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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Yo, Yo, what's up y'all is Questlove And as you

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Speaker 2: heard me last time. You know, we've been talking about

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Speaker 2: giving people their flowers, and I gotta keep that going

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Speaker 2: because honestly, one episode is not enough. We're doing it

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Speaker 2: this time in the month of May because it may flowers,

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Speaker 2: all right. So see, given flowers isn't just about respect.

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Speaker 2: It's about public record. It's about making sure the people

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Speaker 2: who build the calls, carried the weight, who broke the ground, who.

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Speaker 1: Inspired us, don't get lost.

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Speaker 2: In the noise because we live in a moment where

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Speaker 2: things fast and legends can fade if we're not intentional

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Speaker 2: about keeping their names alive. So yeah, this part is

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Speaker 2: all about them, and I want to challenge myself and

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Speaker 2: you to think about the folks who may not get

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Speaker 2: magazine covers, but who change the way we hear, think

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Speaker 2: and move. Here a few more moments from QLs where

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Speaker 2: we honored some great ones. Twenty twenty four, I had

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Speaker 2: to sit down with another hero. Team Supreme sat down

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Speaker 2: with Narda Michael Walton, who was a crucial member of

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Speaker 2: the Mana Vishu Orchestra before becoming a hip producer for

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Speaker 2: Whitney Houston, Franklin, Mariah Carey, Starship and so many others.

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Speaker 1: At the beginning of.

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Speaker 2: Part one, I got to ask him one of those

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Speaker 2: always wanted to know questions about about his are you know,

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Speaker 2: especially as a guy who was tasked with getting the

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Speaker 2: best out of our superstars.

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Speaker 1: I'm bringing everything I ever learned from you, man, so

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Speaker 1: now you know what it is.

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Speaker 2: I'm also realizing I've met you briefly before, and I

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Speaker 2: will say that there are very few human beings that

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Speaker 2: have an instantaneous disarming chip that I wish I had.

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Speaker 1: You have a level of.

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Speaker 2: Calm that I now know that. Of course, your resume

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Speaker 2: is that impressive because I believe that you have a

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Speaker 2: sort of calming element, because you produced some people that

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Speaker 2: I would believe would be some of the hardest people

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Speaker 2: personality wise to even step with. I've said no to

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Speaker 2: a few of these people, were just like drumming with

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Speaker 2: them or any of those things, because I couldn't bear

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Speaker 2: to think of the thought of, you know, of dealing

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Speaker 2: with that. But can I ask you, like, what when

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Speaker 2: did you develop this personality of just calmness? Like you

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Speaker 2: have a very disarming like, have you ever gotten angry

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Speaker 2: in your life?

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Speaker 1: Oh?

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Speaker 3: Yeah, sure, sure I do, of course I do. It's

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Speaker 3: just that I learned, like what you're speaking about in

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Speaker 3: production and working with other people that I wanted to

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Speaker 3: get their best and I realized that the love aspect

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Speaker 3: was really powerful. It is really powerful. And then you

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Speaker 3: mentioned meditation, So through meditation and the love aspect that

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Speaker 3: became the most important part, and that the person I'm

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Speaker 3: working with could feel that love to do their best,

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Speaker 3: and then that would just make everything just go forward.

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Speaker 3: So I kind of just pray, swim, you know, get

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Speaker 3: myself together physically, and then getting that spirit that the

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Speaker 3: person you really feel like, oh you're not here to

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Speaker 3: fight with me, You're gonna be that great music. Then

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Speaker 3: they start singing whatever they're gonna do, and the endorphins

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Speaker 3: kick in and they were gone. But that spirit of

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Speaker 3: love is really really important. That's what I want to

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Speaker 3: say to you about that.

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Speaker 4: Do you have a pre studio ritual that you do

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Speaker 4: or something like the kind of get ready to get

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Speaker 4: into this.

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Speaker 3: You know, you can see behind me, I have a candle,

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Speaker 3: two camels here and a candle up there. You know,

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Speaker 3: I burn a little in sense every now and again,

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Speaker 3: I usually bring a gift to the person I'm working with,

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Speaker 3: just kind of make them feel the love on a

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Speaker 3: physical level. A teddy bear flower, something sweet. And I

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Speaker 3: want to say one more thing about what you're asking about,

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Speaker 3: because it's really important for me. That Probably the most

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Speaker 3: incredible moment along this line was after I made the

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Speaker 3: songs of two songs, Who's Theming Who Until You Say

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Speaker 3: you Love Me? And here and flew back to Detroit,

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Speaker 3: Michigan to meet Aretha. It looking in her eyes is scary.

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Speaker 3: That would that would scare you? That would that scared me?

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Speaker 3: But there again, you know, I let her know in

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Speaker 3: my spirit, my eyes, my love, I'm not here to fight,

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Speaker 3: I'm not here to make a problem. I want I

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Speaker 3: want to serve you, I love you, and help us

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Speaker 3: make the best music. And then once the music comes

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Speaker 3: on and then she starts opening up and singing, then again,

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Speaker 3: like I said, it just gets happy. And then then

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Speaker 3: it's like, well, what do you want to eat? You

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Speaker 3: want cheeseburger? You want you know, fried chicken?

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Speaker 1: What you want?

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Speaker 5: And all that sounds happening.

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Speaker 2: See, I wish I'd known you previously. Steve can attest

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Speaker 2: to this. You know, of course I'm still here at

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Speaker 2: the tonight show and lovely and I've only had one

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Speaker 2: client sort of put us through the ringer to the

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Speaker 2: point where I just walked away. And you know, unfortunately,

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Speaker 2: I've had the pleasure of playing practically with every person

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Speaker 2: I've ever idolized. But when it came to a refa

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Speaker 2: and the alpha level of testing that we were put.

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Speaker 1: Through, I failed that test. Oh you know, it was like.

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Speaker 2: My ego was there because in my mind, I'm like, well,

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Speaker 2: I'm holding up the tradition, like we are holding up

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Speaker 2: the tradition of Cornell Duprix and Bernard Purty like her seventies,

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Speaker 2: her seventies crack band, And you know, she wanted to

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Speaker 2: have a long talk, and she wanted us to audition

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Speaker 2: and all this stuff, and.

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Speaker 1: You know, I just now regret that move. But I

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Speaker 1: was just like, well, no, I'm fine.

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Speaker 2: If you want to sing behind your karaoke track, then

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Speaker 2: go ahead and do so.

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Speaker 1: And she did so.

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Speaker 2: And it could have been magic, but you know it

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Speaker 2: was definitely I didn't know about what you just said,

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Speaker 2: Like we're dealing with people and how to disarm them

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Speaker 2: and all that stuff, and so.

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Speaker 1: All right, y'all.

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Speaker 2: In twenty twenty two, I sat down with Steve roon

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Speaker 2: and a special.

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Speaker 1: One on one.

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Speaker 2: I'm molded so much of my drumming after Steve, but

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Speaker 2: aspects of his journey and style were unknown to me,

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Speaker 2: and this conversation went on over three hours and became

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Speaker 2: a two parter filled with so much joy. Here's where

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Speaker 2: Steve talks about going from playing with Bloodstone.

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Speaker 6: To the Average White Band, which is how.

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Speaker 1: I learned about it.

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Speaker 2: I've heard many accounts of how Robbie passed away and

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Speaker 2: how you got into the group. Yeah, but I've never

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Speaker 2: heard an official version from official band member. How did

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Speaker 2: Robbie pass away? And how did you get the gig

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Speaker 2: for the Average White Band?

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Speaker 7: Well?

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Speaker 8: You know where were you know, we're friends. I was

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Speaker 8: supposed to go to that party. I was supposed to

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Speaker 8: meet um with that party. But I was, I was,

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Speaker 8: I was. I was doing the film, doing the film.

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Speaker 5: With the You're in that movie?

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Speaker 9: No, I played, Well, I might be in them, but

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Speaker 9: I did the move music for it.

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Speaker 1: So did it ever come out?

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Speaker 9: Yes, yes, I I think I have it. I think

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Speaker 9: I got that found it.

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Speaker 1: Oh my god, Okay, yeah, they're trained.

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Speaker 2: Yes, when they when they were promoting that album on

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Speaker 2: Soul Train. Uh, Don Cornelli showed like a minute of

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Speaker 2: the clip where they're riding in the train and they're

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Speaker 2: in the bunkers.

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Speaker 1: And yeah, doing show tunes and whatnot.

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Speaker 9: And so it is funny.

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Speaker 8: I mean I had to go there and be on

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Speaker 8: set with them and then and then we go we

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Speaker 8: do re called music.

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Speaker 1: Yeah, so you're all over that record.

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Speaker 2: Yeah, wow, that's not you on Natural High.

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Speaker 9: Money money is better. No, okay, it's not me a master,

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Speaker 9: but but money is money. Badass. Something actually said it

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Speaker 9: to me. That's why I started looking for it. I

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Speaker 9: forgot all about it.

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Speaker 1: Wow, we did that.

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Speaker 9: All the best things in life, fore right, I get it.

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Speaker 8: So so I was doing I was doing that, and

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Speaker 8: and they were playing that.

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Speaker 9: They were doing a run at the Troubador, and Robbie

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Speaker 9: called me.

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Speaker 8: Up and he said, come on, man, come and go

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Speaker 8: and be a party on It was Sunday night or something.

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Speaker 9: So I got to work. If I can, I'll be there.

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Speaker 9: And and and as fate would have it, I didn't.

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Speaker 8: I didn't go. Okay, and and and the next morning

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Speaker 8: I woke up and my my my drum tech then

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Speaker 8: guy that was working for me, guy named Terry Merchant.

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Speaker 1: Mm hmm.

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Speaker 9: He said, Steve Robbie.

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Speaker 8: Stead Yeah, And I say, what did you Because Robbie,

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Speaker 8: Robbie and I used to go out drinking together. Robbie

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Speaker 8: was the hell of a drinker. And he said, no, no, no,

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Speaker 8: he's dead, you know, he an overdose. Robbie wasn't so

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Speaker 8: much of a drug taker. I could say, there wasn't

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Speaker 8: so much of a drug. He's more of a drinker, right,

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Speaker 8: But Robbie, this is this was the thing was Robbie.

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Speaker 9: Robbie could drink.

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Speaker 8: I'd seen Robbie drink Butler vodka and then he just

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Speaker 8: switched to Scotch, right.

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Speaker 9: And I get sick. But I never saw Robbie throw up.

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Speaker 9: Never saw him he would pass out right.

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Speaker 1: Yeah.

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Speaker 8: And from from my understanding, because I wasn't there for

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Speaker 8: a lot of what when when, the whole just there

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Speaker 8: for the aftermath, was that he was at this party

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Speaker 8: and everybody did this guy was saying some he's some cocaine, right,

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Speaker 8: And so Robbie wouldn't do anything small.

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Speaker 9: He was not that sort of a person either.

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Speaker 1: He went bigger.

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Speaker 8: Yeah, when he went and he went, he went bigger

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Speaker 8: and and everybody, everybody else that did it got sick,

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Speaker 8: and Robbie went home, went to sleep, and it stayed

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Speaker 8: in his system. It was it was heroin and it

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Speaker 8: was cut with strychnine, and it killed him. Jesus Christy's simple,

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Speaker 8: you know, you know, I mean we talk a lot about,

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Speaker 8: you know, accidental drug overdoses, you know, sometimes the house

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Speaker 8: I'm saying at the moment, there was three guys that

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Speaker 8: died of a fentanyl overdoses and and one of those,

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Speaker 8: one of those guys was his was his nephew.

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Speaker 9: Right, and uh, and accidental.

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Speaker 8: I don't think anybody goes does any of that stuff

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Speaker 8: to die, you know.

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Speaker 9: I mean, if they want.

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Speaker 8: To do that, they say, I'm I write a suicide note,

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Speaker 8: right exactly, you did this to me, and then they're

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Speaker 8: just do an enormous lot and they're dying. And I

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Speaker 8: think they were recreation. I don't think that this guy

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Speaker 8: even had a problem. And I think there was just

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Speaker 8: three buddies that decided to go and around, let's let's

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Speaker 8: try that stuff and see what it does.

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Speaker 1: And unfortunately, yeah, it's a killer.

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Speaker 9: It wasn't like that in the sixties. I can tell

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Speaker 9: you that right now.

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Speaker 8: But I don't think anything any of the drugs nowadays

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Speaker 8: like they were in the sixties and seventies, and it's

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Speaker 8: a it's a different animal. So, you know, Robbie, it

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Speaker 8: was a tragic, a tragic accident.

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Speaker 1: It did.

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Speaker 8: It was a lot of pains, probably still being felt today.

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Speaker 8: You know, I hadn't spoken to his widow in over

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Speaker 8: twenty years. And she called me last.

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Speaker 1: Week really England.

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Speaker 8: Yeah, wow, he did, and and and she she was

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Speaker 8: telling me that she she just just now has come

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Speaker 8: to terms with the fact to be able to just say,

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Speaker 8: you know, this is what it was, and not much

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Speaker 8: point running around feeling resentment. And years of running around

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Speaker 8: feeling resentment.

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Speaker 1: It just make yourself that broke her heart for all

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Speaker 1: those years, forty five years. It just wow, she read married.

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Speaker 9: But yeah, still painful.

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Speaker 8: Yeah, you know, Robbie was a great guy and a

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Speaker 8: great drumma and a great guy.

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Speaker 2: How how long does time go by before you're getting

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Speaker 2: the phone call to join the average white band? And

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Speaker 2: before they call you, are they trying to at least

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Speaker 2: maintain the status of the name of the group and

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Speaker 2: find a white guy that's funky.

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Speaker 9: No, Well, I tell you.

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Speaker 8: What happened was was this was that was that when

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Speaker 8: when I found out about Robbie being being dead, I

245
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Speaker 8: went and I called, I got hold of Hamish and

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Speaker 8: I went over to the hotel and sat over the

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Speaker 8: hotel with everybody.

248
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Speaker 9: And we were all.

249
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Speaker 8: Drinking because that's what we did with the Scots, and

250
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Speaker 8: and and I said to them, listen, you know, Robbie

251
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Speaker 8: wouldn't want you guys to stop now. You know, you

252
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Speaker 8: just gotten to get this airplay with picked up the

253
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Speaker 8: pieces that's happening for you. I don't know how this

254
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Speaker 8: is all going to know, but you guys, you know

255
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Speaker 8: you shouldn't shouldn't stop.

256
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Speaker 5: Fare was talk of maybe we should stop the group.

257
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Speaker 8: Well it was it was everybody was sitting around sort

258
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Speaker 8: of like it was all over. You know, It's like

259
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Speaker 8: it's not over, it's you know. And so I said,

260
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Speaker 8: if there's anything I can do, let me know, and

261
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Speaker 8: and and and I was under contract to Bloodstone, right,

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Speaker 8: so what what I would do is Stick super and myself.

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Speaker 8: What would happen if I couldn't do it, if I

264
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Speaker 8: was working with a Budstone, Sticks would go and play

265
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Speaker 8: with them.

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Speaker 9: Yeah, And then.

267
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Speaker 5: Sticks briefly joined the average white band.

268
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Speaker 9: They played no average white man.

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Speaker 8: So he go and play the gig and then and

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Speaker 8: then if he could, if he couldn't do it, I

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Speaker 8: do it. And then and and you know, I go

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Speaker 8: and play with them. They were auditioning people s I R.

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Speaker 8: There's drummers all black, white, I mean, didn't matter. They

274
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Speaker 8: were just looking for a drummer, okay, with sticks and

275
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Speaker 8: sticks and I would go. We'd go to the auditions

276
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Speaker 8: and we'd sit there in the s I R. And

277
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Speaker 8: they drummer would come in. They start playing with them,

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Speaker 8: and they say, okay, no, they ain't working, and they

279
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Speaker 8: would get more and more depressed, you know, And so

280
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Speaker 8: either sticks or myself would go up and we jam

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Speaker 8: with them and they come back to life again.

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Speaker 9: And then they wheel in another drummer. And then we'd

283
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Speaker 9: sit there and we'd watch them, and they would go there.

284
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Speaker 1: Any any drummer of note that tried to audition for

285
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Speaker 1: the band that didn't.

286
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Speaker 8: Make nobody, nobody that I knew, But that was a

287
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Speaker 8: lot of kids wanted to play. They would, you know,

288
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Speaker 8: it was it was a big audition to go to

289
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Speaker 8: and so and so I had to play this gig

290
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Speaker 8: with them down at Long Beach at Long Beach Arena,

291
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Speaker 8: at the old Long Beach Arena, and we down there,

292
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Speaker 8: we sit down and come out, we start to play.

293
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Speaker 8: I remember this gig there was. They were also like

294
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Speaker 8: kind of state static audience. They weren't really doing too much.

295
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Speaker 8: And then there was this one I saw this one

296
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Speaker 8: guy sort of started to rock, you know, so I

297
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Speaker 8: sort of hold him, owned in on him, and it

298
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Speaker 8: kind of spread out from him, and by the end

299
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Speaker 8: of the show, everybody was like dancing and going crazy,

300
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Speaker 8: and it was it was a great show. And I

301
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Speaker 8: came off the stage and this little fella came walking

302
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Speaker 8: up to me dapper, you know, it's really well dressed.

303
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Speaker 9: And I said, you know, a little bed. He walked

304
00:15:24,760 --> 00:15:27,040
Speaker 9: up to me and he said, You've got to be

305
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Speaker 9: in the band.

306
00:15:28,760 --> 00:15:31,280
Speaker 8: And I said, I'd love to be in the band,

307
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Speaker 8: but I'm under contract to another band.

308
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Speaker 9: I can't I can't do.

309
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Speaker 10: It, you know.

310
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Speaker 8: And he said, you're out of that band, and you're

311
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Speaker 8: in the band, and then he walked and he walked off.

312
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Speaker 8: And Bruce McCaskill was the manager at the time of

313
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Speaker 8: the banner. I said, Bruce, who the hell is that?

314
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Speaker 8: And he said, oh, That's how I'd heard. I was

315
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Speaker 8: out of that contract and I was in average white man,

316
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Speaker 8: just like that.

317
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Speaker 6: All right.

318
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Speaker 2: Oh, in twenty eighteen, Dame Funk help us get Leon

319
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Speaker 2: Silver's on the show. And this was epic for me

320
00:16:07,280 --> 00:16:10,440
Speaker 2: because there was so much I did not know. And

321
00:16:10,480 --> 00:16:13,200
Speaker 2: you here's some of that here coming out of my intro.

322
00:16:15,640 --> 00:16:19,320
Speaker 2: The reason why I feel as that we commit to

323
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Speaker 2: this show. Yes, you know, we're about the whatever, the

324
00:16:24,640 --> 00:16:29,200
Speaker 2: teaching of excellence and bringing people and exposing him to

325
00:16:29,240 --> 00:16:31,880
Speaker 2: the audience, you know, to audience that might not know him,

326
00:16:32,040 --> 00:16:34,720
Speaker 2: stuff like that, but just sometimes you just want to

327
00:16:34,800 --> 00:16:41,840
Speaker 2: nerd out on your favorite and I there's so much.

328
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Speaker 2: There's not enough that I can say about the gentleman

329
00:16:44,800 --> 00:16:49,160
Speaker 2: that we have with us right now. I can say that,

330
00:16:49,440 --> 00:16:55,680
Speaker 2: you know, he is. I mean, he's such a genius

331
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Speaker 2: in every area that he's ever done in crafting harmonies

332
00:16:59,680 --> 00:17:04,320
Speaker 2: and musicianship and his songwriting. I mean, he damn near

333
00:17:04,320 --> 00:17:06,119
Speaker 2: it invented a genre of music.

334
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Speaker 1: He killed disco, He literally killed disco of all the like.

335
00:17:13,720 --> 00:17:18,120
Speaker 2: He invented genres and he inspired some of our greatest

336
00:17:18,200 --> 00:17:21,320
Speaker 2: I told Jimmy jam that he was coming on our

337
00:17:21,359 --> 00:17:24,439
Speaker 2: show and even Jimmy jam had to bow down because

338
00:17:24,800 --> 00:17:27,040
Speaker 2: of all that he learned from this man. I'm about

339
00:17:27,040 --> 00:17:29,840
Speaker 2: to start crying right now. Ladies and gentlemen, please welcome

340
00:17:29,840 --> 00:17:30,320
Speaker 2: to the show.

341
00:17:30,960 --> 00:17:36,639
Speaker 1: Leon Silver's the third yes.

342
00:17:37,640 --> 00:17:38,160
Speaker 7: To be here.

343
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Speaker 6: Man.

344
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Speaker 1: You don't know how happy we are right now, Like.

345
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Speaker 6: We're just shout out to dang funk shout the day.

346
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Speaker 1: Yeah.

347
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Speaker 2: We have so many questions about your life, Like I've

348
00:17:57,400 --> 00:18:00,679
Speaker 2: never idolized someone so much that I really don't know

349
00:18:00,720 --> 00:18:04,000
Speaker 2: that much about because you rarely did interviews and things

350
00:18:04,040 --> 00:18:05,040
Speaker 2: like that that matter.

351
00:18:05,119 --> 00:18:09,320
Speaker 1: But let's just should we rapid fire? Do we?

352
00:18:09,400 --> 00:18:11,160
Speaker 6: Just we?

353
00:18:11,600 --> 00:18:13,520
Speaker 2: I want to go, Let's go through the journey. Okay,

354
00:18:13,840 --> 00:18:15,760
Speaker 2: now I'm gonna say it. Let's start at the beginning.

355
00:18:17,320 --> 00:18:18,680
Speaker 2: You all gotta be proud of me. I haven't said

356
00:18:18,680 --> 00:18:20,120
Speaker 2: that in a while, but SA this time.

357
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Speaker 1: Okay. So uh, I believe your entire families from Tennessee. Correct? Uh,

358
00:18:30,320 --> 00:18:30,960
Speaker 1: please be wrong?

359
00:18:31,000 --> 00:18:36,920
Speaker 7: Sucking everybody except me faster Agian Pat?

360
00:18:37,119 --> 00:18:38,240
Speaker 1: Where were you born?

361
00:18:38,400 --> 00:18:40,080
Speaker 7: I was born in South ben Indiana.

362
00:18:40,280 --> 00:18:43,720
Speaker 1: Oh yes.

363
00:18:44,000 --> 00:18:46,320
Speaker 7: My father was going to college out there and my

364
00:18:46,359 --> 00:18:50,760
Speaker 7: mother and I was born on the campus and only

365
00:18:50,840 --> 00:18:53,239
Speaker 7: stayed there three days after I was born. So I

366
00:18:53,320 --> 00:18:55,840
Speaker 7: know nothing about South Ben, Indiana.

367
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Speaker 1: I was born there for three days. I was there

368
00:18:59,440 --> 00:19:03,960
Speaker 1: for three years. Wait, you born to South Ben Yeah,

369
00:19:04,080 --> 00:19:11,160
Speaker 1: Memorial Hospital. Wow, that's amazing, That's that's crazy. Yeah. So just.

370
00:19:13,040 --> 00:19:14,960
Speaker 2: I just want to know it all, like to talk

371
00:19:15,000 --> 00:19:19,560
Speaker 2: about the beginnings in Tennessee and how music entered into

372
00:19:19,640 --> 00:19:21,920
Speaker 2: that household.

373
00:19:23,040 --> 00:19:27,480
Speaker 7: Well about Tennessee, I can't remember too much except Roy Rogers,

374
00:19:27,640 --> 00:19:32,080
Speaker 7: so I was too. After about two years, we hit

375
00:19:32,160 --> 00:19:34,639
Speaker 7: the train and came to LA. I think I was

376
00:19:34,640 --> 00:19:39,520
Speaker 7: two or three years old, and La is where everything

377
00:19:39,800 --> 00:19:43,720
Speaker 7: started the motown sound for me.

378
00:19:44,000 --> 00:19:46,080
Speaker 1: Why did you guys move to Los Angeles?

379
00:19:46,400 --> 00:19:54,160
Speaker 7: I think my father got a gig at what is it, uh,

380
00:19:54,359 --> 00:19:59,560
Speaker 7: some kind of space company something. He was doing some

381
00:19:59,720 --> 00:20:05,920
Speaker 7: kind of work I couldn't remember, but he his work

382
00:20:05,960 --> 00:20:11,439
Speaker 7: brought us out there. And everybody wasn't born yet. It

383
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Speaker 7: was just myself, Charmaine.

384
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Speaker 1: Charmaine, Charmaine is the eldest sister, and you're the eldest brother.

385
00:20:19,520 --> 00:20:23,399
Speaker 7: No, Olympia is the oldest of the family. Olympia and

386
00:20:23,400 --> 00:20:28,280
Speaker 7: then myself, Charmaine and James Jonathan that was who was

387
00:20:28,320 --> 00:20:33,440
Speaker 7: only four of us when we went to LA and

388
00:20:33,760 --> 00:20:37,720
Speaker 7: it started with me was the Motown sound. I was

389
00:20:37,760 --> 00:20:44,359
Speaker 7: into James Jamison on bass period and Benny Benjamin the drums. Uh,

390
00:20:44,400 --> 00:20:48,600
Speaker 7: and that was my start in music. I was taking hangers,

391
00:20:48,600 --> 00:20:54,439
Speaker 7: acting like high hats. I took the drunk, the little broom,

392
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Speaker 7: the sweeping part, used that as a rim and snare,

393
00:20:58,520 --> 00:21:01,880
Speaker 7: and the box spring I used, there's a kick drum.

394
00:21:02,400 --> 00:21:05,120
Speaker 7: That's how I started music right there.

395
00:21:05,280 --> 00:21:07,160
Speaker 2: You know, that's where most people would take the broom

396
00:21:07,200 --> 00:21:10,520
Speaker 2: and make that to a guitar. You thought to make that?

397
00:21:11,680 --> 00:21:13,520
Speaker 7: Yeah?

398
00:21:13,880 --> 00:21:18,120
Speaker 2: Was were there any adults that were musicians that were

399
00:21:18,760 --> 00:21:20,399
Speaker 2: influential in your life at that point?

400
00:21:20,560 --> 00:21:24,560
Speaker 7: Or no, I'm just Jamison and Benny Benjamin. I didn't

401
00:21:24,560 --> 00:21:28,320
Speaker 7: know nobody yet. That was only about six or seven

402
00:21:28,400 --> 00:21:29,080
Speaker 7: there at seven.

403
00:21:29,720 --> 00:21:33,000
Speaker 1: What was it about that music that called you the bass?

404
00:21:33,880 --> 00:21:37,360
Speaker 7: I got a guitar when I was like, we did

405
00:21:38,960 --> 00:21:41,639
Speaker 7: we just did four part harmony because I was teaching

406
00:21:41,640 --> 00:21:44,840
Speaker 7: everybody this Lower Scudder's commercial back in the day, and

407
00:21:44,920 --> 00:21:48,320
Speaker 7: my brother was three years old but he held four

408
00:21:48,359 --> 00:21:51,800
Speaker 7: part harmony. So we was doing this Lower Scudder's commercial

409
00:21:52,200 --> 00:21:55,400
Speaker 7: and my father heard us and started teaching us some

410
00:21:55,440 --> 00:21:59,640
Speaker 7: four freshman type harmony back in the day. That high

411
00:21:59,640 --> 00:22:02,639
Speaker 7: lows and all that, and so we did it real easy,

412
00:22:02,760 --> 00:22:04,800
Speaker 7: and he got a manager and they put us on

413
00:22:05,040 --> 00:22:08,240
Speaker 7: we would called the Little Angel, right, and they put

414
00:22:08,320 --> 00:22:12,760
Speaker 7: us on Spike Jones arc Link letters show all these

415
00:22:12,840 --> 00:22:19,919
Speaker 7: names from back in the day. And that's where my brother,

416
00:22:20,760 --> 00:22:23,520
Speaker 7: he was three when we did our first TV show,

417
00:22:24,000 --> 00:22:27,719
Speaker 7: and he held he gave everybody our parts when we

418
00:22:27,760 --> 00:22:31,160
Speaker 7: forgot him, so he As far as harmony is concerned,

419
00:22:31,200 --> 00:22:31,640
Speaker 7: how did you.

420
00:22:31,560 --> 00:22:35,120
Speaker 2: Guys even know how to notate harmony? Because well, one

421
00:22:35,160 --> 00:22:38,600
Speaker 2: thing I think our audience should know is I feel

422
00:22:38,640 --> 00:22:46,120
Speaker 2: like the one distinction that separated you guys from any

423
00:22:46,200 --> 00:22:53,159
Speaker 2: of your contemporaries Jackson stair Steps, whoever was young at

424
00:22:53,160 --> 00:22:59,160
Speaker 2: that time, was you guys had the most unusual harmony

425
00:22:59,200 --> 00:23:00,280
Speaker 2: structures ever.

426
00:23:00,440 --> 00:23:01,560
Speaker 1: Was that from not knowing?

