 --> 0:11:30.439 you can't go the easy route that everybody else is going, 0:11:30.520 --> 0:11:31.880 and then you figure out a way to go get 0:11:31.920 --> 0:11:35.160 it done. So what we used to do back in 0:11:35.240 --> 0:11:38.880 the day, we knew we couldn't play I can't remember 0:11:38.880 --> 0:11:40.320 even the names of the clubs, but there was all 0:11:40.360 --> 0:11:43.800 these very fancy white clubs and they all had white bands, 0:11:44.640 --> 0:11:46.880 but they were all playing R and B music, which 0:11:47.000 --> 0:11:50.079 was ironic. We knew we couldn't play those clubs. So 0:11:50.160 --> 0:11:51.839 what we would do is, for instance, there was a 0:11:51.920 --> 0:11:57.400 hotel downtown called the Dykeman Hotel. It was a hotel 0:11:57.480 --> 0:12:00.559 that was probably about a year away from, you know, 0:12:00.840 --> 0:12:03.439 being torn down. I mean it was just nobody stayed there. 0:12:03.559 --> 0:12:05.720 Rooms were rady, the whole thing. But what they had 0:12:05.880 --> 0:12:08.839 was a big ballroom. So what we would do is 0:12:08.920 --> 0:12:12.080 we would take, you know, we'd go to the owner 0:12:12.120 --> 0:12:14.320 of the hotel and we'd say, hey, can we rent 0:12:14.360 --> 0:12:18.439 the ballroom out. We'll give you the liquor, whatever the 0:12:18.480 --> 0:12:21.160 liquor sales are, you keep and we'll take the door. 0:12:21.240 --> 0:12:23.120 We'll charge you know, three bucks at the door or whatever. 0:12:24.240 --> 0:12:27.160 And so what it did is it forced us to 0:12:27.280 --> 0:12:30.040 become entrepreneurs, because it wasn't like we just had the 0:12:30.080 --> 0:12:32.480 talent we could go play. It was like, okay, we 0:12:32.559 --> 0:12:34.120 got the talent, now we got to figure out how 0:12:34.160 --> 0:12:36.679 we're going to go play. So we would do that. 0:12:36.800 --> 0:12:38.640 Now we now back in the day, there's no Twitter 0:12:38.720 --> 0:12:41.520 and no social media, so it was go to institut prints. 0:12:41.760 --> 0:12:43.319 That was the place you go. You print up a 0:12:43.320 --> 0:12:45.080 bunch of flyers and then you put them on people's 0:12:45.160 --> 0:12:49.480 cars and you'd say, you know, ladies get in free too, 0:12:49.520 --> 0:12:51.480 for one drink. So you'd say whatever the heck you 0:12:51.559 --> 0:12:53.720 needed to say to get them to get them down. 0:12:55.000 --> 0:12:56.920 And all of a sudden you get on Saturday night 0:12:57.320 --> 0:12:59.920 and all of a sudden, you'd get fifteen hundred people 0:13:00.679 --> 0:13:06.000 in this ballroom. Meanwhile, the white clubs are sitting empty. 0:13:07.000 --> 0:13:11.120 So now they're going, wait, where's everybody at tonight, And 0:13:11.160 --> 0:13:13.200 they're like, well, they're all going to see the band 0:13:13.240 --> 0:13:17.280 you wouldn't let play at your club. And so what 0:13:17.559 --> 0:13:19.920 happened after that was there began to be a little 0:13:19.920 --> 0:13:24.439 bit of a thing where people begin to recognize that 0:13:24.559 --> 0:13:26.640 maybe there's a talent or maybe we should let these 0:13:26.840 --> 0:13:29.160 folks in, you know, because these guys are talent and 0:13:29.160 --> 0:13:32.559 they're obviously drawing, right. But the first person to really 0:13:32.600 --> 0:13:36.199 act upon it was Steve McClellan at First Avenue who said, 0:13:36.800 --> 0:13:39.560 we'll book you guys in what was called Seventh Street Entry, 0:13:39.720 --> 0:13:42.000 which is like the little club, right, so if you 0:13:42.200 --> 0:13:43.920 were cool there, if you could get it going there, 0:13:44.600 --> 0:13:47.280 then we'll move you to the main room. But he 0:13:47.440 --> 0:13:49.319 was the one that really gave us the shot, and 0:13:49.440 --> 0:13:51.400 he gave you know, back then it wasn't just by 0:13:51.440 --> 0:13:52.959 the way, it wasn't just black bands, but it was 0:13:53.040 --> 0:13:56.160 like new wave bands you think about, like the Replacements 0:13:56.200 --> 0:13:58.400 in the suburbs and all of those bands, those bands 0:13:58.440 --> 0:14:00.960 all started, those white bands all started in that Seventh 0:14:00.960 --> 0:14:03.640 Street Entry. We even mixing with those guys at all, 0:14:03.720 --> 0:14:07.280 like would you see replacements? And we didn't mix at all, 0:14:07.360 --> 0:14:09.160 not I mean just because we didn't. It wasn't it 0:14:09.240 --> 0:14:11.559 we didn't like them. We were aware of them, and 0:14:11.679 --> 0:14:13.400 I think they were aware of us. But we know 0:14:13.480 --> 0:14:16.240 we never mixed together at all. It was just kind 0:14:16.280 --> 0:14:18.280 of the same dudes from the neighborhood that we grew 0:14:18.400 --> 0:14:20.960 up with. It was all of those same guys all together. 0:14:21.640 --> 0:14:24.360 So kind of jumping ahead a little bit, did you 0:14:24.440 --> 0:14:28.040 have goals to make it out of Minnesota or. 0:14:29.720 --> 0:14:33.040 Or was it just like, Okay, we'll just be a local. 0:14:32.880 --> 0:14:36.720 Band here and maybe well no, I mean, or I'll 0:14:36.760 --> 0:14:39.320 get a job, like are your parents supportive of this? 0:14:39.600 --> 0:14:46.560 Or well, okay, so two really good questions. So my parents. 0:14:46.600 --> 0:14:51.360 First of all, my dad played in a band and 0:14:52.080 --> 0:14:54.360 was always a professional musician. Used to take me to 0:14:55.440 --> 0:14:58.160 rehearsals and stuff back when I was, you know, six 0:14:58.280 --> 0:15:01.520 seven years old, and and I you know, at that point, 0:15:01.560 --> 0:15:04.240 I had the music bug totally, so I got to 0:15:04.280 --> 0:15:05.480 see it. I used to used to get to go 0:15:05.520 --> 0:15:08.760 to the studio and the whole thing. But he was 0:15:08.880 --> 0:15:12.800 always he never made it really where he wanted to. 0:15:12.920 --> 0:15:14.960 He was always kind of that guy on the cusp 0:15:15.160 --> 0:15:16.840 of making it. You know. He'd get on a few 0:15:17.120 --> 0:15:18.840 Back in the day, there were kind of regional records 0:15:18.840 --> 0:15:21.440 that were hits, and my dad would play on those 0:15:21.520 --> 0:15:24.480 records and then they'd ask him to go tour. But 0:15:24.640 --> 0:15:27.160 because at that point of his life he had me 0:15:27.400 --> 0:15:30.960 and he had gotten married, my mom always used to 0:15:31.040 --> 0:15:33.440 kind of frown upon, you know, like, well, no, you can't. 0:15:33.640 --> 0:15:36.680 You got responsibilities, you got family, and you got you know, 0:15:36.920 --> 0:15:38.840 you can't just run off and go on tour and 0:15:38.880 --> 0:15:43.320 that kind of stuff. And that really affected what happened 0:15:43.360 --> 0:15:45.800 with me because when I got to the point where 0:15:45.880 --> 0:15:47.880 I really wanted to do music, my mom was one 0:15:47.920 --> 0:15:52.120 hundred percent behind me because she realized that my dad 0:15:52.240 --> 0:15:54.200 never had a chance to do what the way he 0:15:54.280 --> 0:15:56.400 wanted to do it. So she really kind of stepped 0:15:56.400 --> 0:15:59.400 out of my way and was very supportive of me. 0:15:59.760 --> 0:16:03.720 So that was huge for me. By the way, and 0:16:03.800 --> 0:16:06.520 they because they separated and so or they got divorced, 0:16:06.560 --> 0:16:10.320 and so I basically stayed with my mom. So she said, 0:16:10.400 --> 0:16:12.640 you know whatever, as long as I see you doing music, 0:16:12.680 --> 0:16:14.080 you can do whatever the heck you want to do. 0:16:14.200 --> 0:16:16.440 But you know, as long as you was serious about 0:16:16.480 --> 0:16:17.920 it and that kind of thing. So that was that 0:16:18.080 --> 0:16:22.239 was important. What was the industry in Minnesota? 0:16:22.600 --> 0:16:26.400 Like if cars were Detroit and black families were there, 0:16:26.720 --> 0:16:30.280 middle class and buying instruments and stuff, and the same 0:16:30.360 --> 0:16:34.760 for factories in Indiana and the Midwest, what was the 0:16:34.960 --> 0:16:39.000 industry in Minnesota that kept was that an industry town 0:16:39.080 --> 0:16:39.320 at all? 0:16:40.640 --> 0:16:43.000 Well, the things I remember growing up were first of all, 0:16:43.080 --> 0:16:45.800 grain and flower. I remember gold Metal Flower was a 0:16:45.840 --> 0:16:48.080 big company back in the day. Pillsbury was up there, 0:16:48.120 --> 0:16:54.640 big company general. Yeah, I forgot I er, I now realized. 0:16:54.680 --> 0:16:57.640 He said that the ghetto boys thought he had came, 0:16:57.720 --> 0:17:01.280 but it was gold metal Flower. Now I get it. 0:17:01.720 --> 0:17:08.200 It was flower. Thank you for solving it. Mystery whether 0:17:08.240 --> 0:17:09.160 I was made. 0:17:13.320 --> 0:17:17.439 Life because of his accent, you know, I thought than 0:17:18.640 --> 0:17:20.919 flower solving the mystery of Willie. 0:17:22.240 --> 0:17:26.200 I didn't know there was a mystery. You know, we 0:17:26.400 --> 0:17:28.480 had it, but I just didn't. You didn't put it together, 0:17:28.720 --> 0:17:29.600 That's what he was saying. 0:17:30.000 --> 0:17:30.040 You. 0:17:31.160 --> 0:17:33.080 But all of those were up there, and obviously three 0:17:33.280 --> 0:17:36.359 M was up there to Honeywell. There were some some 0:17:36.440 --> 0:17:40.480 pretty big companies up there for sure, but just to 0:17:40.880 --> 0:17:43.080 and just to wrap the other thing we were saying. 0:17:43.440 --> 0:17:45.480 The whole idea, yes, was to get out of town. 0:17:46.560 --> 0:17:49.439 That was our focus because we knew we couldn't sit 0:17:49.520 --> 0:17:53.200 around and depend on playing in the clubs that weren't 0:17:53.200 --> 0:17:55.119 gonna let us play, and we knew that we couldn't 0:17:56.119 --> 0:17:58.600 make it playing in a club circuit where there's two 0:17:58.720 --> 0:18:00.960 or three clubs and there's a bands or whatever it 0:18:01.080 --> 0:18:02.920 is like that was not going to happen. So we 0:18:03.040 --> 0:18:06.760 set our sites always on making it nationally that was 0:18:06.840 --> 0:18:11.560 our whole thing. When Prince made it out, that showed 0:18:11.680 --> 0:18:15.399 us that it can happen. And it also because he 0:18:15.560 --> 0:18:17.760 was so unique in what he did, that then brought 0:18:18.520 --> 0:18:21.760 everybody started looking at Minneapolis like, Okay, what else is 0:18:21.840 --> 0:18:24.160 up there? Because that that happens with all towns, happened 0:18:24.200 --> 0:18:26.480 with Seattle, happens. You know, that's just the thing that happens. 0:18:26.520 --> 0:18:28.560 It's like something great comes out and it's like, oh, 0:18:28.640 --> 0:18:30.639 what what else is there? What else is there? So 0:18:30.760 --> 0:18:33.320 we were definitely the beneficiaries of that. And there's a 0:18:33.400 --> 0:18:36.280 lot of great I will say, a lot of talented 0:18:36.640 --> 0:18:40.200 white musicians playing R and B music that never made 0:18:40.240 --> 0:18:42.120 it out of Minneapolis. Some of them made it out 0:18:42.520 --> 0:18:45.520 because Jesse took a couple folks with him and when 0:18:45.560 --> 0:18:52.040 he did his band Jesse Johnson reviews the Peterson's. How 0:18:52.040 --> 0:18:56.720 many Peterson's were there? A lot? Yeah, that was the 0:18:56.920 --> 0:18:59.119 That was the musical family up there. I mean, just 0:18:59.200 --> 0:19:02.239 so much talent, you know, but there were but there 0:19:02.280 --> 0:19:05.399 were other ones too, And I'm just kind of I'm 0:19:05.440 --> 0:19:07.280 blanking on names and stuff, but there was a lot 0:19:07.320 --> 0:19:10.440 of talent. But because they didn't they were very comfortable, 0:19:10.680 --> 0:19:12.760 so they had no reason to try to think outside 0:19:12.800 --> 0:19:14.960 of getting out of Minneapolis or anything like that. Like, 0:19:15.080 --> 0:19:17.560 we were so a lot of great talent up there 0:19:17.640 --> 0:19:19.840 that people didn't know about until, like I say, until 0:19:19.880 --> 0:19:21.920 that time when you know, Jesse picked up a few people. 0:19:22.000 --> 0:19:24.680 And I'm trying to think Margaret Cox, who was actually 0:19:24.680 --> 0:19:28.520 Tomorrow Margie. But yeah, but Margaret Cox was insanely talented, 0:19:28.760 --> 0:19:31.879 you know, so as a singer. So yeah, people like that. 0:19:32.600 --> 0:19:37.080 So when can I assume that Funky Town was the 0:19:37.200 --> 0:19:42.200 first at least indication that an escape could be made 0:19:42.320 --> 0:19:43.320 or something could happen. 0:19:43.480 --> 0:19:46.040 Was that just like a fluke went off in your eyes? 0:19:46.600 --> 0:19:51.080 Well for us, you know, Prince was the example that 0:19:51.160 --> 0:19:53.240 you could make it because see Prince was like three 0:19:53.320 --> 0:19:57.320 years before Funky Town. I forgot, yeah, Towns seven but no, 0:19:57.440 --> 0:19:59.639 but but but but Funky Town was eighties and that 0:19:59.840 --> 0:20:02.560 was you know, at the height of the disco craze 0:20:02.760 --> 0:20:04.960 and when it was and actually when disco was being 0:20:05.000 --> 0:20:06.600 played on the radio, not only in the clubs, but 0:20:06.720 --> 0:20:09.320 actually the format because I remember we had a radio 0:20:09.359 --> 0:20:11.480 station up there that went from a rock format to 0:20:11.560 --> 0:20:16.240 a disco format, which was very controversial, but disco was 0:20:16.320 --> 0:20:20.359 hot at that point in time. But we thought, what 0:20:20.480 --> 0:20:22.520 did you grow up listening on? Like, what were you 0:20:22.640 --> 0:20:26.240 listening to? Grow? For me, yeah, well there was nothing 0:20:26.280 --> 0:20:29.800 but pop radio up there. I mean, I grew up 0:20:29.800 --> 0:20:34.840 as a kid. My earliest memories were always you know, 0:20:34.960 --> 0:20:37.600 I always loved the harmony groups. I loved Seals and 0:20:37.640 --> 0:20:41.520 Cross America America. Yeah, you know that kind of stuff. 0:20:41.640 --> 0:20:45.159 Bred that was. I mean, to this day, that's the 0:20:45.200 --> 0:20:47.160 way I stacked my harmonies because of the way they 0:20:47.760 --> 0:20:50.800 sang those songs. Back then, a little bit later in life, 0:20:51.440 --> 0:20:53.960 I liked, like, around the time I met Terry, I 0:20:54.040 --> 0:20:56.280 was really into Chicago that was. That was my favorite 0:20:56.600 --> 0:20:59.840 band ever, you know, and me and Terry both loved them. 0:21:00.400 --> 0:21:02.240 And then Terry then turned me on to when I 0:21:02.320 --> 0:21:04.439 met him, he turned me on to Earth Wind and Fired, 0:21:04.920 --> 0:21:09.560 Tower of Power, New Birth. I met Terry in seventy two. Okay, yeah, 0:21:09.640 --> 0:21:11.920 so we're we're talking Last Days in Time, Earth Winding 0:21:12.000 --> 0:21:15.080 Fire and Music in my mind Stevie Wonder. You know, 0:21:15.160 --> 0:21:17.200 these were the albums and Terry turned me on to those. 0:21:18.320 --> 0:21:21.359 Black radio you didn't have no black radio experience at 0:21:21.359 --> 0:21:23.119 the age of ten twelve. 0:21:23.240 --> 0:21:26.240 There wasn't a black radio experience for me. When I 0:21:26.280 --> 0:21:29.280 got into high school, I was really into or junior 0:21:29.359 --> 0:21:31.520 high and into high school, I was really into Gambling, 0:21:31.560 --> 0:21:35.000 Huff and everything coming out of Philadelphia. Blue Magic was 0:21:35.080 --> 0:21:38.040 my favorite all time group. I know everybody was into stylistics, 0:21:38.080 --> 0:21:39.800 but Blue Magic was my group. But how could you 0:21:39.920 --> 0:21:44.600 hear it or see it was? Oh yeah, Soul Train 0:21:44.680 --> 0:21:46.879 definitely was on, and you definitely would hear it on 0:21:46.960 --> 0:21:50.440 Soul Train. But I remember I had a friend of 0:21:50.520 --> 0:21:54.120 mine whose dad was an executive of music Land, which 0:21:54.119 --> 0:21:56.159 is one of the big retail stores back in the day. 0:21:56.200 --> 0:21:58.640 So he used to get every single record that came out. 0:21:59.680 --> 0:22:01.960 And my thing was I was always a big liner 0:22:02.040 --> 0:22:05.360 note reader and a big label reader. So my thing 0:22:05.600 --> 0:22:11.240 was wit we All collect and Ville Yes. So my 0:22:11.359 --> 0:22:14.760 whole thing was I remember there were records that would 0:22:14.800 --> 0:22:18.360 come out and I would particularly during the Motown era 0:22:18.480 --> 0:22:21.720 because I really I really loved the Motown records, all 0:22:21.760 --> 0:22:24.159 of that stuff, the Holland Dozer, Holland, like I remember 0:22:24.760 --> 0:22:27.439 I did. I remember looking at a Supremes album at 0:22:27.440 --> 0:22:29.920 a like a family reunion or something back in sixty 0:22:30.280 --> 0:22:32.080 two or something or sixty so I was like three 0:22:32.160 --> 0:22:34.359 or four years old, and I remember that Holland Dozer Holland. 0:22:34.800 --> 0:22:37.000 It was the album was called The Supreme sing Holland 0:22:37.040 --> 0:22:39.959 Dozer Holland, that gold record, and I the gold record, right, 0:22:40.160 --> 0:22:43.440 I had no idea what that meant. Well, I kept going, 0:22:43.560 --> 0:22:45.760 what does this mean? What do you mean they singing 0:22:46.000 --> 0:22:48.840 Holland Dozer Holland, And somebody explained to me, no, they 0:22:49.000 --> 0:22:51.399 wrote the songs. The girls are the singers, but somebody 0:22:51.440 --> 0:22:53.960 wrote the songs. And something went off in my head 0:22:54.000 --> 0:22:57.320 at that point. That always made me look who wrote it? 0:22:57.680 --> 0:23:01.280 Who produced it? And so I remember all the Motown 0:23:01.359 --> 0:23:03.359 records would be the first ones I'd always go to. 0:23:03.560 --> 0:23:05.600 And I remember like staring at the first time I 0:23:05.640 --> 0:23:10.119 heard I Want You Back Jackson five, and you know 0:23:10.240 --> 0:23:13.320 Dinah Ross and Dinah Ross presents the Jackson five, and 0:23:13.400 --> 0:23:15.760 I thought, oh wow, that's cool. And I looked down 0:23:15.800 --> 0:23:17.600 the record. I'm like, well, I don't see Donna Ross's 0:23:17.680 --> 0:23:22.120 name anywhere on here. Right, there's some dudes called the Corporation. 