427
00:23:02,119 --> 00:23:05,960
Speaker 2: Like who taught you those dissonant and chromatic harmonies that

428
00:23:06,680 --> 00:23:07,440
Speaker 2: weren't average?

429
00:23:07,680 --> 00:23:12,359
Speaker 7: And I think, uh, well, my father was into the

430
00:23:12,400 --> 00:23:15,480
Speaker 7: four freshmen and the high lows and all that. So

431
00:23:15,520 --> 00:23:19,520
Speaker 7: he he saw us doing three part harmony and one

432
00:23:19,640 --> 00:23:24,360
Speaker 7: lead on this Lorscuddis commercial and I gave him their parts,

433
00:23:24,600 --> 00:23:26,639
Speaker 7: but it was you know, simple stuff like you know,

434
00:23:27,320 --> 00:23:30,320
Speaker 7: and he saw we can hold a no, not get off.

435
00:23:30,640 --> 00:23:34,560
Speaker 7: So he started giving us harder songs, songs like It's

436
00:23:34,600 --> 00:23:39,000
Speaker 7: a Blue World, and uh, well I forgot the name

437
00:23:39,040 --> 00:23:42,720
Speaker 7: of those songs, but uh it was four and five

438
00:23:42,760 --> 00:23:46,440
Speaker 7: part harmony, and we stayed on it and didn't get off.

439
00:23:46,840 --> 00:23:49,800
Speaker 7: I don't know why. My mother could have been an

440
00:23:49,840 --> 00:23:52,520
Speaker 7: opera singer. She was studying for a minute, So I

441
00:23:52,560 --> 00:23:57,520
Speaker 7: guess that's why we Uh we just felt we can

442
00:23:57,600 --> 00:23:59,320
Speaker 7: do it, and we just did it. You know. It

443
00:23:59,359 --> 00:24:02,080
Speaker 7: wasn't no or whatever. We just did it and stayed

444
00:24:02,119 --> 00:24:05,439
Speaker 7: on the notes. And I actually was the worst holding

445
00:24:05,480 --> 00:24:10,400
Speaker 7: the note. Really yeah, James was the best, and then

446
00:24:11,240 --> 00:24:17,320
Speaker 7: it was Charmaine, then Olympia than me. I was last.

447
00:24:17,359 --> 00:24:20,520
Speaker 7: I always forget my note, you know. But James had

448
00:24:20,560 --> 00:24:23,800
Speaker 7: the ear for holding the notes, and he was the youngest.

449
00:24:24,200 --> 00:24:26,199
Speaker 1: What year was this this was?

450
00:24:26,480 --> 00:24:29,360
Speaker 7: I was like I was like seven six.

451
00:24:29,920 --> 00:24:32,440
Speaker 1: But I mean, like in what year was it? Like,

452
00:24:32,880 --> 00:24:33,440
Speaker 1: probably was.

453
00:24:33,400 --> 00:24:37,160
Speaker 7: This sixty fifty nine or something like. I was born

454
00:24:37,200 --> 00:24:41,720
Speaker 7: in fifty three, so okay, around fifty nine or something

455
00:24:41,760 --> 00:24:42,720
Speaker 7: like that or sixty.

456
00:24:42,960 --> 00:24:46,160
Speaker 2: So there wasn't even a template out at the time

457
00:24:46,240 --> 00:24:49,680
Speaker 2: to or besides maybe Frankie Lymon and the teenagers, which

458
00:24:49,720 --> 00:24:52,360
Speaker 2: is more like fifty seven to fifty, But there were

459
00:24:52,400 --> 00:24:55,760
Speaker 2: no kids groups or that sort of thing to no.

460
00:24:56,080 --> 00:24:58,560
Speaker 7: Just Frankie Lyman, what's your name? Sounded kind of like

461
00:24:58,600 --> 00:25:02,720
Speaker 7: a kid little anthe any back then I listened to

462
00:25:02,800 --> 00:25:03,600
Speaker 7: him for a minute.

463
00:25:03,680 --> 00:25:08,840
Speaker 2: Yeah, So were you guys instantly in pursuit of the

464
00:25:08,880 --> 00:25:10,840
Speaker 2: next level? Was just to find a record deal? Or

465
00:25:10,880 --> 00:25:13,240
Speaker 2: was it just like we did this television show and

466
00:25:13,280 --> 00:25:13,639
Speaker 2: that's it.

467
00:25:14,119 --> 00:25:16,720
Speaker 7: Well, back then we didn't have no leads. It was

468
00:25:16,800 --> 00:25:20,720
Speaker 7: off harmony, so we would just stand there and sing,

469
00:25:20,760 --> 00:25:25,560
Speaker 7: no personality, no charisma or nothing, just singing holding the notes.

470
00:25:25,640 --> 00:25:28,159
Speaker 7: And we were so young that I guess the crowd

471
00:25:28,200 --> 00:25:31,120
Speaker 7: thought it was amazing that we were singing that kind

472
00:25:31,160 --> 00:25:33,880
Speaker 7: of stuff, But we was just ready to get off

473
00:25:33,880 --> 00:25:38,240
Speaker 7: the stage and go play kind of thing. But I

474
00:25:38,280 --> 00:25:44,080
Speaker 7: loved music. I was the one teaching him and actually

475
00:25:44,119 --> 00:25:49,440
Speaker 7: sometime making him saying. But I got into the motown thing,

476
00:25:49,680 --> 00:25:53,679
Speaker 7: and then from there we didn't get into seriously making

477
00:25:55,160 --> 00:26:01,440
Speaker 7: moves to record companies till I was around I guess

478
00:26:01,560 --> 00:26:05,600
Speaker 7: thirteen or fourteen or fifteen, something like that, because that's

479
00:26:05,640 --> 00:26:09,879
Speaker 7: when when the Jacksons came out. That's when I got

480
00:26:09,920 --> 00:26:15,359
Speaker 7: serious and I started teaching that. When my brother, because

481
00:26:15,359 --> 00:26:19,719
Speaker 7: he had the most powerful voice, and I was he

482
00:26:19,760 --> 00:26:22,720
Speaker 7: said I can't say. I said, well, just nothing gain.

483
00:26:22,840 --> 00:26:25,800
Speaker 7: You won't do nothing unless you practice it. He had

484
00:26:25,840 --> 00:26:28,440
Speaker 7: the tone. So I work with him every day and

485
00:26:28,560 --> 00:26:32,360
Speaker 7: practice till after a year or so he was riffing

486
00:26:32,440 --> 00:26:33,040
Speaker 7: and all that.

487
00:26:33,200 --> 00:26:37,119
Speaker 2: You know, so all your brothers and sisters are literally

488
00:26:37,160 --> 00:26:39,439
Speaker 2: coming out the wound one by one during this period.

489
00:26:39,760 --> 00:26:42,080
Speaker 2: You're just waiting for them to get of age. And

490
00:26:42,119 --> 00:26:45,200
Speaker 2: like everybody, there.

491
00:26:45,080 --> 00:26:48,080
Speaker 7: Was nobody that came in my family that couldn't hold

492
00:26:48,119 --> 00:26:50,600
Speaker 7: a harmony. They could do that before they could do

493
00:26:50,640 --> 00:26:54,200
Speaker 7: a lead. We had to practice our leads. So as

494
00:26:54,240 --> 00:26:57,560
Speaker 7: far as when they give them apart, they'd hold it

495
00:26:57,600 --> 00:26:59,959
Speaker 7: and we sing to somebody else's part, they would keep

496
00:27:00,359 --> 00:27:03,959
Speaker 7: and never blend into the other person's part or anything

497
00:27:04,040 --> 00:27:06,840
Speaker 7: like that. We all had that, I guess, But the

498
00:27:06,960 --> 00:27:10,560
Speaker 7: leads we had to work on, and Edmund worked him

499
00:27:10,600 --> 00:27:14,879
Speaker 7: and Foster. But Edmund worked the hardest. Uh, and his

500
00:27:15,080 --> 00:27:19,560
Speaker 7: tone reaped the benefits because I worked at it at home.

501
00:27:19,600 --> 00:27:23,560
Speaker 7: And then when we got with Freddie Perrin, Uh, he

502
00:27:23,920 --> 00:27:25,760
Speaker 7: heard Edman's voice right off the bat.

503
00:27:25,840 --> 00:27:29,600
Speaker 1: So but that was the one in the Capitol years.

504
00:27:30,400 --> 00:27:33,720
Speaker 7: Jumping too fast, go ahead.

505
00:27:33,960 --> 00:27:37,760
Speaker 1: So what label was Pride associated with MGM?

506
00:27:38,320 --> 00:27:42,359
Speaker 7: Yeah, a friend of Mike Curb, which was Mike Wiener Curb.

507
00:27:42,480 --> 00:27:46,720
Speaker 7: Mike Curb was running MGM when we were signed and

508
00:27:46,800 --> 00:27:48,320
Speaker 7: he was only twenty four years old.

509
00:27:48,640 --> 00:27:51,520
Speaker 1: Wait, so the Mike Curb congregation. That's one of my

510
00:27:51,520 --> 00:27:55,280
Speaker 1: favorite breakdews exactly, the coming down.

511
00:27:56,240 --> 00:27:58,200
Speaker 11: Yeah, oh my god.

512
00:27:58,560 --> 00:27:59,639
Speaker 7: Yeah, he was cool.

513
00:27:59,720 --> 00:28:00,320
Speaker 11: He uh.

514
00:28:00,400 --> 00:28:03,199
Speaker 7: He was the one that really hit me with the

515
00:28:03,200 --> 00:28:08,480
Speaker 7: commercial thing because I was doing I was really kind

516
00:28:08,480 --> 00:28:13,159
Speaker 7: of into back then that social conscious type writing, the

517
00:28:13,760 --> 00:28:15,879
Speaker 7: you know, because the Black Panthers was out and all

518
00:28:16,000 --> 00:28:19,480
Speaker 7: that stuff, so socially conscious music was kind of in,

519
00:28:19,560 --> 00:28:23,440
Speaker 7: and I was into that from a third grip from

520
00:28:23,680 --> 00:28:30,119
Speaker 7: this this history teacher, Mr Simon. But he was the

521
00:28:30,119 --> 00:28:33,760
Speaker 7: one that told me, well, Leon, your music has to

522
00:28:33,800 --> 00:28:37,640
Speaker 7: be more commercial, you know. And I was on that tip, like, well,

523
00:28:39,000 --> 00:28:41,440
Speaker 7: what do you know? You only do pop music, you know,

524
00:28:41,720 --> 00:28:44,080
Speaker 7: you know, cause we knew how MOL I mean, MGM

525
00:28:44,280 --> 00:28:47,600
Speaker 7: was as far as motown was. And he's like, you're right,

526
00:28:48,320 --> 00:28:50,920
Speaker 7: but even if I do pop music, it has to

527
00:28:50,920 --> 00:28:54,640
Speaker 7: be commercial. You're doing R and B. It's it's got

528
00:28:54,640 --> 00:28:58,080
Speaker 7: to be as commercial and I didn't want to hear that,

529
00:28:58,560 --> 00:29:02,760
Speaker 7: but I did it, and I started changing after I

530
00:29:02,760 --> 00:29:06,520
Speaker 7: had that meeting because he wanted to give. He made

531
00:29:06,560 --> 00:29:10,080
Speaker 7: up pride after that because he told he told us

532
00:29:10,120 --> 00:29:13,600
Speaker 7: to do this song called what It Takes, an old

533
00:29:13,800 --> 00:29:16,440
Speaker 7: Barry Gordy song, and he wanted us to do it,

534
00:29:16,440 --> 00:29:19,080
Speaker 7: and we did it, and it you know, it wasn't nothing.

535
00:29:19,200 --> 00:29:22,600
Speaker 7: You know, it didn't do nothing. And this meeting with me,

536
00:29:22,680 --> 00:29:24,960
Speaker 7: I didn't know it at the time, was to get

537
00:29:25,000 --> 00:29:30,160
Speaker 7: inside whoever was the head of leader of the group

538
00:29:30,280 --> 00:29:34,040
Speaker 7: type of thing. And I was more like trying to

539
00:29:34,080 --> 00:29:38,080
Speaker 7: tell him, we know what we're do and just let

540
00:29:38,160 --> 00:29:40,240
Speaker 7: us do it, because I realized they put us on

541
00:29:40,280 --> 00:29:46,400
Speaker 7: the shelf for the Osmonds because they didn't Yeah, but

542
00:29:46,560 --> 00:29:49,880
Speaker 7: we didn't know that when we signed, and they didn't tell,

543
00:29:49,920 --> 00:29:52,120
Speaker 7: you know, we just we didn't have no records out

544
00:29:52,160 --> 00:29:54,280
Speaker 7: for a year. We didn't even go in the studio

545
00:29:55,040 --> 00:29:58,400
Speaker 7: for a long time after the Osmonds was out. But

546
00:29:58,640 --> 00:30:01,840
Speaker 7: you know, I understand the marketing thing. You know, they

547
00:30:01,840 --> 00:30:05,560
Speaker 7: didn't want no other competition out there, and we were

548
00:30:05,560 --> 00:30:07,760
Speaker 7: a family group that could sing harmony and all that,

549
00:30:07,840 --> 00:30:08,920
Speaker 7: so they signed us.

550
00:30:09,280 --> 00:30:12,480
Speaker 2: Well, then I got to ask then if, because I

551
00:30:12,560 --> 00:30:16,360
Speaker 2: know with one bad apple not. At one point did

552
00:30:16,440 --> 00:30:20,840
Speaker 2: MGM say, hmm, this sounds close like ABC. All right,

553
00:30:20,880 --> 00:30:23,400
Speaker 2: Silvers here you go, like this should be for you

554
00:30:23,440 --> 00:30:24,840
Speaker 2: instead of the Osmond's or no.

555
00:30:24,920 --> 00:30:29,800
Speaker 7: The Odumans were signed already and they were specially targeted

556
00:30:29,840 --> 00:30:33,080
Speaker 7: to be the off the other side, a white group

557
00:30:33,400 --> 00:30:36,479
Speaker 7: family group and a black family group. That was I

558
00:30:36,560 --> 00:30:40,440
Speaker 7: understand the marketing after, but we didn't know that was

559
00:30:40,480 --> 00:30:43,880
Speaker 7: the case till, like, you know, years later. And I

560
00:30:43,920 --> 00:30:47,240
Speaker 7: didn't believe it even after people was telling me because

561
00:30:47,280 --> 00:30:49,760
Speaker 7: I wasn't caring about that, you know, as long as

562
00:30:49,800 --> 00:30:53,720
Speaker 7: we can come out, that was my thing. So their

563
00:30:54,000 --> 00:30:56,440
Speaker 7: whole thing was done, and all of a sudden we

564
00:30:56,560 --> 00:30:59,000
Speaker 7: heard them out and they was on MGM. Nothing was

565
00:30:59,040 --> 00:31:02,600
Speaker 7: told or anything, uh and it just came out, you know,

566
00:31:02,680 --> 00:31:06,160
Speaker 7: and I actually liked the record. I thought it was

567
00:31:06,200 --> 00:31:09,560
Speaker 7: you know. But Mike Curb was cool because he made

568
00:31:09,600 --> 00:31:13,960
Speaker 7: a pride and well he got his friend Michael Veener.

569
00:31:14,080 --> 00:31:18,440
Speaker 1: To uh incredible bar because Incredible Bargle band.

570
00:31:18,560 --> 00:31:21,000
Speaker 7: Oh yeah yeah, and that was a funny story too.

571
00:31:21,280 --> 00:31:26,480
Speaker 7: But he they were schoolmates, Curb and Mike Veener, and

572
00:31:26,520 --> 00:31:29,200
Speaker 7: he always wanted to get into record business, and Mike

573
00:31:29,280 --> 00:31:32,640
Speaker 7: Curb gave him that shot and gave us put us

574
00:31:32,640 --> 00:31:37,680
Speaker 7: on another label because MGM was more pop than anything.

575
00:31:37,880 --> 00:31:40,280
Speaker 7: They never had no R and B groups on MGM,

576
00:31:41,040 --> 00:31:43,880
Speaker 7: so Pride was the label that he put us on.

577
00:31:44,720 --> 00:31:49,880
Speaker 7: Got a well KEG. Johnson, got a black promoter and

578
00:31:51,320 --> 00:31:54,880
Speaker 7: Mike Veener was the head of Pride and we hit

579
00:31:55,320 --> 00:31:58,720
Speaker 7: with Fool's Paradise our first record. Well it was R

580
00:31:58,720 --> 00:32:01,800
Speaker 7: and B hit, you know, didn't get no pop play,

581
00:32:02,480 --> 00:32:07,320
Speaker 7: but uh that was that. And when we started practicing,

582
00:32:07,440 --> 00:32:09,680
Speaker 7: we went on the road and things were happening quick

583
00:32:09,680 --> 00:32:13,640
Speaker 7: because we had the big naturals and people automatically oh

584
00:32:14,040 --> 00:32:18,200
Speaker 7: another Jackson's and we had the bigger naturals. So can you.

585
00:32:20,560 --> 00:32:23,040
Speaker 1: Those your natural Yeah?

586
00:32:23,160 --> 00:32:26,280
Speaker 2: Yeah, okay, I had to know it for his wags

587
00:32:26,320 --> 00:32:31,560
Speaker 2: or not because they were so perfect silvers afros for me,

588
00:32:31,640 --> 00:32:33,920
Speaker 2: the real standard of the afro, not the Jackson five

589
00:32:34,080 --> 00:32:34,240
Speaker 2: like that.

590
00:32:34,680 --> 00:32:36,000
Speaker 1: You know. Well, we we.

591
00:32:35,840 --> 00:32:39,360
Speaker 7: Had a concept. I thought, if you would we would

592
00:32:39,560 --> 00:32:43,040
Speaker 7: go to bed instead of with the natural flattening it up,

593
00:32:43,080 --> 00:32:45,760
Speaker 7: we would brush our hair up and take rubber bands

594
00:32:45,760 --> 00:32:49,120
Speaker 7: and have a unicorn going up and go to sleep

595
00:32:49,200 --> 00:32:50,960
Speaker 7: like that and we took the rubber bands off. It

596
00:32:51,000 --> 00:32:52,200
Speaker 7: would just lay out like that.

597
00:32:52,440 --> 00:32:53,040
Speaker 6: Wow.

598
00:32:53,200 --> 00:32:54,720
Speaker 7: So that was our.

599
00:32:56,600 --> 00:33:01,560
Speaker 2: You think, I ain't gonna do this, only braid my

600
00:33:01,640 --> 00:33:03,120
Speaker 2: hair so can have that effect.

601
00:33:03,280 --> 00:33:05,080
Speaker 1: I was like, damn, I could just unicorm my ship.

602
00:33:07,960 --> 00:33:11,360
Speaker 1: You're fired, Thank you?

603
00:33:10,320 --> 00:33:13,520
Speaker 11: I love you? Oh man?

604
00:33:13,840 --> 00:33:19,280
Speaker 2: So uh knowing or you know, I don't. I don't

605
00:33:19,320 --> 00:33:24,840
Speaker 2: know how big of a presence the Jackson Five were

606
00:33:25,120 --> 00:33:27,520
Speaker 2: in you guys's life as far as like VA's the

607
00:33:27,600 --> 00:33:29,880
Speaker 2: goal or if it was some sort.

608
00:33:29,680 --> 00:33:34,800
Speaker 7: Of eclips it was, but it was oh, sorry, no, well.

609
00:33:34,720 --> 00:33:38,960
Speaker 2: I'm asking like, was there a thing like well until

610
00:33:39,000 --> 00:33:41,760
Speaker 2: we reached the status of the Jackson Five, like we

611
00:33:41,800 --> 00:33:43,480
Speaker 2: haven't made it yet or that sort of thing.

612
00:33:43,560 --> 00:33:47,440
Speaker 1: And at least with the Pride Records.

613
00:33:47,160 --> 00:33:52,520
Speaker 7: It wasn't openly said because we were kind of controlling

614
00:33:52,840 --> 00:33:57,280
Speaker 7: are We were writing our songs, we were doing our

615
00:33:57,280 --> 00:34:00,800
Speaker 7: own harmony. We didn't have a corporation, and like guys

616
00:34:00,840 --> 00:34:02,960
Speaker 7: that knew what they were doing, you know too, so

617
00:34:03,040 --> 00:34:06,520
Speaker 7: we learned everything. So it was like a great feeling

618
00:34:06,680 --> 00:34:09,319
Speaker 7: each level of it. So we wasn't even thinking. We

619
00:34:09,320 --> 00:34:12,440
Speaker 7: were just happy to be in it really and doing

620
00:34:12,480 --> 00:34:13,360
Speaker 7: our own music.

621
00:34:14,320 --> 00:34:17,080
Speaker 4: So those prior records were was that you in the

622
00:34:17,080 --> 00:34:19,920
Speaker 4: studio like just pretty much doing everything?

623
00:34:19,960 --> 00:34:21,279
Speaker 1: How much was that? How much?

624
00:34:22,120 --> 00:34:28,120
Speaker 7: But Jerry Butler had three guys, well two Cake Johnson

625
00:34:28,160 --> 00:34:32,319
Speaker 7: and Jerry Peters working with his company, and he sent

626
00:34:32,400 --> 00:34:35,200
Speaker 7: them first to meet us, and he met us at

627
00:34:35,239 --> 00:34:40,040
Speaker 7: the six Flags Magic Mountain doing a show, and backstage

628
00:34:40,239 --> 00:34:43,560
Speaker 7: after the show he brought his records. I guess that

629
00:34:43,640 --> 00:34:47,279
Speaker 7: he wanted well that he did want us to hear

630
00:34:47,360 --> 00:34:50,120
Speaker 7: from Jerry Butler, telling him to let him hear this.

631
00:34:50,840 --> 00:34:54,239
Speaker 7: And I had my base ready in an amp and

632
00:34:54,280 --> 00:34:59,080
Speaker 7: we were all sitting in a line, well in a circle,

633
00:34:59,120 --> 00:35:02,839
Speaker 7: half circle, and we knew he was coming, so we

634
00:35:02,840 --> 00:35:05,840
Speaker 7: was prepared to play our songs and he said I

635
00:35:05,880 --> 00:35:09,960
Speaker 7: heard you all right, Keg did, and we looked at

636
00:35:09,960 --> 00:35:12,600
Speaker 7: each other and said yeah yeah, And he said, okay,

637
00:35:12,640 --> 00:35:15,760
Speaker 7: let me hear something. So we started playing Fool's Paradise

638
00:35:15,880 --> 00:35:17,839
Speaker 7: at the w recor, our first record, and I started

639
00:35:17,880 --> 00:35:22,680
Speaker 7: off with the base du and then Charmain started singing

640
00:35:22,760 --> 00:35:25,719
Speaker 7: and we all you know, and Keg just walked over

641
00:35:25,800 --> 00:35:28,600
Speaker 7: to the trash can and then okay, that's one, let

642
00:35:28,640 --> 00:35:31,600
Speaker 7: me hear another one. And through through the records in

643
00:35:31,640 --> 00:35:32,480
Speaker 7: the trash.

644
00:35:34,120 --> 00:35:34,799
Speaker 12: In front of us.

645
00:35:34,880 --> 00:35:35,680
Speaker 1: You know, we like that.

646
00:35:35,840 --> 00:35:38,279
Speaker 7: We was teenagers. We was like, we looked at each other. Yeah,

647
00:35:40,280 --> 00:35:42,480
Speaker 7: so that was great. We clicked right off the bat,

648
00:35:42,960 --> 00:35:44,680
Speaker 7: you know when he did that.

649
00:35:45,040 --> 00:35:49,600
Speaker 2: You know so well, even though buying these records and

650
00:35:49,719 --> 00:35:52,040
Speaker 2: seeing the production and stuff, I knew that you wrote

651
00:35:52,080 --> 00:35:56,040
Speaker 2: the songs, but yeah, I was trying to figure out,

652
00:35:56,120 --> 00:35:59,360
Speaker 2: like how much production control you had these songs.

653
00:36:00,520 --> 00:36:03,360
Speaker 7: I was learning then I didn't want to produce. I

654
00:36:03,440 --> 00:36:05,520
Speaker 7: didn't even play on it, and I didn't want to.

655
00:36:05,640 --> 00:36:08,680
Speaker 7: He asked me, did cagg was the producer, but it

656
00:36:08,760 --> 00:36:11,360
Speaker 7: was supposed to be It was Keg and Jerry Peters

657
00:36:11,400 --> 00:36:15,160
Speaker 7: that were the producers. Jerry Butler wasn't going to produce,

658
00:36:15,360 --> 00:36:19,319
Speaker 7: but it was his company that was hired, and uh,

659
00:36:20,000 --> 00:36:25,640
Speaker 7: some things went down. But Keg was the producer, and

660
00:36:26,080 --> 00:36:27,800
Speaker 7: he asked me, did I want to play on it?

661
00:36:27,920 --> 00:36:32,080
Speaker 7: Because he liked everything he heard, uh, and he was worried.

662
00:36:32,160 --> 00:36:34,480
Speaker 7: He wasn't going to tell Jerry. Now I didn't notice

663
00:36:34,520 --> 00:36:37,120
Speaker 7: at the time, but he was. He wasn't going to

664
00:36:37,200 --> 00:36:42,239
Speaker 7: tell Jerry till later. Oh wow, because Jerry was busy still,

665
00:36:42,280 --> 00:36:44,520
Speaker 7: he was still hot with his career. He was on

666
00:36:44,680 --> 00:36:48,000
Speaker 7: tour and all that stuff. So, uh, we was actually

667
00:36:48,040 --> 00:36:53,000
Speaker 7: in the studio cutting this stuff before Jerry even knew that.

668
00:36:53,120 --> 00:36:56,400
Speaker 7: We didn't do his record. But I didn't know this.

669
00:36:56,640 --> 00:37:00,560
Speaker 7: I just heard it from a phone conversation with my mother,

670
00:37:01,080 --> 00:37:06,600
Speaker 7: Mike Wiener, and Keg because Keg was with Jerry and

671
00:37:06,640 --> 00:37:10,120
Speaker 7: they were about to get rid of him, because Jerry

672
00:37:10,239 --> 00:37:13,279
Speaker 7: came in and came down, and I remember I had

673
00:37:13,280 --> 00:37:15,360
Speaker 7: to go in the studio and he was telling me, now,

674
00:37:15,480 --> 00:37:19,000
Speaker 7: this is what I wanted y'all to do. And he

675
00:37:19,160 --> 00:37:25,240
Speaker 7: played a way worse bubblegum record than one Bad Apple,

676
00:37:25,400 --> 00:37:29,839
Speaker 7: and I like that. This was horrible. It was bubblegum.

677
00:37:30,440 --> 00:37:32,680
Speaker 7: So I was like, you know, I was from the

678
00:37:32,760 --> 00:37:38,240
Speaker 7: Nickason Garden and Watts, so yeah, I wasn't even trying

679
00:37:38,320 --> 00:37:43,839
Speaker 7: to hear it. But I liked Jerry Butler, so I said, well, yeah,

680
00:37:44,680 --> 00:37:45,600
Speaker 7: we're not doing that.

681
00:37:48,120 --> 00:37:48,919
Speaker 1: That's all I said.

682
00:37:48,960 --> 00:37:51,120
Speaker 7: I didn't want to say nothing else because I liked him.

683
00:37:51,160 --> 00:37:52,880
Speaker 7: I just, you know, let me cut to the chase

684
00:37:53,400 --> 00:37:56,239
Speaker 7: and I play around, we ain't doing it, and he said,

685
00:37:56,320 --> 00:38:01,600
Speaker 7: oh why not? Yeah, it's too bubble gum, that's all

686
00:38:01,640 --> 00:38:06,200
Speaker 7: I said. And he said, oh, okay, you sure, that's

687
00:38:06,239 --> 00:38:09,320
Speaker 7: all he said. I said yeah, and he let it go.

688
00:38:10,360 --> 00:38:14,879
Speaker 7: He just made sure everything went through his company, KEG,

689
00:38:14,960 --> 00:38:18,200
Speaker 7: and then was gonna get fired. But I liked the

690
00:38:18,239 --> 00:38:20,640
Speaker 7: way he handled hisself with us when he threw the

691
00:38:20,719 --> 00:38:23,080
Speaker 7: records in the trash. So I stood up for him.

692
00:38:23,560 --> 00:38:26,520
Speaker 7: I told him, Oh, if you get rid of KEG,

693
00:38:26,680 --> 00:38:27,840
Speaker 7: we ain't doing nothing.

694
00:38:29,520 --> 00:38:29,800
Speaker 1: Okay.

695
00:38:30,239 --> 00:38:31,920
Speaker 7: I didn't know what I was I was, but I

696
00:38:32,040 --> 00:38:37,640
Speaker 7: meant what I said. I was only about but eighteen, No,

697
00:38:38,160 --> 00:38:41,719
Speaker 7: I was seventeen or something. But I was the one

698
00:38:41,800 --> 00:38:44,560
Speaker 7: that everybody was listening to, and they like KEG, and

699
00:38:44,760 --> 00:38:47,839
Speaker 7: we were doing our own things. So I just told

700
00:38:47,920 --> 00:38:50,840
Speaker 7: Mike Wiener, Hey, if you get rid of KEG, we

701
00:38:50,920 --> 00:38:53,080
Speaker 7: ain't doing nothing. We'll go somewhere else.

702
00:38:53,560 --> 00:38:56,200
Speaker 4: Before y'all got into the studio, how were you writing

703
00:38:56,239 --> 00:38:58,719
Speaker 4: your songs like foods preadicce writing them on base at home?

704
00:38:58,840 --> 00:39:02,360
Speaker 7: On base? Oh, I would use the bass excuse me

705
00:39:02,960 --> 00:39:05,759
Speaker 7: as a harmonic to the melody that I would sing.

706
00:39:06,640 --> 00:39:06,799
Speaker 8: Uh.

707
00:39:08,640 --> 00:39:11,719
Speaker 7: Always. I wouldn't do it as a you know a

708
00:39:11,760 --> 00:39:14,520
Speaker 7: lot of people stay on E for the funk type thing.

709
00:39:15,640 --> 00:39:19,000
Speaker 7: I would use it as a keyboard. I would always

710
00:39:19,000 --> 00:39:22,640
Speaker 7: play the bass a harmonic to my melody and then

711
00:39:22,719 --> 00:39:25,360
Speaker 7: the chords would you could you could hear different ones,

712
00:39:26,000 --> 00:39:29,000
Speaker 7: you know as you listening to the melody and the bass.

713
00:39:30,120 --> 00:39:33,600
Speaker 2: So are a majority of the songs that you write?

714
00:39:33,640 --> 00:39:36,680
Speaker 2: Do you write it on bass? Verse before? You never

715
00:39:36,760 --> 00:39:37,240
Speaker 2: on piano?

716
00:39:37,360 --> 00:39:41,000
Speaker 7: Never on Okay, now I do because you know you

717
00:39:41,080 --> 00:39:44,160
Speaker 7: got a studio in your hand. Now you know you

718
00:39:44,239 --> 00:39:50,359
Speaker 7: could do anything. Really, But back then, if I did

719
00:39:50,400 --> 00:39:52,879
Speaker 7: a melody, I immediately went to the bass and did

720
00:39:52,920 --> 00:39:56,200
Speaker 7: the harmonic bass line because that was like my keyboard.

721
00:39:57,560 --> 00:39:57,920
Speaker 11: So for.

722
00:40:00,680 --> 00:40:04,520
Speaker 2: For those first four three or four initial Silvers albums,

723
00:40:06,239 --> 00:40:08,799
Speaker 2: that didn't catch you on the way that showcase quote

724
00:40:08,800 --> 00:40:10,319
Speaker 2: on once you guys went to Capital, But.

725
00:40:12,160 --> 00:40:14,719
Speaker 1: Was it at all shocking to you that.

726
00:40:16,360 --> 00:40:19,239
Speaker 2: Those records would be discovered in a new light in

727
00:40:19,360 --> 00:40:22,600
Speaker 2: the era of rare groove culture and hip hop sampling,

728
00:40:23,200 --> 00:40:27,720
Speaker 2: Like because even though in your mind you might think like, oh, well, okay,

729
00:40:28,520 --> 00:40:31,480
Speaker 2: those first few records weren't hitting like you know, our

730
00:40:31,560 --> 00:40:32,520
Speaker 2: Capital years.

731
00:40:32,400 --> 00:40:36,239
Speaker 1: But for a lot of us, yeah, that's the holy grail.

732
00:40:36,320 --> 00:40:36,879
Speaker 6: Oh my god.

733
00:40:37,040 --> 00:40:40,440
Speaker 1: Yeah, I mean the first album alone with with uh

734
00:40:41,440 --> 00:40:42,320
Speaker 1: wish I could talk to you.

735
00:40:42,600 --> 00:40:46,640
Speaker 2: I'll never be ashamed, Like there's least like in my eyes,

736
00:40:46,719 --> 00:40:49,759
Speaker 2: like that first Silver Records has at least six six

737
00:40:49,920 --> 00:40:52,880
Speaker 2: or seven gems on it that we see in the

738
00:40:52,960 --> 00:40:56,080
Speaker 2: light of sampling and how it's so was it at

739
00:40:56,160 --> 00:41:01,640
Speaker 2: all shocking to you that, like some thirty five years later,

740
00:41:01,760 --> 00:41:05,759
Speaker 2: forty years later, that suddenly like even in my DJ

741
00:41:05,920 --> 00:41:09,360
Speaker 2: said like I'll play only one can win, as.

742
00:41:10,520 --> 00:41:12,000
Speaker 1: So that is ain't shocking it all?

743
00:41:12,600 --> 00:41:15,600
Speaker 7: Well, actually I felt great. I mean it was like

744
00:41:16,280 --> 00:41:20,120
Speaker 7: an honor for and then I started thinking, how does

745
00:41:20,200 --> 00:41:20,760
Speaker 7: that happen?

746
00:41:21,160 --> 00:41:21,320
Speaker 8: You know?

747
00:41:21,640 --> 00:41:24,520
Speaker 7: And then the only thing I could think of is wow,

748
00:41:25,200 --> 00:41:28,400
Speaker 7: it was young people that picked that up. And I

749
00:41:28,600 --> 00:41:30,719
Speaker 7: was young at the time when I wrote it. So

750
00:41:30,880 --> 00:41:35,120
Speaker 7: it's like twenty years later that same spirit that you

751
00:41:35,200 --> 00:41:38,880
Speaker 7: know musical DNA if you will, you know, only the

752
00:41:38,960 --> 00:41:42,239
Speaker 7: young could hear that, because I was like, wow, that

753
00:41:42,440 --> 00:41:44,640
Speaker 7: must be it. The same thing with Missing Me, all

754
00:41:44,719 --> 00:41:47,719
Speaker 7: those songs that were sampled I wrote when I was

755
00:41:48,520 --> 00:41:49,440
Speaker 7: younger than eighteen.

756
00:41:50,880 --> 00:41:53,160
Speaker 6: Right, No, that's that's a whole twenty minute conversation just

757
00:41:53,239 --> 00:41:53,759
Speaker 6: on that song.

758
00:41:54,160 --> 00:42:01,040
Speaker 2: Yes, well what's started man with? Yeah with misdemeanor, Like,

759
00:42:01,200 --> 00:42:04,160
Speaker 2: how how did you come with that?

760
00:42:05,600 --> 00:42:05,759
Speaker 13: Uh?

761
00:42:07,239 --> 00:42:13,680
Speaker 7: Wow? I didn't I the base came first. Uh, I

762
00:42:13,800 --> 00:42:17,680
Speaker 7: was just I was stomping my foot and I was

763
00:42:17,840 --> 00:42:22,960
Speaker 7: just hitting mm hmmm mmmmm. No, I was just doing

764
00:42:23,040 --> 00:42:28,839
Speaker 7: the first one first, mm hmmm mm hmmm.

765
00:42:29,400 --> 00:42:29,600
Speaker 5: Oh.

766
00:42:29,960 --> 00:42:32,359
Speaker 7: And then I started repeating those two over and over

767
00:42:32,800 --> 00:42:35,200
Speaker 7: and I would hit my foot kind of hard on

768
00:42:35,320 --> 00:42:38,360
Speaker 7: the ground like a kick. And I had one of

769
00:42:38,440 --> 00:42:42,720
Speaker 7: them old. It was I think it was a Signo

770
00:42:42,880 --> 00:42:46,120
Speaker 7: cassette player. They only made one. It had one big

771
00:42:46,320 --> 00:42:51,239
Speaker 7: giant speaker. It was a Mono radio cassette player. Man,

772
00:42:51,360 --> 00:42:55,360
Speaker 7: it had the perfect compression for that mic. Because I

773
00:42:55,520 --> 00:43:00,400
Speaker 7: recorded that baseline stomping my feet with that cassette. Man,

774
00:43:00,480 --> 00:43:05,520
Speaker 7: it was the best sound ever. I did everything. I

775
00:43:05,600 --> 00:43:07,880
Speaker 7: went and bought two of those iPhone.

776
00:43:08,800 --> 00:43:11,480
Speaker 14: Yeah, that's what the that's what the iPhone sounds like now.

777
00:43:11,600 --> 00:43:14,080
Speaker 2: And sort of I track a lot of my drums

778
00:43:14,120 --> 00:43:16,640
Speaker 2: up withut the iPhone, like on the floor, like thirteen

779
00:43:16,680 --> 00:43:19,319
Speaker 2: feet away from me, and it's the same perfect man.

780
00:43:19,480 --> 00:43:23,359
Speaker 7: So I just loved that. I kept that cassette till

781
00:43:23,400 --> 00:43:26,040
Speaker 7: it evaporated.

782
00:43:26,440 --> 00:43:26,640
Speaker 4: You know.

783
00:43:27,200 --> 00:43:30,800
Speaker 7: It just had that the misdemeanor vibe on it. And

784
00:43:30,960 --> 00:43:36,600
Speaker 7: I just recorded that and then said the hook. I

785
00:43:36,680 --> 00:43:38,719
Speaker 7: don't remember if I had the words already I did,

786
00:43:38,800 --> 00:43:45,640
Speaker 7: probably didn't, I was, and I knew because I listened

787
00:43:45,680 --> 00:43:48,160
Speaker 7: to that melody lower octave with the base and the

788
00:43:48,280 --> 00:43:52,560
Speaker 7: same register, and it's wrong. It's the most horrible melody

789
00:43:52,719 --> 00:43:55,480
Speaker 7: with the baseline because it's one of them notes that

790
00:43:55,640 --> 00:43:58,879
Speaker 7: if you do an octave high you can get away

791
00:43:58,920 --> 00:44:01,800
Speaker 7: with it. It sounds cool, almost funky, but if you

792
00:44:01,840 --> 00:44:04,399
Speaker 7: do it in the same register like an octave lower,

793
00:44:05,280 --> 00:44:08,640
Speaker 7: the worst thing to your ear. You couldn't. I hated

794
00:44:08,680 --> 00:44:11,239
Speaker 7: it when I when I heard it like that, But uh,

795
00:44:12,239 --> 00:44:15,320
Speaker 7: I knew what I had When I actually did the

796
00:44:15,440 --> 00:44:19,279
Speaker 7: melody with the baseline, it sounded great. I just knew

797
00:44:19,320 --> 00:44:24,000
Speaker 7: I had something that would people would like. I don't

798
00:44:24,040 --> 00:44:26,239
Speaker 7: know why. It just had a feeling vibe, you know.

799
00:44:26,480 --> 00:44:28,000
Speaker 1: And how old was Foster when he cut that?

800
00:44:28,920 --> 00:44:32,680
Speaker 7: He was wrong? I think ten? Uh turn.

801
00:44:35,120 --> 00:44:37,640
Speaker 6: Like ten years old? The funky shit out.

802
00:44:38,080 --> 00:44:39,040
Speaker 1: Were you were?

803
00:44:40,040 --> 00:44:46,560
Speaker 2: Because of the pristine level of musicianship that a lot

804
00:44:46,640 --> 00:44:49,959
Speaker 2: of the Pride era records were under. Were you guys

805
00:44:50,080 --> 00:44:52,440
Speaker 2: always using the same musicians in the studio or was

806
00:44:52,520 --> 00:44:55,279
Speaker 2: it did you have a relationship with these musicians or

807
00:44:55,400 --> 00:44:56,959
Speaker 2: was just like who's here today?

808
00:44:57,239 --> 00:44:59,960
Speaker 7: We met him? Because we wanted to be at every session,

809
00:45:00,480 --> 00:45:04,440
Speaker 7: so it was mainly Chuck Rainy on bass or what

810
00:45:04,920 --> 00:45:09,800
Speaker 7: oh Man Felder, those two were the bass players.

811
00:45:10,000 --> 00:45:10,680
Speaker 1: Those guys were just.

812
00:45:11,160 --> 00:45:13,319
Speaker 7: Moon like no, they were the top.

813
00:45:14,800 --> 00:45:20,759
Speaker 1: But I'm just saying like, like, yeah, well, Keig Keg and.

814
00:45:20,840 --> 00:45:25,279
Speaker 7: Jerry Peters they were real good producers back then. They

815
00:45:25,360 --> 00:45:30,200
Speaker 7: did Uh, Gray, what's that song that friends of friends

816
00:45:30,239 --> 00:45:34,319
Speaker 7: of distinct? Yeah, they did that and uh you got

817
00:45:34,400 --> 00:45:38,840
Speaker 7: me going? And and so Keig Johnson and Jerry Peters

818
00:45:38,920 --> 00:45:42,879
Speaker 7: were formidable producers themselves. So and Jerry Peters was great

819
00:45:43,000 --> 00:45:47,839
Speaker 7: keyboardist and arranger. So they knew all the top musicians.

820
00:45:48,040 --> 00:45:51,920
Speaker 7: And I'd go to every session. David t was main guitar.

821
00:45:52,800 --> 00:45:56,799
Speaker 7: Uh Felder. They'd switch up on keyboard guys because there

822
00:45:56,880 --> 00:45:59,440
Speaker 7: was a lot of them, but it was always kind

823
00:45:59,480 --> 00:46:00,680
Speaker 7: of jazz oriented.

824
00:46:00,760 --> 00:46:02,040
Speaker 1: Guys, is there still alive?

825
00:46:02,480 --> 00:46:03,040
Speaker 7: Yes he is.

826
00:46:03,680 --> 00:46:08,120
Speaker 1: Wait, it's just hit me. Was it one of your

827
00:46:08,160 --> 00:46:12,960
Speaker 1: brothers or three? Somehow? You guys were actually involved in

828
00:46:13,080 --> 00:46:13,920
Speaker 1: the Jackson five.

829
00:46:13,840 --> 00:46:17,160
Speaker 7: Cartoon Edmund he was Marlon's voice.

830
00:46:17,400 --> 00:46:18,719
Speaker 1: Okay, here's a voice of Morl.

831
00:46:18,840 --> 00:46:24,320
Speaker 2: Yeah all right, So in this next clip, I literally

832
00:46:24,400 --> 00:46:27,319
Speaker 2: tell hip hop pioneer Lady B. Why I'm giving her

833
00:46:27,600 --> 00:46:31,200
Speaker 2: her flowers. Her work on radio, which reached me in

834
00:46:31,400 --> 00:46:35,359
Speaker 2: nineteen eighty one, literally set me on a course, which

835
00:46:35,440 --> 00:46:37,520
Speaker 2: is why you know of a quest love Today.

836
00:46:38,040 --> 00:46:41,319
Speaker 1: What's cool is Lady B gives Laiah some flowers here too.

837
00:46:44,719 --> 00:46:48,279
Speaker 2: One of my favorite nights of yours was the the

838
00:46:48,640 --> 00:46:52,440
Speaker 2: aforementioned Uh Steady be versus.

839
00:46:52,239 --> 00:46:53,240
Speaker 5: Will Smith battle.

840
00:46:53,840 --> 00:46:59,640
Speaker 2: Yeah, find dude, Okay, So Will Smith will forever, he'll

841
00:46:59,719 --> 00:47:04,239
Speaker 2: for ever had my respect because he somehow got the call.

842
00:47:05,360 --> 00:47:09,200
Speaker 2: He freestyled that Steady Bee was a munchie chi and

843
00:47:09,760 --> 00:47:14,719
Speaker 2: I just remember at that point Steady Bee actually wanting

844
00:47:14,800 --> 00:47:16,600
Speaker 2: to fight Will and them.

845
00:47:16,640 --> 00:47:19,880
Speaker 15: Like, and I did not help matters any because I

846
00:47:19,960 --> 00:47:23,560
Speaker 15: thought it was the funniest is I ever heard. And

847
00:47:23,640 --> 00:47:26,640
Speaker 15: I think the fact that we all laughed made him

848
00:47:26,800 --> 00:47:27,720
Speaker 15: really angry.

849
00:47:28,280 --> 00:47:29,760
Speaker 5: Yo, we were all laughing.

850
00:47:29,840 --> 00:47:32,960
Speaker 15: But that was the era when Shante stepped off that stage.

851
00:47:33,000 --> 00:47:34,600
Speaker 15: That was the era when you had to come off

852
00:47:34,880 --> 00:47:36,800
Speaker 15: off the top of your head and just you just

853
00:47:36,880 --> 00:47:40,440
Speaker 15: had that. That was actually what you call free styling.

854
00:47:40,760 --> 00:47:43,720
Speaker 15: That was freestyling people environment.

855
00:47:43,800 --> 00:47:47,279
Speaker 2: They underestimated Will because they were like, well, you're not

856
00:47:47,400 --> 00:47:48,759
Speaker 2: real hip hop, you're suburban.

857
00:47:48,880 --> 00:47:49,840
Speaker 5: You talk all proper.

858
00:47:50,320 --> 00:47:53,759
Speaker 15: First of all, he lived in my neighborhood that he

859
00:47:53,960 --> 00:47:56,839
Speaker 15: wasn't out there gang banging and talk about it bee

860
00:47:57,000 --> 00:47:59,719
Speaker 15: grabbing his jawn and acting. And you know, we didn't

861
00:47:59,719 --> 00:48:01,759
Speaker 15: come up in a one parent household. We didn't learn

862
00:48:01,800 --> 00:48:04,160
Speaker 15: how to respect women and stuff. Just because he wasn't

863
00:48:04,239 --> 00:48:07,600
Speaker 15: raised like that, why not mean he wasn't a part

864
00:48:07,719 --> 00:48:09,960
Speaker 15: and just as authentic and true to hip hop as

865
00:48:10,040 --> 00:48:13,080
Speaker 15: everybody else. That is what I love the most about him.

866
00:48:13,520 --> 00:48:16,920
Speaker 15: That's when Will was the first one, you know who

867
00:48:17,160 --> 00:48:21,759
Speaker 15: made me. His lyrics made me smile. I call it

868
00:48:22,200 --> 00:48:25,719
Speaker 15: happy hip hop, and everybody else was all bravado. I

869
00:48:25,800 --> 00:48:28,080
Speaker 15: got a big back Cadillac. I got to know you

870
00:48:28,160 --> 00:48:29,319
Speaker 15: don't you live in your mama house?

871
00:48:29,600 --> 00:48:31,239
Speaker 5: I stopping right, you know what I mean?

872
00:48:31,560 --> 00:48:31,799
Speaker 1: Fat?

873
00:48:31,880 --> 00:48:34,000
Speaker 15: But Will was like the first one. I mean, you

874
00:48:34,120 --> 00:48:37,640
Speaker 15: know it was it was. It was funny, it was

875
00:48:37,960 --> 00:48:41,160
Speaker 15: fun it made you smile, and then you put a

876
00:48:41,200 --> 00:48:43,000
Speaker 15: dope DJ like Jeff with him and it was just

877
00:48:43,239 --> 00:48:44,680
Speaker 15: the greatest combination ever.

878
00:48:45,600 --> 00:48:50,440
Speaker 5: Wow, I can I can go on and on nerding

879
00:48:50,480 --> 00:48:51,000
Speaker 5: out forever.

880
00:48:52,040 --> 00:48:54,359
Speaker 16: It's been beautiful seeing your friendship too, and how it's

881
00:48:54,400 --> 00:48:56,799
Speaker 16: evolved and stuff. You Jeff and Will and how they

882
00:48:56,880 --> 00:48:57,920
Speaker 16: still come out and support you.

883
00:48:58,080 --> 00:48:58,839
Speaker 10: That shit is dope.

884
00:48:58,960 --> 00:49:00,919
Speaker 15: I just texted the guy us on the movie set

885
00:49:00,960 --> 00:49:02,160
Speaker 15: with him. I'm like, tell well, I need a one

886
00:49:02,200 --> 00:49:03,640
Speaker 15: minute video of him congratulate me.

887
00:49:03,680 --> 00:49:04,360
Speaker 5: For my fortieth.

888
00:49:05,320 --> 00:49:07,040
Speaker 15: They got text back. He's doing it as soon as

889
00:49:07,120 --> 00:49:08,640
Speaker 15: he gets out of such and such and I'm like,

890
00:49:08,680 --> 00:49:08,920
Speaker 15: thank you.

891
00:49:09,480 --> 00:49:14,680
Speaker 5: He lives for Instagram posts, So you know, no, ja

892
00:49:14,800 --> 00:49:15,280
Speaker 5: you missed?

893
00:49:15,360 --> 00:49:17,880
Speaker 15: Was my thirtieth. He came home to surprise me, like

894
00:49:17,920 --> 00:49:19,160
Speaker 15: I didn't even know he was coming to the show.

895
00:49:19,320 --> 00:49:19,520
Speaker 5: Really.

896
00:49:20,000 --> 00:49:22,399
Speaker 15: He performed with Salt and Pepper. He did what a man.

897
00:49:23,000 --> 00:49:25,520
Speaker 15: He performed with Chuck and Flave. He got out there.

898
00:49:25,520 --> 00:49:27,840
Speaker 15: He was a whole s one w He did a

899
00:49:27,880 --> 00:49:31,919
Speaker 15: lot of guy. He just stayed on stage all night

900
00:49:32,080 --> 00:49:35,960
Speaker 15: and wait and there's more. It rained torrential rain. It

901
00:49:36,120 --> 00:49:40,080
Speaker 15: was like the hip hop woods Stock. People did not leave.

902
00:49:40,239 --> 00:49:42,880
Speaker 15: They stayed in the rain. Will was shaking me. Are

903
00:49:42,960 --> 00:49:44,640
Speaker 15: you having as much fun as me? I'm like, I

904
00:49:44,719 --> 00:49:45,160
Speaker 15: don't think.

905
00:49:46,120 --> 00:49:46,359
Speaker 4: Wow.

906
00:49:47,840 --> 00:49:50,160
Speaker 15: He stayed on stage all night and surprised me. It

907
00:49:50,239 --> 00:49:51,319
Speaker 15: was the dopest thing ever.

908
00:49:52,239 --> 00:49:56,239
Speaker 2: Well, you deserve all your flowers, you know, eighty one.

909
00:49:56,680 --> 00:50:01,640
Speaker 2: You just you literally introduced me to the world that

910
00:50:01,920 --> 00:50:02,600
Speaker 2: I get to.

911
00:50:02,960 --> 00:50:04,520
Speaker 5: That I built it in an empire.

912
00:50:06,239 --> 00:50:07,040
Speaker 11: That says a lot.

913
00:50:07,640 --> 00:50:08,600
Speaker 5: I want to thank you for that.

914
00:50:09,239 --> 00:50:11,759
Speaker 16: And forget about your radio mentees around here, because she

915
00:50:11,840 --> 00:50:13,200
Speaker 16: got a lot of those in the world too.

916
00:50:14,280 --> 00:50:17,680
Speaker 15: Oh yes, I love that one. That's that's my little

917
00:50:17,760 --> 00:50:19,920
Speaker 15: mini lady because she only and does she sit up

918
00:50:19,920 --> 00:50:22,640
Speaker 15: there and and act like she asked. But you ain't

919
00:50:22,680 --> 00:50:24,840
Speaker 15: let nobody say nothing to her either. She was the

920
00:50:24,960 --> 00:50:26,960
Speaker 15: only one that stabbed and he was to speak up. Yeah,

921
00:50:27,040 --> 00:50:27,400
Speaker 15: that's right.

922
00:50:27,800 --> 00:50:28,320
Speaker 1: He watched me.

923
00:50:28,719 --> 00:50:30,960
Speaker 15: He watched me get one right there, proud of that

924
00:50:31,040 --> 00:50:32,920
Speaker 15: one right there, and you watch me get fired to girl.

925
00:50:33,040 --> 00:50:33,799
Speaker 15: So it's all good.

926
00:50:37,239 --> 00:50:38,720
Speaker 1: You have any you got any children?

927
00:50:38,960 --> 00:50:39,000
Speaker 2: Like?

928
00:50:40,080 --> 00:50:43,839
Speaker 15: No, I I tried, but my sister again, I talk

929
00:50:43,880 --> 00:50:47,440
Speaker 15: about her so much. She's been going for two years now. No,

930
00:50:47,680 --> 00:50:50,960
Speaker 15: my sister, uh gave me kids and then my old

931
00:50:51,000 --> 00:50:53,200
Speaker 15: man passed away on me and he left me kids.

932
00:50:53,280 --> 00:50:56,680
Speaker 15: So am I a mother and a grandmother? Yes, to

933
00:50:56,800 --> 00:51:00,600
Speaker 15: every extent of the word. I have taught them to walk, talk,

934
00:51:00,680 --> 00:51:02,680
Speaker 15: potty trained school meetings.

935
00:51:02,880 --> 00:51:04,279
Speaker 13: I am a mother and.

936
00:51:05,920 --> 00:51:09,400
Speaker 15: I am a grandmother. And I know I literally you know.

937
00:51:09,560 --> 00:51:11,480
Speaker 15: I remember when my sister took ill she had a

938
00:51:11,520 --> 00:51:13,000
Speaker 15: stroke and I was taking care of her in her

939
00:51:13,080 --> 00:51:15,480
Speaker 15: latter years, and the doctor asked her, you know, you

940
00:51:15,520 --> 00:51:17,560
Speaker 15: don't have a high blood pressure or anything. You don't

941
00:51:17,960 --> 00:51:20,520
Speaker 15: do you worry about anything. It says you have three

942
00:51:20,640 --> 00:51:23,880
Speaker 15: children and seven grandchildren. She says, no, I don't do that.

943
00:51:24,000 --> 00:51:24,640
Speaker 5: My sister does.

944
00:51:25,000 --> 00:51:26,080
Speaker 12: And she makes it like she.

945
00:51:27,640 --> 00:51:29,600
Speaker 15: I raised her kids. She was my She called me

946
00:51:29,680 --> 00:51:32,560
Speaker 15: her baby daddy. She sent me cards on Father's Day.

947
00:51:34,320 --> 00:51:39,200
Speaker 16: Wow, you the dopest daddy. Yeah, but that's dopey. Yes,

948
00:51:39,320 --> 00:51:41,960
Speaker 16: they walk right past their mother. Come to me crazy,

949
00:51:48,440 --> 00:51:48,799
Speaker 16: all right.

950
00:51:48,960 --> 00:51:55,000
Speaker 2: So when The Roots signed their record deal in November

951
00:51:55,760 --> 00:51:59,799
Speaker 2: of nineteen ninety three, our manager Richard Nichols wanted us

952
00:52:00,040 --> 00:52:03,520
Speaker 2: to instantly get this record out of the way, and so,

953
00:52:04,160 --> 00:52:06,920
Speaker 2: I believe because of the cheaper rates, we recorded like

954
00:52:07,680 --> 00:52:09,400
Speaker 2: around like Christmas.

955
00:52:09,520 --> 00:52:11,760
Speaker 1: Week, believe these songs.

956
00:52:11,800 --> 00:52:13,600
Speaker 2: To mix them, we had, you know, we recorded the

957
00:52:13,680 --> 00:52:17,960
Speaker 2: songs in early December and then we uh mixed them

958
00:52:18,560 --> 00:52:21,960
Speaker 2: right after Christmas and New Year to get the EP

959
00:52:22,160 --> 00:52:25,279
Speaker 2: out by April. We were trying to move fast, and

960
00:52:25,440 --> 00:52:28,640
Speaker 2: so this is around the time when Tribe had just

961
00:52:28,760 --> 00:52:33,440
Speaker 2: released Midnight Maratis, their third album. They recorded at Battery

962
00:52:33,480 --> 00:52:37,160
Speaker 2: Studios because Battery was the studio owned by Jive Records,

963
00:52:37,200 --> 00:52:41,080
Speaker 2: their label. We chose Battery Studios because that's also where

964
00:52:41,120 --> 00:52:43,960
Speaker 2: Bob Power Tribes engineer.

965
00:52:43,960 --> 00:52:45,520
Speaker 1: Wanted to mix our record.

966
00:52:46,000 --> 00:52:49,440
Speaker 2: We love the way that Bob's drums sounded on Tribe albums,

967
00:52:49,480 --> 00:52:52,080
Speaker 2: and it was like, hey, we want the same treatment.

968
00:52:52,239 --> 00:52:57,719
Speaker 2: So that's how influential Tribe was. There was a legendary

969
00:52:57,800 --> 00:53:00,319
Speaker 2: show with Dayla Soul, Soul's of Mischief and a tribe

970
00:53:00,320 --> 00:53:03,719
Speaker 2: called Quests that I believe was at the Ritz and

971
00:53:03,880 --> 00:53:06,680
Speaker 2: Union Square. Trek and I went to this concert. It

972
00:53:06,800 --> 00:53:10,040
Speaker 2: was like, I consider that the last time that Tarik

973
00:53:10,080 --> 00:53:12,800
Speaker 2: and I were civilians, and I remember that night. I

974
00:53:12,880 --> 00:53:16,040
Speaker 2: remember saying, like I joke when we walk home, I said, Yo, man,

975
00:53:16,080 --> 00:53:19,200
Speaker 2: you know what's crazy. The next time we come back

976
00:53:19,280 --> 00:53:21,880
Speaker 2: to the United States, like we will have had an

977
00:53:22,000 --> 00:53:25,040
Speaker 2: album out, Like we won't be civilians anymore.