0:23:22.960 --> 0:23:24.840 I got to find out who the corporation is, you know. 0:23:24.960 --> 0:23:29.440 So that was always my my thing. And and I 0:23:29.520 --> 0:23:31.440 knew that because what I learned was there were certain 0:23:31.880 --> 0:23:34.879 there were groups I like, but it was all about 0:23:34.880 --> 0:23:37.399 who produced them. Like it was. It was like, you know, 0:23:37.640 --> 0:23:39.639 like Eddie Kendricks could come out with a song and 0:23:40.480 --> 0:23:43.760 I would be like, Yeah, that's okay. And then you 0:23:43.840 --> 0:23:45.360 come out with a song I go, oh, I love 0:23:45.440 --> 0:23:47.840 that song. Okay, who did that song? Okay? Leonard Casting 0:23:48.040 --> 0:23:52.160 and you know, Frank Wilson and okay. And then I'd 0:23:52.240 --> 0:23:55.080 hear another song that had nothing to do with Eddie Kendricks, 0:23:55.080 --> 0:23:57.040 but I'd go, oh, I like that track. Who did that? 0:23:57.640 --> 0:23:59.800 And it'd be the same dudes, right, and and that's 0:23:59.840 --> 0:24:02.119 what and I got. That's when I started going, Okay, 0:24:02.880 --> 0:24:06.320 that's that's my thing. And so for me, that's what 0:24:06.400 --> 0:24:08.880 always excited me, and that's what, you know, ultimately made 0:24:08.920 --> 0:24:11.240 me want to become a songwriter and a producer. 0:24:12.320 --> 0:24:14.359 What kind of equipment were you dealing with when you 0:24:15.280 --> 0:24:17.000 first started, Like did you have a piano in the 0:24:17.040 --> 0:24:19.920 house or Fender Roads or we had? 0:24:20.000 --> 0:24:23.040 How did you get it around to gigs? Oh? Well, okay, 0:24:23.359 --> 0:24:25.960 well I'll tell you. Our very first gig was the 0:24:26.000 --> 0:24:29.800 summer that I met Terry, which was seventy two, and 0:24:30.000 --> 0:24:33.720 I remember my dad. At the time, I thought of 0:24:33.840 --> 0:24:36.320 myself as a drummer. I'd had drums in the house 0:24:36.359 --> 0:24:39.080 since I was like five years old. They bought me 0:24:39.119 --> 0:24:40.800 a drum set and I used to play and I 0:24:40.880 --> 0:24:44.800 used to blast. I remember one of my favorite records 0:24:44.960 --> 0:24:50.120 was this Jackson fire record called Looking through the Window right, 0:24:50.480 --> 0:24:54.480 because I loved the way it had that and I 0:24:54.560 --> 0:24:56.600 used to play the drum to that, and I love 0:24:56.680 --> 0:24:59.240 that the way the and all that stuff, all the 0:24:59.320 --> 0:25:01.359 dynamics of it. So I used to play like to 0:25:01.480 --> 0:25:04.240 that kind of stuff, and so I thought of myself 0:25:04.240 --> 0:25:06.679 as a drummer. So what happened was Terry was going 0:25:06.720 --> 0:25:08.600 to put this band together to play at this kind 0:25:08.600 --> 0:25:13.880 of year in summer year in thing, and he said, 0:25:14.200 --> 0:25:18.080 but he heard me play piano, and so he said, man, 0:25:18.119 --> 0:25:20.160 I need you to play keyboards for me for this thing. 0:25:20.200 --> 0:25:23.280 And I said, I'm a drummer, Terry, and he said, no, nah, 0:25:23.280 --> 0:25:24.840 I heard you play the keyboards. I said no, but 0:25:24.920 --> 0:25:27.240 really I played the drums and he said, I already 0:25:27.240 --> 0:25:29.320 got a drummer, and I said, no, I played it. 0:25:29.400 --> 0:25:31.240 I played the keyboards. I mean I played the drums. 0:25:31.480 --> 0:25:35.159 So Terry then brought over jelly Bean Johnson, who was 0:25:35.200 --> 0:25:38.880 his drummer and jelly Bean played and I said, yeah, 0:25:38.920 --> 0:25:43.280 I can mess with some keyboards. Yeah, So that that 0:25:43.480 --> 0:25:46.639 ended my drumming career at that point. And it was 0:25:46.720 --> 0:25:49.480 Jelli being playing guitar back then, he played, Yeah, he 0:25:49.520 --> 0:25:51.679 did play guitar back then, but he was a drummer. 0:25:51.680 --> 0:25:53.560 I mean he was, I mean a great drummer. So, 0:25:53.680 --> 0:25:55.600 I mean you could tell it back then. He's super 0:25:55.680 --> 0:25:59.600 talented dude. And he's probably the one person in Terry. 0:25:59.640 --> 0:26:02.240 This probably in Terry's life longer than me. I mean, 0:26:02.280 --> 0:26:05.320 I think him and jelly Bean go back. I met 0:26:05.400 --> 0:26:08.760 Terry when I was probably thirteen or something, and jelly 0:26:08.800 --> 0:26:11.040 Bean probably precedes me by three or four years because 0:26:11.040 --> 0:26:13.600 they went to school together. So I didn't meet Terry 0:26:13.640 --> 0:26:16.680 till the summertime, you know, think, but yeah, I mean, yeah, 0:26:16.800 --> 0:26:18.760 he was amazing. So what we did is we went out. 0:26:19.560 --> 0:26:22.159 I was playing drums with my dad, okay, and he 0:26:22.240 --> 0:26:24.000 had a gig where he would play the weekends at 0:26:24.040 --> 0:26:27.640 a couple of clubs and stuff and that. And real quick, 0:26:27.720 --> 0:26:30.920 how that happened was he had a trio, right, and 0:26:31.080 --> 0:26:35.560 was him this guitar player named Coffee and a drummer. Right, 0:26:35.680 --> 0:26:38.040 But every they never could keep a drummer. So every 0:26:38.080 --> 0:26:42.479 week there'd be like a different drummer and so yeah, right, 0:26:43.440 --> 0:26:48.800 So eventually one there was a gig and the drummer 0:26:48.800 --> 0:26:52.720 didn't show up, and my mom said, why don't you 0:26:52.760 --> 0:26:56.040 let Jimmy play a set? He knows all your songs. 0:26:56.280 --> 0:26:58.440 We've been watching you play for all this time. That's 0:26:58.480 --> 0:27:03.639 a million So anyway, I so I did. I sat in. 0:27:04.480 --> 0:27:06.679 I did one set with him and stuff, and everybody 0:27:06.840 --> 0:27:09.360 liked it. Crowd liked it. Okay, right, So a couple 0:27:09.400 --> 0:27:12.879 of weeks later and stuff, same thing, and so Coffee, 0:27:12.920 --> 0:27:15.760 the guitar player said, you know, hey, well, my dad's 0:27:15.840 --> 0:27:17.720 name was Jim. Also, he say, Jim, you know, why 0:27:17.720 --> 0:27:19.240 don't you let your son go ahead and play? You know, 0:27:19.320 --> 0:27:22.000 he knows the show show is let him play, So 0:27:22.200 --> 0:27:25.320 I'm not sure about that whatever whatever, So anyway, I did. 0:27:25.400 --> 0:27:28.200 I played the whole show. So after they get into 0:27:28.240 --> 0:27:31.359 that gig, Coffee said to my dad, why don't you 0:27:31.440 --> 0:27:33.119 just let your son play? Man? We don't have to 0:27:33.200 --> 0:27:36.920 keep finding drummers, you know. So my dad said, okay, cool, 0:27:37.000 --> 0:27:39.720 we'll let you play. Will you are a drummer? And 0:27:39.800 --> 0:27:41.960 then my mom said, and he and my mom said 0:27:41.960 --> 0:27:46.000 how much you're gonna pay him? And she became my 0:27:46.080 --> 0:27:48.439 agent real quick. So and and then my dad said, well, 0:27:48.640 --> 0:27:50.640 you know, i'll throw him out, you know a little something. 0:27:50.640 --> 0:27:52.200 And she said, no, no, no, you're gonna pay him, 0:27:52.280 --> 0:27:55.280 just like you pay any drummer. Yes, did you pay right? 0:27:57.359 --> 0:28:00.159 And that was the start of my you know, and 0:28:00.240 --> 0:28:02.280 that started my little I don't know college runner. I 0:28:02.280 --> 0:28:04.240 don't know what happened to that money, but we started 0:28:04.240 --> 0:28:07.159 putting that money away. So that was parents. Do you 0:28:07.280 --> 0:28:09.840 ever see your college for money from all them beings? Yes? 0:28:10.359 --> 0:28:13.399 Ever, I had a fifty dollars savings bund like my 0:28:13.440 --> 0:28:15.160 grandmother bought me when I was like five. 0:28:15.359 --> 0:28:17.119 Never seen. I don't know where it's at. Yeah, I 0:28:17.200 --> 0:28:19.680 think my dad's been. Last time I saw it was 0:28:19.760 --> 0:28:21.399 on top of the TV. That was on top of 0:28:21.440 --> 0:28:27.240 the Big Team. It's been a long time ago. So 0:28:28.760 --> 0:28:33.240 how does how do you guys melt all your bands? 0:28:33.240 --> 0:28:37.320 Because I can assume that The Time is basically a 0:28:37.440 --> 0:28:45.560 supergroup of Minneapolis based musicians and one Illinois musician. Yeah, 0:28:46.280 --> 0:28:50.719 so what starts the process of you guys leaving your 0:28:50.760 --> 0:28:53.720 respective bands to become the Time? 0:28:55.080 --> 0:28:58.040 Okay, well that's uh I'll try to not make it 0:28:58.120 --> 0:29:01.160 too complicated. So here's there's a lot of moving parts. 0:29:02.280 --> 0:29:06.280 So for me, first of all, Terry at this point 0:29:06.360 --> 0:29:10.720 had put together what was the nucleus of Flight Time, 0:29:11.200 --> 0:29:15.160 which was Jellyban Johnson on the drums, Terry on the bass. 0:29:16.760 --> 0:29:20.800 Interesting story how he had found Monty Moyer because Terry 0:29:20.880 --> 0:29:23.040 had been trying to get me to join the band again. 0:29:23.120 --> 0:29:25.360 I was. I was off doing my own band for 0:29:25.400 --> 0:29:27.640 a while, and then I had actually quit doing that 0:29:28.560 --> 0:29:31.040 and I had started DJing in your band at that 0:29:31.080 --> 0:29:33.840 time when you drumming or were you playing keys, I 0:29:33.920 --> 0:29:35.880 was playing keys, and I was writing all the songs 0:29:36.120 --> 0:29:38.640 we did. We did all original songs, and it was 0:29:38.680 --> 0:29:41.960 all and I was doing my best, you know Tom 0:29:42.080 --> 0:29:46.720 Bell gambling of this is impression, mind and matter. Yeah, 0:29:46.880 --> 0:29:48.400 I mean that's what I was trying to do with 0:29:48.520 --> 0:29:50.040 a little bit of electronics in it. You know, I 0:29:50.040 --> 0:29:51.800 had a little synthesizer and stuff in it. But it 0:29:51.920 --> 0:29:54.520 was definitely trying to be that. That was that was 0:29:54.600 --> 0:29:59.320 my inspiration, and so so I had you know, those 0:29:59.360 --> 0:30:01.560 guys to me weren't serious. They were older guys. I 0:30:01.680 --> 0:30:03.480 was just at I was sixteen at the time. And 0:30:03.560 --> 0:30:06.080 those guys weren't really serious about it, like they're twenty 0:30:06.120 --> 0:30:07.840 two twenty three, and I didn't get well. They had 0:30:07.960 --> 0:30:10.120 jobs and families and kids and stuff. I'm like, twenty 0:30:10.160 --> 0:30:13.040 four hours music and you know, I'm like, y'all are 0:30:13.080 --> 0:30:15.120 messing up. You know, they get high and stuff, and 0:30:15.160 --> 0:30:16.920 I'd be like, y'all getting high, we need to be 0:30:16.960 --> 0:30:18.800 working on our music. And you know, they were like, 0:30:18.880 --> 0:30:21.000 who the fuck this punk kid you know telling us? 0:30:21.080 --> 0:30:24.080 You know. So anyway, eventually I just said forget it. 0:30:24.160 --> 0:30:27.320 So I started DJing. I started working at a record pool, 0:30:27.680 --> 0:30:29.720 you know, getting records. I started working at a record 0:30:29.920 --> 0:30:33.960 store because I the clubs I played at were influentential 0:30:34.120 --> 0:30:36.880 enough that I could know when I heard a record. 0:30:37.040 --> 0:30:38.880 I could go to the record store guy and he 0:30:38.920 --> 0:30:42.400 didn't trust me at first, but I could say to him, hey, 0:30:42.440 --> 0:30:45.040 there's this record. Matter of fact, MFSB had a record 0:30:45.080 --> 0:30:48.160 called Dance with Me Tonight, okay. And I had this 0:30:48.360 --> 0:30:51.120 girl named Joyce whenever I played at the club. And 0:30:51.240 --> 0:30:52.720 this is a teen club. Because I played at a 0:30:52.720 --> 0:30:54.680 bunch of different clubs as a DJ, I had and 0:30:54.960 --> 0:30:56.600 my crowd just kind of followed me around. But the 0:30:56.640 --> 0:30:59.560 teen crowd was my best. We did about fifteen hundred 0:30:59.600 --> 0:31:02.480 kids on a Friday and a Saturday night. It was huge, 0:31:02.480 --> 0:31:05.960 a huge pace, Yeah, huge pressure. Oh, it was great. 0:31:06.000 --> 0:31:08.080 It was it was awesome. It was awesome. It is 0:31:08.120 --> 0:31:10.160 the most one of the most fun moments of my 0:31:10.240 --> 0:31:12.920 life actually was doing that because just the whole idea 0:31:12.960 --> 0:31:15.720 of introducing people to music, which is amazing, and you 0:31:15.800 --> 0:31:17.479 know how that feels. I mean, you guys do that now. 0:31:17.600 --> 0:31:20.160 Teens hold you hoses today. So if you don't play 0:31:20.200 --> 0:31:24.000 what they know, well you know what, okay. So that 0:31:24.200 --> 0:31:26.400 that's my point. So I had this girl named Joyce, 0:31:26.480 --> 0:31:29.240 and Joyce I don't know where she was from, but 0:31:29.360 --> 0:31:32.640 she'd always hand me some record every week and she'd say, 0:31:34.160 --> 0:31:36.360 play this, this is gonna be whatever whatever, and i' 0:31:36.480 --> 0:31:38.280 and I'd listen to a little bit in the headphones 0:31:38.280 --> 0:31:40.200 and previewed and it would always sound a little weird 0:31:40.280 --> 0:31:42.440 to me, and I'd be like, Joyce, are you sure, 0:31:42.920 --> 0:31:44.560 and she'd go, yeah, yeah. And she had a crew 0:31:44.640 --> 0:31:46.600 of about three or four other people and she would 0:31:46.640 --> 0:31:48.800 get out and dance. She said, I know the dance 0:31:48.840 --> 0:31:51.160 floor is gonna clear, but we're gonna I'm gonna dance 0:31:51.800 --> 0:31:55.440 and we're gonna be cool. I mean, okay. So anyway, 0:31:55.600 --> 0:31:57.320 she brought me a whole bunch of different records, but 0:31:57.360 --> 0:31:59.600 the one I remember, the one of the first ones 0:31:59.680 --> 0:32:03.400 was Dawn for Me Tonight MFSB right. So, and I 0:32:03.440 --> 0:32:05.200 said to her, you know, Joyce, I got the album that. 0:32:05.240 --> 0:32:07.000 I said, I've heard the song. It ain't really that No, 0:32:07.160 --> 0:32:08.760 she said, no, but this is the twelve inches different. 0:32:08.760 --> 0:32:11.440 It's a different mix. I said, okay, cool. I put 0:32:11.520 --> 0:32:15.120 the record on and I go cause I talked to 0:32:15.240 --> 0:32:17.080 I'd mixed and I talked. I did both things, and 0:32:17.120 --> 0:32:19.360 I just said, here's a new one front zelm backzillm 0:32:19.480 --> 0:32:22.400 all right, exactly right. And I said, okay, here's a 0:32:22.440 --> 0:32:25.800 here's a brand new one, you know, exclusive, you know whatever, 0:32:25.920 --> 0:32:29.200 whatever whatever. I put the record on the intro of 0:32:29.280 --> 0:32:31.600 the records about I don't know. It's about sixteen bars 0:32:31.640 --> 0:32:34.480 and stuff, and it sounds like I don't know, it's 0:32:34.920 --> 0:32:37.840 it doesn't sound like nothing's gonna happen, right, And everybody's 0:32:37.920 --> 0:32:39.480 kind of staring at me for a minute because they 0:32:39.520 --> 0:32:41.920 pretty much trust me, so they're staring at me for 0:32:41.960 --> 0:32:44.120 a minute. And then I see him start to inch 0:32:44.240 --> 0:32:48.080 off the dance floor, and I'm like going, oh man, 0:32:48.280 --> 0:32:51.080 I'm right, and then all of a sudden, it kicks 0:32:51.120 --> 0:32:57.840 into this different group goes into this groove and I 0:32:57.880 --> 0:32:59.800 see every and then I see Joyce in the middle 0:32:59.800 --> 0:33:02.360 of the floor with her crew of people start dancing, 0:33:02.600 --> 0:33:04.520 and all of a sudden, now the dance floor starts 0:33:04.560 --> 0:33:06.280 coming back on the dance floor. By the end of 0:33:06.360 --> 0:33:09.560 the night that record, I had to play it again. 0:33:10.600 --> 0:33:12.280 They loved it that much, so I went to the 0:33:12.360 --> 0:33:14.520 record There was a record store called Hot Licks, and 0:33:14.560 --> 0:33:16.600 I remember this guy named Chico, I think his name 0:33:16.640 --> 0:33:19.080 was Chico fat fingers right, and he played, he played, 0:33:19.280 --> 0:33:23.200 he played, He played with a reggae band uh called 0:33:23.360 --> 0:33:25.600 Oh man, I'm gonna I can't remember the name. It's 0:33:25.640 --> 0:33:29.560 like Shagoy or Shambai or had some name like that. Anyway, 0:33:29.600 --> 0:33:31.400 he ran the store. So I walked into the store 0:33:31.400 --> 0:33:33.680 and I said, hey, man, this twelve inch dance with 0:33:33.760 --> 0:33:36.080 me tonight. Can you get some of these? And he 0:33:36.120 --> 0:33:38.000 said yeah. He says why and I said, because this 0:33:38.080 --> 0:33:39.760 is my number one song at my club. I'm gonna 0:33:39.760 --> 0:33:42.320 play it again next weekend. And I said, and I'm 0:33:42.320 --> 0:33:43.960 gonna tell everybody to come down that you're the only 0:33:44.000 --> 0:33:46.440 one that has the record downtown Minneapolis. You're the only 0:33:46.440 --> 0:33:49.320 one that has record. So okay, So he says, well, 0:33:49.320 --> 0:33:52.200 how many should I get? And I said, like a thousand? 0:33:52.720 --> 0:33:57.600 He said, what You're nuts? I said, okay, cool. So anyway, 0:33:57.800 --> 0:34:01.400 next weekend I played it pack the dance floor. I said, 0:34:01.720 --> 0:34:03.360 hot Licks, go down to Hot Licks, are the only 0:34:03.400 --> 0:34:07.320 ones in town with the record. He said, uh, Monday, 0:34:07.800 --> 0:34:10.319 he said, he sold out. And he said and I said, well, 0:34:10.320 --> 0:34:11.600 how many do you order? He said, well, I ordered 0:34:11.640 --> 0:34:13.759 five hundred. I said, I told you to get a thousand, right, 0:34:14.360 --> 0:34:16.719 And I remember I talked to him later on in life. 0:34:16.760 --> 0:34:19.480 I talked to some PR person that worked for CBS 0:34:19.560 --> 0:34:22.399 back in the day and they said, man, it was weird. 0:34:22.480 --> 0:34:26.560 This one record just jumped off for it, you know. 0:34:27.040 --> 0:34:30.920 So wait, we we always did this on Quest Love 0:34:31.000 --> 0:34:35.120 Supreme for old DJs. Can you can you front sell 0:34:35.440 --> 0:34:39.319 dance with me tonight? Right now? So yeah, I guess 0:34:39.440 --> 0:34:43.680 here we go, right, all right, here's an exclusive. You're 0:34:43.680 --> 0:34:46.600 gonna here first for the first time. You trust me 0:34:46.680 --> 0:34:50.560 all this one now, trust me? This is him speed 0:34:51.520 --> 0:35:06.200 dance with me tonight. Here we go. That was with me, 0:35:09.680 --> 0:35:12.360 you know. And you know what's funny is is that 0:35:12.640 --> 0:35:16.919 ended up being I kept charts from you know, dance 0:35:16.920 --> 0:35:18.720 Floor Reaction and all that stuff, and then I started 0:35:18.719 --> 0:35:20.640 printing the charts out and then I would take them 0:35:20.680 --> 0:35:23.359 down to the record store and I'd leave them right 0:35:23.600 --> 0:35:26.080 And that record was my number one record of all 0:35:26.280 --> 0:35:29.680 time during the probably year and a half that I was. 0:35:30.440 --> 0:35:32.200 I was at that club and she brought me some 0:35:32.320 --> 0:35:38.239 other ones, a Firecracker mass production, and then she brought 0:35:38.320 --> 0:35:42.560 me Firecracker was easy. The follow up was Forever, and 0:35:42.600 --> 0:35:46.480 I don't remember Forever. Forever started off with just a 0:35:46.600 --> 0:35:54.400 high hat, so it just started off with which was 0:35:54.440 --> 0:35:59.480 a guaranteed dance floor you know clearer really yeah, But 0:35:59.600 --> 0:36:02.440 she said, but wait till the beat kicks in, it's 0:36:02.480 --> 0:36:04.799 gonna be real cool. So I said, okay, here's new 0:36:04.840 --> 0:36:07.319 mass production. And people were like, well that they knew 0:36:07.360 --> 0:36:10.320 that Firecracker was the jam, so they stood with me 0:36:10.440 --> 0:36:12.239 for this one. And they stood and when they kicked in, 0:36:12.360 --> 0:36:20.480 they uh huh, it sounds like put the word yeah, 0:36:20.520 --> 0:36:36.160 watch when this kicks in. Though I never even knew 0:36:36.200 --> 0:36:39.160 they had a follow up record. This was a follow up. 0:36:39.320 --> 0:36:53.279 This was a follow up and Masterpieces in A S S. 0:36:57.160 --> 0:37:00.960 They're in storage. Wow, yeah you are. Joyce should have 0:37:01.000 --> 0:37:03.279 got an A and a job, right, Joyce was. Joyce 0:37:03.400 --> 0:37:06.680 was incredible. Man, my DJ game already. I'm gonna play 0:37:06.719 --> 0:37:08.360 these two in my next sets. I got, I got. 0:37:08.480 --> 0:37:10.719 I'll give you one more from that from that day. 0:37:11.000 --> 0:37:13.880 What about are you familiar with breakwater? Do it till 0:37:13.880 --> 0:37:17.320 the fluid gets hot? I don't know that. Do it 0:37:17.400 --> 0:37:20.160 to the fluid gets hot? Let me go and uh 0:37:20.520 --> 0:37:23.359 release the beast, but do it to the fluid gets 0:37:23.400 --> 0:37:25.000 Do it to the fluid gets hot. That was another 0:37:25.000 --> 0:37:26.680 one that was really hot for me. And these records 0:37:26.680 --> 0:37:29.000 were only big at my club, right and at this 0:37:29.160 --> 0:37:35.359 record store. That was the weird thing about it. Oh yeah, okay, 0:37:35.400 --> 0:37:36.840 I know this got that one? Yeah, I know that. 0:37:38.360 --> 0:37:40.560 At the time, just DJ Jimmy James. 0:37:42.560 --> 0:37:43.279 Where was your DJ? 0:37:43.680 --> 0:37:49.719 It was Jimmy jam That came from DJing really yeah? Okay, yeah, 0:37:49.800 --> 0:37:52.400 that came from Jay So what happened? So? Okay? So 0:37:53.280 --> 0:37:57.080 that club was called the Disco Track right now. Also, 0:37:57.200 --> 0:37:59.680 Downtown was a club that went through a series of 0:37:59.680 --> 0:38:02.040 different names, but when I worked there, it was called 0:38:02.120 --> 0:38:06.440 the Fox Trap. Okay, Now, the Fox Trap had three levels. 0:38:06.680 --> 0:38:10.560 Downstairs live music, second floor was DJ, which was me, 0:38:10.960 --> 0:38:12.759 and then third floor was a DJ, but it was 0:38:12.880 --> 0:38:15.560 more chill or you know, laid back right, more of 0:38:15.640 --> 0:38:20.319 a lounge type situation. So when I started working, there 0:38:20.400 --> 0:38:23.279 was a DJ named Kyle Ray, and Kyle Ray was, 0:38:25.000 --> 0:38:27.080 as you call it, the front selling DJ. Like he 0:38:27.160 --> 0:38:30.080 did no mixing at all. It was all just personality 0:38:30.320 --> 0:38:35.279 and playing records, right, So I took an example from him. 0:38:35.320 --> 0:38:40.320 He was actually tragically killed, which was like nuts and 0:38:41.080 --> 0:38:44.480 he tragically died, and so I kind of had borrowed 0:38:44.480 --> 0:38:46.960 a little of his style as far as front loading 0:38:47.000 --> 0:38:50.200 the records. But I could also mix because I had, 0:38:50.320 --> 0:38:52.160 you know, kind of the musical thing, so I always 0:38:52.160 --> 0:38:54.040 did a combination of it. And then I had a 0:38:54.080 --> 0:38:57.040 little keyboard which I actually have downstairs, which was my 0:38:57.120 --> 0:38:59.400 first synthesizer, and I used to play along with the 0:38:59.480 --> 0:39:03.279 records and ate my own little stuff. So I was 0:39:03.360 --> 0:39:06.840 doing that and that, and there was a at the 0:39:07.000 --> 0:39:09.200 I was just going by Jimmy Harris, which was my name, 0:39:09.840 --> 0:39:14.000 and there was a bartender from Philly who called himself 0:39:14.080 --> 0:39:18.400 Delphonix right right, and I went over to get you know, 0:39:18.480 --> 0:39:20.960 a drink from him or whatever, a cold because I 0:39:21.360 --> 0:39:23.239 don't think I was. I don't think that I was eighteen. 0:39:23.280 --> 0:39:24.960 I was probably still seventeen eight I don't I don't 0:39:24.960 --> 0:39:26.520 even think. But I didn't drink anyway, so it didn't 0:39:26.520 --> 0:39:31.919 really matter. And he said yo. He said man. He said, 0:39:32.000 --> 0:39:34.600 I what kind of name you got? Man? And I said, 0:39:34.640 --> 0:39:36.719 what do you mean? I said, what's your DJ name? 0:39:36.800 --> 0:39:38.440 And I said I don't know. He said, man, you 0:39:38.480 --> 0:39:40.760 gotta be you gotta be something. Man. I'm telling everybody 0:39:40.800 --> 0:39:44.120 your name's Jimmy Jam. And I said, okay. He said, 0:39:44.200 --> 0:39:47.080 Jimmy Jams, pot pots and pans, shake my hand. He 0:39:47.120 --> 0:39:49.040 went into this whole rap, right, and I was like, 0:39:49.800 --> 0:39:54.320 that's okay, cool. Right, So anyway, he started telling everybody 0:39:54.400 --> 0:39:58.360 my name was Jimmy Jam and it just stuck, and 0:39:58.440 --> 0:40:00.319 even to the point when we did the first time 0:40:00.440 --> 0:40:04.000 record and I said to Prince when Prince was doing 0:40:04.080 --> 0:40:07.920 like the credits on the record, and I said, Prince, 0:40:08.080 --> 0:40:10.239 what name should I be under? And he said you 0:40:10.280 --> 0:40:13.680 should be Jimmy Cham. I said, okay, cool. So that 0:40:13.840 --> 0:40:15.719 was it. So then it was historic because it was 0:40:15.760 --> 0:40:19.799 in printed. Brother gave me my name Delphonix. Yes, sir, 0:40:19.880 --> 0:40:35.759 the bartender at the Fox Trap. Okay, so I'm sorry 0:40:35.760 --> 0:40:41.680 because we're totally off track here. Yeah, okay, So okay, 0:40:41.840 --> 0:40:44.120 So I tell this story about playing in all the 0:40:44.120 --> 0:40:49.600 different clubs and stuff. So at the Fox Trap, Terry 0:40:49.960 --> 0:40:53.040 was playing downstairs in the in the live music room. 0:40:53.360 --> 0:40:56.080 I was playing upstairs right and the DJ room, and 0:40:56.200 --> 0:40:58.640 Terry used to come up. And Terry is really good 0:40:58.760 --> 0:41:01.480 at bugging the ship out of peace and twisting their arm, 0:41:01.640 --> 0:41:04.640 and he's really good at that. He's stubborn, right. So 0:41:04.840 --> 0:41:07.480 his whole thing was, man, you ain't a DJ man, 0:41:07.640 --> 0:41:09.440 you're a musician man. You need to join the band, 0:41:09.480 --> 0:41:11.359 and we need a keyboard player and such and such 0:41:11.400 --> 0:41:13.680 and and I'm like, Terry, I just I'm not feeling it, man, 0:41:13.840 --> 0:41:17.400 you know whatever. So one day he comes up to 0:41:17.520 --> 0:41:19.799 the booth and he says, jam, he said, we got 0:41:19.800 --> 0:41:23.000 a keyboard player. And I thought, oh great, he's gonna 0:41:23.080 --> 0:41:25.840 quit bugging me now. And he says right. So I'm like, 0:41:26.239 --> 0:41:27.560 he said come down, and you should come down and 0:41:27.640 --> 0:41:31.000 check him out. And I said, okay, cool. So I 0:41:31.040 --> 0:41:32.960 grabbed knee deep by funk a delic, which was I 0:41:33.040 --> 0:41:36.560 think seventeen minutes or whatever it was. I put that 0:41:36.760 --> 0:41:39.040 on and I jumped out the booth. It was pretty 0:41:39.040 --> 0:41:40.560 early in the night, so it wasn't you know, nobody 0:41:40.600 --> 0:41:42.480 would have cared if if it went ran out. But 0:41:42.880 --> 0:41:47.560 I ran downstairs. I walk into the room. I hear 0:41:47.640 --> 0:41:51.000 they're playing what you Won't Do For Love Bobby Calwell, right, 0:41:51.719 --> 0:41:54.240 and so they're saying, and I'm hearing this somebody singing 0:41:54.880 --> 0:42:01.479 and dun dudu. I'm like looking around singing, somebody singing 0:42:01.520 --> 0:42:04.640 their asshole? Who's singing? And I looked behind this stack 0:42:04.680 --> 0:42:09.520 of keyboards and this little white guy right and I'm 0:42:09.600 --> 0:42:12.759 like looking and I'm like, oh wait, his mouth is moving, 0:42:12.800 --> 0:42:15.320 but it doesn't sound like a white boy singing. And 0:42:15.560 --> 0:42:18.160 who is that? You know? So I went back upstairs. 0:42:18.200 --> 0:42:19.600 I looked at Terry and I went, you know, gave 0:42:19.680 --> 0:42:21.400 the thumbs up. I went back upstairs. So after the 0:42:21.440 --> 0:42:24.160 gig was over, I came back down. I said, hey, man, 0:42:24.200 --> 0:42:26.239 who was singing to Bobby Callwell? He said, that's our 0:42:26.280 --> 0:42:29.319 keyboard player, Monty Moyer. And I said, oh, I said 0:42:29.400 --> 0:42:31.839 nice to meet you, Monty. I said cool. Terry, I said, 0:42:31.840 --> 0:42:33.640 well good, you got your keyboard player. Now we you know, 0:42:33.880 --> 0:42:37.319 good luck, you know, he said, no, man, he said, 0:42:37.320 --> 0:42:39.880 we got to have two keyboard players. Man, that's the 0:42:40.320 --> 0:42:43.200 that's the vibe, two keyboard players. So fast forward a 0:42:43.239 --> 0:42:46.320 little while. I was going out with this older lady, 0:42:46.840 --> 0:42:49.680 right and h she was beautiful too, Puerto Rican. Oh 0:42:49.760 --> 0:42:53.640 my god. Anyway, so anyway she broke my heart. I 0:42:53.719 --> 0:42:55.799 was I think I was eighteen. She was thirty proudly right, 0:42:55.960 --> 0:43:03.480 oh wow, so damn. Her name her name was Carmen, 0:43:03.520 --> 0:43:06.680 and she worked at the Horse of course, she worked 0:43:06.719 --> 0:43:09.160 at the at the cosmetic counter, one of the stories 0:43:09.239 --> 0:43:11.720 up there, man, and she just was amazing. So anyway, 0:43:11.920 --> 0:43:14.360 she broke over me. So I'm a little broken hearder 0:43:14.360 --> 0:43:16.759 than I'm walking home, right, I'm walking from her apartment home, 0:43:16.800 --> 0:43:18.600 which is, you know, maybe ten blocks not that far. 0:43:19.160 --> 0:43:20.800 So I'm walking up Lake Street, which was one of 0:43:20.840 --> 0:43:24.080 the main things. And I walked by this club. I 0:43:24.120 --> 0:43:25.239 didn't even know it was a club. It was like 0:43:25.280 --> 0:43:27.520 a community center. And I'm walking by and I hear, 0:43:27.680 --> 0:43:29.160 you know, music coming out of it and stuff, and 0:43:29.200 --> 0:43:31.719 I was like something going on in here, right, So 0:43:31.760 --> 0:43:34.239 I opened the door, I look in, I walk in. 0:43:34.360 --> 0:43:38.319 There's a band rehearsing. Whose band is it Terry's band? Right? 0:43:39.640 --> 0:43:41.440 I said, Terry, what's up? Man? He said, oh, this 0:43:41.520 --> 0:43:43.640 is our rehearsal space. Man. Where you know this? They 0:43:43.719 --> 0:43:45.680 opened up this club. They're letting us rehearse here and 0:43:45.680 --> 0:43:47.640 then they're going to actually open it up night times. 0:43:47.680 --> 0:43:51.680 And it was called the YASM y a a s M, 0:43:52.200 --> 0:43:56.840 which was the Young African American Society of Men or 0:43:56.880 --> 0:44:06.160 something like that or something. Yeah, it turned out it's upstanding. Yeah. Yeah, 0:44:06.640 --> 0:44:09.560 so they yeah them. So anyway, I was like, okay, cool. 0:44:09.760 --> 0:44:12.000 So anyway, they're in their rehearsing and stuff. I said, yeah, 0:44:12.080 --> 0:44:14.120 cool cool. So Terry said yeah, man, so come on, man, 0:44:14.120 --> 0:44:15.880 you're ready to join the band. And I said no, man, 0:44:15.920 --> 0:44:18.080 I said, I you know, I'm this girl. Just broke 0:44:18.160 --> 0:44:20.440 my heart, man, you know. And Terry's like, man, you 0:44:20.520 --> 0:44:22.080 get your mind off it, man, you know, you just 0:44:22.160 --> 0:44:23.839 need to jump back in. Just I said, nah, man, 0:44:24.160 --> 0:44:26.200 I don't have any keyboards. Man. You know, I sold 0:44:26.200 --> 0:44:28.880 all my keyboards and stuff. You know, we'll get you keyboards, man, 0:44:28.920 --> 0:44:29.799 what kind of keyboards you want? 0:44:29.840 --> 0:44:29.920 Man? 0:44:29.960 --> 0:44:31.799 I said no, no, I don't, Terry, I'm good right. 0:44:32.120 --> 0:44:35.160 So this is before cell phones right, I go home. 0:44:35.400 --> 0:44:38.719 Next day, my phone rings Terry Lewis, Come on jan 0:44:38.760 --> 0:44:40.560 what you're gonna do? Man? Come on man, we got 0:44:40.719 --> 0:44:42.560 we got keyboards for you. Man, come on down, come 0:44:42.640 --> 0:44:44.480 on down, you know. And at that point they had 0:44:44.480 --> 0:44:47.239 started getting some gigs and stuff. They were gonna be 0:44:47.280 --> 0:44:50.319 opening for the Barkas and Switch at this concert, right whoa, 0:44:50.760 --> 0:44:52.799 So it was like, man, you got to join the band. Man, 0:44:52.840 --> 0:44:55.440 we're gonna be opening for Barkas and Switch. Now, at 0:44:55.480 --> 0:45:01.160 this point in time, the Alexander O'Neill was our lead singer. Okay, okay, 0:45:01.360 --> 0:45:04.200 so this is when alex was the lead singer. So anyway, 0:45:04.239 --> 0:45:06.560 we had a nice little band. We had basically the band. 0:45:06.600 --> 0:45:08.239 We didn't have a guitar player. We it was kind 0:45:08.280 --> 0:45:10.399 of we would rent a guitar player, but we didn't 0:45:10.400 --> 0:45:14.759 really have anybody serious on guitar. Right, So anyway, we 0:45:14.880 --> 0:45:18.800 go and do the gig. The gig was cool. Somebody 0:45:18.880 --> 0:45:22.080 from Switch stole some some of our shoes. Really yeah, 0:45:22.560 --> 0:45:28.400 yeah exactly, so anyway, but it was cool. So at 0:45:28.440 --> 0:45:30.440 that point I pretty much was in that. So anyway, 0:45:30.480 --> 0:45:32.360 so the band was set, except we didn't have a 0:45:32.440 --> 0:45:36.279 guitar player. So we started gig and started doing our thing. 0:45:36.400 --> 0:45:39.040 Our reputation was basically that we were the we were 0:45:39.080 --> 0:45:42.640 the best band in Minnesota. So we you know, would 0:45:42.680 --> 0:45:47.080 other bands agree with you, Well, yes they would actually, 0:45:47.680 --> 0:45:51.360 interestingly enough, because what happened was so this is the 0:45:51.440 --> 0:45:54.919 Jesse Johnson piece. Okay, so Jesse had Jesse had moved 0:45:54.920 --> 0:45:58.120 to Minneapolis, or actually had come to Minneapolis because he 0:45:58.200 --> 0:46:01.960 heard Prince was looking for a guitar player. But he 0:46:02.120 --> 0:46:04.520 was mistaken because he was actually looking for a bass player. 0:46:04.600 --> 0:46:07.600 He was looking for somebody and he ended up getting 0:46:07.640 --> 0:46:12.279 brown Mark. But he but Prince met him, and Prince, 0:46:12.480 --> 0:46:15.120 you know, like Jesse, and he said, he told Jesse, 0:46:15.280 --> 0:46:17.080 he said, you should, you should stay in town and 0:46:17.400 --> 0:46:19.120 and you know, get in one of the bands up 0:46:19.160 --> 0:46:23.440 here and just you know, stick around. So Jesse went 0:46:23.480 --> 0:46:26.560 to Morris's band, which was called Enterprise Band and Pleasure. 0:46:27.520 --> 0:46:31.279 So Morris, interestingly enough, was the drummer in that band, 0:46:31.880 --> 0:46:34.520 not the lead singer, and a girl named Sue Anne 0:46:34.560 --> 0:46:40.560 Carwell was the lead singer. Yeah, Sue Anne Carwell was amazing, 0:46:41.280 --> 0:46:44.600 amazing singer. Prince Di's a lot of stuff with her 0:46:44.880 --> 0:46:46.520 back in the day too. Yeah, I mean she was 0:46:46.560 --> 0:46:50.839 she was an amazing singer. Interestingly enough, little side note, 0:46:52.400 --> 0:46:55.480 Morris did come up and sing one song every night. 0:46:55.560 --> 0:46:57.480 He got off the drums and sue An actually went 0:46:57.520 --> 0:47:01.239 back and played the drums. Oh, they traded switch and 0:47:02.000 --> 0:47:06.800 the song was ironically too Hot, like cool in the 0:47:06.840 --> 0:47:10.160 game Cool the game. Oh okay, okay, okay. So mister 0:47:10.239 --> 0:47:15.440 Coole sang too Hot, so so and he sang it 0:47:15.520 --> 0:47:17.239 really good. That was the funny thing. And if you 0:47:17.239 --> 0:47:18.839 think about it, that's a really tough song to sing. 0:47:18.880 --> 0:47:20.719 There's a lot of different intervals and it's crazy. If 0:47:20.719 --> 0:47:22.919 you ever watch people try to sing that song, it's tough. 0:47:24.040 --> 0:47:30.279 The bridge is tough. No, it's think about it. You 0:47:30.320 --> 0:47:34.000 gotta hit all the Yeah, it's a lot of and 0:47:34.040 --> 0:47:36.759 then it goes to the chain and then you know 0:47:36.920 --> 0:47:39.120 it's a lot. Anyway, he used to hit it flawlessly 0:47:39.160 --> 0:47:42.799 every night. Right, So, anyway, everybody kept telling us about 0:47:42.840 --> 0:47:45.480 this guitar player. You know, they come to our gigs 0:47:45.480 --> 0:47:48.560 and they'd be like, man, you checked out Morrison Nim's 0:47:48.560 --> 0:47:50.799 guitar player, and we were like no, I said, man, 0:47:50.840 --> 0:47:53.000 they got this guitar player. Man, he wears pink suits. 