978
00:53:25,440 --> 00:53:26,680
Speaker 1: We're gonna be you know.

979
00:53:27,000 --> 00:53:29,640
Speaker 2: Celebrities, stars. Like we had hope in the air that

980
00:53:29,760 --> 00:53:31,880
Speaker 2: we were gonna like just come out of the box

981
00:53:31,960 --> 00:53:33,200
Speaker 2: and like blow everyone away.

982
00:53:33,360 --> 00:53:37,520
Speaker 1: That's that's that's what we that's what we planned on.

983
00:53:37,880 --> 00:53:40,959
Speaker 2: So we kind of went to the day La Soul

984
00:53:41,160 --> 00:53:46,239
Speaker 2: tribe called Quest Soul's a Mischief concert and just when

985
00:53:46,320 --> 00:53:49,200
Speaker 2: the mosh pit and jumped around and ah, man, it

986
00:53:49,320 --> 00:53:49,760
Speaker 2: was awesome.

987
00:53:50,360 --> 00:53:55,200
Speaker 1: But basically it was just like I believe that Q

988
00:53:55,400 --> 00:54:01,600
Speaker 1: Tip had come to Battery Studios to do a quickie

989
00:54:01,800 --> 00:54:04,799
Speaker 1: remix to Oh My God.

990
00:54:05,120 --> 00:54:07,080
Speaker 2: They were gonna do like a different version of it

991
00:54:07,239 --> 00:54:10,440
Speaker 2: on stage that night, and if I recall correctly, they

992
00:54:10,520 --> 00:54:15,160
Speaker 2: were using the mini rippert in loop that that's the

993
00:54:15,280 --> 00:54:17,880
Speaker 2: second song on the Adventures in Paradise album.

994
00:54:18,560 --> 00:54:25,799
Speaker 1: So if you listen to a Boom Boom, that's.

995
00:54:26,880 --> 00:54:32,640
Speaker 2: Look up Minie Rippleton Adventures in Paradise and the song

996
00:54:32,760 --> 00:54:34,160
Speaker 2: after Baby This Love I Have.

997
00:54:34,400 --> 00:54:38,040
Speaker 1: I remember them looping me like I was like eavesdropping

998
00:54:38,880 --> 00:54:39,600
Speaker 1: from the hallway.

999
00:54:39,600 --> 00:54:42,520
Speaker 2: I'd like, go to the bathroom, but then sneak down

1000
00:54:42,560 --> 00:54:45,080
Speaker 2: the studio see and put my ear up against the

1001
00:54:45,920 --> 00:54:48,040
Speaker 2: wall to hear them loop in something.

1002
00:54:48,320 --> 00:54:49,759
Speaker 1: And they were gonna they.

1003
00:54:49,680 --> 00:54:53,000
Speaker 2: Were just making like a show debt for that particular

1004
00:54:53,080 --> 00:54:56,239
Speaker 2: New Year's performance, And you know, I was real shy

1005
00:54:56,360 --> 00:54:58,800
Speaker 2: as talk to them, even though you know they've seen.

1006
00:54:58,719 --> 00:55:01,040
Speaker 1: Us, Hey, y'all doing yeah, yeah, y'all the roots, y'all dope.

1007
00:55:01,640 --> 00:55:04,040
Speaker 2: But then I saw him in the hallway man, and

1008
00:55:04,560 --> 00:55:07,400
Speaker 2: it was like five weeks old, and I was like, yo,

1009
00:55:08,760 --> 00:55:13,200
Speaker 2: that three measure loop you do on Electric Relaxation, Like

1010
00:55:13,800 --> 00:55:17,719
Speaker 2: what is that about? Like it was unusual to not

1011
00:55:17,960 --> 00:55:22,479
Speaker 2: be an even four bar loop, Like if you listen

1012
00:55:22,560 --> 00:55:26,960
Speaker 2: to Electric Relaxation, it's a three bar loop. And I

1013
00:55:27,080 --> 00:55:32,319
Speaker 2: was just getting like two overly like nerdy and analytical.

1014
00:55:32,440 --> 00:55:35,240
Speaker 2: And he told me then that was the red flag.

1015
00:55:35,480 --> 00:55:41,000
Speaker 2: Like he's like, yo, like you talk like a journalist,

1016
00:55:41,080 --> 00:55:46,120
Speaker 2: you don't talk like a human being. And so I

1017
00:55:46,200 --> 00:55:50,000
Speaker 2: got a I got put in time out until about

1018
00:55:50,880 --> 00:55:53,840
Speaker 2: three albums later. Like you know, I saw him a

1019
00:55:53,960 --> 00:55:55,880
Speaker 2: little bit for the do You Want More? Period, but

1020
00:55:56,000 --> 00:55:58,000
Speaker 2: not that much because every time I saw him, it's

1021
00:55:58,000 --> 00:56:02,600
Speaker 2: just that likequestions to ask. And then he warmed up

1022
00:56:02,640 --> 00:56:06,319
Speaker 2: to us towards the end of ill Adelph Half Life

1023
00:56:06,400 --> 00:56:09,799
Speaker 2: and wanted to be on the album. And you know, man,

1024
00:56:09,960 --> 00:56:13,600
Speaker 2: he's he's my hero man, So big up to Q Tip.

1025
00:56:15,040 --> 00:56:17,640
Speaker 2: Here Frante gives Q Tip some flowers and he runs

1026
00:56:17,680 --> 00:56:21,600
Speaker 2: with it with a thoughtful response. Then we started playing

1027
00:56:21,640 --> 00:56:23,200
Speaker 2: clips and getting antidotes.

1028
00:56:27,719 --> 00:56:29,120
Speaker 4: I will say to if you were one of the

1029
00:56:29,239 --> 00:56:31,080
Speaker 4: one of my favorite producers in the sense that you

1030
00:56:31,280 --> 00:56:33,600
Speaker 4: always the way I've always described it is like you

1031
00:56:33,640 --> 00:56:35,960
Speaker 4: always kept a foot in both worlds, Like you could

1032
00:56:36,040 --> 00:56:39,800
Speaker 4: do a Midnight Marauders, but then could do the infamous

1033
00:56:39,880 --> 00:56:41,560
Speaker 4: you know what I'm saying, Or you could do like

1034
00:56:41,920 --> 00:56:44,040
Speaker 4: a Craig mac remix, and like you always found a

1035
00:56:44,080 --> 00:56:47,080
Speaker 4: way even when you work with big mainstream acts of

1036
00:56:47,160 --> 00:56:49,920
Speaker 4: the time, you still found a way to put your

1037
00:56:50,160 --> 00:56:53,080
Speaker 4: stamp on what you were doing. And I think that's

1038
00:56:53,239 --> 00:56:55,640
Speaker 4: and in my opinion to me, that always kept you

1039
00:56:56,680 --> 00:56:58,759
Speaker 4: kind of you. Never to me, never came across as

1040
00:56:58,840 --> 00:57:00,440
Speaker 4: like that bitter guy like a lot of the old

1041
00:57:00,520 --> 00:57:01,160
Speaker 4: chat So you know.

1042
00:57:01,200 --> 00:57:02,120
Speaker 1: What it is, you know why?

1043
00:57:02,280 --> 00:57:04,600
Speaker 13: And he could tell you it's not even a big secret.

1044
00:57:04,600 --> 00:57:07,320
Speaker 13: It's DJ right, don't you find it?

1045
00:57:07,440 --> 00:57:13,160
Speaker 2: I mean like djing' I'm smart about it now because

1046
00:57:14,520 --> 00:57:19,120
Speaker 2: I wasn't DJing as heavy since maybe the last three

1047
00:57:19,160 --> 00:57:21,280
Speaker 2: or four records where I'm now aware of it. Yeah,

1048
00:57:21,440 --> 00:57:23,440
Speaker 2: now now I know why Dre, Like when I saw

1049
00:57:23,520 --> 00:57:26,840
Speaker 2: straight out of Compton and realize the environment that Dre

1050
00:57:27,080 --> 00:57:29,880
Speaker 2: was DJing at at that roller skating rink where it's

1051
00:57:29,920 --> 00:57:30,080
Speaker 2: like you.

1052
00:57:30,120 --> 00:57:32,439
Speaker 1: Play the wrong record, that's ass.

1053
00:57:33,200 --> 00:57:37,080
Speaker 2: Now realize, oh, that's why all of Dre's stuff is

1054
00:57:37,160 --> 00:57:40,040
Speaker 2: taking no prisoners with with his singles and stuff like

1055
00:57:40,120 --> 00:57:42,280
Speaker 2: it has to just got to hit grab you by

1056
00:57:42,320 --> 00:57:42,760
Speaker 2: the throat.

1057
00:57:42,880 --> 00:57:44,840
Speaker 1: Now I realize that, yeah, that's That's the.

1058
00:57:46,520 --> 00:57:50,840
Speaker 13: Other thing about it too, is that it's it's you

1059
00:57:50,960 --> 00:57:54,920
Speaker 13: get to see what works and why, you know, because I,

1060
00:57:55,200 --> 00:57:58,040
Speaker 13: you know, I think that you and I we maybe

1061
00:57:58,160 --> 00:58:00,160
Speaker 13: I think we come from the same philosophy when we

1062
00:58:00,240 --> 00:58:04,840
Speaker 13: spend you know what I'm saying, It's like, you know, current, current,

1063
00:58:05,720 --> 00:58:08,600
Speaker 13: a little bit back on another one, throwback, temple wise,

1064
00:58:08,640 --> 00:58:12,400
Speaker 13: tempo match, baseline match and boom now current you know current,

1065
00:58:12,720 --> 00:58:15,400
Speaker 13: you know, just to try to mix and then sometimes

1066
00:58:15,480 --> 00:58:19,080
Speaker 13: you know that the crowd may not know the throwbacks,

1067
00:58:19,400 --> 00:58:21,600
Speaker 13: but you just want to see the reaction if if

1068
00:58:21,640 --> 00:58:24,680
Speaker 13: it's one of the yeah, because if it if it

1069
00:58:24,720 --> 00:58:27,240
Speaker 13: doesn't stop the grooving that you see who's moving it

1070
00:58:27,320 --> 00:58:29,760
Speaker 13: to it. It's a great study, you.

1071
00:58:29,800 --> 00:58:31,160
Speaker 1: Know, psychological stuff.

1072
00:58:31,600 --> 00:58:33,360
Speaker 2: If you're just tuning in, We're getting a hip hop

1073
00:58:33,440 --> 00:58:37,200
Speaker 2: history lesson with rapper, actor, producer DJ and member of

1074
00:58:37,240 --> 00:58:39,360
Speaker 2: a tripal Quest Q Tip. The reason why I brought

1075
00:58:39,400 --> 00:58:45,120
Speaker 2: up the record collection is because m the era of

1076
00:58:45,680 --> 00:58:48,640
Speaker 2: when you guys finally get your debut record out.

1077
00:58:48,960 --> 00:58:49,080
Speaker 8: Uh.

1078
00:58:49,800 --> 00:58:53,080
Speaker 2: First of all, the long ass title of People's Instinctive

1079
00:58:53,120 --> 00:58:55,240
Speaker 2: Travels and the Paths of Rhythm.

1080
00:58:56,480 --> 00:59:00,120
Speaker 13: Why I mean Captain Beef.

1081
00:59:03,040 --> 00:59:03,480
Speaker 1: Difficult?

1082
00:59:03,680 --> 00:59:07,480
Speaker 13: Yeah, I mean you know we title we need to

1083
00:59:07,560 --> 00:59:08,520
Speaker 13: stick the fuck out.

1084
00:59:09,760 --> 00:59:15,640
Speaker 1: When other options for the debut album before was the

1085
00:59:17,200 --> 00:59:19,840
Speaker 1: you know either or we always had like three to

1086
00:59:19,920 --> 00:59:21,560
Speaker 1: choose from it, they decided.

1087
00:59:21,240 --> 00:59:22,960
Speaker 13: Like, okay, now, were just like, yo, this is what

1088
00:59:23,080 --> 00:59:23,320
Speaker 13: it is.

1089
00:59:24,560 --> 00:59:30,600
Speaker 1: Okay. So in the era of you guys making that record.

1090
00:59:32,320 --> 00:59:35,160
Speaker 2: Well as a music producer, the first thing, the reason

1091
00:59:35,200 --> 00:59:40,560
Speaker 2: why I have a dividing line between the renaissance era

1092
00:59:40,760 --> 00:59:44,200
Speaker 2: of hip hop and the classic era of hip hop

1093
00:59:44,760 --> 00:59:47,960
Speaker 2: and the thin line that's in between is the fact

1094
00:59:48,000 --> 00:59:55,680
Speaker 2: that you guys managed to miraculously avoid James brown Well

1095
00:59:55,880 --> 01:00:01,160
Speaker 2: using anything from Break B Lose Ultimately and Breaks Collection,

1096
01:00:01,800 --> 01:00:05,600
Speaker 2: which all right for our listeners, Break Be Lou shout Out,

1097
01:00:05,640 --> 01:00:05,960
Speaker 2: What's Up?

1098
01:00:06,360 --> 01:00:06,560
Speaker 11: Lou?

1099
01:00:06,680 --> 01:00:07,640
Speaker 1: Lou Floores.

1100
01:00:09,920 --> 01:00:14,800
Speaker 2: Wisely came up with a Wikipedia or a cliff notes,

1101
01:00:14,960 --> 01:00:17,480
Speaker 2: if you will, of records.

1102
01:00:17,280 --> 01:00:19,479
Speaker 13: And Street Beat Lenny Street BT Lenny too.

1103
01:00:19,560 --> 01:00:22,880
Speaker 2: Yeah, Street B Lenny shout out of all the records

1104
01:00:22,960 --> 01:00:28,120
Speaker 2: that Bam and HERK and Flash and Theodore would spend

1105
01:00:28,800 --> 01:00:31,840
Speaker 2: back in the day, and when this compilation came out

1106
01:00:31,880 --> 01:00:38,840
Speaker 2: in late nineteen eighty five through nineteen eighty nine, pretty

1107
01:00:38,880 --> 01:00:42,880
Speaker 2: much I'll say sixty percent of most hip hop relied

1108
01:00:43,080 --> 01:00:48,320
Speaker 2: on these breaks for their daily diet, all these you know,

1109
01:00:49,200 --> 01:00:53,080
Speaker 2: synthetic substitution and peached the President. God made me funky.

1110
01:00:54,080 --> 01:00:56,520
Speaker 2: It was just to the point where the average record

1111
01:00:56,600 --> 01:01:00,960
Speaker 2: take like take a producer like Herbie Lovebug his productions

1112
01:01:01,160 --> 01:01:04,280
Speaker 2: on saying, like a filler cut on a kid in

1113
01:01:04,320 --> 01:01:05,600
Speaker 2: play record, You.

1114
01:01:07,320 --> 01:01:08,120
Speaker 1: Tell that's why?

1115
01:01:08,280 --> 01:01:08,560
Speaker 8: You mean?

1116
01:01:09,080 --> 01:01:10,920
Speaker 2: He used the drums from here and the loop from

1117
01:01:10,960 --> 01:01:13,720
Speaker 2: there and the baseline from there, you know, all on

1118
01:01:13,800 --> 01:01:16,520
Speaker 2: the same record where you really didn't do any heavy digging.

1119
01:01:16,680 --> 01:01:19,320
Speaker 2: So this is the first time, or at least with

1120
01:01:19,640 --> 01:01:23,440
Speaker 2: with the native tongues, this is the first time that

1121
01:01:23,520 --> 01:01:28,200
Speaker 2: I'm hearing loops that aren't on that compilation. And it's like,

1122
01:01:28,720 --> 01:01:30,720
Speaker 2: oh God, I gotta do some work to figure out

1123
01:01:31,000 --> 01:01:35,800
Speaker 2: what this is. Was that was that already a rule

1124
01:01:35,960 --> 01:01:40,720
Speaker 2: that like no substitution, no funky drummer, no impeach the President.

1125
01:01:41,520 --> 01:01:42,200
Speaker 6: Yeah, we were.

1126
01:01:43,480 --> 01:01:43,720
Speaker 5: It was.

1127
01:01:44,960 --> 01:01:49,080
Speaker 13: It was a crew of us, right like it was

1128
01:01:49,280 --> 01:01:55,760
Speaker 13: me Africa, the beat nuts.

1129
01:01:56,160 --> 01:01:58,320
Speaker 17: Who is the music head of the beat nuts. They

1130
01:01:58,400 --> 01:02:05,240
Speaker 17: both are who's your go to well made juju?

1131
01:02:05,520 --> 01:02:09,640
Speaker 13: I mean because that was my men, like in senior

1132
01:02:09,760 --> 01:02:13,280
Speaker 13: year high school, like we were me him Rashad.

1133
01:02:14,760 --> 01:02:14,960
Speaker 11: Yep.

1134
01:02:16,240 --> 01:02:18,120
Speaker 13: They all went to the No no, no, we all

1135
01:02:18,200 --> 01:02:20,280
Speaker 13: went to different schools, but we were all like meet

1136
01:02:20,360 --> 01:02:22,880
Speaker 13: up at the hubs and ship, like we just knew

1137
01:02:22,960 --> 01:02:26,560
Speaker 13: niggas from when you know, we was getting up getting

1138
01:02:26,600 --> 01:02:28,760
Speaker 13: beats and ship and you'd see dudes and be like, Yo,

1139
01:02:28,880 --> 01:02:31,520
Speaker 13: that dude got because we always there was a there

1140
01:02:31,640 --> 01:02:36,040
Speaker 13: was a small group of us who was like anti

1141
01:02:36,720 --> 01:02:39,080
Speaker 13: break beat, you know what I mean, Like we had

1142
01:02:39,120 --> 01:02:42,360
Speaker 13: to have the right ship, you know what I mean,

1143
01:02:42,960 --> 01:02:43,560
Speaker 13: like all right, the.

1144
01:02:43,680 --> 01:02:45,480
Speaker 1: Large professor substitution.

1145
01:02:46,520 --> 01:02:46,720
Speaker 7: Huh.

1146
01:02:47,200 --> 01:02:48,840
Speaker 1: But not once did you feel like all.

1147
01:02:48,800 --> 01:02:52,120
Speaker 13: Right, oh yeah, well after after you know, after we've

1148
01:02:52,400 --> 01:02:55,760
Speaker 13: established ourselves in that way, you didn't come back. There's

1149
01:02:55,760 --> 01:02:59,360
Speaker 13: been times I've used substitution kicks and ship like that

1150
01:02:59,520 --> 01:02:59,800
Speaker 13: and like.

1151
01:03:00,120 --> 01:03:04,600
Speaker 1: No, that's whatever, you can't tell yeah okay, or.

1152
01:03:04,760 --> 01:03:07,320
Speaker 13: Like you know, and like Pete would use he would

1153
01:03:07,400 --> 01:03:11,560
Speaker 13: use substitution a lot, you know, some of them ships.

1154
01:03:11,640 --> 01:03:13,160
Speaker 13: Just as a producer, you'd be like, yo, that ship

1155
01:03:13,240 --> 01:03:17,080
Speaker 13: is still that is that James brown Snea is still rocking.

1156
01:03:17,480 --> 01:03:19,600
Speaker 13: We got to boot, you know what I mean. But

1157
01:03:20,280 --> 01:03:23,760
Speaker 13: back then, early on, it was just about it was

1158
01:03:23,840 --> 01:03:28,120
Speaker 13: about the hunt, nigga, you know saying the hunt. You

1159
01:03:28,200 --> 01:03:30,040
Speaker 13: know that ship just had to fight. It was just

1160
01:03:30,120 --> 01:03:31,880
Speaker 13: like and then we got so on and we would

1161
01:03:31,960 --> 01:03:35,160
Speaker 13: travel out of town and flights. Me and Paul would

1162
01:03:35,200 --> 01:03:36,959
Speaker 13: get fucking rent cars.

1163
01:03:36,680 --> 01:03:39,240
Speaker 6: And be driving Pittsburgh.

1164
01:03:39,560 --> 01:03:41,200
Speaker 13: Yeah, all types of ship.

1165
01:03:41,400 --> 01:03:42,720
Speaker 1: You would go to Jerry's and Pittsburgh.

1166
01:03:43,160 --> 01:03:43,400
Speaker 7: Yep.

1167
01:03:43,480 --> 01:03:44,320
Speaker 13: I went to Jerry's.

1168
01:03:44,800 --> 01:03:46,320
Speaker 1: Yeah, it's yeah.

1169
01:03:46,440 --> 01:03:51,200
Speaker 2: If any beat nigger, there's seven Pilgrimage like Mecca Pilgrim,

1170
01:03:51,720 --> 01:03:54,200
Speaker 2: but Jerry's you'll never get past.

1171
01:03:54,320 --> 01:03:58,640
Speaker 1: Like the letter D and or C right right, right right,

1172
01:03:58,880 --> 01:04:00,520
Speaker 1: that's how large is where houses.

1173
01:04:01,200 --> 01:04:06,520
Speaker 13: But the crew was it was like Juju and and

1174
01:04:06,640 --> 01:04:09,400
Speaker 13: this is the crew like we all would know each other.

1175
01:04:09,520 --> 01:04:12,440
Speaker 13: We always go to spots and ship. It was Juju

1176
01:04:12,760 --> 01:04:23,560
Speaker 13: Diamond large myself Africa, Pete, I said Paul, right, Paul,

1177
01:04:27,680 --> 01:04:31,479
Speaker 13: prem had already bought a store. He already had everything. Wow,

1178
01:04:32,040 --> 01:04:39,600
Speaker 13: he had a store. Oh Latif Latif, I said Rashad, No,

1179
01:04:41,320 --> 01:04:47,760
Speaker 13: it was we was we was Mark already had he's

1180
01:04:47,760 --> 01:04:52,120
Speaker 13: a og so he was already. So Prem had the

1181
01:04:52,200 --> 01:04:54,440
Speaker 13: record store that he bought when he was in Texas

1182
01:04:54,760 --> 01:04:58,280
Speaker 13: and came and they just shipped him every like forty

1183
01:04:58,360 --> 01:05:00,640
Speaker 13: thousand records of some crazy ship. So he had everything,

1184
01:05:01,160 --> 01:05:05,440
Speaker 13: and Mark had everything. So we were all putting our

1185
01:05:05,520 --> 01:05:08,160
Speaker 13: shits together kind of at that time, you know, at

1186
01:05:08,160 --> 01:05:12,240
Speaker 13: the same time, you know. But it was the hunt.

1187
01:05:12,680 --> 01:05:13,280
Speaker 1: It was the hunt.

1188
01:05:13,480 --> 01:05:15,040
Speaker 13: It was like Game of Thrones and some shit.

1189
01:05:15,160 --> 01:05:15,360
Speaker 6: Dude.

1190
01:05:15,480 --> 01:05:20,120
Speaker 2: See, I'm glad you're saying this because even though my

1191
01:05:20,280 --> 01:05:23,920
Speaker 2: career came in the tail end of it, many a

1192
01:05:24,000 --> 01:05:27,360
Speaker 2: record dealer had the fear of their eyes when like,

1193
01:05:28,200 --> 01:05:30,440
Speaker 2: because I would just straight up ask them because they like,

1194
01:05:30,560 --> 01:05:33,880
Speaker 2: record dealers will do this thing where it's like, all right,

1195
01:05:33,960 --> 01:05:36,960
Speaker 2: they know what kind of money's walking in, right Jack.

1196
01:05:37,040 --> 01:05:37,760
Speaker 1: So they'll look at me.

1197
01:05:38,360 --> 01:05:40,160
Speaker 2: They'll look at me and like, okay, a mirror's good

1198
01:05:40,200 --> 01:05:43,360
Speaker 2: for ten thousand. So they have a system where it's

1199
01:05:43,440 --> 01:05:46,520
Speaker 2: like they'll give you all right, that's ten, that's twenty,

1200
01:05:46,800 --> 01:05:49,600
Speaker 2: that's ten, that's twenty, that's ten, that's twenty.

1201
01:05:49,800 --> 01:05:50,720
Speaker 1: No, that's right.

1202
01:05:50,880 --> 01:05:54,000
Speaker 2: But then they know you're itching and I'm like, so

1203
01:05:54,120 --> 01:05:56,360
Speaker 2: that's it, and they'll be like, well, you know, I

1204
01:05:56,440 --> 01:05:58,800
Speaker 2: got a shipment that just came.

1205
01:05:58,720 --> 01:06:03,440
Speaker 13: In last night, and all the warehouses up the block.

1206
01:06:03,600 --> 01:06:06,120
Speaker 1: Right, oh, take you over the block. Yeah that's all that.

1207
01:06:08,040 --> 01:06:11,680
Speaker 1: I got some dresses over here. Yeah. No, but that's

1208
01:06:11,680 --> 01:06:14,960
Speaker 1: what it's like. And then there's just a point I

1209
01:06:15,000 --> 01:06:17,280
Speaker 1: would tell them to just cut to the chase, like

1210
01:06:17,640 --> 01:06:18,120
Speaker 1: and that's the.

1211
01:06:18,160 --> 01:06:21,120
Speaker 2: Thing as a record collector, you never tell them like, look,

1212
01:06:21,880 --> 01:06:23,800
Speaker 2: only got a thousand, Just cut to the chase and

1213
01:06:23,840 --> 01:06:25,680
Speaker 2: give me the good ship, because no, they'll just do

1214
01:06:25,800 --> 01:06:29,200
Speaker 2: the same ship the tens, the twenties, the tens, the twenties,

1215
01:06:29,360 --> 01:06:30,760
Speaker 2: the tens, the twenties.

1216
01:06:30,640 --> 01:06:31,439
Speaker 1: Were you out there?

1217
01:06:31,960 --> 01:06:35,520
Speaker 2: And then they'll be like they you They will usually

1218
01:06:35,640 --> 01:06:38,760
Speaker 2: say like Pete Rock was always the thing, like well, yeah,

1219
01:06:38,800 --> 01:06:40,560
Speaker 2: we were holding some of the stuff for Pete Rock.

1220
01:06:42,720 --> 01:06:46,880
Speaker 1: You know, I'll give you an extra yeah. But then

1221
01:06:46,920 --> 01:06:49,320
Speaker 1: you're like you get desperate and not realize this wouldn't

1222
01:06:49,320 --> 01:06:51,920
Speaker 1: even be true. No, no, no, no, I realized then

1223
01:06:51,960 --> 01:06:53,240
Speaker 1: I realized that was the hustle.

1224
01:06:53,400 --> 01:06:57,680
Speaker 2: And then finally I found a guy where he's just like, look,

1225
01:06:58,480 --> 01:07:01,440
Speaker 2: this is worth a hundred, worth one fifty. This is

1226
01:07:01,640 --> 01:07:05,240
Speaker 2: you know, in those type of things, So of course

1227
01:07:05,320 --> 01:07:08,440
Speaker 2: those prices would be jacked up because they would use

1228
01:07:08,480 --> 01:07:10,000
Speaker 2: it like stuff already.

1229
01:07:10,080 --> 01:07:11,840
Speaker 11: So like like a.

1230
01:07:13,360 --> 01:07:17,800
Speaker 1: Prime example the Manti Alexander in Happiness.

1231
01:07:18,000 --> 01:07:21,360
Speaker 2: All right, so before you use that for Gangster bitch,

1232
01:07:26,240 --> 01:07:29,440
Speaker 2: I know that the album was worth like ten bucks now,

1233
01:07:29,720 --> 01:07:35,280
Speaker 2: but because Gangster like he cutes him, single handedly brought up.

1234
01:07:35,240 --> 01:07:39,200
Speaker 1: The stocks on all well, not just the stuff people.

1235
01:07:40,160 --> 01:07:43,400
Speaker 13: I feel bad a little bit because it just happened

1236
01:07:43,440 --> 01:07:44,520
Speaker 13: like okay boom.

1237
01:07:44,280 --> 01:07:47,560
Speaker 1: So yeah, my generation is now paying the extra on.

1238
01:07:47,960 --> 01:07:48,880
Speaker 6: A new Tribe album.

1239
01:07:49,240 --> 01:07:56,000
Speaker 13: I use this this for whatever. What is the Nairobi Yeah,

1240
01:07:56,480 --> 01:08:01,840
Speaker 13: like that ship is rocketed already.

1241
01:08:01,960 --> 01:08:03,760
Speaker 16: But give me an example of like from once it

1242
01:08:03,840 --> 01:08:05,560
Speaker 16: came to whence they got once Tip touched it?