0:47:53.800 --> 0:47:55.799 It does like ten minute guitar solos man, you got 0:47:55.920 --> 0:47:57.680 to check him out. And we were like, okay, cool. 0:47:57.760 --> 0:48:00.600 So we had a night off, we went over and 0:48:00.680 --> 0:48:04.800 checked him out. He was exactly as advertised, right. So 0:48:05.040 --> 0:48:09.279 afterwards we went up to two women. We said, hey, man, 0:48:09.320 --> 0:48:11.040 you need to come join our band. You need to 0:48:11.080 --> 0:48:14.040 come watch us. You know, nothing against Morris, but you 0:48:14.120 --> 0:48:16.879 need to come to our band. So he said, okay, cool. 0:48:16.960 --> 0:48:21.840 So the next weekend he came, well, I mean, you know, 0:48:21.960 --> 0:48:23.440 because I mean there's no I mean, it is all 0:48:23.520 --> 0:48:26.600 word of mouth and it was fighting words then taking 0:48:26.680 --> 0:48:28.880 money out of my mouth. Well there's no social I 0:48:28.960 --> 0:48:30.520 mean there's no social media, so I mean it's all 0:48:30.600 --> 0:48:32.200 just kind of word of mouth. Somebody hears something, they 0:48:32.200 --> 0:48:33.600 tell the next person, they tell the next person, so 0:48:33.680 --> 0:48:36.640 on and so forth. That's what it was. And so anyway, yeah, 0:48:36.719 --> 0:48:39.799 so you know, he came over, checked our band out 0:48:41.120 --> 0:48:44.719 and we were good, right. So he went back to 0:48:44.840 --> 0:48:49.320 Morris and he said, yo, Morris, he said, you know, 0:48:49.440 --> 0:48:51.520 no offense man, but you know I'm going to join 0:48:51.600 --> 0:48:55.919 Flight Time. Man. They're like really good. And what Moris 0:48:55.960 --> 0:48:58.960 said actually kind of surprised. Well, it surprised us when 0:48:59.000 --> 0:49:03.040 we he told us he said, he said, and Morris said, yeah, 0:49:03.080 --> 0:49:04.759 that's cool, Jesse, because pretty soon we're all going to 0:49:04.800 --> 0:49:08.840 be one band anyway. Wow. And we didn't know what 0:49:08.960 --> 0:49:11.239 that meant. We were like, what's the time I was 0:49:11.440 --> 0:49:13.800 gonna be one band? That doesn't make any sense. Okay. So, 0:49:15.080 --> 0:49:18.320 as the story goes, Prince when he was doing the 0:49:18.520 --> 0:49:21.680 Dirty Mind album, right, and of course the first couple 0:49:21.719 --> 0:49:24.160 of albums he did were more R and B records 0:49:24.560 --> 0:49:26.600 with some rock stuff on it, but Dirty Mind was 0:49:26.640 --> 0:49:30.440 a whole different departure. Warner Brothers was scared of Dirty 0:49:30.520 --> 0:49:34.239 Mind because they didn't hear any like funky hits on there. 0:49:34.960 --> 0:49:39.799 Uptown sort of in that, but they wanted another song. 0:49:39.840 --> 0:49:42.719 They said, we need another funky song on the record. Right. 0:49:44.160 --> 0:49:49.759 So Morris actually wrote Party Up, but Prince took the 0:49:49.800 --> 0:49:53.360 credit for it. But he owed Morris a favor and 0:49:53.680 --> 0:49:56.799 he told Morris, if you put a band together, I'll 0:49:56.840 --> 0:50:00.719 get your record deal. So Morris came over to our 0:50:00.840 --> 0:50:03.880 band and said, Prince said, if I put a band together, 0:50:03.880 --> 0:50:05.920 he'll give it, get it, get us a record deal. 0:50:06.480 --> 0:50:09.000 So y'all just be the band and now we'll go 0:50:09.040 --> 0:50:11.799 get a record deal. And that's how Mores ended up 0:50:12.640 --> 0:50:14.960 in the band. But that's not the end of the store. 0:50:15.080 --> 0:50:18.160 I was gonna say so because he didn't want to 0:50:18.160 --> 0:50:22.359 sing initially, right, alex. So we had two dilemmas. One 0:50:22.600 --> 0:50:25.600 was well, actually it wasn't the We actually had one 0:50:25.640 --> 0:50:29.000 dilemma because Alexander O'Neil was the lead singer of the group. 0:50:30.160 --> 0:50:32.399 Was he a good lead singer? Singer at that time? 0:50:32.480 --> 0:50:41.600 Alexandro amazing. Never would sing the same lyrics. Twice we 0:50:41.719 --> 0:50:43.319 had a song called I remember, we had a song 0:50:43.400 --> 0:50:47.239 called march Wright that was an original song, and every 0:50:47.320 --> 0:50:49.719 gig he'd sing different lyrics. He just would just make 0:50:49.800 --> 0:50:52.520 up lyrics as he went along. The chorus would always 0:50:52.520 --> 0:50:54.279 be the same, but the actual lyrics he would sing 0:50:54.360 --> 0:50:57.160 were always different. And he did that a lot because 0:50:57.160 --> 0:50:58.920 he never showed up the rehearsals and he never you know, 0:51:00.080 --> 0:51:02.160 he didn't really care, but he no, he could pull 0:51:02.200 --> 0:51:07.440 it off. He was alex was amazing. So anyway, our 0:51:07.520 --> 0:51:10.840 big dilemma was, well, if Morris is the drummer, what 0:51:10.960 --> 0:51:16.319 happens to Jellybee? Do we have two drummers? Jelly Bean 0:51:16.440 --> 0:51:18.359 was good on guitar, but not at the point where 0:51:18.400 --> 0:51:20.480 we could make him into a guitar player, so he 0:51:20.600 --> 0:51:22.279 was kind of like gonna be the odd man out 0:51:22.320 --> 0:51:24.960 and it was almost like, Wow, who's going to break 0:51:25.000 --> 0:51:28.279 the news to Bean? And oh really? Oh yeah, so 0:51:28.400 --> 0:51:32.279 we were at that point. Well, so Prince called a 0:51:32.719 --> 0:51:37.239 dinner at Perkins Cake and Steakhouse, which is sort of 0:51:37.360 --> 0:51:44.200 like the equivalent of Denny's but better. No, it's still there. Still. 0:51:44.320 --> 0:51:47.360 I went to that Perkins Yep, my first night at 0:51:47.400 --> 0:51:51.240 Paisley Park. Yep, it's still there. Right, that's crazy. So anyway, 0:51:51.719 --> 0:51:54.600 we sit down and we're all going to have dinner basically, 0:51:54.719 --> 0:51:56.600 and Prince is gonna kind of lay out the game 0:51:56.680 --> 0:52:01.600 plan and what we're gonna do. Right, So Alexander O'Neil's there. Now. 0:52:01.680 --> 0:52:04.080 The first thing to say about Alex is Alex always 0:52:04.120 --> 0:52:08.399 speaks in the third person, like a football player. Yeah. 0:52:13.200 --> 0:52:16.040 So so Alex, now, you know, he goes into his 0:52:16.360 --> 0:52:19.319 before now we've we've ordered food, right, and of course 0:52:20.360 --> 0:52:22.920 Princess buying, so Alex orders a big steak and he 0:52:23.200 --> 0:52:29.560 orders all this food. Right, So Alex goes okay, Prince 0:52:29.600 --> 0:52:32.120 before we get started, because he had a little lisp, right, 0:52:32.200 --> 0:52:34.000 so he would have go okay, Prince, before we get 0:52:34.000 --> 0:52:35.360 started and things like that that you know, I had 0:52:35.360 --> 0:52:36.839 a few things I just want to get off my chest. 0:52:37.440 --> 0:52:41.520 Here we go and and we're all like looking at 0:52:41.560 --> 0:52:43.920 Alex like what what are you doing? Man? And He's like, so, 0:52:44.560 --> 0:52:46.359 you know, here's the thing, you know, Alex, thatwn On Neil. 0:52:46.480 --> 0:52:48.279 You know, first of all, Adaxon On Neil need you know, 0:52:48.320 --> 0:52:51.400 I need a new house. I needed. I need a 0:52:51.440 --> 0:52:53.640 new call, you know, I need. I need a pooling things, 0:52:53.680 --> 0:52:55.920 you know, a down on Neil. You know, yeah, I 0:52:55.960 --> 0:52:58.080 need a pooling things, you know, down need you know, 0:52:58.239 --> 0:52:59.600 I just need some things. You know. I know this 0:52:59.800 --> 0:53:01.719 this whole record thing is real cute and all that 0:53:01.800 --> 0:53:03.520 stuff that, but this, you know, out of that o 0:53:03.600 --> 0:53:05.719 Neil needs some things. You know what I'm saying, Prince. 0:53:05.760 --> 0:53:07.600 You know, so this is all cute and everything, you know, 0:53:07.680 --> 0:53:09.120 but I'm just letting you know that, you know, before 0:53:09.120 --> 0:53:11.480 we get started. You know, this is and and as 0:53:11.560 --> 0:53:15.400 he's talking, everybody's kicking each other under the table and 0:53:15.520 --> 0:53:18.200 nudging everybody like what the heck is this dude doing. 0:53:18.280 --> 0:53:20.719 We ain't even got the deals, ain't so Louien sign 0:53:20.800 --> 0:53:25.640 condoeen nothing. It's like, you know, so as he's talking, 0:53:26.760 --> 0:53:28.960 and I see this and if we ever do our 0:53:29.120 --> 0:53:33.800 movie we want to do, it's like a movie. Alex. 0:53:34.000 --> 0:53:39.680 The waiter comes and as Alex is finishing his tirade, 0:53:40.840 --> 0:53:43.960 puts this big steak down in front of him, and 0:53:44.160 --> 0:53:47.400 Alex goes right on, Cue Prince, that's just the way 0:53:47.440 --> 0:53:48.640 I see it. So I'm gonna go ahead and throw 0:53:48.640 --> 0:54:01.400 down and see a steak right here. So Prince and 0:54:01.719 --> 0:54:06.640 Morris look at each other and get up and leave 0:54:06.719 --> 0:54:13.000 the restaurant. Yeah, they're gone. So now we're like, going, 0:54:13.760 --> 0:54:18.560 he's gonna pay for this stake. This is not right. Yeah. Yeah. 0:54:19.000 --> 0:54:22.520 So we're like, okay, this is not good. So anyway, 0:54:22.640 --> 0:54:24.120 I don't even know. We were like, dude, what are 0:54:24.120 --> 0:54:27.440 you What are you doing here? Man? What are you doing? Alex? Well, man, 0:54:27.440 --> 0:54:29.120 I'm you know, I'm just you know, trying to point 0:54:29.120 --> 0:54:30.680 out a few things. You know, people think, you know, 0:54:30.920 --> 0:54:32.839 because I'm telling you man, you know, he's the way 0:54:32.880 --> 0:54:34.480 it is without that O'Neill. You know, if there's a 0:54:34.520 --> 0:54:36.279 bear in the woods in Alexander, Neil, you better help 0:54:36.320 --> 0:54:46.040 the beard because you don't got to help Alexander. And 0:54:46.160 --> 0:54:48.080 by the way, we have a publishing company called Help 0:54:48.120 --> 0:54:52.160 the Bear. And that's why because that was Alexis. That 0:54:52.280 --> 0:54:56.279 was Alexis line. So, needless to say, we just thought 0:54:56.320 --> 0:54:59.399 everything was done. And I can't remember whether So Terry 0:54:59.440 --> 0:55:01.200 got a phone call and I can't remember whether it 0:55:01.320 --> 0:55:04.120 was from Morris or from Prince. I think it might 0:55:04.160 --> 0:55:09.040 have been from Prince, and he just said because it 0:55:09.120 --> 0:55:10.960 was just it was a very short thing. It was. 0:55:11.200 --> 0:55:13.719 It was basically lose the Bear. Yeah, it was like 0:55:15.440 --> 0:55:22.040 Alexander or Neil is out, Morris Day is the lead singer, 0:55:22.800 --> 0:55:26.359 Jelly Breen Johnson is the drummer. Meet tomorrow at nine 0:55:26.400 --> 0:55:29.440 o'clock at such and such and such at the Yasm 0:55:30.680 --> 0:55:34.480 to rehearse. And that was it, and Alex was done. 0:55:35.040 --> 0:55:40.120 Bean was the drummer, Morris was somebody told him. I 0:55:40.160 --> 0:55:42.319 don't know who told him, but yeah, he got the word. 0:55:42.760 --> 0:55:44.520 But I need to know the story of the next 0:55:44.560 --> 0:55:47.719 time you saw Alex. So was Alex cool with this? 0:55:48.880 --> 0:55:50.920 Of course? Not? Well? Yeah, because yeah, because you know, 0:55:51.000 --> 0:55:56.360 help the Bean. You don't even know, no, But I 0:55:56.400 --> 0:55:59.319 remember what our conversation with the conversation I remember having 0:55:59.360 --> 0:56:01.520 with Alex after that was just one where we said 0:56:01.520 --> 0:56:05.120 to him, hey, man, if we make it, meaning me 0:56:05.200 --> 0:56:07.200 and me and Terry had this conversation with him. We 0:56:07.280 --> 0:56:09.279 just said, man, when we make it, we're coming back 0:56:09.320 --> 0:56:13.359 and getting you. And that was it. And see, Bill, 0:56:13.560 --> 0:56:19.080 it works out, no, because we we you know, it 0:56:19.280 --> 0:56:21.719 just you know, we felt bad and we felt like, 0:56:21.840 --> 0:56:23.440 you know, we didn't know the way things were going 0:56:23.520 --> 0:56:25.200 to work out, that we'd actually have an opportunity to 0:56:25.400 --> 0:56:27.719 do that and come back and grab him. But we 0:56:27.840 --> 0:56:30.400 did the way things worked out. But now we just 0:56:30.520 --> 0:56:32.040 kind of felt like that, and you know, and then 0:56:32.480 --> 0:56:34.480 at that point we were we were off and running 0:56:34.560 --> 0:56:37.840 and Alex was just you know, still gigging locally and everything, 0:56:38.239 --> 0:56:40.680 you know. But yeah, he talked himself right out of 0:56:40.760 --> 0:56:43.960 that and we did one song with Alex, actually recorded 0:56:44.000 --> 0:56:46.840 one song called you. It was called you, Yeah, he 0:56:47.000 --> 0:56:52.600 was called you would be Mine. Wow it sounded vague, yes, yeah, exactly, 0:56:53.160 --> 0:56:54.720 Yeah it was. It was ironic. 0:56:54.800 --> 0:57:01.160 But so once you guys started rehearsing, uh well yeah, 0:57:01.280 --> 0:57:04.320 talk about that process, like how often would you guys rehearse? 0:57:05.040 --> 0:57:08.759 And every single day? Every single day. Now here's the thing. Now, 0:57:08.800 --> 0:57:11.080 the album was already done. I mean, Morrison Prince had 0:57:11.080 --> 0:57:13.160 already done the Time album. We didn't play on the 0:57:13.200 --> 0:57:16.640 time album a lick. So you were given we were 0:57:16.880 --> 0:57:19.000 record or the cassette we were given, Yep, given the 0:57:19.040 --> 0:57:23.400 cassette and six songs could learn learn these songs? Six songs. 0:57:24.160 --> 0:57:26.360 You also did the what's the to the beat song? 0:57:26.600 --> 0:57:31.120 The oh no no, no, no oh oh, dance to 0:57:31.160 --> 0:57:33.120 the beat, Dance to beat dance, So there were extra 0:57:33.240 --> 0:57:36.720 songs too. Correct. Yeah, but we never recorded dance to 0:57:36.840 --> 0:57:38.880 the Beat. I don't think. I think we just played 0:57:38.880 --> 0:57:40.600 it live. I don't think we ever recorded it. If 0:57:40.640 --> 0:57:42.720 it was recorded, it was live for records. So it 0:57:42.840 --> 0:57:45.080 was it only expected of you guys to just do 0:57:45.320 --> 0:57:46.560 a half hour no matter what. 0:57:46.920 --> 0:57:50.400 Or because I'm thinking, like, if you're doing having a 0:57:50.760 --> 0:57:54.919 show's material, usually people do cover songs, have a forty 0:57:54.960 --> 0:57:57.560 five minute show ready or hour show ready. 0:57:58.080 --> 0:58:00.520 Well, when we went okay, so when we went up initially, 0:58:00.840 --> 0:58:03.240 so when we were rehearsed and actually there's one piece 0:58:03.240 --> 0:58:05.480 of the rehearsal I got it, I got it, or 0:58:05.520 --> 0:58:08.000 two actually rehearsal stories I'll relate to you while we're 0:58:08.040 --> 0:58:11.000 on the rehearsals because we're rehearsing at the YASM and 0:58:11.320 --> 0:58:13.600 the ASTHM as it turns out was owned by this 0:58:13.720 --> 0:58:18.280 guy named Leonard Weaver was his name, right, Old cat, 0:58:18.400 --> 0:58:22.440 Old black cat. And he had this bar, and in 0:58:22.560 --> 0:58:25.120 the bar were these juice machines. One was lemonade and 0:58:25.160 --> 0:58:29.240 one was fruit punch. And he also had these lamps. 0:58:29.280 --> 0:58:31.280 It was like a lounge and he had these lamps 0:58:31.880 --> 0:58:34.720 and they were naked women basically with a lamp shade 0:58:34.760 --> 0:58:35.360 on top of it. 0:58:35.520 --> 0:58:35.640 Right. 0:58:37.160 --> 0:58:41.920 So when we started rehearsing, Leonard said he had two rules. 0:58:42.960 --> 0:58:46.560 He said, y'all stay out of my juice machine, and 0:58:46.680 --> 0:59:02.680 y'all don't touch my titty lamps. It's Italian, so timmy lamb. 0:59:02.800 --> 0:59:04.840 So we said, okay, cool, we got you man. We're 0:59:04.840 --> 0:59:07.480 not gonna mess when we got it. So we started rehearsing. 0:59:07.520 --> 0:59:10.080 We rehearsing every day at this point. So I remember, 0:59:11.520 --> 0:59:15.280 you know the whole thing. Now, Jerome at this point 0:59:15.880 --> 0:59:19.440 was not in the group. Jerome was a roadie, right, 0:59:20.480 --> 0:59:22.560 and I remember we had gone and done a couple 0:59:22.640 --> 0:59:27.360 of gigs and Jerome had to like ride in the 0:59:27.480 --> 0:59:31.320 truck with the equipment with this gap tooth British guy, 0:59:31.600 --> 0:59:36.320 you know, with the British teeth. Jerome helped me, you know, 0:59:36.520 --> 0:59:38.160 unload the amps, and you know, it was like all 0:59:38.240 --> 0:59:40.640 this and Jerome was just like so pissed off, like 0:59:40.960 --> 0:59:42.840 you know whatever, but he's you know, he's going along 0:59:42.920 --> 0:59:45.400 with it, right, So he's trying to figure out, man, 0:59:45.480 --> 0:59:47.680 how can I get a gig in this thing? You know, 0:59:48.040 --> 0:59:50.240 you know something? And Terry's trying to figure it out too, 0:59:50.240 --> 0:59:52.480 because that's just you know, Jerome's Terry's brothers, right, So 0:59:52.920 --> 0:59:55.120 we're trying to figure this out. So anyway, we're rehearsing 0:59:56.800 --> 1:00:01.560 and in the stick, Morrison, somebody bring me a mirror. Right, 1:00:02.400 --> 1:00:06.360 So on the walls of the yasm are these big mirrors, right, 1:00:06.560 --> 1:00:09.800 but not like little merrors, but I'm talking about big 1:00:11.320 --> 1:00:15.040 full body mirrors, right. So Prince is at the rehearsal 1:00:15.080 --> 1:00:19.480 and he's watching us rehearse, and Morris says, somebody bring 1:00:19.560 --> 1:00:22.080 me a mirror, and out of the blue, Jerome goes 1:00:22.120 --> 1:00:24.440 and grabs a mirror off the wall, puts it in 1:00:24.560 --> 1:00:28.160 front of Morris. Morris turns around, looks at it kind 1:00:28.200 --> 1:00:32.320 of like starter like oh, and pulls out his comb 1:00:32.360 --> 1:00:35.400 and starts combing his hair. Prince falls on the floor 1:00:38.080 --> 1:00:41.920 like he's like, ah, we gotta do that. We gotta 1:00:41.920 --> 1:00:45.240 do that. We gotta do that. And Jerome was no 1:00:45.320 --> 1:00:48.080 longer a roadie. So that's how that's how he went 1:00:48.120 --> 1:00:50.640 from being the roady to be in the valet. It 1:00:50.760 --> 1:00:54.120 was simple as that, and that happened. And every night 1:00:54.760 --> 1:01:00.720 we go into the bar and drink the juice out 1:01:00.720 --> 1:01:03.640 of the juice machine, but then we'd pour water into it, 1:01:03.720 --> 1:01:06.400 so it would look like nothing happened because every time. 1:01:06.640 --> 1:01:08.720 So so Leonard would walk in every day and he'd 1:01:08.760 --> 1:01:10.800 come in and he'd look and make sure everything was cool. 1:01:10.840 --> 1:01:12.760 And then one day we were playing around and we 1:01:12.880 --> 1:01:16.120 broke one of the titty lamps. Oh, and so we 1:01:16.320 --> 1:01:18.439 like turned it around and tried to kind of glue 1:01:18.520 --> 1:01:20.840 it and try to whatever. And I swear to God, 1:01:20.880 --> 1:01:26.200 he walked in and he looked and he said, who's 1:01:26.240 --> 1:01:28.600 been in my juice machine? Because it's because it's because 1:01:28.600 --> 1:01:33.160 it's all like light colored now like brothers trying to 1:01:33.200 --> 1:01:35.120 be slick, but it ain't working right, so it's all 1:01:35.240 --> 1:01:37.360 like that. And then he looks and he's like looking 1:01:37.360 --> 1:01:38.560 at it all of us. He said, who was in 1:01:38.760 --> 1:01:41.320 my juice machine? And we're like going on, we don't know, God, 1:01:41.440 --> 1:01:43.120 but it was Jesse was who it was. So anyway, 1:01:43.520 --> 1:01:45.640 we were like, no, we don't know, We don't really know. 1:01:45.800 --> 1:01:51.200 So he was like looking around my titty lamp. Who 1:01:51.360 --> 1:01:53.640 broke my titty lamb? And it's like, heck, can he 1:01:53.720 --> 1:01:55.360 see that? He's like one hundred feet away from the 1:01:55.400 --> 1:01:57.760 teddy lamb? How does he know that lamp was broke? 