1243
01:08:07,000 --> 01:08:09,760
Speaker 17: No all the time, like oh Jesus Christ, I've read

1244
01:08:11,120 --> 01:08:12,760
Speaker 17: Ramp is a five dollars record.

1245
01:08:13,920 --> 01:08:16,160
Speaker 2: I don't even think there's an original Ramp record. Like

1246
01:08:16,439 --> 01:08:20,760
Speaker 2: every Ramp album I've seen is. I just felt like

1247
01:08:21,000 --> 01:08:24,679
Speaker 2: they Yeah, they finally just printed it in the name

1248
01:08:24,880 --> 01:08:27,400
Speaker 2: of the interest of finding the Benina apple bum sample.

1249
01:08:27,960 --> 01:08:30,439
Speaker 6: So how much is that now, Ramp three hundred?

1250
01:08:30,720 --> 01:08:33,639
Speaker 2: Well you for an original press never seen an original

1251
01:08:33,720 --> 01:08:40,040
Speaker 2: pressing of Rent, But uh, Eugene McDaniels, I've never seen

1252
01:08:40,240 --> 01:08:44,280
Speaker 2: I've never seen the headless heroes under two hundred bucks original.

1253
01:08:49,080 --> 01:08:53,080
Speaker 1: Playing that. I played that ship.

1254
01:08:59,120 --> 01:09:02,160
Speaker 2: The first argument Stacey and I ever had over music,

1255
01:09:04,720 --> 01:09:09,599
Speaker 2: first Tasty Trees, Stacey and I ever had over music

1256
01:09:10,400 --> 01:09:11,519
Speaker 2: was over that record.

1257
01:09:13,200 --> 01:09:17,519
Speaker 1: She by the time we got to that song, she

1258
01:09:17,720 --> 01:09:18,479
Speaker 1: was like you.

1259
01:09:20,880 --> 01:09:26,560
Speaker 18: This is the latest song on McDaniel's debut album. I

1260
01:09:26,640 --> 01:09:31,120
Speaker 18: played everything, No, No, No, the sam just before news

1261
01:09:31,280 --> 01:09:31,600
Speaker 18: for this.

1262
01:09:31,960 --> 01:09:35,519
Speaker 1: For the tip Us it was jagget a dagger. It

1263
01:09:35,560 --> 01:09:37,519
Speaker 1: was jagged dagger. You know, we was having a ball.

1264
01:09:37,960 --> 01:09:40,200
Speaker 1: That's going on the mic. Weird enough.

1265
01:09:40,640 --> 01:09:43,640
Speaker 2: Jack of the Dagger was such a dig at mic.

1266
01:09:43,760 --> 01:09:46,880
Speaker 2: Jagger like stealing black music.

1267
01:09:47,720 --> 01:09:50,960
Speaker 1: The loop was so dope. One of the one of

1268
01:09:51,000 --> 01:09:54,520
Speaker 1: the last dates that we did on when Lauren.

1269
01:09:54,360 --> 01:09:56,439
Speaker 6: Released that, did you play that as he walked out?

1270
01:09:56,800 --> 01:10:02,760
Speaker 2: No, no, no, no, man, you know what he can't Yes,

1271
01:10:02,880 --> 01:10:05,719
Speaker 2: he was scheduled, he was scheduled to be on the show.

1272
01:10:06,560 --> 01:10:07,960
Speaker 1: We prepared that song and.

1273
01:10:08,040 --> 01:10:10,679
Speaker 2: Then he okay, okay, he didn't do it, but yeah,

1274
01:10:10,680 --> 01:10:15,479
Speaker 2: when he comes, dude's dagger like what they gonna do

1275
01:10:15,520 --> 01:10:16,240
Speaker 2: the research on it?

1276
01:10:16,760 --> 01:10:17,160
Speaker 1: Anyway.

1277
01:10:18,000 --> 01:10:22,240
Speaker 2: Last the last date, the last date of this Lauren

1278
01:10:22,320 --> 01:10:25,000
Speaker 2: Hill tour when she did that unplugged record Smoking Groups tour.

1279
01:10:25,000 --> 01:10:25,880
Speaker 1: I remember that right.

1280
01:10:26,280 --> 01:10:29,800
Speaker 2: So it was Thanksgiving night in Seattle and I played

1281
01:10:29,800 --> 01:10:33,640
Speaker 2: the Parasite and blasted it because I DJ before she

1282
01:10:33,800 --> 01:10:36,600
Speaker 2: came on dog the look on the art it was

1283
01:10:36,680 --> 01:10:37,360
Speaker 2: the best.

1284
01:10:39,200 --> 01:10:41,320
Speaker 1: I might have to play you. Yes, I gotta Can

1285
01:10:41,360 --> 01:10:42,280
Speaker 1: I play a whole song? Please?

1286
01:10:42,600 --> 01:10:43,400
Speaker 11: The whole song is like that.

1287
01:10:45,080 --> 01:10:46,640
Speaker 1: We can't not right now.

1288
01:10:46,640 --> 01:10:49,080
Speaker 13: I mean if you can put a little bit, just

1289
01:10:50,200 --> 01:10:51,799
Speaker 13: skim through, skim through certain.

1290
01:10:52,120 --> 01:10:53,760
Speaker 1: Yeah, I think it's a good close. We'll close the

1291
01:10:53,800 --> 01:10:57,800
Speaker 1: show with it. Okay, we will close the show. That's fair.

1292
01:10:58,439 --> 01:11:00,559
Speaker 13: Can we talk over it? And then is the show

1293
01:11:01,000 --> 01:11:03,280
Speaker 13: like Mystery Science Theater?

1294
01:11:04,800 --> 01:11:08,000
Speaker 1: That is kind of what we do. That's all we do,

1295
01:11:08,520 --> 01:11:08,840
Speaker 1: all right?

1296
01:11:09,000 --> 01:11:15,880
Speaker 2: So what making this? Making the record the debut? Yeah,

1297
01:11:16,120 --> 01:11:24,599
Speaker 2: people's I call it Peter Peter Ptour, Peter making that record.

1298
01:11:25,960 --> 01:11:29,440
Speaker 2: What is because this is a group of super producers.

1299
01:11:30,040 --> 01:11:32,080
Speaker 2: I mean it's a group of multiple c's, but it's

1300
01:11:32,080 --> 01:11:33,559
Speaker 2: also a group of super producers.

1301
01:11:34,600 --> 01:11:40,040
Speaker 1: How what is the what is the agreed upon method

1302
01:11:40,200 --> 01:11:42,200
Speaker 1: of making joints?

1303
01:11:42,880 --> 01:11:42,920
Speaker 16: Like?

1304
01:11:43,160 --> 01:11:45,519
Speaker 1: Is it just yo? I got this loop?

1305
01:11:45,800 --> 01:11:46,479
Speaker 11: I got this loop.

1306
01:11:46,880 --> 01:11:47,559
Speaker 1: I like that loop.

1307
01:11:47,600 --> 01:11:51,400
Speaker 2: Okay, let's work on that is it, you know, do

1308
01:11:51,479 --> 01:11:53,280
Speaker 2: you just come in with the finished product like I

1309
01:11:53,439 --> 01:11:55,320
Speaker 2: like this does a least say, Yo, what do you

1310
01:11:55,360 --> 01:11:55,760
Speaker 2: think about this?

1311
01:11:55,840 --> 01:11:56,000
Speaker 12: Yeah?

1312
01:11:56,040 --> 01:11:58,800
Speaker 1: That joints nice? I'll do that. It's kind of okay

1313
01:11:58,880 --> 01:12:01,000
Speaker 1: in the beginning, what it like? What's it like on

1314
01:12:01,120 --> 01:12:01,759
Speaker 1: the first album?

1315
01:12:01,920 --> 01:12:06,400
Speaker 13: Like in the beginning, Uh, A lot of it was

1316
01:12:06,960 --> 01:12:13,479
Speaker 13: demos that I'd done over the prior, I'd say five

1317
01:12:13,640 --> 01:12:14,640
Speaker 13: years maybe.

1318
01:12:14,680 --> 01:12:18,720
Speaker 2: Okay, I'm calling I'm calling an artible storytime with Q tip.

1319
01:12:18,880 --> 01:12:21,080
Speaker 2: All right, I'm just gonna play ten seconds of random

1320
01:12:21,160 --> 01:12:24,160
Speaker 2: tribe joints and you tell me, like, what comes to

1321
01:12:24,240 --> 01:12:26,080
Speaker 2: mind when you made this?

1322
01:12:26,280 --> 01:12:28,760
Speaker 1: Like, well, if you remember any details.

1323
01:12:31,600 --> 01:12:37,120
Speaker 13: The read it, read it the page, see what it says,

1324
01:12:37,479 --> 01:12:42,000
Speaker 13: read it? I mean running away roy is you know

1325
01:12:42,120 --> 01:12:44,920
Speaker 13: it's one of my favorite This.

1326
01:12:45,000 --> 01:12:48,719
Speaker 2: Shake catches a lot of slack like I I'll read,

1327
01:12:49,120 --> 01:12:55,880
Speaker 2: I'll read you know, like uh uh lists like Ego

1328
01:12:55,960 --> 01:12:59,960
Speaker 2: trip list or whatever, where of course this didn't description

1329
01:13:00,120 --> 01:13:05,439
Speaker 2: and was of course, so it catches flak as in

1330
01:13:06,200 --> 01:13:07,519
Speaker 2: weird debut songs by.

1331
01:13:07,479 --> 01:13:09,880
Speaker 6: Groups that were later god doubt.

1332
01:13:10,280 --> 01:13:15,240
Speaker 2: But there's nothing wrong with this loop. This is not

1333
01:13:15,320 --> 01:13:18,240
Speaker 2: my go to song to spend. But I was never

1334
01:13:18,439 --> 01:13:20,640
Speaker 2: mad at this loop or the.

1335
01:13:20,720 --> 01:13:22,760
Speaker 6: Place of the ending. It felt like a good ending

1336
01:13:22,840 --> 01:13:23,400
Speaker 6: for the album.

1337
01:13:23,720 --> 01:13:23,920
Speaker 12: Yeah.

1338
01:13:24,040 --> 01:13:25,800
Speaker 1: I used to run that joint and that was actually

1339
01:13:25,840 --> 01:13:34,320
Speaker 1: the B side was even funnier. Pubic B side talking

1340
01:13:34,360 --> 01:13:35,679
Speaker 1: smack comics.

1341
01:13:35,800 --> 01:13:36,759
Speaker 6: It was funny.

1342
01:13:36,920 --> 01:13:38,439
Speaker 1: It was like, it's very skipped to my loop.

1343
01:13:38,640 --> 01:13:39,880
Speaker 6: No, no, no, you know what it was.

1344
01:13:41,400 --> 01:13:47,280
Speaker 13: I had two years earlier. There was a store on Bleika,

1345
01:13:47,320 --> 01:13:51,160
Speaker 13: the street where you get all the fucking prints unreleased joints.

1346
01:13:54,200 --> 01:13:56,240
Speaker 13: Well not Bob's, but it was another joint.

1347
01:13:57,280 --> 01:13:59,360
Speaker 1: It was Generations.

1348
01:14:00,240 --> 01:14:03,960
Speaker 13: It was not Unbleaker, but it's off you know where

1349
01:14:04,000 --> 01:14:07,560
Speaker 13: all the chest stores. I think it was across the

1350
01:14:07,600 --> 01:14:09,360
Speaker 13: street and down the black from Mock Moods.

1351
01:14:09,400 --> 01:14:11,439
Speaker 1: I think there's a story where Prince actually walked in

1352
01:14:12,040 --> 01:14:13,360
Speaker 1: to that store and.

1353
01:14:13,479 --> 01:14:17,120
Speaker 13: Walked out with all this ship. Yeah, that had Yo,

1354
01:14:17,680 --> 01:14:20,799
Speaker 13: It's ill because I was in there. I would always

1355
01:14:20,880 --> 01:14:23,280
Speaker 13: hit there after school because Karena and I would always

1356
01:14:23,400 --> 01:14:25,360
Speaker 13: be in the village and ship and I would always

1357
01:14:25,439 --> 01:14:28,000
Speaker 13: go get I was just a huge Prince fan. So

1358
01:14:28,120 --> 01:14:31,919
Speaker 13: I had heard movie Star, heard Bob, George, super Califern

1359
01:14:31,920 --> 01:14:34,280
Speaker 13: at the front, whatever the fuck you know all of

1360
01:14:34,320 --> 01:14:37,080
Speaker 13: that ship. Like, I was just like stuck. I remember

1361
01:14:37,120 --> 01:14:39,600
Speaker 13: playing movie Star for Africa and he and we're in

1362
01:14:39,800 --> 01:14:43,200
Speaker 13: like eleventh grade and we're like mocking the ship and

1363
01:14:43,360 --> 01:14:47,360
Speaker 13: listening to all this unreleased Prince Ship, and this was

1364
01:14:47,520 --> 01:14:49,400
Speaker 13: like kind of like one of the.

1365
01:14:51,120 --> 01:14:53,519
Speaker 1: Who's you know about George?

1366
01:14:53,960 --> 01:14:57,000
Speaker 13: You know what I like doing all that silly ship.

1367
01:14:57,520 --> 01:15:00,640
Speaker 13: Underneath it is the BT Express beat, you know what

1368
01:15:00,680 --> 01:15:04,600
Speaker 13: I mean. I mean it's it's clearly tuned out. But

1369
01:15:05,560 --> 01:15:11,040
Speaker 13: it was also still an overage of disco kind of

1370
01:15:11,200 --> 01:15:13,920
Speaker 13: house parties that were still going on. You know, you

1371
01:15:14,040 --> 01:15:17,160
Speaker 13: still have Frankie Knuckles, Ip, still had Larry Levan doing

1372
01:15:17,280 --> 01:15:20,840
Speaker 13: parties back then, even though their houses had closed, and

1373
01:15:21,040 --> 01:15:24,720
Speaker 13: maybe Frankie was doing back and forth from Chicago to

1374
01:15:24,840 --> 01:15:28,840
Speaker 13: New York. So body, Body and Soul was being established,

1375
01:15:28,960 --> 01:15:31,320
Speaker 13: re established, So it was still a disco thing that

1376
01:15:31,479 --> 01:15:31,880
Speaker 13: was happening.

1377
01:15:31,920 --> 01:15:34,720
Speaker 1: Have you ever got to see Larry spin Yeah or

1378
01:15:34,800 --> 01:15:35,800
Speaker 1: his systems? Yeah?

1379
01:15:36,160 --> 01:15:38,840
Speaker 13: Well I saw him at Limelight.

1380
01:15:39,439 --> 01:15:41,040
Speaker 1: Okay, did he control the system there?

1381
01:15:41,320 --> 01:15:44,080
Speaker 13: I don't think. So this is towards because.

1382
01:15:43,800 --> 01:15:48,400
Speaker 2: When you DJ, you have the world's loudest base cabinets ever.

1383
01:15:48,479 --> 01:15:52,759
Speaker 2: And I know that he always you You're always aiming

1384
01:15:52,880 --> 01:15:54,000
Speaker 2: for a paradise.

1385
01:15:54,880 --> 01:15:56,400
Speaker 13: Yeah, I'm trying to go for that, man.

1386
01:15:56,479 --> 01:15:58,000
Speaker 1: Yeah, okay, I'm a stickler for that.

1387
01:15:58,520 --> 01:16:02,920
Speaker 13: But the first real big system I think I heard

1388
01:16:03,080 --> 01:16:03,280
Speaker 13: was in.

1389
01:16:03,360 --> 01:16:06,280
Speaker 10: The world what was the last record that you played

1390
01:16:06,400 --> 01:16:07,200
Speaker 10: yours in the club?

1391
01:16:07,240 --> 01:16:10,599
Speaker 1: And you was like, oh what feeling you play?

1392
01:16:10,680 --> 01:16:10,720
Speaker 8: What?

1393
01:16:11,640 --> 01:16:11,840
Speaker 19: Yeah?

1394
01:16:12,240 --> 01:16:14,120
Speaker 1: Wow, See, now that's weird.

1395
01:16:14,400 --> 01:16:21,320
Speaker 2: I have a rule against playing because every time I

1396
01:16:21,400 --> 01:16:22,240
Speaker 2: play the roots ship.

1397
01:16:22,240 --> 01:16:23,240
Speaker 1: Is the fastest for.

1398
01:16:27,040 --> 01:16:28,479
Speaker 13: Yeah, I don't, I don't.

1399
01:16:31,000 --> 01:16:33,719
Speaker 1: But no, but I'm saying they got this already.

1400
01:16:33,920 --> 01:16:39,679
Speaker 2: It's already established that you're the establishment of that level.

1401
01:16:39,920 --> 01:16:44,120
Speaker 2: Like you know, there's at least five tribe songs that

1402
01:16:44,200 --> 01:16:48,360
Speaker 2: are the mount rushmore go to songs of a party start.

1403
01:16:48,600 --> 01:16:53,200
Speaker 2: So even when you were djaying like it's embarrassing to

1404
01:16:53,320 --> 01:16:55,760
Speaker 2: play what's the captain obvious one like scenario, I.

1405
01:16:55,760 --> 01:16:57,280
Speaker 13: Don't play none of it obviously.

1406
01:16:57,400 --> 01:17:00,280
Speaker 2: So even when you were DJing in let's say nineteen

1407
01:17:00,360 --> 01:17:03,559
Speaker 2: ninety three and you put scenario on, knowing the motherfucker's

1408
01:17:03,600 --> 01:17:05,240
Speaker 2: gonna go out, they mind like is this still like

1409
01:17:05,280 --> 01:17:05,800
Speaker 2: a weird thing?

1410
01:17:06,000 --> 01:17:07,800
Speaker 13: Like yeah, I don't, I don't.

1411
01:17:07,840 --> 01:17:10,960
Speaker 1: I don't do that. I can't do that. I'll play,

1412
01:17:11,920 --> 01:17:13,320
Speaker 1: Oh you'll play some obscure shit.

1413
01:17:13,720 --> 01:17:16,040
Speaker 13: I'll play something more if like especially if it's like

1414
01:17:16,080 --> 01:17:19,960
Speaker 13: a I have a groog rowing or whatever. Like let's say, okay,

1415
01:17:20,120 --> 01:17:23,040
Speaker 13: so what is somewhere like one hundred and five bp

1416
01:17:23,240 --> 01:17:24,000
Speaker 13: M or some ship.

1417
01:17:24,040 --> 01:17:27,760
Speaker 1: I know what you're gonna say, what, No, I was doing?

1418
01:17:27,880 --> 01:17:28,240
Speaker 3: Do it? Do it?

1419
01:17:28,320 --> 01:17:30,320
Speaker 2: Do it? I was going to say you you would

1420
01:17:30,439 --> 01:17:39,479
Speaker 2: probably player no footprints foot I feel like you would

1421
01:17:39,479 --> 01:17:45,719
Speaker 2: play footprints a not to play print club song. But okay,

1422
01:17:45,840 --> 01:17:56,240
Speaker 2: you taught me this term part of my French niggaig.

1423
01:17:53,439 --> 01:17:57,920
Speaker 13: Nigga drums, nigga drums that he nigga drums, nigga drn.

1424
01:17:59,439 --> 01:18:00,920
Speaker 6: I need that dry.

1425
01:18:02,560 --> 01:18:05,280
Speaker 1: No, he's just it's just he taught me that term.

1426
01:18:05,640 --> 01:18:09,599
Speaker 1: He's just like it's like that's the secret.

1427
01:18:09,760 --> 01:18:13,839
Speaker 2: Like the music smooth, but the beat is so cracking

1428
01:18:13,920 --> 01:18:17,320
Speaker 2: and hard and just hard like it's it's it's like

1429
01:18:17,520 --> 01:18:20,280
Speaker 2: Freddy Fox punching you in the news.

1430
01:18:21,240 --> 01:18:27,160
Speaker 1: It's this ship over on top right, while like in

1431
01:18:27,240 --> 01:18:29,439
Speaker 1: my head, why was Freddy Fox? Yeah? The hip hop?

1432
01:18:30,120 --> 01:18:35,679
Speaker 2: Yeah, like damn it, we're getting a pound from busting rhymes,

1433
01:18:35,840 --> 01:18:40,160
Speaker 2: you know, like it's yeah, no, when busted pigs you up,

1434
01:18:40,200 --> 01:18:42,280
Speaker 2: it's you gotta hide your.

1435
01:18:42,200 --> 01:18:46,400
Speaker 1: Hands like him, him and the Angelo, Him and Angelo

1436
01:18:46,520 --> 01:18:50,599
Speaker 1: the like he pulls your finger like a thing.

1437
01:18:50,600 --> 01:18:54,120
Speaker 13: But he did is relentless deal do it all night.

1438
01:18:54,080 --> 01:18:57,479
Speaker 1: For two hours every since Primo says the same thing

1439
01:18:57,560 --> 01:19:04,200
Speaker 1: he has like he had after every two minutes. DM Buster,

1440
01:19:04,320 --> 01:19:05,439
Speaker 1: the reason why I get.

1441
01:19:05,400 --> 01:19:08,719
Speaker 2: Pounds out because they will pull your joints out of sockets,

1442
01:19:08,960 --> 01:19:09,280
Speaker 2: giving you.

1443
01:19:09,280 --> 01:19:12,080
Speaker 15: A pounds so hard test your manlihood.

1444
01:19:12,360 --> 01:19:14,400
Speaker 1: It's just now, it's just pounds.

1445
01:19:14,479 --> 01:19:14,639
Speaker 2: Man.

1446
01:19:14,880 --> 01:19:15,759
Speaker 1: It does.

1447
01:19:23,240 --> 01:19:27,240
Speaker 2: Somebody Q Tip work with his Diamond D, another legendary

1448
01:19:27,400 --> 01:19:31,519
Speaker 2: MC producer. Whereas Diamond D says the best producer on

1449
01:19:31,640 --> 01:19:36,040
Speaker 2: the Mic twenty twenty three, we linked in Atlanta and

1450
01:19:36,160 --> 01:19:38,719
Speaker 2: got to tell Diamond what he means in the cannon

1451
01:19:38,800 --> 01:19:40,680
Speaker 2: of hip hop production, sampling.

1452
01:19:40,400 --> 01:19:41,240
Speaker 1: And album Make It.

1453
01:19:44,040 --> 01:19:44,280
Speaker 11: Dog.

1454
01:19:44,640 --> 01:19:47,680
Speaker 2: The resume is scrown like some of my my my

1455
01:19:47,880 --> 01:19:52,640
Speaker 2: favorite producer moments comes from this gentleman years. I mean,

1456
01:19:52,720 --> 01:19:57,599
Speaker 2: we all of his records, Suns, Blunts and hip hop Hatred.

1457
01:19:57,920 --> 01:20:00,479
Speaker 2: I got to ask you about your your sophomore hatred,

1458
01:20:00,600 --> 01:20:06,080
Speaker 2: passionate infidelity like Dome Piece, the Gotham, and now your

1459
01:20:06,120 --> 01:20:10,880
Speaker 2: brand new joint the review which is excellent work. You've

1460
01:20:10,880 --> 01:20:15,400
Speaker 2: been doing quality, excellent work and sometimes it's easy to

1461
01:20:15,640 --> 01:20:18,560
Speaker 2: sort of take for granted. People do excellent work and

1462
01:20:18,600 --> 01:20:21,320
Speaker 2: they often get overlooked, and when top five lists and

1463
01:20:21,360 --> 01:20:24,840
Speaker 2: top ten lists are named, and you know, sometimes a

1464
01:20:24,880 --> 01:20:30,680
Speaker 2: person is so effortless that you tend to forget their contributions.

1465
01:20:30,760 --> 01:20:32,640
Speaker 1: But you know, that's what quest Love Supreme is for.

1466
01:20:32,800 --> 01:20:33,240
Speaker 1: So that's it.

1467
01:20:33,479 --> 01:20:38,040
Speaker 2: Let's welcome the one and only, finally, finally, Diamond. Am

1468
01:20:38,040 --> 01:20:39,400
Speaker 2: I allowed to call you Diamond D? Now?

1469
01:20:39,439 --> 01:20:39,760
Speaker 7: Of course?

1470
01:20:40,200 --> 01:20:42,759
Speaker 1: Okay, number one? Can you please?

1471
01:20:43,960 --> 01:20:44,839
Speaker 12: We allowed?

1472
01:20:44,960 --> 01:20:45,000
Speaker 1: No?

1473
01:20:45,040 --> 01:20:45,320
Speaker 6: No, no no.

1474
01:20:45,400 --> 01:20:45,920
Speaker 1: But here's the deal.

1475
01:20:45,960 --> 01:20:49,160
Speaker 2: I two versions of the album when it was like

1476
01:20:49,400 --> 01:20:52,000
Speaker 2: Diamond stump blumped in here and then there was Diamond.

1477
01:20:52,760 --> 01:20:58,040
Speaker 19: Well it was Diamond and psychoch Neurotics, Diamond Diamond psychoch Neurotics.

1478
01:20:58,320 --> 01:21:01,280
Speaker 2: So what was the situation with your name? It was

1479
01:21:01,320 --> 01:21:03,840
Speaker 2: there another Diamond D like back in the day that I.

1480
01:21:03,840 --> 01:21:04,280
Speaker 12: Don't know what.

1481
01:21:05,360 --> 01:21:08,599
Speaker 19: I'm not sure, but I think it might have been

1482
01:21:09,040 --> 01:21:13,519
Speaker 19: originally somebody that was signed to Weston Records of New York.

1483
01:21:13,680 --> 01:21:16,160
Speaker 6: Yeaheah. They did Tony Gardener at Heartbeat, like.

1484
01:21:16,439 --> 01:21:18,720
Speaker 12: You know, hot Shot was on that table, but I

1485
01:21:18,760 --> 01:21:19,880
Speaker 12: think somebody had the name.

1486
01:21:20,000 --> 01:21:25,640
Speaker 2: Yeah, okay, so yeah, well you know this is my

1487
01:21:25,720 --> 01:21:28,120
Speaker 2: favorite nerd out moment on Quest Love Supreme. So I'm

1488
01:21:28,120 --> 01:21:32,040
Speaker 2: gonna start from the beginning. What was your first musical memory?

1489
01:21:32,840 --> 01:21:34,760
Speaker 2: Time out? Let me go to og style. Where were

1490
01:21:34,800 --> 01:21:35,160
Speaker 2: you born?

1491
01:21:36,200 --> 01:21:38,439
Speaker 12: I was born in Manhattan, New York hospital.

1492
01:21:39,120 --> 01:21:42,880
Speaker 1: Wow, I never heard any Yeah, get to get to

1493
01:21:42,920 --> 01:21:46,400
Speaker 1: it all right, New York all right. Was raised in

1494
01:21:46,439 --> 01:21:51,280
Speaker 1: the Bronx. Okay, your first musical memory sitting.

1495
01:21:51,000 --> 01:21:53,240
Speaker 12: In my uncle's room and him just playing music.

1496
01:21:53,760 --> 01:21:57,680
Speaker 19: He had a large vinyl collection, So I was just

1497
01:21:57,720 --> 01:21:59,800
Speaker 19: sitting in his room, like eight nine years old, just

1498
01:22:00,120 --> 01:22:01,000
Speaker 19: didn't play records.

1499
01:22:01,600 --> 01:22:02,360
Speaker 1: What was he playing?

1500
01:22:03,560 --> 01:22:07,920
Speaker 19: Everything? Mostly mostly funk, jazz, soul, you know what I mean?

1501
01:22:08,240 --> 01:22:10,840
Speaker 19: Shouts out to Gary was he was?

1502
01:22:10,920 --> 01:22:14,240
Speaker 2: He very meriticulous with the collection, Like I've had an

1503
01:22:14,479 --> 01:22:15,720
Speaker 2: older cousin that was that way.

1504
01:22:15,800 --> 01:22:18,320
Speaker 1: But you couldn't touch the wax and.

1505
01:22:18,479 --> 01:22:22,040
Speaker 19: You know, yeah, definitely fresh, yeah, definitely. You know, you

1506
01:22:22,080 --> 01:22:23,720
Speaker 19: know you have to hold a record like this with

1507
01:22:23,840 --> 01:22:28,360
Speaker 19: both hands. He's very meticulous about his vinyls. And then

1508
01:22:28,439 --> 01:22:30,080
Speaker 19: you know, when I came along with the DJ and

1509
01:22:30,160 --> 01:22:31,360
Speaker 19: you know, we had to put our hands on the.

1510
01:22:31,400 --> 01:22:33,759
Speaker 1: Record, I was gonna say, how okay.