1:01:58.960 --> 1:02:01.320 It was crazy, It was times, man, but it was 1:02:01.520 --> 1:02:05.840 like the whole formation of us as a unit. That 1:02:06.120 --> 1:02:09.320 was the back drop of it, And it was a 1:02:09.360 --> 1:02:12.120 reason we were so tight, not only as musicians but 1:02:12.440 --> 1:02:15.160 just as people because we already grew up as friends anyway, 1:02:16.320 --> 1:02:20.280 but that those experiences just totally solidified everything that we 1:02:20.360 --> 1:02:22.200 were doing. And then we would play at night, like 1:02:22.440 --> 1:02:24.040 like we would rehearse it during the day and then 1:02:24.080 --> 1:02:26.720 at night Weaver would open the place up, charge people 1:02:27.480 --> 1:02:29.440 and we play songs, not you know, when we do 1:02:29.520 --> 1:02:31.840 a couple covers, but mostly it just be our stuff. 1:02:31.880 --> 1:02:34.400 People didn't know what the heck we were singing, but 1:02:34.520 --> 1:02:35.880 they just liked it. You know. It was just like 1:02:35.960 --> 1:02:37.080 a place to go and hang out. 1:02:37.360 --> 1:02:43.080 Okay, this is what I gotta know now. More than anything, 1:02:43.160 --> 1:02:50.920 you guys had this image that was just as important 1:02:50.960 --> 1:02:58.040 and prevalent as the music was. And how did you 1:02:58.160 --> 1:03:06.480 guys actually care for like, did Mars have ten versions 1:03:06.600 --> 1:03:07.800 of that gold jacket? 1:03:08.400 --> 1:03:12.240 Did you have, Doris? Yeah? 1:03:12.280 --> 1:03:15.120 Exactly, because the thing is that what I know about 1:03:15.160 --> 1:03:19.520 touring is every show I do, it's drenched. 1:03:21.600 --> 1:03:24.640 Are you? But I know that it's required that you 1:03:24.760 --> 1:03:28.760 guys you know it. Do you guys have a. 1:03:28.760 --> 1:03:31.800 Wardrobe person that runs shit to the cleaners and stuff? 1:03:31.800 --> 1:03:34.400 Because I feel like, and did you have to look 1:03:34.440 --> 1:03:35.520 that way? Twenty four to seven? 1:03:36.880 --> 1:03:40.840 Okay, well, yeah, so the wardrobe really was based on 1:03:41.000 --> 1:03:45.120 the way we dressed anyway, because guys always as a 1:03:45.200 --> 1:03:46.840 matter of fact, as a matter of fact, you're looking 1:03:46.880 --> 1:03:48.400 at it. You're looking at it right now. But I'm 1:03:48.400 --> 1:03:49.960 going to show you a picture of Terry. You can't 1:03:49.960 --> 1:03:53.000 see this on the air, but this is Terry Lewis 1:03:53.040 --> 1:03:59.200 at like fourteen fifteen years old. Wow, that's it's not 1:03:59.240 --> 1:04:01.600 as a guitar strap. Yeah. And he's got and he's 1:04:01.640 --> 1:04:03.680 gotten and he painted this base red, black and green. 1:04:03.720 --> 1:04:05.960 This is the base. When I met Terry, he painted 1:04:06.000 --> 1:04:08.320 his you know, so he was afrocentric and the whole thing. 1:04:09.080 --> 1:04:14.439 That's right. So when people talk about the way we looked. 1:04:14.480 --> 1:04:17.000 I mean that that goes from you know, back in 1:04:17.080 --> 1:04:19.040 that day. I mean we we we used to take 1:04:19.480 --> 1:04:21.920 because the thrift stores. We couldn't afford to dress. We 1:04:21.960 --> 1:04:23.960 wanted to dress nice, but we couldn't afford it. But 1:04:24.040 --> 1:04:25.240 you could go to a thrift store and get a 1:04:25.280 --> 1:04:28.200 suit for ten bucks, right, and get a hat and 1:04:28.240 --> 1:04:30.600 a whole thing. So we were always rocking that style, 1:04:30.760 --> 1:04:34.320 and Prince just enhanced it. Now Morris is stuff the 1:04:34.440 --> 1:04:37.280 press we called it the pressley, the jacket that he 1:04:37.320 --> 1:04:40.240 had on the first two album covers. There was only one. Yeah, 1:04:40.480 --> 1:04:43.040 there was only one that was it the pressley, And yeah, 1:04:43.360 --> 1:04:45.040 we kept it dry. You know. That was part of 1:04:45.160 --> 1:04:47.400 Jerome's job. By the way, he was the real valet 1:04:47.800 --> 1:04:50.520 for the group, so he'd call everybody and say, you know, 1:04:50.600 --> 1:04:52.440 have your dry cleaning ready to go, you know, if 1:04:52.480 --> 1:04:54.000 we'd be at a hotel or that kind of thing. 1:04:54.520 --> 1:04:56.520 But yeah, all of our stuff was thrift shop stuff. 1:04:56.520 --> 1:04:58.600 And it was interesting because the first tour we did, 1:04:58.720 --> 1:05:01.080 I remember, we would go to thrift and we would 1:05:01.120 --> 1:05:04.400 clean up. Second tour we did, they were all out 1:05:04.480 --> 1:05:07.520 of stuff. Because people caught on and doing it. Yeah, 1:05:07.560 --> 1:05:10.800 it totally caught on. So it was interesting. But yeah, no, 1:05:10.880 --> 1:05:12.640 that that was the thing, man. We just that was 1:05:12.680 --> 1:05:16.000 always kind of our our style anyway, you guys weren't 1:05:16.080 --> 1:05:23.560 quite of age, but like that that look when they 1:05:23.640 --> 1:05:24.920 came out in nineteen eighty one. 1:05:25.920 --> 1:05:28.120 I mean that's the first time I think, like we 1:05:28.240 --> 1:05:30.320 were all big in our moms, like, yo, take us 1:05:30.320 --> 1:05:31.080 to the thrift store. 1:05:31.360 --> 1:05:33.560 Word you would never hear darn. I was wondering if 1:05:33.600 --> 1:05:34.760 that was cool to y'all because. 1:05:34.520 --> 1:05:37.200 That's like the dog I mean, they they talked about 1:05:37.240 --> 1:05:43.280 baggies and then like and you know, my mom be like, baggies, 1:05:43.440 --> 1:05:44.280 I can get you some bags. 1:05:44.520 --> 1:05:46.640 It's like two dollars at the thrift store. And it 1:05:46.760 --> 1:05:49.480 was like the thrift store. Yeah, well f as I 1:05:49.560 --> 1:05:50.160 frowned on it. 1:05:50.320 --> 1:05:52.479 But like because my cousins were more like in the street, 1:05:52.560 --> 1:05:54.120 you know, like b boy and just came out and 1:05:54.160 --> 1:05:59.000 sergery of valent a drug dealer shit, right, But when 1:05:59.560 --> 1:06:01.720 oh my goodess, like all of sixth grade, all I 1:06:01.840 --> 1:06:05.720 wore were just baggies and my parents couldn't be more pleased. 1:06:10.560 --> 1:06:15.440 On like twenty bears of pint, you know what I mean. Yeah, So, 1:06:16.480 --> 1:06:20.640 so you guys just naturally look like gangster. We just naturally, Yeah, 1:06:20.680 --> 1:06:22.680 we just naturally did it, and and we just kind 1:06:22.680 --> 1:06:24.600 of fell into it. And we also liked the whole idea, 1:06:24.680 --> 1:06:27.360 the whole cool aspect. We liked anyway, because it was 1:06:27.400 --> 1:06:30.480 about respecting yourself and it was about you know, dressing 1:06:30.560 --> 1:06:34.200 well and having class and that. And we liked the 1:06:34.320 --> 1:06:36.360 idea of that. I mean we enhanced it, and Prince 1:06:36.480 --> 1:06:38.640 enhanced it. I mean he he took it to a 1:06:38.720 --> 1:06:41.840 whole other level. And yes, he wanted us to always 1:06:41.960 --> 1:06:45.880 look the part he hated the idea of because we 1:06:45.960 --> 1:06:48.080 used to talk about it back in the day when 1:06:48.160 --> 1:06:51.120 we first started touring and stuff. We would go out 1:06:51.200 --> 1:06:53.440 like with Cameo, you know, and Cameo would have, you know, 1:06:53.720 --> 1:06:57.160 the glitter suits on and the whole thing, and and 1:06:57.280 --> 1:06:59.160 Prince always kind of frowned on it. He just said, no, 1:06:59.280 --> 1:07:01.160 he said, you should look the way you look, you know, 1:07:01.360 --> 1:07:05.200 and nobody should see you looking unlike yourself what they 1:07:05.280 --> 1:07:08.080 expect to see you. Even to the point where I 1:07:08.160 --> 1:07:12.840 remember with Morris, I mean, by the second tour, we 1:07:13.000 --> 1:07:17.120 were holding that pressley together with tape literally, I mean 1:07:17.160 --> 1:07:18.920 it was just like that thing was about ready to 1:07:19.000 --> 1:07:22.360 fall apart, and I remember Morris kept saying, Prince, can 1:07:22.400 --> 1:07:24.400 I get a new jacket? I need a new Presley 1:07:25.040 --> 1:07:27.040 And Prince was like, no, that's what people expect to 1:07:27.040 --> 1:07:28.520 see you in, and that's the way you need to look. 1:07:28.720 --> 1:07:32.440 He was very much into that, right. And I remember 1:07:32.480 --> 1:07:36.640 about halfway through that tour and we were kicking his 1:07:36.720 --> 1:07:40.400 ass pretty good every night at that point. Oh we know, yeah, 1:07:41.320 --> 1:07:44.160 And I remember they at one point in time, I 1:07:44.160 --> 1:07:46.680 remember the management came to us and said, we're gonna 1:07:46.720 --> 1:07:48.480 put you guys out on your own, on your own 1:07:48.560 --> 1:07:53.160 tour because Prince didn't let us play. You have to 1:07:53.240 --> 1:07:56.160 now think about once again, no media, no social media. Right. 1:07:56.880 --> 1:07:59.720 So everything that you got you read right. It was 1:07:59.720 --> 1:08:03.560 a new paper thing. Right. The two biggest markets obviously 1:08:03.640 --> 1:08:08.120 were La and New York. Right, those two markets. We 1:08:08.240 --> 1:08:11.000 didn't play with Prince. We didn't open with him, right, 1:08:11.160 --> 1:08:13.160 So he did Madison Square Garden or whatever it was. 1:08:13.400 --> 1:08:16.519 We didn't play, but we played for Vanity six. So 1:08:16.600 --> 1:08:19.760 we were in the building, right, which to this day 1:08:19.880 --> 1:08:21.960 is the thing you're probably pisss jelly Bean off the 1:08:22.040 --> 1:08:24.920 most of anything. Man. All our friends are out there, man, 1:08:24.960 --> 1:08:26.680 we're in the building and stuff, and we can't even play. 1:08:26.720 --> 1:08:28.360 I was like, he used to get so mad. Same 1:08:28.439 --> 1:08:31.040 with the Forum in LA. Never played the Forum in LA. 1:08:31.280 --> 1:08:35.240 We played Long Beach Arena, and we played I think 1:08:35.320 --> 1:08:38.360 Nasau Coliseum or something in New York. But we never 1:08:38.439 --> 1:08:42.800 got to play those shows because the reviews were all like, yeah, 1:08:42.880 --> 1:08:44.760 Prince was great, that was great, but you got to 1:08:44.800 --> 1:08:47.280 see the time, you know, and he didn't want that, 1:08:47.760 --> 1:08:49.839 so that was the thing. So we never played those markets. 1:08:50.240 --> 1:08:52.880 So after we saw that happen and we were kind 1:08:52.880 --> 1:08:56.080 of like, okay, So the management's like, you know, we're 1:08:56.080 --> 1:08:57.439 gonna put you on your own tour, and I think 1:08:57.479 --> 1:09:01.439 it was gonna be Evelyn Champagne King and Shallamar or 1:09:01.479 --> 1:09:04.360 somebody like that, right, So we were like, okay, cool, great, 1:09:04.479 --> 1:09:07.040 we'll do our own tour. That's cool. So then they 1:09:07.160 --> 1:09:08.920 changed their mind and they said so by this point 1:09:08.960 --> 1:09:10.600 in time, so Morris said, well, if we're doing our 1:09:10.600 --> 1:09:14.080 own tour, I'm getting me a new Presley. So Morris 1:09:14.280 --> 1:09:19.439 orders this new Presley, right, And I remember Prince used 1:09:19.479 --> 1:09:21.400 to sometimes come in our dresser room because after we 1:09:21.520 --> 1:09:25.200 do the Vanity six set, we would they in the 1:09:25.320 --> 1:09:27.439 old at the beginning, they would give us like fifteen 1:09:27.479 --> 1:09:30.439 minutes to change, right, So we would come out and 1:09:30.479 --> 1:09:32.000 do the Vanity six set, and then we go back 1:09:32.040 --> 1:09:33.320 in the dress room, hang out for a little bit, 1:09:33.320 --> 1:09:36.719 and then we come back out. Sometimes we'd actually be dressed, 1:09:37.280 --> 1:09:40.280 but we put on like capes or we put on 1:09:40.439 --> 1:09:43.160 something stupid. So people said, the people on the side, yeah, 1:09:43.320 --> 1:09:45.920 so they couldn't see who we were, right. So, but 1:09:46.040 --> 1:09:48.080 it was great because we were so warmed up. It 1:09:48.200 --> 1:09:50.599 was like our sound check, right, play it for Vanity six. 1:09:50.720 --> 1:09:54.040 So it even made us better, right, And and then 1:09:54.080 --> 1:09:55.479 it got to the point where he wouldn't even give 1:09:55.560 --> 1:09:58.479 us enough time to change or anything. We really started 1:09:58.560 --> 1:10:00.080 killing him then because we were all warmed up, and 1:10:00.360 --> 1:10:02.320 it was like Jellybean, like the longer he played, the 1:10:02.360 --> 1:10:04.439 better he got. He was one of those kind of drummers, 1:10:04.520 --> 1:10:07.160 so it was all working against him. So I remember 1:10:07.240 --> 1:10:09.720 we had kind of lattashed him in about three or 1:10:09.760 --> 1:10:12.680 four gigs in a row. So anyway, he comes into 1:10:12.680 --> 1:10:14.880 the dressing room and we were really kind of feeling 1:10:14.920 --> 1:10:17.679 ourselves at that point in time, and he comes into 1:10:17.720 --> 1:10:21.280 the dressing room and he goes and nobody's really reacting 1:10:21.320 --> 1:10:24.519 to him, and he just kind of goes, what are 1:10:24.520 --> 1:10:29.800 you guys doing? And Morris says, got something to show you, Prince, 1:10:33.200 --> 1:10:37.000 And so Jerome goes and brings out this wardrobe thing 1:10:38.040 --> 1:10:43.000 and unzips it and Morris like flips it and the 1:10:43.200 --> 1:10:46.080 thing comes off and he goes, I got a new Presley. 1:10:53.120 --> 1:10:58.559 Prince literally goes, ah, I created a monster and ran 1:10:58.680 --> 1:11:03.880 out of the room. Swear to God, Swear to God. 1:11:04.320 --> 1:11:07.240 He did. He created him last year. He did. It's like, yeah, 1:11:19.600 --> 1:11:20.599 what were those Okay? 1:11:20.920 --> 1:11:22.680 So I know by the time that what times it 1:11:22.800 --> 1:11:29.559 came out, you guys were and maybe assuming a better place. 1:11:29.640 --> 1:11:32.479 But in the very beginning the first album, were you 1:11:32.600 --> 1:11:35.880 guys like I just want to know what a working 1:11:36.120 --> 1:11:41.479 class musician was into and doing between eighty one and 1:11:41.600 --> 1:11:45.759 eighty two, Like, were you guys driving yourself to the gigs? 1:11:45.880 --> 1:11:49.680 Like I don't know if you read Maurice White's autobiography, 1:11:49.760 --> 1:11:54.240 but I'm shocked at even up until Spirit they were 1:11:54.320 --> 1:11:55.920 like driving themselves to the gigs. 1:11:56.000 --> 1:12:00.360 They were, you know, station wagons to the gigs and 1:12:00.400 --> 1:12:02.599 that stuff. Well, we did. We definitely did the station 1:12:02.720 --> 1:12:05.200 wagon thing. There's no doubt about that. We did, but 1:12:05.400 --> 1:12:07.360 not by the time, by the time we were actually 1:12:07.400 --> 1:12:09.800 touring with Prince. No, we had a tour bus, and 1:12:10.040 --> 1:12:12.840 you know, we were making our little one hundred and 1:12:13.200 --> 1:12:16.400 fifty dollars a week after they a week Yeah what 1:12:16.640 --> 1:12:17.479 is Yeah? 1:12:17.560 --> 1:12:21.240 What is a working class musician make in eighty one 1:12:22.320 --> 1:12:24.519 on that tour? Like, were you guys at the top 1:12:24.640 --> 1:12:26.160 level or no? 1:12:26.400 --> 1:12:28.800 We were, No, we were well below the top level 1:12:28.840 --> 1:12:31.280 because we we were like I say, we would get 1:12:31.280 --> 1:12:33.400 one hundred and fifty dollars a week in a in 1:12:33.520 --> 1:12:36.599 a check and for that it was in mine per 1:12:36.720 --> 1:12:39.240 dim Yeah. Well and we get per diem too, so 1:12:39.520 --> 1:12:41.160 I guess it would add up to two fifty a week. 1:12:41.479 --> 1:12:43.680 So that if that changes anything. I mean, my my 1:12:43.880 --> 1:12:46.120 check after taxes was one hundred and seventeen dollars. I 1:12:46.240 --> 1:12:48.600 still have, I think my check stub, you know, my 1:12:48.640 --> 1:12:51.720 original check stub. But no, we were going broke and 1:12:51.800 --> 1:12:54.400 it probably you know, for me at the time, I 1:12:54.560 --> 1:12:57.599 was living at home anyway, so I hadn't moved out, 1:12:57.640 --> 1:12:59.960 and I didn't have any kids. I didn't have any responsibility. 1:13:00.080 --> 1:13:03.519 It was really tough on Terry because Terry, not only 1:13:03.720 --> 1:13:07.000 Terry drove a school bus, you know, and and was 1:13:07.080 --> 1:13:11.599 making really good money doing that. But also because when 1:13:11.640 --> 1:13:13.519 we were gigging his flight time and we're like I say, 1:13:13.560 --> 1:13:15.920 we were like doing our own gigs and do outing, 1:13:16.280 --> 1:13:18.920 and yeah, we were doing really well. I mean as 1:13:18.960 --> 1:13:21.280 a bad I mean, Terry took a huge pay cut, 1:13:21.600 --> 1:13:24.679 probably the biggest out of anybody had a young son 1:13:25.040 --> 1:13:28.240 at that point in a house. I mean, Terry was 1:13:28.240 --> 1:13:31.640 always very like responsible from like an early age, like 1:13:31.680 --> 1:13:33.559 he was already living his he was like an adult 1:13:33.640 --> 1:13:36.960 at an early age. So for him, yeah, it hit 1:13:37.080 --> 1:13:39.840 him really bad, like it messed his credit up, you know, 1:13:40.200 --> 1:13:43.240 it messed him out rat Oh, yeah, it totally messed it, 1:13:43.439 --> 1:13:46.080 totally messed him up. And and even I remember the 1:13:46.160 --> 1:13:49.040 second year we had an ultimatum, like it was in 1:13:49.800 --> 1:13:51.080 I think it was San Dieg. I think we were 1:13:51.120 --> 1:13:56.040 in San Diego and we had we were all sharing 1:13:56.160 --> 1:13:58.559 rooms at that point in time, except for except for Morris, 1:13:59.479 --> 1:14:03.320 and I remember Terry said, man, we got two gold albums. 1:14:04.360 --> 1:14:06.479 They had bumped us up to two fifty a week, 1:14:07.280 --> 1:14:10.800 and then Vanity, Yeah, Vanity six was giving us another 1:14:10.800 --> 1:14:13.559 one hundred a week or something like that at plus 1:14:13.640 --> 1:14:16.240 per diem. So everybody was saving the per diem to 1:14:16.240 --> 1:14:17.920 buy a VCR or whatever. I mean, you know that 1:14:18.080 --> 1:14:19.680 was the hot thing back in that day, was save 1:14:19.800 --> 1:14:22.920 up for a VCR, right. But we but everybody was 1:14:22.960 --> 1:14:24.519 getting you know, at that point in time, he getting 1:14:24.560 --> 1:14:26.800 on everybody's getting on everybody's nerves. So it was like, 1:14:26.960 --> 1:14:28.679 you know, Terry said, man, we need our own room. 1:14:28.760 --> 1:14:30.960 So he went to management at the time, and there 1:14:31.040 --> 1:14:33.200 was this lady named Jamie Shoop, and Jamie shop was like, 1:14:34.479 --> 1:14:38.040 she was our tour manager. Not Alan, No, okay, Ali 1:14:38.120 --> 1:14:43.439 came along after us after yeah. Yeah, So Jamie was amazing, 1:14:44.760 --> 1:14:47.439 took great care of us. She I mean as best 1:14:47.479 --> 1:14:49.559 she could. I mean, because it was it was Prince's thing. 1:14:49.720 --> 1:14:51.760 I mean, there was no doubt about Prince ran it. 1:14:53.040 --> 1:14:55.080 But she looked out for us the best she can. 1:14:55.160 --> 1:14:56.880 And she said, listen, she said, if you guys, you 1:14:56.920 --> 1:15:00.240 guys should have your own rooms, I'll advocate for that. 1:15:00.439 --> 1:15:04.439 Let's have a meeting whatever. So we told everybody, here's 1:15:04.479 --> 1:15:05.760 what we're gonna do. We're gonna have a meeting in 1:15:05.840 --> 1:15:10.120 San Diego, and we're basically going to say if we 1:15:10.200 --> 1:15:13.479 don't get rooms, we're quitting the tour. That's the thing 1:15:13.760 --> 1:15:20.200 right now, Jesse. For some reason, we said don't tell anybody, 1:15:20.280 --> 1:15:22.600 but Jesse for some reason went behind our backs and 1:15:22.720 --> 1:15:27.160 told management or told Prince or told somebody. So when 1:15:27.200 --> 1:15:30.760 we got everybody in this room, we thought, you know, 1:15:30.840 --> 1:15:32.800 we had the upper hand. We're gonna spring this on them. 1:15:33.320 --> 1:15:35.479 We walked into the room and Prince was like, so 1:15:35.600 --> 1:15:38.479 you guys are going to boycott. Huh, We're like going. 1:15:38.880 --> 1:15:40.840 We like all looked at each other. Then we all 1:15:40.920 --> 1:15:44.920 looked at Jesse, and Jesse's like, what, you know whatever, 1:15:45.000 --> 1:15:47.840 We're like, okay. So Terry at that point was just like, 1:15:48.120 --> 1:15:50.400 you know, listen, dude. He said, I can't. You know, 1:15:50.800 --> 1:15:54.479 I can't. I got a kid, I got you know whatever, whatever. 1:15:54.880 --> 1:15:58.920 I can't. You know, I can't do this. And I 1:15:59.000 --> 1:16:03.840 remember Prince he said to Terry rock stars shouldn't have kids. Wow, 1:16:06.760 --> 1:16:08.960 never forget that. I'll never forget that to this day. 1:16:09.600 --> 1:16:15.200 And uh anyway, so Terry, so Terry walked up. Terry said, 1:16:15.320 --> 1:16:19.400 Terry said quit. Terry said, Terry said, I remember going 1:16:19.439 --> 1:16:21.960 into it. He said, I'm always gonna have enough money 1:16:23.400 --> 1:16:26.280 to get a bus ticket. If i can do nothing else, 1:16:26.479 --> 1:16:28.160 I'm gonna have enough money to get a bus ticket 1:16:28.240 --> 1:16:30.439 to go home. And so he had his you know, 1:16:30.520 --> 1:16:32.400 fifty dollars or whatever the heck a bus ticket was. 1:16:32.479 --> 1:16:34.559 He had it, and he said, that's it. I'm out 1:16:34.600 --> 1:16:39.040 of here. Well, of course, Jamie came to the rescue 1:16:39.520 --> 1:16:42.800 and talked to Prince and said, Prince, come on, these guys, 1:16:43.160 --> 1:16:44.840 you know, they can have their own rooms. It's what's 1:16:44.920 --> 1:16:46.639 not what's the big deal. It's you know, it's three 1:16:46.680 --> 1:16:49.280 more rooms a night. What's the big deal? And anyway, 1:16:49.360 --> 1:16:51.680 Prince was so Prince was said, okay, fine, they got it. 1:16:52.120 --> 1:16:55.200 But if it wouldn't have been for Terry doing that, right, 1:16:55.320 --> 1:16:57.720 because because for Terry it was serious. It wasn't like 1:16:57.800 --> 1:17:01.000 a you know, a grand standing type thing or anything. 1:17:01.160 --> 1:17:04.240 It was like serious, like Terry, Terry had real life 1:17:04.280 --> 1:17:11.200 and real responsibilities. And for nineteen eighty two, what would 1:17:11.200 --> 1:17:12.160 have been fair. 1:17:13.840 --> 1:17:16.720 Market share for what, you know, what tickets were back then, 1:17:16.960 --> 1:17:21.320 what the gross was for these shows? And I know 1:17:21.400 --> 1:17:23.680 everyone's on this tour, so I know it's vanity and 1:17:24.040 --> 1:17:26.200 yeah there are people and you guys and your people 1:17:26.240 --> 1:17:28.600 and the revolution and printing his people, I'm sure the 1:17:28.680 --> 1:17:30.400 staff and all that stuff. 1:17:31.200 --> 1:17:35.920 What is fair for that time period? Honestly, quest So 1:17:36.000 --> 1:17:37.640 I don't know I don't really know. 1:17:38.040 --> 1:17:42.800 It wasn't that because you know, we were and tour 1:17:42.880 --> 1:17:45.519 support wasn't a thing like Mo Austin and those guys weren't. 1:17:45.600 --> 1:17:48.360 Like I think Warner Brothers. Yeah, I think Warner Brothers 1:17:48.400 --> 1:17:50.840 definitely supported the tour. I mean because all three records 1:17:50.920 --> 1:17:53.160 were all Warner Brothers records. I mean, you couldn't actually 1:17:53.280 --> 1:17:56.600 have a better situation. Yeah, right, you know, they were 1:17:56.640 --> 1:17:59.120 all records. But the other thing was we weren't making 1:17:59.280 --> 1:18:02.640 any We made any royalties on the time records. All 1:18:02.720 --> 1:18:04.680 we made was the salary, So it wasn't like it 1:18:04.840 --> 1:18:09.519 was an advance against royalties. And remember back in those days, 1:18:10.320 --> 1:18:12.479 if you had a gold record, you were doing pretty 1:18:12.520 --> 1:18:15.040 well because you know, the money flowed. I mean, the 1:18:15.280 --> 1:18:17.160 royalties were pretty good. 1:18:17.320 --> 1:18:20.080 So when they would open a budget, that wasn't split 1:18:20.160 --> 1:18:21.960 with you guys, like it was just like we just 1:18:22.000 --> 1:18:23.440 paid regular salary. 1:18:23.280 --> 1:18:25.800 Just played a regular salary. We never we never were 1:18:26.479 --> 1:18:30.800 royalty artists individually. Morris was, but the rest of us weren't. 1:18:30.920 --> 1:18:32.800 Was there a big difference between you guys and the 1:18:32.880 --> 1:18:36.640 Revolution when it came to that, Like financially, I never 1:18:36.720 --> 1:18:39.200 knew what the Revolution made quite Honestly, I never did. 1:18:39.320 --> 1:18:42.000 We never, we never really dealt with it. I'm sure 1:18:42.040 --> 1:18:46.120 they were making more than us, you know, but so 1:18:46.360 --> 1:18:47.320 what point does. 1:18:49.120 --> 1:18:55.600 The idea of moonlighting even come into your you know, 1:18:56.000 --> 1:18:59.680 your brain light and its moonlighting and thing like we 1:18:59.800 --> 1:19:02.920 need to make our own money and get our own publishing. 1:19:03.000 --> 1:19:06.360 Or just like, no, hey, we want to express ourselves. Yes, yeah, no, 1:19:06.640 --> 1:19:09.560 it wasn't. It wasn't a money thing ever. It was 1:19:10.760 --> 1:19:15.400 so so the way that went down was Terry. Once again, Terry, 1:19:17.680 --> 1:19:19.519 And if I don't say it enough during this interview, 1:19:20.360 --> 1:19:23.840 thank God for Terry Lewis. I mean, I swear to 1:19:23.920 --> 1:19:26.960 God that brother in my life has just been a 1:19:27.040 --> 1:19:33.720 godsend in every possible way. And but Terry said, I 1:19:33.800 --> 1:19:36.240 can't remember where we were at. I want to. First 1:19:36.280 --> 1:19:38.080 I was thinking it was Houston, but it wasn't Houston, 1:19:38.120 --> 1:19:40.800 but it was somewhere and we were kind of ending up. 1:19:40.920 --> 1:19:43.160 The tour was kind of beginning to end up, and 1:19:43.600 --> 1:19:47.640 we were and Terry said, I'm going to go to 1:19:47.880 --> 1:19:52.240 la after the tour, and everybody was like, what are 1:19:52.240 --> 1:19:53.599 you gonna do in l A t And he said, 1:19:53.920 --> 1:19:57.200 he said, man, he said, I'm just gonna make some 1:19:57.280 --> 1:20:00.640 demos and try to get some songs placed and just 1:20:00.760 --> 1:20:05.200 do some stuff. And everybody was like why, and he said, 1:20:05.360 --> 1:20:10.200 because they need us out there, and everybody said, man, 1:20:10.240 --> 1:20:14.120 you're crazy. And so Terry said, well, who wants to go? 1:20:14.240 --> 1:20:17.559 Somebody wanted to come with me, and everybody's like, man, no, man, 1:20:17.560 --> 1:20:22.280 I'm saving up from my VCR man. And literally that's 1:20:22.320 --> 1:20:24.360 what everybody said. And I looked at Terry and I said, 1:20:24.760 --> 1:20:28.800 well I'll go. Terry said okay, and I said, but 1:20:28.960 --> 1:20:30.560 where are we going to stay? He said, I don't know, 1:20:30.600 --> 1:20:32.439 We'll figure it out. Said where are we going to 1:20:32.439 --> 1:20:34.200 get equipment from? I don't know, We're gonna figure it out. 1:20:34.200 --> 1:20:35.960 I said, where we gonna get a car from? I 1:20:36.000 --> 1:20:39.160 don't know. We'll figure it out. And I trusted that 1:20:39.240 --> 1:20:42.120 brother because that was the brother that when the girl 1:20:42.160 --> 1:20:45.840 broke up with me and when I was a drummer 1:20:45.840 --> 1:20:47.519 and he told me I needed to be a keyboard player, 1:20:49.000 --> 1:20:53.479 got me into the band. And I just trusted because 1:20:53.479 --> 1:20:56.160 he because he had made decisions before and twisted my 1:20:56.320 --> 1:20:58.360 arm to do things. And I'm like, I'm not gonna 1:20:58.360 --> 1:20:59.680 he doesn't need to twist my arm on this one. 1:20:59.680 --> 1:21:02.519 I'm going to go on faith on this one. And 1:21:03.560 --> 1:21:06.840 so when the tour ended, we went to La Uh. 1:21:07.280 --> 1:21:12.559 Terry sold his car, I think, if I'm not mistaken, 1:21:12.760 --> 1:21:22.160 we bought uh some Viking ship. We bought uh. We 1:21:22.280 --> 1:21:24.240 bought uh you know in the classifieds. We bought a 1:21:24.800 --> 1:21:29.440 task cam, a little four track tape, a little microphone. 1:21:29.960 --> 1:21:32.160 I had this little Cassio keyboard with a little drum 1:21:32.280 --> 1:21:35.720 machine built into it. He had his base. And there 1:21:35.760 --> 1:21:37.960 were some people we knew from Minneapolis that had a 1:21:38.040 --> 1:21:40.360 house that they were renting a house out there, and 1:21:40.400 --> 1:21:42.360 they had one bedroom in the house and it was 1:21:42.600 --> 1:21:44.760 smaller probably in this little area we're sitting there. We 1:21:44.800 --> 1:21:47.120 had enough room to put two cots in there, and 1:21:47.240 --> 1:21:50.040 that's where me and Terry bunked. We didn't have a car, 1:21:50.280 --> 1:21:53.240 so we would walk to there was a California, yeah, 1:21:53.280 --> 1:21:57.080 but but but the eighties, in the eighties, well, here's 1:21:57.120 --> 1:21:59.559 the funny thing, though, we the only places we went 1:21:59.600 --> 1:22:01.360 because we we do our demos at home, right, So 1:22:01.439 --> 1:22:02.960 we'd do our demos at the crib. So we'd sit 1:22:03.000 --> 1:22:05.280 at the crib all day. They'd go to work, the 1:22:05.320 --> 1:22:08.360 people who we were staying with, and we'd all day 1:22:08.520 --> 1:22:10.400 be in like the bathroom and stuff to get reverb 1:22:10.479 --> 1:22:12.559 and stuff and be making our little demos and stuff. 1:22:13.080 --> 1:22:14.800 And then we would walk. There was a place called 1:22:14.840 --> 1:22:19.160 Golden Bird Chicken that was on Losienega Avenue. Best chicken 1:22:19.280 --> 1:22:21.679 ever to me, and you could get a four piece 1:22:21.720 --> 1:22:23.880 for two ninety nine. Because we didn't have any money, 1:22:23.920 --> 1:22:25.679 so we'd go get the two piece the four piece 1:22:25.760 --> 1:22:28.200 rather for two ninety nine. That was our one meal 1:22:28.280 --> 1:22:31.800 of the day. And then when the people got home 1:22:31.840 --> 1:22:33.960 at night, they'd all make milkshakes or whatever, so we'd 1:22:33.960 --> 1:22:35.560 have a milkshake at night. And that was That was 1:22:35.640 --> 1:22:38.639 basically the way we lived. And it was funny because 1:22:38.720 --> 1:22:40.840 oh and we didn't have any clothes. We had our 1:22:40.920 --> 1:22:43.240 time clothes, so like we're in ninety degree weather, but 1:22:43.280 --> 1:22:47.280 we got these suits. And the police used to the 1:22:47.360 --> 1:22:49.320 police used to stop us, right, We'd just be walking 1:22:50.080 --> 1:22:53.599 and the police would stop us and they go, everything okay, gentlemen, 1:22:53.600 --> 1:22:56.280 and we'd go like, yeah, everything's good. And they'd look 1:22:56.280 --> 1:22:57.720 at us and they go, you're not from here, are you? 1:22:57.840 --> 1:23:00.200 And we'd be like, no, how could you tell you know? 1:23:00.920 --> 1:23:03.600 And uh, But they never messed with us, really, and 1:23:03.720 --> 1:23:06.040 it was cool, and that was kind of our thing. 1:23:06.120 --> 1:23:08.000 And then eventually, you know, we hooked up with some 1:23:08.080 --> 1:23:10.280 girls that had cars, you know, right, I found a 1:23:10.320 --> 1:23:12.760 girl that had a Porsche. It was cool, you know, 1:23:13.120 --> 1:23:15.040 so we figured it out. But but that was what 1:23:15.160 --> 1:23:16.560 we were doing. And of course the word back in 1:23:16.600 --> 1:23:18.840 Minneapolis is that we were out there starving to death, 1:23:18.960 --> 1:23:21.120 and you know, we're starving to death and they're nuts 1:23:21.160 --> 1:23:23.120 and they're crazy, and you know, that was kind of 1:23:23.160 --> 1:23:24.040 the thought process. 1:23:24.200 --> 1:23:27.840 How much downtime did you have because I figured, at 1:23:27.920 --> 1:23:31.439 least until the time that you guys were dismissed, that 1:23:32.960 --> 1:23:35.879 there was no downtime, like you're always rehearsing. 1:23:36.080 --> 1:23:38.680 We had, we had, Okay, so that was between so 1:23:38.760 --> 1:23:40.680 the first tour was eighty one into eighty two. We 1:23:40.840 --> 1:23:43.200 think we were done in April of eighty two, so 1:23:43.280 --> 1:23:46.519 we had between April and probably June or July before 1:23:46.560 --> 1:23:51.439 we started rehearsing for the next tour and stuff. So 1:23:52.200 --> 1:23:55.320 it was never where he's like, where are you guys, 1:23:56.080 --> 1:23:59.200 I'm doing? Oh yeah, no, that was good. That was 1:23:59.240 --> 1:24:02.599 a good Onefinitely. Definitely, it definitely turned into that were 1:24:02.680 --> 1:24:05.400 you guys given a general rule that you weren't allowed 1:24:05.479 --> 1:24:09.920 to like, yes, it wasn't a general rule, it was 1:24:10.040 --> 1:24:14.840 a mandate. Basically, did mars enforce these rules or was 1:24:14.880 --> 1:24:17.920 it just like Prince said, Zoe, this was Prince No, 1:24:18.040 --> 1:24:20.160 this was princes had This was not Morris. As a 1:24:20.200 --> 1:24:25.919 matter of fact, I really Moore said something that rehearsal 1:24:26.000 --> 1:24:32.280 one day that was so for us, very empowering and 1:24:32.400 --> 1:24:34.360 very enlightening. I don't know how everybody else took it, 1:24:34.479 --> 1:24:39.160 but he said that this thing ain't gonna last forever. 1:24:40.200 --> 1:24:46.120 Whoa And he said that I suggest everybody figure out 1:24:46.160 --> 1:24:47.920 what it is that they want to do out of 1:24:48.000 --> 1:24:51.639 this and start working towards it. He said, I don't 1:24:51.640 --> 1:24:53.880 know what everybody else is doing. He said. Now, he said, 1:24:53.920 --> 1:24:56.240 I'm taking acting lessons because he said, I want to 1:24:56.320 --> 1:24:59.560 learn to actually, you know, do I want to be 1:24:59.640 --> 1:25:00.960 a to be able to act? I want to be 1:25:00.960 --> 1:25:01.679 able to do stuff? 1:25:01.760 --> 1:25:01.920 You know? 1:25:03.040 --> 1:25:05.840 Was this before this, before Purple rain? This is yeah, 1:25:05.920 --> 1:25:08.840 this is this is going into the into the nineteen 1:25:08.880 --> 1:25:13.720 ninety nine tour. Okay, so and he so he said that, 1:25:13.880 --> 1:25:15.960 and then he said, uh, he said, you know, he 1:25:16.160 --> 1:25:18.360 pointed in me and Terry and he said, Jimmy and 1:25:18.439 --> 1:25:22.120 Terry producing records. He said, I don't know what the 1:25:22.200 --> 1:25:24.000 rest of y'all are doing, but y'all need to figure 1:25:24.000 --> 1:25:28.360 it out. So he knew, he knew, you know, he 1:25:28.439 --> 1:25:30.600 knew what it was going to be. So that was 1:25:30.720 --> 1:25:33.479 very encouraging to us. And well, Terry and I used 1:25:33.520 --> 1:25:35.400 to do. I mean, we spent a lot of money 1:25:35.520 --> 1:25:38.280 doing it, but and I have no idea where we 1:25:38.320 --> 1:25:40.400 got the money from quite honestly now that I think 1:25:40.400 --> 1:25:43.160 about it. But Prince used to we would rehearse during 1:25:43.200 --> 1:25:48.040 the week, and we would we rehearse, you know, Monday 1:25:48.120 --> 1:25:50.839 through Friday or whatever. When we would get done Friday, 1:25:52.720 --> 1:25:54.600 Terry and I would hop like the last flight to 1:25:54.800 --> 1:25:58.080 LA and you know, we had booked a couple of 1:25:58.880 --> 1:26:00.840 you know acts at that point time. We were doing 1:26:01.040 --> 1:26:05.040 a group called Reel to Reel for Leon Silvers. We 1:26:05.120 --> 1:26:10.720 were doing Climax for Dick Griffy at Solar, so we 1:26:10.800 --> 1:26:13.280 had a couple of things going right. So we would 1:26:13.320 --> 1:26:15.559 fly and we do, you know, twenty four hour lockout 1:26:15.880 --> 1:26:19.439 at the studio, right, which we didn't know. So we 1:26:19.560 --> 1:26:21.519 do twenty four hour lockout, but then we would work 1:26:21.560 --> 1:26:23.559 twenty four hours. We didn't know that. It just meant 1:26:23.600 --> 1:26:26.280 that nobody could come into studio after you, right, So 1:26:26.439 --> 1:26:30.760 we drive the engineers. He'd be like, what time do 1:26:30.800 --> 1:26:32.760 you think we're going to end tonight? We said, we 1:26:32.840 --> 1:26:34.760 got twenty four hour lockout. What are you talking about? 1:26:35.600 --> 1:26:37.640 He was like, no, but that doesn't mean you were. 1:26:37.680 --> 1:26:39.080 I said, no, we got it for twenty four hours. 1:26:39.080 --> 1:26:41.240 We're working twenty four hours. Terry'd be asleep on the couch. 