1511
01:22:33,880 --> 01:22:38,519
Speaker 2: So I've sometimes I try and explain to people the trouble,

1512
01:22:39,360 --> 01:22:41,120
Speaker 2: you know, I mean Teezy now that hip hop is

1513
01:22:41,280 --> 01:22:44,519
Speaker 2: and it's about to be in its fiftieth year for

1514
01:22:44,680 --> 01:22:47,320
Speaker 2: us also to take for you know, for granted its

1515
01:22:47,439 --> 01:22:50,240
Speaker 2: development and how you know far it's come. But you know,

1516
01:22:50,400 --> 01:22:52,280
Speaker 2: I try to explain to people that a lot of

1517
01:22:52,320 --> 01:22:57,840
Speaker 2: those pioneers, you know, Flash, got so much kickback or

1518
01:22:57,920 --> 01:23:01,920
Speaker 2: pushback if you will, you know, because the general idea

1519
01:23:02,040 --> 01:23:05,040
Speaker 2: is that you're going to destroy the needle or destroy

1520
01:23:05,160 --> 01:23:08,200
Speaker 2: the belt driver or the turntable.

1521
01:23:07,760 --> 01:23:11,599
Speaker 12: Like putting your fingers on the grooves. Those are big

1522
01:23:11,720 --> 01:23:12,200
Speaker 12: no nose.

1523
01:23:12,720 --> 01:23:16,160
Speaker 2: Yeah, I got punishment trying to uh, you know, like

1524
01:23:16,280 --> 01:23:18,720
Speaker 2: my first introduction in scratching, of course was you know,

1525
01:23:18,920 --> 01:23:23,000
Speaker 2: grand Master Flash on the wheels of steel and you know,

1526
01:23:23,160 --> 01:23:25,200
Speaker 2: trying to practice on my dad's you know, while he's

1527
01:23:25,240 --> 01:23:27,599
Speaker 2: not looking and see what happens and you get in trouble.

1528
01:23:28,040 --> 01:23:30,240
Speaker 2: But yeah, like how do you discover what that is

1529
01:23:30,840 --> 01:23:33,439
Speaker 2: in the bronx and where you like privy to any

1530
01:23:33,479 --> 01:23:35,000
Speaker 2: of those like block parties or anything.

1531
01:23:35,000 --> 01:23:37,560
Speaker 12: Oh yeah, they were like right outside, explain it.

1532
01:23:37,680 --> 01:23:37,880
Speaker 1: Take it.

1533
01:23:38,840 --> 01:23:43,519
Speaker 19: Growing up in Farvest projects me Fat Joe lor f Ness,

1534
01:23:43,560 --> 01:23:46,879
Speaker 19: we would all see DJs like you're in the same buildings,

1535
01:23:46,920 --> 01:23:50,920
Speaker 19: still the same same complex. But we would see guy

1536
01:23:51,040 --> 01:23:56,320
Speaker 19: like Grant with the Theadore mainly Theatre, Suntime Flash. At

1537
01:23:56,320 --> 01:23:58,840
Speaker 19: that point they were already making records, but we were

1538
01:23:58,880 --> 01:24:01,240
Speaker 19: able to just go downstairs and just see these jams

1539
01:24:01,320 --> 01:24:02,280
Speaker 19: going on in the parks.

1540
01:24:02,960 --> 01:24:05,000
Speaker 1: What was it? What was it like seeing?

1541
01:24:05,040 --> 01:24:08,479
Speaker 2: Because I'm assuming that you're too young for Harlem World

1542
01:24:08,760 --> 01:24:12,200
Speaker 2: or right, so I'm assuming that you're eleven or twelve

1543
01:24:12,240 --> 01:24:15,439
Speaker 2: year olday seem it? So what how does the trickle

1544
01:24:15,479 --> 01:24:18,200
Speaker 2: effect happen to you? Like where tapes the thing instantly

1545
01:24:18,720 --> 01:24:21,760
Speaker 2: or how do you get the information just.

1546
01:24:21,840 --> 01:24:24,080
Speaker 19: Watching it firsthand? You know, you've seen people out there,

1547
01:24:24,120 --> 01:24:26,439
Speaker 19: you know, with boxes, you know, recording or whatever. But

1548
01:24:26,600 --> 01:24:30,800
Speaker 19: we you know, I saw the firsthand, you know, when

1549
01:24:30,840 --> 01:24:36,400
Speaker 19: Flash made Grand Master Flash in the Wheels Steals, I

1550
01:24:36,520 --> 01:24:38,840
Speaker 19: had already seen him do some of that, you know,

1551
01:24:38,920 --> 01:24:41,680
Speaker 19: outside in the parks, cutting up good times, you know,

1552
01:24:42,479 --> 01:24:47,080
Speaker 19: shit like that. But just being close in proximity to

1553
01:24:47,200 --> 01:24:50,559
Speaker 19: it is what drew me and in fact quest when

1554
01:24:50,600 --> 01:24:53,479
Speaker 19: I was a little kid, whenever I saw the DJ

1555
01:24:53,720 --> 01:24:57,760
Speaker 19: reach for the damn right, I'm somebody album cover by

1556
01:24:57,840 --> 01:25:00,000
Speaker 19: the JB's you know, I would lose my mind because

1557
01:25:00,080 --> 01:25:02,560
Speaker 19: I knew he was gonna play blow your Head, and

1558
01:25:02,720 --> 01:25:05,400
Speaker 19: that sticked. Like even now as an adult, that always

1559
01:25:05,400 --> 01:25:08,160
Speaker 19: sticks out to me. A lot of times people ask me,

1560
01:25:08,320 --> 01:25:10,160
Speaker 19: you know, what's the first song to draw you into

1561
01:25:10,240 --> 01:25:10,639
Speaker 19: hip hop?

1562
01:25:12,520 --> 01:25:13,559
Speaker 12: I mentioned blow your Head.

1563
01:25:13,800 --> 01:25:16,360
Speaker 19: It's not a rap record, I know, it's just a

1564
01:25:16,439 --> 01:25:19,400
Speaker 19: break bead that was real popular, and as little kids

1565
01:25:19,439 --> 01:25:21,439
Speaker 19: we would lose our fucking mom when that shit came on.

1566
01:25:24,439 --> 01:25:25,919
Speaker 1: The hip hop legends continue.

1567
01:25:26,920 --> 01:25:28,519
Speaker 2: Eric Sherman and I had a one on one a

1568
01:25:28,600 --> 01:25:31,280
Speaker 2: few months ago in late twenty twenty four, and I

1569
01:25:31,400 --> 01:25:34,439
Speaker 2: told the EPMD co founder what a lot of fans say,

1570
01:25:34,680 --> 01:25:37,360
Speaker 2: even though he's from New York, he's kind of a

1571
01:25:37,439 --> 01:25:41,280
Speaker 2: G funk pioneer and creating a sound that was later.

1572
01:25:41,200 --> 01:25:44,360
Speaker 1: Popularized out of La Let's Listen.

1573
01:25:47,400 --> 01:25:52,439
Speaker 2: It wasn't often, especially back in eighty eight, where you

1574
01:25:52,520 --> 01:25:59,120
Speaker 2: would see a summit meeting of frus from opposite sides

1575
01:25:59,200 --> 01:26:03,200
Speaker 2: of the coast or you know, wherever they were from,

1576
01:26:03,840 --> 01:26:08,000
Speaker 2: like normally birds of a feather flocked together. And seeing

1577
01:26:08,560 --> 01:26:14,320
Speaker 2: Nwa in the Big Paypack video, it was like such

1578
01:26:14,360 --> 01:26:18,760
Speaker 2: a big deal for us, like yo, EPMD knows Nwa,

1579
01:26:19,000 --> 01:26:21,719
Speaker 2: like craz That's how me and Reek were like watching

1580
01:26:21,800 --> 01:26:25,200
Speaker 2: your TV reps like you are a g Funk pioneer

1581
01:26:25,320 --> 01:26:28,479
Speaker 2: that never got the credit, and you are also a

1582
01:26:28,600 --> 01:26:32,479
Speaker 2: neo soul pioneer that never got the credit. But do

1583
01:26:32,640 --> 01:26:37,760
Speaker 2: you think that because of the sort of the thick

1584
01:26:38,040 --> 01:26:42,759
Speaker 2: texture of your production for those like first two EPM

1585
01:26:42,840 --> 01:26:44,160
Speaker 2: D records where like the.

1586
01:26:44,320 --> 01:26:45,519
Speaker 1: Zap collaps, we like.

1587
01:26:47,320 --> 01:26:49,720
Speaker 2: Like that spoke to the West Coast more than any

1588
01:26:50,560 --> 01:26:53,360
Speaker 2: more than Public Enemy could have because it's touring.

1589
01:26:54,439 --> 01:26:57,160
Speaker 20: Don't forget this, it's touring, you know, So so you

1590
01:26:57,160 --> 01:26:59,559
Speaker 20: know that was a la was one of my biggest

1591
01:26:59,600 --> 01:27:02,040
Speaker 20: markets because the way they thought me. And when you

1592
01:27:02,400 --> 01:27:04,760
Speaker 20: hear Snoop telling the story, Snoop said, he drove to

1593
01:27:04,800 --> 01:27:08,320
Speaker 20: Britwood looking for me in Parish, right, because they don't

1594
01:27:08,320 --> 01:27:11,280
Speaker 20: forget this in Britwood in California. So he's so he's

1595
01:27:11,360 --> 01:27:13,760
Speaker 20: in Britwood thinking that we're from the suburbs.

1596
01:27:14,439 --> 01:27:17,760
Speaker 1: Oh okay, okay. So he told the story a.

1597
01:27:17,760 --> 01:27:18,400
Speaker 5: Couple of times.

1598
01:27:18,479 --> 01:27:21,360
Speaker 20: But anyway, being on tour, but me and Cube was tight,

1599
01:27:21,600 --> 01:27:23,880
Speaker 20: like like I had seven roses Zukie when I went

1600
01:27:23,920 --> 01:27:25,120
Speaker 20: to LAQ picked me up.

1601
01:27:25,320 --> 01:27:27,280
Speaker 5: He had seven roses Zukie, you know.

1602
01:27:28,000 --> 01:27:31,240
Speaker 20: And again at the end of the day, me and

1603
01:27:31,360 --> 01:27:34,960
Speaker 20: Dre was two people that was on both sides stample

1604
01:27:35,040 --> 01:27:35,599
Speaker 20: in Parliament.

1605
01:27:35,880 --> 01:27:36,559
Speaker 5: Don't forget them.

1606
01:27:37,520 --> 01:27:39,800
Speaker 20: He was doing it first in eighty seven before me

1607
01:27:39,880 --> 01:27:43,200
Speaker 20: and Parish even came out. It wasn't like, okay, people

1608
01:27:43,400 --> 01:27:46,519
Speaker 20: credit me. Like if you talk to dub C, he

1609
01:27:46,640 --> 01:27:50,400
Speaker 20: has say, yo, I gotta get the the West Coast.

1610
01:27:50,720 --> 01:27:55,080
Speaker 20: Hat to Eric sermon, because they showed us how to

1611
01:27:55,200 --> 01:27:59,280
Speaker 20: rap on this music. So while we was playing Roger,

1612
01:27:59,720 --> 01:28:04,320
Speaker 20: they rhyming on Roja. While we was playing Riding High,

1613
01:28:04,600 --> 01:28:07,920
Speaker 20: they were rapping on Riding High. So all the stuff

1614
01:28:08,080 --> 01:28:10,920
Speaker 20: that they hearing on the way that Me and Paris

1615
01:28:11,080 --> 01:28:14,920
Speaker 20: did the Funk records were different than what they was

1616
01:28:14,960 --> 01:28:16,680
Speaker 20: doing it, so it kind of gave them a blueprint.

1617
01:28:16,960 --> 01:28:22,120
Speaker 20: If you hear people talk, they say Dre enhanced the

1618
01:28:22,280 --> 01:28:25,640
Speaker 20: stuff I did by playing live. So if you hear

1619
01:28:26,000 --> 01:28:29,280
Speaker 20: woman to Woman fan but then be Bett, I just

1620
01:28:29,439 --> 01:28:34,120
Speaker 20: sampled it right. He did California Love and we played them.

1621
01:28:34,160 --> 01:28:38,400
Speaker 20: Now it's bigger so and then once epm D broke up,

1622
01:28:38,920 --> 01:28:40,800
Speaker 20: he was able to go to Roger too.

1623
01:28:41,800 --> 01:28:43,719
Speaker 1: You know, things of that nature.

1624
01:28:44,320 --> 01:28:48,120
Speaker 2: How are you developing your production skills and your rhyming

1625
01:28:48,240 --> 01:28:53,639
Speaker 2: skills in eighty seven in time for like your debut record,

1626
01:28:53,880 --> 01:28:57,160
Speaker 2: because you know, like how long did the epm D

1627
01:28:57,560 --> 01:29:01,160
Speaker 2: exist before you guys actually got strictly business.

1628
01:29:01,040 --> 01:29:05,679
Speaker 20: To the public one year see the ones that's fast.

1629
01:29:06,040 --> 01:29:08,560
Speaker 20: The one thing that you that we didn't know. We

1630
01:29:08,640 --> 01:29:11,439
Speaker 20: didn't know what the producer was. We thought every record

1631
01:29:11,560 --> 01:29:13,280
Speaker 20: you heard was done by that person.

1632
01:29:14,160 --> 01:29:15,200
Speaker 1: God, it's not crazy.

1633
01:29:15,320 --> 01:29:17,960
Speaker 20: So we're doing what we think we're supposed to be doing.

1634
01:29:18,040 --> 01:29:20,479
Speaker 20: We didn't know about we was producers. We never heard

1635
01:29:20,560 --> 01:29:23,560
Speaker 20: that word. We just wanted to make a record. So

1636
01:29:23,760 --> 01:29:26,559
Speaker 20: we took the break beach that we had that parents

1637
01:29:26,640 --> 01:29:29,400
Speaker 20: had out of DJ, took records from each other houses,

1638
01:29:29,439 --> 01:29:32,080
Speaker 20: the whole nine, and that's how we formulated epm D.

1639
01:29:32,520 --> 01:29:34,160
Speaker 5: You know, we made what was in front of us,

1640
01:29:34,560 --> 01:29:35,760
Speaker 5: not knowing what we were doing.

1641
01:29:35,960 --> 01:29:36,400
Speaker 1: Don't forget.

1642
01:29:36,439 --> 01:29:37,080
Speaker 12: We didn't know how to.

1643
01:29:37,120 --> 01:29:37,799
Speaker 5: Make a chorus.

1644
01:29:38,160 --> 01:29:41,840
Speaker 20: So Will Starklov called the awesome two All your two

1645
01:29:42,000 --> 01:29:43,600
Speaker 20: came and said, let me get that seven minutes to

1646
01:29:43,680 --> 01:29:46,439
Speaker 20: funk record because we just had the record looping. So

1647
01:29:46,600 --> 01:29:49,320
Speaker 20: when it's my thing, we said, it's my thing, there's

1648
01:29:49,400 --> 01:29:53,720
Speaker 20: nothing there, so Teddy ted said, give me, and he said,

1649
01:29:53,720 --> 01:29:56,320
Speaker 20: give me that record, so he found that for tip

1650
01:29:56,360 --> 01:29:58,360
Speaker 20: boom for tim boom, and then that fam f F

1651
01:29:58,800 --> 01:30:02,720
Speaker 20: bet So caught me how to format a chorus. I

1652
01:30:02,720 --> 01:30:05,839
Speaker 20: would never even known how to due a chorus or format.

1653
01:30:05,960 --> 01:30:08,680
Speaker 20: It was caught to me by the author too.

1654
01:30:09,520 --> 01:30:11,600
Speaker 1: So there was a version of It's My Thing that

1655
01:30:11,680 --> 01:30:13,240
Speaker 1: didn't have no version of this.

1656
01:30:13,320 --> 01:30:16,880
Speaker 20: Reportant record came out. The label was telling us that

1657
01:30:17,000 --> 01:30:19,960
Speaker 20: we needed to have a chorus and to know the

1658
01:30:20,080 --> 01:30:21,080
Speaker 20: chorus get ready to come in?

1659
01:30:21,760 --> 01:30:22,479
Speaker 1: Got it okay?

1660
01:30:22,600 --> 01:30:25,759
Speaker 9: Because all we had was it It's My Thing louder.

1661
01:30:25,960 --> 01:30:27,920
Speaker 20: All we had was that we didn't have the drum

1662
01:30:28,040 --> 01:30:30,679
Speaker 20: roll and the the horn to be like the boy

1663
01:30:30,760 --> 01:30:33,000
Speaker 20: can drop down and come back to the raps. We

1664
01:30:33,120 --> 01:30:35,840
Speaker 20: end up had to split it up so there's a

1665
01:30:35,920 --> 01:30:38,720
Speaker 20: chorus and then there's a part you riy on. And

1666
01:30:38,840 --> 01:30:41,880
Speaker 20: once we learned that, I went nuts and I started

1667
01:30:41,920 --> 01:30:47,040
Speaker 20: doing get down, get down. Time keeps on slipping. So

1668
01:30:47,200 --> 01:30:49,720
Speaker 20: now I was just knowing what to do now, And

1669
01:30:49,800 --> 01:30:51,720
Speaker 20: then when saying came out, I was like, to what

1670
01:30:51,840 --> 01:30:52,400
Speaker 20: you're saying.

1671
01:30:53,880 --> 01:30:54,640
Speaker 10: Now, we're in it.

1672
01:30:54,760 --> 01:30:56,840
Speaker 1: Now you're not a format of song.

1673
01:30:56,960 --> 01:30:57,320
Speaker 11: I get it.

1674
01:31:00,360 --> 01:31:02,960
Speaker 1: Curtis Blow was on qols in late twenty nineteen.

1675
01:31:03,600 --> 01:31:06,519
Speaker 2: He's a rap pioneer, with The Breaks being the first

1676
01:31:06,640 --> 01:31:11,599
Speaker 2: gold certified rap record and this clip, which celebrates Curtis.

1677
01:31:11,880 --> 01:31:14,759
Speaker 2: He also makes a point to honor the late Larry Smith,

1678
01:31:15,360 --> 01:31:18,479
Speaker 2: one of hip hop's first and most important producers, who

1679
01:31:18,560 --> 01:31:19,719
Speaker 2: sadly passed away.

1680
01:31:19,479 --> 01:31:20,280
Speaker 1: In twenty fourteen.

1681
01:31:23,120 --> 01:31:25,720
Speaker 16: I know, since you were the first to ever tour

1682
01:31:25,840 --> 01:31:28,360
Speaker 16: like this internationally, there had to be like some mistakes.

1683
01:31:28,400 --> 01:31:29,760
Speaker 16: There had to be like some moments where you and

1684
01:31:30,040 --> 01:31:31,720
Speaker 16: you and Russell were like, okay, so we're not going

1685
01:31:31,800 --> 01:31:34,080
Speaker 16: to do this like that again. Like there were just

1686
01:31:34,160 --> 01:31:35,960
Speaker 16: so many new things to you, guys, Like did you

1687
01:31:36,000 --> 01:31:37,479
Speaker 16: even know about writers? Did you know?

1688
01:31:37,680 --> 01:31:40,360
Speaker 13: Like what didn't you know that you learned in your first.

1689
01:31:40,680 --> 01:31:41,720
Speaker 1: How many lost pass for?

1690
01:31:42,160 --> 01:31:44,320
Speaker 10: Yes, I had to learn it all.

1691
01:31:44,600 --> 01:31:46,320
Speaker 1: I learned it all on Where's your Traveling?

1692
01:31:46,640 --> 01:31:49,280
Speaker 10: I was like that guy. Oh it was incredible.

1693
01:31:49,640 --> 01:31:49,920
Speaker 8: I was.

1694
01:31:50,240 --> 01:31:56,600
Speaker 10: I was the most sought after live act because it

1695
01:31:56,760 --> 01:32:00,639
Speaker 10: was just me and my DJ, just two people, two people,

1696
01:32:01,000 --> 01:32:04,680
Speaker 10: two turntables in the microphone. Really, yes, so not the

1697
01:32:04,760 --> 01:32:08,400
Speaker 10: first to start the choerage right right, So you're easy

1698
01:32:08,479 --> 01:32:14,599
Speaker 10: to work with. But then Russell in eighty one, Oh, boy. Yeah,

1699
01:32:16,400 --> 01:32:19,519
Speaker 10: so here he comes with Larry Smith. Larry Smith was

1700
01:32:19,560 --> 01:32:22,800
Speaker 10: playing bass, play bass on the breaks and Christmas rap

1701
01:32:22,880 --> 01:32:24,280
Speaker 10: and so.

1702
01:32:24,400 --> 01:32:28,120
Speaker 2: Larry Smith produced Orange Crust was the band for all

1703
01:32:28,160 --> 01:32:29,680
Speaker 2: those for Christmas rap.

1704
01:32:29,840 --> 01:32:32,240
Speaker 10: No no, no, no, no no, not Orange Crushed. That

1705
01:32:32,439 --> 01:32:37,960
Speaker 10: came after Russell took forty thousand dollars of my money

1706
01:32:39,120 --> 01:32:41,719
Speaker 10: and bought all his banning and he gave it to Larry.

1707
01:32:41,840 --> 01:32:44,800
Speaker 10: Larry bought the band equipment and they said, all right,

1708
01:32:44,840 --> 01:32:48,320
Speaker 10: you're going out with the band. I'm like, what how

1709
01:32:48,400 --> 01:32:51,599
Speaker 10: could you do that? I didn't okay this? He said, wait, hey,

1710
01:32:54,080 --> 01:32:54,879
Speaker 10: I'm the manager.

1711
01:32:57,240 --> 01:32:57,639
Speaker 5: Manager.

1712
01:32:57,840 --> 01:33:01,680
Speaker 1: You built Larry Larry uh Smith's career.

1713
01:33:02,320 --> 01:33:04,320
Speaker 10: Well budget that.

1714
01:33:06,280 --> 01:33:06,599
Speaker 13: Larry.

1715
01:33:06,680 --> 01:33:08,360
Speaker 10: I got to give props to him because he was

1716
01:33:09,960 --> 01:33:12,880
Speaker 10: excellent musician, incredible producer.

1717
01:33:13,720 --> 01:33:13,880
Speaker 12: You know.

1718
01:33:13,960 --> 01:33:16,080
Speaker 10: I remember many of the nights we sat up and

1719
01:33:16,200 --> 01:33:20,720
Speaker 10: talked about, you know, my sound and trying to get

1720
01:33:20,720 --> 01:33:23,040
Speaker 10: a sound that was in between James Brown and Chic

1721
01:33:24,280 --> 01:33:27,720
Speaker 10: and Larry was the man. He was definitely the man.

1722
01:33:27,800 --> 01:33:31,080
Speaker 1: I love him so who worked on like Christmas rapping

1723
01:33:31,160 --> 01:33:32,200
Speaker 1: and rapping blow.

1724
01:33:32,080 --> 01:33:34,599
Speaker 10: And yeah that was Larry. Larry was on the bass,

1725
01:33:35,439 --> 01:33:40,320
Speaker 10: but you had John Trope. I was on guitar, And

1726
01:33:40,400 --> 01:33:45,040
Speaker 10: we had Jimmy Braylile who actually went on to become

1727
01:33:45,120 --> 01:33:51,080
Speaker 10: a len drum a Lin drum programmer, and uh, he

1728
01:33:51,280 --> 01:33:54,519
Speaker 10: was on drums. And you know, so during that time,

1729
01:33:54,680 --> 01:33:57,560
Speaker 10: you know, we recorded in the studio like the seventies

1730
01:33:57,600 --> 01:34:00,320
Speaker 10: in the sixties, it was a live band, you know

1731
01:34:00,360 --> 01:34:02,479
Speaker 10: what I mean. And and and we had to rehearse

1732
01:34:02,600 --> 01:34:05,680
Speaker 10: and you know, let's play it one more time and

1733
01:34:06,160 --> 01:34:08,120
Speaker 10: record it and hopefully it would come out.

1734
01:34:08,200 --> 01:34:11,400
Speaker 14: Okay, I'm sorry, And we do White Guy in the

1735
01:34:11,479 --> 01:34:15,600
Speaker 14: Corner As a question, John Tropia.

1736
01:34:15,760 --> 01:34:18,200
Speaker 10: Yeah, the guitarist. Yes, so was he the guitar.

1737
01:34:18,320 --> 01:34:21,439
Speaker 14: He's a to me, he's the famous jazz guitarist.

1738
01:34:21,880 --> 01:34:23,759
Speaker 10: Right, and he's on the breaks.

1739
01:34:24,720 --> 01:34:25,760
Speaker 1: Wow, that's his work.

1740
01:34:26,080 --> 01:34:28,920
Speaker 10: That's his work on the break.

1741
01:34:29,120 --> 01:34:37,520
Speaker 21: On run DMC stuff that was not well Edie did Martinez,

1742
01:34:38,600 --> 01:34:39,880
Speaker 21: Eddie Martinez.

1743
01:34:39,600 --> 01:34:43,799
Speaker 14: And wow, no, I need to process. I'm not schooling

1744
01:34:43,920 --> 01:34:47,080
Speaker 14: on anything. I don't know too much about about him.

1745
01:34:47,080 --> 01:34:48,160
Speaker 14: I just have a few records.

1746
01:34:48,200 --> 01:34:48,320
Speaker 3: You know.

1747
01:34:49,320 --> 01:34:50,559
Speaker 13: He don't get blown away easily.

1748
01:34:50,640 --> 01:34:54,040
Speaker 1: But it is Curtis. That's just really yeah, weird, unexpected,

1749
01:34:54,320 --> 01:34:55,040
Speaker 1: unexpected name.

1750
01:34:55,120 --> 01:34:58,040
Speaker 10: Yeah, yeah, but he's he's a legend, definitely a legend,

1751
01:34:58,080 --> 01:35:03,400
Speaker 10: and you know, I seeing him in the studio because

1752
01:35:03,400 --> 01:35:06,200
Speaker 10: of my producer, JB. Moore was also a guitar player,

1753
01:35:06,280 --> 01:35:09,519
Speaker 10: and he couldn't do the guitars right the way we

1754
01:35:09,680 --> 01:35:13,240
Speaker 10: wanted it and the way he wanted it actually, and

1755
01:35:13,400 --> 01:35:21,439
Speaker 10: so when John came in and played it perfect, perfect

1756
01:35:21,520 --> 01:35:25,080
Speaker 10: rhythm and it was just immaculate, you know.

1757
01:35:25,479 --> 01:35:26,200
Speaker 5: Drives him.

1758
01:35:26,920 --> 01:35:29,920
Speaker 1: So for your first album, like, whose idea was it

1759
01:35:30,000 --> 01:35:31,920
Speaker 1: to do? Like taking care of business.

1760
01:35:32,680 --> 01:35:34,840
Speaker 16: To the girl? What's the other one?

1761
01:35:34,880 --> 01:35:36,280
Speaker 1: That the slow one that's like.

1762
01:35:36,960 --> 01:35:38,280
Speaker 6: All I want.

1763
01:35:40,160 --> 01:35:41,320
Speaker 10: Fir.

1764
01:35:42,560 --> 01:35:44,840
Speaker 2: People don't even credit that as the first love ballot.

1765
01:35:45,040 --> 01:35:47,719
Speaker 2: So it's like for you, you were making a format

1766
01:35:47,800 --> 01:35:50,720
Speaker 2: that was palatable. The radio was like Frankie Crocker on

1767
01:35:50,760 --> 01:35:53,479
Speaker 2: your mind, like okay, the label saying we need something

1768
01:35:53,520 --> 01:35:54,000
Speaker 2: that you know.

1769
01:35:54,760 --> 01:35:57,120
Speaker 10: Right, Well, it was all by design, of course.

1770
01:35:57,200 --> 01:35:57,360
Speaker 13: You know.

1771
01:35:57,479 --> 01:36:01,080
Speaker 10: We wanted to, you know, have a fusion and with

1772
01:36:01,240 --> 01:36:03,880
Speaker 10: other forms of music because they was so brand new,

1773
01:36:04,000 --> 01:36:07,880
Speaker 10: this thing hip hop and rap, you know, so why

1774
01:36:07,960 --> 01:36:10,640
Speaker 10: not rap over a rock and roll song? Why not

1775
01:36:10,840 --> 01:36:13,479
Speaker 10: have a reggae rap? Or I was the first to

1776
01:36:13,520 --> 01:36:17,080
Speaker 10: do a country in Western rap, that Way Out West song.

1777
01:36:17,240 --> 01:36:20,320
Speaker 10: You know, you know, we we we just tried to

1778
01:36:20,800 --> 01:36:23,280
Speaker 10: be different and try to give something new.

1779
01:36:26,360 --> 01:36:28,920
Speaker 16: In retrospect, though, do you see how like free you

1780
01:36:29,080 --> 01:36:30,400
Speaker 16: were in that moment, Because I feel like a lot

1781
01:36:30,400 --> 01:36:33,200
Speaker 16: of EMC's today out the gate couldn't just say I'm

1782
01:36:33,400 --> 01:36:34,799
Speaker 16: producing that in this different genre.

1783
01:36:34,880 --> 01:36:36,800
Speaker 13: I'm like, they won't they want to be allowed to.