1:26:41.280 --> 1:26:43.559 I'd be working that I fall asleep and Terry would 1:26:43.560 --> 1:26:47.240 be working. Oh man, no, we were. I mean it's like, 1:26:47.280 --> 1:26:48.760 come on, man, we're trying to get this done. So 1:26:49.400 --> 1:26:50.560 that was the way we would work, and then we 1:26:50.600 --> 1:26:52.559 would catch a plane back to be back in time 1:26:52.640 --> 1:26:59.320 for Monday rehearsal. So Prince got wind of what we 1:26:59.400 --> 1:27:08.680 were doing. Who's nitch Jesse? And so all of a 1:27:08.760 --> 1:27:13.160 sudden the rehearsals would start going longer and longer. Then 1:27:13.160 --> 1:27:16.280 all of a sudden, there'd be a Saturday rehearsal, or 1:27:16.439 --> 1:27:19.680 there would be are we are we rehearsal tonight? No, 1:27:19.760 --> 1:27:22.200 and there's no rehearsal tonight. Okay, cool, We're gonna hop 1:27:22.240 --> 1:27:24.040 a plane and then we're literally on our way to 1:27:24.080 --> 1:27:27.280 the airport. Oh yeah, there's a rehearsal that kind of 1:27:27.360 --> 1:27:30.680 thing would start happening. So it was a lot of roadblocks, 1:27:30.960 --> 1:27:32.760 you know, kind of thrown in front of us at 1:27:32.800 --> 1:27:37.000 that point. And yeah, out of that. So it was 1:27:37.160 --> 1:27:39.200 it was an interesting time. But no, we were doing it. 1:27:39.240 --> 1:27:40.720 We certainly weren't doing it for the money because we 1:27:40.760 --> 1:27:43.320 weren't making any money. But we were doing it just 1:27:43.360 --> 1:27:46.360 because we had a love of music and we didn't 1:27:46.400 --> 1:27:49.960 feel what we were doing sounded like the time, because 1:27:49.960 --> 1:27:52.880 one of Prince's concerns was that, you know, don't give 1:27:52.880 --> 1:27:55.080 away the time sound. And it's like, well, but you 1:27:55.240 --> 1:27:57.840 are all the time sign So what we're doing isn't 1:27:58.000 --> 1:28:01.200 the time, I mean, you know, And so there was 1:28:01.240 --> 1:28:02.879 a lot of that. I remember. We we got blamed 1:28:02.960 --> 1:28:06.800 for Leon did just keep on loving me. Prince swore 1:28:06.880 --> 1:28:08.639 we did that record. We said, Prince, we weren't even 1:28:08.720 --> 1:28:10.880 in the studio when that record was done. We still 1:28:10.920 --> 1:28:13.200 swear that we did that record, right. 1:28:13.400 --> 1:28:17.559 He told me a story like you know, they're hid 1:28:17.680 --> 1:28:20.320 behind Leon Silvers, but I know it was them, Like 1:28:20.479 --> 1:28:22.439 he still believes that that's them. 1:28:23.000 --> 1:28:24.880 We didn't. Actually a matter of fact, it's funny we 1:28:25.000 --> 1:28:26.519 heard that record. I think the first time we heard 1:28:26.560 --> 1:28:29.080 that record was on the radio and we loved it. 1:28:29.160 --> 1:28:31.799 I mean we were because we were Leon Leon Silver's 1:28:31.800 --> 1:28:35.280 disciples man. We love Leon Silvers man, and we heard 1:28:35.320 --> 1:28:37.560 that record and we were like, oh, hell yeah, we 1:28:37.800 --> 1:28:40.240 love this, this is great. And were we never heard 1:28:40.280 --> 1:28:42.479 it before? We weren't in the studio. I mean, he 1:28:42.600 --> 1:28:47.640 took how approach you like, listen to this? Well, you know, 1:28:47.680 --> 1:28:49.360 it's funny because we did. When we did we did 1:28:49.400 --> 1:28:51.000 a record called can You Treat Me Like She Does? 1:28:51.600 --> 1:28:54.640 For Real to Real and a very obscure record. But 1:28:55.840 --> 1:28:59.160 the demo of that song, Terry's playing the bass very 1:28:59.280 --> 1:29:02.680 much like the time, and uh, Leon always called it 1:29:02.760 --> 1:29:06.080 the patent bass, like when you're patting something, because it's 1:29:06.160 --> 1:29:08.960 really it's more of a percussive thing than actually playing notes, 1:29:09.479 --> 1:29:14.760 so it's just boom, you know. Terry calls it boogaloo bass, right. 1:29:16.040 --> 1:29:20.640 So Leon always called it the patent patent bass, like 1:29:20.680 --> 1:29:24.040 you're patting the bass. Right. So when we did the 1:29:24.120 --> 1:29:26.840 demo of the record and Leon heard it, he says, oh, 1:29:27.280 --> 1:29:29.760 he said, because he always scratched his beard and he 1:29:29.760 --> 1:29:32.920 always talked like this, and he'd say, yeah, he said, 1:29:32.960 --> 1:29:34.599 I like that. I like that record. He said, we're 1:29:34.600 --> 1:29:36.479 going to do that record. I'm like real to real, 1:29:36.920 --> 1:29:39.080 and we're like, okay, great, Leon, cool. You know, So 1:29:39.200 --> 1:29:41.840 we went in and did the track. So as we're 1:29:41.880 --> 1:29:46.160 doing the track, Princess in our mind talking about don't 1:29:46.160 --> 1:29:49.080 give away the time sounds so now so Terry like 1:29:49.320 --> 1:29:51.960 is watering down the bass part now right, So now Terry, 1:29:52.680 --> 1:29:57.280 Terry's just going boom, you know, he's just kind of 1:29:57.320 --> 1:30:00.160 doing like that. So we turned, you know, we did 1:30:00.200 --> 1:30:01.679 the track and we said, okay, here you go, Leon, 1:30:01.760 --> 1:30:06.439 and he goes what happened to the patent bass? And 1:30:06.520 --> 1:30:07.920 we were like, no, that's the way we do it, 1:30:08.080 --> 1:30:11.160 just like that. No, I heard the shits on the 1:30:11.240 --> 1:30:13.800 demo and he was patting the base different than he's 1:30:13.880 --> 1:30:17.479 doing it. So either you guys can do the pattern 1:30:17.520 --> 1:30:19.679 on the bass or I'll go in and do it myself. 1:30:21.560 --> 1:30:24.040 And so we were like, oh shit, okay. So we 1:30:24.120 --> 1:30:27.040 went in and I think I think Leon Terry did 1:30:27.200 --> 1:30:29.240 kind of add a little bit to it, but never 1:30:29.360 --> 1:30:32.200 wanted to give the whole thing away. But I think 1:30:32.280 --> 1:30:34.040 Leon did go in and you know, put a few 1:30:34.080 --> 1:30:36.880 little pats of his own there. But nah, I mean 1:30:36.920 --> 1:30:40.240 we really were conscious of that of not. We didn't 1:30:40.280 --> 1:30:42.280 want to give away the time sound and I think 1:30:42.400 --> 1:30:44.880 and and by the way, when we were producers, that 1:30:45.040 --> 1:30:46.799 was the same thing we did when we started producing. 1:30:46.920 --> 1:30:48.960 We we would do one act and then the next 1:30:49.040 --> 1:30:50.799 act we'd be like, no, we're going a whole different 1:30:51.280 --> 1:30:53.680 groove or drum machines or keyboards or whatever to try 1:30:53.720 --> 1:30:56.200 to keep everybody. You know, how did you. 1:30:56.200 --> 1:31:00.840 Avoid the Dick Griffy pitfall? Because you guys could have 1:31:01.080 --> 1:31:04.759 easily been just still our house producers? 1:31:05.200 --> 1:31:08.439 Yep? Did he pursue you guys at all? Sort of 1:31:09.680 --> 1:31:14.360 the Well, the reason is one man, Clarence Savon. Clarence 1:31:14.400 --> 1:31:17.840 Savon didn't allow that to happen. Now, when we went 1:31:17.880 --> 1:31:21.679 to see Clarence, there was a lady named Dina Andrews 1:31:22.040 --> 1:31:24.719 who was an A and R person that sold our records, 1:31:25.120 --> 1:31:27.439 and she, pardon me, she was the one that actually 1:31:27.920 --> 1:31:31.920 introduced us to Griffy and she also knew and and 1:31:32.160 --> 1:31:34.479 by the way, all of these songs we were doing 1:31:34.520 --> 1:31:36.519 back then were all based on one demo tape that 1:31:36.600 --> 1:31:39.960 we did at the house and high Hopes was on 1:31:40.080 --> 1:31:43.200 their SOS band I saw called when You're Far Away 1:31:43.200 --> 1:31:44.600 that we ended up doing on Gladys Nyne and the 1:31:44.640 --> 1:31:46.479 Pips a song called the only one that we did 1:31:46.560 --> 1:31:51.400 on Dynasty, which was Leon's. Yeah, I didn't know that. 1:31:51.400 --> 1:31:53.320 As matter of fact, the keyboard on there is that 1:31:53.400 --> 1:31:57.280 original little Cassio keyboard because because Leon said, man, keep 1:31:57.320 --> 1:31:59.240 that keyboard sound just like you had it, I said, okay, 1:32:00.160 --> 1:32:03.720 So like literally climax we did for Dick graphy real 1:32:03.760 --> 1:32:05.640 to real we did Dick, not for I mean for 1:32:05.920 --> 1:32:08.840 Leon Silver's Yeah exactly, and and so on and so forth. 1:32:08.880 --> 1:32:10.600 So anyway, but all of these songs were all on 1:32:10.720 --> 1:32:13.160 that same demo tape, and everybody just heard different songs 1:32:13.200 --> 1:32:18.519 they liked. Dick heard, you know, wild Girls. Yeah, he said, 1:32:18.520 --> 1:32:20.160 heard wild Girls and said, oh yeah, wold Girls. That 1:32:20.240 --> 1:32:22.000 wild Girls. We like that. You know, he still a 1:32:22.080 --> 1:32:27.320 copy of you know, Terry probably does. He probably does. 1:32:27.920 --> 1:32:29.280 I don't. I don't have it, but I bet you 1:32:29.360 --> 1:32:31.040 he does because he still got the four track you 1:32:31.080 --> 1:32:33.280 know that we did all that stuff probably in his 1:32:33.360 --> 1:32:35.840 room somewhere. Yeah, he's got no, it's not here. It's 1:32:35.840 --> 1:32:37.559 not he's got it at his house, but it's not here, 1:32:38.040 --> 1:32:40.280 but he's got it definitely. But anyway, so that was 1:32:40.320 --> 1:32:42.200 that was the whole thing. So everybody had their own 1:32:42.240 --> 1:32:44.679 different kind of things that they liked. But what happened 1:32:44.680 --> 1:32:48.600 with Clarence was Dennis said, I'm gonna introduce you to 1:32:49.000 --> 1:32:51.680 Clarence Avon because Clarence had wanted us to do he 1:32:51.840 --> 1:32:53.720 We had done High Hopes, but we didn't produce it. 1:32:53.800 --> 1:32:56.840 We just wrote it right, So Clarence wanted to hear 1:32:57.120 --> 1:32:59.200 what it would have sounded like if we produced it. 1:32:59.720 --> 1:33:02.280 So he had the demo. So we, you know, Dinah 1:33:02.280 --> 1:33:04.799 set up a meeting. We went to meet him. Clarence 1:33:04.880 --> 1:33:06.600 called us the two thugs because we walked in with, 1:33:06.760 --> 1:33:08.720 you know, our hats and our suits and stuff, and 1:33:08.760 --> 1:33:12.240 he said, who are you two thugs? You know? So anyway, 1:33:12.520 --> 1:33:15.479 he listens to the he said, he said that High Hopes. 1:33:15.640 --> 1:33:17.080 He said, I like that record, he says, you know, 1:33:17.640 --> 1:33:20.439 and we said, well, Clarence, he said, it's cool, but 1:33:20.479 --> 1:33:22.360 the way it came out, but you know, he said, 1:33:22.360 --> 1:33:23.880 what's the difference in the demo? I said, we put 1:33:23.880 --> 1:33:25.439 the chili sauce on the demo. He said, oh, you 1:33:25.560 --> 1:33:28.240 did chili sauce. I like that. Okay, let's hear that 1:33:28.600 --> 1:33:30.360 we put it in and he said, yeah, yeah, I 1:33:30.400 --> 1:33:32.120 like that. I like that. He said, okay, so I 1:33:32.200 --> 1:33:34.400 want you to do two songs on the next SOS 1:33:34.520 --> 1:33:38.519 band record and we said okay, cool, Yeah, we're down, 1:33:38.560 --> 1:33:40.800 you know whatever. So he said okay, he said but 1:33:40.880 --> 1:33:44.640 here's the thing. He said, now, y'all's manager is negotiating 1:33:44.680 --> 1:33:48.080 your fee. And when he said that, our first thought 1:33:48.200 --> 1:33:51.160 was oh man, So we were like, okay, Clarence, well 1:33:51.200 --> 1:33:53.120 we can you know, we can get the budget down, man, 1:33:53.200 --> 1:33:55.720 you know, whatever you you know want to do. And 1:33:55.840 --> 1:33:59.519 he said, get the budget down. She ain't asking enough money, y'all. 1:33:59.640 --> 1:34:02.599 Y'all are worth more than that. And we were like, oh, 1:34:02.680 --> 1:34:06.080 we was representing you at the time. Dina andrews, Okay, okay, yeah, 1:34:06.120 --> 1:34:08.640 she was like our kind of de facto but she 1:34:09.840 --> 1:34:11.519 but she worked for Solar but yeah, but she was 1:34:11.680 --> 1:34:14.360 moonlight and I guess you could say, you know, representing 1:34:14.400 --> 1:34:20.280 our affairs and uh. She had also got introduced us 1:34:20.320 --> 1:34:23.920 to a guy at Warner Brothers Publishing and I'm trying 1:34:23.960 --> 1:34:26.160 to think of who it was or Warner Chapel, I 1:34:26.200 --> 1:34:27.960 can't remember his name, who was going to give us 1:34:27.960 --> 1:34:31.599 a publishing deal. Right, So Clarence had seen the publishing 1:34:31.680 --> 1:34:37.200 deal and Clarence said, if y'all signed this publishing deal, 1:34:37.320 --> 1:34:40.920 I'm never speaking to YouTube again day. And we were like, wow, 1:34:41.280 --> 1:34:43.599 what's what's the problem with the with the deal? Clarence 1:34:44.000 --> 1:34:45.560 and the deal was something like it was like I 1:34:45.600 --> 1:34:47.360 don't know one hundred and I don't know it one 1:34:47.439 --> 1:34:49.639 hundred and seventy thousand dollars for three years or something 1:34:49.680 --> 1:34:52.160 like that, right, which at the time he thought, Oh 1:34:52.240 --> 1:34:54.640 my god, I'm like, are you kidding me? Taking us 1:34:54.640 --> 1:34:57.599 one hundred fifty dollars a week? Yeah? Right, We're like, oh, 1:34:57.640 --> 1:35:00.320 come on, man, that's great, he says. He said, well, 1:35:00.360 --> 1:35:02.320 let me just break it down for you, gentlemen. So 1:35:03.800 --> 1:35:06.599 he said, so you got one hundred and seventy thousand dollars. 1:35:06.680 --> 1:35:08.160 So first of all, you know you're gonna split that 1:35:08.280 --> 1:35:09.920 in half because there's two of y'all, in case you 1:35:09.960 --> 1:35:12.880 didn't understand that there's two of you. Okay, So now 1:35:12.960 --> 1:35:16.360 maybe you have you know, eighty five thousand dollars. Now 1:35:16.600 --> 1:35:20.880 Uncle Sam's gonna take his fifty percent. And now you 1:35:21.080 --> 1:35:26.519 got forty thousand dollars and three years for forty thousand. 1:35:26.560 --> 1:35:28.479 That's fifteen thousand dollars a year. What are you gonna 1:35:28.479 --> 1:35:34.679 do with that? We were like, uh, well, he said, gentlemen, 1:35:35.400 --> 1:35:38.479 he said, I guarantee you your first runty check will 1:35:38.520 --> 1:35:42.599 be more than that total three year check, mark my words. 1:35:43.040 --> 1:35:45.400 And we said, okay, Clarence, we're cold, we're with it. 1:35:45.479 --> 1:35:49.000 So we never never signed a deal. Clarence gave us 1:35:49.000 --> 1:35:52.120 a SOOS band deal, and of course that led to 1:35:52.240 --> 1:35:56.920 the ill fated recording session of Atlanta that we all 1:35:57.000 --> 1:35:59.599 know about. So but that was the thing. And by 1:35:59.640 --> 1:36:03.080 the way, Clarence was absolutely right. Our first royalty check 1:36:03.280 --> 1:36:08.000 was uh, probably right around that number, just for I 1:36:08.040 --> 1:36:10.880 think just for the first like sos name, so for 1:36:11.000 --> 1:36:13.040 one song. Yeah, what was was? 1:36:13.080 --> 1:36:13.120 It? 1:36:13.280 --> 1:36:18.120 Just be good? Yeah? So he was right. So that's 1:36:18.160 --> 1:36:20.080 how we didn't get into the Dick Griffy thing, because 1:36:20.080 --> 1:36:22.760 he didn't allow that to happen, he said. And the 1:36:22.880 --> 1:36:25.840 other last little thing he told us when we met 1:36:25.920 --> 1:36:28.160 with him, he said, think about this, gentlemen, what are 1:36:28.160 --> 1:36:29.880 you going to be doing seven years from now? And 1:36:30.000 --> 1:36:32.640 we said we're gonna be making hits and he said no, no, no, no, 1:36:32.840 --> 1:36:35.479 he said, I don't mean that. He said, right now, 1:36:35.560 --> 1:36:39.240 you got me, you got Barry Gordy, got Lonnie Simmons. 1:36:39.920 --> 1:36:43.240 You got Dick Griffy, right, you know where the guys 1:36:43.280 --> 1:36:46.240 are in the industry. Who's going to be the next us? 1:36:46.960 --> 1:36:48.439 He said, that's who you need to That's what you 1:36:48.520 --> 1:36:51.760 need to start looking at. You need to start identifying 1:36:51.880 --> 1:36:54.760 talent and then helping them out. And he says, if 1:36:54.800 --> 1:36:57.240 you ever come across somebody who you think is talented, 1:36:57.800 --> 1:36:59.640 they're in a screwed up deal or whatever it is, 1:37:00.479 --> 1:37:03.280 you would introduce him to me. And we said, okay, 1:37:03.640 --> 1:37:05.519 And you know who we met l A l A 1:37:05.640 --> 1:37:10.760 Read He was in the deal yep, because he was 1:37:10.800 --> 1:37:12.400 in the deal and he was and they had that 1:37:13.320 --> 1:37:15.760 in the contract as nobody else did. They had that, 1:37:16.200 --> 1:37:19.639 They had that contract. And we met him and knew 1:37:19.760 --> 1:37:22.360 him and face were doing stuff together and he said, 1:37:22.439 --> 1:37:24.600 can you introduce me to Clarence And we said absolutely. 1:37:24.680 --> 1:37:26.640 We called Clarence. We said, Clarence, we got somebody for you, 1:37:26.840 --> 1:37:29.559 just like you said, and the rest is history there. 1:37:29.680 --> 1:37:33.600 So Clarence Clarence is the funk whisper. Yeah he is, 1:37:34.840 --> 1:37:37.040 he absolutely is, He absolutely is. 1:37:38.760 --> 1:37:42.040 Well yeah, the first time, I I mean, I love 1:37:42.200 --> 1:37:44.360 Sussex Records, but I didn't know that he was. 1:37:44.439 --> 1:37:47.719 They ahead of it or even taboo. 1:37:49.560 --> 1:37:51.800 But yeah, I remember he was one of the first 1:37:51.840 --> 1:37:56.519 people you thinked when you got your Grammy, your producer 1:37:56.640 --> 1:38:02.639 the year, Yes for your Grammy. So how okay, I'm 1:38:02.680 --> 1:38:07.120 playing wilfully ignorant here. The day that you got fired, 1:38:08.080 --> 1:38:10.920 I mean, was that mid tour or did you that 1:38:11.040 --> 1:38:14.640 was between tours? So so what had happened was of 1:38:14.680 --> 1:38:17.439 course obviously the whole snowstorm happened. We missed the gig 1:38:17.520 --> 1:38:18.200 in San Antonio. 1:38:18.479 --> 1:38:21.439 We went to say, you're sitting on the plane as no, 1:38:21.560 --> 1:38:23.640 the planes, they weren't letting people on the plane. There 1:38:23.760 --> 1:38:26.360 was literally no I'm from Minnesota. What time was the flight? 