1784
01:36:37,200 --> 01:36:39,920
Speaker 10: Well here's the thing. I always wanted to be a singer,

1785
01:36:40,880 --> 01:36:46,479
Speaker 10: and I remember singing those singing songs that every album

1786
01:36:46,560 --> 01:36:50,479
Speaker 10: I put on, the singing But listen, folks, it took

1787
01:36:50,600 --> 01:36:52,840
Speaker 10: me a couple of weeks to do those.

1788
01:36:57,560 --> 01:37:01,800
Speaker 2: In Philadelphia Party Time, very big record, yes, which of

1789
01:37:01,880 --> 01:37:07,760
Speaker 2: course you know well that Tracy Lee like try to

1790
01:37:07,800 --> 01:37:11,920
Speaker 2: bring try to bring that back. So that was the

1791
01:37:12,000 --> 01:37:14,920
Speaker 2: first time I ever heard Full Force on record. So

1792
01:37:15,120 --> 01:37:17,280
Speaker 2: how did you how did you hook up with those

1793
01:37:17,360 --> 01:37:19,320
Speaker 2: guys as far as like did they produce that record?

1794
01:37:19,360 --> 01:37:21,680
Speaker 1: Were they just the band or like what was how

1795
01:37:21,720 --> 01:37:22,360
Speaker 1: did you guys.

1796
01:37:23,120 --> 01:37:25,880
Speaker 10: They became producers after that because we sat in the

1797
01:37:25,880 --> 01:37:29,400
Speaker 10: studio and talked about you know, uh JB. Moore and

1798
01:37:29,520 --> 01:37:31,960
Speaker 10: Robert Ford and what they were doing on my stuff

1799
01:37:32,040 --> 01:37:34,360
Speaker 10: and how they wanted to do the same thing but

1800
01:37:34,520 --> 01:37:40,000
Speaker 10: differently more funkier or more creative. Uh so they were incredible.

1801
01:37:40,080 --> 01:37:44,040
Speaker 10: I met them through JB. Moore and Robert Ford and

1802
01:37:45,080 --> 01:37:49,080
Speaker 10: very very, very talented musicians and singers, and it was

1803
01:37:49,200 --> 01:37:51,000
Speaker 10: incredible just to be a part of that. But the

1804
01:37:51,120 --> 01:37:54,200
Speaker 10: Go Go song, talk about it, trouble for Wow Tub

1805
01:37:55,000 --> 01:37:58,879
Speaker 10: that was EU. So here it is on my birthday

1806
01:37:58,960 --> 01:38:01,840
Speaker 10: I turned twenty one years old. I had the number

1807
01:38:01,880 --> 01:38:05,439
Speaker 10: one record in the country, and so I'm going down

1808
01:38:05,520 --> 01:38:09,160
Speaker 10: to play the Capital Center down in d C. So

1809
01:38:09,400 --> 01:38:11,960
Speaker 10: I had my band, remember the Orange Crushed band. I

1810
01:38:11,960 --> 01:38:14,880
Speaker 10: ain't got ten bollies and oh man, we got like

1811
01:38:15,120 --> 01:38:16,439
Speaker 10: eight eight nine pieces.

1812
01:38:16,560 --> 01:38:16,720
Speaker 9: Right.

1813
01:38:17,240 --> 01:38:20,880
Speaker 10: We rolled down to the Capital Center and I'm headlining

1814
01:38:21,439 --> 01:38:25,040
Speaker 10: this concert and they have all these local bands there

1815
01:38:25,880 --> 01:38:28,120
Speaker 10: and I didn't know what they were, you know what

1816
01:38:28,240 --> 01:38:34,000
Speaker 10: it was. So I'm walking the spot. I'm here first time,

1817
01:38:34,920 --> 01:38:38,200
Speaker 10: that first time I'm here in Go Go you were you.

1818
01:38:41,400 --> 01:38:43,960
Speaker 10: The whole crowd is going crazy. I'm saying, oh, I'm

1819
01:38:43,960 --> 01:38:44,920
Speaker 10: about to tear this.

1820
01:38:47,280 --> 01:38:47,439
Speaker 3: Right.

1821
01:38:48,439 --> 01:38:50,439
Speaker 10: So they were going crazy and it was a band

1822
01:38:50,479 --> 01:38:55,360
Speaker 10: called Trouble Funk. Then another band came on, EU Freeze. Right,

1823
01:38:55,479 --> 01:39:03,840
Speaker 10: they went on the same thing, but now and the

1824
01:39:03,920 --> 01:39:07,240
Speaker 10: crowd is going crazy again, even more crazy. So I'm like, wow,

1825
01:39:07,400 --> 01:39:08,360
Speaker 10: Chuck Brown, was it?

1826
01:39:08,520 --> 01:39:09,240
Speaker 12: Oh my god?

1827
01:39:09,960 --> 01:39:12,640
Speaker 10: Right the Godfather he comes out and tears up the

1828
01:39:12,760 --> 01:39:15,800
Speaker 10: spot too. So it's my turn. So I locked it,

1829
01:39:18,960 --> 01:39:23,560
Speaker 10: let me music up. I throw on Christmas Wrapping and

1830
01:39:23,600 --> 01:39:27,080
Speaker 10: we're playing Christmas Wrapping. The band is tight, clean and everything,

1831
01:39:27,479 --> 01:39:29,560
Speaker 10: but the crowd is like this looking at us, like

1832
01:39:34,960 --> 01:39:37,840
Speaker 10: I'm like, oh my gosh, we better get to the breaks,

1833
01:39:37,880 --> 01:39:40,439
Speaker 10: and you know, quick on this one here right, So

1834
01:39:40,600 --> 01:39:42,960
Speaker 10: I'm speeding through the set and then we throw on

1835
01:39:43,040 --> 01:39:46,120
Speaker 10: the brakes, clap your hands over here, right right, and

1836
01:39:46,240 --> 01:39:51,360
Speaker 10: then like still right, number one record in the country.

1837
01:39:51,479 --> 01:39:54,640
Speaker 10: And so that night I got my butt tore up

1838
01:39:55,200 --> 01:39:58,320
Speaker 10: three or four different times. And for me, it was

1839
01:39:58,439 --> 01:40:01,080
Speaker 10: like my mom's always said they you can't beat them,

1840
01:40:01,160 --> 01:40:01,479
Speaker 10: join them.

1841
01:40:01,800 --> 01:40:02,240
Speaker 1: Hell yeah.

1842
01:40:02,720 --> 01:40:03,920
Speaker 10: So I got all that numbers.

1843
01:40:05,400 --> 01:40:06,400
Speaker 1: Nice. Nice.

1844
01:40:06,760 --> 01:40:09,759
Speaker 10: Next year, I called my boys sugar Bear.

1845
01:40:10,680 --> 01:40:12,519
Speaker 1: And the Sugar Band didn't playing on parties.

1846
01:40:12,840 --> 01:40:17,840
Speaker 10: We did a party time, damn. Okay, yeah, okay, And

1847
01:40:18,000 --> 01:40:21,200
Speaker 10: it's just wonderful to have them in the studio just

1848
01:40:21,840 --> 01:40:22,760
Speaker 10: doing that thing live.

1849
01:40:22,880 --> 01:40:25,400
Speaker 16: And how many pieces in the studio in that moment.

1850
01:40:25,400 --> 01:40:27,679
Speaker 10: Oh yeah, it was like seven eight pieces.

1851
01:40:28,520 --> 01:40:28,720
Speaker 8: Yeah.

1852
01:40:29,080 --> 01:40:30,680
Speaker 16: And so you were the first for that too. I'm

1853
01:40:30,720 --> 01:40:33,680
Speaker 16: guessing the first to do a go go collapse.

1854
01:40:33,439 --> 01:40:37,200
Speaker 2: Well, no, because Flash of them did. They did a

1855
01:40:37,320 --> 01:40:41,479
Speaker 2: live version. Well, they actually signed Trouble Funk two Sugar Records.

1856
01:40:41,960 --> 01:40:45,360
Speaker 2: The first live Go Go that I've.

1857
01:40:45,240 --> 01:40:47,960
Speaker 1: Heard was Trouble Funk Live on Sugar Hills. So the

1858
01:40:48,120 --> 01:40:49,560
Speaker 1: Robinson's got there early on that.

1859
01:40:49,960 --> 01:40:55,680
Speaker 10: And then actually actually the first sample loop right was

1860
01:40:55,840 --> 01:40:58,280
Speaker 10: on the song If I Ruled the World, and and

1861
01:40:59,120 --> 01:41:02,919
Speaker 10: the sample was Trouble Funk. You know that pump pump, pump.

1862
01:41:04,680 --> 01:41:04,920
Speaker 1: Push.

1863
01:41:05,640 --> 01:41:13,920
Speaker 10: I took the percussion part and laid it under If

1864
01:41:13,960 --> 01:41:14,679
Speaker 10: I Wrote the World.

1865
01:41:19,520 --> 01:41:23,720
Speaker 2: Okay, okay, how did that feel for you to have

1866
01:41:23,880 --> 01:41:27,439
Speaker 2: that song come back and for people to learn that

1867
01:41:27,640 --> 01:41:30,640
Speaker 2: you're you know, you're the origin of of of that

1868
01:41:30,720 --> 01:41:32,920
Speaker 2: particular song, because that's all means so much too.

1869
01:41:33,360 --> 01:41:35,080
Speaker 1: I like your harmonies, fans, and.

1870
01:41:36,600 --> 01:41:38,000
Speaker 10: You got that harmonies.

1871
01:41:37,840 --> 01:41:42,880
Speaker 5: Okay right there?

1872
01:41:43,479 --> 01:41:48,320
Speaker 1: You know it was you and Allison Williams actually right,

1873
01:41:48,479 --> 01:41:49,559
Speaker 1: that's Alison singing.

1874
01:41:49,400 --> 01:41:56,920
Speaker 10: Yes, yes, yes, that ters and Audrey Wheeler yes.

1875
01:41:58,320 --> 01:42:00,800
Speaker 12: Yes, yes, and so harmonies were better.

1876
01:42:04,120 --> 01:42:04,320
Speaker 11: It was.

1877
01:42:04,920 --> 01:42:07,439
Speaker 10: It was awesome. It's it's the ultimate and flattery to

1878
01:42:07,800 --> 01:42:10,160
Speaker 10: hear your song on the radio that you recorded some

1879
01:42:10,320 --> 01:42:13,639
Speaker 10: time ago. I remember when Sony sent me the tape.

1880
01:42:13,680 --> 01:42:17,439
Speaker 10: They sent me a cassette tape, and it was awesome.

1881
01:42:17,479 --> 01:42:19,559
Speaker 10: I sat there and played the tape in my car

1882
01:42:20,479 --> 01:42:23,880
Speaker 10: for about three hours, kept rewinding and rewinding it.

1883
01:42:24,600 --> 01:42:24,760
Speaker 1: You know.

1884
01:42:24,960 --> 01:42:27,479
Speaker 10: It was like, Oh my god, that's gotta be Laurence Hill.

1885
01:42:28,040 --> 01:42:29,320
Speaker 10: That's gotta be Lauryn Hill.

1886
01:42:29,920 --> 01:42:30,080
Speaker 12: You know.

1887
01:42:30,320 --> 01:42:32,800
Speaker 10: So I called them back. I said, look, Sony, you

1888
01:42:32,880 --> 01:42:35,519
Speaker 10: guys got a big, major, major, monster hit on you.

1889
01:42:35,600 --> 01:42:38,320
Speaker 10: You better put all your promotion in this because this

1890
01:42:38,560 --> 01:42:41,799
Speaker 10: is going platinum. It went, It went triple platinum.

1891
01:42:42,560 --> 01:42:44,360
Speaker 16: Now did you think that were too close or.

1892
01:42:45,080 --> 01:42:48,559
Speaker 10: The same thing? But I didn't hear it. I didn't

1893
01:42:48,600 --> 01:42:52,200
Speaker 10: hear that song. Like like I sat and you know,

1894
01:42:52,360 --> 01:42:54,360
Speaker 10: listened to If I Rule the World because I feel like.

1895
01:42:54,360 --> 01:42:57,960
Speaker 16: The checks are the same, like that Songlain the World

1896
01:42:58,080 --> 01:42:59,840
Speaker 16: right about next to close it.

1897
01:43:00,520 --> 01:43:03,080
Speaker 10: It was huge yet one song of the year. I

1898
01:43:03,160 --> 01:43:05,439
Speaker 10: think in nineties something Jesus Christ.

1899
01:43:05,479 --> 01:43:06,519
Speaker 1: I forgot about next.

1900
01:43:07,720 --> 01:43:13,840
Speaker 16: Christ, that song like the song that you get annoyed

1901
01:43:13,840 --> 01:43:17,080
Speaker 16: because it just played all the time that the dance.

1902
01:43:16,920 --> 01:43:19,120
Speaker 1: For you know, as a DJ, I need that song,

1903
01:43:19,200 --> 01:43:19,720
Speaker 1: so I get it.

1904
01:43:22,560 --> 01:43:26,320
Speaker 2: What better place to close than with the legendary Jimmy

1905
01:43:26,439 --> 01:43:29,519
Speaker 2: jam We spoke for like seven hours, and really it's

1906
01:43:30,280 --> 01:43:34,360
Speaker 2: all flowers. But here's the one area that I especially like.

1907
01:43:37,520 --> 01:43:42,000
Speaker 2: This is serious of life goals here. Yeah, let's just

1908
01:43:43,479 --> 01:43:46,920
Speaker 2: we're starting from the where were you born, sir?

1909
01:43:47,680 --> 01:43:48,800
Speaker 11: Minneapolis, Minnesota.

1910
01:43:49,120 --> 01:43:53,600
Speaker 1: Okay, what part of what part of Minneapolis?

1911
01:43:54,120 --> 01:43:57,160
Speaker 11: I grew up South Minneapolis, So you know, I can

1912
01:43:57,200 --> 01:43:59,760
Speaker 11: say like forty first in Portland Avenue, which doesn't mean

1913
01:43:59,760 --> 01:44:01,800
Speaker 11: a lot to anybody, but you know, if you think

1914
01:44:01,840 --> 01:44:04,519
Speaker 11: of downtown, it's like, you know, First Street, Second Street,

1915
01:44:05,160 --> 01:44:08,160
Speaker 11: you know, First Avenue, so on and so forth. I

1916
01:44:08,280 --> 01:44:10,519
Speaker 11: lived forty one blocks south of downtown.

1917
01:44:10,600 --> 01:44:12,640
Speaker 2: I feel like when any black person is from the

1918
01:44:12,760 --> 01:44:16,320
Speaker 2: south side of town, south side of east side, that

1919
01:44:16,439 --> 01:44:18,400
Speaker 2: means something going on.

1920
01:44:18,840 --> 01:44:22,120
Speaker 1: Like what part of what was the town part of

1921
01:44:22,160 --> 01:44:24,000
Speaker 1: town to not go to? In Minneapolis?

1922
01:44:24,400 --> 01:44:28,760
Speaker 11: Uh well, okay, if you were black, the northeast was

1923
01:44:28,800 --> 01:44:30,920
Speaker 11: where to not go to. It was called actually the

1924
01:44:31,040 --> 01:44:35,240
Speaker 11: northeast is what we called it. Where the white people lived. Yeah.

1925
01:44:35,600 --> 01:44:39,040
Speaker 1: Yeah, every town has the white people.

1926
01:44:39,520 --> 01:44:42,439
Speaker 11: The white people didn't didn't necessarily want us to be there,

1927
01:44:42,840 --> 01:44:45,400
Speaker 11: you know, because white people live every I mean, let's

1928
01:44:45,439 --> 01:44:50,120
Speaker 11: face it, back, growing up I think the state population

1929
01:44:50,360 --> 01:44:53,320
Speaker 11: was something like three percent black, and maybe it was

1930
01:44:53,960 --> 01:44:56,400
Speaker 11: eight percent black in Minneapolis or something like that. So

1931
01:44:56,479 --> 01:45:01,600
Speaker 11: pretty much white people were everywhere. But certainly, uh, you know,

1932
01:45:02,320 --> 01:45:04,880
Speaker 11: everybody was very tolerant, I guess, I would say, and

1933
01:45:05,000 --> 01:45:08,880
Speaker 11: it was very progressive town. But as you can tell

1934
01:45:08,880 --> 01:45:10,160
Speaker 11: from the music, it came out of there. I think

1935
01:45:10,240 --> 01:45:12,080
Speaker 11: that's had a lot to do with it. But no,

1936
01:45:12,240 --> 01:45:14,439
Speaker 11: I mean, really, the north side probably is where the

1937
01:45:14,479 --> 01:45:17,880
Speaker 11: folks were. You know, I was one of the only

1938
01:45:18,000 --> 01:45:21,240
Speaker 11: South side guy. I mean in Prince obviously because we

1939
01:45:21,320 --> 01:45:23,320
Speaker 11: went to school together and stuff. But on the north

1940
01:45:23,360 --> 01:45:26,600
Speaker 11: side of town you had you know, Morris Day, Jellybean,

1941
01:45:27,200 --> 01:45:30,519
Speaker 11: Terry Lewis, you know, and you had the community center

1942
01:45:30,600 --> 01:45:32,720
Speaker 11: called the Way, which everybody used to rehearse at and

1943
01:45:33,400 --> 01:45:35,160
Speaker 11: that kind of thing. So it was a lot more

1944
01:45:35,240 --> 01:45:37,559
Speaker 11: happening on the north side of town, I would say

1945
01:45:37,560 --> 01:45:38,479
Speaker 11: that on the south side.

1946
01:45:38,840 --> 01:45:43,520
Speaker 2: So in your formative years, how many of your contemporaries

1947
01:45:43,560 --> 01:45:46,160
Speaker 2: and peers that you were professional with would you see

1948
01:45:46,200 --> 01:45:47,160
Speaker 2: on a regular basis?

1949
01:45:48,600 --> 01:45:50,639
Speaker 11: Everybody? Man, it was a it was a small community,

1950
01:45:50,720 --> 01:45:53,680
Speaker 11: it was it was. It was a lot like I

1951
01:45:53,720 --> 01:45:56,880
Speaker 11: always say that Purple Rain, the movie was a kind

1952
01:45:56,920 --> 01:45:59,160
Speaker 11: of a It was fiction, but it was it told

1953
01:45:59,160 --> 01:46:01,640
Speaker 11: a lot of truth. And that was there was like

1954
01:46:01,760 --> 01:46:04,040
Speaker 11: a couple of clubs you could play at, and there

1955
01:46:04,120 --> 01:46:07,479
Speaker 11: was more bands than the clubs could hold. So it

1956
01:46:07,600 --> 01:46:10,639
Speaker 11: made for a very competitive situation where if your band

1957
01:46:10,760 --> 01:46:13,760
Speaker 11: wasn't firing, you just wouldn't be playing in the club.

1958
01:46:14,400 --> 01:46:16,080
Speaker 11: And so that's the way we grew up. So there

1959
01:46:16,160 --> 01:46:18,080
Speaker 11: was like the Elks Lounge. There was a club called

1960
01:46:18,080 --> 01:46:23,439
Speaker 11: the Nakarima. Nakaima was actually American spelled backwards. And you know,

1961
01:46:23,720 --> 01:46:25,800
Speaker 11: the Cozy Bar was another place. There was a place

1962
01:46:25,840 --> 01:46:28,960
Speaker 11: called the Flame, and you know, so between you know,

1963
01:46:29,320 --> 01:46:30,960
Speaker 11: back in that day, you had you know, my band,

1964
01:46:31,000 --> 01:46:33,360
Speaker 11: I had a band called Mind and Matter, Terry had

1965
01:46:33,439 --> 01:46:35,439
Speaker 11: Flight Time. We were together and then we were apart.

1966
01:46:35,520 --> 01:46:37,360
Speaker 11: We were you know, we were going back and forth

1967
01:46:37,400 --> 01:46:42,360
Speaker 11: a lot. And then Prince had Grand Central. Morris had

1968
01:46:42,400 --> 01:46:45,439
Speaker 11: a band called the Enterprise Band of Pleasure at one point,

1969
01:46:46,160 --> 01:46:47,639
Speaker 11: you know, so on and so forth. So what happened

1970
01:46:47,760 --> 01:46:49,880
Speaker 11: was there was all these bands, but there's only a

1971
01:46:49,920 --> 01:46:52,559
Speaker 11: couple of places to play. But all of those guys,

1972
01:46:52,720 --> 01:46:56,679
Speaker 11: and particularly people like and and really the best, probably

1973
01:46:56,720 --> 01:46:59,960
Speaker 11: the baddest dude up there was Sonny Thompson.

1974
01:47:02,080 --> 01:47:05,320
Speaker 2: Everyone speaks of Sonny Thompson like he's God. Yeah, Like,

1975
01:47:05,479 --> 01:47:08,559
Speaker 2: what is it about, what is the legend of Sonny Thompson.

1976
01:47:09,800 --> 01:47:13,160
Speaker 11: Well, Sonny Thompson. I remember back when I first met Terry,

1977
01:47:13,640 --> 01:47:15,759
Speaker 11: and I remember we put our little band together and stuff,

1978
01:47:15,760 --> 01:47:17,799
Speaker 11: and then they used to do these big outdoor festivals

1979
01:47:17,840 --> 01:47:19,920
Speaker 11: at a place called the Philliswheetlely, which is a big

1980
01:47:19,920 --> 01:47:23,240
Speaker 11: community center, and they used to do these outdoor concerts

1981
01:47:23,760 --> 01:47:25,680
Speaker 11: and I remember seeing they had a band, actually the

1982
01:47:25,720 --> 01:47:29,040
Speaker 11: original band that was called the Family. Sonny Thompson was

1983
01:47:29,080 --> 01:47:31,880
Speaker 11: in that band. But I'd never seen a brother play

1984
01:47:31,920 --> 01:47:32,640
Speaker 11: the guitar like that.

1985
01:47:32,800 --> 01:47:33,920
Speaker 1: I mean, he just was like.

1986
01:47:35,640 --> 01:47:38,800
Speaker 11: He was like legendary. He was like the dude. And

1987
01:47:39,439 --> 01:47:42,080
Speaker 11: on top of it, he had the attitude like if

1988
01:47:42,120 --> 01:47:43,840
Speaker 11: you didn't like him or you didn't like the way

1989
01:47:43,880 --> 01:47:45,320
Speaker 11: he was playing, he was gonna come down to kick

1990
01:47:45,360 --> 01:47:47,759
Speaker 11: your ass. Right, So he'd played the gig and stuff,

1991
01:47:47,760 --> 01:47:49,760
Speaker 11: and then afterwards if he'd like, look at it you

1992
01:47:50,000 --> 01:47:52,920
Speaker 11: and you'd say to him, oh man, he killed it, Sonny. Man,

1993
01:47:53,120 --> 01:47:57,000
Speaker 11: that was amazing, because you better say that. But the

1994
01:47:57,080 --> 01:47:59,320
Speaker 11: good news was he always what he was. He was amazing,

1995
01:47:59,360 --> 01:48:01,280
Speaker 11: and he was a dude. Did everybody just kind of

1996
01:48:01,280 --> 01:48:03,519
Speaker 11: stopped and stared and went, damn.

1997
01:48:03,880 --> 01:48:05,240
Speaker 1: What was his style of playing?

1998
01:48:06,240 --> 01:48:08,920
Speaker 11: He was a great rhythm player. He played with a

1999
01:48:08,960 --> 01:48:09,719
Speaker 11: lot of aggression.

2000
01:48:09,760 --> 01:48:09,880
Speaker 5: You know.

2001
01:48:10,000 --> 01:48:12,760
Speaker 11: The thing I always said about about Prince and the

2002
01:48:12,800 --> 01:48:16,080
Speaker 11: way he played is I've never seen anybody attack instruments

2003
01:48:16,160 --> 01:48:19,640
Speaker 11: the way Prince did. Like he literally attacked the instruments

2004
01:48:21,040 --> 01:48:23,760
Speaker 11: louder or just toned well, you know he would. I

2005
01:48:23,800 --> 01:48:27,080
Speaker 11: mean I always say, like, for instance, Terry, you know,

2006
01:48:27,280 --> 01:48:29,960
Speaker 11: Terry's a great bass player, There's no doubt about it.

2007
01:48:30,200 --> 01:48:33,360
Speaker 11: But you know how we always use the analogy like

2008
01:48:33,439 --> 01:48:37,120
Speaker 11: in basketball, people that make you better. Prince was that person, right,

2009
01:48:37,240 --> 01:48:41,719
Speaker 11: So Terry would be playing a bass part and Prince

2010
01:48:41,760 --> 01:48:44,599
Speaker 11: would take the bass from Terry and go, no, play

2011
01:48:44,640 --> 01:48:46,920
Speaker 11: it like this, and then he'd play it, and then

2012
01:48:46,960 --> 01:48:49,120
Speaker 11: he'd had Terry the bass back, and Terry would look

2013
01:48:49,160 --> 01:48:51,200
Speaker 11: at the bass like he'd never seen it before. You know,

2014
01:48:51,520 --> 01:48:54,920
Speaker 11: It's like damn, you know so that but that was

2015
01:48:55,000 --> 01:48:57,479
Speaker 11: the way Sonny was, and I think Prince got a

2016
01:48:57,600 --> 01:49:01,720
Speaker 11: lot of that from Sonny. Attack of the instruments, And

2017
01:49:01,760 --> 01:49:03,320
Speaker 11: it's the same with the keyboards. We used to break

2018
01:49:03,400 --> 01:49:06,120
Speaker 11: keyboards all the time because it wasn't like you would

2019
01:49:06,200 --> 01:49:09,400
Speaker 11: just hit the keyboard politely. It was like we were

2020
01:49:09,439 --> 01:49:12,160
Speaker 11: doing all kind of swoops and wow wow on all

2021
01:49:12,200 --> 01:49:14,720
Speaker 11: that kind of stuff, Like we would break keyboards. I

2022
01:49:14,800 --> 01:49:16,040
Speaker 11: mean that kind of stuff. I mean that was the

2023
01:49:16,080 --> 01:49:19,680
Speaker 11: way he wanted you to play. And so I mean

2024
01:49:19,760 --> 01:49:21,760
Speaker 11: that that kind of attitude, to me was the thing

2025
01:49:21,840 --> 01:49:24,880
Speaker 11: that you know, set him apart, along with a whole

2026
01:49:24,880 --> 01:49:26,920
Speaker 11: lot of other things, but it really set Prince apart

2027
01:49:27,120 --> 01:49:27,439
Speaker 11: for sure.

2028
01:49:28,000 --> 01:49:31,080
Speaker 2: What were the what was a gold club to play

2029
01:49:31,160 --> 01:49:35,720
Speaker 2: in Minneapolis at the time, Like, was First Avenue a

2030
01:49:35,920 --> 01:49:37,480
Speaker 2: dream that was unattainable?

2031
01:49:38,080 --> 01:49:40,920
Speaker 11: No, Actually, here's an interesting thing. Yeah, Now First Avenue

2032
01:49:41,760 --> 01:49:44,679
Speaker 11: was actually the first place that actually allowed like black

2033
01:49:44,800 --> 01:49:45,960
Speaker 11: bands to play.

2034
01:49:46,920 --> 01:49:49,640
Speaker 1: So there was a quiet segregation or oh it was

2035
01:49:49,840 --> 01:49:52,760
Speaker 1: not in your fleece, Oh it was, I.

2036
01:49:52,800 --> 01:49:54,519
Speaker 11: Guess, I guess you could say it was quiet. I mean,

2037
01:49:54,560 --> 01:49:56,040
Speaker 11: if you were a band and you were trying to

2038
01:49:56,080 --> 01:50:01,160
Speaker 11: play somewhere, you knew there were that were just unattainable,

2039
01:50:01,200 --> 01:50:04,360
Speaker 11: you just weren't going to play that club. And I

2040
01:50:04,479 --> 01:50:07,320
Speaker 11: thank god to this day that that happened because what

2041
01:50:07,479 --> 01:50:11,559
Speaker 11: it did as history has always shown with black folks

2042
01:50:12,640 --> 01:50:17,560
Speaker 11: is from adversity comes all good things. You know, you

2043
01:50:17,640 --> 01:50:19,719
Speaker 11: look at what you don't have, and then you figure

2044
01:50:19,760 --> 01:50:22,000
Speaker 11: out that you can't go the easy route that everybody

2045
01:50:22,040 --> 01:50:23,599
Speaker 11: else is going, and then you figure out a way

2046
01:50:23,640 --> 01:50:25,760
Speaker 11: to go get it done. So what we used to

2047
01:50:25,840 --> 01:50:29,840
Speaker 11: do back in the day, we knew we couldn't play

2048
01:50:30,360 --> 01:50:32,080
Speaker 11: I can't remember even the names of the clubs, but

2049
01:50:32,120 --> 01:50:34,000
Speaker 11: there was all these very fancy white clubs and they

2050
01:50:34,040 --> 01:50:37,720
Speaker 11: all had white bands, but they were all playing R

2051
01:50:37,720 --> 01:50:41,400
Speaker 11: and B music, which was ironic. We knew we couldn't

2052
01:50:41,439 --> 01:50:43,639
Speaker 11: play those clubs. So what we would do is, for instance,

2053
01:50:43,680 --> 01:50:48,720
Speaker 11: there was a hotel downtown called the Dykeman Hotel. It

2054
01:50:48,880 --> 01:50:51,679
Speaker 11: was a hotel that was probably about a year away from,

2055
01:50:52,520 --> 01:50:54,479
Speaker 11: you know, being torn down. I mean, it was just

2056
01:50:54,680 --> 01:50:57,280
Speaker 11: nobody stayed there. Rooms were ratty, the whole thing. But

2057
01:50:57,400 --> 01:51:00,519
Speaker 11: what they had was a big ballroom. What we would

2058
01:51:00,520 --> 01:51:03,400
Speaker 11: do is we would take you know, we'd go to

2059
01:51:03,479 --> 01:51:05,599
Speaker 11: the owner of the hotel and we'd say, hey, can

2060
01:51:05,680 --> 01:51:10,240
Speaker 11: we rent the ballroom out. We'll give you the liquor,

2061
01:51:10,320 --> 01:51:12,960
Speaker 11: whatever the liquor sales are, you keep and we'll take

2062
01:51:13,000 --> 01:51:14,600
Speaker 11: the door. We'll charge you know, three bucks at the

2063
01:51:14,640 --> 01:51:18,400
Speaker 11: door or whatever. And so what it did is it

2064
01:51:18,520 --> 01:51:21,640
Speaker 11: forced us to become entrepreneurs because it wasn't like we

2065
01:51:21,840 --> 01:51:24,519
Speaker 11: just had the talent we could go play. It was like, okay,

2066
01:51:24,560 --> 01:51:26,080
Speaker 11: we got the talent, Now we got to figure out

2067
01:51:26,120 --> 01:51:28,800
Speaker 11: how we're going to go play. So we would do that.

2068
01:51:28,920 --> 01:51:30,759
Speaker 11: Now we now back in the day, there's no Twitter

2069
01:51:30,840 --> 01:51:33,639
Speaker 11: and no social media, so it was go to institut prints.

2070
01:51:33,880 --> 01:51:35,439
Speaker 11: That was the place you go. You print up a

2071
01:51:35,439 --> 01:51:37,240
Speaker 11: bunch of flyers and then you put them on people's

2072
01:51:37,280 --> 01:51:40,719
Speaker 11: cars and you'd say, you know, ladies get in free

2073
01:51:41,439 --> 01:51:43,479
Speaker 11: two for one drink. So you'd say whatever the heck

2074
01:51:43,560 --> 01:51:45,840
Speaker 11: you needed to say to get them to get them down.

2075
01:51:47,120 --> 01:51:49,040
Speaker 11: And all of a sudden, you get on Saturday night,

2076
01:51:49,479 --> 01:51:52,040
Speaker 11: and all of a sudden, you'd get fifteen hundred people

2077
01:51:52,800 --> 01:51:58,120
Speaker 11: in this ballroom. Meanwhile, the white clubs are sitting empty.

2078
01:51:59,120 --> 01:52:03,200
Speaker 11: So now they're going, wait, where's everybody at tonight? And

2079
01:52:03,280 --> 01:52:05,320
Speaker 11: they're like, well, they're all going to see the band

2080
01:52:05,360 --> 01:52:09,400
Speaker 11: you wouldn't let play at your club. And so what

2081
01:52:09,680 --> 01:52:12,040
Speaker 11: happened after that was there began to be a little

2082
01:52:12,040 --> 01:52:16,560
Speaker 11: bit of a thing where people begin to recognize that

2083
01:52:16,680 --> 01:52:18,760
Speaker 11: maybe there's a talent, or maybe we should let these

2084
01:52:18,960 --> 01:52:21,280
Speaker 11: folks in, you know, because these guys are talent and

2085
01:52:21,280 --> 01:52:24,680
Speaker 11: they're obviously drawing, right. But the first person to really

2086
01:52:24,720 --> 01:52:28,320
Speaker 11: act upon it was Steve McClellan at First Avenue who said,

2087
01:52:28,920 --> 01:52:31,679
Speaker 11: we'll book you guys in what was called Seventh Street Entry,

2088
01:52:31,840 --> 01:52:34,120
Speaker 11: which is like the little club, right, so if you

2089
01:52:34,320 --> 01:52:36,040
Speaker 11: were cool there, if you could get it going there,

2090
01:52:36,720 --> 01:52:39,400
Speaker 11: then we'll move you to the main room. But he

2091
01:52:39,560 --> 01:52:41,439
Speaker 11: was the one that really gave us the shot, and

2092
01:52:41,560 --> 01:52:43,519
Speaker 11: he gave you know, back then, it wasn't just by

2093
01:52:43,560 --> 01:52:45,080
Speaker 11: the way, It wasn't just black bands, but it was

2094
01:52:45,160 --> 01:52:48,280
Speaker 11: like new wave bands you think about, like the Replacements

2095
01:52:48,320 --> 01:52:50,519
Speaker 11: and the Suburbs and all of those bands. Those bands

2096
01:52:50,560 --> 01:52:53,080
Speaker 11: all started, those white bands all started in that Seventh

2097
01:52:53,080 --> 01:52:53,639
Speaker 11: Street Entry.

2098
01:52:53,720 --> 01:52:55,880
Speaker 1: We even mix it with those guys at all, Like

2099
01:52:55,920 --> 01:52:57,559
Speaker 1: would you see Replacements and m.

2100
01:52:58,640 --> 01:53:00,639
Speaker 11: We didn't mix it all, not I mean just because

2101
01:53:00,640 --> 01:53:02,000
Speaker 11: we didn't. It wasn't it. We didn't like them. We

2102
01:53:02,080 --> 01:53:04,639
Speaker 11: were aware of them, and I think they were aware

2103
01:53:04,640 --> 01:53:07,120
Speaker 11: of us. But we know we never mixed together at all.

2104
01:53:07,200 --> 01:53:09,439
Speaker 11: It was just kind of the same dudes from the

2105
01:53:09,439 --> 01:53:11,880
Speaker 11: neighborhood that we grew up with it was all of

2106
01:53:11,920 --> 01:53:13,080
Speaker 11: those same guys all together.

2107
01:53:13,760 --> 01:53:16,479
Speaker 2: So kind of jumping ahead a little bit, did you

2108
01:53:16,560 --> 01:53:21,880
Speaker 2: have goals to make it out of Minnesota or or

2109
01:53:22,040 --> 01:53:24,920
Speaker 2: was it just like, Okay, we'll just be a local

2110
01:53:25,000 --> 01:53:29,000
Speaker 2: band here and maybe well no, I mean I'll get

2111
01:53:29,040 --> 01:53:29,360
Speaker 2: a job.

2112
01:53:29,800 --> 01:53:33,200
Speaker 1: Like are your parents supportive of this? Or well?

2113
01:53:33,439 --> 01:53:36,639
Speaker 11: Okay, so two really good questions.

2114
01:53:37,920 --> 01:53:38,679
Speaker 1: So my parents.

2115
01:53:38,720 --> 01:53:43,479
Speaker 11: First of all, my dad played in a band and

2116
01:53:44,200 --> 01:53:46,479
Speaker 11: was always a professional musician. Used to take me to

2117
01:53:47,600 --> 01:53:50,280
Speaker 11: rehearsals and stuff back when I was, you know, six

2118
01:53:50,400 --> 01:53:53,639
Speaker 11: seven years old, and I you know, at that point,

2119
01:53:53,680 --> 01:53:56,360
Speaker 11: I had the music bug totally, so I got to

2120
01:53:56,400 --> 01:53:57,600
Speaker 11: see it. I used to used to get to go

2121
01:53:57,640 --> 01:54:00,880
Speaker 11: to the studio and the whole thing. But he was

2122
01:54:01,000 --> 01:54:04,920
Speaker 11: always he never made it really where he wanted to.

2123
01:54:05,040 --> 01:54:07,080
Speaker 11: He was always kind of that guy on the cusp

2124
01:54:07,280 --> 01:54:07,800
Speaker 11: of making it.

2125
01:54:07,880 --> 01:54:08,040
Speaker 5: You know.

2126
01:54:08,160 --> 01:54:09,880
Speaker 11: He'd get on a few back in the day, there

2127
01:54:09,880 --> 01:54:12,560
Speaker 11: were kind of regional records that were hits, and my

2128
01:54:12,640 --> 01:54:15,120
Speaker 11: dad would play on those records and then they'd ask

2129
01:54:15,240 --> 01:54:18,040
Speaker 11: him to go tour. But because at that point of

2130
01:54:18,120 --> 01:54:20,599
Speaker 11: his life he had me and he had gotten married,

2131
01:54:22,120 --> 01:54:25,040
Speaker 11: my mom always used to kind of frown upon, you know, like, well, no,

2132
01:54:25,160 --> 01:54:28,280
Speaker 11: you can't. You got responsibilities, you got family, and you

2133
01:54:28,400 --> 01:54:30,320
Speaker 11: got you know, you can't just run off and go

2134
01:54:30,439 --> 01:54:33,200
Speaker 11: on tour and that kind of stuff. And that really

2135
01:54:33,280 --> 01:54:37,400
Speaker 11: affected what happened with me because when I got to

2136
01:54:37,480 --> 01:54:39,440
Speaker 11: the point where I really wanted to do music, my

2137
01:54:39,560 --> 01:54:42,880
Speaker 11: mom was one hundred percent behind me because she realized

2138
01:54:42,960 --> 01:54:45,720
Speaker 11: that my dad never had a chance to do what

2139
01:54:45,840 --> 01:54:47,640
Speaker 11: he the way he wanted to do it. So she

2140
01:54:47,760 --> 01:54:49,760
Speaker 11: really kind of stepped out of my way and was

2141
01:54:50,080 --> 01:54:55,120
Speaker 11: very supportive of me. So that was huge for me.

2142
01:54:55,240 --> 01:54:57,480
Speaker 11: By the way, and they because they separated and so

2143
01:54:57,840 --> 01:55:00,720
Speaker 11: or they got divorced, and so I basically stayed with

2144
01:55:00,840 --> 01:55:03,560
Speaker 11: my mom. So she said, you know whatever, as long

2145
01:55:03,600 --> 01:55:05,400
Speaker 11: as I see you doing music, you can do whatever

2146
01:55:05,440 --> 01:55:07,120
Speaker 11: the heck you want to do. But you know, as

2147
01:55:07,160 --> 01:55:09,200
Speaker 11: long as you was serious about it and that kind

2148
01:55:09,200 --> 01:55:10,720
Speaker 11: of thing. So that was that was important.

2149
01:55:11,040 --> 01:55:14,360
Speaker 1: What was the industry in Minnesota?

2150
01:55:14,720 --> 01:55:18,520
Speaker 2: Like if cars were Detroit and black families were there,

2151
01:55:18,800 --> 01:55:22,400
Speaker 2: middle class and buying instruments and stuff, and the same

2152
01:55:22,480 --> 01:55:26,880
Speaker 2: for factories in Indiana and the Midwest, what was the

2153
01:55:27,080 --> 01:55:31,120
Speaker 2: industry in Minnesota that kept was that an industry town

2154
01:55:31,200 --> 01:55:31,440
Speaker 2: at all?

2155
01:55:32,760 --> 01:55:34,960
Speaker 11: Well, the things I remember growing up were first of

2156
01:55:34,960 --> 01:55:37,840
Speaker 11: all Grain and Flower. I remember Gold Metal Flower was

2157
01:55:37,880 --> 01:55:40,200
Speaker 11: a big company back in the day. Pillsbury was up there,

2158
01:55:40,240 --> 01:55:41,640
Speaker 11: big company general.

2159
01:55:42,640 --> 01:55:46,760
Speaker 1: Yeah, I forgot I now realize.

2160
01:55:46,800 --> 01:55:49,760
Speaker 4: He said that the ghetto boys thought he had came,

2161
01:55:49,840 --> 01:55:51,040
Speaker 4: but it was Gold Metal Flower.

2162
01:55:52,800 --> 01:55:56,000
Speaker 1: Now I get it. It was Flower. Thank you for

2163
01:55:56,120 --> 01:56:07,080
Speaker 1: serving that mystery I was made because of his accent.

2164
01:56:07,280 --> 01:56:12,520
Speaker 1: You know, I thought so myster.

2165
01:56:14,360 --> 01:56:15,480
Speaker 11: I didn't know there was a mystery.

2166
01:56:18,080 --> 01:56:19,800
Speaker 1: No, we had it, but I just didn't.

2167
01:56:19,840 --> 01:56:21,720
Speaker 11: You didn't put it together that that's what he was saying.

2168
01:56:23,280 --> 01:56:25,200
Speaker 11: But all of those were up there, and obviously three

2169
01:56:25,400 --> 01:56:28,480
Speaker 11: M was up there to Honeywell. There were some some

2170
01:56:28,560 --> 01:56:32,600
Speaker 11: pretty big companies up there, for sure, but just to

2171
01:56:33,000 --> 01:56:35,200
Speaker 11: and just to wrap the other thing we were saying.

2172
01:56:35,560 --> 01:56:37,600
Speaker 11: The whole idea, yes, was to get out of town.

2173
01:56:38,680 --> 01:56:41,560
Speaker 11: That was our focus because we knew we couldn't sit

2174
01:56:41,640 --> 01:56:45,320
Speaker 11: around and depend on playing in the clubs that weren't

2175
01:56:45,320 --> 01:56:47,240
Speaker 11: gonna let us play, And we knew that we couldn't

2176
01:56:48,240 --> 01:56:50,720
Speaker 11: make it playing in a club circuit where there's two

2177
01:56:50,840 --> 01:56:53,240
Speaker 11: or three clubs and there's eight bands or whatever it is,

2178
01:56:53,440 --> 01:56:55,360
Speaker 11: like that was not going to happen. So we set

2179
01:56:55,400 --> 01:56:59,040
Speaker 11: our sites always on making it nationally. That was our

2180
01:56:59,080 --> 01:57:03,920
Speaker 11: whole thing. When Prince made it out, that showed us

2181
01:57:04,560 --> 01:57:07,720
Speaker 11: that it can happen. And it also because he was

2182
01:57:07,800 --> 01:57:11,200
Speaker 11: so unique in what he did, that then brought everybody

2183
01:57:11,640 --> 01:57:14,280
Speaker 11: started looking at Minneapolis like, Okay, what else is up there?

2184
01:57:14,360 --> 01:57:17,200
Speaker 11: Because that that happens with all talents, happened with Seattle, happens,

2185
01:57:17,280 --> 01:57:18,840
Speaker 11: you know, that's just the thing that happens. It's like

2186
01:57:18,920 --> 01:57:21,000
Speaker 11: something great comes out and it's like, oh, what what

2187
01:57:21,120 --> 01:57:23,120
Speaker 11: else is there? What else is there? So we were

2188
01:57:23,120 --> 01:57:25,760
Speaker 11: definitely the beneficiaries of that. And there's a lot of

2189
01:57:25,880 --> 01:57:29,880
Speaker 11: great I will say, a lot of talented white musicians

2190
01:57:29,960 --> 01:57:32,600
Speaker 11: playing R and B music that never made it out

2191
01:57:32,600 --> 01:57:35,240
Speaker 11: of Minneapolis. Some of them made it out because Jesse

2192
01:57:35,360 --> 01:57:37,920
Speaker 11: took a couple folks with him and when he did

2193
01:57:38,000 --> 01:57:44,160
Speaker 11: his band Jesse Johnson Review the Peter the Peterson's. How

2194
01:57:44,160 --> 01:57:45,280
Speaker 11: many Peterson's were there?

2195
01:57:46,000 --> 01:57:46,440
Speaker 1: A lot?

2196
01:57:46,800 --> 01:57:50,760
Speaker 11: Yeah, that was the That was the musical family up there.

2197
01:57:50,800 --> 01:57:53,920
Speaker 11: I mean, just so much talent, you know, but there

2198
01:57:53,920 --> 01:57:56,960
Speaker 11: were but there were other ones too, And I'm just

2199
01:57:57,040 --> 01:57:59,040
Speaker 11: kind of I'm blanking our names and stuff, But there

2200
01:57:59,120 --> 01:58:01,640
Speaker 11: was a lot of talent. But because they didn't. They

2201
01:58:01,680 --> 01:58:04,040
Speaker 11: were very comfortable, so they had no reason to try

2202
01:58:04,080 --> 01:58:06,600
Speaker 11: to think outside of getting out of Minneapolis or anything

2203
01:58:06,680 --> 01:58:09,080
Speaker 11: like that. Like, we were so a lot of great

2204
01:58:09,160 --> 01:58:11,320
Speaker 11: talent up there that people didn't know about until, like

2205
01:58:11,400 --> 01:58:13,360
Speaker 11: I say, until that time when you know, Jesse picked

2206
01:58:13,440 --> 01:58:16,280
Speaker 11: up a few people and I'm trying to think Margaret Cox,

2207
01:58:16,320 --> 01:58:19,080
Speaker 11: who was actually Tomorrow Margie. But yeah, but Margaret Cox

2208
01:58:19,200 --> 01:58:23,480
Speaker 11: was insanely talented, you know, so as a singer. So yeah,

2209
01:58:23,520 --> 01:58:24,000
Speaker 11: people like that.

2210
01:58:24,720 --> 01:58:29,200
Speaker 2: So when can I assume that Funky Town was the

2211
01:58:29,320 --> 01:58:34,320
Speaker 2: first at least indication that an escape could be made

2212
01:58:34,440 --> 01:58:35,440
Speaker 2: or something could happen.

2213
01:58:35,600 --> 01:58:38,200
Speaker 1: Was that just like a fluke went off in your eyes?

2214
01:58:38,720 --> 01:58:43,200
Speaker 11: Well for us, you know, Prince was the example that

2215
01:58:43,280 --> 01:58:45,360
Speaker 11: you could make it because see Prince was like three

2216
01:58:45,440 --> 01:58:49,440
Speaker 11: years before Funky I forgot yeah towns seven but no,

2217
01:58:49,560 --> 01:58:51,800
Speaker 11: but but but but Funky Town was eighties and that

2218
01:58:52,040 --> 01:58:54,680
Speaker 11: was you know, at the height of the disco craze

2219
01:58:54,880 --> 01:58:57,080
Speaker 11: and when it was and actually when disco was being

2220
01:58:57,120 --> 01:58:58,720
Speaker 11: played on the radio, not only in the clubs, but

2221
01:58:58,840 --> 01:59:01,440
Speaker 11: actually the format because I'm remember we had a radio

2222
01:59:01,480 --> 01:59:03,600
Speaker 11: station up there that went from a rock format to

2223
01:59:03,680 --> 01:59:08,360
Speaker 11: a disco format, which was very controversial, but disco was

2224
01:59:08,440 --> 01:59:09,440
Speaker 11: hot at that point in time.

2225
01:59:09,480 --> 01:59:14,120
Speaker 1: But we thought, what did you grow up listening on? Like,

2226
01:59:14,240 --> 01:59:15,160
Speaker 1: what were you listening to?

2227
01:59:15,960 --> 01:59:16,160
Speaker 5: Grow?

2228
01:59:16,400 --> 01:59:19,400
Speaker 11: For me, yeah, well there was nothing but pop radio

2229
01:59:19,520 --> 01:59:22,440
Speaker 11: up there. I mean, I grew up as a kid.

2230
01:59:23,320 --> 01:59:27,720
Speaker 11: My earliest memories were always you know, I always loved

2231
01:59:27,720 --> 01:59:32,320
Speaker 11: the harmony groups. I loved Seals and Cross America America. Yeah,

2232
01:59:32,680 --> 01:59:36,440
Speaker 11: you know that kind of stuff. Bred that was. I mean,

2233
01:59:36,520 --> 01:59:38,400
Speaker 11: to this day, that's the way I stacked my harmonies

2234
01:59:38,480 --> 01:59:41,120
Speaker 11: because of the way they sang those songs. Back then,

2235
01:59:41,640 --> 01:59:45,240
Speaker 11: a little bit later in life, I liked, like, around

2236
01:59:45,280 --> 01:59:47,040
Speaker 11: the time I met Terry, I was really into Chicago

2237
01:59:47,200 --> 01:59:50,000
Speaker 11: that was. That was my favorite band ever, you know,

2238
01:59:50,480 --> 01:59:53,120
Speaker 11: and me and Terry both loved them. And then Terry

2239
01:59:53,200 --> 01:59:54,840
Speaker 11: then turned me on to when I met him, he

2240
01:59:55,000 --> 01:59:57,800
Speaker 11: turned me on to earth Wind and Fired, Tower of Power,

2241
01:59:57,960 --> 02:00:01,800
Speaker 11: New Birth I met in seventy two. Okay, yeah, so

2242
02:00:01,960 --> 02:00:03,760
Speaker 11: we're just so we're talking last days in time, earth

2243
02:00:03,800 --> 02:00:06,520
Speaker 11: Wind and Fire and Music in my mind Stevie Wonder.

2244
02:00:07,080 --> 02:00:08,720
Speaker 11: You know, these were the albums and Terry turned me

2245
02:00:08,800 --> 02:00:09,320
Speaker 11: on to those.

2246
02:00:10,440 --> 02:00:13,480
Speaker 1: Black radio. You didn't have no black radio experience at

2247
02:00:13,480 --> 02:00:15,240
Speaker 1: the age of ten, twelve.

2248
02:00:15,360 --> 02:00:18,360
Speaker 11: There wasn't a black radio experience for me. When I

2249
02:00:18,400 --> 02:00:21,400
Speaker 11: got into high school, I was really into or junior

2250
02:00:21,480 --> 02:00:23,640
Speaker 11: high and into high school, I was really into Gambling,

2251
02:00:23,680 --> 02:00:27,120
Speaker 11: huff and everything coming out of Philadelphia. Blue Magic was

2252
02:00:27,200 --> 02:00:30,160
Speaker 11: my favorite all time group. I know everybody was into stylistics,

2253
02:00:30,200 --> 02:00:31,360
Speaker 11: but Blue Magic was my group.

2254
02:00:31,400 --> 02:00:33,880
Speaker 1: But how could you hear it or see it?

2255
02:00:33,960 --> 02:00:34,000
Speaker 9: Was?

2256
02:00:35,280 --> 02:00:38,480
Speaker 11: Oh yeah, Soul Train definitely was on and you definitely

2257
02:00:38,480 --> 02:00:41,520
Speaker 11: would hear it on Soul Train. But I I remember

2258
02:00:41,840 --> 02:00:44,920
Speaker 11: I had a friend of mine whose dad was an

2259
02:00:44,960 --> 02:00:46,760
Speaker 11: executive of music Land, which is one of the big

2260
02:00:47,000 --> 02:00:48,880
Speaker 11: retail stores back in the day. So he used to

2261
02:00:48,920 --> 02:00:52,760
Speaker 11: get every single record that came out. And my thing

2262
02:00:52,920 --> 02:00:54,640
Speaker 11: was I was always a big liner note reader and

2263
02:00:54,680 --> 02:00:55,680
Speaker 11: a big label reader.

2264
02:00:56,080 --> 02:01:00,520
Speaker 6: So my thing was we all collector if I's A

2265
02:01:00,640 --> 02:01:03,160
Speaker 6: and Ville, yes, So.

2266
02:01:03,320 --> 02:01:06,640
Speaker 11: My whole thing was. I remember there were records that

2267
02:01:06,680 --> 02:01:10,280
Speaker 11: would come out and I would particularly during the Motown

2268
02:01:10,320 --> 02:01:13,600
Speaker 11: era because I really I really loved the Motown records,

2269
02:01:13,680 --> 02:01:15,680
Speaker 11: all of that stuff, the Holland Dozer, Holland, like I

2270
02:01:15,920 --> 02:01:18,920
Speaker 11: remember I did. I remember looking at a Supremes album

2271
02:01:19,440 --> 02:01:21,480
Speaker 11: at a like a family reunion or something back in

2272
02:01:21,640 --> 02:01:24,040
Speaker 11: sixty two or something or sixty. So I was like

2273
02:01:24,040 --> 02:01:25,760
Speaker 11: three or four years old, and I remember that Holland

2274
02:01:25,800 --> 02:01:28,520
Speaker 11: Dozer Holland it was. The album was called The Supreme

2275
02:01:28,600 --> 02:01:32,080
Speaker 11: sing Holland Dozer Holland Gold Record, and I the gold record, right,

2276
02:01:32,280 --> 02:01:35,560
Speaker 11: I had no idea what that meant. Well, I kept going,

2277
02:01:35,680 --> 02:01:37,880
Speaker 11: what does this mean? What do you mean they singing

2278
02:01:38,120 --> 02:01:40,960
Speaker 11: Holland Dozer Holland, And somebody explained to me, no, they

2279
02:01:41,120 --> 02:01:43,520
Speaker 11: wrote the songs. The girls are the singers, but somebody

2280
02:01:43,560 --> 02:01:46,080
Speaker 11: wrote the songs. And something went off in my head

2281
02:01:46,120 --> 02:01:49,440
Speaker 11: at that point. That always made me look who wrote it,

2282
02:01:49,800 --> 02:01:52,880
Speaker 11: who produced it? And so I remember like all the

2283
02:01:52,960 --> 02:01:55,480
Speaker 11: Motown records would be the first ones I'd always go to.

2284
02:01:55,720 --> 02:01:57,720
Speaker 11: And I remember like staring at the first time I

2285
02:01:57,760 --> 02:02:02,240
Speaker 11: heard I Want You Back and five and you know

2286
02:02:02,360 --> 02:02:05,440
Speaker 11: Dinah Ross and Dinah Ross presents the Jackson five, and

2287
02:02:05,520 --> 02:02:07,880
Speaker 11: I thought, oh, wow, that's cool. And I looked down

2288
02:02:07,920 --> 02:02:09,720
Speaker 11: the record. I'm like, well, I don't see Donna Ross's

2289
02:02:09,800 --> 02:02:14,240
Speaker 11: name anywhere on here. Right, there's some dudes called the Corporation.

2290
02:02:15,080 --> 02:02:16,960
Speaker 11: I got to find out who the corporation is, you know.

2291
02:02:17,080 --> 02:02:21,360
Speaker 11: So that was always my my thing. And and and

2292
02:02:21,520 --> 02:02:23,280
Speaker 11: I knew that because what I learned was there were

2293
02:02:23,320 --> 02:02:26,680
Speaker 11: certain there were groups I like, but it was all

2294
02:02:26,720 --> 02:02:27,920
Speaker 11: about who produced them.

2295
02:02:28,200 --> 02:02:28,560
Speaker 1: Like it was.

2296
02:02:28,720 --> 02:02:30,920
Speaker 11: It was like, you know, like Eddie Kendricks could come

2297
02:02:30,960 --> 02:02:34,480
Speaker 11: out with a song and I would be like, Yeah,

2298
02:02:34,560 --> 02:02:36,600
Speaker 11: that's okay. And then you come out with a song,

2299
02:02:36,640 --> 02:02:38,480
Speaker 11: I go, oh, I love that song. Okay, who did

2300
02:02:38,520 --> 02:02:42,160
Speaker 11: that song? Okay, Leonard Casting and you know, Frank Wilson

2301
02:02:42,280 --> 02:02:45,800
Speaker 11: and okay. And then I'd hear another song that had

2302
02:02:45,920 --> 02:02:47,800
Speaker 11: nothing to do with Eddie Kendricks, but I'd go, oh,

2303
02:02:47,840 --> 02:02:50,120
Speaker 11: I like that track. Who did that? And it'd be

2304
02:02:50,200 --> 02:02:52,520
Speaker 11: the same dudes, right, And and that's when I got

2305
02:02:52,640 --> 02:02:56,320
Speaker 11: That's when I started going, Okay, that's that's my thing.

2306
02:02:56,360 --> 02:02:59,320
Speaker 11: And so for me, that's what always excited me. And

2307
02:02:59,400 --> 02:03:01,680
Speaker 11: that's what you know, ultimately made me want to become

2308
02:03:02,120 --> 02:03:03,360
Speaker 11: a songwriter and a producer.

2309
02:03:04,760 --> 02:03:05,080
Speaker 6: All right.

2310
02:03:05,120 --> 02:03:07,240
Speaker 2: That was Jimmy Jim And I think you all for

2311
02:03:07,320 --> 02:03:10,520
Speaker 2: tuning in, and please give people their flowers while they

2312
02:03:10,560 --> 02:03:12,720
Speaker 2: can still smell them, all right.

2313
02:03:15,320 --> 02:03:21,640
Speaker 1: Quest Love Supreme is a production of iHeartRadio. For more

2314
02:03:21,680 --> 02:03:26,160
Speaker 1: podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or

2315
02:03:26,200 --> 02:03:27,840
Speaker 1: wherever you listen to your favorite shows,