1:38:27.240 --> 1:38:29.200 Flight was like first thing in the morning, like seven 1:38:29.240 --> 1:38:31.160 o'clock in the morning, like just when even then, and 1:38:31.240 --> 1:38:33.479 think like maybe we rent a car. We did think 1:38:33.520 --> 1:38:37.439 of that. We thought of every possible scenario. We booked 1:38:37.479 --> 1:38:41.439 ourselves on any flight leaving. We booked ourselves on it. 1:38:41.520 --> 1:38:43.960 You could do that in those days. And literally we 1:38:44.080 --> 1:38:47.200 were booked on like ten different flights and they all canceled, 1:38:47.200 --> 1:38:51.000 and they all canceled. Literally. Then we thought, well, can 1:38:51.080 --> 1:38:53.240 we get the rent a car back drive to an 1:38:53.280 --> 1:38:56.599 airport that's open. But once again, now you're not dealing 1:38:56.680 --> 1:38:59.720 with it's not ways and you know and and and 1:39:00.200 --> 1:39:03.160 Siri and what's the closest airports that's opened, Siri? And 1:39:03.240 --> 1:39:05.040 it's none of that. You know, you had none of those, 1:39:05.439 --> 1:39:08.320 you know, the ability to do that. So but no, 1:39:08.560 --> 1:39:11.000 all of those possibilities. We were like, take a flight 1:39:11.040 --> 1:39:13.040 to anywhere we can connect and get to San Antonio. 1:39:13.120 --> 1:39:15.479 So we had the whole day to figure it out. 1:39:15.600 --> 1:39:17.720 And so literally for eight hours. And of course we're 1:39:17.760 --> 1:39:20.160 in the Atlanta airport. Everybody been in the Atlanta airport. 1:39:20.479 --> 1:39:23.000 It was one of the first airports with totally separate 1:39:23.160 --> 1:39:25.519 terminals for everything, where you had to take the train 1:39:25.600 --> 1:39:28.080 to get to each terminal. We were up and down 1:39:28.840 --> 1:39:31.280 on the train, up and down like what's taken off? 1:39:31.320 --> 1:39:35.080 Anybody taken off? Anybody? It was It was probably the 1:39:35.160 --> 1:39:37.560 worst day of my life, I would say, because we 1:39:37.680 --> 1:39:39.360 had never missed a gig. I mean you just as 1:39:39.400 --> 1:39:41.720 a musician, the show must go on. I mean I 1:39:41.720 --> 1:39:44.000 remember Terry, there was a gig we had. Terry had 1:39:44.479 --> 1:39:46.479 stitches and stuff and was bleeding and gotten in a 1:39:46.560 --> 1:39:49.600 car accident, still showed up and did the gig. You know, 1:39:49.680 --> 1:39:53.560 we actually we were opening for uh maybe it was 1:39:53.640 --> 1:39:55.080 a cam it might have been a cameo we were 1:39:55.120 --> 1:39:58.200 opening for or something. But he showed up. I mean 1:39:58.240 --> 1:39:59.920 he was like, where's Terry? Always at the hospital, but 1:40:00.000 --> 1:40:01.519 he's on his way. It's like, okay, cool, you know, 1:40:01.640 --> 1:40:03.600 it's like you just don't miss a gig man. So 1:40:04.439 --> 1:40:06.200 that was crazy. But we figured out we were going 1:40:06.240 --> 1:40:08.400 to miss it when we got into town. It was 1:40:08.439 --> 1:40:10.400 really funny because I actually went to the club afterwards 1:40:10.439 --> 1:40:12.280 and everybody was saying, oh many, y'all were great, y'all 1:40:12.320 --> 1:40:15.599 were great. I felt so weird. I was like, I'm 1:40:15.640 --> 1:40:18.040 going home, man, this is this is too weird. So 1:40:18.479 --> 1:40:21.200 when we got back to La we just figured, you know, 1:40:21.240 --> 1:40:23.519 because we were still making our little check, a little paycheck, right, 1:40:24.280 --> 1:40:25.920 so we got you know, we would go by the 1:40:25.960 --> 1:40:27.760 accountant's office, and I figured we're going to go get 1:40:27.800 --> 1:40:30.559 our last check, right. So we walked into the account's 1:40:30.600 --> 1:40:32.800 office and everybody was like, hey, how you guys doing. Oh, 1:40:32.840 --> 1:40:35.479 here's your checks. Okay, we'll see you next week. We 1:40:35.600 --> 1:40:38.280 were like you will, okay, cool, all right, So we 1:40:38.360 --> 1:40:40.479 took our check right. So we did that for the 1:40:40.600 --> 1:40:42.519 next couple of weeks, three weeks you know, just went 1:40:42.600 --> 1:40:44.320 in and got our check and whatever. And I'm like going, 1:40:44.800 --> 1:40:47.200 I don't think they know we're fired. That's weird, you know. 1:40:48.320 --> 1:40:50.960 So then we were at this Whispers concert. Did you 1:40:51.080 --> 1:40:55.080 know you were fired? Though we were told we were fired. Okay, yeah, 1:40:55.120 --> 1:40:56.680 we were told we were fired. Matter of fact, who 1:40:56.800 --> 1:40:57.760 told you you? Rent? 1:40:58.000 --> 1:41:00.479 Prince told us, So he is confrontational. It wasn't like 1:41:01.520 --> 1:41:02.800 get my management to tell you. 1:41:05.040 --> 1:41:06.920 That over at a dinner too or something where like 1:41:07.040 --> 1:41:09.280 Prince and Morris were sitting together. It wasn't. It wasn't 1:41:09.320 --> 1:41:12.720 a dinner. It was what happened was and this is 1:41:12.840 --> 1:41:18.600 so damn movie storybook time. Okay, we had, you know, 1:41:18.920 --> 1:41:21.800 we're ready to mix the SOS band songs and we 1:41:21.880 --> 1:41:23.560 had ended up doing just be good to me, but 1:41:23.600 --> 1:41:26.600 also did tell me if you still care also in 1:41:26.680 --> 1:41:29.800 a subsequent session. So we're like ready to go. We're 1:41:29.920 --> 1:41:33.519 like got the time booked at Larabie Studios, right, and 1:41:33.560 --> 1:41:36.639 we're gonna mix with Steve Hodge. Way, we know Steve 1:41:36.720 --> 1:41:39.320 Hodges from looking at the liner notes, and it's like, okay, 1:41:39.360 --> 1:41:42.040 we need Steve Hodge at Larabie. That's the combination that 1:41:42.120 --> 1:41:43.840 we need right to mix the record. That's all we 1:41:43.920 --> 1:41:46.920 didn't know, but that's what we figured. So we got 1:41:46.960 --> 1:41:50.120 the time booked. That day, we get a call from 1:41:50.160 --> 1:41:53.280 Prince meet me at Sunset Sound at six thirty and 1:41:53.360 --> 1:41:55.240 we were like damn. So we kind of looked at 1:41:55.240 --> 1:41:56.920 each other and we said, well, we're supposed to be 1:41:56.960 --> 1:41:59.680 mixing the SOS bad record. Well we got to go. 1:41:59.800 --> 1:42:02.040 We have to go to Sunset Sound. I mean, it's 1:42:02.120 --> 1:42:04.479 like it was obvious to it was no choice. It 1:42:04.600 --> 1:42:07.320 was like, no, the time is our priority, you know, 1:42:07.400 --> 1:42:09.680 the SOS thing. We can wait and we'll figure it out. 1:42:10.479 --> 1:42:14.120 So we went. When we pulled up the accountant was there, 1:42:14.400 --> 1:42:17.880 a guy named Fred Moultrie. He was there, and we said, 1:42:18.680 --> 1:42:20.880 we're getting our We're getting fired. Like we knew the 1:42:20.920 --> 1:42:23.559 jig was up, right, You instantly knew. We just knew. 1:42:23.600 --> 1:42:25.720 We just knew that what So we said, hey, what's 1:42:25.760 --> 1:42:28.439 up Fred? And Fred had this high voice and he said, hey, guys, 1:42:28.560 --> 1:42:30.200 how you doing. Have a good session? Y'all have a 1:42:30.240 --> 1:42:33.840 good session. We were like, okay, cool, all right, well 1:42:34.200 --> 1:42:37.280 maybe not, you know. So we go into this little room, 1:42:37.400 --> 1:42:39.719 kind of this little sitting room right adjacent to the studio, 1:42:40.800 --> 1:42:45.200 myself Terry, Jesse Morris, and Prince, just the five of us, right, 1:42:46.840 --> 1:42:52.200 And Prince goes, I told you guys not to produce 1:42:52.720 --> 1:43:03.080 other records, and you did, so you're fired. And room 1:43:03.120 --> 1:43:05.240 went silent for a minute. And then I got up 1:43:05.240 --> 1:43:06.960 and I said, okay, cool, and I got up and 1:43:07.040 --> 1:43:10.080 walked out the door. So Terry stayed in there for 1:43:10.760 --> 1:43:13.960 a little while, trying to reason with him, like yeah, 1:43:14.200 --> 1:43:16.320 Terry was like, come on, mane, well Terry, you know, 1:43:16.439 --> 1:43:19.720 Terry was great because here's the one thing. First of all, 1:43:21.800 --> 1:43:25.400 Prince couldn't bullshit Terry ever. You just he's just usually 1:43:25.439 --> 1:43:27.240 he's just not the cat you do it with. And 1:43:27.320 --> 1:43:30.400 that's what Prince liked about Terry so much. He knew 1:43:30.439 --> 1:43:33.000 he couldn't do you know, oki dok on him, like 1:43:33.280 --> 1:43:36.640 like he would just tell him straight, like Prince, you 1:43:36.720 --> 1:43:39.160 suck right now or you He would just always say 1:43:39.240 --> 1:43:42.400 that yeah he could. Yeah, oh absolutely, Oh yeah. They 1:43:42.520 --> 1:43:44.040 used to get in, They used to get in these 1:43:45.240 --> 1:43:50.760 five six hour conversations about stuff about about life and 1:43:50.880 --> 1:43:55.559 religion and you name it. And and because Prince would 1:43:55.560 --> 1:43:57.519 have all these philosophies and he'd do all this stuff 1:43:57.560 --> 1:43:59.880 and it would be like and he talked, and you 1:44:00.080 --> 1:44:02.280 when he talked, man, he had this way of kind 1:44:02.320 --> 1:44:03.880 of like it was like drinking the kool aid. Man. 1:44:03.920 --> 1:44:06.040 It was like, right, no one ever challenged the morning. 1:44:06.200 --> 1:44:10.080 Nobody challenged him. And Terry would always go like, yeah, okay, 1:44:10.200 --> 1:44:12.519 well that's what you think, but here's what I think, 1:44:12.600 --> 1:44:14.599 and would come right back at him. And I think 1:44:14.680 --> 1:44:17.760 Prince always appreciated that with Terry, and Terry was really 1:44:17.840 --> 1:44:20.200 the leader of the time. I mean, Morris was the 1:44:20.280 --> 1:44:23.280 lead singer, but whenever there was a decision to be made, 1:44:23.640 --> 1:44:26.360 Morris would always go, Terry, what do you think? Okay, right, 1:44:26.560 --> 1:44:29.040 So Terry was that dude. So Terry, Yeah. So Terry 1:44:29.080 --> 1:44:30.439 tried to reason with him a little bit and just 1:44:30.520 --> 1:44:32.760 kind of go like, come on, man, would you why 1:44:32.800 --> 1:44:35.639 would you do that? We're not giving away the sound 1:44:35.760 --> 1:44:38.560 like you say, we're doing you know so and so, 1:44:38.680 --> 1:44:41.599 you know whatever. Anyway, about ten minutes later, Terry comes 1:44:41.640 --> 1:44:44.800 out and he says, Okay, well, what do you want 1:44:44.840 --> 1:44:46.680 to do now? And we looked at our watch and 1:44:46.720 --> 1:44:49.080 I said, well we got time. Yeah, we got time 1:44:49.120 --> 1:44:52.040 at Larabie. Let's go to Larby and missus right, So 1:44:52.160 --> 1:44:55.960 we walk into Larabie and we had never even met 1:44:56.040 --> 1:44:59.479 Steve Hodge before, and so we walk in and he goes, 1:44:59.560 --> 1:45:01.640 you guys, me Tarry, Yeah, he says, I'm Steve and 1:45:01.680 --> 1:45:03.040 I said, hey, Steve, nice to meet you. How you 1:45:03.120 --> 1:45:07.320 doing no good? And Steve goes, what's wrong with you guys? 1:45:08.040 --> 1:45:10.600 And he said something wrong and we said, we just 1:45:10.640 --> 1:45:15.320 got fired from the time and he said. Steve said hmm. 1:45:15.800 --> 1:45:18.360 He said, well, I'm gonna tell you something. He said, 1:45:18.400 --> 1:45:20.280 you don't have much story about because this record you 1:45:20.320 --> 1:45:23.160 guys got here. He said, this is a hit. And 1:45:23.320 --> 1:45:30.479 he knew, he knew, he knew, and it was that 1:45:30.560 --> 1:45:32.360 should be the end of the story, but it wasn't. 1:45:32.640 --> 1:45:36.760 Oh okay, so because that was how that happened, of 1:45:36.800 --> 1:45:38.760 course not. I'm telling you. We're still picking up our 1:45:38.760 --> 1:45:41.320 little paychecks right every week, right right. So now we're 1:45:41.360 --> 1:45:44.320 backstage at a Whispers concert. We run into Lee Bailey. 1:45:44.360 --> 1:45:48.519 He's got this show called Radio Radio. So so Lee 1:45:48.600 --> 1:45:50.680 Bailey's backstage and he walks up to me with a 1:45:50.720 --> 1:45:54.719 microphone and he says, Lee Bailey, radioscope here, you're fired 1:45:54.760 --> 1:45:57.080 from the time. What's the bottom line? And he puts 1:45:57.160 --> 1:46:00.840 the mic in my face and yeah, right right, and 1:46:01.200 --> 1:46:05.760 I'm going, who are you Lee Bailey? Radioscope, I said, 1:46:06.040 --> 1:46:07.479 I said, I know. I said, we're just here watching 1:46:07.520 --> 1:46:09.640 the concert, man, but I heard you got fired. From 1:46:09.680 --> 1:46:12.400 the time, I'm like, I don't know what you're talking about. Man, 1:46:12.400 --> 1:46:14.400 We're just here watching the concert, right, So I just 1:46:14.479 --> 1:46:18.000 kept saying that. Right. A couple of days later, we 1:46:18.080 --> 1:46:21.639 go to the accountant's office and we go, hey, guys, 1:46:21.720 --> 1:46:24.559 and they go, we can't give you your checks. Guys. 1:46:25.000 --> 1:46:27.719 We said, why not? I said, because you guys got fired. 1:46:28.080 --> 1:46:29.880 And we laughed and we said, we got fired like 1:46:29.960 --> 1:46:33.439 four or five weeks ago. Who told you we got fired? 1:46:33.920 --> 1:46:42.240 It was just on the radio. He's still doing it. 1:46:45.320 --> 1:46:48.760 He's still doing so. So then the epilogue, as we 1:46:48.920 --> 1:46:51.680 call it, back from the Dan August Days. Anybody Dan 1:46:51.720 --> 1:46:55.920 August fan over, everybody, budd he said, a Quinn Martin production. 1:46:56.000 --> 1:46:58.840 Anybody ever watched Quinn Martin production shows? Okay, well I 1:46:58.880 --> 1:47:02.519 got some. Yeah, I stopped it. Oh, I can't believe it. 1:47:02.640 --> 1:47:04.800 I can't believe nobody in the room. Okay, So Quinn 1:47:04.840 --> 1:47:09.800 Martin was a production team did TV shows back in 1:47:09.880 --> 1:47:12.120 the day. But Burt Reynolds was on a show called 1:47:12.200 --> 1:47:15.519 Dan August. He was a detective. It was really good, 1:47:16.000 --> 1:47:19.840 great show. Anyway, they would always say. It would always 1:47:19.840 --> 1:47:21.640 say act one, act two, Act three, and then at 1:47:21.640 --> 1:47:23.960 the end it would always say epilogue, and it was 1:47:24.000 --> 1:47:27.280 always the wrap up of the show. So the epilogue 1:47:27.280 --> 1:47:37.400 of the story is Prince had jelly Bean called Terry, 1:47:38.560 --> 1:47:40.479 and as it turned out, the reason that the accountant 1:47:40.479 --> 1:47:42.320 didn't know we were fired just because we never were 1:47:42.360 --> 1:47:46.640 really fired. It was a bluff. And the idea was 1:47:46.720 --> 1:47:49.560 we were supposed to fall flat on our faces and 1:47:49.680 --> 1:47:55.360 then beg for our jobs about right. Well, unfortunately that 1:47:55.520 --> 1:47:57.840 didn't happen because just be good to me came out 1:47:58.160 --> 1:48:02.920 unfortunately for who and not for us. So anyway, it 1:48:03.120 --> 1:48:05.519 just be good to me. Everybody basically was felt like, okay, 1:48:05.560 --> 1:48:07.439 well this is a this is a smash. Whoever did this? 1:48:07.600 --> 1:48:12.720 We're good, you know, so jelly Bean. So Prince decided 1:48:12.840 --> 1:48:15.800 divide and conquer. So he called Jellybe and he said 1:48:15.840 --> 1:48:20.080 to jelly Bean, get get Terry lewis back and Terry said, 1:48:20.160 --> 1:48:23.200 and uh, Bean said, what about what about Jimmy? And 1:48:23.280 --> 1:48:27.599 he said no, he said, just just Terry. So jelly Bean, 1:48:28.120 --> 1:48:31.320 Jelly Bean called Terry and I never forget this. We're 1:48:31.320 --> 1:48:34.160 in this, We're in this little little room and we 1:48:34.240 --> 1:48:37.519 had a little three bedroom apartment, uh, with Dina, with 1:48:37.640 --> 1:48:39.080 Dina Andrews, I think, as a matter of fact, at 1:48:39.120 --> 1:48:43.920 that point, and I remember Terry getting a phone and going, hey, Bean, 1:48:43.960 --> 1:48:48.280 what's up. What are y'all doing? And so Bean's telling them, oh, yeah, 1:48:48.280 --> 1:48:50.280 we're gonna do this movie, Purple Rain, and we're gonna 1:48:50.280 --> 1:48:51.760 do this whole thing, and you know, blah blah blah 1:48:51.760 --> 1:48:56.519 blah blah blah blah, and uh, Terry says yeah. He says, well, 1:48:57.120 --> 1:48:59.880 he said, what about Jimmy And he said, you know, 1:49:00.000 --> 1:49:05.639 I want Jimmy back. Terry said, you every cuss word, 1:49:05.800 --> 1:49:09.280 every like if he could climb through the phone and run. 1:49:09.400 --> 1:49:13.960 Bean's knocking, and I was like, Terry, what's going on? 1:49:14.120 --> 1:49:16.240 He says, no, no, you can't. I mean, he was 1:49:16.320 --> 1:49:19.880 so pissed off. Anyway, I said to Terry, I said, man, 1:49:19.920 --> 1:49:21.519 go do the movie. It's no big deal. I said, 1:49:21.560 --> 1:49:23.280 I'm not going anywhere. I said, you know, make the 1:49:23.360 --> 1:49:25.200 movie sounds fun, go ahead and do it and whatever. 1:49:25.320 --> 1:49:26.960 He said, No, he'll no, he said, no, we in 1:49:27.040 --> 1:49:29.400 this together. He said, if they're not going to do 1:49:29.479 --> 1:49:32.320 that to us, you know, we're a team and you 1:49:32.400 --> 1:49:36.000 know whatever. Yeah, so that was it. So that was it. 1:49:36.080 --> 1:49:37.599 So then and that's so, that's why we were out. 1:49:37.640 --> 1:49:40.120 And then wait, wait, why are you looking at me? 1:49:40.280 --> 1:49:40.320 Like? 1:49:40.640 --> 1:49:43.000 Why did you look at me? Mayor? Because I felt 1:49:43.040 --> 1:49:45.800 you looking at me like you can learn from this 1:49:45.960 --> 1:49:48.600 and there are some words of wisdom coming from this 1:49:48.680 --> 1:49:53.800 story about Lord, you're here with you for twenty years. 1:49:53.880 --> 1:49:57.120 You're here with me now flashback. It took a long time, 1:50:00.080 --> 1:50:09.680 like another episode of tune in. Look did you give 1:50:09.720 --> 1:50:14.120 me that? You listen? You're with me? 1:50:14.360 --> 1:50:15.720 Okay, it's what I'm taped now. 1:50:15.800 --> 1:50:18.600 I just needed it. Thank you, I love it. I 1:50:18.840 --> 1:50:24.240 love it. I'm sorry. That's what we do here. That's 1:50:24.280 --> 1:50:29.040 what we do here. It's a public service. Oh man. 1:50:29.160 --> 1:50:31.439 That's it for part one of our conversations with Jimmy 1:50:31.520 --> 1:50:34.200 jim Thank you guys for tuning in. And next week 1:50:34.360 --> 1:50:38.439 we have part two and that's when Alexander returns, Jimmy 1:50:38.439 --> 1:50:41.000 and Terry helped Janet take control and much more. Don't 1:50:41.040 --> 1:50:44.920 miss it quest Love Supreme. It is a production of iHeartRadio. 1:50:45.400 --> 1:50:48.760 This classic episode was produced by the team at Pandora. 1:50:51.000 --> 1:50:54.240 For more podcasts from iHeart Radio, visit the iHeart Radio app, 1:50:54.520 --> 1:50:57.559 Apple Podcasts, or wherever you listen to your favorite shows.